Variety (December 1960)

22 HCTUHES VARIETY Wednesday, December 7, />60 Film Reviews ■ Continued from page 6 ; elalsaghar Done in a slow but incisive man¬ ner. Ibis looms mainly an arty bet abroad with its visual beauty an aid. A man sits in his once-great home, now beginning to fall to ruin. He reminisces on his past life, and his great parties as well as the loss of his son and wire. . ^ His inability to adapt himself to [ itTookVlikV the changing scene about him are ‘ subtly blocked in. He is shown as one of those once powerful men whose failure to cope with the times has made him a recluse. He is a dilettante and seems to be I more engrossed in simple social | duties rather than in life about' the complications and plotting are stereotyped and familiar. This has only the Fernandel monicker for offshore chances, and hence they seem slight in this pic. Technically it is below par with a quickie look. Supporting cast is subordinated entirely to Fernandel but Georges Wilson, as a sinister gangleader, manages to make his presence felt. local item primarily. Mobk. Das Erbe von BjoormSal (Heritage of Bjoerndal) | (AUSTRIAN-COLOR) Vienna", Nov. 29. Snsoha Film release of Wiener Mundus ■ Film production. Stars Britt Nilsson, Hans him. He gives one last party, tosses : Nielsen. Carl Lange, Franz Messner. Di- fall from a horse. Ray knows how to depict slow passing of time culties are visible throughout. Lack of money, absence of techni¬ cal • experience and a rather ama¬ teurish script make for a too slow film. Never compelling, the pic, however, has some poetic beauty. And it will appeal particularly to Jewish audiences. Oded Teomi is a sensitive actor and Ninett Dinar a delicate actress. A group of young European Jews, one woman and nine men, gave up studies, merchandise, etc. and left the Old Continent de¬ termined to build up an agricul¬ tural settlement in the Promised Land. That's the basic plot. They get a- deserted building and a small piece of rugged land, bought from the Arabs with Jew¬ ish funds. The young settlers don’t know how to handle a plough, they sow against the wind, they have to learn how to build a fireplace and how to ride a horse. The neighbor¬ ing Arabs won’t let them use the well and the Turkish policeman doesn’t allow them to rebuild the house. Two men leave because they think the struggle is hopeless, and the woman dies. But the others survive. Essentially, this unfolds the story about the start of the Jew- ish State. But the production never really makes the point. Lapid. New York Sound Track Continued from page 17 ; - branssen: camera, Elio Carniel; music, + Holf A. Wilhelm. At Flieger Kino, Vienna. ‘ Running time, 90 MINS. Character r Adclheid . Mr.j-Britt Nilsson and place without making the film | ounvw 3 ?..'.W::::.*::;::'’ Eiiln tte sSwu-rs static It delves deeply into the i Dig .Joachim Hansen n-an and though he is pathetic!™” there is never any pity for him ; Asiak . Hans Christian Blech but an acceptance as a human be- j I u ^ e s n2 son InS OUt of kilter with the' times. ! Jungfer Kruse ......... Elisabeth Epp PlC IS excellently -ensed. ine > Kaufmann Holder .... Franz Schafheitlin acting is good with the direction j Pfarrer Ramer . Hintz Fabricius blending all into a keen study of | —- a character. It is slow but deeply j Appropriately titled “Heritage,” revealing Well handled this collides emerges as a fair entry' for be a fine arty house bet. Music is | German and Norwegian language also an excellent aspect of this i countries. This Norwegian-Austri- npnptratino film Moik an film is a continuance of a novel . tender, pen etrating film . Trygve Gulbranssen , cleverly Monahan carefully . j turned into a screen vehicle by each rumor and wired Miss Die- Mit H5lilIjeorjSjC*ist lionl Per Schwenzen. It depicts the wor- j trich asking her to give her side Alios Dosser . ries of farmers who stay on their j of the story. She called Tuesday (It Goes Better With Raspberry- J soil today, and always. The in- i (29) around midnight and categori- j u i ce ) ‘ Itrigue of bad neighbors is the basis j cally denied every one of the (AUSTRIAN) ifor the film’s plot. ! charges. Monahan then revised his viorma Nnv 9Q Dramatic events, however, are story to bring' La Dietrich out Sa«< ha Film <Herbert Grubcri prociuc- hot overloaded with fantasy by smelling like a rose, tior. stars o. w. Fischer; features Mari-.the author or scripter. Young Dag ; She had refused a call from the malm. *^°i>recteci^^y^ a cfeo^ etr Marsc 1 hita] ■ 1 Joachim Hansen) at the end courts Pitt Variety rep on Monday and Screenplay. Hans Jacogy and wiiiibaid another girl. word was received that she didn’t meP Gve"ihe?Kn e uto a ”t”t:nw Hansen is convincing as is his ' want to see him on Tuesday at the Fritz ,iuepitner-Jonstorff and‘ Alexander opposite Maj-Britt Nilsson as Adel- : Mosque. However, on Wednesday fSSSSSf%ST»^tS!Ti ^&:'|* id - Bri . gitt ® Ho ™ e y ” ak £t, contact was finally made by is. ’60. Running time, 90 mins. hue comeoack as Aunt Elo. Ellen: her phone call and she was very Piiuipp Kaidcr^^.^Vi^ne^Kuch Schwiers ns excellent as the worn- ! gracious as she explained how Marlene & Press — Continued from page 1 = ! unhappy she might walk out on her ■ an film is a continuance of a novel j four " da y engagement. * " rechecked “The Big Show,” now shooting in Munich and Copenhagen . . . Actress Ina Balm is starting to train as a student nurse prior to starting her role in UA’s “The Young Doctors,” in which she’ll play a student nurse. Film is to be made entirely in New York . . . 20th says the first 20 days of its “North to Alaska” release has resulted in a theatre ^ross of $1,000,000. That's not all film rental, but, also, it's not chicken feed . . . Continental Distributing has engaged Blowitz-Maskel to handle publicity and promotion on “The Long, The Short and The Tall” and “The Mark.” Jean Goldwurm’s Times Film has acquired two more top French imports, Claude Chabrol’s “A Double Tour” and Rene Clement’s “Plein Soleil” . . . Sam Lake’s Gotham Film Releasing Corp. has taken on two German exploitation items, “Madeleine Tel. 13-62-11” and “Won¬ derland at Night.” Joe Pasternak, producer of Metro’s “Where the Boys Are.” and three of the picture’s stars—Jim Hutton, Paula Prentiss and Maggie Pierce— are out on a two-week cross-country promotional tour for the film. They are being accompanied by Si Seadler, M-G’s eastern ad manager . . . Stuart Millar and Lawrence Turman, producers of “The Young Doctors,” met with United Artists’ pub-ad and sales departments to discuss long-range plans for the film. It goes before the cameras in N. Y. on Jan. 9 . . . King Bros.’ “Gorgo” will be released by Metro in February . . . Edward Lewis, producer of “Spartacus,” and Stan Margulies, Bryna Productions pub-ad chief, doing the advance bit for the 12 Christmas openings of the Universal release . . . Also on “Spartacus” front: High school and college editors in the New York, New Jersey, Connecticut area will attend “school reviewers” per¬ formances this week. Universal has arranged a tieup with 280 Associated Food Stores in the Greater. New York area for Cary Grant’s “The Grass Is Greener.’* Grant arrived in N. Y. over the weekend to aid in the bally campaign . . . Jack Diamond. Universal’s studio publicity chief, returned to the Coast after homeoffice talks . . . Multilingual' French actor Gregoire Aslan, now making “The Devil at Four O’clock,” is in six pictures in release or awaiting release. The language barrier is a handicap on any foreign location, Fred Hift reports from the Italian locale of “Francis of Assisi.” One of the Americans in the creiv, he notes, approached the easting director for the extras and, pointing to some men waiting In costume in a side- street, asked: “Are these men from Assisi?” The Italian exploded, red-faced. “No, sir,” he shouted. “No true. Are no sissies in this group.” Walter Slezak has returned from Rome after winding up his role in Universal’s “Come September” . . . Warren Finnerty and W’illiam Redfield signed for the film version of the off-Broadway hit “The Connection.” Film is currently being filmed in N. Y. under the direction of Shirley Clarke . . . Otto Preminger, Eva Marie Saint, Peter Lawford, Sal Mineo and Jill Haworth will visit the cities in which “Exodus” Is scheduled to open. They will travel in four separate units, meeting in N. Y. for the Dec. 15 world premiere and in L. A. on Dec. 21 for the Coast launching . . .Universal prexy Milton R. Rackmil, billed as “industry man of the year,” gets the cover on the company’s Time-like edition of its house organ. Progress. Unde < (T'.nu-Chru S ui’se Capt;:i! ' >a )L1'k.‘e Lane an who spoils all peace efforts. • everything might have* been misun- Pe!ra £-‘ii U R* m i a "v T?ie remainder of the cast is okay. : derstood. _ ‘ 1 mvl> Though there is not much sus-j Shuffled Her Dates pense. directing by Gustov Ucicky I ■. . , ,, ov , -_ deserves praise. Camerawork by IIer , t at . ®._ Elio Carniel is a major asset, es- j ) oka - ved „?" 5c ‘-V '**''' peciallv the outdoor scenes shot in ^ Alan most northern sectors of Xonve- i Frederick Loewe needed more tune to polish Camelot m Boston, they Despite the awkward title, this motion picture should do good b.o. in the German language countries. Star O. W. Fischer is. in this in¬ stance. very natural in depicting the ups and downs of a prisoner - cia T of war first French, than U. S.. The Vienna Svmnhnnie orrh asked her to give up her-two weeks bjmphomc^orch ^ shubert Tbeatre there . she f ; 0 m uhere he fled.'and his'role Pj?j£‘£ e : agreed'and MCA set her in the 'afterwards on the black market, crowned by honorary citizenship ( ils are P ar * of the city he supplied with goods. ’ illegally obtained. A clear satire on the conditions of 1945-50. Marianne Koch, his op¬ posite. is also excellent. She. too, has the necessary “connections" Maas. I/Hoinnie A Fomin os (Ladies’ Man) (FRENCH) Paris, Dec. 6. Pathe Telease of Cyclops production. Stars Danielle Darrieux, Mel Ferrer; fea- Riviera in Las Vegas for two . weeks. ; In the meantime, Miss Dietrich ! had called Stan Irwin arid Milton j Prell at the Sahara, where she has j a contract for February and got j their permission for her to take the Riviera date. When she found cn the black markets. Idea Of plot: itures Claude Rich. Alan Scott. Catherine • s h e had only two weeks for the for hern first to use her for his ; | Kitiera. she asked MCA to try to dark purposes, than to fall in : Alain cavalier. Cornu from novel hy Pat- ; move the Pittsburgh date back so love is hardly new, but well eon-j tSTVSCSSTRiffi I she could stay at the room for the Siructed. \ Running time, 95 mins. three weeks that producer Frank In the supporting cast, all do ; £eorge lle ..? an .‘ el Me? a Fer e rer ; Sennes wanted, nicely. George Marischka directed | vaiiiant ’ ciaude juch j We j ss then came to Pittsburgh ing up the early scenes, setting j Laurent .Pierre Brice ; officials to see if they would push bad times of 1945. Cameraman | -- . . J the date back but it was impos- Loosely constructed whodunit; sib}e wben Miss Dietrich was in- has neither the characterization or • formed that the Riviera stand treatment to keep this suspenseful, ; would bave to be just tw0 weeks> The unimaginative direction does j sbe was fu r i ous because she want- not help either. It is mainly a local ■ ed t 0 s t a y j n Vegas as the show ^ tem - , , , , , ! was rehearsed and, as she put it, A blackmailer, who has wooed j »*j j ove everything about the hand¬ shake atmosphere of Vegas.” Guenther Knuth did a good job. Johannes Fehring supplied a few jongs. Maas. Fa£d (The Boss) (FRENCH) Paris, Dec. 6. Mel Ferrer’s wife, Danielle Dar¬ rieux, and niece, is found dead. j n,0 * i y. es f* sorted out by Geciges Wilson, Claude Pieplu, Francois a taciturn police inspector to Solve Darbon. Albert Michel. Directed by Ber- : fhic tame meller nard Borderie. Screenplay, Jean-Bemard • tnis tame meiAer - Luc from novel by Claude Dorval: cam¬ era. Robert Juillard; editor, Christian Gaudin. At Aubert Palace, Paris. Run¬ ning time, 90 MINS. Migonnet .Fernandel Rita . Barbara Laage Monsieur A. Georges Wilst.n Oxner . Claude Pieplu Amedee . Francois Darbon Filatre .-. Albert Michel Preferred the Riviera “Why couldn’t they have moved it back a couple of weeks so I could The acting^cannot do much with!?® three "^ eks at Riviera, where the surface personages. Teehmcal ! vv ^ re doing big business in- Composure-Like Aristotle ; Continued from page 7 ; Fernandel is a philosophy teacher 3n this film. He gets mixed up with gangsters and molls when a big credits are only fair. Mosk. Horn Hayu Asara (They Were Ten) (ISRAELI) Tel Aviv, Nov. 29. j ORB Film release of Baruch Dinar pro- | ducticn. Stars Nir.ett Dinar ;md Oded j Teomi. Directed by Baruch Dinar. { Screenplay. Baruch Dinar. Gavriel D.ifian stead of making me fly to Pitts¬ burgh overnight to a private affair that could have easily been moved since we gave them so much time? This way. I finished mv show at the Riviera at two o'clock on Sunday night and was on a plane for Pitts¬ burgh- at 2:20. “After no sleep the night before lap by an escaping holdup artist. by Baruch Dinar; camera. L. Banes; edi- - . T _ _■ tor. Helga Kronston; music. Gerd Ber- • lOUlld I was Supposed to gl\e in- He bluffs his way through this, but U^ nv £ re ' iewed at -chen. Tel Aviv. i tervieus which my contract speci- - i - - -; Kt a . s <SS$ said «•«* forbidden. This i z.-dnian . Leo Filler, clause was put in by the Shriners, i ^“aham *!! 1! 1! 111!' Israel' 1 RuLmhik I ™t me. Besides, I’ve had it with : Margin . Gavriel Dagan , the young girl reporters who ask • y< ief r .- hUS' me T - vhat favar ite color is, who Beri ....Josef zur j my favorite leading man was and Xabnnnvitz ! xvba |. nly rec jp 0 jg f Qr gQUlaSh. I THEATRE FOR SALE Gov. Ritchie Theatre—700 car drlve-in theatre lii continuous operation since 1939 on Ritchie Highway 3 miles south of Baltimore. Highly profitable thea¬ tre Including choice commercial front¬ age. Stockholders deadlock has forced^ sale by publie auction to be held January 25, 1961. For full Informa¬ tion write Gov. Ritchie Theatre, Inc., P. O. Box 25, Glen Burnle, Maryland. Mrs. Weiss’ !!! shiomit Kapiansky | now have a good rest and am re- ■ I^rK i ‘cv,?ir f,cer .* v L 0<!h £ Y ari turning your call.” Arab Sheik . Moshe Kedem j ‘Miss Dietrich did not meet Miss • This pic, which cost $100,000, •Brundidge who is not a “young re¬ tails to measure up to the great j porter,” but a mature and highly Things expected of it. Made under '■re'Vrded feature writer on the ; difficult circumstances, the diffi- i Press.) robe departments are well equipped to do “Greek-type” films that use folk costumes and such, he said, but Hollywood, because of all the westerns which are shot there, is the only place with a full supply of clothes worn in the bustle-and- bowler era. It was this sort of thing that jacked the “Athens” budget from $350,000 up to about $500,000, he reported. Director also empha¬ sized that, because of the nature of the story, it would have been impossible to shoot the picture anywhere but in Athens, particu¬ larly since the “key” set in the film is the stadium which was built for those first 1896 games, and which is still being used. But for every advantage, there was inevitably a disadvantage. The local studios were jammed, he said, and he was only able to get six days in which to do his interi¬ ors (out of a five-week shooting sked), and those six days could not be consecutive. This often meant having to strike a set and rebuild it again for another day of shooting. ' Slow to Sanction In addition, permission to shoot in public places often was extreme¬ ly slow in arriving. Permission ( would sometimes arrive only the i night before a specific scene was scheduled, though the permit had been submitted from six to seven weeks earlier. Company was flatly refused permission to do a key love scene in the Parthenon on the • Acropolis, principally because the ; authorities had felt that similar | permission earlier had been .! abused by a scene in 20th’s “Boy j on a Dolphin" featuring Sophia I Loren. Marion solved this prob- | lem by shooting his scene in the ; ruins of an ancient theatre at the ; foot of the Acropolis. For the most part, however, said Marion, Greek cooperation had been very good. It was just some of the lower echelon of bureau¬ crats who were difficult. On the matter of his star, Jayne Mansfield, Marion had nothing but unqualified praise, not only for her hard work and cooperation on-set, but also for putting up with some conditions off-set which are unmentionable. The 54-year-old director, who has been working recently in tv i"Sea Hunt,” “Aquanauts,” “Man and the Challenge”) as well as films, has returned to Hollywood to cut “Athens” and to await word on when he’s to start work on shooting the battle scenes for the currently delayed “Cleopatra.” He also has an idea that he might do “White Hunter, Black Heart,” Peter Viertel’s lightly fictionalized novel about a famous film director shooting a picture in Africa. A* a matter of fact, he’d like to have John Huston, who made “African Queen” in Africa, play the prin* cipal Tole. But, added Marion, perhaps the picture should not be made—it would give the entire in¬ dustry a black eye. Lionello Santi SS Continued from page 3 SmB Don Juan*- an updated version of a Shakespearean classic, “Othel¬ lo, 1943,” a biography about the Sicilian bandit, “Guiliano,” and another historical spec, “Marco Polo.” Already completed and looking for U. S. distribs are four other Galatea productions, includ¬ ing Roberto Rosselini’s latest, ‘Garibaldi,” which marks first time that director has worked with color and Cinemascope. Galatea is perhaps most famous for starting the Italian spec trend with the first “Hercules” films. Company also produced another current 20th release. "Legions of The Nile.” This deal, however, was made after film was com¬ pleted, with 20th getting English- speaking and western hemisphere rights for $570,000. American International just re¬ cently acquired rights to another Galatea production, “Fright,” a shock-horror type of film which was shot entirely (and originally) English,