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make 1960
your
biggest !

■

Inside: Detailed 1960*61 Feature Product Program

WILLIAM C. MICHEL

Executive Vice-President

JOSEPH MOSKOWITZ

Vice-President

DONALD A. HENDERSON

T reasurer-Secretary

C.E. M'CARTNEY

Comptroller

OR 20th Century-Fox 1960 marks several anniversaries. But, this year entails more than fes-
tive cognizance of them. More importantly is the fact that they come at the inaugural of a new
decade, perhaps the most challenging period in the annals of not only this company, but of the
entire industry itself. Past achievements— and there have been many, most beneficially affect-
ing not only this company, but the industry as well— are nostalgically exhilarating, true. How-
ever, it is the present and the future that are the decisive factors in the progressive perpetua-
tion of a successful functioning of the global dimensions of 20th Century-Fox. They are the concern of
its clients. Hence, it is with the present and finalized plans for the future with which this edition of Dynamo
deals and factually reports.

45 YEARS YOUNG- AND GROWING!

Expanded Diversified Activities Encircle The Globe

PRESIDENT
20th Century -Fox
International and
20th Century- Fox
Inter-Americas

MURRAY SILVERSTONE

PRESIDENT

De Luxe
Laboratories

OWN through five years
short of a half century
20th Century-Fox has re-
ligiously adhered to a
policy of far-sighted oper-
ation on a global scale.
Particularly has that been
the case in the almost past
18 years that Spyros P.
Skouras has been at its
helm.

His initiation and dedication to a corporate
redo that today’s planning and research pro-
vide the only positive course to a progres-
sively fruitful future has earned for 20th
Century-Fox Film Corporation a lofty posi-
tion among the great business organizations
of the wo rid.

February marked the 45th anniversary of
this organization’s founding and incorpora-
tion as Fox Film Corporation. This year, too.

Continued on page 60

PRESIDENT
20th-Fox
Records Corp.

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Wm'~ ■

PETER G. LEVATHES

PRESIDENT
20th Century-Fox
Television Corp.

DIRECTOR

of Research

ALAN FREEDMAN

HENRY V. ONORATI

EARL A. SPONABLE

By Spyros P. Skouras

A Summary Of Pertinent Facts In
This Company’s All-Out Drive For
Maximum Patronage Rehabilitation

Twentieth Century-Fox has launched the new
decade with a necessary and intensive drive, backed
by all of its resources and facilities, to restore
motion picture patronage to its pre-television
proportions.

Obviously that, in light of the diminished patronage
sustained during the previous decade, is no small under-
taking in these times.

But, I am convinced that it will be a success in every
sense of the word, if there is a continuously working unity
among the three branches of our industry: production, dis-
tribution and exhibition.

There is no alternative, for unless we work together as
a team we will needlessly, hut seriously jeopardize the
future of our industry.

Therefore, 1960 and the decade it inaugurates are a chal-
lenge, but, also, they present new opportunities for exalta-
tion of a great industry.

Words and good intentions will not perform the task
before us.

We, all of us, must make a continuing contribution
of actual deeds.

Twentieth Century-Fox, in this drive for perpetuity,
is fully cognizant of its responsibilities to exhibition, and
to the public. The discharge of these responsibilities will,
I pledge you, be translated into performance.

To effect perpetuity there must be a long-range pro-
gram. That this company has in effect. It will sponsor new
advancements about which more will be said in the not
distant future.

But, our immediate concern is the present, this
year I960.

There can be no perpetuity unless
provision is made for the supply of
means that will enable not only the
larger key-city theatres, but EVERY
motion picture theatre to continue to
operate.

Twentieth Century-Fox this year
will make available the largest num-
ber of feature attractions it ever has
made bookable in a 12-month’s period.

WE WILL POSITIVELY SUPPLY
AMPLE PRODUCT FOR EVERY
THEATRE.

Within the year we will release at
least 52 feature attractions.

Our studio, under the direction of
Buddy Adler, will, among the 30
productions it will create, supply
one “block-buster” type attraction
each month.

Additionally, we will release at-
tractions of similar box office pro-
portions but independently pro-
duced by Darryl F. Zanuck, Jerry
Wald, Mervyn LeRoy, Samuel G.

Engel, Jack Cummings, Walter
Wanger and others.

Cole Porter’s “Can-Can”, in

CONTINUED ON PAGE FOUR

DESIGN FOR PERPETUITY continued from PAGE THREE

Meeting Decade’s New Challenge

A Continuous Flow Of Product Tailored To Requirements Of
Every Theatre And Backed With All-Media Promotion Drive

Todd-AO, will be presented as a road-show.

We will release one “family trade” type attraction per month.

We have acquired for domestic release from the Arthur Rank
Organization seven productions based on excellent stories with
sterling casts of international stars, and each a credit to our
industry.

We will have such showmanship specials like “Masters Of The
Cong Jungle”, sponsored by His Majesty, Leopold III, of Belgium,

and “When Comedy Was King”.

We will offer also a minimum of 12 action, outdoor, science-

fiction and Western screenplays.

The foregoing product will he written, produced and directed
by the best craftsmen in those facets of picture-making.

They will he performed by such stars as Frank Sinatra, Paul
Newman, Clark Gable, Gregory Peck, Pat Boone, Montgomery
Clift, Anthony Franciosa, Alec Guinness, Robert Wagner, Maurice
Chevalier, Don Murray, Clifton Webb, Elvis Presley, Stephen
Boyd, Bing Crosby, Gig Young, Howard Trevor, Edward G. Rob-
inson, Dick Bogarde, Orson Welles, John Wayne, Rod Steiger,
Tony Randall, Louis Jourdan, Kenneth More, Ernie Kovacs,
Robert Morley, Milton Berle, Eli Wallach, Rita Hayworth, Joan
Collins, Dana Wynter, Eva Bartok, Ingrid Bergman, Joanne
Woodward, Lee Remick, Lauren Bacall, Juliette Greco, Myrna
Loy, Marilyn Monroe, Wendy Hiller, Peggy Woods, Taina Elg,
Carol Lynley, Hope Lange, Joan Crawford, Mary lire, Brigitte
Bardot, Susan Hayward, Jennifer Jones, Deborah Kerr, Dolores
Michaels, Suzy Parker, Elizabeth Taylor, Shirley MacLaine, Bar-
rie Chase, Heather Sears, Viveca Lindfors, Laraine Day, Julie
London and others.

Additionally, these new young stars, most of whom are bene-
ficiaries of our talent development program, will also appear in
our 1960 attractions: Stuart Whitman, Bradford Dillman, Dean
Stockwell, Diane Baker, Millie Perkins, Fabian, Gary Crosby,
Barbara Eden, Jill St. John, Ray Stricklyn, Richard Beymer, May
Britt, Barry Coe, John Gabriel, David Hedison and others.

I predict that this year these comparative newcomers will
achieve important stardom by being popularly acclaimed for
the excellence of their talents: Yves Montand and Frankie
Vaughn in the Marilyn Monroe picture, u Let’s Make Love”;
Elana Eden who plays the title part in “The Story Of Ruth”;
Ina Ballin whom you will see in “From The Terrace”, and
Margo Moore and Dick Shawn who are co-starred in “Wake
Me When It’s Over.”

But, Mr. Adler and all of our producers will not consider
their tasks terminated with completion of their respective pic-
tures. Instead, our creative and performing personnel will
directly participate in the public promotion of their pictures.

Producers, directors, writers and players under contract
to Twentieth Century-Fox will go into the field and person-
ally engage in not only national, but, whenever feasible, also
in the local level promotion.

Our advertising, publicity and exploitation expenditure
for this year is the largest in our history.

We have established advertising, publicity and exploita-
tion units in every territory to work on the local-level, not only
with key-city first-run exhibitors, but with operators of all
theatres.

To insure a thorough coverage of our market we are going
into the homes of our potential ticket-buyers. This we will do
through television and radio advertising.

We are aware, too, that today millions of potential ticket-
buyers are on the highways in their automobiles . . . and we
will take our advertising message to them on every picture
through radio advertising.

We have made provisions, too, for substantially increased
use of newspapers and magazines in publicizing our product.

No matter how outstanding a motion picture may he, in this
market its box office fate largely depends more than ever on its
thorough and efficient exploitation.

But, our promotion activity will not he confined exclusively
to the “block-busters”.

We will get solidly behind every release on a scale com-
mensurate with its patronage potential.

If this statement, briefly outlining our program for per-
petuity, abounds with enthusiasm, it is because I am very en-
thusiastic, very optimistic and very excited with what I know
our studio will deliver to our sales personnel, to exhibitors
and to the public, and with the merchandising plans we have
in operation.

We know that we can serve best our corporate interests
only if we best serve the exhibitors of our attractions and the
vast public we seek to patronize them.

The prosperity of motion picture theatres — all of them —
is indispensibly and inseparably linked with the prosperity
of this company.

We consider exhibitors more than just customers; we ac-
cept them as partners in a mutual all-out drive to make the
1960 ’s the most prosperous era in the annals of theatre motion
picture presentation.

The opportunity and means to bring about such a result
are at hand.

Twentieth Century-Fox will do its full part, and do so
working hand in hand with exhibitors — and with a continu-
ous consciousness of their requirements.

Of that you may be positive.

FOOTNOTES TO THE 1960-61 PRODUCT STORY

Yves Montand (page 62), who makes his
American film debut in “Let’s Make Love” (page
61), has been cast by Jerry Wald for the male lead
in “The Bohemian”.

Because of his excellent performance in his
first picture, Mervyn LeRoy’s “Wake Me When It’s
Over” (page 40), the studio has signed Dick Shawn
to a long-term contract.

Richard Fleischer, who directed “Crack In

The Mirror” (page 36) and last year’s “Compul-

sion”, has been signed to a long term contract by
Darryl Zanuck. He will direct the latter’s next 1960
production, “The Big Gamble” (page 71).

Incidentally, “The Big Gamble” is Zanuck’s
most important and costlier production for this
year, with a four-month “shooting” schedule in
England, France and Africa.

The Marshall and Noonan comedy team’s
next production to be filmed at the 20th Century-
Fox Studios under Buddy Adler’s supervision, in
CinemaSeope with De Luxe Color, will be “Up

The River”.

Sammy Cahn and James Van Heusen have
written a catchy song carrying the LeRoy picture’s
title, “Wake Me When It’s Over”. Andy Williams
of TV-fame has recorded it for Cadence Records.

Alec Guinness, Academy Award winner for
his performance in “The Bridge On The River
Kwai”, has signed to play the principal role in the
picturization of Alistair MacLean’s novel, “South
*Of Java Head”, which Sydney Boehm is adapting
and will produce for 1961 release.

A FACT- BASED PLEDGE FROM
EXECUTIVE PRODUCTION HEAD

By BUDDY ADLER

A Diverse
Output Of
Mass Appeal

Without any reservations whatsoever I predict that the 30 attrac-
tions in CinemaScope that our studio and independent producers will
deliver this year will, quantitatively and particularly qualitatively,
constitute the finest mass entertainments created by any studio. And,
I make that statement with boxoffice returns in mind.

In venturing that prediction I am not basing it on exuberance,
wishful thinking or speculation of any kind. On the contrary, I am
basing it on the fact that these entertainments, dwelling on a multi-
tude of diverse themes, are, or will be, picturizations of great story
properties brought to screen life by a creative personnel determined to
make this the outstanding year, product-wise, in the history of this
company and performed by a galaxy of fine box office stars and an
abundance of new talent that, together, will competently and success-
fully meet the challenge of keener competition for public patronage.

We will this year produce more “block-buster” types of mass
entertainments than this or any other studio has delivered in any
four combined seasons.

In today’s market we must be realistic, and that is precisely what I
am being in briefly sharing with the sales department and exhibitors
knowledge of what this studio will achieve this year.

We are fully aware of exhibition requirements for profitable
operation. We are fully aware that, in justifying the record increased
investment this company is making in 1960-61 production, we must
place on a discriminating market a continuous flow of entertainments
with unfailing mass box office potency.

This year this studio will make available to exhibitors a minimum
of one “block-buster” per month.

Audience reaction at a half score previews of our Todd-AO produc-
tion of Cole Porter’s “Can Can” indicates we have the greatest musical
of all time.

I have seen in completed rough-cut or enough of Darryl Zanuck’s
“Crack In The Mirror”, Mervyn LeRoy’s “Wake Me When It’s Over”,
Sam Engel’s “The Story Of Ruth”, Elia Kazan’s “Wild River”, Mark
Robson’s “From The Terrace”, Jerry Wald’s “Sons And Lovers” and
“Let’s Make Love” and Charles Brackett’s “High Time” to predict
they will achieve tremendous box office success for long periods of
time everywhere.

Now on our stages, on location, ready for filming or in preparation
for production by the end of July we have these additional 1960
attractions based on best-sellers, important plays or timely original
stories s

Jerry Wald’s “Return To Peyton Place” and “High Heels”,
Richard Zanuck’s “Sanctuary” (tentative title for “Requiem For A
Nun”), Charles Brackett’s sequel to “Blue Denim” and Rodgers’ and
Hammerstein’s “State Fair”, Dick Powell’s “Big River, Big Man” and
“Solo”, Sam Engel’s “The King Must Die”, Irwin Allen’s “The Lost
World”, David Weisbart’s “The Live Wire” and “The Comancheros”,
my own personal production in Todd-AO of “John Brown’s Body”
with screenplay and direction by Joseph Mankiewicz, Sydney Boehm’s
“One Foot In Hell”, the Stevens-Colbert pleturization of “The Mar-
riage-Go-Round”, “The Alaskans”, Walter Wanger’s “Cleopatra” and
“Mountolive”, George Stevens’s “The Greatest Story Ever Told”, “O
Mistress Mine” and three others from Darryl Zanuck.

I firmly believe the foregoing constitutes a program of individ-
ually outstanding mass entertainments that, properly exploited and
sold to their vast audience potential, will meet with mutual profit and
public satisfaction every test and make 1960 for their exhibitors
throughout the world their most successful year.

I reiterate, in my opinion, this is a great product, and experience
continues to prove that great product makes great box office.

C.G. PANTAGES
Albany

JACK L. STURM

Buffalo

D.S. GOLD
Des Moines

S.E. DIAMOND
Philadelphia

IRA SICHELMAN
Washington

J.O. MOCK
Charlotte

R.C. M'NABB
Detroit

M.A. LEVY
Minneapolis

NAT ROSEN
Pittsburgh

R.L. STERN
Ca Igary

AL LEVY
Boston

HOWARD KINSER

Indianapolis

W.A. BRIANT
New Orleans

C.F. POWERS
Portland

G.L. CHERNOFF

Montreal

DOMESTIC MANAGERS OF
AUTONOMOUS BRANCHES

For the 38 managers of as many offices in the United States and
Canada, as well as for the Dominion’s managing director, Peter
Myers (right), autonomy in branch supervision and territorial opera-
tion is no theory. Rather, it is a policy that has, on the record,
developed a better merchandising of screen product that has mu-
tually benefitted both the company they and their staffs represent
and the more than 13,000 motion picture theatres they collectively
serve week after week. Continued on page 76

PETER MYERS
M'g'g Director, Canada

WELDEN WATERS
Cincinnati

RAY SCHMERTZ
Cleveland

T.O. M’CLEASTER
Dallas

R. KNIFFIN
Denver

T.P. TIDWELL
Jacksonvi lie

SHEP BLOOM
New Haven

W.C. GEHRING
St. Louis

G. LIGHTSTONE
St. John

J.R. NEGER
Kansas City

ABE DICKSTEIN
New York

K.O. LLOYD
Salt Lake

V.J. BEATTIE
T oronto

MORRIS SUDM1N
Los Angeles

M.W. OSBORNE
Oklahoma City

J.M. ERICKSON
San Francisco

DAWSON EXLEY
Vancouver

D.M. COURSEY

Memphis

F.P. LARSON
Omaha

MARK SHERIDAN
Seattle

PHIL GELLER
Winnipeg

A POLICY DESIGNED
FOR MUTUAL PROFIT

By ALEX HARRISON

Local Level
Team Action

Frankly, I sincerely anticipate 1960 being the greatest
season in the 45-year history of 20th Century-Fox.

That anticipation, obviously, is predicated on the belief
that during the year we will release a program of attrac-
tions that will reap a profitable harvest at every theatre’s
box office.

That anticipation is based also on several other decisive
reasons:

(1) During 1960 no type of motion picture theatre operation
will want for an ample quantity of quality screen entertainments ,
insofar as 20th Century-Fox is concerned, I feel I am on solid
ground when / make that statement because during this year we
will domestically release as many attractions as the market can
advantageously absorb.

(2) Our 1960 program provides for satisfaction of every en-
tertainment taste 9 for each and every month will bring at least one
attraction of 66 block-buster” proportions , one feature designed for
the so-called “ family trade ”, one out-and-out showmanship picture
and a fourth that will place the stress on action , science- fiction or
topical themes.

(3) Each and every release will be supported with national and
local level promotions utilizing every segment of communication
media , and exploitation procedures that will most effectively dram-
atize to a maximum ticket-buying potential the entertainment
assets of the attraction.

The foregoing adds up to one fact, the 20th Century-Fox
merchandising policy for 1960:

We will take NOTHING for granted !

Each feature release will he given individual treatment,
first on a national basis and subsequently on the local-level.

The fallacy that an expensive exploitation heralding the
world premiere of a attraction will open a receptive market
everywhere for it is conspicuous by its absence in our 1960
merchandising policy.

We are more convinced than ever that our local repre-
sentative-branch manager and salesman— actively working
with his customers, is best equipped and qualified, by actual
knowledge based on experience and personal contact, to
determine the most effective means to sell each picture to
the local public.

In the economy of our industry today there is no place
for isolation of film salesmanship and showmanship. In
today s market they constitute an indispensible and in-
separable combination.

That is one reason why Mr. Skouras not only placed this
company’s territorial film distribution on an autonomous
basis, but also authorized the establishment of an advertis-
ing, publicity and exploitation unit at every branch to co-
operate with exhibitors in the local-level promotion of
every picture.

We are fully aware of exhibition’s needs, for the very
good reason that fulfillment of their needs is the only means
to bring about mutual success.

The product we offer this year constitutes a variey of
entertainments that we sincerely believe will effect such
a fulfillment.

p§gn
iilll!

THE ELITE IN SHOWMANSHIP

(1) Eddie Yarbrough, Los Angeles; (2) Frank Jenkins, New Orleans;
(3) J. E. Watson, Cincinnati and Indianapolis; (4) Hal Marshall, Philadelphia
and Washington; (5) Ralph Buring, Pittsburgh and Buffalo; (6) Bob Favaro,
Minneapolis, Omaha and Des Moines; (7) Harold Cummings, Charlotte; (8)
Louis Orlove, Milwaukee; (9) Don Yarbrough, San Francisco; (10) Jimmie
Gillespie, Dallas; (11) Sam Glasier, Canada; (12) Helen Garrity Yorke, Salt
Lake City; (13) Ed Schreiber, assistant to Mr. Bush; (14) Warren Slee, Seattle
and Portland; (15) Rodney Bush, director of exploitation; (16) Adrian Awan,
New York; (17) John Rhea, Memphis; (18) Phil Engel, Boston and New Haven;
(19) Sol Gordon, Chicago; (20) Chick Evans, Kansas City; (21, partially hid-
den behind Evans), Pete Bayes, Denver; (22) Ed Hale, Jacksonville; (23)
Gerald Rafshoon, Atlanta; (24) Jerry Berger, St. Louis, and (25) Thomas
McGuire, Detroit. Absent at time the above picture was taken was Manny
Pearson, who covers the Cleveland territory.

MNNHK^'

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A Vote For A
Zooming tf SQ”

By S. CHARLES EINFELD

I have often said that I believe in doers, not mouthers.

The people who make the bigger contribution to our
industry are those who do more thinking and working, and
less talking .

That is why I am especially proud to be associated with
the tough-fighting and hard-hitting group of men and
women constituting our far-flung merchandising organiza-
tion throughout the United States and Canada, and across
the whole free world today. It is a predominantly young
group, led, as it ought to be, by well-seasoned experts whose
thinking is every bit as energetic as that of the youngest
man on the staff.

Because this is a quick-thinking, aggressive and razor-
sharp group of people, it stands today as the peer of our
business. But, we are not satisfied to settle for that.

We are constantly dedicated to seeking newer heights
of ability and efficiency in the service of our customers, the
exhibitors, and our ultimate critic, the public.

This changing industry, in which we function each day,
makes constantly new demands on us. We must always be
in a position to show a top record of achievement in order to
compete for top producing units to release their product through
our company. Only this will convince the top talent of the indus-
try that our men, scattered from Akron to Zanzibar, do consist-
ently and continuously the greatest merchandising job obtainable
in our industry on their entertainment creations.

That is why we never allow ourselves to take time out for a bow.

Today’s competition is globally too keen for any single one
of us to ease up. I am happy to say that we are protected against
this hazard by the fact that each of us is a “pro” with a high IQ
and — much more important — an even higher SQ, which is the
Showmanship Quotient. I, for one, vote for the zooming SQ. It
stands for well-rounded background, attuned to every turn and
trick of the trade, and an ability to keep up with the times.

To sum up, I am proud of this unbeatable combination of

manpower and know-how. As I said at the outset, this kind of a
force does not have to make speeches, lower the boom on its com-
petition, or wash the industry’s dirty linen in public.

This kind of a team is too busy getting the job done, and per-
forming it on the highest levels of good taste, with integrity and
moral standards prevailing in every concept of publicity, adver-
tising and promotion it undertakes.

Do you wonder then that I am so very proud of this team, and
proud that the contribution we make is within the spirit and tradi-
tion of Twentieth Centurv-Fox, a company that continues to stand
for leadership in our motion picture industry.

MANPOWER

PLUS

KNOW-HOW

ED SULLIVAN MARTIN MICHEL RODNEY BUSH ABE GOODMAN HARRY BRAND

Publicity Director TV-Radlo Director Exploitation Director Advertising Director Studio Adv.- Publicity Director

SPECIALISTS IN THE PRODUCTION
OF BOX OFFICE “BLOCK-BUSTERS"

Pictured on this page are six acknowledgedly outstanding
specialists in the creation of box office “block-busters”. They
head their own producing companies whose attractions are glob-
ally distributed by this company. Over a period of more than 30
years no other combination of as many producers has brought
forth more box office successes as this group has. Even the very
brief outlines of their careers submitted on this page supply cor-
roborative evidence of the accuracy of that statement.

DARRYL F. ZANUCK, head of
Darryl F. Zanuck Productions, Inc.,
is this year celebrating his 25th anni-
versary of association with this com-
pany, for it was a quarter of a century
ago that his 20th Century Pictures
merged with the then Fox Films to
flower into what is today known as 20th
Century-Fox Film Corporation. Like
most of the producers, whose wares this
company will release, Zanuck started
his motion picture career as a writer.
He is the only producer who has thrice
earned the much coveted Irving Thal-
berg Memorial Trophy for outstanding
production: in 1937, 1944 and 1950. For
31 years he has set the screen enter-
tainment fashion. He produced the first

JACK CUMMINGS, whose inde-
pendent producing company bears his
name, has completed the Todd-AO pro-
duction of Cole Porter’s “Can Can”.
Starting out as an office boy at the
MGM Studios when he was 17, Cum-
mings became a producer of short sub-
jects in 1934. Two years later he ad-
vanced to feature producer, his first
being “Born To Dance”, starring
Eleanor Powell. Since then he has com-
piled an enviable list of box office hits
including “Seven Brides For Seven
Brothers”, “Kiss Me, Kate”, “The Strat-
ton Story”, “Three Little Words”, “The
Last Time I Saw Paris”, “Teahouse
Of, The August Moon”, and others.

“talking” feature-length picture, “The
Jazz Singer” with A1 Jolson. Few pro-
ducers can point to a record that in-
cludes such important pictures as “The
House Of Rothschild”, “How Green
Was My Valley” (1938 Academy Award
winner), “The Grapes Of Wrath”,
“Gentleman’s Agreement” (1947
Academy Award winner), “Wilson”,
“Pinky”, “No Way Out”, “All About
Eve” (1951 Academy Award winner),
“The Man In The Gray Flannel Suit”,
“Jesse James”, “Lloyds Of London”,
“In Old Chicago”, “Alexander’s Rag-
time Band”, “Island In The Sun” and
others too numerous to mention in this
limited space. He has completed his
first motion picture for 1960 release:
“Crack In The Mirror”.

MERVYN LEROY, recipient in
1945 of a Special Academy Award for
direction of “The House I Live In”,
as head of Mervyn LeRoy Productions,
Inc., has just completed his first “block-
buster” for 1960 release by this com-
pany: “Wake Me When It’s Over”. No
producer-director active today has
turned out as many major box office
triumphs as has LeRoy. A i^ative Cali-
fornian, he was born in San Francisco
in 1900, LeRoy was in vaudeville be-
fore entering the motion picture in-
dustry as a gag writer. Between 1927
and 1937 he served as director and in
the latter year became producer-direc-
tor. As a director he turned out such
memorable pictures as “I Am A Fugi-
tive From A Chain Gang”, “Gold-
Diggers Of 1933”, “Five-Star Final”,
“Oil For The Lamps Of China”, “Little
Caesar”, “Tugboat Annie”, “Anthony
Adverse”, “Johnny Eager”, “Random
Harvest”, “Madam Curie”, “Thirty
Seconds Over Tokyo”, “Little Women”,
“Any Number Can Play”, “Quo Vadis”.
“East Side, West Side”, “Rose Marie”,
and “Mister Roberts”. He produced
and directed “Strange Lady In town”,
“Bad Seed”, “Toward The Unknown”,
“No Time For Sergeants”, “Home For
Dark” and “The FBI Story”. Few film-
makers have matched LeRoy’s sheer
diversity of material: comedy, musi-
cals, melodrama, phychological drama,
documentary, adventure, tragedy, spec-
tacle, romantic drama, biography, fan-
tasy and the drama of social protest.
Whatever makes human nature inter-
esting and dramatic has been grist for
his mill.

JERRY WALD, under the banner
of Company Of Artists, his independ-
ent producing company, is scheduled
to deliver at least four major attrac-
tions for release by this company in
1960: “The Story On Page One”, “Sons
And Lovers”, “Let’s Make Love” and
“Return To Peyton Place”. A former
newspaper man, he too, launched his
career as a screenplaywright. When he
entrusted the release of his product to
this company, in 1956, he brought with
him more than 25 years’ experience in
picture-making, with a record of suc-
cesses matched by few men. His first
production for release by this company

WALTER WANGER, President of
Walter Wanger Productions, was gen-
eral manager of production for Para-
mount for 10 years, an executive pro-
ducer for MGM, Columbia Vice-Presi-
dent and an independent producer
since 1945. In addition to “Cleopatra”
which he has scheduled for filming
early this Spring, Wanger’s 1960-61 at-
tractions for release by this company
include “Mountolive” and the tenta-
tively “Dud Avocado”. Among his more
notable film entertainment achieve-
ments one most list “Another
Language”, “Washington Merry-Go-
Round”, “Fugitive”, “Stagecoach”,
“Gung Ho”, “Battle Zone”, and last
year’s “I Want To Live”.

was “An Affair To Remember”, in 1957.
Subsequently he delivered such box
office triumphs as “Peyton Place”,
“Long, Hot Summer”, “Mardi Gras”,
“The Sound And The Fury”, “The
Best Of Everything” and others. He
was awarded the Irving Thalberg Me-
morial Trophy for outstanding pro-
duction in 1948, the year in which his
“Johnny Belinda” won an Academy
Award for its star, Jane Wyman. Born
in New York, 47 years ago, Wald in
the 1930’s wrote screenplays for “They
Drive By Night”, “Varsity Show”, “The
Roaring Twenties” and “Brother Rat”.
As a producer his record includes
“Mildred Pierce”, “Humoresque”,
“Sadie Thompson”, “Queen Bee”, “The
Eddy Duchin Story”, “Clash By Night”,
“The Damned Don’t Cry”, “Key Largo”
and others. Wald, incidentally, is one
of the few producers who continuously
gets promotionally behind his pictures.

SAMUEL G. ENGEL, under the
aegis of Samuel G. Engel Productions,
Inc., has two of this company’s most
expensive productions scheduled for
1960 filming. The first, “The Story Of
Ruth”, has been filmed. His second
will be a Todd-AO picturization of
Mary Renault’s best-selling novel, “The
King Must Die”, which he plans plac-
ing before the cameras late this year,
for public viewing in 1961. Engel’s en-
try into the motion picture industry
dates back to 1929, when he became
associated with Darryl Zanuck. He has
been with this organization since the
20th Century-Fox merger in 1935. Prior
to his entrance into the entertainment
world, Engel was in the retail drug
business. Born in New York in 1904,
he started in film production as a
writer, his first being “The Big Shake-
Down” with Bettfi Davis and Charles
Farrell. But, his rise in the creative
end of this business zoomed spectacu-
larly after his completion of four years’
service in the Navy. Since then he has
either supplied the screenplays or pro-
duced “Crack-Up”, “Lancer Spy”, “My
Darling Clementine”, “Street With No
Name”, “Sitting Pretty”, “Come To
The Stable”, “Jackpot”, “Rawhide”,
“Mr. Belvedere Goes To College”,
“Follow The Sun”, “Belles On Their
Toes”, “A Man Called Peter”, “Daddy
Long Legs”, “Boy On A Dolphin” and
others. He wrote and produced the
Navy documentary, “December 7”,
which won a Special Academy Award
in 1942.

JENNIFER JONES

JOAN COLLINS

NOBU M'CARTHY

ROLES TAILORED TO THEIR TALENTS

Wide Variety Of
Themes In Their
1960 Assignments

The lovely actresses pictured on this page will find little time for
leisure this year, for they, singly or together, are scheduled to portray
principal roles in picturizations of well-known stage plays and novels.

Under consideration for parts in “Stage Door”, for instance, are
Joan Collins who continues to reveal precious and glamorous histrionic
talent in “Seven Thieves”; Juliet Prowse who makes her American
film debut as the dancing-singing sister of Shirley MacLaine in “Can
Can”; Jayne Mansfield, back from triumphant personal appearances
abroad, May Britt, Nobu McCarthy (the beautful, young Japanese
actress who makes her bow in “Wake Me When It’s Over”) and Millie Perkins.

“Stage Door” will be produced by Jack Cummings and directed by Jose
Quintero. It is the story of a group of girls living in a Times Square theatrical
boarding house, but enduring precarious existences waiting for a “break” for
Broadway fame. The accent is on a particularly dedicated and beautiful
aspirant who, about to attain her objective, after heart-breaking frustrations,
settles for marriage to a promising assistant motion picture director who
jeopardized his own career to advance hers.

Another play, “Good-Bye, Charlie”, currently on Broadway, also is sched-
uled for filming this year. It will be produced and directed by George Cukor
who is currently completing “Let’s Make Love”, the Marilyn Monroe-Yves
Montand vehicle. “Good-Bye, Charlie ' tells the fantastic story of a handsome
man notorious for his profession of making passionate love to a married
woman, but is eventually killed by a jealous husband. He is returned to the
world as a beautiful woman, sets out to trick unsuspecting admirers and falls
in love with a man who was his best friend.

Jennifer Jones is scheduled to co-star in David O. Selznick’s “Tender Is
The Night”, based on a novel by F. Scott Fitzerald. This property has been in
preparation for almost two years. It is the story of a rich, but unstable wife
of a psychiatrist who stakes his brilliant career in an uncompromising pursuit
of personal wealth and acceptance by society.

Deborah Kerr is the foremost contender for the feminine lead in the
Leslie Stevens-Stanley Colbert production of the current Broadway success,

“The Marriage-Go-Round”. She is sought for the role being played on Broad-
way by Claudette Colbert, that of a wife whose years of happiness with her
husband is jeopardized when a voluptuous young woman frankly concedes
she is determined to have him father her child. In the play Charles Boyer
acts the husband. Julie Newmar, who co-stars in the current motion pictures,

“Rookie” and “Li’l Abner”, is the flirtatious guest who deliberately sets out
to break up the marriage.

Three other comparative newcomers have been assigned principal parts in
productions. They are Margo Moore, who makes her debut in “Wake Me When It’s
Over”, Ina Balin in “From The Terrace”, and Mary Ure who has a co-starring role
in “Sons And Lovers”. Before 1960 is very old, however, at least a half dozen other new
personalities, who for the past several years have been in training in the studio Talent
School, will also make their debut in screenplays now in preparation.

■

1960

DEBORAH KERR

JULIET PROWSE

PRODUCERS’ PAST PERFORMANCES INSURE GREATER 1960 ENTERTAINMENTS

It is fact that no production-distribution organi-
zation today functioning on a global basis has as
many acknowledgedly great producers as this one. A
single glance at the producers’ portraits pictured on
the preceding, this and the following pages will sub-
stantiate that claim. As Buddy Adler, executive head
of production, has pointed out, the producers pic-
tured on these pages will turn out in 1960 the “great-
est lineup of top-budgeted program of ‘block-busters’
in this company’s history.”

Their productions will be supplemented by those
to be turned out for 1960 release by other film-
makers, each with his eyes and mind firmly fixed
on entertainment and box office values.

Four of the producers, who will create super-
attractions representing a combined investment in
excess of $22,000,000, have, among them, been the
recipients of six Irving Thalberg Memorial Trophies
for “outstanding achievement in motion picture
production.” Darryl Zanuck won three; Buddy Ad-
ler, Jerry Wald and George Stevens one each.

That today, more than ever, in motion pictures
“the story is the deciding factor”, as Adler has
stated time and again, is stressed by the fact that
most of the producers under studio contract, or
independent producers whose 1960-61 attractions
this company will merchandise, can boast excellent
records as writers.

One, Nunnally Johnson, not only produces, but
also directs and adapts his screenplays. Producers
who double as directors include Elia Kazan, Leo
McCarey, Dick Powell, Anatole Litvak, Mervyn Le
Roy, George Stevens and Mark Robson. Sydney

Boehm, Charles Brackett and Leslie Stevens are in
the writer-producer category.

Following are brief records of past performances
and 1960 assignments of the 16 producers pictured
on this and the following page, presented alpha-
betically:

IRWIN ALLEN: 43-year-old New Yorker made
his mark as a magazine writer, in radio for 11 years
and as owner of a Hollywood talent agency before
being associated with the production of “Double
Dynamite”, “Girl In Every Port”, “Dangerous Mis-
sions” and others. He was executive producer for
Windsor Productions, Inc., and wrote, produced
and directed “The Animal World”, “Story Of Man-
kind” and “The Big Circus”. He will produce the
1960 science-fiction spectacular, “The Lost World.”

CHARLES BRACKETT : A former writer of
fiction for The Saturday Evening Post, Colliers and
other top magazines and drama critic for The New
Yorker, this erudite graduate of Williams (1914)
and Harvard Law School (1920), after writing two
successful novels, transferred his literary talent to
Hollywood in 1934. He collaborated with Billy
Wilder on “Blue Beard’s Eighth Wife”. Their fur-
ther collaboration resulted in such different screen-
plays as “Ball Of Fire”, “Hold Back The Dawn”
and “Ninotchka”. Subsequently, Wilder was made
a director and Brackett a producer. Together, they
made “Five Graves To Cairo”, “The Lost Week-
End”, “The Emperor Waltz” and “Sunset Boule-
vard.” Among his outstanding pictures as a pro-
ducer-writer for this company, Brackett turned out
“Titanic” (which won him an “Oscar” for the best

screenplay), “D-Day, Sixth Of June”, “King And
I”, “Blue Denim” and “Journey To The Center Of
The Earth”. For release this year he will produce
“High Time” and Rodgers’ & Hammerstein’s “State
Fair”.

JOHN BRADBOURNE: This young English
producer entered the industry as a production as-
sistant and in that capacity was associated with the
filming of “The Wooden Horse”, “Lady With The
Lamp”. Other credits include “Beggar’s Opera”,
“Trent’s Last Case”, “Seven Thunders” and others.
His Mersham Productions, Ltd., made “Harry
Black”. His first and most important production,
“Sink The Bismarck”, will be released by this com-
pany in February.

SYDNEY BOEHM: This writer-producer, born
in Philadelphia, 51 years ago, also came to the
movies via newspaper work, reporter for the New
York Journal-American and International News
Service. He had a hand in the making of “Union
Station’ V“ Violent Saturday”, “Tall Men” and others.
His first for this year, “Seven Thieves”, is currently
in domestic release. His second production for 1960
domestic availability will be “One Foot In Hell”.

STANLEY COI BERT : A comparative new-
comer to the motion picture production ranks, but
a young man who has shown a brilliant knack in
stage plays that have met with public favor. He will
co-produce the picturization of the current Broad-
way comedy hit, “The Marriage-Go-Round”.

GEORGE CUKOR: One of the truly great di-
rectors, Cukor has to his credit important records

Continued on page 13

JOHN BRADBOURNE

STANLEY COLBERT GEORGE CUKOR NUNNALLY JOHNSON ELIA KAZAN

ANATOLE LITVAK

MARTIN MANULIS

LEO M'CAREY

DICK POWELL

MARK ROBSON LESLIE STEVENS DAVID WEISBART RICHARD ZANUCK

THEY ARE PRODUCING AN UNPRECEDENTED FEATURE PROGRAM

SCHEDULED TO TURN OUT 25 SPECIALS ON GRANDEST

Continued from page 12

not only for film-making, but also Broadway stage
hits running back to 1926. His better known stage
successes include “The Great Gatsby”, “Her Card-
board Lover”, “The Constant Wife” and “The
Furies”. He journeyed to Hollywood when films
took on sound, as dialogue director on “River Of
Romance” and “All Quiet On The Western Front”.
As a director he made “Dinner At Eight”, “Keeper
Of The Flame”, “The Royal Family”, “Bill Of
Divorcement”, “Little Women”, “David Copper-
field”, “Holiday”, “The Women”, “Susan And
God”, “Philadelphia Story”, “Winged Victory”,
“Adam’s Rib”, “Gaslight”, “Born Yesterday”, “A
Star Is Born”, “Bhowani Junction” and “Wild Is
The Wind”.

NUNNALLY JOHNSON: A former newspaper-
man, novelist and contributor to The Saturday
Evening Post, he began writing for the screen in
1932. Subsequently he advanced to director-pro-
ducer, continuing to write his own screenplays.
Among his better known pictures, the list includes
“The House Of Rothschild”, “Thanks A Million”,
“Jesse James”, “Grapes Of Wrath”, “Tobacco
Road”, “Keys To The Kingdom”, “The Moon Is
Down”, “How To Marry A Millionaire”, “The Gun-
fighter”, “Desert Fox”, “The Man In The Gray
Flannel Suit” and “Three Faces Of Eve”.

ELIA KAZAN: This outstanding director-pro-
ducer became a “box office name” on Broadway
well before being induced to create a motion picture

for this company. His first was “A Tree Grows In
Brooklyn.” He heightened his film directorial sta-
ture with “Boomerang”, “Sea Of Grass” , “Panic In
The Streets”, “Pinky”, “Streetcar Named Desire”,
“Viva Zapata”, “On The Waterfront” (for which
he won the 1954 director’s Academy Award), “East
Of Eden”, “Baby Doll” and others. He has just
completed producing and directing his first 1960
production, “Wild River”.

ANATOLE LITVAK: He joined the American
production sphere after winning fame in Europe
with such international successes as “Be Mine To-
night” and “Mayerling”. Since then he has pro-
duced or directed “Tovarich”, “Blues In The Night”
“This Above All”, “Snake Pit”, “Sorry, Wrong’
Number”, “The Journey” and others.

MARTIN MANULIS: This year marks his de-
but as a producer of feature motion pictures. Since
1937, when he began directing Summer stock com-
panies, his theatrical star has soared with the velo-
city of a rocket. This 42-year-old Brooklynite earned
lame in television after directing Broadway and
road stage plays. In TV he produced “Studio One”,
Climax” and the “Playhouse 90” shows. On Sept.
1, 1958 he became executive in charge of all tele-
vision production for this company.

LEO M’CAREY : He has been directing since
the days of the Laurel and Hardy and Charley Chase
comedies. He is not only a distinguished director
and producer, but he has for many years enjoyed
high rating as screen and song writer. In 1940 he

SCALE EVER ATTEMPTED

won two “Oscars”, one for writing the original story
and another for directing “Going My Way”. Among
his better known works are “Road House”, “The
Kid From Spain”, “Indiscreet”, “Ruggles Of Red
Gap”, “The Awful Truth”, “Going My Way”, “The
Bells Of St. Mary”, “An Affair To Remember” and
“Rally ’Round The Flag, Boys”.

DICK POWELL: He unquestionably rates one
of the most versatile men in the entertainment
world. After stage and night-club appearances, he
made his film debut in 1932 as an actor in “Blessed
Event.” He starred in “42nd Street”, “Gold-diggers
Of Broadway”, “Wonder Bar”, “Flirtation Walk”,
“Thanks A Million” and other screen musicals, be-
fore devoting himself to directorial chores. He pro-
duced and directed “The Enemy Below” and “The
Hunters” for this company. He also is a leading TV
producer. He will produce and direct “Big River,
Big Man” and “Solo” for this company for 1960
release.

MARK ROBSON: Producer-director of “From
The Terrace”, his first for this year, Robson started
as film editor and cutter. Born in Montreal, he
made low-budgeted pictures for RKO. His first “big
picture” was “The Champion”. He followed that
with “Home Of The Brave”, “My Foolish Heart”,
“The Bridges At Toko-Ri”, “Trial”, “Bright Vic-
tory”, “Return To Paradise”, “Peyton Place” and
“The Inn Of The Sixth Happiness”.

LESLIE STEVENS: He will co-produce “The

Continued on page 76

PERTINENT FACTS GARNERED FROM PRODUCTION AGENDA

1960-61

PROGRAM

Best-Selling Novels, Hit Plays, Timely Originals
Dominate Output Outstanding Creative And
Performing Talents Will Bring To Screen Life

DICK SHAWN

JILL ST. JOHN

SUZY PARKER

On instructions from Spyros P. Skouras, this company’s
far-flung producing organization headed by Buddy Adler and
an array of outstanding independent producers are carrying
out a film-making program that provides not only for 1960,
but subsequent several years as well. This year’s feature out-
put of an average of four releases per month represents the
largest filming investment this or any other producing-distri-
buting organization as ever made in a 12-month’s product.

•

Of particular significance to motion picture theatre operators
the world over, it can be authoritatively reported here that each
successive quarter of 1960 will bring them attractions of increasing
box office potency. These are designed to fill the needs of every
type of theatre operation. They will present not only a galaxy of
established stars, but the cast of each attraction will have its quota
of new personalities, “stars of tomorrow”.

•

Novels that have had or are currently experiencing a vast
readership and more Broadway hit plays than this company
has every picturized in any season of its 45 years existence
dominate not only the 1960 program, but that projected for
1961. Additionally, the output will be reinforced with original
stories of timely significance.

Here are some of the popular novelists and playwrights whose
works will be brought to screen life this year and in 1960: James

A. Michener of “South Pacific” fame;
two by William Saroyan, two by John
O’Hara, Irwin (“The Young Lions”) Shaw,

Meyer (“Compulsion”), two by Garson
Kanin, William (“Bus Stop”) Inge, Ben
Hecht, O scar Hammerstein, Grace Me-
talious, Mary Renault, Clifford Odets,

George Alexrod, F. Scott Fitzgerald, Ful-
ton Oursler, William Faulkner, C. S.

Forester, Paul Osborne, William Bradford
Huie, Norman Corwin, Marcel Haedrich,

Howard Singer, Norman Krasna, D. H.

Lawrence, Thomas Duncan, Elaine Dundy,

Leslie Stevens, Terence Rattigan, Irving
Wallace, Arthur Conan Doyle, Lawrence
Durrell and others.

•

Cole Porter’s “Can Can” will be the first of the annual
Todd-AO road-show attractions this company will globally dis-
tribute. Screenplays for most of the output for 1960 have been
written. Adaptations also have been completed for such 1961
vehicles as “Salammbo”, “Wild Is The Country”, “Dud Avo-
cado”, “The Jungle”, “High Tide”, “Settled Out Of Court”,
“The Chapman Report”, “The Bachelor’s Baby”, “Flaming
Lance”, “Destruction Test”, “Tender Is The Night” and others.

•

In addition to the Todd-AO “Can Can” and “South Pacific”, both
musical. romances, music and dancing play important parts in five
other attractions for 1960 public exhibition. They are the tenta-
tively titled “Bobbikins” with Shirley Jones and Max Bygraves;
“Let’s Make Love” with Marilyn Monroe, Yves Montand, Tony
Randall, Milton Berle and Frankie Vaughn; “High Time” with
Bing Crosby, Fabian and Barrie Chase; “Solo” with Elvis Presley,
and Rodgers & Hammerstein’s all-star “State Fair”.

Burt Balaban, producer, and Stuart Rosenberg, director,
at press-time were busy casting 101 roles — three “focal, 34
featured and 64 principals” — for “Murder, Inc.”

Pictorially presented on this page are 13 relatively new,
young performers. Most of them have been serving their ap-
prenticeship under the studio’s extremely successful new-talent
training program. This talent development program has
brought to the screen many “new faces” whose owners, be-
cause of display of fine histrionic ability, today rate stars of
increasing box office potency.

Others in the group are recruits from the stage, modelling field,
television, radio, night-clubs, amateur theatre groups and other
fields allied with entertainment endeavors. Gary Crosby and Dick
Shawn are popular night-club stars. Suzy Parker, already has made
the grade, and her following has been increasing with each suc-
cessive appearance. Ray Stricklyn gets his first starring role in
“Young Jesse James”.

•

Nobu McCarthy has a principal role in “Wake Me When It’s
Over”, Dean Stockwell attained stardom by a magnificent per-
formance in “Compulsion” and co-stars in this year’s “Sons
And Lovers”, Elana Eden makes her debut in “The Story Of
Ruth”, and John Gabriel plays her brother-in-law in that Sam
Engel production.

•

Carol Lynley, who rocketed to stardom last season in “Blue
Denim”, has been assigned major roles in “High Time”, “Return
To Peyton Place” and the sequel to “Blue Denim”. Diane Baker,

who last year appeared in “The Diary Of
Anne Frank” and “Journey To The Center
Of The Earth”, will be co-starred in “Re-
turn To Peyton Place”. Other comparative
newcomers who have been entrusted im-
portant roles in 1960 productions include
Mary Ure in “Sons And Lovers”, Ina
Balin in “From The Terrace”, Ziva
Rodann in “The Story Of Ruth”, Frankie
Vaughn in “Let’s Make Love”, the sen-
sational Yves Montand in “Let’s Make
Love”, Margo Moore in “Wake Me When
It’s Over”, Richard Beymer in “High
Time”, Barry Coe in “High Time”, Barrie
Chase in the same vehicle, Juliette Prowse
in “Can Can”, and Fabian as Bing Crosby’s
room-mate in “High Time”.

Never before has any one company’s single year’s output
of features remotely presented so many international stars as
will this one in 1960. The list includes Japan’s Yoko Tani in
“The Wind Cannot Read” and Nobu McCarthy in “Wake Me
When It’s Over”; France’s Maurice Chevalier and Louis Jour-
dan in “Can Can”, Montand and Nicole Maurey in “High
Time”; South Africa’s Juliette Prowse in “Can Can”; Hungary’s
Eva Bartok in “Operation Amsterdam”, and Israel’s Elana Eden
and Ziva Rodann.

•

Also Sweden’s May Britt; additionally France’s Mylene De-
mongeot in “The Three Murderesses” and “Upstairs And Down-
stairs”, Brigitte Bardot in “And God Created Woman”, Juliette
Greco in “Crack In The Mirror” and Alain Delon in “The Three
Murderesses”; England’s Frankie Vaughn, Kenneth More, Dick
Bogarde, Peter Finch, Trevor Howard, Wendy Hiller, Heather Sears,
Mary Ure, John Gregson, Nadie Grey, Max Bygraves, Michael Craig
and Anne Haywood, and Finland’s Taina Elg.

•

Elia Kazan’s “Wild River” includes 48 speaking roles of
which 80% are played by Tennesseeans who had never seen
a professional movie camera.

DIANE BAKER

CAROL LYNLEY

RAY STRICKLYN

NOBU M'CARTHY

DEAN STOCKWELL ELANA EDEN

NINA SHIPMAN

JOHN GABRIEL

MARGO MOORE

Published In New York, N.Y., U. S. A., By
The Distribution Department Of T wentieth
Century-Fox Film Corporation For The In-
formation And Guidance Of Its Personnel.

ROGER FERRI Editor

INDEX

TO 1960-1 PRODUCT EDITION

Subject Page

Alaskans, The 72

Bobbikins 59

Can Can 43

Captain’s Table, The 53

Crack In The Mirror 36

Cleopatra 25

Dog Of Flanders, The 29

Dud Avocado 73

Ferry To Hongkong 57

Flames Over India 21

Fool’s Paradise 81

From The Terrace 54

Goodbye Charlie 81

Greatest Story Ever Told, The 26

High Time 63

Idiot, The 79

John Brown’s Body 82

King Must Die, The 26

Let’s Make Love 61

Live Wire, The 73

Lost World, The 78

Marriage-Go-Round, The 78

Masters Of The Congo Jungle 33

Movietone News 84

Murder, Inc. 75

One Foot In Hell 74

O Mistress Mine 77

Operation Amsterdam 28

Return To Peyton Place 67

Seven Thieves 16

Short Subjects, CinemaScope 84

Sink The Bismarck! 19

Solo 72

Sons And Lovers 69

South Of Java Head 85

South Pacific 32

State Fair 83

Story Of Ruth, The 49

Story On Page One, The 17

Terrytoons 84

Third Voice, The 18

Thirty-Nine Steps, The 35

Three Murderesses, The 27

Upstairs And Downstairs 39

Wake Me When It’s Over 40

Wald Productions 67

When Comedy Was King 24

Wild River 65

Wind Cannot Read, The 22

Young Jesse James 56

Zanuck Product 71

OTHER SUBJECTS

“Big River, Big Man” 81

“Blue Denim” Sequel 80

Feature (1959) Backlog 86-87

Field Exploitation Personnel 8

1960-61 Program Resume 14

Producers 10-12-13-76

Showmanship Attractions 46

“The Visit” 20

“The Girl In The Red Bikini” (3-D) 26

Yves Montand 62

Periscopic Resui
Of Things To Co

1 1

Today And
Tomorrow

Producing the 45th Anniversary Year’s “block-
busters” are five film-makers who, combined, have
won more major industry awards than has any
similar number functioning elsewhere. This fact
came to your reporter’s mind when the 1960 David
Wark Griffith Award of the Directors Guild of
America was presented to George Stevens, who
currently is making preparations for what he per-
sonally considers “the most important motion pic-
ture of my career” — “The Greatest Story Ever
Told”.

In 1953 Stevens was presented the Irving Thalberg
Memorial Award. Four other producers have earned
that much coveted award. Darryl Zanuck earned it on
three occasions: in 1937, 1944 and 1950. David 0.
Selznick, who has been “packaging” two screenplays
for production by this company (“Tender Is The
Night” and “Mary Magdalene”), won it in 1953, Jerry
Wald in 1948 and this company’s executive head of
production, Buddy Adler, in 1957.

•

In the award and trophy department for su-
perior screen entertainment creations this com-
pany’s record is one particularly timely to point
up in this anniversary year. Since the Academy
started presenting “Oscars” for superior achieve-
ments in 19 classifications of picture-making — in

1928 — this company has been
cited 193 times.

The talent development pro-
gram, on which Mr. Adler re-
ports this company has already
spent in excess of three million
dollars, continues to pay off, not
only in acting talent, but in
other departments as well. For
instance: John Healy, former
Mr. Skouras’ executive studio
assistant, after a number of
years of unpublicized training,
this year makes his bow as a full-
fledged feature producer with
“12 Hours To Kill”.

•

Present plans indicate that 1961’s commitment
with this company will in all probability see her
playing the title role in George Cukor’s production
of “Goodbye Charlie”. It is interesting to note that
Cukor, who will serve as both producer and director
of that comedy, is currently megaphoning “Let’s
Make Love”, Marilyn’s 1960 co-starrer.

•

With his “Wake Me When It’s Over” completed,
producer-director Mervyn LeRoy is already giving
thought to his 1961 production for this company’s
release: a picturization of William (“Bus Stop”) Inge’s
“A Loss Of Roses”.

Martin Manuelis, who transferred his talents
from heading this company’s television production
to the creation of theatre motion pictures, is pre-
paring his first CinemaScope production, which
will not be released until next year. It is tentatively
titled “The Tom Dooley Story”, an original.

•

Richard Zanuck has solved the title problem anent
his forthcoming picturization of William Faulkner’s
only play, which was presented on the Broadway and
London stages as “Requiem Of A Nun”. He went to
theatre owners for help. They overwhelming chose
“Sanctuary” as a better title, and “Sanctuary” it will
be when the picture is domestically released this year.
Incidentally, the Faulkner novel, on which play was
based, was titled “Sanctuary”.

MARY URE

Mary Ure, acclaimed by New York newspaper
and nationally circulated drama critics, for her
portrayal of the unhappy wife in “Look Back In
Anger”, has one of the key roles in Jerry Wald’s
“Sons And Lovers”. She repeated that excellent
performance in the screen version that Warner
Brothers is currently releasing in the domestic
market.

•

Blonde Miss Ure has been signed to a term con-
tract and next Spring is scheduled to report at the
studio for future assignments. She is unquestionably
headed for major stardom. Certainly, she has proven
herself one of the more capable of the young stage and
screen actresses on the international scene. She is the
wife of John Osborne, who authored both the stage
and film versions of “Look Back In Anger”.

•

Grace Metalious’ “Return To Peyton Place”, an-
other Wald production, is now in the best-seller list.
Readership on this sequel is assuming the propor-
tions of her first novel, “Peyton Place”. Publishers
of the paperback edition of “Return To Peyton
Place” are authority for the statement that a mil-
lion copies of that book were sold in less than three
weeks following its publication.

Buddy Adler continues to pile up story material
for future Todd-AO production. With Cole Porter’s
“Can Can” ready to for its road-show career; “The
Greatest Story Ever Told ’ and his own tentatively
titled John Brown’s Body’ in preparatory stages, Mr.
Adler is looking ahead to the not distant future when
this company will make a Todd-AO picturization of
one of the all-time great stories, “The Last Days Of
Pompeii”, planned for 1962 exhibition.

Barry Coe should achieve stardom this year. He
has a leading role in three forthcoming, important
1960 productions. He first attracted critical com-
mendation for his portrayal of the local mill owner’s
luckless son in “Peyton Place”... In “High Time”
Fabian, instead of rock ’n’ roll, sings several new
ballads, one with Bing Crosby .. .Another newcomer
to watch: 26-year-old Rory Harrity who makes his
screen debut in “From The Terrace”. Between
acting chores he has been a magazine humor
writer.

Paperback editions of 10 screenplays scheduled for
release this year have either already been placed on
sale or will be in circulation within the next couple
of months. They include Bantam Books’ “Murder, Inc”,
“Wake Me When It’s Over”, “Let’s Make Love”, “The
Hell Raisers” and “From The Terrace”; Dell Publi-
cations’ “Return To Peyton Place” and “Crack In The

Continued on page 70

EDWARD G. ROBINSON ROD STEIGER

. . . .the “professor" ...the mastermind

JOAN COLLINS
...the Casino star

ELI WALLACH
. . .the "beatnik"

BERRY KROEGER

ii it*

. . muscle man*

ALEXANDER SCOURBY
. . . “inside" man

MICHAEL DANTE
. . . “safecracker"

JOAN COLLINS & ROD STEIGER, IN LOVE, ARE THREATENED BY REBELLIOUS THIEVES

SEVEN THIEVES

IN THE MOST FABULOUS ROBBERY
THAT EVER ROCKED MONTE CARLO!

Veteran showmen have time and again contended that since the
earliest days of movie-making when “The Great Train Robbery”
flickered its way onto the silent screens, nothing has seemingly held
as much fascination for audiences everywhere .as an exciting robbery.
But, Sydney Boehm’s “Seven Thieves”, based on Max Catto’s novel,
“Lions At The Kill”, unquestionably dramatizes the most fabulous
theft detailed in fiction, either in books, on screen or stage.

Directed by Henry Hathaway and photographed in CinemaScope
by Academy Award winner, Sam Leavitt, this suspense-packed, melo-
dramatic story exposes a virtually “scientific” plot that seven profes-
sional thieves carried out: robbing the vault beneath a plush gambling
casino in Monte Carlo. Actually, most of the picture was filmed in
Monte Carlo and other places along the beautiful French Riviera.

The seven thieves are Edward G. Robinson, internationally known
as “the professor” who master-minds the fantastic, yet beautifully pre-
cise scheme; Rod Steiger who was summoned to superintend the plot
of its consummation; Joan Collins as the strip-tease dancer who serves
as the decoy; Eli Wallach as the shrewd robber with a “beatnik” com-
plex; Alexander Scourby as the “inside man”, secretary to the casino’s
managing director; Michael Dante as Louis, the expert safecracker, and
Berry Kroeger as Baumer, the “strong-arm” member, a stolid German
and driver for the group.

Others in the cast are Sebastian Cabot as the casino director, Marcel
Hillaire as the Duke, John Bernardino as the chief of detectives,
Alphonse Martell as the Governor, Jonathan Kidd and Marga Ann
Deighton.

The screenplay opens with the “professor” (Robinson) greeting
Paul Mason (Steiger) whom he informs he has concocted a fool-proof
plan to rob the Monte Carlo casino. At first unwilling to go along with
the project, Mason finally agrees to meet the six others who will be
involved and to listen to all details. At a night-club Mason meets a
beautiful strip-tease dancer, Melanie (Joan Collins), who is to serve
as foil and whom he lets know he thinks she is cheap.

Agreeing to lead the gang, Mason changes the date of the robbery
to the night of the Governor’s ball. Baumer (Kroeger) violently resents
the change, but is subdued. By now Mason views Melanie with friend-
lier eyes. All the timing, rehearsing and planning comes to focus and
so does the night for the robbery attempt.

Mason and Louis (Dante) cling to the preciptious wall high above
the ground to reach the casino director’s office. Meanwhile, in the
casino, the professor has rendered unconscious Pancho (Wallach) pos-
ing as a rich gambler who is unable to walk. Supposedly very ill,
Pancho is wheeled into the director’s office in a wheelchair constructed
specially for the crime.

The vault is opened. Louis and Mason take out $4,000,000, they
place it in a large pocket in the wheelchair and Pancho, supposedly
dead, is wheeled out in it. On their way back the excitement is so great
that the professor dies of a heart attack. Mason’s grief is so great that
Melanie, who has come to love him, realizes he and the professor are
son and father.

Back at the hotel, the remaining six thieves find the $4,000,000 is
in brand new, recorded, large bills whose spenders can be easily traced
and arrested. Mason and Melanie decide to return the money, and do
so, but not until after a show of superior strength and violence.

Newspaper reviews in cities where “Seven Thieves” had opened
by press-time were unanimous endorsements of the production, its
performances and particularly its direction by Henry Hathaway whose
second 1960 assignment is “The Alaskans” with John Wayne. Reviewers
recalled that Hathaway has enjoyed extraordinary success in melo-
dramatic and suspenseful screenplays.

Screaming front-page newspaper headlines in the past several
months have dramatically heralded murder trials resultant from illicit
love triangles. Learned judges have observed that never in their memory
have there been so many such cases brought before the bar of justice.
These trials, too, have developed questions that are currently and will
continue to be the subject of discussion not only among members of
the legal profession, sociologists, penalogists and on newspaper edi-
torial pages, but also by a shocked public.

Three particularly significant and important questions are: (1) is jus-
tice always given a chance to triumph in the United States?, (2) are the
cards legally stacked against the average citizen in our courtrooms?, and
(3) are members of today’s juries swayed by public opinion rather than
legal evidence?

These are some of the grave questions raised by Jerry Wald’s “The Story On Page
One”, starring Rita Hayworth, Anthony Franciosa and Gig Young. Written and directed
by Clifford Odets this CinemaScope production points up the inequity existing today
between the huge law-enforcement devices in the hands of the average prosecuting forces
in the United States and the comparatively meager resources at the command of the
average accused citizen.

In a large metropolis, for example, there may be numerous annonymous people
aiding a district attorney in his burdensome chore of proving a defendant guilty. Oppos-
ing this huge machine there are often only a relatively few people working for the de-
fense. Many times a man or woman on trial for life cannot afford that much, although
in virtually every State, in such cases, the court appoints defense counsel.

The foregoing constitutes the powerful theme developed in “The Story On Page One”.
Odets, who authored such plays as “Golden Boy”, “Country Girl” and “Waiting For
Leftv”, wrote the story originally and specifically for the CinemaScope screen. However,

NEW YORK
DAILY NEWS

JULIE LONDON

A FIENDISH EXPERIMENT IN MURDER

Having succeeded in swindling a Mexican
bank out of $250,000 in cash, after he dis-
posed of the body of an American millionaire
his co-plotter, Laraine Day, who plays the
latter’s jilted and vengeful mistress, has killed
him, “the voice” (Edmund O’Brien) picks up
a pretty young woman, Julie London (seated),
presumably sight-seeing in Mexico City.
Meantime, in another city, in the States,
Laraine awaits word from “the voice” that
she could return to share in the spoils.

Back in Mexico, the murderess envisions
a celebration with her co-conspirator. Instead,
the latter, intent on doublecrossing her and
keeping the entire cash, tries to choke her to
death. At this point “The Third Voice” takes
a switch when the plotters are exposed by a
surprise caller.

Failing to find an adjective in the dictionaries that, in a word, ac-
curately described the nature of “The Third Voice”, an inventive ad-
vertising expert, Max Stein, came up with “diabolikill”. The adjective
fits the bill like the proverbial glove, for “The Third Voice” drama-
tizes a diabolical murder plot that almost succeeded, after being carried
out with professional accuracy by an impersonator and a woman

scorned.

Written (from Charles Williams’ novel, “All The Way”) and di-
rected by Hubert Cornfield, who co-produced with Maury Dexter, “The

Third Voice”, in CinemaScope, co-stars Ed-
mond O’Brien, who won an Academy Award
for his portrayal of a press-agent in “The
Barefoot Contessa”, in the title part; Laraine
Day as the scheming, vengeful, cold-blooded
mistress turned murderess, and Julie London
as a mystery girl of seemingly easy virtue.

With the exception of a few feet cuts,
O’Brien appears in every foot of this sus-
pense thriller, with facial expressions and
gestures carrying much of the action.

O’Brien, identified in the screenplay only
as “the third voice”, rehearses an impersona-
tion of Harris Chapman (Ralph Brooks), an
American millionaire, as the key to a scheme
to murder him and secure $250,000. Collab-
orating with him is Marian Forbes (Laraine
Day), Chapman’s private secretary and mis-
tress who concocts the plot, in part for greed,
but basically for revenge after the million-
aire jilted her to marry a younger, attrac*

HUBERT CORNFIELD

tive socialite.

Through a blackmail letter, Marian lures her employer to a house
in a Mexican resort town. There she shoots him, with “the voice”
arriving soon afterward to dispose of the body. Thereafter, “the voice”,
donning Chapman’s clothes and personal effects impersonates the mil-
lionaire while Marian returns to Seattle. Everything proceeds accord-
ing to the plot time-table; so well, in fact, that “the voice”, having
eventually managed to get the $250,000, decides to doublecross Marian,
whom he summons to return to the Mexican town, presumably to divide
the money. Meantime, “the voice”, in his hotel lobby, has picked up a
pretty girl, Corey (Julie London) who encourages his advances, but,
in the end, it is she who cleverly uncovers the plot and brings about
the arrest of the murderous plotters— and just in time to save Marian
from being choked to death by her co-conspirator.

Johnny Mandel, whose score for “I Want To Live”, won him a
1959 Academy Award nomination, has composed similarly distinctive
“off-beat” music for “The Third Voice” that Ernest Haller photo-
graphed.

Because of the surprise ending, it is suggested to exhibitors that
they use the display ads available on “The Third Voice”, informing
the public that no one will be seated during the climax.

Playing a supporting role, that of a Mexican trollop, is Olga San
Juan, who is Mrs. Edmond O’Brien in private life.

Laraine Day, puts into motion her dia-
bolical scheme to kill her employer and,
through a perfect impersonation of him
by a confederate, obtain $250,000. Here
she is pictured as she confronts the mil-
lionaire with a gun . , . and cold-blooded-
ly kills him.

“SINK THE BISMARCK!

A SPELL-BINDING DRAMA OF TRUE ADVENTURE

One night, early in 1958, Spyros P. Skouras, ad-
dressing a dinner in London, said his company
wanted to make a motion picture about the part
the British Royal Navy played during World War
II. He declared then that, in his personal belief, the
greatest war sea story had never been filmed: the
Bismarck action. The idea and subsequent problems
he placed in the capable hands of producer John
Bradbourne, who succeeded in inducing C. S. Fores-
ter to write a book, “Sink The Bismarck!”, which
won a world-wide readership. The novel subse-
quently was adapted into a screenplay by Edmund
H. North.

Early in January of last year Bradbourne flew to
Hollywood to discuss production details with Buddy
Adler. Returning to England, the former obtained
the unlimited co-operation of the British Navy.
Lieut. Commander Peter Peake, R. N. (Ret.) was
named technical adviser. Meantime, he signed Lewis
Gilbert to direct and Kenneth More and Dana Wyn-
ter to co-star in a cast that includes Carl Mohner,
Laurence Naismith, Karel Stepanek, Maurice Den-
ham, Michael Goodliffe, Michael Hordern, Esmond
Knight, Mark Dignam, Jack Gwilliam, Geoffrey
Keen, Jack Watling and television-radio commen-
tator and newscaster Edward R. Murrow.

In mid-Autumn of last year Bradbourne had com-
pleted his commission. “Sink The Bismarck!” tells
the story behind a promise made by Winston

Churchhill to the British nation at a critical time
in its history. The promise: England could expect
nothing but “blood and sweat, and toil, and tears.”

That is the historic background canvas of this
motion picture based on fact, a background that
embraces oceans, and great battles fought on those
oceans in the dark days of Hitler’s war; a back-
ground that embraces people stripped of all their
pretences, formalities and trivialities, of people with
nerves strung out to breaking point, geared to
achieve one goal.

The story of “Sink The Bismarck!” is one of steel
and men’s nerves tempered like steel, of blackness
and despair, of adoration and the agony love can
bring, of hate and fanaticism, of faith and courage
and hope, steadfast and shining, in the face of great
disaster.

It is like no other motion picture produced to
date, for the story is the spectacle of a gigantic
game of chess played by remote control with the
Atlantic ocean as the chess board, little destroyers
as the pawns and huge warships like the Victorious,
Repulse, Rodney, King George V, Hood and Shef-
field as the other chess.

Sink The Bismarck !” paints history and re-creates
the past to make it live again in an awe-inspiring
drama of men’s courage and strength, and weak-
ness. It depicts the menace of the Nazi Bismarck,
the weeks the British Navy spent in shadowing her.

the engagements in which she sank the Hood, the
naval air strikes against her and the torpedoes that
crippled her, her battles with the George V and
Rodney, and, finally, her plunge to her grave.

Many who took part in the engagements, that
eventually led to the sinking of the Bismarck, appear
in the production. Among them is Esmond Knight
who plays himself. He is seen on the bridge of the
shattered Prince Of Wales after the Bismarck had
blasted away the bridge, killing 27 out of 30 men
on it. Knight was blinded in that engagement, but
has now partially regained the sight of one eye. The
scene is re-created in the picture exactly as it hap-
pened 19 years ago.

Among the many brave men, and women, who
played a part in the actual Bismarck action, were
six Americans: Ensign Rinehart, now a captain in
the U. S. Navy; Lieut. Commander Stanhope C.
Ring, of Tunkhannock, Pa., now a rear admiral in
the U. S. Navy; Lieut. Commander J. H. Wellings
of Washington, D. C., now a rear admiral in the
U. S. Navy; Lieut. Commander August D. Clark,
now a retired U. S. Navy captain; Lieut. Comman-
der Moorhouse, .and Ensign J. J. Maechtlen.

In fact, an American naval officer, flying a Cata-
lina, played a major role in tracking down and thus
causing the destruction of the mightiest warship the
world has known, the Nazi battleship Bismarck.

Continued on page 20

SINK THE BISMARK CONTINUED

KENNETH MORE plays the director of oper-
ations. He served on a British plane carrier
during World War II. At the beginning of “Sink
The Bismarck!”, American war correspondent
Ed Murrow, now a famed TV-radio newscaster,
is pictured broadcasting the following: “Never
in the long and stormy history of England have
her fortunes been so low as they are this Spring
of 1941. Britain is fighting for her existence. The
worst news of all comes from the North Atlan-
tic where German U-boats and surface raiders
last month sank 600,000 tons of shipping ...In this
battle Britain’s life-blood is at stake. The battle
is being fought at sea, but it is being directed
from the Admiralty here in London.” Then,
Kenneth More is pictured taking over as director
of operations, a highly efficient, solitary, unbend-
ing man whose only thought is to trap the Bis-
marck and so prevent her from joining the Nazi
U-boats in the North Atlantic.

DANA WYNTER plays Second Officer Anne
Davis. Her first meeting with the director of op-
erations is one of disgust, for she considers him
an “icicle”, a man withdrawn as a monk, but,
in truth, a man with a reservoir of sorrow and
pain, damned up inside him, that he is too proud
to reveal to a living soul. As time passes and
duty brings them closer together, she is appalled
by the cold, calm, ruthless decision he makes
to risk the lives of 20,000 troops sailing in con-
voy by detaching their chief escort to send them
into the Bismarck chase. But, she cannot dis-
guise her mounting admiration for him when
the Bismarck sinks the Hood and sends the
Prince Of Wales limping out of battle, badly
damaged. It is then that Churchill, from 10
Downing Street, issues his historic message to
the Admiralty: “This is a battle we cannot af-
ford to lose. I don’t care how you do it, but sink
the Bismarck!”

CARL MOHNER as the Bismarck’s captain.
Born in Vienna in 1921, in “Sink The Bismarck”
he breaks away from the romantic roles he has
long been portraying on screen and stage for
years. He distinguished himself universally in
motion pictures with his characterizations in
“The Last Bridge” with Maria Schell, in “Rififi”,
He Who Must Die” and other European films
that have enjoyed success in this country, mostly
at its art theatres. Karel Stepanek is another
who is co-starred in “Sink The Bismarck”, play-
ing the part of Admiral Lutjens. He has played
featured roles not only in British, French and
German films, but also in such American-pro-
duced attractions as “Never Let Go”, “Fallen
Idol”, “State Secret” and others. Two technical
advisers worked on the picture’s filming. Prob-
lem of getting a German advisor was great for
only 100 men had survived out of the crew of
2,500 on the Bismarck.

NOTHING LIKE IT
EVER ON SCREEN!

Continued from page 19

Authority for that statement is the pilot of the
Catalina, Wing Commander P. R. Hatfield, now a
director of Aerial Spraying Company of Colchester,
England.

The co-pilot was Ensign Rinehart of the U. S.
Navy. Although the United States was at that pre-
Pearl Harbor time supposed to be neutral. Ensign
Rinehart, officially an assistant naval attache at the

U. S. Embassy in London, was in fact attached to
the British 210 Squadron as a “neutral observer”.

Hatfield and Rinehart located the Bismarck at
approximately 10 o’clock on the night of May 26,
1941, and shadowed her for most of that night. Later,
torpedo-carrying aircraft arrived and the British and
American pilots had a grandstand view of the ruth-
less onslaught of the British planes on the Bismarck
as they unleashed their cargoes of death. On that
momentous flight Hatfield and Rinehart set a rec-
ord: they stayed in the air 26 hours, 45 minutes.

Kenneth More plays Capt. Jonathan Shepard, who
takes over as director of Naval Operations deep
down under blacked-out London. Shepard’s was
one of the early personal tragedies of World War
II. His ship was sunk. When he returned to his home
in London he found it in ruins. His wife had been
killed by a bomb that demolished the home. En-

trusted with the job of trapping the Bismarck so
the British Navy can destroy her, he is determined
never again to place himself in a position where
anybody or anything can hurt him.

Thus, when he meets Second Officer Anne Davis,
played by Dana Wynter, and has reason to repri-
mand her, he reveals his credo: “Getting emotional
is a peace-time luxury. In wartime it is much too
painful.”

But, time brings them close and care very much
about each other, although never revealing their
personal feelings until after the Bismarck is finally
sunk.

Incidentally, available for promotional purposes
is a Columbia record on which Johnny Horton sings
“Sink The Bismarck”, for which he wrote a song
that could very well be as popular as his “Battle
Of New Orleans”, a recording that became one of
the best sellers of 1959.

THE

A Jilted Small-Town Girl Returns A

ealthy Woman To Wreak
A Sadistic Revenge On Her Ex-Lover

Critics are in agreement that the stage has never
exposed as devastating a drama about the perfidy
of the human soul as “The Visit” in which Lynn
Fontaine and Alfred Lunt have been internationally
triumphing for several years. During its long run
on Broadway, “The Visit” was lavished with unani-
mous critical acclaim and went on to win numerous
awards. Its success has been so widespread and em-
phatic that it returned to Broadway for a third en-
gagement.

The foregoing should give the reader an idea of
the importance and popularity of this story property
recently acquired by this company in competition
with all major studios. It was written by the Swiss
playwright, Frederich Duerrenmatt, who, incident-
ally, has provided Broadway with its outstanding
dramatic success of the 1959-60 season, “The Deadly
Game”.

“The Visit” is the second play, in which the
Lunts have successfully appeared on the stage, that
this company has acquired for picturization in

CinemaScope with DeLuxe Color. The other is
Terence Rattigan’s “O Mistress Mine” in which, it
has been announced, Ingrid Bergman will appear.

“The Visit” begins amusingly enough. In a bank-
rupt, stagnant village, a delegation of its leading
citizens assemble at the railroad station to welcome
a fabulously rich lady who, many years previous,
had been forced to leave the town under disreput-
able circumstances. Every member of the delega-
tion hoped she would be bountiful with the town
where she was born.

But, she had another purpose for returning to
the village. Nevertheless, in answer to a welcoming
address, she announces that at the proper time she
will make an offer to redeem the village. Subse-
quently she states she will give a billion marks, if
the villagers will exterminate their elderly store-
keeper.

She had looked forward many years for this
opportunity, for when she was a girl the grocer,
then a handsome, popular young man, not only

seduced her, but, in court, denied the paternity to
their child. The scandal that followed was further
aggravated when he added insult to injury by marry-
ing the daughter of a well-to-do middle class family.
Branded a harlot by the villagers, she left the town,
determined to one day return for revenge. Cynical
and embittered, she, in time, through successive
marriages, attains great wealth, a title, fame and
enormous power.

With her opportunity for vengeance at hand,
she proposes to repair her former lover’s act of
sadistic injustice— with a sadistic plan of her own;
to have him murdered by his friends.

The slow, almost imperceptible, hardening of
opinion among the villagers, their unprecedented
purchase of luxuries on credit against the lady’s
offer, their unoctuous politeness toward the grocer,
the growing, obvious reasonableness of their deci-
sion to take his life and his acceptance of fate make
“The Visit” one of the most extraordinarily drama-
tic story properties acquired by any studio.

LAUREN BACALL, AN AMERICAN NURSE, AND KENNETH MORE, A BRITISH CAPTAIN, ASSIGNED TO DELIVER A FUGITIVE CHILD-RULER TO SAFETY,
WATCH REBELS ATTACK THEIR ANTIQUATED TRAIN. TRADE PAPER CRITICS RATE THIS EXCITING DRAMA, MARCEL HELLMAN'S BEST SCREENPLAY.’

A MEMORABLE & REMARKABLE SUSPENSE DRAMA OF HUMAN STRIFE IN INDIA

With greater excitement, suspense, scope and
story warmth than “Bhowani Junction” and “King
Of The Khyber Rifles”, there is every logic to sup-
port the belief of all who have viewed it that Marcel
Heilman’s production of “Flame Over India” will
exceed the widespread popularity of those specta-
cular dramas.

This exciting, warm-hearted romantic spectacle
deals with events in what is known as the North
West frontier of India, a seething, vibrant, sun-
scorched province, at the turn of the century; an
area populated by some of the most rebellious,
toughest, militant fighters the world has known.

This gripping story, from a screenplay by Robin
Estridge and directed magnificently by J. Lee
Thompson, co-stars Lauren Bacall as the American
Catherine Wyatt, governess to a prince; Kenneth

More as Capt. Scott, a soldied dedicated to carrying
out a seemingly impossible mission, and Herbert
Lorn, a tough journalist with conflicting loyalties,
all available to the highest bidder.

Others playing featured roles are internationally
outstanding performers like I. S. Johar as Gupta,
the engineer who fearlessly nurses an antiquated
locomotive, carrying precious human cargo through
300 trouble-torn miles; Ian Hunter as the man who
stays behind, even though he is aware that a threat
of death hangs over him; Wilfrid Hyde White as
the pacifist secretary to the Governor, swept by
continuous attacks on the train by rebels into a fury
that gives an elusive enemy no quarter or mercy;
Eugene Deckers as an enigmatic armament sales-
man; six-year-old Govind Raja Ross as the Maha-
rajah’s son, Prince Kishnan, whom the rebels are

determined to kill, for he is destined to be the re-
ligious and political leader of hundreds of thou-
sands of Hindus, and Ursula Jeans as the Gov-
ernor’s wife.

Briefly, this memorable screenplay, wholly filmed
in the locales of the story, deals with a virtual hand-
ful of faithfuls’ fight against time. Capt. Scott is sent
by the British Governor to rescue the Prince and
his American Governess when a rebellion breaks
out among tribesmen, Moslems, hereditary enemies
of the Maharajah, and his Hindu subjects.

As Scott and his men take the Prince and Cather-
ine Wyatt into the hills the attack is launched. The
Maharajah, too proud to run away from his enemies,
is killed. A # nd Scott gets his party to Haserabad

Continued on page 70

Secretly married, "Sabby”, the Japanese teacher, (Yoko Tani, left) and
her RAF pilot-husband (Dick Bogarde), on their honeymoon, go on a
happy sight-seeing tour of India. Here they are pictured in the beautiful
gardens of the Taj Mahal (center, background), famous white marble
mausoleum considered one of the ''seven wonders of the world.” Miss
Tani, after singing and dancing appearances at European night-clubs,
went on to become a stage and screen star. She starred in the Paris
stage presentation of * 'Teahouse Of The August Moon”. Bogarde, out-
standing international screen and stage star, will be remembered for
his film triumphs in "Hunted”, "Appointment In London” and "Simba”.
In featured roles in "The Wind Cannot Read”, based on Richard Mason’s
novel and directed by Ralph Thomas, are Ronald Lewis, John Fraser
and Anthony Bushell.

Moving Portrayals By Dick Bogarde
And Delightful Newcomer , Yoki Tani

THE WIND

CANNOT

READ

A Love Story That Is As Tender As
“Love Is A Many Splendored Thing”

Not since “Love Is A Many Splendored Thing” and “Three Coins In The
Fountain” has this company had on its program as beautiful a love story as is
revealed in the Betty E. Box-Ralph Thomas production, “The Wind Cannot Read.”
This is motion picture entertainment at its loveliest, and in color.

The beautiful romance between a young RAF pilot and a pretty Japanese girl
is echoed by a passage in a Japanese poem: “Though ... it is written ‘Don’t pluck
these blossoms’, it is useless . . . for the wind cannot read.”

The story is a meeting between East and West, but it is a bitter-sweet meeting
between the young Englishman stationed in India and the girl who teaches him
Japanese at a military school for interrogators of prisoners of war. They are
idyllically happy. They secretly marry, but are soon separated when he is ordered
to a forward battle area where he is captured in a Japanese ambush.

Eventually he escapes and, after crossing savage desert country, tormented by
heat and thirst, he reaches Delhi to find his wife dangerously ill in a hospital.
Only then he learns the secret of the strange fear he had glimpsed in her eyes,
a realization that brings their joy to an immensely moving climax.

Starring Dick Bogarde as Lieut. Quinn, “The Wind Cannot Read” introduces
a new personality in pretty Yoko Tani who plays Suzuki San, lovingly called
“Sabby” because “sabishii” is Japanese for sad, and there is something about her
that spells sadness. Born in Paris, the daughter of a Japanese embassy attache,
Yoko (meaning “child of the ocean” in Japanese) returned to the French capital
in 1950 after a formal education in Tokyo. In Paris she studied singing and danc-
ing, later toured the Scandinavian countries with a ballet company and made her
professional singiflg debut in a cabaret.

THE WIND CANNOT READ (1)

Fenwick, a stickler for

FOR/A, OBJECTS TO MICHAEL'S
OBVIOUS INTEREST IN A
W9WWWI JAPANESE GiRL.

The brigadier in charge

OF THE SCHOOL INTRODUCES
THE NEW INSTRUCTRESS,
SUZUKI SAN ’ DAUGHTER OF
AN EX! LED
/f JAPANESE
DEMOCRAT.

m RECOVERED, MICHAEL
IS GROUNDER AND
if POSTED TO DELHI TO
H LEARN JAPANESE
B SO THAT HE CAN /N~
B TERRO& ATE JAP.

B RO.W.sMHKM

IN THE 1942 RETREAT
FROM BURMA F/Lt MICHAEL
QUINN, AN R.A.F. PILOT,
AND ANOTHER R.A.F. OFFICER
REACH INDIA ON FOOT AND
EXHAUSTED.

A FELLOW STUDENT AT
THE COMBINED SERVICES
LANGUAGE SCHOOL IS
FENWICK, A SUPERCILIOUS

SQDN. LDR.JBSSC

r AT LAST! "
THE BRITISH
< LIMES." j

CONTINUED

attention, day after day, but it is expertly pictured with interest-build-
ing text.

This serialization, which covers a five-day period, will be available
for alert, promotion-minded exhibitors in either cut or matrix form,
in eight, seven or five-column widths.

The reader will note that the fifth strip carries a “teaser” box in the
last panel. However, if the exhibitor so chooses, he could substitute
the actual finish of the screenplay instead of the reprinted text, if the
newspaper insists on a definite conclusion for the story.

BkETDI Al 1 7 ft fit 8 8l 91 Reproduced on this and the
Uk EIIBBL iBnBB I iUPN following pages is an inter-
esting picture strip serializa-

HIATIIIIP ilYlBIIB tion of the tentatively titled

PICTURE STRIP attraction, “The Wind Can-

B "BP B BP IB Hi BP I IB 1 1 not Read”. This is a feature

that every newspaper should
welcome because not only is the story one that will hold the reader’s

;; x :

Because the service would

FORBID THE MARRIAGE, MICHAEL
AHD CABBY HAVE A SECRET
HA WEDDING /NJNPUR.

‘OH, MICHAEL I WANT SO 1
MUCH TO MARRY. OH MIL
.YOU EVER TORGWIEr^A

F/NGERS LOCKED id A JAPANESE PROM-
ISE' MICHAEL AND THE WISTFUL JAPAN-

ESE girl swear
THEIR UNCdlNG

dove.

ON LEAVE, MICHAEL
AND SABBY HAVE A
HOLIDAY TOGETHER
HV THE ANCIENT CfTY
— 1 Of JAIPUR.

r*YOU LOOK SO^S

SAD-SO'SABlSHlt'.

I SHALL. CALL YOU
^ \<abbY'." ^A

Michael asks cabby to
MARRY HIM , AND TO H/S
DISMAY SHE BREAK'S DOWN
BEFORE ACCEPTING . £622

CONTINUED

THEIR HAPPINESS IS SHATTERED WHEN
MICHAEL IS POSTED AT THE END OF
ma p idKni THE COURSE.

Back or the school, fenwick

COMPLAINS TV THE BRIGADIER ABOUT
MICHAELS ASSOCIATION WITH SABBY.fUT
THE UNDERSTANDING CO. LETS H/S
JAPANESE -STYLE HOUSE TO SABBY SO
THE LOVERS CAN MEET (HSCRSTLY.

On the honeymoon after

THEIR SECRET WEDDING, MICHAEL
AND SABBY TRAVEL TV AGRA TO
SEE THE TAT MAHAL. THEIR
HAPPINESS tS COMPLETE, THOUGH
MICHAEL IS PUZZLED BYSABBYS
SUDDEN FIERCE HEADACHES.

Soon after reaching the Burma front

MICHAELS JEEP RUNS INTO AN AMBUSH.
THE BRIGADIER AND THE DRIVER ARE
KILLED, LEAVING FENWICK AND MICHAEL
FEARFULLY WAITING THE JAPS' NEXT MOVE.

"In Japanese Y
home you we*r\
Kimono I havfc I
made, ft » J
V custom.* /

r IM ^

GOlNCr ID
THE BURMA
CFRONT* A

W IVE been nj
' AS KED TV JOIN ALL
INDIA RADIO AS A
NEWSREADER IN THE
k JAPANESE
Itth <P*Nv 0 J

yr u | am the ^

HAPPIEST WOMAN IN
L THE WORLD. 0

CpNTlNUED

Captured by the Japanese
ADVANCE GUARD, MICHAEL AND
FENWICK ARE BRUTALLY IN7ERR-
OGA7ED BY 7HEJAP COMMANDER,
LT. NAKAMURA

TO MAKE HIM TAUC /
M/CNAEL /SWUNG BY
NIC WRISTS FROM A
TREE FOR HOURS IN
THE SCORCH/ NG SUN.
BUT WHEN CUT DOWN
HE ST/LL REFUSES TO
GYVE AMY INFORMATION.

FENWICK, ILL W/7H MALAR/A,
APOLOGIES FOR /NTERFER/NG /N
MICHAEL'S AFFA/R WITH SABBY
AND REVEALS WHY THE 8R/GAD/ER
GAVE HER H/S HOUSE . H Mgg ^

FENWICK BRIBES THE GUARD 70
LET THEM LISTEN TO THE ALL
/ND/A RADIO NEWS /N JAPANESE.
M/CNAEL /S HORRIFIED WHEN HE
HEARS A MALE NEWSCASTER
INSTEAD OF SABBY. IFJUVII1I

YOU KNOW ORl>ER
w OF BATTLE?' N

'HE WANTED HER ^
TO ENJOY HERSELF
WHILE SHE COULD 0

WHAT DO YOU MEAN
‘WHILE SHE COULD?

SHE'S ALONE,
I MUST
GO TV HER?

’THIS ILLNESS ^
HANGING OVER HER
^ I'M SORRY...' ^

I KNOW NOTHING.

CONTINUED

Michael, his wounded arm in

PLASTER, DISCUSSES WHERE 7HEY
WILL LIVE AFTER 7HE WAR.

TROUGH SHOT IN THE ARM,
M/CNAEL MAKES A SUC-
CESSFUL GETAWAY FROM
THE JAPS. HAGGARD FROM
HIS WOUND AND THE HEAT,
HE IS AT LAST PICKED UP
BY A BRITISH PATROL.

Hastening to delh/, m/cnael

LEARNS SABBY IS IN HOSPITAL

TO HELP MICHAEL
ESCAPE , FENWICK
CREATES A DISTURB-
ANCE AND DRAWS 7UE
GUARDS AWAY. IN THE
CONFUSION, MICHAEL
FELLS NAKAMURA
AND RUNS FOR IT A',

THIS IS hot
THE EH D
OF THIS
DRAMATIC AND
SINCERE LOVE
STORY. WE
DO HOT SHOW
THE ENDING
BECAUSE WE
00 NOT WISH
TO /NTRUDE
UPON YOUR
ENJOYMENT
OF THE FILM.

A very Difficult i

OPERATION,BUT SHE

.WAS WONDERFUL^

* I HOPE YOU
WILL ALWAYS
FEEL I AM
.BESIDE YOU

engagement. Then the regular advance display ad campaign should
get under way.

In the event a newspaper is not interested in running the serial
gratis, the exhibitor would do well to use it as an advance ad cam-
paign. Inasmuch as mats are available on the serial, it could be incor-
porated in a herald for house-to-house distribution. Enlargements of
each strip will also make an unusually interesting lobby display.

The above serialization
can be put to many advan-
tageous uses by enterprising
showmen, in addition to striv-
ing for its publication in a
local newspaper. In the case
of weekly newspapers, the se-
six weeks in advance of the

rialization should be planted for start

|A ‘ — -s.

w==-

w /

ft MichaeCs friend -
| ship wrm suzuki san
1 blossoms into love.

CHARLES CHAPLIN

STAN LAUREL

OLIVER HARDY

HARRY LANGDON

“WHEN COMEDY WAS KING”

BRINGING BACK THOSE HILARIOUS YEARS

“When Comedy Was King” is a nostalgic pre-
sentation of silent motion picture comedy, a style
and form of humor that reached its full flower in
the 1920’s and that passed, seemingly, all too soon
when films became audible. Although taken for
granted, silent screen comedy, time has disclosed,
was a true and unique art. By transcending the
laws of space, time and distance, it utilized the
camera to its fullest capabilities. By soaring above
the language barrier, it carried laughter from the
United States throughout the rest of the world.

“When Comedy Was King” is an inclusive docu-
ment, spanning the period from Mack Sennett in
1914 to the sophisticated era of the Hal Roach
comedies of 1928.

“When Comedy Was King” brings back to reel
life every one of the really first rank comedy
clowns, with one unavoidable exception. Among
them are: Charlie Chaplin, Buster Keaton, Laurel
and Hardy, Harry Langdon, Ben Turpin, Fatty
Arbuckle, Mabel Normand, the Keystone Cops,
Charlie Chase, Edgar Kennedy, the famed Mack
Sennett bathing beauties, Andy Clyde, Chester
Conklin, Snub Pollard, A1 St. John, Jimmy Finlay-
son, Mack Swain and Billy Bevan, along with two

all-time great stars, Wallace Beery and Gloria
Swanson who had their beginnings in comedy.

The uncovering of the material, together with
its rejuvenation, selection, editing, assembly and
the addition of sound effects, narration and an
81-minute original musical score, was the culmina-
tion of 18 months’ work. In that time some 2,500
reels were screened. Much of the material was pre-
viewed before invited audiences so that their laugh-
ter could serve as a guide in reducing thousands of
feet of film down to the eight reels that comprise
“When Comedy Was King”.

“When Comedy Was King” is divided into seven
parts. Part One. which also serves as a background
for the main title and credits, shows Charlie Chase
and his family visiting a typical neighborhood
movie theatre of the early 1920’s. After a series of
mishaps, they finally turn their attention to the
show, and upon that screen of almost two score
years ago is flashed the main body of the picture.

Part Two deals with “The Good, Old Days At
Keystone”, Mack Sennett’s Keystone Studio where
American film comedy was born and where the
viewer gets his first view of a 24-year-old Charlie
Chaplin, madcap Mabel Normand and her roguish

partner, Roscoe (“Fatty”) Arbuckle, Wallace Beery,
Gloria Swanson who, at that time, was Mrs. Beery.

Part Three brings back onto the screens the
second of silent comedy’s three completely or-
iginal clowns: white-faced Harry Langdon, the

trustful “infant” in a wised-up world. Part Four is
a nostalgic examination of Hal Roach, master of
inventive comedy, humor largely dependent upon
objects.

Part Five, “The Great Stone Face”, presents the
third of the three outstanding comedy talents:
Buster Keaton. Part Six explores “The Wacky
World Of Mack Sennett” who thrived on the comedy
of surprise. In this section Ben Turpin, Billy Bevan
and the Mack Sennett Bathing Beauties cinemati-
cally again come to life.

Part Seven, “The Fiddle And The Bow” is de-
voted to Laurel and Hardy.

As the last scene of Laurel and Hardy, in this
Part Seven, fades out, “When Comedy Was King”
returns to its beginning: the neighborhood theatre
of the 1920’s, the audience of three decades ago
pouring from its seats . . . into a new world that
so desperately seeks and needs respite from the
grim realities of the day.

JiMMY FINLAYSON CHARLIE CHASE ROSCOE (FATTY) ARBUCKLE

LOVES AND INTRIGUES OF A GREAT AND FASCINATING WOMAN

As soon as he has contracted for the services of
two outstanding male stars to play Julius Caesar and
Marc Antony opposite Elizabeth Taylor (above),
producer Walter Wanger will be ready to start film-
ing of “Cleopatra” in CinemaScope with De Luxe
Color.

This is not only the most important production
that veteran producer has undertaken to film, but
also one of the major ventures of this company.
Actually, Wanger has been making preparations for
“Cleopatra” for more than a year.

Elizabeth Taylor, whose latest personal triumph is
in “Suddenly Last Summer”, will play the title role
in “Cleopatra”, an assignment perfectly tailored to
her talents and beauty.

Wanger’s “Cleopatra” will not be the story of a
strumpet as presented in Shakespeare’s “Anthony
And Cleopatra”, nor as the naive and silly teen-
ager she is characterized in George Bernard Shaw’s
play. This version dramatizes the true Cleopatra,
based on a bibliography of the writings of Plutarch,
Suetonius, Cicero and other new sources. This pro-

duction presents her as a great and fascinating
woman of continuous intrigue and passion. It is
based largely on the sources used by Carlo Maria
Franzero in his book, “The Life And Times Of
Cleopatra”.

Wanger’s “Cleopatra” is largely high romance.
The three principal characters— Cleopatra, Caesar
and Antony— gamble for the rulership and control
of the world. At no time during the unfolding of
the story is that objective forgotten, even in the
sequences of passion, by any of the three principals,
especially not Cleopatra.

Driven by a burning ambition to retain the inde-
pendence of ancient Egypt and become Empress of
the world, Cleopatra becomes first the mistress of
Caesar, married dictator of the Roman Empire, then
the wife of the young, handsome and virile general,
Antony when the latter succeeds Caesar.

Rouben Mamoulian will direct “Cleopatra”. Con-
cededly one of the topnotch directors, he was a
celebrated director of Broadway plays before enter-
ing the motion picture field. He staged such plays as

the Theatre Guild’s original production of “Porgy”,
“Marco’s Millions”, “Farewell To Arms”, “Okla-
homa!”, “Sadie Thompson” and “Carousel”.

For the screen he has directed such vehicles as
“Dr. Jekyll And Mr. Hyde”, “Love Me Tonight”,
“Song Of Songs”, “Golden Boy”, “Mark Of Zorro”,
“Becky Sharpe”, “Blood And Sand”, “Rings On Her
Fingers”, “Summer Holiday” and “Silk Stockings”.

In discussing his treatment of “Cleopatra”, the
erudite producer Wanger, points out that the screen-
play will cover her life from the time she was 19
until her 39th year.

“In our research and in our presentation of the
true Cleopatra”, he informed Dynamo, “she is a
brilliant queen and a great administrator who gave
Egypt, whom she was trying to remove from the
strangle-hold the Romans had on that country, its
greatest economic period. She spoke seven lan-
guages.

“Ours is the intimate story of a woman, not a
pompous production aimed at impressing audiences
mainly with scenery or costumes . ”

ANOTHER FROM AN ACCLAIMED
EXCITING AND BEST-SELLER

" KING MUST DIE 99 SET
FOR AUTUMN RELEASE

Global Quest For Young Actor With All
Qualifications To Play Focal Role Is
Fruitful, Reports Producer Sam Engel

With filming completed on
“The Story Of Ruth”, pro-
ducer Samuel G. Engel is
finalizing plans for produc-
tion of his second “block-
buster” for 1960 release, “The
King Must Die”. One of the
costlier and bigger of the
studio’s entertainment proj-
ects for this year, this pictur-
ization of Mary Renault’s
best-selling novel is sched-
uled to go before the cam-
eras this Spring. It is tenta-
tively scheduled for domestic
release next Fall.

Like George Stevens, who
will produce and direct our
next Todd-AO production,
“The Greatest Story Ever
Told”, Engel is deeply involved in an anything but
an ordinary casting chore.

As the trade in general and the personnel of
the world-wide distribution organization are aware,
Engel is desirous of casting a relatively unknown
actor for the focal role of Theseus. Exhibitors have
been asked to participate in the global search for
candidates to portray that part.

The silhouetted figure at the head of this column
will give the reader an idea of the physical require-
ments of the actor sought. Here are the exact speci-
fications, as submitted by the studio:

The candidate must be at least six feet tall and
weight between 180 and 200 pounds. Nationality is
unimportant, but the candidate must speak English
perfectly and fluently. His body must exude dynamic
power, agile enough to perform the numerous Her-
culean feats of skill and daring the part calls for.

Up to press-time, Engel stated, more than 350
candidates had been submitted from 72 countries,
121 from the United States alone. However, there
will be no screentests made of candidates until the
search has been completed, which will be very soon.
Preference, of course, for screentesting, will be
given candidates with histrionic talent.

Engel is elated with the results of the co-
operative search.

Actually, never in the history of any studio has
there been simultaneously current so far-reaching a
multiple search for new players to play major roles
as exists not only for casting of “The King Must
Die” and “The Greatest Story Ever Told”, but also
for Buddy Adler’s personal Todd-AO production,
the tentatively titled “John Brown’s Body” that
Joseph Mankiewicz is adapting and will direct.

A complete report on “John Brown’s Body”
preparations appears on another page in this
edition.

Stevens, who has created such outstanding screen-
plays as “The Diary Of Anne Frank”, “Giant” which
made a clean sweep of Academy Awards in 1956;
“A Place In The Sun” for which he won a director’s
“Oscar” in 1951 ; “Shane”, “I Remember Mama”,
“Woman Of The Year” and others, has been in-
volved with research on and selection of locations
for “The Greatest Story Ever Told.” Actual filming
will not get under way on this project until late this
year.

Stevens also won the Irving Thalberg Memorial
Trophy in 1953.

However, Stevens will not get his search for
talent for his production under way until after com-
pletion of the screenplay. He plans doing the actual
production in the Near East where practically all of
the exteriors will be filmed, and interior sequences
in California, London and Rome.

A perfectionist, George Stevens is well equipped
to give this great story a treatment that will corre-
spond with the importance the book has attained in
literary and publishing circles. “The Greatest Story
Ever Told”, in hard-cover book form, has, its pub-
lishers report, been read by more than 180,000,000
people in 47 countries, for it has been translated in
33 foreign languages. It has appeared as a serial in
736 newspapers throughout the world. Its paperback
edition, printed in 35 languages, has attained an
astronomical readership. Also, as a radio serial “The

Greatest Story Ever Told” has over the years pene-
trated many millions of homes. Its broadcast, too,
has been translated in foreign languages.

Hence, it is no exaggeration to state that “The
Greatest Story Ever Told” has been read and heard
by many more people in more countries than any
literary work, excepting, of course, the Bible.

“Story Of Ruth” is currently being edited and
scored. On that assignment, too, Mr. Engel led a
world-wide search for a newcomer to play the
screenplay’s chief role. The search embraced more
than a year before he assigned the title part to a
20-year-old amateur actress, Elana Eden, from Israel.
Even more extensive has been his current quest for a
young man to play Theseus.

44 The King Must Die” tells the extraordinary story
of Theseus and Minatour, half-man-half-beast crea-
ture of 1500 B.C.

Engel must be credited with having turned out a
large number of major box office successes of such
popular dimensions that they have been re-released
time and again. His memorable production of “A
Man Called Peter” in the past three years alone has
played more than 5,100 repeat engagements in the
United States alone. It was originally released in
1955. Since then, including repeat engagements, “A
Man Called Peter”, as of Jan. 2 of this year, had
played more than 20,000 engagements!

Engel also delivered to exhibitors such attrac-
tions as “My Darling Clementine”, “Jackpot”, “Raw-
hide”, “Come To The Stable” and “Belles On Their
Toes”.

GIRL IN THE And, It Is In 3-D CinemaScope!

nTT r TXTT ^ n Unusual Underseas Treasure

XV E D B I K I I Hunt Drama Filmed At Mallorca

In “The Girl In The Red Bikini” producer
Edward L. Alperson has come up with a combina-
tion of entertainment values that gives promise to
make it not only one of the more colorful, but also
one of the exciting box office successes of 1960. That,
briefly, is the appraisal of a number of seasoned
showmen who have seen “The Girl In 'The Red
Bikini” in “rough-cut”.

To begin with, it will be the first CinemaScope
presented in 3-D. It will be in color. Alperson is
authority for the statement that it “can be projected
not only in 3-D CinemaScope, but in any wide-
screen process.” Also, “The Girl In The Red Bikini”
is the first American-filmed motion picture wholly
produced on the beautiful island of Mallorca, off
the Coast of Spain, in the Mediterranean Sea, and
in the area surrounding it. Mallorca has become
Europe’s No. 1 year-round vacation resort.

“The Girl In The Red Bikini” co-stars Joanne
Dru in the title role, Mark Stevens and Robert
Strauss as the fortune-hunters. It introduces a hand-
some, young, Latin-type newcomer, Asher Dann,

whom Alperson and director Byron Haskin believe,
“will become the new heart-throb” of feminine
moviegoers. Dann plays a young Spanish seaman
whose persistent, but boyish courtship of Miss Dru
(as a model from New York vacationing in Mal-
lorca) makes possible a fast-paced, action-packed,
suspense-wrapped hunt for gold stowed away in a
wrecked ship at the bottom of the sea off Palma,
Mallorca’s principal and only city.

However, Dann hails from Brooklyn. He turned
to acting after an Army “stretch”, played Summer
stock in Pennsylvania, studied for the drama in
New York and subsequently did “live” TV shows.
“The Girl In The Red Bikini” is his first motion
picture.

This Alperson production will mark the first
instance in which audiences will experience under-
sea 3-D viewing. The story pursues the audacious
activities of two young Americans, Stevens and
Strauss, to steal gold from the sunken hulk. Dann
is an employee on the luxurious yacht of a wealthy
sportsman. With his employer absent, Dann in-
duces Miss Dru to visit the yacht, which he lies

belongs to him.

While they are aboard, Stevens and Strauss sight
the yacht and decide it is exactly what they need
for their sunken treasure hunt. They frankly detail
their plan to the love-sick Spanish lad and model,
who agree to join them. By convincing his absentee
employer that the yacht is direly in need of serious
repairs that will take two weeks to make (the period
Stevens and Strauss fix for successful completion
of their underseas adventure), he is able to turn
the vessel over to the pair, in return for a share
of the gold.

But, at the end of the fortnight the operation
is far from completed. When the young seaman in-
sists on returning the yacht to port, Stevens and
Strauss “hi-jack” it and proceed with their plan
which eventually succeeds. Meantime, the yacht’s
disappearance prompts its owner to enlist the aid
of the police. When it suddenly returns to Palma,
the owner is promised and agrees to a fifth of the
gold treasure. However, it is too late for him to
call off the police, who finally confiscate the gold.
But, it all adds up happily, for Miss Dru and
Stevens who fell in love during the hunt.

INCOMPARABLE “THREE MURDERESSES"

RIOTOUS COMEDY OF A TRIO OF GLAMOROUS GIRLS WHO CONCOCT
AN AMAZING PLOT TO MURDER A PLAY-BOY WHOM THEY ALL LOVE

Full of gayety and suspense “Three Murderesses”,
strangely enough, is a solid criminal comedy, fea-
turing three popular, young French stars: Mylene
Demongeot, Jacqueline Sassard, Pascale Petit, who
play the title roles, and handsome Alain Delon as
a charming playboy who makes violent love tO three
girls who are friends while he is engaged to a
wealthy South American young woman.

Produced by Paul Graetz, “Three Murderesses”
strikes a new note in film entertainment. At least
two of the co-stars, Alain Delon and Mylene Deo-
mongeot, bid fair to become popular among movie-
goers in this country.

Miss Deomongeot is the personification of sex, 1
but also she is one of the most talented young ac-
tresses presently on the screen. Young Delon has
all the qualifications that brought the late James
Dean universal favor with moviegoers of all ages
and particularly those of the feminine gender.
Gifted with an exceptional physique and a blend
of charm and virility, this Paris-born young man

has declined offer after offer from talent scouts of
American studios. Only 23 years old today, when
he was 17, he served with the French army in Indo-
China. After being honorably discharged from
service three years ago, he returned to Paris. Since
then he has scored in three French motion pictures:
“Three Murderesses”, “Quand La Femme S’En
Mele” and “Sois Belle Et Tais-Toi”. His natural
gaiety, his youth, talent and debannair manner
serve him advantageously in “Three Murderesses”.

The exhilarating story of “Three Murderesses”
opens at a wedding reception. Agathe (Pascale
Petit) is confronted by Julien (Delon), her ex-boy
friend. Although uninvited to the reception, the
young man causes a sensation, especially with
Sabine (Mylene Deomongeot), Agathe’s closest
friend.

Although aware of Julien’s reputation as a “love-
’em-and-leave-’em” rake, Sabine is confident of her
ability to control him and readily accepts a date
that he promptly fails to keep. Later, she consents

to another date with him, at a time when she is
with Helene (Jacqueline Sassard), a friend, on a
day off from her studies at a convent. Julien, though
feigning to submitting to Sabine’s amorous wiles,
finds her friend Helene more interesting.

A few days later Helene, at the convent, is sum-
moned to the visitor’s room to see her “cousin”,
and is surprised to find Julien. He professes love
for her. She, in the meantime, has found him most
attractive and joyously accepts his profession that
his every thought is qf her.

Agathe returns from her honeymoon. She meets
Julien and resumes her pre-marriage affair with
him. At a reunion, the three girls, each boasting
of her new found happiness, learn the truth: Julien
has been running around with all three of them.
Julien learns of their discovery. He would like to
hold Agathe, but, at the same time, continue to
court Sabine and Helene.

As the girls attempt to figure out what to do with

Continued on page 76

OPERATION

AMSTERDAM

The “best kept secret of World War II” is vividly and dramatically exposed in “Operation Amster-
dam”, a suspenseful story covering a single day, actually 14 hours, when three men, and a woman, risked
their lives for diamonds that were vital to the free world fighting for its existence.

Moreover, the story is true, astounding, for death stood by while the three men blasted their way to
the greatest diamond “haul” the world has ever known.

“Operation Amsterdam” is a human drama . . . three men against the German war machine, and a girl
at war with her heart.

Co-starred are Peter Finch as Jan, desperate, and in love, but determined to help get the diamonds
it was vital to keep out of the Nazis’ hands; Eva Bartok as Anna, sad and disillusioned, but ready to sacri-
fice her life, and Tony Britton as a tough, loyal secret agent who knew his mission must not fail. Co-
starred are Alexander Knox and Malcolm Keen.

“Operation Amsterdam” was produced by Maurice Cowan and directed by Michael McCarthy from a
screenplay by McCarthy and John Eldridge.

Here is an outline of the story:”

May, 1940, and German troops have crossed the Dutch frontier, fighting their way rapidly towards
Amsterdam.

In London one of the war’s most secret and daring missions is being planned. An English major and
two Dutch civilians are about to risk their lives to snatch from Amsterdam millions of pounds’ worth of in-
dustrial diamonds before the German invasion. The Germans need these diamonds to build tanks, to ex-
pand their armaments.

Time is short They have exactly 14 hours to bring off this amazing coup.

Volunteers for this perilous raid are diamond experts Jan Smit (Peter Finch) and Walter ( Alexander
Knox). In charge of the party is Dillon (Tony Britton).

Dodging bombs and shell-fire they land at Ijmuiden. It is still burning from the last raid. Everyone
is a suspected fifth columnist.

On the quay they suddenly see an open tourer heading towards the water. Anna (Eva Bartok) is at

Continued on page 70

THREE MEN ON A VITAL MISSION ARE SKEPTICAL ABOUT THE YOUNG WOMAN THEY HAD COUNTED ON HELPING THEM GET MILLIONS OF DOL-
LARS WORTH OF INDUSTRIAL DIAMONDS OUT OF HOLLAND ON THE EVE OF HITLER'S INVASION OF THAT COUNTRY. LEFT TO RIGHT: PETER
FINCH, EVA BARTOK, ALEXANDER KNOX AND TONY BRITTON. TOP LEFT: MISS BARTOK, AS A LOOKOUT, FIRES AWAY AT ADVANCING NAZI SOLDIERS.

INSPIRATIONAL

Despondent over his in-
ability to find employment,
after his grandfather’s sud-
den death, the impoverished,
orphaned Dutch boy (David
Ladd), turns his dog over to
a neighbor and makes his sor-
rowful way back to Antwerp’s
famed Cathedral Of Our Lady
where he is finally permitted
to view the Rubens painting,
“The Deposition” by a kindly
priest. While kneeling in rev-
erence to his idol’s great
work, the boy is suddenly
overcome when the freed dog
nuzzles up to him and his
playmate (Siohban Taylor)
tells him he has a home to go
to. The artist (Theodore
Bikel) and his ex-model, now
his wife, gladden the lad’s
heart by insisting he live with
them and be the painter’s
apprentice. Thus, the lad’s
dream comes true: an oppor-
tunity to become an artist
and keep Patrasche, his de-
voted dog.

THE BOY (DAVID LADD) FINDS SOLACE VIEWING RUBEN’S PAINTING “THE DEPOSITION”, IN AN ANTWERP CATHEDRAL.

DOG OF FLANDERS

A MOTION PICTURE THAT WILL LIVE FOREVER

As the display advertisements state, “A Dog Of
Flanders” is a motion picture with the heart of the
world in it. A heart-warming drama of courage and
devotion, this 97-minute picture is based on a novel
that has been favorite reading for the younger
generation for almost 100 years!

Not only the trade paper critics, but hundreds
of exhibitors, who have seen “A Dog Of Flanders”,
an Easter special in the domestic market, have

characterized it “a motion picture that will earn
long runs because it captures and holds the heart
of every one”, as RKO Theatres’ President, Sol
Schwartz put it.

Variety, for example, put it this way: “If this
film doesn’t warm the cockles of the heart, the
heart needs a new set of cockles. It is as charming
as a Victorian valentine”.

Motion Picture Herald states: “There has been

little fanfare connected with this dramatic block-
buster; but, by the time it hits the screens during
the Easter season, the whispers will be loud
and strong to herald one of the biggest surprise
‘sleepers’ ”.

Co-starring David Ladd as an impoverished
Dutch boy (the entire production was filmed in
Holland and Belgium), Donald Crisp as his grand-

( Continued on page 31

A DOG OF FLANDERS continued

The artist (Theodore Bikel), his heart softened
by a boy’s dilemma and told that his model
(Monique Ahrens) has always loved him, holds her
lovingly when she accepts his proposal of marriage.

The boy, Nello, and his grandfather, Jehan Daas,
while making their milk delivery rounds in the city,
find and eventually nurse back to health a cart dog
that had been left to die by a brutal, drunken master,
another peddler. Given the name Patrasche, the dog
is trained to help the lad in covering the milk route
after Daas finds it difficult to walk. On one of his
trips to the city, the boy is able to keep his dog when
an artist stops the latter’s former owner from taking
Patrasche back by force. A warm and close friend-
ship develops between the grateful Nello and the
artist, and the latter’s beautiful model. The artist
encourages Nello to pursue his ambition to paint,
Under his guidance, the boy, whose idol is the mas-
ter Rubens, makes fine progress. The artist and
model find their protege becoming more endearing
with the passing of each day. It is this concern for
the boy that eventually brings about their marriage.

DEATH COMES TO AILING GRANDFATHER (RONALD CRISP) WHILE POSING FOR HIS GRANDSON.
30

But, the lad’s happiness is short-lived. His
grandfather succumbs to a heart attack while posing
for his grandson who does not discover his death
until after he has completed and is about to show
Daas the drawing he has made of him. Subsequently,
Nello enters the drawing in the annual children’s
art competition. Full of hope, because the cash
prize means so much to the orphaned lad, he attends
(above) the meeting of the contest judges. But, that
hope turns to despair when another entry is judged
the best. Learning of the boy’s heart-break over his
frustration, the artist and model seek him, but learn
Nello had given his dog to a neighbor and left his
deceased grandfather’s home. However, the dog
breaking away, helps his friends and a playmate
track down the boy in the Cathedral where Nello
had sought solace on Christmas Eve in the presence
of Rubens’ painting, unveiled for him by a priest.

ESTABLISHES
A NEW STAR!

“A Dog Of Flanders”, states Motion Picture
Herald in echoing the conclusion of all critics who
have seen the picture, “will zoom to importance
the name of David Ladd for a magnificent, sensi-
tive portrayal” as the boy who befriends a dog and
dreams of one day becoming a great artist.

That this 12-year-old youngster may very well
get official recognition for his beautiful perform-
ance in “A Dog Of Flanders” Is promised by the
opinions voiced by many in the industry to the
effect that, as the Medford (Oregon) Tribune put
it, “the Academy Of Motion Picture Arts And
Science should set up a special ‘Oscar’ in 1960, for
his is a memorable and rare portrayal.”

For David Ladd “A Dog Of Flanders” is his
third motion picture. This talented, young actor
made his screen debut with his father, Alan Ladd,
in “The Proud Rebel”, a role that won him the
1958 Critics’ Award
for being voted
“the best male ju-
venile actor” of
that year.

His second mo-
tion picture was
“The Sad Horse”,
one of our 1959 re-
leases in which he
played a handi-
capped youngster
who finds solace
with his dog when
he believes his fa-
ther has turned
against him.

Variety, in its
review of “A Dog Of Flanders”, observed: “Young
Ladd happily is one of those children who barely
seems to be acting. Teamed with the veteran Donald
Crisp and the latter’s polished style, the two mesh
nicely”.

Another pertinent observation of Variety:
“(Theodore) Bikel is amusing, and, with the. win-
ning Dutch actress, Monique Ahrens, provides an
adult love interest that is ingeniously threaded
through the film. Even a scene of Miss Ahrens pos-
ing bare-backed for artist Bikel is done so inno-
cently and correctively that its intent cannot be
mistaken. Otto Jeller’s camera work is rich in tone
and composition, and the music of Paul Sawtell and
Bert Shefter is about the finest each composer has
ever done”.

Already “A Dog Of Flanders” has been awarded
the coveted Parent’s Magazine Medal for family
entertainment.

DAVID LADD

A DOG OF FLANDERS continued

PANICKED BY HIS GRANDFATHER’S DEATH, THE ORPHANED BOY, FOLLOWED BY HIS CART DOG, RUSHES TO SYMPATHETIC NEIGHBORS IN SEARCH OF HELP.

FILMED IN EXACT LOCALES

OF A UNIVERSALLY READ ROOK

Continued from page 29

father, Theodore Bikel as a temperamental, but soft-hearted artist, and Monique
Ahrens as the latter’s lovely model, “A Dog Of Flanders” can deservedly boast an
unusually array of exceptional performances by other principles, too.

Motion Picture Daily voices the general feeling in that regard, observing that
“creditable performances are also delivered by Siohban Taylor as the boy’s playmate,
and Max Croiset as a stern miller, a stalwart in the community.”

In summing up its reasons why “A Dog Of Flanders” should enjoy a huge box
offi ce harvest, Boxoffice states: “There are countless reasons why this photoplay should
be financially successful for all types of theatres. To list but a few: its literary source
should attract its share of patronage, especially from the oldsters; in the title role is
‘Old Yeller’, the mongrel dog who won the love of millions of ticket-buyers in the
Walt Disney film similarly named; CinemaScope photography and De Luxe Color to
lend stature to the picture’s prestige and exploitability, and, above all, the fact that
the screen should be enthusiastically eager to welcome a photoplay so clean that the
most carping of mentors can find nothing about which to rant.”

Motion Picture Herald, along with The Hollywood Reporter, The Film Daily, Ex-
hibitor and Film Bulletin, emphasized the craftsmanship of those who created this
production. Motion Picture Herald, for instance, wrapped up the critical view with
this typical paragraph: “Robert Radnitz’s entire production is in itself a masterpiece,
artistically designed by Nico Baarle with highly impressive, colorful backgrounds. The
subject matter contains a number of basic human emotions drawn from Ted Sherde-
mans’ screenplay, with pleasing strokes of direction by James B. Clark.

“SOUTH PACIFIC” PREPARED TO CONTINUE DELIGHTFULLY
ENTERTAINING THE MANY MORE MILLIONS OF MOVIEGOERS
EAGERLY AWAITING ITS POPULAR-PRICED PRESENTATIONS

JUANITA HALL
32

Buddy Adler (left), producer, and director Joshua Logan flank Mitzi
Gaynor, who plays Nellie Forbush in "South Pacific", during a lull in
filming of the great Rodgers and Hammerstein musical, "South Pacific?

ROSSANO BRAZZI

FRANCE NUYEN

JOHN KERR

v :

THE INTERNATIONAL SCIENTIFIC FOUNDATION presents UNDER THE

gracious auspices of HIS MAJESTY KING LEOPOLD III

THE CRITICS BRING IN THEIR VERDICT ON

MOTION PICTURE DAILY: In the world of
today where civilization has progressed to where
men can travel faster than the speed of sound, it
would seem difficult to accept the fact that there
are places on this “small world” where a primitive
link still exists between today and prehistoric times.
Here is an unusual, magnificently photographed
documentary of life in the Congo jungle, enhanced
immeasurably by CinemaScope and color by De
Luxe. The film offers natural opportunities for
good box office pay-off. The musical score by

Richard Cornu and the narration Ly joe Wills punc-
tuate the suspenseful, thrilling action and beauty
captured under the directorial efforts of Henz Siel-
man and Henry Brandt. We find it a rich, reward-
ing experience in motion pictures.

DAILY VARIETY: “Masters Of The Congo
Jungle” is a beautiful, unusual, feature-length
documentary of Academy Award calibre. Both
artistic and informative, it deals with the stone-
age of natives of the northeastern Belgian Congo
and looks like a promising entry. No travelogue,

the film doesn’t seek mere curiosity, but faithfully
follows a theme. King Leopold III of Belgian,
under whose auspices the International Scientific
Foundation made the picture, states the theme in
a title card: “There is a communion between the
man of the forest and his natural surroundings
which inspires in us a sense of respect, a recogni-
tion of spiritual heritage.” The film editor and the
sound man did outstanding jobs. In sum, it’s docu-
mentary fit for a king.

Continued on page 34

Press Appraisal:
Greatest Jungle
Film Ever Made!

Continued from page 33

THE FILM DAILY : Beautifully photographed
and an expertly put together documentary. Strik-
ing entertainment. Excitingly-made and excel-
lenty photographed. As a documentary excursion
into the Belgian Congo, it rates exceedingly well
and will win high favor with the fans. The film
is pervaded with a sense of the ferociousness and
preciousness of life. The story is at an elemental
level. The offstage narration by Orson Welles and
William Warfield is particularly effective in its
simple eloquence. An extraordinary job of photo-
graphy has been accomplished by the team headed
by Paul Grupp, George Schimzenski Neubert and
Fernand Tack. They have caught the varieties of
wild life, the vegetation and the natives with some
stunning closeups.

THE HOLLYWOOD REPORTER: From its
title one might be misled into thinking “Masters
Of The Congo Jungle” is a B-type African adven-
ture film. Instead, it is one of the most impres-
sive scientific films ever assembled. The manner
of its being placed before the public is news-
worthy. When Spyros Skouras was in Brussels he
was surprised to hear former King Leopold III
remark: “In a way Pm a movie producer. I’d like
to show you some film.” Politely acquiescing (but
expecting to see royal “home movies”), the 20th-Fox
president was astounded when the former sovereign
showed him reel after reel of beautifully shot foot-
age revealing the tribes and wild life of the Belgian
Congo. Some imaginative animation, coupled with
authentic volcano shots, depicts how some pre-liis-
toric cataclysm divided the area into rain forests
of the west and the plains and savannahs of the
east. A completely fascinating film.

LOS ANGELES HERALD EXPRESS: “Mas-
ters Of The Congo Jungle” has the best of every-
thing in the teeming world of nature in its primi-
tive state. This film strikes a new note in jungle
drama, for it is all very true and the most amazing
motion picture of its kind ever made. Particularly
good for the youngsters.

BEVERLY HILLS (CAL.) CITIZEN: This pic-
ture is definitely of Oscar calibre. An almost cer-
tain Academy Award winner, in my opinion. You
owe it to yourself and family to see it. It is the most
fascinating film on jungle life ever filmed. Families,
groups and school classes should make this a MUST
SEE

LOS ANGELES TIMES: This film has excite-
ment, authenticity, good taste and drama . . . the sort
of drama that comes from intelligent picturization
of wild life in the jungle in its primitive state. In
light of the rapid changes taking place in our
shrunken world of today, it is fitting and consider-
ate of His Majesty King Leopold II to have pre-
served through the medium of the screen the sur-
viving vestiges of the ancient life of the Congo. It
runs 90 rare and enthralling minutes.

LOS ANGELES EXAMINER: “Masters Of The
Congo Jungle” is a masterpiece, a film that will
bring excitement and surprise to people of all ages.
It is a most unusual film, one that informs and en-
tertains, and this is a rare combination.

LOS ANGELES MIRROR-NEWS: I have never
seen anything to equal “Masters Of The Jungle”.
It is spell-binding in its factual picturization of
jungle life. It constitutes one of the major accom-
plishments of the motion picture industry. No other
medium could possibly have given the world such
an authentic record. Its story runs the gamut of
entertainment requirements, for it has the elements
of fear, of suspense, of comedy and drama, and has
been excellently photographed.

SAN FERNANDO (CAL.) VALLEY TIMES:
When Royalty gets involved in a motion picture
project it is news, and in “Masters Of The Congo
Jungle” we have a product that befits the regal
standards of the head of a country. Exciting and
eye-filling from beginning to end. Unlike past fea-
ture pictures dramatizing jungle animal and native
life, there is nothing stagey about this picture. It
is authentic throughout. We agree with those who
have seen this film in the belief that it will be
awarded an Oscar as the best documentary of the
year, for, in truth, it is the best picture of its kind
ever exposed to public acclamation. It is not only
an exceptionally excellent film in what it reveals,
but it is revealing entertainment for everybody.

REPORT FROM "BIBLE OF SHOW BUSINESS”

What’s What And Who’s Who In
"Masters Of The Congo Jungle”

Because it so thoroughly and accurately re-
ports both the picture’s contents and reflects the
concensus of opinions of newspaper and trade
paper critics and exhibitors who have seen
“Masters Of The Congo Jungle”, Dynamo here-
with publishes, in its entirety, the appraisal of
what is generally accepted as the “bible of show
business”, Variety:

“Masters Of The Congo Jungle” is a beauti-
ful, unusual, feature-length docunsentary of
Academy Award calibre. Both artistic and in-
formative, it deals with the stoneage natives of
the northeastern Belgian Congo. Looks like a
promising entry for the art houses.

The CinemaScope - De Luxe Color footage
brought out by producer Henri Storck, directors
Heinz Sielmann and Henry Brandt and a half
dozen cameramen (not credited) includes mag-
nificent vistas of jungles and volcanoes, close,
dramatic views of birds and animals and, most
important, captures the daily lives of the people.

No travelog, the film doesn’t seek mere curi-
osity but faithfully follows a theme. King Leo-
pold III of Belgium, under whose auspices the
International Scientific Foundation made the
picture, states the theme in a title card: “There
is a communion between the man of the forest
and his natural surroundings which inspires in
us a sense of respect, a recognition of spiritual
heritage.”

The voices of Orson Welles and William
Warfield alternate at narrating Joe Wilis’ dialog
(Sam Hill’s story). It’s subtly written and the
great voices give it a poetic quality. Welles
seems to speak as a scientist, learned but humble
in a quest for truth, and Warfield speaks as a
native, secure and dignified in a world he under-
stands in his very bones.

The world of the natives (related to Pygmies)
is first shown in a superb, mood-setting ani-
mated sequence (not credited). Then, follow-
ing the course of a wise man’s lecture to the
village warriors, the camera picks out each sub-
ject as the narrators relate each myth to fact.

For example: traditional dances and rites are
shown and the bird or animal which inspired
them is spot-lighted ; the belief in the volcano
god is made plausible through artfully selective
photography and narrative.

Among the many notable animal scenes are:
a little “night heron” gruesomely capturing and
killing a larger bird’s chick; a family of gorillas
charging, almost at the camera. The scenes are
the more remarkable because of the consistent
studio quality of the photography.

The film editor and the sound man (not
credited) did outstanding jobs and Richard
Cornu produced a fine score — all of which was
part of a rare harmony among all departments
in this film.

trien.

Just As It Happened From Time Immemorial

...IT HAPPENS TODAY!

ONE MAN WITH A SECRET PITS HIMSELF AGAINST A RUTHLESS SPY RING

Above: two who co-star in “The 39 Steps'*. Kenneth More,
(right) plays the immortal Richard Hannay in that picturization
of what is considered the best and most exciting of the Buchan
classics. Lovely Taina Elg (left) heightens her stature as a
dramatic actress with her role of the school teacher, who is sus
picious of the stranger at first, but finally aids him in break-
ing up a gang of spies. However, while she has been playing
dramatic roles in recent years. Miss Elg attained stardom in
musicals. She will be recalled for a fine job in “Les Girls**.

IN "THE THIRTY-NINE STE PS** CLIMAX, THE EXPOSED SPY, PROF. LOGAN (BARRY JONES), AFTER SHOOTING HIS DUPE, *‘MR. MEMORY**
(JAMES HAYTER), LEAPS ONTO THE MUSIC HALL STAGE IN AN ATTEMPT TO ELUDE THE POLICE. DRAMA IS REPUTEDLY BASED ON F ACT*.

The internationally popular screen and stage star, Kenneth More, was given his first opportunity
to attain histrionic fame when producer Betty Box cast him in “The Clouded Yellow” some years ago.
His second chance came when director Ralph Thomas cast him in a leading role in “Appointment
With Venus”. Together, Betty Box and Ralph Thomas later put him in the comedy that launched him
a global movie star: “Doctor In The House”.

Now, together again, the three have brought John Buchan’s classic thriller, “The 39 Steps”, to
the screen. Co-starred with him is beautiful Finnish-born actress, Taina Elg, who danced and sophis-
ticatedly clowned, danced and sang her own way to popularity in the musical, “Les Girls”.

Enacting principal roles in “The 39 Steps” also are Brenda De Banzie as Nellie Lumsden, Barry
Jones as Prof. Logan and James Hayter as “Mr. Memory”, the man with the “photographic brain”.

H is role in “The 39 Steps” is rated among the best Kenneth More has played. Starting as a stage-
hand in London, he worked himself up to being a stand-in singer and, after World War II service, to
repertory acting. He has personally scored, in addition to the pictures already mentioned, in “Gene-
vieve”, “Reach For The Sky”, “The Sheriff Of Fractured Jaw” and “A Night To Remember”.

Taina Elg, who makes her home in California, started out studying ballet with the Sadler’s Wells
School, but, after a screen-test by MGM’s producer Edwin Knopf, was signed to a contract. Her first
film, a small part, was “The Prodigal”. Then came co-starring parts in “Les Girls”, “Imitation General”
and others. She also has guest-starred on television.

The story of “The 39 Steps” starts innocently enough: a pedestrian, Richard Hannay (Kenneth
More) picks up a baby’s rattle ic* London’s Kensington Gardens. That simple act sparks off a trail of
espionage, intrigue and murder, for Hannay finds himself enmeshed in a web of evil from the moment
he hands the rattle to the baby’s nurse, a secret service agent who tells him she is in fear of her life.
Before she is actually murdered in his flat, Hannay learns that the “brain” of an organization seeking
to smuggle plans of vital importance to Britain lives in Scotland, and that mystery is tied in with three
words: “the 39 steps”.

Pursued by police who want him for murder, and members of the traitorous organization, Han-
nay boards a train to Scotland to clear himself. Trapped on the train he vainly tries to get an attrac-
tive school-teacher, Fisher (Miss Elg) to help him, but he does manage to reach a roadside garage where
an eccentric couple help him evade police cordons. He finally reaches his destination where he be-
lieves he can find the man who holds the key to the mystery. There he learns that that respected citizen
is actually the “brain” of the organization.

The later is determined to do away with Hannay who takes refuge in Fisher’s school. She hears his
story and now agrees to help. After several escapes from death at the hands of the organization’s
“muscle men”, they reach a London Music Hall where they find the solution to the riddle of “the
39 steps”.

SIX WHOSE ILLICIT LIVES LEAD TO A RENDEZVOUS OF TRAGIC IRONY

“Saw lady" JULIETTE GRECO Mistress “Lecherous bully'* ORSON WELLS Civil Leader

A POWERFUL DRAMA
OF HUMAN FOIBLES

A foreword to the script that guided the production of “Crack In
The Mirror ” stated that the point of the story depends upon each of the
three stars in the picture playing two roles , since , in a sense , each has an
identical counterpart. It concludes with this further statement: “vary
them (the characters) physically , if you like , but in each instance the
same actor must play both roles . . . We who judge , we judge , ultimately,
ourselves How Messrs. Zanuck and Fleischer carried out the foregoing
in converting this extraordinary story to the screen is indicated by the
following detailed synopsis of the finished screenplay.

•

In a sordid part of Paris, Eponine Mercadier (Juliette Greco) lives with
Emile Hagolin (Orson Welles), a brutish, much older man she has grown to
hate, but cannot leave because she and her two small daughters have no other
place to turn for food and shelter. She is in love with Robert Larnier (Brad-
ford Dillman), a young laborer employed on the same construction iob as
Emile.

“Lover boy" BRADFORD DILLMAN Respected lawyer In 3 much more elite section of the cit Y another triangle exists which,

Continued on page 38

CRACK IN THE MIRROR

A REMARKABLE POINT OF VIEW AOOUT LOVE, LUST, MURDER AND PEOPLE

A daring, unflinching, sometimes stark drama
of two romantic triangles on vastly different social
levels of Paris, brought together by a murder and
suddenly welded by a surprise climax, “Crack In
The Mirror” is a Darryl F. Zanuck Production,
directed by Richard Fleischer and stars Orson
Welles, Juliette Greco and Bradford Dillman. It is
based on the novel, “Drama In The Mirror” by
Marcel Haedrich, noted French journalist.

Zanuck changed the first word in the title, feel-
ing that it adds impact, implies more accurately
the story’s unusual premise.

Despite Orson Welles’ contention that having
each of the three stars play dual roles was “a plot
of Zanuck’s to cut casting costs and ultimately do
away with actors entirely”, the producer points out
that the multiple dual casting is no “gimmick”.

“It’s the basic point of the story”, says the pro-
ducer, “that two sets of people, no matter how
different their environments, are essentially the
same.”

While Zanuck Sr. was preparing “Crack In The
Mirror”, Richard, his 25-year-old son and partner
in Darryl F. Zanuck Productions, completed his
first stint as a producer with “Compulsion”.

The results of that box office hit so pleased the’

firm’s senior partner that he drafted four key mem-
bers of the “Compulsion” unit for “Crack In The
Mirror”: Actors Orson Welles and Bradford Dill-
man, Director Richard Fleischer, and Cinemato-
grapher William Mellor, Academy Award winner
for “A Place In The Sun”.

Having three stars portray six people presented
a challenge which the “Mirror” team determined
to meet without resorting to the split screen and
doing it with mirror techniques, customary solu-
tions to filming dual roles. It required careful plot
construction, planning of camera angles and con-
siderable foresight to bring it off, but they suc-
ceeded.

Since the two sets of romantic triangles do not
come together until the story is well under way,
the early scenes presented no problem in this
respect. But, as the drama gathers momentum,
moves rapidly toward its climax, two of three
stars —Juliette Greco and Bradford Dillman — are
brought into the same courtroom with the other
characters they also portray.

By that time Welles was no problem. One of
the characters he plays had been murdered, and
in his other role he was defending the couple
accused of the crime.

Interiors were all filmed at Paris’ Studios de
Boulogne, including a vast reproduction of a court-
room in the Palace of Justice. Here many scenes
had to be done twice: once with Miss Greco and
Dillman as the down-at-heels defendants; again
with them in their alternate roles; she as the
stylist mistress of distinguished attorney Welles,
Dillman as his young assistant, ambitious to take
his boss’s place in legal circles and in the arms
of his mistress.

Thus, as the cameras pan from one set of
characters to catch the reactions of their counter-
parts, what seems to have been a fleeting instant
was actually filmed days later. When, for example,
standing before his dowdy clients, attorney Welles
drops his verbal thunderbolt into the proceedings,
the quick reactions of his mistress and his assistant
were shot a week later.

So carefully plotted were the scenes that
“doubles” were used on only three occasions. Two
transpired in the huge courtroom, when the
cameras peer past one set of characters across the
big set to their counterparts — so far away and so
similar as to be indistinguishable from the or-
iginals.

Continued on page 37

CRACK IN THE MIRROR continued

ORSON WELLES (STANDING, RIGHT), AS THE CELEBRATED CRIMINAL LAWYER, SURPRISES THE COURT BY PLACING MURDER BLAME COMPLETELY
ON JULIETTE GRECO (SEATED, BEHIND HIM), AFTER SHE HAD DOUBLE-CROSSED BRADFORD DILLMAN BY TESTIFYING HE INSTIGATED THE CRIME.

LIFE’S MOST BASIC EMOTIONS EXPOSED

DARRYL ZANUCK PRESENTS HIS MOST SEARCHING DRAMA

Continued from page 36

In the other, Dillman as the sleek young lawyer
faces the cameras in a tawdry flat as his double
stands in half-shadow, partially turned away from
the cameras.

Before the makeups ofthe three stars for each
of their roles were decided upon, extensive tests
were made. Welles, like Alec Guinness and many
top character artists, is himself a master of makeup
and prefers the do-it-yourself method. Orson re-
ported with a sizeable collection of artificial noses.
For his role as the crude laborer who becomes a
murder victim, a somewhat pug-like creation was
chosen which seemed to alter all his features. He
then let his beard grow— and voila ! He was ready.

For his other character, that of the eminent
lawyer, he wore a somewhat Roman model which
somehow makes his face seem longer, almost pa-
trician, in contrast with the rotund flabbiness of
his other face. A session with the barber and the
tailor and Welles’ transformation was complete.

But, it was Miss Greco’s preparation for the
role of the fashionable mistress which aroused
Paris, elicited Page 1 stories in the press. Known
as “the Legend of St. German-des-Pres”, the sym-
bol of the Existentialists ( fore-runners of the beat-
niks) and the idol of Left Bank bohemians, Juli-
ette had her famed long, careless locks cut fairly
short.

Although “Crack In The Mirror” marks Miss
Greco’s fourth English-speaking role, it is the first
in which she has worn more than two costumes.
Eight high-fashion numbers by Givenchy, $145,000
worth of diamond jewelry by Van Cleef & Arpels
and a stunning new up-swept coiffure transformed.

as her Welles put it, “a talented cocoon into a
glamorous butterfly.” The transformation was ef-
fected only after Miss Greco had completed her
other role in the picture; that of the hard-bitten
Parisienne from the city’s seamy side, with virtu-
ally no makeup, no coiffure.

As the young, ambitious lawyer who covets
his employer’s social position and his mistress.

JULIETTE GRECO AND BRADFORD DILLMAN

Bradford Dillman required only a few light streaks
in his hair which emphasized his sleek good looks.
But preparing for his alter ego-the crude, dull-
witted murder accomplice— involved long makeup
sessions wherein his straight hair was curled, small
sponges inserted in his nostrils to give them a pre-
datory flair, more sponges behind his molars to
further alter his naturally clean-cut features, give
him a vaguely animal look.

“Crack In The Mirror” was filmed entirely in
Paris, the exteriors against such varied, colorful
backgrounds as the Palace of Justice, the banks of
the Seine, fashionable residential streets, the
crowded near-slums behind Montparnasse, at “Gare
de Lyons , the vast railway station, it’s rococo up-
stairs cafe, in and around the Wagon Lit’s famed
“Blue Train”.

Despite, considering the problems inherent in
three dual roles, a tight schedule of 53 days, Di-
rector Fleischer brought his movie in only a week
late, due entirely to bad weather during exterior
shooting. But, as Zanuck pointed out: “Why film
it in Paris if we don’t show Paris?”

Supporting the three stars in principal roles are
Alexander Knox, who scored his greatest personal
triumph in another Zanuck production, “Wilson”,
in which he played the title role; William Lucas,
Catherine Lacey, and Austin Willis.

Mark Canfield wrote the screenplay and
Maurice Jarre the musical score. Henri Patterson
wrote the song, “Eponine’s Song” that Miss Greco
sings. Incidentally, cinematographer Mellor, who
has already been mentioned, did the photographic
work on “A Place In The Sun”, “Peyton Place”,
“Diary Of Anne Frank” and “Giant”.

CRACK IN THE MIRROR continued

Juliette Greco, who with her lover, Bradford Dillman, is charged
with cold-bloodedly murdering the gross laborer whose mistress she
had been, demonstrates for the Paris police how the crime was com-
mitted ° However, the defendants* lawyers plan their defence at cross
purpose Sa In court she betrays her accomplice so cleverly that reporters
and public seem convinced she had been the unwitting victim of circum-
stances and that her young lover alone is guilty . In a subsequent court-
room * 'double-cross**, an eminent lawyer, in a devastating plea to the
court, suddenly turns the trial’s course, placing the entire murder blame
on the woman o Final verdict: both guilty.,

“CRACK IN THE MIRROR”

TWO PARALLEL STORIES
THAT BLEND INTO ONE!

Continued from page 36

although on a higher social strata, is a replica of that composed of Eponine,
Emile and Robert. This one involves: Lamorciere (Orson Welles), an elderly,
very distinguished attorney; Florence (Juliette Greco), handsome sultry, and
for the past ten years, Lamorciere’s mistress; and Claude Lancastre (Bradford
Dillman), an ambitious young lawyer who is Florence’s secret lover.

At Emile’s shabby flat Eponine bitterly resents the old man’s insults and
rough treatment in Robert’s presence. When Emile finally goes to bed half-
drunk, after threatening Eponine, she urges Robert to kill him. Although he
thinks Emile suspects their relationship, the young man holds back until
Eponine, exasperated, reveals an iron bar she had hidden and says she will
kill the old man herself. Robert tells her to go ahead. She goes to the room
where Emile is sleeping, but as she tries to strike him with the bar she
misses; hits the bed-top instead.

Emile awakens, wrests the weapon from her. Robert joins the struggle,
gets his arm around the old man’s throat and tells Eponine to get his scarf
from the next room. She does, but, as she returns with it, she closes the door
so that the audience does not see what transpires as gradually the sounds
of struggle subside.

Later, the lovers quarrel briefly, each alleging the other did the actual
strangling with the scarf, but the argument is dropped temporarily in their
plans to dispose of the body in the excavation where Emile and Robert have
been working and where cement is to be poured for a new building.

Next day they buy a big wicker basket and Eponine buys a saw. That
night they go to the nearby excavation. W hile Eponine holds the night watch-
man’s attention, Robert climbs into the pit with the basket. He emerges with
the empty basket, but when, Eponine leaves to join Robert in the darkness,
the watchman sees them together. Soon after, he inadvertently makes a
grisly discovery.

A short time later the watchman points out the lovers to the police in a
small cafe and they are arrested.

Across the city, Florence and Claude Lancastre are having a rendez-
vous in his apartment when he gets notification that the court has ap-
pointed him to defend Eponine, who has been charged with Emile’s
murder. Although his new client is penniless, Claude is delighted at the
publicity her trial will bring him.

At the prison he is puzzled by Eponine’s strange, almost disinterested
calm, but finally shakes her with the news that police found 80,000 francs
on Robert when they arrested him.

Before leaving, Claude suggests Eponine attend mass regularly, and is
startled by the sudden flash of cunning in her eyes as she agrees. He meets
Kerstner, another young lawyer, appointed to defend Robert. Kerstner chides
him about having to defend Eponine who “—is not defendable, for you can’t
take that saw out of her hand.”

That night at a party given by Lamorciere and Florence, Claude is
worried by Lamorciere’s interest in Eponine’s defense, lest the distinguished
attorney try to join him in the case and steal the newspaper headlines.

Prior to the preliminary hearing, Claude coaches Eponine carefully, tells

her to forget her first deposition and follow his coaching. As they enter the
judge’s chambers they meet Robert and Kerstner just leaving. Robert averts
his eyes from Eponine’s tender gaze. Claude notices both, is sure Robert has
testified against Eponine and worried lest his client falter in her testimony.
However, she follows the line he has taught her: Emile was a beast, Robert
did the actual strangling. When the judge interposes and reads from her
lover’s testimony that it was she who strangled Emile, she merely says quietly:
“I’m sorry I thought it was Robert.” But, during the hearing Claude is again
surprised at her cunning in showing tender concern for her children, her
casual reference to attending mass. He feels these points have impressed
the judge.

In Monte Carlo, Lamorciere reads in his Paris paper a story, with Claude’s
photo, on Eponine’s approaching trial. He calls the young lawyer and offers
to join him in her defense. When Claude declines his help, Lamorciere is
furious, orders Florence to pack for their immediate return to Paris.

At the scene of the crime, Eponine and Robert are re-enacting their
versions of the murder before the judge, police officers and their own
attorneys, contradicting each other as to who strangled Emile, when
Lamorciere appears. Kerstner announces the noted lawyer has joined
him in Robert’s defense. Coldly ignoring Claude, Lamorciere watches
Robert’s demonstration of how he held Emile, points out that since the
young man’s arms were busy holding Emile he could not have simul-
taneously strangled the old man with the scarf. Belatedly, Claude re-
alizes how much he has infuriated Lamorciere by refusing his help.

At the prison later, Eponine asks to see the Mother Superior. When
Claude sees Eponine, he is startled by her changed attitude. Almost cheer-
fully she agrees to adhere to his plan, reiterates flatly that the murder was
conceived and committed by Robert.

Exasperated, Claude says it is virtually too late to help her now, since
this new version contradicts so much of her first deposition and the story
Robert has told from the first.

Next day the trial opens. Robert testifies Eponine planned and did the
murder, that the police had elicited this earlier admission of complicity in
the murder by brutal methods. When the judge cynically asks Eponine if she,
too, was tortured by the police, she says they were very kind to her and had
not mistreated her.

During her time on the stand Robert screams “Liar” at her. When
Eponine testifies that Robert planned and did the murder, had her buy the
saw and that it was he who used it, the judge points out she is contradicting
her previous testimony. She acknowledges this calmly, proceeds to explain
that after the murder Robert had forced her to vow on her children’s heads
that she would lie to protect him and assume all blame for the crime.

After psychiatrists have testified that both defendants are sane, La-
morciere calls eight character witnesses for Robert. Claude then tells the
court that, although he could call dozens of such witnesses for Eponine, he
will call only one, the Mother Superior of the prison.

Her testimony is brief, but it explodes in the courtroom like a bomb.
Eponine, says the Mother Superior, had come to her the day before the trial
began, asked if it would be a mortal sin to betray an oath, the oath she said
she had given Robert to assume all blame for the murder.

“I believed her,” the good woman states, “so, of course I told her to come
here and tell the truth.”

Lamorciere and Kerstner are stunned, Claude dizzy with his triumph.
Lamorciere requests a recess to confer with Claude, during which he bitterly
concedes the difficulty of his client’s position. He offers to join forces with
Claude in an attempt to get both Eponine and Robert off with relatively light

sentences.

Without hiding his jubilation, the young lawyer agrees, even consents,
condescendingly, to let Lamorciere plead last. They plan the line each will
follow in his argument: Kerstner to point up two miserable people caught in
a trap; Claude to stress on the loving mother, and Lamorciere to conclude
by hammering on the defendants’ lack of education and their overwhelming
passion.

Leaving the meeting Claude encounters Florence, joyfully tells her
they’ve won and his future is assured. Now, he adds, she can leave Lamorciere
and they can be together.

As he leaves her, Lamorciere enters. Florence tells him she loves Claude
and is going with him, but the elderly barrister pushes past her without
uttering a word.

The trial resumes. Kerstner and Claude both follow the plan agreed upon
for their pleas. But, when Lamorciere launches into the final plea. He
ignores the just-made agreement and blasts Eponine in a scathing attack
upon her evilness and deception, and brilliantly pounds home the contradic-
tions in her own testimony, painting Robert as her hapless, innocent slave.
The noted attorney, fired by fury and jealousy, is at his scornful best in his
withering tirade. Too late Claude realizes he and his client have been set
up by Lamorciere for a double cross, and the judge over-rules his feeble
protests.

No one, including Eponine, is surprised at the jury’s verdict. Robert
gets off with a six year sentence. Eponine, however, is condemned to life at
hard labor, a verdict she seems to take better than her young attorney, who
is humiliated and bitter at his defeat.

Meeting Lamorciere in the locker rooms after the trial, Claude
screams angry accusations at him, tells the older man to look at himself
in the mirror. Just as Lamorciere glances in the mirror at his own and
Claude’s reflections, he slumps suddenly to the floor and succumbs to
a heart attack.

Claude meets Florence outside, tells her Lamorciere is dead. A moment
later Eponine and Robert are taken from the building, as the crowd outside
hoots: “lover boy!” and “saw lady”.

Turning, Florence and Claude see Kerstner and a small group emerging
from the building, staring coldly at the two of them together. Suddenly the
lovers cannot stand the scrutiny. As they turn to get away from it, Florence
watches the departing police cars and asks Claude:

“What’s the difference between us and those two? Why aren’t we in
those police cars? Why aren’t they free on the streets?”

There Are Baby-Sitters And Baby-Sitters, But
This One Was Quite A ”Grown-Up Baby” Herself!

Undaihi and (DotmMaiu

Kate and Richard Barry (Anne Heywood and Michael Craig),
after purchasing a home, go on-a honeymoon. Kate is his boss’
daughter. His father-in-law has told him that, as he is losing his
hostess, the job of entertaining the firm’s clients must be under-
taken by them. As Kate is keeping on with her job, her father,
Mansfield (James Robertson Justice), engages an Italian girl, Maria
(Claudia Cardinale), to do the house work while they are honey-
mooning.

“Upstairs And Downstairs”, in De Luxe Color, is
sparkling entertainment that provides continuous fun,
for it not only satirizes the baby-sitting situation, but
also introduces three players who, before
1960 has passed into history, are reasonably
certain of becoming outstanding box office
stars in the domestic markets.

There can be no doubt that, after she is
seen in “Upstairs And Downstairs” and
“Three Murderesses”, Mylene Demongeot
(center at bottom of page), a vivacious, 23-year-old
French actress, will zoom to major popularity here.
The other members of the trio co-starred in “Upstairs
And Downstairs” are Michael Craig, a 30-year-old
Canadian who went to England when 21 and there be-
came a stage and film actor, and beautiful, 27-year-old
Anne Heywood.

From beginning to end “Upstairs And Downstairs”
is a succession of laughs. It was produced by Betty E.
Box and directed by Ralph Thomas from a screenplay
by Frank Harvey. Co-starred, too, is James Roberston-
Justice. In principal roles are Sidney James, Madge
Ryan, Jean Cadell, Barbara Everest, Claudie Cardinale,
Joan Hickson and others.

m M

Anne

f Heywood, architect,
f played by Michael
Craig. She was in-
fected with the act-
ing “bug” w hile
ushering at a Lon-
don movie house,
subsequently won a
“Miss Britain”
beauty contest, be-
gan her career as a
singer. In 1955 she
was signed to a
Rank Organization
contract. She be-
came a film star af-
ter her second pic-
ture and has been
in abnormal inter-
national demand
since then.

On their return from the honeymoon, Kate
and Richard find their Italian housegirl is
entertaining drunken American sailors (Bill
Edwards and Gaylord Cavallero). Maria in-
sists it was all quite innocent, that she was
lonesome, worked hard and could not do
her chores without relaxing. It is obvious to
the newlyweds that they will have to hire
older help to be sure their home will be
properly attended to. However, their troubles
have just begun! But, they are certain that
eventually they will find the right person
for the job.

Their next housekeeper (Joan Hickson) appears a treasure in spite of her
huge sheep-dog. But, when she persists in serving guests while drunk, she is let
go. In time, the Barrys’ first child arrives. Richard goes to Wales for another
girl (right), but she gets train sick and returns home. The Barrys’ next girl,
Ingrid (Mylene Demongeot, below, center), a student from Sweden, is un-
glamorous, unsophisticated and outspoken. When Kate gives a party she asks
advice on make-up. The resulting transformation is breathtaking and soon Ingrid
is dining with all the “misunderstood” husbands, including Kate’s father! She
develops a “crush” on Richard who advises her to marry his American friend
(Daniel Massey) who is in love with him. But, she leaves the latter waiting at
the church and returns to her boy-friend in Sweden.

RECLINING CAPTAIN STARK (ERNIE KOVACS), ‘‘THE WILDEST MAN IN THE AIR FORCE”, LAYS DOWN THE LAW TO (LEFT TO RIGHT) JACK
WARDEN, DICK SHAWN AND ROBERT STRAUSS. INSET: SHAWN FLANKED BY TWO STAR-BOUND CUTIES, MARGO MOORE AND NOBU M'CARTHY.

MERVYN LEROY TOPS HIS NO TIME

FOR SERGEANTS WITH THIS COMEDY

The producer-director who turned out a wacky, ribald jape on the army in the
exceedingly popular “No Time For Sergeants” has obviously done it again! In fact,
there is every reason to believe, on the basis of advance reports from the studio, that
his picturization of Howard Singer’s raucous, riotous, cock-eyed best-selling novel,
“Wake Me When It’s Over”, will register ticket-buyers even more lucratively and for
longer periods of time than did “No Time For Sergeants.”

Mervyn Le Roy, the producer-director who has a fabulous record for turning out
truly great screenplays that have spanned the range of human emotions, including such
memorable “block-busters” as “Tugboat Annie”, “Little Caesar”, “Wizard Of Oz”,
“Quo Vadis”, “Random Harvest”, “Mister Roberts” and others too numerous to list
here, deliberately went out to make “Wake Me When It’s Over” one of his outstanding
entertainments and top “No Time For Sergeants”. Judging from studio reports he has
achieved his objective.

“Wake Me When It’s Over” is strictly for laughs. There is not a single serious
moment in Richard Breen’s entire adaptation. It spoofs Air Force “brass” and reveals an
uproarious story that makes not only “No Time For Sergeants”, but “Don’t Go Near
The Water” as well, seem somber dramas. Certainly it is a substantially more elaborate
production than either of those two service comedies. It has been produced on the
same scale as was “South Pacific”.

To insure that every situation and line of dialogue are perfectly projected on the
CinemaScope screens, for this lavish circus of laughs, in De Luxe color, Le Roy
assembled a group of comedians whose roles were seemingly written by novelist Singer
with their talents in mind. Headlining the cast is the immensely popular Ernie Kovacs
as the captain of the small Pacific island base, “the wildest man in the Eighth Air
Force”. Others: night-club comic Dick Shawn, making his screen debut as the World
War II sergeant who, though officially listed by Washington as killed in action, is
re-drafted and virtually shanghaied into service at a small Pacific island base, Shima,
where he conceives and carries out a scheme to turn the native village into a health
resort and establish a Gl-owned plush hotel; Jack Warden as the base doctor; Robert
Strauss as a top-rated non-com; Don Knotts; Marvin Kaplan and others.

The distaff side of the cast includes two young actresses whom the studio believes
will merit stardom in the not too distant future. They are Margo Moore as a flight nurse
with whom Kovacs becomes romantically involved and Nobu McCarthy who portrays
the delicately beautiful Japanese girl who is Shawn’s inspiration for the conversion of
shabby little Shima into a health resort with the plushiest and most extraordinary hotel
in the Pacific.

EVEN SCREAMINGLY
FUNNIER THAN BOOK

Exhibitors, who read Howard Singer’s best-selling novel and
have been privileged to view a “rough-cut” of Mervyn LeRoy’s
“Wake Me When It’s Over”, are in agreement that the screen ver-
sion, written by Richard Breen, is “screamingly funnier”, as one
of them put it.

The famed LeRoy “touches” and the photographic treatment by
multiple Academy award-winning cinematographer, Leon Shamroy,
with the aid of a carefully selected cast of topnotch comedians and
other actors and actresses, have effected what, from all advance re-
ports of qualified entertainment appraisers, should win an even
greater patronage than the novel’s tremendous readership.

Here is an outline of the screen “Wake Me When It’s Over”:

Gus Brubaker (Dick Shawn), a likable, easy-going ex-Air Force
sergeant in World War II, running a Manhattan bar and grill, is
hounded by his wife to take out GI insurance, which he failed to
buy when discharged. To keep peace in the family, Gus applies for
the insurance, but runs into a complication. While a prisoner of
war, as the result of being forced to bail out over Germany, the
Germans had failed to notify the Allies that they had imprisoned
him. Lacking word about his fate, he was officially listed as killed
in action and his file closed.

When Gus turned up alive at the end of the war, so he could be
discharged, the Air Force issued him a new serial number and
separated him. Gus’ present problem to get insurance is: which
serial number to use. He decides to use the serial number under
which he served just two days. But, to his amazement a short while
later, he is re-drafted. Despite efforts to clear up the mistake, he is
re-inducted and before he can plead his case, he finds himself in a

Continued on page 42

WAKE ME WHEN IT’S OVER continued

Wandering out to the woods Gus (Shawn) meets a delicately beautiful, young
Japanese girl, Ume (Nobu McCarthy), picking tiger flowers. She tells him that, if
he wants to cool the beer he has been soaking in a nearby stream, he had better
move it because he has the beer cans in a hot spring. Gus tests the water and verifies
her statement. Ume tells him that in Japan there are many hotels built at hot
springs and the people there find the baths very healthful. As she talks, Gus’ face
lights up with a monumental idea. Thanking her, but, forgetting his beer, he rushes
off... to sell his buddies on the idea of operating a luxurv hotel! Result? scenes
neiow.

WAKE ME WHEN IT’S OVER Continued

WHAT HAPPENED BEFORE THIS PLUSH HOTEL WAS BUILT AND OPENED BY GI'S, AND SUBSEQUENTLY, MAKE THIS THE SCREEN'S MOST HILARIOUS COMEDY.

GAYEST SERVICE COMEDY EVER MADE

HERE’S OUTLINE OF SCREENPLAY FROM BEST-SELLER

Continued from page 41

tiny Japanese village, Shima, on an island that is a
little more than a speck in the Pacific. There he is
taken in charge by Hap Cosgrove (Marvin Kaplan)
and Sam Weiscoff (Robert Strauss), a top-rated
non-com.

Arriving at the base headquarters, Gus mistakes
Doc Farrington (Jack Warden) for the CO. He tells
Farrington he wants to see the CO about being re-
leased from service. A few moments later Capt.
Stark (Ernie Kovacs), the CO, appears. Gus recog-
nizes the latter as his plane commander during
World War II. Stark is delighted to see him, but
has only a roar of laughter for Gus’ rejoinder that
he wants to get out. So, Gus settles down to a tour
of duty on Shima and is given a “project” by Sgt.
Warren (Don Knotts).

One day, searching for solitude, Gus, in the
woods, meets a pretty Japanese girl, Ume (Nobu
McCarthy). She points out that if he wants his beer
to cool he had better remove it from the nearby
stream, because it is a hot spring. She explains that
in Japan there are many hotels built at hot springs
and that the Japanese find the baths very healthful.
As she talks, Gus’ face lights up. He has an idea,
thanks Ume and rushes off to the base headquarters.

There he outlines his idea to Stark and Doc Far-
rington. He wants to build a luxury hotel on Shima.
Air Force regulations, he explains, permit base per-
sonnel to hold jobs in off-duty hours and the island
is loaded with surplus material they could buy for
10 cents on the dollar. He wants to organize a cor-
poration to build and operate the hotel, with every
GI a stockholder. He wants to build the hotel at the
Shima Hot Springs. His listeners at first think his
idea is ridiculous, but, after he persists and points
out that the mainland is choked with military and
civilian personnel hungry for a place where they
can spend their leaves, Stark and Doc agree to go
into the project.

Gus calls a meeting, outlines his plan that meets

with the men’s prompt and hearty approval. Then
things begin to hum on Shima. The corporation is
formed, with Gus holder of power of attorney. Ma-
terials are purchased, the site selected, the hotel
design completed by a GI architect and construction
about to start. But, Doc discovers the hotel site is
owned not by the Air Force, but the island’s natives.
Gus and Doc head for the native village to right the
situation. Their efforts to open the corporation ac-
count with the local bank, as a gesture of good-will,
gets them nowhere. The mayor will not see them.

As Gus and Doc leave the mayor’s office, they
meet Ume coming in. They explain their predica-
ment, but their hopes are quickly raised again when
Ume informs them the mayor is her father. Through
her they are able to lease the land and use the local
bank. At last, the Shima Hot Springs Hotel takes
shape.

Then, one day, while supervising the unloading
of some equipment at the air strip, Stark is amazed
to see a beautiful blonde flight nurse step out of a
newly-arrived C-47. When Stark identifies himself,
the newcomer tells him she is Flight Nurse Nora
McKay (Margo Moore) ordered to Shima at the
request of Doc and is reporting for duty. Still per-
plexed, Stark seeks o„ut Doc and learns from the
latter that he had asked for Miss McKay because
the fast-rising luxury hotel needed a woman’s touch
in the decorating, etc. Stark likes the idea, and ob-
viously is personally smitten with Nora as well.

Nora goes to work, hiring the entire Shima fish-
ing fleet, some 200 boats, to provide King crab for
the hotel table. When she tries to hire a staff of
hostesses, chambermaids and other female help, she
learns that on Shima one cannot hire a girl to work:
one must “buy” her, an innocent and old island tra-
dition. So, in Gus’ name, she “buys” the prettiest
native girls on the island. She introduces them to
Gus and tells the girls he is “Papa-San”. Among
them is Ume.

With the hotel nearly ready to open for business,
Gus wonders how he and his partners can let the

world know of its existence. Doc has the way: an
old friend, Joab Martinson (Robert Emhart), who
writes on medical articles, is in Tokyo to address
a convention of doctors on “miracle” drugs.

Doc decides he will invent certain health-giving
“properties” for the water of Shima when taken
internally, and convince Martinson* to mention the
water in his speech. Armed with a tiny bottle of
the water, which Doc has fixed up with a pill or
two, he and Gus head for Tokyo. There they meet
Martinson. In response to Martinson’s queries they
explain that they are not certain what the water
does, but there are men on Shima who are in their
late 90’s and early 100’s still having children. Mar-
tinson volunteers to test the water for them and to
base his speech on the Shima hotel and its magic
waters— if they will just tell him where it is, so he
can get more of the water.

Eventually, through Martinson’s speeches and
articles lauding Shima Hot Springs and its health-
giving properties, the hotel begins to boom. Among
the first guests are area commander, Colonel Hol-
lingsworth and his wife. The hotel is now in full
swing, Bikini-clad girls loll around the pool, there
are fireworks displays at night, uniformed waiters

rush around with flaming skewers of shish-kebab
and a staff photographer is busily taking pictures
of guests.

Into this scene returns Martinson to get a little
sun and soak up a little water. As he enters he sees
an extremely old man lead 10 tiny children through
the hotel. Seeing the attractive little chambermaids,
Joab wonders what their duties include. Gus ex-
plains they merely dust, wash dishes, greet people—
“and nothing more”, he stresses to impress Martin-
son. Later, after much water mixed with saki, Mar-
tinson is intoxicated. He sees Stark dancing with
Nora, to whom the base captain has just proposed
marriage. Martinson groggily tries to cut in. When
he obnoxiously persists, Stark levels him with one
punch.

LOUIS JOURDAN

111

■PR

I -

l <

AT THEIR BEST!”

It is the unanimous opinion of 288 show-
men, who have seen “Can Can" at pre-
views in theatres in six different sections
of the United States, that the four stars
and newcomer (Juliet Prowse) pictured on
this page are “at their sparkling best'* in
this Todd-AO musical giant. The co-star-
ring leads: (above, left to right) Frank
Sinatra, Shirley MacLaine and Maurice
Chevalier, and (upper left) Louis Jourdan.

1*1

JULIET PROWSE

AUDIENCE-ACCLAIMED

CAN CAN

1 1

TODD-AO MUSICAL PROVES AN UNQUESTIONABLE ENTERTAINMENT COLOSSUS

The element of speculation in the Todd-AO pro-
duction of Cole Porter’s “Can Can” has been com-
pletely eliminated. That statement is very much in
order on the basis of audience tests in a half dozen
cities where the Jack Cummings production was
“sneak-previewed” in the past month. The previews
were attended by approximately 18,000 ticket-buyers.

Those 18,000 patrons registered their opinions not
only with ovations, but also by the spontaneous ap-
plause at the conclusion of a dozen spectacular
dance numbers, including the famous “Can Can”,
and the vocal renditions of Cole Porter songs by

Frank Sinatra, Shirley MacLaine, Maurice Chevalier
and Louis Jourdan. The entertainment excellence
of “Can Can” was also unquestionably indicated by
the more than 8,000 people who took time to fill
out opinion cards and deposit them in the preview
theatres’ lobbies.

The costliest musical filmed, “Can Can” will run
in the neighborhood of two hours and ten minutes
when it has its world premiere at the Rivoli thea-
tre in New York on March 9. Based on the Broad-
way stage hit, where it ran 894 performances, its
transfer to the Todd-AO screens will have had every

conceivable advantage that talent and money could
buy.

Directed by Walter Lang, who served similarly
on many major successes headed by “The King And
I”, and produced by the man who turned out such
outstanding entertainment triumphs as “Teahouse
Of The August Moon”, “Seven Brides For Seven
Brothers” and “Kiss Me, Kate”, it has been filmed
not only with the stars already mentioned, but also
with a supporting cast and settings assembled on a
basis consistent with an enterprise of its great scope.
Specialists were imported from Paris to add crea-
tive touches and contribute to the lavish tone of

the production. Continued on page 47

Frank Sinatra (left) and Maurice Chevalier
get "Can-Can” off to a sparkling start with
their rendition of Cole Porter’s "Montmart* ”
Later, together, they sing the exceedingly
popular "I Love Paris”, and "Live And

There can be no doubt how Shirley Mac-
Laine feels about her lawyer and lover, Sin-
atra. She vainly tries to induce him to marry
her, so, in an effort to make him jealous, she
announces her engagement to Louis Jourdan.

Shirley taunts Sinatra who accepts the
gesture in a spirit of fun, while Chevalier ap-
plauds. To get revenge on Sinatra she makes
him temporary owner of her cafe, dances the
can-can, and then has the place raided!

Flanked by Shirley MacLaine (left) and
Miss Prowse (right), Sinatra is undecided
whether to respond to a toast. He sings six
songs in this elaborate musical, including two
with Miss MacLaine. He solos "It’s All Right
With Me” and the smart "C’Est Magnifique!”.

SHIRLEY MACLAINE (left) AND NEWCOMER JULIET PROWSE (right) LEAD SPECTACULAR "CAN C P

WHY "CAN CAN" EXHALTS TH :

HOW COLE PORTER'S STAGE HIT HAS GAINED ENTERTAIN*!

For this company “Can Can” represents an investment approximating
$6,000,000. To insure the creation of “the greatest motion picture musical”,
producer Jack Cummings spent months in negotiations to obtain the serv-
ices of outstanding creative and histrionic talent.

Based on the play by Abe Burrows and the music of Cole Porter,
Cummings considered himself “lucky” to obtain, first, the services of
Dorothy Kingsley and Charles Lederer to write the screen play; second,
Walter Lang to direct it; third, choreographer Hermes Pan, cinematog-
rapher William H. Daniels and, more important than all, as box office
insurance, co-stars Frank Sinatra, Shirley MacLaine, Maurice Chevalier and
Louis Jourdan.

To further do justice to the Cole Porter-Abe Burrows’ stage success’
conversion to Todd-AO screen presentation, Cummings signed music spe-
cialist Saul Chaplin as associate producer. Chaplin, on his own, wrote
many popular songs, including “Bei Mir Bist Du Schoen” and “The Anni-
versary Song”, won Academy Awards for collaborating in the scoring of
“An American In Paris” and “Seven Brides For Seven Brothers”.

Dorothy Kingsley adapted such successful vehicles as “Seven Brides
For Seven Brothers”, “Kiss Me, Kate”, “Pal Joey” and others. Her col-

laborator, Charles Lederer, an outst~..di
acquired an imposing list of credits, too.

Choreographer Hermes Pan created 1
capacity on “An Evening With Fred ta
TV “spectacular”. He won also an A 3e
“Damsel In Distress”. Other motion *,«ct
came with “Kiss Me, Kate”, “Pal Joey”,
The costumes worn by the players ii
from hundreds of patrons at the pi< r<
of Irene Sharaff, tops in her field, oi ta
clothes for such stage successes as Roc^re
Drum Song”, Leonard Bernstein’s “Cam
Miss Sharaff’s outstanding achieveme
by the costumes of the Can Can dar rs
to make them as spectacular as pos£ le
on the question of whether the Can C«A i
reasoned that the Can Can as presented
dance was standardized, might have be
1890’s, but is pretty tame in the eyes f

’ JMBER. INSET: (center) MISS MACLAINE AND PARTNER DO SATIRE ON "APACHE” DANCE.

SCREEN MUSICAL COMEDY

tENT STATURE IN CONVERSION TO MOTION PICTURE

n 0 icreen-writer since 1931, has

:IT

958’s television sensation in that
and the latter’s more recent
Award as choreographer for
. _ choreographic achievements
“Silk Stockings” and others,
i “Can Can” came in for praise
;’4 reviews. They are the work
g< ind screen. She has designed
i a__J Hammerstein’s “The Flower
lide” and “West Side Story”,
nt in this picture is represented
aducer Cummings asked her
t ause the entire story hinged
vl_ an obscene dance. Cummings
at Paris’ Bal Tabarin, where the
en considered “naughty” in the
lie morality today. He could

not radically change the dance and still call it Can Can, so he had to find
an answer in the costumes.

So, Miss Sharaff has put the screen dancers in flesh-colored briefs, cov-
ered by sheer, black pantaloons. The effect is startling because the briefs
are not apparent to the casual eye.

Although the basic movements of the Can Can have been traced to
ancient Egypt and other antique civilizations, the dance, as an entity,
appears to have been observed first in Paris about 1830. It enjoyed periods
of popularity and disrepute thereafter, coming to world-wide notice as
the spicy symbol of the “Gay Nineties”. Although the story of “Can Can”
makes the dance illegal in Paris, this is believed not to have been true,
although there were strong moves by reformers against it which led to
riots in which were fatalities. It was banned in London, however.

The chief temple of the Can Can was the Bal Tabarin where Toulouse-
Lautrec glorified it. The dance, as standardized there has five movements
including “The Cathedral” (the arch formed by elevated legs); the “Coupe
des Derrieres” (back view) and one movement of improvisation.

The story of “Can Can” takes place in Paris in 1896, when the Can

Continued on page 58

Until a new j udge, Louis Jourdan, a political op-
portunist, heeds public c lamor. Shir ley MacLaine (right)
and her lawyer, Frank Sinatra (left), operate the suc-
cessful Cafe Le Bal Du Paradis where the can-can
dance is featured, despite reformers* efforts to abol ish it.

Not only her lawyer, with whom she is in love,
but also the presiding justice of a high French court,
Maurice Chevalier (right), relax at the cafe and enjoy
the company of its co-owner and star, Miss MacLaine,

Jourdan, a stickler for law enforcement, orders a
raid by which he hopes to obtain the conviction of the
can-can dancers. Above Miss MacLaine seeks toevad©
the police, but it is a wasted effort. She is arrested.

in the course of the post-raid procedings, Jourdan
becomes infatuated with MacLaine. The wily Sinatra
plays on this emotion and Jourdan*s iron conscience
to secure the release of the outraged dancer.

MOIICEI IT TWO EXHIBITOR-HEADED COMPANIES

SHOWMANSHIP
ATTRACT I ONS

That 20th Century-Fox, with a former national circuit op-
erator as its President and an ex-independent exhibitor as head
of its studio, should have three leading members of the exhibi-
tion fraternity producing showmanship attractions, in Cinema-
Scope, for its release is not surprising. API, which this year will
make 12 showmanship specials is headed by Robert Lippert,
veteran operator of a West Coast circuit. The newly formed
Shergari Corporation, which will produce “The Golden Touch”,
is headed by Frank H. (Rick) Ricketson of Denver, formerly
Vice-President and General Manager in charge of theatre operations of National Theatres, Inc.; Ted R.
Gamble, well-known northwestern circuit operator, and veteran director George Sherman.

API has completed its first five mass-appeal action, mystery and outdoor dramas. They are “Young
Jesse James”, “13 Fighting Men”, “Desire In The Dust”, “Valley Of The Redwoods”, and the star-packed
“Double Indemnity” mystery type melodrama, “The Third Voice”, on which a full report appears on an-
other page in this edition.

ROBERT LIPPERT

44 ^

‘Young Jesse James”, also
fully reported in this edition,
is an ideal showmanship
package, full of action as it
dramatizes the true story of
that outlaw’s youth. Involved
in that attraction are most
of the notorious outlaws who
terrorized a growing West,
including the Cole boys,
Belle Starr and others.

441

T3 Fighting Men” is an-
other original drama, with an
element of surprise, based on
a group of Confederate sol-
diers and their commander
who refused to honor Gen.
Lee’s surrender to Gen. Grant
. . . and went on to create
havoc for both North and
South.

“Valley Of The Red-
woods” is a beautiful, roman-
tic adventure of fearless men
and brave, self-sacrificing
women who endure hard-
ships to help carve out a
peaceful existence in an area
that resists intrusion from
outsiders.

“Desire In The Dust” is
the drama of an impover-
ished group, a story that Lip-
pert describes as “a cross be-
tween ‘Tobacco Road’ and
‘Long, Hot Summer’ ”,

API also has in prepara-
tion for domestic release dur-
ing 1960 such major screen-
plays, in De Luxe Color,
as “Secret Of The Purple
Wreath”, based on a Saturday
Evening Post story; a ro-
mantic, wild animal-jungle
drama, full of action, human
interest and suspense, and
“The Big Show”, a spectacu-
lar circus drama to be filmed
in Copenhagen’s colorful and
famed Tivoli Gardens.

Additionally API is pre-
paring a showmanship
“horror” combination com-
prising “I Am Legend”, based
on a story by R. Matheson
who wrote “The Invisible,
Shrinking Man”, and the ten-
tatively titled “Freak Maker

• y : . . &£

BARBARA EDEN

New Producer

NICO MINARDOS

Two New Stars Debut
In "12 Hours To Kill”

With his tentatively titled “12 Hours To Kill”, John Healy makes his
debut as a feature producer for this company. However, for two others in
this API CinemaScope melodrama it is a first-time appearance as stars. The
new, young stars are Nico Minardos and Barbara Eden.

Minardos plays a European engineer, who, on arriving in the United
States, becomes the sole eye-witness to a murder. The killing had been ordered
by underworld chieftains who demand an unrelenting search by their mur-
derous hirelings to find the witness and put him out of the way before he can
tell his story to a crusading district attorney.

Edward Cahn, who is also the director, collaborated with Jerry Sohl, in
writing the screenplay. Minardos and Miss Eden head a cast that includes
Grant Richards, Gavin MacLeod, Richard Reeves, Russ Conway, Art Baker
and CeCe Whitney.

Neither Miss Eden (no relation to Elana Eden who plays the title role in
“The Story Of Ruth”) nor Minardos is a stranger to viewers of this company’s
vehicles. Miss Eden was featured as Gary Crosby’s sweetheart in “A Private’s
Affair”, while Minardos was the bombastic, young Brazilian who violently
courted Clifton Webb’s older daughter in “Holiday For Lovers”.

A one-time Greek guerrilla hero in his country’s successful defense against
an attempt by Communists to control Greece, Minardos has starred in numer-
ous television shows, including “Adventure In Paradise”, “Five Fingers”,
“Sugarfoot”, “General Electric Theatre”, “77 Sunset Strip” and others.

Miss Eden, a descendant of Benjamin Franklin and pioneers of the West,
was born in Tucson, Ariz. She was educated and brought up in San Francisco.
After a stint with the USO and some Little Theatre acting, she was screen-
tested by several major studios, but nothing came of it. However, she did
obtain an agent, Louis Shurr, who succeeded in getting her a screentest at
the 20th Century-Fox studios for the role in “Peyton Place” that was eventu-
ally assigned to Terry Moore. On the recommendation of drama coach Helena
Sorrell, in August 1957, she was signed by Buddy Adler who changed her
name from Barbara Huffman to Barbara Eden.

"Golden Touch”
First From Two
Famed Showmen!

Shegari Corporation, headed by exhibition
leaders, Frank H. (Rick) Ricketson and Ted R.
Gamble, and director George Sherman, has selected
“The Golden Touch” as its first CinemaScope pro-
duction in color for release by this company. Filmed
in Mexico City, “The Golden Touch” is based on
an original screenplay by Daniel D. Beauchamp.

It will star Richard Basehart and feature Stu
Erwin, Arthur Shield and Rex Allen. Basehart was
for several years under contract to this country. In
recent years, however, he has appeared mostly in
screenplays produced abroad. However, Basehart
is rated one of the finest dramatic actors in motion
pictures.

Before making his film debut in 1945 in “Cry
Wolf”, Basehart had earned a distinguished Broad-
way stage career. He starred in “House On Tele-
graph Hill”, “Fourteen Hours”, “Decision Before
Dawn”, “Fixed Bayonets”, and “Titantic” for this
company. He also headlined with distinction in
“Moby Dick”, “La Strada”, “Reign Of Terror”,
^Tension”, “Stranger’s Hand” and “Repeat Perform-
ance”. Basehart is currently co-starring with Lana
Turner “Portrait In Black”.

Arthur Shields is one of the outstanding char-
acter actor of screen and stage. For this company
he co-starred in “Drums Along The Mohawk”, and
“The Keys To The Kingdom”. He has also head-
lined in MGM productions.

“Rick” Ricketson, holding several master de-
grees from the University of Kentucky and Univer-
sity of Denver, was a reporter for the Kansas City
Star and Denver Post before associating himself
with this industry. His first post was as exploitation
representative for Paramount in the Denver terri-
tory. He launched his meteoric theatre operating
career, in 1924, as President of Consolidated
Theatres and successively served as President of
Fox Inter-Mountain Theatres and Vice-President
and general manager in charge of theatre operations
for National Theatres, Inc.

Ted Gamble, with degrees from the University
of Washington and University of Oregon, started
in the entertainment field as assistant manager at
the Pantages theatre in Seattle. Subsequently, he
held executive posts with the Orpheum vaudeville
circuit and other theatre operations. In 1940 he
formed the Gamble Theatres in Seattle, resigned
in 1942 to become national director of the War
Finance Division of the United States Treasury
Department, but returned at the conclusion of
World War II. He is also head of the Northwest
Television And Broadcasting Corporation.

George Sherman, who is the producer-director
of “The Golden Touch”, started in the creative end
of the industry in 1932 as assistant to Mack Sennett
and become a full-fledged director six years^ later.

Among his better known attractions are “The
Bandit Of Sherwood Forest”, “Sword In The
Desert”, “Comanche Territory”, “Spy Hunt”, “Tar-
get Unknown”, “Steel Town”, “Raging Tide”,
Border River”, “Johnny Dark”, “Treasure Of
Pancho Villa” and “Reprisal”.

"CAN CAN " CONTINUED

SHIRLEY MACLAINE (above) has what is undoubtedly
the most important role of her meteoric screen career:
proprietress, singing and dancing star of a popular Paris
night-club whose Can-Can dance becomes the toast of
entertainment-seekers, but a target for a “blue-nose" group
seeking its abolishment and criminal prosecution of all
participating in the number and the floor show itself.

NEWCOMER JULIET PROWSE
(above), a musical comedy star
from Europe, makes her film debut
in **Can Can r> as Shirley Mac-
Lame’s sister. In the raid scene
(top of page, lower right) Miss
Prewse is futilely fighting a
gendarme trying, and succeed-
ing, to place her under arrest.

CHAOS RULES WHEN POLICE RAID “CAN CAN*' CAFE

THE FUN, THE ROMANCE,
THE SONGS AND DANCES
IN TODD-AO “CAN-CAN"

A finer, nor as talented, a combination of stars could, in
the opinion of showmen, have been assembled than Cum-
mings signed to headline “Can Can”. Frank Sinatra, on to-
day’s market, must be rated at the very pinnacle of the
entertainment world. In virtually every branch of that world
(movies, television, radio, night-clubs and records) he is a
commanding figure.

Shirley MacLaine, originally from the Broadway produc-
tion, “Pajama Game”, has become so popular that all of the
widely circulated pictorial news-magazines, including Life
and Look in this country and France’s Match, have front-
paged her, with lengthy feature stories inside. She has rock-
eted to undisputed major box office power. She won an
Academy nomination for her performance in “Some Came
Running”, and followed that with equally fine portrayals in
“Ask Any Girl” and “Career”.

Maurice Chevalier, who celebrated his 71st birthday and
60 years as an entertainer during “Can Can” filming, is as
potent a box office star today as he was in American-produced
pictures more than a score years ago. Actually, box office
statistics on “Gigi” would indicate he has a greater world
following than ever.

Louis Jourdan is another who scored personally in “Gigi”.

“Can Can” gives promise also of being the “making” of
another star, India-born, South Africa-raised, England-edu-
cated Juliet Prowse, who plays Claudine, Miss MacLaine’s
sister. She was signed for that dancing role at the suggestion
of Choreographer Hermes Pan who Had seen Miss Prowse
dance in a musical in Rome. Actually, before being induced
to sign a contract with this company, she was a musical com-
edy star in Europe and South Africa.

To the aforementioned foursome, producer Cummings
assigned the vocalizing and terpsichorean interpretation of
the Cole Porter music. Porter, it will be recalled, among

Continued on page 58

RUTH HUGS TEBAH (DAPHNA EINHORN) A CHILD TO BE
SACRIFICED TO THE MOABITES’ STONE GOD, CHEMOSH.

ABOVE: PRETTY, DARK-EYED, 20- YEAR-OLD, ISRAELI STAGE ACTRESS, ELANA EDEN, WHO PLAYS THE NAME TITLE IN "THE STORY OF RUTH"

ANOTHER WORLD SEARCH ENDS

GIRL FROM THE HOLY LAND WINS TITLE ROLE IN "THE STORY OF RUTH”

THUS, BIBLICAL EPIC ASSURED COMPLETION IN TIME FOR 1960 RELEASE

After more than a year’s search, producer Samuel
G. Engel and director Henry Koster last Fall found
the young actress to play the name role in “The
Story Of Ruth”. Appropriately enough, the search
ended in the Holy Land, for it was a dark-eyed
beauty, an Israeli stage actress, Elana Eden, who
was assigned the coveted role only two months be-
fore this Easter Week spectacle, in CinemaScope
and De Luxe Color, was scheduled to go before the
cameras.

Elana owes her discovery and film debut to an
earlier, widely different search: for a girl to play
the title part in “The Diary Of Anne Frank”. A nov-
ice drama student then at the prestigious Habima
theatre in Tel-Aviv, Elana was screen-tested in that r
city, in 1957, for the role for which Millie Perkins

was later selected. However, it was that screen test
that served to bring her to the attention of the
studio for its drama about the biblical Ruth, lineal
accentress both of Jesus and of King David..

Elana’s education has consisted of public school,
residence for a time on a Israeli kibutz, or co-opera-
tive farm community, and the conclusion of her
high school studies at the Habima drama school
with which she had been affiliated for three years.
There in her final year she played principal roles
in “The Merchant Of Venice”, “Aristophanes” and
several other vehicles.

Before the studio signed her to seven-year pact,
she lived on a family farm in the little town of
Bat-yam, hard by the ancient city of Jaffe in Israel.
Her father is a landscape gardener. She has a

brother who is a merchant mariner and a married
sister.

Elana had never left the small confines of her
homeland until in September of last year when she
was summoned to London to perform the first of
several tests for the role of Ruth.

Her real name is Elana Lani Cooper.

Coincidentally, another young Israeli actress,
Ziva Rodann, has a featured role in “The Story Of
Ruth”, that of Ruth’s sister-in-law. Miss Rodann, a
curvaceous brunette, however, is deglamorized in
this screenplay written by Norman Corwin.

Misses Eden and Rodann are featured in a cast
hand-picked for each player’s qualification to
measure up to the exceedingly histrionic demands
of the many roles in the story.

Tom Tryon (left) as Mahlon who seals his marriage to
Ruth with a kiss... and then dies. Right: John Gabriel
as his young brother, Chilion, killed by a Moab guard.

THE STORY

OF RUTH

After more than two years’ preparation, producer Sam G.
Engel and director Henry Koster have completed a Cinema-
Scope-De Luxe production, “The Story Of Ruth”, that promises
to be one of the highlights of the 1969 entertainment season.
Based on a screenplay by Norman Corwin, while spectacular in
its scenic backgrounds, this is a poignant, intimate story of a
young woman, who, in Biblical times, gave up a life of luxury
as a priestess in Moab, land of worship of the stone god, Chemosh,
to devote herself wholly to the mother of her husband, who was
murdered, along with his father and brother, because of his love
for her.

Playing Ruth and making her screen debut is Elana Eden,
a report on whom appears on the preceding page. Co-starring
are Stuart Whitman, Tom Tryon, Yiveca Lindfors, Peggy Wood,
John Gabriel, Ziva Rodann, Basil Ruysdael, Jean Inness, Thayer
David, Leo Fuchs and Eduard Franz in a cast of thousands.

So that Dynamo readers may have a full appreciation of the
depth of this intimate story of love and faith, it is herewith
outlined.

Five-year-old Ruth is sold by her impoverished farmer-father
to the priests of Moab so he may feed his other children. Thus,
Ruth and other youngsters are trained in all the rights of Chemosh
worship by the Moab High Priestess, Eleilat (Viveca Lindfors).
When they are letter perfect the High Priest, Hedak (Thayer
David), receives them to make his selection of the child to be
given as human sacrifice to the stone god. After selecting Ruth
a blemish is noticed on the child’s arm. Angrily Hedak reminds
Eleilat a sacrificial child must be without a blemish. She protests
the blemish was not there a moment ago. Little Ruth is crest-
fallen when another child is chosen instead. However, the blem-
ish fades and her plea falls on deaf ears.

Fifteen years later, Ruth (Elana Eden) graduates as a priestess
and is assigned to take charge of that year’s sacrificial child,
Tebah ( Daphna Einhorn). Later when she, with Eleilat and
Tebah, go to a goldsmith’s shop to inspect a crown for the child,
Ruth meets Mahlon (Tom Tryon), his father Elimelech (Les
Tremayne), his mother Naomi (Peggy Wood) and his brother
Chilion (John Gabriel), all Judeans, and Chilion’s wife, Orpah
(Ziva Rodann), a Moabite. The High Priestess is displeased with
the crown, and resents Mahlon’s replies to her questions. She
tells him she feels he doesn’t approve of human sacrifice. He ad-
mits his belief is in a merciful God, and when Eleilat asks him to
show his God, Mahlon replies He is invisible, but is everywhere.

Ruth is puzzled by Mahlon’s beliefs. His parents berate him
for attacking the Moab rites, reminding him that, being Judeans
in the land of Moab, they must be careful. But, Mahlon is too
sickened by the idea of human sacrifice to have any sense of self-
preservation. However, he is pleased it is Ruth to whom he must
bring his crown, for he was immediately attracted by her beauty.

When next Ruth and Mahlon meet, she questions him about

Continued on page 50

STUART WHITMAN HAS HIS MOST IMPORTANT ROLE AS WIDOWED RUTH'S BROTHER-IN-LAW

DIRECTOR HENRY KOSTER REHERSES ELANA EDEN (RUTH, LEFT) AND PEGGY WOOD (NAOMI)

THE STORY OF RUTH CONTINUED

When wounded Mahlon (Tom Tryon), who fell in love with Ruth at virtually first sight,
despite the turbulence of that meeting, tells her he loves her too much to die, she responds that
he must live so they can be married. But, fate rules otherwise and, realizing that he is dying,
Mahlon asks his mother, Naomi, for her wedding ring. He places it on Ruth’s finger, taking
her as his wife, according to the laws of Moses. They embrace and kiss . . . but, suddenly,
Mahlon dies in Ruth’s arms

In this intimate story of Ruth, a rich kinsman is built up as a serious and ruthless rival
to Boaz, who, eventually becomes her second husband.

In the cast appear hundreds of players. Included are some of the most efficient film and
stage character performers: Peggy Woods, Thayer David, Eduard Franz, Leo Fuchs, Basil
Ruysdael, Jean Inness and others.

Mahlon dead, Ruth turns to her now mother-in-law, Naomi, whose own husband and
younger son had been previously killed. She insists Naomi take her along to her old home
across the river Jordan, in Bethlehem. But, Naomi entreats Ruth to return to Moab since
Moabites are not welcome in Judah, and there would be nothing but unhappiness there for her.
It is then that Ruth vows: “Entreat me not to leave you or to keep me from following you, for
where you go, I will go; where you lodge, I will lodge; your people shall be my people, and
your God my God.”

Two young actors, whose followings have been expanding tremendously in the past year,
play Ruth’s husbands. Tom Tryon is the articulate Mahlon. Stuart Whitman plays Boaz, her
second husband. Whitman was chosen for the role despite the eagerness of a half dozen long-
established stars to play it.

Producer Engel and director Henry Koster will be recalled as the team that turned out
the exceedingly popular “Come To The Stable” and “A Man Called Peter”. Koster, incidentally,
was the director of the first motion picture film in CinemaScope: “The Robe”.

The stern Moab High Priest, Hedak, who chooses the child to be
offered as the annual human sacrifice to the stone god, Chemosh.

POIGNANT DRAMA OF
AN EPICAL DEVOTION

Continued from page 49

his beliefs. They are attracted to each other ... an attraction that
develops into mutually conceded love. But, Ruth fears Mahlon
will be seized and killed. Before he goes Mahlon gives her a
charm bracelet he has lovingly made for her, linking tablets
engraved with his God’s laws: the Ten Commandments.

Having heard news of her meetings with Mahlon, Hedak sum-
mons Ruth who confesses she has doubted the ceremony of the
sacrifice and that the young Judean’s talk of his God has con-
fused her. She is admonished to prepare for the exalted honor of
leading Tebah to the sacrifice. But, on the day of the sacrificial
rites she is horrified and dashes away. That night Moabite officers
arrest Mahlon, Chilion and their father. When Mahlon and Chilion
attack a guard who has brutally pushed their father, Elimelach
and his young son are killed. Mahlon is sentenced to the quarries
for the rest of his life.

That night the Hedak, having summoned Ruth, tears the tri-
angular symbol of the temple she has been wearing, cuts her long
hair in token of dismissal and sentences her to a cell where she
languishes in solitude for six months. She is then released, sup-
posedly at the command of the King. With the help of an old
servant, Ruth, dressed in peasant clothes, meets Naomi and Or-
pah and is helped by a sympathetic guard to reach Mahlon at the
quarry. Their escape is almost completed when a guard detects
them, draws a dagger and strikes Mahlon in the back. However,
they struggle to the top of the quarry and drive to a cave where,
just before Mahlon dies, he marries Ruth.

Mahlon buried in a sealed cave, Ruth insists going to Bethle-
hem with Naomi who begs her to return to Moab. “Entreat me
not to leave you”, Ruth replies, “or to keep from following you,
for where you go I will go, where you lodge I will lodge, your
people shall be my people, and your God my God.”

Together, they leave, with their donkeys, for Judah, across the
river Jordan. Meantime, the Moab king and Hedak order an
officer, Sochin (Leo Fuchs), and his men to find Ruth and Naomi
and bring them back.

After finally crossing Jordan, as they approach Judea they
encounter a group of horsemen led by Boaz (Stuart Whitman),
a handsome man with an angry expression. Naomi greets Boaz
as a kinsman of her husband. He warns Ruth that it is not too
late to return to Moab, but she will go only where Naomi goes
and Naomi knows nowhere else to go but her home in Bethlehem.
There Naomi finds her home in ruins. Naomi recalls her hus-
band was unkind to another kinsman, Tob (Jeff Morrow) to
whom otherwise they might turn. But, Ruth suggests they can
live by gleaning.

Boaz finds his interest in Ruth growing. Later, Boaz calls on
Tob to vainly seek his assistance in looking after Naomi and
Ruth. Turned down, Boaz suggests he will provide all the help
they need through Tob, pretending it came from the latter.

Naomi’s farm and home are restored, thanks to Boaz who is
paying the bill, while Tob is playing the gallant benefactor with
Ruth. But, Ruth is eventually to learn the truth. Working on

Continued on page 52

THE STORY OF RUTH CONTINUED

MEMORABLE

SPECTACLE

While “The Story Of Ruth” deals
with the intimate life of a dedicated
and beautiful biblical creature from
the day when, as a mere five-year-

old child she was sold to the priests
of Moab for training as a sacrificial
offering to the stone god to her
marriage to Boaz, her second hus-
band and a Judean kinsman of her
mother-in-law, Naomi, the drama is
unfolded against a spectacular back-
ground. Two such scenes are pic-
tured on this page.

Above: the Moab king and High
Priest visit the quarry where pris-

oners are condemned to perform
hard labor from which few survive.
Below: the High Priest announces
that the annual rites of sacrificing
a child to the stone god, Chemosh,
will begin. This is the beginning of
the sequence in which the Moabite
Ruth rebels, is sentenced to six
months’ imprisonment. She eventu-
ally escapes and joins Naomi in
their journey to Bethlehem.

Ifte

(^plain's Table

What with so many cruise-minded people in the world today, the combination
of a young, handsome captain on his maiden voyage and a flock of beautiful women
—married, unmarried and widowed— tossing conventional behavior overboard in
their quest for husbands, affairs or just fun, a nautical excursion like “The Captain’s
Table” is tailor-made. Filmed in De Luxe Color from Richard Gordon’s novel and
John Whiting’s, Bryan Forbes’ and Nicholas Phipps’ screenplay produced by Joseph
Janni and directed by Jack Lee, this comedy can be exploited as a 12,000-mile mirth-
quake, for that is the distance covered by a luxury liner piloted by a nervous cap-
tain persistently pursued by two older women and a bevy of younger, seductive

lovelies.

“The Captain’s Table” co-stars John Gregson as
the captain, the result of whose maiden trip will deter-
mine whether he is to pilot a luxury liner or go back
to cargo ships; Peggy Cummins as an attractive widow;
Donald Sinden as the cruise-wise First Officer whose
main interest is the opposite sex and Nadia Gray as
the beauty who has set her romantic sights on the

skipper. Continued on page 70

lliilil

Sketched above are the
captain (John Gregson) of the
decrepit tramp steamer and
four of his seductive passen-
gers* on a 12,000-mile cruise,
from Southampton, England,
to Sydney, Australia. It is a
feast of fun and dames. The
captain ran the ship, but the
passengers ran the captain
who could not call even his
cabin his own.

A general view of the few privileged to sit at the Captain’s table on board the cruise ship, Queen Adelaide. Left to
right, around the table, beginning at bottom left: Reddich (Nicholas Phipps), Annette (Rosalie Ashley), Capt. Eggs
(John Gregson), Mrs. Judd (Peggy Cummins), Henry Lomax (John Warner), Gwennie Coke (June Jago), Major Broster
(Maurice Denham) and Mrs. Lomax (Nora Nicholson). "The Captain’s Table” is scheduled for U.S. release in June.

■

-*■>- . ■'

^$|Pi

:» :

■

MARK ROBSON
STANDING THE

(SECOND, RIGHT)
FACT THAT SHE

DIRECTS PAUL NEWMAN AND JOANNE WOODWARD, WHO PLAY HUSBAND AND WIFE, IN A SCENE IN WHICH SHE, NOTWITH-
IS HAVING AN AFFAIR WITH HER FORMER FIANCE, REFUSES TO GIVE HIM A DIVORCE SO HE CAN MARRY ANOTHER WOMAN.

ASTOUNDING DRAMA OF A MAN OF AFFAIRS CAUGHT IN AN EMOTIONAL
CROSS-CURRENT OF HES PERSONAL PASSIONS AND DRIVE FOR POWER

There is agreement among exhibitors and critics,
backed by a public concurrence reflected in consis-
tently increasing patronage of screen vehicles and
plays in which they have appeared, that Paul New-
man and Joanne Woodward constitute one of the
most versatile husband-wife acting teams the enter-
tainment world has known. All of their collabora-
tion as such has been in motion pictures sponsored
by this company.

But, to those who have read Ernest Lehman’s
screenplay from John O’Hara’s novel, Newman and
Joanne Woodward have their best histrionic innings
in “From The Terrace”. This is their third co-
starring screen appearance, their previous ones
being in “The Sound And The Fury” and “Rally
’Round The Flag, Boys”. Moreover, in “From The
Terrace” they play husband and wife for the second
time.

Even before producer-director Mark Robson com-
pleted “From The Terrace”, the studio acquired the
screen rights to John O’Hara’s next novel, “The Man
Who Could Not Lose” which will be published late
this year.

Meantime, Robson, with “From The Terrace”
completed, has activated a year-ahead project to film
a sequel to that O’Hara story. Robson hopes to have

the same principals for his 1961 sequel to the 895-
page novel. Robson and adapter Ernest Lehman
agreed it was not possible to include all of the novel
in a single motion picture.

The present picture takes its leading character
from his return from war service through the early
years of his marriage and extra-curricula laison with
another woman. The sequel will continue with
O’Hara’s story through the enriched man’s govern-
mental involvements in Washington and a conclu-
sion in southern California. When the studio
acquired “From The Terrace”, rights to make more
than one picture from the O’Hara story were
included.

'“From The Terrace” marks Robson’s debut as a
producer. However, his list of directorial achieve-
ments is a particularly lengthy one. He started his
career in motion pictures in the Property Depart-
ment at this company’s studio, in 1932. He became a
director in 1944. His most recent directorial accom-
plishments for this company were “Peyton Place”
and “The Inn Of The Sixth Happiness”. Among
other pictures he directed were “Harder They Fall”,
“Bridges At Toko-Ri”, “Return To Paradise”,
“Bright Victory”, “Edge Of Doom”, “My Foolish
Heart”, “Home Of The Brave” and “Champion”.

In “From The Terrace” Paul Newman portrays
Alfred Eaton, despised scion of a crusty steel tycoon.
Miss Woodward is the wife whom he, through grow-
ing indifference and uncompromising determina-
tion to make five million dollars before he is 40
years old, and neglect, drives her to drink. Not since
her Academy Award winning performance in “The
Three Faces Of Eve” has Miss Woodward had as
intensely emotional and violent a role.

That Alfred Eaton made for himself a life and
career that would unhesitatingly take advantage of
the weaknesses of those who loved and trusted him
seemed logical enough, for, as he advanced from an
unwanted and unloved youth to Navy officer to ruth-
less businessman, he followed in the footsteps of an
embittered father with a merciless hatred of his wife
and son.

Sam Eaton, his father, was a self-made industrial
success, whose fortune assumed fabulous propor-
tions through war profiteering. His only whole-
hearted interest, besides the perpetuation of his steel
empire, was his first son who died of pneumonia.
His son, Alfred, was an “accident” of passion and
made, by his father, to feel unwanted. His wife,
Martha, resigns herself to the industrialist’s increas-

Continued on page 55

LEON AMES, WHO PLAYS A CRUSTY STEEL TYCOON EMBITTERED BY THE DEATH OF HIS FAVORITE SON, BERATES MYRNA LOY, AS HIS DISILLUSIONED NEG-
LECTED WIFE DRIVEN TO DIPSOMANIA, WHEN SHE CONFESSES CARRYING ON A PASSIONATE LOVE AFFAIR WITH A YOUNG, LECHEROUS PHILADELPHIAN.

O’HARA’S MOST POWERFUL STORY

"FROM THE TERRACE” FIRST OF TWO OF HIS EMOTION-PACKED NOVELS
TO BE RELEASED EARLY THIS YEAR AND FOR FILMING LATER IN 1960

Continued from page 54

ing preoccupation with his business and grief over
his son’s death. She finds solace in the bottle and
eventually in an affair with a young, lecherous
Philadelphian.

After the war, Alfred finds nothing has changed in
his family circle. His father is still grieving over his
boy’s death and his mother has become a dipso-
maniac. And, his father still considers him weak.
After ’beating up his mother’s lover, Alfred goes to
New York, helps organize an areonautical company.
He pioves in high society and eventually marries an
heiress from Wilmington, Del. She brings him
higher social position. Her family contributes to his
advancement in the business world. Fate again plays
a timely hand. He rescues the grandson of the head
of a powerful Wall Street brokerage concern. The
grandfather, in gratitude, makes him an executive of
the company. This is the opportunity Alfred sought.

His advance is rapid. His responsibilities mount.
But, success has brought neglect of his wife, Mary.
He becomes increasingly indifferent, and frankly
tells her his career comes before her. Frustrated, she
becomes passionately involved with a doctor who*m

she jilted when she succumbed to young Eaton’s
profession of undying love for her.

Eaton is entrusted with a very important mission
by his company, but it entails spending several
months away from home, a small city in Pennsyl-
vania. While on the mission he meets and falls in
love with Natalie, daughter of a coal mine owner,
and she with him. Notwithstanding the fact that she
knows he is wedded to another, she wholeheartedly
becomes involved in an affair with him. He returns
home, to face a wife who admits her indiscretions
with her former fiance. Like his mother, she, too,
becomes an alcoholic, but she refuses to give him a
divorce when he confesses he wants to marry Natalie.
In the end, however, with the threat of scandal
hanging over both their heads, Mary agrees to the
divorce, leaving him free to marry Natalie.

Co-starred with Newman and Miss Woodward in
this emotionally inflammatory drama is Myrna Loy
who plays Alfred Eaton’s mother. “From The Ter-
race” is Miss Loy’s first co-starring appearance in a
20th Century-Fox production since “Cheaper By
The Dozen” and “Belles On Their Toes”. The 54-
year-old actress, however, has resumed a career that

includes triumphs in many motion pictures, includ-
ing “Arrowsmith”, “Animal Kingdom”, “The Prize-
fighter And The Lady”, “The Thin Man” series,
“The Rains Came”, “The Best Years Of Our Lives”,
“Mr. Blanding Builds His Dream House”, “Lonely
Hearts” and “Meet Me In St. Louis”.

Playing the stone-hearted industrialist, Sam Eaton,
is Leon Ames, a veteran of stage and screen, ac-
knowledgly one of the finer character actors in show
business.

A comparative newcomer to motion picture audi-
ences, Ina Balin, plays the ‘other woman”, the home-
wrecking Natalie in this story of epic loves and
lively infidelities. So pleased is production head
Buddy Adler with her performance that he has
signed her to a long-term contract. She has been a
Broadway stage actress for several years. After play-
ing Ruth in the original stage production of “Com-
pulsion”, on Oct. 13, 1958, she made her screen
debut, playing Anthony Quinn’s daughter in “The
Black Orchid” in which Sophia Loren co-starred.
Miss Balin was born on November 12, 1937.

Barbara Eden, who will be recalled for a fine
performance in “A Private’s Affair”, will play Clem-
mie, the pretty “no-gooder” the first post-World War
girl to whose charm Alfred Eaton succumbs.

man

YOUNG JESSE JAM

Exciting, and in most instances startling, facts are
dramatized with a flair of authenticity that promises pa-
tronage of the CinemaScope production of “Young Jesse
James” by even entertainment-seekers who seldom “buy”
outdoor and action-packed motion pictures.

After more than a year of diligent research, producer
ack Leewood saw through production a story that has all
the ingredients to satisfy every type of moviegoer, plus
the element of surprise. That statement can advisedly be
reported because “Young Jesse James” reveals heretofore
untouched facts regarding the factors that induced the
son of a law-abiding middle-class family of pioneers to
turn outlaw.

Ray Stricklyn, who distinguished himself as the al-

coholic son in “Ten North Frederick”, portrays Jesse
James in this suspenseful drama that brings into the pic-
ture many of the notorious outlaws of his youth, including
his brother, Frank, acted by Robert Dix; Cole Younger,
played by Willard Parker, and others.

William Claxton, who turned out “Stagecoach To
Fury , directed “Y oung Jesse James”, pursuing the out-
law s family life and romance with a young woman who
willingly endured sacrifice after sacrifice in a vain effort
to dissuade him from giving vent to a hatred for law and
order, once he was forced to helplessly stand by and wit-
ness the hanging of his step-father.

Pictured on this page are scenes from an attraction
in which Merry Anders co-stars in a cast whose members
were selected because they had the qualifications to bring
to screen life, authentically, characters whose activities in'
the years before and the decade after the Civil War have
inspired many of America’s best-selling adventure novels.'

Young Jesse James”, while providing consider-
able gunplay, dwells on the effect an illegal killing had
on a family, and the moral breakdown of several of its
members.

Action-P acked Dramatization Of Heretofore
Unknown Facts About A Merciless Killing
That Exploded Into An Era Of Outlawry

A Desolate Tramp To All Who Saw And Met Him, But A Courageous
And Tender Lover To A Woman Who Saw Behind His Mask Of Hate!

Right: Curt Jurgens as
a man without a coun-
try and Sylvia Syms,
as the school-teacher
who finds that be-
hind his mask of hat-
red is a courageous
and tender lover.

Milton Reid as the shaven-
headed, merciless pirate
leader who plans to kidnap
of children. -

a group

Orson Wells as the pompous captain of the
ferryboat M Fat Annie* *, who longs for re-
spectability and bitterly, but vainly seeks
to rid himself of an outcast passenger who
is an affront to all that his soul craves.

Revealing an exciting story of startling originality from a novel by Simon
Kent and filmed in CinemaScope with De Luxe Color, “Ferry To Hong Kong”
is high adventure and high drama played against a background of the China
coast by a cast headed by international stars Curt Jurgens, Orson Welles and
Sylvia Syms.

In the fetid heat of Hong Kong, where this picture was entirely filmed,
three people as different in temperament as they are fascinating in character,
are thrown together by fate, bound together by circumstances, yet finding,
at last, a strange and touching comaraderie.

Jurgens plays Mark Conrad, a man without a country, a piece of human
wreckage shunted back and forth between Hong Kong and Macao, a rogue,
rake and rascal who found a chance to prove hftnself aboard a disreputable
old hulk, a ferry called “Fat Annie”.

Welles plays the captain of the ferry to Hong Kong, at best a hypocrite
and at worst a tyrant, who hated his unwanted passenger Conrad because the
latter was all he despised in a man, but all that he had feared to be.

Sylvia Syms portrays a prim, proper and pretty school teacher who
learned that the best calling card on Conrad was a bottle of whisky. But in
the end she penetrated the mask of the outcast forbidden to set foot on either
side and seemingly destined to travel back and forth on the ferry.

A Lewis Gilbert production, “Ferry To Hong Kong”, produced by George
Maynard, features Jeremy Spenser as a crew member whose payment for cour-
age is death; Noel Skinner as the old engineer and Milton Reid as the pirate
leader Yen, whom the outcast goads him to the point which costs him his
life. Gilbert, not only directed this production, but also collaborated with
Vernon Harris on writing the screen adaptation.

It is aboard the “Fat Annie” that Conrad— vagrant of the Orient, kicked
out of Hong Kong, unwanted in Macao, without passport, without self-respect
—begins to salvage his self respect and realizes there is a future for him. But,
this realization does not come to him until after he falls in love with the
school-teacher and a succession of dramatic events that force him to defy the
captain, (who, incidentally, had won the ferry in a game of cards) and takes
over when a typhoon strikes the ship.

Moreover, it is the unwanted passenger who, when the captain is in-
jured, tends him, keeps the ferry on course. It is also this man lost to the
world and condemned to drift forever who, when pirates board the ferry,
concocts a lethal plan to dispose of their leader and his followers. And, as
the storm-battered “Fat Annie” sinks it is Conrad, who with the grudging
admiration of the captain and happiness of the teacher who almost saves it.

The three principals pictured on this page (Shirley MacLaine
being the recipient of a surprise kiss from Louis Jourdan, left,
and Frank Sinatra pleading her case at the bar of justice, right)
leaped to the height of popularity in 1959. True, they had
achieved fine performances in the prior years, Sinatra and Jour-
dan in particular. But, it was in 1959 that each was popularly
rated “hot”.

Miss MacLaine played the leading feminine role, and with
distinction, in “Around The World In 80 Days”, but she really
became an important star in “Some Came Running” in which
Sinatra, too, proved his histrionic right to the label of being
“the hottest male star in show business.” Later Miss MacLaine
scored personally in “Ask Any Girl” and “Career”. But, in “Can
Can” she has her first singing-danc-
ing role since she, as understudy
to Carol Haney, became a Broad-
way musical comedy star overnight
(when she latter sprained her
ankle) in “Pajama Game”.

Sinatra is admittedly at the very
pinnacle of the entertainment
world, a commanding figure not
only on the screen, but also in tele-
vision, radio with records and in
the night-clubs.

Jourdan, generally considered
one of the handsome and more ro-
mantic men in motion pictures, is
“hot” just now off his performance
in the Academy Award winner, the
musical “Gigi”, in which incident-
ally, the fourth star of “Can Can”,
Maurice Chevalier, also appeared
with brilliant success.

“Can Can” preview audiences have left no doubt that newcomer Juliet Prowse
is headed for stardom in this, her first American-filmed vehicle. Juliet’s father died
when she was three. To keep her child out of mischief, her widowed mother sent
Juliet, at four, to a dancing school in Johannesburg, South Africa. In her teens
this five-feet-eight inch trouper starred in a ballet company. Subsequently she went
to London where she, eventually, became a musical comedy dancing celebrity. Suc-
cessful in England, she moved on to the Continent, being featured at Le Nouvelle
Eve in Paris, then toured Italy, Germany, and, finally, Spain. It was while she was
filling an engagement in Madrid that she came to the attention of “Can Can” pro-
ducer Jack Cummings.

For Jack Cummings And Lang

"Can Can” Is Classed Their
Entertainment Masterpiece!

"Can Can” Dwarfs All Prior
Musicals In Every Segment
Of Sparkling Entertainment

Continued from page 47

many popular songs, wrote the music for such successful Broadway produc-
tions as “Kiss Me, Kate”, “Mexican Hayride”, “DuBarry Was A Lady”, “Silk
Stockings” and “Night And Day”.

Here is the program of songs and those who sing them in “Can Can”:

“Montmart’ ” Frank Sinatra, Maurice Chevalier

“Maidens Typical Of Paris” Chorus

“C’Est Magnifique” Frank Sinatra

Reprise: “C’Est Magnifique” Frank Sinatra, Shirley MacLaine

“Live And Let Live” Maurice Chevalier, Louis Jourdan

Reprise : “Live And Let Live” Frank Sinatra, Maurice Chevalier

“It’s All Right With Me” Frank Sinatra

“I Love Paris” Frank Sinatra, Maurice Chevalier

“Lets Do It” Frank Sinatra, Shirley MacLaine

“Just One Of Those Things” Maurice Chevalier

“You Do Something To Me” Louis Jourdan

All the musical numbers in Cole Porter’s “Can Can” are really dance
numbers as well. However, there are five which must be rated as considerably
more complicated than the rest and these are: “The Garden Of Eden Ballet”,
“Maidens Typical Of France”, “Apache”, “Let’s Do It” and, of course, the
“Can Can”.

Of these, “The Garden Of Eden Ballet”, is the most spectacular. It took
five days to shoot and as best these things can be estimated to cost about
$225,000. The dance features Miss MacLaine, Juliet Prowse and Marc Wilder
with a chorus of 36. It, of course, tells the story of the fall of man and does
so in an extraordinary imaginative fashion both in respect to choreography
and in costuming.

“Let’s Do It” is apt to turn out to be a highly provocative number.
“Apache” is creative satire and “Maidens Typical Of France” is a poem to
feminine derriere.

Preparations for filming of “Can Can” started back in the late Spring of 1954
when this company purchased the screen rights for a sum in excess of $300,000.
However, it was not until 1958 that Jack Cummings brought his independent pro-
duction unit, Suffolk-Cummings, to this company’s studio. He had long been in-
terested in the property and had some specific ideas about converting the story to
the film medium. He “sold” Buddy Adler on letting him have it.

Cummings, working with scenarist Dorothy Kingsley (and later with Charles
Lederer), kept the basic story line of “Can Can”, but departed radically from the
original in the telling of it on the screen. The key character, portrayed by Frank
Sinatra, was not even in the Broadway presentation and other roles in the latter
were eliminated. This adaptation resulted in the deletion of several of the songs
that were sung in the stage production because they were no longer appropriate
to the action. However, Cummings added two other Cole Porter works to cover new
situations. The film version, admittedly, is infinitely simpler in regard to characters
and situations than was the stage hit.

That the producer-Cummings and director Walter Lang combination was ideal
for the transfer of “Can Can” to the screen has been pointed up by public and
exhibitor’s reaction noted at the previews. In addition to “Seven Brides For Seven
Brothers”. “The Stratton Story” and “Teahouse Of The August Moon”, Cummings
converted another Cole Porter musical to the screen, “Kiss Me, Kate.” He was also
associated with the production of such works as “Broadway Melody”, “Girl From
Rector’s”, “Three Little Words”, “The Last Time I Saw Paris” and others.

Walter Lang holds an incomparable record for turning out outstanding musical
successes for this company. His most recent major box office success was “The
King And I”. Others include Rodgers’ & Hammerstein’s “State Fair”, “Tin Pan
Alley”, “Star Dust”, “Coney Island”, “Mother Wore Tights”, “On The Riviera”,
“When My Baby Smiles At Me”, “With A Song In My Heart”, “Call Me Madam”,
“There’s No Business Like Show Business”, as well as “Sitting Pretty”, “Cheaper
By The Dozen”, “Margie”, and “Jackpot”.

Cole Porter’s music and brilliant lyrics have earned for him an everlasting
niche in the world entertainment structure. Among his many Broadway triumphs
that wen on to be fine screen vehicles one must list “Anything Goes”, “Born To
Dance”, “Rosalie”, “Broadway Melody Of 1940” and “Du Barry Was A Lady”.
He also collaborated with characteristic distinction in scoring “High Society.”

William H. Daniels, concededly one of the truly great cinematographers, “shot”
this eagerly awaited musical.

The studio was so pleased with Juliet Prowse’s first performance in her first
American motion picture that it has signed her to a term contract. She will have a
leading singing and dancing role in “State Fair”, which, incidentally, Lang has
been assigned to direct. Two masters in their craft did the set decorations: Walter
M. Scott and Paul R. Fox.

WHY ’ CAN CAN’’
EXHALTS SCREEN

Continued from page 45

Can dance was forbidden. However, through a combination of corrupt
policemen and complaisant judges, it is danced nightly at the Cafe Le Bal
Du Paradis, operated by Shirley MacLaine, Frank Sinatra, Miss MacLaine’s
lawyer and presumably sweetheart, carry on happily until a new judge,
Louis Jourdan, is appointed to the sympathetic court presided over by
Maurice Chevalier.

A stickler for the law. Judge Jourdan engineers a raid by which he
hopes to obtain a conviction of the Can Can dancers. In the course of this
operation. Judge Jourdan becomes infatuated with Miss MacLaine, but
sternly carries out what he conceives to be his duty. The wily Sinatra plays
on this emotion and Judge Jourdan’s iron conscience to obtain Miss Mac-
Laine’s freedom.

Jourdan presses his suit anyway. Miss MacLaine admires him and his
flattered by his attentions, but loves Sinatra. When Jourdan offers to
marry her, she uses it as a lever to obtain the same proposal from Sinatra.
Sinatra refuses, so Miss MacLaine announces her engagement to Jourdan.
Judge Chevalier, feeling that Jourdan is throwing his life away by marry-
ing a Can Can dancer, approaches Sinatra and together they cook up a
plot whereby Shirley will disgrace herself before all of Jourdan’s friends
among the. socially elite. The plot succeeds, but Jourdan is not disen-
chanted. However, Shirley realizes she can never marry without love.
She is determined to be revenged upon Sinatra, though.

Through a ruse, she makes him temporary owner of her cafe, then
dances the Can Can and has the place raided. This puts Sinatra in serious
trouble, because a conviction will result in his being disbarred. In the
end, Shirley cannot go through with it and refuses to give the evidence
that will convict him. Chevalier suggests that members of the court and
leaders of the reform element see a demonstration of the Can Can to
determine whether it truly should be abolished, or the law should be
amended. The decision is that “obscenity, like beauty, is in the eyes of
the beholder.” Sinatra and Miss MacLaine are left cozily debating the
question of whether marriage is the assassin of love.

MAX BYGRAVES, HOLDING BOBBIKINS, WITH SHIRLEY JONES EXPRESS THEIR JOY IN A MUSICAL NUMBER.

FABULOUS “BOBBIKINS!”

A MIRTHQUAKE FOR EVERY AUDIENCE

“Bobbikins”, as Variety’s critic concluded, is an
exhilarating comedy that should steer ticket-buyers to
box offices in family lots. An original story, it is fast-
paced with laughs once a 14-month-old child begins
to pass out fantastic financial lips that dizzingly zoom
his father, just out of the navy, to sudden wealth.

Co-starring internationally famed comedian Max
Bygraves and Shirley Jones as two London music hall
entertainers, “Bobbikins” presents situations that create
almost continuous hilarity, once
the baby shows a fantastic
knowledge of finance.

When things go wrong for his
father and family life is dis-
rupted, Bobbikins takes a hand.

He develops a habit of talking,
but only to his father. The latter,
unable to convince others, in-
cluding his wife. Miss Jones,
that the baby is loquacious, lands
on a psychiatrist’s couch. But,
nothing is solved.

Bobbikins’ talent enriches his
father after they meet the Chan-
cellor of the Exchequer. The
father’s success on the stock mar-
ket rockets him to fame and for-
tune. But, the baby, seeing that
money and success are spoiling
his father and breaking up a
happy home, double-crosses him
with a false tip.

Wiser and happier, the family, cashing in on the
publicity Bobbikins received, return to the stage.

However, before Bobbikins brings about his par-
ents’ reconciliation, an international financial upheaval
is threatened. Moreover, the father, in his success, be-
comes almost involved with a beautiful siren imposed
on him by a desperate stockbroker on the verge of
bankruptcy.

Previews and subsequent reviews by trade paper
critics indicate the delightfulness of “Bobbikins”. The
mouthing of adult dialogue, in the form of stock mar-
ket tips, by a 14-month-old boy, is both a remarkable
job of dubbing, and hilarious. Director Robert Day,
cinematographer Geoffrey Faithfull and art director
Allan Harris put together a riotous comedy that is
warm in its domestic turbulence, extraordinary in story
development and rich with catchy songs.

Max Bygraves, as the bewil-
dered father and ex-sailor who
revels in the fortune and fame
his infant’s tips have brought
him, and Shirley Jones, as the
loving wife who resigns her star-
ring part in a London musical
comedy when her husband in-
sists he will be perfectly capable
of supporting her, only to soon
learn otherwise, are at their best.

In producer Oscar Brodney’s
screenplay, Bygraves and Miss
Jones between them sing four
songs composed by the versatile
comedian and Wilson Stone.
They are “Funny Little Clown”,
“Bobbikins Lullaby”, “Last
Night I Dreamed” and “World
Of Dreams”. Several of them
give every promise of being
popular hits.

In support of Bygrave and
Shirley Jones, her first picture
since “April Love” in which she co-starred with Pat
Boone, appear Colin Gordon as the psychiatrist who
ends up needing the services of one himself; Lionel
Jeffries as the shady stock-broker; Barbara Shelley
as his girlfriend, Charles Carson as the Chancellor of
Exchequer and others. Steven Stocker, a particularly
cute infant, fills the central role of Bobbikins to per-
fection.

To the amazement of his dad, Barnaby,
his infant-son Bobbikins (in cradle) speaks...
and gives him the first stock tip.

A new-made friend, the Chancellor of
the Exchequer, enables Bobbikins to pass
on more valuable money-making tips to his
father.

Refusing to believe her husband’s story,
Mrs. Barnaby induces him to consult a noted
psychiatrist whom he confounds!

His fabulous success on the stock mar-
ket wins Barnaby a partnership in a finance
company. His singer-wife (right) is proud.

When Barnaby’ s wealth begins to attract
women, his wife, though thrilled with her
mink coat present, rebells. ..but all ends well.

45 YEARS YOUNG

-AND GROWING!

Yields Of Progressive Action

We Welcome A New Decade, Not Only With An Awareness Of
Its Opportunities And Responsibility, But Also With A Program
Keyed To Meet The Every Challenge Of A Changing Industry

Continued from page 2

marks the 25th anniversary of the
merger of that company with 20th
Century Pictures, Inc*, to become the
present 20th Century-Fox Film Cor-
poration.

But, this report is not one of hind-
sight, but of foresight, of things that
1960 will bring, and of plans that are
in operation to meet the demands, the
responsibilities and challenge of a new
decade.

Those plans are based on a full
awareness of the considerably changed
world market in which this industry
operates.

The past is touched on only insofar
as corporate achievements of the past
relate to the present and future.

In 1960 this far-flung organization
will definitely make history anew.

Significantly, the record shows that
in time of stress, within and outside
the industry, this company has made
its best strides forward.

Economic, sociological and other
changes have had and continue having
an unprecented influence on the status
of motion picture entertainment. No
longer is movie-going a habit. The me-
dium is in greater competition not
only from free entertainment supplied
by television, but other factors as well.

Today, according to U.S. government
statistics, 91.4% of the homes in the
domestic market have television sets.

Hence, while this company will
this year continue to utilize every
communications medium to sell its
pictures to the public, it will invest
substantially more, both on the na-
tional and local levels, in television
exploitation of its wares. It will
spend more also in radio advertising.

Today, pleasure automobile own-
ership reportedly is 53% greater
than 12 years ago. This means a sub-
stantially greater driving population.
Thus, this company will spend more
this year on outdoor advertising and
other means to reach those itinerant
millions.

1960 also will find this company in-
itiating an intensive drive to accelerate
family patronage of theatres by offer-
ing at least one picture per month with
potent family appeal.

The record proves conclusively that
the contemporary, discriminating pub-
lic will patronize motion pictures of
merit in larger numbers for longer
periods of time than ever.

This company’s 1960 comprises
by far the largest number of “block-
busters” it ever offered in any past
year in its history.

Moreover, it will release more
feature attractions than ever, thus
guaranteeing a continuous flow of

CLARENCE A. HILL
Branch Operations Director

product to every type of theatre
operation.

It will continue to develop new
talent in every segment of picture-
making.

But, ambitious as are its plans for
this 45th anniversary year, this com-
pany is planning beyond 1960. It will
not rest on its laurels of either past or
present accomplishment.

The company that, in the early 1930’s,
introduced sound-on-film, and the first
theatre wide-screen (grandeur), and 23
years later brought about the prevail-
ing CinemaScope era, has further ad-
vancements that will benefit not only
it, but the world industry as well.

The world industry’s transition to
CinemaScope in less than seven years
has been acknowledgedly phenomenal,
because the anamorphic system has be-
come the virtual standard for film pro-
duction and exhibition.

Today 58,007 throughout the
world are equipped to present Cine-
maScope attractions: 16,224 in the
United States, 1,452 in Canada and
40,331 in the rest of the world. Con-
version to CinemaScope, both in pro-
duction and exhibition, is spreading,
too, in the U.S.S.R.

But, popular acceptance of Cinema-
Scope, while gratifying, is enabling
this company to accelerate research for
establishment of other advancements
to promote a continuing increase in
motion picture theatre patronage.

For the past four years, under
Mr. Skouras’ sponsorship, scientists
and electronic engineers have been
perfecting another medium that
showmen eagerly await: Eidophor,
theatre -large -screen -television — in

De Luxe Color. Progress on its per-
fection has reached a stage where it
can be reported that its trade demon-
stration will take place in the not
distant future, Mr. Skouras states.

Another indication of this company’s
unlimited confidence in the future of
this industry: streamlining of its dis-
tribution and merchandising facilities,
and procedures.

Clarence A. Hill, manager of branch
operations, has been supervising a pro-
gram of adjusting the physical phase
of film distribution to the requirements
of a changed market. He has super-
vised the construction of new branch
buildings in 16 domestic distributing
areas, set up two sub-stations and nego-
tiated long-term leases for other ex-
changes. This program of moderniza-
tion has embraced every territory.

To further reinforce the earning
capacity of this company Mr.
Skouras has led it into many diver-
sified fields, some allied with the
entertainment industry and others
outside that area of business activity.

Today on the payrolls of its 201
sales branches — 38 in the United
States and Canada plus sub-offices
at Butte, Mont., and Newfoundland
in the Dominion, 171 throughout
the remainder of the world — of its
production centers here and abroad,
and diversified operations, there are
more than 18,000 daily employees.
These speak 87 different foreign
languages and dialects, in addition
to English.

Operating on a global scale are these
subsidiary companies:

20th Century-Fox International and
20th Century-Fox Inter-America Cor-
porations, of which Murray Silverstone
is President.

Movietonews, Inc., which produces
Movietone News in seven languages,
CinemaScope short subjects, United
Press-Movietone Television News a$
well as industrial and government
films. W. C. Michel is President and
Edmund Reek Vice-President and pro-
ducer of Movietonews, Inc.

De Luxe Laboratories, Inc., with
plants in New York, Hollywood and
Chicago, with Alan Freedman (who,
incidentally, is this year celebrating
his 45th anniversary with the organiza-
tion) as President.

20th Century Television, Inc., pro-
ducing and distributing television ve-
hicles for the world market, with Peter
Levathes, President.

20th Century Record Corporation,
manufacturers and distributors of re-
cordings and music in all forms, with
Henry Onorati, President.

In addition to Movietone City in

Westwood, Cal. (which, incidentally,
is the first plant expressly built for the
production of sound-on-film attrac-
tions) this company also maintains
filming facilities at its original Coast
studio on Western Avenue in Holly-
wood, Movietone News studios in New
York and the Century Ranch, for out-
door “shooting”, situated 31 miles from
Movietone City.

It also maintains a producing organi-
zation in England, operating under the
supervision of Vice-President Joseph
Moskowitz with Robert Goldstein its
managing director.

It has theatre operating interests in
England, South Africa, Israel, Austra-
lia, New Zealand and Holland.

It owns and operates Station KMSP-
TV in the Minneapolis-St. Paul, Minn.,
area, with Donald Schwartz its operat-
ing head and President.

It maintains, too, a studio at Johan-
nesburg, South Africa, for the produc-
tion of theatre entertainments and in-
dustrial subjects in the Afrikaan lan-
guage.

Its other South African holdings in-
clude the internationally famed Bos-
well Circus, legitimate theatres and
plays, a catering organization, concert
and operatic presentations and other
operations outside the amusement field.

Last year 20th Century-Fox acquired
a large interest in Todd-AO.

The company also has oil and na-
tural gas interests in California.

In the television field, under the
supervision of Peter Levathes, 20th
Century-Fox Television, Inc., in the
very short time it has been in opera-
tion, has been making what leaders
in that industry consider “amazing
progress.”

Movetonews, Inc., this year will be
the beneficiary of the considerable in-
crease in revenue anticipated from aug-
mented manufacture of industrial films.
Plans for a substantial expansion in this
motion picture production field are
now in operation.

Buddy Adler, executive head of pro-
duction, in 1958 produced the enor-
mously successful musical, “South Pa-
cific”, in Todd-AO. Jack Cummings
has completed Cole Porter’s “Can Can”
in Todd-AO, to be publicly presented
on a road-show basis this year.

For the future Mr. Skouras has an-
nounced at least one Todd-AO produc-
tion per year. “The Greatest Story Ever
Told”, to be put in production late this
year by George Stevens, and Adler’s
tentatively titled “John Brown’s Body”,
being prepared for filming in the Sum-
mer by director Joseph Mankiewicz
who is also supplying the screenplay,
are the next Todd-AO attractions.

■ ' V . '■ • 1 ,v;;. // 'V-: ’■© ■ . - / ...

COMING To Enrich Motion Picture Theatres Everywhere: EIDOPHOR

Marilyn Monroe (above), star of an
off-Broadway musical, pictured at
left with Yves Montand, the billion-
aire, and (right) singing ”My Heart
Belongs To Daddy”. Other head-
liners are Tony Randall, Frankie
Vaughan and guest stars, Frank
Sinatra, Milton Berle, Gene Kelly.

No motion picture in which Marilyn Monroe has appeared has been
subjected to the vast preparation as has Jerry Wald’s production of
“Let’s Make Love”. Formerly titled “The Billionaire”, this star-packed
vehicle is based on an original comedy by Norman Krasna.

In CinemaScope and De Luxe it will be directed by George Cukor
and produced on an even more lavish scale than “Gentlemen Prefer
Blondes” and “How To Marry A Millionaire.” Today’s “hottest” screen
star, Marilyn will play a chorus girl who becomes romantically, and
financially, involved with a fabulously wealthy, eccentric, young tycoon
from continental Europe.

Playing the billonaire is the versatile, internationally popular singer-
actor, Yves Montand (left), who recently appeared on the Dinah Shore
television program and whose one-man show in this country has brought
him a deluge of superlative praise from public, showmen and critics.
The role has been tailored to his multiple talents. In “Let’s Make
Love”, smitten by the glamorous chorus girl, he becomes involevd in
the production of a Broadway musical based on his life and fantastic
business success. A bit stage-struck himself, he offers to finance the
production, but in so doing uses his influence to swing the stage char-

TONY RANDALL, MILTON BERLE, YVES MONTAND

Continued on page 64

LET’S MAKE LOVE CONTINUED

Right: the internationally popular
singer-dancer-actor, Frankie Vaughan,
not only competes with Yves Montand
vocalizing, but also for the favors of
Marilyn Monroe in “Let’s Make Love”
in which Tony Randall (left) co-stars.

After Yves Montand made his American debut in his one-man show, labelled
“An Evening With Yves Montand”, at Henry Miller’s theatre in New York in
mid-September last year, stage, film, television and radio producers vied with
each other for his services.

France’s outstanding male entertainer has since that Broadway debut been
recognized on this side of the Atlantic as “the greatest all-around European per-
former to come to this country”, as
critics in New York, Chicago, Los
Angeles and other American cities
where he has appeared in his one-
man show, have wholeheartedly ap-
praised his many talents in the past
four months!

Every studio sought to sign him.

He has been deluged under an
avalanche of offers from Broadway
producers, too. A TV network has
offered to star him in a show of his
own, offering, as inducement, a
fabulous life-time contract. He per-
sonally and his manager have read
more than a score of plays and
screenplays, turning them all down.

But, it has remained for this com-
pany to sign him to appear oppo-
site inimitable Marilyn Monroe in
“Let’s Make Love”. He will portray
the role originally scheduled for
Gregory Peck, but now tailored to
his multiple talents, for he can act,,
sing, dance and mimic.

A discerning French critic last
year wrote that “Yves Montand is
the heart and hands of our time.”

Another reviewer said that “if
Trener has the sound and Maurice
Chevalier the charm, it is Montand
who has the soul.”

In his one-man show, which has
been presented to capacity audi-
ences that, in most cases, required
engagement extensions to meet the
ticket demand, Montand employed
a minimum of scenery and very
few props: a derby, wide-brimmed
cowboy’s hat, cane and umbrella.

Each of his songs is a carefully
worked out performance embrac-
ing dancing, gesture, acrobatics and
juggling. His attire (see right) has
always been the same and is con-
sidered his trade-mark: brown shirt,
open at the neck and slacks.

The tour, now completed, is his
first visit to the United States. Here-
tofore, he has been known to Ameri-
cans only through his recordings
(which Columbia Records makes and distributes in this country), through his
graphic performances in such French films as “Wages Of Fear” and “Witches
Of Salem”, and through reports of Americans who have seen him perform in
various European countries.

Not only through his stage one-man show presentations, but also through
a series of guest-star appearances on a half dozen network television shows,
millions of Americans have seen him and are well aware of his versatility as
an all-around entertainer of rare charm.

So that readers may understand the reason behind the elation over the
casting of Yves (pronounced “Eves”) Montand to portray the continental
“billionaire” opposite Marilyn Monroe in “Let’s Make Love”, Dynamo here-
with reprints the conclusions of a Variety critic:

“Yves Montand is one of those performers whom audiences can’t resist.
Little known in the U. S., but a great favorite in Europe, he’s a charming, relaxed

and immensely talented French-
man of such extraordinary versatil-
ity that he seems like a combina-
tion Danny Kaye, Ray Bolger and
Maurice Chevalier. He’s a phe-
nomen of sorts. Those who see him
will come away congratulating
themselves on having ‘discovered’
a great, new personality. There’s
plenty of room at the top of the
entertainment ladder and Yves
Montand’s got all it takes to get
there.”

He was born in Monsummano,
Oct. 13, 1921, the youngest child of
a family of Italian peasants. He was
only two when his family, in flight
from the excesses of Mussolini,
moved to the tough harbor district
of Marseilles, France. There Mon-
tand spent his next 20 years.

Forced to leave school at the
age of 11, successively he was a
waiter, barman, factory laborer and
apprentice hair-dresser. Due, in
part, he says, to his exposure to
American motion pictures, Montand
had an urge to perform when still
in school. His first public demon-
stration was on a platform in the
public square near his home, an al
fresco incubator for fledglings.

Montand was 18 when he made
his professional debut at the Al-
cazar theatre in Marseilles, his offer-
ings made up of Trenet’s “C’est La
Vie”, “Qu’va” and “Bourn”, an imi-
tation of Donald Duck, a song of
Maurice Chevalier and another of
Fernandel’s. Thereafter, he ap-
peared sporadically in small Music
Halls and suburban movie houses.
In between he worked on the Mar-
seilles docks as a longshoreman.

The Allied armies were in Caen
when Montand arrived in Paris
in 1944. Almost immediately he
wangled a booking at the ABC
Music Hall. His act immediately
followed that of the star and closed
the bill: in Paris, as in this coun-
try, an unfortunate position since audiences tend to reach for their coats and
rush to the exists once they have heard the headliber. But, the voice and per-
sonality of the newcomer arrested their flight, and they remained to give him
an ovation at every performance. He supplemented his meagre income of 1600
francs a week by after-hour performances in small cabarets.

While singing at the Moulin-Rouge he met Edith Piaf whose encouragement
whetted his ambition. His first great triumph was made at Paris’ Theatre de
l’Etoile. In 1945 he made his screen debut in Piaf’s “Etoile San Lumiere.

HE’S SENSATIONAL- AND MARILYN’S GOT HIM!

MEET THE PERFORMER WHO CAN DO EVERYTHING: YVES MONTAND

■■I

TUESDAY WELD

BING CROSBY’S COLLEGE CHUMS

Pictorially flanking Bing Crosby (above) as the eccen-
tric, middle-aged millionaire, who goes to college to “learn
about things in life that money cannot buy”, are three of
his room-mates and two of the several ladies of varying
ages who indirectly induce him, in four years, to develop
a new philosophy about human beings in general. Screen-,
play is from an original story and introduces a group of*
new songs.

MIDDLE-AGED MILLIONAIRE, BORED WITH SUCCESS AND
HIS FAMILY, GOES TO COLLEGE TO LEARN ABOUT LIFE

There can be no doubt in the minds of anyone
who has read Garson Kanin’s screenplay, based on
his original story, that “High Time” should be one
of the major screen entertainment successes of 1960!

In the first place, Bing Crosby, who has appeared
in many outstanding box office successes in the past
more than 25 years he has been in motion pictures,
is authority for the statement that this is the best
story with which he has been associated “in many
years”.

Crosby, who won an Academy Award in 1944 for
his performance in “Going My Way”, plays a role
ideally suited to his histrionic and singing talents.

Charles Brackett, who turned out “The King And
I” and more recently “Journey To The Center Of
The Earth”, is producing, and Blake Edwards, who
megaphoned the popular “Operation Petticoat”,
is the director of “High Time”.

Garson Kanin has written many outstanding screen
successes over the past 23 years including “A Double
Life”, “Adam’s Rib”, “Born Yesterday”, “The Mar-

rying Kind”, “Pat And Mike”, “It Should Happen
To You” and “Teacher’s Pet”.

“High Time” tells the story of a middle-aged,
self-made multi-millionaire who, at a time in life
when most men consider retirement, goes to college.

Obviously his presence at college is a puzzlement
to students younger than either of his two own off-
springs. But, as time goes on he not only endears
himself to the students, but, on commencement day,
delivers a moving valedictory that in all probability
will be rated as constituting his “finest hour” on
the screen.

The valedictory provides the reader with an ex-
cellent idea of the warmth and depth of the story
Kanin has written. It is delivered at the climax of
the screenplay, a sequence that perfectly summarizes
the millionaire’s four years at college where, among
other things, he, a widower, finds an inspiring com-
panionship and love in his French teacher of lit-
erature. Here is the text of the valedictory.

Continued on page 64

■
M

RICHARD BEYMER

BARRIE CHASE (left)
returns to the screen in a
role tailored to her danc-
ing and histrionic talents,
in “High Time”. Since she
scored a personal triumph
in “Mardi Gras”, Miss
Chase has gone on to win
an enormous following via
her superb dancing in two
Fred Astaire television
“spectaculars”. She is un-
der contract to the studio
and will also be co-starred
later in “State Fair” and
“Solo”, according to the
studio’s present plans.

NEW YOUNG STARS IN "HIGH TIME”

Continued on page 6 3 ££

MARILYN MONROE TO
SING AND DANCE IN
“LET'S MAKE LOVE”

Continued from page 61

acterization of himself more in his favor.

Unquestionably, this is the most ambitious mo-
tion picture undertaken by Jerry Wald. Not only
has he provided a custom-made role for fabulous
Marilyn Monroe and succeeded in securing the
services of Yves Montand, whom critics and show-
men rate the “No. 1 new personality to appear on
the American stage in 1959”, but he has assembled
also a cast of brilliant, supporting stars. Tony
Randall, for instance, plays the “billionaire’s” press
agent.

Additionally, “Let’s Make Love” will present
such guest-stars as Frank Sinatra, Milton Berle,
Fred Astaire and others of that stature.

Moreover, Miss Monroe will sing five songs,
three of them new ones: “Let’s Make' Love”, “In-
curably Romantic” and “Specialization”, whose
music and lyrics have been provided by James Van
Heusen and Sammy Cahn, respectively. This Acad-
emy Award song hit-writing combination has either
as a team or in association with others written an
extraordinary number of popular melodies, includ-
ing, for instance: “Three Coins In The Fountain”,
“I’ll Walk Alone”, “April In Paris” and “Swing-
ing On A Star”. Together their more recent works
were the numbers sung in “Journey To The Center
Of The Earth”, “Holiday For Lovers” and “Say One
For Me”.

Miss Monroe will also sing Cole Porter’s “My
Heart Belongs To Daddy”. Her role calls, too, for
her to give imitations of Marlene Dietrich, Marlon
Brando, Elvis Presley and Zsa Zsa Gabor.

Another stroke of good fortune came when Wald
was able to sign veteran film-stage director George
Cukor to assume directorial responsibility for the
picture. Cukor’s career as a stage director started
back in 1920 on Broadway. Eight years later he
transferred his directorial allegiance to Hollywood
where in the past more than 31 years he has turned
out large number of box office successes.

Among his more successful motion pictures, that
have deservedly brought Cukor the distinction of
being, for many years, one of the outstanding di-
rectors in this industry, one must list “Wild Is The
Wind”, “Bhowani Junction”, “A Star Is Born”,
“Adams’ Rib”, “Little Women”, “Born Yesterday”,
“Dinner At Eight”, “Philadelphia Story” and the
“Royal Family”.

The new Marilyn Monroe has become not only
one of the “hot” screen stars, but has gained con-
siderably in histrionic stature in the eyes of show-
men, critics and public. Her most recent personal
triumph was in last year’s comedy, “Some Like
It Hot”.

It was under the expert sponsorship and pro-
motional activities of this company that Miss
Monroe attained tremendous universal popularity
as a film star. Among her personal successes in
this company’s attractions must be listed “Bus
Stop”, “Seven-Year Itch”, “There’s No Business Like
Show Business”, “How To Marry A Millionaire”,
and “Gentlemen Prefer Blondes.” She also co-
starred with Laurence Olivier in “The Prince And
The Show Girl”.

Tony Randall made his motion picture debut
in this company’s production of his Broadway hit,
“Will Success Spoil Rock Hunter?”. More recently
he has starred on network television programs. His
last screen appearance for this company was also
in a Jerry Wald production, “No Down Payment”.

►

NINA SHIPMAN (right) is one of the dozen
new, young starlets— graduates of the 20th Century-
Fox Studio Talent School— who have been cast in
principal roles in the Bing Crosby starring vehicle,
“High Time.” She plays Bing’s snobbish daughter.

A newcomer, Angus Duncan, plays her brother.

►

“Fellow classmates and friends: ‘How unfor-
tunate that youth should be given to the young.’
Bernard Shaw said that. I wonder if he was
right? Is youth given to any of us, or do we
take it? Does age overtake us, or do we overtake
it? Can the long, cruel, oldest and bitterest of
wars — that one which is fought everlastingly be-
tween the young and the old — ever be ended?
It is never too late to learn? Can old dogs be
taught new tricks? I don’t know.

“But, because I wanted answers to these ques-
tions, and to many others, I came here four

years ago. For a while I was an odd duck, but
this class was so full of odd ducks that pretty
soon it didn’t seem to matter.

“Everywhere in these halls and in these hills I
found a warmth of friendship and a depth of under-
standing I hardly knew existed.

“For 1,458 days I worried about this day, and all
at once here I am. I have a daughter. When I told
her that I had made it, she said to me: ‘It’s a
miracle’!

“In a way, I suppose it is a miracle. Sometimes
miracles happen, but more often they are made of
will and imagination, and faith and hope, to say
nothing of sweat, or, maybe the valedictorian should
say, perspiration.

“Having made this miracle, the question
naturally arises: was it worth making? Who
knows? It’s too early to tell. My son said to me
when I began, ‘What are you trying to prove?’
I couldn’t tell him then, but today maybe I can.
I was trying to prove, not to him, nor to the
world; but, only to myself I was trying to prove
that I’m not dead yet.

“I was trying to prove that age isn’t a matter
of years, but of zest. I was surprised to find out
around here how many young fogies there are!

“Isn’t every waking day a lifetime, and isn’t
every sleeping night a death? Isn’t the human
race a youngster after all?

“I came here — I admit it — looking for my
youth. But, instead I found something better.
I found my life!

“And, as I was led gently through the exalting
world of thought and science and feeling, I learned
that man’s struggle to better himself, to better his
lot, to better all about him, was and is noble and
worthy . . . and I learned that, if there is anything
which a man cannot achieve by himself, he should
not hesitate to join with someone else.”

Crosby plays K. C. Moon, an Oklahoman, who
has come a long way since he hitch-hiked his way
to California at 16, found employment there as a
“soda-jerk” and eventually became the owner of a
chain of 1,434 road-side soda fountains and sand-
wich shoppes.

But, in dedicating himself to building the busi-
ness, Moon indulged in no relaxation. He felt that,
while he was a success at money-making, he knew
nothing about the “worthwhile things that money
could not buy.” All he could personally show for
his success was unhappiness and boredom. A lonely
widower, he had nothing in common with a 27-year-
old son with an exaggerated air of sophistication
and a 24-year-old daughter, a born snob.

So, in his mid-50’s, Moon decides and goes to
Stanford College to “learn the facts of life”. He
shares a room at college dormitory with three stu-
dents: 18-year-old Gil Cuneo (Fabian) from Los
Angeles, 18-year-old “Pi” Veerasawamy (Richard
Beymer) and 19-year-old Robert Bannerman (Barry
Coe) of Tampa, Fla.

Others with whom he becomes particularly chum-
my during his four years at college are Tuesday
Weld, Barrie Chase, Kenneth MacKenna and others.

Barry Coe has been steadily climbing up the
ladder of stardom since his sterling performance in
“Peyton Place”. Richard Beymer will be recalled
as the young man who became romantically involved
with Anne Frank in “The Diary Of Anne Frank”.

Tuesday Weld, a beautiful youngster with an elec-
trifying personality, is one of the screen’s most
promising, new stars.

Treated in a light vein, but dramatizing the de-
termination of a self-made multi-millionaire who
neglected his education for belated enlightment in
the autumn of his life, “High Time” spans the range
of human emotions.

Nicole Maurey, the charming French stage and
screen star, plays Helene, the foreign languages
teacher with whom Bing falls in love. One of the
lovelier actresses to come to these shores from
France, Mile. Maurey and Crosby are no strangers.
She appeared opposite him three years ago in “Little
Boy Lost”, produced by William Perlberg and
George Seaton and released by Paramount.

Crosby sings several new numbers, singly and
with Fabian. Songs, too, are sung by lovely Tues-
day Weld as the flirtatious co-ed who tries vainly
to make love to a man old enough to be her father.
Barrie Chase, along with other students, leads sev-
eral numbers and has a far richer, opportunity-
packed role than she so brilliantly enacted in
“Mardi Gras”.

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VIOLENCE IN THE TENNESSEE VALLEY. LEE REMICK (ABOVE ON THE FERRY) VIEWS
GARTH ISLAND FIRE. RIGHT: THREE DRAMATIC SCENES FROM ELIA KAZAN PRODUCTION.

WILD

AN 80-YEAR-0LD GRANDMOTHER AND A WIDOWED GRAND-DAUGHTER LEAD
A COMMUNITY FIGHT TO HOLD LAND THEY CONSIDER THEIR BIRTHRIGHT

To stop the devastation, waste and loss of life caused by a treacherous stream at flood, the Congress
of the United States, on May 18, 1933, authorized the Federal Government to purchase all the land in
the course of the Tennessee river for the construction of a series of dams at chosen points along it.

But, Congress did not envision the violence that might result in governmental appropriation of the
required land. In some isolated, small communities Tennesseeans considered the land, on which they
and their ancestors had lived for so long, their birthright.

Such a community was Garthville, Tenn. And particularly resentful of the authorization act of Con-
gress was an 80-year-old grandmother, Ella Garth. To persuade her to sell her Garth Island farm to the
government, the Tennessee Valley Authority sent a special agent. She had become the valley’s only hold-
out. But, the agent and his superiors reckoned without thought that the reluctance of the grand lady of
Garth island to bow to government pressure could stir up an entire community, which it did.

The story is a romance told against the changing social conditions brought about in the South by the
huge TVA water and power complex. The girl is a southern traditionalist and the agent a dedicated
engineer.

The foregoing is the background of Elia Kazan’s production, “Wild River”, Paul Osborne’s screen-
play based on two novels: William Bradford Huie’s “Mud On The Stars” and Borden Deal’s “Dunbar’s
Cove”. Co-starring in this powerful drama are Montgomery Clift as Chuck Glover, the TVA agent from
Washington; Lee Remick as the 23-year-old grand-daughter, Carol, widowed mother of two children, and
Jo Van Fleet as the grandmother.

Others playing principal roles in this CinemaScope production in De Luxe Color are Albert Salami,
lay C. Flippen, James Westerfield, Barbara Loden, Frank Overton and Malcolm Atterbury.

Producer-director Elia Kazan and a large company, for their 43 speaking roles in “Wild River”,
spent several months in the Tennessee Valley, headquartering at Cleveland, Tenn., filming outdoor se-
quences. There, in the heart of the TVA project, hundreds of natives were pressed into service. A small
town was constructed for production purposes.

In his quest for understanding, the TVA agent encountered human problems that seemingly were be-
yond the well-intentioned understanding of Washington. He battled bigotry in its worst forms. And, he
had to overcome community belief that its way of life was in jeopardy. But, most difficult of all was the
agent’s problem to win over the grand-mother and her grand-daughter. Although at first anything but
sympathetic with the stranger’s mission, as time goes on, the girl finds herself falling in love with him,
notwithstanding the fact that a local man has long taken for granted that he and she would eventually
marry. Thus, the agent copes with a personal problem, for he, too, has fallen in love with her.

In the end the agent completes his mission, the government acquires the old lady’s island. However,
with the passing of her century-old island home, her heart gives out, but not until after she has seen her
grand-daughter married to the visitor.

By the end of 1939, the TVA had completed 16 dams on the river. The past was behind and the killer
stream transformed into man’s servant. The river, which for many years had kept man a slave to poverty
and ignorance, opened the way to a future alive with promise.

WILD RIVER CONTINUED

FINALLY CONVINCED BY THE U. S. AGENT (MONTGOMERY CLIFT) THAT THE GOVERNMENT PROJECT IS A COMMUNITY SAFEGUARD, THE GRAND-DAUGHTER
AND WIDOWED MOTHER OF TWO CHILDREN (LEE REMICK) CONCEDES SHE LOVES HIM. A MUTUAL ACKNOWLEDGEMENT THAT CONCLUDES IN MARRIAGE.

NATURE’S VIOLENCE
VS. HUMAN PASSIONS

Filming of “Wild River” was itself a dramatic
affair. Producer-director Elia Kazan has stressed
realism in characterizations of not only the three
principals, but in the men and women, and chil-
dren, who people the area wherein the story took
place. Moreover, he spared no exploratory means
to give authenticity to the backgrounds, and the

violences of nature and human passions that made
the early days of construction of the dams hectic
for TV A officials and the people who had been
born and lived in the area all their lives.

Also, to give authoritative realism to every in-
cident the performers personally carried out each
hazardous incident in which their respective roles
involved them. The fights against enraged natives
and the rages of nature are devoid of synthetic
reproduction. There were no “stand-ins” or “stunt”
experts from Hollywood. Out of a fight in which
Montgomery Clift was being beaten by a former

suitor, Lee Remick stops the fistic duel by biting
the latter’s ears, but emerges with bloody hands.
In several other sequences in which Clift combats
the destructive elements, he suffered injury in one
and narrowly escaped serious injury in two others.

Elia Kazan, who launched his major film direc-
torial career with this company’s “A Tree Grows
In Brooklyn”, produced 95% of “Wild River” in
the exact locales in the screenplay. Between early
October and late December, he and his company
worked at three outdoor “locations” in the Tennes*

Continued on page 68

troubles. When the showdown came between the two men (Clift and A1
Salami) the widow, seeing that the TVA agent was sustaining a systematic
beating in the rain and mud, flung herself into the conflict. Finding her
little fists ineffectual, she bit her self-presumed former sweetheart’s ear,
leaving no doubt as to whom she had lost her heart.

The law of self-preservation and a persecution complex took hold of
many a Garthsville man and woman when the TVA agent stepped into their
midst. Most personally resentful of his stay was a young native who took
for granted that the young widow and he would soon marry. But, the
23-year-old mother fell in love with the agent... and added to the latter’s

CAROL LYNLEY SUZY PARKER

JOAN CRAWFORD

TERRY MOORE

DEAN STOCKWELL

DIANE BAKER

RETURN TO PEYTON PUCE

DESTINED TO BE ONE OF THE MOST WIDELY- DISCUSSED SCREENPLAYS OF 1960

Jerry Wald is a producer who acts quickly. After
“Peyton Place” had been in domestic release about
six months, in 1958, he began receiving mail from
not only motion picture theatre operators, but also
from almost 2500 people (of varying ages), of the
millions who had seen that picturization of Grace
Metalious’ novel.

Most of the letters commended the film adaptation
of a young wife’s first book that had created consid-
erable controversy. But, more than 1100 of these
missives either contained outright requests that a
sequel to “Peyton Place” be filmed, or pointed out
that their writers had become so personally intrigued
with the characters— particularly Selena, Allison, her
mother, and the young war widow, Betty Anderson
—that they wondered “if it wouldn’t be possible to
let us know what happened” once the luckless Cross
girl was freed by a jury that preferred to believe she
killed her drunken step-father in self defense.

Always a showman eager to comply with public
demand, Wald probed deeper. Without publicizing
his motive, Wald began querying exhibitors and
sampling the feelings of hundreds of ticket-buyers.
His investigators’ findings indicated a virtual un-
animity in interest in what influence the trial had
on the community and specifically on the principal
characters in “Peyton Place.”

Thus, no extraordinary surprise was occasioned
when Wald announced he had induced Grace Meta-
lious to write a sequel, titled “Return To Peyton
Place”. The novel was placed on public sale last
year. Public interest in the post-trial demeanor of
the characters was indicated by the reportedly large
readership attained by the novel. Today a paper-
back edition of “Return To Peyton Place” is, accord-
ing to its publisher and distributing agency, enjoy-
ing a readership as large as that of the 50-cent edi-
tion of “Peyton Place”.

Wald next proceeded with the casting task, a
project started shortly after the “Return To Peyton
Place” book was placed in circulation. The chore
had not been fully completed when this report on
this company’s 1960-61 product was going to press.

Diane Baker, who did so well in “The Best Of
Everything” as the naive girl who was jilted by a
millionaire playboy when the latter learned she
was pregnant, will be Allison, the part Diane Varsi
played in “Peyton Place”. Joan Crawford has been
announced for a portrayal of the possessive mother,
Mrs. Carter.

Carol Lynley, whose popularity has assumed
tremendous proportions among moviegoers of all
ages, will be seen in a role radically different from
any she has enacted to date: a pretty, young, spoiled

Boston socialite, Jennifer, a girl with murder in
her heart.

Dean Stockwell and Trevor Howard, who co-star
in another Wald production, “Sons And Lovers”,
also appear in the all-star cast of this drama. Howard
plays a country doctor who was characterized in
“Peyton Place” by Lloyd Nolan. Suzy Parker, who
did so well as the luckless actress in “The Best Of
Everything”, plays a New York sophisticate who
marries the doctor.

“Return To Peyton Place” is the third of Wald’s
productions scheduled for domestic release this
year. His first “Story On Page One”, is now in
release. “Sons And Lovers” is in the process of
filming. Currently he also has in production “Let’s
Make Love”. Around May he expects to be ready to
start production on “High Heels”. In preparation,
however, Wald has several other “block-busters”,
including “Wild In The Country”.

In “Return To Peyton Place” most of the people,
who figured in the original screenplay, have resolved
their problems, romantic and economic. But, some
pay heavily the price for injuries done to others.

Selena Cross’ exoneration of the charge of killing
her drunken father does not erase memory of the
sordid affair. Instead the publicity resultant from

Continued on page 68

"HIGH HEELS ”, NOSTALGIC MUSICAL ROMANCE
THAT BLOSSOMS IN A TAXI-DANCE HALL

“Return To Peyton Place” Is

One Of Four “Block-Busters”
On Wald’s Schedule For 1960

Continued from page 67

the trial complicates her life. She falls passionately
in love with a handsome, virile actor from Broad-
way while he is appearing with a Summer stock
company playing eight miles north of Peyton Place.

Allison, Selena’s friend who testified at the trial,
back in Peyton Place, finds her real love after an
affair with a New York literary agent and a dis-
illusioning experience in Hollywood where she had
gone as technical adviser on a picturization of the
book she had written and that had become a popular
sensation.

Her mother, Constance, and Tom, the school prin-
cipal, have settled down and their marriage con-
sidered ideal in every respect.

The mill-owner, Leslie Harrington, who had
wanted nothing to do with and had turned his son’s
widowed wife away with $250, repents and lives with
a fear he will never see his grandson. He does
locate his embittered daughter-in-law, Betty, work-
ing as a waitress to maintain herself and son. It is

her turn now . . . and to obtain his way her father-in-
law reluctantly pays heavily to have her and his
grandson live permanently in his home.

Roberta Carter, the possessive mother, after her
son (Ted) graduates Harvard Law School, finds, to
her disappointment, that she can not control him.
He has fallen in love and marries Jennifer, the
spoiled daughter of the head of one of the leading
law firms in Boston. The young couple, who make
Boston their permanent home, spend their week-
ends in Peyton Place. On one such occasion, Roberta,
resentful of her daughter-in-law, discovers a sordid
side of the latter’s character, and plans to kill her.
But, Jennifer learns of her mother-in-law’s scheme
and turns the tables on her. The authorities decide
Roberta’s death was accidental.

Dean Stockwell can be reasonably certain of en-
joying, in 1960, the most important year of his
career. The young Broadway star, who gained pub-

lic favor with his portrayal of the weaker of the
two “thrill-killers” in “Compulsion”, has just com-
pleted a co-starring role in “Sons And Lovers”.
With that intense characterization behind him, next
month he undertakes the part of Ted Carter in
“Return To Peyton Place”. That role romantically
couples him with Carol Lynley.

With “Let’s Make Love”, co-starring Marilyn
Monroe, Yves Montand, Frankie Vaughan and Tony
Randall, and “Sons And Lovers” before the cameras,
Wald these days must be burning the midnight oil
completing plans for filming of “High Heels”.

Based on a story by Lloyd Shearer, “High Heels”
is a nostalgic musical romance laid in the period
when taxi dancehalls flourished throughout the
United States. No definite cast assignments, how-
ever, had been announced up to press-time.

Wald acquired the screen rights to the Shearer
story while a producer for RKO. The screenplay
has been written by Daniel Fuchs.

Filming of Elia Kazan Screenplay In
Tennessee Valley Was Exciting Drama

INSIDE ON "WILD RIVER”

Continued from page 66

see valley. They were: (1) Coon Denton Island,
upstream from Charleston, Tenn., on the Hiwassee
river from which the foothills of the Great Smokies
may be seen; (2) a peninsula west of Cleveland,
Tenn., on Lake Chickamauga. (The lake and the
Hiwassee locales constituted the Garth island where
the 80-year-old grandmother lived, and (3) Charles-
ton’s old business section.

Also, a studio for “shooting” interior sequences
was set up in the armory at Cleveland, 12 miles
south of Charleston. The company headquarters
were at Cleveland, a county seat with a population
of about 12,000.

Ellsworth Frederick was the director of photo-
graphy on “Wild River”. Previously he cinemato*
graphically served on “Sayonara”, “Friendly Per-
suasion” and Walt Disney’s “The Light In The
Forest”.

Lee Remick, who this year co-stars not only in
“Wild River”, but later will be seen in the focal
role in “Sanctuary”, made her acting mark on the
Broadway stage and television before she launched
her film career in this company’s “The Long, Hot
Summer”. She scored her greatest personal triumph
last year in “Anatomy Of A Murder”. Miss Remick,
a native New Yorker, is the daughter of a Boston
furniture store owner and Patricia Remick, a former
actress.

Montgomery Clift rates one of the outstanding
young stars of screen and star. This 39-year-old
actor distinguished himself on Broadway in “There
Shall Be No Night”, “Skin Of Our Teeth”, “Our
Town”, “Searching Wind”, “Fly Away Home” and
“You Touched Me” before devoting himself en-
tirely to screen appearances. The latter include
“The Young Lions”, “Lonelyhearts”, “Raintree
County”, “Indiscretion Of An American Wife”,
“From Here To Eternity”, “I Confess”, “A Place
In The Sun”, “The Big Lift”, “The Heiress”,
“Search” and “Red River”.

Jo Van Fleet is concededly one of the all-time
great character actresses on screen or stage. Born
in Oakland, Calif. Miss Van Fleet is a young woman,
despite the fact that much of her fame on screen
and stage has been earned by portrayals of elderly
people. In “Wild River”, for example, she plays an
80-year-old woman with only memories of a happy
life with a devoted, but deceased husband and a
loyal grand-daughter for solace in her remaining
years on her Garth island farm the Federal govern-
ment is determined to appropriate, and finally does,
to carry out the TVA project.

Miss Van Fleet won an Academy Award for the
best performance by an actress in a supporting role,
in 1955. That was in “East Of Eden” which Kazan
also directed. Incidentally, that appearance was her
first in motion pictures, although she had appeared

at the Neighborhood Playhouse in New York and
in a half score of Broadway plays. Among her
other motion picture credits one must include “Gun-
fight At The OK Corral”, “Rose Tattoo”, “King
And Four Queens” and “I’ll Cry Tomorrow”.

Fifty-year-old Kazan, called “Gadge” by his
friends and followers, majored in drama at the
Yale Dramatic School, after graduating from Wil-
liams College. Born in Turkey, he was brought to
this country when a mere lad. He served his ap-
prenticeship with New York’s Group Theatre. Later
he acted and directed Broadway plays. It was in a
directorial capacity that he gained increasing stature
in the legitimate theatre and subsequently in mo-
tion pictures.

His Broadway stage associations included “Wait-
ing For Lefty”, “Golden Boy”, “Liliom”, “Skin Of
Our Teeth”, “All My Sons”, “Streetcar Named
Desire”, “Death Of A Salesman”, “Cat On A Hot
Tin Roof” and the more recent “J. B.” He won
an Academy Award in 1947 for his direction of
“Gentleman’s Agreement”. Other screen directorial
credits include “Boomerang”, “Viva Zapata”, “On
The Waterfront” (which brought him his second
director’s award, in 1954), “Streetcar Named De-
sire”, “Viva Zapata”, “Man On A Tight Rope”,
“East Of Eden”, “Baby Doll” and “Face In The
Crowd J’

DEAN STOCKWELL

an intense boy
with a flair for painting. His frustrated, posses-
sive mother, a woman of refinement and charac-
ter who married beneath her station, instills in
Paul a love that makes him a stranger to other
and younger women. He loves his mother dearly,
but, like his brothers, hates and is jealous of his
father. Several young women are attracted to
him and he to them, but, always, his mother
stands between them . . . and holds control over
him.

TREVOR HOWARD plays the husband of
the daughter of a well-born family whose head
goes bankrupt. A young, handsome, fascinating,
but rough and illiterate miner, he is able to live
happily with his wife for a few years. But, when
his wife learns that, instead of paying for their
furniture he had spent the money on drink, she
begins to despise him. As time passes she dedi-
cates herself entirely to their three sons, harbor-
ing nothing but mounting hatred for her husband.

WENDY HILLER, one of the world’s fore-
most screen and stage actresses, is Gertrude Cop-
pard, who is swept off her feet and marries a
colliery worker exactly one year after they had
first met. When she loses her love for her alco-
holic husband and her first son succumbs to pneu-
monia and her second leaves home to marry a
local girl, Mrs. Morel becomes obsessed with the
idea of her youngest boy, Paul, rising above his
environment.

A SENSITIVE YOUNG MAN ENSLAVED BY HIS MOTHER’S OBSESSION

“Sons And Lovers” is a powerful drama of pos-
sessive mother love, the uncompromising control a
frustrated woman holds over her sons. Her first-
born was her favorite, but he died of pneumonia.
Her second marries and sets up a home in another
city. Her third, Paul, a sensitive young man, falls
completely under her spell and unrelenting control.

The young man’s every aspiration is to please his
mother whose influence extends to the women at-
tracted to him. A farmer’s daughter, Miriam, spent
much time with him, but she did not have his
mother’s approval. So into his life came Mrs. Clara
Dawes, an attractive young woman, separated from
her husband for five years and to whom he had
been introduced by Miriam.

His mother thought no more of Clara than she
did of Miriam, but the latter was not so easily dis-
couraged. Clara fell passionately in love with Paul
and eventually they became involved. But, as time
went on, she learned he could never completely
love her . . . that his love for his mother would al-
ways stand between them. Then death came to his
mother. He broke with Clara who returns to her
husband, but he finds contentment in memory of
a mother who carried his soul with her to the Great
Beyond.

A Jerry Wald production, “Sons And Lovers”
co-stars Dean Stockwell as Paul, Wendy Hiller as
his mother, Trevor Howard as his father, Heather
Sears as Miriam (the embodiment of spiritual love),
and Mary Ure as Clara, a sensualist who takes the
young man away from her best friend.

Jack Cardiff directed. Cardiff, for many years

a prominent cinematographer, turned to direction
with “Intent To Kill” and “Scent Of Mystery”.

D. H. Lawrence’s best-selling novel is being
brought to the screens in CinemaScope and black
and white. Always a controversial novelist, Lawrence
penned two other internationally famed books:
“Lady Chatterly’s Lover” and “The Rainbow”.

Son of a Nottingham, England, coal miner and
the daughter of a middle-class family in reduced
circumstances, Lawrence’s life was as stormy as his
literary career. He died in 1930 at the age of 44.
Remarkably handsome, though tubercular, he re-
portedly could be the most charming man or a most
irritating boor, as the spirit moved him. He ran
away with another man’s wife, the mother of three
children. His biography reports he ran the full
gamut of political systems and social philosophies
at various times.

The story of “Sons And Lovers” is set in Notting-
ham, where all exteriors were filmed. This is how
Lawrence outlined his novel to his publisher, Ed-
ward Garnett, according to the latter:

“It follows this idea: a woman of character and
refinement goes into the lower class and has no
satisfaction in her own life. She has had a passion
for her husband, so her children are born of pas-
sion . , . When her sons grow up their mother is the
strongest power of their lives and holds them . . .”

In his adaptation of the novel, Gavin Lambert has
stuck to the spirit of the story. There is a reduction
in number of characters in the screenplay and a
concentration on telling their story. These are: the
youngest son, his mother and father, the girl who

wants him and fights his mother for him, and the
young woman who is the object of his soul-less
passions.

Dean Stockwell won the assignmerit of Paul for
his brilliant performance as one of the “thrill-kill-
ers” in “Compulsion”. A former child star who had
appeared in 22 films by the time he was 15, Stock-
well has played principal roles in such well-known
pictures as “Valley Of Decision”, “The Green
Years”, “Gentleman’s Agreement”, and “Down To
The Sea In Ships”. As an adult he drew critical
commendation for his performance in the Broad-
way stage production of “Compulsion” and later in
its film version.

Heather Sears, 24 years old, was born and raised
in London. She became a London stage celebrity
and went on to distinguish herself in motion pic-
tures. She has drawn international attention for her
performance in “Room At The Top”. She also has
appeared in the stage version of “Look Back At
Anger”.

Wendy Hiller is an international favorite and an
outstanding interpreter of Bernard Shaw, having
been chosen by the late Irish playwright himself to
do “Saint Joan” and “Pygmalion” on the stage in
England. She also played Eliza Doolittle opposite
the late Leslie Howard in the film version of “Pyg-
malion”. She enhanced her international stature
with her portrayal of the title role in “Major Bar-
bara”. Miss Hiller also won praise for her perform-
ance in the film version of “Separate Tables”.

Mary Ure, who plays Clara, is rated one of Eng-
land’s best young actresses. She starred in London
and New York in “Time Remembered” and “Look
Back In Anger”. She headlined also in the screen
version of the latter play.

FUME OVER

Continued from page 21 1 1

only just in time. The rebel army is already attack-
ing the city, burning and looting.

Scott receives special orders that the young Prince
should be taken to safety in Kalapur — 300 miles
away — because while he is alive, no rebellion can
be successful. But, the last train has gone, and their
only chance of escape is a temperamental old shunt-
ing engine, improbably called “Empress of India.”

It is decided that, with luck, the old engine may
be able to make the journey. Others who go on the
train are, Lady Windham, the Governor’s wife,
Bridie his secretary, Peters, a bombastic armament
salesman who has been busily and profitably selling
rifles to both sides, and finally Van Levden, a news-
paper correspondent with no love for the British.

Scott’s plan to smash through the railway gates,
which are in rebel hands, succeeds, but a few miles
further on, they find the last refugee train in a
siding — silent. All but one of the passengers have
been massacred.

As the train rolls on across arid desert and through
mountain passes, the threat of attack constantly
hanging over it, the seven passengers find them-
selves alone in a fight againt time and against fan-
tastic odds. The line has been blown up, and they
must work to clear it before they are attacked
and killed.

The only bridge has been partly destroyed and
they must make their way over a dizzy canyon, be-
fore Scott risks his life bringing over the empty
train.

And, on top of all this — long before the final
attack by rebel triblesmen — it becomes apparent
that the main danger does not lie in attack from
outside, but from within. Someone on the train is
trying to kill the Prince - the little boy on whose
life depends the fate of a country.

Today and
Tomorrow

Continued from page 15

Mirror”; Pocket Books’ “Sanctuary” (formerly
titled “Requiem Of A Nun”) and “The King Must
Die”, and New American Library’s “Sons And

Lovers”.

Darryl Zanuck is director Richard Fleischer’s
most ardent fan. And, for good reason. Fleischer
directed Zanuck’s “Crack In The Mirror”. Zanuck
is so pleased with the result of his directorial en-
deavors that he is signing him to megaphone three
more of his productions. Fleischer, Dynamo readers
will recall, directed young Dick Zanuck’s “Com-
pulsion” last year.

•

“The Marriage-Go-Round”, the domestic comedy,
after 54 weeks at the Plymouth theatre in New
York, leaves to make way for another play this
company has scheduled for future production. Gar-
son (“The Live Wire”) Kanin’s adaptation of
Felicien Marceau’s French play, “The Good Soup”,
succeeds it. While “The Marriage-Go-Round” is
scheduled to go before the cameras this Spring,
“The Good Soup” will not be filmed until next year.

“The Good Soup”, prior to its opening on
Broadway, has been on a try-out tour, with very
enthusiastic reaction from the critics. This is a
dramatic story that has to its credit exceptional
popularity on the Paris stage. It deals with the
adventures of a once great, beautiful and idol-
ized actress whose financial reverses force her
into a life she despises.

A side of contemporary Parisian life, with which
very few people, outside the French metropolis,
acquainted, will be exposed in Walter Wanger’s
production of the tentatively titled “Dud Avocado”.
W r anger plans to start its filming this Spring, with
Joanne Woodward in all probability in the all-star
cast. This story of young people, French, Ameri-
cans and others “holed up” in Paris’ Left Bank, is
detailed elsewhere in this publication.

"The Captain’s Table” A
12,000-Mile Fun Banquet

Continued from page 53

Others in principal roles are Maurice Denham, a
different sort of passenger, a personal friend of the
chairman of the shipping line and a stockholder
in the company; Richard Wattis as the chief purser
who is carrying on a profitable smuggling business
in the ship’s supplies; Reginald Beckwith, Lionel
Murton, Bill Kerr, Nicholas Phipps, Joan Sims,
Miles Matteson, John Le Mesurer, James Hayter,
June Jago, Nora Nicholson, Jean Rollins, Margaret
Clews, and others.

Among the eye-filling lovelies are petite Beth
Rogan, red-haired Yvonne Buckingham, blonde
Rosalie Ashley and dark-haired Lynn Cole, all of
whom are sketched at left.

Here is an outline of the story:

As the ship. Queen Adelaide, sails from England
for Australia, her Captain is a happy man. After 22
years on the South Star Line’s tramp steamers, he
has been promoted at last, but it is to be only a
trial. If his voyage is a success, so is he. If not, for
him it will be back to the tramp freighters.

His personal steward, Tiny Burtweed takes an
extremely considerate interest in his new Captain’s
welfare, but his First Officer, Shawe-Wilson resents
the authority that Ebbs has been given. Shawe-
Wilson believes that ships should be rather free
and easy. That is just his approach to any pretty
passengers.

Also interested in the future of Captain Ebbs is
the Chief Purser, Prittlewell, who has a most profit-
able sideline in disposing of the surplus stores he
always makes sure tjie liner carries. He points out
to the Captain that he has a large number of socials
functions to attend— talent competitions, beauty con-
tests, dances, debates, an almost endless list— and
quietly hopes that these will keep him so busy that
the Prittlewell enterprises will pass unobserved.

Among the passengers with their eyes on the
Captain— who is a bachelor— are Mrs. Judd and Mrs.
Porteous, Bill Coke a very lively Australian and his

wife Gwennie, Canon Swingler, a clergyman trying
very hard to get away from it all, and last but by no
means the least of Ebbs’ worries. Major Broster.

Major Broster is a personal friend of the Line’s
chairman and also a large shareholder in the com-
pany. He makes it perfectly plain to Ebbs that if his
comfort is in any way disturbed on the voyage the
chairman will hear the full story as soon as the
liner docks.

Mrs. Porteous sets off in full pursuit of the re-
luctant Captain and even invades his cabin, forcing
him to wander lone and sleepless round the ship all
night. He makes a brief appearance at the ship’s
children’s party, which promptly gets out of hand
and ends in an explosion of flying cakes, jellies and
other goodies, most of them directed at the unfor-
tunate Ebbs.

Fortified by a session with the Chief Engineer
Earnshawe, the bedevilled Ebbs makes advances to
Mrs. Judd and is finally the host at the end-of-voyage
fancy-dress dance. Here the schemes of Prittlewell
bring disaster, for the guests discover that the
“champagne” they have paid for is, in fact, cider.
Amid the uproar the furious Major Broster makes
it quite clear that “the chairman will hear of this
outrage” and it seems that Ebbs’ career is drawing
noisily to its close.

But he is saved by discovering the Major in a
somewhat compromising position with Mrs. Porte-
ous. Now a complaint by the Major could mean a
complaint about the Major, and Ebbs looses no
time in making the point clear.

The Queen Adelaide docks at Sydney with Ebbs
assured of a glowing report to the Line’s chairman,
glowing over the attentions of the faithful Mrs. Judd
and with the fraudulent Prittlewell in the hands of
the police at long last.

There are many bon voyages in store for Ebbs
and his faithful Burtweed . . . and many more happy
gatherings at the Captain’s table ...

Towering Courage And Audacity
That Is "Operation Amsterdam”.

Continued from page 28

the wheel. Her face is tense. Jan runs forward, jumps on the running board and pulls on the handbrake.
“Leave me alone,” she says, trying to control her tears. She is in love with a Jewish soldier whose parents
have just been killed.

After preventing Anna from taking her life, Jan and Walter persuade her to drive them to Amster-
dam. She becomes the fourth vital member of the party. Vital because she knows the city; she also works
in the war ministry.

In Amsterdam, Jan visits his father, Johan Smit ( Malcolm Keen)— a diamond merchant — and tells
him their plan. Johan immediately contacts other merchants and diamonds swiftly change hands.

But many merchants are helpless. Their stocks are in the vaults at the Diamond Beurs. It is Whit
Monday— a Bank Holiday— and there is no way of getting them out until the following day.

“Then the vaults must be forced,” says Johan. The merchants agree. It is left to Jan, Walter, Dillon
and Anna to find a way into this steel fortress. Every minute is precious. The burglar alarm is large and
threatening. Dillon co-opts the help of Alex, a secret agent ( Christopher Rhodes ), and his men.

They force their way into the stronghold and are about to blow up the massive safes when the
sound of firing penetrates the. vaults. Jan and Dillon finish their job. They have cleared the safes.

Alex and his men keep the fifth columnists at bay with tommy-guns in the square outside. They
cover Jan, Walter, Dillon and Anna as they try to dash across the square. But it is too late. They are
ambushed. Anna picks up a tommy-gun and fires. Jan and Dillon have revolvers. It is imperative for
them to get away.

They dash for the car with 20 minutes left to reach the quay. As they pass a straggling line of re-
fugees a German ’plane dives with machine-guns blazing. Their car is hit— a tyre is punctured. Grimly, Jan
and Dillon change the wheel. Bullets from the aircraft spray the road.

“The boat won’t wait,” says Dillon.

They arrive at the quay with only seconds to spare. “We want you to come to England with us,”
Jan says to Anna.

She refuses. “I must stay and help Holland,” she replies. Jan persists, but Anna is determined.

But as they part they both know it is not the end. For them. Or for Holland.

Parts of the shooting of “Operation Amsterdam” were considered by director Michael McCarthy too
dangerous for actual Amsterdam location. So a section of the city, a town square, several streets and canal
with barges, had to be studio-built. This was the enormously exciting scene of the gun battle in
which Peter Finch, Eva Bartok and Tony Britton battle a gang of fifth columnists, during which a bank
is blown up, bullets whizzed off the cobblestones and cars careered at top racing speed.

Domestically, “Operation Amsterdam” is a Spring release.

Peter Finch and Eva Bartok are no strangers to moviegoers in the domestic market. Finch’s most
recent performance was in “The Nun’s Story”. Miss Bartok has co-starred in several motion pictures filmed
in Hollywood and in quite a few others produced abroad by American producing companies.

CELEBRATING HIS 25TH ANNIVERSARY
OF 20TH CENTURY-FOX PICTURE-MAKING

Zanuck Plans
Four Major
1960 Specials

Darryl F. Zanuck Productions, headed by
the only producer to win three Irving Thai*
berg Memorial Awards for outstanding pic-
ture-making, will produce at least four Cine-
maScope attractions for domestic release by
this company this year.

In fact, Darryl Zanuck’s first personal pro-
duction for this year, “Crack In The Mirror”,
has been completed. A detailed report on this
extraordinary motion picture appears else-
where in this issue.

The man, who has been setting screen en-
tertainment fashion for many years, is cele-
brating his 25th anniversary of association
with this company. It was in 1935 that 20th
Century Pictures, then owned by Joseph M.
Schenck, Darryl Zanuck and William Goetz,
merged with the then Fox Film Corporation.
In August of that year, Mr. Zanuck became
the greater company’s Vice-President in
charge of production, a position he held until
he decided to produce independently.

In announcing his 1960 projects, Mr.
Zanuck states: “I am interested in mak-
ing pictures that are not formula. I will
concentrate on entertainment pictures
with a story appealing to the largest pos-
sible audience, not a message.”

That he is losing no time carrying out his
policy is evidenced from the type of story un-
folded in “Crack In The Mirror”, in which
six roles are played by three stars: Juliette
Greco, Bradford Dillman and Orson Welles.

Lee Remick In “Sanctuary”

The second Zanuck production will be pro-
duced by his son, Richard. It is “Sanctuary”
based on William Faulkner’s only novel (of
that title) adapted into a play. On the stage
it was titled “Requiem For A Nun”. As a
play it was a long-run success in London. It
also enjoyed popular reception from theatre-
goers in Paris and other continental Euro-
pean cities.

Because the stage title, “Requiem For A
Nun”, in young Zanuck’s opinion, is mis-
leading for the very good reason that the
story has no bearing whatsoever on a Sister,
he polled the 20th Century-Fox sales per-
sonnel and exhibitors. Result led to adoption
of the book’s title for the screen version,
which will be in CinemaScope.

Lee Remick, who co-stars in Elia Kazan’s
“Wild River”, will have the feminine lead
in “Sanctuary” which concerns a young wife,
who desperately seeks to make amends for
her erratic ways when she realizes that the
death of her child, for which a loving servant
is convicted, was actually her own doing.

Richard Zanuck, it will be recalled, was
the universally lauded producer of one of
the outstanding dramatic screenplays of 1959,
“Compulsion.”

“Ballad Of Red Rock”

Late this Spring, or early Summer, Zanuck
will send before the cameras another major
property, a dramatization of Meyer (“Com-
pulsion”) Levin’s “Ballad Of Red Rock”.
This is the story of modern youth in Israel.'
It will have the dramatic impact of “Rebel

Without A Cause”: the story of young people
trying to find themselves in a newly-founded
country.

“Ballad Of Red Rock” will be entirely
filmed in Israel, with the new Juliette Greco
in an all-star cast.

Meyer Levin spent an investgative two-year
period in Israel, doing research and whipping
his story into shape. The novel is expected
to be placed on sale in this country about
the time that Zanuck and his company are
filming its picturization in Israel.

The Chapman Report

Unquestionably, one of the finer and un-
usual story properties Zanuck has ventured
to adapt to the screen will be “The Chapman
Report”. The book version is scheduled to
be published and placed on sale in the United
States in April. Zanuck plans its production
in the late Summer and expects to have* it
completed for domestic release in the fourth
quarter of this year.

It, too, will have an all-star cast. It will be
entirely filmed in a small community in Cali-
fornia.

“The Chapman Report” is a bold drama;
what happens to a group of seemingly re-
spectable women, married and unmarried,
after their statements to an interviewer, in-
vestigating the sex life of the fair sex, have
been made public.

A quiet suburban town, the community
undergoes an extreme and turbulent change
in not only its every-day way of life, but also
in the attitudes of residents toward each
other.

.59

The Big Gamble^

Most of Zanuck’s productions for 1960 and
1961 will be based on the works of inter-
nationally celebrated novelists and play-
wrights.

For instance: Irwin Shaw’s “The Big
Gamble” is scheduled by Zanuck to be one
of his major attractions for this year. Shaw
will be recalled as the author of “The Young
Lions”.

This is an “off-beat” drama: about a truck
and three people, members of the same
family. The screenplay will accent the per-
sonal lives of this trio and the changes the
truck brings about. “The Big Gamble” will
be filmed in Italy, the Azores and Chile.

A Saroyan Play

Before the end of the year, Zanuck has
still another important property he expects
to have in production: William Saroyan’s
latest play, “Settled Out Of Court”.

Additionally, Zanuck has in preparation
for production next year: “Patate”, based on
a play by Marcel Achard that enjoyed long
runs in London and Paris; Carlo Blanco’s
“The Fish Don’t Bite”, dealing with the ad-
ventures of the amorous sons of a fisherman
and a philosophical beachcomber; Genevieve
de Yilmorin’s novel, “Yes, Monsieur” and
seven other properties whose identities will
be revealed later.

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THE NEW JULIETTE GRECO

Motion picture patrons are due for a surprise when they see the
new Juliette Greco (above) in “Crack In The Mirror”. The sultry
symbol of Paris’ post-war youth and an international night-club and
recording star, Miss Greco is destined to attain added motion picture
acting stature when seen in the latest Darryl Zanuck production.

In “Crack In The Mirror” she plays two roles. As Eponine, the
cunning murderess, who almost gets away with her crime, she is
seen in a type of role with which she is usually identified: earthy,
passionate, possessed of a primitive seductiveness and tawdry appeal.

As Florence, the sophisticated, social darling of a public figure,
Miss Greco emerges as a new, glamorous, suave personality, a strik-
ing beauty and a subtly lethal charm. Typical of the glamorous
wardrobe she wears as Florence is the outfit in which she is pic-
tured above. yj

The Nome Gold Rush

One Of The Gala 1960 Events!

ELVIS PRESLEY
WILL BE BACK!

Elvis Presley, about to be honorably discharged from military service
which he has carried out with a dedication that has earned him official and
editorial commendation, will return to the screens this year!

A sergeant in the army, Presley, through no effort on his part, has con-
tinuously been in the news. His return to professional life is eagerly awaited
by millions of not only Americans of all ages, but also by an entire world,
for his record as a peace-time soldier has tremendously heightened his per-
sonal stature.

He is committed to make his first post-service motion picture for another
studio. After completion of that contractual commitment, he will report to
Mr. Adler to perform in “Solo”, a romantic comedy with songs. Dick Powell
will produce and direct “Solo” which will be in CinemaScope with De Luxe
Color. He will have stellar support.

“Solo” is based on a novel by Stanford Whitmore and deals with a strange,
but talented young man who goes to Chicago to earn a place for himself in
the entertainment world. There he joins a “jazz combo” playing at a low-
dive. His extraordinary talent impresses Chicago’s shady characters who
utilize “fronts” in operation of night-clubs. The “mob” decides to manage
the stranger who will divulge no personal information about himself, except
that his name is Virgil Jones. The “mob” traps him, but, with the help of a girl,
he manages to extricate himself.

THE

ALASKANS

John Wayne Stars In
A Hard-Hitting Role
In An Outdoor Drama

After more than a year’s
preparation, all is in readi-
ness for filming this
Spring of “The Alaskan”,
with John Wayne heading
an all-star cast. Henry
Hathaway, whose last di-
rectorial effort accounted
largely for the excellence
of “Seven Thieves”, will
direct. It will be filmed
in Alaska in CinemaScope
with De Luxe Color.

An original story, “The
Alaskan” is based on the
gold rush on Nome,
Alaska, in 1900, which fol-
lowed by two years the
original Klondike “strike”
of 1898.

Wayne plays a former
lumberjack, who, with a
partner and the latter’s
17-year old brother pros-
pect in Alaska. Theirs is
an up-and-down existence.
Finally, they accidentally
discover a creek rich with
gold. Wayne goes to
Seattle to bring the boy’s
sweetheart back for a wed-
ding and to buy equip-
ment to operate their
prosperous claim. But, in
Seattle he finds the girl
has married another man.
Wayne goes on a “bender”
and meets a woman down
on her luck, who falls in
love with him, and ac-
companies him to Nome.

Complications, roman-
tic and otherwise, de-
velop— what promised to
bring the trio fortune en-
abling them to lead a life
of luxury in the States,
turns into a succession of
encounters with claim-
jumpers, “con” men, but
eventually everything is*
ironed out and a happy
future faces Wayne and
the woman from Seattle.

“The Alaskan” is the
type of free-swinging, he-
man adventure that for
many years has main-
tained John Wayne among
the top box office per-
sonalities.

GROPING YOUTH IN CONTRASTING ENVIRONMENTS

—

mm .

illjpr

ROBERT WAGNER

DON MURRAY

ALAN LADD

ONE FOOT IN HELL” AND “THE LIVE WIRE"

IN ANOTHER YOUNG AMERICANS IN PARIS EXPERIMENT
IN BOHEMIAN LIVING, BUT WITH SURPRISING RESULTS

The population explosion the world over, with
its resultant educational and social upheavals, and
job problem, constitutes a present that is of growing
concern to adults, but it is particularly a puzzlement
to youth facing a future of promise and threat, of
opportunity and challenge.

Thus, with a studio that keeps in step with chang-
ing times, one is not surprised to find on its 1960
program feature attractions that place the accent on
the many facets of contemporary youth’s demeanor,
lhat there is a public and exhibition eagerness for
screenplays of that type is apparent, for instance, by

the clamor for a sequel to last year’s “Blue Denim.”

Among the 1960 productions dealing with youth
are two scheduled for filming this Spring and for
domestic release in the late Summer. They are David
Weisbart s The Live Wire” and Walter Winger’s
tentatively titled “Dud Avocado”.

“The Live Wire”, in which Robert Wagner heads
a cast of young people, with a role custom-made for
his sparkling talent, is based on a Garson Kanin
play. Actually, it has a comedy vein running through
it, dealing with the ambitions, frustrations and
amorous gropings of a group of young actors and

actresses who buy a Quonsei hut from the Govern-
ment, when they find that even their combined
funds are insufficient to meet an apartment rental.

The youngsters, with “live wire” Wagner as their
leader, set up their home in the Quonset hut on
East 49th street, near Second avenue, in New York.
There they live while awaiting their chance in the
theatre or television. Meantime, they maintain them-

S ^jA y working as soda “jerks”, models, etc.

Dud Avocado ’, on the other hand, concerns less
serious-minded youngsters: an American teenager

Continued on page 74

AN ARTIST’S SKETCH OF PARIS’ LEFT-BANK WHERE AMERICAN AND PARISIAN ’TEENAGERS AND B EATNIKS CAVORT IN “DUD AVOCADO’’.

ONE FOOT IN HELL”

l READYING “DUD AVOCADO”

KEN SCOTT

Continued from page 73

in Paris, who takes up with a variety of characters
on the Left Bank: French “beatniks”, exhibitionists,
extentialists, professional love-makers, amateur ar-
tists, singers and dancers living a Bohemian exist-
ence and forgetful of their original aims to attain
fame, and others with gripes against the world in
general. No definite cast had been assigned at press-
time to “Dud Avocado” which will go before the
cameras at the exact locales of the story in Paris in
March,

Meantime, Sydney Boehm, who already is on the
domestic screens with “Seven Thieves”, which he
wrote and produced, has another major assignment

DOLORES MICHAELS

on his 1960 agenda. It is “One Foot In Hell”, in
CinemaScope and De Luxe Color. This one deals
with a man who has dedicated himself to vengeance
against an entire small town that he believes was
directly responsible for his wife’s death.

Alan Ladd and Don Murray share the co-starring
male roles in this post-Civil War drama. Also in
major roles are Dolores Michaels and Ken Scott.
Ladd’s last appearance in a vehicle flying this com-
pany’s banner was “Boy On A Dolphin.” Murray’s
last part was an outdoor drama, “From Hell To
Texas”. He made his film debut in this company’s
“Bus Stop” and scored his outstanding triumph in
“A Hatful Of Rain”. Murray plays an erstwhile

highly respected and friendly man who becomes a
merciless tyrant in his almost maniacal quest for
revenge.

Both Miss Michaels and Scott have been grow-
ing in histrionic stature and box office significance
with each succeeding assignment. In her most re-
cent appearance, in “Five Gates To Hell”, Miss
Michaels again gave convincing evidence of her
versatility. In that explosive war drama, she played
Athena who was in love with Scott. The latter por-
trayed the American surgeon, Dr. Richter.

Miss Michaels was born in Kansas City where
her father was a professional baseball player. Her
first stage appearance was with a road company of
“Brigadoon”. From there she went to Summer stock
and then television. Her test for and subsequently
portrayal of a role in “Wayward Bus” won her a
term contract with this company. In addition to
that vehicle, Miss Michaels has co-starred with
Pat Boone and Shirley Jones in “April Love”, in
“Fraulein”, “The Fiend Who Walked The West”
and opposite Richard Widmark in “Warlock”.

Scott, like Miss Michaels, is a graduate of the
studio’s Talent School. The 31-year-old, former
Brooklynite has continuously labored for this com-
pany since October of 1956 when he was placed
under contract, after a talent scout spotted him on
a television show.

James Clark, who directed the unanimously ac-
claimed “Dog Of Flanders”, is officiating in the
same capacity on “One Foot In Hell”.

Jill St. John, Margo Moore
To Co-Star In “Live Wire”

As this edition was going to press the studio
announced assignments in “The Live Wire” for
two other young stars: Jill St. John and Margo
Moore, fresh from playing a co-starring part
in “Wake Me When It’s Over”.

Miss Moore, who until her assignment in the
latter comedy was professionally known as
Margo Warner, is a former New York model.
However, there is an interesting story connected
with the studio’s acquisition of her services.

Several major studios had her under considera-
tion, including 20th Century-Fox and Metro-Gold-
wyn-Mayer, the front-runners. Our studio screen-
tested her in New York, but did not sign her. MGM
asked her to test. She did. MGM informed her that
studio was interested. After several weeks of wait-
ing, MGM asked her to report at its studio in
California to sign a contract the following Monday.

That same day. Chief Eastern Talent Scout
Joseph Pincus phoned her to report, also the
following Monday, at the Movietone studio in
New York, for further tests. Margo explained
she would be busy that day signing with Metro
in California. Pincus relayed the information
to production chief Buddy Adler who phoned
back instructions to immediately sign her.
Sunday she signed . . . and on Monday, instead
of reporting to MGM, she arrived at the 20th
Century-Fox Studios where Jerry Wald promptly
assigned her the role of Susie Bell, the earthy,
blatantly sexy, philandering wife, in “Hound
Dog Man”.

Miss Moore’s real name is Marguerite Guar-
nerius. She is directly descended from the famous
violin-making family of Cremona, Italy. She was
educated at the University of Indiana. In 1953
Margo, who was born in Chicago, but raised in In-
dianapolis, went to New York to try her hand at
Broadway. To earn a living there, while waiting for
Broadway to call, she turned to modeling. Even-
tually, she was signed to be the “hard to curl” girl
in the Toni commercials on the Arthur Godfrey
Show.

In 1954, along with another of this company’s
new stars, Hope Lange, she became one of the
runners-up in the “Miss Rhinegold” contest. Sub-
sequently, she did more television commercials
and TV acting.

Glamorous Jill St. John, who will not reach her
20th birthday until August 19, was last co-starred
in “The Remarkable Mr. Pennypacker” and “Holi-
day For Lovers”. This is her second year under
20th Century-Fox contract.

TWO OTHER STARS WHO SHINE IN “LIVE WIRE

MARGO MOORE

J ILL ST. JOHN

FILMED WHERE
IT HAPPENED

An Expose Of

•n

Murder, Inc.

Stuart Whitman-May Britt
In Crime Syndicate Drama

The Burt Balaban-Larry Joachim production of “Murder, Inc” should be
one of the more widely discussed motion pictures of the year, if public reaction
to the book by Burton B. Turkus and Sid Feder is any criterion. The New
York Journal-American, typifying the opinion of newspaper and magazine
critics generally, found the widely read book “gorier than fiction ... one that
should be a ‘must’ with any advocate of law and order.”

After many months, the producers came up with a
treatment that leads them to believe their screenplay
will have as profound an impact on its viewers as the
book had on its readers. For one thing, it has for its
scenic backgrounds the same locales in Brooklyn and
Greater New York where the crime syndicate allegedly
concentrated their operations, and where the Cinema-
Scope picturization is set.

STUART WHITMAN

Stuart Whitman and May Britt have the leading
roles in “Murder, Inc.”, that Stuart Rosenberg, one of
television’s top directors, will megaphone. Whitman
and Miss Britt play husband and wife. Whitman por-
trays an innocent citizen who is trapped into doing
the bidding of the nefarious crime syndicate.

Whitman has become one of the more popular
new male stars.

This is a completely daring melodramatic expose
of the most cold-blooded, murder-for-hire syndicate crime history has known.
It was Turkus, who broke up the syndicate and succeeded in prosecuting its
leaders. The picturization reveals the drama from the side of the law as seen
through the eyes of former district attorney, Turkus, and also from the side of
the criminal through the eyes of “Kid Twist” Reles, whose information enabled
that fearless prosecutor to break up “Murder, Inc.”

The syndicate had its headquarters in Brooklyn, but was allegedly equipped
to kill whenever the price was right, anywhere!

A present Old Folk’s Home plays the most sinister role in “Murder, Inc.”
Now a serene center of relaxation and rest for the aged, the Coney Island home
is the former Half Moon Hotel where “Kid Twist” allegedly fell to his death.

Murder, Inc. , appeared as a book in 1951 and quickly rocketed into the
best-seller class. Since then its publishers report having sold more than 5,000,000
copies of its hard-cover and paper-back editions.

Before the filming script was finalized, Burt Balaban, son of Barney Balaban,
President of Paramount I ictures, had two versions of the book written. One
treatment was written by a lawyer, the second by a professional screenplay-
wright. The two scripts were intermingled and then carefully scanned by a group

£2126

s ™ V - WR2BS2

of attorneys to insure freedom from the possibility of libel suits from the still
living persons mentioned in the book.

Those who read the book will recall that its authors worked on the theory
that “truth is stranger than fiction”. They state they based their story on police
data never previously revealed to the public in the several years’ sensational,
newspaper first-page reportage of a determined combination of law-enforcing
authorities to expose “Murder, Inc.” and bring its members to justice.

In outlining the picturization of “Murder, Inc.” to INS-UP Hollywood cor-
respondent Louella Parsons, Balaban stated: “Because the story concerns its,elf
with crime against criminals, within the underworld itself, rather than the public,
we will be able to show these hoodlums in the proper light. When we show the
vicious murders of notorious underworld leaders committed by this group of
professional murder-for-hire syndicate, we will present them as they factually
came about. The screen version of the book will show how incredibly brutal
the hoodlums are in their dealings with each other.”

DRAMA OF TEXAS RANGERS, OUTLAWS AND MURDEROUSLY CUNNING INDIANS

The most ambitious outdoor drama this company
has undertaken to produce in CinemaScope with
De Luxe Color, “The Comancheros”, is now on the
1960 release schedule. Present plans provide for a
late Fall release in the United States and Canada.

David Weisbart has scheduled its filming to start
immediately after he has completed “The Livewire”,
Garson Kanin’s story.

“The Comancheros” is based on the story by
Clair Huffaker. He has also supplied the screenplay.

The story takes place in Texas shortly after the
Alamo. It is a two-fisted drama with a historic back-
ground, for its hero was one of three Texas Rangers,
(he was a fugitive from Louisiana) selected to in-
vade Comanche Indians’ hideouts to put an end to

their vicious raids that held up Congressional ac-
tion on the Lone Star State’s eagerness to join the
Union.

Congress showed an inclination to favor Texas’
annexation petition if the Comanches could be sub-
dued. It was obvious that a mysterious, cunning
group of white men were behind the Comanches’
raids. These renegade whites were known as the
Commancheros and lived somewhere in the wilder-
ness of the Staked Plains. They reputedly fostered
the murderous raids so the Comanches could bring
them plunder.

Disguised as fugitive criminals the Texas
Rangers tricked the Comancheros into accepting
them, learned their strength and eventually were

instrumental in obliterating both the Indians and
their white leaders.

‘The Comancheros” was originally a property
that George (“Giant”) Stevens owned. However,
because he is busy making preparations for the
production and direction of the Todd-AO picturiza-
tion of “The Greatest Story Ever Told”, he sold the
screen rights to this company. A romance blossoms
in the screenplay, despite its turbulent action.

No definite cast assignment had been announced
up to press-time, but the studio was negotiating
with two major male stars to portray the roles of
a Texas Ranger and Mississippi river-boat gambler.

Weisbart expects to be ready to start production
on “The Comancheros” early in June.

Outstanding
In Creative
Film-Making

Autonomy In Exchange
Operation Developing
Better Merchandising

Continued from page 6

Proud to represent the only company in the industry that has given its field
representatives what amounts to virtually presidential authority in their terri-
tories, the 38 managers are authorized to operate as though they are the personal
proprietors of their branches. There is absolutely no Home Office interference,
nor any “red-tape” which they must contend before making a decision.

How completely they have justified the unprecedented confidence their
President, Mr. Skouras, has displayed in their ability to successfully function
under the territorially autonomous operating policy he put into effect last year
is a fact with which their exhibitors are aware.

Exercising all the perogatives that go with autonomous operation, these
managers are dedicated to a customer service that entails more than the mere
distribution of films. They are vested with exclusive authority to determine the
territorial investments this company shall make in the exploitation of every
release, and how that money shall be spent in their respective domains. To carry
out territorial promotion policies on every feature attraction they have super-
vision over their own seasoned exploitation, advertising and publicity managers.

Civic-mindedness is
a quality demanded of
20th Century-Fox
branch managers.
Hence, it was no sur-
prise when branch
manager Tom O. Me-
Cleaster (above, ex-
treme right) made
news on the occasion
of start of construc-
tion work on the new
Dallas branch. The
building is conceded
to be the most beau-
tiful constructed by a
film distributor and
will be ready for occu-
pancy this Summer.

Pictured with Mr.
McCleaster at the dedi-
cation are (left to
right): John Rowley,
head of Rowley
United Theatres; Wil-
liam O’Donnell, Presi-
dent of the Cinema
Arts circuit; Raymond
Willie, assistant gen-
eral manager of Inter-
state circuit, and
Robert Thornton,
mayor of Dallas.

Something Entirely New:
"The Three Murderesses”

Continued from page 13

Marriage-Go-’Round” with Stanley Colbert. Stevens
wrote “Marriage-Go-’Round”, a play in which
Claudette Colbert and Charles Boyer have been
co-starring for more than two years. Previously he
authored two other Broadway plays, “The Cham-
pagne Complex” with Polly Bergen, and “The
Lovers” with Joanne Woodward. He has produced
several films and can boast also a successful career
as writer of television scripts, both comedy and
dramatic.

DAVID WEISBART : He associated himself
with production in 1935 as a film editor. He ad-
vanced to a producer’s status and turned out “Car-
son City”, “Steel Jungle”, “Rebel Without A Cause”,
“Between Heaven And Hell”, “Love Me Tender”,
“April Love” and others. For 1960 he is scheduled
to produce “The Livewires” and “The Coman-
cheros”.

RICHARD ZANUCK.: The son of Darryl
Zanuck, this 25-year-old producer has spent all his
working years in this industry. After discharge as
a second lieutenant assigned to the Army Pictorial
Service in New York, Richard joined his father as
both a story and production assistant on “Island In
The Sun and “The Sun Also Rises”. His first pro-
duction, “Compulsion”, rated ori*e of the finer mo-
tion pictures and box office triumphs of 1959. He
will put the tentatively titled “Requiem For A
Nun” in production in the Spring, for release later
this year.

Directorial "Who’s Who” •

Other producers whose features this company ^
will release in 1960 include Betty E. Box, George •
Maynard, Joseph Janni, Marcel Heilman, Maurice ^
Cowan, Robert B. Radnitz, Hubert Cornfield,
George O’Hanlon, Paul Graetz, Robert McNaught, 9
and John Healy, and Jack Leewood. _

A virtual complete list of “who’s who in direc- w
don” will be represented in the 1960-61 output. In- 4$
eluded in that roster are Joseph Mankiewicz, Henry
Koster, Richard Fleischer, Blake Edwards, Henry ®
Hathaway, Rouben Mamoulian, Carol Reed, Jack £
Cardiff, Walter Lang, Lewis Gilbert, Henry Levin,
Robert Day, James B, Clark, Michel Boisrond, ®
Ralph Thomas, Jack Lee, J. Lee Thompson, Michael £
McCarthy, Edward Cahn and Don Siegel.

Six producers who also direct their 1960 attrac- ®
tions include George Stevens, Elia Kazan, Mervyn g
Le Roy, Mark Robson, Irwin Allen and Dick
Powell. George Cukor, who, as already noted above, •
is under contract in a dual capacity of producer and ^
director, is the director on Jerry Wald’s “Let’s
Make Love”. #

However, the directors’ lineup will expand as m
preparations are finalized on future 1960-61 pro- ®
ductions. £

The writers’ list also is one that stresses the
magnitude of the 1960 attractions completed or ®
scheduled for this year. In that list one finds the $
works of such eminent authors and playwrights as
Phil Stong, William Faulkner, Meyer Levin, Irwin ®
Shaw, William Saroyan, Frederick Wakeman, Henry £
Ceil, Howard Singer, J. D. Lawrence, C. S. Forester,
Conan Doyle, Charles Williams, Ted Sherdeman, ®
Jules Verne, Sydney Boehm, Vera Caspary, Alfred q
H ayes, Joseph Mankiewicz, Norman Corwin,
Stephen Vincent Benet, Terence Rattigan, Wendell •
Mayes, Clifford Odets, William Bradford Huie, ^
Norman Krasna and others.

Composers and lyricists include Cole Porter, #
Richard Rodgers and Oscar Hammerstein II, Sammy ^
Cahn, Jimmy Van Heusen, Hugo Friedhofer, Cyril ®
Mockridge, Lionel North, Alex North and others. #

Under contract to the studio this year is an
array of cinematographers who among them have %
over the years earned 14 Academy Awards for out-
standing color or black and white photography. ®
Leon Shamroy, for example, won three: in 1943 £
with “Black Swan”, in 1945 with “Wilson”, and
in 1946 with “Leave Her To Heaven”. ®

Continued from page 27

their “quadrangle”, they suddenly learn that Julien
is engaged and has, in fact, been so for a long time,
to a South American heiress. Moreover, his mother
is quite decided that he shall marry the Latin girl
who comes equipped with social position and a
complacent nature, an ideal situation for Julien.

The three girls meet and decide on revenge.
Julien drops in and is promptly stepped upon by
them en masse. But, he escapes unscathed. That
night each of the frustrated girls has a dream of the
best way to do away with him. As a result, various
murder weapons are discussed by them, but Agathe,
whose parents own a drug store, convinces the
others that poison is their best agent.

While Helene keeps Julien busy, Agathe and

Sabine break into his apartment and put the poison
into a chocolate candy. Helene, whom Julien has
found he truly loves, weakens when she is con-
vinced by him of his love, and decides to prevent
his murder.

Even though the girls do not kill Julien, they are
found out when the missing poison is reported to
the police. They are arrested and hauled into court
along with Julien’s abandoned South American
fiancee who sought to shoot him after he announced
their engagement was at an end because he loved
Helene.

Julien and Helene are married in a prison chapel
as Agathe and Sabine watch from behind cell bars.
The future takes on a brighter prospect for they
will be released from jail in six months, free from
the wiles of Julien, now a respectable married man.

TERENCE RATTIGAN PLAY
AROUT CONCEALED LOVE

O Mistress Mine

CO-STARRING INGRID BERGMAN

For several years this company has owned the screen rights to Terence Ratti-
gan’s play, “O Mistress Mine”, patiently waiting for “the right players to be avail-
able” before putting it on film. Now, the first of the “right players” has been
signed, and the screenplay is scheduled to be filmed late in the Summer.

As the reader probably has guessed by now, the great Academy Award actress,
Ingrid Bergman, pictured below, will be one of at least five stars who will head
the cast of the picturization, in CinemaScope with De Luxe, of Rattigan’s most
popular play. Within the next several months the studio expects to have finalized
current negotiations for the services of an international male star to appear
opposite Miss Bergman, and two younger ones who, like their elders, will also be
romantically, but more conventionally involved in the story.

“O Mistress Mine” is a romantic drama dealing with complications that arise
in the concealed love affair of a sophisticated widow and a distinguished English
cabinet member separated from his wife. The widow’s young son, back home from
school and from whom she had kept secret her affair, takes drastic means to break
up the romance. But, in the end, is forced to the realization that he was indirectly
the instigator of the unconventional alliance, and that his elders truly love
each other.

Alfred Lunt and Lynn Fontanne, the celebrated man-wife team, for five years
co-starred in stage presentations of “O Mistress Mine”, not only on Broadway and
major cities in the United States and Canada, but also in seven foreign lands.
Critics incline to the conclusion that this internationally popular couple scored
their outstanding triumph in “O Mistress Mine”.

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FOUR STORIES IN ONE

Mountolive

WITH A STELLAR CAST

Certainly one of the more unusual entertainment creations the studio
is preparing for 1960-6i is “Mountolive”. Four novels by Lawrence
Durrell are combined in this CinemaScope production with De Luxe
Color. Academy Award winner Susan Hayward (above) will be one of
a galaxy of stars who will appear in this production that Walter Wanger
will place before the cameras following completion of his “Cleopatra”.

Mountolive” retains the basic plots and most of the characters in
the f our novels. The story covers about ten years, before and during
World War II, and an assorted array of people from several walks of
life. The background extends from Portugal to Alexandria, with the
latter colorful Egyptian city, most involved.

In the carefree pre-war days aspiring, conspiring and, in some cases,
ruthless government officials, political exiles, a writer and several teach-
ers, along with their women, become involved in a maelstrom of pas-
sion, greed, intrigue and duplicity.

The screen merger of the four stories has already been completed,
but no director has yet been assigned. In any case, “Mountolive” will
occupy a high rating in the list of important, mass-appeal, star-rich
motion pictures for domestic release in the 1960-61 period.

World

A SENSATIONAL, SCIENCE-FICTION SPECTACLE BASED ON A. CONAN DOYLE’S
FABULOUS STORY SET IN THE LEGENDARY "LOST CONTINENT” OF ATLANTIS

DAVID HEDiSON

MICHAEL RENNIE

ORSON WELLES

Another of the heftier entertainment events
scheduled for public display this year is “The Lost
World”, based on a novel by Arthur Conan Doyle,
who is popularly known as the author of the “Sher-
lock Holmes” stories.

“The Lost World”, to be produced and directed
by Irwin Allen, is a startling science-fiction adven-
ture. Those who have read the screenplay incline
to the opinion that the currently successful Jules
Verne story, “Journey To The Center Of The
Earth” is “tame” compared with the Arthur Conan
Doyle drama.

One of the finer casts of international stars as-
sembled in some time headlines this CinemaScope
production in De Luxe Color. It includes Clifton
Webb, Fernando Lamas, Orson Welles, Jill St. John,
Michael Rennie, David Hedison, Claude Rains and
Robert Morley. Hedison and Miss St. John play the
romantic leads. Hedison enacted the title role in
“The Fly”. For Rennie this assignment means a
return to the studio where he launched his American
film career. Morley was last seen in “Around The
World In 80 Days.”

“The Lost World” dramatizes a jungle expedi-
tion that leads a motley group of fortune-hunters,
headline-seekers, scientists and others to an isolated
plateau inhabited by pre-historic animals, savage
aborigines and “missing link” ape-men. Members
of the group, who survive, are radically changed
by what they experienced and saw.

A most important announcement from Allen
pertains to the signing of Willis O’Brien, the great-
est living authority in the creation of pre-historic
monsters and enabling them to realistically move
on film. In the basement of the old Imperial theatre
in San Francisco, one day in 1915, the then young
sculptor Willis O’Brien found a way to bring the
monsters to screen life. His initial work was released
under the title, “The Dinosaur And The Missing
Link”. Thus, that day motion picture special effects

came into being. Today, at 74, O’Brien is still ply-
ing his trade, and is presently busy finalizing the
special effects and trick work that will go into
“The Lost World”.

O’Brien has held magic in his hands most of
his adult life. In 1919 he completed his second film,
the first one in which un-real monsters were shown
on the screen with people. It was called “The Ghost
Of Slumber Mountain”, an immediate smash suc-
cess.

From “Ghost Of Slumber Mountain” O’Brien
went on to start preparing and making tests for
the first version of “The Lost World” which, like
the present one, was based on the Arthur Conan
Doyle fantasy-classic of the same name. Wallace
Beery, Bessie Love and Lewis Stone starred in
that one.

Undoubtedly the foremost expert in his field,
the quiet, grey-haired O’Brien has a list of credits
too long to be included here. His was the skilled

and imaginative hand that created the mighty
“King Kong” and later “Son Of Kong.” And, it was
the O’Brien genius that thrilled motion picture
patrons of the period as they watched the spine-
tingling “The Last Days Of Pompeii” unfold before
them. “Mighty Joe Young” was another O’Brien
product.

O’Brien points out that the techniques he in-
vented almost 45 years ago are still in use today,
with practically no changes. He is convinced the
pre-historic animals that will be seen in this Cinema-
Scope and DeLuxe color version of “The Lost
World” will be the most exciting, the most fright-
ening ever put on film.

As a sculptor, O’Brien, of course, studied anat-
omy, but he has, over the past 45 years, became
quite an expert in historical geology and paleontol-
ogy as a result of the vast amount of research he
has been called upon to do in creating hundreds
of animals he has put on film over the years.

Marriage-Go-Round

A VOLUPTUOUS BLONDE GUEST CREATES HAVOC IN A HAPPY HOUSEHOLD

With his play, “The Marriage-Go-Round”, hav-
ing completed its long run at the Plymouth theatre
in New York, playwright Leslie Stevens is now de-
voting himself completely to its picturization in
CinemaScope with De Luxe Color.

Scheduled to go before the cameras this Spring
for release, in all probability, late next Summer,
“The Marriage-Go-Round” rates one of the ex-
hilarating events of 1960.

An idea of its popularity as a play may be had
from knowledge that it ran for 432 performances
over a period of 54 weeks on Broadway.

However, before settling down for the long run
there, “The Marriage-Go-Round” had spent a year
on a transcontinental tour that originated on the
Pacific Coast and included about 20 major cities
from there to New York.

“The Marriage-Go-Round”, a Stevens-Colbert
production, is “a gay and irridescent comedy”, as
The New York Times’ great critic, Brook Atkinson,
described it.

The pace and tone of the story are droll and
buoyant. The critics generally summed it as a
“thoroughly delightful marital charade.”

It concerns, mainly, three people: a middle-
aged professor of anthropoligy ; his wife, dean of
women at an up-State New York college, and a
voluptuous blonde from Sweden. There is a fourth
character, a language professor who has long been
in love with the wife.

Paul Deville, the professor, and his wife, pro-

fessionally called Content Lowell, are happily mar-
ried. Years before Prof. Deville, famed lecturer on
cultural anthropology, and a Swedish professor had
become intimate friends. Before his marriage, De-
ville had occasion to often visit Prof. Sveg and his
family, which included a daughter, who, even as a
child, adored the American.

As years passed, the child, Katrin, now a beau-
tiful young woman, convinced herself she was in
love with the professor for whom her father had
great esteem and whom she had seen only in news-
reels. Came a time when Prof. Sveg accepted an
invitation from the Devilles to visit them. Out of
the blue to the latter’s happy home came a young
woman of extraordinary charm. She introduced her-
self as Katrin, explaining that her father would
arrive later.

But, the Devilles were in for a shock, for Katrin
frankly stated her reason for coming to stay with
them ahead of her father: she wanted Prof. Deville
to father her child. How she goes about trying to
seduce the married man and how she upsets the
peace and quiet of a learned couple’s life makes for
a succession of events that provides an abnormal
succession of hilarity.

In fact, the uncommonly audacious young wom-
an presses her case with a persistence where the
situation becomes intolerable to a charming and
intelligent wife who moved briskly through the
crisis, at first with a dry sense of humor . . . and
then outraged, she threatens to leave her husband.

However, the problem is finally solved when the
Devilles learn that Prof. Sveg had sent on his daugh-
ter to personally inform them he could not make
the trip. In the end, she finds herself with no other
alternative but return home, a move the reconciles
the Devilles.

Up to press-time no cast assignments had been
announced. Claudette Colbert and Charles Boyer
co-starred as wife and husband in the play and
Julie Newmar was featured as the scheming guest
in the stage play.

“The Marriage-Go-Round” was Leslie Stevens’
third play to reach Broadway. The others were
“Champaign Complex” with Polly Bergen and “The
Lovers” with Joanne Woodward. He was formerly
associated with Orson Welles’ Mercury Theatre
Players. He graduated from the Yale Drama School
and subsequently the American Theatre Wing, be-
ing tutored by such master craftsmen as Moss Lind-
say, Robert Anderson and Moss Hart. Stevens has
written for television and for Warner Brothers
scripted “The Left Handed Gun” in which Paul
Newman headlined.

“The Marriage-Go-Round” could have continued
playing on Broadway indefinitely, but both its
co-stars. Miss Colbert and Charles Boyer, had other
commitments contractually requiring their services
at the beginning of this month.

Incidentally, Stevens is the son of the late
Admiral Leslie C. Stevens, author of the best-
seller, “Russian Assignment”.

THE

IDIOT

“The Idiot”, based on what has been internation-
ally accepted as Fyodor Dostpyvesky’s finest novel,
is the first motion picture wholly produced in the
Soviet Union to be domestically released by 20th
Century-Fox. Its distribution is at the request of the
U. S. State Department in connection with the lat-
ter’s cultural exchange agreement with the U.S.S.R.
Directed by Ivan Pyriev, who also wrote the screen-
play, “The Idiot” features four leading Soviet
Union stars: Yulia Borisova, Yuri Yakovliev, Nikita
Podgorny and Leonid Parkhomenko.

Dubbed in English, “The Idiot” concentrates on
the experiences of a sorrowful young man, a rest-
less prince seeking to better the sad plights of
others, and a beautiful woman who, despite the con-
stant deceptions of men, finds new hope in a lovable
rebel struggling against the injustices he sees
around him.

St. Petersburg (now known as Petrograd)— the
majestic, magnificent city that arose as if by magic
amidst swamps and fogs, the superb creation of hu-
man hands, a city of wonders, of ghosts and illu-
sions— provides the background for “The Idiot.”
This is the old St. Petersburg, with all its grandeur
and poverty, with its luxurious palaces and squalid
slums, where passions, good and evil, lurked in the
shadows, and the life within it, European critics
have said, “have been captured with heart and
imagination.”

In that St. Petersburg, which for centuries was
one of the world’s great cities, lived impoverished
Prince Myshkin who became “the idiot” in the eyes
of friends and enemies alike because of his unshak-
able sympathy and love for his fellowmen. Their
troubles he viewed as his problems. When he met
beautiful, but embittered Nastasya Filippovna, his
one-man “crusade” took an uncompromising per-
sistence, notwithstanding the fact that his closest
friend and collaborator turned against him when
both fell in love with her.

In that St. Petersburg, too, Myshkin rises against
petty and sordid characters, against the humiliation
and desecrations of the unfortunates and weak,
against a world of chaos whose mastery was mer-
cilessly sought by despots bartering in conscience,
honor and helpless people.

Yuri Yakovliev

TWO NEW STARS SHINE IN U.S.S.R. PRODUCTION

Two new Russian stars make their debut on American screens in “The Idiot.” Above: Yuri Yakovliev who
plays the title role, Prince Myshkin who is pauperized as the result of his untiring efforts against overwhelm-
ing odds to relieve the lot of persecuted and starving people of St. Petersburg. Below (center) : Yuri Yakovliev
portrays the beautiful, but embittered Nastasya, mistress of a wealthy and powerful nobleman. Other prin-
cipals in this dramatic screenplay include Nikita Podgorny as Ganya, a ruthlessly ambitious, vain and paltry
type; Leonid Parkhomenko as Parfen, Myshkin’s friend who becomes his enemy when both fall in love with
Nastasya; Vera Pashennaya as a foolish and kind-hearted wife; Lyudmila Ivanova as Ganya’s straightforward
sister; Vladimir Muravyov as an alcoholic; Leonid Parkomenko as Myshkin’s most dangerous antagonist;
Nikolai Pashitnov as General Yepanchin; Klavdia Polovikovo as Ganya’s disillusioned mother, and Ivan
Lyubeznov as a weak-willed army officer gone to seed. While Yuri Yakovliev makes his film debut in “The
Idiot” he is an outstanding star of the Moscow stage. He is a graduate of Moscow’s famed Vakhtangov Theatre
from which have come most of the leading stars of U.S.S.R. stage and screen.

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HEEDING PUBLIC AND
EXHIBITION REQUEST

A Sequel
To”Blue

Denim”

Seldom in the annals of civilization has contem-
porary youth had to cope with as many and complex
problems as those with which today’s youngsters are
wrestling. Their approaches to solutions vary radi-
cally and, economists, as well as sociologists, con-
tend, from seemingly day to day.

But, this is not a youth seeking escape or delibe-
rate evasion of its problems. This definitely was
proved by the millions who saw “Blue Denim”, one
of the more successful motion pictures of last year.
The impact this picture has had on not only youth,
but moviegoers of all ages, and particularly parents,
is evidenced by several thousand letters received by
its producer, Charles Brackett.

No motion picture produced and publicly exhib-
ited last year spurred such vocal and written com-
mendation from people in all walks of life as did
“Blue Denim.”

Hundreds, in their letters, expressed an interest
in knowing what happened to the pregnant girl and
the ’teenager who rendered her in that condition,
after their parents came to their rescue. This interest
was indicated in the flinging of such questions as
“what happened to the youngsters?”, “was it a per-
manent solution their parents provided?”, “did the
girl give birth to a healthy child?”, “how happy are
they in their marriage?”, “how radically did their
lives change, if there was a change?”, etc., etc.

Certainly, no motion picture produced by this
company has developed so much public interroga-
tion regarding the future of its characters as has
“Blue Denim.”

Many leaders in youth welfare, including nation-
ally celebrated social authorities, in lauding the
studio for creating so moving a story about “nicer
youngsters” and successfully “avoiding sensational-
im in telling this story that some day had to be told”,
have urged it to “follow through” on the further
experiences of the two involved youngsters.

Magazine writers and editorialists are among
those who have influenced the production of a sequel
to the picturization of the play by James Leo Herlihy
and William Noble. Parents Magazine, which gave
rare, high praise to “Blue Denim”, was among the
publications that pointed up the wisdom of a sequel,
“explored with the same dignity and insight that
went into the treatment of the problem of decent
young people whose early sex drives get them into
trouble.”

It was after due consideration, many discussions
and consultations with exhibitors who queried hun-
dreds of patrons who had seen “Blue Denim”, that
Buddy Adler and producer Brackett agreed to film a
sequel for release this year.

No title has yet been selected for the sequel.
However, Carol Lynley and Brandon de Wilde will
re-enact the roles they played in “Blue Denim”.
MacDonald Carey and Marsha Hunt will again
portray Miss Lynley’s parents. A treatment of the
story approach for the sequel is now being written.
Filming is scheduled to start in the Spring. Brackett
is hoping to have the sequel completed for domestic
release in September.

MARSHA HUNT

MACDONALD CAREY

Memory of the pictured foursome's performances in "Blue
Denim", superbly acted, in fact, by the entire cast, has much
to do with the tremendously numerous public and exhibitors'
requests that the studio create a sequel to that extremely
popular 1959 screenplay. Such a sequel is being written.

EXTRA! BRIGITTE BARDOT IN HER FIRST ENGLISH-SPEAKING PICTURE

Brigitte Bardot (right) has joined, the galaxy of international stars who will
appear in CinemaScope-De Luxe Color productions this company has scheduled
for 1960-61.

Her enrollment in the stellar group is significant because she will speak English
for the first time on the screen in “Fool’s Paradise”, which is currently being filmed
simultaneously in English and French versions. It is being produced in France
where the story takes place.

Not only Brigitte, but co-starring with her will be her husband, Jacques Charrier.
It is a Jacques Hoitfeld production.

“Fool’s Paradise” is based on the novel, “Le Grand Dadais” by Bertrand Poirot-
Delpech. It is a dramatic story of a weak and spoiled young man who, after carrying
on a sizzling romance with a strip-teaser, spurns the latter for a rich, aristocratic girl.

“Fool’s Paradise” will be distributed by this company through its releasing
branches everywhere, excepting in continental Europe.

No need here to even briefly report on the sensational career of Brigitte Bardot,
for it is well known to virtually all moviegoers, newspaper and magazine readers
here and abroad. She has appeared in many pictures in the past five years, but her
most successful, according to trade belief and critics, was “And God Created Women”.
All the “B-B” pictures released to date have been in French, with dubbed in English
dialogue.

Her young husband, Jacques Charrier, is also an internationally known screen
figure, for Bardot admirers will remember him as her co-starring mate in several
of her pictures. Moreover, he personally also has obtained a substantial volume of
publicity in newspapers and movie “fan” publications in the United States and
Canada.

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BRIGITTE BARDOT

FROM A BEST-SELLER ABOUT A RUTHLESS EMPIRE-BUILDER WHO IS FORCED TO BOW
TO AN IRONIC FATE WHEN HIS LUST FOR GREATER WEALTH AND POWER BOOMERANGS

This Spring producer-director Dick Powell ex-
pects *to start production on his picturization, in
CinemaScope with De Luxe story, of “Big River,
Big Man”, a project he has been preparing for more
than a year. Based on the novel by Thomas Duncan,
this outdoor saga is the costliest motion picture
Dick Powell will have made under 20th Century-
Fox sponsorship.

•

Presently, Powell is busy testing candidates for
the major roles of which there are 17 in “Big River,
Big Man”. However, this picture will also introduce
a feminine graduate from the talent school whom
production experts are convinced is fully qualified
to portray the scheming, sex-hungry Esperanza,
daughter of a Prussian immigrant. There are, how-
ever, four other women in the life of Jim Buch-
master, a bull cook in a Wisconsin logging camp.

But Buchmaster, ruthless and ambitious, knew
he would one day be a man of unlimited power.
Women, succumbing to his charm and drive, helped
him. In his determination to make his weight felt,
he exploited virtually every important person with
whom he came in contact. He became an expert in
“double-crossing” as a means of short-cutting his
way to power. One woman, by whom he was soon
to have a child, committed suicide when he married
Esperanza. But, the suicide was to develop in him
a hatred for Esperanza who killed her new-born
son in fear that the infant would stand between her
and Buchmaster.

In time, Buchmaster was well on his way to
realizing his dreams. He bought timberland and
expanded in every direction: railroad, toll bridges,
gas company, bank and newspapers. He now had
his empire. Came the Civil War and Buchmaster,

profiteering, became many millions of dollars
richer.

A dominant force in business, Buchmaster, in
later years, aspired to high Congressional office.
A former chore boy for Buchmaster was his op-
ponent. He was a crusader against all that the em-
pire-builder represented.

Again Buchmaster’s ruthlessness came into play,
for he revealed the fact that his opponent had
fathered an illegitimate child in his youthful past.
But, even that charge failed to stop his rival’s poli-
tical rise, for, shortly after, Buchmaster lost his
life in a forest fire that devoured his private rail-
road car that had been shunted to a spur line
through some of the timberland he owned. By then
the voters had forgotten about the illegitimacy
charge and the only man ever to dare oppose the
“big man” was sent to Congress by a landslide vote.

GOODBYE, CHARLIE

BASED ON GEORGE AXELROD’S PLAY ABOUT A "HEEL” KILLED BY
A JEALOUS HUSBAND, AND RETURNS TO EARTH AS A BEAUTIFUL GIRL!

George Cukor, who is directing Jerry Wald’s
“Let’s Make Love”, has been assigned the produc-
tion reins on a picturization of “Goodbye Charlie”.
This will be Cukor’s first responsibility as a pro-
ducer for this company. He will prepare for its
filming after completion of “Let’s Make Love”.
Thus, “Goodbye Charlie” will be either a late 1960
or an early 1961 attraction in CinemaScope.

Marilyn Monroe is being offered the title role
in the adaptation of George Axelrod’s play in which
Lauren Bacall has been starring at the Lyceum
theatre in New York. Before settling on Broadway
“Goodbye Charlie” filled engagements in Pitts-
burgh, Detroit, Cleveland, Baltimore and Phila-
delphia.

“Goodbye Charlie” is about a rouge called Charlie
who is killed by an irate husband after the latter
learns that among the modern Don Juan’s conquests
his wife was included.

As Charlie’s punishment he is compelled to re-
turn to earth as “the most beautiful girl in the
world”. As the seductive young woman, also named
Charlie, she encounters various girls with whom,
as a man, she has had affairs. However, she falls in
love with a young man, who had been “her” best
friend and with whom she, as a playboy, had often
gone roistering.

The action takes place in a California beach
house where the “heel” was shot, and where he
returns as a beautiful woman.

George Axelrod is no stranger to exhibitors and

patrons of 20th Century-Fox vehicles, for two of
his plays were brought to the CinemaScope screens
by this company. They were “The Seven Year Itch”
in which Miss Monroe starred with Tom Ewell, and
“Will Success Spoil Rock Hunter?” which marked
the motion picture debut of Tony Randall.

Axelrod also produced “A Visit To A Small
Planet” on Broadway. A native New Yorker, his
first job in show business was as an assistant stage
manager for Grace George in a revival of “Kind
Lady”. He has reportedly written about 500 radio
and television scripts. As a novelist he authored
“Beggar’s Choice” and “Blackmail”. He not only
wrote the screenplay for “The Seven Y'ear Itch”,
but also for “Phfft” for which he provided the
original story. Q1

JOHN BROWN’S BODY

Pictured on this page are woodcuts from newspapers of 1859,
depicting various events connected with John Brown’s sensation-
al, but disastrous raid on a Union arsenal at Harpers Ferry.
Above: Brown and a few followers, who constituted his "army” of
22, capture Harpers Ferry. This happened on October 16, 1859.
But, the venture, ill-planned, was doomed to failure and collapsed
when Washington rushed soldiers to the scene. . .soldiers who,
ironically enough, were under the personal command of the man
who was to lead the South’s military forces against the North in
the war that broke out less than two years later: Gen. Robert E.
Lee. Above: Brown is pictured in a firehouse, standing over his
two dead sons.

Seventeen days, Nov. 2, after his historic, attemp-
ted raid, Brown was placed on Federal trial, charged with
treason. He was brilliantly, but vainly defended by a
young lawyer from Boston, George Hoyt. During the trial,
John Brown lay on a cot (above), but, after being con-
victed, he rose for a last speech, excoriating slavery.

The entire resources of this company, plus the largest investment it has made in
a single motion picture are involved in Buddy Adler’s determination to make his per-
sonal Todd-AO production, in De Luxe Color, of the tentatively titled “John Brown’s
Body”, based on Stephen Vincent Benet’s poem.

Mr. Adler’s and screenplaywright-director Joseph Mankiewicz’s objective is to
make this the great motion picture of all time. In the story Mr. Mankiewicz is writing
there are 28 speaking roles, and all of them will be acted by major box office per-
sonalities.

While Stephen Vincent Benet’s poem concerned the ill-fated raid by John Brown
and his band of 22 of the United States arsenal at Harpers Ferry on Oct. 18, 1859, the
Todd-AO screenplay not only unfolds a great love story against a wonderful back-
ground, but it also will have tremendous action. One particular sequence, the charge
on Bull Run, is designed to be the most exciting episode cinematically dramatized.

Moreover, producer Adler and director Mankiewicz have taken unparalleled steps
to completely eliminate the element of chance in creating a motion picture designed
to make box office history. To bring about such a certainty even before Mankiewicz
gives his first “Camera!”, Sindlinger & Company, Inc., an organization of analysts well
known to the trade and public, was engaged to make a nation-wide survey. Exhibitors
and public were asked to give their opinions about the story, the title and other ques-
tions pertaining to John Brown, the Harpers Ferry incident, etc., etc.

Mankiewicz and a camera crew last Fall filmed actual re-creations of John Brown’s raid at Har-
pers Ferry in West Virginia. Filming of this background material took place during that little
town’s centennial celebration of the raid of the abolitionist and his little band. Part of the footage
Mankiewicz plans using in a sequence dramatizing the defeat of the raid and the arrest of John
Brown by a company of United States Marines that, interestingly enough, was under the personal
command of the then Col. Robert E. Lee whom Washington sent to the small town at the com-
fluence of the Shenandoah and Potomac rivers and who, ironically enough, as general, was to lead
the South in the armed conflict with the North.

With the subject matter acknowledgedly having greater human depth than “Gone With The
Wind”, “John Brown’s Body” is scheduled to go before the cameras this Summer. Its world pre-
miere is planned for early 1961, which will mark the 100th anniversary of the outbreak of the war
between the States (on April 12, 1861).

There is agreement among historians that John Brown and his abolitionists were an inflam-
matory influence in the period before armed conflict started. The Todd-AO production will deal
not only with that period, but also on developments after the beginning of the Civil War.

Brown lived variously in Ohio, Pennsylvania, Massachusetts and New York State, but failing
at such trades as sheep raising, wool trading and farming. In 1854 he went to Kansas to join
five of his 20 children, whom he had by two wives, in the war over the question whether Kansas
Territory was to be admitted to the Union as a free or slavery State.

His first major achievement, history reports, was in that conflict, the Pottawatomie massacre
(May 25, 1956) in which he is alleged to have had a hand, along with other anti-slavery fighters, in
killing five pro-slavery adherents. This, history records, was to avenge the killing of five Free-Staters.

Accounts of John Brown’s activities state he conceived the idea of setting up, somewhere in the
mountains of Virginia, an independent State for fugitive slaves, with its own government and its
own armed force.

A so-called “Secret Six”, respectable northeastern abolitionists, is recorded in history as hav-
ing backed and financed Brown and his men in making possible the attack on the arsenal at Harpers
Ferry. It was a dismal failure, for they were forced to surrender, after two of the would-be raiders
were killed, and Brown himself seriously wounded.

The raid’s survivors were speedily tried on the charge of treason, found guilty and hanged at
Charlestown (now in West Virginia), on Dec. 2, 1859.

IN TODD-AO, IT IS DESIGNED TO BE
SCREEN’S MOST SPECTACULAR DRAMA

Sentenced to be hanged, Brown is pictured above
ascending the scaffold. However, before his execution,
facing civil and military authorities he prophetically ex-
claimed ” slavery will be purged away in blood”. Though
his raid failed, Brown’s passionate sacrifice dramatized
the struggle that issued in the subsequent Civil war.

U. S. MARINES SURPRISE AND CAPTURE “OLD OSAWATOMIC” IN THE ENGINE HOUSE.

RODGERS’ AND HAMMERSTEIN’S

State Fair

Star-Packed, Super-Musical
From Phil Stong’s Novel

Unquestionably one of the major events of this entertainment year, 1960, will
be Richard Rodgers’ and Oscar Hammerstein’s “State Fair”. Unlike the two prior
picturizations this company made of Phil Stong’s best-selling novel. Buddy Adler
stresses the fact that this CinemaScope-De Luxe Color super-special will not be a
musical. “However”, Mr. Adler announces, “ ‘State Fair’ will have plenty of songs,
new songs, by Rodgers and Hammerstein.”

Present plans schedule “State Fair” for domestic release late this year, with
actual filming to start late in the Spring.

For the past six years the studio has been beseiged by exhibitors with requests
to make “State Fair”, the feeling being that this is one of the “best family stories
ever filmed”.

“State Fair” is no stranger to the most famous song-writing team in show busi-
ness. The 1945 version was adapted for the screen by Hammerstein and featured the
songs of Rodgers and Hammerstein. Among those tunes were “It Might As Well Be
Spring”, which won an Academy Award as the best song of that year, and “It’s A
Grand Night For Singing”.

The first picturization of “State Fair” was made by this company in 1933 and
co-starred the late Will Rogers, Janet Gaynor, Lew Ayres, Frank Craven and others.
The 1945 musicalization starred Jeanne Crain, Dana Andrews, Dick Haymes, Vivian
Blaine, Charles Winninger, Donald Meek and Frank McHugh.

“State FaitT has been allotted a budget comparable with that which went into
the making of MI of this company’s top musicals. It will feature an all-star cast,
with Pat Boone, who is currently enjoying the greatest success of his entertainment
career in “Journey To The Center Of The Earth” as well as with his weekly ABC-TV
network show, the only personality assigned a role to date.

Significant of the vast scale on which “State Fair” will be made is the fact that
it will be produced by Charles Brackett and directed by Walter Lang. This is a
reunion for the pair, for they collaborated in similar capacities in the production
of another Rodgers and Hammerstein musical, “The King And I.”

However, it is interesting to note that Walter Lang directed the 1945 “State
Fair”. He can boast having directed an incomparably long list of musical successes
for this company, including “Tin Pan Alley”, “Coney Island”, “When My Baby
Smiles At Me”, “On The Riviera”, “With A Song In My Heart”, “Call Me Madam”
and “There’s No Business Like Show Business”. His latest major achievement is
the Todd-AO production of “Can Can”.

“R & H” Symbol Of
Musical Supremacy

Although Richard Rodgers and Os-
car Hammerstein II (right) have been
a music and lyrics team for only 17
years, they have been friends since
they attended Columbia University.
Rodgers’ successful composing began
in 1925 when, with the late Lorenz
Hart as lyricist, he wrote the music for
“The Garrick Gaieties.” Then, also
with Hart, he wrote such stage suc-
cesses as “Dearest Enemy”, “The Girl
Friend”, “Connecticut Yankee”, “Pre-
sent Arms”, “Spring Is Here”, “Jumbo”,
On Your Toes”, “Babes In Arms”,
I Married An Angel”, “Pal Joey” and
others.

Prior to collaborating with Rodgers,
Hammerstein had written lyrics for a
fabulous succession of hits. With Otto
Harbach, Rudolph Friml, Jerome Kern
and Sigmund Romberg, as co-authors
and composers, Hammerstein wrote
such major stage musical triumphs as
Wildfiower”, “Rose Marie”, “Sunny”,
The Desert Song”, “Show Boat”,
New Moon”, “Music In The Air” and
“Sweet Adeline”.

Rodgers and Hammerstein initiated
their collaboration in 1943, and “R &
H” went on to be acknowledged the
most extraordinary, singular, success-
ful and respected team in the musical
theatre: the symbol of undisputed

supremacy in contemporary musical
entertainment.

Their first collaboration, “Okla-
homa !”, revolutionized the American

RICHARD RODGERS AND

musical, with the emphasis on story
and the songs an integral part of de-
velopment of the story.

Thereafter, they turned out “Carou-
sel”, “South Pacific”, “The King And
I”, “Me And Juliet”, “Pipe Dream”.
Currently they have two SRO succes-
ses simultaneously playing on Broad-

OSCAR HAMMERSTEIN II

way: “Flower Drum Song” at the St.
James, and “The Sound Of Music” at
the Lunt-Fontaine theatre.

Besides, “R & H” produced “I Re-
member Mama”, “John Loves Mary”,
“Annie Get Your Gun”, “Happy Birth-
# day”, “John Loves Mary”, the 1947 re-
vival of “Show Boat” and “Happy

Time” as well as other stage produc-
tions of their own creation.

Among the numerous honors be-
stowed upon them, space here permits
mention only of their Pulitzer Prizes
for “Oklahoma!” and “South Pacific”.
No other combination of writers in
the theatre or literature can boast hav-
ing twice won a Pulitzer Prize.

In 1957 they collaborated on a CBS-
TV network “spectacular”, titled “Cin-
derella”. In 1952 Rodgers wrote the
score for NBC-TV’s “Victory At Sea”.

Hammerstein began his film collabo-
ration career with “Viennese Nights”.
Subsequently, he was associated as col-
laborator, lyricist or librettist, on many
motion pictures, including “Swing
High, Swing Low”, “Children Of
Dreams”, “One Night In The Tropics”,
“The Desert Song” and “Broadway
Rhythm.”

President Eisenhower is pictured
chatting with Edmund Reek (above,
left), Vice-President and producer of
Movietone News, Inc., after he joined
the world’s and industry leaders in con-
gratulating the latter on completion
of 40 years of service with 20th Cen-
tury-Fox Film Corporation: four ex-
citing decades ... the roaring ’20’s, the
jittery ’30’s, the world upheaved ’40’s,
through the cold war of the ’50’s; 40
years that saw motion pictures leaving
the so-called “silent era”, taking on
sound tracks to give voice to the
screen, to CinemaScope to give it new
dimensions . . . and meanwhile, take an
active role in television. Right : Mr.
Reek as he looked at press-time.

MOVIETONE NEWS

Still Rates
No. 7 The
World Over

The global leadership of Movietone
News, produced by Movietonews, Inc. is
today more pronounced than ever.

More than 22,000 theatres throughout
the world today regularly feature Movie-
tone News. It still rates No. 1 in screen
circulation in the domestic market.

There are many
reasons for this cir-
culation leadership
of what is univer-
sally acknowledged
to be, qualitatively
and in alertness, the
finest newsreel of
the industry.

For one thing,
Movietone News
maintains a larger
global camera staff
than all the other
newsreels com-
bined. It regularly
turns out editions in 37 foreign languages
and dialects.

Movietone News continues featuring
stellar commentators. The domestic edi-
tion’s stars not only narrate the news, but
also figure in the CinemaScope short Sub-
jects output. These stars include the No. 1
sports newscaster, Mel Allen who for more
than a quarter of a century has been “the
voice of the New York Yankees” and for
many years has won distinction for his
broadcasting and television reportage of
baseball’s world series and major inter-
collegiate football contests; Joe King, Joe
Wills and Vyvyan Donner.

Fox News came into being in 1919 and
made it debut as Movietone News at New
York’s Embassy theatre on Aug. 3, 1927.
Today, Movietonews, Inc., employing
about 2,000 people, full and part time,
operates from New York, London, Paris,
Sydney and Munich.

MEL ALLEN

DRAMATIC MIRROR OF EXCITING CONTEMPORARY TIMES

Short Subjects in

Production on the 12 CinemaScope short sub-

e jects for domestic release this year is well under
way. In fact, Jack Kuhne, their production director,
stated at press-time, that that program was more
than 609c completed. All will be in De Luxe Color.

One Movietone-CinemaScope short subject
team, headed by Dick Kuhne, is circling the globe,
“shooting” material for featurettes that will be
bookable later this year. This crew is currently in
Australia and New Zealand.

Out of that stay will come
a short subject on the “bush
men”.

From New Zealand, it
will head eastward to Singa-
pore, Thailand, Burma, In-
dia, Pakistan, Turkey and on
to Europe. In each country
the team will ponder long
enough to film material for
incorporation later into a
short subject. The journey
is scheduled to be completed
next October, which will
mean the crew will have
been away 11 months.

Completed at press-time

for 1960 release were these CinemaScope short
subjects: “State 50”, and “Navy Angels”. Com-
pleted, but only presently with tentative titles are
a golf story wherein golf notable Sam Snead gives
a lesson on how to successfully negotiate the
trickiest shots; the self-explanatory “Japan Today”,
and “Sails Ahoy”.

Additional 1960 CinemaScope short subjects,
currently being edited, are: one on the training
of Navy frogmen, filmed in the Virgin Islands;
“Operation Little Bear”, dwelling on missile
equipped troops stationed in Alaska; another on
the startlingly increasing outpouring of refugees
into Hongkong; “Down The Road To America”,
an Americana story on wheels, and a subject on
Manila today.

18 NEW CARTOONS AND SIX RE-RELEASES

More Terrytoons This Year

JACK KUHNE

TERRYTOONS* MIGHTY MOUSE & CO f

Instead of 12 new Terrytoons in color, as
has been the practice in the past, this year,
there will be 18, according to announce-
ment by William Weiss, Vice-President and
General Manager of CBS-Terrytoons, Inc.

In all, domestically, 24 Terrytoons will be
in release this year.

An even dozen of those new Terrytoons
will be in CinemaScope with color. Six,
also in color will be in all-purpose 2-D
dimensions.

Additionally, this year there will be six
All-Purpose Terrytoon re-releases, all in
color.

Increase the new Terrytoons for 1960 from
12 to 16 entails a production budget boost
of about 20%.

The first 12 Terrytoon releases for this
year have been completed. The first six
CinemaScope Terrytoons are: (5001-3),

“Hide And Go Sidney”; (5002-1), “The Mis-
understood Giant”; (5003-9), “Foofle’s Pic-
nic”; (5004-7), “The Famous Ride”; (5005-4),
“Tusk, Tusk”, and (5006-2), “Hearts And
Glowers”.

The first three new 2-D Terrytoons com-
pleted and labelled are: (5021-1), “Thousand
Smile Check-Up”; (5022-9), “The Tiger
King”, Aesop’s Fable, and (5023-9), “Mint
Men”.

Initial three Topper re-releases are:
(5031-0), “How To Relax”; (5032-8), “The
Helpless Hippo”, and (5033-6) “Nonsense
Newsreel”.

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A PRIVATE’S AFFAIR: Comedy, with songs.
About a draftee and his buddies who endeavor to
extract him from his mistaken marriage to a middle-
-aged U. S. Secretary of Defense. Co-starring Sal
Minero, Christine Carere, Gary Crosby, Terry
Moore, Barrie Coe and Barbara Eden. David Weis-
bart, producer. Raoul Walsh, director. 92 minutes.
CinemaScope. De Luxe Color.

MAN WHO UNDERSTOOD WOMEN: Ro-
mantic comedy about a “has-been” director who
“comes back” when he “discovers” and makes a star
out of a young girl, marries her, but, because of
his neglect, sends her into the arms of another man.
Co-starring Henry Fonda, Leslie Caron, Cesare
Danova and others. Nunnally Johnson, producer-
director. 105 minutes. CinemaScope. De Luxe Color.

Pictured on this and the
following page are scenes
from 1959 CinemaScope fea-
ture releases. These are at-
tractions still playable in
many subsequent - run and
small-town situations.

Currently some of the 1959
fourth quarter’s features are
enjoying a greater patronage
than when first released. This
lucrative situation has re-
sulted from word of mouth
praise.

Since its release last year
“The Diary Of Anne Frank”
has won increasing, universal
praise. In the United States
and Canada, as well as in
foreign lands, it continues
winning awards.

“Journey To The Center
Of The Earth” continues one
of the major box office suc-
cesses. It has established new
patronage and box office
marks in numerous first-run
situations. In smaller situa-
tions it is not only matching
the downtown key runs, but
developing extended engage-
ments.

“South Pacific”, which set
up a long string of records
as a Todd-AO road-show and
at 35MM pre-release engage-
ments, will go into general
release in the United States
within the next few months.

THE BEST OF EVERYTHING: Romantic
drama. Multiple expose of the trials and tribula-
tions of career-minded girls and their quests for
husbands. Co-starring Hope Lange, Stephen Boyd,
Suzy Parker, Martha Hyer, Brian Ahern, Robert
Evans, and Louis Jourdan and Joan Crawford.
Jerry Wald, producer. Jean Negulesco, director.
121 minutes. CinemaScope. De Luxe Color.

OREGON TRIAL: Melodramatic outdoor story
about a group of Midwesterners who join a trek to
the U. S. Northwest and their adventures on that
historic journey. Co-starring Fred MacMurray, Nina
Shipman, Gloria Talbot, Henry Hull and others.
Produced by Richard Einfeld. Directed by Gene
Fowler, Jr. 86 minutes. In CinemaScope with De
Luxe Color.

OTHER FEATURE ATTRACTIONS PLATARLE NOW

Re-issue combinations are proving, generally, exceptionally popular offerings
in the United States. “Bernardine” and “Love Me Tender”, in which Pat Boone
and Elvis Presley, respectively, made their screen dehuts, is a combination that
has met with widespread public patronage. “Violent Saturday” and “Teenage
Rebel” is another that has been gaining in exhibitor and patronage favor.

These re-issue combinations have become standard box office bonanzas:
“Love Is A Many Splendored Thing” with William Holden and Jennifer Jones,
and “Three Coins In The Fountain”; “Tobacco Road” and “Banjo On My Knee”,
the latter co-starring Joel McCrea, Walter Brennan and Barbara Stanwyck; “I’d
Climb The Highest Mountain”, with Susan Hayward and William Lundigan, and
“Man Called Peter” with Richard Todd and Jean Peters, and “Tobacco Road”
with John Steinbeck’s “The Grapes Of Wrath”, co-starring Henry Fonda and
others.

Other bookable CinemaScope feature attractions in the 1959 backlog, but

not pictured on these pages, are “The Inn Of The Sixth Happiness” with Ingrid
Bergman, Curt Jurgens and Robert Donat; “The Sheriff Of Fractured Jaw”
with Kenneth More, Jayne Mansfield and Henry Hull; “Rally ’Round The Flag,
Boys” with Joanne Woodward, Paul Newman, Joan Collins and Jack Carson;
“I, Mobster” with Steve Cochran, Lita Milan and Robert Strauss; “These
Thousand Hills” with Don Murray, Richard Egan, Lee Remick and Patricia
Owens; “The Remarkable Mr. Pennypacker” with Clifton Webb, Dorothy Mc-
Guire, Charles Coburn, Jill St. John and Ron Ely; “The Sound And The Fury”
with Yul Brynner, Joanne Woodward, Margaret Leighton, Stuart Whitman and
Ethel Waters, and “Warlock” with Richard Widmark, Henry Fonda, Anthony
Qumn and Dorothy Malone.

Also bookable are “Smiley Gets A Gun”, “Intent To Kill”, “Alaska Passage”,
“The Lone Texan”, “The Sad Horse”, “The Little Savage”, “Here Come The
Jets”, “Miracle Of The Hills”, “Alligator People”, “Return Of The Fly” and
“Blood And Steel”.

COMPULSION : One of the widely praised pic-
tures of last year. Based on Meyer Levin’s novel
about two young, wealthy Chicago “thrill-killers”.
Co-starring Dean Stockwell and Bradford Dillman
as the murderers, Orson Welles as their attorney
and Diane Varsi, with E. G. Marshall and Martin
Milner. Richard Zanuck, producer. Richard Flei-
scher, director. CinemaScope, black and white.

BLUE DENIM: One of the more successful and
a widely discussed screenplays, based on a play
about a teenage girl and boy faced with the prob-
lem of pregnancy. Co-starring Carol Lynley, Bran-
don de Wilde, Warren Berringer, MacDonald Carey
and Marsha Hunt. Charles Brackett, producer.
Philip Dunne, director. 89 minutes. In Cinema-
Scope and black and white.

WOMAN OBSESSED : Dramatic story of a young,
widowed mother, her son and their involvement
with a lonely backwoodsman. Based on a story by
Sydney Boehm. Co-starring Academy Award win-
ner, Susan Hayward; Stephen Boyd and Barbara
Nichols, with Dennis Holmes, Theodore Bikel, Ken
Scott and others. Sydney Boehm, produced. Henry
Hathaway, director. CinemaScope. De Luxe Color.

FIVE GATES TO HELL: Melodramatic story
of five United Nations Army nurses who bravely,
but futilely resist the sadistic attacks of a blood-
thirsty group of enemy soldiers. Co-starring Patricia
Owens, Dolores Michaels, Neville Brand and others.
Produced and directed by James Clavell. 98 minutes.
In CinemaScope and black and white.

HOUND DOG MAN: Rural romantic story
about a young farm hand who comes to the con-
clusion that the time has come when he must learn
life’s values on his own. Co-starring Stuart Whit-
man, Carol Lynley, Arthur O’Connell and Dodie
Stevens, and introducing Fabian. Jerry Wald, pro-
ducer. Don Siegel, director. With songs. 87 minutes.
CinemaScope. De Luxe Color.

BELOVED INFIDEL: Autobiographical ro-
mantic screenplay concerning the love affair of
newspaper Hollywood columnist Sheilah Graham
and the famed American novelist, F. Scott Fitz-
gerald. Co-starring Gregory Peck, Deborah Kerr
and Eddie Albert. With Philip Ober, Ken Scott and
others. A Jerry Wald production. Henry King, di-
rector. 123 minutes. In CinemaScope, with De Luxe
Color.

HOLIDAY FOR LOVERS: Comedy about the
adventures and pitfalls a Massachusetts family en-
counters in trying to stop a suspected wedding of
their daughter to a much older South American
architect. Co-starring Clifton Webb, Jane Wyman,
Jill St. John, Carol Lynley, Paul Henreid, Gary
Crosby and Nico Minardos. David Weisbart, pro-
ducer. Henry Levin, director. CinemaScope. De Luxe
Color.

BLUE ANGEL: Dramatic story about an erst-
while respected professor, who, after reprimanding
his students for patronizing a dive featuring a cheap
singer, succumbs to her wiles and almost wrecks
his life when he marries her. Co-starring Curt Jur-
gens, May Britt and Theodore Bikel. Jack Cum-
mings, producer. Edward Dymtryk, director. 107
minutes. CinemaScope. De Luxe Color.

JOURNEY TO THE CENTER OF THE
EARTH: A spectacular and fabulous science-fiction
story based on a story by Jules Verne about four
people who successfully fight their way to the center
of the earth. Co-starring Pat Boone, James Mason,
Arlene Dahl, Diane Baker and Peter Ronson. A
Jerry Wald production. Henry Levin, director. In
CinemaScope, with De Luxe Color.

Directory Of Autonomous Branch Offices In
The United States And Dominion Of Canada

branch

Albany N- ^ •

Atlanta 3, ^ a *

n 7 Ma s s .

Boston i/. m

Buffalo 3, N. ^ •

» 1 N. C*

Charlotte

Chicago 5,

♦ ; 10 Ohio

Cincinnati » »

Cleveland I 4 '

Dallas 1 » Texas
Denver 5, Colo.

D es koines 9, low*

Detroit ^ ch *

I , _ A 1 nd •
\ndianapol»s #

. ii _ o Fla.

Jacksonville i,

rws 8, Mo.

Kansas Lity

» _ 7 Car.

Los Ange'e s /

...3 Tenn.

Memphis o,

i A 3 'Wise.

Milwaukee b,

lie 3 Mi nn .
Minneapolis b,

Hamden *19, Conn.

He w Orleans 12- Lo '

Hew York 36, N • Y _

Oklahoma Ci*Y -
Omaha 2, Mebr.
Philadelphia 7, P°-
Pittsburgh 19, Po ’
Portland 9, Ore.

Cf Louis 3, Mo.

»* LoU. W, »•

San Francisco 1 ,

Seattle 1- "« h -

1 D C.

Washington I, u '

Calgary- Alberta
Montreal 9, Q ue *

St. John, N.B.

Toronto, Ont.
Vancouver 9, B-C.

address

1052 Broadway

c t N.W.
197 Dalton St.,

115 Broadway

290 Franklin St.

308 So. Church St.

1260 So. Wabash Ave.
1632-38 Central
2219 Payne Ave.

1801 Wood St.

2101 Champa St.

1300 High St.

2211 Cass Ave.

326 N. U' ,no ' s S *'
341-343 E. Bay St-
1720 Wyondotte ^ ’

1620 W. 20th St.

151 Vance Avenue

1016 Horth 8th St

• Xwe North

1015 Currie Ave.,

1890 Dixwe" Ave.

w Fax Distributing
20th Century-Fox

200 S. Liberty St.

Corp. L
345 West 44th St.

10 Horth Lee
1502 Davenport St.

314-20 N- 13 th S Allies

1723-25 Boulevard of h

-1932 H. *• L ‘>'' e, ° V S
3330 Olive St.

_ . p*, rs t South St.

216 East r

245 Hyde St.

2421 Second Ave.

415 Third St., N - ' N -

UNITED STATES

manager

C Pontages, Mgr-
Clayton G- ra

Paul S. Wilson, Mgr.

A l Levy, Mg,

John L. Sturm
Jomes o. Mock, Mgr.

Robert L. Conn, Mgr-
Welden Waters, Mgr.

Ray Schmertz, Mg'- ^

Thomas O. Me Clea-ter.

Reville Kniff ,n -
DavidS. Gold, Mg'-
Robert c. McHabb, Mgr.

Howard Kmser, Mg

p Tidwell- Mgr-
Thomas r.

Joseph R- N e 9«r, Mg'-
Morris Sudmin, Mgr-
Daniel M. Coursey, 9'-
Jock H. Lorentz, Mgr-
Morton A. Levy. Mgr.
Shepard Bloom, Mgr-

telephone
HObart 3-1203-4
JAckson 3-4633

HAncock 6-2180-1-2-3-4

CLeVe '° nd !r 3 FRanklin 7-2328
EDison 2-7101-3

W Abash 2-9625

CHerry 1-6460-1-2-3

TO- I-”"- 5 ’' 5

. , 0.7221*2-3-4

plverside o* '

TAbor 5-5331
CHerry 4-4281-2-3
woodward 1-3726
MElrose 4-5581
ELgin 6-2426-7-8

HArrison V 4180, 1-5577

REpublic 1-4186-7-8-9.

JAckson 6-2164 5

BRoadway 1-571°

pEderal 3-2201

water 8-2567-8-9

William A. Briant. Mgr.

Abe Dickstein, Mg'-

Marion w. Osborne. Mg -

F rank P. Larson J-

Som e. Diamond, Mgr.

Ha* Rosen, Mgr.

. c powers, 9

Charles F.

, ... m C Gehring.

W lliam i—

Kenneth O. Lloyd, Mg,

W M. EncWso*. 9 -

Mark Sheridan, Jr-

\ ra Sichelman, Mgr-

o 0894 5 - 9858-9

JAckson 2-2899.

Circle 6-6700

CEntral 21105-6-7

JAckson 4860
WAlnut 2-28i-8
QRant 1-3572
CApital 3-6129

. * 7 . 8420 - 1 - 2' 3 ' 4
District / a

Vancouver 9, B.C. 73 Marion Street

A( St. Boniface) Man.

Norwood V' 5T * ^ rT

i r ci -

00l * ml0N R f.. »

■\402 U th Avc " S, ^‘

8275 Mayrand St.

\2 Hazen Ave.

•\ 10 Bond St.

2186 W. 12th Ave.

Robert v_-

Id L Chernoff, Mg'-

Gerald L.

Gordon Lighten., Mg •
Victor J • Beottie,
Dawson Exley- Mgr-
Philip Getle, Mgr.

CHerry 4-8991
REgent 9-3381-2-3-4

OXford 3-3207

a 1471-2-3-4-5
EMpire 4-34/

REgent 1-5365-6
CEdor 3-4973-4

incoln’s Birthday
/ashington’s Birthday
4sh Wednesday
r ■ Holy Week
) - Passover (Jewish)
aood Friday
•aster Sunday

May 23 - "Victoria Day
May 30 - Memorial Day
July 4 - Independence Day
July 4 - "‘Dominion Day
August 1 • "‘Civic Day
Sept. 5 - Labor Day
Sept. 22-23 - Rosh

HOLIDAYS

Oct. 1 - Yom Kippur (Jewish) Dec. 25 - Christmas Day

Oct. 10 * "‘Canadian Thanksgiving Day Dec. 26 - "Boxing Day

Oct. 12 - Columbus Day Jan. 1 - New Year's Day

Nov. 8 - U. S. Election Day

Nov. 11 - Veterans’ Day NOTE: (") Holidays so d<

Kin., OA OC TAC Annltmi-r-sm \A/nnl/ pqI na+ir»

Scanned from the collection of

Karl Thiede

Coordinated by the

Media History Digital Library
www.mediahistoryproj ect.org

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Full text of "20th Century-Fox Dynamo (February 1960)"

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