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MUSEUM  OF 
MODERN  ART 
LIBRARY 


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The  Museum  of  Modern  Art  Library 


Coordinated  by  the 

Media  History  Digital  Library 
www.mediahistoryproject.org 


Funded  by  a  donation  from 
David  Sorochty 


Digitized  by  the  Internet  Archive 
in  2014 


https://archive.org/details/filmbulletin195725film 


BULLETIN 


o?py 


ANUARY  7,  1957 


Business-wise 

Analysis  of 
the  New  Films 

Revieivs: 
HREE  VIOLENT  PEOPLE 
MAN  IN  THE  VAULT 
EDGE  OF  THE  CITY 
FULL  OF  LIFE 
HE  GIRL  CAN'T  HELP  IT 

SLANDER 
)N'T  KNOCK  THE  ROCK 
SUN  FOR  A  COWARD 

THE  WRONG  MAN 
KING  AND  FOUR  OUEENS 
CRIME  OF  PASSION 


A  LOOK 
INTO  57 


WHAT   LIES   AHEAD   FOR    MOVIE  BUSINESS 


'Baby  Doll'— 
The  Picture  &  The  Principle 


o 


D 
D 

0 


This  is 

THE  TOUGHEST 
YOUHG 
GENERAL 
IN  THE 
U.S.ARMY 

I 


l/\//?y  c/o  f/?ey  c<9// /?/'m  'Tronpanfs'r 


Susan  Hayward  and  Kirk  DougL 

and  it's  the  laughiest  war-of-the- 

w.th  PAUL  STEWART  .  jim  BACKUS  •  Written  by  ROLAND  KIBBEE  and  ALLAN  SCOTT  •  Pro  *: 


e  having  a  "Top  Secret  Affair 

s  since  comedies  grew  up  ! 


?ACKIN  .  MILTON  SPERLING  Supervising  Producer  .  Directed  by  H.C.  POTTER        PRESENTED  BY 


Warner  Bros. 


COLOR  by  DE  LUXE 

and  Guest  Stars 

JULIE  LONDON  RAY  ANTHONY  BARRY  GORDON 

AND  14  ROCK  N'  ROLL  HEADLINERS! 

Screenplay  by  FRANK  TASHLIN  and  HERBERT  BAKER 

Produced  and  Directed  by  FRANK  TASHLIN 


Aewpoints 

JANUARY  7,  1957      '  VOLUME  25,  NO.  I 


A  Look  into  9 57 


What  does  1957  hold  for  the  mo- 
tion picture  industry?  While  only  a 
rash  soothsayer  would  undertake  to 
provide  a  precise  answer,  for  the 
movies  never  have  been — and  cer- 
tainly not  in  the  unsettled  half- 
dozen  years  past — a  precise  busi- 
ness, sufficent  solid  evidence  is  at 
hand  to  draw  certain  conclusions. 

The  atmosphere  in  which  we  enter 
'57  could  hardly  be  termed  wildly 
enthusiastic,  but  it  might  aptly  be 
described  as  one  of  subdued,  some- 
what nervous  buoyancy.  The  harsh 
competitive  experience  we  have 
undergone  since  1950  has  taught  this 
volatile  business  to  curb  its  exuber- 
ance. To  the  contrary,  as  a  matter 
of  fact,  the  whiplash  of  television 
chastened  some  among  us  far  too 
much.  Imagining  themselves  for- 
ever pursued  by  the  long,  dark  sha- 
dows of  antennas,  film  and  theatre 
leaders  alike  fell  to  issuing  the  most 
dire  predictions.  We  were  teetering, 
they  told  us,  on  the  brink  of  oblivion. 
Happily,  the  spectre  is  now  not  as 
frightening  as  it  once  was,  and  the 
entire  industry  appears  to  be  adjust- 
ing its  thinking  and  its  operations  to 
meet  a  formidable,  but  not  neces- 
sarily destructive,  competitor. 

The  movie  industry's  morale  is 
higher — and  with  good  reason.  After 
the  stimulation  afforded  our  business 
by  the  technological  revolution  in 
latter  1953  and  throughout  1954,  a 
worrisome  slump  struck  in  the  last 
third  of  '55.  It  lasted  through  much 
of  last  year.  But,  the  Fall  of  '56 
brought  a  most  hopeful  turn  in  our 
fortunes:  the  now  traditional  post- 
summer  drop  in  business  was  far 
less  severe  than  anticipated. 

Certain  things  have  become  clearer 
and  they  provide  cause  for  encour- 
agement. Theatre  business  in  1957 
will  assume  a  degree  of  stability;  the 
level  will  not  be  as  high  as  we  desire, 
but  neither  will  it  dip  as  low  as  we 
once  feared.    Outstanding  pictures 


will  perform  sensationally;  average 
pictures  will  realize  better  grosses 
than  in  the  past  two  years.  The  basis 
for  these  predictions  is  simple:  there 
is  plenty  of  evidence  in  reports  from 
many  sources  that  the  public  aware- 
ness of  movies-in-theatres  is  rapidly 
reviving.  And  one  of  the  factors 
supporting  this  trend  is  the  gradual- 
ly recognizable  diminution  of  TV's 
once  unyielding  hold  on  the  public. 
It  is  inevitable  that  a  steadily  in- 
creasing section  of  the  population 
will  build  up  resistance  to  tele- 
vision's weak  points — confinement, 
smallness,  the  bombardment  of  ad- 
vertising, etc.  Movie  attendance  in 
1957  will  grow  in  converse  ratio  to 
that  inexorable  decline  in  TViewing. 

We  say  with  complete  confidence 
that  the  cycle  of  public  interest, 
which  sometimes  moves  quite  im- 
perceptibly, is  turning  our  way. 
Millions  of  people,  suddenly  having 
their  memories  refreshed,  via  tele- 
vision, on  the  wonders  of  motion  pic- 
tures, albeit  old  ones,  are  bound  to 
start  going  out  in  increasing  num- 
bers to  taste  some  of  the  new  prod- 
uct showing  in  theatres. 

The  signs  all  point  to  a  larger  out- 
put of  films  in  '57.  20th  Century-Fox 
has  led  the  way  with  an  announced 
program  of  some  fifty-five  features, 
and,  we  believe,  the  other  studios 
will  be  forced  to  step  up  their  pro- 
grams, lest  Mr.  Skouras  rake  in  a 


BULLETIN 


Film    BULLETIN:    Motion    Picture    Trad*  Paper 
published  every  other  Monday  by  Wax  Publi- 
cations,  Inc.    Mo  Wax,   Editor  and  Publisher. 
PUBLICATION-EDITORIAL  OFFICES:   123?  Vine 
Street,  Philadelphia  7,  Pa.,  LOcust  8-0950,  0951. 
Philip    R.    Ward,    Associate    Editor;  Leonard 
Coulter,  New  York  Associate  Editor;  Duncan  6. 
Steck,     Business     Manager;     Marvin  Schiller, 
Publication  Manager;  Robert  Heath,  Circulation 
Manager.   BUSINESS  OFFICE:  522  Fitth  Avenue, 
New    York    34,    N.    Y.,    MUrray    Hill  2-3631; 
Alt  Dinhofer,  Editorial  Representative. 
Subscription  Rates:  ONE  YEAR,  S3. 00 
in  the  U.  S.;  Canada,  S4.00;  Europe, 
$5.00.     TWO    YEARS:    $5.00    in  the 
U.  S.;  Canada.  $7.50;  Europe,  $9.00. 


disproportionate  share  of  the  theatre 
dollars.  More  pictures  means  more 
choice  for  exhibitors,  more  variety 
in  theatre  entertainment  for  the  pub- 
lic, more  boxoffice  "sleepers",  more 
new  stars  and  creative  talent,  more 
revenue  for  the  industry  at  large. 

Yes,  1957  is  a  year  loaded  down 
with  promise  for  this  wonderful  in- 
dustry of  ours. 

Print  Duntuyt* 

It  is  more  important  than    ever  to  our 
entire  industry  that  every  means  of  effect- 
ing logical  economies  be  utilized.  To  that 
end.  we  reprint  below  this  recommendation 
on  preserving  prints  from  the  bulletin  of 
Allied  Theatre  Owners  of  Indiana. 
During  the  last  few  months  there 
has  been  increasing  complaint  about 
scratched  and  damaged  prints.  At 
the  very  least,  such  prints  impair 
the  finest  picture  presentation  that 
every  theatre  is  striving  for  and  no 
amount    of    investment    in  booth 
equipment  can  produce  a  satisfac- 
tory picture  from  a  bad  print. 

ATOI's  Equipment  committee  has 
been  studying  the  problem  and  re- 
ports that  much  of  the  damage  is 
traced  to  large  sprocket  prints  being 
run  on  small  sprocket  equipment 
without  proper  adjustment.  Thea- 
tres with  small  sprocket  equipment 
must  be  very  sure  that  pad  idler 
rollers  are  correctly  set.  In  the  past 
an  adjustment  anywhere  from  ll/2 
to  3  times  the  thickness  of  the  film 
did  no  harm,  but  the  small  sprockets 
must  be  set  exactly  double  the  thick- 
ness of  the  film.  It  is  also  important 
that  if  the  projectionist  hears  a 
heavy  patch  go  through  the  machine 
that  he  make  an  immediate  exami- 
nation to  determine  if  the  film  has 
jumped  off  one  side  of  the  sprockets. 
There  is  no  other  way  to  know  if  the 
film  is  riding  on  top  of  one  sprocket 
and  the  heavy  patch  can  easily  make 
the  film  jump  out  of  the  sprocket. 
Also,  with  the  small  sprockets  it  is 
more  important  that  take-up  tension 
be  properly  adjusted.  Many  theatres 
carry  too  much  drag  against  the 
small  sprocket. 


Film  BULLETIN    January  7,   1957        Page  5 


WHO  WILL  BE  THE  NEXT 
VICTIM  OF  THE 


MAGAZINES? 


M-G-M  brings  America  the  FIRST 
inside  story  of  how  the  scandal 
magazines  operate!  Millions  of 
people  get  secret  thrills  from 
their  lurid  pages.  Who  spills  the 
first  hint  of  crime  or  illicit  love? 
How  is  the  "research"  done? 
How  are  people  forced  to  become 
"informers"?  It's  all  revealed 
in  "SLANDER"-sensational, 
hard-hitting,  no-punches-pulled 
dramatic  dynamite! 


M-G-M  presents 

VAN  JOHNSON 

ANN  BLYTH 
STEVE  COCHRAN 

SLANDER 

co-starring 

MARJORIE  RAMBEAU  •  RICHARD  EYER 
wrttrn  b>  JEROME  WEIDMAN  -  SVSK 
Diiected  by  ROY  ROWLAND  *  Produced  by  ARMAND  DEOTSCH 

(Available  in  Perspecta  Stereophonic  or  1  Channel  Sound) 


1956:  CASSANDRA'S  YEAR.  Back  in  antiquity  there 
lived  an  unfailing  prophetess  named  Cassandra.  Now,  in 
those  days  the  prophets  specialized.  Her  particular  cup  of 
tea  leaves,  it  seems,  turned  out  to  be  foretellings  of  gloom. 
According  to  mythology,  Cassandra  might  have  gone  about 
scaring  mankind's  wits  out  through  the  ages  had  she  not 
needlessly  provoked  the  ire  of  the  god  Apollo,  who  decreed 
that  henceforth  Cassandra's  utterances  be  treated  with 
utter  derision.  This  injunction  in  no  wise  impaired  the 
eventual  accuracy  of  the  fallen  she-seer;  it  impaired  only 
the  opinion  of  her  listeners. 

Cassandra  proved  an  active  spirit  in  bearish  1956.  And 
moviedom  proved  equally  active  in  honoring  Apollo's  shut- 
ear  mandate.  Industry  leaders,  plagued  with  their  own  dis- 
tresses, showed  little  patience  with  the  dire  forecasts  of 
'gloom  merchants",  as  they  were  termed,  who  seemed  bent 
on  contributing  no  more  than  carping  criticisms,  or  at  best, 
unsure  reforms.  Cinema  leaders  erred,  however,  in  confus- 
ing their  Cassandras. 

Three,  four  and  five  years  ago,  those  who  came  to  bury 
moviedom  rushed  in  with  hidden  motivation,  and  for  the 
most  part  represented  interests  alien  to  the  film  industry's 
good  health.  1956's  Cassandra  utterances  issued  largely 
from  elements  financially  and  spiritually  tied  to  moviedom, 
and  whose  desperation  had  grown  so  immense  as  to  pro- 
voke an  uncivil  outcry.  A  roll-call  of  industry  criticisms 
would  turn  up  authors  of  such  eminence  as  to  fill  a  Who's 
Who:  notable  Wall  Streeters,  retired  cinema  leaders,  im- 
portant stockholders,  plus  a  coterie  of  professional  indus- 
try commentators.  Their  common  beef :  moviedom  is  clear- 
ly not  attuned  to  the  times. 

That  the  public  goes  along  with  the  foregoing  is  evident 
in  the  diminished  earnings  of  most  all  film  producers — and 
the  large  film  exhibitors.  The  stock  market  which  reflects 
to  a  rough  extent  a  company's  economic  standing,  is  pre- 
pared to  second  the  proposition.  Note  the  year-long  pat- 
tern of  Film  BULLETIN'S  Cinema  Aggregate  below: 

Film  BULLETIN  Cinema  Aggregate* 


FINANCIAL 

BULLETIN 


By  Philip  R.  Ward 

A  more  incisive  study  of  moviedom's  fall  from  grace  may 
be  had  by  observing  the  year  end  figures  of  the  Cinema 
Aggregate  since  1953. 


1953 
1954 
1955 
1956 


Film  Companies 

< year  end)    ( gain  or  lot 
I  I  I  % 

l78'/2  +60% 
l58'/2  -11% 
I  30  7/s  -17% 


The 


itre  Companies 

md)    (gain  or  loss) 


22% 
40% 
37 
31  'A 


+  77% 
-  8% 
- 1  5  % 


FILM  COMPANIES  THEATRE  COMPANIES 

"Composed  of  carefully  selected  representative  industry  issues. 


Thus  in  a  gap  of  three  short  years,  industry  fortunes 
have  assaulted,  crested  and  descended  the  Matterhorn.  If 
1954  proved  the  year  of  achievement,  it  also  proved, 
perforce,  the  year  of  maximum  attunement  to  the  tides  and 
rhythms  of  that  time.  Moviedom  was  on  fire  in  '54  as  the 
result  of  that  mighty  technical  renaissance  sparked  first  by 
ill-starred  3-D,  then  CinemaScope.  It  was  a  wonderful  year 
of  change,  of  novelty,  of  flexibility  and  advancement.  But, 
too  soon  the  industry  settled  back  into  a  rut. 

O 

Creeping  into  nearly  every  Cassandra  utterance  of  the 
past  12  months  has  been  found  a  chilling  fear  of  movie 
management's  stiff-necked  insensitivity  to  change.  The 
expression  takes  various  forms,  but  in  most  cases  deals 
directly  with  stratification  in  economic  spheres  such  as 
overheads,  salaries,  costs  of  production,  physical  plant,  etc. 
But  the  danger  invades  the  artistic  sphere  as  well.  Here, 
too,  are  found  practices  as  fossilized  as  any  in  American 
industry.  An  executive  of  a  leading  New  York  money 
house  told  Financial  Bulletin  that  movie  management 
inertia  in  matters  of  routine  industrial  progress  establishes 
the  film  business  "in  last  place  among  domestic  industries 
with  an  investment  of  a  billion  dollars  or  more."  In  the 
realm  of  day  to  day  improvements,  filmdom  does  practical- 
ly nothing,  continued  the  spokesmen  of  this  banking  firm, 
who  went  on  to  contrast  steps  taken  by  film  companies 
with  those  by  industrial  organizations  at  large  on  the  sub- 
ject of  heightening  consumer  acceptance.  "The  whole 
damn  industry  is  asleep  at  the  switch!"  was  his  comment. 
And  this  from  an  institution  which  once  underwrote,  in 
part,  three  major  production  companies. 

0 

Even  more  discouraging  is  the  disenchantment  of  small 
market  investors  generally.  Purchases  of  movie  industry 
securities  within  the  past  six  months  by  these  elements 
can  only  be  surmised  by  study  of  volume  transactions. 
They  obviously  have  run  abysmally  low.  It  is  becoming 
more  and  more  difficult  to  find  a  continuous  market  in 
movie  shares,  reflecting,  of  course,  a  marked  lack  of  inter- 
est by  the  general  public.  The  danger  is  growing  that 
unless  moviedom  awakens  to  the  demands  of  its  share- 
holders and  creditors  it  will  find  its  customary  sources  of 
capital  flow  as  dried  up  as  a  west  Texas  water  hole. 


Film  BULLETIN    January  7,  1957        Page  7 


Wh9t  They'te  hiking  About 

□    □    □    In  the  Movie  Business    □    □  □ 


THEATRES  THE  BIG  MONEY.  The  recent  snatchback 
by  Associated  Artists  of  "The  Maltese  Falcon"  a  week 
before  it  was  scheduled  to  be  shown  on  TV  as  part  of  the 
152-picture  package  of  Warner  films  leased  by  Associated 
to  WCBS-TV  points  up  the  fact  that  the  big  money  for 
films  still  lies  in  theatrical  exhibition.  Associated  had  in- 
cluded the  film  in  the  $152,000  deal  with  the  station  but 
had  wisely  included  a  clause  which  permitted  it  to  recall 
a  limited  number  of  the  leased  films  and  substitute  others. 
A  subsidiary  of  P.R.M.,  Inc.,  a  corporation  backed  by 
Canadian  investors,  Associated  decided  at  the  11th  hour  to 
hold  out  this  valuable  property  in  order  to  remake  it  for 
theatrical  distribution.  This  last-minute  display  of  good 
sense  highlights  the  sickening  dissipation  of  valuable 
properties  in  the  wholesale  allocation  of  films  for  TV  con- 
sumption. The  fact  remains  that  exposure  of  a  movie  to 
the  millions  of  TV's  non-paying  viewers  completely  blots 
out  its  worth  for  future  production.  "The  Maltese  Falcon" 
was  one  saved  from  this  fate.  How  many  other  multi- 
million  dollar  grossing  properties,  however,  will  be  tele- 
vised into  obsoletion? 

O 

STUDIO  EXEC  ON  BLOCK.  Production  head  of  one  of 
the  major  film  studios  (his  position  has  become  increasing- 
ly nominal  of  late,  anyhow),  will  probably  be  set  adrift 
within  the  next  six  months.  The  caliber  of  the  product 
from  that  company  deteriorated  sharply  during  '56  and  he 
has  had  little  success  in  tying  up  personalities  who  mean 
something  at  the  boxoffice.  Another  factor  giving  impetus 
to  talk  about  the  exec's  probable  exodus  is  increased 
behind-the-scenes  string-pulling  by  the  front  office  to 
direct  studio  operations,  making  the  studio  man  a  chief  in 
name  only. 

0 

TITLES  AND  BOXOFFICE.  A  reawakened  awareness 
of  the  age-old  problem  of  tagging  films  with  "titles  that 
sell"  is  pervading  motion  picture  ad-pub  executives.  Stimu- 
lated by  Sindlinger  studies  correlating  the  importance  of 
proper  titles  to  the  effective  merchandising  of  pictures, 
celluloid  marketing  execs  are  taking  a  hard  look  at  titles 
in  an  effort  to  make  sure  that  the  tag  of  a  picture  conveys 
a  definite  idea  as  to  the  story  line  and  that  it  can  be  inte- 
grated into  the  over-all  selling  campaign.  The  latter  factor, 
too  often  overlooked  in  tabbing  a  picture,  is  frequently  be- 
hind what  might  otherwise  be  deemed  inept  titling,  giving 
a  peg  to  a  campaign  that  can  mean  the  difference.  One  of 
the  leaders  in  this  field  is  Bob  Taplinger,  Warners'  adver- 
tising-p.r.  chief,  who  is  a  red-hot  advocate  of  title  research. 
Recent  WB  changes  include  "The  Sleeping  Prince"  to 


"The  Prince  and  the  Showgirl"  and  "Melville  Goodwin, 
U.S.A."  to  "Top  Secret  Affair".  Among  pictures  opinion 
research  execs  have  tabbed  as  being  weakened  by  poor 
titles:  "Friendly  Persuasion"  and  "Death  of  a  Scoundrel" 
— which  is  being  prefixed  in  the  ads  with  the  words  "The 
Loves  and  .  .  ."  outside  the  title  quotes. 

0 

PRIME  TV  TIME  FOR  FEATURES.  While  none  of 
the  networks  have  yet  succumbed  to  the  apparent  draw  of 
feature  films  to  a  point  where  they  will  set  aside  the  prime 
6  to  10  o'clock  evening  time  for  the  big  old  ones  on  a  regu- 
lar basis,  the  growing  popularity  of  the  better  features, 
plus  the  huge  influx  into  the  TV  market  of  major  product 
in  the  past  year,  is  hewing  away  at  the  nets'  opposition. 
They're  eyeing  with  no  little  uneasiness  the  huge  upsurge 
in  audience  ratings  where  independents  like  KTTV  in  Los 
Angeles,  with  a  52-picture  per  year  package  from  MGM, 
show  a  "Thirty  Seconds  Over  Tokyo"  between  8  and  10, 
and  sweep  to  a  rating  greater  than  the  combined  ratings  of 
the  three  network  affiliates  for  the  same  period.  The  nets 
realize  that  once  the  ace  in  the  hole  they  have  over  the 
indes,  live  shows,  is  trumped  by  old  Hollywood  film  offer- 
ings, they're  going  to  have  to  scratch  for  ratings  and  spon- 
sors. And  if  it  means  getting  the  better  pictures,  even  at  a 
fancy  figure,  to  hold  their  sponsors,  odds  are  there'll  be 
more  feature  films  on  prime  time  segments.  Movie  people 
are  viewing  the  movement  of  the  oldies  into  the  big  time 
with  mixed  emotions,  even  some  film  executives,  who  feel 
that  they  may  have  tossed  too  much  film  into  their  deals 
with  TV.  Exhibitors,  too,  evidence  mingled  reactions. 
There  are  those  who  feel  that  anything  that  keeps  people 
at  home  is  bad  for  their  business ;  others  see  a  rosier  side : 
the  oldies,  they  believe,  will  give  TViewers  an  appetite  for 
the  new  pictures.  Moreover,  the  better  ones,  having  been 
seen  by  a  large  percentage  of  audiences,  will  free  'em  for 
an  evening  of  going  out — to  the  movies. 

0 

GAMBLER  TODD  CASHES  IN.  They're  ALL  talking 
about  Michael  Todd's  latest  gamble  that  paid  off — and 
handsomely — for  the  showman  par  excellence.  Not  only  is 
"Around  The  World  in  80  Days"  doing  capacity  business 
around  the  country,  but  it  has  walked  off  with  as  many 
honors  and  kudos  as  there  are  stars  in  the  lavish  produc- 
tion— and  that's  a  real  bounty.  Movie  polls,  critics  polls, 
magazine  polls  all  name  "World"  as  one  of  the  top  films  of 
the  year,  one  of  the  best  of  all  time.  A  good  deal  of  the 
success  can  be  attributed,  of  course,  to  Todd's  astute  sense 
of  showmanship  both  in  the  casting  and  in  the  exploitation 
of  the  film.  But  of  even  greater  importance  is  that  he  has 
returned  the  use  of  "entertainment"  in  the  true  sense  of 
the  word  to  the  picture  medium.  There  are  no  lugubrious 
morals  drawn,  no  heavy  mixtures  of  sex  and  sadism.  Mike 
Todd  has  simply  re-enshrined  the  god  entertainment  where 
it  properly  belongs — in  the  movies. 


Page  8        Film  BULLETIN    January  7.  1957 


^Baby  Doll"—  Picture  &  Principle 


by  LEONARD  COULTER 
There  is  no  lack  of  adherents  on  both  sides — those  who 
tell  you  firmly  that  "Baby  Doll"  adds  nothing  to  Holly- 
wood's lustre,  and  others  who  insist  with  equal  fervor  that 
it  must  be  ranked  with  the  very  finest  films  ever  produced 
in  this  country.  But  artistic  merits  aside,  its  appearance 
has  raised  a  hullabaloo  of  excitement  and  controversy 
never  before  accorded  a  motion  picture. 

It  is  not  our  desire,  nor  is  it  the  point  of  this  discussion, 
to  judge  if  this  film  is  a  worthy  subject  to  become  a  cause 
celebre  in  the  annals  of  the  motion  picture  industry.  The 
issue  we  have  at  hand  goes  deeper  than  the  question  of 
whether  this  is  a  good  or  a  poor  film.  The  purpose  here  is 
to  examine  the  storm  that  has  been  blown  up  around 
"Baby  Doll",  to  ask  why  it  was  raised  and  how  it  may 
affect  the  movie  industry. 

At  the  outset,  let  it  be  remembered  that  the  picture  was 
not  released  by  Warner  Bros,  until  it  had  passed  the  acid 
test,  it  had  received  a  Production  Code  seal  of  approval. 

Occasionally,  films  fail  to  win  the  Code  Seal  because  of 
their  salacity,  vulgarity,  brutality,  lewdness  or  other  ob- 
jectionable characteristics.  But  on  none  of  these  counts 
had  exception  been  taken  to  "Baby  Doll".  It  was  passed 
"fit  for  human  consumption",  as  it  were. 

Now,  if  the  MPAA  Code  had  been  invented  by  some 
group  of  greedy,  grasping  businessmen  willing  to  exploit 
filth  on  the  screen  for  the  sake  of  a  "fast  buck",  it  would 
not  have  been  surprising  to  find  the  Church  protesting  that 
it  offered  the  public  inadequate  moral  protection. 

However,  the  Code  under  which  the  Motion  Picture  As- 
sociation has  worked  for  many  years,  was  written  by,  and 
ever  since  has  been  sustained  by,  a  group  of  Catholic 
churchmen.  That  group  has  defended  the  Code  against 
scores  of  attacks  from  independent  producers  who  from 
time  to  time  have  rebelled  against  its  restrictive  clauses. 
Moreover,  the  incumbent  Code  Administrator,  Mr.  Geof- 
frey Shurlock,  is  himself  a  Catholic. 

"Baby  Doll",  a  film  which,  as  we  have  noted,  received 
the  Administrator's  approval,  has  been  subjected  to  the 
most  intense  and  broad  attack  by  the  Catholic  Church.  It 
has  been  condemned  by  Francis  Cardinal  Spellman  as 
"evil"  and  "immoral".  He  has  forbidden  Catholics  to  see  it 
"under  pain  of  sin".  In  view  of  the  Catholic  authorship  of 
the  MPAA  Code  it  would  appear  that  the  Cardinal-Arch- 


bishop of  New  York's  condemnation  is  tantamount,  indeed, 
to  a  condemnation  of  the  Motion  Picture  Association  and 
its  voluntary  scheme  of  self-regulation  and  censorship. 

That  is  why  the  current  controversy  over  "Baby  Doll" 
has  unusual  significance,  and  why  the  film  industry  needs 
to  ask  itself  a  very  serious  question :  is  this  the  beginning 
of  a  new  attempt  by  a  certain  section  of  the  church  in  the 
United  States  to  sabotage  the  existing  Code  of  voluntary 
censorship  and  replace  it  with  a  more  rigid  set  of  rules 
based  on  a  purely  sectarian  outlook  and  philosophy? 

What  The  Critics  Thought 

Admittedly,  "Baby  Doll"  depicts  a  sordid  lot  of  people, 
deals  with  decadence  and  lust,  and  its  principal  characters 
are  devoid  of  uplifting  qualities  or  motives.  All  the  critics 
made  this  point. 

Bill  Zinsser,  in  the  New  York  "Herald-Tribune"  referred 
to  its  gusts  of  rage,  twinges  of  passion  and  waves  of 
jealousy.  But  he  added,  "It  is  often  argued  that  stories  of 
this  kind  should  not  be  told  on  the  screen.  The  question 
is  one  of  taste  and  ethics,  and  opinions  on  the  subject  vary 
widely.  Obviously,  different  moviegoers  will  read  different 
meanings  into  'Baby  Doll'.  Without  attempting  to  judge 
the  moral  values  of  the  film,  this  reviewer  believes  that  the 
intent  of  the  author  and  director  was  artistic,  not  porno- 
graphic." He  calls  it  an  "unusually  good  film". 

Alton  Cook's  verdict  in  the  New  York  "World-Tele- 
gram" was  that  the  picture  "ranges  through  ferocity,  mad- 
ly unrestrained  comedy,  leery  teetering  towards  seduction 
and  an  infrequent  touch  of  faint  pity  ...  It  is  a  striking 
achievement  in  acting,  writing,  and  direction,  presenting 
an  unhappily  doomed  group  for  whom  little  compassion  is 
expressed." 

And  Archer  Winsten's  "New  York  Post"  review  re- 
ferred to  the  picture's  demonstration  "of  Southern  back- 
country  degredation  at  its  worst,  or  close  to  it." 

This  cross-example  of  professional  opinion  indicates 
beyond  doubt  that  "Baby  Doll"  is  about  as  unedifying  a 
film  as  has  ever  come  out  of  Hollywood.  Yet,  despite  all 
the  criticism  of  the  type  of  character  it  depicts,  the  film 
has  been  acclaimed  by  many  highly  competent  critics  as  a 
work  of  art. 

And  that  brings  us  precisely  to  the  real  issue  in  the  cur- 

C Continued  un  Page  13 J 


Rim  BULLETIN    January  7,  1957        Page  ? 


"Three  Violent  People" 

ScuUeu  'Rati*?  OOO 

Lively,  if  familiar,  western  well-produced  in  VistaVision  and 
Technicolor.  Charlton  Heston,  Anne  Baxter  head  cast. 

Charlton  Heston  is  rigged  out  in  western  duds  and  six- 
gun  in  this  VistaVision-Technicolor  outdoor  melodrama 
produced  by  Hugh  Brown  for  Paramount.  He  lends 
rugged  masculinity  to  his  role  of  a  rancher,  who  hastily 
marries  saloon  dancer  Anne  Baxter  and  reacts  violently 
upon  learning  about  her  shady  past.  Miss  Baxter  makes 
the  gal  first  lurid  then  exceedingly  repentant.  Tom  Tryon 
is  his  one-armed,  black  sheep  brother.  The  screenplay  by 
James  E.  Grant  deals  extensively  with  Miss  Baxter,  giving 
this  more  than  usual  western  interest  for  the  fern  trade.  In 
addition,  "Three  Violent  People"  has  enough  he-man 
antics  (dealing  with  land-grabbing  carpet-baggers)  to  keep 
outdoor  fans  happy.  Direction  by  Rudolph  Mate  neatly 
blends  words  and  deeds.  Dance-hall  girl  Miss  Baxter  sets 
out  to  marry  proud  Texas  rancher  Heston,  returning  from 
the  Civil  War.  She  neglects  to  mention  her  past  when  they 
hastily  marry,  and  she  falls  deeply  in  love  with  him  after 
they  return  to  his  ranch.  Tryon,  Heston's  brother,  wishes 
to  dispose  of  the  land  for  quick  cash  offered  by  carpet- 
baggers Forrest  Tucker  and  Bruce  Bennett.  Miss  Baxter 
is  recognized,  and  the  gang  makes  certain  Heston  learns  of 
his  wife's  past.  Heston  throws  Miss  Baxter  out,  learns  she 
is  with  child,  makes  her  return  until  after  she  gives  birth. 
Tryon  joins  the  gang,  wants  to  shoot  it  out  with  Heston 
who  refuses  to  draw.  Bennett's  gang  arrives  and  Miss 
Baxter  saves  her  husband's  life  during  the  gun  battle.  Con- 
vinced of  her  love,  Heston  takes  her  back. 

Paramount.  100  minutes.  Charlton  Heston,  Anne  Baxter,  Gilbert  Roland,  Tom 
Tryon.    Produced  by  Hugh  Brown.    Directed  by  Rudolph  Mate. 

"Gun  for  a  Coward" 

^cuutete,  batata  Q  Q  Plus 
Sagebrush  action  drama  about  young  man  opposed  to  vio- 
lence. Well-balanced  cast,  color,  CinemaScope  plus  factors. 

This  William  Alland  production  for  U-I  is  blessed  with 
Eastman  color,  CinemaScope  and  a  well-balanced  cast. 
Fred  MacMurray  stars  as  a  hard-working  rancher  who 
raised  his  two  brothers  but  neglected  his  girl,  Janice  Rule. 
Jeffrey  Hunter  is  the  lad  taught  to  believe  in  reason  rather 
than  violence  by  his  mother,  Josephine  Hutchinson.  Dean 
Stockwell  is  the  rowdy  kid-brother.  Director  Abner  Biber- 
man  builds  tension  steadily  in  revealing  the  MacMurray- 
Hunter-Rule  triangle.  Hunter  backs  away  from  fights  and 
is  stamped  as  a  coward.  He  and  Miss  Rule  are  in  love,  but 
they  cannot  bring  themselves  to  tell  MacMurray  who  has 
courted  her.  Finally,  Hunter  reveals  his  feelings  during  a 
cattle  drive  to  Abilene.  Rustlers  stampede  the  herd  while 
MacMurray's  away.  Hunter  orders  the  men  to  retreat  to  a 
canyon  where  fighting  chances  are  best.  Hunter  rides  off 
without  hearing  his  brother,  Stockwell,  tell  the  men  to  stay 
and  fight,  and  when  Stockwell  is  killed,  Hunter  is  blamed. 
MacMurray  attempts  to  take  Hunter's  part  in  a  saloon 
gunfight,  but  the  latter  turns  on  him  and  they  brawl.  Mac- 
Murray,  realizing  his  kid  brother  is  a  man,  joins  him  and 
the  cowhands  in  tracking  the  lost  herd. 

Universal-International.  88  minutes.  Fred  MacMurray  Jeffrey  Hunter  Janice  Rule 
Chill  Wills.    Produced  by  William  Alland.    Directed  by  Abner  Bibcrman. 


"The  Wrong  Man" 

%CC4utC44  O  Q  Plus 

Tense  Hitchcock  suspense  meller.  Highly  realistic,  but  overly 
grim,  treatment  of  mistaken-identity  drama. 

"The  Wrong  Man",  latest  Alfred  Hitchcock  suspense 
melodrama,  maintains  an  air  of  harrowing  suspense  and 
agitation  all  the  way  through.  The  famed  producer-director 
tells  the  true-life  story  of  a  Stork  Club  musician  who  was 
mistakenly  "positively"  identified  as  a  holdup  man  in 
straightforward,  documentary  style,  recording  it  all  in 
stark  black  and  white  exactly  as  it  occurred  at  the  very 
places  it  happenend.  As  a  matter  of  fact,  it  is  this  very 
factuality  that  robs  "The  Wrong  Man"  of  some  of  the  pop- 
ular Hitchcock  flavor  and  entertainment  value.  It  lacks 
sufficient  dramatization  for  general  audiences.  Henry 
Fonda  is  the  distraught,  bewildered  victim,  and  Vera  Miles 
plays  his  wife  who  blames  herself  for  the  misfortune  and 
becomes  a  mental  case.  Their  performances  are  of  high 
caliber.  Screenplay  by  Maxwell  Anderson  and  Angus  Mac- 
Phail  moves  somberly,  unrelentingly,  with  austere  econo- 
my of  dialogue.  The  Hitchcock  signature  is  ever  present 
in  the  constant  concern  for  revealing  details.  Bass  fiddle 
player  Fonda  needs  money  for  Miss  Miles'  dental  work, 
and  attempts  to  borrow  against  an  insurance  policy.  A 
girl  identifies  him  as  the  holdup  man  who  previously 
robbed  the  company.  He  is  booked,  later  released  on  bail. 
Fonda  attempts  to  track  witnesses  to  verify  his  where- 
abouts, discovers  they  have  died.  Miss  Miles  blames  her- 
self for  the  circumstances,  becomes  emotionally  depressed, 
is  taken  to  a  sanitarium.  A  mistrial  delays  things  further, 
but  the  culprit  who  resembles  Fonda  is  finally  caught. 
Fonda  is  freed,  his  wife  recovers,  and  they  move  to  Florida. 

Warner  Bros.  105  minutes.  Henry  Fonda,  Vera  Miles,  Anthony  Ouayle  Harold  J. 
Stone.    Produced  and  directed  by  Alfred  Hitchcock. 

"Man  in  the  Vault" 

SuttHete  RattKa  Q  Q 

Crime  melodrama  about  youth  led  astray  is  mildly  engross- 
ing. Absence  of  names  will  relegate  it  to  lower-half  billing. 

"Man  in  the  Vault"  (RKO)  provides  passable  entertain- 
ment for  undiscriminating  patrons  who  thrive  on  action 
melodramas.  Lacking  any  marquee  names,  it  will  serve 
best  as  a  supporting  dualler.  The  story  is  treated  in  routine 
manner  by  director  Andrew  V.  McLaglen,  who  injects 
some  suspense  during  the  scene  in  which  Campbell  tests 
his  keys  in  the  deposit  box  and  exits  with  the  money. 
Karen  Sharpe  plays  a  poor-rich  girl,  Anita  Ekberg  appears 
briefly  as  a  party  girl,  and  Berry  Kroeger  is  a  stereotype 
hoodlum.  Ballad  entitled  "Let  the  Chips  Fall  Where  They 
May"  brightens  one  scene.  Burt  Kennedy's  screenplay  has 
Kroeger  planning  to  rob  a  safety  deposit  box.  He  offers 
Campbell  $5000  to  produce  a  duplicate  key.  At  a  party 
Campbell  meets  wealthy  Miss  Sharpe  and  falls  in  love  with 
her.  When  Kroeger  has  him  beaten  up  and  threatens  more 
of  the  same  to  the  girl,  Campbell  goes  through  with  the 
robbery.  Miss  Sharpe  convinces  him  the  $200,000  must  be 
returned,  but  rival  thief  Paul  Fix  trails  him.  Kroeger  and 
Fix  cross  paths  and  die  in  a  gun  battle.  Campbell  returns 
the  money  to  police,  and  retains  the  love  of  Miss  Sharpe. 

RKO.  73  minutes.  William  Campbell,  Karen  Sharpe,  Anita  Ekberg,  Paul  Fix.  Pro- 
duccd  by  Robert  E.  Morrison.    Directed  by  Andrew  V.  McLaglen. 


Page  10        Film  BULLETIN    January  7,  1957 


"Full  of  Life" 

g<w<v«yj  "Rating  O  O  O  Plus 

Should  prove  to  be  one  of  the  year's  big  grossers.  Judy 
Hoiliday  sparkles  in  tender  comedy  about  tribulations  of 
pregnancy.  Word-of-mouth  should  give  this  strong  "legs". 

The  magnetic  personality  of  Judy  Hoiliday  pervades  this 
rollicking  comedy  as  she  contends  with  the  physical  strains 
and  emotional  stresses  of  pregnancy.  Miss  Hoiliday  starts 
the  laughs  rolling,  literally,  before  the  titles  are  off  the 
screen,  and  keeps  it  up  for  91  minutes  in  this  Columbia  re- 
lease. Masterfully  produced  by  Fred  Kohlmar  and  shrewd- 
ly directed  by  Richard  Quine,  the  narrative  of  "Full  of 
Life"  is  so  lucid,  the  treatment  so  memorable,  the  events 
so  vividly  portrayed,  that  every  woman — married  or  not — 
will  drag  her  man  to  witness  his  uproarious  chronicle  of  a 
blessed  event.  Exhibitors  in  all  situations  can  count  on 
high  grosses,  and  word-of-mouth  response  is  sure  to  pick 
up  the  momentum  and  keep  it  rolling  down  to  the  last  run. 
Richard  Conte  plays  the  expectant  father,  a  writer,  with  so 
much  warmth  and  conviction  that  this  must  rank  as  the 
finest  performance  of  his  career.  Salvatore  Baccaloni,  a 
middle-aged  "new  face",  appears  as  the  rotund  Italian 
father-in-law  who  comes  to  repair  a  kitchen  floor,  and  stays 
to  question  the  couple's  religious  attitudes.  Director  Quine 
has  a  fine  eye  for  the  screwy  details  of  pregnancy  mani- 
fested in  Miss  Holliday's  erratic  appetite,  continual  back- 
aches, and  passion  for  cleanliness.  He  developes  a  delight- 
ful wholesomeness  and  enthusiasm  on  the  part  of  the  sup- 
porting players  toward  the  expectant  mother.  John  Fante 
adapted  the  screenplay  from  his  own  novel  with  inherent 
wit  and  much  "business".  In  addition,  he  has  refrained 
from  slanting  the  Catholicism  to  appease  the  church,  but 
associates  the  idea  of  faith  with  Conte's  need  to  pray  when 
his  wife  is  giving  birth.  When  Conte's  pregnant  wife,  Miss 
Hoiliday,  falls  through  a  termite-ridden  kitchen  floor,  they 
visit  his  Italian  folks,  Baccaloni  and  Esther  Minciotti,  for 
papa's  help  in  repairing  it.  Bricklayer  Baccaloni  returns 
home  with  the  couple,  is  angered  to  learn  his  son  bought  a 
stucco  house,  and  goes  on  a  binge.  He  attempts  to  impose 
old  world  ways  on  Conte  and  asks  basic  religious  questions 
of  Miss  Hoiliday,  who's  not  Catholic.  The  couple  is  per- 
suaded to  go  through  a  church  wedding  ceremony.  In 
wedding  gown,  Miss  Hoiliday  is  rushed  to  the  hospital 
with  false  labor  pains.  A  baby  boy  is  born,  and  Conte  re- 
ceives $5000  for  a  story  his  father  made  him  write. 


Judy  Hoiliday,  Richard  Conte 
Directed  by  Richard  Quine. 


"The  Girl  Can't  Help  It" 
Su4tHe44  Rati*?  Q  Q  O 

Jayne  Mansfield,  Tom  Ewell,  Edmond  O'Brien  in  comedy  that 
mocks  rock  V  roll.  Sure  to  click  with  those  who  enjoy 
wacky  satire  and  bellylaughs. 

Producer-director  Frank  Tashlin  has  concocted  a  rather 
funny  satire  on  the  American  phenomenon  called  rock  'n' 
roll.  This  20th  Century-Fox  offering  starts  on  a  high  note 
of  a  ludicrous  plot  and  soars  into  the  most  rarified  tones  of 


rock  'n'  roll  nonsense  yet  heard.  In  CinemaScope  and  De 
Luxe  Color,  it's  also  an  eye-filling  spoof.  "The  Girl  Can't 
Help  It"  stars  Tom  (7-Year  Itch)  Ewell  and  Edmond 
O'Brien,  and  introduces  Jayne  Mansfield  who  wiggles, 
squeaks  and  meows  eloquently.  The  musical  segment  is 
loaded  with  ten  celebrated  R&R  performers,  headed  by 
vocalist  Julie  London  and  Ray  Anthony's  band.  Teenagers 
will  be  left  wide-eyed  by  the  caliber  of  production  and 
rivet-gun  tempos;  word-of-mouth  should  draw  adults  to 
see  R&R  torn  to  bits.  Ewell  is  a  hard-drinking  agent 
haunted  by  a  vision  of  Julie  London.  Henry  Jones  is 
hilarious  as  O'Brien's  right-hand  man.  Screenplay  by 
Tashlin  and  Herbert  Baker,  as  sardonic  as  it  is  ridiculous, 
is  one  continuous  laugh.  Conductor  Lionel  Newman  con- 
tributes euphonic  sounds  for  a  change  of  pace,  highlighted 
by  Miss  London's  rendition  of  "Cry  Me  a  River".  Ex- 
gangster  O'Brien  hires  agent  Ewell  to  make  a  singing  star 
of  his  girl,  Miss  Mansfield,  who  prefers  domestic  life.  Ewell 
makes  the  nightclub  rounds  with  her  and  is  offered  con- 
tracts— on  sight — before  she  performs.  O'Brien  gets  An- 
thony to  record  his  own  R&R  tune  with  Miss  Mansfield 
contributing  a  shriek.  Ewell  and  Miss  Mansfield  fall  in 
love.  The  record  clicks,  O'Brien  decides  to  take  up  R&R 
vocalizing,  Ewell  and  Miss  Mansfield  run  off  to  raise  a 
family. 

ie  Mansfield,  Edmond  O'Brien, 
ilin. 

"Slander" 

Highly  exploitable  melodrama  about  expose  magazine  is 
burdened  with  far-fetched  plot.  Pair  marquee  names. 

This  Armand  Deutsch  production  for  M-G-M  sets  out  to 
depict  the  devastating  effects  of  an  expose-scandal  type 
magazine.  Unfortunately,  however,  the  plot  is  too  far- 
fetched and  fails  to  focus  on  the  revolting  situation,  but 
depends  on  coincidental  melodramatics  for  punch.  Grosses 
generally  will  depend  on  the  exhibitor's  exploitation  of  the 
film's  topical  aspects.  Van  Johnson  manages  to  create  a 
warm,  sympathetic  portrayal  as  a  TV  performer  who  is 
victimized  by  an  expose  article  about  a  felony  he  com- 
mitted long  ago.  Ann  Blyth  is  the  confused  wife,  and 
Steve  Cochran  the  notorious  publisher.  Richard  Eyer  (of 
"Friendly  Persuasion")  plays  Johnson's  young  so.  The 
screenplay  by  novelist  Jerome  Weidman  is  awkwardly  con- 
structed and  sheds  any  pretense  to  plausibility  when  Coch- 
ran's mother  shoots  him  dead.  Roy  Rowland  directs  in  a 
manner  that's  stagey  and  often  flat.  Puppeteer  Johnson 
clicks  with  a  TV  show  for  kids.  Scandal  magazine  pub- 
lisher Cochran  tells  Johnson's  wife,  Miss  Blyth,  he  wants 
some  facts  on  a  famous  actress,  threatening  to  publish  a 
story  about  Johnson.  (Johnson,  raised  in  poverty,  robbed 
and  knifed  a  man  when  young,  and  served  his  sentence.) 
Johnson  refuses  to  disgrace  the  actress,  the  article  is  pub- 
lished, and  the  sponsor  drops  his  son.  Their  son,  taunted 
by  other  kids,  runs  into  a  car,  is  killed.  Johnson  appears  on 
TV  to  tell  the  nation  his  story.  Marjorie  Rambeau,  Coch- 
ran's mother,  sickened  by  his  tactics,  shoots  him. 


Sulfite  'Rati*?       G  G  G  O    TOPS       ©  G  O    GOOD       Q  O    AVERAGE        G  POOR 


[More  REVIEWS  on  Page  12] 


"Thn  Kinrj  and  Four  Queens" 

Scc4i«c44  Rati*?  O  O  O 

Western  adventure  with  Clark  Gable  romancing  four  beau- 
ties. Has  quick  pace.  Figures  above  aberage  b.o. 

Clark  Gable,  for  marquee  value,  plus  four  new  and  beau- 
tiful faces,  for  younger  audiences,  make  up  a  winning  box- 
office  combination  in  this  Russ-Field-Gabco  production  for 
United  Artists  release.  Gable  plays  a  smooth  rogue  who 
baits  love-starved  widows  Eleanor  Parker,  Jean  Willes, 
Barbara  Nichols  and  Sara  Shane.  Jo  Van  Fleet  is  seen  as 
their  suspicious,  gun-toting  mother-in-law  who  guards  the 
girls  and  a  gold  cashe,  awaiting  her  surviving  son's  return. 
This  pentagon  situation  evokes  much  humor.  CinemaScope 
and  DeLuxe  color  are  effectively  used  by  producer  David 
Hempstead  for  the  ghost-town  setting.  Raoul  Walsh's  di- 
rection sustains  fairly  good  throughout  as  Gable,  with  his 
famous  come-hither  grin,  entices  the  girls  behind  Miss  Van 
Fleet's  back.  Grosses  will  be  above-average  in  the  general 
market  because  "The  King  and  Four  Queens"  has  Gable 
and  a  good  share  of  popular  entertainment  ingredients.  It 
will  not  do  so  well  in  class  situations.  Gable  learns  that 
Miss  Van  Fleet  has  hidden  $100,000  in  gold  and  keeps  her 
four  daughter's-in-law  waiting  for  her  single  surviving 
outlaw  son.  Shot  by  Miss  Van  Fleet  as  he  arrives,  Gable 
is  allowed  to  convalesce.  The  wives,  having  waited  two 
years,  are  attracted  to  Gable.  He  learns  none  of  them 
knows  where  the  gold  is  hidden.  Miss  Parker,  remote  and 
cold  toward  Gable,  arouses  his  interest  and  suspicion.  Miss 
Van  Fleet  makes  him  leave,  but  not  before  he  locates  the 
gold.  Miss  Parker  offers  to  share  it  with  him  and  they  de- 
part. The  sheriff  catches  them,  takes  all  the  gold  except 
$5000,  Gable's  reward.  Latter  rides  off  with  Miss  Parker. 

United  Artists.  I A  Russ-Field-Gabco  Production).  84  minutes.  Clark  Gable,  Eleanor 
Parker,  Jo  Van  Fleet.    Produced  by  David  Hempstead.  Directed  by  Raoul  Walsh. 

"Don't  Knock  the  Rock" 

Bill  Haley's  Comets  plus  Alan  Dale  in  lively  rock  V  roller. 
Exclusively  for  youths  who  "dig"  the  solid  beat. 

Producer  Sam  Katzman  again  brings  together  a  wide 
variety  of  rock  'n'  roll  acts — with  Bill  Haley's  combo  and 
singer  Alan  Dale  heading  the  bill — in  an  attempt  to  repeat 
the  boxoffice  bonanza  he  created  with  "Rock  Around  the 
Clock".  Sixteen  jumping,  howling  musical-dance  numbers 
are  laced  around  a  synthetic  plot  in  which  Dale  explores 
the  appeals  and  aversions  of  the  R&R  fad.  This  Columbia 
release  can  count  on  lively  boxoffice  response  where  a  pre- 
sold audiences  of  youngsters  is  pretty  much  established. 
Additional  performing  combos  include  The  Treniers,  Little 
Richard,  and  Dave  Appell  and  his  Applejacks.  Director 
Fred  F.  Sears  turns  the  spotlight  on  each  performer  briefly 
but  often.  Successful  R&R  singer  Dale  returns  home  for 
vacation  and  his  told  my  mayor  Pierre  Watkin  that  his  act 
is  banned  in  town.  He  puts  together  a  R&R  show  in  the 
next  town  to  prove  that  modern  music  will  ruin  nobody's 
morals.  A  fight  breaks  out  and  columnist  Fay  Baker  de- 
livers the  death  blow  in  print.  Dale  stages  a  "cultural" 
affair,  includes  a  dance  from  the  Flapper  Age,  proves  to 
parents  they  were  as  wild  as  their  children. 

Columbia.  (A  Clover  Production).  80  minutes.  Bill  Haley,  Alan  Dale,  Alan 
Freed.    Produced  by  Sam  Katiman.    Directed  by  Fred  F.  Sears. 


"Crime  nf  Passion" 

Lurid  melodrama  will  attract  fern  audience.  Barbara  Stan- 
wyck as  ruthless,  scheming  wife  of  cop. 

This  melodrama  stars  Barbara  Stanwyck  as  a  ruthless, 
scheming  wife  who  sets  out  to  make  her  husband  top  man 
in  the  police  department.  It  is  buoyed  up  by  the  star's 
performance  and  an  interlacing  of  sex,  but  on  the  whole 
it's  familiar  soap  opera.  The  fern  trade  which  takes  to  the 
Stanwyck  brand  of  arch  dialogue  and  passionate  emoting 
will  find  "Crime  of  Passion"  their  dish;  others  will  find  it 
lacking  in  credulity  and  suspense.  Background  of  the  Los 
Angeles  police  department  gives  the  film  documentary-like 
quality  at  times.  Supporting  cast,  including  Sterling  Hay- 
den,  Raymond  Burr  and  Virginia  Grey,  turn  in  competent 
performances.  The  lurid  tale  contains  plenty  of  double 
entendre  dialogue,  bedroom  scenes,  passionate  kisses  and 
one  seduction,  all  making  this  Herman  Cohen  production 
aimed  right  at  the  female  audience.  Black  and  white  pho- 
tography is  good.  Miss  Stanwyck  is  a  successful  reporter 
who  falls  in  love  with  and  marries  police  detective  Sterling 
Hayden.  They  go  to  live  in  L.A.  where  she  soon  becomes 
bored  with  domestic  duties  and  idle  department  gossip. 
She  determines  that  her  husband  will  get  to  the  top  in  the 
department  and  frenzedly  sets  about  to  achieve  this  goal. 
She  causes  an  accident  just  so  she  can  meet  the  wife  of  the 
inspector,  Raymond  Burr,  then  starts  false  gossip  to  oust 
him  from  his  job.  She  allows  Burr  to  seduce  her,  then  kills 
him  when  he  fails  to  recommend  that  her  husband  get  the 
inspector's  job  when  he  retires.   Hayden  books  his  wife. 

United  Artists.  85  minutes.  Barbara  Stanwyck,  Sterling  Hayden,  Raymond  Burr. 
Virginia  Grey,  Fay  Wray.  Produced  by  Herman  Cohen.  Directed  by  Gerd  Oswald. 

"Edge  of  the  City" 

SutiKete  TZaU*?  O  O  Plus 

Absorbing,  realistic  drama  set  on  New  York  docks.  While 
lacking  name  values,  boasts  fine  performances,  mature  story. 

"Edge  of  the  City"  is  a  first  rate  program  picture  with  a 
waterfront  setting.  Produced  by  David  Susskind  for 
M-G-M,  this  suspenseful  drama  offers  fine  performances 
and  mature  story  values.  John  Cassavetes  stars  as  a  thor- 
oughly confused  Army  deserter  who  has  been  pushed 
around  and  persecuted  all  his  life.  Sidney  Poitier  (who 
scored  in  "Blackboard  Jungle")  plays  the  Negro  dock- 
woiker  who  dispels  Cassavetes'  fears  and  anxieties  with  his 
self-assured,  worldly  views.  Jack  Warden  is  the  bigoted 
dock  foreman  who  symbolizes  the  browbeating  bully. 
Screenplay  by  Robert  Alan  Aurthur  (from  his  TV  play 
called  "A  Man  Is  Ten  Feet  Tall")  builds  characters  that 
are  very  real  and  motivations  that  develop  logically.  Direc- 
tor Martin  Ritt  rightly  relies  on  the  emotional  conflict  to 
trigger  the  suspense.  Cassavetes'  fight  with  the  irate  fore- 
man becomes  Poitier's  fight  against  discrimination.  When 
Poitier  is  stabbed  to  death  by  Warden's  freight  hook,  Cas- 
savetes takes  up  the  battle,  fearlessly  facing  up  to  life  for 
the  first  time.  Cameraman  Joseph  Brun  catches  the  rough 
atmosphere  of  the  New  York  docks.  Supporting  player 
Kathleen  Maguire  is  the  school  teacherish  girl  Cassavetes 
dates,  and  Ruby  Dee  is  Poitier's  wife. 

M-G-M.  85  minutes.  John  Cassavetes,  Sidney  Poitier,  Jack  Warden.  Produced  by 
David  Susskind.    Directed  by  Martin  Ritt. 


Page  12       Film  BULLETIN    January  7,  1957 


BABY  DULL"-  PICTURE  S.  PHINCIPLL 


(Continued  jrum  Page  9) 

rent  controversy.  The  essence  of  it  is  simply  the  right  of 
the  motion  picture  industry  to  pursue  its  artistic  endeavors 
without  undue  pressures  that  are  not  applied  to  other  art 
forms. 

Are  We  To  Be  Hoodwinked? 

Movies  must  grow  up  or  die.  They  will  never  carry  a 
worthwhile  message,  or  do  a  fraction  of  the  good  they  are 
capable  of  doing,  if  they  pander  to  a  low  mental  denomi- 
nator or  to  juvenile  minds.  Are  books,  and  magazines,  and 
the  legitimate  theatre  to  have  freedoms  denied  the  film 
producer?  Are  we  always,  on  the  screen,  to  see  life  through 
rose-colored  spectacles?  Are  we  to  be  hoodwinked  into 
believing  there  is  nothing  unkind,  unpleasant,  difficult,  in- 
decent or  indecorous  in  life — or  made,  sheeplike,  to  accept 
the  screen  as  a  never-never-land  of  good  intent  instead  of 
a  graphic  portrayal  of  all  the  things  which  surround  us  on 
this  earth — good  and  bad  alike? 

Such  an  attitude  is  implicit  in  Cardinal  Spellman's 
blistering  blast  against  "Baby  Doll",  delivered  from  the 
pulpit  of  St.  Patrick's  Cathedral  before  he  had  ever  seen 
the  picture — if,  indeed,  he  has  seen  it  since,  which  is  im- 
probable. Said  he,  "The  revolting  theme  of  this  picture  and 
the  brazen  advertising  promoting  it,  constitute  a  con- 
temptuous defiance  of  the  natural  law,  the  observance  of 
which  has  been  the  source  of  strength  in  our  national  life. 
It  is  astonishing  and  deplorable  that  such  an  immoral  mo- 
tion picture  has  received  a  certificate  of  approval  .  .  .". 

Pegler  to  the  Rescue 

Let  it  not  be  thought  that  the  Cardinal  Archbishop's 
powerful  cry  was  alone  in  the  wilderness.  He  quickly 
found  supporters  for  his  viewpoint,  among  them  the  in- 
trepid Westbrook  Pegler  who  can  always  be  counted  on  to 
squeeze  the  vitriol  from  his  typewriter. 

Mr.  Pegler  gave  Cardinal  Spellman  his  full  moral  back- 
ing in  an  article  referring  to  Elia  Kazan,  "Baby  Doll's" 
brilliant  director.  He  wrote:  "Elia  Kazan  was  a  commu- 
nist who  published  an  abject  recantation  a  few  years  ago. 
His  sincerity  was  doubted  at  the  time,  and  may  still  be 
doubted  by  persons  who  accept  the  verdict  of  Cardinal 
Spellman  .  .  ."  And,  as  if  he  had  not  already  gone  far 
enough  afield,  Pegler,  in  his  inimitable  witch-hunt  style, 
drags  this  in :  "There  are  few  major  productions  of  the 
screen  and  the  Broadway  stage  which  do  not  return  a 
profit  to  the  Reds  .  .  ." 

On  the  other  side  of  the  fence,  the  Rev.  John  A.  Burke, 
director  of  Britain's  Roman  Catholic  Film  Institute,  could 
"see  no  reason  why  adult  Catholics  should  not  see"  the  pic- 
ture. Father  Burke  expressed  the  opinion  that  "Baby  Doll" 
is  a  "brilliant  piece  of  work  on  a  decadent  subject",  but  de- 
clared that  he  would  not  recommend  it  for  "thoughtless 
people". 

The  Very  Reverend  James  A.  Pike,  dean  of  the  Protes- 
tant Cathedral  of  St.  John  the  Divine,  upon  viewing  the 
film  with  his  wife,  made  this  comment:  "It  takes  a  good 
deal  of  subtlety  to  grasp  the  significance  of  the  plot,  and 
thus  the  picture  is  definitely  unsuitable  for  any  but  adult 
minds." 


In  a  subsequent  sermon  from  his  pulpit.  Dean  Pike  ex- 
pressed several  pertinent  views.  Neither  he  nor  Mrs.  Pike 
found  "Baby  Doll"  pornographic.  He  denied,  as  Cardinal 
Spellman  had  implied,  that  "patriotism"  was  an  issue  in  the 
controversy.  "The  true  patriot,*'  Dean  Pike  stated,  "de- 
fends freedom  against  governmental  authority  and  against 
majority  or  minority  pressure  groups,  against  volunteers 
in  the  cause  of  thought  control." 

Speaking  specifically  about  the  movie,  he  told  his  con- 
gregation: "It  would  take  a  fairly  subtle  and  independent 
mind  to  interpret  this  picture  aright.  Maybe  many  adults 
are  ill-equipped  to  see  the  picture.  But  it  is  one  of  the 
privileges  of  adulthood  in  a  free  country  to  expose  oneself 
to  picturizations  of  life  and  make  one's  own  interpretations. 
The  task  of  the  church  is  not  to  spare  adults  this  experi- 
ence, but  rather  to  provide  them  with  the  right  canons  of 
interpretation  and  to  furnish  them  with  answers  in  depth 
to  questions  asked  in  depth." 

And  Max  Lerner 

Max  Lerner,  of  the  New  York  "Post",  had  this  to  say: 
"I  v/ant  to  report  that  'Baby  Doll'  is  no  picture  to  which  I 
would  delight  in  bringing  my  children,  but  it  is  very  much 
a  picture  for  people  who  have  some  emotional  maturity, 
and  who  care  about  the  American  movie  craft. 

"Cardinal  Spellman's  ill-considered  attack  on  it  may 
have  helped  it  to  get  audiences,  but  it  has  distorted  the 
perspective  in  which  the  picture  is  best  seen.  I  find  the 
question  of  whether  it  is  'immoral'  a  futile  one.  If  it  is  im- 
moral to  portray  on  the  screen  a  tangled  skein  of  fear,  in- 
security, sex,  revenge,  compassion,  frustration  and  love, 
then  call  'Baby  Doll'  immoral — but  then  you  had  better 
shut  up  shop  in  Hollywood,  leaving  the  movies  to  the 
Italians  and  Japanese  to  produce  .  .  . 

"The  American  movies  are  probably  the  greatest  of  the 
popular  arts  that  our  culture  has  produced.  It  is  the  art  of 
Chaplain,  and  Garbo,  and  Disney,  and  of  writers  and  direc- 
tors who  have  done  something  different  from  what  the 
Elizabethans  or  Victorians  did.  We  can  keep  this  tradition 
alive  or  we  can  let  it  be  snuffed  out — cooped  up,  as  if  we 
were  children,  in  a  baby  doll-house  where  we  are  given  the 
right  pap  to  eat  and  the  right  instruction  for  what  to  see 
and  think." 

There  you  have  the  very  guts  of  this  issue  insofar  as  the 
motion  picture  industry  is  concerned. 

Through  all  of  this  seething  discussion  the  boxoffice  is 
ticking  merrily  away,  much  to  the  satisfaction  of  Warner 
Brothers  and  considerably  to  the  chagrin  of  the  film's 
critics.  While  it  might  be  construed  by  some  that  the  pub- 
lic response  to  "Baby  Doll"  provides  the  ultimate  answer 
to  those  who  condemn  it,  we  cannot  accept  this  thesis 
alone.  Far  more  important  than  the  boxoffice  success  of 
Mr.  Kazan's  film,  we  believe,  will  be  the  final  outcome  of 
the  struggle  between  all  the  creative  kazans  of  our  indus- 
try and  those  who  would  restrict  the  scope  of  the  motion 
picture  to  rigid  standards  drawn  to  meet  some  vague 
common  audience  denominator.  If  the  industry,  hard 
pressed  enough  by  competitive  problems,  relents  the  least 
bit  in  its  opposition  to  outside  interference  of  the  kind  we 
are  now  witnessing,  it  may  very  well  sacrifice  its  last 
vestige  of  freedom  as  an  art — without  which  it  will  not 
survive. 


Film  BULLETIN    January  7,   1757        Page  13 


EXHIBITORS  fORUfTl 


S  One  of  the  most  useful  exhibitor  organization  bulletins  ever  to  reach  our  desk 
was  thai  from  the  Independent  Theatre  On  ners  of  Ohio  dated  December  31.  It 
contained  the  following  detailed  report  by  II  alter  Kessler.  manager  of  Loeiv's 
Ohio  Theatre  in  Columbus,  on  the  control  of  vandalism  and  misbehavior  by  ju- 
veniles and  adolescents  in  that  theatre.  II  ritten  at  the  request  of  Hob  II  He.  e.xecu- 

^    lire  secretary  of  the  ITO  of  Ohio,  this  is  important  reading  for  every  exhibitor. 


HOW  WE  PREVENT 
DELINQUENCY 
IN  THE  THEATRE 

There  are  two  distinctly  different  phases 
in  our  efforts  for  the  curtailing  of  juvenile 
delinquency  and  malicious  mischief  in  our 
theatre.  The  first  phase  of  Operation  Ju- 
venile includes  constant  surveillance  of  our 
audience  by  our  staff.  Our  ushers  are  posted 
in  the  auditorium  with  instructions  to  walk 
up  and  down  their  aisles  every  ten  to  fifteen 
minutes  whether  called  upon  to  do  so  in  the 
seating  of  a  patron  or  not.  They  are  also 
told  to  pay  close  attention  to  individuals  or 
groups  cf  potential  troublemakers.  We  have 
often  found  that  youngsters  aware  of  the 
fact  that  they  are  being  watched  will  not  at- 
tempt mischief  and  will  also  remain  seated 
quietly  through  a  performance  rather  than 
give  trouble  and  be  expelled  from  the  thea- 
tre. In  addition  to  our  regular  house  staff 
being  ever  watchful  for  mischief,  on  Satur- 
day nights  when  we  deal  with  a  particular 
element  which  can  give  trouble,  we  have  on 
duty  a  uniformed  county  sheriff  complete 
with  Sam  Browne  belt,  pistol,  etc.  This 
sheriff's  duty  is  not  to  be  on  hand  in  case  of 
trouble  but  rather  by  his  presence,  prevent 
trouble  from  starting.  He  maintains  his  post 
within  the  vicinity  of  the  doorman  so  that  he 
can  be  readily  observed  by  patrons  entering 
the  theatre.  He  makes  periodical  checks  of 
the  main  floor  and  balcony  area  in  an  obvious 
manner  being  certain  that  he  can  be  ob- 
served by  any  troublesome  element.  In 
checking  the  balcony,  he  patrols  the  runway 
between  each  section  in  an  ostentatious 
manner  which  calls  attention  to  the  fact  that 
he  is  ready  to  step  in  and  quell  any  disturb- 
ance or  ungentlemanly-like  conduct  on  the 
part  of  our  patrons.  We  have  found  that  his 
blatant  presence  has  had  a  quieting  effect 
upon  the  noisy  element,  who  when  entering 
the  theatre  and  observing  our  sheriff  have 
decided  against  any  further  carrying  on. 
Should  a  group  that  looks  troublesome  go 
up  into  the  balcony,  the  sheriff  will  possibly 
follow  along  behind  them  so  that  they  are 
aware  of  the  fact  that  he  knows  their  seat 
locations  and  can  readily  find  them  should 
there  be  a  disturbance. 

On  Sunday  afternoon  our  problem  is  of  a 
different  sort  with  a  slightly  younger  ele- 
ment. We  therefore  hired  a  county  sheriff, 
a  member  of  the  Urban  League  who  reports 
for  duty  in  complete  uniform.  An  imposing 
6'  4"  figure  of  a  man,  he  has  been  able  to  deal 
with  our  potential  delinquents  in  a  manner 
that  removes  all  possible  criticism  from  us. 
He  too,  follows  the  concept  of  our  theory  in 
making  himself  noticeable  to  all  who  enter 
the  theatre  and  on  his  patrols  around  the 
auditorium. 


THE  WORD  SPREADS 

The  word  circulates  rapidly  among  young- 
sters and  teenagers,  and  the  fact  that  the 
Ohio  Theatre  is  ready  in  the  event  of  a  dis- 
turbance is  almost  a  known  fact  in  all  quar- 
ters of  the  city,  with  the  result  that  we  have 
had  very  few  troublesome  incidents  within 
the  last  two  or  three  years. 

We  have  not  had  one  serious  case  within 
the  last  three  years.  The  effect  of  our  watch- 
fulness on  weekends  carries  over  throughout 
the  week,  since  at  that  time  our  regular  staff 
continues  its  vigilance.  Upon  the  first  sign 
of  a  disturbance,  an  usher  will  caution  the 
disturbers  and  ask  that  they  behave.  Should 
he  feel  that  his  warning  will  not  be  heeded 
or  another  disturbance  occurs,  he  has  been 
instructed  to  summon  a  member  of  the  man- 
agement staff  immediately.  The  manager  or 
assistant  then  visits  the  location  of  the  dis- 
turbance and  copes  with  it,  by  either  con- 
vincing the  troublemakers  that  they  will 
either  have  to  behave  or  be  expelled.  Or,  if 
results  look  improbable,  they  are  asked  to 
leave  and  their  money  is  refunded  provided 
they  have  not  seen  more  than  half  of  the 
show.  So  well  has  our  message  reached  the 
groups  which  cause  trouble  that  months  go 
by  without  even  a  slightly  unpleasant  or 
annoying  incident  cropping  up. 

The  second  phase  of  our  program  for 
handling  troublesome  groups  is  what  we 
term  "the  parent  annoyance  theory".  From 
time  to  time  we  have  experienced  such 
things  as  one  boy  buying  a  ticket  and  open- 
ing the  exit  door  for  his  friends  or  perhaps 
a  boy  or  several  boys  coming  in  an  exit  door 
which  had  been  left  ajar  by  someone  who 
exited  the  theatre  in  that  manner.  Or,  we 
may  have  apprehended  a  troublemaker  that 
we  think  deserves  our  attention.  In  these 
cases  we  have  found  that  the  culprit  has  ab- 
solutely no  fear  of  the  police  department, 
nor  of  any  message  that  we  ourselves,  have 
for  them. 

THEY  DON'T  LIKE  IT! 

We  have  found,  however,  that  there  is  one 
thing  that  is  extremely  distasteful  to  them 
and  that  is  the  system  of  notifying  their 
parents  of  their  misconduct.  For  example, 
we  apprehend  two  boys  coming  in  an  exit 
door.  They  are  brought  to  the  manager's 
office.  We  ask  them  their  names,  addresses 
and  telephone  numbers.  We  call  their 
parents  and  tell  them  that  we  have  appre- 
hended their  sons  in  an  act  of  lawlessness 
and  that  we  can  and  will  send  them  to  the 
detention  home  and  the  juvenile  court;  but 
however,  we  are  not  interested  in  making 
further  delinquents  of  the  boys  and  we 
would  much  rather  the  parent  knew  of  their 
misconduct.    We   suggest  that  the  parent 


come  to  the  theatre  for  the  boys  rather  than 
have  us  turn  them  over  to  the  police.  In 
most  cases  the  parent  says  he  will  be  right 
down  and  makes  every  effort  to  beat  the 
police  to  the  theatre.  We  have  seen  a  parent 
close  his  gas  station  to  prevent  his  boy  from 
being  turned  over  to  the  police.  We  have 
taken  a  mother  away  from  a  bowling  tour- 
nament in  her  effort  to  prevent  her  boy  from 
being  turned  over  to  the  police  and  we  have 
taken  swingshift  workers  out  of  bed  in  the 
middle  of  their  sleeping  time.  Almost  with- 
out exception,  the  parent  upon  arriving  at 
the  theatre  handles  his  boy  in  such  a  manner 
as  to  almost  assure  us  that  there  would  be 
no  recurrence  from  these  particular  boys. 
The  word  traveled  fast,  "if  you  get  into 
trouble  at  the  Ohio  Theatre  they  don't  call 
the  police,  they  call  your  parents."  It  is  ad- 
mitted that  the  major  portion  of  the  parents 
who  come  to  the  theatre  are  more  concerned 
with  the  inconvenience  caused  them  than 
they  are  with  the  wrong  the  boy  has  done. 
In  the  case  of  the  woman  who  came  away 
from  her  bowling  tournament,  she  came  into 
the  manager's  office  and  without  a  word  pro- 
ceeded to  slap  her  boy  about  the  face  and 
head  in  a  manner  that  gave  us  concern.  All 
the  time,  saying  "Just  because  you  don't 
know  how  to  behave  yourself  and  stay  out 
of  trouble,  I  had  to  leave  my  bowling  in 
the  middle  of  the  tournament,"  then  turning 
to  me  and  saying,  "Thank  you  very  much  for 
calling  me.  I  appreciate  your  not  turning 
him  over  to  the  police.  You  can  be  sure  he 
won't  give  you  any  more  trouble."  Looking 
at  the  boy  and  the  fear  in  his  eye,  I  had  an 
idea  she  was  right. 

FROM  A  PRIVATE  SCHOOL 

On  one  occasion  we  apprehended  six  girls, 
all  students  of  a  very  fine  private  school. 
One  had  bought  a  ticket  and  the  other  five 
came  in  through  the  exit  door  which  she 
opened  for  them.  When  the  parents  of  these 
girls  came  to  the  theatre,  there  was  more 
gnashing  of  teeth.  The  parents  were  extreme- 
ly grateful  for  our  having  called  this  miscon- 
duct to  their  attention  and  upon  questioning 
the  girls,  discovered  that  once  or  twice  they 
had  done  similar  things  but  had  never  been 
caught.  The  parents  felt  that  being  advised 
of  this  incident  would  be  of  great  assistance 
in  handling  their  children.  For  the  next 
three  months  these  girls  attended  the  theatre 
regularly  and  made  it  their  business,  by 
parent  instructions,  to  seek  me  out,  greet  me 
and  prove  that  they  were  acting  like  the 
ladies  they  really  were  and  had  learned  that 
a  misdeed,  no  matter  how  small,  was  still 
wrong. 

Several  years  ago  it  was  no  uncommon  to 
have  one  or  two  incidents  as  mentioned 
above  each  week.  However,  it  has  been  so 
long  since  we  have  had  a  major  incident  in 
our  theatre,  that  we  feel  that  our  two-phase 
method  has  been  successful  and  shown 
results. 

By  Walter  Kessler, 

Manager  Locw's  Ohio  Theatre  \ 

Col  urn  hits.  Ohio 


Page  14        Film  BULLETIN    January  7,  1957 


THEY 


MADE  THE  NEWS 


SCHLANGER 

TED  SCHLANGER,  Stanley  Warner 
Philadelphia  zone  manager,  has  taken  a 
two-pronged  approach  to  the  problem  of 
eliminating  what  he  terms  the  "insidious" 
state  law  which  permits  small  towns  to 
levy  taxes  on  local  amusements.  Schlang- 
er  has  divided  his  campaign  into  two 
parts:  working  directly  with  those  able 
to  have  the  law  repealed  on  a  state-wide 
basis,  and  working  locally  in  communities 
where  a  local  tax  is  in  effect.  For  the 
latter,  Schlanger  is  taking  his  cue  from  a 
successful  campaign  waged  in  Ambler, 
Pa.,  by  Stanley  Warner  district  manager 
Jack  Flynn.  Flynn's  earlier  vigorous  ac- 
tivity in  community  affairs  and  charities 
paid  off,  earned  him  the  support  of  the 
townspeople  and  the  local  newspaper. 
Schlanger  suggests  that  managers  in 
other  towns  form  committees  of  promi- 
nent persons  to  make  direct  appeals  to 
city  councils  and  other  governing  bodies, 
pointing  up  the  value  of  the  theatre  to 
the  community,  and  the  danger  of  con- 
fiscatory taxation. 


Ed  Sullivan  confers  with  William  .1 . 
Ueineman,  right,  national  co-chairman  of  the 
m:  Brotherhood  Drive,  and  Dr.  Everett  It. 
Clin,  In.  president  of  the  Vational  Conference 
•<l  Christinas  ,u„l  Jews  prior  in  making  a 
filmed  appeal  to  be  shown  throughout  the 
eouniry  during  Brotherhood  II  eelc,  Feb.  17-24. 
The  amusement  industry's  participation  in  the 
annual  inter-faith  effort  will  be  officially 
launched  Jan.  24  at  the  ff'aldorf. 


J.  MEYER  SCHINE,  three  associates, 
the  late  Louis  W.  Schine,  and  nine  Schine 
affiliate  and  subsidiary  corporations,  were 
found  guilty  of  criminal  contempt  in  vio- 
lating a  1949  Federal  court  order  to  divest 
themselves  of  certain  of  their  theatres. 
Decision  was  handed  down  by  Federal 
Judge  Harold  P.  Burke,  ifTThe  U.S.  dis- 
trict court  of  Buffalo.  Case  was  brought 
by  the  Department  of  Justice  and  tried  in 
1954-55  before  Federal  Judge  John  Knight 
who  died  without  reaching  a  decision. 
Defendants  were  found  guilty  of  using 
affiliated  and  subsidiary  corporations  to 
circumvent  the  1949  order  to  sell  39  pic- 
ture theatres.  Judge  Burke  stated  that 
the  Schines  continued  their  "illegal  plan 
and  scheme"  from  1949  to  1954  to  retain 
the  Schine  monopolies  and  to  prevent 
other  exhibitors  from  competing  with 
them.  Sentencing  was  deferred.  Defense 
counsel  Frank  G.  Raichle  has  petitioned 
for  a  new  trial. 

0 

BENJAMIN  N.  BERGER  will  retire  as 
president  of  North  Central  Allied  at  the 
organization's  April  1  convention.  The 
veteran  Minneapolis  independent  circuit 
owner,  a  key  figure  in  Nat'l  Allied  since 
its  infancy,  has  held  his  post  altogether 
eleven  years  which  he  says  is  "long 
enough".  In  announcing  his  retirement, 
the  exhibitor  leader  said  he  thought  it  was 
time  for  a  younger  man  to  take  over,  ex- 
pressed his  "great  satisfaction  in  the  office 
for  I  have  seen  many  of  the  things  for 
which  I  fought  become  realities".  Berger 
has  called  a  meeting  of  the  NCA  board  of 
directors  for  Jan.  8.  It  is  expected  a  suc- 
cessor will  be  recommended  for  the  top 
spot  by  an  NCA  committee.  Most  likely 
heir  apparent  is  Stanley  Kane. 

0 

JACK  L.  WARNER  will  receive  the 
1957  Brotherhood  Award  of  the  National 
Conference  of  Christians  and  Jews.  Wil- 
liam J.  Heineman  and  Spyros  S.  Skouras, 
Jr.,  national  co-chairmen  of  the  amuse- 
ment industry's  Brotherhood  Drive,  made 
the  announcement.  Award,  in  recognition 
of  his  contributions  to  better  understand- 
ing among  Americans  of  all  faiths,  will  be 
made  to  the  Warner  president  at  the  12th 
annual  Brotherhood  dinner  Jan.  24  at  the 
Waldorf-Astoria. 

<0 

ALBERT  MARGOLIES  will  terminate 
his  association  with  Buena  Vista  Film 
Distribution  Co.  as  director  of  advertis- 
ing, publicity  and  exploitation  Jan.  31.  Ac- 
cording to  BV  president  Leo  F.  Samuels, 
the  parting  "is  on  the  friendliest  terms". 
Prior  to  joining  the  Disney  subsidiary  in 
1955,  Margolies  headed  his  own  public 
relations  firm. 

0 

FRANK  PACE,  JR.,  &  GEORGE  L. 
KILLION  were  elected  to  the  board  of 
directors  of  Loew's,  Inc.,  filling  the  va- 
cancies left  by  the  resignations  of  Nicho- 
las Schenck  and  Richard  Crooks.  Pace, 
former  Secretary  of  the  Army,  is  execu- 
tive vice  president  of  General  Dynamics 
Corp.;  Killion  is  president  of  the  Ameri- 
can President  Lines. 


HEADLINERS... 


PAUL  N.  LAZARUS,  JR.,  Columbia 
vice  president,  conferring  at  the  West 
Coast  studio  . .  .  TOA  president  ERNEST 
G.  STELLINGS  revealed  an  addition  to 
the  monthly  Bulletin  to  contain  extensive 
information  on  all  available  foreign  and 
independent  product;  section  will  be 
supervised  by  WALTER  READE,  JR., 
MYRON  N.  BLANK  and  others  .  . .  Uni- 
versal vice  president  DAVID  A.  LIP- 
TON  launched  the  company's  18-week 
"Seventh  Annual  Charles  J.  Feldman 
Sales  Drive"  together  with  companys  45th 
anniversary  celebration  Dec.  30.  Sixteen 
stars  will  visit  more  than  50  cities  in  the 
next  two  months  on  its  behalf,  according 
to  Lipton  .  .  .  New  England's  Jimmy  Fund 
Hospital  for  cancer  research  in  children 
was  $512,215  richer  as  the  result  of  the 


George  Stevens, 
producer  -  director 
of  "Giant",  re- 
ceives Parents  Mag- 
azine Award  for 
the  Warner  Bros, 
production. 


recent  drive  .  .  .  Paramount  v. p.  JEROME 
PICKMAN  celebrating  birth  of  daughter, 
PATRICIA  FLO  on  Dec.  23  .  .  .  MPA 
president  ERIC  JOHNSTON  appointed 
a  special  committee  for  aid  to  Hungarian 
film  people  newly  arrived  in  this  country. 
Committee  consists  of  MAURICE  BERG- 
MAN of  Universal,  BORIS  KAPLAN  of 
Paramount  and  HARRY  ROME  of  Co- 
lumbia . .  .  New  Jersey  senator  CLIF- 
FORD P.  CASE  principal  speaker  at  the 
Jan.  7  testimonial  dinner  honoring  MAX- 
WELL GILLIS,  retiring  chief  Barker  of 
Philadelphia  Variety  Tent  13.  SYLVAN 
M.  COHEN  is  new  topper. 

O 

CHARLES  COHEN  was  appointed 
home  office  publicity  manager  for  Warner 
Brothers,  succeeding  Charles  S.  Steinberg 
who  is  joining  CBS.  Announcement  was 
made  by  WB  vice  president  Robert  S. 
Taplinger.  Cohen,  formerly  assistant 
Eastern  publicity  and  advertising  director 
for  Allied  Artists,  will  assist  Warner  na- 
tional publicity  manager  Mike  Hutner. 


Film  BULLETIN    January  7,  1957        Page  15 


7>V6at  t&e  S&owww  /tie  'Doiaat 

MERCHANDISING     4     EXPLOITATION     DEPARTMENT  f 


/ 


RHODEN  URGES  EXHIBITION  TO  TALK  &  ACT  UPBEAT  *m  

and  brotherhood  thai  thunders  forth  (rem 

TO  REGAIN  ITS  POPULARITY  WITH  THE  PUBLIC 


"Keep  the  beat  up"  was  the  urgent  plea 
delivered  by  National  Theatres'  Elmer  C. 
Rhoden  in  a  TOA  Business  Builders'  cover 
message  to  theatremen. 

"If  our  business  is  going  to  regain  its  pop- 
ularity with  the  public,  we  have  to  first  re- 
gain our  faith  in  it.  We  must  talk  upbeat," 
the  veteran  exhibitor  leader  exhorted  all  ex- 
hibition. Rhoden's  words  were  particularly 
directed  at  the  gloom  mongers,  both  within 
and  outside  of  the  industry  who  have  played 
up  theatre  closings  and  beaten  their  breasts 
about  the  quality  of  the  Hollywood  product. 

Actually,  Rhoden  pointed  out,  "Pictures 
are  better — and  this  is  not  just  an  idle  state- 
ment." He  couldn't  recall  a  period,  he  said, 


when  there  had  been  "so  many  big  im- 
portant pictures"  as  in  this  past  year. 

Accenting  the  positive,  Rhoden  called  for 
"the  proper  type  of  publicity"  to  trade  jour- 
nals, financial  columnists  and  other  news  and 
opinion  circulators.  "Instead  of  having  pub- 
licity about  theatres  closing,  let  us  have  pub- 
licity about  theatres  being  remodeled,  re- 
furnished, and  reopened.  Let  us  have  all  of 
our  stories  carry  an  UPBEAT!",  he  said. 

The  National  Theatres  president  has  con- 
tinually championed  the  cause  of  enthusiasm 
and  its  contagion  within  the  industry,  has 
been  instrumental  in  helping  spark  b.o.  Turn- 
ing to  the  scarcity  of  product,  Rhoden  en- 
visioned that  the  demand  by  exhibition  for 
more  good  motion  pictures  will  be  met. 


'Commandments'  Theme  Used 
By  Buffalo  Retailer  in  Yule  Ad 

Published  "in  the  spirit  of  public  service" 
by  a  Buffalo  department  store,  a  special 
Yuletide  full  page  ad  awarded  a  nifty  pat- 
on-the-back  to  Cecil  B.  DeMille's  production 
of  "The  Ten  Commandments".  The  ad, 
which  appeared  in  the  Sunday  Courier-Ex- 
press and  the  Evening  News,  was  placed  by 
Sattler's  department  store. 

Interrupting  its  usual  advertising  of  Xmas 
merchandise,  the  aggressive  retailer  con- 
fronted upstate  New  Yorkers  with  the  dy- 
namic institutional  ad  in  an  appeal  to  their 
humanitarianism.  Urging  readers  to  give  to 
the  Red  Cross,  the  United  Nations'  Inter- 
national Children's  Fund  and  to  CARE,  the 
advertisement  stated:  "Moved  by  the  inspir- 
ing message  of  freedom  and  brotherhood 
that  thunders  forth  from  Cecil  B.  DeMille's 
monumental  production,  'The  Ten  Com- 
mandments,' Sattler's  offers  this  humble  re- 
minder that,  like  the  revered  and  heroic 
central  Figure  of  this  mighty  drama,  We 
may  all  Strike  Our  Own  Blows  for  Humani- 
ty, Freedom  and  Lasting  Peace  .  .  .  Sattler's 
is  proud  to  join  Buffalo's  Religious  Leader?' 
— Catholic,  Protestant  and  Jewish — whq 
urge  those  of  every  creed  to  see  'The  Ten 
Commandments." 


4  Warner  Brothers  has  set  an 
attention-grabbing  deal  with 
the  National  Safety  Council 
in  connection  with  the  latest 
Hitchcock  thriller,  "The 
Wrong  Man"  featuring  a 
cover-the-country  poster  dis- 
play for  the  cause  of  traffic 
safety.  Big  placard  will  con- 
trast proper  auto  driving 
rules  for  "the  right  man" 
and  "the  wrong  man".  Over 
1700  J.  C.  Penney  variety 
stores  throughout  the  nation 
will  spotlight  the  signs  as 
part  of  the  National  Safety 
Council's  accident  prevention 
drive.  In  addition,  local  and 
regional  offices  of  the  safety 
organization  will  distribute 
the  poster  to  thousands  of 
schools,  stores  and  com- 
panies. The  suspense  drama 
is  now  in  its  debut  engage- 
ment at  New  York  City's 
Paramount  Theatre. 


This  presentation  is  in  support  of  THf  NATIONAL  SAFETY  COUNCIL'S  ACCIDENT.  PREVENTION  PROGRAM 
Page  16       Film  BULLETIN    January  7,  1957 


/ 


4  Shades  of  the  Old 
West  on  Times  Square. 
Cowpokes  and  cowgirls 
man  a  gift-laden  stage- 
coach in  Manhattan's 
wide  open  spaces  to 
keep  the  Xmas  spirit 
blazing  by  passing  out 
gifts  as  part  of  a  city- 
wide  co-op  promotion 
supporting  the  opening 
of  United  Artists'  "The 
King  and  Four  Queens" 
at  the  Mayfair  Theatre. 
Campaign  linked  book, 
fashion  tie-ins  to  par- 
ticipating retail  outlets. 


Sell  Music  to  Sell  Movie, 
Schine  Urges  on  'Anastasia' 

A  timely  reminder  that  title  tunes,  backed 
by  strong  tie-in  possibilities,  can  help  shove 
a  picture  into  the  higher  boxoffice  brackets 
is  interjected  by  Schine  Chain's  publiciteers 
in  a  bulletin  to  its  managers.  Naming  such 
pictures  as  "The  High  and  the  Mighty", 
"High  Noon"  ("Love  Is  a  Many-Splendored 
Thing"  is  an  ideal  case  in  point,  too),  as  ex- 
amples of  films  sold  to  the  public  in  many 
situations  largely  on  the  strength  of  the 
music,  the  circuit  boxofficers  earmark  the 
title  song  of  20th-Fox'  "Anastasia"  for  popu- 
larity, urge  their  managers  to  contact  local 
radio  stations,  music  stores,  record  shops 
and  juke  box  dealers  in  an  effort  to  garner 
"saturation  playing  time"  for  the  tune  which 
has  already  been  recorded  by  seven  artists. 

Among  those  that  have  pressed  the  disc 
are:  Pat  Boone  (Dot),  Roger  Williams 
(Kapp),  LeRoy  Holmes  (MGM),  Guy  Lom- 
bardo  (Capitol),  George  Kates  (Coral)  and 
Victor  Young  (Decca). 


Warners  Sets  Contest  to 
Find  'Miss  Spirit  of  St.  Louis' 

Warner  Bros,  is  going  to  crown  some 
lucky  (and  beautiful)  airline  stewardess 
"Miss  Spirit  of  St.  Louis"  as  part  of  a  con- 
test promotion  to  beat  the  drum  for  the  film, 
"The  Spirit  of  St.  Louis".  To  be  held  in 
May,  at  festivities  coinciding  with  the  inter- 
national world  premiere  of  the  film  in  New 
York  City,  the  finals  will  be  staged  in  con- 
junction with  the  Airline  Stewards  and 
Stewardesses  Ass'n  contest  for  the  Ideal  Air- 
line Stewardess  thus  giving  the  winner  and 
the  picture  a  crateful  of  publicity. 

Loot  going  to  the  winner  includes  a  '57 
convertible  and  a  WB  screen  test.  Contest, 
which  kicked  off  January  1,  is  open  to  over 
12,000  stewardesses  on  the  more  than  thirty- 
five  domestic  and  overseas  airlines  serving 
the  United  States. 

Unique  'Public  Pigeon'  Debut 
Held  in  New  York  State  Prison 

What  shapes  up  as  probably  the  most  off- 
beat world  premiere  ever  held  took  place 
recently  before  3,000  inmates  of  the  Green- 
haven  Prison  in  Stormville,  New  York.  The 
picture:  RKO's  "Public  Pigeon  No.  1". 
Prison  officials  authorized  the  premiere  at 
Greenhaven  of  the  Red  Skelton  starrer  when 
a  poll  of  prisoners  showed  that  the  old  red- 
head was  the  convicts'  favorite  funnyman. 

There  were  two  showings  of  the  Techni- 
color comedy  in  the  prison  theatre  for  half 
the  inmates  each  time. 

Story  was  worth  big  break  in  the  news- 
papers for  its  unique  quality;  not  much  was 
expected,  however,  from  word-of-mouth 
buildup  on  this  premiere. 

4  Gil  Golden,  Warner  Bros,  national  ad  man- 
ager, planed  south  to  give  special  personal  at- 
tention to  the  important  Miami  engagement  of 
Elia  Kazan's  "Baby  Doll".  Golden  visited  eight 
radio  shows,  several  television  programs  to  help 
promote  the  WB  release.  One  of  the  d.j.'s 
visited  by  Golden  (left)  was  Jim  Harper,  popu- 
lar Miami  platter  spinner. 


Mammoth  'Pride  and  Passion' 
Co-op  Aimed  at  Women's  Market 

The  lush  women's  market  is  the  target  for 
a  co-op  campaign  that  looms  as  the  most 
extensive  fashion  drive  ever  undertaken  by 
United  Artists.  The  giant-size  promotion 
will  unload  $341,000  into  a  hard-hitting  box- 
office  push  for  Stanley  Kramer's  "The  Pride 
and  the  Passion".  Over  1,000  retail  outlets 
throughout  the  nation  will  participate  in  the 
promotion  with  UA,  Rhea  Dresses  and 
Lowenstein  Fabrics. 

Keyed  to  a  new,  chic  line  of  women's 
styles  inspired  by  the  location  filming  of  the 
epic  in  Spain,  the  campaign  will  be  sup- 
ported by  550  pages  of  newspaper  ads  plus 
national  magazine  advertisements. 

Featuring  Rhea's  "Pride  and  Passion" 
sportswear  and  dresses  using  Lowenstein 
fabrics,  the  tie-in  will  be  highlighted  at 
glamorous  fashion  shows  in  24  key  market 
areas.  A  two-week  all-free  vacation  to  sunny 
Spain  will  be  offered  to  the  retailer  running 
the  best  promotion  in  an  effort  to  hypo  local- 
level  exploitation. 

Joining  together  to  bring  home  the  pro- 
motional bacon  will  be  UA  exploitation  men 
and  Rhea's  field  staff.  The  two  organizations 
will  cooperate  to  link  the  fashion  promotion 
to  local  playdates  of  the  VistaVision  film, 
which  stars  Cary  Grant,  Frank  Sinatra  and 
Sophia  Loren.  Posters,  streamers  and  counter 
cards  will  be  used  to  bally  the  campaign. 

Geared  for  long-range  penetration  in  all 
media,  the  campaign  will  include  star  ap- 
pearances synchronized  with  local  theatre 
openings  and  "P  and  P"  fashion  shows.  TV 
films  and  recorded  interviews  will  be  sup- 
plied to  exhibitors  and  dress  dealers  to  help 
hypo  the  promotion. 

♦  What  would  be  more  natural  to  bally 
"Zarak"  than  a  maiden  in  a  harem  costume.  But 
those  wintry  blasts  are  pretty  cold  come  Decem- 
ber in  NYC  so  Columbia  exploiteers  came  up 
with  a  plexiglass  showcase  complete  with  a 
heater  to  protect  the  haremlovely.  Stunt  was 
part  of  drumbeating  campaign  for  the  Warwick 
production  when  it  opened  at  the  Globe  Theatre. 


Film  BULLETIN    January  7,  1957 


Page  17 


EXPLOITATION  PICTURE 

Boxoffice  "Written"  On  the  Lips  of  the  Ladies 


heir 

vate  lives 
o  public  view! 

fatten 
mtke 

VlND 


ROCK      IAUREN    ROBERT  DOROTHY 

HUDSON  •  BACALL-  STACK-  MALONE 

—  Robert  Keith  •  Grant  Williams  •  Harry  Shannon 
Directs  by  DOUGLAS  SIRK  tanm  by  GEORGE  ZUCKERMAN  P™^™d  b,  ALBERT  ZUGSMITH 

Ads  are  aimed  squarely  at  the  woman's  market  with  special  emphasis  on  the  four  star  characteri- 
zations.   Ad  above  concentrates  on  thumbnail  teaser  descriptions  of  the  principals.    A  similar 
group  of  four  character  shouts  is  available  for  door  panels  and  in  newspaper  teaser  style. 


Analyses  of  what  makes  a  boxoffice  movie 
down  through  the  years  have  reconfirmed 
the  "woman's  appeal"  factor  as  one  of  the 
most  potent  in  the  magic  formula.  In 
"Written  On  the  Wind",  Universal-Interna- 
tional has  the  female  of  the  moviegoing 
species  firmly  in  its  grasp,  and,  at  the  same 
time,  latches  on  to  enough  talking  points  for 
the  males  to  insure  the  minimum  of  reluc- 
tance by  the  escort. 

The  selling  points  abound:  The  story  is 
the  kind  of  emotional  meat  that  wraps  it- 
self around  a  woman's  heart;  the  characters 
just  cry  for  savory  thumbnail  descriptions 
(see  ad  right)  to  pique  the  ladies' — and  the 
men's— interest;  the  stars  tote  a  magnetic 
lure  in  the  person  of  Rock  Hudson,  Lauren 
Bacall,  while  Robert  Stack  and  Dorothy  Ma- 
lone,  if  less  marquee-potent  before,  will  be- 
come top  names  after  the  talk  about  their 
performances  gets  around. 

There  is  a  flavor  of  the  memorable  "Kings 
Row"  about  this  Technicolor  melodrama. 
Frustrated  love,  twisted  lives  and  offbeat 
characterizations  are  intermingled  much  as 
in  that  earlier  boxoffice  success  that  over- 
came a  critical  lashing  to  become  a  top  popu- 
lar grosser.  The  excellent  prospects  for  talk- 
about  in  "Written  on  the  Wind"  should  be 
capitalized  to  their  hefty  potential.  This 
means  getting  them  in  early  in  the  run  to 
get  the  snowballing  word-of-mouth  and  Uni- 
versal has  engendered  an  excellent  advance 
campaign  toward  this  end. 

National  ads  similar  to  that  shown  on  this 
page  have  appeared  in  19  publications 
especially  chosen  to  reach  the  maximum 
woman's  market.  Such  top-reader  mags  as 
Life,  Look,  McCalls,  Redbook,  Cosmopoli- 
tan, True  Confessions,  as  well  as  the  Sun- 
day Supplements,  have  blanketed  the  coun- 
try. A  special  national  TV  campaign  of 
U-I's  own  spots  has  been  underway  since 
October  in  35  major  TV  markets,  plus  a 
solid  two-month  pre-sell  on  "Strike  It  Rich" 
both  on  radio  and  video  to  blast  away  at 
some  20  million  listeners  and  viewers  daily. 

Screenings  for  such  talk-breeders  as 
beauty-parlor  operators,  salespeople,  wom- 
en's groups,  and  other  factions  that  show- 
man's experience  has  found  to  be  prolific 
with  words,  will  be  an  important  factor  in 
the  know-about  campaign. 

WRITTEN  ON  THE  WIND  # 

Wi/lsoon  be  on  every bodys  Lips 

TEASER  2K 

Another  theme  of  the  ad  campaign  is  use  of  the 
initials  to  scare  up  the  eye-catching  WOW!  as 
shown  in  the  teaser  here. 


A  strong  assist  comes  from  the  theme  song 
with  lyrics  by  Oscar  winner  Sammy  Cahn 
and  melody  by  famed  composer-conductor 
Victor  Young.  As  sung  by  the  Four  Aces  on 
Decca,  it  has  become  one  of  the  top  popular 
discs  and  is  being  backed  by  Decca  with 
high-powered  promotional  material.  An  at- 
tractive album  cover  especially  designed  for 
Decca's  release  of  the  LP  of  the  film's  score 
pictures  a  dramatic  clinch  by  Hudson  and 


Bacall,  should  prove  a  sock  window  display 
item  in  music  and  record  shops. 

Universal  has  come  up  with  a  special  series 
of  three  one-minute  teaser  trailers,  all  in 
Technicolor,  to  afford  a  sock  trailer  on-the- 
spot  advance  campaign.  Combined  with  the 
regular  trailer,  this  is  good  for  a  solid 
month-long  trailer  campaign.  All  are  avail- 
able from  National  Screen  Service  at  no 
charge  to  the  exhibitor. 


WRITTEN  DN  THE  WIND    O  O 

Robert  Wilder's  novel  of  four  people  caught  up  in  a  maelstrom  of  erotic 
and  violent  emotions  emerges  on  the  screen  in  a  Technicolor  production  by 
Albert  Zugsmith  that  should  set  tongues  wagging,  both  as  to  presentation  and 
characterization.  Under  the  direction  of  Douglas  Sirk,  the  story  (ostensibly 
based  on  a  factual  tale  of  a  noted  female's  marriage  to  a  wealthy  alcoholic) 
follows  the  whirlwind  romance  of  a  wealthy  playboy  (Robert  Stack)  with  aq 
executive  secretary  (Lauren  Bacall)  in  his  oil  empire,  their  marriage  which 
takes  him  away  temporarily  from  his  addiction  to  the  bottle,  and  the  fatefu 
cross-currents  of  romance  involving  his  best  friend  (Rock  Hudson)  and  hid 
sister  (Dorothy  Malone).  Hudson's  heart  is  set  on  Bacall,  although  his  innate 
decency  keeps  him  from  revealing  it ;  Malone's  madness  for  men  is  concern 
trated  on  Hudson.  The  crisis  revolves  around  the  deceptive  seed  implanted  b)j 
Malone  in  her  brother  that  Hudson  is  to  be  the  father  of  Bacall's  forthcoming 
baby,  leading  to  a  wild  drunken  spree  and  murder.  Of  particular  note  arl 
Malone's  superbly  wanton  portrayal  of  a  nymphomaniac  and  Stack's  intense 
characterization  of  the  wastrel  alcoholic  who  goes  berserk  after  a  brief  reforj 
mation.  Both  of  these  finely  etched  portraits  overshadow  the  capable,  thougll 
stock  delineations  by  the  other  two  stars,  will  undoubtedly  be  talked  about  i« 
eye-widening  terms. 


Page  18       Film  BULLETIN    January  7,  1957 


Film  BULLETIN    January  7,  1957       Page  1? 


THIS  IS  YOUR  PRODUCI 


All  The  Vital  Details  on  Current  &>  Coming  Features 

(Date  of  Film  BULLETIN  Review  Appears  At  End  of  Synopsis) 


ALLIED  ARTISTS 


September 

CALLING  HOMICIDE  Bill  Elliot,  Jeane  Cooper.  Kath- 
leen Case.  Producer  Ben  Schwalb.  Director  Edward 
Bernds.  Melodrama.  Policeman  breaks  baby  extortion 
racket.  61  min. 

FIGHTING  TROUBLE  Huntz  Hall,  Stanley  Clements, 
Queenie  Smith.  Producer  Ben  Schwalb.  Director  George 
Blair.  Comedy  drama.  Bowery  Boys  apprehend  hood- 
lums by  fast  work  with  a  camera.  61  min. 

STRANGE  INTRUDER  Edward  Purdom,  Ida  Lupino,  Ann 
Harding,  Jacques  Bergerac.  Producer  Lindsley  Parsons. 
Director  Irving  Rapper.  Drama.  A  returning  Korean  vet 
makes  a  strange  promise  to  a  dying  comrade-in-arms. 
81  min. 

October 

CRUEL  TOWER,  THE  John  Ericson,  Mari  Blanchard, 
Charles  McGraw.  Producer  Lindstey  Parsons.  Director 
Lew  Landers.  Drama.  Steeplejacks  fight  for  woman 
on  high  tower.  80  min. 

YAOUI  DRUMS  Rod  Cameron,  Mary  Castle.  Producer 
William  Broidy.  Director  Jean  Yarbrough.  Western. 
Story  of  a  Mexican  bandit.  71  min. 

November 

BLONDE  SINNER  Diana  Dors.  Producer  Kenneth 
Harper.  Director  J.  Lee  Thompson.  Drama.  A  con- 
demned murderess  in  the  death  cell.   74  min. 

FRIENDLY  PERSUASION  Deluxe  Color.  Gary  Cooper, 
Dorothy  McGuire,  Marjorie  Main,  Robert  Middleton. 
Producer-director  William  Wyler.  Drama.  The  story 
of  a  Quaker  family  during  the  Civil  War.  139  min.  10/1 

December 

HIGH  TERRACE  Dale  Robertson,  Lois  Maxwell.  Pro- 
ducer Robert  Baker.  Director  H.  Cass.  Drama.  Famous 
impresario  is  killed  by  young  actress.  77  min. 

HOT  SHOTS  Huntx  Hall,  Stanley  Clements.  Producer 
Ben  Schwalb.  Director  Jean  Yarbrough.  Comedy.  Ju- 
venile television  star  is  kidnapped.   62  min. 

January 

CHAIN  OF  EVIDENCE  Bill  Elliot,  James  Lydon,  Claudia 
Barrett.  Producer  Ben  Schwalb.  Director  Paul  Landres. 
Melodrama.  Former  convict  is  innocent  suspect  in 
planned  murder.  63  min. 

GUN  FOR  A  TOWN  Dale  Robertson,  Brian  Keith, 
Rossano  Rory.  Producer  Frank  Woods.  Director  Brian 
Keith.  Western.  72  min. 

February 

ATTACK  OF  THE  CRAB  MONSTERS  Richard  Garland, 
Pamela  Duncan.  Producer-director  Roger  Corman. 
Science-fiction. 

BAD  MEN  OF  COLORADO  CinemaScope,  Color. 
George  Montgomery,  James  Best.  Producer  Vincent 
Fennelly.  Director  Paul  Landres.  Western.  Outlaws 
use  detective  as  only  recognizable  man  in  their  hold- 
ups, thus  increasing  rward  for  his  death  or  capture. 
81  min. 

NOT  OF  THIS  EARTH  Paul  Birch,  Beverly  Garland. 
Producer-director  Roger  Corman.  Science-fiction.  Series 
of  strange  murders  plagues  large  western  city.  80  min. 

Coming 

ATTACK  OF  THE  CRAB  MONSTERS  Richard  Garland, 
Pamela     Duncan.      Producer-director    Roger  Corman. 

DAUGHTER  OF  DR.  JEKYLL  John  Agar,  Gloria  Talbot, 
Arthur  Shields.  Producer  Jack  Pollexfen.  Director 
Edgar  linger.  Horror. 

DRAGOON  WELLS  MASSACRE  Barry  Sullivan,  Mona 
Freeman,  Dennis  O'Keefe.  Producer  Lindsley  Parsons. 
Director  Harold  Schuster.  Western.  Apaches  attack 
stockade  in  small  western  town.  81  min. 

HOLD  THAT  HYPNOTIST  Hunti  Hall,  Stanley  Clements. 
Producer  Ben  Schwalb.  Director  Austen  Jewell.  Comedy 
drama.  Bowery  Boys  tangle  with  unscrupulous  hypnotist. 
61  min. 

HUNCHBACK  OF  PARIS.  THE  CinemaScope.  Color. 
Glna  Lollobrigida.  Anthony  Quinn.  A  Paris  Production. 
Director  Jean  Delannoy.  Drama.  Hunchback  falls  in 
love  with  beautiful  gypsy  girl.  88  min. 
LAST  OF  THE  BADMEN  CinemaScope.  Color.  George 
Montgomery.  James  Best.  Producer  Vincent  Fennelly 
Director  Paul  Landres.  Western.  Outlaws  use  detective 
as  only  recogniiable  man  in  their  holdups,  thus  in- 
creasing reward  for  his  death  or  capture.  81  min. 

Film 


LET'S  BE  HAPPY  CinemaScope,  Color.  Vera  Ellen,  Tony 
Martin,  Robert  Fleming.  Producer  Marcel  Hellman.  Di- 
rector Henry  Levin.  Musical.  105  min. 

LOVE  IN  THE  AFTERNOON  Color.  Gary  Cooper, 
Audrey  Hepburn,  Maurice  Chevalier.  Producer-director 
Billy  Wilder.  Drama. 

OKLAHOMAN,  THE  CinemaScope.  DeLuxe  Color.  Joel 
McCrea,  Barbara  Hale.  Producer  Walter  Mirsch.  Di- 
rector Francis  Lyon.  Western.  Doctor  helps  rid  town 
of  unscrupulous  brothers.  81  min. 

SIERRA  STRANGER  Howard  Duff,  Gloria  McGhee. 
Western.  75  min. 


COLUMBIA 


September 

MIAMI  EXPOSE  Lee  J.  Cobb.  Patricia  Medina,  Ed- 
ward Arnold.  Produce:  Sam  Katzman.  Director  Fred 
Sears.  Melodrama.  Mob  schemes  to  introduce  legalized 
gambling  in  Miami,  Florida.  73  min.  8/6. 
1984  Edmund  O'Brien,  Michael  Redgrave,  Jan  Sterling. 
A  Holiday  Production.  Director  Michael  Anderson. 
Drama.  From  the  novel  by  George  Orwell.  91  min. 

SPIN  A  DARK  WEB  Faith  Domergue,  Lee  Patterson, 
Rona  Anderson.  Producer  George  Maynard.  Director 
Vernon  Sewell.  Melodrama.  Engineer  gets  involved 
with  racketeers.  76  min.  7/23. 

October 

PORT  AFRIQUE  Technicolor.  Pier  Angelli,  Phil  Carey, 
Dennis  Price.  Producer  David  E.  Rose.  Director  Rudy 
Mate.  Drama.  Ex-Air  Force  flyer  finds  murderer  of 
his  wife.  92  min.  9/17. 

SOLID  GOLD  CADILLAC.  THE  Judy  Holliday,  Paul 
Douglas,  Fred  Clark.  Producer  Fred  Kohlmar.  Director 
Richard  Quine.  Comedy.  Filimization  of  the  famous 
Broadway  play  about  a  ladv  stockholder  in  a  large 
holding  company.   99  min.  8/20. 

STORM  CENTER  Bette  Davis,  Brian  Keith,  Paul  Kelley, 
Kim  Hunter.  Producer  Julian  Blaustein.  Director  Daniel 
Taradash.  Drama.  A  librarian  protests  the  removal  of 
"controversial"  from  her  library,  embroils  a  small 
town  in  a  fight.  85  min.  8/6. 

November 

ODONGO  Technicolor,  CinemaScope.  Macdonald 
Carey,  Rhonda  Fleming,  Juma.  Producer  Irving  Allen. 
Director  John  Gilling.  Adventure.  Owner  of  wild  ani- 
mal farm  in  Kenya  saves  young  native  boy  from  a 
violent  death.  91  min. 

REPRISAL  Technicolor.  Guy  Madison,  Felicia  Farr, 
Kathryn  Grant.  Producers,  Rackmil-Ainsworth.  Direc- 
tor George  Sherman.  Adventure.  Indians  fight  for 
rights  in  small  frontier  town.  74  min. 

SILENT  WORLD,  THE  Eastman  Color.  Adventure  film 
covers  marine  explorations  of  the  Calypso  Oceono- 
graphic  Expeditions.  Adapted  from  book  by  Jacques- 
Yves  Cousteau.  86  min.  10/15. 

WHITE  SQUAW,  THE  David  Brian,  May  Wynn,  William 
Bishop.  Producer  Wallace  MacDonald.  Director  Ray 
Nazarro.  Drama.  Indian  maiden  helps  her  people  sur- 
vive injustice  of  white  men.  73  min. 

YOU  CAN'T  RUN  AWAY  FROM  IT  Technicolor,  Cine- 
maScope. June  Allyson,  Jack  Lemmon,  Charles  Bick- 
ford.  Produced-director  Dick  Powell.  Musical.  Reporter 
wins  heart  of  oil  and  cattle  heiress.   95  min.  10/15. 

December 

LAST  MAN  TO  HANG,  THE  Tom  Conway,  Elizabeth 
Sellars.  Producer  John  Gossage.  Director  Terence 
Fisher.  Melodrama.  Music  critic  is  accused  of  murder- 
ing his  wife  in  a  crime  of  passion.  75  min.  11/12. 
MAGNIFICENT  SEVEN,  THE  Takashi  Shimura.  Toshiro 
Mifune.  A  Toho  Production.  Director  Akira  Kurosawa. 
Melodrama.  Seven  Samurai  warriors  are  hired  by  far- 
mers for  protection  against  maurauders.  158  min.  12/10 
RUMBLE  ON  THE  DOCKS  James  Darren,  Jerry  Janger, 
Edgar  Barrier.  Drama.  Teenage  gang  wars  and  water- 
front racketeers.    82  min.  12/10. 

SEVENTH  CAVALRY,  THE  Technicolor.  Randolph  Scott. 
Barbara  Hale.  Producer  Harry  Brown.  Director  Joseph 
Lewis.  Western.  An  episode  in  the  olory  of  General 
Custer's  famed  "7th  Cav.".    75  min.  12/10. 

January 

DON'T  KNOCK  THE  ROCK  Bill  Haley  and  his  Comets, 
Alan  Freed,  Alan  Dale.  Producer  Sam  Katzman.  Direc- 
tor Fred  Sears.  Musical.  Life  and  times  of  a  famous 
rock  and  roll  singer.  80  min. 


NIGHTFALL  Aldo  Ray.  Anne  Bancroft.  Producer  Ted 
Richmond.  Director  Jacques  Tourneur.  Drama.  Mistaken 
identity  of  a  doctor's  bag  starts  hunt  for  stolen  money. 
78  min.  12/10. 

RIDE  THE  HIGH  IRON  Don  Taylor,  Sally  Forest.  Ray- 
mond Burr.  Producer  William  Self.  Director  Don  Weis. 
Drama.  Park  Avenue  scandal  is  hushed  up  by  public 
relations  experts.  74  min. 

ZARAK  Technicolor,  CinemaScope.  Victor  Mature, 
Michael  Wilding,  Anita  Ekberg.  A  Warwick  Production. 
Director  Terence  Young.  Drama.  Son  of  wealthy  ruler 
becomes  notorious  bandit.  99  min.  12/24. 

February 

FUCl.  OF  LIFE  Judy  Holliday.  Richard  Conte, 
Salvatore  Baccaloni.  Producer  Fred  Kohlmar.  Director 
Richard  0"ine.  Comedy.  Struggling  writer  and  wife 
are  owners  of  new  home  and  are  awaiting  arrival  of 
child. 

GUNS  AT  FORT  PETTICOAT  Audie  Murphy,  Kathryn 
Grant.  Producer  Harry  Joe  Brown.  Director  George 
Marshall.  Western.  Army  officer  organizes  women  to 
fight  off  Indian  attack. 

WICKED  AS  THEY  COME  Arlene  Dahl,  Fhil  Carey.  Pro- 
ducer Maxwell  Setton.  Director  Ken  Hughes.  Drama.  A 
beautiful  girl  wins  a  beauty  contest  and  a  "different" 
life. 

Coming 

BEYOND  MOMBASA  Technicolor,  CinemaScope.  Cor- 
nell Wilde,  Donna  Reed.  Producer  Tony  Owen.  Direc- 
tor George  Marshall.  Adventure.  Leopard  Men  seek 
to  keep  Africa  free  of  white  men. 

CHA-CHA-CHA  BOOM  Perez  Prado,  Helen  Grayson, 
Manny  Lopez.  Producer  Sam  Katzman.  Director  Fred 
Sears.  Musical.  Cavalcade  of  the  mambo.  78  min.  10/15 
FIRE  DOWN  BELOW  CinemaScope,  Technicolor.  Rita 
Hayworth,  Robert  Mitchum,  Jack  Lemmon.  A  War- 
wick Production.  Director  Robert  Parrish.  Drama. 
Cargo  on  ship  is  ablaze.  Gravity  of  situation  is  in- 
creased by  highly  explosive  nitrate. 

GARMENT  JUNGLE,  THE  Lee  J.  Cobb,  Kerwin  Mat- 
thews. Richard  Boone.  Producer  Harry  Kleiner.  Di- 
rector Robert  Aldrich.  Drama. 

KILLER  APE  Johnny  Weissmuller.  Carol  Thurston.  Pro- 
ducer Sam  Katzman.  Director  Spencer  G.  Bennett.  Ad- 
venture drama.  The  story  of  a  giant  half-ape,  half-man 
beast  who  goes  on  a  killing  rampage  until  destroyed 
by  Jungle  Jim.  68  min. 

MOST  WANTED  WOMAN,  THE  Victor  Mature,  Anita 
Ekberg,  Trevor  Howard.  A  Warwick  Production.  Di-| 
rector  John  Gilling. 

PAPA,  MAMA.  THE  MAID  AND  I  Robert  Lamoureux, 
Gaby  Morlay,  Nicole  Courcel.  Director  Jean-Paul  Le 
Chanois.  Comedy.  The  lives  of  a  typically  Parisian 
family.  94  min.  9/17. 

SHADOW  ON  THE  WINDOW.  THE  Betsy  Garrett,  Phil; 
Carey,  Corey  Allen.  Producer  Jonie  Tapia.  Director 
William  Asher.  Melodrama.  Seven-year  old  boy  is  the' 
only  witness  to  a  murder. 

SIERRA  STRANGER  Howard  Duff,  Gloria  McGhee.  Pro 
ducer  David  Yokozeki.    Director  Lee  Sholem.  Western 

STRANGE  ONE,  THE  Ben  Gazzara,  James  Olsen,  Georgi 
Peppard.  Producer  Sam  Spiegel.  Director  James  Gar 
fein.  Drama.  Cadet  at  military  school  frames  com 
mander  and  his  son. 

SUICIDE  MISSION  Leif  Larson,  Michael  Aldridge,  Atl. 
Larsen.  A  North  Seas  Film  Production.  Adventure.  Nor 
wegian  fishermen  smash  German  blockade  in  Word 
War  II.  70  min. 

TALL  RIDER,  THE  Randolph  Scott,  Richard  Boone 
Maureen  Sullivan.  A  Scott-Brown  Production.  Directo1 
Budd  Boetticher.  Western.  A  quiet  cowboy  battles  t 
be  independent. 

27TH  DAY,  THE  Gene  Barry,  Valerie  French.  Produce, 
Helen  Ainsworth.  Director  William  Asher.  Science 
fiction.  People  from  outer  space  plot  to  destroy  a  I 
human  life  on  the  earth. 

UTAH  BLAINE  Rory  Calhoun.  Susan  Cummings,  Angel 
Stevens.  Producer  Sam  Katzman.  Director  Fred  Sear 
Western.  Two  men  join  hands  because  they  see  in  eac  I 
other  a  way  to  have  revenge  on  their  enemies. 

YOUNG  DON'T  CRY.  THE  Sal  Mineo,  James  Whitmon  ; 
Producer  P.  Waxman.  Director  Alfred  Werker.  Dram. 
Life  in  a  southern  orphanage. 


INDEPENDENTS 


September 

FLESH  AND  THE  SPUR  ( American-International  I  Path 
color.  John  Agar,  Maria  English.  Producer  Alex  Gc 
don.  Director  Edward  Cahn.  Western.  Two  gunnr 
search  for  the  killer  of  their  brother. 


B  U  L  L  E  T  I  N  —  T  H  I  S     IS     YOUR  PRODUCT 


NAKED  PARADISE  I  American- International)  Pathecolcr. 
John  Ireland,  Beverly  Garland.  Producer-director 
Roger  Corman.  Adventure.  A  young  American  saves 
a  girl  from  disaster  in  a  pagan  paradise. 

PRIVATES  PROGRESS  IDCAI  Richard  Attenbrough, 
Dennis  Price.  A  Boulting  Bros.  Production.  Comedy.  A 
young  Britisher  romps  through  Army  life.  96  min. 

SECRETS  OF  THE  REEF  (Continental)  Tri-Art  Color. 
A  Butterfield  and  Wolf  Production.  A  sea  documentary 
of  an  ancient  Florida  coral  reef.  72  mm.  9/17. 

SHIP  THAT  DIED  OF  SHAME.  THE  I  Continental  I .  Rich- 
ard Attenborouah,  George  Baker.  A  Rank  Organization 
Production.  Melodrama.  A  reconverted  gun-boat  rebels 
against  her  smuggler  crew.  91  min.  9/17." 

WELCOME  MISTER  MARSHALL  (Screen  Art)  Lolita 
Sevilla,  Manolo  Moran.  Director  Luis  Berlanga.  Pro- 
ducer Uninci.  Comedy.  A  satire  on  the  .'jmed  Marshall 
Plan  that  takes  place  in  a  small  Spanish  town. 


October 


GUNSLINGER  Color  (American-International)  John  Ire- 
land, Beverly  Garland,  Alison  Hayes.  Producer-director 
Roger  Corman.  Western.  A  notorious  gunman  terrorizes 
the  West. 

RIFIFI  .  .  .  MEANS  TROUBLE  (United  Motion  Picture 
Organiiation)  Jean  Servais,  Carl  Mchner.  Director 
Jules  Dassis.  Melodrama.  English  dubbed  story  of 
the  French  underworld.  120  min.  11/12. 

SWAMP  WOMEN  (Woolner)  Color.  Carole  Mathews, 
Beverly  Garland,  Touch  Connors.  Producer-director 
Roger  Corman.  Adventure.  Wild  women  in  the  Louisiana 


November 


MARCELINO  (United  Motion  Picture  Organization) 
Pabilto  Calvo,  Rafael  Rivelles.  Director  Ladislao 
Vadja.  Drama.  Franciscan  monks  find  aoandoned  baby 
and  adopt  him.  90  min.  11/12. 

SECRETS  OF  LIFE  (Buena  Vista).  Latest  in  Walt  Dis- 
ney's true-life  scenes.  75  min.  10/29. 

SHAKE,  RATTLE  AND  ROCK  I  American-International) 
Lisa  Gaye.  Touch  Conners.  Producer  James  Nicholson. 
Director  Edward  Cahn.  Musical.  A  story  of  "rock  and 
roll"  music. 

WEE  GORDIE  (George  K.  Arthur)  Bill  Travers,  Elastair 
Sim,  Norah  Gorsen.  Producer  Sidney  Gilliat.  Director 
Frank  Launder.  Comedy.  A  frail  lad  grows  to  giant 
stature  and  wins  the  Olympic  hammer-throwinq  cham- 
pionship. 94  min.  11/12. 

WESTWARD  HO,  THE  WAGONS  (Buena  Vista)  Cine- 
maScope, Technicolor.  Fess  Parker,  Kathleen  Crowley. 
A  Walt  Disney  Production.  Adventure. 

December 

BABY  AND  THE  BATTLESHIP.  THE  (DCA)  Richard 
;  Attenborough,  Lisa  Gastoni.  Producer  Anthony  Darn- 
borough.  Director  Jay  Lewis.  Comedy.  Baby  is 
smuggled    aboard    a    British    battleship    during  mock 

i  BED  OF  GRASS  (Trans-Lux)  Anna  Brazzou.  Made  in 
I  Greece.  English  titles.  Drama.  A  beautiful  girl  is  per- 
secuted by  her  villiage  for  having  lost  her  virtue  as 
the  victim  of  a  rapist. 


LA  SORCIERE  [Ellis  Films)  Marina  Vlady,  Nicole 
Courel.  Director  Andre  Michel.  Drama.  A  young  French 

■engineer  meets   untamed  forest  maiden  while  working 
n  Sweden.  French  dialogue,  English  subtitles. 
ROCK,    ROCK,    ROCK     IDCAI.    Alan    Freed,  LaVern 
Baker,  Frankie  Lyman.  A  Vanguard  Production.  Musical 

[panorama  of  rock  and  roll. 
[WO   LOVES   HAVE   I    (Jacon)    Technicolor.  Gabriele 
-erzetti,  Marta  Toren.  A  Rizzoli  Ffim.  Director  Carmine 
Sallone.  Drama.  Life  of  Puccini  with  exerpts  from  his 

pest  known  operas. 


January 


3ULLFIGHT  IJanus).  French  made  documentary  offers 
ustory  and  performance  of  the  famous  sport.  Produced 
hnd  directed  by  Pierre  Braunberger.  74  min.  11/24. 
rITTELONI  (API-Janusl.  Franco  Interlenghi  Leonora 
-abrizi.  Producer  Mario  de  Vecehi.  Director  F.  Fel- 
ini.  Comedy.  Story  of  unemployed  young  men  in  Italy. 
103  min.  11/24. 

Nc  ARE  ALL  MURDERERS  IKingsley  International) 
(vlarcel  Mouloudji,  Raymond  Pellegrin.  Director  Andre 
Sayette.  Drama. 

February 

JOCK  ALL  NIGHT  I  American-International)  Dick 
|vliller,  Abby  Dalton,  Russel  Johnson.  Producer-director 
Itoger  Corman.    Rock  n'  roll  musical. 

Coming 

:iTY  OF  WOMEN  (Associated)  Osa  Massen  Robert 
Mutton.  Maria  Palmer.  Producer-director  Boris  Perroff. 

Jrama.  From  a  novel  by  Stephen  Longstreet. 

F  ALL  THE  GUYS  IN  THE  WORLD  .  .  .  (Buena  Vistal 
|Vndre   Valmy,    Jean   Gaven.    Director  Christian-Jaque. 

)rama.  Radio  "hams",  thousands  of  miles  apart,  pool 

heir  efforts  to  rescue  a  stricken  fishing  boat. 

T  CONQUERED  THE  WORLD  (American  International) 
I  eter     Graves,     Beverly     Garland.  Producer-director 

•  oger  Corman.  Science-fiction.  A  monster  from  outer 

pace  takes  control  of  the  world  until  a  scientist  gives 
:  is  life  to  save  humanity. 

;OST  CONTINENT  IIFE)  CinemaScope,  Ferranicolor. 
roducer-director  Leonardo  Bonzi.  An  excursion  into  the 
'ilds  of  Borneo  and  the  Maylayan  Archepeiago.  Eng- 
ish  commentary.  86  min. 


NEAPOLITAN  CAROUSEL  IIFE)  ILuxFilm.  Romel  Pathe- 
coior.  Print  by  Technicolor.  Sophia  Lortn,  Leonioe 
Massint.  Director  Ettore  Giannini.  Mvsical.  The  history 
of  Naples  traced  from  1600  to  date  in  song  and  oance 
OKLAHOMA  WOMAN  (American  Releasing  Corp. ) 
Superscope.  Richard  Denning,  Peggie  Castle.  Cathy 
Downs.  Producer-director  Roger  Corman.  Western.  A 
ruthless  woman  rules  the  badlands  lint"  a  reformed 
outlaw  brings  her  to  justice.  SO  min. 

REMEMBER,  MY  LOVE  I  Artists- Producers  Assoc.!  Cine- 
maScope. Technicclor.  Michael  Redgrave,  Mel  Ferrer. 
Anthony  Quale.  Musical  drama.  Producer-director 
Michael  Powell.  Emeric  Pressburger.  Based  on  Strauss' 
"Die  Fledermaus". 

RUNAWAY  DAUGHTERS  I  American-International  I 
Maria  English.  Anna  Sten.  Producer  Alex  Gordon.  Di- 
rector Edward  Cahn.  Drama.  A  study  of  modern  teen- 
age problems. 

SMOLDERING  SEA.  THE  Superscope.  Producer  Hal  E. 
Chester.  Drama.  Conflict  between  the  tyrannical  cao- 
tain  and  crew  of  an  American  merchant  ship  reacnes 
its  climax  during  battle  of  Guadalcanal. 
UNDEAD,  THE  (American-International)  Pamela  Dun- 
can, Altlton  Hayes.  Producer-director  Roger  Corman. 
Science-fiction. 

WEAPON.  THE  Superscope.   Nicole  Maurey.  Producer 


involving 


Hal  E.  Chester.  Drama.  An  unsolved 
a  bitter  U.  S.  war  veteran,  a  Germah  war  bride  ana 
killer  is  resolved  after  a  child  finds  a  loaded  gun  in 
bomb  rubble 

WOMAN  OF  ROME  iDCA)  Gina  Lollobrigida,  Daniel 
Gelin.  A  Ponti-DeLaurentiis  Production.  Director  Luigi 
Zampa.  Drama.  Adapted  from  the  Alberto  Moravia 
novel. 


METRO -GO  LDWYN -MAYER 


September 


LUST  FOR  LIFE  Eastman  Color,  CinemaScope.  Kirk 
Douglas,  Anthony  Quinn,  James  Donald,  Pamela  Brown. 
Producer  John  Houseman.  Director  Vincente  Minnelli. 
Film  dramatization  of  the  life  and  works  of  the  famous 
artist,  Vincent  Van  Gogh.  122  min.  9/17. 

TEA  AND  SYMPATHY  Eastman  Color,  CinemaScope  55. 
Deborah  Kerr,  John  Kerr.  Producer  Pandro  Berman. 
Director  Vincente  Minnelli.  Drama.  Wife  of  housemaster 
at  New  England  school  gets  involved  with  young  boy. 
122  min.  10/1. 


October 


JULIE  Doris  Day,  Louis  Jourdain.  Producer  Marty 
Melcher.  Director  Andrew  Stone.  Drama.  Jealous  hus- 
band plans  to  kill  wife.  99  min.  10/15. 

OPPOSITE  SEX.  THE  CinemaScope,  Eastman  Color. 
June  Alyyson,  Joan  Collins,  Dolores  Gray.  Producer 
Joe  Pasternak.  Director  David  Miller.  Comedy.  The 
perfect  wife  is  unaware  of  flaws  in  her  marriage  until 
a  gossip  friend  broadcasts  the  news.  116  min.  10/1- 

POWER  AND  THE  PRIZE  CinemaScope.  Robert  Taylor, 
Burl  Ives,  Elisabeth  Mueller.  Director  Henry  Koster. 
Producer  Nicholas  Nayfak.  Drama.  Tale  of  big  business 
and  international  romance.  98  min.  9/17. 

November 

IRON  PETTICOAT,  THE  Katherine  Hepburn,  Bob  Hope. 
Producer  Betty  Box.  Director  Ralph  Thomas.  Comedy. 
Russian  lady  aviatrix  meets  fast  talking  American. 
96  min. 

December 

GREAT  AMERICAN  PASTIME.  THE  Tom  Ewell.  Ann 
Francis,  Ann  Miller.  Producer  Henry  Berman.  Director 
Nat  Benchley.  Comedy.  Romantic  antics  with  a  Little 
League  baseball  background.  89  min. 

TEAHOUSE  OF  THE  AUGUST  MOON.  THE  Cinema- 
Scope. Eastman  Color.  Marlon  Brando.  Glenn  Ford, 
Eddie  Albert.  Producer  Jack  Cummings.  Director  Daniel 
Mann.  Cemedy.  Filmization  of  the  Broadway  play. 
123  min.  10/29. 


January 


ACTION  OF  THE  TIGER  CinemaScope,  Color.  Van 
Johnson,  Martine  Carol,  Gustave  Rojo.  A  Claridge 
Production.  Drama. 

EDGE  OF  THE  CITY  John  Cassavetes,  Sidney  Poitier. 
Producer  David  Susskind.  Director  Martin  Ritt.  Drama. 
A  man  finds  confidence  in  the  future  by  believing 
in  himself. 

SLANDER  Van  Johnson,  Ann  Blyth,  Steve  Cochran. 
Producer  Armand  Deutsch.  Director  Roy  Rowland. 
Drama.  Story  of  a  scandal  magazine  publisher  and 
his  victims.    81  min. 


Coming 


BARRETS  OF  WIMPOLE  STREET,  THE  CinemaScope, 
Eastman  Color.  Jennifer  Jones,  Sir  John  Gielgud,  Bill 
Travers.  Producer  Sam  Zimbalist.  Director  Sidney 
Franklin.  Drama. 

DESIGNING  WOMAN  Gregory  Peck.  Lauren  Bacall, 
Dolores  Gray.  Producer  Dore  Schary.  Director  Vincente 
Minnelli. 

HAPPY  ROAD.  THE  Gene  Kelly,  Michael  Redgrave, 
Barbara  Laage.  A  Kerry  Production.  Directors,  Gene 
Kelly,  Noel  Coward.  Drama.  Two  children  run  away 
from  boarding  hchool  to  find  their  respective  parents. 
HARVEST  THUNDER  Pier  Angeli,  Mel  Ferrer,  Leif 
Erickson.  Producer  Edwin  Knoph.  Director  Jeffrey  Hay- 
den.  Drama. 

RAINTREE  COUNTY  Eastman  Color,  CinemaScope  55. 
Elizabeth  Taylor,  Montgomery  CI  if  t.  Producer  David 
Lewis.  Director  Edward  Dymtryke.  Drama.  Life  in  Indi- 
ana during  the  middle  I800's. 


JANUARY  SUMMARY 

The  new  year  gets  off  to  a  nice  start 
with  30  features  scheduled  for  release 
during  January.  RKO  will  be  the  leading 
supplier  wth  five  films,  while  Columbia 
and  United  Artists  will  release  four  each. 
20th,  Metro  and  the  Independents  will  re- 
lease three  each;  Allied  Artists.  Republic 
and  Universal,  two  each.  Paramount  and 
Warners  will  each  place  one  feature  on 
the  agenda.  18  of  the  releases  will  be 
dramas.  Seven  January  films  will  be  in 
color. 


17  Dramas 
4  Westerns 
1  Melodrama 


5  Comedies 

2  Musicals 

1  Documentary 


LIVING  IDOL,  THE  CinemaScope.  Eastman  Color 
Steve  Forrest,  Lilliane  Montevecchi.  Producer-director 
Al  Lewin.  Drama.  An  archeologist  is  faced  with  an  un- 
worldly situation  that  threatens  the  safety  of  his 
adopted  daughter.  98  min. 

SOMETHING  OF  VALUE  Rock  Hudson,  Dana  Wynter, 
Wendy  Htller.  Producer  Pandro  Berman.  Director 
Richard  Brooks.  Drama. 

TEN  THOUSAND  BEDROOMS  CinemaScope,  Techni- 
color. Dean  Martin,  Anna  Maria  Alberqhetti.  Producer 
Joseph  Pasternack.  Director  Richard  Thorpe.  Musical. 
WING5  Of-  THE  EAGLES,  THE  John  Wayne,  Dan 
Dailey,  Maureen  O'Hara.  Producer  Charles  Schnee. 
Director  John  Ford.  Drama. 


September 

VAGABOND  KING,  THE  VistaVision,  Technicolor.  Katn- 
ryn  Grayson,  Oreste,  Rita  Moreno.  Producer  Pat  Dug- 
gan.  Director  Michael  Curtiz.  Musical  drama.  Vagabond 
band  helps  French  Kina  rout  nooles  who  would  over- 
throw him.  88  min.  9/17. 

October 

SEARCH  FOR  ERIDEY  MURPHY,  THE  Louis  Hayward, 
Teresa  Wright.  Producer  Pat  Duggan.  Director  Noel 
Langley.  Drama.  Tne  famous  book  by  Morey  Bernstein 
on  film.  84  min. 

November 

MOUNTAIN.  THE  VistaVision,  Technicolor.  Spencer 
Tracy,  Bob  Wagner,  Claire  Trevor.  Producer-director 
Edward  Dmytryk.  Adventure.  Two  brothers  climb  to  a 
distant  snowcapped  peak  where  an  airplane  has 
crashed  to  discover  a  critically  injured  woman  in  the 
wreckage.  105.  10/15. 

December 

HOLLYWOOD  OR  BUST  VistaVision,  Technicolor.  Dean 
Martin,  Jerry  Lewis,  Anita  Ekberg.  Producer  Hal  Wal- 
lis.  Director  Frank  Tashlin.  Comedy.  The  adventures  of 
a  wild-eyed  film  fan  who  knows  everything  about  the 
movies.  95  min.  12/10. 

WAR  AND  PEACE  VistaVisic-i  Technicolor.  Audrey 
Hepburn,  Henry  Fonda,  Mel  Ferrer.  Producers  Carle 
Ponti.  Dino  de  Laurentiis.  Director  King  Vidor.  Dram* 
Based  on  Tolstoy's  novel.  208  min.  9/3. 


January 


THREE  VIOLENT  PEOPLE  VistaVision,  Technicolor. 
Charlton  Heston,  Anne  Baxter,  Gilbert  Roland.  Pro- 
ducer Hugh  Brown.  Director  Rudy  Mate.  Western.  Story 
of  returning  Confederate  war  veterans  in  Texas. 
100  min. 


February 


RAINMAKER,  THE  VistaVision,  Technicolor.  Burt  Lan- 
caster, Katherine  Hepburn,  Wendell  Corey.  Producer 
Hal  Wallis.  Director  Joseph  Anthony.  Comedy  drama. 
Filmization  of  the  famous  B'way  play.   121  min.  12/24. 


March 


FEAR  STRIKES  OUT  Anthony  Perkins,  Karl  Maiden 
Norma  Moore.  Producer  Alan  Pakula.  Director  Perry 
Wilson.   Drama.   Story  of  ttie   Boston   baseball  player. 


Coming 


BEAU  JAMES  VistaVision,  Technicolor.  Bob  Hope.  Pro- 
ducer Jack  Rose.  Director  Michael  Moore.  Drama. 
Biography  of  the  famous  Jimmy  Walker,  mayor  of  N  Y. 
from  1925  to  1932. 

BUSTER  KEATON  STORY,  THE  VistaVision,  Technicolor. 
Donald  O'Connor,  Ann  Blyth,  Rhonda  Fleming.  Pro- 
ducers Robert  Smith,  Sidney  Sheldon.  Director  Sidney 
Sheldon.  Drama. 

DELICATE  DELINQUENT,  THE  Jerry  Lewis,  Darren  Mc- 
Gavin,  Martha  Hyer.  Producer  Jerry  Lewis.  Director 
Don  McGuire. 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


FLAMENECA  VistaVision,  Technicolor.  Carmen  SevlUa, 
Richard  Kiley.  Producer  Bruce  Odium.  Director  Don- 
ald Siegel. 

FUNNY  FACE  VistaVision,  Technicolor.  Audrey  Hep- 
burn, Fred  Astaire,  Kay  Thompson.  Producer  Roger 
Edens.  Director  Stanley  Donen.  Musical. 
GU NFIGHT  AT  O.K.  CORRAL  VistaVision,  Technicolor. 
Burt  Lancaster,  Kirk  Douglas,  Rhonda  Fleming.  Pro- 
ducer Hal  Wallis.  Director  John  Sturges.  Western. 
Drunken  badman  hunts  for  murderer  of  his  cheating 
brother. 

LONELY  MAN,  THE  VistaVision,  Technicolor.  Jack  Pa- 
lance,  Anthony  Perkins,  Elaine  Aiken.  Producer  Pat 
Duggan.  Director  Henry  Levin.  Western.  A  gunfighter 
finds  he  Is  losing  his  sight — and  his  aim. 
OMAR  KHAYYAM  VistaVision,  Technicolor.  Cornel 
Wilde,  Michael  Rennie,  Debra  Paget.  Producer  Frank 
Freeman,  Jr.  Director  William  Dieterle.  Adventure. 
The  life  and  times  of  medieval  Persia's  literary  idol. 
TEN  COMMANDMENTS,  THE  VistaVision  Technicolor 
Charlton  Meston  yul  Brynner,  Anne  Bax'e-  °roduc»r- 
dir*r«o'  Cecil  9  DeMille  Reliaious  drama  Life  srorv 
of  Moses  as  told  in  the  Bible  and  Koran.  219  min.  10/15 
TIN  STAR.  THE  VistaVision.  Henry  Fonda,  Anthony 
Perkins.  A  Perlberg-Seaton  Production.  Director  An- 
thony Mann.  Western. 


REPUBLIC 


September 

DANIEL  BOONE.  TRAILELA2ER  Trucolor.  Bruce  Ben- 
nett, Lon  Chaney,  Faron  Young.  An  Albert  Gannaway 
Production.  Adventure.  Daniel  Boone  and  a  group  of 
settlers  fight  off  savage  Indians  to  establish  Kentucky 
settlement.  74  min. 

MAN  IS  ARMED,  THE  Dane  Clark,  William  Tallman, 
May  Wyn.i,  Robert  Horton.  Director  Franklin  Adreon. 
Melodrama.  A  half-million  dollar  holdup  of  an 
armored  transport  comoany's  headquarters  creates  an 
avalanche  of  violence.  70  min. 

October 

SCANDAL  INCORPORATED  Robert  Hutton,  Paul  Rich- 
ards, Patricia  Wright.  A  C.M.B.  Production.  Director 
Edward  Mann.  Drama.  Expose  of  scandal  magazines 
preying  on  movie  stars  and  other  celebrities.  79  min. 

November 

A  WOMAN'S  DEVOTION  Trucolor.  Ralph  Meeker, 
Janice  Rule,  Paul  Henreid.  Producer  John  Bash.  Direc- 
tor Paul  Henreid.  Drama.  Recurrence  of  Gl's  battle- 
shock  illness  makes  him  murder  two  girls.  88  min.  12/10 
CONGRESS  DANCES.  THE  CinemaScope.  Trucolor. 
Johanna  Mati,  Rudojf  Prack.  A  Cosmos-Neusser  Pro- 
duction. Drama.  Intrigue  and  mystery  in  Vienna  during 
the  time  of  Prince  Metternich. 

TEARS  FOR  SIMON  Eastman  Color.  David  Farrar, 
David  Knight,  Julia  Arnall.  A  J.  Arthur  Rank  Produc- 
tion. Drama.  Young  American  couple  living  in  Lon- 
don have  their  child  stolen. 

December 

ACCUSED  OF  MURDER  Trucolor.  David  Brian,  Vera 
Ralston.  Melodrama.  Associate  producer-director 
Joseph  Kane.  Drama.  Two-timing  gangland  lawyer  is 
murdered  by  attractive  girl  singer. 

IN  OLD  VIENNA  Trucolor.  Heinz  Roettinger,  Robert 
Killick.  Producer-director  James  A.  Fitzpatrick.  Musi- 
cal. Romances  and  triumphs  of  Franz  Shubert,  Johann 
Strauss,  Ludwig  Beethoven  in  the  city  of  music,  Vienna. 

January 

ABOVE  UP  THE  WAVES  John  Mills,  John  Gregson, 
Donald  Sinden.  Producer  W.  MacQuitty.  Director  Ralph 
Thomas.  Drama.  Midget  submariners  attempt  to  sink 
German  battleship  in  WWII. 

AFFAIR  IN  RENO  Naturama.  John  Lund,  Doris  Single- 
ton. Producer  Sidney  Picker.  Director  R.  G.  Spring- 
stein.  Drama.  Young  heiress  falls  for  fortune-hunting 
gambler. 

Coming 

DUEL  AT  APACHE  WELLS  Naturama,  Trucolor.  Anna 
Maria  Alberghetti,  Ben  Cooper.  Associate  producer- 
director  Joseph  Kane.  Western.  Son  returns  home  to 
find  father's  ranch  threatened  by  rustler-turned-rancher. 
HELL'S  CROSSROADS  Naturama.  Stephen  McNally, 
Peggie  Castle,  Robert  Vauhgn.  Producer  Rudy  Ral- 
ston. Director  Franklin  Adreon.  Western.  Outlaw  cow- 
boy reforms  after  joining  Jesse  James'  gang. 
SPOILERS  OF  THE  FORREST  Vera  Ralston,  R-H  Camer- 
on. Producer-director  Joe  Kane. 


August 

FIRST  TRAVELING  SALESLADY,  THE  CinemaScope, 
Eastman  Color.  Ginger  Rogers,  Barry  Nelson,  Carol 
Channing.  Producer-director  Arthur  Lubin.  Comedy.  A 
lady  salesman  launches  an  innovation  in  corsets — in 
1897.   92  min.  8/20. 

September 

BACK  FROM  ETERNITY  Robert  Ryan,  Anita  Ekberg, 
Rod  Steiger,  Phyllis  Kirk.  Producer-director  John  Far- 
row. Drama.  Three  crew  members  and  seven  passen- 
gers crash  land  in  the  Central  American  jungle.  97  min. 

Film 


BEYOND  A  REASONABLE  DOUBT  Dana  Andrews.  Joan 
Fontaine,  Barbara  Nichois.  Producer  Bert  Friedlob. 
Director  Fritz  Lang.  Drama.  A  writer  attempts  to  prove 
that  an  innocent  man  can  be  convicted  by  circum- 
stantial evidence.  80  min. 

October 

FINGER  OF  GUILT  Richard  Basehart,  Mary  Murphy, 
Constance  Cummings.  Producer-director  Alec  Snowden. 
Drama.  Film  producer  receives  letters  from  a  girl  he 
never  met,  who  insists  they  were  lovers.  84  min.  11/26 

TENSION  AT  TAELE  ROCK  Color.  Richard  Egan, 
Dorothy  Malone,  Cameron  Mitchell.  Producer  Sam 
Weisenthal.  Director  Charles  Warren.  Western.  The 
victory  of  a  town  over  violence.  93  min.  10/29. 

November 

DEATH  OF  A  SCOUNDREL  George  Sanders,  Yvonne 
DeCarlo,  Zsa  Zsa  Gabor.  Producer-director  Charles 
Martin.  Melodrama.  Tale  of  an  international  financial 
wizard.  119  min.  11/12. 

December 

MAN  IN  THE  VAULT  Anita  Ekberg,  Bill  Campbell, 
Karen  Sharpe.  A  Wayne-Fellows  Production.  Director 
Andrew  McLaglen.  Melodrama.  A  young  locksmith  gets 
involved  with  a  group  engaged  in  illegal  activities. 
73  min. 

January 

BRAVE  ONE.  THE  CinemaScope,  Technicolor.  Michel 
Ray,  Fermin  Rivera,  Joy  Lansing  Rudolph  Hoyos.  Pro- 
ducer Frank  I  Maurice  King.  Director  Irving  Rapper. 
Drama.  The  adventures  of  a  young  Mexican  boy  who 
irows  up  with  a  bull  as  his  main  comoanion  and  friend 
and  how  each  protests  the  other.  100  min.  10/15. 

BUNDLE  OF  JOY  CinemaScope,  Eastman  Color.  Debbie 
Reynolds,  Eddie  Fisher,  Adolph  Menjou.  Producer  Ed- 
mund Grainger.  Director  Norman  Taurog.  Comedy. 
Son  of  department  store  magnet  falls  for  salesgirl. 
98  min.  12/24. 

I  MARRIED  A  WOMAN  George  Gobel,  Diana  Dors, 
Adolph  Menjou.  Producer  William  Bloom.  Director  Hal 
Kanter.  Coemdy.  Wife  objects  to  taking  second  place 
to   a    beer   advertising    campaign    with    her  husband. 

PUBLIC  PIGEON  NO.  1  Eastman  Color.  Red  Skelton, 
Vivian  Blaine,  Janet  Blair.  Producer  Harry  Tugend.  Di- 
rector Norman  McLeod.  Comedy.  A  trusting  soul 
tangles  with  slick  con  men  and  outwits  them.  79  min. 

YOUNG  STRANGER,  THE  James  MacArthur,  Kim  Hun- 
ter. Producer  Stuart  Miller.  Director  John  Franken- 
heimer.  Drama.  Son  seeks  to  earn  affection  from  his 
parents. 

February 

SILKEN  AFFAIR.  THE  David  Niven,  Genevieve  Page, 
Ronald  Squire.  Producer  Fred  Feldkamp.  Director  Roy 
Kelling.  Comedy.  An  auditor,  on  a  kindly  impulse, 
alters  the  accounting  records.  96  min. 

THAT  NIGHT  John  Beal,  Augusta  Dabney,  Shepperd 
Strudwick.  Producer  Hiram  Brown.  Director  John 
Newland.  Drama.  A  tragedy  almost  shatters  a  15- 
year-old  marriage. 

March 

RUN  OF  THE  ARROW  Eastman  Color.  Rod  Steiger, 
Sarita  Montiel,  Ralph  Meeker.  Producer-director  Sam 
Fuller.  Adventure.  Young  sharpshooter  joins  Sioux 
Indians  at  close  of  Civil  War. 

Coming 

DAY  THEY  GAVE  BABIES  AWAY,  THE  Eastman  Color. 
Glynis  Johns,  Cameron  Mitchell,  Rex  Thompson.  Pro- 
ducer Sam  Weisenthal.  Director  Allen  Reisner.  Drama. 

ESCAPADE  IN  JAPAN  Color.  Teresa  Wright,  Cameron 
Mitchell,  Jon  Provost,  Roger  Nakagaws.  Producer-direc- 
tor Arthur  Lubin.  Search  for  two  boys  who  start  out 
in  the  wrong  direction  to  find  the  very  people  who 
are  trying  to  find  them. 

GIRL  MOST  LIKELY,  THE  Eastman  Color.  Jane  Powell, 
Cliff  Robertson,  Keith  Andes.  Producer  Stanley  Rublin. 
Director  Mitchell  Leison.  Comedy.  A  girl  is  proposed 
to  by  three  men  on  the  same  day. 

JET  PILOT  Technicolor,  SuperScope.  John  Wayne, 
Janet  Leigh.  Howard  Hughes  Production.  Producer 
Jules  Furth'man  Director  Jo'sef  von  Sterncerg.  Drama. 
119  min. 

LADY  AND  THE  PROWLER,  THE  Color.  Diana  Dors, 
Rod  Steiger,  Marie  Windsor.  Producer-director  John 
Farrow.  Drama.  A  wife  sunningly  plots  the  death  of 
her  husband  who  she  has  betrayed. 

VIOLATORS,  THE  Arthur  O'Connell,  Nancy  Malone. 
Producer  H.  Brown.  Director  John  Newland.  Drama. 
Story  of  a  probation  officer  in  the  New  York  City 
courts. 


20TH  CENTURY-FOX 


September 

BEST  THINGS  IN  LIFE  ARE  FREE,  THE  CinemaScope, 
DeLuxe  Color.  Gordon  MacRae,  Dan  Dailey,  Sheree 
North.  Producer  Henry  Ephron.  Director  Michael 
Curtiz.  Musical.  Musical  biography  of  sor.gwriting  team 
— DeSilva,  Brown  and  Henderson.  104  min.  10/1. 
LAST  WAGON,  THE  CinemaScope,  DeLuxe  Color. 
Richard  Widmark,  Felicia  Farr.  Producer  William 
Hawks.  Director  Delmar  Daves.  Western.  Family  travels 
along  Oregon  trail  against  great  odds.  99  min.  9/3. 


October 

BETWEEN  HEAVEN  AND  HELL  CinemaScope.  De- 
Luxe  Color.  Robert  Wagner,  Terry  Moore.  Producer 
David  Weisbart.  Director  Robert  Fleischer.  War  drama. 
World  War  II  setting  in  he  Pacific.  94  min.  10/29. 
STAGECOACH  TO  FURY  CinemaScope.  horrest  Tucker, 
Mari  Blanchard,  Wally  Ford,  Wright  King.  Producer 
Earle  Lyon.  Director  William  Claxton.  Western.  Mexican 
bandits  hold  up  stage  coach  in  search  for  gold.  76  min. 
TEENAGE  REBEL  CinemaScope.  Ginger  Rogers,  Michael 
Rennie.  Producer  Charles  Brackett.  Director  S.  Engle. 
Comedy.  Mother  and  daughter  find  mutual  respect  and 
devotion.  94  min.  10/29. 

November 

DESPERADOS  ARE  IN  TOWN.  THE  Robert  Arthur,  Rex 
Reason,  Cathy  Nolan.  Producer-director  K.  Neumann. 
Western.  A  teen-age  farm  boy  join  an  outlaw  gang. 
73  min.  11/26. 

LOVE  ME  TENDER  CinemaScope.  Elvis  Presley,  Richard 
Egan,  Debra  Paget.  Producer  D.  Weisbart.  Director  R. 
Webb.  Drama.  Post-civil  war  story  set  in  Kentucky 
locale.  89  min.  I  1/26. 

OKLAHOMA  CinemaScope,  Technicolor.  Gordon  Mac- 
Rae, Gloria  Grahame,  Shirley  Jones.  Producer  A.  Horn- 
blow,  Jr.  Director  Fred  Zinnemann.  Musical.  Filmiza- 
tion  of  the  famed  Broadway  musical.  140  min. 

December 

ANASTASIA  CinemaScope,  DeLuxe  Color.  Ingrid  Berg- 
man, Yul  Brynner,  Helen  Hayes.  Producer  Buddy  Adler. 
Director  A.  Litvak.  Drama.  Filmization  of  famous 
Broadway  play.  105  min.  12/24. 

BLACK  WHIP.  THE  Hugh  Marlowe,  Adele  Mara.  Pro- 
ducer R.  Stabler.  Director  M.  Warren.  Drama.  77  min. 
GIRL   CAN'T   HELP   IT.   THE   CinemaScope,    De  Luxe 
Color.  Tom  Ewell,  Jayne  Mansfield.  Producer-director 
Frank  Tashlin.  Comedy. 

OASIS  CinemaScope,  Color.  Michele  Morgan,  Cornell 
Borchers.  Producer  Ludwig  Waldleitner  and  Gerd  Os- 
wald. Director  Yves  Allgret.  Drama.  Gold  smuggler 
falls  in  love  with  lady  sent  to  kill  him.  Violent  ending. 
WOMEN  OF  PITCAIRN  ISLAND  CinemaScope.  James 
Craig,  John  Smith,  Lynn  Bari.  Regal  Films  Production. 
Director  Jean  Warbrough.  Drama.  72  min. 

January 

GUIET  GUN,  THE  Regalscope.  Forrest  Tucker,  Mara 
Morday.  Western. 

THREE  BRAVE  MEN  CinemaScope.  Ray  Milland,  Ernest 
Borgnine.  Producer  Herbert  Swope,  Jr.  Director  Philip 
Dunne.  Drama. 

THE  TRUE  STORY  OF  JESSIE  JAMES  CinemaScope. 
Robert  Wagner,  Jeffrey  Hunter.  Producer  Herbert 
Swope,  Jr.  Director  Nicholas  Ray.  Western.  The  lives 
and  time  of  America's  famous  outlaw  gang. 

Coming 

BEAUTIFUL  BUT  DANGEROUS  Gina  Lollobrigida.  Vit- 
torio  Gassman.  Producer  Manuella  Malotti.  Director 
Robert  Leonard.  Drama. 

HEAVEN  KNOWS  MR.  ALLISON  CinemaScope  De  Luxe 
Color.  Deborah  Kerr,  Robert  Mitchum.  Producers 
Buddy  Adler,  Eugene  Frenke.  Director  John  Huston. 
Soldier  is  saved  by  nun  in  South  Pacific  during  WWII. 
RESTLESS  BREED,  THE  Eastman  Color.  Scott  Brady, 
Anne  Bancroft.  Producer  E.  A.  Alperson.  Director  Alan 
Dwan. 

SEA  WIFE  CinemaScope,  DeLuxe  Color.  Richard  Bur- 
ton, Joan  Collins.  Producer  Andre  Hakim.  Director  Bob 
McNaught.  Drama.  Ship  is  torpedoed  by  Jay  submarine 
off  Singapore  harbor. 

SMILEY  CinemaScope,  Eastman  Color.  Sir  Ralph  Rich- 
ardson, John  McCallum,  Colin  Peterson.  Producer- 
director  Anthony  Kimmins.  Drama.  Young  Aussie  boy 
has  burning  desire  to  own  bicycle. 

STORM  RIDER.  THE  Scott  Brady,  Mala  Powers.  A 
Bradv-Glasser  production.  Director  Edward  Bernds. 
Western. 


UNITED  ARTISTS 


September 

AMBASSADOR'S  DAUGHTER,  THE  CinemaScope,  Tech- 
nicolor. Olivia  de  Havilland,  John  Forsythe,  Myrna  toy. 
Producer-director  Norman  Krasna.  Romantic  comedy. 
The  affairs  of  a  diolomat's  daughter  and  a  romance- 
hungry  G.  I.    102  min.  8/6. 

BANDIDO  CinemaScope,  DeLuxe  Color.  Robert  Mit- 
chum, Ursula  Thiess,  Gilbert  Roland.  Prodlcer  Robert 
Jacks.  Director  Richard  Fleischer.  Drama.  Gun-runninc 
during  a  revolt  in  Mexico  in  1916.  91  min. 
GUN  BROTHERS  Buster  Crabbe,  Ann  Robinson 
Neville  Brand.  A  Grant  Production.  Director  Sidney 
Salkow.  Drama.  Two  brothers,  each  on  different  side 
of  law,  fight  it  out  together.  79  min.  9/17. 

October 

AROUND  THE  WORLD  IN  80  DAYS  I  Michael  Todo 
Productions'  Todd-AO,  Color.  David  Niven,  Cantiflas 
Martine  Cam:.  Producer  M.  Todd.  Director  Michae 
Anderson.  Adventure.  Filmization  of  the  famous  Jule 
Verne  novel.    175  min.  10/29. 

ATTACK  Jack  Palance,  Eddie  Albert,  Lee  Marvin.  Pro 
ducer-director  Robert  Aldrich.  Drama.  A  cowardl' 
army  officer  and  his  men  during  a  crucial  battle  o 
World  War  II.  107  min.  9/17. 

BOSS.  THE  John  Payne,  Doe  Avedon,  William  Bishop 
Producer  Frank  Seltzer.  Director  Byron  Haskin.  Melo 
drama.  A  city  falls  prey  to  a  corrupt  political  ma 
chine.  89  min.  9/17. 


BULLETIN—  THIS     IS     YOUR  PRODUCT 


UNITED  ARTISTS  (Continu.*) 

FLIGHT  TO  HONG  KONG  Rory  Calhoun.  Dolores  Don- 
Ion.  A  Sabre  Production.  Director  Joe  Newman.  Drama. 
An  airline  flight  to  Hong  Kong  sparks  international 
intrigue.  88  min.  10/15. 

MAN  FROM  DEL  RIO  Anthony  Quinn,  Katy  Jurado. 
Producer  Robert  Jacks.  Director  Harry  Horner.  West- 
ern. Badman  turns  sheriff  in  lonely  town.  82  min.  10/15 

November 

GUN  THE  MAN  DOWN  James  Arness.  Angle  Dickin- 
son, Robert  Wilke.  Producer  Robert  Morrison.  Director 
A.  V.  McLaglen.  Western.  Young  western  gunman  gets 
revenge  on  fellow  thieves  who  desert  him  when 
wounded.  78  min. 

PEACEMAKER.  THE  James  Mitchell,  Rosemarie  Bowe, 
Jan  Merlin.  Producer  Hal  Makelim.  Director  Ted  Post. 
Western.  A  clergyman  trys  to  end  feud  between  cattle- 
men and  farmers.  82  min.  11/26. 

REVOLT  AT  FORT  LARAMIE  DeLuxe  Color.  John 
Dehner,  Diana  Brewster.  Producer  Howard  Koch.  Di- 
rector Lesley  Selander.  Western.  Civil  War  story  of 
soldiers  who  are  attacked  by  Indians.  73  min. 

RUNNING  TARGET  Deluxe  Color.  Doris  Dowling, 
Arthur  Franz,  Richard  Reeves.  Producer  Jack  Couffer. 
Director  Marvin  Weinstein.  Melodrama.  Escaped  fugi- 
tives are  chased  by  local  townspeople  and  officer  of 
the  law.  83  min.  11/12. 

SHARKFIGHTERS,  THE  CinemaScooe,  Color.  Victor 
Mature,  Karen  Steele.  Producer  Samuel  Goldwyn,  Jr. 
Director  Jerry  Hopper.  Drama.  Saga  of  the  Navy's 
"underwater-men".  73  min.  10/29. 

December 

BRASS  LEGEND,  THE  Hugh  O'Brian,  Raymond  Burr, 
Nancy  Gates.  Western.  Producer  Bob  Goldstein.  Di- 
rector Gerd  Oswald.  Western.  7?  min. 
DANCE  WITH  ME  HENRY  Bud  Abbott,  Lou  Costello. 
Producer  Robert  Goldstein,  Director  Charles  Barton. 
Comedy.  7?  min.  12/24. 

KING  AND  FOUR  OUEENS,  THE  CinemaScope  Color. 
Clark  Sable,  Eleanor  Parker,  Jo  Van  Fleet,  Jean  Willis, 
Barbara  Nichols,  Sara  Shane.  Producer  David  Hemp- 
stead. Director  Raoul  Walsh.  Western.  86  min. 
WILD  PARTY,  THE  Anthony  Quinn,  Carol  Ohmart,  Paul 
Stewart.  Producer  Sidney  Harmon.  Director  Harry 
Horner.  Drama.  Hoodlum  mob  take  over  a  Naval  offi- 
cer and  his  fiancee.  81  min.  12/10 

January 

BIG  EOODLE,  THE  Errol  Flynn,  Rossana  Rory.  A  Lewis 
F.  Blumberg  Production.  Drama. 

FIVE  STEPS  TO  DANGER  Ruth  Roman,  Sterling  Hayden. 
A  Grand  Production.  Director  Henry  Kesler.  Drama. 
A  woman  tries  to  give  FBI  highly  secret  material  stolen 
from  Russians. 

HALLIDAY  BRAND,  THE  Joseph  Cotten,  Viveca  Lind- 
fors.  Betsy  Blair.  Producer  Collier  Young.  Director 
[Joseph  Lewis.  Western.  Inter-family  feud  threatens 
Father  and  son  with  disaster.  77  min. 

MONTE  CARLO  STORY,  THE  Marlene  Dietrich,  Vittorio 
3e  Sica,  Arthur  O'Connell.  A  Titanus  Production.  Di- 
rector Samuel  Taylor.  Drama.  Widowed  American  mil- 
|  ionaire  seeks  to  marry  beautiful  woman. 

Coming 

BACHELOR  PARTY,  THE  Don  Murray,  E.  G.  Marshall, 
Jack  Warden.  Producer  Harold  Hecht.  Director  Delbert 

IvHann.    From   Hie   famous   television   drama    by  Paddy 

1  Chayeftky. 

3AILOUT  AT  43,000  John  Payne,  Karen  Steele.  A  Pine- 
rhomas  Production.  Director  Francis  Lyon. 
JIG  CAPER,  THE  R«ry  CaJhound,   Mary  Costa.  Pine- 
Twmat  Producfio*.  Wrector  Robert  Stevens. 
:RIME    OF    PASSION     Barbara     Stanwyck,  Sterling 
Hayden,   Raymond  Burr.   Producer  Herman  Cohen.  Di- 
ector  G«rd  Oswald.  Drama.  Newspaper  woman  whose 
imbition  for  her  husband  leads  to  murder. 
iIRL  IN  BLACK  STOCKINGS,  THE  Lex  Barker,  Anne 
lancroft,  Mamie  Van  Doren.  A  Bel-Air  Production.  Di- 
•ctor  Howard  Koch.  Drama.  A  series  of  sex  slayings 
I  erroriie  western  resort. 
HIDDEN   FEAR  John    Payne,    Natalie    Norwick.    A  St. 
^ubrey-Kohn    Production.    Director    Andre    de  Toth. 
)rama. 

HIS  FATHER'S  GUN  Dane  Clark,  Ben  Cooper,  Lori  Nel- 
oa.  Bel  Air  Production.  Director  Lesley  Selander. 
■  ONELY  GUN,  TH£  Anthony  Ouinn,  Kary  Jurado.  Pro- 
lucer  Robert  Jacks.  Director  Harry  Horner. 
AlH  IN  WAR  Robert  Ryan,  Aldo  Ray,  Robert  Keith, 
producer  Sidney  Harmon.  Director  Anthony  Mann. 
MONSTER  THAT  CHALLENGED  THE  WORLD,  THE  Tim 
Holt,  Audrey  Dalton.  A  Gramercy  Production.  Director 
Arnold  Laven.  Science-fiction. 

'HAROAH'S  CURSE  Ziva  Shapir,  Mark  Dana.  Producer 
Howard  Koch.  Director  Lee  Sholem.  Horror.  Repar- 
ation of  mummies. 

'RIDE  AND  THE  PASSION.  THE  VistaVision.  Techni- 
olor.  Cary  Grant,  Frank  Sinatra,  Sophia  Loren.  Pro- 
ucer-dlrector  Stanley  Kramer.  Drama.  A  Spanish 
luernlla  band  marches  an  incredible  distance  with  a 
000  pound  cannon  during  Spanish  War  of  Independ- 
nce  of  1810. 

AVAGE  PRINCESS  Technicolor.  Dilip  Kumar,  Nimmi. 
v  Mehboob  Production.  Musical  Drama.  A  princess 
alls  in  love  with  a  peasant  who  contests  her  right 
o  rule  the  kingdom.  101  min. 

TREET  OF  SINNERS  George  Montgomery,  Geraldine 
rooks.  Producer  William  Berke. 

ROOPER  HOOK  Joel  McCrea.  Barbara  Stanwyck,  Ed- 
;ard  Andrews.  Producer  Sol  Fielding.  Director  Marquis 
Varren. 


12  ANGRY  MEN  Henry  Fonda.  Lee  J,  Cobb,  Jack 
Warden.  An  Orion-Nova  Production.  Director  Sidney 
Lumet.  Drama.  Jury  cannot  agree  on  a  verdict. 

VODOO  ISLAND  Boris  Karloff.  B;verly  Tyler.  A  Bel 
Air   Production.    Director  Reginald   Le   Borg.  Horror. 


U  N I  VERSA  L- 1  NT'  L 


September 

EDGE  OF  HELL  Hugo  Haas,  Francesca  DeScafia,  Ken 
Carlton.  Producer-director  Hugo  Haas.  Drama.  A  for- 
mer actor  becomes  a  professional  beager  with  the 
aid  of  a  trick  dog.  76  min.  7/23. 

I'VE  LIVED  BEFORE  Jock  Mahoney.  Leigh  Snowden, 
Ann  Harding.  Producer  Howard  Christie.  Director  Rich- 
ard Bartlett.  Drama.  Story  of  a  reincarnated  airplane 
pilot.  82  min.  8/6. 

RAW  EDGE  Technicolor.  Rory  Calhoun,  Yvonne  De- 
Carlo,  Mara  Corday.  Producer  Albert  Zubsmirh.  Direc- 
tor John  Sherwood.  Drama.  Fueda'  baron  rules  the 
Oregon  frontier  with  an  iron  hand.  76  min.  9/3. 

WALK  THE  PROUD  LAND  Technicolor.  Audie  Murphy. 
Anne  Bancroft,  Pat  Crowley.  Producer  Aaron  Rosen- 
berg. Director  Jesse  Hibbs.  Drama.  Indian  agent  for 
U.S.  Government  fights  for  human  right;  for  the 
Apache  Indians  in  Arizon.  88  min.  7/23. 

October 

PILLARS  OF  THE  SKY  Technicolor.  Jeff  Chandler, 
Dorothy  Malone,  Ward  Bond.  Producer  Robert  Arthur. 
Director  George  Marshall.  Drama.  The  spirit  of  Religion 
helps  to  settle  war  bewteen  Indians  and  Cavalrymen 
in  the  Oregon  Country.  95  min.  9/3. 

SHOWDOWN  AT  ABILENE  Technicolor.  Jock  Mahoney, 
Martha  Myer,  Lyle  Bettger.  Producer  Howard  Christie. 
Director  Charles  Haas.  Western.  Cowboy  returns  to 
Abilene  after  four  years  in  the  Confederate  Army  to 
find  things  considerably  changed.  80  min.  9/3. 

November 

UNGUARDED  MOMENT,  THE  Technicolor.  Esther  Wil- 
liams, George  Nader.  Producer  Gordon  Kay.  Director 
Harry  Keller.  Drama.  High  school  teacher  is  almost 
criminally  assaulted  by  student.  95  min.  9/3. 

December 

CURCU,  BEAST  OF  THE  AMAZON  Eastman  Color.  John 
Bromfield,  Beverly  Garland.  Producers  Richard  Kay, 
Harry  Rybnick.  Director  Curt  Siodnak.  Horror.  Young 
woman  physician,  plantation  owner  and  his  workers 
are  terrorized  by  mysterious  jungle  beast. 

EVERYTHING  BUT  THE  TRUTH  Technicolor.  Tim  Hovey, 
Maureen  O'Hara,  John  Forsythe.  Producer  Howard 
Christie.  Director  Jerry  Hopper.  Comedy.  Young  stu- 
dent gets  mixed  up  with  "lies".  83  min.  11/12. 

MOLE  PEOPLE,  THE  John  Agar,  Cythia  Patrick.  Pro- 
ducer William  Alland.  Director  Virgil  Vogel.  Horror. 
Scientific  expedition  in  Asia  discover  strange  men. 

January 

FOUR  GIRLS  IN  TOWN  CinemaScope,  Technicolor. 
George  Nader,  Julie  Adams,  Marianne  Cook.  Producer 
A.  Rosenberg.  Director  Jack  Sher.  Drama.  Movie  studio 
promotes  world-wide  talent  hunt  to  find  a  new  star. 
85  min.  12/10 

ROCK,  PRETTY  BABY  Sal  Mineo,  John  Saxon,  Luana 
Patten.  Producer  Edmund  Chevie.  Director  Richard 
Bartlett.  Musical.  Rock  n'  roll  story  of  college  combo. 
89  min.  II/}*. 

WRITTEN  ON  THE  WIND  Technicolor.  Rock  Hudson, 
Lauren  Bacall,  Robert  Stack.  Producer  Albert  Zug- 
smith.  Director  Douglas  Sirk.  Drama.  Oil  tycoon  meets 
violent  death  because  of  Jealousy  for  wife.  99  min.  10/1 

February 

GREAT  MAN,  THE  Jose  Ferrer,  Mona  Freeman,  Dean 
Jagger.  Producer  Aaron  Rosenberg.  Director  Jose  Fer- 
rer. Drama.  The  life  and  death  of  a  famous  television 
idol.  92  min.  11/26. 

ISTANBUL  CinemaScope,  Technicolor.  Errol  Hynn,  Cor- 
nell Borchers.  Producer  Albert  Cohen.  Director  Joseph 
Pevney.  Adventure.  Diamond  smugglers  in  mysterious 
Turkey. 

NIGHT  RUNNER,  THE  Ray  Danton,  Colleen  Miller.  Pro- 
ducer Albert  Cohen.  Director  Abner  Biberman.  Drama. 
Mental  hospital  inmate  is  released  while  still  in  dan- 
gerous condition. 

Coming 

BATTLE  HYMN  Technicolor.  Rock  Hudson,  Martha  Hyer, 
Dan  Duryea.  Producer  Ross  Hunter.  Director  Douglas 
Sirk.  Drama.  Pilot  redeems  sense  of  guilt  because  of 
bombing  of  an  orphanage  by  saving  other  orphans. 
108  min.  12/24. 

GUN  FOR  A  COWARD  Technicolor.  Fred  MacMurray, 
Jeffrey  Hunter,  Janice  Rule.  Producer  William  Alland. 
Director  Abner  Biberman.  Western.  Three  brothers  run 
a  cattle  ranch  after  the  death  of  their  father. 
INTERLUDE  Technicolor,  CinemaScope.  June  Allyson, 
Rossano  Brani.  Producer  Ross  Hunter.  Director  Douglas 
Sirk. 

JOE  BUTTERFLY  CinemaScope,  Technicolor.  Audie 
Murphy,  George  Nader,  Keenan  Wynn.  Producer 
Aaron  Rosenberg.  Director  Jessie  Hibbs. 
KELLY  AND  ME  CinemaScope,  Technicolor.  Van  John- 
son, Piper  Laurie,  Martha  Hyer.  Producer  Robert  Ar- 
thur. Director  Robert  Leonard.  Drama.  Story  of  dog- 
act  in  show  business  in  the  early  I930's. 


MAN  AFRAID  George  Nader.  Tim  Hovey.  Producer 
Gordon  Kay.  Director  Harry  Keller. 

MISTER  CORY  Eastman  Color,  CinemaScope.  Tony 
Curtis,  Martha  Hyer,  Charles  Bickford  Producer 
Robert  Artuhr.  Director  Blake  Edwards.  Gambler  from 
Chicago  slums  climbs  to  wealth  and  respectability. 
TAMMY  CinemaScope.  Technicolor.  Debbie  Reynolds. 
Lslie  Nielson.  Producer  Aaron  Rosenberg  Director  Joe 
Pevney. 

TATTERED  DRESS,  THE  CinemaScope.  Jeff  Chandler, 
Jeannie  Crain,  Jack  Carson.  Producer  Albert  Zugsmith. 
Director  Jack  Arnold. 


WARNED  BROTHERS 


September 

A  CRY  IN  THE  NIGHT  Edmond  0'8rien.  Natalie  Wood, 
Brian  Donlevy.  A  Jaguar  Production.  Director  Frank 
Tyttie.  Drama.  Mentally  unbalanced  man  surprises 
couple  in  Lover's  Lane.  75  min.  8/20. 

AMAZON  TRADER,  THE  WarnerColor.  John  Suttcn. 
Producer  Cedric  Francis.  Director  Tom  McGowan.  Ad- 
venture. Stirring  events  in  the  Amaion  territory  of 
Brazil.   41  min. 

BAD  SEED,  THE  Nancy  Kelly,  Patty  McCormack,  Henry 
Jones.  Produced  and  directed  by  Mervyn  LeRoy.  Dra- 
ma. Film  version  of  the  famous  Broadway  play  aboul 
a  child  murderess.  129  min. 

BURNING  HILLS,  THE  CinemaScooe,  WarnerColor.  Tab 
Hunter.  Natalie  Wood.  Skip  Homeir.  Producer  Rich- 
ard Whorf.  Director  Stuart  Heisler.  Western.  Young 
man  seeks  his  brother's  murderer.   92  min.  8/20. 

October 

TOWARD  THE  UNKNOWN  WarnerColor.  William  Hol- 
den,  Lloyd  Nolan,  Virginia  Leith.  Producer-director 
Mervyn  LeRoy.  Drama.  Test  pilots  experiment  in  jet 
and  rocket  propelled  aircraft  to  probe  outer  space 
and  physical  limits  of  man.  115  min.  I  0 / 1  - 

November 

GIANT  WarnerColor.  Elizabeth  Taylor.  Rock  Hudson. 
James  Dean.  Producer-director  George  Stevens.  Drama. 
Based  on  the  famous  novel  by  Edna  Ferber.  The  story 
of  oil  cattle  and  love  in  the  Southwest  during  WWII. 
201  min.  10/15. 

GIRL  HE  LEFT  BEHIND,  THE  Tab  Hunter,  Natalie 
Wood.  Producer  Frank  Rosenberg.  Director  David 
Butler.  Drama.  Army  turns  immature  boy  into  man. 
103  min.  10/29. 

December 

BABY  DOLL  Karl  Maiden,  Carroll  Baker,  FJi  Wallach. 
A  Newton  Production.  Prooucer-director  Elia  Kazan. 
Drama.  Story  of  •»  gir.-mill  proprietor  and  a  beautiful 
girl.  I  14  min.  12/24. 

January 

WRONG  MAN,  THE  Henry  Fonda,  Vera  Miles,  Anthony 
Ouayles.  Producer-director  Alfred  Hitchcock.  Drama. 
Bass  fiddle  player  at  Stork  Club  is  prime  suspect  in 
murder  case.   105  min. 

Coming 

BIG  LAND,  THE  WarnerColor.  Alan  Ladd.  Virginia 
Mayo.  A  Jaguar  Production.  Director  Gordon  Douglas. 
Western.  Cattlemen  fight  to  move  their  herds  to 
distant  railroads. 

NIGHT  DOES  STRANGE  THINGS,  THE  Technicolor. 
Ingrid  Bergman,  Mel  Ferrer,  Jean  Marais.  A  Franco- 
London  Film.  Director  Jean  Renoir.  Drama.  Tale  of 
the  exiled  widow  of  a  Polish  Prince. 

SPIRIT  OF  ST.  LOUIS,  THE  CinemaScope,  Warner- 
Color James  Stewart,  Rena  Clark.  Producer  Leland 
Hayward.  Director  Billy  Wilder.  Drama.  The  story  of 
the  first  man  ever  to  cross  the  Atlantic  in  a  plane. 


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CONTROL  OF  LOEW  S 

Who  Shall  Make  the  Future  - 
Experienced  Manpower,  or  the 
Board  of  Non-Movie  Directors? 

Read  FINANCIAL  «  VIEWPOINTS 


PROFILE  OF  THE   MOVIE  CUSTOMER 


Patterns  of  Patronage 


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OF  THE  YEAR! 


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FILM  CRITICS 


20th  CENTURY-FOX  presents 


INGRID  BERGMAN 
YULBRYNNER 

helen  hayes 
Anastasia 


AKIM  TAMIROFF 
MARTITA  HUNT 

FELIX  AYLMER  CINEMASCOPE 


COLOR  by  OE  LUXE 


Produced  by  BUDDY  ADL! 
Directed  by  ANATOLE  LITVi 
Screenplay  by  ARTHUR  LAUREN) 


20tKs  Crowning  Achievement...  Available  Now 


Viewpoints 

JANUARY  21,  1957     *  voiumc  »K   no  ? 


VOLUME  25,  NO.  2 


Control 
Of  M^avu?9s 

It  is  difficult  at  this  moment  to 
determine  just  who  was  victorious  in 
the  struggle  for  control  of  Loew's, 
Inc.  Joseph  Tomlinson,  leader  of  the 
dissident  stockholders,  has  folded 
his  proxy  battle  tents,  apparently 
satisfied  with  the  new  slate  of  direc- 
tors to  be  presented  to  the  stock- 
holders. Joseph  Vogel,  president  of 
the  company,  displaying  a  notable 
flair  for  diplomacy,  seems  to  have 
appeased  the  various  groups  of 
stockholders  who  have  been  de- 
manding new  faces  at  the  policy- 
making level.  Now  must  be  resolved 
the  question:  Who  is  to  make 
Loew's  future? 

There  is  no  denying  that  the  nomi- 
nated board  of  directors  assures 
Loew's  of  ample  keen  business 
brains  to  grace  its  corporate  board. 
But,  for  all  its  distinguished  mem- 
bership, this  group  comprises  a  film 
company  board  of  curious  genre. 
With  the  exception  of  Mr.  Vogel  and 
Stanley  Meyer,  none  of  the  other 
eleven  nominees  have  any  known 
experience  in  the  production,  distri- 
bution or  exhibition  of  motion  pic- 
tures. This  is  not  meant  to  insist 
that  only  "old  hands"  at  the  movie 
game  are  qualified  to  govern  the  af- 
fairs of  a  film  company.  To  the  con- 
trary, new  blood  is  essential,  we  be- 
lieve, to  reenergize  this  industry. 
Tzo  many  movie  old-timers  are  liv- 
ing in  that  dream-world  of  the  "good 
old  days",  and  lack  the  zest  for  tackl- 
ing the  necessary  rebuilding  job. 
However,  motion  pictures  are  a 
unique  commodity,  and  their  intrica- 
cies are  not  usually  immediately  ap- 
parent to  those  without  experience 
in  some  phase  of  show  business. 

The  lack  of  a  logical  balance 
between  experience  and  new  blood 
on  the  proposed  Loew  board  of  di- 
rectors will  throw  a  very  heavy 
burden  on  president  Vogel.  If  he  is 
to  have  a  fair  chance  to  restore  to 


the  company  its  proud  tradition,  it 
is  essential  that  the  new  board,  to- 
gether with  Mr.  Tomlinson  and 
other  influential  stockholders, 
promptly,  publicly  confirm  Mr. 
Vogel's  authority  to  do  the  job. 

.  I  Business  ©/ 
Ups  untl  Downs 

Those  in  the  industry  who  are 
tempted  by  periodic  business  dold- 
rums to  look  fearfully  for  the  demise 
of  exhibition  might  do  well  to  take 
note  of  the  recent  statement  by 
Stanley  Warner  president  S.  H. 
Fabian  to  the  company's  stock- 
holders. Uncolored  by  supposition 
and  wishful  thinking,  Mr.  Fabian's 
message  glowed  a  subdued  pink  of 
optimism  based  on  facts. 

Reporting  a  better  than  $3  million 
increase  in  gross  income  for  the 
quarter  ended  last  November,  and  a 
corresponding  net  profit,  Mr.  Fabian 
noted  that  the  release  of  quality  pic- 
tures continued  to  reflect  increased 
boxoffice  receipts.  He  pointed  out 
that  since  the  first  week  in  Novem- 
ber, each  week's  gross  has  topped 
that  of  the  same  periods  in  the  pre- 
vious year,  climaxed  by  the  week 
ended  Jan.  5  ringing  up  the  largest 
single  week  since  the  organization 
of  Stanley  Warner.  It  is  significant 
that  the  increase  was  accomplished 
with  fewer  theatres  than  last  year. 

This  bright  boxoffice  picture  might 
have    moved   more  impressionable 


BULLETIN 


Film    BULLETIN:    Motion    Picture    Trade  Paper 
published  every  other  Monday  by  Wax  Publi- 
cations,   Inc.     Mo  Wax,    Editor  and  Publisher. 
PUBLICATION-EDITORIAL   OFFICES:    1239  Vine 
Street,  Philadelphia  7,  Pa.,  LOcust  8-0950,  0951. 
Philip    R.    Ward,    Associate    Editor-  Leonard 
Coulter,  New  York  Associate  Editor;  Duncan  G. 
Steele,     Business     Manager;     Marvin  Schiller, 
Publication  Manager;  Robert  Heath,  Circulation 
Manager.   BUSINESS  OFFICE:  522  Fifth  Avenue, 
New    York    36,    N.    Y.,    MUrray    Hill  2-3631; 
Alf  Dinhofer,  Editorial  Representative. 
Subscription  Rates:  ONE  YEAR,  $3.00 
in  the  U.  S.;  Canada,  $4.00;  Europe, 
S5.00.     TWO    YEARS:     S5.00    in  the 
U.  S.;  Canada,  $7.50;   Europe,  $9.00. 


theatremen  to  soaring  flights  of 
fancy  as  to  the  future  of  the  movie 
theatre.  Mr.  Fabian,  however,  was 
quitely  realistic.  The  rise,  he 
stressed,  was  "encouraging  but  not 
necessarily  conclusive  as  to  the 
trend  of  future  grosses".  Even  as  he 
spoke,  a  cold  wave  throughout  much 
of  the  country  brought  about  a 
sharp  drop  in  theatre  attendance. 

Certainly  there  will  be  temporary 
setbacks  that  will  give  the  gloom 
mongers  fresh  toeholds.  The 
weather,  always  a  factor,  is  much 
more  so  with  home  television  a  con- 
venient prop  to  fall  back  on  when 
the  elements  are  forbidding.  So  will 
special  events,  sports,  holidays,  and 
all  the  other  perpetual  influences  on 
the  boxoffice — including  poor  pic- 
tures. 

But  with  every  indication  that  the 
quality  of  the  product  which  thea- 
tres will  have  to  offer  will  be  up  to 
par  or  better,  upbeat  attitudes, 
coupled  with  hard  work  and  show- 
manship, are  necessary  to  eke  out 
the  full  potential  of  every  picture. 

Theatremen  everywhere  can  take 
their  cue  from  Mr.  Fabian's  balanced 
thinking.  Ours  is  a  business  of  ups 
and  downs,  more  sensitive  to  vari- 
ables than  the  average  commercial 
enterprise.  We  must  not  let  the 
"ups"  make  us  complacent  nor  the 
"downs"  despairing.  Let's  just  take 
for  granted  that  theatre  business  is 
here  to  stay — and  concentrate  on 
making  the  most  of  every  oppor- 
tunity to  better  it. 


xlfl  Aiiti'rivtttt 
Suw€*ss  Story 

1951,  $18  million;  1952,  $28  mil- 
lion; 1953,  $36  million;  1954,  $44 
million;  1955,  $55  million,  and  in 
1956,  an  all-time  record  high  of  $65,- 
300,000:  These  gross  income  figures 
tell  the  phenomenal  story  of  United 
Artists'  growth  under  the  executive 
(Continued  on  Page  5) 


Film  BULLETIN    January  21,   1957        Page  3 


Just  what  the 
Public  wants! 


A  GREAT 

LOVE 
STORY! 


"Powerful  love  story.  Strong,  popular 

attraction."  —Hollywood  Reporter 

Just  selected  "Picture  of  the  Month." 

—Seventeen  Magazine  (for  millions  of  teen-agers!)  ^ 


M-G-M 


presents 


in  CINEMASCOPE  and  METROCOLOR 


Jennifer  Jones, 
'"Many  Splenclon, 
star,  more  romam. 
than  ever! 


JENNIFER  JONES 
JOHN  GIELGUD 

BILL  TRAVERS  ■  VIRGINIA  McKENNA , 

THE  BARRETTS  OF  WIMPOLE  STREET 

Screen  Play  by  JOHN  DIGHTON  •  Frudolf  besIer"  •  Directed  by  SIDNEY  FRANKLIN     Produced  by  SAM  ZIMBALIST 

(Available  in  Magnetic  Stereophonic,  Perspecta  Stereophonic  or  1-Channel  Sound) 


BOX-OFFICE  LINES:  Elopement  was  the  only  way  out!  Rescued  from  her  "prison"  home,  to  know  lovt 
for  the  first  time!  »"Oh,  Robert,  do  you  know  what  you've  done  for  me?  I  wanted  to  live  eagerly,  desperately 
passionately.  Oh,  and  so  much  more  than  that!" — Elizabeth.  •  "Dear  Elizabeth:  I  shall  love  you  to  the  end  —  anc 
beyond." — Robert.  •  Unkissed — wanting  love,  needing  love,  denied  love — she  dared  give  her  heart  to  a  handsomt 
stranger  at  first  meeting!  •  A  famous  literary  love  story!  A  hit  Broadway  play!  Now — a  magnificent  new  film 


IKO-U  DEAL  SET.  Only  final  details  of  the  deal  where- 
y  RKO  product  will  be  turned  over  to  Universal  for  dis- 
ribution  remained  to  be  ironed  out  late  last  week.  Tom 
VNeil's  representatives  and  U-I  executives  were  sched- 
led  to  meet  at  U's  offices  the  first  part  of  this  week,  with 
tie  transaction  expected  to  be  finalized  by  Wednesday 
23rd).  U  president  Milton  Rackmil  is  understood  to  have 
eadied  a  statement  setting  forth  the  details  of  the  deal, 
nd  it  is  expected  that  O'Neil  will  shortly  outline  RKO's 
uture  plans. 

0 

JA  STOCK  ISSUE.  Mark  down  as  a  certainty  that 
Jnited  Artists  will  issue  stock  to  the  public  within  1957. 
"he  management  group  is  firmly  convinced  that  the  com- 
any's  upward  march  can  continue  only  if  it  has  funds  to 
•rovide  complete  financing  and  studio  facilities  to  inde- 
pendents. To  be  expected  also  is  UA's  direct  entry  into 
.iroduction.  Several  films  already  are  on  the  drawing 
•oard. 

0 

TRST-RUN  METAMORPHOSIS?  The  recent  first-run 
howing  of  Allied  Artists'  "Friendly  Persuasion"  in  De- 
jroit  naborhood  houses  has  reopened  talk  about  a  possible 
hift  of  first-runs  away  from  the  downtown  showcases, 
"here  is  talk  again  about  population  shifts  to  suburban 
reas,  shopping  centers,  parking  problems  downtown,  etc. 
is  factors  for  multiple  first-run  engagements.  However, 
onsensus  of  opinion  among  the  distribution  and  circuit 
heatre  executives  is  that  naborhood  first-runs  are  feasible 


Whai  They're  hiking  About 

□    □    □    In  the  Movie  Business    □    □  □ 


only  when  a  picture  lacks  the  boxoffice  power  for  a  sus- 
tained downtown  engagement  or  in  special  situations.  The 
naborhood  theatre  is  in  no  position,  at  the  present  time,  to 
threaten  the  downtowners  because  of  its  inability  to  match 
the  earning  power  and  extended  publicity  available  to  a 
first-run  center  city  opening. 

0 

PARAMOUNT  &  TV.  It  has  been  generally  believed 
thac  Paramount's  delay  in  selling  its  old  feature  library  on 
the  television  market  has  been  due  to  the  company's  ex- 
pectations that  pay-to-see  TV  was  just  around  the  corner. 
It  now  appears  that  with  the  toll  venture  seeming  more 
remote  Paramount  may  be  ready  to  take  the  plunge.  If 
and  when  that  happens,  this  outfit  figures  to  profit  hand- 
somely by  the  experience  of  the  other  film  companies  with 
video.  There  will  be  no  haphazard  dumping  of  films. 
Ownership  will  be  retained  by  Paramount  and  the  pictures 
will  be  released  to  TV  on  a  schedule  that  will  guarantee 
maximum  revenue  returns.  First-run  showings  of  the 
Paramount  library  will  go  to  the  Dumont  outlets  in  New 
York,  Los  Angeles  and  Washington,  in  which  Paramount 
has  large  holdings. 


Viewpoints 

(Continued  from  Page  3) 

direction  of  Arthur  Krim,  Robert  S. 
Benjamin,  William  J.  Heineman, 
Max  E.  Youngstein  and  Arnold  M. 
Picker.  It  is  one  of  the  most  impres- 
sive accomplishments  in  our  indus- 
try's history — all  the  more  so  be- 
cause it  came  about  during  some 
difficult  movie  years. 

This  organization  provided  the  in- 
dependent producer  with  benefits  of 
canny  operation,  bold  selling  and  in- 
creasing participation  in  the  financ- 
ing picture.  Keenly  alert  to  the 
future,  UA's  plans  for  1957  and  1958, 
says  president  Krim,  call  for  100  per 
cent  production  financing  by  the 
company.  Negotiations  are  being 
carried  on  with  exhibitors  who  have 
indicated  interest  in  participating  in 
this  financing,  and  serious  consider- 
ation is  being  given  to  a  public  stock 


issue.  Thus  is  revealed  more  of  the 
shrewd  business  operation  that  has 
been  responsible  for  a  350%  increase 
in  gross  revenue  for  the  company 
since  the  present  management  team 
took  over. 

The  independent  product  market 
quite  possibly  will  tighten  up  under 
the  Treasury's  new  interpretation  of 
the  corporate  tax  picture,  which 
threaten  to  discourage  "personal 
corporations"  set  up  by  stars  and  di- 
rectors to  capture  the  advantage  of 
capital  gains  taxes.  Big  money 
names  would  be  harder  to  get  and 
the  inde  film  maker  will  be  faced 
with  increasing  financing  difficulties. 
By  launching  their  bold  production 
money  move,  the  UA  team  has  ob- 
viously anticipated  this  situation  and 
is  girding  to  overcome  it. 

This  is  typical  of  the  resourceful- 
ness that  has  marked  the  operations 
of  United  Artists  from  the  outset  of 
the  present  regime.  It  is  a  success 
story  that  is  the  American  Story  all 
over  again. 


The 
Mail 
Box 


To  the  Editor : 

That  was  a  superb  article  on 
BABY  DOLL.  I  am,  and  everyone 
with  me  is  thrilled  at  what  you  said. 
I  also  thought  there  was  tremendous 
integrity  in  the  article.  I  agree  es- 
pecially with  what  you  say  about  the 
importance  of  the  American  movie. 
Well,  in  fact,  I  agree  with  every- 
thing you  have  written  and  your 
whole  attack  on  the  subject  and 
your  piece  made  me  very  happy. 

Sincerely  yours, 

ELIA  KAZAN 


Film  BULLETIN    January  21,  1957        Page  5 


"Three  Brave  Men" 

Gututete  Rotate  O  O  Plus 

Engrossing,  factual  story  of  unjust  disloyalty  charge.  Semi- 
documentary,  journalistic  style,  much  flag-waving. 

The  factual  case  history  of  a  Navy  Department  em- 
ployee's unjust  dismissal  as  a  "security  risk"  is  re-enacted 
with  candor  and  good  human  interest  values.  The  Cinema- 
Scope  (black  and  white)  production  for  20th  Century-Fox 
by  Herbert  B.  Swope,  Jr.,  based  on  a  Pulitzer  Prize-win- 
ning series  written  by  Anthony  Lewis,  is  recorded  with 
such  concern  for  detail  and  fact  that  it  assumes  a  docu- 
mentary tone.  This  quality  adds  to  its  appeal  for  that 
growing  audience  which  seeks  out  off-beat  film  entertain- 
ment. If  this  element  is  properly  exploited,  grosses  should 
be  above  average  in  metropolitan  areas.  Good  perform- 
ances are  turned  in  by  Ernest  Borgnine  as  the  accused  em- 
ployee, and  Ray  Milland  as  the  lawyer  who  defends  him. 
Supporting  cast  includes  Frank  Lovejoy,  Nina  Foch  and 
Dean  Jagger.  Director  Philip  Dunne,  who  also  adapted  the 
screenplay,  develops  a  completely  realistic  atmosphere. 
Navy  Secretary  Jagger  approves  Borgnine's  dismissal  as  a 
security  risk  in  1953  when  a  new  program  is  inaugurated. 
Attorney  Milland,  representing  him  at  a  formal  hearing, 
shows  that  statements  were  made  against  Borgnine  by 
members  of  the  housing  cooperative,  who  opposed  his 
views  on  rentals.  The  board,  headed  by  Lovejoy,  turns  in 
a  favorable  report,  but  Borgnine  is  not  reinstated,  and 
when  Milland  appeals,  the  case  is  reopened.  A  re-investi- 
gation shows  that  testimony  and  sworn  statements  were 
prejudiced  and  full  of  half-truths.  At  a  press  conference, 
Jagger  apologizes,  Borgnine  is  reinstated  with  back  pay. 

20th  Century-Fox.  88  minutes.  Ray  Milland.  Ernest  Borgnine,  Frank  Loveioy,  Nina 
Foch.    Produced  by  Herbert  B.  Swope,  Jr.    Directed  by  Philip  Dunne. 

"Above  Us  the  Waves" 

Tightly  drawn,  British-made  submarine  battle  meller.  Good 
dualler  for  U.S.  market. 

This  well-produced,  suspensefully  directed  sea  adven- 
ture centering  around  a  dangerous  mission  of  British  mid- 
get submarines  during  World  War  II  should  provide  ade- 
quate dual  bill  support  in  the  U.S.  The  script  is  terse,  act- 
ing is  good,  and  the  undersea  action  is  realistic  throughout 
the  J.  Arthur  Rank  production  released  by  Republic.  The 
characters  are  very  human — afraid  but  brave — with  John 
Mills  commanding  three  tiny  subs  through  the  Norwegian 
fjords  to  blow  up  a  German  battleship.  One  long  flashback 
contributes  little  to  the  business  at  hand  and  could  be  cut 
to  advantage.  Director  Ralph  Thomas  draws  a  full  mea- 
sure of  excitement  as  enemy  bombs  force  the  crews  to 
abandon  their  subs.  Mills  outlines  a  plan  to  use  midget 
subs  to  infiltrate  a  blockade  of  the  Norwegian  coast  and 
sink  a  German  battleship.  His  sub  dashes  through  an 
underwater  boom-gate  into  the  fjord,  while  Gregson  and 
Sinden  cut  their  way  through  under-water  wires.  Two 
subs  complete  the  mission,  but  upon  surfacing,  are  cap- 
tured. The  battleship  is  blown  up.  A  second  explosion  in- 
dicates the  fate  of  Gregson's  craft  which  remained  below 
until  certain  the  mission  was  successful. 


"Istanbul" 

Familiar,  but  actionful,  adventure  meller.  Interesting  Cine- 
maScope-Technicolor  locations.  Errol  Flynn  for  marquee. 

"Istanbul"  offers  little  that  is  novel,  but  it  does  have 
ample  adventure,  intrigue,  action  and  romance  set  against 
a  CinemaScope  and  Technicolor  background  in  an  exotic 
locale.  These  ingredients,  plus  a  lively  pace  and  Errol 
Flynn  and  Cornell  Borchers  provides  enough  in  the  way  of 
boxoffice  values  to  make  this  Universal  release  an  accept- 
able programmer  in  the  general  market.  Director  Joseph 
Pevney  keeps  Flynn  on  the  go.  Producer  Albert  J. 
Cohen  has  injected  another  exploitable  note  in  Nat  "King" 
Cole,  who  renders  two  torch  songs,  a  la  "Casablanca". 
Flynn,  returning  to  Istanbul  after  serving  in  Korea,  is  un- 
able to  get  his  former  suite  occupied  by  tourists  Leif  Erick- 
son  and  Peggy  Knudsen.  (While  Nat  Cole  sings  in  the 
bar,  story  flashes  back  to  Flynn  who  bought  an  engage- 
ment bracelet  for  Miss  Borchers,  discovered  diamonds 
hidden  in  it.  Smuggler  Martin  Benson,  seeking  his  loot, 
burned  down  Miss  Borchers'  hotel,  causing  her  to  be  an 
amnesia  victim.)  Flynn  finds  Miss  Borchers,  who  doesn't 
recognize  him,  learns  she's  married  to  Torin  Thatcher. 
Benson  again  trails  Flynn  for  his  diamonds  and  kidnaps 
Miss  Borchers.  Flynn  burns  the  hideout  to  escape,  and 
the  shock  restores  Miss  Borchers'  memory. 


Universal-International.  84  minutes.  Errol  Flynn,  Corne 
Produced  by  Albert  J.  Cohen.    Directed  by  Joseph  Pevnc 


Borchers,  John 


"Wicked  As  They  Come" 

Lurid  melodrama  about  ruthless  female.  Good  Continental 
backgrounds.  For  adults  and  fern  trade. 

Arlene  Dahl  takes  men  for  all  they're  worth  after  schem- 
ing her  way  out  of  the  slums,  where,  as  a  young  girl,  she 
was  severely  violated.  She  makes  the  venomous  female 
fairly  convincing,  despite  some  implausibilities,  in  this 
Maxwell  Setton  production  for  Columbia  release.  Oppo- 
site her  are  Phil  Carey  and  Herbert  Marshall.  "Wicked  As 
They  Come"  is  designed  for  adults,  and  the  "done-me- 
wrong"  theme  should  attract  the  fern  trade.  This  could  de- 
velop into  a  "sleeper",  if  its  exploitables  are  fully  capital- 
ized. The  screenplay  by  Ken  Hughes  from  Bill  Ballinger's 
novel,  "Portrait  in  Smoke",  is  too  transparent  to  be  ac- 
cepted by  discriminating  audiences.  Hughes,  who  also  di- 
rected, makes  ample  use  of  Miss  Dahl's  beauty,  as  well  as 
New  York,  London,  and  Paris  gackgrounds.  Factory- 
worker  Miss  Dahl  plays  up  to  elderly  publisher  David 
Kossoff,  who  "fixes"  a  beauty  contest.  She  wins  a  trip  to 
Europe  and  meets  TV  producer  Carey,  who  is  attracted  to 
her.  Michael  Goodliffe,  a  photographer,  falls  for  her  and 
proposes,  but  after  using  his  credit  accounts  in  London 
shops,  runs  out  on  him.  Marshall,  Carey's  boss,  is  her  next 
conquest.  Marshall's  wife  offers  her  a  job  in  Paris  as  a 
payoff.  Ralph  Truman,  Marshall's  father-in-law  and  head 
of  the  firm,  woos  and  weds  her.  When  Goodliffe  returns 
and  threatens  to  expose  her,  Miss  Dahl  shoots  and  kills 
her  husband.  She  is  sentenced  to  death,  but  Carey  makes 
Goodliffe  confess,  proving  the  murder  was  accidental. 

Columbia.    94  minutes.    Arlene  Dahl,  Phil  Carey,  Herbert  Marshall.    Produced  by 


[More  REVIEWS  on  Page  12] 


CORPORATE  POKER  GAME— Loew's  cards  not  wild, 
dike  Todd  couldn't  have  staged  it  better  had  he  dusted  off 

ihe  old  Last  Chance  Saloon  and  let  his  two  mighty  pro- 
agonists  slug  it  out  over  a  hand  of  5-card  draw.  Bret 

Tarte  and  Cameron  Hawley  might  have  scripted  the  con- 
est  with  a  contribution,  perhaps  from  Von  Clausewitz' 
ablets  on  tactics. 

1  All  the  dramatic  elements  were  there  in  this  two-handed 
orporate  poker  game  between  a  couple  of  guys  named 
oe :  Vogel  vs.  Tomlinson.  There  was  Vogel,  the  top  gun 
ind  Tomlinson,  the  outlander  breathing  threats  to  take 
>ver.  And  always  in  the  background,  the  kibitzers,  the  re- 
nainder  of  the  stockholding  rabble,  patently  disenchanted 
vith  existing  authority,  willing,  anxious,  to  let  the  chal- 
enger  have  his  say,  but  yet  uncommitted.  In  them  and 
he  shift  of  the  sentiment  rested  much  of  the  outcome  of 
he  duel. 

Under  this  setting  play  commenced. 

Circumstances  had  delt  the  outlander  the  following 
land:  a  boasted  equity  of  250,000  shares  (placed  officially 
>y  the  S.E.C.,  however,  at  180,000  shares)  out  of  a  total 
i.3  million  Loew's  share  outstanding;  a  disgruntled  stock- 
holding gentry;  the  power  and  capital  to  force  a  proxy 
ight;  an  issue  consisting  of  an  enduring  slump  in  company 
:arnings;  the  very  nervousness  of  management  itself  as 
witnessed  by  the  resignation  of  certain  key  personnel.  In 
he  last  named  card,  surprisingly,  dwelt  the  weight  of 
Tomlinson's  power.  Because  of  conditions  allegedly  pe- 
:uliar  to  Loew's,  he  thought  he  could  see  company  officials 
>lanch  at  his  charges  of  nepotism,  favoritism  and  malfeas- 
mce  in  the  discharge  of  office.  Clearly,  Mr.  Tomlinson  was 
naking  his  play  in  terms  of  personalities. 

O 

In  the  face  of  Tomlinson's  power,  Vogel's  hand  looked 
neager  to  the  extreme.  He  held  no  aces  save  one:  the 
;anctuary  of  appointed  rank,  which  meant  the  outlander 
nust  come  to  him  and  his  cohorts  to  knock  them  off. 
Vogel's  only  other  strength  consisted  of  cards  of  inter- 
nediate  value:  his  newness  to  the  top  post  which  sheltered 
iim  from  the  charges  of  operational  deficiences  in  the  past, 
jlus  his  recorded  promises  to  sweep  clean.  Paradoxically. 
Vogel's  best  chance  rested  in  the  play  of  the  challenger's 
jame,  so  he  settled  down  and  let  his  opponent  bet. 

Tomlinson  jumped  off  with  a  demand  for  a  revised  di- 
rectors' slate,  adding  veiled  threats  of  a  proxy  challenge  if 
le  be  refused. 

[  With  the  chips  so  cast,  Vogel  began  the  long,  arduous 
process  of  cerebrating,  assessing,  rationalizing,  anticipat- 
ng — the  results  of  which  may  have  gone  like  this: 
TOMLINSON'S  STRENGTH— 180,000  shares  ...  no 
aluff  ...  a  matter  of  official  record  .  .  .  Standing  alone  he 
:an  be  neutralized  .  .  .  more  dangerous  in  his  potential  to 
itir  up  a  bandwagon  among  fellow  dissidents  .  .  .  Blows 
nard ;  may  be  only  moderately  effective  as  a  rallying  point. 
REMAINING  SHAREHOLDERS  —  Obviously  dis- 
oleased  with  management  .  .  .  and  perhaps  rightly  so  .  .  . 
The  record  is  clear  .  .  .  question  is  will  they  swallow  line  of 
lew  leadership  sincerely  dedicated  to  righting  the  company 


FINANCIAL 

BULLETIN 

JANUARY      2  1,  1957 


By  Philip  R.  Ward 


.  .  .  Worked  for  Arthur  Loew  year  ago  .  .  .  May  not  buy 
this  refrain  again  .  .  .  but  can  Tomlinson  organize  them  .  .  . 
They  exist  now  as  separate  islands  of  resistance,  mostly 
passive  .  .  .  Such  groups  generally  work  at  cross-purposes 
.  .  .  Must  count  on  disorganization,  disorganization  ...  No 
evidence  Tomlinson  their  clear  leader  .  .  .  besides  little 
time,  little  time. 

PROXY  FIGHT— Man  talks  of  safe-guarding  his  invest- 
ment .  .  .  but  would  he  risk  personal  outlay  of  $100,000  and 
up  to  make  proxy  contest  .  .  .  chances  are  no  under  circum- 
stances .  .  .  Less  than  two  months  to  file,  plan,  print,  mail, 
buttonhole  and  effectively  congeal  the  scattered  forces  .  .  . 
Tomlinson  too  shrewd  to  gamble  on  fight  with  such  medi- 
ocre probabilities  .  .  .  besides  some  groups  sure  to  impugn 
his  motives  ...  A  certain  bluff  .  .  .  knows  management  is 
on  the  defensive,  thus  is  testing  our  hand  ...  to  knuckle 
under  may  encourage  him  to  make  legitimate  battle  ...  if 
not  bluffing  he  could  make  it  anyway  .  .  .  Best  response  a 
flat  rejection  on  director  demands  ...  on  the  other  hand, 
may  smack  of  arrogance  to  balance  of  shareholders  and  in- 
advertently tip  them  into  his  scale. 

LOEW'S  EARNINGS— No  defense  possible  other  than 
declining  condition  of  industry  in  general  ...  a  weak  ap- 
peal .  .  .  Better  grounds:  a  hopeful  future. 
PERSONALITIES— Most  ticklish  and  unpleasant  .  .  . 
Company  could  not  recover  from  a  mud  washing  of  senior 
personnel  no  matter  who  wins  .  .  .  sinecure-ridden  or  not, 
the  company  cannot  stand  the  kleig  light  of  a  public  recital 
.  .  .  Tomlinson  knows  this  well  ...  so  do  a  number  of  other 
malcontents. 

O 

It  was  Mr.  Vogel's  play.  Without  changing  expression 
he  compressed  his  fan  of  cards  into  a  neat  rectangle  and 
chucked  them  to  the  table — face  down.  Mr.  Tomlinson's 
game.  In  so  doing,  Joe  Vogel  proved  his  mettle.  He  proved 
his  mastery  of  the  most  difficult  points  in  poker:  the  fine 
science  of  quitting  when  the  cards  are  running  bad,  and 
the  even  finer  science  of  containing  his  losses.  Consciously 
or  unconsciously,  he  obeyed  the  cardinal  injunction  of  the 
economist's  Theory  of  Games:  that  of  maximizing  gains, 
minimizing  losses  by  choosing  the  so-called  "optimum" 
course.  In  short,  he  expended  little  in  relation  to  what  he 
managed  to  hold. 

By  wringing  the  right  to  approve  new  directors  along 
with  Tomlinson,  loser  Vogel  may  have  actually  bested  the 
apparent  winner.  For  in  the  new  complement  of  directors, 
though  they  appear  solid  citizens  all,  Loew's,  Inc.  shall  be 
piloted  by  a  board  whose  ignorance  of  filmdom  affairs  is 
second  to  none  in  the  industry.  It  could  be  that  what  re- 
mains of  the  much  abused  Loew's  management  team  will 
be  called  upon  to  supply  most  of  the  guidance. 


Film  BULLETIN    January  21,  1957        Page  7 


ONE  IN  A  SERIES  OF  ADS  FOR  AN  UNUSUAL  AND  VERY  DIFFERENT  MOTION  PICTU 


THE  INCREDIBLE 

Shrinking  MA 


EXCT 
COM  PAN 


DIRECTED  BY  JACK  ARNOLD  •  SCREENPLAY  BY  RICHARD  MATHESON  •  PRODUCED  BY  ALBERT  ZUGSMITH 


WHAT  IS  THE  MOVIEGOER'S  AGE.  SEX.  TASTE'!1 
THE  THEATHEMAN  SHOULD  KNOW  HES  CUSTOMER 

Patterns  of  Patronage 

[  CxcluAiUe  ^BULLETIN  Jeature 


by  LEONARD  SPINRAD 
Counting  the  house  is  an  ancient  and  honorable  preoccu- 
pation of  the  motion  picture  industry.  At  times,  however, 
it  may  be  that  audiences  need  "casing"  as  well  as  counting. 

The  focus  of  all  the  concerted  effort  of  the  motion  pic- 
ture industry  is  a  window  in  a  small  cubicle,  which  a  man, 
woman  or  child  approaches  with  money  in  hand.  The 
emphasis  has  always  been  on  the  number  of  people  at  the 
boxoffice,  rather  than  what  kind  of  people  and  in  what  pro- 
portion. 

Customers  come,  of  course,  in  all  shapes,  sizes,  races, 
creeds,  ages  and  the  standard  set  of  sexes.  But  some  ages 
and  one  sex  go  more  frequently  than  the  others.  Indeed, 
there  seems  to  be  a  very  discernible  pattern  of  moviegoing 
available  from  the  handful  of  studies  which  have  been  con- 
ducted. 

This  pattern  is  not  just  an  interesting  conversational 
sidelight  for  an  industry  which  sells  its  wares  over  and 
over  again  to  its  customers.  The  profile  of  patronage  can 
be  a  guide  to  every  phase  of  motion  picture  operations 
from  the  studio  story  department  to  the  theatre  boxoffice. 

While  national  statistical  studies  of  attendance  have 
been  made  with  a  highly  regarded  degree  of  accuracy  and 
on  a  continuing  basis  in  recent  years,  there  has  not  been  as 
much  attention  paid  to  the  composition  of  the  audience. 
We  know  how  many  people  attend  better  than  we  know 
what  kind  of  people.  The  profile  of  the  customer  has  been 
less  thoroughly  pursued.  Some  of  the  customer  studies 
and  surveys  have  been  made  by  or  for  theatre  circuits; 
some  have  been  made  as  part  of  larger  research  undertak- 
ings for  magazines  or  newspapers.  Some  have  been  carried 
on  by  individual  theatre  men. 

It  would  be  manifestly  unfair  to  try  to  combine  all  these 
various  efforts  into  one  over-all  statistical  summary;  but 
by  assembling  and  comparing  the  conclusions  of  the  vari- 
ous surveys,  we  can  get  a  better  picture  of  the  average  mo- 
tion picture  John  Q.  Public. 


THE   MOVIEGOING  AGE 


National  Theatres  made  a  study  of  the  patrons  of  six 
neighborhood  houses  in  Los  Angeles  in  1955.  The  two 
largest  age  groupings  were  21-30  years  old  (41%  of  the 
total)  and  31-40  years  old  (21.9%).  Other  age  group  per- 
centages were  7.7%  in  the  up-to-14  age  bracket,  16.3%  in 
the  12-20-year-old  group,  7.5%  in  the  41-50  area,  3.4% 
aged  51-60  and  1%  over  60. 

Back  in  1951,  on  the  basis  of  a  big  movie  quiz  contest 
conducted  by  123  Detroit  theatres,  it  was  stated  that  the 
average  "actively  interested"  patron  was  about  40  years 
old. 

A  single-picture  audience  check  in  Rochester,  N.  Y.  a 
bit  more  than  a  year  ago,  the  picture  being  "Indian  Fight- 
ers," turned  up  the  21-35  age  group  as  the  largest,  with  the 
35-50-year-olds  second  and  teenagers  last.  The  same  pro- 
portion was  reported  in  another  Rochester  test  involving 
"Three  Stripes  in  the  Sun". 

A  1956  survey  for  Look  magazine  by  Alfred  Poiitz  Re- 
search, Inc.,  found  that  the  peak  motion  picture  attendance 
group  was  aged  20-29,  with  the  15-19  and  10-14  groups 
virtually  tied  as  next  best.  These  three  groups,  according 
to  Poiitz,  accounted  for  more  than  half  of  the  total  movie 
audience  above  the  age  of  10  during  the  month  of  Febru- 
ary 1956.  (Politz's  survey  was  confined  to  moviegoers  ten 
years  old  or  older.) 

There  are  plenty  of  reasons  for  challenging,  if  you  so 
choose,  the  accuracy  of  one  or  more  of  the  aforementioned 
surveys.  But  it  is  perhaps  more  productive  to  put  them  to- 
gether and  try  to  derive  some  fairly  unanimous  conclusions. 

Beyond  a  doubt,  all  the  cited  surveys  point  to  the  20- 
thirtyish  age  group  as  the  top  single  bracket.  Whether  this 
extends  into  the  forties  is,  to  judge  by  the  differences  in  the 
various  figures,  a  moot  point.  As  for  the  teenagers,  they 
would  appear  to  be  a  strong  but  secondary  audience  group. 
(In  the  Elma  Theatre  in  Elma,  Iowa,  possibly  not  typical 
because  it  is  such  a  small  town,  with  a  population  of  under 

(Continued  on  Page  10) 


Film  BULLETIN    January  21,  1957       Page  9 


PATTERNS  OF  PATRONAGE 


JfonV«  Provitlf  ll<>livH  frnm  Tvnsions 


(Continued  from  Page  9) 

1,000,  exhibitor  Charlie  Jones  made  a  month-long  survey 
which  showed  that  25%  of  his  total  audience  had  been 
teen-agers,  but  58%  of  the  audience  or  more  was  older.) 

The  core  of  the  audience  is  then  to  be  regarded  as  20-35, 
with  the  next  strongest  groups  at  both  ends  of  this  age 
spectrum.  Politz  has  the  highest  noted  percentage  for  the 
teen-agers. 


THE   MOVIEGOING  SEX 


Until  a  few  years  ago,  it  had  been  generally  assumed 
that  more  women  than  men  went  to  the  movies,  and  that 
the  women  picked  the  pictures  when  they  went  with  men. 
So  far  as  I  know,  nobody  yet  has  come  up  with  a  reliable 
and  completely  provable  story  about  who  picks  the  pic- 
tures, husband  or  wife,  but  there  are  some  statistics  on  the 
composition  of  the  audience. 

The  Willmark  Service  System  checked  patrons  in  33 
cities  last  year  and  came  up  with  patronage  figures  of 
48.5%  women  and  51.5%  men.  A  couple  of  months  later 
Sindlinger  and  Company  reported  that  previous  propor- 
tions had  now  been  reversed  and  the  national  movie  audi- 
ence was  now  composed  of  60%  men  and  40%  women. 
While  the  exact  percentages  have  not  been  constant,  the 
preponderance  of  male  attendance  has  been  fairly  continu- 
ous in  the  Sindlinger  reports.  Elma's  Charlie  Jones  did  not 
break  down  his  audience  study  by  sex  in  every  age  group, 
but  his  figures  match  the  rest  (where  he  used  sex  as  the 
criterion)  :  23%  of  his  month's  audience  were  women,  26% 
were  men. 


MOVIEGOING  CONSIDERATIONS 


A  number  of  intrepid  investigators  have  attempted  to 
find  out  what  influences  a  customer  to  go  to  the  movies. 
This  is  a  very  difficult  area  of  exploration.  In  the  first 
place,  moviegoers  don't  always  know  themselves  why  they 
chose  to  go  to  a  particular  movie — or  even  to  the  movies  in 
general.  In  the  second  place,  people  don't  always  tell  the 
truth  when  they  are  asked  to  give  their  reasons.  (This  is 
particularly  the  case  with  pictures  whose  attractions  in- 
clude sexy  girls,  for  example.)  But,  admitting  these  diffi- 
culties, let  us  proceed  to  the  data  at  hand. 

The  previously  mentioned  Willmark  survey  said  that 
90.2%  of  the  women  gave  escaping  from  nervous  tension 
as  their  main  reason  for  moviegoing,  while  80.2%  of  the 
men  gave  a  similar  reason.  In  1954  American  theatres 
Corp.  conducted  interviews  at  300  homes  near  one  of  its 
New  England  theatres  on  a  related  subject  and  found  that 
the  principal  reason  for  attending  a  particular  theatre  was 
because  it  was  nearby.  Out  of  the  total  survey,  215  homes 
gave  this  answer. 

If  these  two  fragmentary  reports  are  to  be  considered  as 
indicative,  the  prime  attractions  for  moviegoing,  then,  are 
escape  from  real  problems  and  the  nearness  of  the  theatre. 


Obviously,  a  prime  attraction  can  overcome  the  indicated 
inertia  of  the  moviegoer;  a  hot  enough  picture  will  draw  its 
patronage  from  a  larger  area  than  the  immediate  environs. 
But  this  is  the  exception  to  the  general  rule. 

A  further  symptom  can  be  found  in  a  1955  poll  conducted 
by  the  National  Theatres  circuit  among  16-20-year-olds. 
The  chief  type  of  picture  preferred  by  the  16-20-year-olds 
was  the  musical,  followed  closely  by  comedy.  As  recent 
business  has  perhaps  confirmed,  Westerns  were  at  the 
bottom  of  the  ratings.  Musicals  and  comedies,  together  or 
separately,  must  certainly  be  classified  as  prime  escapist 
material.  (So  too  are  Westerns,  but  not  on  the  same  enter- 
tainment level.) 

It  may  be  significant  that  the  American  Theatres  Corp. 
survey,  conducted  at  a  morning  hour  when  teen-agers 
would  not  usually  be  home,  the  teen-age  National  Theatres 
poll  and  the  general  Willmark  investigation  seem  to  point 
to  the  same  general  conclusions. 


THE   MOVIEGOING  RATE 


Weekly  total  motion  picture  attendance  figures  are  not 
necessarily  truly  reflective  of  the  number  of  people  who  go 
to  the  movies.  One  of  the  big  problems  for  the  industry  is 
to  determine  how  often  the  same  people  go  to  the  movies, 
and  how  often  certain  classes  of  people  do  not  go. 

Amercian  Theatres  found  that  111  of  its  300  respondents 
went  once  a  week,  and  23  twice  a  week,  a  response  frankly 
out  of  proportion  to  the  total  national  weekly  attendance. 
On  the  other  hand,  the  Milwaukee  Journal  made  a  study  of 
6,000  families  in  its  area  and  discovered  that  only  10.4%  of 
these  families  had  a  member  who  had  attended  a  movie  in 
the  past  week,  while  29.4%  of  the  families  said  none  of 
their  people  had  gone  to  the  movies  in  over  a  year.  Sind- 
linger's  figures  have  indicated  that  about  10%  of  the  people 
who  go  to  the  movies  each  week  go  twice,  instead  of  just 
once. 

The  significance  of  these  reports,  different  as  they  are, 
lies  in  their  very  difference.  The  American  Theatres  sur- 
vey was  made  in  a  lower  middle  class  residential  area  with- 
in a  mile  of  the  theatre,  in  a  city  of  some  100,000  popula- 
tion. The  Milwaukee  Journal  report  was  based  on  6,000 
replies  from  all  income  classes  and  from  all  parts  of  the 
Milwaukee  area. 

This  helps  to  point  up  a  pattern.  The  pattern  is  stressed 
by  the  Milwaukee  findings  that  non-downtown  houses  in 
Milwaukee  draw  a  growing  share  of  the  audience.  The 
moviegoing  rate,  it  appears  from  both  studies,  is  influence 
by  the  closeness  of  the  theatre  and  the  level  of  economic 
life.  The  rate  seems  to  be  higher  as  the  economic  class 
goes  lower,  although  there  is  no  available  study  of  movie- 
going among  the  urban  or  rural  poor.  The  lower  middle 
class,  in  any  case,  seems  to  be  inclined  to  go  more  often 
than  the  upper  middle  class.  The  rate  of  moviegoing  also 
seems  to  go  higher  as  the  location  of  the  theatre  gets 


Page  10       Film  BULLETIN    January  21,  1957 


PATTERNS  OF  PATRONAGE 


Hit    bull's  Problems  Sim  tin  r  in  Ours 


m  closer.  (Whether  this  also  applies  to  the  drive-ins  is  not 
|  yet  adequately  documented,  but  an  educated  guess  sug- 

\  gests  that  location  is  definitely  a  customer  attraction.) 
t    Some  surveys,  notably  one  by  Alfred  Politz  in  1955,  have 
shown  college  people  as  high  on  the  list  of  moviegoers. 

1  There  is  no  great  body  of  statistics  in  this  field,  and  cer- 

;  tainly  insufficient  either  to  prove  or  disprove  the  point. 

AJilJM.IUI.M.IIHca.llJJMIHJIJJ 

The  New  England  lower  middle  class  group  said,  in  the 
.  relatively  few  instances  where  they  gave  reasons  for  not 
I  going  to  the  movies,  that  they  had  baby  sitter  trouble,  they 
I  could  watch  television,  or  the  prices  at  the  theatre  were 
too  high — in  that  order.  A  National  Theatres  survey  listed 
I  the  prime  difficulties  as  night  work,  school  homework,  no 
I  money,  "married",  children,  a  few  mentions  of  television 
1  and  only  15  out  of  936  questionnaires  which  spoke  of  "bad 
i  movies".  In  a  Los  Angeles  poll  by  the  same  circuit  prior 
to  the  national  survey  mentioned  above,  38%  of  the  pa- 
Ktrons  whose  interest  in  movies  had  declined  blamed  it  on 
I  television.  It  is  generally  felt  that  the  competitive  impact 
of  TV  has  softened  with  the  passage  of  time. 

It  is  of  some  interest  in  this  connection  to  consider  the 
first  report  released  a  year  and  a  half  ago  about  Baseball 
Commissioner  Ford  C.  Frick's  survey  of  the  audience  for 
the  national  pastime.  The  reasons  given  for  non-attend- 
iance  at  major  league  baseball  games  were  these:  difficulty 
.  in  parking  cars  and  reaching  the  ball  park ;  ability  to  watch 
the  games  on  television;  high  cost  of  tickets;  games  last 
S  too  long.  Food  for  thought  there,  surely. 

Here  then  is  a  sketchy  portrait  of  that  king  of  the 
movies,  the  great  American  customer.  The  customer  is 
more  likely  than  not  to  be  a  male  in  his  twenties  or  thirties, 
lower  middle  class  in  income,  living  not  too  far  from  a  the- 
1  atre  he  attends,  and  attending  at  a  rate  from  once  a  week 
!  to  once  a  month. 

One  glaring  omission  in  this  sketchy  picture  immediate- 
!  ly  suggests  itself.  Few  if  any  of  the  various  published  in- 
.  vestigations  to  date  have  explored  the  size  or  composition 


of  the  moviegoing  unit.  Are  more  people  than  formerly 
going  to  the  movies  alone?  Are  more  children  going  with 
their  parents,  and  less  by  themselves?  Are  more  fathers 
than  mothers,  or  more  fathers  than  formerly,  taking  the 
kids  to  the  theatre? 

Certainly  nothing  in  this  article  is  to  be  regarded  as 
cinematic  gospel.  This  is  merely  a  report  on  what  has  thus 
far  been  stated,  concluded  or  implied  about  our  audience. 

One  of  the  most  insistent  conclusions  of  our  inquiry 
must  be  that  the  body  of  data  is  worth  enlarging.  It  is 
safe  to  say  that  many  theatre  customer  surveys  have  been 
made  and  kept  quiet,  even  though  the  facts  elicited  in  these 
surveys  might  be  of  general  industry  interest.  It  is  also 
safe  to  say  that  many  theatres  which  might  benefit  from 
taking  a  close  analytical  look  at  their  own  customers  still 
have  not  gotten  around  to  this  basic  marketing  function. 

The  establishment  and  exchange  of  data  about  motion 
picture  customers  has  never  been  a  major  enthusiasm  of 
the  industry  as  a  whole,  even  though  a  start  has  been  made 
with  testing  of  ads  and  picture  popularity  or  awareness. 
But  many,  many  facets  of  the  audience  deserve  special  at- 
tention. Even  systematic  recording  of  the  proportion  of 
age  groups  a  manager  notes  in  the  lobby  during  the  run  of 
a  picture  can  be  helpful  "research",  if  enough  records  are 
kept  and  enough  managers  are  willing  to  make  their  find- 
ings known. 

What  is  the  story,  for  example,  on  teen-agers  and  the 
movies?  How  have  the  reduced  rate  ticket  cards  worked, 
is  there  any  relationship — any  consistent  relationship — be- 
tween juvenile  delinquency  problems  in  the  theatre  and 
the  economic  level  of  the  neighborhood  or  city? 

What  about  the  oldsters?  What  has  been  the  effect  of 
the  various  plans  to  boost  their  attendance?  How  often  do 
they  go,  and  what  seems  to  influence  their  moviegoing 
most?  How  big  is  this  market  group? 

Plenty  of  questions  remain  to  be  explored.  The  impor- 
tant thing  at  the  moment  is  that,  even  when  we  broad- 
jump  to  generalized  conclusions,  we  take  as  close  a  look  as 
possible  at  the  man  who  pays  the  bill — the  customer. 


SHOWMEN.  .  . 
What  Are  YOU  Doing? 

Send  us  your  advertising,  publicity  and  exploitation 
campaigns  —  with  photos  —  for  inclusion  in  our 
EXPLOITATION  &  MERCHANDISING  DEPARTMENT 


"The  Barretts  of  Wimpole  Street" 

Scidutet*  &ati*$  O  O  Plus 

New  version  of  oft-done  classic.  First-rate  production  values 
plus  Jennifer  Jones  for  marquee.  For  class  houses. 

The  classic  love  story  of  poets  Elizabeth  Barrett  and 
Robert  Browning,  from  the  modern  stage  classic  by  Rudolf 
Besier,  has  been  re-created  in  CinemaScope  and  Metro- 
color  by  M-G-M.  Boxofnce  prospects  are  questionable, 
figuring  good  for  class  houses,  not  so  good  in  the  mass 
market.  Filmed  once  before  (in  1934)  by  M-G-M,  "The 
Barretts"  has  been  standard  fare  in  the  theatre  for  years 
and  was  only  recently  done  on  TV.  Jennifer  Jones  and 
John  Gielgud,  as  Elizabeth  and  her  fanatically  domineer- 
ing father,  turn  in  top-drawer  performances,  but  Bill 
("Wee  Geordie")  Travers  tends  to  overplay  the  Browning 
role.  Virginia  McKenna,  as  younger  sister,  shines  like  a 
new  penny.  Sam  Zimbalist's  handsome  production,  filmed 
in  England,  offers  some  wonderful  Victorian  settings  in 
the  Barrett  mansion  and  London  parks.  The  screenplay  by 
John  Dighton  concentrates  on  character,  the  bittersweet 
romance,  and  tender  Browning  poetry.  Direction  by  Sid- 
ney Franklin  is  subtle.  Under  Gielgud's  stern  rule,  his 
three  daughters  and  six  sons  are  forbidden  courtship  and 
marriage.  Miss  Jones,  a  bedridden  invalid,  has  only  letters 
from  poet  Robert  Browning  (whom  she  has  never  met)  to 
spark  her  feeble  life.  Travers  (as  Browning)  begins  mak- 
ing regular  visits,  and  she  undergoes  an  amazing  recovery. 
Doctors  pronounce  her  well  enough  to  travel  to  Italy,  but 
Gielgud  refuses  permission.  Nevertheless,  Travers  makes 
plans  to  marry  Miss  Jones,  but  she  hesitates  until  her 
father  betrays  a  love  for  her  that  is  unnatural.  The  couple 
run  off  and  marry. 

M-G-M.  105  minutes.  Jennifer  Jones,  John  Gielgud  Bill  Travers.  Produced  by 
Sam  Zimbalist.    Directed  by  Sidney  Franklin. 

"Oasis" 

Adventure-intrigue  in  Moroccan  locale  has  much  fury, 
meager  plot.  CinemaScope,  color  will  attract  action  fans. 

International  smuggling,  murder  and  some  striking 
Eastman  color  backgrounds  of  Morocco  in  CinemaScope 
are  the  high  points  of  this  dualler  being  released  by  20th- 
Fox.  The  story,  revolving  around  beautiful  spies  Michele 
Morgan  and  Cornell  Borchers  who  lure  North  African 
trader  Pierre  Brasseur,  follows  a  tried  and  trite  formula. 
The  confusing  action  keeps  shifting  suspicion  until  the 
very  last  reel.  Amateurly  produced  by  Luggi  Wald- 
leitner  and  Gerd  Oswald,  "Oasis"  will  have  to  take  the 
lower  billing  in  action  sub-runs.  Aside  from  the  plot  weak- 
nesses, the  English  dubbing  is  distracting.  Former  pilot 
Brasseur,  owner  of  an  oasis,  is  suspected  of  smuggling 
gold.  Morgan  and  Borchers  are  hired  by  gunman  Gregoire 
Asian  to  spy  on  him,  but  Miss  Borchers  falls  for  him  and 
plans  to  join  his  forces.  Miss  Morgan,  also  in  love  with 
Brasseur,  learns  he  is  to  be  murdered  by  smugglers,  re- 
turns to  warn  him.  Miss  Borchers  turns  against  Brasseur 
and  informs  the  smugglers.  The  smugglers  close  in,  but 
Brasseur  stampedes  their  gold-laden  camels  by  flying  low 
in  bis  plane.  Borchers  and  Asian  are  trampled  to  death. 

20th  Century-Fox.  84  minutes.  Michele  Morgan,  Pierre  Brasseur,  Cornell  Borchers. 
Produced  by  Luggi  Waldleitner  &  Gerd  Oswald.    Directed  by  Yves  Allegret. 


"The  Iron  Petticoat" 

ScuiHCM  7£<tf£K?  O  O  Plus 

Bob  Hope,  Katharine  Hepburn  labor  with  weak  material  in 
spoof  of  "cold  war".  Returns  will  depend  on  stars'  appeal. 

"The  Iron  Petticoat"  boasts  two  good  boxofnce  names, 
but  their  material  is  quite  disappointing.  Air  Force  flyer 
Bob  Hope  is  assigned  to  convert  the  ideologies  of  Russian 
aviatrix  Katharine  Hepburn  but,  naturally,  he  finds  her 
physical  attributes  more  challenging.  That  is  the  "gim- 
mick" of  this  attempted  spoof  of  communism  and  the  "cold 
war".  Produced  in  England  by  Betty  Box  for  M-G-M  re- 
lease, with  Vista  Vision  and  Technicolor  as  additional  plus 
factors,  the  action  moves  fast  enough,  but  too  often 
without  the  expected  comic  effect.  Most  of  all,  it  is  a  Hope 
"vehicle",  the  glib  comedian  being  given  all  the  best  of  the 
script  by  Ben  Hecht  (which  he  publicly  disclaimed).  Miss 
Hepburn  babbles  Soviet  doctrines  in  a  thick  slavic  accent, 
but  manages  to  be  only  mildly  amusing.  Director  Ralph 
Thomas  turns  to  outlandish  slapstick  whenever  the  plot 
sags.  When  Miss  Hepburn  flees  to  the  West,  Hope  is  as- 
signed by  Alan  Gifford  to  indoctrinate  her  with  democratic 
ways.  Miss  Hepburn,  politically  adamant,  is  attracted  to 
Hope,  who  takes  her  to  London  where  he  want  to  wed 
wealthy  Miss  Noelle  Middleton.  Russian  agents  led  by 
James  Robertson  Justice  kidnap  Miss  Hepburn.  Hope, 
disguised  as  Russian  pilot,  boards  the  Moscow-bound 
plane  and  they  are  met  in  Moscow  with  a  "new  political 
climate".  Hepburn  is  a  hero  for  converting  Hope  and  they 
receive  a  plane  as  gift,  return  to  the  West  to  marry. 

M-G-M.    87  minutes.    Bob  Hope,  Katharine  Hepburn,  James  R.  Justice.  Produced 
by  Betty  Box.    Directed  by  Ralph  Thomas. 

"Mister  Cory" 

Sci4iH€44.  IZatOu}  O  O  Plus 

Familiar  story  about  young  gambler's  rise  from  slums  to 
riches.  Tony  Curtis  stars.  Adequate  programmer. 

Poor  boy  Tony  Curtis  makes  good  as  an  "honest"  gam- 
bler and  tangles  with  no-good  rich  girl,  Martha  Hyer,  in 
this  routine  romance-action  melodrama.   Robert  Arthur's 
production  for  Universal-International  makes  good  use  of 
CinemaScope  and  Eastman  Color  to  capture  some  interest- 
ing backgrounds,  but  the  yarn  (screenplay  by  Blake  Ed- 
wards from  story  by  Leo  Rosten)  is  pretty  much  "old  hat".  )i 
Curtis  does   a   fairly  convincing  job.    Miss   Hyer  and 
Kathryn  Grant  are  attractive  fern  foils,  and  Charles  Bick- 
ford  is  solid  as  the  veteran  gambler.  "Mister  Cory"  should 
serve  well  as  a  top  dualler,  especially  in  the  action  houses. 
Edwards  also  directed,  with  most  of  the  cliches  intact. 
Slum-born  Curtis  works  as  bus  boy  at  a  swank  resort  to  || 
make  contacts  with  guests.  He  meets  Miss  Hyer  through  |i 
her  sister,  Miss  Grant,  who  makes  it  plain  she  likes  Curtis.  I 
When  Miss  Hyer  discovers  Curtis  washing  dishes  she  | 
breaks  off  the  romance.    Curtis  teams  up  with  veteran  :] 
gambler  Bickford  and  Chicago  underworld  kingpin  Russ  \\ 
Morgan  backs  them  in  a  gambling  club.  When  Miss  Hyer  I 
visits  with  her  fiance,  William  Reynolds,  Curtis  wins  her  i 
back,  but  she  refuses  to  marry  him.  Reynolds  learns  about 
the  affair,  wounds  Curtis  in  a  showdown.  Curtis  leaves  on  lj 
vacation  with  Bickford,  promising  to  return  to  Miss  Grant,  \\ 

Universal-International.    92  minutes.    Tony  Curtis.  Martha  Myer    Charles  Bickford, 
Kathryn  Grant.    Produced  by  Robert  Arthur.    Directed  by  Blake  Edwards. 


Page  12       Film  BULLETIN    January  21,  1957 


MERCHANDISING  & 


ALL-INDUSTRY  PROMOTION 
PROGRAM  CLOSE  TO  REALITY 


The  long-awaited  all-industry  promotion 
:ompaign,  in  various  stages  of  planning  dur- 
ng  recent  months,  seems  to  be  on  the  way 
o  finalization  with  the  representatives  of 
he  Council  of  Motion  Picture  Organizations, 
he  Motion  Picture  Association  of  America, 
studio  publicity  chiefs  and  the  national  ex- 
hibitor groups  all  voicing  approval  of  the 
proposed  Academy  Award  "Sweepstakes" 
plan.  As  proposed,  the  nation-wide  contest 
tied  to  the  Oscar  Awards  will  be  conducted 
from  February  19  through  March  26,  the 
period  between  the  "Oscar"  nominations  and 
the  awards.  While  official  approval  is  still 
awaited,  all  principal  elements  in  the  council 
have  individually  indicated  assent.  The 
Sweepstakes  idea  is  to  have  movie  patrons 
vote  on  13  of  the  33  Academy  Award  cate- 
gories, with  prizes  promoted  by  the  theatres 
going  to  those  who  come  closest  to  the 
Oscar"  winners  in  those  categories. 
Other  facets  of  the  industrywide  institu- 
tional program  were  blueprinted  at  meetings 
held  in  New  York  City  last  week.  A  plan- 
ning committee  has  been  set  up  to  develop 
an  over-all  business  building  program  incor- 
porating the  best  features  of  the  MPAA, 
COMPO-TOA  and  other  plans  put  forward 
by  representatives  of  these  groups.  COM- 
PO's  members  on  this  committee  include 
Harry    Mandel,    Harry    Goldberg,  Ernest 

Musical  Midnight  Show 
Touted  by  Commonwealth  Chain 

Commonwealth's  "Messenger",  house 
organ  of  the  midwest  circuit,  suggests  a  dif- 
ferent angle  for  a  midnight  show.  A  "Musi- 
cal Midnight  Show",  featuring  an  all-musical 
program  is  the  idea,  topped  by  a  film  like 
"The  Glenn  Miller  Story"  or  "The  Eddy 
Duchin  Story",  and  a  host  of  musical  shorts 
to  complete  the  bill. 

The  showmanship  publication  recommends 
a  co-op  with  a  local  disc  jockey  and  record 
shop  to  help  make  the  boxoffice  sing  a  merry 
tune — with  plenty  of  high  notes.  Build  up 
the  promotion  by  featuring  the  platter  spin- 
ner doing  his  program  from  your  lobby,  and 
to  patrons  of  the  musical  show  you  might 
present  coupons  good  for  discounts  on  wax- 
ings  at  the  participating  record  store. 


Emerling  and  Charles  E.  McCarthy.  This 
group  will  report  back  to  the  over-all  com- 
mittee next  week. 

One  of  the  plans  expected  to  catch  the  im- 
agination of  the  industry  representatives  is 
the  showmanship  idea  developed  by  Alice 
Gorham,  publicity  director  of  United  Detroit 
Theatres,  who  has  come  up  with  a  promo- 
tional plum  known  as  the  "Hollywood  Hall 
of  Fame".  Following  the  line  of  reasoning 
that  Baseball  and  Football  have  hit  a  public 
relations  jackpot  with  their  "hall  of  fame" 
setups,  the  Michigan  show-woman  ran  a 
pilot  poll  at  Detroit's  Michigan  Theatre  to 
test  public  response  to  her  idea.  Reaction  to 
the  Gorham  plan  was  very  favorable.  Pa- 
trons of  the  UDT  house  were  confronted 
with  two  striking  displays  upon  entering  the 
theatre:  one  featuring  a  variety  of  male  stars; 
the  other,  an  equally  good  variety  of  ac- 
tresses. Theatregoers  were  requested  to  select 
their  favorites  for  a  "Hollywood  Hall  of 
Fame". 

Also  in  line  for  close  scrutinization  are  the 
Audience  Awards  program  and  a  celebration 
of  the  Golden  Jubilee  of  Motion  Pictures,  the 
50th  anniversary  of  the  first  motion  picture 
produced  in  Hollywood. 


-A-  Down  New  Orleans  way  sultry,  Shawnee 
Smith  puts  in  a  pair  of  hefty  plugs — one  for  the 
March    of    Dimes,    the   other   for  Columbia's 
"Zarak",  playing  at  the  Orpheum. 


To,  THE  PEOPLE  OF  THE  CJTY 
OF  BUFFALO 

In  Iho  matter  of  i 

"R1FIFI" 


g>umtttnttB 


fou  arr  hrrrby 

ol  on»  of  tht  mat  ipoctocutor  ,«»•/  robboriti  i 
poop/,  of  tuffofo.    Thh  oction  will  iok,  plan  daily,  or  iho  CINEMA  THEATRE 
Storting  JHUKDAY.    Failuto  to  apptor  will  muff  In  Iho  farfoit  ol  your  opportunity  to 
b»  p„„m  ai  ih,  iftowrng  of  o  motl  f  motional  now  motion  pictvro  "RIPIFi" 
IMPORTANT  !  rtocovu  ol  Iho  o.froordinory  noiuto  ol  "RIPIFI"  no  on*  will 
bo  Motod  during  tho  Ipri  noil  hour.    Hoot*  obiorro  Iho  h 
toroto/fy.    Footoro  Daily  at  1 45.  3.15,  5.25.  7,40  t  9,50 


«  Jim  Hayes,  manager 
of  the  Cinema  Theatre 
in  Buffalo,  N.Y.  "sum- 
moned" patrons  to  his 
theatre  with  this  clever 
postcard  gimmick  when 
"Rififi"  played  there. 


Sid  White  Named  to  Head 
Warners'  TV-Radio  Publicity 

Meyer  M.  Hutner,  national  publicity  di- 
rector of  Warner  Bros.,  announced  the  ap- 
pointment of  Sid  White  to  handle  the  film 
company's  over-all  television-radio  activities. 
His  chief  function  will  be  the  promotion  of 
Warners'  films  and  personalities  via  the  two 
air  mediums  as  well  as  publicization  of 
WB's  TV  shows,  "Cheyenne"  and  "Conflict". 

White  formerly  handled  TV  placements 
on  the  WB  account  for  the  Blaine-Thompson 
advertising  agency.  He  had  previously  been 
a  movie  and  radio  trade  paper  writer. 

Spiegel  on  Talent  Hunt 

Producer  Sam  Spiegel  has  launched  a 
talent  search  for  a  young  actor,  who  is  "vide 
but  not  aggressive,  sensitive  but  not  effemi- 
nate" to  fill  a  key  role  in  his  new  film,  "The 
Bridge  On  The  River  Kwai",  now  being  shot 
in  the  jungles  of  Ceylon. 

Because  of  the  tight  production  schedule, 
the  successful  applicant  must  be  on  the  job 
by  January  25.  Because  of  the  time  limita- 
tion, Spiegel  will  concentrate  on  auditioning 
New  York  and  Hollywood  actors.  The  vet- 
eran producer  says  the  part  is  such  a  sure- 
fire star  builder  that  the  talent  search  win- 
ner will  be  optioned  for  starring  roles  in 
future  Horizon  Productions. 


[More  SHOWMEN  on  Page  16] 


Film  BULLETIN    January  21,   1957        Page  13 


EXPLOITATION  PICTURE 


Get  The  Opinion-Makers  Behind  This  One! 


Every  so  often  a  picture  comes  along  bear- 
ing intrinsic  hallmarks  of  distinction  not 
readily  apparent  from  the  title,  cast,  credits 
or  advance  publicity.  Yet  it  is  packed  with 
entertainment  values  that  are  certain  to  ap- 
peal to  all  who  like  dramatic  meat  in  their 
movies — and  to  make  them  tell  their  world 
to  go  see  it!  Such  a  movie  is  "Three  Brave 
Men",  based  on  the  Pulitzer  Prize  articles 
by  Anthony  Lewis,  written  for  the  screen 
and  directed  by  Philip  Dunne  for  producer 
Herbert  B.  Swope,  Jr.,  under  the  20th  Cen- 
tury-Fox banner. 

There  is  one  prerequisite  incumbent  on 
every  showman  worthy  of  the  name — let  the 
public  generally  know  about  this  movie  and 
get  opinion  makers,  particularly,  to  spread 
the  word  about  it.  20th-Fox  has  based  a 
concentrated  campaign  on  these  two  require- 
ments pegged  on  two  fountainheads  of  word- 
of-mouth — stimulating  advertising  and  wide- 
spread screenings. 

The  special  screening  campaign  is  one  of 
the  biggest  20th  has  undertaken  for  a  pic- 
ture of  this  type.  Before  it  runs  its  present 
course  of  nationwide  showings,  more  than 
50,000  community  opinion  makers,  exhibitors 
and  press  people  in  34  major  cities  will  have 
seen  the  CinemaScope  drama,  each  of  them 
sending  word  rippling  out  among  their  con- 
stituents, members,  readers  and  viewers  that 
here  is  a  picture  not  to  miss.  The  types  of 
organizations  invited  to  send  their  repre- 
sentatives to  view  the  film:  Council  of 
Churches,  Parent-Teacher  Associations, 
American  Civil  Liberties  Union,  Federation 
of  Women's  Clubs.  Typical  comments: 
"This  is  the  finest  picture  of  its  nature  that 
I  have  ever  seen  and  I  will  urge  all  my 
constituents  to  see  this  picture  and  tell  their 
friends  about  it." — Luther  K.  MacNair,  ex- 
ecutive director,  American  Civil  Liberties 
Union;  ".  .  .  Never  forgettable  struggle  for 
true  freedom  for  mankind.  I  hope  that  we 
can  be  of  some  beneficial  service  to  the  thea- 
tre when  'Three  Brave  Men'  will  open" — 
Mrs.  R.  Griffiths,  president,  Boston  Federa- 
tion of  Women's  Clubs. 

While  Fox  is  sponsoring  the  screenings  in 
the  key  cities,  there  is  still  ample  room  for 
individual  showmen  to  set  up  showings  for 
community  talk-it-uppers  outside  of  the  key 
areas.  Since  the  picture  deals  with  a  dra- 
matic miscarriage  of  justice  that  is  contro- 
verted by  the  bravery  of  individuals  who 
risk  their  own  reputations  to  save  an  inno- 
cent man  from  being  branded  a  Commu- 
nist, it  carries,  along  with  the  emotional  im- 
pact, a  significance  that  hits  every  communal 
organization  leader  where  he  or  she  lives 
and  makes  them  a  walkie-talkie  ad  for  the 
film.  Showmen  who  take  the  opportunity  to 
set  up  local  screenings  will  be  performing  a 
double  service — boosting  the  picture's  box- 
office  and  ingratiating  their  theatre  with  the 
town's  top  people. 

On  the  advertising  front,  20th  has  un- 
corked a  series  of  factually  teasing,  hard- 


hitting newspaper  ads  that  smack  out  at  the 
thinking  audience,  pique  the  interest  of  those 
who  are  content  to  just  sit  back  and  be 
entertained,  as  well.  From  the  teasers  on  this 
page  to  the  display  ads  opposite,  the  cam- 
paign subtly  encompasses  the  whole  of  the 
moviegoing  audience  (and  lots  who  don't 
usually  go).  Every  illustration,  every  line  of 
copy  is  a  dramatic  punch  softening  up  the 
public  for  the  actual  viewing  coup  d'etat.  An 
added  sock  is  the  line:  "Find  out  WHY  their 
story  had  to  win  the  Pulitzer  Prize!",  toss- 
ing out  the  undoubted  lure  to  the  discrimi- 
nating with  this  distinguished  honor. 

There  will  be,  possibly,  those  who  will 
feel  that  the  picture  leans  too  far  in  its  heart- 
felt cry  for  human  rights.  A  touch  of  this 
will  hardly  be  unwelcome  since  it  will  bring 
in  controversy,  a  magic  boxoffice  word  con- 
juring up  so  much  more  talk  about  the  film. 

This,  then,  is  the  showman's  peg:  let  'em 
know  with  the  ads  and  the  screenings,  get 
'em  talking  and  let  the  picture's  strong  enter- 
tainment values  do  the  rest. 


TEASER  ADS 


THREE 
BRAVE  MEN 

The  name  of  Abraham  Chasanow 
will  bring  back  few  flickers  of  mem- 
ory in  the  average  American,  even 
though  his  story  is  still  warm  in  the 
newspaper  morgues.  Two  of  those, 
however,  who  saw  in  it  the  kind  of 
drama  that  reaches  into  every  Ameri- 
can's life  are  Anthony  Lewis,  a  writer, 
and  Herbert  B.  Swope,  Jr.,  a  movie 
producer.  Lewis  esconced  Chasa- 
now's  story  into  fame  with  a  series  of 
articles  that  won  the  writer  a  Pulitzer 
Prize;  Swope  has  made  a  movie  of 
that  story  that  has  already  started 
talk  about  "bests"  for  1957.  It  stars 
Ernest  Borgnine  as  the  Navy  Depart- 
ment employee  who  sees  his  22-year 
service  with  the  Government  blasted 
into  bits  by  charges  of  "Red",  Ray 
Milland  as  the  attorney  who  puts  his 
reputation  and  career  on  the  chop- 
ping block  of  prejudice  by  defending 
Borgnine,  and  features  distinguished 
performances  by  Dean  Jagger,  who 
weighs  his  duty  as  an  Assistant  Sec- 
retary of  the  Navy  to  preserve  securi- 
ty against  the  rights  of  the  individual 
to  work  and  live  with  honor;  Frank 
Lovejoy,  Nina  Foch,  Virginia  Christine 
and  Frank  Faylen  in  sterling  perform- 
ances. As  the  film  unfolds,  the  details 
will  come  back — Borgnine's  suspen- 
sion as  a  security  risk  by  Jagger  when 
he  is  charged  with  communist  associ- 
ations; the  abuse  he  and  his  family 
receive  in  their  home  and  at  school  as 
the  innocent  man  dazedly  sees  his 
world  crumbling;  the  brilliant  defense 
by  lawyer  Milland,  who  brings  faith- 
ful, undaunted  neighbors  and  friends, 
to  testify  for  the  accused,  resulting  in 
his  clearing  by  a  hearing  board;  the 
double  blow  when  Jagger  overrules 
the  board  and  terminates  Borgnine's 
job;  Milland's  tenacious  appeal  for  a 
re-investigation,  uncovering  the  web 
prejudice  and  hysteria  that  brought 
the  charges,  and  the  courageous  pub- 
lic apology  and  reinstatement  by 
Jagger.  It's  a  story — and  a  picture 
— to  remember. 


Page  14        Film  BULLETIN    January  21,  1957 


3 


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Film  BULLETIN    January  21,  1 957       Page  15 


r 


Strong  Word-of-Mouth  Drives 
Sell  Films  Sans  B.O.  Headliners 

20th,  Metro  and  RKO  each  are  selling 
current  releases  via  strong  word-of-mouth 
drives  to  counter  the  absence  of  king-size 
pre-production  reputations  or  pack-em-in 
boxoffice  names.  In  a  vigorous  effort  to 
stir  up  interest  in  "Three  Brave  Men" 
(20th),  "Edge  of  the  City"  (MGM)  and 
"The  Young  Stranger"  (RKO),  the  three 
distributors  are  pushing  these  films  through 
extensive  screenings  for  and  interviews 
among  opinion-makers,  with  the  aim  of  get- 
ting the  pictures  off  the  ground  quickly  on 
advance  word-of-mouth  impetus  from  promi- 
nent people. 

The  20th  campaign  on  "Three  Brave 
Men",  patterned  after  the  highly  successful 
w-of-m  build-up  on  "A  Man  Called  Peter", 
has  reached  more  than  50,000  community 
leaders  from  such  organizations  as  the  Fed- 
eration of  Women's  Clubs  and  the  United 
Church  Women,  who  saw  the  film  in  a  host 
of  key  cities. 

The  Metro  push  for  "City"  has  concen- 
trated on  screenings  for  "influential  people" 
in  the  New  York  area,  coupled  with  inter- 
views and  visits  to  opinion-moulders  by  key 
personalities  such  as  David  Susskind,  pro- 
ducer of  the  film. 

Aiming  principally  at  the  teen-age  set, 
RKO  is  running  a  series  of  contests  for 
members  of  high  school  newspapers  and 
journalism  students.  Students  are  shown 
"Stranger",  then  write  reviews,  the  best  re- 
view being  honored  in  the  school  paper. 

Movie  Popularity  Contest 
Vigorous  Boxoffice  Stimulant 

North  of  the  border  in  Canada,  the  Toron- 
to Star  Weekly  is  running  a  promotion  on 
motion  pictures  that  has  scads  of  people 
reading,  thinking,  talking  motion  pictures. 
Boasting  a  circulation  of  over  950,000  the 
Canadian  paper  is  running  a  Movie  Populari- 
ty Poll  to  find  Canada's  three  top  motion 
pictures  of  1956  and  the  favorite  trio  of 
actors  and  actresses.  $1,000  in  cash  will  be 
the  prize  to  reader  whose  guess  comes 
closest  to  the  final  poll  results. 

Needless  to  say,  the  virtual  flood  of  free 
publicity  coverage  is  making  Canadian  cir- 
cuits and  independent  theatre  owners  jump 
with  joy  for  this  potent  p.r.  lift.  For  their 
part,  Dominion  showmen  are  contributing 
two  hundred  double  season  passes  to  be 
given  away  to  winners  in  the  movie  popu- 
larity contest. 

In  addition  to  devoting  $10,000  of  free 
space  to  the  promotion,  the  Star  Weekly  is 
spending  plenty  more  via  direct  mail  pieces, 
posters  and  displays.  The  newspaper  ad- 
vised every  theatreman  in  Canada  of  the 
Movie  Popularity  Poll  via  letter  soliciting 
their  participation  in  the  campaign.  All  par- 
ticipating theatres  received  a  one-sheet  out- 
lining details  of  the  contest  to  be  used  for 
display  purposes. 


•T^GET  THE  100T| 

pi 


Admiral  ** 

BIG  W  POBTA»U  TV  k! 


-■V  A  trio  of  UA's  exploiteers  came  up  with  -tfe- 
some  top  promotions  on  "The  King  and  Four 
Queens".  Top  to  bottom:  1 )  In  Cincinnati,  Bill 
Shirley  placed  a  safe  in  front  of  the  Palace  The- 
atre with  the  person  dialing  the  right  combo 
snaring  a  portable  TV  set.  2)  Another  Shirley 
gimmick  had  a  live  "king  and  queen"  passing  out 
cards  from  a  specially  numbered  deck  for  a  con- 
test stunt.  3)  San  Francisco  ballyman  "Tiger" 
Thompson  sent  a  K  and  4  C*s  on  a  shopping  dis- 
trict tour.  4)  St.  Louis  fieldman  Bill  Gandall  ar- 
ranged a  neat  stunt  for  a  KSD  program  by  hav- 
ing a  teenage  press  agent  Betty  Creech  throw 
the  spotlight  on  Clark  Gable. 


Italo-American  Market  Target 
of  WOV-Columbia  PR  Promotion 

In  a  sock  public  relations  promotion  aimed 
at  the  Italian-American  market,  radio  sta- 
tion WOV  of  New  York  City  and  Columbia 
Pictures  have  joined  hands  to  hypo  interest 
in  "Full  of  Life",  Columbia's  new  comedy 
starring  Judy  Holliday,  Richard  Conte  and 
Salvatore  Baccoloni.  Long  acknowledged  as 
the  nation's  leading  Italian-language  kilo- 
watter,  WOV,  in  an  attempt  to  batter  the 
Italian  stereotype,  will  plug  the  Fred  Kohl- 
mar  production  on  all  levels  as  "a  film  which 
shows  definitely  how  story  and  comedy 
values  can  be  extracted  from  an  Italian- 
American  situation  with  offense  to  no  one". 

For  the  use  of  Italian  media  everywhere, 
WOV  has  prepared  a  special  kit  of  material 
to  be  used  by  Columbia  exploiteers  and  local 
exhibitors.  The  N.  Y.  station  is  sending  out 
batches  of  transcribed  interviews  to  Italian- 
language  outlets  in  every  nook  of  the  nation 
featuring  Conte,  Baccaloni  and  other  sup- 
porting players.  In  addition,  WOV  is  spon- 
soring a  series  of  screenings  for  civic,  re- 
ligious and  organizational  leaders  of  the 
Italo-American  community  in  N.  Y.,  Boston 
and  Chicago. 

Idea-ed  by  Columbia's  Jonas  Rosenfield, 
Jr.,  the  promotion  is  scoring  a  public  rela- 
tions bulls-eye,  with  waves  of  enthusiastic 
comment  coming  in  from  notables  all  over 
the  nation.  "Full  of  Life"  is  apparently  well- 
regarded  by  those  who  are  sensitive  to  the 
flood  of  biased  representations  of  first  and 
second  generation  Italians  in  films,  on  tele- 
vision and  radio,  and  in  the  press. 

Explaining  the  WOV  decision  to  help  Co- 
lumbia sell  the  film  in  the  lush  Italian  mar- 
ket, Ralph  Weil,  general  manager  of  the  sta- 
tion stated:  ".  .  .  'Full  of  Life'  is  going  to 
make  a  lot  of  friends  for  Italian-Americans. 
We  want  to  encourage  this  kind  of  thing, 
and  have  told  Columbia  we  will  do  whatever 
we  can  to  get  the  word  around." 

Campaign  Contest  Set  for 
'Big  Land'  St.  Loo-K.  C.  Booking 

Three  lucky  and  hard-working  theatre 
managers  in  the  Kansas  City-St.  Louis  area 
are  going  to  be  gifted  with  $100  Savings 
Bonds  from  Warner  Bros,  for  setting  up  the 
"sellingest"  advertising  and  exploitation 
campaigns  in  their  engagements  of  "The 
Big  Land",  Alan  Ladd  starrer  which  kicks 
off  a  saturation  booking  campaign  in  over 
250  Missouri  theatres  on  January  31. 

Theatremen  participating  in  the  campaign 
have  been  asked  by  WB  to  compile  scrap- 
books  documented  by  photos,  newspaper 
clippings,  and  all  other  pertinent  material. 
Entries  should  be  sent  to  W.  W.  Blumberg, 
Warner  Bros.,  321  W.  44th  Street,  New  York 
36,  N.  Y.  To  be  judged  by  staffers  at  the 
WB  home  office,  the  contest  will  be  divided 
into  three  segments,  with  bonds  being 
awarded  for  the  best  campaign  by  a  manager 
in  (1)  a  city  with  a  population  of  over  50,- 
000;  (2)  in  a  city  of  not  less  than  5,000  nor 
more  than  50,000;  (3)  in  a  city  with  less  than  | 
5,000  population.  Closing  date  for  entries  is 
March  15. 


Page  U       Film  BULLETIN    January  21,  1957 


THEY 


MADE  THE  NEWS 


VOGEL 


JOSEPH  R.  VOGEL,  president  Loew's, 
Inc.,  and  his  associates  in  the  company's 
management,  in  a  move  to  ward  off  a 
proxy  fight,  last  week  agreed  upon  a  slate 
of  13  directors  which  are  reportedly  ac- 
ceptable to  the  leaders  of  dissident  stock- 
holders. This  slate  will  be  submitted  for 
election  at  the  annual  stockholders  meet- 
ing Feb.  28.  The  upheaval  in  the  Loew's 
board  was  made  to  pacify  a  group  of 
stockholders  headed  by  Joseph  R.  Tom- 
linson,  holder  of  some  180,000  shares,  who 
has  charged  management  with  nepotism 
and  favoritism,  and  had  threatened  a 
fight  for  control.  The  new  board  nomi- 
nated comprise  six  proposed  by  company 
management  and  seven  presumably 
offered  by  Tomlinson's  group.  Lehman 
Brothers  and  Lazard  Freres,  investment 
bankers,  who  together  own  about  350,000 
shares,  also  took  part  in  the  selection  and 
approval  of  candidates.  Vogel  remains 
the  only  member  of  management  in  the 
new  slate.  Tomlinson  said  he  believed 
nominating  of  the  new  board  "is  in  the 
best  interests  of  Loew's  share  owners, 
employes  and  the  public".  Vogel  stated 
that  he  had  "held  many  meetings  with 
various  groups  of  stockholders  who,  by 
now,  are  surely  convinced  that  we  are  re- 
sponsive to  their  wishes  and  desirous  of 
placing  Loew's  again  in  a  position  of  one 
of  the  leading  companies  in  America." 
He  expressed  his  appreciation  "to  my  as- 
sociates on  the  board,  starting  with  Ar- 
thur Loew,  the  retiring  chairman,  and  in- 
cluding Howard  Dietz,  Charles  C.  Mos- 
kowitz,  Benjamin  Melniker,  Charles  M. 
Reagan,  F.  Joseph  Holleran  and  G.  Row- 
land Collins,  who  volunteered  not  to 
stand  for  reelection  to  the  Loew  board." 
Arthur  Loew  announced  that  he  will  de- 
vote full  time  to  Loew's  International. 


UNITED  ARTISTS  made  the  headlines  again  with  propitious  pronouncements  about 
its  prospering  and  expanding  operations.  In  the  latest  developments,  the  management 
group  announced:  (1)  the  company  grossed  $65,300,000  world-wide  in  1956  as  compared 
to  $55,000,000  the  previous  year;  (2)  UA  will  release  approximately  48  features  in  1957; 
(3)  top  budget  productions  will  be  stressed  on  the  theory  that  there  will  be  a  "surfeit" 
of  minor  films;  (4)  UA  has  held  preliminary  discussions  with  a  number  of  exhibitor  or- 
ganizations which  have  indicated  an  interest  in  helping  to  finance  UA  product.  Presi- 
dent Arthur  Krim  also  said  the  company  is  giving  consideration  to  public  financing 
through  a  stock  issue.  Informed  sources  believed  such  a  move  to  be  a  certainty  in  the 
very  neir  future.  On  production  plans  Kiim  had  this  to  say:  "Over  the  past  few  months, 
United  Artists  has  been  making  a  careful  study  of  exhibitor  needs  and  market  conditions 
  to    determine    our    production  planning 


LOEW'S  NEW  BOARD  SLATE 

JOSEPH  R.  VOGEL,  president,  Loew's, 
Inc.;  GEORGE  A.  BROWNELL,  lawyer, 
partner,  Davis,  Polk,  Wardwell,  Sunder- 
land &  Kiendl;  FRED  F.  FLORENCE, 
president,  Republic  National  Bank  of 
Dallas;  LOUIS  A.  JOHNSON,  lawyer, 
partner,  Steptoe  and  Johnson.  Former 
Sec'y  of  Defense;  K.  T.  KELLER,  for- 
mer chairman  of  the  beard  of  Chrysler 
Corp;  GEORGE  L.  KILLION,  president, 
American  President  Lines,  Ltd.;  RAY 
LAWSON,  chairman,  Lawson  &  Jones, 
Ltd.  Director,  Royal  Bank  of  Canada; 
STANLEY  MEYER,  motion  picture  ex- 
ecutive, formerly  associated  with  TV  star 
Jack  Webb;  WILLIAM  A.  PARKER, 
chairman  of  the  board  of  Incorporated 
Investors,  Inc.;  FRANK  PACE,  JR.,  ex- 
ecutive vice  president  General  Dynamics 
Corp.  Former  Sec'y  of  the  Army;  OG- 
DEN  R.  REID,  president  and  editor, 
New  York  Herald  Tribune;  JOHN  L. 
SULLIVAN,  lawyer,  partner  in  firm  of 
Sullivan  &  Wynot.  Former  Sec'y  of  the 
Navy;  JOSEPH  TOMLINSON,  indus- 
trialist, Tomlinson  Bros.  Construction. 


position  ...  In  recent  weeks  we  have 
noted  announcements  by  other  major 
companies  that  they  are  going  into  the 
lower-budget  field  on  an  extensive  basis. 
We  feel  that  there  will  be  no  shortage  in 
this  area  and  possibly  a  surfeit.  As  a  re- 
sult United  Artists  will  cut  down  on 
smaller-budget  features  in  1958  and  con- 
centrate on  'A'  pictures — picture  that  can 
play  on  their  own  as  top  features  in  any 
theatre  in  the  world.  We  believe  that  this 
program  will  insure  a  more  profitable 
operation  for  both  exhibitors  and  our- 
selves." The  UA  president  also  reported 
that  the  company  currently  has  an  in- 
vestment of  approximately  $40,000,000  in 
product  about  to  go  into  release.  Al- 
though its  1957  and  1958  production  will 
be  100  per  cent  financed  by  itself,  new 
financing  possibilities  are  being  explored, 
according  to  Krim,  because  of  the  desire 
to  bring  as  many  top-calibre  projects  to 
the  screen  as  possible  and  because  of  the 
prospect  of  a  tightening  of  bank  credit. 
Above,  from  left:  v. p.  William  H.  Heine- 
man,  board  chairman  Robert  S.  Benjamin, 
Krim,  and  v. p.  Max  E.  Youngstein. 


STEVE  BROIDY,  Allied  Artists  president,  told  the  trade  press  in  New  York  that  his 
company  will  continue  it?  move  into  the  big-time  with  a  sb.te  of  36  to  40  pictures  in 
1957.  Production  costs,  Broidy  declared,  could  run  to  $15-20  million.  He  also  revealed 
that  AA  expects  to  gross  between  $15  and  $16  million  in  1956,  of  which  $3  million  will 
come  from  the  foreign  market,  and  that  the  '57  intake  should  be  even  higher.  Next 
year's  program  will  include  three  or  four  big-budget  films,  the  AA  chief  stated,  at  a 
cost  of  up  to  $3  million  each.  Half  of  its  total  output  will  be  independent  productions 
in  which  AA  cooperates  in  financing  to  a  certain  extent.  "We  are  maintaining  an  open 
door  policy  toward  independent  production,"  he  told  the  press.  Allied  Artists  has  20 
films  finished  or  in  production.  Below,  from  left:  vice  president  Edward  Morey,  sales 
head  Morey  R.  Goldstein,  executive  v. p.  George  Burrows,  v. p.  Norton  V.  Ritchey. 


[More  NEWS  on  Page  18] 

Film  BULLETIN    January  21,   1957        Page  17 


HEADLINERS... 


THEY 


MADE  THE  NEWS 


SHOR 


RUBEN  SHOR,  National  Allied  presi- 
dent, approved  final  plans  for  Allied's 
1957  Drive-In  convention  scheduled  for 
Jan.  20-31  in  Cincinnati.  Shor  and  a  com- 
mittee of  seven  met  last  week  to  put  the 
finishing  touches  on  the  conclave  which 
they  reported  will  be  "one  of  Allied's 
greatest  conventions".  This  estimate  was 
based  on  the  large  amount  of  booth  space 
engaged  by  manufacturers  and  the  heavy 
demands  for  reservations  from  exhibitors. 
Shor  will  function  as  permanent  conven- 
tion chairman,  with  Robert  F.  Morrell  as 
coordinator.  Albert  Sindlinger,  motion 
picture  research  analyst,  will  be  the  fea- 
tured speaker,  and  general  counsel  Abram 
F.  Myers  will  "sum  up"  at  the  conclusion 
of  the  convention.  Allied's  clinics  on 
various  exhibitor  problems  will  also  be  an 
important  phase  of  the  gathering.  Among 
the  topics  to  be  discussed  will  be  the  pro- 
posed arbitration  system,  and  the  film 
situation.  According  to  a  pre-convention 
bulletin,  Allied  reports  that  "information 
coming  from  many  sections  indicate  that 
the  drive-ins  are  experiencing  difficulties 
in  obtaining  film  which  are  the  same  in 
kind  and  pretty  much  the  same  in  degree 
as  the  indoor  theatres".  The  film  com- 
panies were  also  chastised  for  standing 
aloof  from  such  exhibitor  conventions, 
stating  that  it  is  "ominous  as  an  indication 
of  an  unwillingness  by  some  company  ex- 
ecutives to  cooperate  with  their  customers 
for  the  good  of  the  whole  industry,  es- 
pecially in  times  like  these." 

0 

DAVID  O.  SELZNICK  and  20th-Fox 
have  concluded  a  deal  whereby  Selznick's 
production  company  will  do  all  the  pre- 
and  post-production  work  on  one  picture 
a  year  for  two  years.  Both  will  star 
Jennifer  Jones. 


THOMAS  F.  O'NEIL,  board  chairman 
of  RKO  Radio  Pictures,  appears  to  be  on 
the  verge  of  dismantling  most  of  that  or- 
ganization. Talks  between  executives  of 
RKO  and  Universal  Pictures  on  the  re- 
ported deal  whereby  the  latter  company 
would  take  over  domestic  distribution  of 
RKO  product  were  said  to  be  bogged 
down  because  of  legal  difficulties,  but  is 
expected  to  go  through  eventually.  It  is 
liekly  that  RKO  will  close  its  Gower 
Street  Studios  in  Hollywood,  shift  pro- 
duction to  the  Culver  City  branch  and  let 
out  much  of  its  studio  personnel.  No 
official  word  has  come  from  O'Neil  or  any 
other  company  executive,  but  at  last 
weekend  it  seemed  certain  that,  barring 
any  sudden  shift  in  plans,  RKO  will  soon 
be  functioning  as  an  independent  produc- 
tion unit  making  approximately  ten  films 
per  year. 

0 

S.  H.  FABIAN  had  good  news  for  Stan- 
ley Warner  stockholders  at  the  recent  an- 
nual meeting.  Net  income  for  the  first 
fiscal  quarter  ended  Nov.  24,  1956,  was 
shown  to  be  $969,000,  compared  with 
$810,508  for  the  corresponding  period  last 
year.  This  was  equal  to  45c  per  share  as 
against  37c.  Gross  income  was  $27,169,000 
compared  to  $23,926,500  in  the  first  '55 
quarter.  The  S-W  president  revealed  that 
the  income  of  the  chain  for  the  week  end- 
ing Jan.  5  was  the  largest  for  any  one 
week  since  organization  of  the  company. 

0 

FRED  J.  SCHWARTZ,  Distributors 
Corp.  of  America  president,  announced  a 
program  of  up  to  23  pictures  to  be  re- 
leased in  1957,  a  result  of  the  "demand  on 
the  part  of  exhibitors  for  features  that 
will  pull  audiences  away  from  TV  sets 
and  into  theatres".  DCA  intends  to  re- 
lease three  to  five  top  quality  pictures, 
ten  or  12  of  the  best  of  foreign  product, 
and  two  or  three  "packages"  of  four  to 
six  exploitation  films  aimed  at  the  juvenile 
audience.  Schwartz  reported  that  ten  ex- 
change offices  have  been  opened  in  the 
U.S.  with  plans  calling  for  15  to  18 
throughout  the  U.  S.  and  Canada  by  the 
end  of  1957. 

O 

NED  E.  DEPINET  was  elected  president 
of  the  Motion  Picture  Pioneers,  Inc.,  and 
the  Foundation  of  the  Motion  Picture 
Pioneers,  Inc.,  succeeding  the  late  Jack 
Cohn.  Depinet  was  formerly  president  of 
RKO  Radio  Pictures  and  an  executive  of 
COMPO.  The  Pioneers  board  of  direc- 
tors also  elected  William  J.  German  as 
treasurer  and  George  Dembow  secretary. 


WILLIAM  C.  (BILL)  GEHRING,  59, 
20th  Century-Fox  vice  president  and  spe- 
cial assistant  to  Fox  president  Spyros  P. 
Skouras,  died  Jan.  17. 

HUMPHREY  BOGART,  56,  long  a  top 
boxoffice  personality,  died  Jan.  14  of 
cancer  in  his  Hollywood  home.  Bogart 
won  an  Academy  Award  in  1951  for  his 
work  in  "The  African  Queen".  His  wife, 
Lauren  Bacall,  and  two  children,  survive. 


NORMAN  J  . 
AYERS  rejoined 
Warner  Brothers  as 
head  of  its  playdate 
department,  replac- 
ing  ERNEST 
SANDS,  appointed 
Midwest  district 
manager.  Ayers  was 
formerly  Eastern  dis- 
trict mgr  . . .  Univer- 
sal v.p.  DAVID  A. 
LIPTON  in  New 
York  for  home  of- 


fices conferences  on  AYERS 
upcoming  product... 

American  Broadcasting-Paramount  Thea- 
tres president  LEONARD  H.  GOLDEN- 
SON  to  receive  1956  Humanitarian  Award 
of  the  March  of  Dimes  at  the  Feb.  18 
testimonial  dinner  at  the  Waldorf-Astoria, 
chairmanned  by  20th-Fox  president  SPY- 
ROS  P.  SKOURAS  ...  MYRON  A. 
BLANK,  ELMER  C.  RHODEN, 
ROBERT  W.  SELIG  &  BERNARD 
BROOKS  among  the  23  theatremen  who 
have  accepted  posts  as  chairmen  for  their 
areas  of  the  amusement  industry's 
Brothehood  Drive  for  1957.  Drive  will  be 
launched  at  the  Waldorf-Astoria  Jan.  24 
at  a  dinner  honoring  JACK  L.  WARNER 
with  Brotherhood  Award  for  1957  . . .  The 
late  JACK  COHN,  former  executive  vice 
president  of  Columbia  Pictures,  was  pre- 
sented with  a  posthumous  award  for  out- 
standing service,  at  the  4th  annual  awards 
luncheon  of  the  amusement  industry 
branch  of  the  Federation  of  Jewish  Phil- 
anthropies. RALPH  COHN,  vice  presi- 
dent of  Screen  Gems  and  son  of  the  late 
movie  pioneer,  accepted  the  award.  $186,- 
000  was  raised  toward  the  industry's  goal 
of  $250,000 ...  ERIC  JOHNSTON  an- 
nounced appointment  of  CHARLES  E. 
EGAN  as  MPEAA  representative  for 
India,  Pakistan  and  Burma  due  to  the  "in- 
creased importance  of  the  Far  Eastern 
market"  ...  WILLIAM   NUTT  elevated 

CFSHJ.. 

At  screening  of  WB's  "Top  Secret  Affair": 
Bernard  R.  Goodman,  Roy  Haines,  Robert  K. 
Shapiro,  Ralph  lannuzzi,  and  Wilbur  Snaper. 

from  story  editor  to  administrative  assist- 
ant by  WILLIAM  DOZIER,  RKO  pro- 
duction head  . . .  SPYROS  P.  SKOURAS 
and  other  Fox  executives  on  hand  Jan.  19 
to  welcome  INGRID  BERGMAN  "Ana- 
stasia"  star,  in  from  Europe  to  accept  the 
New  York  Film  Critics'  best  actress 
award... UA  advertising  manager 
JOSEPH  GOULD  back  at  home  offices 
from  a  week  of  Hollywood  conferences  on 
spring  ad  campaigns  . . .  20th-Fox  sales 
manager  ALEX  HARRISON  meeting 
with  Eastern  division  manager  MARTIN 
MOSKOWITZ  in  Philadelphia  to  map 
distribution  plans  for  the  new  year.  Meet- 
ing is  one  of  series  being  conducted  by  the 
sales  topper  around  the  country.  Also  at- 
tending, Fox  advertising  director  ABE 
GOODMAN...  GEORGE  WELTNER, 
president  of  Paramount  Film  Distributing 
Corp.,  and  JERRY  PICKMAN,  ad-pub 
v.p.,  among  Paramount  home  office  execu- 
tives in  attendance  at  the  Jan.  16-18  na- 
tional sales  and  merchandising  confer- 
ence in  St.  Louis  ...  SYLVAN  COHEN, 
newly  installed  chief  barker  of  Variety 
Club  Tent  13,  Philadelphia,  toastmaster 
at  Jan.  21  dinner  honoring  UA  Eastern 
district  mgr.  GENE  TUNICK  and  Phila. 
branch  mgr.  STANLEY  KOSITSKY, 
recently  promoted  by  United  Artists  . . . 
DIED:  VIVIAN  MOSES,  former  20th- 
Fox  ad-pub  director  and  RKO  veteran. 


Page  18       Film  BULLETIN    January  21,  1957 


Jcuttk  Annual 

NATIONAL  ALLIED 
DRIVE-IN  THEATRE 
CONVENTION 

0 

Netherland-Hilton  Hotel  Cincinnati,  Ohio 
January  29 -30 -31,  1357 

Wife,  Phcne  w  Write 
Jet  tfcuf  £eJeri?atich4 
7<x{ai{  -  be  9t  fat*! 

Attend  What  Will  Undoubtedly  Be 
The  Largest  —  Createst  Convention 
Of  All  Time  —  A  Real  Experience  In 
All  Phases  Of  The  Theatre  Business! 

Send  Reservations  To 
Direct  To  —  Netherland-Hilton  Hotel,  Cincinnati,  Ohio 
Rube  Shor  —  1632  Central  Parkway,  Cincinnati  10,  Ohio 

SEE  HOW,  LEARN  HOW,  LEAVE,  KNOW  HOW! 
ENTERTAINMENT  DAILY  FOR  THE  LADIES 


Film  BULLETIN    January  21,   1957  Page 


19 


THIS  IS  YOUR  PRODUCT 


All  The  Vital  Details  on  Current  &)  Coming  Features 

(Date  of  Film  BULLETIN  Review  Appears  At  End  of  Synopsis) 


ALLIED  ARTISTS 


September 

CALLING  HOMICIDE  Bill  Elliot,  Jeane  Cooper,  Kath- 
leen Case.  Producer  Ben  Schwalb.  Director  Edward 
Bernds.  Melodrama.  Policeman  breaks  baby  extortion 
racket.  61  min. 

FIGHTING  TROUBLE  Hunti  Hall,  Stanley  Clements. 
Queenie  Smith.  Producer  Ben  Schwalb.  Director  George 
Blair.  Comedy  drama.  Bowery  Boys  apprehend  hood- 
lums by  fast  work  with  a  camera.  61  min. 

STRANGE  INTRUDER  Edward  Purdom,  Ida  Lupino,  Ann 
Harding,  Jacques  Bergerac.  Producer  Lindsley  Parsons. 
Director  Irving  Rapper.  Drama.  A  returning  Korean  vet 
makes  a  strange  promise  to  a  dying  comrade-in-arms. 
81  min. 

October 

CRUEL  TOWER.  THE  John  Ericson,  Mari  Blanchard, 
Charles  McGraw.  Producer  Lindstey  Parsons.  Director 
Lew  Landers.  Drama.  Steeplejacks  fight  for  woman 
on  high  tower.   80  min. 

YAQUI  DRUMS  Rod  Cameron,  Mary  Castle.  Producer 
William  Broidy.  Director  Jean  Yarbrough.  Western. 
Story  of  a  Mexican  bandit.  71  min. 

November 

BLONDE  SINNER  Diana  Dors.  Producer  Kenneth 
Harper.  Director  J.  Lee  Thompson.  Drama.  A  con- 
demned murderess  in  the  death  cell.   74  min. 

FRIENDLY  PERSUASION  Deluxe  Color.  Gary  Cooper, 
Dorothy  McGuire,  Marjorie  Main,  Robert  Middleton. 
Producer-director  William  Wyler.  Drama.  The  story 
of  a  Quaker  family  during  the  Civil  War.  139  min.  10/1 

December 

HIGH  TERRACE  Dale  Robertson,  Lois  Maxwell.  Pro- 
ducer Robert  Baker.  Director  H.  Cass.  Drama.  Famous 
impresario  is  killed  by  young  actress.  77  min. 
HOT  SHOTS  Hunti  Hatl,  Stanley  Clements.  Producer 
Ben  Schwalb.  Director  Jean  Yarbrough.  Comedy.  Ju- 
venile television  star  is  kidnapped.   62  min. 

January 

CHAIN  OF  EVIDENCE  Bill  Elliot,  James  Lydon,  Claudia 
Barrett.  Producer  Ben  Schwalb.  Director  Paul  Landres. 
Melodrama.  Former  convict  is  innocent  suspect  in 
planned  murder.  63  min. 

GUN  FOR  A  TOWN  Dale  Robertson,  Brian  Keith, 
Rossano  Rory.  Producer  Frank  Woods.  Director  Brian 
Keith.  Western.  72  min. 

February 

ATTACK  OF  THE  CRAB  MONSTERS  Richard  Garland, 
Pamela  Duncan.  Producer-director  Roger  Corman. 
Science-fiction.    68  min. 

LAST  OF  THE  BADMEN  CinemaScope,  Color.  George 
Montgomery,  Jar»ei  Best.  Producer  Vinoent  Fennelly. 
Director  Paul  Landres.  Western.  Outlaws  u*e  detective 
as  only  recognisable  ma/i  in  their  holdups,  thus  in- 
creasing reward  for  his  death  or  capture.  81  min. 
NOT  OF  THIS  EARTH  Paul  Birch,  Beverly  Garland. 
Producer-director  Roger  Corman.  Science-fiction.  Series 
of  strange  murders  plagues  large  western  city.  67  min. 

March 

LET'S  BE  HAPPY  CinemaScope,  Color.  Vera  Ellen,  Tony 
Martin,  Robert  Fleming.  Producer  Marcel  Hellman.  Di- 
rector Henry  Levin.  Musical.  105  min. 

Coming 

DAUGHTER  OF  DR.  JEKYtL  John  Agar,  Gloria  Talbot, 
Arthur  Shields.  Producer  Jack  Pollexfen.  Director 
Edgar  Unger.  Horror. 

DRAGOON  WELLS  MASSACRE  Barry  Sullivan,  Mona 

Freeman,  Dennis  O'Keefe.    Producer  Lindsley  Parsons. 

Director    Harold    Schuster.    Western.   Apaches  attack 

stockade  in  small  western  town.  81  min. 

FOOTSTEPS  IN  THE  NIGHT  Bill  Elliot.  Don  Haggerty. 

Melodrama. 

HOLD  THAT  HYPNOTIST  Huntz  Hall,  Stanley  Clements. 
Producer  Ben  Schwalb.  Director  Austen  Jewell.  Comedy 
drama.  Bowery  Boys  tangle  with  unscrupulous  hypnotist. 
61  min. 

HUNCHBACK  OF  PARIS,  THE  CinemaScope,  Color. 
Gtna  Lollobrigida,  Anthony  puiqn.  A  Paris  Production. 
Director  Jean  Delannoy.  Drama.  Hunchback  falls  in 
love  with  beautiful  gypsy  girl.  88  min. 
LOVE  IN  THE  AFTERNOON  Color.  Gary  Cooper, 
Audrey  Hepburn,  Maurice  Chevalier.  Producer-director 
Billy  Wifder.  Drama. 


OKLAHOMAN,  THE  CinemaScope,  DeLuxe  Color.  Joel 
McCrea,  Barbara  Hale.  Producer  Walter  Mirsch.  Di- 
rector Francis  Lyon.  Western.  Doctor  helps  rid  town 
of  unscrupulous  brotheis.  81  min. 

SIERRA  STRANGER  Howard  Duff,  Gloria  McGhee. 
Western.  75  min. 


COLUMBIA 


September 

MIAMI  EXPOSE  Lee  J.  Cobb,  Patricia  Medina,  Ed- 
ward Arnold.  Producei  Sam  Katzman.  Director  Fred 
Sears.  Melodrama.  Mob  schemes  to  introduce  legalized 
gambling  in  Miami,  Florida.  73  min.  8/6. 

1984  Edmund  O'Brien,  Michael  Redgrave,  Jan  Sterling. 
A  Holiday  Production.  Director  Michael  Anderson. 
Drama.  From  the  novel  by  George  Orwell.  91  min. 

SPIN  A  DARK  WEB  Faith  Domergue,  Lee  Patterson, 
Rona  Anderson.  Producer  George  Maynard.  Director 
Vernon  Sewell.  Melodrama.  Engineer  gets  involved 
with  racketeers.  76  min.  7/23. 

October 

PORT  AFRIQUE  Technicolor.  Pier  Angelli,  Phil  Carey, 
Dennis  Price.  Producer  David  E.  Rose.  Director  Rudy 
Mate.  Drama.  Ex-Air  Force  flyer  finds  murderer  of 
his  wife.  92  min.  9/17. 

SOLID  GOLD  CADILLAC,  THE  Judy  Holliday,  Paul 
Douglas,  Fred  Clark.  Producer  Fred  Kohlmar.  Director 
Richard  Quine.  Comedy.  Filimization  of  the  famous 
Broadway  play  about  a  lady  stockholder  in  a  large 
holding  company.   99  min.  8/20. 

STORM  CENTER  Bette  Davis,  Brian  Keith,  Paul  Kelley, 
Kim  Hunter.  Producer  Julian  Blaustein.  Director  Daniel 
Taradash.  Drama.  A  librarian  protests  the  removal  of 
"controversial"  from  her  library,  embroils  a  small 
town  in  a  fight.  85  min.  8/6. 

November 

ODONGO  Technicolor,  CinemaScope.  Macdonald 
Carey,  Rhonda  Fleming,  Juma.  Producer  Irving  Allen. 
Director  John  Gilling.  Adventure.  Owner  of  wild  ani- 
mal farm  in  Kenya  saves  young  native  boy  from  a 
violent  death.  91  min. 

REPRISAL  Technicolor.  Guy  Madison,  Felicia  Farr, 
Kathryn  Grant.  Producers,  Rackmil-Ainsworth.  Direc- 
tor George  Sherman.  Adventure.  Indians  fight  for 
rights  in  small  frontier  town.  74  min. 

SILENT  WORLD.  THE  Eastman  Color.  Adventure  film 
covers  marine  explorations  of  the  Calypso  Oceono- 
graphic  Expeditions.  Adapted  from  book  by  Jacques- 
Yves  Cousteau.  86  min.  10/15. 

WHITE  SOUAW,  THE  David  Brian,  May  Wynn,  William 
Bishop.  Producer  Wallace  MacDonald.  Director  Ray 
Nazarro.  Drama.  Indian  maiden  helps  her  people  sur- 
vive injustice  of  white  men.  73  min. 

YOU  CAN'T  RUN  AWAY  FROM  IT  Technicolor,  Cine- 
maScope. June  Allyson,  Jack  Lemmon,  Charles  Bick- 
ford.  Produced-director  Dick  Powell.  Musical.  Reporter 
wins  heart  of  oil  and  cattle  heiress.   95  min.  10/15. 

December 

LAST  MAN  TO  HANG.  THE  Tom  Conway,  Elizabeth 
Sellars.  Producer  John  Gossage.  Director  Terence 
Fisher.  Melodrama.  Music  critic  is  accused  of  murder- 
ing his  wife  in  a  crime  of  passion.  75  min.  11/12. 

MAGNIFICENT  SEVEN,  THE  Takashi  Shimura,  Tothiro 
Mifune.  A  Toho  Production.  Director  Alt-Ira  Kurosawa. 
Melodrama.  Seven  Samurai  warriors  are  hired  by  far- 
mers for  protection  against  maurauders.  158  min.  12/10 

RUMBLE  ON  THE  DOCKS  James  Darren,  Jerry  Janger, 
Edgar  Barrier.  Drama.  Teenage  gang  wars  and  water- 
front racketeers.   82  min.  12/10. 

SEVENTH  CAVALRY,  THE  Technicolor.  Randolph  Scott, 
Barbara  Hale.  Producer  Harry  Brown.  Director  Joseph 
Lewis.  Western.  An  episode  in  the  glory  of  General 
Custer's  famed  "7th  Cav.".   75  min.  12/10. 

January 

DON'T  KNOCK  THE  ROCK  Bill  Haley  and  his  Comets, 
Alan  Freed,  Alan  Data,  Producer  Sam  Katiman.  Direc- 
tor Fred  Sears.  Musical.  Life  and  times  of  a  famous 
rock  and  roll  singer.  80  min.  1/7. 

RIDE  THE  HIGH  IRON  Don  Taylor,  Sally  Forest,  Ray- 
mond Burr.  Producer  William  Self.  Director  Don  Weis. 
Drama.  Park  Avenue  scandal  is  hushed  up  by  public 
relations  experts.  74  min. 

ZARAK  Technicolor,  CinemaScope.  Victor  Mature, 
Michael  Wilding,  Anita  Ekberg.  A  Warwick  Production. 
Director  Terence  Young.  Drama.  Son  of  wealthy  ruler 
becomes  notorious  bandit.  99  min.  12/24. 


February 

NIGHTFALL  Aldo  Ray,  Anne  Bancroft.  Producer  Te< 
Richmond.  Director  Jacques  Tourneur.  Drama.  Mistaker 
identity  of  a  doctor's  bag  starts  hunt  for  stolen  money 
78  min.  12/10. 

UTAH  BLAINE  Rory  Calhoun,  Susan  Cummings,  Angel. 
Stevens.  Producer  Sam  Katzman.  Director  Fred  Sears 
Western.  Two  men  join  hands  because  they  see  in  eacl 
other  a  way  to  have  revenge  on  their  enemies.  75  min 
WICKED  AS  THEY  COME  Arlene  Dahl,  Fhil  Carey.  Pro 
ducer  Maxwell  Setton.  Director  Ken  Hughes.  Drama.  / 
beautiful  girl  wins  a  beauty  contest  and  a  "different' 
life.  132  min. 

March 

FULL  OF  LIFE  Judy  Holliday,  Richard  Contej 
Salvatore  Baccaloni.  Producer  Fred  Kohlmar.  Dlrectoi 
Richard  Quine.  Comedy.  Struggling  writer  and  wiff 
are  owners  of  new  home  and  are  awaiting  arrival  o 

child.  91  min.  1/7. 

Coming 

BEYOND  MOMBASA  Technicolor,  CinemaScope.  CorS 
nell  Wilde,  Donna  Reed.  Producer  Tony  Owen.  Direc 
tor  George  Marshall.  Adventure.  Leopard  Men  seel 
to  keep  Africa  free  of  white  men. 

CHA-CHA-CHA  BOOM  Perez  Prado,  Helen  Grayson 
Manny  Lopez.  Producer  Sam  Katzman.  Director  Free 
Sears.  Musical.  Cavalcade  of  the  mambo.  78  min.  10/1! 

FIRE  DOWN  BELOW  CinemaScope,  Technicolor.  Rit* 
Hayworth,  Robert  Mitchum,  Jack  Lemmon.  A  Wan 
wick  Production.  Director  Robert  Parrish.  Drama 
Cargo  on  ship  is  ablaze.  Gravity  of  situation  is  in, 
creased  by  highly  explosive  nitrate. 

GARMENT  JUNGLE,  THE  Lee  J.  Cobb,  Kerwin  Man 
thews,  Richard  Boone.  Producer  Harry  Kleiner.  Dil 
rector  Robert  Aldrich.  Drama. 

GUNS  AT  FORT  PETTICOAT  Audie  Murpfiy,  Kathryt 
Grant.  Producer  Harry  Joe  Brown.  Director  Georgi 
Marshall.  Western.  Army  officer  organizes  women  U 
fight  off  Indian  attack. 

KILLER  APE  Johnny  Weissmuller.  Carol  Thurston.  Pro- 
ducer Sam  Katzman.  Director  Spencer  G.  Bennett.  Ad- 
venture drama.  The  story  of  a  giant  half-ape,  half-man 
beast  who  goes  on  a  killing  rampage  until  destroyto 
by  Jungle  Jim.  68  min. 

MOST  WANTED  WOMAN,  THE  Victor  Mature,  Anit;: 
Ekberg,  Trevor  Howard.  A  Warwick  Production.  Di' 
rector  John  Gilling. 

PAPA,  MAMA.  THE  MAID  AND  I  Robert  Lamoureu«< 
Gaby  Morlay,  Nicole  Courcel.  Director  Jean-Paul  Li 
Chanois.  Comedy.  The  lives  of  a  typically  Parisiat 
family.  94  min.  9/17. 

SHADOW  ON  THE  WINDOW,  THE  Betsy  Garrett,  Phi 
Carey,  Corey  Allen.  Producer  Jonie  Tapia.  Directoi: 
William  Asher.  Melodrama.  Seven-year  old  boy  is  thi 
only  witness  to  a  murder. 

STRANGE  ONE,  THE  Ben  Gazzara,  James  Olsen,  Georgi! 
Peppard.  Producer  Sam  Spiegel.  Director  James  Gar 
fein.  Drama.  Cadet  at  military  school  frames  com 
mander  and  his  son. 

SUICIDE  MISSION  Leif  Larson,  Michael  Aldridge,  Atl. 
Larsen.  A  North  Seas  Film  Production.  Adventure.  Nor 
wegian  fishermen  smash  German  blockade  in  Work 
War  II.  70  min. 

TALL  RIDER,  THE  Randolph  Scott,  Richard  Boone 
Maureen  Sullivan.  A  Scott-Brown  Production.  Directo 
Budd  Boetticher.  Western.  A  quiet  cowboy  battles  t< 
be  independent. 

27TH  DAY,  THE  Gene  Barry,  Valerie  French.  Produce 
Helen  Ainsworth.  Director  William  Asher.  Science 
/iotion.  People  from  outer  space  plot  to  destroy  al 
human  life  on  the  earth. 

YOUNG  DON'T  CRY,  THE  Sal  Mineo,  James  Whitmore 
Producer  P.  Waxman.  Director  Alfred  Werker.  Drama 
Life  in  a  southern  orphanage. 


INDEPENDENTS 


October 

GUNSLINGER  Color  (American-International)  John  Ire, 
land,  Beverly  Garland,  Alison  Hayes.  Producer-directoi 
Roger  Corman.  Western.  A  notorious  gunman  terrorize: 
the  West. 

PASSPORT  TO  TREASON  (Astor  Pictures!  Rod  Camer 
on,  Lois  Maxwell.  Producers  R.  Baker,  M.  Berman 
Director  Robert  Baker.  Drama.  Private  investigatoi 
stumbles  upon  a  strange  case  of  murder.  70  min. 
RIFIFI  .  .  .  MEANS  TROUBLE  (United  Motion  Picturt 
Organization!  Jean  Servais,  Carl  Mohner.  Director 
Jules  Dassis.  Melodrama.  Enqlish  dubbed  story  o 
the  French  underworld.  120  min.  11/12. 


Film    BULLETIN  —  THIS     IS    YOUR  PRODUCT 


FEBRUARY  SUMMARY 

The  number  of  features  scheduled  for 
February  release  totals  26.  Leaei.ng  sup- 
plier, with  five  films,  will  be  RKO,  while 
United  Artists  will  follow  with  four  on  the 
roster.  Allied  Artists,  Columbia,  Universal 
and  the  Independents  will  release  three 
each;  Metro,  two;  Paramount,  20th-Fox 
and  Warners,  one  each.  Four  of  the  Feb- 
ruary releases  will  be  in  color,  a  marked 
decrease  from  previous  months.  Four 
films  will  be  in  CinemaScope,  one  in 
VistaVision. 

12  Dramas  4  Science-Fiction 

3  Westerns  1  Melodrama 

3  Comedies  2  Adventures 

1  Musical 


,  WAMP  WOMEN  Woolncrl  Color.  Csro  e  Mathews 
I  everly  Garland.  Touch  Connors.  Producer-director 
I  oger  Corman.  Adventure.  Wild  women  in  the  Louisiana 

November 

I  I ARCELI  NO  lUnited  Motion  Picture  Organization' 
labilto  Calvo.  Rafael  Rivelles.  Director'  Ladislao 
ladja.  Drama.  Franciscan  monks  find  aoandoned  baby 
■nd  adopt  him.  90  min.  11/12. 

\  ECRETS  OF  LIFE     Buena  Vista) .   Latest  in  Walt  Dis- 

■  ey's  true-life  scenes.  75  min.  10/2?. 

I  HAKE,  RATTLE  AND  ROCK  I  American-International  I 
lisa  Gaye.  Touch  Conners.  Producer  James  Nicholson. 

■  irector  Edward  Cahn.  Musical.  A  story  of  "rock  and 

/EE  GORDiE  iGeorge  K.  Arthur!  Bill  Travers.  Elastair 

■  im    Norah  Gorsen.   Producer  Sidney  Gilliat.  Director 

■  rank  Launder.  Comedy.  A  frail  lad  grows  to  giant 
llature  and  wins  the  Olympic  hammer-throwing  cham- 
pionship. 94  min.  11/12. 

WESTWARD  HO,  THE  WAGONS  Buena  Vista'  Cine- 
iiaScope.  Technicolor.  Fess  Parker,  Kaihieen  Crowley. 
I.  Walt  Disney  Production.  Adventure. 

December 

ABY  AND  THE  BATTLESHIP,  THE  DC  A !  Richard 
|»ttenborough,  Lisa  Gastoni.  Producer  Anthony  Darn- 
■•orough.  Director  Jay  Lewis.  Comedy.  Baby  is 
Imuggled   aboard    a    British    battleship   during  mock 

ED  OF  GRASS  (Trans-Lux!  Anna  Brazzou.  Made  in 
IJreece  English  titles.  Drama.  A  beautiful  girl  is  per- 
lecuted  by  her  villiage  for  having  lost  her  virtue  as 

■  he  victim  of  a  rapist. 

I'-IOUR   OF   DECISION    (Astor   Pictures!    Jeff  Morrow. 

A  SORCIERE  [Ellis  Films  I  Marina  Vlady.  Nicole 
j^ourel.  Director  Andre  Michel.  Drama.  A  ycung  French 
Engineer  meets  untamed  forest  maiden  while  working 
in  Sweden.  French  dialogue.  English  subtitles. 

<4EN  OF  SHERWOOD  FOREST  lAstor  Pictures)  East- 
jrian  Color.  Don  Taylor.  Producer  Michael  Carreras. 
Director  Val  Guest.  Adventure.  Story  of  Robin  Hood 
lind  his  men.  78  min. 

JOCK,  ROCK,  ROCK  IDCAl.  Alan  Freed  LaVern 
[laker,  Frankie  Lyman.  A  Vanguard  Production.  Musical 
loanorama  of  rock  and  roll. 

iNOW  WAS  BLACK.  THE  I  Continental )  Daniel  Gelin 
Ualentine  Tessier.  A  Tellus  Film.  French  language  film". 
IDrama.   Study  of  an  embittered   young  man  who  lives 

with  mother  in  her  house  of  ill  fame.  105  min. 

[WO   LOVES   HAVE   I    (Jacon)    Technicolor.  Gabriele 

-erzetti.  Marta  Toren.  A  Rizioli  FMm.  Director  Carmine 
Ljallone.  Drama.  Life  of  Puccini  with  exerpts  from  his 
loest  known  operas. 

January 

I  ALBEIT  SCHWEITZER  (Hill  and  Anderson)  Eastman 
Color.  Film  biography  of  the  famous  Nobel  Prize  win- 
der with  narritive  by  Burgess  Merideth.  Producer-direc- 
tor James  Hill.  Documentary. 

BULLFIGHT  (Janus).  French  made  documentary  offers 
history  and  performance  of  the  famous  sport.  Produced 
and  directed  by  Pierre  Braunberger.  74  min.  11/24. 
iFEAR  lAstor  Pictures)  Ingrid  Bergman  Mathias  Wie- 
man.  Director  Roberto  Rossellini.  Drama.  Young 
imarried  woman  is  mercilessly  exploited  by  blackmailer. 


VITTELONI  lAPI-Janusl.  Franco  Interlenghi,  Leonora 
if-abnzi.  Producer  Mario  de  Vecchi.  Director  F.  Fel- 
103       m*<?/2«St0rV  °'  unemploved  Young  men  in  Italy. 

WE  ARE  ALL  MURDERERS  IKingsley  International  I 
Marcel  Mouloudji,  Raymond  Pellegrin.  Director  Andre 
Gayette.  Drama. 

February 

HOUR  OF  DECISION  (Astor  Pictures)  Jeff  Morrow, 
Hazel  Court.  Producer  Monty  Berman.  Director  Denn- 
mgton  Richards.  Melodrama.  Columnist's  wife  is  in- 
nocently involved  in  blackmail  and  murder.  70  min. 
ROCK  ALL  NIGHT  (American-International)  Dick 
Miller.  Abby  Dalton,  Russel  Johnson.  Producer-director 
Roger  Corman.    Rock  n'  roll  musical. 

TEMPEST  IN  THE  FLESH  (Pacemaker  Pictures)  Ray- 
mond Pellegrin,  Francoise  Arnoul.  Director  Ralph 
Habib.  French  film,  English  titles.  Drama.  Study  of  a 
young  woman  with  a  craving  for  love  that  no  number 
of  men  can  satisfy. 

Coming 

CITY  OF  WOMEN  (Associated)  Osa  Massen.  Robert 
Hutton,  Maria  Palmer.  Producer-director  Boris  Petroff 
Drama.  From  a  novel  by  Stephen  Longstreet. 
IF  ALL  THE  GUYS  IN  THE  WORLD  .  .  .  (Buena  Vista) 
Andre  Valrny,  Jean  Gaven.  Director  Christian-Jaque. 
Drama.  Radio  "hams",  thousands  of  miles  apart,  pool 
their  efforts  to  rescue  a  stricken  fishing  boat. 
IT  CONQUERED  THE  WORLD  (American  International) 
Peter  Graves,  Beverly  Garland.  Producer-director 
Roger  Corman.  Science-fiction.  A  monster  from  outer 
space  takes  control  of  the  world  until  a  scientist  gives 
his  life  to  save  humanity. 

LOST  CONTINENT  IIFE)  CinemaScope,  rerranieolor. 
Producer-director  Leonardo  Bonzi.  An  excursion  into  the 
wilds  of  Borneo  and  the  Maylayan  Archepeiago.  Eng- 
lish commentary.  84  min. 


NEAPOLITAN  CAROUSEL  IIFE,  lux  Film.  Rome!  Pathe- 
coior.  Print  pv  lecnnicoior  Sophia  loren  Leomoe 
Massine.  Director  Ettore  GUnnini.  Musical.  The  history 
of  Napies  traced  from  1400  to  date  in  song  and  dance 
OKLAHOMA  WOMAN  (American  Releasing  Cor».) 
Superscope.  Richard  Denning.  Peggie  Castie  Cathv 
Downs.  Producer-director  Roger  Corman.  Western.  A 
ruthless  woman  rules  the  badlands  ur.-H  a  reformea 
outlaw  brings  her  to  justice.  80  mm. 

REM'MBER,  MY  LOVE  I  Artists-Producers  Assoc  Cine- 
maScope, Technlcclor.  Michael  Redgrave,  Mel  Ferrer, 
Anthony  Quale.  Musical  drama.  Producer-director 
Michael  Powell,  Emeric  Pressburgcr.  Based  on  Strauss' 
"Die  Fledermaus". 

RUNAWAY  DAUGHTERS  American-International) 
Maria  English,  Anna  Sten.  Producer  Alex  Gordon.  Di- 
rector Edward  Cahn.  Drama.  A  study  of  modern  teen- 
age problems. 

SMOLDERING  SEA.  THE  Superscope.  Producer  Hal  E. 
Chester  Drama.  Conflict  between  the  tyrannical  cao- 
tain  and  crew  of  an  American  merchant  ship  reacnes 
its  climax  during  battle  of  Guadalcanal 

UNDEAD,  THE  I  American-International)  Pamela  Dun- 
cm,  Allison  Hayes.  Producer-director  Roger  Corman. 
Science-fiction. 

WEAPON,  THE  Sucerscooe.  Nicole  Maurev.  Prcducer 
Hai  E.  Chester.  Drama.  An  unsolved  muroer  involving 
a  bitter  U.  S.  war  veteran,  a  German  war  orioe  and  a 
killer  is  resolved  after  a  child  finds  a  loaded  gun  in 
OOmD  ruDO  e 

WOMAN  OF  ROME  DCA)  Gina  Lollobrigida,  Daniel 
Gelin.  A  PontiDeLaurentiis  Production.  Director  Luigi 
Zampa.  Drama.  Adapted  from  the  Alberto  Moravia 
novel. 


M  ETRO -GO  LDWYN  -  MAYER 


September 

LUST  FOR  LIFE  Eastman  Color,  CinemaScope.  Kirk 
Douglas,  Anthony  Ouinn.  James  Donald,  Pamela  Brown. 
Producer  John  Houseman.  Director  Vincente  Minnelli. 
Film  dramatization  of  the  life  and  works  of  the  famous 
artist,  Vincent  Van  Gogh.  122  min.  9/17. 

TEA  AND  SYMPATHY  Eastman  Color,  CinemaScope  55. 
Deborah  Kerr,  John  Kerr.  Producer  Pandro  Berman. 
Director  Vincente  Minnelli.  Drama.  Wife  of  housemaster 
at  New  England  school  gets  involved  with  young  boy. 

122  min.  10/1. 

October 

JULIE  Doris  Day,  Louis  Jourdain.  Producer  Marty 
Melcher.  Director  Andrew  Stone.  Drama.  Jealous  hus- 
band plans  to  kill  wife.  99  min.  10/15. 

OPPOSITE  SEX,  THE  CinemaScope,  Eastman  Color. 
June  Alyyson,  Joan  Collins,  Dolores  Gray.  Producer 
Joe  Pasternak.  Director  David  Miller.  Comedy.  The 
perfect  wife  is  unaware  of  flaws  in  her  marriage  until 
a  gossip  friend  broadcasts  the  news.  114  min.  10/1. 

POWER  AND  THE  PRIZE  CinemaScope.  Robert  Taylor, 
Burl  Ives,  Elisabeth  Mueller.  Director  Henry  Koster. 
Producer  Nicholas  Nayfak.  Drama.  Tale  of  big  business 
and  international  romance.  98  min.  9/17. 

November 

IRON  PETTICOAT,  THE  Katherine  Hepburn,  Bob  Hope. 
Producer  Betty  Box.  Director  Ralph  Thomas.  Comedy. 
Russian  lady  aviatrix  meets  fast  talking  American. 
94  min. 

December 

GREAT  AMERICAN  PASTIME,  THE  Tom  Ewell.  Ann 
Francis,  Ann  Miller.  Producer  Henry  Berman.  Director 
Nat  Benchley.  Comedy.  Romantic  antics  with  a  Little 
League  baseball  background.  89  min. 

TEAHOUSE  OF  THE  AUGUST  MOON.  THE  Cinema- 
Scope, Eastman  Color.  Marlon  Brando,  Glenn  Ford, 
Eddie  Albert.  Producer  Jack  Cummings.  Director  Daniel 
Mann.     Comedy.     Filmization   of   the    Broadway  play. 

123  min.  10/29. 

January 

ACTION  OF  THE  TIGER  CinemaScope,  Color.  Van 
Johnson.  Martine  Carol,  Gustave  Rojo.  A  Claridge 
Production.  Drama. 

EDGE  OF  THE  CITY  John  Cassavetes,  Sidney  Poitier. 
Producer  David  Susskind.  Director  Martin  Ritt.  Drama. 
A  man  finds  confidence  in  the  future  by  believing 
in  himself.  85  min.  1/7. 

SLANDER  Van  Johnson.  Ann  Blyth,  Steve  Cochran. 
Producer  Armand  Deutseh.  Director  Roy  Rowland. 
Drama.  Story  of  a  scandal  magazine  publisher  and 
his  victims.  81  min.  1/7. 

February 

BARRETS  OF  WIMPOLE  STREET.  THE  CinemaScope, 
Eastman  Color.  Jennifer  Jones,  Sir  John  Gielgud.  Bill 
Travers.  Producer  Sam  Zimbalist.  Director  Sidney 
Franklin.  Drama.  Love  story  of  poets  Elizabeth  Barrett 
and  Robert  Browning.  104  min. 

WING*  OF  THE  EAGLES,  THE  John  Wayne.  Dan 
Dailey,  Maureen  O'Hara.  Producer  Charles  Schnee. 
Director  John  Ford.  Drama. 

Coming 

DESIGNING  WOMAN  Gregory  Peck.  Lauren  Bacall, 
Dolores  Gray.  Producer  Dore  Schary.  Director  Vincente 
Minnelli. 


HAPPY  ROAD,  THE  Gene  Kelly.  Michael  Redgrave. 
Barbara  Laage.  A  Kerry  Production.  Directors,  Gene 
Kelly,  Noel  Coward.  Drama.  Two  children  run  away 
from  boarding  hchool  to  find  their  respective  parents. 

HARVEST  THUNDER  Pier  Angeli  Mel  Ferrer.  Leif 
Erickson.  Producer  Edwin  Knoph.  Director  Je.'frey  Hay- 
den.  Drama. 

HOT  SUMMER  NIGHT  Leslie  Nielsen,  Coleen  Miller. 
Producer  Morton  Fine.  Director  David  Friedkin.  Melo- 
drama. Story  of  a  gangland  hide-out. 

LITTLE  HUT,  THE  MetroColor.  Ava  Gardner,  Stewart 
Granger.  Comedy. 

LIVING  IDOL.  THE  CinemaScope,  Eastman  Color. 
Steve  Forrest,  Lilliane  Montevecchi.  Producer-director 
Al  Lewin.  Drama.  An  archeologist  is  faced  with  an  un- 
worldly situation  that  threatens  the  safety  of  his 
adopted  daughter.  98  min. 

RAINTREE  COUNTY  Eastman  Color.  CinemaScope  55. 
Elizabeth  Taylor.  Montgomery  Clift.  Producer  David 
Lewis.  Director  Edward  Dymtryke.  Drama.  Life  in  Indi- 
ana during  the  middle  1 8 00 ' s . 

SOMETHING  OF  VALUE  Rock  Hudson  Dana  Wynter, 
Wendy  HMIer.  Producer  Pandro  Berman.  Director 
Richard  Brooks.  Drama. 

TEN  THOUSAND  BEDROOMS  CinemaScope,  Techni- 
color. Dean  Martin.  Anna  Maria  Alberghetti.  Producer 
Joseph  Pasternack.  Director  Richard  Thorpe.  Musical. 
THIS  COULD  BE  THE  NIGHT  Jean  Simmons.  Paul 
Douglas.  Comedy. 


PARAMOUNT 


October 

SEARCH  FOR  BRIDEY  MURPHY.  THE  Louis  Hayward, 
Teresa  Wright.  Producer  Pat  Duggan.  Director  Noel 
Langley.  Drama.  Tne  famous  book  by  Morey  Bernstein 
on  film.  84  min. 

November 

MOUNTAIN.  THE  VistaVision,  Technicolor.  Spencer 
Tracy,  Bob  Wagner,  Claire  Trevor.  Producer-director 
Edward  Dmytryk.  Adventure.  Two  brothers  climb  to  a 
distant  snowcapped  peak  where  an  airplane  hat 
crashed  to  discover  a  critically  injured  woman  in  the 
wreckage.  105.  10/15. 

December 

HOLLYWOOD  OR  BUST  VistaVision,  Technicolor.  Dean 
Martin,  Jerry  Lewis,  Anita  Ekberg.  Producer  Hal  Wal- 
lis.  Director  Frank  Tashlin.  Comedy.  The  adventures  of 
a  wild-eyed  film  fan  who  knows  everything  about  the 

movies.  95  min.  12/10. 

WAR  AND  PEACE  ViitaVijio-i  Technicolor.  Aodrev 
Hepburn.  Henry  Fonda.  Mel  Ferrer.  Producers  Carle 
Ponti  Dino  gi  Laurentiis.  Director  King  Vioor.  Drama 
Based  on  Tolstoy's  novel.  208  min.  9/3. 

January 

THREE  VIOLENT  PEOPLE  VistaVision.  Technicolor. 
Charlton  Heston,  Anne  Baxter,  Gilbert  Roland.  Pro- 
ducer Hugh  Brown.  Director  Rudy  Mate.  Western.  Story 
of    returning    Confederate    war    veterans    in  Texas. 

100  min.  1/7. 

February 

RAINMAKER.  THE  VistaVision,  Technicolor.  Burt  Lan- 
caster. Katherine  Hepburn,  Wendell  Corey.  Producer 
Hal  Wallis.  Director  Joseph  Anthony.  Comedy  drama. 
Filmization  of  the  famous  B'way  play.   121  min.  12/24. 

March 

FEAR  STRIKES  OUT  Anthony  Perkins,  Karl  Maiden, 
Norma  Moore.  Producer  Alan  Pakula.  Director  Perry 
Wilson.   Drama.   Story  of  the  Boston   baseball  player 


FMm 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


Coming 

BEAU  JAMES  VistaVision,  Technicolor.  Bob  Hope.  Pro- 
ducer Jack  Rose.  Director  Michael  Moore.  Drama. 
Biography  of  the  famous  Jimmy  Walker,  mayor  of  N.Y. 
from  1925  to  1932. 

BUSTER  KEATON  STORY.  THE  VistaVision,  Technicolor. 
Donald  O'Connor,  Ann  Blyth,  Rhonda  Ftomlng.  Pro- 
ducers Robert  Smith,  Sidney  Sheldon.  Director  Sidney 
Sheldon.  Drama. 

DELICATE  DELINQUENT.  THE  Jerry  Lewi's,  Darren  Mc- 
Gavin,  Martha  Hyer.  Producer  Jerry  Lewis.  Director 
Don  McGuire. 

FLAMENECA  VistaVision,  Technicolor.  Carmen  SevlUa, 
Richard  Kiley.  Producer  Bruce  Odium.  Director  Don- 
ald Siegel. 

FUNNY  FACE  VistaVision,  Technicolor.  Audrey  Hep- 
burn, Fred  Astaire,  Kay  Thompson.  Producer  Roger 
Edens.  Director  Stanley  Donen.  Musical. 
GUNFI6HT  AT  O.K.  CORRAL  VistaVision,  Technicolor. 
Burt  Lancaster,  Kirk  Douglas,  Rhonda  Fleming.  Pro- 
ducer Hal  Wallis.  Director  John  Sturges.  Western. 
Drunken  badman  hunts  for  murderer  of  his  cheating 
brother. 

JOKER,  THE  VistaVision,  Technicolor.  F^nk  Sinatra, 
Mitzi  Gaynor,  Jeanne  Crain.  Producer  "»!Tluel  Briskin. 
Director  Charles  Vidor.  Drama. 

LONELY  MAN,  THE  VistaVision,  Technicolor.  Jack  Pa- 
lance,  Anthony  Perkins,  Elaine  Aiken.  Producer  Pat 
Duggan.  Director  Henry  Levin.  Western.  A  gunfighter 
finds  he  is  losing  his  sight — and  his  aim. 
OMAR  KHAYYAM  VistaVision,  Technicolor.  Cornel 
Wilde,  Michael  Rennie,  Debra  Paget.  Producer  Frank 
Freeman,  Jr.  Director  William  Dieterle.  Adventure. 
The  life  and  times  of  medieval  Persia's  literary  idol. 
TEN  COMMANDMENTS,  THE  VistaVision,  Technicolor. 
Charlton  Heston.  Yul  Brynner,  Anne  Bai*er.  Producer- 
director  Cecil  <S  DeMille.  Reliaious  drama.  Life  storv 
of  Moses  as  told  in  the  Bible  and  Koran.  219  min.  10/15 
TIN  STAR.  THE  VistaVision.  Henry  Fonda,  Anthony 
Perkins.  A  Perlherg-Seaton  Production.  Director  An- 
thony Mann.  V  •  tern. 


REPUBLIC 


October 

SCANDAL  INCORPORATED  Robert  Hutton,  Paul  Rich- 
ards, Patricia  Wright.  A  C.M.B.  Production.  Director 
Edward  Mann.  Drama.  Expose  of  scandal  magazines 
preying  on  movie  stars  and  other  celebrities.  79  min. 

November 

A  WOMAN'S  DEVOTION  Trucolor.  Ralph  Meeker, 
Janice  Rule,  Paul  Henreid.  Producer  John  Bash.  Direc- 
tor Paul  Henreid.  Drama.  Recurrence  of  Gl's  battle- 
shock  illness  makes  him  murder  two  girls.  88  min.  12/10 

CONGRESS  DANCES.  THE  CinemaScope,  Trucolor. 
Johanna  Mati,  Rudolf  Prack.  A  Cosmos-Neusser  Pro- 
duction. Drama.  Intrigue  and  mystery  in  Vienna  during 
the  time  of  Prince  Metternich. 

TEARS  FOR  SIMON  Eastman  Color.  David  Farrar, 
David  Knight,  Julia  Arnall.  A  J.  Arthur  Rank  Produc- 
tion. Drama.  Young  American  couple  living  in  Lon- 
don have  their  child  stolen. 

December 

ACCUSED  OF  MURDER  Trucolor.  David  Brian,  Vera 
Ralston.  Melodrama.  Associate  producer-director 
Joseph  Kane.  Drama.  Two-timing  gangland  lawyer  is 
murdered  by  attractive  girl  singer. 

IN  OLD  VIENNA  Trucolor.  Heinz  Roettinger,  Robert 
Killick.  Producer-director  James  A.  Fitzpatrick.  Musi- 
cal. Romances  and  triumphs  of  Franz  Shubert,  Johann 
Strauss,  Ludwig  Beethoven  in  the  city  of  music,  Vienna. 

January 

ABOVE  UP  THE  WAVES  John  Mills,  John  Gregson, 
Donald  Sinden.  Producer  W.  MacQuirty.  Director  Ralph 
Thomas.  Drama.  Midget  submariners  attempt  to  sink 
German  battleship  in  WWII. 

AFFAIR  IN  RENO  Naturama.  John  Lund,  Doris  Single- 
ton. Producer  Sidney  Picker.  Director  R.  G.  Spring- 
stein.  Drama.  Young  heiress  falls  for  fortune-hunting 
gambler. 

Coming 

DUEL  AT  APACHE  WELLS  Naturama.  Trucolor.  Anna 
Maria  Alberghetti,  Ben  Cooper.  Associate  producer- 
director  Joseph  Kane.  Western.  Son  returns  home  to 
find  father's  ranch  threatened  by  rustler-turned-rancher. 
HELL'S  CROSSROADS  Naturama.  Stephen  McNally, 
Peggie  Castle,  Robert  Vauhgn.  Producer  Rudy  Ral- 
ston. Director  Franklin  Adreon.  Western.  Outlaw  cow- 
boy reforms  after  joining  Jesse  James'  gang. 
SPOILERS  OF  THE  FORREST  Vera  Ralston,  Rrd  Camer- 
on. Producer-director  Joe  Kane. 


October 

FINGER  OF  GUILT  Richard  Basehart,  Mary  Murphy, 
Constance  Cummings.  Producer-director  Alec  Snowden. 
Drama.  Film  producer  receives  letters  from  a  girl  he 
never  met,  who  insists  they  were  lovers.  84  min.  11/26 

TENSION    AT    TABLE    ROCK    Color.    Richard  Egan, 

Dorothy  Malone,  Cameron  Mitchell.  Producer  Sam 
Weisenthal.  Director  Charles  Warren.  Western.  The 
victory  of  a  town  over  violence.  93  min.  10/29. 

Film 


November 

DEATH  OF  A  SCOUNDREL  George  Sanders,  Yvonne 
DeCarlo,  Zsa  Zsa  Gabor.  Producer-director  Charles 
Martin.  Melodrama.  Tale  of  an  international  financial 
wizard.  119  min.  11/12. 

December 

MAN  IN  THE  VAULT  Anita  Ekberg,  Bill  Campbell, 
Karen  Sharpe.  A  Wayne-Fellows  Production.  Director 
Andrew  McLaglen.  Melodrama.  A  younq  locksmith  gets 
involved  with  a  group  engaged  in  illegal  activities. 
73  min.  1/7. 

January 

BRAVE  ONE.  THE  CinemaScope,  Technicolor.  Michel 
Ray,  Fermin  Rivera,  Joy  Lansing  Rudolph  Hoyos.  Pro- 
ducer Frank  i  Maurice  King.  Director  Irving  Rapper. 
Drama.  The  adventures  of  a  young  Mexican  boy  who 
jrows  up  with  a  bull  as  his  main  comoanion  and  friend 
and  how  each  protests  the  other.  100  min.  10/15. 

BUNDLE  OF  JOY  CinemaScope,  Eastman  Color.  Debbie 
Reynolds,  Eddie  Fisher,  Adolph  Menjou.  Producer  Ed- 
mund Grainger.  Director  Norman  Tauro'*  Comedy. 
Son  of  department  store  magnet  falls  i  salesgirl. 
98  min.  12/24. 

PUBLIC  PIGEON  NO.  1  Eastman  Color.  Red  Skelton, 
Vivian  Blaine,  Janet  Blair.  Producer  Harry  Tugend.  Di- 
rector Norman  McLeod.  Comedy.  A  trusting  soul 
tangles  with  slick  con  men  and  outwits  them.  79  min. 

YOUNG  STRANGER.  THE  James  MacArthur,  Kim  Hun- 
ter. Producer  Stuart  Miller.  Director  John  Franken- 
heimer.  Drama.  Son  seeks  to  earn  affection  from  his 
parents. 

February 

CYCLOPS,  THE  James  Craig,  Gloria  Talbot.  Science- 
fiction. 

GUILTY  Technicolor.  J-.hn  Justin,  Barbara  Laage. 
Drama. 

SILKEN  AFFAIR,  THE  David  Niven,  Genevieve  Page, 
Ronald  Sauire.  Producer  Fred  Feldkamp.  Director  Roy 
Kelling.  Comedy.  An  auditor,  on  a  kindly  impulse, 
alters  the  accounting  records.  96  min. 

THAT  NIGHT  John  Beal,  Augusta  Dabney,  Shepperd 
Strudwick.  Producer  Hiram  Brown.  Director  John 
Newland.  Drama.  A  tragedy  almost  shatters  a  15- 
year-old  marriage. 

X— THE  UNKNOWN  Dean  Jagger.  William  Russell. 
Science-fiction. 

March 

RUN  OF  THE  ARROW  Eastman  Color.  Rod  Steiger, 
Sarita  Montiel,  Ralph  Meeker.  Producer-director  Sam 
Fuller.  Adventure.  Young  sharpshooter  joins  Sioux 
Indians  at  close  of  Civil  War. 

Coming 

DAY  THEY  GAVE  BABIES  AWAY,  THE  Eastman  Color. 
Glynis  Johns,  Cameron  Mitchell,  Rex  Thompson.  Pro- 
ducer Sam  Weisenthal.  Director  Allen  Reisner.  Drama. 

ESCAPADE  IN  JAPAN  Color.  Teresa  Wright,  Cameron 
Mitchell,  Jon  Provost,  Roger  Nakagaws.  Producer-direc- 
tor Arthur  Lubin.  Search  for  two  boys  who  start  out 
in  the  wrong  direction  to  find  the  very  people  who 
are  trying  to  find  them. 

GIRL  MOST  LIKELY.  THE  Eastman  Color.  Jane  Powell, 
Cliff  Robertson,  Keith  Andes.  Producer  Stanley  Rublin. 
Director  Mitchell  Leison.  Comedy.  A  girl  is  proposed 
to  by  three  men  on  the  same  day. 

I  MARRIED  A  WOMAN  George  Gobel,  Diana  Dors, 
Adolph  Menjou.  Producer  William  Bloom.  Director  Hal 
Kanter.  Coemdy.  Wife  objects  to  taking  second  place 
to   a    beer   advertising    campaign    with    her  husband. 

JET  PILOT  Technicolor,  SuperScope.  John  Wayne, 
Janet  Leigh.  Howard  Hughes  Production.  Producer 
Jules  Furth'man  Director  Josef  von  SternDero.  Drama. 
119  min. 

UNHOLY  WIFE,  THE  Color.  Diana  Dors,  Rod  Steiger, 
Marie  Windsor.  Producer-director  John  Farrow.  Drama. 
A  wife  sunningly  plots  the  death  of  her  husband  who 
she  has  betrayed. 

VIOLATORS,  THE  Arthur  O'Connell,  Nancy  Malone. 
Producer  H.  Brown.  Director  John  Newland.  Drama. 
Story  of  a  probation  officer  in  the  New  York  City 
courts. 


20TH  CENTURY-FOX 


October 

BETWEEN  HEAVEN  AND  HELL  CinemaScope.  De- 
Luxe  Color.  Robert  Wagner,  Terry  Moore.  Producer 
David  Weisbart.  Director  Robert  Fleischer.  War  drama. 
World  War  II  setting  in  he  Pacific.  94  min.  10/29. 
STAGECOACH  TO  FURY  CinemaScope.  Forrest  Tucker, 
Mari  Blanchard,  Wally  Ford,  Wright  King.  Producer 
Earle  Lyon.  Director  William  Claxton.  Western.  Mexican 
bandits  hold  up  stage  coach  in  search  for  gold.  76  min. 
TEENAGE  REBEL  CinemaScope.  Ginger  Rogers,  Michael 
Rennie.  Producer  Charles  Brackett.  Director  S.  Engle. 
Comedy.  Mother  and  daughter  find  mutual  respect  and 
devotion.  94  min.  10/29. 

November 

DESPERADOS  ARE  IN  TOWN,  THE  Robert  Arthur,  Rex 
Reason,  Cathy  Nolan.  Producer-director  K.  Neumann. 
Western.  A  teen-age  farm  boy  join  an  outlaw  gang. 
73  min.  11/26. 


LOVE  ME  TENDER  CinemaScope.  Elvis  Presley,  Richarc 
Egan,  Debra  Paget.  Producer  D.  Weisbart.  Director  Ri 
Webb.  Drama.  Post-civil  war  story  set  in  Kentuck\ 
locale.  89  min.  11/26. 

OKLAHOMA  CinemaScope,  Technicolor.  Gordon  Mac 
Rae,  Gloria  Grahame,  Shirley  Jones.  Producer  A.  Horn 
blow,  Jr.  Director  Fred  Zinnemann.  Musical.  Filmiza 
tion  of  the  famed  Broadway  musical.  140  min. 

December 

ANASTASIA  CinemaScope,  DeLuxe  Color.  Ingrid  Berg 
man,  Yul  Brynner,  Helen  Hayes.  Producer  Buddy  Adler 
Director  A.  Litvak.  Drama.  Filmization  of  famou; 
Broadway  play.  105  min.  12/24. 

BLACK  WHIP,  THE  Hugh  Marlowe,  Adele  Mara.  Pro- 
ducer R.  Stabler.  Director  M.  Warren.  Drama.  77  min. 

GIRL  CAN'T  HELP  IT,  THE  CinemaScope,  De  Lux< 
Color.  Tom  EweM,  Jayne  Mansfield.  Producer-directoi 
Frank  Tashlin.  Comedy.  Satire  on  rock  'n'  roll.  9V 
min.  1/7. 

OASIS  CinemaScope,  Color.  Michele  Morgan,  Cornel 
Borchers.  Producer  Ludwig  Waldleitner  and  Gerd  Os 
wald.  Director  Yves  Allgret.  Drama.  Gold  smuggle 
falls  in  love  with  lady  sent  to  kill  him.  Violent  ending 
WOMEN  OF  PITCAIRN  ISLAND  CinemaScope.  Jame: 
Craig,  John  Smith,  Lynn  Bari.  Regal  Films  Production 
Director  Jean  Warbrough.  Drama.  72  min. 

January 

GUIET  GUN.  THE  Regalscope.  Forrest  Tucker,  Mare 
Morday.  Western. 

THREE  BRAVE  MEN  CinemaScope.  Ray  Milland,  Ernes' 
Borgnine.  Producer  Herbert  Swope,  Jr.  Director  Philip 
Dunne.  Drama.  Government  employee  is  wronged  b> 
too-zealous  pursuit  of  security  program.  89  min. 

February 

THE  TRUE  STORY  OF  JESSIE  JAMES  CinemaScope 
Robert  Wagner,  Jeffrey  Hunter.  Producer  Herbert 
Swope,  Jr.  Director  Nicholas  Ray.  Western.  The  lives 
and  time  of  America's  famous  outlaw  gang. 

Coming 

BEAUTIFUL  BUT  DANGEROUS  Gina  Lollobrigida,  I 
torio  Gassman.  Producer  Manuella  Malotti.  Director 
Robert  Leonard.  Drama. 

BOY  ON  A  DOLPHIN  CinemaScope,  DeLuxe  Color' 
Clifton  Webb,  Alan  Ladd,  Sophia  Loren.  Producer  Sam' 
Engel.  Director  Jean  Negulesco.  Drama. 
HEAVEN  KNOWS  MR.  ALLISON  CinemaScope  De  Luxe 
Color.  Deborah  Kerr,  Robert  Mitchum.  Producers 
Buddy  Adler,  Eugene  Frenke.  Director  John  Huston. 
Soldier  is  saved  by  nun  in  South  Pacific  during  WWII. 
ISLAND  IN  THE  SUN  CinemaScope,  DeLuxe  Color. 
James  Mason,  Joan  Fontaine,  Dorothy  Dandridge.  Pro- 
ducer Darryl  Zanuck.  Director  Robert  Rossen.  Drama. 
OH,  MEN!  OH,  WOMEN!  CinemaScope,  Color.  Dan 
Daily,  Ginger  Rogers,  David  Niven.  Producer-director 
Nunnally  Johnson.  Comedy. 

RESTLESS  BREED,  THE  Eastman  Color.  Scott  Brady. 
Anne  Bancroft.  Producer  E.  A.  Alperson.  Director  Alan 
Dwan. 

RIVER'S  EDGE.  THE  CinemaScope,  Color.  Ray  Milland. 
Anthony  Quinn,  Debra  Paget.  Producer  Benidict 
Bogeaus.  Director  Allan  Dwan.  Adventure. 
SEA  WIFE  CinemaScope,  DeLuxe  Color.  Richard  Bur- 
ton, Joan  Collins.  Producer  Andre  Hakim.  Director  Bob 
McNaught.  Drama.  Ship  is  torpedoed  by  Jay  submarine 
off  Singapore  harbor. 

SHE-DEVIL.  THE  Mari  Blanchard.  Jack  Kelly,  Albert 
Dekker.  Producer-director  Kurt  Neumann. 
SMILEY  CinemaScope,  Eastman  Color.  Sir  Ralph  Rich- 
ardson, John  McCallum,  Colin  Peterson.  Producer- 
director  Anthony  Kimmins.  Drama.  Young  Aussie  boy 
has  burning  desire  to  own  bicycle. 

STORM  RIDER,  THE  Scott  Brady,  Mala  Powers.  A 
Brady-Glasser  production.  Director  Edward  Bernds. 
Western. 


UNITED  ARTISTS 


October 

AROUND  THE  WORLD  IN  80  DAYS  1  Michael  Todd 
Productions!  Todd-AO,  Color.  David  Niven,  Cantiflas, 
Martine  Cam.'.  Producer  M.  Todd.  Director  Michael 
Anderson.  Adventure.  Filmization  of  the  famous  Jules 
Verne  novel.    175  min.  10/29. 

ATTACK  Jack  Palance,  Eddie  Albert,  Lee  Marvin.  Pro- 
ducer-director Robert  Aldrich.  Drama.  A  cowardly 
army  officer  and  his  men  during  a  crucial  battle  of 
World  War  II.  107  min.  9/17. 

BOSS.  THE  John  Payne,  Doe  Avedon,  William  Bishop. 
Producer  Frank  Seltzer.  Director  Byron  Haskin.  Melo- 
drama. A  city  falls  prey  to  a  corrupt  political  ma- 
chine. 89  min.  9/17. 

FLIGHT  TO  HONG  KONG  Rory  Calhoun,  Dolores  Don- 
Ion.  A  Sabre  Production.  Director  Joe  Newman.  Drama. 
An  airline  flight  to  Hong  Kong  sparks  international 
intrigue.  88  min.  10/15. 

MAN  FROM  DEL  RIO  Anthony  puinn,  Katy  Jurac'\ 
Producer  Robert  Jacks.  Director  Harry  Horner.  Wes.- 
ern.  Badman  turns  sheriff  in  lonely  town.  82  min.  10/15 

November 

GUN  THE  MAN  DOWN  James  Arness,  Angie  Dickin- 
son, Robert  Wilke.  Producer  Robert  Morrison.  Director 
A.  V.  McLaglen.  Western.  Young  western  gunman  gets 
revenge  on  fellow  thieves  who  desert  him  when 
wounded.  78  min. 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


UNITED  ARTISTS  (Continual 

ACEMAKER,  THE  James  Mitchell.  Rosemarie  Bowe, 
In  Merlin.  Producer  Hal  Makelim.  Director  Ted  Post, 
ijestern.  A  clergyman  trys  to  end  feud  between  cattle- 
Jin  and  farmers.  82  min.  11/26. 

INNING  TARGET  Deluxe  Color.  Doris  Dowling, 
|thur  Franz,  Richard  Reeves.  Producer  Jack  Couffer. 
f-ector  Marvin  Weinstein.   Melodrama.  Escaped  fugi- 

es  are  chased  by  local  townspeople  and  officer  of 
l>  law.  83  min.  1 1/12. 

IARKFIGHTERS,  THE  CinemaScooe.  Color.  Victor 
iityre,  Karen  Steele.  Producer  Samuel  Goldwyn,  Jr. 
rector  Jerry  HopDer.  Drama  Saga  of  the  Navy's 
nderwater-men".  73  min.  10/29. 

December 

ASS  LEGEND,  THE  Hugh  O'Brian.  Raymond  Burr, 
incy  Gates  Western.  Producer  Bob  Geldstein.  Di- 
|Ctor  Gerd  Oswald.  Western.  79  min. 

VNCE  WITH  ME  HENRY  Bud  Abbott.  Lou  Costello. 
.oducer  Robert  Goldstein.  Director  Charles  Barton, 
jjmedy.  79  min.  12/24. 

NG  AND  FOUR  QUEENS,  THE  CinemaScop-  Color, 
'ark  Gable,  Eleanor  Parker,  Jo  Van  Fleet,  JtJn  Willis, 
nrbara   Nichols,   Sara   Shane.   Producer  David  Hemp- 

?ad.  Director  Raoul  Walsh.  Western.  86  min.  1/7. 

ILD  PARTY,  THE  Anthony  Quinn.  Carol  Ohmart,  Paul 

ewart.  Producer  Sidney  Harmon.  Director  Harry 
orner.  Drama.  Hoodlum  mob  take  over  a  Naval  offi- 
lr  and  his  fiancee.  81  min.  12/10 

January 

G  EOODLE.  THE  Errol  Flynn,  Rossana  Rory  A  Lewis 
Blumberg  Production.  Director  Ricrurd  Wilson.  Ad- 


'  VE  STEPS  TO  DANGER  Ruth  Roman,  Sterling  Hayden. 
|  Grand  Production.  Director  Henry  Kesler.  Drama. 
Ii  woman  tries  to  give  FBI  highly  secret  material  stolen 
Bom  Russians. 

ALLIDAY  B1AND,  THE  Joseph  Cotten,  Viveca  Lind- 
■  irs,  Betsy  Blair.  Producer  Collier  Young.  Director 
}  sseph  Lewis.  Western.  Inter-family  feud  threatens 
I  ither  and  son  with  disaster.  77  min. 

February 

•  RIME  OF  PASSION  Barbara  Stanwyck  Sterling 
hayden,   Raymond  Burr.   Producer  Herman  Cohen.  Di- 

ictor  Gerd  Oswald.  Drama.  Newspaper  woman  whose 
Imbition  for  her  husband  leads  to  murder.  85  min.  1/7. 

RANGO  Jeff  Chandler.  Joanne  Dru.  An  Earlmar  Pro- 
duction. Hall  Bartlett  producer-director.  Adventure. 
FlEN  IN  WAR  Robert  Ryan,  Aldo  Ray.  Robert  Keith. 
Iroducer    Sidney    Harmon.    Director    Anthony  Mann 

rama. 

OMAHAWK  TRAIL  John  Smith,  Susan  Cummings.  A 
lei  Air  Production.  Director  Robert  Parry.  Western 
lowboy  versus  Indians.  61  min. 

Coming 

ACHELOR  PARTY,  THE  Don  Murray,  E.  G.  Marshall 
lack  Warden.  Producer  Harold  Hecht.  Director  Delbert 
rh""  f  kr°m  'arnOUS   ,elevision   drama    by  Paddy 

AILOUT  AT  43,000  John  Payne,  Karen  Steele.  A  Pine- 
Ihomas  Production.  Director  Francis  Lyon. 

IG  CAPER,  THE  Rory  CaJhound,  Mary  Costa.  Pine- 
Ihomas  Production.  Director  Robert  Stevens. 

-IRL  IN  BLACK  STOCKINGS,  THE  Lex  Barker  Anne 
lancroft,  Mamie  Van  Doren.  A  Bel-Air  Production  Di- 
lector  Howard  Koch.  Drama.  A  series  of  sex  slayings 
terrorize  western  resort. 

jllDDEN  FEAR  John  Payne,  Natalie  Norwick.  A  St. 
hubrey-Kohn  Production.  Director  Andre  de  Toth 
lirama. 

IIS  FATHER'S  GUN  Dane  Clark,  Ben  Cooper    Lori  Nel- 
oo.  Bel  Au-  Production.  Director  Lesley  Selander. 
ONELY  GUN.  THE  Anthony  Quinn,  Katy  Jurado.  Pro- 
lucer  Robert  Jacks.  Director  Harry  Horner. 
MONSTER  THAT  CHALLENGED  THE  WORLD,  THE  Tim 

'Holt,  Audrey  Dalton.  A  Gramercy  Production.  Director 

Urnold  Laven.  Science-fiction. 

rfONTE  CARLO  STORY,  THE  Technirama  Color.  Mar- 
ene  Dietrich.  Vittorio  De  Sica.  A  Titanus  Film.  Sam 
aylor  director. 

'HAROAH'S  CURSE  Ziva  Shapir,  Mark  Dana.  Producer 
Howard  Koch.  Director  Lee  Sholem.  Horror.  Reincar- 
jiatton  of  mummies. 

■RIDE  AND  THE  PASSION,  THE  VistaVision,  Techni- 
olor.  Cary  Grant,  Frank  Sinatra.  Sophia  Loren.  Pro- 
Mucer-director  Stanley  Kramer.  Drama.  A  Spanish 
luarrilla  band  marches  an  incredible  distance  with  a 
.000  pound  cannon  during  Spanish  War  of  Independ- 
ence of  1810. 

1EVOLT  AT  FORT  LARAMIE  DeLuxe  Color.  John 
Jehner,  Diana  Brewster.  Producer  Howard  Koch.  Di- 
ector  Lesley  Selander.  Western.  Civil  War  story  of 
oldiers  who  are  attacked  by  Indians.  73  min. 
iAVAGE  PRINCESS  Technicolor.  Dilip  Kumar,  Nimmi. 
V  Mehboob  Production.  Musical  Drama.  A  princess 
alls  in  love  with  a  peasant  who  contests  her  right 
o  rule  the  kingdom.  101  min. 

STREET  OF  SINNERS  George  Montgomery,  Geraldine 
irooks.  Producer  William  Berke. 

iPRING  REUNION  Betty  Hutton,  Dana  Andrews.  Jean 
Haqen.  Director  Robert  Pirosh.  Producer  Jerry  Bresler. 
Comedy. 


TROOPER  HOOK  Joel  McCrea.  Barbara  Stanwyck  Ed- 
ward Andrews.  Producer  Sol  Fielding.  Director  Marquis 
Warren. 

12  ANGRY  MEN  Henry  Fonda.  Lee  J  Cobb  Jack 
Warden.  An  Orion-Nova  Production.  Director  Sicney 
Lumet.  Drama.  Jury  cannot  agree  on  a  verdict. 

VODOO  ISLAND  Boris  Karloff.  Beverly  Tyler  A  Bel 
Air   Production.    Director  Reginald   Le   Borg  Horror. 


U  N I  VERSA  L- 1  NT'  L 


October 

PILLARS  OF  THE  SKY  Technicolor.  Jeff  Chandler, 
Dorothy  Malone,  Ward  Bond.  Producer  Robert  Arthur. 
Director  George  Marshall.  Drama.  The  spirit  of  Religion 
helps  to  settle  war  bewteen  Indians  and  Cavalrymen 
in  the  Oregon  Country.  95  min.  9/3. 

SHOWDOWN  AT  ABILENE  Technicolor.  Jock  Mahoney, 
Martha  Myer.  Lyle  Bettger.  Producer  Howard  Christie. 
Director  Charles  Haas.  Western.  Cowboy  returns  to 
Abilene  after  four  years  in  the  Confederate  Army  to 
find  things  considerably  changed.  80  min.  9/3. 

November 

UNGUARDED  MOMENT,  THE  Technicolor.  Esther  Wil- 
liams, George  Nader.  Producer  Gordon  Kay.  Director 
Harry  Keller.  Drama.  High  school  teacher  is  almost 
criminally  assaulted  by  student.  95  min.  9/3. 

December 

CURCU,  BEAST  OF  THE  AMAZON  Eastman  Color.  John 
Bromfield,  Beverly  Garland.  Producers  Richard  Kay, 
Harry  Rybnick.  Director  Curt  Siod  nak.  Horror.  Young 
woman  physician,  plantation  owner  and  his  workers 
are  terroriied  by  mysterious  jungle  beast. 

EVERYTHING  BUT  THE  TRUTH  Technicolor.  Tim  Hovey, 
Maureen  O'Hara.  John  Forsythe.  Producer  Howard 
Christie.  Director  Jerry  Hopper.  Comedy.  Young  stu- 
dent gets  mixed  up  with  "lies".  83  min.  11/12. 

MOLE  PEOPLE,  THE  John  Agar,  Cythia  Patrick.  Pro- 
ducer William  Alland.  Director  Virgil  Vogel.  Horror. 
Scientific  expedition  in  Asia  discover  strange  men. 

January 

FOUR  GIRLS  IN  TOWN  CinemaScope,  Technicolor. 
George  Nader,  Julie  Adams.  Marianne  Cook.  Producer 
A.  Rosenberg.  Director  Jack  Sher.  Drama.  Movie  studio 
promotes  world-wide  talent  hunt  to  find  a  new  star. 
85  min.  12/10 

ROCK,  PRETTY  BABY  Sal  Mineo.  John  Saxon,  Luana 
Patten.  Producer  Edmund  Chevie.  Director  Richard 
Bartlett.  Musical.  Rock  n'  roll  story  of  college  combo. 
89  min.  1 1/2*. 

WRITTEN  ON  THE  WIND  Technicolor.  Rock  Hudson, 
Lauren  Bacall,  Robert  Stack.  Producer  Albert  Zug- 
smith.  Director  Douglas  Sirk.  Drama.  Oil  tycoon  meets 
violent  death  because  of  jealousy  for  wife.  99  min.  10/1 

February 

GREAT  MAN,  THE  Jose  Ferrer,  Mona  Freeman,  Dean 
Jagger.  Producer  Aaron  Rosenberg.  Director  Jose  Fer- 
rer. Drama.  The  life  and  death  of  a  famous  television 
idol.  92  min.  11/26. 

ISTANBUL  CinemaScope,  Technicolor.  Errol  Rynn,  Cor- 
nell Borchers.  Producer  Albert  Cohen.  Director  Joseph 
Pevney.  Adventure.  Diamond  smugglers  in  mysterious 
Turkey.  84  min. 

NIGHT  RUNNER,  THE  Ray  Danton,  Colleen  Miller.  Pro- 
ducer Albert  Cohen.  Director  Abner  Biberman.  Drama. 
Mental  hospital  inmate  is  released  while  still  in  dan- 
gerous condition. 

March 

BATTLE  HYMN  Technicolor.  Rock  Hudson.  Martha  Hyer, 
Dan  Duryea.  Producer  Ross  Hunter.  Director  Douglas 
Sirk.  Drama.  Pilot  redeems  sense  of  guilt  because  of 
bombing  of  an  orphanage  by  saving  other  orphans. 
108  min.  12/24. 

GUN  FOR  A  COWARD  Technicolor.  Fred  MacMurray, 
Jeffrey  Hunter,  Janice  Rule.  Producer  William  Alland. 
Director  Abner  Biberman.  Western.  Three  brothers  run 
a  cattle  ranch  after  death  of  their  father.  88  min.  1/7. 

MISTER  CORY  Eastman  Color.  CinemaScope.  Tony 
Curtis,  Martha  Hyer,  Charles  Bickford.  Producer 
Robert  Artuhr.  Director  Blake  Edwards.  Gambler  from 
Chicago  slums  climbs  to  wealth  and  respectability. 
92  min. 

Coming 

INTERLUDE  Technicolor.  CinemaScope.  June  Allyson. 
Rossano  Brazzi.  Producer  Ross  Hunter.  Director  Douglas 
Sirk. 

JOE  BUTTERFLY  CinemaScope,  Technicolor.  Audie 
Murphy.  George  Nader,  Keenan  Wynn.  Producer 
Aaron  Rosenberg.  Director  Jessie  Hibbs. 

KELLY  AND  ME  CinemaScope,  Technicolor.  Van  John- 
son. Piper  Laurie,  Martha  Hyer.  Producer  Robert  Ar- 
thur. Director  Robert  Leonard.  Drama.  Story  of  dog- 
act  in  show  business  in  the  early  I930's. 

MAN  AFRAID  George  Nader,  Tim  Hovey.  Producer 
Gordon  Kay.  Director  Harry  Keller. 

TAMMY  CinemaScope,  Technicolor.  Debbie  Reynolds, 
Lslie  Nielson.  Producer  Aaron  Rosenberg.  Director  Joe 
Pevney. 

TATTERED  DRESS,  THE  CinemaScope.  Jeff  Chandler, 
Jeannie  Crain,  Jack  Carson.  Producer  Albert  Zugsmith. 
Director  Jack  Arno+d. 


WARNFR  BROTHERS 


September 

A  CRY  IN  THE  NIGHT  Edmond  O'Brien.  Natalie  Wood. 
Brian  Donlevy.  A  Jaguar  Production.  Director  Frank 
Tyttle.  Drama.  Mentally  unbalanced  man  surprises 
couple  in  Lover's  Lane.  75  min.  8/20. 

AMAZON  TRADER,  THE  WarnerColor.  John  Sutton. 
Producer  Cedric  Francis.  Director  Tom  McGowan.  Ad- 
venture. Stirring  events  in  the  Amazon  territory  of 
Brazil.   41  min. 

BAD  SEED.  THE  Nancy  Kelly,  Patty  McCormack,  Henry 
Jones.  Produced  and  directed  by  Mervyn  LeRoy.  Dra- 
ma. Film  version  of  the  famous  Broadway  play  about 
a  child  murderess.  129  min. 

BURNING  HILLS.  THE  CinemaScooe.  WarnerColor  Tab 
Hunter.  Natalie  Wood.  Skip  Homeir.  Producer  Rich- 
ard Whorf.  Director  Stuart  Heisler.  Western.  Young 
man  seeks  his  brother's  murderer.    92  min.  8/20. 

October 

TOWARD  THE  UNKNOWN  WarnerColor.  William  Hol- 
den,  Lloyd  Nolan,  Virginia  Leith.  Producer-director 
Mervyn  LeRoy.  Drama.  Test  pilots  experiment  in  jet 
and  rocket  propelled  aircraft  to  probe  outer  space 
and  physical  limits  of  man.  115  min.  10/1. 

November 

GIANT  WarnerColor.  Elizabeth  Taylor  Rock  Hudson. 
James  Dean.  Producer-director  George  Stevens  Drama. 
Based  on  the  famous  novel  by  Edna  Ferber.  The  story 
of  oil.  cattle  and  love  in  the  Southwest  during  WWII. 
201  min.  10/15. 

GIRL  HE  LEFT  BEHIND.  THE  Tab  Hunter.  Natalie 
Wood.  Producer  Frank  Rosenberg.  Director  David 
Butler.  Drama.  Army  turns  immature  boy  into  man. 
103  min.  10/29. 

December 

BABY  DOLL  Karl  Maiden.  Carroll  Baker.  Eli  Wallach. 
A  Newton  Production.  Producer-director  Elia  Kazan 
Drama.  Story  of  4  gin-mill  proprietor  and  a  beautiful 
girl.  114  min.  12/24. 

January 

WRONG  MAN.  THE  Henry  Fonda,  Vera  Miles.  Anthony 
Quayles.  Producer-director  Alfred  Hitchcock.  Drama. 
Bass  fiddle  player  at  Stork  Club  is  prime  suspect  in 
murder  case.  105  min.  1/7. 

February 

TOP  SECRET  AFFAIR  Kirk  Douglas,  Susan  Hayward. 
Producer  Martin  Rackin.  Director  H.  C.  Potter.  Come- 
dy. A  lovely  lady  calls  the  bluff  of  an  Army  General. 

Coming 

A  FACE  IN  THE  CROWD  Andy  Griffith,  Patricia  Neal. 
Producer-director  Elia  Kazan.  Drama. 

BIG  LAND,  THE  WarnerColor.  Alan  Ladd.  Virginia 
Mayo.  A  Jaguar  Production.  Director  Gordon  Douglas. 
Western.  Cattlemen  fight  to  move  their  herds  to 
distant  railroads. 

LAFAYETTE  ESCADRILLE  CinemaScope,  WarnerColor. 
Tab  Hunter,  Etchika  Choureau,  J.  Carrol  Naish.  Drama. 
NIGHT  DOES  STRANGE  THINGS,  THE  Technicolor. 
Ingrid  Bergman,  Mel  Ferrer,  Jean  Marais.  A  Franco- 
London  Film.  Director  Jean  Renoir.  Drama.  Tale  of 
the  exiled  widow  of  a  Polish  Prince. 

PRINCE  AND  THE  SHOWGIRL,  THE  Color.  Marilyn 
Monroe,  Laurence  Olivier.  Dame  Sybil  Thorndyke. 
Producer-director  Laurence  Olivier.  Comedy. 
SPIRIT  OF  ST.  LOUIS,  THE  CinemaScope.  Warner- 
Color. James  Stewart.  Rena  Clark.  Producer  Leland 
Hayward.  Director  Billy  Wilder.  Drama.  The  story  of 
the  first  man  ever  to  cross  the  Atlantic  in  a  plane. 


To  Better  Serve  You  .  .  . 

Office  &  Terminal  Combined  At 

305  N.  12th  St.  New  Phones 

Philadelphia  7,  Pa.         LOmbard  3-3944,  3945 

NEW  JERSEY 
MESSENGER  SERVICE 

Member  National  Film  Carriers 


DEPENDABLE  SERVICE! 

HIGHWAY 
EXPRESS  LINES,  INC. 

Member  .Xatior.al  Film  Carriers 

Philadelphia,  Pa.:  LOcust  4-34S9 
Washington,  D.  C:  DUcont  7-7200 


Film 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


The  word-of-mouth  will  be  TREMENDOUS 


seventeen 


isn't  an  age . . . 
it's  an  eternity ...  , 
nobody  knows  you, 
and  worse, 
you 

hardly  know  N 


yourself 


RKO  RADIO  PICTURES  presents 


THE  YOUNG  STRANGE 


JAMES  MacARTHUR  •  KIM  HUNTER  •  JAMES  DALY  1 

JAMES  GREGORY  •  WHIT  BIS  SELL  •  JEFF  SILVER  1 

Wn««n  62/  ROBERT  DOZIER  •  Produced  by  STUART  MILLAR  •  Directed  62/  JOHN  FRANKENHEIME, 


Another  profit  show  from  the  NEW  RKO 


4fc 

BULLETIN 


F5RUARY  4,  1957 


usiness-wise 
Analysis  of 
ie  New  Films 

Reviews: 

WINGS  OF  EAGLES 
DP  SECRET  AFFAIR 

THE  BIG  LAND 
DIBLE  SHRINKING  MAN 
THE  BIG  BOODLE 
E  HALLIDAY  BRAND 

KELLY  AND  ME 
THE  HAPPY  ROAD 
E  STEPS  TO  DANGER 
DT  SUMMER  NIGHT 
MEN  IN  WAR 


Tom  O'Neil  &  RKO 

Past,  Present*  Future 
♦ 


PATTERNS  OF  PATRONAGE 


The  Teen-age  Customer 


With 

flynn 


Viewpoints 

FEBRUARY  4.   1957      *  VOLUME  25.  NO.  3 


20th-Fox 
Rescue  Team 

Twentieth  Century-Fox'  an- 
nounced campaign  to  aid  the  smaller 
theatres  and  to  reopen  closed  houses 
is  an  encouraging  sign  to  the  entire 
industry.  Even  if  only  to  demon- 
strate that  a  major  film  company  is 
aware  of  the  important  role  the 
small  town  and  sub-run  theatres 
play  in  the  distribution  picture,  the 
project  announced  by  general  sales 
manager  Alex  Harrison  would  be  a 
welcome  omen.  In  view  of  the  cal- 
lous disinterest  in  the  fate  of  thou- 
sands of  small  theatres  displayed  by 
some  of  the  film  companies,  it  comes 
as  a  fresh  breath  of  hope  to  little 
exhibition. 

Mr.  Harrison  spoke  in  construc- 
tive, albeit  general,  terms.  The  first 
move,  he  said,  is  a  re-examination  of 
every  small  town  and  subsequent 
run  situation  by  the  field  sales  force. 
This  would  be  followed  by  local 
level  sales-exhibition  meetings  to 
help  solve  individual  problems  and 
lend  aid  in  generating  public  enthu- 
siasm in  moviegoing. 

With  no  intention  to  deprecate  in 
any  way  the  20th-Fox  drive,  it 
should  be  noted  that  there  have  been 
several  such  gestures  by  other  film 
companies  in  the  past.  Each  was 
announced  with  trumpet  blasts  of 
great  intentions,  only  to  peter  out  in 
mute  inaction.  Having  paid  lip- 
service  to  their  small-exhibitor  cus- 
tomers, these  distributors  promptly 
disregarded  the  basic  problems  while 
theatres  continued  to  succumb. 

On  the  basis  of  its  past  record  of 
providing  some  of  the  most  effective 
leadership  in  tackling  and  solving 
industry  problems,  however,  20th- 
Fox  is  likely  to  be  the  organization 
that  will  go  beyond  gestures  and  do 
something,  if  there  is  something 
that  can  be  done.  But  whatever  is 
planned  to  help  the  smaller  theatres, 
it  must  take  the  form  of  a  definitive 


program,  specific  in  its  purpose.  And 
it  must  be  backed  by  a  determina- 
tion to  see  it  through. 

20th  Century's  "rescue  team"  cer- 
tainly should  carry  the  fervent  good 
wishes  of  the  entire  industry.  The 
thousands  of  small  theatres  through- 
out the  land  are  the  way  stations  for 
millions  of  people  in  search  of  enter- 
tainment and  relaxation.  If  these 
links  no  longer  exist,  countless  po- 
tential moviegoers  will  seek  other 
forms  of  diversion  and,  perhaps,  for- 
get the  wonders  of  a  visit  to  a  movie. 
If  20th  Century's  mission  is  accom- 
plished, the  company  will  win  its 
own  reward,  for  a  healthy  theatre  is 
a  desirable  customer. 


Let's  Cut 
if  AW*/  Bv 

One  of  the  long,  long  pictures  that 
have  come  out  of  late  has  been  doing 
very  well  at  the  boxoffice.  Another 
hasn't.  The  latter,  as  a  matter  of  sad 
fact,  has  been  laying  an  egg  in  direct 
epic  proportion  to  its  length. 

This  pointedly  gives  evidence  that 
extreme  footage  is  not  an  evil  per 
se.  "Gone  With  the  Wind"  will  re- 
main a  living  testimonial  to  that. 
But  what  GWTW  had,  and  what 
has  made  other  big  and  long  pictures 
boxoffice  giants,  are  those  qualities 
of  entertainment — bearing  no  rela- 


BULLETIN 


Film    BULLETIN:    Motion    Picture    Trade  Pacer 
published   every  other   Monday   by  Wax  Publi- 
cations,   Inc.     Mo   Wax.    Editor   and  Publisher. 
PUBLICATION-EDITORIAL   OFFICES:    123?  Vine 
Street,  Philadelphia  7,  Pa.,  LOcust  8-0950.  0951. 
Philip    R.    Ward.    Associate     Editor-  Leonard 
Coulter,  New  York  Associate  Editor;  Duncan  G. 
Steck,     Business     Manager;     Marvin  Schiller, 
Publication  Manager;  Rooert  Heath,  Circulation 
Manager.    BUSINESS  OFFICE:  522  Fifth  Avenue, 
New    York    36     N     Y..    MUrray    Hill  2-3631; 
Alf  Dinhofer,  Editorial  Representative. 
Subscription   Rates:   ONE    YEAR    S3. 00 
in  the   U.   S.;  Canada,   S4.00;  Europe, 
S5.00.     TWO    YEARS:     S5.00    in  the 
U.   S.;   Canada,   $7.50;   Europe,  S9.00. 


tion  to  mere  length — that  provide 
constant  emotional  impact  on  the 
audience.  When  production  opul- 
ence and  length  take  precedence 
over  the  drama,  however,  much  that 
was  good  in  the  picture  is  engulfed 
in  the  lavishness — and  lost.  This  is 
inductive  fact,  proved  time  and 
again,  over  an  era  of  epics. 

The  poor  showing  of  the  royal 
egg-layer  mentioned  above  has  been 
considered  by  many  theatremen  a 
plain  case  of  productionitis — an  in- 
flammation of  the  producer's  ego. 
Having  lavished  such  great  prodi- 
gality on  the  production,  he  couldn't 
bear,  it  seemed,  to  chop  off  such  por- 
tions of  the  footage  that  would  bring 
the  finished  film  into  palatable  pro- 
portions, even  though  it  would  result 
in  a  greater  boxoffice  return.  A  half 
to  three  quarters  of  an  hour  out  of 
this  film,  exhibitors  feel,  could  have 
meant  millions  at  the  boxoffice. 

Perhaps  the  next  thought  may  be 
considered  blasphemous  by  those 
who  make  movies,  but,  in  view  of 
the  alleged  objective  of  a  commercial 
film  to  gain  the  greatest  audience 
and  make  the  most  money — why 
couldn't  each  king-size  film  be  sub- 
mitted to  a  board  of  expert  studio 
editors  after  the  producer  is  done 
with  it? 

Let  them  go  to  work  with  the 
scissors,  unburdened  by  the  anguish 
that  must  overcome  the  producer 
when  he  sees  a  minute  of  film  repre- 
senting thousands  of  dollars  slide  to 
the  cutting  room  floor.  Then  let  the 
full  version  and  the  edited,  stream- 
lined product  be  submitted  to  a 
group  of  test  audiences.  Their  re- 
action would  be  a  valuable  guide  in 
determining  which  will  spell  bigger 
boxoffice. 

It  may  not  be  the  whole  answer  to 
bulky,  overlong  epics.  But  it  could 
go  a  long  way  toward  preserving 
that  portion  of  the  boxoffice  that  is 
lopped  off  because  a  thousand  feet 
cf  excess  film  was  not. 


Film  BULLETIN    February  4,  1957        Page  3 


Share  the  good  news  of 
these  M-G-M  releases 
just  previewed  and 
headed  for  top  grosses! 


mm 


THE  WINGS  OF  EAGLES 


PERFECT  WASHINGTON'S  BIRTHDAY  SHOW  will  lift  grosses  sky- 
high!  The  fastest- booking  holiday  attraction  because  John  Wayne  and 
director  John  Ford  deliver  another  BIG  in-Metrocolor  hit  (Best  since 
their  "Quiet  Man").  Based  on  the  life  of  reckless,  fun-loving  "Spig" 
Wead,  Squadron  Commander.  Dan  Dailey,  Maureen  O'Hara  co-star. 

10,000  BEDROOMS 

SONG-FILLED  JOYOUS  ENTERTAINMENT  about  a  young  hotel 
tycoon  (Dean  Martin's  first  solo  starring  role)  and  four  lovely  sisters.  A 
BIG,  happy,  romantic,  song -studded  attraction  loaded  with  beauty  and 
talent— in  CinemaScope  and  Metrocolor!  Cast  includes:  Anna  Maria 
Alberghetti,  Eva  Bartok,  Dewey  Martin,  Walter  Slezak,  Paul  Henreid. 


LIZZIE 


»» 


POWERFUL  DRAMA!  EXPLOITATION  NATURAL!  It's  a  sock  drama 
for  sensational  showmanship.  It's  the  story  of  "the  Jekyll  and  Hyde  girl 
who  lived  three  strange  lives."  Eleanor  Parker's  performance  as  three 
different  personalities  is  absorbing.  Something  different  for  the  fans! 

(A  Bryna  Production.) 

DESIGNING  WOMAN 

TIP-OFF!  ONE  OF  1957's  BIGGEST!  Previewed  last  week.  Imme- 
diately the  word  flashed  from  Coast  to  Coast  that  M-G-M  has  another 
blockbuster  in  the  "High  Society"  class.  Gregory  Peck,  Lauren  Bacall, 
Dolores  Gray  in  the  hilarious,  action-packed  CinemaScope  comedy  romance 
in  Metrocolor  of  a  designer  and  a  sportswriter. 


THE  LITTLE  HUT 


AUDIENCE  REACTION  FORECASTS  SENSATION!  In  its  Test-Pre- 
views it  has  proved  itself  in  advance  a  smash  box-office  hit !  Ava  Gardner 
in  her  scanty  wardrobe  is  gorgeous,  shipwrecked  on  a  desert  island  with 
Stewart  Granger  and  David  Niven.  Sure-fire  audience  entertainment— in  j 
BLUSHING  COLOR!  (A  Herbson,  S.  A.  Production.) 


PUBLICITY  LAG.  "Too  little  and  too  late"  is  the  cry  of 
many  theatremen  in  regard  to  advance  buildup  for  films 
today.  They  charge  this  delinquency  with  being  respon- 
sible for  the  failure  of  many  worthy  pictures  to  do  antici- 
pated business.  A  current  case  in  point  is  the  experience  of 
"'Friendly  Persuasion".  This  delightful  William  Wyler 
production  is  reportedly  just  beginning  to  show  its  true 
boxoffice  strength  in  subsequent  runs,  after  a  disappoint- 
ing performance  in  most  first  run  situations.  Multiple  key 
run  bookings,  bolstered  by  joint  promotion  effort,  are 
bringing  in  grosses  relatively  far  above  those  shown  in  the 
first  run  engagements.  Exhibitors  contend  that  the  same 
has  been  true  of  many  other  fine  films;  they  just  begin  to 
catch  on  with  the  public  about  the  time  when  the  late  runs 
are  offering  them.  One  prominent  theatreman  spoke  the 
opinion  of  many  when  he  declared:  "The  trouble  is  that 
the  film  producers  in  this  day  do  not  give  their  publicity 
and  advertising  staffs  enough  time  to  develop  full-scale  ad- 
vance campaigns  on  a  picture.  All  too  often  important  pic- 
tures are  rushed  into  first  runs  with  hardly  any  advance 
publicity,  and  the  ad  men  are  pressed  to  turn  out  a  'smash 
campaign'  within  a  matter  of  a  couple  days.  And  this 
trouble  even  applies  to  their  selling  to  exhibitors  them- 
selves. Features  are  often  offered  to  my  buyers  and  book- 
ers without  a  single  ad  having  appeared  in  a  trade  paper. 
How  are  we  to  go  out  and  sell  the  pictures  to  the  public  if 
they  haven't  been  sold  to  us!" 

0 

WHITHER  RKO?  The  ink  is  hardly  dry  on  the  RKO- 
Universal  pact  and  some  students  of  the  situation  are  ready 
to  wager  that  no  future  RKO-produced  pictures  will  go  to 
U-I  for  distribution.  Tom  O'Neil,  they  say,  made  the  de- 
cision in  haste  to  close  down  his  exchanges  under  the 
duress  of  a  mounting  debt,  but  it  is  reported  that  he  al- 
ready has  misgivings  about  the  wisdom  of  the  deal.  It's  in 
the  cards,  distribution  experts  contend,  that  O'Neil  will  be 
disappointed  in  the  returns  that  will  be  forthcoming  from 
Universal.  The  RKO  product,  they  say,  is  bound  to  re- 
ceive "step-child"  treatment.  This  conclusion  is  based  on 
the  assumption  that  the  U-I  sales  force,  handling  a  full 
complement  of  their  own  wholly-owned  product,  will  hard- 
ly be  in  position  to  scratch  out  the  best  terms  and  playing 
time  for  RKO's  films.  They  fully  expect  O'Neil  to  adopt 
some  other  method  for  distribution  of  RKO's  future  out- 
put. Most  likely  plan:  a  limited  sales  staff  (on  the  order 
of  Buena  Vista's),  with  physical  service  and  billing 
handled  by  National  Film  Carriers. 

O 

ZANUCK'S  POSITION.  Insiders  will  tell  you  to  discount 
those  rumors  that  Darryl  F.  Zanuck  might  hook  up  with 
Howard  Hughes  to  take  control  of  20th-Fox.  The  former 


What  Tfiey'te  hiking  About 

□    □    □    In  the  Movie  Business    □    □  □ 


studio  chief,  who  now  is  operating  as  an  independent  pro- 
ducer, has  very  close  ties  with  a  strong  sentimental  attach- 
ment for  Spyros  Skouras,  whose  showmanship,  Zanuck 
believes,  is  unmatched  in  the  industry.  As  for  the  un- 
fathomable Hughes  and  his  current  interest  in  20th  stock, 
Wall  Streeters  see  nothing  but  an  investment  motive. 
They  point  out  that  if  he  were  seeking  control  of  a  film 
company,  there  are  others  far  more  vulnerable  than  20th- 
Fox. 

0 

COLOR  TV.  Despite  all  the  pressures  applied  to  sell  color 
television,  the  fact  remains  that  it  has  been  a  big  bust  so 
far.  RCA  is  reported  to  have  lost  some  $6  million  pushing 
tinted  TV,  with  only  a  comparative  handful  of  sets  pur- 
chased by  a  wary  and  reluctant  public.  Wall  Street  reports 
indicate  that  the  heat  is  on  Gen.  David  Sarnoff,  RCA  boss, 
who  plumped  so  hard  for  color.  Advertising  people  would 
like  to  see  their  products  displayed  on  TV  in  all  their  re- 
splendent packages,  but  Mr.  John  Q.  Public  can't  be  en- 
ticed to  lay  out  some  $400  for  a  new  set.  Television  is 
learning  what  the  movie  people  have  long  known:  while 
color  is  a  definite  plus-factor,  it  has  never  been  accepted  as 
a  substitute  for  quality  entertainment.  A  good  show  in 
black  and  white  will  always  outdraw  an  inferior  one  in 
color. 

0 

LOEWS  BOARD  CHAIRMAN.  The  revised  by-laws  of 
the  Loew  organization  may  make  no  provision  for  a  suc- 
cessor to  the  board  chairman  spot  vacated  by  Arthur  M. 
Loew,  Jr.,  but  insiders  expect  that  if  and  when  the  spot  is 
filled,  it  will  not  go  to  Joseph  Tomlinson,  the  fighting  dis- 
sident and  reputably  largest  single  stockholder.  They  say 
that  the  inclination  of  other  large  stockholders,  who  were 
not  directly  in  his  camp,  is  to  have  a  more  neutral  board 
head. 

0 

NO  MERGER.  Prospects  that  there  might  be  a  merger  of 
Allied  and  TOA  are  dimmer  now  than  they  were  a  few 
months  ago.  While  Allied  will  adopt  a  more  conciliatory 
course  in  its  relations  with  the  film  companies,  and  proba- 
bly work  closely  with  TOA  in  seeking  reforms,  the  inde- 
pendent organization  leadership  feels  that  it  must  retain 
self-determination  to  follow  a  different  and  tougher  course 
if  the  distributors  fail  to  correct  certain  trade  practices. 
Some  elements  in  Allied  lean  toward  uniting  with  the 
other  national  group,  but  there  remains  a  hard  core  of  firm 
independents,  who  insist  that  a  merger  could  only  mean 
that  Allied  would  be  swallowed  up  by  TOA. 


Film  BULLETIN    February  4,   1957        Page  5 


DARWIN  COMES  TO  MOVIEDOM.  Adapt  or  die- 
that  is  the  dire  dictum  of  evolution.  To  play  this  little 
game  of  craps  with  Mother  Nature  you  obey  some  rather 
rigid  rules.  Grow  antlers,  if  need  be.  Sprout  feathers,  if 
you  must.  Indeed,  forsake  even  your  egg-laying  habits  for 
more  advanced  avenues  of  procreation,  if  the  fates  so  in- 
voke— but  by  all  means  make  your  peace,  as  best  you  can, 
with  an  unfriendly  and  perilous  environment. 

Just  how  successfully  moviedom  has  evolved  in  the  two 
score  years  since  it  wiggled,  tremorously,  out  of  the  ooze 
and  the  brine  to  take  its  place  among  the  profit-seeking 
creatures  of  the  field  is  open  to  speculation. 

Moviedom's  central  environment  is  the  marketplace.  To 
some  extent  it  has  artfully  survived  the  terrors  of  that  un- 
holy ground.  From  an  unlovely  starveling  that  flickered  in- 
stead of  flowed,  the  film  medium  has  grown  smooth  and 
silky.  It  has  waxed  higher,  wider  and  more  comely.  It 
has  acquired  a  handsome  coloration,  as  well  as  an  organ 
of  speech.  The  acquisition  of  a  brain  and  a  foresight  is 
again  a  speculative  issue. 

0 

An  examination  of  the  current  condition  of  the  movie 
enterprise  would  indicate  evolution  has  been  only  a  some- 
time thing.  For  this,  thanks  must  go  the  industry's  woeful 
inertia  in  the  face  of  sudden  change.  So  long  as  environ- 
ment remains  tranquil  and  constant,  moviedom  does  fine. 
Otherwise  it  falls  to  pieces.  The  entry  of  television  into 
the  marketplace  rendered  moviedom  as  hopelessly  be- 
fuddled as  the  pin-brained  dinosaur  in  its  time  of  testing. 
Nature  ordered  that  specie  extinct. 

Evidence  of  how  miserably  moviedom  has  failed  to  adapt 
to  the  modern  environment  is  manifest  in  today's  news. 
With  the  rise  of  TV,  film  company  earnings  have  sagged 
to  mere  subsistence  levels,  in  some  cases  figures  reminis- 
cent of  income  totals  of  the  sad  1930s.  Cinema  security 
prices  have  dipped  in  sympathy  (see  Film  BULLETIN 
Cinema  Aggregate  below).  Production  by  major  studios  is 
following  a  five  year  trend  of  atrophication,  as  nervous  film 
makers  assess  their  dwindling  counting  houses. 

O 

On  more  specific  fronts,  Loew's  Leo,  once  the  mightiest 
creature  of  them  all,  is  squealing  like  a  pussy  cat,  counting 
its  blessings  for  escaping — maybe,  just  maybe — a  tooth 
and  fang  battle  for  internal  control.  Indeed,  there  are 
whispers,  incredible  as  they  seem,  of  a  possible  liquidation 
within  a  year  presided  over  by  Loew's  newly  proposed 
slate  of  directors.  Republic  Pictures,  with  theatre  film 
production  at  a  standstill,  is  up  for  grabs.  RKO  has  cast 
off  its  distribution  system  to  lighten  the  burden.  Produc- 
tionwise  that  company  is  barely  limping  along.  Two  other 
film  companies,  one  a  long-time  giant,  are  being  covetously 
studied  by  elements  able,  if  not  immediately  willing,  to 
take  command.  Among  some  firms  diversification  in  out- 
side fields  is  pulling  the  oars,  while  in  others  proxy  con- 
tests are  avoided  by  the  fortunate  circumstance  of  control 
being  vested  in  management. 

0 

Only  United  Artists  seems  to  have  made  a  genuinely 
effective  adaptation  to  the  recent  environment.  Sensing 
the  tax-prompted  rise  in  independent  production,  UA 
strived  furiously  to  capitalize  upon  this  sudden  shift  in  the 


FINANCIAL 

BULLETIN 


FEBRUARY 


By  Philip  R.  Ward 

wind.  20th-Fox  made  a  gallant  try  to  meet  new  conditions 
with  CinemaScope,  and  enjoyed,  albeit  temporary,  success. 
To  its  credit,  the  Skouras  management  of  that  company  is 
always  alert  and  eager  to  meet  circumstances.  Other  com- 
panies, however,  revel  in  atrophy,  resist  change,  resent  the 
very  suggestion  that  the  old  order  changeth. 

What  is  the  answer?  Evolution's  uncompromising  man- 
date remains:  adapt  and  survive,  fail  and  perish.  From 
this  it  follows  that  even  the  once  mighty  shall  tumble  b1 
the  wayside  and  be  weeded  out,  lest  they  thoroughly  re- 
cant the  luxury  of  standing  pat.  The  marketplace  brooks 
no  sentimentality.  Its  decisions  are  swift  and  final.  Un- 
happily, this  stringent  environment  appears  too  much  for 
an  important  complement  of  film  companies  and  person- 
nel alike. 

What  is  most  likely  transpiring  even  now — and  the 
symptoms  are  there  for  the  looking — is  a  gradual  over- 
hauling of  both  firms  and  personnel.  In  practical  terms 
this  means  some  consolidation  of  facilities  and  resources, 
a  sifting  of  the  manpower.  What  remains  will  be  a  hard, 
hearty,  spirited,  adaptable  new  industry  that  will  have 
grown  a  new  set  of  feathers  to  meet  the  terms  of  its  new 
environment.  Only  thus  can  it  survive. 

O  O 

THE  LONG  ROAD  BACK.  The  Cinema  Aggregate  of 
Film  BULLETIN  —  charted  below  —  reports  industry 
stocks  up  in  January;  film  companies  gaining  5^4  points, 
theatre  companies,  2y8.  Some  measure  of  the  distance  the 
Aggregate  must  travel  to  make  up  lost  ground  is  had  by 
contrasting  January's  close  with  those  of  the  years  1954 
and  1955.  In  '55  the  FB  Aggregate  ended  with  a  reading 
of  158J/2  for  film  companies,  37  for  theatre  companies.  The 
'54  close  reported  178V2  for  film  companies,  40^4  for  thea- 
tre companies.  The  January,  1957  close  reads:  136^  for 
film  companies,  33^g  for  theatre  companies. 

Film  BULLETIN  Cinema  Aggregate  * 


FILM  COMPANIES  THEATRE  COMPANIES 

' Composed  of  carefully  selected  representative  industry  issues. 


Page  6       Film  BULLETIN    February  4,  1957 


An  important  statement 
about 


20th  Century-Fox's 
JANUARY-THRU-EASTER 


20tkCCftIuAXL-Fb5d  in  announcing  its 
release  schedule  for  the  first  four  months  of 
1957,  reaffirms  its  great  faith  in  the  future 
of  our  industry  as  expressed  by  our  Presi- 
dent, Spyros  P.  Skouras,  in  his  recent  state- 
ment that  we  must  "lead  through  strength." 

This  is  only  the  beginning.  Our  program  is 
ambitious,  but  simple.  We  will  release  one 
important  new  box-office  attraction  every 
week  of  1957.  Every  one  of  these  pictures 
will  be  as  successful  a  creation  and  as  com- 
mercial a  product  as  we  can  make  it. 

We  are  pouring  into  this  line-up  talent,  skill, 
energy  and  experience.  Each  release  will  be 
pre-sold  by  hard-hitting  advertising  and 
widely-penetrating  publicity. 

These  are  challenging  days  for  our  business. 
But  it  is  our  thinking  at  20th  that  vigor, 
imagination  and  merchandising  will  do  the 
job.  We  know  we  have  the  most  of  the  best 
pictures  in  our  entire  history,  and  we  face 
the  future  with  confidence  and  enthusiasm. 


ALEX  HARRISON 
General  Sales  Manager 


tres  are  rocking! 
s  one  is  rolling  I 


IE  GIRL  CAN'T 

ELP  it  iflrS 

I 


OLOR  by  OB  LUXE 

NemaScOPE 

JAYNE 8  EOMOND 

ELL  •  MANSFIELD  •  O'BRIEN 

ed  and  Oirected  by 

NK  TASHLIN 

TASHLIN     HERBERT  BAKER 


wed  0/  3//  fief/on,  /ejjeni/,  //w/ 

HE  TRUE  STORY 
IF  JESSE  JAMES 

COLOR  by  OE  LUXE 

.INemaScoP£ 


The  story  that  had  to  win  the  Pulitzer  Prize! 

THREE  BRAVE  MEN 

C  I N e        ;  :<  .pt  O  , 

RAY  ERNEST 

MILLAND  •  60RGNINE 

Produced  b»  Directed  ano  written  'or  DM  Sen 

HERBERT  B.  SWOPE,  Jr.   .    PHILIP  DUNNE 


Heartwarming  story  of  youth  and  adventure! 


SMILEY 


COLOR  BY  TECHNICOLOR 

OnemaScoPE:  ^**» 

starring 

RALPH  JOHN  "CHIPS" 

RICHARDSON  •  McCALLUM  •  RAFFERTY 

ami  deducing  COLIN  PETERSEN  as  "Smiley" 

Produced  and  Directed  by  ANTHONY  KIMMINS 
Screenplay  by 

MOORE  RAYMOND  and  ANTHONY  KIMMINS 

A  London  Film  Released  by  20th  Centuryfoi 


A  cast  of  stars  in 
Broadway's  smash  comedy  hit! 

OH,  MEN! 
OH,  WOMEN!  I 

COLOR  by  OE  LUXE 

CINemaScoPE 

starring 

DAN        GINGER  DAVID 

DAILEY.  ROGERS  •  NIYEN 

BARBARA  TONY 

RUSH  •  RANDALL 

Produced  and  Directed  by 

NUNNALLY  JOHNSON 


The  surprise  romantic  comedy  of  the  year! 

TWO  GROOMS  m 
FOR  A  BRIDE  |^  r" 


starring 

VIRGINIA 


JOHN 


BRUCE* CARROLL 

Produced  by  ROBERT  S.  BAKER  ..o  MONTY  BERMAN 

Directed  by  Screenplay  by 

HENRY  CASS- FREDERICK  STEPHANI 


Adventurers  for  hire  in  exciting  Morocco! 

OASIS 


I 


IN  EASTMAN  COLOR  VM 

CinemaScopE 

starring  \u  P 

MICHELE  PIERRE  ^* 

MORGAN  •  BRASSEUR 

w,th  CORNELL  BORCHERS 

Educed  by  LUGGI  WALDLEITNER 
and  GERD  OSWALD 

Screen  Adaptation  by 

JOSEPH  and  GEORGES  KESSEL  *j[ 


The  star  of  "The  King  and  I"! 

The  director  of  "The  African  Queen"! 

HEAVEN  KNOWS, 
MR.  ALLISON 

COLOR  by  DE  LUXE 

CiNemaScoPEz 

starring 

DEBORAH  ROBERT 

KERR  •  MITCHUM 

Produced  by 

BUDDY  ADLER  and  EUGENE  FRENKE 

Directed  by 

JOHN  HUSTON 

Screenplay  by 

JOHN  LEE  MAHIN  and  JOHN  HUSTON 


The  unforgettable  story  of  the  men  of  the  West! 

THE  STORM  RIDER 

RioalScom 

starring 

SCOTT        MALA  BILL 

BRADY*  POWERS- WILLIAMS 

Produced  by  Directed  by 

BERNARD  GLASSER  •  EDWARD  BERNDS 

Screenplay  by  EDWARD  BERNDS  and  DON  MARTIN  i 


• 

BE 

■ 


rhe  strangest  story  to  emerge  from  the  war! 

SEA  WIFE  ^ 


:olor  by  oc  luxe 

DnemaScoPE 


COLLINS  •  BURTON 


BASIL 

SYDNEY 


Produced  by  Directed  by 

VNDRE  HAKIM  •  BOB  McNAUGHT  yj 

icreenplay  by  GEORGE  K.  BURKE 


Offbeat  drama  of  mounting  suspense! 

BREAK  IN 
THE  CIRCLE 

starring 

FORREST         EVA  MARIUS 

TUCKER  •  BARTOK  -  GORING 

Produced  by  Directed  by 

MICHAEL  CARRERAS  •  VAL  GUEST 

Screenplay  by  VAL  GUEST 


Powerful  secret  story  of  wartime  Hong  Kong! 

CHINA  GATE 

GnemaScoP^ 

ring 

NAT  6ENE 

"KING"  COLE- BARRY 

Produced.  Directed  and  Written  tor  the  Screen  by 

SAMUEL  FULLER 

A  Globe  Enterprises  Production 
Released  by  20th  Century-Foi 


The  thrill  package  of  the  year! 

A  boxoffice  blockbuster! 

SHE     DEVIL     TENTATIVE  TITLE) 

starring 

MARI           JACK  ALBERT 

BLANCHARD  -KELLY  •  DEKKER  <J 

Produced  and  Directed  by 

KURT  NEUMANN 

Screenplay  by 

CARROLL  YOUNG  m  KURT  NEUMANN  ' 

KRONOS  h 

Hi 

starring 

JEFF  BARBARA 

JOHN 

MORROW- LAWRENCE*  EMERY 

Produced  and  Directed  by 

KURT  NEUMANN 

Screenplay  by 

LAWRENCE  LOUIS  GOLDMAN 

UD  THROUGH  STRENGTH  -  s.p.s. 


Tom  O'Neil 
&RK0 

PaMt  pteMHt  Juture 

by  LEONARD  COULTER 

Sometimes  a  man  falls  prisoner  to  his  own  dreams.  It 
was  a  buoyant,  confident  Thomas  F.  O'Neil  who,  a  year 
and  a-half  ago,  moved  into  the  control  of  RKO  Radio  Pic- 
tures. 

He  had  just  closed  what  looked  like  a  sugarplum  deal. 
For  $25,000,000  he  had  bought  a  company  for  which 
Hughes  had  previously  refused  $50,000,000  or  more. 

His  own  words,  uttered  at  that  time,  reflected  his 
optimism : 

"I  heard  a  great  deal,  long  before  I  met  Mr.  Hughes, 
about  possible  liquidation  of  RKO  by  various  groups 
which,  it  was  said,  were  anxious  to  acquire  the  company 
for  a  quick  sale  of  its  properties,  after  which  they  would 
allow  it  to  disintegrate. 

"It  quickly  became  apparent  to  me  .  .  .  that  Mr.  Hughes 
was  not  interested  in  such  a  deal.  Moreover,  we  became 
convinced  that  there  was  a  large  and  growing  market  for 
fine  films  for  theatrical  distribution  .  .  . 

"We  confirmed  .  .  .  that  the  company's  film  backlog 
could  be  acquired  for  television  only  if  RKO  was  pur- 
chased as  a  film  business,  and  maintained  as  such.  Ac- 
cordingly, I  wrote  a  letter  to  Mr.  Howard  Hughes  stating 
that  if  our  conversations  matured,  we  would  be  prepared 
to  take  over  RKO  in  its  existing  posture;  that  is  to  say,  to 
operate  it  as  a  unit  for  producing  and  distributing  films  for 
theatrical  release.  While  the  letter  does  not  form  part  of 
the  legal  contract,  I  regard  it  as  being  binding  upon  us. 

"Mr.  Hughes  himself  had  insisted  all  along  that  he  was 
opposed  to  the  break-up  of  RKO  Radio  Pictures  because 
it  would  cause  widespread  distress  and  unemployment,  and 
would  accentuate  the  film  shortage.  I  think  a  great  deal  of 
credit  is  due  to  him  for  that  humanitarian  stand  .  .  . 

"We  shall  maintain  it  as  a  going  concern,  because  we 
feel  it  can  stand  on  its  own  feet  and  thrive  in  its  own  mar- 


"We  have  a  right  to  operate  our  business  as 
efficiently  as  it  can  be  run  .  .  .  Our  wove  was 
motivated  almost  by  desperation  .  .  .  We  figure 
that  somewhere  along  the  line  we  will  be  able  to 
evolve  a  new  way  of  distributing  pictures  .  .  ." 


ket  .  .  .  We  intend  to  use  this  great  opportunity  to  con- 
tinue and  increase  RKO's  role  in  the  important  theatrical 
release  field  .  .  .  Any  changes  we  introduce  will  be  primari- 
ly with  the  object  of  establishing  ourselves  permanently 
in  the  film  business  .  .  . 

"Our  expansion  in  that  field  is.  we  feel,  a  far  more  com- 
pelling job  than  releasing  backlog  films  for  television.  I 
think  we  shall  have  all  the  money  we  need  for  making 
pictures." 

That  was  the  Tom  O'Neil  of  July,  1955,  firmly  convinced 
that  he  was  on  the  threshold  of  a  great  new  career  as  the 
guiding  light  of  a  great  film  producing  company  which 
might  even  out-Metro  Metro  itself. 

Wizard  of  Oz 

To  say  that  now,  some  eighteen  months  later,  Tom 
O'Neil  is  a  chastened  man  would  be  an  exaggeration,  but 
there  isn't  much  doubt  he  is  a  much  wiser  one  now  and, 
perhaps,  even  a  little  disappointed.  For  the  job  of  reviving 
RKO  as  a  top  film  producer  hasn't  been  as  easy  as  it 
looked.  Nor  has  the  early  expectation  of  a  quick  and  hand- 
some profit  come  to  pass. 

To  those  unfamiliar  with  the  complexities  of  present-day 
corporate  finance  it  looked  for  all  the  world,  back  in  the 
summer  of  1955,  that  Mr.  O'Neil  was  about  to  be  unveiled 
as  a  financial  Wizard  of  Oz.  The  all-too-simple  arithmetic 
scribbled  on  bar-room  napkins  at  that  time  went  something 
like  this :  Cash  paid  for  RKO :  $25,000,000.  Received  from 
Howard  Hughes  on  the  sale  back  to  him  of  two  feature 

(Continued  on  Page  17) 


Page  12       Film  BULLETIN    February  4,  1957 


PATTERNS  DP  PATRDNAIiK 
ii 


Cxclu^e       BULLETIN  Jutm 


The  Teen-age  Customer 


By  LEONARD  SPINRAD 
The  younger  generation  has  always  been  a  favorite  tar- 
get for  its  elders.  It  is  a  target  for  criticism  and  a  target 
for  business.  The  motion  picture  industry,  like  so  many 
other  enterprises,  gets  many  headaches  and  many  dollars 
from  the  teen-aged  trade.  Of  all  the  various  types  of  cus- 
tomer who  come  into  the  movie  theatre,  none  can  match 
the  adolescent  in  enthusiastic  impulse  buying,  response  to 
promotional  stimuli  or  unpredictable  explosiveness. 

Many  theatre  owners  insist  that  ado'escent  patronage  is 
just  not  worth  the  hazards.  They  cite  repeated  instances 
i  of  vandalism,  rowdy  behavior  and  general  wear  and  tear. 
And  yet  they  face  the  fact  that  no  single  age  group  is  near- 
ly as  important  for  the  long  term  future  cf  motion  picture 
exhibition  as  the  teen-ager. 

Not  only  because  of  their  adolescent  impressionableness 
and  the  fact  that  they  have  free  time  and  money  to  spend, 
but  also  because  there  are  more  of  them  all  the  time,  the 
teen-agers  are  the  customer  reservoir.  Just  consider  a  few 
perhaps  startling  statistics  about  them. 

This  year's  16-year-olds  come  from  a  crop  of  2,500,000 
babies  born  in  1941.  The  16-year-olds  who  reach  that  noble 
age  in  1959  wiil  come  from  a  crop  of  2,930,000;  and  in  years 
further  ahead  the  field  continues  to  grow.  (This,  thanks 
to  geriatrics,  will  also  be  true  of  people  beyond  middle 
age;  but  it  takes  no  genius  to  perceive  that  no  matter  how 
j  much  get-up-and-go  the  oldsters  have,  they  will  never 
match  the  dynamic  energies  of  their  grandchildren.) 



TEEN-AGERS  ARE  PEOPLE 


The  statesmen  of  the  motion  picture  industry,  moreover, 
looking  beyond  the  teen-ager's  immediate  box  office  dollar, 
like  to  think  that  the  adolescent  who  becomes  accustomed 
to  going  to  the  movies  regularly  in  his  teens  will  remain  a 
fairly  loyal  patron  in  his  more  mature  years,  and  will  pass 
some  degree  of  the  habit  on  to  the  children  he  raises.  How 
far  this  projection  can  be  carried  is  pure  speculation,  but 
we  are  certainly  better  off  with  a  moviegoing  generation 
than  without  it. 

There  is  one  gaping  hole  in  this  entire  area  of  thinking, 
however;  and  it  is  a  defect  which  has  been  virtually  ig- 


nored in  the  industry's  public  thought  about  the  adolescent 
audience.  The  simple  fact  is  that  the  so-calied  adolescent 
audience  is  not  quite  that  well  defined.  It  isn't  a  single 
cohesive  audience  at  all. 


Teen-agers  have  fads  in  common,  and  sloppy  clothes  in 
common  and  good  and  bad  habits  in  common,  but  teen- 
agers are  people.  People  come  in  all  shapes,  sizes,  men- 
talities and  tastes — and  teen-agers  offer  the  full  variety. 

The  problem  of  delinquency  is  the  perfect  illustration. 
No  theatre  manager,  including  many  whose  houses  are 
most  afflicted  with  juvenile  miscreants,  would  contend  that 
all  cr  even  a  majority  of  teen-agers  are  delinquents.  Many 
theatre  men  report  that  the  problem  girls  are  far  more  of  a 
headache  than  the  boys;  but  can  you  turn  this  into  a  gen- 
eralization about  girl  teen-agers? 

A  minority  of  juveniles  is  responsible  for  the  delinquency 
reputation.  (Delinquency  itself  deserves  separate  discus- 
sion later  on.)  By  the  same  token,  only  fractional  portions 
of  the  teen-age  public  are  rock  and  roll  fanatics,  or  incur- 
able romantics  or  what  have  you. 

It  is  only  in  the  past  decade  or  so  that  we  have  taken  to 
regarding  the  teen-age  market  as  a  unit;  we  didn't  make 
the  mistake  previously  because  there  was  no  great  need  to 
pinpoint  our  audience.  Individual  pictures,  in  the  pre-wsr 
area,  were  less  important  and  the  entire  annual  block  of 
product  of  a  company  was  the  thing.  Also,  market  and  sta- 

( Continued  ,m  Page  14) 


Film  BULLETIN     February  4,   1957        Page  13 


THE  TEEN-AGE  CUSTOMER 

Purvnts.   Tvtichvrs.,  iJivrgy  Exert  lnflin'iiff 


(Continued  from  Page  13) 

tistical  research  had  not  yet  been  developed  to  their  pres- 
ent degree.  Finally,  before  the  war  we  still  regarded  movie- 
going  as  a  family  institution,  with  much  less  separate 
ticket-buying  by  young  teen-agers. 

If  teen-agers  do  not  all  have  the  same  tastes  and  inter- 
ests, they  nevertheless  in  the  main  have  certain  psycho- 
logical attributes  which  are  characteristic  of  their  age. 
They  are  impulse  creatures,  given  to  periodic  overwhelm- 
ing enthusiasms.  They  are  hero  worshippers  who  need  a 
change  of  hero  every  thousand  miles.  They  are  at  a  point 
when  they  both  want  and  at  the  same  time  reject  parental 
guidance  and  are  at  least  passively  resentful  of  discipline. 

Thus  certain  points  emerge  in  considering  the  teen-age 
motion  picture  market.  First,  the  producer  of  motion  pic- 
tures must  bear  in  mind  that  today's  teen-age  enthusiasm 
is  apt  to  be  tomorrow's  old  hat.  Rock  and  roll  has  been  at 
a  relatively  brief  peak ;  from  the  motion  picture  point  of 
view,  it  must  be  regarded  as  near  the  end  of  the  teen-age 
road.  This  does  not  mean  teen-agers  no  longer  rock  and 
no  longer  roll  to  the  music  of  a  local  combo  or  a  new 
record  (although  the  music  business  now  sees  other  types 
of  melody  replacing  r  and  r  at  the  top  of  the  list)  ;  it  means 
that  when  the  time  comes  for  a  teen  ager  to  plunk  down 
money  at  a  theatre  box  office,  he  may  think  twice.  The 
rhythms  available  via  television  or  the  local  juke  joint  may 
now  suffice  to  satisfy  his  down-from-the-peak  appetite. 

For  the  exhibitor,  faced  with  the  sharp  ups  and  downs 
of  the  teen  age  crazes,  the  marketing  problem  becomes  one 
of  spot  exploitation.  More  than  with  pictures  for  the  adult 
or  entire  family  audience,  films  booked  with  an  eye  to  the 
teen-age  trade  have  to  be  intensively  exploited  in  a  rela- 
tively short  period  of  time.  Twentieth  Century  Fox's  satu- 
ration handling  of  Elvis  Presley's  debut  in  "Love  Me 
Tender"  was  an  excellent  example  of  this  technique  on  the 
distributive  and  exhibition  level. 


MANY  PROBLEMS,  TO  CONSIDER 


Second,  as  the  personal  history  of  teen-age  favorites  for 
a  long  time  has  shown,  the  teen-ager's  enthusiasm  can  be 
used  to  build  a  broader  base  of  audience  loyalty.  Frank 
Sinatra  was  a  teen-age  girls'  dreamboat  in  his  first  blaze 
of  glory  as  an  entertainer,  but  he  achieved  far  more  lasting 
stature  when  he  captured  the  loyalty  of  the  older  night- 
club and  moviegoing  public  as  an  actor-singer.  Many 
other  entertainers  have  accomplished  the  same  transition 
— and  in  the  process  they  often  recapture  as  fans  many  of 
the  erptwhile  teen-agers  who  have  grown  up  with  them. 

There  are  certain  pitfalls  in  appealing  to  teen-age  audi- 
ences. One  of  which  the  motion  picture  industry  must  al- 
ways be  conscious  is  the  question  of  good  taste.  Fringe 
elements  in  our  industry — as  in  the  publishing,  phonograph 
and  even  clothing  businesses — sometimes  pander  to  ado- 
lescent sex  curiosity,  at  the  expense  of  the  industry's  repu- 
tation. Sometimes,  respectable  theatres  fail  properly  to 
police  their  audiences  for  troublemakers  among  teen-agers, 


and  find  as  a  result  that  the  bad  teen-agers  have  driven  the 
good  ones  out  of  circulation. 

Much  has  been  written  about  the  growing  independence 
of  the  adolescent.  He  is  still,  however,  an  adolescent,  sus- 
ceptible to  the  weighty  influence  of  home,  church  and 
school.  Sometimes  one  or  more  of  these  influences  may  be 
negligible,  but  as  a  general  rule  they  are  fairly  potent. 
Therefore,  the  lines  of  communication  between  the  motion 
picture  industry  and  the  home,  church  and  school  must 
constantly  be  tended,  in  order  that  the  impetus  toward 
moviegoing  shall  be  sustained  and  encouraged. 

Positive  promotional  and  educational  efforts  by  motion 
picture  companies  and  theatres  serve  a  continuing  purpose, 
of  course.  But  it  must  also  be  borne  in  mind  that  if  a 
parent,  or  a  teacher,  or  a  minister  is  repelled  by  particular 
aspects  of  motion  pictures  he  is  liable  to  exert  his  influence 
in  opposition  to  teen-age  ticket  buying.  Many  teen-agers 
will  go  to  the  movies  anyway;  many,  representing  ad- 
ditional millions  of  dollars  in  ticket  sales,  will  not. 


Parents  are  the  most  important  influence.  This  is  not 
necessarily  because  they  are  the  most  persuasive,  although 
that  may  be  true.  It  is  basically  because  they  are  the  only 
ones  likely  to  have  any  control  of  teen-age  purse  strings. 
Many  teen-agers  work  for  their  spending  money  these 
days;  but  most  still  are  taking  an  allowance  from  pop. 

This  brings  us  to  the  question  of  whether  parents,  as  a 
general  rule,  are  giving  sufficient  encouragement  to  teen- 
age moviegoing.  Or,  to  put  it  differently,  are  they  offering 
sufficiently  small  opposition  to  the  natural  moviegoing  in- 
clinations of  their  offspring? 

The  answer  is  not  completely  satisfactory.  It  is  a  matter 
of  fact  that  in  many  communities  parents  are  endeavoring 
to  find  diversions  to  replace  moviegoing  for  their  teen- 
age children. 

While  no  great  body  of  statistical  information  is  avail- 
able on  the  subject,  most  movie  people  have  encountered 
a  couple  of  familiar  comments  by  parents  which  are  re- 
vealing. One  is  that  "it  costs  so  much  for  the  kids  to  go  to 
the  movies  these  days."  The  other  is  that  "they  get  such 
crummy  kids  at  the  theatres."  Let  it  quickly  be  noted  that 
neither  comment  is  so  widespread  as  to  constitute  an  epi- 


Page  14        Film  BULLETIN     February  4,  1957 


THE  TEEN-AGE  CUSTOMER 


Hau-   Tu  Ut'tit  with  l)vliitqiu>iils 


demic ;  but  they  can  be  regarded  as  symptoms  of  some  im- 
portant problems. 

The  behavior,  costume  and  general  reputation  of  teen- 
agers at  the  movies  are  not  as  good  as  they  might  be.  This 
is  true  for  teen-agers  in  school,  too,  or  in  any  other  place 
where  they  gather  in  groups.  But  they  have  to  go  to 
school.  The  movies  are  optional. 

One  of  the  problems  about  the  obnoxious  teen-age 
moviegoer  is  that  he  may  discourage  ten  adult  moviegoers 
from  coming  back  to  the  theatre.  Another  problem  is  that, 
to  keep  out  one  adolescent  problem  child,  the  theatre  finds 
it  necessary  to  bar  ten  suspected  juveniles,  or  even  to  bar 
teen-agers  completely.  And  this  moves  our  industry  prob- 
lem right  out  of  our  industry  into  the  general  public  arena. 

Several  different  approaches  to  the  problem  of  juvenile 
delinquency  have  been  tried  by  theatres,  and  by  the  gov- 
ernment. One  is  to  hire  extra  police  protection;  another  is 
to  bar  suspected  trouble  makers;  a  third  is  to  hold  parents 
responsible.  How  have  they  worked? 


•GET  TOUGH"    POLICY   PAYS  OFF 


In  Washington,  Ind.,  theatre  manager  A.  J.  Kalberer 
found  that  a  "get  tough"  policy  was  the  answer,  despite  all 
the  previous  efforts  of  school  officials,  PTA  groups  and  so 
forth.  "We  have  had  teenage  gangs  of  14  and  15  year  old 
boys  wait  for  us  to  beat  us  up.  They  didn't,  however,  for 
once  you  single  out  one  of  the  gang,  back  him  up  and  show 
him  you  are  not  afraid  of  his  threats,  the  whole  gang  will 
eventually  talk  themselves  out  and  call  it  off  ...  In  the 
beginning  it  was  necessary  to  bar  from  20  to  30  teenagers 
from  the  theatre.  In  the  space  of  a  year  (author's  note :  as 
of  mid-1954)  we  have  cut  this  down  to  five  or  six.  These 
will  probably  never  be  permitted  in  the  theatre.  The 
others,  after  a  month  or  so  of  probation  during  which  time 
they  sign  in  and  out  and  sit  in  sections  designed  for  them, 
turn  over  a  new  leaf." 

A  number  of  theatres  with  balconies  insist  that  teen 
agers  sit  in  the  orchestra  where  they  can  be  more  closely 
observed.  In  Oklahoma  City  cut-rate  tickets  for  students 
depend  on  their  good  behavior.  In  various  cities  managers 
have  adopted  a  policy  of  advising  parents  first  and  then,  if 
no  satisfaction  is  obtained,  calling  the  police.  The  latter 
step  is  very  rarely  necessary,  theatre  men  say.  But  only  a 
month  or  so  ago  irate  parents  of  Baytown,  Texas,  feuded 
with  police  because  over  50  teen-agers  were  arrested  for 
bombarding  a  theatre  with  eggs  and  feathers.  The  parents 
finally  paid  for  the  damage  and  the  children  were  freed. 

A  few  generalizations  from  the  observations  of  theatre 
managers  help  to  put  the  teen-ager  in  box  office  focus.  The 
Independent  Theatre  Owners  of  Ohio  suggest  that  the 
clothes  a  youngster  wears  have  an  effect  on  how  they  act 
in  the  theatre.  Some  theatres,  accordingly,  have  banned 
what  might  best  be  described  as  delinquent-looking  garb 
for  their  teen-age  customers.  Up  in  Kenmore,  N.Y.,  man- 
ager William  Brett  found  it  necessary  in  1955  to  report 
that  "we  now  stop  all  youngsters  at  the  door  and  search 


them  to  see  if  they  have  any  knives  concealed  in  their 
clothing."  Says  another  manager:  "Kids  today  have  too 
much  freedom  and  too  much  money  to  spend."  Kansas 
City  showmen  back  in  1953  suggested  that  the  industry 
tell  the  public  to  "Take  your  children  to  the  show  instead 
of  sending  them." 

In  all  the  foregoing  instances,  one  paramount  need 
emerges.  You  really  can't  do  a  thing  about  the  behavior 
of  juvenile  patrons  without  an  adequate  staff  of  ushers 
and,  if  need  be,  special  police.  The  need  is  particularly 
crucial  among  big-city  theatres  with  varying  patronage, 
where  trouble  makers  may  be  strangers  rather  than  recog- 
nizable local  neighborhood  patrons. 


WEED  OUT  HOODLUM  ELEMENT 


One  difficult  problem,  which  complicates  matters  con- 
siderably, is  that  the  pictures  aimed  at  the  so-called  teen- 
age market  are  apt  to  appeal  among  teen-agers  principally 
to  the  hoodlum  element.  This  is  why  a  rock  and  roll  opus 
is  regarded  by  some  managers  as  a  more  risky  attraction 
than  a  more  adult  science  fiction  presentation,  for  instance. 

It  is  futile  to  discuss  the  teen-age  market  without  recog- 
nizing the  general  responsibility  of  society — rather  than  an 
individual  theatre  manager — to  do  something  about  the 
small  minority  of  teen-aged  hoodlums  and  vandals.  But  it 
is  perhaps  good  business  for  the  individual  theatre  man- 
ager to  see  that  hoodlums  and  vandals  in  his  theatre  are 
adequately  and  publicly  dealt  with.  The  emphasis  here 
may  be  on  the  word  publicly. 

For  a  long  time,  in  the  downtown  first-run  theatres  of 
many  key  cities,  juvenile  delinquency  has  been  a  problem 
never  to  be  discussed  in  public,  for  fear  that  the  word 
would  get  out  to  the  ticket  buyers.  To  say  that  this  is 
naive  is  not  enough.  Any  theatre  patron  who  has  ever 
encountered  the  peg-pants  hoodlums  in  Times  Square  the- 
atres, undoubtedly,  needs  nobody  else  to  tell  him  they 
exist.  But  if  this  same  patron  somehow  knew  that  the 
saff  of  ushers  was  sufficient  to  keep  order  —  and  if  he 
stopped  seeing  hoodlums  in  the  theatres — he  might  come 
back  more  often  himself,  and  let  his  children  go  to  the 
movies  more  often  too. 

(Continued  on  Page  18) 


Film  BULLETIN     February  4.   1957        Page  15 


It  means  HOLDOVERS  and 
RECORD  BUSINESS  everywhere 

even  outgrossing  'The  Glenn  Miller  Story"  and 
"Magnificent  Obsession"  in  many  engagements. 


Los  Angeles;  Pittsburgh/Washington,  IXC.;  New 
Orleans;  Chicago;  Baltimore;  ^Hladelphia^Toronto 

Wichita;  Salt  Lake  City;  Berkeley,  Calif.;  New  York  City 


Buffalo;  Albany;  Miami;  Sacramento;  Minneapolis;  San  Diego; 
Birmingham;  Jacksonville;  Allentown,  Pa.;  Lancaster,  Pa.;  Atlantic  City; 
Oklahoma  City;  Stamford,  Conn.;  Winnipeg,  Manitoba. 

Detroit;  Houston;  Atlanta;  Seattle;  Tulsa;  Utica;  Syracuse;  Schenectady,  N.  Y.; 
Portland,  Ore.;  Kansas  City;  Richmond,  Va.;  Cleveland;  Wilmington,  Del.;  Savannah,  Ga.; 
Springfield,  Mass.;  Memphis;  Rockford,  III.;  Grand  Rapids,  Mich.;  Johnstown,  Pa.;  Bay 
City,  Mich.;  Wheeling,  W.  Va.;  Lima,  O.;  Parkersburg,  W.  Va.;  —  and  dozens  more! 


fatten 

the 


JUST  FOR  THE  KfCOKD 


ROCK  HUDSON  •  LAUREN  BACALL 
ROBERT  STACK- DOROTHY  MALONE 


ROBERT  KEITH  •  GRANT  WILLIAMS 


Directed  by 

DOUGLAS  SIRK 


Screenplay  by 

GEORGE  ZUCKERMAN 


HARRY  SHANNON 

Produced  by 

ALBERT  ZUGSM1TH 


"^=J=^-  ^\T^<^7k2l  422PMC= 

=FR*«K  J,  A  «MtRW=        pICTURES  445  PARK  AVE= 

^DELIVER  UNIVERSAL  THIS  CASE  "E  DO 

—DEAR  FRANK;  OOST  ™™^Z^  ^ 

«»"         J"  TO  PUV  THE  ,0V  THEATRE    AOVAH0E  ^ 
PICTURE  EVER  TO  COMPANY  P-S- 


DO 


TOM  O'NEIL  S,  RKO 


lh-,,1  with  U-M 

(Continued  from  Page  12) 

films:  $8,000,000.  Received  from  (or  promised  by)  Matty 
Fox's  C&C  Super  Corporation  on  the  lease  for  TV  pur- 
poses of  some  750  pre-1948  films:  $15,200,000.  Total  ex- 
penditure: $25,000,000;  total  receipts:  $23,200,000.  Net 
cost  of  the  RKO  business  (including  its  14-acre  Gower 
Street  studio  and  the  smaller  Pathe  studio  in  Culver  City, 
plus  picture-making  plant,  equipment,  properties,  a  nation- 
al network  of  exchanges,  several  major  films  already  "in 
the  can"  and  the  whole  of  RKO's  TV  backlog)  :  $1,800,000. 

For  a  paltry  $1,800,000,  so  it  was  made  to  appear,  Tom 
O'Neil  had  become  possessed  of  a  thriving  orchard  heavy 
with  fruit  ripe  for  the  plucking.  And  on  all  sides  could  be 
heard  the  awesome  whisper,  "How  did  he  do  it?" 

What  all  these  amateur  financiers  forgot  in  their  calcu- 
lations was,  for  one  thing,  the  fact  that  for  years  RKO, 
saddled  with  enormous  overhead  expenses,  had  been  losing 
a  fortune.  For  another,  Tom  O'Neil  had  borrowed  right, 
left  and  sideways  in  order  to  buy  the  business,  assuming 
heavy  interest  obligations  in  the  process,  and  mortgaging 
the  assets  he  had  acquired. 

If,  by  some  magic  stroke  of  business  genius,  O'Neii  and 
his  carefully-selected  aides  could  have  quickly  stopped  the 
onrushing  tide  of  fiscal  losses  inherited  from  Howard 
Hughes,  the  RKO  story  today  would  be  very  different 
from  the  tale  recently  unfolded.  But  the  losses  shown  dur- 
ing the  company's  previous  regime  continued  under  the 
O'Neil  management:  $4,500,000  in  1955,  $1,500,000  in  1956. 

Why?  Partly  because — according  to  Mr.  O'Neil  himself 
— the  company's  new  owners  had  only  a  few  new  pictures 
in  stock  when  they  moved  in.  They  had  to  spend  millions 
building  up  a  backlog  so  that  they  could  announce  to  the 
trade  a  steady  schedule  of  releases  big  enough  to  take  care 
of  costs  and  overheads.  And  partly  because  those  costs 
and  overheads  were  appallingly  high. 

An  Archaic  System 

By  the  end  of  1956  Tom  O'Neil  decided  it  was  high  time 
to  review  his  position.  The  picture  his  accountants  pre- 
sented fcr  his  inspection  was  not  a  pretty  one.  Under  the 
archaic,  outmoded  system  of  selling  and  distribution  which 
had  grown  up  within  the  industry,  the  profit  rate  was  pure- 
ly marginal.  Of  every  dollar  received  at  the  box-office, 
RKO's  statisticians  estimated,  94  cents  represented  costs  of 
distribution.  Clearly  such  a  situation  could  not  be  allowed 
to  continue. 

A  swift  calculation  produced  another  startling  financial 
fact:  if  RKO  had  not  been  burdened  with  its  32  exchanges 
and  branch  offices  and  their  personnel  of  about  750,  the 
company  could  have  saved  last  year  about  $4,000,000.  It 
couid  have  stemmed  its  enervating  losses.  Yet  how  could 
a  film  company  remain  in  business  without  getting  its 
product  into  the  market? 

The  idea  finally  accepted  by  Tom  O'Neil  and  his  asso- 
ciates was  that  there  should  be  a  stopgap  arrangement 
with  another  film  company — if  one  could  be  found — to  dis- 


###f  r<i  Ha  rya  i  n 

tribute  on  a  profit-sharing  basis  those  RKO  films  which 
had  already  been  completed  and  which  might  otherwise 
"go  sour"  in  the  vault. 

One  man  was  willing  to  taik  business  along  these  lines, 
Milton  R.  Rackmil,  President  of  Universal.  The  discus- 
sions dragged  on  for  some  weeks.  Rackmil  drove  a  hard 
bargain  indeed.  No  official  disclosure  of  the  terms  was 
made,  but  O'Neil  himself  has  admitted  the  percentage  in 
some  cases  goes  as  high  as  50  per  cent.  For  Universal, 
with  plenty  of  product  of  its  own  coming  along,  there  was 
clearly  no  call  for  undue  generosity  to  O'Neil.  Rackmil 
agreed  to  give  RKO  the  privilege  of  discussing  sales  policy 
on  each  picture  involved  in  the  deal,  but  ruled  it  quite  im- 
practicable to  submit  each  exhibitor  contract  to  RKO  for 
approval. 

The  deal  meant,  as  far  as  Universal  was  concerned,  that 
without  additional  cost  it  had  obtained  a  few  supplementa- 
ry pictures  which  its  sales  force  could  use  as  bargaining 
counters  with  bookers.  As  to  its  benefits  to  RKO,  O'Neil 
claimed,  immediately  the  deal  was  signed,  it  would  reduce 
the  fixed  domestic  overhead  on  each  of  the  pictures  in- 
volved by  perhaps  53  per  cent,  which  saving  could  be  used 
for  making  further  films.  To  anyone  familiar  with  the  busi- 
ness of  selling  pictures,  however,  it  was  obvious  that 
RKO's  were  unlikely  to  get  the  best  of  the  terms  in  any 
such  set-up. 

With  this  far  from  splendiferous  contract  in  his  pocket 
Tom  O'Neil  announced  the  closing  of  RKO's  exchanges, 
the  dismissal  of  most  of  their  staffs,  and  a  trimming  to  its 
bare  bones  of  the  company's  publicity  department. 

Why  the  Rumor? 

Rumors  that  the  company  was  heading  for  liquidation 
had  by  this  time  been  set  in  motion  in  California.  O'Neil 
was  furious — not,  he  explained,  because  of  their  nature,  but 
because  they  had  apparently  been  started  by  one  cf  How- 
ard Hughes'  former  minions.  The  inference,  presumably, 
was  that  this  talkative  gentlemen  had  become  intrigued  by 
the  idea  that  if  things  could  be  made  to  look  bad  enough 
for  RKO  Mr.  Hughes  might  again  become  interested  in 
buying  the  business  back — at  the  right  price,  of  course. 

"We're  not  liquidators",  cried  Mr.  O'Neil  angrily.  "In 
fact,  we  have  just  executed  five-year  contracts  for  Daniel 
O'Shea  (RKO  President),  William  Dozier  (Studio  Chief) 
and  Walter  Branson  (Sales  Director).  We're  going  to 
make  fi'ms  mid-way  between  the  so-called  big  picture  and 
the  little  picture.  We'll  make  between  eight  to  ten  cf  them 
this  coming  year.  They  will  be  designed  as  "A"  pictures 
and  will  reDresent  more  investment  than  the  13  we  made 
in  1956. 

"We  are  not  intending ",  O'Neil  said,  "to  withdraw  from 
the  financing  of  independent  production;  in  fact,  we  are 
now  prepared  to  finance  it  100  per  cent. 

"We  are  not  interested  in  taking  over  a  business  and 

(Continued  on  Page  18) 


Film  BULLETIN     February  A,   1957        Page  17 


TDM  D'NEIL  S,  RKO 

(Continued  from  Page  17) 

liquidating  it;  we  simply  feel  we  have  a  right  to  operate 
our  business  as  efficiently  as  it  can  be  run.  If  we  had  not 
entered  into  the  agreement  with  Universal  we  would  have 
endangered  our  whole  operation.  Our  move  was  motivated 
almost  by  desperation." 

Other  O'Neilisms: 

"We  figure  that  somewhere  along  the  line  we  will  be 
able  to  evolve  a  new  way  of  distributing  pictures.  We  al- 
ready have  some  ideas,  but  nothing  final." 

"As  regards  future  pictures,  we  are  interested  in  talking 
to  any  distributors  who  are  interested.  Universal  wanted 
to  make  a  deal  for  our  new  production,  but  we  said  No. 
W;  would  not  be  committed  to  any  future  deal." 

No  Longer  a  Virgin 

"We  have  some  television  production  plans.  A  lot  of 
cur  properties  would  be  adaptable  to  TV  series.  As  re- 
gards the  release  to  TV  of  our  post-1948  backlog  there  is 
now  no  legal  obstacle.  The  problems  with  the  guilds  have 
been  pretty  well  resolved,  but  there  is  an  obstacle  in  put- 
ting those  pictures  into  TV  release — there  are  still  too 
many  pre-1948  films  yet  to  be  sold." 

The  picture  which  emerges  from  the  foregoing  facts  is 
somewhat  confusing,  for  it  gives  no  very  clear  indication 
of  what  the  future  holds  in  store  for  RKO. 

It  does  seem,  however,  that  the  very  nature  of  the  busi- 
ness has  been,  or  is  being,  utterly  transformed.  Mr.  O'Neil 


THE  TEEN-AGE  CUSTOMER 

(Continued  from  Page  15) 

The  effect  of  a  lax  policy  toward  adolescent  theatre  be- 
havior problems  is  not  an  overnight  sensation.  It  really 
takes  years  for  the  moviegoing  public  to  become  conscious- 
ly perturbed;  but  we  are  now  at  the  point  where  it  is  fair 
to  say  that  there  has  been  a  perceptible  downgrading  of 
many  motion  picture  theatres  because  of  the  teen-age  prob- 
lem. 

In  some  theatres  the  downgrading  has  resulted  from 
giving  the  teen-agers  too  little  scrutiny  and  regulation, 
with  resultant  physical  damage  to  the  theatre.  In  other 
theatres,  the  downgrading  has  resulted  from  the  opposite 
extreme  of  policy,  with  all  teen-agers  banned  and  an  inter- 
ruption to  the  moviegoing  habit  of  the  new  generation  re- 
sulting. In  some  theatre,  halfway  measures  have  produced 
half-way  results  while  major  teen-age  enthusiasm  goes  in- 
stead to  television,  dancing,  etc. 

Apart  from  the  content  of  particular  pictures  and  the 
general  nuisance  created  by  a  troublesome  minority  of 
adolescents,  the  big  question  bothering  exhibitors  in  re- 
gard to  teen-age  patronage  is  whether  cut  rate  tickets  are 
worthwhile.  On  the  whole,  they  seem  to  create  a  fair  in- 
crease in  volume;  but  they  do  not  usually  bring  in  enough 
new  business  to  imply  a  rousing  success,  and  many  theatre 
managers  report  that  the  increased  volume  when  the  cut 


talks  bravely  about  "new  production",  yet  he  has  no  dis- 
tribution machinery  left,  and  no  concrete  plans  for  getting 
distribution  on  a  more  profitable  basis  than  when  the  com- 
pany maintained  its  own  exchanges. 

He  is  advertising  RKO's  willingness  to  finance  inde- 
pendent production,  in  much  the  same  way  as  United  Ar- 
tists has  been  doing ;  yet  he  cannot,  without  a  distribution 
system,  offer  an  independent  complete  facilities,  and  if  the 
intention  is  to  make  picture-by-picture  deals  with  other 
companies  for  handling  RKO-financed,  or  RKO-made 
product,  it  is  difficult  to  see  what  any  independent  pro- 
ducer with  a  worthwhile  property  would  gain  by  doing 
business  with  RKO. 

He  admits  that  some  thought  has  been  given  to  selling 
RKO's  post-1948  backlog  to  TV,  yet  is  well  aware  that,  if 
he  were  to  do  this  in  the  near  future,  he  would  be  cutting 
the  financial  ground  from  under  the  feet  of  Matty  Fox  to 
whom  he  sold  the  pre-1948  backlog. 

In  July,  1955,  Tom  O'Neil  confessed  with  a  smile,  "I  am 
a  virgin  in  this  field."  He  is  a  virgin  no  longer.  Two  and 
a-half  years  of  hard  work  have  mellowed  and  matured 
him.  Now  he  knows,  if  he  did  not  understand  before,  that 
the  film  industry  is  an  attractive,  but  very  demanding, 
mistress. 

However,  don't  count  this  man  O'Neil  out  of  motion  pic- 
ture affairs.  He  has  the  drive  and  the  brains  to  make  a  top-> 
flight  showman,  and  the  industry  could  use  him.  The  only 
question  is  this:  Has  the  fire  to  be  a  movieman  burned  out 
of  him?  If  it  has  not,  we  predict  that  Tom  O'Neil  will  one 
day  rebuild  his  shattered  dream  of  making  RKO  one  of  thef 
major  components  of  the  motion  picture  industry. 


rate  plans  first  go  into  effect  seems  to  level  off  with  time. 

What  it  all  seems  to  add  up  to  is  that  the  teen-age 
patron  is  a  patron  like  anybody  else;  he  goes  to  the  movies 
to  see  the  pictures  he  wants  to  see,  not  just  to  go  to  the 
movies;  he  does  many  other  things  with  his  leisure  time, 
particularly  in  larger  communities.  Even  in  small  towns, 
he  is  no  longer  "tied"  to  the  single  local  theatre.  Usually 
other  communities  have  theatres  within  easy  driving  dis- 
tance for  him.  He  is  a  conformist;  he  is  apt  to  dress  like 
his  contemporaries,  have  the  same  tastes,  go  to  the  movies 
in  a  group  with  them. 

But  he  and  his  contemporaries  can  be  any  one  of  a  dozen 
different  categories  of  "typical"  teen-agers,  from  the  en- 
gineers of  tomorrow  to  the  deliquents,  from  the  rock  and 
roll  bunch  to  the  Boy  Scouts,  and/or  a  combination  of 

same 

Notice  that  these  are  all  comments  on  the  problem  ju- 
venile. The  majority  of  teen-agers,  being  no  problem, 
arouse  little  comment.  And  here  is  the  nub  of  the  situa- 
tion; for  the  decent  teen-ager,  like  the  decent  adult,  does 
not  want  to  be  in  an  audience  of  rowdies,  or  in  an  over- 
priced audience,  or  in  a  bored  audience.  And  he  doesn't 
always  want  juvenile  pictures  either.  In  the  long  run,  the 
pictures  that  best  succeed  are  those  which  please  the  ado- 
lescent and  his  parents  too.  Teen-agers  are  too  general  to 
be  a  lasting  specialized  audience. 


Page  13        Film  BULLETIN     February  4.  1957 


written  by  OWEN  CRUMPano  CHARLES  L.  TEDFORD -pftODucEo  byCEDRIC  FRANCIS  ototed  eyANDRE  DELAVARRE 


i°°oA  BIG  WARNER  BOOST  FOR  YOUR  SHOW 
BIG  WARNER  PRIZES  FOR  YOUR  SHOWMANSHIP! 


15  THEATRE  MANAGERS^  WILL  LIVE  LIKE  KINGS! 


TWO  FREE  WEEKS  IN  THE  ROYAL  SPLENDOR 

OF  THE  TOP  HOTELS  IN  MIAMI!!  i»W 


SAXON 


—  J  .Transport.,^  EX»  «  SUN"' 
included'  Hurrv  h  a"d  re,ur" 

-  yieexc't»ng  details! 


"The  Incredible  Shrinking  Man" 
Su4ut*M  Ratut?  O  O  O 

First-rate  exploitation  feature  has  action,  thrilling  effects. 
Sufficiently  interesting  to  draw  good  grosses  in  general  mar- 
ket. Word-of-mouth  will  help. 

One  of  the  top  exploitation  features  of  the  year.  The  in- 
triguing and  weird  story  cf  a  man  who  shrinks  down  to 
one  inch,  this  Universal  offering  is  a  natural  for  ballyhoo 
houses,  but  so  expertly  produced  by  Albert  Zugsmith,  its 
appeal  figures  to  spill  over  into  the  general  market.  Word- 
of-mouth  will  boost  grosses  and  counteract  lack  of  mar- 
quee names.  Grant  Williams  performs  with  befuddled  fury 
the  shrinking  victim  who  befriends  midgets,  flees  a  hungry 
house  cat,  and  combats  a  spider  with  a  hair  pin.  Highly 
imaginative  direction  is  supplied  by  Jack  Arnold,  and  the 
special  effects  photography  will  intrigue  youngsters  and 
those  who  enjoy  something  different  now  and  then.  Wil- 
liams is  caught  in  a  "mysterious  mist"  out  at  sea  that  re- 
duces him  physically  by  degree.  Doctors  seek  an  anti- 
toxin. He  is  given  courage  by  beautiful  midget  April  Kent, 
but  continues  to  diminish.  When  the  cat  attacks  his  doll 
house  quarters,  he  runs,  falls  into  the  basement.  His  wife, 
Randy  Stuart,  thinks  the  cat  swallowed  him  and  moves 
away.  Williams  fights  and  kills  a  spider  while  seeking 
food,  and  escapes  the  cellar  through  a  wire  mesh  window 
grate.  Continuing  to  shrink,  he  accepts  his  fate,  realizing 
he's  still  one  of  God's  creatures,  regardless  of  size. 


Universal-International.  81  minutes.  Grant  Williams,  Randy  Stuart.  April  Kent, 
Paul  Langton.    Produced  by  Albert  Zugsmi:h.    Directed  by  Jack  Arnold. 

"The  Big  Boodle" 

Familiar  yarn  about  counterfeiters  in  Cuba  has  fair  action. 
Erro!  Flynn  for  marquee.  OK  dualler. 

This  routine  crime  melodrama  about  a  scramble  for  a 
fortune  in  counterfeit  bills  unfolds,  with  fair  action,  againsc 
a  tropical  background  in  Cuba.  "The  Big  Boodle"  will 
serve  adequately  as  a  dualler,  particu'arly  in  action  houses. 
Errol  Flynn's  name  provides  some  marques  value.  The 
well-worn  yarn  is  unfolded  in  black  and  white.  Lewis  F. 
Blumberg's  production  for  United  Artists  release  is  reason- 
ably realistic,  if  sombre.  Director  Richard  Wilson  allows 
the  action  to  slacken  each  time  a  character  explains  how 
he's  involved  with  the  "boodle"  of  three  million  pesos. 
Flynn,  blackjack  dealer  at  the  casino,  is  mugged  by 
Jacques  Aubuchon's  gang  because  he's  carrying  the  iast 
bogus  pesos  in  ciculation.  He  meets  with  Gia  Scala,  daugh- 
ter cf  Cuban  treasury  minister  Sandro  Giglio,  who  wants 
to  buy  the  counterfeit  plates.  Flynn  recognizes  Giglio's 
other  daughter,  Rossana  Rory,  as  the  blond  who  passed 
him  the  bad  note.  Flynn  takes  Miss  Rory  on  the  town 
hoping  hoods  will  strike  again.  They  are  taken  prisoner 
by  Aubuchon  who  thinks  Flynn  has  the  plates.  When 
Flynn  is  tortured,  Miss  Rory  offers  to  take  Aubuchon  to 
the  hiding  place  at  Morro  Castle.  Policeman  Pedro  Armen- 
dariz  pursues  Flynn,  who  pursues  Aubuchon,  who  falls 
over  the  castle  wall  into  shark-infested  waters. 


United  Artists.  83  minutes.  Errol  Flynn,  Pedro  Armend^rii  Rossana  Rory  Gia 
Scalo.    Produced  by  Lewis  F.  Blumberg.    Directed  by  Richard  Wilson. 

P-go  23        film  BULLETIN     February  4,  IS57 


The  Halliday  Brand" 

SututetA  IQatfrtf  Q  Q  Plus 

Tense  western  about  family  feud.  Fair  marquee  values.  Good 
dualler  for  general  market. 

Joseph  Cotton  and  Ward  Bond  battle  it  out  as  son 
against  father  in  this  highly  melodramatic  western  re- 
leased through  United  Artists.  Betsy  Blair  is  the  daughter 
Bond  keeps  from  marrying  a  half-breed,  and  Viveca  Lind- 
fors  is  an  Indian  squaw  loved  by  younger  son,  Bill  Wil- 
liams. Collier  Young  produced  this  story  of  a  family's 
dissolution  due  to  greedy  vain,  strong-willed  old  man. 
While  "The  Halliday  Brand"  is  most  suitable  for  action 
houses,  it  can  serve  as  a  good  dualler  in  general  situations. 
While  some  of  the  fury  is  hollow  and  it  gets  verbose,  the 
script  by  George  W.  George  and  George  S.  Slavin  is  above 
par  as  western  material.  Director  Joseph  H.  Lewis  man- 
ages to  keep  things  going  at  a  fast  clip.  Cotton  fights 
bitterly  with  Bond,  aggressive  sheriff  who  runs  his  chil- 
dren's lives.  Miss  Blair  hates  her  father,  who  allowed  her 
Indian  sweetheart  to  be  lynched.  Outraged  by  Bond's  in- 
humanity, Cotton  leaves  home,  stops  to  console  the  dead 
Indian's  family.  He  is  attracted  to  the  daughter,  Viveca 
Lindfors.  When  Bond  shoots  her  father,  Jay  C.  Flippen, 
Cotton  retaliates  by  destroying  property  and  stampeding 
cattle.  He  eludes  Bond's  posse,  but  returns  home  later 
thinking  Bond  has  changed.  Bond  draws  a  gun  on  him 
but  is  unable  to  fire.  Bond  dies  as  his  children  walk  out 
on  him. 


United  Artists.  77  minutes.  Joseph  Cotten,  Viveca  Lindtors.  Betsy  Blair,  Ward 
Bond.    Produced  by  Colrier  Young.    Directed  by  Joseph  H.  Lewis. 

"The  Big  Land" 

'Sututeu  'Rod*?  O  O  Plus 

Routine  western  bolstered  by  above  par  cast:  Alan  Ladd, 
Virginia  Mayo,  Edmond  O'Brien.  Best  for  action  houses. 

Exhibitors  who  play  westerns  have  a  fair-plus  entry  in 
this  Alan  Ladd  vehicle  co-starring  Virginia  Mayo  and  Ed- 
mend  O'Brien.  A  Jaguar  (Ladd's  company)  Production 
released  through  Warner  Bros.,  "The  Big  Land"  has 
enough  stcry  substance  and  action  to  satisfy  devotees  o: 
outdoor  melodramas.  It  offers  little  for  class  audiences. 
The  WarnerColor  cameras  pick  up  some  striking  shots  of 
the  rugged  terrain.  Director  Gordon  Douglas  favors  action 
to  characterization,  so  that  the  pace  is  fast  enough  but 
plausibility  is  lacking.  The  story  takes  place  in  the  post- 
Civil  War  period.  Cheated  on  the  price  of  his  herd,  Ladd 
works  out  a  plan  with  architect  O'Brien  (whose  career  was 
cut  short  by  liquor)  to  have  the  railroad  extend  a  200-mile 
spur  into  Southern  Kansas.  Don  Castle,  engaged  to 
O'Brien's  sister,  Miss  Mayo,  finances  a  town,  including 
hotel  to  board  Eastern  cattle  buyers.  Gunman  Anthony 
Caruso  burns  down  the  frames  during  construction,  but 
ranchers  rebuild.  Caruso  murders  a  cattle  buyer  and 
O'Brien  in  a  duel.  When  Ladd  returns  from  Texas  with  a 
herd,  Caruso  stampedes  them.  Ladd  shoots  him  in  a  show- 
down. Miss  Mayo  reveals  her  love  for  Ladd. 


Warner  Bros.  IA  Jaguar  Production!.  93  minutes.  Alan  Ladd,  Virqinia  Mayo, 
Cdmond  O'Brien.  Asso.  producer,  George  C.  Bertholon.  Director,  Gordon  Douglas. 


[More  REVIEWS  on  Pace  22] 


WHAT'S  HAPPENING 
AT  RKO 


Why  we  make  this  statement 
at  this  time... 


There  have  been  a  lot  of  stories  lately  about  what  RKO 
is  doing  and  what  it  intends  to  do.  Here  are  the  facts. 


Why  certain  changes  are 
being  made... 


The  goal  of  RKO  is  to  reduce  its  fixed  domestic  overhead 
by  531  for  any  given  motion  picture. 

Money  saved  by  reducing  these  fixed  costs  in  distribution 
and  production  can  thus  be  applied  to  the  creative  end  of 
picture  making. 


What  RKO  is  doing  about 
motion  picture  distribution... 


RKO  has  made  a  limited  agreement  with  Universal- 
International  to  distribute  motion  pictures  through  the 
Universal-International  distribution  system.  This  applies 
only  to  the  United  States  and  only  to  motion  pictures 
started  prior  to  December  31,  1956. 

Distribution  by  RKO  of  its  pictures  will  continue  in 
foreign  markets  in  the  same  way  as  it  has  been. 

The  agreement  wiih  Universal-International  has  been 
accomplished  in  order  to  eliminate  duplication  of 
distribution  overhead  and  noncreative  expenditures, 
allowing  more  resources  to  be  put  into  the  creative  end 
of  making  better  pictures. 


What  changes  will  be  made 
in  RK(Js  production... 


In  production,  there  is  also  an  opportunity  to  reduce  the 
so-called  below-the-line  fixed  charges  attributed  to  a 
motion  picture.  These  are  noncreative  costs  and  do  not 
contribute  to  a  picture's  artistic  or  financial  success. 

We  have  two  groups  of  studio  buildings— on  Gower  Street 
in  Hollywood  and  in  Culver  City.  How  these  production 
facilities  can  be  put  to  best  use  has  not  yet  been 
finally  determined. 


How  these  changes  will 
affect  RKO's  future. . . 


With  the  streamlining  of  its  distribution  and  production, 
and  the  subsequent  savings  in  fixed  charges,  RKO  will 
be  in  a  position  to  concentrate  on  the  creative  planning, 
making  and  promotion  of  better  motion  pictures. 


Our  decisions  on  distribution  and  production  are  made 
with  one  goal  in  mind— to  make  better  motion  pictures  more  efficiently. 
This  will  benefit  the  public  and  motion  picture  exhibitors  as  zvell  as  ourselves. 


"The  Wings  of  Eagles" 
GciAinete  TZaUt?  OOO  Plus 

Exciting  comedy-drama  of  navy  daredevil  with  John  Wayne 
as  pioneer  Naval  flyer.  Plenty  of  humor,  good  production 
values.  Fine  John  Ford  direction.  Family  entertainment,  sure 
to  gross  well  everywhere. 

This  big,  heartwarming,  inspiring,  rough-and-tumble 
drama  records  the  colorful  career  of  U.S.  Navy  flyer,  Com- 
mander Frank  W.  "Spig"  Wead.  With  John  Wayne,  Dan 
Dailey,  and  Maureen  O'Hara  to  grace  the  marquee,  with  a 
host  of  exploitables,  Charles  Schnee's  production  in  Metro- 
color  is  sure  to  meet  with  solid  returns  in  the  general  mar- 
ket. It  shapes  up  as  M-G-M's  best  boxoffice  film  in  some- 
time. The  screenplay  by  Frank  Fenton  and  William  W. 
Haines,  based  on  Wead's  own  writings,  spans  two  World 
Wars  chronicling  the  development  of  Naval  aviation. 
Aerial  scenes  of  bi-planes  "crates"  and  carrier-fighters  in 
the  Pacific  are  livid  with  color  and  violent  action.  Director 
John  Ford  breathes  life  into  every  scene.  His  characters 
grow  and  change  before  your  eyes.  Wayne  mellows  rea- 
listically from  a  "rah-rah"  Naval  rascal  to  a  World  War 
II  combat  commander,  suffering  as  a  paraplegic  for  many 
years  between  wars.  Dailey  supplies  much  comic  relief  as 
cigar-puffing  "chief"  who  saves  Wayne's  life  in  battle.  Miss 
O'Hara  is  convincing  as  a  Navy  wife.  Large  cast  of  sup- 
porters includes  Ward  Bond,  Ken  Curtis  and  Edmund 
Lowe.  Annapolis  graduate  Wayne  helps  the  Navy  drama- 
tize its  need  for  aviation  development  by  winning  interna- 
tional seaplane  races.  His  career  gives  him  little  for  his 
wife,  Miss  O'Hara,  and  two  daughters.  Wayne  becomes 
the  youngest  squadron  commander  in  the  service,  returns 
home  to  patch  things  up,  falls  down  stairs,  and  suffers  a 
broken  neck.  Dailey,  his  old  pal,  nurses  him  into  a  wheel- 
chair, braces,  and  finally  on  canes.  Wayne  signs  a  Holly- 
wood contract  with  producer  Bond  to  write  authentic 
Naval  screenplays.  He  gets  rich  and  is  set  to  return  to 
Miss  O'Hara  when  WWII  breaks  out  and  he  requests  duty 
in  the  Plans  Division.  The  Navy  likes  his  jeep-carrier  idea 
and  orders  him  to  the  Pacific  to  put  it  into  action.  Wayne 
collapses  from  fatigue  after  the  battle  at  Kwajalein,  and 
retires  knowing  his  plan  was  successful. 


M-G-M.  110  minut 
Produced  by  Charle 


"Top  Secret  Affair" 
'ButiHCM  Rati*?  OOO 

Marquee  magnets  Kirk  Douglas  and  Susan  Hayward  in  amus- 
ing comedy-romance.  Snappy  script,  bright  direction,  hand- 
some production  will  account  for  above-average  grosses, 
generally. 

Kirk  Douglas,  a  strictly-by-the-book  Army  general,  and 
Susan  Hayward,  hard-driving  news  magazine  publisher, 
fondle  and  foil  each  other  in  their  first  try  at  comedy.  "Top 
Secret  Affair",  from  Warner  Bros.,  comes  off  as  a  lively 
spoof  in  which  the  sophisticated  publisher  attempts  to  de- 
bunk the  clean-living,  righteous  field  commander.  Literate 
dialogue  and  romantic  horseplay  (including  a  hilarious 
jujitsu  session  between  them)  are  combined  by  director 


H.  C.  Potter  in  a  manner  that  will  amuse  most  adult  audi- 
ences. An  excellent  script  by  Roland  Kibbee  and  Allan 
Scott  is  based  on  characters  from  John  P.  Marquand's  best- 
seller, "Melville  Goodwin,  U.S.A.".  Martin  Raskin's  top- 
drawer  production  provides  chic  costumes  for  Miss  Hay- 
ward and  authentic  sets.  Jim  Backus  provides  good  comic 
support  and  Paul  Stewart  is  well  cast  as  Miss  Hayward's 
editor-in-chief.  Publisher  Hayward  plans  to  smear  Doug- 
las (nicknamed  General  "Ironpants")  because  he  was 
given  a  job  with  the  Atomic  Commission  that  Miss  Hay- 
ward wanted  someone  else  to  have.  Douglas  and  assistant 
Backus  spend  a  weekend  at  her  estate  for  interviews.  Find- 
ing Douglas  completely  sincere,  she  attempts  to  disgrace 
him  at  nightclubs  and  jazz-joints  where  a  hidden  camera- 
man records  his  antics.  Douglas  reveals  his  love  shortly 
befcre  the  phony  story  appears.  The  Army  is  put  in  a  bad, 
light,  and  Douglas  is  ordered  before  a  Senate  committee 
concerning  an  oriental  girl  he  reportedly  kept  at  his  head- 
quarters in  Korea.  Miss  Hayward  testifies,  apologizes,  and 
Douglas  is  cleared  via  a  top  secret  document  that  reveals 
he  was  baiting  a  female  spy.  Miss  Hayward  and  Douglas 
are  united  in  love. 

Warner   Bros.     100  minutes. 
Backus.    Produced  by  Martin  R 

"The  Happy  Road" 
Scui«c44,  'Rati*?  OOO 

Fine  combination  of  heart-warming  and  farcical  comedy 
made  and  played  by  Gene  Kelly.  Will  amuse  family  and 
sophisticate  trades.  Word-of-mouth  will  boost  grosses. 

If  the  word-of-mouth  response  catches  up  with  this  film 
before  it  runs  its  course,  "The  Happy  Road"  might  be  one 
of  the  surprise  hits  of  the  season.  Personable  Gene  Kelly 
proves  himself  as  skillful  a  producer-director  as  he  is  actor 
in  this  charming  farce-comedy  made  in  France.  Released 
through  M-G-M,  it  sparks  with  inherent  humor  as  French 
and  American  personalities  clash  during  a  fast-moving 
search  for  a  pair  of  runaway  youngsters.  The  treatment  is 
tasteful,  colorful  (in  black  and  white),  with  elements  of 
humor  concocted  to  charm  audiences  of  all  ages.  Cast  is 
French  execpt  for  Kelly,  his  vagrant  son,  Bobby  Clark,  and 
Michael  Redgrave,  who  offers  a  completely  disarming 
caricature  of  a  stiff-upper-lip  British  general.  Pretty  Bar- 
bara Laage  plays  the  worried  widow  mother  of  Brigitte 
Fossey,  who  joins  young  Clark  in  running  away  from  their 
fashionable  Swiss  school.  As  director,  Kelly  moves  things: 
along  with  spontaneity  and  bounce  over  the  rustic  French 
countryside.  Fun  begins  with  a  sound  track  title  tune  by 
Maurice  Chevalier.  Kelly,  American  businessman  in  Paris, 
learns  his  son,  Bobby  Clark,  has  run  away  from  school  to 
prove  his  self-reliance.  Brigitte  joins  him,  and  her  mother, 
Miss  Laage,  joins  Kelly  in  tracking  down  the  kids.  They 
search  through  small  towns,  a  carnival,  and  over  a  British 
army  maneuver  area  commanded  by  Redgrave.  The  kids 
hop  a  ride  on  a  radio  truck  escorting  a  cross-country  bi- 
cycle race  into  Paris,  and  arrive  home  before  their  parents. 
Kelly  discovers  he  likes  Miss  Laage,  and  the  relaxed, 
French  way  of  life. 


M-G-M.  100  minutes.  Gene  Kelly,  Barbara  Laage,  Michael  Redgrave 
and  directed  by  Gene  Kelly. 


Produced 


TOPS 


OOO    GOOD       O  O  AVERAGE 


O  POOR 


Page  22        Film  BULLETIN     February  4  1957 


"Men  in  War" 

Sci4iKe44  RatutQ  O  O  Plus 

'rospects  OK  for  taut  closeup  of  Korean  war.  All-male  cast 
}lus  treatment  restrict  appeal  to  action  houses. 

This  is  an  interesting  and  off-beat  treatment  of  infantry 
:ombat  in  Korea  designed  exclusively  for  action  markets. 
With  microscopic  detail,  "Men  in  War"  follows  the  strug- 
gle and  anxiety  of  an  American  platoon  trapped  behind 
enemy  lines.  Because  there  are  no  sub-plot  flash-backs  to 
girls  or  families  back  home,  Sidney  Harmon's  production 
for  United  Artists  release  is  restricted  in  appeal  to  action 
fans  and  ex-servicemen  who  appreciate  warfare  authen- 
tically depicted  for  a  change.  Thanks  to  Anthony  Mann's 
intimate  direction,  it  can  be  considered  superior  in  its  cate- 
gor)'.  Performances  of  the  all-male  cast  are  good  with 
Robert  Ryan  as  the  dogmatic,  duty-bound  lieutenant,  and 
Aldo  Ray  as  the  NCO  devoted  to  Robert  Keith,  a  shell- 
shocked  colonel  who  calls  him  "son".  Keith's  role  is  unique 
in  that  he  speaks  not  a  single  word.  Based  on  the  novel 
Combat"  by  Van  Van  Pragg,  the  screenplay  was  penned 
by  Philip  Yordan.  Elmer  Bernstein's  background  score  is 
a  blend  of  occidental-oriental  tones  and  rhythms.  Ryan's 
platoon,  cut  off  behind  enemy  lines,  treks  toward  safety 
through  rough  country,  snipers  and  landmines.  Ray  turns 
up  in  a  jeep  with  Keith,  whom  he's  taking  to  a  hospital. 
Ryan  decides  24  men  are  worth  more  than  one  shell- 
shocked  colonel,  and  takes  the  jeep  as  an  ammunition  car- 
rier. Expert  infantryman  Ray  gains  Ryan's  respect  and 
they  wipe  out  an  enemy  hill  with  a  flame  thrower  during  a 
battle  in  which  the  entire  platoon  is  killed.  Sole  survivors 
Ryan,  Ray  and  Keith  walk  over  the  hill  to  freedom. 


ity  Pictures  Production) . 
ed  by  Sidney  Harmon. 


minutes.  Robert  Ryan 
:ted  by  Anthony  Mar 


"Five  Steps  to  Danger" 

Spy  meller  designed  for  action  fans.  Ruth  Roman,  Sterling 
Hayden  add  marquee  appeal.  OK  dualler. 

Performances  are  superior  to  story  material  in  this  inter- 
national spy  melodrama  based  on  a  SatEvePost  serial. 
Henry  S.  Kesler's  production  for  United  Artists  release  is 
adequate  for  action  fans  and  should  serve  as  a  fair  dualler 
n  the  general  market.  Kesler,  who  also  directed  and  wrote 
the  screenplay,  is  a  bit  slow  in  getting  the  events  under 
way  in  Ruth  Roman's  desperate  attempt  to  beat  Russian 
spies  to  a  U.S.  missile  center  with  a  ballistics  formula  she 
brought  from  Europe.  Both  she  and  Sterling  Hayden,  a 
hitch-hiker  who  becomes  involved,  endow  the  hectic  pro- 
ceedings with  some  plausibility.  Hayden  offers  to  share 
the  driving  with  Miss  Roman,  who  is  rushing  to  Santa  Fe 
with  a  secret  missile  formula  she's  delivering  from  East 
Germany.  Her  psychiatrist,  Werner  Klemperer,  an  enemy 
agent,  is  attempting  to  have  her  committed.  Stopped  by 
police,  they  learn  Miss  Roman  is  accused  of  murder  in  Los 
Angeles.  They  escape,  realize  they're  in  love,  and  marry. 
Government  agent  Charles  Davis  permits  them  to  carry 
through  the  mission  to  bait  spies  hidden  in  the  missile 
center.  In  desperation,  spy  leader  Richard  Gaines  guns 
for  Miss  Roman,  but  is  shot  dead  by  police. 


ed  and  directed  by 


"Hut  Summer  Night" 

Crime  melodrama  set  in  Southern  town  has  suspense,  mood. 
Lacks  marquee  names.  Fair  dual-biller  for  action  spots. 

This  crime  melodrama  from  M-G-M  has  enough  action, 
suspense,  and  mood  to  satisfy  in  spots  where  audiences 
aren't  too  discriminating.  Vigorous  exploitation  may  over- 
come the  absence  of  "names"  in  the  cast.  Both  theme  and 
treatment  in  Morton  Fine's  Modest  production  have  ele- 
ments ranging  from  highly  original  to  extremely  contrived. 
Screenplay  by  Fine  and  director  David  Friedkin  is  set 
against  a  decaying  Southern  town.  Leslie  Nielsen,  Colleen 
Miller,  Edward  Andrews  and  Jay  C.  Flippen  all  turn  in 
competent  performances.  The  action  is  well  handled,  but 
Friedkin  doesn't  quite  achieve  the  mood  of  the  townfolk 
whose  claim  to  fame  is  a  public-enemy  born  and  hiding  in 
the  nearby  hills.  Honeymooning  with  his  wife,  Miss  Mil- 
ler, unemployed  reporter  Nielsen  decides  he  can  regain  his 
job  by  getting  an  interview  with  bank  robber  Robert 
Wilke  hiding  in  the  hills.  He  gets  the  story,  but  Wiike 
holds  him  for  ransom  from  the  newspaper  for  which  Niel- 
sen worked.  Gunman  Paul  Richards  shoots  Wilke  and 
teams  with  another  gang  member,  Flippen  to  finish  the 
deal.  Miss  Miller  rides  a  newspaper  delivery  truck,  locates 
the  hideout  when  Richards  picks  up  his  paper.  Police  close 
in  and  exterminate  the  gang. 

M-G-M.    86  minutes.    Leslie  Nielsen,  Colleen  Miller,  Edward  Andrews.  Produced 


"Kelly  and  Me" 

SuUkcu,  'Rating  O  Q 

Backstage  story  of  vaudevillian  and  his  dog  is  light,  enter- 
taining. Has  fair  marquee,  CinemaScope  and  Technicolor. 
Figures  best  as  dualler  for  family  trade. 

With  Van  Johnson  playing  a  slick  song-and-dance 
vaudevillian  who  uses  a  dog  as  a  springboard  to  success  in 
Hollywood,  this  Universal-International  offering  has  some 
good  human  interest  elements.  Robert  Arthur's  production 
in  CinemaScope  and  Technicolor  rather  overdresses  a 
simple  story,  which  figures  to  hold  most  appeal  for  family 
audiences.  Youngsters  will  love  it.  Piper  Laurie  and  Mar- 
tha Hyer  add  mild  marquee  support.  Real  star  of  the  film, 
however,  is  the  smart  white  shepherd  dog,  Kelly.  Robert 
Z.  Leonard  directed  with  proper  emphasis  on  the  human 
values.  The  pace  is  placid  until  the  final  footage  when 
Kelly's  sadistic  owner  turns  up  to  claim  him  and  stirs  up 
some  excitement.  Johnson  is  a  vaudeville  flop  until,  by 
accident,  Kelly  gets  into  his  act.  Miss  Laurie  talks  her 
father,  Hollywood  producer  Onslow  Stevens,  into  making 
"barkies"  (dog  pictures)  starring  Kelly.  Johnson,  hired 
for  bit  parts,  hogs  the  footage,  then  attempts  to  produce 
his  own  films  with  money  Kelly  earns.  Kelly's  original 
owner,  Gregory  Gay,  turns  up  to  claim  the  dog,  and  John- 
son goes  back  to  his  old  stage  routine.  Kelly  refuses  to  act 
without  Johnson,  then  runs  away  to  find  him.  They  are 
finally  reunited,  and  Johnson  returns  to  make  pictures  with 
Stevens  and  to  marry  Miss  Laurie. 

rtha  Hyer. 


Universal-International.  84 
Produced  by  Robert  Arthur. 


Van  Johnson,  Piper  Laur 
by  Robert  Z.  Leonard. 


Film  BULLETIN     February  4,  1957        Page  23 


THEY 

MADE  THE  NEWS 


ALBERT  SINDLINGER,  research  ana- 
lyst, told  delegates  at  the  opening  session 
cf  National  Allied's  fourth  annual  drive- 
in  convention  in  Cincinnati  last  Tuesday 
that  exhibitors  are  "over  the  hump"  if 
they  will  "use  facts  to  feel  with — for  it 
will  be  the  proper  use  of  facts — coupled 
with  showmanship — which  will  be  the  de- 
termining factor  in  separating  the  boys 
from  th;  men  this  year".  Studies  by  his 
organization,  Sindlinger  said,  reveal  that 
"watching  the  new-old  features  on  tele- 
vision is  whetting  the  public's  appetite  to 
see  the  newer  pictures  playing  at  thea- 
tres". Abram  F.  Myers,  Allied  general 
counsel,  was  scheduled  to  bring  before 
the  Allied  board,  meeting  immediately 
after  the  convention,  these  issues:  steps 
taken  so  far  by  Allied  to  effectuate  an 
arbitration  plan;  the  possible  return  of 
Allied  to  COMPO;  the  "apparent  indif- 
ference of  certain  of  the  film  companies" 
to  the  recommendations  of  the  Senate 
Small  Business  Committee.  The  board 
was  also  to  elect  new  officers,  including  a 
successor  to  president  Ruben  Shor.  Myers 
was  to  report  to  the  convention  on  the 
possibilities  of  a  top-level  exhibitor-dis- 
tributor conference. 


1 1 1 

•  1 


BROTHERHOOD  AWARDS 

Top:  Jack  L.  Warner  receives  Brotherhood 
Award  for  1957  from  Dr.  Everett  R.  Clinchy. 
president  of  the  National  Conference  of 
Christians  and  Jews  at  Jan.  24  banquet  in  New 
York,  as  national  co-chairman  ff  illiam  J. 
Heineman  looks  on.  Center,  toastmaster  Louis 
Nizer  presents  Artists  Award  to  singer  Harry 
Belajonte.  Bottom.  RKO  Theatres  president 
Sol  A.  Schwartz,  and  20th-Fox  vice  president 
Charles  Einfeld.  Brotherhood  tt  eek  campaign 
runs  February  17-24. 


THOMAS  F.  O'NEIL  denied  that  RKO 
Radio  Pictures  will  be  dissolved  as  a  pic- 
ture making  company,  although  its  sales 
and  distribution  arms  were  taken  over 
last  week  by  Universal  Pictures.  O'Neil 
said  that  between  8  and  10  features  will 
be  produced  this  year.  However,  they 
are  not  part  of  the  Universal  deal.  Final 
verification  of  the  RKO-U  transaction 
was  made  Jan.  23  by  Universal  Pictures 
president  Milton  R.  Rackmil  and  RKO 
president  Daniel  T.  O'Shea.  (Other  de- 
tails in  feature  story  on  O'Neil  this  issue.) 

0 

JOSEPH  R.  VOGEL,  in  his  first  annual 
report  to  the  stockholders,  disclosed  that 
Loew's  has  established  a  new  department, 
MGM-TV,  to  produce  films  for  television. 
Charles  C.  (Bud)  Barry,  in  charge  of 
Metro's  television  activities,  will  head  the 
unit.  Facilities  of  the  company's  West 
coast  studios  will  be  utilized,  and  pilot 
films  of  several  old  M-G-M  movie  hits 
are  already  in  work,  Vogel  stated.  Loew's 
report  showed  consolidated  net  profit  of 
$4,837,729  for  the  fiscal  year  ended  Aug- 
ust 31,  1956,  equivalent  to  91  cents  per 
share.  This  compares  with  $5,311,733,  or 
$1.03  per  share,  for  the  preceding  year. 
Despite  the  drop  of  $474,004  in  profits, 
operating  revenues  increased  in  1956  to 
$172,355,933  compared  with  $170,952,059. 
O 

LOUIS  FORMATO 
was  named  by  gen- 
eral sales  manager 
Charles  M.  Reagan 
to  succeed  Rudolph 
Berger  as  M-G-M's 
southern  division 
sales  head.  Formato 
has  recently  served 
as  Phila.  district 
mgr.  With  MGM 
since  1924,  Berger  will  retire  in  late  Feb. 
O 

MILTON  R.  RACKMIL,  Universal  Pic- 
tures president,  reported  to  stockholders 
that  consolidated  net  earnings  for  53 
weeks  ended  Nov.  3,  1956,  was  $3,993, 146 
($4.06  per  share),  compared  to  $4,018,625 
($3.71  per  share)  for  52  weeks  in  the  pre- 
ceding fiscal  year.  Film  rentals  and  sales 
showed  a  slight  increase. 

0 

ROY  HAINES,  Warner 
Bros,  sales  head,  promised  ex- 
hibitors "a  long  period  of  im- 
portant top  quality  produc- 
tions" backed  up  by  top  level 
campaigns,  but  urged  the  the- 
atremen  to  "merchandise  fully 
each  picture"  in  their  own  sit- 
uations. Speaking  at  the  re- 
cent home  office  sales  con- 
clave, Haines  listed  "A  Face 
In  The  Crowd"  and  "The 
Prince  and  The  Showgirl"  as 
among  the  "new  look"  pic 
tures  coming  from  WB. 
President  Jack  L.  Warner, 
executive  v.p.  Benjamin  Kal- 
menson  and  advertising  v.p. 
Robert  W.  Taplinger  also  ad- 
dressed the  group. 


A  light  i 
as  addre 
cago.  At 
Mid  We 
tral  disi 


lament  as  President  Spxros  P.  Skour- 
ises  20th-Fox  sales  gathering  in  Chi- 
left  sales  chief  Alex  Harrison:  right, 
t  district  manager  M.  A.  Levy.  Cen- 
rid    manager    Tom    O.  McCleaster. 


SPYROS  P.  SKOURAS,  describing  1957 
as  the  "year  of  destiny",  outlined  a  sched- 
ule of  more  than  50  pictures  to  come  from 
20th  Century-Fox  this  year  and  predicted 
that  the  company  would  do  an  annual 
gross  business  approaching  $150,000,000 
in  the  "not  far  distant  future".  The  in- 
domitable 20th  executive  made  his  re- 
marks on  his  return  from  th;  recent  sales 
meeting  convened  in  Chicago  by  distribu- 
tion head  Alex  Harrison.  Skouras  said 
that  Fox's  "doors  are  open  and  we  wel- 
come .  .  .  top-flight  craftsmen  and  inde- 
pendent producers  who  have  good  ideas 
and  can  make  quality  boxoffice  films".  He 
also  threw  his  support  behind  the  drive, 
announced  by  Harrison,  whereby  Fox 
will  aid  theatres  in  small  towns  and  sub- 
sequent-run situations,  while  searching 
for  ways  of  re-opening  theatres  that  have 
closed.  Harrison  had  said  that  Fox  will 
make  the  strongest  efforts  to  assist  ex- 
hibitors in  stimulating  theatre  attendance 
by  devising  special  campaigns  to  inform 
the  public  that  the  best  entertainment 
available  is  in  theatres.  Salesmen  were  in- 
structed to  meet  with  theatremen  to  see 
how  the  company  could  assist  them  re- 
vivifying closed  or  failing  houses. 


W  arner  Brothi 
at  the  recent  sales  confe 
clockwise :  district  manag 


s  manager  Roy  Haines  presides 
-e  in  the  home  office.  Seated. 
W  illiam  Mansell.  Ernest  Sands. 
Ed.  It  illiamson :  v.p.  Bernard  R.  Goodman.  Haines,  division 
sales  mgrs.  Jules  Lapidus,  W.  O.  K  illiamson.  Jr.:  Norman 
J.  Ayers  of  playdate  dept..  Canadian  dist.  mgr.  Haskell 
Masters.  Howard  Levinson  of  legal  dept.  Standing  from  I.: 
district  managers  Graver  Livingston.  Ralph  J.  lannuzzi. 
Robert  Smeltzer,  Fred  Greenberg.  Hall  U  alsh,  A.  W.  Ander- 
son. Seated,  r.,  short  subjects  sales  mgr.  Norman  H  Moray. 


Page  24       Film  BULLETIN    February  4,  1957 


HEADLINERS... 


THEY 


MADE  THE  NEWS 


ROSS 

FRANK  ROSS,  producer  of  "The  Robe", 
j  told  the  New  York  trade  press  that  he 
and  Frank  Sinatra  will  jointly  produce 
"Kings  Go  Forth"  for  United  Artists  re- 
lease. Film  will  be  from  the  Joe  David 
Brown  novel  about  two  American  para- 
troopers in  France  who  fall  in  love  with  a 
negro  girl.  Sinatra  will  star,  UA  will 
finance  the  film  in  black  and  white.  Ross 
Admitted  he  might  experience  some  diffi- 
culty in  selling  the  picture  because  of  its 
'racial  theme. 

0 

BARNEY  BALABAN  announced  that 
Paramount  News,  which  served  as  the 
famed  "eyes  and  ears  of  the  world"  for 
more  than  30  years,  will  be  discontinued 
[Feb.  15.  The  "changing  situation  in  our 
(industry",  plus  the  company's  policy  of 
investing  in  fields  which  "offer  the  best 
opportunities  and  maximum  security  for 
la  vital  and  profitable  future  for  our  com- 
pany", were  the  reasons  given  by  the 
Paramount  president  for  the  move.  In 
[recent  years.  Paramount  has  diversified 
[into  television  research  and  production, 
bs  well  as  the  recording  business.  To  put 
it  simply,  Paramount  News  was  another 
|  :asualty  of  TV's  intrusion  upon  the  news 
I1  reporting  field.  In  August,  1956,  Warner 
Brothers  ceased  operations  of  its  Warner- 
Pathe  newsreel.  With  Paramount's  with- 
drawal, Fox  Movietone,  Universal  News 
hnd  MGM's  News  of  the  Day  are  the 
j  only  three  theatre  reels  left  in  operation. 


ER WIN  LESSER  was  named  to  head 
NTA  Pictures,  Inc.,  a  motion  picture  re- 
leasing company  being  formed  by  Na- 
tional Telefilm  Associates,  distributor  of 
films  to  TV.  Announcement  of  the  new 
venture  was  made  by  Oliver  A.  Unger, 
NTA  executive  vice  president,  who  de- 
clared that  NTA  Pictures  will  adhere  to  a 
"firm  policy  of  guaranteeing  extended 
clearance  for  theatrically  released  features 
prior  to  making  them  available"  to  TV. 
A  minimum  of  12  pictures  are  contem- 
plated for  release  in  1957.  Lesser,  once  an 
exhibitor,  was  formerly  associated  with 
Paramount  and  several  independents. 

0 

IRVING  H.  LEVIN,  president  of  Am- 
Par  Pictures  Corp.,  a  subsidiary  of  Ameri- 
can Broadcasting-Paramount  Theatres, 
Inc.,  announced  the  company  will  invest 
$3  million  in  the  production  of  six  pic- 
tures within  the  next  six  months.  Estab- 
lished last  November  by  AB-PT  to  make 
moderately-priced  films  and  in  general  to 
help  fill  the  industry's  need  for  more 
product,  Am-Par  recently  completed  its 
first  film,  "Beginning  of  the  End". 

o 

WALTER  READE,  WILBUR  SNAP- 
ER  &  IRVING  DOLLINGER,  repre- 
senting three  independent  theatre  organi- 
zations in  the  New  York  area,  have 
formed  Triangle  Theatre  Service,  a  joint 
booking  and  buying  unit  aimed  at 
"streamlining"  operations  for  the  com- 
panies involved.  The  group  will  begin 
operations  March  1  with  headquarters  in 
New  York.  It  will  be  headed  by  Dollin- 
ger,  vice  president  of  Independent  Thea- 
tre Service,  Snaper,  general  manager  of 
the  Snaper  Circuit,  and  Jack  P.  Harris, 
vice  president  in  charge  of  film  buying 
for  the  Walter  Reade  Theatres.  Principal 
aims  of  the  new  combine  will  be  to  effect 
economies  in  home  office  overhead,  afford 
greater  cooperation  between  the  theatres 
involved,  and  combine  advertising  and 
promotion  "to  achieve  the  maximum 
grosses  with  minimum  expenses". 

O 

SAM  KAISER,  former  creative  advertis- 
ing director  for  Warner  Brothers  at 
Blaine  Thompson  Co.,  announced  the  for- 
mation of  Kaiser,  Sedlow  and  Temple, 
Inc.,  an  "independent  creative  service  for 
motion  picture  advertising".  The  com- 
pany will  provide  motion  picture  com- 
panies, independent  producers  and  adver- 
tising agencies  with  everything  from  total 
campaign  concepts  to  copy  and  layout. 
Victor  Sedlow  had  served  as  art  director 
of  20th-Fox,  while  Herman  Temple  was 
an  industry  art  director  consultant. 


Group  pictured  were  among  promi- 
nent industryites  gathered  on  the 
eoast  recently  to  par  tribute  to  re- 
tiring Loew's  Pacific  Coast  sales 
manager  George  A.  Hickey  and  to 
welcome  his  successor.  Herman  L. 
Ripps.  Seated,  from  left:  Ripps, 
Loew's  sales  head  Charles  M. 
Reagan.  Hickey.  Los  Angeles 
branch  mgr.  Thomas  J.  Aspell. 
Standing,  from  I.:  MGM  t.p.  E.  J. 
Mannix,  National  Theatres  presi- 
dent Elmer  C.  Rhoden.  I  A  Thea- 
tres exec.  v.p.  E.  H.  Rowley.  Mar- 
co Wolf,  producer  Robt.  I.ippert. 


MPA  president  ERIC  JOHNSTON  and 
the  board  of  directors  accepted  the  resig- 
nation of  NICHOLAS  M.  SCHENCK. 
Loew's  president  JOSEPH  R.  VOGEL 
and  general  counsel  BENJAMIN  MEL- 
NIKER  elected  to  replace  Schenck. 
Vogel  was  also  appointed  to  the  execu- 
tive committee  of  the  board.  ABE 
SCHNEIDER,  Columbia  Pictures  trea- 
surer and  MPA  board  member,  named  to 
the  MPA  executive  committee,  succeed- 
ing the  late  JACK  COHN.  Columbia 
v.p.  ABE  MONTAGUE  also  elected  to 
the  MPA  board.  The  board  accepted  the 
resignation  of  WILLIAM  H.  CLARK 
who  represented  RKO  Radio  Pictures... 
20th-Fox  president  SPYROS  P.  SKOUR- 
AS  headed  a  delegation  of  home  office 
executives  to  Chicago  for  the  fourth  in  a 
series  of  five  divisional  sales  meetings 
being  convened  by  general  sales  topper 
ALEX  HARRISON.  Also  at  the  mid- 
West  conclave:  secretary-treasurer  DON- 
ALD   A.    HENDERSON,  Central-Ca- 

Plans  for  NY.  City's  1957  Brotherhood  cdmpalqr 
got  recent  once  over  by,   from  I.,   Joseph  Sugar, 


nadian  division  manager  C.  GLENN 
NORRIS  ...  ALFRED  E.  DAFF,  Uni- 
versal executive  v.p.,  back  on  the  coast 
following  conferences  with  home  office 
personnel  .  .  .  CHARLES  LEVY,  who  re- 
sumed as  Buena  Vista  advertising  and 
publicity  director  Feb.  1,  is  back  at  the 
home  offices  after  product  and  policy 
meetings  at  the  Walt  Disney  studio  on 
the  coast...  U-I  sales  head  CHARLES 
J.  FELDMAN  and  v.p.  DAVID  A.  LIP- 
TON  among  executives  present  in  N.Y. 
recently  at  the  first  of  company's  three 
sales  meetings  called  to  acquaint  person- 
nel with  handling  of  RKO  pictures  . . .  Di- 
rector FRED  ZINNEMANN  announced 
formation  of  F.R.Z.  Company,  his  own, 
for  production  of  motion  pictures.  War- 
ners will  distribute...  YUL  BRYNNER 
&  director  ANATOLE  LITVAK  also  to 
form  production   company  . . .  U-I  presi- 


Jack  L.  Warner.  I.,  &  WB  exec.  v.p.  Beni.  Kalmen- 
son.  r.,  visit  John  Raitt,  Doris  Day  &  producer 
George  Abbott  on  set  of  WB's  "The  Pajama  Game". 

dent  MILTON  R.  RACKMIL  conferring 
with  Latin  American  staffers  in  Buenos 
Aires  and  Rio  de  Janeiro  . .  .  20th-Fox 
trade  paper  contact  HAROLD  RAND 
named  metropolitan  newspaper  contact. 
EDWARD  S.  FELDMAN  takes  over 
Rand's  former  spot .  .  .  Paramount  Min- 
neapolis branch  mgr.  JESS  McBRIDE 
and  his  staff  winners  in  first  phase  of 
Para.'s  "Salute  to  George  Weltner"  sales 
drive ...  Allied  Artists  concluded  deal 
with  independent  producers  ALBERT 
GANNAWAY  and  NORMAN  HER- 
MAN for  distribution  of  five  films  . . .  Al- 
lied of  Illionis  president  JACK  KIRSCH 
for  8th  consecutive  year  named  chairman 
of  the  Theatre  and  Amusement  division 
fund  drive  of  the  Chicago  Council,  Boy 
Scouts  of  America . .  .  Texas  Drive-In 
Theatre  Owners  to  hold  statewide  con- 
vention Feb.  26  &  27  in  Dallas.  Associa- 
tion president  EDDIE  JOSEPH  to  pre- 
side... DIED:  FRANCIS  P.  DERVIN, 
ass't  to  RKO  v.p.  Edward  L.  Walton. 


Film  BULLETIN    February  4,  1957        Page  25 


Coming  attraction  trailers  carry  a 
lot  of  weight  with  theatre  audi- 
ences. Every  independent  statisti- 
cal survey"  proves  that  trailers 
are  primarily  responsible  for  the 
attendance  of  every  third  movie 
patron.  So,  don't  be  penny-wise 
and  pound  foolish.  Let  the  Prize 
Baby  take  a  load  off  your  mind 
and  give  your  grosses  a  lift  at 
minimum  cost  with  trailers. 


•'•WOMAN'S  HOME  COMPANION 

Survey  showed  31   per  cent  went  to  the  movies  because  of  TRAILERS! 

SINDLINGER 

CX,il^m.  Survey  showed  34.2  per  cent  went  to  the  movies  because  of  TRAILERS! 

mmmi\CV£€/l  service 

w  P/f/Zf  80 BY  Of  nif  /nous TRY 

NATIONAL  THEATRES  CIRCUIT  IN  21  STATES 

Survey  showed  43  per  cent  went  to  the  movies  because  of  TRAILERS! 


"TtaUet*  —  Showmen  '5  Socko  Salesmen  / 


MERCHANDISING  & 


1 


Einteld  Sets  20th  Promotion  for 
6  Months;  Emphasis  on  Teenagers 


EINTELD 


Having  set  the 
distribution  pace 
quantitatively 
with  the  biggest 
distribution  pro- 
gram it  has  of- 
fered in  a  decade, 
20th  Century-Fox 
has  matched  it 
with  promotional 
plans  for  a  full 
six-month  sched- 
ule. The  lucrative 
teenage  market 
will  be  given  spe- 
cial emphasis  in 
the  various  cam- 


paigns, according  to  vice-president  Charles 
Einfeld,  in  an  effort  to  reach  the  largest 
audience  possible  for  each  picture. 

Some  26  films  will  be  encompassed  in  the 
hard-hitting  series  of  selling  drives  during 
the  first  half  of  1957.  A  feature  of  the  long- 
range  planning  is  the  opportunity  20th  has 
set  up  to  stimulate  maximum  interest  in  each 
film  at  least  two  months  prior  to  the  first 
bookings. 

One  of  the  campaigns  slated  to  grab  plenty 
Df  attention  from  exhibitors  and  theatregoers 
alike  is  blueprinted  for  20th's  Easter  offering, 


"Boy  on  a  Dolphin".  Featuring  an  eleven 
city  simultaneous  world  debut  for  the  benefit 
of  American  colleges  in  Greece,  the  openings 
will  be  backed  by  civic  and  cultural  notables 
in  each  premiere  engagement.  In  a  different 
slant  on  the  same  film,  the  company  will 
launch  a  king-size  bally  drive  to  further  ex- 
ploit Italian  movie  queen  Sophia  Loren  to 
the  American  public. 

Typical  of  "the  forward  look"  plans  in 
merchandising  its  product  is  20th's  campaign 
for  the  June  release,  "Three  Faces  of  Eve". 
Coincidental  with  the  February  start  of  pro- 
duction on  the  psychological  drama,  Mc- 
Graw-Hill, publishers  of  the  book  on  which 
the  movie  is  based,  will  join  hands  with  20th 
in  an  impressive  "read  the  book — see  the 
movie"  campaign.  Additional  selling  angles 
to  be  utilized  include  a  massive  ballyhoo  to 
introduce  Joanne  Woodward  in  her  first 
starring  role,  and  a  cover-the-country  in- 
person  tour  by  producer-director  Nunnally 
Johnson. 

For  "Oh  Men!,  Oh  Women!",  fern  stars 
Ginger  Rogers  and  Barbara  Rush  will  hit 
the  trail  with  an  intensive  key-city  trek  to 
sell  the  Washington  Birthday  attraction.  An- 
other highlight  of  the  CinemaScope  comedy 
campaign  will  be  a  150-city  sneak  preview 
on  February  9. 


SWEEPSTAKES  FACTS 


*  The  Academy  Awards  Sweepstakes  are  of- 
fered by  COMPO  to  the  theatres  of  America  as 
z  local  promotion  designed  to  increase  attend- 
ance. 

*  The  project  has  been  approved  by  the 
COMPO  Executive  Committee,  on  which  are 
epresented  all  the  exhibitor  organization  mem- 
>ers  of  COMPO. 

*  The  Sweepstakes  will  take  the  form  of  a 
juessing  contest,  in  which  the  public  will  have 
in  opportunity  to  try  to  name  the  winners  of  12 
>f  the  27  categories  for  which  Academy  Awards 
"ill  be  announced  in  Hollywood  on  March  27. 

*  Prizes  will  be  offered  to  those  who  come 
tearest  to  guessing  the  winners  in  the  twelve 
■ategories  designated.  In  addition  to  naming 
he  winner  each  contestant  must  write  a  25- 
vord  sentence,  which  will  serve  to  break  pos- 
sible ties. 

*  Prizes  are  to  be  promoted  by  participating 
heatres.  Theatres  may  act  alone  or  join  with 
>ther  theatres  in  conducting  the  Sweepstakes 
md  promoting  prizes. 

*  There  will  be  national  prizes. 


*  Nominations  for  the  Academy  Awards  will 
be  announced  in  Hollywood  on  February  19. 
Upon  the  announcement  of  the  nominations  entry 
blanks  will  be  printed  and  distributed  to  theatres 
as  quickly  as  possible  by  National  Screen  Ser- 
vice. 

*  A  complete  line-up  of  accessories  will  be 
available.  These  include  advertising  mats,  trail- 
er, one-sheets,  lobby  posters,  marquee  valance, 
snipes,  etc. 

*  A  press  book  covering  all  phases  of  the 
Sweepstakes — promotion,  rules,  stories  for  news- 
paper planting,  how  to  promote  prizes,  choose 
board  of  judges,  accessories  available  and  sug- 
gested prizes,  is  to  be  sent  to  theatres  gratis  by 
National  Screen.  This  should  be  in  the  hands  of 
exhibitors  on  or  about  February  1. 

*  Participating  theatres  should  have  little 
trouble  in  obtaining  the  cooperation  of  their 
local  newspapers.  The  nature  and  extent  of  this 
cooperation  may  be  whatever  is  decided  on  be- 
tween the  theatres  and  the  newspapers. 

*  Sweepstakes  similar  to  this  have  already 
been  conducted  by  theatres  in  Texas  and  other 
Southern  States  and  also  in  Canada. 

[More  SHOWMEN  on  Page  28 J 


Exhibition  Awaits  Final  Report 
On  Business-Building  Confab 

With  the  wind-up  of  the  meetings  of  the 
joint  Business-Building  conference  last  week, 
exhibitors  eagerly  awaiting  the  report  detail- 
ing the  united  promotional  program  finally 
agreed  upon  by  representatives  of  COMPO. 
TOA  and  the  Motion  Picture  Association, 
will  have  to  mark  time  for  a  while. 

Harry  Mandel,  who  presided  at  the  con- 
cluding session,  directed  Charles  E.  Mc- 
Carthy, COMPO  information  director,  and 
Taylor  Mills  of  MPAA  to  collaborate  on  the 
report  and  have  it  ready  as  soon  as  possible. 

However,  because  the  results  of  an  indus- 
try-wide survey  to  be  made  by  a  marketing 
research  organization  are  expected  to  be  in- 
cluded in  the  final  presentation,  Mills  said 
that  the  report  could  be  held  up  for  as  much 
as  90  days.  This  means  that  the  important 
document  may  not  be  ready  until  May. 

The  tabling  of  plans  for  a  joint-distribution 
institutional  advertising  campaign,  pending 
completion  of  the  research  study,  brought  a 
warning  by  Ernest  Stellings,  TOA  president, 
who  urged  no  unnecessary  delay  in  launch- 
ing the  all-industry  drive  to  hypo  theatre  at- 
tendance. As  soon  as  the  group's  business- 
building  plans  were  crystallized,  Stellings  de- 
clared, he  would  undertake  a  fund-raising 
drive  to  help  finance  the  program.  The  ex- 
hibition leader  also  expressed  satisfaction 
with  the  recently  announced  plans  for  the 
Aacademy  Award  Sweepstakes. 


Roger  Lewis  (right),  United  Artists"  national  di- 
rector of  advertising,  publicity  and  exploitation, 
confers  on  1957  exploitation  plan  in  Atlanta, 
Ga.  with  (I.  to  r. )  exhibitor  Hop  Barnes,  UA 
salesman  Bob  Tarwater,  and  Bill  Hames,  Atlanta 
branch  manager. 


Potent  Publicity  Barrage  Greets 
Bergman  On  Brief  U.S.  Visit 

Ingrid  Bergman's  34-hour  visit  to  these 
shores  to  accept  the  New  York  Film  Critics' 
Best  Actress  Award  for  her  sparkling  per- 
formance in  "Anastasia"  tumbled  a  barrelful 
of  high-powered  publicity  into  the  lap  of 
20th  Century-Foy,  distributors  of  the  picture. 

Returning  to  the  United  States  after  an 
absence  of  over  seven  years,  the  popular 
Swedish-born  actress  was  greeted  at  Idle- 
wild  airport  by  20th  vice  president  Charles 
Einfeld,  scores  of  faithful  fans  and  admirers, 
and  a  thundering  herd  of  reporters,  photog- 
raphers and  newsreel  cameramen  represent- 
ing every  newspaper  and  radio-television  out- 
let in  the  metropolitan  area  and  all  the  wire 
services  and  networks. 

Miss  Bergman  was  hosted  at  a  party  given 
by  the  Critics  where  she  was  formally  pre- 
sented with  the  coveted  award.  During  the 
festivities  the  actress  was  interviewed  by 
TV's  Steve  Allen,  who  later  presented  the 
filmed  chat  cn  his  Sunday  nite  program. 

20th  executives  at  the  Awards  Dinner: 
president  Spyros  P.  Skouras;  Buddy  Adler, 
the  company's  executive  producer  and  "Ana- 
stasia" producer;  Charles  Einfeld  and  direc- 
tor of  the  picture,  Anatole  Litvak. 

February's  3  Big  Holidays 
Make  Month  Long  On  Show'ship 

February  may  be  a  short  month  when  it 
comes  to  counting  the  number  of  days,  but  it 
packs  a  powerful  promotional  punch  when  it 
comes  to  adding  up  exploitation  possibilities. 
Top  selling  angles  in  the  28-day  month  re- 
volve around  Valentine's  Day  and  the  birth- 
days of  Washington  and  Lincoln. 

With  a  little  extra  effort,  February  14  can 
be  one  of  the  big  grossers  on  the  month's 
calendar.  Because  "love  makes  the  world  go 
'round",  a  Valentine's  Midnight  Show  for 
Lovers  can  make  the  boxoffke  jump.  Only 
couples  are  admitted  to  an  attraction  of  this 
type,  and  the  film  should  be  one  that  empha- 
sizes love,  lovers  and  romance. 

Another  business-builder  with  an  eye  to 
the  women's  market  involves  the  presenta- 
tion of  a  free  flower,  via  a  co-op  with  a 
florist,  to  the  first  100  ladies  attending  a 
Valentine's  Day  Show.  In  an  attempt  to 
cash  the  lucrative  gift  market,  a  hard-hitting 
promotion  to  sell  "Valentine  Movie  Books", 
containing  gift  coupons  can  add  greatly  to 
the  profit  ledger. 

By  providing  a  show  keyed  to  the  kid 
crowd  during  the  birth  dates  of  the  two 
presidents,  when  most  schools  are  closed,  a 
showmanship-wise  manager  can  give  tired 
mothers  a  rest  and  help  the  kids  celebrate 
at  a  cartoon  carnival  or  a  specially  tailored 
action  show. 

February  is  also  Minnie  Mouse's  birthday 
and  a  rousing  cartoon  carnival  would  be  a 
terrific  celebration  for  MM  and  you. 


-A  Hi-lights  of  Ingrid  Bergman's  brief  but  tri- 
umphant return  to  the  States  after  a  seven-and- 
a-half  year  absence.  Top  to  bottom:  1 )  Faithful 
fans  greet  Miss  Bergman  at  N.  Y.'s  Idelwild  Air- 
port as  she  returns  to  accept  award  from  New 
York  Film  Critics  for  her  performance  in  20th- 
Fox'  "Anastasia".  2)  Talking  things  over  with 
Spyros  Skouras  and  Mr.  and  Mrs.  Murray  Silver- 
stone.  3)  Miss  Bergman  and  Charles  Einfeld, 
20th  vice  president.  4)  Irene  Thirer,  chairman 
of  the  N.  Y.  Film  Critics  presents  award  to  the 
Swedish-born  star  as  the  best  actress  for  1956. 


Hard-working  Disney  Trio  Sells  | 
New  England  Kids  on  'Cinderella' 

Three  top  Disney  personalities — Jimmid 
Dodd  and  Roy  Williams,  stars  of  the  Mickeji 
Mouse  Club  TV  Show,  and  Volus  Jones,  ond  . 
of  Disney's  top  animators — have  launched  z 
4-week  tour  of  100  New  England  cities  tc 
help  sell  the  kid  audience  on  the  return 
playoff  of  "Cinderella". 

Long  a  Disney  tradition,  the  New  England 
tours  were  started  in  1952  and  have  grown 
successfully  with  each  succeeding  year.  Lasf 
year  the  traveling  Disneyites  covered  almosi  i 
80  situations;  this  year,  Dodd,  Williams  and 
Jones  will  hit  the  100  mark  to  drumbeat  the 
200  day  and  date  bookings  already  set  for 
the  Disney  classic. 

Each  star  will  appear  before  10,000 
15,000  children  and  adults  per  day  in  th 
tight  10-hour-a-day,  6-day-a-week  schedul 
Appearances  will  be  made  in  schools,  ho 
pitals,  orphanages,  civic  clubs  and  at  W.  T 
Grant  stores.  Par  on  the  promotional  sched 
ule  for  each  performer  is  10  school  perform 
ances,  2  radio  interviews,  a  TV  appearance 
a  Grant  Store  show,  a  hospital  appearance 
and  a  Rotary  dinner — all  in  one  day's  work. 

Metro's  'Little  Hut'  Island 
Giveaway  Gets  March  Kickoff 

Metro's  Ava-Ava  Island  giveaway  is  being 
geared  for  a  March  1  launching  with  five 
million  folder  entry  blanks,  2000  one-sheets 
in  color,  special  stills  and  trailer  tags  as  part 
of  the  campaign  on  behalf  of  "The  Little 
Hut"  (Ava  Gardner-Stewart  Granger). 

The  uniaue  promotion  is  being  co-spon- 
sored by  M-G-M,  the  Pacific  Area  Travel 
Association  and  Samsonite  Luggage,  features 
a  limerick  contest  in  which  contestants  will 
offer  the  final  line  and  the  winner  awarded 
an  actual  island  in  the  Crown  Colony  of  Fiji. 

Samsonite,  latest  of  the  co-sponsors,  will 
handle  the  servicing  of  the  entries  at  its 
Travel  Bureau  in  Denver,  Colorado,  and  will 
also  furnish  a  complete  set  of  luggage  similar 
to  that  used  by  Miss  Gardner  in  the  film. 
Entry  blanks  will  be  available  at  local  thea- 
tres, travel  agencies  and  Samsonite  dealers. 

Theatres  wishing  to  participate  in  the  con- 
test are  asked  to  contact  Metro's  home  office 
promotion  department  at  1540  Broadway. 

New  Whipping  Boy? 

In  a  rapid  about  face  on  the  merits  of 
movie  advertising,  and  in  a  manner  that 
would  make  Russian  policy  changes  seem 
amateurish,  Advertising  Age  rose  to  the  de- 
fense of  motion  picture  advertising  with  a 
recent  commentary  by  Walter  O'Meara  in 
a  column  called  "Just  Looking".  Says  Mr. 
O'Meara:  "Somehow  I  can't  get  too  exer- 
cised about  all  the  pious  wails  over  motion 
picture  advertising.  In  the  first  place,  it 
isn't  all  as  bad  as  the  horrible  examples.  In 
the  second  place,  what  do  you  expect?"  He 
then  proceeds  into  a  full  scale  give-'em-hell 
tirade  against  "the  lower  level  of  form,  taste 
and  morals  that  occasionally  crops  up  in  the 
advertising  of  books." 


Page  28       Film  BULLETIN    February  4  ,1957 


Hj&at  t&e  S&acwiM  /tie  *Dowy! 


-A-  To  the  Showmen  go  the  prizes.  Top:  Stanley 
Warner  Philadelphia  zone  manager  Ted  Schlan- 
ger  presents  $700  in  U.  S.  Bonds  to  Dominick 
Lucente,  manager  of  SW's  Broadway  for  top- 
notch  work  during  a  recent  showmanship  drive. 
5hown  left  to  right  are  Paul  Castello,  district 
nanoger;  Bernie  Brooks,  assistant  zone  manager; 
Lucente  and  Schlanger.  Bottom:  Manager 
Julian  Katz  (left)  of  Randforce  Amusement's 
Messerole  Theatre  in  Brooklyn,  N.  Y.  is  gifted 
with  a  SI  00  prize  by  MGM  branch  manager  Lou 
Allerhand  (center)  for  his  first-class  showman- 
ship campaign  on  "High  Society"  during  the 
circuit's  Better  Business  Drive.  Looking  on  is 
Charles    Felleman,    field-press  representative. 

'Pride  and  Passion'  Cannon 
Set  for  Cross-Country  Tour 

An  8,500  mile  junket  that  will  cover  63 
key  cities  in  the  32  United  Artists  exchange 
areas   has   been   announced   by  promotion 

[chief  Roger  H.  Lewis,  for  the  giant-size 
four-ton  cannon  used  in  the  filming  of  Stan- 

'  ley  Kramer's  "The  Pride  and  the  Passion". 
Cost  of  the  five-month  promotional  trek  for 
the  31-foot  artillery  showpiece  is  budgeted 
at  a  whopping  $52,000. 

I  The  tour  will  be  directed  by  exploitation 
I  chief  Mori  Krushen,  who  will  be  assisted  by 
a  special  promotional  squad  working  hand- 
in-hand  with  the  company's  field  exploiteers. 

The  mammoth  cannon  is  undergoing  final 
preparations  for  the  trek  at  San  Pedro  Cali- 
fornia, having  arrived  recently  from  a  5,000 
mile  sea  voyage  from  Spain,  where  Kramer 
shot  "The  Pride  and  the  Passion".  "The 
Gun",  as  it  is  called  in  the  film,  is  an  authen- 
tic copy  of  a  famous  19th-century  artillery 
piece  used  by  the  Spaniards  to  fight-off  a 
Napoleonic  invasion.  The  multi-million- 
dollar  VistaVision  production,  is  slated  for 
release  this  summer. 

Theatre-front  and  school  stands  will  be 
part  of  the  campaign  in  each  of  the  63  cities 
and  their  suburbs.  The  promotional  excur- 
sion is  also  being  scheduled  for  a  host  of  re- 
tail tie-ups  and  cooperation  with  educational 
institutions.  Accompanying  the  coast-to- 
coast  exhibit  will  a  be  display  of  supplemen- 
tary weapons  and  costumes  used  in  filming 
the  UA  release,  which  stars  Cary  Grant, 
Frank  Sinatra  and  Sophia  Loren. 

Now  in  preparation  for  the  tour  are 
posters,  banners,  heralds,  brochures  and 
miniature  replicas.  Also  planned  are  on-the- 
spot  telecasts  in  the  various  cities,  interviews 
for  members  of  the  "P  and  P"  production 
and  technical  staffs  with  fourth  estaters  and 
intensive  all-media  coverage. 


WB's  'Morningstar'  Hopefuls 
Screen  Tests  on  Sullivan  Show 

One  of  the  most  coveted  Hollywood  roles 
in  many  a  moon,  that  of  "Marjorie  Morning- 
star"  in  the  screen  version  of  the  best-selling 
novel  by  Herman  Wouk,  is  open  for  bids — 
and  publicity.  In  a  television  first,  columnist 
Ed  Sullivan,  on  his  Sunday  night  variety 
shows  of  February  3  and  10,  is  going  to  pre- 
sent the  actual  screen  tests  of  four  young 
fern  thespians  vying  for  the  juicy  title  role 
in  the  Milton  Sperling  production  which 
Warner  Bros,  will  release. 


Five  of  the  young  actresses  being  screen 
tested  for  the  star-making  title  role  in 
"Marjorie  Morningstar"  board  plane  for 
flight    to    Warners'    California  studios. 

The  Sunday  night  televiewers  will  be  in- 
vited to  comment  on  the  performances  of  the 
actresses,  who  will  be  seen  in  parts  of  three 
separate  scenes  from  "Marjorie  Morning- 
star"  screen  tests  filmed  at  Warner  Brothers 
Burbank  studios. 

In  a  vigorous  effort  to  hypo  interest  in  the 
production,  the  television  audience  will  be 
asked  to  write  to  the  CBS-TV  entertainer 
and  indicate  its  favorites  in  the  cathode-tube 
tests  and,  or  recommend  others  for  the  role. 
Highlighted  on  the  Feb.  10  program  will  be 
a  Sullivan  interview  with  producer  Milton 
Sperling.  Sperling  and  his  staff  have  already 
interviewed  several  hundred  aspirants  for  the 
part  which  shapes  up  as  one  of  the  biggest 
plums  ever  offered  a  young  actress. 


Universal-International's  "Battle  Hymn"  gar-  % 
nered  a  pair  of  important  publicity  breaks  in 
separate  countries.  Top:  Clergyman-jet  pilot 
Col.  Dean  Hess,  on  whose  life  the  CinemaScope- 
Technicolor  film  is  based,  fans  some  promotional 
sparks  in  Toronto  on  a  visit  masterminded  by 
U-l  publicity  chief,  Philip  Gerard.  Left  to  right 
are  Jack  Clark,  manager  of  Loew's  Ontario; 
Gerald  Pratley  of  the  Canadian  Broadcasting 
Corp.;  Hess;  the  Toronto  Star's  Jack  Karr;  Jim 
Harrison,  Regional  Theatres  in  Canada.  Bottom: 
Col.  Hess  feted  at  a  luncheon  hosted  by  Ohio 
Senator  John  W.  Bricker  (center)  in  the  United 
States  Capitol.  Also  on  hand  was  Vice  President 
Richard  Nixon.  On  the  Senate  floor,  after  lunch- 
eon, Bricker  paid  tribute  to  "the  flying  parson". 


Schine  'Books  of  Happiness' 
Make  Potent  B.O.,  P.R.  Tools 

By  offering  substantial  savings  on  movie 
tickets  to  the  theatregoing  public  via  a 
scripbook  promotion,  the  Schine  Circuit  is 
garnering  sock  returns  both  on  the  public  re- 
lations front  and  at  the  boxoffice  window. 

Tabbed  with  the  smooth  selling  name, 
"Books  of  Happiness",  the  scrip  books  con- 
tain $5.00  worth  of  movie  tickets  and  are  sold 
to  patrons  at  a  money-saving  $3.50  price. 
Good  ac  any  Schine  theatre  anywhere,  the 
"happiness  coupons"  are  exchanged  at  the 
boxoffice  for  regular  admission  tickets  and 
are  used  just  like  cash.  The  books  are  good 
for  three  months  from  the  date  of  purchase. 

Because  the  "books"  make  ideal  gifts,  the 
five-state  theatre  chain  has  had  great  success 
in  selling  them  as  Xmas,  birthday,  gradu- 
ation and  anniversary  presents.  A  plan  has 
also  been  adopted  whereby  civic,  church  and 
charitable  organizations  seeking  funds  can 
become  the  selling  agent  for  the  "Books  of 
Happiness",  and  a  handsome  commission  is 
paid  them  as  a  contribution  to  their  causes. 

When  films  are  shown  on  a  road  show 
basis  at  advanced  prices,  scrip-book  holders 
get  an  extra  dividend  because  they  are  ad- 
mitted to  the  theatre  without  having  to  pay 
the  extra  admission  prices. 

'Bridge  on  River  Kwai"  Tie-up 

While  the  cameras  are  grinding  in  far-off 
Ceylon  filming  Columbia's  "The  Bridge  On 
The  River  Kwai",  an  unusual  tie-up  to  hypo 
interest  in  the  Sam  Spiegel  production  has 
been  set  between  the  Tourist  Bureau  of  Cey- 
lon and  Horizon  Pictures  for  a  batch  of 
twelve  special  mailings  of  brochures,  news 
releases  and  "souvenir"  items  to  motion  pic- 
ture exhibitors  in  every  corner  of  the  world. 

The  mailings,  which  will  also  cover  all 
segments  of  mass  and  travel  media,  will  in- 
clude full  credits  to  the  Technicolor  film, 
photographs  of  the  film  in  production  and 
news  copy  on  the  Ceylon  location. 


Film  BULLETIN    February  4,  1957       Page  29 


EXPLOITATION  PICTURE 


Batlle  of  Sexes  Highlights  ^Secret  Affair' 


The  battle  of  the  sexes  has  been  respon- 
sible for  putting  movie  audiences  in  a  de- 
lightful uproar,  as  witness  such  cause 
celebres  as  "It  Happened  One  Night"  and 
"The  Awful  Truth"  among  a  host  of  other 
male  vs.  female  comedy  successes.  Now 
Warner  Bros,  has  another  that  makes  a  bid 
for  fame  in  this  distinguished  group,  same 
being  "Top  Secret  Affair".  WB  is  touting 
the  comedy  angle  for  all  its  worth  in  a  bang- 
up  campaign  that  sells  laughs  and  a  pair  of 
marquee-bright  stars. 

Anticipating  no  argument  as  to  the  risible 
fame  of  its  great  comedy  of  last  year,  "Mr. 
Roberts",  the  WBoxofncers  have  pegged  a 
clever  series  of  ads  associating  the  laugh- 
provoking  assets  of  "Top  Secret  Affair"  with 
those  of  the  earlier  boxoffice  smash.  Such 
lines  as:  "A  one-in-a-million  happiness- 
maker  just  like  'Mister  Roberts'!"  .  .  .  and 
.  .  .  "  'I  haven't  laughed  like  this  since 
"Mister  Roberts"!' — Who  said  it?  Just  about 
everyone  who  sees  this  motion  picture!"  are 
sure  to  pique  the  interest  of  the  millions  who 
saw  last  year's  comedy  hit  and  the  millions 
more  who  are  sorry  they  missed  it. 

Another  well-turned  phrase  to  perk  up  the 
interest  of  the  discriminating— and  those 
who  believe  themselves  to  be — is  the  catch- 
line:  "The  funniest  story  of  love-making 
since  comedies  grew  up!" 

The  stars'  appearance  in  their  first  comedy 
is  well  worth  ballyhooing.  With  Kirk  Doug- 
las riding  high  on  his  dramatic  laurels  for 
"Lust  for  Life"  and  Susan  Hayward,  well  up 
on  the  list  of  top  boxoffice  stars,  getting  an 
interesting  change  of  pace  from  her  Oscar- 
nominee  role  in  "I'll  Cry  Tomorrow",  the 
pairing  is  an  inspired  one  due  to  be  an  im- 
portant factor  in  the  campaign. 

There's  fine  promotion  fodder  in  the  Hay- 
ward  vs.  Douglas  fracas  that  runs  through- 
out the  film.  With  Kirk  portraying  the 
Army's  toughest  general  and  Susan  digging 
her  pretty  teeth  into  the  role  of  a  big-time 
lady  publisher  out  to  keep  the  young  Gen- 
eral from  getting  a  diplomatic  post  with  no 
holds  barred,  the  publicity  door  is  wide  open 
for  stunts  and  gimmicks  based  on  the  war 
of  the  sexes.  Famed  examples  of  history 
can  be  rung  in  with  takeoffs  on  Samson  and 
Delilah,  Caesar  and  Cleopatra,  Napoleon  and 
Josephine,  you  can  go  on  ad  infinitum  (so 
can  the  public  in  a  contest  for  the  longest 
list  of  male-female  contrariety).  The  WB 
staff  has  turned  out  several  mats  based  on 
this  feature,  working  with  jingles,  quips  and 
other  light-hearted  material  in  keeping  with 
the  tone  of  the  film. 

The  stunt  potential  is  tops  for  the  enter- 
prising showman.  In  the  film,  the  lady  goes 
to  outlandish  lengths  to  discredit  the  gen- 
eral, including  inducing  Kirk  to  do  a  balanc- 
ing act  on  a  bongo  board,  tossing  him  onto 
a  martini-laden  night-club  table  during  a 
Samba,  getting  him  to  display  his  judo  tech- 
nique— on  a  woman,  and  generally  putting 
him  through  a  workout  that  will  make  him 


Congrats  to  them-- 
they're  the  stars  who 
bring  you  the  Warner 
picture  that's  a 
one-in-a-million 
happiness-maker 
just  like  Warners' 
'Mister  Roberts'! 


Hayward  and  Kirk  Douglas 
|vinga"Tbp  Secret  Affair" 


NEWSPAPER  ADS 


look  ridiculous.  Thus  is  suggested  a  bongi 
board  contest  in  the  lobby  or  on  stage  wil 
the  local  bongo  board  dealer  supplying  thi 
props  and  demonstrator  in  a  co-op  promo- 
tion that  should  combine  fun  and  entertain- 
ment with  the  drum-beating.  Or  a  judo  ex- 
pert who  will  give  a  demonstration  anc 
lessons  in  the  lobby  or  in  a  store  geared  foi 
a  co-op  handling. 

The  title  can  be  tied  in  beautifully  with 
department  store  co-ops,  flyers,  peep  boxes 
Arrangements  should  be  made  with  a  local 
store  to  hang  a  sign  in  front  of  the  curtains 
used  when  they  dress  up  the  window:  "We; 
can't  let  you  see  just  yet  because  it's  a  'Top 
Secret  Affair'  .  .  .",  then  combining  stills  with 
the  window  display  to  follow  up  the  promo- 
tion. A  good  lobby  display  would  have 
scenes  from  the  film  in  a  peep  box  which 
would  be  captioned  appropriately  with  thej 
title. 

Posters  are  lightly  provocative.  The  24- 
sheet  features  a  giant  shot  of  the  stars  simi- 
lar to  the  bulk  of  the  ad  art  against  a  plain 
background  with  only  the  words:  "Susan 
Hayward  and  Kirk  Douglas  are  having  a 
'Top  Secret  Affair'!"  The  one-sheet  uses  the 
same  art  plus  a  small  corner  shot  of  a  stern,; 
full  dress  General  Douglas  captioned  "This 
is  the  toughest  general  in  the  U.  S.  Army!" 
followed  up  by  a  balloon  caption  from  Miss 
Hayward:  "This  is  the  toughest  general  in 
the  U.  S.  Army?"  The  24-sheet  is  also  par- 
ticularly adaptable  for  a  marquee-top  sign 
since  the  principals  can  be  easily  cut  out  and 
the  copy  worked  into  a  block  to  eye-catch- 
ing effect. 

There  have  been  few  top-drawer  comedies 
since  the  advent  of  the  wide  screen  and  it 
can  logically  be  assumed  that  the  public  is 
ripe  for  something  like  "Top  Secret  Affair' 

"TOP  SECRET  AFFAIR' 


When  a  determined  military  man  and  an  equally  determined  career  i — N. 
giri  clash,  kiss  and  then  find  their  whole  affair  being  aired  by  a  Con- 
gressional  Committee,  the  results  are  likely  to  be  provocative,  to  say  the  least. 
In  "Top  Secret  Affair",  Kirk  Douglas  and  Susan  Hayward  are  accorded  a  wide 
range  of  comic  situations  and  dialogue  that  should  make  their  fans  chortle  happi- 
ly and  leave  them  quite  satisfied  when  the  dramatic  climax  anchors  the  earlier 
light  proceedings  for  solid  entertainment.  The  Roland  Kibbee-Allan  Scott  script 
has  Kirk  as  an  iron-pants  general  whose  appointment  to  a  diplomatic  post,  sub- 
ject to  Senate  approval,  rouses  the  ire  of  political  magazine  publisher  Susan.  She 
promptly  evolves  a  plan  of  attack  to  make  sure  the  general  won't  get  a  congres- 
sional okay  by  personally  getting  him  involved  in  a  series  of  undignified  inci- 
dents, sees  that  they  are  all  well-documented.  Her  plot,  however,  backfires  when 
her  heart  enters  the  picture  and  falls  for  the  officer.  Previously  disillusioned  by  a 
romance,  he  turns  her  offer  of  marriage  down  and  the  scorned  woman  reverts  to 
her  original  plan,  which  includes  a  serious  charge  against  Kirk  of  revealing 
secrets  to  a  spy.  The  affair  is  resolved  happily  in  a  dramatic  Committee  hearing 
in  which  she  admits  framing  the  general,  and  the  spy  charge  turns  out  to  be  a  top 
secret  counter  spy  affair  which  Douglas  had  conducted  under  orders.  The  War- 
ner Bros,  film  was  produced  by  Martin  Rackin  under  the  supervision  of  Milton 
Sperling  with  H.  C.  Potter  directing. 


Page 


3ULLETIN  February 


Film  BULLETIN    February  4,  1957       Page  31 


THIS  IS  YOUR  PRODUCT 


AH  The  Vital  Details  on  Current  &)  Coming  Features 

(Date  of  Film  BULLETIN  Review  Appears  At  End  of  Synopsis) 


ALLIED  ARTISTS 


September 

CALLING  HOMICIDE  Bill  Elliot.  Jeane  Cooper,  Kath- 
leen Case.  Producer  Ben  Schwalb.  Director  Edward 
Bernds.  Melodrama.  Policeman  breaks  baby  extortion 
racket.  61  min. 

FIGHTING  TROUBLE  Hunti  Hall,  Stanley  Clements, 
Queenie  Smith.  Producer  Ben  Schwalb.  Director  George 
Blair.  Comedy  drama.  Bowery  Boys  apprehend  hood- 
lums by  fast  work  with  a  camera.  61  min. 
STRANGE  INTRUDER  Edward  Purdom,  Ida  Lupino,  Ann 
Harding,  Jacques  Bergerac.  Producer  Lindsley  Parsons. 
Director  Irving  Rapper.  Drama.  A  returning  Korean  vet 
makes  a  strange  promise  to  a  dying  comrade-in-arms. 
81  min. 

October 

CRUEL  TOWER.  THE  John  Ericson,  Mari  Blanchard, 
Charles  McGraw.  Producer  Lindstey  Parsons.  Director 
Lew  Landers.  Drama.  Steeplejacks  fight  for  woman 
on  high  tower.   80  min. 

YAOUI  DRUMS  Rod  Cameron,  Mary  Castle.  Producer 
William  Broidy.  Director  Jean  Yarbrough.  Western. 
Story  of  a  Mexican  bandit.  71  min. 

November 

BLONDE  SINNER  Diana  Dors.  Producer  Kenneth 
Harper.  Director  J.  Lee  Thompson.  Drama.  A  con- 
demned murderess  in  the  death  cell.  74  min. 
FRIENDLY  PERSUASION  Deluxe  Color.  Gary  Cooper, 
Dorothy  McGuire,  Mariorie  Main,  Robert  Middleton. 
Producer-director  William  Wyler.  Drama.  The  story 
of  a  Quaker  family  during  the  Civil  War.  139  min.  1 0/ 1 

December 

HIGH  TERRACE  Dale  Robertson,  Lois  Maxwell.  Pro- 
ducer Robert  Baker.  Director  H.  Cass.  Drama.  Famous 
impresario  is  killed  by  young  actress.  77  min. 
HOT  SHOTS  Huntr  Hall,  Stanley  Clements.  Producer 
Ben  Schwalb.  Director  Jean  Yarbrough.  Comedy.  Ju- 
venile television  star  is  kidnapped.   42  min. 

January 

CHAIN  OF  EVIDENCE  Bill  Elliot,  James  Lydon,  Claudia 
Barrett.  Producer  Ben  Schwalb.  Director  Paul  Landres. 
Melodrama.  Former  convict  is  innocent  suspect  in 
planned  murder.  63  min. 

GUN  FOR  A  TOWN  Dale  Robertson,  Brian  Keith, 
Rossano  Rory.  Producer  Frank  Woods.  Director  Brian 
Keith.  Western.  72  min. 

February 

ATTACK  OF  THE  CRAB  MONSTERS  Richard  Garland, 
Pamela  Duncan.  Producer-director  Roger  Corman. 
Science-fiction.    68  min. 

LAST  OF  THE  BADMEN  CinemaScope,  Color.  George 
Montgomery,  James  Best.  Producer  Vincent  Fennelly. 
Director  Paul  Landres.  Western.  Outlaws  use  detective 
as  onJy  recogni»abLe  man  in  their  holdups,  thus  in- 
creasing reward  for  his  death  or  capture.  81  min. 
NOT  OF  THIS  EARTH  Paul  Birch,  Beverly  Garland. 
Producer-director  Roger  Corman.  Science-fiction.  Series 
of  strange  murders  plagues  large  western  city.  67  min. 

March 

FOOTSTEPS  IN  THE  NIGHT  Bill  Elliot,  Don  Haggerty. 
Producer  Ben  Schwalb.  Director  Jean  Yarbrough.  Melo- 
drama. Man  is  sought  by  police  for  murder  of  his 
friend. 

JEANNIE  CinemaScope,  Color.  Vera  Ellen,  Tony  Martin, 
Robert  Fleming.  Producer  Marcel  Hellman.  Director 
Henry  Levin.  Musical.  Small-town  girl  meets  washing 
machine  inventor  in  Paris.  105  min. 

Coming 

DAUGHTER  Of  DR.  JEKYLL  John  Agar,  Gloria  Talbot, 
Arthur  Shields.  Producer  Jack  Pollexfen.  Director 
Edgar  Unger.  Horror. 

DRAGOON  WELLS  MASSACRE  Barry  Sullivan,  Mona 
Freeman,  Dennis  O'Keefe.  Producer  Lindsley  Parsons. 
Director  Harold  Schuster.  Western.  Apaches  attack 
stockade  in  small  western  town.  81  min. 
HOLD  THAT  HYPNOTIST  Hunti  Hall,  Stanley  Clements. 
Producer  Ben  Schwalb.  Director  Austen  Jewell.  Comedy 
drama.  Bowery  Boys  tangle  wilh  unscrupulous  hypnotist. 
61  min. 

HUNCHBACK  OF  PARIS,  THE  CinemaScope,  Color. 
Glna  Lollobrigida,  Anthony  Quinn.  A  Paris  Production. 
Director  Jean  Delannoy.  Drama.  Hunchback  falls  in 
love  with  beautiful  gypsy  girl.  88  min. 
LOVE  IN  THE  AFTERNOON  Color.  Gary  Cooper, 
Audrey  Hepburn,  Maurice  Chevalier.  Producer-director 
Billy  Wilder.  Drama. 


OKLAHOMAN.  THE  CinemaScope,  DeLuxe  Color.  Joel 
McCrea,  Barbara  Hale.  Producer  Walter  Mirsch.  Di- 
rector Francis  Lyon.  Western.  Doctor  helps  rid  town 
of  unscrupulous  brothers.  81  min. 

SIERRA  STRANGER  Howard  Duff,  Gloria  McGhee. 
Western.  75  min. 


COLUMBIA 


October 

PORT  AFRIQUE  Technicolor.  Pier  Angelli,  Phil  Carey, 
Dennis  Price.  Producer  David  E.  Rose.  Director  Rudy 
Mate.  Drama.  Ex-Air  Force  flyer  finds  murderer  of 
his  wife.  92  min.  9/17. 

SOLID  GOLD  CADILLAC,  THE  Judy  Holliday,  Paul 
Douglas,  Fred  Clark.  Producer  Fred  Kohlmar.  Director 
Richard  Quine.  Comedy.  Filimiiation  of  the  famous 
Broadway  play  about  a  lady  stockholder  in  a  large 
holding  company.   99  min.  8/20. 

STORM  CENTER  Bette  Davis,  Brian  Keith,  Paul  Kelley, 
Kim  Hunter.  Producer  Julian  Blaustein.  Director  Daniel 
Taradash.  Drama.  A  librarian  protests  the  removal  of 
"controversial"  from  her  library,  embroils  a  small 
town  in  a  fight.  85  min.  8/6. 

November 

ODONGO  Technicolor,  CinemaScope.  Macdanald 
Carey,  Rhonda  Fleming,  Juma.  Producer  Irving  Allen. 
Director  John  Gilling.  Adventure.  Owner  of  wild  ani- 
mal farm  in  Kenya  saves  young  native  boy  from  a 
violent  death.  91  min. 

REPRISAL  Technicolor.  Guy  Madison,  Felicia  Farr, 
Kathryn  Grant.  Producers,  Rackmil-Ainsworth.  Direc- 
tor George  Sherman.  Adventure.  Indians  fight  for 
rights  in  small  frontier  town.  74  min. 

SILENT  WORLD,  THE  Eastman  Color.  Adventure  film 
covers  marine  explorations  of  the  Calypso  Oceono- 
graphic  Expeditions.  Adapted  from  book  by  Jacques- 
Yves  Cousteau.  86  min.  10/15. 

WHITE  SQUAW,  THE  David  Brian,  May  Wynn,  William 
Bishop.  Producer  Wallace  MacDonald.  Director  Ray 
Nazarro.  Drama.  Indian  maiden  helps  her  people  sur- 
vive injustice  of  white  men.  73  min. 

YOU  CAN'T  RUN  AWAY  FROM  IT  Technicolor,  Cine- 
maScope. June  Allyson,  Jack  Lemmon,  Charles  Bick- 
ford.  Produced-director  Dick  Powell.  Musical.  Reporter 
wins  heart  of  oil  and  cattle  heiress.   95  min.  10/15. 

December 

LAST  MAN  TO  HANG,  THE  Tom  Conway,  Elizabeth 
Sellars.  Producer  John  Gossage.  Director  Terence 
Fisher.  Melodrama.  Music  critic  is  accused  of  murder- 
ing his  wife  in  a  crime  of  passion.  75  min.  11/12. 

MAGNIFICENT  SEVEN,  THE  Takashi  Shimura,  Tochiro 
Mifune.  A  Toho  Production.  Director  Akira  Kurosawa. 
Metodrama.  Seven  Samurai  warriors  are  hired  by  far- 
mers for  protection  against  maurauders.  158  min.  12/iO 

RUMBLE  ON  THE  DOCKS  James  Darren,  Jerry  Janger, 
Edgar  Barrier.  Drama.  Teenage  gang  wars  and  water- 
front racketeers.   82  min.  12/10. 

SEVENTH  CAVALRY.  THE  Technicolor.  Randolph  Scott, 
Barbara  Hale.  Producer  Harry  Brown.  Director  Joseph 
Lewis.  Western.  An  episode  in  the  glory  of  General 
Custer's  famed  "7th  Cav.".   75  min.  12/10. 

January 

DON'T  KNOCK  THE  ROCK  Bill  Haley  and  his  Comets, 
Alan  Freed,  Alan  Dal*.  Producer  Sam  Katzman.  Direc- 
tor Fred  Sears.  Musical  Life  and  times  of  a  famous 
rock  and  roll  singer.  80  min.  1/7. 

RIDE  THE  HIGH  IRON  Don  Taylor,  Sally  Forest,  Ray- 
mond Burr.  Producer  William  Self.  Director  Don  Weis. 
Drama.  Park  Avenue  scandal  is  hushed  up  by  public 
relations  experts.  74  min. 

ZARAK  Technicolor,  CinemaScope.  Victor  Mature, 
Michael  Wilding,  Anita  Ekberg.  A  Warwick  Production. 
Director  Terence  Young.  Drama.  Son  of  wealthy  ruler 
becomes  notorious  bandit.  99  min.  12/24. 

February 

NIGHTFALL  Aldo  Ray,  Anne  Bancroft.  Producer  Ted 
Richmond.  Director  Jacques  Tourneur.  Drama.  Mistaken 
identity  of  a  doctor's  bag  starts  hunt  for  stolen  money. 
78  min.  12/10. 

UTAH  BLAINE  Rory  Calhoun,  Susan  Cummings,  Angela 
Stevens.  Producer  Sam  Katzman.  Director  Fred  Sears. 
Western.  Two  men  join  hands  because  they  see  in  each 
other  a  way  to  have  revenge  on  their  enemies.  75  min. 
WICKED  AS  THEY  COME  Arlene  Dahl,  Fhil  Carey.  Pro- 
ducer Maxwell  Setton.  Director  Ken  Hughes.  Drama.  A 
beautiful  airl  wins  a  beauty  contest  and  a  "different" 
life.  132  min.  1/21. 


March 

FIRE  DOWN  BELOW  CinemaScope,  Technicolor.  Rita 
Hayworth,  Robert  Mitchum,  Jack  Lemmon.  A  War- 
wick Production.  Director  Robert  Parrish.  Drama. 
Cargo  on  ship  is  ablaze.  Gravity  of  situation  is  in- 
creased by  highly  explosive  nitrate. 

FULL  OF  LIFE  Judy  Holliday,  Richard  Conte, 
Salvatore  Baccaloni.  Producer  Fred  Kohlmar.  Director 
Richard  Quine.  Comedy.  Struggling  writer  and  wife 
are  owners  of  new  home  and  are  awaiting  arrival  of 
child.  91  min.  1/7. 

Coming 

BEYOND  MOMBASA  Technicolor,  CinemaScope.  Cor- 
nell Wilde,  Donna  Reed.  Producer  Tony  Owen.  Direc- 
tor George  Marshall.  Adventure.  Leopard  Men  seek 
to  keep  Africa  free  of  white  men. 

CHA-CHA-CHA  BOOM  Perez  Prado,  Helen  Grayson, 
Manny  Lopez.  Producer  Sam  Katzman.  Director  Fred 
Sears.  Musical.  Cavalcade  of  the  mambo.  78  min.  10/15 
GARMENT  JUNGLE.  THE  Lee  J.  Cobb,  Kerwin  Mat- 
thews, Richard  Boone.  Producer  Harry  Kleiner.  Di- 
rector Robert  Aldrich.  Drama. 

GUNS  AT  FORT  PETTICOAT  Audie  Murptiy,  Kathryn 
Grant.  Producer  Harry  Joe  Brown.  Director  George 
Marshall.  Western.  Army  officer  organizes  women  to 
fight  off  Indian  attack. 

KILLER  APE  Johnny  Weissmuller,  Carol  Thurston.  Pro- 
ducer Sam  Katzman.  Director  Spencer  G.  Bennett.  Ad- 
venture drama.  The  story  of  a  giant  half-ape,  half-man 
beast  who  goes  on  a  killing  rampage  until  destroyed 
by  Jungle  Jim.  68  min. 

MOST  WANTED  WOMAN,  THE  Victor  Mature,  Anita 
Ekberg,  Trevor  Howard.  A  Warwick  Production.  Di- 
rector John  Gilling. 

PAPA,  MAMA,  THE  MAID  AND  I  Robert  Lamoureux, 
Gaby  Morlay,  Nicole  Courcel.  Director  Jean-Paul  Le 
Chanois.  Comedy.  The  lives  of  a  typically  Parisian 
family.  94  min.  9/17. 

SHADOW  ON  THE  WINDOW.  THE  Betty  Garrett,  Phil 
Carey,  Corey  Allen.  Producer  Jonie  Tapia.  Director 
William  Asher.  Melodrama.  Seven-year  old  boy  is  the 
only  witness  to  a  murder. 

STRANGE  ONE,  THE  Ben  Gazzara,  James  Olsen,  George 
Peppard.  Producer  Sam  Spiegel.  Director  James  Gar- 
fein.  Drama.  Cadet  at  military  school  frames  com- 
mander and  his  son. 

SUICIDE  MISSION  Leif  Larson,  Michael  Aldridge,  Atle 
Larsen.  A  North  Seas  Film  Production.  Adventure.  Nor- 
wegian fishermen  smash  German  blockade  in  World 
War  II.  70  min. 

TALL  T,  THE  Randolph  Scott,  Richard  Boone,  Maureen 
Sullivan.  A  Scott-Brown  Production.  Director  Budd 
Boetticher.  Western.  A  quiet  cowboy  battles  o  be 
independent. 

27TH  DAY.  THE  Gene  Barry,  Valerie  French.  Producer 
Helen  Ainsworth.  Director'  William  Asher.  Science- 
fiotion.  People  from  outer  space  plot  to  destroy  all 
human  life  on  the  earth. 

YOUNG  DON'T  CRY.  THE  Sal  Mineo,  James  Whitmore. 
Producer  P.  Waxman.  Director  Alfred  Werker.  Drama. 
Life  in  a  southern  orphanage. 


INDEPENDENTS 


October 

GUNSLINGER  Color  I  American-International )  John  Ire- 
land, Beverly  Garland,  Alison  Hayes.  Producer-director 
Roger  Corman.  Western.  A  notorious  gunman  terrorizes 
the  West. 

PASSPORT  TO  TREASON  (Astor  Pictures)  Rod  Camer- 
on, Lois  Maxwell.  Producers  R.  Baker,  M.  Berman. 
Director  Robert  Baker.  Drama.  Private  investigator 
stumbles  upon  a  strange  case  of  murder.  70  min. 
RIFIFI  .  .  .  MEANS  TROUBLE  (United  Motion  Picture 
Organization)  Jean  Servais,  Carl  Mohner.  Director 
Jules  Dassis.  Melodrama.  English  dubbed  story  of 
the  French  underworld.  120  min.  11/12. 
SWAMP  WOMEN  IWoolner)  Color.  Carole  Mathews, 
Beverly  Garland,  Touch  Connors.  Producer-director 
Roger  Corman.  Adventure.  Wild  women  in  the  Louisiana 
bayous. 

November 

MARCELINO  (United  Motion  Picture  Organization) 
Pabilto  Calvo,  Rafael  Rivelles.  Director  Ladislao 
Vadja.  Drama.  Franciscan  monks  find  abandoned  baby 
and  adopt  him.  90  min.  11/12. 

SECRETS  OF  LIFE  IBuena  Vista).  Latest  in  Walt  Dis- 
ney's true-life  scenes.  75  min.  10/29. 
SHAKE,  RATTLE  AND  ROCK  (American-International) 
Lisa  Gaye,  Touch  Conners.  Producer  James  Nicholson. 
Director  Edward  Cahn.  Musical.  A  story  of  "rock  and 
roll"  music. 


Film 


BULLETIN—  THIS     IS    YOUR  PRODUCT 


FEBRUARY  SUMMARY 

At  this  early  date,  the  March  release 
calendar  already  shows  16  features  on 
the  roster.  Later  additions  should  add  an- 
other dozen  or  so  pictures.  20th  Century- 
Fox  and  Universal-International  will  re- 
lease three  each;  Allied  Artists,  Colum- 
bia. Paramount  and  RKO,  two  each; 
Metro-Goldwyn-Mayer  and  United  Ar- 
tists, two  each.  Ten  of  the  March  films 
will  be  in  color.  Four  releases  will  be  in 
CinemaScope,  one  in  VistaVision. 

7  Dramas  3  Adventures 

2  Westerns  3  Comedies 

1  Musical 


IIVEE  GORDIE  (George  K.  Arthur)  Bill  Travers,  Elastair 
Him,  Norah  Gorsen.  Producer  Sidney  Gilliat.  Director 
■frank  Launder.  Comedy.  A  frail  lad  grows  to  giant 
lltature  and  wins  the  Olympic  hammer-throwing  cham- 
llionship.  ?4  min.  I  1/12. 

VESTWARD  HO,  THE  WAGONS  (Buena  Vista  I  Cine- 
||iaScope.  Technicolor.  Fess  Parker,  Kathleen  Crowley. 
I|\  Walt  Disney  Production.  Adventure. 

December 

IABY  AND  THE  BATTLESHIP,  THE  IDCA)  Richard 
i  i  vttenborough,  Lisa  Gastoni.  Producer  Anthony  Darn- 
I  jorough.     Director    Jay     Lewis.     Comedy.     Baby  is 

muggled  aboard  a  British  battleship  during  mock 
f ' naneuvers. 

iED  OF   GRASS    ITrans-Lux)    Anna    Brazzou.    Made  in 
Jreece.  English  titles.  Drama.  A  beautiful  girl  is  per- 
ecuted  by  her  villiage  for  having  lost  her  virtue  as 
J[  he  victim  of  a  rapist. 

HOUR  OF  DECISION  lAstor  Picturesl  Jeff  Morrow. 
• !  Drama. 

.A    SORCIERE     [Ellis    Films)     Marina    Vlady,  Nicole 
•  ^ourel.  Director  Andre  Michel.  Drama.  A  young  French 
■  ngineer  meets   untamed   forest  maiden  while  working 
n  Sweden.  French  dialogue.  English  subtitles. 

MEN  OF  SHUnWOOD  FOREST  lAstor  Pictures)  East- 
I  -nan  Color.   Don   Taylor.    Producer   Michael  Carreras. 

Director  Val  Guest.  Adventure.  Story  of  Robin  Hood 
j  and  his  men.  78  min. 

ROCK,    ROCK.    ROCK    IDCA).    Alan    Freed,  LaVern 
Baker,  Frankie  Lyman.  A  Vanguard  Production.  Musical 
I  panorama  of  rock  and  roll. 

SNOW  WAS  BLACK.  THE  IContinental )  Daniel  Gelin. 
Valentine  Tessier.  A  Tellus  Film.  French  language  film. 
Drama.  Study  of  an  embittered  young  man  who  lives 
with  mother  in  her  house  of  ill  fame.  105  min. 

TWO  LOVES  HAVE  I  IJacon)  Technicolor.  Gabriele 
Ferzetti,  Marta  Toren.  A  Rizzoli  Fflm.  Director  Carmine 
Gallone.  Drama.  Life  of  Puccini  with  exerpts  from  his 
best  known  operas. 

January 

ALBERT   SCHWEITZER    (Hill    and    Anderson)  Eastman 
Color.  Film  biography  of  the  famous  Nobel   Prize  win- 
ner with  narritive  by  Burgess  Merideth.  Producer-direc- 
;  tor  James  Hill.  Documentary. 

BULLFIGHT  (Janus).  French  made  documentary  offers 
history  and  performance  of  the  famous  sport.  Produced 
and  directed  by  Pierre  Braunberger.  74  min.  11/24. 

FEAR   lAstor  Pictures)    Ingrid  Bergman,   Mathias  Wie- 
I  man.     Director     Roberto     Rossellini.     Drama.  Young 
married  woman  is  mercilessly  exploited  by  blackmailer. 
B4  min. 

VITTELONI    (API-Janus).    Franco    Interlenghi,  Leonora 
Fabrizi.    Producer   Mario   de  Vecchi.    Director   F.  Fel- 
;  lini.  Comedy.  Story  of  unemployed  young  men  in  Italy. 
101  min.  11/24. 

WE  ARE  ALL  MURDERERS  (Kingsley  International  I 
Marcel  Mouloudji,  Raymond  Pellegrin.  Director  Andre 
Gayette.  Drama. 

February 

HOUR  OF  DECISION  [Astor  Pictures)  Jeff  Morrow, 
Hazel  Court.  Producer  Monty  Berman.  Director  Denn- 
ington  Richards.  Melodrama.  Columnist's  wife  is  in- 
nocently involved  in  blackmail  and  murder.  70  min. 

ROCK  ALL  NIGHT  I  American-International)  Dick 
Miller,  Abby  Dalton,  Russel  Johnson.  Producer-director 
Roger  Corman.    Rock  n'  roll  musical. 

TEMPEST  IN  THE  FLESH  (Pacemaker  Picturesl  Ray- 
mond Pellegrin,  Francoise  Arnoul.  Director  Ralph 
Habib.  French  film,  English  titles.  Drama.  Study  of  a 
young  woman  with  a  craving  for  love  that  no  number 
of  men  can  satisfy. 

Coming 

CITY  OF  WOMEN  (Associated)  Osa  Massen,  Robert 
Hutton,  Maria  Palmer.  Producer-director  Boris  Petroff. 
Drama.  From  a  novel  by  Stephen  Longstreet. 

IF  ALL  THE  GUYS  IN  THE  WORLD  .  .  .  (Buena  Vista) 
Andre  Valmy,  Jean  Gaven.  Director  Christian-Jaque. 
Drama.  Radio  "hams",  thousands  of  miles  apart,  pool 
their  efforts  to  rescue  a  stricken  fishing  boat. 

IT  CONQUERED  THE  WORLD  (American  International) 
Peter  Graves,  Beverly  Garland.  Producer-director 
Roger  Corman.  Science-fiction.  A  monster  from  outer 
space  takes  control  of  the  world  until  a  scientist  gives 
his  life  to  save  humanity. 

LOST  CONTINENT  IIFE)  CinemaScope,  Ferranicolor. 
Producer-director  Leonardo  Bonzi.  An  excursion  into  the 
wilds  of  Borneo  and  the  Maylayan  Archepelago.  Eng- 
lish commentary.  86  min. 

NEAPOLITAN  CAROUSEL  (IFE)  (Lux  Film,  Rome)  Pathe- 
color.  Print  by  Technicolor.  Sophia  Loren,  Leonid* 
Massine.  Director  Ettore  Giannini.  Musical.  The  history 
of  Naples  traced  from  1400  to  date  in  song  and  dance. 
OKLAHOMA  WOMAN  (American  Releasing  Corp.) 
Superscope.  Richard  Denning,  Peggie  Castle,  Cathy 
Downs.  Producer-director  Roger  Corman.  Western.  A 
ruthless  woman  rules  the  badlands  until  a  reformed 
outlaw  brings  her  to  justice.  80  min. 

REMEMBER,  MY  LOVE  (Artists-Producers  Assoc.)  Cine- 
maScope, Technicolor.  Michael  Redgrave,  Mel  Ferrer, 
Anthony  Quale.  Musical  drama.  Producer-director 
Michael  Powell,  Emeric  Pressburger.  Based  on  Strauss' 
"Die  Fledermaus". 

RUNAWAY  DAUGHTERS  (American-International) 
Maria  English,  Anna  Sten.  Producer  Alex  Gordon.  Di- 
rector Edward  Cahn.  Drama.  A  study  of  modern  teen- 
age problems. 


SMOLDERING  SEA.  THE  Superscope.  Producer  Hal  E. 
>~nester.  Drama.  Conflict  Derween  The  lyronn.cai  cao- 
tain  and  crew  of  an  American  mercnant  snip  reacnes 
its  climax  ouxing  battle  of  Guadalcanal 

UNDEAD,  THE  lAmerican-lnternational)  Pamela  Dun- 
can,  AltUon  Hayes.  Producer-director  Roger  Corman. 
Science-fiction. 

WEAPON,  THE  SuDerscooe.  Nicole  Maurey.  Producer 
Hal  E  Chester.  Drama.  An  unsolved  muroer  involving 
•  bitter  U.  S.  war  veieran,  a  German  war  brioe  ano  a 
killer  is  resolved  after  a  child  finas  a  loaaea  gun  in 
Domo  ruODie 

WOMAN  OF  ROME  iDCA)  Gina  Lollobrigida,  Daniel 
Gelin.  A  Ponti-DeLaurentiis  Production.  Director  Luigi 
Zampa.  Drama.  Adapted  from  the  Alberto  Moravia 
novel. 


METRO-GOLDWYN-MAYER 


October 

JULIE  Doris  Day,  Louis  Jourdain.  Producer  Marty 
Melcher.  Director  Andrew  Stone.  Drama.  Jealous  hus- 
band plans  to  kill  wife.  9?  min.  10/15. 

OPPOSITE  SEX,  THE  CinemaScope,  Eastman  Color. 
June  Alyyson,  Joan  Collins,  Dolores  Grav.  Proaucer 
Joe  Pasternak.  Director  David  Miller.  Comedy.  The 
perfect  wife  is  unaware  of  flaws  in  her  marriage  until 
a  gossip  friend  broadcasts  the  news.  114  min.  10/1. 
POWER  AND  THE  PRIZE  CinemaScope.  Robert  Taylor 
Burl  Ives,  Elisabeth  Mueller.  Director  Henry  Koster. 
Producer  Nicholas  Nayfak.  Drama.  Tale  of  big  business 
and  international  romance.  98  min.  9/17. 

November 

IRON  PETTICOAT,  THE  Katherine  Hepburn,  Bob  Hope. 
Producer  Betty  Box.  Director  Ralph  Thomas.  Comedy. 
Russian  lady  aviatrix  meets  fast  talking  American. 
87  min.  1/21. 

December 

GREAT  AMERICAN  PASTIME,  THE  Tom  Ewell,  Ann 
Francis,  Ann  Miller.  Producer  Henry  Berman.  Director 
Nat  Benchley.  Comedy.  Romantic  antics  with  a  Little 
League  baseball  background.  89  min. 

TEAHOUSE  OF  THE  AUGUST  MOON,  THE  Cinema- 
Scope, Eastman  Color.  Marlon  Brando,  Glenn  Ford, 
Eddie  Albert.  Producer  Jack  Cummings.  Director  Daniel 
Mann.  Comedy.  Filmization  of  the  Broadway  play. 
123  min.  10/29. 

January 

ACTION  OF  THE  TIGER  CinemaScope,  Color.  Van 
Johnson,  Martine  Carol,  Gustave  Rojo.  A  Claridge 
Production.  Drama.  Beautiful  girl  seeks  help  of  con- 
traband   runner   to    rescue    brother   from  Communists. 

EDGE  OF  THE  CITY  John  Cassavetes,  Sidney  Poitier. 
Producer  David  Susskind.  Director  Martin  Ritt.  Drama. 
A  man  finds  confidence  in  the  future  by  believing 
in  himself.  85  min.  1/7. 

SLANDER  Van  Johnson,  Ann  Blyth,  Steve  Cochran. 
Producer  Armand  Deutsch.  Director  Roy  Rowland. 
Drama.  Story  of  a  scandal  magazine  publisher  and 
his  victims.  81  min.  1/7. 

February 

BARRETS  OF  WIMPOLE  STREET,  THE  CinemaScope, 
Eastman  Color.  Jennifer  Jones,  Sir  John  Gielgud.  Bill 
Travers.  Producer  Sam  Zimbalist.  Director'  Sidney 
Franklin.  Drama.  Love  story  of  poets  Elizabeth  Barrett 
and  Robert  Browning.  105  min.  1/21. 

HOT  SUMMER  NIGHT  Leslie  Nielsen.  Coleen  Miller. 
Producer  Morton  Fine.  Director  David  Friedkin.  Melo- 
drama. Story  of  a  gangland  hide-out.  84  min. 

WINGS  Of  THE  EAGLES,  THE  John  Wayne,  Dan 
Dailey,  Maureen  O'Hara.  Producer  Charles  Schnee. 
Director  John  Ford.  Drama.  Life  and  times  of  a  naval 
aviator.  110  min. 

March 

HAPPY  ROAD,  THE  Gene  Kelly,  Michael  Redgrave, 
Barbara  Laage.  A  Kerry  Production.  Directors.  Gene 
Kelly,  Noel  Coward.  Drama.  Two  children  run  away 
from  boarding  hchool  to  find  their  respective  parents. 

Coming 

DESIGNING  WOMAN  Gregory  Peck.  Lauren  Bacall, 
Dolores  Gray.  Producer  Dore  Schary.  Director  Vincente 
Minnelli.  Ace  sportswriter  marries  streamlined  blond 
with  ideas.  100  min. 

LITTLE  HUT,  THE  MetroColor.  Ava  Gardner,  Stewart 
Granger.  Comedy.  Husband,  wife  and  wife's  lover  are 
marooned  on  a  tropical  isle.  93  min. 

LIVING  IDOL,  THE  CinemaScope,  Eastman  Color. 
Steve  Forrest,  Lilliane  Montevecchi.  Producer-director 
Al  Lewin.  Drama.  An  archeologist  is  faced  with  an  un- 
worldly situation  that  threatens  the  safety  of  his 
adopted  daughter.  98  min. 

RAINTREE  COUNTY  Eastman  Color,  CinemaScope  55. 
Elizabeth  Taylor,  Montgomery  Clift.  Producer  David 
Lewis.  Director  Edward  Dymtryke.  Drama.  Life  in  Indi- 
ana during  the  middle  1 800's. 

SOMETHING  OF  VALUE  Rock  Hudson,  Dana  Wynter, 
Wendy  Hitler.  Producer  Pandro  Berman.  Director 
Richard  Brooks.  Drama.  Stry  of  a  Mau  Mau  uprising 
in  Kenya,  East  Africa. 

TEN  THOUSAND  BEDROOMS  CinemaScope,  Techni- 
color. Dean  Martin,  Anna  Maria  Alberghetti.  Producer 
Joieph  Pasternack.  Director  Richard  Thorpe.  Musical. 


THIS  COULD  BE  THE  NIGHT  Jean  Simmons  Paul 
Douglas.  Comedy.  A  girl  fresh  out  of  college  gets  a 
job  as  secretary  to  an  ex-bootlegger. 

VINTAGE,  THE  Pier  Angeli,  Mel  Ferrer.  Leif  Erickson. 
Producer  Edwin  Knoph.  Director  Jeffrey  Hayden.  Dra- 
ma A  conflict  between  young  love  and  mature  re- 
sponsibility. 


PARAMOUNT 


October 

SEARCH  FOR  ERIDEY  MURPHY.  THE  Louis  Hayward. 
Teresa  Wright.  Producer  Pat  Duggan.  Director  Noel 
Langley.  Drama.  The  famous  book  by  Morey  Bernstein 
on  film.  84  min. 

November 

MOUNTAIN,  THE  VistaVision,  Technicolor.  Spencer 
Tracy,  Bob  Wagner,  Claire  Trevor.  Producer-director 
Edward  Dmytryk.  Adventure.  Two  brothers  climb  to  a 
distant  snowcapped  peak  where  an  airplane  hat 
crashed  to  discover  a  critically  injured  woman  in  the 
wreckage.  105.  10/15. 

December 

HOLLYWOOD  OR  BUST  VistaVision,  Technicolor.  Dean 
Martin,  Jerry  Lewis,  Anita  Ekberg.  Producer  Hal  Wal- 
lis.  Director  Frank  Tashlin.  Comedy.  The  adventures  of 
a  wild-eyed  film  fan  who  knows  everything  about  the 
movies.  95  min.  12/10. 

WAR  AND  PEACE  VistaVision  Technicolor.  Audrey 
Hepburn,  Henry  Fonda,  Mel  Ferrer.  Producers  Carte 
Ponti  Dino  de  Laurenriis  Director  King  Vioor.  Drama 
Based  on  Tolstoy's  novel.  208  min.  9/3. 

January 

THREE  VIOLENT  PEOPLE  VistaVision,  Technicolor. 
Charlton  Heston,  Anne  Baxter,  Gilbert  Roland.  Pro- 
ducer Hugh  Brown.  Director  Rudy  Mate.  Western.  Story 
of    returning    Confederate    war    veterans    in  Texas. 

100  min.  1/7. 

February 

RAINMAKER,  THE  VistaVision,  Technicolor.  Burt  Lan- 
caster, Katherine  Hepburn,  Wendell  Corey.  Producer 
Hal  Wallis.  Director  Joseph  Anthony.  Comedy  drama. 
Filmization  of  the  famous  B'way  play.   121   min.  12/24. 

March 

FEAR  STRIKES  OUT  Anthony  Perkins,  Karl  Maiden. 
Norma  Moore.  Producer  Alan  Pakula.  Director  Perry 
Wilson.  Drama.  Story  of  the  Boston  baseball  player. 
OMAR  KHAYYAM  VistaVision,  Technicolor.  Cornel 
Wilde,  Michael  Rennie,  Debra  Paget.  Producer  Frank 
Freeman,  Jr.  Director  William  Dieterle.  Adventure. 
The  life  and  times  of  medieval   Persia's  literary  idol. 

Coming 

BEAU  JAMES  VistaVision,  Technicolor.  Bob  Hope.  Pro- 
ducer Jack  Rose.  Director  Michael  Moore.  Drama. 
Biography  of  the  famous  Jimmy  Walker,  mayor  of  N.Y. 
from  1925  to  1932. 

BUSTER  KEATON  STORY,  THE  VistaVision,  Technicolor. 
Donald  O'Connor,  Ann  Blyth.  Rhonda  Fleming.  Pro- 
ducers Robert  Smith,  Sidney  Sheldon.  Director  Sidney 
Sheldon.  Drama. 

DELICATE  DELINQUENT.  THE  Jerry  Lewie,  Darren  Mc- 
Gavin,  Martha  Hyer.  Producer  Jerry  Lewis.  Director 
Don  McGuire. 

FLAMENECA  VistaVision,  Technicolor.  Carmen  SevlUa, 
Richard  Kiley.  Producer  Bruce  Odium.  Director  Don- 
ald Siegel. 

FUNNY  FACE  VistaVision,  Technicolor.  Audrey  Hep- 
burn, Fred  Astaire,  Kay  Thompson.  Producer  Roger 
Edens.  Director  Stanley  Donen.  Musical. 


F  I  I 


■  ULLETIN  —  THIS     IS    YOUR  PRODUCT 


GUNFIGHT  AT  O.K.  CORRAL  VistaVision,  Technicolor 
Burt  Lancaster,  Kirk  Douglas,  Rhonda  Flaming.  Pro- 
ducer Hal  Wallit.  Director  John  Sturgas.  Western. 
Drunken  badman  hunts  for  murderer  of  his  chaating 
brothar. 

JOKER,  THE  VistaVision,  Technicolor.  F'ink  Sinatra, 
Mitii  Gaynor.  Jeanne  Crain.  Producer  "viuel  Briskin. 
Director  Charles  Vidor.  Drama. 

LONELY  MAN,  THE  VistaVision,  Technicolor.  Jack  Pa- 
lance,  Anthony  Parkins,  Elaina  Aikan.  Producer  Pat 
Duggan.  Director  Henry  Levin.  Western.  A  gunfighter 
finds  he  is  losing  his  sight — and  his  atm. 
TEN  COMMANDMENTS,  THE  VistaVision  Technicolor 
Charlrun  Mesron  Yul  Brynner,  Anne  Bair'a'  °roaucer- 
director  Cecil  t  DeMille  Relioious  drama  Life  storv 
of  Moses  as  told  in  the  Bible  and  Koran.  219  min.  10/15 
TIN  STAR.  THE  VistaVision.  Henry  Fonda,  Anthony 
Perkins.  A  PerlSerg-Seaton  Production.  Director  An- 
thony Mann.  V  fern. 


REPUBLIC 


October 

SCANDAL  INCORPORATED  Robert  Hufton,  Paul  Rich- 
ards, Patricia  Wright.  A  C.M.B.  Production.  Director 
Edward  Mann.  Drama.  Expose  of  scandal  magazines 
preying  on  movie  stars  and  other  celebrities.  79  min. 
MAN  IS  ARMED.  THE  Dane  Clark,  William  Tallman, 
May  Wynn.  Associate  producer  Edward  White.  Director 
Franklin  Adreon.  Melodrama.  Young  man  is  tricked 
into  life  of  crime  by  crooked  boss.  70  min. 

November 

A  WOMAN'S  DEVOTION  Trucolor.  Ralph  Meeker, 
Janice  Rule,  Paul  Henreid.  Producer  John  Bash.  Direc- 
tor Paul  Henreid.  Drama.  Recurrence  of  Gl's  battle- 
shock  illness  makes  him  murder  two  girls.  88  min.  12/10 

CONGRESS  DANCES.  THE  CinemaScope.  Trucolor. 
Johanna  Matz,  Rudolf  Prack.  A  Cosmos-Neusser  Pro- 
duction. Drama.  Intrigue  and  mystery  in  Vienna  during 
the  time  of  Prince  Metternich. 

December 

ACCUSED  OF  MURDER  Trucolor,  Naturama.  David 
Brian,  Vera  Ralston.  Melodrama.  Associate  producer- 
director  Joseph  Kane.  Drama.  Two-timing  gangland 
lawyer  is  murdered  by  attractive  girl  singer.  74  min. 
IN  OLD  VIENNA  Trucolor.  Heinz  Roettinger,  Robert 
Killick.  Producer-director  James  A.  Fitzpatrick.  Musi- 
cal. Romances  and  triumphs  of  Frani  Shubert,  Johann 
Strauss,  Ludwig  Beethoven  in  the  city  of  music,  Vienna. 

January 

ABOVE  UP  THE  WAVES  John  Mills.  John  Gregson 
Donald  Sinden.  Producer  W.  MacQuirty.  Director  Ralph 
Thomas.  Drama.  Midget  submariners  attempt  to  sink 
German  battleship  in  WWII.  92  min.  1/21. 
TEARS  FOR  SIMON  Eastman  Color.  David  Farrar, 
David  Knight,  Julia  Arnall.  A  J.  Arthur  Rank  Produc- 
tion. Drama.  Young  American  couple  living  in  Lon- 
don have  their  child  stolen.  91  min. 

February 

AFFAIR  IN  RENO  Naturama.  John  Lund,  Doris  Single- 
ton. Producer  Sidney  Picker.  Director  R.  G.  Spring- 
stein.  Drama.  Young  heiress  falls  for  fortune-hunting 
gambler. 

Coming 

DUEL  AT  APACHE  WELLS  Naturama,  Trucolor.  Anna 
Maria  Alberghetti,  Ben  Cooper.  Associate  producer- 
director  Joseph  Kane.  Western.  Son  returns  home  to 
find  father's  ranch  threatened  by  rustler-turned-rancher. 

70  min. 

HELL'S  CROSSROADS  Naturama.  Stephen  McNally, 
Peggie  Castle,  Robert  Vauhgn.  Producer  Rudy  Ral- 
ston. Director  Franklin  Adreon.  Western.  Outlaw  cow- 
boy reforms  after  joining  Jesse  James'  gang.  73  min. 
SPOILERS  OF  THE  FORREST  Trucolor,  Naturama.  Vera 
Ralston,  Rod  Cameron.  Producer-director  Joe  Kane. 
An  unscrupulous  lumberman  tries  to  coerce  the  owners 
of  a  large  forest  acreage  into  cutting  their  timber  at 
a  faster  rate. 


October 

FINGER  OF  GUILT  Richard  Basehart,  Mary  Murphy, 
Constance  Cummings.  Producer-director  Alec  Snowden. 
Drama.  Film  producer  receives  letters  from  a  girl  he 
never  met,  who  insists  they  were  lovers.  84  min.  11/26 
TENSION  AT  TABLE  ROCK  Color.  Richard  Egan, 
Dorothy  Malone,  Cameron  Mitchell.  Producer  Sam 
Weisenthal.  Director  Charles  Warren.  Western.  The 
victory  of  a  town  over  violence.  93  min.  10/29. 

November 

DEATH  OF  A  SCOUNDREL  George  Sanders,  Yvonne 
DeCarlo,  Zsa  Zsa  Gabor.  Producer-director  Sharles 
Martin.  Melodrama.  Tale  of  an  international  financial 
wizard.  119  min.  11/12. 

December 

MAN  IN  THE  VAULT  Anita  Ekberg,  Bill  Campbell, 
Karen  Sharpe.  A  Wayne-Fellows  Production.  Director 
Andrew  McLaglen.  Melodrama.  A  young  locksmith  aets 
involved  with  a  group  engaged  in  illegal  activities. 
73  min.  1/7. 


January 

BRAVE  ONE,  THE  CinemaScope,  Technicolor.  Michel 
Ray,  Fannin  Rivera,  Jov  Lansing  Rudolph  Hoyos.  Pro- 
ducer Frank  a  Mavrice  King.  Director  Irving  Rapper. 
Drama.  The  adventures  of  a  young  Mexican  boy  who 
trows  ao  with  a  bull  as  his  main  companion  and  friend 
and  how  each  protests  the  other.  100  min.  10/15. 
BUNDLE  OF  JOY  CinemaScope,  Eastman  Color.  Debbie 
Reynolds,  Eddie  Fisher,  Adolph  Mengou.  Producer  Ed- 
mund Grainger.  Director  Norman  Tauro^  Comedy. 
Son  of  department  store  magnet  falls  '.  salesgirl. 
98  min.  12/24. 

PUBLIC  PIGEON  NO.  1  Eastman  Color.  Red  Skelton, 
Vivian  Blaine,  Janet  Blair.  Producer  Harry  Tugend.  Di- 
rector Norman  McLeod.  Comedy.  A  trusting  soul 
tangles  with  slick  con  men  and  outwits  them.  79  min. 

YOUNG  STRANGER.  THE  James  MacArthur,  Kim  Hun- 
ter. Producer  Stuart  Miller.  Director  John  Franken- 
heimer.  Drama.  Son  seeks  to  earn  affection  from  his 
parents. 

February 

CYCLOPS,  THE  James  Craig,  Gloria  Talbot.  Science- 
fiction. 

GUILTY  Technicolor.  .1  *in  Justin,  Barbara  Laage. 
Drama. 

SILKEN  AFFAIR.  THE  David  Niven,  Genevieve  Page, 
Ronald  Sauire.  Producer  Fred  Feldkamp.  Director  Roy 
Kelling.  Comedy.  An  auditor,  on  a  kindly  impulse, 
alters  the  accounting  records.  96  min. 

THAT  NIGHT  John  Beal,  Augusta  Dabney,  Shepperd 
Strudwick.  Producer  Hiram  Brown.  Director  John 
Newland.  Drama.  A  tragedy  almost  shatters  a  15- 
year-old  marriage. 

X— THE  UNKNOWN  Dean  Jagger,  William  Russell. 
Science-fiction. 

March 

DAY  THEY  GAVE  BABIES  AWAY.  THE  Eastman  Color. 
Glynis  Johns,  Cameron  Mitchell,  Rex  Thompson.  Pro- 
ducer Sam  Weisenthal.  Director  Allen  Reisner.  Drama. 
RUN  OF  THE  ARROW  Eastman  Color.  Rod  Steiger, 
Sarita  Montiel,  Ralph  Meeker.  Producer-director  Sam 
Fuller.  Adventure.  Young  sharpshooter  joins  Sioux 
Indians  at  close  of  Civil  War. 

Comms 

ESCAPADE  IN  JAPAN  Color.  Teresa  Wright,  Cameron 
Mitchell,  Jon  Provost,  Roger  Nakagaws.  Producer-direc- 
tor Arthur  Lubin.  Search  for  two  boys  who  start  out 
in  the  wrong  direction  to  find  the  very  people  who 
are  trying  to  find  them. 

GIRL  MOST  LIKELY.  THE  Eastman  Color.  Jane  Powell, 
Cliff  Robertson,  Keith  Andes.  Producer  Stanley  Rublin. 
Director  Mitchell  Leison.  Comedy.  A  girl  is  proposed 
to  by  three  men  on  the  same  day. 

I  MARRIED  A  WOMAN  George  Gobel,  Diana  Dors, 
Adolph  Menjou.  Producer  William  Bloom.  Director  Hal 
Kanter.  Coemdy.  Wife  objects  to  taking  second  place 
to   a    beer   advertising   campaign   with    her  husband. 

JET  PILOT  Technicolor,  SuperScope.  John  Wayne, 
Janet  Leigh.  Howard  Hugnes  Production.  Producer 
Jules  Furthman    Director  Josef  von  Sterneerg.  Drama. 

UNHOLY  WIFE.  THE  Color.  Diana  Dors.  Rod  Steiger, 
Marie  Windsor.  Producer-director  John  Farrow.  Drama. 
A  wife  sunningly  plots  the  death  of  her  husband  who 
she  has  betrayed. 

VIOLATORS,  THE  Arthur  O'Connell,  Nancy  Malone. 
Producer  H.  Brown.  Director  John  Newland.  Drama. 
Story  of  a  probation  officer  in  the  New  York  City 
courts. 


20TH  CENTURY-FOX 


October 

BETWEEN  HEAVEN  AND  HELL  CinemaScope.  De- 
Luxe  Color.  Robert  Wagner,  Terry  Moore.  Producer 
David  Weisbart.  Director  Robert  Fleischer.  War  drama. 
World  War  II  setting  in  he  Pacific.  94  min.  10/29. 
STAGECOACH  TO  FURY  CinemaScope.  Forrest  Tucker, 
Mari  Blanchard,  Wally  Ford,  Wright  King.  Producer 
Earle  Lyon.  Director  William  Claxton.  Western.  Mexican 
bandits  hold  up  stage  coach  in  search  for  gold.  76  min. 
TEENAGE  REBEL  CinemaScope.  Ginger  Rogers,  Michael 
Rennie.  Producer  Charles  Brackett.  Director  S.  Engle. 
Comedy.  Mother  and  daughter  find  mutual  respect  and 
devotion.  94  min.  10/29. 

November 

DESPERADOS  ARE  IN  TOWN.  THE  Robert  Arthur,  Rex 
Reason,  Cathy  Nolan.  Producer-director  K.  Neumann. 
Western.  A  teen-age  farm  boy  join  an  outlaw  gang. 
73  min.  11/26. 

LOVE  ME  TENDER  CinemaScope.  Elvis  Presley,  Richard 
Egan,  Debra  Paget.  Producer  D.  Weisbart.  Director  R. 
Webb.  Drama.  Post-civil  war  story  set  in  Kentucky 
locale.  89  min.  I  1/26. 

OKLAHOMA  CinemaScope,  Technicolor.  Gordon  Mac- 
Rae,  Gloria  Grahame,  Shirley  Jones.  Producer  A.  Horn- 
blow,  Jr.  Director  Fred  Zinnemann.  Musical.  Filmiza- 
tion  of  the  famed  Broadway  musical.  140  min. 

December 

ANASTASIA  CinemaScope,  DeLuxe  Color.  Ingrid  Berg- 
man, Yul  Brynner,  Helen  Hayes.  Producer  Buddy  Adler. 
Director  A.  Litvak.  Drama.  Filmization  of  famous 
Broadway  play.  105  min.  12/24. 


BLACK  WHIP.  THE  Hugh  Marlowe.  Adele  Mara.  Pr< 
ducer  R.  Stabler.  Director  M.  Warren.  Drama.  Outla 
has  black  whip  as  trademark.  77  min. 
GIRL  CAN'T  HELP  IT.  THE  CinemaScope,  De  Lux 
Color.  Tom  Ewell,  Jayne  Mansfield.  Producer-directc 
Frank  Tashlin.  Comedy.  Satire  on  rock  V  roll.  9: 
min.  1/7. 

OASIS  CinemaScope,  Color.  Michele  Morgan,  Corne 
Borchers.  Producer  Ludwig  Waldleitner  and  Gerd  O 
wald.  Director  Yves  Allgret.  Drama.  Gold  smuggle 
falls  in  love  with  lady  sent  to  kill  him.  Violent  endinc 
84  min.  1/21. 

WOMEN  OF  PITCAIRN  ISLAND  CinemaScope.  Jame 
Craig,  John  Smith,  Lynn  Bari.  Regal  Films  Productior 
Director  Jean  Warbrough.  Drama.  72  min. 

January 

GUIET  GUN.  THE  Regalscope.  Forrest  Tucker,  Mar 
Morday.  Western.  Laramie  sheriff  clashes  with  notor 
ous  gunman.  77  min. 

THREE  BRAVE  MEN  CinemaScope.  Ray  Milland,  Ernes 
Borgnine.  Producer  Herbert  Swope,  Jr.  Director  Phili 
Dunne.  Drama.  Government  employee  is  wronged  b 
too-zealous  pursuit  of  security  program.  89  min.  1/21. 

February 

BEAUTIFUL  BUT  DANGEROUS  Gina  Lollobrigida,  Vil 
torio  Gassman.  Producer  Manuella  Malotti.  Directo 
Robert  Leonard.  Drama. 

OH,   MEN!   OH,   WOMEN!   CinemaScope,   Color.  Dai 
Daily,   Ginger   Rogers,   David    Niven.  Producer-directo 
Nunnally   Johnson.   Comedy.   A   psychiatrist  finds  ou  > 
somethings  he  didn't  know. 

THE  TRUE  STORY  OF  JESSIE  JAMES  CinemaScope 
Robert  Wagner,  Jeffrey  Hunter.  Producer  Herber 
Swope,  Jr.  Director  Nicholas  Ray.  Western.  The  live; 
and  times  of  America's  famous  outlaw  gang. 

March 

HEAVEN  KNOWS  MR.  ALLISON  CinemaScope  De  Lux. 
Color.    Deborah    Kerr.    Robert    Mitchum.    Producer  > 
Buddy   Adler,    Eugene   Frenke.   Director   John  Huston 
Drama.  Soldier  is  saved  by  nun  in  South  Pacific  durint 
World  War  II. 

RIVER'S  EDGE.  THE  CinemaScope,  Color.  Ray  Milland  i 
Anthony  Quinn,  Debra  Paget.  Producer  Benidic  • 
Bogeaus.  Director  Allan  Dwan.  Adventure.  Story  of  £  I 
professional  killer. 

STORM  RIDER,  THE  Scott  Brady,  Mala  Powers.  A 
Brady-Glasser  production.  Director  Edward  Bernds 
Western.  A  dust  storm  brings  a  stranger  to  a  small 
western  town. 

Coming 

BOY  ON  A  DOLPHIN  CinemaScope,  DeLuxe  Colors 
Clifton  Webb,  Alan  Ladd,  Sophia  Loren.  Producer  San* 
Engel.  Director  Jean  Negulesco.  Comedy.  Romantic 
tale  with  a  Greek  background. 

BREAK  IN  THE  CIRCLE  Forrest  Tucker,  Eva  Bartok. 
Producer  M.  Carreras.  Director  V.  Guest.  Drama. 
ISLAND  IN  THE  SUN  CinemaScope,  DeLuxe  Color.  I 
James  Mason,  Joan  Fontaine,  Dorothy  Dandridge.  Pro- 
ducer Darryl  Zanuck.  Director  Robert  Rossen.  Drama. 
RESTLESS  BREED,  THE  Eastman  Color.  Scott  Brady, 
Anne  Bancroft.  Producer  E.  A.  Alperson.  Director  AJan 
Dwan. 

SEA  WIFE  CinemaScope.  DeLuxe  Color.  Richard  Bur- 
ton, Joan  Collins.  Producer  Andre  Hakim.  Director  Bob 
McNaught.  Drama.  Ship  is  torpedoed  by  Jay  submarine 
off  Singapore  harbor. 

SHE-DEVIL.   THE   Mari    Blanchard,   Jack   Kelly,  Albert 
Dekker.  Producer-director  Kurt  Neumann. 
SMILEY  CinemaScope,  Eastman  Color.  Sir  Ralph  Rich- 1 
ardson,    John    McCallum,    Colin    Peterson.  Producer- 
director  Anthony  Kimmins.   Drama.  Young  Aussie  boy  ' 
has  burning  desire  to  own  bicycle. 


UNITED  ARTISTS 


October 

AROUND  THE  WORLD  IN  80  DAYS  I  Michael  Todd 
Productions!  Todd-AO,  Color.  David  Niven,  Cantiflas, 
Martine  Carn.'.  Producer  M.  Todd.  Director  Michael 
Anderson.  Adventure.  Filmization  of  the  famous  Jules 
Verne  novel.    175  min.  10/29. 

ATTACK  Jack  Palance,  Eddie  Albert,  Lee  Marvin.  Pro- 
ducer-director Robert  Aldrich.  Drama.  A  cowardly 
army  officer  and  his  men  during  a  crucial  battle  of 
World  War  II.  107  min.  9/17. 

BOSS,  THE  John  Payne,  Doe  Avedon,  William  Bishop. 
Producer  Frank  Seltzer.  Director  Byron  Haskin.  Melo- 
drama. A  city  falls  prey  to  a  corrupt  political  ma- 
chine. 89  min.  9/17. 

FLIGHT  TO  HONG  KONG  Rory  Ca'houn,  Dolores  Don-i 
Ion.  A  Sabre  Production.  Director  Joe  Newman.  Drama. 
An  airline  flight  to  Hong  Kong  sparks  international 
intrigue.  88  min.  10/15. 

MAN  FROM  DEL  RIO  Anthony  Ouinn,  Katy  Jurat  \ 
Producer  Robert  Jacks.  Director  Harry  Horner.  Wes.- 
ern.  Badman  turns  sheriff  in  lonely  town.  82  min.  10/15  ? 

November 

GUN  THE  MAN  DOWN  James  Arness,  Angie  Dickin- 
son. Robert  Wilke.  Producer  Robert  Morrison.  Director 
A.  V.  McLaglen.  Western.  Young  western  gunman  gets 
revenge  on  fellow  thieves  who  desert  him  when 
wounded.  78  min. 

PEACEMAKER.  THE  James   Mitchell,   Rosemarie  Bowe, 
Jan  Merlin.  Producer  Hal  Makelim.  Director  Ted  Post. 
Western.  A  clergyman  trys  to  end  feud  between  cattle-  ■ 
men  and  farmers.  82  min.  11/26. 


Film 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


UNITED  ARTISTS  I  Conr inu.ai-l 
JNNING  TARGET  Deluxe  Color.  Doris  Dowling 
I  -thur  Franz,  Richard  Reeves.  Producer  Jack  Couffer 
I  rector  Marvin  Weinstein.  Melodrama.  Escaped  fugi- 
i'es  are  chased  by  local  townspeople  and  officer  of 
lie  law.  83  min.  11/12. 

HARKFIGHTERS,  THE  CinemaScooe,  Color.  Victor 
j  ature,  Karen  Steele.  Producer  Samuel  Goldwyn,  Jr. 
rector  Jerry  Hopper.  Drama.  Saga  of  the  Navy's 
jnderwater-men".  73  min.  10/2?. 

December 

IASS  LEGEND,  THE  Hugh  O'Brian,  Raymond  Burr 
ancy  Gates.  Western.  Producer  Bob  Geldstein  Di- 
ctor  Gerd  Oswald.  Western.  79  min. 
ANCE  WITH  ME  HENRY  Bud  Abbott,  Lou  Costello 
-oducer  Robert  Goldstein,  Director  Charles  Barton 
omedy.  7?  min.  12/24. 

ING  AND  FOUR  QUEENS,  THE  CinemaScop-  Color 

lark  Gable,  Eleanor  Parker,  Jo  Van  Fleet  Jturi  Willis 
, arbara  Nichols,  Sara  Shane.  Producer  David  Hemp- 
l  ead.  Director  Raoul  Walsh.  Western.  86  min.  1/7. 

r*ILD  PARTY,  THE  Anthony  Quinn,  Caro|  Ohmart  Paul 
•  tewart.    Producer    Sidney    Harmon.    Director  Harry 

orner.  Drama.  Hoodlum  mob  take  over  a  Naval  off i- 

er  and  his  fiancee.  81  min.  12/10 


January 


IG  EOODLE,  THE  Errol  Flynn.  Rossana  Rory    A  Lewis 
!  ■  Blumberg  Production.   Director  Richard  Wilson  Ad- 
renture.  A  blackjack  dealer  in  a  Havana  nightclub  is 
Iccused  of  being  a  counterfeiter.  83  min. 
'IVE  STEPS  TO  DANGER  Ruth  Roman,  Sterling  Hayden 

.  Grand  Production.  Director  Henry  Kesler.  Drama 
t.  woman  tries  to  give  FBI  highly  secret  material  stolen 
i  om  Russians.  80  min. 

IALLI DAY  B.1AND,  THE  Joseph  Cotten,  Viveca  Lind- 
3rs,  Betsy  Blair.  Producer  Collier  Young.  Director 
oseph  Lewis.  Western.  Inter-family  feud  threatens 
sther  and  son  with  disaster.  77  min 


February 


;:RIME  OF  PASSION  Barbara  Stanwyck,  Sterling 
Mayden,  Raymond  Burr.  Producer  Herman  Cohen  Di- 
,ector  Gerd  Oswald.  Drama.  Newspaper  woman  whose 
mbition  for  her  husband  leads  to  murder.  85  min.  1/7. 
iRANGO  Jeff  Chandler,  Joanne  Dru.  An  Earlmar  Pro- 
uction.  Hall  Bartlett  producer-director.  Adventure 
Inion  officers  try  to  bring  order  to  a  Southern  town 
fter  the  Civil  War.  92  min. 

JEN  IN  WAR  Robert  Ryan,  Aldo  Ray,  Robert  Keith, 
•roducer  Sidney  Harmon.  Director  Anthony  Mann. 
Irama.  An  American  infantry  platoon  isolated  in  enemy 
erritory    tries    to    retreat    during    the    Korean  War. 

OMAHAWK  TRAIL  John  Smith,  Susan  Cummings  A 
■el  Air  Production.  Director  Robert  Parry.  Western 
-owboy  versus  Indians.  A  small  band  of  cavalry 
oldiers,  greatly  outnumbered,  battles  with  Apache 
ndians  at  close  of  the  Civil  War.  61  min. 
rODOO  ISLAND  Boris  Karloff,  Beverly  Tyler  A  Bel 
Vir  Production.  Director  Reginald  Le  Borg.  Horror, 
writer  is  called  upon  to  investirite  vodooism  on  a 
'acme  isle. 


Coming 


IACHELOR  PARTY.  THE  Don  Murray,  E.  G.  Marshall 
lack  Warden.  Producer  Harold  Hecht.  Director  Delbert 
vlann.  From  the  famous  television  drama  by  Paddy 
-hayefsky.  '  1 

3AILOUT  AT  43.000  John  Payne,  Karen  Steele.  A  Pine- 
Thomas  Production.  Director  Francis  Lyon.  US  Air 
-orce  pioneers  bailout  mechanism  for  jet  pilots. 
3IG  CAPER.  THE  Rory  Calhound,  Mary  Costa.  Pine- 
Ihomas  Production.  Director  Robert  Stevens  Multi- 
■nillion  dollar  payroll  robbery. 

SIRL  IN  BLACK  STOCKINGS.  THE  Lex  Barker,  Anne 
Bancroft,  Mamie  Van  Doren.  A  Bel-Air  Production  Di- 
•ector  Howard  Koch.  Drama.  A  series  of  sex  slayings 
terrorize  western  resort. 

HIDDEN  FEAR  John  Payne,  Natalie  Norwick.  A  St. 
Aubrey-Kohn  Production.  Director  Andre  de  Toth. 
Drama.  Police  officer  attempts  to  clear  sister  charged 
with  murder. 

HIS  FATHER'S  GUN  Dane  Clark,  Ben  Cooper  Lori  Nel- 
son. Bel  Air  Production.  Director  Lesley  Selander.  Gun- 
slinger  escapes  from  Jail  to  save  son  from  life  of 
crime. 

LONELY  GUN.  THE  Anthony  Ouinn,  Katy  Jurado  Pro- 
ducer Robert  Jacks.  Director  Harry  Horner. 
MONSTER  THAT  CHALLENGED  THE  WORLD,  THE  Tim 

Holt  Audrey  Dalton.  A  Gramercy  Production.  Director 
Arnold  Laven.  Science-fiction. 

MONTE  CARLO  STORY.  THE  Technirama  Color  Mar- 
lene  Dietrich,  Vittorio  De  Sica.  A  Titanus  Film.  Sam 
faylor  director.  A  handsome  Italian  nobleman  with  a 
love  for  gambling  marries  a  rich  woman  in  order  to 
pay  his  debts. 

PHAROAH'S  CURSE  Ziva  Shapir,  Mark  Dana.  Producer 
Howard  Koch.  Director  Lee  Sholem.  Horror.  Reincar- 
nation of  mummies  in  Egyptian  tombs. 
PRIDE  AND  THE  PASSION,  THE  VistaVision  Techni- 
color. Cary  Grant,  Frank  Sinatra,  Sophia  Loren.  Pro- 
ducer-director Stanley  Kramer.  Drama.  A  Spanish 
?n«rn"a  band  marcnes  an  incredible  distance  with  a 
6000  pound  cannon  during  Spanish  War  of  Independ- 
ence of  1810. 

REVOLT  AT  FORT  LARAMIE  DeLuxe  Color.  John 
Dehner,  Diana  Brewster.  Producer  Howard  Koch.  Di- 
rector Lesley  Selander.  Western.  Civil  War  story  of 
soldiers  who  are  attacked  by  Indians.  73  min. 
SAVAGE  PRINCESS  Technicolor.  Dilip  Kumar,  Nimmi. 
A  Mehboob  Production.  Musical  Drama.  A  princess 
tails  in  love  with  a  peasant  who  contests  her  right 
to  rule  the  kingdom.  101  min. 


STREET  OF  SINNERS  George  Montgomery  Geraldine 
Brooks.  Producer  William  Berke.  Rookie'  policeman 
clashes  with  youthful  criminals. 

SPRING  REUNION  Betty  Hutton,  Dana  Andrews  Jean 


CROOPER  HOOK  Joel  McCrea,  Barbara  Stanwyck  Ed- 
ward Andrews.  Producer  Sol  Fielding.  Director  Marouis 
Warren.  A  white  woman,  forced  to  live  as  an  Indian 
Chief's  squaw,  is  finally  rescued  and  tries  to  resume 
life  with  husband. 

12  ANGRY  MEN  Henry  Fonda,  Lee  J.  Cobb  Jack 
Warden.  An  Orion-Nova  Production.  Director  Sianey 
Lumet.  Drama.  Jury  cannot  agree  on  a  verdict. 


U  N I  VERSA  L- 1  NT'  L 


October 

PILLARS  OF  THE  SKY  Technicolor.  Jeff  Chandler 
Dorothy  Malone,  Ward  Bond.  Producer  Robert  Arthur 
Director  George  Marshall.  Drama.  The  spirit  of  Religion 
helps  to  settle  war  bewteen  Indians  and  Cavalrymen 
in  the  Oregon  Country.  95  min.  9/3. 

November 

UNGUARDED  MOMENT.  THE  Technicolor.  Esther  Wil- 
liams,  George  Nader.  Producer  Gordon  Kay.  Director 
Harry  Keller.  Drama.  High  school  teacher  is  almost 
criminally  assaulted  by  student.  95  min.  9/3. 

December 

CURCU.  BEAST  OF  THE  AMAZON  Eastman  Color.  John 
Bromfield,  Beverly  Garland.  Producers  Richard  Kay 
Harry  Rybnick.  Director  Curt  Siodnak.  Horror.  Young 
woman  physician,  plantation  owner  and  his  workers 
are  terrorized  by  mysterious  jungle  beast. 
EVERYTHING  BUT  THE  TRUTH  Technicolor.  Tim  Hovey, 
Maureen  O'Hara,  John  Forsythe.  Producer  Howard 
Christie.  Director  Jerry  Hopper.  Comedy.  Young  stu- 
dent gets  mixed  up  with  "lies".  83  min.  11/12. 
MOLE  PEOPLE,  THE  John  Agar,  Cythia  Patrick  Pro- 
ducer William  Alland.  Director  Virgil  Vogel.  Horror. 
Scientific  expedition  in  Asia  discover  strange  men. 


January 


FOUR  GIRLS  IN  TOWN  CinemaScope,  Technicolor. 
George  Nader,  Julie  Adams,  Marianne  Cook.  Producer 
A.  Rosenberg.  Director  Jack  Sher.  Drama.  Movie  studio 
promotes  world-wide  talent  hunt  to  find  a  new  star. 
85  min.  12/10 

ROCK,  PRETTY  BABY  Sal  Mineo,  John  Saxon  Luana 
Patten.  Producer  Edmund  Chevie.  Director  Richard 
Bartlett.  Musical.  Rock  n'  roll  story  of  college  combo. 
89  min.  11/2*. 

WRITTEN  ON  THE  WIND  Technicolor.  Rock  Hudson, 
Lauren  Bacall,  Robert  Stack.  Producer  Albert  Zug- 
smith. Director  Douglas  Sirk.  Drama.  Oil  tycoon  meets 
violent  death  because  of  jealousy  for  wife.  99  min.  10/1 


February 


GREAT  MAN,  THE  Jose  Ferrer,  Mona  Freeman,  Dean 
Jagger.  Producer  Aaron  Rosenberg.  Director  Jose  Fer- 
rer. Drama.  The  life  and  death  of  a  famous  television 
idol.  92  min.  11/26. 

ISTANBUL  CinemaScope,  Technicolor.  Errol  Rynn,  Cor- 
nell Borchers.  Producer  Albert  Cohen.  Director  Joseph 
Pevney.  Adventure.  Diamond  smugglers  in  mysterious 
Turkey.  84  min.  1/21. 

NIGHT  RUNNER,  THE  Ray  Danton,  Colleen  Miller.  Pro- 
ducer Albert  Cohen.  Director  Abner  Biberman.  Drama. 
Mental  hospital  inmate  is  released  while  still  in  dan- 
gerous condition. 

March 

BATTLE  HYMN  Technicolor.  Rock  Hudson,  Martha  Hyer, 
Dan  Duryea.  Producer  Ross  Hunter.  Director  Douglas 
Sirk.  Drama.  Pilot  redeems  sense  of  guilt  because  of 
bombing  of  an  orphanage  by  saving  other  orphans. 
108  min.  12/24. 

GUN  FOR  A  COWARD  Technicolor.  Fred  MacMurray, 
Jeffrey  Hunter,  Janice  Rule.  Producer  William  Alland. 
Director  Abner  Biberman.  Western.  Three  brothers  run 
a  cattle  ranch  after  death  of  their  father.  88  min.  1/7. 
MISTER  CORY  Eastman  Color,  CinemaScope.  Tony 
Curtis,  Martha  Hyer,  Charles  Bickford.  Producer 
Robert  Arthur.  Director  Blake  Edwards.  Drama.  Gam- 
bler from  Chicago  slums  climbs  to  wealth  and  re- 
spectability. 92  min.  1/21. 

Corning 

INCREDIELE  SHRINKING  MAN,  THE  Grant  Williams, 
Randy  Stuart.  Producer  Albert  Zugsmith.  Director  Jack 
Arnold.  Science-fiction.  The  story  of  a  man  whose 
growth     processes     have     accidently     been  reversed. 


81 

INTERLUDE  Technicolor,  CinemaScope.  June  Allyson, 
Rossano  Brazzi.  Producer  Ross  Hunter.  Director  Douglas 
Sirk. 

JOE  BUTTERFLY  CinemaScope,  Technicolor.  Audie 
Murphy,  George  Nader,  Kee.nan  Wynn.  Producer 
Aaron  Rosenberg.  Director  Jessie  Hibbs. 
KELLY  AND  ME  CinemaScope,  Technicolor.  Van  John- 
son, Piper  Laurie,  Martha  Hyer.  Producer  Robert  Ar- 
thur. Director  Robert  Leonard.  Drama.  Story  of  deg- 
act  in  show  business  in  the  early  I930's. 
MAN  AFRAID  Gecrge  Nader,  Tim  Hovey.  Producer 
Gordon  Kay.  Director  Harry  Keller. 

TAMMY  CinemaScope,  Technicolor.  Debbie  Reynolds. 
Lslie  Nielson.  Producer  Aaron  Ros3nberg.  Director  Joe 
Pevney. 

TATTERED  DRESS,  THE  CinemaScope.  Jeff  Chandler, 
Jeannie  Crain,  Jack  Carson.  Producer  Albert  Zugsmith. 
Director  Jack  Arnold. 


WARNER  BROTHERS 


September 

A  CRY  IN  THE  NIGHT  Edmond  O'Brien.  Natalie  Wood, 
Brian  Donlevy.  A  Jaguar  Production.  Director  Frank 
Tyttle.  Drama.  Mentally  unbalanced  man  surprises 
couple  in  Lover's  Lane.  75  min.  8/20. 

AMAZON  TRADER,  THE  WarnerColor.  John  Sutton. 
Producer  Cedric  Francis.  Director  Tom  McGowan.  Ad- 
venture. Stirring  events  in  the  Amazon  territory  of 
Brazil.   41  min. 

BAD  SEED,  THE  Nancy  Kelly,  Patty  McCormack.  Henry 
Jones.  Produced  and  directed  by  Mervyn  LeRoy.  Dra- 
ma. Film  version  of  the  famous  Broadway  play  about 
a  child  murderess.  129  min. 

BURNING  HILLS.  THE  CinemaScooe,  WarnerColor.  Tab 
Hunter,  Natalie  Wood.  Skip  Homeir.  Producer  Rich- 
ard Whorf.  Director  Stuart  Heisler.  Western.  Young 
man  seeks  his  brother's  murderer.    92  min.  8/20. 


October 


TOWARD  THE  UNKNOWN  WarnerColor  William  Hol- 
den,  Lloyd  Nolan,  Virginia  Leith.  Producer-director 
Mervyn  LeRoy.  Drama.  Test  pilots  experiment  in  jet 
and  rocket  propelled  aircraft  to  probe  outer  space 
and  physical  limits  of  man.  115  min.  10/1. 

November 

GIANT  WarnerColor.  Elizabeth  Taylor.  Rock  Hudson, 
James  Dean.  Producer-director  George  Stevens.  Drama. 
Based  on  the  famous  novel  by  Edna  Ferber.  The  story 
of  oil.  cattle  and  love  in  the  Southwest  during  WWII. 
201  min.  10/15. 

GIRL  HE  LEFT  BEHIND,  THE  Tab  Hunter.  Natalie 
Wood.  Producer  Frank  Rosenberg.  Director  David 
Butler.  Drama.  Army  turns  immature  boy  into  man 
103  min.  10/29. 

December 

BA8Y  DOLL  Karl  Maiden,  Carroll  Baker,  Eli  Wallach. 
A  Newton  Production.  Producer-director  Elia  Kazan 
Drama.  Story  of  a  gin-mill  proprietor  and  a  beautiful 
girl.  I  14  min.  12/24. 


January 


WRONG  MAN,  THE  Henry  Fonda.  Vera  Miles,  Anthony 
Quayles.  Producer-director  Alfred  Hitchcock.  Drama. 
Bass  fiddle  player  at  Stork  Club  Is  prime  suspect  In 
murder  case.  105  min.  1/7. 


February 


BIG  LAND.  THE  WarnerColor.  Alan  Ladd,  Virginia 
Mayo.  A  Jaguar  Production.  Director  Gordon  Douglas. 
Western.  Cattlemen  fight  to  move  their  herds  to 
distant  railroads.  93  min. 

TOP  SECRET  AFFAIR  Kirk  Douglas,  Susan  Hayward. 
Producer  Martin  Rackin.  Director  H.  C.  Potter.  Come- 
dy. A  lovely  lady  calls  tha  bluff  of  an  Army  General. 
93  min. 


Coming 


PARIS  DOES  STRANGE  THINGS  Technicolor.  Ingrid 
Bergman,  Mel  Ferrer,  Jean  Marais.  A  Franco-London 
Film.  Director  Jean  Renoir.  Drama.  Tale  of  the  exiled 
widow  of  a  Polish  Prince. 

PRINCE  AND  THE  SHOWGISL.  THE  Color.  Marilyn 
Monroe,  Laurence  Olivier,  Dame  Sybil  Thorndyke. 
Producer-director  Laurence  Olivier.  Comedy. 
SPIRIT  OF  ST.  LOUIS,  THE  CinemaScope,  Warner- 
Color. James  Stewart,  Rena  Clark.  Producer  Leland 
Hayward.  Director  Billy  Wilder.  Drama.  The  story  of 
the   first  man  ever  to  cross  the   Atlantic  in  a  plane. 


To  Better  Serve  You  .  .  . 

Office  &  Terminol  Combined  At 
305  N.  12th  St.  New  Phones 

Philadelphia  7,  Pa.  LOmbard  3-3944,  3945 

NEW  JERSEY 
MESSENGER  SERVICE 

Member  National  Film  Carriers 


DEPENDABLE  SERVICE! 

HIGHWAY 
EXPRESS  LINES,  INC. 

Member  National  Film  Carriers 

Philadelphia,  Pa.:  LOcust  4-3450 
Washington,  D.  C:  DUcsnt  7-7200 


BULLETIN—  THIS     IS     YOUR  PRODUCT 


Produced  by  ALAN  PAKULA  •  Directed 
by  ROBERT  MULLIGAN  •  Screenplay  by 
TED   BERKMAN  and   RAPHAEL  BLAU 


BULLETIN 


•BRUARY  18,  1957 


Business-wise 
Analysis  of 
the  New  Films 

Reviews: 

.,._Y  FACE 

HE  YOUNG  STRANGER 

FEAR  STRIKES  OUT 

PHARAOH'S  CURSE 

THE  TRUE  STORY 
OF  JESSE  JAMES 

-IE  MAN  WHO  TURNED 
TO  STONE 

SMILEY 

THOUSAND  BEDROOMS 


PATTERNS   OF    PATRONAGE  III 


BRING  BACK 
THE  WOMEN! 


Movies  Topping  TV  in 
Public  Appeal -Value  Line 


COMPLETE   TEXT  OF    LATEST   V-L  ANALYSIS 


lewpoints 

IARY  18,   1957     "  VOLUME  25,  NO.  4 


This  Is  the  Time  far  Exhibitor  Unity 


Indications  that  Allied  States  As- 
sociation is  adopting  a  new  pattern 
of  conciliation  and  cooperation  in  its 
relations  with  the  fi.m  companies 
have  cropped  up  repeatedly  since  the 
National  Allied  Convention  in  Dal- 
las last  December.  The  theme  was 
repeated  at  the  organization's  drive- 
in  convention  in  Cincinnati  and  re- 
affirmed very  recently  by  the  new 
president,  Julius  M.  Gordon. 

Mr.  Gordon's  predecessor.  Rube 
Shor,  who  has  retired  after  two 
years — he  worked  himself  into  a  hos- 
pital bed  more  than  once  in  his  ef- 
forts on  behalf  of  exhibition — was 
sincerely  dedicated  to  bringing  about 
harmony  with  the  other  national  ex- 
hibitor body,  Theatre  Owners  of 
America,  as  well  as  with  the  film 
companies.  Mr.  Gordon  has  taken 
up  the  baton  with  the  same  resolu- 
tion that  inspired  Mr.  Shor  to  pursue 
the  goal  of  harmony.  Following  his 
election  by  the  board  of  directors, 
the  new  president  vowed  that  he 
would  "go  to  any  length,  at  any 
time,  with  any  group  to  meet  and 
discuss  problems  of  our  industry." 

Allied's  extension  of  the  olive 
branch  to  distribution  is,  in  itself,  a 
laudatory  gesture,  demonstrating  the 
urgency  with  which  this  traditional- 
ly militant  organization  views  the 
need  for  industry  unity.  Thus  far, 
however,  distribution  has  shown  no 
inclination  to  grasp  the  proferred 
branch.  Instead,  we  hear  of  un- 
named distribution  spokesmen  view- 
ing Allied's  conciliatory  attitude 
with  a  fishy  eye.  It  is  of  such  stuff 
that  "statesmanship"  in  our  industry 
is  too  often  constituted. 

Exhibition  —  all  of  exhibition  — 
must  learn  that  if  there  is  to  be  any 
effective  bargaining  done  at  the  con- 
ference tables,  it  must  be  repre- 
sented by  a  voice  that  speaks  for  the 
full  body  of  theatremen.  This  means 
collaboration  between  Allied  and 
TOA  on  a  basis  never  yet  achieved. 


Such  collaboration  need  not  neces- 
sarily mean  a  merger.  Actually,  it 
is  quite  possible  that  a  merger  is  less 
desirable  in  the  interests  of  the  great 
variety  of  theatremen  represented 
by  the  two  groups.  But  whether  it 
be  in  one  national  organization  or 
two,  exhibition  must  have  an  instru- 
mental voice  in  the  industry's  affairs 
that  will  demand  and  receive  the  re- 
spect of  the  film  companies,  a  voice 
that  will  carry  weight  on  all  vital 
matters  affecting  their  relations  with 
the  producer-distributors. 

Both  TOA  and  Allied  have  ex- 
pressed a  desire  to  cooperate  on  sev- 
eral important  issues — an  industry 
arbitration  system,  a  top-level  con- 
ference to  discuss  trade  practices, 
the  reformation  of  COMPO.  On  all 
of  these  issues,  statements  from  both 
groups  indicate  that  they  are  in  ac- 
cord. But  nowhere  is  there  a  sign  of 
any  machinery  to  combine  the  com- 
mon objectives  so  that  the  two 
groups  might  work  hand-in-hand  to 
effectuate  their  proposals,  to  make 
the  weight  of  their  decisions  felt. 

In  this  direction  Film  BULLE- 
TIN more  than  a  year  ago  offered 
for  consideration  the  idea  of  a  "Con- 
gress of  Exhibition"  in  which  repre- 
sentatives of  each  national  organiza- 
tion, as  well  as  representatives  from 
independent  regional  groups,  would 
convene  regularly  to  air  the  pressing 
issues  of  the  day  and  formulate  a 


BULLETIN 


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published  every  other  Monday  by  Wax  Publi- 
cations,   Inc.     Mo   Wax,    Editor   and  Publisher. 
PUBLICATION-EDITORIAL   OFFICES:    1239  Vine 
Street,  Philadelphia  7,  Pa.,  LOcust  8-0950.  09SI. 
Philip    R.    Ward,    Associate    Editor-  Leonard 
Coulter,  New  York  Associate  Editor;  Duncan  G. 
Steck,     Business     Manager;     Marvin  Schiller, 
Publication  Manager;  Rooert  Heath,  Circulation 
Manager.    BUSINESS  OFFICE:  522  Fifth  Avenue, 
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$5.00.     TWO    YEARS:     $5.00    in  the 
U.  S.;  Canada,  $7.50;   Europe,  $9.00. 


plan  of  action  on  matters  of  common 
aim.  Proposals  would  be  presented 
for  discussion  and  as  areas  of  agree- 
ment were  reached,  the  voice  of  ex- 
hibition would  be  one,  undivided 
and  authoritative  in  its  power. 

There  would  be  no  intrusion  on 
the  autonomy  of  the  individual  or- 
ganizations in  such  a  plan.  Concepts 
in  which  there  was  a  difference  of 
opinion  would  be  left  to  the  indi- 
vidual organizations  to  pursue.  The 
sole  purpose  would  be  to  establish 
liaison  and  to  create  an  instrument 
for  organized  action. 

Some  distributors  are  demonstrat- 
ing a  growing  predatory  tendency 
that  threatens  the  existence  of  many 
of  their  customers,  and,  ultimately, 
may  destroy  this  entire  industry. 
The  presence  of  a  powerful  exhibi- 
tion body  in  the  arena  of  industry 
discussion  would  do  much  to  offset 
these  suicidal  attitudes. 

The  need  for  a  one-world  of  ex- 
hibition has  never  been  greater  than 
it  is  today.  Our  industry  is  in  the 
throes  of  rebirth.  Its  form  probably 
will  be  quite  different  from  what  it 
has  been  in  the  past.  Exhibition 
must  have  its  say  in  the  re-shaping 
of  the  business,  or  suffer  the  status 
of  a  second-class  appendage  to  the 
production-distribution  powers. 

Nor  have  conditions  for  exhibition 
unity  been  more  propitious.  The 
heads  of  both  TOA  and  Allied  have 
pledged  themselves  to  cooperation; 
they  see  eye-to-eye  on  virtually  all 
of  the  important  issues  that  would 
be  topics  for  discussion  in  an  all-in- 
dustry conference;  they  are  seem- 
ingly utterly  sincere  in  their  efforts 
to  accomplish  unity. 

This  is  the  ripe  time  for  that  per- 
ennial will  o'  the  wisp,  Exhibitor 
Unity,  which  has  constantly  eluded 
the  industry's  theatremen,  to  be 
nailed  down,  once  and  for  all,  as  a 
force  for  balance  and  good  in  the 
movie  industry. 


Film  BULLETIN    February  18.  1957        Page  3 


THE  JEKYLL 
AND-HYDE 
GIRL"  LIVED 
3  STRANGE 
LIVES! 


SHOOT  THE 
WORKS! 

This  is  the  kind  of  picture  that  gives 
showmen  an  irresistible  urge  to 
turn  the  town  upside  down  with 
ballyhoo!  A  wonderful,  exciting 
entertainment  that  will  back  up  all 
the  promises  of  your  flying  banners! 


M-G-M 


ELEANOR  PARKER 

in  the  year's  most  remarkable  performance 
as  three  different  personalities  in 


If 


Co-Starring 

RICHARD  BOONE 

with 

JOAN  BLONDELL  •  HUGO  HAAS 

Screen  Play  by  MEL  DINELLI  '  by  ^H*RIE Y  JACKSON 
Directed  by  HUGO  HAAS 

Produced  by  JERRY  BRESLER 
A  Bryna  Production 
A  Metro-Goldwyn-Mayer  Release 


BRAINSTORMING.  A  relatively  new  phonemona— called 
"brainstorming"  —  has  been  sweeping  the  big-business 
world  with  apparently  much  success.  And  there  seems  to 
be  little  reason,  outside  of  vanity  or  plain  stubbornness, 
why  it  couldn't  be  applied  to  the  movie  industry.  In  this 
business  game,  a  round-table  discussion  is  held  on  any 
problem.  Every  possible  solution,  no  matter  how  seeming- 
ly absurd  or  far-fetched,  is  advanced  and  duly  recorded. 
No  one  must  say  it  can't  be  done,  or  that  it  has  been  tried 
previously  without  success.  Ultimately,  out  of  a  possible 
100  ideas,  perhaps  only  five  or  ten  are  considered  possible 
solutions  to  the  problem,  these  then  being  refined  down  to 
one  or  two.  Not  only  does  this  method  bring  to  a  particu- 
lar problem  a  solution  not  previously  thought  valid,  or, 
possibly,  not  previously  even  thought  of,  but  it  keeps  the 
participants — especially  departmental  leaders  and  trouble- 
shooters — thinking  positively  and  constructively  without 
fear  of  being  regarded  as  foolish  or  scatterbrained.  It 
brings  to  all  problems  a  fresh  approach  and,  most  impor- 
tantly, a  workable  solution.  The  movie  industry  executive- 
ship,  in  the  main  notorious  for  its  insensitivity  to  new 
ideas,  might  find  the  "brainstorming"  invaluable  as  a 
means  for  finding  solutions  to  the  new  problems  our  indus- 
try faces  in  this  age.  Film  men  and  theatremen  alike 
should  consider  the  novel  idea  as  a  device  for  developing 
new  approaches  to  the  competitive  struggle  with  tele- 
vision. And  what  a  wonderful  technique  "brainstorming" 
might  be  for  getting  constructive  results  from  that  elusive 
top-level  conference  between  exhibition  and  distribution! 
0 

GIMMICK  PICTURES.  Theatremen  are  talking  more  and 
more  about  the  surprising  boxoffice  performances  of  minor 
films  that  have  special  promotional  gimmicks.  Several  of 
the  rock  'n'  roll  films,  for  instance,  have  rolled  up  grosses 
far  above  what  some  of  the  year's  costliest  productions  are 
showing.  The  same  is  the  case  with  other  off-beat  shows. 
"Lust  for  Life",  while  hardly  a  minor  entry,  was  some- 
thing different  and  showed  a  healthy  take  generally.  Co- 
lumbia's "Rumble  on  the  Docks"  and  "Don't  Knock  the 
Rock",  ballyhoo  combination,  is  responding  very  well  to 
showmanship.  Metro's  cheapie,  "Edge  of  the  City",  is 
proving  a  "sleeper".  The  Frenchie  "Rififi"  is  getting  wide 
distribution  for  a  foreigner.  All  this  seems  to  point  up  the 
avid  public  appetite  for  entertainment  off  the  beaten  path. 
No  one  seems  to  have  time  today  to  go  to  the  movies  for 
the  commonplace ;  enough  of  that  on  the  little  screen  at 
home. 

0 

'PERSUASION'  ENOUGH.  Note  was  made  in  this  de- 
partment recently  that  inadequate  advance  publicity  is 
blamed  by  exhibitors  for  the  failure  of  some  fine  films  to 
gross  as  anticipated.  A  prominent  theatreman  was  quoted 
as  saying  that  worthy  pictures  too  often  are  being  rushed 
into  first-run  engagements  before  the  publicity-advertising 
departments  have  had  sufficient  time  to  develop  full-scale 
promotional  campaigns.  Result:  the  film  is  already  in  sub- 
runs  by  the  time  the  public  starts  to  respond.  Allied  Ar- 
tists' "Friendly  Persuasion"  was  cited  as  one  example  of  a 
film  that  "caught  on"  in  its  subsequent  run  bookings  after 


l/l/hat  Mey'te  hiking  About 

□    □    □    In  the  Movie  Business    □    □  □ 


disappointing  in  its  first  run  performance.  As  a  matter  of 
fact — as  several  readers  brought  to  our  attention — the  cam- 
paign on  this  picture  was  a  particularly  well-developed 
one.  It  was  given  a  thorough  advance  build-up,  beginning 
almost  a  full  year  before  release.  Unfortunately,  other  fac- 
tors were  responsible  for  the  slow  start  of  "Persuasion" : 
the  unusual  subject  matter,  Quakerism,  and  what  is  gen- 
erally conceded  to  be  a  poor  title.  Admittedly  this  was  not 
a  good  example  to  illustrate  the  case  of  "too  little  and  too 
late"  in  advance  publicity,  but  other  examples  abound. 
Neither  exhibitors  nor  the  public  are  being  conditioned 
sufficiently  to  generate  the  proper  enthusiasm  for  many 
worthwhile  pictures. 

O 

CINERAMA  ON  THE  BALL.  Alert  showmanship  is 
credited  with  giving  the  current  Cinerama  attraction, 
"Seven  Wonders  of  the  World"  a  shot  in  the  arm.  New 
ads  have  appeared  pushing  the  Middle  East  sequence. 
"Cinerama  Plunges  You  into  the  Flaming  Middle  East!" 
screams  the  catchline.  "You'll  follow  the  super-tanks 
through  the  battle-scarred  Suez  Canal  .  .  .  You'll  ride  with 
the  camel  caravans  along  the  oil  pipelines  of  Arabia  .  .  . 
You'll  walk  the  green  fields  wrested  from  the  blazing 
desert  by  the  indomitable  Israelis  .  .  .  etc."  The  Warner 
Theatre  in  New  York  reported  a  lively  increase  in  ticket 
sales. 

0 

TV  SET  PRODUCTION.  Television  set  manufacturers 
are  beset  by  a  serious  problem:  overproduction  in  a  di- 
minishing market.  In  the  month  of  January  more  than  25 
percent  of  the  sets  produced  were  not  sold  and  stocks  are 
backing  up  on  the  shelves  of  every  manufacturer  and  dis- 
tributor. Only  portable  sets  seem  to  be  finding  a  market, 
while  color  is  not  moving  at  all.  The  dire  situation  is  high- 
lighted by  Emerson's  financial  report,  which  showed  1956 
earnings  down  to  4  cents  a  share,  compared  to  $1.26  the 
year  before.  RCA  is  also  expected  to  show  a  sharp  drop  in 
its  next  fiscal  statement. 

0 

REBELLION.  Among  the  Academy  Award  candidates 
regarded  as  being  sure  shots  for  high  standing  in  the  bal- 
loting are  "Baby  Doll"  and  Ingrid  Bergman  ("Anastasia"). 
Hollywood  observers  say  that  a  considerable  portion  of  the 
support  for  these  two  candidates  springs  from  the  attitude 
of  many  film  workers  about  censorship  and  blackballing  on 
moral  grounds.  It  represents,  they  say,  a  rebellion  against 
the  Catholic  Church  ban  on  "Baby  Doll"  and  the  denunci- 
ation of  Miss  Bergman  following  her  divorce  and  marriage 
to  Rossellini.  If  the  picture  and  star  should  win  the  Os- 
cars, credit  some  of  the  votes  to  this  subconscious  defiance 
of  the  moralists. 


Film  BULLETIN    February  18,  1957        Page  5 


THEY 


MADE  THE  NEWS 

JACK  L.  WARNER  made  some  sweet 
music  for  WB  stockholders  and  for  the 
industry  at  large  when  he  revealed  (1)  a 
net  profit  of  $1,569,000  for  the  three 
months  ended  Dec.  1,  1956,  and  (2)  plans 
to  invest  $85  million  in  35  pictures  as  evi- 
dence of  his  company's  "confidence  in  the 
future  of  theatrical  motion  picture  exhi- 
bition". The  financial  statement  disclosed 
to  shareholders  at  the  annual  meeting 
showed  income  from  film  rentals  and 
sales  for  the  three  month  period  amount- 
ing to  $20,718,000,  with  the  net  of  $1,569,- 
000  being  equal  to  85c  per  share.  This 
compares  with  the  following  figures  for 
the  corresponding  quarter  of  the  previous 
year:  $19,132,000  gross  income,  a  net 
profit  of  $927,000,  equal  to  37c  per  share. 
In  announcing  the  $85  million  outlay  for 
new  product,  Warner  declared:  "The  ex- 
ceptional boxoffice  performance"  of  such 
films  as  "Moby  Dick",  "Bad  Seed"  and 
"Giant"  have  been  an  "inspiration".  He 
said  the  "vast  attendance"  at  these  and 
other  company's  product  is  "proof  that 
the  public  is  prepared  to  give  unqualified 
support  to  all  worthwhile  motion  picture 
entertainment".  Documenting  his  claim 
that  WB  can  boast  of  one  of  the  most  im- 
pressive programs  in  its  history,  Warner 
cited,  among  pictures  currently  in  various 
stages  of  production:  "No  Time  for  Ser- 
geants", starring  Andy  Griffith;  "Sayona- 
ra",  with  Marlon  Brando;  Hemingway's 
"The  Old  Man  and  the  Sea",  with  Spen- 
cer Tracy;  Elia  Kazan's  "A  Face  in  the 
Crowd";  "The  Prince  and  the  Showgirl", 
starring  Marilyn  Monroe  and  Laurence 
Olivier,  and  "The  Story  of  Mankind". 


Among  Warner  Brothers''  important  1957 
product:  Upper  left:  Spencer  Tracy  and  Ern- 
est Hemingway,  star  and  author  of  "The  Old 
Man  and  The  Sea':  r.:  Hedy  Lamarr  as  Joan 
of  Arc  in  "The  Story  of  Mankind":  lower  I.: 
Laurence  Olivier  and  Marilyn  Monroe  as  "The 
Prince  and  The  Showgirl";  lower  r.:  Mel 
Ferrer  and  Ingrid  Bergman  in  "Paris  Does 
Strange  Things". 


GORDON 


JULIUS  M.  GORDON,  elected  to  suc- 
ceed Ruben  Shor  as  president  of  National 
Allied,  declared  he  would  "go  to  any 
length,  at  any  time,  with  any  group,  to 
meet  and  discuss"  industry  problems, 
calling  for  a  "meeting  of  the  minds"  to 
bring  about  a  solution  to  such  problems. 
Gordon,  Beaumont,  Texas,  theatreowner, 
and  former  Allied  secretary,  was  selected 
for  his  new  post  at  the  Allied  board  meet- 
ing which  followed  the  organization's 
recent  drive-in  convention  in  Cincinnati. 
His  selection  was  the  highlight  of  events 
at  the  two  meetings  which  saw  the  Allied 
board  take  the  following  actions:  autho- 
rize its  COMPO  committee,  consisting  of 
Trueman  Rembusch,  Ruben  Shor  and 
general  counsel  Abram  Myers,  to  con- 
tinue discussions  on  the  possibility  of  Al- 
lied rejoining  the  all-industry  organiza- 
tion; pass  resolutions  (1)  alerting  all 
members  to  guard  against  present  or 
future  state  or  city  taxes;  (2)  condemn 
any  further  mergers  of  corporate  interests 
of  film  producers  and  distributors  (re- 
portedly based  on  the  recent  RKO-U-I 
deal),  directing  Allied  officers  to  bring 
the  "danger"  posed  by  such  moves  to  the 
attention  of  "public  bodies"  having  juris- 
diction over  mergers  and  appropriate 
committees  of  Congress;  (3)  thank  20th- 
Fox  sales  topper  Alex  Harrison  for  his 
proposed  aid  to  small  theatres  and  offer- 
ing Allied's  full  cooperation  in  Fox's  plans 
for  rehabilitating  small-town  and  subse- 
quent-run theatres.  The  board  agreed  to 
participate  in  an  all-out  campaign  for  the 
complete  elimination  of  the  admission 
tax,  endorsing  Sen.  Fulbright's  bill  which 
would  reduce  corporate  taxes  on  the  first 
$25,000  of  profit.  During  the  convention, 
former  president  Shor  sent  a  letter  to  all 
production  company  heads  requesting  a 
meeting  with  exhibitor  leaders  with  a 
view  to  negotiating  an  arbitration  system, 
based  on  the  recommendations  made  by 
the  Senate  Small  Business  Committee  re- 
ports. Allied's  arbitration  committee 
would  consist  of  Shor,  Myers  and  Abe 
Berenson.  Myers  was  re-elected  board 
chairman  and  general  counsel,  Horace 
Adams  of  Cleveland,  treasurer,  and  Ed- 
ward Lider  of  Boston,  secretary. 


ROGERS 


BUDD  ROGERS,  prominent  independent 
film  distributor,  has  acquired  for  national 
distribution  a  number  of  RKO  reissues,  it 
was  disclosed  last  week.  While  neither 
the  total  number,  nor  the  titles,  of  the 
pictures  involved  in  the  deal  were  re- 
vealed, it  was  generally  assumed  that  the 
number  ranged  between  15  and  20.  Other 
post-1948  RKO  features  might  be  added 
if  the  plan  works  out  successfully.  RKO 
president  Daniel  T.  O'Shea  announced 
that  21  independent  regional  exchanges 
will  handle  release  of  the  product.  Oper- 
ations will  be  supervised  by  RKO  world- 
wide sales  head  Walter  Branson  and 
RKO  sales  executives  Nat  Levy  and  Her- 
bert Greenblatt.  Promotion  will  be  in  the 
hands  of  RKO  department  heads:  Ben 
Grimm,  advertising,  Dave  Cantor,  exploi- 
tation, and  Al  Stern,  publicity.  Budd 
Rogers  until  recently  headed  Realart  Pic- 
tures, which  handled  the  redistribution  of 
ten  years  of  old  Universal  product,  also 
via  states  rights  distributors. 

0 

ERNEST  G.  STELLINGS,  TOA  presi- 
dent, told  a  press  conference  that  an 
orderly  release  of  good  pictures  thus  far 
in  1957  had  started  the  year  "off  on  the 
right  foot"  and  that  he  hoped  this  "en- 
lightened policy"  of  the  film  companies 
will  continue.  "There  is  no  problem  in 
this  industry  that  more  good  pictures 
can't  solve",  Stellings  said.  He  also  re- 
ported that  talks  with  distribution  offi- 
cials had  brought  assurances  that  they 
will  do  "everything  in  their  power  to  co- 
operate with  the  small  town  theatre  own- 
ers to  assist  in  keeping  their  theatres 
open,  even  to  the  point  of  considerable  as- 
sistance in  the  area  of  film-rental  terms 
and  deals".  The  TOA  leader  further  re- 
vealed that  he  has  asked  the  distribution 
companies  to  meet  with  representatives 
of  TOA  and  other  exhibitor  groups  with 
a  view  to  establishing  an  industry  system 
of  arbitration.  In  anticipation  of  such 
meetings,  he  announced  the  appointment 
of  TOA's  arbitration  committee:  Mitchell 
Wolfson,  S.  H.  Fabian,  Samuel  Pinanski, 
Herman  Levy  and  Stellings.  George  Ros- 
coe  of  Charlotte,  N.  C,  was  named  TOA 
field  representative. 


P«9«  e       Film  BULLETIN    February  18.  1957 


THEY 


MADE  THE  NEWS 


SCHLAIFER 


L.  J.  (JACK)  SCHLAIFER,  formerly 
special  sales  representative  for  United  Ar- 
tists, has  been  appointed  assistant  to  UA 
sales  head  James  R.  Velde.  Assignment 
to  the  newly-created  post  marks  Schlai- 
fer's  return  to  UA  where  he  has  held  a 
number  of  key  positions  since  1928.  For 
the  past  two  years,  Schlaifer  has  been  as- 
sociated with  independent  producer 
George  Schaefer. 

0 

MOTION  PICTURE  ASSOCIATION 
will  attempt  to  find  out  why  people  do 
and  do  not  go  to  the  movies.  Answers  to 
these  and  other  attendance  problems  will 
be  sought  in  a  nation-wide  study  to  be 
conducted  by  the  Opinion  Research  Corp. 
of  Princeton,  N.  J.  Aim  will  be  a  "com- 
prehensive study  of  the  motion  picture 
market  and  the  significant  elements  which 
affect  that  market".  The  survey  will  cover 
the  frequency  of  attendance  of  moviegoers 
divided  up  by  age  groups,  income,  loca- 
tion, etc.  It  will  try  to  determine  what 
serious  competition  the  movies  face  in 
other  uses  of  leisure  time.  Availability  of 
films  in  a  given  area,  seasonal  factors, 
speed  of  playoff  and  opportunities  for  in- 
creasing attendance  also  will  be  studied. 

o 

ELMER  C.  RHODEN  attributed  the 
"greater  popular  appeal  of  current  films" 
among  the  reasons  for  National  Theatres' 
excellent  report  for  the  quarterly  period 
ending  Dec.  25,  1956.  Net  income  of  the 
company  and  subsidiaries  amounted  to 
$572,913,  or  21  cents  per  share  as  com- 
pared with  $203,053—7  cents  per  share— 
for  the  corresponding  quarter.  This  rise 
is  noteworthy,  Rhoden  declared,  because 
theatres  faced  "the  full  impact  of  the  re- 
lease of  major  film  companies'  hit  pictures 
to  television". 


PEPPERCORN 


CARL  PEPPERCORN,  industry  sales 
veteran,  was  named  vice  president  in 
charge  of  sales  of  Continental  Distribut- 
ing, a  subsidiary  of  Walter  Reade  Thea- 
tres. Announcement  was  made  by  Conti- 
nental president  Frank  Kassler  and  board 
chairman  Walter  Reade,  Jr. 

0 

PHILIP  F.  HARLING.  Fabian  Theatres 
executive,  has  been  appointed  co-chair- 
man of  TOA's  Joint  Committee  on  Toll 
TV,  replacing  the  late  Alfred  Starr.  Had- 
ing has  served  the  committee  as  secre- 
tary-treasurer since  it  was  formed.  He  is 
assistant  treasurer  of  TOA  and  a  director 
of  the  Metropolitan  Theatres  Ass'n.  True- 
man  Rembusch  of  Allied  is  the  other  co- 
chairman  of  the  Anti-Toll-TV  group. 

o 

STEVE  BROIDY  gave  Allied  Artists' 
stockholders  a  red-inked  financial  report 
for  the  26-week  period  ending  Dec.  29, 
1956.  Though  gross  income  was  up  from 
the  corresponding  period — $8,662,686  this 
year  compared  with  $8,160,763  last  year — 
net  loss  amounted  to  $452,000  compared 
to  a  net  profit  of  $183,708  of  the  com- 
parable period.  Not  included  in  the  re- 
port by  the  AA  president  were  receipts 
on  "Friendly  Persuasion"  which,  he 
stated,  is  "tentatively  being  amortized  on 
a  cost  recovery  basis". 


WB  BUY   FBI  STORY" 

Jack  I.,  limner  and  FBI  topper  J.  Edgar 
Hoover  shah'  over  the  purchase  by  Warner 
Brothers  of  film  rights  to  "The  FBI  Story", 
best-seller  by  ace  journalist  Don  Whitehead. 


HEADLINERS... 


FRANK  H.  RICKETSON.  JR.,  Nation- 
al Theatres  g.  mgr.,  serves  as  exhibitor 
chairman  of  National  Brotherhood  week, 
Feb.  17-24.  His  co-chairmen:  SHER- 
RILL  C.  CORWIN,  WILLIAM  FOR- 
MAN,  EVERT  R.  CUMMINGS... 
DAVID  GOLDING,  advertising  &  pub- 
licity v. p.  of  Hecht,  Hill  &  Lancaster,  a 
recent  New  York  visitor  for  discussions 
with  UA  home  office  execs  on  upcoming 
"The  Bachelor  Party" .  .  .  UA's  San 
Francisco,  New  Orleans  and  St.  John 
branches  winners  of  2nd  lap  of  Jim  Velde 
Sales  Drive,  according  to  co-captains 
WILLIAM  J.  HEINEM AN  &  MAX  E. 
YOUNGSTEIN...  Variety  Club  Inter- 
antional  Convention  scheduled  for  April 
3-6  in  New  Orleans  .  .  .  Convention  of 
Texas  Drive-In  Theatre  Owners  Assn.  set 
for  Feb.  25-27  in  Dallas,  president 
EDDIE  JOSEPH  presiding ...  DAR- 
RYL  F.  ZANUCK  elected  a  member  of 


Allied  of  III.  pres.  Jack  Kirsrh.  r..  retiring 
chief  barker  of  III.    Variety   Club    Tent  26. 
greets  new  pres.  Lou  Reinheimer. 

the  board  of  directors,  20th  Century-Fox, 
and  a  member  of  the  company's  finance 
committee.  Former  Fox  studio  chief  is 
now  independent  producer  with  that  com- 
pany ...  $75,000  is  goal  set  by  SAMUEL 
RINZLER,  exhibitor  chairman  of  indus- 
try's Brotherhood  Drive  for  New  York 
area...  MARK  STONE  appointed  to 
new  post  of  business  manager  for  War- 
ner Bros,  advertising  and  publicity  depts. 
by  vice  president  ROBERT  S.  TAPLIN- 
GER  . . .  JOHN  SPRINGER  named  na- 
tional magazine  contact  at  20th-Fox  . .  . 
ROBERT  BOEHNEL,  member  of 
RKO's  publicity  dept.  for  18  years,  now 
at  work  on  special  exploitation  unit  for 
Warners'  "Spirit  of  St.  Louis",  headed  by 
HERBERT  PICKMAN  ...  United  Ar- 
tists vice  president  ARNOLD  M.  PICK- 


German  star  0.   W.  Fischer.  L,  meets  June 
Allyson,  U-I  bd.  chairman  X.  J.  Blumberg  & 
U-I  production   head  Ed.  Muhl.    Stars  will 
make  "My  Man  Godfrey". 

ER  currently  touring  company  offices  in 
the  Far  East  to  discuss  promotional  and 
distribution  plans  . . .  Former  Columbia 
production  head  JERRY  WALD  at  work 
on  first  picture  for  Fox,  "Love  Affair" 
. . .  March  24-May  4  designated  "Spyros 
P.  Skouras  15th  Anniversary  Celebra- 
tion". Fox  division  managers  C.  GLENN 
NORRIS,  MARTIN  MOSKOWITZ, 
HERMAN  WOBBER  &  HARRY  G. 
BALLANCE  will  supervise  testimonial 
program  .  .  .  SAM  ROTH,  retiring  after 
30  years  as  manager  of  Stanley  Warner's 
Baker  Theatre  in  Dover,  N.  J.,  honored  at 
dinner  given  by  S-W  Newark  zone  home 
office  .  .  .  National  Film  Service  will  phy- 
sically handle  all  films  produced  or  re- 
leased by  Artists-Producers  Associates 
according  to  A-P  president  A.  W.  SCH- 
WALBERG  and  NFS  president  JAMES 
P.  CLARK. 


Film  BULLETIN    February  18,  1957        Page  7 


PATTERNS  OF  PATRDNAIil! 
in 


CxctuMt  $L  BULLETIN  feature 


Bringing  Back  The  Women 


By  LEONARD  SPINRAD 
In  the  lush  years  when  more  than  80,000,000  tickets  to 
the  movies  were  sold  each  week  in  the  United  States,  it 
was  commonly  accepted  that  more  women  than  men  were 
customers.  A  so-called  woman's  picture  was  considered  a 
pretty  safe  investment.  It  was  also  axiomatic  that  when  a 
couple  went  to  the  movies  the  lady  did  the  choosing. 

There  were  more  men  than  women  in  the  United  States 
at  that  time.  Today  the  ladies  outnumber  the  gents,  par- 
ticularly between  the  ages  of  18  and  64.  In  the  ordinary 
course  of  events,  therefore,  the  predominance  of  distaff 
patrons  should  now  be  greater  than  ever  in  the  average 
movie  audience. 

Something  has  happened  to  female  moviegoing,  how- 
ever. As  motion  picture  attendance  has  been  declining 
from  its  onetime  peak,  the  proportion  of  women  in  the 
audience  has  been  plummeting  even  more.  The  ratio  of 
men  to  women  watching  theatre  motion  pictures  is  cur- 
rently estimated  at  60-40. 

If  this  proportion  had  been  registered  at  a  time  when 
motion  picture  theatres  were  all  playing  to  capacity,  it 
would  be  little  cause  for  concern;  but  at  a  time  when  the 
national  audience  is  smaller  than  it  should  be,  the  disen- 
chantment of  our  former  favorite  patrons  is  a  serious 
matter  indeed. 

Now  there  may  be  profound  sociological  and  psycho- 
logical implications  in  the  decline  of  the  female  moviegoer. 
Such  implications  are  not  within  our  immediate  ken.  If 
mama  no  longer  picks  the  pictures  for  papa,  that  is  papa's 
triumph,  not  ours.  If  ladies  are  staying  home  more  than 
they  used  to,  let  the  sociologists  do  the  interpreting.  But, 
by  the  same  token,  let's  not  regard  our  female  patronage 


problem  as  something  we  had  no  part  in  making.  It  didn't 
jusc  happen. 

The  unpredictability  of  the  human  female  is  a  standing 
gag  for  the  wits  of  the  airwaves  and  the  comic  strips;  but 
observers  of  the  potential  female  moviegoer  have  been 
compiling  a  pretty  high  batting  average  with  their  pre- 
dictions. 

Mrs.  M.  Henry  Dawson  deals  with  women's  groups  on 
behalf  of  the  Motion  Picture  Association  of  America.  As 
far  back  as  1950,  Marjorie  Dawson  was  advising  the  vari- 
ous companies  to  pay  more  attention  to  feminine  tastes  in 
their  advertising.  In  their  zeal  to  attract  more  male  pa- 
trons, they  sometimes  were  taking  sales  angles  that  not 
only  didn't  appeal  to  the  ladies,  but  even  antagonized  them. 
She  cited  a  picture  with  a  "Captains  Courageous"  type  of 
plot,  about  a  little  rich  boy  tenderfoot  in  the  West  whose 
story  she  felt  had  a  strong  attraction  for  women;  but  the 
potentially  large  feminine  audience  never  knew  it  was  this 
kind  of  picture,  because  it  was  sold  as  a  straight  western. 


WHAT   KIND  OF  ADS  SELL  WOMEN? 


Other  advisers  have  matched  Mrs.  Dawson's  comments 
about  the  effect  of  some  movie  advertising  on  the  female 
audience.  The  rough,  tough  aura  given  to  various  pictures 
in  their  ads  has  been  regarded  as  a  minus  factor  for  the 
ladies.  The  emphasis  in  pseudo-science  or  on  the  sexy 
"other  woman"  has  been  no  come-hither  for  the  skirted 
contingent. 

Bear  in  mind,  at  this  point,  that  the  dicta  mentioned 
here  do  not  criticize  the  content  of  the  pictures  (a  matter 
dealt  with  later  in  our  discussion).  We  are  talking  here 
and  now  about  the  sales  pitch.  And  we  are  not  discussing 
the  accuracy  of  the  advertising  in  relation  to  the  picture  it 
advertises.  The  question  is  merely  one  of  editorial  judg- 
ment as  to  what  portion  of  the  picture  is  the  most  sales- 
worthy. 

Male  and  female  tastes  continue  to  differ.  It  is  therefore 
necessary  for  the  motion  picture  company  to  find  common 
denominators  or  attack  each  half  of  the  split  market  sepa- 
rately. Let  us  consider  first  the  split  market  approach. 

The  vendors  of  automobiles  utilize  two  approaches  in 

(Continued  on  Page  10 J 


Film  BULLETIN    February  18.  1957        Page  9 


BRINGING  BACK  THE  WUMEN 

4  ondil i o#i  oi  Theatre*  Picture*  AdvMg  Are  AH  Factors 


(Continued  from  Pane  9) 

their  advertising.  To  the  ladies,  they  are  apt  to  present  a 
picture  of  how  much  prestige,  comfort  and  family  fun  their 
autos  will  bring.  For  the  males,  they  lean  more  to  the  idea 
that  a  new  car  is  a  mechanical  marvel  of  captive  power. 
This  obviously  is  a  split  market  approach,  selling  one  prod- 
uct with  two  different  spiels  to  two  different  people. 

It  is  only  within  the  very  recent  past  that  the  motion 
picture  advertisers  have  become  at  all  adjusted  to  this  dual 
sell.  All  along,  of  course,  there  have  been  female-oriented 
ads  especially  designed  for  the  fan  magazines.  But  these 
have  been  aimed  at  the  female  fan,  not  the  female  general- 
ly. There  has  been  relatively  little  ladies'  advertising  in 
the  newspapers  or  on  television;  instead  the  men's  ads 
have  dominated  these  media.  There  seems  to  have  been  an 
impression  in  some  movie  advertising  circles  that  women 
only  read  women's  magazines,  but  men  read  everything. 

There  also  seems  to  be  an  impression  that  general  wom- 
en's magazines  are  to  be  judged  by  the  same  penetration 
standards  as  a  picture  weekly  or  a  Sunday  supplement,  al- 
though feminine  periodicals  are  generally  committed  to  a 
service  concept  far  beyond  that  of  mixed  publications. 

But  even  where  brilliant  advertising  has  taken  full  ad- 
vantage of  all  the  media  and  all  the  special  angles  on  be- 
half of  a  movie — and  this  happens  more  often  than  an  out- 
sider might  suppose — there  are  other  obstacles  in  the  path 
of  consistently  strong  feminine  patronage  for  the  motion 
picture  theatre. 

One  such  obstacle  is  apt  to  be  the  theatre  itself.  Dilapi- 
dated houses  don't  attract  anybody;  but  even  a  modern, 
well-built  theatre  can  discourage  feminine  patronage  if  the 
seats  and  the  floor  are  not  kept  clean,  or  the  occasional 


hoodlum  is  not  dealt  with  promptly  and  vigorously.  A 
dirty  rest  room  can  be  more  disastrous  than  a  bad  picture. 
These  are  factors  which  must  not  be  ignored  in  consider- 
ing the  movies'  appeal  to  the  ladies. 

The  right  kind  of  movies  for  women  today,  in  the  opinion 
of  observers  of  distaff  tastes,  are  not  what  the  motion  pic- 
ture business  is  so  accustomed  to  regard  as  the  classic 
"women's  pictures,"  offerings  such  as  "Stella  Dallas"  or 
"Madame  X."  Men  are  not  the  only  ones  today  who  want 
more  meat  in  their  entertainment.  Emotion  without  corn 
is  the  formula  proposed  by  one  lady  industryite. 


It  is  obviously  difficult  to  pinpoint  the  kind  of  subject 
matter  that  fills  the  bill ;  producers  maintain  story  depart- 
ments to  glean  a  handful  of  suitable  properties  from  the 
annual  mountain  of  material  and  we  offer  no  easy  substi- 
tute for  this  effort.  But  a  helpful  guide  to  female  tastes 
can  be  found  in  the  stars  women  like. 

Women  used  to  be  the  most  loyal  of  movie  fans  for  the 
particular  stars  they  favored.  Except  for  the  phenomenon 
of  Elvis  Presley,  which  is  something  else  again,  the  wom- 
en's stars  are  not  on  the  horizon. 

Who  are  women's  stars?  Despite  what  the  industry 
seems  to  think,  women's  long-term  favorite  stars  are  not 
the  matinee  idols.  The  women's  stars  are  likely  to  be 
women  themselves. 

Joan  Crawford  has  been  a  woman's  star,  ever  since  she 
began  playing  well  groomed,  well  clothed,  well  spoken  but 
terribly  harassed  females  on  the  screen.  Jane  Wyman  in 
her  more  recent  stardom  has  had  the  same  feminine  fol- 
lowing. It  was  also  true  of  Loretta  Young  and  Deborah 
Kerr  has  had  it  too. 


TOO   FEW  FEMALE  STARS 


This  is  not  to  minimize  the  female  appeal  of  the  Rock 
Hudsons  and  Marlon  Brandos,  by  any  means.  But  the  fact 
is  that  in  the  past  ten  years,  during  the  period  when  men 
have  become  the  majority  audience,  almost  three  times 
more  male  stars  than  female  luminaries  have  come  upon 
the  Hollywood  scene.  The  women  in  the  audiences  have 
less  stellar  women  on  the  screen  to  be  loyal  to. 

Slightly  more  than  a  year  ago,  the  author  of  this  article 
made  an  exhaustive  research  study  for  a  leading  motion 
picture  company  to  find  some  sort  of  pattern  among  the 
actors  and  actresses  who  had  become  movie  stars  in  the 
decade  to  1955.  This  investigation  covered  only  movie 
stars,  not  stars  from  television  or  the  stage  who  came  to 
the  movies  with  prefabricated  top  billing. 

Sex  appeal  was  the  prime  attribute  of  only  one  out  of  six 
of  the  feminine  stars.  Far  more  important  was  the  impact 
of  strong,  recognizable  personalities.  Grace  Kelly,  if  she 
had  to  be  characterized  with  a  single  adjective,  would  un- 
doubtedly be  termed  ladylike,  even  though  some  of  her 
movie  roles  were  as  full  of  sex  as  anybody  else's.  Doris 
Day  and  Audrey  Hepburn  would  not  be  termed  sexy  above 
everything  else  either,  even  though  they  have  both  scored 
notable  successes.  And  of  late  Marilyn  Monroe  has  come 
to  be  accepted  as  an  adept  portrayer  of  hapless  females, 
rather  than  of  just  exaggerated  sexy  dames. 

There  is  no  doubt  that  a  sexy  girl  like  Jayne  Mansfield 
or  Anita  Ekberg  has  certain  strong  advantages  in  the  pur- 
suit of  movie  stardom.  Her  picture  appears  to  full  advan- 
tage in  the  newspapers;  she  becomes  recognizable  to  the 
public,  male  and  female.  Males  with  an  appreciation  of  the 
female  form  are  not  too  hard  to  entice  inside  the  theatre  to 
see  her  films. 

But,  judging  by  past  performance,  this  only  brings  her 


Page  10       Film  BULLETIN    February  18,  1957 


BRINGING  BACK  THE  WOMEN 


Thvy  I  suttlltj  i  t> ut ii> I  Family's  ?#oi vie-going 


to  the  fundamental  challenge  of  her  motion  picture  career. 
She  must  now  become  something  more  than  just  a  sex 
votary.  She  must  become  a  reasonable  personality,  accept- 
able to  both  men  and  women.  She  can  be  the  public's 
epitome  of  glamor  in  clothes  and  manner,  or  the  image  of 
the  problems  that  trouble  the  average  woman,  or  every- 
body's (women's  as  well  as  men's)  pure  little  darling;  but 
she  must  be  reasonably  acceptable  to  women. 

Most  of  our  concern  about  the  declining  feminine  attend- 
ance at  the  movies,  a  decrease  of  some  63%  in  women's 
patronage  since  1940  according  to  one  reliable  estimate,  is 
based  on  the  entirely  too  conservative  theory  that  each 
woman  represents  only  one  admission  ticket  at  a  time.  On 
such  a  basis  the  decline  is  bad  enough;  but  how  much 
worse  it  appears  when  we  take  into  account  the  influence 
of  a  woman  upon  the  sale  of  tickets  to  other  members  of 
her  family. 

When  women  stop  going  to  the  movies,  their  young  chil- 
dren are  apt  to  stop,  or  at  least  to  cut  down  their  movie- 
goings,  too.  When  women  are  disinterested  in  attending 
the  local  motion  picture  theatre,  their  husbands  find  vari- 
ous other  forms  of  family  evening  relaxation  for  them. 

This  does  not  imply  a  matriarchy  or  a  hen-pecked  pub- 
lic. Men  have  the  same  sort  of  influence,  in  varying  de- 
gree, on  their  families  and  on  their  womenfolk.  Neither 
sex,  nor  any  age  group,  lives  in  a  vacuum. 

So  the  continuing  weakness  of  feminine  attendance  at 
the  movies  becomes  an  important  factor  for  the  future. 
Ways  must  be  found  to  tear  down  the  wall  that  is  shutting 


out  the  feminine  audience.  If  99  out  of  100  pictures  fail  to 
attract  Mrs.  X,  she  soon  begins  to  feel  that  the  movies  gen- 
erally are  not  for  her  any  more.  On  the  other  hand,  if  she 
is  interested  in  seeing  this  week's  picture,  and  next  week's 
and  the  week  after  that,  she  is  likely  to  retain  her  desire  to 
go  to  the  theatre  regularly  thereafter. 

The  greatest  crop  of  children  in  the  history  of  our  nation 
is  being  introduced  to  modern  American  life  by  fond 
mothers  these  days.  It  is  of  course  to  be  hoped  that  thea- 
tre motion  pictures  will  be  among  the  items  passed  on  to 
the  youngsters  by  their  parents.  But  the  parents  will,  at 
best,  only  reflect  their  own  interest. 

Perhaps  it  should  be  emphasized  that  women  come  in 
the  usual  variety  of  shapes,  colors,  likes  and  dislikes.  There 
never  was  a  picture  made  which  appealed  to  all  women, 
any  more  than  there  ever  was  a  woman  who  appealed  to  all 
men.   But  most  women,  whatever  their  particular  dispo- 


sitions and  opinions,  are  inclined  to  share  certain  primal 
emotions. 

This  is  usually  truer  of  what  human  beings  don't  like 
than  of  what  they  do  like.  A  film  lady,  for  instance,  in  dis- 
cussing the  comparative  attitudes  of  the  two  genders,  com- 
mented that  "In  the  movies  men  like  sex,  but  women  like 
romance."  There  is  certainly  a  very  real  difference.  And 
it  is  this  difference  which  must  be  bridged  with  a  common 
— or  perhaps  uncommon — denominator. 

We  have  looked  at  the  split  market  approach  in  adver- 
tising, where  it  can  be  very  effective.  In  the  actual  content 
of  the  motion  pictures,  however,  it  is  much  wiser  com- 
mercially these  days  to  seek  to  please  both  men  and  wom- 
en than  to  rely  on  appeal  for  one  sex  alone.  Hence  the 
denominator. 


BIG  GROSSERS  HAVE  SEX  APPEAL 


Look  at  the  big  grossers  of  all  time — "Gone  With  the 
wind,"  "The  Robe,"  "The  Greatest  Show  on  Earth,"  "From 
Here  to  Eternity."  There  was  sex  appeal  in  each  of  them, 
but  there  was  also  a  good  deal  more  to  the  story. 

"The  King  and  I"  was  basically  a  woman's  picture,  but 
its  setting  and  bizarre  male  lead  were  also  carefully 
oriented  so  that  the  male  public  would  not  feel  left  out. 
This  wasn't  just  a  matter  of  publicizing  the  beauty  of  the 
king's  harem ;  it  involved  making  sure  that  the  male  part 
was  not  subordinated  and  that  the  male  audience  had  a 
pretty  good  idea  beforehand  as  to  what  was  going  to  be 
seen.  The  movie  companies  never  forget  the  men. 

Perhaps  the  most  recent  testimonial  to  the  male  orienta- 
tion has  been  the  stepped  up  pace  of  production  of  program 
pictures — the  action  dramas,  melodramas  and  westerns 
which  find  their  patronage  mainly  among  men.  Made  on 
small  budgets,  these  pictures  show  a  profit  often  enough 
to  encourage  more  of  the  same  kind  of  film  fare.  But  mean- 
while the  ladies  do  something  else  instead  of  going  to  the 
movies.  And  it  isn't  only  the  second  features  which  pass 
our  ladies  by. 

One  of  the  headaches  visited  upon  the  merchandisers  of 
motion  pictures  is  the  decision,  made  after  a  man's  film  is 
completed,  that  something  must  now  be  done  to  sell  the 
picture  to  women.  The  trouble  here  is  that  when  the  selling 
succeeds  women  are  inclined  to  feel  they  have  been  misled. 
You  can't  sell  a  masculine  picture  on  the  basis  of  one  scene 
of  feminine  interest,  and  then  expect  the  women  to  be 
happy  when  the  film  turns  out  to  be  entirely  different  than 
what  they  expected.  There  may  be  box  office  success  for 
one  film  under  such  circumstances,  but  it  just  makes  the 
selling  job  harder  the  next  time  you  have  something  for 
the  ladies. 

We  have  long  since  agreed  in  this  country  that  women 
are  people.  It  now  remains  for  the  motion  picture  industry 
to  exploit  the  other  side  of  the  coin  and  take  advantage  of 
the  fact  that  people  in  the  United  States,  more  often  than 
not,  are  women. 


Film  BULLETIN     February  18,   1957        Page  11 


FINANCIAL 

BULLETIN 

FEBRUARY      18,  1957 

By  Philip  R.  Ward 


ONE-MAN  (CORPORATE)  GANGS.  In  a  very  real 
sense,  many  of  Hollywood's  corporate  entities  are  not  cor- 
porations at  all.  They  fall  short  of  the  corporate  definition 
in  spirit,  structure  and  overall  organizational  purpose. 
When  internal  revenue  comes  calling,  however,  they  be- 
come quite  smartly  and  properly  corporate. 

What  these  unique  business  organisms  really  amount  to 
are  one  man  proprietorships  striking  a  corporate  pose.  And 
since  play-acting  is  called  for,  it  is  quite  in  order  that  those 
who  use  the  ruse  most  widely  are  themselves  play-actors. 
Performers  who  once  regarded  a  sinking  fund  as  some- 
thing cast  off  a  Spanish  galleon  nowadays  discourse  learn- 
edly on  limited  liability  and  preside  over  directors'  meet- 
ings with  all  the  aplomb  of  a  Benjamin  Fairless. 

This  plunge  into  the  high  seas  of  commerce  began  a 
mere  two  years  ago  when  a  revision  in  the  tax  code  gave  a 
few  bright  accountants  the  notion  that  their  artistic  clients 
might  prosper  prodigously  in  doing  a  solo  in  entrepreneur- 
ship.  "Incorporate  yourself,"  screamed  the  crafty  CPAs 
to  the  $100,000-and-upward  clients.  "Dumbkopf,  why  deny 
yourself  the  better  things  in  life?  You  pay  91%.  Why  not 
become  a  boss  and  pay  40%,  45%,  52%  tops!" 

There  was  no  compromising  this  logic.  There  is  quite  a 
gap  in  the  take-home  swag  between  a  potential  personal 
income  tax  of  91%  and  the  corporate  ceiling  of  52%.  With 
the  seeds  of  uprising  thus  planted,  many  of  Hollywood's 
best  paid  bondsmen  shucked  off  the  yoke  of  their  capitalis- 
tic oppressors,  the  major  film  companies,  and  went  into 
business  for  themselves.  As  in  most  fairy  tales  there  were 
soon  bountiful  blessings  for  all — CPAs  not  excepted. 

0 

It  is  now  two  years  later,  and  enter  the  villian,  a  tax  code 
analyst  employed  by  the  Department  of  Treasury,  earning, 
perhaps,  $5,700  a  year.  He  is  a  bright  boy,  too.  From  his 
seat  of  detachment  far  from  the  jumbled  economics  of  film- 
dom  employment,  the  aroma  of  the  one-man  corporation 
smells  like  a  tax  dodge.  His  superiors  agree.  A  tentative 
ruling  is  handed  down.  Self-incorporation  is  an  evasion 
and  income  from  such  operations  shall  be  subject  to  in- 
dividual income  taxation.  What  is  more,  collections  shall 
be  retroactive  to  the  time  of  incorporation. 

An  angry  yelp  has  gone  up  from  corporate-proprietors 
in  all  phases  of  amusement.  The  Treasury  Department  is 
now  studying  the  appeals  and  conferring  on  a  final  decree. 
The  odds  say  it  will  give  the  one-man  venture  the  back  of 
its  hand.  Hollywood's  glamourpusses  can  play  the  cor- 
poration bit  to  their  hearts  content,  but  they'll  be  taxed  as 
individuals.  The  retroactive  feature  may  be  quashed,  how- 
ever, for  it  is  unjustly  confiscatory  and  could  put  many  a 
personality  in  hock  up  to  his  gullet. 


The  entire  issue  has  been  one  of  tax  code  interpretation. 
The  code  was  not  specific.  The  CPAs  simply  misinter- 
preted. 

0 

As  for  sympathy,  practitioners  of  the  one-man  set-up  will 
get  little  from  outside  their  industry.  Typical  of  sentiment 
on  this  subject  is  the  comment  of  Donald  L.  Rogers,  finan- 
cial editor  of  the  New  York  Herald  Tribune :  "In  fairness, 
it  is  hard  to  see  why  there  should  be  any  group  of  indi- 
viduals in  America  receiving  special  tax  consideration. 
Even  paying  the  big  slice  in  taxes  required  of  a  non-incor- 
porated individual,  most  stars  would  be  able  to  live  better 
and  save  more  than  most  other  Americans. 

"Carried  to  an  extreme,  there  is  no  reason  why  Harlow 
Curtice  couldn't  incorporate  and  let  the  Harlow  Curtice 
Corp.  contract  his  services  as  president  of  General  Motors. 
He'd  save  a  great  deal  of  money  that  way." 

It  is  unbecoming  for  Mr.  Rogers  to  cite  Harlow  Curtice 
in  his  illustration.  This  corner  is  no  champion  of  the  solo 
corporate  shop,  but  fair  play  demands  a  rebuttal  on  one  or 
two  points. 

In  the  first  place  Mr.  Curtice's  talents  can  command  a 
relatively  stable  price  year  in  year  out  barring  physical  or 
mental  impairment.  Advancing  age  is  his  sole  problem. 
Mr.  Curtice's  face,  voice  or  comportment  is  not  subject  to 
the  whims,  fashions  and  modes  of  a  fickle  marketplace. 
Perhaps  his  automobiles  are,  but  not  Mr.  Curtice.  The 
GM  President  may  retool,  restyle  his  line  and  bring  a  new 
look  to  his  cars.  John  Wayne  remains  John  Wayne,  for 
better  or  worse.  Many  big  corporation  executives  are  still 
high-salaried  at  age  60;  few  stars  are. 

Nor  let  it  be  said  movie  artists  are  not  deserving  of 
special  consideration.  Producers  of  natural  resources  take 
liberal  depletion  allowances.  Industry  at  large  writes  off 
depreciation.  The  theory  behind  these  benefits  is  to  com- 
pensate a  firm  for  the  decline  in  its  assets.  The  government 
refuses  to  view  the  unique  talents  (or  personalities)  of  ar- 
tists as  depreciable  items.  It  seems  to  say  by  its  position 
that  the  human  factor  is  more  endurable  than  the  machine. 
This  may  be  true  in  some  industries,  but  not  in  entertain- 
ment. Personalities,  at  best,  enjoy  a  limited  saleability. 
They  should  be  allowed  to  make  hay  in  the  few  years  in 
which  their  wares  can  command  a  price. 

But  overriding  every  other  aspect  is  the  fact  that  one- 
man  corporations,  regardless  of  the  motives  behind  them, 
are  still  risk-taking  ventures.  Losses  may  be  taken  as  well 
as  profits.  This  is  not  true  of  ordinary  employment.  On 
this  count  alone,  Hollywood's  corporate-proprietors  rate 
a  break. 


Page  12       Film  BULLETIN    February  18,  1957 


Movies  Topping  TV -Value  Line 


THEATRES  NDT  HURT 

BY  HOME  SHOWINGS 

OF  OLD  FEATURES 
■ 

TEXT  OF  VALUE  LINE  ANALYSIS 

A  larger  supply  of  quality  pictures  has  initiated  an  en- 
couraging uptrend  in  movie  attendance.  This  has  taken 
place  despite  increasing  releases  of  old  films  to  television. 
Prospects  for  the  new  year  are  bright.  Still  more  promis- 
ing features  will  be  forthcoming.  Recent  elimination  of 
the  10%  excise  tax  on  some  admissions  is  expected  to  pro- 
vide a  further  boost  to  industry  revenues.  Earnings  of 
many  movie  companies  will  also  be  augmented  by  income 
from  new  sources  ...  In  most  cases,  the  current  better- 
than-average  dividends  seem  well  protected ;  a  few  may 
even  be  increased.  Undervalued  relative  to  this  year's 
earnings  and  dividends,  many  movie  stocks  offer  interest- 
ing 3-  to  5-year  appreciation  potentiality  as  well. 

The  motion  picture  industry's  1956  experience  may  be 
regarded  as  both  disappointing  and  encouraging.  Disap- 
pointing because  despite  earlier  high  hopes,  earnings  of 
most  movie  companies  turned  out  relatively  poor  during 
most  of  the  year.  For  the  most  part,  however,  these  un- 
satisfactory results  deflected  reduced  boxoffice  receipts  in 
the  first  half.  Although  major  studios  released  nearly  10% 
more  feature  films  in  1956,  the  bulk  of  them  were  not  dis- 
tributed until  after  mid-year.  This  shortage  of  products, 
coupled  with  poor  weather  conditions  in  the  greater  part  of 
the  nation  during  the  important  weeks  immediately  before 
Easter,  sent  theatre  attendance  down  to  a  new  low.  Since 
many  of  the  motion  picture  companies  closed  their  1956 
fiscal  years  on  September  30th  or  earlier,  they  could  not 
avoid  showing  reduced  operating  profits  in  their  annual 
reports. 

While  many  observers,  looking  at  the  dismal  results  of 
the  first  half,  were  ready  to  prophesy  the  doom  of  Holly- 
wood, signs  of  encouragement  began  to  appear  by  mid- 
year. In  response  to  a  healthier  flow  of  quality  pictures 
from  producers,  theatre  admissions  started  a  rapid  uptrend. 
So  persistent  was  the  ascent  that  by  the  end  of  July,  week- 
ly attendance  reached  the  highest  level  in  10  years.  Since 
then,  it  has  generally  continued  to  show  favorable  year-to- 
year  comparisons.  Pres.  S.  H.  Fabian  of  Stanley  Warner 
recently  disclosed  that  box-office  receipts  from  that  com- 
pany's theatre  circuit  in  the  week  ended  January  5th  were 
the  highest  for  any  one  week  in  the  company's  history. 


"Prospects  for  the  new  year  are  bright",  according 
to  most  recent  Value  Line  analysis  of  the  motion  pic- 
ture industry.  "Several  favorable  factors  combine  to 
suggest  that  a  significant  recovery  in  profits  is  more 
than  mere  wishful  thinking",  declares  the  investment 
survey  sheet  published  by  Arnold  Bernhard  &  Co. 
These  include  stepped-up  studio  output,  elimination  of 
the  admissions  tax  up  to  91c,  augmented  studio  reve- 
nue from  television,  and  the  sale  or  conversion  by  ma- 
jor theatre  companies  of  unproductive  properties. 
Further,  the  survey  finds  that  the  increasing  number  of 
pre- 1 948  films  on  TV  have  not  curtailed  theatre  at- 
tendance, as  expected.  Rather,  "it  is  the  major  tele- 
vision broadcasting  networks  that  have  been  adverse- 
ly affected".  In  fact,  says  Value  Line,  "it  appears  that 
Hollywood  has  been  gaining  an  upper  hand"  in  its 
fight  with  TV.  Two  economic  factors  are  seen  favor- 
able to  the  movie  future:  (  I  )  America  will  have  more 
time  and  money  for  entertainment,  and  (2)  the  indus- 
try's important  customer  group,  the  15-  to  24-year- 
olds,  will  increase.  But,  warns  V-L  in  conclusion:  "The 
fortunes  of  the  motion  picture  industry  will  continue  to 
depend  on  the  quality  of  its  products  and  the  ability 
of  its  publicity  agents  to  whet  the  public's  appetite". 


Likewise,  a  survey  conducted  by  Twentieth  Century-Fox 
indicated  that  during  the  first  few  weeks  of  this  year,  thea- 
tre attendance  was  some  20%  higher  than  the  year  earlier 
level. 

TV  Movies  vs.  Theatres 

It  is  interesting  to  note  that  the  upsurge  in  theatre  at- 
tendance has  taken  place  at  a  time  when  an  increasing 
number  of  pre-1948  feature  films  are  being  released 
through  television.  For  many  years,  exhibitors  had  feared 
(and  some  still  do)  that  licensing  of  old  movies  for  tele- 
casting would  deal  a  devastating  blow  to  the  theatre  busi- 
ness. Film  producers  therefore  refrained  from  using  tele- 
vision as  an  outlet  for  their  products.  But  after  RKO  Pic- 
cures  sold  its  library  to  a  television  film  distributor  in  1955 
and  Warner  Bros,  released  its  pre-1948  features  early  last 
year,  the  flood-gate  was  thrown  open.  By  Fall,  it  was  esti- 
mated that  an  average  television  set  in  the  U.  S.  was  pre- 
senting as  much  as  20  hours  of  old  movies  a  week  on  its 
screen.  Strangely  enough,  the  movie  theatres  have  not 
been  hurt  by  the  showing  of  Hollywood  films  on  TV. 
Rather,  it  is  the  major  television  broadcasting  networks 

(Continued  on  Page  14 J 


Film  BULLETIN     February  18.   1957        Page  13 


VALUE  LINE  ANALYSIS 

!#«#•«'  Protlurt.  Tax  Cuts  To  Boost  industry's  SSt>rt>mn> 


(Continued  from  Page  13) 

that  have  been  adversely  affected.  From  city  to  city,  net- 
work-affiliated stations  have  been  losing  a  portion  of  their 
audience  to  competing  stations  telecasting  the  old  Holly- 
wood flickers.  Indeed,  with  most  Hollywood  studios  also 
taking  over  the  production  of  filmed  series  especially 
tailored  for  TV,  many  industry  observers  now  suspect  that 
the  television  industry  is  finally  submitting  to  Hollywood. 
(Speaking  at  a  meeting  of  NBC  affiliates,  Chairman  David 
Sarnoff  of  Radio  Corp.  recently  listed  the  torrent  of  films 
pouring  into  the  television  industry  from  Hollywood  as 
one  of  the  major  problems  of  the  broadcasting  networks.) 

Improvements  in  Profits  Likely 

In  sharp  contrast  to  the  general  economy,  which  appears 
to  be  gradually  weakening,  the  motion  picture  industry,  we 
believe,  will  enjoy  a  more  prosperous  year  in  1957.  Several 
favorable  factors  combine  to  suggest  that  a  significant  re- 
covery in  profits  is  more  than  mere  wishful  thinking: 

(1)  Apparently  hearkening  to  the  warm  box-office  recep- 
tion accorded  to  their  recent  releases  and  believing  that 
their  new  productions  will  eventually  generate  additional 
income  from  television,  most  studios  are  planning  to  step 
up  their  output  considerably  this  year.  To  be  sure,  War- 
ner Bros,  and  at  least  two  smaller  producers  are  expected 
to  release  fewer  pictures  in  1957  because  for  various  in- 
ternal reasons  their  production  activities  were  greatly  cur- 
tailed last  year.  But  the  decline  in  their  output  is  expected 
to  be  far  more  than  offset  by  the  substantial  increases 
scheduled  by  other  major  producers  as  well  as  the  inde- 
pendents. For  example,  Twentieth  Century-Fox  recently 
announced  that  during  the  first  6  months  of  1957,  it  would 
release  at  least  26  attractions.  This  would  represent  the 
largest  6-month  product  lineup  in  over  10  years.  In  the 
entire  year  of  1956,  the  company  turned  out  only  32  fea- 
tures. If  the  recent  favorable  trend  in  theatre  attendance 
is  any  indication  that  the  American  public  is  gradually  re- 
acquiring the  theatre-going  habit,  this  indicated  larger 
flow  of  quality  productions  from  Hollywood  will  probably 
be  translated  into  higher  box  office  recepits. 

(2)  Even  without  any  gain  in  theatre  attendance,  indus- 
try revenues  would  be  expected  to  show  an  important  ex- 
pansion due  to  a  recent  change  in  the  federal  tax  law.  Be- 
ginning last  Sept.  1st,  all  theatre  admissions  under  91c 
have  been  exempted  from  the  10%  federal  excise  tax.  Pre- 
viously, only  those  admissions  TOc  or  under  had  been  tax- 
free.  In  passing  the  tax  relief  bill,  it  was  the  intention  of 
the  Congress  to  aid  the  motion  picture  industry;  hence, 
virtually  all  theatres  have  been  retaining  the  tax  savings. 
A  large  number  of  theatres  in  this  country  had  been  charg- 
ing admissions  ranging  from  51c  to  90c.  If  everything  else 
remains  unchanged,  therefore,  their  box-office  receipts  will 
be  given  a  10%  boost  without  any  corresponding  increase 
in  operating  expenses.  This  additional  pre-tax  income  is 
being  shared  by  both  the  exhibitors  and  the  producers. 

(3)  The  revenues  of  most  major  studios  will  be  aug- 
mented by  income  from  television.  This  new  source  of  in- 


come may  be  divided  into  two  general  types.  The  first  in- 
cludes revenues  derived  from  the  production  of  special 
filmed  series  for  TV  broadcasting.  For  many  years,  Co- 
lumbia Pictures,  through  its  subsidiary  Screen  Gems,  has 
found  considerable  success  in  this  venture.  With  demand 
for  such  products  mounting  rapidly,  other  studios  are  step- 
ping up  their  activities  in  this  field.  Warner  Bros.,  for  ex- 
ample, recently  launched  a  $600,000  project  to  build  new 
facilities  especially  designed  for  TV  film  production.  And 
only  a  few  weeks  ago,  Loew's  announced  the  formation  of 
a  new  division,  MGM-TV,  for  the  same  purpose.  Since 
negotiations  are  usually  made  with  TV  stations  for  the 
ultimate  release  of  these  pictures  long  before  their  shoot- 
ing, investments  here  involve  relatively  smaller  risk  than 
that  entailed  by  production  of  films  for  theatres,  and  a 
satisfactory  return  is  generally  guaranteed. 

The  second  type  of  income  from  television  comes  from 
the  leasing  of  telecasting  rights  to  old  features,  mostly 
those  produced  before  August  1948.  These  revenues  are 
particularly  lucrative  because  against  them  no  production 
costs  have  to  be  charged.  All  of  the  films  involved  have 
been  completely  amortized  on  the  company's  books.  In 
most  instances,  therefore,  by  far  the  greater  part  of  the 
rental  income  can  be  carried  through  to  pre-tax  earnings. 
This  income  is  not  non-recurrent.  So  far,  of  the  major  pro- 
ducers reviewed  herein,  only  Warner  Bros,  has  sold  its  pre- 
1948  library  outright,  realizing  a  one-time  capital  gain. 
Other  studios,  however,  are  making  their  old  products 
available  to  TV  on  a  piecemeal  basis,  so  that  revenues 
from  this  source  will  be  forthcoming  for  many  years. 
(Paramount  Pictures  and  Universal,  87%  owned  by  Decca 
Records,  have  not  yet  announced  any  plans  with  regard  to 
the  disposition  of  their  libraries ;  however,  some  arrange- 
ments along  the  same  line  will  probably  be  made  before 
long.) 

(4)  The  exhibitors  have  an  ace  in  the  hole  too.  All  3  of 
the  major  theatre  companies  own  substantial  real  estate 
properties  that  are  either  unproductive  or  operating  un- 
profitably.  These  hidden  values  are  being  systematically 
realized  through  sale  or  conversion  into  productive  assets. 
Where  they  have  been  converted  into  parking  lots,  super- 
markets, or  many  other  uses,  their  earning  power  has  in- 
variably been  enhanced.  When  they  are  sold,  substantial 
cash  and,  in  many  cases,  capital  gains  are  generated.  With 
the  proceeds,  the  theatre  companies  can  diversify  into 
oihsr  fields,  as  Stanley  Warner  has  so  ably  achieved  in  its 
acquisition  of  International  Latex.  Even  if  no  attractive 
applications  could  be  found  immediately  for  the  extra 
funds,  the  companies  can  simply  reacquire  their  own  com- 
mon stocks.  More  of  their  net  earnings  would  then  be 
available  for  dividend  payments  to  each  of  the  remaining 
shares  outstanding. 

New  Boom  for  Hollywood? 

Do  the  rosy  prospects  we  visualize  for  Hollywood  this 
year  mark  the  beginning  of  a  new  boom  for  Hollywood? 


Page  14        Fi!m  BULLETIN     February  18,  1957 


VALUE  LINE  ANALYSIS 


I'ublir  Swing  Superiority  of  Movies  orer  T\ 


This  of  course  is  a  question  only  time  can  answer.  The 
fortunes  of  the  motion  picture  industry  will  continue  to 
depend  on  the  quality  of  its  products  and  the  ability  of  its 
publicity  agents  to  whet  the  public's  appetite.  Fundamen- 
tally, however,  Hollywood  has  several  governing  economic 
factors  in  its  favor.  Indications  are  that  over  the  next  few 
years,  the  average  American  will  have  more  money  for 
recreation  and  more  leisure  time  for  entertainment.  In  ad- 
dition, the  population  of  Hollywood's  most  important  cus- 
tomer group,  the  15-  to  24-year-olds,  will  grow  significantly 
in  the  years  ahead.  In  sharp  contrast  to  the  1.4%  contrac- 
tion experienced  during  the  5  years  to  1955,  the  number  of 
persons  in  that  age  bracket  is  expected  to  show  a  12.3% 
expansion  during  the  1956-60  period. 

From  this  point  on,  the  movie  industry  will  always  have 
to  compete  keenly  with  television.  Here,  though,  it  appears 
that  Hollywood  has  been  gaining  an  upper  hand.  After 
the  novelty  of  television  in  the  home  has  worn  away, 
American  audiences  have  become  increasingly  quality  con- 
scious. Perhaps  because  of  the  widespread  telecasting  of 
Hollywood's  products  in  recent  months,  they  are  gradually 
identifying  quality  with  the  motion  picture  industry. 
Meanwhile,  having  superior  technical  facilities,  Hollywood 
is  able  to  present  its  products  on  wide  curved  screens,  in 
stereophonic  sound  and  with  colorful  exotic  settings.  In- 
deed, movie  theatres  can  offer  their  audiences  the  oppor- 
tunity to  participate  vicariously  in  the  film  experience  to  a 
degree  that  probably  will  not  be  equalled  even  by  color  or 
subscription  television  presentations  for  many  years  to 
come. 


Conclusion 

The  favorable  earnings  and  dividend  prospects  we  visu- 
alize for  the  motion  picture  companies  have  not,  in  our 
opinion,  been  fully  discounted  by  the  current  market  prices 
of  their  stocks.  Many  buying  opportunities  are  therefore 
present  in  this  group.  A  number  of  these  issues  provide 
current  dividend  yields  of  more  than  6%,  far  superior  to 
the  average  5.2%  return  afforded  by  all  dividend-paying 
stocks  under  survey.  Because  of  the  improvement  in  com- 
pany eranings  prospects,  these  dividends  seem  well  pro- 
tected. In  fact,  some  may  even  be  increased  during  the 
year.  Meanwhile,  based  on  the  assumption  that  the  motion 
picture  companies  will  be  able  to  take  full  advantage  of 
the  favorable  economic  climate  we  hypothesize  for  the 
1959-61  period  the  3-  to  5-year  appreciation  potentialities 
of  these  stocks  seem  impressive.  Against  the  average  28% 
gain  projected  for  all  stocks,  the  3-  to  5-year  appreciation 
potentiality  of  the  amusement  stocks  as  a  group  is  56%. 

Detracting  somewhat  from  this  favorable  prospect,  how- 
ever, is  the  fact  that  the  motion  picture  industry  is  a  vola- 
tile one  and  the  stocks  in  it  have  poor  stability  records. 
Most  of  them  therefore  do  not  qualify  for  inclusion  in  in- 
vestment grade  portfolios.  But  to  sophisticated  stock  pur- 
chasers, willing  to  accept  the  inherent  risks  involved  in 
exchange  for  generous  current  income  and  interesting 
growth  prospects,  the  following  stocks  currently  classified 
in  Group  I  (Especially  Underpriced)  or  Group  II  (Under- 
priced)  appear  attractive:  Paramount  Pictures,  National 
Theatres,  Stanley  Warner,  and  Twentieth  Century-Fox. 


BUSINESS:  Columbia  Pictures  produces  and  distributes 
motion  pictures  of  both  "A"  and  "B"  classes  for  ex- 
hibition in  theatres.  Screen  Gems,  Inc.,  a  subsidiary, 
produces  films,  including  commercials,  for  television; 
also  sells  and  distributes  to  television  stations,  the 
backlog  of  motion  pictures  from  Columbia's  film  li- 
brary. About  40%  of  revenues  originate  abroad.  Since 
World  War  II,  cash  dividend  pay-out  has  averaged 
35%  of  earnings.  Empolyees:  5,000;  stockholders: 
2,342.  Revenues  have  increased  18%  faster  than  dis- 
posable income  since  1939.  President,  H.  Cohn.  In- 
corporated: New  York.  Address:  711  Fifth  Avenue. 
New  York  22,  New  York. 

Stock  traded:  NYSE. 

REPORT:  Columbia  had  two  pictures  in  the 
top  ten  box  office  attractions  of  1956,  ac- 
cording to  a  Variety  survey.  "Picnic"  was 
sixth  and  "The  Eddy  Duchin  Story",  eighth, 
in  last  year's  lineup  of  top  grossing  films. 
The  estimated  domestic  gross  from  these  two 
films  was  $11.6  million.  "The  Eddy  Duchin 
Story"  and  "The  Solid  Gold  Cadillac"  were 
released  in  the  last  half  of  1956,  so  revenues 
from  these  two  big  attractions  will  bolster 
results  of  the  current  fiscal  year.  The  re- 
ported 70c  a  share  profit  in  the  first  fiscal 
quarter  (ended  last  Sept.  30th),  while  satis- 
factory, is  not  outstanding  since  earnings 
from  initial  release  of  "The  Eddy  Duchin 
Story"  were  included.  Earnings  gains  from 
new  films  do  not  match  the  initial  jump  in 
revenues,  however,  since  about  half  of  the 
production  and  film  costs  are  amortized  dur- 


COLUMBIA  PICTURES 

ing  the  first  13  weeks  after  film  release.  Co- 
lumbia apparently  faces  some  tapering  off  in 
earnings  in  the  last  half  of  the  current  fiscal 
year  unless  several  of  the  new  major  pro- 
ductions are  enthusiastically  received  at  the 
box  office.  We  estimate  earnings  at  $2.55  for 
the  current  fiscal  year  ending  June  33th, 
compared  to  $2.22  a  share  in  fiscal  1956. 

The  company's  releases  have  not  been 
among  the  top  grossers  in  the  past  few 
weeks,  but  early  reports  indicate  that 
"Zarak"  has  considerable  box  office  poten- 
tial. A  Judy  Holliday  picture,  "Full  of  Life", 
is  awaiting  release.  Columbia  plans  to  re- 
lease about  36  pictures  this  year,  virtually 
the  same  number  as  in  fiscal  1956.  The 
Screen  Gems  affiliate,  producing  filmed 
shows  for  television,  is  of  growing  import- 
ance as  a  source  of  earnings.  Columbia  ex- 
pects a  50%  increase  in  total  revenues  from 
this  source  in  1957,  bringing  Screen  Gems' 
gross  income  to  about  15%  of  total  com- 
pany revenues. 

Columbia  is  continuing  the  policy  of  dis- 
tributing stock  dividends;  a  2^%  stock  dis- 
bursement plus  a  30c  cash  dividend  was  paid 
on  Jan.  30th.  All  statistics  in  the  accompany- 
ing tables  have  been  adjusted  for  the  stock 


dividend. 

Sales  have  steadily  built  up  over  the  years, 
but  profit  growth  has  been  erratic.  Produc- 
tion of  television  films  by  the  Screen  Gems 
subsidiary  may  lend  more  stability  to  sales 
and  earnings  in  the  future,  however.  We 
project  average  annual  sales  to  $105  million 
in  the  hypothesized  1959-51  economy,  char- 
acterized by  a  GNP  of  $455  billion.  Average 
earnings  of  $3.80  a  share  and  dividends  of 
$1.75  would  then  be  likely.  Capitalized  at 
6.2%  in  accordance  with  past  norms  adjusted 
for  trend,  such  a  dividend  would  command 
an  average  price  of  28  (7.4  times  earnings). 
ADVICE:  Columbia  is  currently  classified  in 
Group  III  (Fairly  Priced)  because  the  stock 
stands  in  line  with  its  Rating  which  does  not 
rise  significantly  into  1957.  The  estimated 
6.4%  current  yield  is  well  above  the  5.2% 
average  return  from  all  dividend  paying 
stocks  under  survey.  Likewise,  the  56% 
capital  appreciation  potentiality  to  the  years 
1959-61  outpaces,  by  a  large  margin,  the  28% 
gain  envisioned  for  the  market  as  a  whole. 
However,  the  cyclical  nature  of  the  business, 
reflected  in  the  low  Stability  Index  (11),  re- 
stricts this  holding  to  risk  portfolios. 

(Continued  tin  Page  25) 


Film  BULLETIN    February  18,  1957        Page  15 


SCREAMING 
EXCITEMENT 
EVERY  STEP 
OF  THE  WAY 


The  story  of  today's 
counter-spy  war 
for  tomorrow's 
deadliest 
weapon ! 


v 


TERLIN 


AYDE 


11 


m  f 


UA 


with  WERNER  KLEMPERER  •  RICHARD  GAINES  •  CHARLES  DAVIS  •  JEANNE  COOPER  -  screen  piay  by  henry  s.  kesler 

Produced  and  Directed  by  HENRY  S.  KESLER  •  Story  by  DONALD  HAMILTON  and  TURNLEY  WALKER 
Based  on  the  Saturday  Evening  Post  Serial  by  DONALD  HAMILTON  •  A  Grand  Productions  Inc.  Release 


Funny  Face" 

Scuutc^  IZatut?  GOO 

Frothy  musical  teams  Audrey  Hepburn,  Fred  Astaire.  Loaded 
with  comedy,  Gershwin  tunes.  Good  for  urban  areas. 

The  refreshing  Audrey  Hepburn  and  the  durable  Fred 
Astaire  sing  and  dance  to  a  half-dozen  George  and  Ira 
Gershwin  favorites  in  this  flashy  musical  comedy  from 
Paramount.  Roger  Edens'  VistaVision-Technicolor  pro- 
duction, made  in  Paris,  opens  on  a  highly  modernistic  kick, 
but  wanes  and  runs  through  a  variety  of  familiar  boy- 
loses-gets-girl  routines.  Despite  the  synthetic  plot,  "Funny 
Face"  has  enough  comedy  and  cavorting  to  satisfy  Astaire 
fans  and  the  multitude  waiting  to  see  Miss  Hepburn  as  his 
new  dance  partner.  Highest  grosses  are  likely  in  metro- 
politan areas.  The  perennially  charming  Astaire  is  per- 
fect, while  Miss  Hepburn,  as  the  bookworm  he  lifts  into 
high  fashions,  is  thoroughly  captivating  in  a  song-and- 
dance  role.  Her  wardrobe  will  wow  the  ladies.  Comedi- 
enne Kay  Thompson  debuts  as  the  sour-puss  fashion  edi- 
tor. Director  Stanley  Donen  keeps  the  plot  moving  at  a 
lively  clip.  Photographer  Astaire  talks  magazine  editor 
Thompson  into  using  Miss  Hepburn  to  represent  their 
"Quality  Woman".  Bookwcrmish  Miss  Hepburn  objects 
until  she  learns  a  trip  to  Paris  is  involved.  In  Paris  she 
makes  a  bee-line  to  Michel  Auclair,  a  Parisian  cuit  leader. 
They  feud  when  Astaire  tries  to  convince  her  Auclair  is  a 
phony.  Miss  Hepburn  meets  Auclair,  instead  of  attending 
a  fashion  show,  discovers  he's  not  interested  in  her  mind. 
She  is  reunited  with  Astaire. 

Paramount.  103  minutes.  Audrey  Hepburn,  Fred  Astaire,  Kay  Thompson.  Produced 
by  Roger  Edens.    Directed  by  Stanley  Donen. 

"Smiley" 

Gututeu  Ratio?  O  Plus 
Cute  Australian-made  story  of  barefoot  boy  doubtful  entry 
for  U.S.  market  because  of  heavy  accents. 

The  value  of  this  imported  boy's  adventure  story  is  re- 
tarded by  heavy  accents.  Produced  entirely  in  Australia 
by  Anthony  Kimmins  and  released  by  20th  Century-Fox, 
it  should  get  by  with  family  audiences,  especially  the 
youngsters.  Colin  Petersen,  as  "Smiley",  is  a  mischevious 
nine  year-old  lad  with  a  laughable  cockney  accent.  Under 
Kimmins'  direction,  the  pace  is  leisurely,  gently  amusing. 
The  setting  is  the  wild  bush  country,  which  is  strikingly 
shown  in  CinemaScope  and  Technicolor.  Kids  should  en- 
joy "Smiley",  despite  the  difficulty  in  understanding  some 
of  the  dialogue.  British  star  Ralph  Richardson  is  the  only 
player  known  to  American  audiences.  Young  Petersen, 
seeking  to  earn  money  for  a  bike,  rings  church  bells  for 
pastor  Richardson,  sweeps  the  office  for  police  sergeant 
"Chips"  Rafferty,  and  runs  errands  for  John  McCallum, 
who  tricks  him  into  delivering  opium  to  the  aboriginies. 
Rafferty  becomes  suspicious.  When  the  boy  discovers 
his  father  has  spent  the  savings  on  liquor,  he  goes  wild. 
Thinking  he  knocked  down  and  killed  his  father,  Petersen 
runs  away  and  is  lost  in  the  bush.  He  saves  a  man  about 
to  be  bitten  by  a  snake,  and  returns  a  hero.  Rafferty  jails 
McCallum  and  the  town  buys  "Smiley"  a  bicycle. 

20th  Century-Fox.  (An  Anthony  Kimmins  Production! .  97  minutes.  Sir  Ralph 
Richardson,  John  McCallum,  Colin  Petersen.  Produced  and  directed  by  Anthony 
Kimmins. 

[More  REVII 


'The  Yuuikj  Stranger" 

ScoUteM  'Rati*?  Q  O  Plus 

Slick,  but  talky,  drama  analyzes  juvenile  delinquency  case. 
Should  appeal  to  all  audiences.  Strong  exploitation  needed. 

Here  is  a  realistic,  human  interest  drama  about  one  type 
of  juvenile  delinquency.  While  "The  Young  Stranger"  is 
delivered  with  more  dialogue  than  action  and  should  have 
strongest  appeal  to  mature  audiences,  the  theme  is  one  that 
interests  everyone.  Above-average  grosses  should  result 
in  all  situations.  However,  since  marquee  values  in  this 
RKO  film  (Universal  will  release  it)  are  weak,  heavy  ex- 
ploitation will  be  necessary  if  its  boxoffice  potential  is  to 
be  tealized.  James  MacArthur  (Helen  Hayes'  son)  is  ex- 
cellent as  the  lad  who  gets  into  a  slight  jam  and  aggra- 
vates the  "crime"  because  his  busy  father  will  not  believe 
his  account  of  what  happened.  Kim  Hunter  turns  in  a 
tender  performance  as  the  mother.  The  young  team  of 
producer  Stuart  Millar,  director  John  Frankenheimer  and 
author  Robert  Dozier  make  an  auspicious  debut  in  movie- 
making. The  story,  adapted  from  Dozier's  TV  p'ay, 
"Strike  A  Blow",  has  MacArthur,  age  16,  thrown  out  of  a 
movie  theatre  by  manager  Walt  Bissell  when  he  and  a  pal 
make  some  noise.  When  MacArthur  pushes  back  and  hits 
Bissell,  he  calls  police.  The  youth's  father,  James  Daly,  a 
movie  producer,  gets  Bissell  to  drop  charges  though  con- 
vinced of  his  son's  guilt.  Disturbed  over  his  father's  lack 
of  belief,  MacArthur  pleads  with  Bissell  to  tell  Daly  the 
truth,  and  socks  him  again.  Police  sergeant  James  Gregory 
realizes  the  boys'  trouble  and  gets  Bissell  to  confess  in 
front  of  Daly.  Father  and  son  are  united. 

Universal-International  release.  (An  RKO  Production).  84  minutes.  James  Mac- 
Arthur,  Kim  Hunter,  James  Daly.  Produced  by  Stuart  Millar.  Directed  by  John 
Frankenheimer. 

"The  Man  Who  Turned  to  Stone" 

'Bcutnc^x  RaU*f  O  O 

Supernatural  thriller  has  fair  exploitables.  However,  treat- 
ment is  dated.  Tepid  dualler  for  ballyhoo  houses. 

inveterate  horror  film  fans  might  work  up  some  mild 
interest  in  this  somber,  grade  C  exploitation  entry  Sam 
Katzman's  Clover  unit  for  Columbia  release.  It  should 
serve  adequately  as  a  dualler  in  action  and  ballyhoo  houses. 
The  treatment  is  dated  and  the  "scare"  gimmicks  obvious 
as  Victor  Jory,  Ann  Doran,  Paul  Cavanagh,  and  Frederick 
Ledebur  (he  played  the  aborigine  in  "Moby  Dick")  depict 
scientists  who  are  about  200  years  old  and  live  on  by  elec- 
trically drawing  off  the  life  force  of  women  reformatory 
inmates.  Director  Leslie  Kardos  plays  up  the  sadistic  angle 
with  screaming  girls  being  carried  off  in  the  night  by  a 
hali-man-half-ape  character,  and  drained  of  their  blood  in 
a  solution-filled  vat.  Prison  director  Jory  and  his  assistants 
murder  women  inmates  and  list  their  death  as  cases  of 
"heart  attrack".  Then  welfare  worked  Charlotte  Austin 
learns  that  girls  are  heard  screaming  in  the  night  before 
they  disappear.  State  psychiatrist  William  Hudson  dis- 
covers the  secret  from  Cavanagh  who,  unable  to  react  to 
transfusions,  leaves  his  diary.  The  ape-like  Ledebur  kid- 
naps Miss  Austin,  but  she  is  saved  by  Hudson  as  the  labor- 
atory burns  down  with  the  mad  scientists  all  inside. 

Columbia.  (A  Clover  Production).  80  minutes.  Victor  Jory,  Ann  Doran.  Charlotte 
Austin.    Produced  by  Sam  Katiman.    Directed  by  Leslie  Kardos. 

on   Page  20] 

Film  BULLETIN    February  18,  1957        Page  17 


THIS  IS  WHAT 
THEY'RE  ASKING  FOR!  \ 


.,  mare.  COLOR  BUfc 


color  con*  £     a$  wel   a*  tbe,e  * 


Color  by 

TECHNICOLOR 

IS  THE  ANSWER! 


And  now.... 


The  curtain 


TECHNIRAMA,  the  spectacular  new  large-screen  color  motion  picture 
product  developed  by  TECHNICOLOR  "  is  now  ready  to  excite 
theater  audiences  the  world  over. 

TECHNICOLOR  Corporation  proudly  announces  that  TECHNIRAMA 
was  selected  for  production  of  the  great  color  motion  pictures  listed 
here . . .  soon  to  be  released  for  premiere  showings . . . 


if   DAVY— Ealing  Production  — Metro  Goldwyn-Mayer 

ESCAPADE  IN  JAPAN -RKO  Radio  Pictures.  Inc. 
it   LEGEND  OF  THE  LOST-A  Batjac  Production -United  Artists 

NIGHT  PASSAGE  —Universal  Pictures  Co..  Inc. 
"5^T    SAYONARA  — Goetz  Pictures.  Inc.  — Warner  Bros.  Pictures.  Inc. 
lV    SEA  WALL  -De  Laurentns-Columbia 

SLEEPING  BEAUTY-Walt  Disney  Production  -  Buena  Vista  Film  Dist.  Co..  Inc. 
it    SOUVENIR  D'lTALIE- Athena  Rank 

it    THE  MONTE  CARLO  STORY -Titanus  F,lms-Un,ted  Artists 


TECHNICOLOR 
through  TECHNIRAMA 
offers: 

Large  area  negative  photography 
using  standard  35mm  film 

Most  efficient  use  of  negative  area 


Versatility  —  Standard  or 
road-show  prints  all  from  one 
original  negative 


Greatly  improved  picture 
sharpness 


Freedom  from  graininess 

Increased  depth  of  focus 
© 

Minimum  image  distortion 


TECHNICOLOR  CORPORATION 


MOTION  PICTURE  DIVISION 

Herbert  T.  Kalmus,  President  and  General  Manager 


"The  True  Story  of  Jesse  James" 

Su4iKCA4  IZatiKQ  O   Q  PIUS 
New  version  attempts  to  debunk  the  legend.  OK  for  action 
houses.  C'scope  and  color  plus-factors. 

In  a  series  of  flash-back  explanations  by  those  who  knew 
him  best,  this  new  version  of  the  Jesse  James  saga  ques- 
tions whether  he  was  a  Robin  Hood  or  a  murdering  thief. 
While  the  explanations  slow  the  pace,  "The  True  Story" 
has  enough  of  the  elements  to  satisfy  action  fans.  Herbert 
B.  Swope,  Jr.'s  CinemaScope-De  Luxe  color  production  for 
20th  Century-Fox  should  show  fair-plus  returns  in  gen- 
eral situations.  Robert  Wagner  and  Jeffrey  Hunter  lend 
mild  marquee  value,  but  bring  nothing  new  to  their  inter- 
pretations of  the  brothers  Jesse  and  Frank.  Walter  New- 
man, wrote  the  screenplay  from  an  original  script  by  Nun- 
nally  Johnson,  employs  rather  trivial  and  unconvincing  in- 
cidents to  debunk  the  legend.  Fortunately,  director  Nicho- 
las Ray  plays  up  the  lengthy  train  and  bank  robbery  se- 
quences with  lots  of  gunplay  and  hard  riding.  Directly 
after  the  James  brothers'  biggest  bank  job,  during  which 
most  of  the  gang  is  killed,  story  flashes  back  to  the  inci- 
dents that  drove  them  to  crime  and  plunder.  At  age  16, 
Wagner,  as  Jesse,  is  flogged  by  Northern  sympathizers  be- 
cause he  will  not  inform  on  his  brother,  Hunter.  When 
Wagner  attempts  to  surrender  after  the  Civil  War,  he  is 
wounded  and  driven  to  crime.  While  recovering,  he  courts 
and  weds  Hope  Lange.  Wagner  gains  a  notorious  reputa- 
tion over  the  years,  but  when  he  decides  to  settle  on  a 
farm,  he  is  shot  in  the  back  by  his  cousin  for  the  reward. 

20th  Century-Fox.  92  minutes.  Robert  Wagner,  Jeffrey  Hunter  Hope  Lange.  Pro- 
duced by  Herbert  "B.  "Swope.  Jr.    Directed  by  Nicholas  Ray. 

"Ten  Thousand  Bedrooms" 

^cuiKCM  &atttt$  O  O  Plus 

Light-hearted  comedy  with  tunes  showcases  Dean  Martin  in 
first  solo.  Good  fun.  Should  draw  above-average. 

This  is  Dean  Martin's  first  solo  without  Jerry  Lewis.  It 
is  a  frothy  comedy  with  new  songs  tailored  to  his  talents. 
While  the  story-line  is  rather  simple,  it  offers  enough  ex- 
citement, sex,  comic  type-casting,  musical  numbers,  and 
Roman  backdrops  to  make  it  entertaining.  Joe  Pasternak's 
CinemaScope-Metrocolor  production  for  M-G-M  shapes  up 
as  good  fare  for  general  market.  Anna  Maria  Alberghetti 
and  Eva  Bartok  are  well-stacked  Italian  sisters  vying  for 
Martin's  affection.  Walter  Slezak,  Paul  Henreid,  and  Jules 
Munshin  back  them  up  as  diverse  comic  types.  Other  plus 
factors  are  the  flashy  costumes  and  new  songs  by  Nicholas 
Brodszky  and  Sammy  Cahn.  Director  Richard  Thorpe 
maintains  a  snappy  pace,  with  Martin  constantly  involved 
in  his  gay  affairs  with  the  alluring  sisters.  Tycoon  Martin 
arrives  in  Rome  to  take  over  his  latest  purchase  and  is  es- 
corted by  employee  Miss  Bartok.  They  are  mutually  at- 
tracted, but  her  young  sister,  Miss  Alberghetti,  soon 
sweeps  Martin  off  his  feet.  Slezak  will  not  permit  Miss 
Alberghetti  to  wed  because  his  three  older  daughters  are 
single.  Martin  attempts  to  pair  Miss  Bartok  with  Henreid, 
a  sculptor,  but  he  then  realizes  he,  himself,  is  in  love  with 
Miss  Bartok,  and  learns  his  pilot,  Dewey  Martin,  loves 
Anna  Maria.  Love  finds  a  way. 

M-G-M.  114  minutes.  Dean  Martin,  Anna  Maria  Alberghetti  Eva  Bartok  Paul 
Henreid,  Walter  Slezak.    Produced  by  Joe  Pasternak.    Directed  by  Richard  Thorpe. 


"Fear  Strikes  Out" 

Su4uu44  1£<iti*4  O  G  Plus 
Emotional,  true-life  story  of  Jim  Piersall's  mental  crackup, 
baseball  comeback.  Name  values  tepid,  exploitables  good. 

This  is  the  life  story  of  Jim  Piersall,  Boston  Red  Sox 
outfielder.  Those  who  promptly  react  with  the  popular 
conclusion  that  any  baseball  movie  has  "two  strikes 
against  it"  had  better  consider  this  in  terms  of  a  mature, 
hard-hitting  drama.  The  sports  phase  is  secondary  to  the 
depiction  of  a  sensitive  young  athlete's  mental  crackup 
under  the  pressure  of  his  father's  driving  ambition,  and  his 
eventual  comeback  to  balance  and  success.  "Fear  Strikes 
Out"  is  vividly  acted  and  directed,  a  rather  depressing,  but 
always  engrossing,  film.  Produced  by  Alan  Pakula  in 
black-and-white  VistaVision  for  Paramount,  it  will  require 
maximum  exploitation  effort  to  realize  its  boxoffice  poten- 
tial. Where  sold,  grosses  should  be  above  average.  An- 
thony Perkins,  as  Jim,  and  Karl  Maiden,  as  his  father,  turn 
in  graphic  performances.  While  they  cannot  be  regarded 
as  top-rank  marquee  names,  their  recent  work  in  "Friendly 
Persuasion"  and  "Baby  Doll",  respectively,  has  increased 
their  marquee  value.  Adam  Williams  is  highly  effective  as 
the  psychiatrist  who  treats  Piersall  and  Norma  Moore  is 
appealing  as  the  girl  he  marries.  Director  Robert  Mulligan 
emphasizes  characterization.  Perkins  trains  hard  to  fulfill 
the  ambitions  of  his  constantly  prodding  father,  Maiden, 
who  wants  him  in  the  major  leagues.  Perkins  marries  Miss 
Moore,  a  nurse,  during  his  first  minor  league  season  in 
Scranton.  They  have  one  child.  When  Perkins  finally 
makes  the  Boston  Red  Sox,  pressure,  tension,  and  respon- 
sibilities prove  too  much  for  him  and  he  suffers  a  complete 
mental  breakdown.  Confined  to  a  hospital  for  months,  he 
recovers  through  the  help  of  his  wife  and  a  psychiatrist, 
Williams,  and  makes  his  own  decision  to  return  to  base- 
ball, in  which  he  achieves  fame. 

Paramount.  100  minutes.  Anthony  Perkins,  Karl  Maiden,  Norma  Moore.  Produced 
by  Alan  Pakula.    Directed  by  Robert  Mulligan. 

"Pharaoh's  Curse" 
StuineM,  RaitH?  Q  Plus 

Low-budget  chiller  set  in  Egyptian  tomb.  Satisfactory  sup- 
porter for  ballyhoo  houses.  Lacks  names. 

In  its  category  as  supporting  meller  for  a  dual-bill  bally 
program,  this  low-budget  Bel-Air  Production  for  UA  will 
get  by.  Offering  chills  and  thrills  in  lieu  of  a  name  cast 
and  production  values,  Howard  W.  Koch's  production  will 
satisfy  addicts  of  the  eerie  and  supernatural.  It's  all  wholly 
incredible  and  Lee  Sholem  directs  strictly  by  the  book, 
bringing  the  monster  into  close  range  whenever  the  plot 
stagnates.  To  counteract  riots,  British  authorities  dis- 
patch Mark  Dana  to  halt  American  archaeologist  Neise 
from  disturbing  an  ancient  tomb.  Diane  Brewster,  Neise's 
unhappy  wife,  goes  along  to  join  her  husband.  A  spooky 
"cat  goddess",  Ziva  Rodann,  steps  out  of  the  desert  to 
bring  evil  forebodings.  When  Neise  cuts  open  the  mummy, 
a  native  feels  the  pain  and  turns  into  walking  mummy  that 
feeds  on  human  blood.  Several  members  of  the  expedition, 
including  Neise,  are  killed  by  the  monster  before  Dana 
seals  the  tomb  and  returns  to  Cairo. 

United  Artists.  IA  Bel-Air  Production).  66  minutes.  Mark  Dana,  Ziva  Rodann, 
Diane  Brewster.    Produced  by  Howard  W.  Koch.    Directed  by  Lee  Sholem. 


Page  20       Film  BULLETIN    February  18,  1757 


'ZV&at  t&e  S&acumw  /lie  *Doi*tq! 

MERCHANDISING      &      EXPLOITATION      DEPARTMENT  f 


n 


x-4 


Interest  in  'Oscar'  Sweepstakes 
Mounts  as  Starting  Date  Nears 


With  theatre  participation  snowballing  into 
mountainous  proportions,  the  Academy 
Awards  Sweepstakes  is  bidding  to  become 
one  of  the  biggest  movie-interest  stimulators 
in  recent  years.  Over  1700  theatres  had 
pledged  participation  in  the  "Oscar"  guess- 
ing game,  with  hundreds  more  poised  to 
enter  in  the  days  remaining  before  the  nomi- 
nations for  the  movie  Oscars  (Feb.  19). 

Exhibitors  who  have  raised  the  question 
as  to  whether  they  should  enter  into  the 
campaign,  since  they  would  not  have  played 
the  nominated  pictures,  were  reassured  on 
this  point  by  Robert  W.  Coyne,  COMPO 
special  counsel,  last  week.    "The  voter  is 


be  imprinted  immediately  after  the  Oscar 
nominations  February  19  and  will  be  avail- 
able to  theatres  at  $2.50  a  thousand.  The 
entire  kit  of  essential  materials,  aside  from 
the  entry  blanks,  will  be  sold  to  first  run 
and  subsequent  run  theatres  for  $25;  other 
theatres  will  pay  $15  for  the  kit. 


enter  the  big  :*!* 


'    guessing  contest 
ACADEMY  AWARD 

SWEEPSTAKES 

CONTUT  INSS  WUtH  M,  1997 

One  of  the  ads  in  pressbook 

not  passing  judgment  on  the  pictures  and 
players  he  has  seen,"  he  pointed  out,  "but 
trying  to  guess  the  choices  of  experts."  Pre- 
vious experience  in  Texas  and  Canada 
proved  that  movie  fans  are  eager  to  try  their 
luck  at  picking  the  winners,  having  heard  or 
read  about  them  in  newspapers,  etc." 

On  the  accessories  front,  National  Screen 
started  the  extensive  job  of  sending  the 
Sweepstakes  pressbook  to  the  nation's  thea- 
tres and  girding  itself  for  the  task  of  supply- 
ing display  material,  trailers  and  entry 
blanks  to  participating  houses.    Blanks  will 


Oscar  A.  Doob.  veteran  movie  publicist,  has 
been  named  by  COMPO  as  consultant  on  the 
industry  business-building  program,  it  was 
announced  last  week  by  Robert  W.  Coyne. 
Doob  was  formerly  advertising-publicity  head 
of  Loews  Theatres. 

While  the  pressbook  lists  several  impor- 
tant "do's"  for  the  campaign — organization 
of  a  committee  representing  participating 
theatres,  newspapers,  merchants;  lining  up 
and  promoting  prizes;  speedy  overnight  im- 
printing of  prize  lists  on  entry  blanks  and 
several  other  vital  phases  of  the  campaign, 
it  also  details  Academy  regulations  which 
contain  several  "dont's" — prohibition  of  use 
of  the  famous  Oscar  statuette  in  the  con- 
test; no  tabulations  to  show  regional  or  na- 
tional preference  in  contrast  with  the  Acade- 
my voting;  no  mention  of  or  tie-in  with 
Oldsmobile  as  radio-TV  sponsor;  of  the 
Awards  show;  a  notice  that  "this  is  not  an 
Academy  ballot"  but  an  opportunity  to 
match  wits  with  the  experts. 

Closing  date  is  March  26,  day  before  the 
"Oscar"  winners  are  announced. 

Edwards  Joins  Rank  Distribs 

Steve  Edwards  has  been  named  to  a  key 
promotion  spot  in  the  new  Rank  Film  Dis- 
tributors of  America  promotional  organiza- 
tion. The  former  Republic  ad-publicity  di- 
rector will  serve  as  assistant  to  Geoffrey 
Martin,  domestic  director  of  advertising  and 
publicity   for  the  Rank  organization. 

Lederer  To  Assist  WB's  Golden 

Dick  Lederer  was  moved  up  in  the  Warner 
Bros,  advertising  department  to  assistant  to 
ad  manager  Gil  Golden.  He  will  work  with 
Golden  on  all  advertising  functions. 

[More  SHOWMAN  on  Page  24] 


Baby  Sitters  Give  Parents 
Movie  Bonus  in  Novel  Co-op 

Baby  sitting  with  a  movie  bonus — for  the 
parents — is  the  novel  idea  being  practiced 
successfully  by  the  Safety  Pin  Club,  Inc.,  a 
New  York  baby-sitting  service  with  an  eye 
to  promotion. 

The  Club,  long  established  in  Gotham,  is 
offering  clients  a  discount  of  75  cents  per 
sitting  session  if  the  parents  give  the  sitter 
a  pair  of  consecutively  numbered  stubs  from 
the  admission  tickets  of  cooperating  theatres. 

The  gimmick  is  not  limited  to  New  York, 
of  course.  It  should  give  theatremen  every- 
where an  idea  in  contacting  reputable  local 
baby-sitting  services  to  set  up  a  similar  deal. 


TAB  HUNTER  BLUNDER 

Television  appear- 
ances by  movie  stars 
can  be  a  two-edged 
sword,  as  was  pain- 
fully apparent  in  the 
recent  appearance  by 
Tab  Hunter  as  a 
guest  panelist  on 
"What's  My  Line?" 
Whoever  set  up  the 
guest  shot  must  have 
been  red-faced  in- 
deed as  the  self-con- 
scious young  star 
made  a  woefully  in- 
adequate panelist  among  the  experts, 
stirring  one  'teenager  to  remark  sadly. 
"What  a  dope!" — and  losing  a  Hunter 
fan.  The  Hunter  incident  points  up  the 
care  with  which  stars  should  be  spotted 
on  TV  shows.  Merely  tossing  them  into 
any  prominent  show  just  to  get  a  plug  in 
for  a  picture  can  boomerang  violently, 
leaving  a  dark  brown  taste  if  the  person- 
ality fails  to  register.  Panel  shows  es- 
pecially are  risky  even  for  the  brightest 
stars  when  contrasted  with  experienced 
quizzers.  TV's  a  great  promotional  medi- 
um but  it  can  lose  as  many  movie  fans  as 
it  can  make  if  used  indiscriminately. 


BULLETIN    February  18,  1957 


EXPLOITATION  PICTURE 

'Drango'-  Outdoor  Drama  a  Juicy  Showmen's  Item 


The  showman  must  condition  himself  to 
think  of  "Drango"  as  something  other  than 
a  western.  That  is  essential  at  the  outset  in 
preparing  for  exploitation  of  this  United  Ar- 
tists release.  The  title  does  carry  a  western 
flavor,  and  the  post-Civil  War  era  in  which 
the  action  occurs  has  often  been  employed 
for  western  fare,  but  while  the  picture  carries 
strong  appeal  for  devotees  of  oaters,  it  boasts 
a  story  containing  far  more  dramatic  meat 
than  one  usually  finds  in  such  films. 

Marking  the  production  debut  of  star  Jeff 
Chandler  in  a  hand-picked  role,  "Drango" 
offers  the  taut  theme  of  z  veteran  of  Sher- 
man's destructive  march  through  Georgia 
returning  to  the  town  he  had  pillaged  to  ad- 
ministrate the  reconstruction.  The  violent 
hatred  he  encounters  among  the  townspeople 
marks  the  essence  of  the  drama,  making  a 
powerful  pillar  around  which  to  build  up  the 
campaign. 

The  ads  and  lithos  take  full  advantage  of 
this  situation,  playing  up  the  townspeople's 
bitterness  in  the  copy — "Hell-Riding  Plun- 
derer" .  .  .  "Blood  Mad  Killer"  .  .  .  "And 
now  he  was  alone  against  the  vengeance- 
made  town!"  There  are  also  ads  designed  to 
intrigue  the  ladies  with  illustration  and  copy 
playing  up  the  romance  in  a  clinch  scene 
headed  "Impassioned".  The  variety  is  es- 
pecially attractive,  ranging  from  a  shouting 
action  theme  to  dignified  woodcut  simplicity. 

With  Chandler  at  the  purse-strings,  the 
star-producer  is  giving  his  initial  venture  an 
all-out  in-person  campaign.  He  is  currently 
on  a  7000-mile  tour  to  drumbeat  his  picture 
and  initial  openings  have  reflected  the  effects 
of  his  personal  touch.  The  personal  appear- 
ance junket  was  set  up  with  important  New 
York  spots  on  top-rated  TV  and  in  news- 
paper features  which  were  carried  on  the 
wire  services,  both  insuring  national  pene- 
tration. The  receptions  in  the  towns  he  is 
hitting  on  the  p.a.  tour  indicate  that  the 


Jeff  Chandler's  appeal,  to  the  distaff  side  par- 
ticularly, is  evident  in  these  views  of  his  7000- 
mile  personal  appearance  tour  on  behalf  of 
"Drango".  Top,  the  star-producer  at  a  coke- 
and-camera  party  with  girls  of  Emery  University, 
Atlanta.  Below,  in  Baton  Rouge,  teen-agers 
ecstatically  crowd  around  car  carrying  the  star 
in   motorcade   through   the   Louisiana  capital. 


road-work  type  of  promotion  continues  to 
rate  high  as  a  publicity  weapon,  especially 
with  the  younger  people. 

There  are  a  pair  of  important  angles  in  the 
music  department.  With  Julie  London  rid- 
ing high  as  a  recording  star  and  television 
personality,  her  appearance  in  the  picture 
offers  excellent  opportunities  for  tie-ups  with 
disc  jockeys  and  music  stores.  So,  too,  does 
the  title  song,  which  is  getting  a  boost  from 
the  platter-spinners  and  music  stores. 


STUNTS 

An  outstanding  stunt  campaign  has  been 
worked  out  by  UA's  exploiteers,  based  on 
the  title  and  the  action,  with  the  company's 
ace-high  field  staff  alerted  to  lend  ready  aid 
to  showmen  playing  the  picture. 

The  piquant  title,  while  it  has  no  meaning 
ordinarily  to  the  moviegoer,  is  one  that  will 
be  remembered  and  a  bally  pegged  to  the 
name  will  be  an  important  factor  in  gaining 
the  film  penetration.  Three  good  ones  are 
suggested  in  the  pressbook: 

With  the  local  newspaper  as  sponsor,  send 
a  man  in  Union  Army  officer's  uniform 
around  town  with  prizes  awarded  to  the  first 
10  persons  who  approach  him  with  a  copy  of 
the  newspaper  and  address  him  with  the 
words  "You  are  Major  Drango".  Daily  news 
pictures  of  winners  and  experiences  will  be 
added  gravy  for  the  run. 

Another  tied  in  with  the  paper  would  be  a 
setup  with  the  ad  manager  to  spot  one  letter 
of  the  title  in  each  of  six  ads  (run  of  paper 
or  classified)  with  prizes  to  readers  who 
locate  the  ads  and  send  in  a  25-word  letter 
on  "Why  I  Want  To  See  'Drango'." 

Teasers  in  the  personals  column  or  around 
the  theatre  with  the  message  that  "Drango 
is  coming!  Does  he  dare  return  to  the  town 
he  once  had  ravaged?  Call  (theatre  phone 
number)  for  the  answer,"  is  an  example  of 
this  effective  stunt. 

A  pair  of  exciting  street  stunts  will  have 
'em  talking.  A  scene  from  the  film  in  which 
masked  riders  take  a  gagged  and  bound 
mounted  prisoner  to  a  lynching  can  be  re- 
peated wherever  horses  are  able  to  navigate 


the  town's  streets  (see  cut).  Riders  would 
distribute  herald  and  carry  sign  reading, 
"We're  heading  for  the  Blank  Theatre  to 
find  Drango". 

Another  features  a  crowded  street  photo 
taken  daily  by  newspaper  photog.  The  title 
would  be  superimposed  on  the  published 
photo  and  the  person  whose  face  is  encircled 
by  the  letter  "O"  would  receive  guest  tickets. 

Using  the  theme  in  which  Drango  returns 
to  the  South  he  had  ravaged  as  a  soldier  in 
Sherman's  army,  the  showman  can  apply  it 
to  thousands  of  veterans  who  at  one  time  or 
another  returned  to  the  area  where  they  had 
fought  in  Europe,  the  Pacific  or  Korea.  In- 
terviews in  newspaper,  TV  or  radio  would 
make  interesting  material  based  on  such 
questions  as,  "What  was  their  reaction?" 


The  wide  selection  of  ads  are 
packed  with  stark,  dramatic  impact. 
Ad  shown  here  stresses  theme  and 
star  with  the  classy  wood-cut  art 
adding  an  eye-catching  effect.  The 
same  style  is  used  in  ads  highlight- 
ing the  romantic  angles,  with  the 
hanging  touch  ever-present  to  lend 
added  drama  and  the  impression  of 
violence  that  underlies  the  theme. 
Smoldering  action  and  drama  indi- 
cated in  the  ad  pictured  is  con- 
trasted with  others  available 
screaming  out  the  message,  with 
sometimes  the  art,  sometimes  the 
copy  getting  the  spotlight. 


Page  22       Film  BULLETIN    February  18,  1957 


'DRANGQ 


A  situation  fairly  tingling  with 
dramatic  possibilities  serves  as  the 
core  for  producer-writer-director 
Hall  Bartlett's  "Drango".  The 
screenplay  brings  an  officer  of  Sher- 
man's ravaging  Army,  Jeff  Chand- 
ler, back  to  a  small  Georgia  town  as 
its  reconstruction  administrator.  De- 
spite the  raw  hatred  that  meets  his 
every  move  to  lend  a  helping  hand, 
Chandler  persists,  refusing  to  resort 
to  indiscriminate  retaliation  even 
when  a  Union  sympathizer  who  had 
come  to  him  for  protection  is  hanged 
by  a  band  of  terrorists,  led  by  Rol- 
and Howard  (son  of  the  late  Leslie 
Howard).  Chandler's  refusal  to 
meet  violence  with  violence  incurs 
the  wrath  of  his  own  superiors,  who 
cut  off  supplies,  threatening  all  his 
efforts  to  rehabilitate  the  town. 


Film  BULLETIN    February  18,  1957       Page  23 


Uj&at  t&e  S&owmw  /tie  *D<Uayi 


Metro  ad  chief  Si  Seadler  and  new  Broad- 
way star  Gena  Rowlands  (center)  fan  some  pro- 
motional flames  in  N.  Y.  C.  for  "Edge  of  the 
City"  by  awarding  a  drama  scholarship  to  an 
aspiring  actress.  Award  is  one  of  four  grants 
donated  by  John  Cassavetes,  star  of  the  film. 

Mich.  Showman  Aims  at  Ferns 
With  Tor  Women  Only'  Matinees 

A  series  of  matinees  "for  women  only"  is 
helping  Bert  Penzien  build  boxoffice  and 
good  will  with  the  opposite  sex  at  his  Shores 
Theatre  in  suburban  Detroit.  With  the  in- 
auguration of  a  women  only  policy  at 
Wednesday  matinees,  the  Michigan  show- 
man is  pitching  a  program  of  love  stories 
and  art  films  keyed  to  fern  tastes.  Typical 
of  the  films  scheduled  are  "Three  Coins  in 
the  Fountain",  "The  Swan",  "Autumn 
Leaves".  To  augment  the  features,  Penzien 
books  short  subjects  with  a  distinct  feminine 
slant,  and,  as  an  added  selling  angle,  coffee 
and  goodies  are  served  gratis  to  the  matinee 
patrons,  with  the  concession  closed  during 
these  special  shows. 

This  shapes  up  as  an  excellent  stunt  to 
lick  the  problem  of  declining  patronage 
among  the  ladies.  Penzien's  idea  could  well 
be  used  by  other  exhibitors. 

THE  WINGS  OF  EAGLES  CONTEST 

DINNER 
JON  THE  HOUSE 
K$g&A  I  I  FOR  TWO 


Re-schedule  Program  Times 
To  Hypo  Attendance— Henreid 

With  an  eye  on  the  multitude  of  movie- 
goers who  are  unable  to  make  the  first  show 
about  7  p.m.  and  don't  want  to  take  in  a 
second  show  that  starts  about  10  p.m.,  actor- 
producer  Paul  Henreid  suggests  a  re-sched- 
uling of  program  times  in  an  effort  to  ener- 
gize theatre  attendance. 

In  a  letter  sent  to  Southern  California  ex- 
hibitors, Henreid  sets  forth  the  idea  that  the 
slating  of  the  main  feature  in  the  8  to  9 
o'clock  slot  would  result  in  increased  box- 
office.  Believing  the  suggestion  is  worth  a 
trial,  he  suggests  to  the  theatremen  that  they 
experiment  with  feature  time  changes.  "The 
major  studios  schedule  their  previews  around 
8:30  and  are  successful  in  having  an  audi- 
ence at  that  time — if  they  advise  the  public 
in  advance.  That  proves  people  will  go  out 
in  greater  numbers  at  that  time." 

Continuing,  Henreid  said:  "Therefore,  if 
the  exhibitor  scheduled  his  program  so  that 
the  principal  attraction  went  on  at  that  rea- 
sonable hour,  he  would  eliminate  the  many 
negatives  in  today's  exhibition.  Families 
which  have  home  chores  like  washing  dishes 
and  personal  chores  like  cleaning  up  at  the 
end  of  the  day,  would  have  time  to  make  the 
show  without  rushing.  If  they  can't  make  it 
on  the  present  early  main  feature  time,  they 
have  a  tendency  to  sit  home  in  front  of  the 
television  set,  retiring  at  a  reasonable  hour. 
It's  difficult  to  keep  an  impulse  alive  until 
the  last  show." 

If  the  proposed  experiment  by  the  Pacific 
coast  exhibitors  is  successful,  Henreid  be- 
lieves that  the  pattern  will  be  followed  else- 
where with  accompanying  boxoffice  in- 
creases. 


John  Wayne         Dan  Dailey 
Maureen  O'Hara 


The  WINGS! 
of  EAGLES' 


Goldman  Turns  Bad  Weather 
Into  Public  Relations  Boon 

A  very  shrewd  bit  of  public  relations  can 
be  credited  to  William  Goldman,  prominent 
Pennsylvania  theatremen,  with  his  advertised 
offer  to  exchange  tickets  for  patrons  who 
were  unable  to  use  their  reserved  seat  tickets 
because  of  inclement  weather.  When  a 
heavy  snow  storm  recently  hit  Philadelphia, 
many  ticketholders  to  the  Randolph  ("The 
Ten   Commandments")    and   the  Midtown 


TO  OUR  PATRONS  ...  I 

f    TH0SE  WHO  WERE  UNABLE  TO  I 

.     USE   THEIR  TICKETS   FOR   EITHER  jfi 

=    THE   RANDOLPH   OR   MIDTOWN  ■ 

THEATRE  DUE  TO  THE  WEATHER  9 

FRI.  SAT.  or  SUN.  FEB..  1,  2,  3  I 

MAY  EXCHANGE  THEM  AT  THE 
5°*  °FF|CE  FOR  TICKETS  FOR 

ANOTHER  PERFORMANCE.  f 


-    "WIR^T-   K-k  Douglas  |Mi*S  RABY  coopf?- 

("Around  the  World  in  80  Days")  couldn't 
get  to  the  downtown  area  because  of  snarled 
traffic  conditions  during  the  bad-weather 
weekend.  By  offering  his  patrons  a  "snow 
check",  the  dynamic  circuit  executive 
grabbed  a  bonanza  of  good  will  with  his 
generous  offier — via  paid  space  and  accom- 
panying editorial  copy  in  the  local  press. 

WB's  'St.  Louis'  Pitches 
For  Teenagers  Via  Tab  Hunter 

In  a  unique  drumbeating  safari  aimed  at 
the  teenage  group,  Warner  Bros,  is  sending 
bobby-sox  idol  Tab  Hunter  on  a  nationwide 
promotional  tour  for  "The  Spirit  of  St. 
Louis",  a  motion  picture  in  which  he  does 
not  even  appear. 

The  12-city  tour,  which  kicked  off  Febru- 
ary 7,  is  designed  to  acquaint  youngsters  in 
such  cities  as  Detroit,  Chicago,  Buffalo  and 
Atlanta  with  the  film  version  of  Charles 
Lindbergh's  epic  flight.  Hunter  is  visiting 
with  television-radio  personalities  and  fourth- 
estaters  in  each  stop  to  bally  the  Leland 
Hayward  production.  Promotional  weapons 
carried  by  the  youthful  star  include  RCA 
albums  of  the  pictures'  sound  track,  copies 
of  the  Pulitzer  prize  book  and  a  host  of 
other  exploitation  tools.  The  film,  which 
stars  James  Stewart  as  the  famed  flyer  bows 
February  21  at  NYC's  Radio  City  Music 
Hall,  with  Easter  set  as  the  national  release 
date. 


♦  Credit  the  Liberty  Theatre,  Portland,  Oregon 
with  a  sock  "Wings  of  the  Eagles"  contest  in 
the  rotogravure  section  of  the  Sunday  Ore- 
gonian.  By  coming  up  with  the  current  trade- 
marks and  slogans  of  local  business  concerns 
lucky  winners  were  gifted  to  dinner  on  the  house 
at  a  well-known  restaurant  and  a  pair  of  ducats 
to  the  John  Wayne  film. 


Page  24       Film  BULLETIN    February  18,  1957 


VALUE  LINE  ANALYSIS 


'Continued  from  Page  15) 

-  1USINESS:  Loew's  is  the  last  fully  integrated  producer, 
distributor  and  exhibitor  of  motion  pictures.  Divest- 
ment of  theatres  to  take  place  in  1957.  Theatres 
■nainly  in  Northeast,  presently  account  for  about  40% 
>f  revenues.  Pictures,  under  MGM  trademark,  account 
or  most  of  the  rest.  Foreign  revenues  about  40%  of 
!ilm  earnings.  Labor  costs,  over  65%  of  revenues. 
Since  World  War  II.  earnings  almost  completely  paid 
jut  as   dividends.     Directors   own    or    control  81,700 

"    shares  11.4%  of  total).    Has  14,000  employees.  29.440 

e  shareholders.  Brd.  Chrmn.,  A.  M.  Loew;  Pres.  Joseph 
Vogel     Incorporated:  Delaware.    Address:   1540  Broad- 

'     -ay,  New  York  34,  New  York. 

Stock  traded:  NYSE. 

REPORT:  An  impending  proxy  fight  at 
Loew's  annual  meeting  in  February  has  been 

!  averted  by  settlement  upon  a  compromise 
slate  of  directors.  The  major  change  in  the 
composition  of  the  board  has  been  the  re- 
placement of  Loew's  management  represen- 

|  tatives  by  a  number  of  executives  from  busi- 
nesses outside  the  motion  picture  field. 

The  new  board  will  have  several  thorny 
problems  to  contend  with.  First  on  the  agen- 
da is  the  long-overdue  separation  of  Loew's 
producing  and  exhibiting  activities,  stymied 
for  some  months  by  disagreement  on  the 
proper  allocation  of  the  company's  large 
funded  debt.  Divestment  proceedings,  now 
scheduled  for  March,  will  probably  have  to 
be  postponed  again. 
A  sterner  challenge  to  the  new  directorate 


LOEW'S,  INC. 

will  be  the  revitalization  of  Loew's  film  pro- 
ducing division.  Despite  economy  moves, 
this  division  has  apparently  continued  to 
suffer  operating  losses,  probably  due  to  a 
lack  of  sufficient  top-quality  pictures.  For- 
merly the  dominant  unit  in  its  industry, 
Loew's  now  seldom  places  more  than  one 
movie  on  any  "ten  most  popular"  list.  Profits 
from  such  undisputed  hits  as  "High  Socie- 
ty", "Lust  for  Life",  and  "Teahouse"  are 
eroded  in  such  costly  misadventures  as  "The 
Barretts  of  Wimpole  Street",  which  proved 
to  be  the  poorest  opening  week  drawing  card 
in  13  years  at  the  Radio  City  Music  Hall. 

Of  the  91c  a  share  earned  by  Loew's  in 
fiscal  1956  (ended  Aug.  31st),  more  than 
half  was  accounted  for  by  a  non-recurring 
capital  gain  and  down  payments  on  the  ren- 
tal of  its  film  library  to  television  stations. 
Film  rentals  will  again  constitute  an  impor- 
tant (and  growing)  part  of  company  earn- 
ings in  fiscal  1957.  Profits  will  be  further 
shored  up  by  a  revision  of  the  company's 
film  amortization  schedule.  (Had  the  new 
schedule  been  in  effect  in  fiscal  1956,  earn- 
ings would  have  been  22c  a  share  greater.) 

Although  segregation  of  Loew's  picture 
producing   and   theatre   activities   will  un- 


doubtedly have  been  completed  by  1959-61,  it 
is  impossible  to  make  separate  projections  of 
the  earning  power  of  the  two  companies  until 
full  financial  information  has  been  disclosed 
and  the  funded  debt  allocated.  For  the  com- 
pany as  presently  constituted,  revenues 
might  average  $205  million  annually,  earn- 
ings $2.10  a  share,  and  dividends  $1.25  in  the 
hypothesized  1959-61  economy.  Such  results, 
capitalized  at  10  times  earnings  and  on  a 
6%  yield  basis  in  line  with  past  experience 
adjusted  to  trend,  would  command  an  aver- 
price  of  21.  However,  the  systematic  dis- 
position of  company  assets  (including  its 
land,  real  estate,  studio  properties,  and  film 
library)  might  result  in  the  realization  of  a 
price  of  $30  a  share  for  the  stock. 

ADVICE:  Loew's  is  currently  classified  in 
Group  III  (Fairly  Priced).  The  stock  repre- 
sents a  speculation  on  the  eventual  realiza- 
tion of  $30  or  more  a  share  through  the 
liquidation  of  company  assets.  For  this  rea- 
son, the  Value  Line  Rating  (which  is  based 
on  earnings  and  dividends)  is  not  projected; 
however,  investors  should  note  that  the  stock 
is  generously  priced  in  relation  to  its  current 
and  prospective  operating  results. 


BUSINESS:  Paramount  Pictures  Corp.  produces  and  dis- 
tributes Class  A  motion  pictures  primarily.  Owns 
Vistavision.  Operates  largest  theatre  chain  in  Canada. 
Holds  25%  interest  in  Du  Mont  Laboratories  as  well  as 
Du  Mont  Broadcasting  Corp..  85%  interest  in  Inter- 
national Telemeter  Corp.  ( "pay-as-you-see"  TV  broad- 
casting); 50%  interest  in  Chromatic  Television  Labs., 
Inc.  (developer  of  low  cost  color  TV  tube).  About 
50%  of  total  revenues  derived  abroad.  Directors  own 
about  27,000  shares  of  stock  (1.2%  of  total).  Em- 
ployees: 4.000;  stockholders:  22.117.  Brd.  Chrmn.,  A. 
Zukor.  Pres.,  B.  Balaban.  Inc.:  N.  Y.  Add.:  1501 
Broadway,  New  York  34,  New  York. 

Stock  traded:  NYSE. 

REPORT:  At  31,  the  common  stock  of  Para- 
mount Pictures  is  available  at  a  21%  discount 
from  its  book  value  (estimated  at  about  $39 
a  share).  Since  the  company's  books  do  not 
include  its  fully-amortized  library  of  feature 
films  and  since  they  carry  fixed  assets  and 
"other  investments"  at  but  a  fraction  of  their 
market  worth,  the  book  value  itself  is  under- 
stated. Ordinarily,  the  mere  fact  that  a  stock 
is  trading  below  its  asset  value  does  not,  by 
itself,  make  it  an  attractive  investment  medi- 
um. Unless  the  company  is  able  to  increase 
its  earning  power,  such  under-valuation  is  of 
little  significance  to  many  investors.  How- 
ever, Paramount  seems  capable  of  broaden- 
ing its  earnings  base  significantly. 

The  company  has  been  increasing  substan- 
tially its  investments  in  the  production  of 


PARAMOUNT  PICTURES 

motion  pictures,  upgrading  the  quality  of  its 
products.  For  example,  two  of  its  current 
releases — "War  and  Peace"  and  "The  Ten 
Commandments" — involve  an  unprecedented 
total  production  cost  of  about  $20  million. 
Management's  courage  in  turning  out  such 
expensive  spectaculars  is  now  being  reward- 
ed at  the  box  office.  In  the  domestic  market 
alone,  "War  and  Peace"  is  believed  to  have 
already  returned  an  amount  sufficient  to  re- 
coup its  negative  cost.  The  picture  is  pres- 
ently receiving  excellent  acceptance  overseas. 
Similarly,  playing  in  only  15  theatres  for  an 
average  of  5  weeks  each,  "The  Ten  Com- 
mandments" grossed  a  record  $2.2  million 
during  November  and  December.  Many  in- 
dustry observers  now  believe  that  this  re- 
ligious epic  will  generate  at  least  $40  million 
over  the  next  two  years. 

Meanwhile,  the  company  is  diversifying 
into  growth  fields.  Recently,  it  acquired  Dot 
Records,  Inc.,  a  successful  manufacturer  of 
popular  phonograph  records.  Moreover, 
through  its  many  partially-owned  subsidiar- 
ies, Paramount  is  accelerating  its  activities  in 
the  electronics  industry.  These  undertakings 
are  likely  to  yield  handsome  dividends  over 
a  period  of  time. 


Paramount  has  also  been  conducting  an 
extensive  study  on  the  "best  uses"  of  its 
huge  library  of  old  films.  It  is  reasonable  to 
expect  that  within  the  next  year  or  two, 
some  arrangements  will  be  made  for  the  re- 
lease of  these  pictures  to  television.  Before 
too  long,  therefore,  an  additional,  important 
source  of  income  will  be  created.  Within  the 
hypothesized  1959-61  economy  we  project 
Paramount's  average  annual  revenues  to  $145 
million,  earnings  to  $5.75  a  share  and  divi- 
dends to  $3.  Capitalized  at  8.7  times  earn- 
ings to  yield  6%,  consistent  with  past  norms 
adjusted  for  trend,  such  results  would  com- 
mand an  average  price  of  50. 
ADVICE:  Paramount  Pictures  is  currently 
classified  in  Group  I  (Especially  Under- 
priced).  The  stock  provides  an  exceptionally 
generous  current  yield  of  7.3%  to  8.1%,  on 
the  basis  of  larger  total  dividend  disburse- 
ments we  estimate  for  1957.  Furthermore, 
the  issue  offers  a  superior  3-  to  5-year  ap- 
preciation potentiality  of  61%,  vs.  the  aver- 
age 28%  gain  projected  for  all  stocks.  For 
accounts  willing  to  accept  the  risks  inherent 
in  a  motion  picture  stock,  Paramount  Pic- 
tures appears  especially  interesting  at  this 
time. 


BUSINESS:  Twentieth  Century-Fox  produces  and  dis- 
tributes Class  A  feature  films  primarily.  Owns  Cine- 
maScope,  a  wide  screen  projection  process  and  has  a 
50%  interest  in  the  recently  formed  N.  T.  A.  Film 
Network.  Also  controls  theatre  chains  in  Africa  Great 
Britain,  Australia  and  New  Zealand.  Foreign  revenues 
account  for  about  48%  of  receipts.  Labor  costs,  about 
45%  of  revenues.  Directors  own  or  control  about  4% 
of  total  outstanding  common  shares.  Company  employs 
about  9,000,  has  19,000  stockholders.  Pres.  S.  P. 
Skouras,  V.  P.'s.  J.  Moskowitz.  S.  C.  Einfeld,  W.  C. 
Michel,  M.  Silverstone.  Incorporated:  Delaware.  Ad- 
dress: 444  W.  54th  St.,  N.  Y.  19    N.  Y. 

Stock  traded:  NYSE. 


TWENTIETH  CENTURY-FOX 

REPORT:  Twentieth  Century-Fox  earned 
only  $1.20  a  share  during  the  first  9  months 
of  1956,  or  no  more  than  the  dividends  paid 
in  the  same  period.  Nonetheless,  we  do  not 
believe  the  current  40c  a  share  quarterly  rate 
is  in  jeopardy.  In  fact,  a  strong  possibility 
exists  that  total  disbursements  in  1957  will 
be  increased  to  $1.80  a  share.  Reasons:  (1) 


results  for  the  December  quarter,  when  re- 
leased, are  expected  to  show  a  profit  in  ex- 
cess of  $1  a  share,  as  against  the  60c  reported 
for  the  same  period  a  year  ago;  and  (2)  with 
many  of  its  excellent  new  films  gaining 
wider  distribution  and  with  dividend  income 
from  foreign  theatre  subsidiaries  increasing 
(Continued  on  Page  26) 


Film  BULLETIN    February  18,  1957       Page  25 


VALUE  LINE  ANALYSIS 


(Continued  from  Page  25) 

steadily,  the  company  will  probably  be  able 
to  boost  net  profits  this  year  to  about  $3  a 
share. 

Included  in  last  year's  income  is  approxi- 
mately $1  a  share  derived  from  the  leasing 
of  television  rights  to  the  company's  old  fea- 
ture films.  Since  income  will  continue  to  be 
received  from  this  venture  over  the  next 
several  years,  we  do  not  regard  it  as  a  non- 
recurrent item.  Under  an  agreement  recent- 
ly reached  with  National  Telefilm  Associates, 
which  company  syndicates  films  to  television 
stations,  Twentieth  has  begun  leasing  390  of 
its  pre-1948  productions  for  television  use.  In 
return,  it  has  been  guaranteed  a  minimum 
receipt  of  $30  million  over  a  5-year  span. 
(The  company  has  also  been  given  a  50% 
stock  interest  in  the  newly  organized  NTA 


Film  Network).  Through  1960,  therefore, 
the  company  will  be  receiving  from  this 
source  at  least  $6  million  annually,  on  aver- 
age, equivalent  to  $1.10  a  share  after  taxes. 
Since  Twentieth  has  the  additional  right  to 
participate  in  the  gross  rentals  received  by 
National  Telefilm  once  a  certain  level  is 
reached,  its  receipts  during  the  late  Fifties 
may  well  exceed  the  minimum  amount  guar- 
anteed. 

While  Twentieth  has  strengthened  its 
position  in  the  television  field,  the  motion 
picture  business  remains  its  principal  ac- 
tivity. Here,  the  company  is  stepping  up  its 
production  of  feature  films  on  the  one  hand, 
and  expanding  its  theatre  holdings  abroad 
on  the  other.  Assuming  that  the  company 
will  sell  a  portion  of  its  real  estate  properties 
and  use  the  proceeds  to  reacquire  some  of  its 


own  common  shares,  we  project  the  com- 
pany's average  annual  gross  revenues  in  the 
hypothesized  1959-61  economy  to  $150  mil- 
lion, earnings  to  $4.65  a  share  and  dividends 
to  $2.50.  Capitalized  on  a  yield  basis  of  6.3%, 
in  line  with  past  norms,  such  dividends 
would  justify  an  average  price  of  40  (8.6 
times  earnings). 

ADVICE:  Twentieth  Century-Fox  is  currently 
classified  in  Group  II  (Underpriced).  At  25, 
the  stock  provides  a  generous  current  yield 
of  6.7%  to  7.5%.  Furthermore,  it  offers  a 
striking  3-  to  5-year  appreciation  potentiality 
of  67%.  While  not  suitable  for  investment- 
grade  portfolios  (Quality  Rank:  B — ),  this 
issue  appears  of  interest  to  those  in  a  po- 
sition to  assume  considerable  risks  for  the 
sake  of  better-than-average  dividend  income 
and  extraordinary  capital  gain  prospects. 


BUSINESS:  Warner  Bros.  Pictures  produces  both  class 
A  and  class  B  films  distributed  through  film  exchanges 
located  in  principal  cities  throughout  the  world. 
Through  subsidiaries,  operates  a  music  publishing  busi- 
ness and  holds  a  3 7 '/2  %  interest  in  a  major  British  the- 
atre chain.  About  40%  of  revenues  derived  in  foreign 
markets.  Payroll  absorbs  about  45%  of  revenues.  Di- 
rectors control  about  500,000  shares  of  common  stock, 
27%  of  total  outstanding.  Company  employs  about 
4,000;  has  15,600  stockholders.  President  Jack  L.  War- 
ner, Exec.  V.  P.,  Benjamin  Kalmenson.  Inc.:  Delaware. 
Address:  321   West  44th  Street,   New  York  34,   N.  Y. 

Stock  traded:  NYSE. 

REPORT:  The  controversy  stirred  up  by 
"Baby  Doll"  has  given  the  picture  an  ex- 
ceptionally large  amount  of  free  publicity. 
While  some  people  may  have  heeded  the  ad- 
monition given  by  Cardinal  Spellman  and 
have  therefore  refrained  from  seeing  the  film, 
probably  a  great  many  more  have  been 
driven  by  their  curiosity  to  find  out  what 
has  made  this  picture  so  exciting.  This  un- 
expected windfall  from  "Baby  Doll",  to- 
gether with  continuing  success  of  "Giant",  is 
likely  to  give  a  strong  boost  to  the  com- 
pany's profits  this  year.  With  26%  fewer 
common  shares  outstanding,  per  share  earn- 
ings in  the  current  fiscal  year,  which  ends 
August  31st,  are  expected  to  recover  sharply 
to  $1.70  a  share  from  the  84c  a  share  re- 
ported for  fiscal  1956.  (In  September  1956, 
the    company    reacquired    nearly  640,000 


WARNER  BROS. 

shares  of  its  common  stock  from  stock- 
holders for  approximately  $18  million.) 

Since  last  July,  Warner  Bros,  has  had  on 
its  board  two  representatives  from  the  finan- 
cial world — Charles  Allen,  Jr.  of  Allen  & 
Co.  and  Serge  isemenenko  of  First  National 
Bank  of  Boston.  Ostensibly  under  their  in- 
fluence, the  company  has  been  carrying  out 
a  program  of  partial  asset  liquidation,  de- 
signed to  enhance  its  stockholders'  equity.  In 
September,  it  disposed  of  its  newsreel  sub- 
sidiary, reportedly  for  about  $500,000.  More 
recently,  it  concluded  an  agreement  to  sell 
its  10-story  office  building  in  New  York  for 
an  undisclosed  amount  of  cash.  This  pro- 
gram of  divesting  real  properties  will  prob- 
ably be  accelerated  in  the  years  ahead.  The 
company  is  likely  to  apply  the  proceeds  to 
retire  more  of  its  own  stock  and  to  diversify 
into  other  fields. 

To  be  sure,  the  new  management  is  not 
breaking  up  the  company.  Where  prospects 
seem  promising,  Warner  Bros,  is  expanding 
its  activities.  It  is  currently  spending  $600,- 
000  to  construct  an  ultra-modern  building  in 
Burbank,  Calif,  to  provide  additional  facili- 
ties for  the  production  of  television  films. 
Earlier,  the  company  established  a  commer- 


cial and  industrial  film  department,  in  an  ef- 
fort to  capitalize  on  the  burgeoning  market 
for  industrial  film  productions. 

Assuming  the  new  management  will  be 
successful  in  reversing  the  long  term  down- 
trend in  the  company's  profit  margin,  we 
project  average  revenues  in  the  hypothesized 
1959-61  economy  to  $90  million  annually, 
earnings  to  $4  a  share  and  dividends  to  $2.50. 
Capitalized  at  10  times  earnings  to  yield 
6.3%  consistent  with  past  norm  adjusted  for 
trend,  such  results  would  command  an  aver- 
age price  of  40. 

ADVICE:  Trading  at  16.3  times  earnings  and 
on  a  yield  basis  of  only  4.6%,  the  present 
price  of  Warner  Bros,  fully  discounts  the 
earnings  and  dividends  in  sight  for  the  year 
ahead.  However,  the  company  is  currently 
going  through  a  period  of  transition.  By  the 
end  of  this  decade,  when  its  program  of  asset 
realignment  is  completed,  Warner  Bros,  will 
probably  be  able  to  show  substantially  larg- 
er earnings.  To  the  years  1959-61,  the  stock 
offers  an  appreciation  potentiality  of  54%, 
as  against  the  average  28%  projected  for  all 
stocks.  Accordingly,  we  classify  this  issue 
in  Group  III  (Fairly  Priced). 


BUSINESS:  ABC-Paramount  owns  and  operates  largest 
motion  picture  theatre  chain  in  U.S.  labout  575  thea- 
tres, principally  in  Midwest.  South  and  Atlantic  sea- 
board) and  third  largest  radio  and  TV  network  (net- 
work owns  and  operates  5  TV  stations:  has  over  200 
affiliated  stations).  Labor  costs  absorb  about  60%  of 
revenues.  Dividends  have  averaged  about  75%  of 
operating  earnings  in  the  last  4  years.  Directors  own 
or  control  about  9%  of  total  common  shares.  Employs 
20,000,  has  24,700  common  stockholders.  Pres.:  L.  H. 
Goldenson.  V.P.'s:  H.  B.  Lazarus,  E.  L.  Hyman,  S.  M. 
Markley,  R.  H.  O'Brien,  R.  H.  Hinckley.  Inc.:  N.  Y. 
Add.:  1501  Broadway,  New  York  34,  N.  Y. 

Stock  traded:  NYSE. 


REPORT:  In  the  1956-57  broadcasting  year, 
the  revenues  of  American  Broadcasting  Co., 
a  principal  subsidiary  of  ABC-Paramount, 
are  expected  to  show  but  a  moderate  rate 
of  growth.  Perhaps  because  most  sponsors 
now  perfer  to  bring  their  advertising  mes- 
sages to  adult  TV  viewers,  sales  of  the  im- 
portant  "Mickey    Mouse   Club"  children's 


ABC  PARAMOUNT 

program  have  fallen  considerably  below 
those  of  the  preceding  year,  even  though 
this  5-hour  a  week  presentation  continues  to 
win  top  ratings  for  its  particular  time  period. 
Since  "Mickey  Mouse  Club"  contributes  an 
appreciable  percentage  to  over-all  television 
revenues,  its  present  sales  decline  is  erasing 
a  good  portion  of  the  gains  chalked  up  by 
the  network's  other  successful  shows. 

Under  the  personal  supervision  of  Pres. 
Goldenson,  however,  ABC  is  determined  to 
revitalize  its  long-term  sales  growth  trend. 
The  network  has  been  working  assiduously 
to  realign  and  strengthen  its  program  for- 
mat. It  is  presently  planning,  for  example, 
to  reduce  "Mickey  Mouse  Club"  from  a  one- 
hour  to  a  half-hour  weekday  presentation.  It 


has  also  contracted  Walt  Disney,  who  has 
repeatedly  demonstrated  his  ability  to  turn 
out  audience-drawing  TV  productions,  to 
present  a  new  adventure  series,  "Zorro",  to 
be  introduced  over  ABC  beginning  next  Oc- 
tober as  a  nightime  show.  Earlier,  the  com- 
pany signed  up  the  versatile  Frank  Sinatra 
to  appear  on  its  network  exclusively  for 
three  years. 

While  broadcasting  revenues  are  expected 
to  show  only  slight  year-to-year  gains  dur- 
ing the  greater  part  of  calendar  1957,  theatre 
receipts  which  continue  to  represent  more 
than  half  of  aggregate  income,  are  expected 
to  expand  significantly  this  year.  The  recent 
elimination  of  the  10%  federal  excise  tax  on 
admissions  90c  or  under  will  alone  provide  a 
strong  boost  to  theatre  earnings.  Further- 


Page  26       Film  BULLETIN    February  18,  1957 


VALUE  LINE  ANALYSIS 


more,  the  nation's  movie  attendance  will 
probably  respond  favorably  to  the  large 
number  of  promising  films  that  are  coming 
from  major  studios.  Meanwhile,  ABC-Para- 
mount itself  is  scheduled  to  produce  several 
pictures  this  year. 

Within  the  hypothesized  1959-61  economy, 
ABC-Paramount's  average  annual  revenues 
are  projected  to  $275  million,  earnings  to  $4 
a  share  and  dividends  to  $2.40.  Capitalized 


on  a  6"o  yield  basis,  consistent  with  industry- 
wide norms,  such  dividends  would  command 
an  average  price  of  40  (10  times  earnings). 
ADVICE:  ABC-Paramount's  price  history  is 
too  short  to  enable  us  to  evolve  a  Rating 
through  multiple  correlation  analysis.  Refer- 
ence to  capitalization  ratios  applied  to  similar 
equities  of  its  class  suggests,  however,  that 
selling  at  10  times  earnings  to  yield  6.1%  to 
6.5%,  the  stock  currently  warrants  a  Group 


III  (Fairly  Priced)  classification.  This  issue 
is  of  particular  interest  for  its  superior  3-  to 
5-year  appreciation  potentiality,  74%  vs.  the 
average  28%  gain  projected  for  all  stocks. 
While  the  stock  is  not  suitable  for  inclusion 
in  investment  grade  portfolios  (Quality 
Rank:  B — ),  risk-taking  accounts  might  find 
ABC-Paramount  a  worthwhile  holding  for 
generous  dividend  income  and  attractive 
capital  growth  prospects. 


BUSINESS:  National  Theatres  controls  335  operating 
theatres  located  mainly  in  the  Pacific  coast,  Midwest, 
and  Rocky  Mountain  area.  Also  operates  Roxy  Thea- 
tre in  N.Y.  The  chain  is  the  second  largest  in  the  U.S. 
Labor  costs,  40%  of  revenues.  Dividends  have  aver- 
aged only  about  38%  of  earnings  during  the  1953-55 
period.  Directors  own  or  control  about  132,500  shares 
of  stock  14.8%  of  total  outstanding!.  Employees'. 
4  900-  stockholders:  14,800.  President:  E.  C.  Rhoden, 
Vice  Presidents:  F.  H.  Ricketson,  Jr.,  J.  B.  Bertero,  E. 
F.  Zabel.  A.  May.  Incorporated:  Delaware.  Address: 
1837  South  Vermont  Ave.,   Los  Angeles  A,  California. 

Stock  traded:  NYSE. 

REPORT:  National  Theatres  strengthened  its 
financial  position  considerably  in  the  1956 
fiscal  year,  which  ended  Sept.  25th.  During 
the  year,  the  company  reduced  its  outstand- 
ing long  term  debt  by  $4.3  million,  reac- 
quired 70,000  shares  of  its  own  common 
stock,  redeemed  $380,000  face  amount  of 
subsidiary  preferred  stock  and  at  the  same 
time  managed  to  increase  its  working  capital 
by  $3.6  million.  This  remarkable  achieve- 
ment was  made  possible  primarily  by  the 
proceeds  from  sales  of  some  of  its  real  estate 
properties,  including  the  Roxy  Theatre  in 
New  York. 

In  the  years  immediately  ahead,  .National 
will  probably  continue  to  carry  out  its  pro- 
gram of  reducing  and  realigning  real  estate 
holdings.  The  rate  at  which  this  project  will 


NATIONAL  THEATRES 

be  executed  will  depend,  of  course,  on  how 
profitably  the  properties  can  be  marketed. 
However,  a  company  spokesman  recently 
suggested  that  by  the  end  of  this  decade,  the 
number  of  theatres  operated  by  National 
might  be  reduced  by  10%.  It  is  interesting 
to  note  that  this  program  of  property  divest- 
ment is  not  likely  to  result  in  reduced  thea- 
tre earnings.  Most  of  the  theatres  to  be  dis- 
posed of  are  either  closed  or  have  not  been 
operating  profitably.  In  fact,  by  eliminating 
some  of  these  unproductive  properties  the 
company  will  be  in  a  position  to  lower  its 
aggregate  overhead  expenses  and  widen  its 
overall  profit  margin. 

National  Theatres  will  probably  be  able  to 
put  its  present  large  working  capital,  as  well 
as  the  proceeds  from  future  property  sales, 
to  good  use.  Already  it  is  proceeding  to 
produce  a  picture  in  "Cinemiracle",  a  new 
wide-screen  picture  process  recently  de- 
veloped by  the  company.  Other  funds  are 
expected  to  be  employed  to  acquire  a  growth 
company  outside  the  motion  picture  field,  if 
such  a  promising  enterprise  can  be  found.  If 
not,  we  believe  National  Theatres  will  reac- 


quire some  of  its  own  common  stock,  reduc- 
ing thereby  the  total  number  of  shares  out- 
standing and  increasing  the  effective  earning 
power  of  the  remaining  shares.  (While 
under  the  terms  of  existing  long-term  debt 
agreements,  the  company  currently  has  only 
$2.7  million  of  its  retained  earnings  available 
for  cash  dividend  payments  and  re-purchases 
of  capital  stock,  it  is  believed  that  the  re- 
strictions may  soon  be  relaxed  or  lifted.) 

Within  the  hypothesized  1959-61  economy. 
National's  average  annual  revenues  are  pro- 
jected to  $80  million,  earnings  to  $1.65  a 
share  and  dividends  to  80c.  Capitalized  at 
8.5  times  earnings  to  yield  5.7%,  consistent 
with  past  norms  adjusted  for  trend,  such  re- 
sults would  command  an  average  price  of  14. 
ADVICE:  Classified  as  especially  underpriced 
when  last  reviewed  in  November,  National 
Theatres  has  since  advanced  1^4  points 
(19%).  However,  the  stock  continues  to  ap- 
pear interesting  to  risk  taking  accounts.  It 
provides  a  generous  current  dividend  return 
of  5.8%  to  7%  and  offers  a  wide  3-  to  5-year 
appreciation  potentiality  of  62.%  The  stock 
is  therefore  currently  classified  in  Group  II 
(Underpriced). 


BUSINESS:  Stanley  Warner  owns  or  leases  30A  theatres 
located  mainly  in  the  eastern  states.  In  1953  it  formed 
partnership  with  Cinerama  Productions  to  exploit  Ciner- 
ama process.  Presently  operating  over  20  Cinerama 
theatres.  In  1954  acquired  International  Latex  Corp., 
a  manufacturer  of  consumer  rubber  goods  under  "Play- 
tex"  label.  Principal  manufacturing  plants  are  in  Man- 
chester and  Newman.  Ga.,  Arnprior,  Canada,  Port 
Glasgow,  Scotland,  and  Puerto  Rico.  Has  10,000  em- 
ployees, IA.500  stockholders.  Directors  control  about 
IA%  of  total  crmmcn  shares.  Pres.,  S.  H.  Fabian; 
Exec.  V.  P.,  S.  Rosen.  Inc.:  Delaware.  Address:  1585 
Broadway,  New  York,  New  York. 

Stock  traded:  NYSE. 
REPORT:  By  diversifying  into  promising  fields 
both  within  and  outside  the  motion  picture 
industry,  Stanley  Warner  has  demonstrated 
the  feasibility  of  converting  unproductive 
assets  into  profitable  businesses.  In  1953, 
when  revenues  from  its  ordinary  theatre 
operations  were  still  declining,  the  company 
formed  a  partnership  with  Cinerama  Produc- 
tions to  produce  and  exhibit  the  revolution- 
ary wide-screen  pictures.  The  following  year 
it  reached  beyond  the  Hollywood  border  and 
acquired  International  Latex  Corp.,  a  suc- 
cessful manufacturer  of  consumer  goods 
marketed  under  the  trade  name  of  "Playtex". 
These  ambitious  ventures  have  resulted  in  a 
marked  improvement  in  the  company's 
earning  power. 

A  good  portion  of  this  earning  potential 
will  probably  be  realized  this  year.  Now 


STANLEY  WARNER 

playing  in  26  theatres  at  home  and  abroad, 
all  three  of  the  Cinerama  pictures  so  far  re- 
leased have  been  grossing  well.  With  the 
bulk  of  negative  costs  and  theatre  opening 
expenses  already  written  off  during  the  past 
few  years,  a  larger  percentage  of  box-office 
receipts  is  likely  to  be  carried  down  to  the 
net  income  level  henceforth.  Concurrently, 
fostered  by  a  larger  flow  of  quality  films 
from  Hollywood  and  the  recent  elimination 
of  the  10%  federal  excise  tax  on  all  admis- 
sions up  to  and  including  90c,  profits  from 
theatres  other  than  the  Cinerama  houses  are 
also  expected  to  improve. 

The  most  notable  contribution  to  higher 
earnings,  however,  will  probably  be  made  by 
International  Latex.  Since  last  August,  this 
wholly-owned  subsidiary  has  been  carrying 
on  a  multimillion  dollar  promotional  cam- 
paign, reaching  28  million  American  homes 
through  television.  The  advertising  program 
has  resulted  in  an  increasingly  heavy  influx 
of  orders  for  "Playtex"  products.  In  antici- 
pation of  this  sales  boom,,  the  company  con- 
structed several  ultra-modern  factories  last 
year,  including  one  each  in  Georgia,  Puerto 
Rico  and  Scotland.  (The  heavy  costs  in- 
curred in  starting  up  these  factories  have 


been  responsible  in  part  for  the  relatively 
narrow  profit  margins  in  the  last  few 
months.)  By  utilizing  the  new  facilities  more 
fully,  the  company  will  probably  be  able  to 
widen  its  profit  margin  as  volume  expands, 
mounting  labor  and  raw-material  costs  not- 
withstanding. 

Within  the  hypothesized  1959-61  economy 
we  project  Stanley  Warner's  average  annual 
revenues  to  $140  million,  earnings  to  $3.90  a 
share  and  dividends  to  $2.  Capitalized  at  8.5 
times  earnings  to  yield  6%,  consistent  with 
past  norms  adjusted  for  trend,  such  results 
would  justify  an  average  price  of  33. 
ADVICE:  Stanley  Warner  has  advanced  2 
points  (13%)  since  it  was  last  reviewed  three 
months  ago,  when  it  was  classified  as  espe- 
cially underpriced.  At  17,  however,  the  stock 
continues  to  provide  a  generous  dividend  re- 
turn of  5.9%  to  7.1%  over  the  next  12 
months,  compared  to  the  average  5.2%  yield 
afforded  by  all  dividend-paying  stocks  under 
survey.  Moreover,  this  issue  offers  an  extra- 
ordinary 3-  to  5-year  appreciation  potentiali- 
ty of  94%,  as  against  the  average  28%  gain 
projected  for  all  stocks.  We  accordingly 
classify  Stanley  Warner  in  Group  II  (Under- 
priced)  at  this  time. 


Film  BULLETIN    February  18.  1957        Page  27 


THIS  IS  YOUR  PRODUCT 


All  The  Vital  Details  on  Current  &>  Coming  Features 

(Date  of  Film  BULLETIN  Review  Appears  At  End  of  Synopsis) 


ALLIED  ARTISTS 


CALLING  HOMICIDE  Bill  Elliot,  Jeane  Cooper,  Kath- 
leen Case.  Producer  Ben  Schwalb.  Director  Edward 
Bernds.  Melodrama.  Policeman  breaks  baby  extortion 
racket,  61  min. 

FIGHTING  TROUBLE  Huntz  Hal),  Stanley  Clements, 
Oueenie  Smith.  Producer  Ben  Schwalb.  Director  George 
Blair.  Comedy  drama.  Bowery  Boys  apprehend  hood- 
lums by  fast  work  with  a  camera.  61  min. 
STRANGE  INTRUDER  Edward  Purdom,  Ida  Lupino,  Ann 
Harding,  Jacques  Bergerac.  Producer  Lindsley  Parsons. 
Director  Irving  Rapper.  Drama.  A  returning  Korean  vet 
makes  a  strange  promise  to  a  dying  comrade-in-arms. 
81  min. 


October 


CRUEL  TOWER,  THE  John  Ericson,  Mari  Blanchard, 
Charles  McGraw.  Producer  Lindstey  Parsons.  Director 
Lew  Landers.  Drama.  Steeplejacks  fight  for  woman 
on  high  tower.   80  min. 

YAOUI  DRUMS  Rod  Cameron,  Mary  Castle.  Producer 
William  Broidy.  Director  Jean  Yarbrough.  Western. 
Story  of  a  Mexican  bandit.  71  min. 


November 


BLONDE  SINNER  Diana  Dors.  Producer  Kenneth 
Harper.  Director  J.  Lee  Thompson.  Drama.  A  con- 
demned murderess  in  the  death  cell.  74  min. 
FRIENDLY  PERSUASION  Deluxe  Color.  Gary  Cooper, 
Dorothy  McGuire,  Marjorie  Main,  Robert  Middleton. 
Producer-director  William  Wyler.  Drama.  The  story 
of  a  Ouaker  family  during  the  Civil  War.  13?  min.  10/1 

December 

HIGH  TERRACE  Dale  Robertson,  Lois  Maxwell.  Pro- 
ducer Robert  Baker.  Director  H.  Cass.  Drama.  Famous 
impresario  is  killed  by  young  actress.  77  min. 
HOT  SHOTS  Huntz  Hall,  Stanley  Clements.  Producer 
Ben  Schwalb.  Director  Jean  Yarbrough.  Comedy.  Ju- 
venile television  star  is  kidnapped.   62  min. 


January 


CHAIN  OF  EVIDENCE  Bill  Elliot,  James  Lydon,  Claudia 
Barrett.  Producer  Ben  Schwalb.  Director  Paul  Landres. 
Melodrama.  Former  convict  is  innocent  suspect  in 
planned  murder.  63  min. 

STORM  OUT  OF  THE  WEST  Dale  Robertson,  Brian  Keith, 
Rossano  Rory.  Producer  Frank  Woods.  Director  Brian 
Keith.  Western.  72  min. 


February 


ATTACK  Of  THE  CRAB  MONSTERS  Richard  Garland, 
Pamela  Duncan.  Producer-director  Roger  Corman. 
Science-fiction.  Hideous  monsters  take  over  remote 
Pacific  Island.  68  min. 

LAST  OF  THE  BADMEN  CinemaScope,  Color.  George 


as   onty  recogrti»ebl«   man   in   their   holdups,   thus  in- 
creasing reward  for  his  death  or  capture.  81  min. 
NOT  OF  THIS   EARTH    Paul    Birch,    Beverly  Garland. 
Producer-director  Roger  Corman.  Science-fiction.  Series 
of  strange  murders  plagues  large  western  city.  67  min. 


March 


FOOTSTEPS  IN  THE  NIGHT  Bill  Elliot,  Don  Haggerty. 
Producer  Ben  Schwalb.  Director  Jean  Yarbrough.  Melo- 
dfama.  Man  is  sought  by  police  for  murder  of  his 
friend.  62  min. 

HOLD  THAT  HYPNOTIST  Hunrz  Hall,  Stanley  Clements. 
Producer  Ben  Schwalb.  Director  Austen  Jewell.  Comedy 
drama.  Bowery  Boys  tangle  with  unscrupulous  hypnotist. 

JEANNIE  CinemaScope,  Color.  Vera  Ellen,  Tony  Martin, 
Robert  Fleming.  Producer  Marcel  Hellman.  Director 
Henry  Levin.  Musical.  Small-town  girl  meets  washing 
machine  inventor  in  Paris.  105  min. 


Coming 


BADGE  OF  MARSHAL  BRENNAN  Jim  Davis.  Producer- 
director  Albert  Gannaway.  Western. 

CRIME  BENEATH   THE   SEA   Mara   Corday,    Pat  Con- 
way, Florence  Marly.  Producer  Norman  Herman. 
DAUGHTER  Of  DR.  JEKYLL  John  Ag^ar,  Gioria  Talbot, 
Ar*ur    Shields.     Producer    Jack    Pollexfen.  Director 
Edgar  Unger.  Horror. 

DRAGOON  WELLS  MASSACRE  Barry  Sullivan,  Mona 
Freeman.  Dennis  O'Keefe.  Producer  Lindsley  Parsons. 
Director  Harold  Schuster.  Western.  Apaches  attack 
stockade  in  small  western  town.  81  min. 
HUNCHBACK  OF  NOTRE  DAME,  THE  CinemaScope, 
Color.  Gina  Lollobrigida ,  Anthony  Quinn.  A  Paris 
Production.  Director  Jean  Delannoy.  Drama.  Hunch- 
back falls  in  love  with  beautiful  gypsy  girl.    88  min. 


LOVE  IN  THE  AFTERNOON  Color.  Gary  Cooper, 
Audrey  Hepburn,  Maurice  Chevalier.  Producer-director 
Billy  Wilder.  Drama. 

OKLAHOMAN,  THE  CinemaScope,  DeLuxe  Color.  Joel 
McCrea,  Barbara  Hale.  Producer  Walter  Mirsch.  Di- 
rector Francis  Lyon.  Western.  Doctor  helps  rid  town 
of  unscrupulous  brothers.  81  min. 


COLUMBIA 


October 

PORT  AFRIQUE  Technicolor.  Pier  Angelli,  Phil  Carey, 
Dennis  Price.  Producer  David  E.  Rose.  Director  Rudy 
Mate.  Drama.  Ex-Air  Force  flyer  finds  murderer  of 
his  wife.  92  min.  9/17. 

SOLID  GOLD  CADILLAC.  THE  Judy  Holliday,  Paul 
Douglas,  Fred  Clark.  Producer  Fred  Kohlmar.  Director 
Richard  Quine.  Comedy.  Filimiiation  of  the  famous 
Broadway  play  about  a  lady  stockholder  in  a  large 
holding  company.   99  min.  8/20. 

STORM  CENTER  Bette  Davis,  Brian  Keith,  Paul  Kelley, 
Kim  Hunter.  Producer  Julian  Blaustein.  Director  Daniel 
Taradash.  Drama.  A  librarian  protests  the  removal  of 
"controversial"  from  her  library,  embroils  a  small 
town  in  a  fight.  85  min.  8/6. 

November 

ODONGO  Technicolor,  CinemaScope.  Macdenald 
Carey,  Rhonda  Fleming,  Juma.  Producer  Irving  Allen. 
Director  John  Gilling.  Adventure.  Owner  of  wild  ani- 
mal farm  in  Kenya  saves  young  native  boy  from  a 
violent  death.  91  min. 

REPRISAL  Technicolor.  Guy  Madison,  Felicia  Farr, 
Kathryn  Grant.  Producers,  Rackmil-Ainsworth.  Direc- 
tor George  Sherman.  Adventure.  Indians  fight  for 
rights  in  small  frontier  town.  74  min. 

SILENT  WORLD,  THE  Eastman  Color.  Adventure  film 
covers  marine  explorations  of  the  Calypso  Oceono- 
graphic  Expeditions.  Adapted  from  book  by  Jacques- 
Yves  Cousteau.  86  min.  10/15. 

WHITE  SQUAW,  THE  David  Brian,  May  Wynn,  William 
Bishop.  Producer  Wajlace  MacDonald.  Director  Ray 
Nazarro.  Drama.  Indian  maiden  helps  her  people  sur- 
vive injustice  of  white  men.  73  min. 

YOU  CAN'T  RUN  AWAY  FROM  IT  Technicolor,  Cine- 
maScope. June  Allyson,  Jack  Lemmon,  Charles  Bick- 
ford.  Produced-director  Dick  Powell.  Musical.  Reporter 
wins  heart  of  oil  and  cattle  heiress.   95  min.  10/15. 

December 

LAST  MAN  TO  HANG.  THE  Tom  Conway,  Elizabeth 
Sellars.  Producer  John  Gossage.  Director  Terence 
Fisher.  Melodrama.  Music  critic  is  accused  of  murder- 
ing his  wife  in  a  crime  of  passion.  75  min.  11/12. 
MAGNIFICENT  SEVEN.  THE  Takashi  Shimura,  Toshiro 
Mifune.  A  Toho  Production.  Director  Akira  Kurosawa. 
Meiodrama.  Seven  Samurai  warriors  are  hired  by  far- 
mers for  protection  against  maurauders.  158  min.  12/iO 
RUMBLE  ON  THE  DOCKS  James  Darren,  Jerry  Janger, 
Edgar  Barrier.  Drama.  Teenage  gang  wars  and  water- 
front racketeers.   82  min.  12/10. 

SEVENTH  CAVALRY.  THE  Technicolor.  Randolph  Scott, 
Barbara  Hale.  Producer  Harry  Brown.  Director  Joseph 
Lewis.  Western.  An  episode  in  the  glory  of  General 
Custer's  famed  "7th  Cav.".    75  min.  12/10. 


January 


DON'T  KNOCK  THE  ROCK  Bill  Haley  and  his  Comets, 
Alan  Freed,  Alan  Dak.  Producer  Sam  Katzman.  Direc- 
tor Fred  Sear*.  Musical.  Life  and  times  of  a  famous 
rock  and  roll  singer.  80  min.  1/7. 

RIDE  THE  HIGH  IRON  Don  Taylor,  Sally  Forest,  Ray- 
mond Burr.  Producer  William  Self.  Director  Don  Weis. 
Drama.  Park  Avenue  scandal  is  hushed  up  by  public 
relations  experts.  74  min. 

ZARAK  Technicolor,  CinemaScope.  Victor  Mature, 
Michael  Wilding,  Anita  Ekberg.  A  Warwick  Production. 
Director  Terence  Young.  Drama.  Son  of  wealthy  ruler 
-     notorious  bandit.  99  min.  12/24. 


February 

NIGHTFALL  Aldo  Ray,  Anne  Bancroft.  Producer  Ted 
Richmond.  Director  Jacques  Tourneur.  Drama.  Mistaken 
identity  of  a  doctor's  bag  starts  hunt  for  stolen  money. 
78  min.  12/10. 

UTAH  BLAINE  Rory  Calhoun,  Susan  Cummings,  Angela 
Stevens.  Producer  Sam  Katzman.  Director  Fred  Sears. 
Western.  Two  men  join  hand*  because  they  see  in  each 
other  a  way  to  have  revenge  on  their  enemies.  75  min. 
WICKED  AS  THEY  COME  Arlene  Dahl,  Phil  Carey.  Pro- 
ducer Maxwell  Setton.  Director  Ken  Hughes.  Drama.  A 
beautiful  girl  wins  a  beauty  contest  and  a  "different" 
life.  132  min.  1/21. 


March 

FIRE  DOWN  BELOW  CinemaScope,  Technicolor.  Rita 
Hayworth,  Robert  Mitchum,  Jack  Lemmon.  A  War- 
wick Production.  Director  Robert  Parrish.  Drama. 
Cargo  on  ship  is  ablaze.  Gravity  of  situation  is  in- 
creased by  highly  explosive  nitrate. 

cU,°\  OF»  LIFE  Judy  HoU^ay,  Richard  Conte. 
Salvatore  8accaloni.  Producer  Fred  Kohlmar.  Director 
Richard  Quine.  Comedy.  Struggling  writer  and  wife 
are  owners  of  new  home  and  are  awaiting  arrival  of 
child.  91  min.  1/7. 

MAN  WHO  TURNED  TO  STONE,  THE  Victor  Jory,  Ann 
Doran.  Producer  Sam  Katzman.  Director  Leslie  Kardos. 
Mad  doctor  discovers  secret  of  prolonged  life.  Horror 
80  min. 

SHADOW  ON  THE  WINDOW,  THE  Betty  Garrett,  Phil 
Carey,  Corey  Allen.  Producer  Jonie  Tapia.  Director 
William  Asher.  Melodrama.  Seven-year  old  boy  is  the 
only  witness  to  a  murder. 

A  pril 

GUNS  AT  FORT  PETTICOAT  Audie  Murphy,  Kathryn 
Grant.  Producer  Harry  Joe  Brewn.  Director  George 
Marshall.  Western.  Army  officer  organizes  women  to 
fight  off  Indian  attack. 


Coming 


BEYOND  MOMBASA  Technicolor,  CinemaScope.  Cor- 
nell  Wilde,  Donna  Reed.  Producer  Tony  Owen.  Direc- 
tor George  Marshall.  Adventure.  Leopard  Men  seek 
to  keep  Africa  free  of  white  men. 

CHA-CHA-CHA  BOOM  Perez  Prado,  Helen  Grayson. 
Manny  Lopez.  Producer  Sam  Katzman.  Director  Fred 
S^ars.  Musical.  Cavalcade  of  the  mambo.  78  min.  10/15 
GARMENT  JUNGLE,  THE  Lee  J.  Cobb,  Kerwin  Mat- 
thews, Richard  Boone.  Producer  Harry  Kleiner.  Di- 
rector Robert  Aldrich.  Drama. 

HALF  PAST  HELL  Victor  Mature,  Anita  Ekberg,  Trevor 
Howard.  A  Warwick  Production.  Director  John  Gilling. 
KILLER  APE  Johnny  Weissmuller,  Carol  Thurston.  Pro- 
ducer Sam  Katzman.  Director  Spencer  G.  Bennett.  Ad- 
venture drama.  The  story  of  a  giant  half-ape,  half-man 
beast  who  goes  on  a  killing  rampage  until  destroyed 
by  Jungle  Jim.  68  min. 

PAPA,  MAMA,  THE  MAID  AND  I  Robert  Lamoureux, 
Gaby  Morlay,  Nicole  Courcel.  Director  Jean-Paul  Le 
Chanois.  Comedy.  The  lives  of  a  typically  Parisian 
family.  94  min.  9/17. 

STRANGE  ONE.  THE  Ben  Gazzara,  James  Olsen,  George 
Peppard.  Producer  Sam  Spiegel.  Director  James  Gar- 
fein.  Drama.  Cadet  at  military  school  frames  com- 
mander and  his  son. 

SUICIDE  MISSION  Leif  Larson,  Michael  Aldridge,  Atle 
Larsen.  A  North  Seas  Film  Production.  Adventure.  Nor- 
wegian fishermen  smash  German  blockade  in  World 
War  II.  70  min. 

TALL  T,  THE  Randolph  Scott,  Richard  Boone,  Maureen 
Sullivan.  A  Scott-Brown  Production.  Director  Budd 
Boetticher.  Western.  A  quiet  cowboy  battles  o  be 
independent. 

27TH  DAY.  THE  Gene  Barry,  Valerie  French.  Producer 
Helen  Ainsworth.  Director'  William  Asher.  Science- 
fiction.  People  from  outer  space  plot  to  destroy  all 
human  life  on  the  earth. 

YOUNG  DON'T  CRY,  THE  Sal  Mineo,  James  Whitmore. 
Producer  P.  Waxman.  Director  Alfred  Werker.  Drama. 
Life  in  a  southern  orphanage. 


INDEPENDENTS 


October 

GUNSLINGER  Color  I  American- Internationa II  John  Ire- 
land, Beverly  Garland,  Alison  Hayes.  Producer-director 
Roger  Corman.  Western.  A  notorious  gunman  terrorizes 
the  West. 

PASSPORT  TO  TREASON  (Astor  Pictures)  Rod  Camer- 
on, Lois  Maxwell.  Producers  R.  Baker,  M.  Berman. 
Director  Robert  Baker.  Drama.  Private  investigator 
stumbles  upon  a  strange  case  of  murder.  70  min. 
RIFIFI  .  .  .  MEANS  TROUBLE  (United  Motion  Picture 
Organization)  Jean  Servais,  Carl  Mohner.  Director 
Jules  Dassis.  Melodrama.  English  dubbed  story  of 
the  French  underworld.  120  min.  11/12. 
SWAMP  WOMEN  IWoolner)  Color.  Carole  Mathews, 
Beverly  Garland,  Touch  Connors.  Producer-director 
Roger  Corman.  Adventure.  Wild  women  in  the  Louisiana 
bayous. 


November 


MARCELINO  lUnited  Motion  Picture  Organization  I 
Pabilto  Calvo,  Rafael  Rivelles.  Director  Ladislao 
Vadja.  Drama.  Franciscan  monks  find  abandoned  baby 
and  adopt  him.  90  min.  11/12. 


Film 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


MARCH  SUMMARY 

Features  scheduled  for  March  release 
total  13.  The  leading  suppliers,  with  four 
films  each,  will  be  Columbia  and  20th 
Century-Fox.  United  Artists  and  Universal 
w!ll  release  three  each,  while  Allied  Ar- 
tists, Metro,  Paramount,  Republic  and 
RKO  will  place  two  on  the  roster.  One 
film  each  will  be  released  by  Warner  Bros, 
and  DCA.  Exactly  half  of  the  total,  13. 
will  be  dramas;  14  March  films  will  be  in 
color.  Eight  features  will  be  in  Cinema- 
Scope,  two  in  Naturama,  one  in  Vista- 
Vision. 

3  Adventures  13  Dramas 

1  Comedy  4  Westerns 

2  Melodramas  2  Musicals 
1  Horror 


SECRETS  OF  LIFE    IBuena  Vista  I.   Latest  in  Walt  Dis- 
ney's true-life  scenes.  75  min.  10/29. 
J    SHAKE.   RATTLE  AND  ROCK  lAmerican-lnternationall 
Lisa  Gaye,  Touch  Conners.  Producer  James  Nicholson 

I]  Director  Edward  Cahn.  Musical.  A  story  of  "rock  and 
j     roll"  music. 

WEE  GORDIE  IGeorge  K.  Arthur!  Bill  Travers.  Elastair 
Sim.   Norah  Gorsen.   Producer  Sidney  Gilliat.  Director 

\     Frank   Launder.   Comedy.   A  frail   lad   grows   to  giant 

I     stature  and  wins  the  Olympic  hammer-throwing  cham- 

I     pionship.  94  min.  11/12. 

WESTWARD  HO,  THE  WAGONS  IBuena  Vista)  Cine- 
maScope,  Technicolor.   Fess  Parker,  Kathleen  Crowley. 

I     A  Walt  Disney  Production.  Adventure. 

December 

BABY  AND  THE  BATTLESHIP,  THE  (DCAI  Richard 
Attenborough,  Lisa  Gastoni.  Producer  Anthony  Darn- 
borough.  Director  Jay  Lewis.  Comedy.  Baby  is 
smuggled    aboard    a    British    battleship    during  mock 

■  maneuvers. 

BED   OF   GRASS    ITrans-Lux)    Anna    Brazzou.    Made  in 

I     Greece.  English  titles.  Drama.  A  beautiful  girl  is  per- 
secuted by  her  villiage  for  having  lost  her  virtue  as 

I     the  victim  of  a  rapist. 

HOUR  OF  DECISION  lAstor  Pictures)  Jeff  Morrow. 
Drama. 

LA    SORCIERE     (Ellis    Films)     Marina    Vlady,  Nicole 

Courel.  Director  Andre  Michel.  Drama.  A  young  French 
I  engineer  meets  untamed  forest  maiden  while  working 
I  in  Sweden.  French  dialogue,  English  subtitles, 
k  MEN  OF  SHERWOOD  FOREST  (Astor  Pictures)  East- 
I  man  Color.  Don  Taylor.  Producer  Michael  Carreras. 
I  Director  Val  Guest.  Adventure.  Story  of  Robin  Hood 
I     and  his  men.  78  min. 

ROCK.  ROCK.  ROCK  (DCAI.  Alan  Freed.  LaVern 
I  Baker,  Frankie  Lyman.  A  Vanguard  Production.  Musical 
|      panorama  of  rock  and  roll. 

SNOW  WAS  BLACK,  THE  I  Continental  I  Daniel  Gelin, 
I  Valentine  Tessier.  A  Tellus  Film.  French  language  film. 
I  Drama.  Study  of  an  embittered  young  man  who  lives 
I     with  mother  in  her  house  of  ill  fame.  105  min. 

TWO  LOVES  HAVE  I  Uaconl  Technicolor.  Gabriele 
I  Ferzetti,  Marta  Toren.  A  Rizioli  Ftlm.  Director  Carmine 
I  Gallone.  Drama.  Life  of  Puccini  with  exerpts  from  his 
I     best  known  operas. 

January 

ALBERT  SCHWEITZER  (Hill  and  Anderson)  Eastman 
I  Color.  Film  biography  of  the  famous  Nobel  Prize  win- 
I  ner  with  narritive  by  Burgess  Merideth.  Producer-direc- 
I      tor  James  Hill.  Documentary. 

BULLFIGHT  I  Janus).  French  made  documentary  offers 
I  history  and  performance  of  the  famous  sport.  Produced 
I     and  directed  by  Pierre  Braunberger.  76  min.  11/26. 

FEAR  lAstor  Pictures)  Ingrid  Bergman,  Mathias  Wie- 
I  man.  Director  Roberto  Rossellini.  Drama.  Young 
I  married  woman  is  mercilessly  exploited  by  blackmailer 
I     84  min. 

VITTELONI  (API-Janus).  Franco  Interlenghi,  Leonora 
|  Fabrizi.  Producer  Mario  de  Vecchi.  Director  F.  Fel- 
I  lini.  Comedy.  Story  of  unemployed  young  men  in  Italy. 
I      103  min.  11/26. 

WE    ARE    ALL    MURDERERS    IKingsley  International) 
Marcel  Mouloudji,  Raymond  Pellegrin.    Director  Andre 
I      Gayette.  Drama. 

February 

FLESH  AND  THE  SPUR  I  American-International )  Color. 
I     John  Agar.    Maria   English.   Touch   Connors.  Producer 
I     Alex  Gordon.    Director  E.   Cahn.   Western.    Two  men 
I     search  for  a  gang  of  outlaw  killers.  86  min. 
|      HOUR   OF   DECISION    lAstor   Pictures)    Jeff  Morrow, 
I      Hazel  Court.  Producer  Monty  Berman.  Director  Denn- 
ington    Richards.    Melodrama.    Columnist's   wife   is  in- 
I      nocently  involved  in  blackmail  and  murder.  70  min. 
1      NAKED     PARADISE     I  American-International)  Color. 
,       Richard     Denny,     Beverly    Garland.  Producer-director 
Roger   Corman.    Drama.    Man   and    woman    bring  Ha- 
waiian smugglers  to  justice.  72  min. 

ROCK  ALL  NIGHT  lAmerican-lnternational)  Dick 
Miller,  Abby  Dalton,  Russel  Johnson  Producer-director 
Roger  Corman.   Rock  n'  roll  musical. 

TEMPEST  IN  THE  FLESH  (Pacemaker  Pictures)  Ray- 
mond Pellegrin,  Francoise  Arnoul.  Director  Ralph 
Habib.  French  film,  English  titles.  Drama.  Study  of  a 
young  woman  with  a  craving  for  love  that  no  number 
of  men  can  satisfy. 

March 

WOMAN  OF  ROME  IDCA)  Gina  Lollobrigida,  Daniel 
Gelin.  A  Ponti-DeLaurentiis  Production.  Director  Luigi 
Zampa.  Drama.  Adapted  from  the  Alberto  Moravia 
novel. 

Coming 

CITY  OF  WOMEN  (Associated)  Osa  Massen,  Robert 
Hutton,  Maria  Palmer.  Producer-director  Boris  Petroff. 
Drama.  From  a  novel  by  Stephen  Longstreet. 
IF  ALL  THE  GUYS  IN  THE  WORLD  .  .  .  IBuena  Vista) 
Andre  Valmy,  Jean  Gaven.  Director  Christian-Jaque. 
Drama.  Radio  "hams",  thousands  of  miles  apart,  pool 
their  efforts  to  rescue  a  stricken  fishing  boat. 
IT  CONQUERED  THE  WORLD  (American  International) 
Peter  Graves,  Beverly  Garland.  Producer-director 
Roger  Corman.  Science-fiction.  A  monster  from  outer 
space  takes  control  of  the  world  until  a  scientist  gives 
his  life  to  save  humanity. 

LOST  CONTINENT  (IFE)  CinemaSccpe,  Ferranicolor. 
Producer-director  Leonardo  Bonzi.  An  excursion  into  the 
wilds  of  Borneo  and  the  Maylayan  Archepelago.  Eng- 
lish commentary.  86  min. 

UNDEAD,  THE  lAmerican-lnternational)  Pamela  Dun- 
can, AHUon  Hayes.  Producer-director  Roger  Corman. 
Science-fiction.  71  min. 


NEAPOLITAN  CAROUSEL  IIFEi  ILux  Film,  Romel  Path.- 
coior.  Print  by  Tecnnicoior.  Sophia  Loren,  Leonid* 
Massin*.  Director  Ettore  Giannini.  Musical.  The  history 
at  Nap.es  traced  from  1600  to  date  in  song  and  oance. 
OKLAHOMA  WOMAN  (American  Releasing  Cor.. I 
Suoerscope.  Richard  Denning,  Peagie  Castle  Cathy 
Downs.  Producer-director  Roger  Corman.  Western  A 
ruthless  woman  rules  the  badlands  until  a  reformed 
outlaw  brings  her  to  justice.  80  min. 

REMEMBER,  MY  LOVE  I  Artists-Producers  Assoc  .  I  Cine- 
maScope,  Technicolor.  Michael  Redgrave,  Mel  Ferrer, 
Anthony  Quale.  Musical  drama.  Producer-director 
Michael  Powell,  Emeric  Pressburger.  Based  on  Strauss' 
"Die  Fledermaus". 

RUNAWAY  DAUGHTERS  lAmerican-lnternational) 
Maria  English,  Anna  Sten.  Producer  Alex  Gordon.  Di- 
rector Edward  Cahn.  Drama.  A  study  of  modern  teen- 
age problems. 

SMOLDERING  SEA,  THE  Superscooe.  Producer  Hal  E. 
Chester.  Drama.  Conflict  between  the  tyrannical  cao- 
tain  and  crew  of  an  American  merchant  ship  reacnes 
its  climax  during  battle  of  Guadalcanal 
WEAPON,  THE  Suoerscope.  Nicole  Maurey.  Producer 
Hal^  £.  Chester.  Drama.  An  unsolved  muraer  involving 
•  b'tt*1"  U.  S.  war  veteran,  a  German  war  Oriae  and  a 
killer  is  resolved  after  a  child  finas  a  loadea  gun  in 
bomb  rubbie 


METRO-GO  LDWYN -MAYER 


October 

JULIE  Doris  Day,  Louis  Jourdain.  Producer  Marty 
Melcher.  Director  Andrew  Stone.  Drama.  Jealous  hus- 
band plans  to  kill  wife.  99  min.  10/15. 
OPPOSITE  SEX,  THE  CinemaScope,  Eastman  Color. 
June  Alyyson,  Joan  Collins,  Dolores  Gray.  Producer 
Joe  Pasternak.  Director  David  Miller.  Comedy.  The 
perfect  w!'e  is  unaware  of  flaws  ;n  her  marriaae  until 
a  gossip  friend  broadcasts  the  news.  116  min.  10/1. 
POWER  AND  THE  PRIZE  CinemaScope.  Robert  Taylor, 
Burl  Ives,  Elisabeth  Mueller.  Director  Henry  Koster. 
Producer  Nicholas  Nayfak.  Drama.  Tale  of  big  business 
and  international  romance.  98  min.  9/17. 

November 

IRON  PETTICOAT,  THE  Katherine  Hepburn,  Bob  Hope. 
Producer  Betty  Box.  Director  Ralph  Thomas.  Comedy. 
Russian  lady  aviatrix  meets  fast  talking  American. 
87  min.  1/21. 

December 

GREAT  AMERICAN  PASTIME,  THE  Tom  Ewell,  Ann 
Francis,  Ann  Miller.  Producer  Henry  Berman.  Director 
Nat  Benchley.  Comedy.  Romantic  antics  with  a  Little 
League  baseball  background.  89  min. 
TEAHOUSE  OF  THE  AUGUST  MOON.  THE  Cinema- 
Scope, Eastman  Color.  Marlon  Brando.  Glenn  Ford, 
Eddie  Albert.  Producer  Jack  Cummings.  Director  Daniel 
Mann.  Comedy.  Filmization  of  the  Broadway  play. 
123  min.  10/29. 

January 

ACTION  OF  THE  TIGER  CinemaScope,  Color.  Van 
Johnson,  Martine  Carol,  Gustave  Rojo.  A  Claridge 
Production.  Drama.  Beautiful  girl  seeks  help  of  con- 
traband runner  to  rescue  brother  from  Communists. 
EDGE  OF  THE  CITY  John  Cassavetes,  Sidney  Poitier. 
Producer  David  Susskind.  Director  Martin  Ritt.  Drama. 
A  man  finds  confidence  in  the  future  by  believing 
in  himself.  85  min.  1/7. 

SLANDER  Van  Johnson,  Ann  Blyth,  Steve  Cochran. 
Producer  Armand  Deutsch.  Director  Roy  Rowland. 
Drama.  Story  of  a  scandal  magazine  publisher  and 
his  victims.  81  min.  1/7. 

February 

BARRETS  OF  WIMPOLE  STREET,  THE  CinemaScope. 
Eastman  Color.  Jennifer  Jones,  Sir  John  Gielgud.  Bill 
Travers.  Producer  Sam  Zimbalist.  Director  Sidney 
Franklin.  Drama.  Love  story  of  poets  Elizabeth  Barrett 
and  Robert  Browning.  105  min.  1/21. 

HOT  SUMMER  NIGHT  Leslie  Nielsen,  Coleen  Miller. 
Producer  Morton  Fine.  Director  David  Friedkin.  Melo- 
drama. Story  of  a  gangland  hide-out.  86  min.  2/4. 
WINGS  Of  THE  EAGLES,  THE  John  Wayne,  Dan 
Dailey,  Maureen  O'Hara.  Producer  Charles  Schnee. 
Director  John  Ford.  Drama.  Life  and  times  of  a  naval 
aviator.  110  min.  2/4. 

March 

LIZZIE  Eleanor  Parker.  Richard  Boone,  Joan  Blondell. 
Producer  Jerry  Bressler.  Director  Hugo  Haas.  Drama. 
A  young  girl  lives  three  digerent  lives. 
TEN  THOUSAND  BEDROOMS  CinemaScope,  Techni- 
color. Dean  Martin,  Anna  Maria  Alberghetti.  Producer 
Joseph  Pasternack.  Director  Richard  Thorpe.  Musical. 
A  hotel  tycoon  falls  in  love  with  a  lovely  Italian  girl. 

Comms 

DESIGNING  WOMAN  Gregory  Peck,  Lauren  Bacall, 
Dolores  Gray.  Producer  Dore  Schary.  Director  Vincente 
Minnelli.  Ace  sportswriter  marries  streamlined  blond 
with  ideas.  100  min. 

HAPPY  ROAD.  THE  Gene  Kelly,  Michael  Redgrave, 
Barbara  Laage.  A  Kerry  Production.  Directors,  Gene 
Kelly,  Noel  Coward.  Drama.  Two  children  run  away 
from  boarding  hchool  to  find  their  respective  parents. 
100  min.  2/4. 

LITTLE  HUT,  THE  MetroColor.  Ava  Gardner.  Stewart 
Granger.  Producers  F.  Hugh  Herbert.  Director  Mark 
Robson.  Comedy.  Husband,  wife  and  wife's  lover  are 
marooned  on  a  tropical  isle.  93  min. 


LIVING  IDOL,  THE  CinemaScope.  Eastman  Color. 
Steve  Forrest,  Lilliane  Montevecchi.  Producer-director 
Al  Lewir..  Drama.  An  archeologlst  is  faced  with  an  un- 
worldly situation  that  threatens  the  safety  of  his 
adopted  daughter.  98  min. 

RAINTREE  COUNTY  Eastman  Color,  CinemaScope  55. 
Elizabeth  Taylor,  Montgomery  Clift.  Producer  David 
Lewis.  Director  Edward  Dymtryke.  Drama.  Life  in  Indi- 
ana during  the  middle  1 800 's. 

SOMETHING  OF  VALUE  Rock  Hudson  Dana  Wynter, 
Wendy  Hiller.  Producer  Pandro  Berman.  Director 
Richard  Brooks.  Drama.  Stry  of  a  Mau  Mau  uprising 
in  Kenya,  East  Africa. 

THIS  COULD  BE  THE  NIGHT  Jean  Simmons.  Paul 
Douglas.  Comedy.  A  girl  fresh  out  of  college  gets  a 
job  as  secretary  to  an  ex-bootlegger. 

VINTAGE,  THE  Pier  Angeli.  Mel  Ferrer.  Leif  Erickscn. 
Producer  Edwin  Knoph.  Director  Jeffrey  Hayden.  Dra- 
ma. A  conflict  between  young  love  and  mature  re- 
sponsibility. 


PARAMOUNT 


November 

MOUNTAIN,  THE  VistaVision,  Technicolor.  Spencer 
Tracy,  Bob  Wagner,  Claire  Trevor.  Producer-director 
Edward  Dmytryk.  Adventure.  Two  brothers  climb  to  a 
distant  snowcapped  peak  where  an  airplane  has 
crashed  to  discover  a  critically  injured  woman  in  the 
wreckage.  105.  10/15. 

December 

HOLLYWOOD  OR  BUST  VistaVision,  Technicolor.  Dean 
Martin,  Jerry  Lewis,  Anita  Ekberg.  Producer  Hal  Wal- 
lis.  Director  Frank  Tashlin.  Comedy.  The  adventures  of 
a  wild-eyed  film  fan  who  knows  everything  about  the 
movies.  95  min.  12/10. 

WAR  AND  PEACE  VistaVision  Technicolor  Auarev 
Hepburn     Henry   Fonda     Mei    Ferrer.    Producers  Cane 

»-intl  Dine  ")«  ■.au'-entiis  Director  find  Vidsr.  Drama 
Based  on  Tolstoy's  novel.  208  min.  9/3. 

January 

THREE  VIOLENT  PEOPLE  VistaVision,  Technicolor. 
Charlton  Heston,  Anne  Baxter.  Gilbert  Roland.  Pro- 
ducer Hugh  Brown.  Director  Rudy  Mate.  Western.  Story 
of    returning    Confederate    war    veterans    in  Texas. 

100  min.  1/7. 

February 

RAINMAKER,  THE  VistaVision,  Technicolor.  Burt  Lan- 
caster, Katherine  Hepburn,  Wendell  Corey.  Producer 
Hal  Wallis.  Director  Joseph  Anthony.  Comedy  drama. 
Filmization  of  the  famous  B'way  play.  121  min.  12/24. 

March 

FEAR  STRIKES  OUT  Anthony  Perkins,  Karl  Maiden, 
Norma  Moore.  Producer  Alan  Pakula.  Director  Perry 
Wilson.  Drama.  Story  of  the  Boston  baseball  player. 
100  min. 

OMAR  KHAYYAM  VistaVision,  Technicolor.  Cornel 
Wilde,  Michael  Rennie,  Debra  Paget,  Producer  Frank 
Freeman,  Jr.  Director  William  Dieterle.  Adventure. 
The  life  and  times  of  medieval  Persia's  literary  idol. 
103  min. 

Coming 

BEAU  JAMES  VistaVision,  Technicolor.  Bob  Hope.  Pro- 
ducer Jack  Rose.  Director  Michael  Moore.  Drama. 
Biography  of  the  famous  Jimmy  Walker,  mayor  of  N.Y. 
from  1925  to  1932.  105  min. 

BUSTER  KEATON  STORY,  THE  VistaVision,  Technicolor. 
Donald  O'Connor,  Ann  Blyth,  Rhonda  Fkming.  Pro- 
ducers Robert  Smith,  Sidney  Sheldon.  Director  Sidney 
Sheldon.  Drama.  Life  of  the  great  comedian. 
DELICATE  DELINQUENT,  THE  Jerry  Lewis,  Darren  Mc- 
Gavin,  Martha  Hyer.  Producer  Jerry  Lewis.  Director 
Don  McGuire.  Janitor  longs  to  be  police  officer  so  he 
can  help  delinquents.  101  min. 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


FUNNY  FACE  VistaVision,  Technicolor.  Audrey  Hep- 
burn, Fred  Astaire,  Kay  Thompson.  Producer  Roger 
Edens.  Director  Stanley  Donen.  Musical.  Photographer 
plu.:ks  tashion  model  from  Greenwich  Village  bookshop 
103  min. 

CUNFIGHT  AT  O.K.  CORRAL  VUtaVJilon,  Technicolor. 
Burt  Lancaster,  Kirk  Douglas.  Rhonda  Fleming.  Pro- 
ducer Hal  Wallls.  Director  John  Sturges.  Western. 
Drunken   badman   hunts  for  murderer  of  his  cheating 

brother.  122  min. 

JOKER  IS  WILD,  THE  VistaVision,  Technicolor.  Frank 
Sinatra,  Mitii  Gaynor,  Jeanne  Crain.  Producer  Samuel 
Briskin.  Director  Charles  Vidor.  Drama.  Film  biography 
of  Joe  E.  Lewis,  nightclub  comedian. 
LONELY  MAN,  THE  VistaVision,  Technicolor.  Jack  Pa- 
lance,  Anthony  Perkins,  Elaine  Aiken.  Producer  Pat 
Duggan.  Director  Henry  Levin.  Western.  A  gunfighter 
finds  he  Is  losing  his  sight — and  his  aim. 
SPANISH  AFFAIR  VistaVision,  Technicolor.  Carmen 
Sevilla,  Richard  Kiley.  Producer  Bruce  Odium.  Director 
Donald  Siegel. 

TEN  COMMANDMENTS.  THE  VistaVision  Technicolor. 
Charlton  Heston.  Yul  Brynner,  Anne  Bax*e'.  "roducer- 
director  Cecil  B.  DeMille    Religious  drama.  Life  storv 

of  Moses  as  told  in  the  Bible  and  Koran.  21?  min.  10/15 
TIN  STAR.  THE  VistaVision.  Henry  Fonda,  Anthony 
Perkins.  A  Perlherg-Seaton  Production.  Director  An- 
thony Mann.  V:-  vtern. 


REPUBLIC 


October 

SCANDAL  INCORPORATED  Robert  Hutton,  Paul  Rich- 
ards, Patricia  Wright.  A  C.M.B.  Production.  Director 
Edward  Mann.  Drama.  Expose  of  scandal  magazines 
preying  on  movie  stars  and  other  celebrities.  79  min. 
MAN  IS  ARMED.  THE  Dane  Clark,  William  Tallman 
May  Wynn.  Associate  producer  Edward  White.  Director 
Franklin  Adrecn.  Melodrama.  Young  man  is  tricked 
into  life  of  crime  by  crooked  boss.  70  min. 

November 

A  WOMAN'S  DEVOTION  Trucolor.  Ralph  Meeker, 
Janice  Rule,  Paul  Henreid.  Producer  John  Bash.  Direc- 
tor Paul  Henreid.  Drama.  Recurrence  of  Gl's  battle- 
shock  illness  makes  him  murder  two  girls.  88  min.  12/10 
CONGRESS  DANCES.  THE  CinemaScope,  Trucolor. 
Johanna  Matz,  Rudolf  Prack.  A  Cosmos-Neusser  Pro- 
duction. Drama.  Intri*gue  and  mystery  in  Vienna  during 
the  time  of  Prince  Metternich.  90  min. 

December 

ACCUSED  OF  MURDER  Trucolor,  Naturama.  David 
Brian,  Vera  fcalston.  Melodrama.  Associate  producer- 
director  Joseph  Kane.  Drama.  Two-timing  gangland 
lawyer  is  murdered  by  attractive  girl  singer.  74  min. 
IN  OLD  VIENNA  Trucolor.  Heim  Roettinger,  Robert 
Killick.  Producer-director  James  A.  Fitzpatrick.  Musi- 
cal. Romances  and  triumphs  of  Frani  Shubert,  Johann 
Strauss,  Ludwig  Beethoven  in  the  city  of  music,  Vienna. 


January 


ABOVE  UP  THE  WAVES  John  Mills  John  Gregson 
Donald  Sinden.  Producer  W.  MacQuitty.  Director  Ralph 
Thomas.  Drama.  Midget  submariners  attempt  to  sink 
German  battleship  in  WWII.  92  min.  1/21. 
TEARS  FOR  SIMON  Eastman  Color.  David  Farrar 
David  Knight,  Julia  Arnall.  A  J.  Arthur  Rank  Produc- 
tion. Drama.  Young  American  couple  living  in  Lon- 
don have  their  child  stolen.  91  min. 


February 


AFFAIR  IN  RENO  Naturama.  John  Lund,  Doris  Single- 
ton. Producer  Sidney  Picker.  Director  R.  G.  Spring- 
stein  Drama.  Young  heiress  falls  for  fortune-hunting 
gambler.  75  min. 

DUEL  AT  APACHE  WELLS  Naturama,  Trucolor.  Anna 
Maria  Alberghetti,  Ben  Cooper.  Associate  producer- 
director  Joseph  Kane.  Western.  Son  returns  home  to 
find  father  s  ranch  threatened  by  rustler-turned-rancher. 

March 

HELL'S  CROSSROADS  Naturama.  Stephen  McNally 
Peggie  Castle,  Robert  Vauhgn.  Producer  Rudy  Ral- 
ston. Director  Franklin  Adreon.  Western.  Outlaw  cow- 
boy reforms  after  joining  Jesse  James'  gang.  73  min. 
SPOILERS  OF  THE  FORREST  Trucolor,  Naturama.  Vera 
Ralston,  Rod  Cameron.  Producer-director  Joe  Kane. 
Drama.  An  unscrupulous  lumberman  tries  to  coerce  the 
owners  of  a  large  forest  acreage  into  cutting  their 
timber  at  a  faster  rate. 


October 

FINGER  OF  GUILT  Richard  Basehart,  Mary  Murphy 
Constance  (Jummings.  Producer-director  Alec  Snowden. 
Drama.  Film  producer  receives  letters  from  a  girl  he 
never  met,  who  insists  they  were  lovers.  84  min.  11/26 
TENSION  AT  TABLE  ROCK  Color.  Richard  Egan, 
Dorothy  Malone,  Cameron  Mitchell.  Producer  Sam 
Weisenthal.  Director  Charles  Warren.  Western.  The 
victory  of  a  town  over  violence.  93  min.  10/29. 

November 

DEATH  OF  A  SCOUNDREL  George  Sanders,  Yvonne 
DeCarlo,  Zsa  Zsa  Gabor.  Producer-director  Sharles 
Martin.  Melodrama.  Tale  of  an  international  financial 
wizard.  II?  min.  1 1/12. 


December 

MAN  IN  THE  VAULT  Anita  Ekberg,  Bill  Campbell, 
Karen  Sharpe.  A  Wayne-Fellows  Production.  Director 
Andrew  McLaglen.  Melodrama.  A  young  locksmith  gets 
involved   with  a   group  engaged   in   illegal  activities. 


January 


BRAVE  ONE.  THE  CinemaScope,  Technicolor.  Michel 
Ray,  Fertnin  Rivera,  Joy  Lansing  Rudolph  Hoyos.  Pro- 
ducer Frank  k  Mmrlci  King.  Director  Irving  Rapper. 
Drama.  The  adventures  of  a  young  Mexican  boy  who 
wows  up  with  a  bull  as  his  main  companion  and  friend 
and  how  each  protests  the  other.  100  min.  10/15. 

BUNDLE  OF  JOY  CinemaScope,  Eastman  Color.  Debbie 
Reynolds,  Eddie  Fisher,  Adolph  Menjou.  Producer  Ed- 
mund  Grainger.    Director   Norman    Tauro^  Comedy. 

Son  of  department  store  magnet  falls  f"  salesgirl. 
98  min.  12/24. 

PUBLIC  PIGEON  NO.  1  Eastman  Color.  Red  Skelton, 
Vivian  Blaine,  Janet  Blair.  Producer  Harry  Tugend.  Di- 
rector Norman  McLeod.  Comedy.  A  trusting  soul 
tangles  with  slick  con  men  and  outwits  them.  79  min. 

YOUNG  STRANGER,  THE  James  MaeArthur,  Kim  Hun- 
ter.  Producer  Stuart  Miller.  Director  John  Frankea- 
heimer.  Drama.  Son  seeks  to  earn  affection  from  his 


February 


CYCLOPS,  THE  James  Craig,  Gloria  Talbot.  Producer- 
director  Bert  Gordon.  Science-fiction.  Story  of  a  mon- 
ster moon. 

GUILTY  Technicolor,  ,1-hn  Justin,  Barbara  Laage. 
Drama. 

SILKEN  AFFAIR.  THE  David  Niven,  Genevieve  Page, 
Ronald  Squire.  Producer  Fred  Feldkamp.  Director  Roy 
Kelling.  Comedy.  An  auditor,  on  a  kindly  impulse, 
alters  the  accounting  records.  96  min. 

THAT  NIGHT  John  Beat,  Augusta  Dabney,  Sbepperd 
Strudwick.  Producer  Hiram  Brown.  Director  John 
Newland.  Drama.  A  tragedy  almost  shatters  a  15- 
year-old  marriage. 

X— THE  UNKNOWN  Dean  Jagger,  William  Russell. 
Producer  A.  Hinds.  Director  Leslie  Norman.  Science- 
fiction.  Keen  minded  scientist  fights  awesome  creation. 

March 

DAY  THEY  GAVE  BABIES  AWAY,  THE  Eastman  Color. 
Glynis  Johns,  Cameron  Mitchell,  Rex  Thompson.  Pro- 
ducer Sam  Weisenthal.  Director  Allen  Reisner.  Drama. 
RUN  OF  THE  ARROW  Eastman  Color.  Rod  Steiger, 
Sarita  Montiel,  Ralph  Meeker.  Producer-director  Sam 
Fuller.  Adventure.  Young  sharpshooter  joins  Sioux 
Indians  at  close  of  Civil  War. 


Coming 


ESCAPADE  IN  JAPAN  Color.  Teresa  Wright,  Cameron 
Mitchell,  Jon  Provost,  Roger  Nakagaws.  Producer-direc- 
tor Arthur  Lubin.  Search  for  two  boys  who  start  out 
in  the  wrong  direction  to  find  the  very  people  who 
are  trying  to  find  them. 

GIRL  MOST  LIKELY.  THE  Eastman  Color.  Jane  Powell, 
Cliff  Robertson,  Keith  Andes.  Producer  Stanley  Rublia. 
Director  Mitchell  Leison.  Comedy.  A  girl  is  proposed 
to  by  three  men  on  the  same  day. 

I  MARRIED  A  WOMAN  George  Gobel,  Diana  Dors, 
Adolph  Menjou.  Producer  William  Bloom.  Director  Hal 
Kanter.  Coemdy.  Wife  objects  to  taking  second  place 
to  a  beer  advertising  campaign  with  her  husband. 
JET  PILOT  Technicolor,  SuperScope.  John  Wayne, 
Janet  Leigh.  Howard  Hughes  Production.  Producer 
Jules  Furthman    Director  Josef  von  Sternberg.  Drama. 

UNHOLY  WIFE,  THE  Color.  Diana  Dors,  Rod  Steiger, 
Marie  Windsor.  Producer-director  John  Farrow.  Drama. 
A  wife  sunningly  plots  the  death  of  her  husband  who 
»he  has  betrayed. 

VIOLATORS.  THE  Arthur  O'Connell,  Nancy  Malone. 
Producer  H.  Brown.  Director  John  Newland.  Drama. 
Story  of  a  probation  officer  in  the  New  York  City 
courts. 


20TH  CENTURY-FOX 


November 

DESPERADOS  ARE  IN  TOWN.  THE  Robert  Arthur.  Rex 
Reason,  Cathy  Nolan.  Producer-director  K.  Neumann. 
Western.  A  teen-age  farm  boy  join  an  outlaw  gang. 
73  min.  11/26. 

LOVE  ME  TENDER  CinemaScope.  Elvis  Presley,  Richard 
Egan,  Debra  Paget.  Producer  D.  Weisbart.  Director  R. 
Webb.  Drama.  Post-civil  war  story  set  in  Kentucky 
locale.  89  min.  I  1/26. 

OKLAHOMA  CinemaScope,  Technicolor.  Gordon  Mac- 
Rae,  Gloria  Grahame,  Shirley  Jones.  Producer  A.  Horn- 
blow,  Jr.  Director  Fred  Zinnemann.  Musical.  Filmiza- 
tion  of  the  famed  Broadway  musical.  140  min. 


December 


ANASTASIA  CinemaScope,  DeLuxe  Color.  Ingrid  Berg- 
man, Yul  Brynner,  Helen  Hayes.  Producer  Buddy  Adler. 
Director  A.  Litvak.  Drama.  Filmization  of  famous 
Broadway  play.  105  min.  12/24. 

BLACK  WHIP,  THE  Hugh  Marlowe,  Adele  Mara.  Pro- 
ducer R.  Stabler.  Director  M.  Warren.  Drama.  Outlaw 
has  black  whip  as  trademark.  77  min. 
GIRL  CAN'T  HELP  IT.  THE  CinemaScope,  De  Luxe 
Color.  Tom  Ewell,  Jayne  Mansfield.  Producer-director 
Frank  Tashlin.  Comedy.  Satire  on  rock  'h'  roll.  97 
min.  I/T. 


OASIS  CinemaScope,  Color.  Michel.  Morgan,  Cornell 
Borchers.  Producer  Ludwig  Waldleitner  and  Gerd  Os- 
wald. Director  Yvaa  Altgret.  Drama.  Gold  smuggler 
falls  in  love  with  lady  sent  to  kill  him.  Violent  ending. 
84  min.  1/21. 

WOMEN  OF  PITCAIRN  ISLAND  CinemaScope.  James 
Craig,  John  Smith,  Lynn  Bari.  Regal  Films  Production. 
Director  Jean  Warbrough.  Drama.  72  min. 


January 


OUIET  GUN.  THE  Regalscope.  Forrest  Tucker,  Mara 
Corday.  Producer-director  Anthony  Kimmins.  Western. 
Laramie  sheriff  clashes  with  notorious  gunman.  77  min. 
THREE  BRAVE  MEN  CinemaScope.  Ray  Mllland,  Ernest 
Borgnine.  Producer  Herbert  Swope,  Jr.  Director  Philip 
Dunne.  Drama.  Ggvernment  employee  Is  wronged  by 
too-zealous  pursuit  of  security  program.  88  min.  1/21. 


February 


BEAUTIFUL  BUT  DANGEROUS  Gina  LoHobrigida,  Vit- 
torio  Gassman.  Producer  Manuella  Malotti.  Director 
Robert  Leonard.  Drama. 

OH.  MEN  I  OH.  WOMENI  CinemaScope,  Color.  Dan 
Dairy,  Ginger  Rogers,  David  Niven.  Producer-director 
Nunnelly  Johnson.  Comedy.  A  psychiatrist  finds  out 
somethings  he  didn't  know. 

THE  TRUE  STORY  OF  JESSIE  JAMES  CinemaScope. 
Robert  Wagner,  Jeffrey  Hunter.  Producer  Herbert 
Swope,  Jr.  Director  Nicholas  Ray.  Western.  The  Hves 
and  times  of  America's  famous  outlaw  gang. 
TWO  GROOMS  FOR  A  BRIDE  Virginia  Bruce,  John 
Carroll.  Producer  Robert  Baker,  Monty  Berman.  Direc- 
tor Henry  Cass.  Comedy. 


March 


HEAVEN  KNOWS  MR.  ALLISON  CinemaScope  De  Luxe 
Color.  Deborah  Kerr,  Robert  Mitchum.  Producers 
Buddy  Adler,  Eugene  Frenke.  Director  John  Hurton. 
Drama.  Soldier  is  saved  by  nun  in  South  Pacific  during 
World  War  It. 

RIVER'S  EDGE,  THE  CinemaScope,  Color.  Ray  Milland, 
Anthony  0"'"".  Debra  Paget.  Producer  Benidlct 
Bogeaos.  Director  Allan  Dwan.  Adventure.  Story  of  a 
professional  killer. 
STORM  RIDER.  THE  Scott  Brady,  Mala  Powers.  A 
Brady-Glasser  production.  Director  Edward  Bernds. 
Western.  A  dust  storm  brings  a  stranger  to  a  small 
western  town. 


A  pril 


CHINA  GATE   Nat   "King"   Cole,   Gene   Barry,  Angle 
Dickinson.  Producer-director  S.  Fuller. 
KRONOS  Jeff  Morrow,  Barbara  Lawrence,  John  Emery. 
Producer-director  Kurt  Neumann. 


Coming 


ALL  THAT  I  HAVE  Walter  Brennan. 

BADLANDS  OF  MONTANA  Rex  Reason,  Margia  Deane, 
Beverly  Garland.  Producer  H.  Knox.  Director  D.  U II- 
man. 

BERNADINE  Terry  Moore,  Pat  Boone,  Janet  Gaynor. 
Producer  Sam  Engel,  Director  H.  Levin. 
BOY  ON  A  DOLPHIN  CinemaScope,  DeLuxe  Color. 
Clifton  Webb,  Alan  Ladd,  Sophia  Loren.  Producer  Sam 
Engel.  Director  Jean  Negulesco.  Comedy.  Romantic 
tale  with  a  Greek  background. 

BREAK  IN  THE  CIRCLE  Forrest  Tucker,  Eva  Bartok. 
Producer  M.  Carreras.  Director  V.  Guest.  Drama. 
DESK  SET  Spencer  Tracy,  Katharine  Hepburn.  Producer 
Henry  Sphron.  Director  W.  Lang. 

ISLAND  IN  THE  SUN  CinemaScope.  DeLuxe  Color. 
James  Mason,  Joan  Fontaine,  Dorothy  Dandndge.  Pro- 
ducer DarrvJ  Zanuck.  Director  Robert  Rpssen.  Drama. 
LURE  OF  THE  SWAMP  William  Parker,  Skippy  Homeir. 
Marshall  Thompson. 

RESTLESS  BREED,  THE  Eastman  Color.  Scott  Brady, 
Anne  Bancroft.  Producer  E.  A.  Alperson.  Director  Alan 
Dwan. 

SEA  WIFE  CinemaScope,  DeLuxe  Color.  Richard  Bur- 
ton, Joan  Collins.  Producer  Andre  Hakim.  Director  Bob 
McNaught.  Drama.  Ship  is  torpedoed  by  Jay  submarine 
off  Singapore  harbor. 
SHE-DEVIL.  THE  Mari  Blanchard,  J.ack  Kelly,  Albert 
DekVer.  Producer-director  Kurt  Neumann. 
SMILEY  CinemaScope,  Eastman  Color.  Sir  Ralph  Rich- 
ardson, John  McCallum,  Colin  Peterson.  Producer- 
director  Anthony  Kimmins.  Drama.  Young  Aussie  boy 
has  burning  desire  to  own  bicycle. 
THREE  FACES  OF  EVE.  THE  David  Wayne,  Joanne 
Woodward.  Producer  Nunnally  Johnson. 
WAY  TO  THE  GOLD,  THE  Sheree  North,  Barry  Sullivan, 
Jeffrey  Hunter.  Producer  David  Weisbart.  Director  R. 
Webb. 

ansfield,   Dan   Dailey,  Joan 


UNITED  ARTISTS 


November 

GUN  THE  MAN  DOWN  James  Arness,  Angie  Dickin- 
son, Robert  Wilke.  Producer  Robert  Morrison.  Director 
A.  V.  McLaglen.  Western.  Young  western  gunman  gets 
revenge  on  fellow  thieves  who  desert  him  when 
wounded.  78  min. 

PEACEMAKER,  THE  James  Mitchell,  Rosemarie  Bowe, 
Jan  Merlin.  Producer  Hal  Makelim.  Director  Ted  Post. 
Western.  A  clergyman  trys  to  end  feud  between  cattle- 
men and  farmers.  82  min.  11/26. 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


RUNNING  TARGET  Deluxe  Color.  Doris  Dowling, 
I  Arthur  Franz,  Richard  Reeves.   Producer  Jack  Couffer. 

Director  Marvin  Weinstein.  Melodrama.  Escaped  fugi- 
!  tives  are  chased  by  local  townspeople  and  officer  of 
i  the  law.  83  min.  11/12. 

SHARKFIGHTERS,    THE    CinemaScooe,    Color.  Victor 

Mature,   Karen   Steele.   Producer  Samuel  Goldwyn,  Jr. 

Director  Jerry   Hopper.    Drama.    Saga   of   the  Navy's 

"underwater-men".  73  min.  10/29. 

December 

BRASS  LEGEND.  THE  Hugh  O'Brian.  Raymond  Burr, 
Nancy  Gates.  Western.  Producer  Bob  Goldstein.  Di- 
rector Gerd  Oswald.  Western.  7?  min. 
DANCE  WITH  ME  HENRY  Bud  Abbott,  Lou  Costello. 
Producer  Robert  Goldstein,  Director  Charles  Barton. 
Comedy.  79  min.  12/24. 

KING  AND  FOUR  QUEENS,  THE  CinemaScope,  Color. 
Clark  Gable,  Eleanor  Parker,  Jo  Van  Fleet,  Jean  Willis. 
Barbara  Nichols,  Sara  Shane.  Producer  David  Hemp- 
,  stead.  Director  Raoul  Walsh.  Western.  86  min.  1/7. 
WILD  PARTY,  THE  Anthony  Qui™.  Carol  Ohmart,  Paul 
Stewart.  Producer  Sidney  Harmon.  Director  Harry 
Horner.  Drama.  Hoodlum  mob  take  over  a  Naval  offi- 
cer and  his  fiancee.  81  min.  12/10 

January 

BIG  BOODLE,  THE  Errol  Flynn,  Rossana  Rory.  A  Lewis 
F.  Blumberg  Production.  Director  Richard  Wilson.  Ad- 
venture. A  blackjack  dealer  in  a  Havana  nightclub  is 
accused  of  being  a  counterfeiter.  83  min.  2/4. 
FIVE  STEPS  TO  DANGER  Ruth  Roman,  Sterling  Hayden. 
A  Grand  Production.  Director  Henry  Kesler.  Drama. 
A  woman  tries  to  give  FBI  highly  secret  material  stolen 
from  Russians.  80  min.  2/4. 

HALLIDAY  BRAND,  THE  Joseph  Cotten,  Viveca  Lind- 
fors,  Betsy  Blair.  Producer  Collier  Young.  Director 
Joseph  Lewis.  Western.  Inter-family  feud  threatens 
father  and  son  with  disaster.  77  min.  2/4. 

February 

CRIME  OF  PASSION  Barbara  Stanwyck,  Sterling 
Hayden,  Raymond  Burr.  Producer  Herman  Cohen.  Di- 
rector Gerd  Oswald.  Drama.  Newspaper  woman  whose 
ambition  for  her  husband  leads  to  murder.  85  min.  IA7. 
DRANGO  Jeff  Chandler,  Joanne  Dru.  An  Earlmar  Pro- 
duction. Hall  Bartlett  producer-director.  Adventure. 
Union  officers  try  to  bring  order  to  a  Southern  town 
after  the  Civil  War.  92  min. 

MEN  IN  WAR  Robert  Ryan,  Aldo  Ray,  Robert  Keith. 
Producer  Sidney  Harmon.  Director  Anthony  Mann. 
Drama.  An  American  infantry  platoon  isolated  in  enemy 
territory  tries  to  retreat  during  the  Korean  War. 
101  min.  2/4. 

TOMAHAWK  TRAIL  John  Smith,  Susan  Cummings.  A 
Bel  Air  Production.  Director  Robert  Parry.  Western. 
Cowboy  versus  Indians.  A  small  band  of  cavalry 
soldiers,  greatly  outnumbered,  battles  with  Apache 
Indians  at  close  of  the  Civil  War.  61  min. 
VODOO  ISLAND  Boris  Karloff,  Beverly  Tyler  A  Bel 
Air  Production.  Director  Reginald  Le  Borg.  Horror. 
Writer  is  called  upon  to  investigate  vodooism  on  a 
Pacific  isle.  74  min. 

March 

BACHELOR  PARTY,  THE  Don  Murray,  E.  G.  Marshall, 
Jack  Warden.  Producer  Harold  Hecht.  Director  Delbert 
Mann.  Drama.  From  the  famous  television  drama  by 
Paddy  Chayefsky. 

DELINQUENTS,  THE  Tommy  Laughlin,  Peter  Miller, 
Dick  Bakalyan.  Imperial  Productions.  Robert  Altman 
director.  High  school  student  and  his  girl  victimized 
by  a  teen-age  gang.  71  min. 

HIDDEN  FEAR  John  Payne,  Natalie  Norwick.  A  St. 
Aubrey-Kohn  Production.  Director  Andre  de  Toth. 
Drama.  Police  officer  attempts  to  clear  sister  charged 
with  murder. 

HIT  AND  RUN  Cleo  Moore,  Hugo  Haas.  Producer,  di- 
rector Hugo  Haas.  Middle-aged  widower  marries  show 
girl.  She  and  her  boy  friend  plot  his  murder.  84  min. 
REVOLT  AT  FORT  LARAMIE  DeLuxe  Color.  John 
Dthner,  Diana  Brewster.  Producer  Howard  Koch.  Di- 
rector Lesley  Selander.  Western.  Civil  War  story  of 
soldiers  who  are  attacked  by  Indians.  73  min. 

Coming 

BAILOUT  AT  43.000  John  Payne,  Karen  Steele.  A  Pine- 
Thomas  Production.  Director  Francis  Lyon.  U.S.  Air 
Force  pioneers  bailout  mechanism  for  jet  pilots. 
BIG  CAPER,  THE  R«y  CUhound,  Mary  Costa.  Pine- 
Thomas  Production.  Director  Robert  Stevens.  Multi- 
millioa  dollar  payroll  robbery. 

GIRL  IN  BLACK  STOCKINGS.  THE  Lex  Barker,  Anne 
Bancroft,  Mamie  Van  Doren.  A  Bel-Air  Production.  Di- 
rector Howard  Koch.  Drama.  A  series  of  sex  slayings 
terrorize  western  resort. 

IRON  SHERIFF.  THE  Sterling  Hayden.,  John  Dehner, 
Constance  Ford.  Producer  Jerome  Robinson.  Director 
Sidney  Salkow. 

LONELY  GUN,  THE  Anthony  Quinn,  Katy  Jurado.  Pro- 
ducer Robert  Jacks.  Director  Harry  Horner. 
MONSTER    THAT    CHALLENGED    THE    WORLD,  THE 

Science-fiction.  Deals  with  a  prehistoric  sea  monster. 
MONTE  CARLO  STORY,  THE  Technirama,  Color.  Mar- 
lene  Dietrich,  Vittorio  De  Sica.  A  Titanus  Film.  Sam 
Taylor  director.  A  handsome  Italian  nobleman  with  a 
love  for  gambling  marries  a  rich  woman  in  order  to 
pay  his  debts. 

OUTLAW'S  SON  Dane  Clark,  Ben  Cooper,  Lori  Nel- 
son. Bel  Air  Production.  Director  Lesley  Selander.  Gun- 
slinger   escapes   from   jail   to   save   son   from    life  of 

PHAROAHS  CURSE  Ziva  Shapir,  Mark  Dana.  Producer 
Howard  Koch.  Director  Lee  Sholem.  Horror.  Reincar- 
nation of  mummies  in  Egyptian  tombs. 


PRIDE  AND  THE  PASSION,  THE  VistaVision,  Techni- 
color. Cary  Grant,  Frank  Sinatra,  Sophia  Loren.  Pro- 
ducer-director Stanley  Kramer.  Drama.  A  Spanish 
guerrilla  band  marches  an  incredible  distance  with  a 
4000  pound  cannon  during  Spanish  War  of  Independ- 
ence of  1810. 

SAVAGE  PRINCESS  Technicolor  Dilip  Kumar,  Nimmi. 
A  Mehboob  Production.  Musical  Drama.  A  princess 
falls  in  love  with  a  peasant  who  contests  her  right 
to  rule  the  kingdom.  101  min. 

STREET  OF  SINNERS  George  Montgomery,  Geraldine 
Brooks.  Producer  William  Berke.  Rookie  policeman 
clashes  with  youthful  criminals. 

SPRING  REUNION  Betty  Hutton,  Dana  Andrews,  Jean 
Hagen.  Director  Robert  Pirosh.  Producer  Jerry  Bresler 
Comedy.  79  min. 

fROOPER  HOOK  Joel  McCrea,  Barbara  Stanwyck,  Ed- 
ward Andrews.  Producer  Sol  Fielding.  Director  Marquis 
Warren.  A  white  woman,  forced  to  live  as  an  Indian 
Chief's  squaw,  is  finally  rescued  and  tries  to  resume 
life  with  husband. 

12  ANGRY  MEN  Henry  Fonda,  Lee  J  Cobb  Jack 
Warden.  An  Orion-Nova  Production.  Director  Sidney 
Lumet.  Drama.  Jury  cannot  agree  on  a  verdict. 


U  N  I  VERSA  L- 1  NT'  L 


October 

PILLARS  OF  THE  SKY  Technicolor.  Jeff  Chandler, 
Dorothy  Malone,  Ward  Bond.  Producer  Robert  Arthur 
Director  George  Marshall.  Drama.  The  spirit  of  Religion 
helps  to  settle  war  bewteen  Indians  and  Cavalrymen 
in  the  Oregon  Country.  95  min.  9/3. 

November 

UNGUARDED  MOMENT.  THE  Technicolor.  Esther  Wil- 
liams, George  Nade.\  Producer  Gordon  Kay.  Director 
Harry  Keller.  Drama.  High  school  teacher  is  almost 
criminally  assaulted  by  student.  95  min.  9/3. 

December 

CURCU.  BEAST  OF  THE  AMAZON  Eastman  Color.  John 
Bromfield,  Beverly  Garland.  Producers  Richard  Kay, 
Harry  Rybnick.  Director  Curt  Siodmak.  Horror.  Young 
woman  physician,  plantation  owner  and  his  workers 
are  terrorized  by  mysterious  jungle  beast. 
EVERYTHING  BUT  THE  TRUTH  Technicolor.  Tim  Hovey, 
Maureen  O'Hara,  John  Forsythe.  Producer  Howard 
Christie.  Director  Jerry  Hopper.  Comedy.  Young  stu- 
dent gets  mixed  up  with  "lies".  83  min.  11/12. 
MOLE  PEOPLE.  THE  John  Agar,  Cythia  Patrick.  Pro- 
ducer William  Alland.  Director  Virgil  Vogel.  Horror. 
Scientific  expedition  in  Asia  discover  strange  men. 

January 

FOUR  GIRLS  IN  TOWN  CinemaScope,  Technicolor. 
George  Nader,  Julie  Adams,  Marianne  Cook.  Producer 
A.  Rosenberg.  Director  Jack  Sher.  Drama.  Movie  studio 
promotes  world-wide  talent  hunt  to  find  a  new  star. 
85  min.  12/10 

ROCK,  PRETTY  BABY  Sal  Mineo,  John  Saxon,  Luana 
Patten.  Producer  Edmund  Chevie.  Director  Richard 
Bartlett.  Musical.  Rock  n'  roll  story  of  college  combo. 
89  min.  11/24. 

WRITTEN  ON  THE  WIND  Technicolor.  Rock  Hudson, 
Lauren  Bacall,  Robert  Stack.  Producer  Albert  Zug- 
smith.  Director  Douglas  Sirk.  Drama.  Oil  tycoon  meets 
violent  death  because  of  jealousy  for  wife.  99  min.  10/1 

February 

GREAT  MAN,  THE  Jose  Ferrer,  Mona  Freeman,  Dean 
Jagger.  Producer  Aaron  Rosenberg.  Director  Jose  Fer- 
rer. Drama.  The  life  and  death  of  a  famous  television 
idol.  92  min.  1 1/24. 

ISTANBUL  CinemaScope,  Technicolor.  Errol  Flynn,  Cor- 
nell Borchers.  Producer  Albert  Cohen.  Director  Joseph 
Pevney.  Adventure.  Diamond  smugglers  in  mysterious 
Turkey.  84  min.  1/21. 

NIGHT  RUNNER.  THE  Ray  Danton,  Colleen  Miller.  Pro- 
ducer Albert  Cohen.  Director  Abner  Biberman.  Drama. 
Mental  hospital  inmate  is  released  while  still  in  dan- 
gerous condition. 

March 

BATTLE  HYMN  Technicolor,  CinemaScope.  Rock  Hud- 
son, Martha  Hyer,  Dan  Duryea.  Producer  Ross  Hunter. 
Director  Douglas  Sirk.  Drama.  Pilot  redeems  sense  of 
guilt  because  of  bombing  of  an  orphanage  by  saving 
other  orphans.  108  min.  12/24. 

GUN  FOR  A  COWARD  astman  Color,  CinemaScope. 
Fred  MacMurray,  Jeffrey  Hunter,  Janice  Rule.  Pro- 
ducer William  Alland.  Director  Abner  Biberman.  Wes- 
tern. Three  brothers  run  a  cattle  ranch  after  death  of 
their  father.  88  min.  1/7. 

MISTER  CORY  Eastman  Color,  CinemaScope.  Tony 
Curtis,  Martha  Hyer,  Charles  Bickford.  Producer 
Robert  Arthur.  Director  Blake  Edwards.  Drama.  Gam- 
bler from  Chicago  slums  climbs  to  wealth  and  re- 
spectability. 92  min.  1/21. 

Coming 

INCREDIBLE  SHRINKING  MAN,  THE  Grant  Williams, 
Randy  Stuart.  Producer  Albert  Zugsmith.  Director  Jack 
Arnold.  Science-fiction.  The  story  of  a  man  whose 
growth  processes  have  accidently  been  reversed. 
81  min.  2/4. 

INTERLUDE  Technicolor,  CinemaScope.  June  Allyson, 
Rossano  Brazzi.  Producer  Ross  Hunter.  Director  Douglas 
Sirk.  American  doctor  falls  in  love  with  wife  of  fa- 
mous composer  in  Munich. 

JOE  BUTTERFLY  CinemaScope,  Technicolor.  Audie 
Murphy,  George  Nader,  Keenan  Wynn.  Producer 
Aaron  Rosenberg.  Director  Jessie  Hibbs.  Story  of 
American  newsmen  in  Tokyo  after  Japanese  surrender. 


KELLY  AND  ME  CinemaScope,  Technicolor.  Van  John- 
son, Piper  Laurie,  Martha  Hyer.  Producer  Robert  Ar- 
thur. Director  Robert  Leonard.  Drama.  Story  of  dog- 
act  in  show  business  in  the  early  1930  s  2/4. 
MAN  AFRAID  CinemaScope.  George  Nader.  Phyllis 
Thaxter.  Tim  Hovey.  Producer  Gordon  Kay.  Director 
Harry  Keller.  Father  saves  life  of  man  attempting  to 
murder  his  s^n. 

TAMMY  CinemaScope,  Technicolor.  Debbie  Reynolds. 
Leslie  Nielson.  Producer  Aaron  Rosenb'.m  Director 
Joe  Pevnev.  Story  of  a  young  girl,  her  grandfather  and 
a  young  man  who  falls  in  love  with  her.  09  min. 
TATTERED  DRESS,  THE  CinemaScope.  Jeff  Chandler, 
Jeannie  Crain,  Jack  Carson.  Producer  Albert  Zugsmith. 
Director  Jack  Arnold.  Famous  criminal  lawyer  gains 
humility  when  put  on  trial  himself. 


WARNER  BROTHERS 


October 

TOWARD  THE  UNKNOWN  WarnerColor.  William  Hol- 
den,  Lloyd  Nolan,  Virginia  Leith.  Producer-director 
Mervyn  LeRoy.  Drama.  Test  pilots  experiment  in  jet 
and  rocket  propelled  aircraft  to  probe  outer  space 
and  physical  limits  of  man.  115  min.  10/1. 

November 

GIANT  WarnerColor.  Elizabeth  Taylor,  Rock  Hudson, 
James  Dean.  Producer-director  George  Stevens  Drama. 
Based  on  the  famous  novel  by  Edna  Ferber.  The  story 
of  oil.  cattle  and  love  in  the  Southwest  during  WWII. 
201  min.  10/15. 

GIRL  HE  LEFT  BEHIND,  THE  Tab  Hunter,  Natalie 
Wood.  Producer  Frank  Rosenberg.  Director  David 
Butler  Drama.  Army  turns  immature  boy  into  man. 
103  min.  10/29. 

December 

BABY  DOLL  Karl  Maiden,  Carroll  Baker,  Eli  Wallach 
A  Newton  Production.  Producer-director  Elia  Kazan 
Drama.  Story  of  a  gin-mill  proprietor  and  a  beautiful 
girl.  114  min.  12/24. 

January 

WRONG  MAN.  THE  Henry  Fonda,  Vera  Miles,  Anthony 
Quayles.  Producer-director  Alfred  Hitchcock.  Drama. 
Bass  fiddle  player  at  Stork  Club  is  prime  suspect  in 
murder  case.  105  min.  1/7. 

February 

BIG  LAND,  THE  WarnerColor.  Alan  Ladd,  Virginia 
Mayo.  A  Jaguar  Production.  Director  Gordon  Douglas. 
Western.  Cattlemen  fight  to  move  their  herds  to 
distant  railroads.  93  min.  2/4. 

TOP  SECRET  AFFAIR  Kirk  Douglas.  Susan  Hayward. 
Producer  Martin  Rackin.  Director  H.  C.  Potter.  Come- 
dy A  lovely  lady  calls  the  bluff  of  an  Army  General. 
93  min.  2/4. 

March 

PARIS  DOES  STRANGE  THINGS  Technicolor.  Ingrid 
Bergman,  Mel  Ferrer,  Jean  Marais.  A  Franco-London 
Rim.  Director  Jean  Renoir.  Drama.  Tale  of  the  exiled 
widow  of  a  Polish  Prince. 

Coming 

A  FACE  IN  THE  CROWD  Andy  Griffith.  Patricia  Neal. 
Producer-director  Elia  Kazan.  Drama. 
LAFAYETTE  ESCADRILLE  CinemaScope.  WarnerColor 
Tab  Hunter,  Etchika  Choureau.  J.  Carrol  Naish.  Drama. 
PRINCE  AND  THE  SHOWGIRL,  THE  Color  Marilyn 
Monroe,  Laurence  Olivier,  Dame  Sybil  Thorndyke. 
Producer-director  Laurence  Olivier.  Comedy. 
SPIRIT  OF  ST.  LOUIS.  THE  CinemaScope,  Warner- 
Color. James  Stewart,  Rena  Clark.  Producer  Leland 
Hayward.  Director  Billy  Wilder.  Drama.  The  story  of 
the  first  man  ever  to  cross  the  Atlantic  in  a  plane. 
UNTAMED  YOUTH  Mamie  Van  Doren. 


To  Better  Serve  You  .  .  . 

Office  It  Terminal  Combined  At 
305  N.  12th  St.  New  Phonet 

Philadelphia  7,  Pa.         LOmbard  3-3944,  3945 

NEW  JERSEY 
MESSENGER  SERVICE 

Member  National  Film  Carriers 


DEPENDABLE  SERVICE! 

HIGHWAY 
EXPRESS  LINES,  INC. 

Member  .\ational  Film  Carriers 

Philadelphia,  Pa.:  LOcust  4-345B 
Washington,  D.  C:  DUpont  7-7200 


BULLETIN—  THIS     IS     YOUR  PRODUCT 


I 


EVERY  GUY  IN  TOWN 
KNEW  THE  DAME  IN  THE 
TATTERED  DRESS! 


She  was  as 
cheap  as  she 
was  rich  and 
as  pretty  as 
she  was  vicious 
and  now  she 
stood  there 
giggling  at  the 
body  in  the 
street.  Was  it 
Murder—or  the 


Unwritten  Law 


...  or  was  it  a 
town's  hidden 
evil  showing 
through  a  wo- 
man's tattered 
dress? 


JEFF  CHANDLER 
JEANNE  CRAIN 
JACK  CARSON 
GAIL  RUSSELL 

ELAINE  STEWART 


'The 

(altered  Dress 

DnemaScopE 

fi»  GEORGE  TOBIAS  •  EDWARD  ANDREWS  •  PHILIP  REED 


JACK  ARNOLD  •  written  by  GEORGE  ZUCKERMAN  •  produced  by  ALBERT  ZUGSMITH  •  A  UNIVERSAL-  INTERNATIONAL  PICTURE  jA 


FROM  U-l  THE  EXCITING  COMPANY 


BULLETIN 


ARCH  4,  1957 


iusiness-wise 
Analysis  of 
he  New  Films 


3E3EQIKSE 

RIT  OF  ST.  LOUIS 

Other  Reviews: 

DOES  STRANGE  THINGS 

MEN!  OH,  WOMEN! 

12  ANGRY  MEN 

LIZZIE 

THE  SHADOW 
ON  THE  WINDOW 

HE  TATTERED  DRESS 

ESIGNING  WOMAN 

THE  WOMEN 
>F  PITCAIRN  ISLAND 


LOEWS  STOCKHOLDERS  WON  OVER 


They  Loved  Joe  Vogel! 


See  Pages  6  &  7 


PATTERNS  OF   PATRONAGE  IV 


THE  OLDER  GENERATION 


Tjiank  you,  exhibitors  everywhere,  members  of  the  press,  and  our  frienc 
throughout  the  amusement  world,  for  your  spontaneous  response  and  enthusiasm,  as  yoj 
join  with  us  in  our  happiest  celebration  -  dedicated  to  the  fifteen  years  of  unstintin 
and  unlimited  vision,  inspiration  and  loyalty  we  have  enjoyed  under  the  leadership  c 
Spyros  P.  Skouras. 

We  are  deeply  moved  and  gratified  by  the  requests  of  exhibitors  large  and  sma 
—  from  the  head  of  the  largest  circuit  to  the  owner  of  the  smallest  theatre— to  participat 
in  the  celebration  from  March  24th  to  May  4th. 

This  recognition  of  a  selfless  dedication  to  the  highest  principles  and  purpose 
of  the  entertainment  world  warms  the  heart  of  each  one  of  us  in  the  hard-workini 
forward-thinking  20th  Century-Fox  family.  We  try  as  an  organization  to  live  up  to  th 
spirit  set  by  our  President. 

.  i 


TO  MAY  4th 


our  President 


Now  we  re-dedicate  our  efforts  to  make  the  most  of  the  best  pictures  in  our  entire 
story,  to  deal  fairly  with  you  and  with  the  public  to  the  best  of  our  ability.  This  is  the 
le  way  in  which  we  can  best  honor  Spyros  P.  Skouras :  to  make  your  playing  time  more 
rosperous,  your  present  and  future  more  secure. 


'Get  ready! 
Get  set!" 


M-G  M's  BIG  PLANS 
FOR  DESIGNING 
WOMAN"! 


"DESIGNING  WOMAN"  is  in  the  BIG  MONEY  class  of  "High  Society"  and  "Teahouse  of  the  August 
Moon."  Until  you  see  it  for  yourself,  you  simply  can't  know  the  box-office  dynamite  in  its  explosive  fun,  its 
high- voltage  entertainment.  We've  seen  it!  We  know  and  we're  telling  America!  We're  spending  a  young 
fortune  for  you  as  follows: 

FULL  PAGES  IN  TOP  NATIONAL  MAGAZINES:  Life,  Look,  Saturday  Evening  Post,  Vogue,  Seventeen, 
Charm  .  FAN  MAGAZINES:  The  entire  field  .  M-G-M's  COLUMNS:  Famed  "Picture  Of  The  Month"  and 
"Lion's  Roar"  covering  leading  national  magazines  •  NEWSPAPERS:  Advance  teasers.  Special  ads.  A  big 
campaign  .  TV  AND  RADIO  SPOTS:  Special  ideas  to  make  the  air- waves  sizzle  .  AND  MORE:  Watch  the 
Trade  Press  for  details. 


THE  STORY: 
A  de  luxe  doll  J| 
steals  a  two-fisted 
newspaper  guy  from 
a  shapely  showgirl 
hi  the  Comedy 
of  the  Year — 


GREGORY  PECK 
V  ^  LAUREN  BACALL 

DESIGNING 
WOMAN 

Co- Starring 

DOLORES  GRAY 


M-G-M  presents  the  Box-office  Bombshell! 


Written  by 

GEORGE  WELLS 

Associate  Producer 


.„  CINEMASCOPE  and  METROCOLOR 


Directed  by 

VINCENTE  MINNELLI 

Produced  by 

DORE  SCHARY 


(Available  in  Magnetic  Stereophonic, 
Perspecta  Stereophonic  or  1-Channel  Sound) 


viewpoints 

MARCH  4,  1957        *  VOLUME  25,  NO.  5 


We  Need  Mare  "Movie  Talk " 


Word-of-mouth,  that  one-time 
super  salesman  for  movies,  is  very 
nearly  as  dead  as  the  dodo,  accord- 
ing to  revelations  made  recently  by 
statistician  Albert  Sindlinger. 
Should  the  impact  of  this  disclosure 
be  lost  upon  the  reader,  he  has  only 
to  relate  the  decline  in  popular  ar- 
ticulation with  the  corresponding  de- 
cline in  movie  ticket  sales.  The  two 
elements  appear  to  run  in  a  fright- 
eningly  similar  ratio.  When  the 
public  "talked"  movies  the  public 
went  to  the  movies ;  when  its  verba- 
lizing tapered  off,  attendance  did 
likewise. 

The  point,  then,  that  the  subject 
of  movies  is  occupying  a  diminish- 
ing place  in  the  conversation  of 
pleasure-seeking  Americans  is  no 
frivolous  issue.  The  entire  question 
poses  serious  fiscal  considerations. 
Mr.  Sindlinger  observes  that  as  long 
as  four  weeks  may  pass  today  before 
40%  of  the  population  gets  the  word 
on  a  good  feature  film.  Contrast  this 
with  the  pre-TV  era  when  like  gos- 
sip radiated  to  60%  of  the  masses  in 
72  hours  or  less.  During  the  war 
years  when  word-of-mouth  ran  its 
most  vocal  course,  62%  of  the  nation 
were  classified  as  "frequent  movie- 
goers" ;  in  today's  no-talk  climate 
frequent  moviegoers  have  shrivelled 
to  19.6%. 

It  is  not  surprising  that  TV  has 
usurped  much  of  the  chit-chat  which 
once  formerly  belonged  to  movies. 
Evidence  of  this  derives  from  the 
additional  Sindlinger  finding  that  a 
mere  30%  now  read  the  amusement 
page  of  newspapers  as  against  70% 
video  readership.  In  the  good  old 
days,  the  movie  page  commandeered 
a  65%  reading  audience. 

From  a  dollar  viewpoint,  word-of- 
mouth  shrinkage  strikes  the  indus- 
try in  this  fashion.  A  worthy  film 
such  as  "Friendly  Persuasion"  must 
endure  a  needlessly  long  verbal  in- 
cubation   period    before  favorable 


mouth  reaction  gathers  a  full  head 
of  steam.  By  this  time,  the  potential 
may  have  been  largely  dissipated. 
The  film  is  nearing  the  end  of  the 
sub-runs  or  is  out  of  the  market 
completely.  Such  is  the  case  history 
of  the  aforementioned  picture  and 
many  of  comparable  quality.  You 
can  see,  in  the  final  analysis,  how 
little  the  professional  critics  count. 

The  most  practical  antidote  avail- 
able to  the  industry  involves  more 
judicious  timing  in  the  exploitation 
and  promotion  of  films.  Merchan- 
dising and  advertising  chieftans 
must  lower  the  boom  sooner  than 
ever,  allow  ample  time  to  rouse  pub- 
lic expression  and  permit  their  vari- 
ous stimuli  to  ferment. 

Two  cases  in  point  are  "Giant" 
and  "Around  the  World  in  80  Days", 
each  of  which  was  the  beneficiary  of 
generous  publicity,  paid  and  unpaid, 
far  in  advance  of  its  release  date. 
Each  has  been  scoring  notably  at 
the  boxoffice. 

In  many  ways,  a  constricting 
word-of-mouth  is  the  unwanted  off- 
shoot of  the  product  shortage.  Con- 
fronted with  a  thinning  inventory, 
distributors  are  compelled  to  rush 
many  a  film  pell-mell  into  release 
without  sufficient  build-up.  Such  a 
condition  impedes  the  creation  of 
more  effective  timing  machinery. 
But  the  industry  must  ponder  the 
truth  that  an  uninformed  public  is 
an  uninterested  public.   Today  the 


7Z^ 

BULLETIN 


Film    BULLETIN:    Motion    Picture    Trad*  Paper 
published  every  other  Monday  by  Wax  Publi- 
cations,  Inc.    Mo  Wax,   Editor  and  Publisher. 
PUBLICATION-EDITORIAL  OFFICES:    123?  Vine 
Street,  Philadelphia  7,  Pa..  LOcust  8-0950.  0951. 
Philip    R.    Ward,    Associate    Editor;  Leonard 
Coulter,  New  York  Associate  Editor;  Duncan  G. 
Steck,     Business     Manager;     Marvin  Schiller, 
Publication  Manager;  Robert  Heath,  Circulation 
Manager.   BUSINESS  OFFICE:  S22  Fifth  Avenue, 
New    York    36,    N.    Y.,    MUrray    Hill  2-3431; 
Alf  Dinhofer,  Editorial  Representative. 
Subscription  Rates:  ONE  YEAR.   S3. 00 
in  the  U.  S.J  Canada,  S4.00;  Europe, 
S5.00.     TWO    YEARS:    S3. 00    in  the 
U.  S.;  Canada,   $7.50;   Europe,   SI. 00. 


public  is  illiterate  moviewise.  It 
lacks  the  vital  information  to  render 
a  ticket-purchasing  judgment. 

The  urgent  consideration  is  not  so 
much  for  additional  publicity  as  it  is 
for  more  appropriate  use  of  existing 
publicity  more  selectively  scheduled. 
This  involves  no  increases  in  bud- 
get; indeed,  may  eventually  effect 
economies.  For  the  industry  fre- 
quently makes  better  capital  of  the 
gratuitous  promotion  it  receives 
than  that  for  which  it  pays.  The 
idea  is  to  convince  the  more  im- 
portant media  of  communication, 
newspapers,  TV,  radio  and  others, 
of  the  newsworthiness  of  filmdom's 
affairs  and  its  product.  This  is  a  job 
that  can  be  accomplished  only  as  a 
combined  industry  project — by  film 
and  theatre  showmen  working  from 
a  master  promotional  blueprint. 

So  long  as  filmdom  keeps  a  secret 
of  itself  it  can  hardly  hope  to  pros- 
per. Movies  must  be  put  back  where 
they  belong:  on  the  tongues  of 
speaking  Americans. 

Hvlp  Our  Own 

The  Foundation  of  the  Motion 
Picture  Pioneers  has  quietly  pur- 
sued its  job  of  lending  a  helping 
hand  to  unfortunate  veterans  of  the 
movie  industry,  who,  because  of  bad 
breaks,  find  themselves  in  need.  The 
job  has  grown  heavier  with  each 
passing  year,  placing  an  unprece- 
dented tax  on  the  modest  fund  with 
which  it  has  to  work. 

Ned  E.  Depinet,  newly  elected 
president  of  the  Motion  Picture 
Pioneers,  has  issued  a  sentient  ap- 
peal for  contributions  to  the  Foun- 
dation in  memory  of  his  predecessor, 
the  late  Jack  Cohn,  so  that  it  may 
carry  on  its  estimable  work.  Our  in- 
dustry, so  quick  to  extend  aid  to 
every  charity  that  asks  it,  can  hard- 
ly do  less  for  men  in  its  own  family 
who  have  given  the  better  part  of 
their  lives  to  this  business. 


Film  BULLETIN    March  4,  1957       Page  5 


LION'S  STOCKHOLDERS  LICKED  HIS  HAND 
They  Loved  Joe  Vogel! 

By  LEONARD  COULTER 


There  was  a  line  of  18  lovely  girls  seated  at  a  long  table 
in  the  lobby  of  Loew's  State — obviously  hand-picked  from 
the  company's  office  staff  and  worthy,  many  of  them,  of 
the  Culver  City  sound  stages. 

They  were  there  to  check  off  the  names  of  Loew's  stock- 
holders attending  the  annual  meeting  and  to  make  sure 
there  was  no  repetition  of  1956's  gatecrashing  when,  lured 
by  the  prospect  of  a  box  luncheon  and  a  free  screening 
after  the  pow-wow,  numerous  Broadwayites  joined  the 
proceedings  uninvited  and  enjoyed  an  extremely  lively 
show. 

Ten  minutes  after  the  scheduled  time,  newly-elected 
President  Joseph  R.  Vogel  got  the  meeting  under  way  in  a 
ten  minute  speech  which  he  read  with  only  a  few  minor 
changes  from  the  prepared  text. 

Whereas  last  year's  meeting  was  jammed  and  the  com- 
pany's then  President,  Mr.  Arthur  M.  Loew,  was  obliged 
to  listen  to  an  avalanche  of  criticism  of  Loew's  past  man- 
agement, this  year's  drew  a  fair-to-middlin'  audience,  no 
really  awkward  questions,  no  abuse.  It  was  an  orderly, 
rather  amusing,  occasion. 

The  reasons  for  the  change  were  undoubtedly  the  knowl- 
edge among  the  rank-and-file  stockholders  that  the  new 
all-businessmen  slate  of  directors  nominated  for  election 
was  in  an  unassailable  position,  and  the  very  obvious  fact 
that  Mr.  Vogel,  after  only  four  months  in  office,  was  in 
complete  command  of  the  situation  and  determined  not  to 
permit  himself  to  be  harried. 

He  Was  Well  Prepared 

The  degree  of  planning  and  preparation  which  had  gone 
on  behind  the  scenes  prior  to  the  meeting  was  evidenced, 
for  instance,  when  Lewis  Gilbert,  self-appointed  "champion 
of  the  little  stockholder",  began  baiting  the  hook. 

Rising  to  a  round  of  applause,  Mr.  Gilbert  opened  the 
question  period,  and  announced,  "I  am  seriously  concerned 
over  the  fact  that  only  one  member  of  the  management  is 
sitting  on  the  Board." 

Joe  Vogel  permitted  himself  to  smile  briefly,  answering: 
"Mr.  Gilbert — we  anticipated  this  question,  so  I  already 
have  the  answer  written  down :  We  will  have  at  our  beck 
and  call  all  the  executive  skills  and  talents  of  the  com- 
pany's personnel." 

The  audience  laughed  at  this  gentle  sally,  and  from  that 
moment  the  meeting  swung  towards  Mr.  Vogel.  Indeed, 
it  wasn't  long  before  the  usually  critical  Mr.  Gilbert  was 
himself  praising  the  company's  president  for  his  straight- 
forward and  admirable  answers. 

The  "We  love  Joe  Vogel"  movement  gained  added  mo- 
mentum the  moment  he  sensed  that  the  stockholders  en- 
joyed hearing  him  say.   "Our  decisions  will  be  governed 


JOSEPH  R.  VOGEL 


only  by  the  factor  of  whether  this  or  that  will  make  money 
for  the  company." 

He  delivered  numerous  variations  of  this  theme,  draw- 
ing handclaps  from  those  who,  having  come  to  bury 
Caesar,  stayed  to  praise  him.  Gently  affirmative,  he 
clinched  the  mood  of  the  meeting  by  announcing  firmly,  to 
one  small  stockholder  who  wanted  to  know  why  he  hadn't 
seen  "Gone  With  the  Wind"  on  TV:  "You  say  we  keep 
'Gone  With  the  Wind'  in  mothballs.  On  the  contrary,  we 
keep  it  in  a  locked  safe,  under  heavy  guard.  It  is  a  very 
valuable  property,  and  we  will  never  sell  it  to  television. 
Every  time  we  release  the  picture  we  take  in  more  money 
than  we  make  on  quite  a  few  of  the  other  pictures  we  put 
out  duripg  the  year." 

After  a  couple  of  hours,  Mr.  Vogel  lit  a  cigarette,  then 
another,  then  a  third.  He  was  beginning  to  feel  so  much  at 
home  that  when  he  made  a  small  technical  error  he  grinned 
and  said,  "You  can  see  I'm  not  very  experienced  in  this 
sort  of  thing." 

Answers  Direct- 
He  was  modest,  patient,  unassuming,  but  never  apolo- 
getic.  He  permitted  everyone  to  have  their  say  and  his 
replies  were  never  complex  or  elaborate.  For  instance: 

Asked  about  discussions  now  proceeding  for  a  merger 
of  studio  facilities  between  MGM  and  Twentieth  Century- 
Fox:  "This  is  far  from  consummated  .  .  ." 

(Continued  on  Page  IX) 


Page  6        Film  BULLETIN     March  4,  1957 


V 


By  Philip  R.  Ward 


PRIDE  REBORN.  The  most  reliable  forecast  issued  at 
the  38th  annual  gathering  of  Loew's  equity-owing  clan 
may  have  fallen  to  a  mildly  lisping  shareholder,  who  as- 
sured president  Joseph  Vogel :  "If  you  don't  have  ulcers 
now,  you  will  next  year." 

We  wish  him  a  happier  medical  future.  He  deserves 
better,  as  measured  by  his  impressive  rendering  of  per- 
sonal credentials  before  a  tight-lipped  audience  of  unrecon- 
structed shareholders  and  expectant  members  of  the  press. 

Thanks  to  Mr.  Vogel,  the  only  affront  his  listeners  were 
to  suffer  all  day  occurred  outside  Loew's  State  in  the 
chilled  February  air  of  Broadway  before  the  10  AM  meet- 
ing even  began.  There,  in  the  outer  lobby  was  a  sign  an- 
nouncing, cocksuredly,  that  the  theatre  would  open  at  12 
noon.  Someone,  it  seemed,  was  mighty  confident  of  the 
script. 

It  did  not  take  Mr.  Vogel  long  to  remedy  this  breech  of 
good  taste  as  well  as  other  breeches  of  less  recent  vintage. 
His  mental  antenna  working  overtime,  the  Loew's  presi- 
dent made  rapid  accomodation  to  the  radio  signals  flashing 
from  his  audience.  ".  .  .  In  business  to  make  profits  .  .  ." 
soon  became  a  stock  Vogel  transcription. 

His  indulgence  of  the  bumptious,  the  buffoons  and  the 
ill-advised,  who  seem  inevitably  to  arise  at  Loew's  meet- 
ings, struck  this  observer  as  commendable.  Loew's  share- 
holders show  a  curious  calendar  disorientation.  One,  look- 
ing for  all  the  world  like  a  Big  Ten  Ail-American  with 
Brandoesque  overtones  of  speech,  demanded  the  number  of 
Loew's  shares  outstanding  "as  of  July  1  1,  1957".  Another 
queried  the  number  of  new  films  to  be  produced  "this  year 
and  the  year  before".  At  no  time  did  Mr.  Vogel  betray  the 
noblesse  oblige  so  characteristic  of  some  industry  leaders. 
At  the  same  time,  he  showed  little  stomach  for  aimless 
controversy.  He  turned  off  such  questions  with  a  summary 
"thank  you"  and  searched  for  the  next  upraised  hand. 

It  is  possible  that  Mr.  Vogel  endeared  himself  more  to 
stockholders  than  to  officeholders.  He  indicated  harshly 
that  no  one  will  remain  in  the  organization  unless  he  is 
doing  a  job.  Another  manifestation  of  the  Vogel  candor 
resulted  when  the  company  auditor  proved  something  less 
than  loquacious  in  offering  a  breakdown  of  film  company 
vs.  theatre  company  earnings.  When  the  maundering 
answer  finally  came,  Mr.  Vogel  was  quick  to  assure  his 
audience  the  film  company  loss  was  "much,  much  more" 
than  the  "above  $250,000"  figure  offered.  At  an  earlier 
moment  his  features  betrayed  annoyance  when  several  di- 


rectors found  it  expedient  to  be  absent  at  a  roll-call  intro- 
duction. It  was  on  all  counts  a  virtuoso  performance. 

O 

In  jockeying  for  shareholder  acceptance,  president  Vogel 
deemed  it  politic  to  dislocate  himself,  subtly,  artfully,  from 
connection  with  prior  company  heads.  He  appeared  sad- 
dened by  the  needless  post-mortems  in  which  the  bodies  of 
Dore  Shary  and  Nicholas  Schenck  were  served  up  as  burnt 
offerings.  But  he  remained  properly  inarticulate.  The  im- 
pression is  that  Mr.  Vogel  is  something  of  a  loner  in  man- 
agement circles.  This  is  as  it  should  be,  for  his  is  the 
broom-sweeping  job.  Board  of  director-wise,  there  is  criti- 
cism of  his  status  as  sole  management  representative.  En- 
lightened opinion,  however,  believes  he  can  range  with 
greater  mobility  in  the  interim  at  least.  Once  the  internal 
reforms  take  place,  it  is  then  incumbent  upon  Mr.  Vogel 
to  press  for  more  management  directorships.  At  the  mo- 
ment he  seems  hardly  displeased  with  the  situation.  Some 
feel  former  foe  Joe  Tomlinson  may,  surprisingly  prove 
Vogel's  champion  when  the  board  meeting  chips  are  down. 

Joseph  Vogel  is  a  hard  money  man.  His  operational 
philosophy  includes  the  exploitation  of  TV  leasing  deals 
(credit  for  which  properly  goes  to  former  president  Arthur 
Loew),  vast  increases  in  participation  programs  with  top 
talent,  production  of  films  for  the  "masses  not  classes" 
and  fewer  but  better  films.  The  so-called  "prestige"  film 
associated  with  Dore  Shary  will  not  find  a  niche  under  Mr. 
Vogel.  As  he  stated  in  defending  his  $3,000  weekly  salary: 
"Most  of  this  is  taxable.  I  must  look,  like  you,  to  my  stock 
for  profits."  Mr.  Vogel  has  his  own  concept  about  profit- 
able pictures. 

0 

As  for  the  newly  elected  board,  there  can  be  no  gain- 
saying its  stature.  But  as  a  body  given  to  purely  opera- 
tional questions,  it  may  prove  more  decorative  than  func- 
tional. In  this  vein,  Mr.  Vogel  bears  a  groaning  burden. 
His  is  the  task  of  steering,  orienting,  counseling — all  with 
an  eye  on  the  practical  pulse  of  things.  Concerning  non- 
operational  matters,  the  composition  of  the  board  glows 
more  brightly.  In  such  areas  as  capital  gains  ventures,  ac- 
quisitions, financial  promotion,  it  is  without  peer  in  the 
movie  industry.  Indeed,  the  very  constituency  of  the 
board,  which  includes  among  its  members  three  former 
secretaries  of  the  armed  forces,  gave  rise  to  the  quip  by 
one  newspaper  wag  that  Loew's  is  "better  prepared  to 
weather  a  Third  World  War  than  any  corporate  entity  in 
the  nation".  Lacking  all  else,  they  could  garner  income  for 
Loew's  hiring  out  as  consultants  to  the  Pentagon.  But  in 
the  end  it  is  the  new  company  president  who  must  wage 

(Continued  on  Page  18) 


Film  BULLETIN     March  4.  1957        Pag5  7 


llWHAT  PRICE  ROCK  'N'  ROLL?    The  rock  'n'  roll 
I  phenomenon,  as  everyone  knows,  is  making  its  impact  felt 
on  movie  business,  just  as  it  is  on  every  phase  of  life  in 
America.  Theatres  here  and  there  report  record-smashing 
[  (and  seat-smashing)  business  on  various  rock  'n'  roll  films. 
I  The  riotous  response  to  the  rocking  stage  and  movie 
("Don't  Knock  the  Rock")  show  at  the  New  York  Para- 
mount, when  thousands  of  teen-age  addicts  turned  out  to 
I  jam  the  streets,  highlighted  the  b.o.  potential — and,  at  the 
j  same  time,  the  dangers — of  this  kind  of  entertainment. 
J  Some  keen  industry  observers  will  tell  you  in  no  uncertain 
J  terms  that  the  aftermath  of  such  demonstrations  will  be 
bitter  for  the  theatre.  They  question  pertinently  what  the 
reactions  of  adult  moviegoers  might  be  to  the  wild  antics 
of  the  leather  jacket  set.  One  veteran  theatreman  said  he 
would  not  run  a  rock  n'  roll  picture  regardless  of  the  busi- 
ness it  might  do,  "because  it  would  take  me  months  to 
entice  my  regular  adult  audience  back  into  the  theatre". 
He  spoke  from  experience:  the  engagement  of  a  rock  'n' 
roller  in  one  of  his  houses  brought  a  record-breaking  audi- 
I  ence,  plus  a  large  contingent  of  cops  to  clear  out  the  rough- 
necks— who  thanked  him  by  tossing  a  brick  through  the 
windshield  of  his  car  parked  out  front.    And  business 
dipped  for  several  weeks  afterward.   In  Philadelphia  the 
parents  of  a  14-year-old  boy  recently  filed  suit  against 
Stanley  Warner  for  injuries  the  youth  suffered  as  the  re- 
sult of  "acts  of  violence,  frenzy,  savagery,  undue  excite- 
ment and  criminal  and  immoral  conduct"  (the  complaint 
states)  by  the  audience  during  the  showing  of  a  rock  'n' 
roll  movie.  The  theatre  is  charged  with  negligence  in  fail- 
ing to  provide  adequate  police  protection  and  in  admitting 
those  "whom  they  knew  or  had  reason  to  know  would  be- 
come aroused".  The  claim  is  for  $40,000.  Truly,  what  price 
rock  'n'  roll? 

0 

ARE  REISSUES  DEAD?  The  feeling  is  growing  in  the 
trade  that  showings  of  old  features  on  TV  has  sunk  the 
whole  reissue  market.  Until  the  major  film  libraries  went 
on  the  air  there  was  always  a  steady  demand  for  repeat 
theatre  showings  of  old  movie  classics,  but  the  public  re- 
action to  any  such  offerings  now  seems  to  be:  "Oh,  it'll  be 
on  TV  soon" — so  why  go  out  to  see  it.  A  few  weeks  ago 
the  reissue  of  "Casablanca"  met  with  surprising  response, 
and  distributors  of  Dominant  Pictures  (they  are  handling 
the  Warner  Bros,  oldies)  got  a  flock  of  fast  bookings.  But 
the  reason,  it  now  seems,  was  the  coincidence  of  Hum- 
purey  Bogart's  death  and  Ingrid  Bergman's  return  to  the 
U.S.  to  accept  the  New  York  Critics  "best  acrtess"  award. 
All  that  publicity  gave  the  picture  a  shot  in  the  arm — but 
it  was  very  temporary.  When  the  Bogart-Bergman  names 
disappeared  from  the  front  pages  "Casablanca''  had  no 
"legs  to  stand  on". 

0 

PARAMOUNT  LIBRARY.  Look  for  Paramount  to  give 
the  word  soon  on  the  sale  of  its  complete  pre-1948  feature 
library  to  TV.  Despite  the  vehement  denials  from  both 


Mat  They're  hiking  About 

□    □    □    In  the  Movie  Business    □    □  □ 


the  film  company  and  Columbia  Broadcasting,  insiders  ex- 
press no  doubt  that  the  deal  will  be  finalized  any  day.  A 
number  of  factors  are  noted  as  adding  to  the  logic  of  the 
transaction  at  this  time.  From  the  standpoint  of  the  broad- 
casting company,  there  is  the  great  desire  to  acquire  a  top- 
Bight  film  library  to  cash  in  on  the  surprising  audience  re- 
sponse to  old  movies.  Thus  far,  aside  from  a  fling  at  offer- 
ing British  oldies  (and  an  occasional  new  one)  on  Sunday 
nights,  none  of  the  networks  has  tried  movies  on  Class-A 
time.  CBS  might  be  the  first  network  to  use  films  on  prime 
TV  time.  For  its  part,  Paramount  would  like  to  show 
revenue  from  a  sale  to  TV  on  this  year's  financial  state- 
ment. The  gigantic  costs  of  biggies  like  "The  Ten  Com- 
mandments" and  "War  and  Peace"  will  take  quite  a  while 
to  recoup,  and  a  nice  fat  take  on  fully  amortized  oldies  can 
make  the  company's  financial  picture  look  bright  indeed. 
President  Barney  Balaban  can  be  credited  with  being  a 
shrewd  operator,  in  that  he  waited  for  the  right  moment  to 
make  the  deal;  the  value  of  feature  films  to  TV  is  prob- 
ably at  its  peak  at  this  moment  and  he  will  be  getting  the 
top  dollar  for  his  product. 

0 

ZANUCK  &  HUGHES.  Much  is  being  read  into  Darryl 
Zanuck's  sudden  resignation  from  the  20th  Century-Fox 
board  of  directors  within  a  few  weeks  after  he  accepted 
election.  It  is  being  implied  that  his  exit  is  in  some  way 
associated  with  reports  that  Howard  Hughes  has  become 
a  heavy  buyer  of  20th  stock.  The  suspicion  exists  in  some 
quarters  that  an  alliance  between  Zanuck  and  Hughes 
might  be  in  the  wind.  To  the  contrary,  we  hear  that  some 
friction  has  developed  recently  between  the  two. 

0 

NEW  TALENT.  With  all  the  other  problems  pressing  in 
on  them,  the  major  film  studios  are  more  disturbed  than 
ever  about  the  lack  of  new  talent.  So  far,  none  of  the  new 
"finds"  has  succeeded  in  catching  on  with  the  public  to 
any  appreciable  extent.  Although  each  campaign  waged  to 
bring  a  new  star  to  the  public's  attention  costs  the  studios 
thousands  of  dollars,  most  of  them  are  continuing  then- 
quest  for  new  faces.  20th-Fox  has  set  out  on  a  talent  hunt 
for  a  new  leading  ingenue  for  its  production  of  "A  Certain 
Smile",  French  novelist  Francoise  Sagan's  latest  best- 
seller. It  will  comb  schools,  colleges,  dramatic  studios. 
Though  this  is  by  no  means  the  only  solution  (Marilyn 
Mcnroe  tossed  around  the  studios  for  several  years  before 
her  big  coming  out),  talent  experts  believe  that  students 
offer  the  best  propects  of  becoming  the  "stars  of  tomor- 
row". At  any  rate,  the  oldsters  who  rank  as  the  top  pre- 
snt-day  marquee  names  are  drying  up  so  fast  that  every 
studio  executive  chills  at  the  thought  of  what  another  five 
years  will  bring. 


Film  BULLETIN    March  4,  1957       Page  9 


'Paris  Does  Strange  Things" 

&i4ute&d  Rati*?  O  ©  Plus 

Involved,  slapstick  costume  melodrama  made  in  France. 
Talents  of  Ingrid  Bergman,  Mel  Ferrer  wasted  on  inept 
script,  frantic  direction.  Will  suffer  by  word-of-mouth. 

The  talents  of  Ingrid  Bergman  and  Mel  Ferrer  are  hope- 
lessly submerged  in  a  welter  of  frantic  carryings-on  and  a 
profusion  of  lush  sets  which  characterize  this  inept  farce 
made  by  Jean  Renoir.  Except  for  the  extraordinary  Tech- 
nicolor— the  real  star  of  the  picture — "Paris"  is  an  embar- 
rassment to  Warner  Brothers,  to  Miss  Bergman  and  par- 
ticularly to  writer-director  Renoir.  It  is  a  tiresome,  Key- 
stone-cops-like melodrama  with  endless  plot  complications, 
frenetic  attempts  at  sight  gags,  labored  bufoonery  and  such 
confused  action  impossible  to  understand  the  threads  of 
story.  Director  Renoir  undoubtedly  intended  this  as  Gallic 
wit,  but  it  is  all  a  bore.  Miss  Bergman  is  as  beautiful  and 
as  vital  as  ever,  and  she  and  Ferrer  do  their  best  to  uphold 
the  comedy  aspects,  but  to  no  avail.  While  the  star  names 
will  attract  some  early  business,  word-of-mouth  will  tear 
it  down  quickly.  Miss  Bergman,  a  Polish  princess  engaged 
to  middle-aged  industrialist  Pierre  Bertin,  meets  Ferrer, 
who  introduces  her  to  Jean  Marais,  France's  soldier  hero 
of  the  moment.  Miss  Bergman  accepts  the  request  of  poli- 
ticians to  induce  Marais  to  become  dictator.  Interested  in 
Miss  Bergman,  he  plays  along.  Ferrer  realizes  he  loves 
Miss  Bergman  and  thwarts  the  politicans.  When  Miss 
Bergman  accepts  the  love  of  Ferrer,  Marais  gives  up  his 
career  and  runs  away  with  his  old  mistress. 

Warner  Bros.  Uean  Renoir)  86  minutes.  Ingrid  Bergman,  Mel  Ferrer,  Jean  Marais. 
Produced  and  directed  by  Jean  Renoir. 

"Lizzie" 

ScMiteM  'Rati*?  O  O 

Psychological  drama  of  woman  with  three  personalities. 
Talky,  lacks  punch.  Fair  exploitables.  Best  for  class  houses. 

This  Bryna  production  for  MGM  release  is  a  slow-mov- 
ing psychological  study.  It  contains  several  exploitable 
elements  in  its  unusual  theme — that  of  a  woman  with  three 
distinct  personalities.  However,  the  picture  just  doesn't 
add  up  to  the  gripping  drama  one  might  expect  despite 
fine  performances  by  Eleanor  Parker,  Richard  Boone  and 
Joan  Blondell.  Director  Hugo  Haas  (who  also  plays  a 
supporting  role),  faced  with  the  dilemma  of  having  to  ex- 
plain psychiatry  to  the  uninitiated  while  retaining  the  in- 
terest of  the  "eggheads"  has  relied  to  much  on  talk.  Result 
is  only  low-keped  drama  which  fails  to  sustain  much  real 
suspense.  The  Jerry  Bresler  production  in  black-and-white 
is  effectively  simple.  Elizabeth  (Eleanor  Parker)  is  a  shy, 
isck  girl.  At  her  job  in  a  museum,  she  receives  threatening 
notes  from  someone  signed  "Lizzie".  Her  boozing  aunt, 
Joan  Blondell,  believes  her  to  be  mentally  ill,  and  Eliza- 
beth is  persuaded  to  see  psychiatrist  Richard  Boone. 
Through  hypnosis,  he  discovers  that  she  has  actually  three 
distinct  personalities:  shy  "Elizabeth",  hard-bitten  &  sen- 
sual "Lizzie",  and  normal,  friendly  "Beth".  It  is  also  dis- 
covered that  events  in  her  childhood  caused  her  person- 
ality to  split  three  ways.  Through  a  re-living  of  childhood 
experiences  she  is  led  to  understand  herself  better.  Each 
personality  fights  for  supremacy,  "Beth"  is  victorious. 

MGM.  (Bryna  Production).  81  minutes.  Eleanor  Parker,  Richard  Boone,  Joan  Blon- 
dell. Produced  by  Jerry  Bresler.  Directed  by  Hugo  Haas. 


"Oh,  Men!  Dh,  Women!" 

Sututeu  Rati**}  O  O  Plus 

Metropolitan  audiences  should  go  for  this  lively  spoof  of 
psychoanalysis.  Mild  name  values,  but  should  benefit  by 
word-of-mouth.  Strictly  for  adult  audiences. 

A  gay,  occasionally  uproarious,  comedy  about  that  breed 
of  modern  sophisticates  whose  lives  are  muddled  no  enc 
by  psychiatry,  "Oh,  Men!  Oh,  Women!"  should  do  wel 
in  big  city  houses,  not  so  in  the  family  market.  Name 
values  are  only  fair  (and  the  title  doesn't  figure  to  be  much 
help),  but  word-of-mouth  should  help.  It's  strictly  for 
adults.  Nunnally  Johnson  wrote-directed-produced  this 
entertaining  "battle  of  the  sexes"  in  CinemaScope  and  De 
Luxe  color  for  20th  Century-Fox  release,  and  he  has 
brought  to  the  movie  the  good  pace,  full-bodied  treatment 
and  feel  for  comedy  that  made  it  a  Broadway  stage  hit 
Performances  are  gems.  Dan  Dailey,  Ginger  Rogers  anc 
David  Niven  were  never  better.  But  top  honors  go  to  Tony 
Randall,  who  debuts  like  a  skyrocket  in  the  role  of  a  neu- 
rotic in  love  with  sweet-faced  Barbara  Rush.  Psychoana 
lyst  Niven  learns  that  patient  Randall  is  upset  over  the 
recent  break-up  of  his  romance  with  Niven's  fiancee,  Miss 
Rush.  He  learns  from  patient  Miss  Rogers  that  her  actor- 
husband,  Dailey,  also  courted  Miss  Rush.  When  Nivon 
confronts  Miss  Rush  concerning  these  men,  Dailey  arrives 
drunk  and  starts  to  make  passes  at  her.  Aboard  the 
ship  on  which  they  had  planned  to  honeymoon,  where  each 
had  gone  to  remove  their  luggage,  Niven  and  his  fiancee 
argue  while  the  ship  sails  off.  Unable  to  handle  his  irra- 
tional sweetheart  any  other  way,  the  unhappy  psychiatrist 
just  knuckles  under,  a  victim  of  his  own  confusion.. 

20th  Century-Fox.   90   minutes.   Dan   Dailey,   Ginger  Rogers,   David   Niven,  Barbara 
Rush,  Tony  Randall.  Produced  and  directed  by  Nunnally  Johnson. 

"The  Women  of  Pitcairn  Island" 

'ScuiKCM  Rati*?  O  Plus 

Low-budget  South  Seas  adventure.  Supporting  dualler. 

Obviously  made  on  a  low  budget,  this  Wisberg-Yar- 
brough  production  for  20th  Century-Fox  release  will  ap- 
peal only  to  those  who  enjoy  South  Seas  settings  and  girls 
in  sarongs.  For  those  who  are  sensitive  to  amateurish 
scripting  and  poor  acting,  it  will  be  hard  to  take.  Note  it 
only  as  a  supporting  filler.  The  black  and  white  Regalscope 
lens  accentuates  the  film's  flatness,  the  artificial  back- 
ground atmosphere.  James  Craig  and  Lynn  Bari  furnish 
tepid  name  value  to  the  shallow  yarn  about  an  island 
colony  of  the  widows  of  the  mutineers  depicted  in  the  film 
"Mutiny  on  the  Bounty".  Director  Jean  Yarbrough  evokes 
some  excitement  in  the  sequence  in  which  shipwrecked 
pirates,  led  by  Craig,  attempt  to  plunder  the  island. 
Widows  of  Pitcairn  Island,  led  by  Miss  Bari,  are  fright- 
ened when  Craig  and  his  band  of  cutthroat  pirates  are 
washed  ashore.  The  pirates  seek  House  Peters,  Jr.,  who  j 
made  off  with  their  bag  of  black  pearls.  Peters  is  killed  by 
a  boar  while  burying  the  treasure,  and  the  natives  recover  l 
it.  Craig  and  his  men  discover  the  village  and  endeavor  to 
take  over.  The  women  and  their  teen-age  sons  barricade 
themselves  behind  a  stockade  and  repulse  all  attacks.  Lynn  ■ 
uses  the  pearls  to  pit  the  pirates  against  themselves,  and 
they  greedily  double-cross  and  kill  each  other. 

20th  Century-Fox.    |A  Wisberg-Yarbrough    Production).   72  minutes.   James  Craig, 
Lynn  Bari,  John  Smith.  Directed  by  Jean  Yarbrough. 


[More   REVIEWS  on  Page  12] 

Page  10       Film  BULLETIN     March  4,  1957 


"Spirit  of  St.  Louis"  Vivid,  Exciting  Record  of  Lindberg  Flight 


Scautete  RoUtf  GOO 

First-class  biographical  story  of  first  trans-Atlantic  solo 
flight.  Beautifully  mounted  production  by  Leland  Hayward, 
superb  direction  by  Billy  Wilder.  Fine  performance  by  James 
Stewart  as  "Lindy".  Needs  strong  exploitation  to  realize  its 
grossing  potential. 

The  Leland  Hayward-Billy  Wilder  production  based  on 
Charles  A.  Lindberg's  epochal  non-stop  New  York-to- 
Paris  solo  flight  certainly  ranks  among  the  season's  dis- 
tinguished motion  pictures.  With  notable  devotion  to 
factual  detail  they  have  faithfully  reproduced  the  atmos- 
phere of  the  period  and  the  circumstances  surrounding  the 
historic  event.  And,  for  his  part,  James  Stewart  has  turned 
in  one  of  the  most  impressive  performances  as  the  shy  but 
determined  "Lindy". 

"The  Spirit  of  St.  Louis"  cannot,  however,  be  chalked 
up  as  a  sure-fire  boxoffice  success.  Interest  should  be  in- 
tense among  the  generation  that  was  around  in  1927  to 
share  the  thrill  of  the  daring  exploit  of  young  "Slim".  It 
should  not  be  too  difficult  to  bestir  a  nostalgic  want-to-see 
in  that  element.  The  exhibitor's  problem  will  be  twofold : 
to  attract  the  feminine  trade,  despite  the  lack  of  a  roman- 
tic angle,  and  to  overcome  the  likely  disinterest  of  the  teen- 
age set  in  a  historical.  Warner  Bros,  boxofficers  have  indi- 
cated their  awareness  of  the  latter  problem  by  employing 
the  youth-appeal  of  Tab  Hunter,  who  is  currently  touring 
on  behalf  of  "Spirit".  Word-of-mouth  response  should  be 
warm  for  the  picture,  and  grosses  generally  should  run 
well  above  average. 

Director  Wilder  has  superbly  documented  the  gruelling 
3600-mile  flight  through  alert  CinemaScope-WarnerColor 
cameras  that  make  a  visual  treat  of  the  plane's  check  points 
enroute.  And,  as  the  lonely  young  flier  fights  his  worst 
enemy — sleep — during  the  33^-hour  trip,  the  screen  is 
kept  awake  with  interesting  flashbacks  depicting  his  color- 
ful career  as  a  pioneer  airmail  pilot  and  as  an  air-circus 
barnstormer,  his  struggle  to  win  backing  for  the  flight  and 
to  obtain  the  kind  of  a  monoplane  he  wanted.  Wilder's 


On  that  historic  morning.  May  20,  1927,  "Lindy"  arrives  at  Roosevelt 
Field,  I\'ew  York,  approaches  his  monoplane,  "The  Spirit  of  St.  Louis". 


At  the  controls,  Lindberg  fights  sleep. 


directorial  ingenuity  is  vividly  evident  in  the  way  he  blends 
these  flashbacks  without  impeding  the  mounting  suspense 
in  progress  of  the  flight.  Wilder  also  collaborated  on  the 
screenplay  with  Wendell  Mayes  and  Charles  Lederer,  the 
story  based  on  Lindberg's  Pulitzer  Prize-winning  book. 

Stewart  is  thoroughly  believable  as  the  lanky,  boyish, 
introspective  iron-nerved  "Lindy",  an  ideal  choice  (despite 
his  age).  In  minor  roles  are  Murray  Hamilton  as  a  fellow 
barnstormer  and  close  friend,  and  Patricia  Smith  as  the  girl 
who  lends  Stewart  a  pocket  mirror  for  better  cockpit 
vision.  Bartlett  Robinson  and  Arthur  Space  design  and 
build  the  famous  craft.  Marc  Connelly  turns  in  a  humor- 
ous bit-performance  as  minister  and  student  pilot. 

Robert  Burks'  photography,  particularly  the  aerial  shots, 
blends  beautifully  with  the  soundtrack  score  composed  and 
conducted  by  Franz  Waxman. 

To  win  a  $25,000  prize,  Stewart  interests  St.  Louis  busi- 
nessman Charles  Watts  and  his  associates  in  financing  a 
craft  to  fly  the  Atlantic  non-stop.  Robinson  and  Space  de- 
sign and  build  the  "Spirit  of  St.  Louis"  in  three  months 
while  the  businessmen  try  to  talk  Stewart  out  of  making 
the  dangerous  flight.  He  takes  off  from  Long  Island  on  a 
misty  May  morning  in  1927,  despite  a  muddy  field.  Flying 
blind  over  the  Atlantic  Stewart  is  plagued  with  ice  that 
forms  on  the  wing-tips,  and  navigation  problems.  At  dawn 
he  fails  asleep  at  the  controls  and  the  plane  almost  crashes. 
To  keep  awake  he  thinks  about  his  carefree  barnstorming 
days  with  a  flying  circus,  his  dangerous  work  as  a  pioneer 
air-mail  carrier,  and  career  as  an  Army  Air  Corps  cadet. 
His  final  problem  is  locating  the  airfield  outside  of  Paris  in 
the  dark.  He  lands  completely  fatigued  and  is  torn  from 
the  cockpit  by  thousands  of  cheering  Frenchmen. 

Warner  Bros.  IA  Leland  Hayward-Billy  Wilder  Productionl.  138  minutes  James 
Stewart,  Murray  Hamilton,  Patricia  Smith,  Bartlett  Robinson,  Marc  Connelly,  Ar- 
thur Space.  Produced  by  Leland  Hayward.  Directed  by  Billy  Wilder.  Screenplay  by 
Billy  Wilder  and  Wendell  Mayes.  Basde  on  the  book  by  Charles  A.  Lindbergh. 
Photography  directed  by  Robert  Burks.  Music  composed  and  conducted  by  Franz 
Waxman.  Aerial  supervisors,  Paul  Mantz  and  J.  Peverell  Marley,  A.S.C. 


Film  BULLETIN    March  4,  1957        Page  11 


"12  Angry  Men" 

Scuute&x  ^<Ui*u?  O  O  Plus 

Taut,  dynamic  jury-room  drama.  Memorable  direction  and 
acting.  For  class  houses,  exploitable  for  general  market. 

Reginald  Rose  has  adapted  his  own  TV  drama  for  the 
screen  in  co-production  with  Henry  Fonda  who  also  stars 
in  this  unique  and  exceptionally  engrossing  jury-room 
drama.  "12  Angry  Men"  demonstrates  that  a  potent  story, 
well  acted  and  directed,  can  hold  an  audience  for  95 
minutes,  though  the  action  takes  place  in  a  single  room. 
Mature  audiences  will  welcome  this  United  Artists  release, 
while  class  situations  will  find  its  b.o.  potential  far  above 
average.  Sidney  Lumet,  directing  his  first  film,  shows  great 
promise,  utilizing  his  experience  with  TV's  limited  scope 
to  give  the  movie  plenty  of  movement.  There  is  always 
the  feeling  that  the  drama  is  taking  place,  not  merely  being 
enacted.  The  lines  ring  true.  Fonda  turns  in  a  fine  per- 
formance backed  with  articulate  characterizations  by  Lee 
J.  Cobb,  Ed  Begley,  E.  G.  Marshall,  Jack  Warden.  Boris 
Kaufman's  photography,  and  all  the  technical  aspects  of 
the  film,  are  excellent.  First  vote  by  the  jury  in  a  first 
degree  murder  is  11  to  one  for  conviction,  only  Fonda  hold- 
ing out.  (The  defendent  is  a  slum-bred  teenager  accused 
of  knifing  his  father.)  Fonda  wants  to  talk  about  the  case, 
and  Cobb  grudgingly  agrees  to  review  the  evidence.  As 
they  dissect  the  evidence,  the  jurors  reverse  their  votes  be- 
cause "reasonable  doubt"  arises  as  to  the  boy's  guilt.  Cobb, 
Begley  and  Warden  hold  out  for  conviction  until  their  own 
comments  and  reflections  prove  them  personally  preju- 
diced. Final  vote  is  a  unanimous  "not  guilty". 

United  Artists.  (An  Orion-Nova  Production).  ?5  minutes.  Henry  Fonda,  Lee  J. 
Cobb,  Ed  Begley.  Produced  by  Henry  Fonda  and  Reginald  Rose.  Directed  by 
Sidney  Lumet. 

"The  Tattered  Dress" 

Scituteu  'Rati*?  O  O 

Fairly  hard-hitting  meller  about  a  slick  criminal  lawyer.  Well- 
balanced  cast.  Exploitable  in  action-ballyhoo  situations. 

This  program  melodrama  from  Universal-International 
is  about  an  arrogant  trial  lawyer  who  is  victim  of  his  own 
machinations.  Produced  by  Albert  Zugsmith  and  written 
by  George  Zuckerman,  who  teamed  up  for  "Written  on  the 
Wind",  "The  Tattered  Dress"  is  filmed  in  black-and-white 
CinemaScope.  The  pace  is  very  fast,  the  plot  thin  and 
sketchy,  but  hard-hitting.  Under  Jack  Arnold's  direction, 
the  treatment  ranges  from  high  realism  to  shallow  soap- 
opera.  Appeal  figures  to  be  strongest  for  patrons  of  the 
action-ballyhoo  houses.  The  title  can  be  exploited  to  draw 
the  curious.  Chandler  defends  Philip  Reed  who  mur- 
dered a  man  having  an  affair  with  his  wife,  Miss  Stewart. 
By  confusing  sheriff  Carson  on  the  stand,  Chandler  sways 
the  jury  and  Reed  goes  free.  Carson,  enraged,  frames 
Chandler  on  charges  of  bribing  juror  Gail  Russell,  Car- 
son's sweetheart.  Chandler  attempts  to  defend  himself  in 
court.  When  Miss  Russell  faints  on  stand  due  to  Chand- 
ler's harassment,  his  case  seems  lost,  but  he  sums  up  with 
a  strong  plea  for  justice,  which  he  admits  he  often  abused, 
winning  a  not  guilty  verdict.  Maddened  with  hatred,  Car- 
son is  shot  by  Miss  Russell,  whom  he  had  double-crossed. 

Universal-International.  94  minutes.  Jeff  Chandler,  Jeanne  Crain,  Jack  Carson.  Pro- 
duced by  Albert  Zugsmith.  Directed  by  Jack  Arnold. 


"Designing  Woman" 

Su4uce4d  IZcUiH?  O  O  Plus 

Happy  comedy-romance  with  songs,  stars  Gregory  Peck  an. 
Lauren  Bacall.  Bright  production,  good  fun.  Above-averag 
attraction  in  urban  markets;  n.s.g.  for  small  towns. 

Dore  Schary  has  delivered  a  bright  CinemaScope-Metro 
color  production  for  M-G-M  in  this  lovebirds-at-war  come 
dy,  with  incidental  songs  and  dances  tossed  in  for  addec 
pace.  "Designing  Woman"  will  appeal  to  the  wide  ge 
eral  run  of  audiences  who  want  glamour,  romance,  lots 
laughs,  and  a  buoyant  story.  Its  draw  will  be  much  stron 
er  in  metropolitan  markets  than  in  the  hinterland.  Laur 
Bacall  is  the  clothes-designing  woman  who  weds  sports 
writer  Gregory  Peck  and  discovers  that  her  eccentric  show- 
biz friends  don't  mix  well  with  his  sports  crowd.  Squash- 
faced  Mickey  Shaughnessy  steals  scenes  by  the  dozens 
a  punchy  ex-pug,  and  tiny  Jack  Cole  dances  with  jet-pro 
pelled  speed.   (Cole  also  staged  the  dance  numbers.)  Di 
rector  Vincente  Minnelli  proceeds  rapidly  without  belabor 
ing  the  comic  situation  or  striving  for  credibility.  T 
story  starts  with  sports  columnist  Peck  falling  in  love  wi 
Miss  Bacall  in  California  and  marrying  her  within  t 
week.   When  they  return  to  New  York,  Peck  discove 
she's  a  wealthy  fashion  designer  whose  assorted  sho 
business   friends   include   producer   Tom   Helmore  an 
dancer  Cole.  Peck's  poker-playing  pals  include  editor  Le 
vene  and  ex-fighter  Shaughnessy.    Dolores  Gray,  Peck 
old  girlfriend,  stars  in  a  show  for  which  Lauren  is  design 
ing  costumes.   Peck  leaves  town  to  hide  out  from  figh 
racketeer  Jesse  White,  whom  he's  exposing,  and  when 
goes  to  Miss  Gray's  apartment  for  an  "alibi"  to  give  h 
wife,  Lauren  catches  him  there.    In  Boston,  when  th 
show  opens,  Dolores  explains  Peck's  innocence,  and  the 
"designing  woman"  wins  back  her  husband. 

M-G-M.    117  minutes.  Gregory  Peck,   Lauren  Bacall,   Dolores  Gray.  Produced 
Dors  Schary.  Directed  by  Vincente  Minnelli. 

"The  Shadow  on  the  Window" 
Su&utete  TRattH?  O  Pius 

Crime  meller  only  mildly  effective  despite  good  perform 
ances.  Serviceable  supporting  feature  for  action  market. 

A  routine,  modestly  budgeted  crime  melodrama,  this 
Columbia  offering  will  serve  only  as  a  supporting  feature 
in  action  houses.  The  competent  performances  of  Phil 
Carey,  Betty  Garrett,  and  John  Barrymore,  Jr.,  are  not 
enough  to  offset  a  trite  plot  about  the  cop's  wife  being  kid- 
napped and  the  city  combed  for  clues.  Producer  Jonie  Taps 
uses  actual  Los  Angeles  locations  for  realism.  Director 
William  Asher  maintains  a  fast  pace  and  developes  fair 
tension  as  the  kidnappers  fight  over  the  girl.  Police  ser- 
geant Carey  is  notifed  his  son,  young  Jerry  Mathers,  was 
picked  up  wandering  in  a  stupor.  Betty  Garrett,  his  es- 
tranged wife,  is  also  missing.  Barrymore,  Corey  Allen,  and 
dull-witted  Gerald  Sarracini  hold  her  captive  after  murder- 
ing the  latter's  employer.  Mathers,  who  had  witnessed  the 
attack,  is  shocked  speechless.  Allen  returns  home  for  a 
gun  and  car,  and  is  spotted  and  shot  by  Carey.  Barrymore 
is  about  to  shoot  Miss  Garrett,  but  Sarracini  lunges  for  the 
gun  and  is  killed.  Police  close  in.  Family  is  reunited. 

Columbia.  73  minutes.  Phil  Carey,  Betty  Garrett,  John  Barrymore,  Jr.  Produced 
by  Jonie  Taps.  Directed  by  William  Asher. 


Page  12       Film  BULLETIN    March  4,  1957 


PATTERNS  DF  PATRONAGE 

IV 


CxcluMte  '/kt  BULLETIN  feature 


The  Older  Generation 


By  LEONARD  SPINRAD 
J  he  most  striking  observation  to  be  made  about  today's 
oMer  people  is  that  there  are  so  many  of  them.  The  popu- 
lation of  the  United  States  is  steadily  increasing,  not  only 
because  more  babies  are  being  born,  but  also  because  so 
many  people  are  living  longer.  Our  senior  citizens,  to  give 
them  a  name  they  have  not  enthusiastically  accepted,  are 
a  growing  group — growing  in  money,  in  fluence,  in  buying 
activity,  in  leisure  pursuits,  indeed  in  every  possible  way 
except  one.  They  don't  go  to  the  movies. 

The  Census  Bureau  estimates  that  in  1955  there  were 
about  14,128,000  men  and  women  in  the  United  States  who 
were  65  years  old  or  older,  a  gain  of  almost  15%  in  the 
short  five  years  since  1950.  In  the  same  few  years,  the 
number  of  Americans  between  the  ages  of  55  and  64  rose 
more  than  10%  to  a  total  of  14,529,000.  The  entire  U.S. 
population  in  this  same  period  did  not  increase  quite  as 
much,  rising  a  bit  more  than  7%. 


THEY  DON'T  GO  TO  MOVIES 


Ask  your  travel  agents  or  the  house  trailer  dealers  and 
they  will  tell  you  that  the  new  breed  of  oldsters  don't  sit 
around  the  house  with  shawls  on  their  shoulders.  More 
and  more  of  them  are  living  full  active  lives.  But  they 
don't  go  to  the  movies. 

The  latest  Alfred  Politz  Research  survey  for  Look  mag- 
azine reports  that  approximately  1%%  of  the  weekly 
movie  audience  over  the  age  of  ten  in  September  1956  was 
composed  of  people  past  55.  But  people  past  55  comprise 
more  than  22%  of  the  over-ten  population. 

It  can  be  argued  that  older  people  like  to  stay  put  more 
than  younger  folks.  It  can  also  be  argued  that  a  higher 
percentage  of  the  oldsters  at  any  given  time  are  ill,  en- 
feebled or  otherwise  incapacitated.  By  way  of  compensa- 
tion, however,  the  older  citizens  usually  have  no  baby  sit- 
ting problems  or  rigid  have-to-get-up-early-in-the-morning 
personal  schedules.  And  they  are  likely  to  have  more 
money  today  than  used  to  be  available  to  them. 

A  very  important  point  also  is  that  the  idea  of  retirement 
in  the  middle  sixties  is  changing  these  days.  Industry  is 


finding  out  that  older  workers  are  worth  keeping.  The 
President  of  the  United  States  was  reelected  at  age  66  and 
the  heads  of  many  American  businesses  are  active  in  their 
seventies. 

The  Politz  figures  on  movie  attendance  are  typical  of 
various  researches  into  this  subject.  National  Theatres  in 
1955  found  that  only  1%  of  the  patrons  in  six  Los  Angeles 
neighborhood  houses  were  over  60.  Loew's  Theatres  sur- 
veys in  1956  were  said  to  have  indicated  a  very  low  pro- 
portion of  older  patrons  in  the  New  York  City  moviegoing 
public. 

Late  last  year  the  U.S.  Department  of  the  Interior  made 
a  survey  of  the  hunting  and  fishing  public.  It  reported  that 
8%  of  the  total  U.S.  population  over  the  age  of  65  indulged 
in  fishing  and  3%  in  hunting  at  some  time  in  1955.  Cer- 
tainly both  these  activities  can  be  considered  physically 
more  demanding  that  going  to  the  movies. 


CUT-RATE  TICKETS  SMALL  INCENTIVE 


Motion  picture  theatre  managers  have  been  conscious  of 
the  lack  of  older  patronage.  Theatres  in  such  varied  places 
as  Huntington,  W.  Va.,  Plainfield,  N.  J.,  Cambridge,  Mass. 
and  Minneapolis  have  offered  reduced  rates  or  in  some  in- 
stances even  free  admissions  to  the  senior  generation.  They 
have  formed  Golden  Age  clubs,  lined  up  the  support  of 
community  service  groups,  newspapers  and  city  welfare  or- 
ganizations. But  while  a  certain  degree  of  success  has  been 
reported,  this  does  not  appear  to  be  the  answer  to  the  prob- 
lem. There  is  no  evidence  to  support  the  theory  that  cut- 
ting the  ticket  price  is  the  major  road  to  an  adequate  audi- 
ence of  oldsters. 

(Continued  on  Page  14) 


Film  BULLETIN    March  4,  1957        Page  13 


THE  OLDER  GENERATION 

What  Kintl  of  Pictures  Do  They  Want? 


(Continued  from  Page  13) 

Some  observers  feel  that  the  entertainment  offered  by 
home  television,  while  not  strong  enough  to  keep  older 
people  from  travelling,  or  even  from  hunting  or  playing 
goif,  is  sufficiently  similar  to  what  they  can  see  at  the  mo- 
tion picture  theatre  so  that  there  is  no  incentive  to  patron- 
ize the  boxoffke.  There  is  no  evidence,  however,  to  sug- 
gest that  other  leisure  time  pursuits  are  afflicted  in  like 
manner. 


DO   KIDS-  DISCOURAGE  ELDERS? 


The  presence  of  a  plethora  of  children  in  a  movie  audi- 
ence is  considered  by  many  managers  to  be  a  deterrent  to 
older  adult  patronage.  Theatres  which  consistently  avoid 
pictures  with  juvenile  appeal — usually  located  in  high  in- 
come areas  with  a  broad  adult  audience  on  which  to  draw 
— have  been  able  to  build  up  a  higher  level  of  older  cus- 
tomers, but  the  economics  of  sacrificing  one  audience  to 
sell  another  are  naturally  open  to  question. 

There  seems  to  be  little  doubt  that  more  elderly  cus- 
tomers value  their  comfort.  They  like  well-kept  theatres 
and  well-behaved  audiences,  as  who  does  not.  As  regards 
double  feature  programs  versus  single  bills,  they  are,  at 
least  in  conversation,  often  in  favor  of  the  singletons ;  but 
experience  has  led  many  theatre  people  to  support  the 
trade  maxim  that  "customers  talk  single  bills  but  buy 
doubles." 

No  tremendous  correlation  can  be  established  between 
stellar  ratings  and  the  older  audience.  Because  they  are 
familiar  with  older  stars,  patrons  along  in  years  are  apt  to 
buy  these  stars'  films  more  than  those  of  the  Elvis  Presley 
genre.  On  the  whole,  nevertheless,  they  are  not  avid  fans 
of  particular  stars. 

The  themes  and  selling  points  of  motion  pictures  have 
tremendous  importance  for  the  older  market.  It  seems  fair 
to  presume  that  a  heavy  sex  sell  does  not  enchant  grand- 
parents. This  applies  more  to  the  stellar  personalities  than 
to  the  themes.  Senior  patrons  are  not  persuaded  to  see  a 
film  by  the  physical  charms  of  a  buxom  young  actress; 
they  are  persuaded  by  the  perhaps  equally  spectacular  in- 
ducements of  a  sweeping  drama.  "The  Ten  Command- 
ments" and  Cinerama,  for  instance,  have  done  very  well 
with  older  people.  During  the  popularity  of  3-D,  older  pa- 
trons were  extremely  interested  in  this  new  type  of  spec- 
tacle. 

The  serious  type  of  "problem  picture"  is  problematical 
indeed  for  the  older  audience.  Basically,  this  age  group 
seems  to  want  relaxation  rather  than  thought  stimulation ; 
there  is  no  heavy  desire  to  sit  in  on  weighty  or  disturbing 
problems,  and  three  is  a  considerable  enthusiasm  for  see- 
ing pictures  about  nice  people. 

That  mysterious  element  called  human  interest  has  a 
very  strong  appeal  for  the  older  audience.  Stories  of  color- 
ful real  people  they  know  are  followed;  television  appear- 
ances  of  interesting   individuals   on   behalf  of  current 


movies,  where  the  connection  is  immediate,  produce  highl 
satisfactory  word  of  mouth  among  the  over-age  potentia 
patrons. 

In  terms  of  direct  sales  promotion,  there  seems  to  be 
good  reason  to  believe  that  many  of  the  older  generation 
actively  resent  anything  which  classifies  them  in  the  elder- 
ly category.  They  don't  like  to  go  any  place  where  most  of 
the  other  people  are  also  elderly.  This  may  not  seem  to  be 
an  accurate  reflection  of  the  success  of  resorts  like  St. 
Petersburg,  Fla.,  in  attracting  older  customers;  but  anyone 
with  older  people  in  his  family  knows  that  it  is  the  young- 
er folks,  not  the  older  ones,  who  set  up  the  grouping.  A 
resort,  for  example,  becomes  a  hang-out  for  older  people 
because  the  young  ones  stop  coming  when  they  see  how 
many  older  folks  are  there. 

Thus  there  is  always  the  possibility  that  an  all-out  ap- 
peal for  older  patronage  at  a  theatre  can  harm  more  than 
it  helps,  by  failing  to  attract  enough  older  people  to  make 
up  for  the  younger  people  it  may  discourage. 


SPECIAL  ADVERTISING  APPROACH 


Avenues  of  advertising  and  publicity  need  careful  exami- 
nation, as  far  as  the  older  generation  is  concerned.  It 
seems  likely  that  they  read  newspapers  less  and  listen  to 
television  and  radio  more  than  their  sons  and  daughters.  It 
also  seems  that,  since  they  are  not  as  burningly  interested 
in  theatre  motion  pictures,  they  need  more  emphatic  and 
vigorous  selling  than  their  juniors.  And  yet,  if  only  be- 
cause at  their  age  they  are  perhaps  more  set  in  their  ways, 
they  cannot  be  overpowered.  They  don't  want  to  hear  how 
exciting  and  how  wonderful  a  picture  is,  so  much  as  what 
it  is  about. 

They  are,  as  noted,  interested  in  people.  Marilyn  Mon- 
roe, as  a  result  of  her  post-stardom  experiences,  is  far  more 
interesting  to  them  now  than  when  she  was  just  a  blonde 
wiggle  with  top  billing.  The  story  of  Al  Jolson  appealed  to 
them  not  only  because  he  was  a  great  entertainer  but  also 
because  the  story  was  known  interestingly  to  them. 

Much  of  the  character  of  the  older  audience  is  not 
unique.  Older  people  may  be  older,  but  they  are  still  peo- 
ple, and  they  do  not  change  completely  as  they  accumulate 
birthdays.  They  still  like  to  make  up  their  own  minds. 
Their  children  and  grandchildren  may  recommend  movies 

( Continued  on  Page  26) 


Page  14       Film  BULLETIN    March  4.  1957 


SKOURAS 


SPYROS  P.  SKOURAS  last  week  pre- 
sented to  the  20th  Century-Fox  board  re- 
sults of  his  discussion  with  Loew's  execu- 
tives on  a  possible  consolidation  of  physi- 
cal studio  facilities.  The  20th-Fox  presi- 
dent made  his  report  following  a  series  of 
talks  with  Metro  officials  based  on  20th's 
leasing  of  Leo's  Culver  City  facilities  in- 
stead of  producing  on  its  own  lot.  Pri- 
mary consideration,  it  was  reported,  was 
the  amount  of  costs  that  might  be  saved 
by  eliminating  the  overhead  on  20th's 
property.  There  will  be  no  merger  of 
production,  it  was  stressed.  (What  would 
be  done  with  the  20th-Fox  lot  was  a 
matter  of  conjecture,  but  it  was  not  un- 
likely that  its  oil-producing  potential 
would  be  developed  further.)  At  least  one 
of  the  directors,  Darryl  F.  Zanuck,  indi- 
cated a  coolness  to  consolidating  produc- 
tion from  an  economy  standpoint,  but  felt 
there  may  be  advantage  "in  having  two 
companies  use  one  lot  for  production". 

O 

DARRYL  F.  ZANUCK,  in  New  York  to 
set  up  promotion  and  distribution  plans 
for  his  first  independent  production, 
"Island  in  the  Sun",  termed  the  Govern- 
ment's stand  against  distribution  mergers 
"foolish".  A  consolidation  of  distribution 
— not  production — "would  be  beneficial 
for  the  industry,"  he  told  a  press  confer- 
ence because  considerable  economies 
could  be  effected.  "I  always  thought  there 
were  too  many  distribution  companies." 


Darryl  Zanuck  faces  the  press  to  talk  about 
his  first  inde  production  and  general  industry 
problems.  20th-Fox  v.p.  Charles  Einfeld.  right. 


THEY 


MADE  THE  NEWS 

PHILLIP  F.  HARLING,  co-chairman 
of  the  industry's  Joint  Committee  Against 
Pay-As-You-See-TV,  last  week  voiced  a 
protest  against  the  Senate  Commerce 
Committee's  reported  intention  to  recom- 
ment  to  the  FCC  that  toll-TV  be  given  a 
trial  in  selected  area.  "The  attempt  to  get 
a  foot  in  the  door  is  too  obvious,"  Harl- 
ing  said.  "We  feel  that  the  recommenda- 
tions of  the  .  .  .  Senate  Committee  has  no 
basis  in  fact  or  in  law,  and  the  staff  re- 
port of  the  Senate  Committee  admits  that 
the  question  of  legality  is  clouded".  Spon- 
sors of  the  trial  plan,  Zenith  Radio  Corp., 
Skiatron  TV  Corp.,  Skiatron  Electronics 
and  TV  Corp.,  and  International  Tele- 
meter Corp.,  the  latter  a  Paramount  sub- 
sidiary, were  encouraged  by  support  in 
FCC  higher  ranks,  including  Chairman 
George  C.  McConnaghey,  who  has  pub- 
licly backed  FCC  authority  to  consign 
public  domain  wavelengths  to  private  use. 
The  Senate  committee  were  said  to  be- 
lieve that  the  only  way  to  determine  if 
Toll-TV  is  feasible,  and  in  the  public  in- 
terest, is  to  try  it  under  strict  controls. 

0 

ELMER  C.  RHODEN  announced  to  Na- 
tional stockholders  that  the  company  has 
earmarked  $2  million  for  financing  inde- 
pendent motion  picture  production.  The 
money  will  go  toward  backing  a  wholly- 
owned  subsidiary  corporation  whose  goal 
will  be  the  creation  of  a  revolving  fund 
sufficiently  large  to  finance  a  number  of 
quality  films  to  be  made  by  independent 
producers.  It  is  hoped  that  this  will 
"stimulate  further  production  of  quality 
motion  pictures  suitable  for  screening  in 
the  larger  theatres".  The  NT  president 
also  pointed  out:  "Our  purpose  is  de- 
signed to  develop  an  additional  source  of 
revenue  for  the  company  as  well  as  pro- 
viding security  through  having  additional 
pictures  available  for  our  theatres  at  a 
time  when  production  of  motion  pictures 
is  at  a  dangerously  low  level". 

0 

WILLIAM  DOZIER,  RKO  production 
head,  told  a  trade  press  conference  that 
RKO  intends  to  make  three  or  four  "big 
pictures"  in  1957,  supplemented  by  four 
or  six  independents,  as  part  of  the  com- 
pany's new  "flexible"  production  policy. 
According  to  Dozier,  RKO  will  make 
pictures  only  when  suitable  stories  and 
stars  are  available,  rather  than  on  a  sched- 
ule, and  then  will  "sell  them  individually, 
exploit  them  individually  and  distribute 
them  individually".  He  defended  his  com- 
pany's merging  its  distribution  facilities 
with  Universal.  "Something  drastic  must 
be  done  in  order  to  keep  costs  down  and 
get  more  of  the  dollar  that  is  spent  on  the 
screen  and  not  on  non-creative  costs." 

[More  NEWS  on   Page  16] 


YATES 


HERBERT  J.  YATES  informed  Repub- 
lic Pictures  stockholders  that  distribution 
of  the  company's  210  post-1948  films  to 
television  could  realize  from  $15  to  $20 
million  in  revenue.  In  his  report  on  the 
fiscal  year  ending  Oct.  27,  1956,  the  Re- 
public president  also  revealed  that  the 
company's  net  income  had  dropped  from 
the  preceding  year  despite  an  increase  in 
gross  income.  Net  profit  this  year  was 
$758,401,  compared  to  $919,034  of  1955. 
Gross  revenue  amounted  to  $42,236,305 
compared  to  $39,621,099  of  the  previous 
year.  Among  steps  being  taken  to  reduce 
costs,  Yates  pcinted  to  the  company's 
plans  to  merge  its  foreign  distribution 
with  independent  distributors. 

0 

HARRY  C.  ARTHUR,  JR.,  board  chair- 
man of  the  Southern  California  Theatre 
Owners,  has  asked  the  Dept.  of  Justice 
to  "make  a  full  inquiry"  into  the  recent 
RKO-Universnl  distribution  merger  "to 
determine  the  effect  of  these  arrangements 
upon  competitive  conditions  in  the  motion 
picture  and  television  industry".  Acting 
on  behalf  of  SCTOA,  Arthur,  in  a  letter 
to  assistant  attorney  general  Victor  R. 
Hansen,  asks  the  inquiry  be  made  to  de- 
termine whether  the  merger  is  consistent 
with  antitrust  laws  and  if  future  such  ar- 
rangements should  be  prevented. 


Stanley  Warner  Philadelphia  zone  manager 
Ted  Schlanger  hosts  members  of  IATSE  at  a 
cocktail  party  in  Philadelphia's  new  Sheraton 
Hotel  during  the  association  s  recent  national 
convention.  From  I.:  Penna.'s  auditor-general 
elect  Charles  E.  Smith.  IATSE  pres.  Richard 
Walsh.  Schlanger.  IATSE  v.p.  Harry  Abbott. 

Film  BULLETIN     March  4,   1957        Page  15 


THEY 


MADE  THE  NEWS 


Top:  Shirtsleeved  United  Artists  advertising 
head  Max  Youngstein,  left,  distribution  v.p. 
II  illiam  J.  Heineman.  and  sales  head  James 
R.  Velde  conduct  workshop  session  during 
I  A  s  recent  1957  sales  convention  in  New 
York.  Bottom:  District  managers  meet  with 
home  office  sales  execs  at  the  conclave.  Seated, 
from  I.:  mgrs.  George  Pabst.  Milton  Cohen. 
Velde.  Al  Fitter.  Standing,  from  I.:  mgrs. 
Ralph  Clark.  Mike  Lee.  Gene  Tunick.  Sidney 
Cooper.  Charles  S.  Chaplin. 

MAX  E.  YOUNGSTEIN,  United  Artists 
advertising  v.p.,  told  UA's  1957  sales  con- 
vention in  New  York  recently  that  the 
company  will  spend  a  record  $6  million  to 
promote  its  "blockbuster"  release  pro- 
gram. The  slate,  as  announced  by  UA 
distribution  topper  William  J.  Heineman, 
will  consist  of  23  features  available  to  ex- 
hibitors from  March  to  July,  ten  de- 
scribed as  of  "blue  chip"  calibre.  Presi- 
dent Arthur  B.  Krim  told  the  assembled 
district  managers  and  sales  officials  that 
the  company  will  invest  more  than  $40 
million  in  production  this  year,  represent- 
ing virtually  100  per  cent  financing  of  its 
releases.  UA  will  continue  to  invest  all 
of  its  earnings  in  future  production,  Krim 
declared.  Since  the  present  executive 
team  took  over  leadership  of  United  Ar- 
tists in  1951,  he  noted,  all  profits  have 
been  applied  to  new  product.  He  called 
this  a  vital  factor  in  the  success  of  the 
company's  long-range  development  pro- 
gram. Distribution  chief  Heineman  to  the 
convention:  "We  are  confident  of  the 
future,  and  we  are  expressing  this  con- 
fidence by  meeting  the  demand  for  quality 
product."  Advertising  director  Roger 
Lewis  reported  that  the  field  staff  will  be 
expanded  to  more  than  50  men. 


Page  16       Film  BULLETIN    March  4,  1957 


OSCARS,  the  Hollywood  betting  line 
says,  will  likely  go  to  the  following 
nominees  in  the  top  four  categories:  best 
actor — Yul  Brynner,  "The  King  and  I" 
(20th-Fox) ;  best  actress — Ingrid  Berg- 
man, "Anastasia"  (20th-Fox) ;  best  direc- 
tor— George  Stevens,  "Giant"  (Warners) ; 
best  picture — "Giant".  Other  nominees  in 
the  running  as  announced  Feb.  18  by  the 
Academy  of  Motion  Picture  Arts  and 
Sciences:  actors — James  Dean,  "Giant", 
Kirk  Douglas,  "Lust  for  Life"  (MGM); 
Rock  Hudson,  "Giant";  Sir  Laurence 
Olivier,  "Richard  II"  (Lopert) ;  actresses 
— Ingrid  Bergman,  "Anastasia"  (20th- 
Fox) ;  Katharine  Hepburn,  "The  Rain- 
maker" (Paramount) ;  Nancy  Kelly,  "The 
Bad  Seed"  (Warners) ;  Deborah  Kerr, 
"The  King  and  I"  (20th-Fox) ;  directors 
— William  Wyler,  "Friendly  Persuasion" 
(Allied  Artists) ;  Michael  Anderson, 
"Around  The  World  In  80  Days";  Walter 
Lang,  "The  King  and  I";  King  Vidor, 
"War  and  Peace"  (Paramount);  pictures 
— "Friendly  Persuasion",  "Giant",  "The 
King  and  I",  "The  Ten  Commandments" 
(Paramount).  Results  of  the  final  voting 
will  be  announced  March  27  during  the 
Awards  telecast  emceed  by  Jerry  Lewis 
over  the  NBC  network. 

O 

COLUMBIA'S  "Don't  Knock  The  Rock" 
and  a  rock  'n  roll  stage  show  at  New 
York's  Paramount  Theatre  splashed 
across  the  nation's  front  pages  when 
thousands  of  teenagers  stormed  the  house 
and  brought  out  the  police  in  force.  Rock 
'n  roll  fans  began  lining  up  at  4  a.m.,  and 
their  wild  antics  both  inside  and  outside 
the  theatre  were  gorily  detailed  in  wire 
service  stories  that  must  have  aroused 
grave  misgivings  in  countless  parents. 


proposed  District  of  Columbia  Auditorium  to 
President  Eisenhower.  Other  members  of  the 
Auditorium  Commission,  created  by  Congress, 
include,  from  I.:  Mrs.  Agnes  E.  Meyer,  George 
L.  Williams,  Rep.  Joel  Broyhill,  Dr.  George 


M.  Johnson. 

Allied  Artists  forthcoming  product 
was  given  extensive  airing  at  the 
company's  recent  studio  sales  meet- 
ing, with  sales  head  Morey  R. 
Goldstein  presiding.  Shown  from 
I.:  president  Steve  Broidy.  sales 
mgr.  Harold  Wirthwein.  Goldstein, 
v.p.  Harold  Mirisch.  sales  rep.  Ar- 
thur Greenblatt,  sales  mgrs.  L.  E. 
Goldhammer.  Nat  Xathanson.  Gold- 
stein  revealed  that  'Friendly  Per- 
suasion gross  would  exceed  origi- 
nal $4  million  estimate. 


HEADLINERS . . . 


JAMES  F.  GOULD  named  v.p.  of  Radio 
City  Music  Hall .  . .  NED  MOSS  appoint- 
ed RKO  studio  publicity  representative, 
succeeding  MERVIN  HOUSER  who  re- 
signed to  become  world-wide  publicity  di- 
rector for  the  Selznick  Company . . . 
RALPH  M.  COHN  elected  to  the  board 
of  directors  of  Columbia  Pictures,  filling 
vacancy  left  by  death  of  his  father,  Jack 
Cohn.  Columbia  president  HARRY 
COHN  announcing  the  appointment... 
FRANK  J.  MOONEY  named  by  sales 
exec  JAMES  R.  VELDE  to  newly- 
created  post  of  supervisor  of  circuit  and 
key  city  dating  for  United  Artists. 
Mooney  served  with  RKO  for  28  years  in 
various  sales  posts . . .  RICHARD  G. 
SETTOON  promoted  to  Atlanta  branch 
manager  for  U-I,  succeeding  WILLIAM 
D.  KELLY,  who  resigned.  ROBERT 
LEE  CARPENTER  succeeds  Settoon  as 
Memphis  branch  manager  . . .  FRANK 
YOUNG  named  publicity  director  of 
NTA  Film  Network,  set  to  go  into  com- 


Paramount's    Barney    Balaban    receives    award  of 
Foreign  Language  Press  for  "The  Ten  Command- 
ments" as  best  film  of  1956.    From  I.,  Press  mem- 
bers Dr.  Tibor  Weber,  Sigmund  Gottlober. 

mercial  operation  in  April.  National  Tele- 
film Associates  president  ELY  A.  LAN- 
DAU announced  ...  IRVING  SOCHIN, 
sales  topper  for  Rank  Film  Distributors 
of  America,  announced  sales  appoint- 
ments: district  managers  RAY  JONES, 
SEYMOUR  BORDE,  ABE  WEINER, 
DAVE  PRINCE,  R.  J.  FOLLIARD,  AL 
KOLITZ;  branch  managers  JAMES  B. 
MOONEY,  JOHN  DeCORTA,  STAN 
DAVIS...  JAMES  BIONDO  handling 
publicity  at  the  William  Goldman  Mid- 
town  theatre,  Philadelphia,  for  Michael 
Todd's  "Around  The  World  in  80  Days" 
. . .  Industry  analyst  ALBERT  SIND- 
LINGER  reports  attendance  up  7  per  cent 
during  an  average  week  in  January,  and 
the  best  New  Year's  week  in  five  years. 
Also,  reports  Sindlinger  in  his  new  client 
service  publication  "Activity",  studies 
show  an  increase  in  those  who  consider 
or  discuss  going  to  the  movies  . . .  Record 
bookings  reported  by  20th-Fox  sales  head 
ALEX  HARRISON  for  "Spyros  P. 
Skouras  15th  Anniversary  Celebration", 
March  24-30  . . .  Universal  executive  vice 
president  ALFRED  E.  DAFF  a  recent 
home  office  visitor  . .  .  National  Theatres 
general  manager  FRANK  RICKETSON, 
Jr.,  exhibitor  chairman  of  National 
Brotherhood  Week  (Feb.  17-24),  heading 
list  of  500  industryites  at  kick-off  meeting 
in  Los  Angeles  Feb.  20  . . .  Allied  Artists 
v.p.  and  sales  topper  MOREY  R.  GOLD- 
STEIN announced  establishment  of  com- 
pany's 31st  domestic  branch  in  Jackson- 
ville, Florida,  named  ROBERT  M. 
BOWERS  branch  manager ...  CECIL 
B.  DeMILLE  to  receive  special  award  of 
the  National  Administrative  Committee  of 
B'nai  B'rith  March  25  at  the  Sheraton- 
Astor  in  New  York  for  "The  Ten  Com- 
mandments" ...  The  Department  of 
Justice  has  charged  Jerrold  Electronics 
(wired  Toll-TV)  with  violating  antitrust 
laws  with  its  community  TV  antenna 
systems...  KERMIT  RUSSELL  added 
to  DCA  sales  staff  as  Midwest  district 
mgr.  DIED:  BENJAMIN  ("B.  P.") 
SCHULBERG,  65,  producer  and  former 
Paramount  production  head,  father  of 
novelist  Budd  Schulberg. 


NOMINATED  FOR  ACADEMY  AWARD: 
ANTHONY  PERKINS— 
Best  Supporting  Actor.  ("Friendly  Persuasior 


FEAR 

STRIKES 
OUT 


starring 

ANTHONY  KARL 


"ANTHONY 
PERKINS  is  the  new  sen- 
sation. Every  recent  young 
star  has  been  compared  to 
James  Dean.  From  now 
on  the  standard  is  Tony 
Perkins." 

—  HOLLYWOOD  REPORTER 

"ANTHONY 
PERKINS  is  wonderful  — 
an  award  contending  per- 
formance. '  —FILM  DAILY 

"ANTHONY 
PERKINS  seems  certain 
to  enhance  the  personal  fol- 
lowing he  won  in  'Friendly 
Persuasion'. " 

—MOTION  PICTURE  DAILY 

|  "ANTHONY 

PERKINS  delivers  an  ex- 
ceptional job."  -VARIETY 

"ANTHONY 
PERKINS  reveals  himself 
as  a  talented  performer  in 
a  demanding  role!" 

,  —MOTION  PICTURE  HERALD 


WKINSMALDEN 

taYisioh  " 


Produced  by  Directed  by  Screenplay  by 

LAN  PAKULA  ■  ROBERT  MULLIGAN  ■  TED  BERKMAN  and  RAPHAEL  BLAU 


FINANCIAL 

BULLETIN 


I  Continued  from  Page  7) 

the  sternest  war.  In  Joseph  Vogel,  most  Loew's  share- 
holders believe  they  found  an  Androcles  to  deliver  their 
suffering  Leo  of  his  thorn. 

O 

This  observer  will  neither  urge  or  dissuade  present  or 
prospective  shareholders  to  bet  on  this  surgical  possibility. 
For  a  justifiable  cynicism,  born  of  past  performance,  cau- 
tions go  easy.  The  deed  is  forever  master  of  the  prospect. 

If  one  appraises  the  potential  reconstruction  of  a  waning 
enterprise  by  the  personal  deportment  of  its  newly  ap- 
pointed leader,  the  percentages  say  go  Loew's.  If  one  re- 
lates corporate  success  to  the  pre-eminence  of  its  directors 
in  alien  fields,  the  wise  money  again  says  go  Loew's.  But 
if  one  has  suffered  the  company  through  five  annual 
gatherings  of  official  charm  and  spoon-feeding,  he  learns  to 
inure  himself  against  too  much  hope.  Indeed,  there  is 
something  almost  spiritual  about  a  shareholder  who,  after 
five  years  of  fiscal  punishment,  yet  maintains  a  position  in 
the  company  at  all. 

Nonetheless,  the  Loew's  of  1957  seems  invaded  with  a 
new  and  refreshingly  unique  quality  that  serves  a  promise 
of  redemption  to  shareholders  of  both  long  and  short 
standing.  That  quality  is  an  unstrained  mixture  of  pride 
and  almost  ruthless  determination.  It  is  buttressed  by  the 
candor  and  realism  of  its  new  president.  Do  not  sell  short 
the  inner  frustrations  of  a  fallen  giant,  nor  sell  short  the 
furious  length  to  which  it  will  reach  to  recapture  its  nobili- 
ty of  yore.  Loew's  is  a  corporation  stung.  Its  officer  corps 
has  endured  greater  vilification,  deserved  or  not,  than  any 
filmdom  management  team  that  comes  to  mind.  In  the 
final  analysis,  these  elements  —  above  all  else  —  render 
Loew's  worthy  of  investment  consideration. 


THEY  LDVED  JOE  VDGEL! 

(Continued  from  Page  6) 

Invited  to  state  how  many  pictures  per  year  were 
planned :  "We  are  not  going  to  make  pictures  just  because 
they  eat  up  overheads  or  because  we  have  people  on  the 
staff  who  should  be  working.  Rather  than  make  more  pic- 
tures I'd  prefer  to  make  good  ones." 

Quizzed  on  the  possibilities  of  drilling  for  oil  on  the 
studio  property:  "It  was  checked  by  some  people  who  do 
not  think  there  is  too  much  oil  there." 

One  by  one  the  new  directors  of  Loew's  were  introduced 
— most  of  them  gray-haired  or  partially  bald — and  late  in 
the  proceedings  when  a  number  of  stockholders  were  be- 
ginning to  fidget  for  something  with  which  to  satisfy  their 
coffee  hunger,  Joseph  Tomlinson,  the  Canadian-naturalized 
millionaire  whose  blistering  attacks  on  the  company's  man- 
agement had  brought  about  reorganization  of  the  Board, 
was  requested  to  say  a  few  words. 

The  good-looking,  sun-tanned,  ruggedly-built  man 
(who,  cddly,  parts  his  hair  on  the  "wrong"  side),  Mr. 
Tomlinson  said  he  was  pleased  there  had  been  a  reconcili- 
ation between  the  company  and  the  dissident  stockholders. 
He  would  do  his  utmost,  as  one  of  the  new  directors,  to 
promote  the  interests  and  welfare  of  the  company,  and  to 
rehabilitate  it,  and  so  on. 

Joe  Vogel  lighted  yet  another  cigarette.  The  ordeal  was 
drawing  to  a  close.  Even  Judge  Louis  Goldstein,  a  trustee 
of  the  Leon  Lowenstein  Foundation,  owners  of  100,000 
Loew's  shares,  who  had  previously  castigated  the  old  man- 
agement for  its  favoritism  and  nepotism,  commented: 
"The  new  Board  has  the  ring  of  integrity,  ability  and  ex- 
perience, and  I  and  those  I  represent,  will  be  pleased  to 
vote  for  their  election." 

So  this  great  company's  annual  meeting  which,  only 
three  months  ago,  had  iooked  like  it  might  become  a  battle- 
ground between  the  management  and  various  stockholder 
factions,  passed  into  the  realm  of  corporate  history  with- 
out the  expected  fireworks,  with  everyone  acknowledging, 
'  J^e  Vogel  made  them  love  him." 


SHOWMEN.  .  . 
What  Are  YOU  Doing? 

Send  us  your  advertising,  publicity  and  exploitation 
campaigns  —  with  photos  —  for  inclusion  in  our 
EXPLOITATION  &  MERCHANDISING  DEPARTMENT 


To  the  Editor: 

I  have  studied  the  contents  of  your 
February  18th  issue  from  the  mo- 
ment it  arrived,  as  I  heartily  concur 
that  this  is  the  time  for  exhibitor 
unity.  Only  yesterday  noon  I  sat  on 
the  dais  for  the  Texas  Drive-in 
Owners  Association  Convention  and 
made  a  short  address,  but  was  tre- 
mendously impressed  with  the  talk 
made  by  Julius  Gordon,  the  new 
president  of  National  Allied.  There 
is  no  doubt  in  my  mind  that  Julius 
has  a  deep  appreciation  of  the  many 
problems  that  are  developing,  and 
seems  to  sense  that  more  can  be  ac- 
complished with  an  olive  branch 
than  in  any  other  manner. 

I  guess,  in  the  final  analysis,  it  is 
time  for  younger  minds  to  assume 
these  responsibilities,  and  a  fresh 
viewpoint  may  overcome  many  of 
our  present  difficulties. 

I  would  like  to  reiterate  that  at  no 
time  in  our  history  has  exhibitor 
unity  been  more  important  than 
now. 

R.  J.  O'DONNELL 

Interstate  Circuit.  Inc. 
Dallas,  Texas 


To  the  Editor : 

Your  editorial  of  the  18th  on  the 
subject  of  Exhibitor  Unity  is  forth- 
right and  timely.  Need  for  the  full 
weight  of  all  exhibitors  in  their  own 
defense  is  greater  than  ever  before. 
The  battle  is  now  one  for  exhibitor 
survival. 

I  doubt  there  can  be  only  one  na- 
tional exhibitor  organization.  There 
are  too  many  diverse  interests,  too 
many  divergent  personalities  which 
could  only  be  neutralized  by  passage 
of  the  years,  and  we  do  not  have 
that  kind  of  time  left ! 


Reader  Views  on 


Your  idea  of  a  "Congress  cf  Ex- 
hibition" has  great  merit,  as  the  idea 
of  COMPO  had  great  merit  at  its  in- 
ception. Yet,  as  COMPO  has  dem- 
onstrated, there  is  the  always  pres- 
ent danger  of  one  element  or  even 
just  one  man  taking  over  control 
and  using  veto  power  for  selfish  in- 
terests, with  utter  disregard  of  the 
other  components. 

Your  "Congress"  idea  is  worthy  of 
further  exploration,  bearing  in  mind 
its  inherent  dangers,  if  for  no  ether 
reason  than  use  as  a  vehicle  by 
which  problems  might  be  expedited 
to  solution. 

In  the  meantime,  it  appears  to  me 
that  Allied  under  Rube  Shor  ar.d 
TOA  under  Myron  Blank  have  dem- 
onstrated that  the  two  leading  ex- 
hibitor organizations  can  work  to- 
gether in  harmony  for  the  common 
good  of  their  members,  without 
either  losing  its  identity.  I  find  no 
valid  reason  to  believe  this  cannot 
be  continued  under  Julius  Gordon 
and  Ernest  Stellings. 

LEO  F.  WOLCOTT 

Allied  Independent  Theatre  Owners 
of  louu  and  Nebraska,  Inc. 

*  *  * 

To  the  Editor: 

You  have  no  doubt  read  in  the 
trade  papers  of  my  retiring  as  presi- 
dent of  North  Central  Allied  after 
eleven  years  of  service.  One  of  the 
reasons  for  my  retiring  is  the  ama- 
teurish handling  of  public  and  trade 
relations  by  the  so-called  leaders 
that  made  a  mess  out  of  this  indus- 
try. The  many  hassles,  law  suits 
and  legislation  all  emanated  from 
the  stupid  leadership  of  the  pro- 
ducers. 

For  years  I  have  urged  the  leaders 
of  the  producers  and  distributors  to 
have  a  round  table  discussion  with 
leaders  of  exhibition  if  they  were 
desirous  of  developing  a  format  in- 
cluding   an    intelligent  arbitration 


Exhibitor  Unity 


system.  This  they  refused  to  rgree 
to,  probably  on  advice  from  their  at- 
torneys who  were  anxious  for  more 
litigation.  The  film  companies'  re- 
fusal of  my  persistant  urgings  for 
such  a  top  level  conference  has 
brought  about  derogatory  legislation 
and  without  question  a  reduction  of 
the  boxoffice.  All  of  this  made  me 
down  in  the  mouth. 

I  still  feel  that  a  great  deal  could 
be  salvaged  if  a  top  level  industry 
meeting  could  be  held.  With  the  sad 
experiences  behind  us,  the  leaders 
should  be  able  to  develop  a  working 
format  whereby  the  entire  industry 
would  work  together  instead  of 
against  each  other.  Arbitration,  in- 
cluding film  rental,  at  least  in  situ- 
ations grossing  under  $1,000  per 
week,  is  a  must  in  order  to  assure  all 
of  the  small  theatres  being  able  to 
purchase  every  top  picture  made  on 
the  basis  of  their  ability  to  pay.  If 
this  could  be  brought  about,  the  in- 
dustry would  flourish  and  in  this 
way  there  would  be  a  good  chance 
for  most  theatre  organizations  to 
combine  into  one  national  organiza- 
tion. 

BENJAMIN  BERGER 

North  Central  Allied  Independent 
Theatre  Owners.  Inc. 


To  the  Editor: 

Your  suggestion,  of  a  "Congress 
of  Exhibition"  to  bring  about  unity 
in  the  industry,  is  a  good  one.  I  have 
always  felt  that  our  industry  cou'd 
remain  strong  and  virile  if  we  were 
properly  organized  and  had  the 
proper  leadership.  The  big  problem 
is  to  bring  about  such  a  Congress 
that  will  be  effective  and  work  to  the 
benefit  of  the  entire  industry.  I  hope 
that  day  is  not  too  far  off. 

MYRON  N.  BLANK 

Central  States  Theatre  Corp. 
Des  Moines.  Iowa 


Film  BULLETIN     March  4,   1957        Peg?  19 


Elephants  can  never  forget  something  they  do  not 
understand.  Humans,  too  frequently,  forget  what  they 
know. . .  and  that  includes  exhibitors.  Don't  let  your  theatre 
become  a  white  elephant  because  you  forgot  the  impor- 
tance of  trailers.  Remember  that  trailers  have  stood  the 
test  of  time  with  a  jumbo  patronage  potential  at  small  cost. 
Don't  take  them  for  granted.  Play  trailers  regularly  and 
continuously  with  every  show.  Remember,  trailers  are  not 
time  fillers  .  .  .  they're  seat  fillers. 


nflTlonflL 


Screen 

\_) pniif soar  t 


SERVICE 

or  mf  mommy 


SINDLINGER 

Survey  showed  34.2  per  cent  went  to  the  movies  because  of  TRAILERS! 

NATIONAL  THEATRES  CIRCUIT  IN  21  STATES 

Survey  showed  43  per  cent  went  to  the  movies  because  of  TRAILERS! 


Ix&ilets Showmen  '5  Socko  Salesmen  / 


4>  Gil  Golden,  Warner  ad  chief,  confers  with 
tuffalo  Paramount  Theatre  executives  on  promo- 
ional-exploitation  plans  for  "Paris  Does  Strange 
hings".  L  to  r:  Paramount  Theatre  manager  Ed 
filler,  Charles  Taylor,  publicity  director,  Golden 
ind  Art  Krolich,  district  manager  of  the  circuit. 

Meade's  Approach  to  Art  Films 
Sells  Small  Town  Theatregoers 

An  experiment  started  by  Walter  Reade 
{ Theatres  six  years  ago,  bringing  art  films  to 
small  town  local  theatres,  is  paying  hand- 
,  some  dividends  to  the  circuit.  Tabbed  "Cur- 
tain at  8:40",  the  specialized  format  has  be- 
come a  regular  part  of  the  circuit's  opera- 
tion, with  additional  theatres  being  added  to 
the  roster  each  season. 

President  Walter  Reade,  Jr.  explains  the 
plan  as  follows:  "On  a  special  evening  each 
week  for  four  to  six  consecutive  weeks,  the 
regular  film  show  is  replaced  by  an  art  film 
for  one  showing.  On  this  night  the  entire 
atmosphere  of  the  theatre  changes.  The  staff 
is  dressed  in  evening  clothes;  the  refresh- 
ment stands  are  closed  and  free  Martinson's 
Coffee  is  served  in  the  lounge.  All  attempts 
to  duplicate  the  most  intimate  New  York  art 
theatre  atmosphere  is  made,  including  the 
showing  of  special  art  exhibits  in  the  lobby. 
There  is  one  showing  of  the  feature  and  a 
specially  selected  short  subject,  starting  at 
8:40  which  allows  the  patrons  to  have  a  lei- 
surely dinner,  and  ending  early  enough  so 
that  they  will  be  able  to  return  home  at  a 
reasonable  hour." 

"Curtain  at  8:40"  series  are  presented  three 
times  a  year:  Winter,  Spring  and  Fall.  The 
current  series  of  films  includes:  "The  Snow 
Was  Black",  "Silent  World",  "Rififi", 
"Madame  Butterfly",  "Secrets  of  The  Reef" 
and  "Privates  Progress";  and  will  play  at 
the  Carlton  Theatre,  Red  Bank;  Community 
Theatre,  Morristown;  Paramount  Theatre, 
Plainfield — all  in  New  Jersey;  and  the  Com- 
munity Theatres  in  Kingston,  Hudson  and 
Saratogo  Springs — in  New  York. 

Rock  V  Roll  Dictionary 

"Sir  Bop's  Unabridged  Hiptionary,"  a  dic- 
tionary for  rock  n'  rollers  of  all  ages  is  being 
used  as  a  giveaway  gimmick  by  American- 
International  to  beat  the  promotional  drum 
for  "Rock  All  Night".  Over  500,000  copies 
have  been  ordered  in  the  initial  printing. 


Lyday  Lifts  Tour  Girls' 
With  Sock  Contest  and  Prizes 

Leave  it  to  Paul  Lyday,  managing  director 
of  Fox  Inter-Mountain's  Denver  Theatre,  to 
dress  up  an  old  stunt  and  come  up  with  a 
lulu  of  a  promotional  contest  for  Universal's 
"Four  Girls  in  Town". 

Joining  hands  with  the  Denver  Post,  Wes- 
tern Airlines  and  the  Piero  De  Luise  Travel 
Agency,  the  aggressive  Mile  High  City 
showman  set  out  to  find  four  girls,  working 
for  any  single  concern,  who  collectively  were 
most  representative  of  the  U-I  film's  four 
fern  stars.  Prizes  to  the  winning  quartet  was 
an  all-expenses  paid  weekend  at  the  Desert 
Inn  in  Las  Vegas,  including  transportation 
to  and  from  the  famous  resort  provided  by 
the  cooperating  airline.  Lyday  was  swamped 
by  almost  400  attractive  hopefuls.  He  credits 
the  tremendous  turnout  to  the  "courage  in 
numbers"  psychology. 


-0r-  To  stimulate  the  growth  of  new  talent  in 
advertising  art,  United  Artists  is  endowing  an 
annual  $1000  scholarship  at  Brooklyn's  Pratt  In- 
stitute. The  company  will  also  award  prizes  to 
winners  of  bi-monthly  student  contests  on  art 
interpretations  of  upcoming  films.  Roger  H. 
Lewis  (left),  UA  advertising  chief  and  Ralph 
Sterling,  vice  president  of  Pratt,  announced  the 
ad  talent  program  at  a  press  reception. 

Schine  Showmen  Key  R  'n'  R 
Promotions  to  Teenage  Market 

John  Corbett,  manager  of  the  Rialto  in 
Amsterdam,  N.  Y.  grabbed  plenty  of  atten- 
tion for  20th's  "The  Girl  Can't  Help  It"  by 
arranging  for  a  group  of  high  school  musi- 
cians, to  whom  he  gave  the  title  "The  Cotton 
Pickers",  to  appear  on  the  stage  as  an  added 
attraction.  Corbett  picked  up  plenty  of  free 
radio  plugs  by  contacting  a  local  disk  jockey 
to  m.c.  the  show. 

At  the  Riviera,  Rochester,  N.  Y.,  manager 
Joe  DeSilva  promoted  a  big  dance  contest 
for  "Shake,  Rattle  and  Rock".  With  two 
high  school  bands  making  with  the  music 
and  twenty  couples  as  contestants,  DeSilva 
boosted  his  take  tremendously. 


[More  SHOWMEN  on  Page  24] 


Film  BULLETIN    March  4,  1957       Page  21 


EXPLOITATION  PICTURE 


DOUBLE  EXCITEMENT- NEW  STAR,  SOCK  STORY 


The  excitement  of  a  new  star  and  the 
powerful  drama  of  a  father-son  conflict  that 
exploded  into  nationwide  headlines  give  the 
showman  two  major  toeholds  on  their  cam- 
paign for  Paramount's  "Fear  Strikes  Out". 

Anthony  Perkins,  who  appears  to  be  the 
most  exciting  new  star  discovery  among  the 
scores  who  have  been  touted  as  the  successor 
to  the  late  James  Dean,  follows  his  trium- 
phant debut  in  "Friendly  Persuasion"  with  a 
role  that  brims  with  dramatic  opportunities. 
As  Jimmy  Piersall,  the  Boston  Red  Sox  star 
who  had  to  fight  both  for  and  against  suc- 
cess on  the  playing  field  and  an  inner  tur- 
moil spawned  and  cultivated  by  a  domineer- 
ing father,  young  Tony  is  exposed  to  one  of 
the  most  challenging  dramatic  roles  ever 
handed  to  a  new  player.  Paramount's  box- 
officers  under  Jerry  Pickman's  direction, 
have  practically  nailed  down  an  entire  cam- 
paign around  the  Perkins  portrayal. 

The  ads  abound  with  the  sensitive  Perkins 
features  as  they  play  up  "The  Screen's  Ex- 
plosive New  Guy  in  His  First  Starring 
Role!"  The  grim,  taut  drama  of  the  pro- 
tagonist's dilemma — the  boy  being  driven  by 
his  father  to  a  perfection  he  could  never  hope 
to  attain — is  carried  out  in  powerful  varia- 
tions of  the  copy  that  surrounds  the  art. 

Not  to  be  overlooked  is  the  presence  of 
Karl  Maiden,  of  current  "Baby  Doll"  fame. 
He  plays  the  powerful  father  role. 

Significantly,  in  the  main  campaign,  there 
is  little  indication  of  the  baseball  background, 


except  in  the  title,  which  was  retained  from 
the  famed  Saturday  Evening  Post  and  Read- 
ers Digest  story  read  by  millions.  This  is 
undoubtedly  a  deliberate  omission,  for,  with 
a  few  exceptions,  films  with  a  baseball  back- 
ground have  labored  under  a  handicap  of  fe- 
male antipathy.  And  since  the  major  premise 
of  "Fear  Strikes  Out"  is  not  baseball,  but 
rather  a  young  man's  inner  struggle,  it  is 
neither  dishonest  nor  misrepresentative  to 
concentrate  on  the  latter  factor.,  It  hap- 
pened with  a  baseball  player,  but  it  could 
have  happened  with  a  youth  in  any  field  of 
endeavor  where  a  talent  is  stretched  to  a 
breaking  point.  For  those  showmen  who 
wish  to  pitch  to  the  sports  fans  a  full  page 
of  material  is  presented  in  the  pressbook. 

The  Perkins  exploitation  should  go  beyond 
the  newspaper  ads.  Displays,  radio,  TV  and 
stunts  are  suggested  in  the  pressbook  to  en- 
hance the  new  star  angle.  A  lobby  teaser, 
for  example,  simply  suggests  the  use  of  the 
one-sheet  with  a  window  shade  over  it  which, 
when  drawn,  reads  "Curtain  Going  Up  On  A 
New  Star!"  Radio  introduces  Tony  Perkins 
as  the  guy  "Everybody's  talking  about  .  .  . 
You'll  be  thrilled  by  .  .  .  Hollywood's  sensa- 
tional new  personality  .  .  .",  etc. 

These,  then,  are  the  angles — an  exciting 
new  star  ...  an  explosive,  powerful  story— 
a  combination  that  is  one  of  the  strongholds 
of  boxoffice  showmanship.  The  individual 
showman  can  decide  whether  the  baseball 
aspect  is  an  asset,  and  exploit  accordingly. 


•W-  The  ads  are  primarily  divided  into  two  styles;  first  and  foremost  is  the  play-up  of  Tony  Per- 
kins as  "the  screen's  explosive  new  guy"  (see  below);  others  feature  dramatic  father-son  conflict. 


FEAR  A 
STRIKES 

OUT 


Tony  Perkins-the 
screen's  explosive 
new  guy-lives  the 
Saturday  Evening 
Post  and  Reader's 
Digest  frank,  from 
life  report  of  a  kid 
who  came  out  of 
the  shadows... 
ready  to  handle 
anything  but  the 
thing  that  lived 
inside  him! 


Produced  by  Alan  Pakula  Directed  by  Robert  Mulligan  ■  Screenplay  by  Ted  Berkman 

Wd  Raphael  Blau  ■  Based  on  a  Stoy  by  James  A  P<e/sali  and  Albert  S  nrshberg  ■  A  Paramount  P'C\.  — 


BASEBALL 
ANGLES 

In  certain  situations, 
the  baseball  background 
will  pre-sell  a  huge 
audience.  To  take  ad- 
vantage of  this,  Para- 
mount has  special  mats 
available  to  play  up  the 
Piersall  name  and  the 
story  that  is  known  to 
every  baseball  fan.  The 
complete  campaign 
aimed  at  sports  fans  in- 
cludes: special  ads  like 
the  one  shown  here; 
suggested  displays  such 
as  a  huge  bat  over  the 
marquee;  tie-ups  with 
sports  equipment  and 
department  stores, 
screenings  for  sports- 
writers,  radio  and  TV 
sports  announcers  and 
commentators;  co-ops 
with  boys'  clubs,  Little 
Leaguers,  etc. 


ANTHONY  PERKINS  •  KARL  MALOCN 


TEAR  STRIKES  OUT" 

There  have  been  a  handful  of 
humanly  dramatic  moments  that  stand 
out  in  the  annals  of  the  Great  Ameri- 
can Pastime — among  them  the  heart- 
tugging  farewells  of  Lou  Gehrig  and 
Babe  Ruth  to  their  teammates  and  the 
fans,  the  comeback  of  Monty  Strat- 
ton,  the  crack-up  of  Jimmy  Piersall  as 
he  went  berserk  after  hitting  a  home 
run  and  had  to  be  carried  off  the 
field,  a  shrieking  psychotic  (opposite 
page).  The  story  of  Piersall,  as  por- 
trayed by  Anthony  Perkins  in  Alan 
Pakula's  production  for  Paramount, 
bids  to  surpass  the  other  true-life 
sagas  of  sports  figures  in  its  sheer 
dramatic  power,  not  because  it  is  the  .! 
story  of  a  great  athlete,  but  because  I 
it  explores  in  gripping  detail  the  har-  I 
rowing  experience  of  a  man  driven  to  j 
a  success  that  he  could  not  endure.  It  f 
follows  the  elder  Piersall's  (Karl  Mai- 
den) incessant  driving  of  his  son  to 
the  big  league  ranks  to  make  up  for 
his  own  failure  as  a  player.  The  boy's 
desperate  efforts  finally  lead  to  that 
excruciating  moment  when  he  can  no 
longer  stand  the  strain  of  his  father's 
fierce  ambition,  and  his  mind 
crumbles.  In  a  mental  hospital,  he 
learns  of  his  father's  frustrated  am- 
bition, and  they  are  reconciled. 


Page  22       Film  BULLETIN    March  4,  1957 


Film  BULLETIN     March  4,  1957       Page  23 


74J&at  t&e  Shuiwim  /tie  'Doiayi 


Celebrities,  plus  crowds  of  just  folks,  -A- 
equal  plenty  of  publicity.  An  Air  Force  band 
and  Color  Guard  were  on  hand  to  welcome  a 
flying  replica  of  Charles  Lindbergh's  "Spirit  of 
St.  Louis"  at  Roosevelt  Field,  Long  Island  as 
part  of  the  build-up  for  world  debut  at  Radio 
City  Music  Hall.  Top:  among  the  celebs  are 
(left  to  right)  N.  Y.  Senator  Jacob  Javitz; 
Major  General  Roger  J.  Browne,  First  Air  Force 
Commander;  the  film's  producer,  Leland  Hay- 
ward  and  Tab  Hunter,  WB  star-fieldman.  Bot- 
tom: close-up  view  of  the  ceremony  crowds. 

Metro  to  Ballyhoo  'Bedrooms1 

If  there  is  a  quartet  of  sisters  around  who 
happen  to  be  planning  a  four-couple  wedding 
the  last  week  in  March,  Metro  is  looking  for 
them.  Inspired  to  start  a  quest  for  such  a 
unique  bridal  party  by  the  story  line  in  "Ten 
Thousand  Bedrooms,"  Dean  Martin's  first 
solo  vehicle,  Leo's  exploitation  department 
is  offering  a  free-for-everybody  honeymoon 
complete  with  all  the  trimmings. 


Six  National  Tie-ups  Hypo 
'Reunion'  Audience  Potential 

Over  90,000,000  Americans  will  be  exposed 
to  advertisements  in  newspapers  and  maga- 
zines, and  in  store  displays  highlighting 
"Spring  Reunion"  as  the  result  of  United  Ar- 
tists tie-ups  with  six  national  manufacturers. 
Among  companies  participating  in  the  co-op 
campaigns:  American  Latex  Corp,  American 
Airlines,  Plymouth  Raincoats,  National  Gyp- 
sum Corp.,  Wohl  Shoe  and  Honeybug  Shoes. 

Full-page  newspaper  ads  complete  with  a 
photo  of  Miss  Hutton  and  prominent  credits 
to  the  Bryna  Production  will  be  placed  by 
American  Airlines  in  the  two  New  York 
papers  (the  Times  and  Tribune)  and  three 
Los  Angeles  dailies.  Plymouth  Raincoats 
will  place  a  full-page  in  TV  Guide  and  a 
half-page  in  Playboy,  in  addition  to  retail 
support  by  its  4000  dealers.  National  Gyp- 
sum will  spotlight  the  UA  release  via  ads  in 
Business  Week,  U.  S.  News,  Management 
Methods,  Buildings  and  Nation's  Business. 

Insertions  in  Movie  Life,  Movie  Star  and 
Parade  coupled  with  window  and  counter 
displays  featuring  Miss  Hutton  and  Wohl 
shoes  will  help  sell  the  film  to  the  fern  mar- 
ket. Also  keyed  to  the  ladies,  Honeybug  is 
running  a  series  of  ads  in  nine  magazines,  in- 
cluding Charm  and  Glamour.  Supplementary 
support  from  Honeybug  retailers  will  feature 
special  posters  and  display  cards. 

Also  on  the  point-of-purchase  front,  the 
romantic  drama  (Betty  Hutton-Dana  An- 
drews) is  scheduled  to  grab  plenty  of  plugs 
via  American  Latex  bathing  cap  displays  in 
5600  retail  outlets  using  head  cutouts  of  Miss 
Hutton  as  cap  display  pieces. 


-A-  A  throw-the-book-at-'em  promotional  -A 
campaign  climaxed  by  a  tri-theatre  premiere  in 
Marietta,  Ohio  garnered  gobs  of  attention  and 
space  in  all  communications  media  for  Univer- 
sal^ "Battle  Hymn".  Impact  of  the  hustling, 
bustling  bally  drive  is  being  felt  from  coast-to- 
coast.  Top  to  bottom:  1 )  crowds  saturate 
Colony  Theatre  in  Marietta  prior  to  debut  fes- 
tivities. 2)  Milton  R.  Rackmil,  U-l  president, 
left,  confers  with  star  Rock  Hudson  prior  to 
opening  at  New  York  Capitol  Theatre.  3)  Spe- 
cial award  is  presented  to  Col.  Dean  Hess, 
whose  life  story  is  portrayed  in  the  film,  by  Mrs. 
Charlotte  Baruth,  Chairman  of  the  Motion  Pic- 
ture Division  of  Women's  Clubs,  while  U-l  vice- 
president  David  Lipton  looks  on.  4)  Hess  visits 
in  Cleveland  with  exhibitor  Leo  James. 

Macy's  Boosts  'Full  of  Life' 

Seldom  does  a  film  have  a  story  line  so 
well  suited  to  promotional  ballyhoo  as  "Full 
of  Life".  This  was  aptly  illustrated  when  the 
Columbia  comedy  grabbed  some  hefty  pats- 
on-the-back  by  giant  retailer,  Macy's,  in  a 
recent  full-page  New  York  Times  ad.  Tout- 
ing "FOL'  as  a  "merry  movie  about  a  baby 
coming",  Macy's  offered  customers  pickles, 
cigars  and  a  maternity  suit. 


Page  24       Film  BULLETIN    March  4,  1957 


THE  OLDER  GENERATION 


Theatre  Should  he  Community  Ventre 


(Continued  from  Page  14) 

for  them,  but  they  usually  make  their  own  moviegoing  de- 
cisions. 

This  brings  us  to  the  question  of  the  way  the  older  peo- 
ple go  to  the  movies.  While  there  are  many  older  people 
who  live  with  their  families,  as  well  as  countless  elderly 
people  living  alone,  gregariousness  is  an  almost  universal 
quality  of  healthy  old  age.  No  conclusive  surveys  of  how 
they  prefer  to  go  to  the  movies  have  been  made  among  our 
senior  citizens,  but  an  educated  guess  would  be  that  they, 
even  more  than  their  juniors,  like  company  when  they  go 
out. 

In  terms  of  the  family  unit,  there  is  no  problem  with  the 
older  couple.  They  go  to  the  movies  together.  Even  when 
they  live  alone,  they  tend  to  go  to  the  movies  with  their 
friends.  The  drive-in  theatre  is  the  most  notable  exception 
to  the  otherwise  general  tendency  against  older-younger 
moviegoing  combinations  involving  the  oldest  age  group. 
At  drive-ins,  grandma  and  the  kids  go  alog  with  mother 
and  dad,  as  often  as  not,  if  grandma  happens  to  live  with 
them.  (Incidentally,  the  degree  of  independence  and  sepa- 
ratism asserted  by  grandmothers  is  believed  by  many 
sociologists  to  be  increasing,  as  the  longer  life  span  gives 
these  older  people  more  companions  of  their  own  age.) 


TIME   ON   THEIR  HANDS 


Many  families  regard  the  movies  as  a  sort  of  last  resort 
for  their  elderly  members.  If  some  other  group  activity 
comes  along,  such  as  a  church  social  for  older  folks,  or  a 
bridge  club  being  formed,  these  family  influences  work 
against  moviegoing,  because  of  the  family's  desire  to  see 
grandpa  or  grandma  expand  her  circle  of  friendships  and 
activities.  Moviegoing  is  a  passive  experience  and  things 
that  give  older  people  something  to  do  are  more  highly  re- 
garded when  the  chips  are  down. 

It  is  pointless  to  discuss  whether  this  viewpoint  is  accu- 
rate. The  fact  that  the  view  is  held  by  large  numbers  of 
Americans  makes  it  important  without  regard  for  its  va- 
lidity. 

Perhaps  the  most  significant  commentary  on  the  prob- 
lem of  the  older  generation's  moviegoing  arises  here.  More 
than  ever,  the  problem  of  things  to  do  is  a  burning  one  for 
millions  of  aging  American  men  and  women.  Whether  re- 
tired or  merely  freed  from  the  ceaseless  chores  of  raising  a 
family,  they  have  more  time  on  their  hands  than  they  used 
to.  At  this  stage  of  the  game,  for  the  most  part,  they  have 
enough  money  to  get  along,  either  on  their  own  or  through 
supplemental  assistance  from  their  children.  Social  securi- 
ty, insurance  and  pension  schemes  are  continuously  rais- 
ing the  living  standards  of  the  aging,  even  though  pinched 
by  rising  prices. 

In  this  situation,  there  is  a  golden  opportunity  to  pro- 
mote greater  moviegoing.  No  magic  formula  has  yet  been 
adduced  for  this  purpose.  But  it  is  assuredly  worth  seeking. 

Some  of  the  avenues  of  development  are  indicated  in  the 


evident  likes  and  dislikes  of  the  elderly  audience,  as  di 
cussed  earlier  in  this  article.  The  most  vital  phase  of  t 
concept  of  the  elderly  market,  however,  may  lie  in  tl 
function  of  the  theatre  itself.  It  seems  fair  to  believe  th 
where  a  theatre  can  play  an  integral  role  in  the  life  of  i 
community,  it  will  have  more  institutional  appeal  for  tl 
elderly.  This  is  one  reason  why,  in  New  York  City,  tl 
Metropolitan  Opera  maintains  the  continuous  loyalty  of  i 
older  patrons. 


How  does  a  motion  picture  theatre  achieve  this  sort  o 
status?  There  is  little  doubt  that  a  close  relationship  wit! 
local  churches  can  be  of  material  advantage.  There  is  alsc 
reason  to  believe  that  cooperation  with  local  merchants,  ir 
displays  of  new  products  and  honors  for  local  citizenry 
can  also  be  valuable.  Vigorous  attention  to  the  various 
media  of  communication  in  the  community — news  items 
and  ads  in  the  papers,  radio  and  tel«vision  program  ma- 
terial— is  important  to  keep  the  older  people  mindful  of  the 
existence  of  the  theatre  and  of  the  films  it  shows. 

Pleasant  relationships  with  theatre  personnel — ushers  or 
doormen  who  recognize  them  and  greet  them  with  a 
friendly  courtesy — also  can  be  made  to  mean  much  in  pro- 
moting movie  attendance  by  oldsters.  Sometimes,  particu- 
larly if  they  are  lonely,  they  are  quite  pleased  to  be  put  on 
the  theatre's  program  mailing  list  (where  there  is  one). 
Sometimes,  conversely,  they  don't  want  to  be  bothered.  A 
perceptive  theatre  man  has  to  know  his  people  and  pro- 
ceed accordingly  in  his  own  community. 

Above  all,  there  must  not  be  any  appearance  of  condes- 
cension or  of  "playing  to  the  gallery".  To  take  an  extreme 
example,  a  theatre  which  emblazons  as  the  motto  above  its 
portals  "We  cater  to  old  folks,"  is  going  to  arouse  a  great 
deal  of  resentment  from  old  folks  who  don't  particularly 
like  to  be  called  old  folks  and  don't  want  to  go  to  an  estab- 
lishment which  labels  itself  as  a  moviegoing  adjunct  of  the 
old  folks'  home.  The  same  theatre  can  probably  do  more 
to  attract  elderly  patrons  by  helpful  ushers,  seat  hearing 
aids,  etc. 

Communities,  like  people,  are  not  all  the  same.  The  pro- 
gram that  succeeds  in  one  town  may  not  succeed  in  an- 
other. But  there  isn't  a  town  in  the  nation  where  people 
aren't  getting  older  every  day.  And  the  movie  customer  in 
every  town  must  be  the  person  of  whom  it  can  be  said, 
"Age  cannot  wither  .  .  .  nor  custom  stale  her  infinite 
variety." 


Page  26       Film  BULLETIN    March  4,  1957 


Ccine  tc  Hct  Spring*! 


3 Bth  Annual  Convention 

INDEPENDENT  THEATRE  OWNERS 
DE  ARKANSAS,  INC. 

Vel4a  &cAe  tHctel,  Hd 
Apr  il  /-£  I9S7 
• 

Interesting  and  informative  meetings  as  well  as  plenty  of 
entertainment  in  one  of  the  finest  resorts  in  the  country. 

For  reservations  write: 

Velda  Hose  Motel 
21B  Park  Avenue 
Hot  Springs,  Arkansas 


Film  BULLETIN  March 


4.   1957       Page  27 


THIS  IS  YOUR  PRODUCI 


All  The  Vital  Details  on  Current  &£>  Coming  Feature 

(Date  of  Film  BULLETIN  Review  Appears  At  End  of  Synopsis) 


ALLIED  ARTISTS 


November 

BLONDE  SINNER  Diana  Dors.  Producer  Kenneth 
Harper.  Director  J.  Lee  Thompson.  Drama.  A  con- 
demned murderess  in  Hie  death  cell.   74  min. 

FRIENDLY  PERSUASION  Deluxe  Color.  Gary  Cooper, 
Dorothy  McGuire,  Marjorie  Main,  Robert  Middleton. 
Producer-director  William  Wyler.  Drama.  The  story 
of  a  Quaker  family  during  the  Civil  War.  13?  min.  1 0/ 1 


December 


HIGH  TERRACE  Dale  Robertson,  Lois  Maxwell.  Pro- 
ducer Robert  Baker.  Director  H.  Cass.  Drama.  Famous 
impresario  is  killed  by  young  actress.  77  min. 

HOT  SHOTS  Hunt*  Hall,  Stanley  Clements.  Producer 
Ben  Schwalb.  Director  Jean  Yarbrough.  Comedy.  Ju- 
venile television  star  is  kidnapped.   62  min. 


January 


CHAIN  OF  EVIDENCE  Bill  Elliot,  James  Lydon,  Claudia 
Barrett.  Producer  Ben  Schwalb.  Director  Paul  Landres. 
Melodrama.  Former  convict  is  innocent  suspect  in 
planned  murder.  63  min. 

STORM  OUT  OF  THE  WEST  Dale  Robertson,  Brian  Keith, 
Rossano  Rory.  Producer  Frank  Woods.  Director  Brian 
Keith.  Western.  72  min. 


February 


ATTACK  OF  THE  CRAB  MONSTERS  Richard  Garland, 
Pamela  Duncan.  Producer-director  Roger  Corman. 
Science-fiction.  Hideous  monsters  take  over  remote 
Pacific  Island.  68  min. 

LAST  OF  THE  BADMEN  CinemaScope,  Color.  George 
Montgomery,  James  Best.  Producer  Vincent  Fennelly. 
Director  Paul  Landres.  Western.  Outlaws  use  detective 
as  only  recogniaeble  man  in  their  holdups,  thus  in- 
creasing reward  for  his  death  or  capture.  81  min. 

NOT  OF  THIS  EARTH  Paul  Birch,  Beverly  Garland. 
Producer-director  Roger  Corman.  Science-fiction.  Series 
of  strange  murders  plagues  large  western  city.  67  min. 


March 


HOLD  THAT  HYPNOTIST  Hunfi  Hall,  Stanley  Clements. 
Producer  Ben  Schwalb.  Director  Austen  Jewell.  Comedy 
drama.  Bowery  Boys  tangle  with  unscrupulous  hypnotist. 
61  min. 

JEANNIE  CinemaScope,  Color.  Vera  Ellen,  Tony  Martin, 
Robert  Fleming.  Producer  Marcel  Hellman.  Director 
Henry  Levin.  Musical.  Small-town  girl  meets  washing 
machine  inventor  in  Paris.  105  min. 


A  pril 


FOOTSTEPS  IN  THE  NIGHT  Bill  Elliot,  Don  Haggerty. 
Producer  Ben  Schwalb.  Director  Jean  Yarbrough.  Melo- 
drama. Man  is  sought  by  police  for  murder  of  his 
friend.  62  min. 

DRAGOON  WELLS  MASSACRE  Barry  Sullivan,  Mona 
Freeman,  Dennis  O'Keefe.  Producer  Lindsley  Parsons. 
Director  Harold  Schuster.  Western.  Apaches  attack 
stockade  in  small  western  town.  81  min. 


Coming 


BADGE  OF  MARSHAL  BRENNAN  Jim  Davis.  Producer- 
director  Albert  Gannaway.  Western. 


DAUGHTER  Of  DR.  JEKYLL  John  Ag<sr,  Gioria  Talbot, 
AriW  Sh'»Ws.  Producer  Jack  Pollexfen.  Director 
Edgar  Unger.  Horror. 

Kohner.  Producer 


HUNCHBACK  OF  NOTRE  DAME,  THE  CinemaScope, 
Color.  Gina  Lollobrigida ,  Anthony  Quinn.  A  Paris 
Production.  Director  Jean  Delanno;'.  Drama.  Hunch- 
back falls  in  love  with  beautiful  gypsy  girl.    88  min. 

LOVE  IN  THE  AFTERNOON  Color.  Gary  Cooper, 
Audrey  Hepburn,  Maurice  Chevalier.  Producer-director 
Billy  Wilder.  Drama. 

OKLAHOMAN.  THE  CinemaScope,  DeLuxe  Color.  Joel 
McCrea,  Barbara  Hale.  Producer  Walter  Mirsch.  Di- 
rector Francis  Lyon.  Western.  Doctor  helps  rid  town 
of  unscrupulous  brothers.  81  min. 

PERSUADER,  THE  William  Talman,  Kristine  Miller, 
James  Craig.  Producer-director  Dick  Ross. 


COLUMBIA 


November 

ODONGO  Technicolor,  CinemaScope.  Macdonald 
Carey,  Rhonda  Fleming,  Juma.  Producer  Irving  Allen. 
Director  John  Gilling.  Adventure.  Owner  of  wild  ani- 
mal farm  in  Kenya  saves  young  native  boy  from  a 
violent  death.  91  min. 

REPRISAL  Technicolor.  Guy  Madison,  Felicia  Farr, 
Kathryn  Grant.  Producers,  Rackmil-Ainsworth.  Direc- 
tor George  Sherman.  Adventure.  Indians  fight  for 
rights  in  small  frontier  town.  74  min. 

SILENT  WORLD,  THE  Eastman  Color.  Adventure  film 
covers  marine  explorations  of  the  Calypso  Oceono- 
graphic  Expeditions.  Adapted  from  book  by  Jacques- 
Yves  Cousteau.  86  min.  10/15. 

WHITE  SQUAW.  THE  David  Brian,  May  Wynn,  William 
Bishop.  Producer  Wallace  MacDonald.  Director  Ray 
Nazarro.  Drama.  Indian  maiden  helps  her  people  sur- 
vive injustice  of  white  men.  73  min. 

YOU  CAN'T  RUN  AWAY  FROM  IT  Technicolor,  Cine- 
maScope. June  Allyson,  Jack  Lemmon,  Charles  Bic It- 
ford.  Produced-director  Dick  Powell.  Musical.  Reporter 
wins  heart  of  oil  and  cattle  heiress.   95  min.  10/15. 


December 


LAST  MAN  TO  HANG.  THE  Tom  Conway,  Elizabeth 
Sellars.  Producer  John  Gossage.  Director  Terence 
Fisher.  Melodrama.  Music  critic  is  accused  of  murder- 
ing his  wife  in  a  crime  of  passion.  75  min.  11/12. 

MAGNIFICENT  SEVEN,  THE  Takashi  Shimura  Toshiro 
Mifune.  A  Toho  Production.  Director  Akira  Kurosawa. 
Melodrama.  Seven  Samurai  warriors  are  hired  by  far- 
mers for  protection  against  maurauders.  158  min.  12/10 

RUMBLE  ON  THE  DOCKS  James  Darren,  Jerry  Janger, 
Edgar  Barrier.  Drama.  Teenage  gang  wars  and  water- 
front racketeers.   82  min.  12/10. 

SEVENTH  CAVALRY.  THE  Technicolor.  Randolph  Scott, 
Barbara  Hale.  Producer  Harry  Brown.  Director  Joseph 
Lewis.  Western.  An  episode  in  the  glory  of  General 
Custer's  famed  "7th  Cav.".    75  min.  12/10. 


January 


DON'T  KNOCK  THE  ROCK  Bill  Haley  and  his  Comets, 
Alan  Freed,  Alan  Dale.  Producer  Sam  Katzman.  Direc- 
tor Feed  Seart.  Musical.  Life  and  times  of  a  famous 
rock  and  roll  singer.  80  min.  1/7. 

RIDE  THE  HIGH  IRON  Don  Taylor,  Sally  Forest,  Ray- 
mond Burr.  Producer  William  Self.  Director  Don  Weis. 
Drama.  Park  Avenue  scandal  is  hushed  up  by  public 
relations  experts.  74  min. 

ZARAK  Technicolor,  CinemaScope.  Victor  Mature, 
Michael  Wilding,  Anita  Ekberg.  A  Warwick  Production. 
Director  Terence  Young.  Drama.  Son  of  wealthy  ruler 
becomes  notorious  bandit.  99  min.  12/24. 


February 


NIGHTFALL  Aldo  Ray,  Anne  Bancroft.  Producer  Ted 
Richmond.  Director  Jacques  Tourneur.  Drama.  Mistaken 
identity  of  a  doctor's  bag  starts  hunt  for  stolen  money. 
78  min.  12/10. 

UTAH  BLAINE  Rory  Calhoun,  Susan  Cummings,  Angela 
Stevens.  Producer  Sam  Katzman.  Director  Fred  Sears. 
Western.  Two  men  join  hands  because  they  see  in  each 
other  a  way  to  have  revenge  on  their  enemies.  75  min. 
WICKED  AS  THEY  COME  Arlene  Dahl,  Phil  Carey.  Pro- 
ducer Maxwell  Setton.  Director  Ken  Hughes.  Drama.  A 
beautiful  girl  wins  a  beauty  contest  and  a  "different" 
life.  132  min.  1/21. 


March 


FUEL  OF  LIFE  Judy  Holliday,  Richard  Conte, 
Salvatore  Baccaloni.  Producer  Fred  Kohlmar.  Director 
Richard  Quine.  Comedy.  Struggling  writer  and  wife 
are  owners  of  new  home  and  are  awaiting  arrival  of 
child.  91  min.  1/7. 

MAN  WHO  TURNED  TO  STONE,  THE  Victor  Jory,  Ann 
Doran.  Producer  Sam  Katzman.  Director  Leslie  Kardos. 
Mad  doctor  discovers  secret  of  prolonged  life.  Horror. 
80  min.  2/18. 

SHADOW  ON  THE  WINDOW,  THE  Betty  Garrett,  Phil 
Carey,  Corey  Allen.  Producer  Jonie  Tapia.  Director 
William  Asher.  Melodrama.  Sewn-year  old  boy  is  the 
only  witness  to  a  murder.  73  min. 

ZOMBIES  OF  MORA  TAU  Gregg  Palmer,  Allison  Hayes. 
Horror.  70  min. 


April 


GUNS  AT  FORT  PETTICOAT  Audie  Murpny,  Kathryn 
Grant.  Producer  Harry  Joe  Brown.  Director  George 
Marshall.  Western.  Army  officer  organizes  women  to 
fight  off  Indian  attack. 


STRANGE  ONE,  THE  Ben  Gaziara,  James  Olsen,  Ge 
Peppard.  Producer  Sam  Spiegel.  Director  James 
fein.    Drama.   Cadet   at   military   school  frames 
mander  and  his  son. 


Coming 


BEYOND  MOMBASA  Technicolor,  CinemaScope.  Co 
nell  Wilde,  Donna  Reed.  Producer  Tony  Owen.  Dire 
tor  George  Marshall.  Adventure.  Leopard  Men  sec 
to  keep  Africa  free  of  white  men. 

CHA-CHA-CHA  BOOM  Perez  Prado,  Helen  Graysoi 
Manny  Lopez.  Producer  Sam  Katzman.  Director  Fre 
Sears.  Musical.  Cavalcade  of  the  mambo.  78  min.  10/1 
FIRE  DOWN  BELOW  CinemaScope,  Technicolor.  Rit 
Hayworth,  Robert  Mitchum,  Jack  Lemmon.  A  Wai, 
wick  Production.  Director  Robert  Parrish.  Drams 
Cargo  on  ship  is  ablaze.  Gravity  of  situation  is  ir. 
creased  by  highly  explosive  nitrate. 

FORTUNE  IS  A  WOMAN  Jack  Hawkins,  Arlene  Dahl; 
Producers   Frank   Launder-Sidney  Gilliat.  Director  Sid 

ney  Gilliat. 

GARMENT  JUNGLE.  THE  Lee  J.  Cobb,  Kerwin  Mat 
thews,  Richard  Boone.  Producer  Harry  Kleiner.  D! 
rector  Robert  Aldrich.  Drama. 

GOLDEN  VIRGIN,  THE  Joan  Crawford,  Rossano  Brazzi 
Heather  Sears.  John  and  James  Woolf  producers.  Di 
rector  David  Miller. 

HALF  PAST  HELL  Victor  Mature,  Anita  Ekberg,  Trevo' 
Howard.  A  Warwick  Production.  Director  John  Gilling" 

KILLER  APE  Johnny  Weissmuller.  Carol  Thurston.  Pre 
ducer  Sam  Katzman.  Director  Spencer  G.  Bennett.  Ad 
venture  drama.  The  story  of  a  giant  half-ape,  half-mar' 
beast  who  goes  on  a  killing  rampage  until  destroy**/ 

by  Jungle  Jim.  68  min. 

PAPA.  MAMA.  THE  MAID  AND  I  Robert  Lamoureux 
Gaby  Morlay,  Nicole  Courcel.  Director  Jean-Paul  L< 
Chanois.  Comedy.  The  lives  of  a  typically  Parisiar 
family.  94  min.  9/17. 

SUICIDE  MISSION  Leif  Larson,  Michael  Aldridge,  Atlc 
Larsen.  A  North  Seas  Film  Production.  Adventure.  Nor- 
wegian fishermen  smash  German  blockade  in  World 
War  II.  70  min. 

TALL  T,  THE  Randolph  Scott,  Richard  Boone,  Maureen 
Sullivan.  A  Scott-Brown  Production.  Director  Budd' 
Boetticher.  Western.  A  quiet  cowboy  battles  o  be' 
independent. 

TOWN  ON  TRIAL  John  Mills,  Charles  Coburn,  Bar- 
bara Bates.  A  Marksman  Production.  Director  John' 
Gillerman. 

27TH  DAY,  THE  Gene  Barry,  Valerie  French.  Producer 
Helen  Ainsworth.  Director  William  Asher.  Science- 
fiofion.  People  from  outer  space  plot  to  destroy  all 
human  life  on  the  earth. 

YOUNG  DON'T  CRY,  THE  Sal  Mineo,  James  Whitmore. 
Producer  P.  Waxman.  Director  Alfred  Werker.  Drama.' 
Life  in  a  southern  orphanage. 


INDEPENDENTS 


November 

IT  CONQUERED  THE  WORLD  (American  International! 
Peter  Graves,  Beverly  Garland.  Producer-director 
Roger  Corman.  Science-fiction.  A  monster  from  outer 
space  takes  control  of  the  world  until  a  scientist  givti 
his  life  to  save  humanity. 

MARCELINO  lUnited  Motion  Picture  Organiiation) 
Pabilto  Calvo,  Rafael  Rivelles.  Director  Ladislao 
Vadja.  Drama.  Franciscan  monks  find  abandoned  baby 
and  adopt  him.  90  min.  I  1/12. 

SECRETS  OF  LIFE  (Buena  VTsta).  Latest  in  Walt  Dis- 
ney's true-life  scenes.  75  min.  10/29. 
WEE  GORDIE  (George  K.  Arthur)  Bill  Travers,  Elastalr 
Sim,  Norah  Gorsen.  Producer  Sidney  Gilliat.  Director 
Frank  Launder.  Comedy.  A  frail  lad  grows  to  giant 
stature  and  wins  the  Olympic  hammer-throwing  cham- 
pionship. 94  min.  11/12. 

WESTWARD  HO,  THE  WAGONS  (Buena  Vista)  Cine- 
maScope, Technicolor.  Fess  Parker,  Kathleen  Crowley. 
A  Walt  Disney  Production.  Adventure. 

December 

BABY  AND  THE  BATTLESHIP,  THE  (DCA)  Richard 
Attenborough,  Lisa  Gastoni.  Producer  Anthony  Darn- 
borough.  Director  Jay.  Lewis.  Comedy.  Baby  is 
smuggled    aboard    a    British    battleship   during  mock 

maneuvers. 

HOUR  OF  DECISION  (Astor  Pictures)  Jeff  Morrow. 
Drama. 


Film    BULLETIN  —  THIS     IS    YOUR  PRODUCT 


APRIL  SUMMARY 

The  number  of  features  scheduled  for 
April  release  totals  1  3.  however,  later  ad- 
ditions to  the  roster  should  double  the 
number  of  attractions  available  to  exhibi- 
tors. The  leading  supplier  will  be  Univer- 
sal with  three  releases;  Allied  Artists,  Co- 
lumbia, 20th-Fox  and  United  Artists  will 
release  two  each;  Paramount  and  Warner 
Bros.,  one  each.  Four  April  films  will  be 
in  color.  CinemaScope  features  number 
three;  VistaVision,  one;  Technirama,  one. 

7  Dramas  2  Melodramas 

2  Westerns  1  Science-Fiction 

1  Musical 


|  SORCIERE  [Ellis  Films)  Marina  Vlady,  Nicole 
J  rel.  Director  Andre  Michel.  Drama.  A  young  French 

■  ineer  meets  untamed  forest  maiden  while  working 
|  .weden.  French  dialogue.  English  subtitles. 

I  4  OF  SHERWOOD  FOREST  (Astor  Picturesl  East- 
I  ,  Color.  Don  Taylor.  Producer  Michael  Carreras. 
I  tctor  Val  Guest.  Adventure.  Story  of  Robin  Hood 
I  his  men.  78  min. 

I  :K,  ROCK,  ROCK  IDCAI.  Alan  Freed.  LaVern 
I  er  Frankle  Lyman.  A  Vanguard  Production.  Musical 
I  orama  of  rock  and  roll. 

BW  WAS  BLACK,  THE  (Continental)  Daniel  Gelin. 
'  jntine  Tessier.  A  Tellus  Film.  French  language  film. 
I  ma.  Study  of  an  embittered  young  man  who  lives 

■  1  mother  in  her  house  of  ill  fame.  105  min. 

'  0  LOVES  HAVE  I  IJacon)  Technicolor.  Gabriele 
letti,  Marta  Toren.  A  Riuoli  FMm.  Director  Carmine 
lone.  Drama.  Life  of  Puccini  with  exerpts  from  his 
t  known  operas. 

January 

iERT  SCHWEITZER  (Hill  and  Anderson)  Eastman 
or.  Film  biography  of  the  famous  Nobel   Prize  win- 

with  narritive  by  Burgess  Merideth.  Producer-direc- 

James  Hill.  Documentary. 

LLFIGHT  I  Janus).  French  made  documentary  offers 
'lory  and  performance  of  the  famous  sport.  Produced 
I  directed  by  Pierre  Braunberger.  76  min.  II  26 

'VR  lAstor  Pictures)  Ingrid  Bergman,  Mathias  Wie- 
'n.     Director     Roberto     Rossellini.     Drama.  Young 

■  rried  woman  is  mercilessly  exploited  by  blackmailer. 

NAWAY  DAUGHTERS  I  American-International ) 
1  rla  English,  Anna  Sten.  Producer  Alex  Gordon.  Di- 
tor  Edward  Cahn.  Drama.  A  study  of  modern  teen- 
•  problems. 

AKE,  RATTLE  AND  ROCK  (American-International) 
a  Gaye,  Touch  Conners.  Producer  James  Nicholson, 
ector  Edward  Cahn.  Musical.  A  story  of  "rock  and 

ITELONI  I  API-Janus).  Franco  Inrerlenghi,  Leonora 
briii.  Producer  Mario  de  Veechi.  Director  F.  Fel- 
i.  Comedy.  Story  of  unemployed  young  men  in  Italy, 
i  min.  11/24. 

:  ARE  ALL  MURDERERS  IKingsley  International) 
ircel  Mouloudji,  Raymond  Pellegrin.  Director  Andre 
lyette.  Drama. 

February 

D  OF  GRASS  ITrans-Lux)  Anna  Brazzou.  Made  in 
eeee.  English  titles.  Drama,  A  beautiful  girl  is  per- 
:uted  by  her  villiage  for  Having  lost  her  virtue  as 
>  victim  of  a  rapist. 

ESH  AND  THE  SPUR  (American-International)  Color, 
hn  Agar,  Maria  English,  Touch  Connors.  Producer 
ex  Gordon.  Director  E.  Cahn.  Western.  Two  men 
arch  for  a  gang  of  outlaw  killers.  86  min. 

3UR  OF  DECISION  (Astor  Pictures)  Jeff  Morrow, 
izel  Court.  Producer  Monty  Berman.  Director  Denn- 
jton  Richards.  Melodrama.  Columnist's  wife  is  in- 
cently  involved  in  blackmail  and  murder.  70  min. 

4KED  PARADISE  (American-International)  Color, 
chard  Denny,  Beverly  Garland.  Producer-director 
>ger  Corman.  Drama.  Man  and  woman  bring  Ha- 
aiian  smugglers  to  justice.  72  min. 

iMPEST  IN  THE  FLESH  (Pacemaker  Pictures)  Ray- 
3nd  Pellegrin,  Francoise  Arnoul.  Director  Ralph 
abib.  French  film,  English  titles.  Drama.  Study  of  a 
mng  woman  with  a  craving  for  love  that  no  number 
men  can  satisfy. 

March 

MDEAD,  THE  I  American-International)  Pamela  Dun- 
m,  Allison  Hayes.  Producer-director  Roger  Corman. 
:ience-fiction.   A  woman  turns  into  a   witch.   71  min. 

50DOO  WOMAN  (American-International)  Maria 
iglish,  Tom  Conway,  Touch  Connors.  Producer  Alex 
ordon.  Director  Edward  Cahn.  Horror.  Adventuress 
eking  native  treasure  is  transformed  into  monster  by 
ngle  scientist.  75  min. 

'OMAN  OF  ROME  (DCA)  Gina  Lollobrigida,  Daniel 
•lin.  A  Ponti-DeLaurentlis  Production.  Director  Luigi 
impa.  Drama.  Adapted  from  the  Alberto  Moravia 
ivel. 

May 

JCK  ALL  NIGHT  (American-International)  Dick 
■Her.  Abby  Dalton,  Russel  Johnson.  Producer-director 
>ger  Corman.  Rock  n'  roll  musical.  65  min. 

Coming 

ITY  OF  WOMEN  (Associated)  Osa  Massen,  Robert 
utton,  Maria  Palmer.  Producer-director  Boris  Petroff. 
■ama.  From  a  novel  by  Stephen  Longstreet. 

IAGSTRIP  GIRL  (American-International  I  Fay  Spain, 
eve  Terrell,  John  Ashley.  Producer  Alex  Gordon.  Di- 
ctor  Edward  Cahn.  Story  of  teen-age  hot  rod  and 
agstrip  racing  kids.  75  min. 

ALL  THE  GUYS  IN  THE  WORLD  .  .  .  IBuena  Vista) 
idre  Valmy,  Jean  Gaven.  Director  Christian-Jaque. 
'ama.  Radio  "hams",  thousands  of  miles  apart,  pool 
eir  efforts  to  rescue  a  stricken  fishing  boat. 
3ST  CONTINENT  IIFE)  CinemaScope,  Ferranicolor. 
;oducer-director  Leonardo  Bonzi.  An  excursion  into  the 
ilds  of  Borneo  and  the  Maylayan  Archepelago.  Eng- 
ih  commentary.  86  min. 

EAPOLITAN  CAROUSEL  (IFE)  (Lux  Film,  Rome)  Pathe- 
ilor.  Print  by  Technicolor.  Sophia  Loren,  Leonid* 
assin*.  Director  Ettore  Giannini.  Musical.  The  history 
Naples  traced  from  1600  to  date  in  song  and  dance. 


REMEMBER.  MY  LOVE  I  Artists-Producers  Assoc.)  Cine- 
maScope, Technicolor.  Michael  Redgrave,  Mel  Ferrer. 
Anthony  Quale.  Musical  drama.  Producer-director 
Michael  Powell,  Emeric  Pressburger.  Based  on  Strauss' 
"Die  Fledermaus". 

SMOLDERING  SEA,  THE  Superscope.  Producer  Hal  E. 
Chester.  Drama.  Conflict  between  the  tyrannical  cap- 
tain and  crew  of  an  American  merchant  ship  reaches 
its  climax  during  battle  of  Guadalcanal. 

WEAPON,  THE  Superscope.  Nicole  Maurey.  Producer 
Hal  E.  Chester.  Drama.  An  unsolved  murder  involving 
a  bitter  U.  S.  war  veteran,  a  German  war  bride  and  a 
killer  is  resolved  after  a  child  finds  a  loaded  gun  in 
bomb  rubble 


M ETRO -GO LDWYN  -  MAYER 


November 

IRON  PETTICOAT,  THE  Katherine  Hepburn,  Bob  Hope. 
Producer  Betty  Box.  Director  Ralph  Thomas.  Comedy. 
Russian  lady  aviatrix  meets  fast  talking  American. 
87  min.  1/21. 

December 

GREAT  AMERICAN  PASTIME,  THE  Tom  Ewell,  Ann 
Francis,  Ann  Miller.  Producer  Henry  Berman.  Director 
Nat  Benchley.  Comedy.  Romantic  antics  with  a  Little 
League  baseball  background.  89  min. 

TEAHOUSE  OF  THE  AUGUST  MOON,  THE  Cinema- 
Scope, Eastman  Color.  Marlon  Brando,  Glenn  Ford. 
Eddie  Albert.  Producer  Jack  Cummings.  Director  Daniel 
Mann.  Comedy.  Filmization  of  the  Broadway  play. 
123  min.  10/2?. 

January 

ACTION  OF  THE  TIGER  CinemaScope,  Color.  Van 
Johnson,  Martine  Carol,  Gustave  Rojo.  A  Claridge 
Production.  Drama.  Beautiful  girl  seeks  help  of  con- 
traband  runner  to   rescue   brother   from  Communists. 

EDGE  OF  THE  CITY  John  Cassavetes,  Sidney  Poitier. 
Producer  David  Susskind.  Director  Martin  Ritt.  Drama. 
A  man  finds  confidence  in  the  future  by  believing 
in  himself.  85  min.  1/7. 

SLANDER  Van  Johnson,  Ann  Blyth,  Steve  Cochran. 
Producer  Armand  Deutsch.  Director  Roy  Rowland. 
Drama.  Story  of  a  scandal  magazine  publisher  and 
his  victims.  8 1  min.  1/7. 

February 

BARRETS  OF  WIMPOLE  STREET,  THE  CinemaScope, 
Eastman  Color.  Jennifer  Jones,  Sir  John  Gielgud.  Bill 
Travers.  Producer  Sam  Zimbalist.  Director  Sidney 
Franklin.  Drama.  Love  story  of  poets  Elizabeth  Barrett 
and  Robert  Browning.  105  min.  1/21. 

HOT  SUMMER  NIGHT  Leslie  Nielsen,  Coleen  Miller. 
Producer  Morton  Fine.  Director  David  Friedkin.  Melo- 
drama. Story  of  a  gangland  hide-out.  86  min.  2/4. 

WINGS  Of  THE  EAGLES,  THE  John  Wayne,  Dan 
Dailey,  Maureen  O'Hara.  Producer  Charles  Schnee. 
Director  John  Ford.  Drama.  Life  and  times  of  a  naval 
aviator.  I  10  min.  2/4. 

March 

HAPPY  ROAD,  THE  Gene  Kelly,  Michael  Redgrave, 
Barbara  Laage.  A  Kerry  Production.  Directors,  Gene 
Kelly,  Noel  Coward.  Drama.  Two  children  run  away 
from  boarding  hchool  to  find  their  respective  parents. 
100  min.  2/4. 

LIZZIE  Eleanor  Parker,  Richard  Boone,  Joan  Blondell. 
Producer  Jerry  Bressler.  Director  Hugo  Haas.  Drama. 
A  young  girl  lives  three  different  lives. 

TEN  THOUSAND  BEDROOMS  CinemaScope,  Techni- 
color. Dean  Martin,  Anna  Maria  Alberghetti.  Producer 
Joseph  Pasternack.  Director  Richard  Thorpe.  Musical. 
A  hotel  tycoon  falls  in  love  with  a  lovely  Italian  girl. 
114  min.  2/18. 

Coming 

DESIGNING  WOMAN  Gregory  Peck,  Lauren  Bacall. 
Dolores  Gray.  Producer  Dore  Schary.  Director  Vincente 
Minnelli.  Ace  sportswriter  marries  streamlined  blond 
with  ideas.  100  min. 

LITTLE  HUT,  THE  MetroColor.  Ava  Gardner,  Stewart 
Granger.  Producers  F.  Hugh  Herbert.  Director  Mark 
Robson.  Comedy.  Husband,  wife  and  wife's  lover  are 
marooned  on  a  tropical  isle.  93  min. 

LIVING  IDOL,  THE  CinemaScope,  Eastman  Color. 
Steve  Forrest,  Lilliane  Montevecchi.  Producer-director 
Al  Lewin.  Drama.  An  archeologist  is  faced  with  an  un- 
worldly situation  that  threatens  the  safety  of  his 
adopted  daughter.  98  min. 

RAINTREE  COUNTY  Eastman  Color,  CinemaScope  55. 
Elizabeth  Taylor,  Montgomery  Clift.  Producer  David 
Lewis.  Director  Edward  Dymtryke.  Drama.  Life  in  Indi- 
ana during  the  middle  I800's. 

SOMETHING  OF  VALUE  Rock  Hudson,  Dana  Wynter, 
Wendy  Hlller.  Producer  Pandro  Berman.  Director 
Richard  Brooks.  Drama.  Stry  of  a  Mau  Mau  uprising 
in  Kenya,  East  Africa. 

THIS  COULD  BE  THE  NIGHT  Jean  Simmons,  Paul 
Douglas.  Comedy.  A  girl  fresh  out  of  college  gets  a 
iob  as  secretary  to  an  ex-bootlegger. 

VINTAGE,  THE  Pier  Angeli,  Mel  Ferrer,  Leif  Erickson. 
Producer  Edwin  Knoph.  Director  Jeffrey  Hayden.  Dra- 
ma. A  conflict  between  young  love  and  mature  re- 
sponsibility. 


PARAMOUNT 


November 

MOUNTAIN,  THE  VistaVision.  Technicolor.  Spencer 
Tracy,  Bob  Wagner,  Claire  Trevor.  Producer-director 
Edward  Dmytryk.  Adventure.  Two  brothers  climb  to  a 
distant  snowcapped  peak  where  an  airplane  has 
crashed  to  discover  a  critically  injured  woman  in  the 
wreckage.  105.  10/15. 

December 

HOLLYWOOD  OR  BUST  VistaVision,  Technicolor.  Dean 
Martin,  Jerry  Lewis,  Anita  Ekberg.  Producer  Hal  Wal- 
lis.  Director  Frank  Tashlin.  Comedy.  The  adventures  of 
a  wild-eyed  film  fan  who  knows  everything  about  the 
movies.  95  min.  12/10. 

WAR  AND  PEACE  VistaVisioi  Technicolor  Aua'.v 
Hepburn,  Henry  Fonda,  Mel  Ferrer.  Proaucers  Carit 
Ponfi  Dino  oe  Laurenriis  Director  <ing  Vic"r.  Drama 
Based  on  Tolstoy's  novel.  208  min.  9/3. 

January 

THREE  VIOLENT  PEOPLE  VistaVision,  Technicolor. 
Charlton  Heston,  Anne  Baxter,  Gilbert  Roland.  Pro- 
ducer Hugh  Brown.  Director  Rudy  Mate.  Western.  Story 
of  returning  Confederate  war  veterans  in  Texas. 
100  min.  1/7. 

February 

RAINMAKER,  THE  VistaVision,  Technicolor.  Burt  Lan- 
caster, Katherine  Hepburn,  Wendell  Corey.  Producer 
Hal  Wallis.  Director  Joseph  Anthony.  Comedy  drama. 
Filmization  of  the  famous  B'way  play.   121  min.  12/24. 

March 

FEAR  STRIKES  OUT  Anthony  Perkins,  Karl  Maiden, 
Norma  Moore.  Producer  Alan  Pakula.  Director  Perry 
Wilson.  Drama.  Story  of  the  Boston  baseball  player. 
100  min.  2/18. 

OMAR  KHAYYAM  VistaVision,  Technicolor.  Cornel 
Wilde,  Michael  Rennie,  Debra  Paget.  Producer  Frank 
Freeman,  Jr.  Director  William  Dieterle.  Adventure. 
The  life  and  times  of  medieval  Persia's  literary  idol. 
103  min. 

A  pril 

FUNNY  FACE  VistaVision,  Technicolor.  Audrey  Hep- 
burn, Fred  Astaire,  Kay  Thompson.  Producer  Roger 
Edens.  Director  Stanley  Donen.  Musical.  Photographer 
plucks  fashion  model  from  Greenwich  Vilfage  bookshop. 
103  min.  2/18. 

Coming 

BEAU  JAMES  VistaVision,  Technicolor.  Bob  Hope.  Pro- 
ducer Jack  Rose.  Director  Michael  Moore.  Drama. 
Biography  of  the  famous  Jimmy  Walker,  mayor  of  N.Y. 
from  1925  to  1932.  105  min. 

BUSTER  KEATON  STORY,  THE  VistaVision,  Technicolor. 
Donald  O'Connor,  Ann  Blyth,  Rhonda  Fleming.  Pro- 
ducers Robert  Smith,  Sidney  Sheldon.  Director  Sidney 
Sheldon.  Drama.  Life  of  the  great  comedian. 
DELICATE  DELINQUENT,  THE  Jerry  Lewis,  Darren  Mc- 
Gavin,  Martha  Hyer.  Producer  Jerry  Lewis.  Director 
Don  McGuire.  Janitor  longs  to  be  police  officer  so  he 
can  help  delinquents.  101  min. 

GUNFIGHT  AT  O.K.  CORRAL  VistaVision,  Technicolor. 
Burt  Lancaster,  Kirk  Douglas,  Rhonda  Fleming.  Pro- 
ducer Hal  Wallis.  Director  John  Sturges.  Western. 
Drunken   badman   hunts  for  murderer  of  his  cheating 

brother    122  min. 

JOKER  IS  WILD,  THE  VistaVision,  Technicolor.  Frank 
Sinatra,  Mitzi  Gaynor,  Jeanne  Crain.  Producer  Samuel 
Briskin.  Director  Chaj-les  Vidor.  Drama.  Film  biography 
of  Joe  E.  Lewis,  nightclub  comedian. 

LONELY  MAN,  THE  VistaVision,  Technicolor.  Jack  Pa- 
lance,  Anthony  Perkins,  Elaine  Aiken.  Producer  Pat 
Duggan.  Director  Henry  Levin.  Western.  A  gunfighter 
finds  he  is  losing  his  sight — and  his  aim. 


Film     BULLETIN  —  THIS     IS     YOUR  PRODUCT 


SPANISH  AFFAIR  Vista  Vision,  Technicolor  Carmen 
Sevilla,  Richard  Kiley.  Producer  Bruce  Odium.  Director 
Donald  Siegel. 

TEN  COMMANDMENTS,  THE  VistaVision  Technicolor. 
Charlton  Heston,  Yul  Brynner,  Anne  Bax»e>\  Producer- 
director  Cecil  8.  DeMille.  Religious  drama.  Life  storv 

of  Moses  as  told  in  the  Bible  and  Koran.  219  min  10/15 


TIN  STAR,  THE  VistaVision.  Henry  Fonda 
Perkins.  A  PerlSerg-Seaton  Production  Di 
thony  Mann.  V  .  .tern. 


nthony 


November 


A  WOMAN'S  DEVOTION  Trucolor.  Ralph  Meeker 
Janice  Rule,  Paul  Henreid.  Producer  John  Bash.  Direc- 
tor Paul  Henreid.  Drama.  Recurrence  of  Gl's  battle- 
shock  illness  makes  him  murder  two  girls.  88  min.  12/10 
CONGRESS  DANCES.  THE  CinemaScope.  Trucolor 
Johanna  Matz,  Rudolf  Prack.  A  Cosmos-Neusser  Pro- 
duction. Drama.  Intrigue  and  mystery  in  Vienna  durinq 
the  time  of  Prince  Metternich.  90  min. 


December 


ACCUSED  OF  MURDER  Trucolor,  Naturama.  David 
Brian  Vera  Halston.  Melodrama.  Associate  producer- 
director  Joseph  Kane.  Drama.  Two-timing  gangland 
lawyer  is  murdered  by  attractive  girl  singer  74  min 
Wr0^0  »V'!iNNA  Trucolor.  Heinz  Roettinger,  Robert 
Kil hck.  Producer-director  James  A.  Fitzpatrick.  Musi- 
cal Romances  and  triumphs  of  Franz  Shubert,  Johann 
Strauss,  Ludwig  Beethoven  in  the  city  of  music,  Vienna. 

January 

£L°„M  ^  ™!  V!AWS  John  Mills.  John  Gregson, 
Donald  Sinden.  Producer  W.  MacQulrty.  Director  Ralpn 
Thomas.  Drama  M.dget  submariners  attempt  to  sink 
German  battleship  in  WWII.  92  min  1/21 

1whS  S!Mr°N.  Edstman  Color-  D™<*  Farrar. 
tion  np"-i  '  v  ArnAa"'  A  J-  Arthur  Rank  Produc- 
tion. Drama  Young  American  couple  living  in  Lon- 
don have  their  child  stolen.  91  min. 


February 


fonFA'pR^N  """Si  Naturama.  John  Lund,  Doris  Single- 
ton.    Producer  Sidney  Picker.   Director  R.  G  Sprinq- 

ga'mble?^  min       9   hefre"   fa"S   f°'  ^^^9 

Maria   A^h^6  Natura™.   Trucolor.  Anna 

Mana  Alberghetti,  Ben  Cooper.  Associate  producer- 
find  /.fib  J?^^  u^'  Wes*ern-  Son  returns  home  to 
70  min        5  threaiened  by  rustler-turned-rancher. 

March 

EL:S  f?R«!SSR?AuDS   Naturama.     Stephen  McNally. 

.ton9  n-  Ro^rt  Vauhgn-     frod""'  R«dy  Ral- 

ston. Director  Franklin  Adreon.  Western.  Outlaw  cow- 
boy reforms  after  fining  Jesse  James'  gang.  73  min 
SPOILERS  OF  THE  FORREST  Trucolor,  Naturama.  Vera 
Ralston,    Rod    Cameron.    Producer-director   Joe  Kane 
urama.  An  unscrupulous  lumberman  tries  to  coerce  the 

wfrS  °,  1  'arge  forest  acreage  into  cutting  their 
timber  at  a  faster  rate. 


November 

DEATH  OF  A  SCOUNDREL  George  Sanders.  Yvonne 
DeCarlo,  Zsa  Zsa  Gabor.  Producer-director  Gharles 
Martin.  Melodrama.  Tale  of  an  international  financial 
wizard.  I  19  min.  11/12. 

December 

MAN  IN  THE  VAULT  Anita  Ekberg.  Bill  Campbell, 
Karen  Sharpe.  A  Wayne-Fellows  Production.  Director 
Andrew  McLaglen.  Melodrama.  A  young  locksmith  gets 
mvolved  ^w^ith  a   group   engaged   in   illegal  activities. 

January 

BRAVE  ONE,  THE  CinemaScope,  Technicolor.  Michel 
Ray,  Ferrnin  Rivera,  Joy  Lansing  Rudolph  Hoyos.  Pro- 
ducer Frank  &  Maurice  King.  Director  Irving  Rapper. 
Drama.  The  adventures  of  a  young  Mexican  boy  who 
irows  up  with  a  bull  as  his  main  companion  and  friend 
and  how  each  protests  the  other.  100  min.  10/15. 
BUNDLE  OF  JOY  CinemaScope.  Eastman  Color.  Debbie 
Reynolds,  Eddie  Fisher,  Adolph  Meniou.  Producer  Ed- 
mund Grainger.  Director  Norman  Tauroc  Comedy. 
Son  of  department  store  magnet  falls  f"  salesqirl 
98  min.  12/24. 

PUBLIC  PIGEON  NO.  1  Eastman  Color.  Red  Skelton, 
Vivian  Blaine,  Janet  Blair.  Producer  Harry  Tugend.  Di- 
rector Norman  McLeod.  Comedy.  A  trusting  soul 
tangles  with  slick  con  men  and  outwits  them.  79  min. 
YOUNG  STRANGER.  THE  James  MacArthur,  Kim  Hun- 
ter. Producer  Stuart  Miller.  Director  John  Franken- 
heimer.  Drama.  Son  seeks  to  earn  affection  from  his 
parents.  84  min.  2/18. 


February 


CYCLOPS.  THE  James  Craig,  Gloria  Talbot.  Produ 
director  Bert  Gordon.  Science-fiction.  Story  of  a  i 
ster  moon. 


SILKEN  AFFAIR.  THE  David  Niven,  Genevieve  Page, 
Ronald  Squire.  Producer  Fred  Feldkamp.  Director  Roy 
Kelling.  Comedy.  An  auditor,  on  a  kindly  impulse, 
alters  the  accounting  records.  96  min. 

THAT  NIGHT  John  Beal,  Augusta  Dabney,  Sbepperd 
Strudwick.  Producer  Hiram  Brown.  Director  John 
Newland.  Drama.  A  tragedy  almost  shatters  a  15- 
year-old  marriage. 

X— THE  UNKNOWN  Dean  Jagger,  William  Russell. 
Producer  A.  Hinds.  Director  Leslie  Norman.  Science- 
fiction.  Keen  minded  scientist  fights  awesome  creation. 


March 


Coming 


CARTOUCHE  Richard  Basehart,  Patricia  Roc.  Producer 
John  Nasht.  Director  Steve  Sekelv.  Adventure.  The 
story  of  a  lusty  adventurer  during  the  reign  of  Louis 
XVI. 

DAY  THEY  GAVE  BABIES  AWAY.  THE  Eastman  Color. 
Glynis  Johns,  Cameron  Mitchell,  Rex  Thompson.  Pro- 
ducer Sam  Weisenthal.  Director  Allen  Reisner.  Drama. 
ESCAPADE  IN  JAPAN  Color.  Teresa  Wright,  Cameron 
Mitchell,  Jon  Provost,  Roger  Nakagaws.  Producer-direc- 
tor Arthur  Lubin.  Search  for  two  boys  who  start  out 
in  the  wrong  direction  to  find  the  very  people  who 
are  trying  to  find  them. 

GIRL  MOST  LIKELY.  THE  Eastman  Color.  Jane  Powell, 
Cliff  Robertson,  Keith  Andes.  Producer  Stanley  Rublin. 
Director  Mitchell  Leison.  Comedy.  A  girl  is  proposed 
to  by  three  men  on  the  same  day. 

I  MARRIED  A  WOMAN  George  Gobel,  Diana  Dors, 
Adolph  Menjou.  Producer  William  Bloom.  Director  Hal 
Kanter.  Coemdy.  Wife  objects  to  taking  second  place 
to  a  beer  advertising  campaign  with  her  husband. 
JET  PILOT  Technicolor,  SuperScope.  John  Wayne, 
Janet  Leigh.  Howard  Hughes  Production.  Producer 
Ju'es  Furthman  Director  Josef  von  SternBero.  Drama. 
I  19  min. 

RUN  OF  THE  ARROW  Eastman  Color.  Rod  Steiger, 
Sarita  Montiel,  Ralph  Meeker.  Producer-director  Sam 
Fuller.  Adventure.  Young  sharpshooter  joins  Sioux 
Indians  at  close  of  Civil  War. 

UNHOLY  WIFE.  THE  Oolor.  Diana  Dors,  Kod  Steiger, 
Marie  Windsor.  Producer-director  John  Farrow.  Drama. 
A  wife  sunningly  plots  the  death  of  her  husband  who 
she  has  betrayed. 

VIOLATORS.  THE  Arthur  O'Connell,  Nancy  Malone. 
Producer  H.  Brown.  Director  Jehn  Newland.  Drama. 
Story  of  a  probation  officer  in  the  New  York  City 
courts. 


20TH  CENTURY-FOX 


November 


DESPERADOS  ARE  IN  TOWN.  THE  Robert  Arthur,  Rex 
Reason,  Cathy  Nolan.  Producer-director  K.  Neumann. 
Western.  A  teen-age  farm  boy  join  an  outlaw  gang. 
73  min.  I  1/26. 

LOVE  ME  TENDER  CinemaScope.  Elvis  Presley.  Richard 
Egan,  Debra  Paget.  Producer  D.  Weisbart.  Director  R. 
Webb.  Drama.  Post-civil  war  story  set  in  Kentucky 
locale.  89  min.  I  1/26. 

OKLAHOMA  CinemaScope.  Technicolor.  Gordon  Mac- 
Rae,  Gloria  Grahame,  Shirley  Jones.  Producer  A.  Horn- 
blow,  Jr.  Director  Fred  Zinnemann.  Musical.  Filmiza- 
tion  of  the  famed  Broadway  musical.  140  min. 


December 


ANASTASIA  CinemaScope,  DeLuxe  Color.  Ingrid  Berg- 
man, Yul  Brynner,  Helen  Hayes.  Producer  Buddy  Adler. 
Director  A.  Litvak.  Drama.  Fiimization  of  famous 
Broadway  play.  105  min.  12/24. 

BLACK  WHIP,  THE  Hugh  Marlowe,  Adele  Mara.  Pro- 
ducer R.  Stabler.  Director  M.  Warren.  Drama.  Outlaw 
has  black  whip  as  trademark.  77  min. 
GIRL  CAN'T  HELP  IT,  THE  CinemaScope,  De  Luxe 
Color.  Tom  Ewell,  Jayne  Mansfield.  Producer-director 
Frank  Tashtin.  Comedy.  Satire  on  rock  'n'  roll.  97 
min.  I/T. 

OASIS  CinemaScope,  Color.  Michele  Morgan,  Cornell 
Borchers.  Producer  Ludwig  Waldleitner  and  Gerd  Os- 
wald. Director  Yve-s  Allgret.  Drama.  Gold  smuggler 
falls  in  love  with  lady  sent  to  kill  him.  Violent  ending. 
84  min.  1/21. 

WOMEN  OF  PITCAIRN  ISLAND  CinemaScope.  James 
Craig,  John  Smith,  Lynn  Bari.  Regal  Films  Production. 
Director  Jean  Warbrough.  Drama.  72  min. 


January 


OUIET  GUN.  THE  Regalscope.  Forrest  Tucker,  Mara 
Corday.  Producer-director  Anthony  Kimmlns.  Western. 
Laramie  sheriff  clashes  with  notorious  gunman.  77  min. 
THREE  BRAVE  MEN  CinemaScope.  Ray  Mllland,  Ernest 
Borgnine.  Producer  Herbert  Swope,  Jr.  Director  Philip 
Dunne.  Drama.  Government  employee  is  wronged  by 
too-zealous  pursuit  of  security  program.  88  min.  1/21. 


February 


BEAUTIFUL  BUT  DANGEROUS  Gina  Lotlobrigida,  Vit- 
torio  Gassman.  Producer  Manuella  Malotti.  Director 
Robert  Leonard.  Drama. 

OH.  MEN  I  OH,  WOMENI  CinemaScope,  Color.  Dan 
Dairy,  Ginger  Rogers,  David  Niven.  Producer-director 
Nunnally  Johnson.  Comedy.  A  psychiatrist  finds  out 
somethings  he  didn't  know. 

THE  TRUE  STORY  OF  JESSIE  JAMES  CinemaScope. 
Robert  Wagner,  Jeffrey  Hunter.  Producer  Herbert 
Swope,  Jr.  Director  Nicholas  Ray.  Western.  The  lives 

and  times  of  America's  outlaw  gang.  92  min.  2/18. 
TWO   GROOMS   FOR  A   BRIDE   Virginia    Bruce.  John 
Carroll.  Producer  Robert  Baker,  Monty  Berman.  Direc- 
tor Henry  Cass.  Comedy. 


HEAVEN  KNOWS  MR.  ALLISON  CinemaScope  De 
Color.    Deborah    Kerr,     Robert    Mitchum.  Produc 
Buddy   Adler,    Eugene   Frenke.   Director  John  Hu 
Drama.  Soldier  is  saved  by  nun  in  South  Pacific  du 
World  War  II. 

RIVER'S  EDGE,  THE  CinemaScope,  Color.  Ray  Mill 
Anthony  Quinn,  Debra  Paget.  Producer  Ben 
Bogeans.  Director  Allan  Dwan.  Adventure.  Story 
professional  killer. 

STORM  RIDER,   THE   Scott   Brady,    Mala  Powers 
Brady-Glasser    production.    Director    Edward  Bern 
Western.  A  dust  storm  brings  a  stranger  to 
western  town. 


April 


CHINA  GATE   Nat   "King"   Cole.   Gene   Barry,  An 
Dickinson.  Producer-director  S.  Fuller.  Drama. 
KRONOS  Jeff  Morrow,  Barbara  Lawrence,  John  Erne 
Producer-director  Kurt  Neumann.  Drama. 

Coming 

ALL  THAT  I  HAVE  Walter  Brennan. 


BERNADINE   Terry    Moore,    Pat   Boone,  Janet 
Producer  Sam  Engel,  Director  H.  Levin. 

BOY  ON  A  DOLPHIN  CinemaScope,  DeLuxe  Col 
Clifton  Webb,  Alan  Ladd,  Sophia  Loren.  Produ 
Engel.  Director  Jean  Negulesco.  Cdmedy.  Roman 
tale  with  a  Greek  background. 


ISLAND    IN    THE   SUN    CinemaScope,    DeLuxe  Co 
James  Mason,  Joan  Fontaine,  Dorothy  Dandridge. 
ducer  DarryJ  Zanuck.  Director  Robert  Rossen.  Dra 

LURE  OF  THE  SWAMP  William  Parker,  Skippy  Home! 
Marshall  Thompson. 

RESTLESS  BREED,  THE   Eastman  Color.   Scott  Brad 
Anne  Bancroft.  Producer  E.  A.  Alperson.  Director 
Dwan. 

SEA  WIFE  CinemaScope,  DeLuxe  Color.  Richard 
ton,  Joan  Collins.  Producer  Andre  Hakim.  Director 
McNaught.  Drama.  Ship  is  torpedoed  by  Jay  submarin 
off  Singapore  harbor. 


SMILEY  CinemaScope,  Eastman  Color.  Sir  Ralph  Ri 
ardson,    John    McCallum,    Colin    Peterson.  Produc 
director  Anthony  Kimmins.  Drama.  Young  Aussii 
has  burning  desire  to  own  bicycle.  97  min.  2/18. 

THREE  FACES  OF  EVE,  THE  David  Wayne,  Joann 
Woodward.  Producer  Nunnally  Johnson. 

WAY  TO  THE  GOLD,  THE  Sheree  North,  Barry  Su 
Jeffrey  Hunter.  Producer  David  Weisbart.  Director 
Webb. 


UNITED  ARTISTS 


November 

GUN  THE  MAN  DOWN  James  Arness,  Angle  Di 
son,  Robert  Wilke.  Producer  Robert  Morrison.  Directo 
A.  V.  McLaglen.  Western.  Young  western  gunma; 
revenge    on    fellow    thieves    who    desert  him 
wounded.  78  min. 

PEACEMAKER,  THE  James  Mitchell,  Rosemarie  Bowe 
Jan  Merlin.  Producer  Hal  Makelim.  Director  Ted  Post. 
Western.  A  clergyman  trys  to  end  feud  between  cattl 
men  and  farmers.  82  min.  11/26. 
RUNNING  TARGET  Deluxe  Color.  Doris  Dow 
Arthur  Pranz,  Richard  Reeves.  Producer  Jack  Cou 
Director  Marvin  Weinstein.  Melodrama.  Escaped 
fives  are  chased  by  local  townspeople  and  officer 
the  law.  83  min.  11/12. 
SHARKFIGHTERS,  THE  CinemaScooe,  Color.  Victor 
Mature,  Karen  Steele.  Produc-r  Samuel  Goldwyn,  Jr. 
Director  Jerry  Hopper.  Drar  Saga  of  the  Navy's 
"underwater-men".  73  min.  I0;l'f. 

December 

BRASS  LEGEND.  THE  Hugh  O'Brien.  Raymond  Burr, 
Nancy  Gates.  Western.  Producer  Bob  Goldstein.  Di- 
rector Gerd  Oswald.  Western.  79  min. 
DANCE  WITH  ME  HENRY  Bud  Abbott,  Lou  Costello. 
Producer  Robert  Goldstein,  Director  Charles  Barton. 
Comedy.  79  min.  12/24. 

KING  AND  FOUR  QUEENS,  THE  CinemaScope,  Color. 
Clark  Gable,  Eleanor  Parker,  Jo  Van  Fleet,  Jean  Willis, 
Barbara  Nichols,  Sara  Shane.  Producer  David  Hemp- 
stead. Director  Raoul  Walsh.  Western.  86  min.  1/7. 
WILD  PARTY.  THE  Anthony  Ouinn,  Carol  Ohmart,  Paul 
Stewart.  Producer  Sidney  Harmon.  Director  Harry 
Horner.  Drama.  Hoodlum  mob  take  over  a  Naval  offi- 
cer and  his  fiancee.  81  min.  12/10 

January 

BIG  BOODLE,  THE  Errol  Flynn,  Rossana  Rory.  A  Lewis 
F.  Blumberg  Production.  Director  Richard  Wilson.  Ad- 
venture. A  blackjack  dealer  in  a  Havana  nightclub  is 
accused  of  being  a  counterfeiter.  83  min.  2/4. 


Film     BULLETIN  —  THIS     IS     YOUR  PRODUCT 


VE  STEPS  TO  DANGER  Ruth  Reman,  Sterling  Hayden. 

t     Grand    Production.    Director    Henry    Keller  Drama, 
woman  tries  to  five  FBI  highly  secret  material  stolen 

Bpffl  Russians.  80  min.  2/4. 

ALLIDAY  BRAND,  THE  Joseph  Corten,  Viveca  Lind- 
rs,  Betsy  Blair.  Producer  Collier  Young.  Director 
iseph  Lewis.  Western.  Inter-family  feud  threatens 
ther  and  son  with  disaster.  77  min.  2/4. 

February 

RIME    OF    PASSION     Barbara     Stanwyck,  Sterling 
•   eyden,  Raymond  Burr.  Producer  Herman  Cohen.  Di- 
ictor  Gerd  Oswald.  Drama.  Newspaper  woman  whose 

■nbition  for  her  husband  leads  to  murder.  85  min.  1/7. 
RA4JGO  Jeff  Chandler.  Joanne  Dru.  An  Earlmar  Pro- 
uttion.  Hall  Barflett  producer-director.  Adventure, 
nion  officers  try  to  bring  order  to  a  Southern  town 
Iter  the  Civil  War.  92  min. 

I  EN  IN  WAR  Robert  Ryan.  Aldo  Ray,  Robert  Keith, 
roducer  Sidney  Harmon.  Director  Anthony  Mann, 
rema  An  American  infantry  platoon  isolated  in  enemy 
•rritory  tries  to  retreat  during  the  Korean  War. 
i  01  min.  2/4. 

OMAHAWK  TRAIL  John  Smith,  Susan  Cummings.  A 
el  Air  Production.  Director  Robert  Parry.  Western 
k)wboy  versus  Indians.  A  small  band  of  cavalry 
oldiers,  greatly  outnumbered,  battles  with  Apache 
.  ndians  at  close  of  the  Civil  War.  61  min 

ODOO  ISLAND  Boris  Karloff.  Beverly  Tyler.  A  Bel 
;  dr  Production.  Director  Reginald  Le  Borg.  Horror. 
jWlter  is  called  upon  to  investigate  vodooism  on  a 
l  acific  isle.  74  min. 

March 

IACHELOR  PARTY,  THE  Don  Murray,  E.  G.  Marshall, 
ack  Warden.  Producer  Harold  Hecht.  Director  Delbert 
*<fann.   Drama.   From  the  famous  television  drama  by 
'addy  Chayefsky. 

)ELI  NOUENTS.  THE  Tommy  Laughlin,  Peter  Miller, 
)ick  Bakalyan.  Imperial  Productions.  Robert  Airman 
tJirector.  High  school  student  and  his  girl  victimized 
>y  a  teen-age  gang.  71  min. 

HIDDEN  FEAR  John  Payne,  Natalie  Norwick.  A  St. 
Aubrey-Kohn  Production.  Director  Andre  de  Toth. 
)rama  Police  officer  attempts  to  clear  sister  charged 
»ith  murder. 

HIT  AND  RUN  Qeo  Moore,  Hugo  Haas.  Producer,  di- 
rector Hugo  Haas.  Middle-aged  widower  marries  show 
girl.  She  and  her  boy  friend  plot  his  murder.  84  min. 

REVOLT  AT  FORT  LARAMIE  DeLuxe  Color.  John 
Dehner,  Diana  Brewster.  Producer  Howard  Koch.  Di- 
rector Lesley  Selander.  Western.  Civil  War  story  of 
soldiers  who  are  attacked  by  Indians.  73  min. 

April 

GIRL  IN  BLACK  STOCKINGS.  THE  Lex  Barker,  Anne 
Bancroft,  Mamie  Van  Doren.  A  Bel-Air  Production.  Di- 
rector Howard  Koch.  Drama.  A  series  of  sex  slayings 
terrorize  western  resort. 

MONTE  CARLO  STORY,  THE  Technirama,  Color.  Mar- 
lene  Dietrich,  Vittorio  De  Sica.  A  Titanus  Film.  Sam 
Taylor  director.  Drama.  A  handsome  Italian  nobleman 
with  a  love  for  gambling  marries  a  rich  woman  in 
order  to  pay  his  debts. 

Coming 

BAILOUT  AT  43.000  John  Payne,  Karen  Steele.  A  Pine- 
Thomas  Production.  Director  Francis  Lyon.  U.S.  Air 
Force  pioneers  bailout  mechanism  for  jet  pilots. 
BIG  CAPER.  THE  Rory  Calhound.  Mary  Costa.  Pine- 
Thomas  Production.  Director  Robert  Stevens.  Multi- 
million  dollar  payroll  robbery. 

CARELESS  YEARS,   THE   Natalie  Trundy,   Dean  Stock- 
well.  Producer  Edward  Lewis.  Director  Arthur  Hiller. 
IRON  SHERIFF.  THE  Sterling   Hayden,,   John  Dehner, 
Constance   Ford.    Producer  Jerome   Robinson.  Director 
Sidney  Salkow. 

LONELY  GUN,  THE  Anthony  Ouinn,  Katy  Jurado.  Pro- 
ducer Robert  Jacks.  Director  Harry  Horner. 
MONSTER   THAT    CHALLENGED    THE    WORLD.  THE 

Science-fiction.  Deals  with  a  prehistoric  sea  monster. 
OUTLAW'S  SON   Dane  Clark,   Ben  Cooper,   Lori  Nel- 
son. Bel  Air  Production.  Director  Lesley  Selander.  Gun- 
slinger   escapes   from   jail   to   save   son    from    life  of 
crime. 

PHAROAH'S  CURSE  Ziva  Shapir,  Mark  Dana.  Producer 
Howard  Koch.  Director  Lea  Sholem.  Horror.  Reincar- 
nation of  mummies  in  Egyptian  tombs.  44  min.  2/18 
PRIDE  AND  THE  PASSION.  THE  VistaVision,  Techni- 
color. Cary  Grant,  Frank  Sinatra,  Sophia  Loren.  Pro- 
ducer-director Stanley  Kramer.  Drama.  A  Spanish 
guerrilla  band  marches  an  incredible  distance  with  a 
sOOO  pound  cannon  during  Spanish  War  of  Independ- 
ence of  1810. 

SAVAGE  PRINCESS  Technicolor.  Dilip  Kumar,  Nimmi. 
A  Mehboob  Production.  Musical  Drama.  A  princess 
Falls  in  love  with  a  peasant  who  contests  her  right 
to  rule  the  kingdom.  101  min. 

STREET  OF  SINNERS  George  Montgomery,  Geraldine 
Brooks.  Producer  William  Berke.  Rookie  policeman 
clashes  with  youthful  criminals. 

SPRING  REUNION  Betty  Hutton,  Dana  Andrews,  Jean 
Hagen.  Director  Robert  Pirosh.  Producer  Jerry  Bresler. 
Comedy.  7?  min. 

fROOPER  HOOK  Joel  McCrea,  Barbara  Stanwyck,  Ed- 
ward Andrews.  Producer  Sol  Fielding.  Director  Marquis 
Warren.  A  white  woman,  forced  to  live  as  an  Indian 
Ohief's  squaw,  is  finally  rescued  and  tries  to  resume 
life  with  husband. 

12  ANGRY  MEN  Henry  Fonda,  Lee  J.  Cobb  Jack 
Warden.  An  Orion-Nova  Production.  Director  Sidney 
Lumet.  Drama.  Jury  cannot  agree  on  a  verdict. 


U  N  I  VERSA  L- 1  NT'  L 


November 

UNGUARDED  MOMENT.  THE  Technicolor  Esther  Wil- 
liams, George  Nader.  Producer  Gordon  Kay.  Director 
Harry  Keller.  Drama.  High  school  teacher  is  almost 
criminally  assaulted  by  student.  IS  min.  9/3. 

December 

CURCU.  BEAST  OF  THE  AMAZON  Eastman  Color.  John 
Bromfield,  Beverly  Garland.  Producers  Richard  Kay, 
Harry  Rybnick.  Director  Curt  Siodnak.  Horror.  Young 
woman  physician,  plantation  owner  and  his  workers 
are  terrorized  by  mysterious  juggle  beast. 

EVERYTHING  BUT  THE  TRUTH  Technicolor.  Tim  Hovey, 
Maureen  O'Hara,  John  Forsythe.  Producer  Howard 
Christie.  Director  Jerry  Hopper.  Comedy.  Young  stu- 
dent gets  mixed  up  with  "lies".  83  min.  11/12. 

MOLE  PEOPLE.  THE  John  Agar,  Cythia  Patrick.  Pro- 
ducer William  Alland.  Director  Virgil  Vogel.  Horror. 
Scientific  expedition  in  Asia  discover  strange  men. 

January 

FOUR  GIRLS  IN  TOWN  CinemaScope,  Technicolor. 
George  Nader,  Julie  Adams,  Marianne  Cook.  Producer 
A.  Rosenberg.  Director  Jack  Sher.  Drama.  Movie  studio 
promotes  world-wide  talent  hunt  to  find  a  new  star. 
85  min.  12/10 

ROCK,  PRETTY  BABY  Sal  Mineo,  John  Saxon,  Luana 
Patten.  Producer  Edmund  Chevie.  Director  Richard 
Bartlett.  Musical.  Rock  n'  roll  story  of  college  combo. 
8?  min.  I  1/24. 

WRITTEN  ON  THE  WIND  Technicolor.  Rock  Hudson, 
Lauren  Bacall,  Robert  Stack.  Producer  Albert  Zug- 
smith.  Director  Douglas  Sirk.  Drama.  Oil  tycoon  meets 
violent  death  because  of  jealousy  for  wife.  99  min.  10/1 

February 

GREAT  MAN,  THE  Jose  Ferrer,  Mona  Freeman,  Dean 
Jagger.  Producer  Aaron  Rosenberg.  Director  Jose  Fer- 
rer. Drama.  The  life  and  death  of  a  famous  television 
idol.  92  min.  11/2-6. 

ISTANBUL  CinemaScope,  Technicolor.  Errol  Flynn,  Cor- 
nell Borchers.  Producer  Albert  Cohen.  Director  Joseph 
Pevney.  Adventure.  Diamond  smugglers  in  mysterious 
Turkey.  84  min.  1/21. 

NIGHT  RUNNER,  THE  Ray  Danton,  Cqlleen  Miller.  Pro- 
ducer Albert  Cohen.  Director  Abner  Blberman.  Drama. 
Mental  hospital  inmate  is  released  while  still  in  dan- 
gerous condition. 

March 

BATTLE  HYMN  Technicplor,  CinemaScope.  Rock  Hud- 
son, Martha  Hyer,  Dan  Duryea.  Producer  Ross  Hunter. 
Director  Douglas  Sirk.  Drama.  Pilot  redeems  sense  of 
guilt  because  of  bombing  of  an  orphanage  by  saving 
other  orphans.  108  min.  12/24. 

GUN  FOR  A  COWARD  astman  Color,  CinemaScope. 
Fred  MacMurray,  Jeffrey  Hunter,  Janice  Rule.  Pro- 
ducer William  Alland.  Director  Abner  Biberman.  Wes- 
tern. Three  brothers  run  a  cattle  ranch  after  death  of 
their  father.  88  min.  1/7. 

MISTER  CORY  Eastman  Color,  CinemaScope.  Tony 
Curtis,  Martha  Hyer,  Charles  Bickford.  Producer 
Robert  Arthur.  Director  Blake  Edwards.  Drama.  Gam- 
bler from  Chicago  *Jums  climbs  to  wealth  and  re- 
spectability. 92  min.  1/21. 

A  pril 

INCREDIBLE  SHRINKING  MAN,  THE  Grant  Williams, 
Randy  Stuart.  Producer  Albert  Zugsmith.  Director  Jack 
Arnold.  Science-fiction.  The  story  of  a  man  whose 
growth  processes  have  accidently  been  reversed. 
81  min.  2/4. 

KELLY  AND  ME  CinemaScope,  Technicolor.  Van  John- 
son, Piper  Laurie,  Martha  Hyer.  Producer  Robert  Ar- 
thur. Director  Robert  Leonard.  Drama.  Story  of  dog- 
act  in  show  business  in  the  early  I930*s.  2/4. 
TATTERED  DRESS,  THE  CinemaScope.  Jeff  Chandler, 
Jeannie  Crain,  Jack  Carson.  Producer  Albert  Zugsmith. 
Director  Jack  Arnold.  Melodrama.  Famous  criminal 
lawyer  gains  humility  when  put  on  trial  himself. 

Coming 

APPOINTMENT  WITH  A  SHADOW  CinemaScope.  Tony 
Curtis,  Marisa  Pavan.  Producer  Robert  Arthur.  Director 
Joseph  Pevney.  Drama.  Rookie  cop  seeks  murderer  of 
parish  priest. 

DEADLY  MANTIS,  THE  Craig  Stevens,  Alix  Talton.  Pro- 
ducer William  Alland.  Director  Jerry  Juran.  Horror. 
Monstrous  creature  threatens  to  destroy  U.S. 
INTERLUDE  Technicolor,  CinemaScope.  June  Allyson, 
Rossano  Brazzi.  Producer  Ross  Hunter.  Director  Douglas 
Sirk.  American  doctor  falls  in  love  with  wife  of  fa- 
mous composer  in  Munich. 

JOE  BUTTERFLY  CinemaScope,  Technicolor.  Audie 
Murphy,  George  Nader,  Keenan  Wynn.  Producer 
Aaron  Rosenberg.  Director  Jessie  Hibbs.  ?tory  of 
American  newsmen  in  Tokyo  after  Japanese  surrender. 
JOE  DAKOTA  Color.  Jock  Mahoney,  Luana  Patten.  Pro- 
ducer Howard  Christie.  Director  Richard  Bartlett. 
Drama.  Stranger  makes  California  oil  town  see  the 
error  of  its  ways. 

LAND  UNKNOWN,  THE  Jock  Mahoney,  Shawn  Smith. 
Producer  William  Alland.  Director  Virgil  Vogel. 
Science-fiction.  Polar  expedition  finds  Mesozoic  age 
in  Antartic  expedition. 

MAN  AFRAID  CinemaScope.  George  Nader,  Phyllis 
Thaxter,  Tim  Hovey.  Producer  Gordon  Kay.  Director 
Harry  Keller.  Father  saves  life  of  man  attempting  to 
murder  his  son. 


MAN  OF  A  THOUSAND  FACES  CinemaScope.  James 
Cagney,  Dorolhy  Malone.  Producer  Robert  Arthur.  Di- 
rector Joseph  Pevney.  Drama.  Life  story  of  Lon  Chaney. 

NIGHT  PASSAGE  Technirama.  James  Stewart,  Audie 
Murphy,  Dan  Duryea.  Producer  A.  Rosenberg.  Director 
James  Neilsr>n.  Drama.  Payroll  robbers  are  foiled  by 
youngster  and  tough-fisted  railroader. 

PAY  THE  DEVIL  CinemaScope.  Jeff  Chandler,  Orson 
Welles.  Producer  Albert  Zugsmith.  Director  Jack  Ar- 
nold.   Drama.    Sheriff  destroys  one-man   domination  of 

pUANTEZ  CinemaScope.  Eastman  Color.  Fred  Mac- 
Murray  Dorothy  Malone.  Producer  Gordon  Kay.  Direc- 
tor Harry  Keller.  Drama.  A  study  of  five  people  in- 
volved in  a  robbery  and  killing. 

TAMMY  CinemaScope,  Technicolor.  Debbie  Reynolds. 
Leslie  Nielson.  Producer  Aaron  Rosenb'jro.  Director 
Joe  Pevney.  Story  of  a  young  girl,  her  grandfather  and 
a  young  man  who  falls  in  love  with  her.  89  min. 


WARNER  BROTHERS 


November 

GIANT  WarnerColor.  Elizabeth  Taylor,  Rock  Hudson. 
James  Dean.  Producer-director  George  Stevens.  Drama. 
Based  on  the  famous  novel  by  Edna  Ferber.  The  story 
of  oil,  cattle  and  love  in  the  Southwest  during  WWII. 
201  min.  10/15. 

GIRL  HE  LEFT  BEHIND,  THE  Tab  Hunter.  Natalie 
Wood.  Producer  Frank  Rosenberg.  Director  David 
Butler.  Drama.  Army  turns  immature  boy  into  man 
103  min.  10/29. 

December 

BABY  DOLL  Karl  Maiden,  Carroll  Baker,  Eli  Wallach. 
A  Newton  Production.  Producer-director  Elia  Kazan. 
Drama.  Story  of  a  gin-mill  proprietor  and  a  beautiful 
girl.  1 14  min.  12/24. 

January 

WRONG  MAN.  THE  Henry  Fonda,  Vera  Miles.  Anthony 
Ouayles.  Producer-director  Alfred  Hitchcock.  Drama. 
Bass  fiddle  player  at  Stork  Club  is  prime  suspect  in 
murder  case.  105  min.  1/7. 

February 

BIG  LAND.  THE  WarnerColor.  Alan  Ladd,  Virginia 
Mayo.  A  Jaguar  Production.  Director  Gordon  Douglas. 
Western.  Cattlemen  fight  to  move  their  herds  to 
distant  railroads.  93  min.  2/4. 

TOP  SECRET  AFFAIR  Kirk  Douglas,  Susan  Hayward. 
Producer  Martin  Rackin.  Director  H.  C.  Potter.  Come- 
dy. A  lovely  lady  calls  the  bluff  of  an  Army  General. 
93  min.  2/4. 

March 

PARIS  DOES  STRANGE  THINGS  Technicolor.  Ingrid 
Bergman,  Mel  Ferrer,  Jean  Marais.  A  Franco-London 
Rim.  Director  Jean  Renoir.  Drama.  Tale  of  the  exiled 
widow  of  a  Polish  Prince. 

A  pril 

SPIRIT  OF  ST.  LOUIS,  THE  CinemaScope,  Warner- 
Color. James  Stewart,  Rena  Clark.  Producer  Leland 
Hayward.  Director  Billy  Wilder.  Drama.  The  story  of 
the  first  man  ever  to  cross  the  Atlantic  in  a  plane. 

Coming 

A  FACE  IN  THE  CROWD  Andy  Griffith.  Patricia  Neal. 
Producer-director  Ella  Kazan.  Drama. 
LAFAYETTE  ESCADRILLE  CinemaScope.  WarnerColor 
Tab  Hunter,  Etchlka  Choureau,  J.  Carrol  Naish.  Drama. 
PRINCE  AND  THE  SHOWGI3L,  THE  Color.  Marilyn 
Monroe,  Laurence  Olivier,  Dame  Sybil  Thorndyke. 
Producer-director  Laurence  Olivier.  Comedy. 
UNTAMED  YOUTH  Mamie  Van  Doren. 


To  Better  Serve  You  .  .  . 

Office  &  Terminal  Combined  At 
305  N.  12th  St.  New  Phone. 

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BULLETIN  —  THIS     IS     YOUR  PRODUCT 


V7KXM  I    I  MLCiM  I   IVlMIVEa  V7RCH I    riV  I  UKES 


Script  conference  for  "The  Helen  Morgan  Story,"  based  on 
fabulous  career  of  famed  torch  singer,  brings  co-stars  Ann 
Blyth  and  Paul  Newman  together  in  meeting  with  producer 
Martin  Rackin,  director  Michael  Curtiz.  (CinemaScope) 


Jack  L.  Warner  and  Benjamin  Kalmenson,  executive  vice-fi 
ident  Warner  Bros.  Pictures,  Inc.  (right)  congratulate* 
stars  Doris  Day,  John  Raitt  and  George  Abbott,  Stanley  || 
nen  on  completion  of  "The  Pajama  Game"  filming.  Abbt 
Donen  production  of  famed  Broadway  musical  hit  was! 
rected  by  Abbott  and  Donen  from  screenplay  by  AM 
and  Richard  Bissell.  Frederick  Brisson,  Robert  E.  GrifiJ 
Harold  S.  Prince  are  production  associates.  (WarnerCoft 


It's  back  to  deep  South  of  Civil  War  era  for 
Clark  Gable,  shown  here  with  co-star  Yvonne 
DeCarlo,  in  "Band  of  Angels,"  explosive  romantic 
drama  based  on  Robert  Penn  Warren  best-seller. 
Raoul  Walsh  directs  picture,  now  locationing  in 
Baton  Rouge,  Louisiana,  from  screenplay  by 
John  Twist  and  Ivan  Goff  and  Ben  Roberts. 


Star  Andy  Griffith  and  producer-director  Mervyn 
LeRoy  study  script  of  "No  Time  for  Sergeants" 
as  filming  starts  on  laugh  hit  which  has  convulsed 
world  as  novel  and  Broadway  audiences  as  com- 
edy stage  success.  Hilarious  tale  being  brought 
to  screen  as  LeRoy  production  with  Griffith  play- 
ing original  stage  role.  John  Lee  Mahin  wrote 
the  screenplay  based  on  Mac  Hyman  novel. 


Satan,  played  by  Vincent  Price,  is  up  a  tree 
in  argument  with  Spirit  of  Man,  enacted  by 
Ronald  Colman,  in  "The  Story  of  Man- 
kind." More  than  50  famous  name  players 
appear  in  film  based  on  Hendrik  Van  Loon's 
nternational  best-seller.  Picture  is  pro- 
duced, directed  by  Irwin  Allen,  who  also 
wrote  screenplay  with  Charles  Bennett. 
(WarnerColor,  print  by  Technicolor) 


Co-stars  Karl  Maiden,  Natalie  Wood,  Efrem 
Zimbalist,  Jr.,  watch  spectacular  takeoff  of 
sky-giant  (above)  during  March  Field  loca- 
tion filming  of  "Bombers  B-52."  Thrilling 
scenes  of  globe-girdling  B-52s,  mightiest 
weapon  of  U.S.  Air  Force,  highlight  drama 
directed  by  Gordon  Douglas,  produced  by 
Richard  Whorf  from  screenplay  by  Irving 
Wallace.  (CinemaScope  and  WarnerColor) 


WE'RE    DOING   THINGS   HERE   AT   WARNER  BROS. 


1% 

BULLETIN 


HARCH  18,  1957 


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AN  ANNOUNCEMENT  FROM  20th  CENTURY- FOX 


DUAL 

ENGAGEMENT 
NOW 


THEATRE 
New  York 

A 

THEATRE 
Los  Angeles 


¥ 


Produced  by 

Buddy  Adler 
Eugene  Frenke 

by  JohnHuston 

Screenplay  by  John  Lee  Mahin  and  John  Huston 


Directed 


viewpoints 

MARCH  18,   1957       *  VOLUME  25,  NO.  6 


JMirv  ###>/// 
lo  Build 

Business 

The  foreword  to  the  39-page  re- 
port of  the  Joint  COMPO-MPAA- 
TOA  Business  Building  Committee 
refers  to  "a  project  that  has  been  the 
center  of  the  thoughts,  the  energies 
and  the  hopes  of  the  industry's  ad- 
vertising and  publicity  men — both 
distribution  and  exhibition — for  the 
last  nine  months." 

Actually,  the  problem  of  building 
theatre  motion  picture  business  has 
occupied  industry  attention  for  a 
good  deal  longer  than  nine  months. 
What  makes  the  Joint  Committee's 
report  more  noteworthy  than  the 
long  months  of  deliberation  preced- 
ing it  is  the  fact  that  at  last  the  in- 
dustry has  come  to  grips  with  a 
practical  program  seeking  to  stimu- 
late theatre  attendance. 

With  the  exception  of  a  pending 
market  research  survey  for  which 
the  MPAA  hired  an  outside  organi- 
zation, the  people  who  prepared  the 
program  and  the  people  who  will  ad- 
minister it  are  all  connected  with  the 
motion  picture  industry.  The  adver- 
tising agency  which  the  report  pro- 
poses to  handle  a  $320,000  national 
radio  advertising  campaign  is  a  well 
established,  highly  regarded  agency 
with  major  motion  picture  company 
clients.  In  other  phases  of  the  pro- 
gram, such  as  visits  by  industry  rep- 
resentatives to  newspaper  editors, 
there  is  no  specific  identification  of 
the  people  who  would  do  the  job. 

The  question  raised  here  is  a  very 
basic  one.  While  COMPO  very 
properly  has  served — and  should 
continue  to  serve — as  a  coordinating 
agency  and  a  central  office  for  much 
of  the  work,  the  proposal  made  in 
the  report  is  that  a  national  operat- 
ing committee  from  exhibition, 
MPAA  and  COMPO  be  appointed 
to  conduct  the  program  through 
COMPO.   This  presupposes  a  con- 


tinuing division  of  time  by  commit- 
tee members  between  their  own 
company's  assignments  and  the  in- 
dustry-wide business-building  pro- 
gram, just  as  elsewhere  the  radio 
concept  suggests  an  agency  which 
will  serve  both  the  entire  industry 
and  its  individual  accounts. 

The  report  is  emphatic  in  insisting 
that  the  radio  "campaign  be  handled 
nationally.  Nevertheless,  before  the 
buy  is  made,  local  exhibitors  would 
be  advised  so  that  they  can  get  up 
'plus'  treatment."  This,  it  seems  to 
us,  calls  for  an  organization  that 
serves  all  portions  and  segments  of 
the  motion  picture  industry  equally. 

We  believe  that  in  the  long  run 
one  of  the  great  difficulties  in  the 
entire  business-building  project  will 
be  the  degree  to  which  the  industry 
attempts  to  utilize  people  who  are 
already  working  at  full-time  jobs  for 
individual  companies,  whether  dis- 
tribution or  exhibition.  The  task  of 
our  industry's  advertising  manpower 
is  more  difficult  today  than  ever  be- 
fore. They  are  grappling  with  new 
problems,  seeking  new  approaches 
to  the  promotion  of  pictures  as  they 
strive  to  meet  the  vagaries  and 
preferences  of  a  highly  selective 
market.  The  demands  on  their  time 
and  effort  are  enormous.  And  apart 
from  the  conflicting  pressures  of 
time  and  the  special  interests  of  their 
individual  employers,  these  men  all 
have  continuing  special  relationships 
which  must  be  taken  into  account. 
They  deal  with  certain  customers  or 


Film    BULLETIN:    Motion    Picture    Trade  Paper 
published   every  other  Monday  by  Wax  Publi- 
cations,   Inc.     Mo   Wax,    Editor   and  Publisher. 
PUBLICATION-EDITORIAL   OFFICES:    123?  Vine 
Street,  Philadelphia  7,  Pa.,  LOcust  8-0950,  0951. 
Philip    R.    Ward,    Associate    Editor-  Leonard 
Coulter,  New  York  Associate  Editor;  Duncan  G. 
Steck,     Business     Manager;     Marvin  Schiller, 
Publication  Manager;  Robert  Heath,  Circulation 
Manager.    BUSINESS  OFFICE:  522  Fifth  Avenue, 
New    York    36,    N.    Y.,    MUrray    Hill  2-3631; 
Alf  Dinhofer,  Editorial  Representative. 
Subscription  Rates:  ONE  YEAR,   S3. 00 
in  the  U.  S.;  Canada,  $4.00;  Europe, 
S5.00.     TWO    YEARS:    $5.00    in  the 
U.  S.;  Canada,  $7.50;  Europe,  S?.00. 


suppliers;  they  drive  hard  bargains 
with  one  man,  and  find  themselves 
in  the  position  of  providing  some  in- 
dustry help  that  cozies  them  up  with 
this  man's  competitor. 

It  not  intended  as  a  reflection  on 
any  individuals  to  say  that  divided 
allegiance  will  be  inevitable.  A  man 
who  works  for  an  entire  industry 
has  a  different  loyalty  than  the  man 
who  works  for  a  single  company.  It 
would  be  naive  indeed  to  ignore  the 
fact  that  in  our  own  industry  there 
is  plenty  of  industry  politics  and 
plenty  of  intramural  pressure.  Under 
such  circumstances,  wouldn't  the 
wise  thing  be  to  retain  outside  spe- 
cialists responsible  only  to  the  in- 
dustry as  a  whole?  Surely,  if  we  can 
afford  a  business-building  program 
at  all,  we  can  afford  to  do  it  the  right 
way. 

And  we  should  remember  that  we 
are  not  just  making  a  decision  for  a 
few  months.  The  business-building 
campaign  must  be  year-round  and 
year  after  year.  With  this  under- 
standing, we  should  be  able  to  mus- 
ter an  organization  stronger  than 
any  single  company  or  collection  of 
companies — or  collection  of  organi- 
zations, for  that  matter — can  provide 
from  their  already  fully-worked 
rosters. 

Let's  not  burden  our  advertising 
executives,  whose  job  is  already  a 
tough  one  in  today's  market.  If  the 
business-building  program  is  to  get 
all  the  attention  it  needs  and  de- 
serves, outside  help  should  be  hired 
to  do  the  work — under  the  super- 
vision of  our  experts. 

L,oak  in  4a 
Wiretl  TV 

Let  us  face  it.  The  Federal  Com- 
munications Commission  has  been 
regarding  subscription  television  as 
a  sort  of  hot  potato,  but  meanwhile 
time  has  not  been  standing  still.  The 
southwest,  where  so  many  movie 
(Continued  on  Page.  16) 


Film  BULLETIN    March  18,  1957       Page  3 


SOMETHING'S 
GOING 
TO 

POPS 


Our  Campaign 
Will  Reach 
a  Total  of 
356,570,617 
Impressions 
in  Magazines, 
Newspapers, 
on  TV  and 
Radio! 


CHAMPAGNE 
?F  PICTURES 


CAMPAIGN  OF  THE  YEAR 

for  the  'Champagne"  of  the  Year! 

MAGAZINES:  Full  page  in  Life  (2  colors), 
Look,  Saturday  Evening  Post  (2  colors),  Seven- 
teen, Vogue,  Charm,  New  Yorker  and  a  full 
page  in  all  the  leading  fan  magazines.  Plus 
M-G-M's  famed  "Picture  of  the  Month"  column 
in  Cosmopolitan,  McCall's  and  Redbook. 
101,375,385  total  readership. 

NEWSPAPERS:  Teaser  series  to  appear  for  5 
days  prior  to  opening  on  women's  and  society 
pages  of  61  papers  in  45  cities.  Total  reader- 
ship nearly  200,000,000.  Plus  M-G-M's  big 
display  and  co-operative  newspaper  campaigns 
with  untold  circulation  in  the  hundreds  of 
millions. 

TV  AND  RADIO:  Radio  spots  in  26  markets 
producing  24,689,232  listener  impressions 
over  a  3-week  period.  Star  spots  on  TV  featur- 
ing Gregory  Peck  and  Lauren  Bacall,  telecast 
to  36  big-city  markets,  going  into  14,5  26,648 
homes  with  30,506,000  viewers. 


"TASTING  IS 
BELIEVING!" 


THEATRE 
PREVIEWS! 

M-G-M  cordially  invites  you  to  sample  this  bubbling 
"Champagne  of  Pictures"  at  its  Invitational  Theatre 
Previews.  Watch  for  your  invitation  which  will  tell  you 
the  date  and  theatre  in  your  Exchange  City.  This  picture 
is  literally  a  Happy  Toast  to  your  Box -Office!  And 
M-G-M  is  telling  your  patrons  about  "The  newspaper 
guy,  the  chic  fashion  designer  and  the  shapely  showgirl." 


M-G-M  presents  the  Comedy  of  the  Year — with  Songs! 

GREGORY  PECK 
LAUREN  BACALL 

DESIGNING  WOMAN 

Co-Starring 

DOLORES  GRAY 

Written  by  GEORGE  WELLS,  Associate  Producer 
in  CINEMASCOPE  ond  METROCOLOR 
Directed  by  VINCENTE  MINNELLI 
Produced  by  DORE  SCHARY 

★ 

(Available  in  Magnetic  Stereophonic,  Perspecta  Steraophonic  or  1-Channel  Sound) 


TELEMOVIES.  Whether  or  not  the  theaftre-to-home 
movies-via-cable  idea  will  ultimately  prove  to  be  the  "hope 
for  the  future  of  the  motion  picture  business,"  as  expressed 
.  by  one  circuit  executive,  remains  to  be  seen.  Conceivably, 
•  it  could  turn  out  to  be  a  complete  bust.  But  there's  no 
"denying  that  theatremen  everywhere  are  paying  strict  at- 
tention to  this  new  threat  or  promise,  whichever  way  one 
chooses  to  see  it.  Advocates  of  the  closed-circuit  system 
confidently  predict  that  the  basic  consideration  of  con- 
venience— sitting  at  home  and  having  the  latest  films  piped 
into  the  living  room — make  "telemovies"  a  sure-fire  bet  to 
replace  the  theatre.  Costwise,  they  argue,  the  patron  will 
save  plenty  of  money,  since  an  entire  family  can  watch  the 
show  for  one  "admission".  Doubters  have  their  points,  too. 
Movies  brought  into  the  home  will  be  a  pallid,  miniature 
replica  of  the  big-screen  show  offered  at  the  theatre,  they 
say.  One  highly  regarded  film  executive  told  us  that  in  his 
opinion,  the  whole  pattern  of  movies  as  we  have  known 
them  for  so  long  would  change  to  meet  the  limitations  of 
the  small  home  screen.  Scope  and  action  would  be  severly 
constricted  in  production  for  closed-circuit  exhibition,  and 
everything  would  tend  toward  diminution.  "Big-scale 
moviemaking  would  be  a  thing  of  the  past,"  he  said. 
"Everything  made  would  be  of  what  today  we  call  'quickie' 
calibre."  Those  who  question  the  feasibility  of  "tele- 
movies"  also  make  a  point  of  the  "admission"  factor.  Ten 
dollars  a  month,  or  some  such  fixed  charge,  may  not  seem 
like  much,  but  they  ask  how  many  people  in  the  vast  mass 
audience  will  be  willing  to  contract  for  "pig  in  a  poke" 
entertainment  at  such  a  price.  No  doubt  about  it,  the  im- 
ponderables in  the  idea  of  cabled  movies  are  many.  Only 
time  will  provide  the  answers. 

0 

BRING  'EM  BACK  ALIVE.  Strong  currents  are  in  the 
wind  for  reintroducing  live  talent  on  the  movie  theatre 
stage.  Principle  push  behind  this  idea — much  in  vogue  in 
the  early  1940's  with  the  name  bands — is  the  dizzy  rise  of 
rock  'n  roll  performers  to  national  popularity.  Already 
many  big-city  theatres  have  booked  rock  'n  roll  revues 
either  with  a  rock  'n  roll  picture,  or  as  a  substitute.  The 
results,  despite  the  fact  that  the  talent  in  many  instances, 
has  been  third-rate,  have  been  surprisingly  good.  Some 
say  it  can  be  attributed  strictly  to  the  rock  'n'  roll  craze, 
while  others  insist  that  there  exists  a  widespread  hunger 
for  live  entertainment.  With  the  gradual  diminishing  of 
cafes  and  night  spots  around  the  country,  the  movie  thea- 
tre stage  seems  a  natural  for  giving  talent  a  chance  to  show 
its  stuff.  And  the  fast-grown  TV  personalities  can  be  re- 
garded as  offering  a  huge  fund  of  boxoffice  names  for  p. a. 
work.  Don't  be  surprised  if  the  trend  toward  live  shows 
to  supplement  films  really  booms  next  Fall. 

0 

WHAT'S  DOING  BUSINESS?  Grosses  have  been  ex- 
ceedingly "soft"  in  recent  weeks,  and  are  expected  to  re- 
main so  until  Easter.  Among  the  boxoffice  disappoint- 
ments: "Spirit  of  St.  Louis,"  "Wings  of  the  Eagles," 
"Rainmaker,"  "Iron  Petticoat,"  "Full  of  Life" — all  boast- 
ing strong  marquee  names  and  at  least  two  of  them  rated 


What  They'te  hiking  About 

□    □    □    In  the  Movie  Business    □    □  □ 


as  top-drawer  films.  Exhibitors  say  they  just  couldn't 
work  up  any  enthusiasm  for  them.  "Full  of  Life,"  we're 
told,  slips  into  a  theatre  with  little  advance  buildup,  gets 
fine  audience  response,  but  fails  to  do  any  business.  What's 
wrong,  boys!  Has  the  practice  of  selling  pictures  gone  to 
pot?  Columbia  is  acting  almost  as  if  it  is  ashamed  of  the 
Judy  Holliday  starrer.  It  got  absolutely  no  advance  indus- 
try buildup.  And  exhibition's  lethargy  about  it  abounds. 
On  the  brighter  side  is  20th-Fox's  "Heaven  Knows,  Mr. 
Allison",  which  opened  in  very  lively  style  at  the  Roxy. 
Looks  like  it  will  be  the  smash  Easter  attraction.  "Battle 
Hymn"  (Universal)  is  giving  a  good  account  of  itself,  as 
is  the  same  company's  "Written  on  the  Wind",  now  in  the 
sub-runs.  And  if  anyone  still  needs  proof  that  showman- 
ship pays  off,  let  them  take  a  gander  at  the  grossing  power 
of  Mike  Todd's  "80  Days"  and  Paramount's  sturdy  "Ten 
Commandments".  Big,  yes,  but  sold  big. 

0 

NEW  ADS  FOR  "SPIRIT".  The  advertising  campaign  on 
"Spirit  of  St.  Louis"  is  undergoing  changes.  It  seems  that 
the  public  did  not  respond  so  readily  to  the  presentation 
of  the  Leland  Hayward  production  as  the  biography  of 
Charles  E.  Lindberg,  national  hero.  Warner  ad  chief  Gil 
Golden  has  thrown  out  the  original  campaign  and  drafted 
a  new  jazzed-up  one  that  lays  emphasis  on  the  "flaming 
20's"  era  during  which  Lindy  undertook  his  solo  flight 
across  the  Atlantic.  Golden  is  credited  with  having  boosted 
the  gross  on  Warners  "The  Bad  Seed"  a  couple  million 
dollars  by  a  campaign  switch. 

O 

NEW  ATTACK  ON  ADVERTISING.  A  new  twist  was 
given  the  popular  sport  of  attacking  movie  advertising 
when  actress  Arlene  Dahl  slapped  a  $1,000,000  suit  against 
Columbia.  The  lovely  star  charged  that  the  advertising  in 
her  latest  film,  "Wicked  as  They  Come,"  is  salacious  and 
shows  her  "in  obscene  offensive  and  sexually  suggestive 
poses  which  have  no  relationship  to  the  motion  picture." 
Miss  Dahl  puts  the  onus  on  the  artists  who  started  with  a 
true  likeness  of  her  face  and  then  proceeded  to  add  a  fe- 
male figure  in  "various  phases  of  disrobement  and  in  com- 
promising positions."  A  simple  case  of  gilding  the  lily, 
we  say. 

O 

TV  BLOCK  BOOKING.  That  old  debil,  block  booking, 
is  being  investigated  again  by  the  Justice  Department. 
This  time  it's  the  bulk  sales  of  feature  film  packages  to 
television  stations.  Current  practice  decrees,  in  most 
cases,  that  TV  outlets  take  the  entire  package.  Under  in- 
vestigation is  the  question  of  conflict,  if  any,  with  the  1949 
Paramount  consent  decree. 


Film  BULLETIN    March  18,  1957        Page  5 


11 

Business 
Building 
Projects 


Eleven  primary  promotional  projects  were  given  the  stamp  of  approval  by 
the  industry's  Joint  Business-Building  Committee  which  met  in  New  York  on 
March  13.  While  some  aspects  of  the  long-range,  attendance-building  program 
must  be  regarded  as  tentative,  the  eleven  approved  recommendations — several 
of  which  are  already  underway — represent  the  first  meaningful  steps  taken  by 
all-industry  representatives  to  produce  a  workable  promotional  program  of  value 
to  every  segment  of  the  industry. 

In  the  foreward  to  its  39-page  report  the  Joint  Committee,  representing 
COMPO,  TOA  and  the  MPA,  said  approval  of  the  plans  represent  a  "milestone 
in  industry  cooperation",  and  that  with  this  program,  "the  Joint  Working  Com- 
mittee believes  it  has  made  a  beginning  on  what  can,  and  should,  be  developed 
into  a  continuing,  expanding  industry-wide  endeavor  that  will  have  for  its  ob- 
jective an  increase  in  theatre  attendance  and  a  better  understanding  by  the  pub- 
lic of  the  industry's  problems  and  achievements".  Following  are  outlined  the 
eleven  promotional  projects  approved  by  the  Joint  B-B  Committee: 


1.  Academy  Award  Sweepstakes,  already  in  operation. 

2.  Audience  Awards,  which  will  be  held  next  fall. 

3.  A  community  reel,  a  short  subject  which  will  be  pro- 
duced to  show  to  local  merchants,  service  clubs,  churches, 
schools  and  other  civic  groups  that  the  local  movie  theatre 
is  the  best  source  of  entertainment  and  that  it  has  the  ad- 
ditional merit  of  serving  the  community  by  bringing  peo- 
ple out  of  their  homes  into  contact  with  other  retail  busi- 
nesses and  by  helping  churches,  schools,  clubs,  charities. 

4.  Product  trailer.  While  it  was  deemed  impracticable 
to  have  a  trailer  showing  advance  scenes  from  all  the  com- 
panies' coming  pictures,  it  was  revealed  at  the  meeting  that 
several  companies  plan  to  produce  trailers  showing  parts 
of  some  of  their  coming  pictures,  and  that  these  trailers 
would  accomplish  the  same  results  which  it  had  been 
hoped  would  result  from  an  over-all  trailer. 

5.  Industry  radio  program.  An  interim  part  of  this  pro- 
gram is  already  in  operation.  This  means  that  all  com- 
panies producing  radio  transcriptions  are  including  an  in- 
stitutional spot  as  part  of  every  platter.  Copy  for  these  in- 
stitutional spots  comprises  variations  of  a  dialogue  be- 
tween a  man  and  his  wife  to  the  general  effect  that  people 
should  get  out  of  their  homes  more  and  go  to  movie  thea- 
tres for  entertainment. 

The  radio  program  also  calls  for  nation-wide  use  of  disc 
jockeys  in  a  campaign  with  a  tentative  cost  estimate  of 
$319,697.33.  Before  this  campaign  is  inaugurated,  however, 
it  was  decided  to  conduct  test  campaigns  of  eight  weeks 
each  in  Denver  and  possibly  three  other  cities  to  determine 
the  most  effective  methods  of  using  radio  including  the 
kind  of  copy  to  use  in  the  national  campaign  later.  As  now 
outlined,  the  national  campaign  calls  for  use  of  disc  jockeys 
in  80  cities  over  a  period  of  13  weeks.  Added  up,  the  radio 
messages  would  total  16,800  and,  it  is  estimated,  would 
reach  80,039,600  homes. 

6.  Personality  tours.  This  project  has  two  phases.  The 
first  is  an  extension  of  the  personal  appearance  tours  now 
being  made  by  film  personalities  and  the  use  by  the  per- 
sonalities, in  their  press  and  radio  interviews,  of  material 
aimed  at  spreading  the  news  that  the  business  has  turned 
the  corner  and  is  now  markedly  on  the  upgrade.  The  sec- 
ond phase  calls  for  making  available  for  visits  to  those  ex- 
hibitors who  will  bear  the  expense  production  personalities 


such  as  writers,  producers,  directors,  costume  and  scene 
designers.   Such  visits,  it  was  pointed  out,  could  be  ar-  J 
ranged  by  Clarke  H.  Wales  of  the  Association  of  Motion 
Picture  Producers  in  Hollywood. 

7.  National  Advertising  Campaign  for  Theatres.  The 
report  stated  that,  "while  the  joint  working  committee  i 
agreed  in  principle  that  such  an  advertising  campaign 
aimed  at  selling  the  motion  picture  theatre  as  the  best 
source  of  entertainment  was  'desirable,'  it  was  agreed  no 
action  should  be  taken  pending  a  market  survey  report  and 
development  of  a  copy  approach  acceptable  to  the  commit- 
tee." In  the  meantime  company  advertising  in  magazines  ■ 
and  in  press  books  is  carrying  lines  expressing  the  thought  \ 
that  "only  on  the  motion  picture  theatre  screen  can  you  see  i 
the  brand  new  pictures." 

8.  Visits  to  editors  and  publishers.  This  project  entails 
the  presentation  of  the  industry's  story,  in  a  business-like, 
across-the-table  manner,  to  editors  and  publishers,  but  only 
in  those  cities  where  the  presentation  is  asked  for  by  local  i 
exhibitors.  It  was  explained  that  the  plan  would  be  tried 
out  first  in  three  or  four  cities,  not  yet  selected. 

9.  Reduction  of  advertising  billings.  Long  denounced 
by  film  company  advertising  men  as  a  serious  obstacle  to 
good  advertising,  the  company  advertising  billings  will  be 
the  subject  of  a  presentation  that  is  now  being  prepared. 
This  presentation  will  be  taken  shortly  to  Hollywood  in  an 
effort  to  get  the  billing  requirements  reduced. 

10.  Market  survey.  This  is  now  being  conducted  by  the 
Opinion  Research  Corporation  of  Princeton,  N.  J.,  the  sum 
of  $75,000  having  been  appropriated  for  the  job  by  the 
MPAA.  The  survey  report  is  not  expected  to  be  made  for  \ 
at  least  three  months. 

11.  Implementation  of  the  program.  Emphasizing  that 
formulation  of  the  program  will  have  been  a  waste  of  time 
unless  machinery  is  set  up  for  its  execution  as  a  continuing 
activity,  the  report  adopted  by  the  committee  calls  for  es- 
tablishment of  a  five-man  operating  committee,  to  work  in 
New  York  under  the  overall  direction  of  the  COMPO  top 
management;  appointment  of  permanent  committees  in 
each  of  the  exchange  cities  and  establishment  of  a  liaison 
body  in  Hollywood  that  will  have  the  approval  and  co- 
operation of  Hollywood  production  personnel  and  studio 
publicity  directors. 


Page  6       Film  BULLETIN    March  18,  1957 


INVESTMENT  SHRINKAGE.  Had  you  placed  a  buy 
order  one  year  ago  for  100  shares  of  each  of  the  eight 
major  film  companies,  your  broker  would  have  mailed  you 
a  bill  for  $14,937.50,  plus  commissions  and  taxes. 

Liquidation  of  this  portfolio  on  March  1,  1957,  would 
have  returned  you  $13,425.00  less  brokerage  commissions 
and  taxes — or  a  net  balance  of  minus  $1,700  with  service 
charges  figured  in. 

Between  buying  and  selling,  the  postman  would  have 
delivered  dividend  checks  amounting  to  $633.00,  represent- 
ing a  collective  yield  of  4.3%  from  the  eight  companies. 
0 

It  is  no  wonder  that  movie  industry  venture  capital  is 
drying  up.  Only  two  elements,  significantly,  appear  at- 
tracted to  movie  industry  securities  today  according  to  a 
Financial  Bulletin  survey  of  20  important  Wall  Street 
firms.  These  are  the  professional  promoter,  whose  motives 
are  privy  to  himself,  and  the  rank  speculator,  the  hunch 
player  whose  criteria  consists  of  some  vague  notions  that 
movie  business  "is  coming  back". 

Certainly  moviedom  shares  have  never  been  regarded  as 
appropriate  for  trust  funds  or  gentle  old  ladies,  but  they 
have  exerted  a  lure  over  the  years  upon  many  a  perspi- 
cacious investor  seeking  to  add  diversity  and  perhaps  a  bit 
of  flair  to  his  holdings.  This  market  element  is  currently 
forsaking  the  motion  picture  industry  for  others  of  greater 
speculative  fire,  among  them  mining,  oil,  electronic  and 
certain  spheres  of  aircraft. 

Indeed,  the  loss  of  risk  capital  by  the  class  called  "in- 
formed speculator"  is  a  condition  that  may  work  sore  con- 
sequences upon  moviedom  in  years  to  come.  It  is  generally 
conceded  that  demand  for  film  company  shares  has  been 
flagging  for  several  years.  The  enlightened  risk-taker  is 
looking  elsewhere  as  the  widespread  notion  prevails  that 
movie  business  is  losing  its  edge  in  the  marketplace.  As 
demand  continues  to  wane,  so  accordingly  does  the  price  of 
stock.  A  careful  reader  of  daily  stock  quotations  will  note 
several  film  companies,  among  them  Universal,  whose 
shares  fail  to  make  a  market  more  often  than  not.  It  is  not 
uncommon  for  Columbia  Pictures  to  pass  untraded  or  to 
show  only  100  shares  bought  in  a  day.  As  one  Wall  Street- 
er  expressed  it:  "The  only  substantial  volume  in  movie 
stocks  these  days  originates  with  promoters  and  potential 
proxy-fighters." 

O 

Though  it  may  never  have  occurred  to  those  who  make 
industry  policy,  the  slumping  financial  picture  is  not  alone 
to  blame  for  the  current  coolness  toward  film  investment. 
They,  the  industry's  leaders,  are  equally  at  fault.  What, 
they  should  ask  themselves,  have  they  done  to  sell  their 
enterprise  to  the  public  at  large?  What  have  they  done  to 
spark  interest  in  the  institution  of  movie-going?  What 
have  they  done  to  encourage  bearers  of  risk  capital  that  the 
dynamics  of  growth  and  appreciation  are  still  potential  in 
the  film  business.  Truth  is  they  have  lately  been  doing 
virtually  nothing  within  their  own  industry — let  alone  on 


FINANCIAL 

BULLETIN 

MARCH       18.  1957 


By  Philip  R.  Ward 

the  outside — to  stimulate  confidence  in  the  future  of  film- 
dom.  The  film  company  executives  (with  the  exception  of 
a  very  few  like  Spyros  Skouras,  the  dynamic  20th  Century- 
Fox  leader)  exude  an  atmosphere  of  dispiritedness  that 
spreads  far  beyond  the  bounds  of  the  industry  and 
frightens  off  investors.  Seasoned  observers  down  in  Wall 
Street  shake  their  heads  sadly  and  speak  disdainfully  of 
movie  executiveship  that  "has  grown  old  and  frightened", 
of  the  industry's  "publicly  announced  defeatism",  of  the 
fact  the  "movie  people  have  let  television  take  the  ball 
away  from  them  and  score  at  will".  These  are  verbatim 
quotations  from  men  who  watch  and  advise  prospective 
buyers  on  film  securities. 

O 

Movie  industry  investment  has  shrunk  in  ratio  with  the 
shrinkage  of  confidence  issuing  from  the  film  offices. 
Where  is  the  talk  of  brave  new  worlds  such  as  one  hears 
emanating  from  the  telecasters,  the  aircrafters,  the  auto- 
crafters.  From  a  public  relations  standpoint,  moviedom 
still  has  to  learn  the  ABC's.  It  can  not  sell  its  tickets;  it 
cannot  sell  investors;  it  cannot  sell  itself.  The  industry 
must  cure  the  last-named  weakness  before  it  can  hope  to 
remedy  the  other  two. 

O 

A  glimpse  of  the  current  condition  of  industry  shares, 
including  both  film  companies  and  theatres,  is  offered  be- 
low. Note  the  February  descent  in  each  category. 


Film  BULLETIN  Cinema  Aggregate  * 


FILM  COMPANIES  THEATRE  COMPANIES 

^Composed  of  carefully  selected  representative  industry  issues. 


With  bank  credit  tightening  generally,  it  is  time  indus- 
try leaders  pondered  where  the  fresh  money  is  to  come 
from.  There  are  only  a  limited  number  of  sources :  loans, 
stock  investment  and  operational  profits.  Moviedom  is  in 
danger  of  being  shut  off  from  all  three.  The  issue  could 
grow  critical. 


Film  BULLETIN    March  18,  1957       Page  7 


Samuel  Goldwyn 


February  20,  1957 


Dear  Barney: 


friends  at 
office  thi 


Last  night    I  saw  "FUNNY  FACE"  with  a  group  of 
my  house.     I  could  hardly  wait  to  get  to  my  office  this 
morning  to  tell  you  what  a  fresh,  wonderful  picture   it  is 
that  reaches  heights  of  entertainment  seldom  seen  on  the 
screen* 


It   Is  not  often  that  I 
a  picture,   but   this  is 
Is,  by  all  odds,  one 
seen  -  on  the  stage 


have  no  reservations 
one  of  those  times# 
of  the  finest  musicals 
or  on  the  screen* 


whatever  about 
"FUNNY  FACE" 
I  have  ever 


Fred  Astaire  and  Audrey  Hepburn  are  simply  marvelous,  as  are 
Kay  Thompson  and  all   the  members  of  the  cast.     In  all  the 
years   I  have  known  Fred   I  have  never  seen  him  dance  better 
or  give  a  more   Inspired  performance.     Audrey  Hepburn,  who 
is  always   lovely,  has  never  been  more  delightful,  and  Kay 
Thompson  has  opened  up  a  new  career  for  herself* 

The  people  at  my  house   last  night  were  a  group  of  professionals 
American,  British  and  French  -  but  they  broke   into  spontaneous 
applause  after  each  wonderful   number.     I  have  never  witnessed 
such  enthusiasm  and   I  am  sure  that  the  American  public,  and 
the  public  the  world  over,  will    love  the  picture  equally* 

Everything  about  "FUNNY  FACE"   Is  just  brilliant.     Not  only 
the  cast  but  the  production,  the  direction,   the  choreography, 
the  music,   the  photography,   the  color  -  the  warmth,  the 
gaiety,   the  fun,   the  beauty  of  the  picture  -  are  nothing 
short  of  extraordinary*     Everyone  who  had  anything  to  do 
with  the  picture  deserves  tremendous  credit,   for   it  proves 
that  Hollywood   is  still   capable  of  turning  out  the  greatest 
entertainment   in  the  world.     This   is  a  real  new  dimension 
In  motion  picture  enjoyment* 

"FUNNY  FACE"   i*  truly  an  inspired  picture.     It   is  going  to 
mean  a  great  deal   to  the  motion  picture   industry  because  it 
is  going  to  mean  so  much  to  the  public. 

There   is  much  more    I  could  say  about  what  a  wonderful  picture 
it   is,  but    I  can  sum  It  all   up  by  saying  that   |  would  be 

very  proud  to  have  had  "FUNNY  FACE"  to  my  credit. 


S I ncere I y, 


Mr.  Barney  Balaban,  President 
Paramount  Pictures  Corporation 
1501  Broadway 
New  York  36,  New  York 


-et's  All  Get  Back  Of  The 
Academy  Sweepstakes! 


Hundreds  of  top  theatres,  including  Radio  City  Music  Hall,  are  booking  it  for  Easter. 
And  Paramount  is  backing  it  with  hard-hitting  promotion  in  all  ticket-selling  media 
—  including  national  ads  to  24  million  movie-minded  homes  in  Life,  Look,  McCall's 
and  Redbook,  with  additional  full  pages  in  Seventeen  and  the  entire  fan  list. 


EDITOR  S  NOTE 

In  one  stylish  advertisement,  created  principally  to  move 
Cokes,  the  Coca-Cola  people  have  provided  a  noteworthy 
example  of  institutionalizing  the  movie  habit. 

The  ad,  which  is  reproduced  in  miniature  on  this  page, 
prompted  a  trenchant  essay  by  exhibitorphile  Abram  F. 
Myers,  the  Allied  counsellor,  whose  quick  reflex  to  a  good 
thing  rushed  him  into  print  in  the  bulletin  reprinted  below. 
Film  BULLETIN  welcomes  Mr.  Myers  aboard  its  ancient  and 
now-rolling  PR  bandwagon.  Our  editorial  voice  has  grown 
hoarse  enjoining  the  industry:  "Sell  the  broad  merits  .  .  . 
sell  the  going  .  .  .  sell  the  habit."  The  cheese  makers  have 
learned  to  reduce  Camenbert,  Brie,  Edam  and  the  rest  to  a 
position  subordinate  to  a  larger  appeal — that  of  creating  a 
palate  for  the  curd  food  as  a  whole.  We  have  been  institu- 
tionalized to  believe  in  the  delights  of  coffee  and  tea,  of 
bananas  and  airplane  travel.  The  organized  citrus  growers 
and  some  10-score  others  in  varied  lines  sell  their  "institu- 
tions" aside  from  their  individual  brands. 

We  now  turn  you  over  to  Mr.  Myers  and  his  suggestion 
that  moviedom  might  find  it  politic  to  venture  same? 


This  bulletin  is  issued  in  appreciation  of  Coca-Cola's 
back  cover  ad  in  THIS  WEEK  MAGAZINE  for  March 
10.  That  publication  is  distributed  as  a  supplement  to  cer- 
tain Sunday  newspapers.  If  you  missed  it,  look  it  up.  It  is 
a  splendid  example  of  good  taste  advertising  for  Coca-Cola 
and  for  the  movies.  It  is  hoped  that  the  company  will  re- 
peat the  ad  in  other  periodicals  with  national  circulation. 

In  case  THIS  WEEK  is  not  available  in  your  communi- 
ty, here  is  a  brief  description  of  the  ad.  Three  quarters  of 
the  page  is  consumed  by  a  beautiful  picture  in  colors.  It 
looks  through  the  foyer  of  a  theatre  to  the  screen.  Except 
for  the  words  "popcorn"  and  "Coca-Cola"  on  the  boxes  and 
cups  held  by  the  patrons,  there  is  no  lettering  in  the  pic- 
ture. In  the  forground  are  a  half-dozen  smartly  dressed, 
highly  civilized  people. 

These  people  are  not  juvenile  delinquents,  bobby-soxers, 
or  rock'n  roll  addicts,  dressed  in  leather  jackets  and  over- 
alls, and  bent  on  making  other  people  unhappy.  They  are 
the  kind  of  people  decent-minded  folks  think  they  are  or 
would  like  to  be.  Three  of  them  comprise  a  family  group 
of  father,  mother  and  young  daughter.  They  are  holding 
cokes  and,  in  addition,  the  girl  has  a  box  of  popcorn.  A 
young  man  is  moving  toward  the  aisle  with  a  box  of  pop- 
corn in  each  hand. 

A  lot  of  cheap  fun  fun  has  been  poked  at  the  theatres  for 
selling  soft  drinks,  popcorn  and  other  comestibles.  People 
who  munch  their  way  through  a  circus,  a  ball  game  or  a 
parade  seem  to  think  there  is  something  ludicrous  about 
eating  popcorn  in  a  theatre.  But  this  ad  shows  people 
whose  respectability  and  social  correctness  stand  out  all 


■ 


Coca-Cola's 
Example  of 
Institutional 
Advertising 


Your  own  good  taste  selects  the  movie... 

the  good  taste  of  Coca-Cola  adds  to  the  enjoyment 


tut  Jor  fun.  hair  a  Cokr  .  .  .  for  Ihr  special 
'  txsl-lmrd  sparkling  drink  in  all  tiu  uorld. 


ION  Ol  (SOO 


over  them  enjoying  the  movies — cokes,  popcorn  and  all. 
Emily  Post  could  find  no  fault  with  them. 

The  legend  underneath  the  picture  says: 

"Your  own  good  taste  selects  the  movie  .  .  .  the  good 
taste  of  Coca-Cola  adds  to  the  enjoyment  .  .  ." 

(Continued  on  Page  23) 


Film  BULLETIN    March  18,  1957       Page  9 


THEY 

MADE  THE  NEWS 


O'DONNELL 

ROBERT  J.  O'DONNELL  confirmed 
that  Interstate  Theatres  of  Texas  is  enter- 
ing the  field  of  theatre-to-home  movie 
transmission.  This  was  another  instance 
of  growing  exhibitor  interest  in  the  sys- 
tem whereby  films  would  be  piped  direct- 
ly from  the  theatre  to  the  home  via  a 
closed  circuit  television  cable,  with  sub- 
scribers to  pay  a  fee  on  a  period  basis  or 
per  picture.  O'Donnell,  vice  president  and 
general  manager  of  Interstate,  said  his 
company  has  called  in  engineers  to  make 
a  careful  check  of  the  problems  and  fa- 
cilities required  for  point-to-point  tele- 
vision, and  that  the  company  is  seeking 
permission  of  the  city  council  of  Austin, 
Texas,  to  file  application  for  permits  to 
build  transmitting  facilities  to  serve  more 
than  20  cities  throughout  the  state.  These 
moves  were  made  at  this  time,  according 
to  O'Donnell,  to  meet  the  threat  of  com- 
petition from  Capital  Cable  Corporation, 
which  is  proposing  to  set  up  a  home-toll 
television  system  on  a  closed  circuit.  At 
the  same  time,  Rowley  United  Theatres 
of  Dallas  has  asked  the  Little  Rock 
Arkansas,  city  council  for  a  25-year  fran- 
chise on  a  theatre-to-home  system  in  that 
city.  Rowley  attorney  Linwood  L.  Brick- 
house  told  the  council  that  the  circuit  has 
no  immediate  plans,  but  wants  to  keep 
any  other  company  from  taking  over.  A 
large-scale  test  of  theatre-to-home  trans- 
mission will  be  made  during  May  in 
Bartlesville,  Oklahoma,  by  the  Video  In- 
dependent Theatres,  Inc.  which  owns  all 
of  the  theatres  in  that  town.  Video  presi- 
dent Henry  Griffing,  speaking  recently  at 
the  2nd  annual  United  Theatres  of  Okla- 
homa convention,  said  "telemovies" — as 
he  called  them — were  the  "hope  for  the 
future  of  the  motion  picture  business"  and 
urged  exhibitors  to  take  advantage  of 
them.  He  said  "telemovies"  are  the  best 
weapon  against  Toll-TV  and  that  they 
will  create  a  demand  for  more  pictures. 
The  Senate  Commerce  Committee  was 
scheduled  to  take  up  the  proposed  experi- 
mental licensing  of  Toll-TV  in  selected 
areas.  FCC  chairman  George  C.  McCon- 
naughey  told  the  committee  the  commis- 
sion hoped  to  reach  a  decision  on  sub- 
scription TV  in  the  near  future. 


ERNEST  G.  STELLINGS,  TOA  presi- 
dent, called  upon  the  industry  to  raise 
$2,800,000  as  a  fund  for  a  business  pro- 
motion program.  The  proposal,  contained 
in  a  report  to  the  TOA  board  meeting  in 
Chicago  recently,  provided  for  a  levy  of 
4/10ths  of  one  percent  on  all  film  rentals, 
figured  to  yield  $1,400,000,  with  a  like 
amount  to  be  contributed  by  the  film 
companies.  The  promotional  campaign, 
Stellings  suggested,  would  be  handled 
through  COMPO.  The  TOA  directors 
endorsed  the  plan  and  authorized  Stellings 
to  implement  it.  Other  board  actions:  (1) 
recommended  to  the  Justice  Department 
that  it  grant  appropriate  amendments  to 
the  consent  decree  to  allow  divorced  cir- 
cuits to  engage  in  film  production  with 
pre-emptive  rights;  (2)  urged  exhibitors 
and  other  interested  groups  to  support 
Rep.  Emanuel  Celler's  bill  to  outlaw  sub- 
scription TV;  (3)  supported  a  petition 
calling  for  revision  of  the  Small  Business 
Administration's  rules  to  permit  the  grant- 
ing of  regular  mortgage  loans  to  exhibi- 
tors or  for  the  creation  by  the  Senate  of 
a  new  board  with  such  authority.  The 
TOA  board  said  it  "viewed  with  con- 
tinued alarm  the  acute  shortage  of  play- 
able product  on  the  market". 

O 

CHARLES  J.  FELDMAN,  Universal- 
International  vice  president  and  distribu- 
tion chief,  raised  exhibitor  hopes  for  a 
more  prosperous  mid-year  season  with 
the  announcement  that  his  company  will 
release  19  features  between  May  and  Oc- 
tober. Feldman  said  this  represents  the 
largest  number  of  top  pictures  to  be  re- 
leased in  a  six-month  period  in  the  com- 
pany's history.  A  minimum  of  three  will 
be  issue  each  month.  Six  of  the  19  will  be 
RKO  films,  including  the  long-awaited 
"Jet  Pilot",  made  in  1949  by  Howard 
Hughes.  It  will  be  released  in  July. 
Among  the  other  scheduled  U-I  films: 
May — "The  Young  Stranger",  "Beast  of 
the  Kremlin",  "The  Deadly  Mantis"; 
June— "Man  Afraid",  "The  Kettles  on  Old 
MacDonald's  Farm",  "Public  Pigeon  No. 
1".  Elsewhere  on  the  U-I  front,  president 
Milton  R.  Rackmil  told  the  stockholders 
annual  meeting  last  week  that  profits  for 
the  three  months  ending  Jan.  31,  first 
quarter  of  the  fiscal  year,  were  consider- 
ably below  those  of  a  year  ago.  This 
drop,  Rackmil  explained  was  due  to  the 
fact  that  the  company  released  no  pic- 
tures in  November  and  December,  and 
that  it  expects  to  make  up  the  loss  in  the 
second  three-month  period.  He  informed 
the  stockholders  that  Universal  is  "in- 
vestigating the  possibilities"  of  leasing  its 
pre-1948  film  library,  but  would  never  sell 
its  library  outright. 


JOHNSTON 

ERIC  JOHNSTON  set  April  8  as  the 
date  for  an  initial  meeting  between  ex- 
hibition and  distribution  leaders  to  discuss 
an  all-industry  arbitration  program.  TOA 
president  Ernest  G.  Stellings  and  National 
Allied  president  Julius  M.  Gordon  will 
meet  with  Johnston  and  the  MPAA  steer- 
ing committee  on  arbitration  consisting  of 
Columbia's  Abe  Montague,  MGM's 
Charles  M.  Reagan,  and  Paramount's 
George  Weltner.  The  first  conference  will 
be  concerned  with  where  and  how  to 
begin  talks  on  establishing  the  arbitration 
system,  what  representation  should  be  in- 
cluded at  the  drafting  sessions,  etc.  John- 
ston said  the  meeting  was  arranged  as  a 
result  of  letters  sent  to  company  presi- 
dents Jan.  30  by  National  Allied  request- 
ing discussions  on  the  controversial  sub- 
ject of  arbitration. 

0 

FRANK  KASSLER,  president  of  Conti- 
nental Distributing  Corp.,  revealed  that 
the  company  has  expended  $1  million  for 
six  foreign  pictures  which  it  will  distri- 
bute in  this  country.  The  money  was 
made  available  through  the  so-called 
"Continental  Plan"  whereby  exhibitors 
and  exhibitor  groups  participate  financial- 
ly in  the  distribution  company.  Conti- 
nental is  a  subsidiary  of  Walter  Reade 
Theatres.  The  six  pictures,  all  completed, 
will  be  released  at  eight-week  intervals 
beginning  in  April  or  May,  with  physical 
distribution  handled  by  National  Film 
Service.  Three  are  in  French  with  sub- 
titles, the  other  three  in  English  dialogue. 
Kassler  said  that  arrangements  with  the 
producers  of  the  pictures  "precludes  the 
possibility  of  any  film  being  released  to 
television  in  competition  to  exhibitors". 

0 

HARRY  COHN,  Columbia  Pictures 
president,  reported  a  $277,000  drop  in  the 
company's  earnings  for  the  26-weeks  end- 
ing Dec.  29,  1956  as  compared  to  the  same 
period  in  1955.  Net  profit  was  $1,329,000, 
equal  to  $1.11  per  share,  compared  with 
a  net  of  $1,606,000 — $1.36  per  share— the 
previous  year.  Comparative  gross  in- 
comes: $2,359,000  this  year;  $2,859,000 
the  prior  year. 


Page  10       Film  BULLETIN    March  18,  1957 


THEY 


MADE  THE  NEWS 


Universal  soles  chief  Charles  J.  Feldman  dis- 
cusses promotional  plans  for  "Battle  Hymn" 
and  " W  ritten  on  the  U  in  'd"  with  Rock  Hud- 
son, who  stars  in  both  films. 


STEVE  BROIDY,  Allied  Artists  presi- 
dent, declared  that  "the  time  has  come  to 
straighten  out  some  misconceptions  con- 
cerning 'Friendly  Persuasion' "  and  pro- 
ceeded to  do  just  that  in  a  wire  he  sent 
to  AA  division  managers.  "In  the  first 
place,  'Friendly  Persuasion'  will  be  a 
commercial  success,"  he  said.  "Up  to 
date  figures  indicate  that  its  net  domestic 
gross,  including  Canada,  will  be  in  the 
neighborhood  of  $5,000,000  .  .  .  Aside  from 
its  commercial  success,  every  exhibitor  in 
the  nation  will  testify  to  the  fact  that  this 
picture  has  done  a  greater  public  relations 
job  for  the  entire  industry  than  any  film 
they  have  exhibited  in  years."  The  ex- 
ecutive concluded  that  in  "Friendly  Per- 
suasion" Allied  Artists  has  "a  picture 
which  will  live  forever  and  continue  to 
draw  outstanding  returns  for  exhibitors 
everywhere". 


Michael  Todd.  Jr..  I.,  signs  for  the  Boston 
showing  of  Todd's  ■■Around  The  World  In  80 
Days"  with  Saxon  theatre  owner  Benjamin 
Sack,  eenter,  while  United  Artists  v.p.  William 
Heineman  looks  on.  L  A  is  distributing  the 
Todd-AO  picture,  receipient  of  eight  Academy 
Award  nominations. 


BUSINESS-BUILDING  for  the  movie 
industry  is  beginning  to  take  on  organized 
form.  The  Joint  Business-Building  Com- 
mittee last  week  took  the  first  step  to- 
ward bringing  to  fruition  a  long-range 
all-industry  promotional  program  de- 
signed to  increase  theatre  attendance  by 
ratifying  the  merger  of  the  various  plans 
originating  with  COMPO,  TOA  and  the 
MPAA.  Ernest  G.  Stellings,  president  of 
TOA,  told  the  B-B  Committee  that  he 
had  definite  pledges  from  theatres  in  his 
organization  that  they  would  pay  their 
share  of  the  proposed  $2,800,000  industry- 
wide fund,  half  of  which  is  to  come  from 
theatres  and  half  from  the  distributors. 
The  basic  aim  of  the  program,  it  was 
emphasized,  will  be  "increase  of  attend- 
ance at  motion  picture  theatres".  Eleven 
initial  projects  were  approved,  including 
the  Academy  Award  Sweepstakes  (now 
in  operation),  Audience  Awards,  person- 
ality tours,  an  institutional  radio  program. 
Robert  W.  Coyne,  Sam  Pinanski  and  Abe 
Montague,  the  COMPO  triumvirate,  were 
authorized  to  appoint  a  five-man  operating 
committee  to  carry  out  projects  already 
approved,  plan  and  manage  future  ones. 

0 

DARRYL  F.  ZANUCK,  who  suddenly 
resigned  from  the  board  of  20th  Century- 
Fox  within  a  few  weeks  after  his  election, 
emphatically  denied  that  he  did  so  be- 
cause of  any  tie-up  with  Howard  Hughes. 
Hughes  reputedly  ranks  second  to  Zanuck 
as  holder  of  the  largest  number  of  the 
company's  shares.  The  former  production 
head  for  Fox  and  now  producing  inde- 
pendently for  that  company,  said  he  re- 
signed "with  great  regret",  pointing  out 
it  would  be  impossible  for  him  to  devote 
the  necessary  time  and  effort  to  duties  as 
a  company  director.  He  said  he  was  more 
than  satisfied  with  present  management. 
O 

INTERNAL  REVENUE  SERVICE  has 
given  a  ray  of  hope  to  stars  and  other  in- 
dustry talent  whose  independent  com- 
panies were  threatened  with  liquidation 
through  the  recent  tax  ruling  against  per- 
sonal service  contract  corporations.  The 
IRS  announced  it  had  modified  somewhat 
an  earlier  ruling  taxing  as  personal  in- 
come rather  than  capital  gains  the  profits 
made  by  such  "personal  corporations". 
On  the  personal  income  basis  the  tax 
could  range  as  high  as  85%.  Under  its 
new  ruling,  the  IRS  said  that  where  the 
corporation  requires  the  services  of  per- 
sons other  than  the  star,  only  that  portion 
of  the  profits  attributable  to  the  largest 
stockholder — the  star — would  be  subject 
to  personal  income  tax.  Though  this  pre- 
sents some  ticklish  problems,  the  IRS 
said  it  could  be  of  benefit  where  the  star 
could  in  some  way  make  the  profits  attri- 
butable to  his  services  less  than  the 
amounts  actually  retained.  The  IRS 
would  decide  what  portion  to  tax. 

0 

ABC-TV  has  purchased  26  pictures  from 
RKO  Teleradio  which  it  plans  to  tele- 
cast coast-to-coast  from  7:30  to  10  pm. 
Sunday  evenings.  This  will  be  the  first 
move  to  offer  American-made  feature 
films  on  a  national  network. 


HEADLINERS... 


"Around  the  World"  producer  MICHAEL 
TODD  honored  March  19  by  New  York's 
Cinema  Lodge  of  B'nai  B'rith  for  contri- 
butions to  humanitarian  causes  and 
furtherance  of  the  interfaith  movement  .  . . 
M.  SPENCER  LEVE,  Southern  Califor- 
nia division  mgr.  for  Fox  West  Coast 
Theatres,  named  vice  president  of  Fox 
West  Coast  Agency  Corp.,  holding  com- 
pany for  Fox  West  Coast  Theatres  .  . . 
Universal  Eastern  advertising  director 
CHARLES  SIMONELLI  elected  chair- 
man of  the  board  of  Thompson-Starrett 
Co.,  international  engineering  and  con- 
struction company  ...  OTTO  EBERT 
appoitned  district  manager  of  Detroit, 
Cleveland,  Cincinnati  and  Indianapolis  for 
Rank  Film  Distributors  of  America  . . . 
JACK  CHINELL,  formerly  Buffalo 
branch  manager  for  RKO,  appointed  to 
represent  Buena  Vista  in  that  area . . . 
DAVID  C.  SILVERMAN  named  Pitts- 
burgh branch  manager  for  Allied  Artists. 


Fox  pres.   Spyros  P.   Skouras,   r.,   receives  Award 
from   "Seventeen"   publisher  Mrs.   Enid   A.  Haupt 
honoring     "The    King    and     I",     while  composer 
Richard  Rodgers  observes. 

Formerly  associated  with  RKO,  he  suc- 
ceeds ABE  WEINER,  now  with  J. 
Arthur  Rank . . .  Buena  Vista  presi- 
dent LEO  F.  SAMUELS  tripped  to  New 
York,  Philadelphia  and  Washington,  D.C., 
recently  with  assistant  Eastern  division 
mgr.  LEO  GREENFIELD  on  distribu- 


The    incandescont   Anna    Magnani   squeezes  Joseph 
Hazen    Hal  Wallis  Productions  executive,  on  her  re- 
turn  to   U.S.  to   make   "Obsession"   for  producer 
Wallis,  with  Paramount  releasing. 

tion  plans  for  current  and  upcoming  re- 
leases...  GEORGE  WELTNER,  presi- 
dent of  Paramount  Film  Distributing 
Corp.,  returns  March  29  from  extensive 
Latin  American  business  tour  .  . .  Rank 
advertising  director  GEOFFREY  G. 
MARTIN  returned  March  17  from  a  week 
of  conferences  in  London  . . .  20th-Fox 
Philadelphia  branch  mgr.  SAM  DIA- 
MOND and  Phila.  exhibitor  JACK 
GREENBERG  to  co-chairmen  testimoni- 
al dinner  for  Loew's  newly  named  LOU 
FORMATO,  Southern  division  mgr. 
Dinner  to  be  given  by  Motion  Picture  As- 
sociates April  8  . . .  Cook  County,  Illinois, 
proud  of  its  $20,159  raised  through  lobby 
collections  for  1957  March  of  Dimes. 
JACK  KIRSCH,  Allied  of  Illinois  presi- 
dent, chairmanned  drive  .  . .  20th-Fox 
president  SPYROS  P.  SKOURAS  kicked 
off  New  York  City's  1957  Red  Cross 
Drive  at  a  luncheon  March  5  attended  by, 
among  others,  Red  Cross  president  Gen- 
eral ALFRED  M.  GRUENTHER . . . 
DAVE  CANTOR  resigned  as  exploita- 
tion manager  for  RKO  Radio  . . .  20th-Fox 
sales  head  ALEX  HARRISON  named  to 
succeed  RICHARD  W.  ALTSCHULER 
as  chairman  of  the  national  distribution 
committee  of  the  MPA  . . .  MRS.  VIVI- 
ENNE  NEARING,  of  the  Warner 
Brothers  home  office  legal  department,  a 
national  celebrity  since  beating  out 
Charles  Van  Doren  on  TV's  "21". 


Film  BULLETIN    March  18,  1957       Page  11 


PATTERNS  DF  PATRONAGE 

v 


Cxdu^e  $L  BULLETIN  3*bm 


The  Young  Marrieds 


By  LEONARD  SPINRAD 

As  customers,  the  young  married  population  of  America 
arc  prime  targets  for  every  business.  They  are  creating 
new  families,  building  new  houses,  buying  clothes,  going 
in  for  do-it-yourself  tools  and  supplies.  They  are  the  peo- 
ple who  form  the  most  prolific  bloc  of  our  population.  It  is 
no  accident  that  they  still  dominate  the  motion  picture 
audience.  They  always  will,  on  a  basis  of  sheer  mathe- 
matics. 

The  Bureau  of  the  Census  reports  that  in  April,  1955, 
there  were  approximately  26,413,000  married  people  be- 
tween the  ages  of  14  and  34  alone  in  the  United  States.  Of 
these,  1,096,000  husbands  or  wives  were  still  in  their  teens. 
In  the  35  to  44-year-old  bracket,  which  marks  the  end  of 
the  young  marrieds  and  the  beginning  of  the  next  buying 
group,  there  were  an  additional  19,720,000  wedded  men 
and  women. 

These  statistics  loom  even  larger  when  they  are  con- 
sidered in  historical  perspective.  Between  1950  and  1955, 
the  percentage  of  married  people  among  the  teen  aged 
population  remained  fairiy  constant.  In  the  20-24  age 
group,  the  percentage  of  married  men  rose  from  41%  to 
51.2%,  while  the  female  proportion  increased  from  67.7% 
to  70.9%.  Between  the  ages  of  25  and  34  the  male  propor- 
tion of  married  men  to  total  population  in  that  age  level 
declined  while  the  female  rose  slightly.  In  the  older  brack- 
ets the  changes  were  of  little  import. 


THEY   MARRY  EARLIER 


The  biggest  increase  in  the  marriage  rate,  among  20-24- 
year-old  men,  accompanied  by  a  decline  in  the  next  male 
age  group,  indicates  that  men  are  marrying  earlier  than 
they  used  to.  The  increase  in  married  females  at  the  same 
level,  though  smaller  than  the  male  change,  also  shows 
more  marriages  in  the  20-24  bracket. 

Our  young  married  population  is  not  only  more  numer- 
ous but  also  younger  than  it  used  to  be.  In  1930  the  median 
age  at  first  marriage  in  the  United  States  was  24.3  for 
males  and  21.3  for  females.  In  1940  it  was  practically  un- 
changed. But  in  1954  it  was  down  to  23.0  for  males  and 


20.3  for  females,  and  one  year  later  the  Census  people  esti 
mated  that  it  grown  even  younger,  to  22.7  years  of  age  for 
the  men  and  20.2  years  of  age  for  the  women. 

The  median  American  bride  today  is  barely  out  of  her 
teens,  too  young  to  vote  and  not  likely  to  be  fully  mature 
in  her  tastes  and  opinions.  Her  husband  is  just  about  two 
and  a  half  years  older.  If  he  went  to  college,  he  has  just 
graduated  and  is  embarked  on  his  first  job. 

Add  a  few  years  to  this  couple.  Project  them  into  the 
happily  married  status  with  an  infant  or  two,  a  house  of 
their  own  or  a  bigger  apartment  in  view — and  they  are 
still  in  their  mid-twenties. 


There  is  one  thing  which  every  married  couple  can  at- 
test. The  young  bride  and  groom,  no  matter  what  finan- 
cial challenges  beset  them,  have  no  real  problems  until  the 
children  come  along.  They  go  out  when  and  where  they 
want  to,  within  their  budget.  They  do  without  one  thing 
to  have  another.  But  when  the  children  arrive  things  are 
different.  Apart  from  being  tied  dow::  much  more  than 
before,  and  having  less  of  what  the  economists  call  dis- 
cretionary spending  power  (since,  with  so  many  more  ab- 
solute necessities  to  buy,  there  are  apt  to  be  less  luxuries), 
their  daily  world  is  different. 

The  wife  is  much  more  tired  at  the  end  of  a  day  home 
with  the  children  than  when  she  worked  in  an  office  or  just 
took  things  easy  while  hubby  was  earning  his  paycheck. 


Pag*  12       Film  BULLETIN    March  18,  1957 


THE  YDUNG  MARRIEDS 


11  hut  Kind  of  Movies  1P<>  They  Prefer? 


The  husband  in  most  cases  tries  to  assist  her  with  some  of 
the  chores  while  he  is  home,  and  is  apt  to  be  more  tired 
himself  thereafter. 

All  these  observations  have  a  direct  bearing  upon  the 
motion  picture  audience.  Every  survey  indicates  that  the 
backbone  of  this  audience  is  and  must  be  the  age  level  of 
the  population  which  is  primarily  concerned  with  mar- 
riage. The  teen  agers  are  a  highly  important  audience 
group,  of  course,  but  the  20-35-year-old  age  level  dominates 
moviegoing,  as  it  does  practically  every  other  form  of 
American  consumer  purchasing.  And  don't  forget  that  the 
teen  agers  and  the  young  marrieds  have  a  degree  of  over- 
lap. This  overlap  has  a  dual  characteristic. 

It  is  possible  that,  because  of  the  earlier  marrying  age, 
our  teen-agers  are  becoming  more  sophisticated.  This  has 
been  suggested  by  many  not  entirely  approving  critics  of 
the  folkways  and  mores  of  16-year-olds.  It  is  equally  pos- 
sible, however,  that  our  young  marrieds  are  becoming  less 
sophisticated — if  only  because  they  are  becoming  younger. 

Translate  these  thought  into  terms  of  the  motion  picture 
theatre.  The  top  grossing  pictures  of  last  year — not  in- 
cluding late  releases  like  "Giant"  or  "The  Ten  Command- 
ments," neither  of  which  vitiates  the  point — were  all  pic- 
tures with  a  simple  appeal,  like  "Guys  and  Dolls,"  "The 
King  and  I,"  "Trapeze,"  "High  Society"  and  "I'll  Cry  To- 
morrow." "War  and  Peace"  and  "Moby  Dick"  were  as 
highly  praised,  to  say  the  least,  as  some  of  the  others,  and 
were  by  no  means  unsuccessful;  but  they  had  harder  going 
because  they  dealt  with  subjects  which  had  an  aura  of 
sophisticated  intellectualism. 

What  young  married  people  want  in  motion  pictures 
varies  with  the  people.  But  it  is  safe  to  say  that  young 
brides  and  grooms  are  not  interested  for  the  most  part  in 
crusading  messages  or  intellectual  masterpieces.  They 
want  to  laugh,  they  want  to  gasp  and  they  want  to  cry  a 
little,  holding  each  other's  hand  for  pleasant  comfort  while 
they  do  so. 

For  this,  until  the  babies  come,  all  the  statistics  seem  to 
indicate  that  the  movies  are  their  first  choice  away  from 
home.  But  things  change  when  the  diaper  service  starts. 
(No  joke  intended.)  And  it  is  here  that  the  crucial  element 
of  the  motion  picture  theatre's  relationship  with  the  young 
married  audience  comes  into  view. 

Up  to  this  point,  the  motion  picture  itself  has  been  the 
main  concern  of  the  ticket  purchaser.  A  newlywed  couple 
won't  go  into  a  theatre  that  is  kept  like  a  stable,  any  more 
than  other  patrons  will.  But  the  young  man  and  wife  are 
not  terribly  interested  in  going  to  the  theatre  that  has  the 
nicest  looking  lobby  either.  As  long  as  the  physical  fa- 
cilities are  adequate,  they  don't  make  a  tremendous  dif- 
ference. The  time  schedule  isn't  very  important,  or  the 
length  of  the  show. 


But  when  Mr.  and  Mrs.  add  a  couple  of  juniors,  things 
are  different.  Whether  they  are  taking  the  kids  or  leaving 
them  home  with  a  baby  sitter,  the  programming  schedule 
is  important  to  them.  Many  a  young  father  and/or  mother 
has  stopped  going  to  the  movies  with  any  regularity  be- 
cause he  or  she  wanted  to  come  in  at  the  beginning  of  the 
pictures  and  found  this  impossible  in  terms  of  the  baby 
feeding,  bathing  or  family  dining  schedule  at  home.  In  in- 
stances where  the  program  starts  at  a  convenient  time,  it 
has  sometimes  been  just  too  long  a  show.  Practically  every 
New  York  City  theatregoer,  for  example,  has  wondered 
out  loud  at  some  time  or  another  why  double  bills  plus 
short  subjects  have  to  be  so  long. 

When  the  children  grow  old  enough  to  go  to  the  movies 
with  their  parents — who  may  still  be  well  within  the  young 
married  category — the  condition  of  the  theatre  becomes 
important.  Children  do  nothing  to  improve  the  physical 
calibre  of  the  showhouse  they  attend;  but  the  anomaly  is 
that  careful  parents  don't  like  to  take  their  children  to 
run-down  theatres  if  they  can  help  it.  This  particularly 
applies  in  big  cities  where  there  are  alternative  kinds  of 
entertainment,  including  a  plethora  of  television  channels. 


MORE   MALE   PATRONS  THAN  FEMALE 


The  drive-in  theatre's  success  has  certainly  been  due  in 
tremendous  measure  to  the  way  it  filled  the  entertainment 
needs  of  the  young  marrieds.  It  gave  them  a  greater  de- 
gree of  privacy;  it  made  family  moviegoing  easier  than  it 
had  ever  been  before;  and,  by  no  means  the  least  of  its  ap- 
peals, it  kept  the  young  children  where  papa  and  mama 
had  less  trouble  controlling  them  (no  running  up  and 
down  the  aisles,  no  angry  man  staring  at  papa  because 
junior's  lolly  pop  has  been  slurped  so  near  his  ear.) 

We  are  still  a  few  years  away  from  an  extremely  impor- 
tant development  among  the  young  marrieds.  If  people 
get  married  younger  they  are  likely  to  become  parents 
younger.  This  means  that  a  woman  who  marries  at  20.2 
years — the  median  age  in  1955 — and  has  a  family  of  three 
children  in  the  next  five  years,  will  be  the  parents  of  three 
independently  moviegoing  teenagers  at  age  38.  If  she  has 
two  children,  she  may  be  similarly  situated,  free  of  the 

(Continued  on  Page  22) 


Film  BULLETIN    March  18,  1957        Page  13 


"Gold  of  Naples" 
Gcuuteu,  Rati*?  GOO 

Intense,  emotional  Italian  satire  (English  titles).  Superb  per- 
formances. First-rate  art  fare,  good  for  class  houses. 

This  is  an  unusually  well  produced  and  directed  satire 
from  Italy,  with  English  titles,  in  the  form  of  four  short 
stories.  Full  of  spirit  and  compassion,  and  told  with  pace, 
this  Ponti-De  Laurentiis  Production  for  DCA  release,  has 
a  bright  b.o.  potential  in  art  houses.  Dynamic  director 
Vittorio  De  Sica  is  responsible  for  modern  cinema  classics 
such  as  "Bicycle  Thief"  and  "Miracle  in  Milan".  The 
first  rank  Italian  cast  is  headed  by  Toto,  a  Chaplinesque 
clown,  the  voluptuous  Sophia  Loren,  and  Silvana  ("Bitter 
Rice")  Mangano.  In  "The  Racketeer"  Toto  is  victimized 
by  a  truculent  bully  who  has  lived  in  his  home  for  ten 
years.  When  it  is  believed  the  huge  man  has  a  weak  heart, 
Toto  screws  up  enough  courage  to  throw  him  out.  "Pizza 
on  Credit"  deals  with  Sophia  Loren,  wife  of  a  pizza  baker 
who  tells  her  husband  her  emerald  ring  fell  in  the  dough, 
rather  than  admit  she  left  it  at  her  lover's  house.  This 
sends  the  husband  scurring  to  run  down  the  day's  cus- 
tomers. De  Sica  plays  "The  Gambler",  a  penniless  count 
reduced  to  playing  cards  for  imaginary  stakes  with  the 
porter's  small  son.  The  child  always  wins  and  the  enraged 
count  insists  it's  "pure  luck"  not  skill.  "Theresa",  Miss 
Mangano,  is  a  prostitute  who  married  a  man  she  doesn't 
meet  until  just  before  the  wedding.  The  husband  will  not 
share  her  bed.  She  is  shocked  to  learn  that  he  married  her 
to  clear  his  conscience  from  guilt  he  feels  because  a  young 
girl  committed  suicide  because  of  him. 

DCA.  I A  Ponti-De  Laurentiis  Production).  107  minutes.  Toto,  Sophia  Loren, 
Vittorio  De  Sica,  Silvana  Mangano.  Produced  by  Dino  De  Laurentiis  and  Carlo 
Ponti.   Directed  by  Vittorio  De  Sica. 

"Tarzan  and  the  Lost  Safari" 

Standard  adventure  fare  for  Tarzan  fans.  Programmer  gen- 
erally. Good  Technicolor  shots  of  Africa,  animals. 

This  latest  adventure  of  Edgar  Rice  Burroughs'  famed 
jungle  character,  made  for  MGM  by  Sol  Lesser,  is  typical 
of  its  genre,  neither  more  nor  less  interesting  than  its 
predecessors  and  in  fact  resembling  them  in  most  aspects. 
The  amorphous  "Tarzan"  fans  should  find  it  worth  seeing, 
however,  and  with  adequate  exploitation  picture  shapes 
up  as  an  OK  entry  for  action  and  bally  houses.  Some  good 
Technicolor  photography  of  the  African  terrain  with  its 
array  of  bizarre  animals  gives  "Safari"  its  main  distinction. 
Otherwise  it  is  replete  with  the  intrigues,  animal  fights  and 
last-minute  rescues  which  characterize  most  of  the  series. 
Bruce  Humberstone's  direction  is  competent  and  he  keeps 
the  action  uncluttered  and  moving  along  at  a  good  clip. 
Gordon  Scott  makes  a  muscular  Tarzan.  The  supporting 
cast  is  not  distinctive.  Tarzan  (Scott)  rescues  five  white 
persons  after  their  small  plane  crashes  in  the  jungle.  With 
the  help  of  ivory  hunter  Robert  Beatty  he  leads  them  al- 
most to  safety  through  hostile  native  territory.  They  are 
betrayed  by  Beatty,  who  seeks  to  ingratiate  himself  with 
the  natives,  and  taken  to  the  native  village  as  sacrifices. 
Tarzan,  who  had  escaped,  sets  fire  to  the  village  and  res- 
cues them.  Beatty  is  killed  by  the  enraged  natives. 

MGM.  80  minutes.  Gordon  Scott,  Robert  Beatty.  Betta  St.  John.  Produced  by 
Sol  Lesser.    Directed  by  Bruce  Humberstone. 


"The  Vintage" 
Sc«tfHe4d  1£aU*$  O  O  Plus 

Love  drama  keyed  to  class,  fern  audiences.    Fair  name 
values.  Will  require  heavy  selling  in  general  market. 

A  love  story,  beautifully  photographed  in  southern 
France,  this  CinemaScope-Metrocolor  production  via 
M-G-M  offers  elements  that  should  satisfy  the  class  audi- 
ence, with  special  appeal  to  the  women.  Its  boxoffice  per-  s 
formance  in  the  general  market,  however,  will  depend  a 
great  deal  on  the  exploitation  effort  expended.  Perform- 
ances by  the  principals,  Mel  Ferrer,  Pier  Angeii,  John 
Kerr  and  Michele  Morgan  are  all  competent,  Miss  Morgan 
being  especially  vibrant.  Although  Edwin  H.  Knoph's  di- 
rection is  creditable,  "The  Vintage,"  at  times,  moves  too 
slowly,  but  packs  enough  dramatic  impact  to  carry  it  over 
its  weak  spots.  Title  of  the  Jeffrey  Hayden  production 
figures  to  be  a  weak  promotional  handle.  Brothers  Ferrer 
and  Kerr  slip  over  the  Italian  border  into  the  grape-grow- 
ing region  of  southern  France  to  evade  the  police,  who  are 
searching  for  Kerr,  wanted  for  murder.  Arriving  in  the 
midst  of  the  harvest  season,  they  wangle  jobs  from  Leif 
Erickson,  owner  of  a  small  vineyard.  Kerr  falls  in  love 
with  Michele  Morgan,  Erickson's  wife,  while  Ferrer  takes 
to  Pier  Angeii,  young  unmarried  sister  of  Miss  Morgan. 
When  the  gendarmes  close  in  on  Kerr,  Miss  Morgan  at- 
tempts  to  save  him.  Trying  to  escape,  Kerr  is  killed. 
Ferrer  starts  a  new  life  with  Miss  Angeii. 

M-G-M.    90  minutes.    Mel  Ferrer,  Pier  Angeii,  John  Kerr,  Michele  Morgan.  Pro- 
duced by  Jeftrey  Hayden.    Directed  by  Edwin  H.  Knoph. 

"The  Delinquents" 

Minor  programmer  best  suited  to  bally,  action  houses.  Will 
need  lots  of  exploitation. 

This  United  Artists  release  is  an  exploitable  program- 
mer, best  suited  for  sub-run  action  and  bally  houses,  and 
needing  lots  of  exploitation.  Produced  on  a  very  low  bud- 
get, it  purports  to  expose  the  ruthlessness  of  teenage  de- 
linquents, while  making  a  plea  for  their  compassion  and 
guidance.  Robert  Altman,  who  wrote  the  screenplay  and 
directed,  has  used  location  shots  throughout  and  a  cast 
composed  mostly  of  non-professionals.  Result,  while  au-  i 
thenticity  lends  realism,  the  overall  effect  is  not  impres- 
sive. Black  and  white  camera  work,  lighting  and  sound 
are  all  sub-par,  and  poor  editing  results  in  some  confusion 
at  dramatic  moments.  Despite  all  the  drawbacks,  perform- 
ances are  convincing.  When  teenager  Tommy  Laughlin  is  I 
told  by  parents  of  Rosemary  Howard  that  they  must  stop  J 
going  steady,  he  gets  mixed  up  with  a  hoodlum  gang. 
Leader  Peter  Miller  suggests  he  pose  as  date  of  Miss  Ho- 
ward,  so  she  and  Laughlin  can  get  together.  After  a  wild 
party  at  an  abandoned  house,  the  police  raid  the  place 
after  Laughlin  and  Miss  Howard  have  left.  The  gang  ac- 
cuses Laughlin  of  squealing,  and  frame  him  for  a  gas  sta- 
tion holdup.  To  keep  him  from  telling  police,  they  trick 
Miss  Howard  into  becoming  their  prisoner.  Laughlin  goes 
to  hideout,  beats  up  Miller  but  not  before  he  is  knifed.  All 
are  rounded  up  by  the  police. 

UA  (Imperial  Productions,  Inc).    75  minutes.    Tommy  Laughlin,  Peter  Miller,  Rose- 
mary Howard.   Written,  produced,  directed  by  Robert  Altman. 


Page  14       Film  BULLETIN    March  18,  1957 


"Heaven  Knows,  Mr.  Allison" 

SccAuteu  "Rati*?  GOO  Plus 

Deeply  engrossing  story.  Expert  direction,  fine  perform- 
ances. Ample  action,  suspense.  Should  do  well  in  every 
situation.  Strong  marquee  in  Deborah  Kerr,  Mitchum. 

Audiences  of  every  age  and  description  should  take 
warmly  to  this  unusual  picture.  In  the  capable  hands  of  di- 
rector John  Huston  ("African  Queen"),  the  adaptation  of 
j  Charles  Shaw's  novel  about  a  nun  and  a  marine  who  dodge 
the  Japanese  on  a  lonely  Pacific  island  and  experience 
tender  feelings  for  each  other  is  a  wonderfully  moving, 
deeply  engrossing  story.  Deborah  Kerr  and  Robert  Mitch- 
um provide  potent  marquee  power,  and  with  the  proper  ex- 
ploitation of  the  film's  action  and  suspense,  it  can't  miss 
being  a  boxoffice  bonanza  in  almost  every  situation.  Pro- 
duced for  20th-Fox  by  Buddy  Adler  and  Eugene  Frenke 
in  CinemaScope  and  DeLuxe  color,  "Mr.  Allison"  is  en- 
hanced by  the  lushly  beautiful  South  Pacific  setting.  Di- 
rector Huston,  who  wrote  the  excellent  screenplay  in  col- 
laboration with  John  Lee  Mahin,  has  again  employed  his 
firm  grasp  of  cinema  craftsmenship  to  produce  a  film  that 
is  both  tender  and  exciting,  warmly  human  and  suspense- 
ful.  Mitchum  and  Miss  Kerr  are  in  top  form.  Mitchum,  a 
marine,  and  Miss  Kerr,  a  nun,  are  marooned  on  the  same 
island  during  the  Pacific  war.  The  Japanese  take  over  and 
they  hide  in  a  cave.  When  their  food  runs  out,  Mitchum 
steals  some  from  under  the  noses  of  the  Japanese.  The  in- 
vaders leave  and  Mitchum  celebrates  by  getting  drunk, 
confessing  his  love  for  Miss  Kerr.  She  runs  away  in  fright 
in  the  teeming  rain.  He  finds  her  the  next  day  ill  and 
feverish  just  as  the  Japanese  return.  To  save  her  he  steals 
medicine,  killing  a  Japanese  sentry.  The  Japs  find  the 
sentry  and  start  a  search  of  the  island,  but  the  U.S.  Navy 
comes  to  the  rescue,  beginning  its  bombardment  of  the 
island,  and  in  deactivating  the  Jap  guns,  Mitchum  is 
wounded.  Both  he  and  Miss  Kerr  are  eventually  saved. 

20th  Century-Fox.  93  minutes.  Deborah  Kerr,  Robert  Mitchum.  Produced  by  Buddy 
Adler  and  Eugene  Frenke.  Directed  by  John  Huston. 

"Fury  at  Showdown" 
SuAuteu  RattH?  O  Plus 

Program  Western.  Stock  action,  characters.  John  Derek  for 
marquee.  Will  need  exploitation. 

This  is  a  below  average  Western  with  a  small  cast,  little 
action  and  little  in  the  way  of  marquee  value.  A  Bob  Gold- 
stein Production  for  United  Artists  release,  "Fury  at 
Showdown"  is  strictly  for  sub-run  action  houses.  John 
Derek  lends  a  modicum  of  prestige  to  the  marquee  and  the 
title  is  OK.  Otherwise,  it  offers  little  that  is  saleable.  Per- 
formances are  undistinguished.  Though  story  line  is  un- 
cluttered, as  in  "High  Noon",  picture  lacks  vividness  of 
characterization  and  feeling  to  hold  interest.  The  John 
Beck  production  is  in  black  and  white.  Derek,  released 
from  his  one-year  jail  sentence  for  a  killing,  returns  to  his 
brother  (Nick  Adams)  and  their  ranch  near  the  town  of 
Showdown.  In  his  attempts  to  go  straight,  Derek  is  ham- 
strung by  Gage  Clarke,  brother  of  the  man  he  killed,  who 
is  out  for  revenge.  When  Adams  is  killed  by  Clarke's  hired 
killer,  Derek  shoots  the  killer,  Clarke  is  captured.  Derek 
proves  he's  going  straight,  wins  girl,  Carolyn  Craig. 

United  Artists  (Bob  Goldstein  Prods. I.  75  minutes.  John  Derek  Carolyn  Craig. 
Nick  Adams.  Produced  by  John  Beck.  Directed  by  Gerd  Oswald. 


"Tears  for  Simon" 

Scuitete  Rate*?  O  O 

British  import  about  search  for  stolen  American  child  is  grip- 
ping. Lacks  names.  Will  need  exploitation. 

Republic  has  undertaken  the  U.S.  release  of  an  excep- 
tionally engrossing  "search"  drama  that  should  have  gen- 
eral appeal.  But  being  British,  and  with  its  lack  of  names, 
it  will  take  exploitation.  The  J.  Arthur  Rank  production 
by  Vivian  Cox  has  a  ring  of  authenticity  as  it  traces  the 
efforts  of  London  police  in  locating  a  stolen  American 
child.  London  locations  in  Eastman  Color  are  admirably 
employed.  An  excellent  script  by  Janet  Green,  and  Hitch- 
cock-like techniques  by  director  Guy  Green,  lift  picture 
above  the  general  run  of  cinema  mysteries.  "Tears  for 
Simon",  however,  does  have  the  added  disadvantage  of  a 
poor  title.  This  could  be  overcome  with  proper  exploita- 
tion emphasizing  the  kidnapping,  with  parents  providing 
a  potential  market.  Simon,  19-months-old,  is  stolen  from 
David  Knight  and  Julia  Arnell,  American  couple  living  in 
London.  Detective  David  Farrar  follows  up  every  clue, 
but  they  fear  the  child  is  dead.  On  the  verge  of  nervous 
breakdown,  Miss  Arnell  complies  with  demands  for  money 
from  small-time  crooks  who  do  not  have  the  child.  They 
are  caught  by  police.  Clue  leads  Farrar  to  a  deranged 
woman  living  at  a  sea-side  resort.  Woman  threatens  to 
jump  over  a  cliff  with  Simon,  but  is  caught  by  Farrar. 

Republic.  (J.  Arthur  Rank).  91  minutes.  David  Farrar.  David  Knight,  Julia  Ar- 
nail.    Produced  by  Vivian  A.  Cox.    Directed  by  Guy  Green. 

"Spring  Reunion" 

Sci4uie44  RcUitt?  O  O 

Sub-par  romantic  drama.  Marquee  value  of  Hutton,  Dana 
Andrews  provide  mild  boxoffice  power. 

This  Bryna  Production  for  United  Artists  release,  fea- 
tures Betty  Hutton  in  a  straight  dramatic  role.  It  will  dis- 
appoint her  fans.  While  her  performance  comes  across  sin- 
cerely, and  at  times  forcefully,  "Spring  Reunion"  is  a  tepid, 
diffuse  soap  opera  weighted  with  too  many  cliches.  The 
exhibitor  will  have  to  rely  on  the  marquee  strength  of  Miss 
Hutton  and  Dana  Andrews,  but  word-of-mouth  will  not 
help.  Strongest  appeal  will  be  to  the  fern  trade.  Script  by 
director  Robert  Pirosh  and  Elick  Moll  follows  a  too- 
familiar  story  line.  Pirosh's  direction  tends  toward  the 
melodramatic,  is  uneven  and  allows  for  no  real  empathy 
between  characters  and  audience.  The  Jerry  Bresler  pro- 
duction is  in  black  and  white.  Betty  Hutton,  voted  most 
popular  in  her  1941  high  school  class,  is  helping  arrange  its 
15th  reunion.  She  runs  into  old  schoolmate  Dana  Andrews, 
voted  most  likely  to  succeed.  Neither  has  fulfilled  promise. 
Both  unmarried,  she  is  a  successful  businesswoman  in  her 
father's  real  estate  enterprise,  he  has  drifted  from  job  to 
job.  They  go  for  a  midnight  sail  and  are  beached  against 
a  lighthouse  where  the  old  keeper,  James  Gleason,  makes 
her  see  that  Andrews  isn't  just  the  wolf  she  always  as- 
sumed he  was.  With  understanding  comes  love  and  they 
decide  to  marry.  However,  father  Robert  Simon,  not  want- 
ing to  lose  her,  tries  to  ruin  match,  but  mother  Laura 
LaPlante  convinces  her  that  marriage  is  best. 

A  Bryna  Production  (United  Artists).  7?  minutes.  Betty  Hutton,  Dana  Andrews, 
Jean  Hagen,  James  Gleason,  Laura  LaPlante.  Produced  by  Jerry  Bresler.  Directed 
by  Robert  Pirosh. 


Film  BULLETIN    March  18.  1957        Page  15 


Viewpoints 

i  Continued  from  Page  3) 

trends  originate,  is  in  a  ferment  over 
systems  of  transmitting  motion  pic- 
tures right  into  homes  on  a  wired 
hook-up,  using  none  of  the  airwaves, 
requiring  no  television  channels  and 
thus  by-passing  all  the  legal  re- 
straints which  might  otherwise  be 
imposed.  The  forthcoming  experi- 
ment by  the  Video  Independent 
Theatres  circuit  in  Bartlesville, 
Okla.,  has  already  triggered  a  chain 
reaction  among  exhibitors  interested 
in  this  new  "telemovie"  concept. 

The  telephone  company's  research 
has  progressed  to  the  point  where  it 
is  possible  to  transmit  a  television 
sight  and  sound  signal  —  at  least 
experimentally — over  a  regular  tele- 
phone line.  Some  cities  are  already 
trying  to  draw  up  franchise  tax  reg- 
ulations covering  this  sort  of  closed 
circuit  television  programming. 

Nobody  knows  yet  whether  it  will 
be  a  worthwhile  operation  for  ex- 
hibitors. We'll  have  to  wait  to  see 
whether,  for  example,  it  will  bring 
new  business  for  the  movies  cr 
merely  drain  off  some  of  the  receipts 
of  the  theatres. 

But  what  we  must  realize  is  that 
the  day  may  soon  come  when  this 
sort  of  wired  subscription  television 
operates  regardless  of  theatres.  It 
wasn't  so  long  ago  that  every  movie 
distributor  was  insisting  he  would 
simply  not  sell  his  backlog  to  tele- 
vision. The  insistent  laws  of  eco- 
nomics changed  that.  Not  every 
distributor  says  the  same  thing 
today  about  wired  home  television; 
most  still  refuse  to  make  any  long 
range  commitment,  until  they  see 
how  things  work  out. 

This  presents  an  opportunity  that 
the  southwestern  exhibitors  have  be- 
gun to  exploit  with  characteristic 
alertness — and  a  lesson  for  the  mo- 
tion picture  business  in  general. 

We  have  a  situation  today  in  com- 
mercial television  which  we  hope 
will  not  be  repeated  in  other  media. 
Motion  pictures  are  the  backbone  of 
today's  TV,  but  instead  of  benefiting 
the  entire  motion  picture  industry 
this  has  helped  a  few  and  hurt  many. 
In  most  cases  people  outside  the  mo- 


tion picture  business  have  been  able 
to  scavenge  and  build  their  own  for- 
tunes from  it. 

It  would  be  wise  for  every  exhibi- 
tor in  every  American  community  to 
look  into  the  wired  television  pos- 
sibilities in  his  area.  Perhaps  a 
group  of  exhibitors  in  a  larger  city 
can  take  steps,  at  the  risk  of  a 
modest  payment,  to  obtain  long- 
term  franchises  in  their  community 
with  an  eye  toward  future  develop- 
ments. 

What  happened  with  television 
channel  licenses  can  happen  again 
with  wired  TV  franchises;  those 
who  get  there  first  end  up  with  the 
winnings.  It  costs  money  to  estab- 
lish a  position,  but  this  money  cer- 
tainly comes  back  once  things  start 
rolling. 

And  it  is  important  to  remember 
that  if  wired  subscription  television 
turns  out  to  be  mechanically  prac- 
tical and  economically  expedient,  it 
may  well  come  into  being  even  with- 
out movies.  The  Brooklyn  Dodgers 
have  been  outspoken  in  their  desire 
to  switch  from  regular  TV  to  some 
toll  system;  big-time  boxing  bouts 
might  well  go  the  same  way. 

There  is,  of  course,  a  menace  to 
the  theatre  in  wired  television,  but 
there  is  also  an  unequaled  opportuni- 
ty. The  wise  exhibitor  will  start  in- 
vestigating without  delay. 

Tribute 

Ta  Siiouras 

A  sample  of  exhibitor  sentiment  about 
Spyros  P.  Skouras.  president  of  20th  Century- 
Fox,  is  contained  in  this  excerpt  from  a  recent 
issue  of  the  bulletin  put  out  by  the  Allied 
Independent  Theatre  Owners  of  Iowa.  Nebras- 
ka. South  Dakota  and  Mid-Central. 

We  are  happy  to  give  our  strong- 
est endorsement  to  the  upcoming 
20th  Century-Fox  "Spyros  P.  Skou- 
ras 15th  Anniversary  Celebration" 
March  24  to  May  4  as  announced  by 
Alex  Harrison,  in  honor  of  Spyros' 
15-year  leadership  as  President  of 
the  company  (how  the  years  do  race 
by!).  During  this  time  he  has  been 
a  real  leader  and  power  in  the  best 
interests  of  our  industry,  with  the 
courage  and  vision  to  introduce 
CinemaScope  and  produce  many  of 
our  finest  productions,  and  the  heart 
to  be  concerned  about  the  exhibitors 


problems.  We  particularly  endorse 
this  drive  and  urge  our  fellow  ex- 
hibitors to  make  it  a  huge  success 
with  contracts  and  playdates  be- 
cause Mr.  Skouras  and  20th  Cen- 
tury-Fox today  stand  almost  alone 
in  the  top  producer-distributor  eche- 
lon who  apparently  give  a  damn 
whether  the  small  exhibitor  sur- 
vives. Without  Spyros  Skouras,  the 
plight  of  the  exhibitor  would  be 
well-nigh  hopeless  and  the  future,  if 
any,  dark  indeed ! 


To  The  Editor ; 

Concerning  your  editorial  entitled 
"This  Is  the  Time  For  Exhibitor 
Unity" :  I  couldn't  agree  with  you 
more.  I  believe  it's  been  the  time 
for  many  years  now,  and  perhaps 
quite  a  few  years  past  time.  I  do  not 
agree  with  the  thoughts  expressed 
by  some  of  the  persons  in  this  indus- 
try that  two  exhibitor  organizations, 
or  better  than  two,  working  together 
are  better  than  one.  I  think  that 
there  is  a  very  old  adage,  stated  by 
one  of  the  brilliant  fathers  of  our 
country,  which  stated,  "In  unity 
there  is  strength;  divided  we  fall". 
This  is  still  appropriate  and  accu- 
rate today. 

Certainly,  the  interests  of  exhibi- 
tors are  synonymous  with  the  prob- 
lems of  exhibitors.  It  is  my  opinion 
that  only  working  shoulder  to 
shoulder  will  the  exhibitors  stand  a 
chance  to  help  lead  this  industry  to 
higher  levels  and  a  really  bright  and 
successful  future.  The  people  who 
were  responsible  for  most  all  of  the 
progress,  most  all  of  the  showman- 
ship in  our  industry,  past  and  pres- 
ent, accomplished  it  with  the  help  of 
imagination  and  leadership.  I  posi- 
tively believe  that  there  is  enough 
leadership  to  coordinate  and  harness 
exhibition  to  a  brighter  future  with 
unity. 

WALTER  READE,  JR. 

If  alter  Reade  Theatres 


Page  16        Film  BULLETIN     March  18,  1957 


/tie  'Doiayf 

MERCHANDISING  & 
EXPLOITATION  DEPARTMENT 


'Sweepstakes',  Despite  Late  Start 
Showing  Promotional  Potential 


Considering  the  short  time  in  which  the 
campaign  was  put  into  operation,  the 
I  Academy  Awards  Sweepstakes  drive  can  be 
considered  a  success.  While  it  has  hardly 
assumed  the  stature  of  a  truly  national  pro- 
motion, the  "Oscars"  contest — undertaken, 
as  it  was,  on  short  notice  —  is  getting  a 
thorough  testing  in  a  representative  cross- 
section  of  the  country.  Almost  3,000  thea- 
tres are  taking  part  and  interest  is  gathering 
momentum  as  scores  of  newspapers  through- 
out the  nation  have  tied  up  with  local  thea- 
tres to  ballyhoo  the  promotion. 

In  a  COMPO  advertisement  in  Editor  and 
Publisher  magazine,  the  industry  organiza- 
tion urges  other  newspapers  to  climb  on  the 
bandwagon  of  the  "year's  best  promotion". 
The  COMPO  ad  points  out  that  "the  Sweep- 
stakes idea  appeals  especially  to  their  read- 
ers" and  that  "several  are  reprinting  the 
entry  blank;  others  are  ballyhooing  the  con- 
test on  their  delivery  trucks  and  even  with 
front-page  banners". 

Latest  reports  on  the  campaign: 

In  the  Seattle  exchange  area,  forty  thea- 
tres are  going  all-out  to  sell  the  Awards 
contest.  Approximately  $1,800  worth  of  mer- 
chandise has  been  promoted  by  the  Ham- 
rick  circuit  for  its  Tacoma  and  Seattle  thea- 

'Round-the-world  Talent 
Hunt  Set  by  20th  on  'Smile' 

An  international  talent  hunt  is  being 
launched  by  20th  Century-Fox  to  find  a 
young  unknown  to  play  the  leading  fern  role 
in  "A  Certain  Smile,"  best-selling  novel  by 
Francoise  Sagon,  young  French  novelist.  In 
addition  to  the  specific  objective  of  filling 
this  role,  the  round-the-world  quest  will  seek 
candidates  for  20th's  new  talent  school,  now 
in  operation  in  Hollywood. 

Scheduled  to  be  one  of  the  company's  big- 
gest productions,  the  film  will  be  produced 
by  Henry  Ephron  and  the  screen  play  will 
be  written  by  Pulitzer  Prize  winners  Francis 
and  Albert  Hackett.  Studio  chief  Buddy 
Adler  is  of  the  opinion  that  the  heroine  role 
winner  will  skyrocket  to  stardom. 


tres.  As  an  outstanding  example  of  promo- 
tion, Joe  Rosenfield,  operator  of  a  small 
Seattle  theatre,  has  personally  put  up  $500  in 
savings  bonds  as  prizes  for  his  patrons. 

Elsewhere,  a  wide  range  of  prizes  are  being 
offered  to  contestants  in  the  Sweepstakes 
competition.  A  Ford  automobile  has  been 
promoted  by  the  Toledo,  Ohio,  Managers 
Association  as  first  prize  in  the  contest  there. 
Among  the  other  give-aways:  a  21-inch  TV 
set,  a  combination  radio-Hi-Fi  and  a  portable 
Hi-Fi  set.  Deep  in  the  heart  of  Texas, 
Brownsville  exhibitors  are  offering  round- 
trip  airline  tickets  for  two  to  Monterey, 
Mexico,  as  the  first  prize.  San  Antonio 
prizes  include  a  Kelvinator  Food-O-Rama 
refrigerator,  three  complete  dance  courses  at 
the  Arthur  Murray  studios  and  a  21-inch  TV 
set.  The  San  Antonio  Express  is  running  a 
ballot  every  day  during  the  period  of  the 
contest. 

In  Nashville,  Tenn.,  with  the  cooperation 
of  the  city's  big  daily,  The  Tennessean,  ex- 
hibitors are  awarding  an  all-expense  paid 
full-week  trip-for-two  to  Hollywood.  Sixteen 
Crescent  Amusement  Co.  houses  and  drive- 
ins  and  five  competing  drive-ins  have  joined 
hands  with  the  Southern  newspaper  to  boom 
the  drive. 

Schine  Manager  Boosts  B.O. 
With  "G.  Washington'  Kid  Show 

There  have  been  kiddie  shows  and  kiddie 
shows,  but  John  Corbett,  manager  of 
Schine's  Rialto  in  Amsterdam,  N.  Y.  need 
take  a  back  seat  to  no  one  in  staging  them. 
His  recent  Washington's  Birthday  Kiddie 
Show  promotion  was  really  a  lulu. ' 

As  part  of  the  advance  campaign  Corbett 
had  a  "cherry  tree"  standing  in  front  of  his 
theatre,  and  on  the  tree  were  hung  large 
circles  giving  details  of  the  coming  show. 
An  usher  garbed  like  a  Colonial  Washington 
invited  youngsters  to  take  a  whack  at  the 
tree  with  a  small  rubber  hatchet.  After  try- 
ing their  luck,  the  kids  were  asked  to  sign 
their  name  to  a  roster  of  lucky  woodsmen 
who  would  get  ducats  to  the  holiday  show. 


«  Si  Seedier,  M-G-M  ad 
manager  (left)  and  Don 
Gillin,  sales  chief  of  Sol 
Lesser  Productions,  hold  a 
conference  on  advertising 
for  Lesser's  "Tarzan  and 
the  Lost  Safari".  Sitting 
in  on  the  meeting  is 
"Zippy",  reputedly  the 
"technical  adviser"  on 
this  latest  Tarzan  film, 
which  Metro  will  release. 


Page  II 


Wind-up  of  the  beauty  sweepstakes  -d>- 
drumbeating  Stanley  Kramer's  "The  Pride  and 
the  Passion"  was  held  at  the  Vanderbilt  Hotel 
in  New  York  City,  with  over  $50,000  in  loot 
going  to  finalists  and  semi-finalists.  Top:  As- 
pirants for  the  grand  prize  show  their  stuff  to 
judges  and  spectators.  Winner,  Sharlayne  Fer- 
raro  of  Portland,  Oregon,  received  trip  to  Holly- 
wood, talent  test  and  new  auto.  Bottom:  UA 
director  of  special  events,  Lige  Brian,  kicks  off 
the  judging.  Among  the  judges:  Aldo  Ray, 
Robert  Ryan,  syndicated  columnist  Earl  Wilson. 

'Ten  C  Business-Binding 
'Bible'  Prepared  by  Paramount 

A  promotional  "bible"  to  aid  exhibitors  in 
the  handling  of  special  engagements  of  "The 
Ten  Commandments"  has  been  prepared  by 
Paramount.  It  contains  a  detailed  outline  of 
a  wide  variety  of  business-building  ideas. 

Published  in  the  form  of  a  specially-bound 
50-page  booklet,  the  manual  is  crowded  with 
a  comprehensive  collection  of  tried-and- 
tested  ideas  and  methods  that  have  been  em- 
ployed successfully  in  early  engagements. 
Covering  a  wide  range  of  promotional  and 
merchandising  ideas,  the  volume  offers  sug- 
gestions on  such  subjects  as  special  screen- 
ings, gift  ticket  displays,  reserved  seating 
arrangements  and  theatre  fronts.  The  easy- 
to-read  and  understand  book  is  the  collective 
work  of  various  Paramount  executives  and 
specialists  in  marketing. 

Film  BULLETIN    March  18,  1957        Page  17 


#    i%     Touring  Stars  Sell    ft  ^ 


To  exhibitors  searching  for  more  and  better  weapons  with  which  to 
combat  the  inroads  of  TV  and  other  recreational  competition  on  thea- 
tre attendance,  the  business-building  impact  of  personal  appearances 
of  stars,  producers,  directors  and  other  personalities  connected  with 
movie-making  is  well  known.  They  have  long  been  crying  for  more 
in-the-flesh  drumbeating  by  film  names,  a  promotional  asset  of  proven 
merit.  Fact  is,  as  witness  examples  below,  that  some  stars  are  hitting 
the  trail  through  towns  and  cities  to  stimulate  interest  in  current  re- 
leases. And  boxoffice  reports  from  places  where  they  appear  bear 
testimony  to  the  public  response  to  film  personalities.  Let's  have  more ! 


Ad  Magazine's  Advice:  "Take 
A  Tip  From  Movie  Exhibitors" 

Movie  exhibitors  were  given  a  nice  pat-on- 
the-back  recently  with  publication  of  an  il- 
luminating feature  article  in  Advertising  Re- 
quirements, nationally  circulated  trade  pub- 
lication for  merchandising,  advertising  and 
marketing  executives.  Titled  "Take  a  Tip 
From  The  Movies",  the  article  touts  the 
good  theatre  manager  as  a  "master  of  strik- 
ing promotional  techniques  —  at  a  low 
budget". 

Declaring  that  "dramatically  effective 
point-of-sale  display  and  outpost  tie-in  pro- 
motion are  used  routinely  in  the  merchandis- 
ing of  motion  pictures",  Advertising  Re- 
quirements suggests  to  its  readers  that  they 
would  do  well  to  emulate  and  adapt  the 
showmanship  of  the  exhibitor  in  advertising 
of  their  own  products.  Wilson  Elliot,  man- 
ager of  the  1200-seat  Jewel  Theatre,  Mt. 
Clemens,  Mich.,  is  profiled  by  the  magazine 
as  a  theatreman  with  a  reputation  for  red- 
hot  promotional  know-how.  A  step-by-step 
detailed  description  of  Elliot's  successful 
promotion  on  "Trapeze"  is  utilized  as  a  case 
history  of  aggressive  showmanship. 

Tunny  Face'  Sets  Co-op  With 
Seventeen  and  Dept.  Stores 

In  a  slick  drive  aimed  at  the  lucrative 
fem-teen  market,  a  triple-tie-up  has  been  set 
by  Paramount  on  "Funny  Face"  with  Seven- 
teen Magazine  and  seventy-seven  leading  de- 
partment stores  throughout  the  nation. 
Tabbed  "Think  Pink",  the  promotion  is 
based  on  a  production  number  of  the  same 
name  in  the  Technicolor  musical  starring 
Fred  Astaire  and  Audrey  Hepburn. 

Seventeen's  March  issue  sets  the  theme  for 
the  giant  co-op  venture  with  several  sections 
and  the  cover  page  devoted  to  "Think  Pink" 
fashion  themes.  To  serve  as  a  fashion  guide 
for  the  department  stores  participating  in 
the  three-way  promotion,  Seventeen  has  pre- 
pared a  special  brochure  detailing  steps  for 
advertising,  window  displays,  and  many 
other  business-stimulating  activities,  each  of 
which  is  keyed  to  "Funny  Face"  and  "Think 
Pink"  fashions. 

Also  featured  in  the  March  Seventeen  is 
a  two-page  photos-and-text  spread  featuring 
Astaire  and  Miss  Hepburn.  Among  the 
stores  participating  in  the  king-size  cam- 
paign are  Filene's  of  Boston,  Gimbel's,  Phil- 
adelphia, and  Hudson's,  Detroit. 

'80  Days'  LP  Exploitation 

Decca  Records  has  launched  its  broadest 
exploitation  campaign  to  date  for  the  12-inch, 
long-playing  album  sound  track  from 
"Around  the  World  in  Eighty  Days".  Full- 
page  co-op  ads  will  appear  in  each  local  area 
as  the  Mike  Todd  wide-screen  spectacle  hits 
town.  The  record  concern  already  reports 
unprecedented  sales  of  the  album — due  to 
the  astonishing  word-of-mouth  on  the  Todd- 
AO  feature. 


Typical  of  the  go-out-and-sell-'em  pro- 
motional safaris  is  Robert  Wagner's  on  be- 
half of  20th-Fox's  "The  True  Story  of  Jesse 
James".  Left:  Wagner  gives  the  good  word 
to  national  and  fan  magazine  editors  at  a 
luncheon  press  interview  in  New  York  City. 

•W-  Upper  row,  1.  to  r.:  Before  kicking-off 
on  their  7500-mile  cross-country  tour  to  bally 
United  Artists'  "Men  In  War",  stars  Aldo 
Ray  and  Robert  Ryan  look  over  the  promo- 
tional plans  held  by  Roger  Lewis,  national 
director  of  advertising,  publicity  and  exploi- 
tation, while  Alfred  Tamarin,  Lewis'  assist- 
ant, looks  on.  2)  In  Washington,  D.  C,  the 
traveling  stars  serve  hot  java  to  youthful 
bargain  hunters  waiting  for  a  store  to  open 
interviews.    2)  Welcome  to  St.  Louis.  A 


Center:  Drumbeating  the  western  drama  ii 
Northfield,  Minn.,  site  of  Jesse's  last  holdup 
the  young  star  takes  to  the  saddle  during 
gala  celebration  in  honor  of  his  arrival 
Right:  Wagner  is  greeted  by  son  of  banke 
shot  by  James  during  his  final  "job". 

with  one  of  those  famous  Washington  Birth 
day  sales.  3)  Arriving  in  Denver,  Ryan  an< 
Ray  are  interviewed  by  Bill  Sharp  of  sta 
tion  KVOD  the  moment  their  plane  lands 
The  high-flying  pair  spent  two  days  in  thi 
Mile  High  City  plugging  the  war  dramai 
Bottom  row,  left  to  right:  Stopping  off  ii 
Chicago,  they  are  interviewed  by  Mart 
Crane,  WLS.  During  the  nationwide  trek 
the  two  made  more  than  sixty  radio-TV 
cheering  delegation  of  fans  greet  the  pair  a 
the  airport. 


Page  18       Film  BULLETIN    March  18,  1957 


In  order  that  Walt  Disney  cartoons 
may  still  continue  to  play  the  important 
part  that  they  have  in  our  great  industry, 

BUENA  VISTA  FILM  DISTRIBUTION,  INC 
and  NATIONAL  FILM  SERVICE  have 

igreed  to  jointly  serve  you— Mr.  Exhibitor 
—  as  follows: 


Sales  offices  and  salesmen  who  are 
currently  selling  this  company's 
product,  will  now  sell  you  the 
Walt  Disney  cartoons. 


NATIONAL  FILM  SERVICE 

through  its  33  branch  offices  will: 


ACCEPT  YOUR  PLAYDATES 

(including  spot  bookings) 


.SERVICE  PRINTS 


. . .  COLLECT  FILM  RENTALS 


"SHRINKING  MAN"  SHOCKER  FOR  SHOWMANSHIP 


It  isn't  easy  to  grow  a  new  plant  in  the  well-worked 
soil  of  horror  films,  but  to  all  intents  and  purposes,  Uni- 
versal-International, cradle  of  the  macabre  movie,  seems 
to  have  accomplished  just  that  in  its  latest  eerie  entry, 
"The  Incredible  Shrinking  Man". 

Whereas  most  of  the  weirdies— moneymakers  all  of  varying  degrees — have 
concentrated  on  gigantic  monsters  of  fantastic  shapes  and  characteristics,  this 
Albert  Zugsmith  production  takes  just  the  opposite  path.  Its  hero  is  an  aver- 
age guy  who  is  suddenly  afflicted  with  a  strange  malady  that  causes  him  to 
shrink  inexorably  to  a  miniscule,  making  the  ordinary  everyday  sights  and 
sounds  we  scarcely  deign  to  give  a  second  glance  loom  as  monstrous  perils, 
every  moment  fraught  with  terror  of  sudden  extinction.  A  pet  cat  becomes  a 
huge  snarling  fury,  a  tarantula  spider  turns  into  a  bone-chilling  monster  more 
than  twice  the  size  of  the  tiny  human,  water  from  a  leaking  boiler  is  trans- 
formed into  a  roaring,  swollen  flood. 

Thus  the  showman  is  given  a  special  treat — an  offbeat  horror  film  lush  with 
exploitables  backed  by  an  offbeat  advertising  campaign  head  and  shoulders 
above  the  usual  treatment  accorded  such  product.  The  striking  newspaper  ads, 
turned  out  by  Jeff  Livingston's  hucksters  under  the  supervision  of  promotion 
chief  David  Lipton,  arm  the  theatreman  with  powerful  weapons  to  fire  the 
ammunition  inherent  in  the  film's  theme  and  presentation.  Superb  use  of 
black  and  white  space  give  the  ads  a  tone  intriguing  far  beyond  the  usual 
audience  garnered  by  horror  or  science-fiction  films.  True,  U-I  has  included 
ads  with  terror-laden  scenes  in  the  tradition  of  past  successes  in  this  field,  but 
the  essential  theme  is  the  simple,  striking:  "A  Fascinating  Adventure  into  the 
Unknown"  against  an  expanse  of  black  with  the  tiny  figure  of  the  shrinking 
man  looming  into  prominence  by  contrast.  In  some  cases,  the  teaser  legend 
expresses  the  basic  theme:  "Every  hour  he  gets  smaller  .  .  .  smaller  .  .  . 
smaller!  Every  moment  the  terror  mounts!"  This  line  runs  through  the  flame 
of  a  huge  burning  match  eight  times  the  size  of  the  fleeing,  little  man.  Here 
truly  is  a  series  of  ads  to  make  the  showman's  mouth  water,  to  intrigue  the 
reader. 

Of  special  import,  too,  is  the  nation-wide  billboard  campaign  that  is  socking 
across  the  title  and  teasing  the  bizarre  qualities  of  the  attraction  along  the 
highways.  Since  February  15,  the  striking  day-glo  24-sheets  have  been  leaving 
their  impact  in  and  around  some  400  communities  from  coast  to  coast,  build- 
ing up  a  tremendous  want-to-see  well  in  advance  of  release. 

Another  key  feature  of  the  campaign  is  the  Orson  Welles-narrated  trans- 
cription for  radio  spots.  The  legendary  Welles  voice,  that  once  threw  the 
nation  into  a  panic  with  his  Martian  invasion  broadcast,  is  lending  its  power 
to  the  selling  aids  for  "The  Incredible  Shrinking  Man".  The  disc  is  free — a 
natural  wherever  radio  use  is  possible. 

Stunt  ideas  flow  from  the  title  and  theme.  Because  these  indicate  a  gradual 
process,  there  is  widespread  opportunity  for  a  maintained  exploitation  in  this 
direction,  working  in  the  progressive  dimunition  in  a  variety  of  ways.  The 
teaser  ads  give  the  cue  beginning  with  the  full  figure  of  the  running  victim; 
each  day  the  man  grows  smaller  in  the  original-size  white  outline  until  he  is 
a  virtual  pinpoint.  A  live  version  of  this  could  have  a  six-footer  start  out  on 
a  street  bally,  with  each  day  a  smaller  person  in  the  same  clothes  making  the 
rounds,  emblazoned  with  the  title  and  legend:  "Each  hour  he  gets  smaller  .  .  . 
smaller .  .  .  smaller  .  .  ." 

For  the  lobby,  the  miniature  idea  can  be  strikingly  capitalized  with  a  doll 
house,  arranged  with  the  local  department  store  or  toy  dealer,  in  advance  of 
playdate  with  display  card  reading:  "Could  you  live  in  this  house?  Scott 
Carey  DID!  See  'The  Incredible  Shrinking  Man*."  Another  simple  but  effec- 
tive gimmick  is  the  use  of  a  height  and  weight  scale  in  the  lobby  with  a  cap- 
tion asking,  "What  was  your  height  and  weight  yesterday?  Check  again  now 
— Scott  Carey  did  and  found  he  was  'The  Incredible  Shrinking  Man'!" 

With  a  little  imagination,  a  real  attention  grabbing  display  can  be  rigged  up 
depicting  the  everyday  items  that  played  a  major  role  in  the  Shrinking  Man's 
survival.  An  ordinary  sewing  needle  which  he  used  as  a  lance  to  defend  him- 
self against  a  tarantula;  a  match  which  becomes  a  huge  torch  against  the  on- 
slaught of  a  cat;  a  pencil  which  serves  as  a  life-saving  log  in  a  cataclysmic 
flood.  All  of  these  can  be  illustrated  with  stills  from  the  picture,  coupled  with 
a  miniature  three-dimension  figure  tied  in  with  the  props. 

Here  is  a  tremendous  challenge  to  the  showman  with  a  capacity  for  the  un- 
usual. He  is  fortified  with  exploitation  elements  galore.  All  that  is  required 
is  a  choice  of  which  he  can  put  to  best  use — and  the  doing. 


17 


Every  hour 
he  gets 
smaller 

and 
smaller 


and  every 
moment 
the  terror 
mounts ! 


THE  INCREDIBLE 


Shrinking  MAN 


NEWSPAPER  AD 

It  was  inevitable  that  when  three  e 
pert  delineators  of  the  bizarre  we 
thrown  together  that  a  most  unusul 
film  would  emerge.  First,  there  is  Urj 
versal-International,  fountainhead 
the  horror  film;  then,  there  is  Richai 
Matheson,  one  of  the  foremost  autho 
in  the  weird  science-fiction  field;  an 
finally,  there  is  director  Jack  Arnol 
whose  "Creature  From  the  Black  \.\ 
goon"  reincarnated  the  dreadful  mo 
sters  of  the  Frankenstein-Wolf  M 
ilk.  Together,  they  have  concocted 
screen  potion  that  boils  with  oppo 
tunities  for  eery  excitement.  It  all  b 
gins  when  Grant  Williams  and  wii 
Randy  Stuart  are  exposed  to  a  radii 
active  fog,  and  the  former  discove: 
that  he  is  beginning  to  shrink.  He  b 
comes  a  national  freak  while  docto: 
search  desperately  for  an  antitoxin  th< 
will  halt  the  reversal  of  William 
growing  processes.  As  he  grows  smal 
er,  normal  objects  become  gigantic- 
and  perilous.  When  he  reaches  a  sia 
of  two  inches,  he  is  forced  to  live  in 
doll  house  for  protection  against  cat! 
mice  and  other  household  norms 
turned-monsters.  Attacked  by  the  ca 
he  escapes  in  a  fall  down  the  cella 
steps,  is  believed  dead.  Trapped  b 
stairs  with  walls  like  granite  cliffs,  h 
resorts  to  primitive  means  to  iive,  kil 
ing  a  spider  with  a  pin,  fighting  a  floo 
from  a  water  heater  leak,  stealing  foo 
from  a  mouse  trap.  Escaping  from  th 
cellar,  he  finds  himself  under  the  stan 
where  all  mankind  is  dwarfed  into  in; 
finitesimal  size.  As  he  continues  t 
shrink,  he  realizes  that  there  is  no  zerc 
that  he  exists  as  a  creature  of  God. 


Page  20       Film  BULLETIN    March  18,  1957 


EXPLOITATION 
PICTURE 

of  the  issue 


SHRMnmMAN 


The  amazing  special  effects  wrought  by  director  of  photography,  Ellis  W.  Carter,  with  Clifford  Stine,  Roswell  A. 
Hoffman  and  Everett  H.  Broussard  for  trick  photography  and  optical  effects,  have  been  caught  excitingly  in  the 
stills.  Above,  Grant  Williams  less  than  an  inch  tall,  flees  the  snarling  monster  of  a  cat  that  had  once  purred  softly 
against  his  leg;  the  starving  dwarf  desperately  attempts  to  spring  a  mouse  trap  that  could  whack  him  into  eternity 
in  his  effort  to  retrieve  the  cheese.  Among  other  goose-pimple  scenes:  the  two-inch-tall  man's  battle  with  a  deadly 
five-inch  tarantula,  using  a  pin  as  a  lance;  the  shrinking  man  in  various  stages  of  diminution  seeing  the  world  grow 
huge  around  him  as  he  is  told  the  doctors  can  do  nothing  for  him. 

Film  BULLETIN    March  18,  1957       Page  21 


THE  YDUNG  MARRIEDS 


Problem  of  Appealing  to  Both  Sexes 


(Continued  from  Page  13) 

close  moviegoing  tie  to  her  children,  when  she  is  36  and 
still  close  to  being  a  member  of  the  young  marrieds. 

Thus  it  becomes  increasingly  wise  for  the  motion  pic- 
ture industry  to  maintain  the  appeal  of  moviegoing  for  the 
young  married  before,  during  and  after  their  status 
changes  from  newiyweds  to  family  unit.  And  this  is  where 
an  unknown  statistic  deserves  consideration. 

We  know  that  more  men  than  women  go  to  the  movies. 
We  do  not  as  yet  have  a  breakdown  of  age  and  marital 
categories.  For  example,  it  is  believed  that  more  teenaged 
girls  than  boys  go  to  the  movies.  If  this  is  the  case,  then 
the  overall  preponderance  of  male  patronage  must  trace 
to  the  fact  that  among  the  young  married  age  group  par- 
ticularly, the  females  have  cut  down  on  their  moviegoing. 

What  causes  this  apparent  cut-down?  To  a  certain  ex- 
tent, of  course,  it  is  due  to  the  fact  that  many  young  wom- 
en will  not  go  to  the  movies  alone,  while  men  will.  It  is 
also  directly  attributable,  in  the  opinion  of  some  film  peo- 
ple, to  the  decline  of  the  matinee  as  an  institution(  and 
this  may  be  simply  the  result  of  motherhood,  rather  than 
of  television).  But  inevitably  a  disturbing  additional 
thought  suggests  itself.  Can  it  be  that  feminine  attendance 
goes  down  because  young  married  women  don't  want  to  go 
to  the  movies  like  they  used  to?  Can  it  be  that  there  is  no 
longer  the  same  unanimity  among  husband  and  wife  over 
the  charms  of  the  local  Bijou? 


TOGETHERNESS"   A  FACTOR 


Available  sociological  evidence  suggests  that  despite  the 
traditional  popularity  of  a  man's  night  out  with  the  boys 
and  his  wife's  bridge  date  with  the  girls,  the  big  trend 
these  days  is  toward  more  of  what  has  been  dubbed  to- 
getherness. Husband  and  wife  are  doing  more  things  to- 
gether these  days.  There  are  more  female  baseball  fans 
than  ever,  more  family  plan  travel  arrangements  than  ever. 
The  wives  have  taken  up  the  things  their  husbands  like 
best,  from  skiing  to  shopping  at  night  in  the  drive-in  store 
areas. 

Some  activities,  however,  have  resisted  this  change.  The 
high  fi  husband  is  apt  to  have  a  wife  who  couldn't  tell  full 
frequency  from  a  tonal  distortion ;  the  chances  of  there 
being  two  TV  wrestling  addicts  in  the  same  double  har- 
ness are  not  maximal. 

And  the  motion  picture  theatre  at  the  moment  is  in  the 
limbo  between  togetherness  and  separatism.  It  is  a  dis- 
tinct but  limited  enthusiasm  for  most  young  marrieds. 
Husband  and  wife  like  the  movies  in  varying  degree.  They 
go  to  the  theatre,  all  other  things  being  equal,  when  they 
find  a  movie  that  appeals  to  both  of  them.  Thanks  in  part 
to  the  content  of  motion  pictures  and  in  part  to  the  way 
they  are  sold,  only  a  fraction  of  the  films  made  each  year 
represents  this  common  middle  ground  which  appeals  to 
both  husband  and  wife. 

But  meanwhile  other  things  have  come  along  which  ap- 


peal equally  to  both  sexes.  In  the  main,  this  is  increasing 
ly  true  of  vacations  (which  are  longer  and  cost  mon 
money  than  formerly)  and  shopping  (which,  particular!} 
in  the  multi-faceted  shopping  centers,  provides  newfounc 
interest  for  the  males  of  the  family).  The  purchase  of 
house  is  apt  to  make  do-it-yourself  addits  of  both  the  aver 
age  husband  and  the  average  wife. 

The  concept  of  togetherness,  catered  to  by  the  drive-ir 
theatre,  often  overshadows  the  film  attraction  there.  Bu 
the  conventional  four-wali  theatre  has  no  such  advantage 
The  attraction  on  the  marquee  is  much  more  impcrtan 
here,  where  there  is  no  children's  playground,  no  vast  re 
freshment  area  and  no  privacy  quite  like  sitting  in  youi 
own  car. 

It  is  commonly  observed  in  the  industry,  particularly  bj 
neighborhood  and  small  town  theatre  operators,  that  w 
need  more  family  pictures.  A  study  of  the  trends  of  ou: 
population  suggests  that  this  may  be  a  misleading  idea 
Perhaps  what  we  need  are  more  pictures  which  appeal  tc 
both  him  and  her,  as  male  and  female,  while  we  worry  less 
about  what  appeals  to  their  offspring. 

In  previous  articles  of  this  series  the  point  has  beer 
made  that  men  and  women  often  require  different  kinds  o 
selling  and  that  various  American  industries  use  a  differ 
ent  approach  for  each  sex,  to  sell  the  same  product  to  hus 
band  and  wife.  There  are  many  instances,  of  course,  where 
a  product  or  a  sales  campaign  has  universal  appeal  withou 
sex  differentiation. 

But  in  the  sale  of  motion  pictures  there  is  usually  less 
this  universality  than  you  may  think.  As  one  observer  ha 
put  it,  "Most  motion  pictures  are  either  masculine  or  femi 
nine;  not  too  many  are  neuter."  And  this  is  true  of  mo 
tion  picture  advertising. 


THE   ADVERTISING  PITCH 


This  isn't  a  criticism  of  the  creative  abilities  of  movie 
makers  or  promoters.  It  traces  essentially  to  the  fact  that 
with  advertising  costs  what  they  are  today  the  average 
movie  simply  does  not  have  sufficient  budgetary  resources 
to  be  sold  with  female  appeal  to  women  and  over  again 
with  male  appeal  to  men.  Therefore,  time  after  time,  a 
picture  starts  off  with  a  promotional  approach  that  is  either 
predominantly  for  one  sex  or,  in  its  aim  at  being  attractive 
to  both  male  and  female,  ultimately  neuter. 

The  age  at  which  men  and  women  are  most  conscious  of 
each  other's  tastes  is  the  young  married  age.  This  is  the 
time  when  they  want  to  enjoy  entertainment  together,  and 
when  they  want  entertainment  that  they  can  both  enjoy. 
One  of  the  hardest  jobs  is  to  combine  the  masculine  and 
feminine  appeal  in  the  same  package. 

The  individual  theatre  operator  has  a  basic  responsibili- 
ty in  this  job.  More  and  more,  the  press  book  he  receives 
is  apt  to  contain  several  different  advertising  approaches. 
He  must  show  discrimination  and  a  good  knowledge  of  his 
market  in  picking  the  ads  he  will  use.   Some  will  have 

(Continued  on  Puge  23) 


0, 


Page  22       Film  BULLETIN    March  18,  1957 


EHE  YDUNG  MAHHIED5 

Kmtinued  from  Page  22) 

reater  masculine  appeal,  some  more  female  pulling  power, 
pme  in  between. 

It  might,  as  a  matter  of  fact,  be  a  distinct  service  to  ex- 
ibitors  if  some  kind  of  reliable  pre-testing  of  the  various 
dvertising  approaches  on  a  picture  could  be  adopted,  so 
hat  the  press  book  ads  would  carry  pre-test  ratings  such 
s  "appeal  is  80%  masculine  over  age  20"  or  "preferred  ad 
or  72%  of  women  15-45"  and  so  forth. 

This  same  sort  of  pre-testing  has  already  proven  helpful 
o  the  major  distributors  in  reorienting  some  of  their  ad- 
ertising  copy.  If  you  compare  today's  advertising  on  the 


whole  with  that  of  three  or  four  years  ago,  for  example, 
you  will  be  able  to  detect  a  considerable  shift  away  from 
the  exclusively  masculine  to  a  more  general  line. 

But  there  is  a  difference  between  appealing  to  that  amor- 
phous thing  called  a  family  and  the  very  specific  market 
composed  of  men  and  women  married  to  each  other.  The 
towel  manufacturer  sells  a  batch  of  towels  labeled  His  and 
Hers;  they  aren't  labeled  Ours.  Similarly,  the  successful 
vendor  of  motion  picture  entertainment  for  the  young 
married  generation  makes  his  success  with  films  which 
might  be  termed  both  His  and  Hers.  The  old  showmen 
who  used  to  speak  of  combining  sex  for  the  men  with  sobs 
for  the  women  were  righter,  perhaps,  than  we  once  sus- 
pected. 


:0CA  COLA'S  EXAMPLE  OF  INSTITUTIONAL  ADVERTISING 


Continued  from  Page  9) 

A/ou!d  Such  Advertising  Sell  Movies? 

In  recent  years  much  criticism  has  been  directed  against 
notion  picture  advertising.  It  has  come  from  many 
;ources,  including  exhibitors.  According  to  the  critics  the 
idvertising  is  blatant,  banal,  bawdy,  misleading  and  inef- 
ective.  So  far  as  we  know,  these  criticisms  have  not  been 
iccompanied  by  concrete  suggestions  for  improvements. 
That  does  not  alter  the  fact  that  movie  advertising  does 
;eem  to  be  in  a  rut. 

Perhaps  the  apparent  sameness  is  because  most  publicity 
imanates  from  the  film  companies  and  is  tied  to  particular 
Dictures.  While  screen  stories  vary  widely  the  basic  ele 
nents  are  mostly  the  same.  Consequently,  advertising 
Dased  wholly  on  the  pictures  tends  toward  a  monotonous 
iniformity.  The  illustrations  feature  the  same  situations ; 
:he  only  difference  is  that  the  actors  sometimes  do  their 
sissing  standing  up,  sometimes  sitting  down,  and  occa- 
sionally in  less  conventional  postures. 

We  cannot  help  wondering  what  the  public  response 
would  have  been  had  the  ad  in  question  been  a  movie  ad 
instead  of  Coca-Cola  ad.  Essentially,  it  is  institutional  ad- 
vertising rather  than  program  advertising.  The  theatre  is 
presented  attractively  as  a  place  where  one  would  like  to 
be.  The  people  are  the  kind  most  folks  would  like  to  asso- 
ciate with.  Perhaps  there  never  was  an  ad  that  made 
movie-going  seem  so  attractive.  And  suppose  the  legend 
had  read  something  like  this: 

"Your  oun  good  taste  selects  the  movie  .  .  .  and  your 
good  taste  will  be  confirmed  when  you  go  to  see 
'Friendly  Persuasion'. 

"Discriminating  people  pronounce  this  picture,  starring 
Gary  Cooper  end  Dorothy  McGuire.  to  be  superb,  enter- 
tainment for  the  entire  family. 

"And  when  you  have  seen  and  enjoyed  this  wholesome 
and  delightful  picture,  why  not  tell  your  friends  about 
it  so  they  can  share  the  fun?" 


Maybe  Others  Will 

Perhaps  this  is  too  revolutionary  a  step  for  the  film  com- 
panies to  take.  Admittedly  they  are  handicapped  when  it 
comes  to  innovations  in  exploitating  pictures  which  they 
are  distributing  for  independent  producers.  And  in  any 
case  they  are  naturally  more  concerned  over  the  success  of 
their  current  opus  than  the  fate  of  the  theatres.  Possibly 
they  have  considered  the  institutional  type  of  advertising 
and  rejected  it  for  reasons  satisfactory  to  themselves,  even 
if  not  apparent  to  us. 

If  the  film  companies  cannot  be  induced  to  bring  the  the- 
atres into  their  national  advertising,  maybe  other  suppliers 
will  take  a  cue  from  Coca-Cola.  Pepsi-Cola,  National  Car- 
bon and  others  have  attested  their  regard  for  their  theatre 
customers  by  their  support  of  the  exhibitor  and  Variety 
Club  Conventions.  Maybe  if  the  exhibitors  properly  ex- 
press their  appreciation  these  suppliers  can  be  induced  to 
mention  the  theatre  frequently  in  their  ads  and  thus  spread 
the  benefits  over  the  entire  year. 

The  theatres  are  valuable  retail  outlets  for  many  con- 
cession items  and  the  manufacturers  and  ventors  thereof 
can  help  keep  those  outlets  open  and  prosperous  by  giving 
them  favorable  mention  in  their  advertising.  All  who  make 
money  out  of  the  movies  have  a  stake  in  the  perpetuation 
of  the  theatres  and  should  do  all  they  can  to  stimulate  the- 
atre attendance. 

The  systematic  disparagement  of  both  the  pictures  and 
the  theatres  in  recent  years  has  cost  the  theatres  a  vast 
amount  of  patronage.  This  has  reached  a  point  in  some 
communities  where  it  is  considered  not  quite  nice  to  go  to 
the  movies.  In  order  to  regain  that  mid-week  adult  attend- 
ance which  has  almost  disappeared,  the  public  must  be 
assured  not  only  that  the  pictures  are  good,  but  that  the 
theatres  are  clean,  comfortable,  and  orderly.  Coca-Cola 
has  done  much  to  convince  the  public  that 

IT'S  SMART  TO  GO  TO  THE  MOVIES 


Film  BULLETIN    March  18,  1957        Page  23 


THE  YDUNG  MARHIED5 

Problem  of  Appealing  to  Both  Sexes 


(Continued  from  Page  l.'i) 

close  moviegoing  tie  to  her  children,  when  she  is  36  and 
still  close  to  being  a  member  of  the  young  marrieds. 

Thus  it  becomes  increasingly  wise  for  the  motion  pic- 
ture industry  to  maintain  the  appeal  of  moviegoing  for  the 
young  married  before,  during  and  after  their  status 
changes  from  newiyweds  to  family  unit.  And  this  is  where 
an  unknown  statistic  deserves  consideration. 

We  know  that  more  men  than  women  go  to  the  movies. 
We  do  not  as  yet  have  a  breakdown  of  age  and  marital 
categories.  For  example,  it  is  believed  that  more  teenaged 
girls  than  boys  go  to  the  movies.  If  this  is  the  case,  then 
the  overall  preponderance  of  male  patronage  must  trace 
to  the  fact  that  among  the  young  married  age  group  par- 
ticularly, the  females  have  cut  down  on  their  moviegoing. 

What  causes  this  apparent  cut-down?  To  a  certain  ex- 
tent, of  course,  it  is  due  to  the  fact  that  many  young  wom- 
en will  not  go  to  the  movies  alone,  while  men  will.  It  is 
also  directly  attributable,  in  the  opinion  of  some  film  peo- 
ple, to  the  decline  of  the  matinee  as  an  institution(  and 
this  may  be  simply  the  result  of  motherhood,  rather  than 
of  television).  But  inevitably  a  disturbing  additional 
thought  suggests  itself.  Can  it  be  that  feminine  attendance 
goes  down  because  young  married  women  don't  want  to  go 
to  the  movies  like  they  used  to?  Can  it  be  that  there  is  no 
longer  the  same  unanimity  among  husband  and  wife  over 
the  charms  of  the  local  Bijou? 


TOGETHERNESS"   A  FACTOR 


Available  sociological  evidence  suggests  that  despite  the 
traditional  popularity  of  a  man's  night  out  with  the  boys 
and  his  wife's  bridge  date  with  the  girls,  the  big  trend 
these  days  is  toward  more  of  what  has  been  dubbed  to- 
getherness. Husband  and  wife  are  doing  more  things  to- 
gether these  days.  There  are  more  female  baseball  fans 
than  ever,  more  family  plan  travel  arrangements  than  ever. 
The  wives  have  taken  up  the  things  their  husbands  like 
best,  from  skiing  to  shopping  at  night  in  the  drive-in  store 
areas. 

Some  activities,  however,  have  resisted  this  change.  The 
high  fi  husband  is  apt  to  have  a  wife  who  couldn't  tell  full 
frequency  from  a  tonal  distortion;  the  chances  of  there 
being  two  TV  wrestling  addicts  in  the  same  double  har- 
ness are  not  maximal. 

And  the  motion  picture  theatre  at  the  moment  is  in  the 
limbo  between  togetherness  and  separatism.  It  is  a  dis- 
tinct but  limited  enthusiasm  for  most  young  marrieds. 
Husband  and  wife  like  the  movies  in  varying  degree.  They 
go  to  the  theatre,  all  other  things  being  equal,  when  they 
find  a  movie  that  appeals  to  both  of  them.  Thanks  in  part 
to  the  content  of  motion  pictures  and  in  part  to  the  way 
they  are  sold,  only  a  fraction  of  the  films  made  each  year 
represents  this  common  middle  ground  which  appeals  to 
both  husband  and  wife. 

But  meanwhile  other  things  have  come  along  which  ap- 

Page  22       Film  BULLETIN    March  18,  1957 


peal  equally  to  both  sexes.  In  the  main,  this  is  increasing 
ly  true  of  vacations  (which  are  longer  and  cost  mori 
money  than  formerly)  and  shopping  (which,  particularly 
in  the  multi-faceted  shopping  centers,  provides  newfounc 
interest  for  the  males  of  the  family).  The  purchase  of  ; 
house  is  apt  to  make  do-it-yourself  addits  of  both  the  aver 
age  husband  and  the  average  wife. 

The  concept  of  togetherness,  catered  to  by  the  drive-ir  j 
theatre,  often  overshadows  the  film  attraction  there.  Bu 
the  conventional  four-wali  theatre  has  no  such  advantage 
The  attraction  on  the  marquee  is  much  more  impcrtan  ; 
here,  where  there  is  no  children's  playground,  no  vast  re 
freshment  area  and  no  privacy  quite  like  sitting  in  youi  « 
own  car. 

It  is  commonly  observed  in  the  industry,  particularly  bj 
neighborhood  and  small  town  theatre  operators,  that  w< 
need  more  family  pictures.  A  study  of  the  trends  of  our 
population  suggests  that  this  may  be  a  misleading  idea 
Perhaps  what  we  need  are  more  pictures  which  appeal  tc 
both  him  and  her,  as  male  and  female,  while  we  worry  less1 
about  what  appeals  to  their  offspring. 

In  previous  articles  of  this  series  the  point  has  beer 
made  that  men  and  women  often  require  different  kinds  oi 
selling  and  that  various  American  industries  use  a  differ 
ent  approach  for  each  sex,  to  sell  the  same  product  to  hus 
band  and  wife.  There  are  many  instances,  of  course,  where 
a  product  or  a  sales  campaign  has  universal  appeal  withou) 
sex  differentiation. 

But  in  the  sale  of  motion  pictures  there  is  usually  less  o 
this  universality  than  you  may  think.  As  one  observer  haz 
put  it,  "Most  motion  pictures  are  either  masculine  or  femi- 
nine ;  not  too  many  are  neuter."  And  this  is  true  of  mo- 
tion picture  advertising. 


THE   ADVERTISING  PITCH 


This  isn't  a  criticism  of  the  creative  abilities  of  movie 
makers  or  promoters.  It  traces  essentially  to  the  fact  that 
with  advertising  costs  what  they  are  today  the  average 
movie  simply  does  not  have  sufficient  budgetary  resources 
to  be  sold  with  female  appeal  to  women  and  over  again 
with  male  appeal  to  men.  Therefore,  time  after  time,  a 
picture  starts  off  with  a  promotional  approach  that  is  either 
predominantly  for  one  sex  or,  in  its  aim  at  being  attractive 
to  both  male  and  female,  ultimately  neuter. 

The  age  at  which  men  and  women  are  most  conscious  of 
each  other's  tastes  is  the  young  married  age.  This  is  the 
time  when  they  want  to  enjoy  entertainment  together,  and 
when  they  want  entertainment  that  they  can  both  enjoy. 
One  of  the  hardest  jobs  is  to  combine  the  masculine  and 
feminine  appeal  in  the  same  package. 

The  individual  theatre  operator  has  a  basic  responsibili- 
ty in  this  job.  More  and  more,  the  press  book  he  receives 
is  apt  to  contain  several  different  advertising  approaches.  I 
He  must  show  discrimination  and  a  good  knowledge  of  his 
market  in  picking  the  ads  he  will  use.   Some  will  have  i 

(Continued  on  Page  23)  % 


THE  YOUNG  MARHIEDS 

Continued  from  Page  22) 

jreater  masculine  appeal,  some  more  female  pulling  power, 
some  in  between. 

It  might,  as  a  matter  of  fact,  be  a  distinct  service  to  ex- 
libitors  if  some  kind  of  reliable  pre-testing  of  the  various 
idvertising  approaches  on  a  picture  could  be  adopted,  so 
:hat  the  press  book  ads  would  carry  pre-test  ratings  such 
}s  "appeal  is  80%  masculine  over  age  20"  or  "preferred  ad 
or  72%  of  women  15-45"  and  so  forth. 

This  same  sort  of  pre-testing  has  already  proven  helpful 
:o  the  major  distributors  in  reorienting  some  of  their  ad- 
vertising copy.  If  you  compare  today's  advertising  on  the 


whole  with  that  of  three  or  four  years  ago,  for  example, 
you  will  be  able  to  detect  a  considerable  shift  away  from 
the  exclusively  masculine  to  a  more  general  line. 

But  there  is  a  difference  between  appealing  to  that  amor- 
phous thing  called  a  family  and  the  very  specific  market 
composed  of  men  and  women  married  to  each  other.  The 
towel  manufacturer  sells  a  batch  of  towels  labeled  His  and 
Hers;  they  aren't  labeled  Ours.  Similarly,  the  successful 
vendor  of  motion  picture  entertainment  for  the  young 
married  generation  makes  his  success  with  films  which 
might  be  termed  both  His  and  Hers.  The  old  showmen 
who  used  to  speak  of  combining  sex  for  the  men  with  sobs 
for  the  women  were  righter,  perhaps,  than  we  once  sus- 
pected. 


COCA  COLA'S  EXAMPLE  OF  INSTITUTIONAL  ADVERTISING 


\'Continued  from  Page  9) 

Would  Such  Advertising  Sell  Movies? 

In  recent  years  much  criticism  has  been  directed  against 
motion  picture  advertising.  It  has  come  from  many 
sources,  including  exhibitors.  According  to  the  critics  the 
advertising  is  blatant,  banal,  bawdy,  misleading  and  inef- 
fective. So  far  as  we  know,  these  criticisms  have  not  been 
accompanied  by  concrete  suggestions  for  improvements. 
That  does  not  alter  the  fact  that  movie  advertising  does 
seem  to  be  in  a  rut. 

Perhaps  the  apparent  sameness  is  because  most  publicity 
emanates  from  the  film  companies  and  is  tied  to  particular 
pictures.  While  screen  stories  vary  widely  the  basic  ele 
ments  are  mostly  the  same.  Consequently,  advertising 
based  wholly  on  the  pictures  tends  toward  a  monotonous 
uniformity.  The  illustrations  feature  the  same  situations ; 
the  only  difference  is  that  the  actors  sometimes  do  their 
kissing  standing  up,  sometimes  sitting  down,  and  occa- 
sionally in  less  conventional  postures. 

We  cannot  help  wondering  what  the  public  response 
would  have  been  had  the  ad  in  question  been  a  movie  ad 
instead  of  Coca-Cola  ad.  Essentially,  it  is  institutional  ad- 
vertising rather  than  program  advertising.  The  theatre  is 
presented  attractively  as  a  place  where  one  would  like  to 
be.  The  people  are  the  kind  most  folks  would  like  to  asso- 
ciate with.  Perhaps  there  never  was  an  ad  that  made 
movie-going  seem  so  attractive.  And  suppose  the  legend 
had  read  something  like  this: 

"Your  own  good  taste  selects  the  movie  .  .  .  and  your 
good  taste  will  be  confirmed  when  you  go  to  see 
'Friendly  Persuasion  . 

"Discriminating  people  pronounce  this  picture,  starring 
Gary  Cooper  and  Dorothy  McGuirc.  to  be  superb,  enter- 
tainment /or  the  entire  family. 

"And  when  you  have  seen  and  enjoyed  this  wholesome 
and  delightful  picture,  tchy  not  tell  your  friends  about 
it  so  they  can  share  the  fun?" 


Maybe  Others  Will 

Perhaps  this  is  too  revolutionary  a  step  for  the  film  com- 
panies to  take.  Admittedly  they  are  handicapped  when  it 
comes  to  innovations  in  exploitating  pictures  which  they 
are  distributing  for  independent  producers.  And  in  any 
case  they  are  naturally  more  concerned  over  the  success  of 
their  current  opus  than  the  fate  of  the  theatres.  Possibly 
they  have  considered  the  institutional  type  of  advertising 
and  rejected  it  for  reasons  satisfactory  to  themselves,  even 
if  not  apparent  to  us. 

If  the  film  companies  cannot  be  induced  to  bring  the  the- 
atres into  their  national  advertising,  maybe  other  suppliers 
will  take  a  cue  from  Coca-Cola.  Pepsi-Cola,  National  Car- 
bon and  others  have  attested  their  regard  for  their  theatre 
customers  by  their  support  of  the  exhibitor  and  Variety 
Club  Conventions.  Maybe  if  the  exhibitors  properly  ex- 
press their  appreciation  these  suppliers  can  be  induced  to 
mention  the  theatre  frequently  in  their  ads  and  thus  spread 
the  benefits  over  the  entire  year. 

The  theatres  are  valuable  retail  outlets  for  many  con- 
cession items  and  the  manufacturers  and  ventors  thereof 
can  help  keep  those  outlets  open  and  prosperous  by  giving 
them  favorable  mention  in  their  advertising.  All  who  make 
money  out  of  the  movies  have  a  stake  in  the  perpetuation 
of  the  theatres  and  should  do  all  they  can  to  stimulate  the- 
atre attendance. 

The  systematic  disparagement  of  both  the  pictures  and 
the  theatres  in  recent  years  has  cost  the  theatres  a  vast 
amount  of  patronage.  This  has  reached  a  point  in  some 
communities  where  it  is  considered  not  quite  nice  to  go  to 
the  movies.  In  order  to  regain  that  mid-week  adult  attend- 
ance which  has  almost  disappeared,  the  public  must  be 
assured  not  only  that  the  pictures  are  good,  but  that  the 
theatres  are  clean,  comfortable,  and  orderly.  Coca-Cola 
has  done  much  to  convince  the  public  that 

IT'S  SMART  TO  GO  TO  THE  MOVIES 


Film  BULLETIN    March  18,  1957        Page  23 


THIS  IS  YOUR  PRODUCT  I 


All  The  Vital  Details  <m  Current  &>  Coming  Features 

(Date  of  Film  BULLETIN  Review  Appears  At  End  of  Synopsis) 


November 

BLONDE  SINNER  Diana  Dors.  Producer  Kenneth 
Harper.  Director  J.  Lee  Thompson.  Drama.  A  con- 
demned murderess  in  the  death  cell.  74  min. 
FRIENDLY  PERSUASION  Deluxe  Color.  Gary  Cooper, 
Dorothy  McGuire,  Marjorie  Main,  Robert  Middleton. 
Producer-director  William  Wyler.  Drama.  The  story 
of  a  Quaker  family  during  the  Civil  War.  139  min.  10/1 

December 

HIGH  TERRACE  Dale  Robertson,  Lois  Maxwell.  Pro- 
ducer Robert  Baker.  Director  H.  Cass.  Drama.  Famous 
impresario  is  killed  by  young  actress.  77  min. 
HOT  SHOTS  Hunti  Hall,  Stanley  Clements.  Producer 
Ben  Schwalb.  Director  Jean  Yarbrough.  Comedy.  Ju- 
venile television  star  is  kidnapped.   62  min. 

January 

CHAIN  OF  EVIDENCE  Bill  Elliot,  James  Lydon,  Claudia 
Barrett.  Producer  Ben  Schwalb.  Director  Paul  Landres. 
Melodrama.  Former  convict  is  innocent  suspect  in 
planned  murder.  63  min. 

February 

HOLD  THAT  HYPNOTIST  Hunti  Hall,  Stanley  Clements. 
Producer  Ben  Schwalb.  Director  Austen  Jewell.  Comedy 
drama.  Bowery  Boys  tangle  with  unscrupulous  hypnotist. 
61  min. 

LAST  Of  THE  BADMEN  CinemaScope,  Color.  George 
Montgomery,  James  Best.  Producer  Vineent  Fennelly. 
Director  Paul  Landres.  Western.  Outlaws  use  detective 
as  only  recogni»able  man  in  their  holdups,  thus  in- 
creasing reward  for  his  death  or  capture.  81  min. 

March 

ATTACK  Of  THE  CRAB  MONSTERS  Richard  Garland, 
Pamela  Duncan.  Producer-director  Roger  Corman. 
Science-fiction.  Hideous  monsters  take  over  remote 
Pacific  Island.  68  min. 

FOOTSTEPS  IN  THE  NIGHT  Bill  Elliot,  Don  Haggerty. 
Producer  Ben  Schwalb.  Director  Jean  Yarbrough.  Melo- 
drama. Man  is  sought  by  police  for  murder  of  his 
friend.  62  min. 

NOT  OF  THIS  EARTH  Paul  Birch,  Beverly  Garland. 
Producer-director  Roger  Corman.  Science-fiction.  Series 
of  strange  murders  plagues  large  western  city.  67  min. 

April 

BADGE  OF  MARSHALL  BRENNAN  Jim  Davis,  Carl 
Smith,  Arleen  Whelan.  Producer-director  Albert  C. 
Gannaway.  Western.  76  min. 

DRAGOON  WELLS  MASSACRE  Barry  Sullivan,  Mona 
Freeman,  Dennis  O'Keefe.  Producer  Lindsley  Parsons. 
Director  Harold  Schuster.  Western.  Apaches  attack 
stockade  in  small  western  town.  81  min. 

May 

DAUGHTER  Of  DR.  JEKYLL  John  Agar,  Gloria  Talbot, 
Arrnur  Shields.  Producer  Jack  Pollexfen.  Director 
Edgar  Unger.  Horror. 

DESTINATION  60,000  Preston  Foster,  Coleen  Gray,  Jeff 
Donnell.  A  Gross-Krasne  Production.  Director  G.  Wag- 
gner.  Drama. 

JEANNIE  CinemaScope,  Color.  Vera  Ellen,  Tony  Martin, 
Robert  Fleming.  Producer  Marcel  Hellman.  Director 
Henry  Levin.  Musical.  Small-town  girl  meets  washing 
machine  inventor  in  Paris.  105  min. 

PERSUADER,  THE  William  Talman,  Kristine  Miller, 
James  Craig.  Producer-director  Dick  Ross. 

Coming 

BADGE  OF  MARSHAL  ERENNAN  Jim  Davis.  Producer- 
director  Albert  Gannaway.  Western. 

DINO  Sal  Mineo,  Brian  Keith,  Susan  Kohner.  Producer 
Bernice  Block.  Director  Thomas  Carr.  Social  case 
worker  helps  young  criminal  reform. 

DISEMBODIED,  THE  Paul  Burke,  Allison  Hayes,  Joel 
Marston.  Producer  Ben  Schwalb.  Director  Walter 
Graumann. 

HOT  ROD  RUMBLE  Leigh  Snowden,  Richard  Hartunian. 
Producer  Norman  Herman.  Director  Les  Martinson. 
Story  of  a  drag  racer  and  his  fight  for  acceptance. 
HUNCHBACK  OF  NOTRE  DAME,  THE  CinemaScope, 
Color.  Gina  Lollobrigida .  Anthony  Quinn.  A  Paris 
Production.  Director  Jean  Delannoy.  Drama.  Hunch- 
back falls  in  love  with  beautiful  gypsy  girl.  88  min. 
LOVE  IN  THE  AFTERNOON  Color.  Gary  Cooper, 
Audrey  Hepburn,  Maurice  Chevalier.  Producer-director 
Billy  Wilder.  Drama. 

OKLAHOMAN,  THE  CinemaScope,  DeLuxe  Color.  Joel 
McCrea,  Barbara  Hale.  Producer  Walter  Mirsch.  Di- 
rector Francis  Lyon.  Western.  Doctor  helps  rid  town 
•f  unscrupulous  brothers.  81  min. 


SKIN  DIVE  GIRL  Mara  Corday,  Pat  Conway,  Florence 
Marly.  Producer  Norman  Herman. 

SPOOK  CHASERS  Hunti  Hall,  Stanley  Clements.  Pro- 
ducer  Ben   Schwalb.   Director  George  Blair.  Comedy. 


COLUMBIA 


November 

ODONGO  Technicolor,  CinemaScope.  Macdonald 
Carey,  Rhonda  Fleming,  Juma.  Producer  Irving  Allen. 
Director  John  Gilling.  Adventure.  Owner  of  wild  ani- 
mal farm  in  Kenya  saves  young  native  boy  from  a 
violent  death.  91  min. 

REPRISAL  Technicolor.  Guy  Madison,  Felicia  Farr, 
Kathryn  Grant.  Producers,  Rackmil-Ainsworth.  Direc- 
tor George  Sherman.  Adventure.  Indians  fight  for 
rights  in  small  frontier  town.  74  min. 

SILENT  WORLD.  THE  Eastman  Color.  Adventure  film 
covers   marine   explorations   of   the    Calypso  Oceono- 

?raphic  Expeditions.  Adapted  from  book  by  Jacques- 
ves  Cousteau.  86  min.  10/15. 
WHITE  SQUAW.  THE  David  Brian,  May  Wynn,  William 
Bishop.  Producer  Wallace  MacDonald.  Director  Ray 
Nazarro.  Drama.  Indian  maiden  helps  her  people  sur- 
vive injustice  of  white  men.  73  min. 

YOU  CAN'T  RUN  AWAY  FROM  IT  Technicolor,  Cine- 
maScope. June  Allyson,  Jack  Lemmon,  Charles  Bick- 
ford.  Produced-director  Dick  Powell.  Musical.  Reporter 
wins  heart  of  oil  and  cattle  heiress.   95  min.  10/15. 

December 

LAST  MAN  TO  HANG.  THE  Tom  Conway,  Elizabeth 
Sellars.  Producer  John  Gossage.  Director  Terence 
Fisher.  Melodrama.  Music  critic  is  accused  of  murder- 
ing his  wife  in  a  crime  of  passion.  75  min.  11/12. 
MAGNIFICENT  SEVEN.  THE  Takashi  Shimura  Toshiro 
Mifune.  A  Toho  Production.  Director  Akira  Kurosawa. 
Mekjdrama.  Seven  Samurai  warriors  are  hired  by  far- 
mers for  protection  against  maurauders.  158  min.  12/10 
RUMBLE  ON  THE  DOCKS  James  Darren,  Jerry  Janger, 
Edgar  Barrier.  Drama.  Teenage  gang  wars  and  water- 
front racketeers.   82  min.  12/10. 

SEVENTH  CAVALRY,  THE  Technicolor.  Randolph  ScoH, 
Barbara  Hale.  Producer  Harry  Brown.  Director  Joseph 
Lewis.  Western.  An  episode  in  the  qlory  of  General 
Custer's  famed  "7th  Cav.".   75  min.  12/10. 

January 

DON'T  KNOCK  THE  ROCK  Bill  Haley  and  his  Comets, 
Alan  Freed,  AUo  Del*.  Producer  Sam  Katzman.  Direc- 
tor fired  Sears.  Musical  Life  and  times  of  a  famous 
rock  and  roll  singer.  80  min.  1/7. 

RIDE  THE  HIGH  IRON  Don  Taylor,  Sally  Forest,  Ray- 
mond Burr.  Producer  William  Self.  Director  Don  Weis. 
Drama.  Park  Avenue  scandal  is  hushed  up  by  public 
relations  experts.  74  min. 

ZARAK  Technicolor,  CinemaScope.  Victor  Mature, 
Michael  Wilding,  Anita  Ekberg.  A  Warwick  Production. 
Director  Terence  Young.  Drama.  Son  of  wealthy  ruler 
becomes  notorious  bandit.  99  min.  12/24. 

February 

NIGHTFALL  Aldo  Ray,  Anne  Bancroft.  Producer  Ted 
Richmond.  Director  Jacques  Tourneur.  Drama.  Mistaken 
identity  of  a  doctor's  bag  starts  hunt  for  stolen  money. 
78  min.  12/10. 

UTAH  BLAINE  Rory  Calhoun,  Susan  Cummings,  Angela 
Stevens.  Producer  Sam  Katiman.  Director  Fred  Sears. 
Western.  Two  men  join  hand*  because  they  see  in  each 
other  a  way  to  have  revenge  on  their  enemies.  75  min. 

WICKED  AS  THEY  COME  Arlene  Dahl,  Phil  Carey.  Pro- 
ducer Maxwell  Setton.  Director  Ken  Hughes.  Drama.  A 
beautiful  oirl  wins  a  beauty  contest  and  a  "different" 
life.  132  min.  1/21. 

March 

FULL  OF  LIFE  Judy  Holliday,  Richard  Conte, 
Salvatore  Baccaloni.  Producer  Fred  Kohlmar.  Director 
Richard  Quine.  Comedy.  Struggling  writer  and  wife 
are  owners  of  new  home  and  are  awaiting  arrival  of 
child.  91  min.  1/7. 

MAN  WHO  TURNED  TO  STONE,  THE  Victor  Jory,  Ann 
Doran.  Producer  Sam  Katzman.  Director  Leslie  Kardos. 
Mad  doctor  discovers  secret  of  prolonged  life.  Horror. 
80  min.  2/18. 

SHADOW  ON  THE  WINDOW,  THE  Betty  Garrett,  Phil 
Carey,  Corey  Allen.  Producer  Jonie  Tapia.  Director 
William  Asher.  Melodrama.  Sev«n-year  old  boy  is  the 
only  witness  to  a  murder.  73  min.  3/4. 

ZOMBIES  OF  MORA  TAU  Gregg  Palmer,  Allison  Hayes. 
Producer  Sam  Katzman.  Director  Edward  Kahn.  Horror. 
Zombies  live  on  sunken  ship  with  huge  fortune  of  dia- 
monds. 70  min. 


April 

GUNS  AT  FORT  PETTICOAT  Audie  Murptiy,  Kathryn 
Grant.  Producer  Harry  Joe  Brown.  Director  George 
Marshall.  Western.  Army  officer  organizes  women  to 
fight  off  Indian  attack. 

PHANTOM  STAGECOACH,  THE  William  Bishop  Rich- 
ard  Webb.  Producer  Wallace  MacDonald.  Director  Ray 
Nazarro.  Western.  Outlaws  attempt  to  drive  stage 
coach  line  out  of  business. 

SEVEN  WAVES  AWAY  CinemaScope.  Tyrone  Power, 
Mai  Zetterling.  Drama. 

STRANGE  ONE.  THE  Ben  Gaziara,  James  Olsen,  George 
Peppard.  Producer  Sam  Spiegel.  Director  James  Gar- 
fein.  Drama.  Cadet  at  military  school  frames  com- 
mander and  his  son.  97  min. 

Coming 

BEYOND  MOMBASA  Technicolor,  CinemaScope.  Cor- 
nell  Wilde,  Donna  Reed.  Producer  Tony  Owen.  Direc- 
tor George  Marshall.  Adventure.  Leopard  Men  seek 
to  keep  Africa  free  of  white  men. 

CASE  OF  THE  STOCKING  KILLER,  THE  John  Mills, 
Charles  Coburn,  Barbara  Bates.  A  Marksman  Produc- 
tion. Director  John  Gillerman.  Insane  man  murders 
beautiful  girl. 

CHA-CHA-CHA  BOOM  Perez  Prado,  Helen  Grayson, 
Manny  Lopez.  Producer  Sam  Katzman.  Director  Fred 
Sears.  Musical.  Cavalcade  of  the  mambo.  78  min.  10/15 
FIRE  DOWN  BELOW  CinemaScope,  Technicolor.  Rita 
Hayworth,  Robert  Mitchum,  Jack  Lemmon.  A  War- 
wick Production.  Director  Robert  Parrish.  Drama 
Cargo  on  ship  is  ablaze.  Gravity  of  situation  is  in 
creased  by  highly  explosive  nitrate. 
GARMENT  JUNGLE.  THE  Lee  J.  Cobb,  Kerwin  Mat- 
thews,  Richard  Boone.  Producer  Harry  Kleiner.  Di 
rector  Ribert  Aldrich.  Drama.  Dog-ea-dog  world 
Manhattan's  clothing  center. 

GOLDEN  VIRGIN.  THE  Joan  Crawford,  Rossano  Brazzi 
Heather  Sears.  John  and  James  Woolf  producers.  Di 
rector  David  Miller.  Unscrupulous  people  exploit  blind 
girl  for  profit. 

KILLER  APE  Johnny  Weissmuller.  Carol  Thurston.  Pro- 
ducer Sam  Katzman.  Director  Spencer  G.  Bennett.  Ad 
venture  drama.  The  story  of  a  giant  half-ape,  half-man 
beast  who  goes  on  a  killing  rampage  until  destroyed 
by  Jungle  Jim.  68  min. 

PAPA,  MAMA.  THE  MAID  AND  I  Robert  Lamoureux 
Gaby  Morlay,  Nicole  Courcel.  Director  Jean-Paul  Le 
Chanois.  Comedy.  The  lives  of  a  typically  Parisian 
family.  94  min.  9/17. 

PICKUP  ALLEY  Victor  Mature.  Anita  Ekberg,  Trevor 
Howard.  A  Warwick  Production.  Director  John  Gilling 
Story  of  international  dope  runners. 

SHE  PLAYED  WITH  FIRE  Jack  Hawkins,  Arlene  Dahl 
Producers  Frank  Launder-Sidney  Gilliat.  Director  Sid 
ney  Gilliat.  Story  of  an  arsonist. 

SUICIDE  MISSION  Leif  Larson,  Michael  Aldridge,  Atle 
Larsen.  A  North  Seas  Film  Production.  Adventure.  Nor- 
wegian fishermen  smash  German  blockade  in  World 
War  II.  70  min. 

TALL  T,  THE  Randolph  Scott,  Richard  Boone,  Maureen 
Sullivan.  A  Scott-Brown  Production.  Director  Budd 
Boetticher.  Western.  A  quiet  cowboy  battles  o  be 
independent.  78  min. 

27TH  DAY.  THE  Gene  Barry,  Valerie  French.  Producer 
Helen  Ainsworth.  Direotor'  William  Asher.  Science 
tiotion.  People  from  outer  space  plot  to  destroy  all 
human  life  on  the  earth.  75  min. 

YOUNG  DON'T  CRY,  THE  Sal  Mineo,  James  Whitmore 
Producer  P.  Waxman.  Director  Alfred  Werker.  Drama 
Life  in  a  southern  orphanage. 


INDEPENDENTS 


November 

IT  CONQUERED  THE  WORLD  (American  International) 
Peter  Graves,  Beverly  Garland.  Producer-director 
Roger  Corman.  Science-fiction.  A  monster  from  outer 
space  takes  control  of  the  world  until  a  scientist  gives 
his  life  to  save  humanity. 

MARCELINO  (United  Motion  Picture  Organization) 
Pabilto  Calvo,  Rafael  Rivelles.  Director  Ladislao 
Vadja.  Drama.  Franciscan  monks  find  abandoned  baby 
and  adopt  him.  90  min.  11/12. 

SECRETS  OF  LIFE  (Buena  Vista).  Latest  in  Walt  Dis 
ney's  true-life  scenes.  75  min.  10/29. 

WEE  GORDIE  (George  K.  Arthur)  Bill  Travers,  Elastair 
Sim,  Norah  Gorsen.  Producer  Sidney  Gilliat.  Director 
Frank  Launder.  Comedy.  A  frail  lad  grows  to  giant 
stature  and  wins  the  Olympic  hammer-throwing  cham 
pionship.  94  min.  11/12. 

WESTWARD  HO.  THE  WAGONS  (Buena  Vista)  Cine 
maScope,  Technicolor.  Fess  Parker,  Kathleen  Crowley 
A  Walt  Disney  Production.  Adventure. 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


APRIL  SUMMARY 

Features  scheduled  for  April  release 
total  23,  however,  later  additions  should 
add  another  half-dozen  to  the  roster.  20th 
Century-Fox  will  be  the  leading  supplier 
with  four  films,  while  Columbia,  United 
Artists,  Universal  and  Warner  Bros,  will 
release  three  each.  Allied  Artists  and 
Metro-Goldwyn-Mayer  will  release  two 
each;  Paramount,  Republic  and  the  Inde- 
pendents, one  each.  14  of  the  April  re- 
leases will  be  dramas.  Eight  films  v/ill  be 
in  color,  five  in  CinemaScope,  one  in 
VistaVision,  one  in  Naturama,  one  in 
Technirama. 

14  Dramas  2  Comedies 

4  Westerns  1  Melodrama 

1  Musical  1  Science-fiction 


December 

ABY  AND  THE  BATTLESHIP.  THE  IDCA)  Richard 
vttenborou^h,  Lisa  Gastoni.  Producer  Anthony  Darn- 
lorough.  Director  Jay  Lewis.  Comedy.  Baby  is 
muggled  aboard  a  British  battleship  during  mock 
laneuvers. 

IOUR  OF  DECISION  (Astor  Pictures)  Jeff  Morrow, 
■rama. 

'  A  SORCIERE  (Ellis  Films)  Marina  Vlady,  Nicole 
II  Sour* I.  Director  Andre  Michel.  Drama.  A  young  French 

ogineer  meets  untamed  forest  maide*  while  working 

i  Sweden.  French  dialogue,  English  subtitles. 

*EN  Of  SHERWOOD  FOREST  I  Astor  Pictures)  East- 
I  lan   Color.    Don   Taylor.   Producer   Michael  Carreras. 

•irector  Val  Guest.  Adventure.  Story  of  Robin  Hood 
I  nd  his  men.  78  min. 

IOCK.  ROCK,  ROCK  IDCA).  Alan  Freed,  LaVern 
l  aker,  Frankle  Lyman.  A  yanguard  Producticn.  Musical 
,  >anorama  of  rock  and  roll. 

,NOW  WAS  BLACK.  THE  (Continental)  Daniel  Gelin. 
'alentine  Tessjer.  A  Tellus  Film.  French  language  film. 
)rama.  Study  of  an  embittered  young  man  who  lives 
<ith  mother  in  her  house  of  ill  fame.  105  min. 

WO  LOVES  HAVE  I  (Jacon)  Technicolor.  Gabriele 
•erzerti,  Marta  Toren.  A  Rinoli  FMm.  Directed  Carmine 
S-atlone.  Dra.ma.  Life  of  Puccini  with  exerpts  from  his 
>est  known  operas. 

January 

OBERT  SCHWEITZER  (Hill  and  Anderson)  Eastman 
",o\or.  Firm  biography  of  the  famous  Nobel  Prlie  win- 
er  with  narritive  by  Burgess  Merideth.  Producer-direc- 
or  James  Hill.  Documentary. 

IULLFIGHT  (Janus)..  French  made  documentary  offers 
listory  and  performance  of  the  famous  sport.  Produced 
ind  directed  by  Pierre  Braunberger.  74  min.  11/24. 

SAR  (Astor  Pictures)  Ingrrd  Bergman,  Mathlas  Wie- 
nan.  Director  Roberto  Rosiellinl.  Drama.  Young 
narried  woman  is  mercilessly  exploited  by  Wackmailer. 
14  min. 

tUNAWAY  DAUGHTERS  (American-International) 
vlarla  English,  Anna  Sten.  Producer  AJex  Gordon.  Di- 
eetor  Edward  Cahn.  Drama.  A  study  of  modern  teen- 
ige  problems. 

SHAKE,  RATTLE  AND  ROCK  I  American-International) 
Jsa  Gaye,  Touch  Conners.  Producer  James  Nicholson, 
director  Edward  Cahn.  Musical.  A  story  of  "rock  and 
oil"  music. 

/ITTELONI  (API-Jawis) .  Franco  Interlenghi,  Leonora 
:abrizi.  Producer  Mario  de  Veechi.  Director  F.  Fel- 
Ini.  Comedy.  Story  of  unemployed  young  men  in  Italy. 
103  min.  1 1/26. 

fVE  ARE  ALL  MURDERERS  IKingsley  International) 
Parcel  Mouloudii,  Raymond  Pellegrin.  Director  Andre 
Sayette.  Drama. 

February 

3ED  OF  GRASS  U>ans-Lux)  Anna  Brazzou.  Made  in 
Sreece.  English  titles.  Drama  A  beautiful  girl  is  per- 
secuted by  her  villiage  for  Having  lost  her  virtue  as 
•he  victim  of  a  rapist. 

CYCLOPS,  THE  (RKO)  James  Craig,  Gloria  Talbot. 
Producer-director  Bert  Gordon.  Science-fiction.  Story 
if  a  monster  moon. 

FLESH  AND  THE  SPUR  ( American-International)  Color. 

John  Agar,   Maria   English,   Touch  Connors.  Producer 

Alex  Gordon.    Director  E.  Cehn.  Western.    Two  men 

search  for  a  gang  of  outlaw  killers.  86  min. 

SUITY  (RKO)  Technicolor.  John  Justin,  Barbara  Laage. 

Orama. 

HOUR  OF  DECISION  lAstor  Pictures)  Jeff  Morrow, 
Hazel  Court.  Producer  Monty  Berman.  Director  Denn- 
ngton  Richards.  Melodrama.  Columnist's  wife  is  in- 
nocently involved  in  blackmail  and  murder.  70  min. 
NAKED  PARADISE  I  American-International)  Color. 
Richard  Denny,  Beverly  Garland.  Producer-director 
Roger  Corman.  Drama.  Man  and  woman  bring  Ha- 
waiian smugglers  to  justice.  72  min. 

SILKEN  AFFAIR.  THE  (RKO)  David  Niven,  Genevieve 
Page,  Ronald  Squire.  Producer  Fred  Feldkamp.  Director 
Roy  Kelling.  Comedy.  An  auditor,  on  j  kindly  impulse, 
alters  the  accounting  records.  96  mm. 
ITMPEST  IN  THE  FLESH  (Pacemaker  Pictures)  Ray- 
mond Pellegrin,  Francoise  Arnoul.  Director  Ralph 
"Ubib.  French  film,  English  titles.  Drama.  Study  of  a 
founq  woman  with  a  craving  for  love  that  no  number 
>f  men  can  satisfy. 

March 

JNDEAD,  THE  I  American-International)  Pamela  Dun- 
:*n,  Altison  Hayes.  Producer-director  Roger  Corman. 
Science-fiction.  A  woman  rums  into  a  witch.  71  min. 
rOODOO  WOMAN  (American-International)  Maria 
rngllsh,  Tom  Conway,  Touch  Connors.  Producer  Alex 
Portion.  Director  Edward  Cahn.  Horror.  Adventuress 
leeting  native  treasure  is  transformed  into  monster  by 
ungle  scientist.  75  min. 

WOMAN  OF  ROME  I  DC  A  i  Gina  Lollobrigida,  Daniel 
Selin.  A  Porrfi-DeLaurenflis  Production.  Director  Luigi 
£amba.  Drama.  Adapted  from  the  Alberto  Moravia 
lovel. 

April 

F  ALL  THE  GUYS  IN  THE  WORLD  .  .  .  (Buena  Vista) 
^dre  Valrny,  Jean  Gaven.  Director  Christian-Jaque. 
5rama.  Radio  "hams",  thousands  of  miles  apart,  pool 
'heir  efforts  to  rescue  a  stricken  fishing  boat. 

May 

WCK  ALL  NIGHT  (American-International)  Dick 
vliller,  Abby  Dalton,  Russel  Johnson.  Producer-director 
*oger  Corman.  Rock  n'  rolT  musical.  65  min. 


Coming 

CARTOUCHE  (RKO)  Richard  Basehart,  Patricia  Roc. 
Producer  John  Nasht.  Director  Steve  Sekely.  Adventure. 
The  story  of  a  lusty  adventurer  during  the  reign  of 
Louis  XVI. 

CITY  OF  WOMEN  (Associated)  Osa  Massen,  Robert 
Hutton,  Maria  Palmer.  Producer-director  Boris  Perroff. 
Drama.  From  a  novel  by  Stephen  Longstreet. 

DRAGSTRIP  GIRL  (American-International)  Fay  Spain, 
Steve  Terrell,  John  Ashley.  Producer  Alex  Gordon.  Di- 
rector Edward  Cahn.  Story  of  teen-age  hot  rod  and 
dragstrip  racing  kids.  75  min. 

LOST  CONTINENT  (IFE)  CinemaScope,  Ferranicolor. 
Producer-director  Leonardo  Bonii.  An  excursion  into  the 
wilas  of  Borneo  and  the  Maylayan  Arcnepelago.  Eng- 
lish commentary.  86  min. 

NEAPOLITAN  CAROUSEL  IIFEI  (Lux  Film,  Rome)  Path.- 
color.  Print  by  Technicolor.  Sophia  Loren,  Leonid* 
Massin*.  Director  Ettore  Giannini.  Musical.  The  history 
si  Naples  traced  from  1400  to  date  in  song  and  dance. 

REMEMBER,  MY  LOVE  (Artists-Producers  Assoc.)  Cine- 
maScope, Technlccior.  Michael  Redgrave,  Mel  Ferrer, 
Anthony  Quale.  Musical  drama.  Producer-director 
Michael  Powell,  Emeric  Pressb  urger.  Based  on  Strauss' 
"Die  Fledermaus". 

SMOLDERING  SEA,  THE  Superscope.  Producer  Hal  E. 
Chester.  Drama.  Conflict  between  the  tyrannical  cap- 
tain and  crew  of  an  American,  merchant  ship  reaches 
its  climax  during  battle  of  Guadalcanal. 
WEAPON.  THE  Superscope.  Nicole  Maurey.  Producer 
Hal  E.  Chester.  Drama.  An  unsolved  murder  involving 
a  bitter  U.  S.  war  veteran,  a  German  war  bride  and  a 
killer  is  resolved  after  a  child  finds  a  loaded  gun  in 
bomb  rubble 

X— THE  UNKNOWN  Dean  Jagger,  William  Russell. 
Producer  A.  Hinds.  Director  Leslie  Norman.  Science- 
fiction.  Keen  minded  scientist  fights  awesome  creation. 


METRO-GOLDWYN-MAYER 


November 

IRON  PETTICOAT,  THE  Katherine  Hepburn,  8ob  Hope. 
Producer  Betty  Box.  Director  Ralph  Thomas.  Comedy. 
Russian  lady  aviatrix  meets  fast  talking  American. 
87  min.  1/21. 

December 

GREAT  AMERICAN  PASTIME.  THE  Tom  Ewell,  Ann 
Francis,  Ann  Miller.  Producer  Henry  Berman.  Director 
Nat  Benchley.  Comedy.  Romantic  antics  with  a  Little 
League  baseball  background.  89  min. 
TEAHOUSE  OF  THE  AUGUST  MOON.  THE  Cinema- 
Scope, Eastman  Color.  Marlon  Brando,  Glenn  Ford, 
Eddie  Albert.  Producer  Jack  Cummings.  Director  Daniel 
Mann.  Comedy.  Filmization  of  the  Broadway  play. 
123  min.  10/29. 

January 

ACTION  OF  THE  TIGER  CinemaScope,  Color.  Van 
Johnson,  Martine  Carol,  Gustave  Ro(o.  A  Claridge 
Production.  Drama.  Beautiful  girl  seeks  halp  of  con- 
traband runner  to  rescue  brother  from  Communists. 
EDGE  OF  THE  CITY  John  Cassavetes,  Sidney  Poitier. 
Producer  David  Susskind.  Director  Martin  Ritt.  Drama. 
A  man  finds  confidence  in  the  future  by  believing 
in  himself.  85  min.  1/7. 

SLANDER  Van  Johnson,  Ann  Blyth,  Steve  Cochran. 
Producer  Armand  Deutsch.  Director  Roy  Rowland. 
Drama.  Story  of  a  scandal  magazine  publisher  and 
his  victims.  81  min.  \/7. 

February 

BARRETS  OF  WIMPOLE  STREET,  THE  CinemaScope, 
Eastman  Color.  Jennifer  Jones,  Sir  John  Gieigud,  Bill 
Travers.  Producer  Sam  Zimbalist.  Director  Sidney 
Franklin.  Drama.  Love  story  of  poets  Elizabeth  Barrett 
and  Robert  Browning.  105  min.  1/21. 

HOT  SUMMER  NIGHT  Leslie  Nielsen,  Coleen  Miller. 
Producer  Morton  Fine.  Director  David  Friedkin.  Melo- 
drama. Story  of  a  gangland  hide-out.  84  min.  2/4. 
WINGS  OF  THE  EAGLES,  THE  John  Wayne,  Dan 
Dailev,  Maureen  O'Hara.  Producer  Charles  Schnee. 
Director  John  Ford.  Drama.  Life  and  times  o<  a  naval 
aviator.  110  min.  2/4. 

March 

HAPPY  ROAD.  THE  Gene  Kelly,  Michael  Redgrave, 
Barbara  Laage.  A  Kerry  Production.  Directors,  Gene 
Kelly,  Noel  Coward.  Drama.  Two  children  run  away 
from  boarding  hchool  to  find  their  respective  parents. 
100  min.  2/4. 

LIZZIE  Eleanor  Parker,  Richard  Boone,  Joan  Btondell. 
Producer  Jerry  Bresster.  Director  Hugo  Haas.  Drama. 
A  young  girl  lives  three  different  lives.  81  min.  3/4 
TEN  THOUSAND  BEDROOMS  CinemaScope,  Techni- 
color. Dean  Martin,  Anna  Maria  Alberqhetti.  Producer 
Joseph  Pasternack.  Director  Richard  Thorpe.  Musical. 
A  hotel  tycoon  falls  in  lave  with  a  lovely  Italian  girl. 
I  14  min.  2/18. 

A  pril 

DESIGNING  WOMAN  CinemaScope.  Gregory  Peck, 
Lauren  Bacall,  Dolores  Gray.  Produced  Dore  Schary. 
Director  Vincente  Minnelli.  Comedy.  Ace  sportswriter 
marries  streamlined  blond  with  ideas.  117  min.  3/4 
VINTAGE,  THE  MetroColor.  Pier  Angeli.  Mel  Ferrer, 
Leif  Erickson.  Producer  Edwin  Knoph.  Director  Jeffrey 
Hayden.  Drama.  A  conflict  between  young  love  and 
mature  responsibility.  90  min. 


May 

LITTLE  HUT,  THE  MetroColor.  Ava  Gardner,  Stewart 
dranger.  Producers  F.  Hugh  Herbert.  Director  Mark 
Robson.  Comedy.  Hushand,  wife  and  wife's  lover  are 
marooned  on  a  tropical  isle.  93  min. 

TARZAN  AND  THE  LOST  SAFARI  Color.  Gordon  Scott. 
A  Sol  Lesser  Production. 

THIS  COULD  BE  THE  NIGHT  Jean  Simmons.  Paul 
Douglas.  Producer  Joe  Pasternak.  Director  Robert 
Wise.  Comedy.  A  girl  fresh  out  of  college  gets  a 
job  as  secretary  to  an  ex-bootlegger. 

Coming 

LIVING  IDOL.  THE  CinemaScope,  Eastman  Color. 
Steve  Forrest,  Lilliane  Montevecchi.  Producer-director 
Ai  Lewin.  Drama.  An  archeologist  is  faced  with  an  un- 
worldly situation  that  threatens  the  safety  of  his 
adopted  daughter.  98  min. 

MAN  ON  FIRE  Bing  Crosby,  Mary  Pickett  Inger 
Stevens.  Producer  Sol  Siegel.  Director  R.  MacDougall. 
RAINTREE  COUNTY  Eastman  Color,  CinemaScope  55. 
Elizabeth  Taylor,  Montgomery  Clift.  Producer  David 
Lewis.  Director  Edward  Dymtryke.  Drama.  Life  in  Indi- 
ana during  the  middle  1800's. 

SEVENTH  SIN.  THE  CinemaScope.  Eleanor  Parker,  Mill 
Travers,  George  Sanders.  Producer  David  Lewis.  Di- 
rector Ronald  Neame. 

SILK  STOCKINGS  MetroColor,  CinemaScope.  Fred  As- 
taire,  Cyd  Charrise,  Janis  Page.  Producer  Arthur 
Freed.  Director  R.  Mamoullian.  Musical. 
SOMETHING  OF  VALUE  Rock  Hudson,  Dana  Wynter, 
Wendy  Hitler.  Producer  Pandro  Berman.  Director 
Richard  Brooks.  Drama.  Stry  of  a  Mau  Mau  uprising 
in  Kenya,  East  Africa. 


PARAMOUNT 


November 

MOUNTAIN,  THE  VistaVision,  Technicolor.  Spencer 
Tracy,  Bob  Wagner,  Claire  Trevor.  Producer-director 
Edward  Dmytryk.  Adventure.  Two  brothers  climb  to  a 
distant  snowcapped  peak  where  an  airplane  has 
crashed  to  discover  a  critically  injured  woman  in  th* 
wreckage.  105.  10/15. 

December 

HOLLYWOOD  OR  BUST  VistaVision,  Technicolor.  Dean 
Martin,  Jerry  Lewis,  Anita  Ekberg.  Producer  Hal  Wal- 
lis.  Director  Frank  Tashlin.  Comedy.  The  adventures  of 
a  wild-eyed  film  fan  who  knows  everything  about  th* 
movies.  95  min.  1.2/10. 

WAR  AND  PEACE  VistaVision  Technicolor  Auore> 
Hepburn,  Henry  Fond*,  M*l  Ferrer.  Producers  Cartt 
Ponti.  Dino  de  Laurentiis.  Director  King  Viaor.  Dram* 
Based  on  Tolstoy's  novel.  208  min.  9/3. 

January 

THREE  VIOLENT  PEOPLE  VistaVision,  Technicolor. 
Charlton  Heston,  Anne  Baxter,  Gilbert  Roland.  Pro- 
ducer Hugh  Brown.  Director  Rudy  Mate.  Western.  Story 
of  returning  Confederate  war  veterans  in  Texas. 
100  min.  1/7. 

February 

RAINMAKER,  THE  VistaVision,  Technicolor.  Burt  Lan- 
caster, Katherine  Hepburn,  Wendell  Corey.  Producer 
Hal  Wallis.  Director  Joseph  Anthony.  Comedy  drama. 
Filmization  of  the  famous  B'way  play.   121  min.  12/24. 

March 

FEAR  STRIKES  OUT  Anthony  Perkins,  Karl  Maiden, 
Norma  Moore.  Producer  Alan  Pakula.  Director  Perry 
Wilson.  Drama.  Story  of  the  Boston  baseball  player. 
100  min.  2/18. 

OMAR  KHAYYAM  VistaVision,  Technicolor.  Cornel 
Wilde,  Michael  Rennie,  Debra  Paget.  Producer  Frank 
Freeman,  Jr.  Director  William  Dieterle.  Adventure,. 
The  life  and  rimes  of  medieval  Persia's  literary  idol. 
103  min. 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


April 

FUNNY  FACE  VistaVision,  Technicolor.  Audaey  Hep- 
burn, Fred  Astaire,  Kay  Thompson.  Producer  Roger 
Edens  Director  Stanley  Donen.  Musical.  Photographer 
plucks  fission  model  from  Greenwich  yllfage  bookshop. 
103  min.  2/18. 

May 

BUSTER  KEATON  STORY,  THE  Vista  Vision,  Technicolor. 
Donald  O'Connor,  Ann  Blyth,  Rhonda  Fleming.  Pro- 
ducers Robert  Smith,  Sidney  Sheldon.  Director  Sidney 
Sheldon.  Drama.  Life  of  the  great  comedian. 

GUNFIGHT  AT  O.K.  CORRAL  VistaVision,  Technicolor. 
Burt  Lancaster,  Kirk  Douglas,  Rhonda  Fleming.  Pro- 
ducer Hal  Wallis.  Director  John  Sturges.  Western. 
Drunken  badman  hunts  for  murderer  of  his  cheating 
brother    122  min. 

Coming 

BEAU  JAMES  VistaVision,  Technicolor.  Bob  Hope.  Pro- 
ducer Jack  Rose.  Director  Michael  Moore.  Drama. 
Biography  of  the  famous  Jimmy  Walker,  mayor  of  N.Y. 
from  1925  to  1932.  1 05  min. 

DELICATE  DELINQUENT.  THE  Jerry  Lewis,  Darren  Mc- 
Gavin,  Martha  Hyer.  Producer  Jerry  Lewis.  Director 
Don  McGuire.  Janitor  longs  to  be  police  officer  so  he 
can  help  delinquents.  101  min. 

JOKER  IS  WILD,  THE  VistaVision,  Technicolor.  Frank 
Sinatra,  Mitii  Gaynor,  Jeanne  Crain.  Producer  Samuel 
Briskm.  Director  Chyles  Victor.  Drama.  Rim  biography 
of  Joe  E.  Lewis,  nightclub  comedian. 
LONELY  MAN.  THE  VistaVision,  Technicolor.  Jack  Pa- 
lance,  Anthony  Perkins,  Elaine  Aiken.  Producer  Pat 
Duggan.  Director  Henry  Levin.  Western.  A  gunfighter 
finds  he  Is  losing  his  sight — and  his  aim. 
SPANISH  AFFAIR  VistaVision,  Technicolor.  Carmen 
Sevilla.  Richard  Kiley.  Producer  Bruce  Odium.  Director 
Donald  Siegel. 

TEN  COMMANDMENTS,  THE  VistaVision.  Technicolor. 
Charlton  Heston  Yul  Brynner,  Anne  Bax*er.  Producer- 
director  Cecil  B  DeMille.  Religious  drama  Life  storv 
of  Moses  as  told  in  the  Bible  and  Koran.  219  min.  10/15 
TIN  STAR,  THE  VistaVision.  Henry  Fonda,  Anthony 
Perkins.  A  Perlherg-Seaton  Production.  Director  An- 
thony Mann.  V." -."stern. 


REPUBLIC 


November 

A  WOMAN'S  DEVOTION  Trucolor.  Ralph  Meeker, 
Janice  Rule,  Paul  Henreid.  Producer  John  Bash.  Direc- 
tor Paul  Henreid.  Drama.  Recurrence  of  Gl's  battle- 
shock  illness  makes  him  murder  two  girls.  88  min.  12/10 
CONGRESS  DANCES.  THE  CinemaScope,  Trucolor. 
Johanna  Matz,  Rudolf  Prack.  A  Cosmos-Neusser  Pro- 
duction. Drama.  Intrigue  and  mystery  in  Vienna  during 
the  time  of  Prince  Metternich.  90  min. 

December 

ACCUSED  OF  MURDER  Trucolor,  Naturama.  David 
Brian,  Vera  Ralston.  Melodrama.  Associate  producer- 
director  Joseph  Kane.  Drama.  Two-timing  gangland 
lawyer  is  murdered  by  attractive  girl  singer.  74  min. 
IN  OLD  VIENNA  Trucolor.  Heinz  Roettinger,  Robert 
Klllick.  Producer-director  James  A.  Fitzpatrick.  Musi- 
cal. Romances  and  triumphs  of  Franz  Shubert,  Johann 
Strauss,  Ludwig  Beethoven  in  the  city  of  music,  Vienna. 

January 

ABOVE  UP  THE  WAVES  John  Mills,  John  Gregson, 
Donald  Slnden.  Producer  W.  MacQulfty.  Director  Ralph 
Thomas.  Drama.  Midget  submariners  attempt  to  sink 
German  battleship  in  WWH.  92  min.  I/M. 
TEARS  FOR  SIMON  Eastman  Color.  David  Farrar, 
David  Knight,  Julia  Arnall.  A  J.  Arthur  Rank  Produc- 
tion. Drama.  Young  American  couple  living  in  Lon- 
don have  their  child-stolen.  91  min. 

February 

AFFAIR  IN  RENO  Naturama.  John  Lund,  Doris  Single- 
ton. Producer  Sidney  Picker.  Director  R.  G.  Spring- 
stein.  Drama.  Young  heiress  falls  for  fortune-hunting 
gambler.  75  min. 

DUEL  AT  APACHE  WELLS  Naturama,  Trucolor.  Anna 
Maria  Alberghetti,  Ben  Cooper.  Associate  producer- 
director  Joseph  Kane.  Western.  Son  returns  home  to 
find  father's  ranch  threatened  by  rustler-turned-rancher. 
70  min. 

March 

SPOILERS  OF  THE  FORREST  Trucolor,  Naturama.  Vera 
Ralston,  Rod  Cameron.  Producer-director  Joe  Kane. 
Drama.  An  unscrupulous  lumberman  tries  to  coerce  the 
owners  of  a  large  forest  acreage  into  cutting  their 
timber  at  a  faster  rate. 

April 

HELL'S  CROSSROADS  Naturama.  Stephen  McNally, 
Peggie  Castle,  Robert  Vauhgn.  Producer  Rudy  Ral- 
ston. Director  Franklin  Adreon.  Western.  Outlaw  cow- 
boy reforms  after  joining  Jesse  James'  gang.  73  min. 


20TH  CENTURY-FOX 


November 

DESPERADOS  ARE  IN  TOWN.  THE  Robert  Arthur,  Rex 
Reason,  Cathy  Nolan.  Producer-director  K.  Neumann. 
Western.  A  teen-age  farm  boy  join  an  outlaw  gang. 

73  min.  1 1/24. 


LOVE  ME  TENDER  CinemaScope.  Elvis  Presley,  Richard 
Egan,  Debra  Paget.  Producer  D.  Weisbart.  Director  R. 
Webb.  Drama.  Post-civil  war  story  set  in  Kentucky 
locale.  89  min.  1 1/26. 

OKLAHOMA  CinemaScope,  Technicolor.  Gordon  Mac- 
Rae,  Gloria  Grahame,  Shirley  Jones.  Producer  A.  Horn- 
blow,  Jr.  Director  Fred  Zinnemann.  Musical.  Filmiza- 
tion  of  the  famed  Broadway  musical.  140  min. 

December 

ANASTASIA  CinemaScope,  DeLuxe  Color.  Ingrid  Berg- 
man, Yul  Brynner,  Helen  Hayes.  Producer  Buddy  Adler. 
Director  A.  Litvak.  Drama.  Filmization  of  famous 
Broadway  play.  105  min.  12/24. 

BLACK  WHIP,  THE  Hugh  Marlowe,  Adele  Mara.  Pro- 
ducer R.  Stabler.  Director  M.  Warren.  Drama.  Outlaw 
has  black  whip  as  trademark.  77  min. 
GIRL  CAN'T  HELP  IT.  THE  CinemaScope,  De  Luxe 
Color.  Tom  Ewell,  Jayne  Mansfield.  Producer-director 
Frank  TasMin.  Cowiedy.  Satire  on  rock  'h*  roll.  97 
min.  I/T. 

OASIS  CinemaScope,  Color.  Michele  Morgan,  Cornell 
Borchers.  Producer  Ludwig  Waldleitner  and  Gerd  Os- 
wald. Director  Yve«  Allgret.  Drama.  Gold  smuggler 
falls  in  love  with  l»dy  sent  to  kill  him.  Violent  ending. 
84  min.  I/M. 

WOMEN  OF  PITCAIRN  ISLAND  CinemaScope.  James 
Craig,  John  Smith,  Lynn  Bari.  Regal  Films  Production. 

Director  Jean  Warbrough.  Drama.  72  min.  3/4. 

January 

UIET  GUN.  THE  Regalscope.  Forrest  Tucker,  Mara 
orday.  Producer-director  Anthony  Kimmlns.  Western. 
Laramie  sheriff  clashes  with  notorious  gunman.  77  min. 
SMILEY  CinemaScope,  Eastman  Color.  Sir  Ralph  Rich- 
ardson, John  McCallum,  Colin  Peterson.  Producer- 
director  Anthony  Kimmins.  Drama.  Young  Aussie  boy 
has  burning  desire  to  own  bicycle.  97  min.  2/18. 
THREE  BRAVE  MEN  CinemaScope.  Ray  Mllland,  Ernest 
Borgnine.  Producer  Herbert  Swope,  Jr.  Director  Philip 
Donne.  Drama.  Government  employee  ii  wronged  by 
too-zealous  pursuit  of  security  program.  88  min.  1/21. 

February 

OH,  MEN !  OH.  WOMENI  CinemaScope,  Color.  Dan 
Dairy,  Ginger  Rogers,  David  Niven.  Producer-director 
Nunnally  Jonnson.  Comedy.  A  psychiatrist  finds  out 
somethings  he  didn't  know.  90  min.  3/4. 
THE  TRUE  STORY  OF  JESSIE  JAMES  CinemaScope. 
Robert  Wagner,  Jeffrey  Hunter.  Producer  Herbert 
Swope,  Jr.  Director  Nicholas  Ray.  Western.  The  ttves 
and  times  of  America's  outlaw  gang.  92  min.  2/18. 
TWO  GROOMS  FOR  A  BRIDE  Virginia  Bruce,  John 
Carroll.  Producer  Robert  Baker,  Monty  Berman.  Direc- 
tor Henry  Cass.  Comedy. 

March 

HEAVEN  KNOWS  MR,  ALLISON  CinemaScope  De  Luxe 
Color.  Deborah  Kerr,  Robert  Mitchum.  Producers 
Buddy  Adher,  Eugene  Frenke.  Director  John  Hus+on. 
Drama.  Soldier  is  saved  by  nun  in  South  Pacific  during 
World  War  II. 

RIVER'S  EDGE,  THE  CinemaScope,  Color.  Ray  Milland, 
Anthony  Quinn,  Debra  Paget.  Producer  Benidict 
Bogeaos.  Director  Allan  Dwan.  Adventure.  Story  of  a 
professional  killer. 

STORM  RIDER,  THE  Scott  Brady,  Mala  Powers.  A 
Brady-Glasser  production.  Director  Edward  Bernds. 
Western.  A  dust  storm  brings  a  stranger  to  a  small 

western  town.  70  min. 

April 

BOY  ON  A  DOLPHIN  CinemaScope,  DeLuxe  Color. 
Clifton  Webb  Alan  Ladd,  Sophia  Loren.  Producer  Sam 
Engel.  Director  Jean  Negulesco.  Comedy.  Romantic 
tale  with  a  Greek  background. 

CHINA  GATE  Nat  "King"   Cole,   Gene   Barry,  Angie 
Dickinson.  Producer-director  S.  Fuller.  Drama. 
KRONOS  Jeff  Morrow,  Barbara  Lawrence,  John  Emery. 
Producer-director  Kurt  Neumann.  Drama. 
SHE-DEVIL.  THE   Mari   Blanchard,  Jack   Kelly,  Albert 
DekVer.  Producer-director  Kurt  Neumann. 

Coming 

ALL  THAT  I  HAVE  Walter  Brennan. 

BADLANDS  OF  MONTANA  Rex  Reason,  Margia  Deane, 
Beverly  Garland.  Producer  H.  Knox.  Director  D.  Ull- 
man. 

BEAUTIFUL  BUT  DANGEROUS  Gina  Lotlobrigida,  Vit- 
torio  Gassman.  Producer  Manuella  Malotti.  Director 
Robert  Leonard.  Drama. 

BERNADINE  Terry  Moore,  Pat  Boone,  Janet  Gaynor. 
Producer  Sam  Engel.  Director  H.  Levin.  Story  of 
teenagers. 

BREAK  IN  THE  CIRCLE  Forrest  Tucker,  Eva  Bartok. 
Producer  M.  Carreras.  Director  V.  Guest.  Drama. 
DESK  SET  Spencer  Tracy,  Katharine  Hepburn.  Producer 
Henry  Sphron.  Director  W.  Lang.  Filmization  of  the 
famous  Broadway  comedy. 

ISLAND  IN  THE  SUN  CinemaScope,  DeLuxe  Color. 
James  Mason,  Joan  fontaine,  Dorothy  Dandridge.  Pro- 
ducer DarryJ  Zanuck.  Director  Robert  Rossen.  Drama. 
LURE  OF  THE  SWAMP  William  Parker,  Skippy  Homeir, 
Marshall  Thompson. 

RESTLESS  BREED,  THE  Eastman  Color.  Scott  Brady, 
Anne  Bancroft.  Producer  E.  A.  Alperson.  Director  Alan 
Dwan. 

SEA  WIFE  CinemaScope,  DeLuxe  Color.  Richard  Bur- 
ton, Joan  Collins.  Producer  Andre  Hakim.  Director  Bob 
McNaught.  Drama.  Ship  is  torpedoed  by  Jay  submarine 
off  Singapore  harbor. 

THREE  FACES  OF  EVE.  THE  David  Wayne,  Joanne 
Woodward.  Producer  Nunnally  Johnson. 


WAY  TO  THE  GOLD.  THE  Sheree  North,  Barry  Sullivan. 
Jeffrey  Hunter.  Producer  David  Weisbart.  Director  R. 
Webb. 

WAYWARD  BUS  Jayne  Mansfield,  Dan  Dailey,  Joan' 
Collins,  Rick  Jason. 


UNITED  ARTISTS 


November 

GUN  THE  MAN  DOWN  James  Arness,  Angie  Dickin- 
son, Robert  Wilke.  Producer  Robert  Morrison.  Director 
A.  V.  McLaglen.  Western.  Young  western  gunman  gets 
revenge  on  fellow  thieves  who  desert  him  when 
wounded.  78  min. 

PEACEMAKER,  THE  James  Mitchell,  Rosemarie  Bowe, 
Jan  Merlin.  Producer  Hal  Makelim.  Director  Ted  Post. 
Western.  A  clergyman  trys  to  end  feud  between  cattle- 
men and  farmers.  82  min.  11/26. 

RUNNING  TARGET  Deluxe  Color.  Doris  Dowling, 
Arthur  Franz,  Richard  Reeves.  Producer  Jack  Couffer. 
Director  Marvin  Weinstein.  Melodrama.  Escaped  fugi- 
tives are  chased  by  local  townspeople  and  officer  of 
the  law.  83  min.  1 1/12. 

SHARKFIGHTERS,  THE  CinemaScooe,  Color.  Victor  i 
Mature,  Karen  Steele.  Produc-'  Samuel  Goldwyn,  Jr. 
Director  Jerry  Hopper.  Drar  Saga  of  the  Navy's 
"underwater-men".  73  min.  IO;Vr. 

December 

BRASS  LEGEND,  THE  Hugh  O'Brian,  Raymond  Burr, 
Nancy  Gates.  Western.  Producer  Bob  Goldstein.  Di- 
rector Gerd  Oswald.  Western.  79  min. 

DANCE  WITH  ME  HENRY  Bud  Abbott,  Lou  Costello. 
Producer  Robert  Goldstein,  Director  Charles  Barton. 
Comedy.  79  min.  12/24. 

KING  AND  FOUR  QUEENS,  THE  CinemaScope,  Color. 
Clark  Gable,  Eleanor  Parker,  Jo  Van  Fleet,  Jean  Willis, 
Barbara  Nichols,  Sara  Shane.  Producer  David  Hemp- 
stead. Director  Raoul  Walsh.  Western.  86  min.  1/7. 
WILD  PARTY,  THE  Anthony  Quinn,  Carol  Ohmart,  Paul 
Stewart.  Producer  Sidney  Harmon.  Director  Harry 
Horner.  Drama.  Hoodlum  mob  take  over  a  Naval  offi- 
cer and  his  fiancee.  81  min.  12/10 

January 

BIG  BOODLE,  THE  Errol  Flynn,  Rossana  Rory.  A  Lewi* 
F.  Blumberg  Production.  Director  Richard  Wilson.  Ad- 
venture. A  blackjack  dealer  in  a  Havana  nightclub  is 
accused  of  being  a  counterfeiter.  83  min.  2/4. 
FIVE  STEPS  TO  DANGER  Ruth  Roman,  Sterling  Hayden. 
A  Grand  Production.  Director  Henry  Kesler.  Drama. 
A  woman  tries  to  give  FBI  highly  secret  material  stolen 
from  Russians.  80  min.  2/4. 

HALLIDAY  BRAND,  THE  Joseph  Cotten,  Viveca  Lind- 
fors,  Betsy  Blair.  Producer  Collier  Young.  Director 
Joseph  Lewis.  Western.  Inter-family  feud  threatens 
father  and  son  with  disaster.  77  min.  2/4. 

February 

CRIME  OF  PASSION  Barbara  Stanwyck,  Sterling 
Hayden,  Raymond  Burr.  Producer  Herman  Cohen.  Di- 
rector Gerd  Oswald.  Drama.  Newspaper  woman  whose 

ambition  for  her  husband  leads  to  murder.  85  min.  1/7. 
D  RAN  GO  Jeff  Chandler,  Joanne  Dru.  An  Earlmar  Pxo- 
duetion.  Hall  Bartlett  producer-director.  Adventure. 
Union  officers  try  to  bring  order  to  a  Southern  town 
after  the  Civil  War.  92  min. 

MEN  IN  WAR  Robert  Ryan,  Aldo  Ray,  Robert  Keith. 
Producer  Sidney  Harmon.  Director  Anthony  Mann. 
Drama.  An  American  Infantry  platoon  isolated  in  enemy 
territory  tries  to  retreat  during  the  Korean  War. 
101  min.  2/4. 

TOMAHAWK  TRAIL  John  Smith.  Susan  Cummings.  A 
Bel  Air  Production.  Director  Robert  Parry.  Western. 
Cowboy  versus  Indians,  A  small  band  of  cavalry 
soldiers,  greatly  outnumbered,  battles  with  Apache 
Indians  at  close  of  the  Civil  War.  61  min. 
VODOO  ISLAND  Boris  Karloff,  Bevej-ly  Tyler.  A  Bel 
Air  Production.  Director  Reginald  Le  Borg.  Horror. 
Writer  is  called  upon  to  investigate  vodooism  on  a 
Pacific  isle.  76  min. 

March 

DELINQUENTS,  THE  Tommy  Laughlin,  Peter  Miller, 
Dick  Bakalyan.  Imperial  Productions.  Robert  Altman 
director.  High  school  student  and  his  girl  victimized 
by  a  teen-age  gang.  71  min. 

HIT  AND  RUN  CJeo  Moore,  Hugo  Haas.  Producer  di- 
rector Hugo  Haas.  Middle-aged  widower  marries  show 
girl.  She  and  her  boy  friend  plot  his  murder.  84  mm. 
REVOLT  AT  FORT  LARAMIE  DeLuxe  Color.  John 
Dehner  Diana  Brewster.  Producer  Howard  Koch.  Di- 
rector Lesley  Selander.  Western.  Civil  War  story  of 
soldiers  who  are  attacked  by  Indians.  73  mm. 

A  pril 

BACHELOR  PARTY.  THE  Don  Murray,  E.  G.  Marshall. 
Jack  Warden.  Producer  Harold  Hecht.  Director  Delbert 
Mann.  Drama.  From  the  famous  television  drama  by 
Paddy  Chayefsky. 

GIRL  IN  BLACK  STOCKINGS.  THE  Lex  Barker,  Anne 
Bancroft,  Mamie  Van  Doren.  A  Bel-Air  Production.  Di- 
rector Howard  Koch.  Drama.  A  series  of  sex  slaymgs 
terrorize  western  resort. 

MONTE  CARLO  STORY.  THE  Technirama,  Color.  Mar- 
lene  Dietrich,  Vittorio  De  Sica.  A  Titanus  Film.  Sam 
Taylor  director.  Drama.  A  handsome  Italian  nobleman 
with  a  love  for  gambling  marries  a  rich  woman  in 
order  to  pay  his  debts. 


2 


Film    BULLETIN  —  THIS     IS    YOUR  PRODUCT 


May 


IIDDEN  FEAR  John  Payne,  Natalie  Norwick.  A  St. 
.ubrey-Kohn  Production.  Director  Andre  de  Toth. 
•r«nva.  Police  officer  attempts  to  clear  sister  charged 


Coming 


AILOUT  AT  43.000  John  Payne.  Karen  Steele.  A  Pine- 
homas  Production.  Director  Francis  Lyon.  U.S.  Air 
orce  pioneers  bailout  mechanism  for  jet  pilots. 
IG  CAPER.  THE  Rory  CaJhound,  Mary  Costa.  Pine- 
homas  Production.  Director  Robert  Stevens.  Mulri- 
lillion  dollar  payroll  robbery. 

:ARELESS  YEARS,   THE   Natalie  Trundy.   Dean  Stock- 
H  Producer  Edward  Lewis.  Director  Arthur  Hiller. 
RON   SHERIFF.  THE  Sterling   Hayden,,  John  Dehner, 
Constance   Ford.   Producer  Jerome   Robinson.  Director 
idney  Salkow. 

ONELY  GUN,  THE  Anthony  Ouinn,  Katy  Jurado.  Pro- 

ucer  Robert  Jacks.  Director  Harry  Horner. 

MONSTER    THAT    CHALLENGED    THE    WORLD,  THE 

cience-fiction.  Deals  with  a  prehistoric  sea  monster. 
)UTLAW'S  SON  Dane  Clark,   Ben  Cooper,   Lori  Nel- 
on.  Bel  Air  Production.  Director  Lesley  Selander.  Gun- 
linger   escapes   from   jail   to   save   son    from   life  of 

'HAROAH'S  CURSE  Ziva  Shapir,  Mark  Dana.  Producer 
Reward  Koch.  Director  Lee  Sholem.  Horror.  Repar- 
ation of  mummies  in  Egyptian  tombs,  ti  min.  2/18 
RIDE  AND  THE  PASSION,  THE  VistaVision,  Techni- 
otor.  Cary  Grant,  Frank  Sinatra,  Sophia  Loren.  Pro- 
lucer-director  Stanley  Kramer.  Drama.  A  Spanish 
luerrilla  band  marches  an  incredible  distance  with  a 
000  pound  cannon  during  Spanish  War  of  Independ- 
nce  of  1810. 

AVAGE  PRINCESS  Technicolor.  Dilip  Kumar,  Nimmi. 
v  Mehboob  Production.  Musical  Drama.  A  princess 
alls  in  love  with  a  peasant  who  contests  her  right 
o  rule  the  kingdom.  101  min. 

TREET  OF  SINNERS  George  Montgomery,  Geraldine 
rooks.  Producer  William  Berke.  Rookie  policeman 
lashes  with  youthful  criminals. 

iPRING  REUNION  Betty  Hutton,  Dana  Andrews,  Jean 
fagen.  Director  Robert  Pirosh.  Producer  Jerry  Bresler. 
Comedy.  7?  min. 

HOOPER  HOOK  Joel  McCrea,  Barbara  Stanwyck,  Ed- 
ward Andrews.  Producer  Sol  Fielding.  Director  Marquis 
Varren.  A  white  woman,  forced  to  live  as  an  Indian 
Jhief's  squaw,  is  finally  rescued  and  tries  to  resume 
Ife  with  husband. 

2  ANGRY  MEN  Henry  Fonda,  Lee  J.  Cobb.  Jack 
Varden.  An  Orion-Nova  Production.  Director  Sidney 
.umet.  Drama.  Jury  cannot  agree  on  a  verdict.  95 
nin.  3/4 


U  N  I VE  RSAL-I  NT'  L 


December 


:URCU,  BEAST  OF  THE  AMAZON  Eastman  Color.  John 
iromfleld,  Beverly  Garland.  Producers  Richard  Kay, 
Harry  Rybnick.  Director  Curt  Siodmak.  Horror.  Young 
voman  physician,  plantation  owner  and  his  workers 
ire  terrorized  by  mysterious  jungle  beast. 

5VERYTHING  BUT  THE  TRUTH  Technicolor.  Tim  Hovey, 
vtsureen  O'Hara,  John  Forsythe.  Producer  Howard 
Christie.  Director  Jerry  Hopper.  Comedy.  Young  stu- 
ient  gets  mixed  up  with  "lies".  83  min.  1 1/12. 
MIAN  IN  THE  VAULT  Anita  Ekberg,  Bill  Campbell, 
(aren  Sharpe.  A  Wayne-Fellows  Production.  Director 
Andrew  McLaglen.  Melodrama.  A  youna  locksmith  gets 
nvolved  with  a  group  engaged  in  illegal  activities. 
'3  min.  1/7. 

40LE  PEOPLE.  THE  John  Agar,  Cythia  Patrick.  Pro- 
ducer William  Alland.  Director  Virgil  Vogel.  Horror, 
scientific  expedition  in  Asia  discover  strange  men. 


January 


HAVE  ONE,  THE  CieemaScope,  Technicolor.  Michel 
(ay,  Fermin  Rivera,  Joy  Lansing  Rudolph  Hoyos.  P ro- 
tecer  Frank  k  Maurice  King.  Director  Irving  Rapper. 
>rama.  The  adventures  of  a  young  Mexican  boy  who 
•rows  up  with  a  bull  as  his  main  companion  and  friend 
snd  how  each  protests  the  other.  100  min.  10/15. 
BUNDLE  OF  JOY  CinemaScope,  Eastman  Color.  Debbie 
Uynolds,  Eddi.  Fisher,  Adolph  Menjou.  Producer  Ed- 
wind  Grainger.  Director  Norman  Tauro*  Comedy, 
ion  of  department  store  magnet  falls  f*  salesgirl. 
'8  min.  12/24. 

cOUR  GIRLS  IN  TOWN  CinemaScope,  Technicolor. 
Seorge  Nader,  Julie  Adams,  Marianne  Cook.  Producer 
V  Rosenberg.  Director  Jack  Sher.  Drama.  Movie  studio 
promotes  world-wide  talent  hunt  to  find  a  new  star. 
IS  min.  12/10 

*OCK,  PRETTY  BABY  Sal  Mineo,  John  Saxon,  Luana 
Patten.  Producer  Edmund  Chevie.  Director  Richard 
sartlett.  Musical.  Rock  n  roll  story  of  college  combo. 
»9  min.  ll/2o. 

WRITTEN  ON  THE  WIND  Technicolor.  Rock  Hudson, 
-auren  Bacall,  Robert  Stack.  Producer  Albert  Zug- 
;mith.  Director  Douglas  Sirk.  Drama.  Oil  tycoon  meets 
'iolent  death  because  of  jealousy  for  wife.  9?  min.  10/1 


February 


SREAT  MAN,  THE  Jose  Ferrer,  Mona  Freeman,  Dean 
Jagger.  Producer  Aaron  Rosenberg.  Director  Jose  Fer- 
'er.  Drama.  The  life  and  death  of  a  famous  television 
dol.  92  min.  11/2*. 

ISTANBUL  CinemaScope.  Technicolor.  Errol  Hynn,  Cor- 
nell Borchers.  Producer  Albert  Cohen.  Director  Joseph 
Pevney.  Adventure.  Diamond  smugglers  in  mysterious 
Turkey.  84  min.  1/21. 


NIGHT  RUNNER.  THE  Ray  Danlon,  Cqlleen  Miller.  Pro- 
ducer Albert  Cohen.  Director  Abner  Biberman.  Drama. 
Mental  hospital  inmate  Is  released  while  still  in  dan- 
gerous condition. 


March 


BATTLE  HYMN  Technicplor.  CinemaScope.  Rock  Hud- 
son, Martha  Hyer,  Dan  Duryea.  Producer  Ross  Hunter. 
Director  Douglas  Sirk.  Drama.  Pilot  redeems  sense  of 
guilt  because  of  bombing  of  an  orphanage  by  saving 
other  orphans.  108  min.  12/24. 

GUN  FOR  A  COWARD  astman  Color,  CinemaScope. 
Fred  MacMurrav,  Jeffrey  Hunter,  Janice  Rule.  Pro- 
ducer William  Alland.  Director  Abnec  Biberman.  Wes- 
tern. Three  brothers  run  a  cattle  ranch  after  death  of 
their  father.  88  min.  1/7. 

MISTER  CORY  Eastman  Color.  CinemaScope.  Tony 
Curtis.  Martha  Hyer,  Charles  Bickford.  Producer 
Robert  Arthur.  Director  Blake  Edwards.  Drama.  Gam- 
bler from  Chicago  sjums  climbs  to  wealth  and  re- 
spectability. 92  min.  1/21. 


A  pril 


INCREDIBLE  SHRINKING  MAN,  THE  Grant  Williams, 
Randy  Stuart.  Producer  Albert  Zugsmith.  Director  Jack 
Arnold.  Science-fiction.  The  story  of  a  man  whose 
growth  processes  have  accidently  been  reversed. 
81  min.  2/4. 

KELLY  AND  ME  CinemaScope,  Technicolor.  Van  John- 
son, Piper  Laurie,  Martha  Hyer.  Producer  Robert  Ar- 
thur. Director  Robert  Leonard.  Drama.  Story  of  dog- 
act  in  show  business  in  the  early  I930*s.  2/4. 
TATTERED  DRESS,  THE  CinemaScope.  Jeff  Chandler, 
Jeannie  Crain,  Jack  Carson.  Producer  Albert  Zugsmith. 
Director  Jack  Arnold.  Melodrama.  Famous  criminal 
lawyer  gains  humilitv  when  put  on  trial  himself.  93 
min.  3/4 

Coming 

APPOINTMENT  WITH  A  SHADOW  CinemaScope.  Tony 
Curtis,  Marisa  Pavan.  Producer  Robert  Arthur.  Director 
Joseph  Pevney.  Drama.  Rookie  cop  seeks  murderer  of 
parish  priest. 

DAY  THEY  GAVE  BABIES  AWAY.  THE  Eastman  Color. 
Glynis  Johns,  Cameron  Mitchell,  Rex  Thompson.  Pro- 
ducer Sam  Weisenthal.  Director  Allen  Reisner.  Drama. 
DEADLY  MANTIS.  THE  Craig  Stevens,  Alix  Talton.  Pro- 
ducer William  Alland.  Director  Jerry  Juran.  Horror. 
Monstrous  creature  threatens  to  destroy  U.S. 
ESCAPADE  IN  JAPAN  Color.  Teresa  Wright,  Cameron 
Mitchell,  Jon  Provost,  Roger  Nakagaws.  Producer-direc- 
tor Arthur  Lubin.  Search  for  two  boys  who  start  out 
in  the  wrong  direction  to  find  the  very  people  who 
are  trying  to  find  them. 

GIRL  MOST  LIKELY,  THE  Eastmai  Color.  Jane  Powell, 
Cliff  Robertson  Keith  Andes.  Producer  Stanley  Rublin. 
Director  Mitchell  Leisoe.  Comedy.  A  girl  is  proposed 
to  by  three  men  on  the  same  day. 

I  MARRIED  A  WOMAN  George  Gobel,  Diana  Dors, 
Adolph  Menjou.  Producer  William  Bloom.  Director  Hal 
Kanter.  Coemdy.  Wife  objects  to  taking  secoed  place 
to  a  beer  advertising  campaign  with  her  husband. 
INTERLUDE  Technicolor,  CinemaScope.  June  Allyson, 
Rossano  Brazii.  Producer  Ross  Hunter.  Director  Douglas 
Sirk.  American  doctor  falls  in  love  with  wife  of  fa- 
mous composer  in  Munich. 

JET  PILOT  Technicolor,  SuperScope.  John  Wayne, 
Janet  Leigh.  Howard  Hughes  Production.  Producer 
Jules  Furth'man  Director  Josef  von  Sternberg.  Drama. 
119  min. 

JOE  BUTTERFLY  CinemaScope,  Technicolor.  Audie 
Murphy,  George  Nader,  Keenan  Wynn.  Producer 
Aaron  Rosenberg.  Director  Jessie  Hibbs.  Story  of 
American  newsmen  in  Tokyo  after  Japanese  surrender. 
JOE  DAKOTA  Color.  Jock  Mahoney,  Luana  Patten.  Pro- 
ducer Howard  Christie.  Director  Richard  Bartlett. 
Drama.  Stranger  makes  California  oil  town  see  the 
error  of  its  ways. 

KETTLES  ON  OLD  MocDONALD  S  FARM.  THE  Marjorie 
Main  Parker  Fennelly,  Gloria  Talbott.  Producer  Ho- 
ward Christie.  Director  Virgil  Vogel.  Comedy.  The 
Kettles  buy  a  new  farm. 

LAND  UNKNOWN,  THE  Jock  Mahoney,  Shawn  Smith. 
Producer  William  Alland.  Director  Virgil  Vogel. 
Science-fiction.  Polar  expedition  finds  Mesoioic  age 
in  Antartic  expedition. 

MAN  AFRAID  CinemaScope.  George  Nader,  Phyllis 
Thaxter,  Tim  Hovey.  Producer  Gordon  Kay.  Director 
Harry  Keller.  Father  saves  life  of  man  attempting  to 
murder  his  son. 

MAN  OF  A  THOUSAND  FACES  CinemaScope.  James 
Cagney,  Dorothy  Malone.  Producer  Robert  Arthur.  Di- 
rector Joseph  Pevney.  Drama.  Life  story  of  Lon  Chaney. 
NIGHT  PASSAGE  Technirama.  James  Stewart.  Audie 
Murphy,  Dan  Duryea.  Producer  A.  Rosenberg.  Director 
James  Neilson.  Drama.  Payroll  robbers  are  foiled  by 
youngster  and  tough-fisted  railroader. 
PAY  THE  DEVIL  CinemaScope.  Jeff  Chandler,  Orson 
Welles.  Producer  Albert  Zugsmith.  Director  Jack  Ar- 
nold. Drama.  Sheriff  destroys  one-man  domination  of 
Texas  town. 

PUBLIC  PIGEON  NO.  1  Eastman  Color.  Red  Skelton, 
Vivian  Blaine,  Janet  Blair.  Producer  Harry  Tugend.  Di- 
rector Norman  McLeod.  Comedy.  A  trusting  soul 
tangles  with  slick  con  men  and  outwits  them.  79  min. 
OUANTEZ  CinemaScope,  Eastman  Color.  Fred  Mac- 
Murray,  Dorothy  Malone.  Producer  Gordon  Kay.  Direc- 
tor Harry  Keller.  Drama.  A  study  of  five  people  in- 
volved in  a  robbery  and  killing. 

RUN  OF  THE  ARROW  Eastman  Color.  Rod  Steiger, 
Sarita  Montiel,  Ralph  Meeker.  Producer-director  Sam 
Fuller.  Adventure.  Young  sharpshooter  joins  Sioux 
Indians  at  close  of  Civil  War. 

TAMMY  CinemaScope,  Technicolor.  Debbie  Reynolds, 
Leslie  Nielson.  Producer  Aaron  Rosenberg.  Director 
Joe  Pevney.  Story  of  a  young  girl,  her  grandfather  and 
a  young  man  who  falls  in  love  with  her.  89  min. 


THAT  NIGHT  John  Beal.  Augusta  Dabney,  Shepperd 
Strudwick.  Producer  Hiram  Brown.  Dfrector  John 
Newland.  Drama.  A  tragedy  almost  shatters  a  IS- 
year-old  marriage. 

UNHOLY  WIFE.  THE  Oolor.  Diana  Dors,  *od  Steiger, 
Marie  Windsor.  Producer-director  John  Farrow.  Drama. 
A  wife  sunningly  plots  the  death  of  her  husband  who 
she  has  betrayed. 

VIOLATORS,  THE  Arthur  OConnell.  Nancy  Malone. 
Producer  H.  Brown.  Director  John  Newland.  Drama. 
Story  of  a  probation  officer  in  the  New  York  City 
courts. 

YOUNG  STRANGER,  THE  James  MacArthur.  Kim  Hun- 
ter. Producer  Stuart  Miller.  Director  John  Frankeo- 
heimer.  Drama.  Son  seeks  to  earn  affection  from  his 
parents.  84  min.  2/18. 


November 

GIANT  WarnerColor.  Elizabeth  Taylor.  Rock  Hudson, 
James  Dean.  Producer-director  George  Stevens  Drama. 
Based  on  the  famous  novel  by  Edna  Ferber.  The  story 
of  oil  cattle  and  love  in  the  Southwest  during  WWII. 
201  min.  10/15. 

GIRL  HE  LEFT  BEHIND,  THE  Tab  Hunter,  Natalie 
Wood.  Producer  Frank  Rosenberg.  Director  David 
Butler  Drama.  Army  turns  immature  boy  into  man. 
103  min.  10/29. 

December 

BABY  DOLL  Karl  Maiden,  Carroll  Baker.  Eli  Wallach. 
A  Newton  Production.  Producer-director  El  la  Kazan. 
Drama  Story  of  ■>  gin-mill  proprietor  and  a  beautiful 
girl.  I  14  min.  12/24. 

January 

WRONG  MAN,  THE  Henry  Fonda,  Vera  Miles,  Anthony 
Quayles.    Producer-director   Alfred    Hitchcock.  Drama. 
Bass  fiddle  player  at  Stork  Club  is  r-"-" 
murder  case.  105  min.  1/7. 


jspect  in 


February 


BIG  LAND,  THE  WarnerColor.  Alan  Ladd,  Virginia 
Mayo.  A  Jaguar  Production.  Director  Gordon  Douglas. 
Western.  Cattlemen  fight  to  move  theer  herds  to 
distant  railroads.  93  min.  2/4. 

TOP  SECRET  AFFAIR  Kirk  Douglas.  Susan  Hayward. 
Producer  Martin  Rackin.  Director  H.  C.  Potter.  Come- 
dy. A  lovery  lady  calls  the  bluff  of  an  Army  General. 
93  min.  2/4. 

March 

PARIS  DOES  STRANGE  THINGS  Technicolor  Ingrid 
Bergman,  Mel  Ferrer,  Jean  Marais.  A  Franco-London 
Rim.  Director  Jean  Renoir.  Drama.  Tale  of  the  exiled 

widow  of  a  Polish  Prince.  86  min.  3/4. 


April 


COUNTERFEIT  PLAN,  THE  Zachary  Scott.  Peggie 
Castle  Producer  Alec  Snowden.  Director  Montgomery 
Tully.  Drama.  Inside  story  of  one  of  the  largest  for- 
gery operations  ever  attempted. 

SPIRIT  OP  ST.  LOUIS.  THE  CinemaScope.  Warner- 
Color. James  Stewart,  Rena  Clark.  Producer  Leland 
Hayward.  Director  lilly  Wilder.  Drama.  The  story  of 
the  first  man  ever  to  cross  the  Atlan*:- 

138  min.  3/4. 


a  plane. 


Coming 


A  FACE  IN  THE  CROWD  Andy  Griffith.  Patricia  Neal. 
Producer-director  Ella  Kazan.  Drama. 
LAFAYETTE  ESCA0RILLE  CinemaScope.  WarnerColor. 
Tab  Hunter,  Etchlka  Choureau.  J.  Carrol  Naish.  Drama. 
PRINCE  AND  THE  SHOWGIRL.  THE  Coloiv  Marilyn 
Monroe,  Laurence  Olivier,  Dame  Sybil  Thorndyke. 
Prodi/eer-director  Laurence  Olivier.  Comedy. 
UNTAMED  YOUTH  Mamie  Van  Doren.  Lou  Nelson,  John 
Russell. 


To  Better  Serve  You  .  .  . 

Office  J.  Terminal  Combined  A* 
305  N.  12th  St.  New  Phones 

Philadelphia  7,  Pa.         LOmbard  3-3944.  394S 

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Washington.  D.  C:  DUpoot  7-7200 


Film 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


WnANULEK  HAS  UNI  Ur  I  HE  DE9 

ROLES  OF  HIS  CAREER!     .?  da, ly 


'Attractive  lure  for  the  ticket  buyers!  Superior! 
A  memorable  film!" -HOLLYWOOD  REPORTER 

Compelling,  actionful  drama!  Many  angles  of 
appeal  \"  —  SHOWMEN'S  TRADE  REVIEW 

Emotion  packed  l"-M.  P.  EXHIBITOR 

'A  trio  of  top  boxoffice  draws!  Should  have 
exploitation  and  boxoffice  appeal!" -FILM  DAILY 

'Fast  moving,  holding  one's  interest  throughout!" 

-HARRISON'S  REPORTS 


co-starring 


JOANNE  DRU  JULIE  LONDON. 


DONALD  CRISP -JOHN  LUPTON 


and  introducing 


DMJAI  ft  UnU/ADIl  MUS'C  by  ELMER  bernstein  •  Directed  by  HALL  BARTLETT  and  JULES  BRICKEN  •  Written  and  Produced  by  HALL  BARTLETT 
nUNALU    nUlYANU   Executive  Producer  MEYER  MISHKIN  •  A  HALL  BARTLETT  Production 


4l 

BULLETIN 


cop)' 


Revie 


The  Movie  Audience 
ttasn  V  Vanished  — 
They9re  at  Home! 

♦ 


PATTERNS   OF   PATRONAGE  VI 


CHANGING  LEISURE  HABITS 


lewpoints 

RIL  I.  1957         *  VOLUME  25,  NO.  7 


Vow  ntl I 
The  mLvsim 
Audience 

While  we  contemplate  the  decline 
in  regular  movie  attendance  and 
plaintively  wcnder  what  has  hap- 
pened to  our  audience,  l2t's  scan  the 
report  issued  by  Sindlinger  &  Com- 
pany on  the  nation's  February  "at- 
home"  pursuits. 

During  that  month  a  record  stay- 
in  activity  was  established,  based  on 
reports  from  30,000  interviews.  New 
highs  were  recorded  in  television 
viewing,  radio  listening  and  in  read- 
ing. "During  the  average  day  in 
February,"  Sindlinger  reports,  "as 
our  field  staff  of  186  interviewed 
mere  than  1000  people  every  day, 
we  found  better  than  90%  of  the 
population  'at  home'  on  our  first 
call." 

Prominent  among  the  at-home  ac- 
tivities was  "talking"  interest  in 
movies,  the  report  finding  that 
"dai'y  talk  about  movies  at  theatres 
was  high  for  a  mid-winter  month, 
with  31  million  talking  about 
movies."  This  compares  with  a  re- 
ported 59  million  talking  about  TV 
shows — hardly  an  unfavorable  com- 
mentary for  the  movies  in  view  of 
the  comparable  number  of  television 
viewers  and  moviegoers. 

What  Sindlinger  makes  clear  is 
the  fact  that  the  audience  of  po- 
tential moviegoers  is  not  "lost" — 
they're  at  home.  The  occasional 
outstanding  picture  apparently  is 
not  enough  to  counteract  the  home 
lures  of  TV,  radio  and  reading. 
What  has  set  in  on  a  large  section 
of  the  public  is  a  plain  apathy  to- 
ward going  out  to  the  movies,  and 
this  is  being  further  fostered  by  the 
feast  of  fine  old  films  that  are  being 
fed  through  the  air  channels. 

These  findings  dramatically  point 
up  the  most  basic  problem  our  in- 
dustry faces — how  to  get  people  out 
of  the  home.   The  task  is  to  trans- 


late the  "talked  about"  into  the  "go 
cut  to"  the  movies.  At  least  as  im- 
portant as  the  exploitation  of  indi- 
vidual pictures  is  the  selling  of 
movie-going  as  a  desirable  social 
practice.  We  must  recognize  that 
the  human  being  is  a  creature  of 
habit  and  strive  to  direct  his  recre- 
ational tendencies  toward  the  movie 
theatre. 

This  calls  for  a  mammoth  nation- 
al promotion  of  the  psychological 
benefits  of  going  out  to  the  movies. 
This  kind  of  primary  institutionaliz- 
ing has  been  bruited  about  the  in- 
dustry for  the  past  year  or  so,  but 
thus  far  has  not  been  activated  into 
a  persistent,  productive  drive.  It  is 
a  job  of  reaching  out  to  bestir  the 
people,  to  coax  them  out  of  the 
home  and  into  the  theatre.  Lacking 
such  a  campaign,  it  is  likely  that  our 
audience  will  continue  to  shrink. 
This  kind  of  promotion  requires  big 
thinking,  persistent  action.  Dees  cur 
industry  have  the  leadership  to  ex- 
ecute it? 

Shotriny 
A  Profit 

The  Wall  Street  Journal  has  pub- 
lished its  annual  compilation  of  the 
comparative  profits  in  various  Amer- 
ican industries  for  1956  and  1955. 
Among  the  categories  included  is 
one  labeled  "movies  and  movie  the- 
atres," covering  seven  companies. 

Obviously  this  is  by  no  means  a 
complete  picture  of  the  industry,  but 


BULLETIN 


Film    BULLETIN:    Motion    Picture    Trade  Paper 
published   every  other   Monday  by  Wax  Publi- 
cations,   Inc.     Mo   Wax,    Editor   and  Publisher. 
PUBLICATION-EDITORIAL   OFFICES:    1239  Vine 
Street,  Philadelphia  7,  Pa.,  LOcust  8-0950,  0951. 
Philip    R.    Ward,    Associate    Editor-  Leonard 
Coulter,  New  York  Associate  Editor;  Duncan  G. 
Steck,     Business     Manager;     Marvin  Schiller, 
Publication  Manager;  Robert  Heath,  Circulation 
Manager.    BUSINESS  OFFICE:  522  Fifth  Avenue, 
New    York    36,    N.    Y.,    MUrray    Hill  2-3631; 
Alt  Dinhofer,  Editorial  Representative. 
Subscription   Rates:  ONE  YEAR,   S3. 00 
in  the   U.   S.;   Canada,   S4.00;  Europe, 
$5.00.     TWO    YEARS:     S5.00    in  the 
U.  S.;  Canada,  $7.50;   Europe,  $9.00. 


we  wrll  assume  that  it  is  representa- 
tive since  it  comes  from  a  pubiica- 
tion  with  no  particular  :xe  to  grind. 

The  Wali  Street  Jcurna.'s  tabula- 
tion shows  that  the  movie  industry 
profit  picture  reflected  a  2.7%  rise. 
This  compares  with  a  ris2  of  40.4% 
for  tools  and  machinery,  6.5%  f.r 
tobacco  companies,  23.7%  fcr  print- 
ing and  publishing,  30.2%  fcr  drug 
companies,  33.1%  for  grocery  chain 
retailers.  On  the  ether  hand,  auto- 
mobiles were  off  34.6%,  airlines 
were  off  1.3%,  chemicals  were  off 
5.8%,  electrical  equipment  was  off 
3.3%,  radio  and  television  were  off 
23.3%,  textiles  were  off  16.6%,  rail- 
roads off  2.8%.  The  total  for  the 
750  firms  covered  in  the  Journal's 
tabulation  was  a  rise  of  .1%. 

On  the  basis  of  these  figures,  the 
motion  picture  industry  does  not 
appear  to  have  done  badly.  It  sur- 
passes the  average,  but  in  all  fair- 
ness, we  must  realize  that  the  34.6% 
decline  in  the  earnings  of  automo- 
bile companies  and  the  23.3%  de- 
cline in  radio  and  television  dragged 
down  what  otherwise  might  have 
been  a  higher  general  rate  cf  in- 
crease. 

The  broad  picture  of  the  industry 
which  is  presented  in  the  tabula- 
tion, however,  is  not  a  sickly  one. 
Considering  the  severely  constricted 
film  output,  it  is  remarkable  that  the 
industry  is  as  healthy  as  the  Journal 
reports  it. 

Untlerstand 
The  Audience 

We  are  indebted  to  Dr.  Henry 
David,  Professor  of  Economics  at 
Columbia  University  and  Executive 
Director  of  the  National  Manpower 
Council,  for  the  information  he  of- 
fered in  a  recent  CBS  Radio  broad- 
cast. Dr.  David  was  offering  high- 
lights from  the  Council's  recent 
report  to  President  Eisenhower  on 
"The  Womanpower  of  the  Nation." 


Film  BULLETIN    April  I,  1957        Page  3 


all  new.' 

GREATEST 
OF  ALL! 

FIRST  TIME 

IM  COLOR! 


ft  fi 


s;a'""g  ffiwffi  m**  ROBERT  BEATTY  •  YOLANDE  DUNLAN  BETTA  ST  JOHN  ■  WILFRID  HYDE  WHITE 


saeen  Pte,  r,v  MONTGOMERY  POTMAN  a*  ULUE  HAYWARD  technicolor-  -,k?;^,.eogar  rice  b 
JOHN  CROYDON  A  Sol  Lesser  Production  * 


Above:  The  24-sheet  is  perfect  for  cut-out  uses  in  lobby  or  on  marquee 

The  greatest  attraction  of  its  kind  ever  made.  Tarzan, 
a  magic  word  for  tlie  millions,  comes  to  tlie  public 
now  for  tlie  first  time  in  color.  With  an  entirely 
NEW,  streamlined,  up-to-the-minute  story,  in  a  mag- 
nificent production,  it  is  an  entertainment  of  stature 
for  class-appeal  as  well  as  mass-patronized  theatres. 


M-G-M  presents  "TARZ AN  AND  THE  LOST  SAFARI"  starring  Gordon  Scott  as  the  New  Tarzan  •  co-starring  Robert  Beatty  •  Yolande  Don  I 
Betta  St.  John  •  Wilfrid  Hyde  White  •  Screenplay  by  Montgomery  Pittman  and  Lillie  Hayward  •  Technicolor*'  -  Based  on  the  characi 
created  by  Edgar  Rice  Burroughs  •  Directed  by  Bruce  Humberstone  •  Produced  by  John  Croydon  •  A  Sol  Lesser  Production  •  An  M-G-M  Rehi 


JAILER  IMPACT.  A  cogent  addenda  to  the  long  es- 
)lished  power  of  the  trailer  as  a  movie  selling  medium — 
lich  exhibitors  have  long  realized — is  the  recent  Sind- 
ger  report  showing  that  over  35  per  cent  of  the  movie- 
ing  audience  queried  during  a  19-weeks  period  said  they 
:re  directly  influenced  to  attend  by  seeing  the  trailer  on 
previous  visit.  According  to  the  report,  this  marks  the 
jhest  rate  of  "trailer  influence"  yet  measured  by  this  re- 
ble  analyst  organization.   Especially  in  view  of  the  re- 
ubtable  drawing  power  of  the  theatre  trailer,  some  the- 
remen  wonder  why  wider  use  of  trailers  is  not  being 
ade  on  television.  This  doesn't  refer  to  the  so-called  tel- 
i  or  15-second  spot,  or  even  to  the  clips  which  occasion- 
it  to  a  full-fledged  two-  to  three-minute  trailer  with 
[y  receive  TV  breaks  like  those  on  Ed  Sullivan's  show, 
enes  and  compelling  copy,  just  as  it  is  shown  on  the  the- 
re screen.   Cost,  obviously,  is  a  factor  to  be  reckoned, 
id  there  are  other  problems  such  as  obtaining  effective 
acement  and  time.   But  when  one  considers  the  potent 
id  proven  impact  the  trailer  continues  to  exert  on  movie- 
ring,  it  is  certainly  worth  consideration  in  view  of  the 
illions  of  people  reached  with  TV.   If  a  trailer  can  get 
>%  of  the  theatre  audience  to  pay  a  return  visit,  it  is  not 
treasonable  to  assume  that  it  might  attract  five  to  ten 
3rcent  of  the  TV  audience  who  would  see  it.  This  would 
e  a  means  of  reaching  into  the  home  to  pluck  its  audience 
at  of  the  living  room,  thus  attacking  the  very  root  of  the 
tovie  attendance  decline.  The  logic  is,  after  all,  plain:  the 
npact  of  the  theatre  trailer  is  proven.  The  TV  screen  is 
le  only  mass  outlet  outside  of  the  theatre  for  use  of  the 
•ailer.    Why  not,  then,  the  TV  screen  for  the  theatre 
ailer? 

0 

HOWMAN  TODD.  The  satisfaction  enjoyed  by  Mike 
'odd  in  winning  the  "best  picture"  Academy  Award  for 
is  "Around  the  World  in  80  Days"  was  shared  to  a  lesser 
egree,  no  doubt)  by  quite  a  few  industryites.  Mike  never 
ttracted  the  attention  his  showmanship  deserved  from 
ne  film  industry,  and  more  than  a  few  Hollywood  people 
-It  that  the  film  companies  were  passing  up  a  potential 
roduction  great.  Now  that  his  "80  Days"  has  established 
is  movie  know-how,  don't  be  surprised  if  one  of  the 
lajor  studios  ties  him  up.  He  has  more  showmanship  in 
is  pinky  than  some  of  the  so-called  "geniuses"  in  filmland 
ave  in  their  very  large  heads. 

0 

:HE  'OSCAR'  PARADE.  Once  again,  the  Academy 
Awards  TV  show  failed  to  satisfy  industryites  who  con- 
end  that  the  right  and  proper  business  of  the  "Oscar" 
hew  is  Entertainment.  It  seems  that  those  who  stage 
ncviedom's  annual  Un-spectacular  for  untold  video  mil- 
ions  have  set  their  minds  to  other  ends.   They  struggle 


H/kft  They'te  hiking  About 

□    □    □    In  the  Movie  Business    □    □  □ 


for  a  kind  of  dignity  and  a  pomp  and  ceremony  within 
which  to  frame  the  presentation  of  the  coveted  Oscars. 
Only  occasionally  do  they  appear  troubled  by  their  obliga- 
tion to  provide  a  good  shw.  In  this  direction,  they  have 
impounded  a  low  genre  of  theatricality  which  would  do 
little  justice  to  television's  own  morning  breakfast  clubs. 
Only  through  the  vast  power  of  the  Academy  show's  dra- 
matis personae,  the  personalities  who  introduce  and  are 
themselves  introduced,  does  the  90-minute  presentation 
escape  the  curse  of  unrelieved  ennui.  Without  the  unan- 
ticipated glimmer  of  a  Liz  Taylor  neckline,  the  breathless 
stammerings  of  other  film  lovelies,  the  glabrous  magne- 
tism of  a  Yul  Brynner,  the  show  has  qualities  of  a  summer 
replacement  offering.  Jerry  Lewis  is  clearly  not  one  to 
monitor  moviedom's  one  bright  annual  opportunity  to  en- 
shrine the  opulence  and  glamor  and  eloquence  of  Holly- 
wood. A  defter  hand  is  required.  However,  it  is  gener- 
ally admitted  that  several  elements  did  prove  worthwhile. 
The  presentations  moved  faster ;  commercials  did  not  in- 
trude as  bluntly  on  the  text  of  the  show  as  in  bygone 
years;  and,  thankfully,  the  spokesmen  practiced  notable 
restraint  before  the  microphone.  But  in  the  main,  the 
Academy  show  received,  and  rightfully  merits,  a  damning 
with  faint  praise.  It  behooves  those  entrusted  with  next 
year's  program  to  determine  whether  they  want  fish  or 
fowl,  entertainment  or  solemn  proceedings.  When  it 
dawns  that  entertainment  is  the  proper  article,  let  them 
then  work  it  so  that  the  Academy  Awards  show  might 
itself  become  a  contender  for  an  Emmy  award  as  one  of 
TV's  sprightliest  entertainments  of  the  season. 

<0 

UA  PERSONNEL.  Insiders  assert  with  certainty  that 
one  of  the  United  Artists  executives  will  step  out  shortly 
after  the  public  stock  issue  is  finalized.  This  member  of 
the  "miracle"  group  that  lifted  the  faded  UA  back  among 
the  industry  leaders  reportedly  will  go  into  independent 
production  (with  UA  releasing,  no  doubt). 

0 

'DOLL'  OK  NOW.  After  viewing  some  of  the  raw  sex 
dispensed  in  Warner  Bros.  "Untamed  Youth,"  the  opinion 
was  advanced  by  one  spectator  that  the  Legion  of  De- 
cency would  probably  change  its  mind  about  "Baby  Doll" 
and  give  that  "condemned"  film  an  "A"  rating.  "This 
one,"  the  gentleman  declared,  "makes  'Baby  Doll'  seem 
like  charming  fare  for  showing  at  a  reunion  of  the 
Brownies." 


Film  BULLETIN    April  I,   1957        Page  5 


"The  Deadly  Mantis" 

Mildly  engrossing  science-fiction  horror  entry.  Exaggeration, 
may  draw  ridicule.  Requires  heavy  ballyhoo. 

Universal-International  offers  another  science-fiction 
melodrama,  but  this  one  may  raise  more  laughs  than 
chills.  Produced  by  William  Alland  (credited  with  "It 
Came  from  Outer  Space"  and  "Creature  from  the  Black 
Lagoon")  "The  Deadly  Mantis"  is  strictly  for  patrons  of 
the  fantastic,  meaning  the  action-ballyhoo  houses.  Martin 
Berkeley's  screenplay  has  fighter  planes  battling  a  50-foot 
deadly  insect,  but  he  takes  much  too  long  in  getting  down 
to  the  exciting  phase  of  his  plot.  Too  much  footage  before 
that  is  devoted  to  pseudo-scientific  technical  humbug,  and 
the  interest  of  many  spectators  is  apt  to  wander.  Director 
Nathan  Juran  manages  to  maintain  fair  pace  and  mild 
suspense  as  the  giant  mantis  is  released  in  the  Arctic  and 
moves  to  warmer  climate.  The  photography,  employing 
stock  scenes  of  the  polar  areas  and  some  good  tricks,  is 
above  average.  William  Hopper,  prehistoric-animal  spe- 
cialist, is  summoned  by  the  Air  Force  when  northern 
radar  outposts  are  mysteriously  destroyed.  An  8-foot, 
claw-like  object  is  found,  which  Hopper  deduces  is  part  of 
a  giant  insect  preserved  for  centuries  in  ice,  and  still  alive. 
He  goes  to  the  polar  A.F.  station  with  magazine  editor, 
Miss  Talton,  and  meets  colonel  Stevens  who  helps  them 
learn  the  mantis  is  traveling  to  the  tropics.  Jet  planes 
fight  the  insect  over  Washington,  D.  C,  and  it  falls 
wounded  in  a  tunnel  beneath  New  York's  Hudson  River. 
Stevens  and  his  crew  make  their  way  into  the  tunnel  and 
destroy  the  deadly  mantis  with  poison  gas. 


"The  Counterfeit  Plan" 

Average  crime  meller  made  in  England.  Zachary  Scoff  fair 
for  marquee.  Satisfactory  dualler  for  action,  bally  houses. 

This  fairly  suspenseful  crime  meller  was  made  in  Eng- 
land and  is  released  by  Warner  Brothers.  It  follows  for- 
mula lines  of  gangster  stuff,  with  no  attempt  to  get  into 
the  characters.  Action  houses  should  find  it  an  adequate 
dualler.  Zachary  Scott  and  Peggie  Castle  head  the  other- 
wise British  cast  and  give  the  offering  a  modicum  of  mar- 
quee strength.  Montgomery  Tully's  direction  has  good 
pace  and  is  quite  convincing  in  depicting  the  details  of 
counterfeiting.  Screenplay  by  James  Eastwood  is  only 
so-so.  Convicted  murderer  Zachary  Scott  escapes 
from  France  to  England,  where  he  hunts  up  his  old  friend, 
Mervyn  Johns,  one-time  forger  now  going  straight.  On 
threat  of  exposure,  Scott  forces  Johns  to  aid  him  in  a 
counterfeiting  plan.  Johns'  daughter,  Peggie  Castle,  is 
also  forced  to  aid  Scott  and  his  gang.  The  money  is 
printed  in  Johns'  home  and  the  distribution  plan  set  up, 
but  Johns  tips  off  police  in  fear  of  his  daughter's  life. 
When  their  plan  is  foiled,  Scott  kills  Johns.  But  in  try- 
ing to  escape,  Scott  and  an  accomplice  plunge  over  a 
cliff  in  their  car  and  die. 


"Untamed  Youth" 

Exploitation  programmer  has  iiftle  substance,  much  that 
censerable.  Mamie  Van  Doren,  roclt  'rs  roll  for  ballyhoo. 

This  Aubrey  Schenck  production  for  Warner  Brother; 
is  a  shoddy,  hodge-podge  that  capitalizes  on  just  aboui 
every  current  youth  gimmick — delinquency,  rock  'n'  rol 
and  calypso.  It  has  its  share  of  exploitable  elements,  in- 
cluding Mamie  Van  Doren,  but  her  almost-lewd  gyrations 
and  other  vulgar  aspects  of  the  film  should  make  exhibi- 
tors think  twice  before  booking  it.  The  production  it 
rather  crude  in  every  department.  Using  location  shots 
throughout,  director  Howard  W.  Koch  provided  a  fail 
pace,  but  the  screenplay  by  John  C.  Higgins  is  vague,  im- 
plausible and  unpleasant.  The  cast,  mostly  young  people 
hardly  has  a  redeeming  feature  in  the  entire  lot.  Miss  Var 
Doren  and  Lori  Nelson  are  caught  swimming  in  off-limits 
property  and  are  sentenced  to  a  work  farm  for  delinquents 
by  Judge  Lurene  Tuttle.  The  girls  discover  conditions  on 
the  farm  are  bad  and  that  boss  John  Russell  is  not  to  be, 
trusted.  When  another  prisoner  collapses  and  dies  for  lack 
of  nroper  medical  care,  farm  hand  Don  Burnett,  sen  of  the 
lady  judge,  learns  that  she  is  secretly  married  to  Russell 
and  has  been  supplying  him  cheap  prison  labor.  Con- 
science-stricken, Judge  Tuttle  nabs  her  husband  about  to 
smuggle  Mexican  labor  into  the  farm  illegally,  arrests  him 
and  frees  the  prisoners.  Nelson  gets  Burnett,  Van  Doren 
gets  TV  stardom. 

Warner  Brothers.  80  minutes, 
duced  by  Aubrey  Schenck.  Dii 

"War  Drums" 

Standard  western  fare  as  duaSSer  for  action  houses.  DeLuxo 
co!or  plus  factor.  Wea'i  marquee. 

This  is  a  routine  western,  complete  with  all  the  ingredi- 
ents usually  associated  with  a  film  of  this  type — Indians, 
good  white  men,  bad  white  men  and  a  pretty  half-breed 
girl.  A  United  Artists  release,  via  the  Bel-Air  production 
stable,  it  shapes  up  as  an  adequate  dualler  for  the  action 
market.  Plus  factors  include  quite  a  few  rip-roaring  action 
scenes,  a  dash  of  sex  and  DeLuxe  Color  photography. 
However,  the  stock  characters,  a  weak  marquee  and  un- 
evenness  of  story  line  tend  to  detract  from  these  assets. 
Reginald  Le  Borg's  direction  is  adequate.  Apache  chief 
Barker  marries  a  Mexican  half-breed  (Joan  Taylor),  cap- 
tured during  a  raid  on  some  horse  thieves,  despite  the 
offer  of  a  frontiersman-friend  (Ben  Johnson)  to  buy  her 
and  the  protests  from  fellow  redskins.  She  becomes  a 
combination  warrior-wife.  When  some  unscrupulous 
prospectors  stir  up  trouble,  the  Indians  massacre  them, 
spreading  terror  throughout  the  Southwest.  Barker,  seri- 
ously wounded,  is  taken  to  a  small  settlement  by  his  men, 
is  treated  by  the  local  doctor,  promises  to  harm  no  one  if 
healed.  Johnson,  now  a  Union  officer,  surrounds  the  town 
with  his  troops  and  enters  under  a  flag  of  truce.  He  lets 
the  Apache  fighter  and  his  wife  return  to  their  mountain 
hideaway,  hopeful  of  peace  at  a  later  date. 


•ner  Brothers.  80  minutes.  Zachary  Scott,  Peggie  Castle 
ed  by  Alec  C.  Snowden.  Directed  by  Montgomery  Tully, 


Mervyn  Johns.  Pro- 


United 
Johnson 
LeBorg. 


ists  IA  Bel-Air  Pro< 
Produced    by  Aube 


minutes.    Lex  Barker,  Joan  Taylor, 
Howard    Koch-     Directed    by  Reginald 


Page  6       Film  BULLETIN    April  I,  |?57 


lOVIEDOM'S  TOO-FREE  ENTERPRISE.  No  more 
hostly  presentiment  can  creep  into  a  cinema  mogul's 
reams  than  the  thought  of  amalgamation  with  the  hated 
ompetitor. 

Just  why  the  idea  of  entering  into  a  profitable  business 
ombination  should  hold  such  terrors  for  him  is  hard  to 
ee,  for  it  is  accepted  practice  in  almost  every  other  sphere 
.f  economic  endeavor  when  special  circumstances  dictate. 
Jerhaps  the  answer  lies  hidden  somewhere  in  the  dark 
rannies  of  the  moviedom  psyche :  wherein  exists  an  obdu- 
ate  refusal  to  submerge  one's  personality  at  any  price. 
3erhaps  it  has  no  psychoanalytic  roots  at  all.  Maybe  you 
:an  chalk  it  up  to  sheer  ignorance  of  one  of  the  more 
:ivilized  refinements  of  high  big  business. 

Whatever  the  answer,  the  special  circumstances  de- 
nanding  greater  industrial  centralization  are  at  hand.  Our 
Ijreat  film  producing  complex  currently  consists  of  seven 
i  najor  (or  near  major)  movie  companies  followed  by  a 
:  spiral  nebulea  of  "one-man  shops"  equipped  to  grind  out, 
at  best,  two  features  per  year,  normally  one  picture  a  year, 
land  in  a  generous  number  of  cases,  no  pictures  a  year. 
Moviedom  is  thus  beset  with  the  paradox  of  housing  more 
manufacturers  producing  less  finished  goods  than  any  in- 
dustry this  side  of  the  USSR.  The  economic  waste  en- 
gendered thereby  is  staggering.  The  ultimate  abomination, 
if  this  course  pursues  its  ad  infinitum,  is  foreseeable — that 
day  when  film  exhibitors  wake  up  to  find  themselves  out- 
numbered by  film  producers! 

O 

The  overpopulation  in  film  production  stands  indicted 
of  waste  on  several  elementary  grounds:  (a)  it  forces 
costly  duplication  in  the  manufacturing  and  the  marketing 
processes;  (b)  it  deprives  the  best  equipped  companies  of 
the  prime  resources  of  production,  key  talent,  thus  raising 
their  unit  costs  all  around;  (c)  it  fails,  despite  the  multi- 
plicity of  competition,  to  lower  the  cost  of  finished  goods ; 
(d)  it  fails,  despite  the  multiplicity  of  creative  achieve- 
ment, to  elevate  the  quality  standards  of  finished  goods. 

Quite  clearly  these  charges  are  directed  at  the  talented 
refugees  from  the  major  studios,  who,  overcome  by  some 
sort  of  free  enterprise  mania,  have  struck  out  to  open  their 
own  stores.  It  is  no  knock  at  the  spirit  of  Adam  Smith  to 
say  that  his  ideal  of  a  pure,  untrammeled  laissez  faire  so- 
ciety is  a  fine  thing  if  not  abused.  However,  many  Holly- 
wood's glamourfaces  not  only  abuse  the  Smithian  doc- 
trine, they  make  a  sham  of  it  For  theirs  is  not  the  purpose 
of  contributing  to  the  pool  of  economic  good,  it  is  to  run 
from  the  tax  collector.  They  have  not  added  to  competi- 
tion; they  have  complicated  it.  Of  course,  there  are  ex- 
ceptions, but  in  the  main,  the  stars  will  serve  themselves 
and  their  industry  better  by  calling  the  mass  hegira  to  an 
end  and  return  to  the  places  from  whence  they  came. 

There  are  simply  too  many  individual  islands  of  produc- 
tion, each  burdened  with  its  own  overhead,  each  compet- 
ing with  the  others  for  the  things  required  for  moviemak- 
ing. And,  mark  you,  each  ultimately  is  subject  to  the  dic- 
tates of  the  few  companies  with  facilities  for  international 


FINANCIAL 

BULLETIN 

APRIL      I   ,  1957 


By  Philip  R.  Ward 

distribution.  The  actors  and  actresses,  the  producers  and 
directors  who  have  forsaken  the  established  studios  in 
quest  of  freedom  (and  capital  gains)  would  do  well  to 
start  thinking  in  businesslike  terms  of  pooling  their  talents 
for  economic  reasons.  Exhibition  no  longer  can  afford  to 
support  all  these  isolated,  cost-compounding  production 
units. 

The  truth  beneath  all  this  scattered  shooting  is  that  the 
men  who  run  the  big  film  studios  have  allowed  control  of 
the  business  to  slip  away  from  them  into  the  hands  of  ar- 
tists who  lack  the  acumen  to  manage  their  operations 
wisely.  A  great  need  exists  for  smart  business  men  to  put 
moviemaking  back  on  a  business  basis. 

0  0 

BULLISH  TIDINGS  ON  20TH-FOX  from  the  invest- 
ment firm  of  Herzfeld  &  Stearns.  Reports  a  recent  bulletin: 

"We  believe  the  stock  of  this  leading  producer  and  dis- 
tributor of  motion  pictures  to  be  undervalued  for  the  fol- 
lowing reasons : 

1.  "Revenues  from  film  rentals  during  1957  are  expected 
to  show  an  increase  of  approximately  20%  from  the  $103 
million  realized  in  1956. 

2.  "Per  share  earnings  for  1957  should  approximate 
$3.00  versus  an  estimated  $2.40  for  the  past  year.  First 
quarter  results  will  register  a  sharp  gain  from  the  17  cents 
of  1956  to  between  50  and  75  cents  this  year. 

3.  "The  terms  of  the  deal  made  for  the  television  rights 
of  Twentieth  Century-Fox  pre-1948  feature  films  insures 
the  company  a  minimum  of  $1.10  per  share  in  earnings  for 
the  next  five  years  from  this  source.  Looking  beyond  that 
period  the  possibility  exists  for  a  similar  deal  covering 
post-1948  pictures. 

4.  "Indications  are  that  oil  revenues  from  the  company's 
studio  property  while  not  significant  at  present,  could  be- 
come important  in  two  to  three  years. 

5.  "The  present  7%  yield  is  generous,  with  the  possibili- 
ty of  a  hike  in  the  current  rate  as  the  predicted  earnings 
improvement  materializes. 

6.  "Management  is  presently  investigating  the  possibili- 
ty of  additional  savings  in  operating  costs  through : 

a.  Merging  of  studio  facilities  with  another  major  film 
producer,  and 

b.  Disposal  of  the  valuable  studio  property. 

7.  "We  understand  that  a  program  to  reduce  the  capital- 
ization through  purchase  of  stock,  may  follow  as  a  result 
of  the  last  mentioned  step.  This  would  benefit  the  remain- 
ing outstanding  shares  and  give  market  support  to  the 
stock." 


Film  BULLETIN    April  I,  1957        Page  7 


NUMBER 


26 


TION  NEWS 


IN  A  SERIES  OF  IMPORTANT  ANNOUNCEMENTS 


SOON  TO  GO 
INTO  PRODUCTION 


with 
the 

industry's 
biggest 
talents . . . 

BOB 
HOPE 


TROUBLE  IN  PARIS 


Co-starring  Fernandel  •  Anita  Ekberg  •  Martha  Hyer  •  Technirama 


Technicolor"  •  Directed  by  Gerd  Oswald  •  A  Tolda  Production 


PATTERNS  OF  PATRONAGE 

VI 


CxctuM*  $L  BULLETIN  Jeature 


Changing  Leisure  Habits 


By  LEONARD  SPINRAD 

An  aging  motion  picture  actress  insisted  that  the 
:ameraman  who  had  photographed  her  great  triumphs  a 
lozen  years  before  be  assigned  to  her  new  picture.  When 
;he  looked  at  the  rushes  she  was  aghast.  She  said  to  the 
:ameraman,  "I  am  shocked.  You  made  me  look  so  lovely 
n  my  other  pictures;  but  now  you  have  made  me  look 
jgly  and  old.  How  could  you  do  this  to  me?" 

The  cameraman  hesitated  for  a  moment,  and  then  re- 
Dlied,  "I'm  sorry,  but  you  must  remember  that  I'm  much 
Dlder  now." 

The  movies  themselves  are  much  older  now.  This  is  not 
as  painful  a  subject  as  the  geriatrics  of  glamor  girls,  but  it 
s  an  important  fact  to  be  considered  in  examining  the 
changing  leisure  habits  of  the  customer.  The  movies  have 
been  changing  too. 


INDUSTRIES  CHANGE  WITH  TIME 


In  a  constantly  growing  economy  like  the  dynamic 
United  States,  change  has  been  the  rule  for  every  great  in- 
dustry— transportation,  fuel,  food,  clothing  and  the  non- 
essentials alike.  Some  industries  evolve  faster  than  others. 
Within  the  lifetime  of  the  motion  picture  business,  the 
municipal  transportation  picture  has  gone  through  several 
complete  revolutions,  for  example,  from  the  horse  car  to 
the  trolley  to  the  motor  bus.  Meanwhile,  the  movies  have 
been  running  with  the  tide. 

The  movies  in  their  proper  historical  context  have  had 
three  lives  and  are  embarked  upon  a  fourth — all  this  in 
less  than  the  life  expectancy  of  the  average  man.  Nor  does 
the  present  status  of  theatre  motion  pictures  suggest  any 
imminent  demise. 


The  customers  for  the  infant  motion  pictures  of  more 
than  half  a  century  ago  were  not  apt  to  be  the  best  people 
in  town.  The  subjects  of  the  "flickers"  were  a  bit  primi- 
tive, so  were  the  exhibition  conditions  and  so,  particularly 
in  big  cities,  were  the  patrons.  The  manager  of  the  local 
variety  theatre  cr  the  opera  house  had  no  reason  to  worry 
about  celluloid  opposition. 


MOVIES   BUILT  THEIR  OWN  PUBLIC 


Then  the  first  silent  feature  pictures  came  along  and  the 
movies  became  big  business.  They  attracted  more  people 
and  better  people,  and  housed  them  in  specially  built  thea- 
tres that  set  new  standards  of  comfort  and  satisfactory 
viewing.  Because  they  did  not  yet  talk,  movies  grew  with- 
out really  biting  into  the  legitimate  stage,  the  vaudeville 
houses  and  the  like.  Instead,  motion  pictures  buiit  a  pub- 
lic of  their  own — the  first  really  huge  mass  entertainment 
audience  in  America. 

Not  even  radio  was  able  to  stop  the  onward  march  of 
motion  pictures.  When  finally  talking  pictures  and  color 
were  introduced,  the  movies  were  in  a  class  alone.  They 
wrote  finis  to  the  vaudeville  theatre,  reduced  the  legitimate 
stage  to  a  fragment,  however  influential  a  fragment,  of  its 
former  self,  and  dominated  the  entertainment  scene  like  a 
colossus. 

Everybody  went  to  the  movies.  It  was  the  motion  pic- 
ture theatre  which  offered  the  most  elaborate,  the  most 
comolete,  the  cheapest  and  the  most  easily  viewed  enjoy- 
ment. If  you  wanted  to  see  and  hear,  and  maybe  spoon 
with  your  best  p"irl  or  help  your  wife  keep  an  eye  on  the 
kids,  the  movie  theatre  was  the  place.  You  could  listen  to 

(Continued  on  Page  10) 


Film  BULLETIN    April  I,  1957        Page  9 


PATTERNS  QF  PATRONAGE 


Postm II  sir  Advent  of  Monte  Entertainment 


(Continued  from  Page  0) 

the  radio  or  read  a  book  at  home,  but  that  was  only  partial 
entertainment.  The  movies  were  the  complete  show. 

Technology  doesn't  stand  still  at  any  time.  It  certainly 
didn't  wait  long  to  smash  the  motion  picture  monopoly  on 
sight-and-sound  pleasure.  (This  year  is  the  30th  anniver- 
sary of  the  first  talking  feature  picture — one  short  gener- 
ation.) Television,  home  building  do-it-yourself,  hobbies, 
travel,  even  one-sense  pursuits  like  high-fidelity  phono- 
graphs and  tape  recorders  all  came  along  to  bid  for  some 
of  the  attention  previous'y  devoted  to  the  movies.  The 
movies  once  again  were  confronted  with  strong  compe- 
tition; and  that  is  where  they  are  today,  competing  for 
many  of  the  customers  they  once  felt  they  owned  outright. 

The  American  consumer  has  had  an  evolution  of  his 
own,  with  his  personal  ups  and  downs,  which  has  run  par- 
allel to  that  of  the  movies.  When  motion  pictures  first 
came  upon  the  scene,  the  consumer  had  precious  little  lei- 
sure time  and  even  less  leisure  money.  He  worked  a  six- 
day  week  of  10  hours  or  more  ner  day,  and  when  he  came 
home  he  usually  stayed  home.  The  house  had  no  elec- 
tricity and  few  of  what  we  have  come  to  regard  as  the 
necessary  comforts.  America  was  in  the  throes  of  a  wave 
of  immigration,  with  serious  minded  newcomers  spending 
their  spare  time  studying  how  better  to  integrate  them- 
selves in  a  brand  new  world.  (Some  of  them  became  pio- 
neers of  the  movies.) 

Then  the  working  hours  grew  shorter,  the  pay  checks 
larger,  the  horizons  wider.  Simultaneously  the  movies 
grew  better.  It  was  a  meeting  of  two  vibrant  American 
phenomena,  the  masses  with  time  to  devote  to  entertain- 
ment and  the  medium  which  put  entertainment  on  a  mass 
basis. 


WHEN   EVERYBODY  WENT 


In  the  roaring  pre-depression  twenties,  the  movies  added 
another  vital  ingredient  for  the  moviegoers.  Talking  pic- 
tures were  the  answer  to  radio  and  the  stage.  They  com- 
pleted the  triumph  of  movies  as  the  universal  American 
entertainment.  Not  even  the  depression  could  put  a  per- 
manent crimp  in  the  status  of  the  movies  as  the  sole  place 
where  Americans  anxious  to  be  entertained  could  find  rela- 
tively cheap  and  incomparably  complete  entertainment. 
The  jobless  went  to  the  movies  when  they  could  afford  to 
go  no  place  else.  Those  with  jobs  went  to  the  movies  to 
relax.  Everybody  went  to  the  movies. 

During  World  War  II  the  pattern  was  maintained. 
Everybody  went  to  the  movies.  Even  front  line  troops 
were  serviced  with  the  latest  Hollywood  product  in  16mm 
portable  editions.  Films  were  encouraged  as  a  morale  wea- 
pon. No  other  form  of  communications  provided  as  graph- 
ic a  picture  of  the  war,  or  as  satisfying  a  momentary  es- 
cape from  it.  The  movies  were  attended  by  Americans  in 
all  walks  of  life.  There  just  wasn't  any  competition  to 
speak  of. 

Came  the  peace,  and  things  were  different.  The  working 
man's  working  hours  were  reduced,  his  pay  increased,  his 


highways  extended.  He  got  married  and  began  raising  a 
family,  mowing  the  lawn,  taking  a  winter  vacation,  per- 
haps in  addition  to  a  summer  one.  And  he  bought  a  tele- 
vision set.  On  two  fronts,  he  was  no  longer  dependent  on 
the  movies.  He  could  relax  by  watching  movies  and  other 
programs  at  home  via  video,  or  he  could  relax  by  doing  a 
dozen  different  things  inside  or  outside  the  home,  none  of 
which  had  amounted  to  much  before  the  war. 

It  was  after  World  War  II  that  technology  really  kicked 
motion  pictures  in  the  pants.  Television,  do-it-yourself 
materials,  building  booms,  sky-rocketing  birth  rates 
(which  don't  deserve  to  be  classified  a  technology  but  cer- 
tainly created  a  market  for  it) — all  these  things  took  care 
of  the  idle  hours  with  no  need  ever  to  visit  a  box  office. 


THE  SUPERMARKET  ARRIVES 


The  general  American  business  community  responded  to 
the  new  conditions.  While  the  drive-in  was  bringing  a  pro- 
found change  to  American  theatregoing,  the  shopping 
center  was  doing  the  same  for  retail  trade.  Beginning  at 
the  supermarket,  the  American  husband  began  to  take  a 
more  active  part  in  activities  he  had  once  considered  pure- 
ly woman's  work.  The  concept  of  togetherness  was  artfully 
exploited  by  the  shopping  center,  particularly  with  the  re- 
vision of  operating  hours  better  to  suit  the  leisure  eve- 
ning convenience  of  the  man  of  the  house,  and  of  a  greater 
number  of  working  wives  as  well. 

That  brings  us  to  the  specific.  How  then  have  the  lei- 
sure habits  of  the  customer  changed,  and  what  are  the  im- 
plications for  the  future? 

Some  statistical  information  helps  to  draw  a  bead  on 
the  elusive  patron.  Racetrack  betting  was  up  7.1%  and 
racetrack  attendance  rose  by  3.2%  in  1956,  compared  to 
1955,  according  to  the  United  Press.  Domestic  pleasure 
travel  as  far  back  as  1953  had  achieved  an  annual  rate  of 
$8,000,000,  compared  to  only  $5,400,000,000  six  years  be- 
fore. Toys,  books,  dining  out,  boats,  television  of  course, 
do-it-yourself  and,  most  notably,  foreign  travel  all  in- 
creased by  wide  margins  in  the  same  span  of  years.  Only 
motion  pictures  and  spectator  sports  (other  than  horse- 
racing)  showed  a  volume  drop. 

People  have  more  money  today;  people  are  spending 
more  money  today.  But  how  do  they  spend  it.  There  has 
been  indication  lately  that  the  biggest  market  for  motion 
picture  theatres  is  among  the  middle  and  lesser  middle 
ciass,  not  the  upper  class.  Well,  the  Wharton  School  of 
Finance  and  Commerce  of  the  University  of  Pennsylvania 
last  year,  in  a  study  reported  by  Business  Week,  indicated 
that  the  higher  the  income  the  higher  the  percentage  that 
people  spend  on  recreation.  Those  netting  $10,000  a  year 
and  over,  for  example,  were  said  to  spend  7.9%  on  recrea- 
tion, while  those  earning  $5-6,000  spend  only  6.3%.  (These 
figures  refer  to  income  after  taxes.) 

In  other  words,  as  the  earning  power  of  the  average 
American  rises,  he  is  apt  to  have  an  even  greater  rise  in 
the  amount  he  spends  for  recreation,  but  he  is  not  apt,  ac- 
cording to  the  best  observation  of  the  motion  picture  in- 


Page  10       Film  BULLETIN    April  I,  1957 


PATTERNS  DF  PATRONAGE 


imaing-Out  is  a  Treat  far  tin*  Houscm-ifi* 


dusty,  to  be  spending  more  at  the  movies.  He  takes  a  trip 
abroad,  he  becomes  a  hi-fi  bug  or  a  gardening  enthusiast 
in  his  new  suburban  home.  As  he  spends  more  money  on 
these  new  activities,  he  is,  so  to  speak,  weaned  away  from 
his  first  recreational  spending,  the  movies. 


POPULATION   UP.   ATTENDANCE  DOWN 


Some  of  the  record  attendance  undoubtedly  traces  to  the 
tremendous  expansion  of  our  population  in  the  post-war 
decade.  But  it  is  worth  noting  that  if  an  increase  in  at- 
tendance is  a  natural  concomitant  of  the  expanding  popu- 
lation the  motion  picture  theatre  patronage  figures  have 
disquieting  implications.  If  attendance  figures  had  been 
steady  while  the  gross  population  rose,  this  would  of  itself 
have  represented  a  worrisome  decline  in  percentage  of  cus- 
tomers; but  when  the  attendance  has  gone  down  while 
total  population  went  up,  the  decline  must  be  regarded 
even  more  seriously. 

Thus  it  becomes  unrealistic  to  take  too  much  comfort 
from  the  fact  that  as  of  1954  approximately  3/\  of  the  spec- 
tator admissions  in  the  United  States  were  movie  tickets. 
Spectator  sports  attendance  and  movie  attendance  de- 
clined, and  movie  admissions  took  a  smaller  share  of  the 
declining  receipts.  (Recent  increases  in  gross  U.S.  movie 
business  are  generally  attributed  far  more  to  rising  prices 
than  to  upsurges  of  regular  attendance.) 

New  forms  of  spectator  entertainment  continued  to  as- 
sert themselves;  more  importantly,  the  amount  of  time  the 
average  customer  spent  as  a  spectator  was  now  divided  be- 
tween outside  attractions  and  being  a  spectator  at  home 
via  the  television  set. 

One  aspect  of  the  shifting  leisure  pursuits  of  the  erst- 
while movie  fan  was  that  the  movie  industry  shifted  with 
him.  Movie  stars  not  only  went  on  television,  with  new 
programs  of  their  own  or  old  backlog  movies.  The  estab- 
lished stars  also  began  extensive  personal  appearance 
tours,  at  state  fairs,  automobile  shows,  rodeos  and  the  like. 
The  16mm  film  business  in  the  United  States  grew  to  the 
point  where  Encyclopaedia  Britannica  Films  could  guar- 
antee Loew's  a  half  million  dollars  a  year  for  16mm  rights 
to  Metro  films  and  still  anticipate  a  profit  of  its  own. 

Show  business  began  encroaching  on  the  staid  preserves 
of  the  American  business  community.  Dull  conventions 
added  color  with  new  lavish  trade  shows;  dealers  were 
wooed  with  traveling  entertainment  packages  combining 
modern  hard  sell  and  the  old  fashioned  medicine  show. 

Community  and  church  activities  mushroomed.  Little 
theatre  groups  increased  in  number  and  enthusiasm.  (All 
these  facts  are  stated  in  the  past  tense  not  because  they  are 
over,  for  they  certainly  continue,  but  rather  because  the 
decade  which  saw  their  greatest  burst  of  growth  is  over.) 

Taken  singly,  none  of  these  facets  of  the  changing  lei- 
sure habits  of  the  American  consumer  can  claim  major  re- 
sponsibility for  the  draining  off  of  the  moviegoing  public. 
But  taken  in  toto  they  were  significant  influences  away 


from  the  box  office  of  the  local  Bijou. 

It  is  often  the  custom  to  blame  all  the  movie  ills  of  the 
past  ten  years  on  home  television.  Yet,  while  people  went 
to  the  movies  less,  they  went  out  to  restaurants  more,  they 
took  more  dancing  lessons  than  ever  before.  Television 
did  no  harm  and  possibly  much  good  in  stimulating  these 
activities.  Perhaps  there  is  a  clue  here  to  the  secret  of 
future  motion  picture  theatre  audience  growth. 

The  family  that  goes  out  to  dine  certainly  could  eat  at 
home,  just  as  it  could  watch  movies  at  home.  But  when 
they  go  out  to  a  restaurant,  it  is  a  particular  treat  for  the 
lady  of  the  house.  She  is  a  guest  instead  of  a  combination 
cook  and  dish  washer.  She  has  her  chance  to  dress  up  a  bit 
and  relax  away  from  the  scene  of  her  daily  chores.  And 
for  the  man  of  the  house  the  restaurant  offers  the  same  in- 
ducements, albeit  in  lesser  degree,  plus  the  satisfaction  of 
giving  some  pleasure  to  his  wife. 

How  does  the  modern  motion  picture  theatre  compare' 
Let  us  assume  that  we  are  talking  about  a  truly  modern 
theatre,  not  one  of  the  too  many  thousands  of  smei-decre- 
pit  houses  still  in  operation.  Let  us  also  assume  that  we 
are  not  talking  about  a  family  with  either  baby-sitter  or 
budgetary  problems,  so  that  time  and  ticket  price  are  not 
major  consideration.  We  may  even  assume  that  both  ends 
of  the  double  feature  bill  at  the  theatre  are  attractive  in 
their  own  way,  and  that  programming  is  therefore  not  a 
factor.  What  then  has  the  theatre  itself  to  offer? 


THEATRE   COMPETES  IN  COMFORTS 


There  was  a  time  when  first  run  theatres  in  most  big 
cities  were  the  local  showplaces.  That  is  no  longer  quite 
the  case.  Neither  the  service  nor  the  fixtures  today  are 
quite  as  impressive.  No  theatre  operator  needs  to  be  told 
how  difficult  an  usher  problem  he  has.  When  the  patron 
goes  to  a  restaurant,  a  host  or  hostess  ushers  him  to  a 
table;  when  he  goes  to  even  a  well  run  movie  theatre  the 
best  service  he  can  usually  get  from  the  usher  is  a  "plenty 
of  seats  down  front"  or  "try  the  other  aisle".  Home  tele- 
vision has  made  him  somewhat  more  aware  of  focus  and 
clarity  in  a  picture;  he  is  apt  to  notice  difficulties  in  this 
connection  at  the  movie. 

These  comments  are  not  meant  to  be  an  exhaustive  dis- 
cussion of  theatre  operating  problems;  they  are  mentioned 
in  passing  to  highlight  the  fact  that  as  a  service  the  mo- 
tion picture  theatre  is  now  competing  with  other  outside- 
the-home  services,  and  that  these  other  services  are  apt  to 
provide  more  attractive  creature  comforts.  An  outstand- 
ingly successful  motion  picture,  of  course,  can  overcome 
the  service  deficiencies  of  a  theatre;  but  this  means  an 
added  burden  for  the  picture  and  the  whole  industry. 

Changing  leisure  habits  are  still  changing,  and  the  mo- 
tion picture  industry  inevitably  changes  too.  But  there 
has  been  an  all  too  consistent  lag  between  the  former  and 
the  latter.  It  is  never  enough  to  find  out  how  things  have 
changed  in  the  past;  to  insure  its  growth,  any  industry 
must  be  one  step  ahead  of  the  changes  its  customers  are 
going  to  make  tomorrow. 


Film  BULLETIN    April  I,  1957        Page  11 


Amcng  the  items  in  the  report 
(which  will  come  as  no  surprise  to 
those  readers  of  Film  BULLETIN 
who  have  been  following  our  "Pat- 
terns of  Patronage"  series)  are 
these: 

1.  More  women  are  msrrying,  and 
they  are  marrying  younger.  Dr. 
David  predicts  that  about  90  per 
cent  of  all  U.S.  women  will  marry. 
The  average  marrying  age  for  wo- 
men is  just  over  20. 

2.  Most  significantly  in  the  wcrds 
of  Dr.  David,  "The  career  woman, 
in  the  traditional  sense,  has  prob- 
ably disappeared.  A  woman  no 
longer  has  to  choose  between  get- 
ting married  and  having  children, 
and  making  a  place  for  herself  in  the 
world  of  work.  A  larger  proportion 
than  ever  before  of  the  working 
women  are  married  and  have  chil- 
dren; and  more  of  them  are  working 
more  years  of  their  lives." 

3.  Dr.  David  says  that  there  arc 
now  fewer  childless  women  than  in 
the  past.  Estimates  of  future  papu- 
lation trends  suggest  that  only  5 
per  cent  of  all  married  woman  will 
be  childless.  Two  out  of  every  five 
American  women  who  have  children 
in  school  are  working  for  wages,  for 
example;  and  one  out  of  every  three 
members  of  our  working  population 
today  is  a  woman.  In  case  anybody 
is  still  wondering  what  happened  to 
matinee  business,  this  may  be  part 
of  the  answer. 

Dr.  David's  statistics  are  worth 
the  consideration  of  movie  people. 
Any  attack  on  the  overall  attend- 
ance problem  can  only  benefit  from 
a  fuller  understanding  of  the  poten- 
tial audience. 

The  Post  Office  Department  has 
issued  a  statement  entitled  "Ele- 
ments of  A  Lottery,"  which  the 
Council  of  Motion  Picture  Organi- 
zations has  been  good  enough  to  dis- 
tribute. It  is  a  statement  ostensibly 
prepared  for  the  assistance  of  busi- 
nessmen and  of  the  public  generally, 
but  like  so  many  weil-meant  state- 
ments we  fear  that  its  effect  will  be 
something  else  again. 


The  Post  Office  Department  does 
not  have  authority  to  prevent  or  po- 
lice lotteries,  giveaway  schemes  and 
related  types  of  promotion.  The 
postal  authorities,  however,  do  have 
control  over  what  goes  through  the 
mails ;  and  since  newspapers  con- 
stantly go  through  the  mails,  an- 
nouncements in  the  press  dealing 
with  contests,  prize  offers  for  the 
first  fifty  patrons  at  the  theatre  and 
so  forth  come  within  the  postal  jur- 
isdiction. 

This  means,  practically  speaking, 
that  the  newspapers  will  undoubt- 
edly be  reminded  of  the  potential 
hazards  in  news  of  this  kind ;  and  in 
turn,  such  news  will  be  more  diffi- 
cult to  place  in  the  paper.  Even 
more  interesting  is  the  point  that 
paid  advertising  of  such  contests 
may  fall  within  the  same  postal  pro- 
hibition. 

The  three  elements  of  a  lottery, 
under  terms  of  the  postal  regula- 
tions, are  defined  as  consideration, 
chance  and  prize.  Any  time  you  of- 
fer a  prize  to  selected  members  of 
the  paying  audience  at  the  theatre, 
you  are  two-thirds  of  the  way  to- 
ward what  the  Post  Office  regards 
as  a  lottery.  If  the  selection  of  the 
recipients  of  the  prize  is  based  on 
numbers  drawn  from  a  hat,  or  on  a 
game  like  Bingo,  then  by  postal  defi- 
nition you  are  conducting  a  lottery, 
and  no  newspaper  that  goes  through 
the  mails  can  carry  news  or  adver- 
tising about  it. 

One  favorite  device  of  theatre 
managers  is  to  offer  a  prize  cf  some 
kind  to  the  first  fifty  customers,  as 
we  have  noted  above.  This  is  spe- 
cifically defined  in  the  postal  state- 
ment as  involving  "the  element  of 
chance"  and  hence  apt  to  be  banned 
from  the  mails.  Possibly  one  way 
to  avoid  such  banning  is  to  offer  the 
prizes  to  the  first  fifty  patrons  be- 
fore they  buy  tickets  —  while  they 
are  still  lined  up  outside  the  box 
office — so  that  they  do  not  have  to 
pay  a  consideration  to  be  eligible. 

Coming  at  a  time  when  the  indus- 
try is  more  contest-minded  than  for 
some  years  past,  the  Post  Office 
statement  has  an  importance  far  be- 
yond the  technical  legal  points  it 
raises. 


To  the  Editor: 

The  cooperation  which  has  ex- 
isted in  the  past  twelve  to  eighteen 
months  between  the  two  larger  ex- 
hibitor organizations  is  continuing 
on  a  most  satisfactory  basis. 

I  can  agree  with  you,  however, 
that  it  is  my  considered  opinion  that 
exhibition  in  particular  and  the  in- 
dustry in  general  would  be  better 
with  one  national  organization.  No 
one  so  far  has  come  up  with  a  plan 
for  such  a  development.  Some  years 
ago  the  ideologies  and  philosophies 
of  the  two  organizations  were  so  far 
apart  that  there  could  never  have 
been  any  program  at  that  time 
which  would  have  brought  the  two 
groups  together.  However,  during 
recent  months  I  feel  there  has  been 
considerable  changes  in  the  atti- 
tudes and  approaches  among  the 
leaders  of  the  two  organizations  to 
the  point  that,  as  of  today,  there  is 
far  less  difference  than  formerly  ex- 
isted. Perhaps  these  changes  will 
continue  to  the  point  that  in  the  not 
too  distant  future  they  will  be  so 
similar  there  will  be  no  need  for  two 
organizations. 

Certainly,  one  organization  would 
be  stronger,  more  effective  and  able 
to  render  more  service.  It  could  do 
much,  especially  if  headed  by  a 
man  of  the  stature  of  Eric  Johnston, 
who  represents  production  and  dis- 
tribution. In  many  other  ways  it 
could  be  far  more  efficient  and  serv- 
iceable. 

Perhaps  changing  conditions  in 
the  industry  may  cause  further 
changes  in  philosophies  to  the  ex- 
tent that  some  day  scon  there  can 
be  a  "joining  of  hands"  into  one  cr- 
ganization. 

ERNEST  G.  STELLINGS 

President,  TO. 4 


Page  12       Film  BULLETIN    April  I,  1957 


TKese  a*efhe 


Survey  after  survey  proves  that  the  other  advertising  expenditures. 

Prize  Baby's  Dolls  .  .  .  coming  at-  Trailers  whet  the  appetite  of  your 

traction  trailers  .  .  .  bring  the  most  patrons  and  are  primarily  respon- 

dollars  to  your  box  office,  costing  sible  for  more  than  one-third  of 

you  pin  money  as  compared  to  total  box  office  receipts. 


SINDLINGER 

Survey  showed  34.2  per  cent  went  to  the  movies  because  of  TRAILERS! 

mmmv\Ciem  service 

\J  PH/ifBttar  of  mt /nous my 

NATIONAL  THEATRES  CIRCUIT  IN  21  STATES 

Survey  showed  43  per  cent  went  to  the  movies  because  of  TRAILERS! 


\J  pr/z(  boby  a 


Ttai/et3—  Showmen's  Socko  SaUimen / 


OSCAR,  that  prized  little  figure  on  a 
pedestal,  caught  the  spotlight  again  last 
Wednesday  (27th)  night.  For  the  29th 
year  he  became  for  the  moment,  the  in- 
dustry's top  newsmaker.  The  Academy 
Awards  presentations,  televised  to  an 
audience  of  countless  millions  from  New 
York  and  Hollywood,  revealed  few  sur- 
prises. Mike  Todd's  "Around  The  World 
in  80  Days"  and  20th  Century-Fox's 
"The  King  and  I",  as  predicted,  gathered 
a  majority  of  laurels,  the  former  being 
voted  best  picture  for  1956.  Other  1956 
"bests":  direction,  George  Stevens 
("Giant") ;  actress,  Ingrid  Bergman 
("Anastasia") ;  actor,  Yul  Brynner  ("The 
King  and  I") ;  supporting  actor,  Anthony 


Quinn  ("Lust  For  Life")  ;  supporting  ac- 
tress, Dorothy  Malone  ("Written  On  The 
Wind") ;  story,  Robert  Rich  ("The  Brave 
One") ;  adapted  screenplay,  James  Poe, 
John  Farrow,  S.  J.  Perelman  ("Around 
The  World  in  80  Days")  ;  original  screen- 
play, Albert  Lamorisse  ("The  Red  Bal- 
loon"); song,  "Whatever  Will  Be,  Will 
Be",  by  Ray  Evans  and  Jay  Livingston. 
"La  Strada",  best  foreign  picture. 

<C> 

BLOCK-BOOKING,  moviedom's  old 
nemesis,  has  come  home  to  roost  once 
more.  The  Justice  Department  last  week 
charged  that  Loew's  has  violated  anti- 
trust laws  by  "block-booking"  pictures  to 
television  stations — forcing  the  stations 
to  take  "inferior"  MGM  pictures  in  the 
groups  in  order  to  obtain  the  better  fea- 
tures. The  court  asks  that  Loew's  be 
ordered  to  negotiate  with  the  stations  on 
a  picture-by-picture  basis.  The  complaint 
also  pointed  out  that  at  least  three  sta- 
tions have  issued  or  transferred  25  per 
cent  of  their  voting  stock  to  Loew's  in 
exchange  for  licenses  to  exhibit  Metro 
product.  Loew's  president  Joseph  R. 
Vogel  denied  the  charges,  declaring  that 
the  company  has  made  its  TV  deals  "at 
arms  length". 

0 

UNITED  ARTISTS  has  made  that 
long-anticipated  move  in  deciding  to  offer 
United  Artists  stock  for  sale  to  the 
public.  The  company,  since  1951,  has 
been  owned  by  Arthur  B,  Krim,  Robert 
Benjamin,  Max  Youngstein,  William  J. 


THEY 

MADE  THE  NEWS 

Heinernan  and  Arnold  Picker.  Primary 
purpose  of  the  sale:  more  money  for  pro- 
duction, with  the  company  hoping  to  fi- 
nance its  own  output  henceforth.  An 
underwriting  agreement  has  been  signed 
with  F.  Eberstadt  &  Co.  covering  a  pro- 
posed $10  million  offering  of  6  per  cent 
of  convertible  subordinated  debentures 
due  in  1969,  and  $5  million  of  common 
stock.  Of  a  total  350,000  shares,  100,000 
are  to  be  retained  by  the  management 
group.  Public  offering  will  be  made  after 
the  middle  of  April. 

0 

BARNEY  BALABAN  sees  closed  cir- 
cuit toll-TV  as  a  potential  boon  to  the 
movie  business.  In  displaying  Interna- 
tional Telemeter's  new  theatre-to-hcme 
transmission  on  the  west  coast  recently, 
the  Paramount  president  said  that  he 
hopes  exhibitors  would  be  the  principal 
customers  of  the  franchises,  but  added 
that  "first  choice  goes  to  the  man  who 
wiii  pay  the  most  money,  that's  all".  The 
Telemeter  exhibition  was  one  of  several 
devices  unveiled  recently  for  delivering 
movies  to  home  TV  set  via  a  cable  run- 
ning from  a  central  projection  unit,  pos- 
sibly a  movie  theatre.  International  Tele- 
meter is  a  subsidiary  of  Paramount.  Bala- 
ban  went  on  to  say  that  he  beiieved  the 
industry  as  a  whole  would  benefit  from 
this  system  since  it  would  encourage 
movie  production,  but  admitted  that  it 
could  "accelerate  the  closing  of  marginal 
theatres".  He  indicated  that  Paramount 
would  sell  its  product  for  such  a  use. 

0 

CHARLES  C.  MOSKOWITZ,  one  of 
Loew's  "old  guard",  who  rose  from  book- 
keeper to  vice  president  and  treasurer  of 
Loew's,  will  retire  at  the  end  of  his  pres- 
ent contract  in  March,  1958.  Announce- 
ment was  made  by  Loew's  president 
Joseph  R.  Vogel.  Moskowitz  said  he  was 
"happy"  that  the  company  is  in  the  "sure 
hand"  of  Vogel,  but  felt  it  is  "time  to 
relinquish  my  heavy  duties  and  respon- 
sibilities". 

O 

PAUL  RAIBOURN  struck  an  optimis- 
tic note  about  the  future  of  the  movie  in- 
dustry in  speaking  before  the  New  York 
Society  of  Security  Analysts  last  week. 
The  Paramount  v.p.  said  he  felt  business 
will  improve  as  long  as  top  quality  films 
are  produced  and  as  soon  as  wire  sub- 
scription TV  proves  successful.  Among 
other  comments  by  the  executive:  exhibi- 
tors do  better  playing  fewer  pictures  over 
the  year  and  playing  them  longer;  Para- 
mount has  placed  a  minimum  price  of 
$30-35  million  on  its  pre-1948  library; 
only  about  half  of  Paramount's  1956  fea- 


tures were  financial  successes  compared 
with  the  five  to  ten  percent  that  cost 
money  in  1946;  the  motion  picture  indus- 
try is  a  growth  industry  and  not  a  liqui- 
dating one  evidenced  by  the  grosses  piled 
up  by  important  pictures  in  the  last  few 
years.  He  told  his  audience  that  Para- 
mount made  about  as  much  money  in 
1956  as  it  did  in  1955. 

O 

LEONARD  GOLDENSON  had  good 
and  bad  to  report  to  his  company's  stock- 
holders. American  Broadcasting-Para- 
mount Theatres  made  money  in  1956, 
slightly  more  than  in  1955 — a  net  profit 
of  $8,476,716,  ($1.96  a  share)  in  1956  com- 
pared with  $8,373,373  ($1.93  a  share)  in 
'55.  Gross  totals  were  even  better:  $206,- 
915,705  in  1956  as  against  $198,350,068  of 
the  preceding  year.  Theatre  income  alone 
was  down,  $100,565,000  in  1956  as  against 
$110,503,000  in  1955,  reflecting,  according 
to  the  AB-PT  president,  the  continuing 
short  supply  of  quality  pictures. 

<o 

JOSEPH  R.  VOGEL  wasn't  kidding, 
apparently  when  he  promised  at  the 
Loew's  stockholders  meeting  to  clean 
house.  With  his  broom  poised,  he  visited 
the  studio  recently  and  declared:  "I  am 
beholden  to  nobody  but  the  stockholders 
and  nothing  will  deter  me  from  removing 
every  cause  of  past  criticism".  The  new 
keeper  of  Leo  the  Lion  announced  a 


VOGEL 

"general  review"  of  company  personnel 
to  erase  future  cause  for  complaint.  Vogel 
also  said  he  had  established  a  series  of 
basic  policies  designed  to  increase  the 
efficiency  of  the  company.  Among  these: 
purchasing  to  be  conducted  on  the  basis 
of  competitive  bidding,  without  regard  to 
traditional  ties;  the  People's  Candy  Com- 
pany will  lose  its  concession  rights  in 
Loew's  Theatres  at  the  end  of  its  1957 
contract.  Stockholders  complained  that 
the  company  was  run  by  members  of  the 
family  of  former  Loew's  executive  Nich- 
olas M.  Schenck.  New  York  attorney 
Louis  Nizer  has  been  retained  by  Vogel 
to  aid  in  the  company's  reorganization. 


Page  14       Film  BULLETIN    April  I,  1957 


THEY 


MADE  THE  NEWS 


SELIG 


ROBERT  W.  SELIG  is  the  new  presi- 
dent of  Fox  Inter-Mountain  Theatres,  an 
affiliate  of  National  Theatres,  succeeding 
Frank  H.  Ricketson,  Jr.  The  latter  was 
recently  upped  to  vice  president  and  gen- 
eral manager  of  NT,  but  will  continue  as 
board  chairman  of  Fox  Inter-Mountain. 
Selig,  47,  came  up  from  F-I  ranks,  hav- 
ing served  for  some  time  as  a  division 
manager. 

O 

ROBERT  W.  COYNE  made  note  of  the 
"terrific  bite  taken  from  the  industry  each 
year  by  state  and  local  admissions  taxes", 
as  revealed  in  the  48-page  COMPO  book- 
let on  state  and  local  taxes  currently 
being  distributed  to  exhibitors.  An  an- 
nual toll  of  $23  million  is  taken  from  in- 
dustry pockets  over  one  year  through 
taxation,  the  survey  finds.  Coyne,  COM- 
PO special  counsel,  said  the  industry  or- 
ganization is  "always  prepared  to  offer 
assistance  and  guidance  to  exhibitors"  in 
opposing  unjust  taxes.  On  another  front, 
COMPO  is  apprising  exhibitors  of  the 
dangers  of  lotteries  via  the  Postoffice  De- 
partment statement,  "Elements  of  a  Lot- 
tery". The  element  of  chance  in  con- 
tests, advertising  of  such  contests,  and 
listing  them  under  different  names  all 
come  under  consideration  and  explana- 
tion in  the  Department's  statement. 

0 

UNCLE  SAM  has  said  "uncle"  to  the 
pleadings  of  incorporated  film  and  TV 
stars,  directors,  et  al,  compromising  its 
previous  decision  to  tax  their  "personal 
corporations"  out  of  existence.  The  In- 
ternal Revenue  Service  mercifully  de- 
cided that  if  the  corporation  can  prove 
that  more  than  20  per  cent  of  its  income 
goes  to  supporting  staff,  players,  etc.,  it 
would  go  on  being  taxed  at  the  corpora- 
tion rate,  rather  than  at  the  much  higher 
personal  income  rate.  Only  that  part  of 
the  income  which  goes  to  the  star  will  be 
taxed  at  the  "penalty  rate". 


J.  MYER  SCHINE,  his  associates  and 
the  Schine  circuit  were  fined  $73,000  by  a 
Buffalo  Federal  District  Court,  charged 
with  violation  of  a  1949  court  order  to 
break  up  the  large  theatre  chain.  Judge 
Harold  P.  Burke,  who  issued  the  fine, 
had  found  the  company  guilty  last  De- 
cember of  violating  a  court  order  to  dis- 
pose of  30  theatres.  In  the  original  order 
in  1949,  the  Schine  chain  was  declared  a 
monopoly  acting  in  restraint  cf  trade 
under  the  Sherman  Anti-Trust  Act. 

0 

ROGER  LEWIS  is  sure  the  only  way 
the  industry  will  survive  is  through  an 
all-industry  public  relations  program 
"For  an  industry  so  dependent  on  public 
opinion,"  the  United  Artists  advertising 
director  told  a  gathering  of  exhibitors 
recently,  "our  performance  over  the  years 
has  been  appalling.  There  is  no  other 
single  industry  cf  a  comparable  size  that 
has  been  so  illogical,  so  inconsistent  and 
ro  shortsighted  in  its  public  relations  .  .  . 
It's  time  that  we  all  recognize  the  vital 
necessity  of  a  united  PR  drive." 

0 

ALBERT  E.  SINDLINGER,  the  sla- 
tistic  man,  reports  that  movies  did  not 
lack  for  conversation  among  people  dur- 
ing February — a  record  month  for  "at 
home"  activity  in  radio,  television  and 
newspaper  reading.  Findings  of  the  re- 
search analyst  were  published  in  his 
client-survey  report  "Activity".  The  re- 
puted 31,000,000  people  who  discussed 
movies  talked  mostly  about  the  big  one: 
"Giant",  "Ten  Commandments",  "Ana- 
stasia"  and  "Baby  Doll". 

0 

ABE  MONTAGUE  is  trying  out  a  new 
idea  in  distribution.  The  Columbia  sales 
head  announced  establishment  of  a  di- 
vision to  distribute  new  Mexican  films  to 
the  more  than  500  theatres  in  the  U.S. 
catering  to  Spanish-speaking  audiences. 
Donald  McConville  will  handle  this  as- 
signment, which  will  be  supported  by  a 
public  relations  program  and  special  pro- 
motion among  Spanish  speaking  audi- 
ences. A  minimum  of  20  Mexican  fea- 
tures will  be  released  annually. 


COLUMBIA'S  MONTAGUE 


HEADL1NERS . . . 


STEVE  TRILLING,  associate  executive 
producer  of  Warner  Brothers  since  1951, 
elected  a  vice  president  .  . .  20th-Fox  sales 
head  ALEX  HARRISON  announced 
promotion  of  ROBERT  L.  STERN  to 
manager  of  Fox's  Calgary,  Can.,  branch 
...GEORGE  NELSON  added  to  War- 
ners home  office  publicity  department  as 
feature  writer  ...  KENNETH  N.  HAR- 
GREAVES  is  back  in  the  United  States 
to  take  up  his  duties  as  president  of  Rank 
Film  Distributors  of  America.  Company 
gets  underway  officially  April  1  . .  .  PHIL 
ISAACS  moved  to  newly-created  post  of 
Paramount  Eastern  sales  mgr.  Formerly 
mgr.  of  Rocky  Mountain  division,  now 
dissolved  . . .  Malibu  Productions  formed 
by  JAMES  H.  NICHOLSON  and 
SAMUEL  Z.  ARKOFF  to  augment 
American  International  release  schedule 
...JOSEPH  D.  LAMNECK  named  gen- 
eral manager  of  Warners  television  com- 
mercial and  industrial  film  dept.  .  .  . 
JACK  L.  WARNER  and  C.  V.  WHIT- 
NEY announced  WB  will  distribute  lat- 
ter's  "The  Missouri  Traveler" . .  . 
STEPHEN  ALEXANDER  appointed 
casting  director  of  RKO  replacing 
DOUGLAS  WHITNEY  who  resigned 
.  .  .  "God's  Little  Acre"  author  ERS- 
KINE   CALDWELL   to  begin  discus- 


WB    pres.    Jack    Warner    signs  producer-director 
Mervyn  LeRoy  for  6  pis  in  6  years.    From  I.:  at- 
torney Arnold  Gront,  LeRoy,  Warner   attorney  Roy 
Obringer.    First:  "The  FBI  Story". 

sions  on  the  United  Artists  film  version 
with  UA  production  staff  . . .  Allied  Ar- 
tists sales  topper  MOREY  GOLD- 
STEIN announced  appointments  of  W. 
G.  CARMICHAEL  to  branch  manager 
at  Charlotte,  N.C.,  and  BEN  JORDAN 
to  branch  mgr.  at  Oklahoma  City . . . 
NORMAN  POLLER  appointed  to  the 
publicity  dept.  of  Rank  Film  Distributors 
according  to  Ad-Pub  manager  STEVE 
EDWARDS  .  .  .  GILBERT  PEARL- 
MAN  joined  Buena  Vista  as  copy  chief 
of  advertising  and  publicity,  according  to 
ad-pub  director  CHARLES  LEVY... 
ALEC  MOSS,  retained  by  COMPO  to 
handle  the  Academy  Award  Sweepstakes 
promotion,  to  windup  affairs  April  15  . . . 
Schulberg  Productions,  Inc.,  company  of 
Budd  and  Stuart  Schulberg,  signed  to  a 
two-picture  deal  with  Warner  Brothers 
.  .  .  Greater  New  York  Chapter,  Ameri- 
can Public  Relations  Assn.,  presented  its 
first  motion  picture  award  to  AA's 
"Friendly  Persuasion"  .  .  .  Producer 
ROGER  EDENS  formed  Roger  Edens 
Enterprises  which  will  function  in  TV, 
the  movies  and  legitimate  theatre . .  . 
United  Artists  v.p.  MAX  E.  YOUNG- 
STEIN  named  honorary  chairman  of  the 
1957  Attack  on  Asthma  campaign  . .  . 
IRWIN  F.  POCHE,  general  director  of 
Variety  International  convention  in  New 
Orleans  April  3-6,  finalizing  plans. 
Among  well-wishers  telegraming  best 
wishes:  PRESIDENT  EISENHOWER, 
British  prime  minister  HAROLD  Mac- 
MILLAN  . . .  LEON  GOLDBERG,  UA 
vice  president,  again  selected  to  serve  as 
chairman  of  the  motion  picture  and 
amusement  industry's  campaign  on  be- 
half of  the  United  Jewish  Appeal  of 
Greater  New  York  . .  .  Allied  president 
JULIUS  GORDON  and  Illinois  Allied 
president  JACK  KIRSCH  on  hand  for 
North  Central  Allied's  convention  April 
2-3  in  Minneapolis. 


Film  BULLETIN    April  I,  1957        Page  15 


KJ&at  t&e  S^aamtm  /tie  *Doutat 

MERCHANDISING      &      EXPLOITATION      DEPARTMENT  X 


20th  To  Herald  '57  Product 
In  90-Minute  C'Scope  Feature 


I 20th  Century-Fox, 
x  never    a  shrinking 

1  violet  in  ballyhooing 

m  its  product,  has  an- 

^  other     big  promo- 

j&k.  tional  scheme  afoot. 

^  A   special  90-minute 

^^Hr#  ^^^^H       CinemaScope  fea- 
Kif^^HOl  titled  "Forward 

j  /  J       with    20th  Century- 

HEPnH  Fox",  vividly  de- 
scribing the  company's  1957  program  of 
some  55  features,  is  being  prepared  for  ex- 
hibition in  every  exchange  center  in  the 
U.S.,  and,  later,  throughout  the  world. 

The  project  was  announced  by  president 
Spyros  P.  Skouras  following  conferences  at 
the  studio  with  production  chief  Buddy  Ad- 
lcr.  Skouras,  always  a  firm  follower  of  the 
astute  line  of  reasoning  that  one  of  the  best 
ways  for  a  motion  picture  company  to  sell 
itself  and  its  product  is  through  the  medium 
it  knows  best — the  motion  picture — will 
spread  its  hour-and-a-half  film  feast  before 
exhibitors,  members  of  the  press,  radio  and 
television,  20th-Fox  stockholders,  and  com- 
munity opinion  makers. 

Now  being  produced  in  Hollywood  under 
the  direction  of  Adler,  the  feature  "trailer" 
is  planned  as  a  concrete  demonstration  of 
20th  Century's  "new  look"  production  pro- 


gram announced  by  Mr.  Skouras  last  No- 
vember. At  that  time  he  promised  that  the 
company  would  undertake  a  vastly  in- 
creased feature  output  to  satisfy  the  needs 
of  exhibitors  for  more  and  better  product. 

"Forward  with  20th  Century-Fox"  will 
highlight  scenes  from  a  number  of  produc- 
tions, completed  and  currently  in  work.  In 
addition,  there  will  be  appearances  by 
Skouras,  Adler,  Charles  Einfeld,  vice  presi- 
dent and  head  of  promotion,  general  sales 
manager  Alex  Harrison  and  a  number  of  the 
company's  top  producers.  Among  the  films 
from  which  clips  will  be  shown  are:  "Island 
in  the  Sun",  "A  Farewell  To  Arms",  "Desk 
Set",  "Three  Faces  of  Eve",  "A  Hatful  of 
Rain",  "The  Wayward  Bus". 


French  Films  To  Get  Boost 
In  U.S.  Market  Via  Star  P.A.'s 

Taking  cognizance  of  the  fact  that  Ameri- 
can exhibitors — and  audiences — like  a  little 
ballyhoo  with  their  motion  pictures,  the 
French  film  industry  is  undertaking  a  big 
push  to  promote  its  product  in  th;  U.  S. 
market.  A  French  Film  Month  is  being 
sponsored  through  April  and  continuing  into 
the  early  part  of  May. 


Condon  Sets  Out  on  Tour 
To  Push  'Pride  &  Passion' 

United  Artists'  "The  Pride  and  the  Pas- 
sion" will  be  on  the  receiving  end  of  a  con- 
centrated two-month  press  tour  by  exploi- 
teer  Richard  Condon  to  spread  the  gospel 
about  the  forthcoming  multi-million  dollar 
epic.  As  outlined  by  Roger  H.  Lewis,  UA 
national  director  of  promotion,  the  ballyhoo 
safari  will  be  carried  to  30  major  market 
areas  with  the  basic  objective  of  garnering 
newspaper    space,    TV-radio    plugs,  retail 


UA  promotion  executives  conferring  on  "P  &  P" 
drive.     From    left:    Richard    Condon,  Joseph 
Gould,  Roger  Lewis,  Al  Tamarin,  Mori  Krushen 
and  Mort  Nathanson. 

support  and  public  interest  by  highlighting 
the  built-in  production  values  of  Stanley 
Kramer  spectacle.  Condon  will  hobnob  with 
newspaper  editors  and  reporters,  commen- 
tators and  key  personalities  of  TV  and 
radio,  and  he  will  confer  with  merchandis- 
ing executives  of  key  retail  outlets. 

The  traveling  field  man  is  toting  along  a 
goodly  number  of  promotional  and  adver- 
tising aids:  filmed  featurettes,  color  slides 
of  the  filming  in  Spain,  no  less  than  2,000 
stills  and  records  of  the  musical  score. 


4  Left:  Among  those  at  premiere  of  20th-Fox's 
"Heaven  Knows,  Mr.  Allison"  at  the  Roxy,  New 
York,  Robert  Miichum  and  his  wife  talk  things 
over  with  the  1st  Army  commander,  Lt.  Gen. 
T.  W.  Kerrln.  Center:  20th  vice  president 
Charles  Einfeid  (left)  greets  Dana  Wynter  and 
producer  Henry  Ginsberg.  Right:  Mitchum, 
tour  for  the  film,  is  interviewed  by  Pittsburgh 
radio  personality  Gloria  Abdou,  station  VYCAE. 


Page  16       Film  BULLETIN    April  I,  1957 


TVkat  t&e  S&omptw  /tie  Ttowyi 


Rank  Kicks-off  Pi.  Drive 
To  Introduce  Its  Stars  To  U.S. 

As  a  means  of  selling  English  screen  st-rs 
to  the  American  audience,  the  Rank  Organi- 
zation is  starting  a  series  of  in-the-flesh  ap- 
pearances. First  in  what  shapes  up  as  a 
long  line  of  visitors  will  be  Kenneth  More, 
whose  latest  production,  "Reach  For  The 
Sky",  soon  to  be  debuted  in  New  York  City. 

A  complete  promotional  campaign,  cover- 
ing newspapers,  magazines,  TV,  radio  and 
the  trade  press,  was  lined  up  to  push  the 
More  p. a.  The  British  star  will  engage  in 
concentrated  interviewing  and  radio-TV  ap- 
pearances during  his  week's  stay  in  Gotham. 

Easter  Season  Promotions 
Offer  Topnotch  Opportunities 

With  the  hop-hop-hop  of  the  Easter 
Bunny  due  in  a  couple  of  weeks,  showman- 
ship-wise exhibitors  should  have  a  full 
agenda  of  stunts  available. 

In  promotions  aimed  at  the  fern  audience, 
you  might  try  a  tie-in  with  a  department 
store  or  womens  ready-to-wear  shop  to 
model  their  latest  fashions  on  your  stage. 
The  Easter  hat  contest  is  another  possibili- 
ty. Other  angles  that  would  appeal  to  the 
ladies  include  the  giving  away  of  corsages 
via  a  florist  co-op,  or  the  holding  of  an 
Easter  Parade  on  your  stage. 

As  for  the  kid  crowd,  they  will  be  avail- 
able for  matinees  during  their  Easter  vaca- 
tion. Stimulate  their  interest  with  a  contest, 
awarding  live  bunnies  or  Easter  eggs. 

To  win  some  good  will,  a  tie-up  with  local 
churches  and  Sunday  schools  might  be  in 
order.  These  could  take  the  form  of  donat- 
ing your  theatre  (drive-in)  as  a  place  to  hold 
sunrise  services. 


Red-Hot  'Johnny  Tremain' 
Co-op  Set  by  BV  and  Armour 

A  joint  promotional  campaign  to  bally 
Walt  Disney's  "Johnny  Tremain"  has  been 
set  by  Armour  &  Co.,  meat  packers,  and 
Buena  Vista.  The  nationwide  drive,  to  be 
kicked  off  in  July,  will  be  built  around  the 
distribution  and  sales  of  15,000,000  packages 
of  Armour's  frankfurters. 

Each  package  of  "red-hots"  will  contain 
a  special  "Johnny  Tremain"  medallion, 
adapted  from  one  of  six  specially  selected 
scenes  and/or  characters  in  the  Technicolor 
production.  Local  level  promotion  will  be 
highlighted  by  a  package  display  label  ad- 
vising potential  theatregoers  to  see  the  film 
at  their  local  theatre,  and  citing  the  medal- 
lion in  the  package.  In  addition,  the  back  of 
the  frankfurter  package  will  make  a  pitch 
for  a  premium,  a  "JT"  hat. 

National  media  selected  to  drumbeat  the 
promotion  includes  newspaper,  radio  and 
TV,  with  a  healthy  portion  of  the  budget 
being  channeled  through  television's  Mickey 
Mouse  Club  Show  and  half-page  ads  in 
color-comics  sections.  Locally,  Armour  mer- 
chandising men  will  facilitate  tie-up  with 
exhibitors  and  coordinate  point-of-purchase 
displa  yand  ad  efforts  to  local  playdates. 

AA  Book  Merchandising 

Allide  Artists  has  taken  to  the  "books"  as 
a  means  of  pre-selling  two  of  their  forth- 
coming big  films  —  "The  Hunchback  of 
Notre  Dame"  and  "Love  in  the  Afternoon". 
For  "Hunchback"  a  trio  of  tie-ups  covering 
the  hard-cover,  paper-back  and  comic-book 
fields  has  been  set,  with  initial  orders  on 
each  of  the  three  editions  totalling  half-a- 
million.  "Love"  will  receive  the  benefit  of  a 
New  American  Library  edition. 


-A-  To  bally  the  world  premiere  of  "The  Bache- 
lor Party"  at  New  York's  Victoria  Theatre, 
United  Artists  is  putting  up  this  gigantic,  atten- 
tion-grabbing billboard  over  Times  Square.  Ex- 
tending a  full  city  block,  the  $50,000  sign 
covers  more  than  a  third  of  an  acre.  Balancing 
herself  on  a  scaffold,  actress  Carolyn  Jones 
models  a  five-story  high  likeness  of  herself. 

Promotion-Wise  Merchant  Buys 
$105,885  of  "80  Days'  Tickets 

When  two  guys  like  showman  extraordi- 
nary Mike  Todd  of  "80  Days"  fame  and 
merchandiser  extraordinary  Sol  Polk,  of 
Chicago's  famed  Polk  Bros.,  promotion- 
minded  appliance-television  merchants,  get 
together — look  for  something  extraordinary. 

With  one  swcop  of  greenbacks,  the  ag- 
gressive Windy  City  merchant  put  $105,885 
on  the  line  to  purchase  a  huge  block  of 
tickets  for  the  Chicago  engagement  of 
"Around  the  World  in  80  Days".  The  even- 
tual recipients  of  the  hard-to-get,  expensive 
ducats  will  be  Polk's  best  friends — his  cus- 
tomers. 

No  stranger  to  showmanship  the  go-and- 
get-that-customer  retailer  has  been  called  by 
many  the  Mike  Todd  of  "Applianceland". 
Just  a  few  years  ago  Polk  flooded  the  park- 
ing lot  of  one  of  his  appliance  outlets  and 
let  it  freeze  over.  He  then  went  out  and 
hired  the  entire  company  of  "Ice  Capades" 
to  put  on  two  free  shows  for  his  customers. 

The  aggressive  merchandiser,  who  will 
grab  100  tickets  a  performance  for  a  year, 
has  an  option  to  do  it  again  next  year. 

Convention  al  Producer 

Samuel  Fuller,  producer-director  of  Globe 
Enterprises  "China  Gate",  which  is  being  re- 
leased via  20th-Fox,  will  take  to  the  exhibi- 
tor convention  circuit  during  the  next  three 
months  to  sing  the  praises  of  his  Cinema- 
Scope  adventure  drama.  Fuller  will  carry 
along  a  full  supply  of  promotional  display 
material  to  dazzle  the  theatremen. 

Exhibitor  gatherings  scheduled  to  receive 
the  exploitation  treatment  include  the  Va- 
riety Club  International  Convention  and  the 
Central  Allied  meeting. 


Credit  an  unusual  lobby  display  piece  to  Jerry  Baker,  manager  of  the  RKO  Keiths  Thea- 
tre,  Washington,  D.  C.   To  whet  the  appetite  of  potential  patrons  for  Universale  "The  Incredible 
Shrinking  Man,"  the  showman  gave  them  a  peek  at  a  "shrinking  man",  or  a  reasonable  facsimile. 


Ml 

L  mm  •mum? 


HHUL  & 


Film  BULLETIN    April  I,   1957        Page  17 


EXPLOITATION  PICTURE 


'Allison'  Ads  Spark  Strong  Campaign 


A  truly  fine  and  universally  entertaining  picture  always  gives  the  show- 
man a  feeling  of  security  in  plotting  his  campaign.  From  that  point  on,  he  is 
very  often  on  his  own  to  exploit  the  angles  he  feels  will  best  attract  his  cus- 
tomers. In  "Heaven  Knows,  Mr.  Allison",  the  first  premise  has  been  rolidly 
established  in  previews,  but  in  addition,  there  is  a  wealth  of  ready-made  ex- 
ploitaids,  including  some  of  the  year's  most  appealing  and  exciting  ads. 

F'rst,  the  picture's  obvious  assets:  John  Huston  as  director  and  script 
partner,  cne  of  the  most  potent  draws  for  the  discriminating  audiences;  the 
stars,  Deborah  Kerr,  fresh  from  her  triumph  in  "The  King  and  I",  and  Robert 
Mitchum,  in  a  tailored  role;  a  story  provocatively  stirring  in  its  thesis  of  a 
tough  Marine  and  a  young  nun  tossed  by  fate  alone  together  on  a  desolate 
island  in  wartime  facing  two  enemies — Japanese  soldiers  and  human  frailty. 

The  distinguished  group  of  ads,  in  keeping  with  the  theme  and  the  Hus- 
ton hallmark,  is  one  of  the  strongest  factors  in  the  showman's  campaign.  The 
delicate  and  dramatic  situation  is  frankly  pointed  up  without  a  hint  of  offensive 
connotation:  "There's  a  wonder  in  it  .  .  .  and  there's  a  toughness  in  it  .  .  .  that 
wrote  the  fiery  chapters  from  the  Halls  of  Montezuma  to  Guadalcanal.  And 
there's  a  faith,  laughter  and  tenderness  in  it  ...  in  every  moment  of  this  won- 
derfully human  story  of  a  marine  called  Allison  and  Sister  Angela  .  .  .  ma- 
rooned and  alone  on  a  war-torn  Pacific  Island."  Variations  of  this  copy  are  co- 
ordinated with  the  dramatic  art  (see  above  and  below)  of  the  two  principals 
seeking  safety  and  comfort  in  each  other  on  the  bomb  shattered  island. 

Already  lending  promotional  assistance  are  two  big  fountainheads  of  re- 
spected influence,  the  Catholic  Church  and  the  U.  S.  Marines,  both  of  whom 
have  actively  expressed  their  enthusiasm  for  the  movie  vocally  and  editorially. 
The  Church  has  a  host  of  editorial  go-see  urgings  in  its  top  publications,  along 
with  highly  favorable  reviews.  The  Legion  of  Decency  has  given  the  film  its 
support  with  an  A-l  rating.  Adding  to  this  publicity  barrage,  20th  has  allo- 
cated its  biggest  ad  budget  for  space  in  Catholic  publications,  a  buy  that  has  an 
assured  specialized  readership  of  15  million,  concentrated  in  the  March  and  April 
issues.  This  gives  the  cue  locally  for  capitalizing  this  important  influence.  Re- 
sponsible church  leaders  should  be  contacted  and,  if  possible,  given  a  screen- 
ing to  spread  the  word  to  their  various  associations. 

More  solid  backing  comes  from  the  Marines,  who  can  be  counted  on  to 
provide  color,  fanfare,  rousing  music  and  spirit.  The  Chief  of  Staff  has  autho- 
rized cooperation  locally,  including  manning  of  booths  and  displays  in  and  out- 
side the  theatre,  ceremonies  on  stage,  attendance  of  officers  and  award-winners 
from  the  local  area,  radio  and  TV  interviews  and  the  furnishing  of  Marine 
bands  and  Drum  and  Bugle  Corps. 

Of  special  interest  to  showmen,  too,  is  the  extensive  television  and  radio 
accessories.  In  one  of  20th's  biggest  TV  buildups,  two  5-minute  video  subjects 
have  been  made  up:  "Island  Paradise",  nationally  shown  by  20th  in  52  cities, 
treats  viewers  to  engrossing  tricks  of  location  production;  "Stars  on  an  Island" 
retains  some  of  the  other's  highlights,  concentrates  more  on  the  stars  them- 
selves facing  obstacles  of  location  filming.  They're  both  valuable  plus  acces- 
sories wherever  TV  is  employed. 

For  radio,  a  special  three-in-one  disc,  with  the  stars  and  director  all  on  one 
platter  runs  10y2  minutes,  is  ideal  fare  for  d.j.  or  gab  show  placement,  and  is 
available  for  the  asking. 


"Heaven  Knows,  Mr.  Allison 

When  John  Huston  first  set  out  to  put  the 
gentle  with  the  tough  in  "The  Arr;can 
Queen",  the  result  was  a  masterpiece  tha: 
made  the  critics  as  well  as  the  boxorfice 
gleeful.  The  director  par  excellence  has 
taken  the  same  piquant  study  in  contrasts 
"Heaven  Knows,  Mr.  Allison"  and  has  ccme 
off  wilh  what  appears  to  be  another  critical 
and  commercial  triumph  in  CinemaScope 
and  DeLuxe  Color.  This  time,  the  protag- 
onists are  a  tender,  dedicated  young  nun, 
played  by  lovely  Deborah  Kerr,  and  a  hard- 
bitten U.  S.  Marine,  Robert  Mitchur 
thrown  together  cn  a  South  Pacific  island 
dominated  by  the  enemy  during  World  War 
II.  Forced  to  a  proximal  existence  impos- 
sible under  any  other  circumstances,  each 
comes  to  respect  the  other's  dedication  to 
their  respective  causes,  making  use  of  their 
widely  separated  talents  to  resist  capture 
and  stay  alive.  The  inevitable  occurs  when 
the  Marine  realizes  that  he  is  developing 
deep  affection  for  the  beautiful  young  nun, 
a  feeling  that  is  strengthened  when  he  learns 
that  she  had  not  taken  her  final  vows.  Em- 
boldened by  some  stolen  Jap  rice  wine,  the 
Marine  makes  a  pass  at  the  frightened  sister 
It  is  here  that  Huston's  fine  hand  shows  its 
greatest  finesse,  averting  the  pitfalls  of  in- 
delicacy that  threaten  such  a  situation  and 
turning  it  into  powerfully  moving  entertain- 
ment. The  Marine  nurses  her  through 
fever,  she  ministers  to  his  wounds  after  his 
heroic  foray  among  the  enemy.  The  Ma- 
rines come  to  the  rescue.  The  film  emerges 
as  a  triumph  of  drama,  humor  action — and 
geed  taste. 


Two  of  the  key  elements  in  the  exceptionally 
striking  ad  art  are  shown  at  the  top  of  the  page 
and  below.  The  figures  of  the  nun  and  the  ma- 
rine crawling  toward  each  other  or  fleeing  in 
(error — hand  in  hand,  are  powerful  sales  agents 
that  make  the  ads  among  the  season's  best. 


Page  18       Film  BULLETIN    April  I,  1957 


Film  BULLETIN    April  I,  1957        Page  19 


I 


THIS  IS  YOUR  PRODUCT 


All  The  Vital  Details  on  Current  SD  Coming  Features 

(Date  of  Film  BULLETIN  Review  Appears  At  End  of  Synopsis) 


November 

BLONDE  SINNER  Diana  Dors.  Producer  Kenneth 
Harper.  Director  J.  Lee  Thompson.  Drama.  A  con- 
demned murderess  in  Hie  death  cell.  74  min. 
FRIENDLY  PERSUASION  Deluxe  Color.  Gary  Cooper, 
Dorothy  McGuire,  Marjorie  Main,  Robert  Middleton. 
Producer-director  William  Wyler.  Drama.  The  story 
of  a  Quaker  family  during  the  Civil  War.  139  min.  10/1 

December 

HIGH  TERRACE  Dale  Robertson,  Lois  Maxwell.  Pro- 
ducer Robert  Baker.  Director  H.  Cass.  Drama.  Famous 
impresario  is  killed  by  young  actress.  77  min. 
HOT  SHOTS  Hunti  Hall,  Stanley  Clements.  Producer 
Ben  Schwalb.  Director  Jean  Yarbrough.  Comedy.  Ju- 
venile television  star  is  kidnapped.   62  min. 


January 


CHAIN  OF  EVIDENCE  Bill  Elliot,  James  Lydon,  Claudia 
Barrett.  Producer  Ben  Schwalb.  Director  Paul  Landres. 
Melodrama.  Former  convict  is  innocent  suspect  in 
planned  murder.  63  min. 


February 


drama.  Bowery  Boys  tangle  with  unscrupulous  hypnotist. 
61  min. 

LAST  OF  THE  BADMEN  CinemaScope,  Color.  George 
Montgomery  Janoes  Best.  Producer  Vincent  Fennelly. 
Director  Paul  Landres.  Western.  Outlaws  use  detective 
as  only  recogni»able  man  in  their  holdups,  thus  in- 
creasing reward  for  his  death  or  capture.  81  min. 


March 


ATTACK  Of  THE  CRAB  MONSTERS  Richard  Garland, 
Pamela  Duncan.  Producer-director  Roger  Corman. 
Science-fiction.  Hideous  monsters  take  over  remote 
Pacific  Island.  68  min. 

FOOTSTEPS  IN  THE  NIGHT  Bill  Elliot,  Don  Haggerty. 
Producer  Ben  Schwalb.  Director  Jean  Yarbrough.  Melo- 
drama. Man  is  sought  by  police  for  murder  of  his 
friend.  62  min. 

NOT  OF  THIS  EARTH  Paul  Birch,  Beverly  Garland. 
Producer-director  Roger  Corman.  Science-fiction.  Series 
of  strange  murders  plagues  large  western  city.  67  min. 


A  pril 


BADGE  OF  MARSHALL  BRENNAN  Jim  Davis,  Carl 
Smith,  Arleen  Whelan.  Producer-director  Albert  C. 
Gannaway.  Western.  76  min. 

DRAGOON  WELLS  MASSACRE  Barry  Sullivan,  Mona 
Freeman,  Dennis  O'Keefe.  Producer  Lindsley  Parsons. 
Director  Harold  Schuster.  Western.  Apaches  attack 
stockade  in  small  western  town.  81  min. 


May 


DAUGHTER  0*  DR.  JEKYLL  John  Agar,  Gioria  Talbot, 
AHW  Shields.  Producer  Jack  Pollexfen.  Director 
Edgar  linger.  Horror. 

DESTINATION  60,000  Preston  Foster,  Coleen  Gray,  Jeff 
Donnell.  A  Gross-Krasne  Production.  Director  G.  Wag- 
gner.  Drama. 

LET'S  BE  HAPPY  CinemaScope,  Color.  Vera  Ellen,  Tony 
Martin,  Robert  Fleming.  Producer  Marcel  Hellman. 
Director  Henry  Levin.  Musical.  Small-town  girl  meets 
washing  machine  inventor  in  Paris.  105  min. 
PERSUADER,  THE  William  Talman,  Kristine  Miller, 
James   Craig.    Producer-director    Dick    Ross.  Western. 


Coming 


AQUA  DIVE  GIRL  Mara  Corday,  Pat  Conway,  Florence 
Marly.  Producer  Norman  Herman. 

BADGE  OF  MARSHAL  CRENNAN  Jim  Davis.  Producer- 
director  Albert  Gannaway.  Western. 

DINO  Sal  Mineo,  Brian  Keith,  Susan  Kohner.  Producer 
Bernice  Block.  Director  Thomas  Carr.  Social  case 
worker  helps  young  criminal  reform. 

DISEMBODIED,  THE  Paul  Burke,  Allison  Hayes,  Joel 
Marston.  Producer  Ben  Schwalb.  Director  Walter 
Graumann. 

HOT  ROD  RUMBLE  Leigh  Snowden,  Richard  Hartunian. 
Producer  Norman  Herman.  Director  Les  Martinson. 
Story  of  a  drag  racer  and  his  fight  for  acceptance. 
HUNCHBACK  OF  NOTRE  DAME,  THE  CinemaScope, 
Color.  Gina  Lollobrigida,  Anthony  Quinn.  A  Paris 
Production.  Director  Jean  Delannoy.  Drama.  Hunch- 
back falls  in  love  with  beautiful  gypsy  girl.  88  min. 
LOVE  IN  THE  AFTERNOON  Color.  Gary  Cooper, 
Audrey  Hepburn,  Maurice  Chevalier.  Producer-director 
Billy  Wilder.  Drama. 

F  I  I  n 


OKLAHOMAN,  THE  CinemaScope,  DeLuxe  Color.  Joel 
McCrea,  Barbara  Hale.  Producer  Walter  Mirsch.  Di- 
rector Francis  Lyon.  Western.  Doctor  helps  rid  town 
of  unscrupulous  brothers.  81  min. 

SPOOK  CHASERS  Huntz  Hall.  Stanley  Clements.  Pro- 
ducer Ben   Schwalb.   Director  George  Blair.  Comedy. 


COLUMBIA 


April 


November 


ODONGO  Technicolor,  CinemaScope.  Macdenald 
Carey,  Rhonda  Fleming,  Juma.  Producer  Irving  Allen. 
Director  John  Gilling.  Adventure.  Owner  of  wild  ani- 
mal farm  in  Kenya  saves  young  native  boy  from  a 
violent  death.  91  min. 

REPRISAL  Technicolor.  Guy  Madison,  Felicia  Farr, 
Kathryn  Grant.  Producers,  Rackmil-Ainsworth.  Direc- 
tor George  Sherman.  Adventure.  Indians  fight  for 
rights  in  small  frontier  town.  74  min. 

SILENT  WORLD.  THE  Eastman  Color.  Adventure  film 
covers    marine   explorations   of   the    Calypso  Oceono- 

?raphic  Expeditions.  Adapted  from  book  by  Jacques- 
res  Cousfeau.  86  min.  10/15. 
WHITE  SQUAW,  THE  David  Brian,  May  Wynn,  William 
Bishop.  Producer  WaJlace  MacDonald.  Director  Ray 
Nazarro.  Drama.  Indian  maiden  helps  her  people  sur- 
vive injustice  of  white  men.  73  min. 

YOU  CAN'T  RUN  AWAY  FROM  IT  Technicolor,  Cine- 
maScope. June  Allyson,  Jack  Lemmon,  Charles  Bick- 
ford.  Produced-director  Dick  Powell.  Musical.  Reporter 
wins  heart  of  oil  and  cattle  heiress.   95  min.  10/15. 

December 

LAST  MAN  TO  HANG.  THE  Tom  Conway,  Elizabeth 
Sellers.  Producer  John  Gossage.  Director  Terence 
Fisher.  Melodrama.  Music  critic  is  accused  of  murder- 
ing his  wife  in  a  crime  of  passion.  75  min.  11/12. 
MAGNIFICENT  SEVEN.  THE  Takeshi  Shimura  Tochiro 
Mifune.  A  Toho  Production.  Director  Akire  Kurosawa. 
Melodrama.  Seven  Samurai  warriors  are  hired  by  far- 
mers for  protection  against  maurauders.  158  min.  12/io 
RUMBLE  ON  THE  DOCKS  James  Darren,  Jerry  Janger, 
Edgar  Barrier.  Drama.  Teenage  gang  wars  and  water- 
front racketeers.   82  min.  12/10. 

SEVENTH  CAVALRY.  THE  Technicolor.  Randolph  Scott, 
Barbara  Hale.  Producer  Harry  Brown.  Director  Joseph 
Lewis.  Western.  An  episode  in  the  qlory  of  General 
Custer's  famed  "7th  Cav.".   75  min.  12/10. 


January 


DON'T  KNOCK  THE  ROCK  Bill  Haley  and  his  Comets, 
Alan  Freed,  Alan  Da^a.  Producer  Sam  Katcman.  Direc- 
tor Fred  Seart.  Musical.  Life  and  times  of  a  famous 
rock  and  roll  singer.  80  min.  1/7. 

RIDE  THE  HIGH  IRON  Don  Taylor,  Sally  Forest,  Ray- 
mond Burr.  Producer  William  Self.  Director  Don  Weis. 
Drama.  Park  Avenue  scandal  is  hushed  up  by  public 
relations  experts.  74  min. 

ZARAK  Technicolor,  CinemaScope.  Victor  Mature, 
Michael  Wilding,  Anita  Ekberg.  A  Warwick  Production. 
Director  Terence  Young.  Drama.  Son  of  wealthy  ruler 
becomes  notorious  bandit.  99  min.  12/24. 


February 


ABANDON  SHIP  CinemaScope.  Tyrone  Power,  Mai 
Zetterlmg.  Producer-director  Richard  Sale.  Drama 
Story  of  a  group  of  people  whD  survive  th?  sinkinq 
of  a  luxury  liner. 

GUNS  AT  FORT  PETTICOAT  Audie  Murphy,  Kathryn 
Grant.  Producer  Harry  Joe  Brown.  Director  George 
Marshall.  Western.  Army  officer  organizes  women  to 

fighl  off  Indian  attack.  131  min. 

PHANTOM  STAGECOACH.  THE  William  Bishop,  Rich- 
ard  Webb.  Producer  Wallace  MacDonald.  Director  Ray 
Nazarro.  Western.  Outlaws  attempt  to  drive  stage 
coach  line  out  of  business.  69  min. 

STRANGE  ONE.  THE  Ben  Gazzara,  James  Olsen,  George 
Peppard.  Producer  Sam  Spiegel.  Director  James  Gar- 
fein.  Drama.  Cadet  at  military  school  frames  com- 
mander and  his  son.  97  min. 

TALL  T.  THE  Randolph  Scott,  Richard  Boone,  Maureen 
Sullivan.  A  Scott-Brown  Production.  Director  Budd 
Boetticher.  Western.  A  quiet  cowboy  battles  o  be 
independent.  78  min. 


May 


FIRE  DOWN  BELOW  CinemaScope,  Technicolor.  Rita 
Hayworth,  Robert  Mitchum,  Jack  Lemmon.  A  War- 
wick Production.  Director  Robert  Parrish.  Drama. 
Cargo  on  ship  is  ablaze.  Gravity  of  situation  is  in- 
creased by  highly  explosive  nitrate. 


Coming 


NIGHTFALL  Aldo  Ray,  Anne  Bancroft.  Producer  Ted 
Richmond.  Director  Jacques  Tourneur.  Drama.  Mistaken 
identity  of  a  doctor's  bag  starts  hunt  for  stolen  money. 
78  min.  12/10. 

UTAH  BLAINE  Rory  Calhoun,  Susan  Cummings,  Angela 
Stevens.  Producer  Sam  Katzman.  Director  Fred  Sears. 
Western.  Two  men  join  hand*  because  they  see  in  each 
other  a  way  to  have  revenge  on  their  enemies.  75  min. 
WICKED  AS  THEY  COME  Arlene  Dahl.  Phil  Carey.  Pro- 
ducer Maxwell  Setton.  Director  Ken  Hughes.  Drama.  A 
beautiful  girl  wins  a  beauty  contest  and  a  "different" 
life.  132  min.  1/21. 

March 

FULL  OF  LIFE  Judy  Holliday,  Richard  Conte, 
Salvatore  Baccaloni.  Producer  Fred  Kohlmar.  Director 
Richard  Quine.  Comedy.  Struggling  writer  and  wife 
are  owners  of  new  home  and  are  awaiting  arrival  of 
child.  91  min.  1/7. 

MAN  WHO  TURNED  TO  STONE,  THE  Victor  Jory,  Ann 
Doran.  Producer  Sam  Katzman.  Director  Leslie  Kardos. 
Mad  doctor  discovers  secret  of  prolonged  life.  Horror. 
80  min.  2/18. 

SHADOW  ON  THE  WINDOW.  THE  Betty  Garrett,  Phil 
Carey,  Corey  Allen.  Producer  Jonie  Tapia.  Director 
William  Asher.  Melodrama.  Seven-vear  old  boy  is  the 
only  witness  to  a  murder.  73  min.  3/4. 
ZOMBIES  OF  MORA  TAU  Gregg  Palmer,  Allison  Hayes. 
Producer  Sam  Katzman.  Director  Edward  Kahn.  Horror. 
Zombies  live  on  sunken  ship  with  huge  fortune  of  dia- 
monds. 70  min. 

B  U  L  L  E  T  I  N  —  T  H  I  S     IS     YOUR  PRODUCT 


BEYOND  MOMBASA  Technicolor,  CinemaScope.  Cor- 
nell Wilde,  Donna  Reed.  Producer  Tony  Owen.  Direc- 
tor George  Marshall.  Adventure.  Leopard  Men  seek 
to  keep  Africa  free  of  white  men. 

CASE  OF  THE  STOCKING  KILLER,  THE  John  Mills. 
Charles  Coburn,  Barbara  Bates.  A  Marksman  Produc- 
tion. Director  John  Gillerman.  Insane  man  murders 
beautiful  girl. 

CHA  CHA-CHA  BOOM  Perez  Prado,  Helen  Grayson, 
Manny  Lopez.  Producer  Sam  Katzman.  Director  Fred 
Sears.  Musical.  Cavalcade  of  the  mambo.  78  min.  10/15 

GARMENT  JUNGLE,  THE  Lee  J.  Cobb,  Kerwin  Mat- 
thews, Richard  Boone.  Producer  Harry  Kleiner.  Di- 
rector Ribert  Aldrich.  Drama.  Dog-ea-dog  world  of 
Manhattan's  clothing  center. 

GOLDEN  VIRGIN,  THE  Joan  Crawford,  Rossano  Brazzi, 
Heather  Sears.  John  and  James  Woolf  producers.  Di- 
rector David  Miller.  Unscrupulous  people  exploit  blind 
girl  for  profit. 

KILLER  APE  Johnny  Weissmuller,  Carol  Thurston.  Pro- 
ducer Sam  Katzman.  Director  Spencer  G.  Bennett.  Ad- 
venture drama.  The  story  of  a  giant  half-ape,  half-man 
beast  who  goes  on  a  killing  rampage  until  destroyed 
by  Jungle  Jim.  68  min. 

PAPA.  MAMA.  THE  MAID  AND  I  Robert  Lamoureux, 
Gaby  Morlay,  Nicole  Courcel.  Director  Jean-Paul  Le 
Chanois.  Comedy.  The  lives  of  a  typically  Parisian 
family.  94  min.  9/17. 

PICKUP  ALLEY  Victor  Mature  Anita  Ekberg,  Trevor 
Howard.  A  Warwick  Production.  Director  John  Gilling. 
Story  of  international  dope  runners. 

SHE  PLAYED  WITH  FIRE  Jack  Hawkins,  Arlene  Dahl, 
Producers  Frank  Launder-Sidney  Gilliat.  Director  Sid- 
ney Gilliat.  Story  of  an  arsonist. 

SUICIDE  MISSION  Leif  Larson,  Michael  Aldridge,  Atle 
Larsen.  A  North  Seas  Film  Production.  Adventure.  Nor- 
wegian fishermen  smash  German  bl'ockade  in  World 
War  II.  70  min. 

27TH  DAY,  THE  Gene  Barry,  Valerie  French.  Producer 
Helen  Ainsworth.  Direotor'  William  Asher.  Science- 
fiction.  People  from  outer  space  plot  to  destroy  all 
human  life  on  the  earth.  75  min. 

YOUNG  DON'T  CRY.  THE  Sal  Mineo,  James  Whitmore. 
Producer  P.  Waxman.  Director  Alfred  Werker.  Drama. 
Life  in  a  southern  orphanage. 


INDEPENDENTS 


November 

IT  CONQUERED  THE  WORLD  (American  International) 
Peter  Graves,  Beverly  Garland.  Producer-director 
Roger  Corman.  Science-fiction.  A  monster  from  outer 
space  takes  control  of  the  world  until  a  scientist  gives 
his  life  to  save  humanity. 

MARCELINO  lUnited  Motion  Picture  Organization  I 
Pabilto  Calvo,  Rafael  Rivelles.  Director  Ladislao 
Vadja.  Drama.  Franciscan  monks  find  abandoned  baby 
and  adopt  him.  90  min.  I  1/12. 

SECRETS  OF  LIFE  IBuena  vista!.  Latest  in  Walt  Dis- 
ney's true-life  scenes.  75  min.  10/29. 


MAY  SUMMARY 

The  tentative  number  of  features 
scheduled  for  May  release  to:a!s  17.  how- 
ever, later  additions  to  the  roster  should 
add  approximately  10  films.  Allied  Ar- 
»is:s  will  be  the  leading  supplier  with 
four  films,  while  Merro-Goldwyn-Mayer 
and  Universal-International  will  releaie 
three  each.  Columbia,  the  Independents 
and  Paramount  will  release  two  each. 
United  Artists  has  one  on  the  agenda. 
Color  films  total  seven.  Three  May  re- 
leases will  be  in  CinemaScope,  two  in 
VistaVision. 

7  Dramas  1  Adventure 

2  Westerns  2  Musicals 

3  Comedies  2  Horror 


IE  GORDIE  (George  K.  Arthur?  Bill  Travers,  Elastair 
I  Norah  Gorsen.  Producer  Sidney  Gilliat.  Director 
ink  Launder.  Comedy.  A  frail  lad  grows  to  giant 
ture  and  wins  the  Olympic  hammer-throwing  cham- 
nship.  94  min.  I  1/12. 

•STWARD  HO.  THE  WAGONS  (Buena  Vista)  Cine- 
Scope,  Technicolor.  Fess  Parker,  Kafhleen  Crowley. 
irValt  Disney  Production.  Adventure. 

January 

BERT  SCHWEITZER  (Hill  and  Anderson)  Eastman 
lor.  Film  biography  of  the  famous  Nobel  Prlie  win- 

with  najrltive  by  Burgess  Merideth.  Producer-direc- 

James  Hill.  Documentary. 

LLFIGHT  (Janus)..  French  made  documentary  offers 
tory  and  performance  of  the  famous  sport.  Produced 
d  directed  by  Pierre  Braunberger.  74  min.  11/24. 
Ml  lAitor  Pictures)  Ingrrd  Bergman,  Mathfas  Wie- 
I  n.  Director  Roberto  Rosiallinl.  Drama.  Young 
rried  woman  is  mercilessly  exploited  by  blackmailer, 
min 

NAWAY       DAUGHTERS       I  American-International) 
irla  English,  Anna  Sten.  Producer  Alex  Gordon.  Di- 
:tor  Edward  Cahn.  Drama.  A  study  of  modern  teen- 
|]  •  problems. 

LAKE.  RATTLE  AND  ROCK  I  American-International ) 
I  a  Gaye,  Touch  Conners.  Producer  James  Nicholson. 

ector  Edward  Cahn.  Musical.  A  story  of  "rock  and 
I  I"  music. 

I  ITELONI  IAPI-Jai»us) .  Franco  Interlenghi,  Leonora 
briii.  Producer  Mario  de  Veeehi.  Director  F.  Fel- 
I.  Comedy.  Story  of  unemployed  young  men  in  Italy. 

I  t  min.  1 1/24. 
E    ARE    ALL    MURDERERS    IKingsley  International) 

ij  ircel  Mouloud|i,  Raymond  Pellegrin.  Director  Andre 
lyette.  Drama. 

February 

I  D  OF  GRASS  Urans-Lux)  Anna  Braiiou.  Made  in 
••ece.  English  titles.  Drama^  A  beautiful  girl  is  per- 
cuted  by  her  vlHiage  for  /laving  lost  her  virtue  as 

I  e  victim  of  a  rapist. 
fCLOPS.  THE    IRKO)    James  Craig,   Gloria  Talbot. 

I  oducer-director   Bert  Gordon.    Science-fiction.  Story 

I  a  monster  moon. 
OH  AND  THE  SPUR  ( America  n-lnternatiorvil)  Color, 
■fin  Agar,   Maria   English,   Touch  Connors.  Producer 
ex  Gordon.    Director  E.  Oahn.  Western.    Two  men 
arch  for  a  gang  of  outlaw  killers.  84  min. 
UITY  IRKO)  Technicolor.  John  Justin,  Barbara  Laage. 

|  ama. 

I  34JR  OF  DECISION  (Astor  Pictures)  Jeff  Morrow, 
uel  Court.  Producer  Monty  Barman.  Director  Denn- 

.gton   Richards.   Melodrama.   Columnist's  wife  is  in- 
tently involved  in  blackmail  and  murder.  70  min. 
4.KED     PARADISE     (American-International)  Color, 
chard    Denny,    Beverly    Garland.  Producer-director 

'>ger  Corman.  Drama.  Man  and  woman  bring  Ha- 
itian smugglers  to  justice.  72  min. 

LKEN  AFFAIR.  THE  IRKO)  David  Niven,  Genevieve 
ige,  Ronald  Squire.  Producer  Fred  Feldkamp.  Director 
>y  Kelling.  Comedy.  An  auditor,  on  a  kindly  impulse, 
ters  the  accounting  records.  94  mm. 
•MPEST  IN  THE  FLESH  (Pacemaker  Pictures)  Ray- 
ond  Pellegrin,  Francoise  Arnoul.  Director  Ralph 
abib.  French  film,  English  titles.  Drama.  Study  of  a 
mng  woman  with  a  craving  for  love  that  no  number 
men  can  satisfy. 

March 

NDEAD,  THE  I  American-International)  Pamela  Dun- 
Mi,  Allison  Hayes.  Producer-director  Roger  Corman. 
:ience-fiction.  A  woman  turns  into  a  witch.  71  min. 
DODOO  WOMAN  '  American-International  I  Maria 
»ojllsh,  Tom  Conveay,  Touch  Connors.  Producer  Alex 
ortion.  Director  Edward  Gehn.  Horror.  Adventunees 
ieking  native  treasure  is  transformed  into  monster  by 
ngte  scientist.  75  min. 

'OMAN  OF  ROME  (DC A)  Gina  Lollobrigida,  Daniel 
elin.  A  Pontl-DeLaurentlis  Production.  Director  Luigi 
amba.    Drama.   Adapted   from  the  Alberto  Moravia 

April 

OLD  OF  NAPLES  IDCA)  Toto,  Sophia  Loren,  Vittorio 
eSica.  A  Ponti-De  Laurentis  Production.  Director  V. 
e  Sica.  Drama.  4  short  Italian  satires.  I07min.  3/18 
!  ALL  THE  GUYS  IN  THE  WORLD  .  .  .  I  Buena  Vista) 
ndre  Valmy,  Jean  Gaven.  Director  Christian-Jaque. 
rama.  Radio  "hams",  thousands  of  miles  apart,  pool 
leir  efforts  to  rescue  a  stricken  fishing  boat. 

May 

OUR  BAGS  FULL  (Trans-Lux)  Jean  Gabin,  Bouvril. 
omedy.  The  trials  and  tribulations  of  black  market 
perators  during  the  German  occupation. 
OCK  ALL  NIGHT  (American-International  I  Dick 
llller,  Abby  Dalton,  Russel  Johnto*.  Producer-director 
oger  Corman.  Rock  n'  rolF  musical.  45  min. 

Coming 

ARTOUCHE  (RKOI  Richard  Basehart,  Patricia  Roc. 
roducer  John  Nasht.  Director  Steve  Sekely.  Adventure, 
he  story  of  a  lusty  adventurer  during  the  reign  of 
ouis  XVI. 

ITY  OF  WOMEN  [Associated)  Osa  Massen,  Robert 
lutton,  Maria  Palmer.  Producer-director  Boris  Perroff. 
rama.  From  a  novel  by  Stephen  Longstreet. 
RAGSTRJP  GIRL  (American-International)  Fay  Spain, 
leva  Terrell,  John  Ashley.  Producer  Alex  Gordon.  Di- 
sctor  Edward  Cahn.  Story  of  teen-age  hot  rod  and 
ragstrip  racing  kids.  75  min. 

OST  CONTINENT  (IFE)  CinemaScope,  Ferranieolor. 
roducer-director  Leonardo  Bonii.  An  excursion  into  the 
■ilds  of  Borneo  and  the  Maylayan  Archepelago.  Eng- 
sn  commentary.  84  min. 


NEAPOLITAN  CAROUSEL  I  IFE)  ILuxFilm,  Rome)  Pathe- 

Maitine.  Director  Ettore  Giannini.  Musical,  the  n. story 
of  Naples  traced  from  1400  to  date  in  song  and  omci 

REMEMBER.  MY  LOVE  I  Artists-Producers  Assoc.)  Cine- 
maScope, Techniccior.  Michael  Redgrave,  Mel  Ferrer, 
Anthony  Quale.  Musical  drama.  Producer-director 
Michael  Powell,  Emeric  Pressburger.  Based  on  Strauss' 
"Die  Fledermaus". 

SMOLDERING  SEA,  THE  Superscope.  Producer  Hal  E. 
Chester.  Drama.  Conflict  between  the  tyrannical  cap- 
tain and  crew  of  an  American,  merchant  ship  reacnes 
its  climax  during  battle  of  Guadalcanal. 

WEAPON,  THE  Superscope.  Nicole  Maurey.  Producer 
Hal  E.  Chester.  Drama.  An  unsolved  murder  involving 
a  bitter  U.  S.  war  veteran,  a  German  war  bride  and  a 
killer  is  resolved  after  a  child  finds  a  loaded  gun  in 
bomb  rubble 

X— THE  UNKNOWN  Dean  Jagger,  William  Russell. 
Producer  A.  Hinds.  Director  Leslie  Norman.  Science- 
fiction.  Keen  minded  scientist  fights  awesome  creation. 


METRO -GO LDWYN -MAYER 


November 

IRON  PETTICOAT.  THE  Katherine  Hepburn,  Bob  Hope. 
Producer  Betty  Box.  Director  Ralph  Thomas.  Comedy. 
Russian  lady  aviatrix  meets  fast  talking  American. 
87  min.  1/21. 

December 

GREAT  AMERICAN  PASTIME,  THE  Tom  Ewell,  Ann 
Francis,  Ann  Miller.  Producer  Henry  Berman.  Director 
Nat  Benchley.  Comedy.  Romantic  antics  with  a  Little 
League  baseball  background.  89  min. 

TEAHOUSE  OF  THE  AUGUST  MOON.  THE  Cinema- 
Scope, Eastman  Color.  Marlon  Brando,  Glenn  Ford, 
Eddie  Albert.  Producer  Jack  Cummings.  Director  Daniel 
Mann.  Comedy.  Filmiiation  of  the  Broadway  play. 
123  min.  10/29. 

January 

ACTION  OF  THE  TIGER  CinemaScope,  Color.  Van 
Johnson,  Martine  Carol,  Gustave  Rofo.  A  Cleridge 
Production.  Drama.  Beautiful  girl  seeks  help  of  con- 
traband  runner   to   re»cue    brother   from  Communists. 

EDGE  OF  THE  CITY  John  Cassavetes,  Sidney  Poitier. 
Producer  David  Susskind.  Director  Martin  Ritt.  Drama. 
A  man  finds  confidence  in  the  future  by  believing 
in  himself.  85  min.  1/7. 

SLANDER  Van  Johnson,  Ann  BJyth,  Steve  Cochran. 
Producer  Armand  Deutsch.  Director  Roy  Rowland. 
Drama.  Story  of  a  scandal  magazine  publisher  and 
his  victims.  81  min.  Ml. 

February 

BARRETS  OF  WIMPOLE  STREET,  THE  Cinema  Scope , 
Eastman  Color.  Jennifer  Jones,  Sir  John  Gielgud,  Bill 
Travers.  Producer  Sam  Zimbalist.  Director  Sidney 
Franklin.  Drama.  Love  story  of  poets  Elizabeth  Barrett 
and  Robert  Browning.  105  min.  1/21. 

HOT  SUMMER  NIGHT  Leslie  Nielsen,  Coleen  Miller. 
Producer  Morton  Fine.  Director  David  Friedkin.  Melo- 
drama. Story  of  a  gangland  hide-out.  84  min.  2/4. 

WINGS  Of  THE  EAGLES.  THE  John  Wayne,  Dan 
Dalley,  Maureen  O'Hara.  Producer  Charles  Schnee. 
Director  John  Ford.  Drama.  Life  and  times  of  a  naval 
aviator.  110  min.  2/4. 

March 

HAPPY  ROAD.  THE  Gene  Kelly,  Michael  Redgrave, 
Barbara  Laage.  A  Kerry  Production.  Directors,  Gene 
Kelly,  Noel  Coward.  Drama.  Two  children  run  away 
from  boarding  hchool  to  find  their  respective  parents. 
100  min.  2/4. 

LIZZIE  Eleanor  Parker,  Richard  Boone,  Joan  Btondell. 
Producer  Jerry  BressVer.  Director  Hugo  Haas.  Drama. 
A  young  girl  lives  three  different  lives.  81  min.  3/4 

TEN  THOUSAND  BEDROOMS  CinemaScope,  Techni- 
color. Dean  Martin,  Anna  Maria  Alberghetti.  Producer 
Joseph  Pasternack.  Director  Richard  Thorpe.  Musical. 
A  hotel  tycoon  falls  in  love  with  a  lovely  Italian  girl. 
114  min.  2/18. 

A  pril 

DESIGNING  WOMAN  CinemaScope.  Gregory  Peck, 
Lauren  Bacall,  Dolores  Gray.  Produced  Dore  Schary. 
Director  Vincente  Minnelli.  Comedy.  Ace  sportswriter 
marries  streamlined  blond  with  ideas.  117  min.  3/4 
VINTAGE,  THE  MetroColor.  Pier  Angeli,  Mel  Ferrer. 
Leif  Erickson.  Producer  Edwin  Knoph.  Director  Jeffrey 
Hayden.  Drama.  A  conflict  between  young  love  and 
mature  responsibility.  90  min.  3/18. 

May 

LITTLE  HUT,  THE  MetroColor.  Ava  Gardner,  Stewart 
Granger.  Producers  F.  Hugh  Herbert.  Director  Mark 
Robson.  Comedy.  Husband,  wrfe  and  wife's  lover  are 
marooned  on  a  tropical  isle.  93  min. 

TARZAN  AND  THE  LOST  SAFARI  Technicolor.  Gordon 
Scott  Robert  Beatty.  A  Sol  Lesser  Production.  Director 
Bruce  Humberstone.  Adventure.  Tarzan  rescues  safari 
lost  in  deepest  Africa.  80  min.  3/18. 

THIS  COULD  BE  THE  NIGHT  Jean  Simmons.  Paul 
Douglas.  Producer  Joe  Pasternak.  Director  Robert 
Wise.  Comedy.  A  girl  fresh  out  of  college  gets  a 
job  as  secretary  to  an  ex-bootlegger. 


Coming 

LIVING  IDOL,  THE  CinemaScope,  Eastman  Color. 
Steve  Forrest,  Lilliane  Montevecchi.  Producer-director 
Al  Lewin.  Drama.  An  archeologist  is  faced  with  an  un- 
worldly situation  that  threatens  the  safety  of  his 
adopted  daughter.  98  min. 

MAN  ON  FIRE  Bing  Crosby,  Mary  Pickett  Inger 
Stevens.  Producer  Sol  Siegel.  Director  R.  MacDougall. 

RAINTREE  COUNTY  Eastman  Color,  CinemaScope  55. 
Elizabeth  Taylor,  Montgomery  Clift.  Producer  David 
Lewis.  Director  Edward  Dymtryke.  Drama.  Life  in  Indi- 
ana during  the  middle  1800's. 

SEVENTH  SIN.  THE  CinemaScope.  Eleanor  Parker,  Mill 
Travers,  George  Sanders.  Producer  David  Lewis.  Di- 
rector Ronald  Neame. 

SILK  STOCKINGS  MetroColor,  CinemaScope.  Fred  As- 
taire,  Cyd  Charrise,  Janis  Page.  Producer  Arthur 
Freed.  Director  R.  Mamoullian.  Musical. 
SOMETHING  OF  VALUE  Rock  Hudson,  Dana  Wynter, 
Wendy  HMIer.  Producer  Pandro  Berman.  Director 
Richard  Brooks.  Drama.  Stry  of  a  Mau  Mau  uprising 
in  Kenya,  East  Africa. 


PARAMOUNT 


November 

MOUNTAIN.  THE  VistaVision,  Technicolor.  Spencer 
Tracy,  Bob  Wagner,  Claire  Trevor.  Producer-director 
Edward  Dmytryk.  Adventure.  Two  brothers  climb  to  a 
distant  snowcapped  peak  where  an  airplane  has 
crashed  to  discover  a  critically  injured  woman  in  the 
wreckage.  105.  10/15. 

December 

HOLLYWOOD  OR  BUST  VistaVision,  Technicolor.  Dean 
Martin,  Jerry  Lewis,  Anita  Ekberg.  Producer  Hal  Wal- 
lis.  Director  Frank  Tashlin.  Comedy.  The  adventures  of 
a  wild-eyed  film  fan  who  knows  everything  about  the 
movies.  95  min.  k2/IO. 

WAR  AND  PEACE  VistaVisio-i,  Technicolor.  Audrey 
Hepburn,  Henry  Fonda,  Mel  Ferrer.  Producers  Carle 
Ponti,  Dino  de  Laurentils.  Director  King  Vldor.  Drama. 
Based  on  Tolstoy's  novel.  208  min.  9/3. 

January 

THREE  VIOLENT  PEOPLE  VistaVision,  Technicolor. 
Charlton  Heston.  Anne  Baxter,  Gilbert  Roland.  Pro- 
ducer Hugh  Brown.  Director  Rudy  Mate.  Western.  Story 
of    returning    Confederate    war    veterans    in  Texas. 

100  min.  1/7. 

February 

RAINMAKER.  THE  VistaVision,  Technicolor.  Burt  Lan- 
caster, Katherine  Hepburn,  Wendell  Corey.  Producer 
Hal  Wallis.  Director  Joseph  Anthony.  Comedy  drama. 
Fllmization  of  the  famous  B'way  play.   121  min.  12/24. 

March 

FEAR  STRIKES  OUT  Anthony  Perkins,  Karl  Maiden. 
Norma  Moore.  Producer  Alan  Pakula.  Director  Perry 
Wilson.  Drama.  Story  of  the  Boston  baseball  player. 
100  min.  2/18. 

OMAR  KHAYYAM  VistaVision,  Technicolor.  Cornel 
Wilde,  Michael  Rennie,  Pebra  Paget.  Producer  Frank 
Freeman,  Jr.  Director  William  Dieterlev  Adventure. 
The  life  and  times  of  medieval  Persia's  literary  idol. 
103  min. 

Agprii 

FUNNY  FACE  VistaVision,  Technicolor.  Audiey  Hep- 
burn, Fred  Astaire,  Kay  Thompson.  Producer  Roger 
Edens.  Director  Stanley  Donen.  Musical.  Photographer 
plucks  fashion  model  from  Greenwich  ytlfage  bookshop. 
153  min.  2/18. 


Film 


BULLETIN—  THIS     IS     YOUR  PRODUCT 


May 


BUSTER  KEATON  STORY,  THE  VistaVision,  Technicolor. 
Donald  O'Connor,  Ann  Blyth,  Rhonda  Fleming.  Pro- 
ducers Robert  Smith,  Sidney  Sheldon.  Director  Sidney 
Sheldon.  Drama.  Life  of  the  great  comedian. 

GUNFIGHT  AT  O.K.  CORRAL  VistaVision,  Technicolor. 
Burt  Lancaster,  Kirk  Douglas,  Rhonda  Fleming.  Pro- 
ducer Hal  Wallis.  Director  John  Sturges.  Western. 
Drunken  badman  hunts  for  murderer  of  his  cheating 
brother.  122  min. 


Coming 


BEAU  JAMES  VistaVision,  Technicolor.  Bob  Hope.  Pro- 
ducer Jack  Rose.  Director  Michael  Moore.  Drama. 
Biography  of  the  famous  Jimmy  Walker,  mayor  of  N.Y. 
from  1925  to  1932.  105  min. 

DELICATE  DELI NQUENT,  THE  Jerry  Lewis,  Darren  Me- 
Gavin,  Martha  Hyec  Producer  Jerry  Lewis.  Director 
Don  McGuire.  Janitor  longs  to  be  police  officer  so  he 
can  help  delinquents.  101  min. 

JOKER  IS  WILD,  THE  VistaVision,  Technicolor.  Frank 
Sinatra,  Mitii  Gayrvor,  Jeanne  Crain.  Producer  Samuel 
Briskm.  Director  Chvles  Victor.  Drama.  Film  biography 
of  Joe  E.  Lewis,  nigh?club  comedian. 

LONELY  MAN.  THE  VistaVision,  Technicolor.  Jack  Pa- 
lance,  Anthony  Perkins,  Elaine  Aiken.  Producer  Pat 
Duggan.  Director  Henry  Levin.  Western.  A  gunfighter 
finds  he  is  losing  his  sight — and  his  aim. 

SPANISH  AFFAIR  VistaVision,  Technicolor.  Carmen 
Sevilla,  Richard  Kiley.  Producer  Bruce  Odium.  Director 
Donald  Siegel. 

TEN  COMMANDMENTS,  THE  VistaVision.  Technicolor. 
Charlton  Heston  Yul  Brynner,  Anne  Bax*er  °roducer- 
director  Cecil  B  DeMille  Reliaious  drama  Life  storv 
of  Moses  as  told  in  the  Bible  and  Koran.  219  min.  10/15 
TIN  STAR,  THE  VistaVision.  Henry  Fonda,  Anthony 
Perkins.  A  Perlherg-Seaton  Production.  Director  An- 
thony Mann.  V  .tern. 


REPUBLIC 


November 

A  WOMAN'S  DEVOTION  Trucolor.  Ralph  Meeker, 
Janice  Rule,  Paul  Henreid.  Producer  John  Bash.  Direc- 
tor Paul  Henreid.  Drama.  Recurrence  of  Gl's  battle- 
shock  illness  makes  him  murder  two  girls.  88  min.  12/10 
CONGRESS  DANCES,  THE  CinemaScope,  Trucolor. 
Johanna  Matz,  Rudolf  Prack.  A  Cosmos-Neusser  Pro- 
duction. Drama.  Intrigue  and  mystery  in  Vienna  during 
the  time  of  Prince  Metternich.  90  min. 

December 

ACCUSED  OF  MURDER  Trucolor,  Naturama.  David 
Brian,  Vera  Rdlston.  Melodrama.  Associate  producer- 
director  Joseph  Kane.  Drama.  Two-timing  gangfand 
lawyer  is  murdered  by  attractive  girl  singer.  74  min. 
IN  OLD  VIENNA  Trucolor.  Heim  Roettinger,  Robert 
Killick.  Producer-director  James  A.  Fitzpatrick.  Musi- 
cal. Romances  and  triumphs  of  Franz  Shubert,  Johann 
Strauss,  Ludwig  Beethoven  in  the  city  of  music,  Vienna. 

January 

ABOVE  UP  THE  WAVES  John  Mills,  John  Gregson, 
Donald  Slnden.  Producer  W.  MacQultty.  Director  Ralph 
Thomas.  Drama.  Midget  submariners  attempt  to  sink 
German  battleship  in  WWII.  92  min.  1/21. 

TEARS  FOR  SIMON  Eastman  Color.  David  Farrar 
David  Knight,  Julia  Arnall.  A  J.  Arthur  Rank  Produc- 
tion. Drama.  Young  American  couple  living  in  Lon- 
don have  thair  child  stolen.  91  min.  3/18. 


February 


AFFAIR  IN  RENO  Naturama.  John  Lund,  Doris  Single- 
ton. Producer  Sidney  Picker.  Director  R.  G.  Spring- 
stein.  Drama.  Young  heiress  falls  for  fortune-hunting 
gambler.  75  min. 

DUEL  AT  APACHE  WELLS  Naturama,  Trucolor.  Anna 
Maria  Alberghetti,  Ben  Cooper.  Associate  producer- 
director  Joseph  Kane.  Western.  Son  returns  home  to 
find  father's  ranch  threatened  by  rustler-turned-rancher. 
70  min. 

March 

SPOILERS  OF  THE  FORREST  Trucolor,  Naturama.  Vera 
Ralston,  Rod  Cameron.  Producer-director  Joe  Kane. 
Drama.  An  unscrupulous  lumberman  tries  to  coerce  the 
owners  of  a  large  forest  acreage  into  cutting  their 
timber  at  a  faster  rate. 


April 


HELL'S  CROSSROADS  Naturama.  Stephen  McNally 
Peggie  Castle,  Robert  Vauhgn.  Producer  Rudy  Ral- 
ston. Director  Franklin  Adreon.  Western.  Outlaw  cow- 
boy reforms  after  joining  Jesse  James'  gang.  73  min. 


20TH  CENTURY-FOX 


November 

DESPERADOS  ARE  IN  TOWN.  THE  Robert  Arthur,  Rex 
Reason,  Cathy  Nolan.  Producer-director  K.  Neumann. 
Western.^  ^A^teen-age  farm  boy  join  an  outlaw  gang. 

LOVE  ME  TENDER  CinemaScope.  Elvis  Presley,  Richard 
Egan,  Debra  Paget.  Producer  D.  Weisbart.  Director  R. 
Webb.  Drama.  Post-civil  war  story  set  in  Kentucky 
locale.  89  min.  11/26. 

Film 


OKLAHOMA  CinemaScope,  Technicolor.  Gordon  Mac- 
Rae,  Gloria  Grahame,  Shirley  Jones.  Producer  A.  Horn- 
blow,  Jr.  Director  Fred  Zinnemann.  Musical,  rilmiza- 
tion  of  the  famed  Broadway  musical.  140  min. 

December 

ANASTASIA  CinemaScope,  DeLuxe  Color.  Ingrid  Berg- 
man, Yul  Brynner,  Helen  Hayes.  Producer  Buddy  Adler. 
Director  A.  Litvak.  Drama.  Fimization  of  famous 
Broadway  play.  105  min.  12/24. 

BLACK  WHIP.  THE  Hugh  Marlowe,  Adele  Mara.  Pro- 
ducer R.  Stabler.  Director  M.  Warren.  Drama.  Outlaw 
has  black  whip  as  trademark.  77  min. 
GIRL  CAN'T  HELP  IT.  THE  CinemaScope,  De  Luxe 
Color.  Tom  Ewell,  Jayne  Mansfield.  Producer-director 
Frank  TasWin.  Comedy.  Satire  on  rock  'n"  roll.  97 
min.  I/T. 

OASIS  CinemaScope,  Color.  Michele  Morgan,  Cornell 
Borchers.  Producer  Ludwig  Waldleitner  and  Gerd  Os- 
wald. Director  Yvei  Allgret.  Drama.  Gold  smuggler 
falls  in  love  with  lady  sent  to  kill  him.  Violent  ending. 
84  min.  1/21. 

WOMEN  OF  PITCAIRN  ISLAND  CinemaScope.  James 
Craig,  John  Smith,  Lynn  Bari.  Regal  Films  Production. 
Director  Jean  Warbrough.  Drama.  72  min.  3/4. 


January 


OUIET  GUN.  THE  Regalscope.  Forrest  Tucker,  Mara 
Corday.  Procjucer-director  Anthony  Kimmlns.  West.am. 
Laramie  sheriff  clashes  with  notorious  gunman.  77  "min. 
SMILEY  CinemaScope,  Eastman  Color.  Sir  Ralph  Rich- 
ardson, John  McCallum,  Colin  Peterson.  Producer- 
director  Anthony  Kimmins.  Drama.  Young  Aussie  boy 
has  burning  desire  to  own  bicycle.  97  min.  2/18. 
THREE  BRAVE  MEN  CinemaScope.  Ray  Mllland,  Ernest 
Borgnine.  Producer  Herbert  Swope,  Jr.  Director  Philip 
Dunne.  Drama.  Government  employee  is  wronged  by 
too-zealous  pursuit  of  security  program.  88  min.  1/21. 


February 


OH.  MENI  OH.  WOMENI  CinemaScope.  Color.  Dan 
Dairy,  Ginger  Rogers,  David  Niven.  Producer-director 
Nunnally  Johnsoji.  Comedy.  A  psychiatrist  finds  out 
somethings  he  didn't  know.  90  min.  3/4. 
THE  TRUE  STORY  OF  JESSIE  JAMES  CinemaScope. 
Robert  Wagner,  Jeffrey  Hunter.  Producer  Herbert 
Swope,  Jr.  Director  Nicholas  Ray.  Western.  The  Hves 
and  times  of  America's  outlaw  gang.  92  min.  2/18. 
TWO  GROOMS  FOR  A  BRIDE  Virginia  Bruce,  John 
Carroll.  Producer  Robert  Baker,  Monty  Berman.  Direc- 
tor Henry  Cass.  Comedy. 


March 


HEAVEN  KNOWS  MR.  ALLISON  CinemaScope  De  Luxe 
Color.  Deborah  Kerr,  Robert  Mitchum.  Producers 
Buddy  Adter,  Eugene  Frenke.  Director  John  Hus+on. 
Drama.  Soldier  is  saved  by  nun  in  South  Pacific  during 
World  War  II  93  min.  3/18. 

RIVER'S  EDGE,  THE  CinemaScope,  Color.  Ray  Milland, 
Anthony  Quinn,  Dabra  Paget.  Producer  Benidict 
Bogeaos.  Director  Allan  Dwan.  Adventure.  Story  of  a 
professional  killer. 

STORM  RIDER,  THE  Scott  Brady,  Mala  Powers.  A 
Brady-Glasser  production.  Director  Edward  Bernds. 
Western.  A  dust  storm  brings  a  stranger  to  a  small 
western  town.  70  min. 


A  pril 


BOY  ON  A  DOLPHIN  CinemaScope,  DeLuxe  Color. 
Clifton  Webb,  Alan  Ladd,  Sophia  Loren.  Producer  Sam 
Engel.  Director  Jean  Negulesco.  C$medy.  Romantic 
tale  with  a  Greek  background. 

CHINA  GATE  Nat  "King"  Cole,  Gene  Barry,  Angie 
Dickinson.  Producer-director  S.  Fuller.  Drama. 


Coming 


ALL  THAT  I  HAVE  Walter  Brennan. 

BADLANDS  OF  MONTANA  Rex  Reason,  Margia  Deane, 
Beverly  Garland.  Producer  H.  Knox.  Director  D.  Ull- 
man. 

BEAUTIFUL  BUT  DANGEROUS  Gina  Lotlobrigida,  Vit- 
torio  Gassman.  Producer  Manuella  Malotti.  Director 
Robert  Leonard.  Drama. 

BERNADINE  Terry  Moore,  Pat  Boone,  Janet  Gaynor. 
Producer  Sam  Engel.  Director  H.  Levin.  Story  of 
teenagers. 

BREAK  !N  THE  CIRCLE  Forrest  Tucker,  Eva  Bartok. 
Producer  M.  Carreras.  Director  V.  Guest.  Drama. 
DESK  SET  Spencer  Tracy,  Katharine  Hepburn.  Producer 
Henry  Sphron.  Director  W.  Lang.  Filmization  of  the 
famous  Broadway  comedy. 

ISLAND  IN  THE  SUN  CinemaScope  DeLuxe  Color. 
James  Mason,  Joan  Fontaine,  Dorothy  Dandridge.  Pro- 
ducer DarryJ  Zanuck.  Director  Robert  Rossen.  Drama. 
LURE  OF  THE  SWAMP  William  Parker,  Skippy  Homeir, 
Marshall  Thompson. 

RESTLESS  BREED,  THE  Eastman  Color.  Scott  Brady, 
Anne  Bancroft.  Producer  E.  A.  Alperson.  Director  Alan 
Dwan. 

SEA  WIFE  CinemaScope,  DeLuxe  Color.  Richard  Bur- 
ton, Joan  Collins.  Producer  Andre  Hakim.  Director  Bob 
McNaught.  Drama.  Ship  is  torpedoed  by  Jay  submarine 
off  Singapore  harbor. 

THREE   FACES   OF   EVE.   THE   David   Wayne,  Joanne 

Woodward.  Producer  Nunnally  Johnson. 

WAY  TO  THE  GOLD,  THE  Sheree  North,  Barry  Sullivan, 

Jeffrey  Hunter.  Producer  David  Weisbart.  Director  R. 

Webb. 

WAYWARD  BUS  Jayne  Mansfield,  Dan  Dailey,  Joan 
Collins,  Rick  Jason. 


UNITED  ARTISTS 


November 

GUN  THE  MAN  DOWN  James  Arness,  Angie  Dickij 
son,  Robert  Wilke.  Producer  Robert  Morrison.  Direct! 
A.  V.  McLaglen.  Western.  Young  western  gunman  ge 
revenge  on  fellow  thieves  who  desert  him  whe 
wounded.  78  min. 
PEACEMAKER,  THE  James  Mitchell,  Rosemarie  Bowi 
Jan  Merlin.  Producer  Hal  Makelim.  Director  Ted  Pos 
Western.  A  clergyman  trys  to  end  feud  between  cattli 
men  and  farmers.  82  min.  11/24. 

RUNNING  TARGET  Deluxe  Color.  Doris  DowlinMcjy 
Arthur  Franz,  Richard  Reeves.  Producer  Jack  Couffe 
Director  Marvin  Weinstein.  Melodrama.  Escaped  fug 
fives  are  chased  by  local  townspeople  and  officer 
the  law.  83  min.  11/12. 
SHARKFIGHTERS,  THE  CinemaScoDe,  Color.  Victc 
Mature,  Karen  Steele.  Produc-"-  Samuel  Goldwyn,  J 
Director  Jerry  Hopper.  Drar  .  Saga  of  the  Navy 
"underwater-men".  73  min.  10, i.. 

December 

BRASS  LEGEND,  THE  Hugh  O'Brian  Raymond  Bun] 
Nancy  Gates.  Western.  Producer  Bob  Goldstein.  D| 
rector  Gerd  Oswald.  Western.  79  min. 
DANCE  WITH  ME  HENRY  Bud  Abbott,  Lou  Costellcj 
Producer  Robert  Goldstein,  Director  Charles  Barton 
Comedy.  79  min.  12/24. 
KING  AND  FOUR  QUEENS,  THE  CinemaScope,  Color 
Clark  Gable,  Eleanor  Parker,  Jo  Van  Fleet,  Jean  Willi;* 
Barbara  Nichols,  Sara  Shane.  Producer  David  Hemp 
stead.  Director  Raoul  Walsh.  Western.  86  min.  1/7. 
WILD  PARTY.  THE  Anthony  Quinn,  Carol  Ohmart,  Pai 
Stewart.  Producer  Sidney  Harmon.  Director  Harrl1 
Horner.  Drama.  Hoodlum  mob  take  over  a  Naval  off  it 
cer  and  his  fiancee.  81  min.  12/10 

January 

BIG  BOODLE.  THE  Errol  Flynn,  Rossana  Rory.  A  Lewifl 
F.  Blumberg  Production.  Director  Richard  Wilson.  Ad 
venture.  A  blackjack  dealer  in  a  Havana  nightclub 
accused  of  being  a  counterfeiter.  83  min.  2/4. 
FIVE  STEPS  TO  DANGER  Ruth  Roman,  Sterling  Hayden' 
A  Grand  Production.  Director  Henry  Kesler.  Drama^ 
A  woman  tries  to  give  FBI  highly  secret  material  stole; 
from  Russians.  80  min.  2/4. 
HALLIDAY  BRAND,  THE  Joseph  Cotten,  Viveca  Lind] 
fors,  Betsy  Blair.  Producer  Collier  Young.  Directo' 
Joseph  Lewis.  Western.  Inter-family  feud  threaten 
father  and  son  with  disaster.  77  min.  2/4. 


February 


CRIME  OF  PASSION  Barbara  Stanwyck,  Sterlin 
Hayden,  Raymond  Burr.  Producer  Herman  Cohen.  Di 
rec.tor  Gerd  Oswald.  Drama.  Newspaper  woman  wl 
ambition  for  her  husband  leads  to  murder.  85  min. 
D  RAN  GO  Jeff  Chandler,  Joanne  Dru.  An  Earlmar  Pro 
dustion.  Hall  Bartlett  producer-director.  Adventure 
Union  officers  try  to  bring  order  to  a  Southern  towi 
after  the  Civil  War.  92  min. 
MEN  IN  WAR  Robert  Ryan,  Aldo  Ray,  Robert  Keith 
Producer  Sidney  Harmon.  Director  Anthony  Mann 
Dr«ma.  An  American  infantry  platoon  isolated  in  enemv 
territory  tries  to  retreat  during  the  Korean  War 
101  min.  2/4. 

TOMAHAWK  TRAIL  John  Smith,  Susan  Cummings. 
Bel  Air  Production.  Director  Robert  Parry.  Western 
Cowboy  versus  Indians.  A  small  band  of  cavalrvj 
soldiers,  greatly  outnumbered,  battles  with  Apache 
Indians  at  close  of  the  Civil  War.  61  min. 
VODOO  ISLAND  Boris  Karloff,  Bs-vej-ly  Tyler.  A  Be 
Afr  Production.  Director  Reginald  Le  Borg.  Horror 
Writer  is  called  upon  to  investigate  vodooism  on  e 
Pacific  isle.  76  min. 


March 


DELINQUENTS,  THE  Tommy  Laughlin,  Peter  Miller, 
Dick  Bakalyan.  Imperial  Productions.  Robert  Altmar. 
director.  High  school  student  and  his  girl  victimized 
by  a  teen-age  gang.  75  min.  3/18. 
HIT  AND  RUN  CJeo  Moore,  Hugo  Haas.  Producer,  di- 
rector Hugo  Haas.  Middle-aged  widower  marries  show 
girl.  She  and  her  boy  friend  plot  his  murder.  84  min. 
REVOLT  AT  FORT  LARAMIE  DeLuxe  Color.  John 
Dthner,  Diana  Brewster.  Producer  Howard  Koch.  Di- 
rector Lesley  Selander.  Western.  Civil  War  story  of 
soldiers  who  are  attacked  by  Indians.  73  min. 


A  pril 


BACHELOR  PARTY.  THE  Don  Murray,  E.  G.  Marshall, 
Jack  Warden.  Producer  Harold  Hecht.  Director  Delbert 
Mann.  Drama.  From  the  famous  television  drama  by 
Paddy  Chayefsky.  93  min. 
FURY  AT  SHOWDOWN  John  Derek,  Carolyn  Craig, 
Nick  Adams.  Producer  John  Beck.  Director  Gerd  Os- 
wald. Western.  Ex-bandit  finds  tough  going  when  he 
tries  to  go  straight.  75  min.  3/18. 
GIRL  IN  BLACK  STOCKINGS,  THE  Lex  Barker,  Anne 
Bancroft,  Mamie  Van  Doren.  A  Bel-Air  Production.  Di- 
rector Howard  Koch.  Drama.  A  series  of  sex  slayings 
terrorize  western  resort. 
IRON  SHERIFF,  THE  Sterling  Hayden,,  John  Dehner, 
Constance  Ford.  Producer  Jerome  Robinson.  Director 
Sidney  Salkow.  Sheriff  tries  to  clear  his  son  of  a 
murder  charge.  73  min. 
MONTE  CARLO  STORY,  THE  Technirama,  Color.  Mar- 
lene  Dietrich,  Vittorio  De  Sica.  A  Titanus  Film.  Sam 
Taylor  director.  Drama.  A  handsome  Italian  nobleman 
with  a  love  for  gambling  marries  a  rich  woman  in 
order  to  pay  his  debts. 
12  ANGRY  MEN  Henry  Fonda,  Lee  J.  Cobb  Jack 
Warden.  An  Orion-Nova  Production.  Director  Sidney 
Lumet.  Drama.  Jury  cannot  agree  on  a  verdict.  95 
min.  3/4 


U  L  L  E  T  I  N 


T  H 


YOUR  PRODUCT 


,'AR  D3UM5  DeLuxe  Color.  Lex  Barker,  Joan  Taylor, 
3n  Johnson.  Director  Reginald  LeBorg.  Apache  chief 
lid  his  white  wife  wgae  war  on  white  settlers.  75  min. 

May 

IDDEN  FEAR  John  Payne,  Natalie  Norwick.  A  St. 
ubrey-Kohn  Production.  Director  Andre  de  Toth. 
rjma  Police  officer  attempts  to  clear  sister  charged 
ith  murder. 

Coming 

AILOUT  AT  43.000  John  Payne,  Karen  Steele.  A  Pine- 
homas  Production.  Director  Francis  Lyon.  U.S.  Air 
orce  pioneers  bailout  mechanism  for  jet  pilots. 
IG  CAPER.  THE  Rtwy  CaJhound,  Marv  Costa.  Pine- 
homas  Production.  Director  Robert  Stevens.  Multi- 
lillion  dollar  payroll  robbery. 

ARELESS  YEARS,  THE  Natalie  Trundy,  Dean  Stock 
•ell.  Producer  bdward  Lewis.  Director  Arthur  Hiller. 
rama.  Two  lovers  meet  parental  resistance  when  they 
ecide  to  get  married. 

ON  ELY  GUN,  THE  Anthony  Ouinn,  Katy  Jurado.  Pro- 

ucer  Robert  Jacks.  Director  Harry  Horner. 

(ONSTER  THAT  CHALLENGED  THE  WORLD,  THE  Tim 

lolt,  Audrey  Dalton.  Producers  Jules  Levy,  Arthur 
iardner.  Director  Arnold  Laven.  Science-fiction.  Group 
f  Navy  scientists  battle  a  pre-historic  sea  monster. 
HJTLAW'S  SON  Dane  Clark,  Ben  Cooper,  Lori  NeJ- 
on.  Bel  Air  Production.  Director  Lesley  Selander.  Gun- 
I  linger   escapes   from   jail   to   save   son    from    life  of 

HARO AH ' S  CURSE  Ziva  Shapir,  Mark  Dana.  Producer 
, -toward  Koch.  Director  Lea  Sholem.  Horror.  Reincar- 
ation  of  mummies  in  Egyptian  tombs.  66  min.  2/18 
•RIDE  AND  THE  PASSION.  THE  VistaVision,  Techni- 
,  ofor.  Cary  Grant,  Frank  Sinatra,  Sophia  Loren.  Pro- 
lucer-director  Stanley  Kramer.  Drama.  A  Spanish 
luerrilla  band  marches  an  incredible  distance  with  a 
,000  pound  cannon  during  Spanish  War  of  Independ- 
■nce  of  1810. 

•AVAGE  PRINCESS  Technicolor.  Dilip  Kumar,  Nimmi. 
^  Mehboob  Production.  Musical  Drama.  A  princess 
alls  in  love  with  a  peasant  who  contests  her  right 
o  rule  the  kingdom.  101  min. 

STREET  OF  SINNERS  George  Montgomery,  Geraldine 
Srooks  Producer  William  Berke.  Rookie  policeman 
Mashes  with  youthful  criminals. 

iPRING  REUNION  Betty  Hutton,  Dana  Andrews,  Jean 
Hagen.  Director  Robert  Pirosh.  Producer  Jerry  Bresler. 
Comedy.  Old  schoolmates  fall  in  love  at  a  high  school 
•eunion.  79  min.  3/18. 

TROOPER  HOOK  Joel  McCrea,  Barbara  Stanwyck,  Ed- 
ward Andrews.  Producer  Sol  Fielding.  Director  Marquis 
rVarren.  A  white  woman,  forced  to  live  as  an  Indian 
Dhief's  squaw,  is  finally  rescued  and  tries  to  resume 
Ife  with  husband. 


U  N  I  VERSA L- 1  NT'  L 


December 

CURCU.  BEAST  OF  THE  AMAZON  Eastman  Color.  John 
Bromfield,  Beverly  Garland.  Producers  Richard  Kay, 
Harry  Rybnick.  Director  Curt  Siodmak.  Horror.  Young 
woman  physician,  plantation  owner  and  his  workers 
are  terrorized  by  mysterious  jungle  beast. 
EVERYTHING  BUT  THE  TRUTH  Technicolor.  Tim  Hovey, 
Maureen  O'Hara,  John  Forsythe.  Producer  Howard 
Christie.  Director  Jerry  Hopper.  Comedy.  Young  stu- 
dent gets  mixed  up  with  "lies".  83  min.  11/12. 
MAN  IN  THE  VAULT  Anita  Ekberg,  Bill  Campbell, 
Karen  Sharpe.  A  Wayne-Fellows  Production.  Director 
Andrew  McLaglen.  Melodrama.  A  young  locksmith  gets 
involved  with  a  group  engaged  in  illegal  activities. 
73  min.  1/7. 

MOLE  PEOPLE,  THE  John  Agar,  Cythia  Patrick.  Pro- 
ducer William  Alland.  Director  Virgil  Vogel.  Horror. 
Scientific  expedition  in  Asia  discover  strange  men. 

January 

BRAVE  ONE,  THE  CinemaScope,  Technicolor.  Michel 
Ray,  Fermin  Rivera,  Joy  Lansing  Rudolph  Hoyos.  Pro- 
ducer Frank  i  Maurice  King.  Director  Irving  Rapper. 
Drama.  The  adventures  of  a  young  Mexican  boy  who 
Vows  up  with  a  bull  as  his  main  companion  and  friend 
and  how  each  protests  the  other.  100  min.  10/15. 
BUNDLE  OF  JOY  CinemaScope,  Eastman  Color.  Debbie 
Reynolds,  Eddie  Fisher,  Adolph  Menjou.  Producer  Ed- 
mund Grainger.  Director  Norman  Taurof  Comedy. 
Son  of  department  store  magnet  falls  f"  salesgirl. 
98  min.  12/24. 

FOUR  GIRLS  IN  TOWN  CinemaScope,  Technicolor. 
George  Nader,  Julie  Adams,  Marianne  Cook.  Producer 
A.  Rosenberg.  Director  Jack  Sher.  Drama.  Movie  studio 
promotes  world-wide  talent  hunt  to  find  a  new  star. 
85  min.  12/10 

ROCK,  PRETTY  BABY  Sal  Mineo,  John  Saxon,  Luana 
Patten.  Producer  Edmund  Chevie.  Director  Richard 
Bartlett.  Musical.  Rock  n'  roll  story  of  college  combo. 
8?  min.  1 1/26. 

WRITTEN  ON  THE  WIND  Technicolor.  Rock  Hudson, 
Lauren  Bacall,  Robert  Stack.  Producer  Albert  Zug- 
smith.  Director  Douglas  Sirk.  Drama.  Oil  tycoon  meets 
violent  death  because  of  jealousy  for  wife.  99  min.  10/1 

February 

GREAT  MAN,  THE  Jose  Ferrer,  Mona  Freeman,  Dean 
Jagger.  Producer  Aaron  Rosenberg.  Director  Jose  Fer- 
rer. Drama.  The  life  and  death  of  a  famous  television 
idol.  92  min.  1 1/26. 

ISTANBUL  CinemaScope,  Technicolor.  Errol  Flynn,  Cor- 
nell Borchers.  Producer  Albert  Cohen.  Director  Joseph 
Pevney.  Adventure.  Diamond  smugglers  in  mysterious 
Turkey.  84  min.  1/21. 


NIGHT  RUNNER,  THE  Ray  Danton,  Colleen  Miller.  Pro- 
ducer Albert  Cohen.  Director  Abner  Biberman.  Drama. 
Mental  hospital  inmate  is  released  while  still  in  dan- 
gerous condition. 

March 

BATTLE  HYMN  Technicplor,  CinemaScope.  Rock  Hud- 
son, Martha  Hyer,  Dan  Duryea.  Producer  Ross  Hunter 
Director  Douglas  Sirk.  Drama.  Pilot  redeems  sense  of 
guilt  because  of  bombing  of  an  orphanage  by  saving 
other  orphans.  108  min.  12/24. 

GUN  FOR  A  COWARD  astman  Color,  CinemaScope. 
Fred  MacMurray,  Jeffrey  Hunter,  Janice  Rule.  Pro- 
ducer William  Alland.  Director  Abner  Biberman.  Wes- 
tern. Three  brothers  run  a  cattle  ranch  after  death  of 
their  father.  88  min.  1/7. 

MISTER  CORY  Eastman  Color,  CinemaScope.  Tony 
Curtis,  Martha  Hyer,  Charles  Bickford.  Producer 
Robert  Arthur.  Director  Blake  Edwards.  Drama.  Gam- 
bler from  Chicago  sjums  climbs  to  wealth  and  re- 
spectability. 92  min.  1/21. 

April 

INCREDIBLE  SHRINKING  MAN,  THE  Grant  Williams, 
Randy  Stuart.  Producer  Albert  Zugsmith.  Director  Jack 
Arnold.  Science-fiction.  The  story  of  a  man  whose 
growth  processes  have  accidently  been  reversed. 
81  min.  2/4. 

KELLY  AND  ME  CinemaScope,  Technicolor.  Van  John- 
ion,  Piper  Laurie,  Martha  Hyer.  Producer  Robert  Ar- 
thur. Director  Robert  Leonard.  Drama.  Story  of  dog- 
act  in  show  business  in  the  early  1 930* s .  2/4. 
TATTERED  DRESS,  THE  CinemaScope.  Jeff  Chandler. 
Jeannie  Crain,  Jack  Carson.  Producer  Albert  Zugsmith. 
Director  Jack  Arnold.  Melodrama.  Famous  criminal 
lawyer  gains  humility  when  put  on  trial  himself.  93 
min.  3/4 

May 

DEADLY  MANTIS.  THE  Craig  Stevens,  Alix  Talton.  Pro- 
ducer William  Alland.  Director  Jerry  Juran.  Horror. 
Monstrous  creature  threatens  to  destroy  U.S. 
MAN  AFRAID  CinemaScope.  George  Nader,  Phyllis 
Thaxter,  Tim  Hovey.  Producer  Gordon  Kay.  Director 
Harry  Keller.  Dramj.  Father  saves  life  of  man  attempt- 
ing to  murder  his  son. 

OUANTEZ  CinemaScope,  Eastman  Color.  Fred  Mac- 
Murray,  Dorothy  Malone.  Producer  Gordon  Kay.  Direc- 
tor Harry  Keller.  Drama.  A  study  of  five  people  in- 
volved in  a  robbery  and  killing. 

Coming 

DAY  THEY  GAVE  BABIES  AWAY.  THE  Eastman  Color. 
Glynis  Johns,  Cameron  Mitchell.  Rex  Thompson.  Pro- 
ducer Sam  Weisenthal.  Director  Allen  Reisner.  Drama. 
ESCAPADE  IN  JAPAN  Color.  Teresa  Wright,  Cameron 
Mitchell,  Jon  Provost,  Roger  Nakagaws.  Producer-direc- 
tor Arthur  Lubin.  Search  for  two  boys  who  start  out 
in  the  wrong  direction  to  find  the  very  people  who 
are  trying  to  find  them. 

GIRL  MOST  LIKELY.  THE  Eastmai  Color.  Jane  Powell, 
Cliff  Robertson,  Keith  Andes.  Producer  Stanley  Rublin. 
Director  Mitchell  Leisoit.  Comedy.  A  girl  is  proposed 
to  by  three  men  on  the  same  day. 

I  MARRIED  A  WOMAN  George  Gobel,  Diana  Dors, 
Adolph  Menjou.  Producer  William  Bloom.  Director  Hal 
Kanter.  Coemdy.  Wife  objects  to  taking  second  place 
to  a  beer  advertising  campaign  with  her  husband. 
INTERLUDE  Technicolor,  CinemaScope.  June  Allyson, 
Rossano  Brazzi.  Producer  Ross  Hunter.  Director  Douglas 
Sirk.  American  doctor  falls  in  love  with  wife  of  fa- 
mous compoier  in  Munich. 

JET  PILOT  Technicolor,  SuperScope.  John  Wayne, 
Janet  Leigh.  Howard  Hughes  Production.  Producer 
Jules  Furth'man  Director  Josei  von  Sternoerg.  Drama. 
1 19  min. 

JOE  BUTTERFLY  CinemaScope,  Technicolor.  Audie 
Murphy,  George  Nader,  Keenan  Wynn.  Producer 
Aaron  Rosenberg.  Director  Jessie  Hibbs.  Story  of 
American  newsmen  in  Tokyo  after  Japanese  surrender. 
JOE  DAKOTA  Color.  Jock  Mahoney,  Luana  Patten.  Pro- 
ducer Howard  Christie.  Director  Richard  Bartlett. 
Drama.  Stranger  makes  California  oil  town  see  the 
error  of  its  ways. 

KETTLES  ON  OLD  MocDONALDS  FARM,  THE  Marjorie 
Main  Parker  Fennelly,  Gloria  Talbott.  Producer  Ho- 
ward Christie.  Director  Virgil  Vogel.  Comedy.  The 
Kettles  buy  a  new  farm. 

LAND  UNKNOWN.  THE  Jock  Mahoney,  Shawn  Smith. 
Producer  William  Alland.  Director  Virgil  Vogel. 
Science-fiction.  Polar  expedition  finds  Mesozoic  age 
in  Antartic  expedition. 

MAN  OF  A  THOUSAND  FACES  CinemaScope.  James 
Cagney,  Dorothy  Malone.  Producer  Robert  Arthur.  Di- 
rector Joseph  Pevney.  Drama.  Life  story  of  Lon  Chaney. 
MIDNIGHT  STORY,  THE  CinemaScope.  Tony  Curtis, 
Marisa  Pavan.  Producer  Robert  Arthur.  Director  Joseph 
Pevnev.  Drama.  Rookie  cop  seeks  murderer  of  parish 
priest. 

NIGHT  PASSAGE  Technirama.  James  Stewart,  Audie 
Murphy,  Dan  Duryea.  Producer  A.  Rosenberg.  Director 
James  Neilson.  Drama.  Payroll  robbers  are  foiled  by 
youngster  and  tough-fisted  railroader. 
PAY  THE  DEVIL  CinemaScope.  Jeff  Chandler,  Orson 
Welles.  Producer  Albert  Zugsmith.  Director  Jack  Ar- 
nold. Drama.  Sheriff  destroys  one-man  domination  of 
Texas  town. 

PUBLIC  PIGEON  NO.  1  Eastman  Color.  Red  Skelton, 
Vivian  Blaine,  Janet  Blair.  Preducer  Harry  Tugend.  Di- 
rector Norman  McLeod.  Comedy.  A  trusting  soul 
tangles  with  slick  con  men  and  outwits  them.  79  min. 
RUN  OF  THE  ARROW  Eastman  Color.  Rod  Steiger, 
Sarita  Montiel,  Ralph  Meeker.  Producer-director  Sam 
Fuller.  Adventure.  Young  sharpshooter  joins  Sioux 
Indians  at  close  of  Civil  War. 

TAMMY  CinemaScope,  Technicolor.  Debbie  Reynolds, 
Leslie  Nielson.  Producer  Aaron  Rosenberg.  Director 
Joe  Pevney.  Story  6t  a  young  girl,  her  grandfather  and 
a  young  man  who  falls  in  love  with  her.  89  min. 


THAT  NIGHT  John  Beal,  Augusta  Dabney,  Shepperd 
Strudwick.  Producer  Hiram  Brown.  Director  John 
Newland.  Drama.  A  tragedy  almost  shatters  a  15- 
year-old  marriage. 

UNHOLY  WIFE,  THE  Oolor.  Diana  Dors.  Rod  Steiger, 
Marie  Windsor.  Producer-director  John  Farrow.  Drama. 
A  wife  sunningly  plots  the  death  of  her  husband  who 
she  has  betrayed. 

VIOLATORS,  THE  Arthur  O'Connell,  Nancy  Malone. 
Producer  H.  Brown.  Director  John  Newland.  Drama. 
Story  of  a  probation  officer  in  the  New  York  City 
courts. 

YOUNG  STRANGER,  THE  James  MacArthur,  Kim  Hun- 
ter. Producer  Stuart  Miller.  Director  John  Frankeo- 
heimer.  Drama.  Son  seeks  to  earn  affection  from  his 
parents.  84  min.  2/18. 


November 

GIANT  WarnerColor.  Elizabeth  Taylor,  Rock  Hudson, 
James  Dean.  Producer-director  George  Stevens.  Drama. 
Based  on  the  famous  novel  by  Edna  Ferber.  The  story 
of  oil  cattle  and  love  in  the  Southwest  during  WWII. 
201  min.  10/15. 

GIRL  HE  LEFT  BEHIND.  THE  Tab  Hunter,  Natalie 
Wood.  Producer  Frank  Rosenberg.  Director  David 
Butler  Drama.  Army  turns  immature  boy  into  man. 
103  min.  10/29. 

December 

BABY  DOLL  Karl  Maiden,  Carroll  Baker,  Eli  Wallach. 
A  Newton  Production.  Producer-director  Elia  Kazan. 
Drama  Story  of  j  gin-mill  proprietor  and  a  beautiful 
girl.  I  14  min.  12/24. 

January 

WRONG  MAN,  THE  Henry  Fonda,  Vera  Miles,  Anthony 
Quayles.  Producer-director  Alfred  Hitchcock.  Drama. 
Bass  fiddle  player  at  Stork  Club  is  prime  suspect  in 
murder  case.  105  min.  1/7. 

February 

BIG  LAND,  THE  WarnerColor.  Alan  Ladd,  Virginia 
Mayo.  A  Jaguar  Production.  Director  Gordon  Douglas. 
Western.  Cattlemen  fight  to  move  their  herds  to 
distant  railroads.  93  min.  2/4. 

TOP  SECRET  AFFAIR  Kirk  Douglas.  Susan  Hayward. 
Producer  Martin  Rackin.  Director  H.  C.  Potter.  Come- 
dy A  lovery  lady  calls  the  bluff  of  an  Army  General. 
93  min.  2/4. 

March 

PARIS  DOES  STRANGE  THINGS  Technicolor.  Ingrid 
Bergman  Mel  Ferrer,  Jean  Marais.  A  Franco-London 
Film.  Director  Jean  Renoir.  Drama.  Tale  of  the  exiled 
widow  of  a  Polish  Prince.  86  min.  3/4. 

A  pril 

COUNTERFEIT  PLAN,  THE  Zachary  Scott,  Peggie 
Castle.  Producer  Alec  Snowden.  Director  Montgomery 
Tully.  Drama.  Inside  story  of  one  of  the  largest  for- 
gery operations  ever  attempted. 

SPIRIT  OF  ST.  LOUIS,  THE  CinemaScope,  Warner- 
Color. James  Stewart,  Rena  Clark.  Producer  Leland 
Hayward.  Director  Billy  Wilder.  Drama.  The  story  of 
the  first  man  ever  to  cross  the  Atlantic  in  a  plane. 
138  min.  3/4. 

Coming 

A  FACE  IN  THE  CROWD  Andy  Griffith,  Patricia  Neal. 
Producer-director  Ella  Kazan.  Drama. 
LAFAYETTE  ESCADRILLE  CinemaScope,  WarnerColor. 
Tab  Hunter,  Etchlka  Choureau,  J.  Carrol  Naish.  Drama. 
PRINCE  AND  THE  SHOWGIRL.  THE  Color.  Marilyn 
Monroe,  Laurence  Olivier,  Dame  Sybil  Thorndyke. 
Producer-director  Laurence  Olivier.  Comedy. 
UNTAMED  YOUTH  Mamie  Van  Doren,  Lou  Nelson,  John 
Russell. 


To  Better  Serve  You  .  .  . 

Office  &  Terminal  Combined  At 
305  N.  12th  St.  New  Phonet 

Philadelphia  7,  Pa.         LOmbard  3-3944,  3945 

NEW  JERSEY 
MESSENGER  SERVICE 

Member  National  Film  Carriers 


DEPENDABLE  SERVICE! 

HIGHWAY 
EXPRESS  LINES,  INC. 

Member  National  Film  Carriers 

Philadelphia,  Pa.:  LOcust  4-3450 
Washington,  D.  C:  DUocnt  7-7200 


BULLETIN—  THIS     IS     YOUR  PRODUCT 


co-starring 


This  is  the  best  Randolph  Scott 
adventure  in  years!  It  has  the 
kind  of  suspense,  action  and 
all-around  production 
j  values  that  your  audiences 
demand!  Ask  the  man  from 
Columbia. ..he'll  be  glad 
to  arrange  a  screening! 


Screen  Play  by  Based  on  a  Story  by      Produced  by 

BURT  KENNEDY  -  ELMORE  LEONARD  -  HARRY  JOE  BROWN 


Directed  by 

BUDD  BOETTiCHER  -  A  SCOTT 


-BROWN  PRODUCTION  -  A  COLUMBIA  PICTORE 


BULLETIN 


capy 


APRIL  15,  1957 


Business-wise 
Analysis  of 
Mie  New  Films 

Reviews: 

HE  BACHELOR  PARTY 
THE  STRANGE  ONE 

COULD  BE  THE  NIGHT 
MAN  AFRAID 
LLCATS  OF  THE  NAVY 
BUSTER  KEATON  STORY 

ARE  ALL  WANDERERS 


APPEAL  TP  THE  DEPARTMENT  DF  JUSTICE 

The  U.S.  Should 

Act  to  Relieve 

The  Film  Shortage 
♦ 

KAZAN:  WRITERS  AND  MOVIES 


20th  has  the  indl 
Easter  attraction 


"3  Coins  In  The  Fountain 


ALAN 
LADD 


v  < 


BOY  ON 
DOLPHIN 

COLOR  by  DE  LUXE 

C|NemaScoP£ 

co-starring  ALEXIS  M1N0TIS  •  JORGE  MISTRAL 

ced  SAMUEL'G.  ENGEL  -  Direcbtyed  by  JEAN  NEGULf 

Screen  by  IVAN  MOFFAT  and  DWIGHT  TAYLOR 


Heaven  knows,  Mr.  Exhibitor,  20th  brings 
entire  history!  "Heaven  Knows,  Mr.  Allison"  is 
A  Dolphin"  for  Easter!  Then  "Desk  Set"!  Darrj 
The  Wayward  Bus"!"Bernardine"!  And  many  mc 
Audience  applause!  National  promotions!  Personal! 


ry's  exceptional 


e  tradition  of 


nost  of  the  best  pictures  in  its 
sensation!  Followed  by  "Boy  On 
lck's  "Island  In  The  Sun"! 

i  Productions,  Inc.  •  Released  by  20th  Century-Fox 

upported  by  rave  reviews! 
s!  Awards! 


Paramount  presents  one  of  the 

most  hilarious,  most  appealing,  most  exciting  bio-pics 
from  the  wonderful  world  of  show  business.  Inspired 
by  the  fabulous  life  of  that  beloved  funny-man,  Buster 
Keaton,  it's  played  by  Donald  O'Connor,  the  great- 
est young  comic  of  our  time  who  re-creates  in  it 
some  of  the  greatest  comedy  routines  of  all  time. 

IT'S  BIG-TIME  FOR  MAY-TIME! 


GREAT  BOXOFFICE  ENTERTAINMENT ! 


NOW. 


IALD 


The 


BLYTH 


I^ATON 

STORY" 


UA  MAKES  THE  BIGGEST  PRODUCTION  NEWS 


Una  Merkel  •  Benay  Venuta  •  Robert  H.  Harris  •  Bob  Kelley  •  Dick  Haynes  •  John  Truax  •  Milton 
Frome  •  Also  starring  Adolphe  Menjou  •  Screenplay  by  Richard  Alan  Simmons  •  Based  on  a  novel 
by  Sylvia  Tate  •  Prod,  by  Robert  Waterfield  •  Dir.  by  Norman  Taurog  •  A  Russ-Field  Production 


aewpoints 

APRIL  15,   1957        *  VOLUME  25.  NO.  8 


LETTER  TO  THE  DEPARTMENT  OF  JUSTICE 

Relieve  The  Film  Shortage! 

Hon.  Victor  R.  Hansen.  Assistant  I  .5.  Attorney  General 
Anti-Trust  Division.  Department  oj  Justice 
If  ashington,  D.C. 

Sir: 

As  you  are  doubtless  aware,  a  crisis  is  gathering  at  the  gates  of  the  motion 
picture  exhibition  industry. 

In  undertaking  this  letter  it  is  hoped  we  can  add  to  your  appreciation  of 
the  main  bases  of  that  crisis.  Succeeding  in  that  purpose,  we  then  entreat 
your  early  action  in  conferring  remedy.  A  permissive  ruling  enabling  the 
petitioning  motion  picture  theatre  companies  to  enter  into  the  production  of 
films  will,  in  our  judgment,  bestow  a  high  measure  of  corrective  relief  in  a 
critical  situation. 

At  the  cere  of  the  exhibition  crisis  is  the  patent  insufficiency  of  film  prod- 
uct. The  evidence  of  recent  years  has  made  it  plain  that  existing  centers  of 
supply  are  failing  to  meet  the  needs  of  the  bulk  of  movie  theatres.  The 
shrinkage  in  film  output  is  well  documented  by  the  sharp  decline  in  the  num- 
ber of  feature  films  released  by  the  major  sources  in  the  past  three  years. 

Aside  from  one  notable  effort  (by  20th  Century-Fox)  and  a  few  minor 
cnes  to  satisfy  exhibition's  hunger  for  additional  product,  the  established 
major  film  companies  are  not  inclined  to  make  a  serious  effort  to  relieve  the 
film  shortage.  The  policy  of  constriction  in  output  by  individual  companies 
seems  dictated  by  economic  necessity — although  not  ail  of  us  in  the  industry 
agree  that  it  is  the  wisest  course.  The  truth  is  that  our  whole  industry  dees 
face  a  curious  competitive  predicament,  with  the  needs  of  exhibitors  being 
somewhat  at  variance  with  the  problems  faced  by  the  producer-distributors. 

The  exhibitor  is,  in  essence,  a  retail  merchant  whose  shelf  gcods  consist  of 
a  singular  commodity  called  film  entertainment.  To  purvey  this  commodity, 
he  risks  a  capital  outlay  in  a  prodigious  physical  structure,  as  well  as  in 
elaborate,  highly  specialized  equipment.  It  goes  without  saying  that  among 
merchants  in  the  average  community,  the  investment  required  of  the  theatre- 
man  most  likely  outstrips  that  of  any  other,  excepting,  perhaps,  the  depart- 
ment store  or  the  deluxe  super  market.  But  wherein  the  theatreman's  prod- 
uct is  exclusively  movies,  the  others 
rely  for  their  commerce  upon  a  wide 
diversity  of  manufactured  g:ods, 
and  their  suppliers  are  legend.  As 
for  the  exhibitor's  suppliers,  they 
total  a  mere  eight  or  ten. 

Restrict,  then,  the  flow  of  this  one 
precious  commodity  and  you  place 
the  exhibitor  in  the  position  of  a 
vendor  whose  shelves  lay  half 
e m p t y — n ot  for  lack  of  cash, 
or  lack  of  credit;  only  for 
(Continued  on  Page  10) 


Film    BULLETIN:    Motion    Picture    Trade  Pacer 
published   every  other   Monday  by  Wax  Publi- 
cations.   Inc.     Mo   Wax,    Editor   and  Publisher. 
PUBLICATION-EDITORIAL   OFFICES:    1239  Vine 
Street,  Philadelphia  7,  Pa.,  LOcust  8-0950.  0951. 
Philip    R.    Ward,    Associate     Editor-  Leonard 
Coulter,  New  York  Associate  Editor;  Duncan  G. 
Steck,     Business     Manager;     Marvin  Schiller, 
Publication  Manager;  RoDert  Heath  Circulation 
Manager.    BUSINESS  OFFICE:  522  Fifth  Avenue, 
New    York    34     N     Y..    MUrray    Hill  2-3631; 
Alf  Dinhofer,  Editorial  Representative. 
Subscription   Rates:   ONE   YEAR    S3. 00 
in  the   U.   S.;  Canada,   $4.00;  Europe, 
$5.00.     TWO    YEARS:     $5.00    in  the 
U.   S.;  Canada,  $7.50;   Europe,  $9.00. 


Litigation 
and 

Arbiirtition 

The  ravages  of  litigation  on  our 
industry  were  forcefully  impressed 
upon  us  by  some  startling  informa- 
tion contained  in  the  prospectus  is- 
sued by  United  Artists  in  connec- 
tion with  its  proposed  stock  issue. 
As  of  March  5,  1957,  that  one  dis- 
tributor has  been  named  as  a  de- 
fendant, along  with  other  major  film 
distributors,  in  no  less  than  153 
actions  under  the  U.S.  anti-trust 
laws.  In  125  of  these  cases  specific 
amounts  of  damages  are  claimed. 
The  total  of  these  claims  is — hold 
on  to  your  hat  —  "approximately 
$398,000,000"! 

Granted  that  the  final  outcome  of 
these  cases  will  see  this  total  cut 
drastically,  we  are  talking  about  a 
staggering  amount  of  money. 
United  Artists  and  co-defendant 
companies,  according  to  the  UA 
prospectus,  disposed  of  55  cases  in 
1956  involving  claimed  damages  of 
more  than  $86,000,000.  UA's  share 
of  the  final  disposition  costs  was 
"less  than  $180,000".  Presumably, 
since  this  figure  was  used,  it  is  a 
close  approximation  of  the  total.  If 
the  same  proportion  were  to  apply 
to  the  $398,000,000  in  still  outstand- 
ing actions.  United  Artists'  share  of 
the  ultimate  disposition  costs  would 
come  to  more  than  $800,000 — and 
this  is  just  one  company's  tab.  A 
significant  element,  too,  is  the  fact 
that  United  Artists  is  not  one  of  the 
"most  sued"  companies;  it  has  en- 
joyed a  larger  share  of  exhibitor 
goodwill  than  some  other  distribu- 
ters. Other  companies  presumably 
are  facing  litigation  costs  at  least  as 
high,  probably  higher.  In  every 
company,  the  cash  outlay  is  only 
part  of  the  burden.  The  value  of  the 

( Continued  on  Page  10) 


Film  BULLETIN    April  15.  1957        Page  7 


What  They're  Talking  About 

□    □    □    In  tha  Movie  Business    □    □  □ 


PRINT  SHORTAGE.  A  showdown  is  brewing  between 
exhibitors  and  certain  major  distributors  on  the  issue  of 
prints.  In  two  recent  instances,  Warner  Bros,  and  Univer- 
sal have  come  into  territories  with  a  limited  number  of 
prints  available  for  key  city  and  suburban  runs.  Only 
those  theatres  that  promptly  signed  at  the  fat  terms 
asked  were  given  key  playdates,  some  regular  customers 
being  shut  out.  The  exchanges  had  a  simple  answer:  "Just 
no  prints."  Immediately  following  the  key  runs,  all  prints 
are  removed  from  the  territory,  and  sub-run  exhibitors, 
due  to  play  seven  days  after  the  keys,  are  informed  that  no 
booking  can  be  taken  until  four  or  five  weeks  later.  A  re- 
volt is  cooking.  One  independent  theatreman  has  an  in- 
junction pending  in  Eastern  Penna.  District  Court  against 
Universal.  Claims  that  although  he  is  a  regular  key  ac- 
count, U  refused  to  take  his  booking  on  "Battle  Hymn". 
Other  E.  Pa.  exhibitors,  sub-run  operators,  are  protesting 
the  withdrawal  of  the  show  from  that  territory  for  four 
weeks  following  the  key  runs,  say  they  will  refuse  to  play 
the  picture  when  it  is  belatedly  made  available  to  them. 

0 

COMING  STARS.  Showmen  are  highly  encouraged  by 
the  sudden  emergence  of  several  highly  promising  film 
stars-of-the-future.  Tony  Perkins  ("Friendly  Persuasion" 
and  "Fear  Strikes  Out"),  Ben  Gazzara  ("The  Strange 
One")  and  James  MacArthur  ("The  Young  Stranger") 
have  quickly  established  themselves  as  personalities  to  be 
reckoned  with.  Young  MacArthur,  son  of  actress  Helen 
Hayes,  has  come  in  for  very  laudable  critical  comment  in 
his  first  movie.  Columbia's  boxofficers  are  giving  the  rug- 
ged-looking Gazzara  the  same  kind  of  star-building  treat- 
ment they  bestowed  upon  Kim  Novak.  Perkins  is  already 
one  of  the  most  sought-after  young  players  in  Hollywood. 
Another  star  potential  is  in  the  Universal-International 
camp.  Robert  Stack,  hardly  a  newcomer,  nevertheless  is  a 
"hot"  personality  right  now  as  the  result  of  his  sock  per- 
formance in  "Written  on  the  Wind".  Many  theatremen 
are  touting  him  for  more  important  roles. 

0 

TOLL-TV  SCANDAL?  It  is  difficult  to  know  how  much 
credence  can  be  put  in  this,  but  a  report  reached  us  that 
an  investigation  might  be  made  of  the  reasons  behind  the 
sharp  rise  in  stock  prices  of  companies  owning  subscrip- 
tion television  patents.  The  story  had  it  that  a  scandal 
might  be  uncovered  concerning  tips  from  high  sources  on 


Bad* 


|  pi* 
He 

:a> 

future  Toll-TV  tests  and  purchases  by  insiders  of  the 
"right"  stock. 


OUR  P.R.  The  movie  industry's  public  relations  came  in 
for  some  sharp  criticism  from  one  of  its  advertising  execu- 
tives recently,  and  practically  everyone  in  the  showman- 
ship arm  of  the  business  agrees.  Roger  H.  Lewis,  United 
Artists  national  ad  chief,  addressing  the  annual  convention 
of  Stewart  &  Everett  Theatres,  headed  by  TOA  president 
Ernest  G.  Stellings,  had  this  to  say:  "For  an  industry  so 
dependent  on  public  opinion,  our  performance  over  the 
years  has  been  appalling.  There  is  no  single  industry  of 
a  comparable  size  that  has  been  so  illogical,  so  incon- 
sistent and  so  shortsighted  in  its  public  relations.  Tele- 
vision,  the  theatre  and  the  publishing  trade  have  all  devel- 
oped a  public  relations  point  of  view  and  stayed  with  it. 
Our  relations  with  the  public  are  even  more  critical  than 
theirs,  and  yet  we  have  consistently  ignored  or  dealt  half- 
heartedly with  them.  Today  we  are  rolling  for  the  biggest 
stakes  of  all — survival.  Just  what  kind  of  a  future  we  are 
to  make  for  ourselves  depends  in  a  very  real  sense  on  how 
we  are  able  to  carry  to  the  public  the  story  of  our  industry 
and  the  unmatched  entertainment  that  it  is  delivering.  .  .  . 
It's  time  that  we  all  recognize  the  vital  necessity  of  a 
united  public  relations  drive,  and  not  treat  it  is  a  burden 
or  a  diversion."  What  Roger  Lewis  did  not  say,  but  an-  i 
other  movie  advertising  executive  did,  privately,  is  this: 
"The  failure  of  movie  public  relations  can  be  traced  right 
to  the  doorstep  of  most  of  the  top  film  company  execu- 
tives. With  the  exception  of  very  few,  the  presidents  of 
distribution  just  won't  devote  any  time  or  substantial 
funds  to  the  public  relations  problem.  They  gingerly  stick 
their  fingers  into  it  once  in  a  while,  but  usually  they  gum 
up  the  works !" 

0 

PREMIUMS  COMING  BACK.  Theatre  premiums,  little 
used  since  the  depression  days  of  the  1930's,  are  starting 
to  make  inroads  again.  Both  walled  houses  and  drive-ins 
are  stepping  up  dish  giveaways  in  an  effort  to  drag  out 
the  fern  trade.  With  plenty  of  empty  seats  on  the  weak 
weekdays,  exhibitors  figure  they  have  nothing  to  lose, 
only  to  gain  if  they  can  fill  a  fair  number  of  them  by  offer- 
ing attractive  premiums.  The  dishes  today  are  costly 
(average  minimum  25c),  but  exhibitors  point  to  "hidden 
returns".  Once  in  the  theatre,  the  ladies  see  the  trailers 
and  become  potential  patrons  for  the  weekend  show. 
Drive-in  operators  in  many  areas  are  employing  the  dishes 
as  a  gimmick  to  draw  the  ladies  out  of  their  cars  into  the 
snack  bar.  They  have  to  go  there  to  pick  up  the  dish — 
and,  perhaps,  buy  a  handful  of  goodies  to  eat. 


Paoo  0        Film  BULLETIN    April  15,  1957 


THE  MOVIE  BULLS.  Are  they  brave  or  blind?  No 
matter  how  black  the  outlook,  moviedom  can  always  count 
|  on  the  steadfast  allegiance  of  the  security  analysts. 
Perched  high  aloft  the  lower  Manhattan  skyscrapers  in 
!  their  Moody-bedecked  eyries,  they  scan  the  cinema  hori- 
zons and  what  they  see  is  almost  invariably  good. 

This  is  both  an  odd  and  interesting  thing.  In  the  good 
old  days  of  moviedom,  it  was  their  practice  to  lace  their 
erudite  documents  with  forecasts  that  the  best  was  yet  to 
come.  Of  late  the  language  has  been  altered  to  serve  hope 
that  the  worst  is  about  over.  But  year  in,  year  out,  no 
matter  the  phase  of  the  business  cycle,  the  movie  analyst 
has  proven  himself  ever  dauntless,  ever  sanguine. 

We  have  consulted  our  files  for  evidence  to  beef  up  this 
puzzling  curiosity,  and  find,  to  our  amazement,  that  in 
excess  of  300  optimistically  super-heated  brokerage  bulle- 
tins have  crossed  our  desk  over  the  past  5  years.  That 
breaks  down  to  an  average  of  some  60  intelligently  rea- 
soned, thoughtfully  shaped  and  documented  entreaties  to 
buy  movie  stocks  per  year.  Heaven  knows  the  reams  of 
other  upbeat  analyses  missed  completely. 

The  fact  that  the  majority  of  bulletins  have  ended  up 
way  off  the  beam,  as  movie  shares  sagged  and  slumped, 
hardly  dismisses  the  subject.  From  a  practical  viewpoint, 
some  may  infer,  a  good  many  of  the  reports  were  intended 
to  stimulate  business,  that  is  to  sell  stocks  for  their  indi- 
vidual brokerage  firms,  despite  the  fine  print  at  the  bottom 
of  most  denying  solicitation.  That  may  be  the  case.  But 
rather  than  impugn  the  integrity  of  those  who  drafted  the 
studies,  we  prefer  to  believe  that  these  informed  labora- 
tory technicians  of  finance  cast  their  practiced  eye  upon 
moviedom  for  reasons  altogether  appropriate.  The  evi- 
dence pointed  to  progress:  somewhere  along  the  line 
events  failed  to  stand  up  to  meet  their  prognosis. 

Can  it  be  that  something  has  gone  amiss  in  the  indus- 
try? Can  it  be  that  opportunities  have  come,  lingered 
briefly  and  fled  unseized?  Wherein,  we  wonder,  have  the 
sharply-edged  minds  of  Wall  Street  erred  so  egregiously? 

We  hold  11  current  investment  bulletins  extolling  the 
virtues  of  some  four  film  companies,  two  theatre  com- 
panies. Below  is  the  monthly  Film  BULLETIN  Cinema 
Aggregate  picturing  the  status  of  industry  shares.  While 
the  Wall  Street  prophets  trumpet  "Buy,  Buy,  Buy,"  movie 
issues,  for  the  most  part,  sputter  aimlessly. 

Film  BULLETIN  Cinema  Aggregate* 


FILM  COMPANIES  THEATRE  COMPANIES 

'Composed  of  carefully  selected  representative  industry  issues. 


By  Philip  R.  Ward 

Thanks  to  a  rise  in  Paramount  and  20th-Fox  shares,  the 
overall  March-long  portrait  is  a  modest  gain.  The  former 
climbed  2%  points,  the  latter  2;^.  Among  the  others, 
three  companies  declined,  the  rest  unchanged.  Theatre 
shares  advanced  one  point.  At  139-\s  the  Film  Company 
Cinema  Aggregate  is  11'  points  under  the  reading  of 
March,  1956.  The  Theatre  Aggregate  is  2;s  lower.  And 
1956  was,  remember,  a  bad  year.  Nonetheless,  from  their 
listening  posts  in  the  rarefied  atmosphere  of  charts  and 
statistics,  the  security  analysts  still  maintain  that  the  fiscal 
millennium  is  coming.  Their  current  darlings  are  20th 
Century-Fox  and  Paramount  and  to  a  slightly  lesser  de- 
gree, Loew's.  Excerpts  from  several  of  the  bulletins 
follow : 

PARAMOUNT.  "A  recent  story  (it  was  denied)  indi- 
cating Paramount  will  soon  sell  its  pre-1948  film  library 
for  about  $50  million  ($25  per  share)  has  directed  atten- 
tion to  the  extreme  undervaluation  of  this  leading  pic'.ure 
maker.  Despite  1956  estimated  earnings  of  about  $4.50 
(including  non-operating  profits)  and  an  estimated  asset 
value  of  $65-$70,  Paramount  currently  sells  at  only  33. 
When  part  of  this  hidden  asset  value  is  realized  through 
the  sale  of  the  old  pictures,  the  stock  should  rise.  ...  It 
appears  that  the  continuous  growth  evidenced  through 

1955  will  be  resumed  in  1957.  If  so,  the  stock  selling  at 
only  7.3  times  earnings  and  yielding  6.1%  on  the  $2  divi- 
dend, is  undervalued  on  an  earnings  basis  alone.  The 
'kicker'  of  the  sale  of  its  film  library  adds  considerable 
attraction."  (Newburger,  Loeb  &  Co.) 

O 

20th  CENTURY  FOX.   "The  news  ahead  is  good.  The 

1956  annual  report  should  show  earnings  of  about  $2.30 
a  share.  The  fourth  quarter  alone  should  show  approxi- 
mately $1.10  a  share  compared  to  60c  for  the  correspond- 
ing quarter  a  year  ago.  It  is  hoped  $3.50  might  be  shown 
this  year  if  studio  motion  picture  production  turns  in 
profits  as  anticipated.  The  financial  position  is  strong  and 
the  $1.60  annual  dividend  should  be  safe.  Selling  at  24, 
which  is  8  x  estimated  1957  earnings  and  with  income 
yield  of  6.7%,  the  stock  appears  reasonably  priced  on 
earnings."  ( G.  M.  Loeb,  for  E.  F.  Hutton  &  Co.) 

It  might  be  added  that  Mr.  Loeb  makes  much  of  the 
"kickers"  within  this  company,  namely  the  oil  potential, 
plus  the  equity  in  valuable  Beverly  Hills  real  estate. 
O 

LOEW'S,  INC.  "Timing  and  price  are  important  consid- 
erations in  the  purchase  of  securities.  We  are  of  the  opin- 
ion that  a  commitment  in  Loew's  at  about  18?  s  at  this 
time  offers  substantial  price  appreciation  possibilities,  in 
view  of  the  rapid  improvement  in  the  value  of  its  under- 
lying assets;  a  new  cost  conscious  management  and  a 
most  favorable  outlook  for  increased  earning  power." 
(Sprayregen  &  Co.) 


Film  BULLETIN    April  IS,  1957        Page  ? 


Viewpoints 

Relieve  The  Film  Shortage! 

(Continued  from  Page  7) 
lack  of  supply.  Sales,  of  course, 
slump.  But  not  fixed  overheads. 
They  run  inexorably  on  like  Tenny- 
son's brook.  And  the  shortage  con- 
tinues unrelieved.  What  becomes 
of  the  exhibitor's  equity  in  the 
bricks  and  mortar  of  his  business? 
It  diminishes,  naturally,  as  the  es- 
tablishment loses  its  capacity  to 
earn  a  normal  return  on  its  invested 
worth.  The  theatre's  valuation  does 
not  merely  sag  and  dwindle  like 
that  of  the  failing  grocer.  It  comes 
crashing  to  earth  like  a  fallen  mete- 
or. For  the  motion  picture  house, 
almost  alone  among  mercantile  out- 
lets in  the  community,  is  a  single- 
purpose  establishment.  The  exhibi- 
tor must  find  a  buyer  within  the 
trade,  and  those  interested  in  the 
marginal  movie  house  today  are  few 
and  far  between.  The  consequence 
is  disaster.  The  exhibitor  liquidates 
at  an  enormous  sacrifice  and  his 
once-proud  edifice  is  doomed  to  play 
out  its  days  as  a  dusty  chamber  for 
surplus  junk,  or  torn  down. 

Lest  it  be  construed  that  the  fail- 
ure of  a  movie  theatre  is  a  tragedy 
limited  to  the  exhibitor  or  to  our  in- 
dustry alone,  we  urge  you  to  con- 
sider the  damage  to  the  community. 
The  darkening  of  a  theatre  wreaks 
inestimable  damage  upon  a  wide 
business  area,  as  any  merchant  who 
operates  in  its  shadows  will  attest. 

Of  course,  there's  no  denying  that 
television  is  the  real  mischief  be- 
hind the  exhibitor's  woes.  But  that 
is  not  the  whole  story.  The  movie 
man  is  clinging  to  a  beachhead  of 
the  entertainment  front,  warding 
off  destruction  by  employing  his 
maximum  firepower  in  spasmodic 
outbursts  of  showmanship  on  occa- 
sional important  films.  But  an  in- 
creasing number  of  our  exhibition 
forces  face  extinction  for  lack  of  am- 
munition. They  cannot  cope  with 
the  frustrating,  paralyzing  effects  of 
an  inadequate  film  supply.  The  com- 
petition of  television  has  been  com- 
pounded by  this  lack  of  product  in 
sufficient  volume  to  keep  theatres 
operating  on  a  week-to-week,  year 
'round  basis. 

What  is  behind  this  shrinkage  in 


the  film  supply?  With  the  sudden 
decimation  of  the  old  movie-going 
population  by  television's  rapid 
growth,  many  of  the  large  major 
film  studios  arrived  at  the  conclu- 
sion that  their  best  defense  against 
a  constricted  public  market  was 
sharp  curtailment  in  the  manufac- 
turing process.  Fewer,  more  elabo- 
rate films,  they  reasoned,  was  their 
answer  to  TV's  incursion  on  the 
movie  erstwhile  market.  By  making 
fewer  pictures  they  could  reduce 
studio  overheads,  concentrate  on 
those  projects  that  seemed  to  con- 
tain the  most  sure-fire  elements  cf 
boxoffice  success.  The  problem  of 
these  major  production  organiza- 
tions was  further  compounded  by 
tax  laws  that  enticed  their  high- 
salaried  stars,  directors,  producers 
to  strike  out  for  themselves  by  es- 
tablishing "personal  corporations", 
which  brought  them  the  benefits  of 
capital  gains  taxation.  These  estab- 
lished film  companies  argue  that 
the  perils  of  their  predicament  pre- 
cluded any  other  course  than  severe 
limitation  on  output. 

As  though  the  theatreman's  sea 
of  troubles  were  not  already  deep 
enough,  another  potential  source  of 
supply  was  largely  cut  off  when 
many  of  the  film  companies  released 
their  libraries  of  old  films  to  tele- 
vision. Reissues  were  once  a  crutch 
on  which  the  exhibitor  leaned  to 
bridge  a  temporary  period  of  short 
supply;  today  the  boxoffice  value 
has  been  dissipated  by  the  wide- 
spread public  impression  that  all  old 
films  will  be  offered  free  on  TV. 

If  the  policy  of  restricted  supply 
is  working  for  the  producers,  it  is 
shortening  the  life  span  of  the  thea- 
tres. The  reason  is  basic.  Exhibi- 
tion's regular  clientele  today  is  a 
small,  if  hearty,  segment  of  the  pop- 
ulation, made  smaller  by  the  limited 
variety  of  films  available  to  theatres. 
The  neighborhood  theatre,  especial- 
ly, lacks  sufficient  product  to  turn 
over  its  narrowed  patronage  with 
profit,  and  is  forced  to  extend  the 
playing  time  of  many  films  beyond 
their  real  boxoffice  life.  Thousands 
of  theatremen  firmly  believe  that  the 
only  salvation  of  the  majority  of 
movie  theatres  is  a  larger  supply 
and  a  wider  variety  of  films  to  at- 
tract away  from  their  TV  fare. 

Be  all  that  as  it  may,  here  we  are 
in  a  tight  sellers'  market  and  an  ex- 
hibition field  parched  for  want  of 


product.  The  Department  of  Justice, 
we  believe  has  within  its  province 
and  its  power  a  key  to  the  problem. 

The  consent  decree  entered  in  the 
anti-trust  case  against  the  major 
fiim  companies  and  their  affiliated 
theatres  bars  the  now-independent 
exhibition  organization  from  dealing 
directly  with  the  product  shortage. 
The  original  suit  had  as  its  laudable 
purpose  the  maintenance  of  a  free 
flow  of  competition  in  the  produc- 
tion, distribution  and  exhibition  of 
motion  pictures.  That  an  odd  twist 
of  events  subsequently  conspired  to 
create  this  present  condition  of 
undersupply  is  no  one's  fault,  least 
of  all  the  exhibitor's. 

In  a  free  marketplace,  no  one  can 
deny — short  of  calculated  restraint 
of  trade — the  film  companies'  right 
to  meet  the  exigencies  cf  today's 
situation  by  producing  only  as  many 
pictures  as  they  believe  prudent  for 
their  own  economic  welfare.  They 
cannot  be  forced  to  produce  more. 
Then  the  additional  supply  must 
come  from  other  sources.  Unfortu- 
nately, the  textbook  axiom  that  a 
condition  of  undersupply  cannot 
long  prevail  under  free  enterprise 
must  be  regarded  as  fiction  in  the 
movie  world  of  today.  The  de- 
pressed state  of  our  business  forbids 
the  capital  and  the  entrepreneurs 
that  a  healthy  industry  would  surely 
attract.  So  this  vacuum  remains  un- 
filled. Only  the  theatremen  engaged 
in  a  struggle  for  existence  are  will- 
ing to  fill  it. 

Ours  is  not  an  inflexible  Govern- 
ment. When  circumstances  alter 
needs,  we  have  every  right  to  ex- 
pect that  the  Department  of  Justice 
of  the  United  States  will  amend  a 
consent  decree,  when  such  an  action 
would,  in  effect,  bring  about  a  freer 
flow  of  trade.  Scarcity  is  the  gra- 
vamen of  the  crisis  that  now  besets 
a  large  segment  of  our  industry.  Is 
it  not  the  obligation — nay,  the  duty 
— of  the  Justice  Department  to  re- 
lax the  letter  of  the  decree  in  the 
movie  case  if  the  end  result  would 
be  beneficial  to  the  industry  at 
large? 

We  ask  your  prompt  considera- 
tion, sir,  of  the  petition  by  the  the- 
atre chains  to  allow  their  entry  into 
film  production.  Thousands  of  in- 
dividual, independent  theatremen, 
we  know,  join  in  this  plea. 

Respectfully, 
Film  BULLETIN 


Page  10       Film  BULLETIN    April  15,  1957 


Viewpoints 

Litigation  Cr  Arbitration 

(Continued  from  Pupc  7) 

time  of  executives  consumed  in  de- 
fending suits  cannot  be  estimated. 

We  have  had  years  and  years  of 
lawsuits.  On  the  record,  these  court 
actions  have  cost  the  major  com- 
panies huge  sums  of  money,  and 
they  will  continue  to  do  so.  They 
have  also  cost  plaintiff  exhibitors 
plenty,  although  they  have  the  pros- 
pect of  winning  a  sizeable  verdict. 

In  1953,  a  Justice  Department  offi- 
cial said  that  one-third  of  the  com- 
plaint correspondence  received  by 
the  anti-trust  division  dealt  with 
movie  problems.  And  in  the  Decem- 
ber, 1954,  issue  of  the  American  Bar 
Association  Journal,  lawyer  Ben- 
jamin Wham  reported  the  Yale  Law 
Journal's  findings  that  while  25  per 
cent  of  all  anti-trust  actions  are 
"eventually  settled  out  of  court", 
presumably  with  payments,  "a  high- 
er percentage  of  settlements  is  made 
of  movie  cases." 

If  we  can  settle  so  many  cases 
before  they  go  to  a  judge  and  jury, 
why  don't  we  make  a  virtue  of  this 
fact?  It  seems  to  us  that  any  type 
of  case  which  a  company  is  willing 
to  settle  out  of  court  should  be  sus- 
ceptible to  formal  arbitration.  On 
the  record,  this  means  practically 
every  type  of  anti-trust  complaint 
ever  brought  against  a  motion  pic- 
ture concern.  In  truth,  we  are  pres- 
ently employing  a  makeshift 
lawyer-to-lawyer  arbitration  method 
for  settlement  of  our  disputes  —  a 
method  that  is  far  more  costly,  far 
more  time  consuming,  far  more  dis- 
ruptive than  would  be  an  industry 
arbitration  system. 

Leaders  of  exhibition  and  distri- 
bution will  shortly  undertake  the 
drafting  of  such  an  arbitration  set- 
up. Undoubtedly,  the  parties  under- 
stand how  vital  this  task  is.  Just  as 
essential  is  the  willingness  of  all  the 
parties  to  dedicate  themselves  to 
construction  of  an  arbitration  sys- 
tem that  has  a  foundation  in  true 
equity.  Any  other  kind  of  system 
will  topple  —  and  that  would  be  a 
catastrophe.  For  arbitration  in  our 
business  can  no  longer  be  regarded 
as  a  luxury.  It  is  a  financial  and 
managerial  necessity. 


a  n«d 

Investment 
for  Uncle  Sunt 

The  Scripps-Howard  newspapers 
recently  reported  that  the  United 
States  Information  Agency  "secretly 
spent  $100,000  subsidizing  a  com- 
mercial anti-Communist  movie  gen- 
erally for  American  consumption.  A 
top  official  of  the  propaganda 
agency  told  the  (House  Appropria- 
tions) committee  the  movie  turned 
out  to  be  a  box  office  flop  when 
shown  in  1953.  He  said  that  unfor- 
tunately was  the  history  of  such 
films.  The  agency  refused  to  dis- 
close the  name  of  the  film  or  where 
it  is  being  shown  now." 

As  of  this  writing  no  further  in- 
formation regarding  the  picture  has 
been  spotlighted.  A  few  points,  how- 
ever, are  valid  regardless  of  further 
elucidation. 

In  the  first  place,  where  does  the 
U.S.  government  come  off  lending 
government  funds  to  private  movie 
makers  for  films  which  are  then  pri- 
vately sold  to  theatres?  Let's  not 
be  naive.  We  all  know  that  when  a 
producer  makes  a  picture  about  the 
armed  forces,  he  gets  the  coopera- 
tion of  the  armed  forces,  often  giv- 
ing him  an  opportunity  to  film 
scenes  he  could  never  otherwise  af- 
ford. We  have  no  objection  to  this, 
because  it  is  basically  a  matter  of 
free  access  to  public  facilities. 

But  when  Uncle  Sam  becomes  a 
backer  of  a  film  with  a  message — 
even  though  the  message  happens 
to  be  the  one  we  may  all  agree  with 
— this  is  something  else  again.  This 
is  a  case  of  a  government  agency  in- 
vading the  freedom  of  the  entertain- 
ment screen.  If  we  tolerate  it  in  one 
instance,  how  are  we  to  prevent  it 
from  happening  again  and  again? 
And  from  the  theatre  operator's 
point  of  view,  why  should  he  pay  a 
full  entertainment  rental  for  what 
amounts  to  a  sponsored  film,  partic- 
ularly one  sponsored  with  tax 
money? 

If  the  United  States  wants  to  in- 
vest money  in  motion  pictures,  for 
propaganda  purposes,  this  should  be 
an  open  transaction,  subject  to  all 
the  usual  considerations  of  public 
policy.  We  do  not  believe  that  such 
pictures  should  be  sold  as  commer- 


cial entertainment  at  commercial 
prices. 

As  for  the  ethics  of  this  kind  of 
government  investment,  we  think 
the  matter  can  be  summed  up  with 
a  simple  question.  What  would  the 
reaction  be  if  the  story  were  that  the 
U.  S.  Information  Agency  "secretly 
spent  $100,000  subsidizing"  the  New 
York  Times? 

Uncle  Sam  is  a  fine  old  uncle,  but 
some  things  he  had  best  leave  to  the 
Bank  of  America. 

Vrowther 

On  $ie>rie€io>nt 

Bosley  Crowther's  new  book, 
"The  Lion's  Share"  deserves  wide 
readership  throughout  the  motion 
picture  industry  and  among  the  gen- 
eral public.  Coming  from  a  man 
who  has  thrown  his  share  of  barbs 
at  the  movie  makers  and  the  indus- 
try generally,  the  book  by  the  film 
editor  of  the  New  York  "Times"  is 
a  surprisingly  sympathetic  account 
of  the  rise  of  Loew's,  Inc.,  and,  in- 
directly, of  the  entire  world  of  mo- 
tion pictures. 

Perhaps  the  most  notable  aspect 
of  "The  Lion's  Share",  published  by 
E.  P.  Dutton  and  Co.,  is  that  there 
really  isn't  a  villain  in  it.  The 
foibles  and  business  coups  and 
working  habits  of  some  of  the  large 
cast  of  real-life  characters  naturally 
vary  with  the  people;  but  the  broad 
picture  which  emerges  is  one  of  a 
group  of  extremely  capable  men  and 
women  doing  their  best  to  turn  out 
successful  entertainment. 

In  the  process  of  telling  this  story, 
Crowther  spins  a  fascinating  story 
of  the  show  business  of  a  generation 
and  two  generations  ago.  Those  of 
us  whose  personal  experience  does 
not  go  back  quite  that  far  will 
understand  today's  business  better 
for  the  way  "The  Lion's  Share"  re- 
captures yesterday  and  the  day 
before. 

The  book  brings  the  story  of 
Loew's  up  to  date,  right  to  the 
presidency  of  Joseph  Vogel.  It's  a 
worthwhile  literary  journey  all  the 
way  and,  from  the  large  viewpoint, 
a  healthy  piece  of  public  relations 
for  our  much-misunderstood  indus- 
try. 


Film  BULLETIN    April  15.  1957       Page  11 


COLUMBIA  JOINS  THE  NAVY  I 

romotionalTampaign  FC 


The  bands  start  playing  . . .  and  the  crowds  start  coming— for  the 
in-premiere  launching  in  early  April!  Then  watch  the  rest 
the  country  salute  the  HELLCATS  OF  THE  NAVY! 

1.  NEW  LONDON  PREMIERE!  Big  newspaper,  TV 
and  radio  personality  junket  from  New  York!  3-hour 

bmarine  cruise  on  actual  sub  used  in  HELLCAT  raids! 
High  Navy  personnel!  Naval  honor  guard!  Huge  array  of 
special  lobby  and  front  displays! 


CHESTER  fl.WW^. 
Ctt       Fleet  NimrA 


ft  2.  SAN  DIEGO  PREMIERE!  Stars  Ronald  Reagan  and  Nancy  Davis 
to  spark  ceremonies!  Co-author  of  the  book  upon  which  the  film 
is  based  will  appear!  High  Navy  brass,  local  dignitaries  and  representatives 
of  newspapers,  radio  and  TV  to  attend  big  cocktail  reception  and  dinner!  Navy 
marching  band!  Public,  on-stage  "swearing-in"  ceremony  for  new  enlistees! 

ft  3.  NATIONWIDE  TV  AND  RADIO  PUBLICITY!  Millions  of  viewers  and 
listeners  to  get  pre-premiere  and  subsequent  coverage  via  such  programs  as 
MASQUERADE  PARTY,  TONIGHT,  TODAY,  MONITOR,  etc. 


4.  SPECIAL  NATIONAL  NEWSPAPER  COVERAGE!  Famous  syndicated  writers 
will  cover  the  events  for  millions  of  readers:  Vivian  Brown,  Associated  Press; 
Ken  Lucas,  Wide  World  Photo  Service;  Alice  Hughes,  King  Features;  Gay  Pauley^ 
United  Press;  Bob  Sylvester,  New  York  News;  Earl  Wilson,  New  York  Post 
and  other  papers;  Frank  Farrell,  New  York  World-Telegram  &  Sun,* 
and  Scripps-Howard  Syndicate;  Ilka  Chase,  syndicated  columnist; 
Motion  Picture  Trade  Paper  Representatives.  # 


ft 


5.  HEAVY  RONALD  REAGAN  TV-RADIO  PLUGS!  Reagan  plugs  planted 
on  radio  stations  everywhere!  Coast-to-coast  TV  plug  by  Reagan  on  J 
General  Electric  show,  plus  countrywide  Cooperative 
Advertising,  Contests  and  Window  Displays. 

ft  6.  ADMIRAL  NIMITZ-RONALD  REAGAN  TV  INTERVIEW, 
NATIONWIDE!  f 

ft  7.  ED  SULLIVAN-CBS  NETWORK  TV  PLUG! 

ft  8.  NAVY  VARIETY  SHOW  to  plug  HELLCATS  in  16  state 
capitals,  37  states  and  47  cities  over  a  period  of  51  days! 

ft  9.  HELLCATS  OF  THE  NAVY  recruiting  drive,  sponsored  by 
U.  S.  Navy  in  43  cities,  with  a  spectacular  ceremony  in  each! 

ft  10.  FULL  U.  S.  NAVY  CO-OPERATION  in  every  situation! 

Local  recruiting  stations  to  lend  support  with  ceremonies,  parades, 
banners,  posting  A-boards, 

/ 


HE  YEAR'S  MOST  EXTENSIVE 

IliliCAiS  of  ran  MAW! 


:  LLC  ATS 
che  NAVY! 


co-starring 


DAVIS  •  FRANZ 


Screen 
Based  on  a  book 
Produced  by 


Play  by  DAVID  LANG  and  RAYMOND  MARCUS  .  Screen  Story  by  DAVID  LANG 
by  CHARLES  A.  L0CKW00D,  Vice-Admiral,  USN,  Ret.,  and  HANS  CHRISTIAN  ADAMSON,  Col.  USAF.  Ret. 

CHARLES  H.  SCHNEER  .  Directed  by  NATHAN  JURAN  .  a  morningside  production 


"This  Could  Be  the  Night" 

SututeAd  Kate*?  O  O  Plus 

Freshly  handled  comedy-satire.  Lively  programmer  for  gen- 
eral markets.  Word-of-mouth  favorable. 

Veteran  producer  Joe  Pasternak  has  assembled  a  fine 
off-beat  cast  for  this  hilarious  Runyonesque  comedy-satire 
on  a  rowdy  nightclub,  its  owners,  employees,  and  patrons. 
With  a  kaleidoscope  of  colorful  caricatures,  expert  use  of 
slang  and  slinky  dames,  this  M-G-M  release  is  a  triumph 
over  the  limitations  imposed  by  a  modest  budget.  (It's 
in  black-and-white  CinemaScope.)  "This  Could  Be  The 
Night"  is  funny,  colorful,  gaudy,  and  it  is  sure  to  delight 
the  general  run  of  audiences  because  of  its  refreshing  ap- 
proach to  the  material.  Under  Robert  Wise's  direction 
the  pace  is  plenty  fast.  Everyone  in  the  cast  gets  into  the 
fun.  Paul  Douglas  and  newcomer  Anthony  Franciosa 
own  the  club;  Jean  Simmons  gets  a  job  there:  Julie  Wil- 
son and  Neile  Adams  sing  and  dance;  Joan  Blondell,  J. 
Carrol  Naish,  Rafael  Campos,  Zasu  Pitts,  and  Ray  An- 
thony's band  also  work  there.  The  clever  screenplay  is  by 
Isobel  Lennart  from  short  stories  by  Cordelia  Baird  Gross. 
Fresh  from  college,  schoolteacher  Miss  Simmons  takes  a 
part-time  job  in  the  club.  The  rough  and  tumble  patrons 
and  employees  think  she's  "odd-ball".  She  clashes  with 
singer  Miss  Wilson,  chef  Naish,  busboy  Campos,  and  ex- 
chorus  doll  Miss  Blondell,  then  wins  them  over  with  dis- 
arming sincerity.  Franciosa  remains  coldly  aloof  so  Miss 
Simmons  goes  to  his  apartment  demanding  an  explana- 
tion. Douglas  thinks  Franciosa  lured  Miss  Simmons  to 
the  apartment.  She  is  fired.  Everyone  has  "the  blues" 
until  Miss  Simmons  is  re-hired  for  her  "protection". 

MGM.  103  minutes.  Jean  Simmons,  Paul  Douglas,  Anthony  Franciosa.  Produced 
by  Joe  Pasternak.    Directed  by  Robert  Wise. 

"We  Are  All  Murderers" 

SccdcKetd  KattKf  Q  Q  Plus 

Moody  French  import  offers  pros  and  cons  of  capital  pun- 
ishment. For  art  houses,  but  can  be  used  in  other  situations. 

"We  Are  All  Murderers"  is  a  French  import  for  those 
who  like  their  fare  tragic  or  sordid.  Producer-director 
Andre  Cayatte  is  here  again  absorbed  with  the  moral 
aspects  of  law,  this  time  capital  punishment.  Released  by 
Kingsley  International  with  English  titles,  this  tense  dra- 
ma is  harrowing,  even  gruesome,  as  it  traces  Marcel 
Mouloudji's  path  to  the  gallows.  In  a  fervent  attempt  to 
be  microscopically  realistic,  screen  playwrights  Cayatte 
and  Charles  Spaak  go  off  on  many  tangents,  reducing  the 
impact.  But  director  Capatte  is  deft  and  subtle.  His 
scenes  in  the  penitentiary  and  death  cell  are  superbly  au- 
thentic. Slum-bred  and  virtually  illiterate,  Mouloudji 
scratches  for  a  meager  existence  during  the  Nazi  occupa- 
tion of  France.  He  accepts  all  work  offered.  Hired  by 
French  resistence  fighters,  he  kills  French  traitors  and 
Germans  without  flinching.  Continuing  to  murder  after 
the  war,  he  is  sentenced  to  death.  Claude  Laydu  takes  his 
case,  attempts  to  prove  that  society  taught  Mouloudji  to 
kill  and  sentenced  him  to  die  when  he  continued  to  kill. 
Laydu  appeals  to  the  president  for  a  pardon.  The  final 
outcome  is  left  in  doubt. 

Kingsley  International.  IA  Union  Generale  Cinematographique  Productionl.  113 
minutes.  Marcel  Mouloudji,  Georges  Poujouiy  Raymond  Pellegrin  Produced  and 
directed  by  Andre  Cayatte. 


"The  Buster  Keaton  Story" 

*Su4iKe44  Emu*?  Q  O  Plus 

Silent  screen  sequences  enliven  standard  theatrical  biog- 
raphy. OK  marquee  in  O'Connor,  Rhonda  Fleming,  Ann 
Blyth.  Will  need  selling. 

The  vicissitudes  of  famed  silent  screen  comedian  Buster 
Keaton  have  been  given  the  full  treatment  in  this  Para- 
mount biography  in  Vista  Vision.  But  the  results  are,  on 
the  whole,  disappointing.  Though  blessed  with  the  sub- 
stantial talents  of  Donald  O'Connor,  Ann  Blyth  and  vo- 
luptuous Rhonda  Fleming,  neither  they  nor  the  colorful 
production  of  Robert  Smith  and  Sidney  Sheldon  are  able 
to  compensate  for  the  fact  that  the  riches-to-rags  saga, 
swathed  in  an  alcoholic  veil,  has  become  just  too  familiar. 
Chief  entertainment  values  of  "The  Buster  Keaton  Story" 
lie  in  the  re-enactment  of  vintage  comedy  sequences  and 
in  the  realistic  atmosphere  of  a  reckless  and  wonderful 
Hollywood  of  a  bygone  era.  Strong  selling  of  the  ele- 
ments involved,  O'Connor's  name,  the  nostalgia,  the  giddy 
20's,  are  the  things  the  exhibitor  will  have  to  call  into 
play  to  make  this  show  a  success.  O'Connor  is  superb  as 
Keaton,  his  mimicry  virtually  flawless.  Ann  Blyth,  too 
sweet  for  words,  nevertheless  behaves  convincingly. 
Rhonda  Fleming  is  gorgeous  in  her  satire  of  a  silent 
screen  beauty.  Keaton  is  a  lad  whose  theatrical  baptism 
occurred  in  the  knockabout  act  of  his  parents.  When  mo- 
tion pictures  replace  vaudeville,  young  Keaton  hies  him- 
self to  Hollywood,  talks  himself  into  a  comedian-director 
contract  and  goes  on  to  a  celebrated  career.  He  bypasses 
affections  of  casting  director  Blyth  for  the  phoney  charms 
of  silent  siren  Fleming.  Ann's  loyalty  continues  through 
the  advent  of  talking  pictures  when  finally  she  marries 
him  during  one  of  his  despondent  drinking  sprees.  Her 
devotion  ultimately  brings  back  a  sense  of  proportion  and 
reality  to  the  frustrated  comedian,  and  he  makes  a  humble 
new  beginning  on  the  small  town  vaudeville  circuit. 

Paramount.  91  minutes.  Donald  O'Connor,  Ann  Blyth,  Rhonda  Fleming,  Peter 
Lorre.     Produced   by  Robert  Smith   and   Sidney   Sheldon.     Directed   by  Sheldon. 

"Man  Afraid" 

Thin  story  line,  uninteresting  characters  dull  this  suspense 
meller.   For  lower  half  dualing.   Mild  marquee  value. 

"Man  Afraid",  in  black  and  white  CinemaScope,  is  a 
"suspense  thriller"  that  contains  little  suspense  and  rarely 
thrills.  The  thin,  vapid  story  deals  with  characters  who 
lack  plausibility.  There  is  mild  marquee  value  in  George 
Nader  and  child  star  Tim  Hovey,  but  the  picture  seems 
destined  for  the  lower  half  of  dual  bills.  The  production 
of  Gordon  Kay  and  the  direction  of  Harry  Keller  are  pre- 
scribed by  the  script,  and,  perforce,  are  likewise  lacking 
in  substance  and  vitality.  Phyllis  Thaxter  plays  the  minis- 
ter's wife  who  wonders  where  her  spiritual  duties  end  and 
her  domestic  life  begins.  Plot  revolves  around  minister 
George  Nader,  who  kills  an  intruder  and  is  tormented 
with  the  belief  that  he  is  a  murderer,  and  the  victim's 
lonely,  obsessed  father,  Eduard  Franz,  who  wants  to  re- 
venge the  killing  through  Nader's  son,  Tim  Hovey.  Nader 
tries  to  reason  with  Franz  to  no  avail.  Picture  winds  up 

Universal-International.  84  minutes.  George  Nader,  Phyllis  Thaxter,  Tim  Hovey, 
Eduard  Franz.    Produced  by  Gordon  Kay.    Directed  by  Harvey  Keller. 


Page  14       Film  BULLETIN    April  15,  1 957 


"The  Stranqe  One" 

Gripping,  adult  study  of  sadism  in  Southern  military  school 
is  dramatic  shocker.  Ben  Gazzara  looks  like  new  star.  Best 
for  urban,  class  situation.  Will  require  expoitation. 

Sam  Spiegel  has  produced  a  brutally  realistic,  gripping 
drama  about  life  in  a  Southern  military  college.  Released 
through  Columbia,  "The  Strange  One"  is  so  shocking  and 
sensational,  it  is  certain  to  provoke  much  word-of-mouth, 
which  figures  to  be  translated  into  strong  boxoffice  re- 
sponse. Sadism,  cruelty  and  even  hints  of  homosexuality 
are  given  powerful  treatment  in  Calder  Willingham's 
screenplay,  adapted  from  his  own  novel  and  play,  "End  As 
A  Man".  The  very  nature  of  the  film,  its  adult  treatment 
and  the  fact  that  it  is  cast  with  screen  unknowns  makes 
it  best  suited  for  urban  and  class  situations.  Exploitation 
angles  are  plentiful,  not  the  least  of  which  rests  in  the 
name  of  Ben  Gazzara,  screen  newcomer  (he  starred  in  the 
stage  play)  who  looks  like  a  bright  star  of  the  future. 
Other  promising  newcomers  include  George  Peppard, 
Paul  E.  Richards,  James  Olson  and  Julie  Wilson.  Under 
Jack  Garfein's  direction  the  pace  is  fast  and  tight.  Upper 
classmen  Gazzara  and  Pat  Hingle  force  freshmen  Peppard 
and  Arthur  Storch  to  play  cards  and  drink  with  football 
star  Olson.  When  the  son  of  school  commandant  Larry 
Gates  is  severly  beaten  by  Olson  and  expelled  for  drink- 
ing and  brawling,  Peppard  presses  Gazzara  to  confess  that 
he  forced  the  boy  to  drink.  Gazzara  insists  that  everyone 
is  equally  guilty  and  warns  that  all  would  be  expelled. 
Gates  suspects  Gazzara's  guilt  and  appeals  to  Peppard, 
who  remains  silent.  The  cadets  hold  a  "kangaroo  court", 
force  Gazzara  to  confess,  drag  him  to  the  railroad  and 
and  ship  him  out  with  his  belongings. 

Columbia.  IA  Horizon  Picturel  100  minutes.  Ben  Gazzara.  George  Peppard, 
Julie  Wilson,  Larry  Gates.    Produced  by  Sam  Spiegel.    Directed  by  Jack  Garfein. 

The  Bachelor  Party" 

Gcochcm  TRaUnf  OOO  Plus 

"Marty"  author  Paddy  Chayefsky  again  scores  with  a  sen- 
sitive frank  drama.  Acting  and  direction  superb.  Don  Mur- 
ray and  "men  who  made  Marty"  for  marquee.  Needs  sell- 
ing, but  word-of-mouth  should  carry  it. 

Author  Paddy  Chayefsky,  director  Delbert  Mann  and 
the  other  "men  who  made  'Marty'  "  have  come  through 
with  another  very  frank,  very  human,  very  searching  mo- 
tion picture.  And  United  Artists  has  another  boxoffice 
winner.  The  acting  by  a  cast,  unknown  except  for  Don 
Murray,  is  superb,  better  than  anything  seen  in  any  pic- 
ture of  recent  months.  Mann's  direction  is  priceless.  Pro- 
ducer Harold  Hecht,  who  found  a  gold  mine  in  "Marty", 
wisely  gave  his  talented  staff  carte  blanche,  and  the  results 
are  justified.  With  the  proper  selling  job,  "The  Bachelor 
Party"  will  roll  up  handsome  grosses  in  all  situations. 
Chayefsky  again  reveals  his  super-sensitive  ear  for 
naturalistic  talk,  plus  a  revealing  eye  for  the  fears,  the  de- 
sires, the  frustrations  of  young  New  York  city-dwellers 
who  are  his  genre.  His  characters  are  revealed  sympa- 
thetically, almost  embarrassingly  truthfully,  and  all  have 
depth  and  believability.  Jack  Warden,  Larry  Blyden,  E. 
G.  Marshall,  Carolyn  Jones,  Phil  Abbott  are  all  seasoned 
TV  and  theatre  actors  and  they  speak  the  author's  dia- 


logue as  if  it  were  their  own.  Don  Murray  makes  a  be- 
lievable focal  point  for  the  action.  By  use  of  location  shots 
in  Greenwich  Village  and  Brooklyn,  Mann  endows  many 
scenes  with  a  thoroughly  realistic  dimension.  There  are 
some  minor  drawbacks  to  "Bachelor  Party",  however,  to 
keep  it  from  attaining  the  true  greatness  of  "Marty".  It 
lacks  a  straight  story  line  and  some  of  the  strong  empathy 
engendered  by  the  lonely  butcher  "Marty".  But  the  same 
audeinces  who  loved  "Marty"  will  enjoy  "The  Bachelor 
Party".  Murray,  a  young  accountant  working  for  a  de- 
gree at  night  school,  learns  his  wife,  Patricia  Smith,  is 
pregnant.  He  begins  to  feel  trapped  in  marriage  by  this 
sudden  intrusion  into  their  life.  When  the  boys  in  the 
office  plan  a  bachelor  party  for  one  of  their  members,  Phil 
Abbott,  Murray's  wife  urges  him  to  go  and  have  fun.  As 
the  party  progresses  from  bar  to  bar,  each  of  the  five 
members  of  the  party  reveals  more  and  more  of  himself, 
Murray  his  longing  for  freedom,  his  envy  of  Warden,  a 
girl-happy  bachelor.  His  opportunity  for  an  extra-marital 
affair  comes  at  a  Greenwich  party  with  existentialist 
Carolyn  Jones.  Instead,  after  a  fight  with  Warden,  who 
reveals  himself  as  lonely  and  unhappy,  he  takes  the 
drunken  Abbott  home.  Abbott  confesses  his  fear  of  mar- 
riage, but  Murray,  after  the  revelations  of  the  evening, 
tells  him  that  a  life  without  love  for  someone  is  empty.  He 
goes  home  to  his  wife,  in  love  once  again  and  happy. 

United  Artists  IA  Norma  Productions,  Inc.)  IA  Hecht,  Hill  and  Lancaster  Presen- 
tation). 92  minutes.  Don  Murray,  E.  G.  Marshall,  Carolyn  Jones,  Jack  Warden, 
Phil  Abbott.    Produced  by  Harold  Hecht.    Directed  by  Delbert  Mann. 

"Hellcats  of  the  Navy" 

&Ct4t«ed4  1£<ltiK4  O  O  Plus 
Action  and  historical  elements  provide  interest  and  exploit- 
ables  in  submarine  drama  of  Pacific  war. 

This  Columbia  release  has  much  to  recommend  it,  par- 
ticularly to  action  fans,  despite  some  stereotype  heroics. 
Audience  interest  will  be  held  by  the  intriguing  and  dra- 
matic narrative  of  how  U.S.  submarines  participated  in 
the  destruction  of  the  Japanese  merchant  marine  and  a 
large  section  of  the  Japanese  navy  during  World  War  II. 
The  vivid  direction  of  Nathan  Juran  and  the  realistic 
black-and-white  production  of  Charles  H.  Scheer  carry 
out  the  action  and  sea  sequences  admirably.  They  are 
taut  and  exciting.  In  addition,  the  performances  by  Ron- 
ald Reagan  and  Arthur  Franz  as  submarine  naval  officers 
are  excellent,  and  Nancy  Davis  performs  her  occasional 
duties  with  grace  and  charm.  Robert  Arthur  is  splendid 
as  a  youngster  on  his  first  active  duty.  Submarine  skipper 
Reagan  and  executive  officer  Franz,  lock  swords  early, 
when,  after  an  exploratory  mission,  Reagan  orders  the 
craft  to  submerge  in  the  face  of  an  enemy  destroyer,  even 
though  it  means  sacrificing  one  of  his  crew.  The  mutual 
respect  of  the  two  men  keeps  them  acting  in  concert.  As- 
signed to  trace  a  route  through  enemy  mines,  they  com- 
plete the  daring  mission  though  it  means  loss  of  their  ship 
and  casualties.  In  the  final  encounter,  when  their  new 
craft  and  other  Navy  submarines  rendezvous  off  the  Japa- 
nese coast  inflicting  heavy  damage  on  enemy  vessels, 
Franz  recognizes  Reagan's  superior  qualities  as  a  com- 
manding officer  and  is  himself  now  ready  to  master  a  sub- 
marine of  his  own.  Reagan  gets  Miss  Davis,  loved  by  both. 

Columbia.  I Morningside ) .  82  minutes.  Ronald  Reagan,  Nancy  Davis,  Arthur  Franz 
Produced  by  Charles  H.  Schneer.    Directed  by  Nathan  Juran. 


Film  BULLETIN    April  15,  1957        Page  15 


Hajah  £ai/J  (jtouinq  £cle  c$  fylm  Writer* 
PtcwMA  Cxcitihg  Juture  in  filciiJie  ftlakiny 

WRITERS  AND  MOTION  PICTURES 

By  ELIA  KAZAN 


I  arrived  in  Hollywood  in  1944  to  make  my  first  motion 
picture,  "A  Tree  Grows  in  Brooklyn".  I  went  from  the 
train  to  the  hotel  and  then  I  checked  in  with  my  producer, 
Louis  Lighton.  He  was  a  fine  man,  an  old-timer,  a  fine 
producer,  too.  His  eyesight  was  failing  and  I  found  him 
bent  close  over  his  desk  peering  through  a  very  large 
magnifying  glass.  He  was  working  on  the  script.  He  had 
before  him  Betty  Smith's  novel,  as  well  as  several  earlier 
versions  of  the  screenplay.  These  were  being  cannibalized 
— as  they  say  at  plane  repair  shops — in  a  search  for  usable 
parts.  Laboriously  and  with  practiced  craftsmanship,  the 
producer  was  putting  the  incidents  together  into  se- 
quences, arranging  these  for  climax,  and  shaping  the 
whole  into  what  he  always  called  three  "acts".  Bud  Ligh- 
ton knew  what  he  was  doing:  he'd  done  it  since  the  days 
of  the  silents. 

The  screenplay  was  credited  to  Tess  Slesinger  and 
Frank  Davis,  but  in  all  the  nine  months  I  was  in  Holly- 
wood on  this  project,  I  never  met  these  two  people.  Years 
later  in  New  York,  I  heard  of  Miss  Slesinger's  death.  I 
still  hadn't  met  her.  Another  few  years  passed,  and  one 
night  at  a  party  a  strange  man  came  up  and  introduced 
himself.  It  was  Frank  Davis. 

I  was  fresh  from  the  theatre,  and  this  separation  of  the 
writers  from  the  director — and  from  their  own  work — 
came  as  a  shock  to  me.  I  was  to  learn  that  it  was  regular 
practice. 

I  remember  my  first  day  at  lunch  in  the  Twentieth  Cen- 
tury Fox  commissary.  I  was  told  that  Mr.  Zanuck  ate  in 
state,  flanked  by  his  producers,  behind  the  closed  doors  of 
the  executive  dining  room.  I  didn't  care  about  them.  To 
me,  the  figures  of  glamour  were  the  famous  directors — 
gods!  There  they  were,  ranged  along  the  best  wall,  look- 
ing out  over  the  enormous  dining  room,  each  at  his  re- 
served table  with  his  favorite  waitress,  also  reserved.  The 
center  tables  were  taken  by  the  stars.  They  were  sur- 
rounded by  their  favorites  and  sycophants :  make-up  men, 
hairdressers,  stand-ins,  agents,  girl  or  boy  friends.  At 
other  prominent  tables  sat  the  big  men  of  the  back  lot,  the 
cameramen.  Each  had  his  heads  of  departments,  his 
gaffers  and  key  grips  and  so  on :  a  Homeric  catalogue. 

Only  after  several  weeks  did  I  notice  and  explore  a 
sorry  group  at  a  remote  table.  Their  isolation  was  so  evi- 
dent that  it  seemed  planned.  There  was  no  mixing  with 

This  article  appears  in  the  April  ATLANTIC 
MONTHLY,  and  is  reprinted  here  with  the 
permission  of  the  PublWker  and  Mr.  Kazan. 


this  group,  no  table-hopping  to  their  table.  They  seemed 
out  of  place.  Their  dress  was  tamer.  Few  had  the  fashion- 
able sun  tan  that  a  Beverly  Hills  success  carries  right  to 
his  grave.  They  laughed  in  a  hysterical  way,  giddy  cr 
bitter.  The  writers.  .  .  . 

Some  of  them  were  admitted  hacks  and  some  were  un- 
admitted hacks.  Some  were  top  screen  writers.  There 
would  be  an  occasional  PuHtzer  Prize  playwright  cr  a 
famous  novelist  who  had  come  out  to  do  one  screen  as- 
signment. Every  last  one  of  them  seemed  embarrassed  to 
be  there,  and  the  embarrassment  expressed  itself  in  a 
bitter  wit.  They  specialized  in  long  sagas  about  the  idiocy 
of  the  motion-picture  business.  There  was  a  never-ending 
competition  of  appalling  anecdote.  They  razzed  every- 
thing and  anybody — including  themselves.  A  wealth  of 
talent  spent  itself  in  mockery. 

My  education  continued  on  the  set  of  "Tree".  Since  I 
was  a  total  stranger  to  film,  Lighton  assigned  me  one  of 
Hollywood's  best  cameramen,  Leon  Shamroy.  I  was  to 
stage  the  scenes  "as  if  they  were  happening  in  life"  and 
Leon  would  decide  how  to  photograph  them.  He  would 
get  onto  film  various  angles  that  could  subsequently  be 
cut  together  to  make  an  effective  cinematic  narration. 
Leon  was  a  new  experience  to  me.  As  I  say,  I'd  come 
from  Broadway,  where  the  writer  was  God  and  his  lines 
were  sacred  by  contract.  Now  I'm  sure  that  Lecn  read 
the  script,  or  most  of  it,  before  he  started  on  the  picture, 
but  I  know  he  didn't  look  at  the  day's  scenes  before  com- 
ing to  work  each  morning.  This  wasn't  negligence :  it  was 
policy.  There  was  a  superstition  that  to  look  at  the  liter- 
ary foliage  would  blur  one's  sense  of  the  essential  action. 

When  I  came  on  the  set  in  the  morning,  he  was  usually 
there,  a  victim  of  sleep  (too  much  or  too  little)  and  ready 
for  the  ministrations  of  the  set  porter.  In  those  halcyon 
days,  each  set  had  its  porter.  In  a  daily  ritual,  Leon  was 
presented  with  coffee,  a  Danish,  the  Hollywood  Daily 
Variety,  and  the  Hollywood  Reporter.  While  he  read,  I 
would  earnestly  rehearse  the  actors.  In  time,  Leon  wou'd 
lower  his  Reporter  and  ask,  "Well,  what's  the  garbage  for 
today?"  The  garbage  was  the  dialogue.  If  he  had  a  criti- 
cism, it  was  always  the  same  one:  "What  do  you  need  all 
those  words  for?"  On  his  benign  days,  he  didn't  say  "gar- 
bage." He  said  "nonsense." 

The  writers  were  in  a  humiliating  position.  The  motion- 
picture  makers  insisted  on  referring  to  themselves  as  an 
industry.  An  industry  aspires  to  efficiency.  They  were 
supplying  fifty-odd  pictures  per  major  studio  per  year  to 
the  market.   They  tried  to  supervise  the  manufacture  of 


Page  16       Film  BULLETIN    April  15,  1957 


xripts  by  methods  that  worked  splendidly  in  the  automo- 
)ile  and  heavy  appliance  industries.  Their  system,  with 
/ariations,  went  something  like  this : — 

An  "original  property"'  (a  novel,  a  play,  a  "story  idea") 
.vas  bought  outright.  By  this  act,  a  studio  acquired  ma- 
terial and  at  the  same  time  got  rid  of  a  potential  trouble- 
maker, the  "original  author."  The  next  step  was  an  execu- 
tive conference  about  the  property  and,  usually,  the  cast- 
ing of  the  stars.  The  original  property  was  then  turned 
over  to  a  "construction  man."  His  job  was  to  "lick  the 
story."  In  other  words,  he  was  to  bring  the  material  into 
digestible  shape  and  length,  twist  it  to  fit  the  stars  and  to 
eliminate  unacceptable  elements.  These  last  included  ele- 
ments banned  by  the  Code,  elements  which  might  offend 
any  section  of  the  world  audience,  unentertaining  elements 
such  as  unhappy  endings  or  messages  ("Leave  them  to 
Western  Union!").  There  was  a  word  that  governed  what 
went  out :  the  word  "offbeat."  This  covered  anything, 
really,  that  hadn't  been  done  before,  that  hadn't  been,  as 
the  marketing  experts  say,  pretested.  The  construction 
man,  to  put  it  simply,  was  supposed  to  outline  a  hit.  (For 
some  reason,  at  this  time.  Middle  Europeans  were  highly 
regarded  for  this  job.  Their  knowledge  of  our  language 
and  country  was  slight,  but  they  were  thought  to  be  hell 
on  structure.)  After  the  construction  man,  a  "dialogue 
man"  was  brought  in.  (The  verb  "to  dialogue"  was  added 
to  the  writers'  glossary  of  Hollywood  words.)  After  the 
man  who  dialogued  it,  there  frequently  followed  a  "polish 
man."  The  script  was  getting  close.  (They  hoped.)  There 
was  a  good  chance  that  an  "additional  dialogue  man" 
would  spend  a  few  weeks  on  the  job.  His  instructions 
might  be  very  simple,  as,  "Put  thirty  laughs  in  it." 

What  was  wrong  with  hiring  a  specialist  in  each  field? 
It  would  have  been  efficient. 

Trouble  was,  the  final  shooting  script  was  so  often  pre- 
posterous. Characters  went  out  of  character.  Plot  threads 
got  snarled.  Climaxes  made  no  sense  because  the  prepara- 
tion for  them  had  got  lost  somewhere  on  the  assembly 
line.  If  it  was  a  "B"  picture,  they  usually  shot  it  anyway. 
But  if  it  was  a  "big"  picture,  the  producer,  like  Lighton, 
would  find  himself  late  at  night  compiling  a  last  fnal 
shooting  script  out  of  bits  and  pieces  of  all  the  previous 
versions.  More  often  it  was  the  director  who  did  this.  Or 
sometimes  a  brand-new  writer  was  called  in.  The  Screen 
Writers  Guild  put  in  a  lot  of  time  ruling  on  which  writers 
were  entitled  to  what  screen  credit  for  a  picture  that  none 
of  them  could  altogether  recognize. 

It  was  all  pretty  confusing,  as  I  said,  to  a  director  fresh 
from  the  theatre.  The  theatre  was  Eugene  O'Neill  and 
Sidney  Howard  and  Robert  Sherwood  and  S.  N.  Behrman 
and  Thorton  Wilder  and  Clifford  Odets  and  twenty 
others.  The  least,  newest,  greenest  playwright  shared  the 
aura  and  the  rights  that  the  giants  had  earned.  The  rest 
of  us  —  actors,  directors,  and  so  on  —  knew  that  our 
function  was  to  bring  to  life  the  plays  they  wrote. 

But,  I  was  told,  pictures  are  different  .  .  .  Film  is  a  pic- 
torial medium.  The  strip  of  celluloid  ought  to  tell  the 
story  with  the  sound  track  silent.  There  are  crucial  artis- 
tic choices  that  can't  possibly  be  anticipated  in  a  script. 
They  have  to  be  made  hour  by  hour  on  the  set  and  in  the 
cutting  room.  A  director  stages  plays;  he  makes  pictures. 


KAZAN 

The  author  of  this  arti- 
cle is  a  bright  light  of 
moviedom  today.  Since 
graduating  from  Wil- 
liams College  in  '30 
and  the  Yale  Drama 
School,  he  has  been  ac- 
tor, stage  director,  film 
director  and  producer. 
His  works  could  never 
be  called  commonplace. 
Consider  these  plays 
"Kaz"  has  directed:  "A 
Streetcar  Named  De- 
sire", "Death  of  a 
Salesman",  "Tea  and 
Sympathy",  "Cat  on  a 
Hot  Tin  Roof".  These 
films:  "Gentleman's 
Agreement",  "Street- 
car", "On  the  Water- 
front" and  that  contro- 
versial "Baby  Doll". 
Coming  up:  an  interest- 
ing new  film,  "A  Face 
in  the  Crowd". 


This  was  all  true,  and  I  must  say  that  I  took  to  it  rather 
readily.  I  was  disinclined  to  quarrel  with  a  line  of  reason- 
ing which  thrust  power  and  pre-eminence  upon  the  di- 
rector. 

I  was  a  good  while  longer  learning  certain  other  facts. 
I  learned  them  tripping  up  on  inadequate  scripts — includ- 
ing some  that  I  vigorously  helped  to  shape.  I  can  state 
them  with  painful  brevity  : — 

There  can't  be  a  fine  picture  without  a  fine  script. 

There  can't  be  a  fine  script  without  a  first-class  writer. 

A  first-class  writer  won't  do  first-class  work  unless  he 
feels  that  the  picture  is  his. 

I  doubt  if  the  writer's  place  in  pictures  will — or  should 
— ever  be  exactly  the  same  as  in  the  theatre,  but  I've  been 
thinking  a  lot  lately  about  what  happened  in  the  theatre. 
It's  relevant  and  salutary. 

Take  1900-1920.  The  theatre  flourished  all  over  the 
country.  It  had  no  competition.  The  box  office  boomed. 
The  top  original  fare  it  had  to  offer  was  "The  Girl  of  the 
Golden  West."  Its  bow  to  culture  was  fusty  productions 
of  Shakespeare.  Either  way,  the  plays  were  treated  as 
showcases  for  stars.  The  business  was  in  the  hands  of  the 
managers  and  the  actor-managers.  The  writers  were  no- 
where. They  were  hacks  who  turned  out  new  vehicles 
each  season,  to  order.  A  playwright  had  about  as  little 
pride  in  his  work,  as  little  recognition  for  it,  as  little  free- 
dom, as  a  screen  writer  in  Hollywood  in  the  palmy  days. 
And  his  output  was,  to  put  it  charitably,  not  any  better. 

Came  the  moving  pictures.  At  first  they  were  written 
off  as  a  fad.  Then  they  began  to  compete  for  audiences, 
and  they  grew  until  they  threatened  to  take  over.  The 
theatre  had  to  be  better  or  go  under.  It  got  better.  It  got 
so  spectacularly  better  so  fast  that  in  1920-1930  you 
wouldn't  have  recognized  it.  Perhaps  it  was  an  accident 
that  Eugene  O'Neill  appeared  at  that  moment — but  it  was 
no  accident  that  in  that  moment  d#  strange  competition, 

(Continued  on  Page  18) 


Film  BULLETIN    April  15,  1957        Page  17 


WRITERS  AND  MOTION  PICTURES 

(Continued  from  Page  1~) 

the  theatre  made  room  for  him.  Because  it  was  disrupted 
and  hard  pressed,  it  made  room  for  his  experiments,  his 
unheard-of  subjects,  his  passion,  his  power.  There  was 
room  for  him  to  grow  to  his  full  stature.  And  there  was 
freedom  for  the  talents  that  came  after  his.  For  the  first 
time,  American  writers  turned  to  the  theatre  with  antici- 
pation and  seriousness,  knowing  it  could  use  the  best  they 
could  give. 

Well,  now  it's  1957  and  television  is  the  "industry."  It's 
a  giant — and  a  growing  giant.  It's  fated  to  be  much 
bigger  than  pictures  ever  were.  Even  now,  it's  overwhelm- 
ing. We've  all  seen  that.  Television  has  shaken  up  the 
whole  picture  business.  It's  our  turn  now.  We  in  pictures 
have  got  to  be  better  or  go  under. 

When  TV  appeared,  the  motion-picture  people  put  up  a 
struggle.  They  didn't  give  up  easily.  First  they  pretended 
that  it  wasn't  there.  Then  they  tried  to  combat  it  with 
every  conceivable  technical  novelty.  They  tried  big 
screens  in  all  sorts  of  ratios  of  width  to  height.  They  tried 
the  third  dimension,  with  and  without  goggles.  They  tried 
multiple  sound  sources  and  bigger  budgets.  As  I  write, 
the  novelty  is  long  long  long  pictures.  They  tried  just 
about  everything  except  the  real  novelty:  three-dimen- 
sional material,  new  and  better  stories. 

There  are  signs  that  they  are  being  forced  to  that.  It 
was  hard  to  miss  the  meaning  of  the  most  recent  Academy 
Awards.  In  1954,  "From  Here  to  Eternity";  1955,  "On 
the  Waterfront";  1956,  "Marty".  Of  these,  only  the  first 
came  from  a  major  studio.  All  three  used  ordinary  old- 
fashioned  screens.  All  three  were  shot  in  black  and  white. 
And  different  as  they  were,  each  of  them  was  plainly,  un- 
deniably, offbeat.  People  simply  didn't  care  what  size  the 
screen  was.  They  went  to  see  those  pictures  because  they 
had  life  in  them. 

The  writers  rejoiced  in  a  recognition  that  went  beyond 
their  awards;  and,  notice,  in  each  case  the  writer  carried 
through  from  start  to  finish,  working  actively  with  the  di- 
rector. James  Jones  had  written  a  hot  novel  out  of  his  war 
experience.  Daniel  Taradash  made  the  material  his  own, 
turned  it  into  fine  screenplay,  and  worked  closely  with 
Fred  Zinneman,  the  director.  Budd  Schulberg  did  an 
original  screenplay  out  of  long  research  and  conviction 
and  feeling,  consulting  with  me  often  as  he  wrote,  and 
standing  by  during  much  of  the  shooting.  Paddy  Chay- 
evsky  expanded  his  own  television  sketch  into  a  picture 
and  was  consulted  by  Delbert  Mann  as  it  was  being  shot. 

To  get  back  to  the  picturemakers,  they're  in  trouble. 
The  box-office  barometer  dipped  down,  recovered,  dropped 
again.  Picture  houses  are  closing,  going  dark.  There  is  a 
rumor  that  one  of  the  big  studio  lots  is  to  be  sold  for  a 
real-estate  development.  In  such  moments  of  confusion 
and  panic,  executive  imaginations  make  unaccustomed 
flights.  It  has  begun  to  occur  to  them  that  the  writer — 
that  eccentric,  ornery,  odd,  unreliable,  unreconstructed, 
independent  fellow — is  the  only  one  who  can  give  them 
real  novelty. 

The  first  sign  that  the  old  order  was  changing  came  in 
an  odd  but  characteristic  way:  there  was  a  certain  loosen- 


ing of  the  industry's  self-imposed  censorship  code.  There 
were  departures  from  the  frantic  and  crippling  rule  that 
you  must  please  everybody,  you  can't  offend  anybody.  An 
older  law  was  operating  at  the  box  office:  if  you  try  to 
please  everybody,  you  don't  please  anybody. 

At  the  same  time,  the  unwritten  taboos  began  to  be 
relaxed.  The  superstition  about  offbeat  material  took  a 
new  turn.  There  seemed  to  be  some  mysterious  plus  in 
the  offbeat.  Warily,  story  departments  were  instructed  to 
look  for  subjects  with  this  peculiar  quality. 

So  now  the  writers — the  fellows  who  used  to  sit  in  that 
caustic  clump  in  the  farthest  corner  of  the  studio  com- 
missary— are  being  brought  forward.  A  number  have 
been  moved  "up"  to  nonwriting  jobs.  They  have  been 
made  producers  and/or  directors.  Since  it  would  seem 
obvious  that  writers  are  needed  as  writers,  this  may  sound 
as  inscrutably  silly  as  some  other  Hollywood  behavior — 
but  it  is  at  least  a  fumbling  recognition  that  writers  "have 
something"  that's  needed  now.  More  reasonably,  books 
and  other  stories  that  used  to  be  thought  unsuitable  for 
pictures  are  being  bought.  In  a  surprising  number  of 
cases,  the  original  author  is  being  asked  to  make  his  own 
screen  version.  Above  all,  writers  are  being  invited,  ca- 
joled, and  very  well  paid  to  write  original  and  serious  pic- 
tures. This  last  is  the  big  step  and  the  big  hope. 

Another  sign  of  change  is  the  growing  number  of  small 
independent  units  being  financed  by  the  big  studios  and 
operating  with  a  freedom  that  was  unimaginable  ten  years 
ago.  The  mood  is  "Let  them  try."  I'm  one  of  the  ones 
who's  trying.  I've  formed  my  own  company,  Newtown 
Productions.  I  like  being  my  own  boss.  I  make  my  own 
pictures  the  way  I  want  to  make  them.  Also,  I  make  my 
own  mistakes.  One  of  the  things  I've  done  is  to  upset  the 
traditional  balance  and  make  the  writer  more  important 
than  the  stars.  I  don't  think  it's  a  mistake. 

I  think  we  have  a  wonderful  chance  right  now.  The 
breakdown  of  the  old  standardized  picturemaking  has 
made  room  for  creative  people.  It  is  a  boon  to  anyone  who 
has  something  personal  and  strong  to  say.  For  art  is 
nothing  if  it  is  not  personal.  It  can't  be  homogenized.  By 
its  nature,  it  must  disturb,  stir  up,  enlighten,  and  "offend". 

I'd  like  to  make  one  last  point  about  the  writers,  be- 
cause it's  important.  The  Academy  Award  winners,  Dan 
Taradash  and  Budd  Schulberg  and  Paddy  Chayevsky, 
don't  sneer  at  pictures.  They  don't  think  that  screen  writ- 
ing is  beneath  them  or  that  it's  somehow  an  inferior  form. 
The  first  time  I  met  Budd,  he  had  published  three  im- 
portant and  successful  novels,  but  he  said  to  me,  "God, 
I'd  like  to  write  a  really  good  picture  some  day."  I  heard 
Paddy  use  almost  the  same  words  back  in  1951  when  he 
was  a  young  TV  writer.  They  have  both  done  it. 

I  think  that  Budd  has  done  it  again  in  "A  Face  in  the 
Crowd",  which  we  are  now  completing.  We  have  made  it 
together,  every  step  of  the  way.  I  never  worked  more 
closely  with  a  writer  in  the  theatre. 

For  as  the  theatre  once  freed  itself  from  stale  routines, 
so  now  pictures  are  beginning  to  make  room  for  the  best 
that  a  writer  can  bring  to  them.  It  follows  that  for  the 
first  time  American  writers  are  turning  seriously  to  pic- 
tures. 

What  happens  next  may  be  as  exciting  as  what  hap- 
pened in  the  twenties  in  the  theatre. 


Page  18       Film  BULLETIN    April  15,  1957 


ERIC  JOHNSTON  finally  took  his  long- 
delayed  position  as  "moderator"  of  the 
discussions  on  an  arbitration  system  for 
the  industry.  Representatives  of  TOA, 
Allied  States  and  MPA  were  in  attend- 
ance at  a  conference  held  April  10  to  set 
the  stage  for  pursuance  of  the  goal  that 
has  so  far  eluded  industry  leaders.  Whi'e 
results  were  inconclusive,  the  report  from 
the  meeting  was  that  "all  three  groups 
expressed  a  desire  to  find  a  basis  for  an 
industry  system  of  conciliation  and  arbi- 
tration", setting  May  13  as  the  date  for 
the  first  formal  drafting  session.  In  at- 
tendance at  the  luncheon  meeting,  pre- 
sided over  by  MPA  president  Johnston, 
were  Allied  States  president  Julius  Gor- 
don, TOA  president  Ernest  G.  Stellings, 
Columbia  v. p.  Abe  Montague,  Loew's  v. p. 
Charles  M.  Reagan,  Paramount  sales 
head  George  Weltner,  Paramount  Film 
Distributing  v.p.  Robert  J.  Rubin,  MPA 
v.p.  Ralph  Hetzel.  The  MPAA-spon- 
sored  confab  was  preceded  by  a  joint 
TOA-Allied  conference  between  the  pres- 
idents and  counsels,  A.  F.  Myers  (Allied) 
and  Herman  Levy  (TOA). 

O 

UNITED  ARTISTS,  the  lusty  baby 
with  the  independent  manner,  will  soon 
start  all  over  again,  and  with  new  "par- 
ents". In  a  prospectus  filed  with  the  Se- 
curities and  Exchange  Commission,  the 
distributing  company  made  official  its  in- 
tention to  become,  partially,  a  publicly- 
owned  corporation,  with  plans  to  offer 
$10  million  in  6%  convertible  subordi- 
nated debentures  and  350,000  shares  of 
common  stock,  of  which  100,000  will  be 
retained  by  the  management  groups. 
Benjamin  and  president  Arthur  Krim  are 
to  become  UA's  new  "parents",  voting 
control  of  the  company  being  vested  in 
them  with  the  consent  of  other  owners, 
namely  William  J.  Heineman,  Max  E. 
Youngstein,  Arnold  M.  Picker,  Charles 
Smadja,  Seymour  M.  Peyser  and  Robert 
F.  Blumofe.  With  the  approximately 
$14,100,000  expected  to  be  reaped  from 
the  sale,  UA  plans  to  pay  off  certain  out- 
standing debts  and  to  increase  working 
capital  to  finance  expanding  film  produc- 
tion by  affiliated  independents.  Public  of- 
fering of  the  stock  will  be  made  by  a 
group  of  underwriters  headed  by  F.  Eber- 
stadt  and  Co.  According  to  Krim  and 
Benjamin,  UA  is  '  in  negotiation"  with  a 
number  of  theatre  circuits  regarding 
loans  of  up  to  six  million  dollars.  In- 


Announcing  the  UA  stock  plan:  seated  from 
I.:  Eberstadt  &  Co.  partner  Nelson  Loud.  L  A 
board  chairman  Robert  S.  Benjamin,  presi- 
dent Arthur  B.  Krim:  standing,  from  I.:  [  A 
general  counsel  Seymour  Peyser,  v.p.'s  Wil- 
liam J.  Heineman,  Max  E.  Youngstein,  Arnold 
M.  Picker. 


THEY 

MADE  THE  NEWS 


JOHNSTON 


eluded  in  the  prospectus  was  UA's  ex- 
tremely healthy  financial  report  for  1956. 
In  that  year  UA  earned  a  net  profit  of 
$3,106,000,  compared  to  $2,682,000  in  1955, 
and  to  $313,000  in  1951  when  the  present 
management  team  acquired  control. 

0 

JOSEPH  R.  VOGEL  is  pushing  hard  to 
rejuvenate  the  lion  Leo.  As  a  former  the- 
atreman,  the  Loew's,  Inc.  president  can 
be  expected  to  understand  the  dire  need 
for  more  product,  so  it  was  not  unex- 
pected when  he  announced  that,  Loew's 
will  release  36  features  during  the  1957- 
58  fiscal  year  starting  Sept.  1.  This  rep- 
resents an  increase  of  25  percent  over  the 
current  season.  Fifteen  films  are  now 
ready  for  release,  Vogel  stated  at  a  com- 
pany sales  meeting  in  Chicago  following 
his  conferences  with  studio  chief  Benja- 
min Thau.  Forthcoming  pictures,  he  as- 
serted, "will  reflect  the  dedicated  efforts 
of  the  entire  MGM  organization  to  bring 
the  highest  entertainment  qualities  to  its 
product".  Earlier,  Vogel  had  told  a 
Loew's  board  meeting  of  "positive  steps" 
taken  to  "improve  the  earnings  and  struc- 
ture of  the  company",  including:  (1)  in- 
creased studio  production  and  a  revital- 
ized story  program;  (2)  personnel  reduc- 
tion; (3)  purchasing  to  be  conducted  on 
"strict  basis  of  competitive  bids";  (4)  a 
revised  recruitment  and  training  program 
instituted  to  develop  a  strong  pool  of  ad- 
ministrative and  executive  perscnnel.  An 
executive  committee  of  four  directors  was 
elected  at  the  meeting,  consisting  of 
Vogel,  George  L.  Killion,  Frank  Pace, 
Jr.,  and  Ogden  Reid,  with  Reid  as  chair- 
man. In  other  Loew's  developments, 
John  P.  Byrne  and  Robert  Mochrie  were 
appointed  to  positions  as  assistant  general 


sales  managers.  Sales  topper  Charles  M. 
Reagan  said  the  appointments  were  "con- 
sistent with  MGM's  intensified  concen- 
tration on  better  merchandising  of  its 
product  and  further  improvement  of  its 
service  to  customers". 

0 

ELMER  C.  RHODEN  is  convinced  that 
theatremen  must  move  to  relieve  the 
product  shortage.  In  this  direction,  the 
National  Theatres  head  announced  for- 
mation c-f  National  Film  Investments, 
Inc.,  which  will  participate,  assist  and  fi- 
nance the  independent  production  of  a 
limited  number  of  motion  pictures. 
Charles  L.  Glett,  who  resigned  recently 
as  vice  president  of  RKO  Teleradio  Pic- 
tures, was  named  president  of  the  com- 
pany. Rhoden  said  the  new  unit  will  have 
available  a  "substantial  revolving  fund" 
to  finance  independent  producers  in  crder 
to  bring  "more  quality  films"  to  the 
country's  theatres.  This  move,  Rhoden 
declared  is  "the  fulfillment  of  a  pledge" 
he  made  on  becoming  president  of  Na- 
tional Theatres  two  years  ago. 

0 

KENNETH  N.  HARGREAVES  repre- 
sents the  determination  of  the  new  Rank 
Film  Distributors  of  the  U.  S.  that  it  is 
here  to  stay.  For  Hargreaves  recently 
arrived  in  this  country  with  his  entire 
family  to  take  up  residence.  The  new 
American  division  of  the  Rank  Organiza- 
tion officially  started  activities  over  here 
April  1  at  its  New  York  headquarters  at 
723  Seventh  Ave.  Under  the  direction  of 
sales  head  Irving  Sochin,  the  first  meet- 
ing of  regional  and  branch  managers  was 
held  in  New  York  last  week.  Sochin  an- 
nounced that  "for  the  first  time  in  the 
annals  of  distribution  sales  meetings,  men 
responsible  for  sales  will  view  every  foot 
of  film  they  are  going  to  sell."  Many  of 
the  Rank-U.S.A.  men  are  former  RKO 
staffers.  Advertising  chief  Geoffrey  G. 
Martin,  meanwhile,  lost  no  time  in  start- 
ing the  company's  U.S.  tub-thumping 
campaign,  pegged  on  the  arrival  of  Brit- 
ish star  Kenneth  More  in  this  country  to 
tour  for  "Reach  for  the  Sky". 

O 

GEORGE  KERASOTES  spelled  out 
"survival"  for  the  mcvie  industry  in  his 
frank  talk  before  the  recent  convention 
of  ITO  of  Arkansas.  Among  the  trench- 
ant and  pertinent  observations  made  by 
the  Illinois  theatre  executive  and  TOA 
official  on  means  for  bringing  back  movie 
(Continued  on  Page  20) 


Kenneth  A.  Hargreaves.  president  of  Rank 
Film  Distributors  of  America,  shown  arriving 
in  Manhattan  to  take  up  residence  in  this 
country  with  wife  and  sons.  Colin  and  John. 


Film  BULLETIN    April  15,  1957        Page  1? 


THEY 


MADE  THE  NEWS 


KERASOTES 


< Continued  from  Page  19) 
audiences  were  these:  "It  is  almost  an 
impossibility  for  distribution  and  exhibi- 
tion to  sell  a  movie  when  the  movie  fan 
has  no  interest  in  the  story  and  the  sub- 
ject matter  .  .  .  Our  pictures  must  be 
appealing  to  young  people  .  .  .  Let's  have 
more  pictures  appealing  to  women.  They 
are  our  most  coveted  breadwinners  .  .  . 
It  is  fatuous  and  economically  wasteful 
to  bunch  together  all  our  top  product 
from  all  distributors  in  July  and  August, 
or  on  a  holiday  .  .  .  We  must  communi- 
cate information  and  promote  the  desire 
to  see  and  purchase  our  product.  We 
must  do  this  by  advertising  and  show- 
manship .  .  .  We've  get  to  spend  money 
to  make  money  .  .  .  Production,  distri- 
bution and  exhibition  must  unite  and 
consolidate  their  efforts  to  obtain  and 
maintain  their  leadership  in  the  field  of 
entertainment." 

0 

GEORGE  C.  McCONNAUGHEY 
brought  the  Toll-TV  question  up  to  date 
at  the  recent  National  Association  of 
Radio  &  TV  Broadcasters  convention  in 
Chicago.  "I'm  not  stating  what  my  final 
ideas  will  be,"  the  FCC  chairman  stated. 
"I  doubt  that  many  of  our  commissioners 
know.  Basically  there  should  be  a  trial 
or  experiment  but  I  don't  know  in  what 
manner  it  should  be  done.  .  .  .  Congress 
may  have  to  take  some  kind  of  action  to 
point  the  way."  One  of  the  problems  to 
be  ironed  out:  whether  subscription 
would  be  regarded  as  a  "common  carrier" 
or  private  broadcasting.  If  the  former, 
it  would  be  subject  to  government  regu- 
lation like  the  telephone.  Recently,  how- 
ever, the  Commissicn  went  on  record  as 
desiring  a  tryout  of  Toll-TV  within  the 
month  to  see  whether  it  is  practicable. 


SPYROS  P.  SKOURAS  warned  that 
"it  would  be  a  great  disaster  if  motion 
pictures  or  television  absorbed  each 
other."  The  2Dth  Century-Fox  president 
told  a  breakfast  reception  of  the  NTA 
Film  Network  in  Chicago  that  "both 
media  offer  great  possibilities  and  service 
to  the  public  and  should  be  independent 
of  each  other."  His  company  would 
make  available  to  television  its  entire 
physical,  financial  and  creative  resources 
provided  there  is  a  demand,  he  declared. 
On  the  subject  of  Toll-TV,  he  declared 
that  it  would  not  aid  either  television  or 
motion  pictures. 

O 

ERNEST  STELLINGS  had  three  things 
on  his  mind  when  he  called  a  press  con- 
ference last  week  in  New  York:  arbitra- 
tion, the  product  shortage  and  the  men- 
ace of  Toll-TV.  On  product:  the  TOA 
president  said  his  organization  might  ask 
distribution  to  unwrap  some  of  its  top 
product  for  release  between  now  and 
June  to  relieve  the  very  real  product 
shortage.  March  business,  he  said,  was 
down  from  10  to  12  per  cent  from  Janu- 
ary and  February.  On  arbitration:  in- 
dependent exhibitor  groups,  ITOA, 
MMPTA  and  SCTOA  have  been  asked 
by  TOA  and  Allied  if  they  wish  to  par- 
take of  the  arbitration  talks  scheduled 
with  distribution  for  May  13.  On  Toll- 
TV:  Stellings  expressed  opposition  to  the 
whole  project,  including  tests  by  the 
FCC,  stating  that  it  would  force  some 
theatres  into  bankruptcy. 

0 

AL  DAFF  made  like  a  "most  happy 
fella"  on  his  return  from  a  tour  of  "down 
under".  The  U-I  executive  vice  president 
predicted  good  business  this  year,  said  his 
company  would  provide  "more  block- 
busters than  in  previous  years",  disclosed 
a  production  schedule  of  33  pictures  and 
a  release  schedule  of  36  in  1957.  These 
happy  figures,  according  to  Daff,  are  due 
both  to  U-I's  own  product  and  six  fea- 
tures acquired  from  RKO. 

0 

STEVE  BROIDY:  "We  are  now  at  the 
cross-roads,  with  respect  to  the  future  of 
Allied  Artists".  The  AA  president  was 
speaking  at  a  luncheon  in  his  honor  in 
Dallas,  Texas,  last  week.  '  The  releasing 
program  coming  up  between  now  and  the 
first  of  the  year  represents  a  $14,000,000 
investment  in  product.  The  time  has 
come,"  said  Broidy,  "when  I  feel  we  must 
bring  home  our  problems  strongly  to  the 
exhibitor,  because  in  recent  years  the  ex- 
hibitors have  brought  their  problems  to 
us,  and  we  have  honestly  tried  to  solve 
difficulties  whenever  possible".  R.  J. 
("Bob")  O'Donnell,  Texas  showmen,  told 
the  75  exhibitors  who  heard  Broidy,  "Al- 
lied Artists,  as  a  company  stands  between 
the  exhibitor  and  starvation." 

0 

PARAMOUNT  earnings  for  1956  were 
down  close  to  a  million  dollars  from  the 
previous  year.  This,  despite  "special  in- 
come", mostly  from  the  sale  of  pre-1948 
films  to  television.  Profits  last  year 
were  $8,731,000,  $4.43  per  share,  against 
$9,708,000,  or  $4.49  a  share,  for  1955. 


HEADLINERS... 


DORE  SCHARY,  former  MGM  produc- 
tion head,  is  at  work  on  a  play  based  on 
the  life  of  Franklin  D.  Roosevelt,  which 
he  will  subsequently  produce  as  a  film 
.  .  .  TED  MANN,  Minneapolis  circuit 
owner,  elected  president  of  North  Central 
Allied,  succeeding  BENJAMIN  BER- 
GER  ...  DR.  ALBERT  SCHWEIT- 
ZER, famed  medical  missionary,  philos- 
opher and  musician,  named  to  receive 
Variety  International's  Humanitarian 
Award  at  the  organizations'  recently-con- 
cluded conclave  in  New  Orleans  .  .  . 
J.  J.  COHN,  Loew's  v. p.,  named  by  pres- 
ident JOSEPH  R.  VOGEL  to  head  pro- 
ducing unit  designed  to  utilize  new  writ- 
ing, directing  and  producing  talents. 
Cohn  aided  in  success  of  former  "Andy 
Hardy"  and  "Dr.  Kildare"  series  .  .  . 
GORDON  C.  CRADDOCK,  JR,  ap- 
pointed assistant  to  Rank  sales  topper 
IRVING  SOCHIN.  He'll  be  in  charge 
of  circuit  sales  .  .  .  SOL  C.  SIEGEL 
signed  by  Loew's  president  Vogel  to  con- 
tinue independent  production  for  MGM 
release  .  .  .  Paramount  Distributing  v. p. 
HUGH  OWEN  presided  over  series  of 
sales  meetings  throughout  the  Mid-East- 
ern Division  .  .  .  Showman  MICHAEL 
TODD  adds  "Harvard  lecturer"  to  his 
career.  He  addressed  the  Harvard  Busi- 
ness School  April  10  on  "Show  Business 
in  Management"  .  .  .  Former  Colum- 
bia publicist  HERB  STERNE  signed  by 
Warwick  Productions  as  special  unit  pub- 
licist for  "High  Flight",  Columbia  release 
.  .  .  Goodman  Advertising  Agency,  Hol- 
lywood, appointed  to  handle  West  coast 
phases  of  publicity,  promotion  and  ad- 
vertising for  Rank  Film  Distributors 
.  .  .  20th-Fox  president  SPYROS  P. 
SKOURAS  signed  a  new  producing  unit 
headed  by  ROCK  HUDSON  and 
"Giant"  producer  HENRY  GINSBERG 
to  deliver  eight  pictures  in  six  years,  five 
of  them  to  star  Hudson  .  .  .  Allied  Artists 
products  LINDSLEY  PARSONS  and 
JOHN  H.  BURROWS,  and  advertising 
director  JOHN  C.  FLINN  winding  up  a 
ten-day  tour  of  branch  and  division  meet- 
ings in  connection  with  "Dragoon  Wells 
Massacre"  .  .  .  COMPO  named  to  re- 
ceive American  Heritage  Foundation 
award  for  its  efforts  on  behalf  of  the 
non-partisan  "Inform  Yourself  and  Vote 
Program"  .  .  .  DIED:  JOHN  BALA- 
BAN,  62,  president  of  Balaban  &  Katz 
theatre  corporation,  brother  of  Para- 
mount president  Barney  Balaban,  of  a 
heart  attack  April  4;  MRS.  MARIAN 
HUGEL,  38,  sister  of  United  Artists  v.p. 
Max  E.  Youngstein. 


TOA'S  STELLINGS 


Page  20       Film  BULLETIN    April  15,  1957 


/tie  *D<ti*tyf 

MERCHANDISING  & 


4  The  Rank-U.S.A.  promotional  team.  In  usual 
order:  Leo  Pillot,  expioitation  manager;  Geof- 
frey Martin,  director  of  advertising,  publicity 
and  exploitation;  Steve  Edwards,  advertising 
and  publicity  manager. 


Rank  Plans  Full  Promotion 

Drive  To  Crack  U.  S.  Market 


A  determined  full-scale  promotional  effort 
to  capture  the  response  of  exhibitors  and  the 
public  in  the  U.  S.  market  will  be  made  by 
the  Rank  Organization  via  its  newly  created 
American  arm.  Functioning  under  the  cor- 
porate title,  Rank  Film  Distributors  cf 
America,  the  English  concern  is  going  all- 
out  to  win  acceptance  of  its  product  here. 
To  accomplish  this  end,  RFD  plans  a  hard- 
hitting marketing  and  merchandising  cam- 
paign with  two  major  objectives  —  to  con- 
vince the  American  exhibitor  that  Rank 
product  can  be  profitably  marketed,  and  to 
convince  the  American  theatregoers  that  the 
entertainment  quality  of  its  films  compares 
favorably  with  domestic  output. 

The  first  sales  conference  cf  the  new  film 
distributor,  held  last  week  at  New  York's 
Park  Sheraton  Hotel,  unveiled  a  topnotch 
marketing-mechandising  team.  This  trio, 
Geoffrey  G.  Martin  (advertising,  publicity 
and  exploitation  director),  Steve  Edwards 
(advertising  and  publicity  manager)  and 
Leo  Pillot  (exploitation  head)  are  plotting 
a  broad-range  promotional  attack  on  the 
American  market.  Their  intensive,  sustained 
promotional  campaign  will  employ  every 
facet  of  American  showmanship. 

One  of  the  important  aspects  of  the  Rank 
selling  drive  will  be  the  popularization  of 
British  film  stars  in  the  U.S.  In  line  with 
this,  Kenneth  More  has  been  on  a  whirlwind 
p.a.  tour  to  promote  "Reach  for  the  Sky". 
He  has  visited  with  newspaper,  television, 
radio  and  trade  press  representatives  to  "talk 


about"  his  latest  film,  which  is  scheduled  for 
a  dual-performance  premiere  at  Gotham's 
Sutton  Theatre  on  April  29.  The  film,  win- 
ner of  the  British  Academy  Award,  will  bow 
with  an  afternoon  benefit  for  an  R.A.F.  fund 


Handsom, 

More,  arrives  in  N.Y.  for 
tour,  is  gifted  with  award  h 
Sentative    of    R.    A.    F.  Association. 

and  an  evening  invitational  performance 
complete  with  all  the  premiere  trimmings. 

The  Rank-U.S.A.  showmen  point  to  the 
fast-growing  audience  in  this  country  for 
all  typQs  of  unusual,  offbeat  or  foreign  films 
as  evidence  that  American  movie  audiences 
have  grown  much  more  cosmopolitan  in  re- 
cent years.  French,  Italian  and  even  Jap- 
anese films  today  are  finding  a  healthy  re- 
sponse in  the  U.S.  market.  With  the  Rank 
Organization  selecting  only  its  choice  prod- 
uct for  importation  here,  and  with  same  be- 
ing pre-sold  by  aggressive  showmanship, 
including  personality  buildup,  they  confi- 
dently anticipate  distribution  and  playing 
time  that  will  realize  grosses  outstripping 
any  yet  attained  by  imported  films. 

[More  SHOWMEN  on  Page  24] 


20th-Fox  president  Spyros  Skouras  talks 
over  his  "acting"  role  in  the  company's  forth- 
coming  90-minute  C!nema-Scope  product  trailer 
with  director  Robert  Rossen  (center)  and  vice 
president  Charles  Einfeld.  The  hour-and-a-half 
promotional  spectacular  will  highlight  20th's 
big  1957  feature  lineup.  It  will  be  premiered 
May  8  at  New  York's  Roxy  Theatre,  to  be  fol- 
lowed by  showings  in  key  cities  throughout  the 
U.S.  and  abroad.  Einfeld  and  sales  manager 
Alex  Harrison  also  will  appear  in  the  subject. 

^  "Fashionable"  is  the  keynote  of  M-G-M's 
promotion  on  behalf  of  "Designing  Woman". 
Aimed  at  the  fern  audience,  Leo's  boxofficers 
bundled  two  attractive  models  off  on  a  drum- 
beating  tour  of  five  western  cities  to  bally  the 
Gregory  Peck-Lauren  Bacall  starrer.  Modeling 
gowns  featured  in  the  film,  the  two  girls  made 
their  first  stop  San  Francisco  and  the  City  of 
Paris  department  store.  Top  left:  lobby  display 
card  at  Loew's  Warfield  Theatre  calls  attention 
to  the  chic  event.  Top  right:  at  a  brunch  given 
for  members  of  the  press.  Their  clothes  were 
designed  by  Metro  designer  Helen  Rose.  Bottom 
left:  the  Oval  Room  of  the  City  of  Paris  store  is 
jam-packed  with  ladies  viewing  the  latest  in 
styles.  Bottom  right:  striking  window  display 
featured  by  the  City  of  Paris,  complete  with 
cast  and  credits  to  the  Dore  Schary  production. 


Film  BULLETIN    April  15,  1957       Page  21 


EXPLOITATION  PICTURE 


Ads,  Teasers  Enliven  U.A.'s  "Party" 


"By  the  men  who  made  'Marty'  "  follows 
close  upon  the  title  of  the  Hecht-Hill-Lan- 
caster  production,  "The  Bachelor  Party,"  for 
United  Artists,  in  every  ad,  every  piece  cf 
paper,  every  poster  on  this  picture.  It  leads 
the  parade  of  selling  angles  for  a  film  loaded 
with  them,  cne  that  can  even  surpass  that 
magnificent  earlier  effort  by  the  team  of 
writer  Paddy  Chayevsky,  director  Delbert 
Mann  and  producer  Harold  Hecht,  by  virtue 
of  the  fast  sendoff  the  "Marty"  link  assures. 

Like  "Marty",  which  told  a  poignant  love 
story  by  making  its  principals  as  real  as  the 
gang  on  the  corner  without  ever  actually  fol- 
lowing a  "story  line",  "The  Bachelor  Party" 
etches  another  fascinating  slice  of  life 
around  five  men  who  go  out  for  a  wild  fling 
on  the  eve  of  the  marriage  for  one  of  them. 
Like  "Marty",  too,  this  digs  deep  into  the 
personalities  of  each,  making  them  real  and 
plausible  and  intimately  familiar  to  every 
member  of  the  audience.  Chayevsky's  su- 
perb knack  of  making  talk  sound  as  though 
it  were  being  overheard  from  the  people  liv- 
ing around  us  and  Mann's  equally  fine  hand 
in  making  them  act  as  though  there  were  no 
cameras  around,  are  both  very  evident  in 
this  one.  Therein,  too,  lies  one  of  the  big 
angles  in  the  exploitation  picture — the  "real" 
people  and  their  emotions  so  well  known  to 
all  of  us.  It  was  this  uncanny  realism  that 
made  talk  about  "Marty"  one  of  the  most 
potent  boxoffice  factors  in  that  excellent 
film's  success. 

There  can't  be  too  much  stress  on  the  im- 
portance of  capitalizing  the  "Marty"  team. 
The  Chayevsky  name  has  become  one  of  the 
top  drawing  cards  among  the  discriminating 
audience.  It  should  be  sold  big,  along  with 
the  other  "men  who  made  'Marty, ",  not 
only  for  the  classes  but  also  for  the  millions 
of  TViewers  who  consider  the  Chayevsky 
name  a  hallmark  of  quality  both  on  the  big 
and  little  screen.  Many  of  these  have  seen 
and  enjoyed  "The  Bachelor  Party"  on  the 
TV  screen  and  will  want  to  see  it  expanded 
into  a  full-fledged  movie.  In  some  cases,  it 
might  even  be  more  effective  to  sell  the 
"men  who  made  'Marty' "  above  the  title 
cn  the  marquee  and  via  displays. 

Another  important  avenue  of  seat-selling 
is  the  screening  technique  that  gave  their 


previous  effort  the  wide  word-of-mouth 
start.  Opinion  makers  of  all  sorts  should  be 
given  the  opportunity,  wherever  special 
screenings  are  possible,  to  pass  the  word 
along  to  their  readers  and  listeners.  Colum- 
nists, organization  leaders,  cab  drivers,  beau- 
ticians, radio  and  TV  people,  all  are  just  a 
few  of  the  categories  of  talk-spurrers  who 
can  be  instigated  to  start  the  ball  rolling 
with  screenings. 

Turning  to  the  ads,  we  find  that  Max 
Youngstein  and  his  top-ranking  team  of 
boxofficers  have  done  another  excellent  job 
in  pointing  up  the  film's  most  powerful  draw 
qualities.  They  have  caught  the  exciting, 
everything-goes  aspect  of  the  bachelor  party 
with  commanding  and  suggestive  art  taken 
largely  from  the  good  selection  of  stills.  The 
copy  is  equally  provocative,  drawing  the 
male  attention  with  the  suggestion  of  "things 
every  man  knows",  and  tossing  a  strong 
lure  to  the  ladies  with  the  hint  of  uncover- 
ing these  for-men-only  forbidden  fruits  — 
the  talk  and  the  drinking,  the  stag  movies 
up  in  the  apartment,  the  bar-hopping,  the 
strip  joints,  the  pickups  and  the  girl  who  got 
them  into  the  Greenwich  Village  party.  The 
emphasis  on  sex  and  the  ragged  edges  of  a 
theme,  making  the  ads  both  honest  and  per- 
suasive, from  displays  the  night  on  the  town 
is  in  keeping  with  the  teasers. 

Lithos,  like  the  six-sheet  below,  make  the  same 
piquant  use  of  art  and  copy  as  the  ads  with  the 
girl-hunt  and  the  wild  time  aptly  dominant. 


Charlie  s  living  it  up  tonight! 


Bachelor  Party  $ 


DON  MURRAY  \ 


All  of  the  earthy,  jangling,  all-male 
excitement  inherent  in  the  title  is 
caught  vividly  in  the  superlative 
newspaper  ads.  At  top,  the  teasers 
cleverly  pluck  situation  lines  and  di- 
alog from  the  film  tied  in  with  each 
pulsating  hour  of  the  party.  Right, 
striking  use  is  made  of  the  stills  to 
work  in  ad  art,  provocatively  spiced 
with  copy  that  yells  —  "Go  See!" 
And  through  it  all  —  the  ever  pres- 
ent come-on :  "By  the  men  who 
made  'Marty'!" 


Stunts  are  a  natural  for  "The  Bachelor 
Party"  and  the  UA  pressbook  gives  them 
big  play.  Worked  in  most  effectively  are 
ideas  for  bachelors,  bridegrooms,  midnite 
shows,  giveaways  and  tie-ups  of  more  than 
usual  quality — a  "Bridegrooms  Mass  Inter- 
view", inviting  just-married  men  and  their 
brides  as  guests  and  having  a  pre-show  in- 
terview for  TV  or  newspaper  feature;  a 
search  for  the  most  eligible  bachelor  in 
town,  with  the  ladies  invited  to  name  their 
choice  with  his  qualifications  and  the  winner 
given  the  royal  treatment  on  the  stage;  a 
taxi  stunt  with  a  hired  cab  bannered,  "We're 
on  our  way  to  'The  Bachelor  Party'  at  the 
Blank  Theatre",  with  possibly  free  rides  to 
the  theatre  for  those  who  wish  to  go  in;  a 
midnite  "Bachelor  Party"  show  offering 
bachelor  buttons  (the  flower)  to  the  guys 
and  baby  orchids  to  their  gals  (these  are 
available  in  quantity  purchases  at  quite  rea- 
sonable prices  and  are  sure  to  spur  w-o- 

The  tie-up  possibilities  are  a  thing  of 
beauty!  Restaurant  bachelor  parties  can  be 
promoted,  working  with  local  cafes  and 
hotels,  with  special  reserved  section  in  your 
theatre  for  the  groups.  The  whole  thing  can 
be  a  package  deal — meal,  admission  to  the- 
atre, parking.  Another  good  tie  is  indicated 
with  local  big  store  or  group  of  specialty 
shops  to  dress  their  windows  with  suggested 
gifts  to  be  given  to  a  potential  bridegroom. 
In  addition  to  bona  fide  presents,  the  display 
can  be  gagged  up  with  h->t  water  bottles, 
diapers,  ball  and  chain,  etc.  And  how  about 
a  co-op  with  a  local  organization  such  as 
Rotary,  Kiwanis,  Junior  C  of  C,  etc.,  to 
select  the  most  popular  bachelor  in  town, 
someone  who  has  made  exceptional  contri- 
butions to  kid  groups,  civic  betterment,  etc. 


Page  22       Film  BULLETIN    April  15.  1957 


EXPLOITATION  PICTURE  m 


•  •  • 


*  * 


the  street- 
and  loefoie  » 


.yMSItt"*1*" 


the 


*  fried  tot 


Lancaster  P^<nt  ~ 

?arty 


-arb-O 


the 


two 


I 


Condon's  Promotional  Tour 
For  'P  and  P'  Roils  Into  High 

Richard  Condon,  promotional  ambassador 
for  Stanley  Kramer's  "The  Pride  and  the 
Passion,"  came  up  with  something  a  little 
different  on  the  ballyhoo  trail  during  his  re- 
cent stop  in  Detroit.  Killing  two  birds  with 
one  stone,  the  United  Artists  exploiteer, 
while  guesting  on  the  Blenda  Isbey  program 
over  WWJ-TV  made  a  simultaneous  pitch 


Condon  Displays  Slides 

to  a  group  of  Motor  City  exhibitors  at  the 
Book  Cadillac  Hotel. 

Condon's  cross-country  is  grabbing  plenty 
of  attention  in  all  media.  Scheduled  to  hit 
31  key  cities  during  the  68-day  safari,  the 
traveling  fieldman  is  making  every  moment 
count  by  visiting  with  people  that  can  help 
him  get  his  story  across  to  the  public.  He 
is  scheduled  to  meet  with  representatives  of 
no  less  than  72  newspapers,  92  television  sta- 
tions, numerous  retailers  and  key  theatre- 
men  on  his  drumbeating  route. 


St.  Louis'  Sound  Track  Album 

"The  Spirit  of  St.  Louis"  sound  track  al- 
bum, featuring  a  four-color  cover  scene  from 
the  Warner  film  and  full  credits,  is  being 
distributed  nationally  by  RCA  Victor.  To 
hypo  sales,  a  series  of  ads  is  running  in 
national  mags,  trade  journals  and  local  news- 
papers throughout  the  country. 


Early  Evening  Show  Boosts 
Gross  On  Disney  Film  In  Minn. 

The  thesis  that  boxoffke  receipts  can  be 
hypoed  by  revamping  the  starting  times  of 
films  received  an  interesting  and  profitable 
test  with  the  recent  engagement  of  Walt 
Disney's  "Westward  Ho,  The  Wagons"  at 
Minneapolis'  Edina  Theatre.  When  the  the- 
atre inaugurated  a  week-night  starting  time 
of  6:00  p.m.,  a  new  house  record  was  set. 

Commenting  on  the  early  evening  sched- 
ule, columnist  Will  Jones  of  the  Minneapolis 
Tribune  stated:  "Flocks  of  children  came, 
and  so  did  flocks  of  parents.  It  meant  the 
kids  could  see  an  evening  movie  and  still 
get  to  bed  early." 

Taking  a  cue  from  the  Edina,  other  ex- 
hibs  showing  "Westward  Ho"  have  followed 
suit  with  an  early  starting  time. 

The  Walt  Disney  production  starring  Fess 
Parker,  is  set  for  the  same  type  of  promo- 
tional play  in  other  parts  of  the  country. 

Movie  News  Commands  Interest, 
Says  'Parade'  Mag  in  COMPO  Ad 

There  is  "tremendous  interest"  in  movie 
news  reports  Parade  Magazine  in  a  COMPO 
ad  appearing  in  the  April  6  Editor  and  Pub- 
lisher. The  advertisement,  75th  in  the 
COMPO  series,  is  part-and-parcel  of  the 
continuing  campaign  to  grab  additional 
space  for  movie  news  in  the  nation's  press. 

The  letter  from  the  Sunday  picture  maga- 
zine, as  quoted  in  the  E  &  P  ad,  declares: 
"Parade's  editors  are  continually  aware  of 
the  tremendous  interest  of  its  more  than  15 
million  readers  in  the  movie  industry  and  its 
personalities  .  .  .  more  than  ten  percent  of 
Parade's  editorial  content  was  devoted  to 
movie  coverage  .  .  .  the  readership  of  Pa- 
rade's movie  features  averaged  about  sev- 
enty percent,  according  to  continuing  Daniel 
Starch  surveys  .  .  .  movie  news  commands 
a  reader  interest  every  newspaper  should  try 
to  satisfy." 


%  In  situations  where  the  mid- 
night show  is  still  a  produc- 
tive box-office  factor,  the 
campaign  developed  by  Dale 
Thornhill,  manager  of  the 
Commonwealth  Circuit's 
Broadway  Theatre,  Centralia, 
Illinois,  may  be  of  great 
value.  Note  the  clever  "ghost 
convention"  idea  in  these  ads 
created  by  Thornhill,  making 
the  stunt  a  bit  different  (and 
better)  than  the  usual 
"ghost"  and  "horror"  angles 
associated  with  this  type  of 
show. 


-A-  Over  one  million  persons  watched  this  * 
giant-size  20-foot  "Boy  on  a  Dolphin"  float  sail  \ 
down  New  York's  Fifth  Avenue  in  celebration  of 
Greek  Independence  Day.  Adorned  by  six  Greek 
girls  and  a  young  boy,  the  striking  display  trum- 
peted the  world  debut  of  the  20th  Century-Fox 
production  at  the  Roxy  for  the  Queen's  Fund 
for  Greek  Orphans.  The  float  is  now  being  used 
as  a  traveling  showcase  to  bally  the  Samuel 
Engle  CinemaScope  film  throughout  the  New 
York  metropolitan  area. 

'Dolphin'  Premieres  Draw 
Support  Of  Opinion-Makers 

In  a  concerted  drive  to  influence  the  opin- 
ion-maker who  influences  John  Q.  Public, 
20th  Century-Fox  held  a  7-city  series  of  char- 
ity premieres  on  "Boy  on  a  Dolphin."  At 


Support  from  Vice  President  Nixon. 

each  of  the  openings  active  support  was  gar- 
nered from  dignitaries,  including  Vice  Presi- 
dent Richard  Nixon  and  Governor  Goodwin 
Knight  of  California. 

With  the  proceeds  from  these  openings 
earmarked  for  American  Colleges  in  Greece, 
the  enthusiastic  committees  of  notables  went 
all  out  to  spread  the  word  about  the  first 
Amercian  film  to  be  made  in  Greece. 


4sr  Gilbert  Golden,  national  advertising  man- 
ager of  Warner  Bros.,  beats  the  promotional 
drums  for  "Untamed  Youth",  in  Cincinnati,  with 
Charles  "Bugs"  Scruggs,  WCIN  disker. 


Page  24       Film  BULLETIN    April  15,  1957 


PATTERNS  DF  PATRONAGE 

VII 


Cxckti*         BULLETIN  feature 


The  Shifts  of  Population 


By  LEONARD  SPINRAD 

A  neighborhood  or  a  community  is  a  collection  of  peo- 
ple, and  it  is  apt  to  have  a  life  span  like  people.  Neighbor- 
hoods and  communities  are  born,  they  flourish,  they 
change.  Sometimes  they  die.  New  ones  are  born,  to  go 
through  the  same  cycles. 

In  terms  of  the  motion  picture  industry,  the  post-war 
decade  has  seen  an  acceleration  of  this  cycle,  not  com- 
pletely revealed  in  the  statistics.  The  most  populous  cities 
have  increased  in  population,  so  that  on  first  inspection  it 
seems  inaccurate  to  taik  of  any  movement  away  from 
these  cities;  but  the  movement  is  pronounced  and  pro- 
found. 

One  of  the  things  that  has  happened  in  city  after  city  is 
the  downgrading  of  old  residential  areas.  The  upper 
middle  class  neighborhood  of  yesterday  is  the  lower 
middle  class  neighborhood  of  today,  the  slum  or  commer- 
cial area  of  tomorrow.  The  population  of  a  square  block 
goes  up  as  the  character  of  its  population  goes  down ; 
then,  when  the  area  is  sufficiently  depressed,  the  popula- 
tion decreases  and  the  warehouses  or  lofts  take  over. 


URBAN  EXIDUS 


There  is  a  basic  centrifugal  force  that  keeps  city  popu- 
lation constantly  moving  towards  the  suburbs.  Coupled 
with  improved  roads,  it  also  keeps  extending  the  borders 
of  suburbia. 

A  counter-trend  can  be  discerned  among  the  small 
towns.  As  industry  decentralizes  and  expands  into  new 
areas,  the  various  small  towns  in  a  region  change.  One  is 
apt  to  grow  and  make  satellites  out  of  some  of  its  pre- 
viously equal  neighbors.  Here  again  better  roads  and  im- 
proved transportation  play  their  part.  It  becomes  easier 
for  people  to  go  to  the  big  expanding  town  for  their  needs 
than  to  settle  for  the  lesssr  facilities  closer  to  home. 

Sooner  or  later,  sociologists  expect  th  twin  trends  to 
reach  an  equilibrium  between  the  concentration  of  im- 
portance in  the  single  small  town  of  an  area  and  the  dis- 
persion of  importance  among  a  batch  of  relatively  small 
towns  on  the  fringes  of  the  big  cities. 

As  yet,  however,  no  such  equilibrium  has  been  reached. 


Meanwhile,  the  theatres  must  constantly  adjust  to  meet 
the  shifting  clientele  they  serve. 

Expressed  in  statistical  terms,  this  is  how  the  shift  has 
been  taking  place.  Between  1940  and  1950,  this  proportion 
of  our  population  in  cities  of  a  million  or  more  has  de- 
clined. In  1940,  12.1%  of  the  U.S.  population  lived  in 
these  huge  urban  concentrations.  In  1950,  11.5%  of  the 
population  lived  there.  Over  the  same  ten-year  span,  the 
proportion  of  our  population  living  in  cities  of  less  than 
100,000  rose  from  27.6%  in  1940  to  29.5%  in  1950  and  the 
rural  population  declined  from  43.5%  to  41%  of  the  total. 
Fifteen  cities  were  added  to  the  list  of  communities  where 
between  100,000  and  1,000,000  or  more  people  live.  The 
number  of  cities  housing  100,000  people  or  less  rose  by 
540. 


GROWTH  OF  SMALLER  CITIES 


Boston  gained  slightly  more  than  4%  in  population;  but 
suburban  Newton  nearby  gained  17.3%.  Chicago's  popu- 
lation rose  6.6%,  but  neighboring  Evanston  went  up 
12.6%.  New  York  City  as  a  whole  increased  by  5.9%,  but 
the  borough  of  Queens  accounted  for  most  of  the  increase. 
In  Queens,  which  for  long  was  regarded  as  a  suburb  with- 
in the  city  limits,  the  population  rose  by  19.5%  from  1940 
1950.  Los  Angeles,  a  city  which  is  so  largely  a  collection 
of  pseudo-suburban  communities,  grew  31%. 

These  figures  have  been  reflected  in  business  develop- 
ments of  all  kinds.  The  tremendous  growth  of  shopping 
centers,  for  instance,  was  sparked  by  the  needs  of  people 
who  no  longer  found  it  convenient  to  shop  at  the  down- 
town department  stores.  The  decentralization  of  depart- 
ment stores,  with  the  opening  of  big  branches  in  suburban 
locations,  reflects  the  same  trend. 

The  apparently  insoluble  traffic  problems  of  big  cities 
are  both  a  cause  and  effect  of  the  residential  shift.  More 
and  more  people  in  the  suburbs  make  more  and  more 
traffic  into  the  cities.  Because  this  traffic  is  concentrated 
in  the  space  of  a  few  morning  and  evening  hours,  it  is  an 
even  greater  problem.  By  now  many  big  cities  have  been 
written  off  for  night  time  visits  by  suburbanites.  By  now, 
too,  the  main  streets  of  many  old  established  small  com- 


Film  BULLETIN    April  15,  1957        Page  25 


PATTERNS  DF  PATRONAGE 

Atti*active  Theatres*  Ample  E*ttrkiny  Draws  Customers 


munities  have  proven  equally  inadequate  for  the  greatly 
stepped  up  flow  of  local  peak-hour  traffic. 

Parking  has  become  a  burning  problem  in  communities 
of  all  sizes  for  businesses  of  all  kinds,  including  motion 
picture  theatres.  In  big  cities,  one  theatre  after  another 
has  become  a  marginal  operation  because  the  neighbor- 
hood in  which  it  operates  has  become  a  marginal  area, 
steadily  down  grading  and  waiting  for  the  axe  to  fall. 

At  the  same  time,  new  communities  which  furnish  ex- 
cellent market  opportunities  for  new  theatres  have  been 
riding  the  crest  of  a  selective  boom,  theatres  largely  ex- 
cluded. A  single-purpose  building  like  a  theatre  is  difficult 
to  finance  when  it  must  compete  for  valuable  land  with 
multi-purpose  commercial  structures. 

This  is  one  economic  reason  for  the  success  of  the  drive- 
in,  particularly  where  outlying,  cheaper  land  can  be  used 
for  its  construction  and  ancillary  income  from  concessions 
helps  to  swell  the  receipts  more  than  is  true  of  the  con- 
ventional theatres.  But  continued  outward  expansion  of 
urban  areas  makes  it  doubtful  that  even  the  established 
drive-ins  can  long  maintain  their  cheap  land  advantage. 
Every  year,  in  the  inexorable  diffusion  of  the  cities,  drive- 
ins  find  themselves  hemmed  in  and  some  already  crowded 
out  by  new  community  growth. 


COMPETITION  AMONG  THEATRES 


One  phase  of  this  growth  problem,  which  the  motion 
picture  industry  is  going  to  have  to  face  up  to  before  long, 
is  the  question  of  programming.  This  has  already  proven 
a  major  headache  for  city  theatres  in  subsequent-run  situ- 
ations. As  city  neighborhoods  decline,  the  neighborhood 
theatre  must  either  draw  its  clientele  from  a  larger  area 
or  go  under.  When  it  seeks  to  draw  from  the  larger  area, 
it  is  in  direct  competition  with  similar  theatres  nearby. 
The  same  thing  happens  where  a  cluster  of  small  towns 
find  their  borders  coming  closer  together. 

In  such  circumstances,  the  patrons  must  have  a  degree 
of  choice.  If  both  theatres  or  all  three  theatres  or  four 
which  they  might  patronize  are  showing  the  same  picture, 
they  are  apt  to  go  to  the  house  that  has  the  best  parking 
lot,  or  is  the  biggest,  or  the  most  conveniently  situated,  cr 
has  the  most  reasonable  price  for  comfortable  moviegoing. 
Having  done  this  a  few  times,  the  average  patron  ceases 
to  be  a  regular  customer  for  the  nearest  theatre,  and  in- 
stead gives  his  patronage  to  the  most  attractive  theatre. 

Exhibitors  and  distributors  have  thus  far  been  unable 
to  work  out  an  equitable  clearance  system.  The  theatre 
in  town  or  neighborhood  A  is  unwilling  to  let  the  theatre 
in  town  or  neighborhood  B  play  films  first.  Everybcdy  is 
agreed  that  the  idea  of  having  a  whole  batch  of  theatres 
in  a  given  area  p!ay  day  and  date  is  often  harmful,  but 
everybody  wants  somebody  else  to  be  the  one  to  get  the 
picture  last. 

The  widening  degree  of  overlapping  patronage 
heightens  the  desire  of  every  theatre  for  first  clearance 
rights  and  renders  even  more  difficult  the  job  of  getting 
seme  theatres  to  wait  a  little  longer. 


It  is  one  of  the  anomalies  of  the  situation  that,  while 
moviegoers  in  many  areas  are  complaining  about  the  lack  1 
of  choice  on  any  given  evening  because  so  many  nearby 
theatres  are  playing  the  same  program,  neighborhood 
houses  in  the  better  residential  areas  of  various  principal 
cities  have  been  doing  excellent  business  with  what  can 
best  be  described  as  last-run  pictures.  These  houses  often  \ 
charge  premium  prices  for  attractions  which  have  already  t 
played  off  the  full  runs  of  the  area.  The  fact  that  the  pic-  | 
tures  are  comparatively  old  does  not  seem  to  affect  their 
appeal  for  the  particular  clientele. 


BUSY  SUBURBANITE 


The  shifting  flow  of  population  between  the  big  cities 
and  the  peripheral  communities  has  produced  a  number  of 
indirect  influences  upon  the  course  of  moviegoing,  as  well 
as  the  more  obvious  change  of  market.  The  city  dweller 
is  usually  considered  to  be  less  involved  in  community 
activities  than  the  suburbanite.  He  is  most  assuredly 
less  involved  in  do-it-yourself-about-the-house  activities 
than  his  suburban  counterpart.  And  he  is  also  less  of  a 
clock-watcher.  He  doesn't  have  to  go  to  sleep  in  time  to 
get  a  full  night's  rest  before  catching  the  7 :45  next 
morning. 

Although  these  differences  sound  rather  flippant,  they 
are  anything  but.  The  pressure  of  community  activities 
and  of  home  hobbies  or  chores  inevitably  makes  for  great- 
er selectivity  in  moviegoing.  The  pressure  of  a  time 
schedule  increases  the  importance  of  how  long  it  takes  to 
get  out  of  the  parking  lot  at  the  theatre,  or  what  time  the 
chow  ends. 

By  the  same  token,  the  city  theatre  is  under  new  pres- 
sures too.  The  combination  of  population  lag,  in  relation 
to  the  suburbs,  and  the  rising  costs  of  public  administra- 
tion has  put  a  tax  squeeze  on  city  after  city.  Theatres  are 
real  estate  and  there  are  few  signs  that  real  estate  is  get- 
ting tax  reductions  anywhere.  At  the  same  time,  during  a 
condition  of  general  prosperity,  the  theatre  is  competing 
for  labor,  such  as  ushers  or  cashiers,  in  a  tight  labor  mar- 
ket. This  too  is  more  of  a  difficulty  in  the  city  than  in  the 
suburb,  because  the  city  theatre  has  so  much  more  com- 
petition from  better  paying  employers. 

One  of  the  great  challenges  to  the  suburban  theatre 
these  days  lies  in  the  facilities  it  must  provide.  The  park- 
ing lot  must  be  bigger  than  ever,  not  only  because  more 
people  than  ever  are  using  cars  but  also  because  the  cars 
are  bigger  than  ever.  The  man  who  finds  that  his  new  car 
won't  fit  in  his  old  garage  can  multiply  that  problem  by  a 
hundred  and  see  the  dilemma  of  the  twenty-year-old  su- 
burban theatre.  There  are  some  communities  where  the 
situation  arises  time  and  time  again  that  there  are  a  good- 
ly number  of  vacant  seats  in  the  theatre  but  not  a  space 
left  in  the  parking  lot. 

The  decline  of  weekday  or  week-night  moviegoing  in 
favor  of  Friday,  Saturday  and  Sunday  has  not  been  the 
exclusive  property  of  the  suburbs;  but  there  seems  to  be 


Page  26       Film  BULLETIN    April  15,  1957 


PATTERNS  DF  PATRONAGE 


Drive-ins  Mluihling  a  ]%feu>  Clientele 


good  reason  to  believe  that  this  trend  reflects  the  subur- 
ban way  of  iife.  Contrariwise,  suburban  shopping  centers 
have  found  that  night-time  shopping  hours  bring  out  the 
crowds  during  the  week.  This  may  be  because  you  can 
get  home  at  a  decent  hour  from  the  shopping  center, 
whereas  the  theatre  keeps  you  out  till  almost  midnight. 

Most  of  the  foregoing  discussion  has  dealt  with  the 
four-wall  theatre.  The  drive-in  is  something  else  again. 
The  urban  area  drive-in  is  a  symptom  of  the  retreat  from 
the  city.  The  drive-ins  around  the  edges  of  New  York 
City,  for  example,  draw  their  trade  from  the  communities 
around  the  same  edges,  rather  than  from  the  city  proper, 
except  on  special  occasions.  The  drive-ins  in  rural  or  less 
populous  areas  draw  their  trade  to  a  surprising  extent 
from  people  who  never  used  to  go  to  the  movies  quite  as 
much,  because  the  movies  weren't  quite  as  convenient  to 
go  to.  The  rural  area  drive-in  therefore  not  only  takes 
some  trade  away  from  the  town  four-wall,  but  a'so  builds 
up  its  own  new  customers,  whereas  the  urban  area  drive- 
in  operates  almost  exclusively  as  a  drain  on  the  audience 
previously  served  by  existing  four-wall  theatres. 


CENTRALIZATION  OF.  THEATRES 


In  the  cities,  the  tendency  is  for  a  sort  of  centralization 
of  theatres — first-run  group  downtown,  prime  neighbor- 
hood theatres  in  the  central  residential  areas  and  a  dis- 
tinct thinning  out  as  we  move  toward  the  suburbs.  The 
operators  who  are  apt  to  be  having  the  roughest  time  are 
the  very  ones  whose  neighborhoods  used  to  be  remote  and 
separated  from  the  rest  of  the  city.  The  tight  little  market 
of  the  past  is  largely  gone. 

Naturally  there  are  exceptions  to  ad  these  new  general 
rules.  But  an  examination  of  the  policies  of  the  major 
theatre  circuits  of  the  country  soon  indicates  that  these 
organizations  have  profound  respect  for  the  general  rules. 

That  is  why  we  see  so  careful  a  pruning  of  their  rosters 
of  theatres,  and  why  their  new  theatres  are  more  often  on 
the  periphery  of  the  big  cities  than  in  the  heart  of  the 
metropolis. 

In  cities  like  New  York  there  has  been  little  or  no  build- 
ing of  first-run  major  movie  theatres  in  years  and  years, 
whereas  during  the  same  period  of  time  new  office  build- 
ings and,  to  a  lesser  degree,  new  stores  have  continued  to 
be  put  into  operation.  Here  once  again  we  are  up  against 
the  hard  fact  that  New  York  and  its  sister  municipalities 
all  over  the  nation  are  more  and  more  becoming  daytime 
cities.  The  people  who  work  in  the  offices  and  buy  in  the 
stores  are  running  for  the  5:15  in  greater  numbers  every 
year.  The  people  who  live  in  town  are  as  numerous  as 
ever,  but  they  are  different  people.  In  New  York  they  are 
likely  to  be  the  rather  poor  and  the  rather  rich,  with  the 
best  buyers  of  all,  the  middle  class,  being  the  ones  who 
steadily  increase  the  buying  of  commutation  tickets. 

The  rather  poor,  even  more  than  the  rather  rich,  still  go 
to  the  movies  enthusiastically.  They  can  bring  fine  busi- 
ness to  the  downtown  first  runs  or  even  some  neighbor- 


hood houses.  But  since  they  are  rather  poor,  they  can't 
pay  high  rents;  this  means  that  they  force  the  retention 
of  a  growing  batch  of  low-income-producing  real  estate. 
This  in  turn  means  that  with  more  schools,  more  police, 
more  public  services  required  all  the  time,  there  is  little 
or  no  prospect  for  a  reduction  in  city  taxes.  And  this  in 
turn  means  that  the  costs  of  building  a  new  first-run  mo- 
tion picture  theatre  in  New  York  City  and  maintaining 
same  are  regarded  by  most  industry  people  as  positively 
frightening. 


PUBLICALLY-OWNED  ARENAS 


There  is  a  growing  tendency  to  regard  the  construction 
of  public  meeting  places  as  a  public  function.  The  Mil- 
waukee Braves  play  in  a  government- owned  ball  park,  as 
do  a  number  of  other  big-time  basebail  teams.  The  wrest- 
ling promoters  stage  their  shenanigans  in  armcries  and 
public  auditoriums  in  various  cities.  In  recent  months  the 
president  of  the  Brooklyn  Dodgers  has  teen  seeking  to 
promote  interest  in  the  construction  of  a  publicly-owned 
sports  center  for  his  team's  home  town  on  the  basis  of  the 
importance  of  the  baseball  attraction  to  the  entire  com- 
munity. 

The  thesis  in  each  of  these  instances  is  that  an  attrac- 
tive establishment  brings  into  the  city  some  of  the  cus- 
tomers who  would  spend  their  money  outside  the  city 
otherwise.  A  hit  picture  usually  benefits  every  merchant 
who  is  open  evenings  on  the  same  street  as  the  theatre.  A 
hit  show  has  been  known  to  add  materially  to  the  eve- 
ning's take  for  the  local  bus  company. 

Therefore  it  has  been  proposed  that  cities  give  consider- 
ation to  the  idea  of  construcing  motion  picture  theatres  as 
municipal  buildings  and  then  leasing  the  facilities  for  a 
long  term  to  established  exhibitors.  Proper  operation  of 
the  theatre  should  result  in  material  benefits  to  the  com- 
munity, it  is  argued;  even  the  mere  construction  of  a  good 
theatre  is  apt  to  influence  realty  values  upward. 

This  kind  of  proposal  would  be  completely  unneces- 
sary if  the  population  of  the  United  States  had  not  begun 
so  profound  a  shift.  Today's  movie  customer  isn't  the 
same  patron  who  used  to  go  to  the  theatre  around  the 
corner.  The  corners  nowadays  are  usually  a  lot  further 
away,  and  the  old  neighborhood  ain't  what  it  used  to  be. 


SWAP  YOUR  IDEAS, 
STUNTS,  CAMPAIGNS 
WITH  OTHER  SHOWMEN 
FOR  BENEFIT  OF  ALL! 


Film  BULLETIN    April   15.   1957        Page  27 


THIS  IS  YOUR  PRODUCT 


All  The  Vital  Details  on  Current  &>  Coming  Featni 

(Date  of  Film  BULLETIN  Review  Appears  At  End  of  Synopsis) 


msssnMMiEEm 

December 

HIGH  TERRACE  Dale  Robertson,  Lois  Maxwell.  Pro- 
ducer Robert  Baker.  Director  H.  Cass.  Drama.  Famous 
impresario  it  killed  by  young  actress.  77  min. 
HOT  SHOTS  Hunti  Hall.  Stanley  Clements.  Producer 
Ben  Schwalb.  Director  Jean  Yarbrough.  Comedy.  Ju- 
venile television  star  is  kidnapped.   42  min. 

January 

CHAIN  OF  EVIDENCE  Bill  Elliot,  James  Lydon,  Claudia 
Barrett.  Producer  Ben  Schwalb.  Director  Paul  Landres. 
Melodrama.  Former  convict  is  innocent  suspect  in 
planned  murder.  63  min. 

February 

HOLD  THAT  HYPNOTIST  Hunti  Hall,  Stanley  Clements. 
Producer  Ben  Schwalb.  Director  Austen  Jewell.  Comedy 
drama.  Bowery  Boys  tangle  with  unscrupulous  hypnotist. 
61  min. 

LAST  Of  THE  BADMEN  CinemaScope,  Color.  George 
Montgomery,  James  Best.  Producer  Vincent  Fennelly. 
Director  Paul  Landres.  Western.  Outlaws  u«e  detective 
as  only  reeogni»eble  man  In  their  holdups,  thus  in- 
creasing reward  for  his  death  or  capture.  81  min. 


March 


ATTACK  Of  THE  CRAB  MONSTERS  Richard  Garland, 
Pamela  Duncan.  Producer-director  Roger  Corman. 
Science-fiction.  Hideous  monsters  take  over  remote 
Pacific  Island.  68  min. 

FOOTSTEPS  IN  THE  NIGHT  Bill  Elliot,  Don  Haggerty. 
Producer  Ben  Schwalb.  Director  Jean  Yarbrough.  Melo- 
drama. Man  is  sought  by  police  foi  murder  of  his 
friend.  62  min. 

NOT  OF  THIS  EARTH  Paul  Birch.  Beverly  Garland. 
Producer-director  Roger  Corman.  Science-fiction.  Series 
of  strange  murders  plagues  large  western  city.  67  min. 


April 


BADGE  OF  MARSHALL  BRENNAN  Jim  Davis,  Carl 
Smith,  Arleen  Whelan.  Producer-director  Albert  C. 
Gannaway.  Western.  76  min. 

DRAGOON  WELLS  MASSACRE  Barry  Sullivan  Mona 
Freeman,  Dennis  O'Keefe.  Producer  Lindtley  Parsons. 
Director  Harold  Schuster.  Western.  Apaches  attack 
stockade  in  small  western  town.  81  min. 


May 


CALYPSO  JOE  Herb  Jeffries,  Angle  Dickenson.  Pro- 
ducer William  Broidy.  Director  Edward  Dein.  Musical. 
Former  sweetheart  wins  girl  away  from  South  Ameri- 
can millionare. 

DAUGHTER  Of  DR.  JEKYIL  Jehu  Agar.  Gloria  Talbot, 
AHW    Shields.     Producer   Jack    Pollexfen.  Director 

Edgar  Unger.    Horror.    71  min. 

DESTINATION  60.000  Preston  Foster,  Coleen  Gray.  Jeff 
Donnell.  A  Gross-Krasne  Production.  Director  G.  Wag- 
gner.  Drama.  Pilot  flys  new  jet,  with  revolutionary 
type  fuel,  for  first  time.    65  min. 

LET'S  BE  HAPPY  CinemaScope,  Color.  Vera  Ellen,  Tony 
Martin,  Robert  Fleming.  Producer  Marcel  Hellman. 
Director  Henry  Levin.  Musical.  Small-town  girl  meets 
washing  machine  inventor  in  Paris.  105  min. 
OKLAHOMAN.  THE  CinemaScope,  DeLuxe  Color.  Joel 
McCrea,  Barbara  Hale.  Producer  Walter  Mirsch.  Di- 
rector Francis  Lyon.  Western.  Doctor  helps  rid  town 
of  unscrupulous  brothers.  81  min. 

PERSUADER,  THE  William  Talman,  Kristine  Miller, 
James  Craig.  Producer-director  Dick  Ross.  Western. 
Preacher  wins  rough  town  over  with  love — not  guns. 
72  min. 


Coming 


BADGE  OF  MARSHAL  BRENNAN  Jim  Davis.  Producer- 
director  Albert  Gannaway.  Western. 

DINO  Sal  Mineo,  Brian  Keith,  Susan  Kohner.  Producer 
Bernice  Block.  Director  Thomas  Carr.  Social  case 
worker  helps  young  criminal  reform. 

DISEMBODIED,  THE  Paul  Burke,  Allison  Hayes,  Joel 
Marston.  Producer  Ben  Schwalb.  Director  Walter 
Graumann.  Doctor's  wife  practices  voodoo  in  African 
iungle.    70  min. 

HOT  ROD  RUMBLE  Leigh  Snowden,  Richard  Hartunian. 
Producer  Norman  Herman.  Director  Les  Martinson. 
Story  of  a  drag  racer  and  his  fight  for  acceptance. 
HUNCHBACK  OF  NOTRE  DAME,  THE  CinemaScope 
Color.  Gina  Lollobrigida,  Anthony  Quinn.  A  Paris 
Production.  Director  Jean  Delannoy.  Drama.  Hunch- 
back falls  in  love  with  beautiful  gypsy  girl.    88  min. 

F  I  I  n 


LOVE  IN  THE  AFTERNOON  Color.  Gary  Cooper, 
Audrey  Hepburn,  Maurice  Chevalier.  Producer-director 
Billy  Wilder.  Drama. 

SPOOK  CHASERS  Hunti  Hall,  Stanley  Clements.  Pro- 
ducer Ben  Schwalb.  Director  George  Blair.  Comedy. 
Bowery  boys  get  tangled  up  with  spooks  and  hoodlums. 
62  min. 


COLUMBIA 


December 


LAST  MAN  TO  HANG.  THE  Tom  Conway,  EJiiabeth 
Sellars.  Producer  John  Gotsage.  Director  Terence 
Fisher.  Melodrama.  Music  critic  is  accuved  of  murder- 
ing his  wife  in  a  crime  of  passion.  75  min.  11/12. 

MAGNIFICENT  SEVEN.  THE  Takajhi  Shimura  Toshiro 
Mifuae.  A  Toho  Production.  Director  Akira  Kurosawa. 
Melodrama.  Seven  Samurai  warriors  are  Mred  by  far- 
mers for  protection  against  maurauders.  158  min.  12/10 

RUMBLE  ON  THE  DOCKS  James  Darren,  Jerry  Janger, 
Edgar  Barrier.  Drama.  Teeiage  gang  wars  and  water- 
front racketeers.   82  min.  12/10. 

SEVENTH  CAVALRY.  THE  Technicolor.  Randolph  Scott, 
Barbara  Hale.  Producer  Harry  Brown.  Director  Joseph 
Lewis.  Western.  An  cpiiode  in  the  glory  of  General 
Custer's  famed  "7th  Cav.".   75  min.  12/10. 


January 


DON'T  KNOCK  THE  ROCK  BIN  Haley  and  his  Comets, 
Alan  Freed,  Alaa  Date-  Producer  Sam  Katzman.  Direc- 
tor Fred  Scare.  Musical.  Life  and  times  of  a  famous 

rock  and  roll  singer.  80  min.  1/7. 

RIDE  THE  HIGH  IRON  Don  Taylor,  Sally  Forest,  Ray- 
mond Burr.  Producer  William  Self.  Director  Don  Weis. 
Drama.  Park  Avenue  scandal  is  hushed  up  by  public 
relations  experts.  74  min. 

ZARAK  Technicolor,  CinemaScope.  Victor  Mature, 
Michael  Wilding,  Anita  Ekberg.  A  Warwick  Production. 
Director  Terence  Young.  Drama.  Son  of  wealthy  ruler 
becomes  notorious  bandit.  99  min.  12/24. 


February 


NIGHTFALL  Aldo  Ray,  Anne  Bancroft.  Producer  Ted 
Richmond.  Director  Jacques  Tourncur.  Drama.  Mistaken 
identity  of  a  doctor's  bag  starts  hunt  for  stolen  money. 
78  min.  12/10. 

UTAH  BLAINE  Rory  Calhoun,  Susan  Cummingi,  Angela 
Stevens.  Produeer  Sam  Katzman.  Director  Fred  Scars. 
Western.  Two  men  join  handc  beceuse  they  sec  in  each 

other  a  way  to  have  revenge  on  their  enemies.  75  min. 
WICKED  AS  THEY  COME  Arlcnc  Dahl,  Phil  Carey.  Pro- 
ducer Maxwell  Setton.  Director  Ken  Hughes.  Drama.  A 
beautiful  girl  wins  a  beauty  contest  and  a  "different" 
life.  132  min.  1/21. 

March 

FULL  OF  LIFE  Judy  Holliday,  Richard  Conte, 
Salvatore  Baccaloni.  Producer  Fred  Kohlmar.  Director 
Richard  Quine.  Comedy.  Struggling  writer  and  wife 
are  owners  of  new  home  and  are  awaiting  arrival  of 

child.  91  min.  1/7. 

MAN  WHO  TURNED  TO  STONE.  THE  victor  Jory,  Ann 
Doran.  Producer  San'  Katiman.  Director  Leslie  Kardos. 
Mad  doctor  discover*  secret  of  prolonged  life.  Horror. 
80  min.  2/18. 

SHADOW  ON  THE  WINDOW.  THE  Betty  Garrett,  Phil 
Carey,  Corey  Allen.  Producer  Jonie  Tapia.  Director 
William  Asher.  Melodrama.  Seven-year  old  boy  is  the 

only  witness  to  a  murder.  73  min.  3/4. 
ZOMBIES  OF  MORA  TAU  Gregg  Palmer,  Allison  Hayes. 
Producer  Sam  Katiman.  Director  Edward  Kahn.  Horror. 
Zombies  live  on  sunken  ship  with  huge  fortune  of  dia- 
monds. 70  min. 


A  pril 


GUNS  AT  FORT  PETTICOAT  Audie  Murphy,  Kathryn 
Grant.  Producer  Harry  Joe  Brown.  Director  George 
Marshall.  Western.  Army  officer  organizes  women  to 

fight  off  Indian  attack.  131  min. 

PHANTOM  STAGECOACH,  THE  William  Bishop,  Rich- 
ard Webb.  Producer  Wallace  MacDonald.  Director  Ray 
Nazarro.  Western.  Outlaws  attempt  to  drive  stage 
coach  line  out  of  business.  6?  min. 

TALL  T.  THE  Randolph  Scott,  Richard  Boone,  Maureen 
Sullivan.  A  Scott-Brown  Production.  Director  Budd 
Boetticher.  Western.  A  quiet  cowboy  battles  o  be 
independent.  78  min. 


May 


HELLCATS  OF  THE  NAVY  Ronald  Reagan,  Nancy  Davis, 
Arthur  Franz.  Producer  Charles  Schneer.  Director  Na- 
than Juran.  Drama.  Story  of  the  Hellcat  submarines 
during  World  War  II.  82  min. 

SIERRA  STRANGER  Howard  Duff,  Gloria  McGhee.  Pro- 
ducer Norman  Herman.  Director  Lee  Sholem.  Western. 
Miner  file  gold  claim  during  the  '49  California  Gold 
Rush.  74  min. 

STRANGE  ONE.  THE  Ben  Gazxera,  James  Olsen,  George 
Peppard.  Producer  Sam  Spiegel.  Director  James  Gar- 
fein.  Drama.  Cadet  at  military  school  frames  com- 
mander and  his  son.  97  min. 


Coming 


ABANDON  SHIP  CinemaScope.  Tyrone  Power, 
Zetterling.  Producer-director  Richard  Sale.  Dr 
Story  of  a  group  of  people  who  survive  the  sii 
of  a  luxury  liner.    100  min.  8*  nun 

BULLETIN  —  THIS     IS    YOUR  PRODUCT 


ADMIRABLE  CRICHTON.  THE  Technicolor.  Kenneth 
More.  Diane  Cilento.  Cecil  Parker.  Producer  Ian  Da1- 
rymple.  Director  Lewis  Gilbert.  Drama.  The  story  of  a 
famous  butler  in  the  I900's. 

BEYOND  MOMBASA  Technicolor,  CinemaScope.  Cor- 
nell Wilde,  Donna  Reed.  Producer  Tony  Owen.  Direc- 
tor George  Marshall.  Adventure.  Leopard  Men  seek 
to  keep  Africa  free  of  white  men. 

BROTHERS  RICO  THE  Richard  Conte,  Kathryn  Grant, 
Dianne  Foster.  Producer  Lewis  Rachmil.  Director  Phil 
Karlson.  Drama.  Former  racketeer,  trying  to  go 
straight,  exposes  organization  when  they  push  him  too 
far. 

BURGLAR,  THE  Dan  Duryea,  Jane  Mansfield,  Martha 
Vickers.  Producer  Louis  Kellman.  Director  Paul  Kend- 
kos.  Melodrama.  Jewel  thieves  plan  theft  of  spiritual- 
ist's valuable  necklace. 

CASE  OF  THE  STOCKING  KILLER.  THE  John  Mills, 
Charles  Coburn,  Barbara  Bates.  A  Marksman  Produc- 
tion. Director  John  Gillerman.  Insane  man  murders 
beautiful  girl. 

FIRE  DOWN  BELOW  CinemaScope,  Technicolor.  Rita 
Hayworth,  Robert  Mitchum,  Jack  Lemmon.  A  War- 
wick Production.  Director  Robert  Parrish.  Drama. 
Cargo  on  ship  is  ablaze.  Gravity  of  situation  is  in- 
creased by  highly  explosive  nitrate. 

GARMENT  JUNGLE.  THE  Lee  J.  Cobb,  Kerwin  Mat- 
thews, Richard  Boone.  Producer  Harry  Kleiner.  Di- 
rector Ribert  Aldrich.  Drama.  Dog-ea-dog  world  of 
Manhattan's  clothing  center. 

GOLDEN  VIRGIN.  THE  Joan  Crawford,  Rossano  Brazzi, 
Heather  Sears.  John  and  James  Woolf  producers.  Di- 
rector David  Miller.  Unscrupulous  people  exploit  blind 
girl  for  profit. 

KILLER  APE  Johnny  Weistmuller.  Carol  Thurston.  Pro- 
ducer Sam  Katzman.  Director  Spencer  G.  Bennett.  Ad- 
venture drama.  The  story  of  a  giant  half-ape,  half-i 
beast  who  goes  on  a  killing  rampage  until  destroyed 
by  Jungle  Jim.  68  min. 

PAPA,  MAMA.  THE  MAID  AND  I  Robert  Lamoureux. 
Gaby  Morlay,  Nicole  Courcel.  Director  Jean-Paul  Le 
Chanois.  Comedy.  The  lives  of  a  typically  Parisian 
family.  94  min.  9/17. 

PICKUP  ALLEY  Cinemascope.  Victor  Mature.,  Anita 
Ekberg,  Trevor  Howard.  A  Warwick  Production.  Di- 
Ekberg,  Trevor  Howard.  A  Warwick  Production.  Direc- 
tor John  Gilling.  Story  of  international  dope  runners. 

SHE  PLAYED  WITH  FIRE  Jack  Hawkins,  Arlene  Dahl, 
Producers  Frank  Launder-Sidney  Gilliat.  Director  Sid- 
ney Gilliat.  Story  of  an  arsonist. 

SUICIDE  MISSION  Leif  Larson,  Michael  Aldridge,  Atle 
Larsen.  A  North  Seas  Film  Production.  Adventure.  Nor- 
wegian fishermen  smash  German  blockade  in  World 
War  II.  70  min. 

3:10  TO  YUMA  Glenn  Ford,  Felicia  Farr,  Van  Heflin. 
Producer  David  Heilwell.  Director  Delmer  Daves.  West- 
ern. Cowboy  robs  stagecoach  then  poses  as  one  those 
robbed. 

27TH  DAY,  THE  Gene  Barry,  Valerie  French.  Producer 
Helen  Aincwortti.  Director  William  Asher.  Science- 
fiction.  People  from  outer  space  plot  to  destroy  all 

human  life  oh  the  earth.  75  min. 

YOUNG  DON'T  CRY.  THE  Sal  Mineo,  James  Whitmore. 
Producer  P.  Waxman.  Director  Alfred  Werker.  Drama. 
Life  in  a  southern  orphanage. 


INDEPENDENTS 


January 

ALBRT  SCHWEITZER  (Louis  de  Rochemont)  Eastman 
Color.  Film  biography  of  the  famous  Nobel  Prize  win- 
ner with  naxrltlve  by  Burgess  Merideth.  Producer-direc- 
tor James  Hill.  Documentary. 

BULLFIGHT  .Janus!  .  French  made  documentary  offers 
history  and  performance  of  the  famous  sport.  Produced 
and  directed  by  Pierre  Braunberger.  76  min.  11/26. 
FEAR  lAttor  Pictures)  IngrW  Bergman,  Mathlas  Wie- 
man.  Director  Roberto  Rossellinl.  Drama.  Young 
married  woman  is  mercilessly  exploded  by  blackmailer. 


MAY  SUMMARY 

The  tentative  number  of  features  sched- 
uled for  May  release  totals  28.  Leading 
supplier  will  be  Allied  Artists  with  six 
films,  followed  by  Columbia  and  Univer- 
sal with  four  films  each.  Merro-Goldwyn- 
Mayer  and  the  Independents  will  release 
three  each;  United  Artists  and  Paramount, 
two  each;  Warner  Bros.,  ore.  Color  films 
number  six.  Four  of  the  May  releases  will 
be  in  CinemaScope,  two  in  VistaVision. 

1 1  Dramas  2  Melodramas 

5  Westerns  3  Musicals 

4  Comedies  1  Adventure 

2  Horror 


NAWAT       DAUGHTERS       I  American-International] 
laru  English,  Anna  Sten    Producer  Alei  Gordon.  Di- 
ictor  Edward  Cahn.  Drama.  A  study  of  modern  teen- 
problems 

KE,   RATTLE  AND  ROCK  (American-International) 
Gaye.  Touch  Connart.  Producer  James  Nicholson, 
irector  Edward  Cahn.  Musical.  A  story  of  "rock  and 

ITTELOMI    (API-Jaws).    Franco    Interlenghi,  Leonora 
abriii     Producer   Mario  de  Vecchi.   Director   F.  Fel- 
f  ni.  Comedy.  Story  of  unemployed  young  men  in  Italy. 
I  Si  min.  1 1/24. 
a    ARE    ALL    MURDERERS    IKingsley  International) 
larcel  Mouloudii,  Raymond  Pellegrin.    Director  Andre 
|  .ayette.  Drama. 

February 

ED  OF   GRASS    ITrans-LuxJ    Anna    Branou.    Made  in 
t|  M-eece    English  titles.  Drama.  A  beautiful  girl  is  per- 
secuted by  her  villiage  for  Raving  lost  her  virtue  as 
I  le  victim  of  a  napist. 

:YCLOPS,  THE  (RKO)  James  Craig.  Gloria  Talbot. 
1 1  roducer-director  Bert  Gordon.  Science-fiction.  Story 
:l  f  a  monster  moon. 

LESH  AND  THE  SPUR  ( American-International)  Color, 
oha  Agar.   Maria   English,   Touch  Connors.  Producer 
i  vlei  Gordon.    Director  E.  Cehn.  Western.    Two  men 
earch  for  a  gang  of  outlaw  killers.  86  min. 

WITY  (RKO)  Technicolor.  John  Justin,  Barbara  Laage. 
j  irama. 

IOUR  OF  DECISION  (Astor  Pictures)  Jeff  Morrow, 
luel  Court.  Producer  Monty  Berman.  Director  Denn- 
igton  Richards.  Melodrama.  Columnist's  wife  is  in- 
ocently  involved  in  blackmail  and  murder.  70  min. 

cAKED  PARADISE  I  American-International)  Color, 
lichard  Denny,  Beverly  Garland.  Producer-director 
:oger  Corman.  Drama.  Man  and  woman  bring  Ha- 
<ajian  smugglers  to  justice.  72  min. 
ilLKEN  AFFAIR,  THE  (RKO)  David  Niven,  Genevieve 
'age,  Ronald  Squire.  Producer  Fred  Feldkamp.  Director 
!oy  Kelling.  Comedy.  An  auditor,  on  a  kindly  impulse, 
liters  the  accounting  records.  94  m'm. 
-EMPEST  IN  THE  FLESH  (Pacemaker  Pictures)  Ray 
nond  Pellegrin.  Francoise  Arnoul.  Director  Ralph 
-fabib.  French  film,  English  titles.  Drama.  Study  of  a 
'Oung  woman  with  a  craving  for  love  that  no  number 
if  men  can  satisfy. 

March 

JNDEAD,  THE  (American-International)  Pamela  Dun- 
[  :»n,  AJrUon  Hayes.  Producer-director  Roger  Corman. 
icience-f ictron .  A  woman  turns  into  a  witch.  71  min. 
rOODOO  WOMAN  I  American-International  I  Maria 
ingllsh,  Jom  Conv*av,  Touch  Connors.  Producer  Alex 
Sordon.  Director  Edward  Cehn.  Horror.  Adventurers 
.eeking  native  treasure  is  transformed  into  monster  by 
ungle  scientist.  7S  min. 

(VOMAN  OF  ROME  (DCA)  Gina  Lollobrigida,  Daniel 
Gejlin.  A  Ponti-DeLaurenfiis  Production.  Director  LuJgi 
Zampa.  Drama.  Adapted  from  the  Alberto  Moravia 
lovel. 

A  pril 

GOLD  OF  NAPLES  (DCAI  Toto,  Sophia  Loren,  Vittorio 
DeSica.  A  Ponti-De  Laurentis  Production.  Director  V. 
De  Sica.  Drama.  4  short  Italian  satires.  I07min.  3/18 
IF  ALL  THE  GUYS  IN  THE  WORLD  .  .  .  (Buena  Vista) 
Andre  Valmy,  Jean  Gaven.  Director  Christian-Jaque. 
Drama.  Radio  "hams",  thousands  of  miles  apart,  pool 
their  efforts  to  rescue  a  stricken  fishing  boat. 

May 

FOUR  BAGS  FULL  (Trans-Lux)  Jean  Gabin,  Bouvril. 
Comedy.  The  trials  and  tribulations  of  black  market 
operators  during  the  German  occupation. 
ROCK  ALL  NIGHT  (American-International)  Dick 
Miller,  Abby  Da  Iron,  Russel  Johnson.  Producer-director 
Roger  Corman.  Rock  n'  rolT  musical.  65  min. 
STRANGER  IN  TOWN  (Astor)  Alex  Nichol,  Anne  Page, 
Producer  Sidney  Roberts.  Director  George  Pollock. 
Melodrama.  A  newspaperman  exposes  the  "perfect 
crime".  74  min. 

June 

BLACK  TIDE  lAstor  Pictures)  John  Ireland,  Maureen 
Conned.  Producer  Monty  Berman.  Director  C.  P.  Rich- 
ards. Melodrama.  Top  fashion  model,  planning  long 
distance  swim  for  publicity,  is  mysteriously  murdered. 

Coming 

CARTOUCHE  (RKO)  Richard  Basehart,  Patricia  Roc. 
Producer  John  Nasht.  Director  Steve  Sekely.  Adventure. 
The  story  of  a  lusty  adventurer  during  the  reign  of 
Louis  XVI. 

CITY  OF  WOMEN  (Associated)  Osa  Massen,  Robert 
Hutton,  Maria  Palme/.  Producer-director  Boris  Petroff. 
Drama.  From  a  novel  by  Stephen  Longstreet. 
DRAGSTRIP  GIRL  (American-International)  Fay  Spain, 
Steve  Terrell.  John  Ashley.  Producer  Alex  Gordon.  Di- 
rector Edward  Cahn.  Story  of  teen-age  hot  rod  and 
dragstrip  racing  kids.  75  min. 

LOST  CONTINENT  IIFEi  CinemaSccpe.  rerranieolor. 
Producer-director  Leonardo  Bonii.  An  excursion  into  the 
wilds  of  Borneo  and  the  Mayiayan  Archepeiago.  Eng- 
lish commentary.  86  min. 

NEAPOLITAN  CAROUSEL  IIFEi  (Lux  Film,  Rome)  Pathe- 
color.  Print  by  Technicolor.  Sophia  Loren,  Lecniae 
Massine.  Director  Ettore  Giannini.  Musical.  The  hisrorv 
of  Napies  traced  from  1400  to  date  in  song  and  dance 
REMEMBER,  MY  LOVE  I  Artists-Producers  Assoc.)  Cine- 
maScope, TechniccJpr.  Michael  Redgrave,  Mel  Ferrer. 
Anthony  ©uale.  Musical  drama.  Producer-director 
Michael  Powell,  Emeric  Pressburger.  Based  on  Strauss' 
"Die  Redermaus". 


SMOLDERING  SEA.  THE  Superscope.  Producer  Hal  E. 
Chester.  Drama.  Conflict  berw.en  the  tyrannical  cap- 
tain and  crew  of  an  American  merchant  ship  reaches 
its  climai  during  cattle  of  Guadalcanal 

WEAPON,  THE  Superscope.  Nicole  Maurey.  Producer 
Hal  E.  Chester.  Drama.  An  unsolved  muroer  involving 
a  bitter  U.  S.  war  veteran,  a  German  war  bride  and  a 
killer  is  resolved  after  a  child  finds  a  loaded  gun  In 
bomb  rubble 

X— THE  UNKNOWN  Dean  Jagger,  William  Russell. 
Producer  A.  Hinds.  Director  Leslie  Norman.  Science- 
fiction.  Keen  minded  scientist  fights  awesome  creation. 


METRO-GOLD  WY  N  -  M  AY  E  R 


December 

GREAT   AMERICAN    PASTIME.    THE   Tom    Ewell,  Ann 

Francis.  Ann  Miller.  Producer  Henry  Berman.  Director 
Nat  Benchley.  Comedy.  Romantic  anrics  with  a  Little 
League  baseball  background.  89  min. 

TEAHOUSE  OF  THE  AUGUST  MOON.  THE  Cinema- 
Scope,  Eastman  Color.  Marlon  Brando.  Glenn  Ford, 
Eddie  Albert.  Producer  Jack  Cummings.  Director  Daniel 
Mann.  Comedy.  Filmiiation  of  the  Broadway  play. 
123  min.  10/29. 

January 

ACTION  OF  THE  TIGER  CinemaScope,  Coloc.  Van 
Johnson,  Martine  Carol,  Su  stave  Rofo.  A  Claridge 
Production.  Drama.  Beautiful  girt  seek*  help  of  con- 
traband runner  to  rescue  brother  from  Communists. 
EDGE  OF  THE  CITY  John  Cassavetes,  Sidney  Poitier. 
Producer  David  Susskind.  Director  Martin  Rltt.  Drama. 
A  man  finds  confidence  In  the  future  by  believing 
in  himself.  85  min.  1/7. 

SLANDER  Van  Johnson,  Ann  Blyth,  Steve  Cochran. 
Producer  Armand  Deutseh.  Director  Roy  Rowland. 
Drama.  Story  of  a  scandal  magazine  publisher  and 
his  victims.  8 1  min.  1/7. 

February 

BARRETS  OF  WIMPOLE  STREET,  THE  CinemaScope, 
Eastman  Color.  Jennifer  Jones,  Sir  John  Gielgud,  Bill 
Travers.  Producer  Sam  Zimbalist.  Director  Sidney 
Franklin.  Drama.  Love  story  of  poets  Elizabeth  Barrett 
and  Robert  Browning.  I0S  min.  1/21. 

HOT  SUMMER  NIGHT  Leslie  Nielsen,  Coleen  Miller. 
Producer  Morton  Fine.  Director  David  Friedkin.  Melo- 
drama. Story  of  a  gangland  hide-out.  84  min.  2/4. 
WING5  Of  THE  EAGLES,  THE  John  Wayne,  Dan 
Dailey,  Maureen  O'Hara.  Producer  Charles  Schnee. 
Director  John  Ford.  Drama.  Life  and  times  of  a  naval 
aviator.  I  10  min.  2/4. 

March 

HAPPY  ROAD.  THE  Gene  Kelly,  Michael  Redgrave, 
Barbara  Laage.  A  Kerry  Production.  Directors,  Gene 
Kelly,  Noel  Coward.  Drama.  Two  children  run  away 
from  boarding  hchool  to  find  their  respective  parents. 
100  min.  2/4. 

LIZZIE  Eleanor  Parker,  Richard  Boone,  Joan  Btondell. 
Producer  Jerry  Bresster.  Director  Hugo  Haas.  Drama. 
A  young  girl  lives  three  different  lives.  81  min.  3/4 
TEN  THOUSAND  BEDROOMS  CinemaScope,  Techni- 
color. Dean  Martin,  Anna  Maria  Alberghetri.  Producer 
Joteph  Pasternack.  Director  Richard  Thorpe.  Musical. 
A  hotel  tycoon  falls  in  love  with  a  lovely  Italian  girl. 
114  min.  2/18. 

A  pril 

DESIGNING  WOMAN  CinemaScope.  Gregory  Peck, 
Lauren  Bacall,  Dolores  Gray.  Produced  Dore  Schary. 
Director  Vincente  Minnelli.  Comedy.  Ace  sportswriter 
marries  streamlined  blond  with  ideas.  117  min.  3/4 
VINTAGE,  THE  MetroColor.  Pier  Angeli,  Mel  Ferrer. 
Leif  Erickson.  Producer  Edwin  Knoph.  Director  Jeffrey 
Hayden.  Drama.  A  conflict  between  young  love  and 
mature  responsibility.  90  min.  3/18. 

May 

LITTLE  HUT,  THE  MetroColor.  Ava  Gardner,  Stewart 
Granger.  Producers  F.  Hugh  Herbert.  Director  Mark 
Robson.  Comedy.  Husband,  wrfe  and  wife's  lover  are 
marooned  on  a  tropical  isle.  93  min. 

TARZAN  AND  THE  LOST  SAFARI  Technicolor.  Gordon 
Scott  Robert  Beatty.  A  Sol  Lesser  Production.  Director 
Bruce  Humberstone.  Adventure.  Tarzan  rescues  safari 
lost  in  deepest  Africa.  80  min.  3/18. 

THIS  COULD  BE  THE  NIGHT  Jean  Simmons.  Paul 
Douglas.  Producer  Joe  Pasternak.  Director  Robert 
Wise.  Comedy.  A  girl  fresh  out  of  college  gets  a 
job  as  secretary  to  an  ex-bootlegger. 

Coming 

LIVING  IDOL,  THE  CinemaScope,  Eastman  Color. 
Steve  Forrest,  Lilliane  Montevecchi.  Producer-director 
Al  Lewin.  Drama.  An  archeologist  is  faced  with  an  un- 
worldly situation  that  threatens  the  safety  of  his 
adopted  daughter.   101  min. 

MAN  ON  FIRE  Bing  Crosby,  Mary  Pickett  Inger 
Stevens.  Producer  Sol  Siegel.  Director  R.  MacDougall. 
The  effect  of  divorce  on  a  boy  and  his  estranged 
parents. 

RAINTREE  COUNTY  Eastman  Color,  CinemaScope  55. 
Elizabeth  Taylor,  Montgomery  Clift.  Producer  David 
Lewis.  Director  Edward  Dymtryke.  Drama.  Life  in  Indi- 
ana during  the  middle  1 800 ' s. 

SEVENTH  SIN,  THE  CinemaScope.  Eleanor  Parker,  Mill 
Travers,  George  Sanders.  Producer  David  Lewis.  Di- 
rector Ronald  Neame. 


SILK  STOCKINGS  MetroColor,  CinemaScope.  Fred  As- 
taire,  Cyd  Charrise,  Janis  Page.  Producer  Arthur 
Freed.  Director  R.  Mamoullian.  Musical.  Russian  girl 
falls  in  love  wilh  American  film  producer  in  Paris. 

SOMETHING  OF  VALUE  Rock  Hudson.  Dana  Wynter, 

Wendy     Hitler.     Producer     Pandro    Berman.  Director 

Richard  Brooks.  Drama.  Stry  of  a  Mau  Mau  uprising 
in  Kenya,  East  Africa.  113  min. 


PARAMOUNT 


December 

HOLLYWOOD  OR  BUST  VistaVision.  Technicolor.  Dean 
Martin,  Jerry  Lewis,  Anita  Ekberg.  Producer  Hal  Wal- 
lis.  Director  Frank  Tashlin.  Comedy.  The  adventures  of 
a  wild-eyed  film  fan  who  knows  everything  about  the 
movies.  75  min.  k2/l0. 

WAR  AND  PEACE  VistaVisie-i  Technicolor  Audrey 
Hepourn,  Henry  Fonda.  Mel  Ferrer.  Producers  Carie 
Ponti  Dino  ae  Laurentiis  Director  King  Viaor.  Drama 
Based  on  Tolstoy's  novel.  208  min.  9/3. 

January 

THREE  VIOLENT  PEOPLE  VistaVision,  Technicolor. 
Charlton  Heston,  Anne  Baiter,  Gilbert  Roland.  Pro- 
ducer Hugh  Brown.  Director  Rudy  Mate.  Western.  Story 
ot    returning    Confederate    war    veterans    in  Texas. 

TOO  min.  1/7. 

February 

RAINMAKER.  THE  VistaVision,  Technicolor.  Burt  Lan- 
caster, Katherine  Hepburn,  Wendell  Corey.  Producer 
Hal  Wallis.  Director  Joseph  Anthony.  Comedy  drama. 
Fllmization  of  the  famous  B'way  play.  121  min.  12/24. 

March 

FEAR  STRIKES  OUT  Anthony  Perkins,  Karl  Maiden. 
Norma  Moore.  Producer  AJan  Pakula.  Director  Perry 
WUson.   Drama.   Story  of  the  Boston   baseball  player. 

100  min.  2/18. 

OMAR  KHAYYAM  VistaVision,  Technicolor.  Cornel 
Wilde,  Michael  Rennie,  Debra  Paget.  Producer  Frank 
Freeman,  Jr.  Director  William  Dieterle.  Adventure. 
The  life  and  rimes  of  medieval  Persia's  literary  idol. 
103  min. 

April 

FUNNY  FACE  VistaVision,  Technicolor.  Aud»ey  Hep- 
burn, Freo1  Astalre,  Kay  Thompson.  Producer  Roger 
Edens.  Director  StajJey  Donen.  Musical.  Photographer 
plucks  fdshion  model  from  Greenwich  VTlrage  bookshop. 
I  TO  min.  2/18. 

May 

BUSTER  KEATON  STORY,  THE  VistaVision,  Technicolor. 
Donald  O'Connor,  Ann  Blyth,  Rhonda  Fleming.  Pro- 
ducers Robert  Smith,  Sidney  Sheldon.    Director  Sidney 

Sheldon.  Drama.   Life  of  the  great  comedian.  91  min. 

GUNFIGHT  AT  O.K.  CORRAL  VistaVision,  Technicolor. 
Burt  Lancaster,  Kirk  Douglas,  Rhonda  Fleming.  Pro- 
ducer Hal  Wallis.  Director  John  Sturges.  Western. 
Drunken  badman  hunts  for  murderer  of  his  cheating 
brother.  122  min. 

June 

LONELY  MAN,  THE  VistaVision,  Technicolor.  Jack  Pa- 
lance,  Anthony  Perkins.  Elaine  Aiken.  Producer  Pat 
Duggan.  Director  Henry   Levin.   Western.  A  qunfighter 

finds  he  is  losing  his  sight — and  his  aim.  81  min. 

Coming 

BEAU  JAMES  VistaVision,  Technicolor.  Bob  Hope.  Pro- 
ducer Jack  Rose.  Director  Michael  Moore.  Drama. 
Biography  of  the  famous  Jimmy  Walker,  mayor  of  N.Y. 
from  1925  to  1932.  105  min. 


Film 


BULLETIN—  THIS     IS     YOUR  PRODUCT 


DELICATE  DELINQUENT.  THE  Jerry  Lewie,  Darren  Mt- 
Gavin,  Martha  Hyer.  Producer  Jerry  Lewis.  Director 
Don  McGuire.  Janitor  longs  to  be  police  officer  so  he 
can  help  delinquents.  101  min. 


of  Joe  E.  Lewis,  nightclub  comedi. 

SPANISH  AFFAIR  VistaVision,  Technicolor.  Carmen 
Sevilla,  Richard  Kiley.  Producer  Bruce  Odium.  Director 
Donald  Siegel.  An  American  architect  travelling  in 
Spain  is  attracted  to  a  beautiful  girl,  half-Gypsy,  half- 
Spanish. 

TEN  COMMANDMENTS,  THE  VistaVision  Technicolor 
Cnarlrun  Hesron  Yul  Brynner,  Anne  Bax's'  °roaucer- 
director  Cecil  R  DeMille  Reliaious  arama  Life  sw 
of  Moses  as  told  in  the  Bible  and  Koran.  21?  min.  10/15 
TIN  STAR,  THE  VistaVision.  Henry  Fonda,  Anthony 
Perkins.  A  Perlherg-Seaton  Production.  Director  An- 
thony Mann.  V  .tern. 


February 


REPUBLIC 


December 

ACCUSED  OF  MURDER  Trucolor,  Naturama.  David 
Brian,  Vera  Ralston.  Melodrama.  Associate  producer- 
director  Joseph  Kane.  Drama.  Two-timing  gangland 
lawyer  is  murdered  by  attractive  girl  singer.  74  min. 
IN  OLD  VIENNA  Trucolor.  Heini  Roettinger,  Robert 
Killick.  Producer-director  James  A.  Fitxpatrick.  Musi- 
cal. Romances  and  triumphs  of  Franz  Shubert,  Johann 
Strauss,  Ludwig  Beethoven  in  the  city  of  music,  Vienna. 


January 


ABOVE  UP  THE  WAVES  John  Mills,  John  Gregson, 
Donald  Sinden.  Producer  W.  MacOulrty.  Director  Ralph 
Thomas.  Drama.  Midget  submariners  attempt  to  sink 
German  battleship  in  WWII.  92  min.  1/21. 

TEARS  FOR  SIMON  Eastman  Color.  David  Farrar 
David  Knight,  Julia  Arnall.  A  J.  Arthur  Rank  Produc- 
tion. Drama.  Young  American  couple  living  in  Lon- 
don have  thair  child  stolen.  91  min.  3/18. 


February 


AFFAIR  IN  RENO  Naturama.  John  Lund,  Doris  Single- 
ton. Producer  Sidney  Picker.  Director  R.  G.  Spring- 
stein.  Drama.  Young  heiress  falls  for  fortune-hunting 
gambler.  75  min. 

DUEL  AT  APACHE  WELLS  Naturama,  Trucolor.  Anna 
Maria  Alberghetti,  Ben  Cooper.  Associate  producer- 
director  Joseph  Kane.  Western.  Son  returns  home  to 
find  father's  ranch  threatened  by  rustler-turned-rancher. 

70  min. 

March 

HELL'S  CROSSROADS  Narurama.  Stephen  McNally 
Peggie  Castle,  Robert  Vauhgn.  Producer  Rudy  Ral- 
ston. Director  Franklin  Adreon.  Western.  Outlaw  cow- 
boy reforms  after  joining  Jesse  James'  gang.  73  min. 


April 


MAN  IN  THE  ROAD  Derek  Farr,  Ella  Raines.  Producer 
Charles  Leeds.  Director  Lance  Comfort.  Drama.  83  min. 
SPOILERS  OF  THE  FORREST  Trucolor,  Naturama.  Vera 
Ralston,  Rod  Cameron.  Producer-director  Joe  Kane. 
Drama.  An  unscrupulous  lumberman  tries  to  coerce  the 
owners  of  a  large  forest  acreage  into  cutting  their 
timber  at  a  faster  rate.  68  min 


TTTFI I  BO  HI  1 1  M 

December 

ANASTASIA  CinemaScope,  DeLuxe  Color.  Ingrid  Berg- 
man, Yul  Brynner,  Helen  Hayes.  Producer  Buddy  Adler 
Director  A.  Litvak.  Drama.  Filmization  of  famous 
Broadway  play.  105  min.  12/24. 

BLACK  WHIP,  THE  Hugh  Marlowe,  Adele  Mara.  Pro- 


GIRL  CAN'T  HELP  IT.  THE  CinemaScope,  De  Luxe 
Color.  Tom  Ewell,  Jayne  Mansfield.  Producer-director 
Fm^Taililin.   Comedy.     Satire   on   rock   'h'   roll.  97 

OASIS  CinemaScope,  Color.  Michele  Morgan,  Cornell 
Borchers.  Producer  Ludwig  Waldleitner  and  Gerd  Os- 
wald. Director  Yvas  Allgret.  Drama.  Gold  smuggler 
falls  in  love  with  lady  sent  to  kill  him.  Violent  ending. 
84  mm.  1/21. 

WOMEN  OF  PITCAIRN  ISLAND  CinemaScope.  James 
Craig,  John  Smith,  Lynn  Bari.  Regal  Films  Production. 

Director  Jean  Warbrough.  Drama.  72  min.  3/4. 


January 


QUIET  GUN,  THE  Regalscope.  Forrest  Tucker,  Mara 
Corday.  Producer-director  Anthony  Kimmins.  Western. 
Laramie  sheriff  clashes  with  notorious  gunman.  77  min. 
SMILEY  CinemaScope,  Eastman  Color.  Sir  Ralph  Rich- 
ardson, John  McCallum,  Colin  Peterson.  Producer- 
director  Anthony  Kimmins.  Drama.  Young  Aussie  boy 
has  burning  desire  to  own  bicycle.  97  min.  2/18. 

THREE  BRAVE  MEN  CinemaScope.  Ray  Milland,  Ernest 
Borgnine.  Producer  Herbert  Swope,  Jr.  Director  Philip 
Donne.   Drama.  Government  employee  is  wronged  by 

too-zealous  pursuit  of  security  program.  88  min.  1/21. 


OH,  MEN  I  OH,  WOMENI  CinemaScope,  Color.  Dan 
Dairy,  Ginger  Rogers,  David  Niven.  Producer-director 
Nunnally  Johnson.  Comedy.  A  psychiatrist  finds  out 
somethings  he  didn't  know.  90  min.  3/4. 

THE  TRUE  STORY  OF  JESSIE  JAMES  CinemaScope. 
Robert  Wagner,  Jeffrey  Hunter.  Producer  Herbert 
Swope,  Jr.  Director  Nicholas  Ray.  Western.  The  rives 
and  times  of  America's  outlaw  gang.  92  min.  2/18. 

TWO  GROOMS  FOR  A  BRIDE  Virginia  Bruce,  John 
Carroll.  Producer  Robert  Baker,  Monty  Berman.  Direc- 
tor Henry  Cass.  Comedy. 

March 

HEAVEN  KNOWS  MR.  ALLISON  CinemaScope  De  Luxe 
Color.  Deborah  Kerr,  Robert  Mitchum.  Producers 
Buddy  Adkr,  Eugene  Frenke.  Director  John  Hus+on. 
Dr<ama.  Soldier  is  saved  by  nun  in  South  Pacific  during 

World  War  II  93  min.  3/la. 

RIVER'S  EDGE.  THE  CinemaScope,  Color.  Ray  Milland, 
Anthony  Quinn,  Dabra  Paget.  Producer  Benidict 
Bogeaus.  Director  Allan  Dwan.  Adventure.  Story  of  a 
professional  killer. 

STORM  RIDER,  THE  Scott  Brady,  Mala  Powers.  A 
Brady-Glasser  production.  Director  Edward  Bernds. 
Western.  A  dust  storm  brings  a  stranger  to  a  small 
western  town.  70  min. 


A  pril 


BOY  ON  A  DOLPHIN  CinemaScope,  DeLuxe  Color. 
Clifton  Webb,  Alan  Ladd,  Sophia  Loren.  Producer  Sam 
Engel.  Director  Jean  Negulesco.  Comedy.  Romantic 
tale  with  a  Greek  background. 


KRONOS  Jeff  Morrow,  Barbara  Lawrence,  John  Emery. 
Producer-director  Kurt  Neumann.  Drama.  A  "planet- 
robber"  comes  to  earth  from  outer  space. 

SHE-DEVIL,  THE  Mari  Blanchard,  Jack  Kelly.  Albert 
Dekker.  Producer-director  Kurt  Neumann.  Scientists 
create  an  inhuman  woman. 


May 


DESK  SET  Spencer  Tracy,  Katharine  Hepburn.  Producer 
Henry  Sphron.  Director  W.  Lang.  Filmization  of  the 
famous  Broadway  comedy. 


BERNADINE  Terry  Moore,  Pat  Boone,  Janet  Gaynor. 
Producer  Sam  Engel.  Director  H.  Levin.  Story  of 
teenagers. 

ISLAND  IN  THE  SUN  CinemaScope,  DeLuxe  Color. 
James  Mason,  Joan  Fontaine,  Dorothy  Dandridge.  Pro- 
ducer DarryJ  Zanuck.  Director  Robert  Rossen.  Drama 


Coming 


ALL  THAT  I  HAVE  Walter  Brennan. 

BADLANDS  OF  MONTANA  Rex  Reason,  Margia  Deane, 
Beverly  Garland.  Producer  H.  Knox.  Director  D.  Ull- 
man. 

BEAUTIFUL  BUT  DANGEROUS  Gina  Lotlobrigida,  Vit- 
torio  Gassman.  Producer  Manuella  Malotti.  Director 
Robert  Leonard.  Drama. 

LURE  OF  THE  SWAMP  William  Parker,  Skippy  Homeir, 
Marshall  Thompson. 

RESTLESS  BREED,  THE  Eastman  Color.  Scott  Brady, 
Anne  Bancroft.  Producer  E.  A.  Alperson.  Director  Alan 
Dwan. 

SEA  WIFE  CinemaScope,  DeLuxe  Color.  Richard  Bur- 
ton, Joan  Collins.  Producer  Andre  Hakim.  Director  Bob 
McNaught.  Drama.  Ship  is  torpedoed  by  Jay  submarine 
off  Singapore  harbor. 

THREE  FACES  OF  EVE,   THE   David   Wayne,  Joanne 

Woodward.  Producer  Nunnally  Johnson. 

WAY  TO  THE  GOLD.  THE  Sheree  North,  Barry  Sullivan, 

Jeffrey  Hunter.  Producer  David  Weisbart.  Director  R. 

Webb. 


UNITED  ARTISTS 


December 


BRASS  LEGEND,  THE  Hugh  O'Brian,  Raymond  Burr, 
Nancy  Gates.  Western.  Producer  Bob  Goldstein.  Di- 
rector Gerd  Oswald.  Western.  79  min. 
DANCE  WITH  ME  HENRY  Bud  Abbott,  Lou  Costello. 
Producer  Robert  Goldstein,  Director  Charles  Barton. 
Comedy.  79  min.  12/24. 

KING  AND  FOUR  QUEENS,  THE  CinemaScops,  Color. 
Clark  Gable,  Eleanor  Parker,  Jo  Van  Fleet,  Jean  Willis, 
Barbara  Nichols,  Sara  Shane.  Producer  David  Hemp- 
stead. Director  Raoul  Walsh.  Western.  86  min.  1/7. 
WILD  PARTY,  THE  Anthony  Quinn,  Carol  Ohmart,  Paul 
Stewart.  Producer  Sidney  Harmon.  Director  Harry 
Horner.  Drama.  Hoodlum  mob  take  over  a  Naval  offi- 
cer and  his  fiancee.  81  min.  12/10 


January 


BIG  BOODLE,  THE  Errol  Flynn,  Rossana  Rory.  A  Lewis 
F.  Blumberg  Production.  Director  Richard  Wilson.  Ad- 
venture. A  blackjack  dealer  in  a  Havana  nightclub  is 
accused  of  being  a  counterfeiter.  83  min.  2/4. 


FIVE  STEPS  TO  DANGER  Ruth  Reman,  Sterling  Hayden. 
A  Grand  Production.  Director  Henry  Kesler.  Drama. 
A  woman  tries  to  qive  FBI  highly  secret  material  stolen 

from  Russians.  80  min.  2/4. 

HALLIDAY  BRAND,  THE  Joseph  Cotter,  Viveca  Lind- 
fors,  Betsy  Blair.  Producer  Collier  Young.  Director 
Joseph  Lewis.  Western.  Inter-family  feud  threatens 
father  and  son  with  disaster.  77  min.  2/4. 


February 


CRIME  OF  PASSION  Barbara  Stanwyck,  Sterling 
Hayden,  Raymond  Burr.  Producer  Herman  Cohen.  Di- 
rector Gerd  Oswald.  Drama.  Newspaper  woman  whose 

ambition  for  her  husband  leads  to  murder.  85  min.  1/7. 
DRAM  GO  Jeff  Chandler,  Joanne  Dru.  An  Earlmar  Pro- 
duction. Hall  Bartlett  producer-director.  Adventure. 
Union  officers  try  to  bring  order  to  a  Southern  town 
after  the  Civil  War.  92  min. 
MEN  IN  WAR  Robert  Ryan,  Aldo  Ray,  Robert  Keith. 
Producer  Sidney  Harmon.  Director  Anthony  Mann. 
Drema.  An  American  infantry  platoon  isolated  in  enemy 
territory  tries  to  retreat  during  the  Korean  War. 
101  min.  2/4. 

TOMAHAWK  TRAIL  John  Smith,  Susan  Cummings.  A 
Bel  Air  Production.  Director  Robert  Perry.  Western. 
Cowboy  versus  Indians.  A  small  band  of  cavalry 
soldiers,  greatly  outnumbered,  battles  with  Apache 
Indians  at  close  of  the  Civil  War.  61  min. 
VODOO  ISLAND  Boris  Karloff,  Baverly  Tyler.  A 
Air  Production.  Director  Reginald  Le  Borg.  Horror. 
Writer  is  called  upon  to  investigate  vodooism  on  a 
Pacific  isle.  76  min. 

March 

DELINQUENTS,  THE  Tommy  Laughlin,  Peter  Miller, 
Dick  Bakalyan.  Imperial  Productions.  Robert  Airman 
director.  High  school  student  and  his  girl  victimized 
by  a  teen-age  gang.  75  min.  3/18. 
HIT  AND  RUN  CJeo  Moore,  Hugo  Haas.  Producer,  di- 
rector Hugo  Haas.  Middle-aged  widower  marries  show 
girl.  She  and  her  boy  friend  plot  his  murder.  84 
REVOLT  AT  FORT  LARAMIE  DeLuxe  Color.  John 
Dehner,  Diana  Brewster.  Producer  Howard  Koch.  Di 
rector  Lesley  Selander.  Western.  Civil  War  story  of 
soldiers  who  are  attacked  by  Indians.  73  min. 


April 


BACHELOR  PARTY,  THE  Don  Murray,  E.  G.  Marshall, 
Jack  Warden.  Producer  Harold  Hecht.  Director  Delbert 
Mann.  Drama.  From  the  famous  television  drama  by 
Paddy  Chayefsky.  93  min. 
FURY  AT  SHOWDOWN  John  Derek,  Carolyn  Craig, 
Nick  Adams.  Producer  John  Beck.  Director  Gerd  Os- 
wald. Western.  Ex-bandit  finds  tough  going  when 
tries  to  go  straight.  75  min.  3/18. 
IRON  SHERIFF,  THE  Sterling  Hayden,,  John  Dehner, 
Constance  Ford.  Producer  Jerome  Robinson.  Director 
Sidney  Salkow.  Sheriff  tries  to  clear  his  son  of  a 
murder  charge.  73  min. 
12  ANGRY  MEN  Henry  Fonda,  Lee  J.  Cobb  Jack 
Warden.  An  Orion-Nova  Production.  Director  Sidney 
Lutnet.   Drama.   Jury   cannot  agree  on   a   verdict.  95 

WAR  DRUMS  DeLuxe  Color.  Lex  Barker,  Joan  Taylor, 
Ben  Johnson.  Director  Reginald  LeBorg.  Apache  chief 
and  his  white  wife  wgae  war  on  white  settlers.  75  min. 


4/1. 


May 


BIG  CAPER,  THE  Rory  CaJhound,  Mary  Costa.  Pine- 
Thomas  Production.  Director  Robert  Stevens.  Multi- 
million  dollar  payroll  robbery.  Melodrama. 
GIRL  IN  BLACK  STOCKINGS.  THE  Lex  Barker,  Anne 
Bancroft.  Mamie  Van  Doren.  A  Bel-Air  Production.  Di- 
rector Howard  Koch.  Drama.  A  series  of  sex  slayings 
terrorize  western  resort. 

HIDDEN  FEAR  John  Payne,  Natalie  Norwick.  A  St. 
Aubrey-Kohn  Production.  Director  Andre  de  Toth. 
Drama.  Police  officer  attempts  to  clear  sister  charged 

with  murder.  83  min. 
MONTE  CARLO  STORY,  THE  Technirama,  Color.  Mar- 
lene  Dietrich,  Vittorio  De   Sica.  A  Titanus  Film.  Sam 
Taylor  director.  Drama.  A  handsome  Italian  nobleman 
with  a   love   for  gambling   marries   a   rich  woman 
order  to  pay  his  debts. 


Coming 


BAILOUT  AT  43.000  John  Payne,  Karen  Steele.  A  Pine- 
Thomas  Production.  Director  Francis  Lyon.  U.S.  Air 
Force  pioneers  bailout  mechanism  for  jet  pilots.  83  min. 
BOP  GIRL  GOES  CALYPSO  Judy  Tyler,  Bobby  Troup, 
Margo  Woode.  Producer  Aubrey  Schenk.  Director  How- 
ard Koch.  Musical.  Rock  and  roll-calypso  cavalcade  of 
musical  numbers. 

CARELESS  YEARS,  THE  Natalie  Trundy,  Dean  Stock- 
well.  Producer  Edward  Lewis.  Director  Arthur  Hiller. 
Drama.  Two  lovers  meet  parental  resistance  when  Ihsy 
decide  to  get  married. 

GUNSIGHT  RIDGE  Joel  McCrea,  Mark  Stevens.  Pro- 
ducer Robert  Bassler.  Director  Francis  Lyon.  Western. 
GUN  DUEL  IN  DURANGO  George  Montgomery, 
Western. 

LONELY  GUN,  THE  Anthony  Ouinn,  Katy  Jurado.  Pro- 
ducer Robert  Jacks.  Director  Harry  Horner. 
MONSTER  THAT  CHALLENGED  THE  WQ2LD,  THE  Tim 

Holt,  Audrey  Dalton.  Producers  Jules  Levy,  Arthur 
Gardner.  Director  Arnold  Laven.  Science-fiction.  Group 
of  Navy  scientists  battle  a  pre-historic  sea  monster. 
OUTLAW'S  SON  Dane  Clark,  Ben  Cooper,  Lori  Nel- 
son. Bel  Air  Production.  Director  Lesley  Selander.  Gun- 
slinger   escapes   from   jail   to   save   son   from   life  of 

PHAROAH'S  CURSE  Ziva  Shapir,  Mark  Dana.  Producer 
Howard  Koch.  Director  Lee  Sholem.  Horror.  Reincar- 
nation of  mummies  in  Egyptian  tombs.  66  min.  2/18 


Film  BULLETIN 


YOUR  PRODUCT 


•RIDE  AND  THE  PASSION,  THE  VistaVision,  Techni- 
I  olor    dry  Grant    Frank  Sinatra,   Sophia   Lorcn.  Pre- 

lucer-director  Stanley  Kramer.  Drama.  A  Spanish 
I  (uarrilla  band  marches  an  incredible  distance  with  a 

.000  pound  cannon  during  Spanish  War  of  Independ- 

mce  of  1810. 

iAVAGE  PRINCESS  Technicolor.  Dilip  Kumar,  Nimmi. 
k.  Mehboob  Production.  Musical  Drama.  A  princess 
!  alls  in  love  with  a  peasant  who  contests  her  right 
o  rule  the  kingdom.  101  min. 

IT.  JOAN  Richard  Widmark  Jean  Seburg.  Producer 
I  jtto  Preminger.  Drama.  Filmization  of  George  Bernard 
[ihaw's  famous  classic. 

STREET  OF  SINNERS  George  Montgomery,  Geraldine 
j  Brooks  Producer  William  Berke.  Rookie  policeman 
:lashes  with  youthful  criminals. 

SPRING  REUNION  Betty  Hutton,  Dana  Andrews,  Jean 
Hagen.  Director  Robert  Pirosh.  Producer  Jerry  Bresler. 
1  Comedy.  Od  schoolmates  tall  in  love  at  a  high  school 
reunion.  79  min.  3/18. 

I-ROOPER  HOOK  Joel  McCrea,  Barbara  Stanwyck,  Ed- 
ward Andrews.  Producer  Sol  Fielding.  Director  Marouis 
Warren.  A  white  woman,  forced  to  live  as  an  Indian 
Chief's  squaw,  is  finally  rescued  and  tries  to  resume 
life  with  husband. 


U  N  I VE  RSAL-1  NT'  L  V 


December 

CURCU.  BEAST  OF  THE  AMAZON  Eastman  Color.  John 
Bromfield,  Beverly  Garland.  Producers  Richard  Kay, 
Harry  Rybnick.  Director  Curt  Siodnak.  Horror.  Young 
woman  physician,  plantation  owner  and  his  workers 
are  terrorized  by  mysterious  jungle  beast. 
EVERYTHING  BUT  THE  TRUTH  Technicolor.  Tim  Hovey, 
Maureen  O'Hara,  John  Forsythe.  Producer  Howard 
Christie.  Director  Jerry  Hopper.  Comedy.  Young  stu- 
dent gets  mixed  up  with  "lies".  83  min.  11/12. 

MAN  IN  THE  VAULT  Anita  Ekberg,  Bill  Campbell, 
Karen  Sharpe.  A  Wayne-Fellows  Production.  Director 
Andrew  McLaglen.  Melodrama.  A  young  locksmith  gets 
involved  with  a  group  engaged  in  illegal  activities. 
•73  min.  1/7. 

MOLE  PEOPLE.  THE  John  Agar,  Cythia  Patrick.  Pro- 
ducer William  Alland.  Director  Virgil  Vogel.  Horror. 
Scientific  expedition  in  Asia  discover  strange  men. 

January 

BRAVE  ONE,  THE  CieemaScope,  Technicolor.  Michel 
Ray,  Fermin  Rivera,  Joy  Lansing  Rudolph  Hoyos.  Pro- 
ducer Frank  &  Maurice  King.  Director  Irving  Rapper. 
Drama.  The  adventures  of  a  young  Mexican  boy  who 
]rows  vp  with  a  bull  as  his  main  companion  and  friend 
and  how  each  protests  the  other.  100  min.  10/15. 

BUNDLE  OF  JOY  CinemaScope.  Eastman  Color.  Debbie 
Reynolds,  Eddie  Fisher,  Adolph  Menjou.  Producer  Ed- 
mund Grainger.  Director  Norman  Tauror>  Comedy. 
Son  of  department  store  magnet  falls  f"  salesgirl. 
98  min.  12/24. 

FOUR  GIRLS  IN  TOWN  CinemaScope,  Technicolor. 
George  Nader,  Julie  Adams,  Marianne  Cook.  Producer 
A.  Rosenberg.  Director  Jack  Sher.  Drama.  Movie  studio 
promotes  world-wide  talent  hunt  to  find  a  new  star. 
85  min.  12/10 

ROCK,  PRETTY  BABY  Sal  Mineo,  John  Saxon,  Luana 
Patten.  Producer  Edmund  Chevie.  Director  Richard 
Bartlett.  Musical.  Rock  n'  roll  story  of  college  combo. 
89  min.  11/26. 

WRITTEN  ON  THE  WIND  Technicolor.  Rock  Hudson, 
Lauren  Bacall,  Robert  Stack.  Producer  Albert  Zug- 
smith.  Director  Douglas  Sirk.  Drama.  Oil  tveoon  meets 
violent  death  because  of  jealousy  for  wife.  99  min.  10/1 

Febru&ry 

GREAT  MAN,  THE  Jose  Ferrer,  Mona  Freeman,  Dean 
Jagger.  Producer  Aaron  Rosenberg.  Director  Jose  Fer- 
rer. Drama.  The  life  and  death  of  a  famous  television 
idol.  92  min.  1 1/2*. 

ISTANBUL  CinemaScope,  Technicolor.  Errol  Flynn,  Cor- 
nell Borchers.  Producer  Albert  Cohen.  Director  Joseph 
Pevney.  Adventure.  Diamond  smugglers  in  mysterious 
Turkey.  84  min.  1/21. 

NIGHT  RUNNER.  THE  Ray  Danton,  Colleen  Miller.  Pro- 
ducer Albert  Cohen.  Director  Abner  Biberman.  Drama. 
Mental  hospital  inmate  is  released  while  still  in  dan- 
gerous condition.  79  min. 

March 

BATTLE  HYMN  Technicplor,  CinemaScope.  Rock  Hud- 
son, Martha  Hyer,  Dan  Duryea.  Producer  Ross  Hunter. 
Director  Douglas  Sirk.  Drama.  Pilot  redeems  sense  of 
guilt  because  of  bombing  of  an  orphanage  by  saving 
other  orphans.  108  min.  12/24. 

GUN  FOR  A  COWARD  astman  Color,  CinemaScope. 
Fred  MacMurray,  Jeffrey  Hunter,  Janice  Rule.  Pro- 
ducer William  Alland.  Director  Abner  Biberman.  Wes- 
tern. Three  brothers  run  a  cattle  ranch  after  death  of 
their  father.  88  min.  1/7. 

MISTER  CORY  Eastman  Color,  CinemaScope.  Tony 
Curtis,  Martha  Hyer,  Charles  Bickford.  Producer 
Robert  Arthur.  Director  Blake  Edwards.  Drama.  Gam- 
bler from  Chicago  sjums  climbs  to  wealth  and  re- 
spectability. 92  min.  1/21. 

April 

INCREDIBLE  SHRINKING  MAN.  THE  Grant  Williams, 
Randy  Stuart.  Producer  Albert  Zugsmith.  Director  Jack 
Arnold.  Science-fiction.  The  story  of  a  man  whose 
growth  processes  have  accidently  been  reversed. 
81  min.  2/4. 


KELLY  AND  ME  CinemaScope,  Technicolor.  Van  John- 
son, Piper  Laurie,  Martha  Hyer.  Producer  Robert  Ar- 
thur. Director  Robert  Leonard.  Drama.  Story  of  dog- 
act  in  show  business  in  the  early  1930s.  2/4. 

TATTERED  DRESS.  THE  CinemaScope.  Jeff  Chandler, 
Jeannie  Crain.  Jack  Carson.  Producer  Albert  Zugsmith. 
Director  Jack  Arnold.  Melodrama.  Famous  criminal 
lawyer  gains  humility  when  put  on  trial  himself.  93 
min.  3/4 

May 

DEADLY  MANTIS.  THE  Craig  Stevens.  Alix  Talton.  Pro- 
ducer William  Alland.  Director  Jerry  Juran.  Horror. 
Monstrouc  creature  threatens  to  deslroy  U.S.  78  min. 
4/1. 

GIRL  IN  THE  KREMLIN.  THE  Lex  Barker,  Zsa  Zsa 
Gabor,  Jeffrey  Stone.  Producer  Albert  Zugsmith,  Di- 
rector Russell  Birdwell.  Drama. 

MAN  AFRAID  CinemaScope.  George  Nader,  Phyllis 
Thaxter,  Tim  Hovey.  Producer  Gordon  Kay.  Director 
Harry  Keller.  Drama.  Father  saves  life  of  man  attempt- 
ing to  murder  his  son. 

pUANTEZ  CinemaScope,  Eastman  Color.  Fred  Mac- 
Murray,  Dorothy  Malone.  Producer  Gordon  Kay.  Direc- 
tor Harry  Keller.  Drama.  A  study  of  five  people  in- 
volved in  a  robbery  and  killing. 

Coming 

DAY  THEY  GAVE  BABIES  AWAY.  THE  Eastman  Color. 
Glynis  Johns,  Cameron  Mitchell,  Rex  Thompson.  Pro- 
ducer Sam  Weisenthal.  Director  Allen  Reisner.  Drama. 

ESCAPADE  IN  JAPAN  Color.  Uresa  Wright,  Cameron 
Mitchell,  Jon  Provost,  Roger  Nakagaws.  Producer-direc- 
tor Arthur  Lubin.  Search  for  two  boys  who  start  out 
in  the  wrong  direction  to  find  the  very  people  who 
are  trying  to  find  them. 

GIRL  MOST  LIKELY.  THE  Eastman  Color.  Jane  Powell, 
Cliff  Robertson,  Keith  Andes.  Producer  Stanley  Rublin. 
Director  Mitchell  Leison.  Comedy.  A  girl  is  proposed 
to  by  three  men  on  the  same  day. 

I  MARRIED  A  WOMAN  George  Gobel,  Diana  Dors, 
Adolph  Menjou.  Producer  William  Bloom.  Director  Hal 
Kanter.  Coemdy.  Wife  objects  to  taking  second  place 
to   a    beer   advertising    campaign    with    her  husband. 

INTERLUDE  Technicolor,  CinemaScope.  June  Allyson, 
Rossano  Brazzi.  Producer  Ross  Hunter.  Director  Douglas 
Sirk.  American  doctor  falls  in  love  with  wife  of  fa- 
mous composer  in  Munich. 

JET  PILOT  Technicolor,  SuperScope.  John  Wayne, 
Janet  Leigh.  Howard  Hughes  Production.  Producer 
Jules  Furthman  Director  Josef  von  Sternoerg.  Drama. 
1 19  min. 

JOE  BUTTERFLY  CinemaScope,  Technicolor.  Audie 
Murphy,  George  Nader,  Keenan  Wynn.  Producer 
Aaron  Rosenberg.  Director  Jessie  Hibbs.  Story  of 
American  newsmen  in  Tokyo  after  Japanese  surrender. 

JOE  DAKOTA  Color.  Jock  Mahoney,  Luana  Patten.  Pro- 
ducer Howard  Christie.  Director  Richard  Bartlett. 
Drama.  Stranger  makes  California  oil  town  see  the 
error  of  its  ways. 

KETTLES  ON  OLD  MocDONALDS  FARM,  THE  Marjorie 
Main  Parker  Fennelly,  Gloria  Talbott.  Producer  Ho- 
ward Christie.  Director  Virgil  Vogel.  Comedy.  The 
Kettles  buy  a  new  farm. 

LAND  UNKNOWN,  THE  Jock  Mahoney,  Shawn  Smith. 
Producer  William  Alland.  Director  Virgil  Vogel. 
Science-fiction.  Polar  expedition  finds  Mesozoic  age 
in  Antartic  expedition. 

MAN  OF  A  THOUSAND  FACES  CinemaScope.  James 
Cagney,  Dorothy  Malone.  Producer  Robert  Arthur.  Di- 
rector Joseph  Pevney.  Drama.  Life  story  of  Lon  Chaney. 

MIDNIGHT  STORY,  THE  CinemaScope.  Tony  Curtis, 
Marisa  Pavan.  Producer  Robert  Arthur.  Director  Josech 
Pevney.  Drama.  Rookie  cop  seeks  murderer  of  parish 
priest. 

NIGHT  PASSAGE  Technirama.  James  Stewart,  Audie 
Murphy,  Dan  Duryea.  Producer  A.  Rosenberg.  Director 
James  Neilson.  Drama.  Payroll  robbers  are  foiled  by 
youngster  and  tough-fisted  railroader. 

PAY  THE  DEVIL  CinemaScope.  Jeff  Chandler,  Orson 
Welles.  Producer  Albert  Zugsmith.  Director  Jack  Ar- 
nold. Drama.  Sheriff  destroys  one-man  domination  of 
Texas  town. 

PUBLIC  PIGEON  NO.  1  Eastman  Color.  Red  Skelton, 
Vivian  Blaine,  Janet  Blair.  Prdducer  Harry  Tugend.  Di- 
rector Norman  McLeod.  Comedy.  A  trusting  soul 
tangles  with  slick  con  men  and  outwits  them.  79  min. 

RUN  OF  THE  ARROW  Eastman  Color.  Rod  Steiger, 
Sarita  Montiel,  Ralph  Meeker.  Producer-director  Sam 
Fuller.  Adventure.  Young  sharpshooter  joins  Sioux 
Indians  at  close  of  Civil  War. 

TAMMY  AND  THE  BACHELOR  Cinemascooe,  Techni- 
color. Debbie  Reynolds,  Leslie  Nielson.  Producer  Aaron 
Rosenberg.  Director  oJe  Pevney.  Story  of  a  young  girl, 
her  grandfather  and  a  young  man  who  falls  in  love 
with  her.  89  min. 

THAT  NIGHT  John  Beal,  Augusta  Dabney,  Shepperd 
Strudwick.  Producer  Hiram  Brown.  Director  John 
Newland.  Drama.  A  tragedy  almost  shatters  a  15- 
year-old  marriage. 

UNHOLY  WIFE,  T<HE  Oolor.  Diana  Dors,  Rod  Steiger, 
Marie  Windsor.  Producer-director  John  Farrow.  Drama. 
A  wife  sunningly  plots  the  death  of  her  husband  who 
she  has  betrayed. 

VIOLATORS.  THE  Arthur  O'Connell,  Nancy  Malone. 
Producer  H.  Brown.  Director  John  Newland.  Drama. 
Story  of  a  probation  officer  in  the  New  York  City 
courts. 


WARNER  BROTHERS 


November 

GIANT  WarnerColor.  Elizabeth  Taylor,  Rock  Hudson, 
James  Dean.  Producer-director  George  Stevens.  Drama. 
Based  on  the  famous  novel  by  Edna  Ferber.  The  story 
of  oil,  cattle  and  love  in  the  Southwest  during  WWII. 
201  min.  10/15. 

GIRL  HE  LEFT  BEHIND,  THE  Tab  Hunter,  Natalie 
Wood.  Producer  Frank  Rosenberg.  Director  David 
Butler.  Drama.  Army  turns  immature  boy  into  man. 
103  min.  10/29. 

December 

BABY  DOLL  Karl  Maiden.  Carroll  Baker.  Eli  Wallach. 
A  Newton  Production.  Producer-director  Elia  Kazan. 
Drama.  Story  of  *  gir.-mill  proprietor  and  a  beautiful 
girl.  I  14  min.  12/24. 

January 

WRONG  MAN.  THE  Henry  Fonda,  Vera  Miles,  Anthony 
Quayles.  Producer-director  Alfred  Hitchcock.  Drama. 
Bass  fiddle  player  at  Stork  Club  is  prime  suspect  In 
murder  case.  105  min.  1/7. 

February 

BIG  LAND,  THE  WarnerColor.  Alan  Ladd,  Virginia 
Mayo.  A  Jaguar  Production.  Director  Gordon  Douglas. 
Western.  Cattlemen  fight  to  move  their  herds  to 
distant  railroads.  93  min.  2/4. 

TOP  SECRET  AFFAIR  Kirk  Douglas,  Susan  Hayward. 
Producer  Martin  Rackin.  Director  H.  C.  Potter.  Come- 
dy. A  lovely  lady  calls  the  bluff  of  an  Army  General. 
93  min.  2/4. 

March 

PARIS  DOES  STRANGE  THINGS  Technicolor  Ingrid 
Bergman,  Mel  Ferrer.  Jean  Marais.  A  Franco-London 
Film.  Director  Jean  Renoir.  Drama  Tale  of  the  exiled 
widow  of  a  Polish  Prince.  86  min.  3/4. 

April 

COUNTERFEIT  PLAN.  THE  Zachary  Scott,  Peggie 
Castle.  Producer  Alec  Snowden.  Director  Montgomery 
Tully.  Drama.  Inside  story  of  one  of  the  largest  for- 
gery operations  ever  attempted.  80  min.  4/1. 
SPIRIT  OF  ST.  LOUIS,  THE  CinemaScope,  Warnar- 
Color.  James  Stewart,  Rena  Clark.  Producer  Leland 
Hayward.  Director  Billy  Wilder.  Drama.  The  story  of 
the  first  man  ever  to  cross  the  Atlantic  in  a  plana. 
138  min.  3/4. 

May 

SHOOT  OUT  AT  MEDICINE  BEND  Randolph  Scott, 
James  Craig,  Dani  Crayne.  Western.  87  min. 

Coming 

A  FACE  IN  THE  CROWD  Andy  Griffith.  Patricia  Neal. 
Producer-director  Ella  Kazan.  Drama. 

BOMBERS  B-52  CinemaScope,  WarnerCo'or.  Karl  Mai- 
den, Natalie  Wood.  Producer  Richard  Whorf.  Director 
Gordon  Douglas. 

D.  I.,  THE  Jack  Webb  Don  Dubbins,  Jackie  Loughery. 
Producer-director  Jack  Webb.  Drama.  Life  of  a  Ma- 
rine Corps  drill  instructor. 

LAFAYETTE  ESCADRILLE  CinemaScope,  WarnerColor. 
Tab  Hunter,  Etchlka  Choureau,  J.  Carrol  Naish.  Drama. 
PAJAMA  GAME,  THE  Warner  Color.  Doris  Day,  John 
Raitt,  Carol  Haney.  Producers  G.  Abbot,  F.  Brisson, 
R.  Griffith,  H.  Prince.  Director  Stanley  Donen.  Filmiza- 
tion of  the  Broadway  musical. 

PRINCE  AND  THE  SHOWGIRL.  THE  Color.  Marilyn 
Monroe,  Laurence  Olivier,  Dame  Sybil  Thorndyke. 
Producer-director  Laurence  Olivier.  Comedy. 
SAYONARA  Technirama,  WarnerColor.  Mar'on  Brando, 
Red  Buttons,  Patricia  Owens.  Producer  Wil'iam  Goetz. 
Director  Josh  Logan.  Drama.  Based  on  the  award- 
winning  novel  of  James  Michener. 

UNTAMED  YOUTH  Mamie  Van  Doren,  Lou  Nelson,  John 
Russell.  Producer  Aubrey  Schenk.  Director  Howard 
Koch.  Life  ^n  a  prison  farm  for  juvenile  delinquents 
80  min.  4/1. 


To  Better  Serve  You  .  .  . 

Office  &  Terminal  Combined  At 
305  N.  12th  St.  New  Phones 

Philadelphia  7,  Pa.  LOmbard  3-3944,  3945 

NEW  JERSEY 
MESSENGER  SERVICE 

Member  National  Film  Carriers 


DEPENDABLE  SERVICE! 

HIGHWAY 
EXPRESS  LINES,  INC. 

Member  }\ational  Film  Carriers 

Philadelphia,  Pa.:  LOcust  4-3459 
Washingisn,  D.  C:  DUpont  7-7200 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


C<?t'id 

el ; 


IT  WILL  TAKE  YOU  ONE 
CIGARETTE  TO  READ  THIS! 


"This  Could  Be  The  Night"  presents  that 
most  innocent  of  heroines,  a  schoolteacher, 
in  a  setting  where  neither  we  nor  the  Board 
of  Education  ever  expected  to  find  her — 
backstage  at  a  hot-spot  night  club  run  by 
an  ex-bootlegger  with  indigestion  and  his 
young  partner  who  thinks  nice  girls  should 
be  home  before  dark. 

Jean  Simmons  is  the  pretty  teacher  who 
is  kept  after  school,  serving  as  the  secretary  - 
of-all-work  at  The  Tonic,  a  little  club  which 
has  a  large  band,  small  floor  and  more 
smoke  than  a  three-alarm  fire.  Paul  Douglas, 
as  the  older  owner,  is  convinced  that  Jean 
is  the  greatest  thing  since  they  invented 
the  cover  charge.  The  other  partner,  played 
by  virile  newcomer  Anthony  Franciosa,  is  a 
romantic  guy  who  doesn't  know  about  good 
girls  and  doesn't  want  to  learn. 

M-G-M  put  this  trio  together,  in  a 
breezy  story  with  mood  and  music  to  match. 
Fun,  frolic  and  a  flock  of  surprises  follow  as 
surely  as  a  happy  hangover  follows  a  night 
on  the  town.  Before  "This  Could  Be  The 
Night"  is  over,  you've  had  a  really  wonder- 
ful date  with  a  Runyonesque  assortment 
of  people — the  strippers  and  singers  and 


dancers  and  mobsters  whose  day  begins 
when  the  sun  goes  down. 

This  picture  is  rich  in  personalities. 
There  is  seductive  Julie  Wilson,  (the  torch- 
swinging  tops  of  "Pajama  Game")  and  the 
newcomely  Neile  Adams  (in  a  sensational 
strip-tease  number  called  "Hustlin'  News 
Boy")  plus  such  talents  as  Joan  Blondell, 
J.  Carrol  Naish,  Rafael  Campos,  ZaSu  Pitts 
and  Ray  Anthony  and  his  orchestra. 

Joe  Pasternak  produced  with  a  know- 
ing eye  on  life.  Robert  Wise  directed  wisely 
and  well.  Isobel  Lennart,  who  wrote  the 
amusing  screen  play,  based  it  on  stories  by 
Cordelia  Baird  Gross. 

"This  Could  Be  The  Night"  is  a  good 
tune  to  whistle  and  a  good  CinemaScope 
movie  to  go  see.  We  figure  it  is  for  anyone 
who  has  ever  known  a  pretty  schoolteacher, 
ever  visited  a  smoky  night  spot,  or  ever 
enjoyed  a  really  relaxed  night  at  the  movies- 
This  could  be  the  night  for  it.  You'll  have 
an  awfully  good  time. 

THINGS-TO-LOOK-FOR  DEPT.: 
The  visit  of  the  tough  night  club  operator 
to  the  schoolteacher's  classroom.  (He  finds 
himself  in  the  middle  of  a  junior  "Black- 
board Jungle"  and  quells  a  pint-sized  riot). 


NOTE:  The  above  text  appears  in  M-G-M's  "Picture -of -the- Month"  column  in  leading  national  magazines. 


BULLETIN 


APRIL  29,  1957 


Business-wise 

Analysis  of 
the  New  Films 

Reviews: 

BOY  ON  A  DOLPHIN 

JOE  BUTTERFLY 
WftL  IN  THE  KREMLIN 
THE  TALL  T 
KRONOS 
SHE  DEVIL 


20th  Centui-if-Oex  Ckie$ 
Acclaimed  header  erf  Theatre 

EXHIBITION 
LEADERS 

HAIL 
SKOURAS 
GUIDANCE 


THE  SPIRIT 
OF  ST.  LOUIS 

James  Stewart  as  Lucky 
Lindy,  a  Leland  Hayward; 
Billy  Wilder  production 
based  on  the  Pulitzer 
Prize-winning  book 
by  Charles  A. 
Lindbergh. 


THE  PAJAMA  GAME 

Starring  Doris  Day,  John 
Raitt,  Carol  Haney  in  the 
Sensational  Broadway 
musical  success  produced 
and  directed  by 
George  Abbott  and 
Stanley  Donen. 


THE  PRINCE  AND 
THE  SHOWGIRL 


THE  WHIP 

An  exciting  and  dramatic 
story.  From  a  novel  by 
the  well-known  author, 
Luke  Short.  To  be 
produced  by  Henry 
Blanke,  directed 
by  Raoul  Walsh. 


THE 

An  absorbing  book  by 
Don  Whitehead  which  has 
received  brilliant  reviews 
and  is  at  the  top  of  the 
national  best-seller 
list.  To  be 
produced  and 
directed  by 
Mervyn  LeRoy. 


THE  D.I.*  (*Drill  Instruct, 

Starring  Jack  Webb,  who  also 
directs.  This  daring  and 
dynamic  adaptation  of  the 
novel  has  wide  appeal, 
presents  a  surprising 
Jack  Webb. 


*1 


I 


a  FACE  IN 
"IE  CROWD 

I  Dther  dynamic  Elia 
l?an  production  from 
l:y  and  screen  play  by 
I  dd  Schulberg,  starring 
ldy  Griffith,  Patricia 
|al.  Directed  by 
a  Kazan. 


ARJORIE 
ORNINGSTAR 

>t-selling  novel  by 
rman  Wouk,  author  of 
le  Caine  Mutiny."  To 
directed  by  Daniel 
inn,  produced  by 
Iton  Sperling. 


SAYONARA 

Marlon  Brando  stars  in  the 

Eroduction  of  the 
est-selling  novel  by  James 
A.  Michener,  author  of 
"South  Pacific;"  directed 
by  Joshua  Logan, 
produced  by  William 
Goetz.  Screen  play 
by  Paul  Osborn. 


AUNTIE  MAME 

The  laugh  hit  of  the  nation. 
Two  years  a  best-seller  as  a 
novel,  by  Patrick  Dennis, 
and  the  current  number- one 
comedy  success  of  the 
Broadway  theatre. To  star 
Rosalind  Russell. 
To  be  directed  by 
Morton  DaCosta. 


■IE  HELEN 
ORGAN  STORY 

m  Blyth  and  Paul 
iwman  star  in  this 
oduction  based  on  the 
3ulous  career  of  the 
sat  blues  singer, 
rected  by  Michael 
irtiz,  produced 
'  Martin  Rackin. 


DAMN 
YANKEES 

Another  tremendously 
successful  musical 
Broadway  hit.  To  be 
produced  by  George 
Abbott  in  association 
with  Frederick  Brisson 
Robert  E.  Griffith, 
Harold  S.  Prince. 


THE  OLD  MAN 
AND  THE  SEA 

Starring  Spencer  Tracy  in  the 
film  version  of  most  famous  work 
of  Pulitzer  and  Nobel  Prize- 
winning  author  Ernest 
Hemingway.  Produced 
by  Leland  Hayward. 
Directed  by 
John  Sturges. 


AND 

F  ANGELS 

arring  Clark  Gable  and 
'onne  De  Carlo  in  the 
n  presentation  of  the 
terary  Guild  selection, 
st-selling  novel  by 
)bert  Penn  Warren 
irected  by 
ioul  Walsh. 


NO  TIME 

FOR  SERGEANTS 

Produced  and  directed  by 
Mervyn  LeRoy.  The  famous 
Broadway  comedy  hit  and 
best-selling  book  by  Mac 
Hyman,  starring  Andy 
Griffith  and  others  of  the 
N.  Y.  cast.  Screen  play 
by  John  Lee  Mahin. 


ONIONHEAD 


From  the  exciting  new 
novel  by  Weldon  Hill, 
regarded  as  a  certain 
best-seller.  Does  for  the 
Coast  Guard  what 
"Mister  Roberts" 
did  for 
the  Navy. 


THE  NUN'S  STORY 


From  the  season's  current 
best-seller  by  Kathryn 
Hulme.  Audrey  Hepburn 
to  star.  Fred  Zinnemann 
to  direct. 


DARBY'S 
RANGERS 

William  A.  Wellman's  pro- 
duction based  on  the  real-life 
exploits  of  Col.  William  O.  Darbv, 
World  War  II  hero.  To 
be  produced  by  Martin 
Rackin,  directed  by 
Wellman.  To  star 
Charlton  Heston. 


HE  DEEP  SIX 

irring  vehicle  for  Alan 
dd.  From  the  novel  by 
irtin  Dibner,  to  be 
Dduced  by  Martin 
ckin,  directed 
Rudolph  Mate. 


TOO  MUCH 
TOO  SOON 

One  of  the  most  eagerly 
anticipated  books  of  the 
year.  To  be  produced  by 
Henry  Blanke, 
directed  by 
Irving  Rappen 


THE 

PHILADELPHIAN 

Newest  of  the  important 
Warner  acquisitions  is 
this  dramatic  novel  by 
Richard  Powell 
which  is  climbing 
on  top  of  the 
best-seller  lists. 


^ANOTHER  M-G-M^ 

SHOWMANSHIP  FIRST! 


DISC 
JOCKEY 


MOVIE 
PARTIES 


ALL  OVER  AMERICA  TO  LAUNCH 
M-G-M's  SOCK  COMEDY  DRAMA! 


"REACH  FOR  ME!" 
THE  YOUTH 
AUDIENCE! 


THIS  COULD 
BE  THE 
NIGHT 


BIG  PLANS  FOR  BIG  SHOW! 


★  TOP  DISC  JOCKEYS  IN  35  CITIES 
SPONSOR  PREVIEWS! 

We're  going  to  reach  America's  mass 
audience  [Exchange  cities  and  others)  by 
creating  word-of-mouth  and  want-to-see 
through  the  penetration  of  the  disc 
jockeys  with  big  youth  following. 


HERE'S  WHY 
WE'RE  DOING  IT! 

The  Preview  in  New  York 
was  sensational,  a  riot  of 
laughs,  drama,  romance. 
Now  we're  extending  its 
fame  nationwide  in  a  new 
and  novel  way! 


*  PUBLIC  INVITATIONS 
OFFERED  ON  THE  AIR! 

Hundreds  in  each  city  will  have  an 
opportunity  to  get  invitations  to  these 
special  showings  of  this  wonderful 
entertainment. 
if  Exhibitors!  Ask  Your  M-G-M  Branch  For  Details! 

M-G-M  presents 

JEAN       PAUL  ANTHONY 
SIMMONS  '  DOUGLAS  '  FRANCIOSA 

THIS  COULD  BE  THE  NIGHT 

With 

JULIE  WILSON  •  NEILE  ADAMS  •  JOAN  BLONDELL 
J.  CARROL  NAISH  .  RAFAEL  CAMPOS  .  ZASU  PITTS 

And  RAY    ANTHONY  and  Hi,  Orche„ra 
Screen  Play  by  ISOBEL   LENNART  •  From  Short  Stones  by  CORDELIA  BAIRD  GROSS 

In  CinemaScope 

Directed  by  ROBERT  WISE   •  Produced  by  JOE  PASTERNAK 


viewpoints 

APRIL  29,   1957        *  VOLUME  25,  NO.  9 


Develop 
New  Slavs 

A  man  who  should  know  —  that 
keen,  veteran  showman  from  Texas, 
Bob  O'Donnell  —  issued  a  clear 
warning  that  the  star  system,  which 
brought  so  much  popularity  and 
profit  to  our  business,  is  "in  danger 
of  withering  up  and  dying".  Bob 
O'Donnell  has  always  been  one  of 
the  industry's  perennial  optimists. 
When  he  makes  a  statement  like 
this,  it  bears  serious  consideration. 

Everybody  knows  that  quite  a  few 
of  the  established  film  stars  are 
growing  old.  The  younger  segment 
of  the  population,  which  today  forms 
the  largest  potential  movie  audience, 
finds  it  difficult  to  accept  in  romantic 
roles  many  of  the  personalities  who 
made  their  parents'  hearts  skip  a 
beat.  What  are  we  to  do?  Mr. 
O'Donnell  issued  a  clarion  call  for 
development  of  new  personalities.  It 
can  be  done. 

Every  branch  of  our  industry 
plays  a  part  in  developing  and  build- 
ing new  stars.  Certainly,  exploita- 
tion of  the  new  personalities  is  a 
vital  phase.  But  when  you  get  right 
down  to  it,  the  principal  task  rests 
with  the  studios. 

The  way  to  develop  more  new 
stars  is  to  give  more  opportunities 
tc  newcomers.  Studios  that  concen- 
trate on  a  limited  number  of  top- 
drawer  pictures  are  naturally  reluc- 
tant to  gamble  on  new  faces;  they 
want  to  play  it  safe.  As  a  matter  of 
fact,  the  same  thing  was  true  twenty 
years  ago,  when  so  many  of  today's 
stars  were  getting  their  big  chance. 
In  those  days,  though,  every  studio 
was  making  twice  as  many  pictures. 
And  there  you  have  the  answer. 

If  the  studios  will  produce  more 
pictures,  they  will  have  more  roles 
for  new  people.  If  they  get  back  to 
established  showmanship  principles 
with  their  lesser  budget  entries — the 
kind  where  you  can  afford  to  cast 
new  faces  in  prominent  roles — they 


will  combine  this  production  with 
increased  exploitation,  promotion. 

We  have  gotten  ourselves  into  an 
era  where  an  established  star  makes 
pictures  for  four  or  five  different 
studios  sometimes.  As  a  result,  none 
of  the  studios  is  particularly  inter- 
ested in  selling  him;  each  company 
tries  to  sell  the  picture.  But  a  new 
star  developed  under  the  aegis  of  a 
company  is  like  money  in  the  bank 
($200,000,000,  says  Bob  O'Donnell). 

The  indefinable  ingredients  of  mo- 
tion picture  stardom  make  every 
new  personality  a  gamble.  Some  will 
click;  some  will  not.  The  point  is 
that  the  only  way  to  find  out  is  to 
give  them  a  chance. 

At  $200,000,000  per  potential  star, 
the  stakes  for  increased  production 
are  certainly  high.  The  other  side  of 
the  coin  is  that  if  we  don't  develop 
new  stars  now,  we  may  not  be  able 
to  later. 

Welcome*  RFDA 

The  official  launching  of  Rank 
Film  Distributors  of  America  has 
now  taken  place  with  the  opening  of 
"Reach  for  the  Sky"  at  the  Sutton 
Theatre  in  New  York.  The  entire 
American  film  community  welcomes 
the  Rank  distribution  company  and 
wishes  it  well. 

And  now  that  this  major  British 
production  and  distribution  com- 
pany has  embarked  upon  a  long 
range  effort  to  gain  wide  showings 
of  its  films  in  the  United  States,  it 
will,  we  hope,  face  up  to  the  two 


BULLETIN 


Film    BULLETIN:    Motion    Picture    Trade  Paper 
published  every  other  Monday  by  Wax  Publi- 
cations,  Inc.    Mo  Wax,   Editor  and  Publisher. 
PUBLICATION-EDITORIAL  OFFICES:   123?  Vine 
Street,  Philadelphia  7,  Pa..  LOcust  8-0950,  0951. 
Philip    R.    Ward,    Associate    Editor;  Leonard 
Coulter,  New  York  Associate  Editor;  Duncan  G. 
Steck,     Business     Manager;     Marvin  Schiller, 
Publication  Manager;  Robert  Heath,  Circulation 
Manager.    BUSINESS  OFFICE:  522  Fifth  Avenue, 
New    York    36,    N.    Y.,    MUrray    Hill  2-3631; 
Alt  Dinhofer,  Editorial  Representative. 
Subscription   Rates:  ONE  YEAR.   S3  00 
in  the  U.  S.J  Canada,  S4.00;  Europe, 
$5.00.     TWO    YEARS:    S5.00    in  the 
U.  S.;  Canada,  $7.50;   Europe,  $9.00. 


principal  problems  it  must  meet  if 
Rank  production  is  to  realize  its  po- 
tential in  this  market.  One  is  the 
need  for  adopting  American  promo- 
tional and  selling  techniques. 

A  right  step  in  this  direction  has 
already  been  taken  by  appointment 
of  a  first-rate  merchandising  staff 
that  does  not  lack  for  awareness  of 
American  promotional  susceptibili- 
ties. The  Rank  films,  rest  assured, 
will  be  properly  exploited  now. 

The  second  contribution  that 
Rank  Film  Distributors  of  America 
must  make,  if  the  U.  S.  market  is  to 
be  fully  developed,  is  in  providing 
guidance  for  the  studios  in  England, 
It  is  essential  that  the  expert  views 
of  these  new  American  forces  on 
what  the  American  public  looks  for 
and  will  buy  in  movie  entertainment 
be  heeded  by  the  Rank  Home  office, 
so  that  the  studios  will  make  pic- 
tures that  can  be  sold  over  here. 

If  Rank  Film  Distributors  of 
America  takes  full  advantage  of  its 
opportunities,  and  comes  up  with 
properly  promoted,  saleable  films  at 
a  time  when  the  exhibitor  needs  as 
many  films  as  possible,  a  great  serv- 
ice will  have  been  done  for  the  in- 
dustry, both  here  and  in  England. 

And  if  all  goes  well,  American  and 
British  movie  people  may  some  day 
wake  up  to  a  glorious  world  in 
which,  at  last,  we  actually  do  talk 
the  same  language. 

Mieseavvh 
tuul  Movies 

The  Society  of  Motion  Picture 
and  Television  Engineers,  in  semi- 
annual convention  at  the  Shoreham 
Hotel  in  Washington,  D.C.,  April 
29th  to  May  3rd,  dealt  as  usual  with 
many  different  technical  topics 
Among  them  were  several  of  inter- 
est to  the  motion  picture  theatre. 

By  way  of  introduction,  a  theatri- 
cal short  subject  was  scheduled  to 

(Continued  on  Page  6) 


Film  BULLETIN    April  29,  1957        Page  5 


Viewpoints 

/Continued  from  Page  5) 
lead  off  the  program  at  every  ses- 
sion. The  popular  cartoons  domi- 
nated the  SMPTE  short  subject 
lists.  It  is  nice  to  know  that  the  en- 
gineers still  like  to  watch  theatre 
short  subjects ;  maybe  what  our  the- 
atres need  is  a  greater  supply  of 
SMPTE  members  in  the  paying  au- 
dience. 

It  is  notable  that  theatre  engi- 
neering no  longer  plays  as  large  a 
role  as  it  used  to  in  the  engineers' 
deliberations.  Television  is  now  the 
big  brother,  and  the  vast  16mm 
audio-visual  field  is  also  receiving 
more  attention  from  the  technical 
scholars. 

The  summary  of  Charles  P.  Gins- 
burg's  paper  on  "Prospective  Ad- 
vances in  the  Art  of  Videotape  Re- 
cording" reports  that  "The  possibil- 
ity exists  also  for  use  of  the  VTR  in 
other  than  TV  applications."  No  in- 
dication is  given  as  to  these  other 
uses,  but  there  is  always  the  possi- 
bility that  theatrical  use  may  turn 
out  ultimately  to  be  one  of  them. 

A  report  on  a  television  system 
known  as  "Scanoscope"  describes  a 
method  of  providing  CinemaScope- 
proportioned  pictures  on  the  home 
television  screen.  Could  this  be  a 
portent  of  things  yet  to  come? 

Beyond  these  and  a  handful  of 
other  papers  directly  related  to  the- 
atre motion  pictures,  the  SMPTE 
convention  offers  little  for  the  imme- 
diate consideration  of  our  industry. 
This  is  perhaps  more  of  a  criticism 
of  our  industry  than  of  the  SMPTE  ; 
over  the  years  the  Society  has  been 
rebuffed,  while  our  industry  has  left 
the  pioneering  to  a  few  forceful  men 
with  vision  like  Spyros  Skouras. 

There  isn't  a  major  American  in- 
dustry which  devotes  as  little  of  its 
budget  to  technical  research  as  this 
motion  picture  business  of  ours. 
Television,  like  any  wide-awake  in- 
dustry, never  stops  pouring  funds 
into  scientific  exploration ;  brand 
new  fields  like  missile  photography 
grow  by  leaps  and  bounds  with  the 
help  of  substantial  government  ap- 
propriations. But  the  leaders  of  the 
movie  industry,  in  the  main,  have 


never  been  able  to  work  up  enthusi- 
asm to  underwrite  a  decent  program 
of  technical  research  and  develop- 
ment in  the  theatre  motion  picture 
field.  Unlike  that  famous  institu- 
tional line  heard  so  often  on  TV, 
progress  is  definitely  not  our  most 
important  product. 

Base ball's 
Privileges 

We  yield  to  none  in  our  admira- 
tion for  what  most  Americans  like 
to  describe  as  our  national  pastime, 
and  now  that  the  baseball  season  is 
once  again  officially  under  way,  we 
can  think  of  no  better  yardstick 
than  our  national  pastime  against 
which  to  measure  our  own  industry. 
The  motion  pictures  of  the  nation, 
after  all,  are  monuments  to  another 
national  pastime. 

The  United  States  Supreme  Court 
has  given  major  league  baseball  a 
unique  status  as  a  sport,  even 
though  it  is  also  a  big  business. 
Right  here  a  major  contrast  occurs. 
The  anti-trust  rules  which  pertain 
in  the  movie  business  simply  stop 
dead  when  they  hit  baseball.  So  be 
it.  In  this  area,  it  is  apparently  a 
freak  quirk  of  the  law  that  is  re- 
sponsible. 

But  let  us  consider  the  communi- 
ty point  of  view.  As  noted  in  our 
article  in  a  recent  issue  on  popu- 
lation shifts,  communities  all  over 
the  country  are  subsidizing  commer- 
cial, paid  admissions  to  professional 
baseball.  The  Milwaukee  Braves, 
for  example,  play  at  the  County  Sta- 
dium. In  Brooklyn  a  public  authori- 
ty is  trying  to  make  a  new  home  for 
the  Dodgers  to  prevent  their  threa- 
tened move  to  Los  Angeles. 

The  basis  for  this  approach  is  that 
if  the  state  can  furnish  the  facilities 
at  a  reasonable  rental  the  business 
community  will  benefit  from  the 
customer  traffic  and  the  government 
will  benefit  from  additional  taxes. 

We  do  not  dispute  this  argument 
in  the  slightest.  As  a  matter  of  fact, 
theatres  have  been  proving  this 
point  for  years.  When  a  theatre  is 
in  operation,  nearby  merchants  pick 
up  added  business. 

Let's  assume  that  the  Brooklyn 
Dodgers  are  given  a  new  home  in 
their  present  embattled  metropolis. 


Let's  also  assume  that  the  capacity 
of  the  new  stadium  will  be  60,000 
and  that  it  will  be  filled  to  capacity 
at  every  one  of  the  77  home  games 
during  the  regular  season.  This 
comes  to  4,620,000  people  per  year. 
Let's  add  in  another  380,000  people 
at  football  games,  to  round  out  an 
annual  maximum  attendance  figure 
of  5,000,000  people  (more  than  dou- 
ble what  even  the  Milwaukee  Braves 
do  now.) 

It  may  cost  $50,000,000  or  more  to 
get  the  stadium  built.  This  figures 
out  to  $10  per  ticket  for  a  year.  For 
the  same  $50,000,000  the  public  au- 
thority could  put  up,  say,  20  modern 
theatres  seating  about  750  people 
each.  We  are  being  very  loose  with 
our  theoretical  money,  but  we  have 
a  point  to  make.  These  theatres 
would  have  15,000  seats  for  any 
given  performance  and  would  cer- 
tainly have  two  full  performance  ca- 
pacities per  day.  They  would  operate 
365  days  per  year.  Their  potential 
annual  attendance  figure  —  by  no 
means  a  maximum  like  the  baseball 
estimate  —  would  be  approx'mately 
11,000,000. 

In  other  words,  if  the  basis  for  us- 
ing government  funds  to  build  sta- 
diums is  that  they  promote  customer 
traffic  for  neighboring  businesses, 
the  argument  is  stronger  for  build- 
ing theatres.  You  get  more  traffic, 
and  you  can  spread  it  in  as  many 
areas  as  are  needed. 

We  are  not  vigorously  espousing 
the  idea  of  putting  even  a  local  gov- 
ernment into  theatre  ownership;  as 
a  matter  of  fact,  we  don't  like  the 
idea  at  all.  But  we  do  feel  very 
strongly  that  as  taxpayers  and  tax 
collectors  (don't  forget  those  ticket 
taxes  we  have  to  pass  on  to  our  cus- 
tomers) we  have  the  right  to  de- 
mand equality  with  the  owners  cf 
baseball  clubs.  They  may  be  in  a 
sport  while  we  are  in  a  recreation ; 
but  we  are  as  much  a  public  asset 
and  a  public  utility  as  they  could 
ever  pretend  to  be. 

There  has  been  a  psychological 
twist  which  has  long  been  reflected 
in  the  idea  that  a  community  may 
tolerate  movies  but  it  has  to  support 
baseball.  When  it  comes  to  tax  re- 
missions or  the  support  of  public 
funds,  however,  we  must  paraphrase 
an  old  baseball  scoreline  and  note 
that  if  the  government  ever  wants 
to  Tinker,  we  want  our  Chance. 


Pago  6       Film  BULLETIN    April  29,  1957 


FINANCIAL 

BULLETIN 

APRIL      29,  1757 

By  Philip  R.  Ward 


"SPIRAL"  SKOURAS.  One  of  the  tastiest  encomiums  to 
come  Mr.  Skouras'  way  in  this,  the  season  of  his  celebra- 
tion, emerged  from  the  pen  of  a  mid-western  exhibitor. 
"When  I  talk  about  Mr.  Skouras,"  writes  he,  "I  say  good 
old  Spiral  Skouras.  Everything  spirals  up  and  up  when 
he  has  a  hand  in  something  important." 

Hats  off,  then,  to  Spiral  Skouras,  preserver  of  unbroken 
dividends  (since  1942,  year  of  his  ascendancy)  ;  weatherer 
of  moviedom's  sternest  proxy  test;  rallying  spirit  of  a 
somewhat  deflated  industry;  innovator  of  technical  revo- 
lutions; redeemer  of  product-parched  theatremen.  Where 
is  the  20th-Fox  stockholder  who  would  trade  his  Spiral 
Skouras  for  a  Harlow  Curtis? 

On  Wall  Street,  where  it  counts,  Mr.  Skouras  is  Mr. 
Motion  Picture  Industry.  Happy  commemoration  to  him. 

O  O 

UA— OFF  &  RUNNING.  United  Artists'  two  market 
issues,  common  shares  and  6%  convertible  debentures, 
broke  clean'.y  from  the  barrier  (April  24)  with  buying  sup- 
port described  by  Wall  Street  sources  as  "moderately 
good"  to  "fine." 

F.  Eberstadt  &  Co.,  one  of  the  principal  underwriters, 
told  us  Thursday  p.m.  that  both  securities  were  fully  sub- 
scribed. A  Financial  Bulletin  survey  of  a  number  of  key 
investment  firms  turned  up  these  facts:  (a)  interest  high 
among  speculative  shoppers,  though  many  regard  UA 
common  as  a  "silk  stocking"  buy  in  a  widely  fluctuating 
industry,  thus  certain  to  evoke  interest  among  more  con- 
servative elements;  (b)  houses  on  which  shares  had  been 
"laid  off"  report  selling  cut  their  allotments,  or  close  to 
that  mark,  opening  day;  (c)  first  day  Over-the-Counter 
range  on  common:  $19  bid — $20  34  ask,  after  opening 
at  $20;  (d)  most  expect  keen  interest  in  the  debentures 
owing  to  the  convertible  privilege.  Several  firms  reported 
that  the  bonds  were  being  par  bid  by  the  syndicate,  which 
means  it  (the  syndicate)  may  be  subsidizing  the  price. 

0  0 

STOCKHOLDER  "X".  One  of  the  minor  mysteries  of 
the  late  winter  season  was  the  Stockholder  called  "X". 
The  name  ssemed  to  be  carried  on  the  wind,  and  in  the 
flotsam  and  jetsam  of  low,  unfounded  rumor.  No  one 
could  attest  his  identity,  or  even  his  existence. 

Piecing  together  this  still  unfinished  jigsaw,  the  por- 
trait obscurely  emerges.  "X"  is,  for  the  better  part,  a  mer- 
cantile genius,  honored  in  his  field  and  known  widely 
there;  in  lesser  part,  a  fiscal  adventurer  sporting  an  easy 
way  with  the  buck. 

Certain  elements  divorced  from  recent  moviedom  com- 
merce, but  lusting  after  a  grand  return,  reportedly  sold 
Stockholder  "X"  a  whopping  big  bill  of  goods. 


One  wild  story  had  it  that  "X",  in  concert  with  a  num- 
ber of  estimable  fellow  retailing  nabobs,  would  seek  effec- 
tive working  control  of — now  mind  you — Loew's,  Para- 
mount and  20th-Fox,  weld  the  film  producing  trio  into  a 
sort  of  General  Motors  of  movieland. 

Indeed,  it  did  not  escape  some  that  high  trading  volume 
in  all  three  companies  last  winter  might  well  have  origi- 
nated with  "X"  and  his  cohorts.  And  then,  suddenly, 
Stockholder  "X",  man  or  myth,  was  forgotten.  But,  good 
readers,  it  might  be  possible  that  the  Stockholder  called 
"X"  is  actually  a  living,  breathing,  reasoning  animal. 

From  an  unimpeachable  source  comes  word  of  an  organ- 
ized movement,  admittedly  more  modest  than  the  above 
intelligence  proclaims,  involving  at  least  two  companies — 
at  present  one  major,  one  minor.  Control  and  amalgama- 
tion is  the  goal.  And  as  we  hear  it,  the  witching  hour  is 
nearer  at  hand  than  any  would  believe.  One  surprising 
aspect,  our  source  avers,  is  the  smell  of  collusion  between 
highly  placed — but  by  no  means  prime — officials  of  the 
target  companies  and  the  instigating  group.  Apparently 
the  plan,  if  successful,  aims  to  sweep  aside  certain  of  the 
ruling  clique,  replacements  coming  from  the  cooperating 
quislings. 

Nothing,  it  seems,  is  sacred  when  careers  are  being 
carved. 

More  will  be  forthcoming  about  Stockholder  "X",  his 
cronies  and  contrivings  as  rapidly  and  successfully  as  we 
can  ferret  out  the  facts. 

O  0 

LIST  SHOPPING.  Here's  proof  again  that— where  the 
big  dough's  concerned — it's  sometimes  harder  spending 
than  making.  List  Industries,  a  multi-diversified  enter- 
prise, is  faced  with  the  vexing  task  of  adding  a  few  more 
golden  eggs  to  its  corporate  basket.   So  far  no  luck. 

If  cash-heavy  List  Industries,  which  controls  RKO  The- 
atres, can  smell  a  profit  at  close  range,  it  will  put  its  purse 
to  the  development  of  fully  integrated  shopping  centers — 
a  stunt  pulled  off  with  towering  success  by  several  inde- 
pendent exhibitors.  The  prime  structure  of  the  develop- 
ment is,  of  course,  the  modern  theatre. 

The  plus  factors  are  these.  The  inexorable  trend  toward 
convenience  in  retail  consumption,  which  the  shopping 
center  offers.  The  presence  of  parking  facilities.  The  con- 
centration of  population  and  purchasing  power  to  be 
drawn.  The  soundness  of  the  investment  to  the  developer 
as  lessor.  The  tax  benefit  arising  from  the  theater  inter- 
ests leasing  back  to  themselves.  The  documented  success 
of  theatres  presently  operating  in  well-planned  shopping 
developments. 

The  one  problem  to  be  bridged:  finding  key  sites. 


Film  BULLETIN    April  29,  1957        Page  7 


I 


What  Tfiey'te  About 

□    □    □    In  the  Movie  Business    □    □  □ 


How  Newspapers 


Treat  heatre 


Advertisers! 


Take  a  good  long  look  at  the  reproduction  of  a  recent 
big-city  newspaper  movie  page  above.  Look  at  the  right 
side  of  the  page.  Then  at  the  left.  See  anything  wrong? 

Look  a  little  closer.  At  the  bottom  of  the  left-hand  ad. 
Yes,  that's  right— "Channel  6  WFIL-TV."  That's  a  tele- 
vision advertisement  on  the  movie  page.  Smart  advertis- 
ing for  the  TV  station?  We  don't  think  so.  Sinister,  per- 
haps would  be  more  like  it.  Why?  Let's  look  at  some 
facts. 

The  paper  in  question  charges  the  theatremen  a  pre- 
mium rate  for  each  of  the  scores  of  theatre  listings  on  this 
page.  It  has  done  so  for  years.  The  theatremen  have  paid 
through  the  nose  for  this  privilege.  But  in  all  those  years, 
any  other  competitive  activity  advertised  on  these  pages 
paid  the  premium  rate. 

We  don't  know  how  much  "Channel  6  WFIL-TV"  paid 
for  this  space.  We  do  know  "Channel  6-WFIL-TV"  is 
owned  by  this  newspaper.  Whatever  it  paid  went  right 
back  into  its  own  coffers. 

But  even  the  fact  that  this  newspaper  interjected  its 
owned  station's  ad  on  this  page  at  any  price  is  only  the 
beginning  of  a  danger.  Let's  take  it  a  little  farther. 

This  city  has  two  major  newspapers  and  a  tabloid.  The 
city's  theatremen  have  no  other  choice  in  their  placement 
of  newspaper  advertising.  It  must  be  in  one  of  these 
papers,  or  not  at  all.  It  is  the  most  vital  single  source  of 
letting  movie-seekers  know  what's  playing  where. 

Now,  this  paper,  after  soaking  the  exhibitors  for  space 
to  invite  people  to  their  theatres,  takes  another  slap  at  its 
long-time  customers.  It  inserts  an  ad  telling  the  movie- 
seeker  to  STAY  HOME.  It  tells  him  so  on  the  very  page 
so  bountifully  financed  by  the  theatremen.  "Why  pay  cash 
for  your  movies?",  intimates  the  ad.  "Stay  home  and  see 


WHAT'S  WRONG  WITH  THIS  PICTURE? 

it  for  free.  Let  the  sponsors  pay — us." 

A  great  many  newspapers  have  been  flagrant  in  their 
favoritism  of  television  over  movies  with  free  publicity 
columns.  Particularly  newspapers  that  own  TV  stations. 
When  a  newspaper  devotes  disproportionate  free  space  to 
the  TV  medium  in  which  it  has  a  financial  interest,  it 
exudes  an  unpleasant  aroma.  An  aroma  tinged  with  odors 
of  vested  interests. 

But  when  the  newspaper  steps  deeper  with  its  own  paid 
advertising  to  hurt  another  of  its  virtually  captive  com- 
petitive advertisers,  it  begins  to  stink.  With  monopolistic 
fumes. 

That's  what's  wrong  with  the  picture.  It  bears  close 
observation  by  the  authorities  who  guard  against  anti- 
trust violations. 


Page  8       Rim  BULLETIN    April  29,  1957 


Skouras 


Though  it  would  be 
easy  and  certainly 
gratifying  for  Film 
BULLETIN   to   add  to 

the  encomiums  already 
heaped  upon  Spyros  P. 
Skouras,  dynamic  and 
aggressive  president  of 
20th  Century-Fox,  we 
thought  it  more  impor- 
tant— and  more  mean- 
ingful —  to  ask  the 
opinion  of  those  who 
constantly  deal  with 
him  in  the  hard  com- 
merce of  the  industry. 
Accordingly,    on  the 


foil 


owing  pages,  rum 
BULLETIN  is  pleased 
to  print  the  response 
of  14  of  the  20  prom- 
inent theatremen  quer- 
ied on  what  they  think 
of  Mr.  Skouras.  Their 
letters  speak  for  them- 
selves and  for  the  in- 
dustry. 


Rim  BULLETIN    April  2?,  1957       Page  * 


Exhibition  Leaders  Hail  Skouras 


mmm\  im » i  h  i  m  i  i  iw 

LEONARD  H.  COLDENSON 

It  is  most  fitting  to  record  at  this  time,  the  occasion  of 
S">yros  Skouras's  fifteen  years  of  service  to  his  company 
as  its  president,  the  great  contribution  that  he  has  made 
for  the  betterment  of  our  motion  picture  industry.  Par- 
ticularly during  the  past  several  years  when  the  motion 
picture  business  has  been  faced  with  many  problems, 
Spyros  Skouras,  never  deterred  by  long  established  prac- 
tices, boldly  forged  ahead  in  setting  new  patterns  which 
have  resulted  in  improvement  of  the  medium  and  cer- 
tainly greater  enjoyment  of  mcticn  pictures  by  the  public. 
Whether  in  the  technology  of  movie  making  or  in  the  pro- 
duction of  pictures,  he  has  broken  new  grounds  and  has 
forthrightly  and  steadfastly  maintained  an  honest  and  pro- 
gressive outlook. 

Based  on  his  achievements  and  foresight  in  the  industry 
alone,  he  has  created  an  enviable  record  of  outstanding 
achievement.  But  his  tireless  efforts  on  behalf  of  all 
worthy  causes  have  endeared  him  as  well  to  the  many 
thousands  of  people  who  have  so  benefited  and  to  the  pub- 
lic at  large.  We  in  this  industry  are  indebted  to  him  and 
can  take  justifiable  pride  in  having  such  a  spokesman  who 
has  so  ably  represented  our  industry. 

I  join  with  his  many  friends,  both  here  and  abroad,  in 
paying  this  well  deserved  tribute  to  a  great  leader  in  our 
industry  and  an  outstanding  citizen  of  the  world. 


20/h-Fox  chief  announcing  expanded  1957  pro- 
duction. Vice  President  Charles  Einfeld  looks  on. 


;  "GRINDING  SPIRIT" 


R.  J.  "BOB"  O'DONNELL 

Our  industry  can  take  no  greater  pride  in  any  indi- 
vidual than  in  Spyros  Skouras.  His  leadership  and  achieve- 
ments have  been  the  guiding  spirit  pointing  always  to 
progress  in  our  industry  for  progress  has  been  the  byword 
of  this  great  individual.  On  the  occasion  of  his  fifteenth 
anniversary  as  President  of  20th  Century-Fox  we  join 
with  others  in  saluting  him  for  his  courageous  confidence 
and  outstanding  showmanship.  Not  only  for  his  efforts 
within  our  own  industry  but  for  his  tireless  efforts  in  be- 
half of  humanitarian  and  charitable  causes  we  congratu- 
late and  pay  tribute  to  this  great  figure  of  the  entertain- 
ment world. 

0 


"HUMANITARIAN" 


MITCHELL  WOLFSON 

Spyros  Skouras  wili  go  down  in  history  as  one  of  the 
"Greats"  in  the  motion  picture  industry.  Surely  he  is  a 
good  business  man  and  showman — but  above  everything 
else,  he  is  a  humanitarian. 

To  me,  Spyros'  greatest  appeal  lies  in  the  fact  that  he 
permits  his  heart  to  help  his  mind  make  decisions.  I  be- 
lieve he  has  more  friends  in  the  amusement  world  than 
any  other  leader.  Sometimes  his  decisions  do  not  suit 
everyone  because  they  are  in  the  best  interests  of  the  task 
he  is  performing  and  perhaps  not  in  our  personal  interest 
— but  every  decision  I  have  seen  him  make  has  been 
tempered  with  consideration  for  the  rights  and  sensibili- 
ties of  others. 

Spyros  has  been  a  big  brother  to  many  people  in  the 
motion  picture  industry,  and  many  owe  him  intangible 
debts  of  friendship  impossible  to  repay.  He  has  given 
faith  and  hope  to  so  many  exhibitors  because  he  is  at  heart 
an  exhibitor — and  truly  wants  to  see  the  whole  industry 
prosper,  with  other  people  as  well  as  himself  being  suc- 
cessful. 

My  hat  is  off  to  Spyros  Skouras,  an  immigrant  boy  who 
made  good  in  this  great  country  of  ours.  America  is  fortu- 
nate to  have  other  lands  send  us  citizens  like  him. 

My  sincere  hope  for  Spyros  Skouras  is  a  long,  long  life 
of  happiness,  success,  and  especially  good  health.  Pray  to 
God  to  keep  him  well! 

0 


"THE  FOREMOST  LEADER" 


TRUEMAN  T.  REMBUSCH 

Mr.  Spyros  Skouras,  in  my  opinion,  is  the  foremost 
leader  in  the  motion  picture  industry  today.  There  is  one 
thing  that  no-one  can  ever  charge,  and  that  is  that  Spyros 
sits  still  when  there  is  a  chance  to  better  conditions  within 
the  industry. 


Page  10       Film  BULLETIN    April  29,  1957 


HAIL  SPYHDS  5HDUHA5 

His  courage  has  been  attested  to  on  several  occasions, 
foremost  when  he  brought  the  new  media  of  CinemaScope 
and  stereophonic  sound  to  the  industry  which  resulted  in 
giving  the  boxofHce  a  much  needed  shot  in  the  arm.  This 
year  with  the  announcement  of  increasing  the  number  of 
pictures  that  Fox  would  release  in  1957,  he  showed  great 
courage  in  the  face  of  the  very  poor  boxoffice  of  1956  and 
certainly  showed  a  conception  of  what  is  basically  wrong 
with  the  business — too  few  pictures.  His  oft  repeated 
statement,  that  he  will  not  subscribe  to  the  destructive 
philosophy  of  'fewer  theatres  and  fewer  pictures  will  make 
a  greater  motion  picture  industry'  shows  that  he  believes 
in  the  American  way — increasing  production,  increase  re- 
tail outlets  resulting  in  a  lower  price  to  the  consumer. 

If  Spyros  were  quintuplets,  things  in  the  industry  would 
be  in  a  much  better  state  than  they  are  in  now.  Of  course 
I  offer  him  congratulations  for  the  15  years  he  has  served 
Fox  and  wish  him  many  more  years  of  unselfish  service  to 
that  Company  and  the  industry. 


Typical  press  conference:  Keeps  industry  fully 
informed    on    his    views    of    trade  problems. 


"  K  NOW  LEDGE,.   UN  DERSTAN  DING 


MYRON  N.  BLANK 

There  have  been  few  men,  of  our  generation,  that  ap- 
proach show  business  with  the  knowledge,  understanding 
and  heart  such  as  Spyros  Skouras.  It  would  be  difficult  to 
think  of  show  business,  or  the  people  in  it,  without  listing 
Spyros  Skouras  at  the  top.  He  has  never  forgotten  his 
humble  origin  and  has  strived  as  a  leader  to  help  all  seg- 
ments of  the  industry  and  has  done  it  with  kindness,  pa- 
tience and  understanding.  He  is  not  only  loved  by  every 
man  in  his  organization  but  has  gained  and  held  the  com- 
plete respect  of  exhibition.  My  sincerest  hope  and  wishes 
that  he  enjoys  many  years  to  come  as  a  leader  of  cur  great 
industry. 


MARC  J.  WOLF 

In  my  opinion,  Mr.  Skouras  has  for  many  years  besn 
outstanding  in  his  efforts  to  help  the  motion  picture  in- 
dustry. In  recent  years  he  has  devoted  much  of  his  time 
a -.id  his  talents  in  a  sincere  endeavor  to  better  the  lot  cf 
the  exhibited. 

By  bringing  CinemaScope  to  the  theatres  he  gave  us 
something  new  wh'ch  was  badly  needed  to  attract  patrons. 
His  recent  announcements  cf  more  features  to  be  avail- 
able is  his  indication  of  a  desire  to  do  something  about  the 


film  shoitage.  The  general  policy  of  his  company  is  also 
an  indication  that  he  realizes  the  desperate  need  for  aid 
that  faces  the  exhibitor  today. 

In  my  opinion  if  the  industry  was  fortunate  enough  to 
have  more  men  who  think  and  act  like  Spyros  Skouras  we 
might  soon  forget  our  present  difficulties. 

0 


"LEADER  OF  GREAT  STATURE" 


JACK  KIRSCH 

Mr.  Spyros  Skouras  is  one  of  the  very  few  veterans  of 
the  film  business  whose  ideas  are  attuned  to  the  present 
and  future  progress  cf  the  motion  picture  industry.  He, 
more  than  anyone  else,  has,  by  deeds,  helped  to  increase 
the  importance  and  value  of  motion  picture  entertainment 
as  evidenced  by  his  great  courage  and  vision  in  introduc- 
ing CinemaScope. 

His  abounding  faith  in  the  future  of  the  motion  picture 
theatre,  which  he  has  expressed  on  numerous  occasions, 
has  been  an  inspiration  to  exhibitors  everywhere.  To 
demonstrate  this  faith  he  has  recently  backed  it  up  with 
the  resources  of  his  company  by  announcing  one  of  the 
largest  production  schedules  in  20th  Century-Fox  Film 
Corporation's  history. 

Besides  being  a  showman,  Mr.  Skouras  is  a  business 
leader  of  great  stature.  He  has  engendered  the  respect  and 
admiration  of  leaders  in  business,  government  and  in  the 
field  of  charity  by  his  desire  and  ability  to  actively  head 
deserving  causes  on  behalf  of  the  motion  picture  industry. 

Mr.  Skouras  is  indeed  a  great  credit  to  our  industry  and 
the  15th  Anniversary  Celebration  which  20th  Century-Fox 
Film  Corporation  is  currently  observing  in  his  honor  is 
richly  deserved. 


Humanitarian:  Chairmans  industry  Red  dross  Drive,  above 
greets  Chairman  E.  Roland  Harrison,  Pres.  Alfred  .1/.  Gruenther, 


A.  JULIAN  BRYLAWSKI 

I  am  delighted  to  join  with  the  great,  and  small  of  the 
MOTION  PICTURE  EXHIBITORS  INDUSTRY  to 
take  this  opportunity  to  publicly  express  my  sincere  ad- 
miration for  Mr.  Spyros  Skouras  on  the  occasion  of  his 
fifteen':!:  anniversary  as  President  of  Twentieth  Century- 
Fox. 

I  knew  of  no  one  whom  I  more  sincerely  admire,  an  ad- 

( Continued  on  Page  12) 


Film  BULLETIN    April  2?,  1957        Page  11 


HAIL  SPYROS  SKOURAS 

f Continued  from  Pane  II) 

miration  that  goes  back  some  thirty  years,  when  he  was 
my  boss;  and,  a  friendship  that  has  existed  for  himself  and 
his  brothers,  that  dates  even  further  back. 

Sound  thinking,  sound  planning,  and  sound  acting;  he 
is,  indeed,  a  cherished  leader  of  our  GREAT  INDUS- 
TRY; and,  has  earned,  and  owns  the  cherished  affection 
of  us  all. 

0 


"AN  ATTENTIVE  EAR" 


E.  C.  STELLINCS 

It  is  my  belief  that  Spyros  Skouras  has  done,  and  is  do- 
ing, more  consistently  to  be  of  service  to  exhibition  than 
any  other  man  in  this  industry.  I  know  from  experience 
over  the  past  two  and  a  half  years,  and  especially  during 
the  past  six  months,  that  Spyros  Skouras  has  always  lent 
an  attentive  ear  to  the  problems  of  exhibition  and  our  in- 
dustry as  a  whole.  More  important  than  this  is  the  fact 
that  he  has  done  something  about  it.  He  seems  to  have 
developed  a  knowledge  of  the  complex  problems  confront- 
ing all  elements  of  the  business,  and  seems  to  have  taken 
the  lead  in  the  industry  actively  working  to  solve  these 
problems.  It  appears  from  all  his  attitudes  and  activities 
that  Spyros  Skouras  believes  that  in  solving  the  problems 
of  the  industry  and  furthering  this  industry,  he  will  de- 
velop more  returns  for  his  stockholders.  This  seems  to  be 
in  contrast  to  the  attitude  of  some  who  place  returns  to 
the  stockholders  first  and  the  industry  welfare  second. 

Everybody  in  this  industry  and  exhibition  in  particular 
owes  a  debt  of  gratitude  to  Spyros  Skouras,  and  we  should 
all  encourage  his  plans  and  activities  so  that  they  may  be 
continued  for  the  ultimate  welfare  of  the  industry. 

0 


"STIMULATING  LEADERSHIP" 


GEORGE  KERASOTES 

We  must  above  all  be  grateful  to  Spyros  Skouras  for  his 
stimulating  leadership  and  the  profundity  of  his  outlook. 
He  is  not  an  ivory  tower  personality,  but  above  all,  a  hu- 
manitarian, dedicated  to  the  economic  success  and  the 
ethical  values  of  our  industry. 

O 


"A  REAL  LEADER" 


LEO  F.  WOLCOTT 

We  are  happy  to  give  our  strongest  endorsement  to  the 
upcoming  20th  Century-Fox  "Spyros  P.  Skouras  15th  An- 
niversary Celebration"  March  24  to  May  4  as  announced 
by  Alex  Harrison,  in  honor  of  Spyros'  15-year  leadership 
as  President  of  the  company  (how  the  years  do  race  by!), 
during  which  time  he  has  been  a  real  leader  and  power  in 
the  best  interests  of  our  industry,  with  the  courage  and 
vision  to  introduce  CinemaScope  and  produce  many  of  our 
finest  productions;  and  the  heart  to  be  concerned  about 


the  exhibitor's  problems.  We  particularly  endorse  this 
drive  and  urge  our  fellow  exhibitors  to  make  it  a  huge 
success  with  contracts  and  playdates  because  Mr.  Skouras 
and  20th  Century-Fox  today  stand  almost  alone  in  the  top 
producer-distributor  echelon  who  apparently  give  a  damn 
whether  the  small  exhibitor  survives.  Without  Spyros 
Skouras,  the  plight  of  the  exhibitor  would  be  well-nigh 
hopeless  and  the  future,  if  any,  dark  indeed! 


In  early  days  of  CinemaScope  with  Prof.  Henri  Chretien, 
inventor    and    Earl    Sponable.    director    of  Research. 


"EXHIBITOR'S  BEST  FRIEND" 


ALBERT  M.  PICKUS 

Spyros  Skouras  richly  deserves  the  congratulations  of 
every  Exhibitor  and  every  person  connected  with  this  in- 
dustry— on  this  his  15th  anniversary  as  president  of  20th 
Century-Fox. 

During  these  troubled  times  in  our  industry  he  has  done 
everything  possible  to  preserve  and  better  the  industry. 
His  policy  is  continual  reasarch  into  new  medias — more 
and  better  pictures  and  a  fair  sales  policy  so  that  Exhibi- 
tors are  able  to  remain  in  business. 

My  sincere  congratulations  to  the  Exhibitor's  best 
friend — Spyros  Skouras. 

0 


"MAN  OF  GREATNESS" 


HERMAN  M.  LEVY 

Mr.  Spyros  Skouras,  President  of  Fox,  is  a  man  of 
greatness.  His  greatness  lies  in  vision,  in  compassion,  and 
in  ability.  He  has  been  successful  for  his  company  and 
retained  the  warm  friendship  of  his  company's  customers. 

All  good  fortune  to  him. 

0 


"DYNAMIC  AND  IMAGINATIVE 


ROBERT  W.  COYNE 

Both  as  a  personal  friend  and  as  special  counsel  for 
COMFO,  I  am  happy  to  extend  congratulations  to  Spyros 
P.  Skouras  on  his  15th  anniversary  as  president  of  Twen- 
tieth Century-Fox  Film  Corporation.  His  dynamic  and 
imaginative  leadership  has  brought  new  strength  and 
vigor  to  the  motion  picture  industry.  In  pioneering  and 
developing  CinemaScope  in  one  of  the  industry's  darkest 
hours  he  not  only  made  an  invaluable  contribution  to  the 
economy  of  the  industry  but  kept  the  motion  picture 

(Continued  on  Page  21) 


Page  12       Film  BULLETIN    April  29,  1957 


Academy  Award  Best  Actor  and  Actress  Together 
I N  GRID      |       YUL  HELEN 

BERGMAN  I BRYNNER  HAYES 

ANASTASIA 

COLOR  by  DELUXE 

CinemaScoPE: 


Produced  by 
Directed  by  ANATOLE  LITVAK 
Screenplay  by  ARTHUR  LAURENTS 
From  the  play  by  Guy  Bolton  and 
Marcelle  Maurette 


The  most  enchanting  love  story  two  people  ever  lived 


CARY 


GRANT 


DEBORAH 

LEO  McCAREY'S 


AN  AFFAIR  TO  REMEMBER 


inal  story  by  Leo  McCarey  and  Mildred  Cram 


COLOR  by  DE  LUXE 

C|NemaScoP£ 

Produced  by  JERRY  WALD 
Directed  by  LEO  McCAREY 
Screenplay  by  DELMER  DAVES 
and  LEO  McCAREY 


Theatres  are  rocking!  This  one  is  rolling! 
TOM  1AYNE  EDMOND 

EWELL- MANSFIELD  O'BRIEN 

^  THE  GIRL 
CAN'T 
HELP  IT 

COLOR  by  DELUXE 

C|NemaScoP£ 


Produced  and  Directed  by  FRANK 
Screenplay  by  Frank  Tashlin  and  Herbert  Baker 


Stripped  of  all  legend,  fiction,  lies! 
ROBERT        JEFFREY  HOPE 

WAGNER  HUNTER  LANGE 

THE  TRUE  STORY  OF 
*s   JESSE  JAMES 


COLOR  by  DE  LUXE 

CINemaScoPE 

Produced  by  HERBERT  B.  SWOPE,  Jr. 

Directed  by  NICHOLAS  RAY 
Screenplay  by  WALTER  NEWMAN 
Based  on  a  Screenplay  by 


Great  star  reunion  in  Broadway's  comedy  smash! 


SPENCER 


TRACY  •  KATHARINE  HEPBURN 

also  starring  GIG  YOUNG  and  JOAN  BLONDELL 


DESK  SET 

COLOR  by  DE  LUXE 

CINemaScoPE: 

Produced  by  HENRY  EPHRON 
Directed  by  WALTER  LANG 
Screenplay  by  PHOEBE  8  HENRY  EPHRON 

Based  on  tbe  Play  produced  by 
Robert  Fryer  and  Lawrence  Carr  and  written  by  William  Marchant 


In  the  tradition  of  motion  picture  masterpieces! 


DEBORAH 


ROBERT 


KERR  MITCHUM 
HEAVEN  KNOWS, 
MR.  ALLISON 


COLOR  by  DE  LUXE 

CINemaScoPE 

Produced  by 
BUDDY  ADLER  -  EUGENE  FRENKE 
Directed  by  IDHN  HUSTON 
Screenplay  by 
JOHN  HUSTON  and  JOHN  LEE  MAHIN 
From  the  novel  by  Cbarles  Shaw 


From  the  hit-maker. . .  Samuel  Fuller! 
GENE  ANGIE        NAT  "KING' 

BARRY  DICKINSON  COLE 

SAMUEL  FULLER'S        gfcfc^  j* 

CHINA  GATE 

CINemaScoPE 

Written,  Produced  and  Directed  ^ 

by  SAMUEL  FULLER 
A  Globe  Enterprises  Production  released  by  20th  Century-Fox 


first  picture  since  winning  Academy  Award! 
RAY        §  ANTHONY  DEBRA 

MILLAND  laUINN  PAGET 
fc*     THE  RIVER'S  EDGE 

BENEDICT  BOGEAUS  PRODUCTION 
COLOR  by  DELUXE 

CINemaScoPE: 

Produced  by  BENEDICT  BOGEAUS 
\  Directed  by  ALLAN  DWAN 

Screenplay  by  HAROLD  JACOB  SMITH  and  JAMES  LEICESTER 


w 


20th's  MAGNIFICENT 
EASTER  ATTRACTION! 

ALAN      CLIFTON  SOPHIA 

LADD  WEBB  LOREN 


BOY  ON  A 

DOLPHIN 

COLOR  by  DELUXE 

CINemaScoPE: 

Produced  by  SAMUEL  G.  ENGEL 
Directed  by  JEAN  NEGOLESCO 
Screenplay  by 
IVAN  MOFFAT  and  DWIGHT  TAYLOR 
From  the  novel  by  David  Divine 

% 

John  Steinbeck's  greatest  story! 
JOAN  JAYNE  DAN 

COLLINS  MANSFIELD  D AILEY 

WAYWARD  •  Vi 
BUS 

CINemaScoPE: 

Produced  by  CHARLES  BRACKETT 
Directed  by  VICTOR  VICAS 
Screenplay  by  IVAN  MOFFAT 
Based  on  the  novel  by  John  Steinbeck 


What  happened  out  there  in  the  Indian  Ocean.. . 
Why  do  they  call  her  Sea  Wife? 

JOAN  RICHARD  BASIL 

COLLINS- BURTON  SYDNEY 
SEA  WIFE 

COLOR  by  DELUXE 

CINemaScoPE 

Produced  by  ANDRE  HAKIM 
Directed  by  BOB  McNAUGHT 
From  the  Novel  by  J.M.Scott  •  Released  by  20th  Century-Fox 


The  new  recording  sensation  in  Broadway's  comedy  hit! 
PAT         TERRY         JANET  DEAN 

BOONE  MOORE  GAYNOR  JAGGER 

id 


BERNARDINE 

COLOR  by  DE  LUXE 

CINemaScoPE 


I  by  SAMUEL  G.  ENGEL  •  Directed  by  HENRY  LEVIN  Screenplay  by  THEODORE  REEVES 
on  a  Play  written  by  Mary  Chase  and  Produced  by  Irving  L.  Jacobs  and  Guthrie  McClmlic 


DARRYL  F.  ZANUCK'S 

ISLAND  IN  THE  SUN 

IMS  JOAN  DOROTHY  JOAN 

MASON  FONTAINE  DANDRIDGE  COLLINS 

MICHAEL  HARRY 

RENNIE  and  BELAFONTE 

as  Boyeur 

COLOR  by  DE  LUXE 

CINemaScoPE: 

Produced  by  DARRYL  f.  ZANUCK 
Directed  by  ROBERT  ROSSEN 
Screenplay  by  ALFRED  HAVES 

From  the  novel  by  Alec  Waugh  •  darryl  f  mnuck  productions  inc  released  through  20*  century  fox 


The  most  amazing  true  story  ever  filmed! 
JOANNE  DAVID        LEE  J. 

WOODWARD  WAYNE -COBB 


THE  THREE 
FACES  OF  EVE 


CINemaScoPE 

Written,  Produced  and  Directed  tor  the  Screen  by  NUNNALLY I0HNS0N 


William  Faulkner's  most  daring  shock-story 
is  on  the  screen  at  last! 

THE  SOUND  AND 
THE  FURY 


COLOR  by  DELUXE 

CINemaScoPE 

Produced  by  JERRY  WALD 
Screenplay  by  IRVING  RAVETCH  and  HARRIET  FRANK,  Ir 

JERRY  WALD  PRODUCTIONS  INC  RELEASED  THROUGH  ?01tl  centuryfox 


Flaming  adventure  of  the  world  today! 
JEFFREY        SHEREE  BARRY 


WALTER 


HUNTER -NORTH- SULLIVAN  BRENNAN 
THE  WAY  TO  THE  GOLD 


COLOR  by  DELUXE 

CINemaScoP^ 

Produced  by  DAVID  WEISBART 
Directed  by  ROBERT  D.WEBB 
Screenplay  by  WENDELL  WAVES 
Based  on  a  Novel  by  Wilbur  Daniel  Steele 


^7 


The  first  big  comedy  success  of  1957! 
DAN         GINGER  DAVID 

DAILEY- ROGERS  NIVEN 

BARBARA       TONY       f?  u 

RUSH  RANDALL 


OH,  MEN! 
OH,  WOMEN! 


Darryl  F.  Zanuck  dares  to  bring  to  the  screen 1 
Ernest  Hemingway's  most  powerful  story! 

AVA  TYRONE  MEL 

GARDNER  POWER  FERRER 

ERROL  EDDIE 

FLYNN- ALBERT 

DARRYL  F.  ZANUCK'S 

THE  SUN  ALSO  RISES 

COLOR  by  DELUXE 

CINemaScoPE 

Produced  by  DARRVL  F.  ZANUCK 
Directed  by  HENRY  KING 
Screenplay  by  PETER  VIERTEL 
From  the  novel  by  Ernest  Hemin^ 

DARRYL  F  ZANUCK  PRODUCTIONS  INC  RELEASED  THROUGH  20th  CENTURY  Fl 


Eight  stars  in  a  story  of  sudden  violence 
which  reveals  today's  American  social  fabric! 

DOWN  PAYMENT 

COLOR  by  DE  LUXE 

CINemaScoPE: 

Produced  by  IERRY  WALD 
Directed  by  MARTIN  RITT 
Screenplay  by  PHILIP  YORDAN 
From  the  novel  by  lohn  McPartland 

JERRY  WALD  PRODUCTIONS  INC  RELEASED  THROUGH  20th  CENTURY  FOX 


Broadway's  wonder  comedy  by 
the  author  of  "The  Seven  Year  Itch"! 

IAYNE  MANSFIELD  ton.  RANDALL 
DETSY  DRAKE  •  joan  BLONDELL 

WILL  SUCCESS  \fi 

SPOIL  R 
ROCK  HUNTER?  f 


COLOR  by  DELUXE 

C|NemaScoP£ 

Produced,  Directed  and  Written  for  the  Screen  by 
From  the  play  by  George  Axelrod 


J 


TD  A  OV      ^n  O'Hara's 
SPENCER  I  Kill. I  unforgettable  story i 

TEN  NORTH 
FRE0ERICK 

COLOR  by  DELUXE 

CINemaScopE 

Produced  by  CHARLES  BRACKET! 
Directed  and  Written  for  the  Screen  by  PHILIP  DUNNE 
From  the  novel  by  John  O'Hara 


The  number  one  best -seller  in  America  today! 
To  be  produced  with  a  glittering  cast  of  stars! 


PEYTON 
PLACE 

COLOR  by  DELUXE 

CINemaScoPC 


Produced  by  JERRY  WALD  •  Directed  by  MARK 
Screenplay  by  JOHN  MICHAEL  HAYES  •  From  the  novel  by  Grace  Metalious 

JERRY  WALD  PRODUCTIONS  INC  RELEASED  THROUGH  20th  CENTURY-FOX 


The  romantic  wonder  world  of  sailors  on  leave! 
CARY  JAYNE  DAN 

GRANT  MANSFIELD  DAiLEY 

KISS  THEM  FOR  ME 

COLOR  by  DE  LUXE 

CINemaScoPE: 

Produced  by  JERRY  WALD 
Directed  by  STANLEY  DONEN 
Screenplay  by  JULES  EPSTEIN 
From  the  novel  by  Frederick  Wakeman  and  the  play  by  Luther  Davis 

JERRY  WALD  PRODUCTIONS  INC.  RELEASED  THROUGH  20th  CENTURY-FOX 


THE  DOUBLE  SENSATION 
SHOW  OF  THE  CENTURY! 


KRONOS 

A  REGALSCOPE  PICTURE 


JEFF 


MORROW  -  LAWRENCE  -  EMERY 

Produced  and  Directed  by  KURT  NEUMAN 
Screenplay  by  LAWRENCE  LOUIS  GOLDMAN 

A  REGAL  FILMS  INC.  PRODUCTION  ■  RELEASED  BY  20th  CENTURY-FOX 


I  -J*  SHE  DEVIL 

I   i         .    A  REGALSCOPE  PICTURE 

MARI  JACK  ALBERT 

BLANCHARD  KELLY  DEKKER 

Produced  and  Directed  by  KURT  NEUMAN 
Screenplay  by  CARROLL  YOUNG 
and  KURT  NEUMAN 

A  REGAL  FILMS  INC  PRODUCTION  •  RELEASED  BY  20th  CENTURY-FOX 


The  current  best-seller  with  an  important  cast! 

A  CERTAIN  SMILE 


COLOR  by  DELUXE 

Cl  NemaScoPE 

Produced  by  HENRY  EPHRON 
Directed  by  JEAN  NEGULESCO 
Screenplay  by  ALBERT  HACKETT 

and  FRANCES  GOODRICH 
From  the  novel  by  Francoise  Sagan 


John  P.  Marquand's  best-seller! 

STOPOVER  JAPAN 

COLOR  by  DE  LUXE 

CINemaScoPE 

Produced  by     Directed  by 
ttLltd  .  WALTER  REISCH  •  RICHARD  BREEN 
Screenplay  by 
WALTER  REISCH  and  RICHARD  BREEN 


Young  stars  in  a  wonderful  musical  romance! 


PAT  SHIRLEY 

BOONE  JONES 


HOME  IN 
INDIANA 


(TENTATIVE  TITLE) 

COLOR  by  DE  LUXE 

CINemaScoPE 


ROCK        JENNIFER  VITTORIO 

HUDSON  •  JONES  •  DE  SICA 

DAVID  O.  SELZNICK'S 

A  FAREWELL  TO  ARMS 

COLOR  by  DELUXE 

CINemaScoPE 

Produced  by  DAVID  0.  SELZNICK  •  Directed  by  CHARLES  VIDOR 
Screenplay  by  BEN  HECHT  *  From  the  novel  by  Ernest  Hemingway 

DAVID  0.  SELZNICK  PRODUCTIONS  INC.  RELEASED  THROUGH  20th  CENTURY-FOX 


20th's  GREATEST  CHRISTMAS  ATTRACTION! 

Ernest  Hemingway's  classic  wartime  romance! 


HAIL  SPYHOS  SHLILIHAS 

(Continued  from  Page  12) 

screen  supreme  as  the  world's  greatest  medium  of  mass 
entertainment. 

Quite  apart  from  his  industry  achievements,  however, 

O  0 

Skouras,  Man 

By  LEONARD  COULTER 

This  year  Spyros  Panagiotis  Skouras  celebrates  his  15th 
anniversary  as  president  of  Twentieth  Century-Fox  Film 
Corporation.  This  is  being  made  the  occasion  of  a  super 
sales  drive  by  the  company,  in  accordance  with  ancient 
tradition  within  an  industry  which,  with  one  eye  on  the 
box-office,  is  always  staging  Tributes  to  someone  or  other. 

The  scheme  in  this  case,  however,  is  completely  legiti- 
mate, for  Spyros  (rhymes  with  hero)  Skouras  occupies  a 
unique  position  in  the  film  business  by  virtue  of  his  as- 
tonishingly volcanic  personality  and  a  self-induced  con- 
viction that  movies  are  the  greatest  educational  and  cul- 
tural force  created  since  the  Birth  of  Man. 

I  have  known  Mr.  Skouras  (though  not  intimately)  for 
some  years  and,  as  a  hard-bitten  reporter  whose  training 
started  in  the  rareified  upper  atmosphere  of  "The  Econo- 
mist", I  have  instinctively  put  up  my  defences  when  sum- 
moned to  meet  him.  For  this  man,  supercharged  with 
such  energy  that  he  starts  work  at  8:30  a.m.  and  finishes 
in  the  early  morning  hours  (interrupted  only  by  a  brief 
catnap  and  a  massage  in  his  private  quarters  in  the  Twen- 
tieth-Fox office  building)  combines  the  patience  of  a  fox, 
the  endurance  of  a  mountain  goat  and  the  thrustfulness  of 
a  bull  elephant.  His  grammar  is  slightly  mixed — often,  I 
suspect,  deliberately,  for  he  is  given  to  making  jokes  about 
his  "poor  English".  His  pronounciation  is  frequently 
baffling.  He  talks  about  the  "Quin  of  Seba",  and  "Betsy 
Grabble"  and  for  a  long  while  the  nearest  he  could  come 
to  CinemaScope  was  "Simaskop".  But  he  never  had  any 
difficulty  with  "anamorphic"  or  "anamorphoscope",  which 
sounded  like  his  native  Greek  tongue. 

Spellbinding  Personality 

He  can  smile  until  his  cheeks  ache.  He  calls  you  by 
your  first  name,  even  on  first  acquaintance.  He  is  a  pro- 
digious hand-shaker.  And  he  will  disarm  your  carefully- 
planned  questions  by  taking  immediate  command  of  any 
conversation  by  using  the  simple  opening  sentence: 
"Listen,  Leonard,  do  me  a  favor;  tell  me  what  you  think 
of  this  idea  .  .  ."  With  that  he  is  off  and  running,  envelop- 
ing the  listener  in  an  iron  band  of  infectious  enthusiasm. 
You  sit  back  trying  to  preserve  some  semblance  of  your 
original  scepticism;  endeavoring  to  maintain  your  impar- 
tiality or  objectivity.  Suddenly  you  break  free  from 
the  Skouras  spellbinding,  and  ask  a  rather  pointed  ques- 
tion. He  will  whip  off  his  horn-rimmed  spectacles,  throw 
back  his  leonine  head,  laugh  gustily  and  then,  pointing 
directly  at  you,  will  say,  "Leonard,  you  know  better  than 
to  ask  such  a  foolish  thing  .  .  .  You  don't  make  sense  .  .  . 


he  has  become  one  of  our  great  industry  statesmen 
through  the  energy  and  talent  he  has  given  in  furthering 
great  humanitarian  and  charitable  causes  and  in  promot- 
ing friendly  relations  between  our  people  and  the  rest  of 
the  world.  The  motion  picture  industry  owes  Spyros  P. 
Skouras  a  deep  debt  of  gratitude. 

0 


of  Enthusiasm 


Skouras  goes  before  CinemaScope  cameras  to  introduce 
forthcoming  product  trailer.  L.:  Director  Robert  Rossen. 
R.  Sales  chief  Alex  Harrison. 


Listen  to  me." 

Anyone  who  has  had  this  experience  of  Mr.  Skouras 
will  tell  you  the  same  thing:  you  can't  understand  every- 
thing he  says,  but  you  understand  what  he  means.  You 
may  not  agree  with  what  he  tells  you,  yet  you  want  to  be- 
lieve it;  for  here  is  a  man  who,  after  a  lifetime  in  the  film 
business,  is  contantly  rediscovering  it  like  a  wide-eyed 
child  toying  with  its  first  baby  doll.   And  all  this  at  64. 

This  heavy-set  but  handsome  dynamo  with  the  silver 
hair  and  inevitable  blue  suit  was  one  of  a  family  of  ten, 
born  on  a  Greek  farm  in  Skourohorion  (literally  Skouras- 
ville)  and  raised  on  a  diet  which  too  often  consisted  of 
mutton  broth  and  goat  cheese.  The  eldest  son  stayed  be- 
hind to  run  the  farm  when  brother  Charles  (now  dead) 
emigrated  to  America  in  1908  to  help  replenish  the  family 
coffers.  Charles  settled  in  St.  Louis,  Missouri  and  got  a 
job  running  errands  and  doing  menial  chores  at  the  Jeffer- 
son Hotel.  Two  years  later  he  sent  the  passage  money  for 
Spyros,  who  had  left  school  at  the  age  of  13  to  work  as, 
first,  a  printer's  devil  in  the  neighboring  town  of  Patras, 
and  then  as  an  insurance  clerk.  Spyros'  first  job  in  St. 
Louis  was  in  the  Planter's  Hotel,  where  his  boss  was 
Ralph  Balzer,  the  barman.  So  charged  with  patriotism 
for  his  adopted  land  was  Mr.  Balzer  that  he  felt  young 
Spyros  should  be  infected  post-haste.  So  every  morning 
at  3 :45  a.m.  when  the  boy  presented  himself  for  work, 
Ralph  made  him  stand  at  attention  and  sing  the  American 
national  anthem. 

George  Skouras  was  the  next  to  emigrate  and  together 
the  brothers,  starting  with  control  of  the  slum-district 
Olympia  nickelodeon  in  St.  Louis,  built  themselves  a 
great  film  empire  with  only  their  joint  savings  to  work 
with.    In  those  early  days  Charlie,  George  and  Spyros 

(Continued  on  Page  22) 


Film  BULLETIN    April  29,  1757        Page  21 


SKOURAS,  MAN  OF  ENTHUSIASM 

(Continued  from  Page  21) 

worked  as  a  team  although  their  relationship  was  at  times 
extremely  turbulent. 

They  made  many  innovations  between  their  entry  into 
show-business  in  1914  and  the  sale  of  their  St.  Louis  inter- 
ests in  1928.  Instead  of  using  "bouncers"  they  employed 
good-looking  usherettes  for  the  first  time  in  America. 
They  launched  the  popcorn  vogue.  They  mounted  stage 
shows  which  attracted  observers  from  all  parts  of  the 
United  States.  Only  when  the  U.S.  Government 
strengthened  the  anti-trust  laws  and  made  it  legally  neces- 
sary for  them  to  do  so  did  the  three  brothers  divide  their 
empire,  with  Spyros  in  April  1942  becoming  President  of 
Twentieth  Century-Fox. 

Of  the  three,  Spyros  was  noted  for  his  negotiating  abili- 
ty. He  was  the  ambassador  of  the  trio,  though  he  also 
possessed  an  uncanny  facility  for  beating  the  drum. 

If  you  can  lure  Spyros  aside  during  one  of  his  rare 
reminiscent  moods  he  v/ill  regale  you  numerous  stories 
of  the  exploits  which  he  and  his  brothers  are  supposed  to 
have  carried  out  in  that  colorful  period  when  they  were 
operating  together  in  St.  Louis. 

The  fact  that  many  of  the  stories  spread  about  their  ac- 
tivities in  those  days  are  apocryphal  doesn't  spoil  Mr. 
Skouras'  fun  in  retailing  them. 

With  a  gleam  in  his  eye,  for  instance,  he  will  explain 
how,  in  those  early,  struggling  days,  they  brought  various 
film  company  salesmen  into  a  state  of  happy  surrender  by 
a  lengthy,  and  wordy,  seige  in  which  all  the  brothers  in 
turn  would  participate. 

The  poor  salesman  would  first  be  subjected  to  the  wiles 
of  all  three,  eager  to  explain  that  the  terms  he  was  asking 


Mr.  and  Mrs.  Spyros  Skouras  attend 
a  film  preview. 


were  fantastic.  After  a  couple  of  hours,  brother  George 
would  excuse  himself,  leaving  the  other  two  to  continue 
the  negotiations.  Then  George  would  return  (refreshed 
by  a  steam  bath  and  a  massage)  and  Charlie  would  go  off 
for  a  similar  refresher.  And  when  he  came  back  Spyros 
would  take  his  place. 

The  legend  (which  Spyros  Skouras  does  nothing  to  de- 
stroy) is  that  by  the  time  the  third  brother  had  resumed 
his  place  at  the  conference  table  the  other  two  wouid  have 
finally  reached  agreement  with  the  salesman.  Whereupon 
the  third  of  the  trio,  who  had  been  absent  when  terms 
were  settled,  would  angrily  protest  and  attack  the  other 
two  for  agreeing  to  something  so  ruinous  that  they'd  all 
be  out  of  business  very  soon.  This  made  the  salesman, 
who  had  previously  been  wondering  if  he'd  sold  tco  cheap- 
ly, think  that  he'd  really  pulled  off  a  first-rate  deal,  and  the 
parley  would  break  up  with  everybody  feeling  pleased. 

There  is,  of  course,  a  germ  of  truth  in  these  amusing 
yarns  which,  over  the  years,  have  been  embellished  be- 
yond recognition.  For  the  Skouras  brothers  started  from 
scratch  and  were  compelled  to  drive  hard  bargains  or 
close  shop.  They  had  many  difficult,  worrying  moments. 

Defeat  of  Charlie  Green 

Because  of  the  volatility  of  the  film  business  it  is  never 
free  from  some  form  of  anxiety.  Years  after  those  hectic 
St.  Louis  beginnings,  when  Spyros  Skouras  had  reached 
the  very  top  of  the  ladder  as  President  of  Twentieth  Cen- 
tury-Fox, this  fact  was  brought  home  to  him  sharply. 
Charles  ("Call  Me  Charlie")  Green,  a  New  York  financier 
and  industrialist,  launched  one  of  the  fiercest  proxy  fights 
ever  seen  in  the  industry.  His  purpose  was  to  reorganize 
the  management  of  the  company  from  stem  to  stern.  His 
criticisms  of  Mr.  Skouras  and  of  Darryl  F.  Zanuck,  then 
head  of  the  studio,  were  bitter. 

Spyros  could  not,  this  time,  turn  to  brothers  Charlie 
and  George  for  aid  and  succour.  Divorcement  had  been 
decreed  by  the  U.S.  Government,  and  the  brothers  had 
each  been  obliged  to  cultivate  their  own  pastures  within 
the  industry. 

But,  as  will  well  be  remembered  by  those  who  watched 
that  struggle  for  power,  and  who  attended  the  decisive 
stockholders'  meeting  at  Wilmington,  Delaware,  a  couple 
of  years  ago,  Spyros  Skouras  found  an  army  of  friends 
and  supporters  anxious  to  lake  the  places  of  Charlie  and 
George. 

Many  of  those  who  had,  supposedly,  been  at  the  re- 
ceiving end  of  Skouras'  hard-bargaining,  took  time  off 
from  their  businesses  to  attend  that  meeting,  to  speak 
enthusiastically  of  him,  of  his  drive,  and  vision,  courage 
and  integrity.  Competitors  of  Twentieth  Century-Fox 
went  to  vote  for  him,  and  the  result  was  an  overwhelming 
defeat  for  Mr.  Green.  Spyros,  however,  never  for  one 
moment  lost  his  native  dignity;  nor  did  he  let  his  feelings 
permit  him  to  crow  over  Charlie  Green.  Indeed,  the  two 
protagonists  patched  up  their  differences  peacefully,  and 
about  a  year  later  Green  was  singing  Spyros'  praises  in 
public  for  the  magnificent  job  he  had  done  in  the  develop- 
ment of  CinemaScope,  against  incredible  odds. 

Those  odds  were  at  one  time  stacked  heavily  against 
Spyros.  Convinced  that  CinemaScope  was  not  fully  effec- 

C Continued  from  Page  34) 


Page  22       Film  BULLETIN    April  29,  1957 


MAN 


AND 


GARY 


wnoaas 


R  WONDERFUL  BEST 


has  in  his  arms 


NGRID 

BERGMAN 

the  most  beautiful 
woman  in  the  world 

in  ERNEST  HEMINGWAY'S 

FOR  WHOM 
THE  BELL 

"*l'l^^'IMI'"r  ^JCaBi^^  SLk  Im^EIs^ 

. . .  one  of  the 
outstanding  motion 
pictures  of  love 
and  adventure! 

AVAILABLE  NOW 
FROM  PARAMOUNT! 


ACADEMY 

AWARD 
"Year's  Best 
Actress" 
INGRID 
BERGMAN 

-for  "Anastasia' 


withAKIM  TAMIROFF 
ARTURO  de  CORDOVA 
JOSEPH  CALLEIA 
and  KATINA  PAXINOU 

Produced  and  Directed  by 

SAM  WOOD 

TECHNICOLOR'  ..jjjjfc. 

Screenplay  by  Dudley  Nichols  ;S^|9: 


SO  HOT  IN  STAR  INTEREST,  SO  PACKED  WITH 
ACTION  AND  ROMANCE  ...  PARAMOUNT  IS  PRE- 
SENTING YOU  WITH  A  BIG  OPPORTUNITY  FOR  BIG 
GROSSES  RIGHT  AWAY.  SPARKLING  ADS,  HARD- 
SELLING  TRAILER,  STRIKING  ACCESSORIES  — 
EVERYTHING  YOU  NEED  TO  GUARANTEE  THE 
PAY-OFF    OF    STRONG    BOXOFFICE  RETURNS! 

PROVEN  IN  FOUR  KEY  METROPOLITAN 
ENGAGEMENTS -TO  TOP  TOP-BUSINESS! 


SPYR03  P.  SKOURAS  did  his  15th 
anniversary  waltz  to  the  happy  tune  of 
improved  financial  earnings  for  23th  Cen- 
tury-Fox. In  his  annual  message  to  stock- 
holders, the  Fox  president  reported  that 
income  from  all  sources  in  1956  was  up: 
$122,251,864  (?2.34  a  share)  compared  to 
$120,807,208,  (?2.2S  a  share)  to  1955. 
Though  income  from  film  rentals  was 
"disappointing",  the  Fox  executive  said 
he  is  "convinced  that  this  situation  will 
change  substantially  as  a  result  of  efforts 
we  have  made  in  the  past  two  years.  We 
now  feel  confident  that  earnings  from 
film  production  will  be  .  .  .  substantially 
greater  than  what  it  has  been  from  mo- 
tion picture  production  during  recent 
years."  Earnings  from  20th's  feature 
films  in  the  last  quarter  of  1956  were 
$1,086,000  against  a  lo;s  of  $1,189,000  in 

ODONNELL 

the  first  three  quarters  of  the  year.  Earn- 
ings for  the  first  quarter  of  1957,  Skouras 
predicted,  will  be  $900,000,  with  the  sec- 
ond quarter  "higher".  The  20th  chief  also 
announced  that  his  company  plans  to  re- 
lease 55  pictures  in  the  next  12  months, 
including  30  "A"  pictures.  He  also  dis- 
cussed the  relinquishment  by  Darryl  F. 
Zanuck  of  his  post  as  vice  president  in 
charge  of  production,  succeeded  by 
Buddy  Adler,  and  the  "understandable 
shortage  of  product"  resul.in-.  However, 
"by  adopting  new  policies  and  ta'ring  ce- 
termined  action",  Skouras  pointed  out, 
"we  were  able  to  begin  1957  with  a  virtual 
reversal  of  this  condition  and  we  are  now 
able  to  count  upon  a  supply  of  product  in 
greater  quantity  and  quality  for  all  of  our 
customers".  Among  the  upcoming  "A" 
product:  "A  Farewell  to  Arms",  "A  Hat- 
ful of  Rain",  "The  Sun  Also  Rises". 

<0 

UNITED  ARTISTS  CORP.  is  off  and 
running  on  its  $17  million  bend  and  stock 
issue.  On  Anril  25th  the  public  was 
given  i  s  first  opportunity  to  invest,  via 
debentures  and  common  stock  in  this 
company.  The  underwriting  group  was 
headed  by  F.  Eberstadt  and  Co.  The  de- 
cision fr?  seek  new  working  capital  to 
reduce  obligations  and  finance  new  pro- 
duction will  terminate  UA's  position  as 

Pags  21       .Fi  m  BULLETIN     April  29,  [957 


THEY 

MADE  THE  NEWS 

the  last  of  the  privately-owned  major 
film  corporations.  The  present  manage- 
ment group  will  retain  majority  control 
after  the  stock  sale. 

0 

ROBERT  J.  O'DONNELL  repeated  a 
warning  to  the  industry:  we  need  new 
stars.  Declaring  that  stars  are  the  "life 
and  blood  and  the  sinew"  of  show  busi- 
ness, the  dynamic  Texas  theatreman 
called  for  a  "star  revitalization"  program. 
His  remarks  were  made  at  a  luncheon 
honoring  Vera  Miles  at  the  Paramount 
studios.  Miss  Miles  is  co-starred  with 
Bob  Hone  in  "Beau  James".  O'Donnell, 
president  and  general  manager  of  Inter- 
state Circuit,  told  the  guests  that  every 
time  a  movie  star  is  born,  producers  and 
tlieatre^ien  share  a  "bonanza"  of  not  less 
than  $230,000,000,  based  on  a  10  year  star- 
dom expectancy  at  the  rate  of  4  films 
per  year.  Relief  for  the  current  shortage 
of  stars  can  be  had,  he  said,  only  if  the- 
atre owners  engage  in  more  aggressive 
exploitation  cf  "exciting  young  people". 
0 

THE  JUSTICE  DEPARTMENT  made 
it  clear  it  is  in  deadly  earnest  about  pre- 
venting block-booking  of  films  to  tele- 
vision. Charging  five  more  distributors  of 
films  to  TV  with  violating  antitrust  laws 
by  forcing  stations  to  buy  features  they 
didn't  want,  preempting  television  play- 
ing time,  and  preventing  TV  stations  who 
couldn't  afford  to  pay  for  the  blocks  of 
films  from  buying  any  at  all,  the  Justice 
Department  asks  the  companies  be  made 
to  license  feature  films  on  a  picture -by- 
nicture,  station-by-station  basis  and  to 
renegotiate  existing  contracts.  Defend- 
ants include  C  &  C  Suner  Corp.  (distrib- 
uting RKO  picture  ),  Screen  Gems  (Co- 
lumbia), Associated  Artists  (Warners), 
National  Telefilm  Associates  (20th. Fox), 
and  United  Artists  Corp.  Anti-trust  chief 
Victor  R.  Hansen  said  that  the  suits  are 
part  of  an  overall  investigation  of  broad- 
casting, but  that  the  Justice  Dept.  was 
moving  promptly  to  ensure  that  "televi- 
sion broadcasters  will  not  be  subject  to 
the  type  of  economic  restraints  that  en- 
cumbered motion  picture  exhibitors". 
Hansen  said  that  the  ruling  against  block- 
booking  of  films  to  exhibitors  in  the 
Paramount  case  was  equally  applicable  to 
television.  In  preliminary  statements, 
most  of  the  defendants  indicated  that 
whatever  the  government's  decision  in  the 
case,  they  didn't  feel  it  would  effect  their 
company's  operations. 

O 

ALEX  HARRISON  reported  the  resur- 
rection of  61  small-town  and  subsequent- 
run  theatres  as  the  direct  result  of  20th- 
Fox's  policy  of  lending  a  helping  hand. 
In  his  first  report  since  the  policy  was 
[More  NEWS  on  Page  26] 


put  into  effect  in  February,  the  Fox  sales 
executive  also  listed  a  number  of  sub- 
runs,  mostly  in  Canada,  which  have  suc- 
cessfully been  converted  to  first-run 
houses.  The  aid  by  Fox  was  in  the  form 
of  assisting  closed  small  town  and  sub- 
run  houses  to  reopen  by  stimulating  at- 
tendance. Harrison,  meanwhile,  took  ex- 
ception to  the  statement  made  recently  by 
TOA  president  Ernest  Stellings  calling 
for  the  release  of  more  "A"  product  be- 
tween now  and  June  1  to  alleviate  the 
product  shortage.  "I  was  shocked  at  Mr. 
Stellings'  statement,  as  20th  Century-Fox 
is  releasing  11  major  productions  between 
now  and  June  1",  Harrison  said.  "This 
is  in  keeping  with  Spyros  P.  Skouras' 
pledge  made  several  weeks  ago  to  exhib- 
itors to  make  available  to  them  at  least 
one  major  production  every  week." 


HARRISON 


0 

TRUEMAN  T.  REMBUSCH  and  the 
Commitee  Against  Pay-TV  is  leaving  it 
up  to  the  individual  exhibitor  to  decide 
whether  he  wants  "cable  theatre".  Rem- 
busch,  co-chairman  of  the  group  which 
includes  representatives  of  National  Al- 
lied and  TOA,  last  week  announced  that 
the  committee  will  not  concern  itself 
with  the  merits  of  cable  theatre  and  that 
it  is  not  opposed  to  the  use  of  cables  as  a 
transmission  medium  for  pay-as -you-see 
movies.  The  committee,  he  said,  is  only 
"unalterably  opposed  to  the  use  of  free  air 
waves  as  a  transmission  medium  for  any 
form  of  slot  machine  TV".  This  stand 
is  supported  by  the  Committee's  many 
members.  "If  an  individual  is  interested 
to  the  extent  of  investing  substantial 
monies  to  install  a  cable  theatre  in  his 
community,  it  is  no  concern  of  this  com- 
mittee", Rembusch  declared.  Many  indus- 
tryites  feel  the  Committee's  sentiments 
make  sense  since  there  is  a  world  of  dif- 
ference between  the  installation  of  expen- 
sive, FCC-approved  cables,  and  the  usur- 
pation of  the  free  air  waves  for  private 
use.  Indeed,  some  quarters  feel  that  a 
precedent  for  the  use  of  cables  has  al- 
ready been  set  with  the  piping  into  the- 
atres via  cable  of  the  championship 
boxing  matches. 


-^forHapETBox-Offiee/ 


M£f,Sfacivesntuie$  of  the  GlObUS 
o  went  into  OPERATION  KlMONO . . .  .barefoot  / 


"OnemaScopE  technicolor, 

AUDIE  MURPHY  GEORGE  NADER 

KEIKQ  SHI»  iOHN  AGAR  •  CHARLES  McGRAW •  FRED  CLARK ,,  BURGESS  MEREDITH 


NAN  WYNN 


*4s  JOE  BUTreHFiy.^  '""a''1* 


E  WBBS-SCSEEWtM  B»  SY  COM  BERG  JACK  SH£R  «so  MARION  HARGROVE- moouttO  fft  AARON  ROSENBERG 
'*         A  UNIVERSAL  INTERNATIONAL  PICTURE 


■ 


I 


THEY 

MADE  THE  NEWS 


A 

FABIAN 

SI  H.  FABIAN  has  nothing  to  complain 
about  when  it  comes  to  Stanley  Warner 
income.  A  25  per  cent  increase  in  net 
profit  was  reported  by  the  S-W  president 
fcr  the  26  weeks  ended  Feb.  23,  1957, 
compared  to  the  same  period  of  the  pre- 
vious year.   Net  profit  was  $2,007,700,  or 


$.93  per  share,  as  against  $1,629,100,  or 
$.74  a  share  of  the  comparable  1956  pe- 
riod. Consolidated  net  profit  of  the  Stan- 
ley Warner  Corp.  and  its  subsidiaries  for 
the  26  week  period  was  $4,207,700  com- 
pared to  $3,529,100  of  the  previous  year. 
Theatre  admissions  and  merchandise 
sales,  rents  from  tenants  and  other  in- 
come was  up  17.5  percent. 

0 

NATIONAL  ALLIED  board  of  direc- 
tors, meeting  May  7-9  in  Detroit,  have 
laid  out  an  important  agenda,  arbitration 
and  re-affiliation  with  COMPO  heading 
the  list.  The  directors  will  study  a  report 
on  re-affiliation  submitted  by  a  committee 
of  Wilbur  Snaner,  Treuman  T.  Rem- 
busch  and  Abram  Myers.  The  group  has 
^een  meeting  with  a  COMPO  committee 
in  an  attempt  to  settle  differences.  Allied 
president  Julius  Gordon  will  report  on 
arbitration  and  conciliation,  as  well  as 
results  of  his  talks  with  TOA  and  distri- 
bution. (A  Mav  13  all-industry  meeting 
is  scheduled  to  launch  arbitration  talks.) 
Other  important  items  on  the  Allied 
Board's  slate:  the  hiring  of  a  public  rela- 
tions aide.,  and  the  cable  theatre  experi- 
ment in  Bartlesville,  Oklahoma,  this  sum- 
mer. The  Allied  ^oard  will  meet  in  con- 
junction with  the  annur.l  convention  of 
Allied  Theatres  of  Michigan. 

0 

BARNEY  BALABAN  announced  final 
acquisition  by  Paramount  of  Dot  Rec- 
ords, Inc.,  reported  to  be  the  leader  of 
the  industry  in  single  record  sales  in  1956. 
Among  its  top  singers:  Pat  Boone,  Tab 
Hunter,  Gale  Storm. 


HEADLINERS... 


DAVID  B.  WALLENSTEIN  named  to 
succeed  late  John  Balaban  as  president  of 
Balaban  &  Katz  Theatres.  LEONARD 
H.  GOLDENSON  made  the  announce- 
ment. Wallerstein  was  v. p.  and  general 
mgr.  for  B  &  K  and  Publix  Great  States 
Theatres,  also  AB-PT  subsidiaries  .  .  . 
Loew's  advertising  v.p.  HOWARD 
DIETZ,  sales  head  CHARLES  M.  REA- 
GAN, ass't  sales  heads  JOHN  P. 
BYRNE  &  ROBERT  MOCHRIE  con- 
claved  recently  with  studio  publicity  head 
HOWARD  STRICKLING  and  his  staff 
to  view  and  discuss  upcoming  product 
.  .  ,  NORMAN  JACKTER  named  to 
replace  HAROLD  GREEN  as  manager 
of  Columbia's  Los  Angeles  exchange. 
HERBERT  SCHWARTZ,  succeeds 
Jackter  as  the  Albany,  N.Y..  branch  mgr. 
.  .  .  Loew's  sales  topper  CHARLES  M. 
REAGAN  announced  sales  realignments 
for  that  company:  WILLIAM  B. 
ZOELLNER,  former  short  subjects  sales 
head,  to  branch  manager  at  Atlanta;  H. 
RUSSELL  GAUS,  from  Atlanta  to 
branch  mgr.  at  Cincinnati;  EDWIN  M. 
BOOTH,  from  Cincinnati  to  a  sales  post 
at  Indianapolis  .  .  .  SAM  GORELICK 
aupointed  Chicago  Regional  mgr.  for 
R^nk  Film  Distributors  by  siles  topper 
IRVING  SOCHIN  .  .  .  WILLIAM 
GOLDMAN,  president  of  William  Gold- 
man Theatres  of  Pennsylvania,  elected 
president   of   Philadelphia's   fisrt  educa- 


Otto  Preminger,  left,  and  United  Artists  v.p, 
Max    Youngstein   enjoy  a  light   moment  at 

and  Opening'  'date's  o/'  Pr'emini>er\*--'st.  Joan" 
World  premiere  is  set  for  May  12  in  Paris. 
With  15  key  city  dates  to  follow.  Youngstein 
Uiselosed  that  "The  Man  With  The  Golden 
Arm".  Preminger's  previous  production  for 
I  A  release,  has  so  far  grossed  more  than  St 
million  in  the  domestic  market. 

tional  station  WHYY-TV  .  .  .  GEORGE 
GLASS  and  WALTER  SELTZER 
named  executive  producers  of  Marlon 
Brando's  inde  Pennebaker  Companv.  re- 
leasing through  Paramount  .  .  .  MPEA 
continental  manager  MARC  M.  SPIE- 
GEL named  by  MPEA  president  ERIC 
JOHNSTON  as  latter's  personal  rep  at 
the  Cannes  Film  Festival  next  month  .  .  . 
Wisconsin's  BEN  MARCUS  announced 
establishment  of  first  epilepsy  center  in 
thac  state.  sponsor  .id  bv  Variety  Tent  14 
.  .  .  MAX  E.  YOUNGSTEIN,  chairman 
of  the  national  asthma  campaign,  an- 
nounced appointment  of  OSCAR  KATZ, 
CBS  v.p.,  and  TED  COTT,  general  mgr. 
cf  Dumont  TV,  as  co-chairmen  of  enter- 
tainment committee  for  3rd  annual  Pa- 
rade of  Stars  benefit  show,  Carnesie  Hall, 
May  11  .  .  .  Annoal'  luncheon  in  N.Y., 
May  23,  to  climax  motion  picture  and 
CT.usement  industry's  United  Jewish  Ap- 
peal drive.  United  Artists  v.p.  LEON 
GOLDBERG  is  chairmanning  the  enter- 
tainment segment  of  drive  .  .  .  Society  Ot 
Motion  Picture  and  Television  Engineers 
conclavine:  in  New  York  fcr  annual  con- 
vention. April  29-May  3  .  .  .  GEORGE 
FNGLUND,  movie  and  stage  producer- 
director,  signed  bv  MGM  independent 
producer  SOL  C.  SIEGEL  as  latter's  as- 
sociate .  .  .  DIED:  H.  F.  WILLIAMS, 
executive  of  K.  Lee  Williams  Theatres 
of  Arkansas. 


SEWm«  MONSTER  DEFY  MODERN  WEAPONS1. 


Not  since  King  Kong  has  the 
screen  seen  anything  like  it! 


from  COLUMBIA  of  course! 


Page  26        Film  BULLETIN    April  29,  1957 


The  thematic  drawings  by  Joseph  Hirsch  for 
"The  Strange  One"  are  powerful  illustrations 
directly  from  the  action,  are  being  used  by  Co- 
lumbia as  the  key  art  in  selling  the  film.  Used 
in  display  and  in  miniature  as  the  background 
for  the  feature  titles,  they  also  serve  as  a 
springboard  for  opening  scenes  of  the  trailer, 
on  record  albums  and  special  posters.  Their  il- 
lustration of  character  and  incident  speak 
volumes  to  the  reader. 


One  of  the  most  strikingly  apt  pieces  of  art  ever  conceived  for  a  movie  is  this  painting  by 
John  Vickery  for  M-G-M's  "Lust  for  Life".  Utilizing  the  unmistakable  brush  strokes  and 
vivid  color  associated  with  the  artist  Vincent  Van  Gogh,  whose  tragic  life  forms  the  basis 
for  Ihe  movie,  Vickery's  startling  similarity  to  the  technique  of  the  immortal  Van  Gogh 
was  one  of  the  big  stimulants  to  talk  about  the  film.  The  painting  was  used  intact  for  the 
entire  24-sheet,  with  only  a  strip  at  the  bottom  to  list  title  and  credits. 


All  the  swirling  movement  of 
the  Spanish  dance,  the  plod- 
ding misery  of  defeated 
soldiers  in  retreat  is  cap- 
tured in  these  sketches  by 
David  Fredenthal  for  "The 
Pride  and  the  Passion".  They 
are  part  of  a  multitude  of 
drawings  by  the  famed  ar- 
tist-reporter in  his  herculean 
task  of  recording  the  entire 
location  filming  of  the  Stan- 
ley Kramer  production.  Life 
magazine  ran  the  sketches  to 
illustrate  the  film  in  a  ten- 
page  layout.  They  will  be 
used  also  in  the  ads  and 
posters,  may  end  up  as  a 
high  priced  book  for  art  col- 
lectors. The  sketch  record  of 
the  mammoth  filming  repre- 
sents the  biggest  project  the 
artist  has  attempted. 


This  Al  Hirschfeld  carica- 
ture of  the  two  principal 
characters  in  Mike  Todd's 
"Around  the  World  In 
80  Days",  Cantinflas  and 
David  Niven,  is  typical  of 
the  master  caricaturist's 
eye-draw  and  fine  pen- 
and-ink  technique.  On 
the  opposite  page,  his  in- 
cisive sketch  for  "Twelve 
Angry  Men"  catches  the 
characters  and  character- 
istics of  each  of  the  cast 
with  unerring  accuracy, 
including  Lee  J.  Cobb, 
Henry  Fonda  and  Ed  Beg- 
ley.  Only  one  thing  mars 
the  perfection  of  the  taut 
atmosphere — the  "J"  in 
the  Jury  Room  sign  is 
backwards. 


Jacques  Kapralik's  three-dimensional  illustra- 
tion for  M-G-M's  "Designing  Woman"  com- 
bines superb  caricature  with  bits  of  cloth, 
metal  and  paper  to  depict  this  scene  with 
Lauren  Bacall  and  Gregory  Peck. 


Page  28 


Film  BULLETIN    April  29,  1957 


FREDENTHAL 


ART 


in  Movie  Advertising 


Several  months  ago,  an  advertising  "consultant"  for  Advertising  A^e  described  the  movie  ad  creator  as  an  absinthe 
soaked  neurotic  whose  inspiration  and  tools  are  Parisian  "feelthy  pictures"  and  a  bag  of  color  crayons.  Other  Madison 
Avenue  "experts"  have  periodically  snubbed  and  drubbed  movie  ads  as  sensational  trash  composed  by  the  dregs  of 
the  art  nether-world.  Illustrated  on  these  pages  is  the  work  of  five  artists,  nationally  known  and  respected  for  their 
outstanding  mastery  of  respective  techniques.  All  were  commissioned  by  movie  people  to  create  the  distinguished 
art  pictured  here  for  films,  either  current  or  soon  to  be  released.  David  Fredenthal,  one  of  the  leading  artist-journal- 
ists of  this  century,  was  given  the  assignment  of  recording  on  his  sketch  pads  the  entire  filming  of  Stanley  Kramer's 
"The  Pride  and  the  Passion"  (above).  His  World  War  II  sketches,  published  in  Life  in  unprecedented  number, 
brought  him  world-wide  fame  and  he  is  now  recognized  as  one  of  the  great  masters  of  water  color  and  pen-and-ink  in 
the  Goya  and  Daumier  tradition.  Joseph  Hirsch's  portfolio  for  "The  Strange  One"  (below  left)  is  being  offered 
to  art  collectors  as  a  special  campaign  promotion  by  Columbia.  Renowned  for  his  powerful  oils,  Hirsch  is  the  winner 
cf  several  distinguished  international  awards,  including  the  Prix  de  Rome  and  the  Walter  Lippincott  Prize.  Genius 
of  the  deft  caricature  is  the  popular  Al  Hirschfeld  ("Twelve  Angry  Men",  lower  right),  one  of  the  most  sought-after 
book  illustrators  and  the  Sunday  Times  dramatic  artist.  Jacques  Kapralik  ("Designing  Woman",  opposite)  is  the 
world's  foremost  delineator  of  the  three-dimensional  caricature.  John  Vickery  ("Lust  for  Life")  is  one  of  the  country's 
leading  oil  painters.  The  dregs  —  or  the  cream? 


HIRSCHFELD 


Film  BULLETIN    April  21,  1957        Page  29 


Sophia 

$t€ir  of  Fire 

Dripping  wet,  Sophia  Loren  shoots 
out  hotter  sparks  than  any  svelte  sulrry 
star  around  these  days,  as  the  gamin 
pictured  above  can  well  attest.  This  still 
of  the  luscious  Loren  can  be  the  basis 
for  any  number  of  displays  that  will 
have  'em  pop-eyed.  As  a  giant  cut-out, 
set  in  the  lobby  well  in  advance  of  play- 
date,  it  will  set  talk — and  whistles — 
going  at  a  headlong  pace.  The  same 
can  be  multiplied  with  several  standees 
— lobby,  marquee,  out  front  and  for 
busy  spots  around  town. 

During  the  filming,  director  Jean 
Negulesco  did  several  sketches  of  the 
star,  two  of  which  are  shown  below. 
They  are  available  in  a  set  of  10  special 
stills — 5  sketches  and  five  photos — to 


set  up  a  novel 

art 

contest,  detailec 

in 

the  exhibitor's  campaign  book. 

wmummmamm 

NEGULESCOS  LOREN 


Page  30        Film  BULLETIN    April  29,  1957 


EXPLOITATION  PICTURE 

Italian  Sex  Bombshell  Sparks 
Hot  Campaign  for  20th's  'Dolphin' 


The  hottest  thing  from  Italy  since  Vesu- 
vius forms  the  foundation  of  the  showman's 
campaign  on  20th  Century-Fox's  "Boy  on  a 
Dolphin".  While  this  may  seem  like  a  rash 
statement  in  view  of  the  Lollobrigidas,  Man- 
ganos  and  Pampaninis  that  have  sizzled  our 
screens,  the  current  heat  wave  generated  by 
Sophia  Loren  makes  'em  all  seem  pallid. 

Not  that  Miss  Loren  is  alone  the  star 
power  in  this  CinemaScope  color  adventure- 
romance.  Co-starring  are  Alan  Ladd  and 
Clifton  Webb,  both  b.o.  magnets  of  no  mean 
strength.  But  the  fresh,  hot  impact  of  this 
new-to-America  star  is  the  big  selling  point. 

The  value  placed  by  Hollywood  film 
makers  on  this  sultry,  green-eyed  beauty  is 
evident  in  her  starring  appearances  in  two 
other  American  top-graded  films  soon  to  be 
released — opposite  Cary  Grant  and  Frank 
Sinatra  in  "The  Pride  and  the  Passion",  and 
in  ths  coveted  co-starring  spot  with  John 
Wayne  in  "Legend  of  the  Lost."  The  ad- 
vance campaigns  on  both  of  these  have 
helped  sweep  her  into  public  consciousness 
for  an  extra  exploitation  dividend  to  show- 
men who  play  "Boy  on  a  Dolphin." 

As  a  sexily  gaminish  Greek  sponge-diver, 
vying  with  Ladd  and  Webb  in  search  of  an 
invaluable  sunken  statue  in  the  Aegean  Sea, 
the  Loren  architecture,  displayed  to  breath- 
taking advantage,  puts  even  the  Parthenon 
to  shame. 

As  for  her  dramatic  ability,  Ed  Sullivan 
panted  after  seeing  the  picture:  "Sophia 
Loren  left  us  gasping  in  a  preview  room, 
with  the  variety  and  range  of  a  performance 
that  will  qualify  her  for  an  Academy 
Award."  The  alert  Boxoffice  men  have 
turned  the  quote  to  advantage,  combined 
with  the  provocative  figure  of  the  star,  in  a 
striking  teaser  ad. 

Art  in  the  ads  uses  this  figure,  combined 
with  an  underwater  kiss,  to  excellent  effect. 


Copy  is  concentrated  in  the  "love  and  ad- 
venture" theme,  but  the  Loren  art  is  always 
foremost.  Also  capitalized  is  the  filming  on 
location  in  Greece,  with  its  scenic  splendors 
as  the  backdrop  for  the  principals. 

The  Greek  locale,  with  action  taking  place 
among  the  glorious  Greek  ruins  and  the 
beautiful  islands,  is  a  special  exploitable  that 
can  be  used  to  advantage  in  many  situations. 
Benefits  for  Greek  organizations  and  special 
funds,  such  as  at  the  world  premiere  at  the 
Roxy,  will  enlist  valuable  support  from  the 
always  cooperative  Greek  elements  in  the 
community,  churches,  societies,  fraternities 
and  sororities.  Travel  agencies  should  be 
contacted  for  cooperative  aid,  impressing 
that  the  beauties  of  the  country  in  Cinema- 
Scope  can  have  the  same  effect  on  travel  in- 
terest in  Greece  that  "Three  Coins  in  the 
Fountain"  stimulated  for  Italy. 

No  mean  asset,  too,  is  the  title  song,  sung 
by  Julie  London  in  the  film  and  recorded  on 
three  labels  by  Miss  London,  Felicia  San- 
ders and  George  Cates,  and  quick  rising  to 
popularity.  One  need  only  remember  what 
"Three  Coins"  did  for  that  earlier  film  to 
be  reminded  of  the  important  boxoffice  fac- 
tor this  can  be.  The  song  is  getting  a  spe- 
cial sendoff  by  both  Miss  London  and  Miss 
Sanders  on  multiple  city  tours  to  plug  their 
record  and  the  film. 

Another  source  of  promotion  is  the  Avon 
nation-wide  bally  for  its  35c  movie  edition 
of  "Boy  on  a  Dolphin".  Featuring  the  Loren 
charms  on  the  cover  and  illustrated  with 
photos  from  the  movie,  the  book  is  saturat- 
ing bookstalls  and  newsstands. 

Several  other  special  promotions  are  de- 
tailed and  illustrated  in  the  press  book,  all 
good  supplements  to  the  big,  big  one — 
Sophia  Loren.  She's  the  showman's  focal 
point  and  20th  has  supplied  him  with  boun- 
tiful material  to  spread  out  on  this  hot  angle. 


The  'Dolphin'  Story 

A  few  years  back,  director  Jean  Negulesco  took  his  stars  to  Italy  to  make 
"Three  Coins  in  the  Fountain."  Now,  the  director  has  used  the  beauties  of 
Greece  for  his  sets  in  a  color-kissed  adventure-romance  co-starring  Alan  Ladd, 
Clifton  Webb  and  Sophia  Loren.  The  tale  has  Sophia  as  a  penurious  sponge- 
diver  who  discovers  a  bronze-and-gold  boy-on-a-dolphin  statue  of  ancient 
Greece  beneath  the  sea.  She  tries  to  interest  archeologist  Ladd  in  her  amaz- 
ing discovery,  turns  to  ruthless  art  connoisseur  Webb  when  Ladd  doubts  her 
story.  Then  evolves  a  who's  got  the  Dolphin  chase  as  Ladd  and  Webb  each 
try  to  get  the  priceless  treasure,  the  former  for  its  rightful  owner,  the  Greek 
government,  and  Webb  for  his  own  art  collection.  In  the  proceedings,  Loren 
is  convinced  of  Ladd's  honorable  intentions  towards  both  herself  and  the 
statue,  and  in  a  weird  double-cross,  helps  regain  the  treasure  for  the  Greeks. 
Featured  in  the  Samuel  Engel  C-Scope  production  is  the  famed  Greek  song 
and  folk  dance  group,  "Panegyris",  in  which  Sophia  displays  that  figure. 


EXPLOITATION  PICTURE  of  the  Issue 


Film  BULLETIN    April  29,  1957        Page  31 


/ 


FASHIONS  LURE  FEMS 


Style  Used  as  Promotion 
Bait  by  20th  Century,  M-G-M 

Proceeding  on  the  theory  of  the  piscatorial 
expert  that  every  fish  has  a  preferred  bait, 
two  of  the  film  companies  have  fixed  their 
hooks  with  eye-filling  fashion  promotions  to 
lure  the  elusive  mermaid  catch.  20th  Cen- 
tury-Fox and  Metro-Goldwyn-Mayer  are 
using  the  chic  treatment  for  "Desk  Set"  and 
"Designing  Woman",  respectively. 

For  20th,  chief  wardrober  Charles  Le- 
Maire  will  hit  the  fashion  trail  next  month 
to  visit  leading  department  stores  in  some 
twenty  U.S.  and  Canadian  cities.  The 
Academy  Award  winning  designer  will 
carry  along  a  many-splendored  wardrobe 
valued  at  $500,000,  participating  in  "Desk 
Set"  contests  in  each  city  to  find  the  most 
beautiful  secretaries.  Travelling  with  Le- 
Maire  will  be  several  20th  starlets,  who  will 
model  his  creations  at  fashion  shows  and  on 
television,  also  engage  in  other  exploitation. 

Metro  is  working  the  fashion  gimmick  to 
a  fare-thee-well  for  "Designing  Woman".  In 
Toronto,  fieldman  Chester  Friedman  has  set 
some  attention-grabbing  tie-ups  for  the 
Loew's  houses  there.  The  Canadian  ex- 
ploiteer  has  scheduled  outdoor  fashion 
shows  at  Toronto  shopping  centers  featur- 
ing the  Helen  Rose  styles  from  the  film,  the 
affairs  being  pushed  by  full-page  ads  in 
120,000  12-page  heralds.  In  addition,  Fried- 
man has  arranged  theatre  demonstrations 
with  Singer  sewing  outlets  in  the  area,  and 
the  womens'  editors  of  the  Toronto  news- 
papers will  run  "DW"  fashion  layouts. 


Keaton  plugs  "Keaton".  Famed  silent- 
screen  star  Buster  Keaton  and  his  wife  arrive  in 
New  York  City  for  a  round  of  promotional  ac- 
tivities to  bally  Paramount's  "The  Buster  Keaton 
Story",  starring  Donald  O'Connor.  While  in 
Gotham,  the  ageing  comedian  appeared  on 
NBC-TV's  "Today"  show,  among  others. 


STRESS  YOUTH  ANGLE 


'Joan'  and  'Night'  Campaigns 
Keyed  to  Younger  Audiences 

The  fact  that  theatregoers  under  25  years 
of  age  have  money  in  their  pockets,  and  also, 
that  they  are  favorably  interested  in  motion 
pictures  as  an  entertainment  medium  makes 
them  loom  large  in  the  over-all  promotion 
picture.  Taking  the  cue,  United  Artists  and 
M-G-M  are  both  reaching  out  for  the 
young-people  audience  with  campaigns  on 
forthcoming  releases. 

On  behalf  of  Otto  Preminger's  "St.  Joan", 
students  in  over  one  thousand  high  schools 
and  colleges,  blanketing  every  one  of  UA's 
32  exchange  areas,  will  be  shown  films  of 
Jean  Seberg's  appearance  on  NBC-TV's 
"The  American  Scene"  show,  with  the  Ford 
Foundation  picking  up  the  tab.  Supplement- 
ing the  special  classroom  showings,  a  kine- 
scope of  the  program  will  be  telecast  over 
sixty  educational  TV  outlets. 

To  promote  "This  Could  Be  the  Night", 
Metro  is  holding  a  series  of  "disc  jockey 
movie  parties"  in  thirty-five  cities  through- 
out the  nation.  This  is  an  intensive  effort  to 
develop  youth  penetration  through  the 
platter  spinners  with  their  pied  piper  fol- 
lowings.  The  jocks  will  sponsor  invitational 
previews  of  the  Joe  Pasternak  production 
and  public  invitations  to  the  screenings  will 
be  offered  over  the  airwaves. 

Just  how  important  the  youth  audience  is 
was  pointed  up  recently  in  a  study  released 
by  Eugene  Gilbert  &  Company,  research 
consultants.  Among  the  salient  points  re- 
vealed in  this  report:  During  1956,  teenagers 
numbered  16,130,000  —  almost  10%  of  the 
total  population.  By  1956,  they  will  number 
24,000,000.  Today's  teens  pocket  some  $9,- 
000,000  in  allowances,  gifts  and  income  de- 
rived from  jobs.  By  1965,  this  figure  will 
reach  almost  $14,000,000.  Ninety-five  per 
cent  of  girl  teenagers  that  read  newspapers 
read  the  movie  ads;  ninety-three  per  cent  of 
the  boys  in  this  group  read  the  movie  ads. 

Of  the  employed  teens,  some  800,000  have 
steady,  full-time  jobs.  Nearly  4,700,000  have 
part-time  jobs,  and  during  the  summer  va- 
cation period,  the  youthful  work-force 
bulges  to  more  than  9,500,000  gainfully  em- 
ployed workers. 


Columbia's  promotional  campaign  for  "The 
Strange  One"  includes  a  "sell  it  with  music" 
drive  keyed  to  the  record  buying  public.  Top: 
Columbia  vice  president  Paul  N.  Lazarus  (right) 
talks  over  music  promotion  with  composer  Ken- 
yon  Hopkins  (left)  and  producer  Sam  Spiegel. 
Bottom:  cover  of  the  Coral  sound  track  album. 
Singles  have  also  been  released  by  3  record 
concerns — Capitol,  Cadence  and  Coral. 


natural  tie-in  for  every  furniture  store  in  the 
land.  And  Loew's  Midland  Theatre,  Kansas  City, 
isn't  missing  the  opportunity,  as  witness  above, 
In  this  case  the  "live  sleeping  beauty"  is  plug- 
ging Italian-French  provincial  furniture.  Mat- 
tresses, bedspreads,  and  other  bedroom  equip- 
ment lend  themselves  equally  well  to  this  type 
of  attention-grabbing  promotion. 


HEADS  WB  SPECIAL  EVENTS 

Herb  Pickman  has  been  named  director  of 
special  events  for  Warner  Brothers.  The 
appointment  was  announced  by  national 
publicity  manager  Myer  M.  Hutner.  An  ex- 
perienced field  hand,  Pickman  recently 
served  as  coordinator  and  liaison  for  na- 
tional promotional  activities  on  the  James 
Stewart  starrer,  "The  Spirit  of  St.  Louis". 


Sophia  Loren-Beautiful 
Siren  of  Italy 


I  Eleven  Hearst  newspapers 
carried  a  two  installment 
photos-and-text  feature  on 
the  exciting  Italian  import, 
Sophia  Loren.  Featuring 
scenes  from  20th  Century- 
Fox's  "Boy  on  a  Dolphin", 
the  profile  was  written  by 
journalist  Ray  Parker.  The 
articles  will  be  made  avail- 
able to  other  newspapers 
after  the  initial  Hearst  syn- 
dication. Articles  ran  in 
these  cities:  New  York,  Los 
Angeles,  San  Francisco,  Bal- 
timore, Boston,  Detroit,  Al- 
bany, Pittsburgh,  San  An- 
tonio,    Seattle,  Milwaukee. 


Page  3Z       Film  BULLETIN    April  2?,  1957 


"Boy  on  a  Dolphin" 

Sct4lKC44  TZcUcK?  O  O  O 

Hot  star  Sophia  Loren,  superb  photography,  entertaining 
story  will  parlay  this  into  better  returns  where  exploited. 

Getting  the  jump  in  unveiling  the  sexy  Sophia  Loren  to 
the  mass  American  market,  20th-Fox  has  an  entertaining 
piece  of  boxoffice  in  "Boy  on  a  Dolphin"  that  can  be  built 
into  outstanding  returns  with  proper  exploitation.  A  feast 
for  the  eyes  is  offered  in  both  the  magnificent  Greek  loca- 
tions caught  superbly  by  the  CinemaScope  cameras  in 
DeLuxe  Color  and  the  equally  magnificent  architecture  of 
this  much-publicized  and  talented  Italian  star.  Director 
Jean  Negulesco,  who  combined  the  scenic  beauties  of  Italy 
with  an  entertaining  story  in  "Three  Coins  in  the  Foun- 
tain", has  capitalized  the  same  formula,  even  to  a  hit  title 
song,  and  it  should  come  off  equally  well.  Miss  Loren 
registers  strongly  as  the  central  character  in  a  tug  of  war 
between  Alan  Ladd  and  Clifton  Webb  for  a  priceless 
ancient  Greek  statue  she  has  discovered  while  sponge-div- 
ing in  the  Aegean  Sea.  Clad  in  simple  costumes  (includ- 
ing a  diving  outfit  she  fashions  by  pulling  her  skirt  be- 
tween her  legs  and  tucking  it  into  her  belt),  Sophia  domi- 
nates every  scene  in  which  she  appears  with  her  fiery 
spirit  and  ample  charms.  Unfortunately  by  comparison, 
Ladd  seems  even  mere  wooden  than  usual.  Webb,  how- 
ever, is  in  his  element  as  the  caustic  and  ruthless  art  con- 
noisseur. Negulesco  has  deftly  combined  the  elements  of 
excitement  and  humor  against  the  glorious  backgrounds 
of  Greece  for  a  stimulating,  visually  exciting  movie. 

20th  Century-Fox.  Ill  minutes.  Alan  Ladd,  Clifton  Webb,  Sophia  Loren  Jorge 
Mistral,  Laurence  Naismith,  Fiero  Giacjnonio.  Produced  by  Samuel  Engei.  Directed 
by  Jean  Negulesco. 

"The  Tall  T" 

Sututeu  Kate*?  O  O  Plus 

Average  Randolph  Scott  western  for  action  fans. 

A  shade  above  the  average  Randolph  Scott  western  by 
virtue  of  a  capable  supporting  cast  and  Budd  Boetticher's 
suspense-generating  direction,  "The  Tall  T"  should  find 
its  niche  comfortably  and  will  prove  rewarding  to  fans 
of  the  outdoor  melodrama.  Registering  more  favorably 
than  he  has  in  his  recent  vehicles,  Scott  gets  good  sup- 
port from  such  worthy  opponents  as  Richard  Boone,  Skip 
Hcmeier  and  Henry  Silva  as  a  black-hearted  trio.  Many 
will  be  surprised  (and  pleased)  to  find  the  still  lovely 
Maureen  O'Sullivan  as  romantic  lead.  Film  picks  up  pace, 
mounts  through  gradually  accelerated  tension  to  a  rip- 
roaring  climax.  Fine  Technicolor  photography  back- 
grounds the  tightly-knit  screenplay  by  Burt  Kennedy. 
Scott,  a  horseless  ranchowner,  is  picked  up  by  a  stage- 
coach bearing  newly  weds  Maureen  O'Sullivan  and  John 
Hubbard.  The  stage  is  stopped  by  three  brutal  bandits, 
Boone,  Homeier  and  Silva,  who  kill  the  driver  to  get  the 
mail  sack.  Learning  the  next  stage  is  carrying  the  mail, 
the  enraged  bandits  are  dissuaded  from  shooting  the 
ethers  by  the  cowardly  Hubbard  revealing,  in  return  for 
his  freedom  that  Maureen  is  an  heiress  worth  more  for 
ransom.  Hubbard  is  killed,  Scott  goads  the  gang  into  a 
feud,  kills  them  off.   Scott,  Miss  O'Sullivan  survive. 

Columbia.  78  minutes.  Randolph  Scott,  Maureen  O'Hara  Richard  Boone  Arthur 
Hunnicutt,  Skip  Homeier,  Henry  Silva,  John  Hubbard.  Produced  by  Harry  Joe 
Brown.    Directed  by  Budd  Boetticher. 

[More  REVI 


"Joe  Butterfly" 

gWe44  IZatUv  O  O  Plus 

Gl  frolic  in  Japan  proves  beguiling  and  amusing  entertain- 
ment for  general  audiences. 

"Joe  Butterfly"  hardly  falls  into  the  classification  of  a 
"Teahouse  of  the  August  Moon",  but  it  has  qualities  of 
charm  and  beguilment  that  might  well  toss  it  into  the 
category  of  a  "sleeper".  Favorable  reviews  and  pleasant 
word-of-mouth  will  help  substantially.  After  a  slow  be- 
ginning, this  Universal-International  production,  hand- 
somely assembled  in  Japan  by  Aaron  Rosenberg,  becomes 
rare  good  fun  in  the  hands  of  a  topflight  cast  and  the 
feather-light  direction  of  Jesse  Hibbs.  Based  on  a  play,  the 
narrative  records  the  giddy  adventures  of  a  group  of  GI 
newspapermen  bent  on  getting  out  an  issue  of  "Yank", 
the  army  magazine,  within  hours  of  the  surrender  of  Ja- 
pan in  Tokyo  harbor.  Opposing  publication  of  the  issue 
is  a  Time-like  writer-editor,  Keenan  Wynn,  who  wants  to 
commander  Tokyo's  only  printing  plant  and  office  fcr  his 
cwn  book.  The  boys,  though,  are  lucky  enough  to  make 
the  acquaintance  of  Joe  Butterfly,  a  genial  Japanese  con- 
fidence man.  Joe  corrals  everything  from  a  handsome  Jap- 
anese house  as  a  combination  house  and  office,  food, 
champagne  and  delicacies  so  that  the  issue  is  out  on  time 
and  the  intrepid  newshawks  are  decorated  instead  of  being 
courtmartialled  for  their  lively  disregard  of  orders  and  red 
tape.  Story  lampoons  effectively  the  military  brass — all  in 
good  humor  and  in  good  taste.  Audie  Murphy  is  delight- 
ful as  a  never-say-die  photographer;  George  Nader  is 
properly  authoritative  as  the  sergeant  in  charge;  Keenan 
Wynn  whams  through  a  sharp  satire  of  the  correspondent; 
Burgess  Meredith,  in  the  title  role,  is  a  triumph. 

Universal-International.  90  minutes.  Audie  Murphy,  George  Nader.  Keenan 
Wynn  Kieko  Shima  Fred  Clark,  John  Agar.  Produced  by  Aaron  Rosenberg 
Directed  by  Jess  Hibbs. 

"The  Girl  In  The  Kremlin" 

Implausible,  lurid  exploitation  programmer.  Dim  b.o.  pros- 
pects. Suited  only  for  lower  slot. 

Some  wiseacres  might  say  that  "The  Girl  In  The  Krem- 
lin" should  never  have  been  released  from  the  Moscow 
citadel,  but  it  isn't  that  bad.  Implausible,  lurid  melodrama, 
this  Universal  offering  does  have  a  modicum  of  exploita- 
tion value.  Telling  a  weird  tale  about  a  beautiful  girl  held 
captive  by  Stalin  and  Beria  who  are  still  alive,  holed  up  in 
Greece,  it  shapes  up  as  a  pretty  dim  boxoffice  prospect, 
best  suited  to  the  lower  half  of  double  bills  in  lesser  runs. 
Mild  marquee  promise  in  names  of  Lex  Barker  and  Zsa 
Zsa  Gabor.  Russell  Birdwell's  direction  is  oniy  adequate 
under  the  limitations  of  script  and  stars.  Miss  Gabor  seeks 
out  Barker,  who  runs  a  missing  persons  bureau  in  Europe, 
to  find  her  twin  sister.  Barker  contacts  underground 
agent  Jeffrey  Stone  who  learns  that  the  s.'ster  was  a  nurse 
in  the  Kremlin  and  that  Stalin  might  be  still  alive.  With 
the  aid  of  Stalin's  son,  who  hates  his  father,  they  find 
Stalin  in  Greece  with  the  twin  sister,  now  a  Communist 
fanatic.  After  much  cloak-and-daggering,  Stalin  and  his 
son  are  killed,  others  escape. 

Universal-International.  81  minutes.  Zsa  Zsa  Gabor,  Lex  Barker.  Produced  by 
Albert  Zugsmifh.    Directed  by  Russell  Birdwell. 

on  Page  34 J 

Film  BULLETIN    April  2?,  1957        Page  33 


"She  Devil" 

Science  thriller  about  fetching  blonde  murderess.  Talky, 
lacks  thrills,  but  has  minor  exploitation. 

The  big  exploitable  in  this  low-grade  science  fiction 
melodrama  is  voluptuous  Mari  Blanchard  as  a  tubercular- 
turned-murderess,  certainly  a  novel  switch  on  the  old 
Camille  theme.  Otherwise  "She  Devil",  released  in  a 
package  with  "Kronos",  is  fairly  tame  stuff  with  too  much 
talk,  not  enough  action  and  too  unrealistic.  A  Regal  pro- 
duction for  20th-Fox  release,  produced  and  directed  by 
Kurt  Neumann,  this  will  get  by  only  with  ballyhoo.  Miss 
Blanchard,  ill  in  a  hospital  with  TB,  consents  to  let  doc- 
tors Jack  Kelly  and  Albert  Dekker  inject  her  with  new 
serum.  It  saves  her  life,  but  turns  her  into  a  murderess 
who  can  change  from  blonde  to  brunette  and  can  feel  no 
pain,  suffer  no  injuries.  After  a  series  of  murders,  doctors 
realize  what  kind  of  a  woman  she  is,  neutralize  the  serum, 
allow  her  to  die  of  TB. 

20th  Century. Fox  IRegal).  77  minutes.  Mari  Blanchard  Albert  Dekker  Produced 
and  directed  by  Kurt  Neumann. 


"Kronos" 

Science  fiction  hokum,  but  with  some  thrills.  OK  as  dualler 
for  exploitation  market. 

This  is  a  bustling,  but  improbable  science-fiction  meller, 
made  on  a  small  budget  but  with  a  brassy  flair  that  gives 
it  exploitation  value.  Made  in  Regalscope  by  Kurt  Neu- 
mann, it  is  packaged  with  "She  Devil",  another  Regal 
thriller.  With  a  multitude  of  special  effects  lending  wierd- 
ness  and  excitement,  "Kronos"  should  find  an  acceptable 
market  in  ballyhoo  houses.  Jeff  Morrow,  Barbara  Law- 
rence and  John  Emery  head  the  cast  and  do  proper  well 
amid  the  welter  of  unrealities.  Story  has  Emery,  a  Govt, 
scientist,  rendered  powerless  by  a  missile  from  outer 
space.  Co-scientists  Miss  Lawrence  and  Morrow,  follow- 
ing track  of  an  asteroid,  fly  to  Pacific  Ocean  where  it  has 
landed.  From  the  sea  emerges  a  huge  metallic  monster. 
Directed  by  thought  waves  from  Emery,  it  goes  about  the 
earth  absorbing  needed  energy  from  power  plants.  Emery 
is  accidentally  killed,  monster  runs  amok.  Morrow  de- 
stroys it  with  electronic  dust. 

20th  Century-Fox  ( Regal } .  78  minutes.  Jeff  Morrow,  Barbara  Lawrence,  John 
Emery.   Produced  and  directed  by  Kurt  Neumann. 


'SsuUe4i  1S.aei*<?       ©  O  O  O    TOPS       ©GO    GOOD       Q  ©    AVERAGE        Q  POOP.' 


SKOUHAS.  MAN  DF  ENTHUSIASM 

(Continued  from  Page  22  > 

tive  without  stereophonic  sound,  he  persisted  in  promoting 
it  as  a  package  combining  wide-screen  visual  presentation 
and  the  full  audible  effects.  Hundreds  of  exhibitors  dis- 
agreed with  this  policy,  which  saddled  them  with  costs 
which,  they  said,  they  could  ill  afford  to  shoulder  and 
which,  in  any  event,  they  felt  would  not  increase  their 
boxoffice  revenues. 

Once  again  Spyros  Skouras'  superb  sense  of  showman- 
ship prevailed.  One  complete  floor  of  the  Twentieth  Cen- 
tury-Fox offices  was  swept  clear  of  desks  and  file  cabinets, 
and  every  exhibitor  in  the  U.S.  was  invited  to  attend  a 
round-table  discussion,  with  complete  freedom  to  ventilate 
his  grievances.  Spyros  announced  in  advance  that  if  his 
policy  on  CinemaScope  were  not  supported  by  the  major- 
ity he  would  abide  by  the  decision  of  that  conference.  He 
promised  to  give  exhibitors  what  they  felt  they  wanted. 
He  kept  that  promise;  what  is  more,  he  made  not  the 
slightest  attempt  during  the  conference  to  influence  the 
thinking  of  those  present.  The  result  was  an  astonishing 
demonstration,  not  of  agreement  with  his  policy,  but  of 
confidence  in  the  man  and  admiration  of  his  pluck. 

Much  of  the  novelty  value  of  CinemaScope  has  today 
worn  off,  as  far  as  the  public  is  concerned;  but  there  can 
be  no  disputing  one  fact— that  if  Skouras  had  not  at  that 
time  launched  it  in  an  incredibly  costly  gamble  the  motion 
picture  industry  today  might  well  be  in  desperate  straits. 
It  gave  films  a  tremendous  boxoffice  boost  when  they 
needed  it  most. 


This  warm-hearted,  ebullient  figure,  given  to  alternate 
bursts  of  passion  and  extreme  generosity,  has  the  quality 
which  men  of  his  type  usually  possess — that  of  inspiring 
loyalty  among  those  who  work  with  and  for  him,  even 
though  they  may  occassionally  resent  his  never-ceasing 
impatience  to  get  today's  job  done  yesterday. 

Employees  bidden  to  his  sumptuous  room,  where  he 
works  at  a  20-foot  desk  flanked  by  religious  pictures  and 
family  photographs,  experience  something  of  the  awe  they 
would  feel  in  approaching  a  cathedral  altar.  This  reaction 
stems  not  so  much  from  the  physical  impressiveness  of  the 
man  (he  is  only  5  ft.  9  in.)  as  from  his  legendary  exploits 
in  the  world  of  show-business  and  the  knowledge  that  he 
lives  and  breathes  it.  He  sees  all  the  company's  pictures 
long  before  they  go  into  release,  either  in  Twentieth's  pri- 
vate screening  room,  or  in  the  little  theatre  he  has  in- 
stalled at  his  luxurious  ocean-site  estate  at  Rye,  New 
York,  presided  over  by  Mrs.  Skouras  and  a  small  staff  of 
servants. 

In  the  seclusion  of  this  beautifully  landscaped,  secluded 
retreat  40  minutes  by  car  from  Manhattan,  Spyros  will 
study  the  company's  forthcoming  product  with  critical 
eyes,  putting  his  feet  up,  loosening  his  necktie.  And  in 
the  next  seat,  chewing  gum  just  as  she  did  in  the  St.  Louis 
days  when  Spyros  fell  in  love  with  Saroula  Bruiglia,  who 
bore  him  six  children,  of  whom  six  —  Daphne,  Deana, 
Spyros  Jr.,  and  Plato — survive,  will  be  Mrs.  Skouras. 
Through  all  those  years  she  has  shared  his  triumphs  and 
his  sorrows  and  only  she  fully  understands  what  her  hus- 
band means  when  he  says,  "I  want  to  die  with  my 
boots  on." 


Page  34       Film  BULLETIN    April  2?,  1957 


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they  promote  the  welfare  and  prosperity  of  the  entire  motion 
picture  industry. 

• 

ALLIED  THEATRES  OF  MICHIGAN 

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All  The  Vital  Details  on  Current  &>  Coming  Features 

(Date  of  Film  BULLETIN  Review  Appears  At  End  of  Synopsis) 


ALLIED  ARTISTS 


January 

CHAIN  OF  EVIDENCE  Bill  Elliot,  James  Lydon,  Claudia 
Barrett.  Producer  Ben  Schwalb.  Director  Paul  Landres. 
Melodrama.  Former  convict  is  innocent  suspect  in 
planned  murder.  63  min. 

February 

HOLD  THAT  HYPNOTIST  Huntz  Hall,  Stanley  Clements. 
Producer  Ben  Schwalb.  Director  Austen  Jewell.  Comedy 
drama.  Bowery  Boys  tangle  with  unscrupulous  hypnotist. 

61  min. 

LAST  OF  THE  BADMEN  CinemaScope,  Color.  George 
Montgomery,  James  Best.  Producer  Vincent  Fennelly. 
Director  Paul  Landres.  Western.  Outlaws  use  detective 
as  only  recogni»able  man  in  their  holdups,  thus  in- 
creasing reward  for  his  death  or  capture.  81  min. 

March 

ATTACK  OF  THE  CRAB  MONSTERS  Richard  Garland. 
Pamela  Duncan.  Producer-director  Roger  Corman. 
Science-fiction.  Hideous  monsters  take  over  remote 
Paci.ic  Island.  68  min. 

FOOTSTEPS  IN  THE  NIGHT  Bill  Elliot,  Don  Haggerty. 
Producer  Ben  Schwalb.  Director  Jean  Yarbrough.  Melo- 
drama. Man  is  sought  by  police  foi  murder  of  his 
friend.  62  min. 

NOT  OF  THIS  EARTH  Paul  Birch,  Beverly  Garland. 
Producer-director  Roger  Corman.  Science-fiction.  Series 
of  strange  murders  plagues  large  western  city.  67  min. 

April 

BADGE  OF  MARSHALL  BRENNAN  Jim  Davis,  Carl 
Smith,  Arleen  Whelan.  Producer-director  Albfrt  C. 
Gannaway.  Western.  76  min. 

DRAGOON  WELLS  MASSACRE  Barry  Sullivan,  Mona 
Freeman,  Dennis  O'Keefe.  Producer  Lindsley  Parsons. 
Director  Harold  Schuster.  Western.  Apaches  attack 
stockade  in  small  western  town.  81  min. 

May 

CALYPSO  JOE  Herb  Jeffries,  Angle  Dickenson.  Pro- 
ducer William  Broidy.  Director  Edward  Dein.  Musical. 
Former  sweetheart  wins  girl  away  from  South  Ameri- 
can millionare. 

DAUGHTER  Of  DR.  JEKYLL  John  Agar.  Gloria  Talbot, 
Arthur  ShbeWs.  Producer  Jack  Pollexfen.  Director 
Edgar  Unger.    Horror.    71  min. 

DESTINATION  60,000  Preston  Foster,  Coleen  Gray,  Jeff 
Donnell.  A  Gross-Krasne  Production.  Director  G.  Wag- 
gner.  Drama.  Pilot  flys  new  jet,  with  revolutionary 
type  fuel,  for  first  time.    65  min. 

LET'S  BE  HAPPY  CinemaScope,  Coior.  Vera  Ellen,  Tony 
Martin,  Robert  Fleming.  Producer  Marcel  Hellman. 
Director  Henry  Levin.  Musical.  Small-town  girl  meets 
washing  machine  inventor  in  Paris.  105  min. 
OKLAHOMAN.  THE  CinemaScope,  DeLuxe  Color.  Joel 
McCrea,  Barbara  Hale.  Producer  Walter  Mirsch.  Di- 
rector Francis  Lyon.  Western.  Doctor  helps  rid  town 
of  unscrupulous  brothers.  81  min. 

PERSUADER,  THE  William  Talman.  Kristine  Miller, 
James  Craig.  Producer-director  Dick  Ross.  Western. 
Preacher  wins  rough  town  over  with  love — not  guns. 
72  min. 

June 

AQUA  DIVE  GIRL  Mara  Corday,  Pat  Conway,  Florence 
Marly.  Producer  Norman  Herman.  Adventure. 

HOT  ROD  RUMBLE  Leigh  Snowden,  Richard  Hartunian. 
Producer  Norman  Herman.  Director  Les  Martinson. 
Melodra.  Story  of  a  drag  racer  and  his  fight  for 
acceptance. 

SPOOK  CHASERS  Huntz  Hall,  Stanley  Clements.  Pro- 
ducer Ben  Schwalb.  Director  George  Blair.  Comedy. 
Bowery  boys  get  tangled  up  with  spooks  and  hoodlums. 

62  min. 

Coming 

BADGE  OF  MARSHAL  BRENNAN  Jim  Davis.  Producer- 
director  Albert  Gannaway.  Western. 

DINO  Sal  Mineo,  Brian  Keith,  Susan  Kohner.  Producer 
Bernice  Block.  Director  Thomas  Carr.  Social  case 
worker  helps  young  criminal  reform. 

DISEMBODIED,  THE  Paul  Burke,  Allison  Hayes,  Joel 
Marston.  Producer  Ben  Schwalb.  Director  Walter 
Graumann.  Doctor's  wife  practices  voodoo  in  African 
iungle.    70  min. 

HUNCHBACK  OF  NOTRE  DAME,  THE  CinemaScope. 
Color.  Gina  Lollobrigida,  Anthony  <?uinn.  A  Paris 
Production.  Director  Jean  Delannoy.  Drama.  Hunch- 
back falls  in  love  with  beautiful  gypsy  girl.  88  min. 
LOVE  IN  THE  AFTERNOON  Color.  Gary  Cooper, 
Audrey  Hepburn,  Maurice  Chevalier.  Producer-director 
Billy  Wilder.  Drama. 


COLUMBIA 


December 

LAST  MAN  TO  HANG,  THE  Tom  Conway,  Elizabeth 
Sellars.  Producer  John  Gossage.  Director  Terence 
Fisher.  Melndrama.  Music  critic  is  accused  of  murder- 
ing his  wife  in  a  crime  of  passion.  75  min.  11/12. 

MAGNIFICENT  SEVEN.  THE  Takashi  Shimura  Toshiro 
Mifune.  A  Toho  Production.  Director  Akira  Kurosawa. 
Melodrama.  Seven  Samurai  warriors  are  hired  by  far- 
mers for  protection  against  maurauders.  158  min.  12/10 

RUMBLE  ON  THE  DOCKS  James  Darren,  Jerry  Janger, 
Edgar  Barrier.  Drama.  Teenage  gang  wars  and  water- 
front racketeers.   82  min.  12/10. 

SEVENTH  CAVALRY,  THE  Technicolor.  Randolph  Scoft, 
Barbara  Hale.  Producer  Harry  Brown.  Director  Joseph 
Lewis.  Western.  An  episode  in  the  qlory  of  General 
Custer's  famed  "7th  Cav.".   7b  min.  12/10. 

January 

DON'T  KNOCK  THE  ROCK  Bill  Haley  and  his  Comets. 
Alan  Freed  Alan  Da  la.  Producer  Sam  Katzman.  Direc- 
tor Fired  Sears.  Musical  Life  and  times  of  a  famous 
rock  and  roll  singer.  80  min.  1/7. 

RIDE  THE  HIGH  IRON  Don  Taylor,  Sally  Forest,  Ray- 
mond Burr.  Producer  William  Self.  Director  Don  Weis. 
Drama.  Park  Avenue  scandal  is  hushed  up  by  public 
relations  experts.  74  min. 

ZARAK  Technicolor,  CinemaScope.  Victor  Mature, 
Michael  Wilding,  Anita  Ekberg.  A  Warwick  Production. 
Director  Terence  Young.  Drama.  Son  of  wealthy  ruler 
becomes  notorious  bandit.  99  min.  12/24. 

February 

NIGHTFALL  Aldo  Ray,  Anne  Bancroft.  Producer  Ted 
Richmond.  Director  Jacques  Tourneur.  Drama.  Mistaken 
identity  of  a  doctor's  bag  starts  hunt  for  stolen  money. 
78  min.  12/10. 

UTAH  BLAINE  Rory  Calhoun,  Susan  Cummings,  Angela 
Stevens.  Producer  Sam  Katzman.  Director  Fred  Sears. 
Western.  Two  men  join  hand*  because  they  see  in  each 
other  a  way  to  have  revenge  on  their  enemies.  75  min. 

WICKED  AS  THEY  COME  Arlene  Dahl,  Phil  Carey.  Pro- 
ducer Maxwell  Setton.  Director  Ken  Hughes.  Drama.  A 
beautiful  girl  wins  a  beauty  contest  and  a  "different" 
life.  132  min.  1/21. 

March 

FULL  OF  LIFE  Judy  Holliday,  Richard  Conte, 
Salvatore  Baccaloni.  Producer  Fred  Kohlmar.  Director 
Richard  Quine.  Comedy.  Struggling  writer  and  wife 
are  owners  of  new  home  and  are  awaiting  arrival  of 
child.  91  min.  1/7. 

MAN  WHO  TURNED  TO  STONE,  THE  ^\cior  Jory,  Ann 
Doran.  Producer  Sam  Katzman.  Director  Leslie  Kardos. 
Mad  doctor  discovers  secret  of  prolonged  'if e .  Horror. 
80  min.  2/18. 

SHADOW  ON  THE  WINDOW,  THE  Betty  Garrett,  Phil 
Carey,  Corey  Allen.  Producer  Jonie  Tapia.  Director 
William  Asher.  Melodrama.  Seven-year  old  boy  is  the 

only  witness  to  a  murder.  73  min.  3/4. 

ZOMBIES  OF  MORA  TAU  Gregg  Palmer,  Allison  Hayes 
Producer  Sam  Katzman.  Director  Edward  Kahn.  Horror. 
Zombies  live  on  sunken  ship  with  huge  fortune  of  dia- 
monds. 70  min. 

April 

GUNS  AT  FORT  PETTICOAT  Audie  Murphy,  Kathryn 
Grant.  Producer  Harry  Joe  Brown.  Director  George 
Marshall.  Western.  Army  officer  organizes  women  to 
fight  off  Indian  attack.  131  min. 

PHANTOM  STAGECOACH,  THE  William  Bishop,  Rich- 
ard Webb.  Producer  Wallace  MacDonald.  Director  Ray 
Nazarro.  Western.  Outlaws  attempt  to  drive  stage 
coach  line  out  of  business.  69  min. 

TALL  T,  THE  Randolph  Scott,  Richard  Boone,  Maureen 
Sullivan.  A  Scoft-Brown  Production.  Director  Budd 
Boetticher.  Western.  A  quiet  cowboy  battles  o  be 
independent.  78  min. 

May 

ABANDON  SHIP  CinemaScope.  Tyrone  Power,  Mai 
Zetterling.  Producer-director  Richard  Sale.  Drama. 
Story  of  a  group  of  people  who  survive  the  sinking 
of  a  luxury  liner.    100  min. 

HELLCATS  OF  THE  NAVY  Ronald  Reagan,  Nancy  Davis, 
Arthur  Franz.   Producer  Charles  Schneer.  Director  Na- 
than Juran.   Drama.   Story  of  the   Hellcat  submarines 
during  World  War  II.  82  min.  4/15. 


SIERRA  STRANGER  Howard  Duff,  Gloria  McGhee.  Pro- 
ducer Norman  Herman.  Director  Lee  Sholem.  Western. 
Miner  file  gold  claim  during  the  '49  California  Gold 
Rush.  74  min. 

STRANGE  ONE,  THE  Ben  Gazzara,  James  Olsen,  George 
Peppard.  Producer  Sam  Spiegel.  Director  James  Gar- 
fein.  Drama.  Cadet  at  military  school  frames  com- 
mander and  his  son.  100  min.  4/15. 

June 

BURGLAR.  THE  Dan  Duryea,  Jane  Mansfield,  Martha 
Vickers.  Producer  Louis  Kellman.  Director  Paul  Kend- 
kos.  Melodrama.  Jewel  thieves  plan  theft  of  spiritual- 
ist's valuable  necklace. 

Coming 

ADMIRABLE  CRICHTON,  THE  Technicolor.  Kenneth 
More.  Diane  Cilento.  Cecil  Parker.  Producer  Ian  Dal- 
rymple.  Director  Lewis  Gilbert.  Drama.  The  story  of  a 
famous  butler  in  the  I900's. 

BEYOND  MOMBASA  Technicolor,  CinemaScope.  Cor- 
nell Wilde,  Donna  Reed.  Producer  Tony  Owen.  Direc- 
tor George  Marshall.  Adventure.  Leopard  Men  seek 
to  keep  Africa  free  of  white  men. 

BROTHERS  RICO  THE  Richard  Conte,  Kathryn  Grant, 
Dianne  Foster.  Producer  Lewis  Rachmil.  Director  Phil 
Karlson.  Drama.  Former  racketeer,  trying  to  go 
straight,  exposes  organization  when  they  push  him  too 
far. 

CASE  OF  THE  STOCKING  KILLER,  THE  John  Mills, 
Charles  Coburn,  Barbara  Bates.  A  Marksman  Produc- 
tion. Director  John  Gillerman.  Insane  man  murders 
beautiful  girl. 

FIRE  DOWN  BELOW  CinemaScope,  Technicolor.  Rita 
Hayworth,  Robert  Mitchum,  Jack  Lemmon.  A  War- 
wick Production.  Director  Robert  Parrish.  Drama. 
Cargo  on  ship  is  ablaze.  Gravity  of  situation  is  in- 
creased by  highly  explosive  nitrate. 

GARMENT  JUNGLE.  THE  Lee  J.  Cobb,  Kerwin  Mat- 
thews, Richard  Boone.  Producer  Harry  Kleiner.  Di- 
rector Ribert  Aldrich.  Drama.  Dog-ea-dog  world  of 
Manhattan's  clothing  center. 

GOLDEN  VIRGIN,  THE  Joan  Crawford,  Rossano  Brazzi, 
Heather  Sears.  John  and  James  Woolf  producers.  Di- 
rector David  Miller.  Unscrupulous  people  exploit  blind 
girl  for  profit. 

KILLER  APE  Johnny  Weissmuller.  Carol  Thurston.  Pro- 
ducer Sam  Katzman.  Director  Spencer  G.  Bennett.  Ad- 
venture drama.  The  story  of  a  giant  half-ape,  half-man 
beast  who  goes  on  a  killing  rampage  until  destroyed 
by  Jungle  Jim.  68  min. 

PAPA.  MAMA,  THE  MAID  AND  I  Robert  Lamoureux. 
Gaby  Morlay,  Nicole  Courcel.  Director  Jean-Paul  Le 
Chanois.  Comedy.  The  lives  of  a  typically  Parisian 
family.  94  min.  9/17. 

PICKUP  ALLEY  Cinemascope.  Victor  Mature.,  Anita 
Ekberg,  Trevor  Howard.  A  Warwick  Production.  Di- 
Ekberg,  Trevor  Howard.  A  Warwick  Production.  Direc- 
tor John  Gilling.  Story  of  international  dope  runners. 
SHE  PLAYED  WITH  FIRE  Jack  Hawkins,  Arlene  Dahl, 
Producers  Frank  Launder-Sidney  Gilliat.  Director  Sid- 
ney Gilliat.  Story  of  an  arsonist. 

SUICIDE  MISSION  Leif  Larson,  Michael  Aldridge,  Atle 
Larsen.  A  North  Seas  Film  Production.  Adventure.  Nor- 
wegian fishermen  smash  German  blockade  in  World 
War  II.  70  min. 

3:10  TO  YUMA  Glenn  Ford,  Felicia  Farr,  Van  Heflin. 
Producer  David  Heilwell.  Director  Delmer  Daves.  West- 
ern. Cowboy  robs  stagecoach  then  poses  as  one  those 
robbed. 

27TH  DAY,  THE  Gene  Barry,  Valerie  French.  Producer 
Helen  Ainsworth.  Director'  William  Asher.  Science- 
fiotion.  People  from  outer  space  plot  to  destroy  all 
human  life  on  the  earth.  75  min. 

YOUNG  DON'T  CRY.  THE  Sal  Mineo.  James  Whitmore. 
Producer  P.  Waxman.  Director  Alfred  Werker.  Drama. 
Life  in  a  southern  orphanage. 


INDEPENDENTS 


January 

ALBRT  SCHWEITZER  I  Louis  de  Rochemont)  Eastman 
Color.  Film  biography  of  the  famous  Nobel  Prize  win- 
ner with  najrttlve  by  Burgess  Merideth.  Producer-direc- 
tor James  Hill.  Documentary. 

BULLFIGHT  (Janus)..  French  made  documentary  offers 
history  and  performance  of  tha  famous  sport.  Produced 
and  directed  by  P'rerre  Braunberger.  76  min.  11/26. 
FEAR  lAstor  Pictures)  IngrW  Bergman,  Mathias  Wie- 
man.  Director  Roberto  Rosiellinl.  Drama.  Young 
married  woman  is  mercilessly  exploited  by  blackmailer. 
84  nin. 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


JUNE  SUMMARY 

Twelve  features  are  tentatively  sched- 
uled for  June  release.  However,  lafer 
additions  to  the  roster  should  add  about 
a  dozen  more  films.  As  of  this  early  date, 
Allied  Artists,  Merro-Goldwyn-Mayer  and 
20th  Century-Fox  will  release  two  each, 
while  Columbia.  Paramount,  Universal-In- 
ternational, United  Artists,  Warner  Bros, 
and  the  Independents  will  release  one 
each.  Two  of  the  June  features  will  be  in 
color.  Two  films  will  be  in  CinemaScope; 
one  in  VisraVision. 

5  Dramas  3  Melodramas 

1  Western  1  Adventure 

2  Comedies 


RUNAWAY  DAUGHTERS  <  America  n- Inter  nation*  I ) 
Maria  English,  Anna  Stan.  Producer  Alex  Gordon  Di- 
rector Edward  Cahn.  Drama.  A  study  of  modern  teen- 
age proDlems. 

SHAKE.  RATTLE  AND  ROCK  I  American- Inter  national  I 
Lisa  Gaye.  Touch  Conners.  Producer  James  Nicholson. 
Director  Edward  Cahn  Musical.  A  story  of  "rock  and 
roll"  music. 

VITTELONI  IAPI-Ja»us).  Franco  Interlenghi.  Leonora 
Fabrizi.  Producer  Mario  de  Vecehi  Director  F.  Fel- 
lini  Comedy.  Story  of  unemployed  young  men  in  Italy. 
101  min.  11/26. 

WE  ARE  ALL  MURDERERS  IKingsley  International  I 
Marcel  Mouloudji,  Raymond  Pellegrin.    Director  Andre 

Gavetto.  Drama.  The  pros  and  cons  of  capital  punish- 
ment. 113  min.  4/15. 

February 

BED  OF  GRASS  ITrans-Lux)  Anna  Braiiou.  Made  in 
Greece  English  titles.  Drama.  A  beautiful  girl  is  per- 
secuted by  her  villiage  for  Having  lost  her  virtue  as 
the  victim  of  a  rapist. 

CYCLOPS.  THE  IRKO)  James  Craig.  Gloria  Talbot. 
Producer-director  Bert  Gordon.  Science-fiction.  Story 
of  a  monster  moon. 

FLESH  AND  THE  SPUR  I  American- International  I  Color. 
John  Agar,  Maria  English,  Touch  Connors.  Producer 
Alex  Gordon.  Director  E.  Gehn.  Western.  Two  men 
search  for  a  gang  of  outlaw  killers.  86  min. 

GUITY  IRKO)  Technicolor.  John  Justin,  Barbara  Laage. 
Drama. 

HOUR  OF  DECISION  lAstor  Pictures!  Jeff  Morrow, 
Haiel  Court.  Producer  Monty  Berman.  Director  Denn- 
ington  Richards.  Melodrama.  Columnist's  wife  is  in- 
nocently involved  in  blackmail  and  murder.  70  min. 

NAKED  PARADISE  I  American-International  I  Color. 
Richard  Denny,  Beverly  Garland.  Producer-director 
Roger  Corman.  Drama.  Man  and  woman  bring  Ha- 
waiian smugglers  to  justice.  72  min. 

SILKEN  AFFAIR.  THE  IRKO)  David  Niven,  Genevieve 
Page.  Ronald  Squire.  Producer  Fred  Feldkamp.  Director 
Roy  Ke Min g .  Comedy.  An  auditor,  on  a  kindly  impulse, 
alters  the  accounting  records.  96  min. 
TEMPEST  IN  THE  FLESH  I  Pacemaker  Pictures)  Ray- 
mond Pellegrin.  Francoise  Arnoul.  Director  Ralph 
Habib.  French  film,  English  titles.  Drama.  Study  of  a 
young  woman  with  a  craving  for  love  that  no  number 
of  men  can  satisfy. 

March 

UNDLAD,  THE  I  American-International)  Pamela  Dun- 
can, Altiion  Hayes.  Producer-director  Roger  Corman. 
Science-fiction.  A  woman  hjms  into  a  witch.  71  min. 
VOODOO  WOMAN  I  American-International )  Maria 
English,  Tom  Conway,  Touch  Connors.  Producer  Alex 
Gordon.  Director  Edward  Cahn.  Horror.  Adventurers 
seeking  native  treasure  is  transformed  into  monster  by 
iungle  scientist.  75  min. 

WOMAN  OF  ROME  '  DC  A  Gina  Lollobrigida,  Daniel 
Gelin.  A  Ponti-DeLaurentfis  Production.  Director  Uiigi 
Zampa.  Drama.  Adapted  from  the  Alberto  Moravia 
novel. 

A  pril 

GOLD  OF  NAPLES  IDCA)  Toto,  Sophia  Loren,  Vittorio 
DeSica.  A  Ponti-De  Laurentis  Production.  Director  V. 
De  Sica.  Draim.  4  short  Italian  satires.  I07min.  3/18 
IF  ALL  THE  GUYS  IN  THE  WORLD  .  .  .  IBuena  Vista) 
Andre  Valmy,  Jean  Gaven.  Director  Christian-Jaque. 
Drama.  Radio  "hams",  thousands  of  miles  apart,  pool 
their  efforts  to  rescue  a  stricken  fishing  boat. 
R5ACH  FOa  THE  SKY  IRank  Film  Distributors  I  Kenneth 
More.  A  J.  Arthur  Rank  Production.  Tha  story  of  Brit- 
ain's unique  RAF  ace,  Douglas  Bader. 

May 

RAISING    A   RIOT    (Continental)    Technicolor.  Kenneth 

More.  Ronald  Squire,  Jan  Miller.  Director  Wendy  Tove. 

Comedy.   Father  attempts  to  apply   psychology   to  his 

three  children  while  wife  is  away  on  a  visit. 

FOUR   BAGS   FULL    ITrans-Lux)    Jean    Gabin,  Bouvril. 

Comedy.  The  trials  and   tribulations  of  black  market 

operators  during  the  German  occupation. 

FRENCH    ARE    A    FUNNY    RACE,    THE  (Continental! 

Martine  Carol,  Jack  Vuchanan,   Noel-Noel.  A  Gaumont 

production.  Comedy.  A  spoof  of  the  unique  personality 

characteristics  of  the  French. 

ROCK  ALL  NIGHT  (American-International  I  Dick 
Miller  Abby  Datton  Runel  Johnson.  Producer-director 
Roger  Corman.  Rock  n'  rolf  musical.  65  min. 
STRANGER  IN  TOWN  lAstor)  Alex  Nichol,  Anne  Page. 
Producer  Sidney  Roberts.  Director  George  Pollock. 
Melodrama.    A    newspaperman    exposes    the  "perfect 

June 

BLACK  TIDE  lAstor  Pictures)  John  Ireland,  Maureen 
Connell.  Producer  Monty  Berman.  Director  C.  P.  Rich- 
ards. Melodrama.  Top  fashion  model,  planning  long 
distance  swim  for  publicity,  is  mysteriously  murdered. 

Coming 

CARTOUCHE  IRKO)  Richard  Basehart,  Patricia  Roc. 
Producer  John  Nasht.  Director  Steve  Sekely.  Adventure. 
The  story  of  a  lusty  adventurer  during  the  reiqn  of 
Louis  XVI. 

CITY  OF  WOMEN  (Associated)  Osa  Massen,  Robert 
Hutton,  Maria  Palmer.  Producer-director  Boris  Petroff. 
Drama.  From  a  novel  by  Stephen  Longstreet. 
DRAGSTRIP  GIRL  I  American-International )  Fay  Spain, 
Steve  Terrell,  John  Ashley.  Producer  Alex  Gordon.  Di- 
rector Edward  Cahn.  Story  of  teen-age  hot  rod  and 
dragstrip  racing  kids.  75  min. 


LOST  CONTINENT  IIFE]  Cin.maScepe,  Ferranicolor. 
Prooucer-oirector  Leonoroo  ooni.  *i  aiCurxwn  .ni^  nt 
wiios  of  Borneo  ana  >nt  Malayan  Ar;nece>agc  Eng- 
lish commentary.  86  min. 

NEAPOLITAN  CAROUSEL  IIFE,  (Lux  Film  Rnmel  Pathe- 
:oior.  Prist  by  Technicolor.  Sophia  Loren  Leoniat 
Massine.  Director  Ettor*  Glannini  Musical.  The  history 
of  Naoies  traced  from  1600  to  date  In  song  and  dance 
REMEMBER.  MY  LOVE  I  Artists-Producers  Assoc.  I  Cine- 
maScope,  Techntccior.  Michael  Redgrave,  Mel  Ferrer, 
Anthony  Quale.  Musical  drama.  Producer-director 
Michael  Powell,  Emeric  Pressburger.  Based  on  Strauss' 
"Die  Fledermaus". 

SMOLDERING  SEA,  THE  Superscooe.  Producer  Hal  E. 
Chester.  Drama.  Conflict  between  the  tyrannical  ceo- 
tain  and  crew  of  an  American  merchant  ship  reacnes 
Its  climax  during  battle  of  Guadalcanal 
WEAPON,  THE  Superscooe.  Nicole  Maurey.  Producer 
Hal  E.  Chester.  Drama.  An  unsolved  murder  involving 
a  bitter  U.  S.  war  veteran,  a  German  war  bride  and  a 
killer  is  resolved  after  a  child  finds  a  loaded  gun  in 
bomb  rubble 

X— THE  UNKNOWN  Dean  Jagger,  William  Russell. 
Producer  A.  Hinds.  Director  Leslie  Norman.  Science- 
fiction.  Keen  minded  scientist  fights  awesome  creation. 


METRO-GOLDWYN -MAYER 


January 

ACTION  OF  THE  TIGER  CinemaScope,  Color.  Van 
Johnson,  Martine  Carol,  Gustave  Rojo  A  Clarldge 
Production.  Drama.  Beautiful  girl  seeks  help  of  con- 
traband runner  to  rescue  brother  from  Communists. 
EDGE  OF  THE  CITY  John  Cassavetes.  Sidney  Poitler. 
Producer  David  Susskind.  Director  Martin  Ritt.  Drama. 
A  man  finds  confidence  in  the  future  by  believing 
in  himself.  85  min.  1/7. 

SLANDER  Van  Johnson,  Ann  Bly+h,  Steve  Cochran. 
Producer  Armand  Deutseh.  Director  Roy  Rowland. 
Drama.  Story  of  a  scandal  magazine  publisher  and 
his  victims.  81  min.  1/7. 

February 

BARRETS  OF  WIMPOLE  STREET,  THE  CinemaScope, 
Eastman  Color.  Jennifer  Jones,  Sir  John  Gielgud,  Bill 
Travers.  Producer  Sam  Zimbalist.  Director  Sidney 
Franklin.  Drama.  Love  story  of  poets  EMiabeth  Barrett 
and  Robert  Browning.  105  min.  1/21. 

HOT  SUMMER  NIGHT  Leslie  Nielsen.  Coleen  Miller. 
Producer  Morton  Fine.  Director  David  Friedkin.  Melo- 
drama. Story  of  a  gangland  hide-out.  86  min.  2/4. 
WING5  Of  THE  EAGLES,  THE  John  Wayne.  Dan 
Dailey,  Maureen  O'Hara.  Producer  Charles  Schnee 
Director  John  Ford.  Drama.  Life  and  times  of  a  naval 
aviator.  I  10  min.  2/4. 

March 

HAPPY  ROAD,  THE  Gene  Kelly,  Michael  Redgrave, 
Barbara  Laage.  A  Kerry  Production.  Directors,  Gene 
Kelly,  Noel  Coward.  Drama.  Two  children  run  away 
from  boarding  hchool  to  find  their  respective  parents. 
100  min.  2/4. 

LIZZIE  Eleanor  Parker,  Richard  Boone,  Joan  Blondell. 
Producer  Jerry  Bresster.  Director  Hugo  Haas.  Drama. 
A  young  girl  lives  three  different  lives.  81  min.  3/4 
TEN  THOUSAND  BEDROOMS  CinemaScope,  Techni- 
color. Dean  Martin,  Anna  Maria  Alberghetti.  Producer 
Joseph  Pasternack.  Director  Richard  Thorpe.  Musical. 
A  hotel  tycoon  falls  in  love  with  a  lovely  Italian  girl. 
114  min.  2/18. 

A  pril 

DESIGNING  WOMAN  CinemaScope.  Gregory  Peck, 
Lauren  Bacall,  Dolores  Gray.  Produced  Dore  Schary. 
Director  Vincente  Minnelli.  Comedy.  Ace  sportswriter 
marries  streamlined  blond  with  ideas.  117  min.  3/4 
VINTAGE,  THE  MetroColor.  Pier  Angeli,  Mel  Ferrer, 
Leif  Erickson.  Producer  Edwin  Knoph.  Director  Jeffrey 
Hayden.  Drama.  A  conflict  between  young  love  and 
mature  responsibility.  90  min.  3/18. 

May 

LITTLE  HUT,  THE  MetroColor.  Ava  Gardner.  Stewart 
Granger.  Producers  F.  Hugh  Herbert.  Director  Mark 
Robson.  Comedy.  Husband,  wife  and  wife's  lover  are 
marooned  on  a  tropical  isle.  93  min. 

TARZAN  AND  THE  LOST  SAFARI  Technicolor.  Gordon 
Scott  Robert  Beatty.  A  Sol  Lesser  Production.  Director 
Bruce  Humberstone.  Adventure.  Tarian  rescues  safari 
lost  in  deepest  Africa.  80  min.  3/18. 

THIS  COULD  BE  THE  NIGHT  Jean  Simmons,  Paul 
Douglas.  Producer  Joe  Pasternak.  Director  Robert 
Wise.  Comedy.  A  girl  fresh  out  of  college  gets  a 
job  as  secretar/  to  an  ex-bootlegger.   103  min.  4/15. 

June 

SEVENTH  SIN,  THE  CinemaScope.  Eleanor  Parker,  Mill 
Travers,  George  Sanders.  Producer  David  Lewis.  Di- 
rector Ronald  Neame.  Drama. 

SOMETHING  OF  VALUE  Rock  Hudson,  Dana  Wynter, 
Wendy  Hitler.  Producer  Pandro  Berman.  Director 
Richard  Brooks.  Drama.  Stry  of  a  Mau  Mau  uprising 
in  Kenya,  East  Africa.   113  min. 

Coming 

LIVING  IDOL.  THE  CinemaScope,  Eastman  Color. 
Steve  Forrest,  Lilliane  Montevecchi.  Producer-director 
Al  Lewin.  Drama.  An  archeologist  is  faced  with  an  un- 
worldly situation  that  threatens  the  safety  of  his 
adopted  daughter.   101  min. 


MAN  ON  FIRE  Eing  Crosby,  Mary  Pickett  Inger 
Stevens.  Producer  Sol  Siegel.  Director  R.  MacDougall. 
The    effect   of   divorce   on    a    boy    and    his  estranged 

RAINTREE  COUNTY  Eastman  Color,  CinemaScope  55. 
Elizabeth  Taylor,  Montgomery  Clift.  Producer  David 
Lewis.  Director  Edward  Dymtryke.  Drama.  Life  in  Indi- 
ana during  the  middle  1800's. 

SILK  STOCKINGS  MetroColor,  CinemaScope.  Fred  As- 
taire.  Cyd  Charrise,  Janis  Page.  Producer  Arthur 
Freed.  Director  R.  Mamoul'iin.  Musical.  Russian  girl 
falls  in  love  wi'.h  American  film  producer  in  Paris. 


PARAMOUNT 


January 

THREE  VIOLENT  PEOPLE  VistaVision,  Technicolor. 
Charlton  Heston,  Anne  Baxter,  Gilbert  Roland.  Pro- 
ducer Hugh  Brown.  Director  Rudy  Mate.  Western.  Story 
of    returning    Confederate    war    veterans    in  Texas. 

100  min.  1/7. 

February 

RAINMAKER,  THE  VistaVision,  Technicolor.  Burt  Lan- 
caster, Katherine  Hepburn.  Wendell  Corey.  Producer 
Hal  Wallis.  Director  Joseph  Anthony.  Comedy  drama. 
Filmization  of  the  famous  B'way  play.   121  min.  12/24. 

March 

FEAR  STRIKES  OUT  Anthony  Perkins,  Karl  Maiden. 
Norma  Moore.  Producer  Alan  Pakula.  Director  Perry 
Wilson.   Drama.   Story  of  the  Boston   baseball  player. 

100  min.  2/18. 

OMAR  KHAYYAM  VistaVision,  Technicolor.  Cornel 
Wilde,  Michael  Rennie,  Debra  Paget.  Producer  Frank 
Freeman,  Jr.  Director  William  Dieterle.  Adventure. 
The  life  and  times  of  medieval  Persia's  literary  idol. 
103  min. 

Aipril 

FUNNY  FACE  VistaVision,  Technicolor.  Aud»ey  Hep- 
burn, Fred  Astaire,  Kay  Thompson.  Producer  Roger 
Edens.  Director  Stanley  Donen.  Musical.  Photographer 
plucks  fashion  model  from  Greenwich  VTlfage  bookshop. 

101  min.  2/18. 

May 

BUSTER  KEATON  STORY,  THE  VistaVision,  Technicolor. 
Donald  O'Connor,  Ann  Blyth,  Rhonda  Fleming.  Pro- 
ducers Robert  Smith.  Sidney  Sheldon.    Director  Sidney 

Sheldon.  Drama.  Life  of  the  great  comedian.  91  min. 
4/15. 

GUNFIGHT  AT  O.K.  CORRAL  VistaVision,  Technicolor. 
Burt  Lancaster,  Kirk  Douglas,  Rhonda  Flemina.  Pro- 
ducer Hal  Wallis.  Director  John  Sturges.  Western. 
Drunken   bedman   hunts  for   murderer  of   his  cheating 

brother.  122  min. 

June 

LONELY  MAN,  THE  VistaVision,  Technicolor.  Jack  Pa- 
lance,  Anthony  Perkins,  Elaine  Aiken.  Producer  Pat 
Duggan.  Director  Henry  Levin.  Western.  A  gunfighter 

finds  he  is  losing  his  sight — and  his  aim.  81  min. 

Coming 

BEAU  JAMES  VistaVision,  Technicolor.  Bob  Hope.  Pro- 
ducer Jack  Rose.  Director  Michael  Moore.  Drama. 
Biography  of  the  famous  Jimmy  Walker,  mayor  of  N  Y. 
from  1925  to  1932.  105  min. 

DELICATE  DELINQUENT,  THE  Jerry  Lewis,  Darren  Mc- 
Gavin,  Martha  Hyer.    Producer  Jerry  Lewis.  Director 

Don  McGuire.  Janitor  longs  to  be  police  officer  so  he 
can  help  delinquents.  101  min. 

JOKER  IS  WILD,  THE  VistaVision,  Technicolor.  Frank 
Sinatra,  Mitii  Gaynor,  Jeanne  Crain.  Producer  Samuel 
Briskm.  Director  Charles  Vidor.  Drama.  Rim  biography 
of  Joe  E.  Lewis,  nightclub  comedian. 


Film     BULLETIN  —  THIS     IS     YOUR  PRODUCT 


SPANISH  AFFAIR  VistaVision.  Technicolor.  Carmen 
Sev'lla,  Richard  Kiley.  Producer  Bruce  Odium.  Director 
Donald  Siegel.  An  American  architect  travelling  in 
Spain  is  attracted  to  a  beautiful  girl.  half-Gypsy.  half- 
Spanish. 

TEN  COMMANDMENTS,  THE  VistaVision.  Technicolor. 
Charlrun  Heston  Yul  Brynner,  Anne  Bax»e'.  Producer- 
director  Cecil  B.  DeMille.  Religious  drama.  Life  storv 
of  Moses  as  told  in  the  Bible  and  Koran.  21?  min.  10/15 
TIN  STAR,  THE  VistaVision.  Henry  Fonda,  Anthony 
Perkins.  A  PerlSerg-Seaton  Production.  Director  An- 
thony Mann.  V.,  Stern. 


REPUBLIC 


December 

ACCUSED  OF  MURDER  Trucolor,  Naturama.  David 
Brian,  Vera  Ralston.  Melodrama.  Associate  producer- 
director  Joseph  Kane.  Drama.  Two-timing  gangland 
lawyer  is  murdered  by  attractive  girl  singer.  74  min. 

IN  OLD  VIENNA  Trucolor.  Heini  Roettinger,  Robert 
Klllick.  Producer-director  James  A.  Fitzpatrick.  Musi- 
cal. Romances  and  triumphs  of  Fram  Shubert,  Johann 
Strauss,  Ludwig  Beethoven  in  the  city  of  music,  Vienna. 

January 

ABOVE  UP  THE  WAVES  John  Mills,  John  Gregson, 
Donald  Sinden.  Producer  W.  MacOuirty  Director  Ralph 
Thomas.  Drama.  Midget  submariners  attempt  to  sink 
German  battleship  in  WWII.  ?2  min.  1/21. 

TEARS  FOR  SIMON  Eastman  Color.  David  Farrar, 
David  Knight,  Julia  Arnall.  A  J.  Arthur  Rank  Produc- 
tion. Drama.  Young  American  couple  living  in  Lon- 
don have  thair  chi  d  stolen.  91  min.  3/18. 

February 

AFFAIR  IN  RENO  Naturama.  John  Lund,  Doris  Single- 
ton. Producer  Sidney  Picker.  Director  R.  G.  Spring- 
stein.  Drama.  Young  heiress  falls  for  fortune-hunting 
gambler.  75  min. 

DUEL  AT  APACHE  WELLS  Naturama,  Trucolor.  Anna 
Maria  Alberghetti,  Ben  Cooper.  Associate  producer- 
director  Joseph  Kane.  Western.  Son  returns  home  to 
find  father's  ranch  threatened  by  rustler-turned-rancher. 

70  min. 

March 

HELL'S  CROSSROADS  Naturama.  Stephen  McNally, 
Peggie  Castle,  Robert  Vauhgn.  Producer  Rudy  Ral- 
ston. Director  Franklin  Adreon.  Western.  Outlaw  cow- 
boy reforms  after  joining  Jesse  James'  gang.  73  min. 

A  pril 

SPOILERS  OF  THE  FORREST  Trucolor,  Naturama.  Vera 
Ralston,  Rod  Cameron.  Producer-director  Joe  Kane. 
Drama.  An  unscrupulous  lumberman  tries  to  coerce  the 
owners  of  a  large  forest  acreage  into  cutting  their 
timber  at  a  faster  rate.  68  min. 

May 

MAN  IN  THE  ROAD,  THE  Derek  Farr,  Ella  Raines. 
Producer  Charles  Leeds.  Director  Lance  Comfort. 
Drama.  A  spy  ring  attempts  to  obtain  atomic  secrets 
through  the  use  of  "mental  persuasion."  83  min. 


20TH°  CENTURY-FOX 


January 

UIET  GUN.  THE  Regalscope.  Forrest  Tucker,  Mara 
orday.  Producer-director  Anthony  Kimmins.  Western. 
Laramie  sheriff  clashes  with  notorious  gunman.  77  min. 
SMILEY  CinemaScope,  Eastman  Color.  Sir  Ralph  Rich- 
ardson, John  McCallum,  Colin  Peterson.  Producer- 
director  Anthony  Kimmins.  Drama.  Young  Aussie  boy 
has  burning  desire  to  own  bicycle.  97  min.  2/18. 

THREE  BRAVE  MEN  CinemaScope.  Ray  Mllland,  Ernest 
Borgnine.  Producer  Herbert  Swope,  Jr.  Director  Philip 
Dunne.   Drama.  Government  employee  is  wronged  by 

too-zealous  pursuit  of  security  program.  88  min.  1/21. 

February 

OH.  MENI  OH.  WOMENI  CinemaScope,  Color.  Dan 
Dairy,  Ginger  Rogers,  David  Niven.  Producer-director 
Nunnally  Johnson.  Comedy.  A  psychiatrist  finds  out 
somethings  he  didn't  know.  90  min.  3/4. 

THE  TRUE  STORY  OF  JESSIE  JAMES  CinemaScope. 
Robert  Wagner,  Jeffrey  Hunter.  Producer  Herbert 
Swope,  Jr.  .Director  Nicholas  Ray.  Western.  The  lives 

and  times  of  America's  outlaw  gang.  92  min.  2/18. 

TWO  GROOMS  FOR  A  BRIDE  Virginia  Bruce,  John 
Carroll.  Producer  Robert  Baker,  Monty  Berman.  Direc- 
tor Henry  Cass.  Comedy. 

March 

HEAVEN  KNOWS  MR.  ALLISON  CinemaScope  De  Luxe 
Color.  Deborah  Kerr,  Robert  Mitchum.  Producers 
Buddy  Adler,  Eugene  Frenke.  Director  John  Hus-ton. 
Drama.  Soldier  is  saved  by  nun  in  South  Pacific  during 

World  War  II  93  min.  3/18. 

RIVER'S  EDGE.  THE  CinemaScope,  Color.  Ray  Milland, 
Anthony  Ouinn..  Debra  Paget.  Producer  Benidict 
Bogeais.  Director  Allan  Dwan.  Adventure.  Story  of  a 
professional  Mller. 


STORM  RIDER,  THE  Scott  Brady,  Mala  Powers.  A 
Brady-Glaiser  production.  Director  Edward  Bernds. 
Western.  A  dusf  storm  brings  a  stranger  to  a  small 

western  town.  70  min. 

April 

tOr  ON  A  DOLPHIN  CinemaScope,  DeLuxe  Color. 
Clifton  Webb  Alan  Ladd,  Sophia  Loren.  Producer  Sam 
Engel.  Director  Jean  Negulesco.  Co"medy.  Romantic 
tale  with  a  Greek  background. 

BREAK  IN  THE  CIRCLE  Forrest  Tucker,  Eva  Bartok. 
Producer  M.  Carreras.  Director  V.  Guest.  Drama. 
KRONOS  Jeff  Morrow,  Barbara  Lawrence,  John  Emery. 
Producer-director  Kurt  Neumann.  Drama.  A  "planet- 
robber"  comes  to  earth  from  outer  space. 

SHE-DEVIL.  THE  Mari  Blanchard,  Jack  Kelly,  Albert 
Dekker.  Producer-director  Kurt  Neumann.  Scientists 
create  an  inhuman  woman. 

May 

CHINA  GATE  Nat  "King"  Cole,  Gene  Barry,  Angie 
Dickinson.  Producer-director  S.  Fuller.  Drama. 

DESK  SET  Spencer  Tracy,  Katharine  Hepburn.  Producer 
Henry  Sphron.  Director  W.  Lang.  Filmiiation  of  the 
famous  Broadway  comedy. 

June 

BERNADINE  Terry  Moore,  Pat  Boone,  Janet  Gaynor. 
Producer  Sam  Engel.  Director  H.  Levin.  Comedy.  Story 
of  teenagers.   Filmization  of  the  Broadway  comedy. 

ISLAND  IN  THE  SUN  CinemaScope  DeLuxe  Color. 
James  Mason,  Joan  Fontaine,  Dorothy  Dandrldge.  Pro- 
ducer DarryJ  Zanuck.  Director  Robert  Rossen.  Drama. 

WAYWARD  BUS  Jayne  Mansfield,  Dan  Dailey,  Joan 
Collins,  Rick  Jason.  Producer  Chares  Brackett.  Director 
Victor  Vicas.   From  the  John  Steinbeck  novel.  Drama. 

Coming 

ALL  THAT  I  HAVE  Walter  Brennan. 

BADLANDS  OF  MONTANA  Rex  Reason,  Margia  Deane. 
Beverly  Garland.   Producer  H.   Knox.   Director  D.  Ull- 


BEAUTIFUL  BUT  DANGEROUS  Gina  Lollobrigida,  Vit- 
torio  Gassman.  Producer  Manuella  Malotti.  Director 
Robert  Leonard.  Drama. 

LURE  OF  THE  SWAMP  William  Parker,  Skippy  Homeir, 
Marshall  Thompson. 

RESTLESS  BREED,  THE  Eastman  Color.  Scott  Brady, 
Anne  Bancroft.  Producer  E.  A.  Alperson.  Director  Alan 
Dwan. 

SEA  WIFE  CinemaScope,  DeLuxe  Color.  Richard  Bur- 
ton, Joan  Collins.  Producer  Andre  Hakim.  Director  Bob 
McNaught.  Drama.  Ship  is  torpedoed  by  Jay  submarine 
off  Singapore  harbor. 

THREE  FACES  OF  EVE.  THE  David  Wayne,  Joanne 
Woodward.  Producer  Nunnallv  Johnson.  Story  of  a 
woman  with  three  distinct  personalities. 

WAY  TO  THE  GOLD.  THE  Sheree  North,  Barry  Sullivan, 
Jeffrey  Hunter.  Producer  David  Weisbart.  Director  R. 
Webb. 


UNITED  ARTISTS 


January 

BIG  BOODLE,  THE  Errol  Flynn,  Rossana  Rory.  A  Lewis 
F.  Blumberg  Production.  Director  Richard  Wilson.  Ad- 
venture. A  blackjack  dealer  in  a  Havana  nightclub  is 
accused  of  being  a  counterfeiter.  83  min.  2/4. 

FIVE  STEPS  TO  DANGER  Ruth  Roman,  Sterling  Hayden. 
A  Grand  Production.  Director  Henry  Kesler.  Drama. 
A  woman  tries  to  give  FBI  highly  secret  material  stolen 

from  Russians.  80  min.  2/4. 

HALLIDAY  BRAND.  THE  Joseph  Cotten,  Viveca  Lind- 
fors,  Betsy  Blair.  Producer  Collier  Young.  Director 
Joseph  Lewis.  Western.  Inter-family  feud  threatens 
father  and  son  with  disaster.  77  min.  2/4. 

February 

CRIME  OF  PASSION  Barbara  Stanwyck,  Sterling 
Hayden,  Raymond  Burr.  Producer  Herman  Cohen.  Di- 
rector Gerd  Oswald.  Drama.  Newspaper  woman  whose 

ambition  for  her  husband  leads  to  murder.  85  min.  1/7. 

DRAM  GO  Jeff  Chandler,  Joanne  Dru.  An  Earlmar  Pro- 
duction. Hall  Bartlett  producer-director.  Adventure. 
Union  officers  try  to  bring  order  to  a  Southern  town 
after  the  Civil  War.  92  min. 

MEN  IN  WAR  Robert  Ryan,  Aldo  Ray,  Robert  Keith. 
Producer  Sidney  Harmon.  Director  Anthony  Mann. 
Drama.  An  American  infantry  platoon  Isolated  in  enemy 
territory  tries  to  retreat  during  the  Korean  War. 
101  min.  2/4. 

TOMAHAWK  TRAIL  John  Smith,  Susan  Cummings.  A 
Bel  Air  Production.  Director  Robert  Perry.  Western. 
Cowboy  versus  Indians,  A  small  band  of  cavalry 
soldiers,  greatly  outnumbered,  battles  with  Apache 
Indians  at  close  of  the  Civil  War.  6  1  min. 

VODOO  ISLAND  Boris  Karloff,  Beverly  Tyler.  A  Bel 
Air  Production.  Director  Reginald  Le  Borg.  Horror. 
Writer  Is  called  upon  to  investigate  vodooism  on  a 
Pacific  isle.  76  min. 


March 

DELINQUENTS,  THE  Tommy  Laughlin,  Peter  Miller. 
Dick  Bakalyan.  Imperial  Productions.  Robert  Altman 
director.  High  school  student  and  his  girl  victimized 
by  a  teen-age  gang.  75  min.  3/18. 

HIT  AND  RUN  CJeo  Moore,  Hugo  Haas.  Producer,  di- 
rector Hugo  Haas.  Middle-aged  widower  marries  show 
girl.  She  and  her  boy  friend  plot  his  murder.  84  min. 

REVOLT  AT  FORT  LARAMIE  DeLuxe  Color.  John 
Dehner,  Diana  Brewster.  Producer  Howard  Koch.  Di- 
rector Lesley  Selander.  Western.  Civil  War  story  of 
soldiers  who  are  attacked  by  Indians.  73  min. 

April 

BACHELOR  PARTY,  THE  Don  Murray,  E.  G.  Marshall, 
Jack  Warden.  Producer  Harold  Hecht.  Director  Delbert 
Mann.  Drama.  From  the  famous  television  drama  by 
Paddy  Chayefsky.  92  min.  4/15. 

FURY  AT  SHOWDOWN  John  Derek,  Carolyn  Craig, 
Nick  Adams.  Producer  John  Beck.  Director  Gerd  Os- 
wald. Western.  Ex-bandit  finds  tough  going  when  he 
tries  to  go  straight.  75  min.  3/18. 

IRON  SHERIFF,  THE  Sterling  Hayden,,  John  Dehner, 
Constance  Ford.  Producer  Jerome  Robinson.  Director 
Sidney  Salkow.  Sheriff  tries  to  clear  his  son  of  a 
murder  charge.  73  min. 

RIDE  BACK.  THE  Anthony  Quinn,  William  Conrad.  An 
Aldrich  Production.  Director  Allen  Miner.  Western. 
Sheriff  is  afraid  of  failing  in  assignment  to  bring 
border  outlaw  to  justice. 

12  ANGRY  MEN  Henry  Fonda,  Lee  J.  Cobb.  Jack 
Warden.  An  Orion-Nova  Production.  Director  Sidney 
Lumet.  Drama.  Jury  cannot  agree  on  a  verdict.  95 
min.  3/4 

WAR  DRUMS  DeLuxe  Color.  Lex  Barker,  Joan  Taylor, 
Ben  Johnson.  Director  Reginald  LeBorg.  Apache  chief 
and  his  white  wife  wgae  war  on  white  settlers.  75  min. 
4/1. 

May 

BIG  CAPER.  THE  R«ry  CaJhound  Mary  Costa.  Pine- 
Thomas  Production.  Director  Robert  Stevens.  Multi- 
million  dollar  payroll  robbery.  Melodrama. 
GIRL  IN  BLACK  STOCKINGS.  THE  Lex  Barker,  Anne 
Bancroft,  Mamie  Van  Doren.  A  Bel-Air  Production.  Di- 
rector Howard  Koch.  Drama.  A  series  of  sex  slayingt 
terrorize  western  resort. 

HIDDEN  FEAR  John  Payne,  Natalie  Norwick.  A  St. 
Aubrey-Kohn  Production.  Director  Andre  de  Toth. 
Drama.  PoJice  officer  attempts  to  clear  sister  charged 

with  murder.  83  min. 

MONKEY  ON  MY  BACK  Cameron  Mitchell,  Dianne  Fos- 
ter. Producer  Edward  Small.  Director  Ted  Post.  Drama. 
Life  story  of  ex-boxing  champion  Barney  Ross. 
MONTE  CARLO  STORY,  THE  Technirama,  Color.  Mar- 
lene  Dietrich,  Vittorio  De  Sica.  A  Titanus  Film.  Sam 
Taylor  director.  Drama.  A  handsome  Italian  nobleman 
with  a  love  for  gambling  marries  a  rich  woman  in 
order  to  pay  his  debts. 

June 

ST.  JOAN  Richard  Widmark,  Jean  Seburg.  Producer- 
director  Otto  Preminger.  Drama.  Filmization  of  George 
Bernard  Shaw's  famous  classic. 

Coming 

BAILOUT  AT  43.000  John  Payne,  Karen  Steele.  A  Pine- 
Thomas  Production.  Director  Francis  Lyon.  U.S.  Air 
Force  pioneers  bailout  mechanism  for  jet  pilots.  83  mm. 
BOP  GIRL  GOES  CALYPSO  Judy  Tyler,  Bobby  Troup, 
Margo  Woode.  Producer  Aubrey  Schenk.  Director  How- 
ard Koch.  Musical.  Rock  and  roll-calypso  cavalcade  of 


CARELESS  YEARS.  THE  Natalie  Trundy,  Dean  Stock- 
well.  Producer  Edward  Lewis.  Director  Arthur  Hiller. 
Drama.  Two  lovers  meet  parental  resistance  when  they 
decide  to  get  married. 

FUZZY  FINK  NIGHTGOWN,  THE  Jane  Russell,  Keenan 
W'/nn,  Ray  Danton.  Producer  Bob  Waterfield  Director 
Norman  Taurog. 

GUNSIGHT  RIDGE  Joel  McCrea,  Mark  Stevens.  Pro- 
ducer Robert  Bassler.  Director  Francis  Lyon.  Western. 

GUN  DUEL  IN  DURANGO  George  Montgomery, 
Western. 

JUNGLE  HEAT  Lex  Barker,  Mari  Blanchard.  A  Bel-Air 
Production.  Director  H.  Koch. 

LEGEND  OF  THE  LOST  John  Wayne,  Sophia  Loren. 
Rossano  Brazzi.  Producer-director  Henry  Hathaway.  Ad- 


LONELY  GUN,  THE  Anthony  Ouinn,  Katy  Jurado.  Pro- 
ducer Robert  Jacks.  Director  Harry  Horner. 
MONSTER  THAT  CHALLENGED  THE  WORLD.  THE  Tim 

Holt  Audrey  Dalton.  Producers  Jules  Levy,  Arthur 
Gardner.  Director  Arnold  Laven.  Science-fiction.  Group 
of  Navy  scientists  battle  a  pre-historic  sea  monster. 
OUTLAWS  SON  Dane  Clark,  Ben  Cooper,  Lori  Nel- 
son. Bel  Air  Production.  Director  Lesley  Selander.  Gun- 
slinger  escapes  from  jail  to  save  son  from  life  of 
crime. 

PHAROAH'S  CURSE  Ziva  Shapir,  Mark  Dana.  Producer 
Howard  Koch.  Director  Lee  Sholem.  Horror.  Reincar- 
nation of  mumm'es  in  Egyptian  tombs.  66  min.  2/18 
PRIDE  AND  THE  PASSION,  THE  VistaVision,  Techni- 
color. Cary  Grant,  Frank  Sinatra,  Sophia  Loren.  Pro- 
ducer-director Stanley  Kramer.  Drama.  A  Spanish 
guerrilla  band  marches  an  incredible  distance  with  a 
4000  pound  cannon  during  Spanish  War  of  Independ- 
ence of  1810. 


2 


Film 


BULLETIN  —  THIS     IS    YOUR  PRODUCT 


SAVAGE  PRINCESS  T.chnicolor.  Dilip  Kumar,  Nimmi. 
A  Mthboob  Production.  Musical  Drama.  A  princess 
falls  in  lova  with  a  peasant  who  contests  her  right 
to  rule  the  kingdom.  101  min. 

STREET  OF  SINNERS  George  Montgomery,  Geraldine 
Brooks.  Producer  William  Berke.  Rookie  policeman 
clashes  with  youthful  criminals. 

SPRING  REUNION  Betty  Hutton,  Dana  Andrews,  Jean 
Hagen.  Director  Robert  Pirosh.  Producer  Jerry  Bresler. 
Comedy.  Old  schoolmates  fall  in  love  at  a  high  school 
reunion.  7?  min.  3/18. 

SWEET  SMELL  OF  SUCCESS,  THE  Burt  Lancaster,  Tony 
Curtis,  Susan  Harrison.  Producer  James  Hill.  Director 
Aexander  Mackendrick. 

TROOPER  HOOK  Joel  McCrea,  Barbara  Stanwyck.  Ed- 
ward Andrews.  Producer  Sol  Fielding.  Director  Marquis 
Warren.  A  white  woman,  forced  to  live  as  an  Indian 
Chief's  squaw,  is  finally  rescued  and  tries  to  resume 
life  with  husband. 


U  N  I  VERSA  L- 1  NT'  L- 


January 


•RAVE  ONE.  THE  CinemaScope,  Technicolor.  Michel 
lay,  Fermin  Rivera,  Joy  Laming  Rudolph  Hoyos.  Pro- 
dsteer  Frank  1  Maurice  King.  Director  Irving  Rapper. 
Drama.  The  adventures  of  a  young  Mexican  boy  who 
•rows  »o  with  a  bull  as  his  main  companion  and  friend 
and  how  each  protests  the  other.  100  min.  10/15. 

BUNDLE  OF  JOY  CinemaScepe,  Eastman  Color.  Debbie 
Reynolds,  Eddie  Fisher,  Adolph  Menjou.  Producer  Ed- 
mund Grainger.  Director  Norman  Tauro*  Comedy. 
Son  of  department  store  magnet  falls  f"  salesgirl. 
98  min.  12/24. 

FOUR  GIRLS  IN  TOWN  CinemaScope,  Technicolor. 
George  Nader,  Julie  Adams,  Marianne  Cook.  Producer 
A.  Rosenberg.  Director  Jack  Sher.  Drama.  Movie  studio 
promotes  world-wide  talent  hunt  to  find  a  new  star. 
85  min.  12/10 

ROCK,  PRETTY  BABY  Sal  Mineo,  John  Saxon,  Luana 
Patten.  Producer  Edmund  Chevie.  Director  Richard 
Bartleft.  Musical  Rock  n'  roll  story  of  college  combo. 
*?  min.  11/74. 

WRITTEN  ON  THE  WIND  Technicolor.  Rock  Hudson, 
Lauren  lacall,  Robert  Stack.  Producer  Albert  Zug- 
smith.  Director  Douglas  Sirk.  Drama.  Oil  tycoon  meets 
violent  death  because  of  jealousy  for  wife.  99  min.  10/1 


February 


GREAT  MAN.  THE  Joae  Ferrer,  Mona  Freeman,  Dean 
Jagger.  Producer  Aaron  Rosenberg  Director  Jose  Fer- 
rer. Drama.  The  life  and  death  of  a  famous  television 
idol.  92  min.  1 1/24. 

ISTANBUL  CinemaScope,  Technicolor.  Errol  Ffynn.  Cor- 
nell Borchers.  Producer  Albert  Cohen.  Director  Joseph 
Fevney.  Adventure.  Diamond  smugglers  in  mysterious 
Turkey.  84  min.  1/21. 

NIGHT  RUNNER.  THE  Ray  DanJon,  Cqlleen  Miller.  Pro- 
ducer Albert  Cohen.  Director  Abner  Biberman.  Drama. 
Mental  hospital  inmate  is  released  while  still  in  dan- 
gerous condition.  7?  min. 

March 

BATTLE  HYMN  Technicplor,  CinemaScope.  Rock  Hud- 
son, Martha  Hyer,  Dan  Duryea.  Producer  Ross  Hunter. 
Director  Douglas  Sirk.  Drama.  Pilot  redeems  sense  of 
guilt  because  of  bombing  of  an  orphanage  by  saving 
other  orphans.  108  min.  12/24. 

GUN  FOR  A  COWARD  astman  Color,  CinemaScope 
Fred  MacMurray,  Jeffrey  Hunter,  Janice  Rule.  Pro- 
ducer William  Alland.  Director  Abner  Biberman.  Wes- 
tern. Three  brothers  run  a  cattle  ranch  after  death  of 
their  father.  88  min.  1/7. 

MISTER  CORY  Eastman  Color,  CinemaScope.  Tony 
Curtis,  Martha  Hyer,  Charles  Bickford.  Producer 
Robert  Arthur.  Director  Blake  Edwards.  Drama.  Gam- 
bler from  Chicago  sjums  climbs  to  wealth  and  re- 
spectability. 92  min.  1/21. 


April 


INCREDIBLE  SHRINKING  MAN.  THE  Grant  Williams, 
Randy  Stuart.  Producer  Albert  Zugsmith.  Director  Jack 
Arnold.  Science-fiction.  The  story  of  a  man  whose 
growth  processes  have  accidently  been  reversed. 
«l  min.  2/4. 

KEUY  AND  ME  CinemaScope,  Technicolor.  Van  John- 
son, Piper  Laurie,  Martha  Hyer.  Producer  Robert  Ar- 
thur. Director  Robert  Leonard.  Drama.  Story  of  dog- 
act  in  show  business  in  the  early,  I930»s.  2/4. 

T*TTERED  DRESS.  THE  CinemaScope.  Jeff  Chandler, 
Jeannie  Crain,  Jack  Carson.  Producer  Albert  Zugsmith. 
Director  Jack  Arnold.  Melodrama.  Famous  criminal 
lawyer  gains   humility  when   put  on   trial   himself.  93 


May 


DEADLY  MANTIS,  THE  Craig  Stevens,  Alix  Talton.  Pro- 
ducer William  Alland.  Director  Jerry  Juran.  Horror. 
Monstrouc  creature  threatens  to  destroy  U.S.  78  min. 

GIRL  IN  THE  KREMLIN,  THE  Lex  Barker  Zsa  Zsa 
Gabor,  Jeffrey  Stone.  Producer  Albert  Zugsmith  Di- 
rector Russell  Birdwell.  Drama. 

MAN  AFRAID  CinemaScope.  George  Nader,  Phyllis 
Thaxter,  Tim  Hovey.  Producer  Gordon  Kay.  Director 
Harry  Keller.  Drama.  Father  saves  life  of  man  attempt- 
ing to  murder  his  son.  84  min.  4/15. 


OUANTEZ  CinemaScope,  Eastman  Color.  Fred  Mac- 
Murray,  Dorothy  Malone.  Producer  Gordon  Kay.  Direc- 
tor Harry  Keller.  Drama.  A  study  of  five  people  in- 
volved in  a  robbery  and  killing. 


June 


KETTLES  ON  OLD  MocDONALDS  FARM,  THE  Marjorie 
Main  Parker  Fennelly,  Gloria  Talbott.  Producer  Ho- 
ward Christie.  Director  Virgil  Vogel.  Comedy.  The 
Kettles  buy  a  new  farm. 

YOUNG  STRANGER  James  MacArtur,  James  Daly,  Kim 
Hunter,  James  Gregory.  Story  of  a  young  man  and  his 
parents.  84  min. 


Coming 


DAY  THEY  GAVE  BABIES  AWAY.  THE  Eastman  Color. 
Glynis  Johns,  Cameron  Mitchell,  Rex  Thompson.  Pro- 
ducer Sam  Weisenthal.  Director  Allen  Reisner.  Drama. 

ESCAPADE  IN  JAPAN  Color.  Teresa  Wright,  Cameron 
Mitchell,  Jon  Provost,  Roger  Nakagaws.  Producer-direc- 
tor Arthur  Lubin.  Search  for  two  boys  who  start  out 
in  the  wrong  direction  to  find  the  very  people  who 
are  trying  to  find  them. 

GIRL  MOST  LIKELY.  THE  Eastmai  Color.  Jane  Powell, 
Cliff  Robertson,  Keith  Andes.  Producer  Stanley  Rublin. 
Director  Mitchell  Leison.  Comedy.  A  girl  is  proposed 
to  by  three  men  on  the  same  day. 

I  MARRIED  A  WOMAN  George  Gobel,  Diana  Dors. 
Adolph  Menjou.  Producer  William  Bloom.  Director  Hal 
Kanter.  Coemdy.  Wife  objects  to  taking  second  place 
to  a   beer   advertising   campaign   with   her  husband. 

INTERLUDE  Technicolor,  CinemaScope.  June  Allyson, 
Rossano  Brazzi.  Producer  Ross  Hunter.  Director  Douglas 
Sirk.  American  doctor  falls  in  love  with  wife  of  fa- 
mous composer  in  Munich. 

JET  PILOT  Technicolor,  SuperScope.  John  Wayne, 
Janet  Leigh.  Howard  Hughes  Production.  Producer 
Jules  Furthman  Director  Josef  von  Sternberg.  Drama. 
119  min. 

JOE  BUTTERFLY  CinemaScope,  Technicolor.  Audie 
Murphy,  George  Nader,  Keenan  Wynn.  Producer 
Aaron  Rosenberg.  Director  Jessie  Hibbs.  Story  of 
American  newsmen  in  Tokyo  after  Japanese  surrender. 

JOE  DAKOTA  Color.  Jock  Mahoney,  Luana  Patten.  Pro- 
ducer Howard  Christie.  Director  Richard  Bartleft. 
Drama.  Stranger  makes  California  oil  town  see  the 
error  of  its  ways. 

LAND  UNKNOWN,  THE  Jock  Mahoney,  Shawn  Smith. 
Producer  William  Alland.  Director  Virgil  Vogel. 
Science-fiction.  Polar  expedition  finds  Mesozoic  age 
in  Antartic  expedition. 

MAN  OF  A  THOUSAND  FACES  CinemaScope.  James 
Cagney,  Dorothy  Malone.  Producer  Robert  Arthur.  Di- 
rector Joseph  Pevney.  Drama.  Life  story  of  Lon  Chaney. 

MIDNIGHT  STORY,  THE  CinemaScope.  Tony  Curtis, 
Marisa  Pavan.  Producer  Robert  Arthur.  Director  Joseph 
Pevney.  Drama.  Rookie  cop  seeks  murderer  of  parish 
priest. 

MONOLITH   Grant  Williams,    Lola   Albright.  Producer 
Howard  Christie.   Director  John  Sherwood. 
MY   MAN   GODFREY  CinemaScope,   Technicolor.  June 
Allyson,   David   Niven.   Producer  Ross   Hunter.  Director 
Henry  Koster.  Comedy. 

NIGHT  PASSAGE  Technirama.  James  Stewart,  Audie 
Murphy,  Dan  Duryea.  Producer  A.  Rosenberg.  Director 
James  Neilson.  Drama.  Payroll  robbers  are  foiled  by 
youngster  and  tough-fisted  railroader. 

PAY  THE  DEVIL  CinemaScope.  Jeff  Chandler,  Orson 
Welles.  Producer  Albert  Zugsmith.  Director  Jack  Ar- 
nold. Drama.  Sheriff  destroys  one-man  domination  of 
Texas  town. 

PUBLIC  PIGEON  NO.  1  Eastman  Color.  Red  Skelton, 
Vivian  Blaine,  Janet  Blair.  Pretducer  Harry  Tugend.  Di- 
rector Norman  McLeod.  Comedy.  A  trusting  toul 
tangles  with  slick  con  men  and  outwits  them.  79  min. 

PYLON  CinemaScope.  Rock  Hudson,  Robert  Stack, 
Dorothy  Malone,  Jack  Carson.  Producer  Albert  Zug- 
smith. Director  Douglas  Sirk.  Drama. 

RUN  OF  THE  ARROW  Eastman  Color.  Rod  Steiger, 
Sarita  Montiel,  Ralph  Meeker.  Producer-director  Sam 
Fuller.  Adventure.  Young  sharpshooter  joins  Sioux 
Indians  at  close  of  Civil  War. 

TAMMY  AND  THE  BACHELOR  Cinemascope,  Techni- 
color. Debbie  Reynolds,  Leslie  Nielson.  Producer  Aaron 
Rosenberg.  Director  oJe  Pevney.  Story  of  a  young  girl, 
her  grandfather  and  a  young  man  who  falls  in  love 
with  her.  89  min. 

THAT  NIGHT  John  Beal,  Augusta  Dabney,  Shepperd 
Strudwick.  Producer  Hiram  Brown.  Director  John 
Newland.  Drama.  A  tragedy  almost  shatters  a  15- 
year-old  marriage. 

UNHOLY  WIFE.  THE  Oolor.  Diana  Dors,  Hod  Steiger, 
Marie  Windsor.  Producer-director  John  Farrow.  Drama. 
A  wife  sunningly  plots  the  death  of  her  husband  who 
she  has  betrayed. 

VIOLATORS.  THE  Arthur  O'Connell,  Nancy  Malone. 
Producer  H.  Brown.  Director  John  Newland.  Drama. 
Story  of  a  probation  officer  in  the  New  York  City 
courts. 


WARNER  BROTHERS 


December 


BABY  DOLL  Karl  Maiden,  Carroll  Baker,  Eli  Wallach. 
A  Newton  Production.  Producer-director  Elia  Kazan. 
Drama.  Story  of  a  gin-mill  proprietor  and  a  beautiful 
girl.  114  min.  12/24. 


January 

WRONG  MAN.  THE  Henry  Fonda.  Vera  Miles,  Anthony 
Quayles.  Producer-director  Alfred  Hitchcock.  Drama, 
lass  fiddle  player  at  Stork  Club  is  prime  suspect  I* 
murder  case.  105  min.  1/7. 


February 


BIG  LAND,  THE  WarnerColor.  Alan  Ladd,  Virginia 
Mayo.  A  Jaguar  Production.  Director  Gordon  Douglas. 
Western.  Cattlemen  fight  to  move  their  herds  to 
distant  railroads.  93  min.  2/4. 

TOP  SECRET  AFFAIR  Kirk  Douglas,  Susan  Hayward. 
Producer  Martin  Rackin.  Director  H.  C.  Potter.  Come- 
dy. A  lovely  lady  calls  the  bluff  of  an  Army  General. 


93 


2/4 


March 


PARIS  DOES  STRANGE  THINGS  Technicolor  Ingrid 
Bergman  Mel  Ferrer,  Jean  Marais.  A  Franco-London 
Rim.  Director  Jean  Renoir.  Drama.  Tale  of  the  exiled 
widow  of  a  Polish  Prince.  86  min.  3/4. 


A  pril 


COUNTERFEIT  PLAN.  THE  Zachary  Scott,  Pegg.e 
Castle.  Producer  Alec  Snowden.  Director  Montgomery 
Tully.  Drama.  Inside  story  of  one  of  the  largest  for- 
gery operations  ever  attempted.  80  min.  4/1. 
SPIRIT  OF  ST.  LOUIS,  THE  CinemaScope,  Warner- 
Color.  James  Stewart,  Rena  Clark.  Producer  Leland 
Hayward.  Director  Billy  Wilder.  Drama.  The  story  of 
the  first  man  ever  to  cross  the  Atlantic   in  a  plane. 


138 


3/4. 


May 


James  Crain,    Dani   Crayne.  Produ 
Director    Richard    Bare.  Western. 
Quaker  settlers  in  Nebraska 
by  "bad  man". 

June 

STORY     OF     MANKIND  WarnerColor. 


Coming 


A  FACE  IN  THE  CROWD  Andy  Griffith,  Patricia  Neal. 

Producer-director  Elia  Kazan.  Drama.  A  hill-billy  per- 
sonality leaps  to  national  fame. 

BAND  OF  ANGELS  WarnerColor.  Clark  Gable,  Yvonne 
De  Carlo.  Director  Raoul  Walsh. 

BOMBERS  B-52  CinemaScope,  WarnerColor.  Karl  Mai- 
den Natalie  Wood.  Producer  Richard  Whorf.  Director 
Gordon  Douglas.  Story  of  te  men  who  man  the 
bombers  that  defend  our  nation. 

D.  I..  THE  Jack  Webb  Don  Dubbins,  Jackie  Loughery. 
Producer-director  Jack  Webb.  Drama.  Life  of  a  Ma- 
rine Corps  drill  instructor. 

HELEN  MORGAN  STORY,  THE  CinemaScope.  Ann 
Blvth,  Paul  Newman.  Producer  Martin  Rackin.  Director 
Michael  Curtiz.  Drama. 

LAFAYETTE  ESCA0RILLE  CinemaScope.  WarnerColor. 
Tab  Hunter,  Etchlka  Cnouroau,  J.  Carrol  Natth.  Drama. 

Lives  and  times  of  a  select  squadron  of  fighter  pilots 
in  WWI. 

OLD  MAN  AND  THE  SEA,  THE  CinemaScope,  Warner- 
Color. Produced  by  Leland  Hayward.  Director  John 
Sturges.  Adventure.  Film  version  of  Ernest  Heming- 
way's prize-winning  novel. 

PAJAMA  GAME.  THE  Warner  Color.  Doris  Day.  John 
Raitt  Carol  Haney.  Producers  G.  Abbot,  F.  Brisson, 
R.  Griffith,  H.  Prince.  Director  Stanley  Donen.  Filmiza- 
tion  of  the  Broadway  musical. 

PRINCE  AND  THE  SHOWGIRL.  THE  Color.  Marilyn 
Monroe,    Laurence    Olivier,    Dame    Sybil  Thorndyke. 

Producer-director  Laurence  Olivier.  Comedy.  Filmiza- 
tion  of  the  Terence  Rattigan  play. 

SAYONARA  Technirama,  WarnerColor.  Marlon  Brando, 
Red  Burtons,  Patricia  Owens.  Producer  William  Goetz. 
Director  Josh  Logan.  Drama.  Based  on  the  award- 
winning  novel  of  James  Michener. 

UNTAMED  YOUTH  Mamie  Van  Doren,  Lou  Nelson,  John 
Russell.  Producer  Aubrey  Schenk.  Director  Howard 
Koch.   Life  on  a  prison  farm  for  juvenile  delinquents. 


To  Better  Serve  You  .  .  . 

Office  &  Terminal  Combined  At 

305  N.  12th  St.  New  Phones 

Philadelphia  7,  Pa.         LOmbard  3-3944,  394S 

NEW  JERSEY 
MESSENGER  SERVICE 

Member  National  Film  Carriers 


DEPENDABLE  SERVICE! 

HIGHWAY 
EXPRESS  LINES,  INC. 

Member  National  Film  Carriers 

Philadelphia,  Pa.:  LOcust  4-3458 
Washington,  D.  C:  DUpont  7-7200 


Film 


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THE  WORLD 
IN  80  DAYS 

Todd-AO  •  Technicolor 

Starring  David  Niven  •  Cantinflas  •  Robert 
Newton  •  Shirley  MacLaine  •  Directed  by 
Michael  Anderson  •  Prod,  by  Michael  Todd. 


AT  43,000 

Starring  John  Payne  •  Karen  Steele 
Paul  Kelly  •  Directed  by  Francis  D.  Lyon 
Produced  by  William  C.  Thomas-Howard 
Pine  •  A  Pine-Thomas-Shane  Production. 


Starring  Peter  Graves  •  Directed  by  Harold 
Daniels  •  Produced  by  Ed.  I.  Fessler 
and  M.  A.  Ripps. 


GOES  CALY 

Starring  Judy  Tyler  •  Bobby  T 
Woode  •  Directed  by  How; 
Produced  by  Aubrey  Sc 
A  Bel-Air  Productic 


GUNSIGHT 
RIDGE 

Starring  Joel  McCrea  •  Mark  Stevens 
Directed  by  Francis  D.  Lyon  •  Produced  by 
Robert  Bassler  •  A  Libra  Films,  Inc.  Prod. 


GUN  THE 
MAN  DOWN 

Starring  James  Arness  •  Emile  Meyer 
Robert  Wilke  •  Harry  Carey,  Jr.  •  Directed 
by  Andrew  V.  McLaglen  •  Produced  by 
Robert  E.  Morrison  •  A  Robert  E.  Morrison 
and  Andrew  V.  McLaglen  Presentation. 


HIDDEN  FEAR 

Starring  John  Payne  •  Alexander  Knox 
Conrad  Nagel  •  Natalie  Norwick  •  Anne 
Neyland  •  Directed  by  Andre  De  Toth 
Prod,  by  Robert  St.  Aubrey  and  Howard 
E.  Kohn  II.  •  A  St.  Aubrey-Kohn  Pres. 


HIT  AND  R 

Starring  Hugo  Haas  •  Cle 
Produced  and  Directed  by 


LINE  OF  DUTY 

Directed  by  Russell  Rouse  •  Produced  by 
Clarence  Greene  •  A  Greene-Rouse  Prod 


MEN  IN  WAR 

Starring  Robert  Ryan  •  Aldo  Ray  •  Robert 
Keith  •  Directed  by  Anthony  Mann  •  Pro- 
duced by  Sidney  Harmon  •  A  Security 
Pictures  Inc.  Presentation. 


MONKEY  ON 
MY  BACK 

Starring  Cameron  Mitchell  •  Dianne  Foster 
Directed  by  Andre  de  Toth 
Produced  by  Edward  Small 


OPERATIC 
MURDER 

Starring  Tom  Conway  •  Direct,  by' 
Morris  •  Produced  by  The  Dargtfi 


REVENGE 

Starring  Mark  Stevens  •  Directed  by  Mark 
Stevens  •  Produced  by  Harry  Jackson. 


The  Most 
Powerful 


REVOLT  AT 
FORT  LARAMIE 

Color  by  De  Luxe 

Starring  John  Dehner  •  Gregg  Palmer 
Frances  Helm  •  Don  Gordon  •  Directed  by 
Lesley  Selander  •  Produced  by  Howard  W. 
Koch  •  Exec.  Producer  Aubrey  Schenck 
A  Bel-Air  Production. 


RIDE  OUl 
FOR  REVEK3I 

Starring  Rory  Calhoun  •  Prod.  <  No 
Retchin  •  Directed  by  Barn  Gir< 
A  Bryna  Productior 


STREET 
OF  SINNERS 

Starring  George  Montgomery  •  Geraldine 
Brooks  •  Joey  Faye  •  Produced  and 
Directed  by  William  Berke  •  A  Security 
Pictures,  Inc.  Presentation. 


SWEET  SMELL 
OF  SUCCESS 

Starring  Burt  Lancaster  •  Tony  Curtis 
Susan  Harrison  •  Directed  by  Alexander 
Mackendrick  •  Produced  by  James  Hill 
A  Norma-Curtleigh  Prod.  Picture  •  A 
Hecht,  Hill  and  Lancaster  Presentation. 


-Up  of 
Boxoff  ice  Pictu 


THE  CARELESS 
YEARS 

Starring  Natalie  Trundy  •  Dean  Stockwell 
Directed  by  Arthur  Hiller  •  Produced  by 
Edward  Lewis  •  Exec.  Prod.  Jerry  Bresler 
A  Michael  Production 


THE 
DELINQUENTS 

Starring  Tommy  Laughlin  •  Peter  Miller 
Dick  Bakalyan  •  Directed  by  Robert 
Altman  •  An  Imperial  Productions,  Inc. 
Presentation. 


THE  DEVIL'S 
DISCIPLE 

Color 

Starring  Burt  Lancaster  •  Sir  Laurence 
Olivier  •  Carroll  Baker  •  Directed  by 
Alexander  Mackendrick  •  A  Hecht,  Hill 
and  Lancaster  Presentation. 


THE  FUZZY 
NIGHTGOVi 

Starring  Jane  Russell  •  Rail 
Keenan  Wynn  •  Dir.  by  Norn] 
Produced  by  Robert  Watj 
A  Russ-Field  Productif 


THE  LOST 
LAGOON 

Directed  and  Produced  by  John  Rawlins. 


THE  MONSTER 
THAT  CHALLENGED 
THE  WORLD 

Starring  Tim  Holt  •  Audrey  Dalton  •  Hans 
Conreid  •  Directed  by  Arnold  Laven  •  Pro- 
duced by  Arthur  Gardner  and  Jules  Levy 
A  Gramercy  Pictures  Production. 


THE  MONTE  CARLO 
STORY 

Technirama  •  Technicolor 

Starring  Marlene  Dietrich  •  Vittorio  De 
Sica  •  Arthur  O'Connell  •  Natalie  Trundy 
Renato  Rascel  •  Dir.  by  Samuel  A.  Taylor 
Produced  by  Marcello  Girosi  •  A  Titanus 
Film  Production. 


THE  PRIDE  M 
THE  PASShN 

VistaVision  •  Technict 

Starring  Cary  Grant  •  Frai  Sii 
Sophia  Loren  •  Produced  and  lectt 
Stanley  Kramer. 


4 


THEY  CAN'T 
HANG  ME 

Starring  Terence  Morgan  •  Yolande 
Donlan  •  Andre  Morell  •  Ursula  Howells 
Directed  by  Val  Guest  •  Produced  by 
Roger  Proudlock  •  A  Vandyke  Production. 


TIGER 
BY  THE  TAIL 

Starring  Larry  Parks  •  Lisa  Daniely 
Constance  Smith  •  Dir.  by  John  Gilling 
Prod,  by  Robert  S.  Baker  &  Monty  Berman. 


TIME  LIMIT 

Starring  Richard  Widmark  •  Directed  by 
Karl  Maiden  •  Produced  by  Richard 
Widmark  and  William  Reynolds  •  A  Heath 
Productions,  Inc.  Presentation 


TROOPER 


Starring  Joel  McCrea  •  Barbar.-tayi 
Directed  by  Charles  Marqu  Wl 
Produced  by  Sol  Baer  FijH 
A  Fielding  Productioi  i 


DRANGO 

eff  Chandler  •  Joanne  Dru  •  Julie 
Directed  by  Hall  Bartlett  and 

ken  •  Produced  by  Hall  Bartlett 
Producer  Meyer  Mishkin  •  A 

lett  Production  •  An  Earlmar 

oductions  Presentation. 


ENEMY 
FROM  SPACE 

Starring  Brian  Donlevy  •  Executive  Pro- 
ducer Michael  Carreras  •  Produced  by 
Anthony  Hinds  •  Directed  by  Val  Guest 
A  Hammer  Film  Production. 


fUK  T 

AT  SHOWDOWN 

Starring  John  Derek  •  John  Smith  •  Dir. 
by  Gerd  Oswald  •  Executive  Producer 
Bob  Goldstein  •  Produced  by  John  Beck 
A  Bob  Goldstein  Prod.  Presentation. 


EJUEL 

IN  DURANGO 

Starring  George  Montgomery  •  Directed 
by  Sidney  Salkow  •  Prod,  by  Robert  E. 
Kent  •  A  Peerless  Prod.,  Inc.  Presentation 


NGLE  HEAT 

Lex  Barker  ■  Mari  Blanchard 
gan  •  Directed  by  Howard  W. 
Executive  Producer  Aubrey 
nek  •  A  Bel-Air  Production. 


KINGS 
GO  FORTH 

Starring  Frank  Sinatra  •  Produced  by 
Frank  Ross  •  Directed  by  Delmer  Daves 


LADY  OF 
VENGEANCE 

Starring  Dennis  O'Keefe  •  Produced  and 
Directed  by  Burt  Balaban. 


LEGEND  OF 
THE  LOST 

Technirama  •  Technicolor 

Starring  John  Wayne  •  Sophia  Loren 
Rossano  Brazzi  •  Produced  and  Directed 
by  Henry  Hathaway  •  A  Batjac-Panama 
Production. 


HJTLAW'S 
SON 

)ane  Clark  •  Ben  Cooper  •  Lori 
Ellen  Drew  •  Directed  by  Lesley 
•  Produced  by  Howard  W.  Koch 

Producer  Aubrey  Schenck  •  A 

Bel-Air  Production. 


PARIS 
HOLIDAY 

Starring  Bob  Hope  •  Fernandel 
Anita  Ekberg  •  Martha  Hyer  ■  Directed  by 
Gerd  Oswald  •  A  Tolda  Production 


PASSENGER 
TO  BALI 

Starring  Robert  Ryan  •  Aldo  Ray 
Directed  by  Anthony  Mann  •  A  Security 
Pictures  Presentation 


PATHS  OF  GLORY 

Starring  Kirk  Douglas  •  Ralph  Meeker 
Richard  Anderson -Wayne  Morris-Adolphe 
Menjou  •  George  Macready  •  Produced  by 
lames  B.  Harris  •  Dir.  by  Stanley  Kubrick 
A  Bryna  Production 


tlNT  JOAN 

Richard  Widmark  •  Richard 
an  Seberg  •  Anton  Walbrook 
iud  •  Directed  and  Produced 
by  Otto  Preminger. 


SEPARATE 
TABLES 

Starring  Deborah  Kerr  •  Rita  Hayworth 
Burt  Lancaster  •  David  Niven  •  Directed 
by  Delbert  Mann  •  Produced  by  Harold 
Hecht  •  A  Hecht,  Hill  and  Lancaster 
Companies  Presentation 


SPRING 
REUNION 

Starring  Betty  Hutton  •  Dana  Andrews 
Jean  Hagen  •  Directed  by  Robert  Pirosh 
Prod,  by  Jerry  Bresler  •  A  Bryna  Prod. 


STEEL  BAYONET 

Widescreen 

Starring  Leo  Genn  •  Kieron  Moore  •  Pro- 
duced and  Directed  by  Michael  Carreras 
A  Hammer  Film  Production. 


[  BACHELOR 
PARTY 

Don  Murray  •  E.  G.  Marshall 
en -Philip Abbott  -  Larry  Blyden 
mith  •  Carolyn  Jones  •  Directed 
t  Mann  •  Prod,  by  Harold  Hecht 
!  Prod.  Paddy  Chayefsky  •  A 
roductions,  Inc.  Picture  •  A 
II  and  Lancaster  Presentation. 


THE 
BIG  CAPER 

Starring  Rory  Calhoun  •  Mary  Costa 
James  Gregory  •  Directed  by  Robert 
Stevens  •  Prod,  by  William  C.  Thomas  & 
Howard  Pine  ■  A  Pine-Thomas  Production 


THE  BIG 
COUNTRY 

Starring  Gregory  Peck  •  Directed  by 
William  Wyler  •  Prod,  by  William  Wyler 
and  Gregory  Peck  •  A  William  Wyler  Prod. 
An  Anthony-Worldwide  Prod.,  Inc.  Pres. 


THE  BUCKSKIN 
LADY 

Starring  Patricia  Medina  •  Richard 
Denning  •  Gerald  Mohr  •  Henry  Hull 
Prod,  and  Directed  by  Carl  K.  Hittleman. 


story! 


THE  GIRL  IN 
BLACK  STOCKINGS 

Starring  Lex  Barker  •  Anne  Bancroft 
Mamie  Van  Doren  •  Ron  Randell  •  Marie 
Windsor  •  John  Dehner  •  Directed  by 
Howard  W.  Koch  •  Executive  Producer 
Aubrey  Schenck  •  A  Bel-Air  Production. 


THE  IRON 
SHERIFF 

Starring  Sterling  Hayden  •  John  Dehner 
Constance  Ford  •  Dir.  by  Sidney  Salkow 
Produced  by  Jerome  C.  Robinson 
A  Grand  Productions  Presentation 


THE  KING  AND 
FOUR  QUEENS 

Cinemascope  •  Color  by  DeLuxe 

Starring  Clark  Gable  •  Eleanor  Parker  •  Jo 
Van  Fleet  •  Jean  Willes  •  Barbara  Nichols 
Sara  Shane  •  Directed  by  Raoul  Walsh 
Produced  by  David  Hempstead 
Executive  Producer  Robert  Waterfield 
A  Russ-Field-Gabco  Production. 


HE  QUIET 
MERICAN 

j  die  Murphy  •  Michael  Redgrave 
J  phin  -  Written  and  Directed  by 
'lankiewicz-  A  Figaro  Inc.  Prod. 


THE  RIDE  BACK 

Starring  Anthony  Quinn  •  William  Conrad 
Directed  by  Allen  H.  Miner  •  Produced  by 
William  Conrad  •  An  Associates  &  Aldrich 
Production 


THE  VAMPIRE 

Starring  John  Beal  •  Coleen  Gray 
Kenneth  Tobey  •  Directed  by  Paul  Landres 
Prod,  by  Arthur  Gardner  and  Jules  V.  Levy 
A  Gramercy  Pictures  Production 


THE  VIKINGS 

Technirama  •  Color 

Starring  Kirk  Douglas  •  Tony  Curtis 
Ernest  Borgnine  •  Janet  Leigh  -  Michael 
Rennie  •  Produced  by  Jerry  Bresler 
Directed  by  Richard  Fleischer 
A  Bryna  Production 


piGRY  MEN 

a  nry  Fonda  •  Lee  J.  Cobb  •  Ed 
1  G.  Marshall  •  Jack  Warden 
9/  Sidney  Lumet  •  Associate 
?!  eginald  Rose  •  Produced  by 
1  a  •  An  Orion-Nova  Production. 


VALERIE 

Starring  Sterling  Hayden  •  Anita  Ekberg 
Anthony  Steele  •  Directed  by  Gerd  Oswald 
Produced  by  Hal  R.  Makelim 


WAR  DRUMS 

Color  by  DeLuxe 

Starring  Lex  Barker  •  Joan  Taylor  •  Ben 
Johnson  •  Directed  by  Reginald  Le  Borg 
Exec.  Prod.  Aubrey  Schenck  •  Prod,  by 
Howard  W.  Koch  •  A  Bel-Air  Prod. 


WITNESS 
FOR  THE 
PROSECUTION 

Starring  Tyrone  Power  •  Marlene  Dietrich 
Charles  Laughton  •  Dir.  by  Billy  Wilder 
Produced  by  Arthur  Hornblow,  Jr. 


SHEER 
PLEASURE 

It's  Christmas  in  July 
when  hundreds  of  thea- 
tres hang  up  M-G-M's 
"Silk  Stockings."  Filled 
with  box-office  appeal, 
they'll  fill  your  house 
with  spectacular,  zingy 
entertainment! 

MONEY  FACTS: 

1.  "SILK  STOCKINGS,"  the 
two-year  Broadway  stage  hit 
on  the  screen  in  a  BIG, 
bouncy,  CinemaScope  and 
Color  production. 

2.  The  wonderful  story  was 
picked  by  Arthur  Freed  of 
"American  In  Paris"  fame  for 
his  first  independent  offering 
and  he's  given  it  the  works. 

3.  Cole  Porter's  magic  music 
and  lyrics.  13  of  his  top  tunes, 
plus  new  ones,  including 
"Ritz  Rock  'n  Roll." 

4.  Another  big  triumph  for 
Fred  Astaire  and  co-starring  is 
Cyd  Charisse  at  her  greatest. 
Big  talent  cast  includes  Janis 
Paige,  Peter  Lorre  and  others. 

5.  Smooth  as  "Silk  Stockings" 
promotion  in  the  big-time 
M-G-M  manner.  National 
magazines,  newspapers, 
radio,  TV. 


M-G-M  Presents 

AN  ARTHUR  FREED  PRODUCTION 

Starring 

FRED  ASTAIRE 
CYD  CHARISSE 

■Ik 


toe 


Also  Co-Starring  J  |  ^ 

PETER  LORI 


w,n  GEORGE  TOBIAS -JOSEPH  BULOFF 
JULES  MUNSHIN 

Screen  Play  by  LEONARD  GERSHE 

and  LEONARD  SPIGELGASS 

Suggested  by  "NINOTCHKA"  by  MELCHIOR  LENGYEL 

Music  and  Lyrics  by  COLE  PORTER 

Book  ol  Original  Musical  Play  by 

GEORGE  S.  KAUFMAN, 
LEUEEN  McGRATH 
and  ABE  BURROWS 

Produced  on  the  Stage  by  CY  FEUER  and  ERNEST  H  MARTIN 
in  CINEMASCOPE  and  METR0C0L0R 

Directed  by  ROUBEN  MAMOULIAN 


Viewpoints 

MAY  13,  1957         "  VOLUME  25,  NO.  10 


UA9s  Future 
Even  Brighter 

The  speed  with  which  United  Ar- 
tists stock  and  bond  offerings,  were 
gobbled  up  by  the  investing  public 
is  highly  encouraging.  And  it  is  a 
good  thing  for  our  industry  to  have 
this  company  become  a  publicly 
owned  corporation.  Under  its  ex- 
tremely able  owner-management. 
United  Artists  has  staged  a  come- 
back unparalleled  in  the  history  of 
cur  industry.  As  a  publicly  owned 
corporation,  it  should  contribute  ma- 
terially to  the  faith  of  the  American 
investing  public  in  a  vital  medium 
— the  motion  picture  screen. 

Good  news  for  exhibitors  is  also 
implicit  in  the  offering  of  United  Ar- 
tists stock  and  debentures.  In  the 
first  place,  the  success  of  this  offer- 
ing means  greater  resources  for  the 
company,  and  UA  has  already  dem- 
onstrated that  it  intends  to  concen- 
trate all  its  resources  on  providing 
the  best  possible  flow  of  solid  com- 
mercial product  to  theatres. 

In  the  second  place,  the  history  of 
production-distribution  companies  in 
the  motion  picture  business  illus- 
trates only  too  well  the  fact  that 
publicly  owned  companies  are  har- 
dier than  privately  owned  ones.  We 
have  only  to  look  at  the  most  recent 
instance — RKO  Radio  Pictures — to 
see  that  distribution  today  requires 
more  resources  than  a  single  owner 
cares  to  invest.  There  are,  of  course, 
successful  examples  of  smaller-scale 
production  -  distribution  combina- 
tions such  as  Disney's  Buena  Vista, 
but  only  a  limited  amount  of  theatre 
product  is  handled  by  such  a  group. 

United  Artists  long  ago  com- 
mitted itself  to  the  idea  of  giving 
motion  picture  theatres  as  much 
product  as  the  market  could  take. 
This  doesn't  just  mean  x  number  of 
pictures;  it  has  to  be  expressed  in 
terms  of  quality  as  well  as  quantity. 
Probably  one  of  the  results  of  the 
UA  stock  sale  will  be  an  upgrading 


of  quality  for  the  now  lower  budget 
pictures — and  this  too  can  be  re- 
flected in  better  theatre  business. 

In  the  last  few  years  the  Ameri- 
can public  has  been  led  to  believe 
that  theatre  motion  pictures  were  al- 
most a  dying  business.  This  sort  of 
defeatism  has  served  as  a  deterrent 
to  patronage  and  a  drag  on  promo- 
tion. And  there  is  no  better  answer 
than  the  story  of  United  Artists, 
which  shows  dramatically  how  much 
life  there  is  in  the  old  screen  yet. 

All  in  all,  we  have  much  reason  to 
welcome  United  Artists  to  the  pub- 
licly owned  fold.  Its  future,  we  be- 
lieve, is  ever  brighter  than  its  phe- 
nomenal past  five  years. 


Encoumye 
Youny  Help 

Every  June  the  American  scI:ool 
and  college  system  delivers  a  brand 
new  crop  of  youngsters  to  the  Amer- 
ican business  community.  Ambi- 
tious young  men  and  women  start 
shaping  their  careers,  planning  their 
future,  learning  their  trades  and  pro- 
fessions. And  every  June  some  of 
these  young  people  are  recruited  as 
summer  help  for  the  movie  business. 
Every  June  we  hope  that  this  year 
we  can  hold  on  to  more  of  the  good 
ones. 

It  is  awfully  easy,  and  largely 
true,  for  us  to  say  that  we  are  out- 


BULLETIN 


Film    BULLETIN:    Motion    Picture    Trade  Paper 
published  every  other  Monday  by  Wax  Publi- 
cations,  Inc.    Mo  Wax,   Editor  and  Publisher. 
PUBLICATION-EDITORIAL  OFFICES:   123?  Vine 
Street,  Philadelphia  7,  Pa.,  LOcust  8-0950,  0951. 
Philip    R.    Ward,    Associate    Editor:  Leonard 
Coulter,  New  York  Associate  Editor;  Duncan  G. 
Steck,     Business     Manager;     Marvin  Schiller, 
Publication  Manager;  Robert  Heath,  Circulation 
Manager.   BUSINESS  OFFICE:  522  Fifth  Avenue. 
New    York    36,    N.    Y.,    MUrray    Hill  2-3431; 
Aif  Dinhofer,  Editorial  Representative. 
Subscription  Rates:  ONE  YEAR,  $3.00 
in  the  U.  S.;  Canada,  S4.00;  Europe, 
$5.00.     TWO    YEARS:    $5.00    in  the 
U.  S.;  Canada,  $7.50;   Europe,  $9.00. 


bid  for  the  good  ones  by  other  more 
prosperous  businesses;  but  that  isn't 
the  whole  story.  Too  often,  we  don't 
take  full  advantage  of  our  natural 
assets. 

For  example,  we  don't  make  it 
clear  to  the  youngsters  that  they 
can  have  a  good  future  in  our  busi- 
ness. We  don't  stress  as  much  as  we 
should  that  a  kid  who  works  up  to 
assistant  manager  occupies  a  semi- 
executive  position  he  would  find 
hard  to  duplicate  in  other  busi- 
nesses, and  gets  all-around  training 
that  will  always  stand  him  in  good 
stead.  We  don't  give  the  kids  a  pic- 
ture of  where  they  go  from  here  in 
the  theatre  business. 

And  we  don't  recognize  as  much 
as  we  should  that  even  though  we 
cannot  always  pay  as  high  salaries 
as  the  local  factory,  we  have  other 
selling  points.  For  example,  we 
think  it's  enough  to  tell  the  kids  we 
hire  that  after  all  they  will  be  seeing 
all  the  movies  free.  We  might  cap- 
ture their  interest  more  if  we  occa- 
sionally invited  one  or  two  of  them 
to  a  trade  show  with  us,  or  if  we 
encouraged  them  to  report  how  they 
think  the  audience  is  reacting  to  a 
film. 

We  should  give  them  interesting 
articles  in  the  trade  papers  to  read. 
We  should,  wherever  possible,  try 
to  plant  news  about  them — if  only 
the  news  that  they  have  been  hired 
by  the  theatre — in  their  own  local 
newspapers.  We  should  not  forget 
that  sometimes  you  can  accomplish 
a  great  deal  by  telling  a  youngster's 
parents  how  well  he  is  doing,  and 
what  he  can  look  forward  to  in  his 
job. 

Employee  relations  are  not  as  sim- 
ple today  as  they  were  a  generation 
or  two  ago.  For  that  matter,  nothing 
in  this  business  of  ours  is  quite  that 
simple  any  more. 

Once  again  we  are  about  to  begin 
work  with  a  new  crop  of  employees. 
How  well  we  do  depends  very 
largely  on  us,  not  them. 


Film  BULLETIN    May  13,  1957        Page  5 


FINANCIAL 

BULLETIN 


By  Philip  R.  Ward 

DON'T  HOCK  YOUR  MOTHER-IN-LAW'S  HEIR- 
LOOM CHINA  on  our  say-so,  but  as  we  hear  it  the  mo- 
ment for  making  that  investment  in  movie  securities  has 
come  propitiously  at  hand. 

The  portents  are  these : 

•  A  gaining  market  in  film  shares  as  represented  in  the 
chart  below : 


Film  BULLETIN  Cinema  Aggregate* 


FILM  COMPANIES  THEATRE  COMPANIES 

*  Composed  of  carefully  selected  representative  industry  issues. 


•  At  no  time  in  the  past  26  months  have  film  company 
securities  managed  to  recover  lost  ground  at  the  pace  of 
the  past  two  months,  March  and  April,  recapturing  in  all 
7ys  points.  The  fever  has  spread  to  all  save  Columbia, 
Warner  Bros,  and  Allied  Artists.  The  day  to  day  consis- 
tency on  the  demand  side  is  symptomatic  of  a  trend. 

•  Quarterly  film  company  income,  reported  and  esti- 
mated, runs  8%  above  last  season,  though  semi-annual 
income  is  up  only  2%. 

•  Theatre  attendance,  according  to  a  majority  of  statis- 
tical sources,  is — and  has  been  in  recent  months — rising, 
albeit  very  gradually.  Some  agencies  put  the  year-long 
sales  curve  at  plus  14%,  others  as  high  as  plus  22%. 
Thanks  go  mainly  to  beefed-up  drive-in  figures. 

•  Conditions  within  moviedom's  prime  competitive  influ- 
ence, TV,  is  decidely  deflationary.  Video  set  production 
is  in  a  thorough-going  decline,  while  the  color  set  field  is 
as  dim  and  remote  as  atomic  home  heating.  The  summer 
programming  potential  appears  to  be  about  on  par  with 
the  big  league  promise  of  the  Washington  Senators  B 
team.  Telecasting  alley's  most  jacked-up  jingo  will,  if  put 
to  the  question,  concur.  We've  asked! 

•  In  this  context  approaches  the  summer  solstice,  and 
underlining  it,  moviedom's  push-button  hot  weather  tradi- 

Page  6       Film  BULLETIN    May  13,  1957 


tion.  For  this  time  of  the  year,  at  least,  the  public  is  oui 
seeking  the  relaxation  of  the  movie  house;  sometimes 
without  too  much  regard  for  the  movie  itself.  What  does 
matter  is  the  air-conditioning  and  one's  metabolism.  The 
nervous  system  says  go,  go,  go,  and  what  the  people  se«  [I 
on  the  screen  is  absorbed  below  the  level  of  the  corte? 
anyway.  Ordinarily,  of  recent  years,  summer's  advem 
furnished  the  boxoffice  a  gold-plated  warranty.  Summei 
1957  looks  a  lot  better  than  ordinary. 

•  Not  in  years  have  so  many  upbeat  factors  come  dowr 
the  pike  to  usher  moviedom  into  its  peak  season.  In  effect 
the  industry  is  easing  into  Summer  '57  with  a  10  length 
lead  over  anything  seen  since  Summer  '48,  that  sweet  hal- 
cyon time  which  moviemen  must  recall  with  the  same 
plaintive  sense  that  Frenchmen  recall  Paris  before  the 
blitz.  This  year,  we  firmly  believe,  the  rush  to  the  theatre 
will  begin  earlier,  last  longer.  Theatremen  will  enter  June 
from  a  level  normally  reserved  for  late  July. 

•  But  the  biggest  fillip  to  shareholders  and  prospective 
purchasers  arises  from  a  condition  strictly  non-opera- 
tional. We  refer  to  impending  control  contests,  real  and 
threatened,  which  promise  to  rock  moviedom  to  its  very 
ectoplasm.  No  secret  is  the  fact  that  proxy  privateers  arej 
abroad  in  the  land.  Of  a  sudden,  the  ambition  to  rule  a 
film  dynasty  has  become  epidemic.  Indeed,  so  rampant  is 
the  rumor  it  has  become  cocktail  sport  within  certain  New 
York  and  west  coast  echelons  guessing  who  is  and  who 
is  not  inviolate. 

©  A  list  of  target  companies  reads  like  a  red  book  of  the 
industry:  Loew's,  Paramount,  20th-Fox,  Allied  Artists  and 
Republic,  which  may  be  sequestered  momentarily.  And 
the  list  of  those  suspected  of  corporate  piracy  on  finance's 
high  seas  numbers  such  kings  and  captains  of  old  as  Louis 
Mayer,  Howard  Hughes,  even  the  MGM  departed  Dore 
Schary.  Maybe,  maybe.  But  the  bigger,  more  immediate 
incursions  are  being  mapped  by  groups  wholly  alien  to 
movie  commerce,  according  to  best  sources.  Among  them, 
and  probably  in  command  of  one  potent  group  at  least,  is 
the  vaguely  tagged  "Stockholder  X"  (See  Financial 
Bulletin,  April  29).  Not  so  vague,  however,  to  entrenched 
leadership,  are  "X's"  reported  capabilities.  One  informant 
says  of  "Stockholder  X"  and  his  cronies:  "These  boys  eat 
their  young  alive."  Says  another:  "Charlie  Green  or  Louis 
Wolfson  couldn't  carry  their  water  bucket." 

•  No  matter  who  is  after  what,  the  smell  of  hostilities  is 
in  the  air.  Among  sensitive  stocks  the  market  is  discount- 
ing accordingly.  The  prime  meat  of  the  situation  to  the 
little  shareholder  is  the  prospect  of  heavy  accumulations 
by  outlander  interests  forcing  prices  up.  He  is  hitching 
his  wagon  to  the  big  diesels  and  the  big  dough.  What! 
cares  he  who  rules  or  who  rues  (since  he  knows  not  the 
importance  of  knowledgeable  management).  It  is  axio- 
matic that  the  small  stockholder  prospers  in  control  fights 
— over  the  short  term.  Longer  term  prosperity,  as  stated, 
rests  mainly  with  the  capabilities  of  the  intruder  elements. . 


SPENCER     /  KATHARINE 

TRACY  /  HEPBURN 


0  L 


make  the  office  such  a  wonderful  place 

to  love  in 


co-starring 

GIG 
YOUNG 

JOAN 
BLONDELL 

with 

Dina  Merrill/Sue  Randall 
Neva  Patterson 
Nicholas  Joy/Diane  Jergens 
Merry  Anders/Ida  Moore 
Rachel  Stephens 

Produced  by 
HENRY  EPHRON 
Directed  by 
WALTER  LANG 
Screenplay  by 
PHOEBE  and 
HENRY  EPHRON 


from  20th  Century-Fox 

C|NemaScoP£ 

Color  by  De  Luxe 


Tracy  and  Hepburn 
. . . the  way 
audiences  love  them 

in  the 

kind  of  fun-picture 
with  which 
they  made 
box-office  history! 


SB  set 


The 

£>ESK  SET 


you 


Weir  ■  ' 
0  Vock  7  ks>  the 


do. 


fBig  Show'-manship 

THEY'RE  TALKING  ABOUT  20th  Century-Fox's  90- 
minute  product  feature  "The  Big  Show".  And  the  statis- 
tics support  the  title.  By  the  time  the  41  scheduled  show- 
ings of  the  CinemaScope  film  are  all  held  this  month  for 
exhibitors,  stockholders,  press,  radio  and  television  repre- 
sentatives and  civic  leaders  in  major  U.S.  and  Canadian 
cities,  the  company  estimates  that  more  than  150,000  key 
people  will  have  seen  and  heard  the  dynamic  presentation. 

Sometimes  it  is  possible  to  get  a  glimmering  of  the  im- 
pact of  a  program  from  the  way  people  turn  out  to  see  it, 
and  this  was  the  case  at  the  premiere  showing  of  "The  Big 
Show"  at  the  Roxy  Theatre  in  New  York  on  May  8th.  For 
show  business,  9:15  A.M.  is  hardly  the  most  convenient  of 
times  for  a  screening,  but  the  mammoth  orchestra  of  the 
Roxy  was  filled  practically  to  capacity  as  the  house 
darkened  and  the  show  got  under  way.  This  of  course  is  a 
tribute  to  the  respect  in  which  Spyros  Skouras  is  held 
throughout  the  industry,  and  also  a  tribute  to  the  charac- 
teristically superb  promotional  job  done  by  S.  Charles  Ein- 
feld  and  his  hard-working  staff.  But  it  also  indicates  some- 
thing far  more  significant  than  the  ability  of  these  men. 
O 

The  great  appetite,  indeed  the  great  hunger  of  the  mo- 
tion picture  industry  these  days  is  for  product  and  for 
news  of  product.  People  turned  out  in  droves  to  hear 
about  the  Fox  product  and  the  Fox  plans  because  they 
jumped  at  the  opportunity  to  see  for  themselves.  The  best 
way  to  sell  movies — as  the  drawing  power  of  trailers  con- 
tinues to  illustrate — is  by  the  use  of  the  movie  screen.  The 
best  way  to  sell  exhibitors  is  to  give  them  as  much  infor- 
mation as  you  can. 

The  excellent  films  being  prepared  under  the  aegis  of 
Buddy  Adler,  as  well  as  the  programs  of  independent  pro- 
ducers Darryl  F.  Zanuck,  David  O.  Selznick,  Jerry  Wald, 
Richard  Rodgers  and  Oscar  Hammerstein  II  and  many 
others,  were  carefully  spotlighted  in  "The  Big  Show",  and 
full  attention  was  also  given  to  introducing  the  various 
new  performers  for  whom  Twentieth  Century-Fox  has 
such  high  hopes.  General  sales  manager  Alex  Harrison 
added  his  optimistic  note.  (In  a  special  international  ver- 
sion of  "The  Big  Show"  Murray  Silverstone,  the  com- 
pany's international  chief,  will  appear.) 

0 

Perhaps  the  best  comment  on  the  presentation  was  that 
made  by  the  former  president  of  one  of  the  major  produc- 
tion-distribution companies.  An  exhibitor  asked  him  in  the 
lobby  what  he  thought  of  "The  Big  Show"  and  he  replied : 
1  "I  was  tremendously  impressed  by  Fox's  product  and 
plans,  but  I  couldn't  help  hoping  that  in  addition  to  im- 
pressing exhibitors  perhaps  this  film  might  light  a  fire 
under  some  of  the  other  film  companies." 

There  is  now  and  in  the  predictable  future  a  burning 
need  for  salesmanship  in  the  motion  picture  industry.  We 
sell  people  on  going  to  the  movies  by  giving  them  as  fine  a 
selection  of  movies  as  we  can,  and  also  by  seeing  that  the 
movies  are  pre-sold.  Twentieth  Century-Fox  never  lets  up 
in  beating  the  drums  for  its  product. 


Mtttf  They'te  hiking  About 

□    □    □    In  the  Movie  Business    □    □  □ 


Charles  Einfeld,  20th  Century-Fox  vice  president,  in  his 
"Big  Show"  appearance  outlined  a  "hand-tailored  mer- 
chandising" program  embodying  the  most  modern  pub- 
licity and  advertising  techniques  to  help  exhibitors  sell 
20th's  55-picture  program.  He  told  the  audience: 

"We  assure  you  that  each  property  will  be  thoroughly 
analyzed  for  its  merchandising  possibilities  long  before  it 
goes  into  production.  If  the  basic  values  of  showmanship 
are  not  there,  we  will  build  them  in  beforehand. 

"We  will  employ  every  technique  to  promote  our  pic- 
tures— there  will  be  new  methods  and  we  will  not  over- 
look the  tried-and-true  old  methods." 

Einfeld  said  20th  employs  over  one  thousand  people  "in 
every  corner  of  the  earth"  to  create  the  necessary  publicity 
and  advertising  ideas  to  merchandise  product  and  stars. 

"Your  presence  here  today  is  in  itself  the  best  example 
of  what  we  mean  by  inspired  showmanship.  You  can  see 
that  we  are  dedicated  to  hand-tailored  merchandising,  so 
that  every  20th  Century-Fox  picture  will  reach  the  screen 
with  a  basic,  built-in,  carefully  thought-out  value  to  make 
it  attractive  to  the  widest  possible  audience." 

O 

One  point  which  Spyros  Skouras  keeps  making — and 
which  he  practices  as  well  as  preaches — is  that  the  indus- 
try simply  cannot  afford  to  cling  to  a  cautious  policy  of 
watchful  waiting,  or  cutbacks.  Fox  is  making  the  biggest 
production  investment  in  its  history,  just  as  it  made  the 
unprecedented  investment  a  few  years  ago  in  Cinema- 
Scope,  because  Mr.  Skouras  and  his  associates  recognize 
that  a  company  or  an  industry  which  stands  still  moves 
backward  into  the  shadows. 

There  is  one  unique  thing  about  the  movie  business,  as 
compared  to  groceries  or  transportation  enterprises.  Good 
movies  help  each  other.  If  you  buy  one  brand  of  groceries 
you  won't  buy  the  competition,  but  if  you  see  one  good 
movie  you'll  go  back  to  see  another.  So  when  20th-Fox 
whips  up  interest  in  forthcoming  product  it  is  doing  a  job 
for  the  entire  industry.  But  it  shoudn't  have  to  do  the  job 
for  the  entire  industry.  Some  of  the  other  companies  share 
Fox's  enthusiasm  and  energy;  a  few  are  lagging.  And  this 
is  no  time  for  laggards. 

"We  are  now  resolved,"  said  Mr.  Skouras,  "more  than 
ever  that  we  shall  be  the  master  and  not  the  slave  of  cir- 
cumstances. We  are  hoping  that  this  example  will  be  fol- 
lowed by  other  producers  and  that  Hollywood  will  unite 
its  resources  and  creative  talents  to  guarantee  an  ample 
supply  of  the  finest  films  for  every  theatre  and  audience." 

Once  again,  the  Skouras  Company  gave  the  industry 
something  to  talk — and  cheer — about. 


Film  BULLETIN    May  13,  1957       Page  9 


"Something  of  Value" 
Gcui*e4A  Rati*?  ©GO 

Good  boxoffice  value  in  general  mor!:cfr,  best  for  metropol- 
itan areas.  Hot  property  Hudson  and  novel's  fame  factors. 

Writer-director  Richard  Brooks  has  shaped  Robert 
Ruark's  novel,  "Something  of  Value",  into  a  taut,  starkly 
mounted  tapestry,  ironically  underscored  with  black  and 
white  photography.  It  is  Mr.  Brooks'  second  "Blackboard 
Jungle" — this  time  of  Africa.  However,  while  "Jungle" 
was  a  high-powered  boxoffice  factor  of  a  few  seasons  ago, 
this  one  (though  it  will  do  well  enough),  does  not  figure 
to  fare  as  well.  The  subject  matter  of  "Something  of 
Value"  is  concerned  with  problems  far  removed  from  the 
American  scene.  The  Mau  Mau  uprisings  are,  cf  course, 
tangential  to  all  uprisings  everywhere,  yet  they  can  only 
have  an  academic  appeal,  at  best,  to  the  American  public. 
In  fact,  most  of  the  fascination  of  Mr.  Ruark's  best-seller 
lay  not  in  its  tale  of  a  friendship  destroyed  by  racial  con- 
flict, but  simply  its  bristlingly  clinical  descriptions  of  many 
African  customs.  As  presented  by  Pandro  Berman  in  this 
MGM  production,  the  initiation  of  a  Mau  Mau  with  sheep's 
blcod,  seven  sword  cuts  on  the  arm,  fire  impalement  etc., 
is  all  somewhat  bizarre,  with  a  curiosa,  rather  than  a 
shock,  value.  But  interesting  it  is./  Some  of  scenes  of 
"Value",  particularly  the  footage/  devoted  to  the  first 
'break-up'  between  Rock  Hudson  as  the  son  of  an  old 
Kenya  settler  and  Sidney  Poitier  as  the  Kikuyu  native  he 
grew  up  with,  when  the  latter  explains  to  a  perplexed 
Hudson  that  because  they  cannot  be  equal  they  can  no 
longer  be  friends,  and  a  later  sequence  of  the  meeting  be- 
tween them  when  Poitier  has  become  a  Mau  Mau  General 
and  Hudson  his  enemy,  come  alive  as  human  explo- 
sions. Most  of  the  film,  though  dexterously  devised  and 
executed,  is  straight  melodrama.  Skyrocketing  Mr.  Hudson 
won't  be  grounded  for  his  performance.  Dana  Wynters  as 
the  girl  Hudson  marries,  Wendy  Hiller  as  his  sister  whose 
husband  is  killed  by  the  Mau  Maus,  seem  rather  lusterless 
with  their  roles. 


"Sierra  Stranger" 

&U4Ace44  KcOiHf  O  Plus 

Low-grade  western  with  confused  plot. 

Even  western  fans  will  find  this  minor  Columbia  release 
pretty  much  of  a  bore.  With  only  a  modicum  of  action 
and  a  touch  of  romance,  "Sierra  Stranger"  is  talky  and 
confusing,  a  generally  unprofessional  job.  Its  own  useful- 
ness might  be  as  a  supporting  dualler  in  action  sub-runs. 
The  profusion  of  characters  and  of  plot  twists,  unusual 
for  a  western,  will  burden  hoss  opera  devotees.  Lee 
Sholem's  direction  provides  only  an  occasional  spurt  of 
action.  Marquee  bait  is  tasteless.  Duff  saves  Ed  Kem- 
mer  from  a  beating  and  is  himself  threatened  by  the  same 
men  at  a  bar.  He  is  defended  by  Kemmer's  half-brother, 
Dick  Foran.  Foran  is  convinced  Kemmer  is  a  good  person, 
despite  the  contrary  opinion  of  the  townspeople.  Later, 
however,  Kemmer  robs  a  stagecoach,  kills  a  guard.  Duff 
rides  out  with  posse,  finds  Kemmer,  kills  him. 


"Desk  Set" 
SWe44  'RatiK?  Q  O  O 

Tracy  and  Hepburn  score  in  tailor-made  comedy  hit.  Tops  r; 
for  metropolitan,  suburban,  audiences.  Good  generally. 

Spencer  Tracy  and  Katharine  Hepburn  have  been  re- 
united in  "Desk  Set",  and  if  Mr.  Tracy's  Lunt  is  not  quite 
the  equal  of  Miss  Hepburn's  Fontanne,  they  are  still  a 
trenchant  and  tempestuous  team.  The  plot  of  "Desk  Set 
has  a  basketfuil  of  gimmicks  and  screenplaywright 
Phoebe  and  Henry  Ephron  have  managed  to  spike  up  the 
William  Marchant  original  with  some  pithy,  witty  dia- 
logue of  their  own,  which  veterans  Tracy  and  Hepburn 
attack  with  gusto.  This  is  a  pleasant  punch-bowl  of  a 
comedy  that  should  do  dancingly  in  metropolitan  and 
suburban  class  trade  areas.  Under  Walter  Lang's  exuber 
ant  direction,  the  plush  Henry  Ephron  production  for  20th 
Century-Fox  (Cinemascope  -  Color)  recounts  Spencer 
Tracy's  secret  mission  into  Miss  Hepburn's  NBC-stylized 
Research  Department  with  his  efficiency  machine  (Em- 
marac)  and  her  subsequent  capitulation  to  his  and  Em- 
marac's  charm.  Of  course,  this  isn't  done  until  Mr.  Tracy 
eliminates  Miss  Hepburn's  boss  as  a  romantic  contender 
(in  a  brisk  Yaie-Club-On-Broadway  performance  by  Gig 
Young),  and  allays  her  fears  over  possible  job  replace 
ment  by  Emmarac.  Miss  Hepburn  again  proves  that  she 
is  an  expert,  elegant  and  endlessly  endearing  comedienne 
There  is  no  one  quite  like  her:  that  trapeze  sense  of  tim- 
ing, the  gaunt  yet  glamorous  body  movements,  the  dead- 
pan, devastating  smile.  And  while  Mr.  Tracy  is  no  match 
for  Miss  Hepburn's  juvenescence,  he  turns  in  a  jaunty, 
jocund  kind  of  performance  that  is  his  alone.  All  in  all, 
theirs  is  unalloyed  performing  and  "Desk  Set"  is  a 
sounding  romp  indeed. 


20th  Century-Fox.  103  mil 
Produced  by  Henry  Ephror 


tes.  Spencer  Tracy,  Kathari 
Directed  by  Walter  Lang. 


Hepbi 


"Public  Pigeon  No.  1" 

Fairly  laughable  Technicolor  comedy  for  Skelton  fans. 

"Public  Pigeon  No.  1",  latest  Red  Skelton  film,  contains 
enough  laughs  and  tomfoolery  to  be  well  received  as 
supporting  feature  in  the  general  market.  This  Harry 
Tugend  production  serves  as  an  amusing  vehicle  for  the 
rollicking  redhead.  Under  Norman  Z.  McLeod's  brisk  di- 
rection the  four  principals — Skelton,  Vivian  Blaine,  Janet 
Blair  and  Jay  C.  Flippen — all  turn  in  effective  perform- 
ances. Numbered  among  the  plus  factors  for  this  Univer- 
sal release  are  a  toe-tapping  David  Rose  musical  score 
and  the  splashy  Technicolor  photography.  Lunch-counter 
waiter  Skelton  and  his  sweetheart,  Janet  Blair,  as  swin- 
dled out  of  $1500  by  two  con  men  and  Vivian  Blaine. 
When  Red  threatens  to  expose  them  they  soft-soap  him 
into  believing  they  are  FBI  agents  and  persuade  him  to 
get  arrested,  then  act  as  a  G-man  inside  prison  walls. 
Policeman  Jay  C.  Flippen  sets  up  a  situation  with  the 
prison  warden  whereby  Skelton  leads  them  to  the  crooks. 
In  spite  of  himself  he  escapes  and  baits  the  trap.  The 
police  close  in,  capture  the  crooks  and  rescue  their  pigeon. 
Skelton  gets  a  $10,000  reward  and  Janet  Blair. 


Page  10       Film  BULLETIN    May  13.  1957 


The  Kettles  on  Did  MacDonald's  Farm" 

'gctdiKCM  'Rati*?  O  O 

rrue-to-form  "Kettle",  with  a  new  "Pa",  for  rural  areas  and 
>mall  town  duallers. 

The  latest  in  the  Kettle  series  (No.  9),  as  well-larded  as 
;ver  with  stock  comedy  situations  and  pot-and-pan  type 
humor,  can  be  expected  to  fare  as  well  as  its  predecessors 
in  the  hinterlands.  It  boasts  two  defections  from  the  norm 
in  a  new  "Pa  Kettle"  (Parker  Fenneliy),  who  slides  in 
neatly  opposite  the  perennial  Marjorie  Main,  and  a  pre- 
cocious bear,  "Three  Toes",  whose  slapstick  antics  are 
thoroughly  in  keeping  with  those  of  his  two-legged  co- 
horts. The  latter  only  occasionally  go  beyond  the  assorted 
pleasant-cretin  types.  Miss  Main,  performs  her  role  with 
the  maximum  laxity  of  taste  and  abundance  of  rearing 
folksiness  that  has  won  an  appreciable  audience  over  the 
years,  as  she  and  Fenneliy  to  play  Ma  and  Pa  Fix-It  in  a 
script  largely  concerned  with  the  vicissitudes  of  love-birds 
Gloria  Talbott  and  John  Smith,  whose  varying  back- 
grounds beset  their  road  to  romance-'  with  complications 
typical  of  the  series.  Domihant  story"  line  is  based  on  Ma's 
efforts  to  prepare  Gloria,  daughtej/of  the  idle  rich,  for  her 
role  as  wife  to  poor-but-honest  lumberman  Smith.  Locale 
switches  from  the  backwoods  shack  to  a  farm  the  Kettles 
buy,  accounting  for  the  title.  How  long  the  Kettles  will 
go  on  is  anybody's  guess.  This  one  adds  no  lustre,  and  it 
might  very  well  be  the  last  of  the  series.  There  will  be 
few  groans  if  that  is  the  case. 


Smith.    George  Du 


Main,  Parker  Fenneliy,  Gloria  Tal- 
by   Howard   Christie.     Directed  by 


"The  Living  Idol" 

GcuiHCte  IZeUutf  O  Plus 

Off-beat  reincarnation  theme  will  be  hard  to  sell.  Slow 
moving  and  talky.  Lacks  name  values. 

Albert  Lewin,  triple-threat  producer-director-writer,  has 
come  up  with  some  reincarnation  hokum  set  against  a 
colorful  Mexican  background  that  will  need  plenty  of 
hard-hitting  exploitation  to  get  off  the  ground.  Unfor- 
tunately, the  unique  theme  of  this  M-G-M  release  gets 
bogged  down  by  a  rambling  plot  coupled  with  too  little 
action  and  too  much  talk.  Chief  plus  factor  is  the  top- 
notch  camera  work  by  Jack  Hilyard  in  Eastman  Color  and 
CinemaScope  offering  some  intriguing  views  of  the  Yuca- 
tan. Performances  (by  a  no-name  cast)  and  Lewin's  di- 
rection are  routine.  Archeologist  James  Robertson  Justice 
is  obsessed  with  the  notion  that  a  Mayan  jaguar  god  of 
olden  times  still  lives  and  that  Liliane  Montevecchi  is  a 
reincarnation  of  a  young  girl  of  that  era  who  was  sacri- 
ficed to  the  god.  In  an  attempt  to  recreate  a  present-day 
reenactment  of  that  pagan  era,  he  releases  a  jaguar  from 
the  Mexico  City  Zoo,  the  jungle  beast  kills  him,  then 
wanders  to  Miss  Montevecchi's  home  where  it  is  killed 
in  a  life-and-death  struggle  by  Steve  Forrest,  her  boy 
friend.  All  in  all,  this  stacks  up  as  a  very  minor  league 
entry  under  the  banner  of  the  once-noble  lion  Leo. 


"The  Burglar" 

Jayne  Mansfield  is  the  big  exploitable  in  this  fair  mystery- 
melodrama.   Double  bill  fare  generally. 

This  crime-meller  about  jewel  thieving  is  a  mediocre 
programmer.  However,  it  is  blessed  with  the  robust  "tal- 
ents" of  Jayne  Mansfield.  Dan  Duryea  also  stars  in  this 
independently-made  (Kellman)  production.  Despite  these 
two,  however,  "The  Burglar"  talks  too  much  to  be  very 
exciting,  and  it  appears  destined  for  the  lower  slot  on  dual 
bills.  Made  on  location  in  Philadelphia  and  Atlantic  City, 
there  is  only  a  modicum  of  action  and  suspense  to  hold 
interest,  and  Paul  Wendkos'  direction  gets  off  some  wild 
histrionics  and  his  pacing  is'poor.  Script  by  David  Goodis, 
from  his  novel,  is  film's  major  drawback.  Mickey  Shaugh- 
nessey, in  a  supporting  role,  bids  fair  to  be  seen  more 
often.  Overlong  story  has  Duryea,  with  the  help  cf  Mis3 
Mansfield,  Shaughnessey,  and  Peter  Capell,  stealing  dia- 
mond necklace.  When,  in  their  hideout,  Shaughnessey 
makes  pass  at  Miss  Mansfield,  Duryea  sends  her  to  At- 
lantic City.  Through  Martha  Vickers,  Duryea  learns  that 
Stewart  Bradley,  one  of  the  cops  who  tried  to  stop  the 
robbery,  had  also  planned  to  heist  the  diamonds.  Soon, 
everyone  is  off  for  Atlantic  City.  Duryea  and  Shaugh- 
nessey are  eventually  killed,  and  cop  Bradley  is  nailed 
with  the  jools. 


Columbia.  90  minutes.  Dan  Durye 
Kellman.    Directed  by  Paul  Wc-ndkos 


Mensfieid.     Troducod   by  Lcl 


The  Ride  Back" 

Kate*?  O  O  Plus 

Unusual  Western  is  a  study  in  character,  mood.  Fine  per- 
formances. Anthony  Quinn  for  marquee. 

This  is  an  unusual,  decidedly  different  Western,  filmed 
in  Mexico  for  United  Artists  release.  It  has  much  to  rec- 
ommend it  to  both  the  discriminating  and  the  general  out- 
door fan.  Anthony  Quinn,  fresh  from  his  triumphs  in 
"Lust  for  Life"  and  "La  Strada",  turns  in  a  fine  perform- 
ance as  a  suspected  murderer  who  decides  to  face  the  law. 
The  unusual  elements  of  the  picture  lie  in  the  story,  which 
penetrates  into  the  emotional  make-up  cf  its  characters, 
the  sombre  mood  of  the  entire  picture,  the  unusually  fine 
photography  and  the  uniformly  excellent  performances. 
Screenplay  by  Anthony  Ellis  is  without  too  much  action 
but  plenty  suspenseful.  Allen  H.  Miner's  direction  is 
sure  and  sustains  interest.  Quinn,  suspected  of  murder, 
is  arrested  in  Mexico  and  taken  into  custody  by  Texas  law 
officer  William  Conrad.  On  the  ride  back,  Quinn,  with 
the  aid  of  Mexican  girl  Lita  Miian,  tries  to  capture  Con- 
rad but  fails.  When  pair  are  attacked  by  Apaches,  they 
take  refuge  in  a  farmhouse  and  discover  a  little  girl,  Ellen 
Hope  Monroe,  only  survivor  cf  her  massacred  family. 
When  the  indians  attack,  Conrad  is  wounded,  gives  Quinn 
his  gun  so  he  can  defend  himself.  Quinn  disperses  Indians, 
sends  the  girl  for  help  for  Conrad,  rides  off  to  freedom. 
He  returns,  however,  deciding  to  take  his  chances  with 
the  law. 


tes  & 
ed  by 


GcuiHtte  &<tf«t$       Q  Q  O  O    TOPS       O  O  Q    GOOD       Q  Q    AVERAGE        Q    POOR ' 


Michael  Todd's  show  makes  this  a  better  world! 

.Mori 

. . .  and  the  whole  world  loves  it! 


-Associoted  fitn 


"Spectacular  Entertainment- 
Mr.  Todd  outdoes  the  movies 
with  'Around  the  World  in  80 

Days'.  "  Crowrher-N.Y.  TIMES 


"★**★!  A  SMASH  HIT. 
The  most  star -studded  film  ol 
all  time!" 

Comeron-NEW  YORK  DAILY  NEWS 


"Will  be  playing  there  the  rest  of 
our  lives... don't  miss  it!" 

Kupf.rbtrg-N.  Y.  HERALD-TRIBUNE 


"Absolutely  tops... earth-shaking 
beauty.  Niven  is  simply  perfect" 

Pe/swick-N.Y.  JOURNAL-AMERICAN 


"TITANIC,  TITILLATING,  and 
THRILLING... IT'S  A  PIP!" 

Gilbert-N.Y.  MIRROR 


"BREATHTAKING 

SUPERSPECTACLE." 

Winsfen-N.Y.  POST 


"WHEE-EEEE.  Romping 
farce...dazzling  picture... 
a  solid  delight." 

Cook-N.  Y.  WORLD-TELEGRAM  &  SUN 


"The  only  unponderous  spectacle  in  show 
business.  Cantinflas'  performance  is  one  of 
the  great  comic  ballets. "john  chapman 

"It  is  a  downright  joy.  The  Cameo 
roles  are  played  beautifully  and 
completely  part  of  the  whole." 

Cow-united  press 


'Delightful  Fun  and  an  Absolute 
Triumph  of  Imagination,  Gaiety 
and  Showmanship." 

RICHARD  WATTS,  JR. 


"It's  a  rewarding  show — full  of 
variety  and  excitement." 

WARD  MOREHOUSE 


"The  miracle  of  all  miracles." 

Max  liebmon-NBC 


''A  great  wide,  wide 
wonderful  smash!" 

Dave  Garrowor-NBC 

If s  Dan-Dan-Dandyf 

Jockie  Gfeoson-CBS 


'A  smashing  triumph 
...hits  the  jackpot!" 

ED  SULLIVAN 


"The  most  spectacular,  most 
entertaining  picture  we  have  had 
in  years  and  years  and  years." 

HEDDA  HOPPER 


"'80  Days' is  a  smash  hit!" 


EARL  WILSON 


"Great,  great  show 

...a  nvir  epiv!" 

WALTER  WINCHELl 

"The  whole  world  must  see 
'Around  the  World  in  80 
Days'."  louella  parsons 

"The  best  I  ever  viewed.  This  is  a 
classic  of  classics.  Furthermore, 
it's  the  best  show  on  Broadway, 
stage  or  screen.  "    e.  v.  durling 


"A  REMARKABLE  FEAT 
OF  MOVIE- MAKING!" 


"Recommended  to  lovers  oft 
anything  because  it  has  just 
about  everything."  holiday 


"The  world's  liveliest  showman 
has  made  Hollywood's  liveliest 
movie.  There  is  only  one  Todd." 

THIS  WEEK 


"Purely  wonderful  fun!" 

ROBERT  SYLVESTER 


EXTRAVAGANT!... 
"Funny!  Spectacular!"  timi 

"Entertainment  at  its  best!' 


"The  human  race  has  never 
before  seen  entertainment 
such  as  this.  Greatest  show 
now  on  earth!" 

NATIONAL  BOARD  OF  REVIEW 


"The  greatest  show  ev< 
seen  on  stage  or  screen 

HOLLYWOOD  REPORT 

"SOLID  SHOWMANSHIP... 
A  JUMBO  EXTRAVAGANZA. 

MOTION  PICTURE  HERAI 


Ranks  among  the  greatest  motio 
pictures... pure  joy  all  the  way.' 

FILM  DAIl 


"Loved  itl  Go,  take  the  kids, 
the  maiden  aunt,  and  your 
raffish  old  Uncle  Jake  I" 


"Big,  splashy.  The  actors  are 
all  fine,  and  the  scenic  effects 
bobconsidine    are  tremendous!" 


THE  NEW  YORKER 


'I'm  overwhelmed!" 

JOHN  RINGLING  NORTH 

I  stamped,  clapped 
and  raised  hurrahs." 

ROBERT  MOSES 


3EE 


'One  of  the  best 
pieturem  M  ever  saw.' 

MODERN  SCREE) 


"OPENS  UP  A  NEW  DIMENSION 
IN  MOTION  pictures; 


PHOTOPLA 


BEST  PICTURE  OF  THE  YEAR! 

ACADEMY  AWARD 

New  York  Film  Critics     Associated  Press     National  Board  of  Review 


The  Big  Show 


"A  rare  delight  to  the  eyes,  ear 
and  mind;  the  most  spectacula 
of  the  motion  picture  mediun 
today  and  the  film  classic  o 
tomorrow!"  movielani 


"A  good  show. ..  replete  will 
comedy,  circus  attractions,  spec 
tacles  . . .  Go  see  it!" 

SATURDAY  REVIEW  OF  LITERATUII 


'Simply  wonderful.' 

BENNETT  CEII 


"One  of  the  greatest  show* 
I've  ever  seen." 

WILLIAM  S  A  ROY  Ah 


"FAMILY  MEDAL  AWARD. 
RATED  EXCELLENT,' 


PARENTS'  MAGAZINE 


"A  fantastic  movie.  Gooc 
Housekeeping  gives  it  not  4 
but  40  stars." 

GOOD  HOUSEKEEPING  i 


"/  predict  that  we  will  take  ow 
grandchildren  to  see  it  20  or  even 
more  years  hence." 

EVERY  WOMAN'S  MAGAZINE 


"A  delightful  fantasy... merry  and 
magnificently  scenic.' 

WOMAN'S  HOME  COMPANION 


"Equals  at  least  5  of  the 
best  pictures  of  any  year." 

MADEMOISELLE 


"Who  ever  thought  he'd  live  to 
see  the  day  when  tickets  to  a 
movie  would  be  as  difficult  to 
scrounge  as  those  to  'My  Fair 
Lady'?"  inezrobb 

'Michael  Todd's  '80  Days' 
is  a  masterpiece,  any  way 
you  tahe  it.  *    danton  walker 


rrThe  biggest  and  the  most  suc- 
cessful movies  ordinarily  create 
little  stir  on  Broadway.  But  Mike 
Todd's  fantastic 'What-is-it?... so 
new  that  nobody  could  describe 
it. ..does  just  that!"  newsweek 


"SUPERB  ENTERTAINMENT 
FOR  THE  ENTIRE  FAMILY!" 

CORONET 


"/  am  still  in  a  state  of  wonder 
at  your  remarkable  film — perfec- 
tion in  every  department." 

COLE  PORTER 


"A  spectacle— artistic, 
full  of  humor  and  grace!' 

LA  prensa 


'The  craziest  and  most  wonderful  rhinf 
that  I  have  iver  s««n. '  london  expres: 


"Sntasheroo!  Sure  fire 
hit  of  the  year." 


It  leaves  an  immense 
and  profound  impression." 

FRANCE  AMERIOUc 


Michael  Todd  presents  the  big  show 

AROUND  TEE  WOELB 
IN  80  DATS 


DAVID  NIVEN 
CANTINFLAS 
ROBERT  NEWTON 
SHIRLEY  MacLAINE 


FeirorLng  the  following  * Cameo"  Stars:  Charles  Boyer  •  Jo«  e  Brown  .  M.mn.  c*roi 

John  Carradine  •  Charles  Coburn  •  Ronald  Colman  •  Melville  Cooper  •  Noel  Coward 
Finlay  Currie  .  Reginald  Denny  .  Andy  Devine  •  Marlene  Dietrich  .  Luii  Dominguin 
Fernandel  .  Waller  Fitlgerald  .  Sir  John  Gielgud  .  Hermiona  Gingold  .  Joie  Greco  .  Sir 
Cedric  Hardwicke  ■  Trevor  Howard  •  Glynn  Johns  •  Buster  Kealon  •  Evelyn  ICeyes 
Beatrice  Lillie  .  Peter  Lorre  .  Edmund  Lowe  •  Col.  Tim  McCoy  .  Victor  McLaglen  .  A.  E. 
Matthews  •  Mike  Maiurki  .  John  Mills  ■  Robert  Morley  •  Alan  Mowbray  .  Ed 
Murrow  .  Jack  Oakie  <  George  Raft  i  Gilbert  Roland  ■  Cesar  Romero  *  Frank  Sinatra 
Red  Skelton  •  Ronald  Squire  •  Basil  Sydney  •  Richard  Wattis  •  Harcourt  Williams 


UA 


TECHNICOLOR  *  •  From  the  Clastic  by  JULES  VERNE  •  Screenplay  by  JAMES  POE,  JOHN  FARROW  and  S.  J.  PERELMAN  •  Directed  by  MICHAEL  ANDERSON  •  Produced  by  MICHAEL  TODD 


"LOVE  IN  THE  AFTERNOON" 

ALLIED  ARTISTS 

Gary  Cooper.  Audrey  Hepburn,  Maurice  Chevalier.  John  McGiver. 
Producer-Director,  Billy  Wilder. 

One  of  the  most  piquant  starring  combinations  of  recent  sea- 
sons in  an  offbeat  romantic  comedy  under  the  dexterous  direc- 
tional hand  of  Billy  Wilder  makes  "Love  In  the  Afternoon"  a 
cinch  for  honors  among  the  summer's  elite.  Gary  Cooper,  for 
the  first  time  in  many  years,  doffs  his  familiar  homespun  type 
for  something  different — and  with  a  vengeance — as  he  gambols 
through  a  role  as  an  American  playboy  in  Paris,  a  modern-day 
Casanova  who'll  have  his  fans  rubbing  their  eyes  with  wonder. 
Superb  assistance  is  furnished  by  Audrey  Hepburn,  as  a  Parisian 
innocent  who  make  the  long-time  lover  forsake  his  stable  of 
amours,  and  Maurice  Chevalier,  a  French  detective  who  special- 
izes in  obtaining  evidence  of  marital  dalliance.  The  script  bubbles 
wtih  unique  turns,  as  it  assigns  Chevalier  to  get  the  goods  on 
Cooper's  romance  with  a  married  woman,  and  the  detective's 
daughter  (Audrey),  fascinated  by  the  dossier  on  Cooper,  substi- 
tutes herself  for  the  errant  madame  just  as  the  husband  comes 
crashing  in.  Subsequent  amorous  twists  promise  delightful  fun. 


The  pattern  of  success  wrought  by  the  Hecht- 
Hill-Lancaster  production  unit  ("Marty",  "Tra- 
peze", "Bachelor  Party")  is  preserved — and  possibly 
enhanced— with  "The  Sweet  Smell  of  Success".  It 
bears  the  hallmark  of  dramatic  quality  in  important 
phases — Burt  Lancaster  and  Tony  Curtis  for  the 
marquee,  an  exciting  new  star  in  Susan  Harrison, 
Marty  Milner  and  Sam  Levene  at  the  head  of  a 
strong  supportin  gcast,  Clifford  Odets  and  Ernest 
Lehman  at  the  typewriter,  James  Wong  Howe  di- 
recting the  cameras.  A  tip-off  to  the  boxoffice  po- 
tential of  this  UA  release  is  the  fact  that  the  com- 
pany itself  is  really  high  on  it,  certain  they  have 
one  of  the  most  powerful  dramas  of  the  year  in  this 
story  of  a  vindictive  Broadway  columnist,  who 
dotes  on  being  star-maker  or  breaker,  and  how  his 
love  of  playing  God  influences  the  existence  of  some 
good  and  some  bad  human  beings.  Alexander  Mac- 
kendrick  directs  the  James  Hill  production.  Some 
quarters  fully  expect  one  of  America's  most  famous 
gossipists  to  blow  his  stack  when  he  sees  this  faith- 
ful depiction  of  his  hectic  career. 


Film  BULLETIN    May  IJ.  HS7  If 


FO 


co  starring 


DAN  DURYI 

ELAINE  STEWAR 

Directed  by  JAMES  NEILSON  •  Screenplay  by  BORDEN 


ATE  JULY! 

packed  by  a  Big  PRE -SELL... including  a 
NATIONAL  24  SHEET 
ULLBOARD  CAMPAIGN 
i  lanketing  the  nation's  highways  from 
i>ast  to  coast! 

I. and  a  Spectacular  SPLIT- PAGE  color  ad 
I  reach  the  more  than  15,000,000  readers 
I:  LOOK  Magazine! 


MSSAGE 

echNIRAMA 


IANNE  FOSTER 


notr  JAYC.  FLIPPEN 


i;d  by  AARON  ROSENBERG  •  A  UNIVERSAL-INTERNATIONAL  PICTURE 
I composed  and  conducted  by  DIMITRI  TIOMKIN 


WILL  SUCCESS  SPOIL  ROCK  HUNTER?" 

20TH  CENTURY-FOX 
Jayne  Mansfield,  Tony  Randall,  Betsy  Drake,  Joan  Blondell, 
John  Williams.  Producer-Director,  Frank  Tashlin. 

Due  for  late  Summer  release,  the  data  on  "Will  Success 
Spoil  Rock  Hunter?"  is  still  incomplete,  but  there  is 
enough  inherent  in  the  smash  Broadway  play  by  George 
Axelrod  that  brought  fame  to  the  now  well-esconced 
Jayne  Mansfield  to  warrant  inclusion  in  the  hot-weather 
high-grossing  prospects.  In  addition  to  the  amply  endowed 
Mansfield,  there  is  Tony  Randall,  who  impressed  in  the 
stage's  "Inherit  the  Wind"  and  is  being  talked  about  as 
one  of  Hollywood's  brightest  new  personalities  due  for 
stardom.  The  original  Axelrod  satire  poked  fun  at  movie 
business,  but  the  film  version  will  turn  the  barbs  on  tele- 
vision, with  Miss  Mansfield  playing  a  fabulously  popular 
movie  star  (a  la  Monroe)  being  wooed  by  TV.  It  has  been 
given  the  full-scale  CinemaScope,  De  Luxe  Color  treat- 
ment by  producer-director  Frank  Tashlin,  who  also  did 
the  screenplay.  Plus  Betsy  Drake  and  Joan  Blondell. 


"PATHS  OF  GLORY" 

UNITED  ARTISTS 
Kirk  Douglas.  Producer,  James  B.  Harris.  Director,  Stanley 
Kubrick. 

The  young  producing-directing  team  of  James  B.  Harris 
and  Stanley  Kubrick,  who  have  done  some  exciting  work 
in  minor  league  production,  are  stepping  into  the  big  time 
with  "Paths  of  Glory".  On  the  basis  of  the  promise  they 
have  shown,  the  important  subject  matter  of  this  film,  and 
the  star,  it  merits  inclusion  in  the  select  list  of  the  summer 
season's  nobiliy.  Not  all  the  information  is  yet  available 
on  the  production,  tentatively  scheduled  for  September 
release.  The  screenplay  by  Kubrick,  Jim  Thompson  and 
Calder  Willingham  is  built  on  "he  Humphrey  Cobb  novel 
detailing  the  corruption  in  the  French  Army  during  the 
first  world  war.  Here's  one  that  will  bear  watching  and 
may  turn  out  to  be  one  of  the  summer's  biggest  "sleepers". 


"SOMETHING  OF  VALUE" 

METRO-GOLDWYN- MAYER 
Rock  Hudson,  Dana  Wynter,  Wendy  Hiller,  Sidney  Poit!er, 
Juano  Hernandez.   Producer,  Pandro  S.  Berman.  Director, 
Richard  Brooks. 

Robert  C.  Ruark's  powerful  story  of  the  Mau  Mau  up- 
rising in  East  Africa  has  been  translated  into  screen  terms 
that  is  bound  to  win  critical  acclaim.  It's  our  firm  belief 
that  it  will  also  gain  wide  audience  penetration  once  word 
gets  around  of  the  violent  dramatic  impact  it  carries  in 
every  scene.  While  there  is  only  one  marquee  name,  it  is 
an  important  one  in  Rock  Hudson.  And  the  portrayal 
given  by  Sidney  Poitier,  as  Hudson's  boyhood  friend  who 
becomes  his  mortal  enemy  as  white  man  and  Mau  Mau 
exact  retaliatory  vengeance,  is  the  one  that  will  be  talked 
about  most.  The  drama  is  heightened  by  the  story's  con- 
centration on  the  conflict  between  individuals  who  both 
long  for  peace  with  honor,  but  are  forced  to  outrageous 
atrocities  by  each  other's  methods.  In  these  personal 
terms,  it  is  bound  to  leave  powerful  emotional  scars  on 
any  audience  and  should  be  responsible  for  the  kind  of 
word-of-mouth  that  will  build  audiences. 


BULLETIN  M< 


"MAN  DF  A  THOUSAND  FACES" 

UNIVERSAL-INTERNATIONAL 
James  Cagney,    Dorothy   Malone,   Jane   Greer.  Marjorie 
Rambeau,  Jim  Backus.   Producer,  Robert  Arthur.  Director, 
Joseph  Pevney. 

The  life  of  one  of  the  most  fascinating  actors  of  all  time, 
the  great  Lon  Chaney,  whose  name  became  synonymous 
with  movie  horror  and  the  art  of  make-up,  becomes  one  of 
U-I's  top  pictures  of  the  year  and  certainly  worthy  of  list- 
ing among  the  king-size  grossers.  The  very  capable  James 
Cagney  is  given  the  difficult  role  of  the  "Man  of  a  Thou- 
sand Faces"  and  it  would  be  tough  to  find  a  marquee  name 
better  suited  to  play  the  part.  Another  formidable  asset  is 
Oscar-winner  Dorothy  Malone  as  the  emotional  showgirl 
who  marries  Chaney  in  his  song-and-dance  days  and  is 
divorced  from  him  before  he  hits  the  jackpot  as  the 
movies'  greatest  horror  man  in  "Hunchback  of  Notre 
Dame".  The  actor's  bizarre  career,  so  full  of  great  joys 
and  even  greater  tragedies,  is  chock-full  of  the  dramatic 
meat  that  makes  good  movies  and  good  boxoffice.  Robert 
Arthur  has  accorded  it  an  ambitious  CinemaScope  pro- 
duction. Chalk  this  up  as  a  great  ballyhoo  prospect. 


"A  FACE  IN  THE  CROWD" 

WARNER  BROS. 
Andy  Griffith,  Patricia  Neal,  Anthony  Franciosa,  Walter 
Matthau.  Producer-Director,  Elia  Kazan. 


Budd  Schulberg's  gouging  portrait  of  a  folksy,  brash 
guy  who  becomes  television's  biggest  personality,  his  rise 
and  fall,  filmed  by  the  most  uncompromising  director  of 
all,  Elia  Kazan,  already  is  being  talked  about  as  the  most 
controversial  film  of  the  year.  Bearing  a  striking  resem- 
blance in  many  ways  to  a  real-life  TV  giant,  the  character 
portrayed  by  Andy  Griffith  (the  sensation  of  Broadway's 
"No  Time  for  Sergeants")  promises  to  be  probably  the 
most  fascinating  in  a  long  line  of  striking  characterizations 
etched  by  Kazan's  fine  hand  and  Schulberg's  incisive  pen. 
It  details  the  rise  of  Andy  Griffith's  "Lonesome  Rhodes" 
from  his  discovery  in  a  jail's  drunk  cell  by  radio  reporter 
Patricia  Neal,  through  his  grip  on  the  local  housewives  by 
his  folksy  radio  personality,  and  the  ultimate  rise  to  un- 
paralleled ratings  on  network  TV.  Enthralled  by  his 
power,  he  attempts  to  make  political  capital  of  it  and  is 
finally  brought  to  his  doom  by  the  girl  who  found  him, 
when  she  deliberately  opens  a  control  switch  as  he  is 


sounding  off  on  the  stupidity  of  his  audiences  after  a 
broadcast,  and  millions  of  people  hear  the  fatal  words. 
Backed  by  a  big  WB  promotion  and  hefty  exploitables 
inherent  in  the  story  and  title,  this  is  one  to  watch  for  a 
real  boxoffice  surprise.   It's  set  for  June  release. 


Film  BULLETIN    May  13,   1957  Pa 


M 


THIS  COULD  BE  THE  NIGHT" 

METRO-GOLDWYN- MAYER 
Jean  Simmons,   Paul   Douglas,   Anthony  Franciosa,  Julie 
Wilson,   Neile  Adams,   Joan   Blondell,   J.   Carrol  Naish. 
Producer,  Joa  Pasternak.  Director,  Robert  Wise. 

Joe  Pasternak's  "This  Could  Be  The  Night"  is  the  kind 
of  movie  that  people  will  tell  their  friends  to  go  see  be- 
cause they  had  such  a  wonderful  time  seeing  it  themselves. 
No  big-time  musical  or  lavish  production,  this,  but  a  well- 
filled  CinemaScope  (black  and  white)  package  of  all  the 
components  of  pure  entertainment — laughs,  lovably  off- 
beat characters,  zing  musical  numbers,  and  a  general  aura 
of  happiness  that  is  wholly  infectious.  Jean  Simmons  is 
the  central  figure  as  the  school  teacher  who  takes  a  part- 
time  job  in  a  rowdy  night  club  owned  by  ex  mobster  Paul 
Douglas  and  Anthony  Franciosa.  "Protected"  by  the  as- 
sorted employes  from  the  "low"  elements  to  whom  she  is 
exposed,  the  pretty  Jean  teaches  'em  all  a  few  tricks  and 
endears  herself  by  settling  some  knotty  personal  problems, 
as  well  as  landing  the  handsome  Franciosa  for  herself. 
Among  the  special  assets:  Julie  Wilson,  the  torch  singer, 
and  Neile  Adams,  strip-tease  dancer  with  a  yen  to  cook 
(both  sensations  from  Broadway's  "Pajama  Game"),  Ray 

Anthony  &  orchestra,  and  a  delightfully  wacky  cast. 


'JEANNE  EAGELS' 


Novak. 
Drake. 


COLUMBIA 

Jeff   Chandler,    Agnes    Moorhead,  Charles 
Producer-Director,  George  Sidney. 

The  tragically  short,  drama-packed  life  of  Jeanne  Eagels 
is  the  basis  for  Columbia's  most  important  release  of  the 
summer.  Check  these  assets :  one  of  the  hottest  stars  in 
movie  business  today,  Kim  Novak;  Jeff  Chandler  as  co- 
star;  a  story  that  pulls  no  punches  in  describing  the  fan- 
atic drive  and  ambition  of  the  famed  actress;  one  of  the 
top  directors  in  the  business,  George  Sidney  (who  also 
produced).  This  is  laden  with  every  prospect  for  a  box- 
office  hit.  Essentially,  the  engrossing  story  is  the  domi- 
nant factor.  While  this  generation  may  remember  Miss 
Eagels  as  the  original  Sadie  Thompson  in  W.  Somerset 
Maugham's  "Rain",  her  phenomenal  success  in  that  role 
was  only  a  chapter  in  a  pulsating  career.  There  is  little 
glorification  in  the  script  which  details  the  fierce  ambition 
that  caused  another  actress'  suicide,  her  romance  with  a 
married  man,  whose  home  she  broke  up,  then  married  and 
divorced,  her  heavy  drinking  and  later  dope  addiction 
which  destroyed  her  career  and  ultimately  led  to  her  death. 


"THE  SUN  ALSO  RISES" 

20th  CENTURY-FOX 
Tyrone  Power,  Ava  Gardner,  Mel  Ferrer,  Errol  Flynn.  Eddie  Albert. 
Producer.  Darryl  F.  Zanuck.  Director,  Henry  King. 

Named  by  20th-Fox  as  its  Labor  Day  release,  Darryl  Zanuck's 
second  independent  film  for  the  company  is  a  star-laden  version  of 
the  Ernest  Hemingway  novel  that  gives  every  prospect  of  main- 
taining the  producer's  high  standard.  Currently  filming  in  Mexico 
(Ed  Sullivan  left  last  week  for  Mexico  City  to  film  location  scenes 
and  interviews  for  his  TV  show— a  fair  barometer  of  the  picture's 
importance),  it  is  the  story  of  a  passionate  British  noblewoman 
who  seeks  an  outlet  for  her  love,  after  her  husband's  war  injury 
makes  him  unable  to  return  her  affection.  The  drama  is  played 
against  the  backgrounds  of  Spain,  Mexico  and  France.  The  cast  is 

one  of  the  most  impressive  assembled  for  a  picture  this  year  

Power,  Gardner,  Mel  Ferrer,  Eddie  Albert  and  the  return  to  the  big- 
time  by  Errol  Flynn.  In  CinemaScope  and  DeLuxe  Color. 


Page  24       Film  BULLETIN    May  13,  IV57 


The  Night  Of  The  Bachelor  Party... 

The  story  of  five  ordinary  men  on  a  stag  dinner  that  exploded 
into  an  angry,  drunken,  hilarious  binge. 

A  night  of  party-crashing,  Greenwich  Village  pickups  and  aimless 
bar-hopping  that  ends  for  each  in  a  moment  of  great  truth. 

If  you're  a  woman  one  of  these  five  is  your  husband,  your  boyfriend, 
your  lover  -  if  you're  a  man  one  of  these  five  men  is  you. 

A  vivid  glimpse  of  life -brought  to  the  screen 
by  the  men  who  made  "Marty". 


HECHT,  HILL  and  LANCASTER  present  tlie 

Bachelor 

Party 


)0N  MURRAY 


w,th  E.  G.  MARSHALL- JACK  WARDEN  •  PHILIP  ABBOTT  -  LARRY  BLYDEN 


DELBERT  MANN 


PADDY  CHAYEFSKY 


METRO-GOLD  WYN- MAYER 
Fred   Astaire,   Cyd   Charisse,  Janis   Paige,   Peter  Lorre, 
George  Tobias,  Joseph  Buloff,  Jules  Munshin.  Producer, 
Arthur  Freed.  Director,  Rouben  Mamoulian. 

It's  hard  to  see  how  "Silk  Stockings"  could  be  anything 
but  smash  boxoffice.  There's  Fred  Astaire,  Cyd  Charisse 
and  Janis  Paige,  cream  of  Hollywood's  musical  stars; 
there's  the  top-drawer  Cole  Porter  score;  there's  a  story 
that  swelled  Metro's  coffers  when  it  was  presented  many 
years  ago  as  "Ninotchka";  there's  CinemaScope  and 
Metrocolor  to  catch  the  visual  beauties  of  the  cast  and  the 
Paris  locations;  and  there's  the  fame  of  the  musical  that 
rocked  Broadway.  There  are  no  less  than  13  Cole  Porter 
melodies  for  Astaire,  the  misses  Charisse,  Paige  and 
Carole  Richards,  and  the  "three  commissars"  (George 
Tobias,  Joseph  Buloff  and  Jules  Munshin)  to  romp 
through  between  laughs  in  the  tale  of  the  dedicated  Soviet 
girl  who  is  sent  to  Paris  to  bring  back  a  Red  composer 
who  prefers  Paris  to  Moscow,  and  winds  up  losing  her  in- 
hibitions and  her  heart  to  an  American.  If  it  delivers  all  it 
promises,  here  is  the  musical  of  the  year.  In  the  hands 
of  such  topflight  craftsmen  as  producer  Arthur  Freed  and 
director  Rouben  Mamoulian  there  can  hardly  be  any  doubt 
that  this  will  come  through  as  one  of  the  season's  majestic 
leaders.  And  just  to  guarantee  its  success,  M-G-M's  show- 
men are  backing  "Silk  Stockings"  with  a  really  royal  pro- 
motional campaign.  Fit  for  a  kingly  show. 


"HUNCHBACK  DF  NOTRE  DAME" 

ALLIED  ARTISTS 
Gina  Lollobrigida,  Anthony  Quinn,  Jean  Danet,  Alain  Cuny. 
Producer,  Robert  Hakim.  Director,  Raymond  Hakim. 

For  the  third  time  in  as  many  generations,  Victor 
Hugo's  classic  is  brought  to  the  screen.  And  for  the  third 
time,  there  is  every  good  prospect  that  it  will  be  right  up 
there  among  the  year's  top  boxoffice  pictures.  If  anything, 
this  Robert  Hakim  production  might  very  well  surpass  its 
predecessors  in  production  values,  with  its  location  filming 
in  CinemaScope  and  color  in  Paris.  With  Oscar  winner 
Anthony  Quinn  in  the  role  of  Quasimodo,  and  the  volup- 
tuous Gina  Lollobrigida  as  the  fiery  gypsy  Esmeralda,  the 
film  is  amply  endowed  with  both  quality  and  marquee 
power.  As  for  the  story,  it  remains  as  sure-fire  for  audi- 
ence acceptance  as  it  did  when  Lon  Chaney  exploded  into 
prominence  with  it  in  1923  and  Charles  Laughton  re- 
peated the  sensation  in  the  1939  version.  It  tells  of  the 
hideously  deformed  bell-ringer  of  Notre  Dame,  who  re- 
ceives the  first  sign  of  sympathy  from  the  gypsy  girl,  and 
responds  with  pathetic  eagerness  and  love.  He  saves  her 
from  the  gallows  when  she  is  convicted  of  murdering  an 
Army  officer,  cares  for  her  in  the  towers  until  she  is  par- 
doned and  releases  her  to  her  lover  as  he  remains  among 
his  beloved  giant  bells  whose  peals  have  long  since  de- 
stroyed his  hearing.  The  story  of  the  Hunchback  is  a 
classic  that  never  wears  thin.  The  older  generation  re- 
members it  fondly,  the  new  is  bound  to  be  intrigued.  Mark 
this  down  right  now  as  one  of  the  biggest  attractions  in 
the  growing,  new  Allied  Artists'  history. 


Page  U       Film  BULLETIN    May  13,  1957 


fWO  OF  TODAY'S  MOST  PUBLICIZED 
PERSONALITIES  IN  AN  OUTDOOR 
DRAMA  THAT'S  BIG  BOXOFFICE  .  .  .  I 


fVnthony  Perkins  and  Jack  Palance,  both  of 
/horn  have  been  making  industry  headlines,  are 
ow  teamed  in  an  exciting  attraction  that  will  be 
getting  strong  boxoffice  attention  in 
June.  Its  story  is  warm  with  human  y 
appeal  — its  action  is  hair-raising, 
SL  with  savage  gun  battles  and 
a  spectacular  wild-horse 
hunt  that's  a  brand  new 
entertainment  thrill ! 


4 


MONTE  CARLO  STORY" 


Marlene 
Natalie 


UNITED  ARTISTS 

Vifforio    de  Sica, 


O'Connell, 
Director, 


Dietrich,    Vittorio    de   Sica,  Arthur 
Trundy.     Producer,    Marcello  Girosi. 
Samuel  A.  Taylor. 

The  glittering  excitement  of  Monte  Carlo  forms  the 
ackgrcund  of  a  romantic  comedy  with  what  was  once 
ailed  the  "Lubitsch  touch",  starring  two  of  the  most  ex- 
pert delineators  of  this  brand  of  bubbly  entertainment, 
Marlene  Dietrich  and  Vittorio  de  Sica,  Italy's  all-around 
wonder  man  of  the  movies.  The  first  production  filmed  in 
the  new  Technirama  process  and  Technicolor,  it  promises 
a  wealth  of  entertainment  in  several  ways.  The  authentic 
thrills  of  the  legendary  Casino  in  which  fortunes  are  won 
and  lest  each  night  are  woven  into  the  story  of  a  pair  of 
inveterate  gamblers,  Dietrich  and  de  Sica,  who  fall  in  love 
but  won't  risk  marriage.  Complicating  the  affair  are 
American  Arthur  O'Connell  and  his  young  daughter, 
Natalie  Trundy,  with  Arthur  going  for  Marlene  and  Nat- 
alie losing  her  teen-age  heart  to  Vittorio.  The  latter  wins 
and  loses  a  fortune  on  a  system  born  of  her  argument  for 
their  marriage,  but  in  the  end,  Dietrich  and  de  Sica  wind 
up  together  with  their  mutual  love,  Monte  Carlo.  This  Ti- 
tanus  production  for  United  Artists  brings  about  a  happy 
wedding  of  two  of  filmdom's  most  glamorous  personalities 
— the  perennial  beauty,  Dietrich  and  the  suave  de  Sica — 
in  a  show  that  seems  replete  with  strong  selling  assets. 


"GUNFIGHT  AT  THE  O.K.  CORRAL' 

PARAMOUNT 

Burt  Lancaster,  Kirk  Douglas,   Rhonda   Fleming,  Jo  Van 
Fleet,  John  Ireland,  Lyle  Bettger,  Frank  Faylen.  Producer, 
Hal  B.  Wallis.  Director,  John  Sturges. 

Burt  Lancaster  as  Wyatt  Earp,  Kirk  Douglas  as  Doc 
Holliday!  A  firmer  basis  for  a  big-time  Western  wasj 
never  better  conceived  than  this  double-barreled  co-star- 
ring combo  portraying  two  of  the  old  West's  most  famous 
gunmen.  Produced  by  Hal  Wallis  in  VistaVision  and 
Technicolor,  it  bolsters  this  powerful  marquee  pairing  with 
fine  support  in  Rhonda  Fleming,  Jo  Van  Fleet  and  John 
Ireland  to  assure  maximum  cast  quality  to  match  the 
ambitious  Wallis  production.  Add  to  this  Dimitri  Tiom- 
kin's  scoring,  with  the  title  song  recorded  by  Frankie 
Laine  on  its  way  to  the  top,  and  you  have  an  attraction 
that  could  hardly  miss  in  any  season  of  the  year.  Under 
John  Sturges'  direction,  the  Leon  Uris  script  tosses  the 
two  famed  gun-handlers — different  as  night  and  day — in  a 
strange  alliance  against  a  vicious  gang  that  is  terrorizing 
the  town  in  which  Earp  is  Marshal.  The  key  to  the  plot  is 
the  inexorable  building  of  tension  to  the  climactic  gun- 
fight,  reputedly  one  of  the  most  roaring  in  screen  history. 
Lovers  of  action  will  anticipate  with  glee  the  relationship 
between  the  West's  leading  exponent  of  law  enforcement 
and  the  law-scorning,  cynical  gambler  and  their  formidable 
teaming  for  the  final  battle  to  the  death. 


Page  28        Film  BULLETIN    May  13,  1757 


Spring  &■  Summer 


Exploitation  Wipers 


THE 
LONELY 
MAN 


the  lines  on  his  face   .  . 
those  restless,  nerveless,  far-seeing  eyes 
a  man  apart       journeying  to  the  end  of  r 


JACK  PALANCE  anthony  perkins 

NEVILLE  BRAND  •  ROBERT  MIDDLETON  „*&,.„,  ELAINE  AIKEN 


The  sombre,  strong  faces  of  Jack 
Palance  and  Anthony  Perkins  inject  a 
moody,  powerful  note  into  the  ad  art 
of  this  Paramount  western,  convey  its 
tense  emotional  nature. 


Promising    newcomer  James 
MacArthur  gets  most  of  the  space 
"Young     Stranger"     ads,  with 
copy   slanted    to   teenage  marke.1. 

seventeen  isn't  an  age . 


4 


it's  an  eternity . 

knows  you 
and  worse, 
you 
hardly 

know  > 
yourself 


.  nobody 


M  1 


BEST  DRESSED  OIRL  ON  A  DESERT  ISLAND 


Ava  upright,  Ava  supine  and  Ava 
in  general  give  the  proper  enticement 
to  this  slick  Metro  campaign.  Cute 
copy  ("in  BLUSHING  Color!")  helps 
point  up  comedy  aspects.  Three  stars 
overshadow  title. 


Gold!  thunders  the  copy  on  this 
20th  Century-Fox  adventure,  and 
Gold!  gets  bold  billing  throughout  the 
campaign  on  this  melodrama  about  an 
ex-delinquent  who  is  reformed  in  the 
face  of  nature's  fury. 


"Arty"  art  for  the  Otto  Prem- 
inger  production  conveys  mood, 
mystic  fervor  of  the  Shaw  classic, 
"Saint  Joan".  Copy  emphasizes 
Shaw  name  and  those  male  stars 
over  newcomer  Jean  Seberg. 

(More  EXPLOITATION  WINNERS  on  Page  32) 


IEFFREY  HUNTER  SHEREE  NORTH  BARRY  SULLIVAN  WALTER  BRENNAN 

iwui wm  ===  =-  mwm  minm  hokums  sasss 


BULLETIN    May  13,  1957 


The  BONGO  BEAT  and  The  BIG  HEAT 


IOTTEST  TWIN  BILL  Ever  Released ! 


Exploitation 
Winners 


Spectacle  and  ac-  * 
tion  keynote  the  cam- 
paign of  this  Para- 
mount  adventure. 
Colorful  art  robustly 
delineates  the  exciting 
elements,  displays  star 
Cornel  Wilde  to 
swashbuckling  advan- 
tage as  lover,  fighter. 


The  Lite. ..The  Loves...The  Adventures  ol 


-V  United  Artists 
shrewdly  follows  the  suc- 
cessful "Marty"  campaign 
with  this  second  Chayef- 
sky  drama.  Don  ("Bus 
Stop")  Murray  is  promi- 
nently displayed.  Sex  adds 
allure. 


MOVIE  CO. 


'What  kind  of  rooms 
do  they  have  upstairs?' 

J) 


pEliiriET  Dew  IHw 

TEcwiicoiAir  Mac  Hayes  -  Taylor 

htkmHtfaakfmtmA  tumii William  bieterte  uwiu«wtamf Mnm 


Party 


.DON WM.  t«. 


Hi.  w.  [..... I  \ 
Sexy  rock-'n-roll  gyrations 
of  Mamie  Van  Doren  are  used 
as  come-on  for  "Untamed 
Youth",  hot  number  from  War- 
ner Bros.  Display  emphasis  is 
on  the  blonde  bombshell. 


Bing  Crosby  goes  ^ 
dramatic  again  in  this 
MGM  offering  and  the 
campaign  makes  the 
most  of  it.  Reference 
is  made  to  the  popu- 
lar Bing's  Oscar-win- 
ning "straight"  role  in 
"Country  Girl". 


HIS 

EXCITING 
CAREERI 


BING  CROSBY 
MAN  ON  FIRE 

INGER  STEVENS •  MARY  FlCKETT  -  E  G  MARSHALL 


4  Original  art  work, 
plus  intriguing  line, 
("The  most  fascinating 
ouse  you  ever  met"), 
convey  the  power  and 
offbeat  tone  of  this 
Columbia  entry.  New- 
comer Ben  Gazzara 
also  featured. 


Fierce  action  and  suspense  are 
strongly  articulated  in  the  campaign 
for  Columbia's  "3:10  to  Yuma".  Stars 
Van  Heflin,  Glenn  Ford,  shown  in 
scene  below,  example  overall  power 
of  picture. 


WHEW 

ITS  SECRET 
EXPLODED 


JON  WHITEIEY 


I^EAPON 


HAL  E  CHESTER 


Mystery,  danger  and  suspense  are 
all  documented  in  the  ads  on  this  Re- 
public melodrama.    Title  is  central  as- 


c 


xploitation 
Winners  ~ 


It 

RIDES 
A  TRAIL 
NO 

Relentless  pursuit —  » 

WESTERN 

the  basic  theme— and  EVER 

—  the  under-  DQDE 
tone — are  dramatical- 

ly    depicted    in     UA's  BEFORE 

art    on    "The    Ride  I 
Back".    Not  neglected, 

i  .l  The  Associates 

of  course,  is  the  star-  *  Aldrich  Company 

ring   role   of  Academy  *m» 
Award   notable  Ouinn.  Aw^  w'"",r 

ANTHONY 

quin™ 


WILLIAM 

CONRAD 

•m  LITA 

MILAN 


Monkey  -~£H= 
Back 

J1iS!?.7.Af,,??.r,nceoL??.s.s  CAMERON  MITCHELL-DUNNE 


traffic,    murder  and 
e   the    ingredients  in 
Columbia's       "Pickup  Alley". 
Above,  Anita   Ekberg  has  done 
the  killing.    Victor  Mature  is  a 
narcotics  agent. 


i 


-A-  And  in  this  case  the  dope 
habit  is  the  hook  on  which  UA's 
campaign  hangs.  The  Barney 
Ross  story,  it  has  all  the  show- 


P  9 


:ks  that  put  over 


'Man    with    the    Golden  Arm' 
It's  rugged,  we  hear. 


r 


You  feel  the  gun  leap  in 
you  hear  the  muffled  cry  ^ 
stain  spread . . .  Now  YOU 


your  hands . . . 
see  the  red 
are  a  killer  in 
the  Cherokee  Strip! 


ALLIED  ARTISTS  I 


JOEL  McCREA 


Thai  ramrod  guy 
from  'Wichita"! 


BARBARA  HALE  BMDi£^Gl",LTAL60TT 

A  WALTER  MIRISCH  Pio4.xi.ofi 


CINEMASCOPE 


The  mystery  of  a  ♦ 
British  officer  who  dis- 
appeared during  the 
Rommel  attack  in  Afri- 
ca is  intriguingly  un- 
ravelled in  this  Rank 
import.  Anthony 
Steele    has    the  lead. 


4  Slick  personalized 
catchline  gets  the 
copy  on  this  Joel  Mc- 
Crea  western  across  to 
the  reader  on  a  "you" 
basis. 


Anal^U  cjf  the 


SPRING  &  SUMMER  PRODUCT 


20th  Century-Fox 


Spyros  Skouras'  promise  of  good-and- 
plenty  product  from  20th  Century-Fox  in 
1957  has  been  brilliantly  fulfilled  in  the  im- 
posing Spring-Summer  lineup.  The  synthesis 
of  quality  and  quantity  in  the  28 — yes,  28 — 
releases  for  the  warm  weather  half  year 
makes  this  company  a  veritable  fountainhead 
of  product  for  every  type  of  theatre.  In  its 
variety,  its  star  power,  its  top-drawer  pro- 
duction values,  its  exploitables,  20th  stands 
at  the  head  of  the  Hollywood  product  source. 

No  less  than  15  of  the  group  are  given  the 
CinemaScope  treatment,  10  of  these  in  very 
fine  De  Luxe  Color.  At  least  five  must  be 
rated  in  the  majestic  group  of  boxoffice 
kings  and  there  is  a  good  prospect  that  sev- 
eral more  will  end  up  hearty  grossers  with 
their  exceptional  exploitation  values  and 
sleeper  potentials. 


Dailey  and  Jayne  Mansfield  in 
"li  ai  ward 


The  royal  quintet,  detailed  in  the  Crown- 
ing Achievements  section,  are  spread  luxuri- 
ously through  the  season  —  "Desk  Set" 
(Tracy-Hepburn)  in  May,  Darryl  F.  Zan- 
uck's  "Island  in  the  Sun"  (Mason-Fontaine- 
Belafonte-Dandridge-Collins)  for  June,  "A 
Hatful  of  Rain"  (Don  Murray-Eva  Marie 
Saint-Anthony  Franciosa)  and  "An  Affair  to 
Remember"  (Grant-Kerr)  giving  July  a  dou- 
ble order  of  big  ones,  "Will  Success  Spoil 


Rock  Hunter?"  (Mansfield-Randall)  in  Au- 
gust, and  the  second  Zanuck  big-timer  "The 
Sun  Also  Rises"  (Gardner-Power-Flynn- 
Ferrer)  as  the  Labor  Day  release. 

Those  strong  on  showmanship  and  poten- 
tials for  the  better  grosses: 

The  current  "Boy  On  a  Dolphin",  with 
the  sizzling  Sophia  Loren  the  big  exploita- 


"Seawife",  an  offbeat  CinemaScope  coloi 
drama  of  a  nun  and  three  men  cast  adrift  ir' 
the  Pacific  during  World  War  II,  backec 
by  a  big  promotion  in  Catholic  circles,  stars 
Joan  Collins  and  Richard  Burton,  is  due  foil 
an  August  release. 

"The  Way  to  the  Gold"  is  well-suited  tc 
the    lovers    of    adventure-melodrama,  with' 


tion  flash,  is  meaty  adventure-romance  stuff 
in  CinemaScope-DeLuxe.  The  Alan  Ladd- 
Clifton  Webb  names  are  added  assets. 

John  Steinbeck's  "The  Wayward  Bus",  a 
June  release  in  CinemaScope  sans  color, 
could  sweep  into  the  select  group  with  spe- 
cial backing.  Featuring  the  meshing  and 
conflict  of  personalities  when  a  bus  is 
stranded  in  the  Sierras,  it  topcasts  Jayne 
Mansfield,  Dan  Dailey,  Joan  Collins  and 
Rick  Jason. 

"Bernardine",  marking  the  screen  bow  of 
teen-age  sensation  Pat  Boone,  is  another  that 
may  surprise.  A  warm-hearted  comedy  giv- 
ing teenagers  the  break  for  a  change,  it  is 
due  in  July  in  CinemaScope  and  DeLuxe, 
bringing  back  the  beloved  Janet  Gaynor, 
along  with  Terry  Moore  and  Dean  Jagger. 


Jeffrey  Hunter  and  Sheree  North  top-billed 
in  a  high-caliber  cast  that  includes  Barry 
Sullivan,  Walter  Brennan  and  Neville  Brand 
Going  out  this  month,  this  is  being  sold  for 
conflict  and  violence  between  "the  ex-delin-j 
quent  and  the  blonde  hell-cat  whose  paths 
double-crossed  like  live  wires  .  .  .  !" 

Two  pairs  of  exploitation  twins  are  in  the 
group,  "Kroncs"  and  "She-Devil"  make  up 
the  package  currently  exercising  the  goose- 
pimples,  and  Fox  aims  to  give  the  chills  an- 
other workout  in  August  with  "The  Un- 
known Terror"  and  "Back  from  the  Dead' 
Also  set  for  Spring-Summer  dating: 
Current— "River's  Edge"  (C-Scope,  De- 
Luxe),  outdoor  adventure-drama  with  Ray 
Milland,  Anthony  Quinn  and  Debra  Paget. 

(Continued  on  Page  36) 


Page  34       Film  BULLETIN    May  13.  1957 


ANALYSIS  OF  THE  PRODUCT 


United  Artists 


Always  reliable  as  a  wellspring  of  product, 
with  the  inevitable  big  ones  sparkling  in  the 
bountiful  offering,  United  Artists  comes 
through  again  in  this  Spring-Summer  sea- 
son as  amply  endowed  as  ever— and  possibly 
more  than  ever  if  the  results  live  up  to  the 
promise. 

Well  out  in  front  quantitatively— a  whop- 
ping total  of  34  films  have  been  tentatively 
scheduled  for  April-through-September— UA 
bows  to  no  other  distributor  in  its  wealth 
of  solid  boxoffice  product.  The  range  is  in- 
finite—from the  lavishly  endowed  "The 
Pride  and  the  Passion"  to  the  more  modest, 
but  savagely  dramatic  "The  Sweet  Smell  of 
Success",  to  the  highly  exploitable  "Monkey 
On  My  Back"  and  on  through  the  entire 
gamut  of  movie-making  that  spells  entertain- 
ment. 

At  least  four  have  earned  the  distinguished 
grosser  Crowns  on  the  basis  of  what  is  al- 
ready known  of  them  or  on  their  promise. 
These  have  been  covered  in  the  Boxoffice 
Kings — the  aforementioned  "Pride  and  Pas- 
sion" (Grant-Sinatra-Loren),  the  eagerly 
awaited  Stanley  Kramer  VistaVision  and 
Technicolor  drama,  a  July  release,  and 
"Sweet  Smell  of  Success",  (Lancaster-Cur- 
tis), Hecht-Hill-Lancaster  production  due 
in  June;  Stanley  Kubrick's  "Paths  of  Glory" 
(Kirk  Douglas),  set  for  September,  and  Vit- 
torio  De  Sica's  "The  Monte  Carlo  Story" 
(Dietrich-De  Sica),  not  firmly  set,  but  due 
for  a  warm-weather  release  date.  And,  of 
coarse,  still  very  much  current  and  in  sig- 
nificant b.o.  evidence,  the  Michael  Todd 
block-buster,  "Around  the  World  in  80 
Days". 

Preminger's  'Joan'  Ballyhooed 

Making  convincing  bids  for  prominence 
in  the  better  boxoffice  picture: 

Otto  Preminger's  much-ballyhooed  "Saint 
Joan",  due  for  an  imposing  start  on  the  basis 
of  the  campaign,  which  plucked  new  star 
Jean  Seberg  from  an  Iowa  hamlet  to  play 
the  title  role  in  the  Bernard  Shaw  classic. 
There  is  a  question  mark,  however,  on  the 
holding  power,  since  early  opinion  seems  to 
indicate  disappointment  in  Miss  Seberg's 
performance  and  entertainment  qualities. 

"12  Angry  Men",  an  April  release,  not 
only  has  an  imposing  cast  in  Henry  Fonda, 
Lee  J.  Cobb  and  Ed  Begley,  but  fine  pro- 

i  duction  credits  in  screenplaywright  Reginald 

I  Rose  and  director  Sidney  Lumet,  both  mak- 
ing  the   successful   jump   from  television. 

j  Story  of  an  all-male  jury  who  must  decide 
fate  of  boy  charged  with  murder,  it's  explo- 
sive, brilliantly  acted.    UA  has  given  it  a 

i  socko  publicity  campaign. 


mmam  see  IT  fHOM  THE  beginning  f 


no  motion 

picture  ever 

stabbed  so 

■  mm 

deep! 

HENRY  FONDA  Mi 

ANQM  WSS< 

LE100BB-ED  BEGLEY  andLG  MARSHALL-JACK  WARDEN 
— -Kamio  hes  swrr  nintr.— wain  fon^kmaSSS 

"The  Bachelor  Party"  has  the  enviable  tag 
"By  the  Men  Who  Made  'Marty'!"  and  it 
comes  reasonably  close  to  the  stature  of  that 
Hecht,  Hill  &  Lancaster  picture.  Paddy 
Chayefsky  again  wrote  the  screenplay,  Del- 
bert  Mann  again  directed.  A  warm,  sensitive 
probing  into  the  married  state,  it's  acted  by 
a  fine  cast  headed  by  Don  Murray,  popular 
star  of  "Bus  Stop".   Also  an  April  release. 

"Monkey  On  My  Back"  reeks  with  ex- 
ploitation possibilities,  deals  with  the  life  of 
boxer  Barney  Ross  who  succumbed  to  the 
dope  habit,  then  fought  his  way  back. 
"Shock  by  shock  it  jabs  like  a  hopped-up 
needle!  .  .  .  "The  Hottest  Hell  on  Earth" 
trumpets  the  exploitation  copy  as  part  of  the 
powerful  campaign  outlined  by  UA.  Cam- 
eron Mitchell  turns  in  one  of  his  top  per- 
formances aided  by  an  excellent  supporting 
cast.  The  May  release  is  getting  the  benefit 
of  personal  appearances  by  Ross  himself. 

"The  Ride  Back",  a  May  release,  an  ex- 
citingly different  Western,  has  Oscar-winner 
Anthony  Quinn  starring  as  a  suspected  mur- 
derer forced  to  return  to  Texas  to  face  the 
law.  His  performance  and  those  of  William 
Conrad  and  the  sexacious  Lita  Milan,  make 
this  one  of  the  finest  Westerns  of  the  year, 
sure  to  garner  unusual  word-of-mouth. 


Add  to  the  list  of  spring-summer  releases 
the  following  wide  variety  of  fare: 

Currently:  "Fury  At  Showdown",  taut 
black  and  white  outdoor  drama  top-casting 
John  Derek.  "The  Iron  Sheriff",  with  Ster- 
ling Hayden  ?.s  the  "leather-tough"  lawman: 
"War  Drums",  (color)  indian  drama  star- 
ring Lex  Barker,  Joan  Taylor.  "Bailout  at 
43,000",  story  of  supersonic  jets,  with  John 
Payne,  Karen  Steele.  "Gun  Duel  in  Du- 
rango"  actionful  western,  George  Montgom- 
ery topcast. 

June:  "Trooper  Hook"  (Barbara  Stan- 
wyck, Joel  McCrea)  story  of  white  woman 
and  indian  son.  "Big  Caper"  (Rory  Calhoun) 
crime  melodrama.  "Bayou"  (Peter  Graves, 
Lita  Milan)  action  drama.  "The  Monster 
That  Challenged  The  World"  (Tim  Holt, 
Audrey  Dalton)  horror  fantasy.  "The  Vam- 
pire" (John  Beal,  Coleen  Gray)  horror  melo- 
drama. 


Mystery,  Calypso,  Drama 

July:  "Hidden  Fear"  (John  Payne,  Con- 
rad Nagel)  murder  mystery  set  in  Denmark. 
"Bop  Girl  Goes  Calypso"  (Judy  Tyler). 
"The  Buckskin  Lady"  (Patricia  Medina, 
Richard  Denning)  outdoor  romance-drama. 
"Outlaw's  Son"  (Dane  Clark,  Ben  Cooper) 
gunslinger  western. 

August:  "The  Fuzzy  Pink  Nightgown" 
(Jane  Russell,  Ralph  Meeker)  about  kid- 
napped Hollywood  starlet.  "Time  Limit" 
(Richard  Widmark,  Richard  Basehart)  war- 
time drama.  "Valerie"  (Anita  Ekberg,  Ster- 
ling Hayden)  murder  mystery.  "My  Gun  Is 
Quick"  (Robert  Bray)  Mickey  Spillane  mys- 
tery. "Jungle  Heat"  (Lex  Barker,  Mari 
Blanchard)  pre-World  War  II  adventure. 
"Lady  of  Vengeance"  (Dennis  O'Keefe)  ad- 
venture-romance. 

September:  "Gunsight  Ridge"  (Joel  Mc- 
Crea, Mark  Stevens)  western  thriller.  "The 
Careless  Years"  (Dean  Stockwell,  Natalie 
Trundy)  teenage  drama.  "Enemy  From 
Space"  (Brian  Donlevy)  science  fiction. 
"Street  of  Sinners"  (George  Montgomery) 
melodrama. 

(Continued  on  Page  36) 


SIX  (6)  'JOAN'  TRAILERS 

United  Artists  has  prepared  a  series  of  six 
trailers  to  promote  "St.  Joan".  The  group, 
titled  "The  Making  of  a  Movie,"  comprises 
five  3-minute  trailers,  each  featuring  a 
"Joan"  star,  and  a  concluding  20-minute 
subject. 


Film  BULLETIN    May  13,  1957        Page  35 


ANALYSIS  DF  THE  PRODUCT 


Metro-Goldwn/n-Mayer 


(Continued  from  Page  35) 

Leo's  majesty  remains  inviolate  in  the 
comparatively  small,  but  rather  select,  group 
of  pictures  M-G-M  has  lined  up  for  the 
Spring-Summer  product.  While  not  as  pro- 
lific as  some  of  the  other  companies — or  as 
in  his  younger  days — the  Lion  has  come  up 
with  some  royal  boxoffice  films  among  the 
nine  currently  set  through  July  release.  No 
data  is  available  on  releases  beyond  July. 

The  fare  is  pretty  well  divided  among 
comedy,  drama  and  musical,  and,  with  two 
exceptions,  leans  heavily  on  romance  in  all 
three  categories.  None  is  in  the  epic  vein, 
but  a  fair  portion  of  the  slate  represents  the 
high  production  values. 

That  the  company  has  kept  its  eye  on  en- 
tertainment values  rather  than  lavish  pro- 
duction is  evident  in  the  Metro  films  selected 
as  season's  boxoffice  kings.  Of  the  three  de- 
tailed in  the  Crowning  Achievement  section, 


■A'.-H.c/r  of  Art 


only  "Silk  Stockings",  Arthur  Freed's  Cin- 
emaScope  color  picturization  of  the  Cole 
Porter  hit  musical  due  in  July,  indicates  the 
big-budget  picture.  The  other  two,  "This 
Could  Be  the  Night"  (Jean  Simmons-Paul 
Douglas-Tony  Franciosa)  in  May  and 
"Something  of  Value"  (Rock  Hudson-Dana 
Wynter)  in  June,  are  lighter  on  the  budget, 
but  heavy  in  entertainment  values. 

All  of.  the  others  have  merits  of  their  own 
that  could  land  them  in  the  better  b.o.  cate- 
gory. "The  Little  Hut",  coming  into  the- 
atres this  month  backed  by  a  heavy  Metro 
promotion  and  eye-filling  Ava  Gardner-in-a- 
sarong  art,  is  a  real  showmanship  entry.  The 
romantic  comedy,  co-starring  Stewart  Gran- 


ger and  David  Niven  as  Ava's  husband  and 
lover,  respectively,  on  a  lonely  South  Seas 
island,  is  in  Eastman  ("blushing")  color, 
gains  added  stature  from  the  Mark  Robson 
direction  and  F.  Hugh  Herbert  screenplay. 


BIG  MAY  SLATE 

Sales  chief  Charles  M.  Reagan  announced 
that  May  will  be  one  of  the  most  prolific 
releasing  months  in  M-G-M's  history,  with 
six  new  films  showing  on  Broadway.  They 
are:  "Designing  Woman",  "This  Could  Be 
the  Night",  "The  Little  Hut",  "Something 
of  Value",  "The  Living  Idol"  and  "The 
Vintage". 

Reagan  also  announced  that  "Raintree 
County",  (Elizabeth  Taylor,  Montgomery 
Clift)  epic  story  of  the  Civil  War,  has  been 
tentatively  set  for  fall  release,  backed  by  a 
huge  advertising-exploitation  campaign. 


Another  July  release  which  makes  a  bid 
for  high-grossing  honors  is  the  Bing  Crosby 
starrer,  "Man  On  Fire",  bolstering  its  hand 
with  a  solid  Ranald  MacDougall  script  (un- 
der the  writer's  direction)  about  the  effect 
of  divorce  on  a  boy  and  his  estranged  par- 
ents. It's  the  same  type  of  serious  role  that 
gained  Bing  an  Oscar  in  "Country  Girl", 


marks  the  first  film  in  which  he  doesn't  sing 
a  note.  This  may  surprise. 

W.  Somerset  Maugham's  novel,  "The 
Painted  Veil"  set  for  June,  becomes  the  basis 
for  "The  Seventh  Sin",  CinemaScope  drama 
of  a  bored,  selfish  wife  involved  in  an  illicit 
love  affair,  who  is  redeemed  in  the  crucible 
of  plague-stricken  China.  The  cast  is  truly 
international — Eleanor  Parker,  the  British 
Bill  Travers  and  George  Sanders,  and  the 
French  Jean  Pierre  Aumont  and  Francoise 
Rosay. 

"The  Vintage",  currently  playing  in  Cin- 
emaScope and  Metrocolor,  goes  to  the  vine- 
yards of  France  for  its  romantic  drama  of 
the  conflict  between  young  love  and  mature 
responsibility.  The  cast  is  headed  by  Pier 
Angeli,  Mel  Ferrer,  John  Kerr,  and  Michele 
Morgan. 

The  current  "Designing  Woman"  is  heavy 
on  star  power  (Gregory  Peck-Lauren  Bacall- 
Dolores  Gray)  in  a  light  romantic  comedy 
of  a  marriage  heckled  by  intricacies  of  the 
designing  and  sports  worlds.  One  of  Dore 
Schary's  last  for  Metro,  it's  in  CinemaScope 
and  Metrocolor,  is  directed  by  Vincente  Min- 
nelli. 

Final  entry  for  May  is  "Tarzan  and  the 
Lost  Safari"  with  a  new  ape-man,  Gordon 
Scott,  in  a  Jane-less  Technicolor  tale  under 
the  Sol  Lesser  aegis. 


20TH  CENTURY-FOX 

(Continued  from  Page  34) 

"Break  in  the  Circle"  action  spy-drama  with 
Forrest  Tucker,  Eva  Bartok.  "China  Gate" 
(C-Scope)  adventure  melodrama  with  Gene 
Barry  and  featuring  Nat  (King)  Cole.  "Bad- 
lands of  Montana",  western  with  Rex  Rea- 
son. "The  Restless  Breed"  (color)  Edward 
Alperson  western  with  Scott  Brady,  Anne 
Bancroft. 

Also  in  June:  "2  Grooms  for  the  Bride", 
comedy  with  Virginia  Bruce,  John  Carroll. 
"Lure  of  the  Swamp",  murder  melodrama 
with  Willard  Parker,  Marshall  Thompson, 
Joan  Vohs,  Skippy  Homeier. 

Also  in  July:  "God  Is  My  Partner",  drama 
with  Walter  Brennan.  "The  Abductors", 
suspense  drama  with  Victor  McLaglen,  Fay 
Spain. 

Also  in  August:  "The  Last  Warrior", 
western  with  Keith  Larsen,  Jim  Davis. 
"Down  Payment"  (C-Scope)  with  Dana 
Wynter  and  Jeffrey  Hunter. 

Also  in  September:  "Hell  on  Devil's  Is- 
land", melodrama  with  Helmut  Dantine,  Bill 
Talman.  "Ten  North  Frederick"  in  Cinema- 
Scope and  DeLuxe  (Spencer  Tracy)  a 
Charles  Brackett  production  of  the  John 
O'Hara  best  seller. 

(Continued  on  Page  38) 


Singing  rage  Pat  Boone,  center 
enlivens  "Bernardine". 


Page  36       Film  BULLETIN    May  13,  1957 


O'DONNELL  says: 
HOLDING  MY  BEST 
SUMMER  PLAYING  TIME  FOR 

DOWN  BELOW!" 


AND  AS  TEXAS' BOB  GOES  ...SO  GOES  THE  NATION! 


IRWIN  SHAW  •  Directed  by  ROBERT  PARRISH  •  Produced  by  IRVING  ALLEN  and  ALBERT  R.  BROCCOLI 
A  WARWICK  PRODUCTION  •  TECHNICOLOR®  •  CINEMASCOPE 


ANALYSIS  DF  THE  PRODUCT 

U n  i  versa  t-Wn  terna  tiona  I 


(Continued  from  Page  36) 

Exploitable  product  has  always  been  the 
hallmark  of  Universal,  and  its  Spring-Sum- 
mer array  runs  true  to  form.  Of  the  nine- 
teen pictures  being  released  in  the  May-to- 
October  slot,  a  substantial  number  figure  to 
prove  potent  mcney-makers  at  the  boxoffice 
— given  ample  exploitation.  The  entire  U-I 
slate  cries  fcr  exploitation. 

Two  of  the  Spring-Summer  releases  were 
named  worthy  of  boxoffice  king  crowns: 
"Man  of  a  Thousand  Faces",  a  September 
release  in  CinemaScope,  starring  James  Cag- 
ney  as  the  late  Lon  Chaney,  Sr.,  and  featur- 
ing strong  support  in  Oscar-winner  Dorothy 
Malor.e,  and  "Night  Passage",  Technicolor 

western  listed  fcr  August  releise,  topcasting 
James  Stewart,  Audie  Murphy,  Dan  Duryea 
and  Elaine  Stewart,  made  in  the  new  Tech- 
nirama  process. 

Importance  of  the  entire  warm-weather 
line-up  is  attested  by  its  technical  assets: 
four  are  in  CinemaScope  and  color,  five  more 
in  CinemaScope,  six  more  in  color. 

Note,  we  suggest,  the  explcitables  in  this 
array  of  other  coming  U-I  product: 

"Joe  Butterfly"  (CinemaScope  and  Tech- 
nicolor), a  likeable,  laughable  comedy  of 
GI's  in  Japan  for  July  release.  Filmed  on 
location,  it  has  an  unusually  good  cast  in 
Burgess  Meredith,  Audie  Murphy,  George 
Nader  and  Keenan  Wynn.  Meredith  plays 
the  title  role,  a  lovable  Japanese  con-man. 


TtfS  Hilarious  saga  of  the  G.I.  Jokers 
vjHO  took*  the  funniest  beachheap 

m  HISTORXV 


Joe  Butterfly 


AUDIE  MURPHY  -  GEORGE  NADER  KEENAN  WYNN 

m sh  m m  wis urn  m m  BURGESS  MEREDITH 


MAT  No.  302 


"The  Young  Stranger",  currently  in  re- 
lease, introduces  a  new  young  star,  James 
MacArthur,  son  of  Helen  Hayes.  This  dra- 
matic story  of  a  17-year-old  misunderstood 
by  his  parents  has  exploitation  elements  in- 
herent in  the  theme  and  the  new  young  star 
which  will  be  obvious  to  alert  showmen. 


n  iv 

Debbie  Reynolds  and  Leslie  \eilson  differ 
bottle  of  perfume  in  "Tammy  and  the  Bachelor". 

Kim  Hunter,  James  Daly  round  out  a  fine 

cast. 

"Tammy  and  The  Bachelor"  teams  Debbie 
Reynolds  and  Leslie  Nielson  in  a  light 
TechniccIor-CinemaScope  comedy  set  for 
July  release.  Supporting  cast  is  first-rate: 
Mildrid  Natwick,  Walter  Brennan,  Mala 
Powers  and  Sidney  Blackmer.  This  looks 
like  one  for  family  appeal. 

"Interlude"  features  the  romantic  pairing 
of  Rossanc  Brazzi  and  June  Allyson  in  a 
deeply  moving  love  story  filmed  in  Munich. 
A  bitter  sweet  romance,   this  Technicolor- 


CinemaScope  feature  looks  ideal  for  hot- 
weather  enjoyment,  and  should  attract,  par- 
ticularly, the  female  audience. 

"Jet  Pilot",  the  long-awaited  Howard 
Hughes  film  about  the  first  use  of  jet  planes 
is  set  for  a  July  release.  Made  several  years 
ago,  starring  John  Wayne  and  Janet  Leigh, 
directed  by  Josef  von  Sternberg,  it  must  be 
regarded  with  a  certain  degree  of  apprehen- 
sion in  view  of  the  long  delay  in  getting  it 
into  release.  However,  the  Wayne  name 
gives  it  at  least  a  promising  b.o.  start. 


June  Allyson.  Rossano  Brazzi  in  a 
tender  love  scene  from  "Interlude". 


John  Wayne.  Janet  Leigh  face  to  face 
in  "Jet  Pilot". 

The  balance  of  the  spring-summer  product 
provides  a  hamper-full  of  marketable  prod- 
uct: 

Currently  in  release:  "The  Girl  In  The 
Kremlin"  (Sza  Sza  Gabor,  Lex  Barker), 
mystery  melodrama.  "The  Deadly  Mantis" 
(Craig  Stevens,  William  Hopper),  science 
fiction  fantasy. 

June  releases  include:  "Man  Afraid" 
(George  Nader,  Phyllis  Thaxter,  Tim 
Hovey),  CinemaScope  melodrama.  "The 
Kettles  on  Old  MacDonald's  Farm"  (Mar- 
jorie  Main,  Parker  Fennelly),  comedy.  "Pub- 
lic Pigeon  No.  1"  (Red  Skelton,  Janet  Blair, 
Vivian  Blaine),  Technicolor  comedy. 

August:  "The  Midnight  Story  (Tony  Cur- 
tis, Marisa  Pavan,  Gilbert  Roland),  Cinema- 
Scope mystery.  "The  Land  Unknown"  (Jock 
Mahoney,  William  Reynolds),  CinemaScope 
adventure. 

September:  "Run  of  the  Arrow"  (Rod 
Steiger,  Sarita  Montiel),  Technicolor  west- 
ern. "Joe  Dakota"  (Jock  Mahoney,  Luana 
Patten),  Eastman  Color  western.  "That 
Night"  (John  Beal,  Sheppard  Strudwick), 
drama. 

October:  "Quantez"  (Fred  MacMurray, 
Dorothy  Malone)  Eastman  Color-Cinema- 
Scope  western,  and  likely  to  be  a  good  one. 
"The  Unholy  Wife"  (Diana  Dors,  Rod 
Steiger),  Technicolor  drama. 


Page  38       Film  BULLETIN    May  13,  1957 


ANALYSIS  DF  THE  PRODUCT 


M*aramouit  t 


Paramount's  Spring-Summer  line-up,  in- 
cluding films  set  through  August,  bodes  a 
steady,  albeit  sparing,  supply  of  boxoffice 
product.  Limited  to  a  single  new  release  in 
both  April  and  June,  and  but  a  pair  for  the 
other  three  months,  the  caliber  of  the  pic- 
tures bears  a  potential  for  better-than-aver- 
age  grosses  for  the  most  part. 

Production  values  are  on  a  top-drawer 
level,  all  in  VistaVision  and  half  tinted  in 
Technicolor  as  well.    Two  of  the  seasonal 


The  law  catches  up  with  Jerry  Lewis  in 


''The  Delicate  Delinquent". 

releases  rate  the  Crown  for  boxoffice 
achievement  possibilities  on  the  basis  of  cast 
and  story  assets.  The  Decoration  Day  re- 
lease, Hal  Wallis'  "Gunfight  at  the  O.K. 
Corral"  has  two  top  names  in  Burt  Lan- 
caster and  Kirk  Douglas,  playing  Wyatt 
Earp  and  Doc  Holliday,  respectively;  Inde- 
Advance  word  on  the  latter  has  been  very 


good.  Both  of  these  are  detailed  in  the 
Crown  section. 

The  balance  of  the  slate  is  well-stocked 
with  showmanship  possibilities  that  could 
lift  any  of  them  into  the  better  grosser  cate- 
gory. 

"The  Delicate  Delinquent"  showcases 
Jerry  Lewis  in  his  first  solo  effort,  a  serious 
one  at  that.  This  July  release  in  VistaVision 
should  prove  a  crowd-pleaser,  given  the 
right  promotional  backing.  The  erstwhile 
pendence  Day  will  see  Bob  Hope  as  the  late 
Mayor  Jimmy  Walker  in  "Beau  James", 
comic  gets  assists  from  Darren  McGavin, 
Martha  Hyer. 

"The  Lonely  Man"  teams  tough-guy  Jack 
Palance  and  new  star  Anthony  Perkins  in 
a  western  for  June  circulation.  It  has  the 
looks  of  a  powerful  one.  In  VistaVision. 

"The  Buster  Keaton  Story",  currently  in 
release,  topcasts  Donald  O'Connor  as  the 
famed  screen  comedian,  with  support  furn- 
ished by  Rhonda  Fleming  Ann  Blyth. 

"Omar  Khayyam",  VistaVision-Techni- 
color  adventure,  brings  Cornel  Wilde  to  the 
screen  in  a  swashbuckling,  romantic  role. 
Rounding  out  a  balanced  cast:  Debra  Paget, 
John  Derek,  Michael  Rennie,  Raymond 
Massey.  For  August. 

"Funny  Face",  already  in  release  and  al- 
ready recipient  of  fine  critical  notices.  Fred 
Astaire  and  Audrey  Hepburn  team  to  bril- 
liant advantage,  aided  by  the  incisive  wit 
and  talent  of  Kay  Thompson.  This  comedy- 


musical  is  in  VistaVision  and  Technicolor. 

"Loving  You",  the  upcoming  Elvis  Pres- 
ley starrer,  is  as  yet  undated.  In  VistaVisicn 
and  Technicolor  it  also  topcasts  Lizabeth 
Scott,  Wendell  Corey.  If  the  wiggling  yod- 
eler's  popularity  hasn't  waned,  this  is  a  good 
prospect. 


The  lives  of  great  entertainers 
make  great  movie  entertainment! 


"For  Whom  The  Bell  Tolls"  is  in  current 
re-release.  This  is  the  Gary  Cooper-Ingrid 
Bergman  interpretation  of  famed  Heming- 
way novel,  in  Technicolor. 

Towering,  of  course,  above  all  the  current 
product  is  Cecil  B.  DeMille's  colossal  epic 
of  the  Old  Testament,  "The  Ten  Command- 
ments". 


Columbia 


Columbia  will  prove  a  highly  serviceable 
source  of  product  to  theatremen  during  the 
warm-weather  season.  Boasting  a  release 
schedule  that  averages  one  picture  per  week 
through  the  May-August  period,  this  com- 
pany  displays  an   unbroken   succession  of 


meaty  dramas  and  action  films  that  will  be 
a  special  joy  to  those  theatres  whose  patrons 
dote  on  such  solid  fare. 


This  is  not  to  say  that  variety  is  lacking, 
but  rather  that  the  range  of  choice  is  a  wide 
one  within  the  dramatic  category.  There  is 
the  sultry  and  actionful  "Fire  Down  Below", 
a  July  release  further  expounded  in  the  Box- 
office  Crowns  section,  marking  the  eventful 
return  of  Rita  Hayworth  to  the  screen  with 
Robert  Mtichum  and  Jack  Lemmon  as  co- 
stars.  There  is  the  highly  emotional  and 
tragic  story  of  "Jeanne  Eagels"  (Kim  No- 
vak-Jeff Chandler),  another  Crowning  b.o. 
achievement  choice  due  in  August. 

Going  beyond  these  two  standouts,  there 
is  the  grim  and  offbeat  drama,  "The  Strange 
One",  a  current  release,  with  Ben  Gazzara 
making  an  impressive  screen  bow  as  the 
"fascinating  louse"  who  becomes  the  virtual 
dictator  of  a  military  school  before  he  meets 
his  come-uppance.  There  is  the  big  outdoor 
adventure  "3:10  to  Yuma",  due  in  July  with 
Glenn  Ford,  Van  Heflin  and  Felicia  Farr 
topcast.  And  there  is  the  dramatic  story  of 
the  survivors  of  a  sunken  liner,  "Abandon 
Ship"  (Tyrone  Power-Mai  Zetterling-Lloyd 
Nolan),  also  now  in  release. 

What  else  comprises  Columbia's  warm- 
weather  schedule?  Look  at  these:  Currently 


in  release:  "Hellcats  of  the  Navy"  (Ronald 
Reagan,  Nancy  Davis),  drama  of  the  Navy 
in  war:  "Sierra  Stranger"  (Howard  Duff), 
outdoor  programmer;  "The  Burglar"  (Jayne 
Mansfield,  Dan  Duryea),  crime  melodrama. 


"1  he  Garment  Jungle"  stars 


"The  Garment  Jungle",  for  June  release,  a 
tough  broiling  drama  of  union  "goons"  in 

(Continued  on  Page  42) 


Film  BULLETIN    May  13,  1957        Page  39 


GREAT  TALENT  MAKES  GREAT  PICTURES 


■ 


Lucky  Andy  Griffith,  at  left  with  ace  director  Elia  Kazan,  will  screen-bow 
in  Budd  Schulberg's  "A  Face  in  the  Crowd,"  Kazan  production  to  be  pre- 
miered in  New  York  on  May  28th.  Above,  Andy  on  the  set  of  "No  Time  for 
Sergeants,"  in  which  he  re-creates  the  hit  comedy  role  he  made  famous  on 
Broadway,  is  flanked  by  Jack  L.  Warner  and  Steve  Trilling,  with  actor 
Myron  McCormick  and  producer-director  Mervyn  LeRoy  at  left. 


Eileen  Bassing,  whose  "Home  Be- 
fore Dark"  has  been  added  to 
Warner  Bros.'  list  of  distinguished 
book  purchases,  is  joined  by  hus- 
band Robert  in  writing  screenplay 
of  the  sensational  novel,  to  be 
produced  by  Henry  Blanke. 


Plans  for  filming  "The  Nun's  Story,"  Kathryn 
Hulme's  best-seller,  are  discussed  by  Audrey 
Hepburn,  who  will  star;  Miss  Hulme;  producer 
Henry  Blanke;  screenwriter  Robert  Anderson; 
director  Fred  Zinnemann.  Portions  of  picture 
will  be  filmed  in  Belgian  Congo  this  winter. 


Jack  Webb  as  tough  drill  instruct- 
or, plays  not-so-tough  scene  from 
"The  D.I."  with  leading  lady  Jackie 
Loughery.  Hard-hitting  Marine 
Corps  drama,  as  timely  as  today's 
headlines,  is  Mark  VII  Ltd.  pro- 
duction, and  is  directed  by  Webb. 


On  a  night-club  piano,  to  be 
sure,  is  Ann  Blyth,  playing 
title  role  in  "The  Helen  Mor- 
gan Story,"  musical  drama 
of  the  fabulous  torch  singer 
and  roaring  '20's.  Paul  New- 
man and  Richard  Carlson 
co-star  in  long-awaited  pro- 
duction, directed  by  Michael 
Curtiz,  produced  by  Martin 
Rackin.  (CinemaScope) 


WE'RE   DOING  THINGS   HERE   AT  WARNER  BROS. 


ANALYSIS  DF  THE  PRODUCT 


COLUMBIA 

(Continued  from  Page  39) 

New  York's  garment  district.  Stars  Lee  J. 
Cobb,  Gia  Scala  and  Richard  Boone. 

"The  Young  Don't  Cry"  topcasts  teenage 
idol  Sal  Mineo  in  an  action  melodrama  that 
figures  to  please  his  fans.  An  August  release, 
it  has  strong  support  in  James  Whitmore, 
J.  Carrol  Naish. 

"Pickup  Alley"  has  top  name  value  in  Vic- 


tor Mature,  Anita  Ekberg,  Trevor  Howard. 
This  August  release,  is  a  melodrama  of  in- 
ternational dope  runners  and  their  eventual 
capture.  Shapes  up  as  good  for  the  exploi- 
tation market. 

Others  for  June:  "Beyond  Mombasa" 
(Cornel  Wilde,  Donna  Reed),  African  ad- 
venture in  Technicolor.  "The  Night  The 
World  Exploded"  (Kathryn  Grant,  William 
Leslie)  science  fiction.  "The  Giant  Claw" 
(Jeff  Morrow,  Mara  Corday),  horror  fantasy. 


Scheduled  for  July  release:  "20  Million 
Miles  to  Earth"  (William  Hopper,  Joan 
Taylor),  science  fiction.  "The  27th  Day" 
(Gene  Barry,  Valerie  French),  science 
fiction. 

For  August:  "No  Time  To  Be  Young" 
(Robert  Vaughn,  Kathy  Nolan),  teenage 
melodrama.  "Town  On  Trial"  (Barbara 
Bates,  Charles  Coburn,  John  Mills),  British 
murder  mystery. 


JVar ner  Bras. 


Representing  the  quantitative  low  of  the 
major  companies,  but  bolstered  by  a  pair  of 
extremely  premising  Boxoffice  Crowns, 
Warner  Brothers'  Spring-Summer  slate 
carries  only  seven  releases  in  the  April-July 
period,  although  more  may  possibly  be 
added. 

Topping  this  company's  brief  schedule  is 
the  much-publicized  "The  Prince  and  the 
Showgirl",  the  Marilyn  Monroe-Laurence 
Olivier  British-made  romance,  named  as  one 
of  the  B.O.  Rulers.  It  is  the  only  attraction 
in  the  program  that  is  on  the  lighter  side. 
Mere  in  the  heavy  tenor  of  the  WB  releases 
is  the  other  Crown  choice,  "A  Face  in  the 
Crowd",  Elia  Kazan's  dramatic  autopsy  of 
the  rise  and  fall  of  a  top  TV  personality. 

Both  "Prince"  and  "Crowd"  are  detailed 
in  the  King  section — and  both  stand  high  in 
the  select  group. 

Highly  exploitable  (it  has  already  en- 
countered censorship  difficulties)  is  May's 
"Untamed  Youth".  A  somewhat  higher-class 


promotion  prospect  is  June's  "The  D.I.". 
The  May  entry,  with  the  eye-festive  Mamie 
Van  Doren  and  Lori  Nelson  in  the  top  roles, 


Jack  Webb  as  "The  £>./." 


is  typical  of  the  brand  of  wild  youth  films 
that  have  been  racking  up  unusual  returns. 
This  one  has  some  sensational  art  in  the  ads. 
that  will  be  an  important  factor  in  selling 
this  Aubrey  Schenck  production. 

"The  D.I."  (Marine  term  for  drill  instruc- 
tor) bears  the  typical  Jack  Webb  label  of 
seeming  authenticity.  It  shapes  up  as  an 
automatic  come-on  to  millions  of  ex-service- 
men who'll  love  to  see  what  the  movies  have 
done  with  one  of  the  most  heartily-hated 
characters  in  the  service.  Added  interest 
will  accrue  from  the  recent  headlines  of  the 
McKeown  Marine  Corps  trial.  Webb  has 
the  title  role,  with  Monica  Lewis  co-starred. 

Rounding  out  the  small  but  impressive 
program  are  these  current  releases:  "Shoot- 
Out  At  Medicine  Bend"  (Randolph  Scott, 
James  Craig),  western  in  which  Scott  and 
his  men  pose  as  Quakers  to  seek  out  wrong- 
doers, and  "The  Counterfeit  Plan"  (Zachary 
Scott,  Peggie  Castle),  crime  melodrama  laid 
in  England. 


Allied  Art  is  is 


The  production  seeds  planted  by  this  fast- 
expanding  company  are  beginning  to  bear 
appetizing  fruit  for  theatremen.  Following 
close  on  the  heels  of  "Friendly  Persuasion", 
which  spring-boarded  Allied  Artists  up 
among  the  top-ranking  film-makers,  two 
other  important  AA  productions  will  bright- 
en the  Spring-Summer  seasons:  Billy 
Wilder's  romantic  comedy  "Love  In  the 
Afternoon"  and  "The  Hunchback  of  Notre 
Dame",  both  acclaimed  Crowning  Achieve- 
ments in  this  product  prospectus.  The  for- 
mer, in  color,  has  a  top  triple-threat  trio  in 
Audrey  Hepburn,  Gary  Cooper  and  Maurice 
Chevalier,  performing  at  peak  charm  under 
the  adroit  hand  of  Wilder.  "Hunchback  of 
Notre  Dame",  a  re-make  of  the  famous  Vic- 
tor Hugo  classic,  is  in  CinemaScope  and 
color  and  has  an  almost  unbeatable  team  in 
Gina  Lollabrigida  and  Anthony  Quinn. 

Not  content  to  rest  on  these  enviable 
laurels,  the  AA  policy-makers  have  sched- 


uled a  covey  of  varied  money-makers  to 
back  up  this  top  product.  Three  of  these 
have  been  dubbed  Exploitation  Winners,  and 
deservedly  so. 


3-Sheet  on  "Let's  Be  Happy" 
Delivers  the  Musical's  Message 


Leading  off  is  the  May  release  "Let's  Be 
Happy"  (Tony  Martin,  Vera-Ellen),  in  Cin- 


emaScope and  color,  which  bids  fair  to  fill 
the  current  cinemusical  void  handsomely. 
Also  for  May  circulation  is  the  Joel  McCrea- 
Barbara  Hale  western,  "The  Oklahoman", 
in  CinemaScope  and  color.  This  has  the 
benefit  of  a  popular  outdoor  star  in  McCrea, 
plus  an  intriguing  yarn. 

June  will  bring  two  splashy  exploitables: 
"Calypso  Joe"  and  "Hot-Rod  Rumble".  Cap- 
italizing on  the  current  teenage  fads  of  ca- 
lypso music  nd  hot-rod  racing,  this  combo 
should  find  an  eager  market  among  the 
youngsters  and  the  action  fans. 

This  is  by  no  means  all  of  the  abundance 
of  spring-summer  product  lined  up  by  this 
burgeoning  company.  Already  in  release  are 
two  actionful,  suspenseful  Westerns,  "Badge 
of  Marshal  Brennan"  and  "Dragoon  Wells 
Massacre",  the  latter  in  CinemaScope  and 
color  with  Brian  Sullivan,  Dennis  O'Keefe 
and  Katy  Jurado. 

Also  scheduled  for  release  in  May  is  "The 
Persuader"  with  James  Craig,  unusual  story 


Page  42       Film  BULLETIN    May  13.  1957 


ANALYSIS  DF  THE  PRODUCT 


ALLIED  ARTISTS 

of  a  preacher  who  wins  over  a  tough  town 
with  love  rather  than  bullets.  Added  to  this 
list  the  May  release  of  "Destination  60,000" 
(Preston  Foster,  Jeff  Donnell,  Coleen  Gray), 
an  exciting  action-drama  cn  the  testing  of  a 
new  jet  with  a  revolutionary  type  of  fuel. 
This  looks  like  a  timely  exploitation  bet. 


Other  June-July  exploitation  releases 
which  should  see  yeoman  duty  in  rounding 
out  playing  time  in  many  theatres  are  these: 
For  June  "Spook  Chasers"  has  the  Bowery 
Boys  at  their  rompingest  best,  and  "Skin 
Dive  Girl"  features  the  curvacious  Mara 
Corday  in  a  very  topical  adventure.  For 
July,  "The  Disembodied"  and  "Daughter  of 


Dr.  Jekyll"  are  just  right  for  hot-summer  en- 
joyment. 

Also  on  the  July  schedule  is  the  Sal  Mineo 
starrer  "Dino".  As  the  current  teen-age  rage, 
Mineo  guarantees  this  top  boxoffice  prestige. 

On  tap  for  August  from  Allied  Artists  are 
"The  Victor  Riesel  Story",  "Rebel  On 
Wheels"  and  "Golden  Disc". 


Republic 


For  some  time  Republic  has  been  the  most 
inactive  of  all  the  major  producing  compan- 
ies, turning  out  only  a  limited  program  dual 
bill  fare.  Even  the  lush  promises  of  spring 
and  summer  business  have  failed  to  nudge 
production  at  this  company  to  any  length  be- 
yond an  occasional  independent  release, 
mostly  British-made. 

Besides  the  May  reissue  of  "The  Quiet 
Man"  (John  Wayne,  Maureen  O'Hara, 
Barry  Fitzgerald),  the  only  other  bright 
hope  is  "The  Weapon",  selected  as  an  Ex- 
ploitation Leader.  This  murder  mystery  has 


a  good  cast  in  Steve  Cochran,  Lisabeth 
Scott,  Herbert  Marshall  and  the  mouth-wat- 
ering Nicole  Maurey.  This  might  prove  to 
be  in  the  minor  "sleeper"  category  with  the 
proper  ballyhoo. 

Of  the  other  product,  two  are  current:  the 
Trucolor-Naturama  outdoor  opus,  "Spoilers 
of  the  Forest"  (Rod  Cameron  and  Vera  Ral- 
ston) and  "The  Man  In  The  Road"  (Ella 
Raines).  Latter  is  a  spy-mystery  set  in  Lcn- 
don  with  a  primarily  British  cast.  The  other 
two  May  issues  are  "The  Lawless  Eighties" 
(Buster  Crabbe),  a  Naturama  western  and 


"Time  Is  My  Enemy",  British  crime  th'iller. 
Latter  might  shape  up  as  art  house  fare. 

George  Montgomery,  no  s'ouch  in  the 
Western  field,  heads  the  ca:t  of  the  June 
Trucolor  release  "Pawnee",  a  fair  item  for 
hot  summer  fare,  particularly  drive-ins.  Two 
others  for  June  are  all-British:  "Journey  to 
Freedom"  and  "Operation  Conspiracy." 

Set  for  July  release:  "Last  Stagecoach 
West"  (Jim  Davis,  Mary  Castle),  "The  Big 
Search",  "Escape  In  The  Sun"  and  "Back 
of  Beyond",  (John  Lupton,  Jack  Kelly).  For 
August:  "Wayward  Girl",  "Panama  Sai". 

(Continued  on  Page  44) 


THE 

B  I  G 
ONE 

IS 

COMING 

IN 
JUNE 


rf/ne/iieG/z.  sm,  DntEfisia£o/iaL 


SEE  YOUR 
American  International  Exchange 

NOW 


PICTURES 


ANALYSIS  DF  THE  PRODUCT 


(Continued  from  Page  43) 


Hank  Film  Distributors 


One  of  the  highlights  of  the  spring-sum- 
mer product  scene  is  the  appearance  of  Rank 
Film  Distributors  of  America,  Yankee  dis- 
tributing arm  of  Britain's  famed  production 
organization.  With  all  the  aggressiveness 
typical  of  the  British  lion,  the  RFDA  pro- 
motional team  has  mapped  out  an  extensive 
exploitation  campaign  in  order  to  win  over 
both  American  exhibitors  and  theatregoers 
to  the  importance  of  British  films  beyond 
the  art  house  category.  Already  Britain's 
most  popular  star,  Kenneth  More,  has  put  in 
an  appearance  on  these  shores  in  connection 
with  the  American  premiere  in  April  of 
"Reach  For  The  Sky",  film  biography  of 
the  most  famous  of  England's  aviation  war 
heroes,  Douglas  Bader. 

While  it  is  difficult  at  this  moment  to  fore- 
cast which  Rank  releases  will  appeal  to 
American  tastes,  several  hopeful  prospects 
seem  destined  for  better-than-average  runs 
and  grosses,  particularly  where  exploited 
properly.  The  best  locking  trio,  all  in  Vista- 
Vision  and  Technicolor,  are: 

"An  Alligator  Named  Daisy",  with  beau- 
tiful Diana  Dors  and  Jeannie  Carson,  known 
to  U.S.  TV  viewers  through  her  "Hey,  Jean- 


nie!" show.  This  is  in  Technicolor  and  Vista- 
Vision,  should  lend  itself  to  a  multitude  of 


promotional  ideas.  "The  Black  Tent"  is 
mystery  adventure  set  amid  the  war 
North  Africa,  boasts  two  popular  British 
stars,  Donald  Sinden  and  Anthony  Steel. 
"Pursuit  of  the  Graf  Spee"  is  a  taut,  sus- 
penseful  battle  story  of  the  scuttling  of  the 
famous  German  battleship,  and  stars  John 
Gregson  and  Anthony  Quayle.  This  one! 
should  find  a  ready  market  among  the  action 
houses. 

Of  the  five  other  spring-summer  releases 
on  tap  from  Rank,  "The  Third  Key"  and 
"A  Town  Like  Alice"  shape  up  as  encour-ji 
aging  hot  weather  prospects.  The  first  has) 
Jack  Hawkins  in  a  spine  tingling  Scotland 
Yard  mystery;  the  second  an  exciting  ad- 1 
venture  of  a  group  trapped  in  Malaya  at  the  I 
war's  outbreak. 

"Checkpoint"  (Anthony  Steel)  in  Eastmani 
Color  is  concerned  with  auto  racing  in  Italy 
and  should  lend  itself  to  timely  exploitation  i 
in  view  of  the  recent  publicity  and  tragedy, 
in  the  Mille  Miglia  races  there.  "Triple  De- 
ception", in  VistaVision  and  Technicolor, 
tells  of  a  plot  to  flood  Britain  with  counter- 1 
feit  money;  "The  Gentle  Touch"  is  a  love 
story  in  a  London  hospital. 


American  -##t  tema  tiana  I 


This  aggressive  newcomer  has  been  main- 
taining a  constant  round-robin  release  sched- 
ule of  highly  exploitable  horror  and  fantasy 


Chills  galore  in  "1  Was  A  Teenage  Werewolf 
and  "Invasion  of  the  Saucer  Men." 

double-bills,  solid  product  into  which  pro- 
motion-minded theatremen  are  able  to  sink 
their  teeth.  Though  none  of  the  current  A-I 


releases  are  named  among  the  season's  nobil- 
ity, they  nevertheless  represent  worthy  prod- 
uct in  the  exploitation  category.  If  Ameri- 
can International,  under  the  aegis  of  presi- 
dent James  H.  Nicholson,  can  keep  up  its 
releasing  pace  and  in  time  turn  to  more  im- 
portant product,  it  bids  fair  to  move  steadily 
forward. 

"Rock  All  Night  and  "Dragstrip  Girl", 
both  aimed  right  at  the  teenage  audience, 
comprise  a  combination  currently  in  release. 
In  June,  A-I  will  release  "I  Was  A  Teenage 


Werewolf"  and  "Invasion  of  the  Saucer 
Men",  both  horror  shows  well  calculated  to 
keep  devotees  of  chill  fare  on  the  edge  of 
their  seats.  Also  scheduled  for  June  are 
"Naked  Africa",  in  color,  and  "Safari  Girl", 
an  outdoor  action  combo. 

Two  double-bills  are  on  tap  for  Septem- 
ber: "Girls  Reform  School"  and  "Motorcycle 
Girls",  "Amazing  Colossal  Man"  and  "The 
Cat  Girl".  For  October:  "Girl  from  2,000,- 
000  A.D."  and  "Island  of  Prehistoric 
Women". 


it u €>na  Vista 


Only  three  films  scheduled  for  release 
from  Walt  Disney  for  the  summer  months, 
one  of  them,  "Bambi",  a  re-run  slated  for 
July.  Of  the  other  two,  "Johnny  Tremain", 
a  Technicolor  live-action  film,  looms  as  the 
most  promising,  particularly  for  the  young- 
ster set  and  action  fans.  It's  a  Revolution- 
ary War  adventure  which  follows  the  ex- 
ploits of  several  youngsters  as  they  take  part 
in  Paul  Revere's  ride,  the  fighting  at  Con- 
cord and  Lexington.  Scheduled  for  release 
in  September,  "Perri",  True-Life  Fantasy  in 
Technicolor,  is  an  unusual  picture  in  the 
Disney  tradition:  a  live-action  film  of  the  life 
and  loves  of  a  female  squirrel.    With  ex- 


ploitation and  the  indelible  Disney  imprint, 
it  should  be  a  natural  for  fanciers  of  this 
fare. 


l       e«-*.Technlcolor-*^  -ft  1  ^  "  J^TSC  I 

J       ^-.Hniswwsm  [ww win  mm     ^aW-!^^^  1 


Page  44       Film  BULLETIN    May  13,  1957 


w 


Either  as  a  graduation  present  or  as  a  va- 
cation-time budgeting  device  for  the  family, 
the  coupon  brok  can  be  promoted  most  suc- 
cessfully. Coupons  in  the  book  are  redeem- 
able both  for  tickets  of  admiszion  and  for 
purchase  of  refreshments  at  the  theatre.  The 
books  can  be  sold  not  only  at  the  theatre 
but  also  at  the  counters  of  local  stores,  par- 
ticularly those  stores  which  stand  to  gain 
from  steady  theatre  traffic. 


SPONSORED  SHOWS 


Sometimes  a  single  company,  such  as  the 
local  Pepsi  Cola  bottler,  can  be  interested  in 
buying  the  house  for  special  children's 
morning  matinees.  In  such  case,  admission 
is  either  free  or  through  turning  in  of  a 
stated  number  of  empty  bottles  or  bottle 
caps.  The  same  sponsored  morning  show  can 
be  purchased  by  a  group  of  local  merchants, 
who  distribute  the  tickets  as  premiums  to 
their  customers.  It  is  important  to  try  to 
arrange  such  shows  on  a  regular  basis, 
rather  than  as  one  shots  (every  Tuesday 
morning,  for  example)  and  to  schedule  them 
at  a  time  when  the  theatre  does  not  nor- 
mally operate,  so  as  not  to  inconvenience 
your  regular  patrons. 


Such  as  the  camera  night  mentioned  above 
can  be  arranged  for  various  local  groups. 
The  Boy  Scouts  or  the  American  Legion  are 
types  of  organization  for  whom  special 
group  nights  often  have  a  particular  appeal, 
as  a  means  of  getting  a  better  turnout  of 
their  membership.  Sometimes  the  offer  of 
mention  on  the  theatre  marquee  and  display 
of  an  organization's  notices  and  posters  in 
the  lobby  can  pave  the  way  for  sale  of 
tickets  to  a  special  group  night.  The  regular 
screen  performance  would  not  be  altered  in 
any  way  for  the  group,  but  it  might  be  pos- 
sible to  let  them  have  a  short  meeting  either 
before  or  after  the  show. 


Summer  Showmanshii 


Showmanship  knows  no  season,  as  far  as  the  basic  elements  are  concerned;  but 
times  change.  Summertime  is  now  the  big  motion  picture  season,  the  time  for 
utilizing  every  bit  of  showmanship  not  only  to  get  a  fair  share  of  the  hot  weather 
business  but  also  to  build  customer  interest  for  the  seasons  to  come.  Every  one 
of  the  ideas  presented  here  is  taken  from  actual  successful  theatre  operations. 
Enterprising  theatre  operators  will  undoubtedy  devise  many  individual  variations. 
Sell  your  promotional  stunts  via  heralds  and  window  cards  during  the  warm 
weather  seasons  when  the  population  is  roaming  out  of  doors. 


SALE  MERCHANDISING 


Stores  often  run  big  sales  with  their  goods 
priced  so  low  that  tkey  sustain  a  loss  on 
these  items;  but  usually  the  people  who 
come  in  for  the  sale  buy  so  many  other 
things,  on  which  the  store  realizes  a  fair 
profit,  that  the  loss  leader  pays  for  itself. 
Some  theatres  have  promoted  community 
bargain  days,  at  which  they  along  with  the 
other  merchants  reduce  prices  to  real  bar- 
gain levels.  Use  a  flat  rental  picture  for  a 
special  10c  or  25c  show,  for  example,  tied 
in  with  equal  values  at  the  hardware  store, 
tha  grocery  and  the  drugstore  in  a  big  down- 
town bargain  day. 


P AC K  AGE  C ON  Bf  N  ATIONS 


Be;ause  family  groups  and  individuals 
generally  have  more  leisure  time  during  the 
summer,  they  are  apt  to  be  receptive  to 
combination  offers  such  as  a  bargain  price 
for  dinner-and-a-movie,  reduced  bus-ride- 
and-movie  or  sometimes  even  baby-sitter- 
and-a-movie.  Contact  your  local  merchant 
neighbors  for  the  most  attractive  combina- 
tion package  arrangements — and  don't  over- 
lock  your  local  newspaper  as  a  possible  part- 
ner (with  a  combination  price  for  a  week's 
newspaper  deliveries  plus  movie  tickets.) 


FAMILY  DISCOUNT  CARDS 


Used  by  some  exhibitors  as  a  means  of 
getting  larger  group  attendance  at  the  mov- 
ies. These  cards  sometimes  operate  on  a 
one-show  bargain  price  for  the  family  on 
week  nights,  and  sometimes  on  the  basis  of 
a  monthly  family  ticket,  non-transferable, 
good  for  each  attraction  which  plays  during 
the  month.  This  is  another  version  of  a 
widely  used  juvenile  sales  promotion,  the 
teen  age  discount  card. 


MERCHANDISE  AUCTIONS 


Summertime,  particularly  in  resort  and 
vacation  areas  (and  don't  forget  that  the  big 
cities  are  also  vacation  areas  for  people  from 
out-of-town),  is  a  time  when  people  love  to 
do  impulse  buying.  An  antiques  auction  or 
sale  of  gadgets  or  handicrafts  at  the  theatre 
can  be  an  important  added  attraction  to  your 
regular  program.  It  is  particularly  advan- 
tageous if  you  are  not  competing  with  exist- 
ing local  enterprises.  Turn  this  merchandise 
operation  over  to  the  local  auctioneer,  for 
example,  or  develop  a  new  type  of  sale  such 
as  a  left-over  jamboree  on  behalf  of  all  the 
community  merchants. 


PLAYGROUND  PROMOTIONS 


Extremely  important  for  drive-ins,  particu- 
larly where  there  are  separate-charge  attrac- 
tions at  the  playground.  Attention  must  be 
given  to  seeing  that  customers  know  how 
early  thj  playground  opens  and  what  facili- 
ties it  contains.  Special  club  stickers  for 
automobile  bumpers,  souvenir  pins  for  the 
youngsters  and  occasion  gate  prizes  are 
helpful  in  publicizing  the  facilities.  It  is 
surprising  how  many  people  still  don't  know 
that  drive-ins  offer  playground  facilities. 


AIR  CONDITIONING 


Still  a  major  summertime  theatre  attrac- 
tion. While  stores  and  restaurants  are  also 
air  conditioned  these  days,  as  are  many 
homes,  the  theatre  is  still  the  best  place  for 
comfort  in  the  evening  for  most  of  the  pop- 
ulation. Naturally,  advertisements  for  air 
conditioned  theatre  should  give  adequate 
display  to  the  fact  that  cool  comfort  is  avail- 
able. In  addition,  an  occasional  special  no- 
tice addressed  to  those  who  suffer  either 
from  the  heat  or  from  hay  fever  or  rose  fever 
("not  just  cool  air,  but  clean,  purified,  pol- 
len-free Eir")  is  timely  during  the  season. 


KIDDIE  VACATION  SHOWS 


Successfully  promoted,  particularly  in  the 
midwest,  for  a  number  of  years  now.  Tickets 
are  sold  on  a  series  basis  for  a  special  morn- 
ing show  held  once  a  week.  Often  the  sale 
of  the  tickets  becomes  a  sort  of  community 
promotion,  since  the  programs  are  specially 
selected  and  part  of  the  sales  appeal  is  that 
the  venture  is  approved  by  the  local  school 
system,  parent  teacher  organizations,  etc. 


GROUP  TICKET  SALES 


Potentially  important  all  year  round,  but 
in  the  summer  there  are  certain  special  op- 
portunities. For  example,  in  resort  and  sum- 
mer camp  areas  attention  should  be  devoted 
toward  selling  the  entire  house  or  a  large 
block  of  seats  to  a  specific  children's  camp 
or  a  hotel,  even  if  only  a  one-shot  basis.  In 
larger  communities  and  industrial  locations, 
office  and  factory  parties  at  the  theatre  can 
be  suggested  to  personnel  departments  and 
trade  unions.  Also,  on  occasion  when  a  par- 
ticular attraction  warrants  it,  group  tickets 
can  be  sold  to  special  purpose  clubs.  The 
local  camera  club,  for  example,  might  be  in- 
terested in  a  group  purchase  for  a  program 
featuring  unusual  photographic  effects. 


Page  46       Film  BULLETIN    May  13.  1957 


RHODEN 


ELMER  C.  RHODEN  sang  a  beautiful 
spring  song  to  National  Theatres  stock- 
holders about  a  50  per  cent  rise  in  earn- 
ings: $1,088,000  ($.40  a  share)  in  net  in- 
come for  the  26  weeks  ended  March  26, 
1957,  compared  to  $722,000  ($.27  a  share) 
for  the  corresponding  period  last  year. 
Theatre  gross  income  for  the  six  months 
was  up  $1,229,907  ($28,629,354  this  year 
against  $27,399,447  in  the  previous  year). 
The  National  Theatres  president  made 
this  comment:  "Administrative  expenses 
were  reduced  and  most  theatre  expense 
items  were  held  in  line,  but  there  was  a 
substantial  increase  in  program  costs, 
particularly  film  rentals.  The  increase  in 
film  rentals  is  largely  attributable  to  the 
continuing  shortage  of  films  which  has 
created  a  seller's  market". 

0 

PHILIP  F.  HARLING  refuses  to  give 
up  the  fight  to  make  more  exhibitors  eli- 
gible for  Senate  Small  Business  loans.  In 
his  most  recent  move,  Harling,  chairman 
of  TOA's  small  business  committee,  peti- 
tioned SBA  administrator  Wendell  Barnes 
for  a  meeting  at  which  exhibition  can  pre- 
sent its  case.  His  letter  was  in  reply  to 
Barnes'  statement  of  April  12  in  which 
he  turned  down  Harlings'  request  that 
the  SBA's  rules  be  liberalized  so  exhibitor 
applicants  would  be  able  to  obtain  loans 
on  easier  terms  without  the  necessity  of 
proving  inability  to  obtain  private  financ- 
ing. Barnes  stated  that  the  prerequisite 
of  proving  that  private  financing  is  un- 
available is  "fundamental  American  eco- 
nomic policy"  and  he  doubts  that  Con- 
gress would  or  should  eliminate  the  re- 
quirement that  SBA  loans  be  of  such 
sound  value  as  to  assure  repayment.  "The 
greatest  disservice  that  SBA  can  do  an 
honest  businessman  is  to  make  a  loan 
that  he  is  unable  to  repay  and  which 
would  only  postpone  the  day  of  reckon- 
ing", Barnes  stated.  In  his  letter,  Harling 
re-emphasized  that  private  financing,  par- 
ticularly of  mortgage  loans,  is  closed  to 
theatremen,  and  that  "in  the  interest  of 
clarification  and  for  the  purpose  of  pre- 
senting our  position  which  we  hope  will 
indicate  good  credit  risk  and  ability  repay, 


THEY 

MADE  THE  NEWS 

it  would  be  desirable  to  hold  a  meeting 
to  get  these  matters  squared  away." 

0 

BARNEY  BALABAN  told  Paramount 
stockholders  that  the  company  might  sell 
its  pre-1948  picture  backlog  to  television 
"in  the  near  future".  In  his  annual  report, 
the  Paramount  president  also  disclosed  a 
net  income  after  taxes  for  1956  of  $8,731,- 
568  ($4.43  per  share)  compared  to  the 
1955  net  cf  $9,707,929  $(4.49  per  share). 
However,  fully  half  of  the  1956  income, 
according  to  Balaban,  came  from  the  sale 
of  marginal  assets,  including  the  com- 
pany's theatres  in  Great  Britain,  plus  ad- 
justment of  investments  in  affiliated  com- 
panies. On  the  probable  sale  of  the  film 
library,  the  executive  stated:  "The  short- 
age of  major  program  material  for  te!e- 


Triumphant  smiles  are  flashed  by  United  Ar- 
tists' management  team  upon  successful  con- 
clusion of  ike  company's  recent  stock  offering. 
President  Arthur  B.  Krim.  seated  center,  re- 
ceives checks  totaling  $16,000,000  from  vice 
president  Seymour  M.  Peyser.  Flanking  them 
are,  from  left.  UA  controller  Joseph  Ende. 
vice  presidents  William  J.  Heineman.  Max  E. 
Youngstein,  Leon  Goldberg,  secretary  Seward 
I.  Benjamin.  Issue  was  offered  and  fully  sub- 
scribed April  25.  F.  Eberstadt  &  Co.  headed 
underwriters. 

vision  and  the  popularity  of  feature 
length  motion  pictures  has  enhanced  the 
value  of  our  library.  We  are  continuing 
to  give  close  study  to  the  involved  legal, 
technical  and  business  factors  which  must 
be  considered  in  any  decision  to  sell  or 
lease  this  most  important  asset  of  your 
company". 

O 

JOSEPH  R.  VOGEL  blamed  "disap- 
pointing boxoffice  returns"  for  the  mixed 
financial  news  he  had  for  Loew's  stock- 
holders. The  good:  though  gross  sales 
for  the  28  weeks  ending  March  14,  1957, 
were  down,  $87,248,000  this  year  as  com- 
pared to  $87,439,000  of  the  correspond- 
ing period  last  year,  net  profit  was  up, 
$2,729,248  ($.51  per  share)  this  year,  com- 
pared to  $1,889,843  ($.36  per  share),  for 
the  corresponding  period.  The  bad:  gross 
sales  and  net  profit  for  the  16-week  pe- 
riod ending  March  14  were  down:  $48,- 
630,000  gross  this  year,  as  against  $52,- 
837,000  of  last  year;  net  profit  $983,923 
($.18  per  share)  compared  to  $1,641,682 
($.31  per  share)  in  the  corresponding 
period. 


NATIONAL  ALLIED,  seemingly  on  the 
brink  of  rejoining  COMPO,  turned 
thumbs  down  at  the  final  moment.  The 
independent  exhibitor  organization's 
board  of  directors,  meeting  in  Detroit  last 
week,  notified  COMPO's  governing  com- 
mittee (Sam  Pinanski,  Abe  Montague, 
Robert  W.  Ccyne)  that  it  had  decided 
against  implementing  its  previous  inten- 
tion to  return  to  the  fold.  The  reason:  a 
telegram  received  by  Allied  from  the 
COMPO  governors  in  which  they  set 
forth  changes  in  COMPO's  structure 
which,  the  Allied  board  s~id,  "must  be 
agreed  to  by  the  executive  committee 
before  Allied's  re-entry",  these  changes 
being  "at  variance  with  the  discussions 
and  resulting  understandings  previously 
reached".  The  statement  charged  that 
COMPO  had  destroyed  th:  "factual  foun- 
dation upon  which  Allied  directors  had 
acted"  in  planning  to  rejcin  COMPO. 
The  subject  is  "still  open",  however,  the 
board  declared.  In  another  direction,  the 
Allied  board  issued  a  four-pcint  indict- 
ment of  the  anti-trust  division  of  the 
Dept.  cf  Justice,  scoring  its  failure  to 
properly  interpret  and  enforce  the  anti- 
trust consent  decree. 

0 

ROBERT  W.  COYNE  cited  the  "hard 
and  painstaking  efforts  of  local  exhibi- 
tor" for  the  fact  that  19  local  governments 
have  repealed  admission  taxes  and  eight 
others  have  reduced  theirs  since  publica- 
tion of  COMPO's  report  on  state  and 
local  admission  taxes  several  weeks  ago. 
Coyne,  COMPO  special  counsel,  also  an- 
nounced that  the  success  of  t'.  ese  meas- 
ures "should  be  a  stimulus  and  a  source 
of  encouragement  to  exhibitors  in  hun- 
dreds of  other  communities  who  are  still 
burdened  by  these  oppressive  and  dis- 
criminatory levies." 


HEADLINERS . . . 


LINDA,  daughter  of  20th-Fox  vice  pres- 
ident CHARLES  EINFELD,  will  wed 
Yale  Law  School  graduate  John  Hirsh  in 
June.  Bridegroom  will  enter  practice  in 
Chicago  .  .  .  ROGER  LEWIS,  United 
Artists  advertising  director,  back  at  the 
heme  office  following  3-week  tour  of  Eu- 
rope where  he  met  with  company  person- 
nel on  UA's  plans  for  expanded  global 
promotion,  and  conferred  with  producers 
preparing  films  for  UA  release  .  .  .  MAU- 
RICE SEGAL  named  assistant  publicity 
manager  for  United  Artists  .  .  .  WAL- 
TER READE,  JR.,  board  chairman  of 
Continental  Distributing,  Inc.,  taking  in 
the  Cannes  Film  Festival  in  the  search 
for  new  product  .  .  .  BILL  DOLL  named 
a  vice  president  of  the  Michael  Todd 
Company  .  .  .  TED  MANN,  newly- 
elected  president  of  North  Central  Allied 
theatreowners,  announced  the  exhibitor 
organization  has  changed  its  name  to  Ex- 
hibitors Trade  Association  (ETA),  fol- 
lowing the  unit's  recent  reorganization 
.  .  .  ROBERT  HELLER  &  ASSOCI- 
ATES retained  by  Loew's  as  manage- 
ment consultants,  according  to  Loew's 
president  JOSEPH  R.  VOGEL  .  .  . 
DIED:  CHARLES  R.  DIETZ,  MGM 
field  press  representatives  in  Detroit, 
brother  of  Loew's  vice  president  Howard 
Dietz  .  .  .  DR.  HARRY  C.  SCHAD,  vet- 
eran Reading,  Pa.,  theatre  owner. 


Film  BULLETIN    May  13,  1957 


Page  47 


-rv-\e 


a 


must 


to 


round 


out 


of  every 


the 
sin 


Progra?,»  situation 


g/e 


an  /r71f!0'n  for  evM 


rtant 
for 


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sup? 


ortinQ 


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BULLETIN 


copy 


MAY  27,  1957 


Business-wise 
Analysis  of 
he  New  Films 


:e  and  the  showgirl 
the  lonely  man 
fight  at  o.k.  corral 

saint  joan 
iy  and  the  bachelor 

THE  LITTLE  HUT 

HE  RESTLESS  BREED 

N  DUEL  IN  DURANGO 

E  FRENCH  THEY  ARE 
A  FUNNY  RACE 


THE  27th  DAY 


Exhibition  Asks: 
"LET  US  PRODUCE  TO 
RELIEVE  SHORTAGE!" 

•Justice  Department  Answers. 
**We9re  Considering" 


Cxclu^e  Qh  BULLETIN  fatui* 


FUTURE  BRIGHT;  TOLL-TV  NO  THREAT 

Full  Text  Latest  "Value  Line"  Survey 


wto  the  ma  emu 


fo  roar  with  U.S. 


READY  to  roar  with  U.S. 
Air  Force  paced  exploitatioi 


Reveals  for  the 

first  time... 
e  rocket-hot  stor^ 
our'Human  Bullets! 


- 


ff 


JOHN  PAYNE-  KAREN  STEELE-  paul  KELLY-  RICHARD  EYER 

with  CONSTANCE  FORD  •  EDDIE  FIRESTONE -written  by  paul  monash  •  produced  by  willi  am  c.  thomas- Howard  pine 

Directed  by  FRANCIS  D.  LYON   A  PINE-THOMAS-SHANE  Production 


Viewpoints 

MAY  27,   1957         *  VOLUME  25,  NO.  II 


Won  V  OverestintiMte  Our  Public! 


We  do  not  agree  with,  but  neverthe- 
less cite  as  our  text  for  today  the  sar- 
donic old  saw  that  "nobody  ever  went 
broke  underestimating  the  American 
public.-'  We  cite  this  text  because  in  its 
undiplomatic  way  it  reminds  us  of  a 
basic  fact  about  promotion  in  general 
and  motion  picture  publicizing  in  par- 
ticular. Nobody  ever  went  broke  un- 
derestimating the  receptiveness  of  the 
American  public  for  publicity;  a  lot  of 
people  have  gone  broke  overestimating 
this  same  receptivity. 

A  constant  source  of  amazement  to 
polling  services  and  newspaper  re- 
searchers is  the  amount  of  information 
which  Americans  fail  to  retain.  No  na- 
tion has  as  many  television  or  radio 
stations,  as  many  newspapers  or  maga- 
zines or  books  or  theatres,  as  the  United 
States  of  America.  We  like  to  call  our- 
selves the  best  informed  people  on 
earth,  and  certainly  more  information  is 
transmitted  to  us  than  to  anybody  else. 
But  an  awful  lot  goes  right  past  us  or 
right  through  us. 

Try  this  test  on  yourself,  just  to  illus- 
trate the  point:  What  happened  to  the 
Andrea  Doria?  What  was  the  name  of 
the  lawyer  who  opposed  Sen.  McCarthy 
in  the  Army-McCarthy  hearings?  Who 
won  the  top  five  Academy  Awards  this 
year?  Do  you  think  the  story  of  Dr. 
John  Bodkin  Adams  is  screen  material? 
Then,  after  you  have  answered  these 
questions  yourself,  try  them  out  on 
three  or  four  people  at  random. 

Unless  you  and  the  people  you  ques- 
tion are  in  the  small  upper  minority, 
the  total  score  will  be  less  than  50%. 
And  that  will  be  pretty  good,  when 
you  consider  that  you  can  find  hundreds 
of  thousands  of  people  in  New  York 
who  don't  know  the  name  of  the 
Mayor,  to  cite  one  city  and  one  sample. 

This  failure  to  retain  information  is 
of  direct  concern  to  the  motion  picture 
industry,  because  we  sell  our  tickets  to 


people  so  much  on  the  basis  of  what 
they  know  about  a  picture  and/or  its 
stars.  They  usually  don't  retain  quite 
as  much  as  we  think  they  do,  of  the 
movie  information  they  receive  —  and 
whether  they  receive  enough  or  the 
proper  information  to  begin  which  is 
also  a  moot  point. 

Back  in  the  good  old  days  when 
movies  had  little  competition  and  the 
theatre  audience  was  devoted  and  regu- 
lar, the  selling  job  was  entirely  differ- 
ent. Some  film  executives  and  theatre 
executives  alike  have  been  unable  to  ad- 
just themselves  to  this  new  market  in 
which  the  public  is  no  longer  loyal  and 
sheeplike  in  its  devotion  to  moviego- 
ing.  Every  single  motion  picture  today 
represents  a  selling  challenge.  In  the 
case  of  the  outstanding  movie,  that  re- 
iable  old  factor,  "word-of-mouth",  is 
far  less  potent  than  it  used  to  be — be- 
cause the  mouths  that  would  speak  of 
it  from  personal  experience  are  fewer. 
And  the  less  attractive  product  todav 
requires  the  kind  of  persistent,  intrigu- 
ing promotion  that  sells  automobiles, 
cigarettes  (despite  the  cancer  scare)  and 
cereals. 

According  to  a  recent  tabulation  by 
Sindlinger,  the  most  widely  known  cur- 
rent motion  picture  in  the  U.  S.  is 
known  about  by  slightly  less  than  90,- 
000,000  Americans  over  the  age  of  12. 
This  is  an  impressive  figure,  but  bear 


Film    BULLETIN:    Motion    Picture    Trade  Paper 
published  every  other  Monday  by  Wax  Publi- 
cations,  Inc.    Mo  Wax,   Editor  and  Publisher. 
PUBLICATION-EDITORIAL  OFFICES:    123?  Vine 
Street,  Philadelphia  7,  Pa.,  LOcust  8-0750,  0951. 
Philip    R.    Ward,    Associate    Editor:  Leonard 
Coulter,  New  York  Associate  Editor;  Duncan  G. 
Steck,     Business     Manager;     Marvin  Schiller, 
Publication  Manager;  Robert  Heath,  Circulation 
Manager.   BUSINESS  OFFICE:  522  Fifth  Avenue, 
New    York    36,    N.    Y.,    MUrray    Hill  2-3631; 
Alt  Dinhofer,  Editorial  Representative. 
Subscription  Rates:  ONE  YEAR,   S3. 00 
in  the   U.   S.;   Canada,   $4.00;  Europe, 
$5.00.     TWO    YEARS:     S5.00    in  the 
U.  S.;  Canada,  $7.50;  Europe,  $9.00. 


in  mind  that  it  refers  only  to  people 
who  know  that  a  particular  picture  hap- 
pens to  be  around,  not  necessarily  the 
same  as  knowing  who's  in  the  picture, 
what  it's  about  or  why  they  might  be 
interested  in  seeing  it. 

Except  for  a  small  handful  of  pic- 
tures, the  Sindlinger-tabulated  know- 
about  for  currently  playing  attractions 
generally  ranges  between  17,000,000 
and  60,000,000,  mostly  halfway  be- 
tween these  figures.  Again,  remember 
that  this  is  a  tabulation  only  of  people 
who  are  aware  that  a  certain  picture 
exists,  rather  than  of  the  details. 

Considering  the  amount  of  competi- 
tion for  the  attention  of  the  average 
American,  this  figure  is  not  too  bad  at 
all;  but  it  isn't  too  good  either.  It  indi- 
cates that  in  all  too  many  cases  we  are 
not  making  our  pictures  known  well 
enough  for  the  public  to  remember. 

Some  of  this,  of  course,  traces  to  eco- 
nomic problems.  We  are  not  advertis- 
ing our  pictures  sufficiently.  Entirely 
apart  from  the  vast  new  advertising 
medium  of  television,  there  has  been  a 
tremendous  expansion  of  the  amount  of 
advertising  time  and  space  aimed  at  the 
American  people.  Even  though  the  film 
industry  has  maintained  and  possibly 
even  expanded  its  ad  budgets,  we  are 
hard  pressed  to  hold  our  own,  space 
and  time-wise,  against  the  vastly  in- 
creased use  of  advertising  by  other  in- 
dustries, notably  television. 

But  by  the  same  token  there  are 
means  of  obtaining  recognition  from 
the  public  without  outbidding  all  the 
other  advertisers.  Consider  the  case  of 
"The  Seven-Year  Itch,"  for  example, 
where  an  entire  campaign  was  sparked 
by  one  picture  of  Marilyn  Monroe's 
skirts  blowing  on  a  New  York  street. 
Or  look  at  the  impact  of  Yul  Brynner, 
a  fine  actor  but  certainly  more  of  a  suc- 
cess today  because  his  shaven  head  is 
( Continued  on  Page  5  ) 


Film  BULLETIN    May  27,  1757        Page  3 


IT'S  A  SIN  NOT  TO 
ADVERTISE  THE 

SEVENTH  SIN ! 

FOR  INSTANCE  -  CATCHLINES  FOR  THE  CAMPAIGN. 


Th 


ey  re 


all 


in 


M-G-M's  high-powered  press-book: 


She  thought  she 
was  getting 
away  with  it  — 
but  every  woman 
pays  for  "THE 
SEVENTH  SIN"! 


Lovers  become 
careless  —  but 
everyone  must 
pay  for  "THE 
SEVENTH  SIN"! 


The  world  for- 
gives many  things 
but  not  .  .  .  "THE 
SEVENTH  SIN"! 


THEY  TOOK  A 
CHANCE  ON 
LOVE  — can  any 
one  escape  the 
penalties  of  "THE 
SEVENTH  SIN"? 


Is  there  a  way 
back  for  the 
woman  who  has 
committed  "THE 
SEVENTH  SIN"? 


M-G-M  presents  "THE  SEVENTH  SIN"  starring  Eleanor  Parker  •  Bill  Trauers  •  George  Sanders  •  Jean 
Pierre  Aumont  •  Francoise  Rosay  •  Screen  Play  by  Karl  Tunberg  •  Based  on  the  Novel  "The  Painted  Veil" 
by  W.  Somerset  Maugham   •   In  CinemaScope   •   Directed  by  Ronald  Neame   •   Produced  by  David  Lewis 


Minn  V  Owrvsliututv 
Our  Public! 


tew  points 


MAY  27,  1957 


( Continued  from  Page  3 ) 

so  unique  and  rememberable. 

Just  repeating  the  name  of  a  picture 
is  not  enough.  The  TV  announcer  who 
keeps  asking  guests  at  a  premiere,  "Did 
you  get  your  plug  in?"  is  not  doing 
quite  as  much  of  a  favor  as  he  thinks. 
People  do  not  remember  plugs.  Twenty- 
five  appearances  on  twenty-five  tele- 
vision shows  by  a  star  who  just  gives 
a  straight  plug  for  his  picture  don't 
mean  half  as  much  as  one  full-fledged 
controversy  about  the  same  picture. 

There  is  a  great  fetish  among  some 
movie  people  for  "space".  They  meas- 
ure the  success  of  a  promotional  cam- 
paign by  the  number  of  times  the  pic- 
ture has  been  mentioned.  But  some  of 
the  most  mentioned  pictures  have  been 
the  least  remembered.  Mention  is  not 
without  importance.  A  picture  which 
receives  pedestrian  plugs  will  still  be 
somewhat  better  known  than  a  picture 
which  receives  no  plugs  at  all.  Let  us 
be  grateful  for  small  favors,  even 
though  we  recognize  that  they  are 
small. 

Let  us  also,  however,  endeavor  to 
promote  our  products  with  the  same 
hard-boiled  realism  that  Madison  Ave- 
nue uses  for  its  wares.  Let  us  find  a 
"story  line"  on  which  to  peg  each  pro- 
motional campaign.  Let  us  look  for 
memory-aiding  devices,  such  as  a 
uniquely  fetching  pose  of  the  leading 
lady  (one  pose,  not  a  variety  which  dim 
the  recollection  of  any  single  one)  such 
as  made  a  star  of  Rita  Hayworth  in  a 
nightgown  for  "The  Strawberry 
Blonde." 

And  let  us  remember  that  the  mem- 
ory of  the  American  public  is  short. 
The  best  seller  of  two  years  ago  in  most 
cases  is  practically  unknown  today;  the 
heroes  of  1930  are  forgotten  now,  and 
it  takes  more  than  the  fact  they  are 
being  biographied  on  the  screen  to 
make  them  come  alive  again. 


This  brings  us  to  the  matter  of  stellar 
personalities.  We  are  being  impatient 
about  the  new  ones,  and  rightly  so,  be- 
cause for  so  many  years  the  develop- 
ment of  stars  was  neglected  in  Holly- 
wood. But  we  must  remember  that 
stars  don't  develop  overnight,  except 
for  the  occasional  freak  incident  of  an 
Elvis  Presley.  (And  we  must  also  re- 
member that  Liberace  is  a  great  star 
too,  but  didn't  work  out  that  way  in 
the  movies.  Movie  stardom  is  the  most 
difficult  to  attain — and  generally  takes 
the  longest  time.) 

We  are  apt  to  promote  people  as 
stars  before  they  rate  it;  we  expect  the 
public  to  remember  these  people  before 
the  public  even  knows  what  they  look 
like.  Jayne  Mansfield  is  certainly  fam- 
ous now;  but  only  after  several  years 
of  assiduous  photographic  cultivation 
of  mammary  photogeny  did  she  achieve 
any  appreciable  level  of  public  recogni- 
tion, and  that  brings  her  merely  to  the 
threshhold  of  movie  stardom.  She  still 
has  a  long  way  to  go  before  she  reaches 
that  goal. 

Above  all,  we  must  keep  ourselves 
better  informed.  In  the  great  competi- 
tion for  the  public,  the  movie  industry 
must  remember  that  between  Hollv- 
wood  and  the  theatre  screen  is  the  key 
figure  of  the  exhibitor.  Exhibitors  must 
be  given  more  information  about  their 
upcoming  product  further  in  advance. 
We  are  not  referring  here  to  press 
books  or  exploitation  material,  but  sim- 
ply to  information  for  the  theatre  man's 
own  "know-about".  Too  often  these 
days  a  motion  picture  arrives  suddenlv 
and  without  advance  promotional 
build-up  within  the  trade.  Sometimes  it 
arrives  without  even  a  trade  ad  to  de- 
scribe it,  and  bookings  are  taken  from 
theatremen  who  have  had  no  condition- 
ing on  how  to  sell  it  and  no  enthusiasm 
for  it  themselves. 

That  didn't  happen  with  "The  Ten 
Commandments",  of  course,  or  with  a 


somewhat  less  expensive  production 
called  "Marty",  or  with  many  other 
successful  films.  Part  of  the  secret  of 
these  successes  has  been  that  they  were 
so  well  promoted  to  exhibitors  before 
and  while  they  were  being  promoted  to 
the  general  public.  The  theatreman's 
own  enthusiasm  for  a  film  is  conveyed 
to  the  public. 

Here  then  is  what  we  must  do.  We 
must  give  the  public  something  easily 
remembered  about  a  picture  or  a  star 
or  both.  We  must  do  this  early  in  the 
game  and  then  keep  it  before  the  public 
to  strengthen  its  mnemonic  value.  We 
must  have  an  angle,  a  peg,  a  gimmick 
or  whatever  you  wish  to  call  it.  We 
must  never  equate  plug  and  sell.  We 
must  start  our  sell  early  and  keep  it  up. 
We  must  never  wait  till  the  last  minute. 
Only  a  rare  human  interest  story  like 
the  boy  in  the  well  can  capture  over- 
night attention.  Most  stories  have  to 
be  built  up  steadily,  thoroughly  and 
gradually. 

And,  as  they  say  in  the  Army,  never 
assume.  Never  assume  the  public  knows 
something;  tell  it  to  them  again,  and 
again,  and  again. 


COMING? 

The  Most  Complete 
On-The-Spot  Report 
of  the 
BARTLESVILLE 
TELEMOVIES' 
TEST 


Film  BULLETIN    May  27,  1957        Page  5 


FINANCIAL 

BULLETIN 


Y     2  7,      19  5  7 


By  Philip  R.  Ward 


A  FUTURE  FOR  LEO?  Since  assuming  the  hot-seat  presi- 
dency of  Loew's,  Joseph  R.  Vogel  has  been  a  virtual  "man  on 
fire".  Among  his  assorted  duties:  he  has  had  to  placate  various 
groups  of  dissident  stockholders,  slash  burdensome  overhead 
costs,  fire  old  personnel,  hire  new  personnel,  engage  outside 
independent  management  consultants  and  accountants,  launch 
an  increased  production  program,  conduct  a  winning  public  re- 
lations campaign  on  all  fronts  and — incidentally — make  money. 

Is  he  succeeding? 

Mr.  Vogel  thinks  he  is.  At  a  recent  meeting  of  the  New 
York  Society  of  Security  Analysts  he  painted  a  rosy  picture  of 
Loew's  future,  a  portrait  of  black  ink  and  healthy  dividends. 
How  well  does  Mr.  Vogel's  understandably  optimistic  state- 
ments stand-up  against  the  cold,  analytical  report  of  a  respected 
investment,  brokerage  house — Arthur  Wiesenberger  &  Com- 
pany? Let's  take  a  look: 

0 

"At  the  end  of  World  War  II,  Loew's  was,  and  had  been 
for  years,  the  leading  company  in  the  motion  picture  industry 
with  a  proud  record  of  success  in  production  and  exhibition. 
Operating  revenues  in  1946  were  S188.5  million  and  earnings 
after  taxes  SI 8.7  million,  equal  to  S3. 66  per  share.  The  post- 
war growth  so  characteristic  of  our  economy  and  of  most  indus- 
tries and  companies  passed  this  company  by.  For  the  fiscal  year 
ended  August  31,  1956,  operating  revenues  were  S172  million 
and  earnings  after  taxes  a  mere  S4.8  million,  equal  to  91c  a 
share.  Average  earnings  for  the  years  1947-56  were  only  Sl.25 
per  share. 

1956  —  S0.91  1951  —  Si. 52 

1955  —    1.03  1950  —  1.53 

1954  —    1.28  1949  —  1.31 

1953  —    0.85  1948  —  1.03 

1952  —    0.91  1947  —  2.26 

"This  poor  record  notwithstanding,  there  are  solid  values  in 
the  Loew's  situation  which  have  attracted  sophisticated  invest- 
ment interest.  A  large  store  of  valuable  assets  and  the  possibil- 
ity of  a  sharp  expansion  of  income  are  the  lure.  Tucked  away 
in  Loew's  balance  sheet  are  some  $300  million  worth  of  the- 
atres, production  facilities  and  valuable  land,  old  and  new  films 
and  miscellaneous  assets  which  after  allowance  for  about  S80 
million  of  liabilities,  amount  to  over  $40  a  share  .  .  . 

"The  many  changes  in  directors  and  management  over  the 
past  few  months  offer  the  promise  of  revitalization  of  the  com- 
pany. An  almost  completely  new  board  of  directors  was  elected 
at  the  February  28th  annual  meeting  and  important  changes  in 
operating  personnel  have  taken  place.  Mr.  Joseph  Vogel,  new 
president,  has  already  evidenced  a  determined  effort  to  improve 
earnings  from  present  properties.  If  he  cannot,  we  expect  a 
gradual  withdrawal  from  the  areas  of  unprofitability  .  .  . 

"Loew's  poor  post-war  record  arose  mainly  from  the  insist- 


ence of  the  former  management  that  motion  picture  audiences 
must  be  expected  to  continue  to  trek  to  the  theatres  while  years 
ago  the  public  made  it  evident  that  it  much  preferred  to  get  its 
entertainment  more  conveniently  and  at  virtually  no  cost  at 
home  via  television  .  .  . 

"An  accommodation  to  television  is  therefore  one  obvious 
necessary  requirement  of  a  successful  reattainment  of  Loew's 
position  in  the  entertainment  industry.  Others  are  a  final  set- 
tlement of  the  long-pending  divorcement  of  theatre  and  film 
making  activities  and  revitalization  of  studio  operations  .  .  . 

"Loew's  is  also  trying  to  get  more  use  from  its  studios.  Cul- 
ver City  was  designed  for  shooting  more  than  40  feature  films 
annually  vs.  the  21  films  made  annually  in  the  past  3  years. 
Present  plans  call  for  production  of  36  feature  films  over  the 
next  year.  This  production  center  with  its  amazing  array  of 
specially  designed  structures  was  recently  offered  for  TV  film 
production.  Also  there  have  been  talks  with  20th  Century-Fox 
relating  to  cotenancy.  Lower  studio  operating  costs  and  prob- 
ably a  new  source  of  income  and  profits  should  result. 

"Another  large  expense  is  distribution.  The  company  main- 
tains 32  film  exchanges  throughout  the  country  at  an  annual 
cost  of  some  SI 5  million.  Similar  centers  are  maintained  by 
other  major  film  producers.  Duplication  of  these  facilities  adds 
needless  costs  to  each  company;  a  joint  operation  could  prove 
a  big  money  saver  for  all  concerned  .  .  . 

"The  asset  of  greatest  potential  value  is  the  library  of  old 
films  that  we  estimate  will  produce  an  income  of  over  S100 
million  in  the  next  8-9  years. 

"Greater  exploitation  of  this  asset  is  a  vital  concomitant  of 
a  major  and  profitable  change  in  the  company's  future  opera- 
tions. Until  last  spring,  Loew's  management  consistently 
avoided  rental  or  sale  of  the  old  films  for  TV  use  'to  protect 
exhibitors'. 

"Earnings  from  more  efficient  film  production  and  distribu- 
tion and  from  TV  rentals  might  approximate  SI  1-16  million 
annually  or  about  S2-3  a  share  on  the  present  stock.  Adding 
theatre  earnings  of  about  50c  a  share  on  the  present  stock  gives 
a  total  income  potential  of  S2. 50-3. 50  a  share.  At  the  10  times 
multiple,  typical  of  the  market's  past  evaluation,  such  earnings 
would  produce  a  price  of  S25-35  a  present  share.  And  if  earn- 
ings can  be  brought  up  to  S4.00 — a  10%  return  on  calculable 
equity  value  —  an  eventual  workout  price  of  40  —  equal  to 
"break-up"  value — can  be  foreseen. 


"CONCLUSION.  All  this  means,  we  think,  a  higher  market 
price  for  Loew's  shares. 

"Near-term,  the  imminence  of  the  spin-off  and  the  sharp  im- 
provement TV  revenues  are  producing  in  income  could  result 
in  a  price  of  about  25  for  the  present  package. 

"Longer  term,  total  earning  of  S2. 50-4. 00  a  present  share 
:ould  produce  a  price  of  35-40.  Moreover,  the  possible  liquid- 
ation of  unproductive  assets  and  the  use  of  the  proceeds  to 
hasten  debt  retirement  or  reduce  the  common  capitalization 
would  accelerate  the  improvement." 


Page  6       Film  BULLETIN    May  27,  1957 


CinemaScopE 


PRODUCED  BY 

CHARLES  BRACKETT  who  gave  you  'The  King  and  I 

DIRECTED  BY 

VICTOR  VICAS  one  of  Europe's  outstanding  directors 

SCREENPLAY  BY 

IVAN  MOFFAT  from  the  novel  by  JOHN  STEINBECK 

to  be  launched  on  its  important  career 
soon  at  the 

VICTORIA  THEATRE,  New  York 
and  at 

selected  theatres  across  the  nation 


The  Steinbeck  people! 

The  Steinbeck  passions! 

The  Steinbeck  power 


in  a  performance  revealing  a  new  peak  of  power! 


emerging  as  an  actress  of  great  emotional  range 


Joan  Collins 
Jayne  Mansfield 

Dan  Dailey  in  one  of  his  most  penetrating  characterizations! 

AND  THE  FRESH  AND  COMMANDING  NEW  TALENTS  OF 

RICK  JASON  destined  to  be  a  great  new  romantic  star! 

BETTY  LOU  KEIM  brilliantly  fulfilling  the  promise  of  "Teenage  Rebel"! 

DOLORES  MICHAELS  introducing  a  young  beauty  with  notable  acting  skill! 

WITH 

LARRY  KEATING  •  ROBERT  BRAY  •  KATHRYN  GIVNEY  •  DEE  POLLOCK  •  WILL  WRIGHT 


another  BIG  ONE 
from  20th! 


To  Retieie  Product  ^hcttaae— 

EXHIBITION  ASKS: 

"Let  Us  Produce!" 


EDITOR'S  NOTE 

In  a  recent  issue  of  Film  BULLETIN  we  addressed  an  open 
letter  to  the  Department  of  Justice  calling  for  prompt  con- 
sideration of  the  petition  by  the  theatre  chains  to  allow  their 
entry  into  film  production.  This,  we  suggested,  is  a  logical  step 
to  relieve  the  product  shortage  that  is  jeopardizing  the  exist- 
ence of  thousands  of  theatres.  Our  letter  brought  responses 
from  a  number  of  prominent  exhibition  leaders  and  from  the 
Assistant  Attorney  General  in  charge  of  the  anti-trust  division. 
Their  correspondence  follows: 


E.  C.  RHODEN 

President,  National  Theatres 
Los  Angeles,  California 
Your  letter  to  Hon.  Victor  R. 
Hansen,  Assistant  U.  S.  Attorney 
General,  was  factual  and  to  the 
point.  Certainly  it  was  timely  so  far 
as  National  Theatres  is  concerned 
because  we  are  now  petitioning  the 
Department  for  the  right  to  have  a 
financial  interest  in  motion  picture 
films. 

As  you  undoubtedly  have  read,  we 
have  formed  a  film  finance  company 
whose  purpose  it  will  be  to  furnish 
funds  to  independent  producers  so 
that  more  quality  films  will  be  cre- 
ated. Your  letter  to  the  Department 
of  Justice  at  this  time  will  undoubt- 
edly help  our  cause  immensely,  and 
we  appreciate  it  very  much. 

MITCHELL  WOLFSON 

Wometco  Television  &  Theatre  Co. 
Miami,  Florida 
I  was  very  pleased  to  read  your 
"Letter  to  the  Department  of  Jus- 
tice". 

This  is  timely  and  well-put!  Not 
only  is  it  a  choice  bit  of  writing  but 
it  is  a  correct  statement  of  the  ex- 
hibitors plight. 

It  is  about  time  that  industry 
leaders  like  yourself  raise  their 
voices  to  point  out  the  needs  of  our 
industry.  I  hope  that  your  message, 


backed  by  mass  industry  opinion, 
will  reach  the  proper  parties. 

Surely  the  government  could 
amend  the  Paramount  decree  to  per- 
mit the  production  of  film  by  former 
affiliates,  with  reasonable  regulation 
so  that  the  entire  industry  would 
benefit  and  without  undue  monopoly 
being  created. 

Congratulations  and  keep  up  the 
good  work! 

E.  D.  MARTIN 

Martin  Theatres  of  Georgia,  Inc. 

I  read  with  a  great  deal  of  interest 
the  letter  written  by  the  Film  Bulle- 
tin to  Victor  R.  Hansen  of  the  Anti- 
Trust  Division,  Department  of  Jus- 
tice, "Relieve  The  Film  Shortage". 

You  very  ably  state  the  awkward 
position  of  the  exhibitors  and  their 
problems,  with  the  only  possible  and 
sensible  solution — a  greater  supply 
and  more  equal  distribution  of  bet- 
ter motion  pictures. 

It  is  sincerely  hoped  that  your  let- 
ter will  have  some  effect  upon  the 
Department. 

MYRON  N.  BLANK 

Central  States  Theatre  Corp. 
Des  Moines,  Iowa 
Your  open  letter  to  the  Depart- 
ment of  Justice  requesting  them  to 

(Continued  on  Page  10) 


UNITED  STATES 
DEPARTMENT  OF  JUSTICE 

WASHINGTON,  D.  C. 

Mr.  Mo  Wax 
Publisher,  Film  Bulletin 

Dear  Mr.  Wax: 

We  have  your  letter  of  April  17,  1957 
with  which  you  enclosed  an  "open  letter"  to 
me  which  appeared  in  the  Film  Bulletin  for 
April  15,  1957,  which  relates  to  the  decrease 
in  recent  years  in  the  number  of  motion  pic- 
tures being  produced  and  released.  You  state 
that  "The  motion  picture  industry  would  be 
deeply  interested  in"  my  "reaction  to  the  at- 
tached 'open  letter'." 

Our  views  with  respect  to  encouraging  an 
increased  supply  of  motion  pictures  were  set 
forth  in  a  statement  which  we  sent  to  the 
Senate  Small  Business  Committee  on  June  5, 
1956,  as  follows: 

".  .  .  As  the  subcommittee  knows,  most  ex- 
hibitors believe  that  the  number  of  pictures 
now  produced  is  inadequate.  With  this  in 
mind,  we  gave  every  proper  encouragement, 
for  example,  to  the  so-called  Makelim  plan 
for  producing  additional  pictures.  In  ad- 
dition, we  spent  considerable  time  discussing 
with  representatives  of  Theatre  Owners  of 
America  and  the  divorced  circuits  under 
what  conditions  such  circuits  might  secure 
court  aproval  to  invest  in  Exhibitors  Film 
Financial  Group,  Inc.,  conceived  by  certain 
members  of  Theatre  Owners  of  America  as  a 
means  of  providing  risk  capital  to  indepen- 
dent producers  and  thus  increase  the  supply 
of  motion  pictures. 

"The  two  largest  exhibitor  organizations 
have  recently  urged,  as  a  means  of  increasing 
the  supply  of  pictures,  that  the  divorced  thea- 
tre circuits  be  permitted  to  produce  and  dis- 
tribute motion  pictures  with  these  circuits  to 
have  pre-emptive  rights  to  exhibit  such  pic- 
tures in  the  theatres  they  now  own.  We  do 
( Continued  on  Page  11) 


"Let  Us  Produce!" 

Blank  Says  Safvyuartls  JVat  Necessary  iVo*r 


(Continued  from  Page  9) 

allow  our  industry  to  "Relieve  the 
Film  Shortage"  was  well  written. 
Perhaps  the  greatest  blow  that  ever 
came  to  the  motion  picture  industry 
was  the  separation  of  production 
and  exhibition.  Many  of  us  were 
aware  of  it  at  the  time,  but  I  feel 
certain  that  with  few  exceptions  all 
of  exhibition  recognizes  it  presently. 

Exhibitors,  with  approximately 
three  billion  dollars  invested  in  spe- 
cialized brick  and  mortar,  are  ham- 
strung without  the  necessary  number 
and  quality  of  pictures  to  use  in 
these  specialized  buildings  which  we 
call  theatres.  Before  1949,  the  stu- 
dios in  Hollywood  were  geared  to 
meet  the  needs  of  the  theatres  and 
gave  us  a  continual  flow  of  good 
product.  Since  then,  and  particuarly 
today,  there  has  been  a  radical 
change  in  the  operation  of  the  stu- 
dios. For  instance,  a  company  such 
as  Paramount  that  produced  and  re- 
leased approximately  thirty-six  pic- 
tures a  year  has  reduced  their  pro- 
duction to  ten  and  twelve  pictures. 
This  would  not  have  occurred  if 
Paramount  had  not  been  separated 
from  their  theatres.  One  of  their  re- 
leases, such  as  THE  TEN  COM- 
MANDMENTS, has  served  no  more 
than  one-hundred  theatres  since  the 
picture  was  released  in  January.  It 
is  imperative,  for  our  industry  to  ex- 
ist on  a  sound  and  healthy  basis,  that 
corporations  with  theatres  be  al- 
lowed to  produce  pictures.  There  is 
no  industry,  with  the  exception  of 
ours,  in  the  United  States  that  pro- 
hibits retailers  who  cannot  get 
proper  product  or  merchandise  from 
going  into  the  production  or  manu- 
facturing business. 

Allied,  represented  by  their  presi- 
dent Rube  Shor  and  council  Abram 
Myers,  joined  with  Herman  Levy 
and  myself,  representing  TOA,  to 
call  on  the  Department  of  Justice  in 
January  of  1956  to  request  that  they 
allow  the  divorced  circuits  to  pro- 
duce pictures  in  order  to  avoid  the 
seller  market  which  was  resulting  in 
the  closing  of  theatres.  The  Depart- 


ment of  Justice  was  very  sympathetic 
to  this  request.  Unfortunately,  the 
Department  has  requested  too  many 
safeguards  to  encourage  these  cor- 
porations to  go  into  production. 
TOA,  Allied  and  other  exhibitor  as- 
sociations have  continually  requested 
that  the  Department  of  Justice  allow 
the  divorced  circuits  to  go  into  pro- 
duction. We  definitely  feel  that  the 
laws,  through  the  courts,  have  been 
so  interpreted  that  safeguards  are 
not  necessary  at  this  time  and  the 
Department  of  Justice  can  always  go 
back  to  the  courts  if  they  feel  that 
rgulations  should  be  applied.  I  sin- 
cerely hope  that  good  judgment  and 
good  sense  will  prevail. 

MARC  J.  WOLF 

Y  &  W  Management  Corp. 
Indianapolis,  hid. 

Very  briefly,  I  have  always  felt 
that  exhibitors  should  run  theatres 
and  producers  should  make  pictures. 
However,  since  we  are  not  getting 
enough  pictures  from  the  producing 
companies  I  think  that  anything 
which  will  make  more  product  avail- 
able would  be  greatly  helpful  to  the 
industry. 

Of  course,  the  pictures  we  get 
must  be  of  a  calibre  that  will  sell 
tickets.  A  lot  of  "just  film"  will  not 
help.  I  have  the  feeling  that  if  the 
government  okays  film  production 
by  theatre  men  that  we  will  get  pic- 
tures of  good  quality  and  certainly 
this  will  be  a  great  aid  to  all  of  us. 

E.  C.  STELLINCS 

President,  TOA 

I  have  your  letter  of  April  17th, 
enclosing  your  editorial  to  appear  in 
your  April  15th  issue. 

You  are  probably  aware  of  the 
fact  that  last  year  TOA,  by  special 
resolution,  requested  the  Department 
of  Justice  give  their  approval  to  all 
formerly  affiliated  circuits  to  enter 
production  of  motion  pictures.  It  is 
my  belief  that  this  should  be  done. 

At  the  Mid- Winter  Meeting  in 
Chicago  of  the  Directors  and  Exec- 


utive Committee  of  TOA,  we  again 
reiterated  this  position,  and  so  noti- 
fied the  Department  of  Justice,  spe- 
cifically requesting  that  they  approve 
the  right  to  produce  motion  pictures 
by  Paramount,  Stanley  Warner  and 
National  Theatres. 

The  fact  that  you  have  come  out 
in  your  publication  under  date  of 
April  15th,  I  sincerely  hope  will  be 
beneficial  in  this  effort  we  are  mak- 
ing along  this  same  line. 

R.  J.  O'DONNELL 

Interstate  Circuit 
Dallas,  Texas 
We  are  in  the  rather  enviable  po- 
sition here  in  the  Southwest  due  to 
the  fact  that  we  have  always  been  a 
single  feature  territory,  and  for  that 
reason  we  have  not  felt  the  pressure 
of  the  diminished  supply.  For  that 
reason,  we  find  it  rather  difficult  to 
allow  our  temperature  to  rise,  or  be- 
come exercised  over  a  condition  that 
has  not  caused  us  to  lose  any  sleep. 

MILTON  H.  LONDON 

Allied  Theatres  of  Michigan,  Inc. 

I  have  just  finished  reading  your 
excellent  April  15th  editorial  peti- 
tioning the  Department  of  Justice  to 
allow  the  divorced  circuits  to  pro- 
duce motion  pictures.  As  you  know, 
both  National  Allied  and  our  own 
organization  here  in  Michigan  have 
long  been  on  record  as  favoring  this 
step.  Your  letter  brings  into  sharp 
focus  our  industry's  most  desperate 
problem.  The  entire  motion  picture 
industry  is  based  fundamentally  on 
the  boxoffice.  Any  thing  that  re- 
stricts the  boxoffice  must  of  neces- 
sity hurt  all  branches  of  the  motion 
picture  industry.  It  is  axiomatic  that 
the  volume  of  movie-going  will  vary 
directly  with  the  amount  of  product 
available.  The  scarcity  of  product 
has  become  so  acute,  however,  that 
the  public's  movie-going  habit  has 
been  broken.  This  strikes  at  the  very 
foundation  of  our  industry  and 
should  be  of  utmost  concern  to  every 
individual,  in  every  phase  of  the 
business.  An  increase  in  the  produc- 


Page  10       Film  BULLETIN    May  27,  1 957 


"Let  Us  Produce!' 

Petitions  by  Circuits  ■(  oiw/rfcrw/  -  IMnnst'n 


(Continued  from  Prfge  9) 

not  know  whether  any  of  such  circuits  will 
decide  to  enter  into  production  and  distribu- 
tion or  whether  it  will  be  possible  to  devise 
adequate  safeguards  against  the  return  as  a 
result  of  any  such  new  integration  of  prac- 
tices violative  of  the  antitrust  laws  prevalent 
in  the  industry  before  the  Paramount  case. 
Also,  we  are  aware  this  may  not  be  the  ideal 
way  of  securing  more  motion  picture  prod- 
uct. However,  because  of  our  deep  interest 
in  the  industry  and  its  welfare  and  because 
we  try  to  know  what  the  problems  of  the  in- 
dustry and  especially  the  problems  of  the 
small  independent  exhibitor  are.  we  are  giv- 
ing a  great  deal  of  attention  to  this  proposal. 

"It  would  be  easy  for  us  to  rest  on  the 
judgments  which  divorced  exhibition  from 
production  and  distribution  and  oppose  any 
such  proposal  .  .  .  However,  we  do  know 
that  the  number  of  pictures  produced  has 
fallen,  that  the  level  of  the  film  rentals  has 
risen  and  that  whatever  the  reasons  are  for 
the  rise  in  the  level  of  film  rentals  a  short 
supply  of  pictures  must  contribute  to  such 
rise.  Therefore,  with  the  independent  motion 


picture  exhibitor  in  mind,  we  bat  e  taken  the 
proposal  under  advisement." 

In  accordance  with  this  expression  of  our 
views  to  the  Senate  Small  Business  Commit- 
tee we  will  give  careful  consideration  to  any 
proposal  for  the  production  or  financing  of 
motion  pictures  by  the  divorced  circuits.  Ob- 
viously we  cannot  commit  ourselves  in  ad- 
vance to  supporting  any  such  proposal.  Our 
position  will  depend  on  whether,  everything 
considered,  production  by  the  divorced  cir- 
cuits can  be  permitted  consistently  with  the 
maintenance  of  proper  competitive  con- 
ditions in  the  distribution  and  exhibition  of 
motion  pictures. 

No  doubt  you  know  that  American  Broad- 
casting-Paramount Theatres,  Inc.,  has  actual- 
ly started  the  production  of  pictures.  Autho- 
rization for  the  production  of  pictures  by 
National  Theatres,  another  of  the  divorced 
circuits,  is  presently  under  consideration  by 
the  Antitrust  Division. 

Sincerely  yours, 

(signed)  VICTOR  R.  HANSEN 
Assistant  Attorney  General 
Antitrust  Division 


tion  of  pictures,  from  all  possible 
sources,  is  necessary  not  only  for  the 
survival  of  the  exhibitor  but  of  the 
motion  picture  industry  itself. 

The  independent  exhibitors  of 
Michigan  earnestly  hope  that  the  De- 
partment of  Justice  will  take  action 
on  this  matter  before  it  is  too  late. 
You  are  to  be  commended  on  help- 
ing to  bring  this  problem  to  the  at- 
tention of  the  Justice  Department. 

HERMAN  M.  LEVY 

General  Counsel,  TO  A 
For  some  time  now  the  exhibitors 
of  this  country  have  not  had  a  steady 
flow  of  playable  product.  For  some 
time,  too,  it  has  been  obvious  that 
the  steady  flow  will  not  come  from 
the  now  active  production  com- 
panies. The  only  realistically  avail- 
able source  for  that  steady  flow  is 
the  so-called  "former  affiliate"  chains 
of  theatres.  The  most  important  and 
influential  of  those  chains  are  pre- 
pared to  and  are  eager  to  go  into 
production.  All  they  ask  is  they  not 


be  frustrated  with  conditions  and 
qualifications  before  they  start. 

That  exhibitors  need  more  prod- 
uct is  recognized  by  all  parties  in 
interest.  That  being  so,  it  is  for  the 
Department  of  Justice  to  act  timely 
and  quickly  to  bring  about  the  sur- 
vival of  so  many  theatres  that  may 
well  perish  without  help. 

We,  of  TOA,  were  the  first  in 
exhibition,  I  believe,  to  call  on  the 
Department  of  Justice  to  relax  its 
stern  attitude.  We  have  reaffirmed 
that  position  on  every  occasion  that 
we  have  met  as  an  organization  unit. 
Further,  our  officers,  have  travelled 
the  highways  and  byways  of  the 
country  espousing  the  cause. 

LEO  F.  WOLCOTT 

Allied  ITO  of  lowa-Nebraska 
You  have  outlined  present  condi- 
tions very  well;  the  things  you  recite 
are  actually  happening  in  many, 
many  situations  in  our  Prairie  terri- 
tories today.  Just  a  few  days  ago  a 
Nebraska  exhibitor  auctioned  off  his 


theatre  and  equipment — the  building 
was  bid  in  at  SI 00;  the  whole  sale 
brought  in  exactly  S350.00!  Five 
years  ago  it  would  have  brought 
S2  5,000  minimum.  Yes,  the  fewer 
pictures  have  played  a  very  big  role 
in  the  ruination  of  many  theatres; 
the  "bigger  and  better  pictures" 
promised,  largely  a  myth. 

As  my  record  of  voting  in  Na- 
tional Allied  Board  meetings  will 
show,  I  am  heartily  and  urgently  in 
favor  of  theatre  chains — and  anyone 
and  everyone  who  can  do  so — enter- 
ing film  production  as  quickly  as 
possible. 

ROBERT  A.  WILE 

Executive  Secretary  ITO  of  Ohio 
This  organization,  as  well  as  Na- 
tional Allied,  has  passed  resolutions 
requesting  that  the  Department  of 
Justice  permit  the  theatre  chains  to 
produce  pictures.  Therefore,  I  would 
say  that  your  editorial  very  well  ex- 
presses the  point  of  view  of  this 
organization. 


Film  BULLETIN    May  27.  1957        Page  11 


1 


\ 


**2 


Ml. 


MAY30«  CHICAGO  THEA..CH1CA6C 


II 


Theatre-going  Will  Hold  Own 
Against  Toll-TV,  Says  Value  Line 


Two  major  upbeat  factors— the  rejuvena- 
tion of  the  theatre-going  habit  and  the  dis- 
missal of  subscription  television  as  a  serious 
threat  to  the  motion  picture  industry — high- 
light the  current  Value  Line  Survey,  pub- 
lished by  Arnold  Bernhard  fir  Company.  Be- 
cause of  these  two  plus-factors  the  analysis 
forecasts  that  "most  movie  companies  will 
report  substantial  profits  during  1957"  and 
that  "most  theatre  circuits  are  likely  to  reg- 
ister impressive  boxoffice  receipts".  This 
overall  improvement  in  net  profits  is  also  at- 


tributed to  the  anticipated  larger  supply  of 
quality  pictures.  Profits  on  a  per  share  basis 
are  also  expected  to  expand  because  of  the 
growing  trend  toward  divestment  of  unprof- 
itable assets  such  as  marginal  theatres  and 
excess  studio  facilities.  The  Value  Line  ex- 
presses the  view  that  there  is  a  growing 
desire  by  the  public  to  "step  out"  for  their 
entertainment,  that  the  exposure  to  TV  for 
a  number  of  years  is  reducing  interest  in 
that  medium.  The  survey  covers  the  major 
film  and  theatre  companies. 


I  'alue  Line  Summary 

Since  last  Summer,  theatre  attendance  has  shown  strong  year- 
to-year  advances  (interrupted  only  in  March  because  of  this 
year's  later  Easter).  Prospects  are  that  most  movie  companies 
will  report  substantial  profits  in  1957  ■  ■  ■  There  has  been  talk 
that  the  government  will  soon  license  "pay-as-you-see"  T\' 
broadcasting.  This  would  probably  pose  little  threat  to  Holly- 
wood, however.  The  rejuvenated  interest  in  theatre-going 
seems  fostered  by  the  growing  desire  to  "step  out"  and  enjoy 
quality  films  on  wide  screens.  The  rising  trend  of  motion  pic- 
ture attendance  is  likel)  to  persist  for  some  time.  Meanwhile, 
many  companies  in  the  group  are  planning  to  sell  some  of  their 
unproductive  theatres  and  producing  facilities.  Proceeds  will 
probably  be  applied  to  reduce  common  capitalizations,  enhanc- 
ing the  earning  power  of  the  remaining  shares. 

UPBEAT  IN  THEATRE  ATTENDANCE 

The  long-awaited  recovery  of  the  motion  picture  industry 
finally  seems  to  have  taken  shape.  After  having  been  depressed 
for  many  years  by  severe  and  unaccustomed  competition  from 
television,  theatre  business  is  on  the  up  again.  Since  last  sum- 
mer, monthly  movie  attendance  has  been  showing  favorable 
year-to-year  comparisons.  To  be  sure,  the  uptrend  in  theatre 
admissions  was  temporarily  interrupted  in  March.  However, 
this  was  due  principally  to  the  somewhat  later  Easter  this  year. 
Most  producers  postponed  the  release  of  their  more  promising 
film:  until  the  Easter  week-end.  We  believe  that  the  prcsen: 
uptrend  in  box  office  reecipts  is  not  of  a  fleeting  nature  (es- 
pecially since  a  substantially  larger  number  of  quality  features 
will  be  forthcoming  during  the  Summer  months)  and  reiterate 
our  previous  prediction  that  1957  will  be  a  prosperous  year  for 
the  motion  picture  industry. 

It  must  be  pointed  out,  however,  that  although  more  people 
are  expected  to  go  to  the  movies  this  year,  not  every  company 


in  the  group  will  be  able  to  participate  in  the  boom.  In  the  mo- 
tion picture  industry,  it  is  particularly  true  that  the  success  of  an 
individual  company  depends  greatly  on  the  quality  and  quan- 
tity of  the  products  it  has  to  offer.  Because  of  a  managerial  re- 
organization, for  example,  production  activity  at  the  Warner 
Dros.  studios  was  drastically  curtailed  last  year.  As  a  result,  this 
company  has  only  a  few  completed  features  for  current  release, 
and  is  likely  to  show  a  decline  in  both  revenues  and  net  profits 
during  the  months  immediately  ahead.  (Thanks  to  a  substan- 
tially smaller  common  capitalization,  however,  earnings  on  a 
per  share  basis  will  probably  continue  to  compare  favorably 
with  those  of  a  year  ago.)  Likewise,  one  or  two  of  the  other 
producers  may  not  be  able  to  take  full  advantage  of  the  ex- 
panding market  because  of  their  inability  to  produce  audience- 
drawing  movies.  On  balance,  however,  prospects  for  Holly- 
wood are  indeed  the  brightest  in  many  a  year.  Most  theatre 
circuits  are  likely  to  register  impressive  box  office  receipts,  and, 
among  the  producers.  Paramount  Pictures  and  Twentieth  Cen- 
tury-Fox in  particular  seem  likely  to  show  wide  advances  in 
net  operating  earnings. 

SUBSCRIPTION  TV  ON  THE  HORIZON 

Rumors  have  been  flying  in  recent  months  that  the  Federal 
Communications  Commission  soon  approve  "Pav-As-You-See" 
TV  broadcasting.  ("Pay-As- You-See"  TV  or  "Subscription 
Television",  is  the  name  applied  to  all  systems  by  which  TV 
viewers  can  select  a  program  being  broadcast  in  garbled  form 
and,  through  a  code  furnished  to  them  for  a  fee,  unscramble 
the  program  and  sec  it.)  Presumably,  subscription  TV  would 
present  high  quality  entertainment  without  periodic  interrup- 
tions for  commercials.  The  prospect  that  television  might  soon 
offer  more  competitive  programs  has  brewed  renewed  appre- 
hension in  some  Hollywood  circles.   A  number  of  exhibitors, 

(Continued  on  Page  It) 


Film  BULLETIN    May  27,  1 957        Page  13 


VALUE  LINE  ANALYSIS 

'Stop-Out'  Urge  Seen  Sound  To  Grow 


(Continued  from  Ptige  11) 

remembering  the  misfortunes  occasioned  by  the  advent  of  free 
television,  now  fear  that  toll-TV  would  again  detract  audi- 
ences from  their  box  offices.  We  believe,  however,  that  this  new 
medium  of  home  entertainment  would  pose  little  threat  to 
Hollywood. 

To  begin  with,  Hollywood  producers  will  have  much  to  gain 
and  little  to  lose.  For  more  than  half  a  century,  they  have  been 
furnishing  the  world  with  professional  quality  entertainment. 
Backed  by  time-honored  showmanship,  their  products  would  be 
well  qualified  for  subscription  TV  presentations.  Thus,  com- 
mencement of  paid  video  operation  would  extend  their  markets 
into  new  territories. 

Meanwhile,  if  the  new  medium  proves  successful,  theatre 
owners  could  also  participate  by  joining  the  bandwagon.  By 
becoming  the  dispatchers  of  motion  pictures  for  the  home 
screens,  aggressive  exhibitors  could,  in  effect,  be  placing  their 
box  offices  in  their  audiences'  living  rooms.  Already,  many  big 
theatre  chains  have  proposed  to  bypass  the  FCC  by  piping  first- 
run  Hollywood  pictures  into  their  customers'  TV  sets  through 
underground  cables.  (Such  closed-circuit  television  does  not  re- 
quire the  FCC's  approval.)  In  fact,  only  a  few  weeks  ago,  In- 
ternational Telemeter  Corporation,  an  88%  owned  subsidiary 
of  Paramount  Pictures,  introduced  a  simplified  closed-circuit 
TV  system  designed  to  enable  theatres  to  get  into  the  home 
market  at  nominal  cost.  The  complete  system,  including  wire 
hooked  up  to  houses,  reportedly  would  not  cost  the  theatre 
more  than  $100  a  home.  This  is  considerably  cheaper  than  the 
cost  of  building  a  theatre,  now  estimated  at  $420  per  seat. 

THEATRE-GOING  HABIT  REJUVENATED 

Actually,  an  examination  of  the  basic  reasons  for  the  recent 
uptrend  in  theatre  attendance  suggests  that  the  advent  of  sub- 
scription television  would  probably  not  affect  box  office  receipts 
too  adversely.  The  principal  victim  of  this  new  medium,  if  it 
should  be  successful,  would  be  likely  to  be  the  present  com- 
mercial television  networks.  In  our  opinion,  more  people  are 
going  to  the  theatres  now  because  they  want  to  "step  out"  for 
outside  entertainment.  To  the  average  American,  who  has  been 
exposed  to  TV  for  many  years,  watching  television  has  now  be- 
come a  part  of  his  daily  routine.  For  recreation  and  variety,  he 
wants  to  get  out  of  his  living  room.  This  is  particularly  true 
for  teenagers,  the  largest  customer  group  of  the  motion  picture 
industry.  Going  to  the  movies  is  perhaps  the  cheapest  form  of 
outside  entertainment.  Thus,  as  long  as  Americans  have  more 
leisure  time  on  their  hands,  such  as  recent  trends  indicate,  this 
yearning  for  stepping  out  is  likely  to  accentuate  the  movie 
habit. 

Meanwhile,  Americans  are  also  gradually  rediscovering  the 
superior  quality  of  the  movies  offered  by  their  neighborhood 
theatres.  Motion  picture  theatres  boast  certain  technical  and 
physical  advantages  that  cannot  be  equalled  by  television  for 
many  years  to  come.  For  example,  the  movie  theatre  can  pro- 
ject its  picture  on  a  wide,  curved  screen,  giving  its  audience  a 
deeper  feeling  of  participation.  No  foreseeable  home  TV 
screen  can  duplicate  this  important  effect.  The  theatres  can  also 
offer  true  high  fidelity  sound  reproduction  and  faithfully 
colored  scenes.  Above  all,  they  afford  their  audiences  absolute 


"escape"  from  their  daily  cares — escape  that  cannot  be  enjoyed 
watching  television  at  home. 

PER  SHARE  EARNINGS  AUGMENTED 

Not  only  are  the  overall  net  profits  of  most  movie  companies 
likely  to  expand  because  of  increasing  theatre  attendance  and  a 
larger  supply  of  quality  pictures,  but  earnings  on  a  per  share 
basis  will  probably  be  further  augmented  by  contracting  com- 
mon capitalizations  as  well.  Virtually  all  the  companies  in  this 
group  own  certain  assets  that  are  no  longer  making  contribu- 
tions to  income.  In  a  few  cases,  in  fact,  these  properties  are 
actually  burdensome  to  maintain.  For  example,  all  three  of  the 
major  theatre  circuits  are  now  operating  a  number  of  marginal 
or  unprofitable  theatres.  Divestment  of  these  theatres  would 
therefore  have  little  or  no  effect  on  the  companies'  earning 
power,  but  would  only  help  eliminate  expensive  maintenance 
costs  and  real  estate  taxes.  Likewise,  most  of  the  producers  in 
Hollywood  have  excess  studio  facilities  that  are  not  being  put 
to  use.  Moreover,  Paramount  Pictures  and  Universal  Pictures 
(a  majority-owned  subsidiary  of  Decca  Records)  still  have  not 
made  any  arrangement  for  the  sale  or  lease  of  their  huge  pre- 
1948  feature  film  libraries.  Fully  aware  of  this  situation,  the 
movie  companies  are  now  proceeding  to  convert  these  unpro- 
ductive assets  into  cash  or  earnings-producing  items. 

Because  most  of  the  theatre  buildings,  studio  facilities  and 
old  film  libraries  possess  large  market  values,  they  return  their 
owners  very  significant  cash  proceeds  when  and  if  they  are  sold. 
(For  instance,  Paramount  Pictures  will  probably  announce  the 
sale  of  its  old  feature  films  in  the  very  near  future.  The  trans- 
action is  expected  to  net  the  company  some  $30  million.)  While 
a  portion  of  the  extra  funds  thus  generated  might  be  retained 
to  finance  internal  expansion,  a  good  portion  is  likely  to  be 
used  to  re-acquire  company  stock.  Practically  all  of  the  movie 
company  shares  are  currently  trading  well  below  their  respec- 
tive book  values  and  are  returning  very  generous  yields.  They 
therefore  represent  excellent,  and  perhaps  the  most  suitable, 
investments  for  their  own  companies.  By  following  a  systema- 
tic program  of  reacquiring  stock,  the  movie  companies,  even 
with  the  same  overall  net  income,  can  conceivably  increase  their 
per  share  earning  and  dividend-paying  power  by  as  much  as 
25%. 

CONCLUSION 

Although  prospects  are  that  most  movie  companies  will  re- 
port substantial  profits  in  1957,  the  market  prices  of  their  stocks 
have  not  advanced  significantly  during  the  last  few  months.  As 
a  result,  many  of  them  appear  undervalued  relative  to  current 
earnings  and  dividends.  Indeed,  a  number  of  these  issues  may 
provide  returns  of  as  much  as  7.5%  over  the  next  12  months. 
With  company  earnings  prospects  improving,  such  dividends, 
in  our  opinion,  are  well  protected.  Meanwhile,  even  on  the  as- 
sumption that  the  nation's  movie  attendance  will  increase  but 
moderately  over  the  next  few  years,  most  of  the  companies  in 
this  group  are  likely  to  show  substantially  larger  earnings  dur- 
ing the  early  Sixties,  as  a  result  of  their  asset  realignment  and 
capital  reduction  programs.  Compared  to  the  average  27% 
gain  projected  for  all  stocks,  the  3-  to  5-year  appreciation  po- 
tentiality of  the  amusement  stocks  as  a  group  is  a  wide  61%. 


Page  14       Film  BULLETIN    May  27.  1957 


VALUE  LINE  ANALYSIS 


COLUMBIA  PICTURES 

backlog  of  motion  pictures  from  Columbia's  film 
library.  About  45%  of  revenues  originate  abroad. 
Since  World  War  II,  cash  dividend  pay-out  has  aver- 
aged 35%  of  earnings.  Employees:  5,000;  stock- 
holders:  2.3A2.     Revenues   have   increased    18%  faster 


than  disposable  income  since  1939.  President.  H. 
Cohn.  Incorporated:  New  York.  Address:  711  Fifth 
Avenue.  New  York  22.  New  York 

Stock  traded:  NYSE 


BUSINESS:  Columbia  Pictures  produces  and  distributes 
motion  pictures  of  both  "A"  and  "B"  classes  for  ex- 
hibition in  theatres.  Screen  Gems.  Inc.,  a  subsidiary, 
produces  films,  including  commercials,  for  television; 
also   sells   and   distributes   to   television    stations,  the 

REPORT:  Columbia  is  having  trouble  at  its  domestic  box  offices 
this  year.  In  a  period  when  theatre  attendance  and  gross  profits 
of  other  movie  makers  are  on  the  upgrade,  Columbia  is  having 
less  success  than  last  year.  We  now  estimate  earnings  in  the 
fiscal  year  ending  June  30th  at  SI. 75,  or  about  20%  less  than 
the  year  before. 

Sales  by  foreign  subsidiaries  and  the  Screen  Gems  subsidiary 
have  improved  this  year.  However,  the  problem  of  converting 
blocked  foreign  funds  into  dollars  is  more  difficult  than  build- 
ing up  overseas  business.  While  foreign  revenues  are  included 
in  the  parent  company's  sales  and  comprise  roughly  45%  of 
o\er-alI  volume,  only  income  actually  received  and  converted 
into  dollars  is  reported  in  company  earnings.  Currency  con- 
version problems  now  are  no  better  than  last  year.  Therefore, 
income  received  from  foreign  sales  is  not  expected  to  prop  up 
sagging  domestic  earnings  to  any  great  extent. 

On  the  other  hand,  revenues  of  the  Screen  Gems  subsidiary 
may  well  be  more  than  50%  higher  than  last  year's  Sll  million. 
Earnings  are  improving  also,  but  not  in  proportion  to  the 
growth  in  sales.  Reason:  Screen  Gems  makes  only  nominal  in- 
come on  the  original  runs  of  the  television  films  that  it  creates 
— its  principal  profits  are  expected  to  come  from  syndication 
and  reruns  of  the  television  film  series.  Reruns  may  be  several 
years  away  for  much  of  its  output.  Income  from  Screen  Gems 
will  be  bolstered  in  this  fiscal  year  by  the  receipt  of  part  of  the 
approximately  S750,000  in  income  that  will  be  obtained  from  a 


New  York  television  station  for  the  rental  of  50  films  from 
Columbia's  library.  The  subsidiary  has  now  leased  about  200 
films  from  studio  files. 

The  U.  S.  Department  of  Justice  has  filed  suit  to  enjoin 
Screen  Gems  and  other  television  distributors  from  "block 
leasing"  groups  of  old  films  to  TV  stations.  The  Department 
wants  to  make  it  possible  for  the  television  stations  to  buy  only 
the  films  that  they  want  to  exhibit.  The  effect  upon  Columbia's 
earnings  from  any  such  required  change  in  leasing  practices  is 
expected  to  be  negligible. 

Lease  income  from  the  rental  of  films  to  television  is  ex- 
pected to  bring  both  growth  and  stability  to  future  earnings. 
We  project  average  annual  sales  to  SI  10  million  in  the  hypothe- 
sized 1960-62  economy,  characterized  by  a  GNP  of  S490  bil- 
lion. Average  earnings  of  S3. 80  and  dividends  of  SI. 75  might 
then  be  expected.  Capitalized  at  6.2%  in  line  with  past  norms 
adjusted  for  trend,  such  dividends  would  suggest  an  average 
price  of  28  (7.4  times  earnings)  during  the  period. 

ADVICE:  Columbia  is  currently  classified  in  Group  III  (Fairly- 
Priced)  because  the  stock  stands  in  line  with  its  virtually  level 
Rating.  The  current  7.1%  expected  yield  far  exceeds  the  5.1% 
average  for  the  market  as  a  whole.  While  the  stock's  65%  ap- 
preciation potentiality  over  the  next  3  to  5  years  is  far  superior 
to  the  market  average,  holders  of  the  issue  must  accept  the  con- 
siderable risks  associated  with  this  business.  Retention  of  the 
stock  in  risk  portfolios  is  recommended. 


DECCA  RECORDS 

gaged  in  music  publishing  business  through  subsidiary, 
Northern  Music  Corp.  Owns  controlling  interest 
180%)  in  Universal  Pictures,  a  producer  of  motion 
pictures  for  Class  A  and  Class  B  markets.  Since 
World    War    II,    dividend-payout    has    been    59%  of 


earnings.  Management  group  owns  about  39%  of  out- 
standing stock.  Employs:  1,500;  stockholders  5,100. 
Pres.,  M.  R.  Rackmil.  Inc.:  New  York.  Address:  50 
West  57th  Street,  New  York,  New  York. 

Stock  traded:  NYSE 


BUSINESS:  Oecca  Records  is  a  primary  independent 
producer  and  distributor  of  phonograph  records.  Re- 
cording is  done  in  studios  in  New  York  and  Holly- 
wood. Records  are  manufactured  in  leased  plants. 
Company  also  sells  phonographs  and  accessories.  En- 

REPORT:  The  two  horses  in  the  Decca  stable — records  and  mo- 
tion pictures — have  been  out  of  stride  with  each  other  for  the 
past  year,  but  the  net  result  has  been  beneficial  in  reducing  fluc- 
tuations in  over-all  income.  Decca's  equity  in  the  earnings  of 
its  80%-owned  Universal  Pictures  subsidiary  was  very  small  in 
the  fourth  quarter  of  1956,  since  Universal  released  no  films  in 
November  and  December.  At  the  same  time,  the  record  busi- 
ness was  enjoying  an  unprecedented  boom,  thanks  to  excellent 
demand  for  long-playing  albums.  As  a  result,  Decca's  earnings 
for  the  full  year  of  1956  were  20%  over  1955  even  though  the 
equity  in  Universal's  profits  (included  in  Decca  earnings)  fell 
from  SI. 20  a  share  in  1955  to  96c  in  1956.  The  profit  margin 
on  the  record  business  was  80%  higher  than  in  1955  due  to  the 
fact  that  heavy  initial  production  and  release  expenses,  a  major 
cost  item,  could  be  amortized  over  a  larger  sales  volume. 

Last  year's  situation  is  reversed  now ;  Universal  is  making  up 
for  lost  time  now  that  its  release  schedule  is  back  on  pace,  while 
the  record  business  is  suffering  the  typical  first-half  doldrums. 
(The  major  portion  of  record  sales  is  made  in  the  last  four 
months  of  the  year.)  Sales  of  records  in  the  first  quarter  have 
been  ahead  of  last  year's  pace,  however.  Decca  can  earn  S3  a 


share  this  year  if  the  record  business  holds  up.  While  prospects 
for  maintenance  of  the  current  SI  annual  dividend  are  good, 
more  favorable  action  probably  will  be  deferred  until  working 
capital  has  been  enlarged — perhaps  until  the  Universal  pre- 
1948  film  library  has  been  released  to  television. 

Over  the  next  3  to  5  years,  Decca's  results  should  be  bolstered 
not  only  by  rental  of  Universal's  film  library,  but  also  by  rising 
disposable  income  in  general,  and  by  the  marked  expansion  of 
the  teen-age  population  in  particular,  since  this  is  the  most  im- 
portant segment  of  the  market  for  both  films  and  records.  As- 
suming consolidation  with  Universal,  we  project  Decca's  aver- 
age annual  sales  to  S127  million(  including  S32  million  in  rec- 
ord division  sales)  in  the  hypothesized  1960-62  economy,  char- 
acterized by  a  GNP  of  S490  billion.  Earnings  are  conserva- 
tively estimated  at  S3. 50  a  share.  A  higher  dividend  payout 
should  be  possible  by  this  period,  since  the  purchase  and  retire- 
ment of  Universal's  common  stock  should  be  completed.  Divi- 
dends of  SI. 40  might  then  be  expected.  Capitalized  at  6.2%  in 
line  with  past  norms  adjusted  for  trend,  such  dividends  would 
command  an  average  price  of  23  (6.6  times  earnings)  during 

(Continued  on  Page  16) 


Film  BULLETIN    May  27,  1957        Page  15 


VALUE  LINE  ANALYSIS 


(Continued  from  P<ige  15) 
the  period. 

ADVICE:  Decca  Records  is  currently  classified  in  Group  II 
(Underpriced)  because  it  stands  within  one  standard  variation 
of  its  rising  Rating.  The  stock  seems  conservatively  priced  at 
only  5.3  times  estimated  1957  earnings,  although  the  current 


yield  of  6.3%  is  a  shade  below  past  norms  for  the  issue.  How- 
ever, this  return  is  well  above  the  5.1%  average  yield  expected 
for  all  dividend-paying  stocks  under  survey.  The  44%  appre- 
ciation potentiality  to  the  years  1960-62  is  superior  to  the  27% 
gain  foreseen  for  the  market  as  a  whole.  The  issue  appears  to  be 
suitable  for  purchase  by  risk  accounts  for  income  appreciation. 


LOEWS  INC. 

account  for  most  of  the  rest.  Foreign  revenues  about 
40%  of  film  earnings.  Labor  costs,  over  45%  of  reve- 
nues. Since  World  War  II,  earnings  almost  completely 
paid  out  as  dividends.  Directors  own  or  control  81,- 
700   shares    11.6%   of  total ) .    Has    14,000  employees, 


29.64C  shareholders.  Pres.,  Joseph  Vogel;  Chrmn. 
Exec.  Comm.,  O.  R.  Reid.  Incorporated:  Delaware. 
Address:   1540  Broadway,   New  York  36,   New  York. 

Stock  traded:  NYSE 


BUSINESS:  Loew's  is  the  last  fully  integrated  pro- 
ducer distributor  and  exhibitor  of  motion  pictures. 
Divestment  of  theatres  to  take  place  in  1957.  Thaa- 
tres,  mainly  in  Northeast,  presently  account  for  about 
40%    of   revenues.     Pictures,    under    MGM  trademark, 

REPORT:  Liew's  financial  statements  continue  to  be  a  source  of 
disappointment  to  stockholders.  Company  earnings  for  the  sec- 
ond quarter  of  fiscal  1957  (ends  Aug.  31st)  were  only  18c  a 
share,  down  from  31c  a  share  in  the  like  period  a  year  earlier 
despite  the  inclusion  of  rental  income  from  the  leasing  of  old 
M-G-M  films  to  TV.  Furthermore,  profits  were  the  lowest  in 
the  company's  history  for  this  particular  quarter,  normally  its 
best  from  an  operations  standpoint  because  of  the  inclusion  of 
the  lucrative  Christmas  box  office  receipts. 

Loew's  major  problem  still  seems  to  be  its  inability  to  turn 
out  sufficient  top-flight  films  to  make  its  production  activities 
profitable.  The  company  has  made  good  progress  in  reducing 
its  film  budgets  and  is  planning  to  step  up  its  film  schedules, 
but  it  is  sorely  in  need  of  more  "hit"  pictures.  Its  roster  of 
movies  currently  in  release  does  not  seem  to  be  in  tune  with 
the  public  demand  for  spectacular  productions. 

Improvement  in  the  Loew's  situation  will  probably  be  slow 
in  coming,  although  the  company  is  gradually  building  up  a 
solid  core  of  earning  power  from  its  theatre  business  and  film 
rentals.  Chief  worry  is  that  the  company  may  be  caught  in  a 
cash  squeeze  before  it  can  be  put  back  on  its  feet  (or  paws) 
again.  Cash  assets  declined  from  $35  million  to  $26  million 
during  fiscal  1956,  and  a  further  dip  is  probably  taking  place 
in  the  current  fiscal  year.  Accordingly  segregation  of  Loew's 
theatre  and  production  business,  which  may  take  place  by  the 


end  of  fiscal  1957,  may  be  accompanied  by  a  critical  review  of 
company  dividend  policies. 

Because  divestment  plans  have  not  yet  been  formulated,  we 
continue  to  project  sales,  earnings  and  dividends  into  1960-62 
for  the  company  as  presently  constituted.  Rising  TV  rentals 
and  more  ambitious  film  production  schedules  could  boost  reve- 
nues to  an  annual  average  of  $210  million  in  the  economic  en- 
vironment hypothesized  for  that  period.  Earnings  would  then 
be  likely  to  average  $2.15  a  share  and  dividends  $1.25.  Capi- 
talized to  accord  with  past  experience  adjusted  to  trend  (at  9.8 
times  earnings  and  on  a  6%  yield  basis),  such  results  would 
command  an  average  price  of  21.  However,  the  value  of  the 
company's  assets  (including  its  real  estate,  studio  properties 
and  film  library)  is  believed  to  be  well  in  excess  of  this  amount; 
systematic  disposition  of  a  portion  of  these  assets  could  result 
in  a  price  of  30  for  the  shares. 

ADVICE:  Loew's  is  currently  classified  in  Group  III  (Fairly 
Priced)  because  of  its  large  underlying  asset  values,  realization 
of  which  would  justify  a  considerably  higher  price  for  the 
stock.  However,  it  seems  generously  priced  in  relation  to  cur- 
rent and  prospective  earnings  and  dividends;  to  determine  the 
desirability  of  maintaining  commitments  in  this  issue,  investors 
must  weigh  this  overvaluation  against  the  apparent  undervalu- 
ation in  relation  to  assets. 


PARAMOUNT  PICTURES 

ternational  Telemeter  Corp.  I  "pay-as-you-see"  TV 
broadcasting);  100%  interest  in  Chromatic  Television 
Labs.  Inc.  (developer  of  low  cost  color  TV  tubel. 
About  50%  of  total  revenues  derived  abroad.  Direc- 
tors own  about  27,000  shares  of  stock  11.2%  of  total  I. 


Employees:  4,000;  stockholders:  22,117.  Brd.  Chrmn., 
A.  Zukor,  Pres.,  B.  Balaban.  Inc.:  N.  Y.  Add.:  1501 
Broadway,   New  York  36,   New  York. 

Stock  traded:  NYSE 


BUSINESS:  Paramount  Pictures  Corp.  produces  and 
distributes  Class  A  motion  pictures  primarily.  Owns 
Vistavhion.  Operates  largest  theatre  chain  in  Canada. 
Holds  25%  interest  in  Du  Mont  Laboratories  as  well 
as   Du    Mont  Broadcasting   Corp.,   88%   interest  in  In- 

REPORT:  During  1956,  Paramount  devoted  much  of  its  efforts 
to  the  completion,  distribution  and  promotion  of  two  spectacu- 
lars— "War  and  Peace"  and  "The  Ten  Commandments ".  The 
importance  of  these  two  films  is  indicated  by  their  combined 
negative  costs  of  almost  $20  million,  an  investment  that  is  ordi- 
narily sufficient  to  produce  perhaps  a  dozen  "Class  A"  features. 
Because  they  were  not  released  until  the  latter  part  of  the  year, 
however,  these  two  pictures  contributed  only  nominally  to  last 
year's  results.  For  that  reason,  Paramount's  revenues  and  oper- 
ating earnings  both  declined  considerably  in  1956. 

The  returns  from  these  two  epics  will  probably  find  favorable 
reflection  in  this  year's  financial  results.  Thanks  to  an  unex- 
pectedly enthusiastic  acceptance  overseas,  "War  and  Peace"  has 
already  proven  to  be  a  highly  profitable  production.  Mean- 


while, "The  Ten  Commandments"  has  been  breaking  new  box- 
office  records  in  every  theatre  where  it  is  being  exhibited.  En- 
joying warm  support  from  various  church  and  educational 
groups,  this  picture  is  almost  certain  to  achieve  the  highest 
gross  for  a  single  picture  in  the  history  of  the  motion  picture 
industry. 

These  are  reasons  to  believe  that  Paramount  will  announce 
the  sale  of  its  pre-1948  feature  film  library  to  television  within 
the  next  few  weeks.  If  such  a  development  materializes,  we 
estimate  that  the  sale  would  net  the  company  some  $30  million 
(or  $15  a  share)  after  taxes.  While  the  company  might  retain 
a  portion  of  the  proceeds  for  general  corporate  use,  it  could 
conceivably  use  about  $20  million  to  reacquire  its  own  com- 


Page  16        Film  BULLETIN     May  27,  1957 


VALUE  LINE  ANALYSIS 


mon  stock  (either  on  the  open  market  or  through  an  invitation 
for  tenders),  thus  reducing  the  number  of  shares  outstanding 
to  about  1.5  million.  Each  of  the  remaining  shares  would  then 
have  a  25%  larger  equity  in  overall  profits. 

Within  the  hypothesized  1960-62  economic  environment, 
characterized  by  an  average  annual  disposal  income  of  $345 
billion,  we  project  Paramount's  average  annual  revenues  to 
SI 50  million,  earnings  to  $6.50  a  share  and  dividends  to  $3.30. 
Such  dividends,  capitalized  on  a  6%  yield  basis  to  accord  with 
past  norms  adjusted  for  trend,  would  command  an  average 
price  of  55  (8.5  times  earnings). 

ADVICE:  Paramount  Pictures  is  currently  classified  in  Group  II 


BUSINESS:  Twentieth  Century-Fox  produces  and  dis- 
tributes Class  A  feature  films  primarily.  Owns  Cine- 
mascope, a  wide  screen  projection  process  and  has  a 
50%  interest  in  the  recently  formed  Film  Network. 
Also  operates  theatre  chains  in  Africa,  Great  Britain, 

REPORT:  The  1956  annual  report  reveals  that  last  year,  Fox 
realized  no  profits  from  its  principal  business,  motion  picture 
production.  In  fact,  during  the  first  nine  months,  this  opera- 
tion resulted  in  a  loss  of  nearly  $1.2  million.  Fortunately,  a 
sharp  recovery  took  place  during  the  final  quarter  and  the 
overall  deficit  for  the  year  was  a  nominal  $100,000.  An  inter- 
esting situation  thus  exists  that  the  entire  $2.34  a  share  in  earn- 
ings reported  for  1956  was  derived  from  "secondary"  sources. 
These  include  the  following:  rental  of  old  films  for  telecasting; 
dividend  income  from  foreign  theatre  subsidiaries;  royalty  pay- 
ments from  oil  and  natural  gas  wells  on  the  company's  studio 
property  in  California. 

Most  of  these  "secondary"  sources  are  likely  to  make  larger 
contributions  to  overall  profits  this  year.  For  example:  (1)  In 
addition  to  the  more  than  $1  a  share  net  income  from  the 
leasing  of  television  rights  to  old  films,  Twentieth  Century-Fox 
may  share  some  of  the  profits  from  the  newly-organized  NTA 
film  network,  in  which  it  has  a  50%,  stock  interest.  Moreover, 
the  company  is  stepping  up  its  production  of  half-hour  filmed 
series.  Under  existing  contracts  with  television  networks,  it  is 
virtually  guaranteed  a  satisfactory  return  from  these  invest- 
ments. (2)  The  larger  number  of  oil  wells  operating  this  year 
should  also  provide  increased  royalty  income.  (3)  Enjoying 
expanding  business,  the  foreign  theatre  subsidiaries  will  prob- 


BISINESS:  Warner  Bros.  Pictures  produces  bolh  class 
A  and  class  B  films  distributed  throunh  film  exchanges 
located  in  principal  cities  throughout  the  world. 
Through  subsidiaries,  operates  a  music  publishing 
business  and  hold  a  37'/2%  interest  in  a  major  British 

REPORT:  For  the  three  months  ended  Dec.  1st,  the  first  quarter 
of  the  current  fiscal  year,  Warner  Bros,  reported  revenues  of 
$21.6  million  and  earnings  of  85c  a  share.  This  compares  with 
gross  income  of  $19.8  million  and  earnings  of  37c  a  share  (on 
a  34%  larger  common  capitalization)  in  the  corresponding 
period  a  year  earlier.  Although  the  overwhelming  success  of 
"Giant"  was  a  contributing  factor,  this  excellent  first  quarter 
showing  was  due  primarily  to  an  unusually  heavy  inflow  of 


(Underpriced).  If  the  company  should  declare  a  year-end  extra 
dividend  of  25c  to  50c  a  share,  as  we  believe  probable,  the 
stock  would  provide  a  yield  of  6.8%  to  7.6%,  far  superior  to 
the  average  return  afforded  by  all  dividend-paying  stocks  under 
survey.  To  the  years  1960-62,  this  issue  offers  an  appreciation 
potentiality  of  67%,  more  than  double  the  average  gain  pro- 
jected for  all  stocks. 

Paramount  Pictures  also  appears  attractively  priced  relative 
to  its  asset  value.  Should  the  sale  of  the  fully-amortized  film 
library  materialize  as  we  estimate,  the  prospective  net  capital 
gain  would  lift  the  stock's  book  value  to  at  least  $55.  At  33, 
therefore,  the  stock  is  currently  available  at  a  discount  of  no 
less  than  40%  from  its  liquidating  value. 


dent:  S.  P.  Skouras,  Vice  Presidents:  J.  Moskowitz, 
S.  C.  Einfeld,  W.  C.  Michel,  M.  Silverstone.  Incor- 
porated: Delaware.  Address:  444  W.  56th  Street,  New 
York  19.  New  York. 

Stock  traded:  NYSE. 

ably  remit  larger  dividends  to  the  parent  company. 

Meanwhile,  indications  are  that  Twentieth  Century-Fox  will 
realize  substantial  profits  from  its  principal  line  of  business. 
To  date  this  year,  pre-tax  earnings  from  the  production  and 
distribution  of  feature  pictures  have  already  exceeded  SI  mil- 
lion. With  the  second  half  seasonally  a  more  profitable  period, 
full  year's  profits  from  this  source  should  boost  overall  1957 
earnings  to  a  record  $3.50  a  share. 

Within  the  hypothesized  1960-62  economy,  we  project  Twen- 
tieth's average  annual  revenues  to  $150  million.  Earnings  are 
projected  to  $5  a  share  and  dividends  to  $2.65.  Such  dividends, 
capitalized  on  a  yield  basis  of  6%  to  accord  with  past  norms 
adjusted  for  trend  would  justify  an  average  price  of  44  (8.8 
times  earnings). 

ADVICE:  Twentieth  Century-Fox  is  currently  classified  in 
Group  II  (Underpriced).  Reflecting  the  possibility  of  a  year- 
end  extra  dividend  of  20c  to  40c  a  share,  the  estimated  current 
yield  ranges  from  6.9%  to  7.7%.  The  average  return  provided 
by  all  dividend-paying  stocks  is  calculated  at  only  5.1%.  To 
the  years  1960-62,  this  issue  offers  an  appreciation  potentiality 
of  69%,  compared  to  the  average  27%  gain  projected  for  all 
stocks.  While  not  suitable  for  investment-grade  portfolios, 
Twentieth  Century-Fox  appears  an  interesting  commitment  by 
risk-taking  accounts. 


Jack  L.  Warner,  Exec.  V.P..  Benjamin  Kalmenson.  Inc.: 
Delaware.  Address:  321  West  44th  Street  New  York 
36.  New  York. 

Stock  traded:  tJYSE. 

foreign  receipts  during  the  period.  Our  analysis  suggests  that 
the  second  quarter  report,  when  release,  will  show  very  disap- 
pointing results. 

Because  of  an  internal  reorganization,  preceded  by  manage- 
ment indecision  regarding  production  policy,  film-making  activ- 
ities in  the  company's  studies  were  abrutly  halted  in  the  middle 
of  last  year.  Only  a  small  number  of  pictures  were  started  in 

(Continued  on  Page  26) 


TWENTIETH  CENTURY-FOX 

Australia  and  New  Zealand.  Foreign  revenues  ac- 
count for  about  46%  of  receipts.  Labor  costs,  about 
65%  of  revenues.  Directors  own  or  control  about 
4%  of  total  outstanding  common  shares.  Company 
employs   about  9,000,    has    19,000   stockholders.  Presi- 


WARNER  BROS. 

theatre  chain.  About  40%  of  revenues  derived  in 
foreign  markets.  Payroll  absorbs  about  65%  of  reve- 
nues. Directors  control  about  500,000  shares  of  com- 
mon stock,  27%  of  total  outstanding.  Company  em- 
ploys about  4,000;   has   15,600  stockholders.  President 


Film  BULLETIN    May  27.  1957        Page  17 


THEY 

MADE  THE  NEWS 


Fox  president  Spyros  P. 
company1 s  stockholders  at 
Sew  )  ork,  May  21,  flunked  by 
sel  Otto  Koegel  (lejt)  and  secretary-treasurer 
Donald  Henderson. 

SPYROS  P.  SKOURAS  cited  the  "energetic 
and  capable  efforts"  of  20th  Century-Fox 
sales  head  Alex  Harrison  and  chief  of  the 
foreign  department  Murray  Silverstone  for 
the  sharp  increase  in  world-wide  film  rentals 
for  the  first  13  weeks  of  this  year:  $2,172,000 
($.82  per  share),  compared  to  $460,739 
($.17  per  share)  for  the  corresponding  pe- 
riod last  year.  Speaking  at  the  annual  stock- 
holders meeting,  the  dynamic  Fox  president 
declared  that  rentals  in  the  second  quarter 
are  "continuing  at  the  pace  achieved  in  the 
first  quarter".  However,  he  warned  that  "we 
must  face  realistically  the  conditions  con- 
fronting us."  "Other  observations:  The  prin- 
cipal problem  is  the  competition  of  tele- 
vision, and  in  order  to  combat  it,  we  must 
supply  better  entertainment  for  the  theatres, 
in  both  quality  and  quantity,  superior  to  free 
home  television  .  .  .  Theatre  attendance  has 
been  substantially  reduced,  and  we  must  try 
our  utmost  to  build  it  up,  because  the  future 
of  the  motion  picture  business  depends  upon 
the  prosperity  of  the  theatres."  Skouras  cred- 
ited the  old  films  on  television  with  making 
TV  audiences  appreciate  the  superiority  of 
movies.  Without  them  the  "appeal  of  tele- 
vision will  deteriorate"  as  the  public  will  de- 
mand the  "superior  entertainment"  of  mov- 
ies. Skouras  also  mentioned  the  four  deals 
made  with  National  Telefilms  Associates, 
distributors  of  films  to  TV,  covering  some 
237  pre- 1949  20th-Fox  films,  rented  on  a 
basis  of  $100,000  per  "A"  picture  and 
$50,000  per  "B"  film.  Negotiations  are 
underway,  he  said,  regarding  a  possible  com- 
bining of  physical  activities  with  MGM. 
Plans  are  afoot  to  develop  the  land  now 
housing  the  main  studio. 

0 

PARAMOUNT  earnings  for  the  first  quarter 
of  1957  showed  a  decided  dip  from  the  cor- 
responding period  in  1956.  Consolidated  net 
earnings  for  the  '57  quarter  were  put  at 
$1,299,000  ($.66  per  share),  against  $1,372,- 
000  ($.64  per  share)  for  the  comparable  '56 
period.  Latter  figure  does  not  include  $350,- 
000  ($.16  per  share)  obtained  from  the  sale 
of  film  shorts,  etc. 


Above.  United  Artists  executives  at  home  of- 
fice press  conference  on  latest  financial  report. 
From  /.:  v.p.  William  J.  Heineman.  board 
chairman  Robert  S.  Benjamin,  president  Ar- 
thur B.  Krim.  v.p.  Max  E.  Youngstein,  adver- 
tising director  Roger  11.  Lewis. 

ARBITRATION  and  conciliation,  those  two 
long-time  bugaboos  of  industry  harmony, 
give  every  indication  of  edging  closer  to 
actuality.  Though  the  meetings  recently  at- 
tended in  New  York  by  representatives  of 
TOA,  Allied,  ITO  and  the  MPA,  have  by  no 
means  completed  the  tasks  involved  in  work- 
ing out  an  arbitration-conciliation  plan,  the 
cooperative  attitudes  of  those  present  augurs 
well  for  the  eventual  completion  of  the  long- 
awaited,  much-needed  program.  The  confer- 
ence is  scheduled  to  re-convene  June  17  to 
continue  the  discussion  of  arbitration  and  to 
examine  the  issues  involved  in  the  arbitra- 
tion of  clearances,  runs,  etc.  The  initial  con- 
ference, which  began  May  14  at  the  MPA 
headquarters  in  New  York,  resulted  in  a 
unanimous  agreement  on  all  phases  of  a  con- 
ciliation program,  passing  finalization  on  to 
a  drafting  committee  of  Herman  Levy 
(TOA)  and  Adolph  Schimel  (MPA).  The 
Allied  representative  was  not  named.  The 
conference  also  agreed  on  a  number  of  arbi- 
tratable  subjects,  including  clearances  and 
runs,  and  named  a  committee  to  study  the 
arbitration  machinery:  Schimel,  Joseph  Al- 
terman  (TOA),  Wilbur  Snaper  (Allied).  On 
hand  for  these  initial  conferences:  from  Al- 
lied, president  Julius  M.  Gordon,  Wilbur 
Snaper,  counsel  Abram  F.  Myers,  Nathan 
Yamins;  from  TOA,  president  Ernest  Stel- 
lings,  Mitchell  Wolfson,  Simon  H.  Fabian, 
Hermany  Levy,  Albert  Pickus,  George  Kera- 
sotes;  ITO  president  Max  A.  Cohen;  MPA 
president  Eric  Johnston;  MPEA  executive 
vice  president  Ralph  Hetzel;  for  distribution, 
Abe  Montague,  Charles  M.  Reagan,  Robert 
J.  Rubin,  Adolph  Schimel,  George  Weltner. 

o 

JOSEPH  R.  VOGEL  had  some  bright  words 
about  M-G-M  last  week:  "Our  company  is 
both  strong  and  sound,  and  I  believe  that  all 
the  basic  changes  and  modernization  needed 
to  restore  it  to  a  position  of  greater  earnings 
and  better  performance  are  now  underway". 
The  Loew,  Inc.  president  was  speaking  be- 
fore a  meeting  of  the  New  York  Society  of 
Security  Analysts.  He  told  them  that  he  had 
slashed  overhead  costs  at  MGM  studios  by 
more  than  $2  million  a  year,  had  simultane- 
ously launched  a  program  to  increase  the  an- 
nual number  of  motion  picture  productions 
and  would  expand  the  company's  participa- 
tion in  television.  Every  division  and  sub- 
sidiary of  the  company  was  in  the  black  for 
the  first  half  of  fiscal  1957,  and,  said  Vogel: 
"We  are  carefully  watching  all  developments 
in  the  field  of  toll  television  .  .  .  We  are, 
however,  mindful  of  our  responsibility  to 
exhibitors  .  .  .  and  it  is  with  them  that  we 
hope  to  participate  .  .  .  The  main  part  of  our 
business  remains  the  production  and  distri- 
bution of  theatrical  motion  pictures." 


ARTHUR  B.  KRIM  had  nothing  but  good 
news  for  United  Artists  stockholders  in  his 
first  report  since  the  company  became  pub- 
licly-owned. UA's  grosses  for  the  final  six 
months  of  1957,  the  president  predicted,  will 
be  "substantially  greater"  than  the  same  pe- 
riod of  last  year,  when  the  yearly  total,  an 
all-time  high  for  the  company,  was  $64,771,- 
784.  World  gross  from  distribution  for  the 
first  19  weeks  of  1957,  Krim  reported,  totals 
$20,761,962  compared  to  $17,889,799  for  the 
corresponding  period  of  last  year.  An  addi- 
tional $5,000,000  is  anticipated  in  1957  from 
the  syndication  of  UA  films  to  television, 
which  last  year  brought  in' $2,000,000.  Krim 
described  the  upcoming  UA  product  as  "the 
strongest  program  of  motion  pictures  in  the 
history  of  the  company"  with  a  release  rate 
of  not  fewer  than  four  films  a  month.  He 
further  stated:  the  company  does  not  plan  to 
acquire  a  studio  for  production;  reaffiliation 
with  the  MPA  is  under  discussion;  a  stock 
option  plan  for  UA  executives  is  being  dis- 
cussed; the  first  stockholders  meeting  is 
planned  for  June  4;  there  are  from  2500  to 
3000  stockholders.  In  a  previous  statement, 
board  chairman  Robert  S.  Benjamin  an- 
nounced the  appointment  to  the  board  of  its 
first  two  outside  members:  Robert  W.  Dowl- 
ing  and  Robert  C.  Porter. 

0 

JACK  L.  WARNER  added  to  the  "bright, 
bright"  summer  prospects  with  a  sunny  War- 
ner Brothers  financial  report:  a  net  profit  of 
$2,630,000  for  the  first  six  months  of  the 
current  fiscal  year,  as  compared  with  $1,863,- 
000  for  the  corresponding  period  in  the  pre- 
ceding year.  And  further,  the  WB  president 
assured  stockholders  that  "prospects  appear 
promising  for  the  future  due  to  the  release 
of  many  important  pictures  already  com- 
pleted or  in  various  stages  of  production". 
Income  from  film  rentals,  etc.,  for  the  first 
half  of  the  current  fiscal  year:  $39,744,000 
compared  to  of  previous  period,  $37,537,000. 


Page  18       Film  BULLETIN     May  27,  1957 


THEY 


MADE  THE  NEWS 


GOLDENSON 


LEONARD  H.  GOLDENSON:  "The  outlook 
is  Good"  for  American  Broadcasting-Para- 
mount Theatres.  The  AB-PT  president  told 
stockholders  at  the  annual  meeting  in  New 
York  last  week  that  the  "key  problem"  in 
the  theatre  end  is  to  "create  conditions  in 
which  highly  appealing  pictures  will  be 
shown  in  fewer  but  better  theatres,  having 
all  the  facilities  necessary  to  attract  the  pat- 
ronage of  today  ...  As  progress  is  made  in 
this  direction  the  supply  of  quality  pictures 
in  relation  to  the  number  of  theatres  will 
come  into  balance  and  an  economically  har- 
monious relationship  will  be  established." 
In  line  with  company  policy,  AB-PT  con- 
tinues to  "re-evaluate  our  theatre  portfolio, 
and  to  dispose  of  those  properties  which  we 
feel  do  not  have  a  suitable  potential  as  the- 
atres; and  on  occasion  to  acquire  theatres 
which  do  have  such  potential,"  Goldenson 
stated.  AB-PT  currently  operates  545  the- 
atres which  it  hopes  to  reduce  to  450,  he 
revealed.  He  lashed  out  at  home-toll  tele- 
vision, asserting  that  the  public  would  be 
paying  for  entertainment  they  now  receive 
free.  Of  the  ABC  network,  the  president 
saw  great  potential  for  expansion.  AB-PT 
Pictures,  the  newly-formed  production  sub- 
sidiary, has  a  tentative  schedule  of  "six  ex- 
ploitable pictures,  brought  in  at  a  reason- 
able budget",  Goldenson  informed  the  stock- 
holders. 

o 

WALT  DISNEY  continues  to  follow  the 
prosperity  road.  Latest  financial  figures  for 
his  Walt  Disney  Productions:  net  profit  for 
the  six  months  ended  March  30,  1957,  of 
51,532,391  (S1.03  per  share)  compared  with 
S1,418,850  (SI. 09  per  share)  in  the  corre- 
sponding period  last  year.  According  to 
president  Roy  Disney,  earnings  for  the  sec- 
ond six  months  "are  expected  to  equal,  or 
slightly  exceed,"  those  of  the  first  six. 


SIDNEY  FRANKLIN's  appointment  as  asso- 
ciate to  MGM's  production  head  Benjamin 
Thau,  announced  last  week  by  Low's  presi- 
dent Joseph  R.  Vogel,  brought  forth  new 
speculation  about  further  personnel  changes 
at  the  Metro  studio.  The  announcement 
characterized  the  appointment  as  a  "further- 
ance of  the  studio's  plan  to  bring  to  the 
screen  stories  of  the  calibre  and  importance- 
identified  with  his  achievements  for  many 
years",  but  some  observers  believe  that 
Vogel  wishes  to  create  production  strength 
"in  depth",  and  that  the  committee  named  to 
assist  Thau  has  not  proved  practicable. 
Among  Franklin's  hits  as  producer  and  di- 
rector: "Mrs.  Miniver",  "The  Good  Earth ". 

0 

PHILIP  HARLING  lashed  back  at  Motion 
Picture  Association  president  Eric  Johnston 
for  his  recent  statement  that  "subscription 
television  could  prove  helpful  to  everybody". 
The  co-chairman  of  the  Committee  Against 
Pay-As-You-See-Television  dismissed  John- 
ston's remark  as  having  "absolutely  no  foun- 
dation behind  it".  Harling  asked:  "when  it 
was  necessary  for  all  segments  of  the  enter- 
tainment industry  to  stand  up  and  be 
counted,  where  was  Johnston  when  the  hear- 
ings were  held  in  Washington  on  this  very 
important  issue  concerning  the  customers  of 
his  clients." 

0 

AL  DAFF  pooh-poohed  the  so-called  "decline 
of  Hollywood".  It  is,  he  said,  "absolute 
bunk".  The  LIniversal  executive  vice  presi- 
dent, in  a  speech  made  last  week  at  U-I's 
1957  European  Sales  Conference  in  Rome, 
said  that  "all  this  talk  of  the  decline  of 
Hollywood  is  merely  the  decline  of  some 
companies  due  in  most  cases  to  unfortunate 
company  circumstances.  There  is  no  more 
decline  in  Hollywood  than  there  is  in  the 
film  production  of  France,  Germany,  Italy 
and  England".  Seventy  per  cent  of  the 
world's  screen-time  is  devoted  u\  Hollywood- 
made  pictures,  Daff  pointed  out.  On  the 
overseas  film  situation,  he  said  that  "the 
protection  and  subsidization  of  any  country's 
film  industry  by  its  government  does  not 
guarantee  quality  product  nor  does  it  guar- 
antee public  acceptance  of  pictures  made 
this  way.  You  cannot  legislate  quality  or 
should  incompetence  be  supported." 


HEADLINERS... 


A.  H.  BLANK,  founder  and  president  of 
Tri-States  Theatre  Corp.,  Des  Moines,  to 
retire  from  active  management  of  the  com- 
pany July  I.  Announcement  made  by  ED- 
WARD L.  HYM AN,  vice  president  of  AB- 
PT,  parent  of  Tri-States.  A.  D.  ALLEN  and 
WOODROW  R.  PRAUGHT  will  serve  as 
co-general  managers  of  the  organization  .  .  . 
United  Artists  board  chairman  ROBERT  S. 
BENJAMIN  honored  at  the  annual  United 
Jewish  Appeal  luncheon  of  the  motion  pic- 
ture and  amusement  industries,  May  23  in 
New  York.  LEON  GOLDBERG,  I  A  vice 
president  and  1957  chairman  of  the  trade 
drive  for  UJA,  presided  .  .  .  ALFRED  W. 
SCHWALBERG,  industry  veteran  and  re- 
cently head  of  his  own  firm,  Artists-Pro- 
ducers Associates,  Inc.,  joined  National  Tele- 
films Associates.  He'll  be  responsible  for 
operations  of  NTA  Pictures,  Inc.,  NTA  the- 
atrical distribution  arm  .  .  .  Comedian  SID 
CAESAR  and  former  NBC  board  chairman 
SYLVESTER  L.  (PAT)  WEAVER  to  team 
up  for  motion  picture  production,  some  of 
the  films  to  star  Caesar  .  .  .  Loew's  president 
JOSEPH  R.  VOGEL  announced  appointment 
of  Arthur  Andersen  &  Company,  certified 
public  accountants,  to  make  a  review  and 
recommendation  concerning  effective  ac- 
counting procedures  .  .  .  National  Theatres 
executives  FRANK  H.  RICKETSON,  JR., 
and  ROBERT  W.  SELIG  lending  their  sup- 
port to  the  famed  Central  City  Opera  House 
Association,  producers  of  the  summer  the- 
atre-opera festival  at  historic  Central  City, 
Colorado.  Ricketson  is  president,  Selig  vice 
president,  of  the  organization  .  .  .  Paramount 
ad-pub  vice  president  JEROME  PICKMAN 
a  London  visitor  attending  company's  sales 
and  promotion  seminar  planning  European 
release  of  DeMille's  "The  Ten  Command- 
ments" .  .  .  American  International  president 
JAMES  H.  NICHOLSON  in  London  super- 
vising production  of  AIP's  first  foreign- 
made  film  "The  Cat  Girl"  .  .  .  B.  G. 
KRANZE,  vice  president  of  Stanley  Warner 
Cinerama,  taking  a  month's  look  at  Cinerama 
operations  and  opportunities  in  Europe  .  .  . 
Exhibitors  from  Alaska  to  the  Rocky  Moun- 
tain states  joining  20th-Fox's  six  western 
branches  in  the  five-week  "Herman  Wobber 
Golden  Jubilee",  testimonial  to  the  western 
division  manager's  50  years  of  service  to  the 
industry.  At  the  same  time  Fox  sales  head 
ALEX  HARRISON  revealed  Wobber  s  deci- 
sion to  retire  July  1.  Wobber  will  continue 
with  the  company  in  an  advisory  capacity 
.  .  .  United  Artists  sales  topper  JAMES  R. 
VELDE  and  eastern  and  southern  division 
manager  MILTON  E.  COHEN  on  hand  re- 
cently to  officially  open  new  Charlotte,  N.  C, 
exchange  .  .  .  Honorary  committee  for  June 
19  testimonial  dinner  to  be  given  by  the 
Will  Rogers  Memorial  Hospital  for  its  pres- 
ident ABE  MONTAGUE:  BARNEY  BALA- 
BAN,  HARRY  COHN,  LEONARD  A. 
GOLDENSON,  ARTHUR  B.  KRIM,  ERIC 
JOHNSTON,  SPYROS  P.  SKOURAS, 
JOSEPH  R.  VOGEL,  among  other  industry 
executives  .  .  .  The  Hospital  announced  it 
will  combine  its  two  annual  drives,  the  Audi- 
ence Collection  and  the  Christmas  Salute 
drives,  both  to  begin  on  August  7  .  .  .  Stan- 
ley Warner  executives  from  the  Newark 
home  office,  and  S-W  theatre  managers, 
joined  in  a  farewell  luncheon  for  FRANK 
COSTA,  retiring  as  manager  of  the  Warner 
Theatre,  Ridgewood,  N.  J.  after  28  years. 
RANDY  WOOD,  president  of  Dot  Records, 
elected  a  vice  president  of  Paramount  Pic- 
tures. Dot  is  now  a  wholly  owned  subsid- 
iary of  Paramount  .  .  .  MARTIN  FRIED- 
MAN named  United  Artists  master  print 
booker  according  to  sales  head  JAMES  R. 
VELDE  .  .  .  EARLE  JAMESON,  JR.,  of 
Kansas  City,  elected  to  the  board  of  Na- 
tional Film  Service,  Inc.,  replacing  his  late 
father,  Earle,  Sr.  .  .  .  DIED:  ERICH  von 
STROHEIM,  71,  long-time  director,  actor, 
unexcelled  portrayer  of  German  army  officers, 
of  cancer,  at  his  home  near  Paris. 


Film  BULLETIN    May  27,  1957        Page  1? 


Six-Unit  Trailer  Package 
To  Pre-Sell  UA's  "Saint  Joan' 


MPAA  SETS  UP  FUND  TO  START 
BUSINESS-BUILDING  PROGRAM 


A  package  of  six  trailers — five  3-minute  units 
and  one  20-minute  dramatic  documentary — is 
being  utilized  by  United  Artists  to  pre-sell  Otto 
Premingers  "Saint  Joan".  The  trailers,  specifi- 
cally designed  to  effect  audience  penetration  in 
depth,  are  to  be  shown  throughout  the  U.  S. 
and  Canada  as  part-and-parcel  of  a  hard-sell 
campaign  to  acquaint  theatre-goers  with  the  UA 
filmization  of  the  George  Bernard  Shaw  classic. 

Titled  "The  Making  of  a  Movie",  the  series 
of  six  trailers  is  unique  in  that  they  do  not  rely 
on  the  conventional  trailer  format  of  scenes  and 
selling  copy.  Instead,  the  3-minute  subjects  each 
feature  a  "Joan"  star  discussing  various  behind- 
the-scenes  activities  related  to  the  production  of 
the  film.  The  concluding  20-minute  king-size 
trailer  details  every  phase  of  the  Preminger  opus 
— from  his  round-the-world  talent  quest  for  a 
new  "Joan"  to  the  final  cutting  and  editing. 

To  obtain  maximum  impact  for  the  trailers 
United  Artists  has  evolved  three  basic  plans  for 
showing  the  package.   A  6-week  plan  calls  for 


At  a  press  preview  of  "Saint  Joan"  multiple 
trailer  project.  From  left:  Burton  Robbins,  v.  p. 
National  Screen  Service;  Roger  H.  Lewis,  UA 
national  director  of  advertising,  publicity  and 
exploitation;  NSS  president  George  Oembow. 


showing  five  successive  weeks  of  the  3-minute 
"shorties"  following  up  with  the  20-minute  film 
on  the  week  prior  to  play-date.  The  same  pat- 
tern is  followed  by  split-week  houses  over  a 
3-week  period,  while,  in  the  third  plan,  two 
trailers  are  doubled-up  for  each  program. 

To  be  serviced  by  National  Screen  Service, 
the  complete  package  will  be  available  to  ex- 
hibitors at  the  regular  single  trailer  price.  The 
importance  of  the  trailers  in  the  selling  of  the 
film  will  be  spotlighted  by  a  UA  direct  mail 
campaign  of  17,000  brochures  to  theatremen 
everywhere  and  by  a  NSS  trade  campaign. 

Floating  Premiere  for  'Affair' 

20th  Century-Fox  and  American  Export  Lines 
have  set  an  around-the-world  tie-up  to  pre-sell 
the  C.  Grant-D.  Kerr  starrer,  "An  Affair  to 
Remember".  Climax  of  the  promotion  will  be 
a  festive  world  premiere  to  be  held  July  11 
aboard  the  S.  S.  Constitution  in  N.  Y.  harbor. 
Included  in  the  co-op  are  national  magazine  ads 
in  consumer  and  travel  publications,  plus  point- 
of-sale  counter  cards  and  window  displays  in 
the  hundreds  of  "export"  offices  the  world  over. 


The  Motion  Picture  Association  board  of  di- 
rectors last  week  gave  the  go-ahead  signal  to 
the  11-point  business-building  plan  set  up  by 
the  Advertising  and  Publicity  Directors  Com- 
mittee in  collaboration  with  representatives  of 
COMPO. 

The  directors  approved  funds  for  the  pro- 
gram's initial  phase,  a  total  of  $375,000,  of 
which  $100,000,  to  be  put  up  entirely  by  the 
film  companies,  will  be  used  to  set  up  New- 
York  and  Hollywood  offices  to  carry  out  MPAA 
duties  related  to  the  promotional  project.  The 
remaining  $275,000  will  be  contributed  by 
COMPO.  Still  under  discussion  is  the  method 
of  raising  the  full  sum  necessary  to  finance  the 
entire  program. 

According  to  Johnston  and  Roger  H.  Lewis, 
chairman  of  the  advertising-publicity  directors 
committee,  the  $275,000  to  be  put  up  by 
COMPO  will  be  expended  in  the  following 
manner:  $150,000  for  the  1958  Academy  Award 
Sweepstakes;  $75,000  for  the  Audience  Awards 

Jack  Webb  Says  Pi.  Tours 
Act  As  Boxoffice  Catalyst 

"Getting  back  to  real  showmanship"  in  the 
selling  of  a  motion  picture  means  personal  pro- 
motion by  the  people  involved  in  its  produc- 
tion, asserted  Jack  Webb,  triple-threat  producer- 
director-star  of  Warners  forthcoming  release, 
"The  D.  I.",  at  a  recent  N.  Y.  press  conference. 

Citing  promotional  participation  by  producerc, 
directors  and  stars  as  the  key  to  increased  and 
bigger  grosses,  Webb  offered  as  proof  of  the 
effectiveness  of  p.  a.  drumbeating  tours  his  own 
experience  with  his  first  two  features.  Webb 
revealed  that  on  his  last  film,  "Pete  Kelly's 
Blues",  he  visited  forty-one  cities  in  thirty-two 
days  to  hypo  interest  in  local  play-dates.  When 
he  made  in-the-flesh  appearances  for  "Dragnet" 
in  Chicago,  the  Warner  release  set  a  new  open- 
ing day  record  at  the  Chicago  Theater.  Each  of 
these  films,  he  said,  will  gross  about  $5  million 
in  the  domestic  market. 

Following  thru  on  this  tack,  Webb  is  now  in 
N.  Y.  on  a  twelve  day  visit  for  his  newest  Mark 
VII  production,  after  which  he  will  trek  to  Chi- 
cago for  the  world  debut,  then  on  to  Detroit. 

Value'  Book  Tie-Up 

In  a  far-reaching  "read  the  book — see  the 
movie"  promotion,  Metro-Goldwyn-Mayer  and 
Pocket  Books,  Inc.  have  teamed  together  to  sell 
"Something  of  Value"  to  booklovers  and  the- 
atregoers. The  paperback  publisher  is  pushing 
the  tie-up  via  six  different  types  of  mailing 
pieces  to  every  conceivable  type  of  book  outlet 
— drug  stores,  candy  stores,  bus  and  railroad 
stations.  Among  the  mailing  pieces:  truck  pos- 
ters, window  streamers,  rack  cards  and  date 
bulletins. 


campaign;  $12,000  for  the  production  of  a  fea- 
turette  spotlighting  the  importance  of  motion 
pictures  and  theatres;  $5,000  for  a  research  study 
in  Denver,  Colo,  to  test  the  effectiveness  of 
radio  promotion;  $25,000  for  a  public  relations 
program  directed  to  newspapers  and  magazines, 
and  the  balance  for  miscellaneous  purposes. 

It  was  also  pointed  out  that  some  parts  of 
the  program  will' be  conducted  by  MPAA,  while 
other  portions  would  be  conducted  in  coopera- 
tion with  COMPO.  Who  would  handle  which 
facets  of  the  program  was  not  revealed  at  the 
meeting. 

In  voicing  approval  of  the  program,  Johnston 
stated:  "This  represents  a  vote  of  confidence  in 
the  future  of  this  industry.  We  feel  it  will  help 
immeasurably  in  bringing  home  constantly  to 
the  American  public  and  to  audiences  the  world 
over  the  fact  that  motion  pictures  in  motion 
picture  theatres  are  the  most  rewarding  form  of 
entertainment." 


4k-  In  Boston  showman  Karl  Fasick  brain- 
stormed  a  bit  to  come  up  with  this  winning 
street  ballyhoo  stunt  for  Columbia's  "Abandon 
Ship"  when  it  played  Loew's  State  and  Or- 
pheum.  Carrying  a  life  preserver,  the  pretty 
model,  dressed  in  a  becoming  sailor's  suit  at- 
tracted plenty  of  glances,  even  in  staid  Bean- 
town.  Here  she  looks  at  a  store  display  involv- 
ing a  national  tie-up  Columbia  had  set  with 
Hallicrafters  on  a  radio  contest  plugging  film. 

Arriving  at  the  Paris  Opera  for  the  benefit 
world  premiere  of  "Saint  Joan,"  Jean  Seberg, 
unknown-turned-star,  is  greeted  affectionately 
by  master  of  ceremonies  Bob  Hope.  Looking  on 
are  French  comic  Fernandel  and  Otto  Preminger, 
producer-director  of  the  film. 


Page  20       Film  BULLETIN    May  27,  1957 


Across  the  top:  (1)  Jean  Seberg,  "Saint  Joan"  star,  at  Astor  Theatre  press  preview  with,  from 
left,  Al  Tamarin,  assistant  UA  ad-publicity  chief;  Astor  manager  Bernard  Kagan,  UA  publicity 
head  Morr  Nathanson.  (2)  In  'Frisco,  the  new  Taircn,  Gordon  Scott  and  the  chimp  Cheeta, 
make  new  fans  for  MGM's  "Tarzan  and  the  Lost  Safari".  (3)  The  star  of  "The  Prince  and  the 
Showgirl",  Radio  City  Music  Hall's  Russell  Downing  and  Warner  v. p.  Bob  Taplinger  discusses 
plans  for  world  premiere  to  benefit  Babies'  Free  Milk  Fund.  (4)  Barney  Ross  (seated  before 
mirror)  at  Chicago  editors-theatremen  luncheon  prior  to  "Monkey  On  My  Back"  world  premiere. 


20th-Fox  execu-  » 
tive  Charles  E  i  r.  - 
feld  and  Terry 
Moore,  star  of 
"Bernardine",  at 
the  Roxy  "Big 
Show"  screening  of 
20th's  program. 


They9re  Out  Pluggiwug  Films! 


The  lineup  of  stars  and  prominent  industry 
people  around  this  page  are  seen  in  various 
phases  of  selling  movies  and  moviegoing.  This 
is  typical  of  the  accelerated  picture  plugging  as 
the  warm  weather  signals  a  fresh  flow  of  qual- 
ity product.  Stunts  and  p.a.'s  are  the  order  and 
the  forms  they  take  are  as  varied  as  the  pic- 
tures. Marilyn  Monroe  at  a  distinguished  gath- 
ering setting  plans  for  a  benefit  premiere;  a 
half-naked  bronzed  Tarzan  and  a  monkey  bring- 
ing gapers  to  theatre  lobbies;  a  drawling  Andy 
Griffith  handing  homespun  homilies  to  Univer- 
sity students;  the  hero  of  a  dope  film  winning 
friends  in  the  press — offer  a  kaleidoscope  of 
showmanship.  Whether  its  in  the  studio,  in  the 
theatre,  on  the  street,  or  in  paneled  lush  offices, 
they're  out  plugging  pictures  again! 

Rhoden  Keys  Up  C  of  C 
Urges  'Go-Out'  Campaign 

The  public  isn't  the  only  target  for  industry 
plugs,  Elmer  Rhoden  proved  as  the  principal 
speaker  at  a  Kansas  City  Chamber  of  Commerce 
meeting.  Brimming  with  optimism  as  he  ad- 
dressed an  overflow  crowd  of  business  people, 
the  National  Theatres  president  promised  that 
the  history  of  the  movie  industry  is  "yet  to  be 
written",  that  the  direction  of  movie  business 
is  up.  He  dwelt  especially  on  the  importance 
of  business  people  actively  helping  to  get  the 
public  out  of  the  house,  because  only  a  going- 
out  public  is  a  buying  public.  The  stay-at- 
homers,  Rhoden  stressed,  are  just  as  harmful  to 
the  businessman  as  to  the  theatre.  The  business- 
men listened — and  applauded. 

v>3 


MERCHANDISING  & 


EXPLOITATION  DEPARTMENT 


Theatremen's  Huzzas  Greet 
'Big  Show'  Product  Display 

They  loved  "The  Big  Show"  and  its  happy 
promise  in  the  South — and  the  North,  East  and 
West.  That  was  the  concensus  of  thousands  of 
exhibitors  who  came  to  41  cities  to  witness  the 
lavish  sampling  of  forthcoming  20th  Century- 
Fox  product  that  is  now  and  will  soon  be  avail- 
able to  their  theatres. 

Typical  of  the  comments: 

"Showmanship  at  its  very  best.  The  audience 
was  captivated,  excited  and  stimulated  .  .  ." — 
Robert  W.  Selig,  Fox  Inter-Mountain. 

"Tremendously  impressed  .  .  .  20th-Fox  is  to 
be  congratulated  for  their  leadership  in  the  in- 
dustry."— Jack  Kirsch,  Allied  of  Illinois. 

"The  best  answer  possible  to  those  who  are 
trying  to  belittle  our  indusry." — Harry  Mandel, 
RKO  Theatres. 

"Wonderful  demonstration  of  confidence  in 
the  future  of  the  motion  picture  industry." — 
Rex  Young,  Y  &  W .  Circuit,  Indianapolis. 

"More  Companies  and  industries  should  do 
this  and  show  it  to  the  public." — A.  R.  Boyd, 
Boyd  Theatres. 

Obviously  20th  Century-Fox  has  not  only  the 
goods — it  has  made  up  a  scintillating  sample 
case  from  which  to  sell. 


4  New  York  showman  Harry 
Goldstein  gives  last-minute 
check  to  float  —  and  model  — 
which  toured  Manhattan  to  com- 
pound interest  for  MGM's  "The 
Living  Idol"  at  the  Globe. 

[More  SHOWMEN  on  Page  22] 


"The  D.I."  sounds 
off  at  Warner 
home  office  as  the 
trade  press  inter- 
views star-producer 
Jack  Webb,  on  his 
first  visit  to  N.  Y. 
on  behalf  of  a 
movie. 


Julie  Wilson,  fea- 
tured torch  singer 
in  MGM's  "This 
Could  Be  The 
Night",  chats  with 
WMGM's  Jerry 
Marshall  on  Loew's 
State  stage  in  N.Y. 
during  series  of 
special  sneaks  for 
disc  jockeys 
throughout  nation. 


Out  on  a  17-city 
tour  of  WB's  "A 
Face  in  the 
Crowd",  Andy 
Griffith  talks  to 
Boston  University's 
All-Sports  night 
crowd — one  of  the 
new  star's  multi- 
tude of  personal 
appearances. 


Doris  Day,  who 
stars  in  Para- 
mount's  "Teacher's 
Pet"  pulls  a  win- 
ner's name  out  for 
producer  William 
Perlberg  in  chuck- 
a-luck  game,  part 
of  the  studio's  fes- 
tivities for  150 
newsmen  invited 
from  all  over  the 
country  to  play 
role  in  the  film. 


Film  BULLETIN    May  27,  1957        Page  21 


Ted  Galanter  Hits  Road 
To  Tell  Press  About  'Eagels' 

George  Sidney,  producer  of  Columbia's  forth- 
coming "Jeanne  Eagels"  is  sending  bally  man 
Ted  Galanter  on  an  intensive  eight-week  drum- 
beating  safari  to  spread  the  good  word  to  news- 
paper editors  and  radio-television  executives. 
Object  of  the  eight  week  promotional  tour:  to 
acquaint  fourth  estaters  with  the  newsworthy 
facets  of  the  Kim  Novak-Jeff  Chandler  starrer, 
and  grab  some  of  that  hard-to-get  space. 

Sidney's  special  emissary  will  concentrate  on 
"winning  friends  and  influencing  people,"  thus 
clearing  the  road  for  the  regular  "hard"  pro- 
motion to  be  handled  by  Columbia  exploiteers 
when  the  film  is  released,  sometime  this  sum- 
mer. Among  the  cities  on  the  Galanter  itinerary- 
are  New  Orleans  and  Miami  in  the  South;  Chi- 
cago and  Detroit  in  the  Midwest;  Washington, 
Boston  and  Buffalo  in  the  East.  The  exploiteer 
will  also  visit  Canada. 

Louisiana  'Tammy'  Search 
Hypos  Interest  in  Premiere 

As  part  of  the  June  6th  world  premiere  cam- 
paign for  "Tammy  and  the  Bachelor",  Univer- 
sal, in  cooperation  with  Louisiana  civic  officials, 
are  conducting  a  state-wide  search  for  a  lovely 
lass  "who  best  typifies  the  spirit  of  the  central 
character  played  by  Debbie  Reynolds"  in  the 
CinemaScope-Technicolor  comedy. 

Joining  Universal  in  the  quest  are  the  Pont- 
chartrain  Beach  Park  and  the  New  Orleans 
Item.  Both  of  these  parties  are  throwing  con- 
siderable promotional  forces  into  the  search — 
the  Park  via  television,  radio  and  newspaper 
ads,  and  the  newspaper  with  contest  stories  and 
entry  blanks.  The  winner  will  be  chosen  at  the 
amusement  center  on  May  30,  six  days  before 
the  gala  debut,  with  an  expected  Memorial  Day 
crowd  of  25,000  looking  on.  Besides  taking  part 
in  the  premiere  program,  the  "Tammy"  winner 
will  help  launch  the  more  than  60  pre-release 
dates  breaking  in  the  territory  on  the  debut 
date.  Accompanying  the  girl  on  a  drumbeating 
trek  of  key  Louisiana  cities  will  be  Charles  A. 
Simonelli,  Jr.,  Universal  publicist. 

HflflU 


tWo  tawtt  FidnoHTHRiLLrts " 
Attack  of  the  Crab  Monsters 
NOT  OF  THIS  EARTH 


Paramount  Makes  Foreign  Car 
Tie-up  for  Tunny  Face'  Dates 

Capitalizing  on  the  growing  trend  toward 
foreign  automobiles,  Paramount  Pictures  has 
set  an  exploitation  tie-up  with  the  U.  S.  distrib- 
utors of  Isetta,  the  three-wheeled  import  from 
West  Germany.  The  car,  featured  in  several 
scenes  of  "Funny  Face",  the  Audrey  Hepburn- 
Fred  Astaire  starrer,  will  be  made  available  by 
Isetta  dealers  to  theatremen  for  such  stunts  as 
street  promotions,  lobby  displays,  parades,  news- 
paper contact  work  and  television  appearances. 
Supplementing  the  gimmick  phase  of  the  tie-up, 
Isetta  dealers  are  sponsoring  newspaper  and 
magazine  ads  in  every  major  market  area  of  the 
United  States,  all  keyed  to  the  VistaVision-Tech- 
nicolor  musical. 

Make  "Father's  Day'  Pay 
Off  at  Boxoff ice,  Says  Mack 

Irving  Mack,  that  showmanship  man  from 
Filmack  Trailer  Co.,  has  come  up  with  a  batch 
of  promoitonal  ideas  to  help  sell  "Fathers'  Day" 
as  a  money-making,  movie-going  holiday.  Citing 
the  fact  that  the  occasion  is  growing  by  leaps 
and  bounds  in  the  eyes  of  merchants,  he  strongly 
urges  theatres  to  hop  on  the  bandwagon  for 
extra  ticket  sales  and  profits. 

Here  are  a  few  of  the  suggestions  featured  in 
the  June  issue  of  Filmack's  sales  catalogue: 

A  merchant's  tie-up  trailer  featuring  all  the 
retailers  catering  to  men;  such  as  men's  wear 
shops,  auto  supply  stores,  barbers,  smoke  shops 
and  any  number  of  others. 

Present  the  first  one-hundred  "pops"  attend- 
ing the  "Fathers'  Day"  show  with  free  cigars 
courtesy  of  a  local  merchant.  All  that  it  costs 
the  theatre  is  some  free  screen  ads. 

Hold  a  contest-search  for  the  youngest  father 
in  town,  the  oldest  dad,  or  possibly  even  both, 
again  with  merchant-promoted  prizes  used  ot 
advertise  the  event. 

Gift  books  can  be  utilized  as  a  suitable  pres- 
ent for  "that  man"  with  the  sales  pitch  being 
that"  it's  a  gift  he'll  really  appreciate. 


4  Florida  State's  Coral  and 
Paramount  Theatres  came  up 
with  a  lulu  of  a  "Terrorama" 
to  ballyhoo  Allied  Artists' 
!  terror  combo,  "Not  of  this 
;  Earth"  and  "Attack  of  Ihe 
I  Crab  Monsters".  The  Florida 
;  kids  are  posing  with  a  make- 
j  believe  monster,  made  up  by 
a  local  exterminating  com- 
pany by  putting  some 
"makeup"  on  a  foreign  auto. 


-A-  By  adding  a  touch  of  oriental  glamour  to 
the  "China  Gate"  world  premiere  festivities  at 
San  Francisco's  Fox  Theatre,  20th  Century-Fox 
turned  out  one  of  the  most  exciting  openings  in 
the  Golden  Gate  City's  colorful  history.  Shown 
above  are  a  group  of  Chinese  children  perform- 
ing some  dances  in  front  of  the  theatre.  Pre- 
ceding the  debut,  a  street  parade,  featuring 
Chinatown's  famed  two-block  long  dragon, 
was  held  for  the  residents  of  San  Francisco. 


Columbia  Sets  NBC-Radio  Drive 
To  Stoke-Up  Tire  Down  Below' 

"Fire  Down  Below"  will  receive  an  intensive 
spot  announcement  campaign  over  the  186 
radio   stations    of    the   National  Broadcasting 


Shaking  hands  on  'Fire'  radio  deal: 
Lazarus  and  Culligan,  flanked  by  Sid- 
new  Schafer,  Columbia  media  director 
(left),  and  Lloyd  Seidman  of  Dona- 
hue &  Coe  ad  agency. 

Company.  The  time  buy,  jointly  announced  by- 
Paul  N.  Lazarus,  Jr.,  Columbia  vice  president, 
and  NBC  v. p.  Matthew  J.  Culligan,  calls  for  a 
June  10-13  saturation  drive  that  will  break  con- 
currently or  in  advance  of  most  major  key  city 
dates.  In  addition  to  the  spot  announcements, 
editorial-type  material  will  be  used  on  several 
selected  programs.  Among  the  shows  scheduled 
for  the  Warwick  production:  "Monitor,"  "Band- 
stand," "People  Are  Funny,"  "Nightline". 

Commonwealth  Circuit  Alerts 
Managers  to  Sell  School  Shows 

With  the  end  of  the  school  year  rapidly  ap- 
proaching, "The  Messenger,"  house  organ  of 
the  Commonwealth  Circuit,  alerts  its  managers 
to  the  opportunity  of  bringing  in  extra  revenue 
with  school  shows.  The  mid-western  chain 
gives  out  w  ith  a  few  money-making  pointers  on 
how  to  cash  in  on  this  lucrative  market.  Here 
are  a  few  of  the  "Messenger's  suggestions: 

Invite  graduation  classes  to  attend  a  special 
showing  of  their  favorite  film  at  a  special  group 
price,  or  at  regular  show  ings. 

Join  with  local  merchants  to  sponsor  free 
movies  as  graduation  gifts  to  t.'ie  local  young- 
sters graduating  from  school. 

Celebrate  the  end  of  classes  with  a  special 
"School  is  Out"  show,  offering  reduced  prices. 

Hold  a  "school  is  out"  show  for  teachers, 
with  prizes  promoted  from  local  merchants. 


Page  22       Film  BULLETIN    May  27,  1957 


"The  Prince  and  the  Showgirl" 

Su4UtC44  1£*tCH$  GOO 
Marilyn  aglow  in  amusing  comedy.    Highly  exploitable. 
Caviar  for  the  general  market;  rural  response  doubtful. 
Monroe-Olivier  a  catch-all  audience  combination. 

Marilyn  Monroe  may  never  get  to  play  Grushenka,  but  she 
is  having  a  ball  in  Belgrave  Square  via  this  Warner  Brothers' 
comech -romance.  The  Monroe  name  alone  would  insure  sub- 
stantial grosses,  but  when  teamed  with  the  celebrated  actor, 
Sir  Lawrence  Olivier,  you  have  an  unbeatable  catch-all  com- 
bination for  the  marquee.  With  proper  exploitation,  this  friv- 
olous romantic  comedy  could  gain  admittance  to  the  season's 
"400''  of  top  money-makers.  It  certainly  figures  to  prove  highly 
marketable  in  all  but  deep  rural  areas.  Marilyn  proves  once 
again  that  she  is  becoming  an  expert  comedienne,  which  she 
does  in  many  moments  in  what  is  really  a  powder-puff  about 
an  American  chorus  girl  and  an  on-the-make  Balkan  Regent  in 
1910  London.  Sir  Laurence  is  somewhat  restrained,  appearing 
at  times  to  strain  too  hard  for  impeccability,  but  together  they 
play  beautifully,  tossing  the  bon  mots  of  Terrence  Rattigan's 
script  back  and  forth,  with  impudence  and  relish.  "The  Prince 
and  The  Showgirl"  is  loaded  with  still  other  assets:  eye-filling 
costumes,  some  of  which  cling  in  the  traditional  skin-tight  man- 
ner to  Miss  Monroe;  gorgeous  sets  by  Roger  Furse;  Jack  Car- 
diff's standout  photography;  dazzling  Technicolor;  the  deft  and 
and  daft  grand  dame  stylizing  of  Dame  Sybil  Thorndike  as  the 
Dowager  Queen.  Sir  Laurence's  direction  has  finesse.  The 
slight  plot  has  Marilyn  as  a  showgirl  who  comes  to  London  and 
becomes  the  amorous  target  of  Sir  Laurence.  Though  at  first 
wittily  resisting  his  amorous  advances,  she  eventually  falls  in 
love  with  him,  then  must  induce  what  she  once  parried.  Along 
the  way  she  helps  him  reestablish  an  understanding  relationship 
with  his  son,  the  boy-king. 

Warner  Brothers.  117  minutes.  IMarilyn  Monroe  Productions).  Marilyn  Monroe, 
Sir  Laurence  Olivier.  Dame  Sybil  Thorndike.  Produced  and  directed  by  Sir 
Laurence  Olivier. 

"The  27th  Day" 

SutiKCM,  IQatcKf  O  PUis 

Complex  science-fiction  charade  with  all  the  stock  ingredi- 
ents. Strictly  for  space  ship  addicts. 

As  science-fiction  melodrama,  "The  27th  Day"  is  right  up 
there  in  the  celluloid  stratosphere  of  hokum,  hodge-podge  and 
the  desperate,  though  earthy,  attempt  to  make  a  fast  buck.  Ex- 
hibitors, however,  will  probably  find  the  profits  on  this  one 
pretty  rarefied  indeed.  Telling  the  story  of  five  people  who  are 
each  given  by  a  representative  from  outer  space  a  tablet  that 
could  dstroy  all  humanity  if  used  within  the  next  27  days,  the 
film  runs  through  a  series  of  interstellar,  international  gambits 
each  making  a  nice  interregnum  in  the  suspense.  Under  the  di- 
rection of  William  Asher,  Gene  Barry  and  Valerie  French  per- 
form with  appropriate  comic  book  intensity,  and  John  Mant- 
ley's  script  adapted  from  his  novel  is  clearly  a  labor  of  love. 
Helen  Ainsworth  derived  maximum  values  from  an  obviously 
limited  budget.  Of  the  five  who  are  given  the  deadly  capsules, 
European  scientist  George  Voskovec  works  out  the  secret  of  his 
capsule,  turns  it  against  men  of  evil.  This  neutralizes  capsule 
held  by  the  Russians,  keeps  them  from  taking  over  the  world. 
Earth  invites  displaced  space  men  to  share  their  earthly  non- 
communistic  paradise. 

Columbia.    75  minutes.    Gene  Barry.  Valerie  French.    Directed  by  William  Asher. 
Produced  by  Helen  Ainsworth. 

[More  REVIEWS 


"Tammy  and  the  Bachelor" 

Scuitete  ^atcKf  O  O  Plus 

Ingratiating  Debbie  Reynolds  comedy-romance  in  C-Scope 
&  color  will  draw  above  average,  especially  with  family 
trade  and  teen-age  set. 

Ideally  suited  to  the  pert  talents  of  Debbie  Reynolds, 
"Tammy  and  the  Bachelor"  is  a  modest  amalgam  of  "Rebecca 
of  Sunnybrook  Farm"  and  "Kitty  Foyle '.  It  promises  better 
than  average  returns  from  the  teen-age  and  family  market. 
Produced  by  Ross  Hunter  in  CinemaScope  and  Technicolor, 
"Tammy"  manages  a  refreshingly  sanguine  background  for  the 
bucolic  romancing  of  Miss  Reynolds  and  newcomer  Leslie  Niel- 
son  which  should  sit  well  with  the  majority  of  teen-agers  and 
with  their  parents.  Perhaps  if  director  Joseph  Pevney  had 
added  some  catnip  to  the  general  proceedings,  this  Universal 
release  would  have  had  a  wider  audience  potential.  As  it  stands, 
it  is  an  appealing  and  generally  entertaining  film  that  will  of- 
fend no  one  and  delight  many.  Debbie  is  seen  as  an  unspoiled 
child  of  the  Bayou  backwoods  who  goes  to  live  at  Brentwood 
Hall  after  grandpa  Walter  Brennan  is  jailed  for  bootlegging. 
Neilson,  heir  ot  Brentwood,  and  Mildred  Natwick,  his  balmy, 
would-be  Bohemian  aunt,  are  captivated  by  Debbie's  ingenous- 
ness,  but  Neilson's  mother,  Fay  Wray,  and  fiancee  Mala  Powers 
remain  untouched.  Debbie  further  ingratiates  herself  with 
Neilson — and  alienates  Wray  and  Powers — when  she  encour- 
ages his  dream  of  restoring  Brentwood's  farmlands  with  a  new 
species  of  tomatoes.  Their  friendship  turns  to  romance  when 
he  sees  her  dressed  as  a  Southern  belle,  beautifully  grown-up, 
during  the  tourist  visitation  to  the  plantation.  Their  relation- 
ship is  temporarily  blighted  when  a  hailstorm  destroys  the 
tomato  crop,  throws  Neilson  into  the  doldrums  and  she  returns 
to  the  Bayou.  But  love  triumphs  and  they  are  reunited  to  the 
strains  of  the  lively  and  engaging  theme-song. 

Universal-International.  8?  minutes.  Rebbie  Reynolds.  Leslie  Nielsen.  Walter 
Brennan.  Mala  Powers,  Sidney  Blackmer,  Ray  Wray,  Louise  Beavers.  Produced 
by  Ross  Hunter.    Directed  by  Joseph  Pevney. 

"The  French  They  are  a  Funny  Race" 

*Su4iH^u  'RatiK^  O  O  Plus 

Preston  Sturges  import  a  fair  entry  for  class  and  art  houses. 
Not  up  to  his  better  efforts. 

Writer-director  Preston  Sturges  has  returned  to  film-making 
with  'TFTAAFR'  (produced  by  Alain  Poire  and  Paul  Wagner 
for  Gaumont  Film  ProdLictions),  and  it  is  apparent  he  has  for- 
saken the  American  idiom  of  humor  he  used  so  successfully  dur- 
ing his  Hollywood  days  for  the  Continental  one  of  the  Jacques 
Tati  bon-bon,  "Mr.  Hulot's  Holiday".  Since  Mr.  Sturges  is  an 
old  pro,  his  current  foray  within  the  French  psyche,  based  on 
an  international  best-seller  by  Pierre  Daninos,  is  filled  with  the 
master  strokes  of  an  artist  whose  brash  American  talent  has 
been  suavely  seduced  by  the  cosmopolitan  charivari  of  an  older 
civilization.  However,  the  results  are  not  wholly  felicitous,  for 
this  Sturges  mosaic  is  mounted  in  two  dominant,  disparate 
tones:  the  golden  nuggets  of  Noel-Noel  and  Jack  Buchanan  in 
some  wonderful  Anglo-French  spoofs  have  been  unfortunately 
set  against  the  rhinestone  glitter  of  Martine  Carol,  an  actress 
whose  anatomical  urbanity  is  no  match  for  her  provincial  per- 
forming. Nevertheless,  there  are  enough  inspired  vignettes, 
pure  Parisian,  pure  Sturges,  to  make  it  absolutely  de  rigueur  art 
house  fare. 

Continental  Distributing.  Inc.  IGaumont  Production! .  92  minutes.  Martine  Carol, 
Jack  Buchanan,  Noel-Noel.  Directed  by  Preston  Sturges.  Produced  by  Alain  Poire 
and  Paul  Wagner. 

Page  24j 

Film  BULLETIN     May  27,  1957        Page  23 


"Gunfight  at  the  O.K.  Corral'' 

&cui«e*&  R*U*t  ©GO  Plus 

Powerful  western  with  sock  team  of  Burt  Lancaster,  Kirk 
Douglas,  fine  direction,  first-rate  production.  Big  beyond 
action  market.  Loaded  with  exploitables. 

This  is  a  top-drawer  western  with  appeal  for  a  broad  audi- 
ence. Burt  Lancaster  and  Kirk  Douglas  are  teamed  for  solid 
marquee  power,  the  action  is  fast,  the  Technicolor-VistaVision 
production  by  Hal  Wallis  for  Paramount  is  first-class.  Based 
on  the  lives  of  Wyatt  Earp  and  Doc  Holliday,  fighters  for  law 
and  order  in  the  west  of  the  1880  s,  "Gunfight  At  The  O.K. 
Corral"  emerges  as  a  thrilling,  visually  stimulating  movie  far 
above  the  usual  run  of  such  epics.  It  is  sure  to  please  both 
action  fans  and  the  more  discriminating  audinece.  Director 
John  Sturgis  has  kept  his  action  flowing  at  a  fine  clip,  his  two 
stars  beautifully  in  command  of  their  characterizations,  and  the 
proceedings  interlaced  with  excellent  dialogue  by  screenplay- 
wright  Leon  Uris.  There  is  a  haunting  theme  song  written  by 
Dimitri  Tiomkin  and  Ned  Washington.  Photography  is  excel- 
lent. Fine  supporting  performances  are  turned  in  by  Jo  Van 
Fleet,  Rhonda  Fleming,  who  appears  to  brief  advantage.  Lan- 
caster (Wyatt  Earp)  helps  save  the  life  of  Douglas  (Doc  Holli- 
day), dentist  turned  badman,  when  latter  is  about  to  be 
lynched  for  a  killing  he  committed  in  self-defense.  Later  Doug- 
las has  occasion  to  rescue  Lancaster,  and  from  then  on  the  two 
r.ien  are  pals.  They  further  cement  their  friendship  in  a  series 
of  escapades  where  each  helps  the  other,  the  climax  coming 
a hen  they  wipe  out  the  Clanton  Gang  at  the  O.K.  Corral  in 
Tombstone,  Arizona.  Lancaster  winds  up  with  Miss  Fleming, 
Douglas  with  Miss  Van  Fleet. 

Paramount.  (Hal  Wallis  Production).  122  minutes.  Burt  Lancaster  Kirk  Douglas 
Rhonda  Fleming.    Directed  by  John  Sturgis.    Produced  by  Hal  Wallis. 

"Gun  Duel  in  Durango" 

Mediocre  western  will  serve  as  dualler  in  action  houses. 
Few  exploitables;  George  Montgomery  for  marquee. 

This  George  Montgomery  western  is  definitely  not  off-the- 
beaten-path.  Fashioned  with  a  host  of  familiar  situations  and 
characters,  "Gun  Duel  in  Durango"  concerns  itself  with  the 
efforts  of  a  "baddie"  to  reform  into  a  "goodie".  Although 
there  is  ample  action,  the  situations  are  too  pat,  even  for  the 
avid  horse  opera  devotees.  Montgomery  is  his  usual  stolid  self, 
heading  a  cast  that  is  just  adequate.  Nothing  more  can  be  said 
for  Sidney  Salkows  direction.  Outlaw  chief  Montgomery  de- 
cides to  leave  his  gang  and  follow  the  straight  and  narrow. 
The  new  head,  Steve  Bodie,  warns  him  to  return  to  the  fold 
within  thirty  days,  or  face  the  consequences.  Hired  as  a  clerk 
by  his  hometown  bank,  Montgomery  falls  in  love  with  Ann 
Robinson,  but  she  refuses  to  marry  him  until  she  is  thoroughly 
convinced  he  has  reformed.  Planning  to  get  even  with  Mont- 
gomery, his  old  gang  plants  evidence  to  make  it  appear  as  if 
he  cooperated  with  them  when  they  rob  his  bank.  Rising  to 
the  occasion,  the  ex-outlaw,  with  guns  blazing,  routs  his  former 
comrades,  clears  his  name,  wins  the  gal. 

United   Artists.    73   minutes.    George   Montgomery,   Ann    Robinson     Steve  Brodie 
Producer  Robert  E.  Kent.    Director  Sidney  Salkow. 


"The  Restless  Breed" 

SWre<w  Rotatf  Q  Q  Plus 

Marketable  Western  generally.  Good  action,  suspense. 
Fair  marquee  in  Scott  Brady,  Anne  Bancroft. 

There  is  plenty  of  action,  bizarre  characters  and  suspense  in 
this  20th-Fox  release  to  push  it  into  the  money-making  class  in 
the  action  market.  Scott  Brady,  out  to  revenge  his  father's  kill- 
ing and  Anne  Bancroft,  as  the  beautiful  half-breed  head  a  gen- 
erally competent  cast  in  the  Edward  L.  Alperson  production, 
providing  fair  marquee  fodder.  The  direction  of  Allan  Dwan 
keeps  the  action  moving  fast  enough,  and  there  are  enough 
interesting  characterizations  suffused  throughout  to  hold  the 
interest  of  most  outdoor  fans  of  whatever  age.  Eastman  color 
provides  some  striking  backgrounds.  Brady,  lawyer  turned 
gunman,  comes  to  border  town  mission  Texas  hunting  Jim 
Davis,  killer  of  his  father,  now  hiding  in  Mexico.  Brady  falls 
in  love  with  half-breed  Anne  Bancroft  who  tries  to  deter  him 
from  his  plan  of  revenge.  When  Brady  kills  two  Davis  hench- 
men in  self-defense,  it  provokes  Davis'  entry  into  the  mission. 
U.S.  marshall  Jay  C.  Flippen  arrives  to  prevent  showdown.  He 
is  too  late,  however,  and  in  the  ensuing  gun  battle  he  is  killed 
by  Davis.  Brady,  now  deputy  marshall,  outdraws,  kills  Davis. 
He  and  Miss  Bancroft  are  reunited. 

20th-Fox  (Edward  L.  Alperson).  81  minutes.  Scott  Brady.  Anne  Bancroft.  Directed 
by  Allan  Dwan.    Produced  by  Edward  L.  Alperson. 

"The  Lonely  Man" 

Su4tned4  Rating  O  O  Plus 

Mood  western,  interesting,  but  lacks  action.  Spotty  pros- 
pects. Will  need  selling.  Palance  and  Perkins  for  marquee. 

This  black-and-white  western  from  Paramount  is  in  that 
mood,  character-study  vein  popularized  so  long  ago  by  "High 
Noon".  Obviously,  everyone  was  striving  for  something  more 
than  just  another  horse  opera,  but  it  doesn't  come  off.  "The 
Lonely  Man"  has  the  advantage  of  a  good  marquee  value  in 
Jack  Palance  and  Anthony  Perkins,  but  boxoffice  prospects  are 
likely  to  be  spotty.  A  hard  selling  program  on  the  offbeat 
characterization  by  Palance  of  an  aging  gunslinger  could  lift 
it  to  above-average  grosses  in  the  general  market.  There  is 
little  action  until  the  climactic  gun  battle,  in  which  Perkins 
learns  his  father  is  going  blind,  joins  him  in  the  fight,  although 
too  late.  Henry  Levin's  concentration  on  the  father-son  con- 
tretempts  tends  to  keep  the  pace  slow.  Tennessee  Ernie  Ford 
sings  the  title  song,  an  added  exploitation  angle.  After  an  ab- 
sence of  17  years,  gunslinger  Palance  returns  to  his  hometown, 
finds  his  son,  Perkins,  who  is  contemptuous  of  his  father  be- 
cause he  believes  Palance  caused  the  death  of  his  mother.  Un- 
wanted in  any  town,  they  settle  on  ranch  of  Palance's  girlfriend, 
Elaine  Aiken,  who  tries  to  patch  up  their  differences.  Neville 
Brand,  jealous  of  Palance's  affair  with  Miss  Aiken,  challenges 
his  adversary  to  battle.  Learning  some  unkind  facts  about  his 
mother  and  that  Palance  is  going  blind,  Perkins  goes  to  aid 
his  father.  Together  they  finish  off  Brand  and  his  gang,  but 
Palance  is  killed.  Perkins  and  Miss  Aiken,  discovering  a  kin- 
ship between  them,  begin  new  life. 

Paramount.  I  Pat  Duggan  Production).  87  minutes.  Jack  Palance,  Anthony  Perkins, 
Elaine  Aiken.    Directed  by  Henry  Levin.    Produced  by  Pat  Duggan. 


I  GutiHtM.  1£*U*t       O  Q  O  O    TOPS       OOO    GOOD       0_0_  AVERAGE         Q  POOR] 


Page  24       Film  BULLETIN    May  27,  1 957 


"The  Little  Hut" 

Sutineu  Rating  Q  O  O 

Light,  fairly  amusing  whirligig  for  urban  hot  weather  trade; 
caveat  emptor  for  hinterlands.  Good  name  values:  Gardner, 
Granger,  Niven,  provide  marquee  fillip. 

Since  these  are  the  more  whimsical  months  of  the  year,  the 
release  now  of  'The  Little  Hut'  can't  go  too  awry,  for  this 
frothy,  footloose  comedy  from  M-G-M  can  best  be  appreciated 
within  the  bounds  of  balmy  weather.  Though  a  bit  too  bold 
a  romp  for  the  hinterlands,  it  should  be  blandishment  enough 
for  the  urban  sophisticates,  and  it  would  seem  safe  to  say 
that  M-G-M  can  look  forward  to  some  comfortable  returns. 
Based  on  a  French  farce  Andre  Roussin)  and  an  English  plav 
(Nancy  Mitford),  "The  Little  Hut"  in  F.  Hugh  Herbert's 
screen  adaptation  has  gone  through  some  severe  alchemical 
changes:  the  Noel  Coward  wasp  has  been  replaced  by  the  May- 
fair  butterfly  and  a  Gertrude  Lawrence  type  heroine  has  dis- 
appeared within  the  diaphanous  doings  of  Ava  Gardner.  In 
any  case,  the  "cleverness"  that  the  film  lacks  has  been  extra- 
dieted  to  the  Exploitation  Department  and  exhibitors  can  feel 
happy  with  some  smoothly  simulated  New  Yorker  cartoons  and 
a  promotional  "island  giveaway"  contest  that  has  already  stim- 
ulated travel  bureaus.  Miss  Gardner  labors  hard,  but  manages 
to  look  lovely.  Her  limited  abilities  are  not  overcompensated 
for  by  director  Mark  Robsen.  While  the  script  has  firmly  sta- 
tioned his  performers  on  land,  Mr.  Robsen's  direction  seems  to 
have  put  them  all  at  sea.  Stewart  Granger  is  miscast,  but  David 
Niven,  a  master  of  the  "throw-away"  line  is  the  only  one  of 
the  trio  who  seems  at  ease.  At  any  rate,  Ava  Gardner  married 
to  peer  Stewart  Granger  is  a  loveless  goddess  who  unsuccess- 
fully courts  her  husband's  jealousy  through  an  ersatz  affair  with 
best  friend  David  Niven.  When  the  three  are  subsequentlv 
shipwrecked  on  a  desert  island  it  remains  for  Miss  Gardner  to 
serve  herself  on  the  half-shell  to  both.  Since  the  monastic  order 
of  Hollywood  censors  is  well  known  the  situation  cannot  last 
and  Walter  Chiari  as  a  chef  turned  'native'  is  called  upon  for 
five  minutes  of  diversion  before  a  rescue  ship  is  sighted. 

Metro-Goldwyn-Mayer.  98  minutes.  Ava  Gardner,  Stewart  Granger,  David  Niven. 
Producer  F.  Hugh  Herbert.    Director  Mark  Robsen. 


"Saint  Joan" 

Satinete  'Rati*?  Q  Q  Plus 

Rating  higher  for  class  houses.  Will  disappoint  many.  New- 
comer Seberg  fails  to  convey  stalwart  Saint.  However,  film 
can  garner  above-average  grosses  on  wave  of  advance 
build-ups,  plus  distinguished  supporting  cast. 

Otto  Preminger,  the  distinguished  producer-director  of  such 
off-beat  successes  as  "Man  With  The  Golden  Arm"  and  "Moon 
Is  Blue",  has  come  up  with  what  can  best  be  described  as  a 
"problem  picture"  in  his  version  of  Shaw  's  "Saint  Joan".  For 
a  film  of  this  genre  to  succeed  it  must  either  be  an  artistic  tri- 
umph in  the  tradition  of  "Red  Shoes"  and  "Hamlet  ",  or  gen- 
erate mass  appeal  through  a  star  of  the  first  magnitude  in  the 
title  role.  Mr.  Preminger  deliberately  disregarded  the  second 
course.  It  is  regrettable  that  his  new  "discoverv"  (after  3,000 
auditions),  Jean  Seberg,  showers  ashes  over  such  an  eagerly- 
awaited  film,  but  such  is  the  case.  Oddly  enough,  however, 
boxofficewise  Miss  Seberg  remains  the  saving  grace,  for  the 
tremendous  publicity  on  her  gives  every  indication  of  generat- 
ing wide  audience  interest.  If  this  is  fully  capitalized  by  the 
exhibitor  (along  with  the  value  of  such  names  as  Richard 
Widmark,  Richard  Todd,  John  Gielgud,  Anton  Walbrook) 
before  word-of-mouth  and  the  critics  send  Joan  to  the  celluloid 
bonfire,  the  film  could  conceivably  do  very  well,  at  least  in 
class  houses.  Not  to  be  overlooked,  also,  are  educational  and 
religious  institutions  which  might  recommend  the  film  for  its 
use  of,  respectively,  Shaw  and  Theology.  The  film  is  told  in 
flashbacks  concentrating  on  the  major  phases  of  Joan's  life:  the 
exhortation  of  the  Dauphin  to  grant  Joan  command  of  the 
French  army,  the  coronation  of  the  Dauphin  as  Charles  VII  at 
the  Cathedral  of  Rheims,  Joan's  subsequent  capture  by  the 
English  and  the  later  "heresy"  trial  presided  over  by  Bishop 
Cauchon.  Finally,  her  agony  at  the  stake,  is  handled  with  tact, 
but  little  "showmanship  ".  Of  the  supporting  roles,  Widmark 
turns  in  an  unusual  (for  him)  portrayal  as  the  weak,  effeminate 
Dauphin,  which  should  bring  it  its  share  of  comment  from  the 
critics,  public,  et  al. 

United  Artists.  (Otto  Preminger  I  .  110  minutes.  Jean  Seberg.  Richard  Widmark. 
Richard  Todd,  John  Gielgud,  Anton  Walbrook.  Producer-director,  Otto  Preminger. 


SHOWMEN .  .  . 
What  Are  YOU  Doing? 

Send  us  your  advertising,  publicity  and  exploitation 

campaigns  —  with  photos  —  for  inclusion  in  our 
EXPLOITATION  &  MERCHANDISING  DEPARTMENT 


VALUE  LINE  ANALYSIS 


(Continued  from  Pttge  17) 

the  second  half.  As  a  result,  Warner  Bros,  has  had  a  limited 
number  of  features  available  for  general  release  since  the  be- 
ginning of  1957.  This  situation  is  believed  to  have  affected 
revenues  and  earnings  adversely  in  the  second  fiscal  quarter. 

A  larger  flow  of  new  products  will  soon  be  forthcoming, 
however.  Having  reappraised  the  company's  prospects,  the  new 
management  has  stepped  up  output  again.  During  the  first  3 
months  of  1957  alone,  the  number  of  new  pictures  started  was 
double  that  of  the  like  1956  period.  A  great  many  more  are 
scheduled  to  go  before  the  cameras  in  the  months  ahead.  As- 
suming that  these  new  features  will  be  well  received  by  the 
public,  we  foresee  a  recovery  in  company  revenues  and  earn- 
ings beginning  in  the  last  fiscal  quarter  of  this  year  and  extend- 
ing well  into  fiscal  1958. 

Over  the  next  3  to  5  years,  the  company  will  probably  dis- 
pose of  a  portion  of  its  unproductive  properties,  using  the  pro- 
ceeds to  reacquire  more  of  its  own  common  shares.   On  that 


BUSINESS:  ABC-Paramount  owns  and  operates  largest 
motion  picture  theatre  chain  in  U.S.  labout  550  the- 
atres, principally  in  Midwest,  South  and  Atlantic  sea- 
boardl  and  third  largest  radio  and  TV  network  (net- 
work owns  and  operates  5  TV  stations:   has  over  200 

REPORT:  When  American  Broadcasting  Company  merged  with 
United  Paramount  Theatres  in  1953,  annual  revenues  from 
television  and  radio  broadcasting  were  only  $54.8  million.  The- 
atre receipts  totalled  $144.9  million.  Since  then,  broadcasting 
revenues  have  staged  a  remarkable  upsurge  while  theatre  ad- 
missions have  declined  moderately.  Last  year,  the  ABC  broad- 
casting network's  gross  income  was  only  2%  less  than  that  of 
the  theatre  circuit. 

Had  TV  revenues  extended  their  vigorous  growth  trend 
throughout  1956,  they  would  have  exceeded  theatre  receipts 
last  year.  But  as  it  stands  now,  this  may  not  even  take  place  in 
1957.  A  revival  of  interest  in  motion  pictures  has  caused  thea- 
tre circuit  revenues  to  register  an  encouraging  recovery.  On  the 
other  hand,  because  ABC-TV  failed  to  increase  its  over-all 
sales  for  the  1956-57  broadcasting  season,  the  income  from  this 
source  has  been  leveling  off.  This  slow-down  in  broadcasting 
revenue  gains  is  primarily  responsible  for  the  unfavorable  year- 
to-year  comparison  of  quarterly  earnings  since  mid- 1956. 

Earnings  comparisons  will  probably  turn  favorable  again  in 
the  second  half.  Under  the  direct  supervision  of  corporate 
president  Leonard  H.  Goldenson,  ABC  has  strengthened  con- 
siderably its  program  format  for  the  1957-58  broadcast  season. 
Already,  the  greater  portion  of  its  time  has  been  sold  to  adver- 
tisers.  Meanwhile,  with  most  Hollywood  studios  planning  to 


BUSINESS:  National  Theatres  controls  335  operating 
theatres  located  mainly  in  the  Pacific  coast  Midwest 
and  Rocky  Mountain  area.  Also  operates  Roxy  Thea- 
tre in  N.  Y.  The  chain  is  the  second  largest  in  the 
U.  S.    Labor  costs,  40%  of  revenues.    Dividends  have 

REPORT:  National  Theatres  paid  only  its  regular  12i/7c  a  share 
quarterly  dividend  on  May  2nd.  However,  we  continue  to  esti- 


assumption,  we  project  Warner's  average  revenues  in  the  hy- 
pothesized 1960-62  economy  to  $92  million  annually,  earnings 
to  $4  a  share  (on  an  estimated  1.5  million  shares),  and  divi- 
dends to  $2.50.  Such  dividends,  capitalized  on  a  yield  basis  of 
6.3%  to  accord  with  past  norms  adjusted  for  trend,  would  com- 
mand an  average  price  of  40  (10  times  earnings). 
ADVICE:  The  present  stock  of  Warner  Bros,  has  not  been  trad- 
ing long  enough  for  us  to  evolve  a  Rating  through  multiple 
correlation  analysis.  At  24,  however,  the  stock  appears  to  war- 
rant a  Group  III  (Fairly  Priced)  classification.  If  the  company 
is  able  to  achieve  a  significant  improvement  in  per  share  earn- 
ings by  early  fiscal  1958,  as  we  estimate,  it  could  raise  its  quar- 
terly payment  rate  to  40c  a  share,  which  would  provide  an 
annual  return  of  5.8%.  This  would  be  generally  in  line  with 
the  issue's  own  past  norm.  To  the  early  Sixties,  Warner  Bros, 
offers  a  superior  appreciation  potentiality  of  67%.  Investors 
might  thus  find  this  issue  an  interesting  holding  for  good  cur- 
rent income  and  better-than-average  capital  growth  prospects. 


L.  H.  Goldenson,  V.P.'s:  H.  B.  Lazarus,  E.  L.  Hyman, 
S.  M.  Markley,  R.  H.  O'Brien,  R.  H.  Hinckley.  Inc.: 
N.  Y.    Add.:  1501   Broadway,  New  York  36,  N.  Y. 

Stock  traded:  NYSE 

release  a  larger  number  of  quality  films  over  the  next  few 
months,  the  nation's  movie  attendance  is  likely  to  show  a  per- 
sistent uptrend,  boosting  further  the  company's  box-office 
receipts. 

Within  the  hypothesized  1960-62  economy,  characterized  by 
a  national  disposable  income  of  $345  billion.  ABC-Paramount's 
average  annual  revenues  are  projected  to  $300  million.  Earn- 
ings of  $4  a  share  are  visualized.  The  company  may  find  it 
necessary  to  retain  a  sizable  portion  of  its  earnings  to  finance 
the  construction  of  new  broadcasting  facilities.  Accordingly, 
we  project  average  dividends  in  that  three-year  period  to  $2.20 
a  share.  Such  dividends,  capitalized  on  a  5.5%  yield  basis  to 
accord  with  industry-wide  norms  adjusted  for  the  somewhat 
lower  payout,  would  command  an  average  price  of  40  (10 
times  earnings). 

ADVICE:ABC-Paramount  is  currently  classified  in  Group  III 
(Fairly  Priced).  The  current  dividend  yield  of  5.4%,  estimated 
on  the  assumption  that  the  company  will  again  declare  a  30c 
a  share  year-end  extra,  compares  favorably  with  the  average 
5.1%  return  provided  by  all  dividend-paying  stocks  under  sur- 
vey. To  the  years  1960-62,  this  issue  offers  a  striking  apprecia- 
tion potentiality  of  67%.  While  not  suitable  for  investment- 
grade  portfolios,  ABC-Paramount  represents  an  interesting 
holding  in  diversified  accounts  for  generous  current  income 
and  prospect  of  long-term  capital  growth. 


Bertero,  E.  F.  Zabel,  A.  May.  Incorporated:  Dela- 
ware. Address:  1837  South  Vermont  Ave.,  Los  Angeles 
6,  California. 

Stock  traded:  NYSE 

mate  that  total  declarations  may  be  as  much  as  55c  a  share  for 
the  current  fiscal  year  (ends  Sept.  24th).  We  foresee  the  pos- 


ABC  PARAMOUNT 

affiliated  stations).  Labor  costs  absorb  about  60%  of 
revenues.  Dividends  have  averaged  about  75%  of 
operating  earnings  in  the  last  6  years.  Directors  own 
or  control  about  9%  of  total  common  shares.  Em- 
ploys 20,000,  has  24,700  common  stockholders.  Pres.: 


NATIONAL  THEATRES 

averaged  only  about  38%  of  earnings  during  the 
1953-55  period.  Directors  own  or  control  about  150,- 
000  shares  of  stock  15.5%  of  total  outstanding!.  Em- 
ployees: 6,900;  stockholders:  14,800.  President:  E.  C. 
Rhoden,   Vice   Presidents:   F.   H.   Ricketson,   Jr.,   J.  B. 


Page  26       Film  BULLETIN    May  27,  1957 


VALUE  LINE  ANALYSIS 


sibility  of  a  year-end  extra  payment  of  5c  a  share,  and  also  ex- 
pect the  company  to  increase  the  quarterly  rate  to  15c  a  share 
early  in  the  coming  fiscal  year. 

National  Theatres  is  enjoying  excellent  business.  Including 
net  capital  gains  (which  can  hardly  be  considered  non-recurrent 
for  this  company),  earnings  for  the  six  months  ended  Mar.  26th 
are  believed  to  have  approximated  50c  a  share,  representing  a 
year-to-year  increase  of  nearly  50%-  Since  a  large  number  of 
quality  films  are  being  scheduled  for  showing  during  the  Sum- 
mer months,  theatre  receipts  will  probably  show  further  in- 
creases in  the  June  and  September  quarters.  Total  net  income 
for  the  1957  fiscal  year  appears  likely  to  reach  SI. 20  a  share,  the 
highest  in  7  years.  Such  earnings  would  strongly  support  pay- 
ment of  a  year-end  extra. 

To  be  sure,  the  company  may  wish  to  retain  a  good  portion 
of  its  earnings  for  expansion  and  diversification  purposes.  How- 
ever, its  exceptionally  strong  balance  sheet  suggests  that  man- 
agement need  not  follow  too  stringent  a  dividend  payout 
policy.  Augmented  by  the  proceeds  from  last  year's  sale  of  the 
Roxy  Theatre  property  in  New  York,  cash  and  governments  at 
the  beginning  of  the  fiscal  year  amounted  to  over  $16  million, 
as  against  total  current  liabilities  of  only  SI 0.3  million.  Mean- 
while, the  funds  derived  from  divestment  of  additional  theatre 


BUSINESS:  Stanley  Warner  operates  about  260  thea- 
tres located  mainly  in  the  eastern  states.  In  1953  it 
formed  partnership  with  Cinerama  Productions  to  ex- 
ploit Cinerama  process.  Presently  operating  over  20 
Cinerama  theatres.    In  1754  acquired  International  La- 

REPORT:  A  rejuvenated  public  interest  in  theatre-going  has 
been  giving  a  strong  boost  to  Stanley  Warner's  theater  receipts. 
Since  the  current  fiscal  year  began  on  Aug.  26,  1956,  the  com- 
pany's theater  operation  has  been  showing  encouraging  im- 
provement. Although  the  nation's  movie  attendance  declined 
somewhat  during  March  and  early  April  (because  of  this  year's 
late  Easter),  present  indications  are  that  Stanley  Warner's  the- 
ater admissions  in  fiscal  1957  will  be  the  highest  in  the  com- 
pany's history. 

Not  all  of  the  S16  million  year-to-year  gain  in  overall  reve- 
nues we  visualize  will  come  from  larger  box-office  receipts, 
however.  In  fact,  the  greater  portion  of  the  increase  is  expected 
to  be  contributed  by  International  Latex,  a  wholly-owned  sub- 
sidiary. International  Latex  is  perhaps  one  of  the  most  suc- 
cessful and  rapidly  growing  manufacturers  of  consumer  goods. 
Its  "Playtex"  rubber  gloves,  infant's  wear,  girdles,  etc.,  as  well 
as  its  recently  introduced  "Isodine"  pharmaceutical  items,  have 
all  been  accorded  favorable  consumer  acceptance.  Last  Sum- 
mer, this  subsidiary  launched  a  multi-million  dollar  promo- 
tional campaign,  with  an  eye  toward  doubling  its  sales  within 
a  few  years.  Stimulated  by  repeated  sales  messages  through 
television,  increasing  numbers  of  housewives  are  showing  a 
preference  for  "Playtex"  products. 

To  meet  the  growing  demand  for  Latex  goods  anticipated 
for  the  years  ahead,  it  will  be  necessary  for  the  company  to 
enlarge  its  manufacturing  facilities  significantly.    Already  in 


properties  and  from  depreciation  accruals  seem  fully  sufficient 
to  finance  the  company's  modernization  program.  National 
Theatres  recently  formed  a  subsidiary  principally  to  finance  and 
assist  the  independent  production  of  motion  pictures.  Since  the 
company  is  willing  to  risk  several  million  dollars  in  this  ven- 
ture, it  may  well  be  able  to  afford  a  somewhat  larger  disburse- 
ment to  its  shareholders. 

Assuming  that  the  nation's  theatre  attendance  will  show  a 
moderate  uptrend  over  the  next  few  years,  we  project  National 
Theatres'  average  annual  revenues  in  the  hypothesized  1960-62 
economy  to  S80  million,  earnings  to  Si. 75  a  share  and  divi- 
dends to  85c.  Capitalized  at  8.6  times  earnings  to  yield  5.7%, 
in  accordance  with  past  norms  adjusted  for  trend,  such  results 
would  command  an  average  price  of  15,  79%-  above  the  current. 

ADVICE:  National  Theatres'  price  history  is  too  short  for  us  to 
evolve  a  Rating  through  multiple  correlation  analysis.  Refer- 
ence to  capitalization  rates  applied  to  similar  equities  of  its 
class  suggests,  however,  that  selling  at  7.0  times  earnings  to 
yield  an  estimated  6.9%  to  7.5%,  the  stock  appears  under- 
valued. This  issue  is  of  particular  interest  for  its  superior  3- 
to  5-year  appreciation  potentiality,  79%  vs.  the  average  27% 
gain  projected  for  all  stocks.  Accordingly,  we  classify  National 
Theatres  in  Group  II  (Underpriced). 


trol  about  16%  of  total  common  shares.  Pres.  S.  H. 
Fabian;  Exec.  V  P.,  S.  Rosen.  Inc.:  Delaware.  Add.: 
1585  Broadway,  New  York,  New  York. 

Stock  traded:  NYSE. 

the  last  year  or  two,  many  modern  factories  have  been  con- 
structed both  at  home  and  abroad.  However,  still  more  funds 
will  be  required  to  finance  further  expansion.  It  is  in  this  re- 
spect that  Stanley  Warner's  large  portfolio  of  theater  properties 
will  be  especially  useful.  These  properties  enable  the  company 
to  generate  substantial  funds  internally  through  depreciation 
accruals.  Moreover,  the  companv  has  been  following  the  pol- 
icy of  divesting  some  of  its  unprofitable  or  marginal  theaters, 
which  policy  not  only  provides  handsome  proceeds,  but 
strengthens  the  overall  earning  power  of  the  remaining  theaters 
as  well. 

Over  the  next  3  to  5  years,  the  sales  of  International  Latex, 
rather  than  theater  receipts,  seem  likely  to  be  the  primary  source 
of  revenues  for  Stanley  Warner.  We  project  average  revenues 
in  the  hypothesized  1960-62  economy  to  SI 50  million,  earnings 
to  S4  a  share  and  dividends  to  S2.  Capitalized  at  8.5  times  earn- 
ings to  yield  5.9%,  consistent  with  past  norms  adjusted  for 
trend,  such  results  would  command  an  average  price  of  34. 

ADVICE:  Stanley  Warner  is  currently  classified  in  Group  II 
(Underpriced).  If  the  company  declares  a  20c  a  share  extra 
dividend  before  the  end  of  the  current  fiscal  year,  as  we  believe 
probable,  the  stock  would  provide  a  current  yield  of  7.5%,  far 
superior  to  the  average  5.1%  return  afforded  by  all  dividend- 
paying  stocks  under  survey.  This  issue  also  offers  a  superior  3- 
to  5-year  capital  growth  prospect.  To  the  years  1960-62,  it 
possesses  a  striking  appreciation  potentiality  of  113%. 


STANLEY  WARNER 


tex  Corp.,  a  manufacturer  of  consumer  rubber  goods 
under  "Playtex"  label.  Principal  manufacturing  plants 
are  in  Manchester  and  Newman,  Ga.,  Arnprior,  Cana- 
da, Port  Glasgow,  Scotland,  and  Puerto  Rico.  Has 
10,000  employees,   16,500  stockholders.    Directors  con- 


Film  BULLETIN     May  27,  1957        Page  27 


THIS  IS  YOUR  PRODUCT 


All  Ttie  Vital  Details  on  Current  &)  Coining  Features 

(Date  of  Film  BULLETIN  Review  Appears  At  End  of  Synopsis) 


ALLIED  ARTISTS 


February 

HOLD  THAT  HYPNOTIST  Huntz  Hall,  Stanley  Clements. 
Producer  Ben  Schwalb.  Director  Austen  Jewell.  Comedy 
drama.  Bowery  Boys  tangle  with  unscrupulous  hypnotist. 
61  min. 

LAST  OF  THE  BADMEN  CinemaScope,  Color.  George 
Montgomery,  Janiei  Best.  Producer  Vincent  Fennelly. 
Director  Paul  Landres.  Western.  Outlaws  use  detective 
as  only  recogniMble  man  in  their  holdups,  thus  in- 
creasing reward  for  his  death  or  capture.  81  min. 

March 

ATTACK  OF  THE  CRAB  MONSTERS  Richard  Garland, 
Pamela  Duncan.  Producer-director  Roger  Corman. 
Science-fiction.  Hideous  monsters  take  over  remote 
Pacific  Island.  68  min. 

FOOTSTEPS  IN  THE  NIGHT  Bill  Elliot,  Don  Haggerty. 
Producer  Ben  Schwalb.  Director  Jean  Yarbrough.  Melo- 
drama. Man  is  sought  by  police  foi  murder  of  his 
friend.  42  min. 

NOT  OF  THIS  EARTH  Paul  Birch,  Beverly  Garland. 
Producer-director  Roger  Corman.  Science-fiction.  Series 
of  strange  murders  plagues  large  western  city.  67  min. 

April 

BADGE  OF  MARSHALL  BRENNAN  Jim  Davis,  Carl 
Smith,  Arleen  Whelan.  Producer-director  Albfrt  C. 
Gannaway.  Western.  76  min. 

DRAGOON  WELLS  MASSACRE  Barry  Sullivan,  Mona 
Freeman,  Dennis  O'Keefe.  Producer  Lindsley  Parsons. 
Director  Harold  Schuster.  Western.  Apaches  attack 
stockade  in  small  western  town.  81  min. 

May 

DESTINATION  60.000  Preston  Foster,  Coleen  Gray,  Jeff 
Donnell.  A  Gross-Krasne  Production.  Director  G.  Wag- 
gner.  Drama.  Pilot  flys  new  ]et,  with  revolutionary 
type  fuel,  for  first  time.    65  min. 

LET'S  BE  HAPPY  CinemaScope,  Color.  Vera  Ellen,  Tony 
Martin,  Robert  Fleming.  Producer  Marcel  Hellman. 
Director  Henry  Levin.  Musical.  Small-town  girl  meets 
washing  machine  inventor  in  Paris.  105  min. 

OKLAHOMAN.  THE  CinemaScope,  DeLuxe  Color.  Joel 
McCrea,  Barbara  Hale.  Producer  Walter  Mirsch.  Di- 
rector Francis  Lyon.  Western.  Doctor  helps  rid  town 
of  unscrupulous  brothers.  81  min. 

PERSUADER.  THE  William  Talman,  Kristine  Miller, 
James  Craig.  Producer-director  Dick  Ross.  Western. 
Preacher  wins  rough  town  over  with  love — not  guns. 
72  min. 

June 

AQUA  DIVE  GIRL  Mara  Corday,  Pat  Conway,  Florence 
Marly.  Producer  Norman  Herman.  Adventure.  66  min. 
CALYPSO  JOE  Herb  Jeffries,  Angie  Dickenson.  Pro- 
ducer William  Broidy.  Director  Edward  Dein.  Musical. 
Former  sweetheart  wins  girl  away  from  South  Ameri- 
can millionaire.    76  min. 

HOT  ROD  RUMBLE  Leigh  Snowden,  Richard  Hartunian. 
Producer  Norman  Herman.  Director  Les  Martinson. 
Melodrama.  Story  of  a  drag  racer  and  his  fight  for 
acceptance.    79  min. 

LOVE  IN  THE  AFTERNOON  Color.  Gary  Cooper, 
Audrey  Hepburn,  Maurice  Chevalier.  Producer-director 

BiTly  Wilder.  Drama.  An  American  playboy's  romantic 
adventures  in  Paris.    130  min. 

SPOOK  CHASERS  Huntz  Hall,  Stanley  Clements.  Pro- 
ducer Ben  Schwalb.  Director  George  Blair.  Comedy. 
Bowery  boys  get  tangled  up  with  spooks  and  hoodlums. 

July 

DAUGHTER  Of  DR.  JEKYLL  John  Agar,  Gloria  Talbot, 
ArtW    Shields.     Producer    Jack    Pollexfen.  Director 

Edgar  Unger.    Horror.    71  min. 

DINO  Sal  Mineo,  Brian  Keith,  Susan  Kohner.  Producer 
Bernice  Block.  Director  Thomas  Carr.  Social  case 
worker  helps  young  criminal  reform. 

DISEMBODIED.  THE  Paul  Burke,  Allison  Hayes,  Joel 
Marston.  Producer  Ben  Schwalb.  Director  Walter 
Graumann.  Doctor's  wife  practices  voodoo  in  African 
iungle.    70  min. 

Coming 

CRIME  BENEATH  THE  SEA  Mara  Corday  Pat  Ccnway, 
F.  Marly.  Producer  N.  Herman.  Director  John  Peyser. 
FROM  HELL  IT  CAME  Tod  Andrews,  Tina  Carver.  Di- 
rector Jack  Milner.  Director  Dan  Milner. 
HUNCHBACK  OF  NOTRE  DAME.  THE  CinemaScope, 
Color.  Gina  Lollobrigida ,  Anthony  Quinn.  A  Paris 
Production.  Director  Jean  Delannoy.  Drama.  Hunch- 
back falls  in  love  with  beautiful  gypsy  girl.    88  min. 


LOOKING  FOR  DANGER  Huntz  Hall,  Stanley  Clements. 
Producer-director  Richard  Heermance. 

DEATH  IN  SMALL  DOSES  Peter  Graves,  Mala  Powers, 
Chuck  Conners.  Producer  R.  Heermance.  Director  J. 
Newman. 

NO  PLACE  TO  DIE  Sterling  Hayden,  Pamela  Duncan, 
Ted  de  Corsia.  Producer  D.  J.  Grut.  Director  Sidney 
Franklin,  Jr. 

WALK  TALL  CinemaScope,  Color,  Joel  McCrea,  Vir- 
ginia Mayo. 


COLUMBIA 


February 

NIGHTFALL  Aldo  Ray,  Anne  Bancroft.  Producer  Ted 
Richmond.  Director  Jacques  Tourneur.  Drama.  Mistaken 
identity  of  a  doctor's  bag  starts  hunt  for  stolen  money. 
78  min.  12/10. 

UTAH  BLAINE  Rory  Calhoun,  Susan  Cummings,  Angela 
Stevens.  Producer  Sam  Katzman.  Director  Fred  Sears. 
Western.  Two  men  ioin  hands  because  they  see  in  each 
other  a  way  to  have  revenge  on  their  enemies.  75  min. 
WICKED  AS  THEY  COME  Arlent  Dahl,  Fhil  Carey.  Pro- 
ducer Maxwell  Setton.  Director  Ken  Hughes.  Drama.  A 
beautiful  girl  wins  a  beauty  contest  and  a  "different" 
life.  132  min.  1/21. 

March 

FULT  OF  LIFE  Judy  Holliday,  Richard  Conte, 
Salvatore  Baccaloni.  Producer  Fred  Kohlmar.  Director 
Richard  Quine.  Comedy.  Struggling  writer  and  wife 
are  owners  of  new  home  and  are  awaiting  arrival  of 
child.  91  min.  1/7. 

MAN  WHO  TURNED  TO  STONE.  THE  victor  Jory.  Ann 
Doran.  Producer  Sarr  Katzman.  Director  Leslie  Kardos. 
Mad  doctor  discovers  secret  of  prolonged  life.  Horror. 
80  min.  2/18. 

SHADOW  ON  THE  WINDOW,  THE  Betty  Garrett,  Phil 
Carey,  Corey  Allen.  Producer  Jonie  Tapia.  Director 
William  Asher.  Melodrama.  Seven-year  old  boy  is  the 

only  witness  to  a  murder.  73  min.  3/4. 

ZOMBIES  OF  MORA  TAU  Gregg  Palmer,  Allison  Hayes. 
Producer  Sam  Katzman.  Director  Edward  Kahn.  Horror. 
Zombies  live  on  sunken  ship  with  huge  fortune  of  dia- 
monds. 70  min. 

April 

GUNS  AT  FORT  PETTICOAT  Audie  Murphy,  Kathryn 
Grant.  Producer  Harry  Joe  Brawn.  Director  George 
Marshall.  Western.  Army  officer  organizes  women  to 

fight  off  Indian  attack.  131  min. 

PHANTOM  STAGECOACH.  THE  William  Bishop,  Rich- 
ard Webb.  Producer  Wallace  MacDonald.  Director  Ray 
Nazarro.  Western.  Outlaws  attempt  to  drive  stage 
coach  line  out  of  business.  69  min. 

TALL  T.  THE  Randolph  Scott,  Richard  Boone,  Maureen 
Sullivan.  A  Scott-Brown  Production.  Director  Budd 
Boetticher.  Western.  A  quiet  cowboy  battles  o  be 
independent.  78  min. 

May 

ABANDON  SHIP  CinemaScope.  Tyrone  Power,  Mai 
Zetterling.  Producer-director  Richard  Sale.  Drama. 
Story  of  a  group  of  people  who  survive  the  sinking 
of  a  luxury  liner.    100  min. 

GARMENT  JUNGLE,  THE  Lee  J.  Cobb,  Kerwin  Mat- 
thews, Richard  Boone.  Producer  Harry  Kleiner.  Di- 
rector Ribert  Aldrich.  Drama.  Dog-ea-dog  world  of 
Manhattan's  clothing  center. 

HELLCATS  OF  THE  NAVY  Ronald  Reagan,  Nancy  Davis, 
Arthur  Franz.  Producer  Charles  Schneer.  Director  Na- 
than Juran.  Drama.  Story  of  the  Hellcat  submarines 
during  World  War  II.  82  min.  4/15. 

SIERRA  STRANGER  Howard  Duff,  Gloria  McGhee.  Pro- 
ducer Norman  Herman.  Director  Lee  Sholem.  Western. 
Miner  file  gold  claim  during  the  '49  California  Gold 
Rush.    74  min.  5/13. 

STRANGE  ONE,  THE  Ben  Gaziara,  James  Olsen,  George 
Peppard.  Producer  Sam  Spiegel.  Director  James  Gar- 
fein.  Drama.  Cadet  at  military  school  frames  com- 
mander and  his  son.  100  min.  4/15. 

June 

BEYOND  MOMBASA  Technicolor,  CinemaScope.  Cor- 
nell Wilde,  Donna  Reed.  Producer  Tony  Owen.  Direc- 
tor George  Marshall.  Adventure.  Leopard  Men  seek 
to  keep  Africa  free  of  white  men. 

BURGLAR.  THE  Dan  Duryea,  Jane  Mansfield,  Martha 
Vickers.  Producer  Louis  Kellman.  Director  Paul  Kend- 
kos.  Melodrama.  Jewel  thieves  plan  theft  of  spiritual- 
ist's valuable  necklace.    90  min.  5/13. 


CALYPSO  HEAT  WAVE  Johnny  Desmond.  Merry  An- 
ders, Meg  Myles.  Director  Fred  Sears.  Musical.  Array 
of  calypso-style  singers. 

NIGHT  THE  WORLD  EXPLODED,  THE  Kathryn  Grant 
William  Leslie.  Producer  Sam  Katzman.  Director  Fred 
Sears.  Science-fiction.  Scientist  saves  world  by  pre- 
venting explosion.    64  min. 

GIANT  CLAW.  THE  Jeff  Morrow.  Mara  Cordav.  Pro- 
ducer Sam  Katzman.  Director  Fred  Sears.  Science- 
fiction.  Giant  bird  from  outer  space  threatens  to  de- 
stroy world. 

July 

FIRE  DOWN  BELOW  CinemaScope,  Technicolor.  Rita 
Hayworth,  Robert  Mitchum,  Jack  Lemmon.  A  War- 
wick Production.  Director  Robert  Parrish.  Drama. 
Cargo  on  ship  is  ablaze.  Gravity  of  situation  is  in- 
creased by  highly  explosive  nitrate. 

27TH  DAY.  THE  Gene  Barry,  Valerie  French.  Producer 
Helen  Ainsworth.  Director'  William  Asher.  Sclence- 
fietion.  People  from  outer  space  plot  to  destroy  all 
human  life  on  the  earth.  75  min. 

Coming 

ADMIRAELE  C2ICHTON,  THE  Technicolor.  Kenneth 
More.  Diane  Cilento.  Cecil  Parker.  Producer  Ian  Dal- 
rymple.  Director  Lewis  Gilbert.  Drama.  The  story  of  a 
famous  butler  in  the  I900's. 

BROTHERS  RICO  THE  Richard  Con'e,  Kathryn  Grant, 
Dianne  Foster.  Producer  Lewis  Rachmil.  Director  Phil 
Karlson.  Drama.  Former  racketeer,  trying  to  go 
straight,  exposes  organization  when  they  push  him  too 
far. 

CASE  OF  THE  STOCKING  KILLER,  THE  John  Mills, 
Charles  Coburn,  Barbara  Bates.  A  Marksman  Produc- 
tion. Director  John  Gillerman.  Insane  man  murders 
beautiful  girl. 

GOLDEN  VIRGIN,  THE  Joan  Crawford,  Rossano  Brazzi, 
Heather  Sears.  John  and  James  Woolf  producers.  Di- 
rector David  Miller.  Unscrupulous  people  exploit  blind 
girl  for  profit. 

KILLER  APE  Johnny  W.inmuller.  Carol  Thurston.  Pro- 
ducer Sam  Katzman.  Director  Spencer  G.  Bennett.  Ad- 
venture drama.  The  story  of  a  giant  half-ape,  half-man 
beast  who  goes  on  a  killing  rampage  until  destroyed 
by  Jungle  Jim.  68  min. 

PAPA,  MAMA,  THE  MAID  AND  I  Robert  Lamoureux, 
Gaby  Morlay,  Nicole  Courcel.  Director  Jean-Paul  La 
Chanols.  Comedy.  The  lives  of  a  typically  Parisian 
family.  94  min.  9/17. 

PICKUP  ALLEY  Cinemascope.  Victor  Mature.,  Anita 
Ekberg,  Trevor  Howard.  A  Warwick  Production.  Di- 
Ekberg,  Trevor  Howard.  A  Warwick  Production.  Direc- 
tor John  Gilling.  Story  of  international  dope  runners. 
SHE  PLAYED  WITH  FIRE  Jack  Hawkins,  Arlene  Dahl, 
Producers  Frank  Launder-Sidney  Gilliat.  Director  Sid- 
ney Gilliat.  Story  of  an  arsonist. 

SUICIDE  MISSION  Leif  Larson,  Michael  Aldridge.  Atle 
Larsen.  A  North  Seas  Film  Production.  Adventure.  Nor- 
wegian fishermen  smash  German  bl'ockade  in  World 
War  II.  70  min. 

3:10  TO  YUMA  Glenn  Ford,  Felicia  Farr,  Van  Heflin. 
Producer  David  Heilwell.  Director  Delmer  Daves.  West- 
ern. Cowboy  robs  stagecoach  then  poses  as  one  those 
robbed. 

YOUNG  DON'T  CRY.  THE  Sal  Mineo.  James  Whitmore. 
Producer  P.  Waxman.  Director  Alfred  Werker.  Drama. 
Life  in  a  southern  orphanage. 


INDEPENDENTS 


February 

BED  OF  GRASS  ITrans-LuxJ  Anna  Brazzou.  Made  in 
Greece.  English  titles.  Drama.  A  beautiful  girl  is  per- 
secuted by  her  vllllage  for  Having  lost  her  virtue  as 
the  victim  of  a  rapist. 

CYCLOPS.  THE  IRKOI  James  Craig,  Gloria  Talbot. 
Producer-director  Bert  Gordon.  Science-fiction.  Story 
of  a  monster  moon. 

FLESH  AND  THE  SPUR  (American-lnternatiooal)  Color. 
John  Agar,  Maria  English,  Touch  Connors.  Producer 
Alex  Gordon.  Director  E.  Cehn.  Western.  Two  men 
search  for  a  gang  of  outlaw  killers.  86  min. 

HOUR  OF  DECISION  (Astor  Pictures)  Jeff  Morrow, 
Haiel  Court.  Producer  Monty  Berman.  Director  Denn- 
ington  Richards.  Melodrama.  Columnist's  wife  is  in- 
nocently involved  in  blackmail  and  murder.  70  min. 
NAKED  PARADISE  I  American-International)  Color. 
Richard  Denny,  Beverly  Garland.  Producer-director 
Roger  Corman.  Drama.  Man  and  woman  bring  Ha- 
waiian smugglers  to  justice.  72  min. 


Film     BULLETIN  —  THIS     IS     YOUR  PRODUCT 


JUNE  SUMMARY 

32  features  are  scheduled  for  release 
in  June,  the  largest  amount  yet  released 
this  year  for  any  single  month.  Columbia 
will  be  the  leading  supplier  with  five 
films.  Allied  Artists,  20th  Century-Fox, 
the  Independents  and  Universal  will  re- 
lease four  each  while  United  Artists  and 
Republic  will  each  put  three  on  the 
agenda.  Meiro  and  Warner  Bros,  will  put 
two  each  on  the  rosier;  Paramount,  one. 
Only  four  color  films  will  be  released  dur- 
ing June.  Four  releases  will  be  in  Cinema- 
Scope,  one  in  VistaVision 
10  Dramas  3  Westerns 

7  Comedies  3  Adventures 

1  Musical  2  Science-fiction 

6  Melodramas 


SILKEN  AFFAIR.  THE  (RKOI  David  Niven,  Genevieve 
Page,  Ronald  Squire.  Producer  Fred  Feldkamp.  Director 
Roy  Kelling.  Comedy.  An  auditor,  on  a  kindly  impulse, 
alters  the  accounting  records.  94  min. 

TEMPEST  IN  THE  FLESH  I  Pacemaker  Pictures)  Ray- 
mond Pellegrln,  Francoise  Arnoul.  Director  Ralph 
Habib.  French  film,  English  titles.  Drama.  Study  of  a 
young  woman  with  a  craving  for  love  that  no  number 
of  men  can  satisfy. 

March 

UNDEAD.  THE  I  American-International!  Pamela  Dun- 
can, AHUon   Hayes.   Producer-director  Roger  Corman. 

Science-fiction.  A  woman  turns  into  a  witch.  71  min. 

VOODOO  WOMAN  I  American-International  I  Maria 
English,  Tom  Conveay,  Touch  Connors.  Producer  Alex 
Gordon.  Director  Edward  Cahn.  Horror.  Adventures 
seeking  native  treasure  is  transformed  into  monster  by 
Jungle  scientist.  75  min. 

WOMAN  OF  ROME  (DCA)  Gina  Lollobrigida ,  Daniel 
Gelin.  A  Ponti-DeLaurenflis  Production.  Director  Lulgi 
Zampa.  Drama.  Adapted  from  the  Alberto  Moravia 
novel. 

A  pril 

GOLD  Or  NAPLES  (DCAI  Toto.  Sophia  Loren,  Vittorio 
DeSica.  A  Ponti-De  Laurentis  Production.  Director  V. 
De  Sica.  Drarru.  4  short  Italian  satires.   I07min.  3/18 

IF  ALL  THE  GUYS  IN  THE  WORLD  .  .  .  IBuena  Vista) 
Andre  Valmy,  Jean  Gaven.  Director  Christian-Jaque. 
Drama.  Radio  "hams",  thousands  of  miles  apart,  pool 
their  efforts  to  rescue  a  stricken  fishing  boat. 

REACH  FOR  THE  SKY  (Rank  Film  Distributors)  Kenneth 
More.  A  J.  Arthur  Rank  Production.  The  story  of  Brit- 
ain's unique  RAF  ace,  Douglas  Bader. 

May 

RAISING  A  RIOT  (Continental)  Technicolor.  Kenneth 
More.  Ronald  Squire,  Jan  Miller.  Director  Wendy  Toye. 
Comedy.  Father  attempts  to  apply  psychology  to  his 
three  children  while  wife  is  away  on  a  visit. 

FOUR  BAGS  FULL  ITrans-Lux)  Jean  Gabin.  Bouvril. 
Comedy.  The  trials  and  tribulations  of  black  market 
operators  during  the  German  occupation. 

FRENCH  ARE  A  FUNNY  RACE,  THE  (Continental) 
Martine  Carol,  Jack  Vuchanan,  Noel-Noel.  A  Gaumont 
production.  Comedy.  A  spoof  of  the  unique  personality 
characteristics  of  the  French. 

ROCK  ALL  NIGHT  (American-International)  Dick 
Miller,  Abby  Datton,  Russel  Johnson  Producer-director 
Roger  Corman.  Rock  n'  rolT  musical.  45  min. 

STRANGER  IN  TOWN  [Asforl  Alex  Nichol,  Anne  Page, 
Producer  Sidney  Roberts.  Director  George  Pollock. 
Melodrama.  A  newspaperman  exposes  the  "perfect 
crime".  74  min. 

June 

BLACK  TIDE  (Astor  Pictures)  John  Ireland,  Maureen 
Connell.  Producer  Monty  Berman.  Director  C.  P.  Rich- 
ards. Melodrama.  Top  fashion  model,  planning  long 
distance  swim  for  publicity,  is  mysteriously  murdered 
7?  min. 

FRENCH  THEY  ARE  A  FUNNY  RACE.  THE  (Conti- 
nental) Martine  Carol,  Jack  Buchanan.  Noel-Noel. 
Produced  by  Preston  Sturges.  Comedy.  Filmizaticn  of 
a  famous  French  best-seliing  novel.    105  min. 

JOHNNY  TREMAIN  (Buena  Vista)  Technicolor.  Hal 
Stalmaster,  Luana  Patten,  Jeff  York.  A  Walt  Disney 
Production.  Director  Robert  Stevenson.  Adventure. 
A  teen-age  silversmith  turns  freedom  fighter  in  the 
American  War  of  Independence. 

JULIETTA  (Kingsley  International)  Jeanne  Moreau, 
Nicole  Berger.  An  Indrusfilms  Production.  Director 
Marc  Allegret.  Comedy. 

July 

CARNIVAL  ROCK  (Howeo)  The  Platters    David  Hous- 
ton.   A  Howco  Production.    Musical.    80  min 
TEEN  AGE  THUNDER  (Howeo)  Church  Courfney.  Ms- 
linda  Byron.    A  Howco  Production.    80  min. 

Coming 

CARTOUCHE  (RKOI  Richard  Basehart,  Patricia  Roc. 
Producer  John  Nasht.  Director  Steve  Sekely.  Adventure. 
The  story  of  a  lusty  adventurer  during  the  reign  of 
Louis  XVI. 

CITY  OF  WOMEN  (Associated)  Osa  Massen,  Robert 
Hutton,  Maria  Palmer.  Producer-director  Boris  Perroff 
Drama.  From  a  novel  by  Stephen  Longstreet. 
DRAGSTRIP  GIRL  (American-International)  Fay  Spain 
Steve  Terreil,  John  Ashley.  Producer  Alex  Gordon  Di- 
rector Edward  Cahn.  Story  of  teen-age  hot  rod  and 
dragstnp  racing  kids.  75  min. 

LOST  CONTINENT  IIFE)  CinemaScope,  Ferranicolor. 
Producer-director  Leonardo  Bomi.  An  excursion  into  the 
wilds  of  Borneo  and  the  Maylayan  Archepelago.  Eng- 
lish commentary.  84  min. 

NEAPOLITAN  CAROUSEL  IIFE)  (Lux  Film,  Rome)  Pathe- 
coior.  Print  by  Technicolor.  Sophia  Loren,  Leonide 
Massme.  Director  Ettore  Giaonini.  Musical.  The  history 
of  Naples  traced  from  1400  to  date  in  song  and  dance. 
PERRI  (Buena  Vista)  Technicolor.  A  true-life  fantasy 
by  Walt  Disney.  The  life  story  of  a  Pine  Squirrel 
named  "Perri". 

REMEMBER,  MY  LOVE  (Artists-Producers  Assoc.)  Cine- 
maScope, Technicolor.  Michael  Redgrave,  Mel  Ferrer, 
Anthony  Quale.  Musical  drama.  Producer-director 
Michael  Powell,  Emerie  Pressburger.  Based  on  Strauss' 
"Die  Fledermaus". 


SMOLDERING  SEA,  THE  Superscope.  Producer  Hal  E. 
Chester.  Dram*.  Conflict  between  the  tyrannical  cap- 
tain and  crew  of  an  American,  merchant  ship  reaches 
its  climax  during  battle  of  Guadalcanal. 
X— THE  UNKNOWN  Dean  Jagger.  William  Russell. 
Producer  A.  Hinds.  Director  Leslie  Norman.  Science- 
fiction.  Keen  minded  scientist  fights  awesome  creation. 


METRO-GOLD  WYN  -  MAYER 


February 

BARRETS  OF  WIMPOLE  STREET,  THE  CinemaScope, 
Eastman  Color.  Jennifer  Jones,  Sir  John  Gielgud,  Bill 
Travers.  Producer  Sam  Zimbalist.  Director  Sidney 
Franklin.  Drama.  Love  story  of  poets  Elizabeth  Barrett 
and  Robert  Browning.  105  min.  1/21. 

HOT  SUMMER  NIGHT  Leslie  Nielsen,  Coleen  Miller. 
Producer  Morton  Fine.  Director  David  Friedkin.  Melo- 
drama. Story  of  a  gangland  hide-out.  84  min.  2/4. 

WINGS  Of  THE  EAGLES.  THE  John  Wayne,  Dan 
Dalley,  Maureen  O'Hara.  Producer  Charles  Schnee. 
Director  John  Ford.  Drama.  Life  and  times  of  a  naval 
aviator.  I  10  min.  2/4. 

March 

HAPPY  ROAD.  THE  Gene  Kelly,  Michael  Redgrave, 
Barbara  Laage.  A  Kerry  Production.  Directors,  Gene 
Kelly,  Noel  Coward.  Drama.  Two  children  run  away 
from  boarding  hchool  to  find  their  respective  parents. 
100  min.  2/4. 

LIZZIE  EJeanor  Parker.  Richard  Boone,  Joan  Blondell. 
Producer  Jerry  Bressfer.  Director  Hugo  Haas.  Drama. 
A  young  girl  lives  three  different  lives.  81  min.  3/4 

TEN  THOUSAND  BEDROOMS  CinemaScope,  Techni- 
color. Dean  Martin,  Anna  Maria  Alberghetti.  Producer 
Joseph  Pasternack.  Director  Richard  Thorpe.  Musical. 
A  hotel  tycoon  falls  in  love  with  a  lovely  Italian  girl. 
I  14  min.  2/13. 

A  pril 

DESIGNING  WOMAN  CinemaScope.  Gregory  Peck, 
Lauren  Bacall,  Dolores  Gray.  Produced  Dore  Schary. 
Director  Vincente  Minnelli.  Comedy.  Ace  sportswriter 
marries  streamlined  blond  with  ideas.   117  min.  3/4 

VINTAGE,  THE  MetroColor.  Pier  Angeli,  Mel  Ferrer, 
Leif  Erickson.  Producer  Edwin  Knoph.  Director  Jeffrey 
Hayden.  Drama.  A  conflict  between  young  love  and 
mature  responsibility.  90  min.  3/18. 

May 

LITTLE  HUT.  THE  MetroColor.  Ava  Gardner,  Stewart 
Granger.  Producers  F.  Hugh  Herbert.  Director  Mark 
Robson.  Comedy.  Husband,  wife  and  wife's  lover  are 
marooned  on  a  tropical  isle.  93  min. 

TA22AN  AND  THE  LOST  SAFARI  Technicolor.  Gordon 
Scott  Robert  Beatty.  A  Sol  Lesser  Production.  Director 
Bruce  HumDerstone.  Adventure.  Tarzan  rescues  safari 
lost  in  deepest  Africa.  80  min.  3/18. 

THIS  COULD  BE  THE  NIGHT  Jean  Simmons,  Paul 
Douglas.  Producer  Joe  Pasternak.  Director  Robert 
Wise.  Comedy.  A  girl  fresh  out  of  college  gets  a 
job  as  secretary  to  an  ex-bootlegger.    103  min.  4/15. 

June 

SEVENTH  SIN.  THE  CinemaScope.  Eleanor  Parker,  Mill 
Travers,  George  Sanders.  Producer  David  Lewis.  Di- 
rector Ronald  Neame.  Drama.  Story  of  an  adulterous 
woman. 

SOMETHING  OF  VALUE  Rock  Hudson,  Dana  Wynter, 
Wendy  HMIer.  Producer  Pandro  Berman.  Director 
Richard   Brooks.   Drama.   Stry  of  a  Mau   Mau  uprising 

in  Kenya.  East  Africa.    110  min.  5/13. 

July 

MAN  ON  FIRE  Bing  Crosby.  Mary  Pickett  Inger 
Stevens.  Producer  Sol  Siegel.  Director  R.  MacDougall. 
The  effect  of  divorce  on  a  boy  and  his  estranged 
parents. 

SILK  STOCKINGS  MetroColor,  CinemaScope.  Fred  As- 
taire,  Cyd  Charrise,  Janis  Page.  Producer  Arthur 
Freed.  Director  R.  Mamoullian.  Musical.  Russian  girl 
falls  in  love  with  American  film  producer  in  Paris. 

Coming 

ACTION  OF  THE  TIGER  CinemaScope,  Color.  Van 
Johnson,  Martine  Carol,  Gustave  Ro(o.  A  Claridge 
Production.  Drama.  Beautiful  girl  ieeks  help  of  con- 
traband  runner  to   re»cue   brother   from  Communists. 

DECISION  AGAINST  TIME  Jack  Hawkins,  Elizabeth 
Sellars.  Producer  M.  Balcon.  Director  C.  Crichton. 
Test  pilot  attempts  to  land  disabled  plane. 

GUN  GLORY  CinemaScope,  MetroColor.  Stewart 
Granger.  Rhonda  Fleming.  Producer  N.  Nayfack.  Di- 
rector Roy  Rowland.  Western.  Ex-outlaw  is  tormented 
by  his  former  reputation  as  a  killer. 

HOUSE  Or  NUMBERS  CinemaScope  Jack  Palance, 
Barbara  Lang.  Producer  Charles  Schnee.  Director 
Russell  Rouse.  Law-abiding  citizen  attempts  to  engi- 
neer San  puentin  escape  for  his  brother. 
LIVING  IDOL.  THE  CinemaScope,  Eastman  Color. 
Steve  Forrest,  Lilliane  Montevecchi.  Producer-director 
Al  Lewin.  Drama.  An  archeologlst  is  faced  with  an  un- 
worldly situation  that  threatens  the  safety  of  his 
adopted  daughter.  101  min.  5/13. 
RAINTREE  COUNTY  Eastman  Color,  CinemaScope  55. 
Elizabeth  Taylor,  Montgomery  Clift.  Producer  David 
Lewis.  Director  Edward  Dymtryke.  Drama.  Life  in  Indi- 
ana during  the  middle  1800's. 


PARAMOUNT 


February 

RAINMAKER,  THE  VistaVision,  Technicolor.  Burt  Lan- 
caster, Katherine  Hepburn,  Wendell  Corey.  Producer 
Hal  Wallis.  Director  Joseph  Anthony.  Comedy  drama. 
Fllmization  of  the  famous  B'way  play.   121  min.  12/24. 

March 

FEAR  STRIKES  OUT  Anthony  Perkins,  Karl  Maiden. 
Norma  Moore.  Producer  AJan  Pakula.  Director  Perry 
Wltson.   Drama.   Story  of  the   Boston   baseball  player. 

100  min.  2/18. 

April 

FUNNY  FACE  VistaVision,  Technicolor.  Audtey  Hep- 
burn, Fred  Astaire,  Kay  Thompson.  Producer  Roger 
Edens.  Director  Stanley  Donen.  Musical.  Photographer 
plucks  fashion  model  from  Greenwich  VTlfage  bookshop. 
103  min.  2/18. 

May 

BUSTER  KEATON  STORY,  THE  VistaVision,  Technicolor. 
Donald  O'Connor,  Ann  Blyth,  Rhonda  Fleming.  Pro- 
ducers Robert  Smith,  Sidney  Sheldon.    Director  Sidney 

Sheldon.  Drama.  Life  of  the  great  comedian.  91  min. 
4/15. 

GUNFIGHT  AT  O.K.  CORRAL  VistaVijion,  Technicolor. 
Burt  Lancaster,  Kirk  Douglas,  Rhonda  Fleming.  Pro- 
ducer Hal  Wallis.  Director  John  Sturges.  Western. 
Drunken   badman   hunts  for  murderer  of  his  eheat'ng 

brother.  122  min. 

June 

LONELY  MAN,  THE  VistaVision,  Technicolor.  Jack  Pa- 
lance, Anthony  Perkins,  Elaine  Aiken.  Producer  Pat 
Duggan.  Director  Henry  Levin.  Western.  A  gunfighter 

finds  he  is  losing  his  sight — and  his  aim.  81  min. 

July 

BEAU  JAMES  VistaVision,  Technicolor.  Bob  Hope.  Pro- 
ducer Jack  Rose.  Director  Michael  Moore.  Drama. 
Biography  of  the  famous  Jimmy  Walker,  mayor  of  N.Y. 
from  1925  to  1932.  105  min. 

DELICATE  DELINQUENT,  THE  Jerry  Lewis,  Darren  Me- 
Gavin,  Martha  Hyer.  Producer  Jerry  Lewis.  Director 
Don  McGuire.  Janitor  longs  to  be  police  officer  so  he 
can  help  delinquents.  101  min. 

Coming 

HAIRPIN  DEVIL'S,  THE  VistaVision,  Technicolor.  Cornel 
Wilde,  Jean  Wallace,  Mary  Astor.  Producer-director 
Cornel  Wilde.  Adventure.  Story  which  deals  with 
sports  car  racing. 

HOT  SPELL  VistaVision  Shirley  Booth,  Anthony  Quinn. 
Shirley  MacLaine.  Producer  Hal  Wallis.  Director  Dan- 
iel Mann.  Drama.  The  disintegration  of  a  Southern 
family  during  a  torrid  heat  wave. 

JOKER  IS  WILD,  THE  VistaVision,  Technicolor.  Frank 
Sinatra,  Mitii  Gaynor,  Jeanne  Crain.  Producer  Samuel 
Briskm.  Director  Charles  Victor.  Drama.  Him  biography 
of  Joe  E.  Lewis,  nightclub  comedian. 
LOVING  YOU  VistaVision.  Technicolor.  Elvis  Presley. 
Lizabeth  Scott.  Wendell  Corey.  Producer  Hal  Wal  is. 
Musical.  Director  Hal  Kanter.  Small-town  boy  makes 
good  in  big-time  show  business. 

OMAR  KHAYYAM  VistaVision,  Technicolor.  Cornel 
Wilde,  Michael  Rennie,  Pebra  Paget.  Producer  Frank 
Freeman,  Jr.  Director  William  Dieterle.  Adventure. 
The  life  and  times  of  medieval  Persia's  literary  idol. 
103  min. 

SHORT  CUT  TO  HELL  VistaVision.  Robert  Ivers,  Wil- 
liam Bishop,  Georgann  Johnson.  Producer  A.  C.  Lyles. 
Director  James  Cagney.  Drama. 

SPANISH  AFFAIR  VistaVision,  Technicolor.  Carmen 
Sevilla,  Richard  Kiley.  Producer  Bruce  Odium.  Director 
Donald  Siegel.  An  American  architect  travelling  in 
Spain  is  attracted  to  a  beautiful  girl,  half-Gypsy,  half- 
Spanish. 


Film 


BULLETIN—  THIS     IS     YOUR  PRODUCT 


TEN  COMMANDMENTS,  THE  VistaVision,  Technicolor. 
Charlton  Helton,  Yul  Brynner,  Anne  Baxter.  Producer- 
director  Cecil  B.  DeMille.  Religious  drama.  Life  story 

of  Moses  as  told  in  the  Bible  and  Koran.  21?  min.  10/15 
TIN  STAR,  THE  VistaVision.  Henry  Fonda,  Anthony 
Perkins.  A  Peri.herg-Seaton  Production.  Director  An- 
thony Mann.  V  .  .tern. 


REPUBLIC 


January 

ABOVE  UP  THE  WAVES  John  Mills,  John  Gregson 
Donald  Sinden.  Producer  W.  MacQultty.  Director  Ralph 
Thomas.  Drama.  Midget  submariners  attempt  to  sink 
German  battleship  in  WWII.  92  min.  1/21. 

TEARS  FOR  SIMON  Eastman  Color.  David  Farrar, 
David  Knight,  Julia  Arnall.  A  J.  Arthur  Rank  Produc- 
tion. Drama.  Young  American  couple  living  in  Lon- 
don have  their  child  stolen.  91  min.  3/18. 

February 

AFFAIR  IN  RENO  Naturama.  John  Lund,  Doris  Single- 
ton. Producer  Sidney  Picker.  Director  R.  G.  Spring- 
stein.  Drama.  Young  heiress  falls  for  fortune-hunting 
gambler.  75  min. 

DUEL  AT  APACHE  WELLS  Naturama,  Trucolor.  Anna 
Maria  Alberghetti,  Ben  Cooper.  Associate  producer- 
director  Joseph  Kane.  Western.  Son  returns  home  to 
find  father's  ranch  threatened  by  rustler-turned-rancher. 

70  min. 

March 

HELL'S  CROSSROADS  Naturama.  Stephen  McNally, 
Peggie  Castle,  Robert  Vauhgn.  Producer  Rudy  Ral- 
ston. Director  Franklin  Adreon.  Western.  Outlaw  cow- 
boy reforms  after  joining  Jesse  James'  gang.  73  min. 

April 

MAN  IN  THE  ROAD.  THE  Derek  Farr,  Ella  Raines. 
Producer  Charles  Leeds.  Director  Lance  Comfort. 
Drama.  A  spy  ring  attempts  to  obtain  atomic  secrets 
through  the  use  of  "mental  persuasion."  83  min. 

SPOILERS  OF  THE  FORREST  Trucolor,  Naturama.  Vera 
Ralston,  Rod  Cameron.  Producer-director  Joe  Kane. 
Drama.  An  unscrupulous  lumberman  tries  to  coerce  the 
owners  of  a  large  forest  acreage  into  cutting  their 
timber  at  a  faster  rate.  68  min. 

May 

LAWLESS  EIGHTIES,  THE  Naturama.  Buster  Crabbe, 
John  Smith,  Marilyn  Saris.  Producer  Rudy  Ralston. 
Director  Joe  Kane.  Western.  Circuit  rider  prevents 
Indian  uprising. 

TIMS  IS  MY  ENEMY  Dennis  Price,  Renee  Asherson. 
Producer  Roger  Proudlock.  Director  Don  Chaffey. 
Melodrama.  The  story  of  a  blackmailed  blackmailer. 
64  min. 

WEAPON,  THE  Steve  Cochran,  Lizabelh  Scott,  Nicole 
Maurey.  Producer  Hal  Chester.  Director  Vai  Guest. 
Drama.  An  unsolved  murder  involving  a  child  and  a 
loaded  gun. 

June 

JOURNEY  TO  FREEDOM  Jacques  Scott,  Geneviv  Au- 
mont,  Gsorga  Graham,  Morgan  Lane.  Drama. 
PAWNEE  Trucolor.  G3orge  Mon.'gomery,  Bill  Williams, 
Lola  Albright.  A  Groos-Kresne  Production.  Director 
George  Wagner.  Western.  Calvary  puis  down  high- 
riding  Pawnee  Indians. 

July 

BACK  OF  BEYOND  John  Lupton,  Jack  Kelly,  May 
Wynn. 

ESCAPE  IN  THE  SUN  Trucolor.  John  Bently  Vera 
Fusek,  Martin  Boddy. 

LAST  STAGECOACH  WEST  Naturama.  Jim  Davis 
Mary  Castle,  Victor  Jory. 

OPERATION  CONSPIRACY  Philip  Friend,  Leslie  Dwyer, 
Mary  MacKenzie.  Melodrama. 

THE  BIG  SEARCH  Color. 


20THa  CENTU  RY-FOX 


February 

OH.  MEN  I  OH.  WOMENI  CinemaScope,  Color.  Dan 
Dairy,  Ginger  Rogers,  David  Nivan.  Producer-director 
Nunnally  Johnson.  Comedy.  A  psychiatrist  finds  out 
somethings  he  didn't  know.  90  min.  3/4. 

THE  TRUE  STORY  OF  JESSIE  JAMES  ClnemaScope. 
Robert  Wagner,  Jeffrey  Hunter.  Producer  Herbert 
Swope,  Jr.  Director  Nicholas  Ray.  Western.  The  Hves 
and  times  of  America's  outlaw  gang.  92  min.  2/18. 

March 

HEAVEN  KNOWS  MR.  ALLISON  CinemaScope  De  Luxe 
Color.  Deborah  Kerr,  Robert  Mitchum.  Producers 
Buddy  Adter,  Eugene  Frenke.  Director  John  Hus+on. 
Drama    Soldier  is  saved  by  nun  in  South  Pacific  during 

World  War  II  93  min.  3/18. 

RIVER'S  EDGE.  THE  CinemaScope,  Color.  Ray  Milland, 
Anthony  Quinn,  Debra  Paget.  Producer  Benidlct 
Bogeaos.  Director  Allan  Dwan.  Adventure.  Story  of  a 
>rofessronal  killer. 


STORM  RIDER,  THE  Scott  Brady,  Mala  Powers.  A 
Brady-Glasser  production.  Director  Edward  Bernds. 
Western.  A  dust  storm  brings  a  stranger  to  a  small 

western  town.  70  min. 

A  pril 

BOY  ON  A  DOLPHIN  CinemaScope,  DeLuxe  Color. 
Clifton  Webb,  Alan  Ladd,  Sophia  Loren.  Producer  Sam 
Engel.  Director  Jean  Negulesco.  Comedy.  Romantic 
tale  with  a  Greek  background.  Ill  min. 
BREAK  IN  THE  CIRCLE  Forrest  Tucker,  Eva  Bartok. 
Story  of  escape  from  Iron  Curtain. 

KRONOS  Jeff  Morrow,  Barbara  Lawrence,  John  Emery. 
Producer-director  Kurt  Neumann.  Drama.  A  "planet- 
robber"  comes  to  earth  from  outer  space.    78  min. 

SHE-DEVIL,  THE  Mari  Blanchard,  Jack  Kelly,  Albert 
Dekker.  Producer-director  Kurt  Neumann.  Scientists 
create  an  inhuman  woman.    77  min. 

May 

BADLANDS  OF  MONTANA  Rex  Reason,  Margia  Deane, 
Beverly  Garland.  Producer  H.  Knox.  Director  D.  U li- 
ma n .    Outlaw  takes  over  as  town  marshal.    79  min. 

CHINA  GATE  Nat  "King"  Cole,  Gene  Barry,  Angie 
Dickinson.  Producer-director  S.  Fuller.  Drama.  Love 
and  war  in  Indo-China. 

DESK  SET  Spencer  Tracy,  Katharine  Hepburn.  Producer 
Henry  Sphron.  Director  W.  Lang.  Filmization  of  the 
famous  Broadway  comedy.  Story  of  a  secretary  and 
her  boss.    103  min.  5/13. 

WAY  TO  THE  GOLD,  THE  Sheree  North,  Barry  Sullivan, 
Jeffrey  Hunter.  Producer  David  Weisbart.  Director  R. 
Webb.  Ex-convict  attempts  to  recover  stolen  treasures. 
6?  min. 

June 

ISLAND  IN  THE  SUN  CinemaScope  DeLuxe  Color. 
James  Mason,  Joan  Fontaine,  Dorothy  Dandridge.  Pro- 
ducer DarryJ  Zanuck.  Director  Robert  Rossen.  DrarrM. 

LURE  OF  THE  SWAMP  William  Parker,  Skippy  Homeir, 
Marshall  Thompson.  Melodrama.  Gangster  hides  out 
in  swamp  to  escape  police. 

TWO  GROOMS  FOR  A  BRIDE  Virginia  Bruce,  John 
Carroll.  Producer  Robert  Baker,  Monty  Berman.  Direc- 
tor Henry  Cass.  Comedy. 

WAYWARD  BUS  CinemaScope  Jayne  Mansfield,  Dan 
Dailey,  Joan  Collins,  Rick  Jason.  Producer  Chares 
Brackett.  Director  Victor  Vicas.  From  the  John  Stein- 
beck novel.  Drama. 

July 

BERNADINE  Terry  Moore,  Pat  Boone,  Janet  Gaynor. 
Producer  Sam  Fngel.  Director  H.  Levin.  Comedy.  Story 
of  teenagers.  Filmization  of  lha  Broadway  comedy. 

Coming 

ABDUCTORS,  THE  Victor  McLaglen,  Fay  Spain,  Carl 
Thayler.    Producer  R.  Wander.    "Director  A.  McLaglen. 

A  HATFUL  OF  RAIN  CinemaS-ope.    Eva  Marie  Saint, 
Don  Murray,  Tony  Franciosa.    Producer  Buddy  Adler. 
Director  Fred  Zinneman. 

AN  AFFAIR  TO  REMEMBE?.  CinemaScope  DeLuxe 
Color.  Cary  Grant,  Deborah  Kerr.  Producer  Jerry 
Wald.    Director  Leo  McCarey. 

BEAUTIFUL  BUT  DANGEROUS  Gina  Lollobrigida,  Vit- 
torio  Gassman.  Producer  Manuella  Malotti.  Director 
Robert  Leonard.  Drama. 

GOD  IS  MY  PARTNER  Walter  Brennan,  John  Hoyt, 
Marion  Ross.    Producer  S.  Hersh.    Director  W.  Claxton. 

LAST  WASRIOR  Keith  Larsen.  Jim  Davis.  Producer  P. 
Skouras.    Director  E.  Williams. 

RESTLESS  BREED,  THE  Eastman  Color.  Scott  Brady, 
Anne  Bancroft.  Producer  E.  A.  Alperson.  Director  Alan 

Dwan.    Story  of  a  restless,  banned  town. 

SEA  WIFE  CinemaScope,  DeLuxe  Color.  Richard  Bur- 
ton, Joan  Collins.  Producer  Andre  Hakim.  Director  Bob 
McNaught.  Drama.  Ship  is  torpedoed  by  Jap  sub- 
marine off  Singapore  harbor. 

SUN  ALSO  RISES.  THE  CinemaScope,  DeLuxe  Color. 
Ava  Gardner,  Mel  Ferrer,  Tyrone  Power.  Producer  D. 
Zanuck.    Director  Henry  King. 

THREE  FACES  OF  EVE.  THE  David  Wayne,  Joanne 
Woodward.  Producer  Nunnally  Johnson.  Story  of  a 
woman  with  three  distinct  personalities. 

WILL  SUCCESS  SPOIL  ROCK  HUNTER  CinemaScope, 
DeLuxe  Color.  Jayne  Mansfield,  Clifton  Webb,  Tony 
Randall.    Producer-director  Frank  Tashlin.  Comedy. 


UNITED  ARTISTS 


February 

CRIME  OF  PASSION  Barbara  Stanwyck,  Sterling 
Hayden,  Raymond  Burr.  Producer  Herman  Cohen.  Di- 
rector Gerd  Oswald.  Drama.  Newspaper  woman  whose 

ambition  for  her  husband  leads  to  murder.  85  min.  1/7. 

DRANGO  Jeff  Chandler,  Joanne  Dru.  An  Earlmar  Pro- 
duction. Hall  Bartlett  producer-director.  Adventure. 
Union  officers  try  to  bring  order  to  a  Southern  town 
after  the  Civil  War.  92  min. 

MEN  IN  WAR  Robert  Ryan,  Aldo  Ray,  Robert  Keith. 
Producer  Sidney  Harmon.  Director  Anthony  Mann. 
Dr«ma.  An  American  infantry  platoon  Isolated  in  enemy 
territory  tries  to  retreat  during  the  Korean  War. 
101  min.  2/4. 


TOMAHAWK  TRAIL  John  Smith,  Susan  Cummings.  A 
Bel  Air  Production.  Director  Robert  Parry.  Western. 
Cowboy  versus  Indians.  A  small  band  of  cavalry 
soldiers,  greatly  outnumbered,  battles  with  Apache 
Indians  at  close  of  the  Civil  War.  61  min. 

VODOO  ISLAND  Boris  Karloff,  Beverly  Tyler.  A  Bel 
Air  Production.  Director  Reginald  Le  Borg.  Horror. 
Writer  is  called  upon  to  investigate  vodooism  on  a 
Pacific  isle.  76  min. 

March 

DELINQUENTS,  THE  Tommy  Laughlin,  Peter  Miller, 
Dick  Bakalyan.  Imperial  Productions.  Robert  Airman 
director.  High  school   student  and   his  girl  victimized 

by  a  teen-age  gang.  75  mm.  3/13. 

HIT  AND  RUN  Geo  Moore,  Hugo  Haas.  Producer,  di- 
rector Hugo  Haas.  Middle-aged  widower  marries  show 
girl.  She  and  her  boy  friend  plot  his  murder.  84  min. 

REVOLT  AT  FORT  LARAMIE  DeLuxe  Color.  John 
Dehner,  Diana  Brewster.  Producer  Howard  Koch.  Di- 
rector Lesley  Selander.  Western.  Civil  War  story  of 
soldiers  who  are  attacked  by  Indians.  73  min. 

April 

BACHELOR  PARTY,  THE  Don  Murray,  E.  G.  Marshall, 
Jack  Warden.  Producer  Harold  Hecht.  Director  Delbert 
Mann.  Drama.  From  the  famous  television  drama  by 
Paddy  Chayefsky.  92  min.  4/15. 

FURY  AT  SHOWDOWN  John  Derek,  Carolyn  Craig, 
Nick  Adams.  Producer  John  Beck.  Director  Gerd  Os- 
wald. Western.  Ex-bandit  finds  tough  going  when  he 
tries  to  go  straight.  75  min.  3/18. 

IRON  SHERIFF,  THE  Sterling  Hayden,,  John  Dehner, 
Constance  Ford.  Producer  Jerome  Robinson.  Director 
Sidney  Salkow.  Sheriff  tries  to  clear  his  son  of  a 
murder  charge.  73  min. 

RIDE  BACK,  THE  Anthony  Quinn,  William  Conrad.  An 
Aldrich  Production.  Director  Allen  Miner.  Western. 
Sheriff  is  afraid  of  failing  in  assignment  to  bring 
border  outlaw  to  justice.    79  min.  5/13. 

12  ANGRY  MEN  Henry  Fonda,  Lee  J.  Cobb.  Jack 
Warden.  An  Orion-Nova  Production.  Director  Sidney 
Lumet.  Drama.  Jury  cannot  agree  on  a  verdict.  95 
min.  3/4 

WAR  D3UMS  DeLuxe  Color.  Lex  Barker,  Joan  Taylor, 
Ben  Johnson.  Director  Reginald  LeBorg.  Apache  chief 
and  his  white  wife  wgae  war  on  white  settlers.  75  min. 
4/1. 

May 

GIRL  IN  BLACK  STOCKINGS,  THE  Lex  Barker,  Anna 
Bancroft,  Mamie  Van  Doren.  A  Bel-Air  Production.  Di- 
rector Howard  Koch.  Drama.  A  series  of  sex  slayings 

terrorize  western  resort.    73  min. 

HIDDEN  FEAR  John  Payne,  Natalie  Norwick.  A  St. 
Aubrey-Kohn  Production.  Director  Andre  de  Toth. 
Drama.  Police  officer  attempts  to  clear  sister  charged 

with  murder.  83  min. 

MONKEY  ON  MY  BACK  Cameron  Mitchell,  Dianne  Fos- 
ter. Producer  Edward  Small.  Director  Ted  Post.  Drama. 
Life  story  of  ex-boxing  champion  Barney  Ross.  93  min. 
MONTE  CARLO  STORY,  THE  Technirama,  Color.  Mar- 
lene  Dietrich,  Vittorio  De  Sica.  A  Titanus  Film.  Sam 
Taylor  director.  Drama.  A  handsome  Italian  nobleman 
with  a  love  for  gambling  marries  a  rich  woman  in 
order  to  pay  his  debts.    100  min. 

June 

BIG  CAPER.  THE  Rory  C^lhound.  Mary  Costa.  Pine- 
Thomas  Production.  Director  Robert  Stevens.  Multi- 
million  dollar  payroll  robbery.  Melodrama.  84  min. 
ST.  JOAN  Richard  Widmark,  Jean  Seburg.  Producer- 
director  Otto  Preminger.  Drama.  Filmization  of  George 
Bernard  Shaw's  famous  classic. 

SWEET  SMSLL  OF  SUCCESS,  THE  Burt  Lancaster.  Tony 
Curtis,  Susan  Harrison.  Producer  James  Hill.  Director 
Alexander  Mackendrick.  Story  of  a  crooked  news- 
paperman and  a  crooked  p.  r.  man. 
fROOPER  HOOK  Joel  McCrea,  Barbara  Stanwyck,  Ed- 
ward Andrews.  Producer  Sol  Fielding.  Director  Marquis 
Warren.  Drama.  A  white  woman,  forced  to  live  as  an 
Indian  Chief's  squaw,  is  finally  rescued  and  tries  to 
resume  life  with  husband. 

July 

PRIDE  AND  THE  PASSION.  THE  VistaVision,  Techni- 
color. Cary  Grant,  Frank  Sinatra,  Sophia  Loren.  Pro- 
ducer-director Stanley  Kramer.  Drama.  A  Spanish 
guerrilla  band  marches  an  incredible  distance  with  a 
6000  pound  cannon  during  Spanish  War  of  Independ- 
ence of  1810. 

Coming 

BAILOUT  AT  43,000  John  Payne,  Karen  Steele.  A  Pine- 
Thomas  Production.  Director  Francis  Lyon.  U.S.  Air 
Force  pioneers  bailout  mechanism  for  jet  pilots.  83  min. 
BOP  GIRL  GOES  CALYPSO  Judy  Tyler,  Bobby  Troup. 
Margo  Woode.  Producer  Aubrey  Schenk.  Director  How- 
ard Koch.  Musical.  Rock  and  roll-calypso  cavalcade  of 
musical  numbers. 

CALYPSO  ISLAND  Marie  Windsor.  Vince  Edwards.  Pro- 
ducer-director William  Berke.  Musical.  Calypso  film 
filmed  in  the  Bahama  Islands. 

CARELESS  YEARS.  THE  Natalie  Trundy,  Dean  Stock- 
well.  Producer  Edward  Lewis.  Director  Arthur  Hiller. 
Drama.  Two  lovers  meet  parental  resistance  when  they 
decide  to  get  married. 


Film    BULLETIN  —  THIS     IS     YOUR  PRODUCT 


FUZZY  PINK  NIGHTGOWN,  THE  Jane  Russell,  Keenan 
Wynn,  Ray  Danton.  Producer  Bob  Waterfield  Director 
Norman  Taurog.  The  story  of  a  Hollywood  star  who 
is  kidnapped. 

GUNSIGHT  RIDGE  Joel  McCrea,  Mark  Stevens.  Pro- 
ducer Robert  8assler.  Director  Francis  Lyon.  Western. 
Stranger  discovers  respected  citizen  is  really  a  holdup 

GUN  DUEL  IN  DURANGO  George  Montgomery.  Pro- 
ducer Robert  Kent.  Director  S.  Salkow.  Western. 
Outlaw  attempts  to  go  straight.    73  min. 

JUNGLE  HEAT  Lex  Barker.  Mari  Blanchard.  A  Bel-Air 
Production.  Director  H.  Koch.  Japanese  saboteurs  in 
Hawaii  prior  to  WWII. 

LEGEND  OF  THE  LOST  John  Wayne.  Sophia  Loren, 
Rossano  Brazzi.  Producer-director  Henry  Hathaway.  Ad- 
venture   Sea.rch  for  treasure  in  the  Sahara.. 

LONELY  GUN,  THE  Anthony  Ouinn,  Katy  Jurado.  Pro- 
ducer Robert  Jacks.  Director  Harry  Hcrner. 

MONSTER  THAT  CHALLENGED  THE  WO.ILD,  THE  Tim 

Holt,  Audrey  Dalton.  Producers  Jules  Levy,  Arthur 
Gardner.  Director  Arnold  Laven.  Science-fiction.  Group 
of  Navy  scientists  battle  a   pre-historic   sea  monster. 

OUTLAW'S  SON  Dane  Clark,  Ben  Cooper,  Lori  Nel- 
son. Bel  Air  Production.  Director  Lesley  Selander.  Gun- 
slinger  escapes  from  jail  to  save  son  from  life  of 
crime. 

PHAROAH'S  CURSE  Ziva  Shapir,  Mark  Dana.  Producer 
Howard  Koch.  Director  Lee  Sholem.  Horror.  Reincar- 
nation of  mumm'es  in  Egyptian  tombs.  66  min.  2/18 

SAVAGE  PRINCESS  Technicolor.  Dilip  Kumar,  Nimmi. 
A  Mohboob  Production.  Musical  Drama.  A  princess 
falls  in  lova  with  a  peasant  who  contests  her  right 
to  rule  the  kingdom.  101  min. 

STREET  OF  SINNERS  George  Montgomery,  Geraldine 
Brooks.  Producer  William  Berke.  Rookie  policeman 
clashes  with  youthful  criminals. 

SPRING  REUNION  Betty  Hutton,  Dana  Andrews,  Jean 
Hagen.  Director  Robert  Pirosh.  Producer  Jerry  Bresler. 
Comedy.  Old  schoolmates  fall  in  love  at  a  high  school 
reunion.  79  min.  3/18. 

VALERIE  Sterling  Hayden,  Anita  Ekberg,  Anthony  Steel. 
Producer  Hal  Makelim. 

VAMPIRE,  THE  John  Beal.  Coleen  Gray.  Producers 
Arthur  Gardner,  Jules  Levy.  Director  Paul  Landres. 
Science-fiction.  Doctor  accidentally  takes  pills,  changes 
into  vampire. 


U  N  I VERSAL-INT'  L 


MAN  AFRAID  CinemaScope  George  Nader.  Phyllis 
Thaxter,  Tim  Hovey.  Producer  Gordon  Kay.  Director 
Harry  Keller.  Drama.  Father  saves  life  of  man  attempt- 
ing to  murder  his  son.  84  min.  4/15. 


February 


GREAT  MAN,  THE  Joae  Ferrer,  Mona  Freeman,  Daan 
Jegger.  Producer  Aaron  Rotenberg.  Director  Jos*  Fer- 
rer. Drama.  The  Ufa  and  death  of  a  famous  television 
idol.  92  min.  1 1/26. 

ISTANBUL.  CinemaScope,  Technicolor.  Errol  Hynn,  Cor- 
nell Borchen.  Producar  Albert  Cohen.  Director  Joseph 
Pevney.  Adventure.  Diamond  smugglers  in  mysterious 
Turkey.  84  min.  1/21. 

NIGHT  RUNNER,  THE  Ray  Danion,  Colleen  Miller.  Pro- 
ducer Albert  Cohan.  Director  Abner  Bibermen.  Drama. 
Mental  hospital  inmate  is  released  while  still  in  dan- 
gerous condition.  79  min. 

March 

BATTLE  HYMN  Technicplor,  CinemaScope.  Rock  Hud- 
son, Martha  Hyer,  Dan  Duryea.  Producer  Ross  Hunter. 
Director  Douglas  Sirk.  Drama.  Pilot  redeems  sense  of 
guilt  because  of  bombing  of  an  orphanage  by  saving 
other  orphans.  108  min.  12/24. 

GUN  FOR  A  COWARD  astman  Color,  CinemaScope. 
Fred  MacMurray,  Jeffrey  Hunter,  Janice  Rule.  Pro- 
ducer William  Alland.  Director  Abner  Biberman.  Wes- 
tern. Three  brothers  run  a  cattle  ranch  after  death  of 
their  father.  88  min.  1/7. 

MISTER  CORY  Eastman  Color,  CinemaScope.  Tony 
Curtis,  Martha  Hyer,  Charles  Bickford.  Producer 
Robert  Arthur.  Director  Blake  Edwards.  Drama.  Gam- 
bler from  Chicago  sjums  climbs  to  wealth  and  re- 
spectability. 92  min.  1/21. 


April 


I NCREDIBLE  SHRINKING  MAN.  THE  Grant  Williams, 
Randy  Stuart.  Producer  Albert  Zugsmith.  Director  Jack 
Arnold.  Science-fiction.  The  story  of  a  man  whose 
growth  processes  have  accidently  been  reversed. 
81  min.  2/4. 

KELLY  AND  ME  CinemaScope,  Technicolor.  Van  John- 
son, Piper  Laurie,  Martha  Hyer.  Producer  Robert  Ar- 
thur. Director  Robert  Leonard.  Drama.  Story  of  dog- 
act  in  show  business  in  the  early  l93C*s.  2/4. 

TATTERED  DRESS,  THE  CinemaScope.  Jeff  Chandler, 
Jeannie  Crain,  Jack  Carson.  Producer  Albert  Zugsmith. 
Director  Jack  Arnold.  Melodrama.  Famous  criminal 
lawyer   gains   humility   when    put   on   trial    himself.  93 


May 


DEADLY  MANTIS,  THE  Craig  Stevens,  Alix  Talton.  Pro- 
ducer William  Alland.  Director  Jerry  Juran.  Horror. 
Monstrouc  creature  threatens  to  destroy  U.S.  78  min. 
4/1. 

GIRL  IN  THE  KREMLIN,  THE  Lex  Barker,  Zsa  Zsa 
Gabor,  Jeffrey  Stone.  Producer  Albert  Zugsmith,  Di- 
rector Russell  Birdwell.  Drama. 


June 


JOE  BUTTERFLY  CinemaScope.  Technicolor.  Audie 
Murphy  George  Nader,  Keenan  Wynn.  Producer 
Aaron  Rosenberg.  Director  Jessie  Hibbs.  Comedy. 
Story  of  American  newsmen  in  Tokyo  after  Japanese 
surrender. 

KETTLES  ON  OLD  MocDONALD'S  FARM,  THE  Marjorie 
Main.  Parker  Fennelly.  Gloria  Talbott.  Producer  Ho- 
ward Christie.  Director  Virgil  Vogel.  Comedy.  The 
Kettles  buy  a  new  farm.    80  min.  5/13. 

PUBLIC  PIGEON  NO.  1  Eastman  Color.  Red  Skelton, 
Vivian  Blaine,  Janet  Blair.  Producer  Harry  Tugend.  Di- 
rector   Norman    McLeod.     Comedy.     A    trusting  soul 

tangles  with  con  men  and  outwits  them.  79  min.  5/13 

YOUNG  STRANGER  James  MacArtur.  James  Daly,  Kim 
Hunter.  James  Gregory.  Drama.  Story  of  a  young 
man  and  h's  parents.    84  min. 


July 


TAMMY  AND  THE  BACHELOR  Cinemascope,  Techni- 
color. Debbie  Reynolds.  Leslie  Nielson.  Producer  Aaron 
Rosenberg.  Director  oJe  Pevney.  Story  of  a  young  girl, 
her  grandfather  and  a  young  man  who  falls  in  love 
with  her.  89  min. 


Coming 


February 

BIG  LAND.  THE  WarnerColor.  Alan  Ladd,  Virginia 
Mayo.  A  Jaguar  Production.  Director  Gordon  Douglas. 
Western.  Cattleman  fight  to  move  their  herds  to 
distant  railroads.  93  min.  2/4. 

TOP  SECRET  AFFAIR  Kirk  Douglas.  Susan  Hayward. 
Producer  Martin  Rackin.  Director  H.  C.  Potter.  Come- 
dy. A  lovely  lady  calls  the  bluff  of  an  Army  General. 
93  min.  2/4. 

March 

PARIS  DOES  STRANGE  THINGS  Technicolor  Ingrid 
Bergman.  Mel  Ferrer,  Jean  Marais.  A  Franco-London 
Rim.  Director  Jean  Renoir.  Drama.  Tale  of  the  exired 

widow  of  a  Polish  Prince.  86  min.  3/4. 

A  pril 

SPIRIT  OF  ST.  LOUIS.  THE  CinemaScope,  Warner- 
Color.  James  Stewart,  Rena  Clark.  Producer  Leland 
Hayward.  Director  Billy  Wilder.  Drama.  The  story  ot 
the  first  man  ever  to  cross  tha  Atlantic  in  a  plane. 
138  min.  3/4. 


May 


DAY  THEY  GAVE  BABIES  AWAY.  THE  Eastman  Color. 
Glynis  Johns,  Cameron  Mitchell,  Rex  Thompson.  Pro- 
ducer Sam  Weisenthal.  Director  Allen  Reisner.  Drama. 

ESCAPADE  IN  JAPAN  Color.  Teresa  Wright,  Cameron 
Mitchell,  Jon  Provost,  Roger  Nakagaws.  Producer-direc- 
tor Arthur  Lubin.  Search  for  two  boys  who  start  out 
in  the  wrong  direction  to  find  the  very  people  who 
are  trying  to  find  them. 

GIRL  MOST  LIKELY.  THE  Eastmaa  Color.  Jane  Powell, 
Cliff  Robertsoa,  Keith  Andes.  Producer  Stanley  Rublin. 
Director  Mitchell  Leison.  Comedy.  A  girl  is  proposed 
to  by  three  men  on  the  same  day. 

I  MARRIED  A  WOMAN  George  Gobel.  Diana  Dors, 
Adolph  Menjou.  Producer  William  Bloom.  Director  Hal 
Kanter.  Coemdy.  Wife  objects  to  taking  second  place 
to  a  beer  advertising  campaign  with  her  husband. 
INTERLUDE  Technicolor,  CinemaScope.  June  Allyson, 
Rossano  Brazzi.  Producer  Ross  Hunter.  Director  Douglas 
Sirk.  American  doctor  falls  in  love  with  wife  of  fa- 
mous composer  in  Munich. 

JET  PILOT  Technicolor,  SuperScope.  John  Wayne, 
Janet  Leigh.  Howard  Hughes  Production.  Producar 
Jules  Furthman  Director  Jo'sef  von  Sternberg.  Drama. 
1 19  min. 

JOE  DAKOTA  Color.  Jock  Mahoney,  Luana  Patten.  Pro- 
ducer Howard  Christie.  Director  Richard  Bartlett. 
Drama.  Stranger  makes  California  oil  town  see  the 
error  of  its  ways. 

LAND  UNKNOWN.  THE  Jock  Mahoney,  Shawn  Smith. 
Producer  William  Alland.  Director  Virgil  Vogel. 
Science-fiction.  Polar  expedition  finds  Mesozoic  age 
in  Antartic  expedition. 

MAN  OF  A  THOUSAND  FACES  CinemaScope.  James 
Cagney,  Dorothy  Malone.  Producer  Robert  Arthur.  Di- 
rector Joseph  Pevney.  Drama.  Life  story  of  Lon  Chaney. 

MIDNIGHT  STORY,  THE  CinemaScope.  Tony  Curtis, 
Marisa  Pavan.  Producer  Robert  Arthur.  Director  Joseph 
Pevney.  Drama.  Rookie  cop  seeks  murderer  of  parish 
priest. 

MONOLITH  Grant  Williams,  Lola  Albright.  Producer 
Howard  Christie.  Director  John  Sherwood.  Science- 
fiction.    Army  of  rocks  threaten  U.S. 

MY  MAN  GODFREY  CinemaScope,  Technicolor.  June 
Allyson,  David  Niven.  Producer  Ross  Hunter.  Director 
Henry  Koster.    Comedy.    Story  of  a  topsy-turvy  butler. 

NIGHT  PASSAGE  Technirama.  James  Stewart.  Audie 
Murphy,  Dan  Duryea.  Producer  A.  Rosenberg.  Director 
James  Neilson.  Drama.  Payroll  robbers  are  foiled  by 
youngster  and  tough-fisted  railroader. 

PAY  THE  DEVIL  CinemaScope.  Jeff  Chandler,  Orson 
Welles.  Producer  Albert  Zugsmith.  Director  Jack  Ar- 
nold. Drama.  Sheriff  destroys  one-man  domination  of 
Texas  town. 

PYLON  CinemaScope.  Rock  Hudson,  Robert  Stack, 
Dorothy  Malone,  Jack  Carson.  Producer  Albert  Zug- 
smith. Director  Douglas  Sirk.  Drama.  Reporter  un- 
covers World  War  I  hero  of  the  Lafayette  Escadrille. 

QUANTEZ  CinemaScope,  Eastman  Color.  Fred  Mac- 
Murray,  Dorothy  Malone.  Producer  Gordon  Kay.  Direc- 
tor Harry  Keller.  Drama.  A  study  of  five  people  in- 
volved in  a  robbery  and  killing. 

RUN  OF  THE  ARROW  Eastman  Color.  Rod  Staiger, 
Sarita  Montiel,  Ralph  Meeker.  Producer-director  Sam 
Fuller.  Adventure.  Young  sharpshooter  joins  Sioux 
Indians  at  close  of  Civil  War. 

THAT  NIGHT  John  Beal,  Augusta  Dabney,  Sbeppard 
Strudwick.  Producer  Hiram  Brown.  Director  John 
Newland.  Drama.  A  tragedy  almost  shatters  a  15- 
year-old  marriage. 

UNHOLY  WIFE,  THE  Oolor.  Diana  Dors,  kod  Steiger, 
Marie  Windsor.  Producer-director  Jotin  Farrow.  Drama. 
A  wife  sunningly  plots  the  death  of  her  husband  who 
she  has  betrayed. 

VIOLATORS,  THE  Arthur  O'Connell,  Nancy  Malone. 
Producer  H.  Brown.  Director  John  Newland.  Drama. 
Story  of  a  probation  officer  in  the  New  York  City 
courts. 

BULLETIN—  THIS     IS     YOUR  PRODUCT 


COUNTERFEIT  PLAN,  THE  Zachary  Scott.  Pegg.e 
Castle  Producer  Alec  Snowden.  Director  Montgomery 
Tully.  Drama.  Inside  story  of  one  of  the  largest  for- 
gery operations  ever  attempted.  80  min.  4/1. 
SHOOT  OUT  AT  MEDICINE  EEND  Randolph  Scott 
James  Crain  Dani  Crayn3.  Producer  Richjrd  Whiff. 
Director  Riihard  Bare.  Western.  Homesteaders  and 
Quaker  settlers  in  Nebraska  frontier  town  are  ch3ated 
by  "bad  man".    87  min. 

UNTAMED  YOUTH  Mamie  Van  Doren,  Lou  Nelson.  John 
Russell  Producer  Aubrey  Schenk.  Director  Howard 
Koch  Life  cn  a  prison  farm  for  juvenile  delinquents. 
80  min.  4/1. 

June 

A  FACE  IN  THE  CROWD  Andy  Griffith.  Patricia  Neal. 
Producer-director  Elia  Kazan.  Drama.  A  hill-billy  per- 
sonality leaps  to  national  Iam3. 

D  I  ,  THE  Jack  Webb  Don  Dubbins.  Jackie  Loughery. 
Producer-director  Jack  Webb.  Drama.  Life  of  a  Ma- 
rine Corps  drill  instructor. 

July 

PRINCE  AND  THE  SHOWGIRL.  THE  Color.  Marilyn 
Monroe,    Laurence    Olivier,    Dame    Sybil  Thorndyke. 

Producer-director  Laurence  OHvier.  Comedy.  Filmiza- 
tion  of  the  Terence  Rattigan  play. 


Coming 

BAND  OF  ANGELS  WarnerColor.  Clark  Gable,  Yvonne 
De  Carlo.  Director  Raoul  Walsh. 

BOMBERS  B-52  CinemaScope.  WarnerColor.  Karl  Mai- 
den Natalie  Wood.  Producer  Richard  Whorf.  Director 
Gordon  Douglas.  Story  of  te  men  who  man  the 
bombers  that  defend  our  nation. 

HELEN  MORGAN  STORY,  THE  CinemaScope.  Ann 
Blyth,  Paul  Newman.  Producer  Martin  Rackin.  Director 
Michael  Curtiz.  Drama. 

LAFAYETTE  ESCADRILLE  CinemaSeope,  WarnerColor. 
Tab  Hunter  Etchlka  Choureau,  J.  Carrol  Nalih.  Drama. 

Lives  and  times  of  a  select  squadron  of  fighter  pilots 
in  WWI. 

OLD  MAN  AND  THE  SEA.  THE  CinemaScope,  Warner- 
Color Produced  by  Leland  Hayward.  Director  John 
Sturges.  Adventure.  Film  version  of  Ernest  Heming- 
way's prize-winning  novel. 

PAJAMA  GAME,  THE  Warner  Color.  Doris  Day.  John 
Raitt  Carol  Haney.  Producers  G.  Abbot,  F.  Brisson, 
R.  Griffith,  H.  Prince.  Director  Stanley  Donen.  Filmixa- 
tion  of  the  Broadway  musical. 

RISING  OF  THE  MOON,  THE  Eileen  Crowe.  Cyril 
Cusack,  Frank  Lawton.  Directed  by  John  Ford.  Three 
Irish  stories  with  Tyrone  Power  as  narrator. 
SAYONARA  Technirama,  WarnerColor.  Marlon  Brando, 
Red  Buttons.  Patricia  Owens.  Producer  William  Goetz. 
Director  Josh  Logan.  Drama.  Based  on  the  award- 
winning  novel  of  James  Michener. 

STORY  OF  MANKIND  WarnerColor.  All-star  cast. 
Dram3. 


To  Better  Serve  You  .  .  . 

Office  &  Terminal  Combined  At 
305  N.  12th  St.  New  Phonal 

Philadelphia  7,  Pa.         LOmbard  3-3944,  3945 

NEW  JERSEY 
MESSENGER  SERVICE 

Member  National  Film  Carriers 


DEPENDABLE  SERVICE! 

HIGHWAY 
EXPRESS  LINES,  INC. 

Member  National  Film  Carriers 

Philadelphia,  Pa.:  LOcust  4-3450 
Washington,  D.  C:  DUpont  7-7200 


When  baby  takes  a  bath  today  — 
your  baby  or  the  Prize  Baby  —  the 
towels  cost  172  per  cent  more  than  in 
1940. 

No  — we're  not  asking  for  a  crying 
towel  but  compare  this  and  all  your 
other  towering  costs  to  the  nominal  in- 
crease, if  any,  that  some  of  you  have 
given  to  the  Prize  Baby  during  this 
same  period. 

Despite  all  this,  the  Prize  Baby  has 
never  thrown  in  the  towel  in  provid- 
ing the  kind  of  service  you  expect  and 
receive ...  at  lowest  cost. 


STH! 


ftlcMe  market  Trend* 

SINDLINGER  &  COMPANY,  INC.     •  Analysts  •     RIDLEY  PARK.  PENNSYLVANIA.  LEhigh  2-4100 

Tabulation  of  more  than  120,~6\)0  interviews  during 
the  past  19  weeks  revealed  ... 

35.2%  of  the  week's  adult  paid  attendance  came  from 
patrons  who  said  they  were  influenced  to  attend  during  this 
week  because  they  liked  the  trailer  they  had  previously 
seen  on  the  attractions  they  went  to  see. 

Thus,  for  every  $1,000  the  average  theatre  grossed  from 
adults  during  the  past  19  weeks,  $352  came  from  persons  who 
were  directly  influenced  by  the  coming  attraction  trailer. 


BULLETIN 


UNE  10,  1957 


1  3usiness-wise 
Analysis  of 
he  New  Films 


is 


ISTINCTION 


LOVE  IN  THE 
AFTERNOON 


Other  Reviews: 

SILK  STOCKINGS 
"ACE  IN  THE  CROWD 
JNKEY  ON  MY  BACK 

MAN  ON  FIRE 
:IRE  DOWN  BELOW 

THE  D.I. 
HE  WAYWARD  BUS 
THE  SEVENTH  SIN 


THEIR  FUTURE? 


Little  Pictures  & 
Little  Exhibitors 


STARS  IN  THE  SADDLE 

Coulter  Discusses  the  Star  Problem 


ALLIED  ARTISTS 

RAISES  THE  SHADE 
For.  II©  MILLION  L9VERSI* 


GART  C°OPER_ 

AUDREY 
HEPBURN 

MAURICE 
CHEVALIER. 


19VE  IN 
"THE 
AFrER. 


MOVIE  LOVERS 


produced^        directed  BY 

with  JOHN  McGIVER-  screenplay  by  BILLY  WILDER  &  I.  A.  L.  DIAMOND  •  based  on  a  novel  by  CLAUDE  ANET-  musical  adaptation  by  FRANZ  WAXMAN-an  ALLIED  ARTISTS  ifcj 


FULL  PAGE 
ADS  IN  TOP 

CIRCULATION 
MAGAZINES  REACHING 
120  MILLION 

READERS! 


LIFE 
LOOK 
SAT.  EVE.  POST 

McCALL'S 
TRUE  STORY 
PHOTOPLAY 
RED  BOOK 

SEVENTEEN 
MOTION  PICTURE 
MODERN  SCREEN 
PICTORIAL  REVIEW 
SCREEN  STORIES 
MOVIE  LIFE 

MOVIE  STAR  PARADE 
_  _  SILVER  SCREEN  


NATIONAL  CAMPAIGN 


TIMED  FOR  YOUR  PLAY  DATE  THIS  SUMMER! 


IN  THE  HISTORIC  TRADITION 
OF  DAVID  O.  SELZNICK'S 

GWTW 

WILL  COME  THE  NEW  SCREEN  GLORY  OF 


ALL  OVER  ITALY 
N  ERNEST  HEMINGWAY'S 


starring 

ROCK  HUDSON  •  JENNIFER  JONES 
VITTORIO  DE  SICA 

PRODUCED  BY  DAVID  O.  SELZNICK 
DIRECTED  BY  CHARLES  VIDOR 
SCREENPLAY  BY  BEN  HECHT 
THE  SELZNICK  COMPANY  PRODUCTION 
in  CINemaScoPE:    and  COLOR  BY  DE  LUXE 
RELEASED  BY  20TH  CENTURY- FOX 


Wj^=-  BEFORE  AFTA:  Rock  Hudson  and  Jennifer  Jones  are  shown  rehearsing  for  "A  Farewell  to  Arms" 


viewpoints 

JUNE  10,   1957  VOLUME  25,  NO.  12 


Little  Pictures  and  lAttle  Exhibitors 


Every  time  exhibitors  raise  the  ques- 
tion of  more  product,  some  leader  of 
distribution  can  be  counted  upon  to  an- 
nounce that  we  now  have  an  audience 
which  is  highly  selective,  and,  there- 
fore, the  emphasis  must  be  on  quality, 
not  quantity.  More  obituaries  have 
been  written  for  the  so-called  little  pic- 
ture than  for  any  other  department  of 
our  business. 

And  yet  some  distribution  companies 
have  been  doing  very  nicely,  thank  you, 
with  a  full  complement  of  little  pictures 
to  go  along  with  their  blockbusters. 

The  disagreement  among  distribution 
concepts  was  particularly  spotlighted 
within  the  space  of  a  few  hours  and  a 
few  city  blocks  on  Tuesday,  June  4th, 
when  United  Artists  and  Paramount 
Pictures  held  their  annual  meetings  in 
New  York  City.  Both  companies,  of 
course,  are  out  to  make  as  much  money 
as  they  can  for  their  stockholders.  Their 
approach  to  that  goal  is  rather  widely 
divergent. 

United  Artists  reported  a  19.2%  in- 
crease in  net  earnings  for  the  first  quar- 
ter of  1957,  as  compared  to  the  1956 
quarter,  and  president  Arthur  B.  Krim 
said  that  the  growth  potential  of  the 
movie  business  is  "bigger  today  than  it 
was  in  1951  and  comparable  to  that  of 
almost  any  other  industry  on  the  Amer- 
ican scene." 

Barney  Balaban,  president  of  Para- 
mount Pictures,  was  quite  optimistic 
about  the  over-all  financial  prospects  of 
his  company,  and  while  he  did  say,  "Let 
no  one  sell  the  theatre  market  short", 
he  told  the  stockholders  that  "the  po- 
tentials of  television  (free  and  toll) 
beckon  more  invitingly  than  ever". 
Theatres  will  continue  to  be  the  com- 
pany's "basic  source  of  revenue,  al- 
though at  reduced  levels." 

United  Artists,  which  has  had  no  hes- 
itancy in  distributing  little  pictures  as 


well  as  big  ones,  is  stepping  up  the  pro- 
portion of  top  A  films  on  its  schedule, 
but  still  going  in  for  quantity  releasing. 
Paramount,  with  one  of  the  smallest 
distribution  programs  in  terms  of  num- 
ber of  pictures,  talks  about  "A  consid- 
erable increase  in  quantity  with  no  less- 
ening in  quality."  In  other  words,  few 
if  any  small  pictures. 

From  the  point  of  view  of  the  stock- 
holders, this  is  attractive  language,  be- 
cause it  seems  to  mean  real  knowledge 
of  the  market.  But  the  fact  is  that  a 
very  important  segment  of  the  potential 
movie  market  is  being  neglected  when 
the  little  picture  is  given  up  without  a 
fair  opportunity. 

Operating  in  what  they  conceive  to 
be  a  shrinking  field,  some  distributors 
figure  they  have  to  get  more  money 
with  less  pictures.  Meanwhile,  a  great 
many  theatremen  are  facing  the  difficult 
problem  of  getting  more  money  from 
lesser  pictures. 

Twentieth  Century-Fox,  Universal 
and  Columbia  show  profits  with  their 
programs  of  minor  films.  An  astutely 
managed  company  like  American 
Broadcasting-Paramount  Theatres  does 
not  regard  it  as  too  much  of  a  specula- 
tion to  start  making  its  own  little  pic- 
tures. James  H.  Nicholson's  American 
International  pictures  may  not  win  any 
Academy  Awards,  but  they  are  appar- 
ently grossing  quite  well. 


BULTETIM 


Film    BULLETIN:    Motion    Picture    Trade  Paper 
published  every  other  Monday  by  Wax  Publi- 
cations,   Inc.     Mo  Wax,    Editor  and  Publisher. 
PUBLICATION-EDITORIAL   OFFICES:    123?  Vine 
Street,  Philadelphia  7,  Pa.,  LOcust  8-0950,  0951. 
Philip    R.    Ward,    Associate    Editor:  Leonard 
Coulter,  New  York  Associate  Editor;  Duncan  G. 
Steck,     Business     Manager;     Marvin  Schiller, 
Publication  Manager;  Robert  Heath,  Circulation 
Manager.    BUSINESS  OFFICE:  522  Fifth  Avenue, 
New    York    34,    N.    Y.,    MUrray    Hill  2-3431; 
Alf  Dinhofer,  Editorial  Representative. 
Subscription  Rates:  ONE  YEAR,  $3.00 
in  the  U.  S.;  Canada,  $4.00;  Europe, 
$5.00.     TWO    YEARS:    $5.00    in  the 
U.  S.;  Canada,  $7.50;   Europe,  $9.00. 


In  his  recent  statement  to  the  20th 
Century  stockholders,  Spyros  Skouras 
said  that  his  company  is  producing  a 
group  of  twenty-five  low-budget  films 
because  it  is  20th's  desire  "to  serve  ex- 
hibitors according  to  their  particular 
needs  wherever  they  may  be,  in  the  vil- 
lages and  towns  as  well  as  the  large 
cities." 

It  isn't  just  because  theatres  arc  so  in 
need  of  product  for  more  program 
changes  that  some  of  the  little  pictures 
succeed.  Probably  more  than  half  the 
total  output  of  minor  films  ends  up  in 
red  ink,  despite  all  the  burning  need  for 
films.  What  makes  a  little  picture  a 
success  is  its  sales  appeal. 

If  you  have  a  minor  attraction  with 
no  particular  selling  point,  no  exploita- 
tion angle,  no  name  player,  you  have 
nothing  and  your  boxoffice  take  will 
show  it.  But  if  you  have  an  exploitable 
gimmick — a  story  tied  in  with  the  head- 
lines, for  example — you  have  a  chance 
to  create  customer  interest. 

The  little  picture  that  flops  today  is 
a  film  with  not  even  a  decent  peg  for 
an  interesting  theatre  front.  Give  the 
small  production  something  the  theatre 
man  can  promote,  and  you  add  tre- 
mendously to  its  value. 

This  is  basically  the  responsibility  of 
the  producer.  If  he  picks  a  dull  subject, 
casts  it  with  complete  nobodies  and  lets 
it  go  at  that,  he  can't  expect  a  distribu- 
tor's or  theatre's  promotional  talents 
to  get  him  out  of  the  soup.  On  the 
other  hand,  if  he  chooses  an  exploitable 
topic,  he  gives  his  distributors  and  the 
showmen  a  chance  to  do  their  part. 

It's  fine  to  have  more  big  pictures,  of 
course;  they  are  always  the  cake.  But 
thousands  of  theatres  cannot  survive 
without  bread-and-butter,  too. 

The  feast  or  famine  workings  of  a 
restricted  schedule  of  releases  are  not  so 

( Continued  on  Page  (> ) 


Film  BULLETIN    June  10,  1957        Page  5 


iewpoints 


(Continued  from  Page  5) 
obvious  to  the  stockholders  of  a  com- 
pany when  Warner  Bros,  has  a  "Giant" 
to  talk  about  or  when  Paramount  stock- 
holders hear  that  the  theatre  gross  for 
"The  Ten  Commandments"  is  $15,000,- 
000  in  "a  little  more  than  one  hundred 
theatres."  That's  fine  for  now;  but  how 
many  times  in  a  season  can  any  com- 
pany expect  to  come  up  with  such  great 
pictures? 

Both  Warner  Bros,  and  Paramount 
have  greatly  reduced  the  number  of  out- 
standing shares  in  recent  years.  United 
Artists  travelled  in  the  opposite  direc- 
tion, issuing  stock  to  raise  more  money 
for  more  production.  The  differing 
evaluations  of  the  film  market  are  ob- 
vious. UA  thinks  it  is  a  growing  mar- 
ket, and  wants  to  grow  with  it.  Warner 
Bros,  and  Paramount  believe  their  fu- 
ture is  in  a  constricted  output. 

There  is  a  parallel  that  comes  to 
mind.  It  involves  Montgomery  Ward 
and  Sears  Roebuck.  After  World  War 
II  Sears  expanded  as  fast  as  it  could, 
wherever  it  could,  anticipating  and  ac- 
tually helping  to  spark  a  tremendous 
boom.  Montgomery  Ward,  on  the 
other  hand,  played  safe  and  generally 
stood  pat.  Its  financial  strength  re- 
mained fast,  but  Sears  moved  far  past 
it  in  size,  operations  and  earnings. 
Everybody  did  well,  it's  true,  but  those 
who  rode  the  boom  did  best. 

Perhaps  it  is  wishful  thinking  to 
speak  of  riding  a  boom  when  we  talk 
about  theatre  motion  picture  business, 
but  all  the  evidence  at  hand  indicates 
that  there  is  a  strong  and  still  growing 
demand  for  all  the  motion  pictures — 
taken  as  a  whole — that  the  industry  can 
produce.  Nobody  yet  has  gone  broke 
by  making  or  distributing  too  many 
pictures;  there  have  been  casualties 
among  those  companies  which  didn't 
make  or  distribute  enough  of  their 
stock  in  trade. 

The  fact  that  the  companies  with 
fewer  releases,  as  well  as  those  with 
many,  are  currently  prospering  is,  we 
think,  practical  proof  of  the  healthy 
theatre  market.  It  is  difficult  to  escape 


the  feeling  that  if  Warner  Bros,  or 
Paramount  released  as  many  pictures  as 
20th  Century-Fox  or  United  Artists, 
their  profits  would  rise  commensurately. 
Don't  they  say  that  the  victories  are 
won  by  those  who  not  only  git  thar 
fustest,  but  also  git  thar  with  the 
mostest. 

Mr.  Balaban  told  the  Paramount 
stockholders  meeting  that  "it  would 
only  take  a  10%  to  15%  increase"  in 
theatre  business  to  "provide  a  healthy 
position  for  our  industry."  Give  peo- 
ple more  pictures  from  which  to  pick 
and  you  are  bound  to  attract  more  cus- 
tomers. Which  will  do  more  business — 
a  library  with  a  couple  of  hundred 
novels  or  one  with  a  thousand? 

By  helping  the  theatre  to  attract  more 
patrons  today,  we  make  it  more  likely 
that  there  will  be  big  audiences  for  the 
pictures  of  tomorrow. 

Every  retail  business  of  a  service  na- 
ture— and  ours  is  a  service  business — 
knows  that  volume  is  of  major  impor- 
tance. It's  better  to  have  two  customers 
at  $1  each  than  one  at  $1.75.  Translate 
this  analogy  into  product  terms:  it's 
better  to  have  a  full  supply  of  prod- 
uct, including  minor  films,  than  an  in- 
adequate supply,  minus  minor  films. 
You  can't  operate  any  business  without 
merchandise. 

These  minor  films  must  never  be 
thought  of  as  all  falling  into  one  low 
category.  Some  of  them,  as  we  have 
noted,  can  be  tailored  to  have  a  sales 
appeal  far  beyond  the  routine.  In  terms 
of  production  budgets  and  film  rental 
prices  alike,  the  need  today  is  to  get 
more  meat  from  less  nut.  Instead  of 
cutting  down  production  of  minor 
films,  the  companies  should  all  be  de- 
voting more  attention  to  finding  strong 
sales  angles  for  these  films. 

It  has  been  an  error  of  our  industry 
to  dismiss  entirely  the  habit  factor  in 
moviegoing.  Every  recreational  indul- 
gence is  partially  habit.  Smoking,  at- 
tending sports  events,  theatregoing, 
fishing,  etc.,  etc.  all  have  some  of  their 
roots  in  habit.  If  the  habit  is  not  urged, 
the  desire  dies  altogether.  Every  good 


picture  is  good  for  every  other  picture. 
The  more  pictures  we  have  to  offer,  the 
better  our  chances  of  influencing  peo- 
ple to  visit  the  movie  house  in  the 
neighborhood  or  downtown. 

Went  Miss 
Bill  Mto€lgers 

The  greatest  gauge  of  the  esteem  in 
which  Bill  Rodgers  was  held  as  a  man 
is  the  recollection  that  the  same  things 
that  have  been  said  about  him  after 
death  were  said  and  fervently  felt  of 
him  when  he  was  the  sales  head  of  the 
biggest  film  company — by  exhibitors  as 
much  as  by  his  fellow  distributors. 

Acknowledgedly  the  leader  in  the 
struggle  to  achieve  industry  unity,  a 
labor  of  love  pursued  with  unflagging 
tenacity,  William  Frazier  Rodgers  occu- 
pied a  unique  position  in  the  movie 
business.  As  sales  policy-maker  for 
M-G-M,  he  introduced  controversial  in- 
novations that  might  have  alienated 
many  exhibitor  customers  had  it  not 
been  for  the  man's  forthrightness  and 
sincerity  and  salesmanship — salesman- 
ship in  the  highest  sense  of  the  word. 
That  exhibitors  who  may  have  disap- 
proved Metro  sales  terms  still  consid- 
ered Rodgers  as  their  friend  is  a  meas- 
ure of  his  stature  as  a  man  of  good  will. 

While  other  distribution  heads  were 
often  reluctant  to  face  the  exhibitors  on 
their  home  grounds,  Rodgers  was  the 
most  frequent  and  always  welcome 
guest  at  theatremen's  conventions.  He 
never  failed  to  do  himself  and  his  com- 
pany proud,  listening  and  explaining 
and  reasoning  with  his  customers.  And 
if  the  exhibitors'  doors  were  always 
open  to  the  man  who  made  "The 
Friendly  Company"  that,  so  was  his 
door  ever  open  to  them.  No  one  ever 
left  without  a  hearty  handshake. 

His  passing  makes  us  appreciate  anew 
his  statesmanship  and  leadership  in  an 
industry  that  so  often  demonstrates  a 
lack  of  these  qualities.  We  could  do 
with  more  men  of  Bill  Rodgers'  ilk, 
men  with  a  full  understanding  of  the 


Page  6       Film  BULLETIN    June  10,  1957 


lewpoiats 


importance  and  value  of  good  will. 

We,  too,  had  our  differences  with 
some  of  his  sales  policies,  but  never 
did  Bill  Rodgers  take  issue  with  our 
right  to  voice  criticism;  in  every  in- 
stance he  stood  ready  to  discuss  and 
reason  out  his  convictions.  We'll  miss 
him  very  much. 

The  Overseas 
A  U.  S.  Markets 

For  several  years  the  film  companies 
have  been  telling  American  exhibitors 
that  the  foreign  market  was  the  back- 
bone of  the  business.  The  story  has 
been  that  our  movies  had  to  be  tailored 
for  a  world-wide  audience.  When  ex- 
hibitors asked  for  more  pictures,  they 
were  told  to  remember  that  the  overseas 
market  could  absorb  only  so  many  U.S. 
pictures  annually. 

The  demands  of  the  American  mar- 
ket had  to  compete  against  the  different 
demands  of  the  customers  abroad.  The 
Continental  flavor  was  sought  in  stars, 
and  directors;  Continental  locations  be- 
came more  popular  than  ever. 

The  very  prosperity  of  the  overseas 
market  made  some  of  the  film  compan- 


COMING! 

The  Most  Complete 
On-The-Spot  Report 
of  the 
BARTLESVILLE 
TELEMOVIES' 
TEST 


ies  rather  callous  about  the  fate  of 
thousands  of  theatres  in  this  country. 
With  revenue  flowing  in  from  abroad, 
many  an  American  exhibitor  got  the 
"take  it  or  leave  it"  treatment  from  the 
distributors. 

But  now  the  foreign  market  gives  in- 
dications of  behaving  more  and  more 
like  its  American  counterpart.  We 
don't  make  this  observation  casually.  It 
isn't  our  own  original  assessment  of  the 
situation  at  all.  The  alarum  has  been 
sounded  by  the  man  who  is  in  the  best 
position  to  know,  Eric  Johnston,  in  his 
capacity  as  president  of  the  Motion  Pic- 
ture Export  Association. 

Mr.  Johnston  says  that  "The  past 
twelve  months  have  brought  deteriora- 
tion of  economic  conditions  and  inter- 
national relations  in  many  key  territor- 
ies ..  .  The  outlook  for  all  of  Asia 
has  darkened  .  .  .  Even  Europe,  still 
the  great  foreign  market  for  American 
films,  is  spotted  with  hazards  to  our 
business  .  .  .  Last  year,  too,  has  seen 
the  first  substantial  growth  of  television 
competition  in  some  of  the  very  impor- 
tant markets.  This  trend  will  certainly 
continue  at  an  accelerated  pace  in  1957 

In  view  of  these  developments,  it 
would  seem  to  be  sound  business  policy 
for  the  American  distributors  to  be 
quick  about  improving  their  position  at 
home.  Pictures  in  the  United  States 
need  more  aggressive  and  more  enlight- 
ened promotion.  There  must  be  a 
greater  pitch  of  actual  selling  effort  di- 
rected at  the  paying  public,  and  there 
must  be  fuller  recognition  of  the  need 
for  maintaining  the  health  of  the  Amer- 
ican theatre  business. 

Now  isn't  any  too  soon  for  the  ef- 
fort, even  though  the  foreign  market 
generally  is  still  holding  its  own.  The 
time  to  prepare  for  the  worst  is  before 
the  worst,  not  in  the  midst  of  the  storm. 

A  workable  and  equitable  system  of 
arbitration  of  trade  disputes  simply 
must  be  achieved;  a  cohesive  business 
building  program  must  be  speeded  on 
all  fronts  by  the  committees  involved 
in  this  comprehensive  task. 


Perhaps  it  sounds  presumptuous  to 
say  that  the  American  distributors  must 
get  to  know  the  American  exhibitors 
better.  Nevertheless,  this  is  true.  The 
grass  roots  showmen,  in  the  smaller 
situations,  have  too  often  been  read  out 
of  the  party  and  regarded  as  marginal 
businesses  undeserving  of  the  same  at- 
tention as  the  more  lucrative  minority 
of  bigger  theatres.  Now  is  as  good  a 
time  as  any  to  paraphrase  an  ancient 
maxim  and  point  out  that  great  cus- 
tomers from  little  customers  grow; 
grass  roots  theatres  should  be  given  all 
the  help  possible  in  attracting  movie- 
goers, for  the  future  welfare  of  the 
entire  American  industry. 


Mmmiii  1 


This  is  a  rather  strange  place  for  us 
to  display  a  piece  of  advertising  copy. 
But  upon  savoring  the  full-bodied,  per- 
suasive impact  of  this  illustration  of 
"Showgirl''  Monroe,  so  appropriately 
be-medaled  for  "very  personal  service 
to  the  head  of  the  state",  and  being 
thus  warmly  bussed  by  "Prince"  Olivier, 
the  editorial  staff  in  joint  session  de- 
cided that  it  was  really  a  matter  of 
transcending  editorial  significance.  If 
ever  one  picture  was  worth  10,000 
words  .  .  .  Mmmm! 


Film  BULLETIN    June  10,  1957        Page  7 


What  Jliey'te  Talking  About 

□    □    □    In  the  Movie  Business    □    □  □ 


CASH  FOR  BUSINESS-BUILDING.  How  far  will  the  indus- 
try be  willing  to  go — financially,  that  is — in  backing  up  its  pub- 
lic relations-business  building  program?  This  is  the  question 
being  raised  by  many  seasoned  moviemen  as  they  observe  or 
take  part  in  the  MPAA-COMPO  project.  They  have  noted  the 
laying  of  the  groundwork  for  the  plans,  the  approval  of  both 
COMPO  and  MPAA  of  a  diverse  program.  They  nodded  ap- 
proval at  the  allocation  of  $375,000  for  the  initial  phases  of 
the  activities.  But  the  knowledgeables  are  asking  where  do  we 
go  from  here.  They  are  beginning  to  wonder  just  how  much 
hard  cash  exhibitors  and  film  companies  will  be  willing  to  put 
up  for  this  gigantic  program,  national  (at  least)  in  scope.  Any 
program  that  will  make  a  dent  on  the  public  at  large  must 
cost  several  million.  MPAA  president  Johnston  admitted  that 
the  initial  $375,000  covered  only  the  "first  chapter"  of  the 
project  to  improve  the  boxoffice.  The  financing  program  be- 
fore the  MPAA-COMPO  committees  advanced  by  TOA  presi- 
dent Ernest  Stellings,  who  proposes  that  a  fund  of  $2,800,000 
be  set  up,  with  distribution  and  exhibition  contributing  equally 
on  the  basis  of  film  rentals,  is  drawing  a  jaundiced  eye  from 
most  of  the  film  executives,  we  hear.  Seems  that  the  boys  in 
high  places  are  determined  to  wait  for  a  miracle,  rather  than 
bestir  themselves  to  make  a  fight  for  survival. 

O 

RESIGNATION.  Reports  refuse  to  be  squelched  that  the  gen- 
eral sales  manager  of  a  top  film  company  will  step  out  soon. 
We  put  the  question  to  him  directly  and  he  denied  it  flatly. 
However,  those  who  told  us  he  would  insist  he  will  quit.  They 
say  he  wants  to  retire  (although  he's  no  oldster)  and  point  to 
the  fact  that  he  has  brought  in  some  new  blood  recently,  pre- 
sumably to  step  into  his  shoes  in  the  fall.  The  man  they're  talk- 
ing about  is  one  of  the  most  highly  respected  distribution  ex- 
ecutives in  the  business.  It  will  be  a  real  loss  if  he  does 
leave  the  industry. 

0 

BILLY  GRAHAM.  Someone  commented  the  other  day  that 
there  is  a  significant  lesson  for  our  business  in  the  phenomenal 
success  of  evangelist  Billy  Graham.  Without  intending  any 
irreverence,  this  observer  noted  that,  while  Dr.  Graham  is  a 
man  of  the  cloth  and  draws  his  support  from  many  people  not 
interested  in  show  business,  the  other  side  of  the  coin  is  the 
fact  that  he  is  a  celebrity,  a  handsome,  fiery-tongued  orator 
who  puts  on  a  production,  albeit  a  religious  one,  that  rivals 
anything  in  the  theatre.  To  a  certain  extent,  his  listeners  are 
entertained.  Dr.  Graham  sees  that  they  enjoy  themselves  while 
he  is  getting  across  his  religious  message.  The  significance  to 
movie  business?  The  man  who  was  making  the  point  says  that 
Billy  Graham  proves  that  showmanship  still  pays.  Movie-going, 
he  contends,  could  be  re-sold  to  millions  of  people  if  it  was 


promoted  with  persistent  hard-selling.  He  argues  that  this  in- 
dustry should  have  undertaken  such  a  campaign  five  years  ago, 
and  with  every  passing  year  it  gets  later  and  later,  etc. 

O 

FOXY  MATTY.  The  irrepressible,  indefatigable  subscription 
TV  magnate,  Matty  Fox,  has  had  himself  spread  all  over  the 
headlines  of  late.  Everyone's  talking  about  his  reported  coup, 
acquisition  of  pay-as-you-see  TV  rights  for  all  baseball  games 
played  by  the  New  York  Giants  and  the  Brooklyn  Dodgers,  if 
and  when  they  pull  up  stakes  and  move  to  the  west  coast. 
Meanwhile,  Matty's  Skiatron  TV  stock  has  been  riding  the  crest 
of  the  reports,  the  price  having  doubled  in  recent  weeks.  There 
is  some  speculation  about  Fox  staying  on  with  the  Skiatron 
operation  once  he  has  it  rolling.  Those  who  have  observed  his 
career  closely  predict  that  he  will  step  out  when  it  is  at  peak 
dollar  value.  Matty,  they  say,  is  basically  a  promoter,  and  they 
see  him  moving  on  to  something  else  before  long. 

0 

CELLER  AND  THE  FCC.  The  shellacking  administered  to  the 
Federal  Communications  Commission  and  to  TV  networks  and 
multistation  owners  by  the  Celler  antitrust  subcommittee  has 
the  television  industry  in  a  tizzy.  The  biting  report  chastised 
the  FCC  for  hobnobbing  with  the  radio  and  television  industry, 
for  holding  "private  conferences  and  discussions",  a  practice 
"repugnant  to  fundamental  principles  of  quasi-judicial  pro- 
cedure". (Only  recently  the  FCC  declared,  formally,  that  it 
had  decided,  informally,  that  it  had  the  right  to  license  toll- 
TV.)  The  Celler  report  went  on  to  quote  Victor  R.  Hansen, 
chief  of  the  Department  of  Justice  antitrust  division,  as  telling 
the  subcommittee  that  ownership  of  a  large  number  of  TV 
stations  by  a  single  interest  raised  the  same  problems  that  ex- 
isted before  the  large  theatre  chains  came  under  antitrust  fire. 
Another  interesting  section  of  the  report  dealt  with  the  prac- 
tice of  television  networks  tieing  up  talent  to  exclusive  long- 
term  contracts.  The  subcommittee  pointed  out  that  such  con- 
tracts restricted  the  business  activities  of  others  who  might  seek 
the  services  of  this  talent.  NBC  and  CBS,  the  report  stated, 
have  achieved  a  dominant  position  in  the  broadcasting  field  by 
use  of  spectrum  frequencies  that  are  a  "precious  natural  re- 
source belonging  to  all  the  people".  It  warned  that  certain 
practices  in  network  operations  are  beginning  to  parallel  "con- 
ditions condemned  in  the  Paramount  Pictures  case",  and  urged 
the  Department  of  Justice  to  investigate  such  practices. 

O 

OLD  PROXYFIGHTERS.  They  don't  fade  away,  they  just 
fight  on  and  on.  Charles  Green,  who  waged  an  unsuccessful 
battle  to  unseat  Spyros  Skouras  and  win  control  of  20th  Cen- 
tury-Fox in  1953,  is  preparing  for  another  fight.  Current  object 
of  his  interest:  Lehn  &  Fink  Products,  manufacturers  of  beauty 
preparations  and  household  products. 


Page  8       Film  BULLETIN    June  10,  1957 


NOW  IS  THE  TIME  TO  DIRECT  YOUR  AGGRESSIVE 
SHOWMANSHIP  TO  THE  BIG-MONEY  ATTRACTIONS 


IMMEDIATELY  AHEAD 


,5 


guNf»ght 


TH 


LOVING  YOU 


A  Hal  Wallis  Production 
Presley,  Lizabeth  Scott,  Wendell 
Technicolor*  VistaVision* 


AND  THIS  WAY  TO  TFj 


J 


JAMES 


'allis  Production.  Burt  Lancaster.  Kirk  Douglas 
Rhonda  Fleming,  Jo  Van  Fleet,  John  Ireland. 
Technicolor®  VistaVision® 


Vera  Miles, 
Douglas,  Alexis  Smith,  Darren  McGavin 
est  stars,  George  Jessel,  Walter  Catlett. 
Technicolor'  VistaVision* 


ONELY  MAN 


Nev 


Jack  Palance,  Anthony  Perkins, 
eville  Brand,  Robert  Middleton,  Elaine  Aiken 
VistaVision* 


kR  KHAYY 


Drnel  Wilde,  Michael  Rennie,  Debra  Paget, 
hn  Derek,  Raymond  Massey,  Yma  Sumac 
Technicolor*  VistaVision* 


REATEST  GROSSER  OF  ALL  TIME 


exhibitors  call  "the  pinnacle  of  all  motion  pictures"  continues  to  grc 
day  by  day  as  DeMille's  masterpiece  attains  grosses  and  runs  nev 
equalled.  It  has  long  since  established  a  boxoffice  pace  in  excess 
the  previous  all-time  champion.  Its  power  at  the  boxoffice  has  simp 
never  been  matched.  And  every  new  engagement  proves  just  tha 


ARLENE  L1AHL  CASE 
POINTS  UP  PROBLEM  OF 

Stars  in  the  Saddle 


By  LEONARD  COULTER 

Cleavage  is  a  provocative  little  thing  which  has  caused  con- 
siderable fission  within  the  movie  industry.  In  this  era  of  bikini 
swimsuits  and  gownless  evening  dresses,  however,  it  raises 
fewer  eyebrows  than  in  grandad's  day. 

But  though  we  are  more  sophisticated  now,  some  lovely  lad- 
ies are  so  jealous  of  their  chastitv  thev  would  have  you  believe 
they  have  never  permitted  their  charms  to  be  used  to  titillate 
the  mere  moviegoer. 

Take  Miss  Arlene  Dahl,  for  instance.  A  gorgeous,  red-haired 
armful,  she  sued  Columbia  Pictures  for  a  cool  million  dollars. 
Her  contention  is  that  certain  illustrations  used  to  advertise  her 
latest  epic,  "Wicked  As  They  Come",  are  "lewd,  lascivious  and 
obscene." 

Miss  Dahl,  who  hails  from  Minnesota,  and  has  been  radio 
performer,  model,  actress  and  film-star,  called  herself  at  one 
time  in  her  career  an  "interior  display  artist"  (whatever  that 
may  mean).  Her  activities  in  that  field  were  obviously  different 
from  those  of  exterior  display  artists,  such  as  Gypsy  Rose  Lee. 
For  in  her  suit  against  Columbia,  Miss  Dahl  said  that  a  picture 
showing  a  woman,  supposed  to  be  herself,  being  kissed  on  the 
shoulder  by  a  man,  "looked  like  a  den  of  iniquity  to  her." 

Miss  Dahl  even  induced  her  husband,  Fernando  Lamas,  to 
appear  in  court.  He  told  the  judge  he  thought  Columbia  bad 
used  "a  sexual  approach  to  sell  more  tickets"  to  his  wife's  film. 

"Life  hasn't  been  the  same",  he  sighed.  "She  has  suffered 
from  lack  of  sleep,  not  enough  food.  She  wound  up  going  to 
the  doctor."  He  thought  one  of  the  pictures  complained  of 
suggested  "a  prostitute  being  kissed  by  a  man."  He  looked 
at  another  and  testified,  "She  is  now  in  bed.  She  is  looking 
the  way  prostitutes  look  ..." 

Judge  Henry  Clay  Greenberg,  whose  knowledge  of  what 
prostitutes  look  like  in  bed  appears  to  be  negligible,  did  not 
challenge  Mr.  Lamas'  judgment  on  this  matter,  but  he  did  get 
a  private  screening  of  the  "wicked"  film.  Afterwards  he  told 
I  liss  Dahl:  "You  are  trying  to  use  the  court  as  a  rostrum  for 
a  crusade  to  air  your  grievances  aaginst  the  movie  industry." 

In  the  judge's  opinion,  shoulder-kissing  is  "delicate  and  re- 
fined". And  after  looking  at  certain  photographs  the  star  had 
posed  for  in  the  past  in  pursuit  of  her  art,  he  said,  "If  I  had 


to  express  an  opinion  now,  I'd  say  these  would  arouse  more 
lust  than  the  exhibit."  Shortly  afterwards  he  adjourned  the 
hearing  pending  judgment. 

What  induced  Arlene  Dahl — who  has  been  in  movies  long 
enough  to  know  a  great  deal  about  Hollywood  leg  art — to 
bring  this  suit?  Conceivably  her  vanity  could  have  been 
pricked,  for  Columbia's  advertising  pictures  used  her  face  with 
some  other  gal's  torso.  To  a  sensitive,  proud  beauty,  who  has 
done  a  bit  of  modelling  in  her  time,  such  transposition  could 
well  be  maddening. 

At  any  rate,  the  case  earned  Miss  Dahl  a  great  deal  of  pub- 
licit),  though  not  the  "nice"  kind  which  she  hires  the  littinger 
office  to  obtain  for  her.  It  probably  did  her  more  harm  than 
good.  It  certainly  was  undesirable  for  the  film  industry  with- 
out which,  by  the  way,  the  Minnesota  redhead  might  still  be 
working  as  an  "interior  display  artist". 

0 

The  Dahl  case,  of  course,  is  not  peculiar.  Many  girls  whose 
name  and  fame  have  been  established  across  the  world  by  some 
hardworking  film  publicity  hound  have  been  guilty  of  similar 
behavior.  This  is  one  of  the  calculated  risks  the  industry 
must  take. 

But  the  position  has  worsened  considerably  since  the  major 
studios  made  the  egregious  blunder  of  scrapping  the  star  system 
in  favor  of  a  catch-as-catch-can  hiring  policy  which,  as  events 
turned  out.  enabled  agents  to  hold  the  companies  to  ransom  in 
their  hunt  for  boxoffice  talent,  and  made  possible  the  rise  of 
the  competitive  "independent  producer"  with  his  ever-mounting 
demands  for  a  share  of  the  loot. 

This  weak-kneed  attitude  of  economy-at-all-costs  which  swept 
through  Hollywood  when  television  began  to  make  its  first 
spectacular  rise  has  been  largely  responsible  for  many  of  the 
economic  problems  from  which  the  film  companies  have  suf- 
fered in  recent  years.  LTngrateful  performers,  released  from 
their  contracts,  switched  to  the  competitive  medium,  TV,  or 
formed  their  own  producing  companies  with  friends,  agents, 
or  husbands. 

Casting  became  a  nightmare.  The  terms  asked  by  stars  of 
boxoffice  value  soared  to  ridiculous  heights.  A  guaranteed  sal- 

( Continued  on  Puge  14) 


Film  BULLETIN    June  10.  1957       Page  13 


STARS  IN  THE  SADDLE 


i*roduc<>r~Siars  Htivittfj  Thvir  Troubles 


(Continued  from  Ptigc  11) 

ary  of  $250,000  and  five  per  cent  of  the  net  is  not  unusual 
today,  or — alternatively — a  straight  10  per  cent  of  gross  earn- 
ings from  a  film.  Additionally,  the  "freelance"  film  star  may 
demand  from  the  studio  concessions  which  no  sane  person  in 
Hollywood  would  have  granted  15  or  20  years  ago:  special 
credits,  the  right  to  "approve"  the  story,  to  select  director,  to 
nominate  the  co-star,  select  costumes,  and  dictate  personal  ap- 
pearance schedules  during  the  build-up  campaign,  and  so  on. 

For  this  miserable  mess  in  which  Hollywood  is  floundering, 
it  has  only  itself  to  blame.  The  cost  of  maintaining  a  roster  of 
top-value  stars  was,  admittedly,  high.  The  investment  did  not 
always  yield  dividends.  A  promising  young  actor  or  actress, 
on  whom  a  prodigious  amount  of  time  and  money  had  been 
spent,  might  not  "click"  with  the  public.  Others,  under  iron- 
clad contract,  became  so  temperamental  that  every  minor  tan- 
trum could  cost  the  producer  a  fortune  in  frustrating  delays. 

Compared  with  the  advantages,  economic  and  otherwise,  of 
a  studio  "owning"  its  own  popular  stars,  these  difficulties  now 
seem  to  be  mere  pinpricks.  And  in  contrast  with  the  dead- 
weight drag  on  overhead  expenses  of  maintaining  huge  studio 
properties  which,  in  these  times  of  location  pictures,  are  only 
partially  used,  the  star  contract  system  begins  to  look  cheap. 

It  being  easy  to  acquire  wisdom  after  the  event,  it  now  be- 
comes obvious  that  if  the  companies,  when  the  bogey  of  TV 
reared  its  ugly  head,  had  got  rid  of  their  studios  instead  of 
their  money-making  stars,  they'd  be  a  darned  sight  better  off 
today.  And  a  lot  of  agents  who  nowadays  have  permanent 
reservations  at  the  Beverly  Hills  Hotel  would  still  be  nibbling 
pastrami  on  rye  at  Snarkey's  downtown  cafeteria. 

If  there  is  one  saving  grace  to  this  unhappy  situation  it  is 
that  many  of  the  stars  who  won  their  freedom  from  the  studios 
and  went  into  production  on  their  own,  had  seen  their  best 
days  as  far  as  the  movie-going  public  was  concerned,  and  are 
now  learning  that  the  popularity  they  once  enjoyed  was  not 
voluntarily  bestowed  on  them  by  a  doting  populace,  but  was 
wrung  from  the  citizenry  by  the  industry's  hoopla  artists. 

Greater  Freedom,  Fewer  Worries 

Tom  Pryor,  Hollywood  observer,  went  on  record  in  the 
"New  York  Times"  recently  with  some  statements,  attributed 
to  "a  certain  star,  who  shall  be  anonymous",  which  have  a  bear- 
ing on  this  topic.  The  interviewee  admitted  that  the  field  of 
independent  production  is  not  nearly  as  green  as  he  had  imag- 
ined. He  said  he  is  "happier  working  for  other  producers  be- 
cause he  discovered  he  actually  has  greater  artistic  freedom  and 
fewer  worries."  Even  the  financial  rewards  are  largely  illusory, 
measured  against  the  risks  and  extra  work  involved. 

And,  Pryor  added,  this  particular  star-producer  said  that 
whereas  he  had  expected  agents  to  beat  a  path  to  his  door  with 
stories,  the  flow  continued  to  be  towards  the  studios.  "He 
found  that  as  an  independent  operator  he  was  getting  second 
choice,  whereas  he  could  walk  into  practically  any  studio  as  a 
star  and  have  a  choice  of  top-rated  novels  and  plays." 

I'd  bet  a  dollar  to  dishpan  that  this  is  precisely  what  Marilyn 
Monroe  discovered  when  she  turned  her  back  on  Twentieth 
Century-Fox  and  went  into  partnership  with  photographer 


Milton  H.  Greene,  she  as  president,  and  he  as  vice-president,  of 
Marilyn  Monroe  Productions,  Inc.,  and  from  which  position  she 
has  now  ousted  him. 

Conversely,  the  one  young  lady  who  has  leaped  to  world 
stardom  in  the  past  year  or  two  is  one  who,  despite  innumer- 
able blandishments  from  interested  outsiders  who  urged  her  to 
tear  up  her  contract,  has  remained  loyal  to  the  studio  which 
"made"  her — Kim  Novak.  And  the  big  boxoffice  romantic  hero 
of  today  did  likewise — Rock  Hudson. 

In  anything  as  complex  as  show-business  there  is  no  easy 
solution  to  any  problem,  and  it  is  idle  to  pretend  that  all  the 
industry's  difficulties  would  vanish  if  the  major  companies  were 
to  rebuild  star  rosters  forthwith.  But  there  is  no  doubt  that  a 
return  to  the  old  policy — though  not  to  the  old,  worn-out 
names — would  bring  back  to  Hollywood  a  degree  of  stability. 

More  Work  for  New  Faces 

There  are  signs  that  company  executives  have  already  seen 
the  light.  Several  companies  have  reactivated  their  contract 
departments  and  issued  new  instructions  to  talent  scouts.  More 
youngsters  new  to  the  film  business  are  being  given  work.  This, 
in  itself,  is  a  tremendous  (and  hastening)  change  of  attitude 
from  that  prevalent  only  a  year  or  two  ago  when  virtual  begin- 
ners were  considered  poison  at  the  boxoffice  and  company  after 
company  went  through  the  dreary  drag  of  making  pictures  with 
veterans  whose  romantic  appeal  to  moviegoers  was  about  as 
strong  as  that  of  a  hardboiled  egg. 

The  other  day  1  met  one  of  these  young  kids — Dolores 
Michaels,  who  is  to  co-star  with  Richard  Widmark  in  "Time 
Limit",  for  UA  release — and  asked  her  how  she  got  started. 
It  came  about,  she  said,  when  drama  coach  Ben  Bard  met  her 
in  Hollywood  towards  the  end  of  last  year.  Ben  knew  that  his 
own  studio,  Twentieth-Fox,  had  established  a  new  talent  depart- 
ment. He  introduced  her,  suggested  she  be  tried  out.  Miss 
Michaels  was  given  a  small  part  in  "The  Wayward  Bus".  The 
day  after  she  finished  she  was  put  under  long-term  contract, 
and  immediately  afterwards  was  borrowed  from  Twentieth  by 
Widmark  for  "Time  Limit",  which  Karl  Maiden  is  directing. 

If  this  kind  of  thing  proves  to  be  typical  of  the  "new  out- 
look" in  Hollywood,  and  if  the  star  system  is  adhered  to  as 
intelligently  as  it  has  been  followed  by,  for  instance,  Universal, 
some  of  the  old  hacks  who  have  been  putting  the  squeeze  on 
the  industry  which  gave  them  fame  will  be  looking  for  work. 

Television,  which  they  played  off  against  Hollywood  for  so 
long,  is  welcome  to  them.  If  they  love  the  electronic  medium 
as  much  as  they  have  been  professing  these  past  five  years,  I 
suggest  they  devote  themselves  exclusively  to  it — if  TV  will 
have  them. 

I  suggest  also  that  when,  once  again,  Hollywood  has  mus- 
tered its  own  new  talent  and  has  restored  the  contract  system 
fully,  the  companies  individually  vow  not  to  permit  these  artists 
to  appear  too  frequently  on  the  home  screen,  no  matter  how 
tempting  a  guest  spot  might  seem  for  publicity  purposes. 

Television  can  kill  performers  off  at  a  frightening  rate.  Be- 
sides, once  the  public  knows  that  a  great  motion  picture  star 
can  be  seen  only  in  the  motion  picture  theatre  it  will  be  putting 
its  money  down  again  at  the  ticket  window  as  fast  as  ever  it  did. 


Page  14       Film  BULLETIN    June  10,  1957 


FINANCIAL 

BULLETIN 

JUNE      10,  1957 


By  Philip  R.  Ward 

CRASH  PROJECT.  The  difference  between  Main  Street  and 
Wall  Street,  said  Josh  Billings,  is  that  Wall  Street  is  one-way 
traffic. 

Main  Street  exhibitors  will  profess  other  distinctions.  Fore- 
most is  the  cleavage  in  opinion  o\er  industry  conditions.  Along 
the  boulevards  of  finance  the  tenor  is  brave  and  bullish  when 
the  talk  turns  to  movie  business,  but  along  the  practical  byways 
of  theatredom  they  speak  another  language. 

O 

The  hard-headed  retailers  who  run  the  movie  houses  will  tell 
you  Wall  Street's  enthusiasm  does  not  rise  from  current  box- 
office  grosses.  Pointing  to  the  fact  that  stocks  of  major  film 
companies  have  shown  a  gain  every  month  since  February, 
exhibitors  snort,  "Fine  for  them  .  .  .  how  about  us?  How  can 
we  make  money  without  pictures  to  exhibit?" 

And  so  it  goes — this  seeming  paradox:  the  shares  of  film 
distributing  firms  on  the  rise,  while  boxoffice  figures  are  still 
slumping.  Film  BULLETIN'S  Cinema  Aggregate  below  con- 
firms the  steady  uplift  in  film  shares: 


Film  BULLETIN  Cinema  Aggregate* 


FILM  COMPANIES  THEATRE  COMPANIES 

'Composed  of  carefully  selected  representative  industry  issues. 


The  reader  will  note  the  rise  (albeit  a  much  smaller  one)  in 
theatre  circuit  shares.  While  executives  of  the  theatre  chains 
which  comprise  the  composite  theatre  stock  guage  do  not  sound 
as  jaundiced  as  their  grass-roots  brethren  in  exhibition,  they, 
too,  have  the  same  plaint:  no  product,  no  patrons. 

What,  then,  has  Wall  Street  on  the  brain?  You  might  say 
it  is  banking  on  a  rather  iron-plated  two-horse  parlay:  a  film- 
dom  build-up  and  a  TV  letdown.  Over  the  past  two  winters, 
watchful  analysts  have  made  a  study  of  the  now  openly-pro- 
claimed decline  in  the  state  of  television  programming.  Within 
the  amusement  constellation  this  condition  must  be  regarded 
as  epochal.  For  it  marks  the  ringing  down  of  an  era  in  the 
commercial  evolution  of  one  of  the  prime  social  forces  of  our 
time.  For  the  better  part  of  ten  years  the  little  convex  tube  has 


had  things  all  its  own  way.  Now,  suddenly,  it  is  discovering 
that  yesterday's  sure-fire  contrivances  are  not  registering  five 
cents  worth  of  results.  In  a  twinkling,  dlcason,  Berle  and  other 
antediluvian  originals  have  grown  as  dated  as  the  buck  and 
wing.  Furrowed  by  time  and  taste,  TV  is  being  inexorably 
forced  to  retreat,  retrench,  rebuild — much  in  the  fashion  of 
Hollywood  when  sound  first  exploded  upon  the  scene.  The 
one  difference  is  that  creative,  rather  than  technical,  influences 
are  fostering  this  revolution.  The  consequence  is  a  natural, 
normal  program  of  redevelopment.  Fresh  programming  re- 
sources must  be  mined  from  existing  quarries  of  talent  quickly, 
adroitly,  lest  rival  media  steal  a  march.  TV  has  but  until  Sep- 
tember and  the  majority  of  its  commitments  have  been  long 
since  consigned.  A  tougher  but  surer  tact  involves  the  sur- 
render of  its  dominance  for  a  few  seasons  while  it  goes  under- 
ground to  retool  in  scope.  This  is  what  the  experts  predict — 
a  pulling  in  of  the  horns,  an  agonizing  reappraisal,  and  finally 
a  "new  "  TV  look. 

0 

In  the  interim,  many  keen  observers  look  for  moviedom  to 
flourish.  Wall  Street  has  taken  stock  of  Hollywood's  build-up 
in  both  finances  and  product.  The  production  wing  is  cash 
heavy  and — relative  to  recent  times — inventory  heavy.  While 
theatre  people  scream  for  films,  distributors  await  the  pro- 
pitious hour  to  unloose  the  supply.  This  is  crash  merchandis- 
ing, a  philosophy  bent  on  firing  with  all  barrels  at  once  to 
capture  a  market  and  hold  it.  The  propitious  hour  is,  of 
course.  Summer,  1957.  From  the  looks  of  impending  product, 
filmdom's  Crash  Project  No.  I  stacks  up  as  pure  premeditated 
murder — of  boxoffice  records  that  is.  Time  will  tell. 

0 

2()th  TURNING  FOXY.  At  the  recent  20th-century  Fox  an- 
nual meeting,  President  Skouras  proffered  some  revealing  in- 
telligence hardly  calculated  to  tranquilize  jaded  shareholders. 
Said  he  to  the  surprise  of  many:  ".  .  .  In  1956  we  actually  lost 
money  in  the  operation  of  the  basic  department  of  our  busi- 
ness— namely,  the  production  and  distribution  of  feature  pic- 
tures."   In  short,  20th-Fox's  other  interests  carried  the  firm. 

The  market  reaction  was  typical  of  these  rather  fathomless 
times.  That  selfsame  day  20th  closed  \/-t  higher.  The  next  day 
it  rose  another  14,  and  the  following  day  At  present  20th- 
Fox  is  sailing  at  a  two  year  high  just  short  of  $30.  It  should 
leap  that  barrier  any  time.  Explanation:  20th,  as  top  producer 
of  product  among  majors,  stands  most  to  gain  by  fulfilling 
needs  of  film  hungry  theatres,  would  profit  exceedingly  in  a 
general  boxoffice  revival.  Moreover,  20th  is  entrenched  in 
profitable  sidelines,  including  oil  and  valuable  real  estate. 

O 

THE  WARNER  BROS.  STEW  of  last  year  (Harry  &  Albert 
out,  the  Serge  Semenenko  group  in)  has  come  to  a  profitable 
boil.  Much  of  the  thanks  goes  to  new  president  Jack  Warner, 
who  remained  to  handle  the  production  reins  and  to  moneyman 
Semenenko,  who  instituted  a  policy  of  capital  shrinkage.  Under 
this  plan  the  company  purchased  and  retired  over  4^,000  shares 
of  its  common  stocks  at  a  cost  of  SI,  183,000.  This  move,  plus 
a  gain  in  the  six  month  (ended  March  2)  net — S2.6  million 
vs.  SI. 8  million — helped  provide  a  remarkable  jump  in  the  net 
per  share  figures.  From  S."5  per  share  in  the  equivalent  prior 
year  term,  the  total  vaulted  to  SI. 43.  The  key  item,  however, 
is  this:  shrinkage  or  not,  the  Warner  gross  climbed  under  the 
new  regime  (for  fiscal  year  S39-7  million  vs.  S37.6  million). 


Film  BULLETIN    June  10,  I9S7        Page  15 


9tim  *i  btitittctiPH 


"Love  In  The  Afternoon"  Wonderful  Wilder  Gambol 


Su4CH€44  1R*Uh?  OGO  PIUS 

Delightful  comedy  from  Billy  Wilder.  Exceptional  marquee 
power  in  Cooper,  Hepburn,  Chevalier.  Should  do  smash 
business  in  urban,  suburban  situations;  rural  areas  will  need 
selling.  Witty,  smart,  slightly  amoral  but  delightful.  Fine 
performances,  top  direction. 

Not  since  the  gilded  Lubitsch  comedies  of  the  Thirties  has 
Hollywood  produced  anything  quite  so  scintillating  and  mock- 
ingly sophisticated  as  this  Billy  Wilder  production  for  Allied 
Artists  release.  A  Gallic  gambol  depicting  the  romance  of  all- 
American  roue  Gary  Cooper  and  cello  student  Audrey  Hep- 
burn against  a  banteringly  blase  Paris  background,  "Love  In 
The  Afternoon"  is  a  triumph  of  smart,  witty,  delightful  ele- 
ments, blended  by  a  master  comedy  craftsmen  into  a  smash  box- 
office  prospect.  Urban  and  suburban  audiences  will  relish  this 
tempting  morsel  and  theatres  in  that  market  figure  to  reap  a 
b.o.  bonanza.  Rural  areas  will  take  some  selling. 

Writer-producer-director  Wilder  has  molded  a  smartly  irrev- 
erent script  with  all  the  savoire-faire  at  his  command  and  can 
surely  take  a  round  of  bows  for  what  will  probably  prove  to  be 
the  most  dazzling,  and  possibly  the  best,  comedy  of  the  year. 
Superbly  photographed  in  black  and  white  by  lensman  William 
Mellor,  and  excellently  scored  with  an  impudent  yet  bittersweet 
Franz  Waxman  arrangement  of  some  continental  schmaltz,  the 
comedy-romance  also  boasts  three  performers  operating  at  the 
top  of  their  bent,  Audrey  Hepburn,  Maurice  Chevalier  and  John 
McGiver,  not  to  mention  one  Gary  Cooper  in  a  rather  unusual 
role  for  him.  Miss  Hepburn  is  bewitching  and  beguiling  as  a 
Parisian  gamin  daydreaming  amidst  the  extra-marital  dossiers 
of  her  detective-father,  Chevalier,  mixes  just  the  right  amount 
of  innocence  and  gin,  the  sort  of  thing  for  which  Miss  Hep- 
burn has  no  equal.  Chevalier,  sans  straw  hat  and  cane,  delivers 
a  straight  role  in  which  he  is  simply  great,  gliding  through  the 
film  with  warmly  abandoned  ease,  gently  exposing  all  the  fla- 
grant tomfoolery  which  is  the  essence  of  the  film.  Throughout 
runs  a  touching  undercurrent  of  fatherly  concern  for  Miss  Hep- 
burn which  is  never  allowed  to  degenerate  into  the  sentimental. 
In  a  supporting  role,  McGiver  turns  in  an  unusually  riotous  per- 
formance as  a  cuckold  whose  suspicions  of  his  erring  wife  hap- 
pily boomerang  for  him.  He  is  droll  and  delectable. 

Some  may  quibble,  however,  about  the  choice  of  the  aging 
Gary  Cooper  as  Miss  Hepburn's  romantic  vis-a-vis.  It  struck 
this  reviewer  as  a  case  of  smart  marquee  but  questionable  cast- 
ing. Their  amorous  interests  are  not  always  credible.  It  seems 
that  the  psychological  intangibles  of  his  characterization  go 
against  the  Cooper  grain.  His  "worldly  wise"  exchanges  with 
Miss  Hepburn  make  one  wonder  which  one  is  doing  the  seduc- 
ing. But  Mr.  Cooper  is  a  mighty  important  boxoffice  factor, 
and  "Love  In  The  Afternoon"  has  an  appealing  amoral  lustre 
about  it  which  director  Wilder,  with  some  expert  underplay- 
ing, manages  to  shine  up  right  in  the  face  of  the  censors.  It 
has  an  over-all  brightness,  delightful  brashness  and  whimsical- 

[More  REVI 

Paqe  16        Film  BULLETIN     June  10,  1957 


Gary  Cooper  and  Audrey  Hepburn 


ity  that  make  the  total  effect  winning.  With  all  these  unusually 
fine  elements,  "Love  In  The  Afternoon",  for  the  most  part,  will 
be  one  of  the  most  sought-after,  most  welcome  of  the  summer 
entertainment  releases.  The  screenplay  is  by  Wilder  and  I.  A.  L. 
Diamond  from  the  novel  by  Claude  Anet. 

Miss  Hepburn,  always  interested  her  father's  business  as  a 
detective  specializing  in  cases  of  marital  dalliance,  overhears  an 
angry  husband  (McGiver)  threaten  the  life  of  Cooper,  who, 
he  thinks,  is  having  an  affair  with  his  wife.  Miss  Hepburn 
manages  to  warn  Cooper  just  in  time  for  the  wife  to  make  her 
exit  from  his  hotel  room.  Cooper  becomes  interested  in  Miss 
Hepburn,  she  in  him.  When  Cooper  leaves  Paris,  she  is  in  a 
daze  of  romance,  but  thinks  he  will  never  return.  He  does, 
however,  and  they  meet  again  in  his  room.  However,  by  now 
she  has  discovered  that  he  has  had  a  long  line  of  affairs,  so  she 
pretends  that  she,  too,  is  a  woman  who  considers  love  should 
be  free  of  entanglements,  that  she  has  had  a  string  of  lovers 
of  her  own.  Cooper,  jealous,  hires  Chevalier  to  check  on  Miss 
Hepburn.  When  he  learns  it  is  his  own  daughter  who  is  in- 
volved, Chevalier  warns  Cooper  to  stay  away.  Cooper  packs 
and  prepares  to  leave  Paris.  As  the  train  pulls  out  he  is  no 
longer  able  to  bear  the  separation,  sweeps  Miss  Hepburn  on 
board.  Father  Chevalier  beams  his  pleasure. 

Allied  Artists  IBillv  Wilder  Production).  126  minutes.  Audrey  Hepburn,  Gary 
Cooper  Maurice  Chevalier,  John  McGiver,  Van  Doude.  Produced  and  directed  by 
Billy  Wilder.  Screenplay  by  Wilder,  I.  A.  L.  Diamond,  from  novel  by  Claude  Anet. 

on  Page  I  8  J 


m  IliiflL  ■ 


Written  by  Music  by    Eiecutive  Pi oau ■:-       Produced  by  Directed  by 

GERALD  DRAYSON  ADAMS  -  US  BAXTER  -  AUBREY  SCHENCK  •  HOWARD  W  KOCH  ■  RfGINALO  le  BORE  •  A  KL-ASR  Product 


Tire  Down  Below" 

%U4iKC44  'Rati*?  O  O  O 

Disappointing.  However,  bongo  beat,  Hayworth,  Mitchum, 
Lemmon,  give  routine  tropical  sex  melodrama  exploitables. 

The  screen  return  of  Rita  Hayworth,  with  Robert  Mitchum 
and  Jack  Lemmon  competing  as  her  lovers,  and  a  crack  Calypso- 
crazed  background  are  the  boxomce  magnets  of  Columbia's 
"Fire  Down  Below".  These  exploitables  should  attract  the 
many  afficionados  of  the  above  and  score  stoutly  in  the  sum- 
mer market.  The  film  itself  is  a  disappointment,  for  although 
everything  in  this  Irving  Allen-Albert  Broccoli  production 
from  Miss  Hayworth's  red  hair  to  on  location  shooting  in 
sultry  Caribbean  locales  is  inflammable,  nothing  ever  quite 
ignites.  The  romance  is  more  tired  than  torrid,  the  action  more 
lush  than  lusty  and  the  trio  of  characterizations,  despite  pro- 
fessional performing  by  the  stars,  is  shadowy  and  diffuse.  The 
story  is  about  seafaring  buddies  Mitchum  and  Lemmon,  who  in 
smuggling  war  ravaged  adventuress  Hayworth  to  some  obscure 
island,  come  to  blows  and  part  company  with  Lemmon  as  Hay- 
worth's  protector  until  she  leaves  him  for  Mitchum.  Irwin 
Shaw's  screenplay  is  loaded  with  literate,  but  listless,  dialogue 
which  may  suit  the  lassitude-ridden  locale  but  is  rather  disen- 
chanting dramatically.  It  does,  however,  give  some  surprisingly 
stark  and  honest  footage  to  the  revelation  of  Hayworth  and 
Mitchum  as  tramps  who  wind  up  "deserving"  each  other.  The 
most  important  news,  boxofficewise,  is  that  the  stars  are  in  top 
form.  The  nonchalant,  panther  style  of  Mitchum,  the  college 
boy  charm  of  Lemmon  and  the  sensuous  elegance  of  Hayworth 
are  used  to  good  effect  by  director  Robert  Parrish.  When  Miss 
Hayworth  essays  a  wildly  wicked,  barefooted  Calypso  dance 
the  boxomce  barometer  rises  with  a  bongo  beat.  At  such  times, 
"Fire"  is  a  fairly  flashy,  fancy  treat. 


(Warwick  Production!  I  16  m 
on.    Produced  by  Irving  Allen 


utes.  Rita  Hayworth,  Robert  Mitchum, 
id  Albert  Broccoli.    Directed  by  Robert 


"The  Wayward  Bus" 

Sututete  1£<tftK$  Q  O  Plus 

Watered-down  version  of  Steinbeck  novel.  Exploitable  for 
adult  market,  has  Mansfield,  Daily,  Joan  Collins. 

Whatever  sensationalism  Steinbeck's  novel,  "The  Wayward 
Bus",  possessed  has  been  de-Kinseyized  in  this  much  watered- 
down,  yet  moderately  absorbing,  Charles  Brackett  picturization 
for  20th  Century-Fox.  Under  Victor  Vicas'  direction  and  Ivan 
Moffat's  screenplay  the  film  goes  a  bit  wayward  from  the  road 
map  of  compelling  drama,  but  manages  some  tart  and  turbulent 
turns.  Fame  of  the  Steinbeck  novel,  plus  the  names  of  Jayne 
Mansfield,  Joan  Collins  and  Dan  Dailey  should  bring  this  a 
fairly  good  response  at  the  boxoffke.  Filmed  in  black  and 
white  CinemaScope,  "Wayward  Bus"  follows  the  psychological 
interchanges  of  assorted  characters  brought  together  for  a  haz- 
ardous Sierras  ride  and  the  fateful  interrelationships  they  un 
dergo.  Mansfield,  as  the  buxom  blonde  with  a  past  who  finds 
true  love  with  salesman  Dailey,  performs  a  hackneyed  part  in 
humoresque  fashion.  Dailey,  in  shaggy-soft  style,  provides  bet- 
ter sturdy  support.  Collins,  the  wife  whose  jealousy  of  bus 
driver-husband  Rick  Jason  turns  her  into  a  slatternly,  shrewish 
woman,  wrests  from  a  sea  of  unpleasantness  a  few  penetrating, 
pungent  moments.  Biggest  news  is  newcomer  Jason  whose  tall, 
tense  good  looks  and  moody  movements  project  like  a  magnet. 


"The  D.I." 

Scuinete  'RcitiK?  Q  Q  Plus 

Pile-driving  melodrama  about  tough  Marine  Drill  Instructor. 
Best  for  action  market,  male  audience. 

Jack  Webb's  "The  D.I."  will  be  one  of  the  shockers  of  the 
year.  Its  unvarnished  story  of  how  U.  S.  Marines  are  "made" 
will  cause  comment,  and  probably  bring  ample  cash  into 
Warner  Bros,  coffers.  However,  with  the  exception  of  action 
house  fans,  it  is  doubtful  that  any  other  segment  of  the  public 
will  really  like  what  they  see.  In  fact,  the  majority  will  be  dis- 
mayed, some  repelled,  exservicemen  cynically  amused.  For  Jack 
Webb  has  produced,  directed  and  starred  in  a  film  geared  to 
the  popular  punch  through  manipulation  of  a  pulse-pounding 
set  of  dramatic  techniques  that  literally  shouts  its  way  to  suc- 
cess. The  techniques  have  been  used  to  tell  the  story  of  the 
reformation  of  Don  Dubbins,  sensitive  recruit  under  the  hands 
of  granite-hearted  drill  instructor  Webb,  through  the  physical 
and  psychological  harassment  of  boot  camp  which  "makes  men 
out  of  boys".  One  feels  a  cold  fascination  watching  'The  D.I.' 
explore  the  power  loaded  conflict  between  Dubbins  and  the 
other  recruits  who  treat  him  as  a  "baby"  and  Webb  who  goads 
him  into  manhood.  Despite  some  good  comedy  touches,  it  is 
too  strong  for  the  fern  audience.  The  story  has  something  for 
every  type  of  showmanship:  Jackie  Loughrey  as  the  good  girl 
who  brings  true  love  to  Webb,  Monica  Lewis  as  bouncy  off- 
limits  singer,  Virginia  Webb  as  the  noble,  patriotic  mother  of 
Dubbins,  and  a  host  of  Marine  types,  played  very  effectivelv, 
incidentally,  by  real  Marines.  The  dialogue  of  script  writer 
James  Lee  Barrett  is  colorful.  The  music  score  striking. 


ckie  Loughrey.  Produ 


:ted  by  Jack  Webb. 


Jack  Webb,   Don  Dubbins, 


'The  Seventh  Sin" 

'ScUiK&te  Rati*?  O  Q 

Heavy-handed  drama  from  old  Maugham  story.  Marquee 
bolstered  by  Eleanor  Parker,  George  Sanders. 

Somerset  Maugham's  tale  of  adultery  and  redemption  in 
Hong  Kong  has  been  revamped  by  M-G-M  from  an  old  Garbo 
vehicle  into  a  new  Eleanor  Parker  one  without  much  success. 
Directed  by  Ronald  Neame,  and  with  a  promising  cast  in  Miss 
Parker,  George  Sanders  and  Bill  Travers,  "The  Seventh  Sin", 
in  black-and-white  CinemaScope,  is  a  sometimes  mawkish  soap- 
opera,  a  muddle  of  sex  and  spats,  love  and  remorse  amid  the 
filfth  and  chaos  of  a  cholera  epidemic  in  China.  The  elements 
for  a  rousing  drama  are  there,  but  director  Neame  has  worked 
at  too  slow  a  pace,  the  Karl  Tunberg  screenplay  is  too  wordy 
and  mired  in  its  downbeat  atmosphere.  Primarily  a  woman's 
picture,  it  should  be  exploited  as  such.  Grosses  will  be  average. 
Miss  Parker  fails  to  engender  any  sympathy  as  the  wife  of 
loose  morals,  Travers  (a  new  face  in  Bhowani  Junction  ")  reg- 
isters weakly  as  her  husband.  George  Sanders  is  his  suave  self, 
sprinkling  his  witty  sayings  like  sequins  over  the  old  cloth  of 
the  film.  Miss  Parker  becomes  involved  with  Jean  Pierre  Au- 
mont  when  her  marriage  to  Bill  Travers,  a  bacteriologist,  be- 
comes a  bore.  Travers  discovers  the  affair,  hies  his  wife  off  to 
China  where  he  is  to  fight  a  cholera  epidemic.  She  remains 
bitter,  only  relents  when  Englishman  Sanders  reveals  the  noble 
work  her  husband  is  doing.  Her  hate  turns  to  love,  but  Travers 
is  killed  by  the  cholera.  She  begins  life  anew. 


20th  Century-Fox.  89  minutes, 
duced  by  Charles  Brackett.  Dii 


ield,  Dan  Dai 


MGM.  92  minutes.  Eleanor 
Aumont.    Directed  by  Ronald 


Bill  Travers,  George  Sande 
Produced  by  David  Lewis. 


Page  18       Film  BULLETIN    June  10,  1957 


"Silk  Stockings" 

StaineM  Rati*?  OOO  Plus 

Splashy,  smash  M-G-M  musical  should  be  one  of  summer's 
hottest  boxoffice  properties.  Astaire,  Cyd  Charisse  and 
Janis  Paige  add  to  its  song,  dance,  comedy  bounties. 

Metro  has  returned  to  its  most  bountiful  treasure  trove,  musi- 
cal comedy,  and  come  up  with  a  gem  in  "Silk  Stockings  '.  The 
Cole  Porter-Broadway  success  adapted  from  the  Garbo  classic, 
"Ninotchka ',  has  lost  none  of  its  charm  or  captivating  charac- 
ter in  its  transference  to  the  spacious  and  colorful  CinemaScope- 
Metrocolor  screen.  It  is  without  doubt  the  best  boxoffice  con- 
tender so  far  this  year  from  M-G-M  and  one  that  will  leave 
quite  a  bundle  in  Leo's  stocking.  Cyd  Charisse  is  the  dedicated 
Soviet  dispatched  to  Paris  to  bring  a  bistro-beguiled  Russian 
composer  back  to  the  Kremlin  and  Fred  Astaire  the  "decadent" 
American  film  producer  who  shows  Miss  Charisse  a  dying  cap- 
italist culture  has  more  sparkle  and  spirit  than  a  new  born 
Marxist  one.  Along  the  way  Charisse  loses  her  severe  dress  and 
long  repressed  heart  to  debonair,  dancing  Astaire  and  together 
they  mix  champagne  and  choreography  in  a  bevy  of  bubbling, 
bouyant  production  numbers.  Janis  Paige  as  an  addlepated 
Hollywood  sexpot  who  performs  with  vast  energy  and  verve. 
As  zany  Russian  envoys,  Peter  Lorre,  Jules  Munshin  and 
Joseph  Buloff  are  a  sparkling  trio,  and  George  Tobias  subverts 
his  Commissar  role  with  a  bit  of  grand,  old  American  vaude- 
ville. Everything  shimmers  in  "Silk  Stockings".  Cole  Porter 
has  fashioned  one  of  his  most  scintillating  scores,  Rouben  Ma- 
moulian  has  directed  with  style,  Gershe  and  Spigelgass  have 
kept  the  dialogue  easy  and  exuberant  and  Arthur  Freed  has 
produced  with  professional  know-how. 

Metro  Goldwyn  Mayer.  117  minutes.  Fred  Astaire,  Cyd  Charisse,  Janis  Paige. 
Produced  by  Arthur  Freed.    Directed  by  Rouben  Mamoulian. 

"Monkey  Dn  My  Back" 

'StuUeM  IZatiKQ  O  O  Plus 

Story  of  Barney  Ross'  fight  against  dope  addiction  has 
strong  promotional  aspects.   Figures  as  good  top  dualler. 

Latest  in  the  Hollywood  dope-addiction  series,  "Monkey  On 
My  Back"  is  bolstered  for  the  boxoffice  by  a  soundly  commer- 
cial slap  on  its  back  from  the  recent  publicity  created  by  Barney 
Ross'  disclaimer  of  the  film  and  producer  Edward  Small's  fight 
with  the  censors.  Written  by  Crane  Wilbur,  Anthony  Veiller 
and  Paul  Dudley,  and  directed  by  Andre  de  Toth,  this  United 
Artists  release  has  enough  shock  value  and  shrewd  sensational- 
ism of  its  own  to  attract  metropolitan  audiences  that  like  film 
fare  spiked  and  seasoned.  It  tells  the  story  of  Barney  Ross,  his 
rise  to  ring  glory,  his  playboy,  punch-happy  life  as  a  champ, 
his  subsequent  succumbing  to  Henry  Armstrong,  followed  by 
an  heroic  WW  II  tour  of  duty  with  Guadalcanal  Marines.  Dur- 
ing the  war  he  contracts  malaria,  for  which  medics  prescribe 
morphine,  which  leads  to  Ross  becoming  a  tormented,  desper- 
ately degraded  man  incapable  of  ridding  himself  of  the  dope 
habit.  Finally,  he  is  frantically  forced  to  seek  help  from  U.  S. 
authorities  at  a  Maryland  hospital,  w  here  he  is  cured.  Cameron 
Mitchell  plays  Ross  in  a  sharp,  more  than  surface-scratching 
portrayal  of  a  man  caught  in  a  nightmare  world.  Diane  Foster, 
as  the  girl  he  woos  and  marries,  is  tender  and  touching.  All  in 
all,  Mr.  Small  has  provided  a  kick  to  his  production  other 
than  the  subject  matter. 

United  Artist.  93  minutes.  Cameron  Mitchell,  Diane  Foster,  Paul  Richards.  Pro- 
duced by  Edward  Small.    Directed  by  Andre  de  Toth. 


"A  Face  In  The  Crowd" 

SW*e44  'Rati*?  O  O  Plus 

Rugged  expose  of  phony  TV  "personality"  in  hard-hitting 
Kazan,  Schulberg  style.  For  discriminating  adult  audience. 

Producer-director  Elia  Kazan  and  screenplayw  right  Budd 
Schulberg  have  pooled  their  ample  resources  for  another 
"Waterfront"  punch  in  a  determinedly  devastating,  occasionally 
frightening,  but  always  absorbing  appraisal  of  America's  cul- 
tural pastime,  TV.  "A  Face  In  The  Crowd"  is  destined  to 
attract  the  discriminating  adult  audience,  but  it  may  be  a  tough 
item  to  sell  the  general  market.  Telling  the  story  of  a  boozing 
singer-guitar  player  who  scales  the  antenna  heights  as  a 
TV  "personality"  peddling  corn-fed  panaceas  to  the  masses  and 
almost  winding  up  controlling  the  political  future  of  his  chan- 
nel charmed  constituents,  "Face  In  The  Crowd"  is  filled  with 
scenes  of  sardonic  humor  and  racy  realism,  a  live  wire  that 
crackles  and  cackles  across  the  screen  while  it  dissects  TV  idol- 
ogy  and  the  come-hither  commercial.  Unfortunately,  however, 
when  the  final  quarter  depicts  Lonesome  as  a  psychopathic- 
power-house  capable  of  subverting  the  Government  with  some 
fascist  styled  Madison  Avenue  coup  d'etats,  the  film  loses  its 
impetus,  conviction,  and  appeal.  Be  that  as  it  may,  Kazan  has 
ferreted  out  a  rousing  performance  in  Andy  Griffith,  screen 
newcomer  cast  as  Lonesome,  who  bellows  and  beams,  warbles 
and  woos  his  way  through  some  crackerjack  Schulberg  dialogue. 
Patricia  Neal  as  the  girl  who  discovers  Lonesome,  falls  disas- 
trously in  love  with  him  and  later  causes  his  downfall,  ghes  a 
strong  yet  poignant  performance.  Anthony  Franciosa,  as  office- 
boy-turned-agent  and  Walter  Mattau,  as  an  embittered  TV 
writer  in  love  with  Miss  Neal,  are  poorly  defined  characters. 

Warner  Bros.  [Newtown  Productions!  125  minutes.  Andy  Griffith,  Patricia  Neal, 
Anthony  Franciosa.    Produced  and  Directed  by  Elia  Kazan. 

"Man  Dn  Fire" 

'gcuiteM  IZaUkq  O  O  Plus 

Crosby  scores  in  warm,  winning  drama.  Rates  higher  for 
family  audiences.  Grosses  generally  will  run  above  average. 

While  "Man  On  Fire"  does  not  equal,  in  either  performance 
or  dramatic  impact,  Bing  Crosby's  previous  dramatic  effort, 
"The  Country  Girl",  it  is  still  an  engrossing  entertainment. 
Crosby,  in  his  own  unobtrusive  way,  gives  a  full-bodied  deline- 
ation of  a  divided  man.  Unfortunately,  "Man  On  Fire"  never 
burns  as  brightly  as  it  should;  it  is  always  just  missing  the  nec- 
essary illumination  to  make  it  sure-fire  boxoffice.  W  ithin  its 
range,  however,  it  will  strike  the  responsive  cord  of  general 
audiences.  Certainly,  the  film's  gentle  humor,  poignant  con- 
flict and  the  star's  commanding  performance  should  make  it  a 
favorite  of  the  family  trade.  The  theme  of  the  film  is  handled 
with  skill  by  writer-director  Ranald  MacDougall  as  he  traces 
the  complex  relationships  of  Malcolm  Brodrick,  young  son  of 
divorced  parents  Crosby  and  Mary  Fickett,  and  Inger  Stevens, 
who  tries  to  show  an  embittered  Crosbv  that  marital  love  is  still 
possible  within  his  life.  After  the  divorce,  Broderick  had  be- 
come the  sole  anchor  in  Crosby's  life,  but  he  is  returned  through 
court  proceedings  to  his  mother.  She,  realizing  where  his  heart 
lies,  sends  him  back  to  Crosbv.  This  true  act  of  love  makes 
Broderick  realize  his  place  is  with  his  mother,  and  Crosby's 
with  Miss  Stevens.  Seigel  has  mounted  his  production  in  the 
high  polish  usuallv  associated  with  his  name. 

Metro  Goldwyn  Mayer.  95  minutes.  Bing  Crosby.  Inger  Stevens,  Mary  Fickett. 
Produced  by  Sol  C.  Seigel.    Directed  by  Ranald  MacDougall. 


Film  BULLETIN    June  10,  1957        Page  19 


TVUttfie 
/tie  *Doi*tyf 


A  £tar  —  Jrom  The  (jtound 


M/JS 


PREMINGER  THE  BOLD 

The  man  surrounded  by  the  host  of  eager  young  females  on  the  cover  of  Britain's  Picture 
Post  at  left  is  producer-showman  Otto  Preminger,  who  has  carved  careers  —  his  own  and  his 
players' — out  of  daring.  The  confounding  part  of  his  success  story  is  the  variety  of  approaches 
this  nonconformist  movie-maker  has  utilized  to  make  quality  motion  pictures  that  titillate  the 
tongue  long  before  they  arrived  to  entertain  audiences. 

From  his  virgin  plunge  into  production-direction  with  "Laura"  seventeen  years  ago,  Prem- 
inger has  dared  to  be  different  with  important  properties.  He  rarely  duplicates  the  brand  of 
boldness  in  giving  his  pictures  that  invaluable  "talk-about"  plus  factor  that  send  them  into  release 
with  a  running  start.  Whether  it  be  player,  theme,  treatment,  or  any  other  facet  of  his  movie, 
Preminger  showmanship  always  creates  a  bona  fide  talking  point. 

In  "Laura",  Preminger  lured  Clifton  Webb  into  the  famed  stage  star's  first  film,  later  inten- 
sified into  critical  huzzas  when  the  actor's  haughty  portrayal  of  a  dilettante  murderer  swept  the  movie  into  bright  promi- 
nence. With  "The  Moon  Is  Blue ",  Preminger  tweaked  the  bluenoses  with  a  delightfully  saucy,  frankly  sexy  comedy,  thereby 
arousing  the  ire  of  the  Code  Authorities  who  refused  it  a  seal  and  granted  it  a  million  dollars  worth  of  publicity.  His  "Car- 
men Jones"  was  a  piquant  challenge  to  the  thesis  that  a  movie  with  all-Negro  principals  would  not  have  general  appeal.  "The 
Man  With  The  Golden  Arm"  actually  forced  liberalization  of  the  Code  ban  on  narcotics  subject  matter. 


Ot+o  Preminger  & 
Would-Be  "Joans" 


itain's  "Picture  Post"  (not 
with  cover  and  feature  on  th 
the  Seberg  choice  cover  in  No 


• 

►I 

f- 

pread  lushly  on  the 
in  interest  pages  on 


select 
'Jean 


on  of  the  lov 
becomes  Joar 


Page  20       Film  BULLETIN    June  10,  1957 


THE  CWS« 
picture  I 


Last  fall,  Preminger  the  bold  undertook  what  is  probablv  his 
most  elaborate  effort  to  perk  up  advance  public  interest — building 
a  star  from  the  ground  up.  The  production  chosen  for  this  project 
was,  paradoxically,  the  classic  George  Bernard  Shaw  play,  "Sain: 
Joan",  heretofore  a  showcase  for  virtuoso  actresses  on  the  stage.  At 
an  extraordinary  press  session,  Preminger  blueprinted  his  startling 
approach  to  the  all-important  casting  of  the  title  rob.  He  unveiled 
to  news  writers  from  three  continents  his  plan  for  an  international 
search  for  an  unknown  young  girl  to  play  "Joan"'. 

The  rest  is  promotion  history — how  18,000  hopefuls  responded  in 
all  English-speaking  countries,  how  Preminger  himself  auditioned 
3,000,  how,  finally,  this  master  artist-showman  emerged  with  an  un- 
known, inexperienced  l7-year-old  girl,  the  Cinderella  from  Mar- 
shalltown,  Iowa,  Jean  Seberg. 

Immediately,  an  appearance  on  the  Ed  Sullivan  show  captivated 
millions  of  the  huge  Sunday  night  TV  audience.  But  the  buildup 
had  only  started.  The  magazines  eagerly  followed  the  Iowa  girl  to 
a  triumphal  return  to  Marshalltown,  then  overseas  to  London  where 
the  picture  was  to  be  filmed.  Jean  at  home,  Jean  on  the  set,  Jean 
in  the  fitting  rooms,  Jean  in  the  barber's  chair,  Jean  struggling  into 
30  pounds  of  armor — all  became  feature  fodder.  A  near-tragedy 
(which  the  skeptics  suspected  to  be  a  publicity  stunt)  made  front 
page  news  when  the  scene  in  which  Joan  is  burned  at  the  stake  took 
on  frightening  reality  as  her  clothes  accidentally  caught  fire.  Life 
told  its  millions  of  readers  all  about  it  in  a  dramatic  series  of  pic- 
tures (right).  And  when  the  world  premiere  was  finally  held  last 
month  in  Paris  eight  months  after  the  first  audition  in  the  star 
search,  it  was  an  international  event — with  the  spotlight  on  the 
Preminger  creation  of  a  new  "Joan" — from  Marshalltown,  Iowa. 

Only  the  public  and  the  critics  and  the  future  can  determine 
whether  Jean  Seberg  will  go  on  to  greater  things  or  return  to  Mar- 
shalltown after  her  comet-like  flash  across  the  movie  heavens.  But 
one  thing  is  certain:  Otto  Preminger  has  scored  again,  and  heavily, 
in  proving  that  showmanship  is  an  integral  part  of  production. 

The  Preminger  boldness  in  seeking  out  new  star  material  should 
serve  as  an  object  lesson  for  those  movie-makers  who  sit  and  wait 
and  pay  heavily  for  "names".  In  another  felicitous  departure  from 
the  norm,  the  daring  Mr.  Preminger  has  made  his  own  star — fresh 
from  the  Iowa  cornfields. 


Si.  Joan  \ 
Rcalh  Bums 


How  the  young  actress  "came  close  to  ultimate  realism"  when  the 
burning  scene  was  shot  was  dramatically  pictured  by  Life  in  this 
series  showing  the  flames  actually  enveloping  Jean,  "executioner" 
Bernard  Miles'  rescue,  and  scorched  but  smiling  star. 


Film  BULLETIN    June  10.  I?57        Page  21 


Page  22       Film  BULLETIN    June  10,  1957 


EXPLOITATION  PICTURE 

Star-Maker  Kazan  Has  Another 
Talk-about  Entry:  Tace  in  Crowd' 


Elia  Kazan  is  noted  for  his  use  of  stories 
from  the  pens  of  America's  foremost  contem- 
porary writers.  His  cinemanipulatio.n  of  the 
works  of  Steinbeck,  Williams,  Schulberg  have 
brought  him  to  the  pinnacle  of  Hollywood's 
directorial  elite,  whilst  enriching  the  art  of 
moviemaking  and  boxoffice,  manufacturing  the 
most  exciting  new  personalities  of  our  era. 

He  is  a  perennial  Oscar  nominee  for  top  di- 
rectorial honors  and  a  two-time  winner  (for  the 
best-seller,  "Gentleman's  Agreement''  and  "East 
of  Eden").  He  is  the  most  potent  star-maker 
currently  extant — Brando  in  "Streetcar  Named 
Desire",  Dean  in  "Eden",  Saint  in  "On  the 
Waterfront ",  Baker  in  "Baby  Doll"  and  now, 
Andy  Griffith  in  "A  Face  in  the  Crowd". 

Why  all  this  data  about  a  director  of  a  movie 
selected  as  this  issue's  "Exploitation  Picture"? 
Because  every  one  of  the  facts  above — and  sev- 
eral more — can  be  turned  to  lucrative  advan- 
tage by  the  showman.  Because  Elia  Kazan's 
name  on  the  credits  tag  of  a  picture  is  one  of 
the  greatest  exploitation  assets  a  movie  can 
have  in  these  days  of  selective  moviegoing. 

If  Kazan  is  the  prime  factor  in  shaping  up 
the  quality  features  of  "A  Face  in  the  Crowd", 
a  host  of  other  elements,  either  tied  in  with 
the  director  or  splendidly  independent,  envelope 
the  film,  showmanwise.  In  Andy  Griffith,  com- 
edy sensation  of  Broadway's  "No  Time  for  Ser- 
geants", emerges  a  star  of  real  stature,  of  whom 
LIFE  says,  "From  the  moment  he  first  appears, 
it  is  clear  Andy  Griffiith  is  a  powerful  film  per- 
sonality."   As   the  hill-billy  tramp  who  rises 


Mew- face  Andy  Griffith,  another  Kazan 
"find",  featured  in  various  newspaper  ads. 


from  a  small-town  jail's  tank  to  become  the 
nation's  most  powerful  TV  personality,  Griffith 
is  given  one  of  the  juciest  roles  ever  to  fall  to 
a  new  star,  and  his  performance,  under  Kazan's 
dexterous  handling,  is  certain  to  be  a  big  go-see 
talking  point. 

Another  exploitable  name  to  reckon  with  is 
the  fast-rising  Anthony  Franciosa,  a  recruit 
from  the  Kazan  Group  Theatre,  who  is  also 
being  heralded  as  one  of  the  most  promising 
young  stars  in  Hollywood. 

The  tagline:  "Discover  two  great  new  stars 
together  in  a  great  picture!" 

Budd  Schulberg,  whose  novels  have  cut  like 
a  machete  into  the  fields  of  movies,  advertising, 
the  fight  game,  and  now,  television,  is  yet  an- 
other potent  name  to  sell  in  this  campaign.  Of 
immense  importance  is  the  prestige  link  be- 
tween Schulberg  and  Kazan  forged  by  their 
teaming  as  writer-director  in  "On  the  Water- 
front" and  it  should  be  capitalized  to  the  hilt. 
In  bringing  his  wit  and  bite  to  "A  Face", 
Schulberg  has  a  field  day  with  a  medium  that 
every  man,  woman  and  child  in  America  knows 
intimately  and  one  which,  in  itself,  is  a  selling 
point.  The  showman  here  has  a  two-pronged 
exploitangle — the  Schulberg  Kazan  re-merging 
and  the  inside  world  of  television  exposed  by 
the  scalpel  of  this  master-writer. 

To  present  in  dramatic  showmanship  terms 
this  gripping  study  of  a  power  created  by  the 
television  audience,  Gil  Golden  and  his  two- 
fisted  Warner  Bros,  boxofficers  have  chosen  the 
big,  laughing  profile  blowup  of  the  star  in  a 
field  of  TV  aerials  as  the  key  art  theme  and 
the  salty,  provocative  copy:  "Power!"  He  loved 
it!  He  took  it  raw  in  big  gulps  ...  He  liked 
the  taste,  the  way  it  mixed  with  the  bourbon 
and  the  sin  in  his  blood!"  Variations  work  the 


IS  THIS  YOUR 
FACE  IN  THE  CROWD? 

Title  stunts  are  a  natural,  such  as  the  newspaper 
feature  illustrated  above  (see  pressbook).  Shots 
are  taken  at  various  crowded  spots,  one  or 
rr.ore  individuals  encircled,  passes  offered  if 
these  people  bring  picture  to  theatre. 

key  characters  into  the  ads  with  hard-hitting 
cauhlines  keyed  to  the  story. 

Golden  already  has  made  the  title  itself  go 
to  work  in  pre-selling  stunts  that  are  easily 
adaptable  to  any  situation.  The  WB  gimmiik 
is  built  around  photographs  taken  at  the  Brook- 
lyn Dodgers'  home  games  of  groups  of  ball 
fans,  reproducing  the  shots  in  blowup  with  one 
individual  face  circled  and  tickets  awarded  for 
future  games  to  those  in  the  ring. 

Other  facets  of  this  stunt  are  obvious,  with 
blowups  posted  in  lobby,  store  windows,  etc., 
or  worked  in  as  a  newspaper  feature  run  daily 
for  a  week  or  more,  with  photos  taken  at  vari- 
ous spots  in  town,  in  supermarkets,  at  organi- 
zation affairs  or  any  other  place  where  groups 
gather.  This  type  of  ballyhoo  can  be  done  to 
a  turn  and  will  be  highly  effective  in  forcing 
the  title  into  the  public's  consciousness. 

And,  of  course,  wherever  possible  the  talk- 
provoking  series  of  screenings  for  opinion- 
makers  is  a  natural  for  this  one. 


THE  STORY  OF  "A  FACE" 

The  characters  of  Budd  Schulberg's  writings  fall  into  a  fascinating  pattern  of 
varying  tones  of  gray,  rather  than  black  and  white,  all  clustering  around  a  central 
protagonist,  the  giant  of  the  story.  Sometimes  he  is  a  monstrous  heel  with  streaks 
of  charm  and  goodness  that  wins  an  audience's  sympathy,  despite  their  longing  for 
his  come-uppance.  And  always,  he  is  the  instrument  with  which  Schulberg  deva- 
states the  business  he  is  dissecting.  In  "A  Face  in  the  Crowd",  the  central  character 
is  Andy  Griffith's  "Lonesome  Rhodes",  a  carefree  Southern  tramp  with  a  booming 
laugh  and  homespun  homilies,  who  is  first  seen  snoring  away  in  a  Tennessee  cell 
reeking  with  drunks  and  vagrants.  It  is  here  that  Patricia  Neal,  taping  her  daily 
radio  "A  Face  in  the  Crowd"  interview,  discovers  Griffith  and  starts  him  on  a  fan- 
tastic climb  up  the  ladder  of  radio  and  television  popularity  in  which  he  is  meta- 
morphosed into  a  power-hungry  idol  of  a  nation.  It  follows  him  into  radio  where 
his  wit  and  good-natured  ridicule  of  stuffed-shirtedness  earns  him  a  following  that 
makes  him  inviolate  of  censure.  The  pattern  is  amplified  as  he  gains  national  recog- 
nition on  television,  builds  a  network  empire,  ruthlessly  disposing  of  those  who 
stand  in  his  way.  Glutted  with  power,  he  reaches  dangerously  into  politics  and  the 
girl  who  found  him  is  forced  to  destroy  him  by  permitting  his  contemptuous  spout- 
ings  about  his  loving  audiences  to  go  out  over  a  live  microphone. 


LIFE  says:  "From  the  moment  he 
first  appears,  it  is  clear  Andy  Griffith 
is  a  powerful  film  personality!" 


This 

is  the 
exciting 
new  face 
for  the 
screen  from 
famed 
star-maker 
Elia  Kazan 
who  gave  you 
Marlon  Brando 
Jimmy  Dean 
and 

Carroll  Baker. 


J,'  3H^gW 


Andy  Griffith  I 

starring  in  the 

Elia  Kazan  production  of  Budd  Schulberg  s 


in  the, 


Film  BULLETIN    June  10,  l?57        Page  23 


Promotional  Firepower  Added 
To  Ballyhoo  Arsenal  by  D.J.'s 


One  of  the  most  effective  means  of  promoting 
motion  pictures  and  movie  stars,  especially  on 
the  local  level,  is  through  that  unique  pheno- 
menon peculiar  to  the  contemporary  scene — the 
ubiquitous  disc  jockey.  He  usually  commands  a 
wide  daytime  and  late  night  listening  audience. 

Realizing  that  the  local  platter  spinner  is  a 
valuable  promotional  tool  in  the  exploitation  of 


Andy  Griffith  visits  with  Washing- 
ton d.j.  Milt  Grant  on  WTTG-TV. 

films,  film  field  men  have  hastened  to  add  his 
talents  to  their  ballyhoo  arsenal.  Although  his 
basic  stock  in  trade  is  playing  records  and  mak- 
ing pleasant  talk,  he  exerts  a  tremendous  in- 
fluence on  his  predominantly  youthful  audience. 
A  kind  word  on  the  merits  of  a  film,  the  play- 
ing of  a  title  tune  from  an  upcoming  film,  an 


Pat  Boone,  singer-tnrned-actor,  on 
tour    for    20th-Fox's  "Bernadine". 

interview  with  a  visiting  celluloid  star — all  of 
these  help  sell  motion  pictures.  Concerted  cam- 
paigns via  the  platter-and-chatter  set  are  cur- 
rently underway  on  behalf  of  three  upcoming 
releases. 

Pat  Boone,  star  of  20th  Century-Fox's  "Berna- 
dine" is  on  a  23-city  cross-country  tour.  In  each 
of  these  situations,  among  other  activities,  he 
will  visit  the  d.j.'s  to  plug  his  records  from  the 
film — and  to  spark  interest  in  his  first  movie. 


Talking  over  "Tammy"  promotion- 
al plans,  (I  to  r):  Larry  Shayne  and 
Bill  Downer,  song  publishing  ex- 
ecutives and  Universal-International 
boxofficers  Charles  Simonelli,  Phil 
Gerard,  Herman  Kass,  and  Jeff 
Livingston. 


To  plug  "Tammy  and  the  Bachelor",  Larry 
Shayne  and  Bill  Downer,  executives  of  Northern 
Music,  the  Decca  subsidiary,  are  out  hob-nob- 
bing with  disc  jocks  in  key  cities  to  promote  the 
song  "Tammy"  from  the  CinemaScope-Techni- 
color  release.  Six  recordings  have  already  been 
set  on  the  title  tune. 

Andy  Griffith,  star  of  Warner  Bros.'  "A  Face 
in  the  Crowd",  is  out  drumbeating  the  New- 
town production  on  a  17-city  tour,  and  not 
missing  the  platter  spinners  on  any  of  his  stops. 

Satevepost  Mansfield  Story 
Gets  Big  Push  as  'Bus'  Breaks 

20th  Century-Fox  and  the  Saturday  Evening 
Post  joined  hands  in  a  six-way  national  promo- 
tion campaign  to  spotlight  the  lead  article  on 
Jayne  Mansfield  in  the  Post's  June  1  issue.  "The 
Wayward  Bus,"  Jayne's  new  vehicle,  garnered 
a  whopping  publicity  break  as  a  result  of  the 
coordinated  campaign.  The  hard-hitting  drive 
saturated  the  U.  S.  and  Canada  on  May  23  with 
a  multi-media  campaign  that  included  news- 
paper advertisements  in  192  major  cities,  spot 
radio  coverage  in  the  first  14  key  market  areas, 
3-minute  film  clips  of  the  actress  on  60  TV  out- 
lets, a  15-minute  piece  of  the  Godfrey  show. 

French  Ferns  Bally  'Afternoon' 

Seven  eye-catching  French  gals  have  been 
hired  by  Allied  Artists  to  beat  the  drums  for 
Billy  Wilder's  "Love  in  the  Afternoon".  Tabbed 
as  "special  exploitation  representatives",  les 
ferns  are  touring  the  country  visiting  exchange 
cities  and  sub-key  areas  promoting  the  Gary 
Cooper  -  Audrey  Hepburn  -  Maurice  Chevalier 
starrer.  Chief  targets  of  the  girls  are  news- 
paper, radio,  television  opinion-makers. 


\_0Vt 


-A-  Taking  the  title  of  "Monkey  On  My  Back" 
literally,  manager  Jack  Belasco  of  Chicago's 
Woods  Theatre  set  up  an  attention-grabbing 
stunt  at  the  world-premiere  engagement  of  the 
United  Artists  release  by  stationing  (top)  a  trio 
of  monkey-backed  men  in  front  of  his  theatre. 
Bottom:  some  of  the  throngs  at  the  Windy  City 
debut,  which  was  broadcast  throughout  the  llli- 
nois-lowa-lndiana  area. 


UA  Air  Express  Co-op  on  'P&P' 

A  far-reaching  co-op  advertising  program  has 
been  set  by  United  Artists  and  Air  Express  to 
spread  the  word  on  Stanley  Kramer's  multi- 
million-dollar "The  Pride  and  the  Passion".  As 
announced  by  Roger  H.  Lewis,  UA  promotion 
chief,  the  S4 1,000  drive  will  feature  a  series  of 
full-page  advertisements  in  twenty  national 
magazines  and  trade  publications  with  a  circu- 
lation of  some  18  million. 

Highlighted  in  the  layout  will  be  art  work  of 
the  gigantic  cannon  featured  in  the  Gary  Grant- 
Frank  Sinatra-Sophia  Loren  starrer.  Among  the 
publications  scheduled  to  run  the  ad  in  June 
are  Time,  Newsweek,  U.S.  News  &  World  Re- 
port, Business  Week,  Advertising  Age. 


'Face  In  Crowd'  Premiere 


Some  faces  in  the  crowd  at  » 
the  world  premiere  of  "A  Face 
in  the  Crowd"  held  at  Broad- 
way's Globe  Theatre.  Clockwise, 
starting  at  upper  right:  on- 
lookers crowd  theatre  front  to 
witness  ceremonies;  Robert  S. 
Taplinger,  WB  vice  president, 
and  "Marjorie  Morningstar"  star 
Erin  O'Brien;  actress  Lee  Rem- 
ick,  producer-director  Elia 
Kazan,  Carroll  Baker,  Budd 
Schulberg,  Eva  Marie  Saint; 
Warner  general  sales  manager 
Roy  Haines,  Mr.  and  Mrs.  Ber- 
nard Goodman,  Mr.  and  Mrs. 
Karl  Maiden;  WB  vice  presidents 
Benjamin  Kalmenson,  Wolfe 
Cohen  and  their  wives. 


Page  24       Film  BULLETIN    June  10,  1957 


THEY 

MADE  THE  NEWS 

ARTHUR  B.  KRIM  informed  the  first 
United  Artists  stockholders'  meeting  that  in 
1957  UA  will  distribute  its  strongest  pro- 
gram of  quality  pictures  ever  released  in  so 
concentrated  a  period,  and  that  in  the  next 
four  months  the  company  would  place  before 
the  cameras  more  top  pictures  than  had  pre- 
viously been  produced  in  any  prior  18-month 
period.  Krim  further  stated:  (1)  Indications 
are  that  gross  income  for  the  remainder  of 
the  year  ending  Dec.  31  would  exceed  last 
year's  gross  revenue  of  S64,"1,T84.  (2)  The 
company  is  now  in  a  position  to  finance  a 
substantially  greater  quantity  of  quality  pic- 
tures. (3)  UA's  gross  income  from  TV 
would  more  than  double  in  the  current  fiscal 
year.  "We  have  never  looked  upon  TV  as 
an  adversary.  To  us,  TV  is  an  adjunct  of 
our  open  business  and  a  source  of  additional 
revenue  to  contribute  to  the  good  health  of 
our  business."  (4)  "Successful  pictures  are 
constantly  reaching  new  heights.  We  believe 
that  with  sound,  alert  management,  the 
growth  potential  is  bigger  today  than  it  was 
in  1951  and  is  comparable  to  that  of  almost 
any  other  industry  on  the  American  scene. 


Board    chairman    Robert   S.    Benjamin  ad- 
dresses the  initial  United  Artists  stockholders 
meeting  in  New  York,  while  president  Ar- 
thur B.  Krim  listens. 

We  hope  to  prove  this.  It  is  because  of  this 
belief  that  we  have  gone  in  for  public  fi- 
nancing. By  far  the  bulk  of  this  public 
financing  has  gone  back  to  the  company  to 
promote  new  production."  Board  chairman 
Robert  S.  Benjamin  reported  that  net  earn- 
ings for  the  first  quarter  of  1957  showed  a 
19.2  per  cent  increase  over  the  comparable 
period  of  1956. 

0 

TOA  informed  Eric  Johnston  that  it  is 
"anxious  to  advise  our  members  as  to  a  pos- 
sible clarification  and  explanation  of  a  recent 
statement  attributed  to  you,  as  President  of 
the  Motion  Picture  Association  of  America, 
that  'subscription  TV  could  prove  helpful  to 
everybody'."  In  a  bulletin  issued  to  all  mem- 
bers, the  exhibitor  organization  went  on  to 
state:  "The  lifelong  customers  of  the  com- 
panies that  you  represent  have  for  years 
strenuously  opposed  any  form  of  Toll  TV 
within  the  jurisdiction  of  the  FCC.  To  our 
know  ledge,  no  one  has  adv  ised  us  as  to  how 
PAY  TV  'could  prove  helpful'  to  the  theatre 
owners  of  America." 


BARNEY  BALABAN  told  Paramount  stock- 
holders that  while  the  company  will  "con- 
tinue to  make  motion  pictures  for  theatrical 
distribution  as  a  principal  source  of  our 
revenue",  it  nevertheless  intends  to  "become 
an  important  supplier  of  motion  pictures  for 
telev  ision ".  The  Paramount  president,  speak- 
ing at  the  annual  shareholders  meeting,  said 
that  while  the  company  has  not  "entered 
into  any  premature  deals  involving  our  pre- 
1948  film  library  ",  there  can  be  no  doubt 
that  "motion  picture  productions  will  hence- 
forth play  an  increasingly  important  role  in 
television  programming."  He  told  the  stock- 
holders, "I  have  never  deviated  in  my  faith 
that  the  feature  motion  picture  would  con- 
tinue as  a  potent  and  profitable  factor  in  the 
entertainment  business — whether  in  the  thea- 
tre or  television  screen".  Speculating  on  the 
future,  Balaban  spoke  of  the  "potential"  of 
pay  television  and  said  that  future  business 
could  consist  of  (1)  theatre  operators,  (2) 
sponsored  television,  and  (3)  home  box- 
office  provided  by  pay  television,  saying  this 
expanded  market  could  "usher  in  a  new 
period  of  prosperity  for  the  producers  of 
motion  pictures".  The  Paramount  manage- 
ment, he  said,  "shall  exert  every  effort  to  ad- 
just ourselves  to  the  new  order  and  exploit 
its  fullest  potentialities".  The  company  is 
ready  to  proceed  with  its  own  closed  circuit 
pay-TV  system,  Telemeter,  which  has  been 
submitted  to  leading  manufacturers  for  bids, 
he  told  the  meeting.  On  theatre  production, 
Balaban  warned  that  no  one  would  "sell  the 
theatre  market  short"  and  that  there  are 
"profits  to  be  made  from  theatre  audiences 
if  you  have  the  right  pictures".  However, 
the  theatre  public  is  "infinitely  more  selec- 
tive in  its  choice  of  pictures  than  it  has  ever 
been.  We  can  no  longer  rely  on  support 
from  the  old  'movie  habit'  public  that  was 
accustomed  to  going  to  the  movies  a  couple 
of  times  a  week." 

0 

ARBITRATION  and  conciliation  will  again 
be  topic  A  at  the  meeting  scheduled  for 
June  17  in  New  York  between  representa- 
tives of  TOA,  Allied,  ITO  and  MPA.  This 
session  will  be  a  furtherance  of  discussions 
recently  initiated.  It  is  expected  that  the 
first  move  will  be  to  OK  the  draft  of  the 
conciliation  proposal. 

[More  NEWS  on  Page  26] 


COLUMBIA'S 

TECHNICOLOR® 
Cinema5cop£ 

A  WARWICK  PRODUCTION 

Film  BULLETIN    June  10.  1957       Page  25 


RODGERS 


WILLIAM  F.  RODGERS,  former  Loew  s 
general  sales  manager,  died  June  2  at  his 
home  in  Hollywood,  Florida,  after  a  long 
illness.  He  was  68.  An  executive  in  the  mo- 
tion picture  industry  for  35  years,  Rodgers 
was  one  of  the  most  highly  esteemed  men  in 
the  industry,  and  his  passing  has  occasioned 
the  highest  tributes  from  fellow  industryites. 
Once  associated  with  Samuel  Goldwyn,  he 
became  general  sales  manager  of  MGM  in 
1936,  was  elected  a  vice  president  in  1941,  a 
director  in  1945.  In  1952  he  retired  as  active 
distribution  head  to  become  advisor  and  con- 
sultant on  sales.  He  resigned  from  MGM  in 
1954,  and  subsequently  served  as  sales  con- 
sultant with  Allied  Artists.  His  wife  and 
three  children  survive.  A  Mass  service  was 
held  June  6th  at  the  Saint  John  and  Paul 
Church  in  Larchmont,  New  York,  attended 
by  many  industry  notables.  Interment  was  in 
Gate  of  Heaven  Cemetery  at  Valhalla,  N.  Y. 

0 

ERIC  JOHNSTON  denned  motion  pictures 
as  "America's  travelling  salesman  to  all  the 
world",  in  his  speech  opening  the  industry's 
Golden  Anniversary  celebration  in  New 
York  May  28.  The  event  is  a  focal  point  of 
the  industry  business-building  program  al- 
ready underway  via  COMPO-MPA  sponsor- 
ship. The  MPA  president,  addressing  the 
Sales  Executives  Club  of  New  York,  said 
that  "Hollywood  film  has  provided  massive 
global  communication  which  no  other  man- 
made  device  has  ever  equalled".  He  referred 
to  Hollywood  as  the  "great  stimulator  of 
mass  production",  and  "pioneering  and  still 
tirelesss  agent  for  American  democracy  and 
fruits  of  democracy  throughout  the  world." 
Among  Johnstons  other  remarks:  "I  don't 
think  you  can  over-emphasize  the  importance 
of  the  motion  pictures  theatre — as  the  center 
of  family  entertainment  and  as  the  magne- 
tizing force  for  trade  and  growth  .  .  .  The 
theatre  sells  the  community  and  what  the 
community  has  to  sell  .  .  .  Hollywood  be- 
came and  is  today  America's  master  sales- 
man because  it  sells  three  concepts  in  which 
we  deeply  believe  .  .  .  that  man  is  an  indi- 
vidual, not  a  mass  .  .  .  that  man  can  be  and 
is  meant  to  be  free  .  .  .  that  man  can  remake 
his  society  as  he  wishes  it  to  be  .  .  .  As 
Hollywood  successfully  sells  American  pro- 
duction, it  .  .  .  sells  .  .  .  democracy." 


THEY 


MADE  THE  NEWS 

REPUBLIC  &  AB-PT  Pictures  have  reached 
an  agreement  whereby  the  former  will  dis- 
tribute all  the  product  of  the  latter  in  the 
LInited  States,  its  possessions  and  Canada. 
American  Broadcasting-Paramount  Theatres 
vice  president  Sidney  M.  Markley  and  Re- 
public president  Herbert  J.  Yates  jointly  an- 
nounced the  deal.  Republic  will  handle  the 
physical  distribution  of  AB-PT,  subsidiary  of 
the  theatre  company,  to  the  parent  company's 
own  theatres,  and  both  selling  and  physical 
handling  to  all  other  theatres.  The  produc- 
ing subsidiary  was  only  recently  formed  in 
an  effort  to  help  relieve  the  product  short- 
age. Two  initial  films  have  been  completed: 
"Beginning  of  the  End",  and  "The  Unearth- 
ly"; five  more  are  scheduled  for  production 
this  year. 

0 

ALEX  HARRISON  announced  a  new  20th 
Century-Fox  merchandising  program  to  meet 
the  needs  of  exhibitors  during  the  peak  sum- 
mer season.  The  sales  topper  told  a  home 
office  meeting  of  division  and  district  man- 
agers that  Fox  will  make  available  a  greater 
number  of  prints  on  each  of  the  16  pictures 
set  for  release  during  the  three-month  period 
and  will  augment  local-level  advertising  and 
publicity  in  support  of  each  production.  Har- 
rison cited  the  tremendous  success  achieved 
by  Rodgers  and  Hammerstein's  "Oklahoma!" 
in  Todd-AO  and  CinemaScope  and  said  that 
the  increased  number  of  prints  on  this  pro- 
duction will  enable  theatremen  in  as  many 
different  situations  as  possible  to  present  the 
pre-sold  musical  atraction  during  the  June- 
September  period.  The  executive  also  pointed 
out:  Saturation  campaigns  are  planned  for 
"Island  in  the  Sun"  and  "Will  Success  Spoil 
Rock  Hunter?",  with  the  former  being  made 
available  to  300  key  theatres  during  the  first 
two  weeks  of  release  starting  June  12,  pro- 
ducer Jerry  Wald  and  director  Leo  McCarey 
will  personally  tour  key  cities  in  behalf  of 
their  production  of  "An  Affair  to  Remem- 
ber", which  will  get  a  dramatic  premiere 
July  11  aboard  the  S.  S.  Constitution  in  New- 
York  harbor.  Another  tie-up  will  see  the 
Jerry  Wald  production  of  "No  Down  Pay- 
ment" released  in  300  key  centers  in  August 
at  the  same  time  the  John  McPartland  novel 
is  published.  Vice  president  Charles  Einfeld 
enumerated  similar  advertising,  publicity 
and  exploitation  campaigns  for  the  other 
summer  releases. 

0 

PHILIP  F.  HARLING,  chairman  of  TOA's 
small  business  committee,  continues  the  fight 
to  make  it  easier  for  the  theatre-owner  to 
secure  government  financial  aid.  In  his  most 
recent  move,  Harling  submitted  a  14-point 
memorandum  to  the  Subcommittee  on  Small 
Business  of  the  Committee  on  Banking  and 
Currency,  meeting  in  Washington  for  hear- 
ings on  two  bills  which  would  aid  small 
business.  In  his  memorandum,  Harling  urges 
adoption  of  the  bills,  with  modfiications. 


HEADLINERS... 


Plans  for  the  Will  Rogers  Memorial  Hos- 
pital testimonial  to  its  president,  ABE  MON- 
TAGUE, scheduled  for  June  19  at  the  Wal- 
dorf-Astoria, were  almost  completed  with 
the  naming  of  an  exhibition  committee  who 
will  aid  in  the  affair.  These  include:  RUS- 
SELL DOWNING,  S.  H.  FABIAN,  EU- 
GENE PICKER,  WALTER  READE,  JR., 
RUBE  SHOR  among  others.  The  Hospitals 
Junior  Committee,  headed  by  IRWIN 
FREEDMAN  and  DAVID  PICKER,  will  act 
as  the  host  committee.  It  was  also  announced 
that  20th-Fox  production  head  BLIDDY  AD- 
LER  is  producing,  and  DEBORAH  KERR 
narrating,  the  Special  Appeal  trailer  to  be 
used  in  the  1957  Audience  Collection  cam- 
paign .  .  .  LINDA  EINFELD,  daughter  of 


Jk  """HfrW^  — B  Veteran    director  John 
.  t^mm  I  ,,,J  /,,,/,/,  j  or  I  h  at  Sar- 
M|      ~~-^feHMi  ,;;     "'  S>1"  1>  0'^  ''bout 
I   T^^^^^K  world  premiert    in  Ire- 

llr  "Tbi    Rising   of  tbt 

H[^JjL  Moon",  lour  Provinces 

Production  hi  directed. 

20th-Fox  vice  president  CHARLES  EIN- 
FELD to  wed  John  Hirsch  on  June  14  in 
New  York.  Bridegroom  will  practice  law  in 
Chicago  .  .  .  Allied  Artists  vice  president 
ALFRED  CROWN  resigned  from  that  com- 
pany to  enter  independent  production  in 
partnership  with  MORRIS  HELPRIN.  Or- 
ganization will  be  known  as  Barbizon  Pro- 
ductions. AA  president  STEVE  BROIDY 
made  the  announcement  .  .  .  Paramount  sales 
executive  OSCAR  MORGAN  named  by  Dis- 
tributing Corp.  president  GEORGE  WELT- 
NER  to  supervise  company's  sales  of  impor- 
tant re-releases  .  .  .  20th-Fox  president  SPY- 
ROS  P.  SKOURAS  received  the  United 
Shareholders  Annual  Meeting  Award  for 
meritorious  achievement  in  the  field  of  man- 
agement-shareholder relationship"  .  .  .  ROB- 
ERT KRAUS  appointed  New  York  city  sales 
representative  for  Rank  Film  Distributors  of 
America,  according  to  sales  topper  IRVING 
SOCHIN  .  .  .  PHIL  KATZ,  advertising  di- 
rector of  Stanley  Warner's  Pitsburgh  zone, 
resigned  to  join  the  executive  staff  of  Gold- 


Prodiicer  Jerry  Wald,  right,  and  director  Leo 
McCary  of  "An  Affair  to  Remember"  discuss 
their  20tb-Fox  production  at  trade  press  con- 
ference in  New  York. 

man  and  Shoop,  Inc.,  advertising  agency  of 
that  city.  Katz  will  head  the  agency's  pro- 
motion and  merchandising  division  .  .  . 
ROBERT  E.  LEWIS,  former  office  manager 
of  Republic's  Chicago  exchange,  added  to  the 
buying  and  booking  staff  of  Allied  Theatres 
of  Illinois,  according  to  Allied  president 
JACK  KIRSCH  .  .  .  United  Artists  distribu- 
tion topper  WILLIAM  J.  HEINEMAN  and 
sales  head  JAMES  R.  VELDE  took  district 
managers  through  their  paces  at  the  June  5-6 
meetings  held  in  St.  Louis  where  sales  poli- 
cies and  distribution  plans  for  UA's  roster 
of  summer  and  fall  releeases  were  discussed 
.  .  .  UA  v.p.  ARNOLD  M.  PICKER  back 
from  a"  six-week  tour  of  company's  European 
offices  where  he  conclaved  with  sales  and 
promotion  executives  on  distribution  plans 
for  hvpoed  L]A  production  program  .  .  . 
Rank  ad-pub  director  GEOFFREY  MARTIN 
in  Atlanta  working  on  plans  for  June  20 
premiere  of  "The  Third  Key"  .  .  .  Variety 
[nt'l  Chief  Barker  JOHN  H.  ROWLEY  to 
be  featured  speaker  at  Mississippi  Theatre 
Owners  convention  in  Jackson  June  25. 


Page  26       Film  BULLETIN    June  10,  1957 


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bade  wet 
das  the  most 


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BULLETIN 

ctf  ccurde! 


Film  BULLETIN    June  10.  1957        Page  27 


THIS  IS  YOUR  PRODUCT 


All  The  Vital  Details  on  Current  &>  Coming  Features 

(Date  of  Film  BULLETIN  Review  Appears  At  End  of  Synopsis) 


ALLIED  ARTISTS 


March 

ATTACK  OF  THE  CRAB  MONSTERS  Richard  Garland, 
Pamela  Duncan.  Producer-director  Roger  Corman. 
Science-fiction.  Hideous  monsters  take  over  remote 
Pacific  Island.  68  min. 

FOOTSTEPS  IN  THE  NIGHT  Bill  Elliot,  Don  Haggerty. 
Producer  Ben  Schwalb.  Director  Jean  Yarbrough.  Melo- 
drama. Man  is  sought  by  police  fot  murder  of  his 
friend.  62  min. 

NOT  OF  THIS  EARTH  Paul  Birch,  Beverly  Garland. 
Producer-director  Roger  Corman.  Science-fiction.  Series 
of  strange  murders  plagues  large  western  city.  67  min. 

April 

BADGE  OF  MARSHALL  BRENNAN  Jim  Davis,  Carl 
Smith,  Arleen  Whelan.  Producer-director  Albfrt  C. 
Gannaway.  Western.  76  min. 

DRAGOON  WELLS  MASSACRE  Barry  Sullivan  Mona 
Freeman.  Dennis  O'Keefe.  Producer  Lindsley  Parsons. 
Director  Harold  Schuster.  Western.  Apaches  attack 
stockade  in  small  wejtern  town.  81  min. 

May 

DESTINATION  60,000  Preston  Foster,  Coleen  Gray,  Jeff 
Donnell.  A  Gross-Krasne  Production.  Director  G.  Wag- 
gner.  Drama.  Pilot  flys  new  iet,  with  revolutionary 
type  fuel,  for  first  time.    65  min. 

LET'S  BE  HAPPY  CinemaScope,  Color.  Vera  Ellen,  Tony 
Martin,  Robert  Fleming.  Producer  Marcel  Hellman. 
Director  Henry  Levin.  Musical.  Small-town  girl  meets 
washing  machine  inventor  in  Paris.  105  min. 

OKLAHOMAN.  THE  CinemaScope,  DeLuxe  Color.  Joel 
McCrea,  Barbara  Hale.  Producer  Walter  Mirsch.  Di- 
rector Francis  Lyon.  Western.  Doctor  helps  rid  town 
of  unscrupulous  brothers.  81  min. 

PERSUADER,  THE  William  Talman,  Kristine  Miller, 
James  Craig.  Producer-director  Dick  Ross.  Western. 
Preacher  wins   rough   town   over  with   love — not  guns. 

June 

AOUA  DIVE  GIRL  Mara  Corday,  Pat  Conway,  Florence 
Marly.  Producer  Norman  Herman.  Adventure.  66  min. 
CALYPSO  JOE  Herb  Jeffries,  Angle  Dickenson.  Pro- 
ducer William  Broidy.  Director  Edward  Dein.  Musical. 
Former  sweetheart  wins  girl  away  from  South  Ameri- 
can millionaire.    76  min. 

HOT  ROD  RUMBLE  Leigh  Snowden,  Richard  Hartunian. 
Producer  Norman  Herman.  Director  Les  Martinson. 
Melodrama.  Story  of  a  drag  racer  and  his  fight  for 
acceptance.    79  min. 

LOVE  IN  THE  AFTERNOON  Color.  Gary  Cooper, 
Audrey  Hepburn,  Maurice  Chevalier.  Producer-director 
Billy  Wilder.  Drama.  An  American  playboy's  romantic 
adventures  in  Paris.    130  min. 

SPOOK  CHASERS  Huntz  Hall,  Stanley  Clements.  Pro- 
ducer Ben  Schwalb.  Director  George  Blair.  Comedy. 
Bowery  boys  get  tangled  up  with  spooks  and  hoodlums. 
62  min. 

July 

DAUGHTER  ©F  DR.  JEKYLL  John  Agar,  Gtoria  Talbot, 
Amur  Shields.  Producer  Jack  Pollexfen.  Director 
Edgar  Unger.    Horror.    71  min. 

DINO  Sal  Mineo,  Brian  Keith,  Susan  Kohner.  Producer 
Bernice  Block.  Director  Thomas  Carr.  Drarnj.  Social 
case  worker  helps  young  criminal  reform. 
DISEMBODIED,  THE  Paul  Burke,  Allison  Hayes,  Joel 
Marston.  Producer  Ben  Schwalb.  Director  Walter 
Graumann.  Horror.  Doctor's  wife  practices  voodoo  in 
in  African  jungle.  70  min. 

Coming 

CRIME  BENEATH  THE  SEA  Mara  Corday.  Pat  Conway, 
F.  Marly.  Producer  N.  Herman.  Director  John  Peyser 
FROM  HELL  IT  CAME  Tod  Andrews,  Tina  Carver.  Di- 
rector Jack  Milner.  Director  Dan  Milner. 
HUNCHBACK  OF  NOTRE  DAME.  THE  CinemaScope, 
Color.  Gina  Lollobrigida,  Anthony  Quinn.  A  Paris 
Production.  Director  Jean  Delannoy.  Drama.  Hunch- 
back falls  in  love  with  beautiful  gypsy  girl.  88  min. 
LOOKING  FOR  DANGER  Huntz  Hall,  Stanley  Clements. 
Producer-director  Richard  Heermance. 
DEATH  IN  SMALL  DOSES  Peter  Graves,  Mala  Powers, 
Chuck  Conners.  Producer  R.  Heermance.  Director  J. 
Newman. 

NO  PLACE  TO  DIE  Sterling  Hayden,  Pamela  Duncan, 
Ted  de  Corsia.  Producer  D.  J.  Grut.  Director  Sidney 
Franklin.  Jr. 

WALK  TALL  CinemaScope,  Color,  Joel  McCrea,  Vir- 
ginia Mayo. 


COLUMBIA 


March 

FUEL  OF  LIFE  Judy  Holliday,  Richard  Conte, 
Salvatore  Baccaloni.  Producer  Fred  Kohlmar.  Director 
Richard  Quine.  Comedy.  Struggling  writer  and  wife 
are  owners  of  new  home  and  are  awaiting  arrival  of 
child.  91  min.  1/7. 

MAN  WHO  TURNED  TO  STONE,  THE  v;ct0r  Jory,  Ann 
Doran.  Producer  Sam  Katzman.  Director  Leslie  Kardos. 
Mad  doctor  discovers  secret  of  prolonged  life.  Horror. 
80  min.  2/18. 

SHADOW  ON  THE  WINDOW.  THE  Betty  Garrett,  Phil 
Carey,  Corey  Allen.  Producer  Jonie  Tapia.  Director 
William  Asher.  Melodrama.  Seven-year  old  boy  is  the 

only  witness  to  a  murder.  73  min.  3/4. 
ZOMBIES  OF  MORA  TAU  Gregg  Palmer,  Allison  Hayes. 
Producer  Sam  Katzman.  Director  Edward  Kahn.  Horror. 
Zombies  live  on  sunken  ship  with  huge  fortune  of  dia- 
monds. 70  min. 

A  pril 

GUNS  AT  FORT  PETTICOAT  Audie  MurpJiy,  Kathryn 
Grant.  Producer  Harry  Joe  Brown.  Director  George 
Marshall.  Western.  Army  officer  organizes  women  to 

fight  off  Indian  attack.  131  min. 

PHANTOM  STAGECOACH.  THE  William  Bishop,  Rich- 
ard Webb.  Producer  Wallace  MacDonald.  Director  Ray 
Nazarro.  Western.  Outlaws  attempt  to  drive  stage 
coach  line  out  of  business.  69  min. 

TALL  T,  THE  Randolph  Scott,  Richard  Boone,  Maureen 
Sullivan.  A  Scott-Brown  Production.  Director  Budd 
Boetticher.  Western.  A  quiet  cowboy  battles  o  be 
independent.  78  min. 

May 

ABANDON  SHIP  CinemaScope.  Tyrone  Power,  Mai 
Zetterling.  Producer-director  Richard  Sale.  Drama. 
Story  of  a  group  of  people  who  survive  the  sinking 
of  a  luxury  liner.    100  min. 

GARMENT  JUNGLE,  THE  Lee  J.  Cobb,  Kerwin  Mat- 
thews, Richard  Boone.  Producer  Harry  Kleiner.  Di- 
rector Ribert  Aldrich.  Drama.  Dog-ea-dog  world  of 
Manhattan's  clothing  center.  88  min. 

HELLCATS  OF  THE  NAVY  Ronald  Reagan,  Nancy  Davis, 
Arthur  Franz.  Producer  Charles  Schneer.  Director  Na- 
than Juran.  Drama.  Story  of  the  Hellcat  submarines 
during  World  War  II.  82  min.  4/15. 

SIERRA  STRANGER  Howard  Duff.  Gloria  McGhee.  Pro- 
ducer Norman  Herman.  Director  Lee  Sholem.  Western. 
Miner  file  gold  claim  during  the  '49  California  Gold 
Rush.    74  min.  5/13. 

STRANGE  ONE,  THE  Ben  Gaziara,  James  Olsen,  George 
Peppard.  Producer  Sam  Spiegel.  Director  James  Gar- 
fein.  Drama.  Cadet  at  military  school  frames  com- 
mander and  his  son.  100  min.  4/15. 

June 

BEYOND  MOMBASA  Technicolor,  CinemaScope.  Cor- 
nell Wilde,  Donna  Reed.  Producer  Tony  Owen.  Direc- 
tor George   Marshall.    Adventure.    Leopard   Men  seek 

to  keep  Africa  free  of  white  men.  90  min. 
BURGLAR.  THE  Dan  Duryea,  Jane  Mansfield,  Martha 
Vickers.  Producer  Louis  Kellman.  Director  Paul  Kend- 
kos.  Melodrama.  Jewel  thieves  plan  theft  of  spiritual- 
ist's valuable  necklace.  90  min.  5/13. 
CALYPSO  HEAT  WAVE  Johnny  Desmond,  Merry  An- 
ders, Meg  Myles.  Director  Fred  Sears.  Musical.  Array 
of  calypso-style  singers.  86  min. 

NIGHT  THE  WORLD  EXPLODED,  THE  Kathryn  Grant 
William  Leslie.  Producer  Sam  Katzman.  Director  Fred 
Sears.  Science-fiction.  Scientist  saves  world  by  pre- 
venting explosion.    64  min. 

GIANT  CLAW,  THE  Jeff  Morrow,  Mara  Corday.  Pro- 
ducer Sam  Katzman.  Director  Fred  Sears.  Science- 
fiction.  Giant  bird  from  outer  space  threatens  to  de- 
stroy world.  76  min. 

July 

FIRE  DOWN  BELOW  CinemaScope,  Technicolor.  Rita 
Hayworth,  Robert  Mitchum,  Jack  Lemmon.  A  War- 
wick Production.  Director  Robert  Parrish.  Drama. 
Cargo  on  ship  is  ablaze.  Gravity  of  situation  is  in- 
creased by  highly  explosive  nitrate.  116  min. 
27TH  DAY.  THE  Gene  Barry,  Valerie  French.  Producer 
Helen  Ainsworth.  Direotor'  William  Asher.  Science- 
tioficvi.  People,  frora  outer  space  plot  to  destroy  all 
human  life  on  the  earth.  75  min.  5/7. 

Coming 

ADMIRABLE  CRICHTON,  THE  Technicolor.  Kenneth 
More.  Diane  Cilento.  Cecil  Parker.  Producer  Ian  Dal- 
rymple.  Director  Lewis  Gilbert.  Drama.  The  story  of  a 
famous  butler  in  the  I900's. 


BROTHERS  RICO  THE  Richard  Conte.  Kathryn  Grant, 
Dianne  Foster.  Producer  Lewis  Rachmil.  Director  Phil 
Karlson.  Drama.  Former  racketeer,  trying  to  go 
straight,  exposes  organization  when  they  push  him  too 
far. 

CASE  OF  THE  STOCKING  KILLER,  THE  John  Mills, 
Charles  Coburn,  Barbara  Bates.  A  Marksman  Produc- 
tion. Director  John  Gillerman.  Insane  man  murders 
beautiful  girl. 

GOLDEN  VIRGIN.  THE  Joan  Crawford,  Rossano  Brazzi, 
Heather  Sears.  John  and  James  Woolf  producers.  Di- 
rector David  Miller.  Unscrupulous  people  exploit  blind 
girl  for  profit. 

KILLER  APE  Johnny  Weissmuller.  Carol  Thurston.  Pro- 
ducer Sam  Katzman.  Director  Spencer  G.  Bennett.  Ad- 
venture drama.  The  story  of  a  giant  half-ape,  half-man 
beast  who  goes  on  a  killing  rampage  until  destroyed 
by  Jungle  Jim.  68  min. 

PAPA,  MAMA,  THE  MAID  AND  I  Robert  Lamoureux, 
Gaby  Morlay,  Nicole  Courcel.  Director  Jean-Paul  Le 
Chanois.  Comedy.  The  lives  of  a  typically  Parisian 
family.  94  min.  9/17. 

PICKUP  ALLEY  Cinemascope.  Victor  Mature.,  Anita 
Ekberg,  Trevor  Howard.  A  Warwick  Production.  Di- 
Ekberg.  Trevor  Howard.  A  Warwick  Production.  Direc- 
tor John  Gilling.  Story  of  international  dope  runners. 
SHE  PLAYED  WITH  FIRE  Jack  Hawkins,  Arlene  DM, 
Producers  Frank  Launder-Sidney  Gilliat.  Director  Sid- 
ney Gilliat.  Story  of  an  arsonist. 

SUICIDE  MISSION  Leif  Larson,  Michael  Aldridge,  Atle 
Larsen.  A  North  Seas  Film  Production.  Adventure.  Nor- 
wegian fishermen  smash  German  blockade  in  World 
War  II.  70  min. 

3:10  TO  YUMA  Glenn  Ford,  Felicia  Farr,  Van  Heflin. 
Producer  David  Heilwell.  Director  Delmer  Daves.  West- 
ern. Cowboy  robs  stagecoach  then  poses  as  one  those 
robbed. 

YOUNG  DON'T  CRY.  THE  Sal  Mineo,  James  Whitmore. 
Producer  P.  Waxman.  Director  Alfred  Werker.  Drama. 
Life  in  a  southern  orphanage. 


INDEPENDENTS 


March 

UN  DEAD,  THE  I  American-International)  Pamela  Dun- 
cofl,  AltUon  Hayes.  Producer-director  Roger  Corman. 
Science-fiction.  A  woman  turns  into  a  witch.  71  min. 
VOODOO  WOMAN  (American-International)  Maria 
English,  Tom  Conway,  Touch  Connors.  Producer  Alex 
Gordon.  Director  Edward  Cohn.  Horror.  Adventurers 
seeking  native  treasure  is  transformed  into  monster  by 
jungle  scientist.  75  min. 

WOMAN  OF  ROME  I  OCA)  Gina  Lollobrigida,  Daniel 
Gelin.  A  Porrrl-DeLaurenflis  Production.  Director  Uiigi 
Zampa  Drama.  Adapted  from  the  Alberto  Moravia 
novel. 

April 

GOLD  OF  NAPLES  IDCA)  Toto,  Sophia  Loren,  Vittorio 
DeSica.  A  Ponti-De  Laurentis  Production.  Director  V. 
De  Sica.  Drama.  4  short  Italian  satires.  I07min.  3/18 
IF  ALL  THE  GUYS  IN  THE  WORLD  .  .  .  IBuena  Vista) 
Andre  Valmy,  Jean  Gaven.  Director  Christlan-Jaque. 
Drama.  Radio  "hams",  thousands  of  miles  apart,  pool 
their  efforts  to  raieue  a  stricken  fishing  boat. 
REACH  FOR  THE  SKY  (Rank  Film  Distributors)  Kenneth 
More.  A  J.  Arthur  Rank  Production.  The  story  of  Brit- 
ain's unique  RAF  ace,  Douglas  Bader. 

May 

RAISING   A   RIOT    (Continental)    Technicolor.  Kenneth 

More,  Ronald  Squire,  Jan  Miller.  Director  Wendy  Toye. 

Comedy.   Father  attempts  to  apply   psychology  to  his 

three  children  while  wife  is  away  on  a  visit. 

FOUR   BAGS   FULL    (Trans-Lux)    Jean    Gabin,  Bouvril. 

Comedy.   The   trials  and   tribulations  of  black  market 

operators  during  the  German  occupation. 

FRENCH    ARE    A    FUNNY    RACE,    THE  (Continental) 

Martine  Carol,  Jack  Vuchanan,   Noel-Noel.  A  Gaumont 

production.  Comedy.  A  spoof  of  the  unique  personality 

characteristics  of  the  French. 

ROCK  AU  NIGHT  (American-International  I  Dick 
Miller,  Abby  Dalton,  Russel  Johnson.  Producer-director 
Roger  Corman.  Rock  n'  rolf  musical.  65  min. 
STRANGER  IN  TOWN  (Astor)  Alex  Nichol,  Anne  Page, 
Producer  Sidney  Roberts.  Director  George  Pollock. 
Melodrama.  A  newspaperman  exposes  the  "perfect 
crime".  74  min. 

June 

BLACK  TIDE  (Astor  Pictures)  John  Ireland,  Maureen 
Connell.  Producer  Monty  Berman.  Director  C.  P.  Rich- 
ards. Melodrama.  Top  fashion  model,  planning  long 
distance  swim  for  publicity,  is  mysteriously  murdered. 
79  min. 


Film 


BULLETIN  —  THIS     IS    YOUR  PRODUCT 


FRENCH    THEY    ARE    A    FUNNY    RACE.    THE  IConti- 

nental'  Martine  Carol,  Jack  Buchanan  Noel-Noel. 
Produced  by  Preston  Sturges.  Comedy.  Filmization  of 
a  famous  French  best-selling  novel.  92  min.  5/27. 

JOHNNY  TREMAIN  (Buenct  Vista)  Technicolor.  Hal 
Stalmaster,  Luana  Patten.  Jeff  York.  A  Walt  Disney 
Production.  Director  Robert  Stevenson.  Adventure. 
A  teen-age  silversmith  turns  freedom  fighter  in  the 
American  War  of  Independence. 

JULIETTA  (Kingsley  International)  Jeanne  Moreau. 
Nicole  Berger.  An  Indrusfilms  Production.  Director 
Marc  Allegret.  Comedy. 


July 


A  NOVEL  AFFAIR  I  Continental  I  Sir  Ralph  Richardson, 
Margaret  Leighton.  Comedy. 

CARNIVAL  ROCK  (Howeo)  The  Platters.   David  Hous- 
ton.   A  Howco  Production.    Musical.    80  min. 
TEEN  AGE  THUNDER  (Howco)  Church  Courtney,  Me- 
linda  Byron.  A  Howco  Production.  Melodrama.  80  min. 

Coming 

BROTHERS  IN  LAW  [Continental  I  Ian  Carmichel,  Rich- 
ard Attenborough,  Jill  Adams.  Producer-director,  the 
Boulting  Bros.  Comedy.  Adventures  of  a  young  lawyer. 
CARTOUCHE  IRKO)  Richard  Basehart,  Patricia  Roc. 
Producer  John  Nasht.  Director  Steve  Sekely.  Adventure. 
The  story  of  a  lusty  adventurer  during  the  reign  of 
Louis  XVI. 

CITY  OF  WOMEN  .Associates  Osa  Masse-  Robert 
Hutton,  Maria  Palmer.  Producer-director  Boris  Perroff. 
Drama.  From  a  novel  by  Stephen  Longstreat. 

DRAGSTRJP  GIRL  I  American-International )  Fay  Spain, 
Steve  Terrell,  John  Ashley.  Producer  Alex.  Gordon.  Di- 
rector Edward  Gahn.  Story  of  teen-age  hot  rod  and 
dragstrip  racing  kids.  75  min. 

LOST  CONTINENT  IIFE]  CinemaScope,  Ferranieolor. 
Producer-director  Leonardo  Bonii.  An  excursion  into  the 
wilds  of  Borneo  and  the  Maylayan  Archepelago.  Eng- 
lish commentary.  86  min. 

NEAPOLITAN  CAROUSEL  IIFE)  ILuxFilm,  Rome)  Pathe- 
color.  Print  by  Technicolor.  Sophia  Loren.  Leonide 
Massine.  Director  Etfore  Giannini.  Musical.  The  history 
of  Naples  traced  from  1400  to  date  in  song  and  dance. 

PERRI  (Buena  Vista)  Technicolor.  A  true-life  fantasy 
by  Walt  Disney.  The  life  story  of  a  Pine  Squirrel 
named  "Perri". 

REMEMBER,  MY  LOVE  I  Artists- Producers  Assoc.)  Cine- 
maScope, Technicolor.  Michael  Redgrave,  Mel  Ferrer, 
Anthony  Quale.  Musical  drama.  Producer-director 
Michael  Powell,  Emeric  Pressburger.  Based  on  Strauss' 
"Die  Redermaus". 

SMOLDERING  SEA,  THE  Superscope.  Producer  Hal  E. 
Chester.  Drama.  Conflict  between  the  tyrannical  cap- 
tain and  crew  of  an  American,  merchant  ship  reaches 
its  climax  during  battle  of  Guadalcanal. 

X— THE  UNKNOWN  Dean  Jagger,  William  Russell. 
Producer  A.  Hinds.  Director  Leslie  Norman.  Science- 
fiction.  Keen  minded  scientist  fights  awesome  creation. 


METRO-GOLDWYN -MAYER 


February 


BARRETS  OF  WIMPOLE  STREET,  THE  CinemaScope, 
Eastman  Color.  Jennifer  Jones,  Sir  Joiin  Gielgud,  Bill 
Travers.  Producer  Sam  Zimbalist.  Director  Sidney 
Franklin.  Drama.  Love  story  of  poets  Elizabeth  Barrett 
and  Robert  Browning.  I0S  min.  1/21. 

HOT  SUMMER  NIGHT  Leslie  Nielsen,  Coieen  Miller. 
Producer  Morton  Fine.  Director  David  Friedkin.  Melo- 
drama. Story  of  a  gangland  hide-out.  84  min.  2/4. 

WINGS  Of  THE  EAGLES,  THE  John  Wayne.  Dan 
Dailey,  Maureen  O'Hara.  Producer  Charles  Schnee. 
Director  John  Ford.  Drama.  Life  and  times  of  a  naval 
aviator.  1 10  min.  2/4. 


March 


LIZZIE  EJeanor  Parker,  Richard  Boone,  Joan  Btondell. 
Producer  Jerry  Bresst-sr.  Director  Hugo  Haas.  Drama. 
A  young  girl  lives  three  different  lives.  81  min.  3/4 
TEN  THOUSAND  BEDROOMS  CinemaScope.  Metro- 
Color.  Dean  Martin,  Anna  Maria  Alberghetti.  Producer 
Joseph  Pasternack.  Director  Richard  Thorpe.  Musical. 
A  hotel  tycoon  falls  in  love  with  a  lovely  Italian  girl. 
114  min.  2/18. 


April 


DESIGNING  WOMAN  CinemaScope.  MetroColor. 
Gregory  Peck,  Lauren  Bacall.  Producer  Dore  Schary. 
Director  Vincente  Minnelli.  Comedy.  Ace  sportswriter 
marries  streamlined  blond  with  ideas.  117  min.  3/4 
VINTAGE,  THE  MetroColor.  Pier  Angeli,  Mel  Ferrer, 
Leif  Erickson.  Producer  Edwin  Knoph.  Director  Jeffrey 
Hayden.  Drama.  A  conflict  between  young  love  and 
mature  responsibility.  90  min.  3/18. 


May 


LITTLE  HUT,  THE  Eastman  Color.  Ava  Gardner.  Stewart 
Granger.  Producers  F.  Hugh  Herbert.  Director  Mark 
Robson.  Comedy.  Husband,  wife  and  wife's  lover  are 
marooned  on  a  tropical  isle.  98  min.  5/27. 
TARZAN  AND  THE  LOST  SAFARI  Technicolor.  Gordon 
Scott  Robert  Beatty.  A  Sol  Lesser  Production.  Director 
Bruce  Humberstone.  Adventure.  Tarzan  rescues  safari 
lost  in  deepest  Africa.  80  min.  3/18. 

THIS  COUU5  BE  THE  NIGHT  Jean  Simmons.  Paul 
Douglas.  Producer  Joe  Pasternak.  Director  Robert 
Wise.  Comedy.  A  girl  fresh  out  of  college  gets  a 
job  as  secretary  to  an  ex-bootlegger.   103  min.  4/15. 

Fill 


June 

SEVENTH  SIN,  THE  CinemaScope.  Eleanor  Parker.  Mill 
Travers,  George  Sanders.  Producer  David  Lewis.  Di- 
rector Ronald  Neame.  Drama.  Story  of  an  adulterous 
woman.  94  min. 

SOMETHING  OF  VALUE  Rock  Hudson,  Dana  Wynt.r, 
Wendy  HMIer.  Producer  Pandro  Berman  Director 
Richard  Brooks.  Drama.  Stry  of  a  Mau  Mau  uprising 
in  Kenya.  East  Africa.  113  min.  5/13. 


July 


MAN  ON  FIRE  Bing  Crosby,  Mary  Pickett  Inger 
Stevens.  Producer  Sol  Siegel.  Director  R.  MacDougall. 
Drama.  The  effect  of  divorce  on  a  boy  and  his  es- 
tranged parents. 

SILK  STOCKINGS  MetroColor,  CinemaScope.  Fred  As- 
taire,  Cyd  Charrise,  Janis  Page.  Producer  Arthur 
Freed.  Director  R.  Mamoullian.  Musical.  Russian  girl 
falls  in  love  with  an  American  film  producer  in  Paris. 
117  min. 


Coming 


ACTION  OF  THE  TIGER  CinemaScope.  Eastman  Color. 
Van  Johnson  Martine  Carol.  Gustave  Roto.  A  Claridge 
Production.  Drama.  Beautiful  girl  seetu  help  of  con- 
traband runner  to  re»cue  brother  from  Communists. 
DECISION  AGAINST  TIME  Jack  Hawkins.  Elizabeth 
Sellars.  Producer  M.  Balcon.  Director  C.  Crichton. 
Test  pilot  attempts  to  land  disabled  plane. 

GUN  GLORY  CinemaScope.  MetroColor.  Stewart 
Granger,  Rhonda  Fleming.  Producer  N.  Nayfack.  Di- 
rector Roy  Rowland.  Western.  Ex-outlaw  is  tormented 
by  his  former  reputation  as  a  killer. 

HAPPY  ROAD,  THE  Gene  Kelly.  Michael  Redgrave. 
Barbara  Laage.  A  Kerry  Production.  Directors,  Gene 
Kelly,  Noel  Coward.  Drama.  Two  children  run  away 
from  boarding  hchool  to  find  their  respective  parents. 
100  min.  2/4. 

HOUSE  OF  NUMBERS  CinemaScope.  Jack  Palance, 
Barbara  Lang.  Producer  Charles  Schnee.  Director 
Russell  Rouse.  Law-abiding  citizen  attempts  to  engi- 
neer San  Quentin  escape  for  his  brother. 
LIVING  IDOL,  THE  CinemaScope,  Eastman  Color. 
Steve  Forrest,  Lilliane  Montevecchi.  Producer-director 
Al  Lewln.  Drama.  An  archeologist  is  faced  with  an  un- 
worldly situation  that  threatens  the  safety  of  his 
adopted  daughter.    101  min.  5/13. 

RAINTREE  COUNTY  MetroColor.  CinemaScope  65 
Elizabeth  Taylor,  Montgomery  Clift.  Producer  David 
Lewis.  Director  Edward  Dymtryke.  Drama.  Life  in  Indi- 
ana during  the  middle  I800's. 


PARAMOUNT 


February 

RAINMAKER,  THE  VistaVision,  Technicolor.  Burt  Lan- 
caster, Katherine  Hepburn,  Wendell  Corey.  Producer 
Hal  Wallis.  Director  Joseph  Anthony.  Comedy  drama. 
Fllmization  of  the  famous  B'way  play.  121  min.  12/24. 


March 


FEAR    STRIKES  OUT   Anthony    Perkins,    Karl  Maiden, 

Norma   Moore.  Producer  Aien   Pakula.   Director  Perry 

Wilson.   Drama.  Story  of  the  Boston   baseball  player. 

100  min.  2/18. 


April 


FUNNY  FACE  VistaVision,  Technicolor.  Audiey  Hep- 
burn, Fred  Astaire,  Kay  Thompson.  Producer  Roger 
Edens.  Director  Stanley  Donen.  Musical.  Photographer 
plucks  fashion  model  from  Greenwich  VTIfage  bookshop. 
ID~3  min.  2/18. 


May 


BUSTER  KEATON  STORY,  THE  VistaVision,  Technicolor. 
Donald  O'Connor,  Ann  Blyth,  Rhonda  Fleming.  Pro- 
ducers Robert  Smith,  Sidney  Sheldon.    Director  Sidney 

Sheldon.  Drama.  Life  of  the  great  comedian.  91  min. 
4/15. 

GUNFIGHT  AT  O.K.  CORRAL  VistaVijion.  Technicolor. 
Burt  Lancaster,  Kirk  Douglas.  Rhonda  Flemina.  Pro- 
ducer Hal  Wallis.  Director  John  Sturges.  Western. 
Drunken   badman   hunts  for  murderer  of   his  cheat'ng 

brother.  122  min.  5/27. 


June 


LONELY  MAN,  THE  VistaVision,  Technicolor.  Jack  Pa- 
lance, Anthony  Perkins,  Elaine  Aiken.  Producer  Pat 
Duggan.  Director  Henry  Levin.  Western.  A  gunfighter 

finds  he  is  losing  his  sight— and  his  aim.  87  min.  5/27. 


July 


BEAU  JAMES  VistaVision,  Technicolor.  Bob  Hope.  Pro- 
ducer Jack  Rose.  Director  Michael  Moore.  Drama. 
Biography  of  the  famous  Jimmy  Walker,  mayor  of  N  Y. 
from  1925  to  1932.  105  min. 

DELICATE  DELINQUENT,  THE  Jerry  Lewis,  Darren  Me- 
Gavin,  Martha  Hyer.    Producer  Jerry  Lewis.  Director 

Don  McGuire.  Drama.  Janitor  longs  to  be  police  offi- 
cer so  he  can  help  delinquents.  101  min. 


August 


YOU   VistaVision    Technicolor.    Elvis  Presley, 
Scott    Wendell  Corey.    Producer  Hal  Wallis. 
Director  Hal  Kanter.    Small-town  boy  makes 
big-time  show  business. 

KHAYYAM     VistaVision,     Technicolor.  Cornel 
vtichael   Rennie,   Debra   Paget.   Producer  Frank 
Jr.    Director    William    Dieterle.  Adventure, 
'and  times  of  medieval   Persia's  literary  idol. 


LOVING 

Lizabeth 
Musical, 
good  in 
OMAR 
WHde, 
Freeman 
The  life 
103  min. 


BULLETIN  —  THIS 


JULY  SUMMARY 

The  number  of  features  scheduled  for 
July  release  totals  35.  Leading  suppliers 
of  hot  weather  product  will  be  20th  Cen- 
tury-Fox. United  Artists  and  Republic, 
each  with  five  films.  Four  films  each  will 
be  released  by  Rank  and  AA.  The  Inde- 
pendents and  Universal  will  release  three 
each;  Columbia.  M-G-M  and  Paramount 
will  release  two  each;  Warner  Bros.,  one. 
Eleven  of  the  July  releases  will  be  in 
color.  CinemaScope  features  number 
seven;  VistaVision.  three;  Superscope.  one. 
16  Dramas  2  Musicals 

1  Western  4  Melodramas 
7  Comedies  2  Horror 

2  Adventure  1  Science-fiction 


Coming 


HAIRPIN  DEVIL'S,  THE  VistaVision.  Techmcolor  Cornel 
Wilde  Jean  Wallace  Mary  Astor.  Producer-director 
Cornel  Wilde.  Adventure.  Story  which  deals  with 
sports  car  racing. 

HOT  SPELL  VistaVision  Shirley  Booth.  Anthony  Quinn, 
Shirley  MacLaine.  Producer  Hal  Wallis.  Director  Dan- 
iel  Mann.  Drama.  The  disintegration  of  a  Southern 
family  during  a  torrid  heat  wave. 

JOKER  IS  WILD,  THE  VistaVision.  Technicolor  Frank 
Sinatra.  Mitii  Gaynor,  Jeanne  Crain  Producer  Samuel 
Briskhv  Director  Charles  Victor  Drama.  Film  biography 
of  Joe  E.  Lewis,  nightclub  comedian. 

SHORT  CUT  TO  HELL  VistaVision.  Robert  Ivers  Wil- 
liam Bishop.  Georgann  Johnson.  Producer  A.  C.  Lyles. 
Director  James  Cagney.  Drama. 

SPANISH  AFFAIR  VistaVision,  Technicolor.  Carmen 
Sevilla  Richard  Kiley.  Producer  Bruce  Odium.  Director 
Donald'  Siegel.  An  American  architect  travelling  in 
Spain  is  attracted  to  a  beautiful  girl,  half-Gypsy.  halt- 
Spanish. 

TEN  COMMANDMENTS,  THE  VistaVision  Technicolor. 
Charlton  Heston.  Yul  Brynner,  Anne  Bax*.-.  ^reducer- 
director  Cecil  8.  DeMille.  Relioious  drama  l'<e  i'otv 
of  Moses  as  told  in  the  Bible  and  Koran.  219  min.  10/15 
TIN  STAR,  THE  VistaVision.  Henry  Fonda,  Anthony 
Perkins.  A  PerlSerg-Seaton  Production.  Director  An- 
thony Mann.  V  .„tern. 


June 


REACH  FOR  THE  SKY  Kenneth  More,  Muriel  Pavlow. 
Producer    Daniel    M.    Angel.    Director    Lewis  Gilbert. 


CHECKPOINT  Eastman  Color  Anthony  Steel,  Odile 
Versois.  Producer  Betty  E.  Box.  Director  Ralph  Thomas. 


July 


VALUE  FOR  MONEY  Technicolor.  VistaVision.  John 
Gregson.  Diana  Dors  Producer  Sergei  Nolbandov,  Di- 
rector Ken  Annakin.  Comedy.  83  min. 

TRIPLE  DECEPTION  Technicolor.  VistaVision  Michael 
Craig,  Julia  Arnall.  Producer  Vivian  A.  Cox.  Director 
Guy  Green.  Drama.  85  min. 

OUT  OF  THE  CLOUDS  Eastman  Color  Anthony  Steel. 
Robert  Beatty  Producer-director  Michael  Relph  and 
Basil  Dearden    Drama.  75  min. 

THIRD  KEY.  THE  Jack  Hawkins.  John  Stratton.  Pro- 
ducer Michael  Balcon.  Director  Charles  Frend  Drama 
83  min. 


August 


A  TOWN  LIKE  ALICE  Virginia   McKenna.    Peter  Finch. 
Producer  Joseph  Janni.  Director  aJck  Lee.  98  min. 
GENTLE  TOUCH.  THE  Technicolor.  George  Baker.  Be- 
Linda    Lee.    Producer    Michael    Balcon.    Director  Pat 
Jackson.  86  min. 

BLACK  TENT,  THE  Technicolor,  VistaVision.  Anihony 
Steel.  Donald  Sinden.  Producer  William  MacQuitty. 
Director  Brian  D.  Hurst.  82  min. 

AS  LONG  AS  THEY'RE  HAPPY  Eastman  Color.  Jack 
Buchanan,  Janette  Scott.  Producer  Raymond  Stross. 
Director  J.  Lee-Thompson.  70  min. 

JACQUELINE  John  Gregson.  Kathleen  Ryan.  Producer 
George  H.  Brown.  Director  Roy  Baker.  92  min. 


September 


PURSUIT  OF  THE  GRAF  SPEE  Technicolor,  VistaV.sion. 
John  Gregson,  Anthony  Quayle.  Producer-director 
Michael  Powell  &  Emeric  Pressburger.  110  min. 
SPANISH  GARDENER  Technicolor.  VistaVision.  Dirk  Bo- 
garde.  Jon  Whiteley.  Producer  John  Bryan.  Director 
Philpi  Leacock.  95  mm. 

AN  ALLIGATOR  NAMED  DAISY  Technicolor,  Vista- 
Vision. Donald  Sinden,  Diana  Dors.  Producer  Raymond 
Stross.  Director  J.  Lee-Thompson.  88  min. 


YOUR  PRODUCT 


REPUBLIC 


January 

ABOVE  UP  THE  WAVES  John  Mills,  John  Gregson 
Donald  Slnden.  Producer  W.  Macpuitty.  Director  Ralph 
Thomas.  Drama.  Midget  submariners  attempt  to  sink 
Garman  battleship  in  WWII.  92  min.  1/21. 

TEARS  FOR  SIMON  Eastman  Color.  David  Farrar, 
David  Knight,  Julia  Arnall.  A  J.  Arthur  Rank  Produc- 
tion. Drama.  Young  American  couple  living  in  Lon- 
don have  their  child  stolen.  91  min.  3/18. 

February 

AFFAIR  IN  RENO  Naturama.  John  Lund,  Doris  Single- 
ton. Producer  Sidney  Picker.  Director  R.  G.  Spring- 
stein.  Drama.  Young  heiress  fails  for  fortune-hunting 
gambler.  75  min. 

DUEL  AT  AFACHE  WELLS  Naturama,  Trucolor.  Anna 
Maria  Alberghetti,  Ben  Cooper.  Associate  producer- 
director  Joseph  Kane.  Western.  Son  returns  home  to 
find  father's  ranch  threatened  by  rustler-turned-rancher. 

70  min. 

March 

HELL'S  CROSSROADS  Naturama.  Stephen  McNally, 
Paggie  Castle,  Robert  Vauhgn.  Producer  Rudy  Ral- 
ston. Director  Franktin  Adreon.  Western.  Outlaw  cow- 
boy reforms  after  joining  Jesse  James'  gang.  73  min. 

A  pril 

MAN  IN  THE  ROAD,  THE  Derek  Farr,  Ella  Raines. 
Producer  Charles  Leeds.  Director  Lance  Comfort. 
Drama.  A  spy  ring  attempts  to  obtain  atomic  secrets 
through  the  use  of  "mental  persuasion."  83  min. 

SPOILERS  OF  THE  FORREST  Trucolor,  Naturama.  Vera 
Ralston,  Rod  Cameron.  Producer-director  Joe  Kane. 
Drama.  An  unscrupulous  lumberman  tries  to  coerce  the 
owners  of  a  large  forest  acreage  into  cutting  their 
timber  at  a  faster  rate.  68  min. 

May 

LAWLESS  EIGHTIES,  THE  Naturama.  Buster  Crabbe, 
John  Smith,  Marilyn  Saris.  Producer  Rudy  Ralston. 
Director  Joe  Kane.  Western.  Circuit  rider  prevents 
Indian  uprising.  70  min. 

TIME  IS  MY  ENEMY  Dennis  Price,  Renee  Asherson. 
Producer  Roger  Proudlock.  Director  Don  Chaffey. 
Melodrama.  The  story  of  a  blackmailed  blackmailer. 
64  min. 

WEAPON,  THE  Steve  Cochran,  Lizabeth  Scott,  Nicole 
Maurey.  Producer  Hal  Chester.  Director  Val  Guest. 
Drama.  An  unsolved  murder  involving  a  child  and  a 
loaded  gun.  70  min. 

June 

JOURNEY  TO  FREEDOM  Jacques  Scott,  Geneviv  Au- 
mont,  George  Graham,  Morgan  Lane.  Drama.  Bul- 
garian escapes  from  behind  the  Iron  Curtain.  64  min. 

PAWNEE  Trucolor.  George  Montgomery,  Bill  Williams, 
Lola  Albright.  A  Groos-Krasne  Production.  Director 
George  Wagner.  Western.  Calvary  puts  down  high- 
riding  Pawnee  Indians. 

July 

BACK  OF  BEYOND  John  Lupton,  Jack  Kelly.  May 
Wynn.  Drama. 

ESCAPE  IN  THE  SUN  Trucolor.  John  Bently,  Vera 
Fusek,  Martin  Boddy.  Melodrama. 

LAST  STAGECOACH  WEST  Naturama.  Jim  Davis, 
Mary  Castle,  Victor  Jory.  Producer  Rudy  Ralston.  Di- 
rector Joe  Kane.  Western.  Outlaws  are  stopped  by 
railroad  detective. 

OPERATION  CONSPIRACY  Philip  Friend,  Leslie  Dwyer, 
Mary  MacKenzie.  Melodrama. 

THE  BIG  SEARCH  Color.  Drama. 


20TH  CENTURY-FOX 


February 

OH.  MEN  I  OH.  WOMENI  Cln.maScop.  Color.  Dan 
Dairy,  Ginger  Rogers,  David  Niven.  Producer-director 
NunnaJly  Johnson.  Comedy.  A  psychiatrist  finds  out 

somethings  he  didn't  know.  90  min.  3/4. 

THE  TRUE  STORY  OF  JESSIE  JAMES  CinemaScope. 
Robert  Wagner,  Jeffrey  Hunter.  Producer  Herbert 
Swope,  Jr.  Director  Nicholas  Ray.  Western.  The  Hves 

and  times  of  America's  outlaw  gang.  92  min.  2/18. 

March 

HEAVEN  KNOWS  MR.  ALLISON  CinemaScope  De  Luxe 
Color.  Deborah  Kerr,  Robert  Mitchum.  Producers 
Buddy  Adker,  Eugene  Frenke.  Director  John  Hus+on. 
Drama.  Soldier  is  saved  by  nun  in  South  Pacific  during 

Wond  War  II  93  min.  3/18. 

RIVER'S  EDGE.  THE  CinemaScope,  Color.  Ray  Milland, 
Anthony  puinn,  Dabra  Paget.  Producer  Benidict 
Bogeaas.  Director  Allan  Dwan.  Adventure.  Story  of  a 
>rofessfonal  Mller. 

STORM  RIDER,  THE  Scott  Brady,  Mala  Powers.  A 
Brady-Glasser  production.  Director  Edward  Bernds. 
Western.  A  dust  storm  brings  a  stranger  to  a  small 
western  town.  70  min. 


April 

BOY  ON  A  DOLPHIN  CinemaScope,  DeLuxe  Color. 
C1if>on  Webb,  Alan  Ladd,  Sophia  Loren.  Producer  Sam 
Engel.  Director  Jean  Negulesco.  Comedy.  Romantic 
tale  with  a  Greek  background.    I  I  I  min. 

BREAK   IN  THE   CIRCLE   Forrest  Tucker,    Eva  Bartok. 

Story  of  escape  from  Iron  Curtain.  69  min. 

KRONOS  Jeff  Morrow,  Barbara  Lawrence,  John  Emery. 
Producer-director  Kurt  Neumann.  Drama.  A  "planet- 
robber"  comes  to  earth  from  outer  space.    78  min. 

SHE-DEVIL.  THE  Mari  Blanchard,  Jack  Kelly,  Albert 
Dekker.  Producer-director  Kurt  Neumann.  Scientists 
create  an  inhuman  woman.    77  min. 

May 

BADLANDS  OF  MONTANA  Rex  Reason,  Margia  Deane, 
Beverly  Garland.  Producer  H.  Knox.  Director  D.  U li- 
ma n .    Outlaw  takes  over  as  town  marshal.    79  min. 

CHINA  GATE  Nat  "King"  Cole,  Gene  Barry,  Angie 

Dickinson.  Producer-director  S.  Fuller.  Drama.  Love 
and  war  in  Indo-China.  97  min. 

DESK  SET  Spencer  Tracy,  Katharine  Hepburn.  Producer 
Henry  Sphron.  Director  W.  Lang.  Filmization  of  the 
famous  Broadway  comedy.  Story  of  a  secretary  and 
her  boss.    103  min.  5/13. 

WAY  TO  THE  GOLD,  THE  Sheree  North,  Barry  Sullivan, 
Jeffrey  Hunter.  Producer  David  Weisbart.  Director  R. 
Webb.  Ex-convict  attempts  to  recover  stolen  treasures. 
69  min. 

June 

ISLAND  IN  THE  SUN  CinemaScope,  DeLuxe  Color. 
James  Mason,  Joan  Fontaine,  Dorothy  Dandridge.  Pro- 
ducer DarryJ  Zanuck.  Director  Robert  Rossen.  Drama. 

Love,  politics  and  the  labor  movement  clash  in  the 
British  West  Indies. 

LURE  OF  THE  SWAMP  William  Parker,  Skippy  Homcir, 
Marshall  Thompson.  Melodrama.  Gangster  hides  out 
in  swamp  to  escape  police.  74  min. 

TWO  GROOMS  FOR  A  BRIDE  Virginia  Bruce,  John 
Carroll.  Producer  Robert  Baker,  Monty  Berman.  Direc- 
tor Henry  Cass.  Comedy. 

WAYWARD  BUS  CinemaScope  Jayne  Mansfield,  Dan 
Dailey,  Joan  Collins,  Rick  Jason.  Producer  Chares 
Brackett.  Director  Victor  Vicas.  From  the  John  Stein- 
beck novel.  Drama.  89  min. 

July 

ABDUCTORS,  THE  Victor  McLaglen,  Fay  Spain,  Carl 
Thayler.  Producer  R.  Wander.  Director  A.  McLaglen. 
Adventure. 

A  HATFUL  OF  RAIN  CinemaScope.  Eva  Marie  Saint, 
Don  Murray,  Tony  Franciosa.  Producer  Buddy  Adler. 
Director  Fred  Zinneman.  Drama.  A  dope  addict,  with 
his  wife's  help,  decides  to  shake  the  habit. 
AN  AFFAIR  TO  REMEMBER  CinemaScope  DeLuxe 
Color.  Cary  Grant,  Deborah  Kerr.  Producer  Jerry 
Wald.  Director  Leo  McCarey.  Comedy.  Notorious 
bachelor  falls  for  night  club  singer. 

BERNADINE  CinemaScope,  Deluxe  Color.  Terry  Moore, 
Pat  Boone,  Janet  Gaynor.  Producer  Sam  Engel.  Direc- 
tor H.  Levin.  Comedy.  Story  of  teenagers.  Filmization 
of  the  Broadway  comedy. 

GOD  IS  MY  PARTNER  Walter  Brennan,  John  Hoyt, 
Marion  Ross.  Producer  S.  Hersh.  Director  W.  Claxton. 
Drama. 

Coming 

BACK  FROM  THE  DEAD 

BEAUTIFUL  BUT  DANGEROUS  Gina  LoHobrigida,  Vit- 
torio  Gassman.  Producer  Manuella  Malotti.  Director 
Robert  Leonard.  Drama. 

LAST  WARRIOR  Keith  Larsen,  Jim  Davis.  Producer  P. 
Skouras.    Director  E.  Williams. 

NO  DOWN  PAYMENT  Jeff  Hunter,  Barbara  Rush, 
Sheree  North,  Cameron  Mitchell. 

RESTLESS  BREED.  THE  Eastman  Color.  Scott  Brady, 
Anne  Bancroft.  Producer  E.  A.  Alperson.  Director  Alan 

Dwan.  Story  of  a  restless,  banned  town.  81  min.  5/27. 
SEA  WIFE  CinemaScope,  DeLuie  Color.  Richard  Bur- 
ton, Joan  Collins.  Producer  Andre  Hakim.  Director  Bob 

McNaught.  Drama.  Ship  is  torpedoed  by  Jap  sub- 
marine off  Singapore  harbor. 

SUN  ALSO  RISES.  THE  CinemaScope,  DeLuxe  Color. 
Ava  Gardner,  Mel  Ferrer.  Tyrone  Power.  Producer  D. 
Zanuck.    Director    Henry    King.    From    Ernest  Heming- 

THREE  FACES   OF  EVE,  THE  David   Wayne,  Joanne 
Woodward.    Producer    Nunnally    Johnson.    Story   of  a 
woman  with  three  distinct  personalities. 
UNKNOWN  TERROR,  THE 

WILL  SUCCESS  SPOIL  ROCK  HUNTER  CinemaScope, 
DeLuxe  Color.  Jayne  Mansfield,  Clifton  Webb,  Tony 
Randall.  Producer-director  Frank  Tashlin.  Comedy. 
Filmization  of  the  Broadway  play. 


UNITED  ARTISTS 


February 

CRIME  OF  PASSION  Barbara  Stanwyck,  Sterling 
Hayden,  Raymond  Burr.  Producer  Herman  Cohen.  Di- 
rector Gerd  Oswald.  Drama.  Newspaper  woman  whose 
ambition  for  her  husband  leads  to  murder.  85  min.  1/7. 
DRAM  GO  Jeff  Chandler,  Joanne  Dru.  An  Earlmar  Pro- 
duction. Hall  Bartlett  producer-director.  Adventure. 
Union  officers  try  to  bring  order  to  a  Southern  town 
after  the  Civil  War.  92  min. 


MEN  IN  WAR  Robert  Ryan,  Aldo  Ray,  Robert  Keith. 
Producer  Sidney  Harmon.  Director  Anthony  Mann. 
Drama.  An  American  infantry  platoon  isolated  in  enemy 
territory  tries  to  retreat  during  the  Korean  War. 
101  min.  2/4. 

TOMAHAWK  TRAIL  John  Smith,  Susan  Cummings.  A 
Bel  Air  Production.  Director  Robert  Parry.  Western. 
Cowboy  versus  Indians.  A  small  band  of  cavalry 
soldiers,  greatly  outnumbered,  battles  with  Apache 
Indians  at  close  of  the  Civil  War.  61  min. 

VODOO  ISLAND  Boris  Karloff,  Beverly  Tyler.  A  Bel 
Air  Production.  Director  Reginald  Le  Borg.  Horror. 
Writer  is  called  upon  to  investigate  vodooism  on  a 
Pacific  isle.  76  min. 

March 

DELINQUENTS,  THE  Tommy  Laughlin,  Peter  Miller. 
Dick  Bakalyan.  Imperial  Productions.  Robert  Altman 
director.  High  school   student  and   his  girl  victimized 

by  a  teen-age  gang.  75  min.  3/18. 

HIT  AND  RUN  Cleo  Moore,  Hugo  Haas.  Producer,  di- 
rector Hugo  Haas.  Middle-aged  widower  marries  show 
girl.  She  and  her  boy  friend  plot  his  murder.  84  min. 

REVOLT  AT  FORT  LARAMIE  DeLuxe  Color.  John 
Dahner,  Diana  Brewster.  Producer  Howard  Koch.  Di- 
rector Lesley  Selandar.  Western.  Civil  War  story  of 
soldiers  who  are  attacked  by  Indians.  73  min. 

April 

BACHELOR  PARTY.  THE  Don  Murray,  E.  G.  Marshall, 
Jack  Warden.  Producer  Harold  Hecht.  Director  Delbert 
Mann.  Drama.  From  the  famous  television  drama  by 
Paddy  Chayefsky.  92  min.  4/15. 

FURY  AT  SHOWDOWN  John  Derek,  Carolyn  Craig, 
Nick  Adams.  Producer  John  Beck.  Director  Gerd  Os- 
wald. Western.  Ex-bandit  finds  tough  going  when  he 
tries  to  go  straight.  75  min.  3/18. 

IRON  SHERIFF.  THE  Sterling  Hayden,,  John  Dehner, 
Constance  Ford.   Producer  Jerome  Robinson.  Director 

Sidney  Salkow.  Sheriff  tries  to  clear  his  son  of  a 
murder  charge.  73  min. 

RIDE  BACK.  THE  Anthony  <?uinn,  William  Conrad.  An 
Aldrich  Production.  Director  Allen  Miner.  Western. 
Sheriff  is  afraid  of  failing  in  assignment  to  bring 
border  outlaw  to  justice.    79  min.  5/13. 

12  ANGRY  MEN  Henry  Fonda,  Lee  J.  Cobb.  Jack 
Warden.  An  Orion-Nova  Production.  Director  Sidney 
Lumet.  Drama.  Jury  cannot  agree  on  a  verdict.  95 
min.  3/4 

WAR  DRUMS  DeLuxe  Color.  Lex  Barker,  Joan  Taylor, 
Ben  Johnson.  Director  Reginald  LeBorg.  Apache  chief 
and  his  white  wife  wgae  war  on  white  settlers.  75  min. 
4/1. 

May 

GIRL  IN  BLACK  STOCKINGS,  THE  Lex  Barker,  Anne 
Bancroft,  Mamie  Van  Doren.  A  Bel-Air  Production.  Di- 
rector Howard  Koch.  Drama.  A  series  of  sex  slayings 

terrorize  western  resort.    73  min. 

HIDDEN  FEAR  John  Payne,  Natalie  Norwick.  A  St. 
Aubrey- Kohn  Production.  Director  Andre  de  Toth. 
Drama    Police  officer  attempts  to  clear  sister  charged 

with  murder.  83  min. 

MONKEY  ON  MY  BACK  Cameron  Mitchell,  Dianne  Fos- 
ter. Producer  Edward  Small.  Director  Ted  Post.  Drama. 
Life  story  of  ex-boxing  champion  Barney  Ross.  93  min. 
MONTE  CARLO  STORY,  THE  Technirama,  Color.  Mar- 
iana Dietrich,  Vittorio  De  Sica.  A  Titanus  Film.  Sam 
Taylor  director.  Drama.  A  handsome  Italian  nobleman 
with  a  love  for  gambling  marries  a  rich  woman  in 
order  to  pay  his  debts.    100  min. 

June 

BAYOU  Peter  Graves,  Lita  Milan.  Executive  producer 
M.  A.  Ripps.  Director  Harold  Daniels.  Drama.  Life 
among  the  Cajuns  of  Louisiana. 

BIG  CAFSJJL,  THE  R*ry  CaJ hound.  Mary  Costa.  Pine- 
Thomas    Production.   Director   Robert   Stevens.  Multi- 
million  dollar  payroll  robbery.    Melodrama.    84  min. 
MONSTER  THAT  CHALLENGED  THE  WORLD,  THE  Tim 

Holt,  Audrey  Dalton.  Producers  Jules  Levy,  Arthur 
Gardner.  Director  Arnold  Laven.  Science-fiction.  Group 
of  Navy  scientists  battle  a   pre-historic  sea  monster. 

ST.  JOAN  Richard  Widmark,  Jean  Seburg.  Producer- 
director  Otto  Preminger.  Drama.  Filmization  of  George 
Bernard  Shaw's  famous  classic.  110  min.  5/27. 
SWEET  SMELL  OF  SUCCESS,  THE  Burt  Lancaster,  Tony 
Curtis,  Susan  Harrison.  Producer  James  Hill.  Director 
Alexander  Mackendrick.  Drama.  Story  of  a  crooked 
newspaperman  and  a  crooked  p.r.  man. 
(HOOPER  HOOK  Joel  McCrea,  Barbara  Stanwyck,  Ed- 
ward Andrews.  Producer  Sol  Fielding.  Director  Marquis 
Warren.  Drama.  A  white  woman,  forced  to  live  as  an 
Indian  Chief's  squaw,  is  finally  rescued  and  tries  to 
resume  life  with  husband.  81  min. 

VAMPIRE.  THE  John  Beal,  Coleen  Gray.  Producers 
Arthur  Gardner,  Jules  Levy.  Director  Paul  Landres. 
Science-fiction.  Doctor  accidentally  takes  pills,  changes 
into  vampire. 

July 

PRIDE  AND  THE  PASSION,  THE  VistaVision,  Techni- 
color. Cary  Grant,  Frank  Sinatra,  Sophia  Loren.  Pro- 
ducer-director Stanley  Kramer.  Drama.  A  Spanish 
guerrilla  band  marches  an  incredible  distance  with  a 
6000  pound  cannon  during  Spanish  War  of  Indeoend- 
ence  of  1810. 


Film     BULLETIN  —  THIS     IS     YOUR  PRODUCT 


Coining 

BAILOUT  AT  43.000  John  Payn.,  Ker.n  St.. I.  A  Pin.- 
T.oma  i    Production     Director   Francis    Lyon.    U.S.  Air 

Force  pioneers  bailout  mechanism  for  jet  pilots.  83  min. 
BOP  GIRL  GOES  CALYPSO  Judy  Tyler.  Bobby  Troup, 
Margo  Woode.  Producer  Aubrey  Schenk.  Director  How- 
ard Koch.  Musical.  Rock  and  roll-calypso  cavalcade  of 
musical  numbers. 

CALYPSO  ISLAND  Marie  Windsor.  Vince  Edwards.  Pro- 
ducer-director William  Berke.  Musical.  Calypso  film 
filmed  in  the  Bahama  Islands. 

CARELESS  YEARS.  THE  Natalie  Trundy,  Dean  Stock- 
well.  Producer  Edward  Lewis.  Director  Arthur  Hiller. 
Drama.  Two  lovers  meet  parental  resistance  when  they 
decide  to  get  married. 

FUZZY  PINK  NIGHTGOWN,  THE  Jane  Russell.  Keenan 
Wynn.  Ray  Danton.  Producer  Bob  Waterfield  Director 
Norman  Taurog.  The  story  of  a  Hollywood  star  who 
is  kidnapped. 

GUNSIGHT  RIDGE  Joel  McCrea,  Mark  Stevens.  Pro- 
ducer Robert  Bassler.  Director  Francis  Lyon.  Western 
Stranger  discovers  respected  citizen  is  really  a  holdup 
man. 

GUN  DUEL  IN  DURANGO  George  Montgomery.  Pro- 
ducer Robert  Kent.  Director  S.  Salkow.  Western. 
Outlaw  attempts  to  go  straight.  73  min.  5/27. 
JUNGLE  HEAT  Lex  Barker.  Mari  Blanchard.  A  Bel-Air 
Production.  Director  H.  Koch.  Japanese  saboteurs  in 
Hawaii  prior  to  WWII. 

LEGEND  OF  THE  LOST  John  Wayne,  Sophia  Loren, 
Rossano  Brazzi.  Producer-director  Henry  Hathaway.  Ad- 
venture Sea.rch  for  treasure  in  the  Sahara.. 
OUTLAW'S  SON  Dane  Clark,  Ben  Cooper,  Lori  Nel- 
son. B.I  Air  Production.  Director  Lesley  Selander.  Gun- 
slinger  escapes  from  jail  to  save  son  from  life  of 
crime. 

PHAROAH'S  CURSE  Ziv.  Shapir,  Mark  Dana.  Producer 
Howard  Koch.  Director  L*.  Sholem.  Horror.  Reincar- 
nation of  mummies  in  Egyptian  tombs.  66  min.  2/18 
SAVAGE  PRINCESS  T.chnicolor.  Dilip  Kumar,  Nimmi. 
A  M.hboob  Production.  Musical  Drama.  A  princess 
falls  in  lov.  with  a  peasant  who  contests  her  right 
to  rule  th.  kingdom.  101  min. 

STREET  OF  SINNERS  George  Montgomery,  Geraldine 
Brooks.  Producer  William  Berke.  Rookie  policeman 
clashes  with  youthful  criminals. 

SPRING  REUNION  Betty  Hutton.  Dana  Andrews,  Jean 
Hagen.  Director  Robert  Pirosh.  Producer  Jerry  Bresler. 
Comedy.  Old  schoolmates  tall  in  love  at  a  high  school 
reunion.  79  min.  3/18. 

VALERIE  Sterling  Hayden  Anita  Ekberg,  Anthony  Steel. 
Producer  Hal  Makejm.  Director  Gerd  Oslwald.  West- 
ern. The  story  of  a  murder  trial  in  a  western  town. 


U  N  I  VERSA  L- 1  NT'  L 


February 

GREAT  MAN.  THE  Jose  F.rr.r,  Mona  Freeman,  D.an 
Jagger  Producer  Aaron  Rot.nberg.  Director  Jose  F.r- 
rer.  Dram*.  Th.  lif.  and  d.ath  of  a  famous  television 
idol.  92  min.  I  1/2*. 

ISTANBUL  CinemaScope,  Technicolor.  Errol  Ftynn.  Cor- 
nell Borcherj.  Producer  Albert  Cohen.  Director  Joseph 
P.vney.  Adventure.  Diamond  smugglers  in  mysterious 
Turkey.  84  min.  1/21. 

NIGHT  RUNNER,  THE  Ray  Dardon,  Colleen  Miller.  Pro- 
ducer Albert  Cohen.  Director  Abner  Biherman.  Drama. 
Mental  hospital  inmate  is  released  while  still  in  dan- 
gerous condition.  79  min. 

March 

BATTLE  HYMN  Technicplor,  CinemaScope.  Rock  Hud- 
son, Martha  Hyer,  Dan  Duryea.  Producer  Ross  Hunter. 
Director  Douglas  Sirk.  Drama.  Pilot  redeems  sense  of 
guilt  because  of  bombing  of  an  orphanage  by  saving 
other  orphans.  108  min.  12/24. 

GUN  FOR  A  COWARD  astman  Color,  CinemaScope. 
Fred  MacMurray,  Jeffrey  Hunter,  Janice  Rule.  Pro- 
ducer William  Alland.  Director  Abner  Biberman.  Wes- 
tern. Three  brothers  run  a  cattle  ranch  after  death  of 
their  father.  88  min.  1/7. 

MISTER  CORY  Eastman  Color,  CinemaScope.  Tony 
Curtis,  Martha  Hyer,  Charles  Bickford.  Producer 
Robert  Arthur.  Director  Blake  Edwards.  Drama.  Gam- 
bler from  Chicago  sjums  climbs  to  wealth  and  re- 
spectability. 92  min.  1/21. 

April 

INCREDIBLE  SHRINKING  MAN,  THE  Grant  Williams, 
Randy  Stuart.  Producer  Albert  Zugsmith.  Director  Jack 
Arnold.  Science-fiction.  The  story  of  a  man  whose 
growth  processes  have  accidently  been  reversed. 
81  min.  2/4. 

KELLY  AND  ME  CinemaScope,  Technicolor.  Van  John- 
son, Piper  Lauri.,  Martha  Hyer.  Producer  Robert  Ar- 
thur. Director  Robert  Leonard.  Drama.  Story  of  dog- 
act  in  show  business  in  the  early  I930*s.  2/4. 
TATTERED  DRESS,  THE  CinemaScope.  Jeff  Chandler, 
Jeannie  Crain,  Jack  Carson.  Producer  Afbert  Zugsmith. 
Director  Jack  Arnold.  Melodrama.  Famous  criminal 
lawyer  gains  humility  when  put  on  trial  himself.  93 
min.  3/4 

May 

DEADLY  MANTIS,  THE  Craig  Stevens,  Alix  Talton.  Pro- 
ducer William  Alland.  Director  Jerry  Juran.  Horror. 
Monstrouc  creature  threatens  to  destroy  U.S.  78  min. 
4/1. 

GIRL  IN  THE  KREMLIN,  THE  Lex  Barker,  Zsa  Zsa 
Gabor,  Jeffrey  Stone.  Producer  Albert  Zugsmith,  Di- 
rector Russell  Birdwell.  Drama. 

Film 


MAN  AFRAID  CinemaScope  George  Nader.  Phyllis 
Thaxter     Tim   Hovey.    Producer   Gordon    Kay  Director 

Harry  Keller.  Drama.  Father  saves  lite  of  man  attempt- 
ing to  murder  his  sen.  84  min.  4/15. 

June 

KETTLES  ON  OLD  MocDONALD  S  FARM,  THE  Marjorie 
Main  Parker  Fennelly,  Gloria  Talbott.  Producer  Ho- 
ward Christie.  Director  Virgil  Vogel.  Comedy.  Th. 
Kettles  buy  a  new  farm.    80  min.  5/13. 

PUBLIC  PIGEON  NO.  1  Eastman  Color.  R.d  Sk.lton, 
Vivian  Blame,  Jan.!  Blair.  Producer  Harry  Tug.nd.  Di- 
rector   Norman    McL.od.     Comedy      A    trusting  soul 

tangles  with  con  men  and  outwits  them.  79  min.  5/13 

YOUNG  STRANGER  James  MacArtur.  James  Daly.  Kim 
Hunter.  James  Gregory.  Drama.  Story  of  a  young 
man  and  his  parents.    84  min. 

July 

JET  PILOT  T.chnicolor,  SuperScop..  John  Wayn., 
Jan.t  L.igh.  Howard  Hughes  Production.  Producer 
Jules  Furthman  Director  Josef  von  SternDerg.  Drama. 
1 1 9  min. 

JOE  BUTTERFLY  CinemaScope,  Technicolor.  Audie 
Murphy  George  Nader,  Keenan  Wynn.  Producer 
Aaron  Rosenberg.  Director  Jessie  Hibbs.  Comedy. 
Story  of  American  newsmen  in  Tokyo  after  Japanese 
surrender.  90  min. 

TAMMY  AND  THE  BACHELOR  Cinemascope,  Techni- 
color. Debbie  Reynolds,  Leslie  Nielson.  Producer  Aaron 
Rosenberg.  Director  Joe  Pevney.  Comedy.  Story  of  a 
young  girl.  h?r  grandfather  and  a  young  man  who  falls 
in  love  with  her.  89  min.  5/27. 

August 

LAND  UNKNOWN.  THE  Jock  Mahoney,  Shawn  Smith. 
Producer  William  Alland.  Director  Virgil  Vogel. 
Science-fiction.  Polar  expedition  finds  Mesozoic  age 
in  Antartic  expedition. 

MIDNIGHT  STORY,  THE  CinemaScope.  Tony  Curtis, 
Marisa  Pavan.  Producer  Robert  Arthur.  Director  JoseDh 
Pevney.  Drama.  Rookie  cop  seeks  murderer  of  parish 
priest. 

NIGHT  PASSAGE  Technirama.  James  Stewart,  Audie 
Murphy,  Dan  Duryea.  Producer  A.  Rosenberg.  Director 
James  Neilson.  Drama.  Payroll  robbers  are  foiled  by 
youngster  and  tough-fisted  railroader. 

Coming 

DAY  THEY  GAVE  BABIES  AWAY.  THE  Eastman  Color. 
Glynis  Johns,  Cameron  Mitchell,  R.x  Thompson.  Pro- 
ducer Sam  Weisenthal.  Director  Allen  Reisn.r.  Drama. 

ESCAPADE  IN  JAPAN  Color.  Teresa  Wright.  Cameron 
Mitchell,  Jon  Provost,  Roger  Nakagaws.  Producer-direc- 
tor Arthur  Lubin.  Search  for  two  boys  who  start  out 
in  the  wrong  direction  to  find  the  very  people  who 
are  trying  to  find  them. 

GIRL  MOST  LIKELY.  THE  Eastmai  Color  Jane  Powell, 
Cliff  Robertson.  Keith  Andes.  Producer  Stanley  Rublin. 
Director  Mitchell  L.iton.  Com.dy.  A  girl  is  proposed 
to  by  three  men  on  the  same  day. 

I  MARRIED  A  WOMAN  G.orge  Gobel,  Diana  Don, 
Adolph  Menjou.  Producer  William  Bloom.  Director  Hal 
Kanter.  Coemdy.  Wife  objects  to  taking  second  place 
to   a    beer   advertising    campaign    with   her  husband. 

INTERLUDE  Technicolor,  CinemaScope.  June  Allyson, 
Rossano  Brazzi.  Producer  Ross  Hunter.  Director  Douglas 
Sirk.  American  doctor  falls  in  love  with  wife  of  fa- 
mous composer  in  Munich. 

JOE  DAKOTA  Color.  Jock  Mahoney,  Luana  Patten.  Pro- 
ducer Howard  Christie.  Director  Richard  Bartlett. 
Drama.  Stranger  makes  California  oil  town  see  the 
error  of  its  ways. 

MAN  OF  A  THOUSAND  FACES  CinemaScope  James 
Cagney,  Dorothy  Malone.  Producer  Robert  Arthur.  Di- 
rector Joseph  Pevney.  Drama.  Life  story  of  Lon  Chaney. 

MONOLITH  MONSTERS,  THE  Grant  Williams,  Lola 
Albright.  Producer  Howard  Christie.  Director  John 
Sharwood.  Science-fiction.  Army  of  recks  threaten  U.S. 

MY  MAN  GODFREY  CinemaScope,  Technicolor.  June 
Allyson.  David  Niven.  Producer  Ross  Hunter.  Director 
Henry  Koster.    Comedy.    Story  of  a  topsy-turvy  butler. 

PAY  THE  DEVIL  CinemaScope.  Jeff  Chandler,  Orson 
Welles.  Producer  Albert  Zugsmith.  Director  Jack  Ar- 
nold. Drama.  Sheriff  destroys  one-man  domination  of 
Texas  town. 

PYLON  CinemaScope.  Rock  Hudson,  Robert  Stack, 
Dorcthv  Malone,  Jack  Carson.  Producer  Albert  Zug- 
smith. Director  Douglas  Sirk.  Drama.  Reporter  un- 
covers World  War  I  hero  of  the  Lafayette  Escadrille. 
OUANTEZ  CinemaScope,  Eastman  Color.  Fred  Mac- 
Murray,  Dorothy  Malone.  Producer  Gordon  Kay.  Direc- 
tor Harry  Keller.  Drama.  A  study  of  five  people  in- 
volved in  a  robbery  and  killing. 

RUN  OF  THE  ARROW  Eastman  Color.  Rod  St.ig.r, 
Sarita  Montiel,  Ralph  Meeker.  Producer-director  Sam 
Fuller.  Adventure.  Young  sharpshooter  joins  Sioux 
Indians  at  close  of  Civil  War. 

THAT  NIGHT  John  Beal,  Augusta  Dabney.  Sbepp.rd 
Strudwick.  Producer  Hiram  Brown.  Director  John 
Newland.  Drama.  A  tragedy  almost  shatters  a  15- 
year-old  marriage. 

UNHOLY  WIFE.  THE  Oolor.  Diana  Dors,  Hod  Steiger, 
Marie  Windsor.  Producer-director  John  Farrow.  Drama. 
A  wife  sunningly  plots  the  death  of  her  husband  who 
she  has  betrayed. 

VIOLATORS,  THE  Arthur  O'Connell,  Nancy  Malone. 
Producer  H.  Brown.  Director  John  Newland.  Drama. 
Story  of  a  probation  officer  in  the  New  York  City 
courts. 


WARNER  BROTHERS 


February 

BIG  LAND,  THE  Warn.rColor  Alan  L.dd.  Virginia 
Mayo.  A  Jaguar  Production  Director  Gordon  Douglas. 
W.it.rn.    CaMl.m.n    fight    to    mov.    th.ir    h.rdi  to 

distant  railroads.  93  min.  2/4. 

TOP  SECRET  AFFAIR  Kirk  Douglas.  Susan  Hayw.rd. 
Produc.r  Martin  Rackin.  Dir.ctor  H.  C.  Potf.r  Com.- 
dy A  lov.ry  lady  calls  th.  bluff  of  an  Army  General. 
93  min.  2/4. 

March 

PARK  DOES  STRANGE  THINGS  Technicolor  Ingrid 
Bergman.  Mol  Ferrer,  Jean  Marais  A  Franco-Londo. 
Rim.  Director  Jean  Renoir.  Drama.  Tale  of  the  exiled 

widow  of  a  Polish  Prince  86  min.  3/4. 

A  pril 

SPIRIT  OF  ST.  LOUIS,  THE  Cin.maScop..  Warnor- 
Color  Jem.i  Stewart,  Rena  Clark.  Produc.r  L.lend 
Hayward.  Dir.ctor  Billy  Wilder.  Drama.  Th.  story  o» 
th.  first  man  .v.r  to  cross  th.   Atlantic   in  a  plan.. 

138  min.  3/4. 

May 

COUNTERFEIT  PLAN,  THE  Zachary  Scott  Peggi. 
Castle  Producer  Alec  Snowden.  Director  Montgomery 
Tolly.  Drama.  Inside  story  of  one  of  the  largest  for- 
gery operations  ever  attempted.  80  min.  4/1. 
SHOOT  OUT  AT  MEDICINE  EEND  Randolph  Scott, 
James  Craio,  Dani  Crayn?  Producer  Richard  Whorf 
Director  Richard  Bare.  Western.  Homesteaders  and 
Quaker  settlers  in  Nebraska  frontier  town  are  cheated 
by  "bad  man".    87  min. 

UNTAMED  YOUTH  Mamie  Van  Doren,  Lou  Nelson.  John 
Russell.  Producer  Aubrey  Schenk.  Director  Howard 
Koch  Life  on  a  prison  farm  for  juvenile  delinquents. 
80  min.  4/1. 

June 

A  FACE  IN  THE  CROWD  Andy  Griffith.  Patricia  Neal. 
Producer-director  Elia  Kazan  Drama  A  hill-billy  per- 
sonality leaps  to  national  fam9. 

D.  I..  THE  Jack  Webb  Don  Dubbins.  Jackie  Loughery. 
Producer-director  Jack  Webb.  Drama.  Life  of  a  Ma- 
rine Corps  drill  instructor. 

July 

PRINCE  AND  THE  SHOWGIRL.  THE  Color  Marilyn 
Monroe,     Laurence    Olivier.    Dame    Sybil  Thorndyk. 

Froducer-director  Laurence  Onvier.  Comedy.  Fiimiza- 
tion  of  the  Terence  Rattigan  play.  117  m!n.  5/27. 

Coming 

BAND  OF  ANGELS  WarnerColor.  Clark  Gable,  Yvonne 
De  Carlo.  Director  Raoul  Walsh. 

NO  SLEEP  TILL  DAWN  CinemaScope,  WarnerColor. 
Karl  Maiden  Natalie  Wood.  Producer  Richard  Whorf. 
Director  Gordon  Douglas.  Story  of  the  men  who  man 
the  bombers  that  defend  our  nation. 

HELEN  MORGAN  STORY,  THE  OTnemaScope.  Ann 
Blvth,  Paul  Newman.  Producer  Martin  Rackin.  Director 
Michael  Curtiz.  Drama. 

LAFAYETTE  ESCADRILLE  CinemaScope.  Warn.rColor. 
Tab  Hunter,  Etchlka  Choureau,  J.  Carrol  Naish  Drama. 

Lives  and  times  of  a  select  squadron  of  fighter  pilots 
in  WWI. 

OLD  MAN  AND  THE  SEA,  THE  CinemaScope.  Warner- 
Color  Produced  by  Leland  Hayward.  Director  John 
Sturges.  Adventure.  Film  version  of  Ernest  Heming- 
way's prize-winning  n~vel. 

PAJAMA  GAME.  THE  Warner  Color.  Doris  Day,  John 
Raitt  Carol  Haney.  Producers  G.  Abbot.  F.  Brisson. 
R.  Griffith,  H.  Prince.  Director  Stanley  Donen.  Filmiza- 
tion  of  the  Broadway  musical. 

RISING  OF  THE  MOON,  THE  Eileen  Crowe.  Cyril 
Cusack,  Frank  Lawton.  Directed  by  John  Ford.  Three 
Irish  stories  with  Tyrone  Power  as  narrator. 
SAYONARA  Technirama.  WarnerColor  Marlon  Brando. 
Red  Burtons.  Patricia  Owens  Producer  William  Goetz. 
Director  Josh  Logan.  Drama.  Based  on  the  award- 
winning  novel  of  James  Michener. 

STORY  OF  MANKIND  WarnerColor.  All  star  cast. 
Drama. 


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BULLETIN—  THIS     IS     YOUR  PRODUCT 


BING 


WITH  A 


BANG 


Sometimes  he  sings  and  he's  always  charming,  but  this  time  Bing's  going  to 
set  the  movie  world  on  fire  with  an  explosive,  nerve -tense  drama.  It's  a  new 
FIRST  for  him  and  the  power  and  heart -appeal  of  it  will  be  memorable. 

M-G-M  presents  A  SOL  C.  SIEGEL  PRODUCTION 

Starring 

BING  CROSBY 
MAN  ON  FIRE 


Co-Starring 

INGER  STEVENS  •  MARY  FICKETT  •  E.G.MARSHALL 

with  MALCOLM  BRODRICK  •  RICHARD  EASTHAM 

Screen  Play  by  RANALD  MacDOUGALL 

Based  on  a  Story  by  MALVIN  WALD  and  JACK  JACOBS 

Directed  by  RANALD  MacDOUGALL 


BULLETIN 


UNE  24,  1957 


iusiness-wise 
Analysis  of 
le  New  Films 


)ISTI  NOTION 


✓EET  SMELL  OF 
SUCCESS 


Other  Reviews: 

hatful  of  rain 
night  passage 
-and  in  the  sun 
beau  james 
interlude 
n  of  the  arrow 
!  midnight  story 

DCTOR  AT  LARGE 


)ce  Cxkibitcr  Atki: 

IS  THIS  NOW  A 

TWO-MONTH 
BUSINESS? 


The  Motion  Picture  That  Crosses  j\.  7m 


4 


from  20t/i  Century-Fojc 

EVA  MARIE  SAINT       DON  MURRAY  WZ3  ANTHONY  FRANCII 


Starring 


4 


PRODUCED  BV 


DIRE  CTED  BY 


SCREENPUV 


BUDDY ADLER /FRED  ZINNEMAM J  MffiHAEL  VINCENTE  GJ 


Based  on  the  Play  by  Michael  Vincente  Gazzo  •  As  Produced  on  the  Broadway  Stage  by 


\tndart/  In  Screen  Entertainment  ! 


ARE  YOU  READY  FOR  THEM?" 

Millions  will  be  seeking  entertainment  outside 
the  home.  Here  are  some  of  M-G-M's  BIG 
shows  for  summer  audiences! 


Directed  by  MARK  ROBSON  •  ProducdbyF.  HUGH  HERBERT  and  MARK  ROBSON  a„mgm 


SOMETHING  OF  VALUE"  BIG!  BOLD!  A  HIT! 


{Biggest  business  in  a  year  and  a  half.  Astor,  N.  Y.) 

M-G-M  Present- 

SOMETHING  OF  VALUE" 
ROCK  HUDSON 

DANA  WYNTER  -  Sidney  poitier 

wirK  WENDY  HILLER  -  JUANO  HERNANDEZ  -  WILLIAM  MARSHALL 

Screen  Play  by  RICHARD    BROOKS    *    Based  on  the  Book  "SOMETHING  OF  VALUE"  by  ROBERT  C  RUARK 

Directed  by  RICHARD  BROOKS  •  Produced  by  PANDRO  S.  BERMAN 


SILK  STOCKINGS"  TERRIFIC  MUSICAL! 


M-G-M 


AN  ARTHUR  FREED  PRODUCTION  starring 


FRED  ASTAIRE  CYD  CHARISSE 

"SILK  STOCKINGS" 


i  Co- Starring 


JANIS  PAIGE  PETER  LORRE 


with  JULES  MUNSHIN  •  GEORGE  TOBIAS  •  JOSEPH  BULOFF 
screen  Play  by  LEONARD  GERSHE  and  LEONARD  SPIGELGASS 

Sugge.ted  by  "N1NOTCHKA"  by  MELCHIOR  LENGYEL  "  Music  and  lyrics  by  COLE  PORTER 

c  ot  Original  Musical  play  by  GEORGE  S.  KAUFMAN,  LEUEEN  McGRATH  and  ABE  BURROWS 

!  Stage  by  CY  FEUER  and  ERNEST  H.  MARTIN  •  In  CitlOmaScOpe  And  METROCOLOR  ■  Directed  by  ROUBEN  MAMOULIAN 


\Jiewpotnts 


JUNE  24,  1957 


VOLUME  25.  NO.  14 


Allied*  COMPO 
t Out  fit  off  €  u  u  se 

The  Council  of  Motion  Picture  Or- 
ganizations, at  the  recent  meeting  of  its 
Board  of  Directors,  executive  commit- 
tee and  membership,  faced  the  facts  of 
the  motion  picture  business  and  acted 
accordingly.  Recognition  of  the  press- 
ing problems  of  the  business  was  to  be 
noted  from  the  very  outset  of  the  all- 
day  session  at  the  Sheraton  Astor  Hotel 
in  New  York  City.  And  it  soon  be- 
came apparent  that  most  of  those  pres- 
ent were  there  to  do  something,  not 
just  to  talk.  It  was  a  generally  encour- 
aging meeting,  largely  because  much 
of  the  discussion  was  plain,  pertinent 
and  constructive. 

The  absence  of  the  Allied  States  As- 
sociation of  Motion  Picture  Exhibitors 
was  obviously  irksome  to  a  few,  worri- 
some to  several,  regretted  by  practically 
all  the  COMPO  members.  A  definite 
effort  to  resolve  the  differences  with 
Allied  was  made,  as  the  results  of  the 
meeting  showed;  and  if  by  no  means 
all  of  Allied's  wishes  were  honored, 
there  is  no  doubt  that  the  lamp  was 
left  burning  in  the  window. 

The  practical,  far-seeing  industry 
leaders  —  those  who  are  free  of  the 
anti-Allied  bias  that  blinds  a  few  — 
frankly  admit  that  there  will  be  no  use- 
ful COMPO,  no  effective  business- 
building  program,  no  arbitration,  if 
Allied  is  not  made  an  equal  partner  in 
the  overall  program. 

The  meeting  voted  adoption  of  the 
unit  rule  and  abandonment  of  the  unan- 
imity requirement  in  favor  of  a  75% 
majority.  In  regard  to  the  question  of 
whether  the  return  of  Allied  would 
mean  that  COMPO  would  be  headed 
by  a  quadrumvirate  including  special 
counsel  Robert  W.  Coyne,  M.P.A.A. 
representative  Abe  Montague,  Theatre 
Owners  of  America's  Sam  Pinanski  and 
the  Allied  representative  —  or  whether 
Coyne  would  return  to  his  former  status 


and  the  former  triumvirate  would  re- 
sume —  was  left  open.  However,  as 
the  tenor  of  the  discussion  indicated  a 
preference  for  practicality,  Coyne  vol- 
unteered the  observation  that  it  was  not 
an  important  dispute  in  his  view.  Cer- 
tainly, he  and  information  director 
Charles  McCarthy,  who  are  expected  to 
be  signed  to  contracts  by  COMPO,  can 
be  forgiven  if  they  leave  the  distinc- 
tions of  title  to  their  constituents.  The 
distinct  impression  of  observers  was 
that  if  Allied  returned  it  would  en- 
counter no  great  obstacles  in  reconsti- 
tuting the  triumvirate. 

As  for  Allied's  objections  to  the  pro- 
motional program  submitted  months 
ago  by  COMPO,  the  same  basic  points 
of  constructive  criticism  were  made  at 
the  meeting  by  TOA  leaders.  As  a 
result,  the  promotional  campaign  au- 
thorized for  immediate  action  will  stress 
institutional  "go  to  the  movies"  adver- 
tising and  publicity.  The  Academy 
Award  Sweepstakes  and  the  Audience 
Awards  are  included  in  the  program, 
but  for  later. 

Exhibitor  after  exhibitor  insisted  at 
the  COMPO  meeting  that  the  most  im- 
portant things  right  now  were  to  get 
the  institutional  promotion  under  way 
and  to  enlist  Allied  and  every  other 
motion  picture  association  in  this  basic 
reason  for  COMPO's  existence.  The 
exhibition  spokesmen,  led  by  Samuel 
Rosen,  Walter  Reade,  Jr.  and  TOA 
president  Stellings,  were  emphatic  in 
their  remarks  on  the  subject:  exhibitors 


BULLETIN 


Film    BULLETIN:    Motion    Picture    Trad*  Paper 
published  every  other  Monday  by  Wax  Publi- 
cations,  Inc.    Mo  Wax,   Editor  and  Publisher. 
PUBLICATION-EDITORIAL   OFFICES:    123?  Vina 
Street,  Philadelphia  ?,  Pa.,  LOcust  8-0950,  0951. 
Philip    R.    Ward,    Associate    Editor:  Leonard 
Coulter,  New  York  Associate  Editor:  Duncan  G. 
Steck,     Business     Manager;     Marvin  Schiller, 
Publication  Manager;  Robert  Heath,  Circulation 
Manager.    BUSINESS  OFFICE:  522  Fifth  Avenue, 
New    York    34,    N.    Y.,    MUrray    Hill  2-3631; 
Alf  Dinhofer,  Editorial  Representative. 
Subscription  Rates:  ONE  YEAR,  S3.00 
in  the  U.  S.;  Canada,  $4.00;  Europe, 
$5.00.     TWO    YEARS:     $5.00    in  the 
U.  S.;  Canada,  $7.50;  Europe,  $9.00. 


would  not  support  a  program  that  did 
not  feature  institutional  selling. 

Obviously,  not  all  of  Allied's  criti- 
cisms of  COMPO  were  dealt  with.  On 
some  points,  such  as  the  triumvirate, 
the  record  shows  more  equivocation 
than  the  give  and  take  of  the  meeting 
actually  contained.  Allied's  feeling  to- 
ward Bob  Coyne  was  very  clearly  not 
shared  by  any  of  those  present.  But 
Coyne  himslf  was  among  the  first  to 
make  a  gesture  of  reasonableness  at  the 
session.  Certainly,  in  the  opinion  of 
the  present  COMPO  membership,  he 
has  done  the  job  he  was  hired  to  do. 
If  he  and  his  organization,  as  well  as 
such  constituents  as  T.O.A.,  have  now 
moved  even  slightly  toward  a  rap- 
prochement with  Allied,  it  is  to  be 
hoped  that  Allied  will  do  likewise. 

The  head  of  one  of  the  country's 
largest  circuits  set  the  keynote  early  in 
the  meeting;  he  rose  to  his  feet  and  said 
that  the  important  thing  right  mm  was 
to  "take  the  plunge"  into  an  all-out 
institutional  promotion  campaign.  "If 
we  want  the  support  of  exhibitors,  we 
have  to  show  them  some  specifics,"  he 
commented. 

COMPO  has  now  indicated  that, 
while  standing  firm  on  certain  issues 
such  as  its  loyalty  to  Bob  Coyne,  it 
wants  above  all  to  show  all  exhibitors 
the  biggest  institutional  "go  to  the  mov- 
ies" campaign  ever  conducted.  A  fund 
raising  effort  based  on  theatre  assess- 
ments of  4  lOths  of  one  percent  of  the 
houses'  1956  film  rentals,  payable  in 
twleve  monthly  installments  beginning 
August  1st,  was  voted.  It  was  figured 
that  the  MPAA  would  match  the  ex- 
hibitor contribution,  but  this  must  be 
formalized  by  the  MPAA  board. 

All  other  issues  fade  into  insignifi- 
cance when  set  against  the  overriding 
objective  of  restoring  theatre  business 
to  a  continually  profitable  basis.  In 
this  noble  objective  Allied  and  COMPO 
once  again  have  an  unarguable  com- 
mon stake.  They  still  have  their  differ- 
( Continued  on  Page  14  > 


Film  BULLETIN    June  24.  1957        Page  5 


Til  1 


RECEIVING 
EXCELLENT 
AUDIENCE 
COMMENTS 
AND  RESPONSE 
IS  GREAT. 
BIGGEST 
OPENING  DAY  M 
SINCE  'GIANT'!  - 


...  CLIFF  BUECHEL- MARY  ANDERSON  THEATRE,  LOUISVILLE 


WARNER  BROS. 


JACK 


asT/SGT  JIM  MOORE, U.S. Marines 
THE 


D.1 


Don  Dubbins 
jackie  lougherv 
Lin  McCarthy 
Monica  Lewis 
Virginia  Gregg 

AND  "PLATOON  194"- 
REAL  MARINES 
WHO  MAKE  A  GREAT 
STORY  RING  TRUE 

Screen  Play  b) 
JAMES  LEE  BARRE11 
Produced  and  Directed  tr 
JACK  WEB! 
A  MARK  VIILID.Product.oi 


MR.  RHODEN  EXPLAINS  A  SLUMP.  The  president  of 
National  Theatres,  Inc.,  Elmer  C.  Rhoden,  put  his  finger  on 
the  sore  spot  for  all  movie  exhibitors  these  days  —  product 
Shortage  —  in  explaining  a  slump  in  his  company's  earnings 
for  its  third  fiscal  quarter.  He  told  the  Wall  Street  Journal 
that  the  "trend  of  producers  to  defer  releasing  their  good  pic- 
tures during  the  period  between  Easter  and  July  4"  is  respon- 
sible for  an  annual  dip  in  attendance  during  the  spring  months, 
and  added  that  this  policy  is  "more  pronounced  than  ever  this 
spring".  He  looks  for  a  sharp  pick-up  around  July  1. 

0  0 

PAY  TV  STOCKS.  Coming  up  in  the  world  are  the  securities 
of  firms  engaged  in  the  manufacturing  or  servicing  of  pay-as- 
you-see  television  equipment. 

Symptomatic  of  heightened  market  enthusiasm  is  the  report 
that  a  leading  theatre  mogul  now  owns  at  least  15%  of  the 
outstanding  stock  of  one  pay-TV  company.  The  obvious  con- 
clusion is  that  here  is  one  exhibitor  at  least  who  treats  the 
metered  phenomenon  as  an  imminent  and  profitable  commer- 
cial possibility.  Clearly  his  investment  is  in  the  nature  of 
a  hedge. 

Most  dramatic  has  been  the  rise  of  Matty  Fox's  Skiatron. 
From  an  early  January  low  of  3V4  the  stock  has  bolted  to  7%. 
But  what  puts  false  teeth  into  this  rousing  climb  is  that  it  was 
accomplished  with  nary  a  prospect  that  pay  TV  is,  in  hard- 
headed  terms,  anything  but  a  distant  gleam  in  its  backers'  eyes. 
At  no  time  in  past  months  has  concrete  evidence  been  found 
to  sustain  the  belief  that  pay-TV  can  or  will  become  a  major 
medium  of  communication.   So  far  there  has  only  been  talk. 

And  that's  the  remarkable  feature.  Talk  alone  has  generated 
the  friendly  trade  winds  capable  of  pushing  the  sails  (or  sales) 
of  TV  slot  stocks  to  newer  highs.  In  the  end  many  an  unsus- 
pecting investor  may  find  what  the  term  "pay"  really  stands 
for.  Share-buyers  have  not  been  deaf  to  the  brave  noises  of 
Pat  Weaver  and  other  avant-gardists,  nor  have  they  journeyed 
unexposed  to  talk  of  the  $5  million  one-night  boxoffice.  For  a 
time,  the  very  transfer  of  New  York's  two  National  League 
representatives  seemed  to  hinge,  in  headlines,  on  the  feasibility 
of  pay-telecasting  on  one  coastline  or  the  other. 

But  from  all  this  blast  of  heated  air  has  developed  not  a 
scintilla  of  substance  to  encourage  reasoned  speculation.  One 
is  not  overly  earth-bound  in  venturing  the  estimate  that  pay-TV 
is  no  further  advanced  today  than  in  1952. 

0 

The  pity  of  it  is  that  the  slot  medium  is  a  truly  fetching  con- 
trivance— and  potentially  a  greater  ally  to  movie-makers  than 
commercial  telecasting.  In  its  foreseeable  potential  it  promises 
an  additional  market  for  the  wares  of  distributing  companies. 
To  enterprising  exhibitors  it  opens  a  possible — if,  perhaps,  ob- 
scure— diversification  by  way  of  licensing  home  subscribers, 
caring  for  collections  and  billings  and  supplying  overall  man- 
agement at  the  community  level.  This  proposition  has  already 
been  sounded  out  and  met  with  favor  in  some  quarters.  Who 
is  more  adequately  suited  in  local  situations  than  the  exhibitor 
to  oversee  the  slot  operation?  And  the  beauty  of  it  is  that  the 
overhead  of  the  national  slot  exhibitor  may  thus  be  kept 


FINANCIAL 

BULLETIN 

JUNE      2  4,       19  5  7 


By  Philip  R.  Ward 

modest.  The  alternative  is  a  48-state  servicing  organization  with 
a  vast  "nut"  to  carry. 

But  the  most  inviting  aspect  of  vending  machine  television 
is  that  regular  theatre  commerce  is  capable  of  meeting  and  com- 
peting with  it  on  boxoffice  terms.  From  the  consumer's  stand- 
point the  choice  is  not  far  removed  from  deciding  between  two 
separate  theatre  attractions.  In  this  climate,  the  allures  of  the 
theatre  as  against  the  home  will  be  more  effectively  underscored 
than  ever  before — especially  after  the  heavy  diet  of  Hollywood 
oldies  on  sponsored  TV.  For  all  many  late  viewers  know,  they 
are  seeing  films  for  the  first  time  today.  Memory  fades  with 
the  years  and  the  net  reaction  is  that  of  catching  a  1957  movie. 
For  youngsters,  of  course,  the  experience  of  uniqueness  is  unde- 
niable. Along  comes  a  demand  to  be  paid  for  the  privilege  of 
seeing  something  not  wholly  undistinguishable  from  non-tribute 
films — and  the  edge  is  clearly  off.  For  this  reason,  film  com- 
panies will,  in  our  judgment,  act  unwisely  in  capitalizing  too 
highly  the  potentials  of  slot  TV. 

There  is  no  harvest  to  be  reaped,  no  primary  market  to  be 
sought — only  one  more  source  of  revenue  to  bolster  the  basic 
income  form  theatre  distribution,  at  best  a  profitable  sideline. 

0 

This  reason,  among  many,  continues  to  keep  pay-TV  in  a 
corset-like  bind.  No  one  disputes  that  this  medium  is  not  tech- 
nologically ready  to  go  to  work,  with  or  without  an  FCC  ok 
to  beam  through  the  free  airwaves.  Cable  transmission  was 
feasible  8  years  ago  without  FCC  sanction,  as  it  is  today.  Im- 
peding progress  is  not  the  expense  of  this  mode  of  broadcast- 
ing, costly  as  it  is;  it  is  the  patent  lack  of  public  enthusiasm. 
And  there  is  little  reason  to  suspect  that  another  attitude  will 
be  struck  should  the  FCC  grant  free  air-wave  clearance.  Pay 
is  pay. 

Subscription  television,  whether  through  the  airlanes  or  via 
cables,  cannot  be  held  back.  Its  appearance  is  as  inevitable  as 
tomorrow  in  an  ever-expanding  technological  society.  All  that 
is  advised  is  caution  in  assessing  its  latent  commercial  merits. 

0 

COLUMBIA,  (SCREEN)  GEM  OF  THE  MARKET.  While 
many  key  movie  shares  showed  early  year  speed,  Columbia  Pic- 
tures appeared  stranded  in  the  starting  gate,  seemingly  set  to 
trail  the  field  throughout  1957.  Thanks  to  a  rumored  (and 
quite  likely)  vintage  library  transaction  with  Universal  Pictures, 
its  market  price  is  suddenly  displaying  some  get  up  and  go. 
Columbia's  TV  subsidiary,  Screen  Gems,  is  reported  set  to  pur- 
chase U-I's  pre-1948  inventory  for  sums  variously  put  at  S14 
million  to  S22  million.  The  consequence:  Columbia  stock,  mired 
for  months  in  the  vicinity  of  SI7  per  share,  shot  up  over  20, 
its  high  for  the  year.  Universal,  the  prospective  recipient  of 
this  substantial  sum,  responded  even  more  emotionally,  rising 
on  narrow  volume  from  24  to  a  30-plus  price. 


Film  BULLETIN    June  24,  1957        Page  7 


A  Letter  from 
Joe  Exhibitor 


IS  THIS  NOW  A  TWO-MONTH  BUSINESS? 


Mr.  Mo  Wax,  Editor, 
Film  BULLETIN 

Dear  Sir: 

I  write  to  you  from  the  depths  of 
despair.  Not  since  our  industry,  along 
with  the  rest  of  the  country,  lifted  itself 
out  of  the  depression  of  the  1930's  have 
I  felt  so  downbeat  about  the  future  of 
this  business.  And,  mind  you,  that  in- 
cludes the  period  when  the  impact  of 
television  hit  us  hardest,  when  only  a 
few  film  men  (like  Spyros  Skouras  and 
that  aggressive  young  bunch  at  United 
Artists),  and  just  as  few  theatre  men 
had  courage  to  fight  back  and  faith  in 
the  future  of  the  movie  industry. 

But  right  now  I'm  moanin'  low, 
along  with  all  my  fellow  exhibitors 
throughout  the  country.  I  have  serious 
doubts  that  we  are  going  to  survive 
very  much  longer. 

What  is  breaking  my  courage  and 
destroying  my  faith,  as  well  as  that  of 
every  exhibitor  I've  talked  to  in  the  past 
three  months?  It  isn't  anything  outside 
our  business;  it  isn't  our  business  it- 
self— poor  as  it  has  been.  The  cause 
of  our  despair  is  the  people  who  run 
the  film  business.  It  is  no  secret  that 
this  past  Spring  has  been  one  of  the 
worst  in  our  history.  From  the  experi- 
ence in  my  own  theatres  and  from 
everything  I've  heard  from  other  ex- 
hibitors and  read  about  on  the  financial 
pages,  the  bottom  dropped  out  of  movie 
attendance  sometime  in  March,  after  an 
encouraging  firmness  in  receipts  during 
the  preceding  months. 

The  reason  isn't  a  mystery  to  any 
theatre  man  who  has  been  struggling 
to  book  his  houses  in  the  past  three  or 
four  months.   From  the  moment  they 


sniffed  their  first  breath  of  Spring  air, 
the  men  who  turn  the  distribution 
wheels  stopped  turning — that  is,  they 
simply  stopped  turning  out  any  product 
that  had  half  a  chance  of  drawing  an 
audience.  "Wait  for  the  good  old  Sum- 
mertime'' has  been  their  tune,  while  the 
exhibitors  sadly  and  helplessly  have  had 
to  watch  the  public  parade  pass  by 
their  doors. 

Is  this  now  a  two-month  business? 
Do  rhe  film  companies  really  believe 
that  exhibition  can  keep  its  doors  open 
twelve  months  on  a  two  months  gross? 

Your  Film  BULLETIN  a  few  issues 
back  heralded  the  big  pictures  coming 
up,  and  you  told  us  it  would  be  "a 
bright,  bright  Summer  for  movie  busi- 
ness". There's  no  denying  that,  but 
what  happened  to  the  Spring?  I  have 
no  doubt  that  my  business  could  have 
been  25  percent  better  if  there  had  been 
a  reasonably  good  supply  of  product 
through  April,  May  and  June.  Now, 
even  with  that  array  of  big  pictures  I 
see  coming  up,  it  will  take  a  sensational 
summer's  business  to  wipe  the  red  ink 
off  my  books. 

Exhibition  has  been  on  a  starvation 
diet,  and  nobody  knows  it  better  than 
the  public.  We  hear  it  from  our 
patrons.  "Why  do  you  play  so  many 
old  pictures  (reissues)?"  "You  haven't 
had  a  good  picture  here  in  months!" 
"When  are  you  going  to  get  a  decent 
show?"  These  are  some  of  the  discour- 
aging comments  every  exhibitor  in  the 
business  hears  from  day  to  day. 

Talk  about  reviving  the  moviegoing 
habit!  How  in  hell  do  the  men  who 
run  distribution  expect  that  to  happen 
when  they  give  no  thought  to  the  prob- 
lems of  their  customers.  I  remember  a 
year  or  so  ago  when  some  of  the  bir 
circuit  operators  appealed  to  the  film 


men  to  give  us  a  steady  flow  of  product 
through  the  year,  and  they  were  given 
promises  that  this  would  be  done.  But, 
with  the  exception  of  a  Skouras  and 
one  or  two  others  who  show  some  con- 
cern for  the  exhibitor,  the  promises 
have  not  been  kept.  Most  of  them 
horde  their  few  good  pictures  for  those 
two  hot  summer  months — and  the  thea- 
tres be  damned! 

I  don't  know  whether  this  letter 
(which  is  written  in  anger,  believe  me) 
will  find  its  way  into  your  publication, 
but  let  me  say  this,  if  only  to  you.  The 
shortsighted,  no-plan  distribution  poli- 
cies of  the  film  companies  are  rushing 
this  business  of  ours  to  ruin.  We  have 
a  two  months  "rat  race",  with  a  load 
of  big  pictures  competing  against  each 
other,  then  the  theatres  are  expected  to 
retreat,  turn  the  field  over  to  TV  and 
live  behind  their  barricades  on  bread 
and  water  until  the  next  summer. 

But  the  film  moguls  are  ruining 
themselves,  too,  I'm  sure.  They  don't 
seem  to  realize  that  one  of  our  biggest 
summer  assets,  air  conditioning,  is  los- 
ing its  drawing  power,  what  with  the 
fast  growth  of  cooling  units  in  the 
home.  And,  if  the  producers  and  dis- 
tributors are  blinded  by  the  bright  glare 
of  toll-TV  (as  some  of  them  doubtless 
are),  they  are  going  to  find  it's  a 
mirage.  When  movies  are  made  for 
that  small  home  screen  only,  every  fly- 
by-night  guy  with  a  camera  will  be 
making  them.  The  only  future  for  the 
film  companies  is  in  theatre  business — 
but,  frankly,  I  believe  some  of  the  men 
who  run  these  companies  are  too  old 
(in  spirit)  to  care  much  about  the 
future. 

Sadly, 
JOE  EXHIBITOR 


Page  8       Film  BULLETIN    June  24,  1957 


WHAT  TO  SELL... 

Movies  or  Moviegoing? 


There  are  two  kinds  of  selling  in  the  movie  business.  The 
first  kind  is  the  selling  of  an  individual  picture  or  program. 
The  second  is  the  selling  of  the  general  idea  of  going  to 
the  movies. 

In  the  midst  of  all  the  industry  talk  about  a  big  business- 
building  campaign,  very  little  attention  was  paid  to  this  second 
kind  of  selling,  until  some  of  exhibition's  leaders  at  last  week's 
COMPO  meeting  suddenly  took  a  firm  stand  in  support  of 
institutional  promotion.  Now  the  organized  industry,  as  repre- 
sented by  COMPO,  must  make  up  its  mind  how  it  plans  to 
"build  business". 

The  distributors  are  as  interested  as  the  exhibitors  in  getting 
as  many  people  as  possible  to  buy  movie  tickets,  but,  let's  face 
it,  there  is  a  certain  degree  of  running  with  the  tide.  The  film 
companies  think  only  in  terms  of  their  own  pictures,  how  best 
to  exploit  them,  how  most  profitably  to  distribute  them.  If 
summer  is  when  more  people  go  to  the  movies,  then  most  dis- 
tributors save  their  big  attractions  for  the  two  mid-summer 
months.  But  business  building,  unlike  individual  picture  sell- 
ing, isn't  a  job  where  you  can  pick  your  own  spots  on  the  cal- 
endar. You  have  to  keep  at  it  twelve  months  every  year. 

No  one  would  suggest,  of  course,  that  the  promotion  of  indi- 
vidual motion  pictures  is  not  a  prime  requisite  for  the  welfare 
of  the  industry  at  large.  But  the  old  theory  that  "there's 
nothing  wrong  with  this  business  that  a  good  picture  won't 
cure"  isn't  standing  up  as  staunchly  as  it  did  in  years  gone  by. 
Today,  "good"  isn't  good  enough;  it  has  to  be  "great",  and 
great  films  simply  do  not  happen  that  often. 


NEED   FIRMER   PATRONAGE  BASE 


Just  plain  horse  sense  would  seem  to  dictate  that  the  film 
distributors  have  at  least  as  much  to  gain  as  the  exhibitors 
in  creating  a  stouter,  firmer  patronage  basis  for  movies  of 
every  stripe.  Every  company  has  its  share  of  run-of-the-mill 
product,  which  they  are  ready  to  write  off  at  a  loss  in  today's 
limited,  selective  market.  Broadening  that  market  by  intensive 
institutional  promotion  seems  like  ABC  economics.  Or  don't 
they  know  the  ABC's  in  this  business! 

The  film  companies,  then,  as  well  as  the  exhibitors,  must 
start  thinking  in  terms  of  re-stimulating  the  moviegoing  urge 
in  millions  of  latent  moviegoers.  They  must  be  convinced — 
and  they  can  be — that  a  visit  to  the  movie  theatre  is  a  desirable, 
pleasurable  experience — not  just  for  the  outstanding  film,  but 


even  for  the  modestly  entertaining  one.  In  brief,  the  public 
must  be  motivated  to  moviegoing. 

The  scale  must  be  broad,  national.  The  campaign  must  be 
strong,  persistent.  The  aim  must  be  to  reeducate  the  public  to 
the  kind  of  creature  comfort,  escape,  aesthetic  satisfaction  and 
general  pleasure  that  regular  theatregoing  can  mean  for  the 
average  American  man,  woman  and /or  child.  The  encourage- 
ment of  the  weekly  moviegoing  habit  is  the  first  essential  of 
our  present-day  promotional  task.  Any  and  every  argument  or 
persuasion  the  industry  can  muster  is  worth  consideration  as 
part  of  this  vital  effort.  Studies  and  statements  by  psychiatrists 
and  sociologists  as  to  the  value  of  moviegoing  as  relaxation 
for  the  housewife,  the  worker,  the  businessman  should  be  as- 
sembled and  used.  A  direct,  persuasive  sales  pitch  that  spells 
out  the  need  for  going  out  to  a  movie  must  be  devised  and 
hammered  across  to  the  public.  Intelligent  national  advertising 
and  publicity  campaigns  should  be — to  use  a  favorite  upper- 
echelon  word — implemented  via  mass  communications  media. 


WHAT  KIND  OF  ORGANIZATION? 


How  is  the  job  to  be  done?  The  industry  must  have  a  co- 
hesive working  organization  (whether  COMPO  or  some  other) 
which  can  supply  the  material  and  govern  the  operations  of 
the  whole  effort.  The  actual  designers  of  the  institutional  pro- 
gram should  be  advertising  and  public  relations  experts  with 
a  knowledge  of  the  business,  but  free  of  direct  entanglements 
with  any  of  the  components  of  the  central  organization.  Pro- 
vided with  ample  funds — and  that  means  dollars  in  the  mil- 
lions— our  governing  organization  would  approve  the  most  ef- 
fective campaign  and  let  'er  go. 

Once  this  whole  arsenal  of  go-out-to-the-movies  salesmanship 
were  let  loose  upon  the  nation,  the  promotional  ingenuity  and 
effort  of  every  theatreman  would  be  called  upon  to  back  the 
national  drive  on  his  local  level. 

First  the  motion  picture  industry  must  sell  the  public  on  the 
idea  of  going  to  the  movies — not  to  a  particular  theatre,  but 
to  the  movies  generally.  Then,  taking  advantage  of  all  the  im- 
petus a  properly  managed  national  campaign  of  this  type  can 
generate,  the  individual  theatre  owner  must  sell  his  theatre 
specifically  to  the  customers. 

What  do  we  have  to  sell,  as  an  industry  and  as  individual 
businessmen?  There's  no  gerat  mystery  about  it.  We  sell  pleas- 

( Continued  on  Page  14) 


Film  BULLETIN    June  24,  1 957        Page  * 


"A  Hatful  of  Rain" 
gW«*4  "Rating  GOO 

Drama  of  dope  addict  and  his  wife  has  power  and  pathos. 
Will  gross  strongly  throughout  market,  best  in  metropolitan 
areas.  Ample  exploitation  potential. 

Director  Fred  Zinneman  and  producer  Buddy  Adler  have 
joined  forces  once  again  to  create  in  "A  Hatful  of  Rain"  a  film 
of  power  and  pathos,  which  explores  against  the  everyday  back- 
ground of  a  bustling  New  York  housing  project  the  terrifying 
world  of  a  dope  addict  and  his  wife.  Screenplaywrights  Mich- 
ael Gazzo  and  Alfred  Hayes  colorfully  capture  the  speech  and 
style  of  ordinary  people  not  always  able  to  keep  step  on  an 
emotional  tightrope  that  grows  more  tenuous  day  by  day.  Stars 
Eva  Marie  Saint,  Don  Murray  and  Anthony  Franciosa  bring 
them  to  life  with  perfect  performances,  certainly  among  the 
finest  of  the  year.  This  is  a  distinguished  adult  drama  that  will 
garner  good  returns  in  the  general  market,  especially  with  the 
discriminating  moviegoer.  Grosses  will  be  best  in  metropolitan 
areas,  especially  in  those  situations  which  capitalize  the  film's 
ample  exploitation  opportunities.  Miss  Saint,  as  the  pregnant 
young  wife  unaware  of  her  husband's  dope  addiction,  but  ago- 
nizingly aware  of  his  desperation  and  her  inability  to  help  him, 
gives  a  haunting  performance,  tender  and  trenchant,  the  most 
moving  thing  in  the  film.  Don  Murray,  the  Korean  veteran 
turned  dope  addict,  shines  through  the  seamy  surface  of  his 
material  to  the  genuine  torment  of  a  young  man  whose  degen- 
eracy becomes  a  wound  that  hourly  grows  more  fatal.  Anthony 
Franciosa,  Murray's  long  suffering  brother  and  confidant,  grip- 
pingly  underplays  the  racy  regional  style  of  Actor's  Studio  with 
honesty  and  humor.  Lloyd  Nolan  is  stormy  and  sententious  in 
the  role  of  the  brother's  father,  a  man  who  could  never  express 
love.  Henry  Silva,  as  a  swishy  dope  pusher,  performs  with  a 
languid  lunacy.  Zinneman's  direction  is  well  nigh  flawless  and 
almost  makes  one  forget  that  the  contents  of  "A  Hatful  of 
Rain"  is  really  only  a  mixture  of  realism  and  melodrama.  Plot 
has  Murray  being  forced  into  moral  and  actual  bankruptcy  by 
his  craving  for  drugs.  Brother  Franciosa  has  loaned  him  money 
but  is  now  at  the  end  of  his  resources.  When  father,  Lloyd 
Nolan,  comes  for  a  visit  and  to  borrow  money  from  Franciosa, 
he  is  caught  in  the  maelstrom.  Murray  cannot  bring  himself 
to  tell  his  wife  of  his  difficulties,  finally  is  forced  to  do  so  when 
pressured  by  dope  pushers.  The  couple  decide  their  only  solu- 
tion is  to  call  the  police  for  aid. 

20th  Century-Fox.  109  minutes.  Eva  Marie  Saint,  Don  Murray,  Anthony  Franciosa. 
Produced  by  Buddy  Adler.    Directed  by  Fred  Zinneman. 

"Interlude" 
g«4t*€44  IRaU*?  Q  O  Plus 

European  soap  opera  of  starry-eyed  but  star-crossed  lovers. 
Should  appeal  to  women. 

June  Allyson,  as  an  American  U.S.I.A.  worker,  and  Rossano 
Brazzi,  as  a  famous  European  conductor,  are  the  romantic  tar- 
gets of  this  Ross  Hunter  production  for  Universal-International, 
but  it  is  the  location  shots  of  Munich  and  Salzburg,  stunningly 
photographed  by  William  Daniels,  and  the  moody,  mettlesome 
score  of  Frank  Skinner  that  provide  the  real  valentine.  Miss 
Allyson  is  still  wistful  and  willowy;  Mr.  Brazzi  dashing  and  a 
little  demonic.  "Interlude"  is  bittersweet  enough  to  be  popular 


woman's  fare,  a  bit  too  sticky,  perhaps,  for  the  male  trade. 
Telling  the  story  of  the  innocent  American  girl  who  falls  in 
love  with  the  complex  European,  only  to  later  discover  he  has 
a  mentally  deranged  wife,  the  script  by  Dwight  Taylor,  Daniel 
Fuchs  and  Franklin  Coen,  though  somewhat  sudsy  and  super- 
ficial, is  replete  with  rose-scented  rendezvous,  wind-blown  Ba- 
varian countrysides  and  the  old  rhapsodic  air  of  a  love  "too 
beautiful  to  last".  When  Marianne  Cook,  who  plays  Brazzi's 
wife,  on  learning  of  the  affair  attempts  suicide,  Miss  Allyson 
returns  to  the  States,  realizing  that  only  with  Brazzi's  love  can 
his  wife  ever  hope  for  recovery.  Douglas  Sirk's  direction  here 
seems  charmingly  civilized;  a  shade  too  civilized,  in  fact.  Miss 
Cook,  however,  takes  some  of  the  veneer  off  the  film  as  she 
darts  and  daunts  her  eyes  about  like  those  pathological  vamps 
of  the  silent  days.  But  this  soap  opera  will  get  by  on  the 
expert  romantics  of  Miss  Allyson  and  Brazzi,  and  the  entrancing 
photography  and  theme  melody  that  provide  the  backdrop  for 
their  love  affair. 

Marianne  Cook. 


"Island  In  The  Sun" 

%H4UU44  R*UKf  O   O  O 

Beautifully  mounted  Zanuck  production,  scenically  superb, 
populated  by  a  host  of  stars.  Story,  however,  is  disjointed. 
Will  be  talked  about,  but  poses  problem  in  some  areas. 

Darry  F.  Zanuck,  who  has  never  feared  to  tackle  the  unusual 
and  the  bold  theme  (recall,  if  you  will,  "Pinky"  and  "Gentle- 
men's Agreement",  among  others)  has  again  demonstrated  his 
daring  in  undertaking  Alec  Daugh's  novel  of  racial  rebellion 
and  cultural  change  in  the  West  Indies.  "Island  In  The  Sun" 
comes  to  the  screen  a  typical  multi-million  dollar,  all-star  Zan- 
uck production,  resplendently  photographed  (in  CinemaScope 
and  DeLuxe  color)  amidst  the  bewitching  Barbados  locales. 
Unfortunately,  however,  it  is  very  episodic,  rather  murky  and 
maudlin  in  dramatic  structure.  For  his  first  independent  film 
(released  through  20th  Century-Fox),  Zanuck  lined  up  a  cast 
of  bright  names  including  newcomer  Harry  Belafonte,  and  it 
is  these  names  and  Zanuck's  showmenly  production  that  will 
make  "Island  In  The  Sun"  a  popular  summer  spectacle,  espe- 
cially in  metropolitan  areas.  The  film  will  pose  a  problem  in 
the  interlands  and  in  the  South,  dealing  as  it  does  with  such 
controversial  elements  of  Mr.  Waugh's  novel  as  miscegenation, 
racial  conflict  and  adultery.  Screenwriter  Alfred  Hayes  and 
director  Robert  Rossen,  while  telling  the  many-faceted  story  of 
the  English  plantation-owner  society,  its  relations  with  negro 
workers,  and  two  inter-racial  romances,  have  played  it  rather 
cool  and  careful,  avoiding  too  much  emphasis  on  the  barbed 
social  commentary  of  Waugh's  novel.  Among  the  people  who 
move  in  and  out  of  Rossen's  elegantly  mounted  tapestry  are 
James  Mason,  Joan  Fontaine,  Dorothy  Dandridge,  beautiful 
Joan  Collins,  Michael  Rennie,  and  John  Williams.  Standout 
performances  are  those  of  Mason  as  the  plantation-owner  who 
kills  Rennie  in  a  jealous  rage,  and  Williams,  the  chief  of  police 
who  forces  him  to  confess.  Boxoffice  bonanza  Belafonte  sings 
two  of  his  familiar  calypso  songs,  adding  promotional  fillip. 


20th  Century-Fox  (Da 
Joan  Fontaine,  Harr 
Robert  Rossen. 


Productions,  Inc.)  122  minut 
Produced    by   Darryl    F.  Zar 


\&«4Ate4d  &*U*t       O  O  O  O 


TOPS 


O  Q  6  GOOD      Q  Q  average'     o  poor] 


Page  10 


BULLETIN    June  24,  1957 


[More  REVIEWS  on  Page  12] 


"Sweet  Smell  of  Success"  Smells  of  Boxoffice  Success 


GtuiKCM  Rati*?  O  O  O  Plus 

Hard-hitting  story  of  Broadway  columnist,  his  henchman, 
his  sister.  With  Lancaster,  Curtis  for  marquee,  it  will  open 
big  and  ride  high  on  strong  word-of-mouth.  Rates  a  bit 
lower  in  hinterlands. 

The  startlingly  successful  team  of  Hecht,  Hill  and  Lancaster 
can  now  startle  the  market  all  summer  long.  For  they  have  just 
produced  a  devastating  comedy  of  manners,  a  hard-hitting 
sketch  of  contemporary  cafe  society  called  "Sweet  Smell  of  Suc- 
cess", in  which  screenplaywrights  Clifford  Odets  and  Ernest 
Lehman  cast  a  cold  and  caustic  eye  on  the  nightmare  networks 
of  a  world  where  the  way  to  the  top  inevitably  includes  baptism 
in  the  Broadway  gutter.  With  Burt  Lancaster  and  Tony  Curtis 
as  its  stars,  this  James  Hill  production  for  United  Artist  should 
be  a  smash  in  the  general  urban-suburban  market,  though  its 
tone  may  be  a  bit  too  brash  and  brassy  for  the  rural  areas,  how- 
ever, it  figures  to  be  a  big  grosser  up  and  down  the  line  on  star 
values  and  word-of-mouth  response.  It  will  make  United  Ar- 
tists and  exhibitors  happy. 

The  action  centers  around  sleazy  heel  Curtis  under  orders 
from  columnist  Lancaster,  paragon  of  the  smear  press,  to 
destroy  at  all  cost  the  love  affair  of  his  young  sister,  Susan  Har- 
rison, with  guitar  player  Marty  Milner.  The  plot  unwinds  its 
clever  coils  in  three  movements:  Curtis'  attack,  Lancaster's  psy- 
chosexual  attachment  to  his  sister,  and  finally  Miss  Harrison's 
own  counterattack.  Curtis  tries  to  smear  Milner  by  having  a 
rival  columnist  charge  the  guitar  player  with  dope  addiction 
and  communism  via  an  item  in  his  column.  Curtis  maneuvers 
this  nasty  move  by  having  a  girlfriend,  Barbara  Nichols,  who 
owes  him  a  favor,  "be  nice"  to  the  columnist,  who  then  com- 
plies with  the  asked-for  item.  Miss  Harrison,  however,  is  not 
convinced,  so  Lancaster  has  Curtis  plant  marihuana  in  Milner's 
pocket  and  then  informs  the  police.  When  Curtis  tries  to  stop 
the  sister  from  committing  suicide,  Lancaster  misunderstands 
his  intent,  hands  him  over  to  the  police  for  trying  to  frame 
Milner.  Miss  Harrison,  finally  seeing  the  evil  light  in  her 
brother's  eye,  walks  out  on  him.  Unfortunately,  monsters  Curtis 
and  Lancaster  are  never  fully  explored;  the  maneuvers  and  not 
the  motives  take  precedence.  And  when  in  the  end  they  both 
fall  in  the  lap  of  melodrama,  the  temper  of  the  film  is  some- 
what truncated;  Odets  and  Lehman  close  the  lid  too  soon  with- 
out showing  what  is  really  in  the  box.  But  this  may  be  quib- 
bling about  a  really  fine  film,  a  powerful  piece  of  entertainment 
that  will  hold  audiences  fascinated  from  start  to  finish. 

Alexander  Mackendrick's  direction  is  superb,  a  wonderfully 
subtle  and  supple  thing,  expertly  controlling  a  script  so  human 
as  to  be  overheated  and  so  black  the  Broadway  whirlwind 
seems  something  the  bad  not  only  reap  but  also  sow. 

Tony  Curtis,  with  the  ice  cream  face,  dark  cherub  eyes  and 
delinquent  drawl  runs  rampant  across  the  screen,  gumshoeing 
in  the  ways  of  power  and  pelf.  Curtis  has  never  had  so  reward- 
ing a  role  and  he  has  never  been  so  ripe  and  resourceful;  his 
performance  parallels  the  spectacular  acting  debut  of  Frank 
Sinatra  in  "From  Here  To  Eternity '.  Perhaps  Curtis  will  now 


Tony  Curtis  and  Burt  Lancaster  — 
baptised   in   the   Broadway  gutter. 


embark  on  as  charmed  a  career.  Burt  Lancaster  as  the  colum- 
nist is  ominous  and  omnipotent  as  he  holds  court  at  Twenty- 
One  Club  and  tense  and  troubled  in  his  dark  scenes  with  Miss 
Harrison,  out  of  which  scintillas  of  "incest  motivation"  are 
suavely  suggested.  But  for  the  most  part  at  least  one  spectator 
drew  the  impression  that  Lancaster  and  director  Mackendrick 
are  laughing  at  the  character  while  the  script  is  taking  his  role 
seriously.  At  any  rate,  carricature  or  not,  Lancaster  will  cer- 
tainly have  the  audience  looking  for  thorns  in  those  orchids. 
Susan  Harrison  is  sweet  and  sibilant,  but  not  altogether  effec- 
tive, in  conveying  the  dilemma  of  a  young  girl  crushed  by  the 
overwhelming  facets  of  a  phony  world.  Marty  Milner,  as  the 
young  guitar  player  who  brings  her  love  and  who  in  turn  is  de- 
stroyed by  Lancaster  and  Curtis,  performs  with  appropriate 
Princeton  overtones  to  Miss  Harrison's  Vassar  lovely,  but  he 
too  seems  unable  to  touch  beyond  the  standard  tremors  and 
thralls  of  a  thwarted  romance.  On  the  other  hand,  supporting 
actress  Beverly  Nichols  as  a  nightclub  floosie  marketing  her 
wares  to  help  boyfriend  Curtis,  turns  in  a  vivid,  ironic,  bitter- 
sweet vignette  which  she  fully  animates  for  all  its  worth. 

James  Wong  Howe's  photography  is  masterfully  modulated 
in  black  and  white  realism;  his  scenes  of  New  York  by  night 
and  by  dawn  are  phantasmal  shots  that  betray  the  lampoonery 
and  loneliness  at  the  heart  of  the  city  and  the  characters.  Elmer 
Bernstein's  score  is  sharp  and  shattering,  while  The  Chico 
Hamilton  Quintet  serve  just  the  kind  of  Ivy  League  jazz  you 
would  hear  at  any  fashionable  East  Side  boite,  expertly  re- 
created by  director  Mackendrick.  In  fact,  English  director 
Mackendrick  has  handled  everything  expertly  in  his  first  Ameri- 
can film,  ard  is  certainly  a  welcome  addition  to  these  shores. 


United  Artist.  I  Norma-Curtleigh  Productions!.  100  minutes.  Burt  Lancaster,  Tony 
Curtis,  Susan  Harrison.    James  Hill,  producer.    Alexander  Mackendrick,  director. 


Film  BULLETIN    June  24,  1957        Page  11 


"Beau  James" 
ScuUeu  IZatUt  O  O  O 

Brash,  buoyant,  but  touching,  tribute  to  Jimmy  Walker. 
Bravado  performance  from  Bob  Hope.  Best  for  urban  loca- 
tions, but  will  do  well  generally. 

Jimmy  Walker,  the  legendary  parade-loving,  song  writing 
Mayor  of  New  York,  has  been  recreated  in  the  person  of  Bob 
Hope  in  Paramount's  "Beau  James".  If  both  Mr.  Hope  and 
the  film  are  rather  less  than  definitive  as  biography,  they  are 
more  than  engaging  as  entertainment.  All  the  tumultuous  tang 
and  twilight  temptations  of  an  era  and  a  city,  its  scandals  and 
its  schmaltz,  have  been  bouyantly  captured  by  the  VistaVision, 
Technicolor  cameras  in  Jack  Rose's  flashy  production.  The 
screenplay  by  Rose  and  Melville  Shavelson  spotlights  the  con- 
troversial Walker-Betty  Compton  love  affair  with  candor  and 
charm,  all  of  which  should  prove  strongly  popular,  especially 
within  the  metropolitan  market.  It  has  been  years  since  Bob 
Hope  has  had  so  rewarding  a  role  and  he  brings  to  it  the  full 
play  of  his  talents  as  he  whirls  through  a  cavalcade  of  political 
doggerel  in  which  wisecracks  and  white  carnations  were  the 
platform  of  the  day.  Vera  Miles  in  the  important  role  of  Betty 
Compton,  the  showgirl  who  became  a  star  when  she  became 
'Jimmy's  girl',  gives  a  well  tempered,  touching  performance  as 
the  great  love  of  Walker's  life  and  provides  the  dramatic  under- 
current of  the  film  along  with  Alexis  Smith  in  the  comple- 
mentary role  of  Walker's  estranged  wife,  stylishly  cool  but  in- 
wardly unnerved,  in  love  with  a  man  whose  indiscretions  she 
could  never  understand.  Producer  Rose  and  director  Shavelson 
have  wisely  used  Walker's  relationship  with  these  two  as  the 
anchor  for  a  free-wheeling,  fun-loving  film  in  which  Bob  Hope 
is  back  in  fine  fettle.  The  boys  at  Tammany  are  indeed  the 
boys  in  the  back  room,  but  not  the  ominous  overseers  investi- 
gating committees  conjure  up;  they  may  be  baneful  but  they're 
pretty  blithe  about  the  whole  thing.  The  cynical  and  crafty 
politician  played  by  Paul  Douglas  is  full  of  good  humor  and 
blarney,  even  if  of  a  testy  sort,  making  Darren  McGavin's  por- 
trait of  Hope's  idealistic  young  secretary  seem  a  bit  stuffy. 
Politics,  one  gathers,  was  never  heavy  handed  in  those  days. 
"Beau  James"  suggests  sleight-of-hand,  always  done  with  an 
"innocent"  depravity. 

Paramount.  105  minutes.  Bob  Hope,  Vera  Miles,  Paul  Douglas.  Produced  by  Jack 
Rose.    Directed  by  Melville  Shavelson. 

"Run  Df  The  Arrow" 

Involved  Western  covers  familiar  ground,  but  detours  too 
often.  Will  serve  as  dualler  in  action  houses. 

Writer-producer-director  Samuel  Fuller's  "Run  Of  The  Ar- 
row" tries  hard  not  to  be  a  run-of-the-mill  Western,  but,  none- 
theless, it  sprawls  and  sputters  about  in  over-elaboration  upon 
a  post-Civil  War  yarn,  becoming  bogged  down  in  its  own  arti- 
ness  and  complexities.  However,  while  the  plot  is  familiar,  the 
characters  are  rough-hewn  and  the  Technicolor  photography 
expertly  explores  the  sun-shackled  canyons  and  deserts  of  the 
Mid- West — which  should  make  it  adequate  entertainment  for 
action  fans.  The  plot  tells  of  an  embittered  Southerner  who, 
unable  to  accept  a  Yankee  victory,  travels  to  the  lands  of  the 
Sioux  Indians  and  casts  his  expatriate  lot  with  them,  only  to 
find  his  loyalty  tested  when  the  tribe  goes  on  the  warpath 
against  the  U.S.  Cavalry.  Mr.  Fuller  has  provided  some  fairly 


interesting  characterizations,  slowly  (too!)  molding  the  devel- 
opment of  the  Southerner-turned-Sioux  torn  between  the  love 
of  an  Indian  girl  and  the  friendship  of  her  people,  and  the 
conflicting  world  of  his  former  people.  Rod  Steiger  in  the 
leading  role  is  a  bit  over-brawn  and  bogus  at  times,  but  his 
love  scenes  with  Indian  girl  Sarita  Montiel  have  an  honest 
urgency  about  them.  Brian  Keith,  as  the  U.S.  officer  who 
teaches  Steiger  not  to  hate  the  Yankee  world,  and  Ralph 
Meeker  as  Keith's  bellicose  subordinate  and  Steiger's  nemesis 
run  through  their  paces  professionally.  It's  too  bad  the  pace 
isn't  more  rough  and  tumble.  Mr.  Fuller  may  not  have  wanted 
elementary  goings-on  in  his  film,  for  he  wanted  something  art- 
ful. But  he  has  forgotten  that  Western  film  art,  while  not 
elementary,  is  elemental;  in  fact,  that's  its  very  essence.  Ask 
John  Ford. 

Universal-International  (Globe  Enterprisers).  86  minutes.  Rod  Steiger,  Sarita 
Montiel,  Ralph  Meeker.    Produced  and  Directed  by  Samuel  Fuller. 

"Night  Passage" 
ScuineM,  Rati*?  OOO 

James  Stewart,  Audie  Murphy  team  in  topflight  western. 
Wide  range  of  appeal.  Technirama  adds  visual  value. 

James  Stewart  and  Audie  Murphy,  saddle  up  to  do  some 
stalwart  stepping  in  Aaron  Rosenberg's  smooth,  smartly  stir- 
rupped  Western,  "Night  Passage".  Filmed  on  location  in  Colo- 
rado, it  employs  the  new  wide-screen  Technirama  process  in 
wonderful  evocations  of  nature,  as  the  spectacularly  sunny 
Technicolor  photography  of  William  Daniels  illumines  the 
Rocky  Mountain  backgrounds,  stunningly  sheathed  in  green 
pines  and  golden  aspen.  Borden  Chase's  screenplay  is  a  crisp 
variant  upon  the  inveterate  "great  train  robbery"  theme,  com- 
pressed into  a  fast-moving,  suspenseful  western.  The  range  of 
its  appeal  should  extend  over  the  broad  general  market,  the 
impact  strongest  where  action  spells  boxoffice.  Director  James 
Nielson,  a  newcomer,  keeps  the  plotting  under  tight  control, 
developing  suspense  steadily  down  to  the  climax.  Duryea  turns 
in  a  typically  mean  characterization,  giggling  and  goofing  his 
way  about  as  a  holdup-happy  gunman.  Murphy  cleverly  uses 
his  corral  charms  to  create  a  swaggering,  yet  sensitive,  young 
man.  But  it's  Stewart's  show:  out  of  the  shreds  and  patches  of 
past  Western  characters  he  wears  the  best  horsehide  haber- 
dashery in  town,  and  wears  it  like  few  actors  can.  The  lanky, 
leathered,  measured  movements,  the  pleasant  panhandler  drawl, 
rueful  yet  rebellious,  all  those  rope  him  off  as  distinctive  a  cow- 
boy as  he  was  years  ago  in  "Destry  Rides  Again".  It  should  be 
good  news  to  everyone  that  this  year's  "Night  Passage"  serves 
Jimmy  Stewart  as  well.  The  story  concerns  cowboy  Stewart 
who  agrees  to  deliver  a  payroll  for  railroad  official  Jay  C.  Flip- 
pin,  lest  it  be  stolen  by  Duryea's  gang.  In  the  gang  are  Murphy, 
Stewart's  younger  brother,  and  Brandon  De  Wilde.  When  the 
gang  attacks,  Stewart  is  able  to  slip  the  money  in  a  shoebox  to 
De  Wilde.  Stewart  is  knocked  unconscious,  the  gang  making 
off  with  Flippin's  wife  as  hostage.  Stewart  follows  them  to 
their  ghost  town  hideout,  offers  to  join  up  with  them.  He 
meets  waitress  Dianna  Foster,  once  in  love  with  Murphy,  who 
now  turns  her  affection  to  Stewart.  When  the  latter  shoots  his 
way  out,  rescuing  the  two  women,  Murphy  escapes  with  De 
Wilde  and  the  money.  The  gang  chases  Stewart  and  a  gunfight 
follows.  Murphy  comes  upon  the  scene,  decides  to  help  his 
brother,  kills  Duryea  but  meets  his  end,  too. 

Universal  International.  90  minutes.  James  Stewart,  Audie  Murphy,  Dan  Duryea. 
Produced  by  Aaron  Rosenberg.    Directed  by  James  Nielson. 


Page  12       Film  BULLETIN    June  24,  1957 


"Doctor  Ai  Large'' 

Scuuteu  1R.atut$  O  Q 

Third  in  series  of  British  comedies  still  has  some  fun,  if  in 
lesser  degree  than  predecessors.  Should  do  well  in  art  and 
class  houses. 

As  a  sequel  to  a  sequel,  "Doctor  At  Large",  is  like  the  bright 
pebble  of  an  idea  that  once  made  quite  a  splash,  but  has  since 
rippled  out  into  broader  and  broader  circles.  Everyone  is  still 
zany  but  no  longer  zestful,  loony  but  not  lilting;  "Doctor",  in 
short,  is  suffering  from  overwork.  However,  director  Ralph 
Thomas,  producer  Betty  Box  and  screenplaywright  Nicholas 
Phipps  have  managed  many  pleasantly  pert  scenes  and  a  few 
crackpot  pranks  that  are  as  balmy  and  jaunty  a  joke  as  any- 
thing in  "Doctor  At  Sea"  or  "Doctor  In  The  House",  making 
it  a  good  entry  for  the  art  and  class  houses,  and  a  passable 
dualler  in  the  general  urban  market.  The  story  structure  lacks  a 
controlling  theme,  for  the  events  are  as  complex  as  a  three-ring 
circus  with  the  characters  acting  like  a  horde  of  colorful  clowns 
on  parade.  Young  doctor  Dirk  Bogarde  is  still  the  star  per- 
former and  old  surgeon  James  Robertson  Justice  the  circus 
master.  Bogarde  is  affable  and  unaffected,  the  innocent  fledg- 
ling unwittingly  courting  the  rancor  and  rumble  of  Justice  in 
a  series  of  misadventures  as  a  doctor  at  large  through  Scotland 
and  France.  His  sidekick,  Donald  Sinden,  is  broad  and  bawdy 
as  the  eternal  medical  student  able  only  to  concentrate  on  the 
anatomy  of  the  opposite  sex.  When  Justice  appoints  Bogarde 
as  a  surgical  apprentice,  the  young  doctor  no  longer  at  large 
is  free  to  marry  his  favorite  girl  (in  all  three  films),  the  stead- 
fast Muriel  Pavlow.  If  the  market  remains  as  steadfast,  we  may 
yet  see  Miss  Pavlow  serving  tea  and  crumpets  in  "Doctor  At 
Home",  but  we  doubt  it. 

Univesral-lnternational  IRank  Organization!.  98  minutes.  Dirk  Bogarde  Muriel 
Pavlow,  Donald  Sinden.  Produced  by  Betty  Box.  Directed  by  Ralph  Thomas. 

"Voodoo  Island" 

%€144*C4A  'Rating  Q  Plus 

Banal,  trite  low-budget  horror  entry.  For  sub  duals. 

The  best  that  can  be  said  for  "Voodoo  Island"  is  that  it  has 
exploitation  possibilities  and  the  Boris  Karloff  name.  Sluggish, 
trite  and  obvious,  this  Bel-Air  production  for  United  Artists 
release,  is  a  low,  low  budgeter  that  merits  playing  time  only 
as  a  supporting  feature  in  sub-runs.  Direction  by  Reginald 
Le  Borg  and  production  lack  professionalism,  the  acting  is 
routine,  the  screenplay  by  Richard  Landau  unusually  banal,  dis- 
playing absolutely  no  ingenuity.  Star  Karloff  seems  to  be  cari- 
caturing himself.  Some  good  accompanying  music  by  Les  Bax- 
ter is  wasted.  Karloff,  an  exposer  of  hoaxes  on  his  TV  show, 
agrees  to  lead  a  group  to  investigate  a  mysterious  island  in  the 
Pacific  which  a  wealthy  hotel  owner  wants  to  make  into  a 
resort.  Mysterious  happenings  on  the  way  point  to  voodooism 
at  work  to  prevent  their  reaching  the  island.  Once  landed,  they 
discover  the  island  is  inhabited  by  man-eating  plants.  Captured 
by  a  native  tribe  on  the  island,  two  of  their  party  are  killed, 
one  voodooed  into  a  hypnotic  state.  Karloff  manages  to  talk 
to  the  chief,  Friedrich  Ledebur,  learns  that  the  natives  are  sort 
of  Displaced  Savages,  chased  from  their  former  home  and  now 
protecting  their  island  haven  from  all  invaders.  Karloff  talks 
the  chief  into  letting  the  party  go  free. 

United  Artists  IBel-Air).  80  minutes.  Boris  Karloff,  Beverly  Tyler,  Murvyn  Vye. 
Produced  by  Howard  W.  Koch  and  Aubrey  Schenck.  Directed  by  Reginald  Le  Berg. 


"The  Midnight  Story" 
Satinet  Rati*?  O  O  Plus 

Engrossing  mystery  melodrama.  Tony  Curtis  provides  mar- 
quee power.  Good  performances  by  Gilbert  Roland,  Marisa 
Pivan. 

This  low-budget,  black-and-white  CinemaScope  murder-mys- 
tery from  Universal-International  proves  to  be  a  moderately 
engrossing  entertainment  that  should  find  solvent  status  with 
the  family  and  the  action  trade.  The  lure  and  luster  of  its  star, 
Tony  Curtis,  figures  to  give  it  a  boost  in  the  teen-age  market. 
Most  important  factor  in  making  this  a  bit  above  par  in  the 
melodrama  field  is  the  direction  of  Joseph  Pevney,  clean  and 
compelling,  and  the  performance  of  veteran  actor  Gilbert  Rol- 
and, supple  and  sure.  The  script  of  John  Robinson  and  Edwin 
Blum  is  cleverly  geared  to  create  suspense  as  it  tackles  the  ques- 
tion of  San  Francisco  Bay  fisherman  Roland's  innocence  or 
guilt,  as  seen  through  the  eyes  of  policeman  Curtis.  Latter  re- 
sumes his  old  character  of  a  waterfront  waif  in  search  for  the 
murderer  of  his  childhood  benefactor,  a  benevolent,  kindly 
priest.  Under  Pevney's  direction  the  dramatic  conflict  is  slyly 
evolved  in  persuasively  human  terms,  as  Curtis  becomes  envel- 
oped in  the  family  life  of  Roland,  all  wholesome  and  warm, 
and  in  a  personal  comradeship  with  the  suspected  man,  which 
increasingly  tests  Curtis'  loyalty.  In  the  end  the  comradeship 
assumes  open  cat  and  mouse  encounters,  though  the  outcome  is 
snugly  kept  in  doubt  until  the  final  denouement.  Marisa  Pavan, 
as  Roland's  cousin,  the  girl  Curtis  falls  in  love  with,  gives  a 
sensitive  performance.  Argentina  Brunetti,  Roland's  mother, 
is  a  bustling  and  blithesome  illustration  of  an  Italo-American 
housewife. 

Universal-International.  89  minutes.  Tony  Curtis,  Marisa  Pavan,  Gilbert  Rcland. 
Produced  by  Robert  Arthur.    Directed  by  Joseph  Pevney. 

"Shoot-Out  at  Medicine  Bend" 
Scuimca*  ^atcKf  O  O  Plus 

Randolph  Scott  poses  as  Quaker  to  fight  the  baddies.  Black- 
and-white  Western  offers  sufficient  lure  for  action  fans. 

This  standard  Randolph  Scott  Western  has  been  given  a 
novelty  shot-in-the-arm:  he  masquarades  as  a  Quaker  to  catch 
the  bad  hombres.  Lensed  in  black  and  white,  "Shoot-Out  at 
Medicine  Bend"  has  enough  action,  and  even  some  humor,  to 
please  the  devotees  of  Scott-brand  outdoor  epics.  The  Richard 
Whorf  production,  in  black-and-white,  is  simple,  but  realistic. 
Director  Richard  L.  Bare  keeps  things  happening  at  a  good 
pace  and  draws  competent  performances  from  his  actors.  An 
illogical  twist  in  the  plot  is  the  fact  that  Scott's  real  Quaker 
pals  forsake  pacifist  ways  to  attack  and  subdue  the  baddies. 
Scott  decides  to  settle  in  Nebraska  after  Indian  wars,  arrives 
to  see  his  brother  massacred  by  Indians  because  he  couldn't 
defend  himself  with  defective  ammunition  bought  in  Medicine 
Bend.  Scott  and  pals  head  for  that  town.  Enroute  their  clothes 
are  stolen,  and  they  borrow  Quaker  garb.  Masquarading  as 
Quakers,  they  discover  James  Craig  runs  the  town,  get  evidence 
he  sells  bad  ammunition.  When  his  pals  are  locked  up,  Scott, 
with  help  of  Quaker  friends,  routs  Craig  and  his  gang,  who 
are  subsequently  killed  when  they  have  to  use  their  own  faulty 
ammunition.  Female  allurement  is  added  by  Dani  Crayne  and 
Angie  Dickinson  who  side  with  law  and  order. 

Warner  Bros.  103  minutes.  Randolph  Scott,  James  Craig,  Dani  Crayne,  Angie 
Dickinson.    Produced  by  Richard  Whorf.    Directed  by  Richard  L.  Bare. 


Film  BULLETIN    June  24,  1957        Page  13 


( Continued  from  Page  5 ) 

ences,  but  these  differences  seem  smaller 
now  than  before  the  COMPO  meeting. 
For  the  sake  of  the  unity  that  is  so 
badly  needed,  it  is  to  be  hoped  that 
what  the  two  organizations  have  in 
common  will  now  be  permitted  to  out- 
weigh the  points  at  issue. 

I  © u  th  *&  Views 
On  Fu€ling  Stars 

The  exaggerated  value  placed  by 
many  of  our  moviemakers  on  some  of 
the  aging  "name"  personalities  is 
pointed  up  in  the  results  of  an  interest- 
ing poll  conducted  by  the  National 
Catholic  Monthly,  Extension  Maga- 
zine. An  overwhelming  majority  of  the 
young  people  polled  on  various  movie 
questions  were  in  favor  of  either  retire- 
ment or  discontinuance  of  romantic 
roles  for  the  so-called  oldsters. 

Significantly,  of  the  top  favorites  se- 
lected by  the  magazine's  great  predom- 
inance of  youthful  readers,  Marlon 
Brando  was  the  grandpappy  of  the  lot 
at  a  venerable  33.  The  26-year-old  Tab 
Hunter  was  the  big  favorite.  Love  stuff 
from  the  older  stars,  especially  with 
younger  partners,  was  termed  "pathe- 
tic" and  "stupid". 


Similar  indications  of  the  popularity 
of  the  younger  corp  of  film  performers 
developed  in  the  past  few  years,  and 
the  swing  away  from  the  old  marquee 
names,  have  been  evidenced  both  in 
surveys,  and,  more  important,  at  the 
box-office.  Yet  the  tenacity  with  which 
producers  cling  to  the  use  of  the  high- 
priced  big  stars  of  yesteryear  in  impor- 
tant pictures  has  resulted  in  high  pro- 
duction costs  and  long  delays  in 
making  pictures  until  the  desired  star 
becomes  available. 

This  dogged — and  costly — reliance 
on  fading  personalities  by  producers 
(and,  perhaps,  to  a  degree,  by  exhi- 
bition, too)  is  indicative  of  the  "old 
thinking"  that  has  retarded  the  progress 
of  the  movie  industry  at  a  time  when 
it  must  get  up  steam  in  the  hot  com- 
petitive race  for  the  public's  entertain- 
ment dollar.  The  Extension  poll  only 
reiterates  what  has  been  said  so  often 
of  late:  the  movies  need  "new  faces" 
—  throughout  its  operations. 

A  Peachy  Idea 
From  Georgia 

What  might  well  be  described  as  a 
peach  of  a  press  relations  job  is  the 
contest  recently  concluded  by  the  Mo- 
tion Picture  Theatre  owners  of  Georgia 


for  the  best  newspaper  stories  about 
motion  pictures. 

The  statewide  project,  designed  to 
"encourage  the  members  of  the  press 
to  evaluate  motion  pictures  through 
constructive  stories  and  articles  written 
about  motion  pictures  and  the  motion 
picture  theatre",  serves  a  two-fold  pur- 
pose. Through  the  up-beat  stories,  it 
helps  encourage  movie-going  by  the 
readers,  and,  just  as  important,  sets  the 
newspaper  people  to  thinking  about 
the  movie  business  in  an  affirmative 
manner. 

Here  is  a  fine  idea,  but  what  will 
happen  after  it  has  served  its  purpose 
in  this  limited  area?  Unfortunately,  its 
destiny  is  all  too  obvious.  Perhaps  a 
duplication  here  and  there,  and  then 
relegation  to  the  morgue  of  other  good 
ideas  that  were  used  in  isolated  spots 
and  forgotten. 

The  pit  of  it  is  that  organized  thea- 
tremen  can  do  a  whale  of  a  public 
relations  job,  but  the  way  to  coordinate 
the  good  single  ideas  still  hasn't  been 
found.  The  possible  answer,  we  believe, 
lies  in  an  all-exhibition  clearing  house 
for  activities  like  the  Georgia  MPTO 
press  relations  job  that  will  implement 
the  good  ideas  on  a  nation-wide  scale. 

If  this  can  be  accomplished,  the  in- 
dustry will  have  filled  one  of  its  most 
urgent  needs. 


MOVIES  OH  MDVIEGDING? 

( Continued  from  Page  9 ) 

ure.  Our  stock  in  trade  is  pleasing  the  public.  We  sell  the 
idea  that  it  is  a  pleasure  to  go  to  the  movies — whether  it  is  a 
pleasure  because  it  gets  us  out  of  the  house,  because  we  satisfy 
a  gregarious  urge,  because  the  pictures  are  so  wonderful,  or 
because  the  theatre  offers  a  change  from  day-to-day  life,  a  place 
where  daily  chores  and  problems  are  forgotten  in  a  dark,  dif- 
ferent world. 

Two  concurrent  principles  must  be  remembered  in  selling 
moviegoing  to  the  public.  One  is  that  the  general  sell  comes  in 
your  national  promotional  campaign;  the  other  point  is  that 
the  individual  theatre  must  use  a  specific  local  sell.  The  na- 
tional campaign  says  going  to  the  movies  is  good  for  your 
health,  your  morale.  The  local  campaign  says  that  the  pure 
filtered  air  at  the  Bijou  is  not  only  20°  cooler  but  also  ten 
times  purer  than  the  air  you  breathe  on  the  summer  street. 

Not  every  theatre  has  exactly  the  same  individual  sales  points 
to  make;  the  all-industry  campaign  makes  the  general  points 
that  are  applicable  to  all  theatres.  The  individual  theatre  must 
advertise  and  promote  its  own  institutional  appeal,  its  status 
in  the  community. 

There  is  one  tremendously  important  point  in  this  connec- 
tion that  must  be  made  vigorously  to  the  major  distributors. 


The  business  building  campaign  is  far  too  important  to  be 
made  a  junior  partner  to  standard  picture  promotion.  The 
business  building  campaign  should  buy  its  own  space,  have  its 
own  advertising  and  promotional  material;  it  should  never  go 
the  way  of  previous  industry  efforts,  ending  up  with  a  little 
"Go  to  the  movies"  slogan  thrown  in  as  a  P.S.  in  the  individual 
picture  advertising.  The  same  standard  applies  on  the  local 
level.  In  most  industries,  the  all-industry  promotional  cam- 
paign is  carefully  separated  from  individual  company  cam- 
paigns and  from  individual  retailer  campaigns  as  well.  This  is 
as  it  should  be  in  our  industry's  institutional  campaign. 

For  too  many  years,  exhibitors  have  heard  the  distributors' 
constantly  reiterated  contention  that  the  picture  sells  the  theatre 
all  the  time,  but  the  theatre  never  sells  the  picture.  Without 
minimizing  the  importance  of  the  picture,  it  would  be  good 
for  distributors  as  well  as  exhibitors  to  prove  that  the  motion 
picture  theatre  has — or  can  have — a  very  definite  personality 
and  clientele  of  its  own.  ^ 

In  the  old  days  the  travelling  salesman  was  ready  with  a 
whole  battery  of  answers  when  a  potential  customer  asked  him, 
"What  are  you  selling?"  We  should  be  armed  with  all  the 
answers  to  that  same  question.  And  we  had  better  not  wait  for 
the  question  to  be  asked.  If  American  business  waited  for  the 
customers  to  ask,  instead  of  whetting  the  customers'  interest, 
we  would  still  be  the  country  cousins.  What  are  we  selling? 
Let's  add  Moviegoing  to  our  stock  in  trade. 


Page  14       Film  BULLETIN    June  24,  1957 


was  this  just  the  doubfl 
that  all  lovers  feel 
...or  was  there  no  future, 

>  tomorro 
their  love 


Directed  by  DOUGLAS  SIRK  •  Produced  by  ROSS  HUNTER 
Screenplay  by  DANIEL  FUCHS  and  FRANKLIN  COEN  •  Adaptation  by  INEZ  COCKE 
Based  on  a  Screenplay  by  DWIGHT  TAYLOR  and  a  Story  by  JAMES  CAIN 


JUNE  ALLYSON 
ROSSANO  BRAZZI 

MARIANNE  COOK 
FRANCOISE  ROSAY 
KEITH  ANDES 

FRANCES  BERGEN  *  JANE  WYATT 

CINEMASCOPE  -  TECHNICOLOR, 


PRE-SOLD  to  the  vast  "WOMAN'S  MARKET" 

through  a  National  Magazine  Ad  Campaign  in  a  dozen 

top  publications  including  McCall's,  Redbook, 

Holiday,  Seventeen,  True  Confessions  j 

. . .  representing  a  readers/up  of  more  than  S&Af/CC/OA// 


k/kkk 

kasikemst 


MM 


wm 

BULLETIN 

t$  ccurJef 


Page  16       Fi'rn  BULLETIN    June  24,  I9E7 


/lie  Ttowyf 

MERCHANDISING  4 
EXPLOITATION  DEPARTMENT 


Allied  Planning  Its  Own 
Business-Building  Campaign 

Taking  a  dim  view  of  the  value  and  effective- 
ness of  the  Audience  Awards  Poll  and  the 
Academy  Awards  Sweepstakes,  especially  for 
sub-run  theatres.  Allied  States  Association,  dis- 
closed in  its  recent  "white  paper"  on  its  rela- 
tions with  COMPO  that  it  is  "considering  some 
form  of  contest  to  be  conducted  by  its  mem- 
bers". The  report  states: 

"There  is  an  imperative  need  for  a  business- 
building  program  and  the  need  of  the  subse- 
quent-run theatres  is  greatest  of  all.  No  repre- 
sentative of  theatres  of  that  class  would  dare 
oppose  a  business  building  plan  that  gave  prom- 
ise of  benefit  to  them.  But  discussions  at  Allied 
meetings  have  raised  grave  doubts  as  to  whether 
Audience  Polls  and  Academy  Awards  Sweep- 
stakes, as  heretofore  conducted,  are  of  benefit 
to  any  except  the  key  metropolitan  houses." 

In  a  survey  made  by  Allied  via  mail  question- 
naire to  exhibition  leaders  in  various  parts  of 
the  country,  it  was  revealed  that  both  the  Poll 
and  the  Sweepstakes  were  a  "total  failure  so  far 
as  the  subsequent-run  and  small  town  exhibitors 
are  concerned".  The  "white  paper"  belittles  the 
vague  success  claims  made  for  the  Sweepstakes 
in  light  of  the  results  produced  by  the  Allied 
study. 

Ining  Dollinger,  board  chairman  of  Allied 
Theatre  Owners  of  New  Jersey,  has  been  re- 
quested to  study  the  contest  idea,  in  which 
"European  tours  or  something  equally  attractive" 
would  be  offered  as  prizes.  Exhibitors  are  re- 
quested to  submit  their  suggestions  to  Dollinger. 
"What  Allied  wishes  to  avoid  is  the  futility  of 
asking  patrons  to  vote  on  pictures  that  have  not 
yet  been  shown  in  the  theatres  where  the  ballots 
are  distributed,*'  the  pamphlet  states. 

"The  motion  picture  business  throughout  its 
career  has  been  prolific  of  ideas",  the  report  de- 
clares, and  Allied  refuses  to  believe  that  repre- 
sentatives of  all  industry  elements  putting  their 
heads  together  could  not  devise  a  promotional 
scheme  that  would  be  beneficial  to  all  elements 
and  hence  worthy  of  support  of  all  elements." 

At  a  New  York  meeting  last  week,  COMPO 
declared  that  it  was  going  ahead  with  its  busi- 
ness building  plan.  Chief  features  of  the  pro- 
gram include  the  Audience  Awards  Poll,  Acad- 
emy Awards  Sweepstakes,  visits  to  editors  and 
publishers,  and  industry  short  subject,  and  a 
radio  promotion  test. 


-A-  Taking  aim  at  his  favorite  audience — kids 
from  nine-to-ninety — Walt  Disney  is  beating  the 
promotional  drums  for  his  forthcoming  "Perri" 
via  a  syndicated  21 -week  color  cartoon  strip 
scheduled  to  kick  off  July  7  in  the  Sunday  comic 
section  of  55  key-city  newspapers. 


Skouras  Announces  Special 
'Eve'  Distribution,  Promotion 

"A  highly  specialized  distribution  and  pro- 
motion program"  designed  to  garner  top  grosses 
in  every  stage  of  the  release  of  "The  Three 
Faces  of  Eve"  was  announced  by  Spyros  P. 
Skouras,  president  of  20th  Century-Fox  at  a 
recent  home  office  confab  of  sales,  promotional 
and  international  executives. 

Tabbing  the  forthcoming  CinemaScope  pro- 
duction as  "one  of  the  most  important  motion 
picture  subjects  ever  turned  out  by  the  studio," 
Skouras  classified  the  film  as  comparable  in  box- 
office  potential  to  two  former  provocative  20th 
dramas — "The  Snake  Pit"  and  "Gentleman's 
Agreement".  He  predicted  that  the  Nunnally 
Johnson  production  will  be  a  top  boxoffke  at- 
traction by  virtue  of  planned  pre-selling. 

"Three  Faces  of  Eve,"  the  story  of  a  woman 
who  possesses  three  distinct  personalities,  is 
scheduled  for  late  summer  release  in  New  York 
to  be  followed  up  by  carefully  selected  dates 
throughout  the  nation  capitalizing  on  the  nation- 
al promotional  buildup  that  will  be  developed 
via  every  type  of  communications  outlet — radio, 
TV,  magazines  and  newspapers. 

Among  the  executives  participating  in  the 
meeting  with  Mr.  Skouras:  Buddy  Adler,  studio 
production  chief  W.  C.  Michel,  executive  vice 
president;  vice  president  Charles  Einfeld  and 
key  members  of  his  promotion  staff,  general 
sales  manager  Alex  Harrison,  and  secretary- 
treasurer  Donald  Henderson. 


Departing  from  the  tried-and-tired,  Metro 
ad  chief  Si  Seadler  came  up  with  this  novel 
poster  for  New  York  City's  Plaza  Theater  to 
announce  a  four-day  facelifting  operation  in 
preparation  for  "The  Happy  Road",  by  happy 
coincidence  a  Metro  release.  Bypassing  the 
usual  "closed  for  alterations"  format,  Seadler 
contrived  quite  a  few  plugs  for  the  film  and  its 
benefit  premiere. 


EXPLOITATION  PICTURE 


OOfet  otAio!     PUSH  LOVE  S'  LOVE  &  LAUGHS 


GARY  COOPER 


"Not  since  the  gilded  Lubitsch  comedies  of  the 
Thirties  has  Hollywood  produced  anything  quite 
so  scintilating  and  mockingy  sophisticated  .  .  ." 
This  accolade  from  Film  BULLETIN'S  Film  of  Dis- 
tinction review  on  Billy  Wilder's  "Love  in  the 
Afternoon"  keys  a  glowing  notice  that  predicts 
this  Allied  Artists  release  will  emerge  as  "the  most 
dazzling,  and  possibly  the  best,  comedy  of  the 
year."  It  also  keys  the  romance-bubbling  cam- 
paign, spiced  with  slightly  amoral  nuances,  that 
whip  this  up  to  a  frothy  boxoffice  delicacy. 

The  trio  at  left  is  the  starting  point.  Certainly 
one  of  the  most  intriguing  star  combinations  in 
years  is  the  mating  of  Gary  Cooper,  Audrey  Hep- 
burn and  Maurice  Chevalier  for  the  marquee.  Each 
has  a  large  and  devoted  following,  peculiarly 
enough,  in  widely  assorted  segments  of  the  movie 
audience.  Together,  they  form  a  lure  that  should 
pull  not  only  their  own  fans,  but  a  sizable  fringe 
group  of  those  who  will  be  stimulated  by  the  off- 
beat casting.  The  two-column,  full-length  ad  at 
left  (intact  except  for  directional  credit)  points  up 
the  importance  of  the  star  combo.  Names,  of 
course,  are  not  necessary.  But  Cooper  as  an  inter- 
national lover,  Audrey  ideal  as  the  pixie  daughter 
of  a  detective  and  Chevalier  as  the  "not  so  very 
private  eye"  are  piquantly  appealing. 

No.  2  crowd-puller  is  the  light-hearted,  delight- 
fully gay  tone  that  literally  coos  "come-and-see" 
in  the  wide  variety  of  ads  uncorked  by  the  AA 
boxoffkers,  under  the  guidance  of  John  C.  Flinn 
and  Martin  Davis.  They  will  appeal  to  anyone  who 
has  a  speck  of  romance  in  his  or  her  heart,  some- 
times angling  for  the  sophisticates,  in  other  in- 
stances making  its  pitch  more  down  to  earth — but 
always  with  a  light,  bouncy  step.  Such  catchlines 
as:  "Some  people  fall  in  love  at  first  sight  .  .  ." 
but  nobody  in  Paris  can  wait  that  long!",  or  "It's 
more  likely  in  Paris  and  more  lovely  in  the  after- 
noon!" set  the  key.  Or  there's  cute  double-entendre 
verse  reeled  off  by  the  impish  Chevalier,  set  off 
in  L-shaped  ads  that  are  bound  to  catch  the  eye. 


And,  of  course,  there  are  stunts  of  all  kinds  to 
make  the  public  aware  of  the  title,  the  stars  and 
to  build  up  talk.  Since  there  is  little  doubt  that 
word-of-mouth  will  be  strong  on  "Love  in  the 
Afternoon  ",  the  exhibitor  can  exercise  his  show- 
man's license  in  tapping  any  legitimate  gimmick 
to  get  'em  in  and  start  'em  talking.  Since  the  stars 
are  such  definite  personalities,  for  instance,  the 
tried-and-true  "star  resemblance"  stunt  can  be 
brushed  up  into  a  search  for  a  "star  type"  for 
each  of  the  three  top  names,  with  the  local  news- 
paper an  important  cog  in  the  promotion.  Or  a 
variation  featuring  the  well-publicized  still  of 
Cooper  and  Audrey  romancing  under  a  chair,  with 
couples  best  simulating  the  pose  and  appearance  of 
the  starring  duo  getting  the  nod.  A  photographer 
in  the  lobby,  or  in  a  participating  store  or  photo 
studio,  can  do  himself  and  the  picture  a  lot  of  good 
taking  shots  of  contestants  (and  selling  copies  to 
those  who  like  extras). 

There  are  plenty  of  others — tie-ups  with  travel 
companies  featuring  the  Paris  locale  (and,  for  a 
group  of  theatres,  a  week-long  flying  trip  to  Paris 
for  a  lucky  young  couple  isn't  nearly  as  expensive 
as  it  sounds  and  loaded  with  publicity  value);  title 
tie-ins,  including  afternoon  screenings,  theatre 
sponsored  picnics  for  teenagers  themed  "Bring 
Your  Sweetheart  for  Fun  and  Love  in  the  After- 
noon". In  line  with  the  teenage  angle,  Seventeen 
featured  the  film  in  its  "Hollywood  Scene",  tied 
it  in  with  a  feature  on  the  Hepburn  hairdo  and 
hair  stylist  Dimitri's  creation  of  the  style  for  the 
film,  making  it  a  big  item  for  local  level  promo- 
tion with  Beauty  Editors  and  salons — a  wonderful 
place  to  get  talk  going! 

Special  screenings  for  representatives  of  the  fair 
sex  particularly  are  sure  to  circulate  word-of-mouth. 

But  whether  it's  the  star  lure,  the  ads,  the  stunts, 
the  screenings  or  a  combination  of  them  all,  make 
your  public  aware  of  "Love  in  the  Afternoon"  and 
they'll  make  you  aware  of  a  busy  boxoffice. 


THE  LOVE  IN  AFTERNOON'  STORY 

Producer-director-scenarist  Billy  Wilder  has  demonstrated  his  versatility  in  making  hits 
of  all  types  of  films,  from  "Ninotchka"  to  "Double  Indemnity",  from  "The  Major  and 
the  Minor"  to  "The  Lost  Weekend",  from  "Sabrina"  to  "Stalag  17".  Now,  the  enterprising 
Mr.  Wilder  has  laid  his  deft  hand  to  the  lighter  side  of  the  distinguished  ledger  once  again 
and  has  come  off  with  one  of  the  truly  delicious  film  tidbits  of  the  year  in  "Love  in  the 
Afternoon."  Featuring  three  film  personalitiees  from  widely  separated  orbits  of  moviedom, 
Wilder  has  extracted  a  romantic  amalgam  that  should  shine  like  pure  gold  at  the  boxoffice. 
His  screenplay  is  laid  in  Romance's  Elysian  Fields,  Paris,  and  unveils  Gary  Cooper  as  an 
American  lover  of  international  renown,  who  has  become  the  prey  of  detective  Maurice 
Chevalier,  specialist  in  obtaining  evidence  of  extra-marital  dalliance,  when  the  lady's  hus- 
band suspects  an  affair  between  Cooper  and  his  wife.  Chevalier's  daughter,  Audrey  Hepburn, 
entranced  by  her  father's  dossier  on  the  American,  manages  to  warn  Cooper  and  take  the 
erring  lady's  place  just  as  the  husband  bursts  in.  Thence  ensues  a  series  of  romantic  esca- 
pades between  the  worldly  American  and  the  innocent  Parisienne,  who  uses  Chevalier's  files 
to  build  a  femme  fatale  air  about  her  to  lure  Cooper.  The  unique  twist  comes  when 
Chevalier  is  hired  by  Cooper  to  check  on  the  girl  who  turns  out  to  be  his  own  daughter. 
Among  the  hilarious  details  is  the  continuous  appearance  of  a  band  of  gvpsy  musicians, 
part  of  the  Cooner  technique,  who  pop  up  in  the  unlikeliest  places,  and  eventually  at  the 
train  station  as  the  homeward  bound  American  sweeps  up  the  lovestruck  Audrey  to  take 
her  home  with  him  as  his  wife. 


Page  18        Film  BULLETIN    June  24,  1957 


EXPLOITATION  PICTURE  ion 


^glt's  more  likely  in  Paris 

and  more  lovely  in  the  afternoon 


THEATRE 


HflHHlPPI 


Film  BULLETIN    June  24,  1957       Page  19 


Marines  Offer  Promotional  Aid 
To  Exhibitors  on  Warners'  "D.I." 

Exhibitors  looking  for  an  exploitation  angle 
to  ballyhoo  engagements  of  Jack  Webb's  "The 
D.I."  need  look  no  further;  the  United  States 
Marines  are  joining  the  promotional  fray. 

An  order  "authorizing  and  encouraging  the 
participation  in  the  exploitation  of  the  motion 
picture"  has  been  sent  by  the  military  organiza- 
tion to  all  their  field  activities.  In  any  locality 
where  "The  D.I."  is  exhibited,  the  senior  Ma- 
rine officer  may,  at  his  discretion  offer  these 
modes  of  cooperation:  authorize  the  attendance 
of  individual  officers,  enlisted  men  or  award 
winners  from  the  local  area  at  the  premiere 
showing;  participate  in  ceremonies  on  the  the- 
atre stage  prior  to  the  screening;  furnish  bands 
and/or  drum  and  bugle  corps;  man  booths  and 
displays  in  or  outside  the  theatre,  or  other  ap- 
propriate locations  and  participate  in  radio-tele- 
vision interviews  over  local  outlets. 

Massive  Billboard  Campaign 
Set  by  U-l  on  'Night  Passage' 

The  James  Stewart-Audie  Murphy  starrer, 
"Night  Passage,"  will  be  backed  by  the  biggest 
national  billboard  campaign  ever  set  for  a  Uni- 
versal-International release,  it  was  announced  by 
U-I  vice  president,  David  A.  Lipton.  Keyed  to 
the  company's  policy  of  strong  pre-selling,  the 
extensive  outdoor  drive  for  the  Technirama 
production  will  kick  off  in  mid-June,  more  than 
a  month  in  advance  of  the  national  release  date 
and  smack  at  the  beginning  of  the  nation's  peak 
summer  traffic  season.  In  order  to  obtain  stra- 
tegic board  locations,  the  24-sheet  spots  were 
contracted  for  over  six  months  ago. 

To  be  utilized  in  the  cover-the-country  drive 
will  be  key  outdoor  locations  in  more  than  800 
communities  covering  67  major  market  areas. 
Supplementing  the  nationwide  campaign  will  be 
ads  in  national  magazines,  newspapers  and  nor- 
mal cooperative  advertising  media.  Long  an  ex- 
ponent of  billboard  advertising,  Lipton  had  pre- 
viously utilized  large-scale  outdoor  campaigns 
on  "To  Hell  and  Back"  and  "Battle  Hymn". 


Georgia  Exhibitors  Point 
Way  To  Better  Press  Relations 

Some  pointers  on  how  the  press  can  be  en- 
couraged to  treat  movie  news  favorably  are 
being  offered  by  the  Motion  Picture  Theatre 
Owners  of  Georgia.  Climaxing  a  contest  to 
stimulate  members  of  the  fourth  estate  to  write 
constructive  stories  about  motion  pictures  and 
movie  theatres,  the  MPTO  unit  at  its  forthcom- 
ing convention  (June  23-25)  will  award  prizes 
to  Georgia  journalists  for  the  best  newspaper 
stories  about  movies  entered  in  the  statewide 
competition  sponsored  by  the  organization. 

The  purpose  of  the  contest  is  described  thusly: 
"To  encourage  the  members  of  the  press  to 
evaluate  motion  pictures  through  constructive 
stories  and  articles  written  about  motion  pic- 
tures and  the  motion  picture  theatre."  Through 
such  stories,  the  MPTO  declares,  "newspaper 
readers  of  Georgia  will  be  immeasurably  bene- 
fited and  will  be  indebted  to  the  press  for  their 
guidance  towards  wholsesome  entertainment, 
especially  the  young  people." 

The  project,  undertaken  with  the  cooperation 
of  the  Georgia  Press  Association,  will  be  judged 
in  two  categories — daily  newspapers,  including 
the  Sunday  edition,  and  all  others.  Winners  in 
each  category  will  be  awarded  identical  prizes. 

Schine  Showman  Stages 
Bustling  'St.  Louis'  Campaign 

Jack  Mitchell,  manager  of  Schine's  Olympic 
Theatre,  Watertown,  New  York,  takes  a  back 
seat  to  nobody  but  nobody  when  it  comes  to 
exploiting  each  motion  picture  to  the  fullest. 
His  recent  campaign  on  "The  Spirit  of  St. 
Louis"  can  serve  as  a  model  of  topnotch  pro- 
motion to  managers  everywhere. 

Crowning  achievement  of  Mitchell's  attention- 
grabbing  drive  to  sell  the  Jimmy  Stewart  starrer 
to  Watertown  residents  was  the  promotion  of  a 
helicopter  to  deliver  the  film  to  the  public 
square  on  opening  day.  Needless  to  say,  the 
coverage  was  tremendous.  Local  newspapers  had 
a  full  complement  of  reporters  and  photogra- 
phers on  the  spot,  with  the  TV  outlet  chipping 
in  with  a  cameraman,  and  the  radio  station 
beaming  a  blow-by-blow  description  of  the  stunt 
to  its  listeners.  To  add  the  finishing  touch  to 
the  occasion,  the  showmanship-wise  manager 
had  waiting  motorcycle  escort  at  the  square  to 
rush  the  film  to  the  Olympic. 

Mitchell  backed  this  stunt  with  tie-ups  with 
the  Air  Force — a  lobby  display,  one-sheets 
posted  on  AF  boards,  visits  to  schools  by  Air 
Force  personnel  and  TV-radio  interviews  by 
the  "skyboys".  Another  of  Mitchell's  gimmicks 
that  attracted  beaucoup  attention  was  a  lobby 
display  of  newspapers  covering  the  original 
flight  of  the  Lindbergh  plane. 

i  Female  exploiteer  extraordinaire  Nadine 
Ducas  tells  some  of  her  ballyhoo  tricks  for 
"Love  in  the  Afternoon"  to  M.  J.  E.  McCarthy, 
manager  of  the  Allied  Artists  exchange  in  Los 
Angeles.  The  French  actress  is  touring  Far  West- 
ern states  in  connection  with  openings  of  the 
Billy  Wilder  production. 


ner  Bros."  "The  Prince  and  the  Showgirl"  at  New 
York's  Radio  City  Music  Hall.  Top:  Warner 
Bros,  president  Jack  L.  Warner  with  Mr.  and 
Mrs.  Arthur  Miller.  Center:  C.  V.  Whitney,  pro- 
ducer of  "The  Missouri  Traveler",  Gail  Whit- 
ney, Mrs.  C.  V.  Whitney.  Bottom:  Robert  S. 
Taplinger,  WB  vice  president,  and  Joan  Kemp. 

20th  designer  Charles  LeMaire,  on  a  tour 
of  the  nation's  leading  department  stores  to 
plug  the  Spencer  Tracy-Katherine  Hepburn  com- 
edy, "Desk  Set",  chats  with  young  stars  Rachel 
Stephens  (left)  and  Alena  Murray  in  Newark, 
New  Jersey,  at  Bamberger's  Department  Store. 
LeMaire's  visit  was  heralded  by  extensive  news- 
paper advertising  and  special  window  and  in- 
store  displays  keyed  to  the  local  opening  of 
the  CinemaScope  production. 


Page  20       Film  BULLETIN    June  24,  1957 


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THEY 


MADE  THE  NEWS 

COMPO,  at  a  special  meeting  last  week, 
amended  its  bylaws,  implemented  its  busi- 
ness-building campaign  and  took  steps  to 
bring  National  Allied  back  into  the  fold.  It 
is  unlikely  their  efforts  will  prove  sufficient, 
at  least  as  measured  against  the  demands 
outlined  in  the  "white  paper"  issued  by 
Allied  recently.  The  meeting  of  the  board 
of  directors  and  the  executive  committee  (1) 
established  a  75  per  cent  majority  vote  rule 
in  the  executive  committee  and  board  as  de- 
manded by  Allied,  and  (2)  authorized  its 
negotiations  committee  to  hold  further  talks 
with  Allied  in  an  effort  to  get  that  group  to 
rejoin.  At  the  same  time,  however,  COMPO 
appeared  to  militate  against  these  peace-mak- 
ing efforts  by  also  establishing  the  unit  rule, 
whereby  each  representative  on  COMPO 
would  get  but  one  vote,  a  situation  Allied  in 
its  "white  paper"  countenanced  as  placing  it 
"on  a  par  with  the  smallest  member  of 
COMPO".  And  further,  the  meeting  did  not 
indicate  what  would  be  the  status  of  Robert 
Coyne,  now  a  member  of  the  triumvirate,  if 
Allied  should  rejoin.  In  its  complaint,  Al- 
lied indicated  it  felt  Coyne  should  only  stick 
to  his  duties  as  COMPO  special  counsel.  In 
other  business,  the  COMPO  meeting  gave 
the  green  light  to  its  11-point  business-build- 
ing program  by  authorizing  a  multi-million 
dollar  financing  plan  via  film  rental  levies 
and  an  equal  distributor  contribution.  Co- 
lumbia vice  president  Abe  Montague,  TOA 
president  Ernest  Stellings  and  three  others 
(to  be  named)  will  handle  the  drive.  The 
program  will  be  launched  October  I.  The 
financial  drive  is  scheduled  to  get  underway 
August  1.  Exhibition  spokesmen  at  the  ses- 
sion, led  by  Stellings,  Samuel  Rosen,  Walter 
Reade,  Jr.  and  Emanuel  Frisch,  insisted  that 
the  business-building  drive  be  of  an  institu- 
tional nature.  The  public  interest  in  movie- 
going  must  be  revived,  they  argued,  and 
Stellings  flatly  declared  that  TOA  would  not 
go  along  with  any  campaign  that  did  not 
stress  the  institutional  phase. 

0 

ABRAM  F.  MYERS'  sure  hand  was  evident 
all  over  the  comprehensive  and  detailed 
"white  paper"  issued  by  National  Allied  re- 
cently, airing  the  whys  and  wherefores  of 
Allied's  withdrawal  from  COMPO.  Along 
the  way,  the  Allied  counsel's  16-page  report 
takes  pot  shots  at  the  COMPO  governing 
group,  at  special  counsel  Robert  W.  Coyne, 
at  what  it  considers  COMPO's  financial 
profligacy.  Issued  on  the  authority  of  Al- 
lied's board  of  directors,  the  paper  is  being 
circulated  "to  scotch  in  advance  the  misrep- 
resentations that  so  often  accompany  any 
controversy  involving  exhibitors  and  distri- 
butors," but  most  importantly  "to  raise  for 
the  careful  consideration  of  subsequent-run 
and  small  town  exhibitors  the  question  of 
whether  COMPO  in  recent  years  has  been 
conducted  in  their  interest"  and  whether, 
under  the  conditions  laid  down  by  the  COM- 


PO triumvirate  for  Allied's  return,  "they  can 
hope  to  benefit  from  COMPO  in  the  future". 
The  "white  paper"  states  as  the  reason  for 
Allied's  withdrawing  in  the  fall  of  1955:  its 
disappointment  at  the  lack  of  support  for  its 
anti-Toll  TV  plans,  and  what  it  called  "the 
frittering  away  of  COMPO's  nest  egg 
(gained  through  the  successful  1953-54  tax 
campaign)  with  no  major  prospects  in  the 
work".  In  its  resolution,  the  Allied  board 
voted  not  to  renew  its  charter  membership 
in  COMPO  "until  such  reforms  in  manage- 
ment and  changes  in  personnel  have  been 
effected  as  will  insure  that  organization's 
operation  in  conformity  to  the  by-laws  and 
in  accordance  with  the  intendment  of  the 
founders".  Allied  then  chronicles  the  sub- 
sequent see-saw  between  it  and  COMPO  via 
letters,  telegrams  and  discussions,  leaving 
both  groups  as  widely  disassociated  as  be- 
fore. The  paper  takes  note  of  Allied's  dis- 
satisfaction with  Robert  W.  Coyne  as  a  mem- 
ber of  the  triumvirate,  a  position  to  which 
he  was  elevated  when  Allied's  Wilbur  Snap- 
er  resigned.  It  details  COMPO's  most  recent 
demands  that  Allied  must  agree  to  certain 
changes  in  the  organization  and  procedures 
in  advance  of  re-entry,  which,  the  paper 
finds,  would  be  "repugnant"  to  Allied;  and 
the  paper  ends:  "COMPO  will  never 
function  properly  and  in  accordance  with  the 
intendment  of  its  founders  so  long  as  it 
persists  in  going  over  the  heads  of  the  es- 
tablished exhibitor  organizations,  seeking  to 
enlist  the  support  of  their  members  for  pro- 
jects about  which  they  have  not  been  con- 
sulted or  which  they  oppose". 

0 

JOSEPH  R.  VOGEL  took  the  opportunity  of 
a  trade  press  conference  to  express  his  faith 
in  the  future  in  terms  of  Loew's  upcoming 
spectacle,  "Raintree  County".  The  Loew's 
president  hosted  trade  editors  and  publishers 
at  a  New  York  luncheon,  the  first  such  af- 
fair called  since  he  assumed  the  presidency 
seven  months  ago.  He  told  them  that  "Rain- 
tree  County",  starring  Elizabeth  Taylor, 
Montgomery  Clift  and  Eva  Marie  Saint,  rep- 
resents the  "culmination  of  a  decade  of  plan- 
ning" and  that  now  MGM  has  "another  pic- 
ture of  great  dimensions  from  every  stand- 
point." World  premiere  is  tentatively  set 
for  Louisville,  Kentucky,  with  engagements 


to  start  in  October  in  New  York,  Chicago, 
Philadelphia,  Los  Angeles,  Boston  and  San 
Francisco.  Large  promotion  plans  are 
planned  for  each  engagement.  Filmed  in 
MGM's  new  "Camera  65"  process,  it  will 
present,  according  to  Vogel,  "the  clearest, 
brightest  picture  seen  in  any  theatre".  Also 
present  at  the  luncheon  were  sales  head 
Charles  Rev  Reagan,  assistant  sales  toppers 
John  P.  Byrne  and  Robert  Mochrie  and  Silas 
Seadler,  advertising  manager. 

o 

CONCILIATION  was  given  a  unanimous 
stamp  of  approval  by  exhibition-distribution 
group  working  on  the  arbitration-concilia- 
tion program.  With  that  phase  out  of  the 
way,  the  negotiators  then  turned  their  at- 
tention to  the  arbitration  phase,  which  is 
certain  to  be  a  much  tougher  nut  to  crack. 
The  conference  wasted  no  time  in  agreeing 
to  the  conciliation  program  as  drawn  up  by 
the  drafting  committee  named  at  a  previous 
meeting.  To  prepare  for  the  next  meeting, 
scheduled  for  July  15,  the  committee  on  ad- 
ministrative arrangements  was  asked  to  make 
a  full  report  on  its  recommendations  for  the 
most  effective  and  economic  method  of  con- 
ducting arbitration  for  the  industry.  This 
committee  consists  of  Adolph  Schimel,  rep- 
resenting distribution,  Herman  Levy  for 
TOA,  and  Wilbur  Snaper  for  Allied. 

o 

ERIC  JOHNSTON  made  known  last  week 
that  United  Artists  had  returned  to  member- 
ship in  the  Motion  Picture  Association  of 
America.  The  move  by  UA  followed  by  less 
than  a  week  the  announcement  by  the  MPAA 
that  it  had  revised  its  Production  Code  ap- 
peals board  to  include  exhibitors  and  inde- 
pendent producers  outside  the  MPA.  Here- 
tofore the  board  consisted  of  only  the  major 
producing  companies,  all  MPA  members. 
United  Artists  had  withdrawn  from  the  or- 
ganization in  1955  after  one  of  its  films, 
"The  Man  With  the  Golden  Arm"  was 
denied  a  Production  Code  seal  because  of  its 
treatment  of  the  narcotic  subject.  Last  De- 
cember a  revised  Production  Code  was  issued 
which  partially  lifted  the  ban  on  such  sub- 
ject matter.  The  new  appeals  board  will 
consist  of  MPA  president  Johnston,  represen- 
tatives of  the  nine  member  companies  and 
an  equal  number  appointed  from  exhibition 
and  outside  producers.  Under  the  new  set- 
up, any  MPA  member  refusing  to  abide  by  a 
decision  of  the  appeals  board  will  be  ex- 
pelled from  the  latter  body.  The  MPA,  by- 
its  new  procedure,  hopes  to  "truly  make  the 
Code  system  representative  of  the  entire  in- 
dustry". 


Loew's  president  Joseph  R.  Vogel  and  sales 
chief  Charles  M.  Reagan  discussing  upcom- 
ing "Raintree  County"  at  first  trade  press 
called  by  Vogel  since  assuming  presidency. 


Page  22       Film  BULLETIN    June  24,  1957 


THEY 


MONTAGUE 


ABE  MONTAGUE  was  spotlighted  by  the 
movie  industry  at  a  testimonial  banquet  June 
19  at  the  Waldorf-Astoria  Hotel.  The  affair 
honored  the  Columbia  executive  for  his  work 
as  president  of  the  Will  Rogers  Memorial 
Hospital,  a  post  he  has  held  for  a  number 
of  years.  During  his  tenure  many  improve- 
ments and  advances  were  made  at  the  hos- 
pital, run  for  tuberculars  at  Saranac  Lake, 
N.  Y.  Some  1200  guests  were  present  at  the 
affair  in  the  Waldorf's  grand  ballroom,  with 
many  notable  industryites  among  the  dais- 
sitters.  Texas  theatreman  R.  J.  O'Donnell 
presented  Montague  with  a  testimonial 
plaque  for  his  work  on  behalf  of  the  hos- 
pital, and  S.  H.  Fabian,  treasurer  of  the  insti- 
tution, announced  the  establishment  of  an 
"A.  Montague  Fellowship"  for  study  there. 
The  day  following  the  testimonial,  a  special 
train  carried  members  of  the  board  of  direc- 
tors and  the  press  to  Saranac  Lake,  N.  Y., 
for  the  annual  inspection  tour  of  the  Hos- 
pital. Approximately  100  people  from  mo- 
tion pictures,  radio  and  television  took  part 
in  the  junket. 

O 

PHILIP  F.  HARLING  brought  home  some 
good  news  on  Small  Business  Administration 
loans  following  meetings  with  administrator 
Wendell  Barnes  in  Washington  recently. 
Barnes  declared  that  the  Administration 
would  now  accept  mortgage  loan  applications 
up  to  S250,000  payable  in  ten  years,  and  that 
the  SBA  would  appraise  the  value  of  the 
real  property  and  if  the  liquidating  value, 
in  event  of  default,  was  sufficient  to  repay 
the  loan,  they  would  grant  an  application 
up  to  90  per  cent  of  the  appraised  value. 
Harling,  TOA's  SBA  committee  chairman, 
argued  for  more  lenient  and  clearer  regula- 
tions on  loan  application  policy,  particularly 
where  the  exhibitor  must  accompany  his  ap- 
plication with  a  statement  that  he  cannot 
obtain  credit  elsewhere.   This,  said  Harling, 


is  "undignified  and  not  consistent  with  good 
business  practices." 

0 

SPYROS  P.  SKOURAS,  20th- Fox  president, 
was  among  four  executives  of  that  company 
appointed  to  the  board  of  NTA  Film  Net- 
work, Inc.,  which  leases  Fox  films  to  TV 
stations.  Other  Fox  officials  named  to  the 
board:  treasurer  Donald  Henderson,  execu- 
tive vice-president  William  C.  Michel,  chief 
attorney  Otto  Koegel.  Announcement  was 
made  to  NTA  president  Ely  Landau.  Fox 
obtained  50  per  cent  of  the  stock  of  the 
company  from  National  Telefilm  Associates 
in  1956  when  latter  company  acquired  tele- 
vision rights  to  a  large  number  of  feature 
films  from  the  2()th-Fox  library.  Fox  is  pre- 
paring to  produce  three  TV  series  for  NTA 
Network  use. 

0 

PARAMOUNT  won  the  court  tiff  in  which 
an  injunction  was  sought  by  a  group  of 
Philadelphia  exhibitors  preventing  Para- 
mount from  distributing  "The  Ten  Com- 
mandments" via  "interim"  bookings  in  a 
limited  number  of  key  theatres.  The  injunc- 
tion was  denied  in  U.  S.  District  Court  by 
Judge  Allan  K.  Grim.  After  hearing  evi- 
dence from  Paramount  sales  executive 
Charles  Boasberg,  and  from  Sylvan  M. 
Cohen  and  Edwin  P.  Rome,  counsel  for 
eleven  theatres,  Judge  Grim  said  that  it  was 
not  clear  from  the  proof  presented  that  the 
new  method  of  distribution  was  illegal.  Ex- 
hibitor testimony  charged  violation  of  the 
consent  decree  in  Paramount's  plan  of  sub- 
mitting the  picture  for  competitive  bidding, 
then  choosing  only  five  theatres  from  a  po- 
tential 42  key  runs  to  show  the  film  before 
it  was  released  generally.  Boasberg  claimed 
the  company  was  interested  only  getting  the 
maximum  rental  out  of  the  picture,  which 
it  needed  because  of  "Commandments" 
great  cost. 

o 

LOUIS  B.  MAYER,  former  MGM  studio 
head  announced  plans  to  return  to  independ- 
ent production.  The  industry  veteran,  who 
in  1924  merged  his  independent  company 
with  two  others  to  form  Metro-Goldw  yn- 
Mayer,  revealed  that  Louis  B.  Mayer  Enter- 
prises would  film  the  Alan  Jay  Lerner-Fred- 
erick  Loewe  musical,  "Paint  Your  Wagon", 
in  association  with  Jack  Cummings  Produc- 
tions, Inc.  Cummings,  a  nephew  of  Mayer, 
is  a  former  staff  producer  at  MGM.  He  re- 
signed last  December.  Mayer  left  MGM  in 
August,  1951.  According  to  Cummings,  both 
he  and  Mayer  will  concentrate  on  this  one 
project  as  a  way  of  being  a  "truly  independ- 
ent company".  Filming  w  ill  start  in  Septem- 
ber. No  distribution  arrangements  have  been 
made. 

o 

HERBERT  J.  YATES  announced  a  S1.500,- 
000  expansion  program  for  Republic  Pictures 
studios,  necessitated  by  a  booming  business 
in  space  rental.  The  company  president  said 
that  Republic  expects  to  have  its  biggest  year 
for  independent  feature  and  television  com- 
pany rentals  in  1957,  and  that  six  new  sound 
stages  and  22  cutting  rooms  will  be  added 
to  the  present  facilities.  Yates  also  pointed 
out  that  Republic  recently  spent  S  1,200,000 
in  expanding  Consolidated  Film  Industries 
Laboratories  to  expedite  the  processing  of  a 


steadily  mounting  volume  of  film  from  the- 
atrical and  TV  producing  companies  using 
Republic  studios.  Republic's  own  feature 
production  has  been  at  a  virtual  stand-still. 


HEADLINERS... 


BEN  MARCUS  re-elected  president  of  Wis- 
consin Allied  at  organization's  recent  conven- 
tion. Marcus  is  pres.  of  S  &  M  Theatres  .  .  . 
Loews  Theatres  president  LEOPOLD 
FRIEDMAN  and  Mrs.  Friedman  in  Los  An- 
geles to  view  forthcoming  films  of  both 
major  producers  and  independents  .  .  .  RKO 
board  chairman  THOMAS  F.  O'NEIL  and 
world-wide  distribution  head  WALTER 
BRANSON  home  following  a  month's  tour 
of  RKO  offices  in  Europe  .  .  .  U-I  sales  top- 
per CHARLES  J.  FELDMAN  dropped 
anchor  in  San  Francisco  after  a  six  week's 
trip  to  the  Far  East  .  .  .  American  Interna- 
tional president  JAMES  11.  NICHOLSON 
returned  from  London  where  he  supervised 
start  of  AIP's  first  overseas  production,  "The 
Cat  Girl"  .  .  .  U-I  Eastern  advertising  and 
publicity  dept.  manager  CHARLES  SIMON- 
ELLI  back  in  New  York  following  coast 
meetings  with  v. p.  DAVID  A.  LIPTON  .  .  . 
Loew's  president  JOSEPH  R.  VOGEL  an- 
nounced signing  of  long-term  contract  with 
producer  AARON  ROSENBERG,  for  eight 
years  associated  with  Universal  and  now  an 
independent  under  the  Areola  Pictures  ban- 
ner. Among  his  monev -makers:  "The  Glenn 
Miller  Story",  "To  Hell  and  Back"  .  .  . 
Long-time,  old-time  cinemacter  NILS  AS- 
THER  joined  Louis  W.  Kellman  Productions 
as  special  representative  working  w  ith  indus- 
trial  filmmaking   .   .   .   20th-Fox  executive 


Mrs.  Jeanette  Cohn  admires  picture  of  an  instru- 
ment sterilizer  donated  by  Columbia  home  office 
employees  to  the  Will  Rogers  Hospital  in  memory 
of  her  late  husband,  Jack  Cohn,  co-founder  of 
Columbia.  Holding  the  picture,  Abe  Montague, 
hospital  president.  Observing:  Lillian  Stark,  secre- 
tary and  fund  raising  chairman,  son  Ralph  Cohn, 
and  Col.  v. p.  Abe  Schneider. 

producer  BUDDY  ADLER  announced  sign- 
ing of  new  contract  w  ith  producer  SAMUEL 
G.  ENGEL  now  an  independent.  Engel  has 
been  with  Fox  since  its  inception  in  1933 
.  .  .  Columbia  sales  chief  ABE  MONTAGUE 
instructed  sales  force  to  accept  "Jeanne 
Eagels"  bookings  in  key  cities  only  when 
playdate  can  be  set  definitely  four  weeks  in 
advance.  Montague  considers  this  minimum 
time  to  mount  local  advertising  and  promo- 
tional campaign  .  .  .  Buena  Vista  sales  head 
LEO  F.  SAMUELS  announced  that  the  Dis- 
ney distribution  arm  will  hold  its  2nd 
national  sales  convention  the  week  of  August 
26  at  Disney's  Burbank  Studio.  It  will  be 
combined  with  company's  first  international 
sales  conclave  .  .  .  National  Screen  Service 
will  distribute  MGM's  trailers  beginning 
Sept.  1,  according  to  announcement  by 
Loew  s  sales  head  CHARLES  M.  REAGAN. 
Move  was  made  in  the  best  interests  of  ex- 
hibitors and  the  company  and  is  "in  line  with 
the  economics  of  our  business  today",  Reagan 
stated  .  .  .  New  England  Variety  Clubs 
Jimmy  Fund  to  kick  off  with  Boston  Red 
Sox-Milwaukee  Braves  baseball  game  July 
22  at  Fenwav  Park,  according  to  Variety 
executive  director  WILLIAM  S.  KOSTER 
.  .  .  TED  KRASSNER  placed  in  charge  of 
group  sales  of  Cecil  B.  DeMille's  production 
of  "The  Ten  Commandments"  bv  world- 
wide sales  topper  CHARLES  BOASBERG 
.  .  .  MARRIED:  LINDA  EINFELD,  daugh- 
ter of  20th-Fox  vice  president  CHARLES 
EINFELD,  to  John  B.  Hirsch  of  Chicago, 
June  14. 


Film  BULLETIN    June  24,  1957        Page  23 


1 HIS  IS  YOUR  PRODUCT 


All  The  Vital  Details  on  Current  &)  Coming  Features 

(Date  of  Film  BULLETIN  Review  Appears  At  End  of  Synopsis)- 


ALLIED  ARTISTS 


March 

ATTACK  Of  THE  CRAB  MONSTERS  Richard  Garland. 
Pamela  Duncan.  Producer-director  Roger  Corman. 
Science-fiction.  Hideous  monsters  take  over  remote 
Pacific  Island.  68  min. 

FOOTSTEPS  IN  THE  NIGHT  Bill  Elliot,  Don  Haggerty. 
Producer  Ben  Schwalb.  Director  Jean  Yarbrough.  Melo- 
drama. Man  is  sought  by  police  foi  murder  of  his 
friend.  62  min. 

NOT  OF  THIS  EARTH  Paul  Birch,  Beverly  Garland. 
Producer-director  Roger  Corman.  Science-fiction.  Series 
of  strange  murders  plagues  large  western  city.  67  min. 


April 


BADGE  OF  MARSHALL  BRENNAN  Jim  Davis,  Carl 
Smith,  Arleen  Whelan.  Producer-director  Albert  C. 
Gannaway.  Western.  76  min. 

DRAGOON  WELLS  MASSACRE  Barry  Sullivan  Moiia 
Freeman.  Dennis  O'Keefe.  Producer  Lipdiley  Parsons. 
Director  Harold  Schuster.  Western.  Apaches  attack 
stockade  in  small  western  town.  81  min. 


May 


DESTINATION  60,000  Preston  Foster,  Coleen  Gray,  Jeff 
Donnell.  A  Gross-Krasne  Production.  Director  G.  Wag- 
gner.  Drama.  Pilot  flys  new  jet,  with  revolutionary 
type  fuel,  for  first  time.    65  min. 

LET'S  BE  HAPPY  CinemaScope,  Color.  Vera  Ellen,  Tony 
Martin,  Robert  Fleming.  Producer  Marcel  Hellman. 
Director  Henry  Levin.  Musical.  Small-town  girl  meets 
washing  machine  inventor  in  Paris.  105  min. 
OKLAHOMAN,  THE  CinemaScope,  DeLuxe  Color.  Joel 
McCrea,  Barbara  Hale.  Producer  Walter  Mirsch.  Di- 
rector Francis  Lyon.  Western.  Doctor  helps  rid  town 
of  unscrupulous  brothers.  81  min. 

PERSUADER,  THE  William  Talman,  Kristine  Miller, 
James  Craig.  Producer-director  Dick  Ross.  Western. 
Preacher  wins  rough  town  over  with  love — not  guns. 
72  min. 


June 


CALYPSO  JOE  Herb  Jeffries,  Angie  Dickenson.  Pro- 
ducer William  Broidy.  Director  Edward  Dein.  Musical. 
Former  sweetheart  wins  girl  away  from  South  Ameri- 
can millionaire.    76  min. 

HOT  ROD  RUMBLE  Leigh  Snowden,  Richard  Hartunian. 
Producer  Norman  Herman.  Director  Les  Martinson. 
Melodrama.  Story  of  a  drag  racer  and  his  fight  for 
acceptance.    79  min. 

SPOOK  CHASERS  Huntz  Hall,  Stanley  Clements.  Pro- 
ducer Ben  Schwalb.  Director  George  Blair.  Comedy. 
Bowery  boys  get  tangled  up  with  spooks  and  hoodlums. 
62  min. 


July 


DAUGHTER  Of  DR.  JEKYLL  John  Agar,  Gloria  Talbot, 
AftJfcur  Shields.  Producer  Jack  Pollexfen.  Director 
Edgar  Unger.    Horror.    71  min. 

DINO  Sal  Mineo,  Brian  Keith,  Susan  Kohner.  Producer 
Bernice  Block.  Director  Thomas  Carr.  Drama.  Social 
case  worker  helps  young  criminal  reform.  94  minutes. 
DISEMBODIED.  THE  Paul  Burke,  Allison  Hayes,  Joel 
Marston.  Producer  Ben  Schwalb.  Director  Walter 
Graumann.  Horror.  Doctor's  wife  practices  voodoo  in 
in  African  jungle.  70  min. 

LOVE  IN  THE  AFTERNOON  Color.  Gary  Cooper, 
Audrey  Hepburn,  Maurice  Chevalier.  Producer-director 

Billy  Wilder.  Comedy.  An  American  playboy's  romantic 
adventures  in  Paris.    130  min. 

August 

AQUA  DIVE  GIRL  Mara  Corday,  Pat  Conway,  Florence 
Marly.  Producer  Norman  Herman.  Adventure.  66  min. 
FROM  HELL  IT  CAME  Tod  Andrews,  Tina  Carver.  Di- 
rector Jack  Milner.    Director  Dan  Milner. 


September 


DEATH  IN  SMALL  DOSES  Peter  Graves,  Mala  Powers, 
Chuck  Conners.  Producer  R.  Heermance.  Director  J. 
Newman.  Melodrama.  Investigator  cracks  ring  selling 
illegal  pills  to  truckers.  74  minutes. 
HUNCHBACK  OF  NOTRE  DAME,  THE  CinemaScope, 
Color.  Gina  Lollobrigida,  Anthony  <?uinn.  A  Paris 
Production.  Director  Jean  Delannoy.  Drama.  Hunch- 
back falls  in  love  with  beautiful  gypsy  girl.  88  min. 
LOOKING  FOR  DANGER  Hunti  Hall,  Stanley  Clements. 
Producer-director  Richard  Heermance. 


Coming 


CYCLOPS  James  Craig,  Tom  Drake,  Lon  Chaney, 
Gloria  Talbot.    A  B-H  Production. 

FEVER  TREE,  THE  John  Casavetes,  Raymond  Burr,  Sara 
Shane.   A  Dudley  Production. 

Film 


MAN  FROM  MONTEREY  Sterling  Hayden,  Pamela  Dun- 
can, Ted  de  Corsia.  Producer  D.  J.  Grut.  Director 
Sidney  Franklin,  Jr.  Melodrama.  Outlaw  leaves  buddy 
to  die,  thinking  him  dead.  76  minutes. 
WALK  TALL  CinemaScope,  Color,  Joel  McCrea,  Vir- 
ginia Mayo. 


COLUMBIA 


March 

FUEL  OF  LIFE  Judy  Holliday,  Richard  Conte, 
Salvatore  Baccaloni.  Producer  Fred  Kohlmar.  Director 
Richard  Quine.  Comedy.  Struggling  writer  and  wife 
are  owners  of  new  home  and  are  awaiting  arrival  of 
child.  91  min.  1/7. 

MAN  WHO  TURNED  TO  STONE,  THE  Victor  Jory,  Ann 
Doran.  Producer  Sam  Katzman.  Director  Leslie  Kardos. 
Mad  doctor  discovers  secret  of  prolonged  life.  Horror. 
80  min.  2/18. 

SHADOW  ON  THE  WINDOW,  THE  Betty  Garrett,  Phil 
Carey,  Corey  Allen.  Producer  Jonie  Tapia.  Director 
William  Asher.  Melodrama.  Seven-year  old  boy  is  the 

only  witness  to  a  murder.  73  min.  3/4. 
ZOMBIES  OF  MORA  TAU  Gregg  Palmer,  Allison  Hayes. 
Producer  Sam  Katzman.  Director  Edward  Kahn.  Horror. 
Zombies  live  on  sunken  ship  with  huge  fortune  of  dia- 
monds. 70  min. 


April 


GUNS  AT  FORT  PETTICOAT  Audie  Murphy,  Kathryn 
Grant.  Producer  Harry  Joe  Brown.  Director  George 
Marshall.  Western.  Army  officer  organizes  women  to 

fight  off  Indian  attack.  131  min. 

PHANTOM  STAGECOACH,  THE  William  Bishop,  Rich- 
ard Webb.  Producer  Wallace  MacDonald.  Director  Ray 
Nazarro.  Western.  Outlaws  attempt  to  drive  stage 
coach  line  out  of  business.  6?  min. 

TALL  T,  THE  Randolph  Scott,  Richard  Boone,  Maureen 
Sullivan.  A  Scott-Brown  Production.  Director  Budd 
Boetticher.  Western.  A  quiet  cowboy  battles  o  be 
independent.  78  min. 


May 


ABANDON  SHIP  CinemaScope.  Tyrone  Power,  Mai 
Zetterling.  Producer-director  Richard  Sale.  Drama. 
Story  of  a  group  of  people  who  survive  the  sinking 
of  a  luxury  liner.    100  min. 

GARMENT  JUNGLE,  THE  Lee  J.  Cobb,  Kerwin  Mat- 
thews, Richard  Boone.  Producer  Harry  Kleiner.  Di- 
rector Ribert  Aldrich.  Drama.  Dog-ea-dog  world  of 
Manhattan's  clothing  center.  88  min. 

HELLCATS  OF  THE  NAVY  Ronald  Reagan,  Nancy  Davis, 
Arthur  Franz.  Producer  Charles  Schneer.  Director  Na- 
than Juran.  Drama.  Story  of  the  Hellcat  submarines 
durinrj  World  War  II.  82  min.  4/15. 

SIERRA  STRANGER  Howard  Duff,  Gloria  McGhee.  Pro- 
ducer Norman  Herman.  Director  Lee  Sholem.  Western. 
Miner  file  gold  claim  during  the  '49  California  Gold 
Rush.    74  min.  5/13. 

STRANGE  ONE,  THE  Ben  Ganara,  James  Olsen,  George 
Peppard.  Producer  Sam  Spiegel.  Director  James  Gar- 
fein.  Drama.  Cadet  at  military  school  frames  com- 
mander and  his  son.  100  min.  4/15. 


June 


BEYOND  MOMBASA  Technicolor,  CinemaScope.  Cor- 
nell Wilde,  Donna  Reed.  Producer  Tony  Owen.  Direc- 
tor George   Marshall.    Adventure.   Leopard   Men  seek 

to  keep  Africa  free  of  white  men.  90  min. 
BURGLAR,  THE  Dan  Duryea,  Jane  Mansfield,  Martha 
Vickers.  Producer  Louis  Kellman.  Director  Paul  Kend- 
kos.  Melodrama.  Jewel  thieves  plan  theft  of  spiritual- 
ist's valuable  necklace.  90  min.  5/13. 
CALYPSO  HEAT  WAVE  Johnny  Desmond,  Merry  An- 
ders, Meg  Myles.  Director  Fred  Sears.  Musical.  Array 
of  calypso-style  singers.  86  min. 

NIGHT  THE  WORLD  EXPLODED,  THE  Kathryn  Grant, 
William  Leslie.  Producer  Sam  Katzman.  Director  Fred 
Sears.  Science-fiction.  Scientist  saves  world  by  pre- 
venting explosion.    64  min. 

GIANT  CLAW,  THE  Jeff  Morrow.  Mara  Corday.  Pro- 
ducer Sam  Katzman.  Director  Fred  Sears.  Science- 
fiction.  Giant  bird  from  outer  space  threatens  to  de- 
stroy world.  76  min. 


July 


FIRE  DOWN  BELOW  CinemaScope,  Technicolor.  Rita 
Hayworth,  Robert  Mitchum,  Jack  Lemmon.  A  War- 
wick Production.  Director  Robert  Parrish.  Drama. 
Cargo  on  ship  is  ablaze.  Gravity  of  situation  is  in- 
creased by  highly  explosive  nitrate.  116  min. 


27TH  DAY,  THE  Gene  Barry,  Valerie  French.  Producer 
Helen  Ainsworth.  Direotor'  William  Asher.  Science- 
flefion.   People,  from  outer  space  plot  to  destroy  all 

human  life  on  the  earth.  75  min.  5/7. 


Coming 


ADMIRABLE  CRICHTON,  THE  Technicolor.  Kenneth 
More.  Diane  Cilento.  Cecil  Parker.  Producer  Ian  Dal- 
rymple.  Director  Lewis  Gilbert.  Drama.  The  story  of  a 
famous  butler  in  the  I900's. 

BROTHERS  RICO  THE  Richard  Conte,  Kathryn  Grant, 
Dianne  Foster.  Producer  Lewis  Rachmil.  Director  Phil 
Karlson.  Drama.  Former  racketeer,  trying  to  go 
straight,  exposes  organization  when  they  push  him  too 
far. 

CASE  OF  THE  STOCKING  KILLER,  THE  John  Mills, 
Charles  Coburn,  Barbara  Bates.  A  Marksman  Produc- 
tion. Director  John  Gillerman.  Insane  man  murders 
beautiful  girl. 

GOLDEN  VIRGIN,  THE  Joan  Crawford,  Rossano  Brazzi, 
Heather  Sears.  John  and  James  Woolf  producers.  Di- 
rector David  Miller.  Unscrupulous  people  exploit  blind 
girl  for  profit. 

KILLER  APE  Johnny  Weissmuller,  Carol  Thurston.  Pro- 
ducer Sam  Katzman.  Director  Spencer  G.  Bennett.  Ad- 
venture drama.  The  story  of  a  giant  half-ape,  half-man 
beast  who  goes  on  a  killing  rampage  until  destroyed 
by  Jungle  Jim.  68  min. 

PAPA.  MAMA,  THE  MAID  AND  I  Robert  Lamoureux, 
Gaby  Morlay,  Nicole  Courcel.  Director  Jean-Paul  Le 
Chanois.  Comedy.  The  lives  of  a  typically  Parisian 
family.  94  min.  9/17. 
PICKUP  ALLEY  Cinemascope.  Victor  Mature.,  Anita 
Ekberg,  Trevor  Howard.  A  Warwick  Production.  Di- 
Ekberg,  Trevor  Howard.  A  Warwick  Production.  Direc- 
tor John  Gilling.  Story  of  international  dope  runners. 
SHE  PLAYED  WITH  FIRE  Jack  Hawkins,  Arlene  Dahl, 
Producers  Frank  Launder-Sidney  Gilliat.  Director  Sid- 
ney Gilliat.  Story  of  an  arsonist. 

SUICIDE  MISSION  Leif  Larson,  Michael  Aldridge,  Atle 
Larsen.  A  North  Seas  Film  Production.  Adventure.  Nor- 
wegian fishermen  smash  German  bl'ockade  in  World 
War  II.  70  min. 

3:10  TO  YUMA  Glenn  Ford,  Felicia  Farr,  Van  Heflin. 
Producer  David  Heilwell.  Director  Delmer  Daves.  West- 
ern. Cowboy  robs  stagecoach  then  poses  as  one  those 
robbed. 

YOUNG  DON'T  CRY,  THE  Sal  Mineo,  James  Whitmore. 
Producer  P.  Waxman.  Director  Alfred  Werker.  Drama. 
Life  in  a  southern  orphanage. 


INDEPENDENTS 


March 

UNDCAD,  THE  (American-International)  Pamela  Dun- 
con,  AlHeon   Hayes.   Producer-director   Roger  Corman. 

Science-fiction.  A  woman  turns  into  a  witch.  71  min. 
VOODOO  WOMAN  !  American-International)  Maria 
English,  Jom  Conway,  Touch  Connors.  Producer  Alex 
Gordon.  Director  Edward  Cohn.  Horror.  Adventuress 
seeking  native  treasure  is  transformed  into  monster  by 
jungle  scientist.  75  min. 

WOMAN  OF  ROME  [DCAI  Gina  Lollobrigida,  Daniel 
Golin.  A  PorrH-DeLaurenflis  Production.  Director  Lulgi 
Zsmba.  Drama.  Adapted  from  the  Alberto  Moravia 
novel. 


April 


GOLD  OF  NAPLES  (DCA)  Toto,  Sophia  Loren,  Vittorio 
DeSica.  A  Ponti-De  Laurentis  Production.  Director  V. 
De  Sica.  Drama.  4  short  Italian  satires.  I07min.  3/18 
IF  AIL  THE  GUYS  IN  THE  WORLD  .  .  .  IBuena  Vista) 
Andre  Valmy,  Jean  Gaven.  Director  ChrisHan-Jaqua. 
Drama.  Radio  "hams",  thousands  of  miles  apart,  pool 
their  efforts  to  rescue  a  stricken  fishing  boat. 
REACH  FOR  THE  SKY  (Rank  Film  Distributors)  Kenneth 
More.  A  J.  Arthur  Rank  Production.  The  story  of  Brit- 
ain's unique  RAF  ace,  Douglas  Bader. 


May 


RAISING   A   RIOT    (Continental)    Technicolor.  Kenneth 

More,  Ronald  Squire,  Jan  Miller.  Director  Wendy  Toye. 

Comedy.   Father  attempts  to  apply   psychology  to  his 

three  children  while  wife  is  away  on  a  visit. 

FOUR   BAGS   FULL    (Trans-Lux)    Jean   Gabin,  Bouvril. 

Comedy.   The  trials  and  tribulations  of  black  market 

operators  during  the  German  occupation. 

FRENCH    ARE   A    FUNNY    RACE,    THE  (Continental! 

Martine  Carol,  Jack  Vuchanan,  Noel-Noel.  A  Gaumont 

production.  Comedy.  A  spoof  of  the  unique  personality 

characteristics  of  the  French. 

ROCK  ALL  NIGHT  (American-International)  Dick 
Millar,  Abby  Datton,  Russel  Johnson.  Producer-director 
Roger  Corman.  Rock  n'  rolf  musical.  65  min. 


BULLETIN  —  THIS     IS    YOUR  PRODUCT 


STRANGER  IN  TOWN  lAstorl  Alex  Nichol,  Anne  Page, 
Producer  Sidney  Roberts.  Director  George  Pollock. 
Melodrama.  A  newspaperman  exposes  the  "perfect 
crime".  74  min. 


June 


REACH  FOR  THE  SKY  IRankl  Kenneth  More,  Muriel 
Pavlow.  Producer  Daniel  M.  Angel.  Director  Lewis 
Gilbert.    104  min. 

BLACK  TIDE  lAstor  Picturesl  John  Ireland.  Maureen 
Connell.  Producer  Monty  Berman.  Director  C.  P.  Rich- 
ards. Melodrama.  Top  fashion  model,  planning  long 
distance  swim  for  publicity,  is  mysteriously  murdered. 
7?  min. 

CHECKPOINT  Eastman  Color.  Anthony  Steel  Odile 
Versois.  Producer  Betty  E.  Box.  Director  Ralph  Thomas. 

FRENCH  THEY  ARE  A  FUNNY  RACE.  THE  [Conti- 
nental) Martine  Carol.  Jack  Buchanan,  Noel-Noel. 
Produced  by  Preston  Sturges.  Comedy.  Fiimization  of 
a  famous  French  best-selling  novel.  92  min.  5/27. 
JOHNNY  TREMAIN  (Bueno  Vista)  Technicolor.  Hal 
Stalmaster,  Luana  Patten.  Jeff  York.  A  Walt  Disney 
Production.  Director  Robert  Stevenson.  Adventure. 
A  teen-age  silversmith  turns  freedom  fighter  in  the 
American  War  of  Independence. 

JULIETTA  IKingsley  International!  Jean  Marais.  Dany 
Robin.  Produced  by  Indrusfilms.  Director  Marc  Alle- 
gret.    Comedy.    Fiimization  of  a  famous  French  novel. 


July 


A  NOVEL  AFFAIR  (Continental I  Sir  Ralph  Richardson 
Margaret  Leighton.  Comedy. 

CARNIVAL  ROCK  (Howeo)  The  Platters  David  Hous- 
ton. A  Howco  Production.  Musical.  80  min 
OUT  OF  THE  CLOUDS  IRankl  Eastman  Color.  Anthony 
Steel,  Robert  Beatty.  Producer-director  Michael  Ralph 
and  Basil  Dearden.  Adventure.  75  min. 
TEEN  AGE  THUNDER  (Howco)  Church  Courtney,  Me- 
linda  Byron.  A  Howco  Production.  Melodrama.  80  min. 
THIRD  KEY,  THE  IRankl  Jack  Hawkins,  John  Stratton 
Producer  Michael  Balcon.  Director  Charles  Frend 
Melodrama.  83  min. 

TRIPLE  DECEPTION  IRank)  Technicolor,  VistaVision 
Michael  Craig,  Julia  Arnall.  Producer  Vivian  A  Cox 
Director  Guy  Green.  Melodrama.  85  min. 
VALUE  FOR  MONEY  IRankl  Technicolor  VistaVisicn 
John  Gregson.  Diana  Dors.  Producer  Sergei  Nolban- 
dov.    Director  Ken  Annakin.    Comedy.    83  min. 


August 


A  TOWN  LIKE  ALICE  (Rank)  Virginia  McKenna  Peter 
?8min    Producer    Joseph    Janni.     Director    Jack  Lee. 

GENTLE  TOUCH.  THE  (Rankl  Technicolor  George 
Baker.  BeLinda  Lee.  Producer  Michael  Balcon  Direc- 
tor Pat  Jackson.    86  min. 

BLACK  TENT,  THE  (Rank)  Technicolor  VistaVision 
Anthony  Steel,  Donald  Sinden.  Producer  William  Mac- 
Ouitty.  Director  Brian  D.  Hurst.  82  min. 
AS  LONG  AS  THEY'RE  HAPPY  (Rank)  Eastman  Color 
Jack  Buchanan.  Janette  Scott.  Producer  Raymond 
Stross.  Director  J.  Lee-Thompson.  70  min. 
JACQUELINE  (Rank)  John  Gregson,  Kathleen  Ryan 
Producer  George   H.   Brown.     Director   Roy   Baker.  92 


September 


PURSUIT  OF  THE  GRAF  SPEE  (Rank)  Technicolor 
VistaVision.  John  Gregson,  Anthony  Quayle.  Producer- 
director    Michael    Powell   &    Emeric    Pressburger.  110 

SPANISH  GARDENER  IRank)  Technicolor  VistaVision 
Dirk  Bogarde,  Jon  Whiteley.  Producer  John  Bryan 
Director  Philpi  Leacock.    95  min. 

AN  ALIIGATOR  NAMED  DAISY  IRank)  Technicolor 
VistaVision.  Donald  Sinden,  Diana  Dors.  Producer 
Raymond  Stross.    Director  J.  Lee-Thompson.    88  min. 


Coming 


BROTHERS  IN  LAW  (Continental)  Ian  Carmichel  Rich- 
ard Attenborough,  Jill  Adams.  Producer-director  the 
Boultmg  Bros.  Comedy.  Adventures  of  a  young  lawyer. 
CARTOUCHE  IRKO)  Richard  Basehart,  Patricia  Roc 
Producer  John  Nasht.  Director  Steve  Sekely.  Adventure. 
The  story  of  a  lusty  adventurer  during  the  reign  of 
Louis  XVI. 

CITY  OF  WOMEN  (Associated)  Osa  Massen,  Robert 
Huttcwi,  Maria  Palmer.  Producer-director  Boris  Petroff. 
Drama.  From  a  noral  by  Stephen  Longitreet. 

DRAGSTRJP  GIRL  (American-International)  Fay  Spain 
Steve  TerreJI,  John  Ashley.  Producer  Alex  Gordon  Di- 
rector Edward  Cahn.  Story  of  teen-age  hot  rod  and 
dragstrip  ra<ing  kids.  75  min. 

LOST  CONTINENT  IIFE)  Cin.maScope,  Ferranicolor. 
Producer-director  Leonardo  Bonii.  An  aieursion  into  the 
wilds  of  Borneo  and  the  Maylayan  Archepelago.  Eng- 
lish commentary.  86  min. 

NEAPOLITAN  CAROUSEL  IIFE)  (Lux  Him,  Roma)  Pathe- 
eolor.  Print  by  Technicolor.  Sophia  Loren,  Leonide 
Majtma.  Director  Ettore  Giannini.  Musical.  The  history 
of  Naples  traced  from  1400  to  date  in  song  and  dance. 
PERRI  (Bueno  Vista)  Technicolor.  A  true-life  fantasy 
by  Walt  Disney.  The  life  story  of  a  Pine  Squirrel 
named  "Perri". 

REMEMBER.  MY  LOVE  I  Artists-Producers  Assoc.)  Cine- 
maScope,  Technicolor.  Michael   Redgrave,   Mel  Ferrer, 


SMOLDERING  SEA,  THE  Superscope.  Producer  Hal  E. 
Chester.  Drama.  Conflict  between  the  tyrannical  cap- 
tain and  crew  of  an  American,  merchant  ship  reaches 
its  climax  during  battle  of  Guadalcanal. 


METRO-GOLDWYN -MAYER 


March 

LIZZIE  EJeanor  Parker,  Richard  Boone,  Joan  Btondall. 
Producer  Jerry  Bresster.  Director  Hugo  Haas  Drama. 
A  young  girl  lives  three  different  lives.  81  min.  3/4 

TEN  THOUSAND  BEDROOMS  CinemaScope.  Metro- 
Color.  Dean  Martin,  Anna  Maria  Alberghetti.  Producer 
Joseph  Pasternack.  Director  Richard  Thorpe.  Musical. 
A  hotel  tycoon  fails  in  love  with  a  lovely  Italian  girl. 
I  14  min.  2/18. 


A  pril 


DESIGNING  WOMAN  CinemaScope,  MetroColcr. 
Gregory  Peck.  Lauren  Baca1!.  Producer  Dore  Schary. 
Director  Vincente  Minnelli.  Comedy.  Ace  sportswriter 
marries  streamlined  blond  with  ideas.  117  min.  3/4 

VINTAGE.  THE  MetroColor.  Pier  Angeli,  Mel  Ferrer, 
Leif  Erickson.  Producer  Edwin  Knoph.  Director  Jeffrey 
Hayden.  Drama.  A  conflict  between  young  love  and 
mature  responsibility.    92  min.  3/18. 


May 


LITTLE  HUT,  THE  Eastman  Color.  Ava  Gardner.  Stewart 
Granger.  Producers  F.  Hugh  Herbert.  Director  Mark 
Robson.  Comedy.  Husband,  wife  and  wife's  lover  are 
marooned  on  a  tropical  isle.    90  min.  5/27. 

TARZAN  AND  THE  LOST  SAFARI  Technicolor.  Gordon 
Scott  Robert  Beatty.  A  Sol  Lesser  Production.  Director 
Bruce  Humberstone.  Adventure.  Tarzan  rescues  safari 
lost  in  deepest  Africa.  80  min.  3/18. 

THIS  COULD  BE  THE  NIGHT  Jean  Simmons.  Paul 
Douglas.  Producer  Joe  Pasternak.  Director  Robert 
Wise.  Comedy.  A  girl  fresh  out  of  college  gets  a 
job  as  secretary  to  an  ex-bootlegger.    103  min.  4/15. 


June 


SEVENTH  SIN,  THE  CinemaScope.  Eleanor  Parker,  Bill 
Travers,  George  Sanders.  Producer  David  Lewis.  Di- 
rector Ronald  Neame.  Drama.  Story  of  an  adulterous 
woman.  94  min. 

SOMETHING  OF  VALUE  Rock  Hudson,  Dana  Wynter, 
Wendy  Hlller.  Producer  Pandro  Berman.  Director 
Richard  Brooks.  Drama.  Stry  of  a  Mau  Mau  uprising 
in  Kenya,  East  Africa.  113  min.  5/13. 


July 


MAN  ON  FIRE  Bing  Crosby,  Mary  Fickett,  Inger 
Stevens.  Producer  Sol  Siegel.  Director  R.  MacDougall. 
Drama.  The  effect  of  divorce  on  a  boy  end  his  es- 
tranged parents. 

SILK  STOCKINGS  MetroColor,  CinemaScope.  Fred  As- 
taire,  Cyd  Charrise,  Janis  Page.  Producer  Arthur 
Freed.  Director  R.  Mamoullian.  Musical.  Russian  girl 
falls  in  love  with  an  American  film  producer  in  Paris. 
117  min. 


Coming 


ACTION  OF  THE  TIGER  CinemaScope  Eastman  Color. 
Van  Johnson,  Martine  Carol,  Gustave  Rojo.  A  Claridge 
Production.  Drama.  Beautiful  girl  seeks  help  of  con- 
traband  runner   to   rescue   brother   from  Communists. 

DECISION  AGAINST  TIME  Jack  Hawkins.  Elizabeth 
Sellars.  Producer  M.  Balcon.  Director  C.  Crichton. 
Test  pilot  attempts  to  land  disabled  plane. 

GUN  GLORY  CinemaScope,  MetroColor.  Stewart 
Granger,  Rhonda  Fleming.  Producer  N  Nayfack.  Di- 
rector Roy  Rowland.  Western.  Ex-outlaw  is  tormented 
by  his  former  reputation  as  a  killer. 
HAPPY  ROAD.  THE  Gene  Kelly,  Michael  Redgrave, 
Barbara  Laage.  A  Kerry  Production.  Directors,  Gene 
Kelly,  Noel  Coward.  Drama.  Two  children  run  away 
from  boarding  hchool  to  find  their  respective  parents. 
100  min.  2/4. 

HOUSE  OF  NUMBERS  CinemaScope.  Jack  Palance, 
Barbara  Lang.  Producer  Charles  Schnee.  Director 
Russell  Rouse.  Law-abiding  citizen  attempts  to  engi- 
neer San  Quentin  escape  for  his  brother. 
LIVING  IDOL.  THE  CinemaScope,  Eastman  Color. 
Steve  Forrest,  Lilliane  Montevecchi.  Producer-director 
Al  Lewin.  Drama.  An  archeologlst  is  faced  with  an  un- 
worldly situation  that  threatens  the  safety  of  his 
adopted  daughter.    101  min.  5/13. 

RAINTREE  COUNTY  MetroColor.  CinemaScope  45. 
Elizabeth  Taylor,  Montgomery  Clift.  Producer  David 
Lewis.  Director  Edward  Dymtryke.  Drama.  Life  in  Indi- 
ana during  the  middle  1 800 's. 


PARAMOUNT 


February 

RAINMAKER,  THE  VistaVision,  Technicolor.  Burt  Lan- 
caster, Katharine  Hepburn,  Wendell  Corey.  Producer 
Hal  Wallis.  Director  Joseph  Anthony.  Comedy  drama. 
Fiimization  of  the  famous  B'way  play.   121  min.  12/24. 


March 


FEAR  STRIKES  OUT  Anthony  Perkins,  Karl  Maiden, 
Norma  Moor*.  Producer  Alan  Pakula.  Director  Perry 
WHson.  Drama.  Story  of  the  Boston  baseball  player. 
100  min.  2/18. 


AiprU 


FUNNY  FACE  VistaVision,  Technicolor.  Audsey  Hep- 
burn, Fred  Astaire,  Kay  Thompsori.  Producer  Roger 
Edens.  Director  Sta.'iLey  Danen.  Musical.  Photographer 
plucks  fa'snion  model  from  Greenwich  VTHage  bookshop. 
101  min.  2/18. 


JULY  SUMMARY 

Feature  films  scheduled  for  July  re- 
lease total  34.  Leading  suppliers  will  be 
the  Independents  with  seven,  four  of 
which  are  Rank  product.  20th  Century- 
Fox  and  Republic  will  reease  five  films 
each;  Allied  Artists,  four  films;  Columbia 
and  Universal,  three  each;  Metro,  Para- 
mount and  United  Artists,  two  each; 
Warner  Bros.,  one.  Seventeen  July  re- 
leases will  be  in  color.  Seven  films  will 
be  in  CinemaScope,  five  in  VistaVision 
and  one  each  in  Naturama  &  Superscope. 

9  Dramas  2  Horror 

3  Adventures  5  Melodramas 

1  Western  2  Science-fiction 

8  Comedies  4  Musicals 


May 


BUSTER  KEATON  STORY.  THE  VistaVision,  Technicolor. 
Donald  O'Connor,  Ann  Blyth,  Rhonda  Fkmlng.  Pro- 
ducers Robert  Smith,  Sidney  Sheldon.    Director  Sidney 

Sheldon.  Drama.  Life  of  the  great  comedian.  91  min. 
4/15. 

GUNFIGHT  AT  O.K.  CORRAL  VistaVision,  Technicolor. 
Burt  Lancaster,  Kirk  Douglas,  Rhonda  Fleming.  Pro- 
ducer Hal  Wallis.  Director  John  Sturges.  Western. 
Drunken   badman   hunts  for  murderer  of   his  cheating 

brother.  122  min.  5/27. 


June 


LONELY  MAN.  THE  VistaVision.  Technicolor.  Jack  Pa- 
lance, Anthony  Perkins,  Elaine  Aiken.  Producer  Pat 
Duggan.  Director  Henry  Levin.  Western.  A  gunfighter 

finds  he  is  losing  his  sight— and  his  aim.  87  min.  5/27. 


July 


BEAU  JAMES  VistaVision.  Technicolor.  Bob  Hope.  Pro- 
ducer Jack  Rose.  Director  Michael  Moore.  Drama. 
Biography  of  the  famous  Jimmy  Walker,  mayor  of  N.Y. 
from  1925  to  1932.  105  min. 

DELICATE  DELINQUENT.  THE  Jerry  Lewis,  Darren  Me- 
Gavin,  Martha  Hyer.    Producer  Jerry  Lewis.  Director 

Don  McGuire.  Drama.  Janitor  longs  to  be  police  offi- 
cer so  he  can  help  delinquents.  101  min. 


August 


LOVING  YOU  VistaVision.  Technicolor.  Elvis  Presley. 
Lizabeth  Scott,  Wendell  Corey.  Producer  Hal  Wallis. 
Musical.  Director  Hal  Kanter.  Small-town  boy  makes 
good  in  big-time  show  business. 

OMAR  KHAYYAM  VistaVision.  Technicolor.  Cornel 
WHde,  Michael  Rennie,  Qebra  Paget.  Producer  Frank 
Freeman,  Jr.  Director  William  Dieterle.  Adventura. 
The  life  and  rimes  of  medieval   Persia's  literary  idol. 


Coming 


HAIRPIN  DEVIL'S.  THE  VistaVision.  Technicolor.  Cornel 
Wilde,  Jean  Wallace,  Mary  Astor.  Producer-director 
Cornel  Wilde.  Adventure.  Story  which  deals  with 
sports  car  racing. 

HOT  SPELL  VistaVision  Shirley  Booth,  Anthony  Ouinn, 
Shirley  MacLaine.  Producer  Hal  Wallis.  Director  Dan- 
iel Mann.  Drama.  The  disintegration  of  a  Southern 
family  during  a  torrid  heat  wave. 


ayn 

Briskhv  Director  Charles  Vidor.  Drama.  Rim  biography 
of  Joe  E.  Lewis,  nightclub  comedian. 

SHORT  CUT  TO  HELL  VistaVision.  Robert  Ivers,  Wil- 
liam Bishop,  Georgann  Johnson.  Producer  A.  C.  Lyles. 
Director  James  Cagney.  Drama. 

SPAJMISH  AFFAIR  VistaVision,  Technicolor.  Carmen 
Sevilla,  Richard  Kiley.  Producer  Bruce  Odium.  Director 
Donald  Siegel.  An  American  architect  travelling  in 
Spain  Is  attracted  to  a  beautiful  girl,  half-Gypsy,  half- 
Spanish. 

TEN  COMMANDMENTS.  THE  VistaVision  Technicolor. 
Charlton  Heston.  Yul  Brynner,  Anne  BaxJe'.  Producer- 
director  Cecil  9.  DeMille.  Religious  drama.  Life  storv 
of  Moses  as  told  in  the  Bible  and  Koran.  219  min.  10/15 
TIN  STAR,  THE  VistaVision.  Henry  Fonda,  Anthony 
Perkins.  A  PerlSerg-Seaton  Production.  Director  An- 
thony Mann.  V  - itern. 


February 


AFFAIR  IN  RENO  Naturama.  John  Lund.  Doris  Single- 
ton. Producer  Sidney  Picker.  Director  R.  G.  Spring- 
stein.  Drama.  Young  heiress  falls  for  fortune-hunting 
gambler.  75  min. 


Film 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


DUEL  AT  APACHE  WELLS  Naturama,  Trucolor.  Anna 
Maria  Alberghetti,  Ben  Cooper.  Associate  producer- 
director  Joseph  Kane.  Western.  Son  returns  home  to 
find  father's  ranch  threatened  by  rustler-turned-rancher. 

70  min. 

March 

HELL'S  CROSSROADS  Naturama.  Stephen  McNally, 
Peggie  Castle,  Robert  Vauhgn.  Producer  Rudy  Ral- 
ston. Director  Franktin  Adreon.  Western.  Outlaw  cow- 
boy reforms  after  joining  Jesse  James'  gang.  73  min. 

A  pril 

MAN  IN  THE  ROAD,  THE  Derek  Farr,  Ella  Raines. 
Producer  Charles  Leeds.  Director  Lance  Comfort. 
Drama.  A  spy  ring  attempts  to  obtain  atomic  secrets 
through  ths  use  of  "mental  persuasion."  83  min. 

SPOILERS  OF  THE  FORREST  Trucolor,  Naturama.  Vera 
Ralston,  Rod  Cameron.  Producer-director  Joe  Kane. 
Drama.  An  unscrupulous  lumberman  tries  to  coerce  the 
owners  of  a  large  forest  acreage  into  cutting  their 
timber  at  a  faster  rate.  63  min. 

May 

LAWLESS  EIGHTIES,  THE  Naturama.  Buster  Crabbe, 
John  Smith,  Marilyn  Saris.  Producer  Rudy  Ralston. 
Director  Joe  Kane.  Western.  Circuit  rider  prevents 
Indian  uprising.  70  min. 

TIME  IS  MY  ENEMY  Dennis  Price,  Renee  Asherson. 
Producer  Roger  Proudlock.  Director  Don  Chaffey. 
Melodrama.  The  story  of  a  blackmailed  blackmailer. 
44  min. 

WEAPON,  THE  Steve  Cochran,  Liiabeth  Scott,  Nicole 
Maurey.  Producer  Hal  Chester.  Director  Val  Guest. 
Drama.  An  unsolved  murder  involving  a  child  and  a 
loaded  gun.  70  min. 

June 

JOURNEY  TO  FREEDOM  Jacques  Scott,  Geneviv  Au- 
mont,  George  Graham,  Morgan  Lane.  Drama.  Bul- 
garian escapes  from  behind  the  Iron  Curtain.  64  min. 
PAWNEE  Trucolor.  George  Montgomery,  Bill  Williams, 
Lola  Albright.  A  Groos-Krasne  Production.  Director 
George  Wagner.  Western.  Calvary  puts  down  high- 
riding  Pawnee  Indians. 

July 

TAMING  SUTTON'S  GAL  Naturama.  John  Lupton, 
Jack  Kelly,  May  Wynn.  Drama.  A  young  bank  clerk 
finds  a  gal  in  the  back  hill  country  of  California. 

WEST  OF  SUEZ  Trucolor.  John  Bently,  Vera  Fusek, 
Martin   Boddy.  Melodrama. 

LAST  STAGECOACH  WEST  Naturama.  Jim  Davis, 
Mary  Castle,  Victor  Jory.  Producer  Rudy  Ralston.  Di- 
rector Joe  Kane.  Western.  Outlaws  are  stopped  by 
railroad  detective. 

OPERATION  CONSPIRACY  Philip  Friend,  Leslie  Dwyer. 
Mary   MacKenzie.  Melodrama. 

THE  BIG  SEARCH  Color.  Drama. 


20TH  CENTURY-FOX 


February 

OH.  MEN  I  OH.  WOMENI  Cln«m«Scop.  Color.  Dan 
Doity.  Ginger  Rogers,  David  Niven.  Producer-director 
Nennalty  Johnson  Comedy.  A  psychiatrist  finds  oat 
somethings  he  didn't  know.  90  min.  3/4. 

THE  TRUE  STORY  OF  JESSIE  JAMES  CinemaScope. 
Robert  Wagner,  Jeffrey  Hunter.  Producer  Herbert 
Swope,  Jr.  Director  Nicholas  Ray.  Western.  The  tfves 

and  times  of  America's  outlaw  gang.  92  min.  2/18. 

March 

HEAVEN  KNOWS  MR-  ALLISON  CinemaScope  De  Luxe 
Color.  Deborah  Kerr,  Robert  Mitchum.  Producert 
Boddy  Adler,  Eugene  Frenke.  Director  John  Hurton. 
Drama.  Soldier  is  saved  by  nun  in  South  Pacific  during 

World  War  II  93  min.  3/18. 

RIVER'S  EDGE.  THE  CinemaScope,  Color.  Ray  Milland, 
Anthony  Ouinn,  Debra  Paget.  Producer  Benidlct 
Bogeaas.  Direeeor  Allan  Dwan.  Adventure.  Story  of  a 
>rofess»onal  killer. 

STORM  RIDER.  THE  Scott  Brady,  Mala  Powers.  A 
Brady-Glasser  production.  Director  Edward  Bernds. 
Western.  A  dust  storm  brings  a  stranger  to  a  small 

western  town.  70  min. 

April 

BOY  ON  A  DOLPHIN  CinemaScope,  Deluxe  Color. 
Clifton  Webb  Alan  Ladd,  Sophia  Loren.  Producer  Sam 
Engel.  Director  Jean  Negulesco.  Comedy.  Romantic 
tale  with  a  Greek  background.    Ill  min. 

BREAK   IN  THE   CIRCLE   Forrest  Tucker,    Eva  Bartok. 

Story  of  escape  from  Iron  Curtain.  69  min. 

KRON'OS  Jeff  Morrow,  Barbara  Lawrence,  John  Emery. 
Producer-director  Kurt  Neumann.  Drama.  A  "planet- 
robber"  comes  to  earth  from  outer  space.    78  min. 

SHE-DEVIL,  THE  Mari  Blanchard,  Jack  Kelly,  Albert 
Dekker.  Producer-director  Kurt  Neumann.  Scientists 
create  an  inhuman  woman.    77  min. 

May 

BADLANDS  OF  MONTANA  Rex  Reason.  Margia  Deane, 
Beverly  Garland.  Producer  H.  Knox.  Director  D.  Ull- 
man.    Outlaw  takes  over  as  town  marshal.    79  min. 


CHINA  GATE  Nat  "King"  Cole,  Gene  Barry,  Angie 
Dickinson.  Producer-director  S.  Fuller.  Drama.  Love 
and  war  in  Indo-China.  97  min. 

DESK  SET  Spencer  Tracy,  Katharine  Hepburn.  Producer 
Henry  Sphron.  Director  W.  Lang.  Filmization  of  the 
famous  Broadway  comedy.  Story  of  a  secretary  and 
her  boss.    103  min.  5/13. 

WAY  TO  THE  GOLD,  THE  Sheree  North,  Barry  Sullivan, 
Jeffrey  Hunter.  Producer  David  Weisbart.  Director  R. 
Webb.  Ex-convict  attempts  to  recover  stolen  treasures. 
69  min. 

June 

ISLAND  IN  THE  SUN  CinemaScope  DeLuxe  Color. 
James  Mason,  Joan  Fontaine,  Dorothy  Dandridge.  Pro- 
ducer DarryJ  Zanuek.  Director  Robert  Rossen.  Drama. 
Love,  politics  and  the  labor  movement  clash  in  the 
British  West  Indies. 

LURE  OF  THE  SWAMP  William  Parker,  Skippy  Homeir, 
Marshall  Thompson.  Melodrama.  Gangster  hides  out 
in  swamp  to  escape  police.  74  min. 

TWO  GROOMS  FOR  A  BjRIDC  Virginia  Bruce,  John 
Carroll.  Producer  Robert  Baker,  Monty  Berman.  Direc- 
tor Henry  Cass.  Comedy. 

WAYWARD  BUS  CinemaScope  Jayne  Mansfield,  Dan 
Dailey,  Joan  Collins,  Rick  Jason.  Producer  Chares 
Brackett.  Director  Victor  Vicas.  From  the  John  Stein- 
beck novel.  Drama.  89  min. 

July 

ABDUCTORS,  THE  Victor  McLaglen,  Fay  Spain,  Carl 
Thayler.  Producer  R.  Wander.  Director  A.  McLaglen. 
Adventure. 

A  HATFUL  OF  RAIN  CinemaScope.  Eva  Marie  Saint, 
Don  Murray,  Tony  Franciosa.  Producer  Buddy  Adler. 
Director  Fred  Zinneman.  Drama.  A  dope  addict,  with 
his  wife's  help,  decides  to  shake  the  habit.  109  min. 
AN  AFFAIR  TO  REMEMBER  CinemaScope  DeLuxe 
Color.  Cary  Grant,  Deborah  Kerr.  Producer  Jerry 
Wald.  Director  Leo  McCarey.  Comedy.  Notorious 
bachelor  falls  for  night  club  singer. 

BERNARDINE  CinemaScope,  Deluxe  Color.  Terry  Moore, 
Pat  Boone,  Janet  Gaynor.  Producer  Sam  Engel.  Direc- 
tor H.  Levin.  Comedy.  Story  of  teenagers.  Filmization 
of  the  Broadway  comedy. 

GOD  IS  MY  PARTNER  Walter  Brennan,  John  Hoyt, 
Marion  Ross.  Producer  S.  Hersh.  Director  W.  Claxton. 
Drama. 

August 

BACK  FROM  THE  DEAD 

LAST  WARRIOR  Keith  Larsen.  Jim  Davis.  Producer  P. 
Skouras.    Director  E.  Williams. 

SEA  WIFE  CinemaScope,  DeLuxe  Color.  Richard  Bur- 
toe,  Joan  Collins.  Producer  Andre  Hakim.  Director  Bob 

McNaught.  Drama.  Ship  is  torpedoed  by  Jap  sub- 
marine off  Singapore  harbor.    82  min. 

UNKNOWN  TERROR.  THE 

WILL  SUCCESS  SPOIL  ROCK  HUNTER  CinemaScope, 
DeLuxe  Color.  Jayne  Mansfield,  Clifton  Webb,  Tony 
Randall.  Producer-director  Frank  Tashlin.  Comedy. 
Filmization  of  the  Broadway  play. 

Coming 

BEAUTIFUL  BUT  DANGEROUS  Gina  LoHobrigida,  Vit- 
torio  Gaisman.  Producer  Manuella  Malotti.  Director 
Robert  Leonard.  Drama. 

NO  DOWN  PAYMENT  Jeff  Hunter,  Barbara  Rush, 
Sheree  North,  Cameron  Mitchell. 

RESTLESS  BREED.  THE  Eastman  Color.  Scott  Brady, 
Anne  Bancroft.  Producer  E.  A.  Alperson.  Director  Alan 

Dwan.  Story  of  a  restless,  banned  town.  81  min.  5/27. 
SUN  ALSO  RISES,  THE  CinemaScope,  DeLuxe  Color. 
Ava  Gardner,  Mel  Ferrer,  Tyrone  Power.  Producer  D. 
Zanuck.  Director  Henry  King.  From  Ernest  Heming- 
way's famous  novel. 

THREE  FACES  OF  EVE.  THE  David  Wayne,  Joanne 
Woodward.  Producer  Nunnally  Johnson.  Story  of  a 
woman  with  three  distinct  personalities. 


UNITED  ARTISTS 


February 

CRIME  OF  PASSION  Barbara  Stanwyck,  Sterling 
Hayden,  Raymond  Burr.  Producer  Herman  Cohen.  Di- 
rector Gerd  Oswald.  Drama.  Newspaper  woman  whose 

ambition  for  her  husband  leads  to  murder.  85  min.  1/7. 

DRANGO  Jeff  Chandler,  Joanne  Dru.  An  Earlmar  Pro- 
duction. Hall  Bartlett  producer-director.  Adventure. 
Union  officers  try  to  bring  order  to  a  Southern  town 
after  the  Civil  War.  92  min. 

MEN  IN  WAR  Robert  Ryan,  Aldo  Ray,  Robert  Keith. 
Producer  Sidney  Harmon.  Director  Anthony  Mann. 
Droma.  An  American  infantry  platoon  Isolated  in  enemy 
territory  tries  to  retreat  during  the  Korean  War. 
101  min.  2/4. 

PHAROAH'S  CURSE  Ziva  Shapir,  Mark  Dana.  Producer 
Howard  Koch.  Director  Lee  Sholem.  Horror.  Reincar- 
nation of  mummies  in  Egyptian  tombs.  66  min.  2/18 

TOMAHAWK  TRAIL  John  Smith,  Susan  Cummings.  A 
Bel  Air  Production.  Director  Robert  Parry.  Western. 
Cowboy  versus  Indians,  A  small  band  of  cavalry 
soldiers,  greatly  outnumbered,  battles  with  Apache 
Indians  at  close  of  the  Civil  War.  61  min. 

VODOO  ISLAND  Boris  Karloff,  Beverly  Tyler.  A  Bel 
Air  Production.  Director  Reginald  Le  Borg.  Horror. 
Writer  is  called  upon  to  investigate  vodooism  on  a 
Pacific  isle.  76  min. 


March 

DELINQUENTS,  THE  Tommy  Laughlin,  Peter  Miller. 
Dick  Bakalyan.  Imperial  Productions.  Robert  Airman 
director.  High  school  student  and  his  girl  victimized 
by  a  teen-age  gang.  75  min.  3/18. 

HIT  AND  RUN  CJeo  Moore,  Hugo  Haas.  Producer,  di- 
rector Hugo  Haas.  Middle-aged  widower  marries  show 
girl.  She  and  her  boy  friend  plot  his  murder.  84  min. 

REVOLT  AT  FORT  LARAMIE  DeLuxe  Color.  John 
Dehner,  Diana  Brewster.  Producer  Howard  Koch.  Di- 
rector Lesley  Selander.  Western.  Civil  War  story  of 
soldiers  who  are  attacked  by  Indians.  73  min. 

SPRING  REUNION  Betty  Hutton,  Dana  Andrews,  Jean 
Hagen.  Director  Robert  Pirosh.  Producer  Jerry  Bresler. 
Comedy.  Old  schoolmates  fall  in  love  at  a  high  school 
reunion.  79  min.  3/18. 

April 

BACHELOR  PARTY,  THE  Don  Murray,  E.  G.  Marshall, 
Jack  Warden.  Producer  Harold  Hecht.  Director  Delbert 
Mann.  Drama.  From  the  famous  television  drama  by 
Paddy  Chayefsky.  92  min.  4/15. 

FURY  AT  SHOWDOWN  John  Derek,  Carolyn  Craig, 
Nick  Adams.  Producer  John  Beck.  Director  Gerd  Os- 
wald. Western.  Ex-bandit  finds  tough  going  when  he 
tries  to  go  straight.  75  min.  3/18. 

IRON  SHERIFF.  THE  Sterling  Hayden,,  John  Dehner, 
Constance  Ford.  Producer  Jerome  Robinson.  Director 
Sidney  Salkow.  Sheriff  tries  to  clear  his  son  of  a 
murder  charge.  73  min. 

RIDE  BACK,  THE  Anthony  Quinn,  William  Conrad.  An 
Aldrich  Production.  Director  Allen  Miner.  Western. 
Sheriff  is  afraid  of  failing  in  assignment  to  bring 
border  outlaw  to  justice.    79  min.  5/13. 

12  ANGRY  MEN  Henry  Fonda,  Lee  J.  Cobb.  Jack 
Warden.  An  Orion-Nova  Production.  Director  Sidney 
Lumet.  Drama.  Jury  cannot  agree  on  a  verdict.  95 
min.  3/4 

WAR  DRUMS  DeLuxe  Color.  Lex  Barker,  Joan  Taylor, 
Ben  Johnson.  Director  Reginald  LeBorg.  Apache  chief 
and  his  white  wife  wgae  war  on  white  settlers.  75  min. 
4/1. 

May 

BAILOUT  AT  43.000  Johi  Payee,  Karen  Steele.  A  Pine- 
T  somas  Production  Director  Francis  Lyon.  U.S.  Air 
Force  pioneers  bailout  mechanism  for  jet  pilots.  83  min. 

GIRL  IN  BLACK  STOCKINGS.  THE  Lex  Barker,  Anne 
Bancroft,  Mamie  Van  Dorea.  A  lei-Air  Production.  Di- 
rector Howard  Koch.  Drama.  A  series  of  sex  slayings 

terrorize  western  resort.    73  min. 

GUN  DUEL  IN  DURANGO  George  Montgomery.  Pro- 
ducer Robert  Kent.  Director  S.  Salkow.  Western. 
Outlaw  attempts  to  go  straight.  73  min.  5/27. 

HIDDEN  FEAR  John  Payne,  Natalie  Norwick.  A  St. 
Asbrey-Koae  Production.  Director  Andre  de  Toth. 
Drama.  Police  officer  attempts  to  clear  sister  charged 

with  murder.  83  min. 

MONKEY  ON  MY  BACK  Cameron  Mitchell,  Dianne  Fos- 
ter. Producer  Edward  Small.  Director  Ted  Post.  Drama. 
Life  story  of  ex-boxing  champion  Barney  Ross.    93  min. 

MONTE  CARLO  STORY.  THE  Technirama,  Color.  Mar- 
lane  Dietrich,  Vittorio  De  Sica.  A  Titanus  Film.  Sam 
Taylor  director.  Drama.  A  handsome  Italian  nobleman 
with  a  love  for  gambling  marries  a  rich  woman  in 
order  to  pay  his  debts.    100  min. 

June 

BAYOU  Peter  Graves,  Lita  Milan.  Executive  producer 
M.  A.  Ripps.  Director  Harold  Daniels.  Drama.  Life 
among  the  Cajuns  of  Louisiana. 

BIG  CAPER,  THE  R'ory  CaJhound  Marv  Costa.  Pine- 
Thomas  Production.  Director  Robert  Stevens.  Multi- 
million  dollar  payroll  robbery.    Melodrama.    84  min. 

MONSTER  THAT  CHALLENGED  THE  WORLD,  THE  Tim 

Holt.  Audrey  Dalton.  Producers  Jules  Levy,  Arthur 
Gardner.  Director  Arnold  Laven.  Science-fiction.  Group 
of  Navy  scientists  battle  a   pre-historic   sea  monster. 

ST.  JOAN  Richard  Widmark,  Jean  Seburg.  Producer- 
director  Otto  Preminger.  Drama.  Filmization  of  George 
Bernard  Shaw's  famous  classic.  110  min.  5/27. 
SWEET  SMELL  OF  SUCCESS,  THE  Burt  Lancaster,  Tony 
Curtis  Susan  Harrison.  Producer  James  Hill.  Director 
Alexander  Mackendrick.  Drama.  Story  of  a  crooked 
newspaperman  and  a  crooked  p.r.  man. 
TROOPER  HOOK  Joel  McCrea,  Barbara  Stanwyck,  Ed- 
ward Andrews.  Producer  Sol  Fielding.  Director  Marquis 
Warren.  Drama.  A  white  woman,  forced  to  live  as  an 
Indian  Chief's  squaw,  is  finally  rescued  and  tries  to 
resume  life  with  husband.  81  min. 

VAMPIRE,  THE  John  Beal,  Coleen  Gray.  Producers 
Arthur  Gardner,  Jules  Levy.  Director  Paul  Landres. 
Science-fiction.  Doctor  accidentally  takes  pills,  changes 
into  vampire. 

July 

BOP  GIRL  GOES  CALYPSO  Judy  Tyler,  Bobby  Troup, 
Margo  Woode.  Producer  Aubrey  Schenk.  Director  How- 
ard Koch.  Musical.  Rock  and  roll-calypso  cavalcade  of 
musical  numbers. 

PRIDE  AND  THE  PASSION.  THE  VlstaVision,  Techni- 
color. Cary  Grant,  Frank  Sinatra,  Sophia  Loren.  Pro- 
ducer-director Stanley  Kramer.  Drama.  A  Spanish 
guerrilla  band  marches  an  incredible  distance  with  a 
6000  pound  cannon  during  Spanish  War  of  Independ- 
ence of  1810. 


Film     BULLETIN—  THIS     IS     YOUR  PRODUCT 


OUTLAW'S  SON  Dane  Clark,  Ben  Cooper,  Lori  Nel- 
son. Bel  Air  Production.  Director  Lesley  Selander.  Gun- 
sllnger   escapes   from   jail   to   save   son    from    life  of 


Coming 


CALYPSO  ISLAND  Marie  Windsor,  Vince  Edwards.  Pro- 
ducer-director William  Berke.  Musical.  Calypso  film 
filmed  in  the  Bahama  Islands. 

CARELESS  YEARS.  THE  Natalie  Trundy,  Dean  Stock- 
well.  Producer  Edward  Lewis.  Director  Arthur  Hiller. 
Drama.  Two  lovers  meet  parental  resistance  when  they 
decide  to  get  married. 

FUZZY  PINK  NIGHTGOWN.  THE  Jane  Russell,  Keenan 
Wynn.  Ray  Danton.  Producer  Bob  Waterfield  Director 
Norman  Taurog.  The  story  of  a  Hollywood  star  who 
is  kidnapped. 

GUNSIGHT  RIDGE  Joel  McCrea.  Mark  Stevens.  Pro- 
ducer Robert  Bassler.  Director  Francis  Lyon.  Western. 
Stranger  discovers  respected  citizen  is  really  a  holdup 

JUNGLE  HEAT  Lex  Barker,  Mari  Blanchard.  A  Bel-Air 
Production.  Director  H.  Koch.  Japanese  saboteurs  in 
Hawaii  prior  to  WWII. 

LEGEND  OF  THE  LOST  John  Wayne,  Sophia  Loren, 
Rossano  Brazzi.  Producer-director  Henry  Hathaway.  Ad- 
venture   Sea.rch  for  treasure  in  the  Sahara.. 

QUIET  AMERICAN  Audie  Murphv.  Michael  Redgrave, 
Claude  Dauphin.  Figaro  Production.  Director  Joseph 
Mankiewicz.  Drama.  Story  set  against  the  recent 
fighting  in  IndoChina. 

SAVAGE  PRINCESS  Technicolor.  Dilip  Kumar,  Nimmi. 
A  Mthboob  Production  Musical  Drama.  A  princess 
falls  in  love  with  a  peasant  who  contests  her  right 
to  rule  the  kingdom.  101  min. 

STREET  OF  SINNERS  George  Montgomery,  Geraldine 
Brooks.  Producer  William  Berke.  Rookie  policeman 
clashes  with  youthful  criminals. 

VALERIE  Sterling  Hayden  Anita  Ekberg,  Anthony  Steel. 
Producer  Hal  Makelim.  Director  Gerd  Oslwald.  West- 
ern. The  story  of  a  murder  trial  in  a  western  town. 


UNIVERSAL-INTL 


February 


GREAT  MAN,  THE  Jose  Ferrer,  Mona  Freeman,  Dean 
Jagger.  Producer  Aaron  Rosenberg.  Director  Jose  Fer- 
rer. Drama.  The  life  and  death  of  a  famous  television 
idol.  92  min.  I  l/2c. 

ISTANBUL  Cinemascope,  Technicolor.  Errol  Hynn,  Cor- 
nell Borchers.  Producer  Albert  Cohen.  Director  Joseph 
Pevney.  Adventure.  Diamond  smugglers  in  mysterious 
Turkey.  84  min.  1/21. 

NIGHT  RUNNER,  THE  Ray  DanJon,  Cqlleen  Miller.  Pro- 
ducer Albert  Cohen.  Director  Abner  Bubermarv.  Drama. 
Mental  hospital  inmate  is  released  while  still  in  dan- 
gerous condition.  79  min. 


March 


BATTLE  HYMN  Technicplor,  CinemaScope.  Rock  Hud- 
son, Martha  Hyer,  Dan  Duryea.  Producer  Ross  Hunter. 
Director  Douglas  Sirk.  Drama.  Pilot  redeems  sense  of 
guilt  because  of  bombing  of  an  orphanage  by  saving 
other  orphans.  108  min.  12/24. 

GUN  FOR  A  COWARD  astman  Color,  CinemaScope. 
Fred  MacMurray,  Jeffrey  Hunter,  Janice  Rule.  Pro- 
ducer William  Alland.  Director  Abner  Biberman.  Wes- 
tern. Three  brothers  run  a  cattle  ranch  after  death  of 
their  father.  88  min.  1/7. 

MISTER  CORY  Eastman  Color,  CinemaScope.  Tony 
Curtis,  Martha  Hyer,  Charles  Bickford.  Producer 
Robert  Arthur.  Director  Blake  Edwards.  Drama.  Gam- 
bler from  Chicago  sjums  climbs  to  wealth  and  re- 
spectability. 92  min.  1/21. 


A  pril 


INCREDIBLE  SHRINKING  MAN,  THE  Grant  Williams, 
Randy  Stuart.  Producer  Albert  Zugsmith.  Director  Jack 
Arnold.  Science-fiction.  The  story  of  a  man  whose 
growth  processes  have  accidently  been  reversed. 
81  min.  2/4. 

KELLY  AND  ME  CinemaScope,  Technicolor.  Van  John- 
son, Piper  Laurie,  Martha  Hyer.  Producer  Robert  Ar- 
thur. Director  Robert  Leonard.  Drama.  Story  of  dog- 
act  in  show  business  in  the  early  I930*s.  2/4. 
TATTERED  DRESS,  THE  CinemaScope.  Jeff  Chandler, 
Jeannie  Crain,  Jack  Carson.  Producer  Albert  Zugsmith. 
Director  Jack  Arnold.  Melodrama.  Famous  criminal 
lawyer  gains  humility  when  put  on  trial  himself.  93 
min.  3/4 


May 


DEADLY  MANTIS,  THE  Craig  Stevens,  Alix  Talton.  Pro- 
ducer William  Alland.  Director  Jerry  Juran.  Horror. 
Monstrouc  creature  threatens  to  destroy  U.S.  78  min. 
4/1. 

GIRL  IN  THE  KREMLIN.  THE  Lex  Barker.  Zsa  Zsa 
Gabor,  Jeffrey  Stone.  Producer  Albert  Zugsmith.  Di- 
rector Russell  Birdwell.  Drama. 

MAN  AFRAID  CinemaScope.  George  Nader,  Phyllis 
Thaxter,  Tim  Hovey.  Producer  Gordon  Kay.  Director 
Harry  Keller.  Drama.  Father  saves  life  of  man  attempt- 
ing to  murder  his  son.  84  min.  4/15. 

June 

KETTLES  ON  OLD  MacDONALD'S  FARM,  THE  Marjorie 
Main  Parker  Fennelly,  Gloria  Talbott,  Producer  Ho- 
ward Christie.  Director  Virgil  Vogel.  Comedy.  The 
Kettles  buy  a  new  farm.    80  min.  5/13. 


PUBLIC  PIGEON  NO.  1  Technicolor.  Red  Skelton. 
Vivian  Blaine.  Janet  Blair.  Prdducer  Harry  Tugend.  Di- 
rector   Norman    McLeod.     Comedy.     A    trusting  soul 

tangles  with  con  men  and  outwits  them.  79  min.  5/13 

YOUNG  STRANGER  James  MacArtur,  James  Daly.  Kim 
Hunter.  James  Gregory.  Drama.  Story  of  a  young 
man  and  his  parents.    84  min. 


dy.  A  lovety  lady  calls  the  bluff  of"  an  Army  General. 


July 


JET  PILOT  Technicolor,  SuperScope.  John  Wayne, 
Janet  Leigh.  Howard  Hughes  Production.  Producer 
Jules  Furthman  Director  Josef  von  Sternoerg.  Drama. 
1 19  min. 

JOE  BUTTERFLY  CinemaScope.  Technicolor.  Audie 
Murphy  George  Nader,  Keenan  Wynn.  Producer 
Aaron  Rosenberg.  Director  Jessie  Hibbs.  Comedy. 
Story  of  American  newsmen  in  Tokyo  after  Japanese 
surrender.  90  min. 

TAMMY  AND  THE  BACHELOR  Cinemascope,  Techni- 
color. Debbie  Reynolds,  Leslie  Nielson.  Producer  Aaron 
Rosenberg.  Director  Joe  Pevney.  Comedy.  Story  of  a 
young  girl,  her  grandfather  and  a  young  man  who  falls 
in  love  with  her.  89  min.  5/27. 


August 


LAND  UNKNOWN,  THE  Jock  Mahoney,  Shawn  Smith. 
Producer  William  Alland.  Director  Virgil  Vogel. 
Science-fiction.  Polar  expedition  finds  Mesozoic  age 
in  Antartic  expedition. 

MIDNIGHT  STORY,  THE  CinemaScope.  Tony  Curtis. 
Marisa  Pavan.  Producer  Robert  Arthur.  Director  Joseph 
Pevney.  Drama.  Rookie  cop  seeks  murderer  of  parish 
priest. 

NIGHT  FASSAGE  Technirama,  Technicolor.  James 
Stewart,  Audie  Murphy.  Dan  Duryea.  Producer  A. 
Rosenberg.  Director  James  Neilson.  Drama.  Payroll 
robbers  are  foiled  by  youngster  and  tojgh-fisted  rail- 
roader. 

Coming 

DAY  THEY  GAVE  BABIES  AWAY.  THE  Eastman  Color. 
Glynis  Johns,  Cameron  Mitchell,  Rex  Thompson.  Pro- 
ducer Sam  Weisenthal.  Director  Allen  Reisner.  Drama. 
ESCAPADE  IN  JAPAN  Color.  Teresa  Wright,  Cameron 
Mitchell,  Jon  Provost,  Roger  Nakagaws.  Producer-direc- 
tor Arthur  Lubin.  Search  for  two  boys  who  start  out 
in  the  wrong  direction  to  find  the  very  people  who 
are  trying  to  find  them. 

GIRL  MOST  LIKELY,  THE  Eastmaa  Color.  Jane  Powell, 
Cliff  Robertson,  Keith  Andes.  Producer  Stanley  Rublin. 
Director  Mitchell  Leison  Comedy.  A  girl  is  proposed 
to  by  three  men  on  the  same  day. 

I  MARRIED  A  WOMAN  George  Gobel,  Diana  Dors, 
Adolph  Men[ou.  Producer  William  Bloom.  Director  Hal 
Kanter.  Coemdy.  Wife  objects  to  taking  second  place 
to  a   beer   advertising   campaign   with   her  husband. 

INTERLUDE  Technicolor,  CinemaScope.  June  Allyson, 
Rossano  Brazzi.  Producer  Ross  Hunter.  Director  Douglas 
Sirk.  American  doctor  falls  in  love  with  wife  of  fa- 
mous composer  in  Munich. 

JOE  DAKOTA  Eastman  Color.  Jock  Mahoney,  Luana 
Patten.  Producer  Howard  Christie.  Director  Richard 
Bartlett.  Drama.  Stranger  makes  California  oil  town 
see  the  error  of  its  ways. 

MAN  OF  A  THOUSAND  FACES  CinemaScope.  James 
Cagney,  Dorothy  Malone.  Producer  Robert  Arthur.  Di- 
rector Joseph  Pevney.  Drama.  Life  story  of  Lon  Chaney. 

MONOLITH  MONSTERS,  THE  Grant  Williams,  Lola 
Albright.  Producer  Howard  Christie.  Director  John 
Sherwood.  Science-fiction.  Army  of  rocks  threaten  U.S. 

MY  MAN  GODFREY  CinemaScope,  Technicolor.  June 
Allyson,  David  Niven.  Producer  Ross  Hunter.  Director 
Henry  Koster.    Comedy.    Story  of  a  topsy-turvy  butler. 

PAY  THE  DEVIL  CinemaScope.  Jeff  Chandler,  Orson 
Welles.  Producer  Albert  Zugsmith.  Director  Jack  Ar- 
nold. Drama.  Sheriff  destroys  one-man  domination  of 
Texas  town. 

PYLON  CinemaScope.  Rock  Hudson,  Robert  Stack, 
Dorothy  Malone,  Jack  Carson.  Producer  Albert  Zug- 
smith. Director  Douglas  Sirk.  Drama.  Reporter  un- 
covers World  War  I  hero  of  the  Lafayette  Escadrille. 

PUANTEZ  CinemaScope,  Eastman  Color.  Fred  Mac- 
Murray,  Dorothy  Malone.  Producer  Gordon  Kay.  Direc- 
tor Harry  Keller.  Drama.  A  study  of  five  people  in- 
volved in  a  robbery  and  killing. 

RUN  OF  THE  ARROW  Technicolor.  Rod  Steiger.  Sarita 
Montiel,  Ralph  Meeker.  Producer-director  Sam  Fuller. 
Adventure.  Young  sharpshooter  joins  Sioux  Indians  at 
close  of  Civil  War. 

THAT  NIGHT  John  Beal,  Augusta  Dabney,  Sbepperd 
Strudwick.  Producer  Hiram  Brown.  Director  John 
Newland.  Drama.  A  tragedy  almost  shatters  a  15- 
year-old  marriage. 

UNHOLY  WIFE.  THE  Technicolor.  Diana  Dors,  Rod 
Steiger,  Marie  Windsor.  Producer-director  John  Far- 
row. Drama.  A  wife  sunningly  plots  the  death  of  her 
husband  who  she  has  betrayed. 

VIOLATORS,  THE  Arthur  O'Connell,  Nancy  Malone. 
Producer  H.  Brown.  Director  John  Newland.  Drama. 
Story  of  a  probation  officer  in  the  New  York  City 
courts. 


WARNER  BROTHERS 


February 


BIG  LAND,  THE  WarnerColor.  Alan  Ladd,  Virginia 
Mayo.  A  Jaguar  Production.  Director  Gordon  Douglas. 
Western.  Cattlemen  fight  to  move  their  herds  to 
distant  railroads.  93  min.  2/4. 


93  min.  2/4. 


March 


PARIS  DOES  STRANGE  THINGS  Technicolor  Ingrid 
Bergman,  Mel  Ferrer,  Jean  Marais  A  Franco-London 
Film.  Director  Jean  Renoir.  Drama  Tale  of  the  exiled 
widow  of  a  Polish  Prince.  86  min.  3/4. 


A  pril 


SPIRIT  OF  ST.  LOUIS,  THE  CinemaScope.  Warnar- 
Color.  James  Stewart,  Rena  Clark.  Producer  Leland 
Hayward.  Director  Billy  Wilder.  Drama.  The  story  of 
the  first  man  ever  to  cross  the  Atlantic  in  a  plana. 

138  min.  3/4. 


May 


COUNTERFEIT  PLAN,  THE  Zachary  Scott  Peggie 
Castle.  Producer  Alec  Snowden.  Director  Montgomery 
Tully.  Drama.  Inside  story  of  one  of  the  largest  for- 
gery operations  ever  attempted.  80  min.  4/1. 
SHOOT  OUT  AT  MEDICINE  EEND  Randolph  Scott. 
James  Craia  Dani  Crayne.  Producer  Richard  Whorf. 
Director  Richard  Bare.  Western.  Homesteaders  and 
Quaker  settlers  in  Nebraska  frontier  town  are  cheated 
by  "bad  man".    87  min. 

UNTAMED  YOUTH  Mamie  Van  Doren.  Lou  Nelson,  John 
Russell.  Producer  Aubrey  Schenk.  Director  Howard 
Koch.   Life  on  a  prison  farm  for  juvenile  delinquents. 


4/1. 


June 


A  FACE  IN  THE  CROWD  Andy  Griffith,  Patricia  Neal. 
Producer-director  Eiia  Kazin.  Drama.  A  hill-billy  per- 
sonality leaps  to  national  fame. 

D.  I.i  THE  Jack  Webb  Don  Dubbins,  Jackie  Loughery. 
Producer-director  Jack  Webb.  Drama.  Life  of  a  Ma- 
rine Corps  drill  instructor. 

July 

PRINCE  AND  THE  SHOWGIRL.  THE  Color.  Marilyn 
Monroe,    Laurence    Olivier,    Dame    Sybil  Thorndyke. 

Producer-director  Laurence  Onvier.  Comedy.  Filmiza- 
tion  of  the  Terence  Rattigan  play.  117  min.  5/27. 

Coming 

BAND  OF  ANGELS  WarnerCo'or.  Clark  Gable,  Yvonne 
De  Carlo.  Director  Raoul  V/a!:h. 

CURSE  OF  FRANKENSTEIN,  THE  Peter  Cushlng  Hazel 
Court,  Robert  Urqhart.  Producer  M.  Carreras.  Direc- 
tor Terence  Fisher.  Horror 

NO  SLEEP  TILL  DAWN  CinemaScope.  WarnerColor. 
Karl  Maiden  Natalie  Wood.  Producer  Richard  Whorf. 
Director  Gordon  Douglas.  Story  of  the  men  who  man 
the  bombers  that  defend  our  nation. 

HELEN  MORGAN  STORY,  THE  CinemaScope.  Ann 
Blvth,  Paul  Newman.  Producer  Martin  Rackm.  Director 
Michael  Curtiz.  Drama. 

OLD  MAN  AND  THE  SEA,  THE  CinemaScope,  Warner- 
Color. Produced  by  Leland  Hayward.  Director  John 
Sturges.  Adventure.  Film  version  of  Ernest  Heming- 
way's prize-winning  novel. 

PAJAMA  GAME,  THE  Warner  Color.  Doris  Day.  John 
Raitt,  Carol  Haney.  Producers  G.  Abbot.  F.  Brisson. 
R.  Griffith,  H.  Prince.  Director  Stanley  Donen.  Filmiza- 
tion  of  the  Broadway  musical. 

RISING  OF  THE  MOON.  THE  Eileen  Crowe.  Cyril 
Cusack,  Frank  Lawton.  Directed  by  John  Ford.  Three 
Irish  stories  with  Tyrone  Power  as  narrator. 
SAYONARA  Technirama,  WarnerColor.  Mar'on  Brando, 
Red  Buttons,  Patricia  Owens.  Producer  William  Goetz. 
Director  Josh  Logan.  Drama.  Based  on  the  award- 
winning  novel  of  James  Michener. 

STORY  OF  MANKIND  WarnerColor.  All-star  cast. 
Drama. 

WITH  YOU  IN  MY  ARMS  CinemaScope  WarnerColor. 
Tab  Hunter,  Etchlka  Choureau.  J.  Carrol  Naish.  Drama. 

Lives  and  times  of  a  select  squadron  of  fighter  pilots 
in  WWI. 

X— THE  UNKNOWN  Dean  Jagger,  William  Russell. 
Producer  A.  Hinds.  Director  Leslie  Norman.  Science- 
fiction.  Keen  minded  scientist  fights  awesome  creation. 


To  Better  Serve  You  .  .  . 

Office  &  Terminal  Combined  At 
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NEW  JERSEY 
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Film     BULLETIN  —  THIS     IS     YOUR  PRODUCT 


for  your 


Put  a  PAT  BOONE  LIFE  SIZE  CUT-OUT 
STANDEE  in-the-front  or  inside  Lobby 
of  your  theatre  .  .  .  and  you'll  put  pa- 
trons in-side! 

Promote  a  PAT  BOONE  STANDEE  as  a 
give-away  gimmick  . .  .  and  you'll  pro- 
mote yourself  a  turn-away  crowd! 


'""IS.*""0*" 
- - 1"°  ** 

graphea  Photos. 


mmmvQcte&?  service 


bulTItin 


copy 


JULY  8,  1957 


Business-wise 

Analysis  of 
the  New  Films 

Reviews: 
HHE  PRIDE  AND  THE  PASSION 
THE  CURSE  OF  FRANKENSTEIN 
HOUSE  OF  NUMBERS 
CHECKPOINT 
THE  MONTE  CARLO  STORY 
THE  DELICATE  DELINQUENT 


Theatre 
vs. 

7elemovies' 

THE  PROS  AND  CDNS 
WHAT  BARTLESVILLE  THINKS 
PROMOTING  MOVIES  TO  THE  HOME 


Cxclu^iHe  ^  BULLETIN  feature 


WONDER  WHAT  A  THEATRE 
SEAT  THINKS  ABOUT? 


"Thanks  to  M-G-M,  the  "When  they  bounce  with         "They  grip  my  edges  when 

folks  have  been  parking  joy  and  rhythm  I'll  they  watch'SOMETHING 

here  regularly.  I  love  know'SILK  STOCKINGS'  OF  VALUE' .  So  tense !" 


"Such  Ohs!  and  Ahs!  "Betcha  that'TIP  ON  "I  heard  the  Manager  talk 

when  they  see  THE  A  DEAD  JOCKEY'  about  a  great  Preview  on 

LITTLE  HUT  !"  will  fill  me  plenty!"  'HOUSE  OF  NUMBERS' 


"I'm  waiting  forGUN  "I  like  action  and  will  "Oh,  my  aching  sides! 

GLORY' .  Things  will  get  plenty  of  it  with  Here  comes  a 

POP  like  they  did  with  'ACTION  OF  THE  TIGER'  "  FAT  customer!'' 


Aewpoiats 

JULY  8.   1957  "  VOLUME  25,  NO.  12 


Merits  of  Multiple  1st  Runs  in  JXviyhborhixxls 


We  note  with  approval  that  three 
pictures  of  boxoffice  importance  are  be- 
ing released  in  New  York  and  other 
exhibition  areas  in  a  manner  designed 
to  give  key  neighborhood  and  other 
subsequent-run  theatres  a  break.  In- 
stead of  being  shown  on  Broadway  to 
drain  off  the  cream  of  the  market,  the 
pictures  are  being  given  their  premiere 
engagements  at  the  neighborhood 
houses.  This  is  practical  business  build- 
ing and  we  think  it  is  good  for  all 
concerned. 

The  pictures  are  the  Pat  Boone  pic- 
ture from  Twentieth  Century-Fox, 
"Bernardine",  "Johnny  Tremain",  Walt 
Disney's  latest,  backed  by  all  the  fabu- 
lous pre-selling  of  the  Disney  television 
program,  and  Elvis  Presley's  Paramount 
film,  "Loving  You". 

All  three  of  these  pictures  seem  likely 
to  have  their  greatest  appeal  among  the 
youth,  teenagers  and  younger,  the  very 
group  that  neighborhood  theatre  needs 
for  steady  film  patronage.  All  are  pro- 
ductions that  would  normally  receive 
first-run  engagements  on  Broadway, 
and  would  give  a  good  account  of 
themselves,  particularly  now  at  the 
height  of  the  school  vacation  season. 

If  the  films  had  been  booked  on 
Broadway,  the  neighborhood  sub  runs 
would  have  had  to  wait  and  wait  for 
them,  until  the  Broadway  runs  and 
clearances  were  exhausted.  By  that 
time,  not  only  would  some  of  the  edge 
have  gone  off  the  attractions,  but 
chances  are  that  the  kids  would  be  on 
their  way  back  to  school. 

Another  point  is  that  if  the  pictures 
had  been  booked  into  a  Broadway 
house  the  advertising  needed  just  for 
that  first  run  would  have  eaten  up  most 
of  the  budgeted  expenditures  in  that 
department,  leaving  only  crumbs,  if 
anything,  for  the  later  metropolitan 
dates.  Instead,  by  the  mass  neighbor- 
hood bookings,  the  distributors  are  able 


to  make  their  advertising  produce  far 
more  boxoffice  dollars  immediately. 

We  do  not  contend  that  New  York's 
Broadway  and  its  first-run  counterparts 
in  big  cities  throughout  the  nation 
should  be  bypassed  as  a  regular  prac- 
tice. There  will  always  be  attractions 
for  which  a  successful  "Broadway"  run 
in  any  city  is  an  added  plus  when  they 
go  into  general  subsequent  release.  But 
we  are  glad  to  see  what  we  hope  is  the 
beginning  of  the  demise  of  compulsory 
"Broadwayitis"  in  the  thinking  of  film 
distributors. 

"Broadwayitis"  is  an  industrial  dis- 
ease characterized  by  the  belief  that 
you  can  get  more  money  from  any  pic- 
ture by  showing  it  at  one  house  at  a 
high  price  than  by  showing  it  at  50 
houses  at  a  more  moderate  price  at  the 
same  first-run  time.  It  is  also  character- 
ized by  the  belief  that  if  you  have  a 
smash  hit  on  Broadwav  you  will  do  that 
much  better  afterwards  in  subsequent 
runs  (a  logical  view),  but  that  if  you 
have  a  critical  disaster  in  your  opening 
engagement  this  won't  have  an  equally 
telling  effect  in  the  neighborhoods  (a 
thoroughly  illogical  view). 

It  is  refreshing  to  find  that  these 
beliefs  are  not  as  strongly  held  as  they 
used  to  be.  The  fact  is  that  in  some 
cases  first  runs  can  be  equally  harmful 
to  a  good  picture  and  a  bad  one — not 
by  itself,  but  because  of  the  product 
shortage  and  the  weird  reasoning  of 


BDLiETIN 


Film    BULLETIN:    Motion    Picture    Trade  Paper 
published   every  other   Monday   by  Wax  Publi- 
cations,   Inc.     Mo  Wax,    Editor   and  Publisher. 
PUBLICATION-EDITORIAL   OFFICES:    1239  Vine 
Street.  Philadelphia  7.  Pa.,  LOcust  8-0950.  0951. 
Philip    R.    Ward,    Associate    Editor:  Leonard 
Coulter    New  York  Associate  Editor;  Duncan  G. 
Steck,     Business     Manager;     Marvin  Schiller, 
Publication  Manager;  Robert  Heath.  Circulation 
Manager.  BUSINESS  OFFICE:  522  Fifth  Avenue, 
New    York    36,    N.    Y.,    MUrray    Hill  2-3631; 
Alt  Dinhofer,  Editorial  Representative. 
Subscription   Rates:  ONE  YEAR,  $3.00 
in  the   U.   S.;   Canada.   $4.00;  Europe, 
$5.00.     TWO    YEARS;    $5.00    in  the 
U.   S.;  Canada,  $7.50;   Europe,  $9.00. 


some  distributors  that  they  must  milk 
every  picture  dry  in  the  first  run.  For 
example,  a  good  picture  opens  on 
Broadway  and  does  three  fine  weeks  of 
business.  But  the  house  operator 
doesn't  have  another  picture  immedi- 
ately available,  or  the  distributor  wants 
to  have  a  "record"  eight  week  run  at 
the  house,  to  influence  preferred  play- 
ing time  in  later  dates.  So  the  picture 
is  held  longer  than  it  deserves;  it  does 
poor  business  (and  in  the  process  takes 
some  business  away  which  might  other- 
wise go  to  the  picture  in  a  neighbor- 
hood house),  and  it  keeps  a  theatre 
from  putting  another  film  into  release 
in  that  area. 

Actually,  the  idea  of  subsequent  runs 
is  unique  to  the  movies.  There  are  no 
subsequent  run  stations  along  the  co- 
axial television  lines  (where  kinescopes 
are  used  it's  because  of  physical  difficul- 
ties, not  usually  clearances).  There  are 
no  neighborhoods  which  get  subsequent 
run  newspapers,  two  or  three  weeks 
after  the  downtown  area.  As  far  as  we 
know,  the  neighborhood  bookstore  of- 
fers new  books  just  as  promptly  as  the 
big  downtown  establishment. 

Of  course,  only  time  will  prove  sta- 
tistically which  method  of  distribution 
is  best,  but  peculiar  factors  may  never 
give  us  proof  positive. 

But  anyone  in  the  business  knows 
that  the  neighborhood  theatres  which 
get  a  first  run  picture  of  good  marquee 
calibre  are  getting  a  strong  business- 
building  extra.  The  distributor  gets  a 
chance  to  hit  a  vast  mass  market  while 
it's  still  hot,  and  he  probably  brings  in 
his  whole  regional  film  rental  total  a 
good  deal  sooner. 

Certainly,  in  these  days  when  nothing 
in  our  business  is  rooted  in  the  tradition 
of  success,  experimentation  is  all  to  the 
good.  Movies  are  still  for  a  mass  audi- 
ence. It  makes  good  sense  to  us  to  get 
the  pictures  to  that  mass  audience  as 
soon  as  possible. 


Film  BULLETIN    July  8,  1957        Page  3 


FINANCIAL 

BULLETIN 


SUMMERTIME — and  the  trading  is  easy.  For  the  shares  of 
producing  firms  that  is.  The  tone  is  easy,  even  and  a  mite  up- 
ish.  Film  company  shares  survived  June  with  an  unremarkable 
showing  that  places  them,  in  aggregate,  one  and  three-eighth 
points  above  May.  Theatre  company  stocks,  unfortunately, 
tumbled  three-quarters  of  one  point.  The  inconsistency  is  symp- 
tomatic of  the  odd  earnings  disparity  that  exists  between  the 
two  branches  of  movie  business. 

The  charts  here  picture  the  state  of  industry  stock  prices  from 
the  beginning  of  the  year  through  June. 


Film  BULLETIN  Cinema  Aggregate* 


FILM  COMPANIES  THEATRE  COMPANIES 

'Composed  of  carefully  selected  representative  industry  issues. 


It  is  one  of  the  cruel  facts  of  industry  life  that  theatre  com- 
panies and  film  companies  do  not  necessarily  prosper  in  the 
same  ratio.  A  far  happier  time  would  be  had  by  all  if  such  were 
the  case  for  it  would  create  a  greater  sympathy  and  bond  of 
understanding  between  seller  and  buyer  as  relates  to  each  other's 
particular  problems.  As  is,  the  communcation  between  the  two 
is  remote  and  acrid.  It  is  a  business  torn  by  supicion  and  mis- 
trust. Beset,  as  it  is,  by  severe  competition  from  without,  it  is 
essential  that  there  by  unity  and  collaboration  within.  But  this 
is  not  the  case  in  the  motion  picture  industry.  Producers  and 
distributors,  with  only  rare  exceptions,  seem  to  have  little,  if 
any,  concern  for  the  welfare  of  their  customers,  exhibitors.  Thus 
we  see  individual  producers  and  prospering  rather  sensationally 
and  distributors  more  modestly,  while  the  exhibition  wing  of 
the  business  languishes  and  shows  signs  of  decay.  What  is  the 
explanation  of  this  industry,  half  fat,  half  starved? 

0 

The  story  is  three-pronged.  In  times  of  legitimate  short  sup- 
ply, demand  grows  great.  The  film  makers  may  produce  less 
but  garner  a  greater  dollar  return  per  picture  than  ever.  In 
the  meantime,  the  buyers,  bereft  of  bargaining  power,  pay  top 
dollar  or  are  shut  out  of  shelf  goods.  And,  with  overhead  run- 
ning constant,  they  are  soon  a  case  for  the  receivers.  The  text- 
books call  their  condition  a  sellers'  market.  The  movie  business 


has  been  in  that  rut  for  several  years  now — and  exhibition  is 
suffering  its  effects. 

Reverse  the  situation.  Picture  a  time  of  high  boxoffice  enthu- 
siasm. Here  both  the  supplier  and  exhibitor  make  merry.  True, 
the  production  companies  make  more  product  but  never  that 
much  more  that  a  threat  of  a  buyers'  market  becomes  foresee- 
able. The  reason  is  tied  up  in  the  peculiarities  of  picture  mak- 
ing. Talent,  the  raw  ingredient  of  film  manufacture,  is  never 
so  abundant  that  over-supply  can  come  about — even  if  the  pro- 
ducers wanted  it  that  way.  Scarcity  of  talent  thus  becomes  an 
ironic  blessing — or  so  it  seems. 

There  is  a  third  situation  that  is  neither  pure  buyers'  nor 
sellers'  market.  This  arises  when  product  exists  and  is  artifi- 
cially constrained.  The  net  result  is  an  unnatural,  unconscion- 
able perversion  of  the  sellers'  market.  It  is  a  man-made,  arbi- 
trary phenomenon  grounded  in  policy  that  attempts  to  extract 
the  last  bleeding  drop  from  "hungry"  buyers. 

A  version  of  this  exists  today,  we  are  told,  in  film  merchan- 
dising. It  is  not,  perhaps,  as  heartless  as  the  above  suggests. 
But  it  is  nonetheless  deplorable.  The  key  motive  behind  cur- 
rent restraint  is  to  unloose  a  flood  of  films  during  moviedom's 
traditional  peak  season — the  summer,  and  thereby  grab  off  the 
maximum  returns.  Some  sales  managers  call  it  "crash  market- 
ing." Exhibitors  have  another  choice  name  for  it. 

0 

What  escapes  the  producers  and  the  distributors  is  that  exhi- 
bition is  not  a  two-month  business  (as  "Joe  Exhibitor"  con- 
tended in  his  letter  printed  in  Film  BULLETIN,  June  24). 

Movie  theatres,  except  in  unusual  cases,  must  operate  twelve 
months  out  of  the  year.  Exhibitors  cannot  survive  if  the  me- 
chanics of  distribution  requires  them  to  starve  February  through 
June  and  eat  Chateaubriand  the  summer  long.  But  they  insist 
that  distributors  have  calculated  it  that  way  by  tortuously  dol- 
ing out  a  picture  here  and  a  picture  there,  while  they  mollify 
their  customers,  declaring — "Wait,  just  wait,  it's  coming,  it's 
coming  big." 

Even  the  great  first-run  movie  palaces  have  felt  the  hunger 
pangs,  thus  accounting  for  the  sluggish  market  movement  of 
the  circuits  in  our  Theatre  Aggregate.  Translate  their  plight  in 
terms  of  grass  roots  theatres  and  the  economic  distress  is  seen 
to  be  greater  still. 

Remember  most  theatremen  are  in  one  business  and  one 
business  only.  They  do  not  hold  title  to  film  libraries  capable 
of  driving  up  the  price  of  stock,  as  witness  the  sudden  surge  of 
Universal,  Columbia  and  Paramount  in  June.  Nor  do  they  make 
records,  produce  TV  films  or  trade  in  real  estate.  They  simply 
show  movies  for  the  price  of  an  admission.  When  there  is  no 
movie  to  show  (or  when  there  is  no  movie  of  merit  to  show), 
the  exhibitor  may  as  well  shut  down  and  go  fishing.  From 
rumblings  we  hear,  that  is  precisely  what  some  of  them  con- 
template doing  before  long.  If  that  happens,  the  exhibitors 
may  find  their  great  equalizer:  no  theatres  open  to  exhibit  the 
minor  off-season  offerings  of  the  film  companies! 


Page  4       Film  BULLETIN    July  8,  1 957 


MEMO 


from  the  desk  of  ALEX  HARRISON 


I  have  been  privileged  to  see  a  rough  cut  of  Leo  McCarey  's 
AN  AFFAIR  TO  REMEMBER,  which  is  Jerry  Wald's 
first  production  (in  CinemaScope  and  Color  by  De  Luxe) 
for  release  by  our  company.  I  want  to  express,  on  behalf 
of  all  of  us  at  20th  Century- Fox,  our  deepest  admiration 
and  gratitude  to  these  fine  gentle- 
men, to  Delmer  Daves  with  whom 
Leo  wrote  the  screenplay,  and  to 
the  wonderful  co-stars,  Cary  Grant 
and  Deborah  Kerr.  They  have 
created  a  love  story  the  whole 
world  is  going  to  fall  in  love  with, 
and  remember,  and  cherish  for  a  long  time  to  come. 


At  both  showings  of  this  very  rough,  unfinished  cut  of 
the  film  which  the  Messrs.  Wald  and  McCarey  let  us  see, 
it  was  obvious  that  this  was  a  film  with  the  power  to  affect 
deeply  all  kinds  of  people.  From  the  first  moment,  when 
Vic  Damone  sings  the  haunting  title  song,  to  the  last 
tender  kiss  at  the  fade-out,  the  boys  as  well  as  the  girls 
cried,  laughed  and  had  their  hearts  lifted  by  this  warm, 
human,  romantic  motion  picture. 


continue . 


We  are  now  accepting  July  playdates  on 
this  memorable  picture.  We  urge  you  to 
contact  your  local  exchange  immediately 
for  availability  of  playdates  for  your  the- 
atre. I  think,  when  AN  AFFAIR  TO  RE- 
MEMBER is  released  next  month,  our 
friends  in  exhibition  will  be  grateful.  For 
here  is  one  of  those  rare  "pure  entertainments"  you 
are  always  hoping  for.  Pictures  like  our  The  King  and 
/,  Jerry's  production  The  Eddy  Duchin  Story,  Leo's 
Going  My  Way. 

And,  finally,  the  good  people  who  pay  their  money  to 
come  in  and  see  motion  pictures  are  going  to  be  most 
grateful  of  all.  They  will  tell  their  friends  and  neighbors 
to  go  and  see  this  picture,  and,  even  more  important,  we 
think  they  will  be  reminded  that  the  community  motion 
picture  house  is  still  the  place  to  experience  the 
world's  best  entertainment. 


Sincerely, 


ALEX  HARRISON 
General  Sales  Manager 
20th  Century-Fox 


THE  PROS,  THE  CONS,  THE  FACTS 


The  Theatre  vs.  Pay-TV 

EDITOR'S  NOTE:  Within  a  short  time  we  will  be  witnessing  the  test  of  a  com- 
pletely new  method  of  exhibiting  motion  pictures — by  cable  directly  into  the 
television  sets  in  the  homes  of  subscribers.  The  initial  experiment  in  so-called 
"telemovies",  to  be  conducted  in  Bartlesville,  Oklahoma,  raises  many  questions 
in  the  minds  of  movie  people,  especially  exhibitors.  We  asked  two  spokesmen 
for  exhibition  to  present  the  pros  and  cons  of  the  issue;  we  assigned  a  news- 
paperman in  Bartesville  to  provide  answers  to  some  of  the  questions;  we  secured 
the  result  of  the  only  survey  taken  of  the  subscriber  market  there,  and  we  ob- 
tained samples  of  the  advertising  campaign  that  will  seek  to  woo  the  citizenry 
to  "telemovies"  in  Bartlesville.  Film  BULLETIN  presents  the  pros,  the  cons  and 
the  facts  on  this  and  following  pages. 


PRO  C  D  N 


Right  at  the  outset,  let  me  say  that  I  am  not  sure  whether 
subscription  television,  cable  or  otherwise,  is  going  to  work 
not  some  Johnnv-come-lately-into-show-business  who  gets  the 
out;  but  if  it  does,  I  would  like  to  be  sure  that  pay  TV  pays  me, 
franchise  and  takes  my  theatre  customers  away  from  me. 

I  keep  thinking  of  the  early  days  of  motion  pictures — how  a 
man  from  the  fur  business  named  Marcus  Loew  and  a  merchant 
named  Mitchell  Mark  and  a  batch  of  other  Johnny-come-latelies 
saw  the  potentialities  of  the  screen  while  the  established  show- 
men of  the  day  laughed  at  "mechanical  vaudeville."  It  just 
doesn't  pay  to  let  outsiders  do  all  the  pioneering,  because  you 
are  likely  to  wake  up  one  fine  morning  and  find  that  they  are 
inside  now  and  you  are  out  in  the  cold. 

There  are  lots  of  problems  and  lots  of  question  marks  about 
subscription  television.  I  know  the  questions;  neither  I  nor 
anybody  else  yet  knows  the  answers,  because  toll  television 
hasn't  yet  been  put  to  work. 

If  you  have  any  respect  for  history,  though,  you  know  that 
nobody  ever  stopped  any  new  device  or  invention  permanently 
by  passing  a  law  against  it — and  you  can  apply  this  to  theatre 
motion  pictures  (lots  of  communities  once  had  laws  against 
them),  tranquilizer  pills  or  butter-colored  margarine. 

Therefore,  I  as  a  theatre  man  have  only  a  few  alternatives.  I 
face  the  fact  that  if  I  don't  become  the  toll  TV  promoter  in 
my  community,  the  chances  are  that  somebody  else  will.  If  toll 
TV  flops  and  the  promoter  drops  a  bundle  of  change  in  the 
process,  I'd  sooner  it  wasn't  my  bundle.  On  the  other  hand,  if 
pay-as-you-see  works  out  profitably,  I'd  like  the  profit  to  be 
mine. 

As  I  see  it,  I  have  an  awful  lot  to  lose  if  pay  TV  works  and 
I'm  not  the  pay  TV  man;  I  may  also  lose  quite  a  bit  if  I  bank- 
roll a  toll  video  system  that  doesn't  show  a  profit.  But,  looking 
at  the  matter  hardheartedly,  it  seems  to  me  that  the  amount  I 

(Continued  on  Page  ti) 


You  might  call  me  a  progressive  exhibitor.  I  had  one  of  the 
first  neighborhood  theatres  to  put  in  sound,  not  just  because  I 
could  afford  it,  but  because  I  felt  it  was  part  of  the  future  for 
the  theatre  business. 

The  aspect  ratios  had  me  buffaloed  for  a  while,  but  I  had  my 
CinemaScope  screen  and  stereo  sound  installed  in  time  to  play 
"The  Robe"  its  first  time  around  and  got  my  investment  in 
equipment  back  within  a  year. 

Not  that  I'm  the  soundest  businessman  in  the  world.  When 
"Bwana  Devil"  set  the  trade  papers  afire  with  its  novelty,  I 
bought  every  gimmick  I  could  lay  my  hands  on  to  give  my 
public  the  best  3D  possible.  And  I've  still  got  a  few  cartons  of 
polaroid  glasses  to  prove  it. 

In  other  words,  I'm  wide  open  for  anything  that's  going  to 
improve  my  theatre  business — and  I  don't  mind  spending  a  buck 
to  do  it.  If  I  thought  this  cable  idea,  "telemovies ",  was  going 
to  be  good  for  me  as  an  experienced  exhibitor,  I  would  be  the 
first  to  latch  on  to  a  franchise. 

But  I  don't.  I  don't  believe  the  cable  theatre  will  do  me,  or 
exhibition  generally,  or  movie  business  as  a  whole — including 
the  film  studios — any  good.  On  the  contrary,  I  feel  that  it  will 
reduce  our  industry  to  a  pygmy  and  make  a  mediocrity  out  of 
the  great  entertainment  we  now  offer  to  the  public  on  our 
theatre  screens. 

I  have  followed  with  a  great  deal  of  interest  the  arguments 
for  "telemovies"  or  whatever  name  pay-to-see-movies-at-home 
goes  by.  On  the  surface,  the  arguments  advanced  by  its  pro- 
ponents, beautifully  polished  with  ifs,  make  pretty  convincing 
reading.  But  let's  consider  some  of  the  fundamentals. 

No  home  telev  ision  set,  now  or  in  the  foreseeable  future,  can 
do  justice  to  a  major  Hollywood  production.  Watching  a  big 
picture  on  a  little  screen  takes  away  much  of  the  effectiveness 

(Continued  on  Page  8) 


Film  BULLETIN    July  8,  1957        Page  7 


THE  THEATRE  AND  PAY-TV 


PRO  CON 


(Continued  from  Page  7) 

stand  to  lose  if  I  invest  in  an  unsuccessful  video  system  is  less 
than  if  somebody  else  brings  in  a  success  that  ruins  my  theatre. 

Not  every  new  communications  idea  makes  a  fortune.  Radio 
did,  and  so  did  home  television;  but  you  can't  say  the  same  for 
soundies  (remember  those  juke-box  movies?)  or  for  theatre 
closed  circuit  programming.  And  yet  I'd  be  willing  to  bet  that 
by  now  even  the  relatively  unsuccessful  theatre  TV  or  soundies 
fields  have  paid  off  all  the  original  investments. 

Therefore  I  am  inclined  to  believe  that  subscription  tele- 
vision, even  if  it  scores  no  immediate  smash  triumph,  will  ulti- 
mately pay  its  way  for  the  people  who  run  the  system.  Further- 
more, I  believe  that  movies — or  "telemovies ",  as  our  Oklahoma 
friends  call  them  when  they  speak  of  toll  TV — are  being  over- 
mentioned.  The  fuss  about  subscription  television  contracts 
for  the  Dodgers  and  the  Giants  has  awakened  many  people  to 
the  fact  that  you  can  have  subscription  TV  without  necessarily 
having  movies. 

Wcnts  in  on  Winning  Side 

Personally,  as  a  theatre  man,  I  would  be  delighted  to  see  toll 
television  work  out  that  way,  so  that  the  movies  I  show  at  my 
theatre  would  still  have  to  be  seen  at  the  theatre,  not  in  the 
home.  But  even  if  that  happened,  if  there  were  enough  non- 
movie  programming  to  make  toll  video  pay,  I'd  still  like  to  be 
my  community's  subscription  man.  I'd  like  to  be  able  to  pro- 
gram the  toll  system  and  the  theatre  so  that  they  helped  each 
other  instead  of  always  competing;  and  if  they  ended  up  com- 
peting with  each  other  I'd  like  to  be  sure  of  being  on  the 
winning  side. 

The  wagon  makers  who  let  a  bright  new  bunch  of  young 
mechanics  walk  off  with  the  automobile  business  undoubtedly 
felt,  very  sincerely,  that  the  gasoline  engine  would  never  replace 
the  horse.  The  fellows  who  thought  the  airplane  would  never 
hurt  the  railroads  were  equally  sincere.  And  I  don't  for  a  mo- 
ment question  the  sincerity  of  the  people  in  our  business  who 
throw  up  their  hands  in  horror  and  say  that  toll  television  will 
be  against  the  public  interest  or  that  toll  television  just 
can't  work. 

If  you're  talking  about  whether  it  is  in  the  public  interest  to 
use  free  public  air  channels  for  toll  TV,  you  have  a  point. 
Trouble  is,  you  can  make  pretty  much  the  same  point  about  the 
television  stations  which  use  free  public  air  channels  to  sell 
things,  at  a  nice  tidy  profit  for  themselves. 

And  when  you  speak  of  wired  toll  television,  you  must  re- 
member that  you  don't  need  Washington's  permission  for  this. 
Your  local  gov  ernment  and  possibly  the  television  company  are 
the  people  to  see — and  if  you  don't  see  them,  what's  to  prevent 
somebody  else  from  doing  it? 

I  am  inclined  to  think  that  toll  television  is  going  to  work — 
maybe  not  with  movies  at  all,  maybe  with  movies  most  of  all. 
I  am  willing  to  take  a  chance  with  a  financial  venture  into  toll 
TV  because  I  want  my  business  to  look  forward  to  an  era  of 
real  growth,  and  I  do  not  see  such  a  vista  of  growth  ahead  for 
the  small  theatres  such  as  mine. 

I  believe  I  have  a  right  to  expect  that  when  I  get  into  toll 

(Continued  on  Page  14) 


(Continued  from  Page  7) 

of  the  motion  picture.  The  great  sweep  of  CinemaScope  on 
the  theatre  screen  is  lost  and  deformed  on  the  21-inch  living 
room  picture.  The  scenic  beauty,  the  color,  the  scope,  the  fram- 
ing of  a  scene  to  enhance  its  drama,  the  spectacle — these  are 
exclusively  the  product  of  the  big  theatre  screen. 

What  is  the  obvious  result  if  the  bulk  of  Hollywood's  prod- 
uct is  going  to  be  tailored  for  the  small  screen,  as  it  would 
have  to  be  if  the  living  room  replaces  the  theatre?  Except  for 
the  occasional  road  show,  the  "big"  picture  would  be  a  thing 
of  the  past.  All  those  wonderful  studio  facilities,  built  up  to 
accommodate  the  scope  of  the  big  theatre  screen,  would  no 
longer  be  needed.  Films  for  the  small  home  screen  could  be 
made  much  more  economically  in  smaller  areas  and  with  much 
more  limited  facilities.  TV  production  would  "rattle  around" 
on  the  vast  Hollywood  lots,  as  anyone  who  has  seen  them  being 
made  can  attest.  The  enormous  investments  the  film  companies 
have  in  the  studio  properties  would  shrink  to  just  so  much  real 
estate. 

Not  that  my  heart  bleeds  for  the  film  companies'  investments. 
But  if  these  huge  plants  that  have  turned  out  such  fine  product 
for  the  theatres  are  undermined,  what  is  going  to  happen  to 
my  source  of  supply?  If  I  stay  clear  of  the  cable  theatre  system, 
chances  are  there  just  won't  be  suitable  pictures  for  my  theatre 
screen.  Certainly,  there  won't  be  enough  of  them  for  full-time 
operation. 

On  the  other  hand,  what  happens  to  the  investment  I  have 
in  my  theatres  if  I  do  go  into  "telemovies"?  For  one  thing,  my 
brick-and-mortar  investment  becomes  just  that — four  beauti- 
fully decorated  walls  designed  for  ideal  sound  reverberance,  the 
40-foot,  high-fidelity  screen  capable  of  reproducing  the  finest 
shadings  of  light,  shadow  and  color,  thousands  of  comfortable 
seats,  yards  of  lush  carpeting,  the  latest  air-conditioning,  every- 
thing for  my  customers'  enjoyment  and  comfort — and  no  cus- 
tomers inside  the  four  walls.  I  figure  to  be  left  with  a  big  white 
elephant  on  which  to  pay  taxes. 

Sees  Competition  Tough 

However,  let's  assume  that  I've  gotten  the  jump  on  my  fel- 
low-exhibitors and  wrapped  up  a  cable  franchise  in  the  area. 
I'm  an  experienced  theatre  operator,  qualified  to  book  pictures, 
exploit  them,  make  my  patrons  comfortable.  But  I'm  pretty 
green  at  this  projection-over-the-wire  thing.  I  shudder  to  think 
what  might  happen  to  that  lifetime  of  experience  if  the  tele- 
vision station  experts  with  their  technical — and  often,  financial 
— advantages  in  this  medium  decided  to  get  into  the  cable 
theatre  act,  as  there  is  every  likelihood  they  will. 

While  I  can  afford  to  concentrate  only  on  supplying  motion 
picture  entertainment  to  my  at-home  customers,  my  TV  com- 
petitors and  various  promoters  are  combining  movie  cable-cast- 
ing with  live  events  and  entertainment.  I  am  not  geared  to 
take  on  all  the  fields  of  entertainment  that  would  be  involved 
in  an  enterprise  of  this  sort — and  I  doubt  that  more  than  5% 
of  the  exhibitors  in  the  country  could  venture  to  take  this  step. 
That  leaves  about  95%  of  the  theatremen  in  a  pretty  precari- 
ous competitive  position,  as  I  see  it. 

( Continued  on  Page  14) 


Page  8       Film  BULLETIN    July  8,  1957 


THE  THEATRE  vs.  PAY-TV 

□N-THE-SPDT  REPORT  HY  QUESTION  S.  ANSWER 

What's  Bartlesville  Thinking? 


To  obtain  an  on-the-spot  picture  of  the  Bartlesville  cable 
theatre  test,  Film  BULLETIN  assigned  Ralph  J.  Smith, 
reporter  with  the  Bartlesville  Examine! -Enterprise,  to  pro- 
vide the  answers  to  a  series  of  questions  posed  by  The 
BULLETIN'S  editorial  board.  Smith  has  been  on  top  of 
the  "telemovies"  experiment  since  its  inception,  and  has 
also  had  some  background  in  the  motion  picture  business. 

Will  the  concert  of  wired  toll-television,  if  successful,  destroy 
the  motion  picture  industry  as  it  is  known  today? 

Not  since  the  advent  of  sound  in  the  movie  industry  has  such 
a  word  had  so  much  impact  on  the  nation's  favorite  entertain- 
ment. Some  industry  leaders  envision  a  whole  new  concept  of 
motion  picture  entertainment  and  others  fear  a  cancer  might 
be  spawned  in  the  Bartlesville,  Oklahoma  project  that  will 
literally  destroy  the  motion  picture  industry  as  it  is  known 
today.  Both  factions  of  the  industry  are  basically  correct.  The 
new  project  will  virtually  finish  the  borderline  brick  and  mortar 
house  and  neighborhood  operations.  However,  as  the  old  goes 
out,  the  new  will  come  in  and  will  bring  a  myriad  of  complex 
problems  and  conflicting  interests.  The  project  is  a  supreme 
challenge  to  the  foresight  of  the  leaders  of  the  nation's  movie 
industry  and  their  abilities  will  be  taxed  to  the  utmost  in  chang- 
ing their  ever  growing,  ever  changing  industry. 

What  will  be  the  effect  of  "telemovies"  on  local  theatres? 

Video  Theaters  has  closed  one  downtown  theater  and  is  con- 
verting the  building  into  studio  and  maintenance  center  for 
telemovies.  The  theater  was  a  marginal  operation  and  their 
action  may  well  indicate  the  fate  of  such  houses  where  tele- 
movies will  operate.  The  company  may  close  another  theater 
which  has  been  operated  as  an  A  minus  operation.  All  three 
of  the  theaters  were  remodeled  last  year.  It  is  doubtful  the 
first-run  theater  will  suffer  from  telemovies,  since  not  all  of  the 
city  will  be  able  to  hook  onto  the  system.  Eventually  the  out- 
lying areas  will  be  brought  into  the  project,  but  even  then  by 
careful  booking  the  main  theaters  can  continue  to  operate  as 
in  the  past  with  probably  better  attendance.  Drive-in  theaters 
will  not  be  affected,  because  of  their  outdoor,  get-away-from- 
home  appeal. 

Are  the  citizens  of  Bartlesville  interested  in  this  system? 

Public  interest  in  Bartlesville  is  extremely  high.  The  novelty 
of  being  the  "first"  has  some  appeal,  but  the  convenience  of 
watching  movies  without  fighting  heavy  traffic  in  the  down- 
town area,  where  the  theaters  are  located,  has  a  more  fascinating 
appeal.  Video  Theaters  are  proceeding  on  the  project  with 
some  confidence.  A  survey  earlier  this  year  was  made  by  an 
Oklahoma  University  survey  team  and  they  reported  over  80 
per  cent  of  the  city's  homes  had  television  sets  and  15  out  of 


24  persons  interviewed  indicated  the)  would  take  the  telemovie 
service. 

Can  Bartlesville  citizens  afford  this  new  medium  of  entertain- 
ment? 

Whatever  the  monthly  charge,  city  residents  can  afford  it. 
Bartlesville  is  the  home  of  Phillips  Petroleum  Co.,  one  of  the 
country's  billion  dollar  firms  and  is  also  the  home  of  Cities 
Service  Oil  Company  in  the  southwest.  The  economy  of  the 
city  is  steady,  not  of  a  bouncing  nature  as  in  industrial  areas 
of  the  nation.  The  city  is  expanding  at  a  steady  rate.  The  city 
area  is  twice  as  large  now  as  in  1950.  The  city  population  has 
increased  almost  10,000  persons  since  the  last  Federal  census. 

What  is  the  public's  reaction  to  the  subscription  charge? 

The  cost  of  $9.50  per  month,  is  considered  by  most  towns- 
men, as  too  high.  Most  consider  a  charge  of  $6  per  month 
would  be  more  reasonable.  Video  Independent  Theaters,  Inc., 
of  Oklahoma  City,  who  own  and  operate  all  of  the  theaters 
in  the  city,  are  countering  against  the  opposition  to  the  cost  by 
offering  a  plus  program.  The  coaxial  cable,  which  is  being  in 
stalled  now  by  Southwestern  Bell  Telephone  Co.,  is  capable  of 
carrying  five  programs  simultaneously.  In  addition  to  the  main 
first-run  movie,  a  second  program  on  another  channel  will  carry 
a  re-issue  or  secondary  first  run  movie.  A  third  channel,  is 
scheduled  to  carry  news,  time,  temperature,  weather  forecasts, 
and  special  events.  Recorded  music  will  be  carried  whenever 
possible.  Two  of  the  channels  will  not  be  used  at  the  begin- 
ning of  the  project.  Subscribers  will  be  billed  monthly  in  ad- 
vance. Each  bill  will  list  the  shows  to  be  offered  during  the 
coming  month. 

How  many  subscribers  are  there? 

None  have  been  signed  up  yet.  The  advertising  campaign 
and  the  selling  driv  e  to  solicit  subscriptions  are  poised  ready  to 
start.  There  are  eight  thousand  television  sets  in  town  and  it 
is  expected  that  approximately  three  thousand  will  be  signed  up. 

When  will  the  first  showing  be? 

The  starting  date  is  still  indefinite.  Present  plans  are  for  a 
group  of  25  test  installations  to  be  operating  by  July  15,  how- 
ever the  full-scale  premiere  opening  is  scheduled  September  1, 
to  coincide  with  the  city's  celebration  of  the  state's  semi-cen- 
tennial anniversary. 

What  is  the  attitude  of  local  merchants? 

Local  merchants  as  a  whole  do  not  believe  the  telemovie 
system  will  hurt  their  business.  Retail  business  in  the  city  is  at 
al  an  all-time  high.  It  has  risen  steadily  each  year  since  1944. 
The  impact  of  television  has  not  affected  the  merchants,  except 

( Continued  on  Page  13) 


Film  BULLETIN    July  8,   1957        Page  ? 


Teaser  ad 
and  1-Sheet 


ft* 

the  C  urse  of, 
frankenstein 

Soon  You 
Wilt  Too! 


PLEASE  TRY  NOT  TO  FAINT 


THEY 


SOON 
THE 

SHOWMANSHIP 
OF 

WARNER 
BROS. 
WILL  BE 
SEEN  AGAIN 
IN 


MADE  THE  NEWS 

SKIATRON,  Inc.,  won  the  first  round  in  its  effort  to 
establish  a  closed-circuit  TV  network  in  Los  Angeles. 
The  L.A.  Board  of  Public  Utilities  last  week  approved 
the  first  cable  TV  franchise  application  covering  the 
city.  Final  approval  rests  with  the  City  Council.  Since 
the  terms  do  not  specify  an  exclusive  right  to  any  one 
company  to  undertake  the  project,  the  grant  to  Skia- 
tron  opens  the  way  for  competitors  to  make  their  bids 
to  the  Council.  International  Telemeter,  a  Paramount 
Picture  subsidiary,  announced  promptly  that  it  would 
immediately  file  for  a  franchise.  Telemeter  vice  presi- 
dent Louis  Novins,  who  represented  his  company  at 
the  hearings  before  the  board,  said  his  company  is  pre- 
pared to  invest  millions  of  dollars  to  string  the  neces- 
sary wires  to  provide  a  closed-circuit  network  for  the 
400-square  mile  area.  Skiatron  is  required  to  post  a 
$25,000  bond  to  guarantee  the  beginning  of  operations 
within  a  two-year  period,  and  to  pay  the  city  2  per 
cent  of  its  annual  gross  as  a  service  fee.  The  city  has 
the  right  to  cancel  the  franchise  on  two-years  notifica- 
tion. Skiatron  vice  president  Alan  Lane  said  he  ex- 
pects the  system  to  be  in  operation  not  only  in  the 
city  within  two  years,  but  throughout  Los  Angeles 
county  as  well.  Los  Angeles  mayor  Norris  Paulson  is 
publicly  on  record  as  interested  in  expediting  Toll-TV 
in  order  that  the  Brooklyn  Dodgers  may  be  persuaded 
to  move  to  L.A.  Recent  stories  indicate  that  the  New 
York  baseball  team  may  already  have  signed  contracts 
for  such  a  move. 

0 

C.  V.  WHITNEY,  millionaire  independent  producer, 
jointly  announced  with  Roy  Disney,  president  of  Walt 
Disney  productions,  that  the  latter  organization  will 
distribute  the  Whitney's  two  upcoming  pictures,  "Mis- 
souri Traveler"  and  "Young  Land".  Deal  is  a  $5  mil- 
lion one,  marking  the  first  time  Disney's  distributing 
arm,  Buena  Vista,  will  handle  product  other  than 
those  of  the  Disney  organization,  Whitney's  other  re- 
cent production,  "The  Searchers  ",  was  distributed  by 
Warner  Brothers.  No  explanation  for  the  switch  to 
Buena  Vista  was  made. 

0 

SPYROS  P.  SKOURAS  and  Darryl  F.  Zanuck  an- 
nounced last  week  that  "DeLuxe  Tour",  the  Frederic 
Wakeman  novel,  will  be  the  first  picture  to  be  filmed 
and  exhibited  in  CinemaScope  55.  Previously,  "The 
King  and  I"  was  filmed  in  55mm  but  exhibited  in 
35mm.  Announcement  by  Fox  president  Skouras  and 
producer  Zanuck  was  made  just  after  the  scheduling 
by  Fox  of  a  list  of  21  CinemaScope  productions  to  be 


released  between  July  1  and  October  of  this  year,  part 
of  its  goal  of  55  pictures  for  1957.  "Deluxe  Tour", 
it  was  revealed,  will  be  designed  exclusively  as  a 
roadshow  for  40  to  50  special  theatres  in  this  country 
and  an  equal  number  throughout  the  world.  The  pic- 
ture will  be  produced  by  Robert  L.  Jacks  for  Darryl 
F.  Zanuck  Productions,  Inc.,  and  distributed  by  20th- 
Fox.  Skouras  also  announced  that  the  company's  news- 
reel  feature,  Movietonews,  will  be  converted  to 
CinemaScope  in  order  to  bring  a  "new  look"  to  its 
newsreels.  According  to  Skouras,  his  company  is  look- 
ing for  a  completely  new  format  to  insure  unique 
reportorial  coverage  and  to  re-establish  the  newsreel's 
entertainment  importance. 

o 

JACK  L.  WARNER,  predicting  a  bright  future  for 
Warner  Brothers  product  at  the  company's  recent  sales 
conclave,  declared  that  "the  day  of  mediocrity  in  mo- 
tion picture  entertainment  is  long  past".  Other  points 
made  by  the  WB  president:  some  of  the  strongest  pro- 
ductions ever  to  bear  the  Warner  shield  will  be  pre- 
sented between  now  and  the  first  of  the  year;  Warners 
"welcomes,  in  fact  aggressively  seeks,  makers  of  (in- 
dependent) motion  pictures";  his  company  is  interested 
in  purchasing  pre-sold  properties  since  "it  is  our  firm 
conviction  that  stories  are  more  important  than  names." 

0 

ERNEST  G.  STELLINGS  has  personally  jumped  into 
the  battle  against  "telemovies'  in  his  own  theatre  baili- 
wick. When  an  application  was  made  for  installation 
of  a  cable  TV  system  in  Fayettevile,  N.  C,  Stellings 
headed  the  opposition  to  the  petition  when  it  came 
before  the  city  council.  President  of  Stewart-Everett 
theatres,  Stellings  operates  some  100  theatres  in  the 
Carolinas.  He  has  been  outspoken  in  his  opposition 
to  Toll-TV,  through  his  position  as  president  of  Thea- 
tre Owners  of  America.  Stellings  was  backed  in  his 
stand  by  William  G.  Enloe,  district  manager  of  North 
Carolina  Theatres,  Inc.,  a  subsidiary  of  the  Wilby- 
Kincey  chain,  owned  by  ABC-Paramount  Theatres. 

o 

BEN  MARCUS  argued  for  more  orderly  release  of 
films  and  predicted  a  rosy  future  for  multiple  runs,  on 
his  stopover  in  New  York  recently  to  plan  Allied's 
Emergency  Defense  Meeting.  The  head  of  Marcus 
Theatres  of  Wisconsin  and  former  Allied  president, 
insisted  there  must  be  a  united  effort  by  distribution 
and  exhibition  to  establish  an  orderly  release  schedule, 
that  the  present  policy  of  concentrated  July  and  Au- 
gust releasing  of  A  pictures  is  retarding  attendance. 

o 

UNIVERSAL  did  not  fare  so  well  financially  in  the 
26  weeks  ended  May  4,  1957.  According  to  the  most 
recent  financial  statement,  earnings  for  the  period 
amounted  to  $1,727,623  ($1.74  per  share),  compared 
with  earnings  of  $2,047,383  ($2.08  per  share)  for  the 
corresponding  half  year  in  1956,  a  drop  of  $319,760. 
The  number  of  shares  outstanding  was  927,254  for 
both  periods. 


THE  CORSE  OF 


HEADLINER5 

JOSEPH  R.  VOGEL,  Loew  s  presi- 
dent, heads  the  contingent  of  board 
members  to  Culver  City,  July  11 
and  12,  for  monthly  board  meeting 
Members  will  screen  upcoming 
product,  observe  studio  activity,  sec- 
demonstration  of  Camera  65,  com- 
pany's new  filming  process  .  .  . 
Three  new  appointments  announced 
by  Rank  Film  Distributors:  ANDRE 
GEBSTAEDT,  former  Republic  ad- 
vertising manager,  named  assistant 
to  Rank  ad-pub  manager  STEVE 
EDWARDS;  RUTH  POLOGE 
named  publicity  assistant,  will  han- 
dle magazine  relations;  LESTER 
DINOFF  to  handle  trade  press,  do 
special  writing  chores  .  .  .  TED 
HOWARD,  head  of  his  own  public 
relations  firm,  handling  special  ex- 
ploitation for  Warners'  "The  Prince 
and  The  Showgirl"  .  .  .  PAUL 
KAMEY  named  to  newly-created 
post  of  assistant  Eastern  publicity 
manager  at  Universal  .  .  .  HER- 
MAN WOBBER,  retiring  Western 
Division  manager  for  20th-Fox, 
honored  with  two  testimonial 
luncheons,  one  in  Denver  hosted  by 
150  members  of  the  Rocky  Moun- 
tain area,  the  other  in  San  Fran- 
cisco hosted  by  Variety  Tent  Club 
32.  Speakers  at  latter  affair  in- 
cluded Fox  sales  head  ALEX  HAR- 
RISON, producer  AL  LICHTMAN 
.  .  .  20th-Fox  to  make  a  special 
45-minute  version  of  its  Cinema- 
Scope  product  feature  "The  Big 
Show"  available  to  exhibitors,  ac- 
cording to  Fox  president  SPYROS 
P.  SKOURAS  .  .  .  Universal  v.p. 
DAVID  A.  LIPTON  to  be  guest 
of  honor  and  principal  speaker  at 
U-I's  1957  Far  Eastern  Sales  Con- 
ference in  Tokyo  July  9  .  .  .  JACK 
KIRSCH,  Allied  Theatres  of  Illi- 
nois president,  elected  president  of 
Chicago  Cinema  Lodge,  B  nai  B'rith 
.  .  .  JAMES  BIONDO  joined  Con- 
tinental Distributing  as  temporary 
assistant  to  ad-pub  director  SHEL- 
DON GUNSBERG  .  .  .  RFDA 
president  KENNETH  HAR- 
GREAVES,  sales  topper  IRVING 
SOCHIN  and  advertising  head 
GEOFFREY  MARTIN  among  first- 
nighters  at  the  July  2  Phila.  pre- 
miere of  Rank  s  "The  Third  Key". 


One 
of  the 
News- 
paper 
ads. 


the  Curse  of  Frankenstein 
will  haunt  you  forever! 


WWW 

FROM 
WARNER  BROS. 


Our  'House  of  Wax'  was 
like  no  other  horror  enter- 
tainment. We  top  it  now. 
The  wild  terror  of  this 
story  sets  a  new  standard 
in  blood-chilling  realism. 
Be  warned! 


THE  CREATURE  CREATED  BY  MAN 
AND  FORGOTTEN  BY  NATURE. 

No  one  who  saw  it  lived  to  describe  it! 


|  ..WarnerColor  1 

ALL  NEW  AND 
NEVER  DARED  BEFORE!  | 

Not  recommended  for 
people  of  nervous 
disposition. 

[please  try  I 

1  NOT  TO  FAINT  I 

starring  PETER  CUSHING  -  HAZEL  COURT- ROBERT 

Screen  Play  by  JIMMY  SANGSTER  ■  Directed  by  TERENCE  FISHER 


T  and  CHRISTOPHER  LEE  m 

xecutive  Producer  MICHAEL  CARRERAS  W 


electronic  marvel 
IN  AN  AGE  OF 
MIRACLES! 


Living  Room  Theatre 


'N-THE 


HOME 


NEW  FUIL  LENGTH 
MOVIE  PROGRAMS 
PLUS  COMPLETE  MUSIC, 
NEWS,  WEATHER  AND 
TIME  SERVICE! 

NOON  ffl.  MIDNIGHT  BttlV 


THE  THEATRE  vs.  PAY-TV 


Promoting  Movies  to  the  Home 


How  is  "Telemov'tes"  to  be  sold  to  the  people  of 
Bartlesville?  For  the  answer  to  this,  Film  BUL- 
LETIN called  upon  the  Beats  Advertising  Company 
of  Oklahoma  City,  the  agency  that  is  handling  the 
promotion  of  cable  movie  service  for  Video  Inde- 
pendent Theatres.  Mr.  W.  J.  Montgomery,  vice 
president  of  Beals,  is  in  charge  of  the  project,  and 
the  following  is  his  report  on  this  trail-blazing  ad- 
vertising-publicity program: 

Our  plan  for  promoting  Telemovie  service  to  the  people  of 
Bartlesville  utilizes  all  media  available  in  the  market.  Initially, 
we  scheduled  teaser  ads  in  the  newspaper  coordinated  with 
similar  copy  on  the  radio.  Concurrent  outdoor  effort  was  16 
24-sheets  with  teaser  copy  stating  that  "Bartlesville  Families 
Will  Be  First  in  the  World  to  Enjoy  Telemovies — Your  Living 
Room  Theatre." 

Subsequent  efforts  include  detailed  newspaper  copy,  large 
space  on  week  ends,  smaller  versions  in  daily  papers.  Coordi- 
nated outdoor  ads  display  phone  number,  invite  inquiry.  Illus- 
tration shows  family  watching  huge  TV  screen  portraying  stars 
in  scene  from  very  recent  film. 

Actual  hard  sell  newspaper  program  is  now  in  development 
for  release  about  July  15th.  Mail  will  be  utilized,  too,  with  the 
brochure  and  transmittal  letter  as  the  initial  release.  A  reply 
card  will  bring  inquiry  and/or  orders. 

Comic  books  with  Bartlesville  Theatres  imprint  and  details 
on  back  cover  are  in  distribution  at  theatres  and  in  stores  where 
TV  sets  are  sold.  These  will  later  be  mailed  with  transmittal 
letter  and  reply  card  to  all  Bartlesville  residents. 

Concurrent  radio  copy  will  call  attention  to  film  now  show- 
ing at  exhibitor's  number  one  theatre  and  advise  listener  that 
with  Telemovie  service  he'll  be  able  to  enjoy  that  kind  of  enter- 


tainment in  the  unrivalled  comfort  of  his  own  home. 

We  have  prepared  telephone  descriptions  of  Telemovie  serv- 
ice so  that  Video  personnel  can  turn  telephone  inquiries  into 
orders  and  we  anticipate  the  possibility  of  a  telephone  or  per- 


may  be  the 


...to  have  a  first-run  movie  theatre  in  your  living  room'.  Cer- 
tainly, you'll  be  one  of  the  first  to  actually  see  brand  new, 
full  length  Hollywood  features  in  your  home  if  you  order  tele- 


Think  of  it:  First-run 
Theatre. . .yet  you  and  yo 
watch  your  favorite  star 


home! 
N  ADDITION  to  i 


X  least  13  complete  FIRST- 
LI  ALSO  SEE  at  least  13 
>  including  Academy  Award 
recent  vintage .. .PLUS  LATEST 
J IDE  SELECTION  of  MUSIC: 


feat 


TIME-SHOWN  programs  every  month,  yo 
of  Hollywood's  Finest  earlier  relea 
pictures  and  other  Great  Features  o 
NEWS,  WEATHER  and  TIME  SERVICE  and 

And  all  these  wonderful  entertainment 
taneously  and  continuously,  so  that  yo 
your  fancy,  are  yours  for  only  $9.50  m 
sign... no  gadgets  to  buy'. 

The  enclosed  booklet  will  answer  all  your  questions  about  tele- 
movies.     You'll  agree  that  this  new  concept  of  in-the-home 
entertainment  is  one  of  the  great  achievements  of  the  electroni 


ures,  available 
y  select  whatei 
ly. . .no  contrac 


THE  DIRECT  MAIL  PITCH 


Page  12        Film  BULLETIN    July  8,  1957 


ORDiK  TODAY!  Phone  56/6 
-^lernovle 


f*tffvt*t^T!4e  OJAtl    THf  ATI 

•  iCMT    INTO  TO"« 
IIVING  KOOMI 

V      WATCH  FOR 
WORLD  FIRST! 


COMING  SOON  TO  BARTLES  VltLE 


Above  and  on  opposite  page: 
THE  STRIKING  BROCHURE 


sonal  selling  program. 

Also  included  in  the  material  you'll  receive 
is  a  flip  chart  we  developed  for  use  in  ex- 
plaining the  service  to  individuals  or  small 
groups. 

Auto  bumper  strips  are  utilized  for  local 
merchandising  and  small  posters  for  use  in 
store  windows  and  on  counters  appear  every- 
where TV  sets  are  sold. 

Film  trailers  re  Telemovie  will  be  sched- 
uled in  all  houses,  all  of  which  are  operated 
by  Video. 

Soon  as  it  is  possible  to  begin  program- 
ming, advertising  efforts  will  incorporate  pro- 
grams into  selling  copy. 

These  are  the  initial  steps  for  precondition- 
ing our  market  and  for  approaching  ultimate 


Brings  the  THEATRE 
into  your  living  room 


POSTER  FOR  STORE  WINDOWS 


sales  and  no  effort  will  be  spared  regardless 
of  requirements  to  make  the  sales  program 
completely  successful  rapidly  as  possible. 

Although  we've  been  rather  close  to  the 
exhibiting  business  for  a  number  of  years  and 
though  we've  had  considerable  radio  and  tele- 
vision experience,  Video  is  our  only  client  in 
the  entertainment  classification. 

But  we  started  even  because  there's  no  pat- 
tern for  Telemovie  anyway! 

P.S.  Please  note  that  all  copy  stresses  no 
commercials  and  that  nowhere  do  we  refer  to 
Telemovie  as  toll  TV.  Since  this  service 
simply  extends  the  motion  picture  theatre 
into  the  home  and  since  continuous  programs 
allow  ample  time  for  viewing  regular  televis- 
ion broadcasts,  we  do  not  consider  Telemovie 
as  "Toll'  or  "Subscription"  TV. 


What  Hurt h>st  ill<>  Thinks 

(Continued  from  Page  9) 

that  operating  hours  are  slightly  different.  Most  stores  close 
earlier  now,  but  they  are  continuing  to  maintain  their  volume 
of  business.  Those  merchants  with  whom  I  have  discussed  the 
toll-TV  project  feel  it  will  not  harm  them  as  much  as  free 
TV  has. 

How  will  free  TV  be  affected? 

All  three  national  television  networks  are  received  in  Bartles- 
ville.  It  is  expected  regular  television  viewing  will  decline  after 
the  system  gets  into  operation.  The  question  here  is  not  what 
will  be  the  fate  of  the  theatres,  but  what  is  television  going 
to  do. 

Will  Bartlesrille's  social  pattern  be  altered? 

Telemovies  will  cause  little  change  in  the  city's  social  and 
cultural  life.  The  city  has  a  cosmopolitan  atmosphere  in  its 
social  pattern.  A  few  residents  are  expected  to  join  together, 
in  that  one  neighbor  will  share  his  TV  screen. 


Are  "telemovies"  here  to  stay? 

Definitely.  Theatermen  over  the  nation,  now  have  an  oppor- 
tunity to  reach  their  so-called  "lost"  audience  with  a  practically 
new  business.  Their  products  can  be  kept  to  a  regional  issue 
basis,  which  will  not  burn  up  product  as  fast  as  network  tele- 
vision and  for  the  first  time  in  the  exhibitor's  history,  he  will 
be  able  to  count  his  house  before  the  movie  has  been  shown. 
The  hue  and  cry  of  "its  a  monopoly"  will  be  heard  but  will 
be  drowned  in  the  highest  receipts  ever  received  by  exhibitors 
or  by  producers.  The  high,  ever  rising  and  now  staggering 
overhead  costs  in  normal  theater  operations  will  be  reduced, 
other  than  basic  film  rentals,  to  an  infinitesimal  amount. 

Are  any  plans  set  to  install  the  cable  system  in  other  towns? 

Yes.  It  is  planned  to  start  work  in  Enid,  Oklahoma,  next 
January,  and  Stillwater  soon  after.  A  total  of  eleven  towns  are 
on  the  schedule  for  next  year.  It  may  become  possible  to  wire 
in  several  cities  that  are  in  close  proximity  to  one  another.  It 
is  even  conceivable,  after  further  research,  that  many  towns  in 
one  state  or  area  can  be  serviced  from  one  central  projection 
system,  including  administration  functions. 


Film  BULLETIN    July  8,  1957       Page  13 


THE  THEATRE  AND  PAY-TV 


PRO  CON 


(Continual  fro;n  Page  8) 

TV  in  my  community  the  motion  picture  distributors  will  con- 
tinue to  deal  with  me  as  they  deal  with  me  in  my  theatre.  I'd 
be  a  lot  better  off  today  if  I  had  gotten  in  on  our  local  tele- 
vision station  ten  years  ago,  when  everybody  was  assuring  every- 
body else  in  our  business  that  the  movies  would  never  have 
anything  to  do  with  TV.  So  what  happened?  I  stayed  with 
the  movies,  only  to  find  years  later  that  the  movie  companies 
were  supplying  a  major  portion  of  the  programs  in  the  rival 
medium. 

That's  not  going  to  happen  to  me  again,  if  I  can  help  it. 

I  intend  to  stay  in  the  theatre  business,  as  long  as  I  can 
make  a  buck  in  it;  I  also  intend  to  get  into  any  related  business 
where  my  experience  and  background  have  a  special  value. 
That  spells  toll  TV  to  me. 

I'm  fortunate  in  that  I  have  no  theatre  competition  in  my 
community.  If  I  had  a  competitor,  I  would  suggest  to  him — 
if  he  was  at  all  concerned  about  toll  TV — that  we  become  sub- 
scription system  partners.  This  coming  rivalry  between  the  two 
mediums  is  going  to  be  a  big  deal,  and  the  best  way  we  can 
protect  ourselves  is  to  stick  together. 

But  I  have  no  sympathy  with  the  viewpoint  that  you  can 
solve  the  subscription  television  challenge  by  issuing  legal  briefs 
or  profound  sociological  studies.  The  way  to  find  out  whether 
the  darned  thing  works,  and  whether  it  pays,  is  to  try  it. 

I'm  for  trying. 


(Continued  from  Page  8) 

Exhibition  problems  that  I  can  barely  cope  with  now  loom 
bigger  than  ever  with  cable  theatre.  First,  of  course,  is  the 
product  supply.  The  Bartlesville  test  sees  13  first-run  movies 
each  month — in  addition  to  live  shows.  That's  better  than  150 
new  films  a  year!  How  many  of  these  could  be  of  good-enough 
quality  to  warrant  a  home-viewer  paying  to  see  them  when, 
with  a  flick  of  the  dial  he  can  get  free  (if  older)  movies  or 
"live"  entertainment  via  commercial  TV  certainly  comparable 
to  a  good  portion  of  these  first-run  films? 

No,  at  least  as  of  now,  I  can't  see  pay-to-see-movies-on-tele- 
vision-at-home  as  a  good  thing  for  the  great  majority  of  motion 
picture  exhibitors,  nor  for  the  movie  industry  as  it  is  now  set 
up.  There  are  too  many  dangers  in  stepping  out  of  our  field 
into  the  area  of  electronics  and  absentee  audiences,  and,  more 
important,  too  many  threats  to  the  basic  concepts  of  movie 
entertainment — good  pictures  in  the  right  setting. 

However,  I'll  be  watching  the  Bartlesville  telemovies  test  with 
more  than  passing  interest,  although  I  don't  believe  it  will 
prove  conclusively  the  merits  of  the  cable  theatre  generally — 
and  for  exhibitors,  particularly.  From  everything  I've  heard  I 
understand  the  Telemeter  tests  in  Palm  Springs  were  a  failure. 
I  flatly  predict  the  same  for  the  Bartlesville  experiment  in  the 
long  run.  The  movie  theatre  will  survive,  despite  all  the  dire 
predictions,  for  the  American  people  will  not  hole  themselves 
up  like  gophers  to  be  fed  their  entertainment  underground. 


iivporl  oft  Rurlfo.svillt*  3Marli&t  Survey 


Two  University  of  Oklahoma  mar- 
keting professors,  Dr.  Dennis  M.  Criles 
and  Richard  Bus  kirk,  conducted,  for  a 
private  client,  a  market  research  study 
regarding  the  Bartlesville  home  tele- 
vision movies  experiment.  They  have 
released  to  Film  BULLETIN  a  general 
description  of  the  results  obtained  from 
their  study.    Their  report  follows: 

On  Tuesday,  January  8,  1957,  Dr.  Dennis 
M.  Crites,  Dr.  Richard  Buskirk,  and  a  team 
of  interviewers  conducted  a  limited  number 
of  depth  interviews  with  a  randomly  selected 
area  sample  of  Bartlesville,  Oklahoma  re- 
spondents. Income,  occupation,  ages,  family- 
makeup  and  other  socio-economic  character- 
istics of  the  sample  indicated  that  it  was  a 
representative,  although  limited,  sample  of 
the  population  from  which  it  was  drawn. 
The  purpose  of  the  survey  was  to  obtain  in- 
formation about  the  attitudes  of  certain  Bar- 
tlesville residents  toward  the  TV-Home 
Movie  System  proposed  for  Bartlesville.  The 
sample  was  restricted  to  that  portion  of  Bar- 
tlesville to  be  served  initially  by  the  system. 
This  area  included  a  substantial  number  of 
medium  to  high  income  families.  The  pro- 
portion of  such  families  was  probably  con- 
siderably larger  than  would  be  found  in  sim- 
ilar Midwestern  towns. 

The  interviews  were  conducted  by  skilled 
interviewers  and  were  tape  recorded.  At- 


tempts were  made  first  to  find  out  the  gen- 
eral movie-  and  TV-viewing  habits  of  the 
members  of  the  household  contacted.  Sec- 
ondly, the  interviewer  attempted  to  discover 
what  present  knowledge  the  respondent  had 
concerning  the  system.  The  system  had  been 
publicized  through  several  articles  in  the 
Bartlesville  papers  some  two  months  previ- 
ously. As  a  third  area  of  information,  the 
interviewer  explained  the  general  way  in 
which  the  proposed  system  would  operate 
and  tried  to  find  out  the  attitudes  of  the 
respondent  towards  possessing  such  a  system. 
Extensive  probing  was  employed  along  with 
several  projective  techniques.  Analysis  was 
made  of  the  recorded  tapes,  and  of  notes 
taken  during  the  interview,  by  a  team  of  two 
market  researchers  and  a  consulting  psychol- 
ogist. Much  of  the  information  revealed  in 
the  interviews  had  been  anticipated  in  the 
planning  of  the  survey. 

In  general,  the  results  of  the  survey  might 
be  summarized  as  follows.  There  had  been 
little  thought  or  discussion  given  to  the  idea 
of  the  system  by  the  respondents.  Attitudes 
and  opinions  consequently  were  not  "strongly 
held".  On  the  whole,  however,  they  were 
overwhelmingly  favorable  towards  the  idea 
of  the  system.  Although  some  individuals 
did  not  necessarily  want  it  for  themselves  or 
their  households,  they  still  felt  that  the  sys- 
tem was  "a  good  idea".  A  substantial  pro- 
portion  of   the  respondents,  approximately 


half,  indicated  an  interest  in  subscribing  to 
the  system.  The  major  benefits  which  the 
respondents  thought  they  would  obtain  from 
having  the  system  were  (1)  seeing  movies 
that  they  would  like  to  see  but  would  nor- 
mally miss,  (2)  the  elimination  of  baby  sit- 
ting problems,  and  (3)  the  fact  that  they 
would  not  have  to  dress  up  to  go  out  to  see 
movies.  The  major  objections,  as  might  be 
expected,  revolved  around  doubts  about  the 
price  involved  and  the  feeling  that  their  TV 
programming  was  good  enough,  and  that 
they  had  no  need  for  further  home  enter- 
tainment. 

Several  aspects  of  the  survey  limit  any  pos- 
sibility of  extending  the  results  as  an  indica- 
tion of  what  might  be  expected  in  other 
areas.  One  is  the  relatively  high  income 
status  of  the  respondents  questioned.  A  sec- 
ond limitation  would  involve  beliefs  preva- 
lent in  the  community  about  the  fact  that 
there  is  "nothing  or  little  else  to  do  in 
Bartlesville".  Of  course,  the  small  number 
of  respondents  questioned  leaves  a  wide  mar- 
gin of  error  possible  in  the  extension  of  the 
results  even  to  the  population  of  the  area 
surveyed. 

Dr.  Buskirk  and  I  recommended  that  fur- 
ther surveys  which  had  been  planned  on  the 
subject  be  postponed  until  attitudes  and 
opinions  had  time  to  crystallize  more  defi- 
nitely. 


Page  14       Film  BULLETIN    July  8,  1957 


FILM  DISTRIBUTORS 
OF  AMERICA,  INC. 

Home  Office:  729  Seventh  Avenue,  New  York  19,  N.Y.  •  JUdson  2-2950 

REGIONAL  AND  BRANCH  SALES  OFFICES 


LOS  ANGELES 
JAN  FRANCISCO,  PORTLAND  , 


Seymour  Borde,  Regional  Mgr 
John  De  Costa,  Branch  Mgr. 
1656  Cordova  Street 
Los  Angeles  7,  California 
REpublic  1-7305 

James  Mooney,  Branch  Mgr. 

130  Hyde  Street 
San  Francisco  2,  California 
PRospect  6-0164 


ATLANTA 

FLORIDA,  MEMPHIS  &  CHARLOTTE 

David  Prince,  Regional  Mgr. 
188  Luckie  Street,  N.  W. 
Atlanta  3.  Georgia 
JAckson  4-8137 


SALT  LAKE  CITY,  DES  MOINES. 
OMAHA  &  KANSAS  CITY 

Al  Kolitz,  Regional  Mgr. 
2116  Stout  Street 
Denver  1,  Colorado 
ALDine  5-2853 


BOSTON 

ALBANY,  BUFFALO  &  NEW  HAVEN 

Abe  Weiner,  Regional  Mgr. 
Stanton  Davis,  Branch  Mgr. 
Metropolitan  Theatre  Bldg. 
260  Tremont  Street 
Boston,  16,  Mass. 
HAncock  6-3960 

DETROIT 

CLEVELAND,  CINCINNATI  & 
INDIANAPOLIS 

Otto  Ebert,  Regional  Mgr. 

Fox  Bldg.  (Rm.  309) 
2211  Woodward  Avenue 
Detroit  1,  Michigan 
WOodward  2-8217 


CHICAGO 

ST.  LOUIS,  MINNEAPOLIS  & 
MILWAUKEE 

Sam  Gorelick,  Regional  Mgr. 
Edward  Safier,  Branch  Mgr. 
1325  So.  Wabash  Ave. 
(Rm.  201)  Chicago  5,  Illinois 
WEbster  9-4407 


WASHINGTON 

PHILADELPHIA  &  PITTSBURGH 

Robert  Folliard,  Regional  Mgr 
932  New  Jersey  Ave.,  N.  W. 
Washington  1,  D.  C. 
District  7-5154 


DALLAS 

OKLAHOMA  CITY  &  NEW  ORLEANS 

Ray  Jones,  Regional  Mgr. 
412  So.  Harwood  Street 
Dallas  1,  Texas 
Riverside  8-5969 


30  3  >L  ' —  00 


-  —  =0  ■ 


ill 


ii-I 


P"  3> 


"  -n 


C~5 

=0 

G"3  o  > 
GO  i  ? 

O  3- 


.£2  -n  S 


5?  S 


From  the  front  pages  of  the  world  .  .  .  inspiring  naval  action  steeped 
with  diplomatic  bluff.  The  terrier-like  tactics  of  three  little  ships  that 
spelled  the  death  of  a  dark  raider  .  .  .  and  a  rendezvous  with  destiny! 

PURSUIT  OF  THE  GRAF  SPEE 

JOHN  GREGSON  •  ANTHONY  QUAYLE  •  PETER  FINCH 

A  Colorful  Masterpiece  from  the  Team  That  Made  "The  Red  Shoes"      •  VistaVision 

Color  by  Technicolor 


The  true  inside  story  of  Scotland  Yard's 
crime-busters ...  and  the  courageous 
women  who  live  in  constant  fear  every 
moment  their  men  are  on  a  case. 

THE  THIRD  KEY 

with  JACK  HAWKINS 


Delectable  DIANA  DORS  and  TV's  genial  "HEY 
JEANNIE"  Carson  rock  you  with  a  crazy  mixed-up 
jamboree  of  jazz,  jive  and  a  jumbo-size  hit  parade 
of  top  tunes. 

"AS  LONG  AS 
THEY'RE  HAPPY 

EASTMAN  COLOR 


Rugged  ANTHONY  STEEL  hides  a  savage  secret  in 
the  mysterious  burning  sands  of  North  Africa  .  .  . 
ablaze  with  vivid  splendor,  torrid  heat  and  violence. 
Bewitching  new  Italian  beauty,  ANNA  MARIA  SANDRI 
is  the  lovely  Arab  girl  who  flaunts  the  rigid  code 
of  the  desert  in 

THE  BLACK  TENT 

Color  by  Technicolor  VistaVision 


A  human  story  that  will  lift  up  your 
heart ...  put  wings  on  your  feet . . .  fill 
your  eyes  with  tears ...  and  then 
crack  your  funnybone!  Sparked  by  the 
loyalty  and  wisdom  of  a  wonderful 
wayward  child  . . .  called 


JACQUELINE 


JOHN  GREGSON  and  KATHLEEN  RYAN 


DIANA  DORS  had  the  figure 
JOHN  GREGSON  had  the  fig 
ures  ...  in  long  green  (her  fa 
vorite  color).  She  had  every 
thing  it  takes  ...  to  take  every 
thing  he  had!  Titilating  tunes 
hilarious  high-jinks,  gold 
standard  gals. 


JAMES  ROBERTSON 

SINDEN  -  DORS  •  CARSON  -  JUSTICE  - 
"AN  ALLIGATOR  NAMED  DAISY" 

Color  by  Technicolor  ■  VistaVision 

Also  starring  Stanley  Holloway  •  Roland  Culver 

Screenplay  by  Jack  Davies  •  Produced  by  Raymond  Stross 
Directed  by  J.  Lee  Thompson 


VistaVision. 

Color  by 
Technicolor 


JACK  JANETTE       JEANNIE  BRENOA 

BUCHANAN  •  SCOTT  •  CARSON  •  DE  BANZIE  m 
"AS  LONG  AS  THEY'RE  HAPPY" 

in  Eastman  Color  •  Also  starring 

SUSAN  STEPHEN  •  JERRY  WAYNES  DIANA  DORS 

Screenplay  by  Alan  Melville  ■  Based  on  the  Play  by  Vernon  Sylvaine 
Directed  by  J.  Lee-Thompson  •  Produced  by  Raymond  Stross 


VALUE 
FOR 
MONEY 


JOHN  GREGSON  of '  Genevieve' ' 


this  tune ...  by 

DIANA  DORS 


ANTHONY  DONALD  ANNA  MA 

STEEL  •  SINDEN  •  SANDRI 
"THE  BLACK  TENT" 

Color  by  Technicolor  ■  VistaVision 

with  Andre  Morell 

Screenplay  by  Robin  Maugham  &  Bryan  Fori 
Produced  by  William  MacQuitty 
Directed  by  Brian  Desmond  Hurst 


ARIA 

DRI  ,n  i 

r 

on 


A  handful  of  women  and  children  relentlessly  driven  by  the 
Japanese  through  the  jungle  of  Malaya.  Nevil  Shute's 
world  best-selling  novel.  Unforgettable,  sun-searing  jour- 
ney, that  separated  the  dream  of  love  with  a  nightmare 
of  terror. 

A  TOWN  1IKE  ALICE 

starring  VIRGINIA  McKENNA  and  PETER  FINCH 


Tough,  taut,  action-packed  thriller  as 
timely  as  today's  newspaper .  .  .  expos- 
ing the   international  underworld. 

TRIPLE 
DECEPTION 

Handsome,  new  screen  idol  Michael 
Craig  mixes  his  gun-shot  rough-hous- 
ing with  romancing  of  a  lovely  Ameri- 
can charmer.  VistaVision  Color  by  Technicolor 


HAVE  YOU  HEARD  ABOUT  THE 
NEW  DOCTOR  IN  THE  HOUSE? 

Here's  the  lusty,  love-happy 
answer  thru  the  lively  eyes  of 
nurses.  .  .  .  They  know  their 
minds  .  . .  but  not  their  hearts! 

THE  GENTLE  TOUCH 

Color  by  Technicolor 


DIANA  DORS  ...  the  delectable  morsel  of  torso  .  .  . 
and  TV's  peach  of  a  gal,  "HEY  JEANNIE"  CARSON  .  .  . 
get  all  wrapped  up  with  the  preposterous  perfect  pet. 

AN  ALLIGATOR 
NAMED  DAISY 

. . .  with  JAMES  ROBERTSON  JUSTICE  of  "Doctor  In 
The  House"  and  the  favorite  of  "My  Fair  Lady", 
STANLEY  HOLLOWAY. 

VistaVision.  Color  by  Technicolor 


A  super-charged  story  'mid  the  color- 
ful scenic  wonders  of  sunny  Italy.  A 
violent  sequence  of  events. .  casting 
its  threatening  shadows  .  .  .  high- 
lighted by  the  world's  most  thrilling 
international  road  race. 

CHECKPOINTS^ 

ANTHONY  STEEL  at  the  wheel 
and  after  the  girls! 

EASTMAN  COLOR 


From  the  best-selling  novel  by  A.  J.  Cronin. 
Against  a  violent  background  of  a  sensitive  , 
gardener's  friendship  with  the  son  of  a 
lonely,  jealous-hearted  Consul  emerges  a 
colorful,  haunting  classic  . . . 
brilliantly  portrayed. 

The  \ 

SPANISH  GARDENER 


starring  DIRK  BOGARDE 

VistaVision 


Color  by  Technicolor 


NOW  IN  PRODUCTION  AT  PINEWOOD  STUDIOS 


ROD  STEIGER'S  greatest  starring  role  as  the  crooked 
financier  who  gambles  with  International  intrigue. 

ACROSS  THE  BRIDGE 

by  Graham  Greene 

HELL  DRIVERS 

The  tough,  action  crammed  story  of  truck  drivers 
who  ride  with  death ...  for  high  stakes. 
Starring  STANLEY  BAKER,  PEGGY  CUMMINS  and  HERBERT  LOM 


5  \ 

I 


oLi_  o  5 


Sa.  o 

GO  OS 

•  e 

CO  U_ 


°  3      7,  « 


HONY  ODILE  STANLEY   JAMES  ROBERTSON 

EEL- VERSOIS- BAKER -JUSTICE. 
"CHECKPOINT" 

in  Eastman  Color 
Maurice  Denham  -  Michael  Medwin 

Lee  Patterson  •  Paul  Muller 
Original  Screenplay  by  Robin  Estndge 
induced  by  Betty  E.  Box    Directed  by  Ralph  Thomas 


MICHAEL  JULIA  BRENOA  BARBARA 

CRAIG -ARNALL-DE  BANZIE-  BATES  ■„ 
"TRIPLE  DECEPTION" 

Color  by  Technicolor  •  VistaVision 

David  Kossoff  •  Gerard  Oury  •  Geoffrey  Keen 

Screenplay  by  Robert  Buckner  &  Bryan  Forbes 
Produced  by  Vivian  A.  Cox  -  Directed  by  Guy  Green 


A  Michael  Balcon  Production 
ANTHONY       ROBERT  DAVID  MARGO 

STEEL-  BEATTY  •  KNIGHT •  LORENZ  i. 

"OUT  OF  THE  CLOUDS  Eastman  Color 

lames  Robertson  Justice  ■  Eunice  Gayson  ■  Gordon  Harker 
Produced  &  Directed  by  Michael  Relph  &  Basil  Dearden 
Associate  Producer  Eric  Williams 
Screenplay  by  John  Eldridge  &  Michael  Relph 
Made  at  Ealing  Studios 


and  here  to  serve  you-The  RANK  ORGANIZATION  in  AMERICA 

- 


GORDON  CRADDOCK  JR. 


STEVE  EDWARDS 


LEO  PILLOT 


MERCHANDISING      &      EXPLOITATION     DEPARTMENT  W 


Jl^rK><>< 


x 

£5 


n 


Cooperate  with  Your  Local  Merchants 


One  of  the  most  important  things 
for  an  exhibitor  to  remember  in  his 
daily  operations  is  that  he  need  not 
stand  alone.  He  can  and  should 
enlist  the  cooperation  of  many 
other  retail  merchants  in  his  com- 
munity. 

The  motion  picture  theatre  is  a 
business  builder  for  the  stores  of 
the  area.  Sometimes  the  extent  to 
which  a  theatre  attracts  customer 
traffic  is  not  fully  appreciated  until 
a  theatre  closes  or  moves;  but  an 
alert  and  industrious  theatre  man- 
ager can  often  make  his  point  with 
far  less  drastic  measures. 

The  avenues  for  cooperation  be- 
tween storekeepers  and  the  theatre 
are  numerous.  The  most  simple,  of 
course,  is  the  placing  of  window 
cards  for  the  theatre  in  store  win- 
dows, in  exchange  for  passes.  Some 
stores,  which  you  may  have  over- 
looked because  of  their  policy 
against  putting  any  kind  of  notices 
in  their  windows,  get  almost  as 
much  readership  for  you  by  putting 
your  program  card  on  their  coun- 
ters or  interior  display  walls.  At  a 
soda  fountain,  for  example,  this  can 
be  an  excellent  location. 

Purchases  of  theatre  tickets  by 
local  merchants,  for  use  as  pre- 
miums to  their  customers,  have 
been  developed  into  a  steady  source 
of  revenue  in  many  places.  The 
other  side  of  this  coin  is  that  you 
can  sometimes  arrange  to  have  the 
stores  provide  merchandise  as  prizes 
in  theatre  drawings.  Perhaps  you 
might  even  exchange  your  theatre 
tickets  for  their  merchandise  in  a 
No-cash  swap  that  acts  as  a  mutual 
promotion. 

One  field  whach  has  been  grow- 
ing as  an  area  of  theatre-merchant 
cooperation  in  recent  years  is  joint 
cooperative  advertising.  There  are 
times  when  neither  you  nor  some 


A  good  example  of  using  local  merchant's  facilities  is  this 
eye-catching  Samsonite  luggage  display  in  Macy's  Depart- 
ment store  window,  San  Francisco,  arranged  by  MGM  ex- 
ploiteer  Bill  Blake,  Loew's  Warfield  manager  Bill  Elder  and 
publicist  Bob  Butz  for  the  opening  of  "The  Little  Hut".  This 
was  one  of  several  displays  arranged  to  plug  the  showing. 


Ma  &  Pa  Kettle  Sap 


WUe  Alluding  Hi  ft  Pa  feUla  In  On  ■  ■  ■ 
■Tie  fellies  Ol  Old  NicDulld'i  IW 
Slaiiing  Sondiy  Hif  Sib  ScUie'l  Bicyro  TWrt 
Br  Suit  Is  lisped  TV  Porler-Cllll  Siding  Lin  Km 
Oi  DisfUr  h  Tk  Sckiu's  TWt  Utty 


Turn  Hicliierj  felt 


l^ftBifldiMSindTtV* 


CRAWFORD  Farm  BUREAU 
CO-OPERATIVE  ASS  N. 


»00  CM  BIDE  FAST 

«•  mfe  when  rorit  m  * 
MOLDED  FIBER  GLASS  BOAT 
JOHNSON  JAVELIN 

CANANDAMUA  MARINE 


«i  on  oisfur  in  na  i 


Above  tv/o  ads,  appearing  in  local  N.Y.  State  papers,  point 
up  enterprise  of  Schine  Theatre  managers  in  arranging  tie-ins 
for  premieres:  I.,  the  Bucyrus  theatre,  Bucyrus,  and  r.,  the 
Playhouse,  Canandaigua. 


of  your  nearby  stores  can  afford  a 
full-page  ad  in  the  local  newspaper; 
but  if  you  get  together,  you  can 
work  out  a  common  advertising 
theme  which  enables  you  to  adver- 
tise together.  The  most  common 
example  of  this  type  of  cooperation 
is  the  "Downtown  Shopping  Days" 
promotion  put  on  in  many  com- 
munities. Other  opportunities  for 
joint  advertising  can  often  be  found 
in  the  pages  of  company  press 
where  commercial  products  han- 
dled by  local  dealers  are  cited  for 
tie-up  opportunities. 

A  number  of  points  must  be  em- 
phasized in  any  discussion  of  ex- 
hibitor-merchant cooperation.  A 
good  many  merchants,  and  unfor- 
tunately some  exhibitors  as  well, 
still  start  off  by  regarding  theatre 
business  as  completely  "different" 
from  any  other  retail  enterprise. 
The  merchant  who  thinks  this  way 
is  apt  to  reply  that  he  doesn't 
"want  to  go  into  show  business," 
when  approached  for  cooperation. 
The  exhibitor  who  thinks  that  way 
is  the  man  who  says  he  is  "putting 
on  a  show,  not  running  a  store." 
Of  course,  both  viewpoints  are  ex- 
treme. The  exhibitor  is  running  a 
store  which  sells  entertainment;  the 
merchant  is  in  show  business  the 
moment  he  puts  on  a  display  in  his 
w  indow  or  behind  a  counter. 

Have  you  ever  stopped  to  think 
of  the  ways  in  which  you  and  the 
merchant  can  help  each  other's  bus- 
iness? Theatre  advertising  by  local 
merchants,  for  example,  gives  the 
storekeeper  a  wonderful  advertising 
medium;  and  the  message  he  puts 
on  your  theatre  screen  gives  you 
additional  revenue.  You  ask  him 
to  display  your  program  cards  in 
his  store  window;  perhaps  you  have 
lobby  display  space  he'd  like  to  use 
for  some  of  his  merchandise.  And 
( Continued  on  Page  20 ) 


Film  BULLETIN    July  8,  1957       Page  1? 


l4J&at  t&e  Stummm  /tie  0Dowy! 


LOCAL  MERCHANTS 

(Continued  from  Page  19) 

certainly  you  both  want  to  cooperate  on  the  kind 
of  special  events  that  will  bring  customer  traf- 
fic to  the  area,  whether  the  theatre  or  the  store 
gets  the  idea  first. 

One  of  the  things  that  many  motion  picture 
people  have  learned  in  recent  years  is  that  their 
membership  and  participation  in  the  local  mer- 
chants' association  can  pay  real  dividends.  This 
applies  not  only  to  such  matters  as  enlisting 
support  to  end  discriminatory  taxes,  but  also  to 
local  government  questions  such  as  zoning, 
Sunday  operation,  children's  attendance,  etc. 

Possibly  even  more  important  is  the  fact  that 
by  making  common  cause  with  your  fellow  mer- 
chants and  learning  what  problems  they  face 
you  can  often  discern  an  opportunity  for  the 
theatre  to  be  of  assistance  to  them.  You  won't 
always  make  money  on  these  services,  if  you 
look  at  each  of  them  on  an  individual  cost  basis, 
but  after  a  while  you  will  find  that  they  begin 
to  add  up  to  a  great  increase  in  your  commer- 
cial stature  in  the  community. 

We  know  of  one  instance,  for  example,  where 
a  theatre  man  who  found  that  his  business  was 
little  or  nothing  in  the  week  before  Christmas 
offered  to  make  the  house  available  as  a  baby 
sitting  facility  for  shoppers.  Local  merchants 
not  only  accepted  his  offer;  they  paid  him  a 
rental  for  his  theatre,  staffed  it  with  some  baby 
watchers  and  paid  for  his  cartoon  program — 
and  then  they  thanked  him  for  the  whole  idea. 

On  a  number  of  occasions,  we  have  heard 
fine  reports  about  the  results  of  merchant  cour- 
tesy previews.  It  works  this  way:  you  arrange 
a  special  private  screening  of  a  new  picture  for 
the  local  merchants'  group,  possibly  on  the 
morning  of  the  first  day  of  the  local  run.  You 
may  have  a  definite  idea  in  mind  for  a  promo- 
tion, or  you  may  do  it  just  for  general  good- 
will. If  only  for  the  additional  word-of-mouth 
promotion  a  good  picture  gets  from  this,  you 
are  apt  to  find  it  well  worthwhile. 

Parking  is  a  problem  for  many  theatres — and 
since  your  customer  traffic  is  sometimes  heavy 
at  the  same  time  as  the  traffic  at  the  stores 
which  are  open  in  the  evening  this  can  be  a 
sore  point  where  parking  space  is  limited.  In 
more  and  more  localities,  jointly  operated  park- 
ing lots  have  been  embarked  upon  as  a  solution. 
In  other  places,  special  traffic  guides  have  been 
employed  with  the  expense  shared  by  the  theatre 
and  the  other  merchants. 

It  is  also  important  to  maintain  a  close 
enough  relationship  with  the  other  merchants 
in  your  community  so  that  you  both  avoid  an- 
tagonizing each  other  needlessly.  For  example, 
you  may  be  carrying  an  item  of  concession  mer- 
chandise which  is  directly  competitive  with  a 
local  merchant.  If  your  volume  in  this  particu- 
lar item  is  slight,  you  may  find  it  worthwhile  to 
drop  it,  as  a  favor  to  a  colleague — or  vice  versa. 

Above  all  remember  that  your  theatre  can  be 
the  central  focus  point  of  your  community.  Your 
own  membership  in  the  local  business  and  mer- 
chants groups,  and  your  active  participation  in 
their  affairs,  makes  it  that  much  easier  to  inte- 
grate your  theatre  into  the  local  store  picture. 

And  remember — if  it's  good  business  for  the 
theatre,  it's  good  business  for  the  whole  com- 
munity. 


'Western  Week'  Promotion 
Lassoes  Midwestern  Moviegoers 

Credit  advertising-exploitation  staffers  of  the 
Commonwealth  Circuit  with  an  unusual,  ticket- 
selling  stunt  called  "Western  Week".  As  out- 
lined in  the  theatre  chain's  house  organ,  "The 
Messenger",  the  booker  and  individual  theatre 
managers  put  their  heads  together  to  come  up 
with  seven  days  of  horse-and-saddle  product, 
some  houses  featuring  the  best  in  old  westerns, 
some  the  best  in  new  films,  and  others,  a  happy 
combination  of  both.  A  variety  of  cartoon  mats 
were  shipped  to  all  situations  from  the  advertis- 
ing office  in  Kansas  City,  to  be  adapted  by  the 
managers  to  the  shows  booked. 

The  mat  illustrated  below  is  one  of  the  clever 
groups  drafted  by  the  Commonwealth  showmen. 
Another  made  a  pitch  for  the  fern  trade  with 
this  caption:  "You  boy's  ain't  got  nothing  on 
us  Cow-Girls!  After  all,  we  girls  are  the  basis 
of  any  WESTERN  WEEK!  We've  picked  the 
best  ...  A  full  week  of  western  thrills  to  lift 
you  right  out  of  your  theatre  seat." 

Following  this  same  tack  of  special  week-long 
programs,  Commonwealth  houses  are  planning 
"All  Comedy  Weeks"  on  the  same  basis  as  the 
"Western  Weeks".  The  circuit  suggests  a  num- 
ber of  double  bills  that  most  people  have  not 
seen  and  would  like  another  chance  to  take  a 
look-see.  Special  newspaper  ads  on  this  promo- 
tion are  also  being  worked  up  by  the  advertis- 
ing department  in  the  belief  that  a  special  week 
full  of  laughs  ought  to  get  lots  of  extra  tickets. 

The  possibilities  of  week-long  promotions  of 
this  type  are  infinite.  Among  the  possible 
"Weeks":  Romance,  Musicals,  Action,  Horror. 

DON'T  MEAN  TO  NAG 

YOU...BUT...y,u'd  better 
put  your  seat  in  a 
saddle  'n  come 
a -whoop  in'  'cause  it's, 
our  big  rip-snortin'. 


WESTERN 
WEEK! 


Pat  Boone  and  'Bernardine' 
Garnering  Attention  Aplenty 

Teenage  idol  Pat  Boone's  first  motion  picture, 
"Bernardine",  is  garnering  plenty  of  attention 
in  all  media — radio,  television,  newspapers, 
magazines  and  point-of  purchase. 

The  20th  Century-Fox  CinemaScope-DeLuxe 
Color  attraction  is  drawing  a  big  play  on  radio 
with  NBC's  "Monitor  being  used  extensively, 
and  by  virtue  of  the  fact  that  two  songs  from 
the  film — "Bernardine"  and  "Love  Letters  in 
the  Sand"  are  best-selling  disks,  thus  receiving 
beaucoup  notice  from  the  nation's  platter  spin- 
ners. The  handsome  young  vocalist-turned-movie 


'Bernardine'  Premiere  Crowds 
at  Denver  Theatre  Opening 

star  has  made  recent  personal  appearances  on 
the  top-rated  Dinah  Shore  and  Steve  Allen  TV 
shows.  On  the  newspaper  front,  the  debut  of 
the  Sam  Engel  production  at  the  Denver  Theatre 
in  the  Mile  High  City  grabbed  plenty  of  space 
in  dailies  throughout  the  entire  Rocky  Mountain 
area. 

Coordinated  with  the  July  release  of  the  film 
are  1 5-f ull  color  fan  magazine  covers  of  "Amer- 
ica's number  one  music  salesman".  The  young 
star  will  grace  the  covers  of  such  publications 
as  "TV  Stage",  "Movie  Life"  and  "Movie 
Mirror". 

A  striking  6-foot  life-size  lobby  standee  of  the 
teenage  idol  is  available  through  National 
Screen  Service. 

Promotional  Campaign  for 
'Success'  Into  High  Gear 

United  Artists  threw  its  promotional  cam- 
paign for  Hecht,  Hill  and  Lancaster's  "Sweet 
Smell  of  Success"  into  high  gear  to  back  July 
4th  holiday  openings  of  the  Burt  Lanacster-Tony 
Curtis  starrer.  Spearheading  the  vast  drive  was 
a  schedule  of  4600  radio  spot  announcements  in 
twenty-five  key  market  areas  broadcast  by  a  total 
of  113  radio  outlets.  The  spot  concentration 
was  the  heaviest  ever  undertaken  by  UA. 

As  announced  by  Roger  H.  Lewis,  United 
Artists  national  director  of  advertising,  public- 
ity and  exploitation,  66,000  retail  outlets 
through  the  nation  have  joined  forces  in  a  coun- 
try-wide promotion  of  the  Signet  Book  edition 
of  the  Ernest  Lehman  novelette  on  which  the 
picture  is  based.  Included  among  the  partici- 
pating outlets  are  supermarkets,  book,  chain 
drug  and  department  stores  in  each  of  UA's 
32  exchange  areas. 

Taking  to  the  road  to  bally  the  Alexander 
Mackendrick  directed  film  are  Elmer  Bernstein, 
composer  of  the  score,  making  an  intensive  one- 
week  tour  of  disk  jockeys,  and  Barbara  Nichols, 
the  fern  lead.  Having  recently  appeared  on  Ed 
Sullivan's  CBS-TV  stanza,  the  blonde  actress 
is  meeting  with  press  and  radio-television  inter- 
viewers in  Cleveland,  Detroit  and  other  mid- 
western  cities. 


Page  20       Film  BULLETIN    July  8,  1 957 


TiJ&at  t&e  S6omnw  /tie  *Doi*ty>i 


Lipman  Keys  Campaign  on 
Interlude'  to  Attract  Women 

Meeting  head-on  what  he  talis  "the  most 
vital  marketing  prohlem  faced  by  the  industry 
today — the  decline  in  theatre  attendance  by 
women — Universal  vice  president  Dave  Lipton 
is  going  to  spend  heavily  in  certain  media  in  a 
drive  to  attract  the  ladies  to  "Interlude". 

Lipton  calls  his  campaign  "a  carefully  tailored 
effort"  to  utilize  pre-selling  approaches  de- 
veloped over  the  past  several  years  to  stimulate 
female  patronage  of  films  with  strong  romantic 
appeal.  The  Universal  executive  cited  four  films 
— "Magnificent  Obsession,"  "All  That  Heaven 
Allows,"  "Written  on  the  Wind'  and  "Never 
Say  Goodbye"  as  proof  that  pre-selling,  can 
bring  women  back  to  American  theatres. 

Included  in  the  "Interlude"  pre-selling  cam- 
paign are  ads  in  eleven  national  key  women's 
publications,  a  Lustre-Creme  co-op  campaign,  a 
tie-up  promotion  with  Natlynn  Junior  Dress 
and  Bristol  Meyers  which  features  a  national 
contest  for  women. 

On  the  local  level,  the  film  company  w  ill  make 
extensive  use  of  spot  radio,  television  and  news- 
papers. On  this  subject,  Lipton  declared  that 
"all  material  for  use  with  the  top  daytime 
women's  programs  which  both  research  and 
Universal's  own  experience  has  shown  to  be  the 
most  positive  channels  for  reaching  an  exclusive 
women's  audience  at  point  of  sale.  Major  news- 
paper space,  as  always  will  backbone  the  local 
opening  campaigns  with  special  emphasis  placed 
on  pre-tested  ads  with  high  feminine  appeal. 


Advance  Pitch  on  'Hatful'  To 
Opinion-Makers  Via  Screenings 

Every  exchange  city  in  the  United  States  and 
Canada  has  received  prints  of  20th  Century- 
Fox's  "A  Hatful  of  Rain",  at  least  eight  weeks 
in  advance  of  release,  as  part  of  an  intensive 
drive  to  mobilize  opinion-makers  in  support  of 
the  Buddy  Adler  CinemaScope  production  about 
drug  addiction  and  its  effects  on  the  American 
family.  2()th  branch  managers  and  fieldmen  are 
setting  up  multiple  screenings  of  "Hatful"  in 
their  respective  areas  to  win  friends  among 
those  who  can  help  pre-sell  the  film — radio  and 
television  personalities,  newspapermen  and 
civic,  social  and  religious  leaders,  as  well  as 
for  exhibitors.  Planned  are  special  screenings 
for  the  entire  staffs  of  newspapers  with  an  eye 
to  gaining  complete  coverage  in  the  regular 
news,  feature  and  editorial  departments. 

United  States  Treasury  Narcotics  Bureau 
Commissioner  Harry  J.  Anslinger  recently  en- 
dorsed the  Fred  Zinnemann  directed  film  as 
greatly  aiding  the  drive  against  narcotics  ad- 
diction. The  government  official  gave  his  enthu- 
siastic approval  to  the  film  following  two  pri- 
vate screenings.  After  the  showings,  Commis- 
sioner Anslinger  held  a  press  conference  to  hail 
the  20th  Century-Fox  release  as  "a  powerful 
well-acted  motion  picture"  that  would  help  the 
fight  to  salvage  addicts  by  emphasizing  the  im- 
portance of  seeking  help  from  proper  authori- 
ties in  breaking  the  habit. 

At  the  D.  C.  screenings  with  Anslinger  were 
his  narcotics  bureau  associates. 


HE  NEW  YORK  TIMES,  WEDNESDAY,  JUNE  15>,  195 


^  r GEE, JOE,  ARE  WE 


GOING  TO  SIT  HOME 
1    v    AND  SWELTER 
^  AGAIN  TONIGHT? 


;  was:  | 

: 891 : 

Urold 


Don't  endure  that  hot  sticky  weathnr 
for  one  more  minute.    Don't  squint  at 
a  screen  the  size  of  an  omelet.  Get. 
out  to  your  favorite  air-conditioned 
RKO  Theatre.    Feel  the  refreshing, 
cool,  clean  and  dry  air  provided  by 
a  mammoth  weather  making  machine.  Be 
free  from  the  heat,  the  humidity, 
and  the. dust,  gasses  and  pollen  of 
the  city.  See  brand  new  films,  with 
big  stars  on  a  1000  square  ft. screen. 
Get  all  the  scone,  all  the  sween,  all 
the  color.  And  get  it  Life-Sizedi 
Don't  sit  home  again  tonight. .Go  RKO 
for  the  best  in  entertainment  and  the 
ultimate  in  cool  comfort! 


4  Simple  and  direct, 
this  institutional  copy 
leading  off  newspaper 
ac's  by  RKO  Theatres  in 
New  York  during  the 
recent  heat  wave  in  the 
Eastern  states.  The  car- 
toon-type ad  struck  a 
cool  blow  agains?  stay- 
ing at  home  during  the 
hot  sticky  weather  and 
against  TV  on  "a  screen 
the  size  of  an  omlet". 
Copy  for  the  ad  is 
sales-wise  in  the  fact 
that  it  sells  RKO  Thea- 
tres as  the  place  to  go 
"for  the  best  in  enter- 
tainment and  ihe  ulti- 
mate in  cool  comfort". 
Attention-grabbing  ad 
ran  in  all  N.Y.  dailies. 


Baseball  'Bums'  Lure  Ferns 
With  Slick  Fashion-Wise  Ads 

Exhibitors  concerned  about 
declining  feminine  attendance 
might  do  well  to  take  a  gan- 
der at  a  current  advertising 
campaign  being  utilized  by 
the  Brooklyn  Dodgers  in  an 
effort  to  lure  the  ladies  into 
their  Ebbetts  Field  abode. 
Making  a  sharp  break  with 
the  traditional,  the  "bums" 
from  Flatbush  have  started  to 
merchandise  the  national  pas- 
time to  the  ladies  via  a  smart, 
sleek  fashion  approach.  Ads 
emphasizing  stylish  drawings 
and  chic  copy  will  appear  in 
New  York  metropolitan  area 
dailies  as  a  reminder  of 
"Ladies  Day  at  Ebbets  Field 
every  Saturday". 

According  to  Tim  Villante, 
sports  director  of  Batten,  Bar- 
ton, Durstine  &  Osborn,  the 
ball  club's  advertising  agency, 
the  advertisements  will  usually  appear  on 
Thursday — the  day  women  in  the  Gotham  area 
do  most  of  their  shopping  and,  hence,  look  at 
newspaper  ads  more  carefully.  In  line  with 
Brooklyn's  attempt  to  influence  the  ferns  to  take 
in  a  ball  game  now  and  then,  the  Dodgers'  are 
also  going  out  after  some  specialized  groups, 
notably  business  concerns.  In  the  blueprint 
stage  is  an  ad  series  keyed  to  employers  via 
the  business  and  financial  sections  of  the  daily 
newspapers.  These  ads  will  urge  the  business 
men  to  take  their  employees,  customers  and  as- 
sociates out  to  see  a  baseball  game. 

Isn't  there  a  lesson  here  somewhere  for  the 
movie  business??? 

WB  'Morningstar'  Promotion 
Set  with  Fashion  Magazine 

Warner  Bros,  and  Harper's  Bazaar  have 
joined  promotional  forces  in  a  unique  fashion 
co-op  campaign  based  on  WB's  forthcoming  re- 
lease of  "Marjorie  Morningstar".  The  tie-up 
announced  by  R.  F.  MacLeod,  publisher  of  the 
famous  fashion  publication,  and  Milton  Sper- 
ling, producer  of  the  film  based  on  the  best- 
selling  novel  by  Herman  W'ouk,  will  involve 
manufacturers  from  all  fields  of  ready-to-wear. 
Basis  of  the  promotion  will  be  the  April,  1958, 
issue  of  Harper's  Bazaar  which  will  spotlight 
fashions  featured  in  the  film,  including  swim 
suits,  sports  clothes,  sweaters,  coats,  robes  and 
negligees,  and  evening  clothes.  The  clothes,  to 
be  supplied  by  the  fashion  houses,  will  be  co- 
ordinated by  Harper's  for  use  in  the  film. 


Left  to  right:  Publisher  Robert  F. 
MacLeod,  Natalie  Wood,  designer 
Howard  Shoup,  editor  Mary  Phillips 
and  Robert  S.  Taplinger,  WB  vice 
president  set   'Morningstar'  plans. 


Film  BULLETIN    July  6,   1957        Page  21 


EXPLOITATION  PICTUEE 


RivW 


There's  a  hatful  of  sock  exploitation  poten- 
tial in  20th  Century-Fox's  adaptation  of  the 
Broadway  hit  drama,  "A  Hatful  of  Rain". 

The  showman's  ballyhoo  bulwarks  are  so 
numerous,  it's  hard  to  put  one's  finger  on  the 
most  important.  There  is,  for  instance,  the 
smashing  impact  of  the  drama,  a  chokingly  taut 
tale  of  a  nice,  personable  kid  who  acquires  the 
narcotics  habit,  and  how  his  horrible  addiction 
scourges  the  lives  of  those  close  to  him,  and 
fans  the  sucking  life-flames  of  those  who  prey 
on  him.  It  isn't  what  might  be  typed  as  a 
"family"  picture,  nor  is  it  played  for  straight 
sensationalism.  But  in  its  cinematic  telling 
under  the  ace  directorial  hand  of  Fred  Zinne- 
mann,  it  bowls  over  the  audience  with  a  sledge 
hammer  power — and  they'll  come  out  talking 
about  it,  the  kind  of  talk  that  snowballs. 

Therefore,  point  No.  1  is  for  the  showman  to 
make  the  drama  work  for  him  to  get  the  talk 
started.  And  one  of  the  key  weapons  in  this 
direction  is  the  screening  for  opinion-makers. 
Because  of  the  theme  and  its  realistic  handling, 
the  scope  of  the  previews  can  be  extended  to 
include  such  important  fountainheads  of  thought 
injection  as  the  clergy,  and  medical  groups,  as 
well  as  women's  groups,  newpaper,  radio  and 
TV  people,  and  civic  leaders.  The  fact  that  the 
New  York  police  force  cooperated  importantly 
in  the  filming  of  the  picture  will  lend  en- 
couragement to  support  by  the  local  law  en- 
forcement authorities,  even  to  the  extent  of 
supplying  materials  for  a  fascinating  lobby  dis- 
play. 

Abutting  the  drama  in  exploitation  power  is 
the  set  of  performances  by  an  eletric  cast.  Of 
the  top  four  players,  the  Oscar-winning  Eva 
Marie  Saint  and  Donaldson  award  winner  Lloyd 
Nolan  are  certain  to  add  to  the  laurels  they 
have  already  garnered;  comparative  newcomers 
Don  Murray,  who  scored  heavily  in  "Bus  Stop", 
and  Anthony  Franciosa,  alerady  being  talked 
about  as  the  new  star  find  of  the  year,  have 
been  accorded  the  kind  of  roles  that  finds  its 
way  into  the  Academy  nominations.  For  good 
measure,  a  new  menace  in  the  person  of  Henry 
Silva,  playing  the  slimy,  vicious  dope-peddler 
known  by  the  strange  name  of  "Mother",  has 
undoubtedly  embarked  on  a  notable  career  in 
the  heavy  field  with  this  portrayal. 

Another  in  the  hatful  of  exploitables  is  the 


Strong  Art,  Strong  Copy, 

Spark  Strong  Melodrama! 


unusual  title,  easy  to  remember  once  heard, 
and,  if  apparently  obscure,  nonetheless  intrigu- 
ing. It  stems  from  a  bitter  little  story  told  by 
Pop  Pope  (Nolan)  about  the  frustrations  and 
confusion  of  his  son  Johnny  (Murray)  when  he 
was  a  small  boy.  The  story  bears  retelling  in 
the  actual  words  of  the  script  (available  in  the 
pressbook),  carrying  a  meaningful  moral  that 
will  leave  the  title  imprint  lastingly. 

Director  Fred  Zinnemann's  illustrious  record, 
particularly  his  Oscar  winning  work  in  "From 
Here  to  Eternity"  and  "High  Noon",  can  be  ac- 
counted another  selling  point.  More  and  more, 
the  discriminating  are  aware  of  the  directorial 
credit,  and  a  reminder  that  Zinnemann  handled 
both  these  successes  will  do  no  harm  to  the 
showman's  work  plan. 

The  fact  that  this  is  the  first  picture  about 
drug  addiction  to  be  filmed  under  the  revised 
MPA  Code,  although  a  few  seal-less  predeces 
sors  have  made  the  initial  splash,  gives  "A  Hat 
ful  of  Rain"  unusual  feature  material  for  news 
paper  and  magazine  use.  It  lends  added  cred 
ence,  too,  to  the  important  catchline,  "The  Mo 
tion  Picture  That  Crosses  a  New  Boundary  in 
Screen  Entertainment."  While  mention  of  the 
film's  theme  is  wisely  omitted  from  the  ad  copy, 
except  indirectly,  the  narcotics  scourge  that  im- 
pels the  drama  is  vital  fodder  for  discussion  in 
all  publicity  media  and  most  certainly  of  inter- 
est to  everyone. 


POWERFUL  NEWSPAPER  ADS 


The  effect  of  the  newspaper  advertising  for  a 
film  very  often  spells  the  difference  between  a 
sendoff  that  builds  momentum  fast,  or  a  lacka- 
daisical start  that  sours  the  initial  cream  show- 
ings, killing  off  a  heavy  portion  of  the  box- 
office  potential.  The  20th-Fox  boxofficers  under 
vice  president  Charles  Einfeld  have  made  cer- 
tain that  "A  Hatful  of  Rain"  would  fall  into 
the  former  category.  They  have  fashioned  some 
of  the  most  starkly  dramatic  newspaper  ads  in 
many  months  (see  opposite  page).  The  two 
key  illustrations,  the  kneeling  embrace  and  the 
figure  on  the  bed,  are  engrossing  eye-bait,  stim- 


Of, 

annot  Be  Shown  , 
r  Shared !  i 


eWhen 
tory 


 /><.».  ZOih  Century-Fox  ...  Clr"t-fi^&coPt 

Ibis  Is  Another  in  Tcas°r  Ad  Series 


Stills  have  unusual  dramatic  content.  Use 
extensively,     with     appropriate  captions. 

ulating  the  interest  of  both  sexes  and  setting 
the  highly  dramatic  mood  of  the  story.  Smash- 
ing across  their  impact  is  the  equally  provoca- 
tive copy:  "The  torn,  the  twisted,  the  tender 
love  of  Johnny  Pope,  husband,  brother,  father 
to  be!"  and  the  sock  lines  in  the  ad  illustration 
shown.  Running  through  all  the  ads  (and  in  a 
set  of  good  teasers)  is  the  distinctive:  "The  mo- 
tion Picture  That  Crosses  a  New  Boundary  in 
Screen  Entertainment!"  This  is  the  kind  of  ad- 
vertising that  makes  "A  Hatful  of  Rain"  a  sound 
choice  for  Exploitation  Picture  of  the  Issue. 


THE  STORY 


Johnny  Pope,  (Murray),  Korean  war  veteran, 
is  exposed  to  drugs  while  being  treated  for  a 
wound  and  developes  the  habit.  Unable  to  hold 
a  job  and  getting  deeper  into  debt  to  his  sup- 
pliers, the  boy  is  continually  being  helped  by 
his  brother,  Polo  (Franciosa),  only  member  of 
his  family  who  knows  of  his  addiction.  The 
drama  heightens  as  Johnny's  wife  (Eva  Marie 
Saint),  three  months  pregnant,  believes  the  situ- 
ation involves  another  woman,  is  further  com- 
plicated by  the  appearance  of  his  father  (Lloyd 
Nolan),  who  cannot  understand  Johnny's  pur- 
gatory. Driven  to  desperation,  the  boy  finally 
confesses  his  addiction  to  his  wife,  who,  with 
Polo,  prevails  upon  Johnny  to  give  himself  up 
to  the  authorities  for  the  cure.  Whether  it  will 
work  is  unknown,  but  it  is  the  only  hope  they 
have  for  their  and  their  unborn  son's  future. 


Page  22       Film  DULL2TIN    July  8,  1957 


Striking  Art  and  Provocative 
Catchlines  Highlight  BOth's 
"Hatful"  Advertising  Campaign 


he  Motion  Refine 
hat  Crosses  A  Mew 
boundary  In  Screen 
E  ntertainment  *' 


UO(h  Cetiiury-Fox  in  CJimem^ScopE 


Film  BULLETIN    July  8,  1957        Page  23 


"The  Monte  Carlo  Story" 
SutiteM  IZatiH?  O  O  O 

Rating  is  for  metropolitan  class  houses;  not  so  strong  for 
hinterlands.  Dietrich  and  deSica  delightful  combination  in 
eye-filling  romantic  comedy. 

Marlene  Deitrich,  that  grand  goddess  of  glamor  and  gayiety 
returns  to  the  screen  co-starred  with  Vittorio  de  Sica,  Italy's 
most  colorful  charmer,  in  a  glittering,  languid,  gleeful  roman- 
tic comedy.  "The  Monte  Carlo  Story",  a  Titanus  production  for 
United  Artists,  is  filmed  in  Technicolor  and  Technirama  against 
the  free-wheeling  elegance  of  Monte  Carlo.  It  is  an  eye-filling 
delight,  as  scenes  of  fabulous  gambling  casinos,  luxuriant  har- 
bors and  yachts,  the  bewitching  Mediterranean  and  the  fabled 
Palace  of  Monaco  itself,  like  a  child's  dream  of  candy-made 
royalty,  envelop  the  screen.  For  sophisticated  audiences  who 
like  their  film  fare  urbane,  and  for  the  many  fans  of  Dietrich 
and  de  Sica,  "The  Monte  Carlo  Story"  should  prove  irresistible. 
However,  its  veneer  will  probably  prove  too  thin  and  too 
highly  polished  for  the  family  and  rural  markets.  Miss  Dietrich 
is  impeccable:  she  walks  with  the  insouciance  of  one  who  is 
aware  of  her  every  gesture,  and  she  treats  her  material  as  she 
does  the  world,  with  the  most  subtle  touch  of  contempt.  Mr. 
de  Sica  is  her  perfect  foil,  for  he  has  all  the  warmth,  gracious- 
ness  and  spontaneity  of  life  at  its  best.  Together  they  are  quite 
a  bedazzling  and  bouyant  combination.  Writer-director  Samuel 
Taylor  has  fashioned  his  continental  vaudeville  with  some  vin- 
tage vignettes  all  catering  to  the  theme  of  money  and  marriage. 
De  Sica  is  seen  as  a  penniless  count  who  has  lost  the  family 
fortune  at  the  gambling  tables  and  la  Dietrich  as  a  widowed 
French  marquise  whose  beauty  and  supposed  wealth  instantly 
attract  de  Sica.  When  he  learns  that  she  is  as  bankrupt  as  he 
and  for  the  same  reason,  they  both  pool  their  resources  to  charm 
American  millionaire  Arthur  O'Connell  and  his  young  daugh- 
ter, Natalie  Trundy.  This  brand  of  double  romancing  is  en- 
gagingly performed  and  needless  to  say  O'Connell  and  Miss 
Trundy  both  fall  as  willing  victims  to  the  strategy  of  Miss  Diet- 
rich and  de  Sica.  But  in  the  end  the  stars  decide  to  cast  their 
fortuneless  but  fascinating  lots  together. 

United  Artists  (Titanus).  99  minutes.  Marlene  Dietrich,  Vittorio  de  Sica,  Arthur 
O'Connell.  Produced  by  Marcello  Girosi.  Directed  by  Samuel  Taylor. 

"The  Curse  of  Frankenstein" 
Geuiteu  Rate*?  GOO 

Rating  is  for  action  and  ballyhoo  houses.  Will  entertain  in 
general  market,  too.  Rattling  good  horror  show. 

The  screen's  classic  nightmare  pin-up  boy,  the  Frankenstein 
monster,  has  been  ghoulishly  and  somewhat  gleefully  resur- 
rected by  our  English  cousins  in  a  film  titled,  understandably 
enough,  "The  Curse  of  Frankenstein".  It  arrives  in  America 
by  way  of  Warner  Bros.,  who  can  be  relied  upon  to  back  it  with 
the  kind  of  hard-hitting  showmanship  for  which  they  are 
noted.  Horror  and  action  fans  across  the  country  will  find  this 
Anthony  Hinds-Michael  Carreras  production  a  rattling  good 
show,  and  even  the  general  patronage  will  be  entertained. 
Screenplaywright  James  Sangster  and  director  Terrence  Fisher 
have  pulled  out  all  the  stops  within  their  grand-guinol  creation 
and  invested  it  with  bats-in-the-belfry  atmosphere  galore:  from 
the  geography  of  Bavarian  graveyards  to  the  diabolical  doings 
of  Baron  Frankenstein's  lethal  lab,  the  film  is  an  array  of 
direful  dialogue  and  blood-and-gore  performing,  all  focusing 
upon  the  most  on-the-spot  close-up  of  a  monster's  construction 


since  Boris  Karloff  was  first  assembled  on  Universal's  back  lot. 
If  at  times  the  activities  of  Baron  Frankenstein  test  one's  cred- 
ulity and  the  WarnerColor  gets  a  bit  feverish  and  flamboyant, 
no  exhibitor  need  worry;  the  rib-tickling  and  the  spine-tingling 
are  enjoyably  mated.  The  story  outlines  the  mad  desire  of 
Frankenstein  to  create  a  superman  by  utilizing  the  dead  by  cut- 
ting off  an  artist's  hands,  or  utilizing  the  living  by  murdering 
a  brilliant  scientist  in  order  to  obtain  his  brain.  A  snag  in  the 
proceedings  is  caused  by  the  Baron's  friend,  who  damages  the 
brain  and  unknowingly  turns  the  creation  from  superman  to 
monster,  a  monster  that  murders  at  Frankenstein's  bidding. 
When  his  mistress  objects  to  his  forthcoming  marriage  and 
threatens  him  with  unpleasant  revelations,  Frankenstein  em- 
ploys his  monster  to  silence  the  girl.  In  the  end,  however,  both 
Frankenstein  and  his  monster  receive  their  come-uppance:  the 
latter  by  the  gallows,  the  former  by  dissolution  in  an  acid  bath. 
Peter  Cushing  as  the  Baron  performs  as  if  he  actually  believes 
in  the  creation  of  monsters.  Christopher  Lee,  as  the  monster, 
on  the  other  hand,  appears  not  to  believe  a  word  of  it.  Made  to 
look  as  terrifying  as  possible,  he  wears  his  horror  with  all  the 
testiness  of  a  visiting  uncle  told  to  impersonate  Santa.  Never- 
theless, he's  still  a  sight  to  behold. 

Warner  Bros,  release.  83  minutes.  Peter  Cushing,  Haiel  Court,  Christopher  Lee. 
Produced  by  Anthony  Hinds.  Directed  by  Terence  Fisher. 

"The  Delicate  Delinquent" 

ScUCHC^  1R*tt*}  O  O  Plus 
First  Jerry  Lewis  solo  a  disappointment.  Will  not  approach 
grosses  of  Martin-Lewis  comedies. 

Jerry  Lewis'  first  solo  movie  proves  something:  he's  going 
to  have  to  broaden  his  style  or  get  himself  another  Dean 
Martin.  Lewis'  gerrymandering  talents  are  all  still  there,  only 
now,  instead  of  Martin,  an  entire  film  is  called  upon  to  play 
straight  man  to  him.  "The  Delicate  Delinquent",  written  and 
directed  by  Don  McGuire  (and  produced  incidentally,  by  Lewis 
himself),  tries  a  bit  of  sociology,  some  lecturing  on  delinquency 
and  plenty  of  the  Lewis  brand  of  comedy.  For  Jerry's  ardent 
fans  this  may  be  good  news,  since  he's  exclusively  the  "life  of 
the  party",  but  for  those  who  like  their  funnybone  fables  sea- 
soned with  a  bit  of  variety,  Mr.  Lewis'  party  may  well  prove 
overlong  and  overblown.  Through  a  series  of  varied  esca- 
pades, with  occasional  dips  to  the  sentimental  and  whimsical 
elements  of  his  show,  the  comic  seems  like  the  typical  product 
of  a  vaudeville  marriage,  born  between  the  acts,  with  an  insati- 
able desire  to  win  an  audience  at  any  cost.  He  should  not  try 
so  hard;  his  comedy  technique  is  beginning  to  outstay  its  suf- 
ferance. In  any  case,  "The  Delicate  Delinquent"  can  hardly 
hope  for  anything  approaching  the  boxoffice  returns  of  the 
Martin  &  Lewis  comedies.  As  a  matter  of  fact,  it  figures  to 
be  only  a  fair  grosser.  As  an  apartment  house  janitor  who 
becomes  a  rookie  cop,  Jerry  is  on  parade  in  one  scene  after 
another.  First  there  is  the  Police  Academy  physical  exam,  next 
a  turn  as  an  impromptu  mid-wife  while  on  his  first  beat,  then 
a  bit  as  a  protege  for  an  indefatigable  inventor  and  finally  an 
under-the-lamppost  presentation  of  the  finer  things  in  life  to 
a  group  of  teenage  toughs.  He  also  manages  to  play  cupid  for 
handsome  Darren  McGavin,  the  police  officer  who  first  initiated 
him  into  the  ways  of  law  and  order,  and  pretty  Martha  Hyer, 
a  municipal  investigator.  Lewis  even  finds  romance  himself 
with  new  star  Mary  Webster,  a  sweet  young  thing  smitten  with 
his  cartoon  charms. 

Paramount.  100  minutes.  Jerry  Lewis,  Darren  McGavin,  Martha  Hyer.  Produced 
by  Jerry  Lewis.  Directed  by  Don  McGuire. 


Page  24       Film  BULLETIN    July  8,  I9S7 


"The  Pride  and  the  Passiun" 


SuaUm  IZatU?  Q  Q  O  O 

A  monumental  film  that  delivers  spectacle,  excitement, 
panoramic  thrills,  romance.  Some  wil  bemoan  shallow  story. 
Frank  Sinatra,  Cary  Grant,  teamed  with  voluptuous  Sophia 
Loren  for  top  boxoffice  impact.  Money  in  the  bank  for 
exhibitors  in  all  situations. 

Stanley  Kramer's  much-publicized  epic  of  Spain's  19th-cen- 
tury fight  against  the  French  invaders  delivers  almost,  if  not 
quite,  everything  promised  in  the  tremendous  advance  build-up, 
and  will  undoubtedly  become  one  of  the  most  irresistible  box- 
office  attractions  of  recent  seasons.  Seldom  has  the  screen  seen 
such  lusty  and  lustrous  spectacle,  so  tumultuous  a  tapestry.  The 
story,  inclined  to  be  a  bit  shallow,  may  not  please  the  discrimi- 
nating, but  this  is  a  show  for  the  eyes  to  behold.  Its  three  top 
stars  are  powerful  boxoffice  magnets:  Cary  Grant,  Frank  Sinatra 
and  the  voluptuous  Italian  beauty,  Sophia  Loren.  The  Vista- 
Vision-Technicolor  cameras  glide  over  strikingly  beautiful  ter- 
rain, encompassing  some  of  the  most  powerful  and  dramatic 
scenes  of  human  struggle  ever  photographed.  Certainly,  exhib- 
itors may  rejoice,  but  whether  "The  Pride  and  The  Passion ", 
despite  its  built-in  boxoffice  guarantees,  can  recoup  the  reported 
millions  it  cost  Mr.  Kramer  to  make,  is  at  this  moment  a  moot 
question.  Nevertheless,  in  his  first  attempt  at  epic,  producer- 
director  Kramer  has  scored  a  veritable  bull's-eye.  He  has  com- 
pounded a  colossal  canvas  of  panorama  and  pageantry.  Action 


centers  around  a  tremendous  cannon,  jettisoned  by  the  Spanish 
army,  but  salvaged  by  Sinatra,  head  of  a  band  of  rebels,  to  be 
dragged  to  the  town  of  Avila  where  the  rebels  hope  to  defeat 
the  French.  All  the  suspense,  excitement  and  thrills  emanate 
from  this  fantastic  adventure.  Audiences  should  thrill  to  the 
spectacle  as  the  giant  cannon  is  laboriously  pulled  over  moun- 
tains by  hundreds  of  straining  men  and  horses,  swept  down- 
stream in  a  raging  torrent,  sent  hurtling  down  the  mountain- 
side, smuggled  through  a  French-held  city  and  finally  arrayed 
before  Avila  where  it  blasts  the  city,  admitting  the  rebels  who 
turn  the  tide  of  battle.  The  on-location  shooting  amid  the  lush 
Spanish  countryside  provides  a  feast  for  the  eyes.  The  princi- 
pals do  creditably  by  the  Fdna  and  Edward  Anhalt  screenplay, 
based  on  C.  S.  Forester's  novel,  "The  Gun ".  Grant  as  the  proud 
British  officer  sent  to  retrieve  the  gun  for  Britain  but  forced 
to  accompany  the  rebels,  Sinatra  as  the  tough,  illiterate,  but 
passionate  rebel  leader,  and  Miss  Loren  as  the  romantic  interest 
for  these  two  as  well  as  inspiration  for  the  mob,  are  convincing 
and  forceful.  Actually,  their  romantic  involvements,  as  con- 
ceived by  the  Anhalts,  are  overshadowed  by  the  more  powerful 
love  of  the  rebels  for  their  massive  gun  and  its  symbol  of  de- 
fiance. Director  Kramer  has  handled  the  scenes  of  mass  move- 
ment with  pictorial  excellence  and  imbued  the  entire  produc- 
tion w  ith  sweep  and  power.  The  photography  by  Franz  Planer 
is  one  of  the  tremendous  assets  of  the  film,  often  breathtaking 
in  its  scope  and  beauty.  Score  by  George  Antheil  is  excellent. 

United  Artists.  (Stanley  Kramer  production.)  131  minutes.  Frank  Sinatra,  Cary 
Grant,  Sophia  Loren.    Produced  and  directed  by  Stanley  Kramer. 


"House  of  Numbers" 

3«4UU44  IZttfCHQ  O   O  PIUS 
Taut,  intriguing  prison  melodrama.  Rates  higher  for  action 
houses.  Good  performances  by  Palance,  Barbara  Lang. 

Authors  Russell  Rouse  and  Don  Mankiewicz  have  turned  out 
a  corker  of  a  prison  break  yarn,  sharp  as  a  bullet,  tightly  wound 
as  the  trigger  spring  of  a  gun,  giving  M-G-M  one  of  its  best 
action  films  in  many  months.  With  Jack  Palance  emerging  with 
a  resounding  bang  out  of  the  somnambular  cocoon  that  has 
clouded  his  recent  performances,  and  the  striking  debut  of  a 
lissome  and  lustrous  blonde  named  Barbara  Lang,  "House  Of 
Numbers''  should  roll  up  high  figures  in  all  action  houses,  and 
give  better  than  a  fair  account  of  itself  in  the  general  market. 
Filmed  in  and  around  San  Quentin,  with  some  snappy  and  yet 
portentious  black  and  white  Cinemascope  photography,  the 
film  documents  the  escape  plan  of  convict  Palance  as  blue- 
printed by  his  wife  Miss  Lang  and  his  twin  brother  (Palance, 
as  you've  guessed,  performs  both  roles).  The  plan  includes 
having  Miss  Lang  and  the  twin  brother  rent  a  cottage  near  the 
prison,  become  aware  of  prison  schedules  and  secrets,  and  finally 
making  the  escape  switch  the  twin  brother  staying  overnight  in 
the  prison  until  Palance  effects  his  coup.  It  is  a  taut,  compact 
exercise  in  suspense,  intriguing  in  the  cleverness  with  which 
the  plot  is  evolved.  Rouse  has  directed  this  Charles  Schnee 
production  with  the  staccato  style  of  the  card  player  who  holds 
the  ace.  And  when  Mr.  Rouse,  Palance  and  Miss  Lang  finally 
play  their  trump  card,  the  audience  knows  they've  been  watch- 
ing a  bit  of  sleight-of-hand  that  would  do  Hitchcock  proud. 

MGM.   92   minutes.   Jack   Palance,    Barbara   Lang.   Produced   by  Charles  Schnee. 


"Checkpoint" 

Exciting  auto  race  sparks  JAR  import. 

The  thrills  and  spills  of  auto  racing  have  never  been  a  strong 
point  at  the  boxoffice,  even  in  this  era  of  hydraulics  and  hot 
rods.  "Checkpoint",  a  new  J.  Arthur  Rank  import,  though 
devoted  to  the  recently  publicized  Mille  Miglia  races,  seems 
hardly  likely  to  reverse  the  trend.  However,  it  does  boast  a 
tremendously  exhilarating  cross-country  auto  race  that  director 
Ralph  Thomas  has  staged  with  sheer  verve  and  virility.  As  the 
Eastman  Color  cameras  follow  it  through  the  hairbreadth  roads 
of  the  Italian  Alps  in  all  their  chilling  splendor  to  the  blazoned 
beaut\  of  Locarno,  Thomas  pumps  the  suspense  for  all  it's 
worth  in  a  climax  that  should  give  any  customer  a  real  run  for 
his  money.  This  sequence  alone  will  find  strong  favor  with 
action  fans.  Unfortunately,  in  its  other  phases,  this  Betty  Box- 
production  is  a  rather  pedestrian  affair.  Certainly  the  script  by 
Robin  Estridge  is  an  erratic  blend  of  moonshine  and  melodrama 
and  the  performances  of  stars  Anthony  Steel,  Odile  Versois  and 
James  Robertson  Justice  have  a  hard  time  reaching  rapport.  The 
story  concerns  Justice,  British  millionaire  and  would-be  Machia- 
vellian, and  his  efforts  to  have  the  auto  team  he  is  sponsoring 
win  the  Mille  Miglia  races.  Included  in  his  varied  nefarious 
projects  are  flunky  Stanley  Baker,  who  murders  a  few  people 
while  stealing  some  Italian  racing  plans,  and  hero  Anthony 
Steel  a  driver  duped  into  helping  Justice.  At  the  finish  and 
miles  after  some  melodramatic  roadblocks,  the  villains  are  dis- 
patched to  their  inglorious  ends  and  Steel  happily  culminates 

James  Robertson 


*%cut*c44  Katotf       GQQO    TOPS        OOP    GOOD       Q  Q    AVERAGE         Q  POOR 


Film  BULLETIN    July  8,  1957        Page  25 


THIS  IS  YOUR  PRODUCT 


All  The  Vital  Details  on  Current  &>  Coming  Features 

(Date  of  Film  BULLETIN  Review  Appears  At  End  of  Synopsis) 


ALLIED  ARTISTS 


March 

ATTACK  Of  THE  CRAB  MONSTERS  Richard  Garland, 
Pamela  Duncan.  Prpducer-director  Roger  Corman. 
Science-fiction.  Hideous  monsters  take  over  remote 
Pacific  Island.  68  min. 

FOOTSTEPS  IN  THE  NIGHT  Bill  Elliot,  Don  Haggerty. 
Producer  Ben  Schwalb.  Director  Jean  Yarbrough.  Melo- 
drama. Man  is  sought  by  police  foi  murder  of  his 
friend.  62  min. 

NOT  OF  THIS  EARTH  Paul  Birch,  Beverly  Garland. 
Producer-director  Roger  Corman.  Science-fiction.  Series 
of  strange  murders  plagues  large  western  city.  67  min. 

April 

BADGE  OF  MARSHALL  BRENNAN  Jim  Davis,  Carl 
Smith,  Arleen  Whelan.  Producer-director  Albert  C. 
Gannaway.  Western.  76  min. 

DRAGOON  WELLS  MASSACRE  Barry  Sullivan  Mom 
Freeman,  Dennis  O'Keefe.  Producer  lindiley  Parsons. 
Director  Harold  Schuster.  Western.  Apaches  attack 
stockade  in  small  western  town.  81  min. 

May 

DESTINATION  60.000  Preston  Foster,  Coleen  Gray,  Jeff 
Donnell.  A  Gross-Krasne  Production.  Director  G.  Wag- 
gner.  Drama.  Pilot  flys  new  jet,  with  revolutionary 
type  fuel,  for  first  time.    65  min. 

LET'S  BE  HAPPY  CinemaScope,  Color.  Vera  Ellen,  Tony 
Martin,  Robert  Fleming.  Producer  Marcel  Hellman. 
Director  Henry  Levin.  Musical.  Small-town  girl  meets 
washing  machine  inventor  in  Paris.  105  min. 
OKLAHOMAN,  THE  CinemaScope,  DeLuxe  Color.  Joel 
McCrea,  Barbara  Hale.  Producer  Walter  Mirsch.  Di- 
rector Francis  Lyon.  Western.  Doctor  helps  rid  town 
of  unscrupulous  brothers.  81  min. 

PERSUADER.  THE  William  Talman,  Kristine  Miller, 
James  Craig.  Producer-director  Dick  Ross.  Western. 
Preacher  wins  rough  town  over  with  love — not  guns. 
72  min. 

June 

CALYPSO  JOE  Herb  Jeffries,  Angie  Dickenson.  Pro- 
ducer William  Broidy.  Director  Edward  Dein.  Musical. 
Former  sweetheart  wins  girl  away  from  South  Ameri- 
can millionaire.    76  min. 

HOT  ROD  RUMBLE  Leigh  Snowden,  Richard  Hartunian. 
Producer  Norman  Herman.  Director  Les  Martinson. 
Melodrama.  Story  of  a  drag  racer  and  his  fight  for 
acceptance.    79  min. 

SPOOK  CHASERS  Huntz  Hall,  Stanley  Clements.  Pro- 
ducer Ben  Schwalb.  Director  George  Blair.  Comedy. 
Bowery  boys  get  tangled  up  with  spooks  and  hoodlums. 
62  min. 

July 

DAUGHTER  Of  DR.  JEKYLL  John  Agar,  Gioria  Talbot, 
ArAur  Shields.  Producer  Jack  Pollexfen.  Director 
Edgar  Unger.    Horror.    71  min. 

DINO  Sal  Mineo,  Brian  Keith,  Susan  Kohner.  Producer 
Bernice  Block.  Director  Thomas  Carr.  Dramo.  Social 
case  worker  helps  young  criminal  reform.  94  minutes. 
DISEMBODIED,  THE  Paul  Burke,  Allison  Hayes,  Joel 
Marston.  Producer  Ben  Schwalb.  Director  Walter 
Graumann.  Horror.  Doctor's  wife  practices  voodoo  in 
in  African  jungle.  70  min. 

LOVE  IN  THE  AFTERNOON  Color.  Gary  Cooper, 
Audrey  Hepburn,  Maurice  Chevalier.  Producer-director 
Billy  Wilder.  Comedy.  An  American  playboy's  romantic 
adventures  in  Paris.    130  min. 

August 

AQUA  DIVE  GIRL  Mara  Corday,  Pat  Conway,  Florence 
Marly.  Producer  Norman  Herman.  Adventure.  66  min. 
FROM  HELL  IT  CAME  Tod  Andrews,  Tina  Carver.  Di- 
rector Jack  Milner.  Director  Dan  Milner.  Horror. 

September 

DEATH  IN  SMALL  DOSES  Peter  Graves,  Mala  Powers, 
Chuck  Conners.  Producer  R.  Heermance.  Director  J. 
Newman.  Melodrama.  Investigator  cracks  ring  selling 
illegal  pills  to  truckers.  74  minutes. 
HUNCHBACK  OF  NOTRE  DAME,  THE  CinemaScope, 
Color.  Gina  Lollobrigida ,  Anthony  Quinn.  A  Paris 
Production.  Director  Jean  Delannoy.  Drama.  Hunch- 
back falls  in  love  with  beautiful  gypsy  girl.  88  min. 
LOOKING  FOR  DANGER  Huntz  Hall,  Stanley  Clements. 
Producer-director  Richard  Heermance. 

Coming 

CYCLOPS  James  Craig,  Tom  Drake,  Lon  Chaney, 
Gloria  Talbot.    A  B-H  Production. 

FEVER  TREE,  THE  John  Casavetes,  Raymond  Burr,  Sara 
Shane.    A  Dudley  Production. 


MAN  FROM  MONTEREY  Sterling  Hayden,  Pamela  Dun- 
can, Ted  de  Corsia.  Producer  D.  J.  Grut.  Director 
Sidney  Franklin,  Jr.  Melodrama.  Outlaw  leaves  buddy 
to  die,  thinking  him  dead.  76  minutes. 
RIFLE,  THE  CinemaScope,  Color.  Joel  McCrea,  Vir- 
ginia Mayo. 


COLUMBIA 


March 

FULL  Of  LIFE  Judy  Holliday,  Richard  Conte, 
Salvatore  Baccaloni.  Producer  Fred  Kohlmar.  Director 
Richard  <?uine.  Comedy.  Struggling  writer  and  wife 
are  owners  of  new  home  and  are  awaiting  arrival  of 
chfld.  91  min.  1/7. 

MAN  WHO  TURNED  TO  STONE,  THE  victor  Jory,  Ann 
Doran.  Producer  Sam  Katiman.  Director  Leslie  Kardos. 
Mad  doctor  discovers  secret  of  prolonged  life.  Horror. 
80  min.  2/18. 

SHADOW  ON  THE  WINDOW.  THE  Betty  Garrett,  Phil 
Carey,  Corey  Allen.  Producer  Jonie  Tapia.  Director 
William  Asher.  Melodrama.  Sewn-year  old  boy  is  the 

only  witness  to  a  murder.  73  min.  3/4. 
ZOMBIES  OF  MORA  TAU  Gregg  Palmer,  Allison  Hayes. 
Producer  Sam  Katzman.  Director  Edward  Kahn.  Horror. 
Zombies  live  on  sunken  ship  with  huge  fortune  of  dia- 
monds. 70  min. 

April 

GUNS  AT  FORT  PETTICOAT  Audie  Murphy,  Kathryn 
Grant.  Producer  Harry  Joe  Brown.  Director  George 
Marshall.  Western.  Army  officer  organizes  women  to 
fight  off  Indian  attack.  131  min. 

PHANTOM  STAGECOACH,  THE  William  Bishop,  Rich- 
ard Webb.  Producer  Wallace  MacDonald.  Director  Ray 
Nazarro.  Western.  Outlaws  attempt  to  drive  stage 
coach  line  out  of  business.  6?  min. 

TALL  T.  THE  Randolph  Scott,  Richard  Boone,  Maureen 
Sullivan.  A  Scott-Brown  Production.  Director  Budd 
Boetticher.  Western.  A  quiet  cowboy  battles  o  be 
independent.  78  min. 

May 

ABANDON  SHIP  CinemaScope.  Tyrone  Power,  Mai 
Zetterling.  Producer-director  Richard  Sale.  Drama. 
Story  of  a  group  of  people  who  survive  the  sinking 
of  a  luxury  liner.    100  min. 

GARMENT  JUNGLE.  THE  Lee  J.  Cobb,  Kerwin  Mat- 
thews, Richard  Boone.  Producer  Harry  Kleiner.  Di- 
rector Ribert  Aldrich.  Drama.  Dog-ea-dog  world  of 
Manhattan's  clothing  center.  88  min. 

HELLCATS  OF  THE  NAVY  Ronald  Reagan,  Nancy  Davis, 
Arthur  Franz.  Producer  Charles  Schneer.  Director  Na- 
than Juran.  Drama.  Story  of  the  Hellcat  submarines 
during  World  War  II.  82  min.  4/15. 

SIERRA  STRANGER  Howard  Duff.  Gloria  McGhee.  Pro- 
ducer Norman  Herman.  Director  Lee  Sholem.  Western. 
Miner  file  gold  claim  during  the  '49  California  Gold 
Rush.   74  min.  5/13. 

STRANGE  ONE,  THE  Ben  Gaziara,  James  Olsen,  George 
Peppard.  Producer  Sam  Spiegel.  Director  James  Gar- 
fein.  Drama.  Cadet  at  military  school  frames  com- 
mander and  his  son.  100  min.  4/15. 

June 

BEYOND  MOMBASA  Technicolor,  CinemaScope.  Cor- 
nell Wilde,  Donna  Reed.  Producer  Tony  Owen.  Direc- 
tor George  Marshall.    Adventure.   Leopard   Men  seek 

to  keep  Africa  free  of  white  men.  90  min. 
BURGLAR.  THE  Dan  Duryea,  Jane  Mansfield,  Martha 
Vickers.  Producer  Louis  Kellman.  Director  Paul  Kend- 
kos.  Melodrama.  Jewel  thieves  plan  theft  of  spiritual- 
ist's valuable  necklace.  90  min.  5/13. 
CALYPSO  HEAT  WAVE  Johnny  Desmond,  Merry  An- 
ders, Meg  Myles.  Director  Fred  Sears.  Musical.  Array 
of  calypso-style  singers.  86  min. 

NIGHT  THE  WORLD  EXPLODED.  THE  Kathryn  Grant, 
William  Leslie.  Producer  Sam  Katzman.  Director  Fred 
Sears.  Science-fiction.  Scientist  saves  world  by  pre- 
venting explosion.    64  min. 

GIANT  CLAW,  THE  Jeff  Morrow,  Mara  Corday.  Pro- 
ducer Sam  Katzman.  Director  Fred  Sears.  Science- 
fiction.  Giant  bird  from  outer  space  threatens  to  de- 
stroy world.  76  min. 

July 

FIRE  DOWN  BELOW  CinemaScope,  Technicolor.  Rita 
Hayworth,  Robert  Mitchum,  Jack  Lemmon.  A  War- 
wick Production.  Director  Robert  Parrish.  Drama. 
Cargo  on  ship  is  ablaze.  Gravity  of  situation  is  in- 
creased by  highly  explosive  nitrate.  116  min. 
20  MILLION  MILES  TO  EARTH  Joan  Taylor,  William 
Hopper.    Science-fiction.    82  minutes. 


27TH  DAY,  THE  Gene  Barry,  Valerie  French.  Producer 
Helen  Ainsworth.  Direotor'  William  Asher.  Science- 
tioficjn.  People  from  outer  space  plot  to  destroy  all 
human  life  on  the  earth.  75  min.  5/7. 

August 

JEANNE  EAGELS  Kim  Novak,  Jeff  Chandler.  A  George 
Sidney  Production.  Drama. 

Coming 

ADMIRABLE  CRICHTON,  THE  Technicolor.  Kenneth 
More.  Diane  Cilento.  Cecil  Parker.  Producer  Ian  Dal- 
rymple.  Director  Lewis  Gilbert.  Drama.  The  story  of  a 
famous  butler  in  the  I900's. 

BROTHERS  RICO  THE  Richard  Conte,  Kathryn  Grant, 
Dianne  Foster.  Producer  Lewis  Rachmil.  Director  Phil 
Karlson.  Drama.  Former  racketeer,  trying  to  go 
straight,  exposes  organization  when  they  push  him  too 
far. 

CASE  OF  THE  STOCKING  KILLER.  THE  John  Mills, 
Charles  Coburn,  Barbara  Bates.  A  Marksman  Produc- 
tion. Director  John  Gillerman.  Insane  man  murders 
beautiful  girl. 

GOLDEN  VIRGIN.  THE  Joan  Crawford,  Rossano  Brazzi, 
Heather  Sears.  John  and  James  Woolf  producers.  Di- 
rector David  Miller.  Unscrupulous  people  exploit  blind 
girl  for  profit. 

KILLER  APE  Johnny  Weissmuller,  Carol  Thurston.  Pro- 
ducer Sam  Katzman.  Director  Spencer  G.  Bennett.  Ad- 
venture drama.  The  story  of  a  giant  half-ape,  half-man 
beast  who  goes  on  a  killing  rampage  until  destroyed 
by  Jungle  Jim.  68  min. 

PAPA.  MAMA.  THE  MAID  AND  I  Robert  Lamoureux, 
Gaby  Morlay,  Nicole  Courcel.  Director  Jean-Paul  Le 
Chanois.  Comedy.  The  lives  of  a  typically  Parisian 
family.  94  min.  9/17. 

PICKUP  ALLEY  Cinemascope.  Victor  Mature.,  Anita 
Ekberg,  Trevor  Howard.  A  Warwick  Production.  Di- 
Ekberg,  Trevor  Howard.  A  Warwick  Production.  Direc- 
tor John  Gilling.  Story  of  international  dope  runners. 
SHE  PLAYED  WITH  FIRE  Jack  Hawkins,  Arlene  Dahl, 
Producers  Frank  Launder-Sidney  Gilliat.  Director  Sid- 
ney Gilliat.  Story  of  an  arsonist. 

SUICIDE  MISSION  Leif  Larson,  Michael  Aldridge,  Atle 
Larsen.  A  North  Seas  Film  Production.  Adventure.  Nor- 
wegian fishermen  smash  German  blockade  in  World 
War  II.  70  min. 

3:10  TO  YUMA  Glenn  Ford,  Felicia  Farr,  Van  Heflin. 
Producer  David  Heilwell.  Director  Delmer  Daves.  West- 
ern. Cowboy  robs  stagecoach  then  poses  as  one  those 
robbed. 

YOUNG  DON'T  CRY.  THE  Sal  Mineo,  James  Whitmore. 
Producer  P.  Waxman.  Director  Alfred  Werker.  Drama. 
Life  in  a  southern  orphanage. 


INDEPENDENTS 


March 

UNDEAD,  THE  (American-International)  Pamela  Dun- 
eon,  Allison  Hayes.  Producer-director  Roger  Corman. 
Science-fiction.  A  woman  turns  into  a  witch.  71  min. 
VOODOO  WOMAN  I  American-International)  Maria 
English,  Jom  Conway,  Touch  Connors.  Producer  Alex 
Gordon.  Director  Edward  Cohn.  Horror.  Adv»nrure«s 
seeking  native  treasure  is  transformed  into  monster  by 
jungle  scientist.  75  min. 

WOMAN  Of  ROME  (OCA)  Gina  Lollobrigida,  Daniel 
G-elin.  A  Pontl-DeLaurenflis  Production.  Director  Uilgi 
Zampa  Drama.  Adapted  from  the  Alberto  Moravia 
novel. 

April 

GOLD  OF  NAPLES  IDCA)  Toto,  Sophia  Loren,  Vittorio 
DeSica.  A  Ponti-De  Laurentis  Production.  Director  V. 
De  Sica.  Drama.  4  short  Italian  satires.  I07min.  3/18 
IF  ALL  THE  GUYS  IN  THE  WORLD  .  .  .  IBuena  Vista) 
Andre  Valmy,  Jean  Gaven.  Director  ChrisHan-Jaque. 
Drama.  Radio  "hams",  thousands  of  miles  apart,  pool 
their  efforts  to  reteue  a  stricken  fishing  boat. 
REACH  FOR  THE  SKY  IRank  Film  Distributors)  Kenneth 
More.  A  J.  Arthur  Rank  Production.  The  story  of  Brit- 
ain's unique  RAF  ace,  Douglas  Bader. 

May 

RAISING   A  RIOT    (Continental)    Technicolor.  Kenneth 

More,  Ronald  Squire,  Jan  Miller.  Director  Wendy  Toye. 

Comedy.  Father  attempts  to  apply  psychology  to  his 

three  children  while  wife  is  away  on  a  visit. 

FOUR   BAGS   FULL    ITrans-Lux)    Jean   Gabin,  Bouvril. 

Comedy.  The  trials  and   tribulations  of  black  market 

operators  during  the  German  occupation. 

FRENCH    ARE    A    FUNNY    RACE,    THE  (Continental) 

Martine  Carol,  Jack  Vuchanan,   Noel-Noel.  A  Gaumont 

production.  Comedy.  A  spoof  of  the  unique  personality 

characteristics  of  the  French. 

ROCK  ALL  NIGHT  (American-International)  Dick 
Miller,  Abby  Da  (ton,  Russel  Johnson.  Producer-director 
Roger  Corman.  Rock  n'  rolf  musical.  65  min. 


Film 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


STRANGER  IN  TOWN  (Astor)  Alex  Nichol  Anne  Page 
Producer  Sidney  Roberts.  Director  George  Pollock, 
cr^me     "74     A    newspaperman    exposes    the  "perfect 

June 

REACH  FOR  THE  SKY  IRankl  Kenneth  More  Muriel 
^VuOVV  ,P;odufer  Daniel  M.  Angel.  Director  Lewis 
Gilbert.    104  mm. 

BLACK  TIDE  I  Astor  Picturesl  John  Ireland,  Maureen 
Oonnell.  Producer  Monty  Berman.  Director  C  P  Rich- 
ards. Melodrama.  Top  fashion  model,  planning  long 
7?  min6  SW'm  publici,y'  is  ^VSferiously  murdered. 
CHECKPOINT  Eastman  Color.  Anthony  Steel  Odile 
82rrn°i'n'  Pr°duCer  Bet,V  E'  Bo*    Director' Ralph  Thomas 

^E?^HJHfV   *£E   A   FUNNV    RACE-    THE  IConti- 

2f "* al)  "ar,'ne  Car?L  Jack  Buchanan.  Noel-Noel. 
Produced  by  Preston  Sturges.  Comedy.  Filmization  of 
a  tamous  French  best-selling  novel.  92  min  5/27 
JOHNNY  TREMAIN  (Bueno  Vista)  Technicolor  Hal 
Stalmaster,  Luana  Patten,  Jeff  York.  A  Walt  Disney 
Production.  Director  Robert  Stevenson.  Adventure 
Am!r?n"a<3w  »UeJ\mJ*  turns  freedom  fighter  in  the 
American  War  of  Independence. 

B^h'ETTt  ,lCf"«V,y  International!  Jean  Marais,  Dany 
Robin.    Produced  by  Indrusfilms.    Director  Mar-  " 


July 


Marg0are^^1fg^rn.lCCoridy^ta,)  ""Ph 

f0ARTML  R°CDK  <Ho"«>  T^  Platters.  David  Hous- 
ton.   A  Howco  Production.    Musical.    80  min 

SteIi°LS?,!fLO«UDSB'Hnltl   Eastma"  C°'°'-  Anthony 

aSnde^^bD%ard?nttyAd^t^eer^^m?;  ™* 

!iEnda  t&J  TH.U"DER  <H°*«°>  Church  Courtney,  Me- 
linda  Byron.  A  Howco  Production.  Melodrama    80  min 

TwD  KEY^^E  ,'Rrk)  Jack  Hawk!"s.  John  'stratton' 
M7,dodCrrmaM83ha:!n  Bd'COn-  °h>^  ^ 

Michael  rE"PT,1°,N     i^^,1     Technicolor.  VistaVision. 
Michael  Craig    Jul, a  Arnall.    Producer  Vivian  A  Cox 
Director  Guy  Green.    Melodrama     85  min  ' 
VALUE   FOR   MONEY    (Rank)    Technicolor,  VistaVision 

dov"  dKKS  K  "a  D°t-S-  Producer  Sergei  Nolbanl 
3ov.    Director  Ken  Annakin.    Comedy.    83  min. 

August 

f  J?Wr  "P  A„LICE  ,Rankl  Vlr9lnia  McKenna  Peter 
Lee.  98  m™  Pr°duCer  JosePh  Jan"l-   Director  Jack 

fTANTLER  jhClf-    ™E     ,Rankl     Technicolor.  George 
p'.  ,eLVndd  L^e-    Producer  Michael  Balcon.  Direc- 
tor Pat  Jackson.  Drama.  86  min. 

iLAhCK  Tc!N1>  THE  IRankl  Technicolor  VistaVision 
Anthony  Steel  Donald  Sinden.  Producer  William  M«l 
Ouitty.  Director  Brian  D.  Hurst.  Adventure  82  min 
?aSckL°BNu^hA„S  THEY'RE  HAPPY  IRankl  Eastman  Color'. 
Stro«  nir»,ta  'i  J,aneTLe  Scott-  Producer  Raymond 
Mross.  Director  J.  Lee-Thompson.  Comedy    70  min 

p?0H9,UELIrE  'Ranki  J0hn  Grea5on,  Kathleen  Ryan. 
Dr!ma     ,2  min'9'  °W"-     Director    R°V  Baker. 

September 

VmSm!L  °F,  THE-  GRAF  SPEE  IRank»  Technicolor. 
VistaVision  John  Gregson,  Anthony  Ouayle.  Producer- 
director   Michael    Powell   4    Emeric    Pressburger      I  10 

SpAN|SH  GARDENER    (Rank)   Technicolor,  VistaVision 

D \r.rtn°qStt'--  |J°n  ^hi,eleV-  Producer  'john  Bryan 
Director  Philpi  Leacock.    95  min 

ViNtaVU-oGAT°,R  SfSR,  DAISY  IRank>  Technicolor, 
VistaVision  Donald  Sinden,  Diana  Dors.  Producer 
Raymond  Stross.    Director  J.  Lee-Thompson.    88  min 

Coming 

!!ROTaH»?RSJN  LA_W  IContinentall  Ian  Carmichel  Rich- 
BoultmaeRbr°rgh'  i'"  AdamS-  P'oducer-director,  the 
Boulting  Bros.  Comedy.  Adventures  of  a  young  lawyer 

Producer  John  Nasht.  Director  Steve  Sekely.  Adventure 
Louis  X°vT        3  'US,y  adventurer  durin9  ^e  reign  of 

Slu«M°'LV^OM.EN  1A»ociet.d)  Osa  Massen,  Robert 
n  '  i^"a  Palm«'-  Producer-director  Boris  Perroff 
Drama.  From  a  novel  by  Stephen  Longitreet. 
DRAGSTRIP  GIRL  (American-International)  Fay  Spain 
Steve  Terrell  John  Ashley.  Producer  Alex  Gordon  Di- 
rector Edward  Cahn.  Story  of  teen-age  hot  rod  and 
dragstnp  racing  kids.  75  min. 

LOST  CONTINENT  IIFE)  CinemaScope,  Ferranicolor. 
Producer-d. rector  Leonardo  Bonii.  An  excursion  into  the 
wilds  of  Borneo  and  the  Maylayan  Archecelago.  Eng. 
Iish  commentary.  84  min. 

MAID  IN  PARIS  IContinentall  Dany  Robin  Daniel 
Gehn.  Directed  by  Gaspard  Huit.  Comedy.  A  dauqhter 
rebels  against  her  actress  mother. 

NEAPOLITAN  CAROUSEL  IIFE)  (Lux  Film,  Rome)  Pathe- 
color.  Print  by  Technicolor.  Sophia  Loren,  Leonide 
Massine.  Director  Ettore  Giannini.  Musical.  The  history 
of  Naples  traced  from  1400  to  date  in  song  and  dance. 
PERRI  (Bueno  Vlsto)  Technicolor.  A  true-life  fantasy 
by  Walt  Disney.  The  life  story  of  a  Pine  Squirrel 
named  "Perri". 

REMEMBER,  MY  LOVE  ( Artists-Producers  Assoc.)  Cine- 
maScope,  Technicolor.  Michael  Redgrave,  Mel  Ferrer, 
Anthony  Quale.  Musical  drama.  Producer-director 
Michael  Powell,  Emeric  Pressburge 
'Die  Hedermaui". 


jer.    Based  on  Strauss' 


SMOLDERING  SEA,  THE  Superscope.  Producer  Hal  E. 
Chester.  Drama.  Conflict  between  the  tyrennical  cep- 
P"  end  crew  of  an  American,  merchant  ship  reaches 
its  climax  during  battle  of  Guadalcanal. 


March 

LIZZIE  EJeanor  Parker,  Richard  Boone.  Joan  Biotidell 
Producer  Jerry  Bressli»r.  Director  Hugo  Haas.  Drama. 
A  young  girl  lives  three  different  lives.  81  min.  3/4 
TEN  THOUSAND  BEDROOMS  CinemaScope  Metro- 
Color.  Dean  Martin,  Anna  Maria  Alberghetti.  Producer 
Joseph  Pasternack.  Director  Richard  Thorpe.  Musical. 
A  hotel  tycoon  falls  in  love  with  a  lovely  Italian  girl. 
114  min.  2/18.  H 

April 

DESIGNING  WOMAN  CinemaScope,  MetroColor. 
Gregory  Peck,  Lauren  Bacall.  Producer  Dore  Schary. 
Director  Vincente  Minnelli.  Comedy.  Ace  sportswriter 
marries  streamlined  blond  with  ideas.  117  min.  3/4 
VINTAGE,  THE  MetroColor.  Pier  Angeli,  Mel  Ferrer, 
Leif  Erickson.  Producer  Edwin  Knoph.  Director  Jeffrey 
Hayden.  Drama.  A  conflict  between  young  love  and 
mature  responsibility.    92  min.  3/18. 

May 

LITTLE  HUT,  THE  Eastman  Color.  Ava  Gardner  Stewart 
Granger.  Producers  F.  Hugh  Herbert.  Director  Mark 
Robson.  Comedy.  HusLand,  wife  and  wife's  lover  are 
marooned  on  a  tropical  isle.    90  min.  5/27. 

TARZAN  AND  THE  LOST  SAFARI  Technicolor.  Gordon 
Scott  Robert  Beatty.  A  Sol  Lesser  Production.  Director 
Bruce  Humberstone.  Adventure.  Tanan  rescues  safari 
lost  in  deepest  Africa.  80  min.  3/18. 

THIS  COULD  BE  THE  NIGHT  Jean  Simmons.  Paul 
Douglas.  Producer  Joe  Pasternak.  Director  Robert 
Wise.  Comedy.  A  girl  fresh  out  of  college  gets  a 
job  as  secretary  to  an  ex-bootlegger.    103  min.  4/15. 


June 


SEVENTH  SIN,  THE  CinemaScope.  Eleanor  Parker,  Bill 
Travers,  George  Sanders.  Producer  David  Lewis.  Di- 
rector Ronald  Neame.  Drama.  Story  of  an  adulterous 
woman.  94  min. 

SOMETHING  OF  VALUE  Rock  Hudson,  Dana  Wynter, 
Wendy  Hlller.  Producer  Pandro  Berman.  Director 
Richard  Brooks.  Drama.  Stry  of  a  Mau  Mau  uprising 
in  Kenya,  East  Africa.  113  min.  5/13. 


July 


MAN  ON  FIRE  Bing  Crosby.  Mary  Fickett,  Inger 
Stevens.  Producer  Sol  Siegel.  Director  R.  MacDougall. 
Drama.  The  effect  of  divorce  on  a  boy  and  his  es- 
tranged parents. 

SILK  STOCKINGS  MetroColor,  CinemaScope.  Fred  As- 
taire,  Cyd  Charrise,  Janis  Page.  Producer  Arthur 
Freed.  Director  R.  Mamoullian.  Musical.  Russian  girl 
falls  in  love  with  an  American  film  producer  in  Paris. 


Coming 


ACTION  OF  THE  TIGER  CinemaScope  Eastman  C<Mor. 
Van  Johnson,  Martine  Carol,  Gustave  Roio.  A  Claridge 
Production.  Drama.  Beautiful  girl  seeks  help  of  con- 
traband runner  to  rescue  brother  from  Communists. 
DECISION  AGAINST  TIME  Jack  Hawkins,  Elizabeth 
Sellars.  Producer  M.  Balcon.  Director  C.  Crichton. 
Test  pilot  attempts  to  land  disabled  plane. 

GUN  GLORY  CinemaScope.  MetroColor.  Stewart 
Granger.  Rhonda  Fleming.  Producer  N.  Nayfack.  Di- 
rector Roy  Rowland.  Western.  Ex-outlaw  is  tormented 
by  his  former  reputation  as  a  killer. 
HAPPY  ROAD,  THE  Gene  Kelly,  Michael  Redgrave, 
Barbara  Laage.  A  Kerry  Production.  Directors,  Gene 
Kelly,  Noel  Coward.  Drama.  Two  children  run  away 
from  boarding  hchool  to  find  their  respective  parents. 
100  min.  2/4. 

HOUSE  OF  NUMBERS  CinemaScope.  Jack  Palance, 
Barbara  Lang.  Producer  Charles  Schnee.  Director 
Russell  Rouse.  Law-abiding  citizen  attempts  to  engi- 
neer San  Quentin  escape  for  his  brother. 
LIVING  IDOL,  THE  CinemaScope,  Eastman  Color. 
Steve  Forrest,  Lilliane  Montevecchi.  Producer-director 
Al  Lewin.  Drama.  An  archeologist  is  faced  with  an  un- 
worldly situation  that  threatens  the  safety  of  his 
adopted  daughter.    101  min.  5/13. 

RAINTREE  COUNTY  MetroColor,  CinemaScope  45. 
Elizabeth  Taylor,  Montgomery  Clift.  Producer  David 
Lewis.  Director  Edward  Dymtryke.  Drama.  Life  in  Indi- 
ana during  the  middle  I800's. 


PARAMOUNT 


February 

RAINMAKER,  THE  VistaVision,  Technicolor.  Burt  Lan- 
caster, Katherine  Hepburn,  Wendell  Corey.  Producer 
Hal  Wallis.  Director  Joseph  Anthony.  Comedy  drama. 
Fllmization  of  the  famous  B'way  play.   121  min.  12/24. 


March 


FEAR    STRIKES  OUT    Anthony    Perkins,    Karl  Maiden. 

Norma   Moore.  Producer  Aien   Pakula.   Director  Perry 

Wilson.  Drama.  Story  of  the  Boston  baseball  player. 
100  min.  2/18. 


April 


FUNNY  FACE  VistaVision,  Technicolor.  Audeay  Hep- 
burn, Fred  Aitaire,  Kay  Thompson.  Producer  Roger 
Edens.  Director  Stajley  Donen.  Musical.  Photographer 
plucks  fashion  model  from  Greenwich  YTtfage  bookshop. 
103  min.  2/18. 


AUGUST  SUMMARY 

Tentative  number  of  features  to  be  re- 
leased during  August  totals  18,  however, 
later  additions  to  the  roster  should  add 
anoiher  dozen  or  so.  20th  Century-Fox 
and  Rank  will  be  the  leading  suppliers 
with  five  films  each;  Universal  will  re- 
lease three;  Allied  Artists  and  Paramount, 
two  each;  and  Columbia,  or.e.  Eight 
August  films  will  be  in  color.  Three  re- 
leases will  be  in  CinemaScope,  two  in 
VistaVision,  one  in  Technirama. 


6  Dramas 

2  Science-fiction 

2  Horror 

3  Adventure 


3  Comedies 
1  Muiscal 
1  Western 


May 


BUSTER  KEATON  STORY.  THE  VistaVision.  Technicolor. 
Donald  O'Connor,  Ann  Blyth,  Rhonda  Fleming.  Pro- 
ducers Robert  Smith,  Sidney  Sheldon.    Director  Sidney 

Sheldon.  Drama.  Life  of  the  great  comedian.  91  min. 
4/15. 

GUNFIGHT  AT  O.K.  CORRAL  VistaVision.  Technicolor. 
Burt  Lancaster,  Kirk  Douglas,  Rhonda  Fleming.  Pro- 
ducer Hal  Wallis.  Director  John  Sturges.  Western. 
Drunken   badman   hunts  for   murderer  of  his  cheat'ng 

brother.  122  min.  5/27. 

June 

LONELY  MAN,  THE  VistaVision,  Technicolor.  Jack  Pa- 
lance, Anthony  Perkins,  Elaine  Aiken.  Producer  Pat 
Duggan.  Director  Henry  Levin.  Western.  A  gunfighter 

finds  ha  is  losing  his  sight — and  his  aim.  87  min.  5/27. 

July 

BEAU  JAMES  VistaVision,  Technicolor.  Bob  Hope.  Pro- 
ducer Jack  Rose.  Director  Michael  Moore.  Drama. 
Biography  of  the  famous  Jimmy  Walker,  mayor  of  N.Y. 


1925  to  1932.  105 


4/24 


DELICATE  DELINOUENT,  THE  Jerry  Lewis,  Darren  Mc- 
Gavin,  Martha  Hyer.    Producer  Jerry  Lewis.  Director 

Don  McGuire.  Drama.  Janitor  longs  to  be  police  offi- 
cer so  he  can  help  delinquents.  101  min. 


August 


LOVING  YOU  VistaVision,  Technicolor.  Elvis  Presley. 
Lizabeth  Scott,  Wendell  Corey.  Producer  Hal  Wal'is. 
Musical.  Director  Hal  Kanter.  Small-town  boy  makes 
good  in  big-time  show  business. 

OMAR  KHAYYAM  VistaVision,  Technicolor.  Cornel 
Wilde,  Michael  Rennie,  Debra  Paget.  Producer  Frank 
Freeman,  Jr.  Director  William  Dieterle.  Adventure. 
The  life  and  rimes  of  medieval  Persia's  literary  idol. 
103  min. 


Coming 


HAIRPIN  DEVIL'S,  THE  VistaVision.  Technicolor.  Cornel 
Wilde,  Jean  Wallace,  Mary  Astor.  Producer-director 
Cornel  Wilde.  Adventure.  Story  which  deals  with 
sports  car  racing. 

HOT  SPELL  VistaVision  Shirley  Booth.  Anthony  Quinn, 
Shirley  MacLalne.  Producer  Hal  Wallis.  Director  Dan- 
iel Mann.  Drama.  The  disintegration  of  a  Southern 
family  during  a  torrid  heat  wave. 

JOKER  IS  WILD.  THE  VistaVision,  Technicolor.  Frank 
5inatra,  Mitii  Gaynor,  Jeanne  Crain.  Producer  Samuel 
Briskhv  Director  Charles  Vidor.  Drama.  Rim  biography 
of  Joe  E.  Lewis,  nightclub  comedian. 
MANUELA  Trevor  Howard.  Elsa  Martinell,  Pedro  Ar- 
mendariz.  Director  Guy  Hamilton.  Drama.  A  beautiful 
girl  stows  away  on  a  tramp  steamer. 

SHORT  CUT  TO  HELL  VistaVision.  Robert  Ivers.  Wil- 
liam Bishop,  Georgann  Johnson.  Producer  A.  C.  Lyles. 
Director  James  Cagney.  Drama. 

SPANISH  AFFAIR  VistaVision,  Technicolor.  Carmen 
Sevilla,  Richard  Kiley.  Producer  Bruce  Odium.  Director 
Donald  Siegel.  An  American  architect  travelling  in 
Spain  is  attracted  to  a  beautiful  girl,  half-Gypsy,  half- 
Spanish. 

TEN  COMMANDMENTS.  THE  VistaVision  Technicolor. 
Charlton  Heston,  Yul  Brynner,  Anne  Bax'e-  : .  • 

director  Cecil  B.  DeMille.  Religious  drama  Life  ttorv 
of  Moses  as  told  in  the  Bible  and  Koran.  219  min.  10/15 
TIN  STAR.  THE  VistaVision.  Henry  Fonda,  Anthony 
Perkins.  A  Perlberg-Seaton  Production.  Director  An- 
thony Mann.  V  -;tern. 


February 


Af FAIR  IN  RENO  Naturama.  John  Lund,  Doris  Single- 
ton. Producer  Sidney  Picker.  Director  R.  G.  Spring- 
stein.  Drama.  Young  heiress  falls  for  fortune-hunting 
gambler.  75  min. 


F  I  I  ■ 


■  ULLETIN  —  THIS     IS    YOUR  PRODUCT 


DUEL  AT  APACHE  WELLS  Naturama,  Trucolor.  Anna 
Maria  Alberghetti,  Ben  Cooper.  Asiociate  producer- 
director  Joseph  Kane.  Western.  Son  returns  home  to 
find  father's  ranch  threatened  by  rustler-turned-rancher. 

70  min. 

March 

HELL'S  CROSSROADS  Nafurama.  Stephen  McNally, 
Peggie  Castle,  Robert  Vauhgn.  Producer  Rudy  Ral- 
ston. Director  Franklin  Adreon.  Western.  Outlaw  cow- 
boy reforms  after  joining  Jesse  James'  gang.  73  min. 

April 

MAN  IN  THE  ROAD,  THE  Derek  Farr,  Ella  Raines. 
Producer  Charles  Leeds.  Director  Lance  Comfort. 
Drama.  A  spy  ring  attempts  to  obtain  atomic  secrets 
through  the  use  of  "mental  persuasion."  83  min. 
SPOILERS  OF  THE  FORREST  Trucolor,  Naturama.  Vera 
Ralston,  Rod  Cameron.  Producer-director  Joe  Kane. 
Drama.  An  unscrupulous  lumberman  tries  to  coerce  the 
owners  of  a  large  forest  acreage  into  cutting  their 
timber  at  a  faster  rate.  48  min. 

May 

LAWLESS  EIGHTIES.  THE  Naturama.  Buster  Crabbe, 
John  Smith,  Marilyn  Saris.  Producer  Rudy  Ralston. 
Director  Joe  Kane.  Western.  Circuit  rider  prevents 
Indian  uprising.  70  min. 

TIME  IS  MY  ENEMY  Dennis  Price,  Renee  Asherson. 
Producer  Roger  Proudlock.  Director  Don  Chaffey. 
Melodrama.  The  story  of  a  blackmailed  blackmailer. 
44  min. 

WEAPON,  THE  Steve  Cochran,  Liiabeth  Scott,  Nicole 
Maurey.  Producer  Hal  Chester.  Director  Val  Guest. 
Drama.  An  unsolved  murder  involving  a  child  and  a 
loaded  gun.  70  min. 

June 

JOURNEY  TO  FREEDOM  Jacques  Scott,  Geneviv  Au- 
mont,  George  Graham,  Morgan  Lane.  Drama.  Bul- 
garian escapes  from  behind  the  Iron  Curtain.  44  min. 
PAWNEE  Trucolor.  George  Montgomery,  Bill  Williams, 
Lola  Albright.  A  Groos-Krasne  Production.  Director 
George  Wagner.  Western.  Calvary  puts  down  high- 
riding  Pawnee  Indians. 

July 

TAMING    SUTTON'S    GAL    Naturama.     John  Lupton, 
Jack  Kelly,   May  Wynn.    Drama.    A  young   bank  clerk 
finds  a  gal  in  the  back  hill  country  of  California. 
WEST  OF  SUEZ   Trucolor.     John    Bently,    Vera  Fusek, 
Martin   Boddy.  Melodrama. 

LAST  STAGECOACH  WEST  Naturama.  Jim  Davis, 
Mary  Castle,  Victor  Jory.  Producer  Rudy  Ralston  Di- 
rector Joe  Kane.  Western.  Outlaws  are  stopped  by 
railroad  detective. 

OPERATION  CONSPIRACY  Philip  Friend,  Leslie  Dwyer 
Mary  MacKenzie.  Melodrama. 
THE  EIG  SEARCH  Color.  Drama. 

Coming 

BEGINNING  OF  THE  END  IAB-PTI  Peter  Graves, 
Peggie  Castle,  Morris  Ankrum.  Producer-director  Bert 
Gordon.  Horror. 

UNEARTHLY.  THE  IAB-PT)  John  Carradine,  Allison 
Hayes,   Myron  Healy.   Producer-director  Brooks  Peters. 


20TH  CENTURY-FOX 


February 

OH.  MEN  I  OH,  WOMENI  ClnemaScop.,  Color.  Dan 
Daily,  Ginger  Rocjeri,  David  Niven.  Producer-director 
Nunnally  Johnson.  Comedy.  A  psychiatrist  finds  ou» 
somethings  he  didn't  know.  90  min.  3/4. 
THE  TRUE  STORY  OF  JESSIE  JAMES  ClnemaScope. 
Robert  Wagner,  Jeffrey  Hunter.  Producer  Herbert 
Swope,  Jr  Director  Nicholas  Ray.  Western.  The  lives 
and  times  of  America's  outlaw  gang.  92  min.  2/18. 

March 

HEAVEN  KNOWS  MR.  ALLISON  CinemaScope  De  Luxe 
Color.  Deborah  Kerr,  Robert  Mitchum.  Producers 
Buddy  Adker,  Eugene  Frenke.  Director  John  Huston. 
Drama.  Soldier  is  saved  by  nun  in  South  Pacific  during 

World  War  II  93  min.  3/18. 

RIVER"S  EDGE,  THE  CinemaScope,  Color.  Ray  Milland, 
Anthony  puinn,  Debra  Paget.  Producer  Benidlct 
Bogeaos.  Director  Allan  Dwan.  Adventure.  Story  of  a 
>rofessronal  killer. 

STORM  RIDER,  THE  Scott  Brady,  Mala  Powers.  A 
Brady-Glasser  production.  Director  Edward  Bernds. 
Western.  A  dust  storm  brings  a  stranger  to  a  small 

western  town.  70  min. 

April 

BOY   ON   A   DOLPHIN   CinemaScope,    DeLuxe  Color. 
Clifton  Webb,  Alan  Ladd,  Sophia  Loren.  Producer  Sam 
Engel.    Director   Jean    Negulesco.    Comedy.  Romantic 
tale  with  a  Greek  background.    Ill  min. 
BREAK   IN  THE   CIRCLE   Forrest  Tucker,    Eva  Bartok. 
Story  of  escape  from  Iron  Curtain.  49  min. 
KRONOS  Jeff  Morrow,  Barbara  Lawrence,  John  Emery. 
Producer-director   Kurt   Neumann.   Drama.   A  "planet- 
robber"  comes  to  earth  from  outer  space.    78  min. 
SHE-DEVIL,   THE   Mari   Blanchard,   Jack    Kelly,  Albert 
Dekker.    Producer-director    Kurt    Neumann.  Scientists 
create  an  inhuman  woman.    77  min. 

May 

BADLANDS  OF  MONTANA  Rex  Reason,  Margia  Deane, 
Beverly  Garland.  Producer  H.  Knox.  Director  D.  U li- 
ma n .    Outlaw  takes  over  as  town  marshal.    79  min. 

Film 


CHINA  GATE  Nat  "King"  Cole  Gene  Barry,  Angie 
Dickinson.  Producer-director  S.  Fuller.  Drama.  Love 
and  war  in  Indo-China.  97  min. 

DESK  SET  Spencer  Tracy,  Katharine  Hepburn.  Producer 
Henry  Sphron.  Director  W.  Lang.  Filmiiation  of  the 
famous  Broadway  comedy.  Story  of  a  secretary  and 
her  boss.    103  min.  5/13. 

WAY  TO  THE  GOLD.  THE  Sheree  North,  Barry  Sullivan, 
Jeffrey  Hunter.  Producer  David  Weisbart.  Director  R. 
Webb.  Ex-convict  attempts  to  recover  stolen  treasures. 
69  min. 

June 

ISLAND  IN  THE  SUN  CinemaScope  DeLuxe  Color. 
Jamas  Mason,  Joan  Fontaine,  Dorothy  Dandridge.  Pro- 
ducer DarrvJ  Zanuck.  Director  Robert  Rossen.  Drama. 

Love,  politics  and  the  labor  movement  clash  in  the 
British  West  Indies.  122  min.  6/24 

LURE  OF  THE  SWAMP  William  Parker,  Skippy  Homeir, 
Marshall  Thompson.  Melodrama.  Gangster  hides  out 
in  swamp  to  escape  police.  74  min. 

TWO  GROOMS  FOR  A  BRIDE  Virginia  Bruce,  John 
Carroll.  Producer  Robert  Baker,  Monty  Berman.  Direc- 
tor Henry  Cass.  Comedy. 

WAYWARD  BUS  CinemaScope  Jayne  Mansfield,  Dan 
Dailey,  Joan  Collins,  Rick  Jason.  Producer  Chares 
Brackett.  Director  Victor  Vicas.  From  the  John  Stein- 
beck novel.  Drama.  89  min. 

July 

ABDUCTORS,  THE  Victor   McLaglen,    Fay   Spain,  Carl 
Thayler.    Producer  R.  Wander.    Director  A.  McLaglen. 
Adventure.  Tale  of  a  plot  to  steal  Aleraham. 
A  HATFUL  OF  RAIN  CinemaScope.    Eva  Marie  Saint, 
Don  Murray,  Tony  Franciosa.    Producer  Buddy  Adler. 
Director   Fred   Zinneman.   Drama.   A  dope   addict  de- 
cides to  shake  the  habit.  109  min.  4/24. 
AN    AFFAIR    TO    REMEMBER    CinemaScope  DeLuxe 
Color.     Cary   Grant,    Deborah    Kerr.     Producer  Jerry 
Wald.    Director    Leo    McCarey.    Comedy.  Notorious 
bachelor  falls  for  night  club  singer. 

BERNARDINE  CinemaScope,  Deluxe  Color.  Terry  Moore, 
Pat  Boone,  Janet  Gaynor.  Producer  Sam  Engel.  Direc- 
tor H.  Levin.  Comedy.  Story  of  teenagers.  Filmization 
of  the  Broadway  comedy. 

GOD  IS  MY  PARTNER  Walter  Brennan,  John  Hoyt, 
Marlon  Ross.  Producer  S.  Hersh.  Director  W.  Claxton. 
Drama. 

August 

APACHE  WARRIOR  KeiJh  Larsen,  Jim  Davis.  Producer 
P.  Skouras.  Director  E.  Williams.  Western. 

BACK  FROM  THE  DEAD  Science-fiction. 

SEAWIFE  CinemaScope,  Deluxe  Color.  Richard  Bur- 
ton, Joan  Collins.  Producer  Andre  Hakim.  Director  Bob 

McNaught.  Drama.  Ship  is  torpedoed  by  Jap  sub- 
marine off  Singapore  harbor.    82  min. 

UNKNOWN  TERROR,  THE  Horror. 

WILL  SUCCESS  SPOIL  ROCK  HUNTER  CinemaScope, 
DeLuxe  Color.  Jayne  Mansfield,  Clifton  Webb,  Tony 
Randall.  Producer-director  Frank  Tashlin.  Comedy. 
Filmization  of  the  Broadway  play. 

Coming 

BEAUTIFUL  BUT  DANGEROUS  Gina  LoMobrlgida,  Vit- 
torio  Gassman.  Producer  Manuella  Malotti.  Director 
Robert  Leonard.  Drama. 

NO  DOWN  PAYMENT  Jeff  Hunter,  Barbara  Rush, 
Sheree  Norlli,  Cameron  Mitchell. 

RESTLr:S  E'EED,  THE  Eastman  Color.  Scott  Brady, 
Arne  Eancrcft.  Producer  E.  A.  Alperson.  Director  Alan 

L.'an.  Stor/  of  a  restless,  banned  town.  81  min.  5/27. 
fL"l  /.LEO  RISES,  THE  CinemaScope,  DeLuxe  Color. 
A.d  Gardner,  Mel  Ferrer,  Tyrone  Power.  Producer  D. 
/  -r.jck.  Director  Henry  King.  From  Ernest  Heming- 
way's famous  novel. 

TH-.:E  FACES  OF  EVE.  THE  David  Wayne.  Joanne 
Woodward.  Producer  Nunnally  Johnson.  Story  of  a 
woman  with  three  distinct  personalities. 


UNITED  ARTISTS 


February 

CRIME  OF  PASSION  Barbara  Stanwyck,  Sterling 
Hayden,  Raymond  Burr.  Producer  Herman  Cohen.  Di- 
rector Gard  Oswald.  Drama.  Newspaper  woman  whose 

ambition  for  her  husband  leads  to  murder.  85  min.  1/7. 

DRANGO  Jeff  Chandler,  Joanne  Dru.  An  Earlmar  Pro- 
duction. Hall  Bartlett  producer-director.  Adventure. 
Union  officers  try  to  bring  order  to  a  Southern  town 
after  the  Civil  War.  92  min. 

MEN  IN  WAR  Robert  Ryan,  Aldo  Ray,  Robert  Keith. 
Producer  Sidpey  Harmon.  Director  Anthony  Mann. 
Drama.  An  American  Infantry  platoon  Isolated  in  enemy 
territory  tries  to  retreat  during  the  Korean  War. 
101  min.  2/4. 

PHAROAH'S  CURSE  Ziva  Shapir,  Mark  Dana.  Producer 
Howard  Koch.  Director  Lee  Sholem.  Horror.  Reincar- 
nation of  mummies  in  Egyptian  tombs.  46  min.  2/18 

TOMAHAWK  TRAIL  John  Smith,  Susan  Cummings.  A 
Bel  Air  Production.  Director  Robert  Parry.  Western. 
Cowboy  versus  Indians.  A  small  band  of  cavalry 
soldiers,  greatly  outnumbered,  battles  with  Apache 
Indians  at  close  of  the  Civil  War.  61  min. 

VODOO  ISLAND  Boris  Karloff,  Beverly  Tyler.  A  Bel 
Air  Production.  Director  Reginald  Le  Borg.  Horror. 
Writer  is  called  upon   to   investigate   vodooism  on  a 

Pacific  isle.  76  min.  6/24. 


March 

DELINQUENTS.  THE  Tommy  Laughlin,  Peter  Miller, 
Dick  Bakalyan.  Imperial  Productions.  Robert  Airman 
director.  High  school  student  and  his  girl  victimized 
by  a  teen-age  gang.  75  min.  3/18. 

HIT  AND  RUN  CJeo  Moore,  Hugo  Haas.  Producer,  di- 
rector Hugo  Haas.  Middle-aged  widower  marries  show 
girl.  She  and  her  boy  friend  plot  his  murder.  84  min. 

REVOLT  AT  FORT  LARAMIE  DeLuxe  Color.  John 
Dehner,  Diana  Brewster  Producer  Howard  Koch.  Di- 
rector Lesley  Salandar.  Western.  Civil  War  story  of 
soldiers  who  are  attacked  by  Indians.  73  min. 

SPRING  REUNION  Betty  Hutton,  Dana  Andrews,  Jean 
Hagen.  Director  Robert  Pirosh.  Producer  Jerry  Bresler. 

Comedy.  Old  schoolmates  fall  in  love  at  a  high  school 
reunion.  79  min.  3/18. 

April 

BACHELOR  PARTY,  THE  Don  Murray,  E.  G.  Marshall, 
Jack  Warden.  Producer  Harold  Hecht.  Director  Delbert 
Mann.  Drama.  From  the  famous  television  drama  by 
Paddy  Chayefsky.  92  min.  4/15. 

FURY  AT  SHOWDOWN  John  Derek,  Carolyn  Craig, 
Nick  Adams.  Producer  John  Beck.  Director  Gerd  Os- 
wald. Western.  Ex-bandit  finds  tough  going  when  he 
tries  to  go  straight.  75  min.  3/ IB. 

IRON  SHERIFF,  THE  Sterling  Hayden,,  John  Dehner, 
Constance  Ford.  Producer  Jerome  Robinson.  Director 
Sidney  Salkow.  Sheriff  tries  to  clear  his  son  of  a 
murder  charge.  73  min. 

RIDE  BACK,  THE  Anthony  Quinn,  William  Conrad.  An 
Aldrich  Production.  Director  Allen  Miner.  Western. 
Sheriff  is  afraid  of  failing  in  assignment  to  bring 
border  outlaw  to  justice.    79  min.  5/13. 

12  ANGRY  MEN  Henry  Fonda,  Lee  J.  Cobb  Jack 
Warden.  An  Orion-Nova  Production.  Director  Sidney 
Lumet.  Drama.  Jury  cannot  agree  on  a  verdict.  95 
min.  3/4 

WAR  D3UMS  DeLuxe  Color.  Lex  Barker,  Joan  Taylor, 
Ben  Johnson.  Director  Reginald  LeBorg.  Apache  chief 
and  his  white  wife  wgae  war  on  white  settlers.  75  min. 
4/1. 

May 

BAILOUT  AT  43,000  John  Payne,  Karen  Steele.  A  Pine- 
Thomas  Production.  Director  Francis  Lyon.  U.S.  Air 
Force  pioneers  bailout  mechanism  for  jet  pilots.  83  min. 

GIRL  IN  BLACK  STOCKINGS,  THE  Lex  Barker,  Anna 
Bancroft,  Mamie  Van  Doren.  A  Bel-Air  Production.  Di- 
rector Howard  Koch.  Drama.  A  series  of  sex  slayings 

terrorize  western  resort.    73  min. 

GUN  DUEL  IN  DURANGO  George  Montgomery.  Pro- 
ducer Robert  Kent.  Director  S.  Salkow.  Western. 
Outlaw  attempts  to  go  straight.  73  min.  5/27. 

HIDDEN  FEAR  John  Payne,  Natalie  Norwick.  A  St. 
Aubray-Kohn  Production.  Director  Andre  de  Toth. 
Drama.  Police  officer  attempts  to  clear  sister  charged 

with  murder.  83  min. 

MONKEY  ON  MY  BACK  Cameron  Mitchell.  Dianne  Fos- 
ter. Producer  Edward  Small.  Director  Ted  Post.  Drama. 
Life  story  of  ex-boxing  champion  Barney  Ross.    93  min. 

MONTE  CARLO  STORY,  THE  Technirama,  Color.  Mar- 
lene  Dietrich,  Vittorio  De  Sica.  A  Titanus  Film.  Sam 
Taylor  director.  Drama.  A  handsome  Italian  nobleman 
with  a  love  for  gambling  marries  a  rich  woman  in 
order  to  pay  his  debts.    100  min. 

June 

BAYOU  Peter  Graves,  Lita  Milan.  Executive  producer 
M.  A.  Ripps.  Director  Harold  Daniels.  Drama.  Life 
among  the  Cajuns  of  Louisiana. 

BIG  CAPER.  THE  R«ry  CaJhound  Mary  Costa.  Pine- 
Thomas  Production.  Director  Robert  Stevens.  Multi- 
million  dollar  payroll  robbery.    Melodrama.    84  min. 

MONSTER  THAT  CHALLENGED  THE  WORLD,  THE  Tim 

Holt,  Audrey  Dalton.  Producers  Jules  Levy,  Arthur 
Gardner.  Director  Arnold  Laven.  Science-fiction.  Group 
of  Navy  scientists   battle  a   pre-historic   sea  monster. 

ST.  JOAN  Richard  Widmark,  Jean  Seburg.  Producer- 
director  Otto  Preminger.  Drama.  Filmization  of  George 
Bernard  Shaw's  famous  classic.    NO  min.  5/27. 

SWEET  SMELL  OF  SUCCESS,  THE  Burt  Lancaster,  Tony 
Curtis,  Susan  Harrison.  Producer  James  Hill.  Director 
Alexander  Mackendrick.  Drama.  Story  of  a  crooked 
newspaperman  and  a  crooked  p.r.  man.  100  min.  6/24. 

TROOPER  HOOK  Joel  McCrea,  Barbara  Stanwyck,  Ed- 
ward Andrews.  Producer  Sol  Fielding.  Director  Marquis 
Warren.  Drama.  A  white  woman,  forced  to  live  as  an 
Indian  Chief's  squaw,  is  finally  rescued  and  tries  to 
resume  life  with  husband.  81  min. 

VAMPIRE,  THE  John  Beal,  Coleen  Gray.  Producers 
Arthur  Gardner,  Jules  Levy.  Director  Paul  Landres. 
Science-fiction.  Doctor  accidentally  takes  pills,  changes 
into  vampire. 

July 

BOP  GIRL  GOES  CALYPSO  Judy  Tyler,  Bobby  Troup, 
Margo  Woode.  Producer  Aubrey  Schenk.  Director  How- 
ard Koch.  Musical.  Rock  and  roll-calypso  cavalcade  of 
musical  numbers. 

PRIDE  AND  THE  PASSION.  THE  Vitta Vision,  Techni- 
color. Cary  Grant,  Frank  Sinatra,  Sophia  Loren.  Pro- 
ducer-director Stanley  Kramer.  Drama.  A  Spanish 
guerrilla  band  marches  an  incredible  distance  with  a 
6000  pound  cannon  during  Spanish  War  of  Independ- 
ence of  1810. 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


OUTLAW'S  SON  Dane  Clark.  Ben  Cooper,  Lori  Nel- 
son. Bel  Air  Production.  Director  Leiley  S.lander.  Gun- 
tllnger  ticipti  from  jail  to  save  son  from  life  of 
crime. 


Coming 


CALYPSO  ISLAND  Marie  Windsor,  Vince  Edwards.  Pro- 
ducer-director William  Berke.  Musical.  Calypso  film 
filmed  in  the  Bahama  Islands. 

CARELESS  YEARS,  THE  Natalie  Trundy,  Dean  Stock- 
well.  Producer  Edward  Lewis.  Director  Arthur  Hiller. 
Drama.  Two  lovers  meet  parental  resistance  when  they 
decide  to  get  married. 

FUZZY  PINK  NIGHTGOWN,  THE  Jane  Russell,  Keenan 
Wvnn,  Rav  Danton.  Producer  Bob  Waterfield  Director 
Norman  Taurog.  The  story  of  a  Hollywood  star  who 
is  kidnapped. 

GUNSIGHT  RIDGE  Joel  McCrea,  Mark  Stevens.  Pro- 
ducer Robert  Bassler.  Director  Francis  Lyon.  Western. 
Stranger  discovers  respected  citizen  is  really  a  holdup 
man. 

JUNGLE  HEAT  Lex  Barker,  Mari  Blancha  d.  A  Bel-Air 
Production.  Director  H.  Koch.  Japanese  saboteurs  in 
Hawaii  prior  to  WWII. 

LEGEND  OF  THE  LOST  John  Wayne.  Sophia  Loren, 
Rossano  Braizi.  Producer-director  Henry  Hathaway.  Ad- 
venture   Sea.rch  for  treasure  in  the  Sahara.. 

OUIET  AMERICAN  Audie  Murphy,  Michael  Redgrave, 
Claude  Dauphin.  Figaro  Production.  Director  Joseph 
Mankiewicz.  Drama.  Story  set  against  the  recent 
fighting  in  IndoChina. 

SAVAGE  PRINCESS  Technicolor.  Dilip  Kumar,  Nimmi. 
A  Mehboob  Production.  Musical  Drama.  A  princess 
fills  in  love  with  a  peasant  who  contests  her  right 
to  rule  the  kingdom.  101  min. 

STREET  OF  SINNERS  George  Montgomery,  Geraldine 
Brooks.  Producer  William  Berke.  Rookie  policeman 
clashes  with  youthful  criminals. 

VALERIE  Sterling  Hayden.  Anita  Ekberg.  Anthony  Steel. 
Producer  Hal  Makelim.  Director  Gerd  Oslwald.  West- 
ern. The  story  of  a  murder  trial  in  a  western  town. 


U  N  I  VERSA  L- 1  NT'  L 


February 


GREAT  MAN.  THE  Jose  Ferrer,  Mona  Freeman,  Dean 
Jagger.  Producer  Aaron  Rosenberg.  Director  Jose  Fer- 
rer. Drama.  The  life  and  death  of  a  famous  television 
idol.  92  min.  1 1/2*. 

ISTANBUL  CinemaScope,  Technicolor.  Errol  Hynn,  Cor- 
nell Borchers.  Producer  Albert  Cohen.  Director  Joseph 
Pevney.  Adventure.  Diamond  smugglers  in  mysterious 
Turkey.  84  min.  1/21. 

NIGHT  RUNNER,  THE  Ray  Danion,  Colleen  Miller.  Pro- 
ducer Albert  Cohen.  Director  Abner  Biberman.  Drama. 
Mental  hospital  inmate  is  released  while  still  in  dan- 
gerous condition.  79  min. 

March 

BATTLE  HYMN  Technicplor,  CinemaScope.  Rock  Hud- 
son, Martha  Hyer,  Dan  Duryea.  Producer  Ross  Hunter. 
Director  Douglas  Sirk.  Drama.  Pilot  redeems  sense  of 
guilt  because  of  bombing  of  an  orphanage  by  saving 
other  orphans.  108  min.  12/24. 

GUN  FOR  A  COWARD  astman  Color,  CinemaScope. 
Fred  MacMurray,  Jeffrey  Hunter,  Janice  Rule.  Pro- 
ducer William  Alland.  Director  Abner  Biberman.  Wes- 
tern. Three  brothers  run  a  cattle  ranch  after  death  of 
their  father.  88  min.  1/7. 

MISTER  CORY  Eastman  Color,  CinemaScope.  Tony 
Curtis,  Martha  Hyer,  Charles  Bickford.  Producer 
Robert  Arthur.  Director  Blake  Edwards.  Drama.  Gam- 
bler from  Chicago  sjums  climbs  to  wealth  and  re- 
spectability. 92  min.  1/21. 


A  pril 


INCREDIBLE  SHRINKING  MAN,  THE  Grant  Williams, 
Randy  Stuart.  Producer  Albert  Zugsmith.  Director  Jack 
Arnold.  Science-fiction.  The  story  of  a  man  whose 
growth    processes    have    accidently    been  reversed. 


91 


2/4. 


KELLY  AND  ME  CinemaScope,  Technicolor.  Van  John- 
ion,  Piper  Laurie,  Martha  Hyer.  Producer  Robert  Ar- 
thur. Director  Robert  Leonard.  Drama.  Story  of  dog- 
act  in  show  business  in  the  early  I930*s.  2/4. 
TATTERED  DRESS,  THE  CinemaScope.  Jeff  Chandler, 
Jeannie  Crain,  Jack  Carson.  Producer  Albert  Zugsmith. 
Director  Jack  Arnold.  Melodrama.  Famous  criminal 
lawyer  gains   humility  when   put  on   trial   himself.  93 


3  4 


May 


DEADLY  MANTIS.  THE  Craig  Stevens,  Alix  Talton.  Pro- 
ducer William  Alland.  Director  Jerry  Juran.  Horror. 
Monstrouc  creature  threatens  to  destroy  U.S.  78  min. 
4/1. 

GIRL  IN  THE  KREMLIN.  THE  Lex  Barker,  Zsa  Zsa 
Gabor,  Jeffrey  Stone.  Producer  Albert  Zugsmith,  Di- 
rector Russell  Birdwell.  Drama. 

MAN  AFRAID  CinemaScope.  George  Nader,  Phyllis 
Thaxter,  Tim  Hovey.  Producer  Gordon  Kay.  Director 
Harry  Keller.  Drama.  Father  saves  life  of  man  attempt- 
ing to  murder  his  son.  84  min.  4/15. 


June 

KETTLES  ON  OLD  MacDONALD'S  FARM,  THE  Marjorie 
Main  Parker  Fennelly,  Gloria  Talbott.  Producer  Ho- 
ward Christie.  Director  Virgil  Vogel.  Comedy.  The 
Kettles  buy  a  new  farm.    80  min.  5/13. 


PUBLIC  PIGEON  NO.  1  Technicolor.  Red  Skelton. 
Vivian  Blaine,  Janet  Blair.  Producer  Harry  Tugend.  Di- 
rector   Norman    McLeod.     Comedy.     A    trusting  soul 

tangles  with  con  men  and  outwits  them.  79  min.  5/13 
YOUNG  STRANGER  James  MacArtur.  James  Daly.  Kim 
Hunter,  James  Gregory.  Drama.  Story  of  a  young 
man  and  his  parents.    84  min. 


July 


JET  PILOT  Technicolor,  SuperScope.  John  Wayne, 
Janet  Leigh.  Howard  Hughes  Production.  Producer 
Jules  Furthman  Director  Josef  von  Sternoerg.  Drama. 
119  min. 

JOE  BUTTERFLY  CinemaScope,  Technicolor.  Audie 
Murphy  George  Nader,  Keenan  Wynn.  Producer 
Aaron  Rosenberg.  Director  Jessie  Hibbs.  Comedy. 
Story  of  American  newsmen  in  Tokyo  after  Japanese 
surrender.  90  min. 

TAMMY  AND  THE  BACHELOR  Cinemascope,  Techni- 
color. Debbie  Reynolds,  Leslie  Nielson.  Producer  Aaron 
Rosenberg.  Director  Joe  Pevney.  Comedy.  Story  of  a 
young  girl,  her  grandfather  and  a  young  man  who  falls 
in  love  with  her.  89  min.  5/27. 


August 


LAND  UNKNOWN,  THE  Jock  Mahoney,  Shawn  Smith. 
Producer  William  Alland.  Director  Virgil  Vogel. 
Science-fiction.  Polar  expedition  finds  Mesozoic  age 
in  Antartic  expedition. 

MIDNIGHT  STORY,  THE  CinemaScope.  Tony  Curtis, 
Marisa  Pavan.  Producer  Robert  Arthur.  Director  Joseph 
Pevney.  Drama.  Rookie  cop  seeks  murderer  of  parish 
priest.  89  min.  6/24. 

NIGHT  PASSAGE  Technirama,  Technicolor.  James 
Stewart,  Audie  Murphy,  Dan  Duryea.  Producer  A. 
Rosenberg.  Director  James  Neilson.  Drama.  Payroll 
robbers  are  foiled  by  youngster  and  tough  fisted  rail- 
roader. 90  min.  6/24. 


Comins. 


DAY  THEY  GAVE  BABIES  AWAY.  THE  Eastman  Color. 
Glynis  Johns,  Cameron  Mitchell,  Rex  Thompson.  Pro- 
ducer Sam  Weisenthal.  Director  Allen  Reisner.  Drama. 
DOCTOR  AT  LARGE  Dick  Bogarde,  Muriel  Pavlow.  A 
Rank  Production.  Director  Ralph  Thames.  Comedy.  Ad- 
ventures of  an  Eng'ish  physician.  98  min.  6/24. 
ESCAPADE  IN  JAPAN  Color.  Teresa  Wright,  Cameron 
Mitchell,  Jon  Provost,  Roger  Nakagaws.  Producer-direc- 
tor Arthur  Lubin.  Search  for  two  boys  who  start  out 
in  the  wrong  direction  to  find  the  very  people  who 
are  trying  to  find  them. 

GIRL  MOST  LIKELY.  THE  Eastmai  Color.  Jane  Powell, 
Cliff  Robertson,  Keith  Andes.  Producer  Stanley  Rublin. 
Director  Mitchell  Leison.  Comedy.  A  girl  is  proposed 
to  by  three  men  on  the  same  day. 

I  MARRIED  A  WOMAN  George  Gobel,  Diana  Dors, 
Adolph  Menjou.  Producer  William  Bloom.  Director  Hal 
Kanter.  Coemdy.  Wife  objects  to  taking  second  place 
to  a  beer  advertising  campaign  with  her  husband. 
INTERLUDE  Technicolor,  CinemaScope.  June  Allyson, 
Rossano  Brazzi.  Producer  Ross  Hunter.  Director  Douglas 
Sirk.  American  doctor  falls  in  love  with  wife  of  fa- 
mous composer  in  Munich.  90  min.  6/24. 
JOE  DAKOTA  Eastman  Color.  Jock  Mahoney,  Luana 
Patten.  Producer  Howard  Christie.  Director  Richjrd 
Bartlett.  Drama.  Stranger  makes  California  oil  town 
see  the  error  of  its  ways. 

MAN  OF  A  THOUSAND  FACES  CinemaScope.  James 
Cagney,  Dorothy  Malone.  Producer  Robert  Ar  hur.  Di- 
rector Joseph  Pevney.  Drama.  Life  story  of  Lon  Chaney. 
MONOLITH  MONSTERS,  THE  Grant  Williams,  Lola 
Albright.  Producer  Howard  Christie.  Direcior  John 
Sherwood.  Science-fiction.  Army  of  rocks  threaten  U.S. 
MY  MAN  GODFREY  CinemaScope,  Technicolor.  June 
Allyson.  David  Niven.  Producer  Ross  Hunter.  Dire-tor 
Henry  Koster.  Comedy.  Story  of  a  topsy-turvy  but!er. 
PAY  THE  DEVIL  CinemaScope.  Jeff  Chandler,  Orson 
Welles.  Producer  Albert  Zugsmith.  Director  Jack  Ar- 
nold. Drama.  Sheriff  destroys  one-man  domination  of 
Texas  town. 

PYLON  CinemaScope.  Rock  Hudson,  Robert  Stack, 
Dorothy  Malone.  Jack  Carson.  Producer  Albert  Zug- 
smith. Director  Douglas  Sirk.  Drama.  Report:r  un- 
covers World  War  I  hero  of  the  Lafayette  Escadrille. 
QUANTEZ  CinemaScope,  Eastman  Color.  Fred  Mac- 
Murray,  Dorothy  Malone.  Producer  Gordon  Kay.  Direc- 
tor Harry  Keller.  Drama.  A  study  of  five  people  in- 
volved in  a  robbery  and  killing. 

RUN  OF  THE  ARROW  Technicolor.  Rod  Steiger.  Sarita 
Montiel.  Ralph  Meeker.  Producer-director  Sam  Fuller. 
Adventure.  Young  sharpshooter  ioins  Sioux  Indians  at 
close  of  Civil  War.  86  min.  6/24. 

THAT  NIGHT  John  Beal.  Augusta  Dabney,  Shepperd 
Strudwick.  Producer  Hiram  Brown.  Director  John 
Newland.  Drama.  A  tragedy  almost  shatters  a  15- 
year-old  marriage. 

UNHOLY  WIFE.  THE  Technicolor.  Diana  Dors,  Rod 
Steiger,  Marie  Windsor.  Producer-director  J'-hn  Far- 
row. Drama.  A  wife  sunningly  plots  the  death  of  hsr 
husband  who  she  has  betrayed. 

VIOLATORS,  THE  Arthur  O'Connell,  Nancy  Malone. 
Producer  H.  Brown.  Director  John  Newland.  Drama. 
Story  of  a  probation  officer  in  the  New  York  City 
courts. 


February 

BIG  LAND.  THE  WarnerCoJor.  Alan  Ladd,  Virginia 
Mayo.  A  Jaguar  Production.  Director  Gordon  Douglas. 
Western.  Cattlemen  fight  to  move  their  herds  to 
distant  railroads.  93  min.  2/4. 


TOP  SECRET  AFFAIR  Kirk  Douglas.  Susan '  "«^ard- 
Producer  Martin  Rackin.  Director  H,  C.  Cottar  Come- 
dy A  lov.ty  lady  calls  the  bluff  of  an  Army  General. 
9} 


min.  2/4. 


March 


PARIS  DOES  STRANGE  THINGS  Technicolor  Ingnd 
Bergman,  M.I  Ferrer,  Jean  Mara, s  A  Cranco-Londo. 
Rim.  Director  Jean  Renoir.  Drama    Tale  of  the  exiled 

widow  of  a  Polish  Prince.  86  mm.  3/4. 


A  pril 


SPIRIT  OF  ST.  LOUIS.  THE  CinemaScope.  W«fM»J 
Colo  Jarn.s  Stewart,  Ren*  Clark.  Producer  L.l.nd 
Hayw.rd.  Director  Billy  Wilder.  Dr«me:  The  .to  *  of 
the  first  man  ever  to  cross  the  Atlantic  in  a  plan.. 
138  min.  3/4. 


May 


COUNTERFEIT  PLAN.  THE  Zachary  Scott.  Pegg  e 
Castle.  Producer  Alec  Snowden.  Director  Mo^aom.ry 
Tully.  Drama.  Inside  story  of  one  of  the  largest  for- 
gery  operations  ever  attempted.  80  mm.  4/1. 
SHOOT  OUT  AT  MEDICINE  EEND  Randolph  Scott 
Jam"  Craio  Dani  Crayne.  Producer  Richard  Whorf. 
£?r«  or  Rilhard  Bare.  Western..  Homesteaders  and 
Quaker  settlers  in  Nebraska  frontier  town  are  cheated 
by  "bad  man".  87  min.  6/24. 

UNTAMED  YOUTH  Mamie  Van  Doren,  Lou  Nelson,  John 
RusseT    Producer    Aubrey    Schenk.    Director  Ho« 
Koch    Life  on  a  prison  farm  for  |uven,le  delinquents. 
80  min.  4/1. 


June 


A  FACE  IN  THE  CROWD  Andy  Griffith.  Catricia  Neal. 
Producer-director  Eiia  Kazan  Drama.  A  h.ll-billy  per- 
sonality leaps  to  national  fame. 

D.  I.,  THE  Jack  Webb  Don  Dubbins,  Jackie  Loughery. 
Producer-director  Jack  Webb.  Drama.  Life  of  a  Ma- 
rine Corps  drill  instructor. 


July 


CURSE  OF  FRANKENSTEIN,  THE  Peter  Cushing.  Hczel 
Court  Robert  Urqhart.  Producer  M.  Carreras.  Direc- 
£|N«  "AND  IhE  SHOWGIRL.  THE  Color  Marilyn 
Monroe,     Laurence    Olivier,     Dame    Sybil  Thorndyk. 

Producer-director  Laurence  Olivier.  ComeoV  Filmiza- 
tion  of  the  Terence  Rattig£in  play.  117  mm.  b/li. 
RISING  OF  THE  MOON,  THE  Eileen  Crowe.  Cyril 
Cusack  Frank  Lawton.  Directed  by  John  Ford.  Three 
Irish  stories  with  Tyrone  Power  as  narrator. 
X— THE  UNKNOWN  Dean  Jagger,  William  Russell. 
Producer  A.  Hinds.  Director  Leslie  Norman.  Science- 
fiction.  Keen  minded  scientist  fights  awesome  creation. 

Coming 

BAND  OF  ANGELS  WarnerCo'or.  Clark  Gcble,  Yvonne 
De  Cario.  Director  Raoul  Walsh. 

NO  SLEEP  TILL  DAWN  CinemaScope,  WarnerColor. 
Karl  Maiden  Natalie  Wood.  Producer  Richard  Whorf. 
Director  Gordon  Douglas.  Story  of  the  men  who  man 
the  bombers  that  defend  our  nation. 

HELEN  MORGAN  STORY,  THE  CinemaScope.  Ann 
Blyth,  Paul  Newman.  Producer  Martin  Rackin.  D. rector 
Michael  Curtiz.  Drama. 

OLD  MAN  AND  THE  SEA.  THE  CinemaScope  Warner- 
Color.  Produced  by  Leland  Hayward.  Director  Jorn 
Sturges.  Adventure.  Film  version  of  Ernest  Heming- 
way's prize-winning  novel. 

PAJAMA  GAME,  THE  Warner  Color  Doris  Day '  John 
Raitt  Carol  Haney.  Producers  G.  Abbot.  F.  Br  sson. 
R.  Griffith,  H.  Prince.  Director  Stanley  Donen.  Filmiza- 
tion  of  the  Broadway  musical. 

SAYONARA  Technirama,  WarnerColor.  Marlon  Brando, 
Red  Buttons,  Patricia  Owens.  Producer  William  Goetz. 
Director  Josh  Logan.  Drama.  Based  on  the  award- 
winning  novel  of  James  Michener. 

STORY    OF    MANKIND    WarnerColor.    All  star  cast. 

WITH  YOU  IN  MY  ARMS  CinemaScope  WarnerColor. 
Tab  Hunter,  Etchlka  Choureau.  J.  Carrol  Naish.  Drama. 

Lives  and  times  of  a  select  squadron  of  fighter  pilots 
in  WWI. 


To  Better  Serve  You  .  .  . 

Office  &  Terminal  Combined  At 

305  N.  12th  St. 
lid  7,  P, 

NEW  JERSEY 
MESSENGER  SERVICE 

Member  National  Film  Carriers 


DEPENDABLE  SERVICE! 

HIGHWAY 
EXPRESS  LINES,  INC. 

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Washington,  D.  C:  DUpont  7-7200 


F  I  I 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


4 


Directed  by  DOUGLAS  SIRK  •  Screenplay  by  DANIEL  FUCHS  and  FRANKLIN  COEN  •  Adaptation  by  INEZ  COCKE  (£|^S 
Based  on  a  Screenplay  by  DWIGHT  TAYLOR  and  a  Story  by  JAMES  CAIN;  Produced  by  ROSS  HUNTER 


PRE-SOLD  to  the  vast  "WOMAN'S  MARKET"  through  a  Nation 

Magazine  Ad  Campaign  in  a  dozen  top  publications  includin 
McCall's,  Redbook,  Holiday,  Seventeen,  True  Confessions. 


representing  a  reac/ers/>/p  of  more  t/tai^fi/pf/^/OA/ 


BULLETIN 


JULY  22,  1957 


Business-wise 
Analysis  of 
the  New  Films 


DISTINCTION 


AN  AFFAIR 
TO  REMEMBER 

Other  Reviews: 

OF  A  THOUSAND  FACES 
JEANNE  EAGLES 
BAND  OF  ANGELS 
BERNARDINE 
LOVING  YOU 
5UT  OF  THE  CLOUDS 
ISING  Of  THE  MOON 
CISION  AGAINST  TIME 
THE  BLACK  TENT 


op 


Some  Views  on 
Joe  Exhibitor's  Query: 

"Is  This  Now  a 
Two-Month  Business?" 

In  the  Film  BULLETIN  Mail  Box 
■ 

SUPPORT  THE  NEWSPAPERS 
THAT  SUPPORT  THEATRES! 

Read  WHAT  THE  SHOWMEN  ARE  DOING 
■ 

Will  Bring  Exhibitors  Happy  Memories 


THE  RON  HAS  BEGUN  WITH  Tift 

C/NtV£RSAL-/AtT£/WAnOM4L  kin 


jo  the  nations  highways 
Billboard'"3    .  q^j  communities 
coaet-to-C°alo  Major  Markets  ! 

PRE-SELLING  SHOW-SHOPPING  MILLIONS  during  JULY  and  AUGUST!  ^ 


 r. 

j:  > 


STARRING 

I  ROD  STAGER 

SARITA  MOHTIEl 
BRIAN  KEITH  and 
RALPH  MEEKER. 


JAYC.FLIPPEN 
CHARLES  BRONSON 
OIIVECAREY 


P°fenfia/ 


BUYERS: 


Let's  make  a  date  now 

to  get  together  in  August. 

I  have  a  lot  to  tell  you  about: 

the  real  lowdown 

on  our  friends  in  television, 

and  the  surprising  answers  to  a  lot 

of  interesting  box-office  questions 

including 


will  success  spoil  rock  hunter? 


from  20th  Century-Fox  GNEMaScoPE:  Color  by  DE  LUXE 


Viewpoints 

JULY  22,   1957         *  VOLUME  25,  NO.  13 


Death  in 

How  many  times  have  you  seen  a 
newspaper  report  that  such  and  such  a 
Congressional  proposal  "died  in  com- 
mittee?" It  happens  all  the  time,  of 
course.  Our  own  motion  picture  indus- 
try resembles  Congress;  we  have  our 
own  uninspiring  version  of  slow  death- 
in-committee.  We  form  a  committee  to 
solve  a  particular  problem,  and  as  often 
as  not  the  committee  never  quite  gets 
around  to  accomplishing  anything. 

The  committee  to  solve  a  problem 
usually  has  an  insurmountable  problem 
to  begin  with.  One  problem  of  every 
committee  of  the  motion  picture  indus- 
try is  that  it  is  composed  of  fine,  con- 
scientious men  w  ho  have  back-breaking 
full  time  jobs  and  responsibilities  with 
individual  motion  picture  or  theatre 
companies.  But  that's  only  half  the 
story. 

Equally  important  as  a  reason  for  the 
impotence  of  film  industry  committees, 
on  the  whole,  is  the  attitude  of  the  top 
executives  of  some  major  companies  in 
distribution  toward  these  committees. 
They  seem  to  think  that  when  you  turn 
a  problem  over  to  a  committee  you  turn 
over  your  individual  responsibility  to 
the  committee,  too. 

We  dislike  the  thought,  but  cannot 
brush  it  off,  that  two  of  our  industry's 
most  crucial  projects,  business  building 
and  arbitration,  may  "die  in  commit- 
tee". We  have  been  pondering  specific 
business  building  suggestions  for  well 
over  a  year  now.  But  what  individual 
company  has  aggressively  put  its  stamp 
of  approval  on  any  program,  or,  on  its 
own,  has  taken  steps  to  implement  any 
of  the  many  suggestions?  You  can  find 
isolated  examples  offered  by  a  minority 
of  showmen  in  both  distribution  and 
exhibition;  but  in  the  main  the  industry 
has  abdicated  individual  business-build- 
ing efforts  and  looked  to  the  committee 
for  what  everyone  should  be  doing  on 
his  own.  As  for  arbitration,  we  cannot 


find  it  in  ourselves  to  be  particularly 
proud  of  the  fact  that  while  the  indus- 
try searches  for  a  group  formula,  not  a 
single  company  has  had  the  industrial 
statesmanship  to  establish  a  workable 
conciliation  setup  of  its  own. 

Group  action  is  fine,  in  unity  there  is 
strength,  divided  we  fall  and  e  pluribus 
unum.  But  America  has  some  fine  tra- 
ditions of  individualism  too.  Spyros 
Skouras  didn't  wait  for  a  committee  on 
standardization  to  give  him  the  go- 
ahead  on  CinemaScope.  Warner  Bros, 
didn't  ask  an  industry  committee  to 
work  out  a  policy  for  the  introduction 
of  talking  pictures.  Loew  s  didn't  re- 
quire a  committee  plan  to  become 
know  n  a  long  time  ago  as  "The  Friend- 
ly Company". 

It  has  become  too  much  of  an  easy 
dodge  for  a  distributor,  a  producer  or 
an  exhibitor  to  slough  off  some  prob- 
lem by  saying  it's  an  industry  matter. 
When  you  get  down  to  it,  practically 
everything  is  an  industry  matter,  if  it 
affects  the  welfare  of  a  member  of  the 
industry. 

We  do  not  advocate  the  abolition  of 
committees  within  the  motion  picture 
industry,  although  we  have  been 
tempted  at  times  to  do  so.  We  believe 
that  committees  have  a  clear  and  valu- 
able function  to  perform  in  the  enun- 
ciation of  all-industrv  policy  and  in  the 
exploration  of  industry  problems.  But 
we  also  feel  that  a  committee  has  its 
limitations.    It  cannot  be  expected  to 


BULLETIN 


Film    BULLETIN:    Motion    Picture   Trade  Paper 
published   every  other   Monday   by  Wax  Publi- 
cations,   Inc.     Mo  Wax,   Editor  and  Publisher. 
PUBLICATION-EDITORIAL  OFFICES:    1239  Vine 
Street,  Philadelphia  7,  Pa.,  LOcust  8-0950,  0951. 
Philip    R.    Ward,    Associate    Editor:  Leonard 
Coulter.  New  York  Associate  Editor;  Duncan  G. 
Steck,     Business     Manager;     Marvin  Schiller, 
Publication  Manager;  Robert  Heath,  Circulation 
Manager.  BUSINESS  OFFICE:  522  Fifth  Avenue, 
New    York    34,    N.    Y.,    MUrray    Hill  2-3631; 
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Subscription   Rates:  ONE  YEAR.   S3. 00 
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$5.00.     TWO    YEARS;    S5.00    in  the 
U.  S.;  Canada,  $7.50;   Europe,   $9  00. 


solve  all  the  problems,  or  to  do  the 
thinking  and  the  acting  for  its  individu- 
al member  companies. 

For  example,  the  present  business 
building  program  basically  was  enun- 
ciated many  months  ago.  At  that  point 
the  responsibility  for  aggressive  action 
should  have  been  shifted  right  back  to 
the  individual  companies.  It's  a  fore- 
gone conclusion  that  some  companies 
will  do  more  on  their  own  than  others. 
Some  concerns  would  undoubtedly 
have  ignored  the  business  building 
drive  with  blithe  unconcern,  while 
others  carried  their  weight.  But  even 
the  companies  that  might  be  expected 
to  carry  their  weight  have  not  done  so, 
because  the  committee  provided  too 
easy  an  alternative.  The  committee  was 
still  investigating,  so  individual  com- 
pany action  could  wait. 

What  do  we  do  about  this?  Maybe 
one  answer  is  to  limit  the  life  of  even 
special  industry  committee  to  a  maxi- 
mum of  six  months  and  to  insist  that  at 
the  end  of  this  period  of  time  each 
committee  must  come  up  with  a  sug- 
gested plan  for  individual  company  ac- 
tion, as  well  as  for  industry-wide  pro- 
grams. 

But  a  healthier  answer,  it  seems  to  us, 
would  simply  be  to  require  that  every 
member  of  every  committee  report  pub- 
licly on  what  his  own  company  has 
done  to  cope  with  the  problem  at  hand. 
One  reason  committees  can  provide 
slow  death  for  ideas  and  proposals  is 
that  the  items  are  buried  over  the 
course  of  time  and  repetitive  meetings 
are  held  with  steadily  fading  public 
interest.  If  we  can  somehow  keep  com- 
mittees interesting  even  to  the  commit- 
tee members  themselves,  we  will  have 
made  progress. 

And  if  we  can  persuade  these  hard- 
working, devoted  committee  members 
that  their  efforts  are  getting  some  at- 
tention and  response  from  the  policy- 
makers and  pursestring-holders  within 
their  individual  companies,  we  might 
give  our  committee-ridden  industry  a 
new  lease  on  life. 


Film  BULLETIN    July  22,  1957        Page  5 


FINANCIAL 

BULLETIN 

JULY     22,  1957 


By  Philip  R.  Ward 


A  NEW  MANNER  OF  MOGUL.  By  popular  agreement,  the 
old  time  cinema  mogul  was  a  creature  of  gaudy  flamboyance, 
mailed-fist  instincts  and  capricious  to  the  extreme  in  the  con- 
duct of  his  business  affairs. 

It  is  no  wonder,  then,  that  many  circles,  including  Wall  Street 
elements,  are  hailing  the  report  that  this  genre  of  leadership  is 
on  the  way  out;  a  more  restrained,  cool-headed,  Brooks  Brothers 
brand  of  leadership  on  the  way  in. 

The  latest  bearer  of  this  tiding  is  the  eloquent  Eric  Hodgins, 
whom  Life  Magazine  commissioned  to  survey  the  Hollywood 
scene.  In  a  sub-title  to  his  recent  story  in  which  nothing  is  lack- 
ing save  abridgment,  he  trumpets:  "A  glamorous  era  ended  in 
disaster,  but  men  of  Talent,  aided  by  agents  and  tax  experts, 
have  inherited  the  movies  and  are  making  them  pay."  He  refers, 
of  course,  to  the  gaggle  of  glamorfaces,  writers  and  directors 
stampeding  toward  self-incorporation  in  search  of  capital  gains 
rewards. 

0 

But  we  have  news  for  Mr.  Hodgins,  Life  Magazine,  and  those 
who  would  swallow  this  misconception  whole:  men  of  Talent 
inherited  the  movies  50  years  ago  and  have  been  making  them 
pay,  in  varying  degree,  ever  since.  It  is  an  economic  writ  that 
talentless  men  do  not  leave  an  entire  industrial  establishment 
for  others  to  take  over.  And  it  is  a  further  canon  of  business 
that  the  mere  donning  of  horn-rimmed  glasses  does  not  an 
entrepreneur  make. 

It  turns  out  that  talent  is  not  confined  to  the  aesthetic  pur- 
suits alone.  The  job  of  organizing,  planning  and  executing,  of 
creating  order  out  of  creative  and  commercial  disorder,  of  rang- 
ing over  the  broad,  complex  mosaic  of  picture  making  and  fit- 
ting the  pieces  into  an  intelligible,  and  profitable,  whole  is  a 
monumental  endeavor,  indeed.  It  is  a  role  which  properly  be- 
longs to  a  man  of  Talent — professional  executive  Talent.  The 
creative  people  can  no  more  sustain  the  commercial  apparatus 
of  moviedom  than  can  Mr.  Skouras  be  expected  to  pitch  Mari- 
lyn Monroe  a  little  woo  in  her  next  film. 

0 

The  major  presumption  in  a  hegemony  of  creative  talents 
running  the  business  show  is  that  it  is  conversant  with  the  prac- 
tical, everyday  problems  of  the  market.  It  is  not — not  in  any 
sense.  The  motivation  guiding  Hodgins'  new  order  is  purely 
self-seeking,  tax-dodging  and  get-rich-quick.  These  are  right 
and  honorable  motives  to  the  parties  concerned.  Who  doesn't 
harbor  them?  But  they  do  not  serve  the  interests  of  the  theatre 
market  as  presently  constituted.  The  movies  have  not  yet 
stumbled  to  the  level  of  the  little  avant  garde  theatre.  It  is  yet 
a  popular  mass  medium,  in  demand  of  a  broad,  continuing 
source  of  supply.  A  hundred  or  so  miniature  moguls  working 
as  disorganized  islands  of  production,  fashioning  one,  at  best 


two  films  per  year,  is  hardly  the  way  of  systematic  mass  produc-  [( 

tion.  And  only  through  systematic  mass  production,  overseen  Jt 

by  competent  and  seasoned  business  hands,  will  moviedom  re-  r 
main  a  popular  and  viable  force. 

As  we  see  it,  the  front  offices  of  the  major  production  com- 
panies are  evolving  a  new  manner  of  mogul.  And  this  is  the 
point  missed  by  Hodgins  and  others.  Sooner  or  later  the  one- 
man  shops  of  creative  talent  will  foreclose  and  their  proprietors 
return  hat  in  hand  to  the  integrated  film  making  establishments. 
The  strictures  of  commerce  must  make  it  so  eventually.  On  their 
re-entry  they  will  be  surprised  by  the  character  of  major  com- 
pany leadership.  Hard  times  have  tempered  the  abuses  and  ex- 
travagances of  old.  The  movie-making  tyrant  has  passed  on.  In 
his  stead  has  come  administration  by  mild  and  shrewd  men  of 
sympathetic  sensitivities.  Likely  as  not,  the  evolving  composite 
mogul  will  lack  important  financial  resources  and  stockholder 
alliances.  He  will  be  a  businessman,  plain  and  simple.  He  will 
not  be  selected  by  primogeniture,  by  consanguine  succession  or 
othet  feudal  standards  of  old.  He  will  owe  his  exalted  rank 
strictly  to  personal  and  professional  merit — to  the  processes  of 
director  deliberations  under  which  the  simple  aim  is  to  get  the 
best  man  for  the  job. 

Joseph  Vogel  is,  to  some  degree,  representative  of  the  modern 
mogul.  He  is  not  of  pioneering  stock — at  least  from  an  equity 
standpoint.  He  is  a  company  man  come  up  in  the  world.  He 
owes  nothing,  is  beholden  to  no  one.  His  progress  will  be 
watched  with  interest,  as  it  may  set  patterns  for  the  future. 
There  are  reports  that  some  of  Loew's  directors  don't  exactly 
cotton  to  Mr.  Vogel.  And  it  is  a  good  bet  Mr.  Vogel  does  not 
cotton  to  some  of  his  directors.  The  mess  at  Loew's  is  a  hang- 
over from  its  tumultuous  past.  The  power  balances  in  this  once 
clique-infested  firm  have  not  yet  stabilized.  Wall  Street  is  ob- 
serving carefully  Vogel's  ability  to  ride  out  the  storm.  On  his 
performance  hangs  not  only  the  future  of  Loew's,  but  in  larger 
sense,  that  of  the  industry.  Vogel  may  well  indeed  make  the 
mold  from  which  tomorrow's  moguls  will  be  cast. 

0 

COLUMBIA'S  HARRY  COHN,  characterized  as  the  "last  of 
the  Great  Auks"  in  the  Life  story,  has  a  defender  in  Oppen- 
heimer  &  Co.  (NYSE).  In  a  bulletin  bristling  with  indignation, 
it  refutes  the  reference  in  these  terms:  "Unlike  the  Auk,  which 
has  become  extinct  because  of  inability  to  make  changes,  the 
only  remaining  studio  kingpin  has  moved  with  the  times." 
Cohn's  modern  slant,  according  to  the  text,  flows  from  his 
vision  in  engaging  in  TV  activities  long  before  other  majors 
dared.  This  facet  of  Columbia  operations  (Screen  Gems)  has 
proven  emminently  profitable.  And  in  truth  it  has,  rescuing 
the  theatre  film  phase  from  dragging  the  company  into  the  red. 
The  bulletin  admits  1956-1957  was  a  year  of  disappointments, 
with  nary  a  solid  grossing  picture  save  "The  Eddy  Duchin 
Story".  If  Columbia's  Cohn  truly  represents  that  breed  of  film 
mogul  which  Mr.  Hodgins  sees  passing  into  the  limbo,  he  bears 
the  burden  of  justifying  the  whole  system  of  one-man  studio 
control.  On  the  basis  of  his  studio's  '56-'57  performance,  Wall 
Streeters  and  the  theatremen,  alike,  are  likely  to  say  that  kind  of 
studio  operation  has  outlived  its  usefulness. 


Page  6       Film  BULLETIN    July  22,  1957 


LOEWS  'EXECUTIVE  SUITE'.  According  to  an  unusually 
reliable  source  the  uneasy  truce  that  has  governed  Loew's  oper- 
ations since  February  28  is  ready  to  explode  into  all-out  war. 
The  disagreements  and  manipulations  that  have  been  taking 
place  behind  a  screen  of  corporate  compromise  portend  a  fight- 
to-the-death  struggle  between  the  management  forces,  headed 
by  presidnt  Joseph  Vogel,  and  the  Tomlinson-Meyer  faction. 
The  recent  junket  of  the  board  of  directors  to  the  Culver  City 
plant  led  to  further  friction,  we  hear.  Rumors  persist  that  all 
was  not  peaches-and-cream,  and  reports  that  the  policy  of  cor- 
porate compromise  would  not  long  endure  were  heard  with  in- 
creasing frequency.  Hollywood  "insiders",  always  quick  to 
scent  trouble,  currently  have  a  joke  making  the  rounds  that 
adds  an  ironic  note  to  the  Loew's  situation.  The  joke's  punch- 
line ends  with  the  remark  that  had  Loew's  waited  a  few  more 
years  to  film  "Executive  Suite,"  they  would  have  been  able  to 
make  it  the  story  of  their  own  company.  Throughout  the 
latter  part  of  the  past  week  there  was  ample  evidence  that 
events  at  Loew's  was  moving  toward  a  climax  of  some  sort. 
The  rumors  were  flying  thick  and  fast  at  the  company's  home 
office,  and  executives  "clammed  up"  at  every  attempt  to  get  the 
facts.  Attempts  to  get  the  official  line  from  Loew's  officials 
were  met  by  either  a  polite  "no  comment"  or  "he's  out  of  town 
and  can't  be  reached  ".  However,  the  reports  of  a  renewed 
proxy  fight  refuse  to  be  squelched.  The  basic  issue  revolves 
around  a  reported  attempt  to  give  Vogel  the  heave-ho,  put 
Stanley  Meyer  into  the  president's  seat,  give  the  board  chair- 
manship to  Tomlinson  and  bring  gack  Louis  B.  Mayer  as  pro- 
duction chief.  Some  of  the  reports  and  rumors  making  the 
rounds  re  the  Loew's  situation  follow:  Vogel  is  about  to  resign; 
a  majority  of  the  members  of  the  board  will  resign;  Louis  B. 
Mayer  will  be  the  new  production  chief;  Dore  Schary  is  com- 
ing back;  Howard  Hughes  is  attempting  to  gain  a  voice  in 
management  via  stock  purchases;  the  board  of  directors  will  be 
increased  by  four  or  five  members;  a  special  stockholders  meet- 
ing will  be  called  within  a  few  weeks  to  resolve  the  struggle 
between  the  Vogel  and  Tomlinson  factions;  Vogel  has  given  an 
ultimatum  to  Tomlinson  and  Meyer  to  resign;  Tomlinson  has 
given  an  ultimatum  to  Vogel  to  resign  or  face  a  proxy  fight; 
and  so  on,  ad  infinitum.  Although  the  majority  of  these  reports 
and  rumors  are  contradictory  in  nature,  the  fact  that  they  are 
being  hurled  about  by  some  fairly  responsibile  people  indicates 
that  there  is  something  cooking  in  the  Loew's  situation.  "Where 
there's  smoke,  there's  fire"  would  certainly  apply  to  this  case, 
and  there's  plenty  of  smoke  at  1540  Broadway.  One  possibility 
that  cannot  be  overlooked  in  any  projected  proxy  fight  is  the 
position  of  the  Wall  Street  brokerage  houses  controlling  or 
having  an  interest  in  Loew's  stock  holdings.  The  question  seems 
to  revolve  around  this:  will  they  string  along  with  Vogel  and 
his  just-getting-started  campaign  to  pump  some  new  blood  into 
Leo's  tired  old  veins,  throw  their  weight  to  the  insurgent  Tom- 
linson, or — and  this  is  a  possibility  that  bears  watching — take 
the  company  over  for  themselves,  lock,  stock  and  barrel,  and 
put  in  a  management  team  of  their  own  choice. 

0 

TOLL-TV  TAXES.  Congressional  representatives,  with  an  eye 
and  a  hand  to  new  sources  of  revenue,  are  "talking  about"  ad- 
mission taxes  on  pay-as-you-see  television.   The  potential  tax 


They'te  hiking  About 

□    □    □    In  the  Movie  Business    □    □  □ 


will  probably  make  no  distinctions  between  closed  circuit  or 
broadcast  subscription  TV,  if  and  when  one  or  the  other  ever 
becomes  a  reality.  Cited  as  a  legal  basis  for  the  proposed  tax 
is  the  fact  that  federal  taxes  are  levied  on  all  events  where  an 
admission  price  is  charged. 

0 

ON,  HOLLYWOOD!  The  retiring  of  TV  comedian  Sid  Caesar 
from  the  airways,  and,  significantly,  entering  theatrical  motion 
picture  production,  indicates  the  current  score  in  the  TV-movie 
contest.  Caesar's  fall,  signifying  the  end  of  the  era  of  clowns  .is 
TV's  kingpins,  is  only  one  in  a  long  line  of  similar  television 
falls  from  grace:  the  "spectaculars  ",  the  entrenched  news  tele- 
caster,  many  half-hour  situation  shows.  All  have  been  knifed 
under  the  debilitating  necessity  for  TV  to  please  all  of  the 
people  all  of  the  time.  What  is  left,  of  course,  are  the  innocu- 
ous shows  (Arthur  Murray  Party,  Lawrence  Welk),  designed  to 
offend  no  one,  please  everyone.  And  they're  pretty  dull.  Where 
television  goes  from  here  is  a  question  gleefully  pondered  by 
most  of  moviedom's  hierarchy,  for  at  the  moment  it  appears 
capable  of  going  nowhere  but  downhill.  Does  this  mean  that 
Hollywood  has  successfully  outwitted  the  most  serious  compe- 
tition of  its  lifetime?  Yes,  say  many  industryites,  and  they  add 
that  if  Hollywood  can  continue  to  use  its  brains,  its  talent,  its 
superior  technical  facilities,  its  golden  asset  of  not  having  to 
please  everybody  (sponsors  particularly)  all  of  the  time,  and 
its  stout  leadership  (Spyros  Skouras,  et  al),  its  road  can  be  only 
one  way:  up. 

O 

WHITNEY  &  WARNERS.  The  recently  inked  distribution 
pact  between  Buena  Vista  and  C.  V.  Whitney  Pictures  for  the 
release  of  "The  Missouri  Traveler"  and  "The  Young  Land"  is 
a  bitter  blow  to  Warners.  WB,  distributor  of  "The  Searchers" 
for  Whitney,  had  been  expecting  to  release  all  future  Whitney 
product  in  an  effort  to  fatten  up  its  release  schedule,  but  will 
now  have  to  search  for  additional  sources  of  supply.  It  was 
rather  generally  known  in  the  trade  that  Whitney  felt  "The 
Searchers"  did  not  get  the  kind  of  hard-hitting  sales  effort 
Warners  usually  puts  behind  its  product. 

O 

BARTLESVILLE  WATCHDOGS.  Not  a  few  industry  insiders 
are  secretly  burning  over  the  fact  that  COMPO  has  not  official- 
ly established  a  watchdog  committee  to  keep  a  close  eye  on  the 
upcoming  Bartlesville  toll-TV  test.  These  sources  state  that 
COMPO,  as  the  only  industry  organism  resembling  an  all-in- 
dustry body,  should  follow  the  lead  of  the  National  Assn.  of 
Radio  and  Television  Broadcasters  in  setting  up  such  a  com- 
mittee. Although  every  segment  of  the  industry  will  be  in 
close  touch  with  the  tests,  these  industryites  believe  that  COM- 
PO is  missing  the  boat  by  not  appointing  official  observers  to 
an  event  which,  if  successful,  may  change  the  entire  structure 
of  the  motion  picture  industry. 


Film  BULLETIN    July  22,  1957        Page  7 


"HEY  MOM!  TAKE  A  TIP  FROM 
A  SHORT  SUBJECT!  DONTJUST 
S]I  THERE!  DO  SOMETHING- 
ABOUT  GROSSES  BY  SELLING- 
A  WHOLE  SHOW  WITH  M-G-M's 
SPARKLING  QUALITY  SHORTSH 


■'TALK  ABOUT  BUSINESS 


Spark  the  Show 
with  Shorts 
They  Know! 


BUILDING!  LISTEN! 

M-G-M's  JUNIOR  FEATURES,  1957-58 


12-M-G-M  CINEMASCOPE  CARTOONS 

(ONE  REEL— TECHNICOLOR) 

"Tom  and  Jerry"  are  known  and  loved.  No  wonder  they're  voted  No.  1  year 
after  year  in  the  trade  press.  Simply  delightful  in  CinemaScope  and  Techni- 
color. And  droll  ' 'Droopy"  cartoons  are  equally  delightful— in  CinemaScope 
and  Technicolor. 

18-M-G-M  GOLD  MEDAL  REPRINT  CARTOONS 

(ONE  REEL— TECHNICOLOR) 

Consistent  money-makers,  they  outclass  all  other  cartoons.  These  characters 
have  become  world-famous.  These  shorts  are  the  cream  of  the  crop. 

NEWS  OF  THE  DAY- THE  CLASS  OF  NEWSREELS 

(TWICE  WEEKLY)  — 

Listen  to  your  patrons.  They  want  newsreels,  the  bright  spot,  the  true  and 
tried  program  stalwart.  To  economize  on  newsreels  is  self-defeating.  Get  the 
most  consistently  best- NEWS  OF  THE  DAY. 


NOTE:  — If  you  have  not  yet  played  "THE  BATTLE  OF  GETTYSBURG"  do  it  now!  It  is  the 
greatest  short  of  our  time! 


Some  Views  on 
Joe  Exhibitor's  Query: 

"IS  THIS  NOW  A  2-MONTH  BUSINESS?" 


To  the  Editor: 

Joe  Exhibitor's  real  name  could  be 
Legion  because  the  complaints  he  voices 
are  the  same  as  those  made  by  virtually 
all  the  exhibitors  I  hear  from. 

Brave  words  concerning  a  glorious 
future  for  the  business  are  occasionally 
uttered  by  spokesmen  for  the  film  com- 
panies but  most  of  the  company  execu- 
tives seem  to  be  terrorized  and  ready  to 
abandon  ship. 

It  is  understandable  that  they  would 
want  to  capitalize  on  the  summer 
months  when  the  drive-ins  are  at  their 
peak  and  television  is  at  its  lowest  ebb. 
But  not«a  single  company  can  survive 
unless  its  earnings  are  spread  over  a 
twelve  months'  period,  and  their  leaders 
know  this. 

They  are  experimenting  with  all  man- 
ner of  roadshows,  merchandizing,  en- 
gagements and  protracted  runs;  in  some 
instances,  I  gather,  with  considerable 
success.  But  what  I  would  like  to  see 
is  an  experiment  in  the  nature  of  a  res- 
toration which  would  consist  in  releas- 
ing some  good  pictures  during  those 
neglected  ten  months  and  supplying 
them  to  the  theatres  on  their  customary 
availabilities.  I  would  like  to  see  those 
pictures  given  the  same  advertising  and 
exploitation  as  the  specially  handled 
ones.  Last  but  not  least,  I  would  like 
to  see  the  exhibitors,  incited  and  en- 
couraged by  their  associations,  really 
extend  themselves  to  sell  those  pictures 
to  their  potential  customers. 

Not  until  such  an  experiment  has 
been  tried  and  failed  should  Joe  Ex- 
hibitor despair.  Let  him  join  in  urging 
the  film  companies  to  make  the  test,  not 
neglecting  to  pledge  his  own  best  ef- 
forts to  insure  its  success. 

A.  F.  MYERS 
Allied  States  Association  of 
Motion  Picture  Exhibitors 
*       *       *  * 

To  the  Editor: 

I  thoroughly  agree  with  your  article 
"Is  This  Now   A  Two-Month  Busi- 


ness?" appearing  in  your  June  24th 
issue. 

Whatever  the  cause  or  reason  behind 
the  present  grouping  of  releases  for 
mid-summer  and  year-end  holiday  sea- 
sons, it  must  be  apparent  that  continua- 
tion of  this  system  can  create  only  a 
tendency  toward  further  deterioration 
of  this  business.  The  present  selectivity 
of  audiences  is  a  direct  result  of  this 
plan.  Furthermore,  this  plan  has  cre- 
ated a  distinct  decrease  in  the  former 
movie-going  habit  to  the  point  leading 
up  to  the  present  selection  of  pictures 
by  the  public.  Furthermore,  it  is  respon- 
sible for  a  definite  decrease  in  attend- 
ance, especially  on  pictures  played  be- 
tween the  two  peak  seasons. 

There  can  be  no  doubt  that  this  sys- 
tem must  change  in  order  for  this  busi- 
ness to  prosper. 

Even  the  big  pictures  that  are  re- 
leased during  these  two  peak  seasons 
would  develop  bigger  grosses  if  re- 
leased at  regular,  spread-out  intervals. 
As  it  is — three,  four  or  five  big  pictures 
"bump  their  heads"  against  one  another 
in  seeking  the  amusement  dollar.  If  re- 
leased on  a  regular  pattern  they  would 
have  considerably  less  opposition  for 
themselves,  and  consequently  would  de- 
velop more  business.  Furthermore,  these 
big  pictures  are  needed  when  the  com- 
petition is  strongest  in  order  to  offset 
that  competition,  such  as  the  more  ac- 
ceptable TV  programs. 

TOA  along  with  others  has  been  ad- 
vocating this  for  a  number  of  months. 
We  still  intend  to  pursue  this  thinking 
in  the  hope  that  the  entire  industry  will 
recognize  the  necessity  for  an  orderly 
release  of  good  product. 

The  production  of  more  good  pic- 
tures and  perhaps,  too,  the  industry  pro- 
motion campaign  may  have  a  tendency 
to  develop  a  release  pattern  of  the  de- 
sired type.  With  reference  to  the  pro- 
motion campaign,  exhibition  in  general 
and  TOA  in  particular  is  interested  in 
this  campaign  involving  as  its  major  ef- 


fort a  campaign  to  sell  motion  picture- 
theatres  as  a  local  institution,  and  also 
to  sell  the  general  idea  of  going  to  the 
movies  for  your  best  entertainment. 
The  individual  theatre  and  the  individ- 
ual distributor  can  still  sell  the  individ- 
ual picture  as  it  comes  along  as  in  the 
past.  What  we  want  done  and  what 
must  be  done  in  this  campaign  is  to  re- 
create the  desire  in  the  public's  mind 
that  they  should  go  to  the  theatre  for 
relaxation,  enjoyment  and  pleasure  — 
the  finest  in  entertainment. 

Your  article  in  the  June  24th  issue  in 
connection  with  this  covers  in  a  broad 
way  the  thinking  as  originated  and 
sponsored  by  TOA. 

We  believe  all  segments  of  the  indus- 
try must  support  both  these  ideas  if  we 
are  to  develop  the  maximum  potential 
this  interest  affords. 

E.  G.  STELLINGS,  President 
Theatre  Owners  of  America,  Inc. 

*       *       *  * 

To  the  Editor: 

Our  comments  regarding  Joe  Exhibi- 
tor's letter  in  Film  BULLETIN'S  issue 
of  June  24,  1957,  would  contain  the 
same  condemnation  against  the  distrib- 
utors of  motion  picture  films  as  does 
Joe  Exhibitor's  lament.  There  is  no 
other  business  in  the  world  that  oper- 
ates quite  similarly  to  the  distribution 
of  motion  pictures.  The  utter  disregard 
for  the  welfare  of  their  customers  is 
amazing  when  you  consider  thev  ha\e 
no  other  available  customer.  TV  is  in 
no  position  to  pay  110  of  the  money 
that  comes  from  Mr.  Exhibitor.  The 
short-sighted  policy  of  grasping  for 
money  from  TV  in  selling  them  their 
old  libraries,  which  on  the  other  hand 
deprives  the  distributor  of  many  mil- 
lions of  dollars  because  of  this  opposi- 
tion which  materially  effects  the  box  of- 
fice and  in  turn  effects  the  current  film 
rental,  is  hard  to  understand.  I  doubt 
whether  the  distributors  will  realize 
(Continued  on  Ptige  10) 


Film  BULLETIN    July  22.  1957        Page  ? 


VIEWS  DN  JDE  EXHIBITOR'S  QUERY 


(Continued  from  Page  9) 
25%  of  the  sale  price  at  the  termination 
of  the  showing  of  the  old  pictures  on 
TV,  when  proper  bookkeeping  sets  up 
the  losses  to  their  current  income  caused 
at  the  box  office  by  the  showing  of 
these  old  pictures  on  TV.  Perhaps  25% 
may  be  high. 

In  the  meantime  the  exhibitor  is 
squeezed  from  both  ends.  Sharply  de- 
clining box  office  returns  and  an  amaz- 
ingly stupid  distribution  system. 

As  the  operator  of  40  theatres  we 
now  find  ourselves  in  a  position  of  hav- 
ing six  months  product  to  play  in  a 
period  of  three  months.  Six  weeks  ago 
I  was  gasping  for  one  top  feature  to 
cut  the  losses  in  our  various  situations. 
We  now  must  defer  play  dates  on  many 
producers'  product,  who  unwisely  held 
up  release  awaiting  July  and  August 
playing  time.  Naturally,  during  that 
particular  time  we  favor  the  few  dis- 
tributors who  tried  to  maintain  a  steady 
flow  of  product  throughout  the  year. 
Those  particular  companies  receive  pre- 
ferred playing  time  with  our  company. 
The  other  greedy  distributors  will  have 
to  wait  their  turn  for  play  dates  two 
and  three  months  later.  I  am  quite  sure 
the  value  of  their  pictures  will  be  less- 
ened materially,  through  no  fault  of 
ours. 

Unless  an  industry  wide  program  of 
steady  release  of  box  office  attractions 
is  worked  out,  it  is  almost  mandatory 
to  close  a  number  of  theatres  immedi- 
ately after  Easter  and  re-open  them  July 
1.  This  will  curtail  our  losses  to  a  mini- 
mum during  that  period.  What  will  the 
distributors  do  with  the  junk  they  re- 
lease during  those  off  periods  if  all  ex- 
hibitors are  forced  to  the  above. 

We  operate  very  few  neighborhood 
theatres.  All  of  our  situations  are  first 
run  in  towns  with  populations  ranging 
from  5,000  to  500,000.  In  one  particu- 
lar town  of  500,000,  commencing  with 
Easter  Sunday  we  were  forced  to  oper- 
ate two  first  run  theatres  with  the  fol- 
lowing exploitation  programs  or  satura- 
tion day  and  date  bookings,  which  in 
every  instance  caused  tremendous  losses 
ranging  from  $500.00  to  $2,000.00  per 
week  in  each  theatre.  We  were  com- 
pelled to  show  the  following  as  top 
picture — 

"Girl  in  the  Kremlin",  "Man  Afraid", 
"For  Whom  the  Bell  Tolls",  (a  re- 
issue) "Hell  Cats  of  the  Navy",  "Battle 


Hell",  "Bachelor  Party",  "Monkey  On 
My  Back",  "Spring  Reunion",  "Zom- 
bies of  Mora  Tau",  "Fear  Strikes  Out", 
and  "Twenty  Million  Miles  to  Earth". 

The  only  relief  during  that  period 
was  the  showing  of  "Gun  Fight  at  OK 
Corral"  early  in  June  and  "Funny  Face" 
early  in  May.  You  can  readily  under- 
stand why  we  lost  money. 

It  is  no  longer  possible  to  fool  the 
public  with  saturated  bookings  or  ex- 
ploitation programs  made  for  a  quick 
profit  at  the  expense  of  the  public.  This 
same  type  of  entertainment  is  now  be- 
ing provided  to  every  TV  station  in 
America  by  these  same  film  distributors. 
How  can  they  expect  the  people  to  go 
to  the  theatre  when  all  they  have  to  do 
is  turn  the  little  switch  and  get  enter- 
tainment of  that  type  any  time  of  the 
night  or  day.  The  public  is  receptive  to 
going  to  theatres  if  given  half  a  chance. 
We  are  doing  extremely  well  with  "The 
Ten  Commandments".  We  have  enjoyed 
fine  grosses  with  "Gun  Fight  At  OK 
Corral",  "Island  in  the  Sun",  "Funny 
Face",  Jack  Webb's  "D.  I."  and  antici- 
pate good  results  from  the  showing  of 
such  pictures  as  "The  Pride  and  the 
Passion",  "Jeanne  Eagles",  "Night  Pas- 
sage", "Tammy  and  the  Bachelor", 
"Beau  James",  "Delicate  Delinquent ', 
etc.,  which  unfortunately  are  all  re- 
leased during  July  and  August,  preclud- 
ing our  showing  of  more  than  three  or 
four  of  them  during  that  period.  Why 
weren't  one  or  two  of  these  scheduled 
for  release  during  May  and  June,  which 
not  only  would  have  helped  the  box 
office  of  the  first  run  theatres  but  would 
also  make  available  film  for  second  run 
showing  during  the  latter  part  of  June 
and  early  July.  If  it  is  at  all  possible  to 
MURDER  the  exhibition  business,  the 
present  program  of  distribution  will  ac- 
complish that  purpose. 

The  possibility  of  toll  TV  is  very  re- 
mote and  in  my  opinion  will  never 
prove  out.  Can  you  imagine  anyone 
paying  50c  to  turn  on  TV  to  a  program 
of  "Girl  in  the  Kremlin",  or  "Zombies 
of  Mora  Tau",  or  "Twenty  Million 
Miles  to  Earth",  or  "Five  Steps  to  Dan- 
ger", or  "Man  Afraid"?  What  would 
happen  to  the  producers  that  make 
those  pictures  if  there  were  no  theatres 
to  show  them  in?  I  am  quite  sure  they 
can  be  made  for  TV  by  the  present  pro- 
ducers of  TV  pictures  at  about  one  half 
the  cost  or  even  less.  Is  it  possible  for 


Hollywood  to  depend  upon  the  making 
of  only  the  major  pictures  and  the  gam- 
ble involved  if  toll  TV  patrons  learned 
in  advance  they  were  bad  pictures. 

Why  do  the  old  wealthy  men  in 
charge  of  our  companies  continue  the 
short-sighted  policy  of  supplying  pic- 
tures to  the  same  people  who  are  mak- 
ing such  great  inroads  upon  the  grosses 
of  their  inferior  product  now  being  re- 
leased to  the  theatre.  The  least  they  can 
do  is  to  stop  that  stupid  policy  and  get 
together  industry-wise  for  a  program  of 
steady  releases  so  the  theatres  can  ex- 
ploit them  throughout  the  year  and  sub- 
stantiate their  cries  that  TV  does  not 
and  cannot  replace  the  magnitude  and 
superior  presentation  of  entertainment 
that  can  be  had  in  modern  theatres. 

The  above  will  probably  anger  cer- 
tain people  but  I  question  whether  it 
will  awaken  them  to  the  danger  in  the 
course  they  now  pursue. 

JOSEPH  BLUMENFELD 
Blumenfeld  Theatres 
San  Francisco,  California 
*       *       *  * 
To  the  Editor: 

I  am  not  sympathetic  at  all  with  the 
letter  you  published  in  your  BULLE- 
TIN, June  24,  by  Joe  Exhibitor.  Any- 
body can  take  a  downbeat  attitude  and 
write  this  business  off  the  books,  but 
this  is  foolhardy  and  without  intelligent 
reasoning.  Sure,  we  have  many  prob- 
lems and  will  have  many  more.  Perhaps 
even  fewer  people  will  go  to  movies 
but  that  doesn't  mean  that  our  industry 
is  going  out. 

Exhibition  needs  a  year  around  sup- 
ply of  pictures,  yet  the  distributors  or 
producers  that  have  important  merchan- 
dise want  to  release  it  in  a  market 
where  they  will  get  the  maximum  gross. 
Prior  to  divorcement,  the  producer  dis- 
tributors had  a  great  interest  in  a  year- 
around  flow  but  today  there  is  nothing 
we  can  do  about  it  unless  exhibitors  are 
in  the  production  business.  This  day 
will  have  to  come,  but  hard  work  and 
taking  up  another  few  notches  in  one's 
belt  will  keep  many  theatres  going  dur- 
ing our  lifetime.  The  problems  aren't 
easy  to  solve  and  through  strong  coop- 
eration of  all  branches  of  the  industry, 
our  theatres  can  weather  any  problems. 

MYRON  N.  BLANK 
Central  States  Theatre  Corp. 
Des  Moines,  Iowa 

(Continued  on  Page  20) 


Page  10       Film  BULLETIN    July  22,  1957 


What  t&e  S^ocumm  rfie  'Doitta! 


MERCHANDISING      A      EXPLOITATION  DEPAR 


TMENT  f 


> 


Support  the  Newspapers 
That  Support  Theatres! 


Newspapers  and  motion  picture  the- 
atres should  be,  and  often  are,  natural 
allies  these  days.  Although  both  are 
tremendously  effective  media  of  mass 
communication,  they  do  not  usually 
compete  with  each  other  in  the  slight- 
est, and  they  can  do  each  other  a  lot 
of  good.  But  not  every  newspaper  is  a 
friend  of  the  motion  picture  theatre,  by 
any  means,  and  not  every  theatre  is  do- 
ing what  it  might  about  this  situation. 

Some  newspapers  own  television  sta- 
tions. It  is  perfectly  understandable 
that  these  newspapers  are  inclined  to 
favor  television  over  theatre  motion 
pictures  in  the  feature  articles  and  news 
columns  they  print.  But  it  is  often 
amazing  to  see  the  kind  of  TV  drivel 
that  is  spread  over  their  papers  by  chan- 
nel-owning publishers,  while  movie 
publicity  —  and  even  advertising  —  is 
pushed  to  the  rear. 

Some  newspapers,  with  or  without 
television  affiliations,  still  insist  on 
higher  advertising  rates  for  theatres  and 
segregate  movie  news  and  advertising  as 
if  it  might  contaminate  the  rest  of  the 
paper.  This  is  a  carryover  from  the  turn 
of  the  century,  and  it  suggests  that  some 
turn  of  the  century  logic  be  applied  to 
the  situation.  Way  back  in  those  days 
the  newspapers  which  discriminated 
against  "show  business"  gave  as  their 
excuse  the  claim  that  this  sort  of  busi- 
ness just  wasn't  respectable,  and  they 
really  didn't  want  to  be  associated  with 
it    This  very  same  argument  can  now 


be  turned  against  its  originators.  A 
newspaper  which  indulges  in  either 
price  or  editorial  discrimination  against 
the  motion  picture  theatre  shouldn't  be 
associated  with.  In  terms  of  today's 
journalistic  standards,  it  just  isn't  re- 
spectable. 

What  do  you  do  about  it?  If  there  is 
more  than  one  newspaper  in  your  area, 
the  answer  is  that  you  support  your 
friends  actively.  You  not  only  concen- 
trate your  advertising  in  the  friendly 
papers  as  much  as  you  can;  you  also 
offer  trailer  space,  lobby  display  facili- 
ties, promotional  cooperation  and  so 
forth. 

If  you  are  unfortunate  enough  to  be 
in  an  area  where  single  newspaper  own- 
ership and  an  anti-movie  attitude  exist, 
you  still  have  some  alternatives.  First, 
give  as  much  of  your  promotional  bud- 
get as  possible  to  competitors  of  the 
the  newspaper.  These  might  include 
the  radio  station  —  provided  it  is  not 
owned  by  the  newspaper  —  store  win- 
dow cards,  direct  mail,  billboards, 
snipes,  heralds  and  so  forth.  You  might 
even  use  part  of  the  minimal  advertis- 
ing in  the  newspaper  to  call  attention 
to  these  other  media. 

And  you  might  also  look  into  the 
possibility  that  a  shopping  paper,  put 
out  in  cooperation  with  other  mer- 
chants, could  catch  on  in  your  com- 
munity. There  are  many  instances 
where  the  intransigence  of  a  local  news- 
( Continued  on  Page  21 ) 


'Partner'  Promotion  Pushed 
From  Grass  Roots  Up  by  20th 

Capping  recent  changes  in  the  normal  clear- 
ance pattern,  which  have  seen  the  subsequent 
run  situations  benefiting  from  saturation  pre- 
miere engagements,  Twentieth  Century-Fox  has 
now  contributed  a  further  improvement. 

Reversing  the  familiar  procedure  of  letting 
the  small,  residual  value  of  a  film's  promotion 
seep  through  to  the  smaller  theatres,  "God  Is 
My  Partner,"  a  Regal  Films  production  being 
released  by  Twentieth  Century-Fox,  is  being 
sold  from  the  grass  roots  on  up.  Beginning 
with  a  July  17th  world  premiere  in  Hawkins- 
ville,  Ga.,  "God  Is  My  Partner"  is  receiving  its 
first  bookings  in  the  small  towns  of  the  nation 
and  \\  ill  be  brought  into  the  bigger  cities  later. 
An  unusually  complete  promotional  arsenal  has 
been  assembled  by  the  20th-Fox  boxoffkers 
under  direction  of  vice  president  Charles  Ein- 


2|au!kttt0uUle  Bfepatc 


r      Need  For 
1  Shown  P 


Story  of  "God  Is  My  Partner" 
premiere  on  front  page  of  the 
Hawkinsville  Dispatch  &  News. 

feld  for  the  small-town  dates.  General  sales 
manager  Alex  Harrison  expressed  the  view  that 
this  undertaking  will  be  a  model  for  many 
similar  operations  in  the  future.  He  foresees 
grass  roots  first  runs  for  films  appealing  strong- 
ly to  the  family  trade. 

(Continued  on  Page  21) 


Page  12       Film  BULLETIN    July  22.  1957 


Available  for  Na 


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DirSZon  AKIM  TAMIROFF  -  WILLIAM  HARTNELL  •  KEYE  LUKE 

KIUHAKU  Directed  by  Michael  Anderson  •  Produced  by  HERBERT  WILCOX 

Tfl  Pin  Screenplay  by  Eric  Ambler  •  A  Wilcox-Neagle  Production 

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'An  Affair  To  Remember  —  Something  Not  To  Forget 


Scooter  RtUcKf  OOOO 

A  great,  warm,  beautiful  love  story  by  Leo  McCarey.  Played 
for  the  heart  by  Cary  Grant  and  Deborah  Kerr.  Will  bring 
exhibitors  happy  memories  of  the  'good  old  days'. 

The  screen  romances  of  today  have  lovers  that  seem  more 
enraptured  with  each  others  case  history  than  with  moonlight 
and  roses.  No  one  in  Hollywood  wants  to  forget  we  are  living 
in  an  age  of  anxiety  just  filled  with  neurasthenic  nuances.  To 
those  who  still  expect  the  screen  to  entertain  rather  than  "ex- 
plain", it  is  welcome  news  indeed  that  writer-director  Leo  Mc- 
Carey has  refurbished  his  great  hit  of  yesteryear  (1939),  "Love 
Affair",  for  he  has  made  from  it  as  refreshing  and  resplendent  a 
love  storv  as  has  been  seen  in  years.  It  is  now  called  "An  Affair 
To  Remember",  and  stars  Cary  Grant  and  Deborah  Kerr  in  a 
sumptuous  CinemaScope-DeLuxe  Color  production  for  20th 
Century-Fox. 

Stunningly  shot  with  scenes  of  the  Mediterranean,  Naples 
and  New  York,  and  with  all  the  expected  gloss  and  glitter  of  a 
Jerry  Wald  undertaking,  it  has  even  being  dressed  up  with  some 
schmaltzy  tunes  here  and  there.  But  the  original  screenplay  has 
been  kept  intact,  and  wisely  so,  for  nowadays  such  romantic 
magic  is  hard  to  come  by.  Unless  the  public  palate  has  become 
completely  jaded  by  the  overly-psychological,  "An  Affair  To 
Remember"  unquestionably  will  prove  hugely  popular. 

This  is  a  beautiful  love  story,  touching  and  tearful,  yet  sunny 
and  savory,  as  far  removed  as  Louisa  May  Alcott  from  the 
Freudian  disunities  of  current  dramatics,  yet  as  modern  and 
mordant  as  some  Noel  Coward  banter.  For  here  we  have  Mc- 
Carey's  great  talent:  he  can  capture  and  ephemeral  glow-world 
of  a  Ladies  Home  Journal  romance,  "blush"  it  up  in  the  Shock- 
ing Pink  style  of  a  Schiaperreli  and  still  make  it  seem  down  to 
earth,  warm  and  human.  It  is  one  of  those  rare  love  stories  that 
will  deeply  touch  both  men  and  women.  (In  this  case,  inciden- 
tally, the  shocking  pink  is  the  champagne,  which  becomes  for 
Mr.  Grant  and  Miss  Kerr  a  symbol  of  all  that  is  errant  and  en- 
gaging.) All  of  which  is  to  say  that  "An  Affair  To  Remember" 
is  done  with  enormous  eclat  and  effervescence. 

The  story  itself  is  a  gem,  a  real  dazzler  in  this  day  of  plod- 
ding realism.  It  concerns  playboy  philanderer  Grant,  whose 
reputation  spans  two  continents,  engaged  to  an  heiress  who  will 
support  him  for  the  rest  of  his  life,  and  Miss  Kerr,  the  Park 
Avenue  mistress  of  a  wealthy  New  York  executive.  They  meet 
on  board  the  S.S.  Constitution,  instantly  ignite,  but  in  a  breezy, 
blithe  way  that  has  the  aura  of  a  superb  indiscretion,  a  game  to 
be  played.  Later  on  in  the  tale  the  game  is  touched  with  that 
kind  of  roulette  quirk  of  fate  that  is  an  adult's  reward  for  the 
business  of  make-believe.  During  a  stop-over  at  Naples,  they 
visit  Grant's  spiritual  fountain  of  a  grandmother,  fall  in  love 
across  a  piano  the  old  lady  plays,  and  are  suddenly  plunged  in 
deep  emotional  waters.  They  return  to  the  States  with  the  sec- 
ond part  of  the  game:  a  six  month  wait  in  which  they  both  are 
to  go  separate  ways  in  order  to  develop  new  "freedoms" — he  to 
paint,  she  to  sing,  both  to  do  without  the  former  life  of  pink 
champagne.  And  so  it  goes.  When  the  time  lag  is  up,  they 
each  hurry  to  the  Empire  State  rendezvous,  "the  nearest  thing 
to  heaven",  only  the  forefeit  of  the  game  overtakes  Miss  Kerr: 

[More  REVIEWS 


n 


while  rushing  across  the  street  she  is  knocked  down  by  a  car 
and  crippled.  Now  the  game  of  make-believe  is  over  and  the 
lovers  really  grow  up:  Grant  in  believing  Miss  Kerr  fell  out  of 
love  and  therefore  never  came  to  the  rendezvous  and  Miss  Kerr 
in  realizing  she  must  never  go  to  him  unless  she  can  walk.  In 
the  end  the  lovers  are  reunited  in  one  of  the  most  intimate  and 
incandescent  of  scenes.  On  the  legitimate  stage  one  would  call 
it  "pure  theatre ".  On  the  screen  it  will  serve  as  a  wonderful 
answer  to  those  who  ask  "Where  is  the  'old  film  magic  ?" 
There  it  is  in  that  heart-swelling  climax. 

And  now  the  performers.  Cary  Grant's  name  has  become  a 
by-word  for  charm  and  in  "An  Affair  To  Remember''  such 
charm  is  almost  canonized.  There  are  few  actors  who  can 
match  so  subtle  and  yet  so  seething  a  style:  the  jaunty  speech 
and  twinkling  eyes,  the  emotional  underplaying  both  tender 
and  trenchant,  the  quizzical  but  elegant  movements.  Grant  is 
never  gauche,  just  as  he  is  never  gaudy.  Miss  Kerr  is  always 
recognized  as  a  fine  actress,  and  a  very  splendored  and  sylphlike 
one  she  is.  In  "Affair"  she  does  not  transcend  her  co-star,  but 
what  she  does  is  done  with  taste  and  talent,  a  performance 
aglow  with  gentle  ardor  and  appeal.  And  she  has  never  looked 
lovelier.  Cathleen  Nesbitt,  as  the  grandmother,  is  superb;  Neva 
Patterson,  the  heiress,  and  Richard  Denning,  the  executive,  are 
somewhat  less  so.  Hugo  Friedhofer's  love  theme  sung  by  both 
Vic  Damone  and  Miss  Kerr  is  appropriately  lyrical,  and  Milton 
Krasner's  photography  appropriately  lustrous. 


on  Page  18] 


Film  8ULLETIN    July  22.  1957 


"Man  of  a  Thousand  Faces" 

Scuutedd  teatiHt  O  O  © 

The  Lon  Chancy  story,  with  Cagney  and  Dorothy  Malone 
giving  it  strong  melodrama  and  heart-tugs.  Good  grosser. 

Lon  Chaney  became  famous  in  the  old  silent  film  world  of 
horrendous  make  believe  and  nickelodeon  neuroses.  In  fact, 
his  whole  life  was  one  veritable  potboiler  that  could  overflow 
on  cue.  In  dipping  into  such  an  over-heated  tale,  screenplay- 
wrights  R.  Wright  Campbell,  Ivan  Goff  and  Ben  Roberts  have 
been  careful  not  to  scald  themselves,  by  giving  a  tearful,  melo- 
dramatic twist  to  all  the  tumultuous  events.  With  James  Cag- 
ney, as  "The  Man  of  A  Thousand  Faces",  giving  so  mettlesome 
a  performance,  ably  assisted  by  the  luminous  Dorothy  Malone, 
as  his  wife,  and  Universal-International  dressing  up  the  Robert 
Arthur  production  with  such  size  and  style,  it  shapes  up  as  a 
strong  attraction.  If  the  film  inevitably  pulls  out  all  the  stop 
gaps  along  one  of  those  super  charged  melodramatic  speed- 
ways, the  ride  is  still  well  worth  taking  and  certainly  one  a 
spectator  will  not  soon  forget.  Exhibitors  can  look  forward  to 
a  good  haul  on  this  one,  especially  where  the  ballyhoo  can  at- 
tract the  generation  that  was  entranced  by  Chaney  in  his  hey- 
day. Certainly  Chaney's  life  will  cause  talk.  He  was  the  prod- 
uct of  deaf  and  dumb  parents,  a  fact  which  haunted  him  into 
his  adult  life  so  much  so  he  was  unable  to  tell  his  wife,  until 
she  discovered  herself  by  meeting  his  parents  after  she  became 
pregnant.  The  shock  to  Miss  Malone  was  the  beginning  of  dis- 
junction in  their  lives;  she  dreaded  the  child's  birth  for  fear 
that  it  would  be  abnormal.  When  that  fear  was  removed  and 
she  had  a  healthy  son  she  realized  she  had  lost  her  husband's 
love  by  her  bitterness  to  his  parents.  Her  guilt  gnawed  at  her; 
after  failure  in  a  suicide  attempt  on  the  stage  where  Chaney 
was  performing,  she  disappeared  from  his  life.  Years  pass, 
Chaney  became  the  famed  "Hunchback"  and  "Phantom"  of  the 
Twenties.  He  gave  all  his  love  to  his  son  who  had  been  told  his 
mother  was  dead,  but  when  Miss  Malone  returned  the  son 
learned  the  truth  and  left  him.  In  the  end,  Chaney's  life  came 
full  circle.  Contracting  cancer  of  the  throat  he  lost  his  speech 
and  on  his  deathbed  in  reunion  with  his  son  communicated  his 
love  to  him  through  sign  language  and  asked  his  forgiveness. 

Universal-International.  125  minutes.  James  Cagney,  Dorothy  Malone,  Jane  Greer. 
Produced  by  Robert  Arthur.  Directed  by  Joseph  Pevney. 

"Band  of  Angels" 
Satinet  IZatitt  ©  O  © 

Flamboyant  melodrama,  like  a  second-rate  'Gone  With  the 
Wind'.  Gable  and  DeCarlo  for  marquee.  May  do  surpris- 
ingly well. 

As  a  novel  by  Robert  Penn  Warren,  "Band  Of  Angels"  was 
a  complex  and  corporate  study  of  the  Old  South  that  sprinkled 
metaphysical  blossoms  amidst  its  fictional  verandas.  As  a  War- 
ner Bros,  film,  however,  all  such  highfalutin  and  historical  pre- 
tensions have  disappeared  within  an  almost  volcanic  and  vor- 
acious melodrama,  filled  with  as  much  flamboyant  flimflam  as 
two  hours  could  hold.  This  is  said,  incidentally,  not  by  way  of 
disparagement,  for  under  Raoul  Walsh's  direction  and  the  co- 
starring  of  Clark  Gable  and  Yvonne  De  Carlo,  "Band  Of 
Angels"  proves  itself  a  slambang,  strutting  entertainment  that 
should  be  well-nigh  irresistible  for  the  less  sophisticated  in  al- 

SGuAtHCte  R<tf£*f       O  O  O  O    TOPS  O 


most  all  situations.  Despite  expected  critical  pannings,  it  is 
quite  likely  that  this  will  roll  up  some  surprising  grosses  in  the 
mass  market.  Though  it  wades  deep  into  miscegenation  and 
slavery,  it  always  comes  up  with  splashes  that  are  too  colorful 
to  offend  anyone.  Even  the  raking  over  the  coals  of  both  North 
and  South  won't  disrupt  the  Mason  and  Dixon  line;  the  only 
ruffled  feathers  it  will  cause  are  those  who  have  lost  their  taste 
for  such  romantic  carnivals  seething  with  turbulent  and  tandem 
events.  At  any  rate,  the  story  deals  with  Miss  De  Carlo  as  the 
daughter  of  a  Kentucky  planter  who  learns  upon  his  death  that 
she  is  of  Negro  ancestry  and  is  subsequently  placed  upon  the 
slave  block  at  New  Orleans.  Here  she  is  bought  for  a  stagger- 
ing price  by  Gable  and  brought  to  live  at  his  plantation  where 
their  eventual  idylic  affair  is  interrupted  by  the  Civil  War.  An 
even  greater  breach  is  established  between  them  when  Miss  De 
Carlo  learns  her  lover  was  once  a  slave  trader.  Though  for  a 
time  she  transfers  her  affections  to  a  Union  soldier  and  runs  the 
gamut  of  wartime  adventures,  in  the  end  she  returns  to  Gable 
and  together  they  affect  their  escape  from  a  strife-torn  South. 

Warner  Bros.  127  minutes.  Clark  Gable,  Yvonne  De  Carlo,  Sidney  Poitier.  Di- 
rected by  Raoul  Walsh. 

"Bernardine" 

Sututetd  &4ttK$  ©  ©  Plus 

First  Pat  Boone  starrer  refreshing  fare  for  family  trade  and 
teen-agers.  Sings  several  popular  songs,  performs  well. 

Samuel  G.  Engel  has  concocted  in  "Bernadine"  a  valentine 
for  the  nation's  teen-agers,  as  sweet  and  salutary  as  the  verses 
of  a  Hallmark  card,  and  just  as  smartly  rendered  with  the  popu- 
lar touch.  Refreshingly  staffed  by  a  brace  of  bright  new  faces, 
of  which  the  most  lucent  and  lyrical  is  Pat  Boone,  the  current 
beau  ideal  of  the  crooner  set  making  his  screen  debut,  this  20th 
Century-Fox  production  in  CinemaScope  an-d  DeLuxe  Color 
should  garner  some  sleek  summer  returns  in  the  general  market. 
Boone  is  charmingly  chaperoned  by  homespun  veterans  Janet 
Gaynor  and  Dean  Jagger,  and  rather  glossily  gilded  by  Terry 
Moore  as  the  titular  dream  girl.  Parents  of  teen-agers  and 
teen-agers  themselves  will  find  the  film  noteworthy  for  its  up- 
beat depiction  of  the  younger  generation  as  a  modest  and 
moderate  lot,  immersed  in  the  protocol  of  dates  and  exams, 
giving  nary  a  nod  to  hoods  and  hot  rods.  In  fact,  if  there  is 
any  aura  of  delinquency  in  "Bernadine",  it  is  of  a  kind  other 
than  juvenile,  and  the  burden  must  be  born  by  screenplaywright 
Theodore  Ree\es  and  director  Henry  Levin.  For  while  they 
have  cleverly  captured  the  teen-age  speech  pattern  and  sym- 
bolically served  it  amidst  a  maze  of  cokes  and  juke  boxes,  they 
have,  unfortunately,  given  the  world  of  youth  too  bland  an  air, 
thereby  being  delinquent  dramatically.  But  no  one  will  mind 
too  much,  for  Pat  sings  several  of  his  most  popular  tunes  and 
performs  most  agreeably.  He  and  Richard  Sargent  are  typical 
boys  next  door  and  Sargent's  gushing  pursuit  of  Miss  Moore, 
strenuously  abetted  by  best  friend  Boone,  are  typical  neighbor- 
hood problems.  When  Boone  inadvertently  causes  Miss  moore 
to  find  romance  with  his  older  brother,  Sargent  loses  his  "Ber- 
nadine", rejects  Boone  as  a  friend  and  going  the  Army.  Later, 
home  on  leave,  Sargent  bestows  his  blessings  on  mother  Janet 
Gaynor's  marriage  to  Dean  Jagger  and  reunites  with  Boone  in 
a  buddy  pact. 

20th  Century-Fox.  94  minutes.  Pat  Boone,  Terry  Moore,  Janet  Gaynor,  Dean 
Jagger.    Produced  by  Samuel  G.  Engel.    Directed  by  Henry  Levin. 

OSGOOD       Q  Q    AVERAGE        ©  POOR] 


o 


Page  18       Film  BULLETIN    July  22,  1757 


"Jeanne  Eagles" 

SeUiH€44  'RtUtH?  O  O  O 
Kim  Novak  performance  gives  this  emotional  power.  Colum- 
bia's best  summer  attraction.  Jeff  Chandler  for  marquee 
support. 

"Jeanne  Eagles"  is  bound  to  disappoint  a  good  many  who 
have  been  looking  forward  to  it,  but  on  the  strength  of  Kim 
Novak's  virtuoso  performance,  it  stacks  up  as  a  rather  strong 
summer  attraction.  If  Miss  Novak  is  admittedly  no  Garbo,  she 
is  nevertheless  one  of  present  day  Hollywood's  most  glowing 
junior  goddesses  and  well  worth  the  preferential  treatment.  In 
"Jeanne  Eagles",  under  the  mother  hen  attentions  lavished  on 
her  by  producer-director  George  Sidney,  she  even  issues  those 
tell-tale  sparks  by  which  stellar  personalities  are  recognizable. 
Though  the  sparks  don't  all  fly  upward  and  in  only  one  or  two 
scenes  ever  really  flame,  Miss  Novak  still  performs  with  a  flush 
and  fervor  they  go  beyond  mere  sensuous  charm.  Set  against  a 
stark  and  stormy  account  of  the  actress  who  became  a  legend  of 
the  Twenties  as  Sadie  Thompson  in  "Rain",  and  with  Jeff 
Chandler  joining  Kim  in  some  of  the  lushest  sex  battles  of 
recent  years,  "Jeanne  Eagles"  must  be  accounted  Columbia's 
best  offering  of  the  season.  It  should  attract  both  the  adult  and 
teen-age  audiences,  especially  within  the  urban  markets.  In 
spinning  their  tale,  screenplay  rights  Daniel  Fuchs  and  Sonya 
Levien  have  eschewed  the  fancy  embroidery  in  favor  of  the 
seamy  side,  and  have  presented  actress  Eagles  as  a  comet  that 
not  only  lit  up  the  Broadway  sky  but  almost  burnt  everyone  it 
came  in  contact  with.  Miss  Eagles  seems  to  have  been  one  of 
the  Theatre's  original  'hard  luck'  girls.  Her  virulent  romances, 
her  dipsomania,  her  drug  addiction — all  the  familiar  parapher- 
nalia of  success  and  doom  is  shot  through  on  the  screen  like  a 
glittering  black  and  white  graph  on  which  is  traced  with  a 
dizzy  yet  almost  fatalistic  line  the  rise  and  fall  of  a  tempestuous 
and  tragic  actress.  But  producer-director  Sidney  has  wisely  ac- 
cented the  tale  with  the  psychological  overtones  of  Miss  Eagles' 
personal  double  world,  her  small  town  performing  with  a  cross- 
country circus  and  her  ordinary  love  for  the  circus  owner  played 
by  Chandler,  juxtaposed  with  her  extraordinary  love  of  the 
Theatre  and  the  City  that  was  to  engulf  her  with  all  its  temp- 
tations and  tantrums,  in  a  society  marriage  she  never  really 
wanted  and  a  career  she  wanted  too  much. 


Columbia.  112  minutes.  Kim  Nov 
and  directed  by  George  Sidney. 


Agnes  Moorehead.  Produced 


"Loving  You" 

StUCKCM  ^OtiHQ  O  ©  Plus 
An  Elvis  Presley  dish  strictly  concocted  for  his  devoted  fans. 

Beneath  Elvis  Presley's  rock-and-roll  rumbles,  the  sensuous 
strut  and  slovenly  good  looks,  the  leer  and  lure  of  the  voice — 
in  fact,  above  and  beyond  the  whole  array  of  unbridled  unctu- 
ousness  there  lurks  literature's  most  romantic  ideal,  the  noble 
savage.  We  don't  know  whether  Hal  Wallis  had  this  particular 
bit  of  schizophrenia  in  mind  for  his  Paramount  production, 
"Loving  You",  which  stars  Mr.  Presley,  but  we  do  know  that 
it  is  certainly  the  most  interesting  thing  in  the  film.  As  scripted 
by  Herbert  Baker  and  directed  by  Hal  Kantor  this  VistaVision- 
Technicolor  affair  is  a  stilted  and  seamless  yarn  about  a  South- 
ern cornball  whose  way  with  a  song  and  the  opposite  sex  is 
parlayed  into  a  raging  teen-age  epidemic,  a  story  line  too  ob- 
viously patterned  after  Presley's  own  spectacular  rise  to  fame. 
And,  to  put  it  quite  frankly,  the  success  of  this  film  will  depend 

[More  REVIEWS 


entirely  on  how  many  Presley  fans  will  make  the  pilgrimage  to 
the  box  office  to  see  their  idol.  Since  he  has  quite  a  few  intrepid 
followers,  and  he  sings  some  seven  songs  (giving  them  his  fa- 
miliar "swing  "),  exhibitors  can  look  forward  to  a  good  re- 
sponse from  the  teen-age  element.  Wallis  has  wisely  indorse  J 
as  much  footage  as  possible  around  Presley,  without,  of  course, 
over  taxing  the  limited  resources  of  his  gold  mine.  However, 
he  needn't  have  been  that  circumspect,  for  while  the  mumbo- 
jumbo  crooner  is  every  inch  the  amateur  actor  he  has  a  basically 
pleasant  and  halcyon  air  about  him,  that  is  far  more  inratiating, 
incidentally,  than  the  professional  histrionics  of  his  co-stars, 
Lizabeth  Scott  and  Wendell  Corey.  Miss  Scott  is  seen  as  a 
crisply  career-minded  pressagent  who  arranges  Presley's  singing 
debut  with  former  husband  Wendell  Corey's  band.  His  begin- 
ning is  a  one-horse  Southern  town,  from  which  he  advances 
with  the  speed  of  an  unwinding  yo-yo,  all  the  while  under  the 
tutelage  of  Miss  Scott  whom  his  innocent  eyes  envisions  as  a 
goddess.  When  Presley's  gyrations  begin  to  cause  havoc  with 
respectable  dowagers,  he  unceremoniously  pulls  out  of  his  first 
TV  show.  Miss  Scott  explains  the  facts  of  life  to  him  (in  her 
favor),  and  Presley  returns  to  his  adoring  fans. 


"Decision  Against  Time" 

SW*e44  &ctiut$  O  O  Plus 

Well-made,  engrossing  British  suspense  thriller.  Fine  for  art 
houses,  and  can  be  exploited  for  good  returns  generally. 

Jack  Hawkins  may  be  billed  as  the  star  of  "Decision  Against 
Time",  but  director  Charles  Crichton  is  the  real  luminary.  For 
in  telling  the  story  of  test  pilot  Hawkins'  battle  to  save  his  own 
life  and  a  possibly  doomed  plane,  he  has  made  for  Michael 
Balcon  productions  and  MGM  distribution  what  is,  in  effect,  a 
tactical  exercise  in  suspense,  one  that  movies  successfully  to  its 
objective  through  a  kind  of  sub-rosa  commando  underplaying. 
Though  as  cool  and  colorless  as  a  logistic  maneuver  on  paper, 
the  film  is,  nevertheless,  much  better  calculated  and  controlled. 
Nothing  Mr.  Crichton  does  is  ever  blatant;  he  does  not  blast 
you  out  of  your  seat — he  is  sure,  succinct  and  subtle  and  keeps 
you  on  tenterhooks  almost  unawares.  His  is  the  ultimate  refine- 
ment of  British  suspense,  which  is  seduction;  the  American 
counterpart  is  complete  and  unequivocal  capture.  Screenplay- 
wright  William  Rose  has  presented  him  with  merely  the  skele- 
ton of  a  story  on  which  Crichton  has  been  able  only  to  stimu- 
late flesh  and  blood.  But  it  is  all  done  with  such  finesse  and 
lack  of  the  overblown  gimmick  that  Crichton  should  become 
the  darling  of  art  house  patrons.  What  he  is  dealing  with  is 
the  world  of  the  everyday  as  it  concerns  a  test  pilot  whose  pri- 
vate life  is  on  the  brink  of  shambles  because  his  profession  and 
its  future  has  a  minute-by-minute  tenuousness  to  it.  When  he 
takes  up  an  air  freight  plane  on  a  test  flight  in  order  to  clinch 
his  company's  sale  of  it,  the  plane  runs  afoul  and  he  is  faced 
with  the  dilemna  of  abandoning  the  ship  and  losing  the  con- 
tract, or  sticking  with  it  at  the  possible  expense  of  his  own  life. 
How  he  manages  the  latter  and  how  director  Crichton  traces 
the  reaction  of  the  employees  on  the  air  field  and  the  pilot's 
wife  at  home,  innocently  unaware  that  the  plane  her  two  chil- 
drn  are  watching  might  be  the  instrument  of  her  husband's 
death,  is  conceived  in  schematic  structures  that  become  contra- 
puntal as  the  suspense  develops  and  finally  merge  in  a  beau- 
tifully concerted  whole. 


on   Page  20] 


BULLETIN    July  22,  1957        Page  19 


The  Rising  of  the  Moon" 

*Su4i**4  IgatiKf  OOO 

Rating  is  for  art  and  class  houses  and  those  in  predominantly 
Irish  naborhoods.  John  Ford  trilogy,  an  off-beat  lark. 

John  Ford  is  one  of  the  great  men  of  Hollywood.  He  has 
made  some  of  its  greatest  films  and  some  of  its  most  successful. 
His  talent  is  large  and  lustry,  as  many  faceted  as  a  diamond  and 
just  as  dazzling.  At  his  best  he  is  superbly  individualistic;  at  his 
less  than  best,  as  in  "The  Rising  Of  The  Moon",  he  is  charm- 
ingly idiosyncratic,  almost  old  blarney  incarnate.  His  new  film 
for  Warner  Bros,  is  a  trio  of  short  screenplays  filmed  on  loca- 
tion in  Ireland  and  acted  by  the  Abbey  Players;  a  warmly  per- 
sonal and  pleasant,  if  not  particularly  profound,  "study"  of  the 
Gaelic  temperament.  What  we  have,  boxofficewise,  is  a  top- 
flight attraction  for  art  houses,  a  pretty  good  one  for  class  situ- 
ations, and,  possibly,  a  good  off-beat  entry  for  the  general  mar- 
ket. The  temperaments  Ford  is  offering  here  are  culled  from 
the  works  of  Lady  Gregory,  Frank  O'Connor  and  Martin  Mc- 
Hugh,  all  as  adapted  by  screenplay  writer  Frank  Nugent.  The 
first  tale  features  Noel  Purcell  as  a  wonderfully  dry  and  play- 
fully dour  old  man  who  goes  to  jail  rather  than  pay  a  fine  for 
having  assaulted  an  insulting  enemy  of  his  family.  This  episode 
delineates  Irish  pride.  The  second,  with  its  cavorting  passen- 
gers at  a  railroad  station  completely  indifferent  to  time  sched- 
ules, is  a  tribute  to  Irish  humor.  Both  pride  and  humor  are  in- 
domitable Irish  characteristics,  but  it  is  the  one  of  nationalist 
fervor  that  comes  off  best  in  the  last  of  the  vignettes,  which  re- 
turns Ford  to  the  idiom  of  "The  Informer".  Here  he  is  once 
more  in  he  world  of  the  Black  and  Tan  days,  as  he  follows  the 
escape  of  a  Rebel  leader  through  the  lamp  lit  streets  of  Dublin 
with  its  fog  and  wet  pavements  and  military  patrols  and  the 
unheralded  gallantry  of  the  Rebel's  compatriots,  common 
people  who  each  create  a  link  along  his  path  to  safety. 


"The  Black  Tent" 

British  adventure  of  World  War  II.  Good  action,  romance- 
beautiful  photography.  Lacks  names.  Best  for  action  houses. 

This  British  adventure,  set  in  the  deserts  of  Tripoli  during 
the  second  World  War,  has  its  fair  share  of  action  and  love 
interest,  but  is  hampered  by  lack  of  marquee  power.  Distributed 
by  Rank  Film  Distributors  of  America,  it  should  be  acceptable 
fare  in  action  houses  and  serve  well  in  the  supporting  slot  else- 
where. Anthony  Steel  and  Donald  Sinden  head  the  competent 
cast,  with  beauteous  newcomer  Anna  Marie  Sandri  lending  form 
and  face  to  this  tale  of  the  British  army  officer  who  becomes 
Bedouin  camp  and  there  finds  renewed  life  and  love.  The 
VistaVision-Technicolor  photography  is  the  standout  of  the 
picture,  with  location  shots  of  the  North  Africa  terrain  making 
for  some  wonderful  viewing.  The  William  MacQuitty  produc- 
tion, directed  by  Brian  Desmond,  has  battle  scenes  that  are  ex- 
citing and  convincing.  Story  has  Sinden,  inheriting  the  estates 
of  lost  brother  Steel,  leaving  for  North  Africa  when  promis- 
sory note,  signed  by  Steel,  is  handed  to  British  Embassy  by  a 
Bedouin  Sheik.  Sinden  traces  the  Sheik  to  North  Africa,  meets 
his  daughter,  Miss  Sandri,  who  hands  him  Steel's  diary.  In 
flashback,  it  is  revealed  that  Steel,  after  marrying  Miss  Sandri, 
enlisted  tribe's  help  in  fighting  the  Germans  with  guerrilla 
warfare.  He  gives  the  note  to  the  Sheik  in  gratitude.  When 
Steel  is  killed,  Miss  Sandri  gives  birth  to  son.  She  tells  Sinden 
of  Steel's  will  in  which  he  leaves  estates  to  son.  Son  decides  to 
remain  in  desert  with  tribe,  burns  the  will.  Parts  move  in  rather 
pedestrian  fashion,  but  those  who  like  dried  rose-petal  romanc- 
ing a  la  "Bird  of  Paradise"  and  occasional  exciting  skirmishes, 
"The  Black  Tent"  won't  be  hard  to  take.  It  will  be  a  useful 
entry  as  a  dualler  in  action  houses,  and  better  class  audiences 
will  find  the  authentic  atmosphere  interesting. 


Rank  Organization.  93  n 
Sandri.    Produced  by  Willi 


jtes.  Anthony  Steel,  Donald  Sinden,  Anna  Marie 
MacQuitty.    Directed  by  Brian  Desmond  Hurst. 


VIEWS  DN  JDE  EXHIBITOR'S  QUERY 


(Continued  from  Page  10) 
For  the  Editor: 

I  have  read  carefully  the  letter  from 
Joe  Exhibitor  in  the  Film  BULLETIN 
of  June  24,  1957.  The  head  you  placed 
on  this  letter  "Is  This  Now  A  Two- 
Month  Business?"  certainly  is  appro- 
priate. 

One  thing  Joe  Exhib  failed  to  cover 
in  his  letter  of  complaint  was  the  late 
availabilities  and  long  clearances  being 
forced  on  exhibitors  never  before  sub- 
ject to  such  conditions.  These  long 
clearances  and  late  availabilities  are 
achieved  either  through  refusal  to  sell 
or  quoting  of  unreasonable  and  impos- 
sible terms.  The  net  result  of  these  ob- 
noxious practices  by  distribution  is  to 
relegate  the  majority  of  the  theatres  to 
a  second  class  service  in  their  communi- 


ties. What  with  the  two-month  distri- 
bution rigged  season  and  the  aforemen- 
tioned distributor-imposed  long  clear- 
ances and  late  availabilities,  business 
continues  down  hill. 

To  illustrate  to  what  extent  business 
has  deteriorated;  in  Elwood,  Indiana,  a 
town  of  over  11,000  population  with 
only  one  first  run  theatre  operating,  re- 
cently we  opened  for  a  Friday  matinee 
and  failed  to  sell  that  first  ticket.  Never 
in  the  history  of  our  operation  in  this 
town,  and  it  goes  back  to  1922,  have 
we  experienced  such  a  happening. 

TRUEMAN  T.  REMBUSCH 
Syndicate  Theatres,  Inc. 
Franklin,  Indiana 
*       *       *  * 

To  the  Editor: 

I  read  with  interest  your  editorial  in 


your  June  24th  issue  and  we  agree  with 
it  wholeheartedly. 

A  more  orderly  manner  of  releasing 
pictures  would  certainly  be  very  helpful 
in  maintaining  our  grosses  throughout 
the  year. 

GLEN  W.  DICKINSON,  JR. 

Dickinson  Operating  Co.,  Inc. 
Mission,  Kansas 

*       *       *  * 
To  the  Editor: 

In  the  present  hysterical  atmosphere, 
no  one  pays  attention  to  anything !  The 
present  method  of  releasing  a  picture  is 
as  destructive  as  the  sales  policies!  I 
hope  something  is  done  before  it  is  too 
late. 

WILBER  SNAPER 

Allied  Theatre  Owners  of  N.  J. 


Page  20       Rim  BULLETIN    July  22,  1957 


20th's  'Partner'  Campaign 

(Continual  from  Page  12) 

One  of  the  most  important  aspects  of  the 
bookings  of  "God  Is  My  Partner"  is  the  fact 
that  at  least  one  distributor  recognizes  the  need 
to  aid  the  small  town  theatre.  20th  Century- 
Fox  affirms,  by  thus  giving  the  smaller  houses 
first  ir.uk  at  a  well  merchandised  picture,  the 
importance  of  maintaining  the  basic  motion  pic- 
ture audience.  If  you  can  get  the  people  to  go 
to  the  nearby  theatre  regularly,  you  have  met 
the  most  difficult  challenge  of  modern  movie 
business.  If,  on  the  other  hand,  you  keep  giving 
the  small  town  theatre  only  pictures  which  have 
already  been  milked  dry  of  their  promotional 
impact,  you  are  downgrading  this  very  vital 
market  and  encouraging  people  to  look  else- 
where for  their  entertainment. 


Twentieth  Century-Fox  has  worked  out  a 
thorough  campaign  program  of  many  different 
facets  for  "God  Is  My  Partner."  A  song  using 
the  picture's  title  has  been  recorded  for  RCA 
Victor  by  the  Statesmen,  currently  the  most 
prominent  inspirational  vocal  group  in  the 
South.  The  conductor  of  the  Statesmen,  an  or- 
dained minister  named  Hovie  Lister,  is  touring 
the  southland  in  connection  with  the  picture.  Of 
course,  there  are  arrangements  for  special  ad- 
vance screening  in  communities  where  clergy- 
men and  civic  leaders  will  see  the  film.  Tape 
recordings  of  their  comments  are  being  used 
ovei  the  local  radio  stations.  The  Re\ .  Mr. 
Lister  has  a  special  radio  spot  announcement  to 
introduce  the  picture  and  the  recording  of  the 
title  song.  In  addition,  two  spot  announcement 
texts  for  local  disc  jockeys  to  use  in  introducing 
the  song  are  being  widely  distributed. 


Support  Newspapers  That  Support  Us! 


(Continued  from  Page  12) 

paper  publisher  has  paved  the  way  for 

the   successful   entry   of   a  shopping 

weekly. 

The  most  important  thing  to  remem- 
ber in  your  relationship  with  an  un- 
friendly newspaper  is  that  such  news- 
papers do  only  what  they  think  they 
can  get  away  with.  If  you  develop 
strong  alternative  advertising  media  for 
your  theatre,  you  can  tell  uncooperative 
papers  to  go  jump  in  the  lake;  and  the 
chances  are  that  this  advice  will  soon 
cause  a  change  in  their  attitude. 

Of  course,  the  first  thing  you  should 
do  whenever  an  unpleasant  newspaper 
situation  develops  is  to  go  to  the  root 
of  it.  Sometimes  a  straightforward  con- 
versation with  the  newspaper  people 
clears  the  whole  thing  up.  Sometimes 
you  get  an  insight  into  the  newspaper's 
own  problems  which  helps  you  work 
things  out  together.  For  example,  you 
may  think  the  local  editor  is  sloughing 
your  publicity  stories  through  sheer 
anti-movie  prejudice,  only  to  find  that 
he  wants  a  different  kind  of  publicity 
material  which  he  will  be  happy  to 
print.  Or  you  may  find  that  he  will  be 
willing  to  offer  much  greater  coopera- 
tion if  you  will  help  out  some  pet  proj- 
ect of  the  newspapers.  The  only  way  to 
make  sure  that  your  press  is  really  un- 
friendly is  to  give  a  full  opportunity 
for  friendship. 

But  once  you  know  where  you  stand, 
you  don't  have  to  stand  pat.  Look 


around  for  your  friends.  Let  the  news- 
papers of  your  area  know  that  you  are 
one  customer  who  rewards  his  friends 
with  a  degree  of  cooperation  and  mu- 
tual sales  promotion  that  very  few  other 
businesses  can  match. 

Don't  forget,  among  other  things, 
that  if  you  show  advertising  on  your 
screen  or  in  your  lobby  you  are  not  only 
a  customer  of  the  newspaper  in  which 
you  yourself  advertise;  you  are  also,  in 
a  way,  a  competing  advertising  medium. 
If  it's  a  fight,  compete  for  all  you're 
worth. 

Motion  picture  theatre  people  should 
always  remember  that  they  attract  the 
long-span  undivided  attention  and  pa- 
tronage of  more  people  outside  the 
home  than  any  other  means  of  com- 
munication. You  are  in  constant  touch 
directly  with  the  public;  your  lobby  is 
some  of  the  most  valuable  display  space 
in  town;  your  advertising  gets  better 
readership  than  many  news  columns. 

You  can  use  all  these  assets  to  help 
the  newspapers  that  help  you;  and  you 
can  make  yourself  a  valued  friend  in- 
deed to  the  newspapers  that  are  friends 
of  yours. 

The  important  thing  to  realize  is  that 
you  are  not  without  weapons;  you  are 
never  completely  dependent  on  a  single 
newspaper  and  you  are  never  so  alone 
that  a  discriminatory  publisher  can  push 
you  around.  Show  that  you  stand  up  to 
your  enemies  and  support  your  friends 
— and  you'll  find  you  have  a  lot  more 
friends. 


EINFELO 

Marion  Ross,  young  actress  who  stars  with 
Walter  Brennan  in  "God  Is  My  Partner,"  has 
been  sent  by  Fox  on  an  expertly  slanted  tour  of 
kej  Georgia  small-town  openings. 

A  Cato  Herald  designed  for  small  town  door- 
to-door  distribution,  a  personal  message  text  for 
theatre  managers  to  use  and  a  boxed  statement 
of  "Uncle  Charlie's  Credo"  are  among  the  many 
expertly  put  together  phases  of  the  campaign 
outlined  in  the  "God  Is  My  Partner"  pressbook. 

An  unusually  complete  selection  of  ads  has 
been  prepared  for  "God  Is  My  Partner ",  again 
with  a  weather  eye  to  the  particular  needs  of 
the  small  town  market. 

Twentieth  Century-Fox  makes  no  pretense 
that  "God  Is  My  Partner"  is  a  costly  produc- 
tion; they  state  frankly  that  it  is  a  modest 
budgeted  film,  but  one  with  a  warm,  human 
theme.  But  they  are  giving  the  picture  the 
kind  of  handling  which  can  mean  many,  many 
dollars  more  added  to  the  picture's  gross — and 
many  new  friends  as  well. 


[More  SHOWMEN  on  Page  22] 


Personal  Message  from  the 
theatre  manager  nil/  bring 
him   closer  to   his  audience. 


Film  BULLETIN    July  22,  1957        Page  21 


Appeal  to  Exhibitors  for 
Business-Building  Ideas 

Oscar  A.  Doob  and  Charles  E.  McCarthy,  co- 
chairmen  of  a  COMPO  committee  to  develop 
new  ideas  in  the  industry's  business-building 
program,  have  appealed  to  the  leading  theatre 
publicity  men  outside  of  the  New  York  metro- 
politan area  to  submit  their  suggestions  for 
putting  some  muscle  into  an  all-industry  pro- 
motional program. 

Although  their  appeal  was  specifically  di- 
rected to  some  18  advertising-exploitation  exec- 
utives, the  co-chiefs  emphasized  that  they  were 
open  to  ideas  from  any  other  theatremen  who 
have  specific  ideas  on  implementing  a  business- 
building  campaign  to  hypo  theatre  attendance. 

Doob  and  McCarthy  will  soon  meet  with  the 
Advertising  and  Publicity  Directors  Committee, 
headed  by  Roger  Lewis,  reporting  on  sugges- 
tions for  widening  the  scope  business-building 
program. 

Documentary  Films  to  Promote 
"The  Viking'  for  United  Artists 

A  variety  of  documentary  shorts  are  being 
prepared  by  United  Artists  to  promote  Kirk 
Douglas'  "The  Viking,"  now  being  filmed  in 
Norway.  Included  in  the  ambitious  promotional 
program  are  five-minute,  quarter-hour  and  half- 
hour  featurettes  specifically  designed  for  tele- 
vision, as  well  as  a  45-minute  reel  keyed  to 
schools  and  other  educational  institutions. 

Covering  a  wide  range  of  historical  detail,  the 
documentaries  will  make  use  of  the  vast  amount 
of  research  material  gathered  in  Norway  to 
make  "The  Vikings,"  which  features  producer- 
star  Douglas,  Tony  Curtis,  Ernest  Borgnine  and 
Janet  Leigh.  The  subjects  will  showcase  life  in 
Scandinavia  as  it  was  more  than  1000  years  ago, 
depicting  ways  of  worship  and  communal  rule, 
Viking  ships  and  articles  of  daily  living. 


-dfr-  Exploiteer-actor-producer  Jerry  Lewis  and 
seme  of  his  friends  at  a  special  screening  of 
"The  Delicate  Delinquent"  for  the  Police  Ath- 
letic League  at  New  York's  Mayfair  Theatre. 
Lewis  is  currently  on  a  20-city  tour  to  plug 
openings  of  his  first  solo-starring  effort. 


Crowther  Offers  Suggestions 
On  Industry  Promotional  Drive 

Some  interesting  views  on  the  motion  picture 
industry's  business-building  campaign  were  ad- 
vanced by  New  York  Times  movie  editor  Bos- 
ley  Crowther  in  a  recent  article,  titled  "How  to 
Build  Business".  Taking  the  position  that  the 
promotional  drive  "is  a  matter  of  interest  not 
only  to  people  in  the  industry  but  to  everyone 
everywhere  eager  for  the  continuation  and  im- 
provement of  films,"  the  noted  movie  critic  of- 
fered his  opinion  that  any  promotional  cam- 
paign must  be  based  on  truth  and  backed  by 
quality  product.  Some  of  his  views  follow: 

"It  should  be  made  certain  that  the  minds  of 
everyone  in  the  industry  are  clear  of  all  vainly 
wishful  notions  that  'our  business'  can  be  re- 
turned to  what  it  was  in  the  'good  old  days'. 


-db-  They're  talking  about  "Les  Girls".  Loew's 
president  Joseph  R.  Vogel  and  producer  Sol  C. 
Spiegel  give  the  once-over  to  advertising  and 
exploitation  plans  for  the  Cole  Porter  musical, 
slated  for  Fall  release.  Starred  in  the  production 
are  Gene  Kelly,   Mitzi  Gaynor,   Kay  Kendall. 

Things  have  changed  so  completely  .  .  .  that 
any  thought  of  recapturing  the  conditions  of 
former  periods  are  absurd.  The  public  cannot 
be  expected  to  let  itself  be  led  back  in  the  same 
old  grooves. 

".  .  .  There  should  be  no  assumption  on  the 
part  of  any  of  the  several  elements  in  the  movie 
industry  that  it  can  now  possibly  'con'  the  pub- 
lic into  swallowing  a  lot  of  bosh  about  films. 
The  public  will  not  be  made  suckers  for  any 
sort  of  vague  hoopla  campaign. 

"The  distributors  must  pledge  their  advertis- 
ing will  truthfully  and  fairly  convey  the  gen- 
eral nature  and  contents  of  each  picture  and 
what  the  customer  may  expect  of  it.  And  the 
exhibitors— the  theatre  operators — must  clearly 
shape  their  product  policies  and  indicate  to  their 
communities  the  sort  of  pictures  they  will  try 
to  provide  .  .  . 

"Thus,  it  sees  to  us  the  first  essential  in  this 
long-range  promotional  campaign  is  to  assure 
and  then  convince  the  public  that  the  motion 
picture  merchants  stand  for  honesty  .  .  ." 


-■V  Credit  Mike  Todd's  "Around  the  World  in 
80  Days"  with  another  "first"  —  the  first  air- 
conditioned,  fully  mobile  boxoffice.  In  an  at- 
tempt to  lure  suburbanites  to  N.  Y.'s  Rivoli,  the 
mobile  ticket  office,  one  of  seven,  will  tour 
Long  Island  and  Northern  New  Jersey.  Fully 
equipped,  it  boasts  a  loudspeaker  system,  full 
ticket  racks,  an  escape  hatch  and  a  portable 
safe.  It  is  towed  by  auto. 

'Omar'  Local-level  Campaigns 
Planned  by  Para,  Loew's 

Paramount  Pictures  and  Loew's  Theatres  are 
joining  promotional  forces  on  special  neighbor- 
hood campaigns  for  "Omar  Khayyam",  Y.  Frank 
Freeman,  Jr.'s  VistaVision-Technicolor  produc- 
tion. 

The  local-level  campaigns  are  being  devel- 
oped, Paramount  claims,  "to  give  new  impetus 
to  motion  picture  showmanship  in  the  New 
York  metropolitan  area  by  providing  neighbor- 
hood theatres  with  the  promotional  advantages 
Broadway  showcases  enjoy  in  the  opening  of  a 
picture."  Taking  part  in  the  ballyhoo  confab 
will  be  neighbhorhood  theatre  managers,  Loew's 
circuit  executives  and  Paramount  sales-advertis- 
ing-publicity toppers.  The  meetings  will  serve 
as  "skull  practice"  springboard  for  a  showman- 
ship competition.  Headlining  the  agenda  will 
be  discussions  of  the  film  and  its  promotional 
assets  and  "tips"  for  the  managers  on  devising 
and  implementing  all  phases  of  showmanship 
tied  to  the  adventure  drama. 

RFDA  Short  Subject  to 
Showcase  Product  to  Exhibitors 

"Full  Screen  Ahead,"  a  short  subject  outlining 
the  policy  initiated  by  Rank  Film  Distributors 
of  America,  to  deliver  to  American  exhibitors 
a  steady  supply  of  first-class  films,  will  be 
screened  in  all  of  the  company's  exchange  cen- 
ters during  July  and  August. 

As  outlined  by  Irving  Sochin,  RFDA  general 
sales  manager,  the  promotional  film  comprises 
"outstanding  scenes  from  our  forthcoming  prod- 
uct in  color  and  in  black-and-white.  The  special 
short  subject  has  been  prepared  by  the  Rank 
Organization  in  London  to  let  American  exhibi- 
tors know  of  the  superior  motion  picture  enter- 
tainment which  will  be  distributed  by  the  com- 
pany shortly." 


Page  22       Film  BULLETIN    July  22,  1957 


EXHIBITOR'S  FDRUM 


OUR  COMPETITION 

Allied  Theatre  Owners  of  Indiana 

A  televiewer  in  Minneapolis  was  curious 
enough  to  keep  a  record  of  the  time  given  over 
to  commercials  during  a  recent  televising  of  an 
M-G-M  feature  in  that  city.  At  the  conclusion 
she  totaled  up  61  minutes  for  actual  exhibition 
of  the  picture  and  35  minutes  of  advertising  in- 
terruptions. The  TV  station  challenged  her 
arithmetic  but  even  they  admitted  that  there 
was  1  minute  of  advertising  for  every  4  minutes 
of  movie.  Let's  hope  that  television  stays  this 
hungry  for  the  quick  buck  so  that  movie  fans 
will  be  driven  back  to  the  theatres  sooner  than 
we  had  anticipated. 

NEWSPAPER  RELATIONS 

ITO  of  Ohio 

It  is  always  a  pleasure  to  talk  to  newspaper- 
men, particularly  the  critics  of  the  newspapers 
in  Ohio.  Without  any  exception  that  we  know 
of,  they  generally  wish  the  industry  well,  unlike 
their  confreres  in  some  cities.  In  this  respect, 
we  are  singularly  fortunate  in  this  state. 

All  exhibitors,  whether  first  or  sub-run,  in  the 
cities  which  have  critics,  should  know  these 
men.  They  are  anxious  and  willing  to  help 
solve  your  problems. 

We  are  also  fortunate  that  many  of  the  Ohio 
men  (Ohio  led  the  nation,  in  fact)  will  appear 
in  "Teacher's  Pet".  You  will  remember  that 
Paramount  pulled  one  of  the  smartest  publicity 
stunts  of  all  time  in  bringing  critics  to  Holly- 
wood to  perform  roles  in  "Teacher's  Pet"  as 
themselves.  When  the  picture  plays  the  state,  it 
should  have  added  interest  for  the  people  of 
those  cities  from  which  the  critics  came.  All 
theatres,  regardless  of  run,  should  play  up  their 
names  when  they  play  the  picture. 

If  the  critics  occasionally  don't  like  a  picture, 
remember  that  if  they  liked  everyone,  they 
would  soon  lose  their  readership  and  would  be 
of  no  value  to  you.  They  will  be  the  first  to 
tell  you  that  a  bad  review  doesn't  necessarily 
make  for  bad  business.  After  all,  some  of  the 
current  product  is  box  office,  but  it  is  not  of  the 
type  that  critics  generally  like. 

THE  KIRSCH  REPORT 

By  Jack  Kirsch,  president 
Allied  Theatres  of  Illinois 
Corporate  Mergers.  One  disturbing  develop- 
ment which  took  place  during  the  year  was  that 
of  RKO  turning  over  the  sale  and  distribution 
of  their  product  to  Universal-International  Pic- 
tures. On  the  face  of  it  this  move  appeared  to 
many  in  our  industry  to  be  harmless,  but  on  giv- 
ing it  serious  thought  one  could  only  conclude 
that  it  was  a  very  dangerous  happening  insofar 
as  exhibition  was  concerned.  It  has  onerous 
over-tones  for  the  future  because  if  one  com- 
pany could,  for  reasons  of  economy,  turn  over 
its  sales  and  distribution  to  another,  there  was 
no  telling  where  such  a  practice  would  finally- 
lead  to.  It  is  agreed  that  our  industry  is  in  the 
throes  of  a  serious  shortage  of  quality  motion 
pictures  and  any  mergers  in  production  and/or 
distribution  could  only  tend  to  curtail  output, 


lower  service  standards  and  further  eliminate 
competition  in  the  marketing  of  film. 

Arbitration.  I  have  long  advocated  that  this 
industry  should  adopt  an  Arbitration  system  for 
the  settling  of  disputes  between  exhibitor  and 
distributor  and  in  doing  so  I  maintained  that 
in  order  for  such  a  system  to  be  of  any  value  to 
exhibition  it  should  include  the  arbitration  of 
film  terms  and  sales  practices.  Distribution,  of 
course,  rejected  any  such  idea  and  as  a  conse- 
quence the  development  of  Aribtration  in  our 
industry  remained  dormant,  until  last  year's 
hearings  by  the  Select  Committee  on  Small 
Business  of  the  United  States  Senate  on  prob- 
lems of  independent  motion  picture  exhibitors. 
One  of  the  major  conclusions  and  recommenda- 
tions in  the  Committee's  report  was  that  distri- 
bution and  exhibition  endeavor  to  work  out  an 
arbitration  system  dealing  with  such  topics  as 
clearances,  runs,  competitive  bidding,  forced 
sales  and  contract  violations.  The  Committee 
did  not  believe  that  arbitration  of  film  rentals 
was  warranted. 

In  the  interest  of  harmony  and  as  a  basis  for 
discussion  I  have  agreed  to  Allied's  participa- 
tion along  the  lines  outlined  above  because  I 
felt  that  while  a  plan  may  not  provide  specific- 
benefits,  cooperation  in  this  matter  will  have 
some  good  effects — will  solidify  unity  with 
other  exhibitors,  for  one  thing. 

Universal  Distribution  Plan.  Universal  pic- 
tures in  Chicago  has  taken  a  bold  step  forward 
by  introducing  a  brand  new  concept  in  film  dis- 
tribution here.  In  brief,  they  have  chosen  21 
theatres,  situated  over  a  wide  geographical  area, 
including  both  conventional  and  drive-ins,  as 
multiple  Chicago  first  runs,  to  exhibit  their 
product  consisting  of  6  double  feature  combi- 
nations, one  every  other  week  starting  as  of 
June  21.  These  situations  will  run  this  product 
simultaneously  with  any  Loop  first  run  which 
Universal  might  secure,  but  in  the  absence  of 
such  a  Loop  run  will  exhibit  Universale  pic- 
tures on  a  first  run  basis  in  Chicago.  Each  com- 
bination will  be  backed  up  with  an  extensive 
pre-selling  and  advertising  campaign,  cost  of 
which  is  shared  equally  between  the  exhibitor 
and  distributor.  Also,  Universal  promised  to 
make  an  effort  to  have  those  of  their  personali- 
ties who  are  in  town  during  the  exhibition  of 
such  pictures  to  make  personal  appearances  at 
participating  theatres. 

While  this  is  not  an  Allied  project,  I  believe 
it  is  an  appropriate  subject  to  mention  since 
many  of  the  theatres  which  Universal  selected 
are  members  of  Allied. 

It  is,  of  course,  too  early  to  predict  the  re- 
sults, but  one  thing  is  certain  and  that  is  that 
the  plan  should  provide  Chicago  exhibitors  with 
a  diversity  of  programming  as  compared  with 
the  former  heavy  concentration  of  simultaneous 
first-outlying  "A"  runs  which  has  greatly  limited 
subsequent  runs  to  selectivity  of  programs. 

In  addition  to  Universal,  Paramount  has  taken 
a  similar  step  by  making  their  Elvis  Presley  fea- 
true  "Loving  You"  available  on  a  first-run  basis 
in  outlying  theatres  in  Chicago. 

We  are  thus  witnessing  a  unique  deviation 
from  former  distribution  patterns  and  I,  for  one, 
am  wholeheartedly  in  favor  of  the  idea  and 


hope  that  other  major  distributors  will  see  fit 
to  do  liken  ise. 

Cable  Theatre.  Discounting  for  a  moment  the 
merits  or  demerits  of  this  system,  there  is  im- 
mediately present  in  this  or  any  other  revolu- 
tionary plan  an  apparent  lack  of  research  and 
understanding  by  an  industry  as  large  and  im- 
portant as  the  motion  picture  industry.  Many 
novel  ideas  have  been  introduced  only  to  fail 
because  of  lack  of  proper  industry  research  and 
planning.  We  need  only  to  cite  3rd  dimension 
which  failed  miserably  because  it  was  hastily 
brought  into  our  industry  without  adequate 
development.  Exhibitors  invested  money  in  all 
sorts  of  devices  and  glasses  which  was  a  total 
loss  to  them.  And  so  it  is  with  the  Cable  Thea- 
tre. Electronics,  of  which  Cable  Theatre  is  a 
part,  is  a  very  intricate  subject  and  its  study 
and  development  requires  the  best  scientific 
brains  that  can  be  mustered  in  that  field.  It  is 
unfortunate,  indeed,  that  the  motion  picture  in- 
dustry doesn't  harness  its  resources  and  scien- 
tific brains  to  work  as  a  united  industry  on  pro- 
jects of  this  kind  to  the  end  that  if  they  are  of 
proven  value,  then,  and  only  then,  should  they 
be  introduced. 

There  are  two  important  organizations  in  the 
industry  to  whom,  for  example,  projects  such 
as  Cable  Theatre  could  be  referred  for  study, 
research  and  development.  They  are  the  Society 
of  Motion  Picture  and  Television  Engineers  and 
the  Motion  Picture  Industry  Research  Council. 
This,  to  our  mind,  is  the  only  logical  approach 
that  should  be  taken  by  our  industry  concerning 
new  ideas  such  as  Cable  Theatre  and  it  is  hoped 
and  urged  that  the  industry  will  pursue  such  a 
course. 

TOLL  TV 

Allied  Theatre  Owners  of  Indiana 

Toll  television,  if  successful,  would  not  only 
capture  a  large  part  of  the  theatre  audience,  but, 
the  worst  aspect  of  it  for  exhibitors,  it  would 
make  it  economically  possible  to  sell  costly  new 
motion  picture  productions  to  TV  and  dry  up 
the  theatre  market  for  theatres.  As  it  is  now 
many  of  the  theatres'  suppliers  seem  to  have  a 
greater  allegiance  to  TV  than  they  do  for  their 
theatre  customers,  e.g.,  Buena  Vista,  Republic, 
Columbia  ("Every  week  2558  Screen  Gems 
shows  are  televised  in  100  top  cities")  and 
others.  With  toll  TV  the  exhibitor  would  be- 
come the  forgotten  man. 

It  will  surprise  you  to  recall  that  it  has  now 
been  8  years  since  Pay-As-You-See  TV  first 
threatened  (the  Chicago  Phonevision  experi- 
ments) and  the  FCC  has  still  not  reached  a 
decision.  A  big  reason  that  PAYS-TV  has  not 
become  a  reality  is  because  of  the  work  of  the 
Joint  Committee  on  Toll-TV,  where  Trueman 
Rembusch  represents  Allied.  For  years  this 
committee  has  represented  the  common  interests 
of  the  public  and  the  theatres  with  legal  briefs, 
engineering  studies  and  publicity.  Although  the 
job  has  been  done  with  very  little  money,  the 
treasury  is  now  empty  and  still  more  briefs  and 
information  are  called  for  by  the  FCC.  In  order 
to  defray  these  additional  expenses  exhibitors 
will  soon  be  called  upon  to  meet  the  costs. 
When  we  call  upon  you  we  hope  that  your  re- 
sponse will  be  immediate. 


Film  BULLETIN    July  22.  I?57       Page  23 


EXPLOITATION  PICTUEE 


Smart  HHL-UA  Selling  Makes 
'Sweet  Smell'  Movie  Type  of  B.O. 


This  is  the  kind  of  copy  that  smokes  across 
the  theme  of  Hecht,  Hill,  Lancaster's  "The 
Sweet  Smell  of  Success:" 

"They  know  him — and  they  shiver — the  big 
names  of  Broadway,  Hollywood  and  Capitol 
Hill.  They  know  J.J. — the  world-famed  colum- 
nist whose  gossip  is  gospel  to  sixty  million 
readers!  They  know  the  venom  that  flickers  in 
those  eyes  behind  the  glasses — and  they  fawn — 
like  Sid  Falco,  the  kid  who  wanted  'in'  so 
much,  he'd  sell  out  his  own  girl  to  stand  up 
there  with  J. J.,  sucking  in  the  sweet  smell  of 
success!  This  is  J.J-'s  story — but  not  the  way 
he  would  have  liked  it  told!" 

This  is  the  way  United  Artists  tells  it  in  its 
herald — and  varies  it  magnificently  in  its  selling 
campaign  to  make  this  dramatic  film  one  of  the 
exploitation  naturals  of  the  year.  Breathing  an 
offbeat,  razor-sharp  emotional  quality  in  its  pres- 
entation, "The  Sweet  Smell  of  Success"  swarms 
with  the  type  of  angles  showmen  embrace. 

Before  we  go  into  the  exploitables,  and  lest 
the  showman  feel  that  he  might  be  overselling, 
it  should  be  pointed  out  that  the  critics  have 
already  hailed  it  as  an  outstanding  film.  Se- 
lected as  a  Film  BULLETIN  Film  of  Distinc- 
tion in  a  review  which  predicted  sock  grosses, 
the  New  York  film  critics  accorded  it  kudos 
V,  /  down  the  line  from  the  linns   to  the  tabloids 

— and,    more    than    just    incidentally,  supplied 
important  fodder  for  the  ads  in  every  city.  Thus, 
the  very  quality  of  the  picture  has  been  molded 
into  one  of  the  chief  exploitation  points. 
Another  factor  the  showman  will  welcome 
is  all  the  "Sweet"  talk  that  has  been  created  by 
the  hand-in-glove  cooperation  between  L1A  and 
the  HHL  production  combo.    With  Burt  Lan- 
caster doing  some  yeoman  leg  work  on  behalf 
of  his  film,  aided  by  the  LIA  field  force  through- 
out the  country,  newspapers  and  top  circulation 
magazines  throughout  the  country  have  given  it 
an  extraordinary  play  from  a  number  of  angles. 
Not  the  least  of  these  is  the  introduction  of 
Susan  Harrison,  making  an  auspicious  debut  as 
the  confused  sister  of  the  venomous  columnist. 


HECHT,  HILL™ LANCASTER,,,,, 

LANCASTER -CURTIS 
$WeeTSivieLl 
°f  SUCCESS 


these  stars  did  some  highly  effective  leg-work 
on  national  tours  in  advance  of  release,  with 
Lanacster  joining  in,  highlighted  by  a  top-fea- 
tured spot  on  the  Ed  Sullivan  show,  combining 
the  Lancaster  and  Nichols  p. a.  with  film  clips 
in  an  off-beat  presentation,  that  will  undoubted- 
ly increase  the  movie  audience  immeasurably. 

Top-level  penetration  was  assured  with  a  na- 
tional ad  campaign  of  full  page  and  facing-half 
page  (see  top  left  and  right)  displays  in  both 
class  and  mass  magazines  (Time,  Esquire,  New 
Yorker,  Life,  Look,  Seventeen,  This  Week,  etc.). 
In  addition,  UA  has  set  up  a  giant  newspaper 
ad  campaign  for  day-and-date  splashes  with  key 
area  openings,  a  vital  factor  in  the  big  send-off. 

The  ads  themselves  are  superlative  in  their 
impact  and  variety.  Ranging  from  the  stark 
facing  page  "Watch  Out!"  star  displays  to  art 
and  photo  illustration  depicting  the  Curtis-Lan- 
caster conflict  to  the  ominons  still  warning  "Be- 
ware these  'gentlemen'  of  the  press",  there  is  an 
angle  for  any  type  of  audience.  Hints  of  the 
film's  daring  intimations,  such  as  Curtis'  plead- 
ing with  his  girl  friend  to  go  to  another  man, 
or  Lancaster's  abnormal  attachment  to  his  sister, 
are  spotted  with  provocative  effect  in  most  of 
the  ads. 

There  is  ample  potential  for  sure-fire  stunts 
in  the  film's  title  and  content.  The  former  was 
imaginatively  ballyhooed,  for  example,  to  "pre- 
smell"  the  San  Francisco  opening  with  a  "loco- 
mom  e"  garlanded  with  flowers  and  spraying 
perfume  from  atomizer  atop  cab  (see  cut).  A 

perfumed  paper  novelty 


sell 

anything 


girl! 


HECHT,  HILL,,,  LANCASTER,,,*. 

LANCASTER -CURTIS 

&WeeTSivieLl 
op  SUCCESS 


ard  handout  is  avail- 
able at  low  cost  for  a  unique  throwaway.  Tieups 
with  cosmetic  counters  are  another  natural.  Es- 
pecially apt  for  this  one  is  a  live  cheesecake 
street  bally,  w  ith  the  Nichos'  cigarette-girl  char- 
acterization as  the  basis.  Girls  in  brief  costumes 
can  distribute  heralds,  candy  "kisses",  or  bou- 
tonnieres.  For  a  lobby  stunt,  same  type  of  cos- 
tume can  be  used  by  candy  stand  girls  to  sell 
refreshments.  Several  other  effective  stunts  are 
outlined  in  an  idea-filled  press  book. 

These  are  all  "extras"  in  the  exploitation  pic- 


Ranging  from  Esquire,  which  splashed  with 
some  striking  pictorial  displays  of  Susan's 
charms,  to  the  Sunday  supplements  delineating 
her  other  talents,  the  build-up  has  all  the  mak- 
ings of  a  major-league  star  creation.  Mags  and 
columnists  have  seized  upon  the  feature  aspects 
Curtis  "heel"  characterization,  and 


HECHT.  Hill ,,  UNKIERra-,  ^vv'EET 

w  ^  ^  SmeL1-  op  SUCCESS 


>f  the 


the  lushly  endowed  Barbara  Nichols.    Both  of 


'Frisco  Odorama 

ture  for  "The  Sweet  Smell  of  Success".  The 
basic  showmanship  qualities  —  the  reunion  of 
the  highly  successful  "Trapeze"  team,  Lancaster 
and  Curtis;  the  Clifford  Odets  acid-filled  script, 
the  drama-packed  stills  and  displays  —  all  are 
evident  components  in  a  campaign  that  can 
make  this  UA  release  one  of  the  top  grossers 
of  the  vear. 


Page  24       Film  BULLETIN    July  22,  1957 


XPLOITATION  PICTURE  of  the 


&EET 

•F.  sJ. 


A 


"The  Sweet  Smell  of  Success"  is  not  a  nice  story.  Nor,  on  the  other  hand, 
is  it  a  deliberate  flaunting  of  violence  and  sex,  although  it  has  an  abundant 
amount  of  both.  As  an  almost  caricature-like  delineation  of  the  Broadway 
cafe  society  scene,  it  compels  the  fascination  of  a  cobra  poised  to  strike,  cloak- 
ing its  characters  in  startling  blacks  and  whites.  In  two  of  these  personalities, 
Burt  Lancaster  and  Tony  Curtis,  the  film  has  produced  a  pair  of  the  slimiest 
roles  ever  assayed  by  the  two  heroic  stars — and  given  them  easily  the  best  parts 
they  have  ever  had  in  a  movie.  Lancaster,  as  an  omnipotent  Broadway  colum- 
nist whose  favors  are  eagerly  sought  by  the  great  and  the  would-be  great,  and 
Curtis,  as  a  fawning  press  agent  as  ready  to  pander  his  cigarette-girl  friend 
(left)  as  to  frame  a  musician  as  a  marihuana  fiend,  are  the  intriguing  principals 
who  finally  come  to  grips  over  the  pretty  young  sister  of  the  columnist.  Their 
conflict  comes  to  a  head  when  Curtis,  ironically  doing  the  one  good  act  of  his 
role  as  he  attempts  to  stop  the  girl  from  suicide,  is  mistakenly  accused  and 
beaten  by  Lancaster  (above). 


Film  BULLETIN    July  22,  1957        Page  25 


KIRSCH 


ARBITRATION  will  have  to  wait  for  sum- 
mer vacations.  After  holding  a  three-day 
session,  July  16-18,  covering  a  number  of 
subjects  in  the  proposed  system,  the  joint 
distributor-exhibitor  conference  on  concilia- 
tion and  arbitration  adjourned  until  Septem- 
ber 16.  Reason  for  the  adjournment:  diffi- 
culty in  rounding  up  enough  conference  rep- 
resentatives to  attend  summer  meetings. 

0 

UNITED  ARTISTS  made  the  financial  big 
leagues  last  week  when  its  stock  was  ad- 
mitted to  trading  on  the  New  York  Stock 
Exchange.  The  first  day's  (July  17)  trading 
saw  6,900  shares  traded,  with  prices  fluctu- 
ating between  21%  and  227/8.  On  the  sec- 
ond day  it  closed  at  23^>,  up  5/8,  with  17,500 
shares  traded.  UA  president  Arthur  Krim, 
participating  in  inauguration  formalities 
launching  the  trading,  announced  that  the 
company's  1957  gross  revenue  may  exceed 
$70  million,  a  figure  that  will  yield  the 
young  distribution  organization  the  highest 
net  earnings  in  its  short  history.  Krim  opti- 
mistically declared  that  the  NYSE  listing 
"marks  another  milestone  in  the  growth  and 
expansion  of  our  company.  Perhaps  more 
importantly,  the  development  of  UA  over 
the  past  six  years  underscores  the  basic 
health  and  vitality  of  the  motion  picture  in- 
dustry." Major  reasons  for  the  rosy  prog- 
nosis centers  around  the  skyrocketing  re- 
ceipts from  the  company's  heavier  concen- 
tration of  "blockbuster"  films.  Among 
them:  "Around  the  World  in  80  Days", 
"The  Pride  and  the  Passion"  and  "Sweet 
Smell  of  Success". 

0 

TOLL-TELEVISION  tests,  if  they  are  to  be 
approved  at  all,  will  have  to  be  authorized 
by  Congress,  wrote  House  Judiciary  Com- 
mittee chairman  Emanuel  Celler  (D.,  N.Y.) 
in  a  letter  to  FCC  chairman  John  Doerfer. 
The  Congressman  warned  that  the  FCC  does 
not  have  the  power,  under  existing  statutes, 
to  issue  valid  licenses,  and  that  any  action 
on  field  tests  without  prior  approval  of  Con- 
gress would  invite  drawn-out  litigation.  In 
his  lengthy  statement  Celler  pointed  out  that 
"the  proposed  demonstrations  of  subscrip- 
tion television  involve  a  calculated  risk  of 
such  magnitude  and  with  such  vital  impli- 
cations for  the  future  of  television  broad- 
casting that  the  decision  whether  or  not  to 


THEY 


MADE  THE  NEWS 

embark  on  them  should  be  made  by  Congress 
and  not  by  the  commission."  Celler,  who 
has  introduced  into  the  hopper  legislation 
banning  pay-as-you-see-television,  warned 
that  the  inauguration  of  any  toll  system 
"may  drive  free  network  television  as  we 
know  it  from  the  airwaves".  He  blasted  the 
FCC's  claim  to  legal  authority  of  the  prob- 
lem, stating:  "For  the  commission  to  make 
its  authority  to  license  frequencies  the  sole 
basis  for  authorizing  so  radical  a  departure 
from  existing  methods  in  television  would 
be  to  stretch  the  licensing  authority  to  its 
very  limits,  if  not  beyond  them."  Jumping 
into  the  act  w  ith  Celler  were  tw  o  other  con- 
gressmen, Chelf  (D.  Ky.)  and  Harris  (D. 
Ark.).  Chelf,  fifth-ranking  Democrat  on 
Celler's  Judiciary  committee,  in  a  letter  to 
Doerfer,  declared  that  the  FCC  should  move 
ahead  immediately  with  toll-television  tests. 
Harris,  chairman  of  the  House  Commerce 
Committee,  predicted  a  full  probe  of  sub- 
scription TV  by  Congress.  The  Arkansas 
representative  challenged  the  FCC  to  spell 
out  its  authority  to  authorize  toll-TV  tests. 

0 

HARRY  COHN,  Columbia  Pictures  presi- 
dent, handed  out  expanded  responsibilities 
to  six  key  members  of  his  management  team. 
The  top-level  realignment  reflects  Columbia's 
long-established  policy  of  advancement  from 
within  company  ranks.  First  vice  president 
Abe  Schneider,  who  joined  Columbia  as  an 
office  boy  in  1922,  takes  over  the  duties  of 
the  late  executive  v. p.  Jack  Cohn.  General 
sales  manager  Abe  Montague  moves  up  to 
vice  president  in  charge  of  distribution,  a 
newly  created  post,  with  Rube  Jackter,  for- 
merly assistant  sale  chief,  assuming  the  post 
of  general  sales  manager.  Leo  Jaffe  will  be 
the  new  treasurer  in  addition  to  his  present 
duties  as  vice  president.  Lewis  J.  Barbano, 
a  vice  president,  adds  the  duties  of  the  chair- 
man of  the  financial  committee  of  Columbia 
International  to  his  present  capacity  as  the 
parent  company's  financial  advisor.  Paul  N. 
Lazarus,  Jr.,  vice  president  in  charge  of  ad- 
vertising, publicity  and  exploitation  since 
1954,  takes  on  the  added  responsibility  of 
supervision  over  world-wide  publicity  ac- 
tivities. 


At  the  New  York  Stock  Exchange  cere- 
monies marking  admission  oj  United  Artists 
stock  to  the  "big  board":  (I  to  r)  stock 
specialist  R.  Bregman.  NYSE  president  G. 
Keith   Funston,   UA    executives   Arthur  B. 


Krim  and  Robert  S.  Benjamin. 


SCHNEIDER 


JACK  KIRSCH  praised  the  multiple  first- 
run  innovations  instituted  by  Universal-In- 
ternational in  the  Chicago  area  as  a  "bold 
step  forward"  in  the  distribution  field,  urged 
other  distributors  to  follow  suit.  The  state- 
ment was  contained  in  his  annual  president's 
report  to  Allied  Theatres  of  Illinois.  Other 
highlights  of  Kirsch's  report:  let  the  indus- 
try study  cable  theatre  via  either  the  Society 
of  Motion  Picture  Engineers  or  the  Motion 
Picture  Industry  Research  Council  to  deter- 
mine and  prove  its  value  lest  it  meet  the 
fate  of  3D  "because  it  was  hastily  brought 
into  our  industry  without  adequate  develop- 
ment"; the  Committee  Against  Pay-As-You- 
See  Television  w  ill  put  the  bee  on  exhibitors 
for  more  funds  to  expand  the  anti-toll  TV 
campaign  on  the  local  level;  endorsed  Na- 
tional Allied  participation  in  arbitration 
negotiations  because  "cooperation  in  this 
matter  will  have  some  good  effects — will 
solidify  unity  with  other  exhibitors,  for  one 
thing";  urged  more  extensive  preparation 
for  Academy  Awards  Sweepstakes,  with  bal- 
loting limited  exclusively  to  within  the  thea- 
tres; pledged  Illinois  Allied's  fullest  cooper- 
ation and  support  to  the  COMPO  business- 
building  campaign.  Kirsch  was  reelected 
president  for  another  3-year  term. 

o 

SAMUEL  GOLDWYN'S  long-pending  suit 
against  four  Fox  distribution  and  exhibition 
affiliates,  now  limited  to  the  West  Coast, 
may  become  a  nation  affair.  The  producer's 
attorney,  Joseph  L.  Alioto  wants  to  cite 
testimony  and  exhibits  re  booking  agree- 
ments throughout  the  nation  to  bolster  Gold- 
wyn's  charge  of  alleged  monopolistic  prac- 
tices which,  he  claims,  caused  him  to  lose 
money.  Federal  Judge  Edward  P.  Murphy  is 
expected  to  rule  soon  on  the  request,  as  well 
as  on  the  issue  of  the  statute  of  limitations 
in  introducing  evidence.  Under  questioning 
by  Alioto,  John  B.  Bertero,  president  of  Fox 
West  Coast  Theatres  declared  that  he  did 
not  know  of  any  specific  Fox  agreements 
with  competitive  exhibitors  that  eliminated 
competition  among  them.  When  Alioto 
stated  that  FWC  took  50  per  cent  of  a  Sa- 
linas, California,  theatre's  profit  without  hav- 
ing any  money  invested  in  the  building  or 
the  operation,  Bertero  agreed  to  check  FWC 
files,  report  back  to  the  court  with  his 
facts  and  figures. 


Page  26       Film  BULLETIN    July  22.  1957 


THEY 


MADE  THE  NEWS 

JACK  L.  WARNER  announced  to  the  indus- 
try recently  that  Warner  Brothers  has  begun 
a  $15  million  TV  film  production  program 
plus  a  SI  million  building  program  to  house 
this  expanded  work.  The  WB  president  also 
promised  continuous  expansion  of  the  com- 
pany's television  activities.  Four  show,  will 
be  filmed  for  winter  viewing,  the  first  sched- 
uled for  September.  They  will  be  telecast 
through  the  ABC-TV  network.  Three  sound 
stages  will  be  remodeled  and  converted  to 
TV  production,  according  to  Warner.  He 
pointed  out  that  the  new  SI  million  tele- 
vision building  is  designed  to  provide  the 
world's  most  complete  executive,  editing  and 
projection  facilities  for  TV.  In  addition  to 
the  four  shows,  all  westerns,  Warners  will 
film  a  series  of  one-hour  color  films  on 
science  for  the  Bell  Telephone  Company. 
0 

IRVING  H.  LEVIN,  president  of  AB-PT 
Pictures,  announced  plans  for  the  production 
of  ten  feature  films  during  the  first  year  of 
the  company's  operation.  The  Paramount 
Theatres  film-making  subsidiary,  which 
started  operations  last  December,  is  under- 
taking the  expanded  program  as  a  result  of 
healthy  grosses  garnered  by  its  first  two  pro- 
ductions, "The  Unearthly"  and  "Beginning 
of  the  End,"  both  of  which  are  being  re- 
leased thru  Republic.  Levin  had  recently 
conferred  with  American  Broadcasting-Para- 
mount Theatres  president  Leonard  Golden- 
son,  v. p.  Sidney  M.  Marklen  and  Harry  L. 
Mandell,  v. p.  of  the  film  company. 

0 

BARTLESVILLE'S  telemovie  test  was 
pushed  back  to  a  September  start  to  permit 
in-phone  testing  of  reception  prior  to  selling 
subscriptions.  Henry  Grilling,  president  of 
Video  Independent  Theatres,  explained.  The 
public  subscription  campaign  had  been 
scheduled  for  a  July  start,  now  won't  get 
going  until  late  August.  Equipment  from 
General  Precision  Laboratories,  due  to  be 
shipped  to  Bartlesville  last  week,  will  be  in- 
stalled in  several  homes  to  test  the  picture, 
rather  than  relying  on  signal  strength  to  de- 
termine performance,  Griffing  said.  He  ex- 
pects to  enlist  2000  subscribers  within  a 
year,  eventually  to  hit  the  4000  mark.  Grif- 
fing also  expects  to  lose  money  on  the  oper- 
ation in  the  first  year. 

o 

NATHAN  L.  HALPERN  had  some  good 
news  for  exhibitors  whose  large  screens, 
closed-circuit  television  equipment  has  been 
idle  for  the  past  two  years.  Halpern,  presi- 
dent of  Theatre  Network  Television  an- 
nounced that  his  organization  would  telecast 
the  Sept.  23  middleweight  world  champion- 
ship fight  between  champion  Sugar  Ray 
Robinson  and  welterweight  king  Carmen  Ba- 
silic The  last  such  sports  event  to  be  tele- 
cast by  the  theatre-TV  organization  was  the 
Archie  Moore-Rocky  Marciano  heavyweight 
rumpus  in  1955. 


MATTY  FOX,  the  aggressive  toll-TV  advo- 
cate, told  the  House  Judiciary  antitrust  sub- 
committee that  both  San  Francisco  and  Los 
Angeles  could  be  serviced  by  Skiatron  wired 
toll-television  within  six  to  eight  months, 
once  permission  is  granted.  His  estimated 
cost:  approximately  eighteen  million  dollars. 
The  dapper  Skiatron  president  thus  blasted 
previous  cost  estimates  that  had  totaled  as 
high  as  S60  million  for  blanketing  the  two 
West  Coast  cities  with  pay-as-you-see  pro- 
grams. Asked  about  a  closed  circuit  system 
for  New  York,  Fox  declared  that  it  could 
be  ready  to  start  about  the  end  of  next  year, 
however  the  proposed  system  would  begin 
in  suburban  areas,  move  into  Manhattan 
"later"  and  take  four  to  five  years  "to  umi- 
plete".  He  tabbed  toll-TV  a  poor  man's  cul- 
tural and  entertainment  medium  because  it 
would  deliver  "program  not  now  broadcast 
free  and  at  prices  he  can  afford  to  pay".  Fox 
said:  "Whether  any  baseball  club  moves  or 
doesn't  move  to  California,  we  made  an  offer 
to  Los  Angeles  and  San  Francisco  to  go  for- 
ward. We  are  not  relying  on  baseball  sole- 
ly, because  baseball  alone  cannot  support  a 
closed  toll-TV  system."  Two-thirds  of  the 
take  from  any  program  transmitted  would 
go  to  Skiatron;  the  owner  of  the  attraction 
would  garner  one-third,  he  revealed.  Ques- 
tioned as  to  the  tab  to  be  paid  by  viewers, 
Fox  predicted  that  it  would  not  exceed  one 
dollar  per  program.  As  the  Skiatron  head 
was  testifying  other  developments  were 
rapidly  taking  place.  In  Los  Angeles,  three 
other  organizations  indicated  that  they 
would  bid  for  the  city's  closed-circuit  fran- 
chise. In  addition  to  International  Tele- 
meter, the  H.  D.  Long  Co.  and  Telemovie 
Development  Co.  have  thrown  their  pay-TV 
hats  into  the  ring.  H.  W.  Hertzberg,  spokes- 
man for  Telemovie  Development,  declared 
that  Los  Angeles  is  much  too  big  for  any 
one  company,  and  should  be  divided  up. 

0 

BEN  MARCUS,  fiery  Milwaukee  indepen- 
dent, inv  ited  his  fellow  theatremen  to  a  July 
19  luncheon  meeting  to  register  opposition 
to  the  distribution  policy  on  "Ten  Com- 
mandments" recently  instituted  by  Para- 
mount Pictures.  The  following  resolution 
was  adopted:  "Be  it  resolved  that  the  exhi- 
bitors of  the  City  of  Milwaukee  in  meeting 
today,  July  19,  1957,  having  learned  of  the 
action  taken  by  Paramount  and  the  DeMille 
Organization,  whereby  a  limited  number  of 
exhibitors  in  Milwaukee  were  invited  to  bid 
for  'The  Ten  Commandments',  does  hereby 
condemn  the  action  of  Paramount  and  the 
DeMille  Organization  on  this  method  of 
distribution  which  involves  competitive  bid- 
ding to  determine  who  of  a  select  few  will 
be  privileged  to  show  'The  Ten  Command- 
ments' .  .  .  and  be  it  further  resolved  that 
we  hereby  protect  to  Paramount  and  the  De- 
Mille Organization  for  forcing  bidding  and 
withholding  'The  Ten  Commandments'  from 
general  release  and  request  that  Paramount 
and  the  DeMille  Organization  discontinue 
this  unfair  method  of  distribution  .  .  .  and 
recommend  that  a  representative  committee 
of  exhibitors  from  the  City  of  Milwaukee 
meet  with  representatives  from  Paramount  in 
au  effort  to  work  out  an  orderly  method  of 
distribution  of  this  great  motion  picture  for 
the  City  of  Milwaukee." 


HEADLENERS... 


SIDNEY  SCHAEIER,  Columbia  ad  execu- 
tive, recovering  at  New  York's  Polyclinic 
Hospital.  Mild  coronary.  ED  SCHWARTZ 
handling  his  duties  .  .  .  GEORGE  WELT- 
NER  celebrates  S5  years  with  Paramount 
with  election  to  board  of  directors  .  .  .  Na- 
tional Telefilm  Associates  names  ERIC  H. 
HAIGHT  treasurer  .  .  .  Expanding  its  do- 
mestic sales  and  distribution  operations, 
Rl  DA  appointed  SHELDON  TROMBERG 
and  EARL  DYSON  sales  representatives, 
Cincinnati  and  Kansas  City  respectively  .  .  . 
Newly  created  post  of  MPA  publicity  co- 
ordinator goes  to  OSCAR  A.  DOOB.  The 
publiciteer  will  have  offices  in  New  York 
and  Washington.  .  .  .  MERLIN  LEWIS,  of 
TESMA,  married  to  Lois  Jean  Wintermute 
.  .  .  Rank  sales  chief  IRVING  SOCHIN  on 
a  four-week  tour  of  RFDA  exchange  offices 
.  .  .  PERRY  LIEBER,  former  RKO  publicity 
executive,  is  handling  unit  activities  on 
"South  Pacific"  for  20th-Fox  .  .  .  Industry 
veteran  HANK  HEARN  will  buy  and  book 
for  a  newly  formed  group  of  14  Florida 
drive-ins.  Name  of  the  new  organization, 
United  Theatres,  Inc.  GEORGE  HOOVER 
is  president  .  .  .  KEEFE  BRASELLE  an- 
announced  the  formation  of  a  new  produc- 
tion firm,  Pugach-Weitz-Braselle  Prods.,  Ltd. 
Six  pictures  are  scheduled  for  co-production 
with  Vicar  Productions  of  London  .  .  .  ERIC 
JOHNSTON  and  MPEA  assistant  ROBERT 
CORKERY  off  to  South  America  to  build 
business  and  mend  fences  .  .  .  WALTER 
READE,  JR.  heads  a  committee  honoring 
Thomas  A.  Edison's  contributions  to  the  mo- 
tion picture  industry.  Group  will  erect 
bronze  plaque  in  New  Jersey  shopping 
center  .  .  .  TOA  president  ERNEST  G. 
STELLINGS  announced  that  plans  to  stage 
a  Foreign  Film  Fair  in  conjunction  with 
1957  Miami  Beach  convention  are  dead  .  .  . 
Novelist  HAROLD  ROBBINS  will  produce 
three  films  for  Allied  Artists  under  terms  of 
a  contract  signed  with  AA  president  STEVE 
BROIDY  .  .  .  L.  J.  (BILL)  WILLIAMS, 
president  of  the  Missouri-Illinois  Theatre 
Owners  revealed  convention  plans  for  Sept. 
9-10  at  St.  Louis'  Kingsway  Hotel  .  .  .  UA 
producer  ROBERT  ALDRICH  to  test  head- 
line-making Benny  Hooper  for  role  in  one  of 
his  films  .  .  .  Skiatron  president  MATTY 
FOX  testified  last  week  before  the  House 
Judiciarv  Subcommittee  hearing  on  toll-TV 
and  baseball  .  .  .  EUGENE  S.  GREGG  re- 
signed as  president  of  Westrex,  succeeded  by 
FREDERICK  R.  LACK  .  .  .  Twentieth  Cen- 
tury-Fox will  step  up  its  distribution  facili- 
ties to  make  available  350-400  prints  for  key 
engagement  of  "The  Sun  Also  Rises,"  ac- 
cording to  president  SPYROS  P.  SKOURAS 
and  general  sales  manager  ALEX  HARRI- 
SON .  .  .  W.  J.  TURNBILL  has  been  elected 
executive  vice  president  of  National  Theatre 
Supply  .  .  .  JOHN  A.  WEIL  has  joined  Co- 
lumbia International  as  assistant  to  presi- 
dent LACY  KASTNER  .  .  .  World  premiere 
of  Charlie  Chaplin's  "A  King  in  New  York" 
will  be  held  Sept.  12  in  London  .  .  .  JE- 
ROME EVANS  has  been  named  eastern  pro- 
motion manager  at  Universal  .  .  .  ROGER 
GORMAN'S  "Teenage  Doll"  will  be  distri- 
buted by  Allied  Artists  .  .  .  Regional  ex- 
hibitor chairmen  for  the  Will  Rogers  Hos- 
pital's Combined  Audience  Collection- 
Christmas  Salute,  to  be  conducted  in  August, 
were  announced  bv  national  exhibitor  chair- 
man M.  A.  SILVER  ...  A  three-day  series 
of  meetings  between  Columbia's  division 
managers  and  key  home  offices  sales  per- 
sonnel kicks  off  in  N.Y.  this  week.  Partici- 
pating in  the  confabs  will  be  RL^BE  JACK- 
TER  and  A.  MONTAGUE  .  .  .  Analyst  AL- 
BERT SINDLINGER  off  on  a  week-long 
trip  to  visit  oil  company  and  motion  picture 
clients  on  the  West  Coast  .  .  .  REYILLE 
KNIFFEN  has  been  appointed  district  man- 
ager of  20th  Centurv-Fox's  six  Western 
branch  offices  .  .  .  ROY  O.  DISNEY,  presi- 
dent of  Walt  Disney  Productions,  scheduled 
for  an  inspection  tour  of  the  Far  East  film 
industry.    Itinerary  includes  Manila,  Japan. 


Film  BULLETIN    July  22,  1957        Page  27 


THIS  IS  YOUR  PRODUCT 


All  The  Vital  Details  on  Current  &>  Coming  Features 

(Date  of  Film  BULLETIN  Review  Appears  At  End  of  Synopsis) 


ALLIED  ARTISTS 


March 

ATTACK  Of  THE  CRAB  MONSTERS  Richard  Garland, 
Pamela  Duncan.  Producer-director  Roger  Corman. 
Science-fiction.  Hideous  monsters  take  over  remote 
Pacific  Island.  68  min. 

FOOTSTEPS  IN  THE  NIGHT  Bill  Elliot,  Don  Haggerty. 
Producer  Ben  Schwalb.  Director  Jean  Yarbrough.  Melo- 
drama. Man  is  sought  by  police  foi  murder  of  his 
friend.  42  min. 

NOT  OF  THIS  EARTH  Paul  Birch,  Beverly  Garland. 
Producer-director  Roger  Corman.  Science-fiction.  Series 
of  strange  murders  plagues  large  western  city.  67  min. 

A  pril 

BADGE  OF  MARSHALL  BRENNAN  Jim  Davis,  Carl 
Smith,  Arleen  Whelan.  Producer-director  Albert  C. 
Gannaway.  Western.  76  min. 

DRAGOON  WELLS  MASSACRE  Barry  Sullivan,  Mona 
Freeman.  Dennis  O'Keefe.  Producer  Lindsley  Parsons. 
Director  Harold  Schuster.  Western.  Apaches  attack 
stockade  in  small  weitern  town.  81  min. 

May 

DESTINATION  60,000  Preston  Foster,  Coleen  Gray,  Jeff 
Donnell.  A  Gross-Krasne  Production.  Director  G.  Wag- 
gner.  Drama.  Pilot  flys  new  jet,  with  revolutionary 
type  fuel,  for  first  time.    65  min. 

LET'S  BE  HAPPY  CinemaScope,  Color.  Vera  Ellen,  Tony 
Martin,  Robert  Fleming.  Producer  Marcel  Hellman. 
Director  Henry  Levin.  Musical.  Small-town  girl  meets 
washing  machine  inventor  in  Paris.  105  min. 
OKLAHOMAN.  THE  CinemaScope,  DeLuxe  Color.  Joel 
McCrea,  Barbara  Hale.  Producer  Walter  Mirsch.  Di- 
rector Fra..cis  Lyon.  Western.  Doctor  helps  rid  town 
of  unscrupulous  brothers.  81  min. 

PERSUADER,  THE  William  Talman,  Kristine  Miller, 
James  Craig.  Producer-director  Dick  Ross.  Western. 
Preacher  wins  rough  town  over  with  love — not  guns. 
72  min. 

June 

CALYPSO  JOE  Herb  Jeffries,  Angie  Dickenson.  Pro- 
ducer William  Broidy.  Director  Edward  Dein.  Musical. 
Former  sweetheart  wins  girl  away  from  South  Ameri- 
can millionaire.    76  min. 

HOT  ROD  RUMBLE  Leigh  Snowden,  Richard  Hartunian. 
Producer  Norman  Herman.  Director  Les  Martinson. 
Melodrama.  Story  of  a  drag  racer  and  his  fight  for 
acceptance.    79  min. 

SPOOK  CHASERS  Huntz  Hall,  Stanley  Clements.  Pro- 
ducer Ben  Schwalb.  Director  George  Blair.  Comedy. 
Bowery  boys  get  tangled  up  with  spooks  and  hoodlums. 
62  min. 

July 

DAUGHTER  ©F  DR.  JEKYLL  John  Agar,  Gloria  Talbot, 
Arrtiur  Shields.  Producer  Jack  Pollexfen.  Director 
Edgar  Unger.    Horror.    71  min. 

DINO  Sal  Mineo,  Brian  Keith,  Susan  Kohner.  Producer 
Bernice  Block.  Director  Thomas  Carr.  Drama.  Social 
case  worker  helps  young  criminal  reform.  94  minutes. 
DISEMBODIED.  THE  Paul  Burke,  Allison  Hayes,  Joel 
Marston.  Producer  Ben  Schwalb.  Director  Walter 
Graumann.  Horror.  Doctor's  wife  practices  voodoo  in 
in  African  jungle.  70  min. 

LOVE  IN  THE  AFTERNOON  Color.  Gary  Cooper, 
Audrey  Hepburn,  Maurice  Chevalier.  Producer-director 
Billy  Wilder.  Comedy.  An  American  playboy's  romantic 
adventures  in  Paris.    130  min. 

August 

AQUA  DIVE  GIRL  Mara  Corday,  Pat  Conway,  Florence 
Marly.  Producer  Norman  Herman.  Adventure.  66  min. 
FROM  HELL  IT  CAME  Tod  Andrews,  Tina  Carver.  Di- 
rector Jack  Milner.    Director  Dan  Milner.    Horror.  75 

September 

DEATH  IN  SMALL  DOSES  Peter  Graves,  Mala  Powers, 
Chuck  Conners.  Producer  R.  Heermance.  Director  J. 
Newman.  Melodrama.  Investigator  cracks  ring  selling 
illegal  pills  to  truckers.  74  minutes. 
HUNCHBACK  OF  NOTRE  DAME.  THE  CinemaScope, 
Color.  Gina  Lollobrigida,  Anthony  Quinn.  A  Paris 
Production.  Director  Jean  Delannoy.  Drama.  Hunch- 
back falls  in  love  with  beautiful  gypsy  girl.  88  min. 
LOOKING  FOR  DANGER  Huntz  Hall,  Stanley  Clements. 
Producer-director  Richard  Heermance. 

Coming 

CYCLOPS  James  Craig,  Tom  Drake,  Lon  Chaney, 
Gloria  Talbot.    A  B-H  Production. 

FEVER  TREE,  THE  John  Casavetes,  Raymond  Burr,  Sara 
Shane.    A  Dudley  Production. 


MAN  FROM  MONTEREY  Sterling  Hayden,  Pamela  Dun- 
can, Ted  de  Corsia.  Producer  D.  J.  Grut.  Director 
Sidney  Franklin,  Jr.  Melodrama.  Outlaw  leaves  buddy 
to  die,  thinking  him  dead.  76  minutes. 
PORTLAND  EXPOSE  Barry  Sullivan.  Edward  Binns. 
Melodrama. 

RIFLE,  THE  CinemaScope,  Color.  Joel  McCrea,  Vir- 
ginia Mayo. 


COLUMBIA 


March 

FULL  OF  LIFE  Judy  Holliday,  Richard  Conte, 
Salvatore  Baccaloni.  Producer  Fred  Kohlmar.  Director 
Richard  Oiiin«-  Comedy.  Struggling  writer  and  wife 
are  owners  of  new  home  and  are  awaiting  arrival  of 
child.  91  min.  1/7. 

MAN  WHO  TURNED  TO  STONE,  THE  victor  Jory,  Ann 
Doran.  Producer  Sam  Katzman.  Director  Leslie  Kardos. 
Mad  doctor  discover*  secret  of  prolonged  Mfe.  Horror. 
80  min.  2/18. 

SHADOW  ON  THE  WINDOW.  THE  Betty  Garrett.  Phil 
Carey,  Corey  Allen.  Producer  Jonie  Tapia.  Director 
William  Asher.  Melodrama.  Seven-year  old  boy  is  the 

only  witness  to  a  murder.  73  min.  3/4. 
ZOMBIES  OF  MORA  TAU  Gregg  Palmer,  Allison  Hayes. 
Producer  Sam  Katzman.  Director  Edward  Kahn.  Horror. 
Zombies  live  on  sunken  ship  with  huge  fortune  of  dia- 
monds. 70  min. 

April 

GUNS  AT  FORT  PETTICOAT  Audie  Murphy,  Kathryn 
Grant.  Producer  Harry  Joe  Brown.  Director  George 
Marshall.  Western.  Army  officer  organizes  women  to 

fight  off  Indian  attack.  131  min. 

PHANTOM  STAGECOACH.  THE  William  Bishop,  Rich- 
ard Webb.  Producer  Wallace  MacDonald.  Director  Ray 
Nazarro.  Western.  Outlaws  attempt  to  drive  stage 
coach  line  out  of  business.  6?  min. 

TALL  T,  THE  Randolph  Scott,  Richard  Boone,  Maureen 
Sullivan.  A  Scott-Brown  Production.  Director  Budd 
Boetticher.  Western.  A  quiet  cowboy  battles  o  be 
independent.  78  min. 

May 

ABANDON  SHIP  CinemaScope.  Tyrone  Power,  Mai 
Zetterling.  Producer-director  Richard  Sale.  Drama. 
Story  of  a  group  of  people  who  survive  the  sinking 
of  a  luxury  liner.    100  min. 

GARMENT  JUNGLE.  THE  Lee  J.  Cobb,  Kerwin  Mat- 
thews, Richard  Boone.  Producer  Harry  Kleiner.  Di- 
rector Ribert  Aldrich.  Drama.  Dog-ea-dog  world  of 
Manhattan's  clothing  center.  88  min. 

HELLCATS  OF  THE  NAVY  Ronald  Reagan,  Nancy  Davis, 
Arthur  Franz.  Producer  Charles  Schneer.  Director  Na- 
than Juran.  Drama.  Story  of  the  Hellcat  submarines 
during  World  War  II.  82  min.  4/15. 

SIERRA  STRANGER  Howard  Duff,  Gloria  McGhee.  Pro- 
ducer Norman  Herman.  Director  Lee  Sholem.  Western. 
Miner  file  gold  claim  during  the  '49  California  Gold 
Rush.   74  min.  5/13. 

STRANGE  ONE.  THE  Ben  Gauara,  James  Olsen,  George 
Peppard.  Producer  Sam  Spiegel.  Director  James  Gar- 
fein.  Drama.  Cadet  at  military  school  frames  com- 
mander and  his  son.  100  min.  4/15. 

June 

BEYOND  MOMBASA  Technicolor,  CinemaScope.  Cor- 
nell Wilde,  Donna  Reed.  Producer  Tony  Owen.  Direc- 
tor George   Marshall.    Adventure.   Leopard   Men  seek 

to  keep  Africa  free  of  white  men.  90  min. 
BURGLAR,  THE  Dan  Duryea,  Jane  Mansfield,  Martha 
Vickers.  Producer  Louis  Kellman.  Director  Paul  Kend- 
kos.  Melodrama.  Jewel  thieves  plan  theft  of  spiritual- 
ist's valuable  necklace.  90  min.  5/13. 
CALYPSO  HEAT  WAVE  Johnny  Desmond,  Merry  An- 
ders, Meg  Myles.  Director  Fred  Sears.  Musical.  Array 
of  calypso-style  singers.  86  min. 

NIGHT  THE  WORLD  EXPLODED,  THE  Kathryn  Grant, 
William  Leslie.  Producer  Sam  Katzman.  Director  Fred 
Sears.  Science-fiction.  Scientist  saves  world  by  pre- 
venting explosion.    64  min. 

GIANT  CLAW,  THE  Jeff  Morrow,  Mara  Corday.  Pro- 
ducer Sam  Katzman.  Director  Fred  Sears.  Science- 
fiction.  Giant  bird  from  outer  space  threatens  to  de- 
stroy world.  76  min. 

July 

FIRE  DOWN  BELOW  CinemaScope,  Technicolor.  Rita 
Hayworth,  Robert  Mitchum,  Jack  Lemmon.  A  War- 
wick Production.  Director  Robert  Parrish.  Drama. 
Cargo  on  ship  is  ablaze.  Gravity  of  situation  is  in- 
creased by  highly  explosive  nitrate.  116  min. 


20  MILLION  MILES  TO  EARTH  Joan  Taylor,  William 
Hopper.  Science-fiction.  82  minutes. 
TORERO  Luis  Pracuna,  Manolete,  Carlos  Arruza.  Pro- 
ducer Manuel  Ponce.  Director  Carlos  Velo.  Drama. 
A  man's  fight  against  fear.  Bullfight  setting.  75  min. 
27TH  DAY,  THE  Gene  Barry,  Valerie  French.  Producer 
Helen  Aintworfh.  Director  William  Asher.  Science- 
fiof'icwi.  People  from  outer  space  plot  to  destroy  all 
human  life  on  the  earth.  75  min.  5/7. 

August 

YOUNG  DON'T  CRY,  THE  Sal  Mineo,  James  Whitmore. 
Producer  P.  Waxman.  Director  Alfred  Werker.  Drama. 
Life  in  a  southern  orphanage. 

JEANNE  EAGELS  Kim  Novak,  Jeff  Chandler.  A  George 
Sidney  Production.    Drama.    114  min. 
NO    TIME    TO    BE    YOUNG    Robert    Vaughn,  Merry 
Anders.    Drama.    82  minutes. 

TOWN  ON  TRIAL  John  Mills,  Charles  Coburn.  Melo- 
drama.  96  min. 

Coming 

ADMIRABLE  CRICHTON,  THE  Technicolor.  Kenneth 
More.  Diane  Cilento.  Cecil  Parker.  Producer  Ian  Dal- 
rymple.  Director  Lewis  Gilbert.  Drama.  The  story  of  a 
famous  butler  in  the  I900's. 

BROTHERS  RICO  THE  Richard  Conte,  Kathryn  Grant, 
Dianne  Foster.  Producer  Lewis  Rachmil.  Director  Phil 
Karlson.  Drama.  Former  racketeer,  trying  to  go 
straight,  exposes  organization  when  they  push  him  too 
far. 

CASE  OF  THE  STOCKING  KILLER.  THE  John  Mills, 
Charles  Coburn,  Barbara  Bates.  A  Marksman  Produc- 
tion. Director  John  Gillerman.  Insane  man  murders 
beautiful  girl. 

GOLDEN  VIRGIN.  THE  Joan  Crawford,  Rossano  Brazzi, 
Heather  Sears.  John  and  James  Woolf  producers.  Di- 
rector David  Miller.  Unscrupulous  people  exploit  blind 
girl  for  profit. 

KILLER  APE  Johnny  Weissmuller,  Carol  Thurston.  Pro- 
ducer Sam  Katzman.  Director  Spencer  G.  Bennett.  Ad- 
venture drama.  The  story  of  a  giant  half-ape,  half-man 
beast  who  goes  on  a  killing  rampage  until  destroyed 
by  Jungle  Jim.  68  min. 

PAPA,  MAMA,  THE  MAID  AND  I  Robert  Lamoureux, 
Gaby  Morlay,  Nicole  Courcel.  Director  Jean-Paul  Le 
Chanois.  Comedy.  The  lives  of  a  typically  Parisian 
family.  94  min.  9/17. 

PICKUP  ALLEY  Cinemascope.  Victor  Mature.,  Anita 
Ekberg,  Trevor  Howard.  A  Warwick  Production.  Di- 
Ekberg,  Trevor  Howard.  A  Warwick  Production.  Direc- 
tor John  Gilling.  Story  of  international  dope  runners. 
SHE  PLAYED  WITH  FIRE  Jack  Hawkins,  Arlene  Dahl. 
Producers  Frank  Launder-Sidney  Gilliat.  Director  Sid- 
ney Gilliat.  Story  of  an  arsonist. 

SUICIDE  MISSION  Leif  Larson,  Michael  Aldridge,  Atle 
Larsen.  A  North  Seas  Film  Production.  Adventure.  Nor- 
wegian fishermen  smash  German  blockade  in  World 
War  II.  70  min. 

3:10  TO  YUMA  Glenn  Ford,  Felicia  Farr,  Van  Heflin. 
Producer  David  Heilwell.  Director  Delmer  Daves.  West- 
ern. Cowboy  robs  stagecoach  then  poses  as  one  those 
robbed. 


INDEPENDENTS 


March 

UNDEAD,  THE  (American-International)  Pamela  Dun- 
con,  AltUon  Hayet.  Producer-director  Roger  Corman. 

Science-fiction.  A  woman  turns  into  a  witch.  71  min. 
VOODOO  WOMAN  (American-International)  Maria 
English,  Tom  Convcay,  Touch  Connors.  Producer  Alex 
Gordon.  Director  Edward  Cohn.  Horror.  Advenrurees 
seeking  native  treasure  is  transformed  into  monster  by 
jungle  scientist.  75  min. 

WOMAN  OF  ROME  IDCAI  Gina  Lollobrigida.  Daniel 
G-elin.  A  Pontt-DoLaurenflis  Production.  Director  Lulgi 
Zampe  Drama.  Adapted  from  the  Alberto  Moravia 
novel. 

April 

GOLD  OF  NAPLES  IDCA)  Toto,  Sophia  Loren,  Vittorio 
DeSica.  A  Ponti-De  Laurentis  Production.  Director  V. 
De  Sica.  Drama.  4  short  Italian  satires.  I07min.  3/18 
IF  ALL  THE  GUYS  IN  THE  WORLD  .  .  .  IBuena  Vista) 
Andre  Valmy,  Jean  Gaven.  Director  Chrisrlan-Jaque. 
Drama.  Radio  "hams",  thousands  of  miles  apart,  pool 
their  efforts  to  rescue  a  stricken  fishing  boat. 
REACH  FOR  THE  SKY  Rank  Film  Distributors)  Kenneth 
More.  A  J.  Arthur  Rank  Production.  The  story  of  Brit- 
ain's unique  RAF  ace,  Douglas  Bader. 

May 

RAISING  A  RIOT  (Continental)  Technicolor.  Kenneth 
More,  Ronald  Squire,  Jan  Miller.  Director  Wendy  Toye. 
Comedy.  Father  attempts  to  apply  psychology  to  his 
three  children  while  wife  is  away  on  a  visit. 


Film    BULLETIN  —  THIS     IS    YOUR  PtODUCT 


AUGUST  SUMMARY 

The  tentative  number  of  features  sched- 
uled for  August  release  totals  28.  Later 
additions  to  the  roster  should  add  another 
half-dozen  entries.  The  leading  suppliers, 
with  five  films  each,  will  be  20th  Century- 
Fox,  Rank  and  Universal.  Columbia  and 
Metro  will  release  three  each,  while 
Allied  Artists  and  Paramount  will  release 
two  each.  Warner  Bros,  will  release  one 
feature.  Eleven  August  films  will  be  in 
color.  Four  films  will  be  in  CinemaScope, 
three  in  VistaVision,  one  in  Technirama. 
9  Dramas  1  Musical 

2  Westerns  3  Comedies 

2  Melodramas  2  Horror 

7  Adventures  2  Science-fiction 


FOUR  BAGS  FULL  ITrans-Lux)  Jean  Gabin.  Bouvril. 
Comedy.  The  trials  and  tribulations  of  black  market 
operators  during  the  German  occupation. 
FRENCH  ARE  A  FUNNY  RACE,  THE  I  Continental  I 
Martine  Carol,  Jack  Vuchanan.  Noel-Noel.  A  Gaumont 
production.  Comedy.  A  spoof  of  the  unique  personality 
characteristics  of  the  French. 

ROCK  ALL  NIGHT  [American-lnternationall  Dick 
Miller,  Abby  Darton,  Russel  Johnson  Producer-director 
Roger  Gorman.  Rock  n'  rolf  musical.  65  mln 
STRANGER  IN  TOWN  lAstorl  Alex  Nichol,  Anne  Page. 
Producer  Sidney  Roberts.  Director  George  Pollock. 
Melodrama.  A  newspaperman  exposes  the  "perfect 
crime".  74  min. 

June 

REACH  FOR  THE  SKY  I  Rank  I  Kenneth  More,  Muriel 
Pavlow.  Producer  Daniel  M.  Angel.  Director  Lewis 
Gilbert.    106  min. 

BLACK  TIDE  lAstor  Pictures)  John  Ireland,  Maureen 
Connell.  Producer  Monty  Berman.  Director  C.  P.  Rich- 
ards. Melodrama.  Top  fashion  model,  planning  long 
distance  swim  for  publicity,  is  mysteriously  murdered. 
79  min. 

CHECKPOINT  Eastman  Color.  Anthony  Steel,  Odile 
Versois.  Producer  Betty  E.  Box.  Director  Ralph  Thomas. 


ORAGSTR1P  GIRL  I  American-International )  Fay  Spain, 
Steve  Terreil,  John  Ashley.  Producer  Alex  Gordon.  Di- 
rector Edward  Cahn.  Story  of  teen-age  hot  rod  and 
dragstrip  racing  kids.  75  min. 

FRENCH    THEY    ARE   A    FUNNY    RACE.    THE  IConti- 
nental)     Martine    Carol,    Jack    Buchanan,  Noel-Noel. 
Produced  by  Preston  Sturges.    Comedy.    Filmization  of 
a  famous  French  best-selling  novel.  92  min.  5/27. 
INVASION  OF  THE  SAUCER  MEN.  Horror. 
I  WAS  A  TEENAGE  WEREWOLF.  Horror. 
JOHNNY    TREMAIN    (Bueno   Vista)    Technicolor.  Hal 
Stalmaster,    Luana   Patten,  Jeff  York.    A  Walt  Disney 
Production.     Director    Robert    Stevenson.  Adventure. 
A   teen-age   silversmith   turns   freedom   fighter   in  the 
American  War  of  Independence. 

JULIETTA  IKingsley  International!  Jean  Marais,  Dany 
Robin.  Produced  by  Indrusfilms.  Director  Marc  Alle- 
gret.    Comedy.    Filmiiation  of  a  famous  French  novel. 

July 

A  NOVEL  AFFAIR  I  Continental  I  Sir  Ralph  Richardson, 
Margaret  Leighton.  Comedy. 

CARNIVAL  ROCK  (Howco)  The  Platters.  David  Hous- 
ton. A  Howco  Production.  Musical.  80  min. 
OUT  OF  THE  CLOUDS  (Rank)  Eastman  Color.  Anthony 
Steel,  Robert  Beatty.  Producer-director  Michael  Ralph 
and  Basil  Dearden.  Adventure.  75  min. 
TEEN  AGE  THUNDER  (Howco)  Church  Courtney,  Me- 
hnda  Byron.  A  Howco  Production.  Melodrama.  80  min. 
THIRD  KEY,  THE  (Rank)  Jack  Hawkins,  John  Stratton 
Producer  Michael  Balcon.  Director  Charles  Frend 
Melodrama.  83  min. 

TRIPLE  DECEPTION  (Rank)  Technicolor  VistaVision 
Michael  Craig,  Julia  Arnall.  Producer  Vivian  A  Cox 
Director  Guy  Green.  Melodrama.  85  min. 
VALUE  FOR  MONEY  [Rank)  Technicolor,  VistaVision. 
John  Gregson,  Diana  Dors.  Producer  Sergei  Nolban- 
dov.    Director  Ken  Annakin.    Comedy.    83  min. 

August 

AS  LONG  AS  THEY'RE  HAPPY  (Rank)   Eastman  Color. 
Jack    Buchanan,    Janette    Scott.     Producer  Raymond 
Stross.  Director  J.  Lee-Thompson.  Comedy.  70  min. 
A  TOWN  LIKE  ALICE  (Rank)  Virginia  McKenna,  Peter 
LC  98     medy    Producer  JosePn  Janni.  Director  Jack 

GENTLE  TOUCH.  THE  (Rank)  Technicolor  George 
Baker,  BeLinda  Lee.  Producer  Michael  Balcon.  Direc- 
tor Pat  Jackson.  Drama.  86  min. 

BLACK  TENT.  THE  (Rank)  Technicolor,  VistaVision. 
Anthony  Steel,  Donald  Sinden.  Producer  William  Mac- 
Ouitty.  Director  Brian  D.  Hurst.  Adventure.  82  min. 
JACQUELINE  (Rank)  John  Gregson,  Kathleen  Ryan. 
Producer  George  H.  Brown.  Director  Roy  Baker. 
Drama.    92  min. 

NAKED  AFRICA   (American-International)    Color.  Pro- 
duced by  Quentin  Reynolds.  Adventure. 
WHITE    HUNTRESS    I  America  n- 1  nern  at  ion  a  I )    A  Break- 
ston-Stahl  production.  Adventure. 

September 

PURSUIT  OF  THE  GRAF  SPEE  (Rank)  Technicolor, 
VistaVision.  John  Gregson,  Anthony  Quayle.  Producer- 
director   Michael    Powell   &    Emeric    Pressburger.  110 

SPANISH  GARDENER  (Rank)  Technicolor,  VistaVision. 
Dirk  Bogarde,  Jon  Whiteley.  Producer  John  Bryan 
Director  Philpi  Leacock.    95  min. 

AN  ALIIGATOR  NAMED  DAISY  (Rank)  Technicolor 
VistaVision.  Donald  Sinden,  Diana  Dors.  Producer 
Raymond  Stross.    Director  J.  Lee-Thompson.    88  min. 

Coming 

BROTHERS  IN  LAW  (Continental)  Ian  Carmichel,  Rich- 
ard Attenborough,  Jill  Adams.  Producer-director,  the 
Boulting  Bros.  Comedy.  Adventures  of  a  young  lawyer. 
CARTOUCHE  IRKO)  Richard  Basehart,  Patricia  Roc. 
Producer  John  Nasht.  Director  Steve  Sekely.  Adventure. 
The  story  of  a  lusty  adventurer  during  the  reign  of 
Louis  XVI. 

CITY  OF  WOMEN  (Associated)  Osa  Massen,  Robert 
Hutton,  Maria  Palmar.  Producer-director  Boris  Perroff. 
Drama.  From  a  noval  by  Stephen  Longitreat. 
LOST  CONTINENT  IIFE)  CinemaScope,  Farranieolor. 
Producer-director  Leonardo  Bonii.  An  excursion  into  the 
wilds  of  Borneo  and  the  Maylayan  Archapelago.  Eng- 
lish commentary.  86  min. 


MAID  IN  PARIS  (Continental)  Dany  Robin.  Daniel 
Gelm.  Directed  by  Gaspard  Huit.  Comedy.  A  daughter 
rebels  against  her  actress  mother. 

NEAPOLITAN  CAROUSEL  IIFEi  iLux  Film,  Rome)  Pathe- 
eoior.  Print  by  Technicolor.  Sophia  Loren.  Leonide 
Massina.  Director  Ettore  Giannini.  Musical.  The  history 
of  Naples  traced  from  H00  to  date  in  song  and  dance. 
PERRI  (Bueno  Vlsto)  Technicolor.  A  true-life  fantasy 
by  Walt  Disney.  The  life  story  of  a  Pine  Squirrel 
named  "Perri". 

REMEMBER.  MY  LOVE  (Artists-Producers  Assoc. I  Cine- 
maScope, Technicolor.  Michael  Redgrave,  Mel  Ferrer, 
Anthony  Quale.  Musical  drama.  Producer-director 
Michael  Powell,  Emeric  Pressburger.  Based  on  Strauss' 
"Die  Hedermaus". 

SMOLDERING  SEA.  THE  Superscope.  Producer  Hal  E. 
Chester.  Drama.  Conflict  between  the  tyrannical  cap- 
tain and  crew  of  an  American,  merchant  ship  reaches 
its  climax  during  battle  of  Guadalcanal. 


METRO-GO  LDWYN  -  MAYER 


March 

LIZZIE  Eleanor  Parker,  Richard  Boone,  Joan  Btondall. 
Producer  Jerry  Bresster.  Director  Hugo  Haas.  Drama. 
A  young  girl  lives  three  different  lives.  81  min.  3/4 
TEN  THOUSAND  BEDROOMS  CinemaScope,  Metro- 
Color.  Dean  Martin,  Anna  Maria  Alberghetti.  Producer 
Joseph  Pasternack.  Director  Richard  Thorpe.  Musical. 
A  hotel  tycoon  falls  in  love  with  a  lovely  Italian  girl. 
114  min.  2/18. 

A  pril 

DESIGNING  WOMAN  CinemaScope,  MetroColor. 
Gregory  Peck,  Lauren  Bacall.  Producer  Dore  Schary. 
Director  Vincente  Minnelli.  Comedy.  Ace  sportswriter 
marries  streamlined  blond  with  ideas.  117  min.  3/4 
VINTAGE,  THE  MetroColor.  Pier  Angeli,  Mel  Ferrer, 
Leif  Erickson.  Producer  Edwin  Knoph.  Director  Jeffrey 
Hayden.  Drama.  A  conflict  between  young  love  and 
mature  responsibility.    92  min.  3/18. 

May 

LITTLE  HUT,  THE  Eastman  Color.  Ava  Gardner.  Stewart 
Granger.  Producers  F.  Hugh  Herbert.  Director  Mark 
Robson.  Comedy.  Husband,  wife  and  wife's  lover  are 
marooned  on  a  tropical  isle.  90  min.  5/27. 
TARZAN  AND  THE  LOST  SAFARI  Technicolor.  Gordon 
Scott  Robert  Beatty.  A  Sol  Lesser  Production.  Director 
Bruce  Humberstone.  Adventure.  Tarzan  rescues  safari 
lost  in  deepest  Africa.  80  min.  3/18. 

THIS  COULD  BE  THE  NIGHT  Jean  Simmons,  Paul 
Douglas.  Producer  Joe  Pasternak.  Director  Robert 
Wise.  Comedy.  A  girl  fresh  out  of  college  gets  a 
job  as  secretary  to  an  ex-bootlegger.   103  min.  4/15. 

June 

SEVENTH  SIN,  THE  CinemaScope.  Eleanor  Parker,  Bill 
Travers,  George  Sanders.  Producer  David  Lewis.  Di- 
rector Ronald  Neame.  Drama.  Story  of  an  adulterous 
woman.  94  min. 

SOMETHING  OF  VALUE  Rock  Hudson,  Dana  Wynter. 
Wendy  Hitler.  Producer  Pandro  Berman.  Director 
Richard  Brooks.  Drama.  Stry  of  a  Mau  Mau  uprising 
in  Kenya,  East  Africa.  113  mm.  5/13. 

July 

MAN  ON  FIRE  Bing  Crosby,  Mary  Fickett.  Inger 
Stevens.  Producer  Sol  Siegel.  Director  R.  MacDougall. 
Drama.  The  effect  of  divorce  on  a  boy  and  his  es- 
tranged parents.    95  min. 

SILK  STOCKINGS  MetroColor,  CinemaScope.  Fred  As- 
taire,  Cyd  Charrise,  Janis  Page.  Producer  Arthur 
Freed.  Director  R.  Mamoullian.  Musical.  Russian  girl 
falls  in  love  with  an  American  film  producer  in  Paris. 
1 1 7  min. 

August 

DECISION  AGAINST  TIME  Jack  Hawkins,  Elizabeth 
Sellars.  Producer  M.  Balcon.  Director  C.  Crichton. 
Adventure.  Test  pilot  attempts  to  land  disabled  plane. 
87  min. 

GUN  GLORY  CinemaScope,  MetroColor.  Stewart 
Granger,  Rhonda  Fleming.  Producer  N.  Nayfack.  Di- 
rector Roy  Rowland.  Western.  Ex-outlaw  is  tormented 
by  his  former  reputation  as  a  killer.  89  min. 
TIP  ON  A  DEAD  JOCKEY  Robert  Taylor,  Dorothy  Ma- 
lone,  Gia  cala.  Producer  Edwin  Knoph.  Director  Rich- 
ard Thorp.  Melodrama.  International  police  track 
down  smugglers.   109  min. 

Coming 

ACTION  OF  THE  TIGER  CinemaScope.  Eastman  Color. 
Van  Johnson,  Martine  Carol.  Gustave  Rojo.  A  Claridge 
Production.  Drama.  Beautiful  girl  seeks  help  of  con- 
traband runner  to  rescue  brother  from  Communists. 
HAPPY  ROAD,  THE  Gene  Kelly,  Michael  Redgrave, 
Barbara  Laage.  A  Kerry  Production.  Directors,  Gene 
Kelly,  Noel  Coward.  Drama.  Two  children  run  away 
from  boarding  hchool  to  find  their  respective  parents. 
100  min.  2/4. 

HOUSE  OF  NUMBERS  CinemaScope.  Jack  Palance, 
Barbara  Lang.  Producer  Charles  Schnee.  Director 
Russell  Rouse.  Law-abiding  citizen  attempts  to  engi- 
neer San  Quenr'n  escape  for  his  brother. 
LIVING  IDOL,  THE  CinemaScope,  Eastman  Color. 
Stave  Forrest,  Lilliane  Montevecchi.  Producer-director 
Al  Lawin.  Drama.  An  archeologist  is  faced  with  an  un- 
worldly situation  that  threatens  the  safety  of  his 
adopted  daughter.    101  min.  5/13. 

RAINTREE  COUNTY  MetroColor,  CinemaScope  65. 
Elizabeth  Taylor,  Montgomery  Clift.  Producer  David 
Lewis.  Director  Edward  Dymtryke.  Drama.  Life  in  Indi- 
ana during  the  middle  1800  s. 


PARAMOUNT 


March 

FEAR  STRIKES  OUT  Anthony  Perkins,  Karl  Maiden, 
Norma  Moore.  Producer  Aiao  Pakula.  Director  Perry 
Wilson.   Drama.   Story  of  the   Boston   baseball  player. 

100  min.  2/18. 

Atpril 

FUNNY  FACE  VistaVision,  Technicolor.  Audsey  Hep- 
burn, Fred  Astaire,  Kay  Thompson.  Producer  Roaer 
Edens.  Director  Stanley  Danen.  Musical.  Photographer 
plucks  fashiofl  model  from  Greenwich  yrUage  bookshop. 
Itn  min.  2/18. 

May 

BUSTER  KEATON  STORY,  THE  VistaVision,  Technicolor. 
Donald  O'Connor,  Ann  Blyth,  Rhonda  Ftemlng.  Pro- 
ducers Robert  Smith,  Sidney  Sheldon.    Director  Sidney 

Sheldon.  Drama.  Life  of  the  great  comedian.  91  min. 
4/15. 

GUNFIGHT  AT  O.K.  CORRAL  VistaVision.  Technicc  -r. 
Burt  Lancaster,  Kirk  Douglas,  Rhonda  Flemina.  Pro- 
ducer Hal  Wallis.  Director  John  Sturges.  Western. 
Drunken   badman   hunts  for   murderer  of   his  cheating 

brother.  122  min.  5/27. 

June 

LONELY  MAN,  THE  VistaVision,  Technicolor.  Jack  Pa- 
lance, Anthony  Perkins,  Elaine  Aiken.  Producer  Pat 
Duggan.  Director  Henry  Levin.  Western.  A  gunfighter 

finds  he  is  losing  his  sight — and  his  aim.  87  min.  5/27. 

July 

BEAU  JAMES  VistaVision,  Technicolor.  Bob  Hope.  Pro- 
ducer Jack  Rose.  Director  Michael  Moore.  Drama. 
Biography  of  the  famous  Jimmy  Walker,  mayor  of  N  Y. 

from  1925  to  1932.  105  min.  6/24 

DELICATE  DELINQUENT.  THE  Jerry  Lewis,  Darren  Me- 
Gavin,  Martha  Hyar.    Producer  Jerry  Lew($.  Director 

Don  McGuire.  Drama.  Janitor  longs  to  be  police  offi- 
cer so  he  can  halp  delinquents.  101  min. 

August 

LOVING  YOU  VistaVision.  Technicolor.  Elvis  Presley, 
Lizabeth  Scott.  Wendell  Corey.  Producer  Hal  Wallis. 
Musical.  Director  Hal  Kanter.  Small-town  boy  makes 
good  in  big-time  show  business.  101  mln. 
OMAR  KHAYYAM  VistaVision,  Technicolor.  Cornel 
Wilde  Michael  Rennie,  Debra  Paget.  Producer  Frank 
Freeman  Jr.  Director  William  Dieterle.  Adventure- 
The  IHe  and  times  of  medieval  Persia's  literary  idol. 
103  min. 

Coming 

HAIRPIN  DEVIL'S,  THE  VistaVision,  Technicolor.  Cornel 
Wilde  Jean  Wallace,  Mary  Astor.  Producer-director 
Cornel  Wilde.  Adventure.  Story  which  deals  with 
sports  car  racing. 

HOT  SPELL  VistaVision  Shirley  Booth,  Anthony  Quinn, 
Shirley  MacLaine.  Producer  Hal  Wallis.  Director  Dan- 
iel Mann.  Drama.  The  disintegration  of  a  Southern 
family  during  a  torrid  heat  wave. 

JOKER  IS  WILD,  THE  VistaVision,  Technicolor.  Frank 
Sinatra,  Mitii  Gaynor,  Jeanne  Crain.  Producer  Samuel 
Briskhv  Director  Chiles  Vtdor.  Drama.  Rim  biography 
of  Joe  E.  Lewis,  nightclub  comedian. 
MANUELA  Trevor  Howard,  Elsa  Martinell,  Pedro  Ar- 
mendariz.  Director  Guy  Hamilton.  Drama.  A  beautiful 
girl  stows  away  on  a  tramp  steamer. 

SHORT  CUT  TO  HELL  VistaVision.  Robert  Ivers,  Wil- 
liam Bishop,  Georgann  Johnson.  Producer  A.  C.  Lyles. 
Director  James  Cagney.  Drama. 

SPANISH  AFFAIR  VistaVision,  Technicolor.  Carmen 
Sevilla,  Richard  Kiley.  Producer  Bruce  Odium.  Director 
Donald  Siegel.  An  American  architect  travelling  in 
Spain  is  attracted  to  a  beautiful  girl.  half-Gypsy,  half- 
Spanish. 


Film 


BULLETIN—  THIS     IS     YOUR  PRODUCT 


TIM  COMMANDMENTS,  THE  VistaVision,  T.chnieolor. 
Charlton  Heston,  Yul  8rynn*r  Ann*  lax**>\  Producer- 
director  Cecil  B.  DeMille.  Religious  drama.  Lift  itorv 
of  Moses  as  told  in  the  Bible  and  Koran.  219  min.  10/15 
TIN  STAR,  THE  VistaVision.  Henry  Fonda,  Anthony 
Perkins.  A  Pertrierg-Seaton  Production.  Director  An- 
thony Mann.  V-stern. 


REPUBLIC 


March 

HELL'S  CROSSROADS  Naturama.  Stephen  McNally, 
Peggie  Castle,  Robert  Vauhgn.  Producer  Rudy  Ral- 
ston. Director  Franktin  Adreon.  Western.  Outlaw  cow- 
boy reforms  after  joining  Jesse  James'  gang.  73  min. 


A  pril 


MAN  IN  THE  ROAD,  THE  Derek  Farr,  Ella  Raines. 
Producer  Charles  Leeds.  Director  Lance  Comfort. 
Drama.  A  spy  ring  attempts  to  obtain  atomic  secrets 
through  the  use  of  "mental  persuasion."  83  min. 

SPOILERS  OF  THE  FORREST  Trucolor,  Narurama.  Vera 
Ralston,  Rod  Cameron.  Producer-director  Joe  Kane. 
Drama.  An  unscrupulous  lumberman  tries  to  coerce  the 
owners  of  a  large  forest  acreage  into  cutting  their 
timber  at  a  faster  rate.  68  min. 


May 


LAWLESS  EIGHTIES.  THE  Naturama.  Buster  Crabbe, 
John  Smith,  Marilyn  Saris.  Producer  Rudy  Ralston. 
Director  Joe  Kane.  Western.  Circuit  rider  prevents 
Indian  uprising.  70  min. 

TIME  IS  MY  ENEMY  Dennis  Price,  Renee  Asherson. 
Producer  Roger  Proudlock.  Director  Don  Chaffey. 
Melodrama.  The  story  of  a  blackmailed  blackmailer. 
44  min. 

WEAPON,  THE  Steve  Cochran,  Lizabeth  Scott,  Nicole 
Maurey.  Producer  Hal  Chester.  Director  Val  Guest. 
Drama.  An  unsolved  murder  involving  a  child  and  a 
loaded  gun.  70  min. 


June 


JOURNEY  TO  FREEDOM  Jacques  Scott,  Geneviv  Au- 
mont,  George  Graham,  Morgan  Lane.  Drama.  Bul- 
garian escapes  from  behind  the  Iron  Curtain.  64  min. 

PAWNEE  Trucolor.  George  Montgomery,  Bill  Williams, 
Lola  Albright.  A  Groos-Krasne  Production.  Director 
George  Wagner.  Western.  Calvary  puts  down  high- 
riding  Pawnee  Indians. 


July 


BEGINNING  OF  THE  END  [AB-PT)  Peter  Graves, 
Peggie  Castle,  Morris  Ankrum.  Producer-direc?  Dr  Bert 
Gordon.  Horror. 

TAMING    SUTTON'S    GAL    Naturama.     John  Lupton, 
Jack  Kelly,   May  Wynn.    Drama.    A  young   bank  clerk 
finds  a  gal  in  the  back  hill  country  of  California. 
WEST  OF  SUEZ  Trucolor.     John   Bently,   Vera  Fusek, 
Martin  Boddy.  Melodrama. 

LAST  STAGECOACH  WEST  Naturama.  Jim  Davis, 
Mary  Castle,  Victor  Jory.  Producer  Rudy  Ralston.  Di- 
rector Joe  Kane.  Western.  Outlaws  are  stopped  by 
railroad  detective. 


THE  BIG  SEARCH  Color.  Drama. 

UNEARTHLY,  THE  IAB-PT)  John  Carradine,  Allison 
Hayes.   Myron  Healy.   Producer-director  Brooks  Peters. 


20TH  CENTURY-FOX 


March 


HEAVEN  KNOWS  MR.  ALLISON  CinemaScope  De  Luxe 
Color.  Deborah  Kerr,  Robert  Mitctium.  Producer! 
Euddy  Adker,  Eugene  Frenke.  Director  John  Hurron. 
Drama.  Soldier  is  saved  by  nun  in  South  Pacific  during 

World  War  II  93  min.  3/18. 

RIVER'S  EDGE,  THE  CinemaScope,  Color.  Ray  Mllland, 
Anthony  Quinn,  Debra  Paget.  Producer  fienidlct 
Bogeaos.  Director  Allan  Dwan.  Adventure.  Story  of  a 
>rofesstonal  Mller. 

STORM  RIDER,  THE  Scott  Brady,  Mala  Powers.  A 
Brady-Glatser  production.  Director  Edward  Bernd*. 
Western.  A  dust  storm  brings  a  stranger  to  a  small 

western  town.  70  min. 


April 


BOY    ON   A   DOLPHIN   CinemaScope,    DeLuxe  Color. 
Clifton  Webb   Alan  Ladd,  Sophia  Loren.  Producer  Sam 
Engel.    Director   Jean    Negulesco.    Comedy.  Romantic 
tale  with  a  Greek  background.    Ill  min. 
BREAK   IN  THE   CIRCLE   Forrest  Tucker,    Eva  Bartok. 
Story  of  escape  from  Iron  Curtain.  69  min. 
KRONOS  Jeff  Morrow,  Barbara  Lawrence,  John  Emery. 
Producer-director   Kurt   Neumann.   Drama.   A  "planet- 
robber"  comes  to  earth  from  outer  space.    78  min. 
SHE-DEVIL,  THE   Mari    Blanchard,   Jack   Kelly,  Albert 
Dekker.    Producer-director    Kurt    Neumann.  Scientists 
create  an  inhuman  woman.    77  min. 


May 


DESK  SET  Spencer  Tracy,  Katharine  Hepburn.  Producer 
Henry  Sphron.  Director  W.  Lang.  Filmiiation  of  the 
famous  Broadway  comedy.  Story  of  a  secretary  and 
her  boss.    103  min.  5/13. 

WAY  TO  THE  GOLD,  THE  Sheree  North,  Barry  Sullivan, 
Jeffrey  Hunter.  Producer  David  Weisbart.  Director  R. 
Webb.    Ex-convict  attempts  to  recover  stolen  treasures. 


BADLANDS  OF  MONTANA  Rex  Reason,  Margia  Deane, 
Beverly  Garland.  Producer  H.  Knox.  Director  D.  Ull- 
man.    Outlaw  takes  over  as  town  marshal.    79  min. 

CHINA  GATE  Nat  "King"  Cole,  Gene  8arry,  Angle 
Dickinson.  Producer-director  S.  Fuller.  Drama.  Love 
and  war  in  Indo-China.  97  min. 


June 


naicope, 

James  Mason,  Joan  Fontaine,  Dorothy  Dandridge.  Pro- 
ducer Darry.1  Zanuek.  Director  Robert  Roisen.  Drama. 

Love  politics  and  the  labor  movement  clash  in  the 
British  West  Indies.  122  min.  6/24 

LURE  OF  THE  SWAMP  William  Parker,  Skippy  Homeir. 
Marshall  Thompson.  Melodrama.  Gangster  hides  out 
in  swamp  to  escape  police.  74  min. 

TWO  GROOMS  FOR  A  BRIDE  Virginia  Bruce,  John 
Carroll.  Producer  Robert  Baker,  Monty  Berman.  Direc- 
tor Henry  Cass.  Comedy. 

WAYWARD  BUS  CinemaScope  Jayne  Mansfield,  Dan 
Dailey,  Joan  Collins,  Rick  Jason.  Producer  Chares 
Brackett.  Director  Victor  Vicas.  From  the  John  Stein- 
beck novel.  Drama.  89  min. 


July 


ABDUCTORS,  THE  Victor  McLaglen,  Fay  Spain,  Carl 
Thayler.  Producer  R.  Wander.  Director  A.  McLaglen. 
Adventure.  Tale  of  a  plot  to  steal  Aleraham. 

A  HATFUL  OF  RAIN  CinemaScope.    Eva  Marie  Saint, 
Don  Murray,  Tony  Franciosa.    Producer  Buddy  Adler. 
Director   Fred  Zinneman.   Drama.   A  dope   addict  de- 
cides to  shake  the  habit.  109  min.  6/24. 

AN  AFFAIR  TO  REMEMBER  CinemaScope  DeLuxe 
Color.  Cary  Grant,  Deborah  Kerr.  Producer  Jerry 
Wald.  Director  Leo  McCarey.  Comedy.  Notorious 
bachelor  falls  for  night  club  singer. 

BERNARDINE  CinemaScope,  Deluxe  Color.  Terry  Moore, 
Pat  Boone,  Janet  Gaynor.  Producer  Sam  Engel.  Direc- 
tor H.  Levin.  Comedy.  Story  of  teenagers.  Filmiiation 
of  the  Broadway  comedy. 

GOD  IS  MY  PARTNER  Walter  Brennan,  John  Hoyt, 
Marion  Ross.  Producer  S.  Hersh.  Director  W.  Claxton. 
Drama. 


August 


BACK  FROM  THE  DEAD  Science-fiction. 

SEAWIFE  CinemaScope,  Deluxe  Color.  Richard  Bur- 
ton, Joan  Collins.  Producer  Andre  Hakim.  Director  Bob 

McNaught.  Drama.  Ship  is  torpedoed  by  Jap  sub- 
marine off  Singapore  harbor.    82  min. 

UNKNOWN  TERROR,  THE  Horror. 

WILL  SUCCESS  SPOIL  ROCK  HUNTER  CinemaScope, 
DeLuxe  Color.  Jayne  Mansfield,  Clifton  Webb,  Tony 
Randall.  Producer-director  Frank  Tashlin.  Comedy. 
Filmization  of  the  Broadway  play. 


Coming 


BEAUTIFUL  BUT  DANGEROUS  Gina  LoHobrigida,  Vit- 
torio  Gassman.  Producer  Manuella  Malotti.  Director 
Robert  Leonard.  Drama. 


RESTLESS  BREED,  THE  Eastman  Color.  Scott  Brady, 
Anne  Bancroft.  Producer  E.  A.  Alperson.  Director  Alan 

Dwan.  Story  of  a  restless,  banned  town.  81  min.  5/27. 

SUN  ALSO  RISES,  THE  CinemaScope,  DeLuxe  Color. 
Ava  Gardner,  Mel  Ferrer,  Tyrone  Power.  Producer  D. 
Zanuck.  Director  Henry  King.  From  Ernest  Heming- 
way's famous  novel. 

THREE  FACES  OF  EVE,  THE  David  Wayne,  Joanne 
Woodward.  Producer  Nunnally  Johnson.  Story  of  a 
woman  with  three  distinct  personalities. 


UNITED  ARTISTS 


February 


CRIME  OF  PASSION  Barbara  Stanwyck,  Sterling 
Hayden,  Raymond  lurr.  Producer  Herman  Cohen.  Di- 
rector Gerd  Oswald.  Drama.  Newspaper  woman  whose 

ambition  for  her  husband  leads  to  murder.  85  min.  1/7. 

DRAWGO  Jeff  Chandler,  Joanne  Dtu.  An  Earlmar  Pro- 
duetion.  Hall  Barflett  producer-director.  Adventure. 
Union  officers  try  to  bring  order  to  a  Southern  town 
after  the  Civil  War.  92  min. 

MEN  IN  WAR  Robert  Ryan,  Aldo  Ray,  Robert  Keith. 
Producer  Sidney  Harmon.  Director  Anthony  Mann. 
Drama.  An  American  infantry  platoon  Isolated  in  enemy 
territory    tries    to   retreat   during   the    Korean  War. 

101  min.  2/4. 

PHAROAH'S  CURSE  Zlva  Shapir,  Mark  Dana.  Producer 
Howard  Koch.  Director  Lee  Sholem.  Horror.  Reincar- 
nation of  mumm'es  in  Egyptian  tombs.  66  min.  2/18 

TOMAHAWK  TRAIL  John  Smith,  Susan  Cummings.  A 
Bel  Air  Production.  Director  Robert  Parry.  Western. 
Cowboy  versus  Indians,  A  small  band  of  cavalry 
soldiers,  greatly  outnumbered,  battles  with  Apache 
Indians  at  dose  of  the  Civil  War.  61  min. 
VODOO  ISLAND  Boris  Karloff,  Bevejly  Tyler.  A  Bel 
Air  Production.  Director  Reginald  Le  Borg.  Horror. 
Writer  is  called  upon  to  investigate  vodooism  on  a 
Pacific  isle.  76  min.  6/24. 


March 

DELINQUENTS,  THE  Tommy  Laughlin,  Peter  Miller, 
Dick  Bakalyan.  Imperial  Productions.  Robert  Airman 
director.  High  school  student  and  his  girl  victimized 

by  a  teen-age  gang.  75  min.  3/18. 

HIT  AND  RUN  Cieo  Moore,  Hugo  Haas.  Producer,  di- 
rector Hugo  Haas.  Middle-aged  widower  marries  show 
girl.  She  and  her  boy  friend  plot  his  murder.  84  min. 
REVOLT  AT  FORT  LARAMIE  DeLuxe  Color.  John 
Dehner,  Diana  Brewster.  Producer  Howard  Koch.  Di- 
rector Lesley  Selander.  Western.  Civil  War  story  of 
soldiers  who  are  attacked  by  Indians.  73  mm. 
SPRING  REUNION  Betty  Hutton,  Dana  Andrews,  Jean 
Hagen.  Director  Robert  Pirosh.  Producer  Jerry  Bresler. 
Comedy.  Old  schoolmates  fall  in  love  at  a  high  school 
reunion.  79  min.  3/18. 


April 


BACHELOR  PARTY,  THE  Don  Murray,  E.  G.  Marshall, 
Jack  Warden.  Producer  Harold  Hecht.  Director  Delbert 
Mann.  Drama.  From  the  famous  television  drama  by 
Paddy  Chayefsky.  92  min.  4/15. 

FURY  AT  SHOWDOWN  John  Derek,  Carolyn  Craig, 
Nick  Adams.  Producer  John  Beck.  Director  Gerd  Os- 
wald. Western.  Ex-bandit  finds  tough  going  when  he 
tries  to  go  straight.  75  min.  3/18. 

IRON  SHERIFF,  THE  Sterling  Hayden,,  John  Dehner, 
Constance  Ford.   Producer  Jerome   Robinson.  Director 

Sidney  Salkow.  Sheriff  tries  to  clear  his  son  of  a 
murder  charge.  73  min. 

RIDE  BACK,  THE  Anthony  Quinn,  William  Conrad.  An 
Aldrich  Production.  Director  Allen  Miner.  Western. 
Sheriff  is  afraid  of  failing  in  assignment  to  bring 
border  outlaw  to  justice.  79  min.  5/13. 
12  ANGRY  MEN  Henry  Fonda,  Lee  J.  Cobb.  Jack 
Warden.  An  Orion-Nova  Production.  Director  Sidney 
Lumet.  Drama.  Jury  cannot  agree  on  a  verdict.  95 
min.  3/4 

WAR  DRUMS  DeLuxe  Color.  Lex  Barker,  Joan  Taylor, 
Ben  Johnson.  Director  Reginald  LeBorg.  Apache  chief 
and  his  white  wife  wgae  war  on  white  settlers.  75  mm. 
4/1. 

May 

BAILOUT  AT  43,000  John  Payne,  Karen  Steele.  A  Pine- 
Thomas  Production.  Director  Francis  Lyon.  U.S.  Air 
Force  pioneers  bailout  mechanism  for  jet  pilots.  83  mm. 
CIRL  IN  BLACK  STOCKINGS,  THE  Lex  Barker,  Anne 
Bancroft,  Mamie  Van  Doren.  A  iel-Air  Production.  Di- 
rector Howard  Koch.  Drama.  A  series  of  sex  slayings 
terrorize  western  resort.    73  min. 

GUN  DUEL  IN  DURANGO  George  Montgomery.  Pro- 
ducer Robert  Kent.  Director  S.  Salkow.  Western. 
Outlaw  attempts  to  go  straight.  73  min.  5/27. 
HIDDEN  FEAR  John  Payne,  Natalie  Norwick.  A  St. 
Aobrey-Kohn  Production.  Director  Andre  de  Toth. 
Drama.  Police  officer  attempts  to  clear  sister  charged 
with  murder.  83  min. 

MONKEY  ON  MY  BACK  Cameron  Mitchell,  Dianne  Fos- 
ter. Producer  Edward  Small.  Director  Ted  Post.  Drama. 
Life  story  of  ex-boxing  champion  Barney  Ross.  93  min. 
MONTE  CARLO  STORY,  THE  Technirama,  Color.  Mar- 
lene  Dletrjeh,  Vittorio  De  Sica.  A  Titanus  Film.  Sam 
Taylor  director.  Drama.  A  handsome  Italian  nobleman 
with  a  love  for  gambling  mar  ' 
order  to  pay  his  debts.    100  min 


a   rich  woman  in 


June 


BAYOU  Peter  Graves,  Lita  Milan.  Executive  producer 
M.  A.  Ripps.  Director  Harold  Daniels.  Drama.  Life 
among  the  Cajuns  of  Louisiana. 

BIG  CAPER,  THE  Rory  C*lho«nd.  Mary  Costa.  Pine- 
Thomas    Production.    Director    Robert    Stevens.  Multi- 
million  dollar  payroll  robbery.    Melodrama.    84  mm. 
MONSTER  THAT  CHALLENGED  THE  WORLD,  THE  Tim 

Holt  Audrey  Dalton.  Producers  Jules  Levy,  Arthur 
Gardner.  Director  Arnold  Laven.  Science-fiction.  Group 
of  Navy  scientists  battle  a  pre-historic  sea  monster. 
ST.  JOAN  Richard  Widmark,  Jean  Seburg.  Producer- 
director  Otto  Preminger.  Drama.  Filmization  of  George 
Bernard  Shaw's  famous  classic.  110  min.  5/27. 
SWEET  SMELL  OF  SUCCESS,  THE  Burt  Lancaster  Tony 
Curtis  Susan  Harrison.  Producer  James  Hill.  Director 
Alexander  Msckendrick.  Drama.  Story  of  a  crooked 
newspaperman  and  a  crooked  p.r.  man.  100  mm.  6/24. 
TROOPER  HOOK  Joel  McCrea,  Barbara  Stanwyck,  Ed- 
ward Andrews.  Producer  Sol  Fielding.  Director  Marquis 
Warren.  Drama.  A  white  woman,  forced  to  live  as  an 
Indian  Chief's  squaw,  is  finally  rescued  and  tries  to 
resume  life  with  husband.  81  min. 

VAMPIRE.  THE  John  Beal,  Coleen  Gray.  Producers 
Arthur  Gardner,  Jules  Levy.  Director  Paul  Landres. 
Science-fiction.  Doctor  accidentally  takes  pills,  changes 
into  vampire. 


July 


BOP  GIRL  GOES  CALYPSO  Judy  Tyler,  Bobby  Troup. 
Margo  Woode.  Producer  Aubrey  Schenk.  Director  How- 
ard Koch.  Musical.  Rock  and  roll-calypso  cavalcade  of 
musical  numbers. 

PRIDE  AND  THE  PASSION.  THE  VistaVision,  Techni- 
color. Cary  Grant,  Frank  Sinatra,  Sophia  Loren.  Pro- 
ducer-efirector  Stanley  Kramer.  Drama.  A  Spanish 
guerrilla  band  marches  an  incredible  distance  with  a 
6000  pound  cannon  during  Spanish  War  of  Independ- 
ence of  1810. 


U  L  L  E  T  I  N 


THIS     IS    YOUR  PRODUCT 


OUTLAW'S  SON  Dane  Clark,  Ben  Cooper,  Lori  Nel- 
son. Bel  Ajr  Production.  Director  Lesley  Selander.  Gun- 
sllnger  escapee  from  jail  to  save  son  from  life  of 
crime. 


July 


A  pril 


Coming 


CALYPSO  ISLAND  Marie  Windsor,  Vince  Edwards.  Pro- 
ducer-director William  Berke.  Musical.  Calypso  film 
filmed  in  the  Bahama  Islands. 

CARELESS  YEARS.  THE  Natalie  Trundy,  Dean  Stock- 
well.  Producer  Edward  Lewis.  Director  Arthur  Hiller. 
Drama.  Two  lovers  meet  parental  resistance  when  they 
decide  to  get  married. 

FUZZY  PINK  NIGHTGOWN.  THE  Jane  Russell,  Keenan 
Wynn,  Ray  Danton.  Producer  Bob  Waterfield  Director 
Norman  Taurog.  The  story  of  a  Hollywood  star  who 
is  kidnapped. 

GUNSIGHT  RIDGE  Joel  McCrea.  Mark  Stevens.  Pro- 
ducer Robert  Bassler.  Director  Francis  Lyon.  Western. 
Stranger  discovers  respected  citizen  is  really  a  holdup 
man. 

HELL  BOUND  John  Russel,  June  Blair.  Producer  How- 
ard Koch.  Director  William  Hole,  Jr.  Melodrama. 
Story  of  a  conspiracy  to  hijack  a  shipment  of  narcotics. 

JUNGLE  HEAT  Lex  Barker,  Mari  Blanchard.  A  Bel-Air 
Production.  Director  H.  Koch.  Japanese  saboteurs  in 
Hawaii  prior  to  WWII. 

LEGEND  OF  THE  LOST  John  Wayne,  Sophia  Loren, 
Rossano  Brazzi.  Producer-director  Henry  Hathaway.  Ad- 
venture   Sea.rch  for  treasure  in  the  Sahara.. 

OUIET  AMERICAN  Audie  Murphy.  Michael  Redgrave, 
Claude  Dauphin.  Figaro  Production.  Director  Joseph 
Mankiewici.  Drama.  Story  set  against  the  recent 
fighting  in  IndoChina. 

SAVAGE  PRINCESS  Technicolor.  Dilip  Kumar,  Nimmi. 
A  Mehboob  Production.  Musical  Drama.  A  princess 
falls  in  love  with  a  peasant  who  contests  her  right 
to  rule  the  kingdom.  101  min. 

STREET  OF  SINNERS  George  Montgomery,  Geraldine 
Brooks.  Producer  William  Berke.  Rookie  policeman 
clashes  with  youthful  criminals. 

VALERIE  Sterling  Hayden.  Anita  Ekberg,  Anthony  Steel. 
Producer  Hal  Makelim.  Director  Gerd  Oslwald.  West- 
ern. The  story  of  a  murder  trial  in  a  western  town. 


U  N  I  VERSA  L- 1  NT'  L 


March 

BATTLE  HYMN  Technicplor,  CinemaScope.  Rock  Hud- 
son, Martha  Hyer,  Dan  Duryea.  Producer  Ross  Hunter. 
Director  Douglas  Sirk.  Drama.  Pilot  redeems  sense  of 
guilt  because  of  bombing  of  an  orphanage  by  saving 
other  orphans.  108  min.  12/24. 

GUN  FOR  A  COWARD  astman  Color,  CinemaScope. 
Fred  MacMurray,  Jeffrey  Hunter,  Janice  Rule.  Pro- 
ducer William  Alland.  Director  Abner  Biberman.  Wes- 
tern. Three  brothers  run  a  cattle  ranch  after  death  of 
their  father.  88  min.  1/7. 

MISTER  CORY  Eastman  Color,  CinemaScope.  Tony 
Curtis,  Martha  Hyer,  Charles  Bickford.  Producer 
Robert  Arthur.  Director  Blake  Edwards.  Drama.  Gam- 
bler from  Chicago  sjums  climbs  to  wealth  and  re- 
spectability. 92  min.  1/21. 


A  pril 


INCREDIBLE  SHRINKING  MAN,  THE  Grant  Williams, 
Randy  Stuart.  Producer  Albert  Zugsmith.  Director  Jack 
Arnold.    Science-fiction.    The    story   of    a    man  whose 


KELLY  AND  ME  CinemaScope,  Technicolor.  Van  John- 
ion,  Piper  Laurie,  Martha  Hyer.  Producer  Robert  Ar- 
thur. Director  Robert  Leonard.  Drama.  Story  of  dog- 
act  in  show  business  in  the  early  I930*s.  2/4. 

TATTERED  DRESS,  THE  CinemaScope.  Jeff  Chandler, 
Jeannie  Crain,  Jack  Carson.  Producer  Albert  Zugsmith. 
Director  Jack  Arnold.  Melodrama.  Famous  criminal 
lawyer  gains  humility  when  put  on  trial  himself.  93 
min.  3/4 


May 


DEADLY  MANTIS.  THE  Craig  Stevens.  Alix  Talton.  Pro- 
ducer William  Alland.  Director  Jerry  Juran.  Horror. 
Monstrouc  creature  threatens  to  destroy  U.S.  78  min. 
4/1. 

GIRL  IN  THE  KREMLIN,  THE  Lex  Barker,  Zsa  Zsa 
Gabor,  Jeffrey  Stone.  Producer  Albert  Zugsmith,  Di- 
rector Russell  Birdwell.  Drama. 

MAN  AFRAID  CinemaScope  George  Nader,  Phyllis 
Tharter,  Tim  Hovey.  Producer  Gordon  Kay.  Director 
Harry  Keller.  Drama.  Father  saves  life  of  man  attempt- 
ing to  murder  his  son.  84  min.  4/15. 


June 

KETTLES  ON  OLD  MoeDONALD'S  FARM.  THE  Marjorie 
Main  Parker  Fennelly,  Gloria  Talbott.  Producer  Ho- 
ward Christie.  Director  Virgil  Vogel.  Comedy.  The 
Kettles  buy  a  new  farm.    80  min.  5/13. 

PUBLIC  PIGEON  NO.  1  Technicolor.  Red  Skelton, 
Vivian  Blaine,  Janet  Blair.  Producer  Harry  Tugend.  Di- 
rector  Norman    McLeod.     Comedy.     A   trusting  soul 

tangles  with  con  men  and  outwits  them.  79  min.  5/13 

YOUNG  STRANGER  James  MacArtur,  James  Daly,  Kim 
Hunter,  James  Gregory.  Drama.  Story  of  a  young 
man  and  his  parents.    84  min. 


JOE  BUTTERFLY  CinemaScope,  Technicolor.  Audie 
Murphy  George  Nader,  Keenan  Wynn.  Producer 
Aaron  Rosenberg.  Director  Jessie  Hibbs.  Comedy. 
Story  of  American  newsmen  in  Tokyo  after  Japanese 
surrender.  90  min. 

TAMMY  AND  THE  BACHELOR  Cinemascope,  Techni- 
color. Debbie  Reynolds,  Leslie  Nielson.  Producer  Aaron 
Rosenberg.  Director  Jo?  Pevney.  Comedy.  Story  of  a 
young  girl,  her  grandfather  and  a  young  man  who  falls 
in  love  with  her.  89  min.  5/27. 


August 


JOE  DAKOTA  Eastman  Color.  Jock  Mahoney,  Luana 
Patten.  Producer  Howard  Christie.  Director  Richard 
Bartlett.  Drama.  Stranger  makes  California  oil  town 
see  the  error  of  its  ways.   79  min. 

LAND  UNKNOWN.  THE  Jock  Mahoney.  Shawn  Smith. 
Producer  William  Alland.  Director  Virgil  Vogel. 
Science-fiction.  Polar  expedition  finds  Mesozoic  age 
in  Antarctic  expedition.    78  min. 

MIDNIGHT  STORY.  THE  CinemaScope.  Tony  Curtis. 
Marisa  Pavan.  Producer  Robert  Arthur.  Director  Joseph 
Pevney.  Drama.  Rookie  cop  seeks  murderer  of  parish 
priest.  89  min.  4/24. 

NIGHT  PASSAGE  Technirama,  Technicolor.  James 
Stewart,  Audie  Murphy,  Dan  Duryea.  Producer  A. 
Rosenberg.  Director  James  Neilson.  Drama.  Payroll 
robbers  are  foiled  by  youngster  and  tough-fisted  rail- 
roader. 90  min.  4/24. 

RUN  OF  THE  ARROW  Technicolor.  Rod  Steiger,  Sarita 
Montiel,  Ralph  Meeker.  Producer-director  Sam  Fuller. 
Adventure.  Young  sharpshooter  joins  Sioux  Indians  at 
close  of  Civil  War.  84  min.  4/24. 

Coming 

DAY  THEY  GAVE  BABIES  AWAY.  THE  Eastman  Color. 
Glynis  Johns,  Cameron  Mitchell,  Rex  Thompson.  Pro- 
ducer Sam  Weisenthal.  Director  Allen  Reisner.  Drama. 
DOCTOR  AT  LARGE  Dick  Bogarde,  Muriel  Pavlow.  A 
Rank  Production.  Director  Ralph  Thomas.  Comedy.  Ad- 
ventures of  an  English  physician.  98  min.  4/24. 
ESCAPADE  IN  JAPAN  Color.  Uresa  Wright,  Cameron 
Mitchell,  Jon  Provost,  Roger  Nafagaws.  Producer-direc- 
tor Arthur  Lubin.  Search  for  two  boys  who  start  out 
in  the  wrong  direction  to  find  the  very  people  who 
are  trying  to  find  them. 

GIRL  MOST  LIKELY.  THE  Eastmaa  Color.  Jane  Powell, 
Cliff  Robertsoa,  Keith  Andes.  Producer  Stanley  Rublin. 
Director  Mitchell  Leiion.  Comedy.  A  girl  is  proposed 
to  by  three  men  oi  the  same  day. 

I  MARRIED  A  WOMAN  George  Gobel,  Diana  Dors, 
Adolph  Menjou.  Producer  William  Bloom.  Director  Hal 
Kanter.  Coemdy.  Wife  objects  to  taking  second  place 
to  a  beer  advertising  campaign  with  her  husband. 
INTERLUDE  Technicolor,  CinemaScope.  June  Allyson, 
Rossano  Brazzi.  Producer  Ross  Hunter.  Director  Douglas 
Sirk.  American  doctor  falls  in  love  with  wife  of  fa- 
mous composer  in  Munich.  90  min.  4/24. 
JET  PILOT  Technicolor,  SuperScope.  John  Wayne, 
Janet  Leigh.  Howard  Hughes  Production.  Producer 
Jules  Furthman  Director  Josef  von  Sternberg.  Drama. 
1 19  min. 

MAN  OF  A  THOUSAND  FACES  CinemaScope.  James 
Cagney,  Dorothy  Malone.  Producer  Robert  Arthur.  Di- 
rector Joseph  Pevney.  Drama.  Life  story  of  Lon  Chaney. 
MONOLITH  MONSTERS,  THE  Grant  Williams,  Lola 
Albright.  Producer  Howard  Christie.  Director  John 
Sherwood.  Science-fiction.  Army  of  rocks  threaten  U.S. 
MY  MAN  GODFREY  CinemaScope,  Technicolor.  June 
Allyson,  David  Niven.  Producer  Ross  Hunter.  Director 
Henry  Koster.  Comedy.  Story  of  a  topsy-turvy  butler. 
PAY  THE  DEVIL  CinemaScope.  Jeff  Chandler,  Orson 
Welles.  Producer  Albert  Zugsmith.  Director  Jack  Ar- 
nold. Drama.  Sheriff  destroys  one-man  domination  of 
Texas  town. 

PYLON  CinemaScope.  Rock  Hudson,  Robert  Stack, 
Dorothy  Malone,  Jack  Carson.  Producer  Albert  Zug- 
smith. Director  Douglas  Sirk.  Drama.  Reporter  un- 
covers World  War  I  hero  of  the  Lafayette  Escadrille. 
pUANTEZ  CinemaScope,  Eastman  Color.  Fred  Mac- 
Murray,  Dorothy  Malone.  Producer  Gordon  Kay.  Direc- 
tor Harry  Keller.  Drama.  A  study  of  five  people  in- 
volved in  a  robbery  and  killing. 

THAT  NIGHT  John  Beal.  Augusta  Dabney,  Sbepperd 
Strudwick,.  Producer  Hiram  Brown.  Director  John 
Newland.  Drama.  A  tragedy  almost  shatters  a  15- 
year-old  marriage. 

UNHOLY  WIFE.  THE  Technicolor.  Diana  Dors,  Rod 
Steiger,  Marie  Windsor.  Producer-director  John  Far- 
row. Drama.  A  wife  sunningly  plots  the  death  of  her 
husband  who  she  has  betrayed. 

VIOLATORS,  THE  Arthur  O'Connell,  Nancy  Malona. 
Producer  H.  Brown.  Director  John  Newland.  Drama. 
Story  of  a  probation  officer  in  the  New  York  City 
courts. 


WARNER  BROTHERS 


February 


BIG  LAND.  THE  WarnerColor.  Alan  Ladd.  Virginia 
Mayo.  A  Jaguar  Production.  Director  Gordon  Douglas. 
Western.    Cattlemen    fight    to    move    their    herdt  to 

distant  railroad*.  93  min.  2/4. 

TOP  SECRET  AFFAIR  Kirk  Douglas,  Susan  Hayward. 
Producer  Martin  Rackin.  Director  H.  C.  Potter.  Come- 
dy. A  lovely  lady  calls  the  bluff  of  an  Army  General. 
93  min.  2/4. 


March 


PARIS  DOES  STRANGE  THINGS  Technicolor.  Ingrid 
Bergman,  Mel  Ferrer,  Jean  Marais.  A  Franco-London 
Rim.  Director  Jean  Renoir.  Drama.  Tale  of  the  exited 
widow  of  a  Polish  Prince.  84  min.  3/4. 


SPIRIT  OF  ST.  LOUIS.  THE  CinemaScope,  Wernar- 
Color.  James  Stewart,  Rena  Clark.  Producer  Laland 
Hayward.  Director  Billy  Wilder.  Drama.  The  story  of 
the  first  man  ever  to  cross  the  Atlantic  in  a  plana. 
138  min.  3/4. 

May 

COUNTERFEIT  PLAN.  THE  Zachary  Scott.  Peggie 
Castle.  Producer  Alec  Snowden.  Director  Montgomery 
Tully.  Drama.  Inside  story  of  one  of  the  largest  for- 
gery operations  ever  attempted.  80  min.  4/1. 
SHOOT  OUT  AT  MEDICINE  BEND  Randolph  Scott 
James  Craig  Dani  Crayne.  Producer  Richard  Whorf. 
Director  Richard  Bare.  Western.  Homesteaders  and 
Quaker  settlers  in  Nebraska  frontier  town  are  cheated 
by  "bad  man".  87  min.  4/24. 

UNTAMED  YOUTH  Mamie  Van  Doren,  Lou  Nelson,  John 
Russell.  Producer  Aubrey  Schenk.  Director  Howard 
Koch.  Life  on  a  prison  farm  for  juvenile  delinguents. 
80  min.  4/1. 

June 

A  FACE  IN  THE  CROWD  Andy  Griffith,  Patricia  Neal. 
Producer-director  Elia  Kazan.  Drama.  A  hill-billy  per- 
sonality leaps  to  national  fame.  124  m  n. 
D.  I..  THE  Jack  Webb  Don  Dubbins.  Jackie  Loughery. 
Producer-director  Jack  Webb.  Drama.  Life  of  a  Ma- 
rine Corps  drill  instructor.    104  min. 


July 


CURSE  OF  FRANKENSTEIN,  THE  Peter  Cushing.  Hazel 
Court,  Robert  Urqhart.  Producer  M.  Carreras.  Direc- 
tor Terence  Fisher.  Horror. 

PRINCE  AND  THE  SHOWGIRL,  THE  Color  Marilyn 
Monroe,     Laurence    Olivier,    Dame    Sybil  Thorndyke. 

Producer-director  Laurence  Ofivier.  Comedy.  Filrniza- 
tion  of  the  Terence  Rattigan  play.  117  min.  5/27. 
RISING  OF  THE  MOON,  THE  Eileen  Crowe,  Cyril 
Cusack,  Frank  Lawton.  Directed  by  John  Ford.  Three 
Irish  stories  with  Tyrone  Power  as  narrator.  81  mm. 
X— THE  UNKNOWN  Dean  Jagger,  William  Russell. 
Producer  A.  Hinds.  Director  Leslie  Norman.  Science- 
fiction.  Keen  minded  scientist  fights  awesome  creation. 


Coming 


BAND  OF  ANGELS  WarnerColor.  Clark  Gable,  Yvonne 
De  Carlo.    Director  Raoul  Walsh.    Drama.    81  mm. 
CHASE   A    CROOKED    SHADOW    Richard    Todd.  Ann 
Baxter.    Producer  Douglas  Fairbanks.    Director  Michael 
Anderson.  Melodrama. 

NO  SLEEP  TILL  DAWN  CinemaScope,  WarnerColor. 
Karl  Maiden  Natalie  Wood.  Producer  Richard  Whorf. 
Director  Gordon  Douglas.  Story  of  the  men  who  man 
the  bombers  that  defend  our  nation. 

HELEN  MORGAN  STORY,  THE  CinemaScope.  Ann 
Blyth,  Paul  Newman.  Producer  Martin  Rackin.  Director 
Michael  Curtiz.  Drama. 

OLD  MAN  AND  THE  SEA,  THE  CinemaScope,  Warner- 
Color. Produced  by  Leland  Hayward.  Director  John 
Sturges.  Adventure.  Film  version  of  Ernest  Heming- 
way's prize-winning  r.cvel. 

PAJAMA  GAME.  THE  Warner  Color.  Doris  Day,  John 
Raitt  Carol  Haney.  Producers  G.  Abbot,  F.  Bristcn, 
R.  Griffith,  H.  Prince.  Director  Stanley  Donen.  Filmiza- 
tion  of  the  Broadway  musical. 

PICKUP  ON  DOPE  STREET  Producer  Andrew  fenady. 
Director  Irvin  Kershner. 

SAYONARA  Technirama,  WarnerColor.  Marlon  Brando, 
Red  Buttons,  Patricia  Owens.  Producer  Wfiiar.  Goetz. 
Director  Josh  Logan.  Drama.  Based  on  *Se  award- 
winning  novel  of  James  Michener. 

STORY  OF  MANKIND  WarnerColor.  All-'tar  cast 
Drama. 

WITH  YOU  IN  MY  ARMS  CinemaScope,  WarnerColor. 
Tab  Hunter,  Etchlka  Choureau,  J.  Carrol  Nalsh.  Drama. 

Lives  and  times  of  a  select  squadron  of  fighter  pilots 
in  WWI. 


To  Better  Serve  You  .  .  . 

Office  &  Terminal  Combined  At 

MS  N.  12th  St.  N*w  Pnon" 

Phila:  WAInut  5-3944-45 


Philadelphia  7,  Pa. 


N.J.:  WOodlawn  4-7380 


NEW  JERSEY 
MESSENGER  SERVICE 

Member  National  Film  Carriers 


DEPENDABLE  SERVICE! 

HIGHWAY 
EXPRESS  LINES,  INQ 

Member  National  Film  Carriers 

Philadelphia,  Pa.:  LOcuit  4-3450 
Washington,  D.  C:  DUpoot  7-7200 


Film     BULLETIN  —  THIS     IS     YOUR  PRODUCT 


mmmi,\C/em  service 

.  .  i^-^r  \J  PMif  Biter  of  me  inousmy 

K    \\\       I  llsO\  \\ 


PrUC      n  (see  beloW>  *or  °  -cos* 


J^faYi  ttlatket  Trend* 


SINDLINGER  &  COMPANY.  INC 


SINDLINGER' 
COMPANY  I 


RIDLEY  PARK.  PENNSYLVANIA.  LEhigh  2-4100 


Tabulation  of  more  than  120,000  interviews  during  the 
past  19  weeks  revealed. . . 

35.2%  of  the  week's  adult  paid  attendance  came  from  persons 
who  said  they  were  influenced  to  attend  during  this  week 
because  they  liked  the  trailer  they  had  previously  seen  on  the 
attraction  they  went  to  see. 

Thus,  for  every  $1000  the  average  theatre  grossed  from  adults 
during  the  past  19  weeks,  $352  came  from  persons  who  were 
directly  influenced  by  the  coming  attraction  trailer. 


BULLETIN 


AUGUST  5,  1957 


Business-wise 

Analysis  of 
the  New  Films 

Reviews: 

WILL  SUCCESS  SPOIL 
ROCK  HUNTER? 

ADVENTURES  OF 
OMAR  KHAYYAM 

GOD  IS  MY  PARTNER 

THE  FUZZY  PINK 
NIGHTGOWN 

OUT  OF  THE  CLOUDS 

THAT  NIGHT 

JAMES  DEAN  STORY 

GUN  GLORY 

VALUE  FOR  MONEY 

LOVERS'  NET 

PASSIONATE  SUMMER 


A  picture 
with  the  same 
built-in 
family  appeal 
and  a  campaign 
with  the  same  powerful 
box  office  potential 
of  "A  Man 
Called  Peter"  and 
"I'd  Climb  the 
Highest  Mountain"! 


RUN  THE  ADS  IN  SERiE 
#7  Sunday  before  opening 


(•ERSOMAL  MESSAGE  PROM  Tut  MANAGER  OF 


(th.atre) 


I  COD  IS  MY  PART- 


GOD  IS  MY  PARTNER 


IS  20 


TH'S 


10 


20th  backs  it  with  every  resource  of  big-picture  pu 


GREAT  TITLE  SONG! 
The  inspired  title  song  by  Gene 
Forrell  and  Max  Stein  for  radio, 
theatre,  store  tie-ins,  window 
displays ! 


RCA  VICTOR  RECORDING  BY 
STATESMEN  QUARTET! 

Top  promotion  behind  this  release  ! 
Big  with  disk  jockeys  everywhere  ! 


GET  THE  FREE  RECORDING  OF 
REV.  HOVEY  LISTER! 


w 


Rev.  Hovey  Lister  is  one  of  the  coun- 
try's most  important  territorial  per- 
sonalities. His  recorded  endorse- 
ment of  the  picture  is  a  natural  for  radio,  in  theatre, 
on  ballyhoo  soundtrucks.  Order  from  Press  Book 
Editor ! 


PERSONALIZED  LOCAL  RADIO 
SPOT  COPY!  _ 

Qm 


20th  will  supply  you  with 


copy  for  personalized  ra- 
dio spot  to  be  spoken  locally  by  your  own  air 
personality  following  weather  reports  and  time 
signals.  See  the  Press  Book  for  details ! 

SPECIAL  TRAILER 
BUILD-UP! 

Precede  showing  of  trailer 
with  long  playing  record  of  Rev. 
Hovey  Lister's  endorsement  and 
Statesmen  Quartet  recording  of  title  song. 

TELEPHONE  MESSAGE! 

A  special  message  has  been  prepared  to 
be  telephoned  to  regular  or  infrequent 
members  of  the  community.  This  will  have 
warm,  meaningful  effect  in  smaller  com- 
munities. Contact  the 
Press  Book  Editor! 


HERE'S  THE  WHOLE  CA 


>  Day  before  opening 


I  In  V<>r\  oj  the  Miracle  that  ^Ahujipi  tu  ii  mi  Main  Street! 


4k 


„>gf 


Ibr  Mm>hin. 
thai  cona  fr.,.M 
ihr  human  hrarl 


MY 

partner 


WALTER  BRENNAN 


F  -    V  , 

THE  OUTCAST 

Ht  tJcvtd  Scmo 

tfi 

THE  YOUNG  COUPIE 

us 

THt  MINISTIR 

(11 

lOUtf  THt  LUMP 

]0HN  HOYT  •  MARION  ROSS  •  JESSE  WHITE 

b»  W1UJAM  F  CLAXTDN  -  ScnsnpSar  by  CHARIES  FfWtOS  R0Y»l 


#3   Opening  Day 


A  rodiont  •nl&f  toinfTM 
that  will  male*  you 
happior  tomorrow 
for  having  soon 
it  today. 
It  tolls  how 
Christmas 


GOD 
IS 
MY 
PARTNER 

WALTER  BRENNAN 


JOHN  HOYT  -  MARION  ROSS  JESSE 
»  SMI  HUSH  •        s  WH.UAU  F  OAXIOK  • 


HOWMANSHIP  PACKAGE 


advertising  and  promotion! 


ADVANCE  SCREENINGS! 
Follow  the  formula  which 
spelled  success  in  test  runs 
with  advance  screenings 
for  opinion-makers, 
clergy,  club  chairmen, 
civic  leaders,  press,  radio  and  TV ! 

HOME-TOWN  ENDORSEMENTS! 
Tape  record  comments  of  local  people 
(local  d.  j.  can  handle  interviewing)  for 
endorsement  advertising,  radio  spots, 
gab  shows,  etc.  Take  these  comments  at 
advance  screening  or  opening  day  of  run. 
(If  you  have  TV  locally,  use  film  also.) 


SPECIAL  HERALD  WITH 
MANAGER'S  MESSAGE! 

You  will  be  proud  to  give  this 
picture  the  management's  spe- 
cial endorsement.  Give  the 
Herald  big  distribution  !  See 
the  Press  Book  ! 


GOD 
IS 
MY 
PARTNER 


JB,1 


S*VG  TH,s  AD 
AND 
^OLLOW  THRU! 


vt  b  m 


"COD  IS 


PREMIERE! 


N  WHICH  RAID  OFR  BIG  AT  THE  WORLD 


So  You  Want  Action) 


VAN 

JOHNSON 


Ife  ^^  ACTION ! 

The  American 
adventurer,  who  in 
danger-only  knew  "The 


ACTION ! 

The  mysterious 
blonde  stowaway 
in  the  escape 
speed-boat. 


4 

ACTION ! 

The  bandit-leader 
who  exacts  a  promise 
from  the  blonde. 


Guaranteed 
to  keep  them 
biting  their 
finger  nails! 


„. GUSTAVO  ROCCO  •  robertcarson 

ted  For  the  Screen  by  PETER  MYERS      DIRECTED  BY  TERENCE  YOUNG 

executive  producers  JOSEPH  BLAU  and  JOHNNY  M£YER 


on  the  I 

ACTION  OF  THE  TIGER  '  by  JAMES  WELLARD 

produced  by  KENNETH  HARPER 


ABOVE:  One  of  the  Actionful press  book  ads! 


At  first  Joe  Vogel's  accusations 
against  Joseph  R.  Tomlinson  were  just 
that  —  accusations;  accusations  which 
on  first  hearing  seemed  almost  too 
ridiculous  to  be  true. 

Tomlinson,  with  Stanley  Meyer  and 
ex-MGM  studio  chieftain  Louis  B. 
Mayer,  were  in  cahoots,  Vogel  said,  to 
wrest  away  from  the  present  manage- 
ment control  of  the  entire  company 
"against  the  interests  of  the  general 
body  of  stockholders." 

But  now  the  whole  sorry  story  is 
writ  large  enough  for  all  to  see. 

Tomlinson,  and  Meyer,  and  Mayer, 
manoeuvered  into  a  corner,  have  been 
forced  to  admit,  "It's  true."  It  now 
appears  that  from  the  moment  he  be- 
came an  investor  in  Loew  s  Mr.  Tom- 
linson had  designs  on  the  company's 
controls. 

And  as  we  witness  this  unseemly 
washing  of  dirty  linen  in  public,  the 
only  conclusion  any  detached  observer 
can  reach  is  that  Loew's,  Inc.  will 
either  stand  or  fall  on  the  decisions 
reached  by  Mr.  Vogel  in  the  next  few 
weeks,  and  by  the  firmness  and  swift- 
ness with  which  he  moves  to  restore 
confidence  in  this  once-great  organiza- 
tion. 

Those  members  of  the  investing 
public  who  have  a  financial  stake  in 
Loew's  must  now,  it  seems  to  us,  face 
the  early  disappearance  of  this  com- 
pany as  an  important  factor  in  the 
entertainment  field,  or  insist  that 
Joseph  R.  Vogel  (or  whoever  is  left 
in  command)  kick  out  the  whiz-kids 
from  Wall  Street,  and  the  semi-retired 
bankers,  and  the  big  industrial  brass, 
and  bring  into  the  day-to-day  manage- 


Viewpoints 

AUGUST  5,   1957       '  VOLUME  25,  NO.  16 


ment  of  Loew's  a  closely-knit  team  of 
tried  and  proven  entertainment  ex- 
perts with  progressive  ideas  like  those 
who  picked  United  Artists  out  of  bank- 
ruptcy only  a  few  years  ago  and  by 
sheer  guts  and  know-how  turned  it 
into  one  of  the  most  prosperous  enter- 
prises in  the  field. 

It  is  too  late  now  for  half-measures 
and  for  compromises,  or  for  turning 
back  the  clock  and  reinstating  those 
members  of  the  old  organization  who 
no  longer  have  the  taste  for  a  fight  or 
for  hard  labor. 

It  is  too  late  for  window-dressing, 
for  bringing  "Big  Names ",  like  those 
of  admirals  or  generals  or  industrial 
millionaires  on  to  the  company's  di- 
rectorate. 

What  Loew's  must  have,  if  it  is  to 
survive  at  all,  is  a  Work  Team  of  Di- 
rectors who  will  take  their  coats  off 
and  do  a  fair  day's  work  for  a  fair 
day's  pay — and  a  little  more,  just  for 
the  hell  of  it. 

What  it  must  not  have  is  a  manage- 
ment faction  whose  primary  concern  is 
the  big  business  wangle  —  men  with 
expense  account  minds  and  capital 
gains  philosophy;  nor  men  who  have 
forgotten  how  to  spell  the  word 
w-o-r-k,  except  on  an  inter-office  memo. 

Least  of  all,  does  Loew's  need  in- 
triguers like  Tomlinson  and  Meyer  and 
Louis  B.  Mayer  who  see  the  company 
merely   as   a   vehicle   for   their  own 


BULLETIN 


Film    BULLETIN:    Motion    Picture    Trade  Paper 
published  every  other  Monday  by  Wax  Publi- 
cations   Inc.     Mo  Wax    Editor  and  Publisher. 
PUBLICATION-EDITORIAL  OFFICES:    1239  Vine 
Street    Philadelphia  7,  Pa.,  LOcust  8-0950,  0951. 
Philip    R.    Ward,    Associate    Editor:  Leonard 
Coulter     New   York   Associate    Editor;  Duncan 
G.    Steck,    Business    Manager;    Marvin  Schiller, 
Publication   Manager;  Robert  Heath,  Circulation 
Manager.  BUSINESS  OFFICE:  522  Fifth  Avenue, 
New    York    34,    N.    Y.,    MUrray    Hill  2-3631; 
Alt  Dinhofer.  Editorial  Representative. 
Subscription   Rates:  ONE  YEAR,  $3.00 
in  the  U.  S.;  Canada,  $4.00;  Europe, 
$5  00.     TWO    YEARS:    $5.00    in  the 
U    S  •  Canada,   $7.50;   Europe,  $9.00. 


vaulting  ambition  or  for  personal  ven- 
geance. 

The  accountants,  and  the  lawyers, 
and  the  investment  bankers — no  mat- 
ter how  high  their  reputations  or  how 
deep  their  pockets — can  never  render 
to  the  general  body  of  Loew's  stock- 
holders one-fiftieth  of  the  service  to 
be  won  by  a  small  group  of  dedicated 
experts  in  the  world  of  show-business, 
working  not  as  underlings  but  as  the 
company's  top  administrators  on  terms 
which  will  guarantee  that  as  they  re- 
store Loew's  fortunes  so  will  they  gain 
their  due  rewards. 

Amid  the  multiplicity  of  rumors 
which  are  swirling  around  the  troubled 
head  of  Joe  Vogel  are  some  which 
attribute  to  him  the  intention  of  intro- 
ducing as  his  nominees  to  the  Loew's 
board  outsiders,  who,  while  they  are 
likely  of  unquestioned  integrity,  are 
merely  administrators,  not  film-makers 
or  audience-builders,  or  movie  adver- 
tisers or  salesmen.  If  these  reports  are 
true,  it  bodes  ill  for  Loew's  future, 
and  we  hope  Mr.  Vogel  will  not  suc- 
cumb to  the  temptation  to  dress  up 
his  board  of  directors  in  this  way  in 
order  to  win  the  proxy  support  of  the 
big  money  groups  like  Lazard  Brothers 
and  Lehmann  &  Co.,  who  happen  to 
have  substantial  holdings  of  Loew's 
stock. 

True,  Joe  Vogel  today  is  fighting 
mad,  angered  by  what  he  calls  the 
"plotting"  of  the  Tomlinson  clique  to 
oust  him  from  the  presidency  and 
grab  control  for  themselves.  But  let 
him  not  forget  that  the  plight  into 
Loew's  management  has  been  plunged 
was  brought  about  in  the  first  place 
by  a  policy  of  weakness — first,  when 
his  predecessor  refused  to  do  battle 
with  the  bankers,  and  put  them  on  the 
directorate,  and  again  when  Vogel, 
himself,  last  February  sought  to  ap- 
pease the  Tomlinsonites  and  gave  his 
new-found  bedfellows  a  chance  to  dig 
(Continual  on  Page 


Film  BULLETIN    August  5,  1957        Page  5 


FINANCIAL 

BULLETIN 

AUGUST      5,  1957 


By  Philip  R.  Ward 

THE  CRISIS  AT  LOEWS.  A  sampling  of  Loew  s  Inc.  share- 
holders large,  medium  and  small,  indicates  Joseph  Vogel  may 
expect  a  generous  degree  of  sympathy  as  his  September  12  test- 
ing time  approaches. 

Financial  BULLETIN  has  queried  equity-holders  controlling 
an  estimated  130,000  shares,  with  the  result  that  at  this  moment 
approximately  two  out  of  three  feel  Mr.  Vogel  is  being  unfairly 
under-cut.  Those  polled  represent  names  known  to  Financial 
BULLETIN  from  annual  meetings  and  other  non-confidential 
sources.  Approximately  one-fourth  of  the  total  group  at  which 
inquiries  were  directed  refused  comment. 

The  above  sample  may  or  may  not  be  indicative  of  show- 
down sentiment.  Nor  is  it  conclusive  that  those  merely  sympa- 
thetic with  Vogel  will  necessarily  side  with  him  when  the  blue 
chips  are  down.  For  it  stands  to  reason  that  only  the  most 
practical  dollars  and  cents  considerations  will  control  share- 
holder thinking. 

The  major  point  stockholders  must  grapple  with  is  this:  Who 
can  do  the  better  job  of  safe-guarding  and  appreciating  their 
equities,  Vogel  or  Tomlinson? 

One  run  of  pro-Vogel  sentiment  hews  to  the  line  that  the 
incumbent  president  is  entitled  to  a  fair  opportunity  to  do  the 
job,  hat  not  nearly  enough  time  has  been  granted  for  the  man 
to  prove  himself.  This,  however,  is  not  the  dominant  theme. 
The  main  element  favoring  Vogel  is  the  shabby  methods  pur- 
sued by  his  adversaries.  The  feeling  is  great  that  personal  moti- 
vations are  behind  some  members  of  the  Tomlinson  group.  A 
number  of  pollees  seem  to  feel  that  perhaps  their  interests  are 
secondary  to  the  real  issues  prompting  the  "dump  Vogel" 
movement. 

Agitating  against  Mr.  Vogel  is  the  general  low  estate  of  his 
company,  though  a  moderate  increase  in  earnings  is  anticipated. 
Impatience  is  manifest  in  the  divestiture  situation,  which  many 
shareholders  look  upon,  perhaps  overzealously,  as  loaded  with 
profit  potential.  A  few  expressed  disenchantment  with  Vogel's 
failure  to  spur  radically  film  production.  This  segment  lashed 
out  against  the  "vacuum"  in  production  leadership,  some  main- 
taining the  return  of  a  Louis  Mayer  would  restore  some  of  the 
old  style  and  pre-emminence  to  MGM  pictures. 

In  brief,  the  Financial  BULLETIN  check-up  solicited  gen- 
eral opinion  rather  than  straight  "for"  or  "against"  expression 
in  order  to  stay  within  proxy  regulations.  If  a  conclusion  can 
be  garnered,  it  is  that  Vogel  is  perhaps  a  more  popular  presi- 
dent than  many  imagined.  One  after  another  commented 
favorably  on  his  comportment  in  the  discharge  of  office  as  well 
as  his  sure,  unhysterical  reaction  to  personal  difficulty. 

We  would  say  the  odds  favor  Mr.  Vogel. 

O  O 

A  PRO  LOOKS  AT  THE  MOVIES.  The  esteemed  analytical 
firm,  Standard  and  Poor's,  is  not  one  to  make  an  El  Dorado  of 
the  film  enterprise.  Neither  downbeat  nor  upbeat,  S  &  P  takes 


the  cool,  detached  view  of  the  outsider  in  tossing  off  these 
comments  in  its  most  recent  amusement  survey: 

"Movie  attendance  averaged  46.5  million  weekly  in  1956,  a 
hopeful  if  not  dynamic  increase  over  the  three  decade  low  of 
45.8  million  weekly  established  in  1955.  Further  improvement 
is  possible  in  1957,  but  enthusiastic  projections  by  both  pro- 
ducers and  exhibitors  must  be  discounted  somewhat  in  view  of 
chronic  over-optimism  in  the  industry. 

"Theatre  companies  continue  to  close  marginal  and  unprofit- 
able movie  houses.  With  no  film  libraries  to  sell,  this  is  a 
source  of  funds  which  may  be  invested  in  non-theatre  activities 
to  bolster  lowered  profits. 

"Operating  profits  of  both  producers  and  exhibitors  in  1957 
will  be  about  equally  divided  between  advances  and  declines, 
Revenues  of  individual  companies  will  continue  to  reflect  the 
sporadic  attendance  patterns  that  a  large  segment  of  the  po- 
tential audience  has  developed.  Increased  television  revenues 
will  aid  production  companies. 

"The  long  range  profit  possibilities  in  the  motion  picture 
field  appear  to  be  much  smaller  than  for  the  average  industrial 
concern,  and  most  large  producers  and  exhibitors  are  moving 
into  television  and  other  fields  with  more  promising  prospects. 
Hence,  each  movie  equity  must  be  viewed  as  a  special  situation, 
too  speculative  for  the  average  investor.  Moderate  recovery  in 
operations  is  possible  for  the  industry;  non  movie  activities  are 
aiding  Columbia  Pictures,  Stanley  Warner,  Twentieth  Century- 
Fox,  and  Loew's  .  .  ." 

0 

Anyway,  Standard  and  Poor's  still  admits  to  a  movie  indus- 
try. And  its  analysts  are  willing  to  concede  a  buck's  to  be  made 
for  those  of  risk-taking  incinations.  Here's  how  the  survey 
nutshells  a  few  specific  firms: 

American  Broadcasting-Paramount  Theatres — "The  company 
has  the  largest  growth  potential  of  any  of  the  three  major  net- 
works, and  retention  of  common  holdings  is  advised.  The  pre- 
ferred provides  a  good  yield." 

Columbia  Pictures — "Both  common  and  preferred  stock  are 
speculative  issues." 

Decca  Records  (holding  about  80%  Universal  common)— 
"With  a  liberal  yield  provided,  commitments  may  be  retained 
at  this  time." 

Loew's  Inc. — "The  shares  are  worth  holding  for  speculative 
purposes  and  for  the  large  asset  value." 

National  Theatres— "In  view  of  unsatisfactory  profits  in 
recent  years,  this  leading  operator  of  motion  picture  theatres 
(321  in  June  '57)  is  engaged  in  a  reorganization  program.  It 
is  selling  or  converting  to  other  uses  its  unproductive  theatre 
properties,  is  entering  the  motion  picture  producing  field,  and 
is  considering  diversification  into  new  business.  This  obviously 
is  an  uncertain  situation,  and  the  shares  should  be  held  only  by 
those  cognizant  of  the  risks  involved." 

Republic  Pictures— "This  is  a  highly  uncertain  situation  and 
the  common  is  considered  too  speculative  for  the  average  ac- 
count." 

Paramount  Pictures— 'In  view  of  its  diversified  activities  and 
strong  finances,  the  shares  are  worth  holding." 

Stanley  Warner— "Holdings  may  be  retained  on  the  basis  of 
improved  earnings  from  the  Playtex  business." 

Twentieth  Century-Fox— "Speculative  commitments  may  be 
held." 

Warner  Bros. — "Expanding  television  operations  are  promis- 
ing but  this  remains  a  highly  speculative  situation." 


Page  6       Film  BULLETIN    August  5,  1957 


Will  Success  Spoil  Rock  Hunter? 
GuAiKCte  "Rati*?  GOO  Pius 

A  comedy  treat.  Liveliest  summer  attraction  of  all.  Pro- 
ducer-director Tashlin  has  vastly  improved  Broadway  hit. 

Writer-producer-director  Frank  Tashlin  has  taken  George 
Axelrod's  Broadway  hit,  ensconced  it  in  the  ever-wacky  world 
of  TV,  Madison  Avenue  and  the  love  life  of  a  bosomy  blond 
film  star,  improved  it  vastly,  and  given  it  as  bawdy  and  breath- 
less a  spin  as  has  been  seen  since  Preston  Sturges  gave  up  run- 
ning his  comic  carnivals.  "Rock  Hunter'-  shapes  up  as  the 
liveliest  summer  attraction  of  all,  a  comedy  treat.  Urban  and 
suburban  audiences,  in  particular,  will  howl  at  the  antics  of 
Miss  Mansfield  and  Randall  in  a  flip-flop  tale  of  success  and 
sex.  Tashlin  has  a  talent  for  slapdash  humor,  impromptu 
ribaldry  and  droll  innovation.  His  cut-ups  on  TV  commer- 
cials while  the  screen  credits  roll  by  bubble  with  buffoonery 
and  when  he  stops  his  show  midway  through,  reducing  the 
screen  to  21 -inch  proportions  in  order  to  make  the  audience 
"feel  more  at  home",  the  satiric  bite  is  lethal.  Tashlin  also 
knows  how  to  make  extravaganza  from  the  merest  escapade. 
For  the  truth  is,  "Will  Success  Spoil  Rock  Hunter?"  as  a  story 
and  as  characterization  is  all  fluff  and  feathers,  even  when 
filled  by  so  substantial  a  specimen  as  La  Mansfield,  so  virtuoso 
a  performer  as  new  star  Randall  and  so  zippy  a  Cinemascope- 
DeLuxe  Color  production.  Miss  Mansfield  uses  milquetoast  ad 
man  Randall  as  a  dupe  in  her  love  battle  with  a  Hollywood 
muscle  hero.  When  he  innocently  refers  to  Miss  Mansfield, 
who  he  has  been  courting  to  endorse  his  Stay-Put  Lipstick 
account,  as  the  "titular"  head  of  her  film  company,  this  so 
intoxicates  her  elemental  mind  she  gives  Randall  the  kiss  of 
his  lifetime,  one  that  bursts  his  bag  of  popcorn.  Overnight 
Randall  becomes  "Lover  Boy",  an  international  luminary, 
president  of  his  own  agency — in  short,  a  success.  In  the  end 
he  finds  the  locale  for  happiness  lies  on  a  chicken  farm  with 
the  girl  he  really  loves,  Betsy  Drake,  and  that  success  is,  after 
all,  a  very  relative  term.  As  you  can  gather  the  performers  are 
working  largely  with  carricatures,  but  within  that  genre  they 
give  a  rousing,  carousing  time  of  it.  Especially  so  Randall, 
who  seems  the  ideal  grey  flannel  dodo,  a  devastating  Ivy 
League  misfit.  John  Williams  is  full  of  the  starch  and  silence 
indicating  a  senior  executive,  Henry  Jones  full  of  the  pill-with- 
gin  taking  travesties  indicating  a  junior  one,  while  Miss  Mans- 
field, the  fullest  of  all,  indicates  exactly  what  you'd  expect  her 
to,  and  quite  explicitly. 


20th  Century-Fox.  94  minutes.  Jayne  Mansfield,  Tony  Randall,  Betsy  Blair.  Pro- 
duced and  Directed  by  Frank  Tashlin. 

"God  is  My  Partner" 
Su4uc€44  /Rati*?  Q  O  pius 

Modest,  but  moving,  human  interest  yarn  will  please  fam- 
ily trade.  Rates  higher  for  small  towns. 

To  many  a  small  town  population  this  is  the  evangelical  era 
of  Billy  Graham  and  the  Bible.  To  many  a  small  town  ex- 
hibitor, then,  Regal  Films'  modest,  but  moving,  "God  Is  My 
Partner"  should  come  as  welcome  fare.  Producer  Sam  Hersh 
and  director  William  Claxton  have  bedecked  a  pleasantly 
warm-hearted  Charles  Francis  Royal  screenplay  with  an  array 
of  pert  and  proper  "little  people"  touches.  With  Walter 
Brennan  giving  a  sterling  performance  as  a  modern-day  Santa 
Claus  and  making  even  the  syrupy  passages  palatable,  "God 

[More  REVI 


Is  My  Partner"  seems  assured  of  fulfilling  the  rosy  expecta- 
tions of  its  distributors,  20th  Century-Fox,  who  are  releasing 
it  first  to  the  small  towns,  then  to  metropolitan  areas.  It's  the 
kind  of  story  that  will  leave  family  audiences  with  a  glow. 
Good  for  small  towns  and  Metropolitan  naborhoods.  The 
story  has  Brennan  as  a  benevolent  but  somewhat  balmy  old 
surgeon,  who  has  amassed  a  modest  fortune  from  his  prac- 
tice and,  now  on  the  point  of  retirement,  has  become  the 
town's  philanthropic  touchstone.  He  not  only  gives  twenty 
dollar  bills  to  drug  store  clerks  et  al,  produces  Christmas  trees 
with  presents  in  May,  wanders  into  the  local  dens  in  order  to 
deter  the  inhabitants  from  iniquity,  but  also  contributes  fifty 
thousand  dollars  to  his  church.  This  last  act  bestirs  his  two 
nephews,  who  just  don't  dig  this  concern  for  mankind,  to  mar- 
shall  the  town's  misanthropic  forces  and  declare  him  non 
compos  men/is.  Brennan  has  pretty  and  persuasive  Marion 
Ross  to  defend  him  while  the  suave  city-slicker  type  John  Hoyt 
is  the  prosecutor.  Ultimately,  Miss  Ross  enables  him  to  use 
his  home-spun  philosophy  on  the  jury  and  show  that  his  un- 
savory friends  are  as  cute  and  candid  as  the  ones  Damon 
Runyon  used  to  cook  up.  There  is  a  romance  between  Miss 
Ross  and  reporter  Jesse  White.  All  the  performers  are  good, 
but  Brennan,  with  his  hayfever  eyes,  dry  voice  and  old  whip- 
persnapper  gait,  is  the  real  show. 

Regal  Films— 20th  Century  Fox.  80  minutes.  Walter  Brennan,  John  Hoyt,  Marion 
Ross.    Produced  by  Sam  Hersh.    Directed  by  William  Claxton. 

The  Adventures  of  Omar  Khayyam" 

Old-fashioned  oriental  spectacle  and  derring-do.  Strictly 
for  the  kids  and  undiscriminating  action  fans. 

If  your  audience  has  a  taste  for  "old  hat"  Oriental  spectacle 
and  lurid  Technicolor- VistaVision  backgrounds,  "sumptuous 
harems"  and  the  typical  Hollvwood  "slave  girls",  palace  in- 
trigues and  multifarious  plots,  a  swashbuckling  hero  (Cornel 
Wilde)  against  swarming  hordes  of  badmen,  love  scenes 
(Debra  Paget)  drenched  in  rose  leaves,  rock  pools  and  the 
verses  of  the  Rubaiyat — in  short,  if  your  audience  is  still  sus- 
ceptible to  slow  and  heavy-handed  historical  pageantry  vin- 
tage 1924,  then  Paramount's  'The  Adventures  of  Omar  Khay- 
yam' is  for  you.  Within  its  sub-run  boxoffice  orbit,  it  should 
gross  moderately  well.  But  if  you  are  an  exhibitor  in  the 
metropolitan  areas,  e.g.  New  York  where  the  film  was  sneak 
previewed  to  a  thousand  guffaws  from  the  audience,  it  would 
be  wise  to  use  it  as  a  second  feature.  It  is  strictly  for  kids 
and  undiscriminating  action  fans.  For  the  truth  is,  most  adults 
will  deem  this  a  long-winded  bore.  The  adventures  are  woolv, 
the  plot  woozy,  the  dialogue  of  screenplayw  right  Barre  Lyn- 
don hackneyed,  producer  Frank  Freeman  Jr.'s  scenery  too  ob- 
viously papier-mache  and  William  Dieterle's  direction  tired 
and  torpid.  The  story:  Shah  Ravmond  Massey's  kingdom  is 
being  threatened  by  a  fanatical  sect  of  warriors  and  con- 
spirators whose  identity  is  unknown.  Legendary  poet-adven- 
turer Omar  (Wilde)  is  called  to  counsel  the  Shah,  which  he 
does  faithfully  even  though  Massey  has  haramized  his  light- 
of-love  (Miss  Paget).  Omar  discovers  that  his  trusted  friend 
Michael  Rennie  is  the  grand  master  of  the  sect  and  when 
Rennie  promises  him  power  and  wealth  in  return  for  his  loy- 
alty he  refuses.  In  a  climactic  battle  scene  between  the  forces 
of  Massey  and  Rennie,  both  die  leaving  the  lovers  alone — 
really  alone. 

Paramount.  98  minutes.  Cornel  Wilde.  Michael  Rennie,  Debra  Paget.  Produced 
by  Frank  Freeman,  Jr.   Directed  by  William  Dieterle. 

on  Page  10] 

Film  BULLETIN    August  S,  1957        Page  7 


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"Gun  Glory" 

Getting  'RatcKf  O  O  Plus 

Familiar  western  plot  bolstered  by  good  color  backgrounds, 
novelty  of  Stewart  Granger  in  saddle.  Should  give  good 
b.o.  account  generally. 

Although  nothing  in  "Gun  Glory"  is  as  rampant  and  rat- 
tling as  its  title,  nor  the  tempo  very  whip  and  spur,  Nicholas 
Nayfack's  production  for  MGM  is,  nevertheless,  a  good  west- 
ern. Strikingly  photographed  in  Cinemascope  and  MetroColor 
against  lush  valleys  and  staggering  mountain  cliffs,  and 
staunchly  directed  by  Roy  Rowland  with  a  veteran's  eye  to- 
wards the  suspense  of  the  "showdown",  the  film  is  modest 
but  mettlesome  outdoor  fare.  Certainly  it's  a  saleable  item 
for  action  houses,  and  with  the  Stewart  Granger  name  it 
should  give  a  fair  account  in  first-runs.  Granger  as  a  cowboy 
may  cause  some  raised  eyebrows,  but  in  his  debut  with  leather 
and  lasso,  he  comes  through  as  colorful  charmer,  equally  at 
ease  upon  a  ranch  or  in  a  bar-room  brawl.  He  is  playing  that 
old  and  honored  Western  hero,  the  gallant  gunslinger  who 
returns  to  the  homestead  to  win  back  his  dissident  son  and 
neighbors.  As  characterized  by  screenplaywright  William  Lud- 
wig  from  the  novel  by  Philip  Yordan,  Granger's  role  is  padded 
with  standard  stuffings,  at  times  just  a  little  too  reminiscent 
of  other  recent  horse  operas.  Granger's  town  is  threatened 
by  a  trio  of  bad  hombres  headed  by  James  Gregory,  who  in- 
tend to  bring  their  thundering  herd  of  cattle  through  the 
town's  valley  for  food  and  water,  thereby  ruining  the  local 
farmers.  Granger  is  the  logical  man  to  save  the  townspeople, 
but  after  he  defensively  plugs  one  of  the  gun-toters  they  refuse 
his  help  and  his  son  looks  upon  him  as  a  dastard.  In  the  end 
the  townspeople  realize  Granger's  avalanche  plan  upon  the 
marrauding  cattlemen  will  save  the  day  and  his  son  learns 
there  is  a  time  when  a  gun  must  be  used.  Steve  Rowland  as 
the  teen-age  son  is  fervant,  Chill  Wills  as  a  sand-eaten 
preacher  is  fanciful,  and  Gregory  is  properly  fierce.  Rhonda 
Fleming  is  Granger's  prize  for  all  his  derring-do  and  a  more 
rewardingly  lush  one  you  couldn't  ask  for. 

MSM.  89  minutes.  Stewart  Granger,  Rhonda  Fleming,  Chill  Wills.  Produced  by 
Nicholas  Nayfack.   Directed  by  Roy  Rowland. 

"The  James  Dean  Story" 

Supine  J  i  IRaUKf  O  O 

Interesting  documentary  biography  of  late  star.  Should 
draw  jukebox  trade  if  properly  exploited. 

To  most  of  our  teen-agers  James  Dean  was  the  spirit  of 
the  age,  a  tempestuous,  troubled,  eternally  thwarted  young 
man  who  prematurely  passed  into  legend.  Although  by  pro- 
fession an  actor,  and  a  very  startling  and  stirring  one,  his  fame 
and  fortune  were  generated  by  his  iconoclastic  personality  and 
private  life,  which,  on  the  one  hand,  were  emblematic  of  his 
own  generation,  and  on  the  other,  symptomatic  of  the  general 
"derangement"  of  the  times.  At  any  rate,  Warner  Bros,  is 
now  releasing  a  documentary  of  Dean's  life,  made  up  entirely 
of  the  star  by  way  of  film  clips,  stills  and  interviews,  most  of 
which  have  never  before  been  publicly  unveiled.  Boxoffice- 
wise,  this  is  a  question  mark,  but  it  can  be  fairly  assumed  that 
there  will  be  good  interest  among  the  juke  box  set;  the  exhibi- 


tor's problem  will  be  to  stimulate  it.  It  covers  his  birth  in 
Indiana,  adolescent  adventures,  his  start  as  an  actor  and  finally 
Hollywood,  where  he  blazoned  to  stardom  in  "East  Of  Eden", 
"Rebel  Without  Cause"  and  "Giant",  from  which  his  most 
famous  scenes  are  shown.  Produced  and  directed  by  George 
George  and  Robert  Alton,  with  commentary  by  Stewart  Stern 
narrated  by  Martin  Gabel,  "The  James  Dean  Story"  should 
prove  fascinating  to  all  those  who  like  making  pilgrimages  to 
a  shrine,  even  though  there  is  very  little  in  it  that  will  add  to 
their  already  voluminous  Dean  biographia.  The  mood  is  the 
thing  here:  revently  slow,  carefully  arranged  with  a  hearts-and- 
flowers  theme  song  called  "Let  Me  Be  Loved"  sung  like  a 
hymn  by  young  crooner  Tommy  Sands. 


Warner  Bros.  82  minutes.  James  Dean.  Produced  and  Directed  by  George 
George  and  Robert  Alton. 

"Out  of  the  Clouds" 

'Su4ute44  fcatiHf  O  Plus 

Lots  of  characters  and  events,  but  too  loosely  tied  together 
in  the  Rank  import. 

"Out  Of  The  Clouds ",  another  Rank  import,  is  centered  at 
the  great  London  Airport  with  a  multi-character  cast  and  hand- 
somely arrayed  in  a  Michael  Balcon  production.  It  seems  to 
fancy  itself  a  sort  of  "Grand  Hotel"  of  the  runways.  Now  the 
protean  crew  for  such  a  thought  is  there  and  so  is  the  chatter 
and  pother  of  events  unwittingly  converging  upon  each  other 
at  the  same  point  in  time,  but  somehow  nothing  happens,  no 
synchronized  bells  sound.  And  despite  some  dazzling  shots  of 
stratocruisers  leaving  or  coming  in,  nothing  in  the  film  ever 
really  gets  off  the  ground.  However,  those  who  do  not  mind 
three  or  four  different  stories  going  on  at  the  same  time,  espe- 
cially when  set  against  the  adventurous  aura  of  a  terminal  that 
symbolizes  the  world  of  escape,  should  find  this  fairly  interest- 
ing. Besides,  "Out  Of  The  Clouds"  is  woolyheaded  and  whole- 
some enough,  thus  giving  it  a  better  chance  in  the  better  class 
metropolitan  houses  than  in  the  art  spots.  Screenplaywrights 
Michael  Relph  and  John  Eldridge  have  concocted  a  tale  that 
runs  from  potluck  to  potpourri,  while  Basil  Dearden's  direction 
seems  as  erratically  paced  as  an  airline  timetable.  The  tale  in- 
volves Margo  Lorenz,  a  Central  European  on  her  way  to  the 
security  of  the  U.S.,  and  David  Knight,  an  American  on  his 
way  to  the  insecurity  of  Israel,  who  meet,  fall  in  love  but  part 
when  they  are  unable  to  coordinate  their  intineraries.  Later 
they  are  reunited  when  Miss  Lorenz'  plane,  piloted  by  veteran 
crank  James  Robertson  Justice,  conks  out  and  she  has  time  to 
realize  her  place  must  always  be  with  Mr.  Knight.  Then  there 
is  also  Anthony  Steel  as  a  dashing  airman  tempted  to  smuggle 
illegal  drugs,  Robert  Beatty  as  a  seedy  duty  officer  dreaming  of 
a  return  to  the  air  and  Eunice  Gayson  as  the  pretty  stewardess 
who  shows  him  the  more  alluring  things  are  on  the  ground. 
All  the  performers  are  competent  but  Knight  is  perfect.  Com- 
pletely amateurish  he  is,  therefore,  right  at  home  in  the  role  of 
the  eternal  American  expatriate,  going  forth  into  the  world 
fully  armed  with  Emerson's  essay  on  Self-Reliance,  bursting 
with  skim-milk  vitality;  the  boy  who  worked  his  way  through 
college,  learned  the  'score'  at  an  early  age  and  still  found  time 
for  Spinoza  behind  the  soda  fountain. 

Rank  Film  Distributors  ot  America.  79  minutes.  Anthony  Steel,  Robert  Beatty, 
David  Knight.  Produced  and  directed  by  Michael  Relph  and  Basil  Dearden. 

©  POOR' 


[  '8u4iHC44.  teaa*?      OOOO   TOPS      OOO   GOOD      q  6  -average 


Page  10       Film  BULLETIN    August  5,  1957 


"Passionate  Summer" 
*ScuiHt44,  Rate*?  O  O  O 

Rating  is  for  art  houses.  Heavy  emphasis  on  sex  may  give 
this  strong  drawing  power  in  urban  houses,  where  exploited. 

"Passionate  Summer"  is  quite  a  sizzler,  even  by  Gallic  stand- 
ards. In  telling  the  story  of  a  sensual  and  strutting  male  who 
in  venturing  on  an  isolated  goat  farm  wrecks  havoc  with  the 
emotions  of  the  three  female  tenders,  writer-director  Charles 
Brabant  has  by-passed  the  philosophical  implications  inherent 
in  Ugo  Betti's  symbolical  play  and  gone  instead  on  a  tour-de- 
force of  elemental,  earthy  and  eruptive  drama.  It  is  a  French 
import  with  heavv  emphasis  on  sex.  Good  for  art  houses,  it 
might  be  exploited  to  surprising  returns  elsewhere.  Star  Raf 
Vallone  is  a  robust  and  racy  muscleman,  a  creature  of  sopho- 
moric  brain  and  post-graduate  brawn,  a  tyro  in  everything  but 
the  ways  of  wanton  women.  And  he  uses  his  talents  for  vivid 
juxtaposition  against  the  three  members  of  the  distaff  side: 
Madeleine  Robinson,  Magali  Noel  and  Dany  Carrel,  each  of 
whom  performs  with  understanding  and  undulation.  Espe- 
cially so  Mile.  Robinson,  as  the  arrogant,  strong-willed  but 
sexually  frustrated  widow  of  the  farm  owner.  She  deftly  con- 
tributes to  the  poignancy  of  the  film  while  Mile.  Noel,  one 
of  the  most  succulent  of  recent  European  morsels,  gives  in  her 
libido  encounters  with  Signor  Vallone  as  graphic  a  Freudian 
parable  as  you  can  get.  And  Mile.  Carrel  as  the  teen  age 
daughter  of  Mile.  Robinson  renders  a  sensitive  and  sweet 
awakening  to  the  birds  and  bees.  Admittedly  the  plot  is  slight: 
Signor  Vallone  conquers  each  lady  in  turn,  leaving  one  for 
the  other  etc.,  while  the  rejected  Mile.  Robinson  dreams  darkly 
of  revenge.  When  our  hero  accidentally  falls  down  a  well, 
she  refuses  to  throw  him  a  rope  and  there  he  meets  his  end. 

Kingsley  International.  98  minutes.  Madeleine  Robinson,  Raf  Vallone.  Magali 
Noel.    Directed  by  Charles  Brabant. 

"Value  for  Money" 

Amusing  Rank  import  with  Diana  Dors  for  marquee. 

Since  Diana  Dors  is  probably  the  most  curvacious  and  cud- 
dlesome  commodity  ever  exported  from  England,  and  is  well 
known  over  here  as  Miss  Monroe's  cockneyed  cousin,  this  Rank 
Film  Distributors  offering  has  some  star  value.  "Value  for 
Money"  shows  her  off  to  dazzling  (Technicolor)  advantage,  at 
least  in  so  far  as  anatomy  goes,  and  with  Miss  Dors  it  seems 
to  go  round  and  round.  The  plot  is  an  amusing,  if  frivolous 
one,  and  it  should  get  its  share  of  laughs  from  American 
audiences.  Note  it  as  a  good  dualler  for  the  metropolitan 
market.  Diana  is  playing  the  role  of  a  London  burlesque 
blonde  who,  while  letting  loose  some  of  her  extraneous  adorn- 
ments, just  happens  to  catch  the  eye  of  penny-pinching,  petti- 
fogging, but  wealthy,  John  Gregson  from  Yorkshire,  and  in 
no  time  at  all  his  miserly  ways  are  abandoned  and  he  develops 
a  penchant  for  another  kind  of  pinching.  But  Miss  Dors  has 
social  ideals,  her  husband  must  be  a  pillar  of  the  community, 
so  Gregson  goes  home  and  endows  a  playground  in  return 
for  a  council  seat.  All  goes  well  until  Miss  Dors  finds  her 
lover's  homeland  hasn't  changed  too  much  since  the  industrial 
revoluton  and,  after  taking  a  whiff  of  the  coal  dust  and  a 
smudge  of  the  grime,  she  realizes  that  after  all,  a  stripper's 
life,  in  some  respects,  is  certainly  much  cleaner. 

Rank  Film  Distributors.  89  minutes.  Diana  Dors.  John  Gregson,  Susan  Stephen. 
Produced  by  Sergei  Nolbandov.    Directed  by  Ken  Annakin. 


"The  Fum  Pink  Nightgown" 

Scuutete  'Rating  O  O 

Jane  Russell  in  moderately  amusing  comedy. 

If  Miss  Jane  Russell  will  forgive  us  for  saying  so,  it  must  be 
observed  that  "The  Fuzzy  Pink  Nightgown"  hasn't  got  much 
body  to  it.  Perish  the  thought  that  Miss  Russell  is  inadequate 
— but  the  story  is.  However,  there  is  enough  of  farce  and 
fancy  in  this  Russ-Field  production  for  United  Artists  to  give 
it  fair  boxoffice  prospects  in  the  general  metropolitan  market. 
Miss  Russell,  portraying  a  Hollywood  glamour  queen  on  the 
premiere-eve  of  her  latest  epic,  is  unceremoniously  hustled 
away  in  a  car  piloted  by  two  thugs,  Ralph  Meeker  and  Keenan 
Wynn.  While  Wynn  is  content  to  ogle  the  Russell  trade 
marks,  the  pugnacious  Meeker  is  hell-bent  on  the  ransom,  a 
fact  our  actress  cannot  quite  grasp,  since  she  believes  the  whole 
thing  is  just  another  publicity  stunt.  And  everyone  in  the 
Beverly  Hills  police  depot  feels  the  same  way,  leaving  rankled 
studio  head  Adolphe  Menjou  to  unleash  his  own  Hollywood 
and  Vine  bloodhounds.  As  was  to  be  expected,  Meeker,  after 
sparring  with  Miss  Russell  for  a  few  reels,  discovers  that  her 
assets  are  not  really  in  her  pocket  book  and  romance  blooms. 
The  spectators  knew  it  all  along.  This  escapade,  supposedly 
based  loosely  on  a  recent  actress  kidnapping  incident,  has  a 
certain  madcap  quality.  Norman  Taurog  has  filled  it  with 
some  of  his  directorial  tricks  and  quips,  and  screenplay  w  right 
Richard  Alan  Simmons  has  added  some  glib  dialogue.  Wynn 
and  Menjou  are  a  little  too  frenetic.  Some  audience  will  enjoy 
the  vaudeville  antics  of  Una  Merkel  and  Fred  Clark. 

United  Artist  I  Russ-Field  1 .  87  minutes.  Jane  Russell,  Ralph  Meeker.  Keenan 
Wynn.    Produced  by  Robert  Waterfield.    Directed  by  Norman  Taurog. 

"That  Night" 

Well-made  story  of  man  who  suffers  heart  attack  and  learns 
to  live.  Lacks  names,  but  has  good  selling  points. 

As  a  modest  programmer,  "That  Night"  is  head  and  shoul- 
ders above  the  average  in  that  genre  and  will  be  greeted  as 
welcome  fare  by  most  adults,  especially  in  the  metropolitan 
market.  It  tells  the  story  of  a  man  who  has  a  heart  attack  and 
the  harvest  of  enlightenment  he  eventually  reaps  from  it. 
Based  upon  a  first-hand  account  by  Robert  Wallace,  whose 
Life  Magazine  article  created  a  sturdy  spray  of  interest  about 
a  year  ago,  and  scripted  by  him  and  Jack  Rowles,  this  exploit- 
able RKO  item,  which  Universal-International  is  releasing, 
has  veracity  and  good  dramatic  content.  As  directed  by  John 
Newland,  produced  by  Himan  Brown  and  starring  John  Beal 
and  Augusta  Dabney,  it  sometimes  manages  to  trespass  in  the 
really  real.  The  scenes  showing  Beal  first  stricken  with  a  heart 
attack  on  the  commuter's  train  home,  the  passengers'  indiffer- 
ence, the  depersonalized  attention  he  receives  from  a  police- 
man, and  finally  the  city  hospital  to  which  he's  taken,  with 
all  its  sullen  and  sterilized  bureaucracy — these  scenes  are  done 
with  unmistakable  authority.  Beal  is  a  TV  writer  living  be- 
yond his  means  in  Greenwich,  forced  to  descend  more  and 
more  into  the  Madison  Avenue  rat  race,  neglecting  a  wife, 
becoming  a  stranger  to  his  children.  Recovered  from  the  heart 
attack,  he  realizes  that  none  of  the  golden  cheese-bites  is  w  orth 
the  lost  love  of  his  family,  and  sets  out  to  recapture  the  good 
life  they  once  had.  Beal  is  superb,  his  being  a  malleable  and 
moving  performance.  Miss  Dabney  is  fine  as  his  wife. 

RKO  Radio-Universal  International.  88  minutes.  John  Beal,  Augusta  Dabney, 
Sheppard  Strudwick.    Produced  by  Himan  Brown.   Directed  by  John  Newland. 


Film  BULLETIN    August  S,  1957       Page  11 


"PICKUP  ALLEY 

probes  mercilessly  into  the 
drug  problem  and  highlights 
the  relentless  war  against 
the  dope  racketeers 
of  the  world!" 


CONGRESSMAN  HALE  BOGGS  of  LOUISIANA 

Chairman  of  the  Congressional 
Special  Committee  on  Narcotics 


J.  his  statement  by  Congressman  Boggs  is  part  of  Columbia  Pictures'  TV-radio-newspaper 
public  service  campaign  to  clean  up  the  real-life  Pickup  Alleys  of  America.  This  vital 
program  will  be  carried  out  by  special  committees  that  will  be  organized  in  key  cities,  by 
off-the-movie-page  advertising,  and  by  an  all-media  barrage  of  publicity. 

It  is  only  one  of  the  hard-hitting  promotions  that  will  hammer  home  the  title  and  subject 
matter  of  Warwick  Productions'  PICKUP  ALLEY  to  moviegoers  everywhere. 

PICKUP  ALLEY  is  destined  to  make  news  as  it  shatters  precedents.  It  is  the  first  film 

to  jump  heart-first  into  previously-forbidden  subject  matter.  It  is  a  film  that  demanded  —  and 

got  —  sensational  and  newsworthy  performances  .  .  .  from  Anita  Ekberg,  as  a  girl 

who  fights  her  way  out  of  the  hell-haze  of  the  dope  syndicate  . .  .  from  Victor  Mature,  as  a 

counter-narcotics  agent . . .  from  Trevor  Howard,  as  a  master-criminal. 

Yes,  from  the  halls  of  Congress  to  the  most  remote  hamlets  of  the  land,  PICKUP  ALLEY 
is  creating  the  kind  of  news  that  means  action  at  your  box-office ! 


GIVE  YOUR  BOX-OFFICE  A  PICKUP  WITH  THIS  FREE  TV-RADIO 
MATERIAL  FEATURING  CONGRESSMAN  BOGGS! 

1.  Radio  Spots— Narration  by  Cong.  Boggs.  Can  be  planted  as  public  service  spots. 

2.  Radio  Spots— Can  be  used  as  commercials.  Narration  by  Cong.  Boggs. 

3.  1-Minute  TV  Spot— Made  specially  for  public  service  use,  featuring  Cong.  Boggs, 
in  a  dramatic  statement  about  the  problem  and  the  picture. 


UK, 


LISTEN  TO  MIKE  TODD! 


By  LEONARD  COULTER 
Mr.  Michael  Todd  is  holed-up  in  the  Algonquin  Hotel, 
which  is  almost  within  spittin'  distance  of  Broadway's  hubbub 
and  hurlv-girly,  and  a  mere  canter  from  his  own  stoopendous, 
sooper-colossal  entertainment,  "Around  the  World  in  Eighty 
Days." 

This  makes  the  Algonquin  a  mighty  convenient  plateau  on 
which  to  pitch  his  teepee;  but  it  has  another  tremenjous  advan- 
tage. It  is  a  famed  hangout  for  literary  gents,  of  which  Mr. 
Todd  would  be  one,  so  that  not  a  single  eyebrow  should  be 
raised  at  the  sight  of  Mr.  T.,  the  onetime  carnie  guy,  browsing 
over  a  hefty  tome  about  a  Spanish  onion  named  Miguel  de 
Cervantes  Saavedra. 

Considering  that  Michael  Todd's  family  crest  consists  of  a 
peepshow  rampant  on  a  field  of  Hebrew  National  salami  it  is, 
however,  astonishing  to  find  him  in  such  bookwormish  com- 
pany, especially  as  this  Miguel  Cervantes  is  almost  as  old  as  the 
Grand  Canyon.  Anyway  he  was  born  all  the  way  back  to 
1540,  which  is  the  same  year  that  Don  Garcia  Lopez  de  Car- 
denas w  as  discovering  the  Canyon. 

Now  this  Cervantes,  as  Mr.  Todd  is  learning,  is  quite  a 
character,  because  he  gets  himself  a  pageboy's  job  with  one  of 
the  Pope's  underlings  in  Madrid,  a  Cardinal  Acquaviva  (not  to 
be  confused  with  the  celebrated  Scandinavian  tonic,  which 
comes  later  in  history). 

Segura,  a  roving-eyed  cop  in  the  Cardinal's  palace,  should 
have  known  better.  Anyhow,  he  annoys  young  Cervantes,  who 
kills  him.  The  executioner  was  told  to  chop  off  Cervantes'  left 
hand. 

Mike  Discovers  Him 

Being  a  few  digits  short  is  no  fun  in  Spain  where  the  sun  is 
hot,  and  the  signoritas  likewise,  so  Cervantes  joins  the  Army,  is 
shot  in  the  chest,  caught  by  pirates  off  the  Barbary  Coast,  tries 
to  wangle  a  mutiny  but  is  doublecrossed  by  his  best  pal,  spends 
five  years  as  the  pirates'  prisoner  and  is  finally  ransomed  back 
to  Spain. 

By  this  time  Cervantes  is  hep,  so  the  first  thing  he  does  on 
returning  to  Madrid  is  find  himself  a  young  doll  whose  family 
is  loaded  with  dough.  With  cash  from  the  dowry  he  sets 
himself  up  in  business  collecting  dues  for  the  church.  But  a 
crook  called  Simon  swindles  him  out  of  the  moolah  and  off  to 
jail  goes  Cervantes  where  he  writes  a  book  about  windmills, 
under  the  title  of  "Don  Quixote  ". 

Mr.  Michael  Todd,  352  years  later,  has  recently  discovered 
the  book  and  decides  to  make  a  movie  of  it,  and  this  accounts 
for  his  having  moved  in  with  the  longhairs  over  at  the  Algon- 
quin. 


TODD 


He  Struggles  with  Popcorn 


It  is  plain  as  the  nose  on  his  face  that  Mike  Todd  considers 
himself  a  kinda  half-cousin  to  Cervantes  in  some  ways.  Like 
him,  he  was  of  humble  origin;  he  is  at  various  times  hi-jacked 
in  Hollywood,  doublecrossed  by  his  backers,  bled  white  by  his 
partners  and,  also  like  Cervantes,  he  finally  hitches  up  with  a 
gorgeous  and  weathy  young  doll,  Liz  Taylor,  which  he  calls 
"My  old  lady"  though  she's  three  years  younger  than  Mr. 
Todd's  offspring  by  the  first  Mrs.  T. 

As  a  windmill-tilter,  moreover,  Don  Quixote  has  nothing  on 
this  Michael  Todd,  who  is  willing  to  pick  fights  anywhere,  any- 
time, and  he  is  picking  one  right  now  with  the  customers. 

"I  gotta  beef",  cries  Mr.  T.,  in  a  series  of  paid-for  ads  lately 
appearing  in  the  film  trade  press.  Some  gramatically-inclined 
script-writer  musta  been  hired  to  scribble  the  ads  because  they 
don't  sound  much  like  Mike,  whose  native  lingo  is  saltier  even 
than  Lindy's  anchovies. 

"I  have  been  accused  of  being  anti-exhibitor:  That  is  true 
.  .  .  I'm  mad  about  something  .  .  .  Why  should  I  keep  having 
to  pitch  to  exhibitors  a  year  after  finishing  'Around  the  World 
in  80  Days'?  I  want  to  be  a  producer  .  .  .  Why  don't  the 
master-minds  w  ho  operate  most  of  the  theatres  work  as  hard  as 

(Continued  on  Puge  14) 


Film  BULLETIN    August  5,  1957        Page  13 


LISTEN  TO  MIKE  TDDD 

Gambled  with  'Mot  .Htm**?/'  to  Make  "II  ttri<l~ 


(Continued  from  Page  ll) 

we  do?  ...  If  they  don't  enjoy  their  work  why  don't  they  get 
out  of  show-business?  ...  I  keep  hearing  that  tired  script,  'You 
don't  understand  my  town,  my  situation'.  If  you  don't  have 
people  to  play  for,  close  your  shooting-galleries  and  de-luxe 
morgues  ...  I  want  my  present  and  future  shows  to  be  ex- 
ploited with  the  same  spirit  and  enthusiasm  with  which  they 
are  produced." 

The  day  this  screed  hits  the  news-stands  Mr.  Michael  Todd 
was  fit  to  turn  handsprings  because  Mrs.  Michael  Todd,  two 
months  off  from  making  a  father  of  him  for  the  second  time, 
puts  out  the  tip  she  was  better  and  is  soon  quitting  hospital, 
which  is  no  place  for  a  lovely  doll  like  Liz  considering  she's  a 
joy  for  the  entire  populace  to  behold,  even  pregnant. 

So.  Mr.  T.,  who  is  by  this  time  feeling  chipper,  summons  to 
the  slightly  musty  Algonquin  the  gentlemen  of  the  trade  press 
who  are  unaccustomed  to  such  a  rarefied  atmosphere  but  are 
not  averse  from  sampling  the  groceries  there,  since  it  is  to  be  a 
knife-and-fork  affair. 

He  Switches  on  the  Charm 

When  the  gentlemen  are  all  assembled  in  a  sideroom,  and 
are  equipped  with  stemware  appropriate  to  a  muggy  July  day, 
Mr.  Todd  makes  an  unobtrusive  entrance  and  greets  everyone 
there,  even  those  he  doesn't  recall,  like  a  returned  prodigal. 
This  cannot  please  anybody  more  than  Mr.  Doll,  who  isn't  a 
doll  at  all,  but  a  large-size  blond  pressagent  who  looks  as 
though  he  needs  a  couple  of  Turns.  Mr.  Doll  has  told  Mr. 
Todd  in  advance,  "Switch  on  the  charm,  Mike,  and  make  like 
everyone  there  is  your  long-lost  son." 

Mr.  Doll  is  obviously  a  first-rate  publicity  guy,  because  he 
has  invited  to  the  shindig  several  members  of  the  Todd  pub- 
licity claque,  including  an  ash-blonde  babe  who  is  a  consider- 
able adornment  to  the  Algonquin  Hotel  and  whom  Mr.  Todd, 
unmindful  of  her  role,  gallantly  approaches  and  charm-switches 
as  per  instructions — only  to  be  informed  by  Mr.  Doll,  don't 
bother,  she's  one  of  the  hired  help.  With  that  she  departs,  and 
the  company  is  the  glummer  for  it. 

If  you  have  never  heard  Mr.  Michael  Todd  trying  to  express 
himelf,  you  have  missed  the  best  bet  on  Broadway,  not  even 
excluding  Mr.  Spyros  Skouras,  whose  English  is  the  purest 
Greek. 

Mr.  Todd  seats  himself  at  the  head  of  the  luncheon  table, 
where  his  lawyer  joins  him,  and  says,  "Say,  you  guys,  yer  wanna 
take  off  your  coats?"  which  he  does  forthwith  and  which  I, 
being  self-conscious  about  wearing  suspenders,  would  like  to 
do,  but  don't  for  fear  of  upsetting  the  waiters.  But  when  I 
take  out  pencil  and  paper,  this  is  what  I  get,  which  is  supposed 
to  be  Mr.  Todd's  "explanation"  of  his  "beef  "  against  exhibitors: 

"I  wanna  make  like  a  producer.  I  am  absolutely  serious  when 
I  say  that  I  would  like  sometime  to  stop  with  selling  the  pic- 
tures ...  I  mean,  the  show.  I  wanna  go  into  'Don  Quixote'  and 
stop  worryin'  about  these  guys  with  their  lousy  shootin'  gal- 
leries .  .  . 

"I  bin  talkin'  to  a  guy  who's  bin  a  friend  o'  mine  for  twenty 
years,  who  says  why  can't  you  play  my  theatre  downtown?  I 


said,  Listen  where  were  you  and  your  stockholders  when  we 
played  the  Variety  Club  show,  so  I  go  eleven  miles  from  his 
first-run  theatre  in  the  center  of  town  and  look  at  the  results.  I 
said  to  him  when  were  you  there  last,  meaning  when  did  you 
go  see  your  own  theatres  out  there,  and  he  said  four  years  ago, 
so  if  this  business  is  going  to  be  run  by  guys  who  spend  their 
time  on  the  'phone  from  Palm  Springs  or  Florida  wanting  to 
know  how  business  is,  all  I  can  say  is  there's  a  job  to  be  done 
in  show-business  more  than  there  ever  was. 

"Whether  these  s...s  of  b  s  like  it  not,  they've  got  to  go 

back  to  work.  There  are  still  a  few  guys  in  show  business  who 
go  out  and  get  business. 

"There  ain't  no  geniuses  in  this  business.  You  just  gotta 
work  a  little  harder.  There  are  these  guvs  whose  greatest  talent 
is  the  talent  of  negotiation:  the  Art  of  Beating  you  Over  the 
Head.  This  Art  of  Wearing  You  Down. 

"I  don't  say  that  we  Producers  are  blameless.  Plenty  of  them 
have  an  axe  to  grind  or  a  MESSAGE  to  convey.  But  when  you 
find  a  guy  that  really  is  interested  and  enjoys  his  business  like 
I  do  and  is  willing  to  gamble,  like  I  am,  then  let  us  do  busi- 
ness with  him.  I  was  gambling  with  'Around  the  World'.  I 
was  gambling  with  hot  money,  when  I  was  looking  for  the 
payroll  every  week. 

"But  now  I  got  it.  I  don't  want  any  more  money.  I  am 
talking  about  complacency.  If  you  had  a  thousand  dollars  for 
every  time  I  have  overheard  'Mike,  you  don't  understand  Lon- 
don and  you  don't  understand  Paris'. 

"I  had  a  flop  in  London  and  I  told  Elizabeth,  we  gotta  flop 
and  I  gotta  do  something  about  it,  so  we  charged  a  hundred 
guineas  admission  and  they  said  I  was  crazy  and  that's  the  only 
nite  I  ever  spent  away  from  Liz,  but  it  CAN  BE  DONE.  And 
in  Paris — listen,  fellers — in  Paris  they  told  me  you  can't  sell 
tickets  for  more  than  a  week  in  advance;  it  hasn't  been  done  for 
two  hundred  years,  besides  there's  a  law  against  it,  and  when  I 
said,  allrite,  show  me  the  Law  they  said,  well  there's  not  a  Law 
really,  but  that's  how  we  have  always  done  it  here,  because 
from  seven-thirty  to  eight-thirty  they're  working  on  the  thea- 
tre plan  .  .  .  Well,  we  stopped  it.  I  said,  for  crisakes,  why  can't 
you  sell  tickets  instead.  They  never  heard  of  it  .  .  .  But  they  did. 

No  People,  No  Theatre 

"They  tell  me  in  Texas,  and  Ohio,  Mike  you  don't  under- 
stand. We  have  a  special  situation  here.  For  crisake,  I'm  in 
the  entertainment  business.  If  ever  there  happens  to  be  in  any 
show  which  I  prodooce  any  social  significance  it  is  purely  by 
accident.  That's  the  best  kind. 

"I  do  it  for  people.  If  you  haven't  got  PEOPLE  the  theatre 
should  be  torn  down.  One  guy  in  a  big  city  said  to  me.  Listen, 
I  can't  play  your  picture,  I  said  give  me  a  percentage  of  the 
gross,  I'm  satisfied;  he  said  I  can't  play  it  even  if  I  gave  you 
ten  percent,  I'd  lose  money,  you  don't  understand  .  .  .  Yes,  this 
guy  actually  said  it  to  me;  he  proved  to  me  beyond  any  doubt 
whatever  that  if  I  should  take  any  money  out  of  his  theatre  I 
am  destroying  his  business. 

"Well,  I  had  a  moral  obligation  to  him  so  I  offered  him  the 
picture  for  practically  nothing.  I  offered  it  to  him  for  the  mere 


Page  14       Film  BULLETIN    August  5,  1 957 


LISTEN  TD  MIKE  TODD 


Shotv  Husinvss  Avvds  'Ynuny  Guys'.  Hv  Suys 


cost  of  the  Todd-AO  print,  and  if  he  wasn't  interested  I  was 
willing  to  get  outer  this  blankety-blank  town  without  a  dime, 
so  he  said,  wait  a  minute  I'd  like  to  think  this  over,  what  is  the 
cost  of  the  print?  For  crisake,  now  I  won't  even  talk  to  him. 
When  he  comes  on  the  telephone  I  won't  talk  to  him.  I  say 
I'm  not  in.  I  can't  conceive  how  a  guy,  in  all  seriousness  ...  I 
mean,  in  this  kind  of  business,  I  cannot  credit  that  sort  of 
thing  .  .  . 

"Listen  fellas,  there's  too  much  smart  manouvering  in  the 
picture  business;  you  know,  guys  whose  talent  is  to  buy  some- 
thing for  as  little  as  he  can  get  to  pay.  My  complaint  is  these 
guys  gotta  go  back  to  work.  The  art  of  negotiating  is  not  going 
to  keep  them  in  business  any  longer.  They're  goin'  to  have  to 
go  out  to  get  another  buck. 

"On  my  sacred  word  of  honor,  popcorn  is  not  goin'  to  hurt 
my  picture.  Don't  let's  kid  ourselves.  It's  a  gimmick,  this  non- 
popcorn  picture  idea.  It  don't  fool  no-one.  I  just  did  it  deliber- 
ately to  let  them  know  'Around  the  World'  isn't  a  popcorn 
picture. 

"Show  business  used  to  be  known  as  the  Strange  and  the  Un- 
usual, but  what  do  you  get  today?  It  wants  to  solve  the  ills 
of  the  world,  or  give  everyone  a  Message,  so  that  whenever  you 
go  to  the  pictures  everyone  should  take  a  psychiatrist  along,  to 
a  degree  that  everything  is  getting  so  blanketv-blank  canned 
that  it's  no  longer  Strange  and  Unusual.  Maybe  the  whole  idea 
of  having  everything  standardised  and  the  same  is  fine  in  the 
supermarket,  but  it's  no  good  in  show  business. 

Making  Money  on  Programs 

"The  worst  example  of  that  kind  of  thinking  is  the  exhibi- 
tor. Believe  me!  They  ridiculed  me  when  I  said  I  wanted  to 
sell  my  souvenir  programs  for  a  dollar.  I  give  you  my  sacred 
word  of  honor,  when  I  was  hungry,  calling — practically — from 
the  police  station  for  money,  a  guy  came  to  me  and  offered  me 
5100,000  for  my  program  rights.  I  woudn't  sell  him.  I  got 
S72,000  for  my  first  souvenir  program.  Why  wouldn't  I  sell  to 
him  for  $100,000.  Why,  because  this  guy  wasn't  interested  in 
selling  my  picture.  The  g-  d—  program  on  'Around  the  World 
in  80  Days'  is  liable  to  make  a  couple  of  hundred  thousand  dol- 
lars, as  it  happens,  but  I  didn't  do  it  for  that. 


"I  was  looking  for  a  house  out  in  Connecticut  two  weeks 
ago,  and  I  saw  three  homes,  and  a  guy  comes  up  to  me  with  a 
souvenir  program  and  asks  for  an  autograph.  We  go  to  an- 
other house  and  the  guy  has  the  program  there,  too.  I  have  yet 
to  see  a  souvenir  program  that  the  patron  has  paid  for  left  in 
a  theatre,  and  I  tell  you  this,  we're  going  to  put  these  programs 
in  dentist's  offices  and  doctor's  offices  and  everywhere  else  we 
can  think  of  because  if  they're  good  enough  to  buy  they're  good 
enough  to  read. 

"The  guys  who  do  business  with  me,  who  ain't  afraid  of 
work,  hard  work,  I  want  to  make  them  partners,  in  the  sense 
of  teaming  up  with  people  who  are  willing  to  go  out  and  do 
something  for  our  business,  like  staging  something  special  or 
putting  on  a  parade  w  hen  the  picture  comes  to  town. 

"Listen,  I  give  you  my  sacred  word.  When  the  picture  was 
playing  in  Minneapolis  I  paid  for  Eddie  Fisher  to  go  up  there 
and  open  in  opposition.  They  thought  I  was  crazy,  taking 
patrons  away  from  the  theatre.  How  narrow-minded  can  you 
get?  I  was  repaid  a  thousand-fold,  and  what  I  get  out  of  that 
small  favor  will  be  worth  far  more  than  I  could  ever  buy,  and 
anyway,  what  I  did  was  help  get  more  people  away  from  their 
television  sets  for  once,  and  break  the  television  habit,  which  i-> 
more  than  can  be  said  for  the  guys  who  run  these  shootin'  gal- 
leries, who  ought  to  get  off  their  asses  and  go  to  work  for  a 
change  instead  of  everybody  wanting  to  be  managing  director. 

"What  we  want  in  show  business  is  a  lot  of  new,  young  guys 
who  are  willing  to  learn,  and  a  lot  of  other  guys  who  gotta  be 
taught  to  unlearn  all  those  inherent  weaknesses  and  sicknesses 
that  have  accumulated  over  the  years. 

"Believe  me,  if  you've  got  what  the  public  wants  in  the  way 
of  entertainment,  they'll  swim  a  river  of  crocodiles  to  get  to 
the  theatre  for  it,  and  don't  forget  it's  no  longer  a  case  of  'Let's 
go  to  the  movies',  but  a  premeditated  purchase. 

"This  is  all  I  think  about  when  I  am  making  a  picture — the 
people — and  I'm  convinced,  believe  me,  that  the  urge  to  see 
something  that  is  properly  made  and  properly  merchandised,  is 
so  strong  that  if  I  am  ever  turned  down  in  any  town  I'll  play 
that  town,  and  I'll  serve  the  people  of  that  town,  even  if  I 
have  to  play  it  in  a  tent,  so  help  me." 


SHOWMEN .  .  . 
What  Are  YOU  Doing? 

Send  us  your  advertising,  publicity  and  exploitation 
campaigns  —  with  photos  —  for  inclusion  in  our 
EXPLOITATION  &  MERCHANDISING  DEPARTMENT 


(Continued  from  P<ige  5) 

POLICY  TO  SAVE  LOEWS 

his  grave  right  under  him. 

It  should  be  clear  now  that  appease- 
ment is  not  the  way  out  of  Loew's  sea 
of  troubles,  that  it  can  only  drown  the 
company  in  disaster.  If  Loew's  is  to 
survive,  its  policies  cannot  be  dictated 
by  men  whose  primary  interest  is 
something  other  than  dedication  to  the 
long-range  task  of  rebuilding,  men 
whose  faith  in  the  future  of  the  mo- 
tion picture  industry  is  something  less 
than  resolute.  This  is  a  motion  picture 
company  which  must  be  run  by  a  team 
of  knowledgeable  and  aggressive  peo- 
ple with   entertainment  backgrounds. 

This  is  the  only  policy  to  save 
Loew's.  And  it  is  Joe  Vogel's  monu- 
mental job  to  convince  stockholders 
large  and  small — the  Lazards,  the  Leh- 
manns,  the  rank-and-file  shareholders, 
and,  ves,  even  the  Tomlinsonites — that 
he  has  the  manpower  to  make  Leo  the 
Lion  roar  again. 

Critics  tt  ml 
The  Movies 

Abram  F.  Myers,  general  counsel  of 
Allied,  recently  issued  a  statement  with 
which  practically  the  entire  industry 
agrees,  but  about  which  most  showmen 
have  been  rather  silent.  Mr.  Myers 
wondered  out  loud  what  could  be  done 
about  "the  sneering  and  contemptuous 
attitude  of  some  reviewers  towards 
motion  pictures." 

Citing  as  a  perhaps  extreme  exam- 
ple the  critic  for  a  weekly  magazine 
— and  it  doesn't  take  much  time  to 
figure  out  which  one — Allied's  spokes- 
man said  "His  reviews  abound  with 
wise  cracks,  doubtful  puns  and  dirty 
digs  and  contain  nothing  to  indicate 
whether  the  average  American  would 
enjoy  the  picture." 

There  are  several  problems,  as  far 
as  movie  reviewers  are  concerned.  One 
is  a  problem  of  newspaper  personnel, 
and  magazine  standards.  The  other  is 
a  problem  of  industry  relations. 

It  is  a  sad  fact  but  a  hard  one  that 
a  reviewer  gets  more  attention  when 
he  pans  than  when  he  raves.  There  is 
a  certain  snobbish  attitude,  diligently 


cultivated  by  the  so-called  aesthetes  of 
the  literary  and  theatre  world,  that 
movies,  being  mass  entertainment,  must 
be  looked  down  upon.  A  writer  who 
praises  a  screen  entertainment  acquires 
no  individual  personality  with  his  fav- 
orable notices.  A  reviewer  who  flays 
Hollywood  and  sacrifices  a  good  pic- 
ture for  a  couple  of  quotable  epigrams 
gains  attention. 

This  is  a  normal  human  tendency. 
What  makes  it  interesting  is  that  news- 
papers and  magazines  which  wouldn't 
stand  for  it  in  their  coverage  of  gen- 
eral news  or  science  or  the  semi-sacred 
"legitimate"  theatre  make  no  effort  to 
put  a  checkrein  on  their  own  movie 
notices.  Even  television,  with  all  the 
tripe  it  dishes  out,  gets  a  better  press 
than  do  the  movies.  There  isn't  a 
newspaper  in  a  big  city  of  this  nation, 
for  example,  which  flays  its  baseball 
team  the  way  it  scourges  the  movie 
offerings. 

The  reason,  of  course,  is  that  the 
sports  readers  wouldn't  stand  for  it. 
They  would  write  in  and  show  their 
indignation.  And  the  baseball  or  foot- 
ball promoters  would  be  in  there  pro- 
testing too. 

Our  industry  sometimes  protests; 
but  when  we  do,  we  don't  make  our 
case  as  strong  as  we  might,  and  we 
do  it  on  an  individual  basis — a  protest 
by  one  theatre  or  one  company  or  on 
behalf  of  one  picture. 

It  may  be  wishful  thinking  to  hope 
that  the  public  will  ever  get  sufficiently 
worked  up  to  write  in  to  the  news- 
papers or  magazines  in  sufficient  num- 
bers to  carry  any  impact.  But  there 
are  a  few  things  we  as  an  industry 
can  do. 

For  example,  we  can  take  a  good 
long  look  at  our  own  relations  with 
the  critics.  Do  we  woo  them  too  much, 
or  do  we  woo  then  not  enough? 

It  is  the  impression  of  many  compe- 
tent observers  that  we  err  on  the  side 
of  too  much  wooing.  Reviewers  are 
human;  sometimes  we  build  them  up 
too  much  in  our  enthusiasm  for  a  new 
picture.  Expecting  a  masterpiece,  they 
are  disappointed  because  it  is  merely 
good;  and  their  disappointment  is  apt 
to  be  reflected  in  the  review. 

If  the  critics  think  they  are  pundits, 
and  wizards  of  words,  we  help  them 
to  think  so.  We  court  them  and  help 
along  their  delusions  of  grandeur.  We 
wine  them  and  dine  them  and  kow- 
tow to  them.   Or,  particularly  in  the 


out-of-the-way  cities,  we  go  to  the  op- 
posite extreme  and  ignore  them  so 
thoroughly  that  they  are  tempted  to 
get  nasty  just  to  show  us  they  are 
around. 

Let's  face  one  other  unpleasant  fact, 
too.  In  too  many  communities,  the 
motion  picture  editor  of  the  local 
paper  is  deluged  with  junk  not  fit  to 
print.  He  forms  his  opinion  of  the 
industry  from  his  own  relations  with 
it;  by  the  time  he  enters  the  theatre  he 
has  been  unsold. 

The  "sophisticated"  wiseacre  critic 
of  the  weekly  magazine  is  another  ket- 
tle of  fish.  No  matter  what  he  does, 
it  seems,  he  continues  to  be  given  the 
red  carpet  treatment  by  the  film  com- 
panies. For  years,  several  of  the  week- 
lies have  made  it  a  practise  to  ignore 
the  regularly  scheduled  critics'  screen- 
ings of  upcoming  pictures  and  instead 
demand  their  own  private  showings. 
The)  get  away  with  it.  At  no  time,  as 
far  as  we  know,  has  the  industry 
spoken  out  with  a  common  voice  and 
told  these  critics  to  forget  their  special 
privileges. 

If  a  critic  finds  that  he  can  make 
suckers  of  the  movies  and  get  away 
with  it,  what's  to  stop  him? 

Our  own  feeling  is  that  movies  will 
never  receive  fair  treatment  from  the 
offending  national  magazines  until  and 
unless  it  speaks  out  in  a  single  industry 
voice.  The  publishers  whose  critics 
pervert  criticism  into  malicious  grand- 
standing should  be  shown  the  truth — 
not  with  one  company's  single  picture, 
but  with  a  whole  series  of  pictures 
from  a  whole  series  of  companies  as 
the  evidence.  If  the  publishers  still 
insist  on  the  accuracy  of  their  critics, 
there  is  no  need  for  our  industry  to 
turn  the  other  cheek. 

For  the  general  body  of  critics,  per- 
haps we  can  make  a  better  case  if  we 
give  them  back  the  thrill  of  discovery. 
Maybe  if  we  let  them  find  out  a  little 
more  for  themselves  about  how  fine 
a  performance  so-and-so  gives,  instead 
of  deluging  them  with  handouts  to 
this  effect  beforehand,  they  will  make 
the  discovery  for  themselves  and  shout 
it  from  the  housetops. 

This  does  not  mean  we  should  stop 
publicizing  pictures  or  personalities 
ourselves.  It  does  mean  that  we  should 
give  some  thought  to  the  subleties  of 
our  relations  with  the  critics,  instead 
of  treating  them  as  just  a  way  station 
on  the  road  to  the  general  public. 


Fage  16       Film  BULLETIN    August  5,  1957 


MERCHANDISING     &     EXPLOITATION     DEPARTMENT  / 


MONTH-LONG  MOTION  PICTURE  JUBILEE 
CELEBRATION  APPROVED  BY  MPAADMEN 


At  least  one  phase  of  the  industry's  big  busi- 
ness-building plans,  which  have  been  sputtering 
and  fluttering  for  more  than  a  year  now  for 
want  of  top-level  support,  appeared  to  be  tak- 
ing concrete  form  last  week.  An  announcement 
from  MPAA  headquarters  reported  that  a  Mo- 
tion Picture  Jubilee  celebration  will  be  held 
this  fall.  The  go-ahead  sign  for  a  month-long 
celebration,  to  be  held  in  New  York,  Holly- 
wood and  other  key  areas  throughout  the 
nation,  was  given  last  week  in  New  York  City 
by  the  MPAA  Advertising  and  Publicity  Direc- 
tors Committee. 


LAZARUS 


The  Jubilee,  adopted  from  a  plan  submitted 
by  the  Hollywood  Publicity  Directors,  will  be 
held  in  cooperation  with  local  exhibitors.  Par- 
ticipating in  the  promotion  will  be  a  number 
of  top  Hollywood  personalities — stars,  directors, 
producers,  writers.  Martin  Davis,  eastern  direc- 
tor of  advertising  and  publicity  for  Allied  Ar- 
tists, was  named  chairman  of  the  group  head- 
ing the  New  York  phase  of  the  program. 

Elected  as  the  new  chairman  of  the  MPAA 
Advertising  and  Publicity  Directors  Committee 
was  Paul  N.  Lazarus,  Jr.  vice  president  of  Co- 


lumbia Pictures.  He  succeeds  Roger  Lewis. 
l:nited  Artists  national  director  of  advertising, 
publicity  and  exploitation. 

The  group  heard  reports  by  Si  Seadler,  Herb 
Steinberg  and  Rodney  Bush  on  "Operation 
Movie-going",  samplings  of  radio  spots  in 
Rochester,  New  York,  and  Denver,  Colorado. 
The  eight  week  radio  promotion  test,  if  suc- 
cessful, has  been  proposed  as  the  basis  for  a 
national  institutional  radio  campaign. 

Oscar  Doob  and  Charles  McCarthy  presented 
to  the  MPAAdmen  a  group  of  promotional 
ideas  for  their  consideration.  Action  was  de- 
ferred until  the  next  meeting. 

The  committee  expressed  its  approval  for  the 
services  performed  by  Lewis  in  the  following 
statement:  "Roger  Lewis  has  given  outstanding 
leadership  in  furthering  the  business-building 
program  of  the  industry.  Under  his  chairman- 
ship the  MPAA  business-building  program  was 
consolidated  with  that  of  exhibitors  and  the 
program  became  an  all  industry  effort.  Financ- 
ing of  a  portion  of  that  program  has  already 
been  voted  by  the  MPAA  Board  and  exhibitors 
are  going  forward  on  their  part  of  the  financing 
program.  The  planning  and  organization  work 
for  this  all-important  joint  industry  promotion- 
al endeavor  was  successfully  concluded  under 
Roger  Lewis'  chairmanship.  The  Committee 
wishes  to  express  its  sincere  thanks  for  his  tire- 
less and  unstinting  efforts." 

U-l  Admen  to  Tour 

The  "personal  approach"  will  be  made  by 
L'niversal  advertising,  publicity  and  promotion 
executives  during  the  next  two  weeks  when  they 
visit  key  city  newspaper  editors  and  film  critics 
as  part  of  the  advance  campaign  on  "Man  of 
a  Thousand  Faces". 

Phil  Gerard  will  visit  Washington,  Boston 
and  Philadelphia;  Herman  Kass  will  take  in 
Cleveland  and  Pittsburgh;  drumbeating  St. 
Louis  and  Cincinnati  will  be  Jerome  Evans; 
scheduled  to  cover  Western  cities  are  Clark 
Ramsay,  Archie  Herzoff  and  Jack  Granara. 

Eastern  advertising  manager  Jeff  Livingston 
and  publiciteer  Paul  Kamey  will  also  visit  with 
key  city  press  contacts. 

[More  SHOWMEN  on  Page  18] 


Streamlined  Pressbooks 
Introduced  by  Columbia 

Economy  is  becoming  an  increasingly  popular 
word  in  film  company  offices,  and  Columbia  is 
spelling  it  out  in  terms  of  streamlined  press- 
books,  on  which  the  company  expects  to  save 
$100,000  annually. 

The  first  of  the  new-style,  so-called  "Forward 
Look"  campaign  manuals,  on  "3:10  to  Yuma", 
was  introduced  last  week  by  vice-president  Paul 
N.  Lazarus,  Jr.,  in  charge  of  Columbia  adver- 
tising, who  told  a  trade  press  conference  that 
the  abbreviated  pressbooks  are  "geared  to  the 
needs  of  today's  showman"  in  every  situation. 
The  comprehensive  six-page  folder,  in  black  and 
white,  lists  all  the  vital  information  (cast, 
credits,  synposis,  etc.)  on  the  front  page.  When 
the  folder  is  spread  out,  the  newspaper  ads  con- 
tained in  three  composite  mats  are  revealed, 
backed  by  type  so  that  they  may  be  cut  vv  ithout 
destroying  ads  on  the  reverse  side.  A  few  pub- 
licity stories,  radio-TV  aids,  and  a  list  of  ex- 
ploitation possibilities  round  out  the  manual. 

General  sales  manager  Rube  Jackter  said  the 
new  pressbooks  were  designed  to  serve  the 
function  of  an  exhibitors'  aid,  rather  than  a 
salesmen's  aid. 

Whether  the  new  Columbia  pressbooks  will 
meet  with  enthusiastic  exhibitor  approval  is  a 
moot  point.  Many  are  likely  to  rind  them  too 
abbreviated,  lacking  in  the  wherewithal  to  fully 
campaign  a  picture.  For  one  thing,  in  the 
"Yuma"  book,  the  only  litho  illustrated  is  the 
24-sheet,  which  leaves  the  exhibitor  who  uses 
litho  cutouts  for  front  displays  vv  ithout  adequate 
visual  information  to  utilize  the  paper. 


Kenneth  Hargreaves  (right)  president  of  Rank 
Film  Distributors,  RFDA  ad  director  Geoffrey 
Martin  and  Anthony  Steel,  star  of  "Check- 
point", take  out  a  moment  during  promotional 
conference  on  the  latter  film. 

Film  BULLETIN    August  5,  I9S7       Page  17 


Horror-A-Thon  Debut  Sets 
San  Diego  Boxoffice  Record 

There's  apparently  still  plenty  of  loot  in 
horror  dims  when  they're  given  the  right  bally- 
hoo, as  witness  the  sensational  24-hour  Horror- 
A-Thon  Premiere  for  "The  Curse  of  Franken- 
stein'' at  the  California  Theatre  in  San  Diego. 

Coupled  w  ith  "X  the  Unknown",  the  Warner 


NOTHING  LIKE  IT  SINCE  PREMIERES  BEGAN!! 


One  of  the  attention-grabbing  ads  that  helped 
set  a    new    boxoffice    record    for    "Curse  of 
Frankenstein"  in  San  Diego. 


Bros,  release  rolled  up  an  astounding  $7500  in 
its  "round-the-clock  opening,  setting  a  new  San 
Diego  opening  day  record  for  any  picture  aside 
from  "The  Robe".  Credit  for  the  spine-tingling, 
campaign  goes  to  National  Theatres'  Ben  Wil- 
liams, house  manager,  and  WB's  southern  Cali- 
fornia exploiteer,  Max  Bercutt. 

The  24-hour  premiere  was  divided  into  eight 
separate  showings,  each  of  which  was  sold  as  a 
distinct  show.  For  example,  the  12  p.m.  screen- 
ing was  tabbed  the  "Midnight  Scream  Pre- 
miere", the  6  p.m.  show  was  called  the  "Elbow 
Bender's  Premiere",  and  so  on. 

In  New  York  City,  the  Paramount  Theatre  is 
readying  a  carbon-copy  replica  of  the  San  Diego 
premiere  starting  at  the  stroke  of  midnight, 
August  6.  A  few  of  the  gimmicks  that  the  N.Y. 
house  is  using  to  hypo  interest  in  the  film  fol- 
low: all  persons  appearing  in  costumes  of 
Frankenstein's  monster,  Dracula,  or  any  of  his 
movie-monster  buddies  will  be  admitted  free  to 
the  opening  show;  seeking  to  protect  itself  from 
law-suits  by  patrons  who  are  frightened  by  the 
WB  film,  the  theatre  is  spreading  the  word 
around  that  it  has  applied  for  "fright"  insur- 
ance. Another  stunt  is  a  letter  writing  contest 
in  which  applicants  will  write  about  their  "most 
terrifying  moment". 


Winner  of  a  Washington,  D.  C.  radio  con- 
test gets  ready  to  receive  her  prize — a  private 
screening  of  "The  Curse  of  Frankenstein"  at 
the  Metropolitan  Theatre. 


'James  Dean'  Premiere 
Set  for  Marion,  Indiana 

Warner  Bros,  and  the  citizens  of  Indiana  are 
throwing  a  lot  of  promotional  support  behind 
the  world  premiere  of  "The  James  Dean  Story", 
on  Aug.  13  at  the  Paramount  Theatre,  Marion, 
Indiana.  Participating  in  the  debut  ceremonies 
will  be  leading  civic  officials,  including  Indiana 
governor  Harold  Handley,  and  Senator  William 
Jenner.  The  elaborate  premiere  will  kick-off  a 
100-theatre  saturation  campaign  in  Indiana  and 
northern  Kentucky. 

The  James  Dean  Memorial  Foundation,  which 
r.ins  the  James  Dean  Theatre  School  in  adjoin- 
ing Fairmont,  is  ballyhooing  the  event  through- 
out the  midwestern  state  via  its  thousands  of 
members  and  contributors  to  the  Theatre 
School.  A  multitude  of  Dean  fans  are  expected 
to  attend  the  unveiling  of  a  12-foot  monument 
in  memory  of  the  late  star  the  afternoon  of  the 
Marion,  Indiana  premiere. 

An  extensive  letter  writing  contest  is  being 
sponsored  by  each  of  the  100  theatres  taking 
part  in  the  saturation  campaign.  The  contest, 
being  plugged  by  Indiana  newspapers  and  radio 
stations,  will  invite  letters  on  "Why  I  am  a 
James  Dean  Fan".  Writers  of  the  winning  mis- 
sives will  receive  merchant-donated  prizes  and 
participate  in  the  premiere  festivities. 

"God  is  my  Partner"  garnered  heavy  pro- 
motional plugs  in  Georgia  via  an  intensive  per- 
sonal appearance  tour  by  Marion  Ross,  who 
stars  in  the  20th  Century-Fox  film  with  Walter 
Brennan.  Top:  a  civic  parade  in  Hawkinsville, 
site  of  the  world  premiere,  with  the  young  ac- 
tress in  the  lead  car  of  the  motorcade.  Center: 
in  Atlanta,  Governor  Marvin  Griffin  (right) 
chats  at  a  Variety  Club  luncheon  with  Miss 
Ross  and  J.  H.  Thompson  of  the  Martin  and 
Thompson  Circuit.  Bottom:  crowds  throng  the 
Thompson  theatre  for  the  debut  showing. 


Mori  Krushen,  United  Artists  promotion 
manager,  talks  over  new  UA  promotion-exploi- 
tation program  with  National  Theatre-Fox  West 
Coast  executives.  Seated:  Pete  Latsis,  NT  ad- 
vertising-publicity chief  Thornton  Sargent, 
Krushen  and  Russ  Brown.  Standing:  Dean  Hy- 
skell,  Jack  Case,  Jim  Hardiman  and  UA's  Los 
Angeles  exploiteer,  Bill  Scholl. 

United  Artists  Beefs  Up 
Field  Staff  for  ?&P'  Openings 

In  order  to  handle  the  regional  pre-opening 
promotion  of  "The  Pride  and  the  Passion"  the 
United  Artists  exploitation  staff  will  be  in- 
creased to  a  record  52  men.  Roger  H.  Lewis, 
UA  national  promotion  director,  announced 
that  the  ballymen  will  handle  all  grass  roots 
facets  of  the  $2,000,000  drive.  Working  under 
Mori  Krushen,  promotion  chief,  the  field  crew- 
will  be  responsible  for  setting  up  saturation 
publicity  on  the  Stanley  Kramer  spectacle  and 
acting  as  liaison  between  theatremen  and  mer- 
chants participating  in  the  extensive  co-op  pro- 
gram. 

Featuring  local-tie-ins  with  civic  and  national 
organizations,  contests,  newspaper  co-op  adver- 
tising and  circus-style  ballyhoo,  the  exploita- 
tion program  is  the  biggest  in  UA  history. 

Schine  Showman  Promotes 
Special  Newspaper  Supplement 

Credit  Jack  Mitchell  of  the  Schine  Circuit 
with  doing  a  whale  of  a  job  in  Watertown, 
N.  Y.  The  showman  extraordinary,  northern 
New  York  district  manager,  promoted  a  spe- 
cial "Schine  Theatres  Movie  Section"  in  his 
local  Watertown  Daily  Times.  The  special 
eight-page  supplement  featured  stories  about 
forthcoming  films  at  all  the  chain's  theatres  in 
that  area,  profiles  of  stars,  a  proclamation  by 
the  mayor  proclaiming  the  week  the  insert  ap- 
peared as  "Brand  New  Movie  Week",  and  a 
"name  the  stars"  contest,  with  free  tickets  to  the 
show-  of  their  choice  going  to  the  winner. 

'Value  for  Money1  Co-ops 

Rank's  "Value  for  Money",  which  opened  in 
25  metropolitan  N.  Y.  theatres  last  week,  was 
backed  with  a  variety  of  promotional  tie-ups. 
Joining  with  Rank  to  ballyhoo  the  saturation 
engagement  were  Russek's  Department  Store, 
58  Vim  appliance  outlets  and  the  Cross  County 
Shopping  Center,  Yonkers,  N.  Y.,  celebrating 
"Value  for  Money"  week. 

Ads  in  N.  Y.  C.  newspapers  were  placed  by 
Russek's  for  several  days  prior  to  the  openings. 
The  Vim  stores  joined  in  the  promotion  via 
newspaper  ads  and  local  neighborhood  contests. 


Page  18       Film  BULLETIN    August  S,  1 957 


7i/&at  t&e  S&awmat  /tie  *Dowyf 


-A-  Guards  at  the  Chicago  post  office  call  a 
halt  to  Short  Sam  Gordon's  attempt  to  "mail 
himself"  to  Sophia  Loren.  Stunt  was  part  of  a 
promotional  gimmick  cooked  up  by  Richard 
Condon,  United  Artists  exploiteer,  to  plug 
Stanley  Kramer's  "The  Pride  and  The  Passion". 
Short  Sam  didn't  quite  make  it  to  Sophia's  door, 
but  the  attention-grabbing  stunt  received  plenty 
of  photo  and  news  breaks. 

Columbia's  Jackter  Announces 
'Fabulous  5'  Promotional  Drive 

After  a  very  sluggish  first  half  of  '57  product- 
wise,  Columbia  is  preening  itself  in  anticipation 
of  a  brighter  second  half.  A  quintet  of  forth- 
coming releases  have  been  dubbed  the  "Fabu- 
lous Five",  and  last  week  the  new  general  sales 
manager,  Rube  Jackter,  announced  that  the 
group  will  be  backed  by  an  all-out  promotional 
campaign  that  will  boost  these  five  major  pro- 
ductions and  "benefit  the  remainder  of  the  Co- 
lumbia schedule  and  the  product  of  the  rest  of 
the  industry  as  well". 

The  program  covering  "Jeanne  Eagels",  "3:10 
to  Yuma",  "Operation  Mad  Ball",  "The  Bridge 
on  the  River  Kwai"  and  "Pal  Joey"  was  re- 
vealed by  Jackter  at  a  3-day  meeting  of  Colum- 
bia home  office  sales  executives  and  division 
managers. 

Jackter  told  them,  "These  five  films  are  our 
showcase  product.  These  are  the  ones  we  are 
putting  in  the  window  to  bring  them  in  off  the 
street  the  same  way  a  store  on  Fifth  Avenue  or 
Main  Street  uses  its  most  attractive  and  unusual 
goods  as  attention-getters  for  all  merchandise." 

Pointing  out  that  Columbias  institutional- 
package  approach  to  the  selling  of  these  films 
should  help  the  industry  at  large,  Jackter  told 
the  assembled  executives  that  it  is  quality  films 
like  the  "Fabulous  Five"  that  "could  contribute 
much  to  revitalizing  the  movie-going  habit". 

Jackter,  formerly  assistant  sales  manager, 
moved  into  his  present  position  a  few  weeks 
ago  when,  in  a  top-level  realignment  of  Colum- 
bia executives,  Abe  Montague,  the  former  gen- 
eral sales  manager,  was  named  vice  president  in 
charge  of  distribution.  Paul  N.  Lazarus,  Jr., 
vice  president  in  charge  of  advertising,  took  on 
supervision  of  world-wide  publicity  activities. 


NYC  Dept.  Store  Ad  Touts 
20th's  'Affair  to  Remember' 

20th  Century-Fox's  "An  Affair  to  Remember" 
w.ls  welcomed  to  the  big  town  bj  New  York 
City's  Stern's  Department  Stores  with  eye- 
catching full-page  and  double-truck  ads  in  the 
dailies. 

Here's  how  the  big  metropolitan  store  tied 
in  with  the  Leo  McCarey  love  drama:  "Stern's 
doesn't  sell  love,  laughter  or  tears  but  we  know 
where  you  can  find  them  .  .  .  may  we  recom- 
mend (heartily)  'An  Affair  to  Remember'.  A 
great  movie — a  memorable  experience  from  the 
first  moment,  when  Vic  Damone  sings  the 
haunting  title  song,  to  the  last  tender  kiss,  you 
will  have  your  heart  lifted  by  this  warm  and 
wonderful  Twentieth  Century-Fox  picture  in 
glorious  DeLuxe  color  and  CinemaScope.  May 
we  recommend  (modestly)  shopping  at  Stern's 
so  the  whole  family  will  have  an  event  to  re- 
member because  shopping  at  Stern's  is  always 
a  family  affair." 

Pre-Selling  a  'Must'  for 
Today's  B.O.,  Says  Chayefsky 

Paddy  Chayefsky  is  convinced  that  pre-selling 
is  a  "must"  if  a  motion  picture  is  to  crack  to- 
day's highly  selective  market.  Interviewed  at 
New  York's  Gold  Medal  Studio's  where  he  is 
shooting  "The  Goddess"  for  Columbia  release, 
the  noted  screen,  stage  and  TV  writer  took 
time  out  to  shoot  the  breeze  on  the  pre-selling 
of  pictures  with  producers  Milton  Perlman, 
George  Justin,  GM  studio  head,  Martin  Poll. 

Chayefsky  gave  much  of  the  credit  for  the 
success  of  "Marty"  and  "Bachelor  Party"  to  the 
crackerjack  promotion  job  done  by  United  Ar- 
tists' boxofficers  and  the  effective  utilization  of 
outside  publicity  men.  Emphasizing  the  fact 
that  behind  every  successful  picture  there  is  a 
successful  exploitation  campaign,  Chayefsky 
stated:  "a  good  picture  sells  itself — if  it's  sold." 

Perlman  added  to  Chayefsky's  thesis  that  only 
exploitation  can  fill  the  gap  between  the  finest 
picture  and  its  sale  to  the  public.  His  view: 
"You  must  start  the  selling  campaign  while 
you're  shooting",  because  if  selling  is  started 
after  the  picture  is  already  in  the  can,  the  job 
is  that  much  tougher. 


Out  Hawaii  way, 
the  Consolidated 
Amusement  Co.  is 
utilizing  a  "kiddie 
folder"  in  a  tie-up 
with  local  mer- 
chants who  give 
trading  stamps.  The 
circuit  gives  one 
child's  admission 
ticket  for  each 
filled  trading  stamp 
booklet  redeemed 
at  the  boxoffice. 
Each  booklet  holds 
150  stamps. 


Rhoden  Says  'Daring  Sales 
Approach'  in  Adv'g  Pays  Off 

"Daring  approaches  to  achcrtising  are  gcning 
results ',  Elmer  C.  Rhoden,  president  of  Nation- 
al Theatres,  tells  his  organization  in  the  current 
issue  of  Showman,  NT's  house  organ.  His  state- 
ment was  made  in  connection  with  a  message  uf 
congratulations  to  the  circuit's  theatre  managers 
and  house  staffs  for  their  efforts  in  the  special 
two-week  Rhoden  drive. 

The  NT  head  told  his  force:  "Today,  I  see 
signs  of  a  revival  of  interest  by  the  public  in 


On*  Child's  (under  12  rn.1 

ADMISSION  TICKET 


RHODEN 

off-beat  attractions  and  in  off-beat  showman- 
ship. Daring  approaches  to  advertising  are  get- 
ting results.  A  foreign-made  picture,  played 
last  week  in  one  of  our  principal  cities,  broke 
all  records  for  its  type  of  an  attraction.  Some- 
where its  presentation  or  its  make-up  attracted 
the  public's  fancy — and  they  came  in  droves 
both  day  and  night.  These  instances  give  us 
solid  proof  that  the  public  will  'buy',  if  we  arc 
smart  enough  to  hit  upon  the  right  selling 
angle.  This  more  or  less  proves  one  thing:  the 
success  or  failure  of  theatres  depends  upon 
management.  Never  before  has  good  showman- 
ship paid  off  so  well.  And  never  before  has 
there  been  such  a  premium  on  good  showman- 
ship intellect. 

"After  a  long  dry  spell,  such  as  the  past 
quarter,  one  is  inclined  to  lose  faith  in  the  busi- 
ness that  is  supporting  him,  but  now  that  we 
have  emerged  from  this  dry  spell  and  again  see 
the  people  coming  to  our  theatres,  let  us  renew 
our  energies  and  our  faith  in  a  great  industry!" 

'Faces'  Art  Contest 

Universal-International  and  the  international- 
ly famous  Art  Student's  League,  announced  a 
competition  to  discover  the  best  concept  of  Lon 
Chancy,  "the  man  of  a  thousand  faces",  as  por- 
trayed by  James  Cagney  in  the  picture  of  the 
same  title.  Students  of  the  League  have  been 
invited  to  attend  private  showings  of  the  film 
and  will  then  prepare  drawings  which  reveal 
their  idealistic  concept  of  the  man  who  de- 
picted such  a  wide  variety  of  film  characters. 
Cash  awards  will  be  made  for  the  top  drawings, 
which  will  be  publicly  displayed  in  theatres, 
stores,  etc. 


Film  BULLETIN    August  5.  1957       Page  1? 


EXPLOITATION  PICTURE 


Biofilm  Boasts  Powerful  Plus 


Ordinarily,  the  showman  could  revel  in  the  ex- 
ploitation values  of  "Man  of  a  Thousand  Faces", 
even  if  it  had  not  been  the  life  story  of  the  late 
great  Lon  Chaney.  The  fact  that  it  is,  however,  a 
fictionalized  biography  of  this  colorful  movie  great 
adds  an  opulent  plus  factor  that  reaches  out  far 
beyond  the  ordinary  biographical  film. 

Let  us  consider,  first,  the  story — one  of  the  most 
poignantly  dramatic  and  inherently  exciting  true 
tales  ever  to  come  from  the  always  fascinating  in- 
sides  of  Hollywood's  family.  Lon  Chaney's  life, 
shrouded  in  mystery  because  of  the  actor's  violent 
distaste  for  airing  personal  matters  to  his  public, 
became  an  intriguing  myth  to  moviegoers  of  the 
twenties.  This  was  further  heightened  by  a  bril- 
liant press  agent,  who  capitalized  Chaney's  passion 
for  secretiveness  and  built  it  up  to  a  national  guess- 
ing game.  His  weird  roles  during  the  height  of 
his  fame  gave  rise  to  the  most  fantastic  rumors  as 
to  the  methods  he  used  to  accomplish  the  makeup 
and  contortions  that  made  his  grotesque  characters 
a  synonym  for  the  bizarre,  the  horrifying,  the  sen- 
sational. When  "The  Phantom  of  the  Opera"  was 
released,  children  and  grownups  alike  all  over  the 
nation  contorted  their  faces  to  simulate  the  charac- 
ter's pushed-up  nostrils  and  retracted  lower  eyelids. 

Yet  with  all  of  his  identification  with  ugliness 
and  horror,  the  basic  sympathetic  character  of  his 
roles  and  superb  artistry  imbedded  him  in  the  heart 
of  America's  moviegoers  as  very  few  film  players 
have  ever  penetrated.  The  tragic  aspects  of  his  per- 
sonal life,  seeping  through  fan  magazines  and  gos- 
sip mongers,  only  made  the  public  love  him  more. 
It  is  this  latter  phase  that  the  movie  dwells  upon 
h  of  the  campaign  devised  by 


and  on  which 
Universal  is  concentrated 


The  screenplay  follows  his  beginnings  as  a  song 
and  dance  man,  his  turbulent  marriage  to  a  chorus 
girl,  terrified  of  his  deaf-mute  parents  and  fearful 
that  her  baby  will  be  speechless,  climaxed  when 
she  attempts  to  commit  suicide  on  the  stage  on 
which  he  is  performing.  It  traces  his  film  begin- 
nings, unfolding  at  the  same  time  an  engrossing 
cavalcade  of  silent  picture  making,  his  second  mar- 
riage to  a  girl  who  helps  him  become  the  great 
favorite  of  his  day,  his  swift  rise  to  success  follow- 
ing his  role  as  a  twisted  cripple  in  "The  Miracle 
Man",  the  reappearance  of  his  first  w  ife  to  alienate 
his  son  from  him,  and,  finally,  his  tragic  and  un- 
timely death  from  throat  cancer,  softened  by  a 
reconciliation  with  his  son,  to  whom  he  passes  on 
his  fabulous  makeup  secrets. 

This  is  the  type  of  strong  dramatic  meat  on 
which  any  showman  may  feast  happily.  But  what 
a  special  opportunity  is  here  to  draw  the  millions 
who  saw  and  loved  Chaney!  By  capitalizing  the 
angle  that  here  is  the  vivid  and  excitingly  true 
story  of  the  movies  all-time  great  man  of  mystery, 
the  story  they  have  always  wanted  to  know,  there 
is  an  extra  slice  of  boxoffice  available  that  can  fig- 
ure importantly,  both  for  this  picture  and  for  cre- 
ating future  patrons  by  getting  many  a  member  of 
the  older,  "lost"  audience  back  into  the  theatre. 

The  newspaper  ad  on  this  page,  designed  to  run 


REMEMBER 
LON  CHANEY 

...the  man 
they  called 
"the  man  of  a 
thousand  faces?" 

A  legend  now,  ^.^x 
because  of  the  weird  \ 
and  startling  roles  WtX 
he  played,    ivi'  *  -  K'>''  ^  ' 
his  own  life  was 
even  more  dramatic 
For,  if  he  had  a 
thousand  faces,  6 
he  had  only  ,ff 
one  heart  — and  it 
was  broken  a  f^J^1 
me; ' 


Yet  he  rose 
above  his  own 


A 


personal  tragedy  ' ',' 

to  win  love,  k£[  'Jfpl 
success  and  V .^"st-. .  - 
undying  fame! 


Here  is  the  movie  story 
^  of  his  life, 

as  vivid  and 
exahng  os  the 
s.  ^       day  he  lived  it. 


m 


JAMES  CAGNEY 

DOROTHY  MALONE 
JANE  GREER 


the  full  length  of  the  nevvspage  is  a  direct  pitch  to 
the  people  we  are  talking  about.  It  comes  right  to 
the  nostalgic  nub  by  headlining  the  Chaney  name, 
playing  up  his  fascinating  roles  in  both  art  and 
copy  and  deftly  inserting  the  personal  drama  of  the 
man  with  a  thousand  faces  (an  appellage  coined 
by  the  press  agent  and  identified  uniquely  w  ith  the 
famed  star). 

While  this  has  dwelt  upon  the  special  assets  of 
the  Chaney  name  and  story,  there  are  solid  selling 
values  in  many  other  phases  of  the  exploitables. 
The  stars,  for  instance.  Certainly  a  natural  for  the 
choice  of  the  player  to  portray  Lon  Chaney,  James 
Cagney  seems  to  thrive  on  roles  in  which  he  plays 
well-known  characters.  He  took  the  Oscar  laurels 
for  his  George  M.  Cohan  in  "Yankee  Doodle 
Dandy",  added  a  nomination  for  the  Gimp  in  "Love 
Me  or  Leave  Me".  It  wouldn't  hurt  to  point  up 
this  factor,  hint  that  this  role  can  give  him  another 
Academy  nod.  More  star  luster  accrues  from  the 
co-starring  of  Dorothy  Malone  as  the  unfortunate 
first  wife,  a  hot  boxoffice  number  on  the  strength 
of  her  Academy  Award  performance  in  "Written 
on  the  Wind ". 

It  is  especially  important  that  the  female  element 
be  drummed  that  this  is  a  drama  full  of  personal 
elements,  since  the  Chaney  name  and  the  title  might 
indicate  a  horror  film.  The  family  problems  posed 
in  the  picture  should  be  played  up  in  every  way- 
possible.  Working  with  newspaper  women's  page 
editors,  the  domestic  situations  and  parental  prob- 
lems involved  would  make  excellent  feature  ma- 
terial and  a  "w  hat-would-you-do"  approach  in  the 
columns.  Similar  tack  can  be  handled  via  radio 
and  TV  panels.  And  by  all  means,  play  up  the  big 
ad  catchline:  "He  had  a  thousand  faces,  but  only- 
one  heart — and  it  was  broken  a  thousand  times!" 

A  superb  attention-getter  in  myriad  ways  is  the 
tour  de  force  of  the  Chaney  fame,  the  fabulous 
make-up  that  earned  him  the  film's  title.  Universal 
has  special  stills,  for  instance,  shwing  make-up 
being  applied  to  the  Cagney  features  for  some  of 
the  most  famous  Chaney  characterizations,  good 
for  a  sure-fire  feature  on  "Here's  How  They  Make 
Movie  Magic".  There  are  stunts  galore  in  the 
make-up  gimmick.  A  lobby  or  store-window  make- 
up table  with  a  professional  make-up  artist  doing 
either  his  own  or  volunteers'  faces  in  the  "Phan- 
tom" or  the  "Hunchback"  mold;  a  contest  for  best 
make-up  of  any  of  the  Chaney  characters;  a  street 
stunt  with  a  man  in  special  disguise  (changed 
daily)  to  be  spotted  and  identified  as  "The  Man  of 
a  Thousand  Faces";  and,  of  course,  the  inevitable 
tie  with  cosmetic  counters  and  beauticians  for 
make-up  secrets  to  reverse  the  Chaney  procedure. 

Adding  prestige  value  is  the  fact  that  Universal 
has  designated  the  film  as  its  "special  picture  for 
Hollywood's  Golden  Jubilee",  spotting  this  emblem 
in  each  of  the  ads. 

There's  everything  here  to  attract  the  young  peo- 
ple and  a  fat  extra  for  the  older  generation  who 
grew  up  on  the  Chaney  pictures.  Play  to  both 
groups  and  you  have  one  of  the  boxoffice  winners 
of  the  year. 


Page  2D        r-ilm  BULLETIN    August  5,  |?57 


EXPLOITATION  PICTURE  **im 

Eta* 


The  Universal  ad  campaign  is  a  shrewd  fusion  of  male  and  female  lures,  with  the 
accent  on  the  distaff  side.  Very  much  aware  that  the  ladies  have  to  be  sold  more 
than  the  men,  U-I  chief  boxofficers  David  Lipton,  Jeff  Livingston  and  their  able  staff 
have  subdued  the  horror  faces,  played  up  the  heartbreak  and  the  romantic  involve- 
ments in  illustration  and  text.  Prominent  in  each  ad  is  the  important  reminder  that 
this  is  the  "True  Story  of  the  Fabulous  Lon  Chaney."  Note  that  the  star  names, 
while  usually  placed  low  in  the  ads,  are  set  off  in  dignified  white  space,  with  special 
emphasis  on  the  fresh  Academy  honors  of  Dorothy  Malone.  The  same  combination 
— and  proportion — of  man-woman  drama  and  the  Chaney  grotesquerie  dominates 
the  fine  stills. 


Film  BULLETIN    August  5,  1957        Page  21 


VOGEL 

JOSEPH  R.  VOGEL  called  it  "illegal"  and 
"an  effort  to  thwart  the  26,000  stockholders 
from  making  a  decision  at  the  special  stock- 
holders meeting"  called  by  the  Loew's  presi- 
dent for  September  12 — but  the  Tomlinson- 
Meyer  dissidents  held  their  rump  board 
meeting  on  July  30  nonetheless.  The  stock- 
holders session,  already  cleared  with  the 
SEC,  will  attempt  to  oust  Canadian  tycoon 
Joseph  Tomlinson  and  Stanley  Meyer  from 
the  board,  and  to  increase  Loew's  board  of 
directors  to  19.  The  rump  board,  composed 
of  Tomlinson,  Meyer,  former  Chrysler  Corp. 
board  chairman  Karl  T.  Keller,  former  Sec- 
retary of  Defense  Louis  A.  Johnson  and 
Canadian  banker  Ray  Lawson,  unanimously 
elected  Louis  B.  Mayer,  former  Metro  pro- 
duction chief,  and  Samuel  Briskin,  veteran 
film  producer  to  their  board.  From  Vogel 
came  the  sharp  retort  that  the  rump  session 
was  illegal  because  only  five  had  attended 
the  meeting  whereas  seven  members  are  re- 
quired for  a  quorum  under  the  Loew's  by- 
laws. Vogel  characterized  the  session  by  the 
insurgents  as  "a  brazen  and,  I  think,  reveal- 
ing attempt  by  a  small  faction  to  prevent  the 
stockholders  from  deciding  whether  Tomlin- 
son and  Meyer  should  be  discharged  as  di- 
rectors." The  Loew's  president  then  went  on 
to  blast  Mayer  as  "a  conspirator  behind  the 
scenes,  but  now  out  in  the  open".  Since  the 
stormy  July  12  session  when  Vogel  an- 
nounced the  stockholders  meeting,  four  board 
members  have  resigned,  the  latest  resignation 
coming  July  29  when  Texas  banker  Fred 
Florence  stepped  out. 

0 

ABRAM  F.  MYERS  tossed  a  barbed  blast 
at  "snooty"  movie  critics  in  general,  and 
Time  Magazine's  movie  critic  in  particular, 
in  a  recent  Allied  States  Association  bulletin. 
The  Allied  general  counsel  took  to  the  attack 
against  "unfair"  reviews  by  critics  "out  to 
establish  their  own  superiority  by  snooting 
the  movies".  Some  of  Myers'  statements: 
"His  remarks  abound  with  wisecracks,  doubt- 
ful puns  and  dirty  digs  and  contain  nothing 
to  indicate  whether  the  average  American 
would  enjoy  the  picture  .  .  .  Most  assuredly 
he  does  not  write  for  the  information  of 
potential  movie-goers  .  .  .  Reviewers  are  mis- 


THEY 

MADE  THE  NEWS 


representing  the  movies  to  their  readers  by 
commenting  only  on  what  they  deem  to  be 
the  bad  features  of  a  picture  without  men- 
tioning other  features  which  the  reader 
might  enjoy  .  .  .  our  supercilious  and  con- 
sciously high-brow  reviewers,  therefore,  are 
writing  for  a  rather  small  percentage  of  the 
total  population  .  .  ." 

o 

TOLL-TV  is  acceptable — if  Congress  makes 
the  rules.  That's  the  basis  of  a  unanimous 
resolution  passed  at  the  closing  sessien  of 
the  San  Francisco  convention  of  the  Ameri- 
can Federation  of  Television  and  Radio  Ar- 
tists. The  resolution  calls  for  Congress  to 
take  control  away  from  the  FCC  and  local 
government  agencies  so  that  public  and  per- 
formers alike  will  be  protected.  Meanwhile, 
the  toll-television  bandwagon  rolls  on.  Skia- 
tron  has  applied  for  a  non-exclusive  closed 
circuit  television  franchise  in  San  Diego.  The 
company  had  previously  applied  for  fran- 
chises in  Los  Angeles  and  San  Francisco.  Na- 
tional Theatres,  through  its  Fox  West  Coast 
Theatres  division,  applied  jointly  with  Inter- 
national Telemeter  for  a  Los  Angeles  license. 
In  addition  to  the  application  for  franchises 
in  Los  Angeles  by  Skiatron  and  Telemeter 
was  one  from  Harriscope,  Inc.,  operators  of 
KTWO-TV  in  Casper,  Wyo.  and  a  motion 
picture  producer-distributor.  Meanwhile,  ma- 
jor theatre  circuits  are  carefully  eyeing  devel- 
opments on  the  West  Coast  before  taking  a 
definite  stand  on  the  closed  circuit  telev  ision 
question. 

0 

HERMAN  LEVY,  TOA  general  counsel, 
listed  five  new  points  to  be  followed  by  ex- 
hibitors to  expedite  and  test  new  applications 
for  Small  Business  Administration  loans. 
Levy's  five  recommendations:   1.  Instead  of 


obtaining  a  formal  written  refusal  from  a 
bank  or  insurance  company,  have  a  real  es- 
tate broker  furnish  a  letter  to  the  effect  that 
specific  financial  institutions  have  refused  a 
loan.  2.  Be  prepared  to  submit  a  statement 
of  operations  for  the  past  five  years.  3.  Sug- 
gest to  the  regional  office  that  unless  they 
know  of  the  Administration's  policy  in  re- 
gard to  theatres,  they  should  submit  the 
application  directly  to  Washington.  Do  not 
accept  a  turndown  from  a  regional  office. 
4.  Attach  a  rider  stating  that  the  money  will 
be  used  to  expand,  improve  and  rehabilitate 
the  theatre  to  make  it  competitive  w  ith  other 
forms  of  entertainment.  5.  Make  a  full  dis- 
closure of  all  facets  of  your  business.  Do 
not  withhold  any  pertinent  information,  no 
matter  how  confidential. 


SAMUEL  GOLDWYNS  anti-trust  suit 
against  four  Fox  distribution  and  exhibition 
affiliates  keeps  rolling  along.  Fox  West 
Coast  Theatres  president  John  B.  Bertero  and 
Goldwyn  attorney  Joseph  L.  Alioto  traded 
verbal  blows  at  a  recent  session  with  Bertero 
declaring  that  "the  Court  should  instruct  Mr. 
Alioto  to  make  a  public  apology"  for  accus- 
ing him  of  flagrantly  violating  a  Federal 
Court  consent  decree  against  FWC  prohib- 
iting the  circulation  of  schedules  of  film 
clearances  and  runs.  The  request  was  denied 
by  Federal  Judge  Edward  P.  Murphy.  Judge 
Murphy  also  got  into  the  act  by  declaring 
that  he  had  been  trying  to  get  "this  case  on 
trial  for  seven  years"  and  that  "it  is  remark- 
able that  anyone  could  remember  anything 
after  all  these  years". 


TEXAS  COMPO,  in  a  letter  to  Lone  Star 
State  exhibitors,  has  outlined  provisions  of 
the  Texas  Vandalism  Law  authorizing  busi- 
ness owners  to  recover  civil  damages  from 
parents  for  malicious  damage  to  property  by 
minors.  The  law,  which  goes  into  effect 
August  22,  gives  to  exhibitors,  among  others, 
the  right  to  recover  damages  up  to  an  amount 
of  S300  from  minors  over  10  and  under  18. 
The  exhibitor  organization  has  produced  a 
trailer  that  will  be  used  to  announce  the  new 
law  to  Texas  theatregoers. 


Page  22 


ugust  5,  1957 


THEY 

MADE  THE  NEWS 

ARTHUR  B.  KRIM  and  Harold  Hecht 
signed  on  the  dotted  line  for  their  respective 
companies,  United  Artists  and  Hecht,  Hill 
and  Lancaster,  wrapping  up  a  six-picture  re- 
leasing deal  between  the  two  organizations. 
The  agreement  involves  a  production  outlay 
of  $26,000,000  that  calls  for  H-H-L  to  de- 
liver to  UA  for  release  the  following  films, 
four  of  which  will  feature  Burt  Lancaster: 
"The  L;nforgiven,"  "The  Catbird  Seat,"  "Bal- 
lad of  Cat  Ballou,"  "Kimberly,"  "The  Rock 
Cried  Out"  and  "The  Rabbit  Trap".  Still  to 
be  produced  under  the  present  agreement  are 
three  films.  Participating  in  the  confab  that 
led  to  the  pact,  in  addition  to  Krim  and 
Hecht,  were  LIA  board  chairman  Robert  S. 
Benjamin,  MCA  president  Lew  Wasserman 
and  Robert  Blumofe,  vice  president  in  charge 
of  West  Coast  operations  for  United  Artists. 
Still  pending  is  a  proposed  production-dis- 
tribution pact  involving  H-H-L  and  Loew's. 

0 

THE  MIRISCH  BROTHERS— Walter,  Har- 
old and  Marvin — are  leaving  Allied  Artists 
to  form  their  own  company.  Their  resigna- 
tions are  effective  August  31.  As  a  result 
of  their  departure,  AA  president  Steve 
Broidy  will  take  charge  of  production  activ- 
ity in  addition  to  his  other  administrative 
duties.  An  eight-picture  AA  production 
schedule  covering  the  next  four  months  was 
announced  only  last  week  by  Walter  Mirisch. 

o 

ABE  SCHNEIDER,  first  vice  president  of 
Columbia  Pictures,  reported  to  the  Wall 
Street  Journal  that  the  film  company's  gross 
income  in  the  fiscal  year  ended  June  30 
should  hit  S100  million,  an  increase  of  ap- 
proximately S8.9  million  over  the  previous 
year.  However,  he  said,  net  income  will  be 
lower  than  the  S2.28  per  share  last  year. 
Cited  as  the  major  factors  for  the  decline  in 
net  income  were  an  increase  in  mov  ie-mak- 
ing costs  and  not  as  much  success  with  its 
top  pictures  as  had  been  expected.  Schneider 
reported  that  the  deal  with  Universal-Inter- 
national to  distribute  the  latter's  650  full- 
length  pre-1948  films  to  telev  ision  is  nearing 
completion.  As  for  1958,  the  Columbia  ex- 
ecutive looks  for  increased  earnings. 

o 

SPYROS  P.  SKOLIRAS,  stressing  the  impor- 
tance of  stereophonic  sound  as  an  integral 
part  of  CinemaScope  projection,  announced 
that  MagOptical  prints,  which  can  be  pro- 
jected as  4-track  magnetic  or  single-track 
photographic  sound,  are  now  being  made 
available  on  all  20th  Century-Fox  Cinema- 
Scope  product.  The  20th-Fox  president  said 
Stereophonic  sound  w  ill  be  highlighted  in  all 
20th-Fox  advertising  to  help  sell  the  public 
on  its  advantages,  adding  that  theatres  must 
employ  every  trick  in  the  trade  to  attract 
consistently  large  audiences.  The  MagOptical 
prints  will  alleviate  the  present  scarcity  of 
four-track  prints. 


S.  H.  FABIAN  had  plenty  of  good  news  for 
Stanley  Warner  Corp.  stockholders.  The 
companys  net  income  for  the  39  weeks  ended 
May  25  showed  an  increase  in  net  income 
of  33%  »ver  the  corresponding  period  in  the 
previous  year.  The  circuit  president  revealed 
that  net  profit  was  52,699,600  (SI. 25  per 
common  share),  as  compared  to  $2,029,200 
(94c  per  share)  last  year.  Sales  for  the 
period  topped  $83  million.  Not  revealed  in 
the  report  was  the  balance  between  the  com- 
pany's exhibition  income  and  that  earned  by 
its  International  Latex  and  its  other  subsid- 
iary operations.  A  25c  per  share  dividend 
was  declared  on  the  common  stock. 

0 

ADMISSION  TAXES  in  New  York  City 
would  be  eased  under  a  proposed  bill  now 
being  considered  by  the  Finance  Committee 
of  the  City  Council.  The  measure  would  re- 
move the  city's  5  per  cent  amusement  tax  on 
admissions  up  to  ninety  cents,  sav  ing  theatres 
an  estimated  S4,000,000.  On  admissions 
above  that  figure,  the  first  90  cents  would  be 
exempt.  The  proposed  tax  reduction  is 
viewed  as  a  direct  result  of  a  special  com- 
mittee's report  to  Mayor  Robert  Wagner  on 
the  situation  of  theatres  in  N.  Y.  The  report 
stated  that  "all  the  evidence  points  to  the 
need  for  giving  this  industry  every  possible 
assistance". 


WARNER 


JACK  L.  WARNER  reported  his  company's 
net  profit  for  the  nine  months  of  the  fiscal 
year  ended  June  1  jumped  more  than  46% 
over  the  previous  year.  The  1957  net  was 
S3,l74,000  as  against  S2,165,000  a  year  ago. 
The  WB  president  stated,  "We  are  optimistic 
over  our  prospects  for  the  future".  A  good 
portion  of  the  increase  is  attributed  to  Asso- 
ciated British  Pictures  Corp.,  a  company  in 
which  WB  holds  a  37.5%  interest.  In  addi- 
tion film  rentals  rfom  both  domestic  and  in- 
ternational operations  were  above  1956  fig- 
ures for  the  same  period. 

o 

INTERNATIONAL  TELEMETER  will  give 
the  public  a  sample  of  its  closed  circuit  pay 
television  system  at  New  York  City's  Savoy 
Plaza  hotel  from  August  12  through  29.  As 
outlined  by  Louis  A.  Novins,  vice  president 
and  general  manager  of  the  Paramount  Pic- 


tures subsidiary,  the  public  demonstrations 
will  be  keyed  to  the  idea  of  "winning  friends 
and  influencing  people".  Among  those  in- 
vited to  the  affair:  motion  picture  and  exhi- 
bition executives,  financial  houses,  technical 
and  engineering  groups,  educators  and  pub- 
lic officials,  etc.  Mr.  Novins  declared  that 
"it  is  significant  that  Telemeter  is  the  only 
closed  circuit  pay  television  system  that  has 
been  demonstrated  publicl)  thus  far.  During 
the  past  four  months  hundreds  of  leaders  in 
the  entertainment  industry ,  technical  groups 
and  others  have  seen  the  Telemeter  demon- 
strations in  Los  Angeles.  The  reactions  have 
been  most  gratifying." 

o 

REPUBLIC  PICTURES  showed  a  sharp  de- 
crease in  net  profits  for  the  26  weeks  ended 
last  April  27.  The  net  after  taxes  was 
S92.586,  compared  to  Sl,078,694  for  the  cor- 
responding period  in  1956.  The  1956  figure 
included  a  special  capital  gain  income  of 
S  1,000,000. 

0 

ROBERT  H.  O'BRIEN  will  step  into  Charles 
H.  Moskowitz's  shoes  as  vice  president  and 
treasurer  of  Loew's,  Inc.,  according  to  an 
announcement  by  president  Joseph  R.  Vogel. 
O'Brien,  who  recently  resigned  as  financial 
vice  president  of  American  Broadcasting- 
Paramount  Theatres,  is  being  counted  upon 
to  add  extra  muscle  to  Loew's  "new  team" 
being  lined  up  by  Vogel.  In  announcing 
the  appointment,  Vogel  declared:  "I  am 
pleased  to  announce  O'Brien's  association 
with  the  company.  His  wide  knowledge  and 
experience  will  be  of  great  value  as  we  go 
forward  with  our  program.  This  is  one  of 
the  more  constructive  steps  we  have  taken." 
His  career  has  included  service  as  executive 
vice  president  of  American  Broadcasting 
Co.,  secretary  of  Paramount  Pictures  and  a 
director  of  the  Securities  and  Exchange 
Commission.  Succeeding  O'Brien  at  AB-PT 
will  be  Herbert  Lazarus,  presently  vice  presi- 
dent and  general  counsel  of  the  circuit. 

o 

UNITED  ARTISTS  announced  the  sale  of  26 
post- 1948  features  to  WCBS,  New  York  City 
flagship  station  of  the  Columbia  Broadcast- 
ing System  in  a  pact  negotiated  by  John  Leo, 
L  A  director  of  TV  sales.  The  films  com- 
prise one  half  of  a  UA  package  of  52  films 
currently  being  offered  to  TV.  Of  this  group, 
32  features  were  released  theatrically  in  1954 
or  later.  The  films  have  already  been  sold 
in  45  TV  markets  since  introduced  in  June. 

o 

WALTER  READE,  JR.,  president  of  Wal- 
ter Reade  Theatres,  announced  development 
of  an  induction  sound  system  which  elimi- 
nates speaker  posts  and  direct  wire  connec- 
tions to  speakers  for  drive-in  theatres.  First 
installation  of  the  transistor-powered  hi-fidel- 
ity  units  will  be  at  Reade's  second-story 
ozoner  in  Dover,  New  Jersey.  Developed 
by  Sol  J.  Levy  of  Video-Sound  Corp.  and  the 
research  department  of  Reade  Theatres,  the 
self-contained  units  pick  up  sound  signals 
as  they  are  transmitted  through  a  grid  system 
under  the  drive-in  pavement.  The  receiver- 
speakers,  which  will  be  issued  to  each  car 
upon  entering  the  theatre,  may  be  placed  in 
any  part  of  the  automobile  and  can  even 
be  taken  to  the  concessions  building  without 
interruption  of  the  sound. 


Film  BULLETIN    August  5,  1957       Page  23 


THIS  IS  YOUR  PRODUCT 


All  The  Vital  Details  on  Current  &)  Coming  Features 

(Date  of  Film  BULLETIN  Review  Appears  At  End  of  Synopsis) 


ALLIED  ARTISTS 


March 

ATTACK  Of  THE  CRAB  MONSTERS  Richard  Garland, 
Pamela  Duncan.  Producer-director  Roger  Corman. 
Science-fiction.  Hideous  monsters  take  over  remote 
Pacific  Island.  68  min. 

FOOTSTEPS  IN  THE  NIGHT  Bill  Elliot,  Don  Haggerty. 
Producer  Ben  Schwalb.  Director  Jean  Yarbrough.  Melo- 
drama. Man  is  sought  by  police  foi  murder  of  his 
friend.  62  min. 

NOT  OF  THIS  EARTH  Paul  Birch,  Beverly  Garland. 
Producer-director  Roger  Corman.  Science-fiction.  Series 
of  strange  murders  plagues  large  western  city.  67  min. 


April 


BADGE  OF  MARSHALL  BRENNAN  Jim  Davis,  Carl 
Smith,  Arleen  Whelan.  Producer-director  Albert  C. 
Gannaway.  Western.  76  min. 

DRAGOON  WELLS  MASSACRE  Barry  Sullivan  Mona 
Freeman,  Dennis  O'Keefe.  Producer  Llndsley  Parsons. 
Director   Harold    Schuster.    Western.   Apaches  attack 

stockade  in  small  western  town.  81  min. 


May 


DESTINATION  60.000  Preston  Foster,  Coleen  Gray,  Jeff 
Donnell.  A  Gross-Krasne  Production.  Director  G.  Wag- 
gner.  Drama.  Pilot  flys  new  jet,  with  revolutionary 
type  fuel,  for  first  time.    65  min. 

LET'S  BE  HAPPY  CinemaScope,  Color.  Vera  Ellen,  Tony 
Martin,  Robert  Fleming.  Producer  Marcel  Hellman. 
Director  Henry  Levin.  Musical.  Small-town  girl  meets 
washing  machine  inventor  in  Paris.  105  min. 
OKLAHOMAN,  THE  CinemaScope,  DeLuxe  Color.  Joel 
McCrea,  Barbara  Hale.  Producer  Walter  Mirsch.  Di- 
rector Fra»cis  Lyon.  Western.  Doctor  helps  rid  town 
of  unscrupulous  brothers.  81  min. 

PERSUADER.  THE  William  Talman,  Kristine  Miller, 
James  Craig.  Producer-director  Dick  Ross.  Western. 
Preacher  wins  rough  town  over  with   love — not  guns. 


72 


June 


CALYPSO  JOE  Herb  Jeffries,  Angie  Dickenson.  Pro- 
ducer William  Broidy.  Director  Edward  Dein.  Musical. 
Former  sweetheart  wins  girl  away  from  South  Ameri- 
can millionaire.    76  min. 

HOT  ROD  RUMBLE  Leigh  Snowden,  Richard  Harfunian. 
Producer  Norman  Herman.  Director  Les  Martinson. 
Melodrama.  Story  of  a  drag  racer  and  his  fight  for 
acceptance.    79  min. 

SPOOK  CHASERS  Huntz  Hall,  Stanley  Clements.  Pro- 
ducer Ben  Schwalb.  Director  George  Blair.  Comedy. 
Bowery  boys  get  tangled  up  with  spooks  and  hoodlums. 


62 


July 


DAUGHTER  Of  DR.  JEKYLL  John  Agar,  Gloria  Talbot, 
Artiur  Shields.  Producer  Jack  Pollexfen.  Director 
Edgar  Unger.    Horror.    71  min. 

DINO  Sal  Mineo,  Brian  Keith,  Susan  Kohner.  Producer 
Bernice  Block.  Director  Thomas  Carr.  Drama.  Social 
case  worker  helps  young  criminal  reform.  94  minutes. 
DISEMBODIED,  THE  Paul  Burke,  Allison  Hayes,  Joel 
Marston.  Producer  Ben  Schwalb.  Director  Walter 
(jraumann.  Horror.  Doctor's  wife  practices  voodoo  in 
in  African  jungle.  70  min. 

LOVE  IN  THE  AFTERNOON  Color.  Gary  Cooper, 
Audrey  Hepburn,  Maurice  Chevalier.  Producer-director 
Billy  Wilder.  Comedy.  An  American  playboy's  romantic 
adventures  in  Paris.    130  min. 


August 


AOUA  DIVE  GIRL  Mara  Corday,  Pat  Conway,  Florence 
Marly.  Producer  Norman  Herman.  Adventure.  66  min. 
FROM  HELL  IT  CAME  Tod  Andrews,  Tina  Carver.  Di- 
rector Jack  Milner.    Director  Dan  Milner.    Horror.  75 


September 


DEATH  IN  SMALL  DOSES  Peter  Graves,  Mala  Powers, 
Chuck  Conners.  Producer  R.  Heermance.  Director  J. 
Newman.  Melodrama.  Investigator  cracks  ring  selling 
illegal  pills  to  truckers.  74  minutes. 
HUNCHBACK  OF  NOTRE  DAME.  THE  CinemaScope, 
Color.  Gina  Lollobrigida,  Anthony  Quinn.  A  Paris 
Production.  Director  Jean  Delannoy.  Drama.  Hunch- 
back falls  in  love  with  beautiful  gypsy  girl.  88  min. 
LOOKING  FOR  DANGER  Huntz  Hall,  Stanley  Clements. 
Producer-director  Richard  Heermance. 


Coming 


CYCLOPS  James  Craig,  Tom  Drake,  Lon  Chaney, 
Gloria  Talbot.    A  B-H  Production. 

FEVER  TREE,  THE  John  Casavetes,  Raymond  Burr,  Sara 
Shane.   A  Dudley  Production. 

fill 


MAN  FROM  MONTEREY  Sterling  Hayden.  Pamela  Dun- 
can, Ted  de  Corsia.  Producer  D.  J.  Grut.  Director 
Sidney  Franklin,  Jr.  Melodrama.  Outlaw  leaves  buddy 
to  die,  thinking  him  dead.  76  minutes. 
PORTLAND  EXPOSE  Barry  Sullivan,  Edward  Binns. 
Melodrama.  72  min. 

RIFLE,  THE  CinemaScope,  Color.  Joel  McCrea,  Vir- 
ginia Mayo. 


COLUMBIA 


April 


GUNS  AT  FORT  PETTICOAT  Audie  Murphy,  Kathryn 
Grant.  Producer  Harry  Joe  Brown.  Director  George 
Marshall.  Western.  Army  officer  organizes  women  to 
fight  off  Indian  attack.  131  min. 

PHANTOM  STAGECOACH.  THE  William  Bishop,  Rich- 
ard Webb.  Producer  Wallace  MacDonald.  Director  Ray 
Nazarro.  Western.  Outlaws  attempt  to  drive  stage 
coach  line  out  of  business.  69  min. 

TALL  T,  THE  Randolph  Scott,  Richard  Boone,  Maureen 
Sullivan.  A  Scott-Brown  Production.  Director  Budd 
Boetticher.  Western.  A  quiet  cowboy  battles  o  be 
independent.  78  min. 


May 


ABANDON  SHIP  CinemaScope.  Tyrone  Power,  Mai 
Zetterling.  Producer-director  Richard  Sale.  Drama. 
Story  of  a  group  of  people  who  survive  the  sinking 
of  a  luxury  liner.    100  min. 

GARMENT  JUNGLE.  THE  Lee  J.  Cobb,  Kerwin  Mat- 
thews, Richard  Boone.  Producer  Harry  Kleiner.  Di- 
rector Ribert  Aldrich.  Drama.  Dog-ea-dog  world  of 
Manhattan's  clothing  center.  88  min. 

HELLCATS  OF  THE  NAVY  Ronald  Reagan,  Nancy  Davis, 
Arthur  Franz.  Producer  Charles  Schneer.  Director  Na- 
than Juran.  Drama.  Story  of  the  Hellcat  submarines 
during  World  War  II.  82  min.  4/15. 

SIERRA  STRANGER  Howard  Duff,  Gloria  McGhee.  Pro- 
ducer Norman  Herman.  Director  Lee  Sholem.  Western. 
Miner  file  gold  claim  during  the  '49  California  Gold 
Rush.    74  min.  5/13. 

STRANGE  ONE.  THE  Ben  Gazxara,  James  Olsen,  George 
Peppard.  Producer  Sam  Spiegel.  Director  James  Gar- 
fein.  Drama.  Cadet  at  military  school  frames  com- 
mander and  his  son.  100  min.  4/15. 


June 


BEYOND  MOMBASA  Technicolor,  CinemaScope.  Cor- 
nell Wilde,  Donna  Reed.  Producer  Tony  Owen.  Direc- 
tor George  Marshall.  Adventure.  Leopard  Men  seek 
to  keep  Africa  free  of  white  men.  90  min. 

BURGLAR.  THE  Dan  Duryea,  Jane  Mansfield,  Martha 
Vickers.  Producer  Louis  Kellman.  Director  Paul  Kend- 
kos.  Melodrama.  Jewel  thieves  plan  theft  of  spiritual- 
ist's valuable  necklace.  90  min.  5/13. 
CALYPSO  HEAT  WAVE  Johnny  Desmond,  Merry  An- 
ders, Meg  Myles.  Director  Fred  Sears.  Musical.  Array 
of  calypso-style  singers.  86  min. 

NIGHT  THE  WORLD  EXPLODED,  THE  Kathryn  Grant, 
William  Leslie.  Producer  Sam  Katzman.  Director  Fred 
Sears.  Science-fiction.  Scientist  saves  world  by  pre- 
venting explosion.    64  min. 

GIANT  CLAW.  THE  Jeff  Morrow,  Mara  Corday.  Pro- 
ducer Sam  Katzman.  Director  Fred  Sears.  Science- 
fiction.  Giant  bird  from  outer  space  threatens  to  de- 
stroy world.  76  min. 


July 


PICKUP  ALLEY  Cinemascope.  Victor  Mature.,  Anita 
Ekberg,  Trevor  Howard.  A  Warwick  Production.  Direc- 
tor John  Gilling.  Drama.  Story  of  international  dope 
92  min. 


3:10  TO  YUMA  Glenn  Ford,  Felicia  Farr,  Van  Heflin. 
Producer  David  Heilwell.  Director  Delmer  Daves.  West- 
ern. Cowboy  robs  stagecoach  then  poses  as  one  those 


Coming 


ADMIRABLE  CRICHTON.  THE  Technicolor.  Kenneth 
More.  Diane  Cilento.  Cecil  Parker.  Producer  Ian  Dal- 
rymple.  Director  Lewis  Gilbert.  Drama.  The  story  of  a 
famous  butler  in  the  I900's. 

BROTHERS  RICO  THE  Richard  Conte,  Kathryn  Grant, 
Dianne  Foster.  Producer  Lewis  Rachmil.  Director  Phil 
Karlson.  Drama.  Former  racketeer,  trying  to  go 
straight,  exposes  organization  when  they  push  him  too 
far. 

CASE  OF  THE  STOCKING  KILLER.  THE  John  Mills, 
Charles  Coburn,  Barbara  Bates.  A  Marksman  Produc- 
tion. Director  John  Gillerman.  Insane  man  murders 
beautiful  girl. 

GOLDEN  VIRGIN.  THE  Joan  Crawford,  Rossano  Brazzi. 
Heather  Sears.  John  and  James  Woolf  producers.  Di- 
rector David  Miller.  Unscrupulous  people  exploit  blind 
girl  for  profit. 

KILLER  APE  Johnny  Weissmuller.  Carol  Thurston.  Pro- 
ducer Sam  Katzman.  Director  Spencer  G.  Bennett.  Ad- 
venture drama.  The  story  of  a  giant  half-ape,  half-man 
beast  who  goes  on  a  killing  rampage  until  destroyed 
by  Jungle  Jim.  68  min. 

PAPA.  MAMA.  THE  MAID  AND  I  Robert  Lamoureux, 
Gaby  Morlay,  Nicole  Courcel.  Director  Jean-Paul  Le 
Chanois.  Comedy.  The  lives  of  a  typically  Parisian 
family.  94  min.  9/17. 

SHE  PLAYED  WITH  FIRE  Jack  Hawkins,  Arlene  Dahl, 
Producers  Frank  Launder-Sidney  Gilliat.  Director  Sid- 
ney Gilliat.  Story  of  an  arsonist. 

SUICIDE  MISSION  Leif  Larson,  Michael  Aldridge,  Atle 
Larsen.  A  North  Seas  Film  Production.  Adventure.  Nor- 
wegian fishermen  smash  German  blockade  in  World 
War  II.  70  min. 


INDEPENDENTS 


A  pril 


GOLD  OF  NAPLES  (DCAI  Toto,  Sophia  Loren,  Vittorio 
DeSica.  A  Ponti-De  Laurentis  Production.  Director  V. 
De  Sica.  Drama.  4  short  Italian  satires.  I07min.  3/18 
IF  ALL  THE  GUYS  IN  THE  WORLD  .  .  .  IBuena  Vista) 
Andre  Valmy,  Jean  Gaven.  Director  Christian-Jaque. 
Drama.  Radio  "hams",  thousands  of  miles  apart,  pool 
their  efforts  to  rescue  a  stricken  fishing  boat. 


May 


FIRE  DOWN  BELOW  CinemaScope,  Technicolor.  Rita 
Hayworth,  Robert  Mitchum,  Jack  Lemmon.  A  War- 
wick Production.  Director  Robert  Parrish.  Drama. 
Cargo  on  ship  is  ablaze.  Gravity  of  situation  is  in- 
creased by  highly  explosive  nitrate.  116  min. 
20  MILLION  MILES  TO  EARTH  Joan  Taylor,  William 
Hopper.  Science-fiction.  82  minutes. 
TORERO  Luis  Pracuna,  Manolete,  Carlos  Arruza.  Pro- 
ducer Manuel  Ponce.  Director  Carlos  Velo.  Drama. 
A  man's  fight  against  fear.  Bullfight  setting.  75  min. 
27TH  DAY.  THE  Gene  Barry,  Valerie  French.  Producer 
Helen  Ainsworth.  Director'  William  Asher.  Science- 
fiofion.  People  from  outer  space  plot  to  destroy  all 
human  life  on  the  earth.  75  min.  5/7. 

August 

YOUNG  DON'T  CRY,  THE  Sal  Mineo,  James  Whitmore. 
Producer  P.  Waxman.  Director  Alfred  Werker.  Drama. 
Life  in  a  southern  orphanage. 

JEANNE  EAGELS  Kim  Novak,  Jeff  Chandler.  A  George 
Sidney  Production.  Stormy  account  of  an  actress  who 
became  a  legend.  Drama.  114  min.  7/22 

BULLETIN  —  THIS     IS    YOUR  PRODUCT 


RAISING   A  RIOT    (Continental)    Technicolor.  Kenneth 

More,  Ronald  Squire,  Jan  Miller.  Director  Wendy  Toye. 

Comedy.   Father  attempts  to  apply   psychology  to  his 

three  children  while  wife  is  away  on  a  visit. 

FOUR   BAGS   FULL    ITrans-Lux)    Jean    Gabin,  Bouvril. 

Comedy.  The  trials  and  tribulations  of  black  market 

operators  during  the  German  occupation. 

FRENCH    ARE   A    FUNNY    RACE.    THE  (Continental) 

Martine  Carol,  Jack  Vuchanan,  Noel-Noel.  A  Gaumont 

production.  Comedy.  A  spoof  of  the  unique  personality 

characteristics  of  the  French. 

ROCK  ALL  NIGHT  (American-International)  Dick 
Miller,  Abby  Datton,  Russel  Johnson.  Producer-director 
Roger  Corman.  Rock  n'  rolT  musical.  65  min. 
STRANGER  IN  TOWN  (Astor)  Alex  Nichol,  Anne  Page, 
Producer  Sidney  Roberts.  Director  George  Pollock. 
Melodrama.  A  newspaperman  exposes  the  "perfect 
crime".  74  min. 


June 


BLACK  TIDE  lAstor  Pictures)  John  Ireland,  Maureen 
Connell.  Producer  Monty  Berman.  Director  C.  P.  Rich- 
ards. Melodrama.  Top  fashion  model,  planning  long 
distance  swim  for  publicity,  is  mysteriously  murdered. 

DRAGSTRIP  GIRL  (American-International)  Fay  Spain, 
Steve  Terrell,  John  Ashley.  Producer  Alex  Gordon.  Di- 
rector Edward  Cahn.  Story  of  teen-age  hot  rod  and 
dragstrip  racing  kids.  75  min. 

FRENCH    THEY   ARE   A   FUNNY   RACE,    THE  (Conti- 
nental)    Martine    Carol,    Jack    Buchanan,  Noel-Noel. 
Produced  by  Preston  Sturges.    Comedy.    Filmization  of 
a  famous  French  best-selling  novel.  92  min.  5/27. 
INVASION  OF  THE  SAUCER  MEN.  Horror. 
I  WAS  A  TEENAGE  WEREWOLF.  Horror. 


JOHNNY  TREMAIN  (Bueno  Vista)  Technicolor.  Hal 
Stalmaster,  Luana  Patten,  Jeff  York.  A  Walt  Disney 
Production.  Director  Robert  Stevenson.  Adventure. 
A  teen-age  silversmith  turns  freedom  fighter  in  the 
American  War  of  Independence. 

JULIETTA  IKingsley  International  I  Jean  Marais.  Dany 
Robin.  Produced  by  Indrusfilms.  Director  Marc  Alle- 
gret.    Comedy.    Filmization  of  a  famous  French  novel. 


July 


A  NOVEL  AFFAIR  (Continental)  Sir  Ralph  Richardson. 
Margaret  Leighton.  Comedy. 

CARNIVAL  ROCK  (Howco)  The  Platters.   David  Hous- 
ton.   A  Howco  Production.    Musical.    80  min. 
CONSTANT    HUSBAND    I  Stratford]    Technicolor.  Rex 
Harrison,    Kay    Kendall.    Margaret    Leighton.  Director 
Sidney  Gilliat. 

OUT  OF  THE  CLOUDS  (Rank)  Eastman  Color.  Anthony 
Steel.  Robert  Beatty.    Producer-director  Michael  Ralph 
and  Basil  Dearden.    Adventure.    75  min. 
TEEN  AGE  THUNDER   (Howco)  Church  Courtney,  Me- 
linda  Byron.  A  Howco  Production.  Melodrama.  80  min. 


August 


NAKED  AFRICA    (American-International)    Color.  Pro- 
duced by  Quentin  Reynolds.  Adventure. 
REFORM      SCHOOL     GIRL      ( American- International  I 
Glora  Costillo,  Ross  Ford.  Melodrama. 
ROCK  AROUND  THE  WORLD   I  American-International  I 
Tommy  Steele,  Nancy  Whiskey.  Musical. 
WHITE    HUNTRESS    I  American- 1  nern  at  ion  a  I )    A  Break- 
ston-Stahl  production.  Adventure. 


Coming 


BROTHERS  IN  LAW  (Continental)  Ian  Carmichel,  Rich- 
ard Attenborough,  Jill  Adams.  Producer-director,  the 
Boulting  Bros.  Comedy.  Adventures  of  a  young  lawyer. 
CARTOUCHE  IRKO)  Richard  Basehart,  Patricia  Roc. 
Producer  John  Nasht.  Director  Steve  Sekely.  Adventure. 
The  story  of  a  lusty  adventurer  during  the  reign  of 
Louis  XVI. 

CITY  OF  WOMEN  (Associated)  Osa  Massen,  Robert 
Hurton,  Maria  Palmer.  Producer-director  Boris  Petroff. 
Drama.  From  a  novel  by  Stephen  Longstreet. 
COOL  AND  THE  CRAZY,  THE  I  Imperial)  Scott  Mar- 
lowe, Gigi  Perreau.  Producer  Elmer  Rhoden.  Jr.  Di- 
rector William  Whitney.  Story  of  teenage  violence. 
LOST  CONTINENT  IIFEl  CinemaScope,  rerranicolor. 
Producer-director  Leonardo  Bonii.  An  excursion  into  the 
wilds  of  Borneo  and  the  Maylayan  Archepeiago.  Eng- 
lish commentary.  84  min. 

MAID  IN  PARIS  (Continental)  Dany  Robin,  Daniel 
Gelin.  Directed  by  Gaspard  Huit.  Comedy.  A  daughter 
rebels  against  her  actress  mother. 

NEAPOLITAN  CAROUSEL  (IFE)  (Lux  Film,  Rome)  Pathe- 
color.  Print  by  Technicolor.  Sophia  Loren,  Leonid* 
Massint.  Director  Ettore  Giaonini.  Musical.  The  history 
of  Naples  traced  from  1400  to  date  in  song  and  dance. 
PERRI  (Bueno  Vista)  Technicolor.  A  true-life  fantasy 
by  Walt  Disney.  The  life  story  of  a  Pine  Squirrel 
named  "Perri". 

REMEMBER.  MY  LOVE  I  Artists-Producers  Assoc.)  Cine- 
maScope, Technicolor.  Michael  Redgrave,  Mel  Ferrer, 
Anthony  Quale.  Musical  drama.  Producer-director 
Michael  Powell,  Emeric  Pressburger.  Based  on  Strauss' 
"Die  Ffedermaus". 

SMOLDERING  SEA,  THE  Superscope.  Producer  Hal  E. 
Chester.  Drama.  Conflict  between  the  tyrannical  cap- 
tain and  crew  of  an  American,  merchant  ship  reaches 
its  climax  during  battle  of  Guadalcanal. 


METRO-GOLDWYN -MAYER 


March 


LIZZIE  EJeanor  Parker,  Richard  Boone,  Joan  Blcmdell. 
Producer  Jerry  Bresster.  Director  Hugo  Haas.  Drama. 
A  young  girl  lives  three  different  lives.  81  min.  3/4 
TEN  THOUSAND  BEDROOMS  CinemaScope,  Metro- 
Color.  Dean  Martin.  Anna  Maria  Alberghetti.  Producer 
Joseph  Pasternaek.  Director  Richard  Thorpe.  Musical. 
A  hotel  tycoon  falls  in  love  with  a  lovely  Italian  girl. 
114  min.  2/18. 


A  pril 


DESIGNING  WOMAN  CinemaScope,  MetroColor. 
Gregory  Peck.  Lauren  Bacall.  Producer  Dore  Schary. 
Director  Vincente  Minnelli.  Comedy.  Ace  sportswriter 
marries  streamlined  blond  with  ideas.  117  min.  3/4 
VINTAGE.  THE  MetroColor.  Pier  Angeli,  Mel  Ferrer, 
Leif  Erickson.  Producer  Edwin  Knoph.  Director  Jeffrey 
Hayden.  Drama.  A  conflict  between  young  love  and 
mature  responsibility.    92  min.  3/18. 


May 


LITTLE  HUT.  THE  Eastman  Color.  Ava  Gardner.  Stewart 
Granger.  Producers  F.  Hugh  Herbert.  Director  Mark 
Robson.  Comedy.  Husband,  wife  and  wife's  lover  are 
marooned  on  a  tropical  isle.  90  min.  5/27. 
TARZAN  AND  THE  LOST  SAFARI  Technicolor.  Gordon 
Scott  Robert  Beatty.  A  Sol  Lesser  Production.  Director 
Bruce  Humberstone.  Adventure.  Tarzan  rescues  safari 
lost  in  deepest  Africa.  80  min.  3/18. 
THIS  COULD  BE  THE  NIGHT  Jean  Simmons,  Paul 
Douglas.  Producer  Joe  Pasternak.  Director  Robert 
Wise.  Comedy.  A  girl  fresh  out  of  college  gets  a 
job  as  secretary  to  an  ex-bootlegger.   103  min.  4/15. 

June 

SEVENTH  SIN.  THE  CinemaScope.  Eleanor  Parker,  Bill 
Travers,  George  Sanders.  Producer  David  Lewis.  Di- 
rector Ronald  Neame.  Drama.  Story  of  an  adulterous 
woman.  94  min. 


SOMETHING  OF  VALUE  Rock  Hudson.  Dana  Wynter, 

Wendy     Hitler.     Producer     Pandro     Berman.  Director 

Richard  Brooks.  Drama.  Stry  of  a  Mau  Mau  uprising 
in  Kenya,  East  Africa.  113  min.  5/13. 


July 


MAN  ON  FIRE  Blng  Crosby.  Mary  Fickett.  Inger 
Stevens.  Producer  Sol  Siegel.  Director  R.  MacDougall. 
Drama  The  effect  of  divorce  on  a  boy  and  his  es- 
tranged parents.    95  min. 

SILK  STOCKINGS  MetroColor,  CinemaScope.  Fred  As- 
taire,  Cyd  Charrise,  Janis  Page.  Producer  Arthur 
Freed.  Director  R.  Mamoullian.  Musical.  Russian  girl 
falls  in  love  with  an  American  film  producer  in  Paris. 
117  min. 


August 


DECISION  AGAINST  TIME  Jack  Hawkins,  Elizabeth 
Sellars.  Producer  M.  Balcon.  Director  C  Crichton. 
Adventure.  Test  pilot  attempts  to  land  disabled  plane. 
87  min.  7/22. 

GUN  GLORY  CinemaScope,  MetroColor.  Stewart 
Granger,  Rhonda  Fleming.  Producer  N.  Nayfack.  Di- 
rector Roy  Rowland.  Western.  Ex-outlaw  is  tormented 
by  his  former  reputation  as  a  killer.  89  min. 
TIP  ON  A  DEAD  JOCKEY  CinemaScope.  Robert  Taylor, 
Dorothy  Malone,  Gia  Scala.  Producer  Edwin  Knoph. 
Director  Richard  Thorp.  Melodrama.  International 
police  track  down  smugglers.  109  min. 


Coming 


ACTION  OF  THE  TIGER  CinemaScope,  Eastman  Color. 
Van  Johnson.  Martine  Carol.  Gustave  Rojo.  A  Claridge 
Production.  Drama.  Beautiful  girl  seeks  help  of  con- 
traband runner  to  rescue  brother  from  Communists. 
DON'T  GO  NEAR  THE  WATER  CinemaScope,  Metro- 
Color.  Glenn  Ford.  Gia  Scala,  Keenan  Wynn.  Producer 
Lawrence  Weingarten.  Director  Charles  Walters. 
HAPPY  ROAD,  THE  Gene  Kelly,  Michael  Redgrave, 
Barbara  Laage.  A  Kerry  Froduction.  Directors,  Gene 
Kelly,  Noel  Coward.  Drama.  Two  children  run  away 
from  boarding  hchool  to  find  their  respective  parents. 
100  min.  2/4. 

HOUSE  OF  NUMBERS  CinemaScope.  Jack  Palance, 
Barbara  Lang.  Producer  Charles  Schnee.  Director 
Russell  Rouse.  Law-abiding  citizen  attempts  to  engi- 
neer San  Quentin  escape  for  his  brother.  92  min.  7/8. 
I  ACCUSE  Jose  Ferrer,  Viveca  Lindfors,  Leo  Genn. 
Producer  Sam  Zimbalist.  Director  Jose  Ferrer. 
JAILHOUSE  RCCK  Elvis  Presley,  Judy  Tyler.  Producer 
Pandro  Berman.  Director  Richard  Thorpe. 
LES  GIRLS  CinemaScope.  MetroColor.  Gene  Kelly, 
Mitzi  Gavnor,  Kay  Kendall.  Producer  Sol  C.  Siegel. 
Director  George  Cukor.  Musical. 

LIVING  IDOL,  THE  CinemaScope,  Eastman  Color. 
Steve  Forrest,  Lilliane  Montevecchi.  Producer-director 
Al  Lewin.  Drama.  An  archeologist  is  faced  with  an  un- 
worldly situation  that  threatens  the  safety  of  his 
adopted  daughter.    101  min.  5/13. 

RAINTREE  COUNTY  MetroColor,  CinemaScope  65. 
Elizabeth  Taylor,  Montgomery  Clift.  Producer  David 
Lewis.  Director  Edward  Dymtryke.  Drama.  Life  in  Indi- 
ana during  the  middle  I800's. 

UNTIL  THEY  SAIL  CinmeaScope.  Jean  Simmons.  Joan 
Fontaine,  Paul  Newman.  Producer  Charles  Schnee.  Di- 
rector Robert  Wise. 


PARAMOUNT 


March 

FEAR  STRIKES  OUT  Anthony  Perkins,  Karl  Maiden, 
Norma  Moore.  Producer  Alao  Pakula.  Director  Perry 
Wilson.   Drama.   Story  of  the   Boston   baseball  player. 

100  min.  2/18. 


Atprii 


FUNNY  FACE  VistaVision,  Technicolor.  Audnsy  Hep- 
burn, Fred  Astaire,  Kay  Thompson.  Producer  Roger 
Edens.  Djrector  StajUy  Donen.  h^usvcal.  P  notour  a  pfier 
plucks  fashion  model  from  Greenwich  VTirage  bookshop. 
1 03  min.  2/18. 


May 


BUSTER  KEATON  STORY,  THE  VistaVision,  Technicolor. 
Donald  O'Connor,  Ann  Blyth,  Rhonda  Flaming.  Pro- 
ducers Robert  Smith,  Sidney  Sheldon.    Director  Sidney 

Sheldon.  Drama.  Life  of  the  great  comedian.  91  min. 
4/15. 

GUNFIGHT  AT  O.K.  CORRAL  VistaVision,  Technicolor. 
Burt  Lancaster,  Kirk  Douglas,  Rhonda  Fleming.  Pro- 
ducer Hal  Wallis.  Director  John  Sturges.  Western. 
Drunken   badman   hunts  for  murderer  of  his  cheating 

brother.  122  min.  5/27. 


une 


LONELY  MAN.  THE  VistaVision,  Technicolor.  Jack  Pa- 
lance, Anthony  Perkins,  Elaine  Aiken.  Producer  Pat 
Duggan.  Director  Henry  Levin.  Western.  A  gunfighter 

fine!;  ha  is  losing  his  sight — and  his  aim.  87  min.  5/27. 

July 

BEAU  JAMES  VistaVision,  Technicolor.  Bob  Hope.  Pro- 
ducer Jack  Rose.  Director  Michael  Moore.  Drama. 
Biography  of  the  famous  Jimmy  Walker,  mayor  of  N.Y. 
from  1925  to  1932.  105  min.  6/24 

DELICATE  DELINQUENT,  THE  Jerry  Lewis.  Darren  Mc- 
Gavin,  Martha  Hyer.    Producer  Jerry  Lewis.  Director 

Don  McGuire.  Drama.  Janitor  longs  to  be  police  offi- 
cer so  ha  can  help  delinquents.  101  min.  7/8. 


August 


LOVING  YOU  VistaVision,  Technicolor.  Elvis  Presley, 
Lizabeth  Scott,  Wendell  Corey.  Producer  Hal  Wallis. 
Musical.  Director  Hal  Kanter.  Small-town  boy  makes 
good  in  big-time  show  business.  101  min.  7/22. 

IULLITIM— THIS     IS    YOUR  PRO 


AUGUST  SUMMARY 

The  number  of  features  scheduled  for 
August  release  totals  40.  Universal  will  be 
the  leading  supplier  with  seven  films  on 
the  roster.  Columbia  and  20th  Century- 
Fox  will  release  six  each,  while  Rank  will 
release  five  features.  American  Interna- 
tional will  release  four;  Metro  and  United 
Artists,  three  each;  Allied  Artists.  Para- 
mount and  Warners,  two  each.  12  August 
releases  will  be  in  color.  Nine  films  will 
be  in  CinemaScope.  two  in  VistaVision. 
two  in  Technirama. 


13  Dramas 
4  Westerns 
3  Musicals 
1  Documentary 


4  Melodramas 
7  Adventures 
3  Comedies 

5  Science-Fiction 


OMAR  KHAYYAM  VistaVision  Technicolor.  Cornel 
Wilde  Michael  Rennie,  Debra  Paget.  Producer  Frank 
freeman,  Jr.  Director  William  Dieterle  Adven  ur*. 
The  life  and  times  of  medieval  Persia  s  literary  idol. 
103  min. 

Coming 

DESIRE  UNDCR  THE  ELMS  Sophia  Loren,  Anthony  Per- 
kins Burl  Ives  Producer  Don  Hartman.  Director  Del- 
ber*  Mann.  Drama.  Emotional  conflicts  of  a  farmer, 
his  sen  and  his  second  wife. 

HAIRPIN  DEVIL'S,  THE  VistaVision.  Technicolor  Cornel 
Wilde  Jean  Wallace,  Mary  Astor.  Producer-director 
Cornel  Wilde.  Adventure.  Story  which  deals  with 
sports  car  racing. 

HOT  SPELL  VistaVision  Shirley  Booth,  Anthony  Quinn, 
Shirley  MacLaine.  Producer  Hal  Wallis.  Director  Dan- 
iel Mann.  Drama.  The  disintegration  of  a  Southern 
family  during  a  torrid  heat  wave. 

JOKER  IS  WILD.  THE  VistaVision,  Technicolor.  Frank 
Sinatra,  Mitti  Gavnor,  Jeanne  Crain.  Producer  Samuel 
Briskm.  Director  Qharles  Vidor.  Drama.  Film  biography 
of  Joe  E.  Lewis,  nightclub  comedian. 
MANUELA  Trevor  Howard.  Elsa  Martinell.  Pedro  Ar- 
mendariz.  Director  Guy  Hamilton.  Drama.  A  beautiful 
girl  stows  away  on  a  tramp  steamer. 

OBSESSION  VistaVision.  Anna  Magnani,  Anthony  Quinn. 
Producer  Hal  Wallis.  Director  John  Sturges.  Drama. 
SAD  SACK  VistaVision,  Technicolor.  Jerry  Lewis.  David 
Wayne.    Producer   Hal   Wallis.   Director   George  Mar- 
shall. Comedy.  Li'e  in  the  Army. 

SHORT  CUT  TO  HELL  VistaVision.  Robert  Ivers  Wil- 
liam Bishop,  Georgann  Johnson.  Producer  A.  C.  Lyles. 
Director  James  Cagney.  Drama. 

SPANISH  AFFAIR  VistaVision,  Technicolor.  Carmen 
Sevilla  Richard  Kiley.  Producer  Bruce  Odium.  Director 
Donald  Siegel.  An  American  architect  travelling  in 
Spain  is  attracted  to  a  beautiful  girl,  half-Gypsy,  half- 
Spanish. 

TEACHCR'S  PCT  VistaVision.  Clark  Gable,  Doris  Day. 
A  Pearlberq-Seaton  Production.  Director  George  Sea- 
ton.  Comedy.  Tough  newspaper  editor  and  college 
journalism  teacher  have  a  ball. 

TEN  COMMANDMENTS.  THE  VistaVision  Technicolor. 
Charlton  Heston.  Yul  Brynner,  Anne  Bax'er.  "roduc.r- 
director  Cecil  B.  DeMille.  Religious  drama  Life  srorv 
of  Moses  as  told  in  the  Bible  and  Koran.  219  mm.  10/15 
TIN  STAR,  THE  VistaVision.  Henry  Fonda,  Anthony 
Perkins.  A  Perl.Serg-Seaton  Production.  Director  An- 
thony Mann.  V  - stern. 

ZERO  HOUR  Dana  Andrews,  Sterling  Hayden.  A  Bart- 
lett-Champion  Production.  Director  Hall  Bartlett.  Dra- 
ma. A  man  battles  for  his  life  and  love. 


June 

CHECKPOINT  Eastman  Color.  Anthony  Steel.  Odile 
Versois.  Producer  Betty  E.  Box.  Director  Ralph  Thomas. 
82  min.  7/8. 

OUT  OF  THE  CLOUDS  Anthony  Steel,  Robert  Beatty, 
David  Knight.  Producers  Michael  Ralph,  Basil  Dearden. 
REACH  FOR  THE  SKY  Kenneth  More.  Muriel  Pavlow. 
Producer    Daniel    M.    Angel.    Director    Lewis  Gilbert. 


106 


July 


THIRD  KEY.  THE  Jack  Hawkins,  John  Stratton.  Pro- 
ducer Michael  Balcon.  Director  Charles  Frend.  Melo- 
drama. 83  min. 

TRIPLE  DECEPTION  Technicolor,  VistaVision.  Michael 
Craig.  Julia  Arnall.  Producer  Vivian  A.  Cox.  Director 
Guy  Green.  Melodrama.  85  min. 

VALUE  FOR  MONEY  Technicolor.  VistaVision.  John 
Gregson,  Diana  Dors.  Producer  Sergei  Nolbandov. 
Director  Ken  Annakin.  Comedy.  83  min. 

U  C  T 


August 

AS  LONG  AS  THEY'RE  HAPPY  Eastman  Color.  Jack 
Buchanan,  Janette  Scott.  Producer  Raymond  Stross. 
Director  J.  Lee-Thompson.  Comedy.  70  mni. 

A  TOWN  LIKE  ALICE  Virginia  McKenna,  Peter  Finch. 
Comedy.  Producer  Joseph  Janni.  Director  Jack  Lee. 
98  min. 

GENTLE  TOUCH,  THE  Tchnicolor.  George  Baker,  Be- 
linda Lee.  Producer  Michael  Balcon.  Director  Pat 
Jackson.  Drama.  86  min. 

BLACK  TENT,  THE  Technicolor.  VistaVision.  Anthony 
Steel,  Donald  Sinden.  Producer  William  MacQuitty. 
Director  Brian  D.  Hurst.  Adventure.  82  min.  7/22. 

JACQUELINE  John  Gregson.  Kathleen  Ryan.  Producer 
George  H.  Brown.  Director  Roy  Baker.  Drama.  92  min. 

September 

PURSUIT  OF  THE  GRAF  SPEE  Technicolor,  VistaVision. 
John  Gregson,  Anthony  Quayle.  Producer-director 
Michael  Powell  &  Emeric  Pressburger.  110  min. 

SPANISH  GARDENER  Technicolor,  VistaVision.  Dirk 
Bogarde,  Jon  Whiteley.  Producer  John  Bryan.  Director 
Philip  Leacock.  95  min. 

AN  ALLIGATOR  NAMED  DAISY  Technicolor,  Vista- 
Vision. Donald  Sinden,  Diana  Dors.  Producer  Raymond 
Stross.  Director  J.  Lee-Thompson.  88  min. 


REPUBLIC 


A  pril 

MAN  IN  THE  ROAD,  THE  Derek  Farr,  Ella  Raines. 
Producer  Charles  Leeds.  Director  Lance  Comfort. 
Drama.  A  spy  ring  attempts  to  obtain  atomic  secrets 
through  the  usa  of  "mental  persuasion."  83  min. 

SPOILERS  OF  THE  FORREST  Trucolor,  Naturama.  Vera 
Ralston,  Rod  Cameron.  Producer-director  Joe  Kane. 
Drama.  An  unscrupulous  lumberman  tries  to  coerce  the 
owners  of  a  large  forest  acreage  into  cutting  their 
timber  at  a  faster  rate.  68  min. 

May 

LAWLESS  EIGHTIES.  THE  Naturama.  Buster  Crabbe, 
John  Smith,  Marilyn  Saris.  Producer  Rudy  Ralston. 
Director  Joe  Kane.  Western.  Circuit  rider  prevents 
Indian  uprising.  70  min. 

TIME  IS  MY  ENEMY  Dennis  Price,  Renee  Asherson. 
Producer  Roger  Proudlock.  Director  Don  Chaffey. 
Melodrama.  The  story  of  a  blackmailed  blackmailer. 
64  min. 

WEAPON,  THE  Steve  Cochran,  Liiabeth  Scott,  Nicole 
Maurey.  Producer  Hal  Chester.  Director  Val  Guest. 
Drama.  An  unsolved  murder  involving  a  child  and  a 
loaded  gun.  70  min. 

June 

JOURNEY  TO  FREEDOM  Jacques  Scott,  Geneviv  Au- 
mont,  George  Graham,  Morgan  Lane.  Drama.  Bul- 
garian escapes  from  behind  the  Iron  Curtain.  64  min. 
PAWNEE  Trucolor.  George  Montgomery,  Bill  Williams, 
Lola  Albright.  A  Groos-Krasne  Production.  Director 
George  Wagner.  Western.  Calvary  puts  down  high- 
riding  Pawnee  Indians. 

July 

BEGINNING  OF  THE  END  IAB-PT)  Peter  Graves 
Peggie  Castle,  Morris  Ankrum.  Troducer-direct Dr  Bert 
Gordon.  Horror. 

TAMING    SUTTON'S    GAL    Naturama.     John  Lupton, 
Jack  Kelly,   May  Wynn.    Drama.    A  young  bank  clerk 
finds  a  gal  in  the  back  hill  country  of  California. 
WEST  OF  SUEZ  Trucolor.     John   Bently,   Vera  Fusek 
Martin  Boddy.  Melodrama. 

LAST  STAGECOACH  WEST  Naturama.  Jim  Davis, 
Mary  Castle.  Victor  Jory.  Producer  Rudy  Ralston.  Di- 
tector  Joe  Kane.  Western.  Outlaws  are  stopped  by 
railroad  detective. 

OPERATION  CONSPIRACY  Philip  Friend,  Leslie  Dwyer 
Mary  MacKeniie.  Melodrama. 
THE  BIG  SEARCH  Color.  Drama. 

UNEARTHLY.  THE  IAB-PT)  John  Carradine,  Allison 
Hayes.  Myron  Healy.  Producer-director  Brooks  Peters. 


20TH  CENTURY-FOX 


March 

HEAVEN  KNOWS  MR.  ALLISON  CinemaScope  De  Lu>« 
Color.  D.borah  Kerr,  Robert  Mitchum.  Producers 
Boddy  Adkr,  Eugene  Frenke.  Director  John  Hut+on. 
Drama.  Soldier  is  saved  by  nun  in  South  Pacific  during 

World  War  II  93  min.  3/18. 

RIVER'S  EDGE,  THE  CinemaScope,  Color.  Ray  Mllland, 
Anthony  Ouinn,  Debra  Paget.  Producer  Benidlct 
Bogeaas.  Director  Allan  Dwan.  Adventure.  Story  of  a 
>rofessfonal  Hller. 

STORM  RIDER,  THE  Scoff  Brady,  Mala  Powers.  A 
Brady-Gle»ier  production.  Director  Edward  Bernds. 
Western.  A  dusr  storm  brings  a  stranger  to  a  small 

western  town.  70  min. 

April 

BOY  ON  A  DOLPHIN  CinemaScope,  DeLuxe  Color. 
Clifton  Webb  Alan  Lsdd,  Sophia  Loren.  Producer  Sjm 
Engel.   Director  Jean    Negvlesco.   Comedy.  Romantic 

tale  with  a  Greek  background.    Ill  min. 

BREAK  IN  THE  CIRCLE  Forrest  Tucker,   Eva  Barfok. 

Story  of  esoape  from  Iron  Curtain.  69  min. 


KRONOS  Jeff  Morrow,  Barbara  Lawrence,  John  Emery. 
Producer-director  Kurt  Neumann.  Drama.  A  "planet- 
robber"  comes  to  earth  from  outer  space.  78  min. 
SHE-DEVIL.  THE  Mari  Blanchard,  Jack  Kelly,  Albert 
Dekker.  Producer-director  Kurt  Neumann.  Scientists 
create  an  inhuman  woman.    77  min. 

May 

BADLANDS  OF  MONTANA  Rex  Reason,  Margio  Deane, 
Beverly  Garland.  Producer  H.  Knox.  Director  D.  U li- 
ma n .  Outlaw  takes  over  as  town  marshal.  79  min. 
CHINA  GATE  Nat  "King"  Cole,  Gene  Barry,  Angle 
Dickinson.  Producer-director  S.  Fuller.  Drama.  Love 
and  war  in  Indo-China.  97  min. 

DESK  SET  Spencer  Tracy,  Katharine  Hepburn.  Producer 
Henry  Sphron.  Director  W.  Lang.  Filmiiation  of  the 
famous  Broadway  comedy.  Story  of  a  secretary  and 
her  boss.    103  min.  5/13. 

WAY  TO  THE  GOLD,  THE  Sheree  North,  Barry  Sullivan, 
Jeffrey  Hunter.  Producer  David  Weisbart.  Director  R. 
Webb.  Ex-convict  attempts  to  recover  stolen  treasures. 
69  min. 

June 

ISLAND  IN  THE  SUN  CinemaScope.  DeLuxe  Color. 
James  Mason,  Joan  Fontaine,  Dorofhy  Dandridge.  Pro- 
ducer Darryl  Zanuck.  Director  Robert  Rossen.  Drama. 

Love,  politics  and  the  labor  movement  clash  in  the 
British  West  Indies.  122  min.  6/24 

LURE  OF  THE  SWAMP  William  Parker,  Skippy  Homeir, 
Marshall  Thompson.  Melodrama.  Gangster  hides  out 
in  swamp  to  escape  police.  74  min. 

TWO  GROOMS  FOR  A  BRIDE  Virginia  Bruce,  John 
Carroll.  Producer  Robert  Baker,  Monty  Berman.  Direc- 
tor Henry  Cass.  Comedy. 

WAYWARD  BUS  CinemaScope  Jayne  Mansfield,  Dan 
Dailey,  Joan  Collins,  Rick  Jason.  Producer  Chares 
Brackett.  Director  Victor  Vicas.  From  the  John  Stein- 
beck novel.  Drama.  89  min. 

July 

ABDUCTORS,  THE  Victor  McLaglen,  Fay  Spain,  Carl 
Thayler.  Producer  R.  Wander.  Director  A.  McLaglen. 
Adventure.  Tale  of  a  plot  to  steal  Aleraham.  80  min. 

A  HATFUL  OF  RAIN  CinemaScope.    Eva  Marie  Saint, 
Don  Murray,  Tony  Franciosa.    Producer  Buddy  Adler. 
Director   Fred   Zinneman.   Drama.   A  dope   addict  de- 
cides to  shake  the  habit.  109  min.  6/24. 

AN  AFFAIR  TO  REMEMBER  CinemaScope  DeLuxe 
Color.  Cary  Grant,  Deborah  Kerr.  Producer  Jerry 
Wald.  Director  Leo  McCarey.  Comedy.  Notorious 
bachelor  falls  for  night  club  singer.  114  min.  7/22. 

BERNARDINE  CinemaScope,  Deluxe  Color.  Terry  Moore, 
Pat  Boone,  Janet  Gaynor.  Producer  Sam  Engel.  Direc- 
tor H.  Levin.  Comedy.  Story  of  teenagers.  Filmization 
of  the  Broadway  comedy.  95  min.  7/22. 

GOD  IS  MY  PARTNER  Walter  Brennan,  John  Hoyt, 
Marion  Ross.  Producer  S.  Hersh.  Director  W.  Claxton. 
Drama.  80  min. 

August 

APACHE  WARRIOR  Keith  Larsen.  Jim  Davis.  Producer 
P  Skouras.  Director  E.  Williams.  Western.  74  min. 

BACK  FROM  THE  DEAD  Regal  scope.  Peggy  Castle, 
Marsha  Hunt,  Arthur  Franz.  Horror. 

FORTY  GUNS  CinemaScope.  Barbara  Stanwyck,  Barry 
Sullivan,  Gene  Barry.  A  Samuel  Fuller  Production. 
Adventure.  A  domineering  woman  attempts  to  rule  a 
western  town  by  force. 

HELL  ON  DEVIL'S  ISLAND  Regalscope.  Helmut  Dan- 
tine,  Donna  Martel,  William  Talman,  Jean  Wiles.  Ad- 
venture. 

SEAWIFE  CinemaScope,  Deluxe  Color.  Richard  Bur- 
ton, Joan  Collins.  Producer  Andre  Hakim.  Director  Bob 

McNaught.  Drama.  Ship  is  torpedoed  by  Jap  sub- 
marine off  Singapore  harbor.    82  min. 

UNKNOWN  TERROR.  THE  Regalscope.  John  Howard, 
May  Wynn,  Mala  Powers.  Science-fiction. 

WILL  SUCCESS  SPOIL  ROCK  HUNTER  CinemaScope. 
DeLuxe  Color.  Jayne  Mansfield,  Clifton  Webb,  Tony 
Randall.  Producer-director  Frank  Tashlin.  Comedy. 
Filmiiation  of  the  Broadway  play. 

Coming 

BEAUTIFUL  BUT  DANGEROUS  Gina  LoHobrigida,  Vlt- 
torio  Gastman.  Producer  Manuella  Malotfi.  Director 
Robert  Leonard.  Drama. 

NO  DOWN  PAYMENT  Jeff  Hunter,  Barbara  Rush, 
Sheree  North,  Cameron  Mitchell. 

RESTLESS  BREED,  THE  Eastman  Color.  Scoff  Brady, 
Anne  Bancroft.  Producer  E.  A.  Alperson.  Director  Alan 

Dwan.  Story  of  a  restless,  banned  town.  81  min.  5/27. 

SUN  ALSO  RISES.  THE  CinemaScope,  DeLuxe  Color. 
Ava  Gardner,  Mel  Ferrer,  Tyrone  Power.  Producer  D. 
Zanuck.  Director  Henry  King.  From  Ernest  Heming- 
way's famous  novel. 

THREE  FACES  OF  EVE.  THE  David  Wayne,  Joanne 
Woodward.  Producer  Nunnally  Johnson.  Story  of  a 
woman  with  three  distinct  personalities. 


UNITED  ARTISTS 


March 

DELINQUENTS,  THE  Tommy  Laughlin,  Peter  Miller, 
Dick  Bakalyan.  Imperial  Productions.  Robert  Airman 
director.  High  school  student  and  his  girl  victimized 

by  a  teen-age  gajig.  75  min.  3/18. 


HIT  AND  RUN  Cleo  Moore,  Hugo  Haas.  Producer,  di- 
rector Hugo  Haas.  Middle-aged  widower  marries  show 
girl.  She  and  her  boy  friend  plot  his  murder.  84  min. 

REVOLT  AT  PORT  LARAMIE  DeLuie  Color.  John 
Dehner,  Diana  Brewster.  Producer  Howard  Koch.  Di- 
rector Lesley  Salander.  Western.  Civil  War  story  of 
soldiers  who  are  attacked  by  Indians.  73  min. 

SPRING  REUNION  Betty  Hutton,  Dana  Andrews,  Jean 
Hagen.  Direcfor  Robert  Pirosh.  Producer  Jerry  Bresler. 

Comedy.  Old  schoolmates  fall  in  love  at  a  high  school 
reunion.  79  min.  3/18. 

A  pril 

BACHELOR  PARTY.  THE  Don  Murray,  E.  G.  Marshall, 
Jack  Warden.  Producer  Harold  Hecht.  Director  Delberf 
Mann.  Drama.  From  the  famous  television  drama  by 
Paddy  Chayefsky.  92  min.  4/15. 

FURY  AT  SHOWDOWN  John  Derek,  Carolyn  Craig. 
Nick  Adams.  Producer  John  Beck.  Director  Gerd  Os- 
wald. Western.  Ex-bandit  finds  tough  going  when  he 
tries  to  go  straight.  75  min.  3/18. 

IRON  SHERIFF.  THE  Sterling  Hayden,,  John  Dehner, 
Constance   Ford.   Producer  Jerome   Robinson.  Director 

Sidney  Salkow.  Sheriff  tries  to  clear  his  son  of  a 
murder  charge.  73  min. 

RIDE  BACK.  THE  Anthony  Quinn,  William  Conrad.  An 
Aldrich  Production.  Director  Allen  Miner.  Western. 
Sheriff  is  afraid  of  failing  in  assignment  to  bring 
border  outlaw  to  justice.    79  min.  5/13. 

12  ANGRY  MEN  Henry  Fonda,  Lee  J.  Cobb.  Jack 
Warden.  An  Orion-Nova  Production.  Director  Sidney 
Lumet.  Drama.  Jury  cannot  agree  on  a  verdict.  95 
min.  3/4 

WAR  DRUMS  DeLuxe  Color.  Lex  Barker,  Joan  Taylor, 
Ben  Johnson.  Director  Reginald  LeBorg.  Apache  chief 
and  his  white  wife  wgae  war  on  white  settlers.  75  min. 
4/1. 

May 

BAILOUT  AT  43.000  John  Payne,  Karen  Steele.  A  Pine- 
Thomas  Production.  Director  Francis  Lyon.  U.S.  Air 
Force  pioneers  bailout  mechanism  for  jet  pilots.  83  min. 

GIRL  IN  BLACK  STOCKINGS.  THE  Lex  Barker,  Anne 
Bancroft,  Mamie  Van  Dorei.  A  Bel-Air  Production.  Di- 
recfor Howard  Koch.  Drama.  A  series  of  sex  slayings 

terrorize  western  resort.    73  min. 

GUN  DUEL  IN  DURANGO  George  Montgomery.  Pro- 
ducer Robert  Kent.  Director  S.  Salkow.  Western. 
Outlaw  attempts  to  go  straight.  73  min.  5/27. 

HIDDEN  FEAR  John  Payne,  Natalie  Norwich.  A  St. 
Anbrey-Kohn  Production,  Director  Andre  de  Toth. 
Drama.  Poiice  officer  attempts  to  clear  sister  charged 

with  murder.  83  min. 

MONKEY  ON  MY  BACK  Cameron  Mitchell,  Dianne  Fos- 
ter. Producer  Edward  Small.  Director  Ted  Post.  Drama. 
Life  story  of  ex-boxing  champion  Barney  Ross.    93  min. 


June 

BAYOU  Peter  Graves.  Lita  Milan.  Executive  producer 
M.  A.  Ripps.  Director  Harold  Daniels.  Drama.  Life 
among  the  Cajuns  of  Louisiana. 

BIG  CAFES.  THE  R«ry  OJhoend.  Mary  Cotfa.  Pine- 
Thomas  Production.  Direcfor  Robert  Stevens.  Multi- 
million  dollar  payroll  robbery.    Melodrama.    84  min. 

MONSTER  THAT  CHALLENGED  THE  WORLD.  THE  Tim 

Holt.  Audrey  Dalton.  Producers  Jules  Levy,  Arthur 
Gardner.  Director  Arnold  Laven.  Science-fiction.  Group 
of  Navy  scientists  battle  a   pre-historic  sea  monster. 

ST.  JOAN  Richard  Widmark,  Jean  Seburg.  Producer- 
director  Otto  Preminger.  Drama.  Filmization  of  George 
Bernard  Shaw's  famous  classic.  110  min.  5/27. 
SWEET  SMELL  OF  SUCCESS.  THE  Burt  Lancaster,  Tony 
Curtis,  Susan  Harrison.  Producer  James  Hill.  Director 
Alexander  Mackendrick.  Drama.  Story  of  a  crooked 
newspaperman  and  a  crooked  p.r.  man.  100  min.  6/24. 

TROOPER  HOOK  Joel  McCrea,  Barbara  Stanwyck,  Ed- 
ward Andrews.  Producer  Sol  Fielding.  Director  Marquis 
Warren.  Drama.  A  white  woman,  forced  to  live  as  an 
Indian  Chief's  squaw,  is  finally  rescued  and  tries  to 
resume  life  with  husband.  81  min. 

VAMPIRE.  THE  John  Beal,  Coleen  Gray.  Producers 
Arthur  Gardner,  Jules  Levy.  Director  Paul  Landres. 
Science-fiction.  Doctor  accidentally  takes  pills,  changes 
into  vampire. 


July 

BOP  GIRL  GOES  CALYPSO  Judy  Tyler,  Bobby  Troup, 
Margo  Woode.  Producer  Aubrey  Schenk.  Director  How- 
ard Koch.  Musical.  Rock  and  roll-calypso  cavalcade  of 
musical  numbers. 

PRIDE  AND  THE  PASSION,  THE  VistaVision,  Techni- 
color. Cary  Grant,  Frank  Sinatra,  Sophia  Loren.  Pro- 
ducer-director Stanley  Kramer.  Drama.  A  Spanish 
guerrilla  band  marches  an  incredible  distance  with  a 
6000  pound  cannon  during  Spanish  War  of  Independ- 
ence of  1810.  131  min.  7/8. 

OUTLAW'S  SON  Dane  Clark,  Ben  Cooper,  Lori  Nel- 
son. Bel  Air  Production.  Director  Lesley  Selander.  Gun- 
sllnger  escapes  from  jail  to  save  son  from  life  of 
crime. 

August 

FUZZY  PINK  NIGHTGOWN,  THE  Jane  Russell,  Keenan 
Wynn,  Ray  Danton.  Producer  Bob  Waterfield  Director 
Norman  Taurog.  Melodrama.  The  story  of  a  Holly- 
wood star  who  is  kidnapped. 


Film    BULLETIN  —  THIS     IS    TOUR  PRODUCT 


MONTI  CARLO  STORY.  THE  Technirama,  Color  Mar- 
lent  Dietrich,  Vittorio  Dt  Sice.  A  Titenui  Rim.  Sem 
Teylor  director.  Drama  A  handsome  Italian  noblemen 
with  a   love   for  gambling   marries   a   nr.     *oman  in 

order  to  pay  his  debts.  100  min.  7/8. 

VALERIE  Sterling  Hayden.  Anita  Ekberg,  Anthony  Steel. 
Producer  Hal  Makelim.  Director  Gerd  Oslwald.  West- 
ern. The  story  of  a  murder  trial  in  a  western  town. 


July 


Coming 


CALYPSO  ISLAND  Marie  Windsor.  Vince  Edwards.  Pro- 
ducer-director William  Berke.  Musical.  Calypso  film 
filmed  in  the  Bahama  Islands. 

CARELESS  YEARS.  THE  Natalie  Trundy.  Dean  Stock- 
well.  Producer  Edward  Lewis.  Director  Arthur  Hiller. 
Drama.  Two  lovers  meet  parental  resistance  when  they 
decide  to  get  married. 

GUNSKJHT  RIDGE  Joel  McCrea.  Mark  Stevens.  Pro- 
ducer Robert  Bassler.  Director  Francis  Lyon.  Western. 
Stranger  discovers  respected  citizen  is  really  a  holdup 


HELL  BOUND  John  Russel.  June  Blair.  Producer  How- 
ard  Koch.  Director  William  Hole,  Jr.  Melodrama. 
Story  of  a  conspiracy  to  hijack  a  shipment  of  narcotics. 

JUNGLE  HEAT  Lex  Barker,  Mari  Blanchard.  A  Bel-Air 
Production.  Director  H.  Koch.  Japanese  saboteurs  in 
Hawaii  prior  to  WWII. 

LEGEND  OF  THE  LOST  John  Wayne,  Sophia  Loren. 
Rossano  Braiii.  Producer-director  Henry  Hathaway.  Ad- 
venture   Sea  rch  for  treasure  in  the  Sahara.. 

OUIET  AMERICAN  Audie  Murphy.  Michael  Redgrave. 
Claude  Dauphin.  Figaro  Production.  Director  Joseph 
Mankiewicz.  Drama.  Story  set  against  the  recent 
fighting  in  IndoChina. 

SAVAGE  PRINCESS  Technicolor.  Dilip  Kumar,  Nimmi. 
A  Mekaoob  Production.  Musical  Drama.  A  princest 
falls  in  love  with  a  etasant  who  contests  her  right 
to  rule  the  kiegeiom.  101  min. 

STREET  OF  SINNERS  George  Montgomery,  Geraldine 
Brooks.  Producer  William  Berke.  Rookie  policeman 
clashes  with  youthful  criminals. 


UNiVERSAL-INTL 


March 

BATTLE  HYMN  Technicplor,  CinemaS&ope.  Rock  Hud- 
son, Martha  Hyer,  Dan  Duryea.  Producer  Ross  Hunter. 
Director  Douglas  Sirk.  Drama.  Pilot  redeems  sense  of 
guilt  because  of  bombing  of  an  orphanage  by  saving 
other  orphans.  108  min.  12/24. 

GUN  FOR  A  COWARD  astman  Color,  CinemaScope. 
Fred  MacMurray,  Jeffrey  Hunter,  Janice  Rule.  Pro- 
ducer William  AUand.  Director  Abner  Biberman.  Wes- 
tern. Three  brothers  run  a  cattle  ranch  after  death  of 
their  father.  88  min.  1/7. 

MISTER  CORY  Eastman  Color,  CinemaScope.  Tony 
Curtis,  Martha  Hyer,  Charles  Bickford.  Producer 
Robert  Arthur.  Director  Blake  Edwards.  Drama.  Gam- 
bler from  Chicago  sjums  climbs  to  wealth  and  re- 
spectability. 92  min.  1/21. 


A  pril 


INCREDIBLE  SHRINKING  MAN,  THE  Grant  Williams, 
Randy  Stuart.  Producer  Albert  Zugsmith.  Director  Jack 
Arnold.  Science-fiction.  The  story  of  a  man  whose 
growth  processes  have  aecidently  been  reversed. 
81  min.  2/4. 

KELLY  AND  ME  CinemaScope,  Technicolor.  Van  John- 
son, Piper  Laerie.  Martha  Hyer.  Producer  Robert  Ar- 
thur. Director  Robert  Leonard.  Drama.  Story  of  dog- 
act  in  show  business  in  the  early,  l?30*s  2/4. 

TATTERED  DRESS,  THE  CinemaScope.  Jeff  Chandler, 
Jeannie  Crain,  Jack  Carson.  Producer  Albert  Zugsmith. 
Director  Jack  Arnold.  Melodrama.  Famous  criminal 
lawyer  gains  humility  when  put  on  trial  himself.  93 
min.  3/4 


May 


DEADLY  MANTIS,  THE  Craig  Stevens,  Alix  Talton.  Pro- 
ducer William  Alland.  Director  Jerry  Juran.  Horror. 
Monstrouc  creature  threatens  to  destroy  U.S.  78  min. 
4/1. 

GIRL  IN  THE  KREMLIN,  THE  Lex  Barker,  Zsa  Zsa 
Gabor,  Jeffrey  Stone.  Producer  Albert  Zugsmith,  Di- 
rector Russell  Birdwell.  Drama. 

MAN  AFRAID  CinemaScope.  George  Nader,  Phyllis 
Thaxter,  Tim  Hovey.  Producer  Gordon  Kay.  Director 
Harry  Keller.  Drama.  Father  saves  life  of  man  attempt- 
ing to  murder  his  son.  84  min.  4/15. 


June 


KETTLES  ON  OLD  MoeDONALD  S  FARM.  THE  Marjorie 
Main.  Parker  Fennelly,  Gloria  Talbott.  Producer  Ho- 
ward Christie.  Director  Virgil  Vogel.  Comedy.  The 
Kettles  buy  a  new  farm.    80  min.    5/ 1 3. 

PUBLIC  PIGEON  NO.  1  Technicolor.  Red  Skelton, 
Vivian  Blaine,  Janet  Blair.  Producer  Harry  Tugend.  Di- 
rector   Norman    McLeod.     Comedy.     A    trusting  soul 

tangles  with  con  men  and  outwits  them.  79  min.  5/13 

YOUNG  STRANGER  James  MacArfur  James  Daly,  Kim 
Hunter,  James  Gregory.  Drama.  Story  of  a  young 
man  and  his  parents.    84  min. 


JOE  BUTTERFLY  CinemaScope,  Technicolor.  Audie 
Merphy  George  NatJer,  Keenan  Wynn.  Producer 
Aaron  llosenberg.  Director  Jessie  Hibbs.  Comedy. 
Story  of  American  newsmen  in  Tokyo  after  Japanese 
surrender.  90  min. 

TAMMY  AND  THE  BACHELOR  Cinemascope.  Techni- 
color. Debbie  Reynolds.  Leslie  Nielson.  Producer  Aaron 
Rosenberg.  Director  Joe  Pevney.  Comedy.  Story  of  a 
young  girl  her  grandfather  and  a  young  man  who  falls 
in  love  with  her.  89  min.  5/27. 


August 


INTERLUDE  Technicolor,  CinemaScope.  June  Allyson, 
Rossano  Brazzi.  Producer  Ross  Hunter.  Director  Douglas 
Sirk.  American  doctor  falls  in  love  with  wife  of  fa- 
mous composer  in  Munich.  90  min.  4/24. 
JOE  DAKOTA  Eastman  Color.  Jock  Mahoney.  Luana 
Patten.  Producer  Howard  Christie.  Director  Richard 
Bartlett.  Drama.  Stranger  makes  California  oil  town 
see  the  error  of  its  ways.   79  min. 

LAND  UNKNOWN.  THE  Jock  Mahoney,  Shawn  Smith. 
Producer  William  Alland.  Director  Virgil  Vogel. 
Science-fiction.  Polar  expedition  finds  Mesozoic  age 
in  Antarctic  expedition.    78  min. 

MIDNIGHT  STORY.  THE  CinemaScope  Tony  Curtis. 
Marisa  Pavan.  Producer  Robert  Arthur.  Director  Joseph 
Pevney.  Drama.  Rookie  cop  seeks  murderer  of  parish 
priest.  89  min.  4/24. 

NIGHT  PASSAGE  Technirama,  Technicolor.  James 
Stewart,  Audie  Murphy,  Dan  Duryea.  Producer  A. 
Rosenberg.  Director  James  Neilson.  Drama.  Payroll 
robbers  are  foiled  by  youngster  and  tough-fisted  rail- 
roader. 90  min.  4/24. 

RUN  OF  THE  ARROW  Technicolor.  Rod  Steiger,  Sarita 
Montiel,  Ralph  Meeker.  Producer-director  Sam  Fuller. 
Adventure.  Young  sharpshooter  joins  Sioux  Indians  at 
close  of  Civil  War.  84  min.  4/24. 


September 


JET  PILOT  Technicolor,  SuperScope.  John  Wayne, 
Janet  Leigh.  Howard  Hughes  Production.  Producer 
Jules  Furthman  Director  Josef  von  Sternoero.  Drama. 
119  min. 


Coming 


DAY  THEY  GAVE  BABIES  AWAY,  THE  Eastman  Color. 
Glynis  Johns,  Cameron  Mitchell,  Rei  Thompson.  Pro- 
ducer Sam  Weisenthal.  Director  Allen  Reisner.  Drama. 
DOCTOR  AT  LARGE  Dick  Bogarde.  Muriel  Pavlow.  A 
Rank  Production.  Director  Ralph  Thomas.  Comedy.  Ad- 
ventures of  an  English  physician.  98  min.  4/24. 
ESCAPADE  IN  JAPAN  Color.  Teresa  Wright,  Cameron 
Mitchell,  Jon  Provost,  Roger  Nakagaws.  Producer-direc- 
tor Arthur  Lubin.  Search  for  two  boys  who  start  out 
in  the  wrong  direction  to  find  the  very  people  who 
are  trying  to  find  them. 

GIRL  MOST  LIKELY,  THE  Eastman  Color.  Jane  Powell, 
Cliff  Robertson,  Keith  Andes.  Producer  Stanley  Rublin. 
Director  Mitchell  Leison.  Comedy.  A  girl  is  proposed 
to  by  three  men  on  the  same  day. 

I  MARRIED  A  WOMAN  George  Gobel,  Diana  Dors, 
Adolph  Menjou.  Producer  William  Bloom.  Director  Hal 
Kanter.  Coemdy.  Wife  objects  to  taking  second  place 
to  a  beer  advertising  campaign  with  her  husband. 
MAN  OF  A  THOUSAND  FACES  CinemaScope.  James 
Cagney,  Dorothy  Malone.  Producer  Robert  Arthur.  Di- 
rector Joseph  Pevney.  Drama.  Life  story  of  Lon  Chaney. 
125  min.  7/22. 

MONOLITH  MONSTERS,  THE  Grant  Williams,  Lola 
Albright.  Producer  Howard  Christie.  Director  John 
Sherwood.  Science-fiction.  Army  of  rocks  threaten  U.S. 
MY  MAN  GODFREY  CinemaScope,  Technicolor.  June 
Allyson.  David  Niven.  Producer  Ross  Hunter.  Director 
Henry  Koster.  Comedy.  Story  of  a  topsy-turvy  butler. 
PAY  THE  DEVIL  CinemaScope.  Jeff  Chandler,  Orson 
Welles.  Producer  Albert  Zugsmith.  Director  Jack  Ar- 
nold. Drama.  Sheriff  destroys  one-man  domination  of 
Texas  town. 

PYLON  CinemaScope.  Rock  Hudson,  Robert  Stack, 
Dorothy  Malone,  Jack  Carson.  Producer  Albert  Zug- 
smith. Director  Douglas  Sirk.  Drama.  Reporter  un- 
covers World  War  I  hero  of  the  Lafayette  Escadrille. 
OUANTEZ  CinemaScope,  Eastman  Color.  Fred  Mac- 
Murray,  Dorothy  Malone.  Producer  Gordon  Kay.  Direc- 
tor Harry  Keller.  Drama.  A  study  of  five  people  in- 
volved in  a  robbery  and  killing. 

THAT  NIGHT  John  Beal.  Augusta  Dabney,  Sbepperd 
Strudwick.  Producer  Hiram  Brown.  Director  John 
Newland.  Drama.  A  tragedy  almost  shatters  a  15- 
year-old  marriage. 

UNHOLY  WIFE.  THE  Technicolor.  Diana  Dors,  Rod 
Steiger,  Marie  Windsor.  Producer-director  John  Far- 
row. Drama.  A  wife  sunningly  plots  the  death  of  her 
husband  who  she  has  betrayed. 

VIOLATORS,  THE  Arthur  O'Connell,  Nancy  Malone. 
Producer  H.  Brown.  Director  John  Newland.  Drama. 
Story  of  a  probation  officer  in  the  New  York  City 
courts. 


WARNER  BROTHERS 


March 


PARIS  DOES  STRANGE  THINGS  Technicolor.  Ingrid 
Bergman,  Mel  Ferrer,  Jean  Marais.  A  Franco-London 
Rim.  Director  Jean  Renoir.  Drama.  Tale  of  the  exiled 
widow  of  a  Polish  Prince.  84  min.  3/4. 


A  pril 


SPIRIT  OF  ST.  LOUIS,  THE  CinemaScope,  Warner- 
Color.  James  Stewart,  Rena  Clark.  Producer  Leland 
Hayward.  Director  Billy  Wilder.  Drama.  The  sfory  of 
the  first  man  ever  to  cross  the  Atlantic  in  a  plane. 


May 

COUNTERFEIT  PLAN.  THE  Zachary  Scott.  Peggie 
Castle  Producer  Alec  Snowden.  Director  Montgomery 
Tully.  Drama.  Inside  story  of  one  of  the  largest  for- 
gery operations  ever  attempted.  80  mm.  4/1. 
SHOOT  OUT  AT  MEDICINE  BEND  Randolph  Scott 
James  Craig  Dani  Crayne.  Producer  Richard  Whorf 
Director  Richard  Bare.  Western.  Homesteaders  and 
Quaker  settlers  in  Nebraska  frontier  town  are  cheated 
by  "bad  man".  87  min.  4/24. 

UNTAMED  YOUTH  Mamie  Van  Doren,  Lou  Nelson.  John 
Russell.  Producer  Aubrey  Schenk.  Director  Howard 
Koch    Life  on  a  prison  farm  for  juvenile  delinquents. 


8  0 


4/1. 


June 


A  FACE  IN  THE  CROWD  Andy  Griffith,  Patricia  Noll. 

Producer-director  Elia  Kazan.   Drama.  A  hill-billy  per- 
sonality leaps  to  national  fame.    124  min. 
D.  I..  THE  Jack  Webb    Don  Dubbins.  Jackie  Loughery. 
Producer-director  Jack  Webb.   Drama.   Life  of  a  Ma- 
rine Corps  drill  instructor.    104  min. 


July 


CURSE  OF  FRANKENSTEIN,  THE  Peter  Cushing.  Hazel 
Court    Robert  Urqhart.    Producer  M.  Carreras.  Direc- 
tor Terence  Fisher.  Horror.  83  min.  7/8. 
PRINCE   AND  THE   SHOWGIRL.   THE   Color  Marilyn 
Monroe,    Laurence    Olivier.    Dame    Sybil  Tnorndyko. 
Producer-director   Laurence   Olivier.   Comedy.  Filmiza- 
tion  of  the  Terence  Rattigan  play.  117  min.  5/27. 
RISING    OF   THE    MOON.    THE    Eileen    Crowe,  Cyril 
Cusack    Frank  Lawton.    Directed  by  John  Ford.  Three 
Irish  stories  with  Tyrone  Power  narrator.  81  min.  7/22 
X — THE    UNKNOWN    Dean    Jagger,    William  Russell. 
Producer  A.  Hinds.   Director  Leslie  Norman.  Science- 
fiction.  Keen  minded  scientist  fights  awesome  creation. 

August 

JAMES  DEAN  STORY,  THE  A  film  biography  of  the 
late  movie  star.  82  min. 


Coming 


BAND  OF  ANGELS  WarnerColor.  Clark  Gable,  Yvonne 
De  Carlo.  Director  Raoul  Walsh.  Drama.  81  min.  7/22 
BLONDE  AND  DANGEROUS  Sally  Brophy.  Carla 
Merey  Susan  Oliver.  An  Arwin  Production.  Director 
Bernard  Girard.  Producer  Martin  Melcher.  Melodrama. 
Life  in  a  girl's  correction  school. 

CHASE  A  CROOKED  SHADOW  Richard  Todd,  Ann 
Baxter.  Producer  Douglas  Fairbanks.  Director  Michael 
Anderson.  Melodrama. 

NO  SLEEP  TILL  DAWN  CinemaScope,  WarnerColor. 
Karl  Maiden  Natalie  Wood.  Producer  Richard  Whorf. 
Director  Gordon  Douglas.  Story  of  the  men  who  man 
the  bombers  that  defend  our  nation. 

HELEN  MORGAN  STORY,  THE  CinemaScope.  Ann 
Blyth,  Paul  Newman.  Producer  Martin  Rackm.  Director 
Michael  Curtiz.  Drama. 

OLD  MAN  AND  THE  SEA,  THE  CinemaScope,  Warner- 
Color. Produced  by  Leland  Hayward.  Director  John 
Sturges.  Adventure.  Film  version  of  Ernest  Heming- 
way's prize-winning  novel. 

PAJAMA  GAME,  THE  Warner  Color.  Doris  Day,  John 
Raitt  Carol  Haney.  Producers  G.  Abbot,  F.  Brisscn. 
R.  Griffith,  H.  Prince.  Director  Stanley  Donen.  Filmua- 
tion  of  the  Broadway  musical. 

PICKUP  ON  DOPE  STREET  Producer  Andrew  Fenady. 
Director  Irvin  Kershner. 

SAYONARA  Technirama,  WarnerColor.  Marlon  Brando, 
Red  Buttons,  Patricia  Owens.  Producer  WMiiar.  Goerz. 
Director  Josh  Logan.  Drama.  Based  on  4Se  award- 
winning  novel  of  James  Michener. 

STORY  OF  MANKIND  WarnerColor.  All-'tar  cast. 
Drama. 

WITH  YOU  IN  MY  ARMS  CinemaScope,  WarnerColor. 
Tab  Hunter,  Etchlka  Choureau,  J.  Carrol  Nalsh.  Dram*. 

Lives  and  times  of  a  select  squadron  of  fighter  pilots 
in  WWI. 


To  Better  Serve  You  .  . . 

Office  &  Terminal  Combined  At 

305  N.  12th  St. 
Philadelphia  7,  Pa.         N .  J . :  WOodlawn  4-7380 


New  Phones 

Phila:  WAInut  5-3944-45 


NEW  JERSEY 
MESSENGER  SERVICE 

Member  National  Film  Carriers 


DEPENDABLE  SERVICE! 

HIGHWAY 
EXPRESS  LINES,  INE. 

Member  National  Film  Carriers 

Philadelphia.  Pa.:  LOcust  4-3450 
Washington.  D.  C:  DUpont  7-7200 


Film     BULLETIN  —  THIS     IS     YOUR  PRODUCT 


mrfrt  SICK  THt  mm-. 


ill 


to 


An  atom  •spawned  monster: 

""Monster 

That  Challenged 
The  World 

Stimni 

TIM  HOLT  •  AUDREY  DALTON  m  hans  conried  •  Barbara  darrow 

CASEY  ADAMS  •  HARLAN  WARDE  •  Scmnplay  by  PAT  FIELDER 
From  i  story  by  DAVID  DUNCAN  •  DirocM  by  ARNOLD  LAVEN 
Produced  by  IULES  V.  LEVY  ind  ARTHUR  GARDNER 


Never- 
Before- Seen 
Monsters  That 
Will  Freeze  You 
To  Your  Seat  I 


It  drains  women's  blood  I 

rinf 

I BEAL  •  COLEEN  GRAY  •  KENNETH  TOBEY  m  lydia  reed  .  dabbs  greer 

HERB  VIGRAN  .  PAUL  BRINEGAR  •  ANN  STAUNTON  .  JAMES  GRIFFITH 
Story  ind  Screenploy  by  PAT  FIELDER  •  Dirtctod  by  PAUL  LANDRES 
Product  by  ARTHUR  GARDNER  ind  IULES  V.  LEVY 


THRU 

UA 


BULLETIN 


AUGUST  19,  1957 


Business-wise 

Analysis  of 
the  New  Films 


Reviews: 
THE  PAJAMA  GAME 
3:10  TO  YUMA 
SEA  WIFE 
'HE  THREE  FACES  OF  EVE 

PICKUP  ALLEY 
r  HAPPENED  IN  THE  PARK 
OPERATION  MAD  BALL 
ACTION  OF  THE  TIGER 
MY  GUN  IS  OUICK 
LOVERS'  NET 


Is  Our  Business 
Being  Sold  for 
A  Mess  of  Potage  ? 


GREATEST  AIR 
GETS  A  SKY-HIGH  1 


^V,  THE  MIGHTY  24  -SHEET  POSTl\ 
THE  MAMMOTH  MAGAZINE  CAMPAI 


^THE  GIGANTIC  SELL  OVER  THE  A 


Starring 

JOHN  WAYNE*JANET  LEIGH. 


ND  THE 


/i&t  *     AVAILABLE  STARTING  SEPTM 


fACLE  OF  THE  JET  AGE  "i 
SELLING  SEND-OFF! 


'ecedented  national  billboard  campaign  will  blanket  the  nation!  Coast-to- 
t  coverage  of  59  major  markets  in  731  communities  with  a  population  of 
94,000! 

tacular  display  of  full-color  ads  in  28  leading  national  publications,  including 
LOOK,  THIS  WEEK,  AMERICAN  WEEKLY  and  reaching  an  audience  of  over 
000,000! 


dest-hitting  Radio  and  TV  campaign  ever  to  back  a  motion  picture!  A  barrage 
-minute  and  teaser  spots  nation-wide,  into  every  home  in  the  land! 


RCE 


TECHNICOLOR®  m  JAY  C.  FLIPPEN  •  PAUL  FIX  -  HANS  CONREID 

Directed  by  JOSEF  von  STERNBERG  •  Written  and  Produced  by  JULES  FURTHMAN 


radio    *  ^v^v    yV  t\ 

R  19!      BOOK  IT  NOW/  «^#?T'I 


* 


•  TWENTIETH-FOX  has  just  finished 
a  picture  with  a  future-star-studded 
cast  of  young  players  that  were  directed 
by  a  new  young  director.  We  saw  the 
results  and  hasten  to  report  that  not 
only  is  the  company  seeking  new  young 
faces,  but  they  are  giving  them  work 
and  opportunity.  Something  quite  rare 
in  this  effort  that  usually  gets  big  lip 
service  but  no  concrete  action. 

Jerry  Wald  has  always  advocated  the 
use  of  young  talent,  and  when  he  went 
to  Buddy  Adler  with  the  John  Mc- 
Partland  story,  "No  Down  Payment," 
with  the  suggestion  that  they  draw  on 
their  list  of  young  stock  players  for  the 
casting,  he  got  an  enthusiastic  nod. 
Not  only  that,  Wald  wanted  a  young 
director,  Martin  Ritt,  a  former  actor 
and  stage  director,  and  he  got  him. 

When  you  see  "No  Down  Payment" 
you  will  see  four  young  girls  and  an 
equal  number  of  boys  turning  in  top 
performances,  and  when  the  audiences 
get  a  look  at  the  picture  not  only  will 
it  get  their  stamp  of  approval  but 
they'll  be  looking  for  the  return  screen 
appearance  of  each  of  these  players. 

All  of  these  young  players  have  been 
in  one  or  more  pictures,  but  only  one 
has  been  given  the  acting  opportunities 
they  get  in  this  show.  You'll  see  Joanne 
Woodward  in  a  standout  performance, 
Barbara  Rush,  Sheree  North  and  Pa- 
tricia Owens  with  proven  abilities  that 
will  move  them  up  the  ladder.  Cam- 
eron Mitchell  is  the  only  member  of 
this  cast  that  has  heretofore  been  given 
such  important  casting;  the  other  boys. 
Jeff  Hunter,  Tony  Randall  and  Pat 
Hingle,  off  of  what  they  contributed  in 
this  picture,  will  win  the  attention  of 
every  producer  on  the  lot. 

"No  Down  Payment"  is  the  type  of 
gambling  that  will  pay  off  and  th?  type 
that  continues  to  make  20th-Fox  the 
hottest  production  lot  in  town.  Not 
only  did  Wald  take  a  chance  with  this 
story  (centered  around  a  new  housing 
development!  that  demanded  young 
actors  and  selected  young  players  on 
the  lot  for  the  cast  assignments,  but  he 
went  even  further  with  handing  the 
directorial  assignment  to  Martin  Ritt. 
This  picture  and  its  results  will  win 
Mr.  Ritt  consideration  for  the  best  that 
20th  makes. 

The  personnel  used  in  this  picture  are 
given  added  importance  because  the 
company  did  not  have  to  leave  the  lot 
for  a  single  contributor. 


THE  WORD 
IS  OUT! 


20th  Ikis  another 

blockbuster 

in  September! 


No  Dowr 
Payment 

is  the  type  of  gambling 
that  will  pay  off  and  the 
type  that  continues  to 
make  20th-Fox  the 
hottest  production 
lot  in  town.99 


Viewpoints 

AUGUST  19,  1957      *  VOLUME  25,  NO.  17 


Is  Our  Business  Being  Sold 
For  A  Mess  of  Potage? 


After  what  appeared  to  be  sound  and 
well-founded  predictions  that  one  of 
the  brightest  summers  in  years  por- 
tended for  the  motion  picture  industry, 
a  current  view  of  the  summer  theatre 
boxoffice  scene  presents  a  disappoint- 
ing, almost  alarming  picture. 

With  a  few  exceptions,  theatre  busi- 
ness has  failed  dismally  to  live  up  to 
expectations.  So  much  so,  in  fact,  that 
for  the  first  time  in  several  years,  we 
are  witnessing  movie  houses  closing  in 
mid-summer,  now  the  traditionally  top 
season  of  this  business. 

Why?  Why  this  deplorable  turn- 
about in  boxofnce  when  people  should 
be  flocking  out  of  the  house,  when  the 
cream  of  the  movie  crop  is  flooding  the 
country,  when  all  signs  point  to  a  ban- 
ner movie  summer? 

Perhaps  part  of  the  cause  lies  in  the 
too-long  delayed  release  of  the  better 
product.  Certainly  the  theatres'  star- 
vation diet  in  the  pre-July  period  as  the 
companies  hoarded  their  top  films  for 
the  two  "big''  months  is  a  factor,  and 
an  important  one  since  it  conditioned 
the  public,  shopping  for  good  pictures, 
against  theatre  attendance.  This  with- 
holding of  the  stronger  attractions 
from  March  through  June  was  an  evi- 
dent short-sightedness  by  the  film  com- 
panies that  hurt  not  only  the  theatres, 
but  the  producer-distributors  them- 
selves, now  finding  their  top  product 
in  a  dog-eat-dog  competition  with  all 
the  other  companies'  deluxe  attractions. 

Shortsighted  as  this  policy  was,  it 
was  not  nearly  as  blind  of  the  conse- 
quences as  the  action  by  those  com- 
panies that  have  sold  their  libraries  of 
old  features  to  television  and  are  even 
now  considering  an  additional  sale  of 
post- 1948  product  to  the  insatiable 
video  maw.  Therein,  we  believe,  lies 
the  real  culprit  responsible   for  the 


pricking  of  the  summer  boxoffice  bal- 
loon. 

The  pre-summer  anticipation  was 
naturally,  that  with  the  top  TV  shows 
going  off  the  air  during  the  hot-weather 
months,  the  living  room  would  be  as 
deserted  as  the  Polo  Grounds  on  a 
Tuesday  afternoon  game  with  the  Cubs. 
John  Q.,  his  missus  and  the  kids,  it 
figured,  were  ripe  for  the  movies,  the 
air-conditioned  theatre,  the  "big"  pic- 
tures. 

But  what  has  actually  happened  to 
the  public's  viewing  habits  with  sum- 
mer replacements  dominating  TV?  The 
living  room  is  as  populated  as  ever  be- 
cause, night  and  day,  John  Q.  and  his 
family  are  getting  movie  after  movie — 
in  their  air-conditioned  home  and,  quite 
often,  big  (if  older)  pictures.  Having 
placed  on  the  block  their  huge  libraries 
of  films  for  sale  to  the  highest  TV 
bidder,  the  film  companies  are  begin- 
ning to  feel  more  drastically  the  effects 
on  their  major  business  source,  the  the- 
atres, of  the  grab  for  the  quick  dollars. 
But,  we  fear,  this  is  only  the  beginning. 

The  steady  diet  of  movies,  yes,  many 
great  movies,  on  TV  can  result  in  a 
disastrous  surfeit  that  must  inevitably 
reduce  moviegoing  drastically.  Exhibi- 

( Continued  oil  Page  6  J 


BULLETIN 


Film    BULLETIN:    Motion    Picture    Trade  Paper 
published   every  other   Monday  by  Wax  Publi- 
cations,   Inc.     Mo  Wai,   Editor  and  Publisher. 
PUBLICATION-EDITORIAL  OFFICES:    123?  Vine 
Street,  Philadelphia  7,  Pa.,  LOcust  8-0950  0951. 
Philip    R.    Ward,    Associate    Editor:  Leonard 
Coulter.    New   York   Associate    Editor-  Duncan 
G.    Steck,    Business    Manager;    Marvin  Schiller, 
Publication  Manager;  Robert  Heath,  Circulation 
Manager.  BUSINESS  OFFICE:  522  Fifth  Avenue 
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To  Te 

11  You 

The  ' 

Truth 

W.  ROBERT 

MAZZOCCO 

"Many  exhibitors  hare  pointed 
out  to  me  that  pop-corn  has 
saved  the  industry.  I  say  that 
shows  should  sat  e  the  industry." 

MICHAEL  TODD 

The  movies  were  once  a  consecrated  art; 
i.e.  they  were  the  mandate  of  the  masses. 
This  honor  has  now  heen  palmed  off  on  TV. 
Hollywood  has  ceased  to  manufacture  the 
dream,  whether  night  or  day;  Madison  Ave- 
nue is  the  new  El  Dorado.  If  motion  pic- 
tures are  at  the  crossroads,  which  way  are 
they  to  go?  They  were  born  in  a  world  in 
which  was  taught:  It  is  a  must  to  please  the 
most.  Now  that  the  most  have  switched  to 
another  channel,  what  new  tricks  shall  the 
old  dog  learn?  The  time  of  the  cuckoo  has 
passed,  but  where  in  the  land  shall  be  heard 
the  new  voice? 

It  has  been  suggested,  by  and  large  and  in 
many  different  propositions  each  equally  the 
same  axiom,  that  if  TV  has  a  quantity  we 
cannot  compete  with,  the  movies  will  have 
the  quality  they  cannot  offer.  Now  quality 
is  a  relative,  (not  to  say  ambiguous),  term: 
one  man's  pheasant  may  be  another  man's 
turkey.  It  is  also  something  the  ballyhoo 
boys  have  never  been  too  happy  with,  so 
Hollywood,  which  has  always  believed  its 
own  publicity,  soon  changed  "quality"  into 
"bigger  ".  If  the  slogan  Movies  Are  Better 
Thau  tier  started  no  stampede,  how  about 
Movies  Are  Bigger  Than  Ever/  And  this 
promulgated  the  following: 

First  the  theory:  "You  gotta  put  out 
money  if  you  want  to  make  money",  which 
unleashed  panoramas  of  beachheads  and  by- 
ways bigger  than  had  ever  been  unleashed 
befor.e  "The  Pride  And  The  Passion"  is 
certainly  a  current  example.  Then  the  idea: 
"Oi\e  them  what  they  liked  before  only 
make  it  better,  i.e.  again  bigger".  "An  Af- 
fair To  Remember",  remake  of  "Love  Affair" 
serves  here.  And  finally  the  most  hallowed 
one:  "If  you  can't  beat  'em,  join  'em".  This 
is  the  bubbly  world  of  the  TV  done-overs. 
If  you  happened  to  miss  "The  Bachelor 
Party"  in  its  fifty  minutes  (plus  commer- 
cials) on  TV,  you  can  still  see  it  in  its  ninety 
or  so  bigger  minutes  on  the  screen. 

(Continued  on  Piige  (>) 


Film  BULLETIN    August  19.   1957        Page  5 


Viewpoints 

(Continued  from  Page  5) 
tors  remember  well  how  servicemen, 
fed  movies  night  after  night  during 
World  War  II,  shied  away  from  the 
movie  house  on  their  return  home.  And 
television  itself  has  been  the  victim  of 
its  own  talent  devouring  ways,  destroy- 
ing comedians  and  other  entertainers 
by  the  score  with  material  that  must 
become  repetitious  by  virtue  of  its 
volume  alone. 

With  everything  from  bathing  pools 
to  summer  stock  playing  the  Eyrie's 
tune  to  the  public's  receptive  ears,  and 
offering  entertainment  that  can  be  had 
only  outside  the  home,  it  becomes  a 
nigh  impossible  task  for  the  theatreman 
to  get  his  proportionate  share  when  the 
attraction  he  has  to  offer  is  in  the  same 
category  as  the  stuff  the  public  is  plied 
with  day  in  and  day  out.  When  you 
eat  steak  at  home  every  night,  you  don't 
go  to  a  steakhouse  the  once  or  twice  a 
week  you  eat  out. 

With  the  wholesale  dumping  of  fea- 
ture films  into  the  TV  warehouse,  the 
movie  industry's  foremost  competitor 
has  been  very  well  stocked  for  the  pro- 
digious task  of  supplying  the  18-hour 
per  day,  seven  day  per  week  schedule 
that  video  offers.  It  came  as  a  special 
blessing  to  the  TV  stations  for  their 
summer  replacement  requirements, 
when  they  were  so  desperately  in  need 
of  material. 

If  the  ultimate  error  of  this  form  of 
hara-kiri  does  not  become  apparent  to 
those  who  make  film  company  policy, 
there  can  be  no  doubt  that  they  will 
hasten  their  demise  by  selling  more  of 
their  features  to  the  competition.  Some 
of  the  companies  already  are  planning 
to  reach  into  their  post- 1948  vaults  for 
another  batch  of  multi-million  dollar 
films  to  re-stock  the  TV  larder,  await- 
ing only  the  propitious  time  to  make 
the  deal.  It  will  probably  happen,  de- 
spite the  fact  that  posterity  will  even- 
tually record  it  as  the  most  amazing 
piece  of  business  hi-jinks  ever  perpe- 
trated against  itself  by  any  industry.  It 
means,  if  the  past  record  is  any  cri- 
terion, that  the  film  companies  will  not 
just  step  off  the  brink  of  solid  business 
practice  into  darkness  and  probably 
ultimate  oblivion,  but  they  will  be  mak- 
ing the  suicidal  move  in  the  full  knowl- 
edge of  the  consequences!    And  they 


Td  Tell  You  the  Truth 

(Continued  from  Page  5) 

I  single  out  these  three  films  because  they 
are  representative  of  the  current  trend.  It  is 
no  secret  that  more  and  more  remakes  of 
both  old  films  and  TV  plays  are  projected. 
It  is  also  no  secret  that  more  "spectacles", 
more  "on-tour  adventures"  are  planned.  And 
it  is  certainly  not  sub-rosa,  (except  perhaps 
to  producers),  that  each  one  of  these  genres 
can  be  had,  in  essence,  in  one's  own  living 
room.  Is  the  Hollywood  well  really  that  dry? 

Apparently,  the  Screen  Writers  Guild  of 
America  does  not  believe  so.  It  believes, 
instead,  that  producers  have  been  shuttling 
off  to  the  pre-tested  wells  of  the  East  and 
drawing  up  with  over-eager  hands  all  those 
hit  novels  or  hit  plays,  in  the  secure  expecta- 
tion of  thereby  inheriting  a  hit  film.  In  a 
statement  issued  a  few  days  ago,  which  re- 
verberated like  six  Bloody  Marys  in  the 
Beverly  Hills  barrooms  for  a  few  hours  and 
then  dulled  off,  the  Writers  Guild  noted 
that  the  industry  during  the  1938-52  era 
drew  up  to  65  per  cent  of  the  successful  film 
from  original  screenplays,  but  that  during 
the  1953-56  period  the  percentage  dropped 
to  a  lowly  28. 

o 

If  one  wants  to  reach  empathy  with  such 
gloomy  morning-after  tones  one  need  only 
make  the  flashback  to  the  past  and  recall  the 
totally  different  atmosphere  that  surrounded 
the  Hollywood  heyday  as  compared  to  now. 
Think  of  the  fresh  and  fanciful  Frank  Capra 
who  added  to  our  folklore,  sans  Book-Of- 
The-Month  Club,  such  indigenous  American 
heroes  as  Mr.  Deeds  and  Mr.  Smith.  Or 
Preston  Sturges  who  mined  new  comic  ore 
with  "The  Great  McGinty",  "Sullivan-s 
Travels"  and  "Lady  Eve" — all  without  a 
Tendrex  rating.  Think  also  of  the  ineluct- 
able Lubitich  productions  which  so  dazzled 
the  adult  audiences,  as  did  the  provocative 
early  work  of  Gregory  La  Cava  and  George 
Stevens  whose  minds  could  flame  without  a 
packet  of  Broadway  matches.  In  fact,  think 
of  that  whole  era  of  the  thirties  and  early 
forties  when,  in  spite  of  the  usual  quota  of 


will  take  along  with  them  the  vast  ma- 
jority of  their  theatre  customers ! 

Before  the  film  companies  take  this 
step,  let  them  weigh  carefully,  in  the 
name  of  sound  business,  several  mil- 
lions of  dollars  they  will  receive  from 
television  are  worth  the  mortal  thrust 
they  will  make  into  the  heart  of  their 
business.  Everyone  connected  with  the 
financing,  the  making  and  the  distribut- 
ing of  motion  pictures  is  vitally  con- 
cerned— stockholders,  producers,  distri- 
butors, talent,  unions.  Let  them  con- 
sider well  before  they  allow  the  TV 
monster  to  swallow  their  efforts  and 
spew  them  out  at  a  public  that  is  be- 
coming glutted  with  movies,  movies, 
movies. 


the  standard  and  sullen,  the  Hollywood  film 
became  a  byword  for  the  deliciously  daring, 
the  inventive  and  irreverant,  e.g.  "It  Hap- 
pened One  Night",  "Nothing  Sacred",  "Vi- 
vacious Lady",  etc.,  etc.  This  was  an  era  of 
myriad  astonishments,  from  the  stark  and 
secular  "Citizen  Kane"  and  "Fury"  to  the 
classic  Western  "Stagecoach"  and  the  mem- 
orably lyrical  "One  Way  Passage"  or  "A 
Star  Is  Born".  These  films  had  glowing  suc- 
cesses because  they  were  conceived  in  the 
fervent  flush  of  youth.  Age  could  not  wither 
them:  the  story  was  not  already  known,  the 
dialogue  not  already  heard.  They  had  that 
long-absent  screen  quality  of  pure  and  per- 
fect discovery. 

In  short,  movie-going  was  then  an  adven- 
ture. And,  indeed,  the  public  appetite  for 
this  sort  of  adventure  can  easily  be  seen  to 
this  day  by  the  box  office  returns  on  Darryl 
Zanuck*s  current  race  relations  foray,  "Island 
In  The  Sun".  This  film  has  not  been  hailed 
as  a  prime  example  of  cinematic  art,  and, 
incidentally,  it  does  derive  from  a  novel,  but 
it  is  "original"  in  the  sense  that  it  deals 
with  a  provocative  and  heretofore  taboo  sub- 
ject. Despite  a  generally  cool  critical  recep- 
tion, "Island  in  the  Sun"  is  one  of  the  year's 
big  grossers,  and  it  is  attracting  a  large  seg- 
ment of  the  "lost  audience".  Nevertheless, 
such  films  are  few  and  far  between  and  what 
is  left  finds  the  harassed  exhibitor  under- 
standably yearning  for  the  good  old  days. 

0 

The  melancholy  fact  is  that  the  movies  of 
today  are  too  rarely  setting  new  standards, 
breaking  new  paths,  fashioning  new  facets 
for  the  imagination — too  rarely  presenting 
entertainment  that  is  not  a  rehash  of  other 
media  or  of  their  own  past  glory.  Holly- 
wood, which  used  to  startle  the  world,  no 
longer  does.  It  has  still  the  finest  all-round 
contingent  of  artists  in  the  world,  but  they 
have  of  late  been  used  to  polish  rhinestones, 
when  the  glitter  should  and  could  be  dia- 
monds. 

If  motion  pictures,  the  theatre  size,  are  to 
continue  as  anything  other  than  a  large  com- 
modity size,  a  bargain  value  to  the  "fixed 
prices"  of  TV,  they  will  have  to  set  for 
themselves  standards  above  and  apart  from 
TV.  And  this  doesn't  mean  blowing  up  the 
very  same  standards  TV  uses  on  Cinema- 
Scope,  VistaVision,  the  Todd  or  Cinerama 
screen.  Hollywood,  as  a  general  policy,  is 
not  building  an  audience,  nor  creating  the 
taste  for  its  over-all  development;  it  is  still 
working  on  the  old  catch  as  catch  can  "wis- 
dom", which,  in  the  long  run  that  no  one 
wants  to  contemplate,  will  lead  it  to  its 
surest  extinction. 

I  prefaced  this  comment  with  a  quotation 
from  the  eminent  Mr.  Michael  Todd,  and,  as 
you  have  seen,  extended  it  a  bit,  or  qualified 
it.  For  I  think  only  the  different,  the  dy- 
namic, the  totally  movie-like-and-like-no- 
other-media  show  will  save  the  industry. 
And  will  make  it  worth  saving.  Mr.  Todd 
is  one  of  those  straws  in  the  Hollywood 
wind  and  a  very  gilded  one,  to  be  sure.  His 
"Around  The  World  In  80  Days"  is  the  best 
news  the  American  screen  has  had  in  years. 
As  he  frankly  admits,  Mr.  Todd  is  no  genius. 
But  he  is  a  man  with  ideas,  NEW  ideas. 
Along  Sunset  Boulevard  this  is  like  a  man 
from  Mars. 


Page  6       Film  BULLETIN    August  19,  1957 


"The  Three  Faces  of  Eve" 

&(UIHC4A  GOO 
Intriguing  off-beat  story  of  a  woman's  three  characters. 
Will  fascinate  adult  audiences.   Highly  exploitable.  Intro- 
duces brilliant  new  star  in  Joanne  Woodward. 

A  most  unusual,  distinguished,  and  in  many  ways,  daring 
j  film  has  been  wrought  by  writer-producer-director  Nunally 
|  Johnson  in  "The  Three  Faces  Of  Eve".  For  this  20th  Century- 
I  Fox  presentation  in  black  and  white  CinemaScope  tells  the  story 
of  a  young  Georgia  housewife  who  was  that  rara  avis  of  psy- 
chiatric literature,  a  multiple  personality.  And  such  a  creature 
was  not  a  figment  of  the  Hollywood  imagination,  as  Alistair 
Cooke  points  out  in  the  introduction  to  the  film,  but  based  on 
fact  and  a  recent  non-fiction  best  seller  that  depicted  the  start- 
ling case  history.  Although  done  in  documentary  style,  Johnson 
has  not  forgotten  to  fill  in  his  production  with  some  fine  enter- 
tainment values,  the  most  salient  being  the  crackling  dialogue 
and  the  brilliant,  tour-de-force  performance  of  a  bright  new 
star,  Joanne  Woodward.  Actually,  David  Wayne  as  her  hus- 
band, Lee  J.  Cobb  as  the  psychiatrist  who  ministers  to  her,  and 
the  entire  supporting  cast  give  sterling  performances  them- 
selves, but  Miss  Woodward  with  her  dazzling  array  of  talent  in 
depicting  three  totally  different  young  women  completely  cap- 
tures the  audience.  Her  performance  and  the  content  of  the 
film  itself  is  sure  to  reverberate  beyond  the  walls  of  the  local 
movie  house  and  should,  with  the  proper  selling,  garner  a  large 
segment  of  the  adult  audience.  The  plot  in  outline  may  seem 
complex;  in  presentation,  however,  it  is  simple,  sure  and  always 
absorbing.  There  is  a  great  deal  of  humor,  quite  natural  and 
often  broad  and  rowdy  in  the  scenes  with  Eve  Black,  but  every- 
thing is  in  good  taste.  Miss  Woodward  is  first  seen  as  drab  and 
desultory  Eve  White,  wife  of  Wayne,  who  one  day  unexpected- 
ly attempts  to  strangle  their  little  girl.  Wayne  brings  her  to 
psychiatrist  Cobb  for  help  and  during  the  analysis  Miss  Wood- 
ward's second  personality,  Eve  Black,  a  saucy,  good  time  girl 
with  a  penchant  for  gin  mills,  manifests  herself.  Though  placed 
under  the  care  of  Cobb,  Miss  Woodward  finds  her  double  life 
largely  taken  up  with  the  floosie  escapades  of  Eve  Black  which 
soon  forces  Wayne  to  sue  for  divorce.  Feeling  completely 
maladjusted  to  her  condition,  Miss  Woodward  attempts  sui- 
cide, but  is  foiled  by  her  other  self,  Miss  Black.  Hope  for  re- 
covery is  finally  seen  when  the  last  of  the  personalities  mani- 
fests herself,  an  intelligent  and  mature  young  woman  who  calls 
herself  Jane.  It  is  Jane  who  is  the  real  Miss  Woodward. 

20th  Century-Fox.    91  minutes.    Joanne  Woodward,  David  Wayne    Lee  J  Cobb 
Produced  and  directed  by  Nunally  Johnson.  - 

"3:10  to  Yuma" 

Satinet*  'RatiHf  ©  ©  © 

First-rate  western  played  to  hilt  by  Glenn  Ford,  Van  Heflin. 
Figured  for  big  grosses  wherever  oaters  are  well  received. 

Glenn  Ford  and  Van  Heflin  are  the  brilliant  stars  of  one  of 
the  best  westerns  of  the  year.  Certainly  this  Columbia  film  is 
the  nearest  any  film  has  come  to  approximating  the  strange  and 
leathery  fascination  of  the  memorable  "High  Noon".  As  di- 
rected by  Delmer  Daves  and  scripted  by  Halsted  Welles,  "3:10 
to  Yuma",  though  dealing  with  the  usual  classic  good  and  evil 
opponents  and  reminiscent  of  every  western  since  a  covered 
wagon  first  hit  the  screen,  is  nevertheless  done  with  an  expert- 
ness  and  grandeur  that  is  totally  its  own.  Wisely  filmed  in 
black  and  white,  the  photography  of  Charles  Lawton  adds  im- 

[More  REVIEWS 


measurably  to  the  suspense  of  the  film,  which  director  Daves 
has  plotted  to  the  last  inch.  From  the  opening  sequence  to  the 
last  fadeout  the  directorial  reins  are  held  sturdy  and  sure,  the 
dialogue  is  kept  brisk  but  revealing  and  the  performers  are 
vital  and  vivid.  This  is  a  western  in  which  the  characterization 
flows  out  of  the  action,  in  which  the  two  are  beautifully 
blended  and  in  which  the  use  of  a  gun  or  the  jaunt  of  a  horse 
has  a  psychological  significance  far  beyond  the  merely  "spec- 
tacular". In  short,  this  is  adult  entertainment  that  should  excite 
and  please  quite  a  few  patrons  who  don't  ordinarily  go  for 
horse  operas,  and  still  not  estrange  the  action  fan.  The  storj  is 
simple  and  straight-forward  featuring  honest  farmer  Heflin  and 
his  relations  with  daring  and  dangerous  outlaw  Ford.  When 
Ford  is  caught  by  the  Marshall  of  Heflin's  town  for  the  murder 
of  a  stagecoach  driver,  Heflin  volunteers  to  transport  the  out- 
law to  Yuma,  fully  realizing  that  Ford's  gang  of  gunslingers 
will  attempt  at  any  moment  a  rescue  that  could  prove  fatal  to 
himself.  Because  of  a  drought  spell  Heflin's  farm  is  im- 
poverished and  he  desperately  needs  money  to  support  his  wife, 
Leora  Dana,  and  his  two  children.  It  is  this  aspect  of  Heflin's 
nature  that  Ford  works  on,  promising  him  riches  if  Heflin  will 
forget  his  duty.  Director  Daves  traces  the  relationship  of  the 
two  men,  the  growing  respect  they  garner  at  each  other,  down 
to  the  final  suspenseful  moment  when  Ford  goes  against  his 
own  gang  and  saves  Heflin's  life. 


92  minutes.  Gl 
Greeted  by  Deln 


Produced  by  David 


"Lovers'  Net" 

Rating  is  for  art  houses.  Topflight  French  importation. 

Set  against  an  unscrupulous  post-war  Lisbond  with  its  great 
see-saw  of  the  very  rich  and  the  very  poor,  of  the  haunted  and 
the  hunted,  and  directed  by  Henri  Verneuil  with  an  eye 
towards  seeing  only  the  worst  of  human  stratagems,  "Lovers' 
Net"  is  one  of  the  most  mature  and  moving  of  recent  French 
films.  Sure-fire  for  the  art  houses,  this  Times  Film  Corp.  re- 
lease can  also  be  a  good  grosser  in  metropolitan  class  houses. 
It  trespasses  with  fatalistic  momentum  into  the  strange  and 
often  inscrutable  world  of  the  wodern  continental  love  story, 
and  its  stars,  Francoise  Arnoul  and  Daniel  Gelin,  portray 
lovers  who  can  suggest  down  to  the  very  last  marrow  the  can- 
cer of  secrecy  and  suspicion  that  inexorably  eats  its  way 
through  a  passionate  affair.  And  passion  it  is,  from  the  mo- 
ment Mile.  Arnoul  and  M.  Gelin  meet,  the  flames  start  seeth- 
ing, the  waves  on  the  beach  where  they  make  love  one  night 
start  thundering  and,  as  the  title  indicates,  they  are  caught. 
Director  Verneuil  explores  the  relationship  like  an  analyst: 
an  expatriate  from  Paris  and  from  himself,  Gelin  wanders 
across  Europe  trying  to  blot  out  the  memory  of  an  unfaithful 
wife  whom  he  shot  when  he  returned  home  from  the  wars 
and  found  her  in  the  arms  of  another.  Acquitted  of  his  act 
but  on  longer  able  to  find  peace,  he  stumbles  into  Lisbon  and 
Mile.  Arnoul,  a  woman  whose  magnetism  and  mystery  in- 
stantly attract.  She  is  the  widow  of  an  English  Lord  and  the 
target  of  Scotland  Yard  inspector  Trevor  Howard,  who  sus- 
pects she  murdered  her  husband.  It  is  Howard  then  that  spins 
the  net  to  catch  her  and  in  so  doing  strangles  the  lovers.  In  the 
end  the  hunter  gets  his  quarry:  after  their  love  affair  is  destroyed 
to  the  point  of  exhaustion,  Mile.  Arnoul  realizes  she  can  never 
escape  her  past  and  gives  herself  up. 


Francoise  Arnoul 


on   Page  10] 


BULLETIN    August  19.   1957        Page  7 


What  Uey'te  hiking  About 

□    □    □    In  the  Movie  Business    □    □  □ 


RANK'S  NEW  VIEW.  The  British  who  have  had  some  harsh 
things  to  say  of  American  exhibitors  are  now  beginning  to  un- 
say them,  and  not  before  time. 

They  are,  apparently,  discovering  the  real  reason  why  their 
product  failed  to  earn  its  keep  in  this  country. 

That  reason  is  not  exhibitor  hostility,  or  apathy,  towards 
British  films,  it  appears,  for  Mr.  Kenneth  Hargreaves,  President 
of  the  Rank  Film  Distributing  Corporation  which  was  set  up  in 
New  York  last  Spring,  is  now  professing  gratitude  to  the  U.  S. 
theatre  man. 

He  is  admitting  that  his  company's  films  are  being  booked  ex- 
tensively throughout  the  country;  that  in  many  places  they  have 
done  fine-to-excellent  business,  and  that  by  the  end  of  the  cor- 
poration's first  fiscal  year  (next  June)  the  organization  should 
be  paying  its  way. 

From  what  Mr.  Hargreaves  says  it  appears  distribution,  rather 
than  exhibition,  has  been  the  villain  of  the  piece  in  the  past, 
for  the  Rank  outfit  has  lately  been  successfully  pioneering  un- 
orthodox selling  methods. 

To  some  extent  it  was  forced  to  do  so  by  an  unfavorable 
experience  with  its  first  major  offering,  "Reach  for  the  Sky". 
Given  the  traditional  white  sidewall  send-off  at  New  York's 
upper-class  Sutton  Theatre  it  had  a  chilly  reception,  and  though 
it  is  now  doing  quite  well  elsewhere  the  disappointment  suf- 
fered in  New  York  taught  the  Rank  boys  a  lesson. 

They  redoubled  their  efforts,  and  abandoned  the  traditional 
selling  pattern.  Two  average  action  films,  "Checkpoint"  and 
"The  Black  Tent",  opened  in  Los  Angeles  as  a  double  bill  on  a 
multiple-run  basis  (mainly  at  drive-ins)  and  clocked-up  top 
business.  Now  the  same  scheme  is  operating  in  other  areas  with 
equally  good  results. 

Some  of  the  films  offered  to  the  Rank  concern  here  by  its 
British  parent  company  are  rejected  as  completely  unsuitable. 
Others,  which  have  possibilities,  are  changed  slightly  as  a  result 
of  recommendations,  based  on  a  reading  of  the  script  in  New 
York,  before  shooting  begins,  and  in  some  cases  a  second  sound- 
track is  being  made. 

Such  concessions  by  the  J.  Arthur  Rank  Organization  in 
Britain  could  not  very  well  be  denied  its  own  U.  S.  offshoot 
which,  Mr.  Flargreaves  candidly  admits,  doesn't  have  to  earn  a 
profit  so  long  as  it  contributes  to  the  over-all  prosperity  of  the 
group  as  a  whole. 

When  such  facilities  were  requested  in  the  past,  before  the 
Rank  invasion  of  the  U.  S.,  the  American  distributors'  pleadings 
did  not  always  fall  upon  friendly  ears.  Thus  it  may  fairly  be 
said  that  Mr.  Kenneth  Hargreaves  and  his  colleagues  have  en- 
joyed what  the  diplomats  call  "favored  nation  treatment". 

We  have  no  quarrel  with  this,  though  over  at  Universal, 
which  once  handled  most  of  the  Rank  product,  other  opinions 
may  be  held.  What  is  more  important  is  that  the  slurs  which 
not  too  long  ago  were  being  cast  on  exhibitors  have  been  most 
courteously  and  candidly  withdrawn. 


MAYER'S  ILLNESS.  It  is  no  secret  that  the  recent  illness  of 
aging  (72)  Louis  B.  Mayer  is  going  to  hurt  the  cause  of  the 
Tomlinson-Meyer  faction  in  their  fight-to-the  death  struggle  for 
control  of  Loew's.  The  hospitalization  of  the  former  Metro 
production  czar  has  served  to  accentuate  his  importance  as  a 
vital  factor  in  obtaining  the  support  of  many  stockholders, 
eager  to  rekindle  visions  of  days  of  old.  The  insurgents,  who 
have  banked  heavily  on  the  magic  name  of  Mayer  to  help  them 
win  proxy  votes  and  influence  shareholders,  have  had  a  damper 
put  on  their  battle  plans.  For  if  there  is  any  one  person  cap- 
able of  winning  support  for  Tomlinson  and  Meyer,  L.  B.  is  that 
man.  Loew's  stockholders,  wearied  by  small  dividends  and  little 
appreciation  in  the  value  of  their  holdings,  may  possibly  have 
put  their  chips  on  a  man  who  once  delivered  profits  by  the 
carload  to  their  company.  With  Mayer  being  treated  for  a 
blood  disease  ailment,  a  lot  of  these  same  stockholders  will  be 
a  bit  reluctant  to  cast  their  lot  with  a  group  that  can  offer  them 
no  experience  in  the  motion  picture  industry  save  that  of  a 
former  great,  now  ill  and  aging. 

0 

ADMISSION  PRICES.  Because  there  has  been  a  substantial 
amount  of  public  resistance  to  first-run  admission  prices,  some 
spokesmen  representing  vital  segments  of  the  industry  are  call- 
ing for  a  study  of  the  effect  of  high  admission  prices — on  the- 
atre attendance — an  agonizing  reappraisal,  if  need  be.  With  the 
marked  decline  of  summer  grosses  as  compared  to  recent  years, 
these  sources  are  calling  for  an  across-the-board  slash  in  prices 
in  an  effort  to  perk  up  business.  Whether  or  not,  cuts  in  admis- 
sion prices  would  be  the  panacea  for  the  ills  that  beset  the 
motion  picture  industry  is  debatable.  Proponents  of  the  slash 
theory  single  out  the  success  of  the  drive-ins  and  the  preponder- 
ance of  teenagers,  always  short  of  ready  cash,  as  cogent  reasons 
for  reducing  prices.  On  the  other  hand,  any  reduction  in  price 
will  have  to  enable  theatreowners  to  attract  patrons  in  sufficent 
additional  numbers  to  justify  the  price  decrease.  And  it  is  a 
moot  question  whether  this  end  would  be  accomplished  in  this 
unusual  competitive  situation.  All  businesses  are  faced  with 
price  resistance  in  these  inflationary  times,  and  the  movie  busi- 
ness is  no  exception.  Although  price  is  a  major  factor  in  the 
demand  for  many  products,  there  never  was  a  good  movie  made 
that  couldn't  be  sold  at  a  premium.  This  leads  some  to  think 
that  theatres  should  frankly  price  down  the  run-of-the-mill 
product,  and  up  for  the  better  films. 

0 

REMBUSCH  S  'COMMANDMENTS'.  Out  Indiana  way,  True- 
man  Rembusch  of  Syndicate  Theatres  has  set  up  an  admissions 
policy  at  the  circuit's  Crest  Theatre  in  Wabash  that,  to  say  the 
least,  is  different.  By  allowing  theatregoers  to  pay  whatever 
amount  they  want  to  see  the  De  Mille  spectacular  instead  of 
charging  them  a  regular  price,  the  Hoosier  chair  appears  to 
have  hit  a  public  relations  bonanza.  Whether  or  not  the  move 
is  sound  business  policy  is  another  point.  However,  the  do-it- 
yourself  admissions  policy  coupled  with  the  donation  of  the 
theatre's  profits  to  charity  can't  do  the  house  too  much  harm  in 
the  eyes  of  the  local  townfolks.  While  it  is  doubtful  that  this 
method  of  scaling  admissions  will  spread  to  other  areas,  it  has 
some  exhibitors  thinking  about  it  as  a  stunt  to  build  goodwill 
in  their  communities. 


Page  8       Film  BULLETIN    August  19,  1957 


"Can  you 
take  the 
SUSPENSE? 


THERE'S  MONEY 
IN  BIG  PRISON- 
BREAK  ATTRAC- 
TIONS! 

This  is  the  first  BIG  one 
in  a  long  time  and  a 
honey.  Sell  it  with  sock 
and  excitement! 


-  in  CinemaScope 


WITH 

HX'- —  BARBARA  LANG 

B"  RUSSELL  ROUSE  «  DON  M.  MANKIEWICZ 

by  JACK  FINNEY 

"CHARLES  SCHNEE 


DIRECTED 
BY 


RUSSELL  ROUSE 


Cosmopol.lao  Maqajme   Novel  by  JACK  FINNEV 
PRODUCEC 


AN  M-G-M  PICTURE 


and  lobby  alive  with  action  I 


"Action  of  the  Tiger" 

ScuIkc^  IRcUcHf  O  Q 

Mild  foreign  intrigue  adventure.  Van  Johnson  sole  name. 
Will  need  plenty  of  selling. 

With  "Action  Of  The  Tiger"  MGM  enters  the  currently 
popular  arena  of  on  location  shooting  for  tales  of  foreign  in- 
trigue and  continental  derring-do.  Starring  an  international 
trio,  the  Yankee  Van  Johnson,  the  Gallic  charmer  Martine 
Carol  and  Herbert  Lom,  the  English  actor  who  scored  as  Na- 
poleon in  "War  an  Peace",  this  Kenneth  Harper  production  in 
CinemaScope  and  Color  will  undoubtedly  have  to  rely  greatly 
on  its  glittering  shots  of  Athens  and  its  tempest-tossed  footage 
of  Albania  to  ignite  much  response  at  the  boxoffice.  The  truth 
is  that  this  offers  very  little  that  is  different  from  the  myriad 
other  cloak  and  dagger  items  that  have  preceded  it.  In  fact, 
this  Robert  Carson  screenplay  with  its  depiction  of  Mile  Carol's 
escapades  as  commandered  by  adventurer  Johnson  in  freeing 
her  diplomat-brother  from  Communist  hands  is  considerably 
below  par,  both  in  characterization  and  plot.  Most  of  the  dia- 
logue is  the  sort  one  finds  in  TV  melodramas,  pallid  and  un- 
provocative,  while  the  situations  of  the  story  continually  test 
one's  credulity.  Nevertheless,  director  Terence  Young  has  cer- 
tainly supplied  enough  action,  Mile  Carol  a  good  quota  of 
sexy  strutting  and  Johnson  the  requisite  amount  of  strong  arm 
heroics.  In  addition  to  which,  Lom  can  be  counted  upon  for  a 
grotesquely  colorful  performance  that  should  please  the  gal- 
lery. Mile  Carol  commissions  contraband  smuggler  Johnson  to 
transport  her  from  Athens  to  Communist  controlled  Albania,  in 
order  that  she  may  free  her  brother,  a  famous  young  renegade 
French  diplomat  who  after  his  Moscow  defection  saw  the  errors 
of  his  act  and  was  subsequently  incarcerated.  When  Mile  Carol 
finds  him  she  learns  of  his  attempted  suicide  which  resulted  in 
his  present  blind  state.  Forced  to  escape  through  the  hills  of 
Albania  pied  piper  Johnson  is  beset  with  the  children  of  peas- 
ant parents  who  want  their  offspring  to  grow  up  in  a  free 
world.  The  film  follows  this  odd  caravan  as  it  plods  amidst 
assorted  skirmishes  and  adventures  until  it  is  aided  by  old 
fashioned  bandit-with-honor  Lom  and  eventual  freedom. 

Metro-Goldwyn-Mayer.  98  minutes.  Van  Johnson,  Martine  Carol,  Herbert  Lom. 
Produced  by  Kenneth  Harper.    Directed  by  Terence  Young. 

"The  Pajama  Game" 

g«44H€44  TR*Uh?  GOO 
Top-drawer  musical  even  better  than  long-run  Broadway  hit. 
Rates  very  strong  for  metropolitan  and  class  houses.  Doris 
Day  heads  cast  with  leads  from  the  play. 

Exhibitor  harassed  by  unexpected  summer  doldrums  can  look 
forward  with  sunny  expectations  to  a  blithe  and  buoyant  dream 
of  a  musical  from  Warner  Bros.  The  famed  Broadway  hit  has 
been  transferred  to  the  WarnerColor  screen  by  a  pair  of  ace 
craftsmen,  George  Abbott  and  Stanley  Donnen,  who  have  man- 
aged to  extract  every  ounce  of  entertainment  from  the  original 
and  have  done  the  even  more  extraordinary  feat  of  improving 
upon  it.  Starring  Doris  Day,  with  a  group  of  top  performers 
from  the  play — John  Raitt,  Carol  Haney,  Eddie  Foy,  Jr.  and 
Reta  Shaw — "Pajama  Game"  is  a  dazzling  and  delectable  treat, 
the  sheer  good  will  and  humor  of  which  can't  fail  to  delight 
any  audience.  Spinning  a  fanciful  fable  about  management  and 
labor  in  which  a  modern  day  Romeo  and  Juliet  come  to 


momentarily  ill-starred  ways  over  a  wage  dispute.  Set  against 
the  everyday  fantastics  of  a  pajama  factory  in  Dubuque,  screen- 
playwrights  Abbott  and  Richard  Bissell  have  loaded  their  story 
with  warm,  winning  characterizations  and  superb  touches  of 
Americana.  And  choreographer  Bob  Fosse  has  staged  some  in- 
comparable dance  sequences,  full  of  the  exuberance  and  abso- 
lute zest  for  living  that  are  among  the  best  to  ever  grace  the 
screen.  Miss  Day  is  seen  as  the  head  of  the  factory's  grievance 
committee  while  Raitt  represents  the  boss  in  the  person  of 
superintendent.  Though  they  immediately  fall  in  love  upon 
meeting,  their  conflicting  sides  of  interest  continually  scatter 
the  moonlight  and  roses.  When  the  workers  decide  to  stage  a 
slowdown  in  order  to  force  the  long  overdue  raise,  Raitt  is 
forced  to  fire  Miss  Day  who  initiated  the  proceedings.  In  the 
end  Raitt  effects  the  wage  increase  and  he  is  reunited  with  Miss 
Day.  Raitt  is  a  welcome  screen  acquisition,  a  vivid  and  virile 
performer  with  a  fine  voice.  Miss  Haney,  of  the  rag  doll  face 
and  puppet  dance  steps,  is  superb,  while  Miss  Day  brings  her 
customary  charm  and  candor  to  everything  she  does. 

Warner  Bros.  101  minutes.  Doris  Day,  John  Raitt,  Carol  Haney.  Produced  and 
directed  by  George  Abbott  and  Stanley  Donen. 

"Sea  Wife" 

ge*Une4d  IRatttf  Q  O  Plus 
Fairly  engrossing  story  on  nun  and  3  men  castaways  on  life- 
boat in  war.  Should  draw  those  interested  in  religious  motif. 

While  the  tale  of  assorted  castaways  on  a  lifeboat  is  hardly 
unusual,  it  becomes  so  when  minimized  to  three  men  and  a 
nun,  and  when  told  with  so  many  clever  and  original  narrative 
details  as  in  20th-Fox's  "Sea  Wife".  Unfortunately,  however, 
while  the  skeleton  ideas  of  the  Andre  Hakim  production  may 
be  interesting,  the  total  effect  is  much  less  so.  The  screenplay, 
(for  which,  incidentally,  no  credit  is  listed),  is  largely  to  blame, 
since  it  has  failed  to  come  to  grips  with  the  situations  it  creates 
and  has  steered  clear  of  exploring  the  depths  of  its  characters. 
Yet,  there  are  some  fine  things  that  remain  unmarred,  most  par- 
ticularly the  exquisite  South  Seas  CinemaScope-DeLuxe  Color 
photography  of  Ted  Scaife  and  the  handsome  performances  by 
stars  Joan  Collins,  Richard  Burton,  Basil  Sydney  and  a  new- 
comer, Negro  actor  Cy  Grant.  A  mystical  strain  moves  in  and 
out  of  the  film,  along  with  some  interesting  religious  motifs 
making  "Sea  Wife"  a  saleable  item  to  those  so  minded  and  a 
generally  commendable  offering  for  the  adult  audience.  Bob 
McNaught's  direction  has  a  tendency  to  unravel  everytime  the 
dialogue  and  characterizations  hit  dramatic  snags.  While 
similar  to  the  theme  of  "Heaven  Knows,  Mr.  Allison",  this  one 
has  nowhere  the  fine  shadings  and  subtlety  of  that  film,  some- 
thing it  very  definitely  needs  to  make  meaningful  the  stalemate 
at  the  heart  of  the  Collins-Burton  relationship.  For  in  "Sea 
Wife"  Miss  Collins  tells  no  one  she  is  a  nun  and  she  is  treated 
as  a  normal  woman,  thereby  creating  misery  for  Burton  when 
she  fails  to  respond  to  his  wooing.  And  it  will  also  create 
misery  in  some  segments  of  the  audience  who  would  like  some 
logical  or  more  analytical  explanation  for  Miss  Collins'  action. 
The  story  tells  the  adventures  the  four  leads  experience  on  a 
lifeboat  during  WWII  in  the  submarine  infested  Pacific  waters. 
Sidney,  an  unscrupulous  merchant  selfishly  causes  the  death  of 
purser  Grant  and  RAF  officer  Burton  becomes  inextricably  in- 
volved with  Miss  Collins.  Burton  returns  to  the  war  never  dis- 
covering Miss  Collins'  secret. 

20th  Century-Fox.  82  minutes.  Joan  Collins,  Richard  Burton,  Basil  Sydney.  Pro- 
duced by  Andre  Hakim.    Directed  by  Bob  McNaught. 


Page  10       Film  BULLETIN    August  19,  1957 


"Operation  Mad  Hall" 
Giuine**  O  O  O 

Lots  of  screwball  fun  in  this  slap-happy  lark  on  Army  life. 
Jack  Lemmon,  TV's  Ernie  Kovaks  play  it  strictly  for  laughs. 

The  title  of  this  Jed  Harris  offering  for  Columbia  promises  a 
zany,  zippy  and  altogether  slap-happy  time  of  it  and  it  is  a 
pleasure  to  report  that  it  delivers  just  that.  While  this  is  hardly 
another  "Mr.  Roberts",  it  is  a  fair  Army  version  of  that  salty 
epic.  Jack  Lemmon,  the  famed  Ensign  Pulver  of  "Roberts"  is 
once  more  running  rampant  with  merry  plots  and  lascivious 
dreams,  this  time  as  a  lowly  buck  private  in  the  Occupation 
Army  at  the  Bordeaux  district  of  France.  Co-starred  with  him 
and  making  his  screen  debut  is  TV  comic  Ernie  Kovaks  as  a 
power-hungry  Major  whose  fantastic  plans  for  personal  ag- 
grandizement continually  boomerang  whenever  they  conflict 
with  a  Lemmon  prank.  Kovaks  plays  his  role  in  broad  satire, 
never  without  his  cigar  or  the  bubbly  eye-poping,  and  as  he 
goes  through  his  turns  he  is  the  perfect  pompous  buffoon  in- 
deed. Director  Richard  Quine  has  staged  the  innumerable  plots 
and  counterplots  with  as  wacky  and  bouncy  a  hand  as  has  been 
seen  in  years.  Nothing  ever  rests  in  peace  in  this  film;  its 
humor  is  as  uninhibited  as  the  Foruth  of  July  and  its  pace  seems 
always  to  be  going  off  with  the  speed  of  skyrockets.  Since  there 
is  really  no  story  and  even  less  characterization,  "Operation 
Mad  Ball"  may  not  be  exactly  the  dish  of  the  older  folks,  but 
it  is  a  series  of  fresh  and  fanciful  gags  on  Army  life  with  some 
cute  romancing  thrown  in  and  filled  with  a  spirit  so  zestful  as 
to  be  irresistible  to  the  younger  audience  and  anyone  in  need 
of  some  thumping  good  laughs.  Along  for  the  whirlwind  ride 
are  Mickey  Rooney,  a  southern  cornball  and  head  of  the  motor 
pool,  Arthur  O'Connell,  a  Colonel  and  head  of  the  Army  Hos- 
pital where  the  action  of  the  film  is  centered,  and  Kathryn 
Grant  as  Lemmon's  dream  girl  and,  unfortunately,  superior  offi- 
cer. Miss  Grant  being  an  Army  nurse  cannot  fraternize  with 
the  enlisted  men,  nor  can  any  of  her  confederates  who  are  lyric- 
ally eyed  by  Lemmon's  buddies.  When  it  appears  that  shipping 
orders  are  on  the  horizon,  Lemmon  decides  to  stage  a  mam- 
moth party  for  the  nurses  and  his  buddies.  How  this  is  ex- 
ecuted in  the  face  of  Kovaks  and  assorted  mishaps  makes  for  a 
riotous  entertainment  as  does  the  battle  between  Kovaks  and 
Lemmon  for  the  affections  of  Miss  Grant,  who  needless  to  say 
loved  the  private  all  along. 

Columbia.  90  minutes.  Jack  Lemmon,  Ernie  Kovaks,  Mickey  Rooney.  Produced  by 
Jed  Harris.    Directed  by  Richard  Quine. 

"Pickup  Alley" 

%«4Ut€44  IRaUtf  ©  O  Plus 

Standard  dope  smuggling  meller  set  in  interesting  foreign 
backgrounds.   Mature,  Ekberg  give  it  fair  marquee  value. 

Producers  Irving  Allen  and  Albert  Broccoli  have  set  their 
Columbia  cameras  for  a  comprehensive  and  striking  tour  of 
Europe,  including  some  excellent  shots  of  London,  Lisbon, 
Rome  and  Athens,  while  they  followed  a  mildly  suspenseful 
tale  of  narcotic  smuggling  on  a  scale  of  international  finance. 
With  Victor  Mature  as  an  American  Narcotics  Division  detec- 
tive, Anita  Ekberg  as  a  mysterious,  upper-class  dope  runner  and 
Trevor  Howard  as  the  mastermind  behind  the  illegal  shenani- 
gans, "Pickup  Alley"  employs  a  provocative  cast  in  some  stan- 
dard hide  and  seek  proceedings  which,  unfortunately,  never 
quite  manage  to  become  charged  with  the  kind  of  suspense  that 
makes  the  overly-familiar  still  pleasurable.  The  lively  portions 


are  only  intermittent  and  their  effect  is  often  dissipated  by  the 
generally  lackluster  direction  of  John  Gilling  and  the  rather 
colorless  screenplay  of  John  Paxton.  However,  the  film  has  a 
trio  of  popular  stars  who  perform  engagingly  enough  and  an 
overall  air  of  absolute  authenticity  in  its  depiction  of  the  Inter- 
national Criminal  Police  Commission  and  its  many  channels 
and  agencies  as  they  all  work  together  in  solving  a  baffling  nar- 
cotics case.  This  alone  will  make  it  of  interest  to  the  mass  audi- 
ence that  has  become  increasingly  aware  of  the  hazards  of  dope 
addiction  and  to  those  who  like  their  information  disseminated 
with  a  fair  measure  of  spice  and  intrigue.  The  film  follows  the 
efforts  of  detective  Mature  in  attempting  to  gather  evidence  on 
Howard,  head  of  an  international  gang  of  smugglers.  The 
wiley  Howard  consistently  eludes  him  until  Mature  latches  on 
to  Miss  Ekberg,  a  waif  without  passport  forced  by  Howard  into 
running  his  underworld  errands.  So  across  Europe  Mature 
trails  her  becoming  involved  in  her  predicament  and  in  on- 
sloughts  with  the  Howard  henchmen.  The  come-uppance  for 
the  smugglers  is  achieved  in  a  clever  and  compelling  way  with 
the  documentary  aspects  of  the  film  shown  off  to  their  best 
advantage,  while  the  realism  of  the  whole  thing  is  preserved 
by  not  having  Mature  and  Miss  Ekberg  dolly  up  for  the  kissing 
fadeout. 

Columbia.  91  minutes.  Victor  Mature.  Anita  Ekberg,  Trevor  Howard.  Produced 
by  Irving  Allen  and  Albert  Broccoli.    Directed  by  John  Gilling. 

"My  Gun  is  Quick" 

Quickie  version  of  Spillane's  lurid  meller.  Lacks  names,  but 
author's  fame  makes  it  useful  dualler  in  sub-runs. 

Mickey  Spillane's  vivid  and  vitriolic  blending  of  sex  and 
crime  makes  its  way  in  the  screen  again  in  a  quickie  production 
with  the  somewhat  Freudian  title,  "My  Gun  Is  Quick".  Com- 
pletely lacking  marquee  names,  and  devoid  of  any  credibility, 
this  offering  will  have  to  rely  solely  on  the  fame  of  Spillane. 
On  that  basis  it  should  serve  as  an  adquate  supporting  dualler 
in  action  houses.  This  time  newcomer  Robert  Bray,  as  muscle- 
man  Mike  Hammer,  goes  through  the  poker  face,  bullet 
hearted,  two  fisted  characterization  with  only  modest  effect. 
Actually,  in  this  Victor  Saville  production  for  United  Artists 
release,  directed  by  Phil  Victor  and  scripted  by  Richard  Powell 
and  Richard  Collins,  the  Spillane  wonder  boy  has  been  con- 
siderably tamed  and  his  fabled  affairs  with  les  femmes  have 
been  obviously  umpired  by  the  Code  authorities.  The  Hammer 
coterie  might  be  satisfied,  however,  since  there's  still  quite  a 
bit  of  the  old  superman  left,  plus  an  armada  of  hoods  and 
thugs  riding  roughshod  over  the  usual  salty  and  snarling  Ham- 
merisms.  Until,  of  course,  the  armada  is  dispatched  down  the 
drain  by  a  mere  flex  of  our  her's  biceps.  Mike  innocently  be- 
friends a  young  waitress  whose  death  the  next  day  is  traced 
to  him,  and  before  you  can  say  the  title  of  the  film,  he  is  en- 
circled with  murder  and  mystery.  In  order  to  clear  himself 
(and  because  he  wouldn't  know  what  to  do  with  his  spare  time, 
anyhow  ),  Mike  sets  out  to  stalk  the  real  killer.  And  this  stalk- 
ing carries  him  all  over  Southern  California  with  an  horrendous 
auto  chase  along  the  Hollywood  freeway  that  takes  everyone's 
breath  away  except  cool  driver  Hammer's.  Along  route  he  falls 
prey  to  a  number  of  loose  and  lusty  young  women,  including  a 
steamy  senorita  with  a  record  for  stripping  from  the  Rio 
Grande  to  the  Pacific.  In  the  end,  matchless  Mike  nabs  the  cul- 
prit, uncovers  a  fabulous  jewel  robbery. 

United  Artists.  88  minutes.  Robert  Bray,  Whitney  Blake,  Don  Randolph.  Pro- 
duced and  directed  by  Phil  Victor  and  George  White. 


Film  BULLETIN    August  19,  1957        Page  11 


Value  Xihe  £eeA  Scxcffice  Jtfttftnteineht 
Public  JfntereAt  in  Oiltn  £tcckA  Picking  Hp 

2nd  Half  of  '57  Will  Be  Better 

Improvement  in  theatre  attendance  is  likely  for  the  that  Americans  are  gradually  reacquiring  the  theatre- 
second  half  of  1957,  declares  the  Value  Line  Invest-  going  habit,  leads  us  to  believe  that  total  admissions 
ment  Survey,  published  by  Arnold  Bernhard  &  Co.,  in  will  show  further  year-to-year  improvement  in  the 
its  latest  analysis  of  the  motion  picture  industry.  "Be-  months  ahead." 

cause  the  major  studios  have  yet  to  release  the  greater  Value  Line  reports  that  the  film  companies,  by  di- 

portion  of  their  expanded  output,  it  appears  that  there  versifying  their  interests,  are  in  a  more  stable  position 

will  be  a  substantially  larger  number  of  good  movies  than  previously,  and  that  their  stocks  "might  therefore 

available  to  exhibitors  during  the  final  six  months  of  be  highly  rewarding  to  sophisticated  investors  able 

this  year  than  in  the  second  half  of   1956",  the  VL  and  willing  to  accept  some  risk."    The  survey  of  all 

study  states.  "This  prospect,  together  with  indications  major  film  and  theatre  companies  follows  below: 


Summary 

First  half  theatre  attendance  showed  a  moderate  year-to-year 
gain.  Further  improvements  are  in  prospect  in  the  months 
ahead.  Yet  Wall  Street  appears  to  doubt  that  the  movie  stocks 
are  enjoying  more  than  an  ephemeral  prosperity.  Actually, 
movie  companies  have  strengthened  their  earning  power  rather 
thorough)'.  They  no  longer  depend  solely  on  the  production 
and  exhibition  of  "conventional"  pictures  but  have  diversified 
far  and  wide  into  many  foreign  enterprises.  Their  stocks  are 
backed  by  substa)itial  assets  that  are  being  or  will  soon  be 
utilized.  Investments  in  movie  stocks  might  therefore  be  highly 
rewarding  to  sophisticated  investors  able  and  willing  to  accept 
some  risk. 

Attendance  on  the  Rise 

Although  recent  commentaries  on  the  motion  picture  indus- 
try have  highlighted  the  box  office  slumps  that  took  place 
during  the  Easter  season  and  over  the  July  4th  weekend,  the 
fact  of  the  matter  is  that  theatre  admissions  showed  a  year-to- 
year  increase  during  the  first  half  of  1957.  Comparisons  for 
a  particular  week  or  even  month  may  be  distorted  by  weather 
conditions  or  a  number  of  other  factors;  it  is  well,  therefore, 
to  examine  the  year-to-year  comparison  over  an  extended  pe- 
riod of  time.  Here,  the  findings  for  the  first  half  are  definitely 
favorable.  What  actually  took  place  was  that  during  the  first 
two  months,  theatre  attendance  ran  comfortably  ahead  of  last 
year.  But  in  March  and  April,  it  slipped  below  the  1956  level. 
This  was  due  principally  to  a  temporary  shortage  of  films. 
Although  Hollywood  producers,  as  a  group,  have  been  step- 
ping up  their  activities,  most  studios  have  withheld  release 
of  their  more  important  products  until  later  in  the  year.  Aided 
by  favorable  weather  conditions,  business  at  the  drive-in  thea- 
tres enjoyed  an  early  summer  boom  in  the  months  of  May  and 
June.  As  a  result,  theatre  attendance  for  the  entire  first  half 
was  approximately  4%  above  the  year-earlier  level.  However, 
the  three  major  theatre  circuits,  which  operate  mostly  4-wall 


houses,  did  not  fare  too  well  during  the  second  quarter,  but 
have  since  been  enjoying  increasing  business. 

Because  the  major  studios  have  yet  to  release  the  greater 
portion  of  their  expanded  output,  it  appears  that  there  will  be 
a  substantially  larger  number  of  good  movies  available  to  ex- 
hibitors during  the  final  6  months  of  this  year  than  in  the 
second  half  of  1956.  This  prospect,  together  with  indications 
that  Americans  are  gradually  reacquiring  the  theatre-going 
habit,  leads  us  to  believe  that  total  admissions  will  show  fur- 
ther year-to-year  improvement  in  the  months  ahead.  For  the 
entire  year  of  1957,  we  estimate  that  theatre  attendance  will 
average  about  49  million  weekly,  as  against  only  46.5  million 
in  1956.  This  prospective  increase  in  attendance  can  be  ex- 
pected to  be  translated  into  larger  profits  for  most  movie 
companies. 

Movie  Stocks  Generally  Shunned 

Five  of  the  six  motion  picture  stocks  we  classified  as  under- 
priced  3  months  ago  have  since  advanced  in  price.  Neverthe- 
less, many  of  them  are  still  selling  on  generous  dividend  yield 
bases  and  at  conservative  multiples  of  current  earnings.  Hap- 
pening at  a  time  when  investors  are  willing  to  pay  fantastic 
prices  (relative  to  past  experience)  for  most  other  stocks,  this 
situation  probably  reflects  Wall  Street's  incredulity  at  Holly- 
wood's recovery  from  its  10-year  decline.  "After  all",  an  in- 
vestor asks,  "what  assurance  do  I  have  that  earnings  of  the 
movie  companies  will  not  again  collapse  if  their  pictures  do 
not  click  at  the  box  office,  or  if  subscription  television  should 
offer  high-quality  entertainment  over  the  home  screens?" 

As  we  have  discussed  in  these  columns  many  times  before, 
we  believe  that  as  far  back  as  1954,  television,  per  se,  ceased 
to  be  an  unconquerable  menace  to  Hollywood.  With  the  nov- 
elty of  the  TV  experience  wearing  off,  an  increasing  number 
of  Americans  have  been  rediscovering  movie-going  as  an  alter- 
native, if  not  even  more  satisfying,  form  of  entertainment.  It 
has  thus  been  entirely  up  to  Hollywood  to  recapture  its  lost 


Page  12       Film  BULLETIN    August  19,  1957 


VALUE  LINE  ANALYSIS 


patrons.  To  be  sure,  the  motion  picture  industry  will  probably 
never  again  see  the  lush  days  of  the  early  Forties,  when  theatre 
attendance  averaged  well  above  80  million  a  week.  Within 
the  past  decade,  things  have  changed  so  completely  in  our  so- 
ciety and  our  economy,  as  well  as  in  the  realms  of  entertain- 
ment, that  any  thought  of  recapturing  the  conditions  of  pros- 
perity of  former  periods  would  be  irresponsible,  vainly  wishful 
thinking.  However,  as  long  as  the  producers  can  turn  out 
quality  pictures  (which  they  have  indeed  been  trying  to  do  in 
the  last  year  or  two)  and  as  long  as  the  exhibitors  can  show 
those  pictures  in  attractive,  comfortable  and  well-kept  theatres, 
a  gradual  uptrend  in  movie  attendance  during  the  years  ahead 
seems  a  distinct  possibility,  the  advent  of  color  or  subscription 
television  notw  ithstanding. 

Income  Sources  Augmented 

Of  course,  even  though  the  general  climate  seems  to  be 
turning  more  favorable,  or  less  stormy,  for  Hollywood,  no 
producer  can  be  certain  that  every  one  of  his  pictures  will 
"click"  at  the  box  offices.  Moreover,  some  companies,  such 
as  Loews",  may  not  even  be  able  to  take  advantage  of  the  im- 
proving economic  weather  because  their  managements  are 
handicapped  by  non-showmen  directors  who  may  be  interested 
primarily  in  reaping  fast  profits  through  wholesale  liquidations 
of  the  company's  assets.  In  these  respects,  the  motion  picture 
companies'  earnings  must  be  considered  volatile.  However, 
these  companies  are  deriving  progressively  larger  shares  of 
their  revenues  from  sources  other  than  the  production  or  exhi- 
bition of  "conventional"  movies.  Involving  substantially  lesser 
risk,  the  new  ventures  all  tend  to  stabilize  over-all  income. 
Within  the  motion  picture  industry,  for  example,  Stanley 
Warner  has  an  interest  in  the  "Cinerama"  three-panel  picture 
process,  which  has  proven  to  be  a  sustaining,  lucrative  income- 
producer;  and  National  Theatres  is  producing  for  its  own 
theatres  a  feature  in  "Cinemiracle ',  a  generally  similar  wide- 
screen  motion  picture  system.  Beyond  the  traditional  Holly- 
wood border,  all  of  the  major  producers  of  feature  movies  are 
fast  becoming  important  suppliers  of  film  products,  old  libra- 
ries are  well  as  new  film  series,  to  the  television  industry.  With 
their  reputation  for  quality,  their  positions  in  the  industry 
could  well  be  further  enhanced  should  subscription-TV  prove 
successful. 

Meanwhile,  through  their  subsidiaries,  many  movie  com- 
panies are  participating  fully  in  the  current  boom  in  the 
phonograph  record  business.  Also,  Paramount  Pictures  owns 
among  other  investments  in  the  electronics  industry,  a  100% 
interest  in  Chromatic  Television  Labs,  which  is  developing  a 
low-cost  revolutionary  color  TV  tube,  and  a  90%  interest  in 
International  Telemeter  Corp.,  a  strong  proponent  of  pay-as- 
you-see  TV  and  a  manufacturer  of  magnetic  components  for 
electronic  computers.  Then,  too.  Twentieth  Century-Fox  is 
earning  increasing  royalty  income  from  oil-drilling  activity  on 
its  studio  property,  and  Stanley  Warner  derives  nearly  half 
of  its  overall  revenues  from  sales  of  consumer  and  pharma- 
ceutical goods  under  the  trade  names  of  "Playtex"  and  "Iso- 
dine".  The  net  effect  of  all  these  diversification  moves  in 
Hollywood  is  that  over  a  period  of  time,  the  earnings  of  the 
movie  companies  will  become  more  dependable  and  less  vola- 
tile. The  importance  of  this  development  can  best  be  illus- 
trated by  the  fact  that  Twentieth  Century-Fox  lost  about 
S  100,000  last  year  in  its  principal  business — the  production 


and  distribution  of  motion  pictures.  Yet  its  1956  per  share  net 
income  of  S2.34,  generated  entirely  from  new  sources,  was  the 
second  highest  in  10  years. 

Idle  Assets  Put  to  Work 

It  can  thus  be  seen  that  while  Hollywood's  fortunes  are  still 
unpredictable,  investments  in  the  movie  stocks  are  now  subject 
to  substantially  less  risk  than  they  were  10  years  ago.  At  the 
same  time,  diversification  has  considerably  enhanced  the 
growth  potential  of  these  stocks.  All  of  the  moves  cited  above 
have  been  directed  toward  the  so-called  "growth''  industries. 
As  time  goes  on,  further  steps  in  this  direction  will  probably 
be  made.  Fortunately,  unlike  most  companies  in  other  indus- 
tries, the  movie  companies  have  found  little  difficulty  generat- 
ing funds  for  new  investments.  The  three  major  theatre  cir- 
cuits, for  example,  own  several  hundred  theatres  each.  These 
theatre  properties  represent  important  cash  inflow  in  two  re- 
spects. First  of  all,  some  of  them  can  be  sold  for  cash.  It  is 
not  secret  that  a  sizable  number  of  the  theatres  owned  by  these 
companies  are  either  closed  or  not  operating  profitably.  Yet, 
their  real  estate  values  have,  in  many  instances,  appreciated 
over  the  years.  Their  disposition,  therefore,  not  only  provides 
substantial  cash  proceeds,  but  enhances  the  overall  earning 
power  of  the  remaining  theatres  as  well.  Meantime,  the  large 
portfolios  of  theatre  properties  also  enable  the  various  com- 
panies to  generate  substantial  funds  internally  through  depre- 
ciation accruals.  Indeed,  in  recent  years,  such  non-cash  write- 
offs have  often  well  exceeded  the  reported  income  of  these 
companies. 

Like  the  exhibitors,  many  of  the  producers  also  have  sub- 
stantial studio  and  other  real  estate  properties  that  are  not 
being  fully  employed  in  the  business.  Indications  are  that 
much  of  these  non-productive  assets  will  also  be  sold  or  leased 
to  others.  Twentieth  Century-Fox,  for  example,  "hopes"  to 
make  its  284-acre  property,  ideally  located  in  the  better  part 
of  Los  Angeles,  the  "Radio  City  of  the  West". 

Not  all  of  the  proceeds  generated  from  divestment  or  idle 
assets  are  likely  to  be  invested  in  new  business  ventures.  In 
fact,  a  good  portion  will  almost  certainly  be  used  to  reacquire 
company  stock.  Available  well  below  their  respective  asset 
values,  the  movie  company  shares  represent  among  the  best 
investment  values  for  their  companies.  By  following  a  sys- 
tematic program  of  reacquiring  stock,  the  movie  companies, 
even  with  the  same  overall  net  income,  can  conceivably  in- 
crease their  per  share  earnings  significantly. 

Conclusion 

In  recapitulation,  it  is  our  belief  that  (1)  Hollywood  has 
successfully  weathered  the  worst  storm  in  its  history  and  is 
entering  a  period  of  more  favorable  business  climate;  (2) 
augmented  by  income  from  new  sources,  earnings  of  the  movie 
companies  will  probably  tend  to  be  less  volatile  and  to  show 
an  encouraging  long-term  growth  trend;  and  (3)  per  share 
earnings  will  be  further  enhanced  by  systematic  reduction  of 
common  capitalizations.  As  these  developments  become  more 
evident,  investors  in  general  can  be  expected  to  show  more 
interest  in  these  stocks.  More  liberal  price  earnings  multiples, 
coupled  with  a  healthv  uptrend  in  profits,  might  then  effect 
significant  advances  in  the  prices  of  these  equities  over  the 
next  3  to  5  years. 

(Continued  on  Pjge  14) 


Film  BULLETIN    August  19.  1957        Page  13 


VALUE  LINE  ANALYSIS 


(Continued  from  Pjgc  13) 

BUSINESS:  Columbia  Pictures  produces  and  distributes 
motion  pictures  of  both  "A"  and  "B"  classes  for  ex- 
hibition in  theatres.  Screen  Gems,  Inc.,  a  subsidiary, 
produces  films,  including  commercials,  for  television; 
also  sells  and  distributes  to  television  stations,  the 
backlog  of  motion  pictures  from  Columbia's  film  li- 
brary. About  45%  of  revenues  originate  abroad. 
Since  World  War  II.  cash  dividend  pay-out  has  aver- 
aged 35%  of  earnings.  Employees:  5,000;  stock- 
holders: 2.342.  Revenues  have  increased  18%  faster 
than  disposable  income  since  1939.  President,  H.  Cohn. 
Incorporated:  New  York.  Address:  711  Fifth  Avenue. 
New  York  22,    New   York.  Stock  traded:  NYSE. 

REPORT:  Screen  Gems,  the  Columbia  television 
subsidiary,  is  sparking  a  rise  in  sales  which 
may  bring  Columbia's  gross  income  up  to  the 
$100  million  mark  for  the  1957  fiscal  year 
(ended  June  30th).  In  the  last  three  years, 
Screen  Gems  has  grown  remarkably,  increasing 
its  gross  revenues  from  about  S3  million  in 
fiscal  1954  to  about  $11  million  in  fiscal  1956. 
We  expect  that  this  growth  continued  during 
the  past  fiscal  year  and  estimate  the  gross  in- 
come of  this  Columbia  subsidiary  at  $20  mil- 
lion in  fiscal  1957  (80%  above  fiscal  1956). 
To  stimulate  further  progress,  Screen  Gems  is 
now  reported  to  be  engaged  in  negotiations 
with  Universal-International  for  the  rental  of 
UI's  pre- 1948  film  library.  An  agreement 
would   bring   to   about    1,300  the  number  of 


COLUMBIA  PICTURES 

older  feature-length  pictures  which  Screen 
Gems  can  make  available  for  television. 

The  parent  company  itself  is  feeling  the  ef- 
fects of  an  improvement  in  theater  attendance. 
While  record  revenues  may  not  have  been 
realized  from  the  fiscal  1957  releases,  average 
revenues  per  release  are  probably  increasing. 
In  addition,  it  is  likely  that  year-end  adjust- 
ments and  the  receipt  of  foreign  earnings  bol- 
stered fourth  quarter  earnings.  Thus,  while 
net  income  for  the  first  9  months  (ended 
March  31st)  was  23%  below  earnings  in  the 
like  1956  period,  we  look  for  full-year  profits 
of  $2  a  share  to  be  reported  for  fiscal  1957. 

Gross  income  in  1958  should  be  further  en- 
hanced by  sales  growth  of  the  TV  subsidiary. 
However,  Columbia  expects  to  release  a  num- 
ber of  costly  films  in  the  current  fiscal  year. 
While  gross  revenues  will  be  swelled  by  these 
releases,  we  expect  that  net  income  will  remain 
at  about  the  1957  level.  Expenses  incurred  in 
connection  with  the  film  program  may  narrow 
the  profit  margin.  We  estimate  gross  income 
in  fiscal  1958  at  about  $105  million;  net  earn- 
ings per  share  at  $2.25.  However,  only  one  or 
two  box  office  "smashes  ",  if  achieved,  could 


be  sufficient  to  bring  about  a  highly  successful 
year. 

We  project  Columbia's  average  annual  sales 
to  $115  million  in  the  hypothesized  1960-62 
economy,  characterized  by  a  GNP  of  $490  bil- 
lion. A  sustained  economy  drive  might  result 
in  a  slightly  higher  profit  spread,  so  that  net 
earnings  of  $4  a  share  might  be  realized  3  to  5 
years  hence,  permitting  annual  dividends  of 
about  $1.75.  Capitalized  at  6.2%  in  line  with 
past  norms  adjusted  for  trend,  such  dividends 
would  suggest  an  average  price  of  28  (7  times 
earnings)  during  the  period. 
ADVICE:  Columbia  Pictures  is  currently  clas- 
sified in  Group  III  (Fairly  Priced)  because  the 
stock  stands  more  than  one  standard  variation 
above  its  slightly  rising  Rating.  The  issue  of- 
fers an  attractive  current  yield,  estimated  at 
6%.  Also,  the  40%  appreciation  potentiality 
to  the  years  1960-62  is  above  the  average  gain 
foreseen  for  all  stocks  under  survey.  How- 
ever, in  view  of  the  stock's  poor  past  price 
stability  performance  (Index:  11)  and  the  vola- 
tility of  the  motion  picture  industry,  this  equity 
is  recommended  only  for  risk  accounts  well 
buttressed  with  cash  reserves. 


BUSINESS:  Decca  Records  is  a  primary  independent 
producer  and  distributor  of  phonograph  records.  Re- 
cording is  done  in  studios  in  New  York  and  Hollywood. 
Records  are  manufactured  in  leased  plants.  Company 
also  sells  phonographs  and  accessories.  Engaged  in 
music  publishing  business  through  subsidiary,  Northern 
Music  Corp.  Owns  controlling  interest  (80%)  in  Uni- 
versal Pictures,  a  producer  of  motion  pictures  for 
Class  A  and  Class  B  markets.  Since  World  War  II, 
dividend-payout  has  been  59%  of  earnings.  Manage- 
ment group  owns  about  39%  of  outstanding  stock. 
Employs:  1,500;  stockholders  5,100.  Pres.,  M .  R.  Rack- 
mill.  Inc.:  New  York.  Address:  50  West  57th  St., 
N.  Y.,   N.  Y.  Stock  traded:  NYSE. 

REPORT:  Decca's  first  quarter  earnings  were 
10%  above  those  for  the  like  1956  period — in 
spite  of  the  fact  that  the  company's  equity  in 
the  earnings  of  its  80%-owned  Universal  Pic- 
tures subsidiary  was  substantially  smaller  than 
in  the  same  period  last  year  (Universal  did 
not  release  any  pictures  in  Nov.  and  Dec, 
1956).  This  indicates  that  the  record  business 
is  more  profitable  than  ever.  While  second 
quarter  statistics  have  not  yet  been  released, 
indications  are  that  earnings  continued  to  ad- 
vance. Universal  is  releasing  films  again  (after 
the  considerable  slump  in  February  quarter 
earnings  for  this  company,  profits  in  the  26 
weeks  ended  May  4th  were  only  16%  below 
the  comparable  1956  period),  and  has  just 
begun  a  major  promotional   campaign   for  a 


DECCA  RECORDS  (UNIVERSAL) 

number  of  pictures  to  be  released  this  Sum- 
mer. Starring  known  box  office  stars  such  as 
James  Stewart  and  June  Allyson,  these  pictures 
are  being  released  at  a  time  when  theatre  at- 
tendance is  running  ahead  of  last  year's  pace. 
They  are  expected  to  bring  Universal's  net  up 
to  the  fiscal  1956  level. 

Decca's  excellent  line  of  classical  records 
continues  to  be  well  received  by  an  audience 
which  has  more  disposable  income,  more  leis- 
ure time,  and  an  increasing  appreciation  of 
good  sound  reproduction.  The  semi-classical 
and  popular  record  business  is  also  holding 
up  very  well  despite  the  slight  seasonal  slump 
in  sales  during  the  first  half  of  the  year.  The 
album  from  "Around  the  World  in  80  Days" 
has  been  in  the  best-selling  charts  for  months. 
Record  volume  should  be  enhanced  by  in- 
creased sales  of  phonographs  and  high-fidelity 
equipment,  which  are  running  25%  ahead  of 
last  year's  pace. 

Decca  can  probably  earn  $3.25  a  share  this 
year  (including  its  equity  in  Universal's  undis- 
tributed profits).  A  year-end  extra  dividend 
would  then  be  likely.  An  increase  in  the  regu- 
lar quarterly  rate,  however,  seems  unlikely  at 


this  time,  although  more  favorable  action  may 
be  taken  if  and  when  Universal  releases  its  pre- 
1948  film  library  to  television.  Negotiations 
with  Screen  Gems,  Columbia  Pictures'  TV 
subsidiary,  are  reported  to  be  taking  place  for 
this  purpose. 

Within  the  hypothesized  1960-62  economy,  in 
which  we  see  a  GNP  of  $490  billion,  Decca 
could  earn  at  least  $3.60  a  share  on  a  sales 
volume  of  $134  million  (assuming  consolida- 
tion with  Universal).  Such  earnings  would 
permit  a  $1.40  annual  dividend.  Capitalized 
at  6.2%  as  indicated  by  past  experience,  such 
dividends  would  suggest  an  average  price  of 
23  (6.4  times  earnings)  during  that  period. 
ADVICE:  We  continue  our  Group  II  (Under- 
priced)  classification  for  Decca,  as  it  stands 
within  one  standard  variation  of  its  rising 
Rating.  The  current  5.8%  yield  is  below  the 
issue's  past  norms,  but  the  dividend  rate  may 
be  lifted  within  the  next  12  months.  A  21% 
appreciation  potentiality  to  1960-62  is  about 
in  line  with  the  gain  foreseen  for  all  stocks  in 
the  Survey.  However,  the  highly  volatile 
nature  of  both  motion  picture  and  record  mar- 
kets makes  this  equity  suitable  only  for  risk 
accounts. 


BUSINESS:  Loew's  is  the  last  fully  integrated  pro- 
ducer, distributor  and  exhibitor  of  motion  pictures. 
Divestment  of  theatres  to  take  place  in  1957.  Theatres, 
mainly  in  Northeast,  presently  account  for  about  40% 
of  revenues.  Pictures,  under  MGM  trademark,  account 
for  most  of  the  rest.  Foreign  revenues  about  40%  of 
film  earnings.  Labor  costs,  over  45%  of  revenues. 
Since  World  War  II,  earnings  almost  completely  paid 
out  as  dividends.  Directors  own  or  control  211  200 
shares  14.0%  of  total).  Has  14,000  employees,  29,440 
shareholders.  Pres.,  Joseph  Vogel;  Chrmn.  Exec. 
Comm.,  O.  R.  Reid.  Incorporated:  Delaware.  Ad- 
dress:    1540    Broadway,    New    York    34,    New  York. 

Stock  traded:  NYSE. 

REPORT:  Internecine  strife  continues  to  plague 
Loew's  in  its  recovery  struggle.  Friction  be- 
tween   Canadian    financier    Joseph  Tomlinson 


LOEW'S,  INC. 

and  the  company's  management  group  erupted 
into  an  open  wound  late  last  month  when  Pres. 
Vogel  called  for  a  special  stockholder's  meet- 
ing Sept.  12th  to  vote  on  removal  of  the  dissi- 
dent director  and  his  associate  from  the  board. 
Mr.  Vogel  claims  that  the  Tomlinson  group  is 
seeking  to  obtain  control  of  the  company  and 
place  its  operations  under  the  guidance  of 
former  studio  head  Louis  B.  Mayer,  ousted 
from  Loew's  management  in  1951  after  losing 
the  battle  with  television. 

Pres.  Vogel's  action  was  prompted  by  the 


resignation  of  three  of  Loew's  13  directors,  two 
of  them  management  nominees  and  the  third 
a  compromise  candidate.  Their  departure  left 
the  Tomlinson  forces  in  apparent  control  of  the 
board.  Pres.  Vogel  hopes  to  fill  the  vacancies 
with  members  of  his  management  team,  who 
held  6  of  the  13  board  positions  prior  to  1957. 
The  battle  brings  into  the  open  the  clear-cut 
conflict  of  interests  surrounding  the  destiny  of 
Loew's.  The  financial  faction  is  presumably 
dedicated  to  the  systematic  disposition  of  some 


Page  14       Film  BULLETIN    August  19,  1957 


VALUE  LINE  ANALYSIS 


of  the  company's  more  valuable  properties.  The 
operating  group  is  split  up  between  production 
and  theatre  personnel.  Equitable  division  of 
Loew's  outstanding  debt  is  just  one  of  the 
many  problems  faced  by  this  group. 

The  survival  of  Loew's  depends  upon  some 
one  of  these  groups  achieving  unchallenged 
supremacy.  Only  then  can  a  consistent  policy 
be  followed,  and  given  a  reasonable  chance  of 
success.  Mr.  Vogel's  record  since  he  ascended 
to  the  presidency  late  last  year  has  not  been 
one  to  inspire  confidence,  but,  harassed  by  in- 
ternal bickering  almost  constantly  since  he  took 
office,  he  has  probably  not  been  granted  a  fair 
trial.   Stockholders  may  have  more  in  common 


with  the  Tomlinson  group — who  are  large 
shareholders  themselves — but  the  interests  of 
the  public  and  the  motion  picture  industry 
might  be  better  served  by  giving  Mr.  Vogel 
a  free  rein. 

As  an  operating  entity,  Loew's  (as  presently 
constituted)  would  probably  have  a  value  no 
greater  than  S21  a  share  in  the  hypothesized 
1960-62  economy.  This  value  is  obtained  by 
capitalizing  projected  average  annual  earnings 
trend.  As  a  liquidating  proposition,  however, 
with  this  company's  past  experience  adjusted  to 
of  S2.15  a  share  at  9.8  times,  and  projected  divi- 
dends of  SI. 25  on  a  6%  yield  basis,  rates  in  line 
Loew's  might  command  a  value  of  S30  a  share, 


based  on  the  aggregate  worth  of  its  present 
properties  (including  real  estate,  studio,  and 
film  library  ). 

ADVICE:  In  relation  to  its  current  earnings  and 
dividend  prospects,  Loew's  appears  fully  priced. 
However,  it  sells  at  a  wide  discount  from  the 
value  we  place  on  its  underlying  assets.  VC'e 
therefore  place  a  compromise  Group  III  ( Fairly 
Priced)  classification  on  the  stock.  Investors 
willing  to  speculate  on  eventual  asset  value 
realization  may  find  Loew's  satisfactory  hold- 
ing at  this  time:  those  seeking  sound  values 
based  on  earning  power  and  dividend  paving 
ability  might  find  better  opportunities  else- 
where. 


BUSINESS:  Paramount  Pictures  Corp.  produces  and 
distributes  Class  A  motion  pictures  primarily.  Owns 
Vistavision.  Operates  largest  theatre  chain  in  Canada. 
Holds  25%  interest  in  Du  Mont  Laboratories  as  well 
as  Du  Mont  Broadcasting  Corp..  90%  interest  in  Inter- 
national Telemeter  Corp.  I ' pay-as-you-see"  TV  broad- 
casting!; 100%  interest  in  Chromatic  Television  Labs. 
Inc.  Ideveloper  of  low  cost  color  TV  tubel.  About 
50%  of  total  revenues  derived  abroad.  Directors  own 
about  27.000  shares  of  stock  11.2%  of  total) .  Em- 
ployees: 4,000;  stockholders:  22.117.  Brd.  Chrmn.,  A. 
Zukor.  Pres.:  B.  Balaban.  Inc.:  N.  Y.  Address:  1501 
Broadway,  New  York  36    N.  Y.      Stock  traded:  NYSE. 


REPORT:  Although  Paramount  has  been  enter- 
taining bids  for  the  television  rights  to  its 
library  of  pre-1948  feature  films,  it  has  not  as 
yet  concluded  negotiations  with  any  buyer. 
Considerable  delay  was  caused  by  the  need  to 
clarify  a  number  of  legal  points  and  to  estab- 
lish a  reasonable  price  for  the  package.  None- 
theless, President  Balaban  told  shareholders  at 
the  annual  meeting  two  months  ago  that  he 
would  be  "disappointed  if  a  deal  is  not  made 
by  the  end  of  the  year".  VC'e  continue  to  be- 
lieve that  the  company  will  be  able  to  net 
approximately  $30  million  (equivalent  to  about 
SI 5  a  share)  in  capital  gains  from  the  sale  of 
its  libran. 

Unlike  other  major  studios  in  Hollywood, 
Paramount  Pictures  is  not  turning  out  more 
pictures  this  year  than  in  1956.    Instead,  it  is 


PARAMOUNT  PICTURES 

devoting  its  efforts  primarily  to  the  production 
of  a  relatively  small  number  of  quality  films. 
This  policy  is  apparently  prompted  by  the 
warm  reception  given  the  company's  recent 
"big"  pictures.  For  example,  "The  Ten  Com- 
mandments", the  biggest  spectacular  ever  pre- 
sented by  Paramount  or  any  other  producer, 
has  been  a  "phenomenal  success".  With  only 
a  limited  number  of  engagements  in  the  do- 
mestic market,  this  religious  epic,  costing  Sl4 
million  to  produce,  has  already  brought  in 
nearly  S12  million  in  film  rentals.  Present  in- 
dications are  that  this  picture  will  be  able  to 
gross  at  least  S50  million.  Hence,  its  contribu- 
tion to  Paramount  s  net  earnings  could  alone 
be  very  substantial. 

Through  its  90% -owned  subsidiary,  Interna- 
tional Telemeter  Corp.,  Paramount  is  becoming 
an  increasingly  important  factor  in  the  sub- 
scription-television industry.  Telemeter  pro- 
duces a  coin-box  toll-TV  system,  which  it  has 
been  diligently  promoting  in  recent  months. 
Should  this  new  entertainment  medium  prove 
successful,  Telemeter  may  well  represent  an 
important  future  source  of  income  to  Para- 
mount. Meanwhile,  International  Telemeter 
itself  has  recently    formed  a   new  subsidiary, 


called  Telemeter  Magnetics,  Inc.,  to  manufac- 
ture magnetic  components.  Serving  the  bur- 
geoning electronic  computer  industry,  this  new 
enterprise  also  possesses  impressive  growth 
potential. 

Within  the  S490  billion  GNP  economy  hy- 
pothesized for  1960-62,  we  project  Paramount  s 
average  annual  revenues  to  SI  50  million,  earn- 
ings (on  an  assumed  capitalization  of  1.5  mil- 
lion shares  vs.  2.0  million  outstanding  cur- 
rently) to  S6.50  a  share  and  dividends  to  S3. 30. 
Such  dividends,  capitalized  on  a  6%  y  ield  basis 
to  accord  with  past  norms  adjusted  for  trend, 
would  command  an  average  price  of  55  (8.5 
times  earnings). 

ADVICE:  Although  the  stock  has  not  been  pub- 
licly traded  long  enough  to  permit  derivation 
of  a  Value  Line  Rating,  Paramount  Pictures  is 
currently  classified  in  Group  II  (Underpriced). 
W  ith  income  from  the  showing  of  "The  Ten 
Commandments"  accumulating  rapidly,  the 
company  seems  on  the  verge  of  reporting  a 
significant  increase  in  earnings.  Offering  better- 
than-average  current  yield  of  5.6%  to  6.3% 
and  3-  to  5-year  appreciation  potentiality  of 
53%,  Paramount  thus  appears  an  interesting 
commitment  for  risk-taking  investors. 


BUSINESS:  Twentieth  Century-Fox  produces  and  dis- 
tributes Class  A  feature  films  primarily.  Owns  Cine- 
mascope, a  wide  screen  projection  process  and  has  a 
50%  interest  in  the  newly  formed  NTA  Film  Network. 
Also  operates  theatre  chains  in  Africa,  Great  Britain, 
Australia  and  New  Zealand.  Foreign  revenues  account 
for  about  44%  of  receipts.  Labor  costs,  about  65% 
of  revenues.  Directors  own  or  control  about  4%  of 
total  outstanding  common  shares.  Company  employs 
about  9,000,  has  19.000  stockholders.  President:  S.  P. 
Skouras,  Vice  Presidents:  J.  Moskowiti.  S.  C.  Einfeid, 
W.  C.  Michel,  M.  Silverstone.  Incorporated:  Delaware. 
Address:  444  W.  56th  St.,   New  York   19,   New  York. 

Stock  traded:  NYSE. 


REPORT:  At  the  last  annual  meeting,  stock- 
holders approved  a  management  proposed  plan, 
whereby  restricted  options  to  purchase  the 
company's  common  shares  may  be  granted  to  a 
number  of  key  officers.  The  plan  differs  from 
conventional  option  agreements  in  that  (1)  the 
purchase  price  will  be  one  point  above  that 
prevailing  on  the  day  the  option  agreement  be- 
comes effective  (instead  of  10%  or  so  less  than 
the  market  price);  (2)  for  each  share  of  com- 
mon stock  subject  to  option,  the  recipient  is 


TWENTIETH  CENTURY-FOX 

required  to  accept  a  salary  reduction  equivalent 
to  75c  annually  for  at  least  two  years;  (3)  the 
shares  so  acquired  must  be  retained  by  the  op- 
tionees for  no  less  than  two  years;  and  (4)  for 
each  share  of  stock  optioned,  the  executive  may 
be  required  to  subscribe  to  S25  principal 
amount  of  5%  notes  of  the  company.  The 
company  may  then  use  the  proceeds  to  acquire 
company  shares  in  the  open  market  so  that 
when  the  options  are  exercised,  the  issuance 
of  new  shares  may  be  avoided. 

Proposal  of  such  a  stringent  stock  option 
plan  by  the  management  strongly  underscores 
its  confidence  in  the  company's  future.  This 
confidence  seems  well  founded.  After  two 
years  of  internal  reorganization  and  readjust- 
ment and  after  having  broadened  considerably 
its  earnings  base  through  the  creation  of  new 
sources  of  income,  the  company  is  entering  a 
period  of  healthy  grow  th  in  profits.  In  the  first 
half  of  this  year,  net  income  is  believed  to  have 


expanded  to  nearly  SI. 50  a  share  from  only 
81c  in  the  initial  6  months  of  1956.  Since  the 
company  is  releasing  the  bulk  of  its  "big" 
pictures  this  year  during  the  second  half  and 
since  television  income  and  dividends  from  for- 
eign theater  subsidiaries  are  also  likely  to  be 
larger  in  the  final  6  months,  full  year  earn- 
ings are  almost  certain  to  reach  S3. 50  a  share. 

The  long-term  earnings  potential  of  Twen- 
tieth Century-Fox  is  even  more  exciting.  Be- 
fore too  long,  the  company's  royalty  income 
from  oil  drilling  activity  on  its  studio  prop- 
erties is  expected  to  quadruple  from  S444.000 
to  about  SI. 8  million.  Income  from  the  tele- 
vision industry  is  also  likely  to  expand.  Con- 
currently, earning  power  may  be  further  aug- 
mented by  the  commercial  development  of  its 
284-acre  studio  property  in  Hollywood.  (Al- 
ternately, the  company  may  sell  the  property.) 

(Continued  on  Page  2(<) 


Film  BULLETIN    August  19,  1957        Page  15 


First  Engagement  Starts  Soc 


IT'S  ALL  HERE!  ALL  THE  BOY- CHASES -GIRL- CHASE 
OF  THE  RECORD -SMASHING  BROADWAY  SENSATIO 

starring 

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REM  SHAW  -  BARBARA  NICHOLS  •  SCREEN  PlAY  BY  GEORGE  ABBOTT  AND  RICHARD  BISSELl '  BASED  UPON  THE  PLAY  THE  PA  JAM  A  SAME'  •  BOOK  BY  GEORGE  ABBOTT  AND  RICH  A 

PRODUCED  BY  6R1SS0N.  GRIFFITH  AND  PRINCE  •  PRODUCED  AND  DIRECTED  BY  GEORGE  ABBOTT  AND  STANLEY  DONEN 


i  Radio  City  Music  Hall 


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ENTERTAINMENT  1. 

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CHARD  AOIER  AND  JEBBT  ROSS 

a/arner  Bros,  n 

VarnerColor 


REMBUSCH 


TRUEMAN  REMBUSCH  of  Indiana's  Syn- 
dicate Theatres  announced  the  unveiling  of 
a  "different"  admissions  policy  for  the  en- 
gagement of  Paramount's  "Ten  Command- 
ments" at  the  circuit's  Crest  Theatre  in 
Wabash.  The  policy:  theatregoers  pay 
whatever  amount  they  want  to.  In  outlin- 
ing the  pay-what-you-like  policy  the  circuit 
emphasized  that  "this  unprecented  offer  is 
made  because  the  management  believes  that 
the  story  of  "The  Ten  Commandments"  be- 
longs to  all  people  and  that  it  should  be 
viewed  by  every  man,  woman  and  child". 
All  income  from  the  engagement  in  excess 
of  Paramount's  share  will  go  to  the  Will 
Rogers  Memorial  Hospital.  Paramount  has 
not  yet  made  any  comment  on  the  plan. 

0 

JOSEPH  R.  VOGEL,  in  a  fighting-mad 
mood,  reported  to  the  Wall  Street  Journal 
last  week  that  there  is  no  possibility  of  a 
compromise  agreement  with  the  Tomlinson- 
Meyer  forces,  seeking  to  gain  control  of 
Loew's.  He  says  that  he  has  had  no  con- 
tact with  the  opposition  regarding  a  "deal" 
similar  to  the  one  arranged  last  February 
between  the  two  warring  factions.  The 
Loew's  president  stated  that  he'll  hit  the 
proxy  road,  if  necessary,  to  elect  his  twelve 
recently-announced  candidates  to  the  com- 
pany's board  of  directors  at  the  upcoming, 
controversial  September  12  meeting.  Re- 
garding Loew's  recent  earnings  statement 
for  the  40  weeks  ended  June  6,  Vogel  re- 
ported that  profits  for  the  period  were  52 
cents  a  share  as  compared  to  51  cents  per 
share  and  that  the  slight  gain  reflected  "the 
economies  put  into  effect  since  I  accepted 
the  presidency  last  October".  In  other  de- 
velopments Justice  Morris  Spector  of  the 
New  York  State  Supreme  Court  issued  a 
temporary  injunction  restraining  any  inter- 
ference with  the  September  12  "spectacular". 
Spector  blasted  the  insurgents  for  their  re- 
fusal to  appear  at  the  hearings.  A  cross- 
complaint  was  also  filed  in  Delaware,  legal 
home  of  Loew's,  by  Mr.  Vogel  to  invali- 
date the  election  of  Samuel  Briskin  and 
Louis  B.  Mayer  to  the  board.  The  Delaware 
courts  are  expected  to  decide  on  August  22 
whether  or  not  Tomlinson's  petition  for  the 
validation  of  the  "rump"  meeting  held  last 
July  30  will  be  approved.    In  still  another 


THEY 

MADE  THE  NEWS 

action,  two  Loew's  stockholders  put  Louis 
B.  Mayer  on  the  receiving  end  of  a  S3, 000,- 
000  lawsuit.  The  action,  by  Louis  and 
Helen  Brandt,  filed  in  the  New  York  State 
Supreme  Court,  charges  that  the  former 
Metro  production  chief  is  not  entitled  to 
the  estimated  $3,000,000  paid  him  under  a 
contract  settlement  several  years  ago  and 
seeks  to  compel  him  to  repay  the  monies 
obtained  under  a  contract  clause  that  was 
"illegal  and  unenforceable".  According  to 
the  Brandts'  attorney,  Saul  E.  Rogers,  the 
contract  clause  provided  for  Mr.  Mayer  and 
his  heirs  to  receive  percentages  from  Loew's 
profits  as  long  as  the  corporation  existed. 
Because  Mayer  was  under  no  obligation  to 
perform  any  services  for  Loew's,  the  New 
York  attorney  contends  that  this  agreement 
was  illegal.  Rogers  emphasized  that  the 
action  is  in  no  way  connected  with  the 
attempt  of  Joseph  R.  Tomlinson,  Stanley 
Meyer  and  Mayer  to  acquire  control  of 
Loew's  from  the  present  management  group. 
Mayer  is  now  in  a  San  Francisco  hospital 
being  treated  for  a  blood  disease  ailment. 

0 

BARNEY  BALABAN  took  the  wraps  off 
International  Telemeter's  closed-circuit  pay- 
as-you-see  television  system  in  a  demonstra- 
tion at  New  York's  Savoy-Plaza  Hotel. 
"Brains"  of  the  Paramount  system  is  a  coin- 
size  box  about  the  size  of  a  portable  radio 
which  is  attached  to  the  television  set.  By 
stuffing  coins  into  the  mechanical  marvel 
the  televiewer  can  receive  three  programs 
at  one  time  over  the  same  channel.  The 
Telemeter  system  can  also  transmit  paid 
programs,  but  only  one  at  a  time.  When 
o.ueried  as  to  the  cost  per  program  of  the 
proposed  system,  Telemeter  executives 
would  not  give  any  definite  figures.  The 
cost  of  an  installation,  as  estimated  by  Tele- 
meter general  manager  Louis  A.  Novins, 
would  run  from  S35  to  S50  in  the  New 
York  or  Los  Angeles  areas. 

0 

MILTON  RACKMIL,  president  of  Univer- 
sal Pictures  and  vice  president  Leo  Jaffe  of 
Screen  Gems  put  the  finishing  touches  on  a 


Dttrryl  Zanuck,  who  makes  news  like  no 
other  movie  producer  makes  news,  drew  a 
contingent  of  the  foreign  press  at  Paris' 
Orly  Airport  for  bis  takeoff  for  the  North 
Pole.  Zanuck  will  begin  location  filming 
tbac  for  "DeLuxe  Tour,"  a  20th  Century- 
Fox  release  in  CinemaScope  55. 


RACKMIL 


520,000,000  films-to-television  deal  between 
the  two  companies.  As  outlined  by  the  two 
executives  the  agreement  calls  for  Universal 
to  turn  over  to  the  Columbia  subsidiary 
some  600  pre- 1948  motion  pictures  for  do- 
mestic television  on  an  exclusive  basis.  All 
rights,  other  than  TV  distribution,  will  be 
retained  by  Universal.  In  return,  Screen 
Gems  will  provide  Universal  with  a  mini- 
mum guarantee  of  S20,000,000.  The  deal 
leaves  Paramount  as  the  one  holdout  in  the 
films-to-television  derby.  It  is  expected 
that  Paramount  will  eventually  distribute 
its  films  through  its  International  Tele- 
meter subsidiary  for  use  on  toll-television. 

0 

HAROLD  HECHT,  president  of  Hecht- 
Hill-Lancaster,  announced  that  the  inde- 
pendent production  company  had  terminated 
the  contract  of  vice  president  David  Gold- 
ing  and  his  two  assistants  in  the  advertising 
department.  Only  last  October,  Golding's 
contract  was  extended.  No  reason  was 
given  for  the  department's  closing. 

0 

ELMER  C.  RHODEN  announced  that  earn- 
ings of  National  Theatres  for  the  39  weeks 
ended  June  25  were  approximately  the  same 
as  last  year's.  1957  net  income  amounted 
to  SI, 365,820  (51c  per  share)  as  compared 
to  $1,378,974  (51c  per  share)  in  1956.  The 
NT  president  pointed  out  that  while  gross 
income  was  up  and  general  expenses  had 
been  held  in  line,  film  rentals  were  more 
costly.  Higher  film  costs  were  attributed  to 
a  shortage  of  motion  pictures. 

0 

SAMUEL  GOLDWYN'S  antitrust  suit  is 
taking  up  so  much  time  that  U.  S.  Judge 
Edward  P.  Murphy  has  threatened  opposing 
attorneys  with  the  possibility  of  night  ses- 
sions. Taking  the  stand  at  a  recent  session 
was  Mary  Pickford  as  a  character  witness 
for  Goldwyn.  Said  Miss  Pickford:  "(he  is) 
one  of  the  finest  producers — a  man  of  great 
courage  and  vision  who  realizes  the  im- 
portance of  literary  material"  for  his  pro- 
ductions. In  between  plugs  for  the  noted 
producer,  the  former  glamour  girl  gave  a 
blow-by-blow  description  of  her  days  in  the 
movie  business.  Scheduled  to  take  the  wit- 
ness stand  in  the  near  future:  National 
Theatres  president  Elmer  C.  Rhoden. 


Page  18       Film  BULLETIN    August  19,  1957 


THEY 

MADE  THE  NEWS 

ALEX  HARRISON,  20th  Century-Fox  gen- 
eral sales  manager  announced  that  the  film 
company  w  ill  open  "Will  Success  Spoil 
Rock  Hunter"  on  September  1 1  in  more 
than  120  theatres  in  the  New  York  City 
metropolitan  area.  Harrison  stated  that  the 
distribution  experiment  was  prompted  by 
the  successful  city-wide  opening  of  "Ber- 
nardine".  Said  the  20th-Fox  executive:  "In 
view  of  the  population  shift  from  the  city 
to  suburban  areas  during  the  past  several 
years,  we  are  interested  in  making  our  pic- 
tures available  to  them  (the  public)  in  this 
manner".  He  also  revealed  that  20th  is 
considering  releasing  a  number  of  other 
major  CinemaScope  attractions  in  this  man- 
ner, thus  bypassing  the  first-run  Broadway 
houses.  In  another  move,  Harrison  disclosed 
that  20th-Fox  will  survey  the  drive-in  the- 
atre situation  in  the  Chicago  area.  "With 
drive-ins  becoming  so  important  to  business 
today  we  want  to  find  out  how  they  are 
being  sold  and  how  our  product  is  moving 
to  them,"  he  stated.  Checking  the  Windy 
City  area  will  be  Bob  Conn,  assistant  man- 
ager of  the  exchange  there. 

0 

LINDSLEY  PARSONS,  producer  of  "Port- 
land Expose",  being  released  through  Allied 
Artists,  called  upon  Senator  John  McClel- 
lan's  investigating  committee  to  look  into 
"the  circumstances  surrounding  the  simul- 
taneous and  sudden  cancellation"  of  his 
film  in  the  Pacific  Northwest.  Parsons 
charged  that  a  pressure  group  or  "powerful, 
interested  individuals  exerted  influence  on 
theatremen  to  cancel  some  20  bookings  of 
"Portland  Expose",  including  the  world 
premiere  in  Portland,  Oregon. 

0 

PARAMOUNT  reported  its  earnings  for 
the  second  quarter  of  1957.  The  figures: 
Sl,060,00()  (53c  per  share)  versus  $950,000 
(45c  per  share)   in   1956.    Estimated  earn- 


HARRISON 


ings  for  the  first  six  months  of  195'': 
$2,359,000  (SI.  18  per  share)  as  compared 
to  1956's  S2.322.000  (Si. 12  per  share).  A 
quarterly  dividend  of  50c  per  common  share 
of  stock  was  declared. 

0 

ARTHUR  B.  KRIM,  president  of  United 
Artists,  and  vice  presidents  Max  Young- 
stein  and  Arnold  Picker  are  meeting  with 
company  executives  and  producers  in  Eu- 
rope. The  three  executives  will  confer  on 
product,  sales  and  promotion  plans  for  a 
quintet  of  important  features,  now  in  vary- 
ing stages  of  work.  Included  in  the  group: 
"Legend  of  the  Lost",  "Paris  Holiday", 
"Paths  of  Glory",  "The  Quiet  American" 
and  "The  Vikings". 

0 

ROBERT  A.  WILE  has  resigned  as  execu- 
tive secretary  of  ITO  of  Ohio.  After  nearly 
six  years  as  an  official  of  the  largest  ex- 
hibitor organization  in  National  Allied,  he 
is  joining  Levin  Brothers  of  Dayton,  Ohio. 
Although  his  new  employer  operates  five 
drive-ins  in  Ohio,  Wile's  duties  will  be  out- 
side of  the  motion  picture  industry.  A  suc- 
cessor to  Wile  is  expected  to  be  chosen  at 
the  board  of  directors  meeting  of  ITO  of 
Ohio  in  Columbus  on  August  27. 


HEADLINERS... 


WILLIAM  GOETZ,  GEORG1  fCERA 
SOTES  and  BIN  MARCUS  have  accepted 
invitations  to  serve  on  the  Production  Code 
appeals  board  .  .  .  Producer  WILLIAM 
PERLBERG  will  represent  the  motion  pic- 
ture industry  and  the  U.  S.  State  Depart- 
ment at  the  Venice  Film  Festival,  to  be 
held  later  this  month  .  .  .  JACK  BLUMEN- 
FELD  and  his  brothers,  operators  of  a  31- 
house  circuit  in  northern  California  have 
applied  for  toll-TV  franchises  in  a  number 
of  communities  including  Sacramento  .  .  . 
C.  V.  WHITNEY  announces  the  appoint- 
ment of  ARTHUR  L.  WILDE  ,.s  director 
of  public  relations  for  C.  V.  Whitney  Enter- 
prises, Inc.  He  was  formerly  associated 
with  Blowitz-Maskel  .  .  .  LEE  FERRERO 
and  BOB  BOEHNEL  have  been  named  to 
head  a  special  promotion  unit  for  Warners' 
"Sayonara"  .  .  .  DAN  FRIENDLY  has  re- 
signed from  RKO  Theatres  according  to  an 
announcement  bv  vice  president  WILLIAM 
K.  HOW  ARD  .  .  .  MORE Y  R.  GOLD- 
STEIN, Allied  Artists  vice  president,  re- 
cently presided  at  a  series  of  three  regional 
sales  conferences  ...  51  theatres  have  al- 
ready been  cleared  for  the  Sugar  Ray  Rob- 
inson-Carmen Etasilio  closed  circuit  telecast, 
according  to  an  announcement  from 
NATHAN  HALPERN,  president  of  Theatre 
Network  Television,  Inc.  .  .  .  Foreign  pub- 
licity manager  SAMUEL  COHEN  of  United 
Artists  is  marking  25  vears  on  the  job  .  .  . 
ATLAS  CORP.  '  is  disposing  of  400,000 
shares  of  WALT  DISNEY  PRODUCTIONS 
common  stock  in  a  nationwide  offering  late 
this  month  .  .  .  The  purchase  of  an  addi- 
tional 9,000  shares  of  National  Theatres 
common  has  boosted  GERALD  B.  CAN- 
TOR'S holdings  to  35,000  shares  .  .  . 
ARTHI  R  MAYER  and  BURT  BALABAN 
have  formed  a  production  team,  Princess 
Productions.  Their  first  release,  "High 
Hell  ",  will  be  via  Paramount  .  .  .  JOSEPH 
BELLFORT,  RKO  general  manager  for  con- 
tinental Europe  is  holding  meetings  in  this 
country  with  foreign  producers  in  an  effort 
to  complete  production  deals  initiated 
abroad  .  .  .  DINO  DE  LAURENTIIS,  Ital- 
ian producer,  will  set  up  an  American  base 
of  operations  in  October.  He  is  searching 
for  a  property  to  be  filmed  here  .  .  .  PAT 
McGEE  has  liquidated  his  theatre  interests 
to  enter  the  car  washing  field  .  .  .  New  date 
for  the  Bartlesville,  Okla.  closed  circuit 
toll-TV  debut  is  September  3,  according  to 
an  announcement  from  HENRY  S.  GRIF- 
FING,  president  of  Video  Independent  The- 
atres .  .  .  WALTER  READE,  JR.  will  be 
the  new  president  of  Continental  Distribut- 
ing replacing  FRANK  KASSLER.  CARL 
PEPPERCORN  will  continue  as  vice  presi- 
dent in  charge  of  sales  .  .  .  SPYROS  P. 
SKOURAS  announced  a  56-minute  version 
of  "The  Big  Show"  will  be  available  to  ex- 
hibitors shortly  .  .  .  Warner  Bros,  vice 
president  ROBERT  S.  TAPLINGER  off  to 
Europe  for  three  weeks  of  conferences  on 
advertising  and  publicity  plans  for  forth- 
coming releases  .  .  .  MORTON  WARMSER 
elected  a  new  v.  p.  at  Columbia  .  .  .  EDDIE 
JOSEPH,  president  of  the  Texas  Drive-In 
Theatre  Owners  Association  has  set  January 
19-20  for  the  group's  convention.  Baker 
Hotel  in  Dallas  .  .  .  MILTON  A.  GOR- 
DON, president  of  Television  Programs  of 
America  has  bought  out  the  interest  held 
in  the  company  by  EDWARD  SMALL  .  .  . 
This  vear  s  SMPTE  Herbert  T.  Kalmus  Gold 
Medal  Award  goes  to  WADSWORTH  E. 
POHL  of  Technicolor  Corp.  .  .  .  KEITH 
PACK  succeeds  BILL  GORDON  as  man- 
ager of  Warner  Bros.'  Salt  Lake  City  branch 
.  .  .  JOHN  HAY  WHITNEY,  U  S  Am- 
bassador to  Great  Britain,  will  present  the 
famed  Golden  Laurel  Award  in  honor  of 
DAVID  O.  SELZNICK  at  the  Edinburgh 
Film  Festival,  September  8  .  .  .  Rl'GOFF 
and  BECKER,  operators  of  New  York  City 
art  theatres,  have  opened  an  art  theatre  in 
a  Long  Island  shopping  center. 


Joseph  R.  Vogel  was  named  Pioneer  of  the  Year  by  the  Motion  Picture  Pioneers  at  a  brief 
ceremony  before  a  large  group  of  industry  leaders.  Bestowing  honor  on  the  Loin's  president 
was  Sed  E.  Depinet,  president  of  the  organization  composed  of  those  who  hate  served  the 
industry  for  25  years  or  more.  Formal  presentation  of  the  coveted  award  will  come  Novem- 
ber 25,  at  the  group's  annual  banquet  at  the  Waldorf-Astoria. 


Film  BULLETIN    August  19,  1957        Page  19 


AN  OPEN  LETTER  TO  MR.  EXHIBITOR 

Announcing  the  N.S.S.  Policy 
for  the  handling  of  MGM  Trailers!  ^ 


C   O   B  F 


c  o  R  r  ^v 

l600  BKU^        c.fcle  6.5700 


president 


Herman  Robbin* 


OHicc  of  *ne 
Chairman 
0{  tfc«  Board 


August  16,1957 


Branchesj 

Albany 
Atlanta 
Boston 
Buffalo 
Charlotte 
Chicago 
Cincinnati 
Cleveland 
Dallas 
Denver 
Des  Moines 
Detroit 
Indianapolis 
Kansas  City 
Los  Ans«l« 
Memphis 
Milwaukee 
Minneapolis 
New  Haven 
N«w  Orleans 
New  York 
Oklahoma  City 
Omaha 
Philadelphia 
Pittsburgh 
Portland 
St.  Louis 
Salt  Lake  City 
San  Francisco 
Seattle 
Waihington 

StudiQU 

Hollywood 

New  York 


DearM,exhmno,  ^  ^tfon  of 

-a  to  announce  our 
We  are  pi.—-  ^         ber  1, 1957.  «« 
M6M  trailers  on  Sep  ^  contract 

„ur  fulfillment  of  an  1957  at  not  2SS  E  J- 

We  P,ed9e  Tease  pr-r  to  September  1.19  in 
features  in  release  P  ^  of  any 

of  moreasedcosttoyo.. 

-m  or  labor  costs.  trailer  prices  o» 

vantage  of  ob  % 
single  source  of  suppy 


Sincerely  y~ 
/  /Chairman  of  tl 


MERCHANDISING     &     EXPLOITATION     DEPARTMENT  V 


JI*>L><>< 


^4 


^x^- 


^4  /iter  1  Vf  C€t  i  iiHit  inu> 


HOLD  THAT  YOUTH  TRADE! 


Probably  the  most  important  single  challenge 
to  the  ingenuity  of  any  theatre  manager  these 
days  is  to  build  up  and  maintain  the  steady 
patronage  of  the  young  people — not  just  be- 
cause, as  we  keep  on  telling  ourselves,  they  are 
the  patrons  of  tomorrow  but  because  they  are 
such  a  high  proportion  of  the  potential  cus- 
tomers of  today. 

During  the  summer  months  the  youngsters, 
with  so  much  idle  time  on  their  hands,  virtually 
fall  into  the  theatreman's  lap.  But  next  month 
they  head  back  to  school,  and  that  is  the  time 
when  showmanship  is  required  to  keep  the 
moviegoing  habit  of  the  young  element  alive. 

The  motion  picture  theatre  enjoys  a  number 
of  great  advantages  in  its  attempt  to  become  a 
regular  meeting  place  for  the  youth  of  the  com- 
munity. The  fact  that  it  shows  fine  motion  pic- 
tures is  one  of  these  advantages,  but  only  one. 
The  day  is  gone  when  a  theatre  could  rely  on 
its  screen  attractions  to  do  the  whole  job  in 
luring  the  young  customers. 

As  a  well-kept  auditorium,  w  ith  display  space 
and  promotional  facilities,  the  theatre  can  work 
out  all  kinds  of  attractions  to  catch  the  atten- 
tion of  the  youthful  population.  All  you  have 
to  know,  to  begin  with,  is  a  little  about  the 
calendar  and  a  good  bit  about  your  town.  And 
utilize  the  good  offices  of  the  local  school 
authorities  for  cooperation  on  every  show  that 
has  educational  elements. 

Organizations  of  young  people  exist  in  every 
community,  and  many  of  them  carry  on  pro- 
grams which  can  be  tied  in  quite  logically  and 
effectively  with  the  theatre.  For  example,  the 
Girl  Scouts  conduct  an  annual  cookie  sale  as  a 
fund  raising  activity.  In  your  community,  it 
may  well  be  that  a  cookie  contest  can  be  held, 
with  an  audience  group  judging  the  best 
cookies,  or  merely  buying  cookies  when  they  go 
to  the  theatre.  One  of  our  big  jobs  is  to  re- 
establish the  acquaintance  of  the  kids  with  the 
theatre. 

The  number  of  organizations  in  whose  pro- 
grams the  theatre  can  participate  with  mutual 
profit  is  very  high.  Just  remember  that  by  offer- 
ing to  honor  an  organization  on  a  special  night, 


for  example,  you  give  them  a  great  opportunity 
to  show  themselves  off.  You  might  wind  up  the 
little  league  baseball  season  with  a  special 
Saturday  morning  show  for  the  players,  or  a 
bargain  evening  father-and-son  performance. 

But  even  more  important  than  the  organiza- 
tions and  their  group  actions  are  the  individual 
young  cusotmers  themselves.  When  you  go  out 
of  your  way  to  dream  up  attractions  for  them 
— in  adition  to  the  screen  offering  of  the  day — 
you  are  winning  their  good  will  and  that  of 
their  families,  and  you  are  selling  tickets. 

( Continued  on  Page  22 ) 


U  l  Adopts  TV's  Quiz 
Technique  To  Plug  'Faces' 

Taking  a  leaf  from  TV's  successful  quizzing 
games,  Universal-International  conducted  a  qui/ 
promotion  of  its  own  designed  to  plug  both 
the  movie  andustry  and  its  "Man  of  a  Thou- 
sand Faces". 

Some  1,000  motion  picture  fans  turned  out 
at  New  York  City's  Palace  Theatre  to  answer 
100  multiple  choice  questions  about  movie  lore 
in  the  "Golden  Jubilee  Screen  Test".  To  the 
winner  went  the  title  of  "New  York  City's 
Number  One  Movie  Fan",  S100  and  a  pair  of 
tickets  to  "Faces".  Twenty-seven  other  prizes 
were  awarded  to  successful  contestants. 


Quiz  Contestants  Outside  Palace  Theatre 

The  questionnaire  will  be  made  available  to 
all  theatres  playing  the  film.  Idea  was  the 
brainchild  of  CJ-I  adman  Charles  Simonelli  and 
his  staff. 


Viewpoint 

Abbreviated  Pressbooks 

Columbia's  new  "Forward  Look"  press- 
book,  recently  unveiled,  is  a  questionable 
proposition.  In  some  respects,  streamlined 
campaign  manuals  are  to  be  commended — 
provide  the  streamlining  isn't  carried  too 
far.  The  question  is:  has  Columbia's?  If  a 
pressbook,  regardless  of  its  size,  falls  short 
of  its  purpose  as  a  vital  tool  for  the  exhibi- 
tor, it  fails  to  serve  its  basic  function. 

Certainly,  there  is  a  great  deal  to  be  said 
for  Columbia's  motivations  and  reasoning 
in  cutting  down  the  pressbook  to  a  six-page 
precis  of  the  campaign.  It  will  undoubtedly 
effect  an  economy  in  this  field  for  the  film 
company,  and  the  saving  can  be  channeled 
into  other  types  of  promotion.  A  main  ob- 
jective, as  Paul  N.  Lazarus,  Jr.,  Columbia 
vice  president  in  charge  of  promotion, 
frankly  puts  it,  is  to  eliminate  much  of  the 
"eyewash"  that  has  characterized  the  more 
voluminous  manuals.  The  abbreviated  press- 
book  devotes  less  space  to  the  big  display 
ads,  tosses  away  detailing  of  stunts  and  dis- 
plays, merely  listing  in  staccato  lines  each 
type  of  suggested  campaign.  It  has  even 
squeezed  out  picturing  the  posters  and  other 
accessories,  with  the  exception  of  the  24- 
sheet. 

We  wonder  whether,  in  applying  the  ax 
so  vigorously  to  the  pressbooks  of  old,  Co- 
lumbia hasn't  lopped  off  some  key  branches 
that  leave  the  trunk  a  little  too  bare  for 
even  just  adequate  selling. 

Take,  for  instance,  the  illustrations  of 
lithos.  Very  often,  the  showman  requires 
an  exact  visual  picture  of  the  3-sheet  or  6- 
sheet  to  tie  in  with  his  lobby  or  front  dis- 
play. Merely  referring  him  to  an  ad  which 
is  similar  is  insufficient  to  permit  him  to 
lay  out  the  display  in  advance,  may  even 
discourage  him  from  using  it.  Likewise,  il- 
lustrations of  stunts  are  more  apt  to  en- 
courage the  exhibitor's  use  of  them.  Or  a 
graphic  depiction  of  a  particularly  attractive 
(Continued  on  Page  22) 


[More  SHOWMEN  on  Page  22] 


Film  BULLETIN    August  19,  1957        Page  21 


7t/&at  t&e  S&auiwm  /tie  'Doiayt 


MPAA  Ad  Code  Brochure 
Provides  Solid  P.R.  Aid 

"To  keep  motion  picture  advertising  reason- 
ably acceptable  to  reasonable  people"  is  the 
capsuled  purpose  of  the  Motion  Picture  Asso- 
ciation's Advertising  Code  as  set  down  in  a 
crisp  brochure  entitled  "Self  Regulation  in 
Movie  Advertising". 

Designed  as  a  pocket  guidebook  to  the  work- 
ings of  the  industrys  Code  Administration,  its 
limitations  as  well  as  its  accomplishments,  the 
brochure  will  serve  to  clear  up  many  miscon- 
ceptions of  the  Code  currently  extant.  It  is 
available  in  quantity  to  exhibitors  on  request 
to  the  MPAA  Advertising  Code  Administration 
headquarters  in  New  York. 

Pointing  up  the  fact  that  the  movies'  sys- 
tem of  voluntary  self-regulation  was  the  first 
to  be  set  up  among  the  media  of  communica- 
tions and  has  served  as  a  guide  for  other  media 
systems,  the  brochure  outlines  its  operation  in 
the  New  York  and  Hollywood  offices.  It 
emphasizes  that  not  all  films  are  subject  to  the 
Code.  Foreign  films  and  those  not  carrying  the 
MPAA's  Seal  of  Approval  fall  into  latter  cate- 
gory. Nor  can  it  control  the  individual  thea- 
tres' preparation  or  revision  of  the  advertising 
prepared  by  the  producer.  Yet,  it  is  noted,  two 
"strictly  impartial"  studies  of  movie  advertis- 
ing indicate  that  few  films  are  sold  to  the  pub- 
lic in  an  objectionable  manner,  even  though 
these  studies  included  non-Code  pictures.  The 
studies  cited  were  those  of  the  Newspaper  Ad- 
vertising Executives'  Association,  representing 
most  of  the  nation's  daily  newspapers,  and  the 
Kefauver  Subcommittee  to  Investigate  Juvenile 
Delinquency. 

Advertising  today,  it  is  stressed,  "must  con- 
vince quickly  or  not  at  all,"  and  when  attempts 
to  be  especially  striking  and  effective  are  made, 
they  are  subject  to  human  frailties.  "It  would 
be  impossible  to  make  the  millions  of  ads,  pos- 
ters and  other  displays  which  appear  every 
year,  entirely  satisfactory  to  all  people  at  all 
times.  To  claim  this  would  be  to  suggest  that 
the  Code  is  perfect  and  that  its  administration 
achieves  perfection.  It  is,  of  course,  a  human 
document,  administered  by  very  human  beings, 
who  do  not  claim  infallibility." 


One  of  the  elaborate  window  displays  set  up 
throughout  New  York  to  plug  the  Roxy  run  of 
20rh-Fox's  "An  Affair  to  Remember".  Key  win- 
dows included  American  Export  Lines,  Empire 
State  Building  and  Stern  Brothers  dept.  store. 


Viewpoint 

Abbreviated  Pressbooks 

(Continued  from  Page  21) 
standee  may  save  time  and  effort  in  devising 
such  a  display.    All  these  are  key  compo- 
nents of  everyday,  every-picture  exploitation. 

doing  along  with  Mr.  Lazarus  that  the 
impressive  pressbook  is  no  longer  necessary 
to  sell  a  picture  to  the  exhibitor,  there  still 
remains  its  vital  function  of  stimulating  the 
exhibitor  to  an  adequate  campaign,  of  pro- 
viding an  enthusiasm  for  selling  to  the  pub- 
lic. In  these  querolous  times,  no  commodity 
is  more  precious  than  enthusiasm  and  a  too- 
skimpy  pressbook  is  no  incentive  to  enthus- 
siastic  selling. 


Looking  over  the  winning  campaign  for  best 
local  promotion  on  "The  King  and  Four  Queens" 
with  the  lovely  Jane  Russell  are  UA  boxofficers 
(from  left)  Joe  Gould,  Lige  Brien  and  ad-pub- 
licity chief  Roger  H.  Lewis. 


Contest  Nets  Kansas  Exhib 
'King'  Title,  $2500,  Coast  Trip 

A  fat  $2500  cash  prize — the  biggest  single 
cash  award  ever  offered  in  a  local  campaign 
contest — and  a  luxury  trip  to  Hollywood,  was 
the  reward  reaped  by  Willis  E.  Shaffer,  man- 
ager of  the  Fox  Theatre,  Hutchinson,  Kansas, 
for  his  winning  promotion  on  United  Artists' 
"The  King  and  Four  Queens". 

The  UA-sponsored  "King  of  Showmen"  com- 
petition, with  trade  paper  editors  acting  as 
final  judges,  was  based  on  a  review  of  cam- 
paign portfolios  submitted  by  theatremen 
throughout  the  country  who  played  the  film 
prior  to  June  1.  Seven  categories  were  in- 
volved: advertising,  exploitation,  promotion, 
publicity,  radio  &  TV,  retail  cooperation  and 
civic  activities. 

Neither  the  size  of  the  theatre  nor  the  cost 
of  the  campaign  was  considered  in  the  selec- 
tion. Shaffer's  ingenuity,  practicability  and 
efficiency  of  coverage  proved  to  be  the  deciding 
factor.  It  paid  off  to  the  tune  of  those  2500 
simoleons,  the  studio  tour,  meetings  with  UA 
stars  and  formal  presentation  of  the  "King  of 
Showmen"  award  in  Hollywood. 


The  shapely  limb,  covered  with  $250,000  in  dia- 
monds, made  a  lulu  of  a  window  display  for  a 
central  city  Philadelphia  jewelry  store  tieing  in 
with  M-G-M's  "Silk  Stockings"  at  the  Trans-Lux. 

HOLD  THAT  YOUTH  TRADE! 

(Continued  froni  Page  21) 

So  take  a  look  at  the  calendar.  It  is  full  of 
opportunities  for  you. 

Also,  young  people  have  a  great  urge  to  par- 
ticipate in  competitions.  Give  them  events  in 
which  they  can  participate  competitively  at  the 
theatre  and  they  will  surprise  you  with  their 
enthusiasm.   The  stunts  go  on  endlessly. 

One  thing  you  must  of  course  remember  is 
that  you  can't  forget  parents.  Whether  or  not 
you  create  great  parental  interest  in  moviegoing, 
you  can  be  sure  that  the  parents  will  be  inter- 
ested in  the  character  of  the  theatre  their  chil- 
dren patronize.  This  applies  to  the  seating,  the 
staffing,  the  behavior  of  the  audience  and  the 
content  of  the  pictures  on  the  screen. 

If  you  are  interested  in  building  and  main- 
taining young  patronage,  make  sure  your  thea- 
tre rates  it  and  that  the  people  of  your  com- 
munity know  it.  Get  the  adult  Scout  leaders  to 
attend  on  a  special  scout  night;  get  the  father 
and  mothers  to  come  on  special  bargain-ticket 
family  evenings,  so  that  they  can  see  for  them- 
selves the  calibre  of  your  establishment.  And, 
if  possible,  give  the  young  people  a  stake  in  the 
theatre.  Hire  your  ushers  and  concessions  at- 
tendants through  the  school  system  or  local 
young  people's  organization.  You  might  even 
be  able  to  work  out  a  system  whereby  a  local 
group  staffs  the  concessions  stand  for  you  on 
special  evenings  with  their  own  volunteers,  in 
return  for  a  percentage  rather  than  a  salary. 

Some  of  the  suggestions  made  in  this  article 
may  not  be  practical  for  a  particular  situation; 
some  may  involve  an  expense  you  don't  feel  is 
justified  in  your  case.  But  most  of  these  ideas 
involve  little  or  no  extra  cost  and  they  can  all 
be  made  to  pas  immediate  dividends  in  regular 
patronage. 

Speak  to  the  leaders  of  the  young  people  of 
your  community.  Ask  what  the  theatre  can  do 
for  them.  You  are  apt  to  be  surprised  by  some 
of  the  suggestions;  and  in  all  too  many  in- 
stances the  leaders  unfortunately  are  apt  to  be 
surprised  by  the  inquiry.  As  an  industry  we 
have  certainly  not  done  all  we  should  to  inte- 
grate our  theatres  into  the  way  of  life  of  our 
younger  citizens.  Therein  lies  our  great  oppor- 
tunity for  today  and  tomorrow. 


Page  22       Film  BULLETIN    August  I?,  1957 


TV&at  t&e  Sfaxwtw  /tie  'Dowyi 


Do-lt-Yourself  Promotion  Plan 
Offered  by  AB-PT's  Hyman 

I  Edward  L.  Hyman,  Paramount  Theatres  vice 
president,  has  come  up  with  a  promotional  idea 
that  merits  consideration  by  all  segments  of  the 
industry.  The  exhibition  executive  last  week 
proposed  to  every  major  distributor  that  a 
monthly  promotional  project,  like  20th's  "The 
Big  Show",  be  undertaken  by  each  distributor 
in  an  effort  to  stimulate  and  maintain  public 
interest  in  motion  pictures. 

"With  each  company  contributing  its  own  in- 
dividual effort,"  Hyman  declared,  "and  with 
the  exhibitors  making  their  theatres  available, 
we  can  call  this  a  'do-it-yourself  promotion,  so 
that  in  a  manner  similar  to  the  orderly  distri- 
bution of  quality  product  throughout  the  year, 
we  >.an  assign  a  month  to  each  distributor  and 
would  have  something  going  each  month  to 
focus  attention  upon  the  industry." 

Hyman  offered  these  six  points  as  a  guidepost 
in  setting  up  the  project:  1)  Each  film  company 
should  work  out  an  original  presentation  in  ac- 
cordance with  its  own  ideas  and  thoughts;  2) 
behind-the-scenes  footage  be  included  in  each 
presentation,  because  such  material  is  fascinat- 
ing to  the  average  moviegoer;  3)  special  public 
showings  can  be  arranged  for  invitational  audi- 
ences, with  all  exhibitors  making  their  theatres 
available;  4)  by  sponsoring  the  promotion  in 
cooperation  with  the  local  press,  disc  jockeys 
and  other  radio-TV  personalities,  each  showing 
should  draw  a  full  house,  with  teenagers  likely 
to  predominate;  5)  the  showing  should  be  at  a 
time  convenient  to  the  public;  6)  extra  enthusi- 
asm could  be  generated  by  the  appearance  of 
stars  and  starlets  to  meet  with  the  moviegoers 
personally. 

Take  A  Double  Crack 

At  Friday  the  13th  This  Year 

Showmanship-w  ise  managers  w  ill  get  a  double- 
crack  at  Friday  the  13th  this  year.  This  gim- 
mick date  arrives  twice  this  year,  in  September 
and  December,  presenting  wonderful  opportuni- 
ties for  horror  programs. 

Filmack*s  "Messenger",  house  organ  of  the 
Chicago  trailer  outfit,  has  a  batch  of  good  ideas 
for  grabbing-off  some  of  that  extra  business 
always  available  from  this  type  of  promotion. 

Some  suggested  sure-fire  business-getters: 
Anyone  who  brings  a  black  cat  to  the  theatre  is 
admitted  free.  If  a  person's  full  name  as  shown 
on  their  social  security  card  has  13  letters,  he 
is  admitted  free.  A  ticket  to  a  future  show  will 
be  found  in  every  13th  box  of  popcorn  sold. 

Some  Filmack  punchlines:  "Bring  a  friend, 
because  you'll  be  afraid  to  go  home  alone"  .  .  . 
"More  horrifying  than  a  night  in  a  haunted 
house"  .  .  .  "More  petrifying  than  finding  a 
spook  in  your  bed"  .  .  .  "Designed  to  make 
your  knees  knock,  your  blood  curdle  and  your 
hair  stand  on  end"  .  .  .  "Your  blood  will  freeze, 
you'll  gasp  for  breath,  your  head  will  jump  and 
your  feet  will  grow  cold." 


ROBERT  S.  FERGUSON 


Ferguson  Takes  Over  As  Head 
Of  Columbia  Advtg.-Publicity 

A  17-year  veteran  of  the  Columbia  promo- 
tional department,  Robert  S.  Ferguson,  was 
named  director  of  advertising,  publicity  and  ex- 
ploitation, following  the  resignation  of  Howard 
R.  LeSieur  from  that  post. 

Ferguson's  appointment  by  vice  president 
Paul  N.  Lazarus,  Jr.,  marked  the  high  point  of 
a  steady  rise  from  the  press  book  department, 
where  he  started  as  an  advertising  copywriter  in 
1940,  then  to  press  book  manager  in  1946,  and 
assistant  to  the  ad-publicity  director  in  1950. 
Prior  to  his  association  with  Columbia,  Fergu- 
son served  in  the  advertising  promotion  depart- 
ment of  the  Scripps-How  ard  newspapers,  entered 
the  industry  in  1938  with  Warner  Bros. 

LeSieur's  sudden  resignation  followed  a  six- 
year  tenure  in  the  ad-publicity  directorship.  His 
contract,  which  was  to  run  to  December  of  this 
year,  w  as  settled  "amicably  ",  LeSieur  said. 

LeSieur's  future  plans  have  not  been  an- 
nounced as  of  this  date. 


Tie-Ups  Galore  Set  for 
Warner  Bros.'  'Pajama  Game' 

Warner  Bros,  has  set  so  many  tie-up  cam- 
paigns for  "The  Pajama  dame''  that  showmen 
may  have  a  hard  time  deciding  which  of  them 
to  take  advantage  of.  The  comprehensive  mer- 
chandising program  to  drumbeat  the  merits  of 
the  WarnerColor  musical  and  the  products  of 
ten  national  advertisers  are  varied  enough  to 
suit  the  tastes  of  all  theatrcmen — and  patrons. 

Weldon  Pajamas  are  going  all-out  to  sell  the 
Doris  Day  starrer.  To  beef  up  the  bally  drive, 
Weldon  is  taking  display  spate  in  seven  nation- 
al magazines,  in  addition  to  providing  ads  for 
placement  by  dealers  on  a  local  level.  The 
pajama  manufacturer  has  also  designed  a  spe- 
cial "Doris  Day  Pajama",  and  is  circulating  a 
special  pajama  box  carrying  copy  plugging  the 
film.  They  are  distributing  WB  one-sheets  to  all 
their  retailers  for  use  as  display  cards,  are  send- 
ing p.  j.'s  to  radio,  TV  and  newspaper  opinion- 
makers  throughout  the  country  and  have  pre- 
pared a  12-page  brochure  outlining  all  details 
of  the  co-op  in  which  store  and  theatre  can  co- 
operate for  maximum  penetration. 

Hollywood  Bread  will  spotlight  the  film  via 
ads  in  over  1,100  newspapers  on  a  national 
scale.   Ads  will  be  timed  to  local  openings. 

Every  Hot  Point  television  dealer  in  the  U.S. 
will  receive  a  giant-size  blow-up  of  a  double- 
truck  full-color  ad,  to  be  run  in  the  September 
16  issue  of  Life  Magazine. 

Over  6,000  platter  spinners  will  be  serviced 
with  a  copy  of  the  Columbia  LP  sound  track 
album.  The  record  concern  has  also  prepared 
fifty-inch,  four-color  window  standee  of  Miss 
Day  to  be  used  by  all  dealers. 

Movie  Ads  in  Boston 

What  do  exhibitors  use  for  their  primary  ad- 
vertising medium  when  newspapers  are  not 
available  ? 

In  Boston,  where  six  dailies  are  shuttered  be- 
cause of  labor  difficulties,  theatremen  are  turn- 
ing to  radio  and  television  to  fill  the  gap.  First 
circuit  to  hit  the  airwaves  —  and  paving  pre- 
mium prices  for  time  —  was  the  Sack  Circuit. 
Other  exhibitors  immediately  jumped  into  the 
swim,  with  the  result  that  most  of  the  first  runs 
are  spending  their  full  ad  monies  on  radio  with 
only  a  smattering  going  to  television,  primarily 
because  of  prohibitive  time  rates. 


There  were  some  weird  sights  and  sounds  at  the  New  York  Paramount  Theatre's  "Screamiere"  of 
WB's  "The  Curse  of  Frankenstein",  which  opened  at  the  stroke  of  midnight  and  continued  in  a 
"Horrorthon"  throughout  the  night.  Flanking  the  headless  Frankenstein  monster  in  lobby  are  Para- 
mount managing  director  Robert  K.  Shapiro  and  Julie  Newmar  of  the  "Lil  Abner"  stage  cast.  At 
right,  members  of  the  "Theatre  Macabre"  arrived  at  the  theatre  in  a  hearse  for  this  lobby  shot. 


Film  BULLETIN    August  19,  1957        Page  23 


EXPLOITATION  PICTURE 


MANSFIELD  - 
Monument  tD  Sex! 

Just  about  two  and  a  half  years 
ago,  members  of  the  nation's  press, 
assembled  at  Silver  Springs,  Fla., 
for  the  premiere  of  "Underwater", 
went  goggle-eyed  at  the  appearance 
of  a  blonde  in  a  red  bikini.  "Who 
is  she?"  buzzed  like  a  busy  signal 
among  the  normally  blase  press 
gentlemen.  "She  makes  Jane  Rus- 
sell look  like  a  boy"  was  the  gag — 
among  others — that  raced  quickly 
among  the  journalistic  200.  And 
that  was  the  beginning  of  the  rise 
of  Jayne  Mansfield  as  America's 
newest  monument  to  sex.  Having 
stolen  the  thunder  from  Russell  at 
the  "Underwater"  debut,  Mansfield 
soon  challenged  Monroe  as  the 
country's  cover  girl  and  principal  of 
the  risque  gag.  The  voluptuous 
curves  and  colossal  cleavage  graced 
the  covers  of  both  slick  and  mass 
magazines,  splashed  through  news- 
papers for  every  and  no  reason — 
except  that  Jayne  made  'em  look. 
That,  friend  showman,  is  your  dis- 
play piece  de  resistance. 


The  Sexcess  of  "Rock  Hunter" 


There  are  two  big  reasons  why  the  showman 
will  chortle  with  the  possibilities  for  exploi- 
tation in  "Will  Success  Spoil  Rock  Hunter?" 
Without  waiting  for  the  inevitable  innuendo, 
the  other  one  is  the  fame  of  the  Broadway  hit 
play  that  skyrocketed  the  mightily  endowed 
Jayne  Mansfield  to  the  attention  of  the  nation's 
entertainment  seekers. 

The  prime  factor,  of  course,  is  the  Mansfield 
glamor  and  the  multitude  of  uses  to  which  it 
can  be  put.  Now  considered  by  many  as 
America's  No.  1  sexpot,  Jayne's  portrayal  of  a 
luscious  Hollywood  movie  queen  a  la  Monroe 
for  the  Broadway  production  made  it  inevit- 
able that  she  be  starred  in  the  movie  version 
of  the  George  Axelrod  play.  So  instantenous 
was  her  success  in  the  play  that  20th-Fox  ex- 
ecutive producer  Buddy  Adler  immediately 
bought  the  rights  to  the  play  and  signed  Miss 
Mansfield  to  a  long  term  pact  to  assure  her  ap- 
pearance in  the  film.  It  wasn't  too  much  of  a 
gamble  as  subsequent  developments  proved. 
Mansfield,  tabbed  as  "sex  on  the  rocks"  by 
Time  Magazine,  shot  into  the  public's  eye  in 
every  shape  and  form  —  mostly  well-exposed 
photos  emphasizing  the  blonde's  imposing  phy- 
sical assets.  Running  through  two  preliminary 
films  ("The  Girl  Can't  Help  It"  and  "The 
Wayward  Bus")  to  season  her  cinematically, 
Jayne  stepped  back  into  the  role  she  created 
(and  vice  versa)  in  "Will  Success  Spoil  Rock 
Hunter?".  This  ham  'n  egg  combination  is  an 
important  selling  factor  in  the  campaign. 

The  Mansfield  display  potential  is  another 
key  exploitangle.  Display  pieces  built  from 
eye-popping  stills  of  the  shapely  blonde,  such 
as  the  one  at  left,  are  guaranteed  to  attract 
attention  and  stimulate  the  want-to-see.  For 
the  marquee,  a  horizontal  Mansfield  pose  is 
available  (illustrated  in  the  press  book)  that  is 
guaranteed  to  yank  in  any  male  who  has 
learned  the  difference  between  boy  and  girl. 
Several  others  are  ready  and  waiting  for  the 
exhibitor's  choice  of  blowup. 

The  eagerness  with  which  newspaper  editors 
have  grabbed  up  photos  of  the  Mansfield 
charms  creates  an  open  door  for  all  kinds  of 
feature  space  to  bally  the  picture.  Special  one- 
column  mats  of  the  gal  in  various  scenes  are 
tailored  to  special  promotions  and  stunts.  The 
befurred  Jayne  at  left,  for  instance,  can  be  the 


basis  for  a  novel  contest  based  around  a  Fall 
Fur  Fashion  Show  and  beauty  competition.  A 
local  furrier  can  be  contacted  to  supply  a  series 
of  fur  coats  to  five  finalists  in  the  bathing 
beauty  contest  to  parade  on  stage  in  bathing 
suit  and  fur  coat.  This  is  good  for  newspaper 
space  as  well  as  a  full  house. 

Another  mat  has  Jayne  in  a  low-cut  evening 
gown,  with  a  French  poodle  who  has  a  key 
part  in  the  picture.  (The  dog's  color  is  changed 
to  match  the  clothes  worn  by  the  star  in  the 
film.)  Using  this  as  a  basis  for  a  street  bally, 
a  tall,  attractive  blonde  and  poodle  dyed  to 
match  the  girl's  gown  will  swivel  heads  on  any 
avenue.  An  ordinary  water  color,  easily  washed 
away,  will  do  the  trick  with  the  poodle. 

Miss  Mansfield,  herself,  has  added  an  exploi- 
tation kick  to  the  campaign  with  a  p.a.  cam- 
paign currently  garnering  reams  of  newspaper 
space  wherever  she  appears.  This,  in  addition 
to  her  avowed — and  well-demonstrated — desire 
to  be  on  hand  for  all  sorts  of  special  events, 
makes  the  star  one  of  the  most  potent  mobile 
plugs  for  the  film. 

If  the  emphasis  has  been  on  Jayne  Mansfield 
up  to  this  point,  it  is  because  the  gal  is  90% 
of  the  exploitation  potential  of  "Success". 
However,  the  hit  play  is  an  integral  part  of  the 
campaign,  and  should  be  capitalized  to  the  full- 
est. A  rollicking  comedy  satirizing  the  tele- 
vision industry  and  its  Madison  Avenue  links, 
it  concentrates  on  the  sight  and  situation  gag 
to  tell  its  tale  of  a  young  TV  commercials 
writer  who  gains  a  reputation  as  the  nation's 
most  attractive  man  when  he  attempts  to  get 
the  glamorous  star's  endorsement  for  a  lipstick 
in  return  for  making  her  Tarzan-like  boy  friend 
jealous.  The  subsequent  complications,  origi- 
nated by  the  clever  George  Axelrod  and 
adapted  for  the  screen  by  producer-director 
Frank  Tashlin,  are  of  the  type  more  effectively 
seen  than  told. 

An  extra  asset  is  the  co-starring  of  Tony 
Randall  as  the  writer.  Having  scored  in  major 
roles  on  the  stage  and  in  his  first  screen  ap- 
pearance in  "Oh  Men,  Oh  Women",  Randall's 
comic  talents  have  been  touted  as  Hollywood's 
greatest  since  the  discovery  of  Danny  Kaye  and 
Jerry  Lewis.  Play  up  this  young  man  for  a 
special  exploitation  plus. 


The  Mansfield  allure  is  evident  in  the  three  scene  stills  shown  above  with  co-star  Tony 
Randall.  Whether  seated,  standing  or  kneeling,  Jayne  leaves  no  doubt  as  to  her 
supremacy  in  the  measurements  department  of  the  Hollywood  female  hierarchy. 


Page  24       Film  BULLETIN    August  19,  1957 


EXPLOITATION 
PICTURE 


of  the  issue 


Broadways 
h0wun6"success" 
is  onTheScreen... 

AND  IT'S  THE 
BI6  FUN  SHOW 
OF  THE  YEAR! 

2a 

JAYNEMMSFIELD 

Will  Success 
Spoil  , 
RockHunter 


Success!  J 


A  key  theme,  tied  in  with  the  piquant  title,  dis- 
tinguishes the  advertising  assortment  whipped  up 
20th-Fox  boxofficers.  The  famous  masseuse 
iciie,  with  Mansfield  wrapped  in  a  sheet  forms 
the  primary  illustration,  socks  across  the  eye- 
appeal;  a  small  arrow  pointing  to  "Mansfield  as 
"This  is  Success!"  and  a  tie-in  arrow  pointing  to 
Randall  as  "Rock  Hunter"  are  coordinated  to  the 
title  with  asterisks— making  the  title  even  more 


of  an  inviting  puzzle  than  it  was  ongina 
the  similar  approach 
display  piece  above. 


Note 


both  the  teaser  and  in  the 


Film  BULLETIN    August  19,  1957        Page  25 


VALUE  LINE  ANALYSIS 


( Continued  from  Ptige  15) 

Against  this  background.  Twentieth's  average 
annual  revenues  in  the  hypothesized  1960-62 
economy  are  projected  to  $160  million.  Assum- 
ing a  644,000  share  reduction  in  the  common 
capitalization,  we  project  earnings  to  an  aver- 
age of  $5.70  a  share  and   dividends  to  $3. 


Capitalized  at  S.S  times  earnings  to  yield  6%, 
in  accordance  with  past  norms  adjusted  to 
trend,  such  results  would  command  an  average 
price  of  50. 

ADVICE:  Twentieth  Century-Fox  is  currently 
classified  in  Group  II  (Underpriced).  Allow- 
ing for  payment  of  a  year-end  extra  dividend, 


the  estimated  yield  for  the  next  12  months 
calculated  at  6.7%  to  7.4%,  well  above 
average  return  afforded  by  all  dividend-payi; 
stocks  under  review.  To  the  years  1960-<! 
this  issue  offers  a  striking  appreciation  pot 
tiality  of  85%,  compared  to  a  gain  of 
23%  projected  for  the  general  market. 


WARNER  BROS. 


BUSINESS:  Warner  Bros.  Picture  produces  both  class 
A  and  class  B  films  distributed  throuqh  film  exchanges 
located  in  principal  cities  throughout  the  world. 
Through  subsidiaries,  operates  a  music  publishing  busi- 
ness and  holds  a  37'/2%  interest  in  a  major  British 
theatre  chain.  About  40%  of  revenues  derived  in  for- 
eign markets.  Payroll  absorbs  about  65%  of  revenues. 
Directors  control  about  500,000  shares  of  common 
stock,  27%  of  total  outstanding.  Company  employs 
about  4,000;  has  15  600  stockholders.  President:  Jack 
L.  Warner,  Exec.  V.  P.,  Benjamin  Kalmenson.  Inc.: 
Delaware.  Address:  321  West  44th  Street,  New  York 
36,   N2w  York.  Stock  traded:  NYSE. 

REFORT:  That  the  success  or  failure  of  one  pic- 
ture a'one  can  alter  significantly  a  movie  pro- 
ducer's earnings  has  again  been  demonstrated 
by  Warner  Bros.  Distracted  by  a  managerial 
reorganization,  the  company  suspended  its  pro- 
duction activities  last  year  for  several  months. 
The  sharp  curtailment  in  output  left  Warner 
Bros,  only  a  limited  number  of  features  to 
release  around  the  turn  of  the  year.  The  re- 
sultant expansion  in  unit  overhead  expenses 
\\;>uld  normally  have  caused  a  serious  contrac- 
tion in  profits.  But  thanks  to  the  box-office 
success  of  "Giant",  net  income  in  the  first  half 
of  the  current  fiscal  year  (ending  Aug.  31st) 
actually  showed  a  substantial  vear-to-vear  in- 


Xevertheless,  last  year's  reduced  output  has 
finally  caught  up  with  the  company.  Reflecting 


somewhat  lower  film  rentals,  net  profits  in  the 
third  fiscal  quarter  dropped  to  only  30c  a  share 
from  5Cc  in  the  preceding  period.  But  since 
output  from  the  company's  studios  has  again 
picked  up,  indications  are  that  earnings  will 
resume  a  healthy  uptrend  beginning  in  the 
final  fiscal  quarter  and  extending  well  into 
fiscal  1958. 

Warner  Bros,  recently  announced  that  it  was 
"looking  forward"  to  a  S15  million  production 
schedule  of  now  entertainment  and  commercial 
films  for  television  during  the  coming  year.  It 
has  also  made  plans  to  spend  $1  million  to 
remodel  3  motion  picture  sound  stages  for  tele- 
vision film  use  and  to  erect  a  new  building 
especially  designed  for  TV  requirements.  Most 
of  the  $15  million  in  production  work  will  be 
devoted  to  special  film  series  to  be  telecast  by 
the  ABC-TV  network.  Meanwhile,  the  studio 
is  also  producing  several  special  "science  ser- 
ies" for  the  Bell  Telephone  Co.  Over  a  period 
of  time,  Warner  Bros,  will  probably  develop 
into  a  major  supplier  of  new  film  products  for 
the  television  industry. 

Since  the  new  management  took  office  about 
a  year  ago,  it  has  been  following  a  policy  of 


disposing  of  a  portion  of  the  company's  un-i' 
productive  properties  and  reacquiring  the  com-j^ 
pany's  own  common  shares.  Assuming  that  ii(fac 
will  continue  this  policy,  we  project  Warneif' 
Bros.'  average  annual  revenues  in  the  hypothe-^11 
sized  1960-62  economy  to  $92  million,  earnings*!' 
to  $4  a  share  (on  an  estimated  1.5  million)!1 
shares  outstanding),  and  dividends  to  $2.50.f 
Such  dividends,  capitalized  on  a  yield  basis  oip 
6.3%  to  accord  with  past  norms  adjusted  tot1' 
trend,  would  command  an  average  price  of  40m 
(10  times  earnings). 

ADVICE:  Although  the  price  history  of  WarnerJ 
Bros,  is  too  short  to  permit  deviation  of  a 
Rating  through  multiple  correlation  analysis,! 
the  stock  is  currently  classified  in  Group  III) 
(Fairly  Priced).  The  issue  provides  an  esti-1 
mated  current  yield  of  5.7%  to  6.5%,  compared 
to  the  average  5.1%  return  offered  by  all  divi- 
dend-paying stocks  under  survey.  To  the  years, 
1960-62,  it  possesses  a  better  than  average  ap-j 
preciation  potentiality  of  75%,  as  against  only 
28%  projected  for  the  general  market.  While 
not  suitable  for  investment-grade  portfolios, 
Warner  Bros,  seems  to  be  a  worthwhile  hold- 
ing in  speculative  accounts. 


BUSINESS:  ABC-Paramount  owns  and  operates  largest 
motion  picture  theatre  chain  in  U.S.  (about  550  the- 
atres, principally  in  Midwest,  South  and  Atlantic  sea- 
board) and  third  largest  radio  and  TV  network  (net- 
work owns  and  operates  5  TV  stations:  has  over  200 
affiliated  stationsl.  Labor  costs  absorb  about  60% 
of  revenues.  Dividends  have  averaged  about  75%  of 
operating  earnings  in  the  last  6  years.  Directors  own 
or  control  about  9%  of  total  common  shares.  Employs 
20.000,  has  24,700  common  stockholders.  Pres.:  L  H. 
Goldenson,  V.P.'s:  H.  B.  Laiarus,  E.  L.  Hyman,  S.  M 
Markley,  R.  H.  O'Brien,  R.  H.  Hinckley,  Inc.:  N.  Y. 
Add:    1501    Broadway,    New    York    36,    N.  Y. 

Stock  traded:  NYSE. 

REPORT:  Up  until  the  middle  of  last  year, 
American  Broadcasting  Co. — the  broadcasting 
arm  of  ABC-Paramount  —  had  taken  great 
strides  in  narrowing  the  wide  gap  that  once 
existed  between  ABC  and  the  other  two  major 
networks.  Month  after  month,  its  gross  tele- 
vision billings  persistently  showed  year-to-year 
gains  much  w  ider  than  those  of  NBC  and  CBS. 
During  the  first  half  of  this  decade,  broad- 
casting  revenues  advanced  more  than  100%. 

Beginning  in  the  third  quarter  of  1956,  how- 
ever, ABC's  earnings  began  to  falter.  Reason: 
television  network  sales  of  programming  for 
the  1956-57  broadcast  season  fell  far  short  of 
management  expectations.  Although  theater 
business  was  generally  favorable,  ABC-Para- 
mount's  net  operating  income  (excluding  cap- 


ABC-PARAMOUNT 

ital  gains)  in  the  first  half  this  year  amounted 
to  only  6lc  a  share,  or  37%  below  the  year- 
earlier  level. 

Indications  are  that  the  company's  fortunes 
may  have  reached  their  ebb  in  the  second  quar- 
ter this  year.  In  recent  months,  the  ABC  Divi- 
sion has  been  concentrating  its  efforts  on  cre- 
ating and  selling  1957-53  season  programs. 
Popular  personalities  such  as  Frank  Sinatra 
and  Pat  Boone  have  been  added  to  its  parade 
of  live  TV  shows.  Concurrently,  to  strengthen 
its  competitive  position,  the  network  has  been 
widening  its  broadcast  territories  by  affiliating 
new  stations,  including  outlets  in  such  key 
markets  as  Miami,  Boston,  Omaha  and  Nor- 
folk. 

To  be  sure,  ABC  still  has  several  prime-time 
hours  yet  to  be  sold  to  advertisers.  The  degree 
of  success  in  selling  these  programs  may  well 
go  far  toward  determining  how  profitable  the 
1957-58  broadcast  season  will  turn  out  to  be. 
But  assuming  that  the  company  will  be  able 
to  find  sponsors  for  the  bulk  of  these  remain- 
ing shows,  we  foresee  a  trend  of  improving 
earnings  beginning  in  the  second  half  of  this 
year  and  extending  well  into  1958. 


Over  the  next  few  years,  ABC's  revenues  will 
probably  resume  a  healthy  growth  trend.  Con- 
currently, theatre  business  is  also  likely  to 
show  some  improvement.  Within  the  hypothe- 
sized 1960-62  economy,  we  project  ABC-Para- 
mount's  average  annual  revenues  to  $300  mil- 
lion, earnings  to  $3.50  a  share,  and  dividends 
to  $2.  Capitalized  on  a  5.7%  yield  basis  and 
at  an  earnings  multiple  of  10  times,  consistent 
w  ith  past  norms  adjusted  for  trend,  such  results 
would  command  an  average  price  of  35,  "5% 
above  the  current. 

ADVICE:  ABC-Paramount  is  currently  classified 
in  Group  III  (Fairly  Priced).  Even  if  the 
year-end  extra  payment  should  be  trimmed  from 
30c  to  20c  this  year,  the  stock  would  still  pro- 
vide a  return  in  excess  of  the  average  afforded 
by  all  dividend-paying  stocks  under  survey. 
To  the  years  1960-62,  this  issue  offers  a  strik- 
ing, though  speculative,  appreciation  potential- 
ity of  75%,  compared  to  the  average  28%  gain 
projected  for  all  stocks.  Risk  accounts  might 
therefore  find  this  B-  quality  stock  a  worth- 
while holding  for  generous  current  income  and 
extraordinary  capital   growth  prospects. 


Page  26       Film  BULLETIN    August  19,  1957 


ALUE  LINE  ANALYSIS 


SINESS:  National  Theatres  controls  335  operating 
atres  located  mainly  in  the  Pacific  coast,  Midwest, 
I  Rocky  Mountain  area.  Also  operates  Roiy  Theatre 
N.  Y.  The  chain  is  the  second  largest  in  the  U.  S. 
jor  costs,  40%  of  revenues.  Dividends  have  aver- 
ed  only  about  38%  of  earnings  during  the  1953-55 
•iod.    Directors  own  or  control  about  150.000  shares 

stock  15.5%  of  total  outstanding).  Employees: 
00;  stockholders:  14.000.  President:  E.  C.  Rhoden, 
e   Presidents:   F.   H.   Ricketson,   Jr..   J.   B.  Bertero 

F.  Zabel,  A.  May.  Incorporated:  Delaware.  Ad- 
>u:  1837  South  Vermont  Ave.,  Los  Angeles  54,  Calif. 

Stock  traded:  NYSE. 


PORT:  The  April-June  period  was  a  disap- 
tinting  one  for  National  Theatres.  Although 
«e  nation's  theatre  attendance  during  that 
[tarter  was  ahead  of  last  year,  the  gains  were 
[■ntributed  entirely  by  increased  admissions 
drive-ins.  The  4-wall  houses  operated  by 
ational  Theatres  actually  experienced  a  year- 
-year  decline  in  business.  Fortunately,  this 
>x  office  slump  was  a  short-lived  one.  Since 
e  beginning  of  July,  a  heavy  flow  of  better 
ovies  from  Hollywood  has  given  a  strong 
Dost  to  National  Theatres'  revenues.  Present 
idications  are  that  the  net  operating  earnings 
imparisons  will  turn  favorable  again  in  the 
months  ending  Sept.  30th  (the  final  quarter 
f  the  current  fiscal  year). 

A  few  weeks  ago,  Fox  West  Coast  Theatres 
an  important  subsidiary  of  National  Theatres) 
|nd  International  Telemeter,  Inc.  (an  affiliate 


NATIONAL  THEATRES 

of  Paramount  Pictures)  filed  a  joint  application 
for  a  franchise  from  the  City  of  Los  Angeles 
to  set  up  a  closed-circuit,  wired  subscription- 
TV  system.  This  marks  the  first  time  major 
Hollywood  interests  have  entered  the  subscrip- 
tion television  field.  If  the  application  is  ap- 
proved, the  two  companies  would  form  a  third 
enterprise  to  undertake  the  new  venture,  each 
having  a  50%  interest.  Although  it  may  take 
several  years  before  the  proposed  project  can 
be  implemented,  such  a  pioneering  decision 
represents  a  major  step  in  the  right  direction. 
It  assures  National  Theatres  a  strong  position 
in  the  entertainment  field,  even  should  toll-TV 
become  successful. 

Last  year,  National  Theatres  perficted  a  3- 
camera  wide-screen  motion  picture  system 
called  "Cinemiracle".  It  involves  the  filming 
of  pictures  by  means  of  a  single  unit  compris- 
ing 3  cameras  and  the  projection  of  the  film 
by  3  synchronized  projectors  from  a  single 
booth.  Production  of  the  first  feature  in  this 
process  has  now  reached  the  finishing  stage. 
The  picture  —  "Cinemiracle  Adventure"  —  is 
scheduled  for  release  this  Christmas.  If  only 
nearly  as  successful  as  those  filmed  in  other 
wide-screen  process,  such  as  Cinerama  and 
Todd-AO,   this  picture  could  contribute  very 


substantially  to  National's  earnings  in  the  years 
ahead. 

Within  the  hypothesized  1960-62  eionomv 
(described  on  page  63),  we  project  National 
Theatres'  average  annual  revenues  to  S80  mil- 
lion, earnings  to  Sl.~5  a  share  and  dividends 
to  85c.  Capitalized  at  8.6  times  earnings  to 
yield  5.7%,  consistent  with  past  norms  adjusted 
for  trend,  such  results  would  command  an  av- 
erage price  of  15. 

ADVICE:  Although  the  stock's  price  histor\  is 
too  short  to  permit  derivation  of  a  Value  Line 
Rating,  comparison  with  capitalization  norms 
for  stocks  in  the  motion  picture  group  indi- 
cates that  National  Theatres  should  currently 
be  classified  in  Group  II  (I  'nderpriced).  The 
company  is  likely  to  increase  its  quarterly  divi- 
dend rate  from  1 2 1  >c  a  share  to  15c  during 
the  next  fiscal  year,  thus  providing  a  yield  of 
as  much  as  7.1%  over  the  next  12  months,  far 
superior  to  the  average  return  afforded  by  all 
dividend-paying  stocks  under  review.  This  is- 
sue is  also  of  interest  for  its  extraordinary  3- 
to  5-year  appreciation  potentiality  of  76%, 
compared  to  the  average  28%  gain  projected 
for  all  stocks. 


STANLEY  WARNER 


USINESS:  Stanley  Warner  operates  about  240  theatres 
jcated  mainly  in  the  eastern  states.  In  1953  it  formed 
artnership  with  Cinerama  Productions  to  exploit 
:inerama  process.  Presently  operating  over  20  Cine- 
ama  theatres.  In  1954  acquired  International  Latex 
:orp.,  a  manufacturer  of  consumer  rubber  goods  un- 
er  "Playtex"  label.  Principal  manufacturing  plants 
re  in  Manchester  and  Newman,  Ga.  Arnprior  Can- 
da.  Port  Glasgow,  Scotland,  and  Puerto  Rico.  Has 
0.000  employees,  14,500  stockholders.  Directors  con- 
rol  about  14%  of  total  common  shares.  Pres.:  S.  H. 
abian;  Exec.  V.  P.,  S.  Rosen.  Inc.:  Delaware.  Ad- 
ress:    1585    Broadway,    N.    Y.     N.  Y 

Stock  traded:  NYSE. 

IEPORT:  Stanley  Warner's  report  for  its  third 
iscal  quarter  (the  13  weeks  ended  May  25th) 
lakes  good  reading.  Overall  revenues  and  net 
ncome  both  registered  wide  year-to-year  gains 
ven  though  April  and  May  were  two  rather 
isappointing  months  for  conventional  theatres 
i  general.  Apparently,  the  decline  in  theatre 
eceipts  was  more  than  offset  by  expanded  sales 
f  the  company's  International  Latex  Division. 
It  was  back  in  1954  that  Stanley  Warner 
eached  beyond  the  Hollywood  border  and  ac- 
uired  International  Latex  Corp.,  a  successful 
lanufacturer  of  consumer  goods  marketed  un- 
er  the  trade  name  of  "Playtex".  Recognizing 
le  tremendous  opportunities  offered  by  the 
libber  goods  business,  Stanley  Warner  has 
ince  been  devoting  much  of  its  efforts  and 


resources  to  cultivating  this  new  subsidiary. 
Diligently,  it  has  been  strengthening  Latex's 
sales  organization  and  augmenting  its  manu- 
facturing capacity.  During  the  last  few  years, 
for  example,  several  large,  modern  plants  were 
constructed,  and  beginning  in  August  1956,  an 
unprecedented  television  promotional  campaign, 
involving  several  million  dollars  over  a  5-year 
period,  was  launched. 

Meanwhile,  International  Latex  has  been  di- 
versifying its  product  line.  It  entered  the 
pharmaceutical  field  by  introducing  a  number 
of  antiseptic  items  trade-named  "Isodine".  In- 
tensive advertising  on  TV  has  enabled  these 
new  products,  as  well  as  the  entire  "Playtex" 
line,  to  enjoy  an  increasingly  warm  reception. 
It  now  appears  that  the  company  will  be  able 
to  attain  its  goal  of  doubling  the  sales  of  In- 
ternational Latex  within  a  few  years. 

While  International  Latex  is  gradually  as- 
suming the  senior  position  in  the  Stanley 
Warner  family,  the  company's  theatre  circuits 
continue  to  represent  an  important  source  of 
cash  inflow.  Accounting  for  the  greater  part 
of  Stanley  Warner's  fixed  assets,  the  theatre 
properties  generate  sizable  non-cash  deprecia- 


tion charges,  which  furnish  ample  funds  to 
finance  the  ambitious  expansion  program  of  the 
Latex  Division. 

Within  the  hypothesized  1960-62  economy, 
we  project  National  Theatres'  average  annual 
revenues  to  $80  million,  earnings  to  SI. 75  a 
share  and  dividends  to  85c.  Capitalized  at  8.6 
times  earnings  to  yield  5."%,  consistent  with 
past  norms  adjusted  for  trend,  such  results 
would  command  an  average  price  of  15. 
ADVICE:  Stanley  Warner  is  currently  classified 
in  Group  II  (L'nderpriced).  Allowing  for  the 
possibility  of  an  increase  in  the  quarterly  divi- 
dend rate  sometime  during  the  1958  fiscal  year 
(begins  Sept.  1st),  we  estimate  the  stock's 
yield  during  the  next  12  months  at  from  6.5% 
to  7.1%,  much  better  than  the  return  of  only 
5.1%  provided  by  all  dividend-paying  stocks 
on  average.  In  addition  to  the  generous  divi- 
dend return  in  prospect,  this  issue  also  offers  a 
superior  3-  to  5-year  capital  growth  prospect. 
To  the  years  1960-62,  it  possesses  a  striking 
appreciation  potentiality  of  100%.  Risk-taking 
accounts  might  thus  find  this  stock  an  interest- 
ing commitment  at  this  time. 


SHOWMEN.  .  . 
What  Are  YOU  Doing? 

Send  us  your  advertising,  publicity  and  exploitation 
campaigns  —  with  photos  —  for  inclusion  in  our 
EXPLOITATION  Cr  MERCHANDISING  DEPARTMENT 


Film  BULLETIN    August  19,  1957        Page  27 


THIS  IS  YOUR  PRODUCT 


All  The  Vital  Details  on  Current  Sd  Coming  Features 

(Date  of  Film  BULLETIN  Review  Appears  At  End  of  Synopsis) 


A  pril 

BADGE  OF  MARSHALL  BRENNAN  Jim  Davis,  Carl 
Smith,  Arleen  Whelan.  Producer-director  Albert  t,. 
Gannaway.  Western.  76  min. 

DRAGOON  WELLS  MASSACRE  Barry  Sullivan  Mona 
Freeman.  Dennis  OKeefe.  Produc.r  Lind.l.y  Parens 
Director  Harold  Schuster.  Western.  Apaches  attack 
stockade  in  small  western  town.  81  mm. 

May 

DESTINATION  60,000  Preston  Foster,  Coleen  Gray  Jeff 
Donnell.  A  Gross-Krasne  Production.  Director  G.  Wag- 
gner.  Drama.  Pilot  flys  new  jet,  with  revolutionary 
type  fuel,  for  first  time.    65  mm. 

LET'S  BE  HAPPY  CinemaScope,  Color.  Vera  Ellen,  Tony 
Martin,  Robert  Fleming.  Producer  Marcel  Hellman. 
Director  Henry  Levin.  Musical.  Small-town  girl  meets 
washing  machine  inventor  in  Paris.  105  mm. 
OKLAHOMAN.  THE  CinemaScope,  DeLuxe  Color  Joel 
McCrea  Barbara  Hale.  Producer  Walter  Mirsch.  Di- 
rector Fra..cis  Lyon.  Western.  Doctor  helps  rid  town 
of  unscrupulous  brothers.  81  min. 

PERSUADER,  THE  William  Talman,  Kristine  Miller, 
James  Craig.  Producer-director  Dick  Ross.  Western. 
Preacher  wins  rough  town  over  with  love — not  guns. 
72  min. 

June 

CALYPSO  JOE  Herb  Jeffries,  Angie  Dickenson.  Pro- 
ducer William  Broidy.  Director  Edward  Dein.  Musical. 
Former  sweetheart  wins  girl  away  from  South  Ameri- 
can millionaire.    76  min. 

HOT  ROD  RUMBLE  Leigh  Snowden,  Richard  Hartunian. 
Producer  Norman  Herman.  Director  Les  Martinson. 
Melodrama.  Story  of  a  drag  racer  and  his  fight  for 
acceptance.    79  min. 

SPOOK  CHASERS  Hunti  Hall,  Stanley  Clements.  Pro- 
ducer Ben  Schwalb.  Director  George  Blair.  Comedy. 
Bowery  boys  get  tangled  up  with  spooks  and  hoodlums. 
62  min. 

July 

DAUGHTER  Of  DR.  JEKYLL  John  Agar,  Gloria  Talbot, 
Arifiur  ShiekJs.  Producer  Jack  Pollexfen.  Director 
Edgar  Unger.    Horror.    71  min. 

CYCLOPS  James  Craig,  Tom  Drake.  Lon  Chaney, 
Gloria  Talbot.  A  B-H  Production.  Science-fiction.  A 
25-foot  giant  waylays  a  searching  party  looking  for  a 
missing  person.    75  min. 

DINO  Sal  Mineo,  Brian  Keith,  Susan  Kohner.  Producer 
Bernice  Block.  Director  Thomas  Carr.  Dramj.  Social 
case  worker  helps  young  criminal  reform.    96  minutes. 

DISEMBODIED.  THE  Paul  Burke,  Allison  Hayes,  Joel 
Marston.  Producer  Ben  Schwalb.  Director  Walter 
Graumann.  Horror.  Doctor's  wife  practices  voodoo  in 
in  African  iungle.  70  min. 

LOVE  IN  THE  AFTERNOON  Color.  Gary  Cooper, 
Audrey  Hepburn,  Maurice  Chevalier.  Producer-director 
Billy  Wilder.  Comedy.  An  American  playboy's  romantic 
adventures  in  Paris.    125  min. 

August 

FROM  HELL  IT  CAME  Tod  Andrews,  Tina  Carver.  Di- 
rector Jack  Milner.  Director  Dan  Milner.  Horror.  Mon- 
ster threatens  to  destroy  American  scientists.  75  min. 
PORTLAND  EXPOSE  Barry  Sullivan,  Edward  Binns. 
Producer  Lindsley  Parsons.  Director  Harold  Shuster. 
Melodrama.  Gangster  runs  wild  in  the  Pacific  North- 
west.   72  min. 


September 


DEATH  IN  SMALL  DOSES  Peter  Graves,  Mala  Powers, 
Chuck  Conners.  Producer  R.  Heermance.  Director  J. 
Newman.  Melodrama.  Investigator  cracks  ring  selling 
illegal  pills  to  truckers.    74  minutes. 

NAKED  IN  THE  SUN  Drama. 


October 


LOOKING  FOR  DANGER  Huntz  Hall.  Stanley  Clements. 
Producer-director  Richard  Heermance.  Melodrama. 
Ecwery  Eoys  booby-trap  holdup  man.    61  min. 

TALL  STRANGER,  THE  CinemaScope,  Color.  Joel  Mc- 
Crea Virginia  Mayo.  Producer  Walter  Mirisch.  Direc- 
tor Thomas  Carr.  Western.  Cowboy  helps  open  Colo- 
rado to  settlers. 


November 


HUNCHBACK  OF  NOTRE  DAME,  THE  CinemaScope, 
Color.  Gina  Lollobrigida ,  Anthony  <?uinn.  A  Paris 
Production.  Director  Jean  Delannoy.  Drama.  Hunch- 
back falls  in  love  with  beautiful  gypsy  girl.  88  min. 
SA0U  AND  THE  MAGIC  RING 


Coming 


MAN  FRCM  MONTEREY  Sterling  Hayden,  Pamela  Dun- 
can, Ted  de  Corsia.  Producer  D.  J.  Grut.  Director 
Sidney  Franklin,  Jr.  Melodrama.  Outlaw  leaves  buddy 
to  die,  thinking  him  dead.    76  minutes. 


COLUMBIA 


A  pril 


GUNS  AT  FORT  PETTICOAT  Audie  Murphy,  Kathryn 
Grant.  Producer  Harry  Joe  Brown.  Director  George 
Marshall.  Western.  Army  officer  organizes  women  to 

fight  off  Indian  attack.  131  min. 

PHANTOM  STAGECOACH,  THE  William  Bishop,  Rich- 
ard Webb.  Producer  Wallace  MacDonald.  Director  Ray 
Nazarro.    Western.    Outlaws    attempt   to    drive  stage 

coach  line  out  of  business.  69  min. 

TALL  T,  THE  Randolph  Scott,  Richard  Boone,  Maureen 
Sullivan.  A  Scott-Brown  Production.  Director  Budd 
Boetticher.  Western.  A  quiet  cowboy  battles  o  be 
independent.  78  min. 


May 


ABANDON  SHIP  CinemaScope.  Tyrone  Power,  Mai 
Zetterling.  Producer-director  Richard  Sale.  Drama. 
Story  of  a  group  of  people  who  survive  the  sinking 
of  a  luxury  liner.    100  min. 

GARMENT  JUNGLE,  THE  Lee  J.  Cobb,  Kerwin  Mat- 
thews, Richard  Boone.  Producer  Harry  Kleiner.  Di- 
rector Ribert  Aldrich.  Drama.  Dog-ea-dog  world  of 
Manhattan's  clothing  center.  88  min. 

HELLCATS  OF  THE  NAVY  Ronald  Reagan,  Nancy  Davis, 
Arthur  Franz.  Producer  Charles  Schneer.  Director  Na- 
than Juran.  Drama.  Story  of  the  Hellcat  submarines 
during  World  War  II.  82  min.  4/15. 

SIERRA  STRANGER  Howard  Duff,  Gloria  McGhee.  Pro- 
ducer Norman  Herman.  Director  Lee  Sholem.  Western. 
Miner  file  gold  claim  during  the  '49  California  Gold 
Rush.    74  min.  5/13. 

STRANGE  ONE,  THE  Ben  Gaziara,  James  Olsen,  George 
Peppard.  Producer  Sam  Spiegel.  Director  James  Gar- 
fein.  Drama.  Cadet  at  military  school  frames  com- 
mander and  his  son.  100  min.  4/15. 


June 


BEYOND  MOMBASA  Technicolor.  CinemaScope.  Cor- 
nell Wilde,  Donna  Reed.  Producer  Tony  Owen.  Direc- 
tor George  Marshall.  Adventure.  Leopard  Men  seek 
to  keep  Africa  free  of  white  men.  90  min. 
BURGLAR.  THE  Dan  Duryea,  Jane  Mansfield,  Martha 
Vickers.  Producer  Louis  Kellman.  Director  Paul  Kend- 
kos.  Melodrama.  Jewel  thieves  plan  theft  of  spiritual- 
ist's valuable  necklace.  90  min.  5/13. 
CALYPSO  HEAT  WAVE  Johnny  Desmond,  Merry  An- 
ders, Meg  Myles.  Director  Fred  Sears.  Musical.  Array 
of  calypso-style  singers.  86  min. 

NIGHT  THE  WORLD  EXPLODED.  THE  Kathryn  Grant. 
William  Leslie.  Producer  Sam  Katzman.  Director  Fred 
Sears.  Science-fiction.  Scientist  saves  world  by  pre- 
venting explosion.    64  min. 

GIANT  CLAW,  THE  Jeff  Morrow,  Mara  Cordav.  Pro- 
ducer Sam  Katzman.  Director  Fred  Sears.  Science- 
fiction.  Giant  bird  from  outer  space  threatens  to  de- 
stroy world.  76  min. 


July 


FIRE  DOWN  BELOW  CinemaScope,  Technicolor.  Rita 
Hayworth,  Robert  Mitchum,  Jack  Lemmon.  A  War- 
wick Production.  Director  Robert  Parrish.  Drama. 
Cargo  on  ship  is  ablaze.  Gravity  of  situation  is  in- 
creased by  highly  explosive  nitrate.  116  min. 
20  MILLION  MILES  TO  EARTH  Joan  Taylor,  William 
Hopper.  Science-fiction.  82  minutes. 
TORERO  Luis  Pracuna,  Manolete,  Carlos  Arruza.  Pro- 
ducer Manuel  Ponce.  Director  Carlos  Velo.  Drama. 
A  man's  fight  against  fear.  Bullfight  setting.  75  min. 
27TH  DAY,  THE  Gene  Barry,  Valerie  French.  Producer 
Helen  Aincworth.  Director  William  Aiher  Science- 
flefion  PeopW  from  outer  space  plot  to  destroy  all 
human  life  on  the  earth.  75  min.  5/7. 


AUgUSt 


JEANNE  EAGELS  Kim  Novak,  Jeff  Chandler.  A  George 
Sidney  Production.  Stormy  account  of  an  actress  who 
became  a  legend.  Drama.  114  min.  7/22 


PICKUP  ALLEY  Cinemascope.  Victor  Mature.,  Anita 
Ekberg,  Trevor  Howard.  A  Warwick  Production.  Direc- 
tor John   Gillinn.   Drama.    Story   of  international  dope 


3:10  TO  YUMA  Glenn  Ford,  Felicia  Farr,  Van  Heflin. 
Producer  David  Heilwell.  Director  Delmer  Daves.  West- 
ern. Cowboy  robs  stagecoach  then  poses  as  one  those 
robbed. 

TCWN  ON  TRIAL  John  Mills,  Charles  Coburn.  Melo- 


Coming 


ADMIRABLE  CRICHTON,  THE  Technicolor.  Kenneth 
More.  Diane  Cilento.  Cecil  Parker.  Producer  Ian  Dal- 
rymple.  Director  Lewis  Gilbert.  Drama.  The  story  of  a 
famous  butler  in  the  I900's. 

BROTHERS  RICO  THE  Richard  Conte.  Kathryn  Grant, 
Dianne  Foster.  Producer  Lewis  Rachmil.  Director  Phil 
Karlson.  Drama.  Former  racketeer,  trying  to  go 
straight,  exposes  organization  when  they  push  him  too 
far. 

GOLDEN  VIRGIN,  THE  Joan  Crawford,  Rossano  Brazzi, 
Heather  Sears.  John  and  James  Woolf  producers.  Di- 
rector David  Miller.  Unscrupulous  people  exploit  blind 
girl  for  profit. 

PAPA,  MAMA,  THE  MAID  AND  I  Robert  Lamoureux, 
Gaby  Morlay,  Nicole  Courcel.  Director  Jean-Paul  Le 
Chanois.  Comedy.  The  lives  of  a  typically  Parisian 
family.  94  min.  9/17. 

SHE  PLAYED  WITH  FIRE  Jack  Hawkins,  Arlene  Dahl, 
Producers  Frank  Launder-Sidney  Gilliat.  Director  Sid- 
ney Gilliat.  Story  of  an  arsonist. 

SUICIDE  MISSION  Lelf  Larson.  Michael  Aldridge,  Atle 
Larsen.  A  North  Seas  Film  Production.  Adventure.  Nor- 
wegian fishermen  smash  German  blockade  in  World 
War  II.  70  min. 


INDEPENDENTS 


A  pril 


GOLD  OF  NAPLES  IDCAI  Toto,  Sophia  Loren,  Vittorio 
DeSica.  A  Ponfi-De  Laurentis  Production.  Director  V. 
De  Sica.  Drama.  4  short  Italian  satires.  I07min.  3/18 
IF  ALL  THE  GUYS  IN  THE  WORLD  .  .  .  IBuena  Vistal 
Andre  Valmy,  Jean  Gaven.  Director  Christian-Jaque. 
Drama.  Radio  "hams",  thousands  of  miles  apart,  pool 
their  efforts  to  rescue  a  stricken  fishing  boat. 


May 


YOUNG  DON'T  CRY.  THE  Sal  Mineo,  James  Whitmore. 
Producer  P.  Waxman.  Director  Alfred  Werker.  Drama. 
Life  in  a  southern  orphanage. 


P.AISING    A   RIOT    [Continental]    Technicolor.  Kenneth 

More,  Ronald  Squire,  Jan  Miller.  Director  Wendy  Toye. 

Comedy.   Falher   attempts  to  apply   psychology   to  h.i 

three  children  while  wife  is  away  on  a  visit. 

FOUR   BAGS   FULL    ITrans-Luxl    Jean    Gabin.  Bouvril. 

Comedy.   The   trials   and   tribulations   of   black  market 

operators  during  the  German  occupation. 

FRENCH    ARE    A    FUNNY    RACE,    THE    I  Continental  I 

Martine  Carol,  Jack  Vuchanan,  Noel-Noel.  A  Gaumont 

production.  Comedy.  A  spoof  of  the  unique  personality 

characteristics  of  the  French. 

ROCK  ALL  NIGHT  (American-International)  Dick 
Millar,  Abby  Datton,  Russel  Johnson.  Producer-director 
Roger  Corman.  Rock  n'  rolf  musical.  65  min. 
STRANGER  IN  TOWN  lAstorl  Alex  Nichol,  Anne  Page, 
Producer  Sidney  Roberts.  Director  George  Pollock. 
Melodrama.  A  newspaperman  exposes  the  "perfect 
crime".  74  min. 

June 

BLACK  TIDE  lAstor  Pictures)  John  Ireland.  Maureen 
Connell.  Producer  Monty  Berman.  Director  C.  P.  Rich- 
ards. Melodrama.  Top  fashion  model,  planning  long 
distance  swim  for  publicity,  is  mysteriously  murdered. 
79  min. 

DRAGSTRJP  GIRL  I  American-International )  Fay  Spain, 
Steve  TerreJI,  John  Ashley.  Producer  Alex  Gordon.  Di- 
rector Edward  Cahn.  Story  of  teen-age  hot  rod  and 
dragstrip  recing  kids.  75  min. 

FRENCH   THEY   ARE   A   FUNNY    RACE,    THE  (Conti- 
nental)    Martine    Carol,    Jack    Buchanan,  Noel-Noel. 
Produced  by  Preston  Sturges.    Comedy.    Filmiiation  of 
a  famous  French  best-selling  novel.  92  min.  5/27. 
INVASION  OF  THE  SAUCER  MEN.  Horror. 
I  WAS  A  TEENAGE  WEREWOLF.  Horror. 
JOHNNY   TREMAIN    (Bueno   Vista)    Technicolor  Hal 
Stalmaster,   Luana   Patten,  Jeff  York.    A  Walt  Disney 
Production.     Director    Robert    Stevenson.  Adventure. 
A   teen-age   silversmith   turns   freedom   fighter   in  the 
American  War  of  Independence. 


Flla     IULLITIN  —  THIS     IS     TOUI  PRODUCT 


SEPTEMBER  SUMMARY 

The  tentative  schedule  of  releases  for 
September  shows  17  on  the  agenda.  How- 
ever, later  additions  should  add  another 
12  or  so  pictures  to  the  roster.  Universol 
and  RFD A  will  be  the  leading  suppliers 
with  four  films  each.  Allied  Artists,  Metro 
and  20th  Century-Fox  and  Para  will  re- 
lease two  each;  Warner  Bros.,  one.  Nine 
of  the  September  features  will  be  in  color. 
Four  films  will  be  in  CinemaScope.  one 
in  VistaVision,  one  in  Superscope. 

4  Melodramas  1  Musical 

2  Adventures  1  Comedy 

V  Dramas 


JULI ETTA  IKingsley  International)  Jean  Marais,  Dany 
Robin.  Produced  by  Indrusfilms.  Director  Marc  Alle- 
gret.    Comedy.    Filmization  of  a  famous  French  novel. 

July 

A  NOVEL  AFFAIR  I  Continental  I  Sir  Ralph  Richardson, 
Margaret  Leighton.  Comedy. 

CARNIVAL  ROCK  (Howco)  The  Platters,  David  Hous- 
ton.   A  Howco  Production.    Musical.    80  min. 

CONSTANT  HUSBAND  I  Stratford)  Technicolor.  Rex 
Harrison.  Kay  Kendall.  Margaret  Leighton.  Director 
Sidney  Gilliat. 

OUT  OF  THE  CLOUDS  [Rank)  Eastman  Color.  Anthony 
Steel,  Robert  Beatty.  Producer-director  Michael  Ralph 
and  Basil  Dearden.    Adventure.    75  min. 

TEEN  AGE  THUNDER  (Howco)  Church  Courtney.  Me- 
linda  Byron.  A  Howco  Production.  Melodrama.  80  min. 

August 

NAKED  AFRICA  I  American-International )  Color.  Pro- 
duced by  Quentin  Reynolds.  Adventure. 

REFORM  SCHOOL  GIRL  I  American-International ) 
Glora  Costillo,  Ross  Ford.  Melodrama. 

ROCK  AROUND  THE  WORLD  I  American-International) 
Tommy  Steele,  Nancy  Whiskey.  Musical. 

WHITE  HUNTRESS  I  America  n- 1  nern  at  ion  a  I )  A  Break- 
ston-Stahl  production.  Adventure. 

Coming 

BROTHERS  IN  LAW  (Continental)  Ian  Carmichel,  Rich- 
ard Aftenborough,  Jill  Adams.  Producer-director,  the 
Boulting  Bros.  Comedy.  Adventures  of  a  young  lawyer. 

CARTOUCHE  IRKO)  Richard  Basehart,  Patricia  Roc. 
Producer  John  Nasht.  Director  Steve  Sekely.  Adventure. 
The  story  of  a  lusty  adventurer  during  the  reign  of 
Louis  XVI. 

CITY  OF  WOMEN  (Associated)  Osa  Massen,  Robert 
Hutton,  Maria  Palmer.  Producer-director  Boris  Perroff. 
Drama.  From  a  novel  by  Stephen  Longstreet. 

COOL  AND  THE  CRAZY,  THE  I  Imperial)  Scott  Mar- 
lowe, Gigi  Perreau.  Producer  Elmer  Rhoden,  Jr.  Di- 
rector William  Whitney.  Story  of  teenage  violence. 

LOST  CONTINENT  IIFE)  CinemaScope,  Ftrranicolor. 
Producer-director  Leonardo  Bomi.  An  excursion  into  the 
wilds  of  Borneo  and  the  Maylayan  Archepelago.  Eng- 
lish commentary.  86  min. 

MAID  IN  PARIS  (Continental)  Dany  Robin.  Daniel 
Gelin.  Directed  by  Gaspard  Huit.  Comedy.  A  daughter 
rebels  against  her  actress  mother. 

NEAPOLITAN  CAROUSEL  IIFE)  I  Lux  Film,  Rome)  Pathe- 
color.  Print  by  Technicolor.  Sophia  Loren,  Leonide 
Massine.  Director  Ettore  Giannini.  Musical.  The  history 
of  Naples  traced  from  1400  to  date  in  song  and  dance. 
PERRI  (Bueno  Vista)  Technicolor.  A  true-life  fantasy 
by  Walt  Disney.  The  life  story  of  a  Pine  Squirrel 
named  "Perri". 

REMEMBER.  MY  LOVE  I  Artists-Producers  Assoc.!  Cine- 
maScope, Technicolor.  Michael  Redgrave,  Mel  Ferrer, 
Anthony  Quale.  Musical  drama.  Producer-director 
Michael  Powell,  Emerie  Pressburger.  Based  on  Strauss' 
"Die  Redermaus". 

SMOLDERING  SEA.  THE  Superscope.  Producer  Hal  E. 
Chester.  Drama.  Conflict  between  the  tyrannical  cap- 
tain and  crew  of  an  American,  merchant  ship  reaches 
its  cfimax  during  battle  of  Guadalcanal. 


METRO-GOLDWYN -MAYER 


A  pril 

DESIGNING  WOMAN  CinemaScope.  MetroColor. 
Gregory  Peck,  Lauren  Bacall.  Producer  Dore  Schary, 
Director  Vincente  Minnelli.  Comedy.  Ace  sportswriter 
marries  streamlined  blond  with  ideas.  117  min.  3/4 
VINTAGE,  THE  MetroColor.  Pier  Angeli,  Mel  Ferrer, 
Leif  Erickson.  Producer  Edwin  Knoph.  Director  Jeffrey 
Hayden.  Drama.  A  conflict  between  young  love  and 
mature  responsibility.    92  min.  3/18. 

May 

LITTLE  HUT,  THE  Eastman  Color.  Ava  Gardner,  Stewart 
Granger.  Producers  F.  Hugh  Herbert.  Director  Mark 
Robson.  Comedy.  Husband,  wife  and  wife's  lover  are 
marooned  on  a  tropical  isle.  90  min.  5/27. 
TARZAN  AND  THE  LOST  SAFARI  Technicolor.  Gordon 
Scott  Robert  Beatty.  A  Sol  Lesser  Production.  Director 
Bruce  Humberstone.  Adventure.  Tarzan  rescues  safari 
lost  in  deepest  Africa.  80  min.  3/18. 

THIS  COULD  BE  THE  NIGHT  Jean  Simmons.  Paul 
Douglas.  Producer  Joe  Pasternak.  Director  Robert 
Wise.  Comedy.  A  girl  fresh  out  of  college  gets  a 
job  as  secretary  to  an  ex-bootlegger.   103  min.  4/15. 

June 

SEVENTH  SIN,  THE  CinemaScope.  Eleanor  Parker,  Bill 
Travers,  George  Sanders.  Producer  David  Lewis.  Di- 
rector Ronald  Neame.  Drama.  Story  of  an  adulterous 
woman.  94  min. 

SOMETHING  OF  VALUE  Rock  Hudson,  Dana  Wynter, 
Wendy  Hlller.  Producer  Pandro  Berman.  Director 
Richard  Brooks.  Drama.  Stry  of  a  Mau  Mau  uprising 
in  Kenya,  East  Africa.  113  min.  5/13. 

July 

MAN  ON  FIRE  Bing  Crosby.  Mary  Fickett,  Inger 
Stevens.  Producer  Sol  Siegel.  Director  R.  MacDougall. 
Drama.  Tha  effect  of  divorce  on  a  boy  and  his  es- 
tranged parents.    95  min. 


SILK  STOCKINGS  MetroColor.  CinemaScope.  Fred  As- 
taire.  Cvd  Charrise.  Janis  Paqe.  Producer  Arthur 
Freed.  Director  R.  Mamoulian.  Musical.  Russian  girl 
faNs  in  love  with  an  American  film  proaucer  in  Paris. 

August 

DECISION  AGAINST  TIME  Jack  Hawkins  Elizabeth 
Sellars.  Producer  M.  Balcon.  Director  C.  Crichton. 
Adventure.  Test  pilot  attempts  to  land  disabled  plane 
87  min.  7/22. 

GUN  GLORY  CinemaScope  MetroColor.  Stewart 
Granger.  Rhonda  Fleming.  Producer  N.  Nayfack.  Di- 
rector Roy  Rowland.  Western.  Ex-outlaw  is  tormented 
by  his  former  reputation  as  a  killer.   89  min. 

TIP  ON  A  DEAD  JOCKEY  CinemaScope.  Robert  Taylor, 
Dorothy  Malone,  Gia  Scala.  Producer  Edwin  Knoph 
Director  Richard  Thorp.  Melodrama.  International 
police  track  down  smugglers.  109  min. 

September 

ACTION  OF  THE  TIGER  CinemaScope,  Eastman  Color. 
Van  Johnson,  Martine  Carol,  Gustave  Rocco.  A  Oar- 
idge  Production.  Drama.  Beautiful  girl  seeks  help  of 
contraband  runner  to  rescue  brother  from  Communists. 

LES  GIRLS  CinemaScope,  MetroColor.  Gene  Kelly, 
Mitzi  Gaynor.  Kay  Kendall.  Producer  Sol  C.  Siegel. 
Director  George  Cukor.  Musical. 

Coming 

DON'T  GO  NEAR  THE  WATER  CinemaScope.  Metro- 
Color.  Glenn  Ford,  Gia  Scala,  Keenan  Wynn.  Producer 
Lawrence  Weingarten.  Director  Charles  Walters. 

HAPPY  ROAD.  THE  Gene  Kelly,  Michael  Redgrave, 
Barbara  Laage.  A  Kerry  Production.  Directors,  Gene 
Kelly,  Noel  Coward.  Drama.  Two  children  run  away 
from  boarding  hchool  to  find  their  respective  parents. 
100  min.  2/4. 

HOUSE  OF  NUMBERS  CinemaScope.  Jack  Palance. 
Barbara  Lang.  Producer  Charles  Schnee.  Director 
Russell  Rouse.  Law-abiding  citizen  attempts  to  engi- 
neer San  Quentin  escape  for  his  brother.  92  min.  7/8. 

I  ACCUSE  Jose  Ferrer,  Viveca  Lindfors,  Leo  Genn. 
Producer  Sam  Zimbalist.  Director  Jose  Ferrer. 

JAILHOUSE  ROCK  Elvis  Presley,  Judy  Tyler.  Producer 
Pandro  Berman.  Director  Richard  Thorpe. 

LIVING  IDOL.  THE  CinemaScope,  Eastman  Color. 
Steve  Forrest,  Lilliane  Montevecchi.  Producer-director 
Al  Lewin.  Drama.  An  archeologist  is  faced  with  an  un- 
worldly   situation    that    threatens    the    safety    of  his 

adopted  daughter.    101  min.  5/13. 

RAINTREE  COUNTY  MetroColor.  CinemaScope  65. 
Elizabeth  Taylor,  Montgomery  Clift.  Producer  David 
Lewis.  Director  Edward  Dymtryke.  Drama.  Life  in  Indi- 
ana during  the  middle  I800's. 

UNTIL  THEY  SAIL  CinmeaScope.  Jean  Simmons,  Joan 
Fontaine,  Paul  Newman.  Producer  Charles  Schnee.  Di- 
rector Robert  Wise. 


PARAMOUNT 


April 

FUNNY  FACE  VistaVision,  Technicolor.  Audtay  Hep- 
burn, Fred  Astaire,  Kay  Thompson.  Producer  Roger 
Edens.  Director  Stanley  Donan.  Musical.  Photographer 
plucks  fashion  model  from  Greenwich  yflfage  bookshop. 
103  min.  2/18. 

May 

BUSTER  KEATON  STORY,  THE  VistaVision.  Technicolor. 
Donald  O'Connor,  Ann  Blyth,  Rhonda  Ftemlng.  Pro- 
ducers Robert  Smith,  Sidney  Sheldon.    Director  Sidney 

Sheldon.  Drama.  Life  of  the  great  comedian.  91  min. 
4/15. 

GUNFIGHT  AT  O.K.  CORRAL  VistaVision.  Technicolor. 
Burt  Lancaster,  Kirk  Douglas,  Rhonda  Flemina.  Pro- 
ducer Hal  Wallis.  Director  John  Sturges.  Western. 
Drunken   badman   hunts  for  murderer  of  his  cheat'ng 

brother.  122  min.  5/27. 

June 

LONELY  MAN,  THE  VistaVision,  Technicolor.  Jack  Pa- 
lance, Anthony  Perkins,  Elaine  Aiken.  Producer  Pat 
Duggan.  Director  Henry  Levin.  Western.  A  gunfighter 

fine';  ha  is  losing  his  sight — and  his  aim.  87  min.  5/27. 

July 

BEAU  JAMES  VistaVision,  Technicolor.  Bob  Hope.  Pro- 
ducer Jack  Rose.  Director  Michael  Moore.  Drama. 
Biography  of  the  famous  Jimmy  Walker,  mayor  of  N.Y. 
from  1925  to  1932.  105  min.  6/24 

DELICATE  DELINQUENT,  THE  Jerry  Lewis,  Darren  Me- 
Gavin,  Martha  Hyer.    Producer  Jerry  Lewis.  Director 

Don  McGulre.  Drama.  Janitor  longs  to  be  police  offi- 
cer so  he  can  help  delinquents.  101  min.  7/8. 

August 

LOVING  YOU  VistaVision,  Technicolor.  Elvis  Presley, 
Lizabeth  Scott,  Wendell  Corey.  Producer  Hal  Wallis. 
Musical.  Director  Hal  Kanter.  Small-town  boy  makes 
good  in  big-time  show  business.  101  min.  7/22. 
OMAR  KHAYYAM  VistaVision,  Technicolor.  Cornel 
WHde,  Michael  Rennie,  Debra  Paget.  Producer  Frank 
Freeman,  Jr.  Director  William  Dieterle.  Adventure.. 
The  life  and  times  of  medieval  Persia's  literary  idol. 
103  min. 

September 

STOWAWAY  GIRL  Trevor  Howard,  Elsa  Martinell, 
Pedro  Armandariz.  Director  Guy  Hamilton.  Drama. 
A  beautfiul  girl  stows  away  on  a  tramp  steamer. 


SHORT  CUT  TO  HELL  VistaVision.  Robert  Ivers.  Wil- 
liam Bishop.  Georgann  Johnson.  Producer  A.  C.  Lyles. 
Director  James  Cagney.  Drama.  Story  of  a  profes- 
sional killer  with  a  gun  for  hire. 

October 

HAIRPIN  DEVIL'S,  THE  VistaVision,  Technicolor  Cornel 
Wilde.  Jean  Wallace,  Mary  Astor.  Producer-director 
Cornel  Wilde.  Adventure.  Story  which  deals  with 
sports  car  racing. 

JOKER  IS  WILD,  THE  VistaVision,  Technicolor.  Frank 
Sinatra,  Mitii  Gavnor,  Jeanne  Craln.  Producer  Samuel 
Briskm.  Director  Charles  Victor  Drama.  Film  biography 
of  Joe  E.  Lewis,  nightclub  comedian. 

November 

TIN  STAR,  THE  VistaVision.  Henry  Fonda,  Anthony 
Perkins.  A  PerlSerg-Seaton  Production.  Director  An- 
thony Mann.  V-  ;tern. 

ZERO  HOUR  Dana  Andrews,  Sterling  Hayden.  A  Bart- 
lett-Champion  Production.  Director  Hall  Bartlett.  Dra- 
ma. A  man  battles  for  his  life  and  love. 

December 

SAD  SACK  VistaVision,  Technicolor.  Jerry  Lewis.  David 
Wayne.  Producer  Hal  Willis  Director  George  Mar- 
shall. Comedy.  Life  in  the  Arm/. 

Coming 

DESIiJE  UNDER  THE  ELMS  Sophia  Loren.  Anthony  Per- 
kins, Burl  Ives.  Producer  Don  Hartman.  Director  Del- 
bert  Mann.  Drama.  Emotional  conflicts  of  a  farmer, 
his  son  and  his  second  wife. 

HOT  SPELL  VistaVision  Shirley  Booth.  Anthony  Quinn, 
Shirley  MacLaine.  Producer  Hal  Wallis.  Director  Dan- 
iel Mann.  Drama.  The  disintegration  of  a  Southern 
family  during  a  torrid  heat  wave. 

OBSESSION  VistaVision.  Anna  Magnani.  Anthony  Quinn. 
Producer  Hal  Wallis.  Director  John  Sturges.  Drama. 
SPANISH  AFFAIR  VistaVision,  Technicolor.  Carmen 
Sevilla,  Richard  Kiley.  Producer  Bruce  Odium.  Director 
Donald  Siegel.  An  American  architect  travelling  in 
Spain  is  attracted  to  a  beautiful  girl,  half-Gypsy,  half- 
Spanish. 

TEACHER'S  PET  VistaVision.  Clark  Gable,  Doris  Day 
A  Pearlberq-Seaton  Production.  Director  George  Sea- 
ton.  Comedy.  Tough  newspaper  editor  and  college 
journalism  teacher  have  a  ball. 

TEN  COMMANDMENTS,  THE  VistaVision  Technicolor. 
Charlton  Hesron  Yul  Brynner,  Anne  Bax'e'  "roducer- 
airector  Cecil  8  DeMille.  Reliaious  drama  Life  stor> 
of  Moses  as  told  in  the  Bible  and  Koran.  219  min.  10/15 


RANK 


June 

CHECKPOINT  Eastman  Color.  Anthony  Steel.  Odile 
Versois.  Producer  Betty  E.  Box.  Director  Ralph  Thomas. 
82  min.  7/8. 

OUT  OF  THE  CLOUDS  Anthony  Steel.  Robert  Beatty. 
David  Knight.  Producers  Michael  Ralph,  Easil  Dearden. 
REACH  FOR  THE  SKY  Kenneth  More.  Muriel  Pavlow 
Producer  Daniel  M.  Angel.  Director  Lewis  Gilbert. 
106  min. 

July 

CLACK  TENT.  THE  Technicolor,  VistaVision.  Anthony 
Steel  Donald  Sinden.  Producer  William  MacQuitty. 
Director  Brian  D.  Hurst.  Adventure.  82  min.  7/22. 
THIRD  KEY,  THE  Jack  Hawkins,  John  Stratton.  Pro- 
ducer Michael  Balcon.  Director  Charles  Frcnd.  Melo- 
drama. 83  min. 

TRIPLE  DECEPTION  Technicolor  VistaVision.  Michael 
Craig  Julia  Arnall.  Producer  Vivian  A.  Cox.  Director 
Guy  Green.  Melodrama.  85  min. 

VALUE  FOR  MONEY  Technicolor.  VistaVision.  John 
Gregson,  Diana  Dors.  Producer  Sergei  Nolbandov. 
Director  Ken  Annakin.  Comedy.  83  min. 


Film     BULLETIN  —  THIS     IS     YOUR  PRODUCT 


A  ugust 

AS  LONG  AS  THEY'RE  HAPPY  Eastman  Color.  Jack 
Buchanan,  Janette  Scott.  Producer  Raymond  Stross. 
Director  J.  Lee-Thompson.  Comedy.  70  mni. 

A  TOWN  LIKE  ALICE  Virginia  McKenna.  Peter  Finch. 
Comedy.  Producer  Joseph  Janni.  Director  Jack  Lee. 
98  min. 

GENTLE  TOUCH.  THE  Tchnicolor.  George  Baker,  Be- 
linda Lee.  Producer  Michael  Balcon.  Director  Pat 
Jackson.  Drama.  86  min. 

September 

JACQUELINE  John  Gregson.  Kathleen  Ryan.  Producer 
George  H.  Brown.  Director  Roy  Baker.  Drama.  92  min. 

PURSUIT  OF  THE  GRAF  SPEE  Technicolor.  VistaVision. 
John  Gregson.  Anthony  Quayle.  Producer-director 
Michael  Powell  &  Emeric  Pressburger.    Adventure.  110 

SPANISH  GARDENER  Technicolor,  VistaVision.  Dirk 
Bogarde,  Jon  Whiteley.  Drama.  Producer  John  Bryan. 
Director  Philip  Leacock.    95  min. 

AN  ALLIGATOR  NAMED  DAISY  Technicolor,  Vista- 
Vision. Donald  Sinden,  Diana  Dors.  Producer  Raymond 
Stross.    Director  J.   Lee-Thompson.    Comedy.    88  mni. 


REPUBLIC 


A  pril 

MAN  IN  THE  ROAD,  THE  Derek  Fair,  Ella  Raines. 
Producer  Charles  Leeds.  Director  Lance  Comfort. 
Drama.  A  spy  ring  attempts  to  obtain  atomic  secrets 
through  the  use  of  "mental  persuasion."  83  min. 

SPOILERS  OF  THE  FORREST  Trucolor,  Naturama.  Vera 
Ralston,  Red  Cameron.  Producer-director  Joe  Kane. 
Drama.  An  unscrupulous  lumberman  tries  to  coerce  the 
owners  of  a  large  forest  acreage  into  cutting  their 
timber  at  a  faster  rate.  68  min. 

May 

LAWLESS  EIGHTIES,  THE  Naturama.  Buster  Crabbe, 
John  Smith.  Marilyn  Saris.  Producer  Rudy  Ralston. 
Director  Joe  Kane.  Western.  Circuit  rider  prevents 
Indian  uprising.  70  min. 

TIME  IS  MY  ENEMY  Dennis  Price,  Renee  Asherson. 
Producer  Roger  Proudlock.  Director  Don  Chaffey. 
Melodrama.  The  story  of  a  blackmailed  blackmailer. 
64  min. 

WEAPON,  THE  Steve  Cochran,  Lizabeth  Scott,  Nicole 
Maurey.  Producer  Hal  Chester.  Director  Val  Guest. 
Drama.  An  unsolved  murder  involving  a  child  and  a 
loaded  gun.  70  min. 

June 

JOURNEY  TO  FREEDOM  Jacques  Scott,  Geneviv  Au- 
mont,  George  Graham.  Morgan  Lane.  Drama.  Bul- 
garian escapes  from  behind  the  Iron  Curtain.  64  min. 
PAWNEE  Trucolor.  George  Montgomery,  Bill  Williams, 
Lola  Albright.  A  Groos-Krasne  Production.  Director 
George  Wagner.  Western.  Calvary  puts  down  high- 
riding  Pawnee  Indians.    80  min. 

July 

BEGINNING  OF  THE  END  (AB-PT)  Peter  Graves, 
Peggie  Castle,  Morris  Ankrum.  rroducer-direcf  ->r  Bert 
Gordon.  Horror.  Grasshopper  giants  threaten  to  de- 
stroy U.  S.   73  min. 

TAMING  SUTTON'S  GAL  Naturama.  John  Lupton, 
Jack  Kelly,  May  Wynn.  Drama.  A  young  bank  clerk 
finds  a  gal  in  the  back  hill  country  of  California.  71 


WEST  OF  SUEZ  Trucolor.  John  Bently,  Vera  Fusek, 
Martin  Boddy.  Melodrama. 

LAST  STAGECOACH  WEST  Naturama.  Jim  Davis, 
Mary  Castle,  Victor  Jory.  Producer  Rudy  Ralston.  Di- 
tector  Joe  Kane.  Western.  Outlaws  are  stopped  by 
railroad  detective. 

OPERATION  CONSPIRACY  Philip  Friend,  Leslie  Dwyer, 
Mary  MacKenzie.    Melodrama.    Fashion  reporter  solves 
murder.    69  min. 
THE  BIG  SEARCH  Color.  Drama. 

UNEARTHLY,  THE  IAB-PTI  John  Carradine,  Allison 
Hayes  Myron  Healy.  Producer-director  Brooks  Peters. 
Transplanted  glands  create  unearthly  monsters.  73  min. 

Coming 

HELL  CANYON  OUTLAWS  Dale  Robertson,  Brian  Keith, 
Rossana  Rory.  Producer  T.  F.  Woods.  Director  Paul 
Landres.  Western.  Ousted  sheriff  restores  order  to 
town.    72  min. 

PANAMA  SAL  Naturama.  Elena  Verdugo,  Edward 
Kemmer.  Producer  Edward  White.  Director  W.  Wit- 
ney. Drama.  The  making  of  a  singer. 
WAYWARD  GIRLS.  THE  Naturama.  Marcia  Henderson, 
Peter  Walker.  Producer  W.  J.  O'Sullivan.  Director 
Lesley  Selander.  Melodrama. 


20TH  CENTURY-FOX 


April 

BOY  ON  A  DOLPHIN  CinemaSeope,  DeLuxe  Color. 
C1if>on  Webb  Alan  Ladd,  Sophia  Loren.  Producer  Sam 
Engel.  Director  Jean  Negulesco.  Comedy.  Romantic 
tale  with  a  Greek  background.  Ill  min. 
BREAK  IN  THE  CIRCLE  Forrest  Tucker,  Eva  Bartok. 
Story  of  escape  from  Iron  Curtain.  69  min. 


KRONOS  Jeff  Morrow,  Barbara  Lawrence,  John  Emery. 
Producer-director  Kurt  Neumann.  Drama.  A  "planet- 
robber"  comes  to  earth  from  outer  space.    78  min. 

SHE-DEVIL,  THE  Mari  Bianchard,  Jack  Kelly,  Albert 
Dekker.  Producer-director  Kurt  Neumann.  Scientists 
create  an  inhuman  woman.    77  min. 

May 

BADLANDS  OF  MONTANA  Rex  Reason,  Margia  Deane, 
Beverly  Garland.  Producer  H.  Knox.  Director  D.  Ull- 
man.  Outlaw  takes  over  as  town  marshal.  79  min. 
CHINA  GATE  Nat  "King"  Cole,  Gene  Barry,  Angle 
Dickinson.  Producer-director  S.  Fuller.  Drama.  Love 
and  war  in  Indo-China.  97  min. 

DESK  SET  Spencer  Tracy,  Katharine  Hepburn.  Producer 
Henry  Sphron.  Director  W.  Lang.  Filmization  of  the 
famous  Broadway  comedy.  Story  of  a  secretary  and 
her  boss.    103  min.  5/13. 

RESTLESS  BREED,  THE  Eastman  Color.  Scott  Brady, 
Annt  Bancroft.  Producer  E.  A.  Alperson.  Director  Alan 

Dwan.  Story  of  a  restless,  banned  town.  81  min.  5/27. 

WAY  TO  THE  GOLD,  THE  Sheree  North,  Barry  Sullivan, 
Jeffrey  Hunter.  Producer  David  Weisbart.  Director  R. 
Webb.  Ex-convict  attempts  to  recover  stolen  treasures. 
69  min. 

June 

ISLAND  IN  THE  SUN  CinemaSeope  DeLuxe  Color. 
James  Mason,  Joan  Fontaine,  Dorothy  Dandridge.  Pro- 
ducer Darrj(l  Zanuck.  Director  Robert  Rossen.  Drama. 

Love,  politics  and  the  labor  movement  clash  in  the 
British  West  Indies.  122  min.  6/24 

LURE  OF  THE  SWAMP  William  Parker,  Skippy  Homeir, 
Marshall  Thompson.  Melodrama.  Gangster  hides  out 
in  swamp  to  escape  police.  74  min. 

TWO  GROOMS  FOR  A  BRIDE  Virginia  Bruce,  John 
Carroll.  Producer  Robert  Baker,  Monty  Berman.  Direc- 
tor Henry  Cass.  Comedy. 

WAYWARD  BUS  CinemaSeope  Jayne  Mansfield,  Dan 
Dailey,  Joan  Collins,  Rick  Jason.  Producer  Chares 
Brackett.  Director  Victor  Vicas.  From  the  John  Stein- 
beck novel.  Drama.  89  min. 

July 

ABDUCTORS,  THE  Victor  McLaglen.  Fay  Spain,  Carl 
Thayler.  Producer  R.  Wander.  Director  A.  McLaglen. 
Adventure.  Tale  of  a   plot  to  steal  Aleraham.  80  min. 

A  HATFUL  OF  RAIN  CinemaSeope.    Eva  Marie  Saint, 
Don  Murray,  Tony  Franciosa.    Producer  Buddy  Adler. 
Director    Fred   Zinneman.    Drama.    A   dope   addict  de- 
cides to  shake  the  habit.  109  min.  6/24. 

AN  AFFAIR  TO  REMEMBER  CinemaSeope  DeLuxe 
Color.  Cary  Grant,  Deborah  Kerr.  Producer  Jerry 
Wald.  Director  Leo  McCarey.  Comedy.  Notorious 
bachelor  falls  for  night  club  singer.  114  min.  7/22. 

APACHE  WARRIOR  KeHh  Larsen,  Jim  Davis.  Producer 
P  Skouras.  Director  E.  Williams.  Western.  74  min. 

BERNARDINE  CinemaSeope,  Deluxe  Color.  Terry  Moore, 
Pat  Boone,  Janet  Gaynor.  Producer  Sam  Engel.  Direc- 
tor H.  Levin.  Comedy.  Story  of  teenagers.  Filmization 
of  the  Broadway  comedy.  95  min.  7/22. 

GOD  IS  MY  PARTNER  Walter  Brennan,  John  Hoyt, 
Marion  Ross.  Producer  S.  Hersh.  Director  W.  Claxton. 
Drama.  80  min. 

August 

BACK  FROM  THE  DEADRegalscope.  Peagy  Castle, 
Marsha  Hunt,  Arthur  Franz.  Producer  R.  Stabler.  Di- 
rector C.  Warren.    Horror.    79  min. 

FORTY  GUNS  CinemaSeope.  Barbara  Stanwyck,  Barry 
Sullivan,  Gene  Barry.  A  Samuel  Fuller  Production. 
Adventure.  A  domineering  woman  attempts  to  rule  a 
western  town  by  force.    80  min. 

HELL  ON  DEVIL'S  ISLAND  Regalscope.  Helmut  Dan- 
tine,  Donna  Martel,  William  Talman.  Jean  Wiles.  Pro- 
ducer  Lchoolvek.     Director  C.    Nyby.     Adventure.  74 

SEAWIFE  CinemaSeope,  Deluxe  Color.  Richard  Bur- 
ton, Joan  Collins.  Producer  Andre  Hakim.  Director  Bob 

McNaught.  Drama.  Ship  is  torpedoed  by  Jap  sub- 
marine off  Singapore  harbor.    82  min. 

UNKNOWN  TERROR,  THE  Regalscope.  John  Howard. 
May  Wynn,  Mala  Powers.  Producer  R.  Stakler.  Direc- 
tor C.  Warren.  Horror.  77  min.. 

WILL  SUCCESS  SPOIL  ROCK  HUNTER  CinemaSeope, 
DeLuxe  Color.  Jayne  Mansfield,  Clifton  Webb,  Tony 
Randall.  Producer-director  Frank  Tashlin.  Comedy. 
Filmization  of  the  Broadway  play.  94  min. 

September 

COPPER  SKY  Regalscope.  Jeff  Morrow,  Coleen  Gray. 
Producer  R.  Stabler.  Director  C.  Warren.  Melodrama. 
DEERSLAYER,  THE  CinemaSeope,  DeLuxe  Color.  Lex 
Barker.  Forrest  Tucker,  Rita  Moreno.  Producer-director 
K.  Newmann.  Adventure. 

NO  DOWN  PAYMENT  Jeff  Hunter,  Barbara  Rush, 
Sheree  North,  Cameron  Mitchell.  Producer  Jerry 
Wood.  Director  Martin  Ritt.  Drama.  105  min. 
SUN  ALSO  RISES,  THE  CinemaSeope,  DeLuxe  Color. 
Ava  Gardner,  Mel  Ferrer,  Tyrone  Power.  Producer  D. 
Zanuck.  Director  Henry  King.  Drama.  From  Ernest 
Hemingway's  famous  novel. 

October 

RIDE  A  VIOLENT  MILE  Regalscope.  Gene  Raymond, 
Wayne    Morris.     Producer-director    R.    Stabler.  Melo- 

STOPOVER  TOKYO  Robert  Wagner.  Joan  Collins,  Ed- 
mund O'Brien.    Producer  W.  Reisch.    Director  R.  Breen. 


THREE    FACES    OF   EVE,    THE   David    Wayne,  Joanne 

Woodward.  Producer  Nunnally  Johnson.  Story  ot  a 
woman  with  three  distinct  personalities. 

Coming 

BEAUTIFUL  BUT  DANGEROUS  Gina  Lollobrigida,  Vit- 
torio  Gassman.  Producer  Manuella  Malotti.  Director 
Robert  Leonard.  Drama. 


UNITED  ARTISTS 


A  pril 

BACHELOR  PARTY,  THE  Don  Murray,  E.  G.  Marshall, 
Jack  Warden.  Producer  Harold  Hecht.  Director  Delbert 
Mann.  Drama.  From  the  famous  television  drama  by 
Paddy  Chayefsky.  92  min.  4/15. 

FURY  AT  SHOWDOWN  John  Derek,  Carolyn  Craig. 
Nick  Adams.  Producer  John  Beck.  Director  Gerd  Os- 
wald. Western.  Ex-bandit  finds  tough  going  when  he 
tries  to  go  straight.  75  min.  3/18. 

IRON  SHERIFF,  THE  Sterling  Hayden,,  John  Dehner, 
Constance   Ford.   Producer  Jerome   Robinson.  Director 

Sidney  Salkow.  Sheriff  tries  to  clear  his  son  of  a 
murder  charge.  73  min. 

RIDE  BACK,  THE  Anthony  Quinn,  William  Conrad.  An 
Aldrich  Production.  Director  Allen  Miner.  Western. 
Sheriff  is  afraid  of  failing  in  assignment  to  bring 
border  outlaw  to  justice.    79  min.  5/13. 

12  ANGRY  MEN  Henry  Fonda,  Lee  J.  Cobb.  Jack 
Warden.  An  Orion-Nova  Production.  Director  Sidney 
Lumet.  Drama.  Jury  cannot  agree  on  a  verdict.  95 
min.  3/4 

WAR  DRUMS  DeLuxe  Color.  Lex  Barker,  Joan  Taylor. 
Ben  Johnson.  Director  Reginald  LeBorg.  Apache  chief 
and  his  white  wife  wgae  war  on  white  settlers.  75  min. 
4/1. 

May 

BAILOUT  AT  43.000  John  Payne,  Karen  Steele.  A  Pine- 
Thomas  Production.  Director  Francis  Lyon.  U.S.  Air 
Force  pioneers  bailout  mechanism  for  jet  pilots.  83  min. 

GIRL  IN  BLACK  STOCKINGS.  THE  Lex  Barker,  Anne 
laneroft,  Mamie  Van  Doren.  A  Bel-Air  Production.  Di- 
rector Howard  Koch.  Drama.  A  series  of  sex  slayings 

terrorize  western  resort.    73  min. 

GUN  DUEL  IN  DURANGO  George  Montgomery.  Pro- 
ducer Robert  Kent.  Director  S.  Salkow.  Western. 
Outlaw  attempts  to  go  straight.  73  min.  5/27. 

HIDDEN  FEAR  John  Payne.  Natalie  Norwick.  A  St. 
Aubrey-Kohn  Production.  Director  Andre  de  Toth. 
Drama.  Police  officer  attempts  to  clear  sister  charged 

with  murder.  83  min. 

MONKEY  ON  MY  BACK  Cameron  Mitchell,  Dianne  Fos- 
ter. Producer  Edward  Small.  Director  Ted  Post.  Drama. 
Life  story  of  ex-boxing  champion  Barney  Ross.    93  min. 

June 

BAYOU  Peter  Graves,  Lita  Milan.  Executive  producer 
M.  A.  Ripps.  Director  Harold  Daniels.  Drama.  Life 
among  the  Cajuns  of  Louisiana. 

BIG  CAPER.  THE  Rory  Calhound  Mary  Costa.  Pine- 
Thomas  Production.  Director  Robert  Stevens.  Multi- 
million  dollar  payroll  robbery.    Melodrama.    84  min. 

MONSTER  THAT  CHALLENGED  THE  WORLD,  THE  Tim 

Holt,  Audrey  Dalton.  Producers  Jules  Levy,  Arthur 
Gardner.  Director  Arnold  Laven.  Science-fiction.  Group 
of  Navy  scientists  battle  a   pre-historic  sea  monster. 

ST.  JOAN  Richard  Widmark,  Jean  Seburg.  Producer- 
director  Otto  Preminger.  Drama.  Filmization  of  George 
Bernard  Shaw's  famous  classic.    110  min.  5/27. 

SWEET  SMELL  OF  SUCCESS.  THE  Burt  Lancaster,  Tony 
Curtis,  Susan  Harrison.  Producer  James  Hill.  Director 
Alexander  Mackendrick.  Drama.  Story  of  a  crooked 
newspaperman  and  a  crooked  p.r.  man.  100  min.  6/24. 
fltOOPER  HOOK  Joel  McCrea,  Barbara  Stanwyck,  Ed- 
ward Andrewi.  Producer  Sol  Fielding.  Director  Marquit 
Warren.  Drama.  A  white  woman,  forced  to  live  as  afl 
Indian  Chief's  squaw,  is  finally  rescued  and  tries  to 
resume  life  with  husband.  81  min. 

VAMPIRE,  THE  John  Beal,  Coleen  Gray.  Producers 
Arthur  Gardner,  Jules  Levy.  Director  Paul  Landres. 
Science-fiction.  Doctor  accidentally  takes  pills,  changes 
into  vampire. 

July 

BOP  GIRL  GOES  CALYPSO  Judy  Tyler,  Bobby  Troup. 
Margo  Woode.  Producer  Aubrey  Schenk.  Director  How- 
ard Koch.  Musical.  Rock  and  roll-calypso  cavalcade  of 
musical  numbers. 

PRIDE  A  NO  THE  PASSION,  THE  ViitaVision,  Techni- 
color. Cary  Grant,  Frank  Sinatra,  Sophia  Loren.  Pro- 
ducer-director Stanley  Kramer.  Drama.  A  Spanish 
guerrilla  band  marches  an  incredible  distance  with  a 
6000  pound  cannon  during  Spanish  War  of  Independ- 
ence of  1810.  131  min.  7/8. 

OUTLAW'S  SON  Dane  Clark,  Ben  Cooper,  Lori  Nel- 
son. Bel  Air  Production.  Director  Lesley  Selander.  Gun- 
sllnger  escapes  from  jail  to  save  son  from  life  of 
crime. 

August 

FUZZY  PINK  NIGHTGOWN,  THE  Jane  Russell,  Keenan 
Wynn,  Ray  Danton.  Producer  Bob  Waterfield  Director 
Norman  Taurog.  Melodrama.  The  story  of  a  Holly- 
wood star  who  is  kidnapped. 


Film     BULLETIN  —  THIS     IS     YOUR  PRODUCT 


MONTE  CARLO  STORY,  THE  Technlrama,  Color.  Mar- 
Ian*  Dtafrjch,  Vittorio  De  Sica.  A  Titanus  Film.  Sam 
Taylor  director.  Drama.  A  handsome  Italian  nobleman 
with  a  love  for  gambling  marries  a  rich  woman  in 
order  to  pay  his  debts.  100  min.  7/8. 

VALERIE  Sterling  Hayden  Anita  Ekberg  Anthony  Steel. 
Producer  Hal  Makelim.  Director  Gerd  Oslwald.  West- 
ern.  The   story  of  a   murder  trial   in   a   western  town. 


Coming 


CALYPSO  ISLAND  Marie  Windsor,  Vince  Edwards.  Pro- 
ducer-director William  Berke.  Musical.  Calypso  film 
filmed  in  the  Bahama  Islands. 


Drama.  Two  lovers  meet  parental  resistance  when  they 
decide  to  get  married. 

GUNSIGHT  RIDGE  Joel  McCrea.  Mark  Stevens.  Pro- 
ducer Robert  Bassler.  Director  Francis  Lyon.  Western. 
Stranger  discovers  respected  citizen  is  really  a  holdup 
man. 

HELL  SOUND  John  Russel.  June  Blair.  Producer  How- 
ard Koch.  Director  William  Hole,  Jr.  Melodrama. 
Story  of  a  conspiracy  to  hijack  a  shipment  of  narcotics. 

JUNGLE  HEAT  Lex  Barker,  Mari  Blancha-d.  A  Bel-Air 
Production.  Director  H.  Koch.  Japanese  saboteurs  in 
Hawaii  prior  to  WWII. 

LEGEND  OF  THE  LOST  John  Wayne,  Sophia  Loren, 
Rossano  Brazzl.  Producer-director  Henry  Hathaway.  Ad- 
venture   Sea.rch  for  treasure  in  the  Sahara.. 

OUIET  AMERICAN  Audie  Murphy,  Michael  Redgrave, 
Claude  Dauphin.  Figaro  Production.  Director  Joseph 
Mankiewicz.  Drama.  Story  set  against  tha  recent 
fighting  in  IndoChina. 

SAVAGE  PRINCESS  Technicolor.  Dilip  Kumar,  Nimmi. 
A  Mehboob  Production.  Musical  Drama.  A  princess 
falls  in  love  with  a  peasant  who  contests  her  right 
to  rule  the  kingdom.  101  min. 

STREET  OF  SINNERS  George  Montgomery,  Geraldine 
Brooks.  Producer  William  Berke.  Rookie  policeman 
clashes  with  youthful  criminals. 


U  N  I  VERSA  L- 1  NT'  L 


A  pril 


INCREDIBLE  SHRINKING  MAN,  THE  Grant  Williams. 
Randy  Stuart.  Producer  Albert  Zugsmith.  Director  Jack 
Arnold.  Science-fiction.  The  story  of  a  man  whose 
growth  processes  have  accidently  been  reversed, 
tl  min.  2/4. 

KELLY  AND  ME  CinemaScope,  Technicolor.  Van  John- 
scm,  Piper  Laurie,  Martha  Hyer.  Producer  Robert  Ar- 
thur. Director  Robert  Leonard.  Drama.  Story  of  dog- 
act  in  show  business  in  the  early  I930»s.  2/4. 

TATTERED  DRESS,  THE  CinemaScope.  Jeff  Chandler, 
Jeannie  Crain,  Jack  Carson.  Producer  Albert  Zugsmith. 
Director  Jack  Arnold.  Melodrama.  Famous  criminal 
lawyer  gains  humility  when  put  on  trial  himself.  93 
min.  3/4 


May 


DEADLY  MANTIS,  THE  Craig  Stevens,  Alix  Talton.  Pro- 
ducer William  Alland.  Director  Jerry  Juran.  Horror. 
Monstrouc  creature  threatens  to  destroy  U.S.  78  min. 
4/1. 

GIRL  IN  THE  KREMLIN,  THE  Lex  Barker  Zsa  Zsa 
Gabor,  Jeffrey  Stone.  Producer  Albert  Zugsmith  Di- 
rector Russell  Birdwell.  Drama. 

MAN  AFRAID  CinemaScope.  George  Nader  Phyllis 
Thaiter,  Tim  Hovey.  Producer  Gordon  Kay.  Director 
Harry  Keller.  Drama.  Father  saves  life  of  man  attempt- 
ing to  murder  his  son.  84  min.  4/15. 


June 


KETTLES  ON  OLD  MacDONALD'S  FARM,  THE  Marjorie 
Main.  Parker  Fennelly,  Gloria  Talbott.  Producer  Ho- 
ward Christie.  Director  Virgil  Vogel.  Comedy.  The 
Kettles  buy  a  new  farm.    80  min.  5/13. 

PUBLIC  PIGEON  NO.  1  Technicolor.  Red  Skelton, 
Vivian  Blaine,  Janet  Blair.  Producer  Harry  Tugend.  Di- 
rector Norman  McLeod.  Comedy.  A  trusting  soul 
tangles  with  con  men  and  outwits  them.  79  min.  5/13 
YOUNG  STRANGER  James  MacArtur  James  Daly,  Kim 
Hunter.  James  Gregory.  Drama.  Story  of  a  young 
man  and  his  parents.    84  min. 

July 

JOE  BUTTERFLY  CinemaScope,  Technicolor.  Audie 
Murphy,  George  Nader,  Keenan  Wynn.  Producer 
Aaron  Rosenberg.  Director  Jessie  Hibbs.  Comedy. 
Story  of  American  newsmen  in  Tokyo  after  Japanese 
surrender.  90  min. 

TAMMY  AND  THE  EACHELOR  Cinemascope  Techni- 
color. Debbie  Reynolds.  Leslie  Nielson.  Producer  Aaron 
RosenDerg.  Director  Joe  Pevney.  Comedy.  Story  of  a 
young  girl  h?r  grandfather  and  a  youno  man  whs  falls 
in  love  with  her.  89  min.  5/27. 

August 

LAND  UNKNOWN,  THE  Jock  Mahoney  Shawn  Smith. 
Producer  William  Alland.  Director  Virgil  Vogel. 
Science-fiction.  Polar  expedition  finds  Mesozoic  age 
in  Antarctic  expedition.    78  min. 


MIDNIGHT  STORY,  THE  CinemaScope  Tony  Curtis. 
Marlsa  Pavan.  Producer  Robert  Arthur.  Director  Joseph 
Pevney.  Drama.  Rookie  cop  seeks  murderer  of  parish 
priest.  89  min.  4/24. 

NIGHT  PASSAGE  Technlrama,  Technicolor.  James 
Stewart  Audie  Murphy.  Dan  Duryea.  Producer  A. 
Rosenberg.  Director  James  Neilson.  Drama.  Payroll 
robbers  are  foiled  by  youngster  and  tough-fisted  rail- 
roader. 90  min.  6/24. 


September 


INTERLUDE  Technicolor.  CinemaScope  June  Allyson, 
Rossano  Brazzi.  Producer  Ross  Hunter.  Director  Douglas 
Sirk.  American  doctor  falls  in  love  with  wife  of  fa- 
mous composer  in  Munich.  90  min.  6/24. 

JET  PILOT  Technicolor,  SuperScope.  John  Wayna, 
Janet  Leigh.  Howard  Hugnes  Production.  Producer 
Jules  Furthman  Director  Josef  von  Sternberg.  Drama. 
1 19  min. 

JOE  DAKOTA  Eastman  Color.  Jock  Mahoney,  Luana 
Patten.  Producer  Howard  Christie.  Director  Richard 
Bartlett.  Drama.  Stranger  makes  California  oil  town 
see  the  error  of  its  ways.    79  min. 

RUN  OF  THE  ARROW  Technicolor.  Rod  Stelger.  Sarita 
Montiel.  Ralph  Meeker.  Producer-director  Sam  Fuller. 
Adventure.  Young  sharpshooter  joins  Sioux  Indians  at 
close  of  Civil  War.  86  min.  6/24. 

THAT  NIGHT  John  Beal.  Augusta  Dabney,  Sbepperd 
Strudwick.  Producer  Hiram  Brown.  Director  John 
Newland.  Drama.  A  tragedy  almost  shatters  a  15- 
year-old  marriage. 

October 

MAN  OF  A  THOUSAND  FACES  CinemaScope.  James 
Cagney.  Dorothy  Malone.  Producer  Robert  Arthur.  Di- 
rector Joseph  Pevney.  Drama.  Life  story  of  Lon  Chaney. 

125  min.  7/22. 

OUANTEZ  CinemaScope  Eastman  Color.  Fred  Mac- 
Murray,  Dorothy  Malone.  Producer  Gordon  Kay.  Direc- 
tor Harry  Keller.  Drama.  A  study  of  five  people  in- 
volved in  a  robbery  and  killing. 

UNHOLY  WIFE.  THE  Technicolor.  Diana  Dors.  Rod 
Steiger,  Marie  Windsor.  Producer-director  John  Far- 
row. Drama.  A  wife  sunningly  plots  the  death  of  her 
husband  who  she  has  betrayed. 


Coming 


DAY  THEY  GAVE  BABIES  AWAY,  THE  Eastman  Color. 
Glynis  Johns.  Cameron  Mitchell,  Rsx  Thompson.  Pro- 
ducer Sam  Weisenthal.  Director  Allen  Reisner.  Drama. 

DOCTOR  AT  LARGE  Dick  Bcgarde.  Muriel  Pavlow.  A 
Rank  Production.  Director  Ralph  Thomas.  Comedy.  Ad- 
ventures of  an  English  ph/sician.  98  min.  6/24. 

ESCAPADE  IN  JAPAN  Color.  Teresa  Wright,  Cameron 
Mitchell,  Jon  Provost,  Roger  Nakagaws.  Producer-direc- 
tor Arthur  Lubin.  Search  for  two  boys  who  start  out 
in  the  wrong  direction  to  find  the  very  people  who 
are  trying  to  find  them. 

GIRL  MOST  LIKELY,  THE  Eastma.  Color.  Jane  Powell, 
Cliff  Robertson,  Keith  Andes.  Producer  Stanley  Rublin. 
Director  Mitchell  Leison.  Comedy.  A  gin  is  proposed 
to  by  three  men  on  the  same  day. 

I  MARRIED  A  WOMAN  George  Gobel,  Diana  Dors, 
Adolph  Menjou.  Producer  William  Bloom.  Director  Hal 
Kanter.  Coemdy.  Wife  objects  to  taking  second  place 
to   a    beer   advertising    campaign    with    her  husband. 

MONOLITH  MONSTERS,  THE  Grant  Williams,  Lola 
Albright.  Producer  Howard  Christie.  Director  John 
Sherwood.  Science-fiction.  Army  of  rocks  threaten  U.S. 

MY  MAN  GODFREY  CinemaScope.  Technicolor.  June 
Allyson  David  Niven.  Producer  Ross  Hunter.  Director 
Henry  Koster.    Comedy.    Story  of  a  topsy-turvy  butler. 

PAY  THE  DEVIL  CinemaScope.  Jeff  Chandler,  Orson 
Welles.  Producer  Albert  Zugsmith.  Director  Jack  Ar- 
nold f  Drama.  Sheriff  destroys  one-man  domination  of 
Tex4  (  town. 

P\ON  CinemaScope.  Rock  Hudson.  Robert  Stack, 
Dorc-»h/  Malone,  Jack  Carson.  Producer  Albert  Zug- 
•mitr..  Director  Douglas  Sirk.  Drama.  Reporter  un- 
covers World  War  I  hero  of  the  Lafayette  Escadrille. 

VIOLATORS,  THE  Arthur  O'Connell,  Nancy  Malone. 
Producer  H.  Brown.  Director  John  Newland.  Drama. 
Story  of  a  probation  officer  in  the  New  York  City 
courts. 


A  pril 


SPIRIT  OF  ST.  LOUIS,  THE  CinemaScope  Warnar- 
Color.  Jamas  Stewart.  Rena  Clark.  Producer  Leland 
Hayward.  Director  Billy  Wilder.  Drama.  The  story  erf 
the  first  man  ever  to  cross  the  Atlantic  in  a  plan*. 
138  min.  3/4. 


May 


COUNTERFEIT  PLAN,  THE  Zachary  Scott.  Peggie 
Castle.  Producer  Alec  Snowden.  Director  Montgomery 
Tully.  Drama.  Inside  story  of  one  of  the  largest  for- 
gery operations  ever  attempted.  80  min.  4/1. 

SHOOT  OUT  AT  MEDICINE  EEND  Randolph  Scott. 
James  Crain  Dan!  Crayne.  Producer  Richard  Whorf. 
Director  Richard  Bare.  Western.  Homesteaders  and 
Quaker  settlers  in  NebrasKa  frontier  town  are  cheated 
by  "bad  man".  87  min.  6/24. 


UNTAMED  YOUTH  Mamie  Van  Doren.  Lou  Nelson.  John 
Russell.  Producer  Aubrey  Schenk.  Director  Howard 
Koch.  Life  on  a  prison  farm  for  juvenile  delinquents. 
80  min.  4/1. 


June 


A  FACE  IN  THE  CROWD  Andy  Griffith.  Patricia  N.al 

Producer-director  Elia  Kazan.  Drama.  A  hill-billy  per- 
sonality leaps  to  national  fame     126  min. 
D.  I.,  THE  Jack  Webb    Don  Dubbins.  Jackie  Lough*ry. 
Producer-director  Jack  Webb    Drama.   Life  of  a  Ma- 
rine Corps  drill  Instructor.    106  min. 


July 


CURSE  OF  FRANKENSTEIN.  THE  Peter  Cushing.  Hazel 
Court.  Robert  Urqhart.  Producer  M  Cerreras.  Direc- 
tor Terence  Fisher.  Horror.  83  min.  7/8. 

PRINCE  AND  THE  SHOWGIRL,  THE  C«lor.  Merlryu 
Monro*,     Laurence    Olivier,     Dame     Sybil  Thorndyk*. 

Producer-director  Laurence  Orivier.  Comedy.  Filmiza- 
tion  of  the  Terence  Rattigan  play.  117  min.  5/27. 

RISING  OF  THE  MOON.  THE  Eileen  Crowe.  Cyril 
Cusack,  Frank  Lawton.  Directed  by  John  Ford.  Thre* 
Irish  stories  with  Tyrone  Power  narrator.  81  min.  7/22 

X— THE  UNKNOWN  Dean  Jagger.  William  Russell. 
Producer  A.  Hinds.  Director  Leslie  Norman.  Science- 
fiction.  Keen  minded  scientist  fights  awesome  creation. 


August 


biography  of  the 


September 


Coming 


BLONDE  AND  DANGEROUS  Sally  Brophy,  Carla 
Merey.  Susan  Oliver.  An  Arwin  Production.  Director 
Bernard  Girard.  Producer  Martin  Melcher.  Melodrama. 
Life  in  a  girl's  correction  school. 

CHASE  A  CnOOKCD  SHADOW  Richard  Todd.  Ann 
Baxter.  Producer  Douglas  Fairbanks.  Director  Michael 
Anderson.  Melodrama. 

NO  SLEEP  TILL  DAWN  CinemaScope.  WarnerColor. 
Karl  Maiden  Natalie  Wood.  Producer  Richard  Whorf. 
Director  Gordon  Douglas.  Story  of  the  men  who  man 
the  bombers  that  defend  our  nation. 

HELEN  MORGAN  STORY,  THE  CinemaScope.  Ann 
Blyth,  Paul  Newman.  Producer  Martin  Rackin.  Director 
Michael  Curtiz.  Drama. 

OLD  MAN  AND  THE  SEA,  THE  CinemaScope,  Warner- 
Color.  Produced  by  Le'and  Hayward.  Director  John 
Sturges.  Adventure.  Film  version  of  Ernest  Heming- 
way's prize-winning  nsval. 

PAJAMA  GAME,  THE  Warner  Color.  Doris  Day,  John 
Raitt.  Carol  Haney.  Producers  G.  Abbot,  F  Briss-.n. 
R.  Griffith.  H.  Prince.  Director  Stanley  Donen.  Filmiza- 
tion  of  the  Broadway  musical. 


SAYONARA  Technlrama  WarnerColor.  Marlon  Brando, 
Red  Buttons.  Patricia  Owens.  Producer  W  liar.  Goerz. 
Director  Josh  Logan.  Drama.  Based  on  'Se  award- 
winning  novel  of  James  Michener. 


WITH  YOU  IN  MY  ARMS  CinemaScope  WarnerColor. 
Tab  Hunter,  Etchlka  Choureau,  J.  Carrol  Naish.  Drama. 

Lives  and  times  of  a  select  squadron  of  fighter  pilots 
in  WWI. 


To  Better  Serve  You  .  .  . 

Office  &  Terminal  Combined  At 
MS  N.  12th  St.  N,w  Phones 

„„    .  ,  . ,    ,    „  Phlla:  WAInut  5-39 

Philadelphia  7,  Pa.         N.J.:  WOodlawn  4 

NEW  JERSEY 
MESSENGER  SERVICE 

Member  Sational  Film  Carriers 


DEPENDABLE  SERVICE! 

HIGHWAY 
EXPRESS  LINES,  INC. 

Member  Actional  Fiim  Carriers 

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Washington,  D.  C:  DUpont  7-7200 


Film     BULLETIN  —  THIS     IS     YOUR  PRODUCT 


♦ 


BULLETIN 


SEPTEMBER  2,  1957 


Business-wise 

Analysis  of 
the  New  Films 


Reviews: 
THE  SUN  ALSO  RISES 
THE  JOKER  IS  WILD 
MY  MAN  GODFREY 
THE  UNHOLY  WIFE 
QUANTEZ 
CHICAGO  CONFIDENTIAL 
TIP  ON  A  DEAD  JOCKEY 
PERRI 

IT  HAPPENED  IN  THE  PARK 


AS  THE  SHOWDOWN  NEARS 


Who's  Who 

in  the 
Struggle 
for  Loew's 


"RAINTREE  COUNTY" 

PREVIEW  HEARD 
ROUND  THE  WORLD! 

The  prize-winning  panoramic 
novel  is  first  to  ke  produced 
in  tke  fakulous  MGM 
CAMERA  65  process,  tke 
New  Miracle  of  tke  Movies! 


At  tke  Warfield  Tkeatre  in  San  Francisco  on 
tke  nigkt  of  August  lOtk  a  Preview  of  M-G-M's 
"RAINTREE  COUNTY"  made  screen  kistory. 
Muck  kas  keen  printed  akout  tkis  spectacular 
attraction.  At  last  revealed  on  tke  kig  tkeatre 
screen,  "RAINTREE  COUNTY"  produced  in 
tke  great  tradition  of  Civil  War  romance 
now  takes  its  place  among  tke  all-time  giant 
entertainments  in  tke  annals  of  our  industry. 


M-G-M  Pre^nu  in  MGM  CAMERA  65 

MONTGOMERY    ELIZABETH    EVA  MARIE 
CLIFT  TAYLOR  SAINT 

"RAINTREE  COUNTY" 

NIGEL  PATRICK  •  LEE  MARVIN 

wid,  ROD  TAYLOR  •  AGNES  MOOREHEAD  •  WALTER  ABEL  •  J  ARM  A  LEWIS  •  TOM  DRAKE 

Screen  Play  Ly  MILLARD  KAUFMAN  Aasociate  Producer  •  Ba.ed  on  tne  Novel  Ly  Ro„S  Lockridge,  Jr.  •  Mu.ic  Ly  JOHNNY  GREEN 
Print  fcy  TECHNICOLOR*  •  Directed  Ly  EDWARD    DMYTRYK  •  Produced  by  DAVID    LEWIS   '  A  Metro-Goldwyn-M.yer  Picture 


TO  LIGHT  UP 
HEMINGWAY'S  BOLDEST 
LOVE  STORY  E3T1  THAT 
NO  ONE 
DARED  FILM 

UNTIL  NOW! 

\ 

2a 


CENTURY-FOX 


Tyrone 


Ava 


Mel 


Errol 


Eddie 


POWER  GARDNER  FERRER  FLYNN  ALBERT 

in  DARRYL  F.  ZAMCRS  production  of  ERNEST  HEMINGWAY'S 


The 


/ 


CinemaScopE  SSISLSISS  T  HENRY  KING  T-  DARRYL  F.  ZANUCK  *r*>  PETER  VIERIEL 

Featuring  GREGORY  RATOFF  •  JULIETTE  GRECO  •  MARCEL  DALIO  •  HENRY  DANIELL  and  ROBERT  EVANS  •  Basad  on  tha  Noval  by  Ernaat  Hamingway       P*  I 

The  New  Great  Blockbuster  from  20th  is  Here!  Yh 


Viewpoints 

SEPTEMBER  2,   1957     "  VOLUME  25,  NO.  18 


Comments  on  Press  books 


We  expressed  the  Viewpoint  in  Film 
BULLETIN  of  August  19  that  the  new 
so-called  "Forward  Look"  pressbook 
recently  unveiled  by  Columbia  Pic- 
tures is  a  questionable  proposition. 
While  granting  that  there  is  room  for 
economy  and  elimination  of  what 
Columbia  vice-president  Paul  N.  Laz- 
arus, Jr.  calls  "eyewash"  from  the 
outsized  pressbooks  of  the  past,  we 
stated  that  "there  still  remains  the 
vital  function  of  stimulating  the  ex- 
hibitor to  an  adequate  campaign,  of 
providing  an  enthusiasm  for  selling 
to  the  public".  It  remains  our  opin- 
ion that  it  is  required  of  the  film 
companies  to  furnish  their  customers 
with  a  promotion  manual  that  in- 
cludes every  possible  key  component 
of  showmanship. 

Our  Viewpoint  on  "Abbreviated 
Pressbooks"  brought  responses  from 
several  motion  picture  advertising 
executives.  Some  agree  with  us; 
others  don't.  Following  are  their 
others  don't.   Here  are  their  views: 


To  the  Editor: 

My  reaction  to  Film  BULLETIN'S 
comments  on  our  "Abbreviated  Press- 
book"  can  be  brief:  Yours  is  the  only 
negative  vote  that  has  been  registered 
from  any  part  of  the  country.  True, 
we  have  had  some  suggestions  which 
we  are  willing  and  happy  to  accept.  In 
any  departure  as  radical  as  our  press- 
book  change,  there  must  be  a  few  bugs 
to  be  ironed  out.  We  will,  as  an  ex- 
ample, work  out  some  way  of  making 
larger  ads  available  in  sizes  that  exhibi- 
tors may  cut  up.  This  appears  to  be 
the  complaint  of  a  sizeable  number  of 
showmen. 

However,  the  cheering  is  loud  and 
general  for  the  elimination  of  eyewash. 
We  plan  to  refine  our  format  still  fur- 
ther. We  plan,  however,  to  continue 
the  revolution. 

Paul  N.  Lazarus,  Jr. 
Columbia  Pictures 


To  the  Editor: 

I  think  that  a  pressbook  should  be  a 
service  book  containing  the  ingredients 
which  an  exhibitor  can  use  for  local 
publicity,  advertising  and  exploitation. 
It  need  not  be  on  fancy  paper  nor  need 
it  be  ornate.  There  are  however,  some 
pressbooks,  that  are  used  as  selling  aids 
by  salesmen.  In  these  cases,  something 
more  elaborate  than  a  mere  service  kit 
is  excusable. 

In  general,  my  views  are  that  a  press- 
book  should  not  be  too  overwhelming. 

Howard  Dietz 
Loew's.  Inc. 

*     #  * 

To  the  Editor: 

My  reaction  to  the  "Abbreviated 
Pressbook"  of  Columbia's  is  quite  spe- 
cific. Other  than  its  economy,  I  see 
nothing  to  commend  it. 

About  two  years  ago,  we  conducted 
a  very  extensive  survey  and  found  that 
if  there  were  any  complaints  as  to  con- 
tent and  size  of  pressbooks  from  exhibi- 
tors, it  was  a  request  for  more  material 
rather  than  less. 

I  think  to  call  an  impressive  cam- 
paign book,  eyewash,  negates  all  the 
fundamentals  of  the  business  we're  in. 
Whether  you  call  it  showmanship  or 
just  work,  the  more  opportunity  you 
give  the  exhibitor  to  obtain  material 
and  gain  inspiration,  obviously  the  eas- 
ier it  makes  his  job. 


BULLETIN 


Film    BULLETIN:    Motion    Picture    Trade  Paper 
published  every  other  Monday  by  Way  Publi- 
cations,   Inc.     Mo  Wax,   Editor  and  Publisher. 
PUBLICATION-EDITORIAL  OFFICES:    123?  Vine 
Street,  Philadelphia  7.  Pa.,  LOcust  8-0750,  0951. 
Philip    R.    Ward,    Associate    Editor:  Leonard 
Coulter,    New    York    Associate    Editor;  Duncan 
G.    Steck,    Business    Manager;    Marvin  Schiller, 
Publication   Manager;  Robert  Heath,  Circulation 
Manager.  BUSINESS  OFFICE:  522  Fifth  Avenue. 
New    York    34,    N.    Y.,    MUrray    Hill  2-3431; 
Alt  Dinhofer,  Editorial  Representative. 
Subscription   Rates:   ONE   YEAR.  $3.00 
in  the  U.  S.;  Canada,  $4.00;  Europe, 
$5.00.      TWO    YEARS:     $5.00    in  the 
U.   S.;  Canada.   $7.50;   Europe,  $9.00. 


In  light  of  the  greater  need  today 
than  ever  to  merchandise  picture  and 
in  light  of  the  criticism  of  the  exhibi- 
tor's failure  to  do  this  in  some  cases, 
I  think  the  curtailing  of  the  basic  tools 
which  any  distributor  is  expected  to 
supply  makes  no  sense  at  all. 

In  other  words,  I  don't  think  it  is  a 
good  idea. 

Roger  H.  Lewis 
United  Artists 

*  *  * 

To  the  Editor: 

I  agree  with  your  comments  regard- 
ing abbreviated  pressbooks,  but,  at  the 
same  time,  I  think  Paul  Lazarus  has 
made  an  important  step  in  the  right 
direction. 

Perhaps,  it  might  be  just  a  little  bit 
too  skimpy,  but  on  the  other  hand,  if 
he  is  able  to  overcome  the  pressbook 
"eyewash",  it  probably  will  save  distri- 
bution many  thousands  of  dollars  over 
a  period  of  time.  I  have  never  yet 
found  that  a  pressbook  sells  a  motion 
picture  to  an  exhibitor.  It  might  create 
an  interest,  but,  as  you  well  know,  all 
important  accounts  screen  a  film  before 
making  any  deal. 

I  am  100%  for  Paul's  abbreviated 
pressbooks  and  we  will  undoubtedly 
follow  suit.  We  may  not  cut  down  to 
such  a  degree,  but  will  give  a  little 
more  information  regarding  posters 
and  some  of  the  larger  ads. 

John  C.  Flinn 
Allied  Artists  Pictures 

*  *  * 

To  the  Editor: 

Your  comments  are  correct. 

But  economy  is  essential — if  we  don't 
economize  ourselves  out  of  business. 

"Enthusiasm"  for  pressbooks  is  not 
usually  forthcoming  no  matter  how 
hard  we  try.   So,  economy  takes  over. 

Let's  give  Lazarus  a  chance  for  re- 
actions. The  missing  element  may  be 
just  the  poster  reproduction  for  the 
reason  you  mention. 

Name  Withheld 


Film  BULLETIN    September  2,  1957        Page  5 


TO  TELL  YDU  THE  TRUTH  •  by  W.  Robert  Mazzocco 


A  Day  at  the  Beach  With  Pitchman  Todd 


The  weather  at  Asbury  Park  last  week  was  all  Mike  Todd's. 
The  sun  was  out,  the  temperature  balmy,  but  a  tornado  ran 
through  the  Berkeley  Carteret.  No  one  went  swimming;  every- 
one listened  to  a  stereophonic  voice  which  reverberated  along 
th  Jersey  shore.  Mike  Todd  was  entertaining  100  (count  'em) 
exhibitors  for  lunch,  for  dinner,  for  roundtable  roustabouting, 
from  North,  from  South,  even  the  wilderness  of  Beverly  Hills. 
Mike  Todd  had  an  announcement  to  make  about  the  eighth 
wonder  of  the  globe,  that  one  and  only  non-popcorn  picture, 
"Around  The  World  In  80  Days".  The  announcement  con- 
cerned future  showings  in  35  mm.  instead  of  the  original 
Todd  A-O,  a  bit  of  information  exhibitors  soon  learned  was 
extraneous  to  the  business  of  being  cajoled,  cankered  and 
casually  potted  at  various  times.  Mr.  Todd  is  both  a  show  and 
a  showman;  a  one  man  extravaganza  who  can  make  confusion 
worse  confounded  and  still  charm.  He  is  the  kind  of  gent  who 
could  sell  exhibitors  not  only  the  Brooklyn  Bridge  but  the 
East  River  along  with  it.  This  is  not  to  say  he  didn't  find 
hecklers  and  humdrum  hucksters  decrying  his  verbal  marathon. 
It  simply  means  that  whether  by  hook  or  by  crook  or  actually 
talking  you  into  a  coma,  Mr.  Todd  will  out.  It  is  something 
chemical  about  him.  And  there  is  no  antibiotic. 

One  can  tell  nothing  by  glancing  at  him.  He  has  the  looks 
of  common  clay:  a  rabble  rouser,  a  tradesman  or  a  bricklayer 
with  blue  jeans  and  lunch  box.  Under  scrutiny  things  change: 
short  and  slightly  stoop-shouldered,  oddly  attractive  in  a  Min- 
sky-mondane  way,  with  hunting-dog  eyes  that  abhor  the  wishy- 
washy  and  a  mane  of  black  hair  like  a  touch  of  Samson.  His 
nose  is  sharp  and  flares  at  the  portholes.  He  seems  continually 
on  the  scent.  Nothing  must  elude  him,  not  even  his  legend. 
Todd,  the  wiley  fox,  is  always  willing  to  talk  turkey,  to  talk — . 
And  off  he  goes  into  an  anecdote  about  Liz  w  hen  she  was  court- 
ing him  or  how  his  show  changed  the  history  of  the  French 
Republic.  His  dialogue  is  a  culture  all  its  own  and  its  route 
has  the  restlessness  of  a  word  association  test.  He  is  not  really 
neurotic,  but  sometimes  during  a  telltale  pause  he  looks  as  if 
he  just  lost  his  best  analyst.  However,  all  this  is  much  too 
literary  for  Mr.  Todd.  It  is  best  to  let  him  speak  for  himself. 
After  all,  the  Todd  lode  is  inexhaustable  .  .  . 

*  *  * 

On  the  Future  of  Showmanship:  "Listen,  believe  me,  the 
public  don't  fall  for  that  hard  sell  crap.  No  film's  colossal 
anymore.  You  gotta'  put  your  sales  talk  in  the  negative.  That's 
where  I  put  it  in  '80  Days'  and  that's  where  I'm  puttin'  it  for 
'Quixote'.  Everything  in  the  negative  and  the  price  too  ...  So 
what  about  'The  Ten  Commandments'?  To  hell  with  Moses." 

*  *  * 

On  the  difference  between  35  mm  and  70  mm  and  a  carping 
exhibitor  from  Jacksonville:  "Listen,  on  my  word  of  honor, 
my  son  and  I,  we  two  filmed  the  roller  coaster  scene  in  Ciner- 
ama, we  worked  with  anamorphic  lenses,  we  sat  with  all  those 
technicians  who  use  them  kinda'  words,  and  WE  couldn't  tell 
the  difference.  We  saw  '80  Days'  both  ways  and  we  couldn't 
tell  which  was  Todd  A-O  and  which  wasn't  .  .  .  Now  you  say 
you're  makin  money  with  your  A-O  showin,  so  why  the  beef 


about  a  guy  in  Tampa  who's  showin  it  in  35  mm?  ...  So 
who's  cheatin  the  audience?  I'm  gettin  mad  when  you  say 
things  like  that.  LOOK  WHAT  YOU'RE  GROSSING  .  .  . 
Just  let  me  see  the  books,  LOOK  ...  So  what  justifies  the  price 
without  Todd  A-O?  Six  million  dollars  spent  on  it,  that's 
what  .  .  .  Listen,  on  my  word  of  honor,  if  any  audience  notices 
the  difference,  I'll  give  a  thousand  dollars  to  charity,  white  or 
black  .  .  .  Listen,  my  son  and  I,  we  couldn't  tell  the  difference 
...  So  who's  gonna  carry  a  light  meter  with  them  to  check  the 

quality?   Customers  ain't  no  engineers.   My  son  and  I  ". 

(And  Mike  Todd,  Jr.,  a  soft  spoken  young  man  of  Levantine 
good  looks,  at  this  point,  raised  his  sad  Jeremiah  eyes  to 
heaven  and  sighed.) 

*  *  * 

On  the  Changing  Fortunes  of  Time:  "So  this  old  time  pro- 
ducer, he  said,  'Ach,  talkies  won't  last  two  weeks'  .  .  .  Now  I 
couldn't  understand  how  this  man  of  vision,  this  great  talent, 
could  talk  like  that.  So  years  later  I  ask  him  and  he  says  to 
me,  'Why  do  you  think,  huh?  I  had  fourteen  million  dollars 
in  the  silents,  SCHM --K!'." 

On  Good  Fellowship  and  Bob  O'Donnell:  "I  love  exhibi- 
tors and  I  love  Bob  O'Donnell.  It's  not  because  I'm  a  slob  I 
have  my  shirt  collar  open  like  this,  it's  because  I  want  to  make 
room  for  the  lump  in  my  throat  that  comes  when  I  speak 
of  him." 

*  *  * 

On  Sol  Schwartz,  a  Broadway  distingue  type  with  curly  gray 
hair,  and  president  of  RKO  Theatres:  "Solly  and  I,  we  really 
hate  each  other's  guts.  Upon  my  word  of  honor,  Solly,  am  I 
tellin  the  truth?  We  had  a  rhubarb  out  front  a  while  back, 
ABSOLUTELY  UNREHEARSED.  So  he  was  squawkin  about 
producers  always  showin  only  their  rough  cuts  to  exhibitors. 
So  I  ask  him  about  '80  Days'  and  he  says  he  saw  that  in  rough 
cut.  So  I  says,  you  know  somethin,  that's  the  way  everyone 
else  has  seen  it,  in  rough  cut,  cause  I  ain't  changed  it  yet.  Hah ! 
Hah!  Am  I  tellin  the  truth  Solly?  Upon  my  word  of  honor, 
everything  I  say  is  TRUE."  (Even  Mr.  Todd  twinkled  on  that 
one.  Mr.  Schwartz  laughed  disagreeably.) 

*  *  * 

On  Ponce  de  Leon  and  the  Todd  Cartouche:  "I  told  him, 
Izzy,  forget  about  keepin  the  butter  hot  for  the  popcorn. 
You're  too  old  to  run  the  store.  Let  your  son  run  it  .  .  .  It'd 
be  different  if  he  was  like  me,  I  got  a  new  birth  certificate. 
I'm  almost  the  same  age  as  Liz.  Gettin  younger  than  my  son." 

*  *  * 

And  finally  on  the  Todd  Raison  D'Etre:  "Listen,  I  love  this 
business.  Anyone  who  don't  love  it  should  get  the  hell  out. 
And  I  mean  that  and  I  know  those  Hollywood  cut-throats  are 
out  to  get  me.  But  I'm  givin  the  public  what  they  want.  I'm 
givin  them  the  STRANGE  AND  UNUSUAL,  you  gotta  give 
em  razzle  dazzle  or  they  don't  come.  Movie  goin  is  now  a 
state  occasion.  You  don't  need  genius,  you  need  showmanship. 
There  are  no  geniuses  around  anyway.  If  there  were  I'd  be  self 
conscious.  You  gotta  do  what  nobody's  done  before  .  .  .  You 
gotta  realize  EVERYTHING  S  CHANGED." 


Page  6       Film  BULLETIN    September  2,  1957 


A  HARD  MONEY  LOOK  AT  LOEWS,  INC.  One  of  the 
major  oddities  attending  the  sordid  doings  within  Hollywood's 
first  company  is  the  gush  of  mawkish  sentiment  spewing  from 
all  quarters.  Deep  has  run  the  poesy.  And  deeper  still  has 
been  the  flood  of  theatrical  gesture,  most  of  it  more  token  than 
real,  by  individuals  whose  relation  to  the  real  issues  at  stake 
couldn't  be  more  removed  if  they  were  Australian  bushmen. 
They've  even  dusted  off  luminaries  whose  names  must  be  ob- 
scure to  any  but  the  most  senior  members  of  filmdom,  and 
have  somehow  woven  these  representatives  of  Hollywood's 
cradle  time  into  the  fabric  of  the  fight.  All  in  all  it  has  been  a 
good,  if  gaudy,  show . 

However,  sanity  is  restored,  when,  upon  closer  study,  it  be- 
comes plain  that  the  majority  of  those  who  would  champion 
one  side  or  another  turn  up  embarrassingly  short  on  voting 
power.  For  one  reason  or  another,  everyone  seems  hell-bent 
on  going  on  record.  Few  appear  possessed  of  any  great  urgen- 
cy about  supporting  their  feelings  with  stock  purchase.  The 
Loew's  contest  is  thus  distinguished  for  having  attracted  the 
greatest  assemblage  of  coat-holders  to  grace  a  proxy  feud  in 
memory.  In  the  end,  each  camp  will  find  itself  dependent 
upon  the  same  hard  core  of  support  it  figured  on  in  its  original 
calculations.  The  charges  and  counter-charges  of  past  months 
should  change  little.  For  this  reason  Vogelites  know  they 
figure  to  win,  and  Tomlinsonites  must  know  they  figure  to 
lose.  It  is  thus,  simply  because  the  insurrectionists  failed  to 
make  their  case  on  the  one  ground  on  which  they  truly  had  a 
chance  to  win — liquidation. 

For  this  reason,  Tomlinson  and  company,  already  rebuffed  in 
the  courts,  do  not  appear  to  have  a  chance,  barring  a  corporate 
miracle.  Failing  to  make  capital  of  the  potentially  enormous 
windfall  shareholders  might  inherit  through  a  closing-out  pro- 
cess, Tomlinson's  remaining  arguments  come  through  as  a 
thinly  disguised  stab  at  fortune-hunting.  He  is  weakest  in  the 
role  of  corporate  revitalizer,  and  few  seriously  believe  his 
efforts  would  prove  of  consequence  under  a  scheme  of  con- 
tinuing operations.  Tomlinson  is  forever  the  promotor,  a  good 
one  to  be  sure,  and  his  value  to  shareholders  flows  directly 
from  his  skill  in  fiscal  maneuvering,  not  management. 

Joe  Vogel,  on  the  other  hand,  has  succeeded  wonderously  in 
rallying  the  ranks  of  filmdom  behind  him.  As  already  cited, 
the  bulk  of  this  support  may  be  termed  grandstand  encourage- 
ment. Of  all  the  elements  making  a  pro- Vogel  stand,  only  the 
theatre  interests  appear  to  represent  those  with  a  legimately 
practical  stake  in  the  matter.  The  only  positive  explanation 
for  the  fantastic  hoopla  surrounding  the  Loew's  cause  celebre. 
it  turns  out,  is  that  show  business  simply  loves  a  good  cry — the 
more  so  when  virtue,  honor  and  justice  appears  headed  for  the 
happy  ending  all  along. 

0 

Wall  Street's  hard  money  people  are  far  beyond  the  point  of 
sentimentalizing  on  the  Loew's  theme.  These  are  the  earth- 
bound  men  of  finance  who  have  favored  this  establishment 
with  investment  on  their  own  accounts  as  well  as  the  fiduciary 
accounts  of  their  clients.  Many  of  them  still  talk  like  Loew's 
press  agents  in  public.  In  their  private  off-the-record  rumina- 
tions the  language  waxes  exceedingly  tart.  Among  opinions 
expressed  by  Wall  Streeters  to  your  man  Ward  are  these: 
***A  plague  on  both  houses:  Vogel  for  drifting  idly  so  long 


FINANCIAL 

BULLETIN 

SEPTEMBER     2.  I9S7 


By  Philip  R  Ward 

before  deciding  to  shift  into  third  gear;  Tomlinson  for  robbing 
the  contest  of  its  liquidation  issue  which  interested  some 
money  men  far  more  than  control  of  the  board. 
***Had  Vogel  applied  his  promised  catharsis  of  the  manage- 
ment team  as  assiduously  as  he  defends  his  annointed  rank, 
current  difficulties  might  have  been  long  since  forestalled. 
:;:::::::Apparently  there  are  still  too  many  sacred  cows  within  the 
company,  especially  at  Culver  City,  for  Vogel  to  cope  with. 
They,  more  than  Tomlinson,  are  Vogel's  chief  problem.  A 
clean,  swift  break  with  the  past  has  been  and  still  is  indicated. 
By  the  nature  of  things,  Vogel  is  the  embodiment  of  severe 
austerity  in  the  aftermath  of  MGM's  golden  years.  The 
hangers-on  may  be  deemed  an  impediment  to  any  chief  execu- 
tive. But  one  keen  money  man  foresaw  a  vastly  strengthened 
Vogel  after  Sept.  12  taking  the  bull  (or  the  lion)  by  the  horns. 

***In  reality  there  is  little  likelihood  of  profits  from  studio 
operations  for  some  time  to  come.  The  question  is  merely  can 
losses  be  contained.  The  company  will  be  fortunate  to  earn 
S1.00  per  share,  sufficient  to  cover  estimated  SI. 00  dividend 
rate — probably  will  not.  The  one  saving  factor  is  that  revenue 
from  backlogs  leased  to  TV  may  return  SI. 00  per  share  after 
taxes  and  serve  hope  of  rising  to  S2.00  per  share  eventually. 
But  this  is  really  a  form  of  liquidation,  and  it  hardly  solves 
the  problem  within  the  studio. 

<0 

In  consequence  of  this  subdued  sentiment,  some  investment 
firms  are  unloading.  They  see  no  future,  only  a  past.  The 
market  has  recorded  the  evidence.  Loew's  has  sagged  to  a 
three  year  low.  The  pressure  is  all  on  the  selling  side.  Loew's 
sells  under  SI 7.  Isn't  this  the  point  to  jump  aboard? 

O 

MOVIE  SHARES  DIPPED  with  the  market  at  large  in  Au- 
gust. The  chart  below  pictures  film  company  and  theatre  com- 
pany month-by-month  movement. 


Film  BULLETIN  Cinema  Aggregate* 


FILM  COMPANIES  THEATRE  COMPANIES 


*  Composed  of  carefully  selected  representative  industry  issues. 


Film  BULLETIN    September  2,  1957        Page  7 


ONCE  THEY  HAD  CALLED  HER 
TRASH  AND  WANTON  —  now,  each  was 
ready  to  kill  to  claim  her!  ready  to  die  for  her  lips! 


The  last 
man  alive 
would  own  her  — 
but  would  he  be 
the  one  she  wanted 
...or  the  one  she 
feared  the  most? 


tip 

TUEHALFBR&O 


THE  COWARD 

TUB  VIURDEM 

m&    CINemaScopE  ^^wcomr 


r 


CO-STARRING  SYDNEY  CHAPLIN  JOHN  GAVIN  JOHN  LARCH 

Directed  by  HARRY  KELLER •  Screenplay  by  R.WRIGHT  CAMPBELL •  Produced  by  GORDON  KAY 


"The  Sun  Also  Rises" 

SU4  CH€44  'RcUiK?  O   O  O 
Highly  polished,  big  cast  Zanuck  production  of  Heming- 
way's tale  of  an  impotent  man  and  a  beautiful  woman. 
Strictly  for  the  adult  trade.  Strong  for  metropolitan  market. 

Let  it  be  said  immediately:  laurel-bedecked  producer  Darrvl 
F.  Zanuck  has  rendered  a  remarkably  faithful  screen  adaptation 
from  Ernest  Hemingway's  modern  classic  of  the  Lost  Genera- 
tion era  shortly  after  World  War  I.  In  telling  the  story  of  a 
doomed  love  affair,  of  the  battle-wounded  and  manhood- 
scarred  Jake  Barnes  and  he  elegant  bed-hopper  Lady  Brett  Ash- 
ley, set  against  an  insouciant  Paris  and  a  roistering  and  ribald 
Spain,  screenplayw  right  Peter  Viertel  captures  the  fabled  Hem- 
ingway dialogue  and  demeanor.  Even  the  sense  of  frustration 
and  hopeless  frenzy,  the  nucleus  of  the  novel's  peregrinations, 
has  been  almost  reverently  transposed  on  the  CinemaScope- 
DeLuxe  Color  screen.  However,  tw  o  flaws  do  damage  to  mood 
and  movement:  the  direction  of  Henry  King,  which  regrettably 
lacks  the  ironic  underplaying  and  primitive  tensions  inherent 
in  the  Hemingway  creation,  and  the  performances  of  stars  Ava 
Gardner,  Tyrone  Power  and  Mel  Ferrer,  who  do  not  always 
achieve  the  appropriate  tone  of  brittle  and  disillusioned  living. 
Still,  "The  Sun  Also  Rises"  has  the  Zanuck  touch  in  every  de- 
partment, and  it  should  be  a  boxoffice  success  in  the  metro- 
politan market.  It  may  prove  too  sophisticated  for  the  hinter- 
lands. There  is  splash  and  splendor  in  this  top-drawer  produc- 
tion, as  the  cameras  tour  the  Left  Bank,  the  colorful  Parisian 
gin  mills,  the  shimmering  coasts  of  Biarritz  and  the  captivating 
charivari  of  Pamplona  during  the  famed  bullfiight  season.  It  is 
here  that  the  film  flares  moltenly  alive  with  fantastic  shots  of 
bulls  running  rampant  through  thoroughfares  and  getting  readv 
for  the  charge  in  the  arena,  of  dazzling  close-ups  of  matadors 
and  toreros,  the  whole  fascinating  spectacle  of  the  stormv  Span- 
ish people  and  the  blood  and  sand  passion.  Against  so  vivid  a 
canvas  the  story  inevitably  seems  somewhat  pallid,  but  is  never- 
theless extremely  provocative,  a  very  adult  and  mature  product. 
For  Hemingway's  tale  has  Power  as  a  sexually  impotent  male 
from  a  war  injury  and  Miss  Gardner  the  beloved  beautv.  Their 
affair  hopeless  from  the  beginning,  only  serves  to  force  Miss 
Gardner  into  one  promiscuous  relation  after  another,  in  which 
her  vis-a-vis  become  successively  Power's  friend,  Mel  Ferrer, 
then  Erroll  Flynn,  and  finally  a  young  matador,  Robert  Evans. 
In  the  end,  Power  and  Gardner  are  left  as  we  found  them,  but 
though  their  sexual  lives  are  a  shamble  their  devotion  to  each 
other  increases.  The  ending  provides  a  soupcon  of  hope  as  the 
lovers  wander  off  into  the  rising  sun. 

20th  Century-Fox.     129  minutes.    Tyrone    Power.   Ava   Gardner    Mel   Ferrer  Pro- 
duced  by  Darryl  F.  Zanuck.    Directed  by  Henry  King. 

"Chicago  Confidential" 

Su4uu44  IRataef  ©  Q  Plus 

Fairly  exciting  melodrama  on  labor  rackets  front.  Exploit- 
able* in  title  and  topical  aspects  will  help  boxoffice. 

With  the  eyes  and  ears  of  the  nation  hell  bent  on  news  of 
labor  racketeering  in  one  area  and  loose  libidos  in  another, 
Robert  Kent's  production  "Chicago  Confidential"  should  find 
a  fairly  responsive  market,  especially  in  the  big  cities.  This 
United  Artists  release  not  only  concerns  itself  with  the  cur- 
rently publicized  operations  of  nefarious  unions,  but  also  just 
happens  to  have  the  good  fortune  of  a  well-nigh  magnetic 
word  in  its  title.  A  modest  cast,  headed  by  Brian  Keith,  Beverly 
Garland  and  Dick  Foran,  and  a  somewhat  slap-dash  Raymond 

[More  REVIEWS 


REVIEWS 
of  New  Films 


Marcus  screenplay  based  rather  freely  on  the  Lait-Mortimer 
best-seller  label  this  strictly  for  the  non-discriminating  devotees 
of  lurid  action  fare.  The  film  is  made  palatable  enough  by  the 
dorumentary-steered  direction  of  Sidney  Salkow.  The  story  has 
syndicate  boss  Douglas  Kennedy  setting  his  sights  for  a  fight 
for  control  of  the  Workers  National  Brotherhood  presided  over 
by  president  Foran.  When  WNB  treasurer  John  Morley  is 
murdered  bv  the  Foran  cut-throats.  State  Attorney  Keith  spon- 
sors an  investigation  in  the  hope  of  uncovering  the  Kennedy 
underworld.  To  frustrate  all  prosecution  attempts  Kennedy 
frames  the  Motley  death  on  Foran,  who  is  unable  to  vindicate 
himself  and  subsequently  convicted.  Miss  Garland,  finance  sec- 
retary of  WNB,  persuades  Keith  of  the  suspect  nature  of  the 
case  and  upon  further  sleuthing  he  comes  across  the  real  culprit 
and  rids  Chicago  of  labor  menace  Kennedy  in  a  wild  gun  bout. 

United  Artists.  73  minutes.  Brian  Keith.  Beverly  Garland.  Dick  Foran.  Produced 
by  Robert  Kent.    Directed  by  Sidney  Salkow. 

"Quantez" 

Sctdutete  1R<tfc«$  O  O  Plus 

Slow-moving  psychological  western  bolstered  by  Malone, 
MacMurray  names.  Will  disappoint  action  fans. 

Universal-International  is  offering  in  "Quantez"  one  of  those 
somber,  sluggish  Westerns  in  which  cowboy  characterizations 
rely  more  on  psychological  primers  than  the  traditional  gun 
and  leather  bouts,  and  in  which  mood  takes  the  place  of  mo- 
mentum. The  pace  is  slow,  very  slow.  However,  since  the 
mood  grows  out  of  the  relationships  of  four  outlaws  and  one 
girl  who  spend  a  night  in  a  deserted  town  which,  unknown  to 
them,  has  been  marked  for  destruction  at  dawn  by  Apaches, 
there  is  a  fair  degree  of  suspense.  While  derelict  in  his  atten- 
tion to  action,  director  Harry  Keller  has  managed  to  capture 
some  fairly  interesting  performances  from  stars  Fred  Mac- 
Murrav  and  Dorothy  Malone,  as  well  as  supporting  performers 
Sidney  Chaplin,  John  Larch  and  John  Gavin.  The  Malone 
MacMurray  names  will  give  it  a  good  start  in  most  situations, 
but  word-of-mouth  will  not  support  it.  Filmed  in  Cinema- 
Scope- Eastman  Color,  this  Gordan  Kay  production  follows  the 
ominous  tenor  of  R.  Wright  Campbell's  screenplay  as  it 
sketches  the  personalities  of  four  outlaws,  all  virtual  strangers 
to  each  other  but  who  united  in  a  bank  robbery  and  who  now 
seek  to  elude  a  posse  in  a  deserted  town.  The  gang  is  headed 
bv  bullying  blackguard  Larch  who  has  brought  with  him  Miss 
Malone,  the  mistress  he  takes  pleasure  in  persecuting.  Gavin,  a 
voung  Easterner  trying  to  earn  his  manhood  as  a  gunman,  and 
MacMurray,  a  mysterious  cowhand,  like  Miss  Malone.  Indian 
guide  Chaplin,  betrays  his  comrades  to  the  Apaches.  Protect- 
ing Miss  Malone  and  Gavin,  MacMurray  gives  up  his  life  so 
thev  have  a  chance  to  start  anew  . 

Universal-International.  80  minutes.  Fred  MacMurray.  Dorothy  Malone,  John 
Gavin.    Produced  by  Gordan  Kay.   Directed  by  Harry  Keller. 

on  Page  10] 

Film  BULLETIN    September  2,  1957        Page  9 


"My  Man  Godfrey" 

Still  a  show  of  huge  and  happy  fun.  Certain  to  delight  all 
audiences,  especially  sophisticates.  June  Allyson.  David 
Niven  carry  off  iany  lead  roles. 

That  celebrated  comedy  of  a  crazy  Park  Avenue  clan  and  a 
peerless  butler  has  been  revamped  by  Universal-International 
in  CinemaScope  and  Color,  and  the  result  is  good  news  in- 
deed. Still  called  "My  Man  Godfrey",  but  now  starring  June 
Allyson  and  David  Niven  in  the  roles  Carole  Lombard  and 
William  Powell  made  memorable,  the  film  should  find  all  ex- 
hibitors extending  the  welcome  mat  to  patrons  in  search  of 
some  pure  and  palpable  fun.  It  is  a  show  of  huge  and  happy 
fun.  For  producer  Ross  Hunter  and  director  Henry  Koster 
have  wisely  wrought  few  changes  in  all  the  daffy  charm  and 
the  pleasantly  potted  characters  of  the  original  Morrie  Rys- 
kind-Eric  Hatch  screenplay.  If  the  performances  of  the  current 
cast  are  somewhat  less  glittering  than  the  1936  exhibit  and  the 
Gregory  La  Cava  touch  is  missing,  "Godfrey"  in  its  new  garbs 
is,  nevertheless,  as  bright  and  buoyant  a  piece  of  merchandise 
as  anything  offered  this  season.  It  is  good  entertainment  for 
all  classes,  but  sophisticated  audiences  especially  should  revel 
in  its  humor,  as  common  sense  becomes  the  comic  whipping- 
boy  and  the  balloon  of  respectability  is  continually  burst  by 
the  madcap  momentum.  And  madcap  it  is,  from  the  first  shot 
of  Miss  Allyson  as  an  irrepressible  heiress  shooting  into  view 
with  her  whizzing  sports  car  to  the  last  as  she  races  to  a  pier  to 
catch  her  beloved,  but  deportee,  butler.  The  romance  began 
when  Miss  Allyson  discovers  a  bearded  and  bedraggled  Niven 
roosting  beneath  the  Brooklyn  Bridge,  whom  she  at  once  takes 
home  to  win  herself  first  prize  in  a  scavenger  hunt.  Miss  Ally- 
son's  home  is  a  euphemism  for  assorted  zanies:  an  addle-pated 
mother,  a  stunning  snob  of  a  sister  (Martha  Hyer)  and  a  har- 
assed and  henpecked  father.  At  any  rate,  into  this  haut  mondt 
zoo  Niven  is  soon  ensconced  as  the  new  butler  and  called  God- 
frey. As  it  turns  out  Godfrey  is  an  Austrian  of  royal  but  im- 
poverished pedigree  who  immigrated  to  America  illegally. 
However,  he  is  perfection  in  everything  and  survives  all  sorts 
of  wacky  adventures,  not  to  mention  arranging  a  bank  loan  for 
Miss  Allyson's  bankrupt  father.  When  Godfrey  is  finally  de- 
ported Miss  Allyson  sails  away  with  him  into  a  visa-less  but 
no  doubt  funfest  future. 

Universal  International.  92  minutes.  June  Allyson,  David  Niven  Martha  Hyer 
Produced  by  Ross  Hunter.    Directed  by  Henry  Koster. 

"The  Joker  Is  Wild" 

SutiKCU  &€tfiH$  OOO 

Engrossing  biography  of  Joe  E.  Lewis  with  Sinatra  in  fine 
fettle  as  famed  nite  club  comic.  Should  gross  well  in  big 
cities;  questionable  for  small  town  market. 

That  old  "from  tears  to  laughter"  roulade  sounds  through  a 
complex,  overlong,  but  colorful  Joe  E.  Lewis  account  in  Para- 
mount's  "The  Joker  Is  Wild".  Starring  the  redoubtable  Frank 
Sinatra  in  the  role  of  the  beloved  nite  club  clown  and  filled 
with  the  humor  and  heartbreak  of  show  business,  of  the  pub- 
lic triumphs  and  personal  torments  of  an  entertainer  whose  life 
has  become  a  Lambs  Club  legend,  "The  Joker  Is  Wild"  seems 
set  for  good  returns,  especially  in  the  metropolitan  areas  where 
interest  should  be  buoyant.  As  another  in  a  long  line  of  film 
dossiers,  this  is  a  notable  entry  principally  due  to  screenplav- 


wright  Oscar  Saul  and  director  Charles  Vidor,  who  have 
adapted  the  Art  Cohn  best  seller  with  an  eye  and  ear  always  to 
capturing  the  human  angles  of  Lewis'  life.  The  facts  of  his 
career  have  not  been  changed  and  his  footlight  psyche  with  a 
penchant  for  gambling,  booze,  night  life,  etc.  has  been  done 
with  uncompromising  candor.  Although  producer  Samuel 
Briskin  has  bedecked  his  Vista  Vision  production  with  the  stan- 
dardly sleazy  to  sumptuous  night  club  settings,  glorified  them 
with  those  lissome  and  leggy  artistes  known  euphemistically  as 
chorus  girls  and  thrown  in  some  vintage  Chicago  gangland 
shots,  the  viewer  leaves  the  theatre  with  the  Lewis-Sinatra 
characterization  paramount  in  his  mind.  And  this  is  as  it 
should  be,  for  Frankie  is  giving  one  of  his  most  accomplished 
renderings  and  Joe  E.'s  life  is  among  the  most  touching,  and 
at  the  same  time  richly  comic,  ones  that  present  day  show  busi- 
ness knows.  Lewis  (Sinatra)  is  first  seen  as  an  upcoming  pop 
singer  at  a  Chicago  speak  whose  future  is  unexpectedly  and 
tragically  blighted  by  some  gangland  hi-jinks.  When  Joe  E. 
attempts  to  leave  the  speak  for  a  better  engagement  elsewhere, 
the  owner's  toughs  take  him  to  task,  butcher  him  so  merci- 
lessly his  voice  is  shot.  He  disappears  from  sight,  on  the  skids 
most  of  the  time.  Old  pal  Eddie  Albert  arranges  his  comeback 
and  Joe  regains  his  fame,  this  time  as  comedian.  He  meets  and 
falls  in  love  with  society  beauty  Jeanne  Crain  but  feels  their 
totally  different  backgrounds  create  impasse.  During  WWII 
he  marries  young  dancer-singer  Mitzi  Gaynor,  but  after  three 
years  the  pact  breaks  and  Joe  is  left  a  lonely  entertainer. 

Paramount.  123  minutes.  Frank  Sinatra,  Mitii  Gaynor,  Jeanne  Crain.  Produced  by 
Samuel  Briskin.    Directed  by  Charles  Vidor. 

"The  Unholy  Wife" 
Sutineu  "Rati*?  O  O 

Diana  Dors,  Rod  Steiger  make  lurid  melodrama  fair  b.o. 

Lush  Diana  Dors  is  the  star  of  RKO's  "The  Unholy  Wife", 
so  exhibitors  can  look  forward  to  a  fair  response  to  this  saga 
of  a  lusty  but  lethal  blonde  who  almost  perpetrates  the  perfect 
crime  at  the  expense  of  her  bumpkin  husband.  The  robust 
Miss  Dors  is,  however,  the  only  ideal  item  about  producer- 
director  John  Farrow's  product,  a  Technicolored  bit  of  goods 
that  seethes  and  simmers  in  some  luridly  melodramatic  wrap- 
pings. Resembling  one  of  those  James  M.  Cain  concoctions  in 
which  the  deadly  and  dangerous  females  spin  black  widow 
plots  around  the  unwary  males,  Jonatham  Latimer's  screenplay 
has  all  the  dusty  appeal  of  a  resurrected  antique.  The  sizzling 
star  compensates  somewhat  for  the  absent  dramatic  fireworks, 
and  her  libidinous  encounters  with  Rod  Steiger  and  Tom 
Tyron  set  off  not  a  few  celluloid  bonfires,  all  of  which  should 
make  it  marketable  merchandise  for  metropolitan  ballyhoo 
situations.  Miss  Dors  is  the  bawdy  but  bored  wife  of  wealthy 
Napa  Valley  vineyard  owner  Steiger,  until  she  meets  sullen 
cowhand  Tyron  and  the  sensual  stratagems  begin.  Soon  her 
blonde  protoplasm  percolates  with  thoughts  of  her  husband's 
death,  which  subsequency  arrange  to  have  him  shot  as  a 
prowler.  When  Miss  Dors  finds  she  has  shot  Steiger's  best 
friend  and  not  her  husband,  she  respins  her  plot  and  Steiger 
agrees  to  take  the  blame  for  the  killing  after  Miss  Dors  admits 
her  parole  jumping  past.  The  prowler  killing  is  then  parlayed 
through  some  revealing  "plants"  by  her  into  cold-blooded  mur- 
der and  Steiger  is  convicted,  unknowingly  trapped  by  the 
woman  he  loves.  Miss  Dors'  web  spins  tighter  and  tighter, 
but  in  the  end  it  snaps  and  she  receives  retribution. 

RKO  Radio  (Universal  International!.  94  minutes.  Diana  Dors,  Rod  Steiger.  Tern 
Tyron.    Produced  and  directed  by  John  Farrow. 


Page  10        Film  BULLETIN     September  2,  1957 


"It  Happened  in  the  Park" 

GcC4i*C44  7Z*tc*$  O  O  O 

RaHng  is  for  art  houses.  Five  intriguing  episodes  in  Conti- 
nental film  which  can  be  sold  in  better  class  houses  in  U.S. 

An  Italian  film  performed  in  French  and  decked  out  with 
English  subtitles,  "It  Happened  In  The  Park"  is  another  one 
of  those  continental  delights  in  the  fanciful  and  frivolous  tra- 
dition of  "La  Ronde"  and  "Gold  of  Naples".  Set  against  the 
fabulous  gardens  of  the  Villa  Borghese  in  Rome  with  its  ma- 
jestic and  provocative  beautv  and  directed  by  Gianni  Francio- 
lini  with  all  the  intriguing  airs  of  a  precocious  schoolboy  on  a 
lark,  this  Ellis  Films  import  seems  assured  of  a  hearty  welcome 
from  art  film  audiences,  and  as  a  novelty  attraction  in  better 
class  houses.  The  screenplav  by  Serio  Amidei  concerns  itself 
with  five  short  sketches,  each  one  detailing  an  episode  as  it 
happened  within  the  famous  garden  and  park.  To  interpret 
this  potpourri  a  delightful  cast  of  European  stars  has  been  as- 
sembled, the  most  famous  being  Gerard  Philipe,  Micheline 
Presle,  Francois  Perrier  and  the  current  king  of  savoir  jaire, 
Vittorio  De  Sica.  Signor  De  Sica  does  his  bit  with  some  expert 
humorous  devices  as  he  conveys  the  befuddlement  of  a  dandy- 
ish lawyer  hell  bent  on  making  hay  with  a  young  signorita 
when  the  boy  friend  and  the  mama  arrive  on  the  scene.  What 
follows  is  a  superb  example  of  explosive  Italian  hilarity.  Mile 
Presle  and  Philipe  play  lovers  who  expose  their  own  illicit 
affair  with  wry  detachment  and  a  shining  skepticism.  They  per- 
form exquisitely,  as  do  Perrier  as  a  professor  and  young  Anna 
Maria  Ferrero  as  one  of  his  students.  The  lovely  Signorita 
Ferrero  plots  with  her  schoolmates  the  sexual  compromise  of 
Perrier  but  at  the  decoy  rendezvous  with  him  learns  of  his  un- 
happy life  and  refuses  to  continue  the  subterfuge.  The  last  two 
vignettes  concern  a  charming  tale  of  romance  between  two  shy 
yeung  things  and  their  embarrassment  with  a  marriage  broker 
and  a  wonderfully  raucous  and  lowdown  spoof  on  beauty  con- 
tests as  seen  through  the  eyes  of  two  ladies  of  the  evening.  The 
roles  of  these  tradeful  ladies  are  played  to  the  hilt  and  with 
fetching  candor  by  Eloisia  Cianni  and  Franca  Valeri.  As  you 
can  gather,  this  is  a  multifarious  treat  of  the  first  order,  a  bright 
and  bountiful  show. 

Ellis  Films.  96  minutes.  Vittorio  De  Sica,  Gerard  Philipe,  Micheline  Presle.  Pro- 
duced by  Astoria  Film.    Directed  by  Gianni  Franciolini. 

"Perri" 

IRatCHf  O   O  O 
Delightful  Disney  adventure  depicting  the  first  year  of  a 
squirrel.  Should  charm  young  and  old  alike. 

The  incomparable  Walt  Disney  has  a  new  and  blessed  screen 
event  in  his  Buena  Vista  production  of  Felix  Salten's  "Perri '. 
Those  who  fondly  remember  these  same  talents  at  work  in  the 
enchanting  "Bambi",  will  have  no  trouble  imagining  the  magi- 
cal import  of  the  current  opus.  But  while  "Bambi"  told  its 
story  thru  animated  cartoons,  "Perri"  uses  the  documentary 
style  employed  in  the  True-Life  Adventure  series.  Disney  is 
dealing  here  with  the  first  full  year  in  the  life  of  a  squirrel, 
our  titular  heroine,  in  such  a  way  as  to  move  out  of  the  orbit 
of  just  animal  study,  so  much  so  that  he  has  dubbed  his  under- 
taking True-Life  Fantasy.  If  such  a  labeling  seems  a  trifle 
paradoxical,  it  must  be  remarked  that  "Perri"  is  a  very  rare 
exhibit.  No  one  can  be  exact  in  describing  what  it  is  category- 
wise.  Suffice  to  say  its  achievement  is  like  no  other,  a  work 


almost  dream-like  in  its  perfection.  This  is  not  to  intimate 
that  we  have  here  a  great  work  of  art;  nothing  in  "Perri"  is 
that  profound  or  that  powerful.  However,  as  the  omniscient 
Disney  cameras  wander  through  the  forests  of  I'tah  and  Wyo- 
ming, exploring  the  dazzling  realm  of  natural  beauty  and  the 
like,  and  doing  all  this  as  it  follows  the  whole  gamut  of  our 
herbivorous  heroine's  feelings  and  adventures,  one  feels  a 
very  privileged  beholder,  in  the  presence  of  something  strange 
and  wonderful.  And  quite  a  gamut  there  is,  too.  Perri  is  not 
exempt  from  the  human  condition;  her  year  has  its  maturing 
share  of  fear  and  sorrow  as  well  as  humor  and  good  fellow- 
ship. Not  to  mention  the  piece  de  resistance  of  a  touching, 
if  somewhat  tempestuous,  romance  with  another  gallant  little 
nut  lover.  Every  department  is  superb,  most  especially  the 
lucent  narration  of  producer  Winston  Hibler  and  the  breath- 
taking photography  of  director  Paul  Kenworthy  and  his  crew. 
W  ithout  doubt  Mr.  Disney's  "Perri"  is  one  of  the  season's 
most  glowing  gifts.  Disney  fans  throughout  the  world  should 
be  quite  grateful  for  it. 

Buena  Vista.  75  minutes.  Produced  by  Winston  Hibler.  Directed  by  Paul  Ken- 
worthy  and  Ralph  Wright. 

"Tip  Dn  A  Dead  Jockey" 

3ci4utete  fcatitf  O  O  Plus 

Robert  Taylor,  Dorothy  Malone  give  this  b.o.  lift.  Engrossing 
story  of  flier  who  regains  courage  under  odd  circumstances. 

Irwin  Shaw's  sleek  and  saucy  New  Yorker  tale  of  a  World 
War  II  pilot  w  ho  becomes  one  of  those  American  irresponsibles 
abroad,  arrives  in  black-and-white  CinemaScope  with  few  eli- 
sions of  its  sophisticated  veneer,  but  with  the  addition  of  mani- 
fold M-G-M  melodramatics.  The  professionalism  of  director 
Richard  Thorpe  and  screenplayw  right  Charles  Lederer  always 
manages  to  keep  things  interesting  and,  in  the  latter  portions, 
quite  eventful.  Starring  Robert  Taylor  as  the  pilot  who  has  lost 
his  flying  nerve  and  Dorothy  Malone  as  his  estranged  but  lov- 
ing wife,  this  Edwin  Knopf  production  set  against  some  sultry 
and  scenic  backgrounds  of  Madrid  should  attract  the  adult 
audience,  especially  in  metropolitan  areas.  Everything  about 
this  film  with  the  odd  title  has  a  smooth  and  sensuous  sheen, 
from  the  smart  dialogue  to  the  cool  and  calculated  pace  and  the 
generally  expert  histrionics  of  the  performers.  In  fact,  the  only 
flaw  is  the  major  and  at  times  over-riding  one  of  plot,  in  which 
character  is  rather  cavalierly  relegated  to  situaiton,  and  situa- 
tion is  allowed  to  rear  its  contrived  head  much  too  often.  Be 
that  as  it  may,  the  plot  finds  man-w  ith-a-past  Taylor  living  in 
neurasthenic  dalliance  with  wartime  buddy  Jack  Lord  and 
Lord's  wife,  Gia  Scala,  for  whom,  incidentally,  Taylor  fancies 
a  grand  but  frustrated  passion.  To  complicate  matters.  Miss 
Malone  arrives  in  Madrid  and  tells  Taylor  she  has  given  him 
the  divorce  he  requested.  But  the  reverse  is  true:  Miss  Malone 
seeks  to  win  back  her  husband  and  discover  the  psychological 
block  that  caused  his  defection  from  flying.  Shady  stranger 
Martin  Gabel  overseers  the  on-track  murder  of  a  jockey  on 
whom  Taylor  has  pocketed  his  last  farthing,  in  order  to  force 
him  to  fly  contraband  English  currency  out  of  Egypt.  Taylor 
first  persuades  Lord  to  take  the  job,  but  then  decides  to  do  it 
himself.  He  goes  through  a  paroxysm  of  fear  at  the  thought  of 
taking  to  air  again,  but  in  the  end  agrees  to  chance  his  fate. 
Later,  aboard  the  plane  he  discovers  he  is  smuggling  narcotics 
and  dispatches  the  information  to  the  authorities,  who  arrest 
Gabel.  Taylor  regains  his  self-respect,  courage  and  wife. 

Metro-Goldwyn-Mayer.  129  minutes.  Robert  Taylor.  Dorothy  Malone,  Gia  Scala. 
Produced  by  Edwin  Knopf.   Directed  by  Richard  Thorpe. 

Film  BULLETIN    September  2,  1 957        Page  11 


I 


OF'EM  ALL 


NAME  IN  ROCK'N'  ROLL- Alan  Freed  himself! 
STORY  OF  ROCK'N'  ROLL- told  by  the  man  who  started  it 
ROCK'N'ROLL  STARS  known  across  the  land! 
SHOW  that  ever  rocked  to  music's  most  sensational  beat! 
TIMELY  RAGE  ever  to  roll  money  into  the  boxoffice! 


BIGGE 
BIGGE 
BIGGE 
BIGGE 


IOOK  IT  RIGHT  NOW!  CALL 

flISTER  ROCK  AND  ROLL"  starring  ALAN  FREED  •  co-starring  Rocky  Graziano  •  Teddy  Randazzo  •  Lois  O'Brien  and  Lionel  Hampton  and  his  Band 
:rankie  Lymon  and  The  Teenagers  •  Chuck  Berry  •  La  Vern  Baker  •  Clyde  McPhatter  •  Brook  Benton  •  Little  Richard  •  Ferlin  Husky  •  The  Moonglows 
Shaye  Cogan  •  Produced  by  Ralph  Serpe  and  Howard  B.  Kreitsek  •  Directed  by  Charles  Dubin  •  Written  by  James  Blumgarten  •  A  Paramount  Release 


Who's  Who 
In  Struggle 
For  Loew's 

From  FORTl  \l 

WAR  AMONG  THE  LION  TAMERS 

by  Emmet  John  Hughes 

The  long  fight  for  control  of  M.G.M.  is  rapidly  approach- 
ing a  decision.  The  thirty-three-year-old  producing  studio  of 
Loew's  Inc.  is  the  biggest  and,  by  appearances  at  least,  the  sick- 
est giant  of  the  motion-picture  industry.  And  for  possession 
of  this  somewhat  flabby  but  immensely  famed  hulk  there  rages 
a  struggle,  as  intricate  as  it  is  frenzied,  that  is  now  in  its  sec- 
ond year  and  nearing  a  climax. 

In  keeping  with  the  times,  the  contest  is  being  waged  on  a 
wide,  wide  screen  that  takes  in  not  only  Beverly  Hills  and  Cul- 
ver City,  but  Wall  Street  and  lower  Broadway.  The  formid- 
able cast  includes  a  former  Secretary  of  Defense,  a  former  Sec- 
retary of  the  Navy,  a  former  Secretary  of  the  Army,  a  former 
chairman  of  the  board  of  a  major  auto  maker,  the  president  of 
a  steamship  line,  and  a  New  York  newspaper  publisher.  Stand- 
ing weightily  in  the  background  are  two  of  Wall  Street's  most 
distinguished  investment-banking  houses,  Lehman  Bros,  and 
Lazard  Freres,  which  directly  control  some  400,000  of  Loew's 
5,300,000  outstanding  shares.  Ostentatiously  in  the  foreground 
are  a  multimillionaire  Canadian  road  builder,  a  man  of  elusive 
purpose  and  180,000  shares;  and  a  onetime  TV  producer  with 
puny  stock  power  (a  mere  5,000  shares)  but  prodigious  ambi- 
tion— specifically,  to  be  president  of  Loew's,  Inc. 

The  struggle  swirls,  incongruously,  around  a  man  of  soft 
speech  and  mild  temper.  This  central  figure  is  Joseph  R. 
Vogel,  the  president  of  Loew's  since  October,  1956.  Sur- 
rounded by  a  board  of  directors  both  implacably  divided  and 
singularly  inexperienced  in  the  motion-picture  business  ("It's 
like  Ava  Gardner  and  Robert  Taylor  running  U.S.  Steel,"  says 
an  openmouthed  M.G.M.  executive),  Vogel  today  lives  a  life 
that  is  possibly  more  painful  and  precarious  than  that  of  any 
other  chief  executive  of  a  major  U.S.  corporation.  Or,  as  one 
of  his  anxious  lieutenants  picturesquely  states  the  matter:  "The 
poor  guy  is  living  in  a  God-damn  concentration  camp.  He's 
hanging  by  his  thumbs." 

An  elongated  shadow  on  the  scene  is  the  figure  of  seventy- 
six-year-old  Nicholas  Schenck,  onetime  carnival  man,  for 
twenty-eight  years  Loew's  president,  until  misfortune  and  mis- 

(Continued  on  Page  15) 


WITH  THE  approaching  climax 
of  the  contest  between  the 
factions  struggling  for  control  of 
Loew's,  Inc.,  there  is  great  interest 
throughout  the  motion  picture  in- 
dustry and  the  financial  world  about 
the  personalities  involved  in  this 
titanic  tussle.  Considerable  light 
has  been  thrown  on  the  principals 
from  two  sources:  an  article  in  FOR- 
TUNE Magazine  of  August  titled 
"War  Among  the  Lion  Tamers",  by 
Emmet  John  Hughes,  and  Bosley 
Crowther's  engrossing  book,  THE 
LION'S  SHARE,  chronicling  the  fab- 
ulous story  of  M-G-M.  With  the  per- 
mission of  FORTUNE,  Mr.  Crowther 
and  E.  P.  Dutton  &  Co.,  publisher  of 
his  book,  we  present  these  enlight- 
ening passages  dealing  with  many 
of  the  personalities  embroiled  in  the 
fierce  fight  to  rule  Loew's. 


From 

THE  LION'S  SHARE 

by  Bosley  Crowther 

The  sense  of  relief  and  thanksgiving  that  the  nation  felt 
with  the  end  of  World  War  II  was  shared  in  unqualified  mea- 
sure by  the  people  of  the  film  industry.  They  glowed  with  a 
sense  of  fulfilling  the  service  of  keeping  the  nation  enter- 
tained, and  they  dwelt  in  the  comfortable  security  that  easy 
prosperity  brought.  But  they  were  due  for  a  violent  deflation 
within  the  next  decade.  The  fat  accumulated  in  the  war  years 
was  to  be  quickly  and  cruelly  sweated  off. 

The  picture  of  a  bully  snatching  candy  from  a  youngster 
best  conveys  a  notion  of  the  shock  that  sudden  changes  in  the 
postwar  period  caused  the  film  industry.  The  emergence  of 
television  as  a  device  for  entertainment  in  the  home  presented 
the  menace  of  a  monster  within  a  couple  of  years.  This  thing 
that  the  motion  picture  people  had  looked  upon  with  amuse- 
ment and  scorn  in  its  prewar  experimental  stages  now  loomed 
as  an  ominous  enemy.  It  was  to  steal  the  movies'  patrons  more 
surely  and  shamelessly  than  ever  the  nickelodeons  stole  cus- 
tomers from  the  costlier  vaudeville  shows. 

But  even  before  television  began  to  freeze  the  public  in  their 
homes,  there  were  other  postwar  changes  that  snatched  the 
patrons  from  the  movie  theatres.  There  was  the  drain  upon 
family  resources  that  the  purchase  of  new  automobiles,  wash- 
ing machines,  refrigerators,  houses,  baby  layettes  and  all  such 
items  as  were  now  liberated  inevitably  caused.  There  was  the 
pull  of  other  forms  of  entertainment  that  could  again  be 
reached  easily.  And  there  was  the  fact  that  routine  motion  pic- 
tures themselves  had  begun  to  pall. 

A  decline  in  the  quality  of  movies  during  the  war  years, 

( Continued  on  Page  17) 


Film  BULLETIN    September  2,  1957        Page  13 


NEVER  IN  THE  HISTORY  OF  OUR  INDUSTRY  HAS  ONE 
COMPANY  DELIVERED  FIVE  MOTION  PICTURES  OF 
SUCH  MAGNITUDE  IN  SO  SHORT  A  SPAN  OF  TIME! 

UXM  FABULOUS  FIVE  | 


KIM  NOVAK 
JEFF  CHANDLER 


in  GEORGE  SIDNEY'S 


costamng  AGNES  MOOREHEAD 

with  CHARLES  DRAKE  •  LARRY  GATES  •  VIRGINIA  GREY  •  GENE  LOCKHART  •  Sceen  Play  by  DANIEL  FUCHS. 
SONYA  LEVIEN  and  JOHN  FANTE  •  Story  by  DANIEL  FUCHS  •  Produced  and  Directed  by  GEORGE  SIDNEY 


GLENN  FORD 
VAN  HEFLIN 
FELICIA  FARR 

Screen  Play  by  HALSTEO  WELLES  ♦  Based  on  a  story  by  ELMORE  LEONARD 
Directed  by  DELMER  DAVES  •  Produced  by  DAVID  HEILWEIL 


tS  Yi/mA 


JACK  LEMMON 
ERNIE  KOVACS 
KATHRYN  GRANT 
RTHUR  O'CONNELL 
..MICKEY  ROONEY 


OPERATION  ilOTDBflU* 


with  DICK  YORK  •  JAMES  DARREN  •  ROGER  SMITH  •  WILLIAM  LESLIE 
Screen  Play  by  ARTHUR  CARTER,  JED  HARRIS  and  BLAKE  EDWARDS 
From  a  play  by  ARTHUR  CARTER  •  Directed  by  RICHARD  QUINE 
Produced  BY  JED  HARRIS  •  A  JED  HARRIS  PRODUCTION 


SAM  SPIEGEL  PRODUCTIONS  presents 

WILLIAM  HOLDEN 


ALEC 
GUINNESS 


JACK 
HAWKINS 


with  SESSUE  HAYAKAWA  •  GEOFFREY  HORNE  •  JAMES  DONALD  •  ANN  SEARS  . 

Based  on  the  novel  by  PIERRE  BOULLE 

Directed  by  DAVID  LEAN  •  Produced  by  SAM  SPIEGEL 

CINEMASCOPE  TECHNICOLOR® 


RITA  HAYWORTH 
FRANK  SINATRA 


*tme  BRIDGE  " 

ON  THE 

RIVER  KWAI 


KIM  NOVAK 


Pal  Joey 


Screen  Play  by  DOROTHY  KINGSLEY  •  Based  on  the  play  "PAL  JOEY"  •  Book  by  JOHN  O'HARA 
Music  by  RICHARD  RODGERS  •  Lyrics  by  LORENZ  HART  •  Produced  on  the  stage  by  GEORGE  ABBOTT 
ESSEX-GEORGE  SIDNEY  PRODUCTION  •  Produced  by  FRED  KOHLMAR  •  Directed  by  GEORGE  SIDNEY 


They're  all  BIG  from... 


TECHNICOLOR® 


I 


WHO'S  WHO  IN  LOEWS  STRUGGLE 

Fortune  Story  Describes  3i-G-3l*s  Post-war  Troubles 


(Continued  from  Page  13) 

management  precipitated  his  involuntary  retirement  in  late 
1955.  And  bellowing  his  cues  from  off  stage  to  his  favored 
principals  in  the  drama  is  the  irrepressible  Louis  B.  Mayer,  the 
seventy-two-year-old  "Mr.  Hollywood"  who  graduated  from 
the  junk  business  to  preside  over  M.G.M.  through  most  of  its 
time  of  growth  and  glitter,  until  Schenck  forced  his  retirement 
in  1951.  Resentful  of  his  rude  fate,  and  contemptuous  of 
M.G.M.'s  misadventures  since  that  date,  Mayer,  prowling  the 
spacious  rooms  of  his  Beverly  Hills  mansion,  hurls  his  grand 
challenge  to  all  visitors:  "/  could  save  this  siutation — turn  it 
around  right  away — or  I'll  eat  my  shoes  for  breakfast." 

Clearly,  this  is  a  unique  collection  of  businessmen,  bent 
upon  discordant  strategies,  but  as  each  has  played  his  role,  one 
touching  harmony  has  emerged.  As  if  some  unseen  director 
had  instructed  each  and  all  in  a  single  mannerism,  there  comes 
a  moment  when  almost  every  individual  draws  himself  up- 
right, places  his  right  hand  over  his  heart,  swallows  hard  with 
emotion,  and  intones:  "I  want  nothing  for  myself — I  only 
want  to  see  this  great  company  be  really  great  once  more.  For 
the  sake  of  M.G.M.  For  the  sake  of  the  industry.  /  don't 
want  a  thing.  Not  a  thing." 

"Let  'em  spend  their  own  money" 

What  is  there  to  stir  up  such  struggle?  The  answer  is:  a 
good  deal  more  than  Loew  s  slack  earnings  reports  would  ever 
suggest.  At  stake  is  a  corporation  with  the  greatest  prestige  in 
the  industry  and  S220  million  in  assets;  187  acres  of  matchless 
studio  property  in  Culver  City,  California;  and — by  1956  fiscal 
reckoning — SI 72  million  in  gross  revenues.  There  is,  too,  a 
reservoir  of  talent  and  technique  great  enough  to  make 
M.G.M.  once  again  leader  of  the  industry.  And  there  is,  in 
M.G.M.'s  research  laboratories,  the  capacity  to  revolutionize 
the  business  of  movie  making. 

Yet  only  great  and  grave  misfortune  could  have  made 
M.G.M.  the  scene  for  such  a  power  struggle.  A  good  part  of 
this  misfortune  was  simply  M.G.M.'s  share  of  the  whole  movie 
industry's  postwar  troubles.  Those  included  the  competition  of 
television,  the  shift  of  population  away  from  metropolitan 
centers,  the  phenomenal  soaring  of  production  costs.  A  Su- 
preme Court  decision  in  1948,  in  effect  ordering  separation  of 
theatres  and  studios,  cracked  the  traditional  structure  of  the 
industry.  On  top  of  that  came  the  rebellion  of  the  industry's 
"independents" — stars,  directors,  and  producers  who  incor- 
porated, spurned  the  fixed  salaries  that  they  had  to  share  so 
heavily  with  the  government,  and  instead  exacted  fat  percent- 
age deals  (50  per  cent  of  profits  or  10  per  cent  of  gross). 

The  troubled  industry  might  have  hoped  for  vision  and 
leadership  from  Loew's  M.G.M. — glutted  with  start  as  it  was, 
and  distinguished  as  the  one  great  studio  not  to  suffer  bank- 
ruptcy during  the  depression  of  the  1930  s.  Instead,  the  man- 
agement of  Nicholas  Schenck  behaved  with  a  sullen  contempt 
for  the  forces  that,  in  the  decade  from  1946  to  1956,  drove 
corporate  income  down  from  SI 8,690,000  (S3.66  a  share)  to 
S4,840,000  (S0.91  a  share).  Action — or  inaction — on  three 
fronts  contributed  to  this  dismal  decline: 

•  While  Loew's  stalled  on  the  Supreme  Court's  1948  decision, 
competitors  went  ahead  and  cut  their  theatres  loose,  and  con- 


centrated on  making  superior  films  worthy  of  booking  by  in- 
dependent exhibitors. 

•  Loew's  closed  its  eyes  to  the  challenge  of  television,  assuring 
itself  that  TV  would  need  Hollywood  in  general  and  M.G.M. 
in  particular.  Louis  B.  Mayer  recalls  vividly  (and  wrathfully) 
the  day  in  1949  when  R.C.A.'s  David  Sarnoff,  urgentlr  pound- 
ing the  luncheon  table,  tried  to  persuade  Schenck  to  put 
Loew's  into  a  fifty-fifty  partnership  with  R.C.A.  Schenck  de- 
murred, afterward  nudged  Mayer  contentedly  and  mumbled: 
"Ya  see  how  hungry  they  are  for  us?  Let  'em  spend  a  little 
more  of  their  own  money — we  can  come  in  any  time." 

•  Loew's,  under  the  stubborn  Schenck,  refused  to  come  to 
terms  with  independent  production  at  a  time  when  all  Holly- 
wood talent  was  organizing  itself  in  personal  companies  that 
would  pay  off  in  capital  gains  or  corporate  profits  instead  of 
straight  income.  Stars  deserted  the  M.G.M.  lot  as  fast  as  their 
contracts  expired.  Literary  agents  sold  their  best  material  (The 
Caine  Mutiny,  Stalag  17,  etc.)  to  studios  willing  to  make  per- 
centage deals.  And  the  greatest  studio  extended  its  near-hitler 
streak:  in  fifteen  years  M.G.M.  has  produced  but  one  Academy 
Award-winning  film. 

The  final  decline  in  M.G.M.'s  prestige  is  linked  by  many  in 
Hollywood  to  the  regime  of  Dore  Schary,  who  succeeded  Louis 
B.  Mayer  as  M.G.M.  production  boss  in  1951.  The  triangular 
relationship  of  Mayer-Schary-Schenck  was  charged  with  such 
electric  emotions  as  few  businesses  outside  filmdom  can  gener- 
ate. The  aging  Mayer  himself,  as  studio  head,  had  brought 
Schary  to  M.G.M.'s  lot.  But  their  personalities  and  preroga- 
tives quickly  clashed:  they  soon  found  themselves  competing 
for  the  backing  of  Schenck  and  of  Loew's  New  York  business 
offices.  Schenck,  for  some  years,  had  grown  increasingly  re- 
sentful of  Mayer's  personal  prestige,  and  Mayer's  disdain  for 
"the  pencil  pushers"  who  kept  the  company  books.  So  Schenck 
thoroughly  enjoyed  Schary's  appealing  to  him  on  production 
decisions,  and  was  delighted  to  accept  Mayer's  angry  resigna- 
tion in  1951. 

"A  pot  of  message" 

To  the  stocky,  aggressive,  and  bombastic  Mayer,  Schary  was 
quite  a  contrast:  lean  and  scholarly-looking,  self-cast  for  the 
role  of  Hollywood's  leading  liberal  intellectual.  Debate  over 
Schary's  performance  and  personality  still  goes  on  around 
Hollywood.  No  one  doubts  that  he  is  a  man  of  talent — and 
almost  no  one  denies  that  he  was  notably  unsuccessful  as 
M.G.M.'s  production  chief.  Collective  decisions  were  rarely 
possible  under  his  rule:  he  highhandedly  bought  stories  and  as- 
signed production.  He  seemed  to  M.G.M.  veterans  singularly 
uncritical  of  every  M.G.M.  product:  he  commonly  scorned  the 
warnings  of  advert  preview  reaction.  His  contempt  for  the 
popular  and  his  accent  upon  the  "serious"  led  to  the  gibe, 
"We  used  to  be  in  the  entertainment  business,  but  have  sold 
our  soul  for  a  pot  of  message."  The  measurable  failure  came 
at  the  box  office,  where  some  of  Schary's  favorite  projects 
scored  striking  losses:  Jupiter's  Darling  lost  S2, 200,000,  Ply- 
mouth Adventure  SI, 800,000. 

The  decade  of  M.G.M.'s  misadventures  thus  encompassed 
both  management  and  production  failures.   Beyond  this,  the 

(Continued  on  Page  17) 


Film  BULLETIN    September  2,  1957        Page  15 


The  slogan  for  Warners'  up- 
coming Branch  Managers'  Drive 
is  "Watch  Warners  put  the  gold 
in  the  industry's  Golden  Jubilee/' 

This  slogan  is  for  real.  Our 
Drive  began  with  "THE  PAJAMA 
GAME"  at  Radio  City  Music  Hall 
and  across  the  nation  as  the 
No.  1  Labor  Day  attraction. 

Watch  the  gold  pour  in. 


We  just  saw  the  rough-cut  of  marlon 
brando  in  usayonara"  and  so  did  Russell 
Downing,  Ed  Hyman,  Harry  Kalmine, 
Samuel  Rosen  and  Sol  Schwartz.  Ask  them 
what  they  think  and  they'll  tell  you  it's  a 
guaranteed  gold-mine. 


EXCLUSIVE! 


"Wai  Li ii it idator!99—  T ontiinson 


Joseph  Tomlinson  has  been  a  veritable 
will-o'-the-wisp  to  the  press,  both  lay 
and  trade,  ever  since  he  and  his  cohorts 
declared  their  intention  of  taking  con- 
trol of  Loew's,  Inc.  The  leader  of  the 
faction  seeking  to  remove  Joseph  R. 
Vogel  as  president  of  Loew's  has  pre- 
ferred to  keep  his  own  counsel,  persis- 
tently dodging  all  efforts  by  the  press 
to  elicit  his  views  on  the  situation. 
However,  on  Wednesday,  August  28,  at 


the  Statler  Hotel  in  Washington,  D.  C, 
Mr.  Tomlinson  talked  with  the  Editor 
of  Film  BULLETIN.  He  left  no  doubt  of 
his  pique  at  the  treatment  accorded  him 
by  the  press  in  the  Loew's  case.  "Some 
of  the  things  I've  read  about  myself 
make  me  wonder  what  kind  of  a  man  I 
am:  whether  my  name  is  really  Tom- 
linson or  something  else",  he  said  in 
tones  of  obvious  bitterness. 
"I'll   not  conduct  this  battle  in  the 


press",  Tomlinson  told  us.  "It's  a  mat- 
ter for  the  courts  to  decide  now."  He 
intimated  that  he  might  call  a  press 
conference  in  New  York  following  the 
decision  by  Wilmington  (Del.)  Chancel- 
lor Colins  J.  Seitz  on  an  appeal  for  post- 
ponement of  the  scheduled  (Sept.  12) 
stockholders  meeting. 
Asked  for  a  direct  statement  on  the 
burning  question  about  his  intentions 
concerning  Loew's,  Inc.,  Tomlinson's 
reply:  "If  you  want  the  answer  to  the 
question  whether  I'll  be  the  liquidator 
of  Loew's — my  answer  is  no!"  —  M.W. 


WHO'S  WHO  IN  LOEW'S  STRUGGLE 

WAR  AMONG  THE  LION  TAMERS 

( Continued  from  Page  1  5 ) 

Schenck  regime  carried  a  burden  of  inglorious  memories  that 
grew  ever  heavier  with  passing  time  and  declining  profits. 
There  was  the  stain  of  the  fabulous  transaction  in  1929,  when 
Schenck  and  his  treasurer  literally  tried  to  sell  out  their  own 
company:  they  made  S9  million  by  selling  a  block  of  493.003 
shares  of  Loew's  stock  at  approximately  twice  ths  marker  value 
— to  William  Fox,  Loew's  chief  competitor.  There  was  the 
1941  scandal  of  Schenck's  payoff  to  labor  racketeers  Willie 
Bioff  and  George  Browne  of  the  stagehands'  union — involving 
S50.000  raised  (by  Schenck's  admission)  by  having  his  New 
York  executives  pad  their  expense  accounts.  There  was  the  in- 
tricate web  of  nepotism  that  linked  relatives  of  Schenck  and 
Charles  ("Carnation  Charlie")  Moskowitz,  Schenck's  intimate 
and  Loew's  treasurer,  in  many  branches  of  Loews' — while  four 
key  suppliers  of  Loew's  (carpets,  posters,  advertising,  candy 
concession)  were  at  least  partly  owned  bv  brothers  or  nephews 
or  nieces  of  Schenck  or  Moskowitz.  There  were  the  bloated 
salaries  paid  to  top  executives  regardless  of  M.G.M. s  revenues 
(in  1955,  SI"  1,~86  to  Schenck,  S200,000  to  Schary,  SI 56,429 
to  Moskowitz — and  a  lush  pension  fund  that,  over  a  decade, 
sucked  S3. 500,000  a  year  from  company  profits.  There  was  the 
arrogance  of  Schenck  in  disdaining  to  attend  stockholder's 
meetings  or  to  break  down  over-all  profit-and-loss  figures  so 
that  they  would  reveal  the  true  picture  about  M.G.M.  Thus  it 
was  possible  while  declaring  dividends  in  excess  of  earnings  to 
keep  secret  such  statistics  as  these  (never  before  made  public): 

•  Over  the  ten-year  period,  1947-56,  the  net  result  of  all 
M.G.M.  film  production  was  a  loss  of  more  than  $6  million. 
In  1956  alone  losses  on  film  production  hit  S4, 600,000. 

•  Losses  were  offset  (or  hidden)  only  by  profits  from  the  re- 
issue of  old  films.  These  netted  more  than  SI 6,800,003;  the  re- 
issue of  Gone  With  the  Wind  netted  over  SI  1,500,000. 

•  All  the  while,  M.G.M.  facilities  were  maintained  at  a  level 
capable  of  producing  forty  to  fifty  films  a  year,  and  these  fa- 
cilities cost  the  studio  as  much  as  S10  million  in  overhead  in 
1956.  Actual  production  in  1956,  however,  was  a  mere  twenty 
pictures. 

The  new  disorder 

The  end  of  the  old  disorder — and  the  beginning  of  the  new 
disorder — came  in  the  autumn  of  1955.   The  fall-off  in  earn- 

(Continued  on  Page  18) 


THE  LION'S  SHARE 

(Continued  from  Page  13) 

when  talent  was  tight  and  the  demands  of  the  customers  were 
casual,  was  unavoidable.  But  the  studios  were  slow  and  gravely 
sluggish  in  getting  back  into  prewar  form.  They  generally  per- 
sisted in  the  usual  attitude  of  sublime  complacency  until  the 
horses  were  stolen  and  the  wolves  were  prowling  outside  the 
stable  doors.  For  the  reasons  of  executive  confusion  and  ineffi- 
ciency that  we  have  seen,  inability  to  readjust  to  the  new  con- 
ditions was  downright  chronic  at  Metro-Goldw  vn-Maver. 

More  oppressive  than  the  quality  of  the  pictures  was  the 
financial  situation  of  Loew's,  Inc.  After  showing  a  record  net 
income  of  S  18,000,000  on  its  annual  statement  in  September, 
1946,  its  profits  took  a  nose  dive.  Two  years  later,  in  Septem- 
ber 1948,  it  showed  a  net  of  S4,2 12,000  which  was  the  lowest 
reached  bv  the  company  since  the  dark  year  of  1933. 

.u  . 

Toward  the  end  of  the  war,  Mayer  warned  his  people  that 
the  easy  pickings  would  not  last,  that  the  time  would  come 
when  retrenchment  would  be  compelled  in  the  studio.  But 
he  warned  without  taking  forcible  action  and  when  the  time 
for  economies  came,  he  was  unprepared  and  unable  to  enforce 
economies  and  effect  productive  change.  His  disposition  to 
prodigalitv  had  finally  caught  up  with  him. 

One  thing,  however,  was  obvious.  Mayer's  absorption  in 
race  horses  must  be  dropped,  if  he  was  to  be  a  forceful  factor 
in  the  running  of  the  studio.  His  absences  to  spend  time  at  the 
race  tracks  had  become  a  rueful  joke.  If  someone  asked  where 
Mr.  Maver  was  and  got  a  reply,  "He's  on  Lot  14"  or  "He's  on 
Lot  15"  that  was  a  way  of  informing  that  he  was  at  Santa 
Anita  or  Hollywood  Park.  Schenck  finally  told  him  bluntly 
that  he  couldn't  run  a  studio  from  a  race-track  box. 

With  sadness  but  a  clear  realization  that  it  was  something 
he-  had  to  do,  Mayer  ordered  the  sale  of  his  horses. 

While  the  sale  of  his  racing  stable  gave  Mayer  more  time  for 
his  job,  there  was  no  perceptible  improvements  in  the  output 
of  the  studio.  The  films  continued  to  show  a  sameness  of  con- 
ventionalities, performed  with  characteristic  slickness  by  the 
Metro-Goldw  yn-Mayer  stars. 

A  crving  need  for  someone  to  do  the  critical  job  of  putting 

( Continued  on  Page  26 ) 


Film  BULLETIN    September  2.  1957        Page  17 


WHO'S  WHO  IN  LDEW'S  STRUGGLE 


WAR  AMONG  THE  LION  TAMERS 

(Continued  from  Page  17) 

ings  (only  $1.03  per  share  for  the  fiscal  year 
ending  August  31,  1955)  stirred  other  ominous 
developments.  Angry  proxy  fights  threatened 
from  several  quarters,  such  as  Dreyfus  &  Co., 
Hirsch  &  Co.,  and  the  Leon  Lowenstein  Foun- 
dation— whose  holdings  totaled  perhaps  250,- 
000  shares.  The  Wall  Street  "coroners"  began 
to  catch  the  scent  of  a  lucrative  liquidation 
operation.  They  knew  that  Loew's  assets  had 
been  grossly  understated  —  with  the  whole 
M.G.M.  film  library,  salable  to  TV,  not  even 
listed  on  the  books.  Arthur  Wiesenberger's  in- 
vestment reports  had  sharply  raised  the  ques- 
tion whether  Loew's  Inc.  was  worth  more  dead 
or  alive,  and  had  concluded  that  "a  $60  payout 
will  make  a  far  more  appealing  picture  than 
any  M.G.M.  can  produce  for  its  shareholders 
today  with  the  stock  selling  at  2iy8."  Such 
critics  noted  that  a  company  earning  no  more 
than  2  per  cent  on  its  investment  was  scarcely 
worth  keeping  alive. 

To  check  these  threats  and  tensions  Loew's 
reshuffled  the  M.G.M.  management,  but  the  re- 
sult was  an  uneasy  interregnum  that  lasted  less 
than  a  year.  Schenck  withdrew  in  December, 
1955,  from  the  presidency  to  become  chairman 
of  the  board.  It  was  impossible  for  him  to 
press  the  candidacy  of  Charles  Moskowitz  for 
the  president's  job,  for  all  dissidents  would 
have  assailed  this  as  merely  a  move  to  per- 
petuate Schenck's  rule.  Instead,  a  man  was 
picked  from  within  the  company  who  was  suf- 
ficiently independent  of  Schenck  to  command 
confidence:  fifty-six-year-old  Arthur  Loew,  son 
of  the  company's  founder.  As  head  of  Loew's 
International,  he  had  done  a  notable  job  in 
overseas  distrbiution  —  increasingly  vital  to 
M.G.M.  as  foreign  revenues  have  come  to  make 
up  almost  50  per  cent  of  the  company's  gross. 
Arthur  Loew,  to  support  his  position,  turned 
to  two  Wall  Street  houses  that  had  lately  ac- 
quired substantial  blocks  of  Loew's  stock:  Leh- 
man Bros,  and  Lazard  Freres.  Both  agreed  to 
place  representatives  on  Loew's  board. 

While  these  maneuvers  sufficed  to  rout  the 
"coroners"  (Dreyfus  shortly  unloaded  most  of 
its  Loew's  stock),  they  were  in  fact  only  a  weak 
kind  of  holding  action.  The  two  directors  from 
Lehman  Bros,  and  Lazard  Freres  found  Loew 
slow  to  "clean  house" — and  slow  to  make  the 
reforms  they  recommended.  And  one  sharp 
issue  soon  arose:  the  Wall  Street  representa- 
tives on  the  board  pressed  urgently  for  out- 
right sale  of  the  pre- 1949  library  to  TV  (there 
was  one  offer  of  $50  million),  while  Arthur 
Loew  held  out  for  a  leasing  arrangement, 
which  in  the  long  run  will  turn  out  to  be  more 
beneficial  to  M.G.M.  The  most  serious  weak- 
ness in  the  company's  position,  however,  was 
the  fact  that  Arthur  Loew  simply  did  not  want 
to  be  president.  He  had  taken  the  job  reluct- 
antly. He  was  impressed  with  the  recollection 
that  his  father  had  died  at  the  age  (fifty- 
seven)  that  he  was  nearing.  And  he  sensed 
new  struggles  for  control  of  Loew's  in  the  off- 
ing. So  in  October  of  last  year  he  abruptly 
quit.  The  Lehman  and  Lazard  representatives 
immediately  resigned,  retiring  to  the  safety  of 
the  sidelines.  And  the  open  struggle  for  power 
was  about  to  start. 


It  began  eccentrically.  Many  people  who 
were  approached  to  take  over  the  presidency 
(including  Pat  Weaver,  recently  departed  from 
N.B.C.,  and  Lew  Wasserman,  head  of  Music 
Corp.  of  America)  spurned  the  job.  Board 
Chairman  Schenck  (11,200  shares)  made  an- 
other vain  effort  to  reaffirm  his  power  through 
the  candidacy  of  Moskowitz.  And  finally  the 
task  and  title — after  a  remarkable  fortnight 
when  the  greatest  company  in  the  movie  in- 


VOGEL 


Stepped  into  a  Conflict 

dustry  was  headless — went  to  Joseph  R.  Vogel. 
A  man  of  calm  and  deliberation,  Vogel  had 
risen,  over  a  period  of  more  than  forty  years, 
from  usher  in  a  New  York  Loew's  theatre  to 
become  head  of  the  whole  theatre  chain  in 
1954.  Along  with  this  extended  experience  in 
distribution,  his  qualifications  included:  a 
knack  of  forecasting  the  gross  of  a  picture 
within  $100,000,  a  freedom  from  any  intimate 
association  with  Schenck's  fateful  business  de- 
cisions, the  personal  respect  of  the  Wall  Street 
banking  houses — and  an  apparent  unawareness 
of  the  conflicts  that  were  about  to  afflict  Loew's 
management.  Indeed,  at  that  date  Vogel  may 
not  even  have  heard  the  name  of  Stanley  Meyer. 

What  makes  Stanley  run 

Stanley  Meyer  is  a  bold  and  voluble  forty- 
four-year-old  citizen  of  Hollywood,  the  son-in- 
law  of  Nate  Blumberg,  chairman  of  Universal; 
his  title  to  film  renown  derives  from  once  hav- 
ing been  co-producer  (with  Jack  Webb)  of  the 
serial  Dragnet.  In  1955,  following  the  sale  of 
his  25  per  cent  interest  in  Dragnet,  Meyer 
found  himself  with  a  little  more  than  a  million 
dollars  and  nothing  grand  to  do.  His  ambition 
was  by  no  means  so  limited  as  his  experience, 
the  high  point  of  which  was  his  services  to 
Webb.  These  entailed  some  contract  negotia- 
tions, handling  public  relations,  and  negotiat- 
ing Webb's  divorce  settlement  with  actress 
Julie  London.  As  Meyer  once  summed  it  up, 
"I'm  like  the  guy  with  the  shovel  that  follows 
behind  the  elephant." 

Early  in  1956,  as  a  change  of  pace,  Meyer 
set  out  to  stalk  the  lion:  M.G.M.,  he  strongly 
suspected,  could  be  captured.  He  made  a  shop- 
ping trip  to  New  York  to  explore  the  possi- 


bilities, found  that  his  personal  attorney  also 
represented  Lehman  Bros.,  and  conferred  with 
Robert  Lehman.  Neither  Lehman  nor  Lazard 
Freres  seemed  impressed  with  Stanley  Meyers 
managerial  talents.  But  by  chance  Stanley 
Meyer  heard  from  a  Wall  Street  acquaintance 
of  the  existence  of  a  Loew's  stockholder  named 
Joseph  Tomlinson,  formerly  of  Toronto,  Cana- 
da, currently  of  Fort  Lauderdale,  Florida. 

Seeking  out  Tomlinson,  Meyer  discovered 
him  to  be  a  gruff  and  blunt  man  of  forty- 
seven,  a  Canadian  citizen,  an  M.I.T.  graduate 
who  made  his  several  millions  building  roads 
in  Canada.  Tomlinson  had  begun  amassing 
shares  of  Loew's  stock  in  1954  until  he  and  his 
family  now  had  a  pile  of  more  than  200,000. 
Until  1956,  the  thought  of  control  or  even  in- 
tervention in  Loew's  management  had  not  ap- 
parently entered  his  head — which  did,  however, 
contain  a  lively  appreciation  of  the  company's 
real  assets  and  potential  earnings.  But  M.G.M. 
profits  had  kept  getting  smaller.  Arthur  Loew 
had  not  been  able  to  achieve  much.  Could 
more  be  expected  of  another  company  veteran, 
Joseph  Vogel?  And  here  suddenly  at  Tomlin- 
son's  side  stood  Stanley  Meyer  —  articulate, 
enormously  earnest,  seemingly  steeped  in 
know  ledge  of  the  mysteries  of  film  making,  un- 
compromising in  his  indictment  of  Schenck 
and  his  successors — a  man  of  force  and  inde- 
pendence and  talent,  it  seemed  to  Tomlinson. 

And  Stanley  Meyer  brought  with  him,  it 
seemed,  another  quite  special  asset:  the  name 
of  Louis  B.  Mayer.  Mayer  and  Stanley  Meyer 
had  been  acquainted  for  many  years,  and  L.B. 
was  godfather  to  one  of  Meyer's  children. 
Meyer  knew  well  L.B.'s  bitter  and  abiding  re- 
sentment over  the  way  Schenck  had  treated  him 
in  1951.  He  knew,  too,  that  L.B.  had  a  proud 
and  simple  formula  for  curing  M.G.M. 's 
troubles:  "If  you  want  to  save  this  company, 
you  go  to  the  man  who  made  it  great  in  the 
first  place."  And  Stanley  Meyer  knew — or 
thought  he  knew — the  impact  the  name  of  L.B. 
Mayer  could  have  on  baffled  and  irate  Loew's 
stockholders. 

Thus — just  as  Vogel  assumed  the  presidency 
of  Loew's — a  hostile  triumvirate  was  born.  The 
sealing  of  the  union  took  a  little  work.  L.B. 
himself  refused  to  travel  to  New  York  even  to 
make  the  acquaintance  of  the  Canadian  road 
builder  who  might  be  the  means  of  bringing 
him  back  from  exile,  so  Tomlinson  graciously 
traveled  to  Beverly  Hills.  Tomlinson  was  awed 
by  the  grand  boast  of  the  old  producer:  "Just 
let  the  word  get  around  Hollywood  that  L.B. 
is  back  and  the  talent  will  come  crowding  back 
to  M.G.M."  In  turn,  L.B.  hailed  Tomlinson  as 
"a  real  two-fisted  guy."  And  Stanley  Meyer  for 
his  part  saluted  two  men  preceptive  enough  to 
see  the  salvation  of  M.G.M.  in  the  elevation  of 
Stanley  Meyer  to  the  presidency. 

Duel  with  wooden  swords 

The  struggle  for  stockholder  support — seem- 
ingly headed  for  a  wide-open  proxy  fight — 
lasted  from  Vogel's  assumption  of  the  presi- 
dency last  October  until  the  annual  stock- 
holders' meeting  last  February.  Sharp  as  it  be- 
came, it  was  an  odd  struggle,  essentially  be- 
cause neither  Joseph  Vogel  nor  Stanley  Meyer 
was  trained  by  any  previous  experience  for  this 


Page  18       Film  BULLETIN    September  2,  l?57 


WHO'S  WHO  IN  LOEWS  STRUGGLE 


WAR  AMONG  THE  LION  TAMERS 

kind  of  contest.  Meyer  for  some  time  nourished 
the  illusion  that  Robert  Lehman  and  Andre 
Meyer  of  Lazard  Freres  would  respond  enthu- 
siastically to  his  cry  that  M.G.M.  must  "clean 
house"  —  economize,  diversify,  and  bring  in 
young  talent  to  invigorate  aging  management. 
Vogel,  for  a  while,  was  beguiled  into  thinking 
that  Tomlinson  was  only  a  mildly  restive  stock- 
holder, certainly  not  committed  to  Vogel's  re- 
moval. | 

But  as  the  weeks  passed,  w  ith  ever  more 
hostility  displayed  on  both  sides,  the  amateur 
contestants  hired  professional  help.  Stanley 
Meyer  and  Tomlinson  retained  (for  $100,000) 
the  services  of  New  York  attorney  Ben  Javits, 
brother  of  New  York's  new  ly  elected  L'.S.  Sen- 
ator. On  the  opposite  side,  Vogel  hired  (at 
$750  a  week)  David  Karr,  former  legman  for 
Drew  Pearson,  now  head  of  Market  Relations 
Network,  and  as  attorney,  former  Federal 
Judge  Simon  Rifkind. 

Two  episodes  highlighted  the  contest.  Each 
in  its  way  decisively  affected  the  outcome.  Both 
were  blunders. 

Tomlinson's  blunder 

The  first  of  these  episodes  was  Tomlinson's 
abortive  attempt  at  a  coup.  Summoning  the 
press  to  Javits'  law  offices,  he  and  Javits  de- 
nounced the  Vogel  regime  as  a  mere  prolong- 
ation of  Schenck's  rule,  called  for  a  drastic 
shake-up  of  the  board  of  directors,  dominated 
by  officers  of  the  company,  and — as  the  climax 
— promised  the  return  of  L.  B.  Mayer  to  the 


MAYER 

To  Make  the  Lion  Roar 


M.G.M.  lot  "to  make  the  lion  roar  again." 
Under  the  reporters'  questioning,  however, 
Tomlinson,  who  had  excoriated  the  Schenck 
regime  for  its  fiscal  self-indulgence,  appeared 
to  be  unaware  that,  under  that  regime,  L.  B. 
Mayer  himself  (1)  for  some  seven  years  had 
been  the  highest-priced  executive  in  the  U.S., 
and  (2)  had  in  1951  sold  out  his  perpetual 
profit  interest  in  M.G.M.  films  produced  under 
his  management  for  a  magnificent  S2,7  50,000. 

Aroused  by  Tomlinson's  offensive,  Vogel 
proceeded  to  regroup  his  forces — which  first 


meant  banishing  all  the  employee  directors 
from  the  thirteen-man  board.  The  four  direc- 
tors (including  Vogel)  who  were  left  were 
pro-Vogel  men.  (Among  them  was  former 
Navy  Secretary  John  L.  Sullivan.)  Vogel  added 
two  more:  Frank  Pace,  Jr.,  former  Secretary  of 
the  Army,  then  vice  president  (today  president) 
of  General  Dynamics,  who  had  served  with 
Vogel  on  the  board  of  Loew's  Theatres:  and 
George  L.  Killion,  president  of  the  American 
President  Lines.  On  the  thirteen-man  board, 
this  left  seven  seats  to  be  filled — and  the  fight 
for  them  was  the  fight  for  M.G.M. 

Vogel's  position  was  plainly  precarious.  The 
firm's  biggest  stockholder,  Tomlinson,  was  com- 
mitted against  him — and  the  bankers  were  un- 
known quantities.  Vogel,  who  owned  only 
23,000  shares,  could  command  no  significant 
block  of  stock.  Accompanied  by  Rifkind,  he 
paid  a  call  upon  Andre  Meyer  of  Lazard  Freres 
— a  shrewd  and  tough-minded  man  who  was 
rapidly  regretting  his  involvement  with  Loew's 
tangled  affairs.  The  only  result  of  this  first 
meeting  was  a  two-hour  lecture  by  Andre 
Meyer  on  the  failings  of  Loew's  management 
and  the  sluggishness  of  Vogel's  efforts  to  reme- 
dy them.  Leaving  this  stormy  meeting,  Rifkind 
summed  up  Vogel's  situation  for  him:  "Joe,  I 
never  saw  a  man  before  who  had  so  big  a  lion 
by  the  tail — and  so  small  a  piece  of  the  tail." 

Vogel's  turn 

It  was  now — in  the  first  week  of  1957 — 
Vogel's  turn  to  match  Tomlinson's  blunder. 
After  weeks  of  a  threatened  proxy  fight,  in- 
direct bargaining,  and  wooing  of  the  bankers 
by  both  sides,  Vogel,  accompanied  by  Pace, 
Rifkind,  and  Karr,  went  to  a  showdown  con- 
ference with  Tomlinson.  In  a  suite  in  New 
York's  Hotel  Drake,  Tomlinson  was  flanked 
by  Stanley  Meyer  and  Javits.  Boldly,  Javits 
laid  down  a  formula  for  the  new  board:  six 
seats  for  the  Tomlinson-Meyer  group,  six  for 
Vogel,  and  an  "independent"  thirteenth  man 
who  was  to  be  picked  by  a  "bipartisan"  four- 
man  committee  from  the  other  twelve.  In  a 
truly  remarkable  scene,  Javits  stated  his  propo- 
sition as  an  ultimatum — asserting  that  he  would 
shortly  receive  a  phone  call  from  Andre  Meyer, 
who  would  (Javits  warned)  throw  his  support 
to  the  Tomlinson  group  if  Vogel  did  not  ac- 
cede. (Lending  credibility  to  this  show  of 
strength,  Andre  Meyer  did  indeed  phone  Javits 
while  the  group  was  assembled — but  with  no 
such  message  as  Javits  alleged:  he  was  merely 
returning  an  earlier  Javits  call.)  Vogel  was 
stunned  by  the  ultimatum.  He  and  his  group 
retired  to  a  separate  room  to  take  counsel.  The 
consensus  was  for  acceptance  rather  than  a 
proxy  fight.  Vogel  gave  in.  The  bold — and 
empty  —  bluff  of  Tomlinson-Javits-Stanley 
Meyer  had  worked  with  unbelievable  ease. 

Some  of  Vogel's  advisers  thought  that  this 
blunder  might  well  turn  out  to  be  a  fatal  one. 
The  challenge  of  a  proxy  fight  (they  held) 
should  have  been  accepted,  since  (1)  the  bank- 
ers would  never  have  supported  the  ambitions 
of  Stanley  Meyer,  (2)  the  cost  of  a  proxy  fight 
- — hundreds  of  thousands  of  dollars — would 
have  discouraged  Tomlinson,  while  (3)  the 
company  treasury  would  have  been  available  to 
Vogel.   At  the  time,  however,  Vogel  preferred 


to  believe  that  the  Tomlinson-Meyer  group  on 
the  board  would  be  no  more  troublesome  than 
a  kind  of  "loyal  opposition." 

In  any  case,  the  peace  that  was  supposed  to 
be  achieved  by  the  six-six-one  pact  was  soon 
shattered.  Since  it  was  impossible  to  decide  on 
four  "neutrals"  among  the  board  members,  the 
choice  of  the  thirteenth  man  was  finally  left  to 
the  bankers,  who  picked  the  New  York  II t raid 
Tribune's  President  Ogden  Reid.  And,  as  the 
February  stockholders'  meeting  approached,  it 
was  clear  that  Mever  and  Tomlinson  had  made 
a  serious  miscalculation:  they  discovered  that 
the  name  of  L.  B.  Mayer,  possibly  an  asset  in 
terms  of  public  relations,  was  a  heavy  liability 
on  Wall  Street.  To  both  Lehman  Bros,  and 
Lazard  Freres,  L.  B.  was  associated  with  the 
old  regime  and  its  prodigal  spending  habits. 
It  became  apparent,  therefore,  that  the  bankers 
would  support  Vogel  if  only  to  bar  L.  B.'s  re- 
turn. 

Up  to  the  very  day  of  the  stcokholders'  meet- 
ing, on  February  23,  Meyer  and  Tomlinson 
tried  to  swing  a  seventh  board  member  to  their 
side.  Among  the  men  they  had  chosen  as  di- 
rectors were  onetime  Chrysler  Board  Chairman 
K.  T.  Keller  and  former  Defense  Secretary 
Louis  Johnson,  who  worked  hard  to  swing  pos- 
sible waverers  over  to  the  Tomlinson-Meyer 
side.  Stanley  Meyer  stormed  the  august  offices 
of  Andre  Meyer  at  Lazard  Freres,  to  hammer 
the  desk  in  rage  against  bankers'  presuming  to 
dictate  the  fates  of  M.G.M.  All  the  while, 
Stanley  Meyer  cloaked  his  ambition  to  be 
elected  president  by  various  formulas:  he  would 
be  content  with  direction  of  M.G.M.  studios  as 
a  No.  2  man,  or  it  might  suffice  if  Tomlinson 
were  just  made  chairman  of  the  executive  com- 
mittee. To  the  last,  the  question  of  how  the  di- 
rectors would  vote  stood  in  doubt.  But  at  the 
meeting  the  stockholders  approved  the  manage- 
ment slate,  and  the  directors  promptly  con- 
firmed Vogel  in  the  presidency. 

Thus  the  struggle  shifted  to  the  management 
level.  And  thus  began  Vogel's  life  in  his 
"God-damn  concentration  camp." 

Goodbye  Mr.  Schenck 

Despite  his  unhappy  position  he  achieved 
quite  a  bit. 

In  the  area  of  general  housecleaning,  he  dic- 
tated studio  economies  said  to  promise  savings 
of  S2,4O0,000  a  year  in  overhead.  The  inherited 
nepotism  of  the  Schenck  era  was  almost  totally 
swept  out — Schenck  is  no  longer  even  honorary 
chairman,  and  all  M.G.M.  purchasing  has  been 
opened  to  competitiv  e  bidding.  The  sen  ices  of 
Charles  Moskowitz  are  to  terminate  this  year. 
And  Vogel  instituted  a  complete  test-check 
audit  of  Loew's  books. 

Vogel  promptly  fired  Dore  Schary  and  paid 
off  the  balance  of  his  contract.  As  administra- 
tive head  of  the  studio,  Vogel  appointed  Ben- 
jamin Thau,  M.G.M. "s  long-time  casting  direc- 
tor and  one  of  Hollywood's  shrewdest  negoti- 
ators with  talent.  To  provide  Thau  with  artistic 
advice,  Vogel  named  Sidney  Franklin,  the 
talented  and  respected  creator  of  Mrs.  Miniier 
and  other  M.G.M.  hits  of  the  past. 

Meanwhile,  in  the  television  field,  under  Vice 
President  Charles  (Bud)  Barry,  M.G.M.  made 
( Continued  on  Page  20 ) 


Film  BULLETIN    September  2,  1757        Page  19 


WHO'S  WHO  IN  LDEW'S  STRUGGLE 


WAR  AMONG  THE  LION  TAMERS 

(Continued  from  Page  19) 

some  headway.  The  leasing  of  old  M.G.M.  films 
to  TV  already  has  netted  $45  million  from 
some  fifty  station.  With  title  to  the  films  re- 
maining with  M.G.M. ,  allowing  resale  five 
years  hence,  Barry  observes:  "This  library  is 
like  oil,  it  just  keeps  coming  to  the  surface." 
At  the  same  time,  some  of  the  huge  M.G.M. 
facilities  are  being  leased  to  outside  companies 
producing  for  TV — which  not  only  sops  up 
some  studio  overhead  but  also  gives  M.G.M. 
technicians  some  valuable  experience  in  TV 
production.  For  direct  sale,  M.G.M.  is  produc- 
ing— in  addition  to  TV  commercials — it  first 
dramatic  serial,  The  Thin  Man,  whose  outright 
sale  is  expected  to  bring  close  to  SI  million. 
The  TV  budget  was  a  modest  one  but  Barry 
was  inspired  to  declare:  "There's  nothing  to 
keep  this  old  colossus  of  M.G.M.  from  becom- 
ing the  biggest  producer  of  films  for  TV." 

Vogel  also  made  major  contracts  with  inde- 
pendent producers  and  stars.  Among  those 
signed  to  long-term  contracts,  carrying  percent- 
age deals,  were  veteran  producers  Sol  Siegel, 
Pandro  Berman,  Lawrence  Weingarten,  Aaron 
Rosenberg.  Alfred  Hitchcock's  next  film  (The 
Wreck  of  the  Mary  Deare)  will  be  released 
through  M.G.M.  William  Wyler  has  been 
signed  to  direct  a  new  Ben  Hur — Loew  s  great 
hope  for  a  smash  success  two  years  hence.  And 
one  of  Hollywood's  top  boxoffice  attractions, 
Yul  Brynner,  will  play  the  lead  in  M.G.M.'s 
The  Brothers  Karamazov,  currently  being  shot 
for  early  1953  release. 

Finally,  Vogel  brought  to  the  office  of  chief 
executive  of  Loew's  an  integrity  of  person  and 
of  purpose  widely  recognized  and  respected. 
Even  L.  B.  Mayer  and  Stanley  Meyer  acknowl- 
edged Vogel's  personal  honesty  and  worthy  in- 
tentions. And  on  the  M.G.M.  lot  he  won  re- 
gard for  spending  more  time  in  Hollywood, 
studying  production  problems,  than  any  other 
New  York  executive  of  Loew's  has  ever  done. 

The  struggle  for  survival 

The  sum  of  such  developments  in  California, 
however,  contributed  virtually  nothing  to 
strentghening  Vogel's  fingernail  grip  on  execu- 
tive power  in  New  York.  For  this  there  were 
several  reasons.  Perhaps  most  serious  was  the 
fact  that  because  of  the  long  pipeline  in  movie 
making,  twelve  to  eighteen  months  are  needed 
before  a  financial  turnaround  can  be  achieved. 
The  most  recent  quarter  of  M.G.M.'s  fiscal 
year,  ending  May  31,  recorded  even  worse 
losses  than  1956.  Recently  released  pictures  in- 
herited from  the  Dore  Schary  regime,  among 
them  The  Barretts  of  Wimpole  Street,  10,000 
Bedrooms,  Vintage,  Imitation  to  the  Dance, 
registered  huge  losses. 

There  were  other  complicating  factors.  The 
board  of  directors  (with  the  exception  of  Stan- 
ley Meyer)  was  almost  totally  innocent  of  any 
knowledge  of  the  film-making  businsss.  If 
M.G.M.  were  to  negotiate  a  triumphant  con- 
tract with,  say,  the  Hecht-Hill-Lancaster  group, 
the  most  successful  independent  producers  in 
Hollywood  today,  a  number  of  directors  would 
need  to  be  told  who  Harold  Hecht,  James  Hill, 
and  Burt  Lancaster  are.   Some  of  the  directors 


taxed  Vogel  with  failure  to  bring  sparkling 
young  talent  into  M.G.M.  But  the  precarious 
and  unpredictable  condition  of  management 
under  the  divided  board  was  precisely  what 
discouraged  fresh  executive  talent  from  coming 
to  Culver  City. 

Meanwhile,  the  triumvirate  of  Tomlinson, 
Stanley  Meyer,  and  L.  B.  Mayer  sustained  their 
steady  drumfire  of  attack  on  Vogel.  Mayer  and 
Meyer  prepared  the  ammunition,  and  Tomlin- 
son fired  it — either  verbally  at  board  meetings 
or  with  rasping  memorandums  circularized  to 
all  directors.  Less  than  a  month  after  the  new 
board  took  office — last  March  21 — Tomlinson 
sent  to  all  directors  a  six-point  indictment  of 
Vogel,  supported  with  scores  of  pages  of  sta- 
tistics on  film  losses.  Sweepingly,  he  assailed 
Vogel  as  "not  capable  of  cleaning  up  the  com- 
pany." But  the  Meyer-Mayer-Tomlinson  formu- 
las for  change  kept  changing.  In  March,  their 
two  key  proposals  were:  "(1)  Make  L.  B. 
Mayer  president  of  Company,  primarily  in 
charge  of  studio  operations.  (2)  Make  Stanley 
Meyer  executive  vice  president  and  special  as- 
sistant to  president."  A  month  or  so  later  Tom- 
linson called  on  Robert  Lehman  and  Andre 
Meyer  and  proposed  himself  as  a  kind  of  in- 
terim president  for  a  couple  of  years — a  sug- 
gestion that  was  greeted  with  embarrassing 
silence,  then  a  cold  no. 

All  is  not  gold  that's  gilt 

The  sharpness  of  the  Tomlinson  faction's  at- 
tack on  Vogel  invites  some  scrutiny  of  the  at- 
tackers' own  competence  both  in  film  making 
and  in  conducting  a  business. 

L.  B.  volubly  hailed  Stanley  Meyer  as  "a 
bold,  aggressive  man,  tough  as  a  bull,"  but 
when  he  was  asked  if  he  really  considered 
Meyer  competent  to  run  M.G.M.,  he  pro- 
claimed: "I'd  bet  you  $100,000  he  could  not 
do  it — but  give  me  a  year  to  teach  him  what  1 
know,  and  I  can  make  him  the  most  gilt-edged 
property  in  Hollywood  today." 

As  for  the  seventy-two-year-old  L.  B.  Mayer, 
he  firmly  refused  to  consider  returning  full- 
time  to  M.G.M.,  even  if  invited  to  do  so — and 
scarcely  anyone  imagined  there  would  be  such 
an  invitation.  He  envisioned  himself  purely  as 
a  consultant.  He  further  insisted:  "So  one  can 
help  the  studio  until  that  damn  board  pulls 
itself  together."  He  was  evidently  not  con- 
fused by  the  fact  that  it  was  his  friends  Meyer 
and  Tomlinson  who  were  doing  rao;t  to  pull 
the  board  apart. 

As  for  Tomlinson,  some  irony  attaches  to  his 
indignation  over  various  policies  and  events  of 
the  M.G.M.  past,  in  view  of  one  episode  in  the 
record  of  his  own  Canadian  road-construction 
firm  (Tomlinson  Brothers  Ltd.).  In  October, 
195-4 — just  when  he  was  beginning  his  venture 
into  Loew's  Inc. — his  firm  pleaded  guilty  to  de- 
frauding the  Ontario  government  of  S360,000 
in  connection  with  highway  contracts.  The 
company  was  slapped  with  a  fine  of  SI 00,000 
— one  of  the  toughest  penalties  of  its  kind  in 
Ontario  legal  records. 

But  no  criticism  that  might  be  leveled  at  the 
Tomlinson  faction  prevented  them  from  keep- 
ing Loew's  management  in  a  turmoil.  At  board 
meetings  Stanley  Meyer  rarely  spoke,  but  quiet- 
ly passed  notes  to  Tomlinson  or  Louis  Johnson, 


one  of  whom  rose  to  question  almost  any 
Vogel  action.  They  also  were  able  to  insist 
upon  an  extensive  efficiency  survey  of  M.G.M.: 
the  survey  did  not  produce  recommendations  of 
notable  practicality,  but  the  commotion  of  such 
scrutiny  kept  the  corporation  on  edge.  Vogel 
— with  remarkable  doggedness — fought  through 
meeting  after  meeting,  never  ending  with  more 
than  three  votes  opposing  any  concrete  mea- 
sure he  pressed.  "He  emerged  from  these 
meetings,"  an  aide  noted,  "sometimes  looking 
a  little  bewildered,  as  if  he  suspected  his  pants 
had  been  torn  off  or  his  coat  ripped  open  in 
the  scuffle — a  little  surprised  and  relieved  to 
find  himself  still  in  one  piece." 

The  banker's  brain  wave 

Viewing  this  scene,  Lehman  Bros,  and  Lazard 
Freres  grimaced  with  dismay  but  moved  with 
caution.  They  were  confident  that,  with  other 
Wall  Street  houses  following  their  lead,  they 
could  rally  one  million  shares  in  a  proxy  fight, 
but  this  was  not  a  sport  that  such  houses  found 
inviting.  Unable  to  support  wholeheartedly 
management  or  (much  less)  its  opposition,  they 
held  to  a  wait-and-see  attitude. 


KRIM 

Banker's  Candidate 


In  May,  however,  Andre  Meyer  emerged 
with  a  positive  proposal  that  he  thought 
promised  a  solution.  He  had  been  deeply  im- 
pressed with  the  extraordinary  success  of  Ar- 
thur Krim  and  Robert  Benjamin  in  the  manage- 
ment of  United  Artists.  In  six  years  they  had 
brought  the  company  back  from  bankruptcy  to 
a  point  where  it  was  grossing  S65  million  a 
year.  With  no  studio  property  or  facilities, 
but  simply  providing  financing  and  distribu- 
tion for  independent  film  production,  lively, 
imaginative  United  Artists  was  the  almost  exact 
opposite  of  the  old  M.G.M.  Its  first  stock  issue, 
last  spring,  had  been  handled  by  F.  Eberstadt 
&  Co.,  with  which  Lazard  Freres  works  closely. 
So  the  idea  came  to  Andre  Meyer:  why  not, 
through  some  form  of  merger,  summon  the 
talents  of  Krim  and  Benjamin  to  the  manage- 
ment of  M.G.M.? 

The  issue  was  debated  at  the  June  meetings 
(Continued  on  Page  29) 


Pog?  2D        Fi.'m  BULLETIN     September  2,  1957 


Typical  of  the  20th-Fox  show  window 
campaign  and  these  Bonwit  Teller  Fifth 
Avenue  displays  on  "The  Sun  Also  Rises"  (Tyrone  Power,  Ava  Gardner),  "The 
Young  Lions"  (Marlon  Brando),  "Kiss  Them  For  Me"  (Cary  Grant,  Suzy  Parker). 


Institutional  Movie  Windows 
Beam  20th's  Coming  Big  Ones 

"Oh,  Bill,"  the  young  lady  tugged  at  her  hus- 
band's arm,  "Look  at  this!"  Bill,  afraid  the 
deadly  excitement  in  her  voice  in  front  of  a 
Bonwit  Teller  Fifth  Avenue  window  meant  a 
dent  in  his  wallet,  reluctantly  turned  to  look, 
then  relaxed  and  more  than  matched  her  inter- 
est, as  they  stopped  in  front  of  the  striking  dis- 
play. It  wasn't  the  smartly  garbed  mannikin 
that  brought  them  to  a  halt.  The  center  of  at- 
tention was  a  huge  enlargement  of  a  movie 
still  covering  the  entire  window  background, 
an  actual  Hollywood  movie  camera,  a  director's 
chair  complete  with  the  name,  "Henry  King", 
and  a  "take"  board.  In  such  simple  terms,  the 
exciting  flavor  of  a  movie  set  was  created,  re- 
awakening literally  millions  of  people  to  the 
glamor  that  is  movies. 

The  above  scene,  currently  being  enacted 
thousands  of  times  daily  in  New  York,  will 
soon  be  duplicated  throughout  the  country  as 
part  of  20th  Century-Fox'  double-pronged  show 
window  display  campaign,  combining  the  pro- 
motion for  Darryl  Zanuck's  "The  Sun  Also 
Rises"  and  other  big  coming  attractions  from 
20th  with  an  institutional  drive  to  focus  atten- 
tion on  motion  picture  entertainment  generally. 

The  big-scale  undertaking,  kicked  off  in  Bon- 
wit Teller's  eight  Fifth  Avenue  windows,  traces 
in  striking  pictorial  and  three  dimension  form 
the  development  of  movies  from  Theda  Bara's 


MERCHANDISING  4 


EXPLOITATION  DEPARTMENT. 


"A  Fool  There  Was"  to  the  present  with  Zan- 
uck's "Sun",  Jerry  Wald's  "Kiss  Them  For 
Me"  and  Al  Lichtman's  "The  Young  Lions". 
20th  vice  president  Charles  Einfeld  plans  simi- 
lar exhibits  in  every  major  city. 

This  concept  of  working  in  an  institutional 
moviegoing  campaign  as  part  of  the  promotion 
for  a  specific  film  is  not  new,  but  rarely  has  it 
been  achieved  with  such  striking  implementa- 
tion, comparatively  low  cost  and  strategic 
placement.  Einfeld  and  his  2t0h-Fox  promo- 
tional force  are  winning  many  plaudits  for  this 
big  league  idea. 


The  institutional  facet  of  the  campaign  is  highlighted  in  the  use  of  former  movie  milestones,  includ- 
ing Theda  Bara  in  "A  Fool  There  Was"  and  Janet  Gaynor,  Charles  Farrell  in  "Seventh  Heaven". 

[More  SHOWMEN  on  Page  24] 


H'wood,  N.Y.  'Jubilee'  Groups 
Charge  Up  Celebration  Plans 

The  gears  in  two  cities  were  set  in  motion  to 
activate  the  year's  biggest  all-industry  push,  the 
Hollywood  Golden  Jubilee  Celebration. 

In  Hollywood,  Studio  Publicity  Directors 
Committee  chairman  Jack  Diamond  delegated 
heads  of  the  five  key  groups  to  work  from  the 
West  Coast,  while  New  York  Committee  head 
Martin  Davis  worked  with  a  sextet  of  com- 
mittees to  set  up  the  Eastern  branch. 

With  Clark  H.  Wales  as  coordinator,  the 
Hollywood  five  were:  Howard  Strickling,  in 
charge  of  the  important  task  of  lining  up  per- 
sonalities for  key  city  tours;  Al  Horwits  heads 
the  events  group  leading  up  to  the  kickoff 
luncheon  Oct.  14;  Harry  Brand  chairmans  the 
luncheon  to  be  sponsored  by  the  Los  Angeles 
C  of  C;  Bill  Hendricks  and  Ned  Moss,  pub- 
licity co-chairmen,  and  Teet  Carle  and  John 
Flinn,  sharing  overall  arrangements  leadership. 

Davis,  preparing  for  the  two-day  New  York 
celebration,  November  7-8,  brainstormed  with 
his  aides  to  consider  a  score  of  publicity  and 
exploitation  ideas  to  work  in  with  the  Mayor's 
and  Governor's  reception,  civic  luncheon  and 
the  p.a.'s  of  some  IS  to  20  movie  personalities 
who  will  wind  up  in  New  York  following  the 
cross-country  tour.  Possible  climax  will  be 
dedication  of  the  entire  Ed  Sullivan  Nov.  10 
show  to  the  Celebration.  Working  with  Davis 
as  sub-committee  heads  are  Ira  Tulipan, 
Charles  Cohen,  Phil  Gerard,  Robert  K.  Sha- 
piro, Martin  Levene,  Don  Rugoff,  D.  J.  Phil- 
lips, and  Mort  Nathanson. 

$2  Million  For  'Sayonara' 
Marks  Biggest  WB  Ad  Budget 

Robert  S.  Taplinger,  Warner  Bros,  vice  presi- 
dent in  charge  of  promotion  and  public  rela- 
tions, announced  a  whopping  S2, 000,000  has 
been  allocated  to  advertise  "Sayonara",  a  rec- 
ord high  for  a  WB  release. 

The  vast  advertising  campaign  utilizing  vir- 
tually all  media  for  the  William  Goetz  produc- 
tion starring  Marlon  Brando,  will  be  handled 
by  national  advertising  manager  Gilbert  Gol- 
den. In  addition,  a  wide  variety  of  promotional 
stunts  will  be  executed  by  Mike  Hutner,  na- 
tional publicity  director. 


BULLETIN    September  2,  1957 


Page  21 


EXPLOITATION  PICTURE 


TAJAMA'  TOPS  IN  MUSICAL  SHOWMANSHIP! 


Doris  Day  for  the  movie  fans  and  a  top- 
drawer  Broadway  cast  that  had  tickled  the 
funnybones  and  musical  sensitivies  of  happy 
audiences  for  years  in  George  Abbott's  smash 
stage  musical,  "The  Pajama  Game",  give  this 
WarnerColor  film  entertainment  a  running  start 
in  the  exploitation  department.  Streaming  out 
as  colorful  adjuncts  are  the  wonderful  songs,  the 
sock  title  and  a  slew  of  exploitaids  worked  up 
to  a  fine  point  by  the  Warner  Bros,  boxofficers 
under  the  aegis  of  Gilbert  Golden. 

Spearheading  the  campaign  is  the  simple — 
delightfully  simple — advertising  featuring  the 
Day  draw  and  the  provocative  styling  of  the  dis- 
play ads  playing  around  the  title.  The  coy  figure 
of  the  star  in  pajama  tops  draws  the  eye,  catch- 
lines  pique  the  fancy,  bruiting  it  about  that 
"Nothing  Else  Is  As  Much  Fun  As  The  Pajama 
Game"  or  "This  Little  Old  World  Wouldn't 
Be  the  Same  Without  the  Extra  Special  Fun  of 
'The  Pajama  Game'."  Spread  around  the  ads 
are  those  hit  tunes  that  had  the  whole  country 
doing  singing  commercials  for  the  musical: 
"Hey,  There",  "Hernando's  Hideaway",  "Steam 
Heat",  "There  Once  Was  A  Man"  and  the 
others  that  are  still  titillating  Broadway  and 
summer  stock  playgoers  after  three  years,  an- 
other important  campaign  peg. 

The  emergence  of  Carol  Haney  and  John 
Raitt  as  top  screen  figures  with  this  film  is  an- 
other selling  angle.  Miss  Haney,  a  talented 
dancer  who  set  the  critics  on  their  respective 
ears  with  her  rendition  of  "Steam  Heat"  and 
"Hernando's  Hideaway",  has  made  a  host  of 
new  fans  via  her  television  appearances;  Raitt 
is  the  ruggedly  handsome,  strong  personality 
type,  with  plenty  of  physical  and  tonal  muscle. 
Both  of  these  new-to-films  people  can  be  touted 
as  bright  new  stars  with  all  the  thrill  of  dis- 
covery audiences  love  to  experience. 

One  of  the  hottest  tie-in  campaigns  in  recent 
years  is  currently  blasting  away  in  the  Warner- 


Weldon  Pajamas  co-op.  Combining  with  the 
WB  field  force  for  local  level  theatre  ties,  Wel- 
don  has  issued  two  campaign  books,  one  push- 
ing the  national  drive,  the  other  laying  out  de- 
tailed plans  for  department  stores  and  specialty 
shops  handling  the  Weldon  line.  Full-page  ads 
in  color  and  black-and-white  are  plugging  the 
picture  in  conjunction  with  Weldon  Pajamas  in 
top  national  mags.  Large  display  ads,  with 
Weldon  sharing  the  cost,  spark  local  newspaper 
placements  by  department  stores.  Special  "Pa- 
jama Pals"  boxes  carry  the  stars  on  the  cover. 
Every  pair  of  Weldon  Pajamas  carries  a  tag 
plugging  the  film.  By  all  means,  don't  pass  up 
this  excellent  opportunity  for  big  scale  plugs  for 
the  picture  and  playdate. 

An  extra  bonus  of  other  tie-ups  have  been 
set  up  by  Warners  with  such  important  adver- 
tisers as  Hotpoint  (two-page  color  spread  in 
Life),  Contour  Lounge  Chairs,  American  Air- 
lines, and  several  others. 

Display  ideas  built  around  the  Day  figure 
("It's  the  Tops!")  are  easily  adaptable  from  the 
lithos.  The  six-sheet  (see  below)  and  the  24- 
sheet  are  especially  good  for  cut-outs.  Other 
posters  also  have  the  star  figure  well  separated 
from  the  copy  to  permit  similar  reproduction 
on  a  smaller  scale. 


PROMOTE  THAT  MUSIC! 


The  music 


Pajama  Game' 


made  record  and  sheet  sales  his- 
tory. The  songs  are  still  being 
played  and  sung  everywhere. 
Warners  have  promoted  terrific 
tie-ins  with  both  Columbia  Rec- 
ords and  Frank  Music  Corporation 
for  free  display  material  which 
every  exhibitor  can  utilize  for 
lobby  and  store  ballyhoo. 


Pajama  Stunts 


Sliding  into  the  stunt  slot  as  though  it  were 
machine-tooled  for  it,  the  film  is  loaded  with 
possibilities  for  gimmick-grabbing  attention. 
Starting  in  with  the  doorman  and  ushers  dressed 
in  pajamas,  the  p.j.  parade 
of  stunts  is  endless.  You 
can  make  a  game  out  of 
making  pajamas  via  a  "Pa- 
jama Game  Sewing  Con- 
test", co-sponsored  by  the 
local  sewing  centers;  for  a 
weather  and 

local  ordinances  permitting, 
send  a  good-looking  couple,  as 
pictured,  around  town  to  dis- 
tribute heralds  or  handbills; 
promote  extra  large  pairs  of 
Weldon  Pajamas  and  offer  free 
admission  to  anyone  who  fits 
them,  displaying  the  giant  night- 
wear  in  the  lobby; 
have  a  paj  ama 
game  fashion  show 
on  stage,  tieing  in 
with  local  Weldon 
dealer,  or  using 
original  ideas  (you 
could  get  some  lulus!) 

Working  in  the  big  picnic  scene — and  you 
can  get  a  barrelful  of  ideas  from  this  alone — 
arrange  with  a  local  charity  for  a  "Pajama  Game 
Picnic".  Everyone  comes  in  pajamas,  the  more 
bizarre  the  better.  Prizes  are  offered  for  the 
funniest,  the  oldest,  the  sexiest,  etc.  And,  natu- 
rally, the  Columbia  sound  track  album  for  back- 
ground music  for  a  delightful  afternoon — and 
a  lollapalooza  of  a  talk-it-up  stunt. 


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Doris  Day  stands  four  and  a  half-feet  tall  in  the  six  sheet, 
making  it  easily  adaptable  for  lobby  or  marquee  display. 
A  clear  plastic  spray,  when  used  outdoors,  will  protect  it. 


THE  PAJAMA  GAME  STORY 

There  is  the  promise  of  solid  entertainment  in  Warners'  mating  of  pro- 
ducer-director Goerge  Abbott,  whose  roster  of  Broadway  hits  from  "Three 
Men  on  a  Horse"  to  "Wonderful  Town"  represents  a  generation  of  enter- 
tainment, and  Stanley  Donen,  whose  offbeat  musicals  ("Seven  Brides  for 
Seven  Brothers",  "Funny  Face")  gave  tunefilms  a  new  look.  Adding  top 
cinelight  Doris  Day  to  virtually  the  entire  Broadway  cast  of  the  Abbott 
long-run  smash  hit,  it  doesn't  seem  possible  that  "Pajama  Game"  can  miss 
with  its  story,  filled  with  typical  Abbott  hi-jinks,  and  the  score,  which 
rated  at  least  three  tunes  in  the  Hit  Parade's  stratosphere.  The  scene  is  set 
in  a  pajama  factory,  where  the  employe's  principal  interests  are  divided 
between  a  7l/2c  raise  demand  and  the  annual  forthcoming  picnic.  It  doesn't 
take  long  for  the  handsome  new  superintendent  of  the  plant,  John  Raitt, 
to  become  romantically  involved  with  the  grievances  committee  head,  Doris 
Day,  and  for  the  raise  dispute  to  complicate  the  romance.  In  the  delightful 
proceedings  at  the  picnic,  the  love  affair  is  crystallized,  temporarily  dis- 
solved when  the  raise  is  turned  down  and  Doris  sabotages  production,  and 
reinstated  when  Raitt  turns  up  evidence  of  profits  which  forces  the  7l/2c 
through.  Worked  into  the  story  are  all  the  wonderful  Richard  Adler- 
Jerry  Ross  songs,  topped  by  "Hey,  There",  "Hernando's  Hideaway",  etc. 


Page  22       Film  BULLETIN    September  2,  1957 


The  frantic,  peopled  pace  that  characterizes  a  George  Abbott  pro- 
duction is  evident  in  these  scenes  from  "The  Pajama  Game".  Do.-is 
Day,  taunted  by  charges  that  she  is  in  love  with  the  plant  superin- 
tendent, has  it  out  with  Thelma  Pelish,  while  sewing  machine  girls, 
headed  by  Barbara  Nichols,  back  up  (he  argument  in  the  "I'm 
Not  At  All  In  Love"  number. 


EXPLOITATION  PICTURE  fob* 


Superlative  u;e  of  white  space 
around  the  key  figure  of  Doris 
Day  in  pajama  tops  and  the  run- 
ning catchline  "Nothing  else  is 
as  much  fun  as  .  .  ."  give  the 
ads  a  provocative  flavor,  hint  at 
the  delicious  goings-on  in  the 
"Steam-Heated"  smash  musical. 


Film  BULLETIN    September  2,  1957       Page  23 


View  of  the  mob  that  greeted  Jayne  in  Toronto. 

PERSONAL  appearance  tours  come  and  per- 
sonal appearance  tours  go  —  but  seldom 
has  one  topped  the  recent  junket  of  bosomy 
Jayne  Mansfield  along  the  eastern  half  of  the 
country  on  behalf  of  the  20th  Century-Fox 
comedy,  "Will  Success  Spoil  Rock  Hunter?", 
in  which  she  is  starring. 

The  idea  of  a  "whistle-stop"  tour  for  Jayne 
rivalling  that  of  a  presidential  candidate  was 
born  with  20th  vice-president  Charles  Einfeld 
and  executed  by  his  crack  staff  of  boxofficers. 
But  Einfeld  is  the  first  to  heap  credit  on  the 
hard-working  Mansfield  gal,  without  whose 
eager  willingness  to  undertake  the  lengthy 
drumbeating  safari  it  could  not  have  been 
accomplished. 

It  is  not  overstating  the  effectiveness  of  this 
p.a.  tour  to  say  that  it  was  like  a  presidential 
journey  during  an  election  year.  The  results  in 
the  papers,  on  radio,  on  TV  were  nothing  short 
of  spectacular.  What  made  the  tour  so  success- 
ful was  the  novelty  of  the  whole  idea  of  a 
"whistle-stop"  junket;  Miss  Mansfield's  appear- 
ance before  crowds  is  concentrated  areas  and 
during  a  comparatively  short  period  of  time; 
the  perfect  conditions  under  which  newspaper- 
men and  photographers  could  get  their  stories 
and  photos,  and  the  perfect  organization  of 
details.  It  made  for  scads  of  front-page  stories, 
extensive  TV  and  radio  coverage. 

Jayne  (and  friends)  boarded  the  Presidential 
Car  of  a  crack  New  York-Washington  express 
tabbed  the  "Jayne  Mansfield  Special",  com- 
plete with  bannered  observation  platform  and 
carrying  a  microphone  and  public  address  sys- 
tem for  stops  along  the  way.   The  train  made 


If  Jayne  Doesn't  Become  A  Star 
-It  Won't  Be  20th  s  Fault! 


EINFELD 


its  first  stop  at 
Newark  and  pan- 
demonium broke 
loose  during  the 
three-minute  visit. 
With  countless 
fans  jamming  the 
platform,  hundreds 
of  JM  photos  were 
distributed,  tape 
recordings  were 
made  for  local 
broadcasts,  and  the 
star  made  a  short- 
but-sweet  speech  to 
the  crowd.  In 
Trenton,  Philadel- 
phia, Wilmington,  Baltimore  and  Washington, 
the  same  formula  was  followed,  all  with  over- 
whelming results.  Reporters  who  boarded  the 
train  at  each  stop  were  given  the  option  of  go- 
ing all  the  way,  or  going  as  far  as  the  next 
stop,  or  until  they  got  their  story.  They  were 
then  provided  with  return  transportation  to 
their  home  town.  Arriving  in  the  capital,  Jayne 
took  it  by  storm.  She  created  a  near  riot  when 
she  appeared  at  the  Capitol  building.  She  was 
welcomed  by  and  photographed  with  Congres- 
sional leaders. 

Followed  by  a  press  contigent  of  approxi- 
mately 30  to  40  newspapermen  and  photogra- 
phers, she  visited  the  city's  major  landmarks  in 
a  sightseeing  bus.  Scores  of  people  saw  the 
cavalcade  make  its  way  thru  the  area.    In  the 

Top:  Jayne  with  Speaker  of  the  House.  Sam  » 
Rayburn  and  Senator  Lyndon  Johnson  in  Wash- 
ington.  Bottom:  host  of  new  photographers, 
including  college  newsmen  from  the  Harvard 
Crimson,  greet  Jayne  in  Boston. 


evening  she  was  guest  of  honor  at  gala  parties 
attended  by  top  politicos. 

The  junket  to  Boston  was  a  carbon  copy  of 
the  Washington  affair.  In  addition  to  the  reams 
of  national  publicity  emanating  from  "le 
grande  tour ",  concentrated  news  coverage  was 
made  along  the  entire  eastern  seaboard,  north 
to  the  Canadian  border. 

Object  lesson  of  this  p.a.  tour:  showmanship 
is  still  the  key  to  movie  success. 


Page  24       Film  BULLETIN    September  2,  1957 


706at  t6e  Skuwnm  /tie  *Doi*ty! 


Person-to-Person  Selling 
Drive  by  American  International 

James  Nicholson,  president  of  American  In- 
ternational pictures,  declared  that  his  company 
will  kick-off  a  policy  of  personal  appearance 
tours  for  all  of  its  future  releases  because  ex- 
hibitors believe  "that  nothing  takes  the  place 
of  person-io-person  selling  by  personalities." 
The  decision  to  schedule  p.  a.  tours  was  an- 
nounced following  personal  conferences  with 
theatremen  and  a  mail  survey  of  circuit  heads. 

First  pictures  to  reap  the  benefit  of  the  new 
showmanship  policy  will  be  A  I  s  "Amazing 
Colossal  Man'"-"Cat  Girl"  combination.  Cathy 
Downs,  Jean  Moorhead,  producer-director  Bert 
Gordon  and  other  members  of  the  films'  casts 
will  go  out  on  an  extensive  drum-beating  tour, 
including  the  combo's  world  debut  at  Stanlev 
Warner's  Alhambra  Theatre  in  Milwaukee. 

Commenting  on  the  p.  a.  policy,  Nicholson 
stated:  "There  is  a  strong  feeling  among  exhibi- 
tors that  personal  appearance  benefits  even  reach 
out  to  the  hosues  in  a  territory  which  don't  have 
the  stars  in  person.  Michael  Landon's  appear- 
ances in  connection  with  'I  Was  a  Teenage 
W  erewolf  were  credited  by  subsequent  run  ex- 
hibitors with  improving  their  business  although 
he  did  not  appear  in  their  houses.  Because  we 
want  to  help  the  exhibitors  to  benefits  in  even 
way  possible  from  playing  AIP  product,  we  will 
now  schedule  p.  a.'s  in  different  parts  of  the 
country  as  our  feature  packages  are  released." 

New  Compo  Ad  in  E  Cr  P 

Proof  positive  that  newspaper  readers  are 
hungry  for  movie  news  is  validated  in  the  latest 
COMPO  advertisement,  now  running  in  Editor 
c-  Publisher.  The  ad  reports  the  case  history  of 
a  small  Georgia  publisher,  Eddie  Barker,  and 
his  experience  in  publishing  a  series  of  articles 
on  motion  pictures  and  stars. 

Barker  is  quoted:  "As  an  editor  and  pub- 
lisher it  has  been  a  revelation;  I  had  no  idea 
people  were  so  interested  in  the  movies."  The 
COMPO  ad  concludes  with  the  advice  that  other 
newspaper  readers  "are  no  different  from  the 
readers  of  the  Clavton  Tribune  ". 


A  quartet  of  attractive  models  roamed 
through  Chicago's  famed  "Loop"  inviting 
Windy  City  residents  to  "smell  me".  Sure 
enough,  they  were  plugging  "Sweet  Smell  of 
Success",  playing  at  United  Artists  Theatre. 
Lucky  man  in  the  middle  is  John  McFarland, 
theatre  manager. 


Lipton  Is  'Sold'  on  Radio 
Despite  Growth  of  Television 

David  A.  Lipton,  Universal-International  vice 
president,  is  "so!d"  on  the  use  of  radio  as  a 
promotional  medium  for  motion  pictures.  De- 
spite the  growth  of  television,  the  U-l  promo- 
tion boss  is  of  the  opinion  that  radio  today 
is  a  greater  advertising  buy  than  it  was  10 
years  ago  when  television  was  just  starting  out, 
mainly  because  of  the  significant  growth  of  the 
independent  outlet.  Tw  ice  as  many  independent 
stations  span  the  country  today  as  there  were 
in  1947. 

As  a  potent  example  of  the  readiness  of  radio 
to  accept  motion  picture  material,  Lipton 
pointed  to  two  radio  services  being  distributed 
by  Bob  Rains,  L*-I  radio-TV  promotion  man- 
ager, to  over  1,000  outlets.  One  service,  titled 
"Behind  the  Hollywood  Headlines",  is  a  5- 
minute  script  written  for  the  use  of  the  local 
commentator.  The  other  widely  used  device  is 
L'niversal's  5-minute  open-end  end  recorded  in- 
terviews, sent  to  radio  stations  just  ahead  of  a 
film's  release  date.  Among  the  recent  transcrip- 
tions have  been  those  of  such  stars  as  James 
Cagney,  Jeff  Chandler  and  Tony  Curtis. 


Warners'  "Band  of  Angels"  garnered  a 
nice  boost  for  its  engagement  at  Boston's 
Metropolitan  Theatre  with  this  giant-size  dis- 
play. Mammouth  sign,  idea-ed  by  Hy  Fine  of 
New  England  Theatres,  dwarfs  managing  direc- 
tor Max  Nayor. 


Giving  the  once-over  to  the  avalanche  of 
round-the-world   publicity   breaks   garnered  by 
the    production    publicity    campaign    for  "The 
Bridge  on  the   River   Kwai"   is  Columbia  v. p. 
Paul  N.  Lazarus,  Jr. 

TOA  Names  P.R.  Director 

The  newly  created  post  of  Director  of  Public 
Relations  for  the  Theatre  Owners  of  America 
will  be  filled  by  Jack  M.  Barrington,  it  was 
announced  by  Theatre  Owners  of  America 
president  Ernest  G.  Stellings. 


'■V  World  premiere  headquarters  for  M-G-M's 
"Raintree  County''  is  established  in  Louisville. 
Ky.,  for  Oct.  2  debut.  Watching  workmen  put 
tp  ths  sign  are  (I  to  r)  A.  B.  McCoy,  manager 
of  the  Brown  Theatre,  where  premiere  will  be 
held,  and  Metro  ballymen  Judson  Mo;es,  E.  C. 
Pearson  end  John  L.  John. 

'Sun  Also  Rises'  Backed  by 
Large  Merchandising  Campaign 

"The  Sun  Also  Rises"  is  being  backed  by 
one  of  the  most  extensive  merchandising  cam- 
paigns ever  given  a  20th  Century-Fox  release. 
The  drive,  outlined  by  vice  president  Charles 
Einfeld.  will  pre-sell  the  Darryl  F.  Zanuck  pro- 
duction in  the  more  than  500  p'.aydates  sched- 
uled for  September. 

Spearheading  the  campaign  v.  ill  be  a  virtual 
avalanche  of  national  magazine  publicity  cover- 
ing a  great  many  of  the  key  magazines  (Life, 
Time,  Newsweek,  American  W'tekly,  etc.)  and, 
of  course,  all  of  the  fan  magazines.  As  for 
newspaper  coverage,  stories  of  the  producer  and 
stars  on  location  have  appeared  in  over  H00 
newspapers  in  the  I'.  S.  and  Canada. 

In  the  TV-radio  field,  Ed  Sullivan  gave  a  na- 
tionwide salute  to  "SAR"  on  his  August  26 
telecast,  showing  scenes  and  interviews  he  him- 
self filmed  on  location  in  Mexico  City.  NBC's 
"Monitor  has  been  drumbeating  the  film  for 
the  past  two  months  with  taped  star  interviews. 

Two  special  albums  of  Spanish  music  in:pired 
by  the  20th  release  are  being  released.  One  by 
Tico  Records,  the  other  by  Columbia.  The  Co- 
lumbia album  features  Julliette  Greco  and  is 
keyed  to  her  performance  in  the  film. 

On  the  fashion  front,  Einfeld  reported  that 
the  House  of  Fontana,  designers  oi  the  clothes 
featured  by  Ava  Gardner  in  the  film,  is  plugging 
"The  Sun  Also  Rises"  in  over  100  fashion 
center  with  space  displays,  newspaper  ads. 


Theatres  playing  » 
UA's  "Fuzzy  Pink 
Nightgown"  could 
well  take  a  tip 
from  Jane  Russell, 
shown  at  the  top 
of  a  20-foof  night- 
gown hung  in  her 
honor  at  the  Sher- 
aton Cadillac 
Hotel  in  Detroit, 
and  string  a  huge 
nightgown  from 
window  above 
their  marquee. 


-TO! 


Film  BULLETIN    September  2.  1957       Page  25 


WHO'S  WHO  IN  LOEWS  STRUGGLE 


THE  LION'S  SHARE 

(Continued  from  Page  17) 

new  life  into  production,  developing  fresh 
ideas,  cutting  out  the  dead  wood,  was  now  all 
too  clearly  seen.  What  was  wanted  was  some- 
one like  Thalberg  in  the  old  days.  It  was  evi- 
dent that  Mayer  was  not  the  answer.  A  new 
man  had  to  be  found,  an  administrator  more 
creative  and  energetic  than  anyone  in  the  studio. 

Mayer  again  went  to  David  Selznick  and  be- 
sought him  to  return.  He  told  him  he  could 
write  his  own  ticket.  But  Selznick  was  not  so 
inclined.  He  had  just  given  up  his  own  Van- 
guard company,  which  he  formed  after  Gone 
With  the  W  ind.  He  was  being  divorced  by 
Irene  Mayer  Selznick  and  was  paying  court  to 
Jennifer  Jones.  Mayer  spoke  to  several  other 
people.  Then  his  eye  lighted  upon  Hollywood's 
latest  "boy  wonder."  He  was  Dore  Schary, 
who  at  forty-three,  was  now  considered 
"young." 

As  soon  as  the  story  broke  on  Schary's  resig- 
nation (from  RKO),  he  was  deluged  with  of- 
fers from  all  sides.  United  Artists,  Paramount, 
Columbia,  Republic  wanted  him.  Then  Mayer 
called  and  asked  to  see  him.  Schary  went 
around  and  found  his  ex-boss  most  cordial  and 
encouraging.  He  wanted  Schary  to  return  to 
Metro-Goldwyn-Mayer  not  as  a  unit  producer, 
not  as  a  member  of  the  executive  board,  but  as 
vice-president  in  charge  of  production!  It  was 
substantially  the  job  that  Thalberg  used  to  have. 

The  triumph  of  Battleground  lifted  Schary's 
prestige  immeasurably.    He  assumed  a  consid- 


SCHARY 


Considered  a  ''Boy  Wonder" 

erably  larger  stature  around  the  studio.  The 
fulfillment  of  his  convictions  also  helped  his 
self-esteem.  He  was  able  to  continue  "in 
charge  of  production"  with  a  great  deal  more 
confidence. 

In  the  next  year  or  so,  a  spate  of  pictures 
that  had  quality  were  laid  down. 

*      *  * 

But  the  relations  between  Mayer  and  Schary 
were    not    keeping    comparable    pace.  Their 


clashes  on  stories  and  issues  were  becoming 
more  frequent  and  sharp. 

This  sort  of  thing  continued  until  early  in 
1951,  when  renewals  on  several  executive  con- 
tracts were  due.  Mayer  had  recommended  that 
stock  options  be  bestowed,  but  had  heard 
nothing  more  about  it.   Then  suddenly  Schenck 


SCHENCK 
"I'll  Kill  You.-  —  Mayer 


informed  a  group  of  six  executives,  of  which 
Schary  was  one,  that  they  were  receiving  op- 
tions. Mayer  heard  it  later  and  was  enraged, 
not  because  the  options  were  given  (he  had 
recommended  this)  but  because  Schenck  had 
bestowed  them  without  even  letting  him  know 
in  advance.  (It  was  later  explained  that 
Schenck  had  tried  to  reach  Mayer  by  telephone 
before  spreading  the  happy  word.) 

The  options  were  given  for  the  purchase  of 
Loew's  stock  at  S16.44  a  share.  Schary  re- 
ceived options  on  100,000,  Arthur  Loew  re- 
ceived options  on  -(0,000,  and  options  on  25,000 
each  were  given  to  Bennie  Thau,  L.  K.  Sidney, 
and  Charles  Moskowitz  and  Joe  Vogel  in  New- 
York.  It  was  startling  to  many  that  Eddie 
Mannix,  who  was  an  old  and  devoted  friend 
of  Schenck,  did  not  receive  a  similar  bonus. 
He  was  considered  to  be  in  line.  But  Schenck 
said  that  Mannix  was  a  "sick  man"  and  that  he 
therefore  could  not  recommend  to  the  directors 
that  they  recompense  him.  The  reasoning  was 
hard  to  understand — especially  by  Mannix,  who 
had  long  been  one  of  the  studio's  sturdiest 
hands. 

It  was  later  calculated  by  persons  close  to 
the  situation  in  the  studio  that  the  conflict  was 
clarified  at  that  point:  it  was  between  Mayer 
and  Schenck  and  was  thereafter  irreconcilable. 
Many  tactful  and  desperate  efforts  were  made 
by  some  who  saw  what  was  coming  to  head  it 
off.  Schary  was  urged  by  studio  veterans  to 
make  a  show  of  acquiescence  towards  Mayer, 
to  flatter  and  cajole  him.  In  that  way,  he  could 
get  what  he  wanted,  they  said.  But  Schary  was 
not  inclined  to  play  the  toady.  And,  besides, 
the  old  fat  was  in  the  fire. 

Once  Schenck  got  Mayer  on  the  telephone 
and  said,  "Louie,  what's  wrong?  Why  can't  we 


get  together?  Let's  meet  someplace  and  talk 
this  out." 

But  Mayer  replied,  "No,  I've  got  a  temper. 
If  I  hit  you,  I'll  kill  you,  Nick.  I'm  just  wak- 
ing up  and  I  don't  like  it!" 

He   felt  he  was   being  deliberately  pushed 

aside. 

Then  a  story  appeared  in  the  papers  one  day- 
saying  that  Mayer  intended  to  resign.  Schary 
read  it  and  went  directly  to  him  and  asked 
if  it  was  so.  Mayer  said  it  was.  Schary  asked 
him  if  they  couldn't  reconcile  their  quarrels. 

"What  do  you  mean?"  Mayer  answered. 
"Are  you  going  to  save  my  job  for  me?" 

While  they  were  talking  a  phone  call  came 
through  to  Mayer  from  Robert  Rubin  in  New- 
York.  Rubin  had  also  seen  the  stories  (or 
heard  about  them)  and  was  alarmed.  He  asked 
Mayer  if  they  couldn't  do  something  to  make 
him  change  his  mind.  Mayer  answered,  "Nick 
and  Dore  want  the  studio.  Well,  they  can  have 
it  and  choke  on  it!" 

This  time  Mayer  called  Schenck  and  said, 
"It's  either  me  or  Schary.  Which?" 

Schenck  said  he  would  answer  him  by  letter. 

Previous  to  this,  Schenck  had  had  L.  K.  Sid- 
ney bring  the  records  of  the  studio  to  New 
York  and  had  made  a  careful  analysis  of  the 
achievements  of  all  the  producers,  before  and 
after  Schary  came.  Now  he  wrote  to  Mayer 
and  informed  him  the  analysis  clearly  showed 
that  there  had  been  an  appreciable  improve- 
ment in  the  product  since  Schary  was  there. 
As  a  consequence,  Schenck  advised  him  that 
he  was  going  along  with  Schary. 


THAU 

He  Cried 

The  implication  was  obvious.  Mayer  would 
have  to  resign. 

He  called  his  old  guard  into  his  office  and 
showed  the  letter  to  them.  Bennie  Thau  cried. 
L.  K.  Sidney  almost  fainted.  Mannix  threw  the 
letter  down  with  a  howling  curse  and  fled  the 
room. 

This  was  the  end  of  the  ball  game.  There 
was  nothing  else  to  be  done. 


Page  24       Film  BULLETIN    September  2,  l?57 


WHO'S  WHO  IN  LOEWS  STRUGGLE 


THE  LION'S  SHARE 

Mayer  announced  his  resignation  on  June  22, 
1951,  the  same  to  be  effective  on  August  31. 
But  he  left  the  studio  before  that,  without  say- 
ing any  formal  good-byes  or  making  a  hand- 
some gesture  of  farewell  to  his  old  associates 
that  many  expected  of  him. 

The  quip  was  made  that  Dore  Schary,  in 
ascending  to  full  command  of  the  studio,  "be- 
came mayor  of  Rome  while  it  was  burning," 
and  the  joke  was  peculiarly  apt.  Conditions 
both  within  and  without  the  company  were 
such  that,  no  matter  how  able  he  was,  the 
chances  of  re-establishing  the  old  magnificence 
of  Mtero-Goldwyn-Mayer  were  quite  remote. 

In  these  years  of  vastly  changing  conditions 
in  the  motion  picture  industry  ,  Metro-Goldvv  y  n- 
Mayer  and  Loew  s  Inc.,  were  not  alone  in  their 
difficulties.  All  of  the  Hollywood  studios  and 
the  established  motion  picture  companies  were 
compelled  to  make  drastic  retrenchments  and 
adjustments  to  save  their  corporate  lives.  If 
there  was  a  noticeable  difference  in  the 
methods  and  procedures  of  Loews,  Inc.,  it 
was  in  the  slowness  of  its  changes,  reflecting 
the  caution  of  Schenck. 

While  the  other  major  companies,  beginning 
with  R-K-O  and  continuing  with  Paramount, 
Warner  Brothers  and  Twentieth  Century-Fox, 
submitted  reluctantly  but  inevitably  to  the  de- 
mands of  the  "consent  decree"  and  divorced 
their  producing  and  distributing  functions  from 
their  operations  of  theatres,  Loews,  Inc.,  suc- 
ceeded in  finding  reasons  for  delay  and  ob- 
tained periodic  postponements  from  the  re- 
markably patient  courts.  Although  it  set  up 
Loew  s  Theatres,  Inc.,  a  subsidiary  in  1954  to 
carry  on  the  operation  of  its  105  theaters,  it 
still  had  not  effected  its  "divorcement"  ten 
years  after  the  "consent  decree." 

Schenck  also  counseled  caution  toward  the 
rush  to  larger  screens  which  mined  the  indus- 
try following  the  independent  inauguration  of 
Cinerama  in  1952. 

He  continued  to  maintain  caution  after  Cine- 
rama was  released  and  Twentieth  Century-Fox, 
shrewdly  sensing  a  chance  to  ride  with  this 
popular  novelty,  came  forward  with  a  more 
practical  w  ide-screen  process,  known  as  Cinema- 
Scope. 

Likewise,  the  acknowledgment  by  Loew's, 
Inc.,  of  the  challenge  of  television  was  slow. 
In  common  with  others  in  the  industry,  it  acted 
as  though  the  new  thing  was  a  nuisance  that 
would  pass. 

*  * 

The  question  of  Schenck's  continuation  as 
president  and  chief  architect  of  policy  was 
raised.  It  was  noted,  not  without  clear  impli- 
cations, that  he  was  past  seventy. 

For  three  or  four  years,  the  necessity  of  a 
successor  to  him  was  discussed  within  the  cir- 
cle of  the  board  of  directors.  The  most  gener- 
ally approved  candidate  was  Arthur  Loew,  son 
of  the  founder.  He  had  been  eminently  suc- 
cessful in  building  up  the  foreign  operations 
of  the  company  over  three  decades. 


Loew  was  a  cool,  quiet  individual,  a  man  of 
inherent  modesty  and  good  taste.  He  had  a  lot 
of  the  shrewdness  of  his  father  and  a  thorough 
knowledge  of  the  business  of  films.  Further, 
and  most  impressive,  Loew's  International,  un- 
der him,  was  now  delivering  about  half  the 
total  income  of  the  company. 

But  Loew  was  not  eager  to  have  the  burden 
of  the  presidency.    He  liked  his  job  and  knew 


ARTHUR  LOEW 

Reluctant 


too  well  the  problems  accumulated  in  recent 
years.  Also,  he  was  in  his  mid-fifties,  close  to 
the  age  at  which  his  father  had  died.  He  con- 
sistently declined  importunities  that  he  become 
the  head  of  Loew's,  Inc. 

Schenck's  closest  and  most  trusted  associate 
was  Charles  Moskow  itz,  former  head  of  theatre 
operations  and  successor  to  Dave  Bernstein  as 
treasurer.  But  Moskow  itz  was  in  his  sixties 
and  was  popular  almost  exclusively  w  ith 
Schenck.  The  latter's  endeavors  to  promote  him 
were  strongly  opposed  internally. 

Another  possible  successor  was  Joseph  R. 
Vogel,  a  diligent  man  who  had  been  head  of 
theatre  operations  since  1945.  Vogel  had 
worked  for  that  company,  in  the  theatre  branch, 
since  he  was  a  lad.  He  was  now  pushing  sixty. 
He  was  logical,  but  he  lacked  the  endorsement 
of  Schenck.  Leopold  Friedman  was  out  of  the 
running,  being  close  to  seventy.  J.  Robert 
Rubin,  who  might  have  been  considered,  had 
retired  for  reasons  of  health.  (Like  his  part- 
ner, Mayer,  he  departed,  in  1954,  with  a  hand- 
some settlement  of  SI, 200, ()()()  for  his  residual 
interest  in  the  company's  post- 1924  films.) 

Finally,  the  pressure  of  the  directors  to  find 
a  successor  to  Schenck  grew  so  acute  that 
Loew,  sensing  a  crisis,  agreed  to  take  the  job. 
He  made  it  clear  in  private  parleys,  however, 
that  his  tenure  would  be  tentative,  that  some- 
one would  have  to  be  found  to  replace  him, 
if  the  going  got  too  rough. 

His  election  as  president  of  Loew's,  Inc., 
was  announced  on  Dec.  14,  1955.  It  was  the 
first  time  an  heir  of  a  major  pioneer  in  the 


American  film  industry  had  actually  reached 
the  top  position  his  father  had  held. 

Such  was  the  state  of  agitation  when,  on  Oct. 
3,  1956,  the  trade  paper  I  arhty  flashed  the 
information  that  Loew  had  resigned  as  presi- 
dent. The  news  was  flabbergasting  to  the  him 
industry.  It  was  incredible  that  Loew,  so  gen- 
erally respected,  should  give  up  the  job  within 
a  year.  Even  those  who  knew  of  his  reluctance 
were  amazed  that  he  should  resign  and  that 
the  fact  should  be  "leaked"  to  a  trade  paper 
before  a  successor  was  named. 

Loew  frankly  admitted  the  pressures  and 
problems  were  too  much  for  him.  His  health 
was  beginning  to  suffer.  That's  why  he  chucked 
the  job,  he  said.  He  had  indicated  to  the  di- 
rectors that  he  intended  to  do  so,  several  times, 
but  no  move  was  made  to  replace  him.  So  he 
laid  his  resignation  on  the  line.  It  was  to  be 
effective  by  the  end  of  the  year. 

For  two  weeks,  uncertainty  existed.  Rumors 
flew  thick  and  fast  of  various  people,  some  out- 
side the  company,  who  would  get  the  job.  The 
disquieting  thing  was  that  Loew's,  Inc.,  re- 
garded for  so  many  years  as  the  Rock  of 
Gibraltar  of  the  film  industry,  should  appear 
so  unsettled  "upstairs." 

Word  got  around  that  the  directors — espe- 
cially two  or  three  who  were  not  employees  of 
the  company — were  determined  to  have  no 
more  of  Schenck.  There  was  now  criticism  not 
only  of  his  continued  influence  on  policy  but  of 
the  presence  of  nepotism  that  he  had  tolerated 
in  the  company  for  many  years.  It  was  known 
he  had  relatives  scattered  throughout  the  home 
office,  the  studio  and  the  various  subsidiaries 
and  theatre  concessionaires. 

The  crux  of  this  executive  crisis  was  the 
powerful  shadow  of  Schenck. 

Then,  on  Oct.  18,  it  was  announced  that  Joe 
Vogel  had  been  picked  to  ascend  from  the  head 
of  Loew's  Theatres  to  the  presidency  of  Loew's, 
Inc.  Arthur  Loew  would  return  to  his  old  job 
as  head  of  Loew's  International  and  would  also 
assume  the  position  of  Chairman  of  the  Board. 
Schenck  would  give  up  that  position  to  become 
Honorary  Chairman  of  the  Board,  a  purely 
nominal  title. 

This  vvas  plainly  his  exit  from  Loew's,  Inc. 

The  fact  was  acknowledged  a  month  later 
when  Howard  Dietz  informed  the  press  that 
Schenck  would  retire  completely  at  the  end  of 
the  year. 

Thus  the  sturdy  veteran  who  had  weathered 
so  many  storms  and  had  reached  the  peak  of 
his  authority  in  the  showdown  w  ith  Louie 
Mayer  took  his  departure  from  the  company 
he  had  served  for  fifty  years,  unwept  by  the 
very  "stockholders"  he  had  said  so  often  he 
strove  to  "protect." 

His  was  not  the  only  departure.  Within  a 
month  of  assuming  the  presidency,  Vogel  called 
Dore  Schary  to  New  York  and  threw  him  to 
the  wolves.  Schary  submitted  his  resignation 
as  head  of  the  studio,  effective  at  the  year's 
(Continued  on  Page  29) 


Film  BULLETIN     September  2,  1957        Page  27 


4MD  YOU  TOO 

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WHEN  YOU  PLAY 


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130 


TOW 


"The  Man  With 
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fine  hits  coming 
your  way! 


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FOR  THE 
"MAN  WITH  THE  GONG"  HIT 
COMBINATION  WHICH  IS  ONLY 
THE  FIRST  THAT  WILL  BE  MAKING  HISTORY 
IN  ITS  BOXOFFICE  PARADE  ACROSS  THE  NATION  I 


LOS  ANGELES  25  THEATERS  IN  JUNE 
SALT  LAKE  5  THEATERS  IN  JULY 
PROVIDENCE  14  THEATERS  IN  JULY 


DETROIT  94  THEATERS  IN  AUGUST 
CINCINNATI  20  THEATERS  IN  AUGUST 
MILWAUKEE  23  THEATERS  IN  AUGUST 


RANK  FILM  DISTRIBUTORS 


WHO'S  WHO  IN  LOEWS  STHI  [ihl.i: 


THE  LION'S  SHARE 

(Continuid  from  Page  27) 

end,  even  though  his  contract  had  thirteen 
months  to  go.  He  took  $100,000  in  settlement. 
This,  with  the  S900,0()(>  in  deferred  salary  he 
had  coming,  to  be  paid  at  the  rate  of  Sl(H>,()(><> 
a  year,  gave  him  some  balm  for  his  injured 
pride. 

Bennie  Thau,  a  veteran  in  Culver  City,  was 
assigned  to  administer  the  operation  of  the 
studio. 

With  this  dramatic  upheaval,  we  may  logi- 


cally bring  to  a  dose  this  story  of  an  entertain- 
ment empire  and  the  people  involved  in  it. 
The  character  of  it,  if  not  the  empire,  was  dis- 
solved with  the  passing  of  Schenck.  An  in- 
evitable alteration  was  due  in  the  years  ahead. 

What  this  would  be,  under  pressures  of 
continuing  industry  change  and  the  vigilance 
of  powerful  stockholders,  was  no  more  sure 
than  what  lay  ahead  for  the  mutable  nexus  of 
the  industry  itself.  Stockholder  ire  was  still 
vengeful  at  the  end  of  1956,  but  stockholders 
have  always  been  tractable  when  dividends  roll 
in.    The  possibility  of   improving   profits  was 


the  indomitable  hope  on  which  the  new  war- 
dens of  the  Lion  looked  for  sustenance. 

And  as  a  wistful  observer  cast  back  on  the 
yeras — back  to  the  days  of  the  nickelodeons, 
the  growth  of  the  theatre  chains,  the  great 
mergers  of  studios  and  theatres,  the  bewilder- 
ing arrival  of  sound,  the  picture  triumphs  of 
the  Nineteen  Thirties,  the  vast  prosperity  dur- 
ing World  War  II  —  it  was  hard  to  imagine 
that  there  could  ever  be  an  end  for  Loew's, 
Inc.,  and  the  Lion.  At  least,  it  was  hard  to 
imagine  a  world  of  motion  pictures  without 
them. 


WAR  AMONG  THE  LION  TAMERS 

(Continued  from  Page  20) 

of  the  board.  Ogden  Reid  urged  that  the  bank- 
ers be  authorized  to  initiate  discussions  with 
United  Artists.  Furious  opposition  came  from 
the  Tomlinson  forces.  Knowing  of  the  pro- 
posal days  before  the  meeting,  Stanley  Meyer 
had  denounced  it  as  almost  scandalous  since 
United  Artists  had  no  tangible  assets  compar- 
able to  M.G.M.'s.  Louis  Johnson  stormed 
against  the  proposal.  Vogel  adopted  a  posture 
of  judicious  neutrality,  though  his  own  office 
might  be  at  stake.  He  professed  his  respect  for 
the  talents  of  Krim  and  Benjamin,  and  left  the 
issue  essentially  to  the  board's  discretion. 
Finally  the  board,  in  effect,  decided  to  do 
nothing:  it  would  not  authorize  making  any  ap- 
proach to  L'nited  Artists,  but  would  await  any 
concrete  offers  that  might  come  from  that 
source.  With  this  rebuff  to  Andre  Meyer,  the 
bankers  lapsed  once  again  into  their  watchful, 
restless  silence. 

"I'd  be  a  bum  to  quit" 

As  the  end  of  another  bad  fiscal  year  ap- 
proached for  Loew's,  the  key  question  was: 
could  Vogel  hang  on  long  enough  for  a  fair 
test  of  his  management?  At  a  board  meeting 
last  month  Vogel  found  himself  in  the  most 
critical  battle  to  date.  He  was  confronted  with 
a  second  efficiency  survey,  which  criticized  him 
for  failure  to  clean  out  executive  deadwood 
and  recommended  the  immediate  removal  of 
several  holdovers  from  the  Schenck  regime. 
The  upshot  of  a  long  and  bitter  argument  was 
the  appointment  of  a  four-man  committee  of 
directors  (Reid,  Johnson,  Pace,  Tomlinson)  to 
look  into  the  survey  and  make  some  definite 
recommendations  to  the  rest  of  the  board  this 
month. 

Calmly  aware  of  all  die  forecasts  of  his  im- 
minent downfall,  Vogel  developed  a  singular 
detachment  and  determination.  In  a  financial 
sense  he  was  not  vulnerable:  only  last  October 
he  signed  a  five-year  contract  at  SI 56,000  a 
year,  which  in  any  event  would  see  him 
through  to  pension  time.  However,  Vogel  be- 
came passionately  committed  to  the  struggle. 
"I'm  in  this  to  the  end  now  ,"  said  the  man  who 
started  as  a  Loew's  usher  at  fourteen.  "I  feel 
that  I  am  fighting  to  hold  together  a  company 
that  has  been  my  whole  life.  And  I'm  going 
to  do  it  my  oun  way.  I'm  not  going  to  fire  old 
people  just  to  appease  my  critics  when  I  have 
no  replacements  ready.   I'm  not  going  to  sell 


off  pieces  of  the  company,  like  the  music  or 
records  division,  at  least  till  they  are  built  up 
to  their  full  potential  strength.  I  will  go  on 
respecting  critics  who  are  honest  men  and  tell 
me  what  they  think.  I  will  go  on  disrespecting 
others  who  are  only  ambitious  for  themselves. 
The  liquidators  aren't  going  to  have  this  com- 
pany, nor  the  power  seekers,  if  I  can  stop  them. 
So  I  have  a  lion  by  the  tail,  but  I'd  be  a  bum 
to  quit." 

The  lion's  future 

How  dark  or  how  bright  is  M.G.M.'s  future 
under  any  constructive  leadership? 

The  obituaries  of  late  pronounced  on  the  old 
lion — in  trade  journels  and  over  cocktails  at 
Romanoff's  or  the  Brown  Derby — seem  prema- 
ture. M.G.M.  has  always  been  a  deliberate 
beast,  almost  always  last  in  the  industry  to 
take  every  great  forward  step — sound,  color, 
wide  screen,  independent  production.  Yet  now, 
waking  up  to  the  new  facts  of  film  life,  it  is 
showing  its  latent  vitality. 

Committed  as  it  is  now  to  compete  for  in- 
dependent production  contracts,  M.G.M.  has 
more  to  offer  the  independents  than  almost  any 
other  studio.  There  is  no  finer  distribution 
machinery  in  the  business.  There  is  no  inter- 
national organization  so  strong.  There  is  no 
richer  stock  of  literary  properties  to  attract 
stars,  directors,  and  producers  hungry  for  ma- 
terial. And  its  technical  resources  are  un- 
matched anywhere  in  the  industry — from  Doug- 
las Shearer's  sound  department  to  M.G.M.'s 
ninety-seven  acres  of  elaborate  outdoor  sets  in 
Culver  City. 

At  the  same  time  the  rise  of  the  independent 
— only  recently  expected  to  render  big  studios 
obsolete— already  is  proving  to  be  a  trend  with 
some  severe  limitations.  "Freedom"  from  the 
big  studio  has  its  price:  no  art  director,  no 
make-up  man,  no  prop  man  instantly  ready  at 
the  producer's  call.  And  once  "freed,"  the  in- 
dependent creative  talent  has  found  itself  more 
immersed  in  business  details  than  ever  before. 

Producers  can  be  producers 

The  wheel  of  change  is  thus  slowly  turning 
back  half-circle,  and  it  is  likely  to  come  to  rest 
on  the  formula  of  "semi-independence,"  such 
as  producers  Pandro  Berman  and  Sol  Siegel 
now  enjoy  at  M.G.M.  As  Berman  says:  "L'nder 
this  setup  I  don't  have  to  act  like  a  promoter — 
running  around  town  trying  to  make  a  package 
of  a  story  and  a  male  lead  and  a  female  lead, 
and  peddle  it  to  this  bank  and  that  bank.  Here 


I  can  be  what  I  am — a  producer."  Under  such 
deals  as  Berman  has,  the  independent  producer 
makes  contracts  with  M.G.M.  for  a  specified 
number  of  pictures  over  a  given  number  of 
years.  The  independent  invests  just  enough 
money  to  qualify  his  company  for  capital-gains 
taxation:  M.G.M.  puts  up  the  rest.  The  inde- 
pendent's contract  calls  for  a  specified  percent- 
age of  the  earnings  of  each  picture  under  a 
scheme  of  "cross-collateralization."  This  de- 
vice brackets  pictures  into  groups  of  two  to 
four  for  the  computation  of  total  earnings — so 
that  the  individual  producer,  for  example,  can- 
not make  a  handsome  profit  on  one  film  and 
let  M.G.M.  take  the  loss  on  the  others.  The 
practical  virtues  of  this  system  are  many.  For 
individual  talent,  it  promises  the  best  of  both 
possible  worlds:  high  potential  earnings  and 
the  full  facilities  of  a  major  studio.  From  the 
studio's  viewpoint,  it  promises  an  advantage 
especially  meaningful  for  M.G.M.:  a  built-in 
economy,  since  everyone  working  on  a  produc- 
tion has  a  personal  interest  in  holding  down 
costs.  As  Sol  Siegel  notes:  "There's  no  easing 
up  on  the  job  now — every  producer  tries  for  a 
home  run  for  his  own  sake."  Berman,  a  veteran 
of  seventeen  years  at  R.K.O.  and  seventeen 
more  at  M.G.M.,  says:  "Right  now  I  think  this 
place  is  in  healthier  shape  than  at  any  time 
since  1940." 

As  Vogel  is  fond  of  pointing  out,  the  po- 
tential earnings  in  the  film  industry — like  its 
costs — are  higher  than  ever.  With  the  vast  ex- 
pansion in  the  overseas  market,  a  successful 
picture  today  can  make  money  unimagined  in 
prewar  years.  Even  a  film  so  undistinguished 
as  Quo  Vadis  has  already  grossed  S22.500,- 
000.  So  there  is  truth  in  Vogel's  assertion: 
"M.G.M.  suffers  from  nothing  that  two  or 
three  hits  can't  cure.  Or  let  the  next  Btn  llur 
be  a  smash — and  we'll  record  profits  for  five 
years  on  that  alone." 

On  a  more  distant  horizon  looms  the  possi- 
bility that  excites  yet  higher  hopes — the  pros- 
pect of  toll  television.  There  are  many  tech- 
nical and  legal  matters  unresolved  here.  But 
among  toll  TV's  glittering  attractions  would 
be  quick  return  on  investment,  and  drastic  cut- 
ting of  present-day  distribution  costs. 

This  is  the  stuff  that  great  corporations' 
dreams  are  made  of.  It  is  the  stuff  that  could 
be  part  of  a  new  life  for  old  M.G.M.  And  it 
is  the  kind  of  stuff  that  makes  a  man  like  Joe 
Vogel  hope  very  much  that  he  will  still  be 
around  M.G.M.  for  a  while. 


Film  BULLETIN    September  2.  1957        Page  2? 


SELZNICK 


DAVID  O.  SELZNICK,  just  back  from  loca- 
tion shooting  of  "A  Farewell  to  Arms"  in 
Italy,  held  a  press  conference  to  blast  distri- 
bution for  its  antiquated  concepts.  Taking 
note  that  a  larger  portion  of  motion  picture 
earnings  are  coming  from  a  smaller  number 
of  theatres,  the  producer  declared  he  has 
no  objection  to  seeing  the  number  of  thea- 
tres dropping  to  somewhere  between  2,500 
and  5,000.  Some  other  Selznickisms:  "The 
picture  that  is  in  demand  should  cost  less 
to  release.  The  picture  business  for  years 
has  lived  with  the  fallacy  that  the  cost  of 
distribution  must  be  a  percentage  of  the 
gross  regardless  of  what  that  gross  is  .  .  . 
The  business  as  a  whole  is  serving  too  many 
accounts  at  a  loss  .  .  .  Pay-television  is  a 
dream  from  the  producers  point  of  view  be- 
cause at  least  he'd  know  what  he  gets  from 
every  customers  dollar  .  .  .  There's  too  much 
habitual  thinking  around  .  .  ." 

o 

JOSEPH  R.  VOGEL'S  campaign  to  retain 
control  of  Loew's  and  oust  Joseph  Tomlin- 
son  and  Stanley  Meyer  from  the  board  of 
directors  was  bolstered  immeasurably  last 
week  as  the  result  of  a  ruling  handed  down 
by  the  Court  of  Chancery  at  Wilmington, 
Delaware.  As  detailed  by  Chancellor  Col- 
lins J.  Seitz,  the  election  of  Louis  B.  Mayer 
and  Samuel  Briskin  to  Loew's  and  all  other 
actions  that  took  place  at  the  July  30  rump 
board  meeting  were  held  to  be  invalid.  The 
ruling  paved  the  way  for  the  September  12 
stockholders  meeting  called  by  Vogel  to 
oust  the  insurgents  and  to  increase  the  board 
of  directors  from  13  to  19.  However, 
Chancellor  Collins  did  not  rule  on  the  ques- 
tion of  whether  to  issue  a  preliminary  in- 
junction, supplementing  a  temporary  re- 
straining order,  to  prevnt  management  forces 
from  using  corporation  monies  for  solicita- 
tion of  proxies.  Special  counsel  for  Loew's 
Louis  Nizer  hailed  the  decision  as  upholding 
"Loew's  position  in  every  detail". 

0 

PARAMOUNT  gave  its  answer  to  Syndicate 
Theatres'  Trueman  Rembusch  regarding  his 
admissions  policy  of  charging  the  public- 
whatever  amount  they  desired  to  contribute 
to  see  "The  Ten  Commandments"   at  the 


THEY 


MADE  THE  NEWS 

chains  Crest  Theatre  in  Wabash,  Indiana. 
The  film  company's  reply:  a  $50,000  damage 
suit  charging  "malicious  injury"  and  a  tem- 
porary injunction  restraining  the  theatre 
from  playin;;  the  DeMille  epic  for  more 
than  its  initial  11  days  run.  Syndicate  and 
Paramount  are  at  odds  over  whether  the 
circuit  has  the  right  to  extend  the  engage- 
ment— and  the  theatre's  unique  pay-what- 
you-choose  admissions  policy. 

0 

BARTLESVILLE  is  having  its  troubles.  The 
subscription  TV  system  which  was  to  have 
kicked  off  this  month  has  been  pushed  back 
to  October  1.  Henry  Griffing,  president  of 
Video  Independent  Theatres,  announced  that 
the  sales  campaign  for  "telemovies"  will  be 
a  gradual,  continuing  affair  and  not  a  kill- 
em-quick  drive.  Said  Griffing:  "From  our 
past  experience  with  community  antenna  sys- 
tems, we  know  this  thing  won't  go  off  at 
once  like  a  firecracker."  Adding  to  toll- 
television  woes  in  the  Oklahoma  town,  20th 
Century-Fox  general  sales  manager  Alex 
Harrison  announced  none  of  that  company's 
films  will  be  made  available  for  the  pay-TV 
experiment.  Paramount  is  also  withholding 
films,  presumably  for  eventual  Telemeter  use. 
O 

NATIONAL  TELEFILM  ASSOCIATES,  a 
subsidiary  of  20th  Century-Fox,  entered  the 
television  station  field  when  it  purchased 
controlling  interest  in  KMGM  (Minneap- 
olis-St.  Paul)  in  a  deal  announced  by  Ely 
A.  Landau,  NTA  president.  He  indicated 
that  his  organization  "expects  to  expand  in 
that  direction  until  we  have  our  full  quota 
of  stations  authorized  by  the  Federal  Com- 
munications Commission".  Under  terms  of 
the  agreement,  United  Television,  Inc.  will 
sell  75  per  cent  of  the  station's  stock  to 
NTA.  The  remainder  of  the  stock  is  owned 
by  Loew's,  Inc.  N.T.A.  is  the  exclusive  dis- 
tributor of  all  20th  Century-Fox  product  to 
television.  In  addition,  N.T.A.  also  pro- 
duces film  series. 

0 

ERNEST  G.  STELLINGS  has  announced 
his  appointments  of  co-chairmen  for  the 
Theatre  Owners  of  America  10th  Anniver- 
sary Convention,  to  be  held  at  Miami  Beach, 
Florida.  The  appointees:  Mitchell  Wolfson, 
Albert  Forman,  Paul  L.  Kreuger,  Henry  G. 
Plitt,  Philip  F.  Harling.  In  announcing  the 
appointment,  the  TOA  president  stated: 
"We  feel  confident  that  long  range  plans 
can  be  executed  for  the  purpose  of  arresting 
the  trend  of  declining  admissions  in  our 
theatres.  Our  major  objective  for  this  year's 
convention  is  to  formulate  and  execute  such 
a  plan  of  action".  On  another  front,  TOA 
is  urging  theatremen  to  support  the  films  of 
American  Broadcasting-Paramount  Theatres 
because  the  production  efforts  of  the  recently 
divorced  circuits  are  "a  prime  source  of 
additional  product  so  crucially  needed  .  .  ." 


MARCUS 


BEN  MARCUS,  fiery  Milwaukee  independ- 
ent exhibitor,  was  given  a  pat  on  the  back 
by  National  Allied's  board  of  directors  at 
its  recent  summer  meeting,  held  in  Pitts- 
burgh. The  group  commended  Marcus  for 
his  "spirited  resistance"  to  attempts  by  "cer- 
tain film  companies"  to  destroy  established 
availabilities.  It  advised  exhibitors  in  every 
section  of  the  country  to  take  a  tip  from 
Marcus  and  "resist  by  all  legal  means"  all 
efforts  to  smash  established  distribution 
patterns  for  greedy  purposes. 

0 

ROY  HAINES,  general  sales  manager  of 
Warner  Brothers,  sees  bright  prospects 
ahead  for  the  motion  picture  company.  Ad- 
dressing a  2-day  sales  conference  of  home 
office  distribution  executives  and  district 
managers,  Haines  told  the  gathering:  "Never 
before  have  we  been  in  a  position  to  offer 
the  exhibitors  such  a  succession  of  back-to- 
back  high  grossing  possibilites  as  we  have 
scheduled  for  the  beginning  of  the  new 
movie  year  through  the  end  of  1957,  and 
beyond."  The  sales  executive  cited  several 
upcoming  releases  as  indicative  of  the  top- 
flight product  lineup. 

0 

FRANK  H.  RICKETSON,  vice  president 
and  general  manager  of  National  Theatres 
called  for  a  "wedding  of  production  and  ex- 
hibition" to  assure  theatremen  a  continuous 
supply  of  topnotch  features  throughout  the 
year.  Said  Ricketson,  writing  in  the  current 
issue  of  the  circuit's  house  organ,  The 
Showman:  "We  do  not  know  how  it  can  be 
done  legally  but  it  certainly  is  not  wrong 
to  talk  about  what  is  so  obviously  a  need". 
Continuing:  "Theatres  are  the  only  retail 
business  in  the  world  that  do  not  have  an 
adequate  supply  of  merchandise  .  .  .  Unless 
there  is  a  change,  conventional  motion  pic- 
ture theatres  will  be  operating  only  forty 
weeks  a  year".  National  Theatres  is  not  al- 
lowed to  engage  in  the  production  of  movies 
under  the  terms  of  the  consent  decree,  issued 
by  the  Federal  government,  which  divorced 
it  from  20th  Century-Fox  Film  Corp.,  al- 
though it  has  been  allowed  to  develop  its 
Cinemiracle  process. 


Page  30        Film  BULLETIN    September  2,  1957 


THEY 


MADE  THE  NEWS 


TODD 


MIKE  TODD  gave  the  word  to  some  100 
exhibitors  assembled  in  Asbury  Park,  New 
Jersey  on  the  merits  of  "Around  the  World 
in  80  Days"  in  35  mm.  The  fast-talking 
exuberant  producer  told  the  assemblage  that 
although  35  mm  is  not  as  good  a  projection 
system  as  Todd-AO,  the  public  will  buy  it 
because  they  can't  tell  the  difference.  He 
gave  out  with  the  prediction  that  his  Acade- 
my Award  winning  production  will  be  play- 
ing from  300  to  400  theatres  in  the  near 
future,  the  majority  of  them  using  a  35  mm 
projection  system.  He  emphasized  that  all 
theatres  playing  "80  Days"  will  have  to 
meet  minimum  technical  requirements  and 
follow  his  road  show  policy — reserved  seats 
plus  no  popcorn.  Todd  cited  the  high  cost 
of  Todd-AO  and  its  inflexibility  as  major 
factors  in  his  decision  to  drop  Todd-AO  in 
favor  of  35  mm. 

o 

TOLL-TV  is  coming  to  Canada  in  1958. 
John  J.  Fitzgibbons,  president  of  the  379- 
theatre  Famous  Players  Canadian  Corp. 
chain,  a  Paramount  affiliate,  declared  that 
pay-television  will  bring  "greater  revenues" 
both  to  producers  and  to  exhibitors.  He 
cautioned  industryites  not  to  "drive  this 
business  into  the  hands  of  outsiders".  Trans- 
Canada  Telemeter,  a  subsidiary  of  Famous 
Players  will  manufacture  the  necessary  elec- 
tronic equipment  for  the  installation  of  a 
pay-to-see  system,  but  franchises  will  be 
given  to  local  organizations  to  operate  the 
system.  Rediffusion,  Inc.  now  operates  a 
closed-circuit  TV'  setup  in  Montreal,  serv- 
ing about  7,000  homes  via  telephone  wire 
connections. 

0 

20TH  CENTURY-FOX  reported  some  good 
news  to  its  stockholders  with  its  earnings 
statement  for  the  first  half  of  195". 


Earnings  were  S4.069.865  (SI. 54  per  share), 
nearly  double  the  S2, 156,670  (82c  per 
share)  for  the  corresponding  period  of  the 
previous  year.  Adding  to  the  good  news, 
the  company's  board  of  directors  declared  a 
40c  per  share  cash  dividend. 

o 

ELLIOT  HYMAN,  president  of  Associated 
Artists  Productions,  sees  a  "virtually  un- 
tapped" potential  for  the  Warner  film  li- 
brary, bought  for  S2 1,000,000  for  distribu- 
tion to  television.  The  new  president,  who 
succeeded  Louis  Chesler,  Canadian  financier 
moved  up  to  board  chairman  reported  net 
earnings  for  the  first  six  months  of  1957  of 
SI, 23", 628,  equal  to  76c  per  share.  He  also 
reported  that  AAP  has  secured  "Popeye" 
film  contracts  totaling  over  S26,()00,000. 

0 

SAMUEL  GOLDWYN'S  antitrust  suit 
against  Fox  theatre  interests  was  recessed 
until  September  9  because  of  Federal  Judge 
Edward  P.  Murphy's  illness.  Last  week's 
star  witness  was  National  Theatres  presi- 
dent E.  C.  Rhoden,  who  testified  that  the 
use  of  restrictive  covenants  in  theatre  leases 
were  regarded  as  "historic  carryovers". 

o 

ELMER  C.  RHODEN,  president  of  National 
Theatres,  declared  that  the  Cinemiracle 
camera  is  "capable  of  doing  more  photo- 
graphically in  creating  audience  participa- 
tion than  any  yet  developed".  Speaking  to 
a  group  of  managers  and  stockholders  of 
the  big  circuit,  he  unveiled  for  the  first  time, 
the  newest  of  the  wide  screen  projection 
systems.  First  feature  scheduled  to  be  re- 
leased in  the  new  process  is  set  for  early  '58. 

o 

LIST  INDUSTRIES  (RKO  Theatres) 
showed  a  healthy  increase  in  its  net  income 
in  announcing  earnings  for  the  first  six 
months  of  1957.  The  figures:  S503.782  plus 
S4ll,~82  in  capital  gains  (21c  per  share) 
this  year  as  compared  to  S317,471  (10c  per 
share). 

o 

MAYOR  ROBERT  F.  WAGNER  of  New 
York  City  signed  a  bill  exempting  the  first 
90c  of  film  admissions.  The  bill,  designed 
to  improve  the  economic  condition  of 
Gotham  theatres,  is  expected  to  save  exhibi- 
tors over  S4, 000,000  a  year.  Although  other 
amusement  enterprises  are  not  covered  by 
the  bill,  it  is  expected  that  municipal  tax 
relief  will  be  given  at  a  future  date  to  base- 
ball, legitimate  theatres,  amusement  parks. 

o 

WENDELL  B.  BARNES,  Small  Business 
Administration  chief,  announced  several  rul- 
ings designed  to  help  exhibitors  clean-up, 
paint-up  and  fix-up  their  theatres.  The  rul- 
ings: 1)  if  a  loan  is  to  be  used  for  the 
modernization,  equipment  repair  or  opera- 
tion of  a  four-wall  theatre,  the  application 
would  be  eligible  for  consideration;  2)  the 
fact  that  the  property  is  mortgaged  would 
not  make  the  loan  ineligible;  3)  in  some 
cases,  a  small  portion  of  the  loan  may  be 
used  to  pay  an  existing  lien  and  thereby 
improve  its  collateral  position. 


HEADLINERS... 


MILTON  J.  SHAPP,  president  of  Jerrold 
Electronics  Corp.  has  extended  an  invitation 
to  exhibitors  to  view  the  Barltesville  toll- 
TV  tests.  His  company  will  arrange  special 
tours,  demonstrations  and  discussions  for 
visitors  .  .  .  JACK  BERMACK  has  been  pro- 
moted to  branch  manager  of  the  W  arner 
Bros,  exchange  in  Calgary,  Canada.  He  suc- 
ceeds ARTHUR  HERSH  recently  resigned 
to  enter  business  in  the  I'.S.  .  .  .  SUGAR 
RAY  ROBINSON'S  threats  to  cancel  his 
world  championship  fight  with  Carman  Ba- 
silio,  due  to  be  televised  over  THEATRE 
NETWORK  TELEVISION,  regarded  by  in- 
siders as  just  so  much  ballvhoo  .  .  .  BEN 
ABN'ER  has  resigned  as  WB  New  York 
Metropolitan  district  manager  .  .  .  ERIC 
JOHNSTON  has  called  a  special  meeting 
of  the  full  Export  Association  board  for 
earlv  September  .  .  .  Universal  president 
MILTON  RACKMIL  to  Europe  .  .  . 
CHARLES  SCHNEE  to  set  up  an  indepen- 
dent production  unit  at  Columbia  .  .  .  PAT 
McGEE  has  applied  for  a  cable  television 
franchise  in  Denver,  Colorado  .  .  .  SAMUEL 
ROSEN,  Stanley  Warner  vice  president  will 
be  honored  by  New  York's  Cinema  Lodge 
at  a  special  dinner  on  October  2  .  .  . 
LEONARD  BERNSTEIN  new  branch  man- 
ager for  Columbia  in  Toronto.  He  suc- 
ceeds ABE  CASS  .  .  .  LINDSLEY  PAR- 
SONS has  signed  a  TV  deal  to  deliver 
S  1,500,000  worth  of  30-minute  films  to  the 
Columbia  Broadcasting  Svstem  over  the  next 
eight  months  .  .  .  WILLIAM  CRUIK- 
SHANK  has  been  elected  to  the  board  of 
directors  of  Official  Films.    He's  president 


The  Miriscb  brothers  uere  hosted  at  a  fare- 
well luncheon  by  Allied  Artists  president, 
Stere  Broidy.  The  trio  is  leafing  AA  to 
enter  independent  production.  L.  to  R.: 
Man  in  Miriscb.  George  D.  Burrows,  Wtd- 
ter  Miriscb.  Broidy.  Harold  Miriscb.  father 
of  the  three  brothers.  Max  Miriscb.  and 
Harold  s  son.  Robert  Miriscb. 

of  Four  Star  Films  .  .  .  DINO  DE  LAU- 
RENTIIS  and  RKO  have  set  a  co-produc- 
tion deal  to  make  two  films  in  Italv  .  .  . 
RICHARD  C.  PATTERSON,  JR.  will  serve 
as  honorary  chairman  of  the  Golden  Jubilee 
of  Motion  Pictures,  New  York  phase  .  .  . 
FRANK  L.  PLUMLEE  to  be  keynote 
speaker  at  the  39th  annual  meeting  of  the 
Missouri-Illinois  Theatre  Owners  in  St. 
Louis,  Sept.  9-10  .  .  .  President  ROY  COCH- 
RAN announced  that  the  Motion  Picture 
Owners  of  Arkansas,  Tennessee  and  Mis- 
sissippi will  hold  their  conclave  in  Mem- 
phis, Sept.  13-15  .  .  .  BEN  MARCUS  will 
represent  National  Allied  on  COMPO's 
governing  committee.  His  alternate,  IRV- 
ING DOLLINGER  .  .  .  LOUIS  B.  MAYER 
to  leave  San  Francisco  hospital  this  week 
.  .  .  RICHARD  GRIFFITH  announced  that 
six  foreign  films  have  been  nominated  for 
the  eighth  annual  Dav  id  O.  Selznick  Golden 
Laurel  Award  .  .  .  MAX  E.  YOUNGSTEIN 
back  from  a  trip  to  Europe,  announced  that 
BEN  HALPERN,  UA  publicity  manager  in 
Paris,  will  return  to  the  States  for  a  new 
assignment  in  domestic  publicity  .  .  .  Uni- 
versal-International has  a  total  of  seven 
films  in  production  .  .  .  Over  1,000  persons 
have  viewed  the  Telemeter  demonstrations 
in  New  York's  Savov-Plaza  Hotel  .  .  . 
MURRAY  SILVERSTONE,  20th-Fox  inter- 
national chief  to  London  to  confer  with  the 
company's  European  representatives  on 
world-wide  handling  of  upcoming  releases 


Film  BULLETIN    September  2,  1957        Page  31 


THIS  IS  YOUR  PRODUCT 


All  The  Vital  Details  on  Current  &>  Comin*  Features 

(Date  of  Film  BULLETIN  Review  Appears  At  End  of  Synopsis) 


May 

DESTINATION  60.000  Preston  Foster,  Coleen  Gray  Jeff 
Donnell.  A  Gross-Krasne  Production.  Director  G.  Wag- 
gner.  Drama.  Pilot  flys  new  jet,  with  revolutionary 
type  fuel,  for  first  time.    45  min. 

LET'S  BE  HAPPY  CinemaScope,  Color.  Vera  Ellen,  Tony 
Martin  Robert  Fleming.  Producer  Marcel  Hellman. 
Director  Henry  Levin.  Musical.  Small-town  girl  meets 
washing  machine  inventor  in  Paris.  105  min. 
OKLAHOHAN.  THE  CinemaScope,  DeLuxe  Color.  Joel 
McCrea,  Barbara  Hale.  Producer  Walter  Mirscn.  Di- 
rector Fra..cii  Lyon.  Western.  Doctor  helps  rid  town 
of  unscrupulous  brothers.  81  min. 

PERSUADER,  THE  William  Talman,  Kristine  Miller, 
James  Craig.  Producer-director  Dick  Ross.  Western. 
Preacher  wins  rough  town  over  with  love — not  guns. 
72  min. 


June 


CALYPSO  JOE  Herb  Jeffries,  Angie  Dickenson.  Pro- 
ducer William  Broidy.  Director  Edward  Dein.  Musical. 
Former  sweetheart  wins  girl  away  from  South  Ameri- 
can millionaire.    74  min. 

HOT  ROD  RUMBLE  Leigh  Snowden,  Richard  Hartunian. 
Producer  Norman  Herman.  Director  Les  Martinson. 
Melodrama.  Story  of  a  drag  racer  and  his  fight  for 
acceptance.    7?  min. 

SPOOK  CHASERS  Hunti  Hall,  Stanley  Clements.  Pro- 
ducer Ben  Schwalb.  Director  George  Blair.  Comedy. 
Bowery  boys  get  tangled  up  with  spooks  and  hoodlums. 
42  min. 


July 


CYCLOPS  James  Craig,  Tom  Drake,  Lon  Chaney, 
Gloria  Talbot.  A  B-H  Production.  Director  Bert  I.  Gor- 
don. Science-fiction.  A  25-foot  giant  waylays  a  search- 
ing party  looking  for  a  missing  person.  75  min. 
DAUGHTER  OF  DR.  JEKYLL  John  Agar,  Gloria  Talbot, 
Arthur  Shields.  Producer  Jack  Pollexfen.  Director  Ed- 
gar Unger.  Horror.  Girl  goes  to  collect  inheritance 
and  guardian  turns  her  into  werewolf.  71  min. 
DINO  Sal  Mineo,  Brian  Keith,  Susan  Kohner.  Producer 
Bernice  Block.  Director  Thomas  Carr.  Drama.  Social 
case  worker  helps  young  criminal  reform.  94  minutes. 
DISEMBODIED,  THE  Paul  Burke,  Allison  Hayes,  Joel 
Marston.  Producer  Ben  Schwalb.  Director  Walter 
Graumann.  Horror.  Doctor's  wife  practices  voodoo  in 
in  African  jungle.  70  min. 

LOV1  IN  THE  AFTERNOON  Color.  Gary  Cooper, 
Audrey  Hepburn,  Maurice  Chevalier.  Producer-director 
BiTly  Wilder.  Comedy.  An  American  playboy's  romantic 
adventures  in  Paris.    125  min. 


August 


FROM  HELL  IT  CAME  Tod  Andrews,  Tina  Carver.  Di- 
rector Jack  Milner.  Director  Dan  Milner.  Producer 
Jack  Milner.  Horror.  Monster  threatens  to  destroy 
American  scientists.    75  min. 

PORTLAND  EXPOSE  Barry  Sullivan.  Edward  Binns. 
Producer  Lindsley  Parsons.  Director  Harold  Shuster. 
Melodrama.  Gangster  runs  wild  in  the  Pacific  North- 
west.   72  min. 


September 


DEATH  IN  SMALL  DOSES  Peter  Graves,  Mala  Powers, 
Chuck  Conners.  Produce*  R.  Heermance.  Director  J. 
Newman.  Melodrama.  Investigator  cracks  ring  selling 
illegal  pills  to  truckers.  74  minutes. 
NAKED  IN  THE  SUN  Eastman  Color.  James  Craig,  Lita 
Milan,  Barton  MacLane.  Producer-director  R.  John 
High.  Drama.  Story  of  Osceola,  Warrior  Chief  of  the 
Seminole  nation,  the  woman  he  loved,  and  the  war  that 
was  never  won. 

UNDERSEA  GIRL  Mara  Corday.  Pat  Conway,  Florence 
Marly.  Producer  Norman  Herman.  Adventure.  44  min. 


October 


AFFAIR  IN  HAVANA  John  Casavetes,  Raymond  Eurr, 
Sara  Shane.  A  Dudley  Production.  Director  Laslo 
Benedek.  Drama.  Young  American  composer  becomes 
involved  with  the  wife  of  a  wealthy  Cuban  tycoon  who 
is  a  helpless  paralytic.   80  min. 

LOOKING  FOR  DANGER  Hunti  Hall,  Stanley  Clements. 
Producer-director  Richard  Heermance.  Melodrama. 
Bowery  Boys  booby-trap  holdup  man.  41  min. 
TALL  STRANGER,  THE  CinemaScope,  Color.  Joel  Mc- 
Crea, Virginia  Mayo.  Producer  Walter  Mirisch.  Direc- 
tor Thomas  Carr.  Western.  Cowboy  helps  open  Colo- 
rado to  settlers.    81  min. 

November 

HUNCHBACK  OF  NOTRE  DAME,  THE  CinemaScope, 
Color.  Gina  Lollobrigida,  Anthony  Ouinn.  A  Paris 
Production.  Director  Jean  Delannoy.  Drama.  Hunch- 
back falls  in  love  with  beautiful  gypsy  girl.    88  min. 


SABU  AND  THE  MAGIC  RING  Sabu,  Daria  Massey, 
Robert  Shafto.  Producer  Maurice  Dike.  Director 
George  Blair.    Adventure.  Stable  boy  finds  magic  ring. 


Coming 


BRINGING  UP  JOEY  Hunti  Hall,  Stanley  Clements, 
Philip  Philips.  Producer  Ben  Schwalb.  Director  Jean 
Yarbrough. 

MAN  FROM  MONTEREY  Sterling  Hayden,  Pamela  Dun- 
can, Ted  de  Corsia.  Producer  D.  J.  Grut.  Director 
Sidney  Franklin,  Jr.  Melodrama.  Outlaw  leaves  buddy 
to  die,  thinking  him  dead.    74  minutes. 

NEW  DAY  AT  SUNDOWN  Cinemascope  Color  George 
Montgomery,  Randy  Stuart,  Susan  Cummings.  Producer 
Scott  R.  Dunlap.    Director  Paul  Landres. 


COLUMBIA 


June 

BEYOND  MOMBASA  Technicolor,  CinemaScope.  Cor- 
nell Wilde,  Donna  Reed.  Producer  Tony  Owen.  Direc- 
tor George  Marshall.    Adventure.  Leopard  Men  seek 

to  keep  Africa  free  of  white  men.  90  min. 

BURGLAR,  THE  Dan  Duryea,  Jane  Mansfield.  Martha 
Vickers.  Producer  Louis  Kellman.  Director  Paul  Kend- 
kos.  Melodrama.  Jewel  thieves  plan  theft  of  spiritual- 
ist's valuable  necklace.    90  min.  5/13. 

CALYPSO  HEAT  WAVE  Johnny  Desmond,  Merry  An- 
ders, Meg  Myles.  Producer  Sam  Katiman.  Director 
Fred  Sears.  Musical.  Array  of  calypso-style  singers. 
84  min. 

NIGHT  THE  WORLD  EXPLODED,  THE  Kathryn  Grant. 
William  Leslie.  Producer  Sam  Katzman.  Director  Fred 
Sears.  Science-fiction.  Scientist  saves  world  by  pre- 
venting explosion.    44  min. 

GIANT  CLAW,  THE  Jeff  Morrow,  Mara  Corday.  Pro- 
ducer Sam  Katiman.  Director  Fred  Sears.  Science- 
fiction.  Giant  bird  from  outer  space  threatens  to  de- 
stroy world.  74  min. 


July 


FIRE  DOWN  BELOW  CinemaScope,  Technicolor.  Rita 
Hayworth,  Robert  Mitchum,  Jack  Lemmon.  A  War- 
wick Production.  Director  Robert  Parrish.  Drama. 
Cargo  on  ship  is  ablaze.  Gravity  of  situation  is  in- 
creased by  highly  explosive  nitrate.  114  min. 
20  MILLION  MILES  TO  EARTH  Joan  Taylor,  William 
Hopper.  Science-fiction.  82  minutes. 
TORERO  Luis  Pracuna,  Manolete,  Carlos  Arruia.  Pro- 
ducer Manuel  Ponce.  Director  Carlos  Velo.  Drama. 
A  man's  fight  against  fear.  Bullfight  setting.  75  min. 
27TH  DAY,  THE  Gate  Barry,  Valeria  French.  Producer 
Hasan  Ainiworfh.  Director  William  Asher.  Science- 
fiettga.  People;  from  outer  space  plot  to  destroy  all 
human  life  on  the  earth.  75  min.  5/7. 

August 

YOUNG  DON'T  CRY.  THE  Sal  Mineo,  James  Whitmore. 
Producer  P.  Waxma*.  Director  Alfred  Werker.  Drama. 

Life  in  a  southern  orphanage.   89  min. 

JEANNE  EAGELS  Kim  Novak,  Jeff  Chandler.  A  George 

Sidney  Production.  Stormy  account  of  an  actress  who 

became  a  legend.  Drama.  114  min.  7/22 

NO    TIME    TO    BE    YOUNG    Robert    Vaughn,  Merry 

Anders.    Producer  Wallace  MacDonald.    Director  David 

Rich.    Youth   expelled   for   neglecting   college  studies. 

82  min. 

PICKUP  ALLEY  Cinemascope.  Victor  Mature.,  Anita 
Ekberg,  Trevor  Howard.  A  Warwick  Production.  Direc- 
tor John  Gilling.  Drama.  Story  of  international  dope 
runners.  92  min. 

3:10  TO  YUMA  Glenn  Ford,  Felicia  Farr,  Van  Heflin. 
Producer  David  Heilwell.  Director  Delmer  Daves.  West- 
ern. Cowboy  robs  stagecoach  then  poses  as  one  those 
robbed.    92  min. 

TOWN  ON  TRIAL  John  Mills,  Charles  Coburn.  Pro- 
ducer Maxwell  Setton.  Director  John  Guillerman.  Young 
girl  is  murdered.    Melodrama.    94  min. 


September 


BROTHERS  RICO  THE  Richard  Conte,  Kathryn  Grant, 
Dianne  Foster.  Producer  Lewis  Rachmil.  Director  Phil 
Karlson.  Drama.  Former  racketeer,  trying  to  go 
straight,  exposes  organization  when  they  push  him  too 


Coming 


ADMIRABLE  CRICHTON.  THE  Technicolor.  Kenneth 
More.  Diane  Cllento.  Cecil  Parker.  Producer  Ian  Dal- 
rymple.  Director  Lewis  Gilbert.  Drama.  The  story  of  a 
famous  butler  in  the  I900's.    94  " 


BITTER  VICTORY  CinemaScope,  Technicolor.  Richard 
Burton,  Curd  Jurgens,  Raymond  Pellegrin.  Producer 
Paul  Graetz.  Director  Nick  Ray. 

BRIDGE  OVER  THE  RIVER  KWAI,  THE  William  Holden, 
Alec  Guinness,  ajck  Hawkins.  Producer  Sam  Spiegel. 
Director  David  Lean. 

COWBOY  Glenn  Ford,  Jack  Lemmon,  Anna  Kashfi.  Pro- 
ducer Julian  Blaustein.    Director  Delmer  Daves. 
DECISION    AT    SUNDOWN    Randolph    Scott,  Valerie 
French,   Karen  Steele.  Producer  Harry  Joe  Brown.  Di- 
rector Budd  Boetticher. 

FIRTUNE  IS  A  WOMAN  Jack  Hawkins,  Arlene  Dahl 
Dennis  Price.  Producers  Frank  Launder  and  Sidney 
Gilliat.    Director  Sidney  Gilliat. 

GOLDEN  VIRGIN,  THE  Joan  Crawford,  Rossano  Brazzi, 
Heather  Sears.  John  and  James  Woolf  producers.  Di- 
rector David  Miller.  Drama.  Unscrupulous  people  ex- 
ploit blind  girl  for  profit.    103  min. 

HARD  MAN.  THE  Guy  Madison,  Valerie  French,  Lome 
Green.  Producers  Wallace  MacDonald  and  Helen  Ains- 
worth.  Director  George  Sherman. 

HIGH  FLIGHT  CinemaScope,  Technicolor.  Ray  Mil- 
land,  Sean  Kelly,  Kenneth  Haight.  Producers  Irving 
Allen  and  A.  R.  Brocolli.  Director  John  Gilling. 
LONG  HAUL,  THE  Victor  Mature,  Diana  Dors,  Peter 
Reynolds.  Producer  Maxwell  Setton.  Director  Ken 
Hughes. 

OPERATION  MAD  BALL  Jack  Lemmon,  Kathryn  Grant, 
Mickey  Rooney.  Producer  Jed  Harris.  Director  Rich- 
ard Quine. 

PAPA,  MAMA,  THE  MAID  AND  I  Robert  Lamoureux. 
Gaby  Morlay,  Nicola  Courcal.  Director  Jaan-Paul  La 
Chanols.  1 
family.  94 

RETURN  TO  WARBOW  Color.  Phil  Carey,  William  Les- 
lie, Catherine  McLeod.  Producer  Wallace  MacDonald. 
Director  Ray  Nazzaro. 

SHE  PLAYED  WITH  FIRE  Jack  Hawkins,  Arlene  Dahl, 

Producers  Frank  Launder-Sidney  Gilliat.  Director  Sid- 
ney Gilliat.    Drama.    Story  of  an  arsonist.   95  min. 
SUICIDE  MISSION  Leif  Larson,  Michael  Aldridge,  Atle 

Larsen.  A  North  Seas  Film  Production.  Director 
Michael  Forlong.  Adventure.  Norwegian  fishermen 
smash  German  blockade  in  World  War  II.  70  min. 
THIS  BITTER  EARTH  Silvana  Mangano,  Richard  Conte, 
Anthony  Perkins.  Producer  Dino  De  Laurentiis.  Direc- 
tor Rene  Clement. 

THE  GODDESS  Kim  Stanley,   Lloyd  Bridges.  Producer 
Milton  Perlman.    Director  John  Cromwell. 
THE  HAUNTED  Dana  Andrews.    Producer  Hal  E.  Ches- 
ter.   Director  Jacques  Tourneur. 

TIJUANA  STORY,  THE  Rodolfo  Acosta,  James  Darren, 
Robert  McQueeney.  Producer  Sam  Katzman.  Director 
Leslie  Kardos. 

TRIAL  OF  CAPTAIN   BARRETT,  THE  Edmond  O'Brien, 


INDEPENDENTS 


May 


RAISING  A  RIOT  (Continental)  Technicolor.  Kenneth 
More,  Ronald  Squire,  Jan  Miller.  Director  Wendy  Toye. 
Comedy.  Father  attempts  to  apply  psychology  to  his 
three  children  while  wife  is  away  on  a  visit. 

FOUR  BAGS  FULL  ITrans-Lux)  Jean  Gabin,  Bouvril. 
Comedy.  The  trials  and  tribulations  of  black  market 
operators  during  the  German  occupation. 

FRENCH  ARE  A  FUNNY  RACE,  THE  (Continental) 
Martine  Carol,  Jack  Vuchanan,  Noel-Noel.  A  Gaumont 
production.  Comedy.  A  spoof  of  the  unique  personality 
characteristics  of  the  French. 

ROCK  ALL  NIGHT  lAmarican-lntarnatloaall  Dick 
Millar,  Abby  DaHoo,  Rutiol  Johesoa.  Producer-director 

Roger  Cor  man.  Rock  n   rofT  musical.  65  min. 

STRANGER  IN  TOWN  (Astor)  Alex  Nichol,  Anne  Page, 
Producer  Sidney  Roberts.  Director  George  Pollock. 
Melodrama.    A   newspaperman    exposes   the  "perfect 

crime".  74  min. 


June 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


BLACK  TIDE  (Astor  Pictures)  John  Ireland,  Maureen 
Connell.  Producer  Monty  Berman.  Director  C.  P.  Rich- 
ards. Melodrama.  Top  fashion  model,  planning  long 
distance  swim  for  publicity,  is  mysteriously  murdered. 
79  min. 

DRAGSTRIP  GIRL  i  American- International  I  Fay  Spain, 
Steve  Terrell,  John  Ashley.  Producer  Alex  Gordon.  Di- 
rector Edward  Cahn.  Story  of  teen-aga  hot  rod  and 
dragstrip  racing  kids.  75  min. 

FRENCH   THEY   ARE  A  FUNNY   RACE,   THE  (Conti- 
nental)    Martine    Carol,    Jack    Buchanan,  Noel-Noel. 
Produced  by  Preston  Sturges.    Comedy.    Filmization  of 
a  famous  French  best-selling  novel.  92  min.  5/27. 
INVASION  OF  THE  SAUCER  MEN.  Horror. 


SEPTEMBER  SUMMARY 

Features  scheduled  for  September  re- 
lease total  30.  However,  later  additions 
to  the  roster  should  be  another  six  or  so 
films.  United  Artists  and  Universal  will 
be  the  leading  suppliers  with  five  films 
each;  20th  Century-Fox  and  Rank  will  re- 
lease four  each;  Allied  Artists  and  Re- 
public, three  each,  Loew's  and  Para- 
mount, two  each;  Columbia  and  Warner 
Bros.,  one  each.  Exactly  half  of  the  films, 
15,  will  be  dramas.  Thirteen  September 
releases  will  be  in  color.  CinemaScope 
features  number  5;  VistaVision,  4;  Natur- 
ama,  2;  Superscope,  1. 
1  5  Dramas  4  Melodramas 

2  Westerns  1  Comedy 

2  Musicals  1  Documentary 

5  Adventures 


I  WAS  A  TZENAGE  WZSiWOLF.  Horror 
JOHNNY  TREMAIN  (Bueno  Vista)  Technicolor  Hal 
Stalmaster.  Luana  Patten,  Jeff  York.  A  Walt  Disney 
Production.  Director  Robert  Stevenson.  Adventure. 
A  teen-age  silversmith  turns  freedom  fighter  in  the 
American  War  of  Independence. 

JULIETTA  (Kingsley  International!  Jean  Marais  Dany 
Robin.  Produced  by  Indrusfilms.  Director  Marc  Alle- 
gret.    Comedy.    Filmliation  of  a  famous  French  novel. 

July 

A  NOVEL  AFFAIR  I  Continental  I  Sir  Ralph  Richardson, 
Margaret  Leighton.  Comedy. 

CARNIVAL  ROCK  (Howco)  The  Platters,  David  Hous- 
ton.   A  Howco  Production.    Musical.    80  min. 

CONSTANT  HUSBAND  I  Stratford  I  Technicolor.  Re* 
Harrison.  Kay  Kendall,  Margaret  Leighton.  Director 
Sidney  Gilliat. 

OUT  OF  THE  CLOUDS  IRankl  Eastman  Color.  Anthony 
Steel,  Robert  Beatty.  Producer-director  Michael  Ralph 
and  Basil  Dearden.    Adventure.    75  min. 

TEEN  AGE  THUNDER  (Howco)  Church  Courtney  Me- 
hnda  Byron.  A  Howco  Production.  Melodrama.  80  min. 

August 

NAKED  AFRICA  I  American-International )  Color.  Pro- 
duced by  Cuentin  Reynolds.  Adventure. 

REFORM  SCHOOL  GIRL  (American-International) 
Glora  Costillo,  Ross  Ford.  Melodrama. 

ROCK  AROUND  THE  WORLD  I  American-International) 
Tommy  Steele,  Nancy  Whiskey.  Musical. 

WHITE  HUNTRESS  ( American-lnernational )  A  Break- 
ston-Stahl  production.  Adventure. 

Coming 

AMAZING  COLOSSAL  MAN,  THE  (Malibu  Productions 
for  American  International  release!  Glenn  Lankan, 
William  Hudson.  Producer-director  Bert  I.  Gordon. 

A  TIME  TO  KILL  (Producers  Associated  Pictures  Co.) 
Jim  Davis,  Don  Megowan,  Allison  Hayes.  Producer  Pat 
Betz.  Director  Oliver  Drake. 

BRAIN  FROM  PLANET  AROUS,  THE  ( Howco-Marquette 
for  Howco  International  release)  John  Agar,  Joyce 
Meadows,  Robert  Fuller.  Producer  Jacques  Marquette. 
Director  Jerry  Juran. 

BROTHERS  IN  LAW  (Continental!  Ian  Carmichel,  Rich- 
ard Attenborough,  Jill  Adams.  Producer-director,  the 
Boulting  Bros.  Comedy.  Adventures  of  a  young  lawyer. 
BUFFALO  GUN  Wayne  Morris,  Don  Barry,  Mary  Ellen 
Kaye.    Producer  Al  Milton.   Director  Albert  C.  Ganna- 

CARTOUCHE  (RKO)  Richard  Basehart,  Patricia  Roc. 
Producer  John  Nasht.  Director  Steve  Sekely.  Adventure. 
The  story  of  a  lusty  adventurer  during  the  reign  of 
Louis  XVI. 

CITY  OF  WOMEN   (Associated)   Osa   Hasten,  Robert 
Hutton,  Maria  Palmer.  Producer-director  Boris  Petroff. 
Drama.  From  a  novel  by  Stephen  Longstreat. 
COOL  AND  THE  CRAZY.  THE   I  Imperial)    Scott  Mar- 
lowe,  Gigi   Perreau.   Producer  Elmer  Rhoden    Jr  Di- 
rector William  Whitney.  Story  of  teenage  violence. 
DAY  OF  THE  TRUMPET.  THE  (C.  Santiago  Film  Organi- 
zation   Prod!    John   Agar,    Richard   Arlen     Bill  Phipps 
Producer  Harry  Smith.  Director  Eddie  Romero. 
DREAM    MACHINE,   THE    (Amalgamated    Prods.)  Rod 
Cameron,   Marty  Murphy,   Peter  llling.  Producers  Rich- 
ard   Gordon    and    Charles    Vetter,    Jr.    Director  Mont- 
gomery Tully. 

GARDEN  OF  EDEN  (Excelsior)  Jamie  O'Hara.  Mickey 
Knox,  R.  G.  Armstrong.  Director  Max  Nosseck.  Pro- 
ducer Walter  Bibo.  Drama.  The  happenings  in  a 
Florida  nudist  colony.  70  min. 

IL  GRIDO  (Robert  Alexander  Prods.)  Steve  Cochran 
Betsy  Blair,  Allida  Valli.  Producer  Harrison  Reader! 
Director  Michelangelo  Antonioni. 

LIGHT  ACROSS  THE  STREET,  THE  IUMPO)  Brigitte 
Bardot,  Raymond  Pellegrin.  Roger  Pigaut.  Producer 
Jacques  Gauthier.  Director  Georges  Lacombe.  Drama. 
A  French  husband  and  wife  try  to  live  without  normal 
sex  relations,  after  the  husband  had  a  near-fatal  acci- 
dent. 76  min. 

LOST  CONTINENT  IIFE)  CinemaScopa,  Ferranicolor. 
Producer-director  Leonardo  Bonii.  An  excursion  into  the 
wilds  of  Borneo  and  the  Maylayan  Archaeelago.  Eng- 
lish commentary.  84  min. 

MAID  IN  PARIS  (Continental)  Dany  Robin,  Daniel 
Gelin.  Directed  by  Gaspard  Huit.  Comedy.  A  daughter 
rebels  against  her  actress  mother. 

NEAPOLITAN  CAROUSEL  (IFE)  (LujFilm,  Rome)  Pathe- 
color.  Print  by  Technicolor.  Sophia  Loren,  Leonid* 
Massine.  Director  Ettore  Giannini.  Musical.  The  history 
of  Naples  traced  from  1 400  to  date  in  song  and  dance. 
OLD  YELLER  (Walt  Disney  Productions)  Dorothy  Mc- 
Guire,  Fess  Parker,  Chuck  Connors.  Producer  Walt 
Disney.  Director  Robert  Stevenson. 

PASSIONATE  SUMMER  [Kingsley)  Madeleine  Robinson, 
Magali  Noel,  Raf  Vallons.  Produced  by  Les  Films 
Marceau.  Director  Charles  Brabant.  Drama.  Conflict- 
ing passions  between  three  women  and  a  man,  iso- 
lated on  a  rugged  farm  in  a  mountainous  French 
province.  98  min. 

PERRI  (Bueno  Vista)  Technicolor.  A  true-life  fantasy 
by  Walt  Disney.  The  life  story  of  a  Pine  Squirrel 
named  "Perri". 

REMEMBER,  MY  LOVE  I  Artists-Producers  Assoc.  I  Cine- 
maScope, Technicolor.  Michael  Redgrave,  Mel  Ferrer, 
Anthony  Quale.  Musical  drama.  Producer-director 
Michael  Powell,  Emerie  Pressburger.  Based  on  Strauss' 
"Die  Hedermaui" 

SMOLDERING  SEA,  THE  Superscope.  Producer  Hal  E. 
Cfcestar.  Drama.  ConfHct  between  the  tyrannical  cap- 
tain and  craw  of  an  American,  merchant  lhip  reaches 
its  climax  during  battle  of  Guadalcanal. 


SONORITY  GIRL  .American  International!  Susan  Cabot 
Barboura  O'Neill,  Dick  Miller.  Producer-director  Roqer 
Corman. 

THE  PUZZLE  (Anglo-Amalgamated  Film)  Lex  Barker, 
Carole  Mathews.  Producer  Nat  Cohen. 

WEST  OF  SUEZ  (Amalgamated  Prods.)  Kee:e  Brasselle. 
Kay  Callard.  Anton  Diffring.  Producers  D.  E.  A.  Winn 
and  Bill  Luckwell.  Director  Keefe  Brasselle. 

WOMAN  AND  THE  HUNTER  (Gross-Krasnj  and  Kenya 
Prods.)  Ann  Sheridan.  David  Farrar,  Jan  Merlin.  Pro- 
ducer-director George  Breakston. 


METRO-GOLDWYN -MAYER 


May 

LITTLE  HUT,  THE  Eastman  Color.  Ava  Gardner.  Stewart 
Granger.  Producers  F.  Hugh  Herbert.  Director  Mark 
Robson.  Comedy.  Husband,  wrfe  and  wife's  lover  are 
marooned  on  a  tropical  isle.    90  min.  5/27. 

TARZAN  AND  THE  LOST  SAFARI  Technicolor.  Gordon 
Scott  Robert  Beatty.  A  Sol  Lesser  Production.  Director 
Bruce  Humberstone.  Adventure.  Tarzan  rescues  safari 
lost  in  deepest  Africa.  80  min.  3/18. 

THIS  COULD  BE  THE  NIGHT  Jean  Simmons,  Paul 
Douglas.  Producer  Joe  Pasternak.  Director  Robert 
Wise.  Comedy.  A  girl  fresh  out  of  college  gets  a 
job  as  secretary  to  an  ex-bootlegger.    103  min.  4/15. 

June 

SEVENTH  SIN,  THE  CinemaScope.  Eleanor  Parker,  Bill 
Travers,  George  Sanders.  Producer  David  Lewis.  Di- 
rector Ronald  Neame.  Drama.  Story  of  an  adulterous 
woman.  94  min. 

SOMETHING  OF  VALUE  Rock  Hudson,  Dana  Wynter, 
Wendy    Hitler.     Producer     Pandro    Berman.  Director 

Richard  Brooks.  Drama.  Story  of  a  Mau  Mau  uprising 
in  Kenya,  East  Africa.  I  13  min.  5/13. 

July 

MAN  ON  FIRE  Bing  Crosby,  Mary  Fickett,  Inger 
Stevens.  Producer  Sol  Siegel.  Director  R.  MacDougall. 
Drama.  The  effect  of  divorce  on  a  boy  and  his  es- 
tranged parents.    95  min. 

SILK  STOCKINGS  MetroColor,  CinemaScope.  Fred  As- 
taire,  Cyd  Charrise,  Janis  Page.  Producer  Arthur 
Freed.  Director  R.  Mamoulian.  Musical.  Russian  girl 
falls  in  love  with  an  American  film  producer  in  Paris. 
I  17  min. 

August 

DECISION  AGAINST  TIME  Jack  Hawkins,  Elizabeth 
Sellars.  Producer  M.  Balcon.  Director  C.  Crichton. 
Adventure.  Test  pilot  attempts  to  land  disabled  plane. 
87  min.  7/22. 

GUN  GLORY  CinemaScope  MetroColor.  Stewart 
Granger,  Rhonda  Fleming.  Producer  N.  Nayfack.  Di- 
rector Roy  Rowland.  Western.  Ex-outlaw  is  tormented 
by  his  former  reputation  as  a  killer.   89  min. 

TIP  ON  A  DEAD  JOCKEY  CinemaScope.  Robert  Taylor, 

Dorothy    Malone,    Gia    Scala.    Producer  Edwin  Knoph. 

Director  Richard  Thorp.  Melodrama.  International 
police  track  down  smugglers.  109  min. 

September 

ACTION  OF  THE  TIGER  CinemaScope,  Eastman  C«lor. 
Van  Johnson,  Martine  Carol,  Gustave  Rocco.  A  Clar- 
idge  Production.  Director  Terence  Young.  Drama.  Beau- 
tiful girl  seeks  help  of  contraband  runner  to  rescue 
brother  from  Communists.    98  min. 

LES  GIRLS  CinemaScope,  MetroColor.  Gene  Kelly, 
Mitzi  Gaynor,  Kay  Kendall.  Producer  Sol  C.  Siegel. 
Director  George  Cukor.  Musical.  Dancing  troupe  tour- 
ing Europe.  I  14  min. 

Coming 

DON'T  GO  NEAR  THE  WATER  CinemaScope.  Metro- 
Color.  Glenn  Ford,  Gia  Scala,  Keenan  Wynn.  Producer 
Lawrence  Weingarten.  Director  Charles  Walters. 
Comedv.  Story  of  a  South  Seas  naval  base  during 
World  War  I. 

HAPPY  ROAD.  THE  Gene  Kelly,  Michael  Redgrave, 
Barbara  Laage.  A  Kerry  Production.  Directors,  Gene 
Kelly,  Noel  Coward.  Drama.  Two  children  run  away 
from  boarding  hehool  to  find  their  respective  parents. 
100  min.  2/4. 

HOUSE  OF  NUMBERS  CinemaScope.  Jack  Palance, 
Barbara  Lang.  Producer  Charles  Schnee.  Director 
Russell  House.  Melodrama.  Law-abiding  citizen  at- 
tempts to  engineer  San  Ouer,t'n  escape  for  his  brother. 
92  min.  7/8. 

I  ACCUSE  Jose  Ferrer,  Viveca  Lindfors,  Leo  Genn. 
Producer  Sam  Zimbalist.  Director  Jose  Ferrer.  Drama. 
French  officer  unjustly  accused  of  treason. 

JAILHOUSE  ROCK  Elvis  Presley,  Judy  Tyler.  Producer 
Pandro  Berman.  Director  Richard  Thorpe.  Musical- 
drama.  Youth's  singing  talent  is  fostered  in  prison. 
LIVING  IDOL,  THE  CinemaScope,  Eastman  Color. 
Steve  Forrest,  Lilliane  Montevecchi.  Producer-director 
Al  Lewin.  Drama.  An  archeologist  is  faced  with  an  un- 
worldly situation  that  threatens  the  safety  of  his 
adopted  daughter.    101  min.  5/13. 

RAINTREE  COUNTY  MetroColor.  CinemaScope  45. 
Eliiabeth  Taylor,  Montgomery  Clift.  Producer  David 
Lewis.  Director  Edward  Dymtryke.  Drama.  Life  in  Indi- 
ana during  the  middle  I880's.  185  min. 
UNTIL  THEY  SAIL  CinmeaScope.  Jean  Simmons,  Joan 
Fontaine.  Paul  Newman  Producer  Charles  Schnee.  Di- 
rector Robert  Wise.  James  A.  Michener  story  of  U.S. 
troops  in  New  Zealand  during  WWI. 


PARAMOUNT 


May 

BUSTER  KEATON  STORY,  THE  VistaVision,  Technicolor. 
Donald  O'Connor,  Ann  Blyth,  Rhonda  FWming.  Pro- 
ducers Robert  Smith,  Sidney  Sheldon.    Director  Sidney 

Sheldon.  Drama.  Life  of  the  great  comedian.  91  min. 
4/15. 

GUNFIGHT  AT  O.K.  CORRAJ.  VistaVl.ion.  Technicolor. 
Burt  Lancaster,  Kirk  Douglas,  Rhonda  Fleming.  Pro- 
ducer Hal  Wallis.  Director  John  Sturges.  Western. 
Drunken   badman   hunts  for  murderer  of  his  cheating 

brother.  122  min.  5/27. 

June 

LONELY  MAN,  THE  VistaVision,  Technicolor.  Jack  Pa- 
lance, Anthony  Parkins,  Elaine  Aikan.  Producer  Pat 
Duggan.  Director  Henry  Levin.  Western.  A  gunfighter 

fine;  he  is  losing  his  sight — and  his  aim.  87  min.  5/27. 

July 

BEAU  JAMES  VistaVision,  Technicolor.  Bob  Hope.  Pro- 
ducer Jack  Rose.  Director  Michael  Moore.  Drama. 
Biography  of  the  famous  Jimmy  Walker,  mayor  of  N.Y. 

from  1925  to  1932.  105  min.  4/24 

DELICATE  DELINQUENT,  THE  Jerry  Lewis,  Darren  Me- 
Gavin,  Martha  Hyer.    Producer  Jerry  Lewis.  Director 

Don  McGuire.  Drama.  Janitor  longs  to  be  police  offi- 
cer so  h3  can  h^'p  delinquents.  101  min.  7/8. 

August 

LOVING  YOU  VistaVision,  Technicolor.  Elvis  Presley, 
Lizabeth  Scott,  Wendell  Corey.  Producer  Hal  Wallis. 
Musical.  Director  Hal  Kanter.  Small-town  boy  makes 
good  in  big-time  show  business.  101  min.  7/22. 

OMAR  KHAYYAM  VistaVision,  Technicolor.  Cornel 
WHde,  Michael  Rennie,  Pebra  Paget.  Producer  Frank 
Freeman,  Jr.  Director  William  Dieterle.  Adventure. 
The  life  and  times  of  medieval  Persia's  literary  idol. 
103  min. 

September 

MR.  ROCK  AND  ROLL  Alan  Freed.  Musical. 

STOWAWAY  GIRL  Trevor  Howard,  Elsa  Martinell. 
Pedro  Armandariz.  Producer  Ivan  Foxwell.  Director 
Guy  Hamilton.  Drama.  A  beautiful  girl  stows  away  on 
a  tramp  steamer. 

SHORT  CUT  TO  HELL  VistaVision.  Robert  Ivers,  Wil- 
liam Bishop,  Georgann  Johnson.  Producer  A.  C.  Lyles. 
Director  James  Cagney.  Drama.  Story  of  a  profes- 
sional killer  with  a  gun  for  hire.  87  min. 

October 

HAIRPIN  DEVIL'S,  THE  VistaVision,  Technicolor.  Cornel 
Wilde,  Jean  Wallace,  Mary  Astor.  Producer-director 
Cornel  Wilde.  Adventure.  Story  which  deals  with 
sports  car  racing.  82  min. 

JOKER  IS  WILD,  THE  VistaVision,  Technicolor.  Frank 
Sinatra,  Mitii  Gaynor,  Jeanne  Crain.  Producer  Samuel 
Briskm.  Director  Charles  Victor.  Drama.  Rim  biography 

of  Joe  E.  Lewis.  nign?club  comedian.  123  min. 

November 

TIN  STAR.  THE  VistaVision.  Henry  Fonda,  Anthony 
Parkins.  A  Perlherg-Seaton  Production.  Director  An- 
thony Mann.  Outdoor  drama.  Bounty-hunting  in  ths  old 
west.  93  min. 

ZERO  HOUR  Dana  Andrews,  Sterling  Hayden.  A  Bart- 
lett-Champion  Production.  Director  Hall  Bartlett.  Dra- 
ma. A  man  battles  for  his  life  and  love. 

December 

SAD  SACK  VistaVision,  Technicolor.  Jerry  Lewis,  David 
Wayne.  Producer  Hal  Willis.  Director  George  Mar- 
shall. Comedy.  Life  in  the  Army. 


t  I  I 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


Coming 

DESIRE  UNDER  THE  ELMS  Sophia  Loren,  Anthony  Per- 
kins, Burl  Ives.  Producer  Don  Hartman.  Director  Del- 
bert  Mann.  Drama.  Emotional  confiicts  of  a  farmer, 
his  son  and  his  second  wife. 

HOT  SPELL  VistaVision  Shirley  Booth,  Anthony  Quinn, 
Shirley  MacLaine.  Producer  Hal  Wallis.  Director  Dan- 
iel Mann.  Drama.  The  disintegration  of  a  Southern 
family  during  a  torrid  heat  wave. 

SPANISH  AFFAIR  VistaVision,  Technicolor.  Carman 
Sevilla,  Richard  Kiley.  Producer  Bruce  Odium.  Director 

Donald  Siegel.  Adventure.  An  American  architect 
travelling  in  Spain  is  attracted  to  a  beautiful  girl, 
half-Gypsy,  half-Spanish. 

TEACHER'S  PET  VistaVision.  Clark  Gable,  Doris  Day. 
A  Pearlberg-Seaton  Production.  Director  George  Sea- 
ton.  Comedy.  Tough  newspaper  editor  and  college 
journalism  teacher  have  a  ball. 

TEN  COMMANDMENTS,  THE  VistaVision  Technicolor. 
Charlton  Heston.  Yul  Brynner,  Anne  Bax'ur.  Producer- 
diraetor  Cacil  B.  DeMille.  Reliaious  drama.  Life  %for\ 
of  Moses  as  told  in  the  Bible  and  Koran.  219  min.  10/15 
WILD  IS  THE  WIND  VistaVision.  Anna  Magnani,  An- 
thony Quinn.  Producer  Hal  Wallis.  Director  John 
Sturges.  Drama.  Love,  h3te,  and  violence  on  a  Nevada 
sheep  ranch. 


RANK 


June 

CHECKPOINT  Eastman  Color.  Anthony  Steel,  Odile 
Versois.  Producer  Betty  E.  Box.  Director  Ralph  Thomas. 
Melodrama.  Man  attempts  to  steal  design  of  motor 
engineer  in  Italy.  84  min.  7/8. 

OUT  OF  THE  CLOUDS  Anthony  Steel,  Robert  Beatty, 
David  Knight.  Producer-directors  Michael  Ralph,  Basil 
Dearden.  Drama.  Story  of  two  couples  who  are  finally 
united.  7?  min. 

REACH  FOR  THE  SKY  Kenneth  More,  Muriel  Pavlow. 
Producer  Daniel  M.  Angel.  Director  Lewis  Gilbert. 
Drama.  Top  pilot  losses  both  legs  in  stunt  flight,  but 
is  still  determined  to  fly.  104  min. 

July 

BLACK  TENT,  THE  Technicolor,  VistaVision.  Anthony 
Steel,  Donald  Sinden.  Producer  William  MacQuitty. 
Director  Brian  D.  Hurst.  Man  searches  for  brother 
among  people  of  Bedouin.  85  min.  7/22 

THIRD  KEY,  THE  Jack  Hawkins,  John  Stratton.  Pro- 
ducer Michael  Balcon.  Director  Charles  Frend.  Melo- 
drama. Superintendant  of  Scotland  Yard  is  assigned 
to  investigate  a  London  safe  robbery.  84  min. 

TRIPLE  DECEPTION  Technicolor,  VistaVision.  Michael 
Craig,  Julia  Arnall.  Producer  Vivian  A.  Cox.  Director 
Guy  Green.  Melodrama.  Story  of  man  wh:  imper- 
sonates a  Canadian  smuggler.  86  min. 

VALUE  FOR  MONEY  Technicolor,  VistaVision.  John 
Gregson,  Diana  Dors.  Producer  Sergei  Nolbandov. 
Director  Ken  Annakin.  Comedy.  Well-to-do  man  falls 
in  love  wi;h  b'ond  only  to  find  her  interested  in  only 
his  money.  84  min. 

August 

AS  LONG  AS  THEY'RE  HAPPY  Eastman  Color.  Jack 
Buchanan,  Janette  Scott.  Producer  Raymond  Stross. 
Director  J.  Lee-Thompson.  Comedy.  Father  and  two 
sons-in-law  become  jealous  of  crooner  who  has 
charmed  their  wives.  76  min. 

A  TOWN  LIKE  ALICE  Virginia  McKenna,  Peter  Finch. 
Comedy.  Producer  Joseph  Janni.  Director  Jack  Lee. 
Man  and  woman  meet  in  Malaya  during  Japanese  occu- 
pation, are  separated,  then  meet  again  after  search- 
ing for  each  other. 

GENTLE  TOUCH,  THE  Tchnicolor.  George  Baker,  Be- 
linda Lee.  Producer  Michael  Balcon.  Director  Pat 
Jackson.  Drama.  Nurse  and  doctor  fall  in  love,  and 
nurse  is  faced  with  making  choice  between  career  or 
marriage. 

September 

JACQUELINE  John  Gregson,  Kathleen  Ryan.  Producer 
George  H.  Brown.  Director  Roy  Baker.  Young  girl 
saves  reputation  of  father  by  getting  him  a  job. 
PURSUIT  OF  THE  GRAF  SPEE  Technicolor,  VistaVision. 
John  Gregson,  Anthony  Ouayle.  Producer-director 
Michael  Powell  &  Emeric  Pressburger.  Adventure.  Story 
of  first  historic  naval  action  of  WWI  which  took  place 
on  River  Plate.  106  min. 

SPANISH  GARDENER  Technicolor,  VistaVision.  Dirk 
Bogarde,  Jon  Whiteley.  Drama.  Producer  John  Bryan. 
Director  Philip  Leacock.  Gardener  deverts  affections 
of  boy  from  his  father.  95  min. 

AN  ALLIGATOR  NAMED  DAISY  Technicolor.  Vista- 
Vision. Donald  Sinden,  Diana  Dors.  Producer  Raymond 
Stross.  Director  J.  Lee-Thompson.  Comedy.  Alligator  is 
responsible  for  breakup  between  couple  who,  as  a 
result  find  more  suitable  mates. 


REPUBLIC 


May 

LAWLESS  EIGHTIES.  THE  Naturama.  Buster  Crabbe, 
John  Smith,  Marilyn  Saris.  Producer  Rudy  Ralston. 
Director  Joe  Kane.  Western.  Circuit  rider  prevents 
Indian  uprising.  70  min. 

TIME  IS  MY  ENEMY  Dennis  Price,  Renee  Asherson. 
Producer  Roger  Proudlock.  Director  Don  Chaffey. 
Melodrama.  The  story  of  a  blackmailed  blackmailer. 
64  min. 


WEAPON,  THE  Steve  Cochran,  Liiabeth  Scott,  Nicole 
Maurey.  Producer  Hal  Chester.  Director  Val  Guest. 
Drama.  An  unsolved  murder  involving  a  child  and  a 
loaded  gun.  70  min. 

June 

JOURNEY  TO  FREEDOM  Jacques  Scott,  Geneviv  Au- 
mont,  George  Graham,  Morgan  Lane.  Director  Robert 
C.  Dertano.  Producer  Stephen  C.  Apostolof.  Drama. 
Bulgarian  escapes  from  behind  the  Iron  Curtain. 
64  min. 

PAWNEE  Trucolor.  George  Montgomery,  Bill  Williams, 
Lola  Albright.  A  Groos-Krasne  Production.  Director 
George  Wagner.  Western.  Calvary  puts  down  high- 
riding  Pawnee  Indians.    80  min. 

July 

BEGINNING  OF  THE  END  IAB-PTI  Peter  Graves, 
Peggie  Castle,  Morris  Ankrum.  Producer-director  Bert 
Gordon.  Horror.  Grasshopper  giants  threaten  to  de- 
stroy U.  S.    73  min. 

TAMING  SUTTON'S  GAL  Naturama.  John  Lupton, 
Jack  Keliy,  May  Wynn.  Director  Lesley  Selander.  Pro- 
ducer William  J.  O'Sullivan.  Drama.  A  young  bank 
clerk  finds  a  gal  in  Ihe  back  hill  country  of  California. 

LAST  STAGECOACH  WEST  Naturama.  Jim  Davis, 
Mary  Castle,  Victor  Jory.  Producer  Rudy  Ralston.  Di- 
rector Joe  Kane.  Western.  Outlaws  are  stopped  by 
railroad  detective.  67  min. 

OPERATION  CONSPIRACY  Philip  Friend,  Leslie  Dwyer, 
Mary  MacKeniie.  Director  Joseph  Sterling.  Producer 
A.  R.  Rawlinson.  Melodrama. 

UNEARTHLY,  THE  IAB-PT)  John  Carradine.  Allison 
Hayes  Myron  Healy.  Producer-director  Brooks  Peters. 
Transplanted  glands  create  unearthly  monsters.  73  min. 

September 

HELL  CANYON  OUTLAWS  Dale  Robertson,  Brian  Keith, 
Rossana  Rory.  Producer  T.  F.  Woods.  Director  Paul 
Landres.     Western.     Ousted    sheriff   restores   order  to 

FANAMA  SAL  Naturama.  Elena  Verdugo,  Edward 
Kemmer.  Producer  Edward  White.  Director  W.  Wit- 
ney.   Drama.   The  making  of  a  singer. 

WAYWARD  GIRL,  THE  Naturama.  Marcia  Henderson, 
Peter  Walker.  Producer  W.  J.  O'Sullivan.  Director 
Lesley  Selander.  Malodrama.  71  min. 


20TH  CENTURY-FOX 


May 

BADLANDS  OF  MONTANA  Rex  Reason,  Margia  Deane, 
Beverly  Garland.  Producer  H.  Knox.  Director  D.  Ull- 
man.  Western.  Outlaw  takes  over  as  town  marshal. 
79  min. 

CHINA  GATE  Nat  "King"  Cole,  Gene  Barry,  Angie 
Dickinson.  Producer-director  S.  Fuller.  Drama.  Love 
and  war  in  Indo-China.  97  min. 

DESK  SET  Spencer  Tracy,  Katharine  Hepburn.  Producer 
Henry  Sphron.  Director  W.  Lang.  Filmiiation  of  the 
famous  Broadway  comedy.  Story  of  a  secretary  and 
her  boss.    103  min.  5/13. 

RESTLESS  BREED,  THE  Eastman  Color.  Scott  Brady, 
Anna  Bancroft.  Producer  E.  A.  Alperson.  Director  Alan 

Dwan.  Western.  Story  a  restless,  banned  town. 
81  min.  5/27. 

WAY  TO  THE  GOLD,  THE  Sheree  North,  Barry  Sullivan, 
Jeffrey  Hunter.  Producer  David  Weisbart.  Director  R. 
Webb.  Adventure.  Ex-convict  attempts  to  recover 
stolen  treasures.  69  min. 

June 

ISLAND  IN  THE  SUN  CinemaScope,  DeLuxe  Color. 
James  Mason,  Joan  Fontaine,  Dorothy  Dandridge.  Pro- 
ducer DarryJ  Zanuck.  Director  Robert  Rossen.  Drama. 

Love,  politics  and  the  labor  movement  clash  in  the 
British  West  Indies.  122  min.  6/24 

LURE  OF  THE  SWAMP  William  Parker,  Skippy  Homeir, 
Marshall  Thompson.  Melodrama.  Gangster  hides  out 
in  swamp  to  escape  police.  74  min. 

TWO  GROOMS  FOR  A  BRIDE  Virginia  Bruce,  John 
Carroll.  Producer  Robert  Baker,  Monty  Berman.  Direc- 
tor Henry  Cass.  Comedy. 

WAYWARD  BUS  CinemaScope  Jayne  Mansfield,  Dan 
Dailey,  Joan  Collins,  Rick  Jason.  Producer  Chares 
Brackett.  Director  Victor  Vicas.  From  the  John  Stein- 
beck novel.  Drama.  89  min. 

July 

ABDUCTORS,  THE  Victor  McLaglen,  Fay  Spain,  Carl 
Thayler.  Producer  R.  Wander.  Director  A.  McLaglen. 
Adventure.  Tale  of  a  plot  to  steal  Aleraham.  80  min. 

A  HATFUL  OF  RAIN  CinemaScope.    Eva  Marie  Saint, 
Don  Murray,  Tony  Franciosa.    Producer  Buddy  Adler. 
Director   Fred   Zinneman.   Drama.   A  dope   addict  de- 
cides to  shake  the  habit.  109  min.  6/24. 

AN  AFFAIR  TO  REMEMBER  CinemaScope  DeLuxe 
Color.  Cary  Grant,  Deborah  Kerr.  Producer  Jerry 
Wald.  Director  Leo  McCarey.  Comedy.  Notorious 
bachelor  falls  for  night  club  singer.  114  min.  7/22. 

APACHE  WARRIOR  Keith  Larsen,  Jim  Davis.  Producer 
P  Skouras.  Director  E.  Williams.  Western.  74  min. 

BERNARDINE  CinemaScope,  Deluxe  Color.  Terry  Moore, 
Pat  Boone,  Janet  Gaynor.  Producer  Sam  Engel.  Direc- 
tor H.  Levin.  Comedy.  Story  of  teenagers.  Filmization 
of  the  Broadway  comedy.  95  min.  7/22. 


GOD  IS  MY  PARTNER  Walter  Brennan,  John  Hoyt, 
Marion  Ross.  Producer  S.  Hersh.  Director  W.  Claxton. 
Drama.  80  min. 

August 

BACK  FROM  THE  DEADRegalscope.  Peagy  Castle, 
Marsha  Hunt,  Arthur  Franz.  Producer  R.  Stabler.  Di- 
rector C.  Warren.    Horror.   79  min. 

FORTY  GUNS  CinemaScope.  Barbara  Stanwyck,  Barry 
Sullivan,  Gene  Barry.  Poducer-director  Samuel  Fuller. 
Adventure.  A  domineering  woman  attempts  to  rule  a 
western  town  by  force.    80  min. 

HELL  ON  DEVIL'S  ISLAND  Regalscope.  Helmut  Dan- 
tine.  Donna  Martel,  William  Talman,  Jean  Wiles.  Pro- 
ducer  Lchoolvek.    Director  C.   Nyby.    Adventure.  74 

SEAWIFE  CinemaScope,  Deluxe  Color.  Richard  Bur- 
ton, Joan  Collins.  Producar  Andre  Hakim.  Director  Bob 

McNaught.  Drama.  Ship  is  torpedoed  by  Jap  sub- 
marine off  Singapore  harbor.    82  min. 

UNKNOWN  TERROR,  THE  Regalscope.  John  Howard, 
May  Wynn,  Mala  Powers.  Producer  R.  Stakler.  Direc- 
tor C.  Warren.  Horror.  77  min. 

WILL  SUCCESS  SPOIL  ROCK  HUNTER  CinemaScope, 
DeLuxe  Color.  Jayne  Mansfield,  Clifton  Webb,  Tony 
Randall.  Producer-director  Frank  Tashlin.  Comedy. 
Filmization  of  the  Broadway  play.  94  min. 

September 

COPPER  SKY  Regalscope.  Jeff  Morrow,  Coleen  Gray. 
Producer  R.  Stabler.  Director  C.  Warren.  Melodrama. 
DEERSLAYER.  THE  CinemaScope,  DeLuxe  Color.  Lex 
Barker,  Forrest  Tucker,  Rita  Moreno.  Producer-director 
K.  Newmann.  Adventure. 

NO  DOWN  PAYMENT  Jeff  Hunter,  Barbara  Rush, 
Sheree  North,  Cameron  Mitchell.  Producer  Jerry 
Wood.  Director  Martin  Ritt.  Drama.  105  min. 
SUN  ALSO  RISES,  THE  CinemaScope,  DeLuxe  Color. 
Ava  Gardner,  Mel  Ferrer,  Tyrone  Power.  Producer  D. 
Zanuck.  Director  Henry  King.  Drama.  From  Ernest 
Hemingway's  famous  novel. 

October 

RIDE  A  VIOLENT  MILE  Regalscope.  Gene  Raymond, 
Wayne  Morris.  Producer-director  R.  Stabler.  Melo- 
drama. 

STOPOVER  TOKYO  Robert  Wagner,  Joan  Collins,  Ed- 
mund O'Brien.  Producer  W.  Reisch.  Director  R.  Breen. 
Drama. 

THREE  FACES  OF  EVE,  THE  David  Wayne,  Joanne 
Woodward.  Producer  Nunnally  Johnson.  Story  of  a 
woman  with  three  distinct  personalities. 

Coming 

BEAUTIFUL  BUT  DANGEROUS  Gina  Lollobrigida,  Vit- 
torio  Gajsman.  Producer  Manuella  Malotti.  Director 
Robert  Leonard.  Drama. 


UNITED  ARTISTS 


May 

BAILOUT  AT  43,000  John  Payna,  Karan  Steela.  A  Pine- 
Thomas  Production.  Director  Francis  Lyon.  Adventure. 
U.S.  Air  Force  pioneers  bailout  mechanism  for  jet 
pilots.  83  min. 

GIRL  IN  BLACK  STOCKINGS,  THE  Lax  Barker,  Anna 
Bancroft,  Mamla  Van  Doraa.  A  Bel-Air  Production.  Di- 
rector Howard  Koch.  Drama.  A  series  of  sex  slayingi 

terrorize  western  resort.    73  min. 

GUN  DUEL  IN  DURANGO  George  Montgomery.  Pro- 
ducer Robert  Kent.  Director  S.  Salkow.  Western. 
Outlaw  attempts  to  go  straight.  73  min.  5/27. 

HIDDEN  FEAR  John  Payne,  Natalia  Norwick.  A  St. 
Aubrey-Kohn  Production.  Director  Andre  de  Toth. 
Drama.  PoJice  officer  attempts  to  clear  sistar  charged 

with  murder.  83  min. 

MONKEY  ON  MY  BACK  Cameron  Mitchell,  Dianne  Fos- 
ter. Producer  Edward  Small.  Director  Ted  Post.  Drama. 
Life  story  of  ex-boxing  champion  Barney  Ross.    93  min. 

June 

BAYOU  Peter  Graves,  Lita  Milan.  Executive  producer 
M.  A.  Ripps.  Director  Harold  Daniels.  Drama.  Life 
among  the  Cajuns  of  Louisiana.  88  min. 

BIG  CAPER.  THE  Rory  Calhound    Mary  Costa.  Pina- 
Thomas    Production.    Director    Robert    Stevens.  Multi- 
million  dollar  payroll  robbery.    Melodrama.    84  min. 
MONSTER  THAT  CHALLENGED  THE  WORLD,  THE  Tim 

Holt,  Audrey  Dalton.  Producers  Jules  Levy,  Arthur 
Gardner.  Director  Arnold  Laven.  Science-fiction.  Group 
of  Navy  scientists  battle  a  pre-historic  sea  monster. 
83  min. 

ST.  JOAN  Richard  Widmark,  Jean  Seburg.  Producer- 
director  Otto  Preminger.  Drama.  Filmization  of  George 
Bernard  Shaw's  famous  classic.  110  min.  5/27. 
SWEET  SMELL  OF  SUCCESS,  THE  Burt  Lancaster,  Tony 
Curtis,  Susan  Harrison.  Producer  James  Hill.  Director 
Alexander  Mackendrick.  Drama.  Story  of  a  crooked 
newspaperman  and  a  crooked  p.r.  man.  100  min.  6/24. 
fROOPER  HOOK  Joal  McCrea,  Barbara  Stanwyck,  Ed- 
ward Andrews.  Producer  Sol  Fielding.  Director  Marquis 
Warren.  Drama.  A  white  woman,  forced  to  live  as  an 
Indian  Chief's  squaw,  is  finally  rescued  and  tries  to 
resume  life  with  husband.  81  min. 

VAMPIRE,  THE  John  Beal,  Coleen  Gray.  Producers 
Arthur  Gardner,  Jules  Levy.  Director  Paul  Landres. 
Science-fiction.  Doctor  accidentally  takes  pills,  changes 
into  vampire.  74  min. 


Film 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


July 

80P  GIRL  GOES  CALYPSO  Judy  Tyler,  Bobby  Troup, 
Margo  Woode.  Producer  Aubrey  Schenk.  Director  How- 
ard Koch.  Musical.  Rock  and  roll-calypso  cavalcade  of 
musical  numbers.  7?  min. 

PRIDE  A  NO  THE  PASSION.  THE  VistaVision,  Techni- 
color. Cary  Grant,  Frank  Sinatra,  Sophia  Loren.  Pro- 
dueer-olrector  Stanley  Kramer.  Drama.  A  Spanish 
guerrilla  band  marches  an  incredible  distance  with  a 
4000  pound  cannon  during  Spanish  War  of  Independ- 
ence of  1810.  131  min.  7/8. 

OUTLAW'S  SON  Dane  Clark,  Ben  Cooper,  Lori  Nel- 
son. Bel  Air  Production.  Director  Lesley  Selander. 
Western.  Gunslinger  escapes  from  jail  to  save  son 
from  life  of  crime.  87  min. 

August 

FUZZY  PINK  NIGHTGOWN,  THE  Jane  Russell,  Keenan 
Wynn.  Ray  Danton.  Producer  Bob  Waterfield  Director 
Norman  Taurog.  Melodrama.  The  story  of  a  Holly- 
wood star  who  is  kidnapped.  87  min. 

MONTE  CARLO  STORY,  THE  Technirama,  Color.  Mar- 
lane  DMrjeh,   Virtorio  De   Sica.  A  Titanus  Film.  Sam 

Taylor  director.  Marcello  Girosi  producer.  Drama.  A 
handsome  Italian  nobleman  with  a  love  for  gambling 
marries  a  rich  woman  in  order  to  Day  his  debts 
100  min.  7/8. 

VALERIE  Sterling  Haycen  Anita  Ekberg,  Anthony  Steel. 
Producer  Hal  Makelim.  Director  Gerd  Oslwald.  West- 
ern. The  story  of  a  murder  trial  in  a  western  town. 

September 

CARELESS  YEARS,  THE  Natalie  Trundy,  Dean  Stock- 
well.  Producer  Edward  Lewis.  Director  Arthur  Hiller. 
Drama.  Two  lovers  meet  parental  resistance  when  they 
decide  to  get  married.  70  min. 

CHICAGO  CONFIDENTIAL  Melodrama. 

ENEMY  FROM  SPACE  Science-fiction. 

GUNSIGHT  RIDGE  Joel  McCrea,  Mark  Stevens.  Pro- 
ducer Robert  Bassler.  Director  Francis  Lyon.  Western. 
Stranger  discovers  respected  citizen  is  really  a  holdup 
man.  85  min. 

SATCHMO  THE  GREAT  Louis  Armstrong,  Edward  R. 
Murrow,  Leonard  Bernstein.  Producers  Edward  R  Mur- 
row  and  Fred  W.  Friendly.  Film  story  of  Louis  Arm- 
strong's international  iaiz  tour.  63  min. 

Coming 

HELL  BOUND  John  Russel,  June  Blair.  Producer  How- 
ard  Koch.  Director  William  Hole.  Jr.  Melodrama. 
Story  of  a  conspiracy  to  hijack  a  shipment  of  narcotics. 
ISLAND  WOMEN  Marie  Windsor,  Vince  Edwards  Pro- 
ducer-director William  Berke.  Musical.  Calypso  film 
filmed  in  the  Bahama  Islands. 

JUNGLE  HEAT  Lex  Barker,  Mari  Blancha-d.  A  Bel-Air 
Production.  Director  H.  Koch.  Adventure.  Japanese 
saboteurs  in  Hawaii  prior  to  WWII.  75  min. 

LEGEND  OF  THE  LOST  John  Wayne  Sophia  Loren 
Rossano  Brazzi.  Producer-director  Henry  Hathaway.  Ad- 
venture Sea.rch  for  treasure  in  the  Sahara.. 
MY  GUN  IS  OUICK  Robert  Bray,  Whitney  Blake,  Don 
Randolph.  Producer-director  George  A.  White  and 
Phil  Victor.  Melodrama.  Based  on  a  novel  by  Mickey 
Spillane.  88  min. 

UIET  AMERICAN  Audie  Murphy,  Michael  Redgrave, 
laude  Dauphin.  Figaro  Production.  Director  Joseph 
Mankiewicz.  Drama.  Story  s-f  against  the  recent 
fighting  in  IndoChina. 

STREET  OF  SINNERS  George  Montgomery,  Geraldine 
Brooks.  Producer-director  William  Berke.  Drama. 
Rookie    policeman    clashes    with    youthful  criminals. 


UNIVERSAL-INT  L 


May 

DEADLY  MANTIS.  THE  Craig  Stevens,  Alix  Talton.  Pro- 
ducer William  Alland.  Director  Jerry  Juran.  Horror. 
Monstrouc  creature  threatens  to  destroy  U.S.  78  min. 

GIRL  IN  THE  KREMLIN,  THE  Lex  Barker,  Zsa  Zsa 
Gabor,  Jeffrey  Stone.  Producer  Albert  Zugsmith  Di- 
rector Russell  Birdwell.  Drama.  81  min. 

MAN  AFRAID  CinemaScope.  George  Nader,  Phyllis 
Thaxter,  Tim  Hovey.  Producer  Gordon  Kay.  Director 
Harry  Keller.  Drama.  Father  saves  life  of  man  attempt- 
ing to  murder  his  son.  84  min.  4/15. 

June 

KETTLES  ON  OLD  MocDONALD'S  FARM,  THE  Marjorie 
Main.  Parker  Fennelly,  Gloria  Talbott.  Producer  Ho- 
ward Christie.  Director  Virgil  Vogel.  Comedy.  The 
Kettles  buy  a  new  farm.    80  min.  5/13. 

PUBLIC  PIGEON  NO.  1  Technicolor.  Red  Skelton, 
Vivian  Blaine,  Janet  Blair.  Producer  Harry  Tugend.  Di- 
rector Norman  McLeod.  Comedy.  A  trusting  soul 
tangles  with  con  men  and  outwits  them.  79  min.  5/13 
YOUNG  STRANGER  James  MacArtur.  James  Daly,  Kim 
Hunter.  James  Gregory.  Producer  Stuart  Millar.  Direc- 
tor John  Frankenheimer.  Drama.  Story  of  a  young 
man  and  his  parents.    84  min. 

July 

JOE  BUTTERFLY  CinemaScope,  Technicolor.  Audie 
Murphy,  George  Nader,  Keenan  Wynn.  Producer 
Aaron  Rosenberg.  Director  Jessie  Hibbs.  Comedy. 
Story  of  American  newsmen  in  Tokyo  after  Japanese 
surrender.  90  min. 


TAMMY  AND  THE  BACHELOR  Cinemascope,  Techni- 
color, Debbie  Reynolds.  Leslie  Nielson.  Producer  Aaron 
Rosenberg.  Director  Joe  Pevney.  Comedy.  Story  of  a 
young  girl,  her  grandfather  and  a  young  man  who  falls 
in  love  with  her.  89  min.  5/27. 

August 

LAND  UNKNOWN,  THE  Jock  Mahoney,  Shawn  Smith. 
Producer  William  Alland.  Director  Virgil  Vogel. 
Science-fiction.  Polar  expedition  finds  Mesozoic  age 
in  Antarctic  expedition.    78  min. 

MIDNIGHT  STORY.  THE  CinemaScope.  Tony  Curtis, 
Marisa  Pavan.  Producer  Robert  Arthur.  Director  Joseph 
Pevney.  Drama.  Rookie  cop  seeks  murderer  of  parish 
priest.  89  min.  6/24. 

NIGHT  PASSAGE  Technirama,  Technicolor.  James 
Stewart.  Audie  Murphy,  Dan  Duryea.  Producer  A. 
Rosenberg.  Director  James  Neilson.  Drama.  Payroll 
robbers  are  foiled  by  youngster  and  tough-fisted  rail- 
roader. 90  min.  6/24. 

September 

INTERLUDE  Technicolor,  CinemaScope.  June  Allyson, 
Rossano  Brazzi.  Producer  Ross  Hunter.  Director  Douglas 
Sirk.  Drama.  American  doctor  falls  in  love  wilh  wife 
of  famous  composer  in  Munich.  89  min.  6/24. 

JET  PILOT  Technicolor,  SuperScope.  John  Wayne, 
Janet  Leigh.  Howard  Hugnes  Production.  Producer 
Jules  Furthman    Director  Josef  von  SternOerg.  Drama. 

The  story  of  a  Russian  woman  pilot  and  an  American 
jet  ace.  I  19  min. 

JOE  DAKOTA  Eastman  Color.  Jock  Mahoney,  Luana 
Patten.  Producer  Howard  Christie.  Director  Richard 
Bartlett.  Drama.  Stranger  makes  California  oil  town 
see  the  error  of  its  ways.    79  min. 

RUN  OF  THE  ARROW  Technicolor.  Rod  Steiger,  Sarita 
Montiel,  Ralph  Meeker.  Producer-director  Sam  Fuller. 
Adventure.  Young  sharpshooter  joins  Sioux  Indians  at 
close  of  Civil  War.  86  min.  6/24. 

THAT  NIGHT  John  Beal,  Augusta  Dabney,  Sbepperd 
Strudwick.  Producer  Hiram  Brown.  Director  John 
Newland.    Drama.    A    tragedy    almost   shatters   a  IS- 

year-old  marriage.  88  min. 

October 

MAN  OF  A  THOUSAND  FACES  CinemaScope.  James 
Cagney,  Dorothy  Malone.  Producer  Robert  Arthur.  Di- 
rector Joseph  Pevney.  Drama.  Life  story  of  Lon  Chaney. 

125  min.  7/22. 

OUANTEZ  CinemaScope,  Eastman  Color.  Fred  Mac- 
Murray,  Dorothy  Malone.  Producer  Gordon  Kay.  Direc- 
tor Harry  Keller.  Drama.  A  study  of  five  people  in- 
volved in  a  robbery  and  killing.  80  min. 

UNHOLY  WIFE,  THE  Technicolor.  Diana  Dors,  Rod 
Steiger,  Marie  Windsor.  Producer-director  John  Far- 
row. Drama.  A  wife  sunningly  plots  the  death  of  her 
husband  who  she  has  betrayed.  94  min. 

Coming 

ALL  MINE  TO  GIVE  Eastman  Color.  Glynis  Johns, 
Cameron  Mitchell,  Rex  Thompson.  Producer  Sam  Weis- 
enthal.  Director  Allen  Reisner.  Drama.  Tha  story  of  a 
Scottish  immigrant  couple  in  Wisconsin  in  tha  19th 
century. 

DOCTOR  AT  LARGE  Dick  Bogarde,  Muriel  Pavlow.  A 
Rank  Production.  Director  Ralph  Thomas.  Comedy.  Ad- 
ventures of  an  English  physician.  98  min.  6/24. 

ESCAPADE  IN  JAPAN  Color.  Teresa  Wright,  Cameron 
Mitchell,  Jon  Provost,  Roger  Nakagaws.  Producer-direc- 
tor Arthur  Lubin.  Search  for  two  boys  who  start  out 
in  the  wrong  direction  to  find  the  very  people  who 
are  trying  to  find  them. 

GIRL  MOST  LIKELY,  THE  Eastmai  Color.  Jane  Powell, 
Cliff  Robertson,  Keith  Andes.  Producer  Stanley  Rublin. 
Director  Mitchell  Leison.  Comedy.  A  giri  is  proposed 
to  by  three  men  on  the  same  day. 

I  MARRIED  A  WOMAN  George  Gobel,  Diana  Dors, 
Adolph  Menjou.  Producer  William  Bloom.  Director  Hal 
Kanter.  Coerndy.  Wife  objects  to  taking  second  place 
to  a  beer  advertising  campaign  with  her  husband. 
MONOLITH  MONSTERS,  THE  Grant  Williams,  Lola 
Albright.  Producer  Howard  Christie.  Director  John 
Sherwood.  Science-fiction.  Army  of  rocks  threaten  U.S. 
MY  MAN  GODFREY  CinemaScope,  Technicolor.  June 
Allyson,  David  Niven.  Producer  Ross  Hunter.  Director 
Henry  Koster.  Comedy.  Story  of  a  topsy-turvy  butler. 
PYLON  CinemaScope.  Rock  Hudson,  Robert  Stack, 
Dorothy  Malone,  Jack  Carson.  Producer  Albert  Zug- 
smith. Director  Douglas  Sirk.  Drama.  Reporter  un- 
covers World  War  I  hero  of  the  Lafayette  Escadrille. 
SEEDS  OF  WRATH  CinemaScope.  Jeff  Chandler.  Orson 
Welles.  Producer  Albert  Zugsmith.  Director  Jack  Ar- 
nold. Drama.  Sheriff  destroys  one-man  domination  of 
Texas  town. 

VIOLATORS.  THE  Arthur  O'Connell,  Nancy  Malone. 
Producer  H.  Brown.  Director  John  Newland.  Drama. 
Story  of  a  probation  officer  in  the  New  York  City 
courts. 


WARNER  BROTHERS 


May 

COUNTERFEIT  PLAN,  THE  Zachary  Scott,  Peggie 
Castle.  Producer  Alec  Snowden.  Director  Montgomery 
Tully.  Drama.  Inside  story  of  one  of  the  largest  for- 
gery operations  ever  attempted.  80  min.  4/1. 
SHOOT  OUT  AT  MEDICINE  BEND  Randolph  Scott, 
James  Craig,  Dani  Crayne.  Producer  Richard  Whorf. 
Director  Richard  Bare.  Western.  Homesteaders  and 
Quaker  settlers  in  Nebraska  frontier  town  are  cheated 
by  "bad  man".  87  min.  6/24. 


UNTAMED  YOUTH  Mamie  Van  Doren,  Lou  Nelson,  John 
Russell.  Producer  Aubrey  Schenk.  Director  Howard 
Koch.  Life  on  a  prison  farm  for  juvenile  delinquents. 
80  min.  4/1. 

June 

A  FACE  IN  THE  CROWD  Andy  Griffith.  Patricia  Neel. 

Producer-director  Elia  Kazan.  Drama.  A  hill-billy  per- 
sonality leaps  to  national  fame.    126  min. 

D.  I.,  THE  Jack  Webb  Don  Dubbins,  Jackie  Loughery. 
Producer-director  Jack  Webb.  Drama.  Life  of  a  Ma- 
rine Corps  drill  instructor.    106  min. 

July 

CURSE  OF  FRANKENSTEIN,  THE  Peter  Cushing.  Hazel 
Court,  Robert  Urqhart.  Producer  M.  Carreras.  Direc- 
tor Terence  Fisher.  Horror.  83  min.  7/8. 

PRINCE  AND  THE  SHOWGIRL,  THE  C«lor.  Marilyn 
Monroe,     Laurence    Olivier,    Dame    Sybil  Thorndyke. 

Producer-director  Laurence  Ohvier.  Comedy.  Filmiza- 
tion  of  the  Terence  Rattigan  play.  117  min.  5/27. 

RISING  OF  THE  MOON,  THE  Eileen  Crowe,  Cyril 
Cusack,  Frank  Lawton.  Directed  by  John  Ford.  Three 
Irish  stories  with  Tyrone  Power  narrator.  81  rrvn.  7/22 

X— THE  UNKNOWN  Dean  Jagger,  William  Russell. 
Producer  A.  Hinds.  Director  Leslie  Norman.  Science- 
fiction.  Keen  minded  scientist  fights  awesome  creation. 

August 

BAND  OF  ANGELS  WarnerColor.  Clark  Gable.  Yvonne 
De  Carlo.  Director  Raoul  Walsh.  Drama.  81  min.  7/22 

JAMES  DEAN  STORY,  THE  A  film  biography  of  the 
late  movie  star.  82  min. 

PAJAMA  GAME,  THE  Warner  Color.  Doris  Day,  John 
Raitt,  Carol  Haney.  Producers  G.  Abbot,  F  Britlon, 
R.  Griffith,  H.  Prince.  Director  Stanley  Donen.  Filmiza- 
tion  of  the  Broadway  musical. 

September 

BLACK  PATCH  George  Montgomery.  Producer  George 
Montgomery.    Director  Alan  Miner.  Western. 

Coming 

BLONDE  AND  DANGEROUS  Sally  Brophy,  Carla 
Merey,  Susan  Oliver.  An  Arwin  Production.  Director 
Bernard  Girard.  Producer  Martin  Melcher.  Melodrama. 
Life  in  a  girl's  correction  school. 

CHASE  A  CROOKED  SHADOW  Richard  Todd,  Ann 
Baxter.  Producer  Douglas  Fairbanks.  Director  Michael 
Anderson.  Melodrama. 

NO  SLEEP  TILL  DAWN  CinemaScope,  WarnerColor. 
Karl  Maiden  Natalie  Wood.  Producer  Richard  Whorf. 
Director  Gordon  Douglas.  Story  of  the  men  who  man 
the  bombers  that  defend  our  nation. 

HELEN  MORGAN  STORY.  THE  CinemaScope.  Ann 
Blvth,  Paul  Newman.  Producer  Martin  Rackin.  Director 
Michael  Curtiz.  Drama. 

OLD  MAN  AND  THE  SEA,  THE  CinemaScope,  Warner- 
Color. Produced  by  Leland  Hayward.  Director  John 
Sturges.  Adventure.  Film  version  of  Ernest  Heming- 
way's prize-winning  r.cvel. 

PICKUP  ON  CCP*  ITP.!IET  Producer  Andrew  Fenady. 
Director  Irvin  Kershner. 

SAYONARA  Technirama,  WarnerColor.  Marlon  Brando, 
Red  Buttons,  Patricia  Owens.  Producer  W:liiar.  Goetz. 
Director  Josh  Logan.  Drama.  Based  on  *he  award- 
winning  novel  of  James  Michener. 

STORY  OF  MANKIND  WarnerColor.  All-rtar  cast. 
Drama. 

WITH  YOU  IN  MY  ARMS  CinemaScope.  WarnerColor. 
Tab  Hunter,  Etchlka  Choureau,  J.  Carrol  Nalsh.  Drama. 

Lives  and  times  of  a  select  squadron  of  fighter  pilots 
in  WWI. 


To  Better  Serve  You  .  .  . 

Office  &  Terminol  Combined  At 
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Film     BULLETIN  —  THIS     IS     YOUR  PRODUCT 


BULLETIN 


PTEMBER    16,  1957 


Business-wise 

Analysis  of 
Hie  New  Films 


DISTINCTION 


PAL  JOEY 

Other  Reviews: 

CARTOUCHE 

SLAUGHTER  ON 
TENTH  AVENUE 

THE  HIRED  GUN 
JACQUELINE 
VTCHMO  THE  GREAT 
SCAPADE  IN  JAPAN 

FOUR  BAGS  FULL 


The  Theatre  and  Telemovies 


CAN  THEY 
CO-EXIST? 


Viewpoint 


PAGE  THREE 


ADVERTISING 
IS  LES  GIRLS 
BEST  FRIEND! 

Here's  the  BIG,  BIG,  M-G-M 
campaign.  We're  betting 
a  fortune  on  these  fillies! 


MAGAZINES  ALONE  REACH 
200,000,000 

Three  1-column,  2-color  "teasers"  and  one 
full-page,  4-color  display  ad  in  each  of 
these  leading  publications  —  LIFE,  LOOK, 
SATURDAY  EVENING  POST. 

"Picture  of  the  Month"  column  in  each 
of  these  leading  publications  —  GOOD 
HOUSEKEEPING,  McCALL'S,  TRUE 
STORY,  SEVENTEEN,  REDBOOK 
PARENTS',  COSMOPOLITAN. 

Full-page  ad  in  the  fan  magazines. 

NEWSPAPERS  REACH  COUNTLESS 
MILLIONS  MORE 

5,000-line  advance  and  supplementary 
campaign  to  begin  two  weeks  before  and 
continue  through  each  premiere  opening. 

RADIO  AND  TV  SATURATION 

Big  national  campaign  begins  before  and 
continues  through  each  premiere  opening. 

THAT'S  PENETRATION! 


M-G-M  presents  A  Sol  C.  Siegel  Production  of  Cole  Porter's  "LES  GIRLS" 
starring  GENE  KELLY  •  MITZI  GAYNOR  •  KAY  KENDALL  •  TAINA  ELG 
co-starring  Jacques  Bergerac  •  Screen  Play  by  John  Patrick  •  Story  by  Vera 
Caspary  •  Music  and  Lyrics  by  Cole  Porter  •  In  GnemaScope  and  Metrocolor 
Associate  Producer  Saul  Chaplin  •  Directed  by  George  Cukor 


/  D6Qr  C«fe  M 

WV.e  in  th  ^sing8 

1  f*8^»«iQ££*&«ngeaU 
"LES  — 


GIRLS 


hmeJ 


'ygirlf) 


/lewpotnts 

SEPTEMBER  16,   1957    *  VOLUME  25.  NO.  19 


The  Theatre  or  Telemovies*? 


Tuesday,  September  3,  195",  may  be- 
come an  historic  date  for  the  movie  in- 
dustry. That  was  the  day  on  which  the 
first  first-run  movie  was  exhibited  in 
the  prosperous  Oklahoma  town  of 
Bartlesville — not  in  a  theatre,  but,  via 
a  coaxial  cable  stretched  from  an  erst- 
w  hile  theatre -turned -broadcasting 
studio,  into  the  living  rooms  of  a  re- 
ported 300  homes.  It  may  be  a  day  to 
remember,  or  the  future  might  recall  it 
as  just  another  day  after  Labor  Day 
when  a  novel  gimmick  made  a  little 
splash  in  the  industry's  tide  and  rip- 
pled off  into  nothingness. 

While  the  Bartlesville  subscription 
television  undertaking  has  been  termed 
a  "test"  and  linked  with  previous  toll- 
TV  tryouts  (Phonevision  and  Tele- 
meter), it  must  be  viewed  as  a  much 
more  serious  venture  than  anything 
previously  attempted  in  the  pay-TV 
field.  The  others  were  limited,  toe- 
dipping  tests  that  faced  many  high 
hurdles  other  than  public  acceptance — 
FCC  approval,  unscrambling  problems, 
strong  resistance  from  video  networks 
and  theatremen,  just  to  name  a  few. 

Telemovies,  on  the  other  hand,  is 
being  presented  as  a  system  free  of  re- 
quired federal  regulation,  and  as  the 
sole  remaining  opportunity  for  the 
movie  industry  to  recapture  its  audi- 
ence— at  home.  And  it  is  being  done 
with  the  actual  sponsorship  of  seg- 
ments of  the  movie  industry.  While  it 
has  its  problems,  too  (as  we  shall  see 
later),  they  are  nebulous  as  of  now. 
The  initial  big  question  for  cable  thea- 
tre is:  Will  the  public  go  for  it?  If  the 
answer  is  yes,  subscription  home  tele- 
vision is  here  to  stay.  To  what  extent 
it  will  change  the  industry  can  only  be 
determined  by  the  future.  Our  purpose 
here  is  to  examine  the  potentials  and 
to  undertake  a  long-range  prognostica- 
tion. 

Certainly,  it  is  being  given  every 
chance  for  success  by  its  theatre  chain 


sponsors,  Video  Independent  Theatres, 
Inc.  The  Bartlesville  campaign,  pro- 
moted to  a  fare-thee-well,  lured  sub- 
scribers with  every  device  available  to 
showmen.  It  offered  the  "premiere" 
month  free  to  applicants,  required  no 
installation  or  disconnection  charges, 
placed  no  restrictions  on  length  of  ser- 
vice. Under  these  ideal  conditions,  of 
course,  it  would  hardly  be  surprising  if 
hundreds  of  families  applied  for  ser- 
vice. If  anything,  it  must  be  considered 
disappointing  that  the  number  of  ap- 
plicants did  not  reach  into  the  thou- 
sands. 

Nor  will  product — initially  at  least 
— pose  any  barrier  to  the  "test"  since 
this  month's  films  include  such  top  pic- 
tures as  "Pajama  Game",  "Night  Pas- 
sage", "Jeanne  Eagels",  "The  Prince 
and  the  Showgirl  ",  among  others,  all 
first-run  in  Bartlesville. 

Therefore,  it  must  be  clearly  under- 
stood that  the  results  of  the  Bartles- 
ville venture  cannot  be  considered  as 
indicative  of  the  pattern  future — unless 
it  proves  a  flop.  It  is  akin  to  the  blood 
test  given  in  paternity  cases — it  can 
only  prove  that  the  accused  is  not  the 
father;  it  cannot  prove  that  he  is.  Simi- 
larly, a  failure  in  Bartlesville's  ideal 
atmosphere  can  only  demonstrate  that 
Telemovies  is  not  the  public's  dish, 
while  success  there  will  not  necessarily 
spell  success  everywhere. 


BULLETIN 


Film    BULLETIN:    Motion    Picture    Trade  Paper 
published   every  other   Monday  by  Wax  Publi- 
cations,   Inc.     Mo  Wax.   Editor  and  Publisher. 
PUBLICATION-EDITORIAL  OFFICES:    1239  Vine 
Street,  Philadelphia  7,  Pa.,  LOcust  8-0950.  0951. 
Philip    R.    Ward,    Associate    Editor:  Leonard 
Coulter     New   York   Associate   Editor;  Duncan 
G.   Steck,   Business   Manager;    Marvin  Schiller, 
Publication  Manager;  Robert  Heath,  Circulation 
Manager.  BUSINESS  OFFICE:  522  Fifth  Avenue. 
New    York    36.    N.    Y..    MUrray    Hill  2-3631; 
Wm.  R.  Manocco,   Editorial  Represen- 
tative.   Subscription  Rates:  ONE  YEAR 
$3.00  in  the  U.  S.;  Canada,  $4.00;  Eu- 
rope   $5.00.  TWO  YEARS:  $5.00  in  the 
U.  S.;  Canada,   $7.50;   Europe,  $9.00. 


It  must  also  be  kept  in  mind  that 
Bartlesville  is  an  above-average  income 
community  ($6900  per  family,  S2200 
per  capita),  and  the  S9.50  per  month 
fee  is  hardly  the  obstacle  it  could  prove 
to  be  in  the  average  city.  In  addition, 
all  four  of  the  town's  theatres  are 
owned  by  the  one  theatre  company  that 
is  sponsoring  Telemovies,  so  the  im- 
portant competitive  element  does  not 
enter  into  this  situation — as  it  will,  and 
heavily,  in  most  others.  Bartlesville  is 
a  relatively  small  town,  neatly  laid  out 
and  poses  comparatively  little  of  the 
cable-laying  problems  that  would  be 
encountered  in  big  cities,  where  the 
project  would  be  not  unlike  the  start- 
ing of  a  new  telephone  company! 

But  assuming  that  the  Bartlesville 
experiment,  greased  with  its  ideal  con- 
ditions, demonstrates  its  citizens'  ac- 
ceptance of  living-room  movies,  and 
moves  on  to  other  areas,  and  over- 
comes its  technical  bugs,  and  is  an  es- 
tablished medium  of  entertainment. 
Then  emerges  the  heart  of  the  question 
for  our  industry: 

Will  movies  at  home  completely  re- 
place the  public  theatre? 

The  word  "completely"  is  used  ad- 
visedly, for  it  cannot  be  resolved  in 
half  measures,  despite  the  claims  of 
those  who  are  peddling  the  toll-TV 
idea  that  the  theatre  can  live  side  by 
side  with  piped-in  primary  run  mov  ies. 
Exhibition  this  past  spring  and  sum- 
mer has  had  its  bitter  tast  of  theatres 
competing  with  old  films  on  TV.  What 
promised  to  be  a  bouncing  warm- 
weather  season  dragged  along  under 
the  competition  of  unlimited  free 
movies  in  the  home.  What  then  would 
it  be  like  to  compete  with  new  films 
playing  day-and-date  with  the  theatres! 

No,  we  can't  buy  the  co-existence 
pitch.  If  Telemovies  comes  into  promi- 
nence, the  vast  majority  of  movie  thea- 
tres will  be  doomed  to  extinction.  Per- 
( Continued  on  Page  5 ) 


Film  BULLETIN     September  16,   1957        Page  3 


THE  HOLLYWOOD  REPORTER 
Thursday,  August  29,  1957. 


•  PLEASE,  Jack  Warner  and  Billy 
Coetz,  don't  construe  from  the  follow- 
ing that  we  are  jumping  the  review 
date  on  "Sayonara."  This  is  NOT  a  re- 
view of  this  wonderful  picture.  It's  a 
tip  we  are  sending  out  to  the  exhibitor 
readers  of  this  column  in  an  effort  to 
give  them  a  bit  of  advance  information 
on  what  will,  more  than  likely,  be  their 
greatest  money-maker  during  the  com- 
ing year. 

We  have  been  looking  at  motion 
pictures  since  the  days  of  the  "split 
reels."  We  saw  the  first  feature  ever 
made  in  the  U.S.  and  the  other  night 
we  saw  "Sayonara"  and  we  have  no 
hesitancy  in  reporting  that  we  believe 
this  picture  is  the  BEST  PICTURE  we 
have  ever  seen.  We  believe  it  will,  with 
some  exploitation  help,  become  one  of 
the  greatest  ticket-sellers  of  all-time. 
We  believe  this  picture  will  have  more 
to  do  in  bringing  back  the  lost  audi- 
ences to  our  theatres  than  anything 
that  could  be  created  for  that  purpose. 
We  feel  that  a  motion  picture  miracle 
has  been  wrought  right  at  the  moment 
when  it  will  take  nothing  short  of  a 
miracle  to  fill  theatres  to  absolute  ca- 
pacity, morning,  noon  and  night. 

"Sayonara"  has  EVERYTHING  that 
a  great  movie  entertainment  should 
have;  a  wonderful  story,  filled  with 
heart;  a  beautiful  love  story — two  of 
them  running  side  by  side  with  one 
ending  in  tragedy.  The  picture  has  ex- 
citement and  beauty  beyond  descrip- 
tion, a  wonderful  musical  background 
with  a  scenic  investiture  too  rarely 
found  in  our  better  pictures.  It  has  a 
great  star,  Marlon  Brando,  a  great  sur- 
rounding cast  of  players  perfectly  cast 
and,  above  all,  the  direction  of  Josh 
Logan,  who  off  of  this  accomplishment 
goes  to  the  top  of  our  list  of  directors 
in  this  great  medium  of  motion  pic- 
tures. 

If  we  were  writing  a  review  of  "Say- 
onara," and  we  wouldn't  because  we 
don't  consider  we  are  capable  of  such 
a  task,  we'd  have  to  give  90%  of  the 
credits  to  Mr.  Logan  because  what  he 
has  done  with  this  yarn,  and  the  direc- 
tion of  the  performances  of  the  players 
is  not  only  sheer  genius  in  direction  but 
in  the  creation  of  motion  picture  en- 
tertainment that  will  arouse  the  en- 
thusiasm of  everyone  in  the  production 
of  pictures,  the  theatre  men  who  ex- 
( Continued  on  Page  2) 


(Continued  from  Page  1 ) 
hibit  them  and  those  millions  of  ticket 
buyers  who  have  been  waiting  and 
hoping  for  something  that  "Sayonara" 
now  brings  them. 

So,  you  theatre  men,  good  and  bad, 
beaten  down  by  poor  attendance  over 
the  years,  shake  yourself,  phone,  write 
or  visit  your  nearest  Warner  exchange 
and  make  some  deal,  any  deal,  that  will 
get  you  this  picture,  and  clear  your 
booking  sheets  for  the  longest  run  you 
have  ever  given  a  picture,  because,  if 
you  run  it  long  enough,  you  will  even- 
tually play  to  every  man,  woman  and 
child  within  the  reach  of  your  theatre 
and  many  of  them  will  see  it  over  and 
over  again  because  the  picture  is  that 
good. 

Sayonara  means  goodbye  in  Japanese 
The  title  applied  to  this  picture  will 
mean  goodbye  to  empty  theatre  seats. 
It's  a  wonderful,  wonderful  picture. 
Thank  you,  Mr.  Coetz,  Mr.  Warner, 
and  to  Josh  Logan,  keep  in  good  health 
so  that  we  might  have  you  making 
more  pictures  for  a  long  time. 


Viewpoints 

(Continued  from  Pagt  t) 
haps  a  Cinerama  house  here  and  there, 
an  art  film  house,  or  a  roadshow  em- 
porium for  the  occasional  spectacle, 
but  the  exhibition  industry  as  we  know 
it  today  will  be  as  good  as  dead  and 
buried.  There  will  be  left  only  a  cor- 
poral's guard  of  film  theatres,  like  the 
legitimate  houses  scattered  throughout 
the  land,  opening  and  closing  with  the 
arrival  and  departure  of  isolated  at- 
tractions. 

We  must  then  ponder  the  simple 
question:  Will  toll-TV,  either  wired  or 
aired,  replace  the  movie  theatre?  We 
firmly  believe  the  answer  is  No! 

Before  one  could  accept  the  con- 
trary view,  the  dialectics  of  some  per- 
tinent questions  must  be  examined  and 
satisfied: 

Will  the  naturally  gregarious  Amer- 
ican public  retreat  permanently  into  a 
cave-like  existence,  forever  squinting  at 
small-screen  pictures? 

Does  the  scope  and  brilliance  and 
sweep  and  detail  of  a  motion  picture 
exhibited  on  a  theatre  screen  count  for 
naught  against  the  opiate  of  bedroom- 
slippers  convenience? 

Will  the  public  in  large  numbers 
pay  SI  14  per  year  as  a  flat  fee  or  drop 
their  coins  into  a  box  for  entertain- 
ment while  sponsors  are  offering  other 
(even  inferior)  shows,  "live"  or 
filmed,  on  the  free  channels? 

What  will  happen  to  the  production 
of  motion  pictures  under  the  Tele- 
movies  system  of  exhibition?  Will  big 
pictures  —  vast  in  scope,  detailed  in 
background,  brilliant  in  color,  pains- 
takingly directed  and  consummately 
acted — continue  to  be  made,  only  to  be 
dwarfed  by  the  very  limited  size  of  the 
projection  area,  only  to  survive  for  a 
brief  night  or  two  of  viewing,  then  to 
be  submerged  by  the  flood  of  other 
films  that  must  follow  to  feed  the 
hungry  cathode  tube?  Won't  the  trend 
inevitably  move  toward  cheap,  volume 
production,  production  of  movies  fash- 
ioned after  TV's  own  pattern  of  small- 
scale,  close-up,  "intimate"  entertain- 
ment designed  to  meet  the  limitations 
of  the  medium? 

And  what  will  be  the  destiny  of  the 
established  motion  picture  companies 
if  they  heed  the  toll-TV  lorelei  and 


tailor  their  product  to  the  small 
screen?  Would  they  not  be  plunging 
into  a  mass-production  business  swarm- 
ing with  competitors?  Picture-making 
for  the  21 -inch  screen  must  be  a  penny- 
ante  business  as  compared  to  produc- 
tion of  multi-million  dollar  films  for 
theatres,  and  the  facilities  and  capital 
will  be  available  to  countless  enter- 
prising entrepreneurs  seeking  to  fill 
countless  hours  of  Telemovies  time. 

Recently,  a  top  distribution  execu- 
tive told  us,  almost  sorrowfully,  "You 
can't  stop  toll-TV  —  it's  progress." 
Whether  it  is  truly  "progress"  is  a 
moot  point,  and,  in  our  view  a  dubious 
version  of  this  much-abused  word.  The 
danger  in  this  "progress"  is  this:  If  the 
experiment  is  carried  forward  far 
enough,  even  before  it  proves  or  dis- 
proves its  worth,  it  can  wreck  thou- 
sands of  theatres  and  remove  the  last 
vestige  of  the  public  theatre  as  a  mass 
entertainment  medium.  Not  to  men- 
tion the  hundreds  of  millions  of  in- 
vested dollars  that  would  go  down  the 
drain  with  it. 

Would  Columbia,  for  instance, 
which  is  supplying  "Jeanne  Eagels" 
for  the  Bartlesville  experiment,  have 
spent  the  same  millions  of  dollars  on 
this  big-scale  film?  It  is  doubtful. 
More  likely,  the  whole  production 
would  have  been  telescoped  to  fit  the 
pygmy  dimensions  of  the  TV  screen — 
and  the  cost,  along  with  the  produc- 
tion values,  refracted  to  a  fraction  of 
the  original. 

Thus,  if,  in  the  cable  theatre  era, 
there  were  still  surviving  movie  houses, 
they  would  have  to  be  satisfied  with 
showing  on  their  50-foot  screens  a  film 
that  had  been  made  specifically  for  a 
medium  one  twenty-fifth  that  size  and 
on  a  proportionately  fractional  budget. 

The  vicious  circle  would  then  be 
complete:  by  producing  for  the  tele- 
movie  market,  film  companies  would 
kill  off  their  theatre  customers,  and 
with  the  emasculated  theatre  market, 
the  producers  would  have  no  outlet  to 
sell  their  big  pictures.  Extinction  of 
the  theatre  would  be  merely  a  matter 
of  time.  With  its  demise  would  come 
the  end  of  multi-million  dollar  movies 
and  multi-million  dollar  moviemakers. 

That  is  why,  most  of  all,  we  cannot 
see  Telemovies,  or  cable  theatre,  or 
however  you  call  living  room  exhibi- 
tion, to  replace  the  public  motion  pic- 
ture theatre — no  matter  the  results  of 
the  Great  Bartlesville  Experiment. 


Answer  to  WYz 
1 raunger  Stars 

Now  that  the  "silly  season"  on  TV 
has  ended  and  the  summer  replacement 
programs  are  back  on  the  shelf,  all  the 
networks  are  praying  for  a  return  of 
the  "good  old  days"  when  television 
could  do  no  wrong. 

For  the  first  time  since  the  home- 
screen  became  a  factor  in  the  enter- 
tainment field,  TV  has  had  to  bear  a 
mounting  load  of  criticism  both  from 
sponsors,  who  are  finding  its  costs  al- 
most intolerable,  and  the  public,  who 
have  suddenly  awakened  to  its  poverty 
of  ideas  and  presentation  and  the  sick- 
ening sameness  of  it  all. 

This  reaction  may  be  merely  tempo- 
rary. The  networks  have  too  much  at 
stake  to  be  complacement  about  the 
criticisms  they  have  been  receiving  and 
the  difficulty  of  selling  time  and  talent. 
But  all  present  signs  and  portents  indi- 
cate that  TV's  struggle  to  climb  out  of 
the  slump  will  be  an  exhausting  one, 
for  it  seems  to  have  developed  a  funda- 
mental weakness. 

It  appears  to  be  suffering  from  some- 
thing more  serious  than  a  temporary 
staleness,  such  as  strikes  at  the  over- 
trained athlete.  In  seeking  constantly 
for  larger  audiences  to  attract  the  ad- 
vertising dollar,  television  has  taken 
the  line  of  least  resistance  and,  by 
catering  obsessively  to  the  middle-aged 
and  elderly  among  us,  has  built  up  a 
following  of  stay-at-homes. 

These  good  folk  were  especially 
susceptible  to  TV's  appeal  in  its  pris- 
tine vears,  for  it  relieved  them  of  the 
"bother"  of  having  to  go  out  of  their 
homes  for  entertainment.  It  is  precise- 
ly that  "don't-want-to-bother"  mentali- 
ty which  now,  having  turned  full 
circle,  is  giving  TV  the  creeps.  For 
today  that  easily-won  audience  of  un- 
adventurous  souls  won't  even  bother 
to  pay  close  attention  to  much  of  the 
program  fare  on  offer,  or  else  watches 
the  TV  screen  out  of  sheer  force  of 
habit. 

Unhappily  for  TV,  however,  this 
segment  of  the  population  has  come  to 
represent  such  an  important  percentage 
of  its  total  audience  that  the  networks 
are  faced  with  the  dilemma  of  losing 
many  of  them  if  they  bow  to  the  com- 
plaints and  criticisms  of  younger,  more 
active  people  who  have  been  most 
(Continued  on  Page  6) 


Film  BULLETIN    September  16,  1 957        Page  S 


Viewpoints 

( C  ontinued  from  Page  5 ) 

vocal  in  their  comments  about  "the 

decline  of  TV  programs". 

That  an  attempt  is  being  made  to 
resolve  this  serious  problem  is  obvious 
from  the  spate  of  Western  shows 
which  television  has  budgeted  for  this 
season.  This  move  is  something  which 
needs  to  be  watched  closely  and  care- 
fully by  the  motion  picture  industry 
which,  having  lost  to  TV  millions  of 
its  older  patrons,  now  has  to  deal  with 
a  bid  to  attract  the  younger  ones. 

Luckily,  however,  the  wiser  heads  of 
Hollywood  in  this  particular  respect, 
are  about  ten  jumps  ahead  of  TV,  in 
that  they  have  recognized  for  some- 
time the  basic  fact  that  the  younger 
people  of  this  generation,  who  con- 
stitute the  bulk  of  movie  audiences, 
must  be  given  entertainment  of  a  kind 
appealing  more  strongly  to  them  than 
the  outworn  dramas,  featuring  worn- 
out  stars,  which  for  so  long  formed 
the  basis  of  the  industry's  program- 
ming. While  some  of  the  intrenched 
studios  continue  to  use  only  the  older, 
"established"  personalities,  the  pro- 
gressive, dynamic  companies,  like  20th 
Century-Fox  and  Universal,  are  re- 
plenishing their  star  rosters  with 
bright  young  faces.  These  two,  at 
least,  are  bringing  fresh  personalities 
into  the  movie  scene — and  it  is  in  such 
endeavor  that  hope  for  the  future  is 
brightest. 

Alfred  E.  Daff,  executive  vice-presi- 
dent of  Universal  Pictures,  made  some 
sage  comments  on  this  subject  the 
other  day.  "Sometimes",  he  said, 
"we've  been  apt  to  forget  that  directors 
grow  old;  so  do  producers,  and  writers, 
and  stars,  and  even  film  critics.  But 
the  audience  never  gets  old." 

Universale  current  policy,  he  added, 
is  to  pursue  that  idea  relentlessly,  and 
in  a  great  number  of  its  forthcoming 
pictures  it  will  give  starring  roles  to 
young  players  who  only  a  few  years 
ago  would  have  been  lucky  to  get  bit 
parts  in  mediocre  productions — a  sys- 
tem which,  by  holding  newcomers 
back,  only  served  to  entrench  in  posi- 
tions of  unassailable  strength  the  faded 
actors  and  actresses  of  yesterday  who 
alone  could  call  themselves  "stars". 

Age  is  no  criterion  of  a  player's  his- 
trionic ability,  or  even  of  his  boxoffice 


drawing  power  if  cast  in  a  suitable 
role.  This  fact  Al  Daff  is  the  first  to 
concede;  and  he — and,  we  think,  the 
vast  majority  of  moviegoers  through- 
out the  world — find  slightly  repulsive 
the  sight  of  a  greying,  balding  "hero" 
playing  the  romantic  lead  as  if  he  were 
twenty-two  again. 

It  is  precisely  because  the  movie 
audience  never  grows  old  that  the 
entire  future  depends,  as  Daff  stresses, 
on  not  merely  finding  "new  faces", 
but  on  giving  younger,  attractive, 
talented  personalities  a  chance  to  shine 
and  establish  themselves  as  "new  stars" 
by  virtue  of  their  performances  rather 
than  because  of  some  publicity  gim- 
mick. 

And  it  is  precisely  this  important 
truth  which  the  television  industry — 
even  at  this  early  stage  in  its  career — 
is  belatedly  having  to  swallow.  For 
once  Hollywood  has  beaten  its  rival  to 
the  post. 

Mil  In*  the 

Osctur  Show 

A  Great  Show! 

The  motion  picture  industry  has 
finally  assumed  sponsorship  of  its  own 
Oscars.  This  in  itself  is  important 
news;  but  it  does  not  automatically  in- 
sure a  great  promotional  triumph  for 
the  movies  when  the  Academy  of  Mo- 
tion Picture  Arts  and  Sciences  hands 
out  the  coveted  Academy  Awards  next 
March. 

It  is  good  to  know  that  Oscar  night 
will  not  be  interrupted  by  a  continuous 
series  of  extraneous  commercials,  and 
that  our  industry's  most  important 
public  relations  event  will  no  longer 
be  used  to  sell  automobiles  instead  of 
motion  pictures.  So  far  so  good,  but 
we  have  much  farther  to  go. 

Let's  consider  the  Academy  Awards 
as  a  television  show,  one  which  was 
seen  this  past  year  by  56,000,000  tele- 
viewers. What  kind  of  show  have 
these  millions  of  people  seen. 

Even  forgiving  the  commercials,  the 
Academy  Awards  presentations  have 
not  reflected  great  glory  on  the  enter- 
tainment genius  of  the  industry  they 
celebrate.  Under  outside  sponsorship 
the  ceremonies  have  been  a  seemingly 
endless  succession  of  walk-ons,  feeble 


mo  gags  which — too  often  poked  fun 
at  the  movie  business,  and  lengthy  list 
readings. 

Let's  face  it  —  the  past  Academy 
Award  shows  have  not  been  notable 
for  their  entertainment  value. 

Because  certain  of  the  Oscars  are 
really  unimportant  to  most  of  the  vast 
television  and  radio  audiences,  the 
Awards  presentation  is  somewhat  like 
an  old  fashioned  vaudeville  bill,  with 
a  handful  of  top  acts  and  the  routine 
acrobats  at  the  beginning  of  the  pro- 
gram. Only  in  this  case  the  acrobats 
go  on  for  maybe  an  hour — the  acro- 
bats' equivalent  in  this  instance  being 
those  awards — meritorious  as  they  are 
— which  only  the  people  in  the  indus- 
try itself.  This  is  not  meant  to  deny 
the  importance  of  the  contributions  to 
movie-making  by  the  technicians,  de- 
signers, et  al.  But  there  should  be 
some  way  of  condensing  the  presenta- 
tion of  these  awards  and  building  the 
bulk  of  the  show  around  the  important 
Oscars — for  best  picture,  best  director, 
best  performances,  best  song,  etc.  In 
brief,  the  Academy  Awards  show 
should  be  designed  to  entertain  and  to 
hold  the  interest  of  the  largest  possible 
audience. 

Now  is  the  time  for  the  great  mo- 
tion picture  entertainment  industry  to 
make  its  Oscar  night  great  entertain- 
ment. The  program  should  be  scripted 
and  edited  just  as  carefully  as  any  ma- 
jor production.  The  master  of  cere- 
monies should  be  given  the  kind  of 
script  that  you  can't  get  for  nothing. 

The  way  to  sell  the  public  on  going 
to  the  movies  is  to  show  that  the  movie 
makers  can  produce  the  best  entertain- 
ment. To  the  public,  the  Academy 
Awards  presentation  represents  the 
combined  efforts  of  the  elite  craftsmen 
of  Hollywood. 

In  the  past  there  has  always  been  an 
easy  excuse.  If  the  program  wasn't 
quite  what  movie  people  hoped  it 
would  be,  we  could  blithely  assume 
that  this  was  because  there  was  an  out- 
side sponsor.  But  now  the  whole  re- 
sponsibility rests  upon  the  motion  pic- 
ture producers  themselves. 

Now  we  shall  see.  Hollywood  has 
asked  for  the  chance  to  sponsor  its  own 
big  night.  We  sincerely  hope  that  the 
new  "sponsors"  will  make  the  Oscar 
show  the  greatest  kind  of  a  show.  The 
public  has  the  right  to  expect  nothing 
less. 


Page  6       Film  BULLETIN    September  14,  l«7 


A 

ETTER 
TO  THE 


)/ease  turn  the  page 


the 
letter 


August  20,  1957 


Dear  SpyroBJ 

Tour  leadership  and  dedication  to  the  needs  of 
exhibition  and  the  desires  of  the  public  have 
been  our  proudest  incentives.    It  is  now  my 
pleasure  to  report  to  you  that  we  have  lived 
up  to  your  promise  to  the  exhibitors  of  the 
world  by  completing  our  schedule  of  thirty 
top-quality  pictures  for  1957. 

Attached  is  a  line-up  of  the  subjects  which 
are  now  either  on  the  stages  or  in  script 
preparation  for  1958. 

Here  is  our  stockpile  of  best-sellers,  big 
stars,  hit  plays,  new  personalities  who  will 
become  the  stars  of  tomorrow,  great  creative 
talent,  and  fresh  and  vital  story  material  with 
the  built-in  values  that  meet  the  demands  of 
today's  world  and  today's  market. 


August  23,  1997 

Dear  Buddy: 

I  am  delighted  with  the  news  of  your  progress 
in  creating  more  and  better  product  of  high 
box-office  quality.    This  is  the  only  way  we 
can  help  the  exhibitor  today  in  his  urgent 
need  for  good  pictures. 

Your  outline  of  our  future  product,  already 
so  well  advanced  in  production,  represents  a 
wonderful  accomplishment  by  yourself  and  your 
staff  and  the  artistic,  creative  and  technical 
people  of  the  studio.    This  warrants  the  high 
commendation  and  thanks  of  your  co-workers  here 
which  I  know  the  exhibitors  of  the  world  will 
share. 

I  consider  this  the  most  important  statement  from 
our  company  this  year  and  I  am  requesting  that 
your  letter  be  reproduced  as  an  announcement  to 
the  industry. 


Gratefully, 


the 
reply 


e  attachment 


THE  SCHEDULE  FOR  1958 


THE  DIARY  OF  ANNE  FRANK,  from  the  Pulitzer  Prize  stage 
play  and  screenplay  by  Albert  Hackett  and  Frances 
Goodrich.  Produced  and  directed  by  George  Stevens. 

RODGERS  AND  HAMMERSTEIN'S  "SOUTH  PACIFIC," 

(Ooodjhow  in  Todd-AO) 

starring  ROSSANO  BRAZZI,  MITZI  GAYNOR, 
JOHN  KERR.  Produced  by  Buddy  Adler, 
directed  by  Joshua  Logan. 

MUD  ON  THE  STARS,  from  the  novel  by 

William  Bradford  Huie.  Produced  and  directed  by 
Elia  Kazan. 

THE  YOUNG  LIONS,  from  Irwin  Shaw's  novel,  starring 

MARLON  BRANDO,  MONTGOMERY  CLIFT,  DEAN 
MARTIN  and  co-starring  BARBARA  RUSH 
and  MAY  BRITT.  Produced  by  Al  Lichtman, 
directed  by  Edward  Dmytryk,  screenplay  by 
Edward  Anhalt. 

TOWNSEND  HARRIS,  starring  JOHN  WAYNE,  directed 
by  John  Huston,  produced  by  Eugene  Frenke. 

THE  BRAVADOS,  starring  GREGORY  PECK,  screenplay 
by  novelist  John  O'Hara.  Produced  by  Herbert 
Bayard  Swope. 

TEN  NORTH  FREDERICK,  starring  SPENCER  TRACY 
in  John  O'Hara's  best-seller.  Produced  by 
Charles  Brackett,  written  for  the  screen  and 
directed  by  Philip  Dunne. 

THE  HELL-BENT  KID,  a  novel  by  Charles  O.  Locke, 

produced  by  Robert  Buckner,  starring  DON  MURRAY 
and  directed  by  Henry  Hathaway. 

A  CERTAIN  SMILE,  from  the  best-seller  by  Francoise  Sagan, 
author  of  "Bonjour  Tristesse."  Produced  by  Henry  Ephron, 
directed  by  Jean  Negulesco,  screenplay  by  Frances  Goodrich 
and  Albert  Hackett.  Starr.ng  CHRISTINE  CARERE. 

BLOOD  AND  SAND  from  the  Vincente  Blasco  Ibanez 
classic,  produced  by  Henry  Ephron  from  a  screenplay 
by  Phoebe  Ephron.  Starring  SOPHIA  LOREN. 

CAN-CAN,  from  Cole  Porter's  musical  stage  hit, 
produced  by  Henry  Ephron. 

THE  SMALL  WOMAN  from  the  story  by  Alan  Burgess. 
Produced  and  directed  by  Mark  Robson. 

OUR  LOVE, starring  LAUREN  BACALL  and  ROBERT 
STACK.  Produced  by  Charles  Brackett,  directed  by 
Jean  Negulesco,  screenplay  by  Luther  Davis. 

FRAULEINfrom  the  novel  by  James  McGovern,  starring 

DANA  WYNTER  and  MEL  FERRER,  produced  by  Walter 
Reisch  from  a  screenplay  by  Leo  Townsend  and  Norman 
Corwin  and  directed  by  Henry  Koster. 

BACHELOR'S  BABY, from  the  novel  by  Gwenn  ("Mr. 
Belvedere")  Davenport.  Produced  by  Henry  Ginsberg. 

THE  WANDERING  JEW,written  for  the  screen,  produced  and 
directed  by  Nunnally  Johnson,  from  E.  Temple  Thurston's 
stage  classic. 


THESE  THOUSAND  HILLS,  from  the  novel  by  Pulitzer  Prize 
winner  A.  B.  Guthrie,  produced  by  David  Weisbart. 

THE  DAY  OF  THE  OUTLAW,  from  the  novel  by  Lee  Wells, 
produced  by  Eugene  Frenke,  screenplay  by  Philip  Yordan. 

THE  HUNTERS,  directed  and  produced  by  Dick  Powell, 
from  the  novel  and  Collier's  serial  by  James  Salter. 
Screenplay  by  Philip  Dunne  and  Richard  Murphy. 

RALLY  ROUND  THE  FLAG,  BOYS!,  from  Max  Shulman's 
riotously  funny  new  book.  A  Buddy  Adler  Production. 

HOLIDAY  FOR  LOVERS,  from  the  Broadway  stage  play  by 
Ronald  Alexander,  produced  by  David  Weisbart. 

OH,  PROMISED  LAND,  from  the  great  book  by  James  Street. 

THE  REMARKABLE  MR  PENNYPACKER,  from  the  Broadway 
stage  play  by  Liam  O'Brien,  produced  by  Charles  Brackett. 

COLORS  OF  THE  DAY,  from  the  novel  by  Romain  Gary, 
to  be  written  for  the  screen,  produced  and  directed 
by  Nunnally  Johnson. 

ROPE  LAW,  produced  by  Herbert  Bayard  Swope 
from  a  screenplay  by  Philip  Yordan. 

Dai  ry  I  F.  Zanuck  Productions 

DE  LUXE  TOUR,  produced  by  Robert  L.  Jacks, 

from  the  novel  by  Frederic  Wakeman. 
COMPULSION,  from  Meyer  Levin's  sensational  best-seller. 
THE  ROOTS  OF  HEAVEN,  from  the  French  stage  hit 

by  Romain  Gary. 

Jerry  Wale/  Productions 

THE  LONG  HOT  SUMMER,  from  the  novel  by  Nobel  and 
Pulitzer  Prize  winner  William  Faulkner,  starring 
PAUL  NEWMAN,  ANTHONY  FRANCIOSA, 
JOANNE  WOODWARD,  ORSON  WELLES.  Directed  by 
Martin  Ritt,  screenplay  by  Irving  Ravetch  and  Harriet  Frank. 

JEAN  HARLOW,  from  the  story  by  Adela  Rogers  St.  John, 
screenplay  by  Arthur  Ross. 

THE  BIG  WAR,  from  the  novel  by  Anton  Myrer,  screenplay 
by  Edward  Anhalt. 

THE  SOUND  AND  THE  FURY.another  of  Faulkner's  great 
classics.  Directed  by  Martin  Ritt,  screenplay  by  Irving 
Ravetch  and  Harriet  Frank. 

David  O.  Sehnick  Productions 

TENDER  IS  THE  NIGHT.starring  JENNIFER  JONES  in  the 

F.  Scott  Fitzgerald  classic. 
MARY  MAGDALENE 

Samuel  G.  Engel  Productions 
THE  CAPTIVE. from  the  novel  by  The  Gordons. 
THE  FREEBOOT€R/rom  an  original  story  by  Samuel  G  Engel, 
GLORY  PASS/rom  the  diary  of  Sister  Blandina,  screenplay 

by  Harold  Jack  Bloom. 
GEMMA  TWO  FIVE,from  the  novel  by  Victor  Canning. 


FINANCIAL 

BULLETIN 

SEPTEMBER     14,  1957 

By  Philip  R.  Ward 


THE  REPORTED  DEPARTURE  OF  REPUBLIC  from  the 
field  of  film  making  underscores  once  more  the  historic  shifting 
of  power  balances  within  moviedom  in  the  TV  era. 

More  and  more  is  the  center  of  production  gravity  moving 
into  that  zone  of  influence  occupied  by  the  independents. 

Not  that  the  reduction  of  a  Republic  studio  clinches  the 
trend,  or  even  tips  the  scales  to  the  lone-eagle  operators.  Repub- 
lic's contributions  in  output  in  the  last  two  years  have  been 
much  too  meager  to  ascribe  such  importance  to  its  loss.  But 
from  another  standpoint  its  passing  confirms  the  opinion  of 
some  commentators  who  hold  that  the  present-day  demand  for 
theatre  film  cannot  sustain  an  organized  industrial  establish- 
ment, consisting  of  numerous  mass  producing  plants.  While 
Republic  never  did  quite  attain  the  status  of  a  major  film  com- 
pany, its  contemplated  leave-taking  would  reduce  to  six  the 
number  of  studios  adequately  tooled  to  produce  film  entertain- 
ment in  quantity.  A  more  generous  nose-counting  might  add 
Allied  Artists,  which  has  talked  big  league  for  two  years  but 
has  yet  to  untrack  itself.  United  Artists  is  still  a  constellation 
of  independents,  albeit  an  impressively  successful  one.  The  loss 
of  Republic  will  rob  the  organized  studio  system  of  little  of  its 
overall  magnitude.  Its  demise  will  only  add  weight  to  the 
widely  accepted  thesis  that  the  old  mode  of  movie  manufacture 
is  gradually  passing  from  the  scene. 

0 

The  Republic  case  is  but  one  more  chink  in  the  armor  in 
which  the  lordly  majors  suited  themselves  some  25  years  ago 
when  taxes  were  toothless  and  video  tranmission  occupied  but 
one  neuron  in  young  Mr.  Sarnoff's  complex  nervous  system. 
The  armor  wore  well.  But  this  is  another  day,  and  if  the  truth 
be  had,  let  it  be  noted  that  the  traditional  order  has  ridden  out 
the  times  in  remarkably  high  style.  Hollywood,  almost  alone 
among  the  important  industrial  classifications  of  the  past  quar- 
ter century,  has  resisted  change  with  a  resoluteness  and  deter- 
mination that  is  mystifying.  While  other  industries  retooled, 
re-oriented  their  direction,  re-appraised,  Hollywood  chugged 
blithely  ahead.  Except  for  its  short-lived  adventure  into  3-D 
and  the  widening  of  the  screen,  it  did  nothing  to  advance  either 
its  technology  or  its  business  techniques.  As  a  consequence,  in 
its  most  troubled  times  the  arsenals  were  empty.  The  majors 
found  themselves  in  the  position  of  the  famed  heroine  for 
whom  tomorrow  was  always  another  day. 

The  avenues  of  escape  were  thus  open  for  the  parade  of  tal- 
ent of  every  character  that  was  to  march  thumb-at-nose  beyond 
studio  precincts  into  self-employment.  And  for  all  practical 
purposes  that  was  the  beginning  of  the  end  of  the  organized 
studio  system  as  it  once  was.  Overheads  are  presently  doing 
their  best  to  finish  the  job. 

In  the  end,  there  will  always  be  majors — distributors,  that  is. 


Mergers,  consolidations  and  other  manner  of  combinations  will 
attend  to  that.  But  the  fact  remains,  the  theatre  industry  can- 
not support  a  1930-kind  of  Hollywood.  The  most  likely  result: 
various  present  day  firms  will  eventually  unite  and  pool  their 
resources  until  what  is  left  of  the  major  companies  is  a  hard 
core  of  several  complex,  highly  integrated  plants.  Surrounding 
them  like  so  many  minnows  circling  a  dolphin  will  be  the  inde- 
pendents, who  collectively  are  becoming,  and  will  inevitably 
become,  the  major  sphere  of  power  in  the  production  of  the- 
atre films. 

The  major  distributing  firms  cannot  vanish  because  they  rep- 
resent the  only  true  liaison  between  producer  and  exhibitor. 
The  independent  at  best  is  but  vaguely  cognizant  of  the  market. 
Without  the  skilled  business  professionals  of  the  central  com- 
panies to  plan,  supervise,  distribute  and  merchandise  his  prod- 
uct the  independent  could  not  function. 

Thus  it  may  come  to  pass,  as  some  have  prophesied,  that  the 
great  studio  complexes  of  old  may  end  up  as  boarding  houses 
for  a  great  variety  of  individual  tenents,  huge  clearing  houses 
for  filmed  entertainment,  its  elaborate  business  machinery  de- 
voted purely  to  the  marketing  of  same. 

Now,  having  presented  this  popular  thesis,  let's  complicate 
the  future  by  pointing  to  stalwart  20th  Century-Fox,  which  has 
been  moving  steadily  back  to  the  kind  of  centralized,  mass 
production  organization  they  say  is  dead — and  experiencing 
much  success.  And  let's  ask  this:  If  production  is  profitable 
for  independent  units,  will  not  some  aggressive,  new-generation 
geniuses  arise  to  reorganize  and  recentralize  film  production 
under  major  banners? 

O 

LOEW  S  SUSPENSE  CONTINUES.  The  industry  will  survive 
another  month  before  it  knows  with  certainty  which  Joe,  Vogel 
or  Tomlinson,  has  got  to  go.  Some  elements  already  treat  the 
October  15  conclave  as  a  mere  forum  for  the  toting  up  of  score- 
boards, figuring  the  only  question  is  how  bad  a  pasting  will 
Tomlinson  get?  Another  group  cautions  that  proxy  totals  pre- 
sented September  12  will  not  hold  at  the  later  meeting,  that 
only  the  last  proxy  vote  counts.  In  support  of  this  argument 
are  whispers  that  Tomlinson  is  preparing  proxies  of  his  own. 

In  the  meantime,  the  market  is  witnessing  some  peculiar 
doings  in  Loew's  shares.  As  a  result  of  dumping  from  several 
quarters,  Loew's  slumped  to  a  long-time  bottom  of  143/4,  and 
there  were  reports  that  Tomlinson  himself  was  quietly  getting 
out.  But  just  as  quickly,  support  firmed  and  shares  bounced 
back  over  16.  At  present,  movement  continues  in  the  ascendant. 

Reliable  information  reaching  Financial  Bulletin  contends 
that  an  investment  firm,  not  heretofore  related  to  the  Loew's 
situation,  has  begun  the  acquisition  of  shares.  Reasons  beside 
speculative  appeal:  unknown. 


Page  10        Film  BULLETIN     September  16,  1957 


THAT  TODD  SHOWMANSHIP.  Everybody's  talking  about 
Mike  Todd,  because  he's  always  making  talk.  Showmen  may 
come  and  showmen  may  go  but  the  indefatigable  Mike  Todd 
just  rolls  on.  Latest  example  of  the  Todd  flair:  October  17  he 
will  host  a  first  anniversary  party  at  Madison  Square  Garden 
to  honor  "Around  the  World  in  80  Days",  complete  with  18,- 
000  invited  guests,  including  (Mike  hopes)  President  Eisen- 
hower and  the  governors  of  the  forty-eight.  In  analyzing  the 
success  of  this  film,  paritcularly  its  holding  power,  top  indus- 
try sales  and  advertising  executives  give  the  majority  of  the 
credit  to  Todd,  rather  than  the  film.  Admitting  that  "80 
Days"  is  something  unusual,  they  cite  films  just  as  good,  or 
better,  that  did  not  do  one-tenth  of  the  business  that  "80 
Days"  will  have  done  when  it  has  completed  its  duly  appointed 
rounds.  Sole  credit  for  the  success  story  must  go  to  Mike's 
magic  showmanship.  Whether  it  be  Asbury  Park,  Madison 
Square  Garden,  London  or  Paris,  he's  always  the  ballyhooer, 
always  in  there  plugging  to  get  that  extra  mileage  for  his  valu- 
able merchandise. 

O 

TOLL-TV  AND  TV.  On  the  second  night  of  Telemovies 
viewing,  according  to  a  report  published  in  Broadcasting-Tele- 
casting Magazine  "a  subscriber  called  Telemovie  s  phone  num- 
ber, asked  what  was  scheduled  for  that  night.  When  informed 
program  would  be  same  as  opening  night,  he  exclaimed: 
'Thank  God.  Now  I  can  go  back  to  watching  TV  ."  In  an- 
other development  the  broadcasting  trade  journal  revealed  the 
promotional  line  used  by  the  CBS-TV  outlet  in  Tulsa,  KOTV, 
in  competing  with  the  cable  theatre.  For  the  past  three  weeks, 
the  telestation  has  been  pushing  its  feature  film  programming 
by  advertising:  "Watch  our  free  movies"! 

O 

STATES-RIGHTERS  BOOM.  Some  independent  producers 
making  exploitation-type  films  have  turned  down  release  offers 
from  major  distributors  to  cast  their  lot  with  states-righters. 
Major  factor  in  their  reasoning  is  the  belief  that  locally  owned 
exchanges  can  do  a  tailor-made  job  for  their  product,  whereas 
on  a  major's  release  schedule  such  product  is  given  run-of-the- 
mill  handling.  The  spectacular  success  of  recent  independently 
distributed  films  has  given  a  shot  in  the  arm  to  states-right  dis- 
tributors. Although  the  amount  of  business  they  do  is  small  in 
relation  to  the  majors,  they  are  becoming  an  increasingly  sig- 
nificant factor  in  the  distribution  of  exploitation-type  and 
foreign-made  films. 

O 

CHEERLEADER  SEADLER.  The  current  issue  of  M-G-M's 
house  organ,  The  Distributor,  is  bubbling  with  a  paean  of 
promise  about  Metro's  future  by  Si  Seadler.  Recently  returned 
from  a  visit  to  the  studio,  the  facile  adman  gave  voice  to  the 
high  hopes  for  his  company's  future  in  a  story  about  the  array 
of  glittering  product  he  viewed  out  there.   Here  are  a  few 




Wk$t  They'te  Mini  About 

□    □    □    In  the  Movie  Business    □    □  □ 


verses  and  choruses  from  Seadler  s  happj  sung:  "The  Lion  is 
roaring  louder  than  ever!  That's  our  slogan  right  now  and  it's 
based  on  what  can  be  seen  this  very  minute  at  the  big  and 
bouncy  MGM  Studios  at  Culver  City.  There's  an  electric,  in- 
domitable spirit  pervading  those  golden  acres  of  stages  and 
back-lots  and  it's  generated  by  the  two-fisted,  fearless,  proud 
and  inspiring  leadership  of  our  fighting  President,  Joseph  R. 
Vogel.  Yes,  the  spirit  is  there,  riding  high — and  so  is  the  pro- 
duct .  .  .  What  joy,  then,  to  report  to  you  about  my  Coast  trip. 
I  saw  the  famed  and  eagerly  awaited  Raintree  County — it's 
box-office  bounty.  It's  everything  you  dreamed.  The  perform- 
ances of  Montgomery  Clift,  Elizabeth  Taylor  and  Eva  Marie 
Saint  are  memorable.  I  saw  it,  cheered  it,  wept  with  it,  ap- 
plauded it,  as  did  the  capacity  house  at  the  Warfield  Theatre, 
San  Francisco,  on  Saturday  night,  August  10th  .  .  .  Hot  on  the 
heels  of  Raintree,  your  fortunate  reporter  joined  a  packed 
audience  at  the  Crown  Theatre,  Pasadena,  and  heard  them 
howl  their  approval  and  enjoyment  of  Don't  Go  Near  The 
Water.  Current  plans  point  to  presenting  this  picture  to  Amer- 
ica as  the  best  possible  Christmas-New  Year  gift  .  .  .  We  wish 
you  could  have  been  present  at  Pico  Theatre,  Westwood,  w  hen 
we  previewed  the  sock  Elvis  Presley  picture,  Jailhouse  Rock. 
The  screams  of  teenagers  and  the  boisterous  enjoyment  of  the 
others  in  the  audience  forecast  a  wonderful  treat  for  the  public 
and  a  sure-fire  hit  for  the  Lion  that's  Roaring  Louder  Than 
Ever  .  .  .  All  over  the  lot,  I  heard  reports  of  the  wonderful  new 
Danny  Kaye-Pier  Angeli  extravanganza  Merry  Andrew,  in  pro- 
duction there  under  the  independent  banner  of  Sol  C.  Siegel 
and  directed  by  Michael  Kidd  (of  Seven  Brothers  film  fame 
and  'Li'l  Abner'  stage  renown)  .  .  .  These  are  but  a  hint  of 
great  days  ahead.  Only  recently  came  the  news  of  the  purchase 
of  one  of  the  top  theatrical  properties  of  our  time  The  Bells 
Are  Ringing  and  the  signing  of  its  star  Judy  Holliday.  MGM 
production  news  is  constantly  in  the  headlines.  This  is  only 
part  of  the  long  list  of  properties  and  projects  that  give  real 
meaning  to  our  rallying  cry:  'The  Lion  Is  Roaring  Louder 
Than  Ever."  Space  does  not  permit  listing  them  all.  There  is 
genuine  reason  for  enthusiasm  and,  hot  from  Culver  City  I'm 
imbued  with  the  wonderful  optimism,  based  on  accomplish- 
ment, that  lifts  the  spirit  of  our  Studio  skyhigh.  I  sense  it  in 
the  branch  offices  and  I  find  it  bursting  out  at  the  seams  of 
1540  Broadway.  It's  the  rallying  cry  that  brings  each  one  of  us 
into  the  fighting  ranks  behind  the  man  who's  won  the  admira- 
tion, the  affection  and  the  respect  of  the  entire  industry — our 
President,  Joseph  R.  Vogel.'' 


Film  BULLETIN    September  14,  1957       Page  11 


"Slaughter  Dn  Tenth  Avenue" 

gu4i*te44  'gatiK?  O  O  Plus 

Cop  vs.  union  racketeers  melodrama  done  in  documentary 
style.  Should  satisfy  action  fans  as  dualler. 

Though  the  tale  of  labor  racketeering  along  the  tumultuous 
New  York  waterfront  is  hardly  a  Times  scoop  anymore,  it  has 
been  given  a  very  respectable  reworking  by  Universal-Interna- 
tional, even  with  so  horrendous  a  title  as  "Slaughter  On  Tenth 
Avenue".  For  producer  Albert  Zugsmith  and  director  Arnold 
Laven  have  come  through  with  a  cracklingly  realistic,  docu- 
mentary-style melodrama,  a  taut  and  trenchant  commentary  on 
a  sleazy  bit  of  Union  underworld.  And  screenplaywright  Law- 
rence Roman  has  delivered  a  set  of  crisp  and  compact  charac- 
terizations that  graphically  underscore  the  tug  of  war  between 
the  urban  forces  of  good  and  evil.  It  is  generally  a  work  of 
all-round  competence  that  should  have  no  trouble  attracting  its 
share  of  the  action-minded  audience.  Reasonably  good  per- 
formances are  turned  in  by  Richard  Egan,  Dan  Duryea,  Julie 
Adams,  Jan  Sterling,  Walter  Matthau  and  Sam  Levene.  The 
story,  reputedly  based  on  fact,  details  the  first  assignment  of 
Deputy  Assistant  District  Attorney  Egan  as  he  follows-up  the 
brutal  shooting  of  stevedore  Mickey  Shaughnessy.  Rookie  Egan 
is  at  first  suspicious  of  the  conspiracy  of  silence  that  greets 
him,  but  later  realizes  that  dock  workers  universally  believe 
only  in  corrupt  or  cowardly  cops.  He  is  even  unable  to  get 
testimony  from  Shaughnessy  and  from  Shaughnessy's  wife, 
Miss  Sterling.  Union  boss  Matthau  threatens  Egan  with  re- 
prisal if  his  investigation  continues,  and  his  own  boss  Levene 
berates  him  for  lack  of  evidence.  However,  on  his  death  bed 
Shaughnessy  names  his  assailants  and  Miss  Sterling  agrees  to 
testify.  Though  cunning  Dan  Duryea  is  lawyer  for  Matthau's 
henchmen,  the  trial  ultimately  goes  against  them.  In  the  end 
raging  Union  members  destroy  Matthau's  gangland  rule  and 
Egan  is  free  to  continue  newfound  marital  bliss  with  Miss 
Adams. 


Universal-International.  103  minutes.  Richard  Egan,  Jan  Sterling.  Produced  by 
Albert  Zugsmith.    Directed  by  Arnold  Laven. 

"Jacqueline" 

g«4ute44  'Rati*?  O  O 

Engaging  British  import  about  a  daughter's  abiding  faith 
in  her  drinking  father.  Should  delight  family  audiences 
everywhere. 

The  humdrum  life  of  shipyard  workers  in  Belfast  and  a  sweet 
moppet  whose  faith  in  her  ne'er  do  well  father  saves  the  family 
circle,  is  the  subject  matter  of  Rank's  "Jacqueline".  Performed 
in  engaging  tones  and  overtones  of  the  all-too-human  by  a  cast 
that  seems  to  have  grown  with  the  scenery,  this  George  Brown 
production  is  one  of  the  season's  more  notable  British  offerings. 
Sophisticated  art  house  patrons  might  find  it  a  mite  too  endear- 
ing, but  it  should  delight  family  audiences.  Screenplaywrights 
Liam  O'Flaherty  and  Patrick  Kirwan  have  etched  some  authen- 
tically racy  and  ribad  old  blarney  characters  whose  little-people 
status  is  refreshingly  free  of  both  schmaltz  and  social  con- 
science, and  whose  problems,  earnestly  presented  and  realistic- 
ally resolved,  should  touch  the  heart  strings  of  everyone  but 
the  most  jaded.  And  director  Roy  Baker  has  steered  a  deft 
course  between  the  stark  and  the  sentimental,  especially  in  a 
beautifully  wrought  scene  when  a  Coronation  Day  celebration 


transforms  a  drab  tenement  and  its  dreary  denizens  with  the 
magic  of  human  fellowship.  John  Gregson,  as  the  Irish  charmer 
whose  crapulous  encounters  with  the  bottle  cause  havoc  wih  his 
family,  and  Kathleen  Ryan,  as  the  steadfast  but  long  suffering 
wife,  are  the  stars,  but  it  is  young  Jacqueline  Ryan  who  is  far 
and  away  the  most  luminous  entry.  With  a  world  of  fancy  in 
her  eyes  and  tongue  and  a  personality  always  plucky  and  unwit- 
tingly politic,  she  is  every  father's  dream  of  a  loyal  and  loving 
daughter.  When  Gregson's  attacks  of  vertigo  on  the  steel  ram- 
parts force  him  to  nightly  forget  his  fears  in  the  local  pub,  little 
Jacqueline  becomes  his  staunchest  defender,  even  though  her 
brother  Richard  Sullivan  and  mother,  Miss  Ryan,  eventually 
look  upon  the  proceedings  with  jaundiced  eyes.  In  fact,  Sulli- 
van, unable  to  withstand  the  disgrace  his  father  brings  upon 
him  at  school,  attempts  to  run  away  and  Miss  Ryan,  worm  out 
with  drudgery,  begins  to  listen  to  the  blandishments  of  an  old 
suitor.  Jacqueline  senses  her  father's  difficulties  could  be  solved 
if  he  returned  to  his  former  farm  life  and  she  shrewdly  arranges 
it.  The  family  is  warmly  reunited,  but  not  before  a  pleasant  and 
persuasive  tale  captivates  its  audience. 

Rank  Organiiation.  92  minutes.  John  Gregson,  Kathleen  Ryan.  Jacqueline  Ryan. 
Produced  by  George  Brown.    Directed  by  Roy  Baker. 

"The  Hired  Gun" 

Scuuteu  &<ztiK$  O  Q  Plus 

Modest,  spiritless  western  only  for  action  fans. 

Rorvic  Productions,  one  of  those  new  independent  outfits 
that  are  currently  sprouting  like  cabbages  in  the  Hollywood 
hills,  present  in  "The  Hired  Gun"  as  colorless  and  cursory  a 
Western  as  has  been  seen  in  a  coyote's  age.  Purporting  to  tell 
the  tale  of  a  sweet  cowbelle  unjustly  accused  of  her  husband's 
murder  and  a  glum  gunslinger  who  eventually  becomes  her  Gal- 
ahad, screenplaywrights  David  Lang  and  Buckley  Angell  have 
concocted  some  homestead  hash  made  up  of  all  the  standard 
characters  and  situations  of  TV  melodrama.  Indeed,  since  the 
film  is  only  64  minutes  in  length,  its  tattered  carbon  effect  seems 
more  appropriate  for  channel  currency  than  the  local  boxoffice. 
However,  exhibitors  need  not  be  enswathed  in  unrelieved 
gloom,  for  the  capsule  of  nature  of  the  offering  becomes  its 
saving  grace.  Though  the  content  is  hardly  profound  it  for- 
tunately never  has  time  to  become  pondersome.  Director  Ray 
Nazarro  has  seen  to  it  that  neither  stars  Rory  Calhoun  and 
Anne  Francis  nor  the  horses  ever  shuffle  their  feet  and  photog- 
rapher Harold  Marzorati  has  caught  the  inevitable  clouds  of 
dust  and  Southwest  ranges  in  some  lucent  lensing  in  black-and- 
white  CinemaScope.  Action  fans  who  want  both  scenery  and 
story  always  on  the  move  and  aren't  too  concerned  over  the  dra- 
matic destination  should  find  "The  Hired  Gun"  palatable 
enough.  For  all  others,  it  remains  a  very  tasteless  and  trying 
repast.  The  plot  unfolds  as  Miss  Francis,  sentenced  to  death 
for  her  husband's  murder,  is  sprung  from  the  traditional  ca- 
boose by  foreman  Chuck  Conners,  who  spirits  the  lass  away  to 
her  father's  New  Mexico  ranch.  Miss  Francis'  father-in-law, 
John  Litel,  dispatches  drifter  gunman  Calhoun  to  find  her. 
When  Calhoun  finally  meets  Miss  Francis,  his  bullet-hardened 
heart  turns  to  mush  and  he  finds  it  much  to  profane  to  accuse 
her.  In  the  end  it  develops  the  lascivious  half-brother  of  her 
late  husband  was  the  killer.  Lovers  Calhoun  and  Francis  look 
at  the  western  moon  together. 

MGM.  IRorvic  Productions)  iA  minutes.  Rory  Calhoun,  Anne  Francis,  Vince  Ed- 
wards.    Produced  by  Rory  Calhoun  and  Victor  Orsatti.    Directed  by  Ray  Naiarro. 


Page  12       Film  BULLETIN    September  16,  1957 


"Pal  Joey"  Glittering,  Smart  Musical  Made  for  BoxolficR 

StuUtM  1£<zti*$  O  O  O  pius 

Cut  to  fit  the  taste  of  sophisticated  metropolitan  adults. 
Original  has  been  laundered  sufficiently  to  avoid  offense 
to  grown-ups  in  the  hinterland.  Grosses  will  be  very  strong 
in  class  situations  everywhere.  Good  elsewhere. 

In  transferring  celebrated  Broadway  musicals  to  the  screen, 
Hollywood  of  late  has  been  scrupulously  exact:  nothing  short 
of  downright  duplication  would  do.  An  "Oklahoma*'  or  a 
"Pajama  Game"  have  been  reverently,  perhaps  too  faithfully, 
remade.  But  now  with  Columbia's  "Pal  Joey  ",  the  old  flam- 
boyant gong  once  more  sounds;  we  are  back  in  the  world  of  the 
treatment  with  the  built-in  "popular"  touch.  For  producer  Fred 
Kohlmar  and  director  George  Sidney  have  done  the  kind  of 
show  Louis  B.  Mayer  would  love:  from  beginning  to  end  it's  a 
monument  to  box  office  simplicities.  The  Richard  Rodgers- 
Lorenz  Hart-John  O'Hara  stage  success — brittle,  crisp,  wicked 
— has  been  given  a  thorough  rinsing,  and  now  runs  the  big- 
screen  Technicolored  gamut  of  stars,  songs,  sex,  snap  and 
schmaltz.  While  all  this  does  not  add  up  to  "art"  in  the  avant- 
garde  manner  of  musicals,  in  the  way  its  pre-conditioned  mass 
audience  magnetism  should  have  big  city  exhibitors  and  the 
boys  in  the  back  room  at  Columbia  counting  receipts  for  many 
a  moon.  It  seems  sure  to  be  one  of  the  spontaneous  hits  of  the 
season.  In  the  box-office  sense,  we  are  saying,  this  is  a  Film  of 
Distinction. 

Most  of  the  magnetism  derives  from  its  stars,  all  three  of 
whom  are  attended  by  palpable  and  personal  cults:  Frank  Sin- 
atra, Kim  Novak  and  Rita  Hayworth.  And  all  three  are  al- 
lowed to  parade  their  trade  marks  in  the  ultra-grand  manner. 
Sinatra  goes  through  his  personality  paces  as  a  Runyonesque 
lady  killer  with  night  club  pallor,  roving  blue  eyes,  a  shifty 
smile  and  a  wise-cracking  patter.  He  is  a  somewhat  sleazy 
singer  in  a  San  Francisco  dive  full  of  charm;  he  is  also  an  inter- 
locutor whose  happy-go-lucky  tentacles  catch  hold  of  both  Nob 
Hill  society  dame  Hayworth  and  kewpie  doll  chorine  Novak. 
The  girls  are  dazzlers:  Miss  Hayworth's  sensuous  elegance  al- 
ways on  the  point  of  sizzling  and  Miss  Novak's  wide-eyed,  ful- 
some beauty  coupled  with  the  classic  curves  that  have  become 
her  route  to  fame.  Fortunately,  Miss  Hayworth's  screenplay 
past  allows  her  a  moment  to  forget  her  highfalutin'  ways  and 
do  a  dance  number  that  expertly  explodes  upon  the  screen.  In 
it  she  explores  the  days  when  she  was  little  ol'  Vanessa  the 
Undresser  with  a  nostalgia  that  should  have  the  audience  hold- 
ing their  breath.  And  Miss  Novak,  no  slouch  in  the  pulchri- 
tude department  either,  does  a  lowdown  minuet  to  an  eigh- 
teenth century  strip,  not  to  mention  her  highstepping  grinds 
and  bounces  with  the  chorus. 

Then  there  is  Dorothy  Kingsley's  screenplay  which  has  bliss- 
fully disavowed  the  ribald  realism  and  hard  and  fast  humans 
of  John  O'Hara,  in  favor  of  the  traditional  "meet  cute"  props 
and  "sympathetic"  stylizings  dear  to  the  hearts  of  the  masses. 
No  longer  do  we  have  the  deadly  charm  of  a  heel  or  the  rich 
widow  willing  to  pay  for  her  kicks;  we  have,  instead  nice 
people  with  only  hints  of  depravity,  show  people  no  different 
from  the  inhabitants  of  little  theatre  groups.  In  short,  the  dia- 


The  heel  (Sinatra)  and  the  lovely  (Kim  Novak) 

logue  is  clever  and  cunning,  the  situations  charmingly  con- 
trived. The  unpleasant  world  of  Mr.  O'Hara  has  disappeared 
within  a  wonderland  of  the  sweet,  the  pleasantly  sour  and  the 
sensational. 

And  so  has  most  of  the  original  score;  only  two  of  Rodgers 
and  Hart's  racy  songs  remain,  both  appropriately  redone  with 
detergents.  To  fill  in,  producer  Kohlmar  and  director  Sidney 
have  taken  some  of  our  tunesmiths'  other  works,  more  standard 
and  more  sentimental  and  surrounded  them  with  sumptuous 
production  numbers  that  glitter  across  the  screen  in  Technicolor 
loveliness.  Jean  Louis  gowns  bedeck  not  only  stars  Hayworth 
and  Novak,  but  a  bevy  of  other  buxomites  and  Harold  Lip- 
stein's  cameras  captures  'Frisco's  atmosphere. 

The  only  remaining  detail  is  the  nature  of  the  plot,  a  simple 
little  yarn  to  be  sure,  which  follows  the  skeletal  outline  of  the 
original.  (The  flesh  it  puts  on  being  all  Miss  Kingsley's  own.) 
Fast-talking,  doll-crazy  Broadway  hipster  Sinatra  arrives  broke 
in  'Frisco,  but  parlays  his  way  into  a  song  and  dance  act  at  a 
night  club  where  chorus  girl  Novak  works.  His  charm  catapults 
every  lassie  but  Miss  Novak  into  his  lap,  she  representing  the 
innocent  lovely  for  whom  sex  is  sacred.  A  no-hay  arrangement 
with  the  girl,  makes  for  a  barnstorm  with  Nob  Hill's  Miss  Hay- 
worth, who  finds  herself  bewitched,  bothered  and  bewildered. 
In  no  time  at  all,  the  smitten  society  woman  is  financing  Sin- 
atra's sleek  supper  club  while  he  attends  to  her  boudoir.  All 
goes  well  until  the  lad  gets  plucked  by  cupid  and  he  realizes 
Miss  Novak  means  more  to  him  than  success.  In  the  end.  Miss 
Hayworth  steps  out  gracefully,  taking  the  club  with  her  and 
leaving  lovebirds  Sinatra  and  Novak. 


[More  REVIEWS  on  Page 


a.  Ill  Minutes.  Rita  Hayworth,  Frank  Sinatra.  Kim  Novak.  Barbara 
Bobby  Sherwood.  Directed  by  George  Sidney.  Produced  by  i-red  Kohi- 
i  Essex-George  Sidney  Production. 

Film  BULLETIN    September  16,  1957       Page  13 


"Escapade  In  Japan" 

gWred4  'Rati*?  O  O 

Mildly  entertaining  tele  of  American  and  Japanese  lads 
fleeing  oyer  Nippon  countryside.  OK  cucEler  for  family. 

U-I's  "Escapade  In  Japan"  has  its  pleasant  moments.  Photo- 
graphed on  location  in  Technirama  and  Technicolor,  it  provides 
a  veritable  tour  of  Oriental  sight  and  sound,  of  the  strange 
charms  and  customs  that  are  the  Far  East.  And  its  scenes  of 
two  innocents  astray  who,  though  coming  from  varying  classes 
and  disparate  cultures,  share  a  fervent  fellowship,  serves  as  a 
persuasive  parable  for  understanding  among  nations.  The  mood 
is  mellow,  but  producer-director  Arthur  Lubin  has,  unfortun- 
ately, been  rather  lackluster  with  the  action,  and  screenplay- 
wright  Winston  Miller  somewhat  paltry  in  narrative  effect. 
Stars  Teresa  Wright  and  Cameron  Mitchell,  the  American  lad's 
parents,  seem,  at  times,  fully  expendable.  "Escapade  in  Japan" 
is,  nevertheless,  entertainment  that  should  endear  itself  to  the 
small  fry  and  the  family  trade.  When  the  plane  bearing  Jon 
Provost,  son  of  Miss  Wright  and  Mitchell,  to  his  parents  in 
Tokyo  crashes  in  the  Pacific,  he  is  rescued  by  a  Japanese  fisher- 
man and  his  boy,  Roger  Nakagawa,  who  immediately  becomes 
a  devoted  buddy  of  Jon.  When  Roger's  father  goes  to  the 
police  to  contact  Jon's  parents,  the  boys  mistakenly  think  of 
imprisonment  and  decide  to  run  away  to  Tokyo.  They  trek 
over  the  countryside,  are  serenaded  by  the  Geisha  and  stroll 
amidst  Buddhist  temples.  In  the  meantime,  the  distraught  par- 
ents, on  the  point  of  divorce,  are  reunited  in  their  anxiety. 
Eventually,  the  boys  are  rescued  atop  a  pagoda. 

Universal  International  IRKO  Radio)  92  minutes.  Teresa  Wright,  Cameron  Mitchell, 
Jon  Provost,  Roger  Nakagawa.    Produced  and  directed  by  Arthur  Lubin. 

"Four  Hags  Full" 

ScuiteM  'Rati*?  OOO 

Fine  French  import  for  art  houses. 

This  comedy  of  black  marketing  in  occupied  Paris  is 
filled  with  a  Chaplinesque  irony  and  a  Gallic  wit  that  are  total 
seducers.  It  will  delight  art  house  fans,  and  could,  possibly,  be 
sold  in  some  class  situations.  This  Trans-Lux  release,  starring 
the  famed  Jean  Gabin  and  the  continental  darling  of  comedians, 
Bourvil,  is  a  very  satisfying  offering.  The  direction  of  Claude 
Autnat-Lara  and  the  screenplay  by  Jean  Aurenche  and  Pierre 
Bost  have  the  kind  of  finesse  with  characterization  and  mood 
that  few  films  contain.  Based  on  a  bit  of  whimsy  by  Marcel 
Ayme,  "Four  Bags  Full"  deals  in  human  values  and  inhuman 
duplicity  as  they  befall  two  strangers  who  unite  for  a  fantastic 
pilgrimage  through  a  black-out  Paris.  The  pilgrimage  is  for 
the  purpose  of  carting  contraband  pork  from  one  end  of  the 
city  to  the  other,  but  this  is  a  mere  conveyance  to  juxtapose 
the  symbolic  differences  of  personality  between  Gabin  and 
Bourvil  and  to  further  pivot  them  against  the  French  police, 
the  Gestapo,  their  fellow  Parisians  and  a  covey  of  bedraggled 
and  hungry  muts.  Gabin  is  seen  as  the  man  of  mystery  and 
freedom  who  engages  in  the  illegal  gambit  for  a  lark  and  Bour- 
vil as  the  traditional  little  man,  honest  and  of  good  heart, 
forced  through  the  circumstances  of  war  into  underworld  activ- 
ities. After  a  series  of  adventures,  always  revealing  and  fre- 
quently amusing,  Gabin  and  Bourvil  are  arrested  by  the  Ges- 
tapo. When  it  is  discovered  that  Gabin  is  in  reality  a  famous 
artist,  his  freedom  is  secured,  but  Bourvil,  the  nobody,  is  locked 
up.  He  returns  to  his  job  as  a  railroad  porter. 

Trans-Lux  Release.  84  minutes.  Jean  Gabin,  Bourvil.  A  Franco-London  Production. 
Directed  by  Claude  Autant-Lara. 


"Satchmo  The  Great" 

Documentary  of  Louis  Armstrong.  OK  dualler  for  jazz  spots. 

Louis  Armstrong  is  an  American  legend:  the  coolest  cat  of 
the  Dixieland  alley,  the  virtuoso  par  excellence  of  Jazz  and 
currently  the  State  Department's  irresistible  weapon  in  inter- 
national relations.  As  our  ambassador  with  a  horn  he  has 
bridged  all  differing  social  and  cultural  strata,  from  French 
intellectuals  to  Swiss  alpine-climbers,  from  Italian  farmers  to 
Continental  royalty.  He  is  the  pied  piper  of  the  blue  note; 
even  Moscow  digs  him.  It  is  fitting  then  that  Edward  R.  Mur- 
row  has  produced  and  narrated  for  United  Artist  release  a 
documentary  film  celebrating  the  recent  history-making  tour  of 
Armstrong  nad  his  band,  a  film  that  fully  captures  both  the 
volatile  personality  of  the  man  and  the  inflammable  charm  of 
his  art.  This  should  serve  usefully  as  a  supporting  feature  for 
jazz  fans  and,  especially,  for  Negro  audiences.  Filmed  on-the- 
spot,  "Satchmo  the  Great"  follows  Armstrong  through  a  Pari- 
sian hot  box  or  in  a  Zurich  jam-session  as  each  new  "riff" 
brings  tumultuous  applause.  We  learn  of  his  early  New  Or- 
leans days  as  Ben  Shahn  drawings  animate  the  screen  and  of 
his  training  with  the  Memphis  old  guard  and  King  Oliver. 
One  listens  to  "Satchmo"  explain  jazz  in  the  homiletics  of 
Basin  Street  or  watches  him  as  a  local-boy-makes-good  visiting 
his  ancestors  on  the  Gold  Coast  where  100,000  of  them  chant 
"All  For  You,  Louis".  We  hear  his  sand  paper  voice  run 
through  "Mack  the  Knife"  and  his  trumpet  perform  "St.  Louis 
Blues"  with  Leonard  Bernstein  and  the  New  York  Philhar- 
monic, while  the  octogenarian  and  blind  composer,  W.  C. 
Handy,  listens  with  an  enraptured  smile. 

United  Artists.  A3  minutes.  Louis  Armstrong.  Narrated  by  Edward  R.  Murrow. 
Produced  by  Murrow  and  Fred  W.  Friendly. 

"Cartouche" 

Costumer  in  "Scaramouche"  tradition  should  amuse  and 
engross  adventure-action  fans.   Modest  cast. 

If  you  have  an  audience  with  an  appetency  for  old  style 
swashbucklers  in  which  the  hero's  honor  lies  perilously  at  stake 
and  his  cutlass  becomes  his  symbol  of  vengeance,  RKO's  splash- 
ing and  snappy  Technicolored  18th  Century  adventure  "Car- 
touche" should  satisfy.  Note  it  as  amusing,  actionful  fare  for 
adventure  fans.  For  this  John  Nasht  production,  filmed  against 
the  old  world  castle  and  cliff  lands  of  Italy  and  starring  Rich- 
ard Basehart  and  Patricia  Roc,  is  a  "Scaramouche"  styled  tale 
overflowing  with  masquerades,  unctuous  villains,  galloping 
coaches  and  those  spectacular  sword-shimmering  staircases.  All 
the  stock  and  standard  costume  melodrama  and  moonshine 
rumbles  its  way  through  Louis  Stevens'  screenplay,  a  complex 
compound  of  flowery  language  and  raging  oaths.  And  director 
Steve  Sekely  has  paced  the  proceedings  like  a  gangland  geta- 
way, with  a  chase  that  runs  rampant  all  over  the  place,  often 
confusing  the  spectator  in  pinpointing  the  forces  of  good  and 
evil.  Basehart  cuts  a  fine  figure  as  a  dandy  falsely  accused  of 
murder.  He  plays  it  with  style,  taunting  and  baiting  Massimo 
Serato,  the  perfidious  Marchese  and  master-mind  behind  Base- 
hart's  ill-fate.  When  Serato  gets  sufficiently  steamed  up,  the 
screen  erupts  with  derring-do  galore  and  interlocking  plots  of 
revenge,  reprisal  and,  of  course,  romance.  The  last  is  served 
by  Miss  Roc,  a  royal  signorita. 

RKO  Radio.  73  minutes.  Richard  Basehart,  Patricia  Roc,  Massimo  Serato.  Pro. 
duced  by  John  Nasht.   Directed  by  Steve  Sekely. 


Page  14       Film  BULLETIN    September  It  1957 


Ate  tD<tf*t$f 


PRIDE  »»  THE  PASSIO 

CARY  FRANK  swUS. 

LOREi 


I  GRANT  SINATRA 


PLANNING 
AND 
PAYOFF 


Koger  Lewis  (second  from  right),  United  Artists  National  Director  of  ad- 
vertising, publicity  and  exploitation,  maps  $2,000,000  campaign  for 
"The  Pride  and  the  Passion"  with  (from  left)  promotion  specialist  Dick 
Condon,  ad  manager  Joe  Gould,  publicity  manager  Mort  Nathanson  and 
assistant  national  director  Al  Tamarin. 


'Pride  and  Passion'  B.O.  Chart 
Confirms  UA  Promotion  Recipe 

In  culinary  circles  a  favored  maxim  explains  that  good  cooking  can't  be  hurried. 
Like  the  gourmet's  meal,  a  perfectly  seasoned  movie  promotion  is  the  product  of  time. 

To  develop  the  method,  materials  and  momentum  for  the  king-size  drive  back- 
ing Stanley  Kramer's  "The  Pride  and  the  Passion ',  United  Artists  devoted  30  months 
and  tens  of  thousands  of  man  hours  before  release.  The  payoff  is  now  being  measured 
at  the  boxoffice,  where  the  epic  spectacle  is  establishing  itself  as  an  all-time  money- 
maker for  the  company. 

This  isn't  to  say  that  time  is  the  sole  ingredient  in  the  whopping  "Pride"  cam- 
paign. It  also  included  a  lot  of  shrewd  planning  and  the  special  kind  of  verve  and 
drive  that  distinguish  every  UA  showmanship  effort.  Added  to  this  is  the  confidence 
in  the  picture  and  the  industry  that  underwrote  a  S2. 000,000  promotion  budget. 

As  mapped  and  mounted  by  Roger  Lewis'  ad-publicity-exploitation  staff,  the  big 
push  began  a  full  16  months  before  "The  Pride 
and  the  Passion"  went  before  the  cameras  with 
the  development  of  a  254-page  campaign  blue- 
print that  was  plotted  in  meetings  in  New 
York,  Hollywood,  Paris,  London  and  Madrid. 

With  the  beginning  of  production,  96  edi- 
tors, reporters,  artists  and  photographers  from 
17  countries  were  brought  to  Spain  to  live  and 
work  with  the  army  of  10,000  performers  and 
technicians  employed  by  Kramer  in  his  most 
ambitious  project.  During  the  production 
period  alone  the  global  campaign  registered 
167  magazine  features,  34  covers  and  98,602  column  inches  of  newspaper  space.  On 
the  domestic  side,  LIA's  "space  cadets"  (the  boys  who  specialize  in  grabbing  off  big 
pieces  of  magazines  and  newspapers)  were  chalking  up  kills  like  two  multiple-page 
layouts  in  Life  and  comparable  spreads  in  This  Week,  The  Saturday  Evening  Post, 
Seventeen,  Holiday,  The  New  York  Times  Magazine,  Esquire,  Coronet,  Cosmopolitan 
and  Redbook. 

The  astounding  statistics  on  newspaper  coverage  again  confirm  the  benefits  of  a 
long-range  drive.  To  date  in  the  U.S.  and  Canada,  the  VistaVision  production  has  re- 
ceived 132  breaks  of  a  half-page  or  better,  and  more  than  1200  individual  photos  and 
column  items.  The  interest  of  TV  stay-at-homes  has  been  piqued  with  special  featur- 
ettes  and  p.a.'s  beamed  over  118  outlets  reaching  an  audience  of  83,000,000. 

Like  the  skilled  cook,  UA  has  taken  its  time  in  preparing  "The  Pride  and  the 
Passion"  campaign  Eor  both  the  insider  and  public,  it  stacks  up  as  one  hell  of  a  dish. 


Producer-director  Stanley  Kramer 
and  TV's  Ed  Sullivan 


Results  of 
30  -  month 
drive  are 
traced 
across  the 
country  in 
boxoffice 
lines  like 
this  one  at 
the  State 
Lake  in  Chi- 
cago. 


Both  press  and  theatremen  have  ac- 
corded "Pride"  the  recognition  due  a 
prestige  film.  Top:  UA  vice-president 
Max  E.  Youngstein  (right)  and  pub- 
licity chief  Nathanson  inspect  the  inter- 
national harvest  of  magazine  breaks. 
Bottom:  Distribution  v. p.  Bill  Heine- 
man  (second  from  left)  congratulates 
Ben  Sack  of  the  Gary  Theatre  for  sub- 
mitting the  winning  bid  for  the  Boston 
premiere.  Witnessing  the  award  are 
General  Sales  Manager  Jim  Velde 
(right)  and  Eastern  and  Southern  di- 
vision head  Milt  Cohen. 


Film  BULLETIN    September  14,  1957        Page  15 


in 


STANLEY  KRAMER'S  monument 


THEODORE  BIKEL  •  JOHN  WENGRAF  •  JAY  NOVELLO  ■  JOSE  NIETO  •  CARLOS  LARRANAGA  •  PHILLU 


f 

VOI'  HAVE  NEVER  SEEM  ITS  LIKE— 

AND  MAY  NEVER  SEE  ITS  EQCAL 


mam 


mmA 


ml 


The  total  gross  for 
THE  PRIDE  AND 
THE  PASSION 
in  its  first 
engagements* 
is  the  highest  of 
any  picture 
in  UA  history 
in  regular 
release! 


•X-  NEW  YORK  -  Capitol.  10S  ANGERS  -  Foi  Wilshire  CHICAGO  -  Slate  lake;  ATLANTIC  CITY  -  Roxy. 

OCEAN  CITY.  N.  I  -Village;  SAI  i  FRANCISCO  -  United  Artists;  CLEVELAND  -  Loews  Stillman;  DETROIT -Michigan 
CINCINNATI    RKO  Grand  PHIL/  DELPHIA  -  Viking;  WASHINGTON  -  RKO  Keith;  BUFFALO -Shea's  Buffalo: 
KANSAS  CITY   Ro»y.  DENVER   Paramount.  PITTSBURGH  -  Penn;  SEATTLE -Fifth  Ave  ;  PORTLAND  -  Paramount; 
JACKSONVILLE   St  lohn,  MINNEAPOLIS   RKO  Orpheum;  ST.  PAUL- RKO  Orpheum;  NEW  HAVEN -Roger  Sherman 
MEMPHIS -Loew  s  Palace;  TOLlOO  -  Loew  s  Valentine;  SYRACUSE -Loew  s  State;  COLUMBUS  — Loew's  Broad; 
NORFOLK    loew's.  RICHMOND  |  Loew  s.  BOSTON -Gary;  LOUISVILLE -State 


Managers,  Merchants  Go  It  Together  for  'P.  &  P.' 


Any  alert  showman  recognizes  the  impor- 
tance today  of  lining  up  retail  and  civic  sup- 
port 10  build  extra  sales.  And  this  is  what 
he  works  at  from  week  to  week. 

Occasionally,  though,  a  big  picture  comes 
along  with  those  plus-values  and  prefabri- 
cated prestige  that  attract  better-than-average 
aid.  The  result  is  spelled  out  in 


In  l  A's  "The  Pr 
sold  nationally  and  loaded 


nd  ihc-  Passii 


the- 


Cincinnati  stores  supplied  safe  and 
record  player  for  lucky  stroller  spin- 
ning the  opening  combination. 


ial  and  tl 
:unts  that  , 


:en  capital- 
campaigns 
be  adapted 


for  other   local   premieres  and 
engagements. 

Contests,  sponsored  by  stores  and  Cham- 
bers of  Commerce,  are  cued  by  the  current 
popularity  of  Sophia  Loren  and  seek  local 
look-alikes  to  be  crowned  Miss  Pride  and 


With  an  assist 
from  a  local  mer- 
chant, Rodney 
Toups  of  Loew's 
in  New  Orleans 
raised  an  authen- 
tic dragoon's  uni- 
form of  the  Na- 
poleonic era, 
valued  at  $5,000, 
for  his  bally  man. 
Figures  are  24- 
sheet  cutouts.  Big 
advance  publicity 
spurs  merchant 
aid  for  "Pride". 


The 


on  which  the  UA  release  is 
based.  Art  supply  stores  have  backed  draw- 
ing contests  tied  to  the  Fredenthal  sketches 
of  the  production  that  appeared  in  Life  mag- 
azine. A  number  of  newspapers  have  spon- 
sored coloring  contests  for  small  fry. 

Radio  stations  have  come  aboard  the 
"Pride  and  Passion"  bandwagon  with  fre- 
quent pla>s  of  the  music  and  contests  requir- 

great  films  of  the  present  and  past.  The 
Spanish  location  filming  of  the  VistaVision 
epic   has  netted  posters  at  travel  agencies 

Department  stores,  like  Abraham  &  Straus 
in  New  York  and  Carson,  Pirie  Scott  in  Chi- 
cago, have  run  full-page  ads  announcing 
store-wide  promotions  of  Spanish  fashions 
and  merchandise.  Local  Railway  Express 
offices  have  contributed  important  window 
and  counter  flash  tied  to  a  series  of  their  Air 
Express  ads  in  magazines,  which  feature  a 
still  of  Kramer,  co-star  Cary  Grant  and  the 
40-foot  "Pride  and  Passion"  cannon. 

Museums  and  men's  shops  have  taken  a 
tip  from  the  period  color  of  the  UA  release 


and  displayed  or  lent  ihc-.ilremc-n  costumes  of 
the  Napoleonic  era.  Flower  shops  hint- 
plugged  the  picture  w  ith  "Pride  and  Passion' 
bouquets.  A  number  of  drugstores  featured 
"Pride  and  Passion"  sundaes.  Trucks  and 
busses  have  carried  the  word  with  prepared 
bumper  strips  and  special  panel  posters.  In 
a  number  of  cities  automobile  dealers  sup- 
plied new  models  for  rolling  bally. 

Beauty  parlors  have  spotlighted  the  lilm 
with  a  "Pride  and  Passion"  hairdo,  modelled 
after  the  coiffure  worn  in  the  film  by  Sophia 

Loren.  The  patriotic  theme  of  the  M.000,  I 

spectacle-  has  triggered  participation  by  civic 
organizations  and  veterans  groups.  Public 
libraries  in  several  communities  arranged 
displays  of  books  dealing  with  the  history  of 
Spain,  combined  w  ith  scene  stills  and  posters. 


MERCHANDISING  IN  MOTION 


gets 


"Pride"  prom 
on  the  road 
nati,  Omaha  and  Mem- 
phis with  well-placarded 
buses  in  two  sizes  and 
a  damsel-toting  donkey. 


dealer  and 


pet  shop 


CIVIC  'PRIDE' 


Civil  defense  tie-up  in  New  York, 
linked  to  display  of  the  40-foot  can- 
non built  for  "Pride  and  Passion  , 
is  one  of  many  community  promo- 
tions that  earned  wide  space  ano 
support.  The  patriotic  theme  also 
keys  participation  by  veterans 
groups  and   service  organizations- 


Mm  BULLETIN  Septem 


EXPLOITATION 
S-P-E-C-l-A-L 


With  his  monumental  "The  Pride  and  the  Passion", 
Stanley  Kramer  has  delivered  the  package  that  every 
showman  looks  for — the  picture  that  has  "everything".  It 
has  size  (a  cast  of  more  than  10,000),  immense  produc- 
tion values  (made  at  a  cost  of  $4,000,000),  great  drama- 
tic and  visual  color  (stunningly  presented  in  VistaVision 
and  Technicolor)  and  a  superb  star  cast  (Cary  Grant, 
Frank  Sinatra  and  Sophia  Loren).  United  Artists  has 
pulled  out  all  the  stops  in  a  $2,000,000  pre-selling  cam- 
paign that  ranks  with  the  best  the  industry  has  ever  seen. 


Film  BULLETIN    September  16    1957        Page  21 


EXPLOITATION  SPECIAL 


Scope,  Star -Power  Stressed 
In  Whopping  'Pride'  Drive 


It  was  in  1949  that  Stanley  Kramer  made  his 
first  big  splash  on  ihe  cinema  scene  with  a  pic- 
ture called  "Champion".  He  was  acclaimed 
then,  and  with  justice,  as  the  industry's  newest 
"bright  young  man".  In  the  years  that  followed 
there  came  other  outstanding  successes,  like 
'Home  of  the  Brave",  "High  Noon",  "The 
Caine  Mutiny"  and  "Not  As  A  Stranger". 

Through  these  years  of  development,  Kramer 
established  himself  as  an  able  craftsman  with  a 
wide  variety  of  story  material.  Then,  in  1955, 
he  determined  to  turn  his  talents  and  energies 
to  what  was  for  him  a  new  kind  of  project — 
the  big  spectacle.  United  Artists  supported  this 
ambition  with  a  $4,000,000  production  budget. 
The  result  is  "The  Pride  and  the  Passion", 
which  is  rolling  up  the  greatest  grosses  of  any 
film  ever  put  into  regular  re- 
lease by  UA. 

Combining  a  sound  commer- 
cial flair  with  a  fine  artistic 
sense,  Kramer  was  careful  to 
shape  his  production  for  box- 
office  performance.  Hence  the 
high- voltage  star  trio  of  Cary 
Grant,  Frank  Sinatra  and  Sophia 
Loren.  Though  veteran  film- 
makers warned  of  the  special 
problems  of  shooting  overseas, 
Kramer  made  his  picture  in 
Spain  to  gain  the  authenticity 
and  vivid  beauty  of  actual  story 
backgrounds.  The  finished  film 
is  a  sweeping  and  stirring  dra- 
ma of  the  Spanish  people's  19th 
century  struggle  against  Napol- 
eon's invasion.  It  is  also  a  test- 
ament to  how  successfully  Kramer 
lenge  of  his  first  screen  spectacular. 

From  the  first  planning  stages,  United  Ar- 
tists recognized  the  huge  potential  of  "The 
Pride  and  the  Passion"  and  rolled  up  its  pro- 
motional sleeves  to  make  the  most  of  it.  In  a 
word,  the  campaign  is  a  beauty.  On  both  the 
national  and  local  levels,  Roger  Lewis'  ad-pub- 
licity-exploitation staff 
cause  for  real  rejoicing. 


The  ads  and  poster  art  penetratingly  empha- 
size marquee  values  with  bold  figures  of  the 
three  stars.  Stark  ad  lines  like  "The  Mightiest 
One  Is  Here!"  and  'The  Peak  of  Motion  Pic- 
ture making!"  combine  with  panoramic  back- 
ground drawings  to  stress  the  enormous  scope 
of  the  production.  Vibrant  color  gives  added 
authority  to  the  posters,  which  run  the  full 
range  from  one-  to  24-sheet. 

Though  in  some  quarters  the  pressbook  has 
apparently  fallen  victim  to  an  economy  drive, 
UA  has  turned  out  a  jumbo  exhibitor  manual 
for  the  Kramer  film,  studded  with  a  wide  va- 
riety of  ad  units  and  special  accessories.  Among 
the  latter  is  a  set  of  four  door-panel  display 
pieces,  and  flags,  banners  and  valances  for 
"prestige"  flash  out  front.  For  TV,  there  are 
page  ads  in  22  mass-circulation 
magazines,  and  display  support 
at  123,000  stores  and  sales 
locations. 


The  women's  audience  has 
been  brought  into  the  campaign 
with  Rhea  Manufacturing's 
140,000,000  in  the  United  States 
and  Canada.  It  can  be  exploited 
locally  for  additional  impact 
during  the  engagement,  and  has 
already  registered  800  pages  of 
newspaper  advertising,  full- 
telops,  slides,  spots  and  free 
featurettes.  Free  spots  and  open- 
end  interviews  have  been  pre- 
pared for  radio. 

A   national   co-op  drive  has 
been  in  operation  for  almost  a 
year,  aimed  at  an  audience  of 
$341,000  promotion  of  its  "Pride  and  Passion" 
sportswear  and  dresses.   Some  2,000,000  copies 
of  Dell's  comic  book  version  of  the  film,  one  of 
the  largest  publishing  tie-ups  ever  set,  are  alert- 
ing the  small  fry.    For  larger  fry,  Exquisite 
Form  Bra  provides  S500,000  worth  of  co-op  ad- 
vertising and  display  at  18,000  outlets.  The  Air 
Express  agency  is  spotlighting  the  UA  release 
has    given    showmen     with  magazine  ads  reaching  a  readership  of  17,- 
000,000.    The  Capitol  Records  album  of  the 


V  Affixes 

This  magazine  ad,  one  of 
scores,  will  reach  17,000,- 
000  readers.  Co-op  cam- 
paign also  features  a  fabu- 
lous 800  pages  of  news- 
paper advertising. 

met  the  chal- 


Sophia  lpR£]>r 

Stanley Kramers«.o~i,«tNi«i  n 


"The  VrxDE  and  lH£  PASSl 


STANLEY  KRAMER         *m0  ^  ■ 

soundtrack  score  keys  "Pride  and  Passion" 
salutes  at  20,000  outlets. 

To  help  exploit  these  tie-ups  and  other  facets 
of  the  local  promotion,  UA  has  expanded  its 
field  force  to  a  record  52  men,  each  thoroughly 
briefed  in  every  phase  of  the  campaign.  Among 
their  special  tools  they'll  be  carrying  a  giant 
"Pride  and  Passion"  feature  manual.  Prepared 
under  the  supervision  of  publicity  manager 
Mort  Nathanson,  it  contains  160  pages  of  in- 
dexed editorial  material  covering  31  categories 
of  stories  and  features. 


CAMPAIGN 
UNDIMINISHED! 

At  the  outset  of  United  Artists'  huge 
promotional  campaign  on  "The  Pride 
and  the  Passion",  UA  vice-president 
Max  Youngstein  pledged  that  the  drive 
to  keep  the  big  Stanley  Kramer  spec- 
tacle percolating  would  not  be  dimin- 
ished throughout  its  releasing  period, 
down  through  the  subsequent  run  en- 
gagements. On  one  of  the  preceding 
pages  are  listed  the  20-odd  first-run 
engagements;  these  have  now  been 
joined  by  close  to  700  additional  the- 
atres— and  UA's  promotional  cannon 
continue  to  fire  full  blast. 


KRAMER,  CONDON  MEET  THE  PRESS 


Space  Travel  —  UA  Style 

With  a  shrewd  eye  focused  on  want-to-see,  UA 
laid  out  a  two-ply  tour  program  for  producer-director 
Kramer  and  promotion  specialist  Dick  Condon  that 
hit  53  cities,  covered  23,000  miles  and  earned  a 
great  harvest  of  newspaper  space.  The  Condon 
jaunt,  a  two-month  marathon  affair  unlike  anything 
ever  tried  before,  involved  meetings  with  editors,  TV- 
radio  officials,  merchandising  executives  and  exhibi- 
tors, who  saw  hard-selling  featurettes  filmed  during 
location  work  in  Spain.  To  get  maximum  mileage 
out  of  Kramer's  swing,  groups  of  newsmen  were 
flown  in  from  a  number  of  cities  in  each  region. 


Page  22       Film  BULLETIN    September  16,  1957 


ARTFUL 
SELLING 


That  M-G-M  is 
reaching  into  the  top 
drawer  for  promo- 
tion materia  I  on 
"Raintree  County", 
which  premieres 
Oct.  2  in  Louisville, 
is  evidenced  by  the 
assignment  of  seven 
of  America's  most 
famous  artists  to  de- 
velop illustrations  to 
be  used  in  the  cam- 
paign on  the  upcom- 
ing spectacular.  The 
artists  chosen  by  vice  president  Howard  Dietz  are:  Walter 
Baumhofer,  Robert  Patterson,  Wallace  Bassford,  Symeon 
Shimin,  Armand  Seguso,  John  Groth  and  Steele  Savage. 
Their  handiwork  will  be  utilized  by  Metro  for  posters,  lobby 


displays  and  other  facets  of  the  overall  campaign.  There 
can  be  no  question  that  the  superb  illustrations  prepared 
by  this  group  will  endow  "Raintree"  with  a  top  quality 
look  that  will  impress. 


Film  BULLETIN    September  16.  1957        P=ge  22 


Goodman  Promises  Aggressive 
Pre-Sell  on  All  20th-Fox  Films 

20th  Century-Fox  will  use  every  weapon  in 
its  promotional  arsenal  to  pre-sell  its  attractions 
to  the  public,  advertising  director  Abe  Good- 
man declared  at  a  Kansas  City  conclave  of  Fox 
Midwest  theatremen.  Representing  vice  presi- 
dent Charles  Einfeld,  Goodman  told  the  conven- 
tion gathering  that  "aggressive  selling"  will  be 
the  keystone  of  20th's  merchandising  policy, 
both  on  a  local  and  national  level. 

"The  future  is  assured  if  both  distributors 
and  exhibitors  collectively  roll  up  their  sleeves 
and  do  the  kind  of  merchandising  job  which 
has  characterized  our  industry  since  the  earliest 
days  of  motion  pictures,"  he  asserted,  asking  the 
assemblage  to  submit  their  promotional  brain- 
storms and  ideas.  "Only  if  we  work  together 
can  we  insure  the  maximum  boxoffice  return  on 
each  attraction." 


GOODMAN 

Not  missing  a  stop  on  his  company's  train  of 
coming  attractions,  the  20th  Century  ad  execu- 
tive told  the  KC  theatremen:  "20th  today  is  a 
modern  jet-streamlined  operation  with  a  flexible 
big-time  new  look.  We  produce  pictures  simul- 
taneously in  every  part  of  the  world.  We  can 
at  the  same  itme  be  in  Spain  for  'The  Sun  Also 
Rises,'  in  the  mountains  of  Italy  for  'A  Fare- 
well to  Arms,'  in  Georgia  for  'Three  Faces  of 
Eve,'  in  Barbados  for  'Island  in  the  Sun,'  in 
Maine  for  'Peyton  Place,'  in  Kentucky  for  'April 
Love,'  in  Germnay  and  France  for  'The  Young 
Lions,'  in  Lapland  and  South  Africa  for  Deluxe 
Tour'  and  in  Hawaii  for  'South  Pacific'." 

Elmer  C.  Rhoden,  president  of  National  The- 
atres, also  told  the  convention  gathering  that 
theatregoers  will  find  plenty  of  first-rate  "big" 
pictures  on  a  wide  variety  of  subjects  offered 
in  future  months. 

Promotional  Nude 

Columbia  is  using  a  nude  to  make  news. 
Sculptor  Sepy  Dobronyi's  statuette  of  "The 
Golden  Virgin"  has  been  purchased  by  the 
film  company  to  plug  the  picture  of  the  same 
name.  The  20-inch  gold  nude  will  be  used 
as  in  the  advertising  and  promotion  cam- 
paign for  the  Joan  Crawford-Rossano  Brazzi 
starrer,  an  English-made  production. 


■  [ 


At  the  joint  press  conference  announcing  the  new  sponsor  policy  for  the  AA  telecast,  I.  to  r. 
George  Seaton,  Eric  Johnston  and  Paul  N.  Lazarus,  Jr. 

No-Commercial  'Oscar'  Sponorship 
To  Garner  Public  Relations  Bonanza 


Sponsorship  of  the  "Oscar"  show  by  the  mo- 
tion picture  industry,  announced  last  week,  is 
expected  to  garner  a  public  relations  bonanza 
for  the  industry.  As  outlined  by  George  Seaton, 
president  of  the  Academy  of  Motion  Picture 
Arts  and  Sciences,  industry  sponsorship  of  the 
March  spectacular  will  put  the  show  on  a  pub- 
lic service  program  basis  thus  eliminating  com- 
mercial interruptions  and,  also,  make  it  possi- 
ble to  obtain  talent  and  personalities  not  pre- 
viously available  to  the  show.  In  previous 
years,  personalities  appearing  on  shows  in  com- 
petition with  Oldsmobile,  the  sponsor,  were 
unable  to  appear  on  the  Awards  show. 

Although  there  will  be  no  industry  commer- 
cials as  such,  the  institutional  benefits  that  will 
accrue  to  the  industry  are  many.  One  of  the 
major  benefits  envisioned  by  Seaton  is  the  ex- 
pansion of  the  television  and  radio  audiences. 
An  estimated  56  million  viewers  saw  the  pro- 
gram last  year,  a  figure  that  is  expected  to  be 
exceeded  by  a  significant  amount  in  1958. 

Paul  N.  Lazarus,  Jr.  MPAA's  advertising  and 
publicity  director's  committee,  in  a  statement  at 

Stellings  Blasts  Waste  in 
Useless  Ad-Billing  Practices 

TOA  president  Ernest  G.  Stellings  let- 
loose  a  barbed  blast  at  the  present  practice 
of  advertising  billings.  Terming  "the  mul- 
tiple mention  of  names  and  the  overplay  of 
unessential  talent  information"  a  needless 
expense  that  costs  theatres  and  distributors 
millions  of  wasted  dollars,  he  declared  that 
the  problem  would  be  brought  to  the  No- 
vember TOA   convention   in   Miami,  Florida. 

Said  Stellings:  "I  expect  to  present  to  our 
members  at  the  national  convention  a  lot  of 
horrible  examples  of  this  multi-million  dol- 
lar waste  in  advertising.  We  cannot  tell  the 
producers  how  to  solve  this  mess,  but  we 
can  refuse  to  share  in  the  cost  of  useless, 
even  harmful  advertising.  There  should  be 
nothing  in  a  movie  ad  which  does  not  tend 
toward  the  sale  of  tickets.  The  advertising 
of  no  other  business  is  afflicted  with  this 
utterly  fantastic  disregard  of  common-sense 
merchandising." 

Support  for  Stellings'  stand  is  generally 
strong  in  all  segments  of  exhibition. 


the  joint  press  conference  also  attended  by 
MPAA  president  Eric  Johnston,  announced  that 
he  was  pleased  with  the  new  policy  of  industry 
sponsorship  and  the  manner  in  which  the  pro- 
gram complements  the  aims  of  the  general  busi- 
ness building  campaign.  Lazarus  subsequently 
called  on  Roger  H.  Lewis  and  Jerry  Pickman 
to  serve  as  co-chairman  of  a  subcommittee  to 
implement  the  Academy  Awards  program. 

Particulars  of  the  format  for  the  industry- 
sponsored  telecast  will  be  ironed  out  by  Seaton 
and  his  associates,  co-operating  with  the  MPAA 
advertising  publicity  committee.  It  is  expected 
that  there  will  be  a  considerable  number  of 
revises  in  this  year's  "spectacular"  with  more 
emphasis  on  talent  than  a  mere  parade  of 
names.  A  tentative  finance  plans  calls  for  all 
individual  and  companys  who  participate  in 
film  rental  profit  to  pay  1  of  l/4  of  the  domestic 
rental  to  underwrite  the  show. 

Other  business-building  projects  taken  up  at 
the  MPAA  conference  include:  (1)  development 
of  a  motion  picture  museum,  (2)  establishment 
of  an  international  film  festival,  (3)  the  intro- 
duction of  new  publications  about  the  industry- 
keyed  to  educators,  critics,  etc.  and  (4)  sponsor- 
ship of  a  cooperative  educational  program 
aimed  at  raising  technical  standards  of  film  pro- 
duction by  educating  talented  newcomers. 


STELLINGS 


Page  24       Film  BULLETIN    September  14.  1957  jfT 


Lyday  Boosts  Downtown 
Business  with  New-Style  Debut 

Credit  Paul  Lyday,  manager  of  the  Denver 
Theatre  in  the  Mile  High  City  with  devising  a 
fresh  approach  to  the  staging  of  movie  pre- 
mieres. For  Columbia's  "3:10  to  Yuma"  the 
NT  manager  threw  all  the  old  rules  out  the 
window  in  a  premiere  effort  tabbed  "Opera- 
tion Downtown". 

Calling  together  civic  officials,  retail  mer- 
chants and  the  downtown  Denver  improvement 
association,  he  proposed  that  they  utilize  the 
"Yuma"  debut  as  an  instrument  to  help  revital- 
ize the  downtown  area. 

By  staging  a  noontime  parade,  the  first  in 
Denver's  history,  an  estimated  throng  of  100,- 
000  mobbed  streets  and  stores.  As  an  added 
boost  the  premiere  was  held  in  the  afternoon 

With  nine  key  personalities  in  town  for  the 
gala  festivities,  among  them  Glenn  Ford,  Van 
Heflin  and  Felicia  Farr,  Lyday  made  business- 
building  presents  of  the  stars  for  personal  ap- 
pearances at  stores.  Needless  to  say,  the  results 
were  overwhelming.  People  came  to  the  retail 
outlets  to  see  the  stars  and — they  bought  mer- 
chandise. 

This  new  plan  for  premieres,  considering 
merchants  as  an  intregal  part  of  the  promotion, 
can  pay  high  dividends.  By  giving  retailers  a 
crack  at  increased  traffic,  it  helps  promote  busi- 
ness and,  above  all,  it  points  out  the  importance 
of  the  theatre  as  a  community  asset. 


Colding  Gets  New  Post 

David  Golding  has  been  named  public  rela- 
tions coordinator  for  Paramount's  "Desire 
Under  the  Elms",  it  was  announced  by  vice 
president  Jerry  Pickman.  He  had  previously 
been  vice  president  in  charge  of  advertising 
and  publicity  for  Hecht-Hill-Lancaster.  Gold- 
ings'  appointment  is  keyed  to  the  development 
of  a  special  world-wide  campaign  being 
planned  for  the  Don  Hartman  production. 


20th  Merchandises  Books 
To  Pre-Sell  Upcoming  Releases 

Merchandise  the  book  to  sell  the  motion  pic- 
ture. 20th  Century-Fox,  always  ready  to  take 
advantage  of  every  available  sales  tool,  is  utiliz- 
ing special  editions  and  adaptations  of  best- 
selling  novels  as  part-and-parcel  of  pre-selling 
campaigns  to  sell  the  filmization  of  the  book 
while  the  novel  is  still  red-hot  and  on  best- 
seller lists. 

An  advance  sale  of  over  1,500,000  copies 
of  a  fifty-cent  paperback  edition  of  "Peyton 
Place",  the  largest  advance  sale  in  paperback 
history  has  been  reported  by  Dell  Books.  The 
Grace  Metal ious  novel  is  scheduled  to  be  re- 
leased September  24  to  vitalize  the  pre-sell 
drive  for  the  Jerry  Wald  CinemaScope-DeLuxe 
Color  picturization  of  the  controversial  book. 
By  releasing  the  paperback,  a  full  three  months 
before  the  film's  debut,  Dell  and  20th-Fox  fully 
expect  to  pre-sell  their  respective  products  via 
extensive  newspaper,  radio,  television  and  na- 
tional magazine  promotions.  On  the  point-of- 
purchase  front,  window  cards,  posters,  counter 
standees,  etc.  will  be  used  by  retail  outlets  to 
push  the  book — and  the  movie.  Additional  ex- 
amples of  this  progressive  sales  concept  are 
20th  adaptions  of  "No  Down  Payment",  "Stop- 
over Tokyo',  and  "The  Enemy  Below".  As  part 
of  the  campaign  for  "NDP"  Simon  and  Shuster, 
publishers  of  the  John  McPartland  novel,  have 
scheduled  newspaper  ads  in  more  than  200  key 
market  areas. 

UA  Sells  'Satchmo'  Via 
Radio  Stations  and  Music  Shops 

United  Artists  is  latching  on  to  radio  stations 
and  music  dealers  to  sell  "Satchmo  the  Great", 
filmization  of  trumpeter  Louis  Armstrong's 
recent  four-continent  jazz  journey.  Platter  spin- 
ners on  463  radio  stations  and  13,000  music 
and  record  dealers  have  notified  Roger  H. 
Lewis,  UA  national  director  of  advertising, 
publicity  and  exploitation  that  they  will  feature 
special  programming  and  displays  of  Armstrong 
records  in  a  musical  "Salute  to  Satchmo". 

Kicking  off  the  musical  salute  will  be  disc 
jockey  Art  Ford  of  New  York  City's  WNEW 
on  his  "Make  Believe  Ballroom"  program.  The 
program  pattern  will  spotlight  the  jazz  classics 
made  famous  by  "Satchelmouth"  during  the 
past  35  years,  plus  the  tunes  featured  in  the 
Edward  R.  Murrow-Fred  Friendly  production. 

UA  exploiteers  have  set  a  variety  of  mer- 
chandising aids  to  back  the  film.  They  include 
window  and  counter  displays  of  Armstrong 
albums  and  records,  streamers,  counter  cards 
and  posters.  Additionally,  plans  are  now  under- 
way to  bring  out  a  "Satchmo  the  Great"  album 
to  coincide  with  the  film's  October  release  date. 

4  Drumbeating  her  own  Russ-Field  production, 
"The  Fuzzy  Pink  Nightgown,"  Jane  Russell  stops 
off  in  Philadelphia,  (top)  helps  launch  the 
local  Police  Athletic  League  drive.  Bottom:  re- 
laxing with  William  Goldman  Theatres  execu- 
tives (left  to  right)  George  Beat  tie,  Miss  Rus- 
sell, Schuyler  Beattie  and  Ted  Vanett. 


■V.  Ill  I  Ml  II  ■  fn 
What  better  way  to  sell  "Pajama  Game"  than 
with  pajama-clad  people  attracting  gobs  of 
attention?  Top:  Pajamacuties  strut  their  stuff 
in  center  city  Philly  for  the  opening  of  the 
Warner  Bros,  release  at  the  Mastbaum  Theatre. 
Center:  Outfitted  in  Weldon  p.  j.'s  the  entire 
staff  of  the  Strand  Theatre  in  Wildwood,  New 
Jersey  gets  into  the  ballyhoo  act.  The  group 
paraded  before  local  opening  complete  with 
signs  and  banners.  Bottom:  WB  publiciteers 
rally  round  Myer  Hutner,  national  publicity 
manager,  (seated,  left)  and  Weldon  president 
Joseph  Smith   (seated,  right)  at  N.  Y.  office. 

Miss  Taka  Talks  About 
'Sayonara'  in  24-hr.  'Taka-thon' 

Miss  Taka  held  a  "Taka-thon".  Marlon 
Brando's  leading  lady  in  Warner  Bros."  Techni- 
color-Technirama  production  of  "Sayonara", 
Japanese  actress  Miiko  Taka,  spread  the  good 
word  abou'  the  film  to  some  200  newspaper, 
magazine,  radio  and  television  correspondents 
in  a  24-hour  marathon  of  telephone  and  per- 
sonal inter\iews. 

Participating  in  the  event  at  the  WB  studios 
in  Burbank,  California  were  85  local  corres- 
pondents, 38  press  service  writers,  42  foreign 
press  correspondents  who  cover  the  celluloid 
capitol,  36  TV-radio  representatives  and  a  batch 
of  syndicated  columnists. 

Beginning  at  noon  on  September  11,  the  talk- 
ative Miss  Taka  talked  to  all  these  interviewers 
plus  trans-Atlantic  telephone  chats  with  fourth- 
estaters  in  Rome,  London,  Paris,  Tokyo,  Rio 
de  Janeiro,  Bombay  and  Sydney. 

Potential  audience  represented  by  the  publi- 
cations and  communications  outlets  participat- 
ing in  the  interviews  is  estimated  by  Warner 
ballymen  to  be  an  astronomical  400,000,000 
people  throughout  the  world.  Supplementing 
the  "Taka-thon"  the  film  company  is  distribut- 
ing complete  photographic  coverage  of  the 
event  on  a  round-the-world  basis. 

The  Nipponese  beauty  is  scheduled  to  leave 
soon  on  a  cover-the-nation  p. a.  tour  to  bally 
the  William  Goetz  production. 


Film  BULLETIN    September  U    1957        Page  25 


EXPLOITATION  PICTURE 


'Eve'  Is  a  Naughty  Girl — 
But  Awfully  Good  Boxoffice! 


A  brilliant,  exciting  new  star;  an  off-beat 
adult  drama;  a  fascinating,  true  film  venture 
into  the  triple-faceted  mind — and  body — of  a 
young  woman!  Hitch  your  exploitation  wagon 
to  any  of  these  angles  in  promoting  "The  Three 
Faces  of  Eve".  They're  all  front  runners,  and 
every  one  of  them  backed  by  cinematic  fact. 
Backed,  too,  by  a  20th  Century-Fox  campaign 
that  is  wisely  gearing  audiences  for  a  word- 
of-mouth  buildup  that  manufactures  and  main- 
tains interest  and  anticipation. 

Working  hand-in-hand  with  the  publishers 
and  authors  from  the  inception  of  the  thrilling 
best-selling  unique  case  study  set  down  by  two 
Georgia  Medical  College  psychiatrists,  20th 
producer  Nunnally  Johnson  summoned  ace 
scripter  Nunnally  Johnson  to  do  the  compell- 
ing screenplay,  entrusted  the  directorial  chore 
to  accomplished  Nunnally  Johnson,  and  con- 
ducted an  intensive  search  for  the  principal 
character.  It  had  to  be  a  most  unusual,  capable 
female,  since  the  demands  of  the  role  were  pro- 
digious and  had  to  be  exquisitely  performed 
lest  the  whole  delicate  and  intricate  structure 
of  the  story  be  destroyed  by  a  false  note  in  the 
portrayal.  His  selection  was  a  slim,  blonde  new- 
comer, Joanne  Woodward.  Her  performance 
has  led  to  the  prediction  that  she  will  receive 
three  Oscars — one  for  each  of  "The  Three  Faces 
of  Eve." 

The  books  release  and  the  film's  drumbeating 
were  kicked  off  simultaneously  early  this  year. 
When  the  first  printing  was  sold  out  before 
publication  day,  Life  latched  on  to  the  book's 
popularity,  devoted  a  big  spread  to  Miss  Wood- 
ward in  the  film,  then  still  in  production.  Time 
devoted  its  Medical  Section  to  the  story  of  the 


A  moment  ago  she  was  the  nicest 

A  moment  from  now  she  will  be 
anybody's  pick-up! 
Enacted  by  the  most  sensational 
star-discovery  of  our  generation  - 
Joanne  Woodward. 


authors  and  their  study  of  a  woman  inhibited 
by  three  separate  and  distinct  personalities. 

The  keen  interest  in  the  unusual  story  and 
the  results  achieved  by  Johnson  in  his  film 
prompted  20th  president  Spyros  Skouras  to 
shoot  the  production  into  top  priority  for  a 
sales  and  promotion  campaign,  classifying  its 
boxoffice  potential  with  that  of  "The  Snake  Pit" 
and  "Gentleman's  Agreement."  Vice  president 
Charles  Einfeld  has  nurtured  it  with  a  pre- 
selltng  effort  that  has  an  exceptionally  wide 
audience  eager  for  its  release,  timed  to  take 
maximum  advantage  of  the  national  buildup  via 
magazines,  newspapers,  radio  and  television. 

Where  warranted,  the  use  of  the  "No  one 
seated  during  the  sensational  ending!"  gimmick 
has  always  been  effective.  Since  "The  Three 
Faces  of  Eve"  is  worthy  of  this  tag,  it  has  been 
made  a  policy  of  the  showings  and  receives 
featured  attention  in  all  of  the  large  selection 
of  ads  designed  by  ad  chief  Abe  Goodman. 
Their  prime  theme  is  captured  in  the  catchline: 
"The  Strangest  True  Experience  a  Young  Girl 
in  Love  Ever  Lived!",  coupled  with  a  spotlight 
on  Miss  Woodward  as  "The  Most  Sensational 
Star  Discovery  of  Our  Generation!" 

The  series  of  four  teaser  ads  shown  -W- 
below  are  virtually  a  campaign  in  themselves. 
Performing  their  teaser  function  with  admirable 
provocativeness,  they  manage  to  inject  enough 
of  the  story  content  in  various  phases  to  grab 
the  reader  by  the  lapels  and  compel  his  inter- 
est. They  brim  with  catchlines,  any  of  which 
could  be  blown  up  to  capture  attention  of  both 
male  and  female.  Study  them  for  extra  angles; 
use  them  intact  for  sock  advance  placement. 


The  Three  Faces'  Story 

In  1953,  Drs.  Corbett  H.  Thigpen 
and  Hervey  M.  Cleckley,  psychia- 
trists attached  to  the  Georgia  Medi- 
cal College,  presented  a  case  study 
to  a  meeting  of  the  American  Psy- 
chiatric Association  that  captured 
headlines.  It  documented  a  unique 
schizophrenia  in  which  a  woman  re- 
vealed three  widely  divergent  per- 
sonalities, each  a  complete  human 
being  aware  of  the  others.  One  was 
Eve  White,  a  drab  little  housewife 
unhappily  maladjusted  to  a  shallow 
husband,  devoted  to  her  five-year- 
old  child.  The  second  is  Eve  Black, 
sexy,  provocative,  mischievous,  wan- 
ton, with  a  fierce  hatred  of  the  other 
Eve.  The  psychiatrists  enter  the  pic- 
ture when  Eve  Black  attempts  to 
strangle  the  child  and  learn  of  the 
multiple  personality.  Under  observa- 
tion, she  changes  from  White  to 
Black  several  times,  including  a  se- 
duction of  her  husband  in  a  motel 
and  wild  carousels  in  a  cheap  night- 
club as  the  wanton  Eve  takes  over. 
The  third  facet  makes  itself  known 
when  Eve  White  feels  she  is  going  to 
die  and  attempts  suicide.  The  new 
personality,  an  intelligent,  mature, 
well-balanced  woman,  calls  herself 
Jane,  is  aware  of  the  two  Eves,  but 
has  no  memory  of  the  past.  With  pa- 
tient probling,  the  psychiatrists  learn 
the  causes  of  the  multiple  personali- 
ties, free  "Jane"  from  two  "Eves". 


He  had  never  seen  his  wife  dancing 
in  the  light  dress  with  the  soldier 
in  the  gin  mill.  He  had  never  known 
■  like  this  in  a  motel  with 
him,  her  own  husband. 
Here  is  the  strangest  true  expenence  i 
young  girl  in  love  ever  lived. 

TZre 
/'ace* 

or 

Eve 


She  walked  into  the  doctor's  office  shy. 

stumbling,  scared. 

Suddenly  and  without  warning  she 


TAe 
Tftree 
Faces 
Of 
Eve 


Her  husband  knew  her  tis  a  girl  * 
was  almust  "too  good"! 
The  crowd  at  the  gin  joint  knew  i 
as  a  flirt  who  almost  wouldn't  be 
"bad  enough"! 

Here  is  the  strangest  true  expene. 
a  young  girl  in  love  ever  lived. 


Page  26       Film  BULLETIN    September  16,  1957 


EXPLOITATION 
PICTURE 

of  the  issue 


3- 


1/ 


Faces 


Of  Eve 


Film  BULLETIN     September  14.  1957        Page  27 


WILE 


ROBERT  A.  WILE,  former  executive  secre- 
tary of  the  Independent  Theatre  Owners  of 
Ohio,  has  assumed  the  post  of  director  of  ex- 
hibitor relations  for  20th  Century-Fox.  As 
outlined  by  general  sales  manager  Alex  Har- 
rison, Wile's  duties  in  the  newly  created 
post  will  be  to  develop  a  "closer  working 
relationship"  between  exhibitors  and  20th- 
Fox  and  to  help  solve  the  individual  prob- 
lems of  exhibitor  customers.  Wile  entered 
the  motion  picture  industry  in  1930,  work- 
ing as  a  publicist  for  Columbia  and  RKO 
Theatres.  Prior  to  joining  ITO  of  Ohio  he 
was  with  Universal  Pictures  for  10  years  in 
various  advertising,  publicity  posts.  He  has 
also  been  associated  with  several  trade  papers. 
0 

'OSCAR'  is  going  to  get  a  new  sponsor,  the 
right  one.  In  a  joint  announcement,  George 
Seaton,  president  of  the  Academy  of  Motion 
Picture  Arts  and  Sciences,  and  MPAA  presi- 
dent Eric  Johnston  disclosed  that  the  1958 
telecast  of  the  Academy  Awards  show  will 
have  the  tab  picked  up  by  the  motion  pic- 
ture industry  instead  of  a  commercial  spon- 
sor. Last  year's  sponsor  was  the  Oldsmobile 
division  of  General  Motors.  Major  portion 
of  the  costs  will  be  shouldered  by  all  com- 
panies participating  in  the  gross  domestic 
rentals  of  films.  It  is  expected  that  each  of 
these  organiaztions  will  contribute  a  fraction 
of  their  rentals  to  stage  the  telecast  and  pay 
for  air  time.  Total  cost  of  the  show  may 
run  as  high  as  $800,000.  Seaton  revealed 
that  exhibitor  leaders  had  not  been  contacted 
about  the  move  and  that  they  would  be  con- 
sulted "in  the  future,  not  this  year".  He 
pointed  out  that  the  telecast  of  the  AA  by 
the  industry  would  put  it  in  the  status  of  "a 
public  service  program"  that  would  result  in 
a  strengthened  presentation  with  expanded 
viewership. 

O 

LOEWS  special  stockholders  meeting  last 
week  lasted  for  only  four  minutes,  but  it 
was  long  enough  for  company  secretary  Irv- 
ing Greenfield  to  announce  that  the  manage- 
ment group,  headed  by  president  Joseph  R. 
Vogel,  had  "submitted  proxies  for  2,746,000 
shares,  being  51%  of  the  total  stock  out- 
standing". October  15  was  set  as  the  date 
for  the  next  shareholders  meeting.  The  third 


THEY 

MADE  THE  NEWS 

quarter  dividend,  normally  declared  about 
this  time,  has  been  delayed  because  of  un- 
settled company  conditions.  Questions  still 
waiting  to  be  decided  by  Chancellor  Seitz 
of  the  Delaware  Court  of  Chancery:  (1) 
the  validity  of  the  October  15  meeting.  (2) 
final  action  on  the  temporary  restraining 
order  prohibiting  management  from  spend- 
ing company  funds  for  a  proxy  fight.  Mean- 
while, Vogel  announced  that  Loew's  pre- 
1948  film  package  has  been  sold  to  TV  sta- 
tions in  four  more  cities  for  a  total 
53,050,000. 

O 

THE  MIRISCH  BROTHERS— Harold,  Wal- 
ter and  Marvin — recently  of  Allied  Artists, 
signed  a  distribution  deal  with  United  Ar- 
tists to  deliver  a  minimum  of  12  films.  Al- 
ready under  contract  to  the  new  organiza- 
tion are  producer-director  Billy  Wilder  and 
stars  Gary  Cooper,  Tony  Curtis,  Doris  Day, 
Audrey  Hepburn,  Joel  McCrea,  Audie  Mur- 
phy and  Lana  Turner,  UA  happily  an- 
nounced. First  production  undertaken  by  the 
Mirisch  Company,  Inc.,  "Man  Out  of  the 
West"  (Cooper),  will  be  launched  on  No- 
vember 15.  Said  Harold  Mirisch,  president 
of  the  new  company:  "In  launching  our  new 


Celebrating  the  formation  of  the  Mirisch  Company 
at  a  cocktail  party  hosted  by  United  Artists.  UA 
president  Arthur  Krim,  Walter  Mirisch,  Harold 
Mirisch,  Marvin  Mirisch  and  UA  board  chairman 
Robert  S.  Benjamin. 


operation,  my  brothers  and  I  are  expressing, 
in  the  most  concrete  possible  way,  our  con- 
viction that  opportunities  are  still  unlimited 
in  the  motion  picture  industry.  We  have 
aligned  ourselves  with  United  Artists  be- 
cause of  that  organization's  splendid  record 
of  accomplishment  in  the  promotion  and  dis- 
tribution of  fine  product  .  .  ." 

O 

MURRAY  SILVERSTONE,  president  of  20th 
Century-Fox  International  Corp.,  declared 
that  abroad,  too,  the  motion  picture  indus- 
try's salvation  today  lies  in  top  pictures  get- 
ting long  runs.  "Only  big  pictures  can  com- 
bat the  inroads  of  British  television"  and 
only  long-run  films  of  topnotch  calibre  can 
capitalize  on  the  national  publicity  and  ad- 
vertising in  the  nationally  circulated  London 


YATES 


dailies.  Silverstone  estimated  that  only  30 
to  50  per  cent  of  the  English  population 
goes  to  the  movies  regularly  as  compared  to 
60  to  70  per  cent  in  the  pre-TV  days.  Back 
from  a  3-month  tour  of  Europe,  he  reported 
that  of  the  approximately  39,000  theatres 
are  operating  abroad  today  29,000  have  Cine- 
maScope  equipment.  Silverstone  expects 
20th's  foreign  gross  for  1957  to  hit  $57,000,- 
000  and  account  for  one-half  of  the  com- 
pany's total  business.  He  ventured  a  predic- 
tion that  '58  business  will  be  even  better  be- 
cause of  "better  pictures".  Starting  with  "A 
Farewell  to  Arms"  at  Xmas,  Silverstone  re- 
vealed that  his  organization  will  break  the 
established  London  distribution  pattern  by 
choosing  "12-15  top  theatres  from  every 
component  part  of  London  and  will  play  the 
picture  day-and-date  with  the  West  End 
(downtown)  houses  for  as  long  as  it  will 
run."  He  expressed  hope  that  other  distri- 
butors will  follow  20th's  lead  in  an  effort  to 
force  smaller  films  "to  find  their  own  level". 

0 

HERBERT  J.  YATES  issued  a  denial  that 
he  was  selling  control  of  Republic  Pictures, 
but  the  rumors  would  not  be  squelched.  In 
his  statement,  the  Republic  president  said: 
"I  have  lived  through  rumors  before  and  re- 
gardless of  these  rumors  I  have  no  intention 
of  retiring  ...  I  intend  to  continue  in  this 
industry."  The  rumored  deal  calls  for  a  syn- 
dicate headed  by  Joseph  D.  Blau  and  Joseph 
Harris  to  buy  out  the  Republic  president  for 
a  reported  $5,000,000  with  the  deal  to  be 
closed  within  the  next  week  or  so.  In  any 
event,  Yates  announced  that  Republic  pic- 
tures is  moving  ahead  to  satisfy  the  steadily 
increasing  "public  demand  for  motion  pic- 
ture entertainment.  To  prove  his  statement, 
he  declared:  1)  Approximately  50  motion 
pictures  have  been  acquired  for  distribution 
from  independent  producers  and  companies, 
to  be  released  at  a  rate  of  four  to  six  films 
each  month.  2)  Republic  is  completing  a 
$1,500,000  building  program  of  three  new 
sound  stages  and  twenty-seven  cutting  rooms. 
3)  As  soon  as  the  company  gets  the  "ok" 
sign  from  the  Los  Angeles  zoning  commis- 
sion, it  will  spend  some  $5,000,000  to  de- 
velop 35  acres  of  land  for  increased  motion 
picture  production. 


Page  28       Film  BULLETIN    September  16  1957 


HEADLINERS . . . 


THEY 

MADE  THE  NEWS 


DAFF 


ALFRED  E.  DAFF,  Universal-International 
executive  vice  president,  says  his  company 
is  putting  the  accent  on  youth  in  its  quest 
to  develop  new  stellar  personalities.  "There's 
no  use  in  developing  young  people  by  giv- 
ing them  bits  in  mediocre  pictures,"  he 
told  a  press  conference,  citing  U  Is  decision 
to  star  two  youghtful  newcomers,  John 
Gavin  and  Lisa  Pulver,  in  one  of  L'niversal's 
most  ambitious  and  expensive  productions, 
"There's  a  Time  to  Love".  "We're  casting 
these  youngsters,  with  the  accent  on  youth, 
in  important  roles.  We  have  to  take  the 
initiative  and  make  the  investment  in  hopes 
that  the  press  and  exhibitors  will  get  behind 
positive  moves  like  these  and  push  their 
acceptance."  To  introduce  new  stars  to  the 
public  and  to  exhibitors  Universal  will  show 
screen  tests  of  the  youngsters  in  an  effort 
to  pre-sell  them.  Another  Daff  statement: 
"I  don't  think  there  are  any  big  stars  today 
— there  are  big  pictures  in  which  there  are 
important  stars." 

o 

SPYROS  P.  SKOURAS  and  BUDDY 
ADLER,  joined  voices  in  a  song  of  optimism 
about  20th  Century-Fox's  product  prospects 
for  1958.  They  announced  that  37  features 
have  been  set  for  the  '58  program.  The 
future  productions,  based  mostly  on  Broad- 
way hits  and  best-selling  novels,  were  out- 
lined in  an  exchange  of  letters  between  20th 
Century-Fox's  president  and  its  production 
chief.  The  schedule  includes  three  Darryl 
F.  Zanuck  productions,  two  films  by  David 
O.  Selznick,  four  by  Jerry  Wald,  four  from 
Samuel  G.  Engel  and  24  to  be  made  under 
the  supervision  of  Adler.  Of  these  attrac- 
tions, thirty-five  will  be  in  CinemaScope, 
with  one  each  in  'Scope  55  and  Todd-AO. 
Commenting  on  this  ambitious  program, 
Skouras  declared,  "This  is  the  only  way  we 
can  help  the  exhibitor  in  his  need  for  good 
pictures  ...  I  consider  this  the  most  im- 


portant statement  from  our  company  this 
year  and  I  am  requesting  that  your  letter 
be  reproduced  as  an  announcement  .  . 

0 

BARNF1  BALABAN  announced  that  Para- 
mount Pictures  will  sell  its  motion  pictures 
to  any  money-making  toll-television  system. 
Speaking  at  the  recent  International  Tele- 
meter demonstrations  in  New  York  City,  the 
Paramount  president  declared:  "We  can't 
hope  to  restore  the  economy  we  need  unless 
we  can  reach  people  in  their  homes.  We 
have  been  searching  for  a  means  of  reaching 
that  audience  and  it  seems  to  us  that  Tele- 
meter is  that  answer."  In  another  develop- 
ment, Balaban  announced  the  election  of 
Louis  A.  Novins  as  Telemeter's  new  presi- 
dent. Novins  was  formerly  vice  president  of 
Paramount's  toll-TV  subsidiary.  Novins  re- 
ported that  the  Telemeter  demonstrations 
held  in  New  York  for  the  past  few  weeks 
have  resulted  in  some  seventy-five  to  one 
hundred  applications  for  franchises.  So  far, 
only  two  Telemeter  franchises  have  been 
awarded — one  to  Famous  Players  Canadian 
Corp.,  a  Canadian  theatre  circuit  in  which 
Paramount  holds  controlling  interest,  and 
the  other  to  a  newly  formed  Los  Angeles 
corporation  owned  jointly  by  Fox  West 
Coast  Theatres  and  Telemeter.  Novins 
pointed  out  that  Paramount  will  not  partici- 
pate in  the  operation  or  financing  of  fran- 
chises. He  also  reported  that  the  National 
Baseball  League  was  interested  in  setting-up 
pay-as-you-see  telecasts  of  their  games.  Cir- 
cuits reported  as  negotiating  with  Telemeter 
include  Century  Theatres,  Fabian  Theatres, 
Stanley  Warner  Corp.,  and  RKO  Theatres, 
among  others. 

0 

LEO  F.  SAMUELS,  Buena  Vista  general 
sales  manager,  announced  that  Walt  Disney's 
releasing  subsidiary  will  release  15  feature 
films  during  the  next  year  and  a  half.  Speak- 
ing at  the  firm's  second  international  sales 
conference  held  at  the  Disney  studios,  he 
told  the  assemblage  that  '58  will  be  BV's 
best  year.  "In  four  years  our  company  has 
become  an  increasingly  important  source  of 
quality  product  .  .  .  Now,  we  are  in  a 
position  to  offer  the  public  and  our  exhibi- 
tors quantity  as  well  as  quality.  Our  out- 
standing schedule  for  the  next  year  and  a 
half  w  ill  fill  a  great  variety  of  theatre  needs, 
and  will  fill  them  in  a  manner  that  will 
stimulate  boxoffice  throughout  the  country," 
Samuels  said. 

o 

MIKE  J.  FRANKOVICH,  Columbia's  man- 
aging director  in  the  L'nited  Kingdom,  re- 
ported that  his  company  will  invest  SI  6,800,- 
000  in  British  productions.  He  made  the 
rather  startling  statement  that  he  expects 
the  earnings  from  Columbia  British  produc- 
tions to  increase  to  50  percent  of  the  com- 
pany's worldwide  gross.  At  present  it  rep- 
resents approximately  25  percent. 

0 

CHARLES  BOASBIRG,  Paramount  sales 
executive,  announced  last  week  that  the 
"Ten  Commandments"  special  release  policy 
will  be  continued  indefinitely.  Pointing  out 
that  the  Cecil  B.  DeMille  epic  has  had  only 
600  bookings  thus  far,  he  said  it  will  be  at 
least  three  or  four  years  before  the  film  is 
released  on  a  regular  basis. 


HARRIS 


JACK  P.  HARRIS  has 
been  appointed  assistant 
to  the  president  in  charge 
of  film  for  Walter  Reade, 
Inc.,  it  was  announced 
be  WALTER  READE, 
JR.  Appointment  is  effec- 
tive October  1.  Presently 
a  partner  of  WILBUR 
SNA  PER  and  IRVING 
DOLLINGER  in  Trian- 
gle Theatre  Service,  Har- 
ris will  make  his  head- 
quarters at  the  company's 
home  office  in  Oakhurst, 
New  Jersey  .  .  .  BOB 
MONTGOMERY  is 
slated  to  be  next  presi- 
dent of  the  Associated  Motion  Picture  Ad- 
vertisers, succeeding  DAVID  BADER  who 
moves  to  the  board  of  directors  .  .  .  JACK 
FRL'CHTMAN  has  announced  his  fourth 
major  Baltimore  acquisition  in  the  past  three 
years,  the  Mayfair  Theatre  .  .  .  MORTON 
A.  SPRING,  vice  president  of  Loew  s  Inter- 
national, has  appointed  SEYMOUR  R. 
MAYER  as  regional  director  for  Latin 
America  and  the  Near  and  Far  East  .  .  . 
MILTON  PLATT  joins  Continental  Distrib- 
uting as  circuit  sales  manager,  announced  bv 
president  CARL  PEPPERCORN  .  .  .  UA 
general  sales  manager  will  hold  fi\e  regional 
sales  meetings  in  September.  Sites  are  Cin- 
cinnati, Detroit,  Indianapolis,  Dallas  and 
Denver  .  .  .  CECIL  B.  DF.  MILLE  chosen  as 
honorary  chairman  for  the  l~th  annual  na- 
tional bible  week  observance  .  .  .  HAROLD 
ROSE  has  been  named  Milwaukee  branch 
manager  for  Allied  Artists,  replaces 
GEORGE  DFV1NH  .  DAVID  RAPHAEL. 
20th  Century-Fox  manager  in  Holland,  has 
been  named  assistant  to  JOHN  LEFEBRE, 
managing  director  for  Continental  Europe 
.  .  .  DCA  has  opened  a  new  branch  office 
in  New  York  City  .  .  .  COL.  RICHARD  H. 
RANGER,  president  of  Rangertone,  Inc.  of 
Newark,  N.  J.  will  be  given  the  SMPTE 
Samuel  L.  Warner  Award  during  the  groups 
October  convention  .  .  .  ROGER  CORMAN 
has  signed  with  Allied  Artists  to  deliver 
four  more  productions  in  1958  .  .  .  JAMES 
H.  NICHOLSON  and  SAMUEL  ARKOFF, 
president  and  vice  president  respectively  of 
American  International  addressed  the  Mis- 
souri-Illinois Theatre  Owners  convention 
last  week  .  .  .  JOSEPH  WOHL  has  been 
named  assistant  to  Republic  Picture  vice 
president  RICHARD  ALTSCHL  LER  .  .  . 
ERIC  JOHNSTON  goes  to  Europe  this  fall 
.  .  .  KATHLEEN  FENTON-DORMER  new 
UA  supervisor  of  advertising,  publicity  and 
exploitation  for  Europe  and  the  Middle  East 
.  .  .  ANTHONY  B.  AKERS  will  serve  as 
honorary  vice  chairman  of  the  N.  Y.  com- 
mittee for  the  Golden  Jubilee  celebration  .  .  . 
SIDNEY  ECKMAN  has  been  appointed 
M-G-M  branch  manager  in  Minneapolis  .  .  . 
RUSSELL  DOWNING  off  to  Europe  on  a 
combined  business-pleasure  trip  .  .  .  ROB- 
ERT L.  LIPPERT  of  the  West  Coast  theatre 
chain  is  seeking  toll-TV  franchises  in  four 
California  cities  .  .  .  DAVID  PINCUS,  pres- 
ident of  Carveal,  Inc.,  producers  of  indus- 
trial and  television  films,  announces  his  firm 
will  produce  films  for  theatrical  release  .  .  . 
CHARLES  C.  MOSKOWITZ  sold  U.000 
shares  of  Loew's  common  durini;  Julv,  from 
the  latest  SEC  report  .  .  .  HARRY  TARIFF 
named  vice  president  of  Columbia  Pictures 
Realty  Corp.,  a  subsidiary  of  Columbia  Pic- 
tures .  .  .  HERMAN  BECKER,  of  Rugoff 
and  Becker,  N.Y.  art  circuit,  died  of  a  heart 
attack  .  .  .  REV.  PATRICK  J.  SULLVIAN 
new  executive  secretary  of  the  National 
Legion  of  Decency  .  .  .  STANLEY  KRAMER 
has  purchased  screen  rights  to  Nevile  Shute's 
novel,  "On  the  Beach"  .  .  .  WILLIAM  J. 
HEINEMAN  announced  that  L'nited  Artists 
has  acquired  the  world-wide  motion  picture 
rights  to  the  Basilio-Robinson  fight. 


Film  BULLETIN    September  14    1957        Page  2? 


THIS  IS  YOUR  PRODUCT 


All  The  Vital  Details  on  Current  &>  Coming  Features 

(Date  of  Film  BULLETIN  Review  Appears  At  End  of  Synopsis) 


July 

CYCLOPS  James  Craig,  Tom  Drake,  Lon  Chaney, 
Gloria  Talbot.  A  B-H  Production.  Director  Bert  I.  Gor- 
don. Science-fiction.  A  25-foot  giant  waylays  a  search- 
ing party  looking  for  a  missing  person.  75  min. 
DAUGHTER  OF  DR.  JEKYLL  John  Agar,  Gloria  Talbot, 
Arthur  Shields.  Producer  Jack  Pollexfen.  Director  Ed- 
gar linger.  Horror.  Girl  goes  to  collect  inheritance 
and  guardian  turns  her  into  werewolf.  71  min. 
OINO  Sal  Mineo,  Brian  Keith,  Susan  Kohner.  Producer 
Bernice  Block.  Director  Thomas  Carr.  Drama.  Social 
case  worker  helps  young  criminal  reform.  94  minutes. 
DISEMBODIED,  THE  Paul  Burke,  Allison  Hayes,  Joel 
Marston.  Producer  Ben  Schwalb.  Director  Walter 
Graumann.  Horror.  Doctor's  wife  practices  voodoo  in 
in  African  iungle.  70  min. 

LOVE  IN  THE  AFTERNOON  Color.  Gary  Cooper, 
Audrey  Hepburn,  Maurice  Chevalier.  Producer-director 
Billy  Wilder.  Comedy.  An  American  playboy's  romantic 
adventures  in  Paris.    125  min. 

August 

FROM  HELL  IT  CAME  Tod  Andrews,  Tina  Carver.  Di- 
rector Jack  Milner.  Director  Dan  Milner.  Producer 
Jack  Milner.  Horror.  Monster  threatens  to  destroy 
American  scientists.    75  min. 

PORTLAND  EXPOSE  Barry  Sullivan,  Edward  Binns. 
Producer  Lindsley  Parsons.  Director  Harold  Shuster. 
Melodrama.  Gangster  runs  wild  in  the  Pacific  North- 
west.   72  min. 

BADGE  OF  MARSHAL  BRENNAN  Jim  Davis.  Arleen 
Whelan,  Lee  Van  Cleef.  Producer-Direcotr  Albert  C. 
Gannaway.  Western.  76  min. 

September 

DEATH  IN  SMALL  DOSES  Peter  Graves,  Mala  Powers, 
Chuck  Conners.  Producer  R.  Heermance.  Director  J. 
Newman.  Melodrama.  Investigator  cracks  ring  selling 
illegal  pills  to  truckers.  74  minutes. 
NAKED  IN  THE  SUN  Eastman  Color.  James  Craig,  Lita 
Milan,  Barton  MacLane.  Producer-director  R.  John 
High.  Drama.  Story  of  Osceola^  Warrior  Chief  of  the 
Seminole  nation,  the  woman  he  loved,  and  the  war  that 
was  never  won. 

CRIME  BENEATH  THE  SEA  Mara  Corday,  Pat  Con- 
way, Florence  Marly.  Producer  Norman  Herman.  Ad- 
venture. 66  min. 

TEENAGE  DOLL  June  Kenney,  Fay  Spain,  John  Brink- 
ley.  Producer-Director  Roger  Corman.  A  drama  of 
teenage  gang  warfare. 

MAN  FROM  MONTEREY  Sterling  Hayden,  Pamela  Dun- 
can, Ted  de  Corsia.  Producer  D.  J.  Grut.  Director 
Sidney  Franklin,  Jr.  Melodrama.  Outlaw  leaves  buddy 
to  die,  thinking  him  dead.    76  minutes. 

October 

AFFAIR  IN  HAVANA  John  Casavetes,  Raymond  Eurr, 
Sara  Shane.  A  Dudley  Production.  Difector  Laslo 
Benedek.  Drama.  Young  American  composer  becomes 
involved  with  the  wife  of  a  wealthy  Cuban  tycoon  who 
is  a  helpless  paralytic.   80  min. 

LOOKING  FOR  DANGER  Hunti  Hall,  Stanley  Clements. 
Producer-director  Richard  Heermance.  Melodrama. 
Bowery  Boys  booby-trap  holdup  man.  61  min. 
TALL  STRANGER,  THE  CinemaScope,  Color.  Joel  Mc- 
Crea.  Virginia  Mayo.  Producer  Walter  Mirisch.  Direc- 
tor Thomas  Carr.  Western.  Cowboy  helps  open  Colo- 
rado to  settlers.    81  min. 

November 

HUNCHBACK  OF  NOTRE  DAME.  THE  CinemaScope, 
Color.  Gina  Lollobrigida,  Anthony  <?uinn.  A  Paris 
Production.  Director  Jean  Delannoy.  Drama.  Hunch- 
back falls  in  love  with  beautiful  gypsy  girl.  88  min. 
SABU  AND  THE  MAGIC  RING  Sabu,  Daria  Massey. 
Robert  Shafto.  Producer  Maurice  Dike.  Director 
George  Blair.    Adventure.  Stable  boy  finds  magic  ring. 

December 

NEW  DAY  AT  SUNDOWN  Cinemascope  Color  George 
Montgomery,  Randy  Stuart,  Susan  Cummings.  Producer 
Scott  R.  Dunlap.    Director  Paul  Landres. 
BARBARIANS,    THE    Pierre    Cresoy,    Jelene    Remy.  80 

UP  IN  SMOKE  Huntz  Hall.   Stanley  Clements.  62  min. 

Coming 

BRINGING  UP  JOEY  Huntz  Hall,  Stanley  Clements, 
Philip  Philips.  Producer  Ben  Schwalb.  Director  Jean 
Yarbrough. 


BEAST  OF  BUDAPEST  Michael  Mills,  Greta  Thyssen, 
Violet  Rensing.  Producer  Archie  Mayo.  Director  Har- 
mon  Jones.     Drama   of  freedom   fighters   in  Budapest. 


AMERICAN   INTN'L  PICTURES 


June 


DRAGSTRIP  GIRL  Fay  Spain,  Steve  Terrell.  John  Ash- 
ley. Producer  Alex  Gordon.  Director  Edward  Cahn. 
Story  of  teenage  hot  rod  and  dragstrip  racing  kids. 
75  min. 

I  WAS  A  TEENAGE  WEREWOLF  Michael  Langan, 
Yvonne  Lime.  Producer  Herman  Cohen.  Director  Gene 
Fowler,  Jr.  Horror.  75  min. 

INVASION  OF  THE  SAUCERMEN  Steve  Terrell,  Gloria 
Castillo.  Raymond  Hatton.  Producer  Samuel  A.  Arkoff. 
Director  Edward  L.  Gahn.  Horror.  75  min. 


August 


NAKED  AFRICA  Color.  Producer  Ouentin  Reynolds. 
Adventure.  69  min. 

REFORM  SCHOOL  GIRLS  Gloria  Castillo,  Ross  Ford. 
Producers  Samuel  Arkoff  and  Robert  Gurney,  Jr.  Di- 
rector Ed  Earnds.  Melodrama.  71  min. 
ROCK  AROUND  THE  WORLD  Tommy  Steele,  Nancy 
whiskey.  Producer  Herbert  Smith.  Director  Gerard 
Bryant.  Musical.  71  min. 

WHITE  HUNTRESS,  THE  Susan  Stephan,  John  Bentley. 
Brea  kston-Stahl  Production.  Action  Melodrama.  80  min. 


September 


AMAZING  COLOSSAL  MAN,  THE  Glenn  Langan, 
Cathy  Downs,  William  Hudson.  Producer-Director  Bert 
I.  Gordon.  Horror.  80  min. 

CAT  GIRL,  THE  Barbara  Shelley.  Robert  Ayres,  Kay 
Callard.  Producer  Lou  Rusoff.  Director  William  Shaugn- 
essy.  Horror.  69  min. 

October 

MOTORCYCLE  GANG  Steve  Terrell,  John  Ashley, 
Frank  Gorshin.  Producer  Alex  Gordon.  Director  Edward 
L.  Cahn.  Melodrama. 

SORORITY  GIRLS  Susan  Cabot,  Dick  Miller,  Barboura 
Morris.    Producer-Director  Roger  Corman.  Melodrama. 

November 

BLOOD     OF     DRACULA     Producer     Herman  Cohen. 

I  WAS  A  TEENAGE  FRANKENSTEIN  Producer  Herman 
Cohen.  Horror. 

VIKING  WOMEN,  THE  Abby  Dalton,  Susan  Cabot, 
Brad  Jackson.  Producer-Director  Roger  Corman. 
Science-Fiction. 

December 

BATTLE  FRONT  Producer  Lou  Rusoff.  Adventure. 

JET  SQUAD  John  Agar,  Audrey  Totter.   Producer  Alex 

Gordon.  Director  Edward  L.  Cahn.  Adventure. 

Coming 

VOODOO    WOMAN    Maria    English,    Tom    Conway.  75 


COLUMBIA 


July 

FIRE  DOWN  BELOW  CinemaScope,  Technicolor.  Rita 
Hayworth,  Robert  Mitchum,  Jack  Lemmon.  A  War- 
wick Production.  Director  Robert  Parrish.  Drama. 
Cargo  on  ship  is  ablaze.  Gravity  of  situation  it  in- 
creased by  highly  explosive  nitrate.  116  min. 


TORERO  Luis  Pracuna,  Manolete,  Carlos  Arruza.  Pro- 
ducer Manuel  Ponce.  Director  Carlos  Velo.  Drama. 
A  man's  fight  against  fear.  Bullfight  setting.  75  min. 
27TH  DAY,  THE  Geo*  Barry,  Valerie  French  Producer 
He  ken  Aineworfh.  Director  William  A. her  Sclence- 
flaflgji.  People)  from  outer  space  plot  to  destroy  all 
human  life  on  the  earth.  75  min.  5/7. 


August 


YOUNG  DON'T  CRY,  THE  Sal  Mineo,  James  Whitmore. 
Producer  P.  Waxmaa.  Director  Alfred  Werker.  Drama. 

Life  in  a  southern  orphanage.    89  min. 

JEANNE  EAGELS  Kim  Novak,  Jeff  Chandler.  A  George 
Sidney  Production.  Stormy  account  of  an  actress  who 
became  a  legend.  Drama.  114  min.  7/22 
NO  TIME  TO  BE  YOUNG  Robert  Vaughn,  Merry 
Anders.  Producer  Wallace  MacDonald.  Director  David 
Rich.  Youth  expelled  for  neglecting  college  studies. 
82  min. 


PICKUP  ALLEY  Cinemascope.  Victor  Mature.,  Anita 
Ekberg,  Trevor  Howard.  A  Warwick  Production.  Direc- 
tor John  Gilling.  Drama.  Story  of  international  dope 
runners.  92  min. 

3:10  TO  YUMA  Glenn  Ford,  Felicia  Farr,  Van  Heflin, 
Producer  David  Heilwell.  Director  Delmer  Daves.  West- 
ern. Cowboy  robs  stagecoach  then  poses  as  one  those 
robbed.    92  min. 

TOWN  ON  TRIAL  John  Mills,  Charles  Coburn.  Pro- 
ducer Maxwell  Setton.  Director  John  Guillerman.  Young 
girl  is  murdered.    Melodrama.   96  min. 


September 


BROTHERS  RICO  THE  Richard  Conte,  Kathryn  Grant, 
Dianne  Foster.  Producer  Lewis  Rachmil.  Director  Phil 
Karlson.  Drama.  Former  racketeer,  trying  to  go 
straight,  exposes  organization  when  they  push  him  too 
far.  90  min. 

PARSON  AND  THE  OUTLAW,  THE  Sonny  Tufts,  An- 
thony Dexter,  Marie  Windsor.  Director  Oliver  Drake. 
Western.  71  min. 

WOMAN  OF  THE  RIVER  Technicolor.  Sophia  Loren, 
Gerard  Oury,  Lise  Bourdin.  Director  Mario  Soldati. 
98  min. 

October 

DOMINO  KID  Rory  Calhoun,  Kristine  Miller.  Producers 
Rory  Calhoun  and  Victor  M.  Orsatti.  Director  Ray 
Nazzaro.  Western.  73  min. 


Coming 


ADMIRABLE  CRICHTON.  THE  Technicolor.  Kenneth 
More.  Diane  Cilento.  Cecil  Parker.  Producer  Ian  Dal- 
rymple.  Director  Lewis  Gilbert.  Drama.  The  story  of  a 
famous  butler  in  the  1 900 ' s.    94  min. 

BITTER  VICTORY  CinemaScope,  Technicolor.  Richard 
Burton,  Curd  Jurgens,  Raymond  Pellegrln.  Producer 
Paul  Graetz.  Director  Nick  Ray.  W.  W.  II.  97  min. 
BRIDGE  OVER  THE  RIVER  KWAI,  THE  William  Holden, 
Alec  Guinness,  aJck  Hawkins.  Producer  Sam  Spiegel. 
Director  David  Lean. 

COWBOY  Glenn  Ford,  Jack  Lemmon,  Anna  Kashfi.  Pro- 
ducer Julian  Blaustein.    Director  Delmer  Daves. 
DECISION    AT    SUNDOWN    Randolph    Scott,  Valerie 
French,   Karen   Steele.   Producer  Harry  Joe   Brown.  Di- 
rector Budd  Boetticher. 

FORTUNE  IS  A  WOMAN  Jack  Hawkins,  Arlene  Dahl, 
Dennis  Price.  Producers  Frank  Launder  and  Sidney 
Gilliat.    Director  Sidney  Gilliat. 

GOLDEN  VIRGIN.  THE  Joan  Crawford,  Rossano  Brazzi, 
Heather  Sears.  John  and  James  Woolf  producers.  Di- 
rector David  Miller.  Drama.  Unscrupulous  people  ex- 
ploit blind  girl  for  profit.    103  min. 

HARD  MAN,  THE  Guy  Madison,  Valerie  French,  Lome 
Green.  Producers  Wallace  MacDonald  and  Helen  Ains- 
worth.  Director  George  Sherman. 

HIGH  FLIGHT  CinemaScope,  Technicolor.  Ray  Mil- 
land,  Sean  Kelly,  Kenneth  Haight.  Producers  Irving 
Allen  and  A.  R.  Brocolli.  Director  John  Gilling. 

LONG  HAUL,  THE  Victor  Mature,  Diana  Dors,  Peter 
Reynolds.  Producer  Maxwell  Setton.  Director  Ken 
Hughes. 

OPERATION  MAD  BALL  Jack  Lemmon.  Kathryn  Grant, 
Mickey  Rooney.  Producer  Jed  Harris.  Director  Rich- 
ard Quine.  Comedy.  105  min. 

PAL  JOEY  Technicolor.  Frank  Sinatra,  Rita  Hayworth, 
Kim  Novak.  Producer  Fred  Kohlman.  Director  George 
Sidney.  Musical.  Filmization  of  the  Rodgers  and  Hart 
Broadway  hit. 

PAPA.  MAMA.  THE  MAID  AND  I  Robert  Lamoureux. 
Gaby  Morlay,  Nicole  Courcel.  Director  Jean-Paul  La 
Chanois.    Comedy.    The  lives  of  a  typically  Parisian 


m 


family.  94  min.  9 
RETURN  TO  WARBOW  Color.  Phil  Carey,  William  Les- 
lie, Catherine  McLeod.  Producer  Wallace  MacDonald. 
Director  Ray  Nazzaro. 

SHE  PLAYED  WITH  FIRE  Jack  Hawkins,  Arlene  Dahl, 
Producers  Frank  Launder-Sidney  Gilliat.  Director  Sid- 
ney Gilliat.   Drama.    Story  of  an  arsonist.   95  min. 

SUICIDE  MISSION  Leif  Larson,  Michael  Aldridge,  Atla 

Larsen.  A  North  Seas  Film  Production.  Director 
Michael  Forlong.  Adventure.  Norwegian  fishermen 
smash  German  blockade  in  World  War  II.    70  min. 

THIS  BITTER  EARTH  Silvana  Mangano,  Richard  Conte, 
Anthony  Perkins.  Producer  Dino  De  Laurentiis.  Direc- 
tor Rene  Clement. 

THE  GODDESS  Kim  Stanley,   Lloyd  Bridges.  Producer 
Milton  Perlman.    Director  John  Cromwell. 
THE  HAUNTED  Dana  Andrews.    Producer  Hal  E.  Ches- 
ter.   Director  Jacgues  Tourneur. 

TIJUANA  STORY,  THE  Rodolfo  Acosta,  James  Darren, 
Robert  McQueeney.  Producer  Sam  Katzman.  Director 
Leslie  Kardos. 

TRIAL  OF  CAPTAIN  BARRETT,  THE  Edmond  O'Brien, 
Mona  Freeman,  Karin  Booth.  Producer  Sam  Katzman. 
Director  Fred  F.  Sears. 


m  BULLETIN 


IS     YOUR  PRODUCT 


INDEPENDENTS 


July 

A  NOVEL  AFFAIR  [Continental )  Sir  Ralph  Richardson, 
Margaret  Leighton  Comedy. 

CARNIVAL  ROCK  IHowco)  The  Platters,   David  Hous- 
ton.   A  Howco  Production.    Musical.    80  min. 
CONSTANT    HUSBAND    I  Stratford)    Technicolor.  Rex 
Harrison,    Kay    Kendall,    Margaret    Leighton.  Director 
Sidney  Gilliat. 

TEEN  AGE  THUNDER  IHowco)  Church  Courtney.  Me- 
linda  Byron.  A  Howco  Production.  Melodrama.  80  min. 

September 

CARTOUCHE  IRKO)  Richard  Basehart.  Patricia  Roc. 
Producer  John  Nasht.  Director  Steve  Sekely.  Adventure. 
The  story  of  a  lusty  adventurer  during  the   reign  of 

Louis  XVI.  73  min. 

November 

TEENAGE  BAD  GIRL  DCA  Sylvia  Syms.  Anna  Neagle. 
Producer. Director  Herbert  Wilcox.  Juvenile  Delin- 
quents. 

TEENAGE    WOLF   PACK    IDCAI    Juvenile  Delinquents. 

Coming 

A  MAN  ESCAPED  (Continental  Distributing  I  Francois 
Leterrier,  Charles  Leclainche,  Maurice  Beerb'ock.  Pro- 
ducers Jean  Thullier  and  Alain  Poire.  Director  Robert 
Bresson.  French  Drama.  94  min. 

A  TIME  TO  KILL  IProducers  Associated  Pictures  Co.) 
Jim  Davis,  Don  Megowan,  Allison  Hayes.  Producer  Pat 
Beti.  Director  Oliver  Drake. 

BED  OF  GRASS  ITrans-Lux)  Anna  Brazzou,  Mike 
Nichols,  Vera  Katri.  Producer-Director  Gregg  Tallas. 
Drama.  92  min. 

BRAIN  FROM  PLANET  AROUS,  THE  I  Howco-Marquette 
for  Howco  International  release)  John  Agar,  Joyce 
Meadows,  Robert  Fuller.  Producer  Jacques  Marquette. 
Director  Jerry  Juran. 

BROTHERS  IN  LAW  (Continental)  Ian  Carmichel,  Rich- 
ard Attenborough,  Jill  Adams.  Producer-director,  the 
Boulting  Bros.  Comedy.  Adventures  of  a  young  lawyer. 
BUFFALO  GUN  Wayne  Morris.  Don  Barry,  Mary  Ellen 
Kaye.  Producer  Al  Milton.  Director  Albert  C.  Ganna- 
way. 

CITY  OF  WOMEN    lAttociated)    Ota    Mjnen  Robert 
Hutton,  Maria  Palmer.  Producer-dlraetor  Boris  Perroff. 
Drama,  Fewn  a  nov»l  by  Stephen  Longtrreet. 
COOL  AND  THE  CRAZY.  THE   (Imperial)    Scott  Mar- 
lowe,  Gigi    Perreau.    Producer   Elmer   Rhoden,   Jr.  Di- 
rector William  Whitney.  Story  of  teenage  violence. 
DAY  OF  THE  TRUMPET.  THE  IC.  Santiago  Film  Organi- 
zation   Prod.)    John   Agar,    Richard   Arlen.    Bill  Phipps. 
Producer  Harry  Smith.  Director  Eddie  Romero. 
DREAM    MACHINE.   THE    (Amalgamated    Prods.)  Rod 
Cameron,   Marty  Murphy,   Peter  llling.   Producers  Rich- 
ard   Gordon    and    Charles    Vetter,    Jr.    Director  Mont- 
gomery Tully. 

ESCAPADE  IDCAI  John  Mills,  Yvonne  Mitchell,  Ala- 
stair  Sim.  Producer  Daniel  M.  Angel.  Director  '  Philip 
Leacock.  Comedy  Drama.  87  min. 

FOUR  BAGS  FULL  ITrans-Lux)  Jean  Gabin.  Bourvil, 
Jeannette  Batti.  A  Franco  London  Production.  Director 
Claude   Autant-Lara.    French    Black    Market   Drama.  84 

GARDEN  OF  EDEN  (Excelsior)  Jamie  O'Hara,  Mickey 
Knox,  R.  G.  Armstrong.  Director  Max  Nosseck.  Pro- 
ducer Walter  Bibo.  Drama.  The  happenings  in  a 
Florida  nudist  colony.  70  min. 

IL  GRIDO  (Robert  Alexander  Prods.)  Steve  Cochran, 
Betsy  Blair,  Allida  Valli.  Producer  Harrison  Reader. 
Director  Michelangelo  Antonioni. 

IT  HAPPENED  IN  THE  PARK  (Ellis  Films)  Vittorio  De 
Sica,  Gerard  Philipe,  Micheline  Presle.  Produced  by 
Astoria  Film.  Director  Gianni  Franciolini.  Five  short 
sketches  showing  happenings  within  the  garden  and 
park.  96  min.  9/2. 

LIGHT  ACROSS  THE  STREET,  THE  UMPO)  Brigitte 
Bardot.  Raymond  Pellegrin,  Roger  Pigaut.  Producer 
Jacques  Gauthier.  Director  Georges  Lacombe.  Drama. 
A  French  husband  and  wife  try  to  live  without  normal 
sex  relations,  after  the  husband  had  a  near-fatal  acci- 
dent. 76  min. 

LAST  BRIDGE.  THE  (Union  Film  Distributors  I  Maria 
Schell,  Bernhard  Wicki,  Barbara  Rutting.  A  Cosmopol 
Production.  Director  Helmut  Kautner.  Austro-Yugoslav 
Film.  90  min. 

LOST  CONTINENT  IIFE)  CinemaScope,  Ferranicolor. 
Producer-director  Leonardo  Bomi.  An  excursion  into  the 
wilds  of  Borneo  and  the  Maylayan  Archepeiago.  Eng- 
lish commentary.  86  min. 

MAID  IN  PARIS  (Continental)  Dany  Robin.  Daniel 
Gelin.  Producer  Yvon  Guezel.  Directed  by  Gaspard 
Huit.  Comedy.  A  daughter  rebels  against  her  actress 
mother.  83  min. 

MARCELINO  (United  Motion  Picture  Organization  I 
Pablito  Calvo.  Rafael  Rivelles,  Juan  Calvo.  Director 
Ladislao  Vaida.  Based  on  an  old  leqend  about  a  bov 
saint.  90  min. 

NEAPOLITAN  CAROUSEL  IIFE)  ILux  Film,  Romal  Pathe- 
eolor.  Print  by  Technicolor.  Sophia  Loren,  Laonida 
Massine.  Director  Ettore  Giannini.  Musical.  The  history 
of  Naples  traced  from  1600  to  date  in  song  and  dance. 
OLD  YELLER  (Walt  Disney  Productions)  Dorothy  Mc- 
Guire.  Fess  Parker,  Chuck  Connors.  Producer  Walt 
Disney.  Director  Robert  Stevenson. 

PASSIONATE  SUMMER  IKingsley)  Madeleine  Robinson 
Magali  Noel.  Raf  Vallons.  Produced  by  Les  Films 
Marceau.  Director  Charles  Brabant.  Drama.  Conflict- 
ing passions  between  three  women  and  a  man,  iso- 
lated cn  a  rugged  farm  in  a  mountainous  French 
province.  98  min. 

Film 


PERRI  IBuena  Vista)  Technicolor.  Producer  Winston 
Hibler.  Directors  Paul  Kenworthy  and  Ralph  Wright. 
A  true-life  fantasy  by  Walt  Disney.  The  life  story  of  a 
Pine  Squirrel  named  "Perri  '.  75  min.  7/2. 
RAISING  A  RIOT  (Continental)  Kenneth  More  Shelagh 
Frazer,  Mandy.  Producer  Ian  Dalrymple.  Director 
Wendy  Toye.  English  comedy.  90  min. 
REMEMBER.  MY  LOVE  I  Artists- Producers  Assoc  .  I  Cine- 
maScope, Technicolor.  Michael  Redgrave,  Mel  Ferrer. 
Anthony  Quale.  Musical  drama.  Producer-director 
Michael  Powell,  Emerie  Pressburger.  Based  on  Strauss' 
"Die  Hedermaut". 

SILKEN   AFFAIR.  THE    IDCAI    David   Niven,  Genevieve 
Page,   Ronald  Squire.   Producer  Fred   Feldkamp  Direc- 
tor Roy  Kellino.  English  Comedy.  96  min. 
SMOLDERING  SEA,  THE  Supertcope.  Producer  Hal  E. 
Chester    Drama.  Conflict  between  tbe  tyrannical  cap- 
tain and  crew  of  an  American,  merchant  ship  reaches 
its  cflmai  during  battle  of  Guadalcanal. 
THE   PUZZLE    (Anglo-Amalgamated    Filml    Lex  Barker, 
Carole  Mathews.  Producer  Nat  Cohen. 
WEST  OF  SUEZ  (Amalgamated  Prods.)  Keefe  Brasselle. 
Kay  Callard.  Anton  Diffring.   Producers  D.  E.  A  Winn 
and  Bill  Luckwell.  Director  Keefe  Brasselle. 
VIRTUOUS     SCOUNDREL.     THE     (Zenith  Amusement 
Enterprises)     Michel    Simon.    Producer-Director  Sacha 
Guitry.    A   comedy   of    irony    which    pokes    a  satirical 
finger    into   the    pretensions   of    Parisian    high  society. 
VIOLATORS.   THE    (Galahad    Prods,   for  RKO I .  Arthur 
O'Connell.     Producer     Mende     Brown.     Director  John 
Newland. 

WOMAN  AND  THE  HUNTER  I  Gross-Krasna  and  Kenya 
Prods. I  Ann  Sheridan,  David  Farrar,  Jan  Merlin.  Pro- 
ducer-director George  Breakston. 


METRO -GO LDWYN -MAYER 


June 

SEVENTH  SIN.  THE  CinemaScope.  Eleanor  Parker,  Bill 
Travers,  George  Sanders.  Producer  David  Lewis.  Di- 
rector Ronald  Neame.  Drama.  Story  of  an  adulterous 
woman.  94  min. 

SOMETHING  OF  VALUE  Rock  Hudson,  Dana  Wynter, 
Wendy    Hlller.     Producer     Pandro     Berman.  Director 

Richard  Brooks.  Drama.  Story  of  a  Mau  Mau  uprising 
in  Kenya,  East  Africa.  113  min.  5/13. 

July 

MAN  ON  FIRE  Bing  Crosby,  Mary  Fickett,  Inger 
Stevens.  Producer  Sol  Siegel.  Director  R.  MacDougall. 
Drama.  The  effect  of  divorce  on  a  boy  and  his  es- 
tranged parents.    95  min. 

SILK  STOCKINGS  MetroColor,  CinemaScope.  Fred  As- 
taire,  Cyd  Charrise,  Janis  Page.  Producer  Arthur 
Freed.  Director  R.  Mamoulian.  Musical.  Russian  girl 
falls  in  love  with  an  American  film  producer  in  Paris. 
117  min. 

August 

DECISION  AGAINST  TIME  Jack  Hawkins,  Elizabeth 
Sellars.  Producer  M.  Balcon.  Director  C.  Crichton. 
Adventure.  Test  pilot  attempts  to  land  disabled  plane. 
87  min.  7/22. 

GUN  GLORY  CinemaScope,  MetroColor.  Stewart 
Granger,  Rhonda  Fleming.  Producer  N.  Nayfack.  Di- 
rector Roy  Rowland.  Western.  Ex-outlaw  is  tormented 
by  his  former  reputation  as  a  killer.  89  min. 
TIP  ON  A  DEAD  JOCKEY  CinemaScope.  Robert  Taylor, 
Dorothy  Malone,  Gia  Scala.  Producer  Edwin  Knoph. 
Director  Richard  Thorp.  Melodrama.  International 
police  track  down  smugglers.  109  min.  9/2. 

September 

ACTION  OF  THE  TIGER  CinemaScope,  Eastman  Color. 
Van  Johnson,  Martine  Carol,  Gustave  Rocco.  A  Clar- 
idge  Production.  Director  Terence  Young.  Drama.  Beau- 
tiful girl  seeks  help  of  contraband  runner  to  rescue 
brother  from  Communists.  94  min. 

HIRED  GUN,  THE  CinemaScope.  Gil  McCord,  Ellen 
Beldon.  Kell  Beldon.  Producers  Rory  Calhoun  and  Vic- 
tor M.  Orsatti.  Director  Ray  Nazarro.  64  min. 
LES  GIRLS  CinemaScope,  MetroColor.  Gene  Kelly, 
Mitzi  Gaynor.  Kay  Kendall.  Producer  Sol  C.  Siegel. 
Director  George  Cukor.  Musical.  Dancing  troupe  tour- 
ing Europe.  I  14  min. 

HOUSE  OF  NUMBERS  CinemaScope.  Jack  Palance, 
Barbara  Lang.  Producer  Charles  Schnee.  Director 
Russell  House.  Melodrama.  Law-abiding  citizen  at- 
tempts to  engineer  San  Quentin  escape  for  his  brother. 
92  min.  7/8. 

October 

UNTIL  THEY  SAIL  CinmeaScope.  Jean  Simmons,  Joan 
Fontaine.  Paul  Newman.  Producer  Charles  Schnee.  Di- 
rector Robert  Wise.  Drama.  James  A.  Michener  story 
U.S.    troops    in    New    Zealand    during    World    War  I 

Coming 

BROTHERS  KARAMAZOV,  THE  MetroColor.  Yul  Bryn- 
ner,  Maria  Schell,  Claire  Bloom.  Producer  Pandro  S. 
Berman.  Director  Richard  Brooks. 

DON'T  GO  NEAR  THE  WATER  CinemaScope  Metro- 
Color.  Glenn  Ford.  Gia  Scala,  Keenan  Wynn.  Producer 
Lawrence  Weingarten.  Director  Charles  Walters. 
Comedy.  Story  of  a  South  Seas  naval  base  during 
World  War  I. 

HAPPY  ROAD,  THE  Gene  Kelly,  Michael  Redgrave, 
Barbara  Laage.  A  Kerry  Production.  Directors,  Gene 
Kelly,  Noel  Coward.  Drama.  Two  children  run  away 
from  boarding  hchool  to  find  their  respective  parents. 
100  min.  2/4. 

I  ACCUSE  Jose  Ferrer,  Viveca  Lindfors.  Leo  Genn. 
Producer  Sam  Zimbalist.  Director  Jose  Ferrer.  Drama. 
French  officer  uniustly  accused  of  treason. 
INVISIBLE  BOY,  THE  Richard  Eyer,  Philip  Abbott, 
Diane  Brewster.  Producer  Nicholas  Nayfack.  Director 
Herman  Hoffman. 


OCTOBER  SUMMARY 

The  number  of  pictures  scheduled  for 
October  release  totals  19.  However,  later 
additions  should  add  another  dozen  or  so 
to  the  roster.  The  leading  suppliers,  with 
three  films  each,  will  be  Allied  Artists. 
Paramount,  20th  Century-Fox  and  Univer- 
sal. American  International  and  Warner 
Bros,  will  release  two  each;  Columbia, 
Metro  and  United  Artists,  one  each.  More 
than  half  of  the  releases,  11,  will  be  dra- 
mas. Five  color  films  will  be  released 
during  October.  Four  films  will  be  in 
CinemaScope.  two  in  VistaVision. 

10  Dramas  I  Comedy 

2  Westerns  1  Adventure 

4  Melodramas  1  Horror 


JAILHOUSE  ROCK  Elvis  Presley,  Judy  Tyler.  Producer 
Pandro  Berman.  Director  Richard  Thorpe.  Musical- 
drama.    Youth's    singing    talent    is    fostered    in  priscn. 

LIVING  IDOL,  THE  CinemaScope,  Eastman  Color. 
Steve  Forrest,  Lilllane  Montevecchi.  Producer-director 
Al  Lewin.  Drama.  An  archeologist  is  faced  with  an  un- 
worldly   situation    that    threatens    the    safety    of  hit 

adopted  daughter.    101  min.  5/13. 

MERRY  ANDREW  CinemaScope.  Metrocolor.  Danny 
Kaye,  Pier  Ageli,  Baccpopmo.  Producer  Sol  C.  Siegel. 
Director  Michael  Kidd. 

RAINTREE  COUNTY  MetroColor  CinemaScope  65. 
Eliiabeth  Taylor,  Montgomery  Cliff.  Producer  David 
Lewit.  Director  Edward  Dymtryke.  Drama.  Life  in  Indi- 
ana during  the  middle  I880's.  185  min. 
SADDLE  THE  WIND  Robert  Taylor.  John  Cassavetes, 
Julie  London.  Producer  Armand  Deutsch.  Director 
Robert  Parrish. 

SEVEN  HILLS  OF  ROME  LeCloud  Productions.  Mario 
Lanza,  Marisa  Allasio.  Producer  Lester  Welch.  Director 
Roy  Rowland. 


PARAMOUNT 


July 

BEAU  JAMES  VistaVision,  Technicolor.  Bob  Hope.  Pro- 
ducer Jack  Rote.  Director  Michael  Moore.  Drama. 
Biography  of  the  famous  Jimmy  Walker,  mayor  of  N  Y. 

from  1925  to  1932.  105  min.  6/24 

DELICATE  DELINQUENT,  THE  Jerry  Lewit,  Darren  Me- 
Gavin,  Martha  Hyer.    Producer  Jerry  Lewis.  Director 

Don  McGuire.  Drama.  Janitor  longs  to  be  police  offi- 
cer so  he  can  help  delinquents.  101  min.  7/8. 

August 

LOVING  YOU  VistaVision  Technicolor.  Elvis  Presley, 
Lizabeth  Scott,  Wendell  Corey.  Producer  Hal  Wallis. 
Musical.  Director  Hal  Kanter.  Small-town  boy  makes 
good  in  big-time  show  business.  101  min.  7/22. 

OMAR  KHAYYAM  VistaVision,  Technicolor.  Cornel 
WHde,  Michael  Rennie,  Debra  Paget.  Producer  Frank 
Freeman,  Jr.  Director  William  Dieterle.  Adventure 
The  life  and  times  of  medieval  Persia's  literary  idol. 
103  min. 

September 

MR.  ROCK  AND  ROLL  Alan  Freed.  Musical. 

STOWAWAY  GIRL  Trevor  Howard,  Elsa  Martinell, 
Pedro  Armandariz.  Producer  Ivan  Foxwell.  Director 
Guy  Hamilton.  Drama.  A  beautiful  girl  stows  away  on 
a  tramp  steamer. 

SHORT  CUT  TO  HELL  .staVision.  Robert  Ivers,  Wil- 
liam Bishop.  Georgann  Johnson.  Producer  A.  C.  Lyles. 
Director  James  Cagney.  Drama.  Story  of  a  profes- 
sional killer  with  a  gun  for  hire.  C7  min. 

October 

HAIRPIN  DEVIL'S,  THE  VistaVision.  Technicolor.  Cornel 
Wilde,  Jean  Wallace,  Mary  Astor.  Producer-director 
Cornel  Wilde.  Adventure.  Story  which  deals  with 
sports  car  racing.  82  min. 

JOKER  IS  WILD,  THE  VistaVision,  Technicolor.  Frank 
Sinatra,  Mitii  Gaynor.  Jeanne  Crain.  Producer  Samuel 
Britkm.  Director  Ovaries  Vidor.  Drama.  Film  biography 

of  Joe   E.    Lewis,    nightclub   comedian.    123    min.  9/2. 

HEAR  ME  GOOD  Hal  March,  Joe  E.  Ross,  Merry 
Anders.     Producer-Director     Don     McGuire.  Comedy. 

November 

TIN  STAR,  THE  VistaVision.  Henry  Fonda,  Anthony 
Perking.  A  Perlherg-Seaton  Production.  Director  An- 
thony Mann.  Outdoor  drama.  Bounty-hunting  in  the  old 
west.  93  min. 

ZERO  HOUR  Dana  Andrews,  Sterling  Hayden.  Pro- 
ducers John  Champion  and  Hall  Bartle.tt.  Director  Hall 
Bartlett.  Drama.  A  man  battles  for  his  life  and  love. 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


( 


December 

SAD  SACK  VistaVision.  Technicolor.  Jerry  Lewis,  David 
Wayne.  Producer  Hal  Willis.  Director  George  Mar- 
shall. Comedy.  Life  in  the  Army. 

Coming 

DESIRE  UNDER  THE  ELMS  Sophia  Loren.  Anthony  Per- 
kins. Burl  Ives.  Producer  Don  Hartman.  Director  Del- 
bert  Mann.  Drama.  Emotional  conflicts  of  a  farmer, 
his  son  and  his  second  wife. 

HOT  SPELL  VistaVision  Shirley  Booth.  Anthony  Ouinn, 
Shirley  MacLaine.  Producer  Hal  Wallis.  Director  Dan- 
iel Mann.  Drama.  The  disintegration  of  a  Southern 
family  during  a  torrid  heat  wave. 

SPANISH  AFFAIR  VistaVision,  Technicolor.  Carman 
Sevilla,  Richard  Kiley.  Producer  Bruce  Odium.  Director 

Donald  Siegel.  Adventure.  An  American  architect 
travelling  in  Spain  is  attracted  to  a  beautiful  girl, 
half-Gypsy,  half-Spanish. 

TEACHER'S  PET  VistaVision.  Clark  Gable,  Doris  Day. 
A  Pearlberg-Seaton  Production.  Director  George  Sea- 
ton.  Comedy.  Tough  newspaper  editor  and  college 
journalism  teacher  have  a  ball. 

TIN  COMMANDMENTS,  THE  VistaVision,  Technicolor. 
Ckarlron  Helton,  Yul  Brynner  Anne  Baxter.  Producer- 
director  Cecil  I.  DeMille.  Religious  drama.  Life  t>tor» 
of  Motet  at  told  in  the  Bible  and  Koran.  219  min.  10/15 
WILD  IS  THE  WIND  VistaVision.  Anna  Magnani,  An- 
thony  Quinn.  Producer  Hal  Wallis.  Director  John 
Sturges.  Drama.  Love,  hate,  and  violence  on  a  Nevada 
sheep  ranch. 


RANK 


June 

CHECKPOINT  Eastman  Color.  Anthony  Steel,  Odile 
Versois.  Producer  Betty  E.  Box.  Director  Ralph  Thomas. 
Melodrama.  Man  attempts  to  steal  design  of  motor 
engineer  in  Italy.  84  min.  7/8. 

OUT  OF  THE  CLOUDS  Anthony  Steel,  Robert  Beatty. 
David  Knight.  Producer-directors  Michael  Ralph,  Basil 
Dearden.  Drama.  Story  of  two  couples  who  are  finally 
united.  79  min. 

REACH  FOR  THE  SKY  Kenneth  More,  Muriel  Pavlow. 
Producer  Daniel  M.  Angel.  Director  Lewis  Gilbert. 
Drama.  Top  pilot  losses  both  legs  in  stunt  flight  but 
is  still  determined  to  fly.  104  min. 

July 

BLACK  TENT,  THE  Technicolor,  VistaVision.  Anthony 
Steel,  Donald  Sinden.  Producer  William  MacQuitty. 
Director  Brian  D.  Hurst.  Man  searches  for  brother 
among  people  of  Bedouin.  85  min.  7/22 
THIRD  KEY,  THE  Jack  Hawkins,  John  Stratton.  Pro- 
ducer Michael  Balcon.  Director  Charles  Frend.  Melo- 
drama. Superintendant  of  Scotland  Yard  is  assigned 
to  investigate  a  London  safe  robbery.  84  min. 
TRIPLE  DECEPTION  Technicolor,  VistaVision.  Michael 
Craig,  Julia  Arnall.  Producer  Vivian  A.  Cox.  Director 
Guy  Green.  Melodrama.  Story  of  man  who  imper- 
sonates a  Canadian  smuggler.  86  min. 
VALUE  FOR  MONEY  Technicolor,  VistaVision.  John 
Gregson,  Diana  Dors.  Producer  Sergei  Nolbandov. 
Director  Ken  Annakin.  Comedy.  Well-to-do  man  falls 
in  love  with  blond  only  to  find  her  interested  in  only 
his  money.  84  min. 

August 

AS  LONG  AS  THEY'RE  HAPPY  Eastman  Color.  Jack 
Buchanan,  Janette  Scott.  Producer  Raymond  Stross. 
Director  J.  Lee-Thompson.  Comedy.  Father  and  two 
sons-in-law  become  jealous  of  crooner  who  has 
charmed  their  wives.  76  min. 

A  TOWN  LIKE  ALICE  Virginia  McKenna,  Peter  Finch. 
Comedy.  Producer  Joseph  Janni.  Director  Jack  Lee. 
Man  and  woman  meet  in  Malaya  during  Japanese  occu- 
pation, are  separated,  then  meet  again  after  search- 
ing for  each  other.  107  min. 

GENTLE  TOUCH,  THE  Technicolor.  George  Baker,  Be- 
linda Lee.  Producer  Michael  Balcon.  Director  Pat 
Jackson.  Drama.  Nurse  and  doctor  fall  in  love,  and 
nurse  is  faced  with  making  choice  between  career  or 
marriage.  86  min. 

September 

JACQUELINE  John  Gregson,  Kathleen  Ryan.  Producer 
George  H.  Brown.  Director  Roy  Baker.  Young  girl 
saves  reputation  of  father  by  getting  him  a  job. 
PURSUIT  OF  THE  GRAF  SPEE  Technicolor,  VistaVision. 
John  Gregson,  Anthony  Quayle.  Producer-director 
Michael  Powell  &  Emeric  Pressburger.  Adventure.  Story 
of  first  historic  naval  action  of  WWI  which  took  place 
on  River  Plate.  106  min. 

SPANISH  GARDENER  Technicolor,  VistaVision.  Dirk 
Bogarde,  Jon  Whiteley.  Drama.  Producer  John  Bryan. 
Director  Philip  Leacock.  Gardener  deverts  affections 
of  boy  from  his  father.  95  min. 

AN  ALLIGATOR  NAMED  DAISY  Technicolor,  Vista- 
Vision. Donald  Sinden,  Diana  Dors.  Producer  Raymond 
Stross.  Director  J.  Lee-Thompson.  Comedy.  Alligator  Is 
responsible  for  breakup  between  couple  who,  as  a 
result  find  more  suitable  mates. 


HEPL'BLIC 


June 

JOURNEY  TO  FREEDOM  Jacques  Scott.  Geneviv  Au- 
mont,  George  Graham,  Morgan  Lane.  Director  Robert 
C.  Dertano.  Producer  Stephen  C.  Apostolof.  Drama. 
Bulgarian  escapes  from  behind  the  Iron  Curtain. 
64  min. 


PAWNEE  Trucolor.  George  Montgomery,  Bill  Williams, 
Lola  Albright.  A  Groos-Krasne  Production.  Director 
George  Wagner.  Western.  Calvary  puts  down  high- 
riding  Pawnee  Indians.    80  min. 

July 

BEGINNING  OF  THE  END  (AB-PT)  Peter  Graves, 
Peggie  Castle,  Morris  Ankrum.  Producer-direct jr  Bert 
Gordon.  Horror.  Grasshopper  giants  threaten  to  de- 
stroy U.  S.    73  min. 

TAMING  SUTTON'S  GAL  Naturama.  John  Lupton, 
Jack  Kelly.  May  Wynn.  Director  Lesley  Selander.  Pro- 
ducer William  J.  O'Sullivan.  Drama.  A  young  bank 
clerk  finds  a  gal  in  the  back  hill  country  of  California. 

LAST  STAGECOACH  WEST  Naturama.  Jim  Davis, 
Mary  Castle,  Victor  Jory.  Producer  Rudy  Ralston.  Di- 
rector Joe  Kane.  Western.  Outlaws  are  stopped  by 
railroad  detective.  67  min. 

OPERATION  CONSPIRACY  Philip  Friend,  Leslie  Dwyer, 
Mary  MacKenzie.  Director  Joseph  Sterling.  Producer 
A.  R.  Rawlinson.  Melodrama. 

UNEARTHLY,  THE  IAB-PTI  John  Carradine,  Allison 
Hayes.  Myron  Healy.  Producer-director  Brooks  Peters. 
Transplanted  glands  create  unearthly  monsters.  73  min. 
Horror. 

September 

HELL  CANYON  OUTLAWS  Dale  Robertson,  Brian  Keith, 
Rossana  Rory.  Producer  T.  F.  Woods.  Director  Paul 
Landres.  Western.  Ousted  sheriff  restores  order  to 
town.    72  min. 

PANAMA  SAL  Naturama.  Elena  Verdugo,  Edward 
Kemmer.  Producer  Edward  White.  Director  W.  Wit- 
ney.   Drama.   The  making  of  a  singer. 

WAYWARD  GIRL,  THE  Naturama.  Marcia  Henderson, 
Peter  Walker.  Producer  W.  J.  O'Sullivan.  Director 
Lesley  Selander.  Melodrama.  71  min. 

Coming 

CROOKED  CIRCLE,  THE  John  Smith,  Fay  Spain,  Steve 
Brodie.  Producer  Rudy  Ralston.  Director  Joe  Kane. 
YOUNG  MOTHER  Mary  Webster,  William  Campbell, 
Martha  Scott.  Producer  Edmond  Chevie.  Director  Joe 
Parker. 

AMBUSH  AT  INDIAN  PASS  Vera  Ralston,  Anthony 
Geo  rge,  George  Macready.  Producer  Rudy  Ralston. 
Director  Joe  Kane. 

RAIDERS  OF  OLD  CALIFORNIA  Jim  Davis,  Arleen 
Whelan,  aFron  Young.  Producer  Albert  C.  Gannaway. 
HELL  SHIP  MUTINY  Jon  Hall,  John  Carradine,  Peter 
Lorre.  Lovina  Production. 

THUNDER  OVER  TANGIER  Robert  Hutton,  Lisa  Gastoni, 
Martin  Benson.  Sunset  Palisades  production. 
FIGHTING   WILDCATS   Kay   Callard,    Karel  Stepanek, 
Ursula  Howells. 

WEST  OF  SUEZ  John  Bentley,  Vera  Fusek,  Martin 
Boddey. 

STREET  OF  DARKNESS  Robert  Keyes,  John  Close, 
Sheila  Ryan. 

LAST  BULLET,  THE  Robert  Hutton,  Mary  Castle, 
RTchael  O'Connell. 

OUTCASTS  OF  THE  CITY  Osa  Massen,  Robert  Hutton, 
Maria  Palmer. 

DEAD  END  STREET  Roland  Culver,  Patricia  Roc,  Paul 
Carpenter. 


20TH  CENTURY-FOX 


July 

ABDUCTORS,  THE  Victor  McLaglen,  Fay  Spain,  Carl 
Thayler.  Producer  R.  Wander.  Director  A.  McLaglen. 
Adventure.  Tale  of  a   plot  to  steal  Aleraham.  80  min. 

A  HATFUL  OF  RAIN  CinemaScope.    Eva  Marie  Saint, 
Don  Murray,  Tony  Franciosa.    Producer  Buddy  Adler. 
Director   Fred   Zinneman.   Drama.   A  dope   addict  de- 
cides to  shake  the  habit.  109  min.  6/24. 

AN  AFFAIR  TO  REMEMBER  CinemaScope  DeLuxe 
Color.  Cary  Grant,  Deborah  Kerr.  Producer  Jerry 
Wald.  Director  Leo  McCarey.  Comedy.  Notorious 
bachelor  falls  for  night  club  singer.  114  min.  7/22. 

APACHE  WARRIOR  Keith  Larsen,  Jim  Davis.  Producer 
P  Skouras.  Director  E.  Williams.  Western.  74  min. 

BERNARDINE  CinemaScope,  Deluxe  Color.  Terry  Moore, 
Pat  Boone,  Janet  Gaynor.  Producer  Sam  Engel.  Direc- 
tor H.  Levin.  Comedy.  Story  of  teenagers.  Filmiiation 
of  the  Broadway  comedy.  95  min.  7/22. 

GOD  IS  MY  PARTNER  Walter  Brennan,  John  Hoyt, 
Marion  Ross.  Producer  S.  Hersh.  Director  W.  Claxton. 
Drama.  80  min. 

August 

BACK  FROM  THE  DEAD  Rega  I  scope  Peggy  Castle, 
Marsha  Hunt,  Arthur  Franz.  Producer  R.  Stabler.  Di- 
rector C.  Warren.   Horror.   79  min. 

FORTY  GUNS  CinemaScope.  Barbara  Stanwyck,  Barry 
Sullivan,  Gene  Barry.  Poducer-director  Samuel  Fuller. 
Adventure.  A  domineering  woman  attempts  to  rule  a 
western  town  by  force.    80  min. 

HELL  ON  DEVIL'S  ISLAND  Regalscope.  Helmut  Dan- 
tine,  Donna  Martel,  William  Talman.  Jean  Wiles.  Pro- 
ducer  Lchoolvek.    Director  C.   Nyby.    Adventure.  74 


SEAWIFE  CinemaScope.  Deluxe  Color.  Richard  Bur- 
toi,  Joan  Collins.  Producer  Andre  Hakim.  Director  Bob 

McNaught.  Drama.  Ship  is  torpedoed  by  Jap  sub- 
marine off  Singapore  harbor.    82  min. 


UNKNOWN  TERROR,  THE  Regalscope.  John  Howard. 
May  Wynn  Mala  Powers.  Producer  R.  Stakler.  Direc- 
tor C.  Warren.  Horror.  77  min. 

WILL  SUCCESS  SPOIL  ROCK  HUNTER  CinemaScope, 
DeLuxe  Color.  Jayne  Mansfield,  Clifton  Webb,  Tony 
Randall.  Producer-director  Frank  Tashlin.  Comedy. 
Filmization  of  the  Broadway  play.  94  min. 

September 

COPPER  SKY  Regalscope.  Jeff  Morrow,  Coleen  Gray. 
Producer  R.  Stabler.  Director  C.  Warren.  Melodrama. 
DEERSLAYER,  THE  CinemaScope,  DeLuxe  Color.  Lex 
Barker,  Forrest  Tucker,  Rita  Moreno.  Producer-director 
K.  Newmann.  Adventure. 

NO  DOWN  PAYMENT  CinemaScope.  Jeff  Hunter,  Bar- 
bara Rush,  Sheree  North,  Cameron  Mitchell.  Producer 
Jerry  Wood.  Director  Martin  Ritt.  Drama.  105  min. 
SUN  ALSO  RISES,  THE  CinemaScope,  DeLuxe  Color. 
Ava  Gardner,  Mel  Ferrer,  Tyrone  Power.  Producer  D. 
Zanuck.  Director  Henry  King.  Drama.  From  Ernest 
Hemingway's  famous  novel.  129  min.  9/2. 

October 

RIDE  A  VIOLENT  MILE  Regalscope.  Gene  Raymond, 
Wayne  Morris.  Producer-director  R.  Stabler.  Melo- 
drama. 

STOPOVER  TOKYO  Robert  Wagner,  Joan  Collins,  Ed- 
mund O'Brien.  Producer  W.  Reisch.  Director  R.  Breen. 
Drama. 

THREE  FACES  OF  EVE,  THE  David   Wayne,  Joanne 

Woodward.  Producer  Nunnally  Johnson.  Drama.  Story 
of  a  woman   with  three  distinct  personalities.   91  min. 

ABOMINABLE  SNOWMAN,  THE  Forrest  Tucker,  Peter 
Cushing.  Producer  Michael  Carreras.  Science-fiction 
drama  dealing  with  the  search  for  a  half-human,  half- 
beast  monster  of  the  Himalayas. 

November 

APRIL  LOVE  CinemaScope-DeLuxe  color.  Pat  Boone, 
Shirley  Jones.  Producer  David  Weisbert.  Director 
Henry  Levin.  Musical. 

Coming 

A  FAREWELL  TO  ARMS  CinemaScope,  DeLuxe  Color. 
AMBUSH  AT  COMARRON  PASS  Regal  Films.  Brian 
Donlevy,  Jay  C.  Flippen.  Producer  Bernard  Glasser. 
Director  Edward  Bernds. 

Jennifer  Jones,  Rock  Hudson,  Vittorio  de  Sica.  Pro- 
ducer David  Selznick. 

BEAUTIFUL  BUT  DANGEROUS  Gina  LoHobrigida,  Vit- 
torio Gassman.  Producer  Manuella  Malotti.  Director 
Robert  Leonard.  Drama. 

COURAGE  OF  BLACK  BEAUTY  Color.  John  Crawford, 
Mimi  Gibson,  John  Bryant.  Producer  Edward  L.  Alper- 
son.  Director  Harold  Schuster.  The  story  of  a  boy  and 
his  horse.  Drama.  77  min. 

ENEMY  BELOW,  THE  CinemaScope,  Color.  Robert 
Mitchum,  Curd  Jurgens.  Producer-Director  Dick  Powell. 
KISS  THEM  FOR  ME  Jerry  Wald  Prods.  CinemaScope, 
De  Luxe  Color.  Cary  Grant,  Jayne  Mansfield,  Suzy 
Parker.  Producer  Jerry  Wald.  Director  Stanley  Donen. 
PEYTON  PLACE  Jerry  Wald  Prods.  CinemaScope,  De 
Luxe  Color.  Lana  Turner,  Lloyd  Nolan,  Hope  Lange. 
Producer  Jerry  Wald.  Director  Mark  Robson. 
YOUNG  AND  DANGEROUS  Regal  Films.  Lil  Gentle, 
Mark  Damon,  Ann  Doran.  Producer-Director  William 
F.  Claxton. 

YOUNG  LIONS,  THE  CinemaScope.  Marlon  Brando. 
Montgomery  Clift,  Joanne  Woodward.  Producer  Al 
Lichtman.  Director  Edward  Dmytryk. 

VIOLENT  ROAD.  THE  Regal  Films.  Gene  Raymond. 
Wayne  Morris,  eJanne  Cooper.  Producer  Leon  Choo- 
luck  and  Laurence  Stewart.  Director  Hubert  Cornfield. 


'J  N  I  TED  ARTISTS 


July 

BOP  GIRL  Judy  Tyler,  Bobby  Troup.  Margo  Woode. 
Producer  Aubrey  Schenck.  Director  Howard  Koch. 
Muhical.  Rock  and  roll-calypso  cavalcade  of  musical 
numbers.  79  min. 

PRIDE  AND  THE  PASSION,  THE  VittaVition,  Techni- 
color. Cary  Grant,  Frank  Sinatra,  Sophia  Loran.  Pro- 
ducer-director Stanley  Kramer.  Drama.  A  Spanish 
guerrilla  band  marches  an  incredible  distance  with  a 
4000  pound  cannon  during  Spanlth  War  of  Independ- 
ence of  1810.  131  min.  7/8. 

OUTLAW'S  SON  Dane  Clark,  Ben  Cooper,  Lori  Nel- 
son. Bel  Air  Production.  Director  Lesley  Selander. 
Western.  Gunslinger  escapes  from  jail  to  save  son 
from  life  of  crime.  87  min. 

August 

FUZZY  PINK  NIGHTGOWN,  THE  Jane  Russell,  Keenan 
Wynn,  Ray  Danton.  Producer  Bob  Waterfield  Director 
Norman  Taurog.  Melodrama.  The  story  of  a  Holly- 
wood star  who  is  kidnapped.  87  min. 

JUNGLE  HEAT  Lex  Barker,  Mari  Blanchard.  A  Bel-Air 
Production.  Director  H.  Koch.  Adventure.  Japanese 
saboteurs  in  Hawaii  prior  to  WWII.  75  min. 
LADY  OF  VENGEANCE  Dennis  O'Keefe.  Ann  Sears, 
Anton  Diffring.  Revenge  for  a  lady  who  has  been 
wronged.  Melodrama.  73  min. 

MONTE  CARLO  STORY,  THE  Technirama,  Color.  Mar- 
iana Dlatrjeh,  Vittorio  De  Sica.  A  Titanut  Rim.  Sam 

Taylor  director.  Marcello  Girosi  producer.  Drama.  A 
handsome  Italian  nobleman  with  a  love  for  gambling 
marries  a  rich  woman  in  order  to  pay  his  debts. 
100  min.  7/8. 

MY  GUN  IS  QUICK  Robert  Bray,  Whitney  Blake,  Don 
Randolph.  Producer-director  George  A.  White  and 
Phil  Victor.  Melodrama.  Based  on  a  novel  by  Mickey 
Spillane.  88  min. 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


VALERIE  Sterling  Hayoen,  Anita  Ekberg,  Anthony  Steel. 
Producer  Hal  Makelim.  Director  Gerd  Oslwald.  West- 
ern. The  story  of  a  murder  trial  in  a  western  town. 
LEGEND  OF  THE  LOST  John  Wayne,  Sophia  Loren, 
Rossano  Brani.  Producer-director  Henry  Hathaway.  Ad- 
venture   Sea  rch  for  treasure  in  the  Sahara.. 


September 


CARELESS  YEARS,  THE  Natalie  Trundy.  Dean  Stock- 
well.  Producer  Edward  Lewis.  Director  Arthur  Hiller. 
Drama.  Two  lovers  meet  parental  resistance  when  they 
decide  to  get  married.  70  min. 

CHICAGO  CONFIDENTIAL  Brian  Keith.  Beverly  Gar- 
land. Dick  Foran.  Producer  Robert  Kent.  Director  Sid- 
nev  Salkow.  Melodrama.  Syndicate  tries  to  gain  con- 
trol of  labor  union.  73  min.  9/2. 

ENEMY  FROM  SPACE  Brian  Donlevy,  John  Longden, 
Sydney  James.  Producer  Anthony  Hinds.  Director  Val 
Guest.  Science-fiction.  84  min. 

GUNSIGHT  RIDGE  Joel  McCrea.  Mark  Stevens.  Pro- 
ducer Robert  Bassler.  Director  Francis  Lyon.  Western. 
Stranger  discovers  respected  citizen  is  really  a  holdup 
man.  85  min. 

SATCHMO  THE  GREAT  Louis  Armstrong.  Edward  R. 
Murrow,  Leonard  Bernstein.  Producers  Edward  R.  Mur- 
row  and  Fred  W.  Friendly.  Film  story  of  Louis  Arm- 
strong's international  jazz  tour.  63  min. 
STREET  OF  SINNERS  George  Montgomery,  Geraldine 
Brooks.  Producer-director  William  Berke.  Drama. 
Rookie  policeman  clashes  with  youthful  criminals. 
76  min. 

Coming 

BABYFACE  NELSON  Mickey  Rooney,  Carolyn  Jones. 
Sir  Cedric  Hardwicke.  Producer  Al  Zimbalist.  Director 
Don  Siegel. 

EDGE  OF  FURY  Michael  Higgins,  Lois  Holmes.  Pro- 
ducer Robert  Gurney,  Jr.  Directors  Robert  Gurney, 
Jr.  and  Irving  Lerner.  Suspense  Thriller  based  on  the 
novel  "Wisteria  Cottage". 


HELL  BOUND  John  Russel,  June  Blair.  Producer  How- 
ard Koch.  Director  William  Hole,  Jr.  Melodrama. 
Story  of  a  conspiracy  to  hijac k  a  shipment  of  narcotics. 
ISLAND  WOMEN  Marie  Windsor,  Vince  Edwards.  Pro- 
ducer-director William  Berke.  Musical.  Calypso  film 
filmed  in  the  Bahama  Islands. 

MUSTANG  Jack  Beutel,  Madalyn  Trahey.  Producer 
Robert  Arnell.  Director  Peter  Stephens.  Western 
Drama. 


PATHS  OF  GLORY  Kirk  Douglas,  Ralph  Meeker. 
Adolphe  Meniou.  Producer  James  B.  Harris  Director 
Stanley  Kubrick. 

OUIET  AMERICAN  Audie  Murphy,  Michael  Redgrave, 
Claude  Dauphin.  Figaro  Production.  Director  Joseph 
Mankiewicz.  Drama.  Story  set  against  the  recent 
fighting  in  IndoChina. 

RIDE  OUT  FOR  REVENGE  Rory  Calhoun,  Gloria  Gra- 
hame.  Joanne  Gilbert.  Producer  Norman  Retchin.  Di- 
rector Barney  Girard. 

TIME  LIMIT  Richard  Widmark,  Richard  Basehart.  Pro- 
ducer William  Reynolds.  Director  Karl  Maiden. 
VIKINGS.  THE  Kirk  Douglas.  Tony  Curtis,  Ernest  Borg- 
nine.  Producer  Jerry  Bresler.  Director  Richard  Fleischer. 
WINK  OF  AN  EYE  Jonathan  Kidd,  Doris  Dowling, 
Irene  Seidner.  Producer  Fernando  Carrere.  Director 
Winston  Jones. 

WITNESS  FOR  THE  PROSECUTION  Tyrone  Power. 
Marlene  Dietrich.  Charles  Laughton.  Producer  Arthur 
Hornblow,  Jr.  Director  Billy  Wilder. 


U  N  I  VERSA  L- 1  NT'  L 


July 

JOE  BUTTERFLY  CinemaScope,  Technicolor.  Audie 
Murphy  George  Nader,  Keenan  Wynn,  Producer 
Aaron  Rosenberg.  Director  Jessie  Hibbs.  Comedy. 
Story  of  American  newsmen  in  Tokyo  after  Japanese 
surrender.  90  min. 

TAMMY  AND  THE  BACHELOR  Cinemascope,  Techni- 
color. Debbie  Reynolds,  Leslie  Nielson.  Producer  Aaron 
Rosenberg.  Director  Joe  Pevney.  Comedy.  Story  of  a 
young  girl,  her  grandfather  and  a  young  man  who  falls 
in  love  with  her.  8?  min.  5/27. 

August 

LAND  UNKNOWN.  THE  Jock  Mahoney  Shawn  Smith. 
Producer  William  Alland.  Director  Virgil  Vogel. 
Science-fiction.  Polar  expedition  finds  Mesozoic  age 
in  Antarctic  expedition.    78  min 

MIDNIGHT  STORY,  THE  CinemaScope.  Tony  Curtis 
Mansa  Pavan.  Producer  Robert  Arthur.  Director  Joseph 
Pevney.  Drama.  Rookie  cop  seeks  murderer  of  parish 
priest.  89  min.  6/24. 

NIGHT  PASSAGE  Technirama,  Technicolor.  James 
Stewart,  Audie  Murphy,  Dan  Duryea.  Producer  A. 
Rosenberg.  Director  James  Neilson.  Drama.  Payroll 
robbers  are  foiled  by  youngster  and  tough-fisted  rail- 
roader. 90  min.  6/24. 

September 

INTERLUDE  Technicolor,  CinemaScope.  June  Allyson, 
Rossano  Brazzi.  Producer  Ross  Hunter.  Director  Douglas 
Sirk.  Drama.  American  doctor  falls  in  love  with  wife 
of  famous  composer  in  Munich.  89  min.  6/24. 
JET  PILOT  Technicolor,  Supericope.  John  Wayne, 
Janet  Leigh.  Howard  Hugnes  Production.  Producer 
Jules  Furthman  Director  Jo'sef  von  Sternoera.  Drama. 
The  story  cf  a  Rus:idn  woman  pilot  and  an  'American 
let  ace.  I  19  min. 


JOE  DAKOTA  Eastman  Color.  Jock  Mahoney.  Luana 
Patten  Producer  Howard  Christie.  Director  Richard 
Bartlett.  Drama.  Stranger  makes  California  oil  town 
see  the  error  of  its  ways.    79  min. 

RUN  OF  THE  ARROW  Technicolor.  Rod  Steiger.  Sarita 
Montiel.  Ralph  Meeker.  Producer-director  Sam  Fuller. 
Adventure.  Young  sharpshooter  joins  Sioux  Indians  at 
close  of  Civil  War.  86  min.  6/24. 

SLAUGHTER  ON  TENTH  AVENUE  CinemaScope  Rich- 
ard  Egan.  Jan  Sterling,  Dan  Duryea.  Producer  Albert 
Zugsmith.  Director  Arnold  Laven.  An  expose  of  New 
York  waterfront  warfare. 

THAT  NIGHT  John  Beal,  Augusta  Dabney,  Sbepperd 
Strudwick.  Producer  Hiram  Brown.  Director  John 
Nnwlnnd.  Drama.  A  tragedy  almost  shatters  ■  15- 
year. old  marriage.  88  min. 

October 

MAN  OF  A  THOUSAND  FACES  CinemaScope  James 
Cagney,  Dorothy  Malone.  Producer  Robert  Arthur.  Di- 
rector Joseph  Pevney.  Drama.  Life  story  of  Lon  Chaney. 

I2S  min.  7/22. 

OUANTEZ  CinemaScope.  Eastman  Color.  Fred  Mac- 
Murray.  Dorothy  Malone.  Producer  Gordon  Kay.  Direc- 
tor Harry  Keller.  Drama.  A  study  of  five  people  in- 
volved in  a  robbery  and  killing.  80  min.  9/2. 

UNHOLY  WIFE.  THE  Technicolor.  Diana  Dors,  Rod 
Steiger,  Marie  Windsor.  Producer-director  John  Far- 
row. Drama.  A  wife  cunningly  plots  the  death  of  her 
husband  who  she  has  betrayed.  94  min.  9/2. 


Coming 


ALL  MINE  TO  GIVE  Eastman  Color  Glynis  Johns 
Cameron  Mitchell.  Rex  Thompson.  Producer  Sam  Weis- 
enthal.  Director  Allen  Reisner.  Drama.  The  story  of  a 
Scottish  immigrant  couple  in  Wisconsin  in  the  19th 
century. 

AMAZONS.  THE  Color.  Don  Taylor,  Giana  Sigale. 
Producer-Director  Curt  Siodnak. 

CHRITTMAS  IN  PARADISE  Color.  Dan  Duryea.  Jan 
Sterlinq.  Producer  S"  Gomberg.  Director  Jack  Sher. 
BIG  BEAT,  THE  Color.  William  Reynolds,  Andra  Mar- 
tin. Producer-Director  Will  Cowan. 

DAMN  CITIZEN  Keith  Andes  Margaret  Hayes,  Gene 
Evans.  Producer  Herman  Webber.  Director  Robert 
Gordon. 

DARK  SHORE.  THE  CinemaScope.  George  Nader.  Cor- 
nell Borchers,  Michael  Ray.  Producer  Robert  Arthur. 
Director  Abner  Biberman. 

DOCTOR  AT  LARGE  Dick  Bogarde,  Muriel  Pavlow.  A 
Rank  Production.  Director  Ralph  Thomas.  Comedy.  Ad- 
ventures of  an  English  physician.  98  min.  6/24. 

ESCAPADE  IN  JAPAN  Color.  Teresa  Wright,  Cameron 
Mitchell,  Jon  Provost,  Roger  Nafagaws.  Producer-direc- 
tor Arthur  Lubin.  Search  for  two  boys  who  start  out 
in  the  wrong  direction  to  find  the  very  people  who 
are  trying  to  find  them. 

FEMALE  ANIMAL.  THE  CinemaScope.  Hedy  Lamarr, 
Jane  Powell,  Jan  Sterling.  Producer  Albert  Zugsmith. 
Director  Harry  Keller. 

GIRL  MOST  LIKELY.  THE  Eastmai  Color.  Jane  Powell. 
Cliff  Robertson,  Keith  Andes.  Producer  Stanley  Rublin. 
Director  Mitchell  Lniton.  Comedy.  A  girl  is  proposed 
to  by  three  men  on  the  same  day. 

I  MARRIED  A  WOMAN  George  Gobel,  Diana  Dors. 
Adolph  Menjou.  Producer  William  Bloom.  Director  Hal 
Kanter.  Coemdy.  Wife  objects  to  taking  second  place 
to  a  beer  advertising  campaign  with  her  husband. 
LADY  TAKES  A  FLYER.  THE  CinemaScope,  Color.  Lana 
Turner,  Jeff  Chandler,  Richard  Denning.  Producer  Wil- 
liam Alland.  Director  Jack  Arnold. 

MONOLITH  MONSTERS,  THE  Grant  Williams,  Lola 
Albright.  Producer  Howard  Christie.  Director  John 
Sherwood.  Science-fiction.  Army  of  rocks  threaten  U.S. 
MY  MAN  GODFREY  CinemaScope,  Technicolor.  June 
Allyson  David  Niven.  Producer  Ross  Hunter.  Director 
Henry  Koster.  Comedy.  Story  of  a  topsy-turvy  butler. 
92  min.  9/2. 

PYLON  CinemaScope.  Rock  Hudson,  Robert  Stack, 
Dorothy  Malone,  Jack  Carson.  Producer  Albert  Zug- 
smith. Director  Douglas  Sirk.  Drama.  Reporter  un- 
covers World  War  I  hero  of  the  Lafayette  Escadrille. 
RAW  WiND  IN  EDEN  CinemaScope  Color.  Fsther 
Williams  Jeff  Chandler.  Producer  William  Alland. 
Director  Richard  Wilson. 

SEEDS  OF  WRATH  CinemaScope.  Jeff  Chandler,  Orson 
Welles  Producer  Albert  Zugsmith.  Director  Jack  Ar- 
nold. Drama.  Sheriff  destroys  one-man  domination  of 
Texas  town. 

SLIM  CARTER  Color.  Jock  Mahoney  Juie  Adams. 
Tim  Hovey.  Producer  Howie  Horwitz.  Director  Richard 
Bartlett. 

SUMMER  LOVE  John  Saxon,  Judy  Meredith.  Producer 
William  Grady,  Jr.  Director  Charles  Haas. 
VIOLATORS,  THE  Arthur  OConnell,  Nancy  Malone. 
Producer  H.  Brown.  Director  John  Newland.  Drama. 
Story  of  a  probation  officer  in  the  New  York  City 
courts. 

WESTERN  STORY,  THE  CinemaScope.  Color.  Jock 
Mahoney,  Gilbert  Roland.  Producer  Howard  Chriitie. 
Director  George  Sherman. 


WARNER  BROTHERS 


July 

CURSE  OF  FRANKENSTEIN.  THE  Peter  Cushing,  Hazel 
Court.  Robert  Urqhart.  Producer  M.  Carreras.  Direc- 
tor Terence  Fisher.  Horror.  83  min.  7/8. 

PRINCE  AND  THE  SHOWGIRL,  THE  Color.  Marilyn 
Monroe,     Laurence    Olivier,    Dame    Sybil  Thorndykn. 


RISING  OF  THE  MOON.  THE  Eileen  Crowe.  Cyril 
Cusack,  Frank  Lawton.  Directed  by  John  Ford.  >hr«» 
Irish  stories  with  Tyrone  Power  narrator.  81  min.  7/22 
X— THE  UNKNOWN  Dean  Jagger,  William  Ruis.il. 
Producer  A.  Hinds.  Director  Leslie  Norman  Sclencn- 
fiction.  Keen  minded  scientist  fights  awesome  creation. 

August 

EAND  OF  ANGELS  WarnerColor    Clark  Gable.  Yvonnn 
De  Carlo    Director  Raoul  Walsh    Drama.  81  min.  7/22 
JAMES   DEAN   STORY.  THE  A  film  biography  of  the 
late  movie  star.  82  min. 

PAJAMA  GAME.  THE  Warner  Color  Doris  Day.  John 
Raitt  Carol  Haney  Producers  G.  Abbot,  F  Brnc-.n. 
R.  Griffith,  H.  Prince.  Director  Stanley  Donen.  Filmun- 
tion  of  the  Broadway  musical. 


September 


BLACK  PATCH  George  Montgomery  Producer  George 
Montgomery.  Director  Alan  Miner.  Western  83  mm. 
WOMAN  IN  A  DRESSING  GOWN  Yvonne  Mitchell. 
Anthony  Quayle,  Sylvia  Syms.  Producer  Frank  Godwin. 
Director  J.  Lee-Thompson.  A  wife's  happiness  is  threa- 
tened by  a  younger  woman. 

October 

BLACK  SCORPION.  THE  Richard  Denning.  Mara  Cor- 
day.  Carlos  Rivas.  Horror.  88  min 

HELEN  MORGAN  STORY.  THE  CinemaScope  Ann 
Blyth.  Paul  Newman  Pr--du'er  Martin  Rackin  Director 
Michael  Curtiz   Drama.  80  min. 


Coming 


BLONDE  AND  DANGEROUS  Sally  Brophy,  Carla 
Merey,  Susan  O'iver  An  Arwin  Production.  Director 
Bernard  Girard.  Producer  Martin  Melcher.  Melodrama. 
Life  in  a  qirl's  correction  school. 

CHASE  A  CROOKED  SHADOW  Richard  Todd.  Ann 
Baxter.  Producer  Douglas  Fairbanks.  Director  Michael 
Anderson.  Melodrama. 

DARBY'S  RANGERS  WarnerColor.  Charles  Hestcn,  Tab 
Hunter,  Etchika  Choureau.  Producer  Martin  Rackin.  Di- 
rector William  A.  Wellman. 

DEEP  SIX,  THE  Jaguar  Prods.  A';n  Ladd,  Dianne  Fos- 
ter. Producer  Martin  Rackin.  Director  Rudy  Mate. 
FIFTEEN  EULLETS  FROM  FORT  DOBBS  Clint  Walker 
Virginia  Mayo.  Producer  Martin  Rackin.  Director  Gor- 
don Douglas. 

LEFT  HANDED  GUN.  THE  Paul  Newman,  Lita  Milan. 
Producer  Fred  Coe.  Director  Arthur  Penn. 
NO  SLEEP  TILL  DAWN  CinemaScope.  WarnerColor. 
Karl  Maiden  Natalie  Wood.  Producer  Richard  Whorf. 
Director  Gordon  Douglas.  Story  of  the  men  who  man 
the  bombers  that  defend  our  nation. 

NO  TIME  FOI  SERGEANTS  Andy  Griffith,  Myron  Mc- 
Cormick,  Nick  Adams.  Producer-Director  Mervyn  Le- 
Roy. 

OLD  MAN  AND  THE  SEA,  THE  CinemaScope,  Warner- 
Color.  Produced  by  Le'and  Hayward.  Director  John 
Sturges  Adventure.  Film  version  of  Ernest  Heming- 
way's prize-winning  r.ovel. 

STAKEOUT  ON  DOPE  STREET  Producer  Andrew  Fenady. 
Director  Irvin  Kershner. 

SAYONARA  Technirama,  WarnerColor.  Marlon  Brando, 
Red  Buttons,  Patricia  Owens.  Producer  W'  liar,  Goetz. 
Director  Josh  Logan  Drama.  Based  on  »Se  award- 
winning  novel  of  James  Michener. 

STORY  OF  MANKIND  WarnerColor.  All-ftar  cast. 
Drama . 

TENDER  FURY  Susan  Oliver.  Linda  Reynolds,  Carla 
Merey.  Producer  Martin  Melcher.  Director  Bernard 
Girard. 

WITH  YOU  IN  MY  ARMS  CinemaScope,  WarnerColor. 
Tab  Hunter.  Etchika  Choureau.  J.  Carrol  Naish.  Pro- 
ducer-Director William  A.  Wellman.  Drama.  Lives  and 
times  of  a  select  squadron  of  fighter  pilots  in  WWI. 


To  Better  Serve  You  .  .  . 

Office  &  Terminal  Combined  At 
30S  N.  12th  St.  N«w  Phones 

.......    ,    „  Phila:   WAInut  5-31 

hiladelphia  7,  Pa.         N  j  .  wOodlawn  ' 

NEW  JERSEY 
MESSENGER  SERVICE 

Member  Xational  Film  Carriers 


DEPENDABLE  SERVICE! 

CLARK 
TRANSFER 

Member  National  Film  Carriers 

Philadelphia,  Pa.:  LOcust  4-345B 
Washington,  D.  C:  DUpont  7-7200 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


Wtutk 

has  fa  most 


BULLETIN 


1% 

BULLETIN 


EPTEMBER  30,  1957 


Business-wise 

Analysis  of 
the  New  Films 


1 

FILM  OF 

1 

DISTINCTION 

LES  GIRLS 

Other  Reviews: 

STOWAWAY  GIRL 
THE  GOLDEN  VIRGIN 
SLIM  CARTER 
TIME  LIMIT 
NO  DOWN  PAYMENT 
E  HELEN  MORGAN  STORY 
J  FT  PHOT 


Viewpoint 

More  Product 
In  the  Offing 


Head  About 

LES  GIRLS'  .  .  .  ZANUCK  .  .  .  GRIFFING 
MOVIE  STOCKS  ...  THE  TOLL-TV  RULING 


x 


^%ai  SAwtKansfy™  the  U"1  manner  backed  with  a 

NATIONAL  MAGAZINE  AD  CAMPAIGN . ..aimed  to 
PRE-SELL  more  than  40,000,000  Happy  Readers! 


WORLD  PREMIERE  ENGAGEMENTS 
ROXY  THEATRE,  NEW  YORK  •  October  11th. 
GRAUMAN'S  CHINESE,  HOLLYWOOD  •  October  18th. 


He  was  hired  to  buttle 
BUT,  oh,  what  a  battle 
when  each  girl  demanded 
his  very  special  services! 


JUNE  ALLYSON  DAVID  MEN 


CinemaScoPE  .^tW^color 


L* JESSIE  ROYCE  LANDIS  •  ROBERT  KEITH 
EVA  GAB0R  •  JAY  ROBINSON  -JEFF  DONNELL 

UCMDV  l/nCTL"D  Screenplay  by  EVERETT  FREEMAN,  PETER  BERNEIS  and  WILLIAM  BOWERS  •  Based  on  the  screenplay 
Directed  by  htlNKY  [\Uo  I  tK  by  MORRIE  RYSKIND  and  ERIC  HATCH  and  on  the  novel  by  ERIC  HATCH  •  Produced  by  ROSS  HUNTER 


19  TOP  CRITICS  TELL 


AMERICA  TO  GET  ON i  ) 


THEY  FOUGHT! 

She  said  such  nasty  things- 
arid  in  French, too! 


THEY  FLIRTED! 

Oh,  that  balcony  scene 
in  a  small  hotel! 


THEY  FELL! 

The  picture  with  a 
gleam  in  its  eye  ! 


M-G-M  presents  "THE 
HAPPY  ROAD"  starring 
GENE  KELLY  ■  with 
Barbara  Laage  •  Bobby 
Clark  •  Brigitte  Fossey 
And  Michael  Redgrave 
As  "General  Medworth" 
A  Kerry  Production 
Screen  Play  by  Arthur 
Julian,  Joseph  Morhaim 
and  Harry  Kurnitz  •  Music 
by  Georges  Van  Parys 
Associate  Producer  Noel 
Howard  •  Produced  and 
Directed  by  Gene  Kelly 
An  M-G  M  Release 


1—  "A  real  treat. "  -variety 

2—  "Picture  of  the  Month."  -Redbook 

3—  "Picture  of  the  Month."  —  Coronet 

4—  "Picture  of  the  Month."  —  Good  Housekeeping 

5—  "Had  me  holding  my  sides  with  laughter." 

— Bennet  Cerf  in  Saturday  Review 

6—  "Highly  amusing !  Lively!  Charming!  Gene  Kelly 

outstanding."  —  Crowther  in  N.  Y.  Times 

7—  "Happy  cinematic  event.  Excellent."  -Gilbert  in  n.y.  Minor 

8—  "Special  award.  Endearingly  human."  — Parents'  Magazine 

9—  "A  happy  blend  of  inspiration,  imagination  and  fun." 

—  Cook  in  World-Telegram 

10—  "Gene  Kelly  comedy  a  hit!  Highly  amusing  adventures.' 

— Dorothy  Masters  in  N.  Y.  Daily  News 

11—  "A  happy  comedy  against  charming  backgrounds  of 

French  countryside."  —  Rose  Pelswick  in  N.  Y.  Journ.-Amer. 

12—  "Enchanting.  Full  of  laughs.  I  loved  it." 

—  Dorothy  Kilgallen  on  WOR  Radio 

13—  "Side  splitting  and  heartwarming  ...  a  delightful  offbeat 

COmedy."  -Hollywood  Reporter 

14—  "Perfect  family  picture . . .  imaginative,  and  gay."-F//m  Daily 

15—  "A  happy  picture  for  adults  and  youngsters." 

— Independent  Film  Journal 

16—  "One  of  the  surprise  hits  of  the  season."  -Film  Bulletin 

17—  "Good,  solid  film  for  youngsters,  oldsters  or  a 

combination  of  both."  -m.  p.  Exhibitor 

18—  -"A  charming  comedy.  Plenty  of  laughs."  — Zunser  in  Cue 

19—  "A  delightful  comedy.  'THE  HAPPY  ROAD'  should  be 

seen  and  taken."  —  Common  weal 


i^iewpotnts 

SEPTEMBER  30,  1957    *  VOLUME  25.  NO.  20 


More  Product 

There  are  hopeful  signs  that  the  ex- 
hibitors' most  vexing  problem,  the 
product  shortage,  will  be  alleviated  sub- 
tantiallv  in  the  not  too  distant  future. 

The  straws  in  the  wind  have  been 
increasing  steadily  to  point  in  the  direc- 
tion of  more  pictures.  A  number  of 
new  production-distribution  companies 
have  sprung  up,  and  are  finding  exhibi- 
tors eager  to  snap  up  their  offerings. 
To  the  bafflement  of  those  who  have 
preached  and  practiced  the  theory  of  a 
limited  output  of  high-budget  produc- 
tions, these  modest  films  have  earned 
surprisingly  good  returns. 

Among  the  major  suppliers,  20th 
Century-Fox  and  United  Artists,  for  in- 
stance, with  a  prodigious  volume  of 
supporting  films  to  bolster  their  top 
products,  have  prospered  steadily,  en- 
couraging independent  production  to 
step  up  the  pace.  Other  majors  are  talk- 
ing of  increasing  their  schedules. 

The  hunger  of  thousands  of  theatres 
for  additional  product  is  being  ap- 
peased to  some  extent  by  other  sources. 
James  H.  Nicholson's  American  Inter- 
national, a  fast-rising  independent,  is 
rolling  up  some  surprising  grosses  with 
its  gimmick  package  double  features. 
Nicholson,  an  old-fashioned,  two-fisted 
showman  with  modern-day  ideas,  is 
making  some  of  Hollywood's  veteran 
producers  sit  up  and  take  notice  of  his 
"packages  of  dynamite"  as  he  calls 
them. 

The  Rank  Film  Distributors  of  Amer- 
ica, wetting  their  feet  in  this  market, 
are  getting  the  feel  of  the  American 
way.  Backed  by  the  domestic  brand  of 
showmanship,  it  is  not  unlikely  that 
more  British  films  than  ever  before  will 
fill  the  bill  for  product-starved  theatres. 

With  Herbert  J.  Yates  having  re- 
jected the  offer  for  Republic,  we  hear 
reports  that  he  is  contemplating  a  re- 
activation of  that  long-dormant  studio 
for  production  of  theatre  films. 

Now  comes  the  promise  of  still  more 


in  the  Offiny 

product  from  the  exhibition  field. 
American  Broadcasting-Paramount  The- 
atres, one  of  the  two  former  affiliated 
circuits  not  enjoined  by  the  Govern- 
ment decree  from  entering  production, 
has  jumped  prominently  into  the  sup- 
ply picture  with  a  15-film  schedule  for 
1958,  a  sharp  setup  from  the  5-picture 
slate  due  for  completion  this  year. 

Most  significant  of  all  the  markers 
pointing  toward  a  more  abundant  sup- 
ply is  the  Department  of  Justice  invi- 
tation to  the  divorced  circuits,  as  well 
as  other  important  exhibition  and  pro- 
duction interests,  to  meet  in  Washing- 
ton, October  10  for  "a  broader  ex- 
change of  views  on  the  subject." 

In  the  light  of  the  completely 
changed  industry  situation  since  the  de- 
crees were  handed  down,  and  the  per- 
sistent requests  from  National  Theatres 
and  Stanley  Warner  for  permission  to 
enter  production,  the  Justice  Depart- 
ment bid  is  tantamount  to  a  green  light 
to  the  former  affiliates.  National,  S-W 
and  Loew's,  to  begin  making  and  dis- 
tributing pictures.  Obviously  restricted 
ethically  from  giving  the  production 
go-ahead  to  any  one  of  the  three  chains 
barred  by  the  decree  without  doing  the 
same  for  the  others,  the  Government 
can  now  with  clear  conscience  place  its 
blessing  on  production  by  all  three. 

Both  Allied  and  TOA  will  un- 
doubtedly back  the  Government's  ap- 
proval of  production  by  the  circuits  so 


BULLETIN 


Film    BULLETIN:    Motion    Picture    Trade  Paper 
published  every  other  Monday  by  Wax  Publi- 
cations   Inc.     Mo  Wax,   Editor  and  Publisher. 
PUBLICATION. EDITORIAL  OFFICES:    123?  Vine 
Street,  Philadelphia  7,  Pa.,  LOcust  8-0950.  0951. 
Philip    R.    Ward,    Associate    Editor:  Leonard 
Coulter     New   York   Associate   Editor;  Duncan 
G.   Steck,   Business   Manager;   Marvin  Schiller. 
Publication  Manager;  Robert  Heath,  Circulation 
Manager.  BUSINESS  OFFICE:  522  Fifth  Avenue, 
New    York    34,    N.    Y.,    MUrray    Hill  2-3631; 
Wm.  R.   Maiiocco,   Editorial  Represen- 
tative.   Subscription  Rates:  ONE  YEAR, 
J3.00  in  the  U.  S.;  Canada.  $4.00;  Eu- 
rope   $5.00.  TWO  YEARS:  $5.00  in  the 
U.  S.;  Canada,  $7.50;  Europe,  $9.00. 


long  as  there  is  assurance  that  this  prod- 
uct will  be  available  to  all  exhibitors. 

Barring  any  unforeseen  opposition  at 
this  meeting,  therefore,  there  is  every 
likelihood  that  next  year  will  see  pic- 
tures being  made  by  at  least  two  of  the 
presently  restricted  trio. 

On  the  basis  of  such  concrete  devel- 
opments, theatremen  of  this  country 
may  at  long  last  find,  at  least  to  a 
degree,  the  answer  to  the  debilitating 
product  shortage.  The  prognostication 
here  is  more  pictures  and  more  picture 
companies  in  1958.  The  news  is  cause 
for  cheering  by  exhibition. 

Movies9 

Fro  n  k  n  s  tein 

The  following  is  from  a  recoil  bulletin  to 
members  of  Allied  Theatre  Owners  of 
Indiana: 

A  perusal  of  TV  GUIDE  (Septem- 
ber 14  to  20)  may  explain  where  some 
of  our  customers  have  been  since  Labor 
Day.  The  local  listings  of  this  weekly 
guide  include  the  programs  of  only  8 
stations  in  this  area,  but  in  this  one  par- 
ticular week  on  a  rough  count  we  found 
no  less  than  120  Hollywood  movies 
programmed  for  home  viewers. 

Would  you  guess  how  much  less  the 
impact  of  TV  might  have  been  on  the- 
atres if  the  producer-distributors  had 
not  strengthened  exhibitors'  severest 
competition  with  such  quantity  and 
quality  of  programming?  The  sale  of 
product  to  TV  must  certainly  prove 
what  would  happen  if  Toll-TV  becomes 
a  reality  and  makes  it  economically  pos- 
sible for  TV  to  acquire  the  most  expen- 
sive and  newest  Hollywood  films. 

When  millions  of  movie  fans  can  no 
longer  go  out  to  the  movies  or  have  no 
local  theatre  to  attend  it  will  slowly  but 
surely  wither  away  most  of  the  remain- 
ing bigger  theatres  until  finally  nothing 
but  a  handful  of  show  cases  in  the  very 
biggest  cities  will  be  left.  All  exhibi- 
tion must  fight  Toll-TV.  And  all  exhib- 
itors must  insist  that  their  suppliers 
give  adequate  clearance  over  free  TV. 


Film  BULLETIN    September  30,   1957        Page  5 


Conciliation  Becomes  a  Fact 


After  much  delay  the  first  segment  of  the  proposed  smoother  day-by-day  relations  between  pirn  buyers 
conciliation-arbitration  plan  has  been  developed  and  and  sellers.  The  system  is  voluntary:  no  theatreman 
accepted  by  the  joint  exhibitor-distributor  uegotiat-  is  obligated  to  accept  its  provisions.  But,  pending 
i>H>  committee.  Reprinted  beloiv  is  the  text  of  the  agreement  upon  an  arbitration  system,  the  concilia- 
conciliation  system  which  will  be  effective  November  tion  plan  does  make  available  stop-gap  machinery 
I.  While  this  plan  hardly  provides  a  panacea  for  our  for  settlement  of  differences  that  might  lead  to  lit- 
iudustry's  ills,  it  is  a  step  in  the  direction  where  lies  igatiou.  — Editors  Note. 


Section  1. — Controversies  which  an  exhibitor  has  not  been 
able  to  settle  with  a  particular  distributor,  arising  out  of  an 
existing  or  a  proposed  relationship  between  such  exhibitor  and 
distributor,  including  (but  without  limitation)  controversies 
which  are  subject  to  arbitration  under  a  proposed  arbitration 
agreement,  shall,  if  the  exhibitor  so  desires,  be  submitted  to 
conciliation  in  an  endeavor  to  dispose  of  such  controversies 
amicably,  informally  and  quickly,  and  thereby  to  avoid  arbitra- 
tion or  litigation  wherever  possible. 

Section  2.  Conciliation  shall  be  conducted  as  follows: 
(a)  An  exhibitor  desiring  a  meeting  for  the  purpose  of 
conciliation  shall  send  to  the  branch  manager  of  the  distribu- 
tor at  the  Exchange  from  which  the  exhibitor's  theatre  is 
served,  a  written  request  for  such  a  meeting,  and  shall  state  in 
such  request  the  controversy  or  controversies  with  such  dis- 
tributor to  be  conciliated,  and  may  name  therein  one  person 
not  an  attorney  who  will  accompany  him  and  assist  in  the  ef- 
forts of  conciliation. 

By  mutual  agreement  of  the  exhibitor  requesting  conciliation 
and  the  distributor,  third  parties  who  may  be  affected  by  the 
matter  to  be  conciliated  may  be  invited  to  attend  the  con- 
ciliation meetings.  The  failure  of  either  party  to  agree  to  the 
invitation  of  such  third  parties  shall  not  reflect  on  the  merit 
of  the  position  taken  by  such  party  and  the  conciliation  meet- 
ing shall  proceed  without  such  third  party  or  parties. 

The  exhibitor,  in  his  request  for  conciliation,  may  name 
third  parties  who  may  be  affected  by  the  matter  to  be  con- 
ciliated to  be  invited  to  the  conciliation  meeting. 

If  the  branch  manager  agrees  that  any  such  third  parties 
should  be  invited  he  shall  promptly  send  a  copy  of  the  exhib- 
tor's  request  for  conciliation  to  such  third  parties,  specifying 
the  time  and  place  of  the  conciliation  meeting. 

The  branch  manager  may  also  name  third  parties  who  may 
be  affected  by  the  matter  to  be  conciliated,  and  upon  procur- 
ing the  written  assent  of  the  exhibitor  as  to  any  of  such  third 
parties,  shall  promptly  send  a  copy  of  the  exhibitor's  request 
for  conciliation  to  such  third  parties,  specifying  the  time  and 
place  of  the  conciliation  meeting. 

Each  third  party  so  invited  may  attend  the  conciliation  meet- 
ing with  one  person  not  an  attorney.  The  conciliation  meeting 
shall  proceed  on  the  scheduled  date  with  the  exhibitor  and 
those  third  parties  invited  who  elect  to  attend. 

(b)  The  meeting  shall  take  place  in  the  Exchange  between 
the  exhibitor,  his  associate  if  named,  and  the  branch  manager 
and  one  person  not  an  attorney  with  the  branch  manager,  on 
the  first  Monday  or  Friday,  as  specified  by  the  distributor  in 
advance,  following  the  lapse  of  seven  days,  and  if  third  parties 
are  invited  fourteen  days,  after  the  receipt  of  such  request. 

(c)  If  a  conclusion  satisfactory  to  both  parties  is  not 
reached  at  the  conciliation  meeting,  the  request  of  the  exhibitor 


shall  be  deemed  rejected  unless  the  branch  manager  at  the 
meeting  requests  additional  time  to  consider  the  exhibitor's 
request,  in  which  event  the  branch  manager  shall  notify  the 
exhibitor  as  speedily  as  possible  but  not  later  than  twenty-one 
days  after  the  conciliation  meeting  of  the  conclusion  reached 
by  him  on  the  exhibitor's  request. 

(d)  If  the  exhibitor  or  any  third  party  invited  to  and  who 
did  attend  the  conciliation  meeting  is  dissatisfied  with  the  dis- 
position of  the  exhibitor's  request  at  the  conciliation  meeting 
by  the  branch  manager  or  thereafter,  as  provided  in  (c)  he 
may  apply  in  writing  to  the  general  sales  manager  of  the  dis- 
tributor for  a  further  meeting  with  respect  thereto.  Such  meet- 
ing shall  be  held  at  the  distributor's  Home  Office  at  a  time  to 
be  fixed  by  the  general  sales  manager  on  seven  days'  written 
notice  to  the  exhibitor,  and  shall  be  attended  by  the  exhibitor 
or  anyone  designated  by  the  exhibitor  to  represent  him  and 
not  more  than  one  other  person  (who  may  be  an  attorney), 
and  the  general  sales  manager  or  a  sales  manager  designated 
by  him,  and  not  more  than  one  other  person  of  his  selection 
(who  may  be  an  attorney). 

Third  parties  who  were  invited  to  and  did  attend  the  con- 
ciliation meeting  shall  be  invited  to  attend  the  meeting  at  the 
distributor's  Home  Office  aforesaid.  Each  such  third  party  or 
anyone  designated  by  such  party  and  not  more  than  one  other 
person  (who  may  be  an  attorney)  may  attend  such  meeting. 

(e)  The  exhibitor  and  the  distributor  may  arrange  the 
conciliation  meetings  with  the  branch  manager  or  general  sales 
manager,  respectively,  at  any  time  or  place  and  with  such  addi- 
tional personnel  mutually  satisfactory,  without  regard  to  sub- 
divisions (a)  to  (d)  inclusive  of  this  Section. 

Section  3. — The  function  of  the  associates  of  the  exhibitor 
or  third  parties  and  the  distributor  shall  be  limited  to  the  en- 
deavor to  assist  in  the  disposition  of  the  controversies  being 
conciliated.  Neither  the  exhibitor  nor  the  distributor  shall  be 
under  any  obligation  to  dispose  of  the  controversy  under  con- 
ciliation in  the  manner  proposed  by  the  other  party,  and  the 
judgment  and  good  faith  of  any  party  shall  not  be  questioned 
by  reason  of  the  failure  to  dispose  of  any  such  controversy. 

Section  4. — (a)  The  discussions  in  regard  to  conciliation 
shall  be  confidential  and  without  prejudice,  and  the  exhibitor 
and  the  distributor  and  third  parties  invited  and  who  attend, 
and  their  respective  associates,  by  participating  in  the  concilia- 
tion meetings,  agree  that  nothing  said,  written  or  done  by  any 
party  in  or  in  connection  with  the  conciliation  shall  constitute 
an  admission  or  statement  against  interest,  or  be  used  as  such. 

(b)  Conciliation  hereunder  is  not  intended  to  change,  in- 
terefere  with  or  delay  the  usual  negotiations  between  an  exhib- 
itor and  a  distributor  for  the  licensing  of  pictures. 

(c)  Conciliation  hereunder  shall  not  bar  an  exhibitor  from 
resorting  to  arbitration  or  to  litigation. 


Page  6       Film  BULLETIN    September  30.  1957 


HOW  TO  BUY  A  MOVIE  STOCK.  The  most  obvious  method, 
as  the  senior  Vanderbilt  once  volunteered,  is  with  money. 

Beyond  this  homey  platitude  the  road  is  befogged  with  im- 
ponderables. 

Though  it  may  make  some  investment  counselors  purple,  one 
does  not  generally  evaluate  a  movie  share  in  terms  of  ratios, 
yields  and  the  commonplace  statistical  criteria.  Movie  shares 
are  entertained  in  terms  of  guts,  devotion  to  the  medium,  and 
that  most  reliable  barometer  of  right  or  wrong  judgment  that 
mere  mortals  are  capable  of  calling  upon:  simple  intuition. 

In  short,  the  act  of  assessing  a  motion  picture  security  is  not 
wholly  unlike  the  black  genuflections  of  the  voodoo  ritual. 

In  support  of  the  foregoing  is  the  legion  of  learned  invest- 
ment studies  exhorting  readers  to  purchase  this  situation  or  that 
in  view  of  discrepancies  in  the  earnings-to-price  ratios,  dis- 
parities between  book  and  market  price  and  a  flock  of  addi- 
tional paper  and  pencil  anomalies. 

0 

A  pox  on  the  academic  way.  For  all  its  weighty  schoolman- 
ship  Wall  Street  bats  a  miserable  .100  in  the  tout-and-pray  de- 
partment. That  it  has  been  right  even  infrequently  is  a  tribute 
to  the  gambler's  science  of  percentages  which  says  one  can  not 
be  forever  wrong — plus  the  gift  of  ESP  (extra-sensory  percep- 
tion (employed  by  one  obscure  researcher  some  two  summers 
ago  in  the  case  of  little  Allied  Arists.  The  academician 
in  this  case  simply  worked  himself  into  a  witches'  sabbath  with 
a  kind  of  logic  that  went  something  like  this:  "The  company 
has  corralled  Wyle,  Houston  and  Wilder  .  .  .  and  even  if  two 
out  of  three  raise  turkeys,  how  can  AA  miss.  It  figures,  fellows; 
honestly  it  figures  real  good.  I  can  feel  it.  No  kidding.  "Ap- 
plied to  the  shares  of  moviedom,  this  represents  the  scientific 
method  pure  and  undiluted.  Kudos  to  a  courageous  analyst 
well  ahead  of  his  time.  In  short  shrift,  the  price  of  this  coma- 
tose company  catapulted  two  points  plus — no  mean  achievement 
for  a  firm  selling  under  S4.00  per  share.  That  our  Homeric 
analyst  enjoyed  short-lived  prosperity  and  stands  thoroughly 
discredited  today  (AA:  27/s)  brings  no  dishonor  to  the  Method. 

In  moviedom  you've  either  got  the  feel  (ESP  again),  or 
you're  as  dead  as  the  dodo.  In  the  present  day  scheme  of  things, 
the  crafty  hunch  player  tunes  in  his  mental  antennas  to  a  great 
variety  of  frequencies  and  just  sits  back  and  lets  intuition  take 
it  from  there.  Among  those  frequencies  holding  more  than 
ordinary  meaning  today  are  the  following: 

TOLL  TV — advocates  of  this  entertainment  system  have  been 
granted  left-handed  encouragement  by  the  FCC.  Whether  lim- 
ited approval  will  eventually  ripen  into  something  more  is  a 
speculative  question  at  best.  But  the  door  is  open  at  last.  In 
dynamic  economies,  projects  beginning  like  toll-TV  often  ulti- 
mately expand  into  major  industries.  Our  feeling  is  now  that 
a  penetration  has  been  made,  there  can  be  no  stopping  the 
system's  growth  and  importance  (although  some  on  Film  BUL- 
LETIN disagree).  The  key  imponderable  is  whether  pay  tele- 
vision is  destined  to  develop  into  an  instrument  of  profit  or 
harm  to  the  moviedom  of  the  future. 

BOXOFFICE — Many  respected  commentators  on  the  industry 
scene  have  sounded  alarms  over  under-par  summer  business, 
maintaining,  with  the  ancient  cliche,  that  if  moviedom  doesn't 
make  it  in  the  sunshine,  it  never  will.  This  is  a  provocative 
question  and  raises  grave  issues.  Can  the  industry  come  back 
in  the  softer  seasons?  And  if  it  cannot — what? 


FINANCIAL 

BULLETIN 

SEPTEMBER    30,  I9S7 

By  Philip  R.  Ward 

PRODUCT — Class  and  Numbers.  One  excuse  for  the  languid 
summer  gross  is  that  an  unusual  number  of  films  from  which 
much  was  expected  just  failed  to  catch  fire.  At  the  same  time, 
a  number  of  surprises  were  recorded  from  shows  that  had  been 
considered  just  routine.  This  raises  the  need  for  a  re-examina- 
tion of  the  appeals  Hollywood  must  offer  the  public  to  attract 
paying  customers.  A  more  telling  reason  for  a  sub-summer, 
howev  er,  is  indicated  in  the  sparseness  of  merchandise  marketed 
by  distributors.  The  argument  holds  that  a  greater  arsenal  of 
product  might  have  enabled  exhibitors  to  quickly  shift  their 
sagging  attractions  and  begin  selling  anew.  Others  insist,  how- 
ever, that  the  primary  cause  for  the  summer  slump  was  the 
competition  of  old  features  on  TV.  Take  your  choice. 
IS  DEPENDENT  PRODI  (TION.  The  surest  bets  among  film 
companies  from  a  stock  standpoint,  are  those  who  supplement 
their  own  product  with  a  diet  of  independently  made  films. 
More  and  more  is  the  balance  of  talent-power  swinging  into  the 
camp  of  the  independents.  For  the  present  alone,  it  is  the 
fortunate  major  that  lines  up  the  most  successful  of  these  ele- 
ments for  financing  and  distribution  deals.  Just  how  the  rising 
independents  will  finally  affect  the  status  of  the  majors  is  one 
of  the  chief  enigmas  confronting  prospective  stock  purchasers. 

PRODUCTION  BY  EXHIBITORS.  Several  major  circuits  hav  e 
filed  for  the  right  to  enter  into  the  production  of  theatre  films. 
A  hearing  on  the  National  Theatres  petition  comes  up  October 
10.  The  outcome  of  that  meeting  will  reflect  significantly  upon 
the  stock  prices  of  both  theatre  companies  and  film  companies. 
You  can  make  a  wager,  we  suggest,  that  the  Justice  Department 
will  clear  the  legal  obstacles  away  and  let  the  theatre  chains 
go  ahead  and  produce. 

And  a  host  of  additional  signals  fill  the  air-waves.  Not  to 
be  entirely  dismissed  are  company  earnings.  In  another  enter- 
prise, income  is  the  fundamental  yardstick.  In  moviedom,  curi- 
ously, it  is  not,  at  least  not  always.  Today,  earnings  are  less  a 
factor  in  assessing  a  company  than  a  half  dozen  other  essen- 
tials. The  wildly  volatile  nature  of  theatre  film  demand  places 
the  industry  in  a  niche  all  by  itself  from  the  viewpoint  of  in- 
vestment analysis.  So,  hunch  players,  go  to  it!  Your  guess  is 
as  good  as  Wall  Street's. 

0 

EARNINGS  ANYWAY.  Just  to  side  with  the  purists,  a  nut- 
shell summary  of  the  most  recent  income  reports  are  hereby 
proferred:  Columbia — for  full  year  ended  June  29,  SI. 80  per 
share  common  vs.  S2.17  in  the  prior  12  months.  20th  Century- 
Fox— for  26  weeks  ended  June  29,  SI. 54  vs.  S.82  for  the  like 
term  the  year  before.  I'niv  ersal— for  39  weeks  ended  August  3, 
SI. 86  per  share  vs.  S2.22  for  prior  year.  United  Artists — for  the 
first  26  weeks  of  195"?,  net  income,  SI. 196,000  vs.  S989,000  for 
comparable  period  of  1956.  Paramount  expects  to  exceed  the 
S.87  per  share  net  income  earned  the  year  before  in  the  three 
month  period  ending  September  30,  1957,  says  Barney  Balaban. 


Film  BULLETIN    September  30,   1957        Page  7 


SOUND 
TO 
GIVE 
YOUR 


THE 
BEST! 


To  best  serve 
the  public  and  as  a 
convenience  to  exhibitors, 
all  release  prints  from 
20th  Century-Fox  in 

CINemaScopE 
are  now  made  with 

magOptical 

SOUND 


Get  the  FREE,  ^ 

readable, 

informative 

m 

from  your  y 
local  20th  Branch  Manager! 


TO  TELL  YDU  THE  TRUTH 

ZANUCK 
embarks  on 


That  celebrated  producer,  Darryl  Zanuck,  has 
always  been  sitting  pretty  in  the  Hollywood 
arena,  but  now  he  is  just  sitting  tight  awaiting 
the  traditional  southward  trek  of  twenty  thou- 
sand reindeers  from  one  end  of  Lapland  to  the 
other.  That  spree  of  scampering  cud-chewers  is  scheduled  as 
part  of  Mr.  Zanuck's  heralded  Cinemascope  55  entry,  an 
around-the-world  odyssey  called  "Deluxe  Tour". 

As  everyone  within  earshot  of  Charles  Einfeld  knows. 
Cinemascope  55  will  make  its  production  debut  with  this,  as 
will  so  much  of  our  hemispheres'  more  vestal  wonderlands, 
heretofore  the  private  preserves  of  anthropologists,  filthy  rich 
playboys  in  white  dinner  jackets  and  the  local  upkeep.  Mr. 
Zanuck  has  dedicated  himself,  like  Stanley,  to  finding  the  Dr. 
Livingston  beauty  of  the  world,  an  act  not  everyone  concerned 
with  seems  too  happy  about,  especially  a  few  nabobs  in  the 
Middle  East.  Nevertheless,  he  did  manage  to  shoot  40,000  feet 
of  negative,  all  breathtaking  but  unquestionably  non-strategic. 
And  while  counterspy  activities  are  hardly  Zanuck's  cup  of  tea, 
he  did  find  himself  hugely  suspect  in  areas  where  diplomatic 
nerves  have  been  lately  worn  to  a  frazzle,  so  much  so  that  in- 
siders half  expected  him  to  be  the  first  producer  winding  up 
on  a  U.N.  agenda,  an  achievement  which  would  have  been  the 
apotheosis  par  excellence  of  any  Publicity  and  Public  Relations 
Department — and  probably  the  death  of  Michael  Todd.  At  any 
rate,  though  no  such  glory  befell  him,  Mr.  Zanuck  did  return 
with  a  passport  bulging  enough  to  resemble  a  brochure  collec- 
tion and  a  set  of  after-dinner  adventures  with  which  he  pro- 
ceeded to  regale  recently  the  trade  press  at  an  early  morning, 
glass-of-water-only  conference. 

Seated  in  front  of 
an  executive-styled 
conference  table,  he 
presents  an  aura  of 
cool  and  casual  au- 
thority. There  is 
nothing  elegant 
about  him:  leathery 
faced,  small  boned, 
exhausted  -  haw  k 
eves  with  thinning 
gray  hair  and  a 
slight  cab  a  Hero 
moustache;  he  has 
anything  but  "style" 
in  the  commonly 
accepted  connota- 


4   Zanuck   makes  a 
point,  lights  a  long 
cigar  at  press  con- 
ference. 


•  By  W.  Hnbnrt  Mii/./.uTcn 

"DELUXE 
TOUR" 


tion  of  that  term.  He  could  be  one  of  those 
dishevelled  radicals  in  the  shadow  of  John 
Dewev  or  a  bootlegger  turned  respectable,  yet 
not  adverse  to  sampling  his  private  stock.  He 
speaks  quietly,  his  language  is  good  but  meas- 
ured, he  doesn't  pander  to  reporters;  he  has  reached  the  stage 
in  the  game  where  he  can  afford  to  be  authentic. 

A  certain  rough-hewn  decorum,  a  certain  battle-scarred  dig- 
nity marks  him.  Zanuck  is  nobody's  fool  and  nobody's  "good 
copy".  He  presents  the  facts  as  they  are,  always  a  touch  sar- 
donic about  ballyhoo,  athough  he  obviously  is  not  blind  to 
its  vast  importance  in  show  business. 

As  he  talked  to  the  press,  Zanuck  was  becoming  an  ad  man's 
dream,  a  Madison  Avenue  Marco  Polo;  the  rhetoric  of  Holiday 
magazine  seemed  always  to  hover  about.  His  targets  were  the 
off-beat  and  the  unusual,  the  guarded  and  the  publicity-shy,  the 
startling  stumbling-ons  like  the  Island  of  Gotha  in  the  Baltic. 
The  island,  he  expanded,  was  something  he  discovered  on  a 
hot  tip,  so  to  speak.  There  w  ere  sumptuous  vistas  of  legendary 
splendor  and  monuments  of  derring-do,  like  the  last  remains 
of  Douglas  Fairbanks.  Yet  within  such  matchless  memorabilia 
a  continental  spa  of  the  first  order  had  sprouted:  swimming 
pools,  cabanas,  casinos  and  roulette  wheels  galore.  Very  good 
ones,  too,  bonhommie  Zanuck  assured  us,  as  good  as  the  ones 
at  Cannes,  where,  he  would  like  to  make  clear,  he  did  not  break 
the  bank.  Neither  he  nor  Jack  Warner  (an  old  cronv.  also 
associated  with  the  industry),  trotted  off  with  any  winnings — 
they  only  broke  even.  And  with  that  momentous  news  tucked 
away  under  Louella  Parson's  pillow,  Mr.  Zanuck  went  on  to 
further  elaborate  his  odd-ball  route. 

In  Syria  black  clouds  gathered.  Arriving  with  a  seven  man 
crew  in  the  expedition's  plane,  a  reconverted  B-36  bomber 
which  looked  downright  bellicose,  Mr.  Zanuck  was  informed  of 
his  disquieting  presence  and  that  the  Syrian  boy  scouts  could 
be  ordered  to  act  accordingly.  Not  wanting  to  chance  confisca- 
tion of  his  two  precious  cameras  (there  being  only  three  in 
existence),  by  bothering  to  explain  the  inherently  non-political 
nature  of  on-location  shooting,  Zanuck  left,  just  as  some  Brooks 
Brothers  specialists  of  the  American  embassy  were  receiving 
persona  non  grata  messages  over  a  gin  and  tonic. 

As  one  listened  to  him,  the  impression  grew  that  Mr.  Z's 
tastes  in  films  are  changing:  on  his  production  schedule  is  an 
allegory  by  Romain  Gary,  the  tale  of  a  man  who  seeks  to  pre- 
serve the  elephant  as  a  symbol  of  the  last  stronghold  of  dignity. 
In  these  maturing  years,  he  seems  to  be  searching  for  the 
"higher  things  ".  It  may  well  be,  that  all  he  has  contributed  to 
motion  picture  history  in  the  past  will  shrink  into  insignificance 
by  comparison  with  his  projects  to  come.  We  rather  suspect 
that  will  be  so. 


Film  BULLETIN    September  30,  1957       Page  ? 


"Jet  Pilot" 

"SutUeM  Rati*?  O  O  O 

Hughes  spectacle  on  the  jet  age  and  sex  is  not  for  critics  or 
class  trade,  but  should  do  handsomely  with  mass  audience. 

Howard  Hughes'  long-delayed  successor  to  his  "Hell's 
Angels"  may  be  destined  to  be  the  year's  critical  curiosity,  but 
its  boxoffice  performance  will  probably  be  quite  good.  This 
Universal  release  of  Hughes'  RKO  production,  of  almost  a 
decade's  vintage,  is  a  puerile  epic,  made  with  the  stuffings  of 
one  of  those  Space  Ranger  TV  serials  in  which  the  characters 
sound  like  magniloquent  Rover  Boys  and  the  plot  contrivances 
are  as  mechanical  as  radar  spotting.  It  is  an  incredible  plot  in- 
credibly directed  by  Josef  von  Sternberg,  but  sumptuously 
served  by  producer  Hughes  as  a  tribute  to  the  jet  age  (or,  more 
likely,  jet  age  sex).  However,  while  the  critics  will  justly  scoff, 
mass-minded  producer  Hughes  has  cooked  up  a  popular  spec- 
tacle loaded  with  Technicolor-Superscope  panoramas  of  flam- 
ing jets  and  all  sorts  of  super  constellated  sex.  With  John 
Wayne  to  brighten  the  marquee,  and  to  engage  in  romantic 
and  melodramatic  nonsense  with  Janet  Leigh;  with  photog- 
rapher Winston  Hoch  expertly  encompassing  the  breathtaking 
routes  of  cloud-smashing  eagles  in  the  wild  blue  yonder,  "Jet 
Pilot"  should  charter  a  smooth  course  into  boxoffice  success.  It 
will  also  have  no  little  help  in  a  million  dollar  publicity  push 
behind  it  and  an  onslaught  of  saturation  bookings  throughout 
the  country.  Category-wise,  like  all  Hughes  presentations  it 
seems  best  fitted  for  the  somewhat  less  than  middle-brows,  a 
ballyhoo  type  show  for  action  and  sex  fans,  and  consequently 
anathema  for  the  discriminating  audience.  Jules  Furthman's 
screenplay  centers  on  the  relationship  between  Soviet  jet  ace, 
Miss  Leigh,  pretending  to  seek  Western  asylum,  and  her  U.S. 
counterpart,  Air  Force  Colonel  Wayne,  who  is  bamboozled  by 
the  beauty.  When  Wayne  finds  out  her  identity,  he  continues 
the  subterfuge  in  the  hope  of  learning  Russian  secrets  and  ulti- 
mately flying  off  with  her  to  Siberia  for  more  on-the-spot 
undercover  work.  The  plot  plays  with  a  succession  of  cat  and 
mouse  gambits  coupled  with  love  and  duty  contretemps  along 
with  some  fantastic  glimpses  of  both  Russian  and  American 
secret  service  procedures.  In  the  end,  Wayne  and  Leigh  jet 
over  to  Siberia,  make  more  love,  do  more  espionage  for  their 
respective  sides,  and  end  up  eating  a  steak  dinner  in  Vienna. 

Universal-International  IRKO  Radio).  112  minutes.  John  Wayne,  Janet  Leigh,  Jay 
C.  Flippen.    Howard  Hughes  Production.    Directed  by  Josef  von  Sternberg. 

"No  Down  Payment" 

gutcnedd  Kate*?  O  O  © 

Engrossing  drama  about  young  marrieds,  their  trials  and 
tribulations.  Well  played  by  expert  cast  of  upcoming  stars. 

Jerry  Wald's  production  of  John  McPartland's  novel,  "No 
Down  Payment",  comes  to  the  screen  with  a  whirlwind  of  both 
fresh  subject  matter  and  bright  new  stars.  It  provides  an  analy- 
sis of  that  part  of  contemporary  America  where  suburban  hous- 
ing tracts  sprawl  over  the  land  for  the  glorification  of  young 
middle-class  couples  and  as  a  catalogue  of  such  institutions  as 
the  installment  plan,  barbecue  battle-stations  and  the  so-called 
split-level  depressions.  Public  response  in  both  the  mass  and 
class  markets  should  be  strong,  for  here  is  a  challenging  topic 
graphically  and  dramatically  presented,  and  served  not  with 
some  crusty  veterans  but  with  upcoming  performers  like  Jo- 


anne Woodward,  Tony  Randall,  Sheree  North,  Jeffrey  Hunter, 
Cameron  Mitchell,  Patricia  Owens,  Barbara  Rush  and  Pat 
Hingle.  Director  Martin  Ritt  and  screenplaywright  Philip  Yor- 
dan  have  developed  numerous  entertaining  characterizations, 
some  smooth  and  stinging  dialogue  and  a  generally  glossy,  but 
in-the-know,  atmospheric  touch.  This  20th  Century-Fox  offer- 
ing seems  geared  for  word-of-mouth  response,  especially  in  the 
mushrooming  suburban  areas  where  so  many  typical  problems 
and  ambivalent  attitudes  presented  in  the  film  find  their  real 
life  counterpart.  The  film  follows  the  interrelated  lives  of  four 
young  couples,  their  socio-economic  background,  their  psycho- 
logical imbroglios  and  their  frequently  explicit  sex  encounters. 
The  plot  has  too  many  tandem  happenings  to  designate  here, 
being  concerned  with  a  series  of  vignette-type  descriptions  of 
the  characters.  At  any  rate,  the  four  couples'  assorted  problems 
become  resolved  when  embittered  veteran  Mitchell  goes  beserk 
and  rapes  Hunter's  wife,  Miss  Owens.  In  the  ensuing  melees 
that  follow,  Hunter  attacks  Mitchell  who  accidentally  gets 
crushed  beneath  a  car,  a  tragedy  which  makes  everyone  realize 
the  pettiness  of  their  misunderstandings.  Despite  the  make- 
shift ending  and  the  many  conflicting  motivations,  the  expert 
cast  gives  authenticity  to  a  film  first  in  its  thematic  field. 

20th  Century-Fox.  105  minutes.  Joanne  Woodward,  Sheree  North,  Tony  Randall. 
Produced  by  Jerry  Wald.    Directed  by  Martin  Ritt. 

"Time  Limit" 

SutineM  KcttiK?  Q  O  Plus 
Engrossing  drama  probes  into  motives  of  POW  turncoat. 
Strongly  played  by  Richard  Widmark,  Richard  Basehart. 
Good  adult  show. 

The  problem  of  prisoner-of-war  turncoats  during  the  Korean 
War  is  given  a  two-prong  debate  in  Heath  Production's  "Time 
Limit"  for  United  Artists,  one  side  exploring  the  iron  code  of 
martial  ethics  from  which  soldiers  can  not  defect,  and  the  other 
analyzing  the  personal  world  of  the  man  behind  the  uniform. 
Richard  Widmark,  as  the  investigating  Colonel,  and  Richard 
Basehart,  as  the  Major  in  question,  are  the  stars,  and  their 
intense,  involuted  performing  produces  occasional  red-hot 
blasts,  while  holding  the  spectator's  interest  most  of  the  time. 
While  screenplaywright  Henry  Denker  has  faithfully  adapted 
the  Theatre  Guild  play  and  director  Karl  Maiden  successfully 
staged  its  more  forensic  scenes,  "Time  Limit"  seems  far  more 
enraptured  with  the  verbal  vigor  of  the  stage  than  the  graphic 
movement  of  the  movie.  But  if  the  film  falls  short  on  the  ele- 
mental-emotional level,  it  picks  up  enough  stature  in  its  popu- 
lar appeal  to  the  mind  and  can  safely  be  marked  as  a  good  adult 
entry  on  the  more  discriminating  metropolitan  market.  It  has 
been  given  a  smart  and  sleek  look  with  style  to  it,  one  which 
realizes  the  topicality  of  its  theme.  What  has  been  presented  in 
the  way  of  plot  therefore,  has  been  trimmed  to  suggest  the 
realism  of  a  C.I. A.  dossier  and  its  dramatic  revelations  are  the 
sort  unravelled  at  a  courts-martial.  Widmark  as  the  interro- 
gator suspects  the  over-willingness  of  Basehart  to  admit  his 
collaborationist  complicity  and  probes  into  his  past  life  and 
that  of  his  wife,  June  Lockhart.  In  the  end,  Widmark  finds  the 
seamy  tale  of  Basehart's  POW  crew  strangling  an  informer  and 
Basehart  saving  their  lives  by  turning  informer  himself.  Within 
the  cat  and  mouse  interchanges  between  Widmark  and  Basehart 
and  the  undercurrent  of  psychic  tensions,  "Time  Limit"  pro- 
vides engrossing  entertainment. 

United  Artist.  96  minutes.  Richard  Widmark,  Richard  Basehart.  Produced  by 
Richard  Widmark  and  William  Kennedy.    Directed  by  Karl  Maiden. 


Page  10       Film  BULLETIN    September  30,  1957 


?//*  ejf  hUtiHctfon 


"Les  Girls"  Dilly  of  a  Show  with  Bright  New  Star 


%«4t*td4  OOO  pius 

Topflight  comedy  with  music  will  rock  metropolitan  audi- 
ences. Kay  Kendall  a  memorable  new  star;  she  will  leave 
'em  laughing  and  talking.  Big  grosser. 

"Les  Girls ",  is  such  a  buoyant  and  breezy  item,  a  contrapuntal 
comedy  with  music,  that  it  is  sure  to  roll  up  a  battery  of  acco- 
lades. A  dilly  of  a  show,  it  is  MGM's  most  important  recent 
boxoffice  entry,  a  huge  grosser  for  metropolitan  areas  and  a 
good  one  for  the  general  market.  Aside  from  its  top-drawer 
entertainment  values,  it  is  notable  for  a  special  reason.  What- 
ever powers  there  be  at  MGM  that  successfully  seduced  Eng- 
land's Kay  Kendall  into  making  her  first  American  film,  to 
them  we  offer  a  four-gun  salute.  For  Miss  Kendall,  a  towering 
and  tawn-haired  goddess,  it  without  doubt  the  most  glowing 
bit  of  lend-lease  Hollywood  has  garnered  in  years,  fully  making 
up  for  the  defection  of  the  royal  Grace  Kelly.  Gene  Kelly, 
Mitzi  Gaynor  and  Taina  Elg  are  Miss  Kendall's  co-stars,  all 
handsome,  all  happy  performers.  The  Cole  Porter  songs  are 
smart  and  shimmering;  the  Jack  Cole  choreography  runs  the 
gamut  from  energetic  to  just  plain  esoteric,  but  in  every  case 
excitingly  colorful.  George  Cukor's  direction  has  the  easy  grace 
of  a  master  at  masquerade,  while  John  Patrick's  screenplay  is 
a  whirlwind  little  tale  of  three  lovely  dancers  and  their  partner, 
a  charmer  they  all  fall  in  love  with  at  three  different  times. 
Along  with  this  is  a  daffy  bit  of  hocus-pocus  on  the  relativity 
of  truth,  which  no  one  takes  seriously  and  everyone  uses  to  but- 
ter up  for  a  lark  and  a  laugh.  And  if  the  above  sounds  just 
too  tony,  let  it  be  said  at  once  there  are  equal  servings  of  ro- 
mance, comedy,  production  numbers  and  star  trouping. 

As  for  Miss  Kendall,  we  can  only  catalogue  the  wonders:  the 
exquisite  contours,  the  sensuous  and  insinuating  lips,  the  re- 
markably full  and  expressive  eyes,  the  slightly  stick-pin  nose, 
capturing  both  the  haughty  and  the  humorous.  Miss  Kendall 
is  no  mundane  glamor  girl,  she  is  high  finery,  indeed.  And  her 
histrionic  resources  are  infinite.  She  can  be  peerlessly  potted, 
wander  forth  in  a  wrap-around  and  look  like  an  impressionist 
painting,  or  she  can  patter  away  as  if  she  were  back  in  Mayfair, 
bored,  brittle  and  beautiful,  with  the  sweeping  elegance  of  a 
Noel  Coward  heroine.  She  can  be  subtly  wacky,  or  she  can  let 
herself  go  with  a  burlesque  sock  in  the  funny  bone.  She  does 
a  lowdown  number  with  Kelly,  tagged  "You're  Just  Too,  Too", 
in  expert  Brookynese.  She  can  strut,  dance  or  pirouette;  she  can 
change  her  vocal  tones  like  musical  notes,  flat  or  sharp  or  sweet 
as  a  humming  bird.  As  a  dame  who  drinks  gin  from  her  atom- 
izer, she  can  superbly  suggest  the  vague,  valetudinarian  airs  of 
a  drunken  stupor.  But  no  matter  what  her  condition,  her 
movements  are  basically  like  a  haut  couture  ballet. 

As  for  the  plot,  well  it  goes  rather  like  this:  Miss  Kendall, 
a  titled  Londonite,  has  just  published  her  memoirs,  all  about  the 
carefree  days  when  she  cavorted  about  Europe  as  a  dancing 
girl  with  a  troupe  known,  conveniently  enough,  as  "Les  Girls". 
Miss  Gaynor  and  Miss  Elg  were  the  other  thespians  involved, 
while  Kelly  was  the  masculine  mastermind  and  bantam  impres- 
sario.  What  Miss  Kendall  has  to  say  about  all  this,  doesn't  jibe 
with  Miss  Elg's  mental  scrap  book.  Not  only  that,  but  it  inti- 

[More  REVIEWS 


mates  she  attempted  suicide  out  of  unrequited  love  for  Kelly, 
something  her  present  husband  was  shocked  to  learn.  So  Miss 
Elg  is  forced  to  sue  for  libel,  whereupon  Miss  Kendall  tells  a 
hushed  courtroom  all  about  the  scandalous  goings-on  and  sure 


Gene  Kelly  and  Kay  Kendall 

enough  her  presentation  has  Miss  Elg  turning  on  the  gas.  How- 
ever, w  hen  the  lady  in  question  takes  the  stand,  her  version  is 
a  mite  different,  centering  on  Miss  Kendall's  weakness  for  bar 
room  preserves  and  her  hilarious  hit  renditions  of  "Carmen". 
Miss  Elg  feels  that  all  this  is  a  cover-up  for  an  unsatisfied  Kelly 
yen,  so  she  plays  cupid  and  Kelly  plays  along  with  her  hoping 
to  get  Miss  Kendall  on  the  wagon.  At  this  they  succeed,  but 
lone  wolf  Kelly  can't  quite  cope  with  the  romantic  folderol  and 
Miss  Kendall  in  desperation  turns  to  the  stove.  The  judge  feels 
truth  must  be  found  somewhere,  so  he  calls  Kelly  to  the  stand, 
who  confides  he  was  never  in  love  with  either  one,  but  was 
always  smitten  over  Miss  Gaynor,  and  that  all  his  past  strata- 
gems were  merely  plots  to  hook  the  elusive  quarry.  In  the  end, 
he  drops  the  bombshell  that  he  found  both  Miss  Elg  and  Miss 
Kendall  overcome  by  fumes  but  not  by  choice.  It  seems  the  hap- 
hazard heater  took  a  wrong  turn  and  brought  on  the  gas.  When 
the  girls  recovered  they  never  saw  each  other  again,  so  naturallv 
assumed  the  other  was  the  culprit.  P.S.  All  ends  happily  for 
this  comedy  of  errors  and  Kelly  winds  up  with  his  doll-faced 
Miss  Gaynor.  "Les  Girls'"  is  indeed  a  deluxe  dish,  in  Cinema- 
scope and  Metrocolor  and  a  Sol  C.  Siegel  blessing. 

Kendall,  Taina  Elg.  Produced 


on  Page  12] 


iBULLETIN     September  30,  1957 


"The  Golden  Virgin" 
ScuiHC**  "Rati*?  OOO 

Joan  Crawford,  Rossano  Brazzi  co-star  in  glossy,  but  syn- 
thetic, melodrama  that  should  appeal  to  fern  trade. 

No  doubt  with  the  powerful  and  poignant  "Johnny  Belinda" 
uppermost  in  mind,  Romulus  Productions  have  brought  forth 
Nicholas  Monsarrat's  recent  best-seller  "Esther  Costello",  that 
tale  of  a  young  girl,  deaf,  dumb  and  blind,  whose  entrance 
into  the  outer  world  brings  her  into  contact  with  the  dark 
patches  of  the  human  personality  and  eventually  robs  her  of 
her  innocence.  Now  billed  with  the  more  flagrant  title  of  "The 
Golden  Virgin",  this  Columbia  release  is  a  smooth,  but  syn- 
thetic, product  with  just  the  right  amount  of  shimmering  senti- 
mentality and  resonant  melodramatics  to  get  a  good  reaction 
at  the  boxoffice.  Surely  the  durable  and  dazzling  veteran  of 
myriad  sudsy  adventures,  Joan  Crawford,  co-starred  with  Ros- 
sano Brazzi,  of  the  continental  set  and  champagne  charm, 
should  be  an  ideal  mating  for  the  women's  trade.  However, 
the  real  star  is  an  English  ingenue,  Heather  Sears,  in  a  tremu- 
lous and  touching  portrait  of  the  afflicted  girl,  a  portrait  that 
is  immeasurably  skilled  and  intensely  varied.  It  is  Miss  Sears 
who,  as  she  goes  through  her  drab  and  desperate  attempts  at 
speech  or  wanders  vaguely  distraught  through  a  scene,  gives 
the  film  whatever  real  distinction  it  possesses,  for  Charles  Kauf- 
man's screenplay  and  David  Miller's  direction,  while  plastically 
professional,  always  seem  to  quiver  on  a  tight  rope  between 
pathos  and  bathos.  Nevertheless,  the  story  is  a  generally  absorb- 
ing one  that  tells  of  Miss  Crawford's  visit  to  her  Ireland  birth- 
place where  she  chances  upon  Miss  Sears  and  is  so  moved  by 
her  plight  she  brings  the  girl  back  to  the  States  with  her  in  the 
hope  of  restoring  her  faculties.  But  once  there,  socialite  Miss 
Crawford  becomes  enmeshed  with  estranged  husband  Brazzi, 
a  mercenary  dandy  who  decides  to  parlay  Miss  Sears  into  a 
hearts  and  flowers  show  for  the  world  to  behold.  Against  this 
world  of  chicanery  and  opportunism  the  girl  is  transformed  by 
Miss  Crawford  to  her  natural  loveliness  only  to  have  it  so  entice 
Brazzi  that  he  rapes  her.  However,  this  crass  act  becomes  Miss 
Sears'  salvation:  it  shocks  her  back  to  physical  normalcy,  and 
she  awakens  to  true  love  and  romance  with  a  young  reporter. 


"The  Helen  Morgan  Story" 

&«4iH€44  &<tU*f  Q  Q  p|us 
Colorful  version  of  famed  singer's  life.  Prohibition  era  back- 
ground  should  add  interest  for  male,  action  audience. 

Warner  Bros.  "The  Helen  Morgan  Story"  faithfully  follows 
the  biofilm  formula  about  legendary  stars  of  the  past,  but  tells 
its  tale  with  style  and  plenty  of  color.  Starring  Ann  Blyth  as 
the  ill-fated  torch  singer  and  Paul  Newman  as  a  Jazz  Age  gang- 
ster and  homme  fatale,  this  Martin  Rackin  production  is  a  tear- 
ful offering  brimming  over  with  those  tried-and-true  boxoffice 
values  that  usually  enchant  the  matinee  trade.  And  therein 
lies  the  boxoffice  for  "The  Helen  Morgan  Story":  it  will  appeal 
to  the  ladies.  In  addition,  the  colorful  and  exciting  back- 
ground should  attract  the  male  element.  Certainly  director 
Michael  Curtiz  has  done  a  flamboyantly  professional  job  of 
coupling  a  True  Confession  heel-and-heroine  romance  with 
some  Public  Enemy  shootouts  against  a  dazzling  display  of 
Prohibition  melodrama.  For  this  tale  (over  which,  incidentally, 
four  screenplaywrights  labored),  not  only  follows  Miss  Mor- 


gan's fabled  rise  and  fall  but  takes  full  advantage  of  the  whole 
abandoned  era  in  which  she  lived,  from  racoon  coats,  bathtub 
gin,  whoopee-making  flappers.  Vagabond  Lovers  galore  to 
underworld  czars,  petty  revolutionaries  and  the  all-pervading 
illicit  blues-in-the-night  motif.  There  are  also  a  full  share  of 
the  songs  that  became  Morgan  symbols,  e.g.  "Why  Was  I 
Born",  "Bill",  etc. — all  matchlessly  dubbed  in  by  Gogi  Grant. 
And  while  Miss  Blyth  is  hardly  ideally  cast,  she  still  manages 
some  touching  moments.  Newman,  on  the  other  hand,  gives  a 
strutting  and  sensual  performance  smoothly  geared  to  the  sen- 
sational, which  is  pretty  much  the  tenor  of  the  film.  The  plot 
is  so  standard  it  is  almost  classic.  Singer  Blyth,  set  up  in  her 
career  by  y«ung  racketman  Newman,  is  continually  plagued  by 
a  series  of  misadventures  with  him.  She  meets  society-lawyer 
Richard  Carlson  who  paves  the  way  for  supper  club  and  Broad- 
way fame.  Her  broken  heart  still  belongs  to  Newman,  whose 
underworld  history  finally  lands  him  in  the  clink,  at  which 
point  Miss  Blyth  starts  her  skid-row  jaunt.  In  the  end,  a  free 
and  honest  Newman  resurrects  her  and  takes  her  to  her  old 
club  where  theatre  notables  pay  homage  to  her. 


"Stowaway  Girl" 
3u4ine44  fcatcHf  Q  Q 

Off-beat  gloomy  entry  in  foreign-film  mood.  Will  be  a  box- 
office  problem  in  most  situations. 

Though  Paramount  is  selling  it  as  a  sex-at-sea  spectacle, 
"Stowaway  Girl"  seems  to  move  much  like  a  gloomy,  downbeat 
Joseph  Conrad  tale  in  which  are  foreshadowed  the  lonely  fate 
of  desperate  people.  Indeed  screenplaywright  William  Woods 
and  director  Guy  Hamilton  undoubtedly  hardly  provide  any 
relief  from  gaunt  moods,  haunted  characters  and  personal 
worlds  gone  sour.  And  producer  Ivan  Foxwell  has  centered  it 
against  a  shabby  South  American  port  and  a  battered  hulk  of 
a  freigher.  This  is  a  dubious  commercial  property  that  will  pose 
a  problem  for  most  exhibitors.  Its  best  boxoffice  prospects  are 
in  class  houses  that  have  an  audience  for  art  films..  The  heart 
of  the  film  is  an  elemental  and  earthy  one,  conceived  in  the 
foreign  film  tradition,  off-beat  and  relentlessly  realistic.  Un- 
fortunately, it  also  is  not  above  resorting  to  melodramatic  tech- 
niques in  some  of  the  lulls,  nor  being  irresolute  in  most  of  its 
dramatic  conflict,  making  the  end  result  rather  uneven  and 
strangely  unmoving.  Trevor  Howard  as  a  middle  aged  captain 
enswathed  with  gin  and  a  sardonic  emptiness,  Elsa  Martinelli 
as  the  beautiful  half-breed  with  fantastic  dreams  who  brings  an 
unexpected  and  all  consuming  love  into  his  life,  and  Pedro 
Armendariz  as  a  Maltese  apeman  and  ship's  stoker  who  first 
marks  out  the  girl  for  himself,  are  the  stars  and  they  perform 
with  striking  sensibility.  The  plot  flows  from  these  relation- 
ships: Miss  Martinelli  is  smuggled  aboard  a  freighter  in  the 
hope  of  landing  at  England  by  smitten  Armendariz  who  hopes 
she  will  thus  respond  to  his  wooing,  but  the  girl  is  discovered 
by  Captain  Howard  and  regarded  as  a  slut  to  be  dumped  at  the 
next  port.  When  he  realizes  that  she  is  not  only  innocent  but 
a  lost  soul  like  himself,  they  fall  in  love  and  their  affair  so  en- 
compasses the  captain's  world  he  becomes  derelict  in  his  duty, 
with  a  resultant  conflagration  on  the  ship  and  the  separation 
of  the  lovers.  Cast  adrift  in  different  life  boats,  Howard's  ca- 
reer comes  to  naught  but  he  finally  sees  the  girl  again  and  sees 
where  his  happiest  fate  lies. 

Paramount.    93  minutes.    Trevor  Howard,  Pedro  Armendariz,  Elsa  Martinelli.  I 


Page  12        Film  BULLETIN    September  30,  1957 


onfidentially  ...it's  SENSATIONAL! 


m 

Ripped  Out  Of 
TODAY'S 
HflDUNiS! 


THE  UNION  'GOONS'  AT  WORK! 


CO-STARRING 

with  Douglas  Kennedy  •  Paul  Langton 
Elisha  Cook -Gavin  Gordon -Beverly  Tyler 
Buddy  Lewis  •  Anthony  George 
Written  by  RAYMOND  T.  MARCUS  •  Directed  by  SI9NEY  SALKOW  •  Produced  by  ROBERT  E.  KENT 
erless  Productions,  Inc.  Presentation  •  From  the  sensational  best-seller  by  Jack  Lait  and  Lee  Mortimer 


MAN  BEVERLY  DICK 

EITH  •  GARLAND  -  FORAN 


Confidentially.. 

IT'S  PLAYING  TO 
GREAT  BUSINESS 
IN  TOP  SITUATIONS 
COAST-TO-COAST! 


and  -the 
of  it  is  simply  THIS: 


*  ^hat'MAJOR  BENSON 

of  SOK  OFFICE  APPEAL/ 


He  Kad  a  hundred  million 
fans. . .  and  no  friends . . . 
until  this  sawed-off  orphan 
cut  him  down  to  size 


jock  wuT*5  ^^Ttim 

MAHONEY  *  ADAMS  *  HOVEY 

with  WILLIAM  HOPPER  •  JOANNA  MOORE  ■  BILL  WILLIAMS  .  -  BARBARA  HALE 

Dint o  by  RICHARD  MIT  •  schhhpiw  ay  RlICORffl  PITTMAN  •  produced  fly  HOU  MDRWITZ 


— ■ — - 


It's  got  that  TJ-I  kind  of 

Box  Office  pull  f 


GRIFFING: 

Thv  Man  II  'it 00  II  \0tti0l  §0s0»iiv0»r 
\i00ti00it  Pictures  into  thi*  Ilium* 


By  LEONARD  COULTER 

As  the  crow  flies  Bartlesville,  Oklahoma,  is  a  long  way  from 
anywhere,  and  those  w  ho  have  had  to  rely  on  published  reports 
of  the  experiments  going  on  down  there  into  "cabled  movies" 
have  wondered  what  kind  of  a  man  is  behind  this  interesting 
notion. 

The  other  day  Mr.  Henry  S.  Griffing,  having  to  visit  New 
York  to  see  his  daughter  off  for  Welleslev  College,  obligingly 
presented  himself  for  public  scrutiny. 

He  turned  out  to  be  a  fellow  in  the  mid-forties,  with  dark 
hair,  average  build,  a  quiet  manner,  a  lucid  mind  and  an  ob- 
vious distaste  for  boasting. 

He  answered  every  question  aimed  at  him  (including  the 
loaded  ones)  with  no  attempt  at  evasion  and  made  no  visible 
effort  to  be  ingratiating.  In  short,  he  struck  "Film  BULLE- 
TIN'S" reporter  as  the  kind  of  businessman  who  possesses  genu- 
ine ability,  but  has  no  grandiose  ideas  about  his  own  personal- 


ity. Clearly  he  has  not  cast  himself  in  the  role  of  an  industrial 
giant. 

If  the  Bartlesville  venture  can  be  judged  by  the  man  who  is 
pioneering  it,  then  obviously  it  is  not  a  catch-as-catch-can  oper- 
ation, but  one  man's  bid  to  do  something  to  offset  the  decline 
in  movie  audiences,  and  to  share  both  his  experience  and  his 
(considerable)  investment  with  other  exhibitors  in  a  similar 
plight.  His  plan  is  very  simple  and  direct:  he  will  deliver  mo- 
tion pictures  right  into  the  home. 

To  date,  fewer  than  500  homes  in  Batlesville  have  been  wired 
into  the  co-axial  cable  which  carries  filmed  programs  from  the 
projection  center.  The  actual  count  Mr.  Griffing  set  at  4~2.  The 
waiting  list  numbers  upw  ards  of  271. 

Griffing  says,  frankly,  that  most  of  these  people  have  become 
"subscribers"  because  they  were  attracted  bv  the  novelty  of  hav- 
ing films  "piped"  into  their  TV  receivers,  and  because  thev  were 
given  the  first  month's  service  free.  The  figures,  he  believes, 
give  little  indication  of  the  position  six  months  or  a  vear  hence, 
"but  we  think  they're  prettv  good." 

It  will  be  fully  a  year  before  Video  Independent  Theatres 
attains  its  maximum  potential  of  2,000  subscribers  (at  S9.50  per 
home),  and  even  Mr.  Griffing  doesn't  know  yet  how  the  present 
test  has  affected  attendances  at  the  two  conventional  and  three 
drive-in  theatres  with  which  he  is  associated  in  Bartlesville. 
"There  hasn't  been  any  noticeable  change  so  far",  he  states. 


long  enough  to  tell  wi:h  any  degree 


"but  we  haven't  been  goin^ 
of  accuracy." 

One  thing  he  can  tell,  however,  is  that  audiences  at  his  five 
Bartlesville  cinemas  have  been  shrinking  steadily  for  years 
(down  40^  since  1952).  He  adds:  "We  like  to  think  of  our- 
selves as  showmen,  but  actually  we  are  merchants  ...  As  things 
have  been  going  in  the  movie  theatres,  however,  we  are  in 
danger  of  losing  our  position  of  selling  to  the  masses." 

He  refuses  to  regard  the  Cable  Theatre  as  television,  and  says 
it  is  merely  "another  type  of  theatre  ",  such  as  the  driv  e-in  w  as 
a  few  years  ago.  Thorough  investigation  has  convinced  him, 
he  says,  that  his  system  is  infinitely  cheaper  to  install  and  serv  - 
ice than  the  Toll-TV  method  of  transmitting  program  material 
over  the  air-waves. 

Since  it  will  be  important  to  know  which  movies  subscribers 
prefer,  and  how  much  to  pay  the  film  companies  for  product 
(he  is  thinking  of  terms  of  a  rental  basis  which  would  give 
distributors  a  percentage  of  the  gross)  it  will  become  necessary 
to  introduce  some  measuring  device  which  will  detect  when 
pepole  turn  their  set  on  to  a  particular  program.  But  Griffing 
will  not  hav  e  a  coin-box,  he  says.  The  coin-box  method  of  col- 
lecting was  tried  and  discarded  years  ago  by  certain  public  util- 
ity (gas  and  electric  power)  companies,  and  even  in  recent  years 
has  been  used  without  success  in  motels  and  hotels. 

On  the  basis  of  Mr.  Griffings  very  first  press  conference,  at 
which  he  gave  the  foregoing  information,  it  is  evident  that  the 
whole  conception  of  this  new  project  is  based  on  the  welfare 
of  the  motion  picture  exhibitor:  to  provide  him  with  an  exten- 
sion of  his  business  without  getting  involved  in  television  or 
Toll-TV.  The  S64.000  question  is,  "Will  it  destroy  theatre 
audiences,  and,  if  so,  can  the  alternative  revenues  to  be  derived 
from  the  cable  theatre  suffice  to  enable  an  exhibitor  to  amor- 
tize the  property  losses  he  is  bound  to  suffer?" 

Henry  Griffing  cannot  give  you  the  answer.  He  doesn't 
know,  and  will  not  even  guess.  He,  like  every  other  exhibitor, 
is  groping  for  a  solution  before  it  is  too  late.  Plus  this:  he  is 
putting  a  lot  of  time,  a  lot  of  effort,  and  a  lot  of  money  into 
his  activities,  and  it  would  be  churlish  not  to  wish  him  luck. 


Film  BULLETIN     September  30.    I9S7        Page  15 


AMAZING  COLOSSAL  GROSSES:  MILWAUKEE— LOS  ANGELES 
NEXT  ATTRACTION:  NEW  YORK  PARAMOUNT 


-International  Pictures  presents 


starring  Glenn  Langan,  Cathy  Downs,  Willianj 
Hudson  and  Larry  Thor.  Produced  and  directed 
by  Bert  I.  Gordon,  screenplay  by  Mark  Hanna  and 
Bert  I.  Gordon.  A  James  Nicholson  -  Samuel  X. 
Arkoff  production. 


THE  FOLLOWING  IS  A  DETAILED  REPORT  ON  THE  IMPACT  OF  AND  PROBLEMS 
RAISED  BY  THE  FCC'S  RECENT  DECISION  TO  APPROVE  TESTS  OF  TOLL-TV. 
THE  SOURCE  IS  BROADCASTING* TELECASTING,   ISSUE  OF  SEPTEMBER  23. 

Nervous  FCC  Acts  Timidly  on  Toll-TV 


A  bell  rang  for  pay  TV  last  week.  But  in- 
stead of  a  clanging  call  to  action,  the  sound  was 
a  modest,  hesitant  clink. 

The  BCC  announced  it  has  told  its  staff  to 
draw  up  papers  which  would  invite  applications 
from  broadcasters  to  try  out  pay  TV  on  a  lim- 
ited, three-year,  controlled  basis.  But  even  so, 
it  emphasized,  it  couldn't  promise  that  it  would 
issue  the  order,  or  even  grant  an  application  if 
the  order  were  issued.  And,  it  was  made  clear, 
no  grant  would  be  made  before  March  1,  1958. 

The  March  1  date,  according  to  most  ob- 
servers, means  that  Congress  can  "take  the  ball," 
as  FCC  Chairman  John  C.  Doerfer  mentioned  in 
his  speech  to  the  Radio  &  TV  Executives  Society 
two  weeks  ago  (B-T,  Sept.  L6).  Congress  has 
been  on  the  brink  of  intruding  itself  in  the  toll 
TV  question  for  the  last  six  months. 

Congressional  reaction  to  the  Commission  an- 
nouncement of  intent  was  immediate  and  articu- 
late. Both  Sen.  Charles  E.  Potter  (R-Mich.)  and 
Rep.  Emanuel  Celler  (D-N.  Y.),  who  have  been 
in  the  forefront  in  opposing  pay  TV,  demanded 
that  a  congressional  hearing  on  subscription  TV 
be  convened  early  next  year  and  that  the  FCC 
hold  up  any  further  action  pending  its  outcome. 
Rep.  Frank  Chelf  (D-Ky.),  who  has  been  one  of 
the  few  on  Capitol  Hill  favoring  a  tryout,  ap- 
plauded the  prospective  move. 

NARTB  President  Harold  Fellows,  at  the  first 
association  regional  meeting  in  Schenectady, 
N.  Y.,  called  on  broadcasters  to  take  a  united 
and  vocal  stand  against  pay  "schemes."  He 
voiced  the  opinion  that  toll  TV  strikes  a  blow 
"at  the  very  foundation  of  the  American  system 
of  free  broadcasting." 

Two  plans  for  new  subscription  TV  systems 
were  submitted  to  the  FCC  early  last  week- 
Teleglobe's  undistorted  video  over  the  air  with 
audio  via  telephone  1  ines,  and  Blonder-Tongue's 
reversed  polarity  method  which  envisages  two 
programs  on  each  TV  channel,  with  the  pay 
program  activated  via  a  telephone  line  cueing 
signal. 

FCC  Move  Puts  Pay  TV  in  Laps 
Of  Congressmen,  Broadcasters 

Now  it's  up  to  the  broadcasters— or  to  Con- 
gress—whether or  not  there  shall  be  toll  tele- 
vision. 

That,  in  effect,  is  the  meaning  of  the  FCC's 
notice  last  week  that  it  has  issued  instructions 
to  its  staff  to  draw  up  an  order  inviting  appli- 
cations to  test  subscription  television. 

The  cautiously-worded  announcement  of  an- 
other halting  step  along  the  road  to  toll  TV 
was  issued  late  Wednesday  afternoon,  in  order, 
it  was  understood,  to  forestall  any  stock  market 
repercussions. 

It  reported  simply  that  the  Commission  has 
instructed  its  staff  to  draw  up  documents  "look- 


ing toward"  authorizing  a  three-year  test  of  pa) 
TV  and  indicating  that  applications  for  this 
purpose  would  be  accepted  from  "present  or 
proposed"  television  licensees. 

The  tests,  the  Commission  signified,  would 
be  limited  in  scope  and  applicants  would  have 
to  submit  "detailed"  information  and  accept 
"controlled"  conditions. 

The  announcement  specified  that  last  week's 
action  is  not  to  be  construed  as  a  commitment 
to  adopt  any  orders  or  to  grant  any  applications. 
In  other  words,  the  Commission  warned  that 
when  the  official  order  is  before  it,  a  majority 
may  not  be  in  favor  of  it.  This  situation  might 
also  be  true  when  the  time  comes  to  consider 
the  first  application. 

The  Commission  also  emphasized  that  no 
application  will  be  granted  before  March  1, 
1958 — five  months  away. 

The  action  was  taken  by  five  commissioners. 
Only  one  dissented,  Comr.  Robert  T.  Bartley. 
New  Comr.  Frederick  W.  Ford  abstained. 

Comr.  Rosel  H.  Hyde  objected  to  the  contents 
of  the  notice  of  instructions  issued  last  Wed- 
nesday. 

According  to  an  informed  source,  the  order- 
ing document  should  be  ready  for  Commission 
consideration  shortly.  It  is  assumed  a  majority 
of  the  FCC  will  vote  in  favor  of  its  issuance, 
although  a  wrangle  is  expected  over  some  of 
the  details. 

The  toll  TV  action  came  after  two  days  of 
intensive  consideration  by  the  full  seven-man 
commission. 

The  vote,  in  a  way,  was  surprising.  Early 
last  spring,  when  an  internal  proposal  was  made 
to  invite  applications  from  station  owners  for 
permission  to  broadcast  scrambled  signals,  it 
was  understood  three  commissioners  were  op- 
posed. They  favored  a  further  hearing.  These 
were  understood  to  be  Comrs.  Hyde,  Bartley 
and  Mack. 

The  March  1  date  for  grants  is  considered 
especially  significant.  The  FCC's  authority  to 
approve  pay  TV  has  been  challenged  by  mem- 
bers of  Congress  and  by  other  opponents,  in- 
cluding broadcasters  and  theatre  exhibitors. 

Since  the  second  session  of  the  85th  Congress 
reconvenes  Jan.  7,  it  is  felt  there  will  be  plenty 
of  time  for  Capitol  Hill  opponents  to  institute 
congressional  hearing.  This  move,  it  is  believed, 
would  be  sufficient  to  require  the  FCC  to  post- 
pone action  pending  the  outcome  of  congres- 
sional investigation. 

Congress  has  before  it  two  bills  (HR  586 
and  S  2268)  which  would  prohibit  the  charging 
of  fees  for  the  reception  of  telecasts;  they  were 
submitted  during  the  past  session  of  Congress 
by  Rep.  Emanuel  Celler  (D-N.  Y.)  and  by  Sen. 
Strom  Thurmond  (D-S.  C). 

Last    spring,    Rep.    Oren    Harris  (D-Ark.), 


chairman  of  the  House  Commerce  Committee, 
personally  raised  a  number  of  fundamental  ques- 
tions regarding  the  power  of  the  FCC  to  author- 
ize pay  TV,  even  on  a  test  basis.  The  main 
point  of  Mr.  Harris'  correspondence  with  the 
Commission  is  the  agency's  legal  jurisdiction  to 
take  any  action  on  toll  TV.  The  FCC  in  its 
replies  to  the  House  Commerce  chairman  main- 
tained that  the  legislative  history  of  the  Com- 
munications Act  of  1954  and  its  predecessor 
law,  the  Radio  Law  of  192"\  empower  it  to  con- 
sider subscription  TV  as  broadcasting. 

Another  question  asked  by  Mr.  Harris  was 
whether  the  Commission  felt  it  had  adequate- 
power  to  control  the  tests. 

The  exact  meaning  of  the  phrase  "present  or 
proposed"  television  stations,  which  the  FCC 
used  in  its  announcement,  has  been  subjected  to 
varying  interpretations.  It  is  understood  from  a 
reliable  Commission  source  that  this  means  the 
FCC  will  consider  applications  from  newcomers 
as  well  as  holders  of  licenses  or  construction 
permits.  It  was  stressed  that  an  applicant  nec- 
essarily would  have  to  apply  for  a  regular 
broadcast  operation,  as  well  are  for  special  au- 
thority to  broadcast  a  scrambled  picture.  Thus, 
it  was  noted,  such  ardent  pay  TV  sponsors  a 
Zenith  Radio  Co.,  Skiatron  Electronics  &  Tele- 
vision Corp.,  and  International  Telemeter  Co., 
could  apply  for  a  station  and  if  granted  become 
a  television  station  operator. 

It  was  observed  the  Commission  in  last  week's 
notice  made  no  mention  of  any  finding  regard- 
ing the  three  competitive  toll  TV  systems. 

Two  late  starters  in  the  toll  TV  sweepstakes, 
each  tilling  proposals  for  the  first  time  last  Mon- 
day, the  day  before  the  Commission's  scheduled 
meeting  on  the  subject,  were  Teleglobe  Pay-TV 
Systems,  Inc.  and  Blonder-Tongue  Labs. 

It  also  was  pointed  out  that  the  Commission's 
intent  apparently  is  not  to  foreclose  any  station 
from  making  any  arrangements  with  any  sources 
— whether  or  not  it  is  a  method  already  pro- 
posed or  not  even  thought  of  yet. 

For  example,  it  was  observed  that  RCA,  par- 
ent of  NBC,  holds  a  patent  on  a  toll  TV  system. 
This  was  patented  several  years  ago  by  Dr. 
Vladimir  K.  Zworykin  of  RCA. 

Most  interest  centered  on  the  details  of  what 
the  Commission  may  evolve  as  a  "limited"  test 
and  the  detailed  information  and  controlled  con- 
ditions to  be  established  when  the  FCC's  order 
is  issued. 

The  limitations  and  controls  mentioned  by 
the  FCC,  it  is  believed,  will  relate  to  the  num- 
ber of  hours  stations  w  ill  be  permitted  to  broad- 
cast toll  TV  programs  and  also  the  type  of  city 
in  which  an  applicant  will  be  permitted  to 
operate. 

Some  suggestions  have  been  made  that  tests 
(Continued  on  Page  18) 


Film  BULLETIN    September  30.  1957        Page  17 


NERVOUS  FCC  ACTS 


(Continued  from  Page  17) 

be  limited  to  non-network  affiliated  stations  in 
a  community  with  at  least  four  stations.  An- 
other recommendation  has  been  made  that  tests 
be  limited  solely  to  uhf  stations. 

There  have  been  strong  hints  also  that  the 
Commission  is  fairly  unanimous  in  opposing 
any  situation  where  free  television  sen  ice  will 
be  blacked  out  by  pay  TV  operations.  This 
would  indicate  a  ban  on  pay  TV  for  one- 
station  markets. 

Last  May  the  Commission  indicated  the  gen- 
eral areas  in  which  it  was  interested.  At  that 
time  it  issued  a  list  of  questions  addressed  to 
both  advocates  and  opponents  of  pay  TV.  These, 
which  give  a  line  on  its  thinking  regarding  the 
scope  and  nature  of  the  information  it  might 
require  in  applications  for  pay  TV  test  author- 
ity, dealt  with  such  questions  as: 

Where  the  tests  should  be  held. 

Whether  the  trial  operations  should  be  con- 
fined to  a  single  station  or  a  single  system  in  a 
community  or  without  limitation  as  to  number 
of  stations  or  systems. 

The  time  required  to  commence  full-scale  pay 
TV  operations,  including  production,  distribu- 
tion and  installation  of  coding  and  decoding 
equipment. 

The  maximum  and  minimum  number  of  sub- 
scribers to  make  the  tests  meaningful. 

Whether  the  decoding  equipment  will  be  sold 
or  leased  to  the  public  and  the  terms  of  such 
arrangements. 

The  number  of  hours  for  pay  TV,  on  a  daily, 
weekly  or  monthly  basis  rquired  to  make  the 
tests  meaningful. 

The  action  taken  by  the  FCC  was  not  wholly 
unexpected.  Early  last  spring  it  was  known 
that  there  was  an  impasse  between  those  favor- 
ing this  course  and  those  holding  out  for  fur- 
ther hearings. 

The  pay  TV  controversy  began  in  1949  when 
Zenith  Radio  Co.  suggested  that  television  was 
too  expensive  to  be  supported  by  the  traditional 
broadcasting  method  of  advertising  sponsors. 
Zenith  President  Eugene  F.  McDonald  proposed 
that  a  scrambled  picture  be  telecast  over  the 
air,  with  a  decoding  key  to  be  transmitted  via 
telephone  wires.  Subscribers  would  be  charged 
for  this  service.  In  1951  Zenith  conducted  a 
three-month  test  of  its  Phonevision  system  of 
pay  TV  among  300  Chicago  families  and  in  the 
following  year  it  officially  petitioned  the  FCC 
to  authorize  toll  TV  on  a  commercial  basis. 

Zenith  was  shortly  joined  by  Skiatron  and 
ITC  (the  latter  is  a  subsidiary  of  Paramount 
Pictures  Inc.),  and  not  long  afterward  by  a  num- 
ber of  uhf  stations  feeling  the  effects  of  the 
competition  from  vhf  stations  resulting  from 
the  FCC*s  unhappy  1952  decision  to  intermix 
vhf  and  uhf  channels  in  the  same  markets. 

In  1955  the  FCC  issued  its  first  rule-making 
notice  on  subscription  TV,  asking  for  comments 
on  the  various  proposals  before  it. 

More  than  25,000  individual  filings — ranging 
from  bulky  printed  legal  documents  to  post 
cards — poured  into  the  Commission's  files  in  re- 
sponse to  this  invitation.  Aside  from  pleadings 
filed  by  parties  of  interest  (broadcasters,  pro- 


ponents, theatre  exhibitors),  the  preponderant 
volume  was  from  the  public.  These  indicated 
that  the  public  was  pretty  well  split  in  favor 
of  and  opposed  to  toll  TV. 

After  several  rounds  of  discussions,  the  Com- 
mission last  May  issued  its  list  of  questions 
seeking  definite  expressions  of  intent  from  inter- 
ested parties.  The  answers  were  significantly 
disappointing  to  the  Commission;  some  parties 
did  not  even  submit  replies. 

Last  week's  action  is  the  third  by  the  FCC 
in  the  consideration  which  began  two  years  ago. 

Hill  Comment  on  Toll  Action: 
From  Potter,  Celler,  Chelf 

Taking  cognizance  of  the  FCC's  announcement 
that  it  would  accept  applications  from  TV  sta- 
tions to  operate  on  a  trial  subscription  basis, 
two  members  of  Congress  last  Thursday  called 
on  the  respective  Interstate  &  Foreign  Com- 
merce Committees  to  expedite  hearings  on  pay 
TV  when  Congress  reconvenes  in  January. 

Sen.  Charles  Potter  (R-Mich.)  and  Rep. 
Emanuel  Celler  (D-N.  Y.) — both  outspoken  op- 
ponents of  pay  TV — were  quick  to  comment  on 
the  Commission's  action,  while  Rep.  Frank 
Chelf  (D-Ky.)  praised  the  move. 

Rep.  Celler,  author  of  a  bill  (HR  586)  out- 
lawing toll  TV,  said  that  a  "study  of  the  action 
taken  yesterday  demonstrates  that  the  Commis- 
sion has  not  authorized  experimental  pay  TV. 
...  It  is  particularly  incumbent  upon  the  Con- 
gress to  take  expeditious  action  at  the  early 
part  of  this  next  session  to  consider  the  entire 
matter.  I  am  confident  that  once  Congress  un- 
dertakes such  consideration,  the  FCC  will  defer 
a  final  decision  in  respect  of  experimental  pay 
TV  until  Congress  has  resolved  the  problem. 

"As  the  first  step  in  congressional  resolution 
of  the  matter,  it  is  important  that  the  House 
Interstate  &  Foreign  Commerce  Committee  hold 


THE  FCC'S  NOTICE 

Here  is  the  text  of  the  FCC's  an- 
nouncement that  it  had  instructed  the 
staff  to  draw  up  documents  on  toll  tv: 

"The  Commission,  at  a  special 
meeting  on  Sept.  18,  directed  prepara- 
tion of  a  document  looking  toward  ac- 
ceptance and  consideration  of  appli- 
cations from  present  or  proposed  tele- 
vision stations  requesting  authorization 
to  conduct  trial  subscription  tv  opera- 
tions on  a  limited  basis,  for  a  period 
of  three  years,  subject  to  the  furnish- 
ing of  pertinent  detailed  information 
and  controlled  conditions  to  be  set 
forth  in  the  document  (Docket  11279). 
Applications  will  not  be  acted  upon 
prior  to  March  1,  1958.  This  action 
does  not  constitute  a  commitment  that 
any  applications  will  be  granted  nor 
does  this  action  constitute  adoption  of 
a  final  order.  (Commissioner  Hyde 
voted  'no'  on  the  approval  of  this 
notice;  Commissioner  Bartley  dis- 
sented; Commissioner  Ford  abstained 
from  participation.)" 


hearings  as  soon  as  possible  on  my  bill  which 
would  make  clear  that  spectrum  space  belonging 
to  all  people  must  not  be  utilized  for  TV  at  a 
price.  This  space  should  be  in  nobody's  pocket. 

"I  must  reiterate  that  authority  of  the  FCC 
to  authorize  pay  TV  broadcasting  on  channels 
authorized  for  free  TV  is  dubious  at  best.  In 
addition,  introduction  of  subscription  television 
even  on  an  experimental  basis  may  bring  in  its 
train  a  number  of  disastrous  consequences. 
These  dangers,  of  which  the  Commission  is  well 
aware,  contain  such  a  grave  threat  to  the  public 
interest  in  television  that  no  action  authorizing 
even  the  experimental  diversion  of  television 
should  be  taken  without  the  express  approval 
of  Congress." 

Sen.  Potter,  a  member  of  the  Commerce  Com- 
mittee, was  in  Cleveland  Thursday  to  address 
the  NARTB  regional  conference.  He  said  the 
FCC  announcement  "actually  means  nothing 
will  be  done"  until  Congress  can  act,  since  ap- 
plications for  pay  TV  operation  will  not  be 
acted  on  until  after  March  1.  He  said  Congress 
should  make  pay  TV  "our  first  order  of  busi- 
ness" and  that  he  would  ask  the  Senate  Com- 
merce Committee  to  adopt  a  resolution  demand- 
ing that  the  Commission  postpone  any  action 
until  hearings  can  be  held. 

Recalling  that  he  felt  the  pay  TV  subject 
is  "clouding  the  electronic  waters  at  a  time 
of  confusion  over  defense  spectrum  needs,"  Sen. 
Potter  added:  "This  really  stirs  up  the  mud. 
This  is  like  a  little  bit  of  pregnancy  (in  testing 
pay  TV  in  a  few,  selected  areas).  I  violently 
disagree  with  the  whole  concept." 

Rep.  Chelf,  who  clashed  with  Rep.  Celler 
once  before  on  the  subject,  feels  that  the  Com- 
mission's announcement  is  "a  victory  for  the 
people"  and  is  "long  past  due."  He  stated  a 
test  is  necessary  to  find  out  if  the  American 
public  will  accept  pay  TV  or  "reject  it  com- 
pletely." 

Sen.  Warren  G.  Magnuson  (D-Wash.)  chair- 
man of  the  Senate  Commerce  Committee,  re- 
portedly is  vacationing  and  could  not  be  reached 
for  comment.  Sen.  Strom  Thurmond  (D-S.  C), 
member  of  the  Commerce  Committee  and  author 
of  a  bill  (S  2268)  which  would  ban  toll  TV, 
currently  is  in  Europe  but  has  announced  plans 
to  push  for  passage  of  his  bill  early  next 
January. 

The  chairman  of  the  House  Commerce  Com- 
mittee, Rep.  Oren  Harris  (D-Ark.),  said  Thurs- 
day he  would  make  a  statement  late  Friday.  Rep. 
Harris  repeatedly  has  told  the  Commission  he 
does  not  feel  it  has  authority  to  authorize  pay- 
TV  without  prior  congressional  action. 

Two  More  Propose  Systems 
For  Broadcast  Subscription  TV 

Even  while  the  FCC  was  struggling  with  the 
controversial  question  of  whether  or  not  to 
make  a  move  toward  authorizing  test  operations 
of  toll  TV,  two  new  systems  were  submitted 
to  the  Commission  by  newcomers  to  the  sub- 
scription television  arena. 

One,  submitted  by  Teleglobe  Pay-TV  Systems 
Inc.,  proposed  to  broadcast  the  video  portion  of 
a  telecast  in  the  normal,  unscrambled  manner, 
while  feeding  the  audio  signal  through  tele- 


Page  18       Film  BULLETIN    September  30,  1957 


NERVOUS  FCC  ACTS 


phone  lines  into  the  home.  The  other  proffered 
by  Blonder-Tongue  Labs.  Inc.,  Newark,  N.  J., 
suggested  an  ingenious  method  whereby  two 
programs  would  be  transmitted  o\er  the  same 
channel  with  a  key  signal  being  transmitted 
over  telephone  lines  to  permit  the  second,  toll 
TV  picture  to  be  seen  and  the  first,  free  TV 
picture  to  be  taken  off  the  screen. 

Teleglobe's  method  was  principal!)  conceived 
by  Solomon  Sagall,  head  of  Scophony  Ltd.  dur- 
ing World  War  II.  Scophony  developed  the 
tracer  tube  used  in  radar  and  other  devices.  Its 
American  counterpart  tied  in  w  ith  a  number  of 
motion  picture  producers,  but  after  a  Justice 
Dept.  antitrust  suit,  signed  a  consent  decree  by 
which  it  disassociated  itself  from  Hollywood 
interests.  The  American  company  became  Skia- 
tron  Electronics  &  Television  Corp.,  headed  by 
Arthur  Levey.  Mr.  Sagall  established  Telicon 
Inc.  in  the  U.  S.  after  the  war.  Telicon  devel- 
oped an  intra-video  master  antenna  system,  used 
in  apartment  houses  and  for  closed-circuit  opera- 
tions.   Currently,  Mr.  Sagall  is  consultant  on 


commercial  TV  to  the  governments  of  Peru 
and  Israel. 

The  Teleglobe  method,  a  patent  for  which 
is  pending,  separates  the  audio  signal  from  the 
video  at  the  station.  The  v  ideo  signals  are 
broadcast  as  usual  over  the  air;  the  audio,  how- 
ever, is  brought  to  subscribers  over  wire  lines. 

Teleglobe  explained  that  the  system  eliminates 
the  need  for  encoding  and  decoding  devices  at 
both  the  station  and  the  receiver. 

"The  mute,  or  silent,  picture  can  be  viewed 
free  by  any  member  of  the  public,"  the  Tele- 
globe announcement  said.  *'|It)  would  unques- 
tionably be  tantalizing  enough  to  induce  the 
public  to  subscribe  for  the  audio  part  and  thus 
obtain  via  the  pay  TV  service  the  complete- 
video  plus  audio  program." 

A  call  for  the  audio  portion  of  a  television 
program  would  be  conveyed  via  a  switch  at- 
tached to  the  audio  wire  leading  to  a  separate 
speaker  in  the  subscriber's  home,  Teleglobe  ex- 
plained. The  entire  billing  process  would  be 
done  at  a  central  switchboard  or  box  office, 


Teleglobe  suggested.  Payment  could  be  by 
monthly  fee  or  on  a  per-program  basis. 

Teleglobe  emphasized  that  its  system  would 
be  cheaper  and  more  efficieoi  than  other  pro- 
posed pay  TV  methods. 

The  Blonder-Tongue  system  was  dubbed  "Bi- 
Tran"  by  its  promoters.  Blonder-Tongue  is  a 
manufacturing  company  which  is  active  in  the 
community  telev  ision  field. 

Using  what  the  company  called  "contraphase 
multiplexing,"  the  system  consists  of  simultane- 
ously transmitting  two  video  signals  modulated 
on  one  carrier.  "The  effective  modulation  polar- 
ity of  one  video  signal  is  switched  back  and 
forth  at  a  rapid  predetermined  rate  (frame,  line 
or  dot)  relative  to  the  other  one,"  Blonder- 
Tongue  explained. 

For  example,  the  company  said,  one  signal, 
"A,"  is  reproduceable  on  a  standard  receiver, 
while  the  second  signal,  "B,"  is  mu  visible  be- 
cause of  its  reversed  polarity. 

(Continued  on  Page  25) 


This  View  on  Pay  TV,  by  Philip  Minoff,  appeared  in 
New  York's  CUE  Magazine,  Issue  of  September  21. 

The  Viewer  HVHl }  Pay  and  Pay  and  JPay 


If  nation-wide  pay-as-you-see  television  isn't  exactly  around 
the  corner,  neither  is  it  up  the  creek.  While  the  FCC  continues 
to  pussyfoot  the  issue  with  lumbering  eclat,  there  are  increasing 
signs  that  toll-TV  simply  will  not  be  denied.  In  New  York, 
few  weeks  back,  there  was  a  very  efficient  demonstration  of  a 
closed-circuit  system  that  wouldn't  even  need  the  FCC's  bless- 
ing. At  this  very  moment,  several  hundred  people  in  Bartles- 
ville,  Okla.,  are  plunking  down  a  flat  fee  of  S9.50  per  month  to 
have  first-run  movies  piped  through  their  receivers.  And  the 
abject  dreadfulness  of  this  past  summer's  regular  TV  fare  has 
even  prompted  a  few  holdouts  among  our  professional  critics 
to  shout,  "Hold!  Enough!  I'd  rather  pay!" 

Of  course,  you  and  I  know  that  a  professional  TV  reviewer 
isn't  going  to  have  to  shell  out  a  dime  from  his  own  pocke:  to 
watch  any  attraction  on  his  screen,  but  I  rather  think  that  these 
about-facers  are  impelled  by  more  self-less  motivation.  They 
are  aware,  to  be  sure,  that  the  "cure"  of  subscription  TV  may 
turn  out  to  be  worse  than  the  disease,  but  they  are  sufficiently 
fed  up  to  take  what  they  refer  to  as  "the  gamble."  It  is  an 
attitude  which  I  can  understand  but  can't  support. 

It  is  neither  stubbornness  nor  misplaced  sympathy  for  the 
commercial  networks  that  makes  me  such  a  spoilsport.  Rather, 
it's  the  very  strong  feeling  that  toll-TV  will  not  be  giving  us 
much  more  than  we're  getting  now;  and  that  the  coexistence 
of  free  and  pay  systems  must  wind  up  with  our  paying  for 
many  of  the  very  best  attractions  we  are  seeing  now  gratis.  I 
can  envision  the  businessmen  behind  pay-TV  setting  a  celes- 
tially-high standard  of  entertainment  for  a  brief  period,  but 
can  you  picture  a  pay-TV  operator  keeping  his  hands  off  any 
free  show  that's  regularly  drawing  15  or  20  million  viewers 
per  week? 

Curiously,  the  well-intentioned  critics  who  say  they're  "gam- 
bling" on  the  lofty  promises  of  the  tollsters,  act  as  if  there  are 


no  parallel  set-ups  in  America  on  which  any  prediction  can  be 
based.  They  seem  to  forget  that  the  movies,  the  theatre,  the 
music  business  and  the  publishing  industry  have  been  charging 
their  customers  directly  for  lo  these  many  years,  and  that  the 
general  level  of  output  in  all  these  fields  has  been,  is,  and  will 
continue  to  be  pretty  shabby.  If  TV  is  obliged  to  turn  out  a 
larger  volume  of  uninspired  stuff  than  any  of  tlieie  other 
spheres,  it  is  largely  because  it's  a  medium  that's  had  to  fill 
more  hours  of  the  average  citizen's  time  than  any  of  his  activi- 
ties but  work  and  sleep.  A  ghastly  assignment  .  .  .  but  there 
it  is. 

I  was  a  little  amazed  to  hear  one  TV  reviewer  claim  that 
subscription  television  will,  thank  heaven,  take  the  medium  out 
of  the  control  of  Madison  Avenue  and  put  it  into  the  hands 
of  the  people.  I  hold  no  brief  for  Madison  Avenue  (they're  big 
enough  to  hold  their  own  briefs)  but  why  should  anyone  sup- 
pose that  the  entrepreneurs  of  pay-TV  will  be  any  less  inter- 
ested in  making  money  than  the  sponsors  and  agencies  who  are 
now  running  the  show?  It's  interesting  that  mid  all  the  high- 
minded  talk  about  the  glorious  era  awaiting  us,  there  isn't  even 
a  guarantee  against  commercials  under  the  thrill-me-bill-me 
setup.  And  the  prospect,  even  a  remote  one,  of  paying  to  hear 
"an  important  message  from  the  sponsor"  is  too  gruesome  to 
contemplate. 

But,  more  importantly,  I  haven't  even  seen  much  in  the  way 
of  "promises"  that  isn't  already  being  fulfilled  under  our  cur- 
rent system  of  free,  old-fashioned  programming.  With  the  ex- 
ception of  first-run  movies,  there's  precious  little  in  the  "golden- 
era"  prospectus  that  we  don't  get  now.  I  have  a  horrible  vision 
of  some  disenchanted  pay-TV  booster  summing  it  all  up  in  a 
column  written  three  or  four  years  hence.  "Alas,"  he  might 
conclude,  "the  programming  we're  getting  now  is  just  like  the 
programming  we  were  getting  back  in  1957.  There's  just  one 
difference:  Now  it  can  be  tolled." 


Film  BULLETIN    September  30.  1957        Page  19 


FRANCHISE  APPLICANTS! 


The  TELEMETER  demonstration  in  New  York  City  surpassed  in  interest  and  in  results 
anything  we  had  hoped  f or  .  .  .  particularly  from  motion  picture  exhibitors  who  indicated 
immediate  interest  in  TELEMETER  franchises. 

To  date  we  have  received  applications  for  TELEMETER  franchises  from  nearly  every 
part  of  the  U.S.  and  Canada  .  . .  and  many,  many  more  than  we  expected. 

The  unexpected  large  number  of  applications  for  franchises  is  the  reason  for  this  ad- 
vertisement. If  you  are  one  of  the  exhibitors  who  has  written  in  expressing  interest  in  a 
TELEMETER  franchise  and  you  haven't  received  a  reply  . .  .  please  be  patient,  we  are  pro- 
cessing the  inquiries  as  rapidly  as  possible  and  you  will  be  hearing  from  us  shortly. 

Also  we  wish  to  announce  that  the  exhibition  that  was  shown  at  the  Savoy  Plaza  Hotel 
in  New  York  City  has  been  reassembled  in  Los  Angeles  so  that  anyone  who  may  have  missed 
the  show  there  may  see  it  at  the  International  TELEMETER  Corporation  laboratories  at 
2000  Stoner  Avenue  in  West  Los  Angeles.  At  the  same  time  we  announce  the  opening  of 
an  Eastern  office  in  the  Paramount  Building,  1501  Broadway,  New  York  36,  New  York. 


INTERNATIONAL  TELEMETER  CORPORATION 


Sky's  The  Limit  in  U-I's 
Campaign  for  "Jet  Pilot" 

Universal-International  is  literally  flying  high  in  its  pro-  % 
motion  on  Howard  Hughes'  "Jet  Pilot",  employing  a  modern 
version  of  skywriting,  sky-typing,  to  attract  attention.  The  air 
spectacle  is  now  being  shown  in  saturation  key  engagements 
coast-to-coast.  Eastern  advertising  manager  Jeff  Livingston, 
engaged  the  Skywriting  Corporation  of  America  to  sky-type 
"Jet  Pilot"  for  a  ten-day  period  in  some  50  key  cities  from 
Boston,  south  to  Washington,  D.  C,  and  from  Chicago,  east 
to  the  Atlantic  coast. 

This  unique  eye-catching  stunt,  it  is  estimated  by  U-I,  was 
visible  to  approximately  80  million  people,  nearly  half  the 
population  of  the  United  States.  The  "wild  blue  yonder" 
plugs  were  calculated  to  generate  plenty  of  "talk-about"  for 
the  long-deferred  John  Wayne  starrer. 

The  "typing"  effect  is  accomplished  by  a  new  method  of 
ejecting  puffs  of  smoke  from  a  formation  of  five  planes  elec- 
tronically coordinated  in  a  short  period.  The  old  technique, 
as  we  recall,  was  to  have  one  plane  emit  a  steady  flow  of 
smoke  in  a  continuous  line. 

The  widely-heralded  RKO  picture  is  also  being  promoted 
by  the  largest  field  exploitation  force  in  U-I  history — 21  Bally 
Men.  This  coverage  is  part  of  the  record  advertising-publicity 
campaign  backing  the  film. 


EINFELD  &  STAFF 
PRESENT  CAMPAIGNS 
ON  20TH'S  BIGGIES 

Charles  Einfeld,  20th  Century- 
Fox  vice  president,  was  highly 
enthusiastic  about  his  com- 
pany's merchandising  plans  on 
forthcoming  product  at  a  recent 
home  office  meeting  of  division 
and  district  managers.  He  and 
assistant  boxofficers  outlined  the 
advertising  -  exploitation  -  pub- 
licity plans  for  such  top-drawer 
productions  as  Jerry  Wald's 
"Peyton  Place"  and  "Kiss  Them 
for  Me"  (Cary  Grant),  and  David 
0.  Selznick's  big  special,  "A 
Farewell  to  Arms". 

TMore  SHOWM 


FINAL  PLANS  SET  FOR  N.Y. 
GOLDEN  JUBILEE  CELEBRATION 


Plans  for  New  York's  two-day 
Golden  Jubilee  Celebration  were 
virtually  completed  last  week,  it 
was  reported  by  Martin  Davis, 
Chairman  of  the  eastern  end  of  the 
movie  industry's  institutional  drive, 
following  a  meeting  with  his  sub- 
committee chairmen. 

Among  the  activities  being  ar- 
ranged: airport  press  reception  for 
the  star  contingent;  reception  with 
Mayor  Wagner  at  City  Hall;  fan 
magazine  press  conference;  selec- 
tion of  Miss  Golden  Jubilee  at 
Times  Square  ceremonies  and  the 

EN  on  Page  24] 


installation  of  a  commemorative 
plaque;  reception  for  United  Na- 
tions delegates  and  the  internation- 
al press;  and  a  tive-borough  motor- 
cade to  some  100  theatres  where 
visiting  stars  will  visit  with  thea- 
tregoers. 

Sub-committee  chairmen  in  at- 
tendance at  the  meeting  were 
Charles  Cohen,  Murray  Segal, 
Mort  Nathanson,  Martin  Lev  ine, 
Robert  K.  Shapiro,  D.  J.  Phillips, 
William  Percival,  Louis  Wein- 
traub,  Leo  Morrell,  Taylor  Mills. 


Film  BULLETIN    September  30,  1957        Page  21 


Shock  Ads,  Screenings  Key  Time  Limit'  Selling 


"Time  Limit"  is  the  kind  of  picture  that 
starts  out  as  a  great  attraction  for  the  males, 
swirls  out  to  encompass  the  females  on  word- 
of-mouth,  and  will  undoubtedly  have  the  critics 
on  its  side,  especially  those  blase  sophisticates 
expecting  another  war  picture  and  bumping 
pleasantly  into  a  surprising  emotional  drama. 
The  fact  that  this  marks  actor  Richard  Wid- 
mark's  splash  into  production  and  actor  Karl 
Maiden's  directorial  debut  makes  "Time  Limit" 
a  doubly  distinctive  event. 

Small  wonder,  then,  that  United  Artists'  sage 
boxofficers,  operating  under  advertising  direc- 
tor Roger  H.  Lewis,  have  decided  to  give  it  the 
big  special  screenings  splurge  a  la  "Marty",  to 
swish  it  around  among  those  who  will  talk 
and  who  make  opinion,  plus  a  smash  news- 
paper ad  campaign,  plus  a  wide-angled  star 
p. a.  promotion. 

The  heavy  advance  screenings  planned  for 
the  buildup  in  some  20  key  city  areas,  go  off 
into  a  unique  tangent  with  a  group  of  addi- 
tional attendance-building  screenings  in  subur- 
ban communities,  bolstered  by  prestige  appear- 
anLL'j  of  notables.  Among  the  first  of  these,  in 
Long  Island's  Levittown,  the  headliners,  topped 
by  Governor  Averell  Harriman,  were  inter- 
viewed over  NBC's  Tex  and  Jinx  show.  Simi- 


The  informer  among  the  American  offi- 
cers in  the  POW  camp  shrinks  in  terror 
as  the  grim  faces  tell  him  he  has  been 
discovered,  while  the  lot-chosen  execu- 
tioner prepares  to  garrot  the  traitor. 


lar  suburban  samplers  will  go  around  the  coun- 
try in  conjunction  with  UA's  overall  program 
to  hypo  attendance  in  outlying  districts.  This, 
of  course,  in  addition  to  the  well-spotted 
screening  room  showings  for  columnists,  TV- 
radio  people,  veterans'  organizations  and  the 
like  to  spark  the  talk  in  the  urban  centers. 

With  Widmark  having  added  incentive  as 
producer,  he  starts  a  coast-to-coast  tour  on  Sep- 
tember 30,  making  an  intensive  two-week  swing 
of  nine  major  cities.  To  build  maximum  cover- 
age for  this,  UA  has  arranged  to  fly  press  con- 


tingents from  satellite  cities  to  the  principal 
centers  to  interview  the  star-producer,  the  in- 
dividual stops  timed  to  coincide  with  regional 
openings. 

The  radio  and  newspaper  campaigns  are  well 
calculated  to  play  up  the  explosive  dramatics 
of  the  picture.  The  air  portion  will  supply  a 
series  of  terse  radio  spots  aimed  to  stir  up 
shock  value.  The  newspaper  promotion  will 
combine  ads  like  those  shown  above  with  a 
special  set  of  teasers  reporting  the  comment  of 
the  average  man  and  woman  following  pre- 
views with  a  comment,  and  possibly  a  picture 
of  the  individual:  "Here's  what  Bill  Bates  of 
33  Rosemont  Boulevard  had  to  say  about  'Time 
Limit'." 

The  title,  of  course,  is  a  natural  for  stunts 
and  tie-ins.  It  will  be  worked  in  with  special 
bargain  sale  department  store  copy,  for  ex- 
ample. All  types  of  contests  and  special  gim- 
micks employing  the  time  theme  are  easily 
adaptable. 

With  the  considerable  assist  UA  is  giving 
showmen,  and  the  inherent  boxoffice  value  of 
"Time  Limit",  here  is  a  solid  platter  for  the 
enterprising  exhibitor.  It  is  the  kind  of  attrac- 
tion that  cries  for  strong  selling — and  will  re- 
spond to  such  showmanship. 


Page  22       Film  BULLETIN    September  30,  1957 


^     THE  ADS  *t 

The  ad  roughs  spread  out  above  sharply 
convey  the  crashing  dramatic  impact  so  un- 
compromisingly slugged  across.  The  four 
ads  shown  here  are  not  necessarily  the  final 
versions,  but  they  do  demonstrate  a  variety 
of  approaches  to  the  explosive  drama  the 
n  is  selling — and  vice  versa.  Paradoxical- 
ly, while  this  is  not  essentially  a  war  picture 
in  the  usual  sense  of  the  word,  it  boldly 
uses  war  art  and  talk,  even  injects  the  term 
"war  story"  in  the  copy. 


Widmark  breaks  the  weak  link  in  the 
chain  of  secrecy  surrounding  the  trai- 
tor's death,  baring  the  truth  behind 
the  confessed  collaboration  of  a 
prisoner-of-war  officer  in  Korea. 


The  TIME  LIMIT'  Story 

Under  the  aegis  of  Widmark's  Heath  Productions,  director  Karl  Maiden,  also  mak- 
ing an  auspicious  debut  as  a  megaphoner,  although  he  doesn't  appear  in  the  picture, 
has  fashioned  a  drama  that  bulges  with  emotional  basics  from  the  Henry  Denker 
screenplay.  Not  a  war  picture,  but  utilizing  the  cruelties  and  frustrations  and  hero- 
ism that  war  develops,  "Time  Limit"  unfolds  a  suspenseful  quest  by  an  Army  officer 
to  get  at  the  enigma  of  an  admitted  collaborationist's  reasons  for  self-destruction. 
The  situation  is  set  up  when  Widmark  is  assigned  to  investigate  evidence  which  will 
determine  whether  the  once  highly  regarded  officer,  a  confessed  collaborationist, 
Richard  Basehart,  shall  face  a  court  martial.  As  Widmark  questions  the  fourteen 
men  who  were  with  Basehart  in  the  POW  camp,  he  finds  striking  similarities  in  the 
wording  of  their  stories,  confirming  Basehart's  confession,  and  their  account  of  the 
dysentery  death  of  another  officer.  Basehart  refuses  to  talk  in  his  own  behalf,  even 
to  his  distressed  wife,  June  Lockhart.  Finally,  Widmark  manages  to  break  the  story 
of  one  of  the  men,  who  blurts  out  the  real  story  behind  Basehart's  collaboration — 
that  the  officer  who  had  died  was  actually  killed  by  one  of  the  14  when  it  was  dis- 
covered that  he  was  informing  on  them,  the  executioner  drawn  by  lot,  and  all  sworn 
to  secrecy.  When  Basehart  had  protested  the  plot  he  had  been  overpowered  and 
held  captive  until  the  deed  was  done.  Hailed  before  the  infuriated  head  of  the 
POW  as  the  prisoners'  ranking  officer,  Basehart  was  forced  to  become  a  collabora- 
tor to  save  the  lives  of  the  other  fourteen.  Because  he  could  not  tell  his  story  with- 
out incriminating  these  same  men,  Basehart  had  maintained  his  silence.  Armed 
with  the  truth,  Widmark  recommends  dismissal  of  a  court  martial,  but  it  is  refused 
on  the  grounds  that  a  commanding  officer  must  often  sacrifice  a  few  to  save  many. 
Widmark  himself,  then  determines  to  defend  the  grateful  Basehart. 


Film  BULLETIN    September  30,  1957        Page  23 


'Idea  Club'  Started  by 
National  Theatres'  Ricketson 

Convinced  that  "ideas  are  the  fruit  of  a  fer- 
tile imagination,  and  are  the  seed  of  great  ac- 
complishment," Frank  H.  Ricketson,  Jr,  vice 
president  and  general  manager  of  National  The- 
atres has  started  an  'Idea  Club'  in  NT's  Show- 
men, house  organ  of  the  350-theatre  circuit. 
Aided  by  Jack  Case  and  Jim  Hardiman,  "Rick's" 
column  will  serve  as  a  clearing  house,  collecting 
information  from  managers  in  20  states  and 
passing  it  around.  Taking  the  view  that  ideas 
are  nothing  until  they  are  transformed  into  ac- 
tion, "Rick"  and  his  associate  are  attempting  to 
make  each  worthwhile  idea  pay  off  in  increased 
business  for  every  house  in  the  circuit. 

In  the  initial  column,  written  by  Case  and 


Hardiman,  NTheatremen  are  asked  to  send  in 
information  and  ideas  on  how  "kid  shows"  are 
sold.  Here  are  some  of  the  questions  asked 
managers  in  the  hope  that  information  obtained 
can  be  sent  back  to  the  field  for  all  showmen 
to  act  upon: 

"Does  the  manager  who  is  successful  in  this 
endeavor  rely  mainly  on  his  own  personality  as 
a  salesman?  .  .  .  What  is  the  technique  or 
method  that  works  so  well  in  situations  that 
produce  this  type  of  income?  .  .  .  How  did  you 
sell  your  last  important  kid  show  ?  ...  In  what 
way  was  the  buyer  convinced  that  your  tie-up 
represented  good  cash  values?  .  .  .  Did  you 
present  the  idea  by  means  of  a  letter  or  bro- 
chure? Did  it  employ  handsome  photographs? 
.  .  .  Did  it  offer  ideas — such  as  offering  avail- 
able theatre  space  for  display  or  selling  of  the 
promotion  product?  .  .  .  Do  you  ever  place 
this  material  in  the  hands  of  agencies?  .  .  ." 


Billboard  Ad  Drive  Sells 
RFDA's  "Graf  Spee'  in  South 

A  hit-'em-hard-and-fast  24-sheet  billboard  ad- 
vertising campaign  has  been  set  by  Rank  Film 
Distributors  in  eleven  Southern  and  Southwest- 
ern states  to  back  a  100-theatre  territorial  satura- 
tion of  "Pursuit  of  the  Graf  Spee". 

As  outlined  by  Geoffrey  Martin,  RFDA  ad- 
vertising, publicity  and  exploitation  director, 
the  program,  which  kicked  off  September  25 
covers  the  following  states:  Alabama,  Arkansas, 
Florida,  Kentucky,  Louisiana,  Mississippi,  Okla- 
homa, Texas,  Tennessee,  North  Carolina  and 
South  Carolina. 

Spearheading  the  mass-playdate  drive  will  be 
the  American  debut  of  the  Rank  Organization's 
Royal  Performance  Film  at  the  Saenger  Theatre 
in  New  Orleans,  top  theatre  of  the  Paramount 
Gulf  Circuit.  The  24-sheet  campaign  will  con- 
tinue through  Mid-November  with  the  heaviest 
concentration  near  the  key  playdates. 

'Small  Change  Room'  Added 
To  Reade  Drive-In  Theatres 

A  quintet  of  Walter  Reade  Drive-In  Theatres 
in  New  Jersey  are  going  to  give  some  of  their 
younger  patrons  a  little  extra  service.  Taking 
a  cue  from  the  Garden  State  Parkway  restau- 
rants operated  by  the  chain,  "Small  Change 
Rooms",  enabling  a  mother  to  "change"  her 
baby,  have  been  set  up  to  provide  a  free  diaper, 
baby  oil  and  powder  for  infants.  Situated  near 
the  ladies  room  in  all  situations,  the  "Small 
Change  Room"  is  decorated  with  baby  pictures, 
toys  and  other  equipment. 

The  Mennen  Co.  and  Johnson  and  Johnson 
are  participating  in  the  program  with  Reade. 
Theatres  where  the  service  has  been  placed  arc: 
the  Eatontown  Drive-In;  the  Woodbridge  Drive- 
In;  the  Lawrence  Drive-In,  outside  of  Trenton; 
the  Atlantic  Drive-In,  outside  of  Atlantic  City; 
and  the  Trenton  Drive-In  in  Robbinsville. 


Todd  Hits  Publicity  Jackpot 
With  Madison  Sq.  Garden  Party 

Mike  Todd,  that  peerless  showman,  has  hit 
a  jackpot  of  publicity  with  his  plans  to  throw 
an  "intimate"  party  for  some  18,000  invited 
guests  at  New  York's  Madison  Square  Garden 
the  night  of  October  17. 

From  the  moment  Todd  disclosed  plans  to 
throw  an  affair  to  celebrate  the  first  anniversary 
of  "Around  the  World  in  80  Days ',  he  has 
been  beseiged  by  "we  want  to  help"  offers,  the 
most  important  of  which  will  be  the  CBS-TV 
telecast  of  the  affair,  complete  with  beautiful 
girls  and  a  parade  of  floats.  A  cake-mix  com- 
pany has  even  offered  to  bake  a  1000-pound 
cake  for  the  shindig. 


-A-  Hal  R.  Makelim  (left),  producer  of  United 
Artists'  "Valerie",  and  sculptor  Sepy  Dobronyi 
give  the  once-over  to  a  statuette  of  Anita  Ek- 
berg,  who  stars  in  the  film.  Statue,  unveiled 
at  New  York  ceremonies,  garnered  attention- 
grabbing  news  breaks  in  all  media. 


AA's  'Hunchback'  Kicks-off 
Saturation  Bookings  in  Canada 

Allied  Artists'  "The  Hunchback  of  Notre 
Dame"  will  be  released  in  Canada  via  satura- 
tion bookings,  the  first  time  this  technique  has 
been  employed  north  of  the  border. 

The  plans,  as  outlined  by  vice  president 
Morey  R.  Goldstein,  calls  for  a  20-theatre  pre- 
miere in  the  Montreal  area,  designed  to  coincide 
with  the  Dominion's  Thanksgiving  holiday. 

Backed  by  an  intensive  pre-selling  campaign 
utilizing  every  promotional  medium  available, 
"Hunchback's"  saturation  drive  will  be  kicked- 
off  at  an  official  reception  attended  by  Raymond 
and  Robert  Hakim,  producers  of  the  film. 

Captained  by  Martin  Davis,  AA's  eastern  ad- 
vertising and  publicity  director,  the  drive  in- 
cludes a  widespread  newspaper  campaign,  radio 
and  TV  spot  announcements,  street  ballyhoos, 
and  an  intensive  school  promotion  built  around 
hard  cover,  paperback  and  comic  book  editions 
of  the  Victor  Hugo  classic. 

Solution  Can  Be  Found  to 
Ad  Billings  Problem:  Golden 

Warner  Bros,  advertising  manager  Gilbert 
Golden,  who  is  also  chairman  of  the  MPAA 
Business-Building  Subcommittee  on  Advertising 
Billings,  in  answer  to  a  recent  statement  by 
TOA  president  E.  G.  Stellings  that  ad  billings 
are  wasted  advertising,  declared  that  "advertis- 
ing heads  of  the  major  companies  have  long 
been  aware  of  exhibitor  antagonism  toward  ad- 
vertising billings". 

Golden  said  that  a  partial  solution  to  the 
problem  can  be  found  by  finding  a  happy  meet- 
ing ground  for  the  two  main  elements  of  bill- 
ings— providing  information  of  real  value  to 
the  public  and  giving  proper  credit  to  those  who 
have  made  creative  contributions  to  a  produc- 
tion. Over-emphasis  of  billings  results  from  a 
desire  for  individual  recognition,  he  said. 


Page  24       Film  BULLETIN    September  30,  1957 


NERVOUS  FCC  ACTS 


[Continued  from  Page  19) 

The  decoding  signal,  the  company  continued, 
can  be  sent  to  the  TV  receiver  by  any  one  of 
several  means  to  activate  the  modified  receiver 
so  that  the  "B"  picture  becomes  visible  and  the 
"A"  picture  disappears.  One  means  would  be 
via  telephone  lines. 

The  "Bi-Tran"  system  requires  the  modifica- 
tion of  existing  transmitters  and  receivers,  the 
company  explained. 

It  also,  at  this  point,  causes  a  reduction  in 
contrast  and  brightness  ranges,  Blonder-Tongue 
declared,  but  not  to  a  signficant  degree. 

Such  a  system,  the  New  Jersey  company 
stated,  would  be  established  at  a  "fraction  of 
the  cost  of  a  completely  wired  or  coaxial  cable 

I system."  There  is  no  need  to  scramble  the  pic- 
ture. The  use  of  telephone  lines  also  simplifies 
the  billing  problems. 

Blonder-Tongue  added  that  the  proposed  sys- 
tem still  requires  further  development  before  it 
can  be  ready  for  commercial  operation.  The 
concept  could,  if  adopted,  it  was  pointed  out. 


double  the  number  of  station  broadcasts  using 
the  same  number  of  channels  as  are  available 
now.  It  also  has  military  applications,  the  com- 
pany  noted. 

In  the  more  recent  activity  on  pay  TV  the 
proposed  use  of  wire  lines  to  convey  decoding 
or  triggering  signals  and  for  billing  purposes 
has  usually  been  subsidiary  to  other  methods — 
on-the-air  cueing  signals,  coded,  IBM-type  punch 
cards,  or  coin  boxes.  Actually,  Zenith  Radio 
Co.,  the  first  and  principal  coll  TV  proponent, 
calls  its  system  Phonevision  because  its  original 
concept  visualized  the  use  of  telephone  lines  to 
transmit  decoding  information  to  the  subscriber, 
and  for  billing  purposes.  In  fact,  when  Zenith 
tested  its  system  in  Chicago  in  1951,  it  was  in 
cooperation  with  the  telephone  company. 

NARTB's  Fellows  Renews  Stand 
Against  Subscription  TV  Trial 

NARTB  President  Harold  E.  Fellows  issued 
this  statement  on  the  FCC's  pay  TV  announce- 
ment: 


"Our  association  has  contended,  after  a 
searching  study  of  the  history  of  the  basic 
broadcasting  statutes,  that  the  FCC  does  not 
have  the  authoritj  to  authorize  the-  introduction 
of  pay  television  into  the  broadcast  band.  That 
is  still  our  position.  We  believe  that  the  Con- 
gress intended  that  the  American  people  should 
receive  broadcast  programs  without  charge  after 
purchase  of  sets. 

"I  note  that  the  Commission  has  set  March 
I,  1958,  as  the  earliest  date  that  it  will  consider 
applications  for  so-called  trial  run'  demonstra- 
tions of  pay  television.  This  will  give  the  Con- 
gress, which  will  then  be  in  session,  and  its 
committees  an  opporunity  to  express  their  feel- 
ing on  this  action,  including  their  responsibility 
on  the  public  interest  aspect.  I  am  quite  sure 
that  the  Congress,  directly  representing  people 
from  this  country,  will  have  something  to  say 
about  this  position  which  would  add  millions 
and  millions  of  dollars  to  the  entertainment 
budget  of  the  American  people,  mainly  for  pro- 
gramming similar  to  that  which  they  ha\e  been 
receiv  ing  free." 


Pay-TV  Cost-Revenue  Jtundoirn 


There  is  widespread  interest  about  the 
costs  of  installing  uired  television  shut 
Barllesiille  pushed  this  system  into  the 
forefront.  Following  is  an  expert's  ex- 
amination of  the  installation  economics, 
as  reported  in  the  Sept.  2?  issue  of 
Broadcasting-Telecasting  magazine. 


Wired  television  is  expensive  to  install — $100 
per  home — but  it  might  gross  S7.7  million  a 
year  in  a  city  of  500,000,  judging  by  an  NARTB 
projection.  It  might,  that  is,  if  a  lot  of  "ifs" 
were  to  turn  out  favorably. 

A  look  into  the  economics  of  closed-circuit 
video  by  Charles  H.  Tower,  NARTB  employer- 
employe  relations  manager,  was  unveiled  last 
week  to  broadcasters  attending  the  Schenectady, 
N.  Y.,  and  Cleveland  autumn  regional  meetings. 

Taking  a  hypothetical  Pay  City  as  base,  Mr. 
Tower  offered  figures  covering  a  wired  TV  sys- 
tem after  it  has  been  in  operation  five  years. 
Pay  City  has  150,000  homes  in  the  city  limits. 
Of  these  142,500  (95%)  are  TV  homes  and 
106,8~5  (75%)  subscribe  to  the  wired  service. 

The  wire  system  of  trunk  and  distribution 
lines  (coaxial  cable,  overhead)  cost  $3,000  per 
installed  mile,  or  S2,531,250  (based  on  160 
homes  per  street  mile  and  strand-mile  density 
of  175).  Cost  of  tapoffs  at  S25  per  home  totals 
$2,671,875.  Home  equipment  comprising  106,- 
875  recorders  at  S50  each  would  run  a  little 
over  S5  million.  Use  of  a  coin  box  instead  of  a 
recorder  would  change  the  home  figure. 

Facilities  used  in  the  system,  including  cam- 
eras and  projectors,  would  run  S  175,000  or 
SI. 64  per  home,  bringing  total  equipment  in- 
vestment to  S10,721,875,  or  S100.32  per  home. 


Additionally,  the  cost  of  getting  started  would 
be  substantial. 

Looking  into  operating  costs,  Mr.  Tower  cited 
these  items — technical  $460,938  a  year,  program 
(excluding  product)  $35,000,  sales  $200,000, 
general-administrative  $600,000,  depreciation 
(non-wire)  $1,424,375  on  a  five-year  basis,  de- 
preciation (wire)  S506,25O— a  total  of  $3,226,- 
563  or  $30.19  per  home. 

Mi  Tower  said  revenue  estimates  were  diffi- 
cult but  he  offered  data  based  on  a  price  of  "5 
cents  per  movie  and  SI  for  other  program  fea- 
tures such  as  sports  events.  The  average  home 
in  Pay  City  has  $5,500  income  and  spends  $30 
a  year  on  movies  and  S12  on  other  admissions. 

His  projection  showed  an  average  $72.50  per 
home  spent  by  the  average  family  for  its  wired 
service,  grossing  ST,748,438.  With  cost  as  one- 
third  of  total  intake,  net  revenue  is  $5,165,625. 
Deducting  53,226,563  operating  cost  leaves  a 
profit  of  SI, 939,062  before  taxes  or  S 18. 1-1  per 
household.  Return  on  investment  after  taxes  is 
just  under  lo<  ( . 

Thad  H.  Brown  Jr.,  NARTB  TV  vice  presi- 
dent, said  a  survey  of  mayors  in  the  first  100 
cities,  by  population,  plus  20  high-income  com- 
munities, showed  that  52%  of  the  81  reply  ing 
cities  have  provisions  in  municipal  codes  for 
granting  of  wire  franchises,  with  40%  having 
no  provision.  He  said  the  council  or  board  of 
aldermen  in  74%  of  cities  could  grant  such  a 
franchise  or  permit,  with  five  referring  the  mat- 
ter to  the  state  utility  commission.  A  few  re- 
quire a  referendum  vote. 

The  survey  showed  66%  of  cities  would  grant 
non-exclusive  franchises,  29%  indicating  they 
would  grant  either  exclusive  or  non-exclusive. 
As  to  length  of  franchises,  31%  said  optional, 
11%  said  six  months  to  10  years,  13%  said  11- 


20  years,  18%  said  over  25  years  and  26%  fixed 
an  upper  limit  of  25  years. 

Few  cities  now  have  wire-TV  application 
forms;  33%  would  require  posting  of  bond  and 
66%  said  munipical  codes  would  provide  a  tax 
on  such  facilities.  Four  cities  reported  formal 
franchise  applications  pending  and  nine  said  in- 
formal inquiries  have  been  made.  Four  cities 
have  made  grants,  two  of  which  are  for  com- 
munity antenna  systems. 

Mr.  Brown  said  most  of  the  wired  TV  in- 
terest is  centered  in  California  and  the  South- 
west. He  said  mayors  are  anxious  to  get  any 
information  NARTB  can  supply  on  the  subject. 

He  summed  up  the  problem  this  way:  "Engi- 
neering costs  are  not  as  low  as  some  promoters 
would  have  us  believe,  without  running  afoul 
of  the  FCC's  standards  and  picture  quality;  a 
multitude  of  political  and  governmental  bodies 
are  involved,  including  the  general  electorate  in 
Denver,  for  example;  one  of  the  toughest  nuts 
to  crack  is  the  matter  of  program  sources  and 
allocation  of  income  to  them,  and  there  is  a 
great  intrafraternal  controversy  between  the  pro- 
moters of  wired  circuit  television  re  the  method 
of  charging  and  collecting  charges." 

A.  Prose  Walker,  NARTB  engineering  man- 
ager, described  operation  of  the  three  main  types 
of  wire  systems — coaxial,  open-wire  ladder  and 
g-string  or  single  wire.  He  said  weather  could 
interfere  with  service  on  open-wire  or  g-string 
systems  and  pointed  to  their  radiation  problems. 
He  conceded  they  can  be  highly  erhcient  under 
certain  operating  conditions. 

John  E.  Fetzer,  WKZO-TV  Kalamazoo,  Mich., 
NARTB  TV  Board  chairman,  said  in  a  filmed 
talk  that  broadcasters  should  study  threats  to 
free  television  as  well  as  possible  pre-emption 
of  TV  channels  by  the  military. 


Film  BULLETIN    September  30,  1957        Page  25 


CONCILIATION  comes  to  the  industry 
November  1.  The  plan,  designed  to  handle 
differences  between  exhibitors  and  distribu- 
tors, was  approved  by  a  joint  industry  ne- 
gotiating group  comprised  of  distribution  and 
exhibition  leaders.  The  committee  declared 
the  conciliation  plan  should  be  put  into  ef- 
fect on  November  1  without  waiting  for  an 
agreement  on  a  proposed  arbitration  system. 
Said  the  committee:  "We  consider  this  action 
today  as  one  of  the  most  important  achieve- 
ments in  national  exhibitor-distributor  rela- 
tions of  the  motion  picture  industry.  We  are 
happy  to  emphasize  that  this  agreement  on 
conciliation  is  the  result  of  a  series  of  frank, 
constructive  discussions  between  responsible 
representatives  of  the  exhibition  and  distribu- 
tion branches  of  the  industry".  The  plan 
states  that  an  exhibitor  can  present  his  prob- 
lem to  a  branch  manager.  If  no  solution  is 
reached,  the  theatreman  can  carry  his  prob- 
lem to  the  general  sales  manager.  Third 
parties  can  be  invited  into  the  discussions  by 
either  the  exhibitor  or  the  distributor.  If 
the  exhibitor  is  still  dissatisfied  after  going 
through  the  conciliation  procedure,  he  is  free 
to  resort  to  arbitration  or  litigation. 

0 

SIDNEY  M.  MARKLEY,  vice  president  of 
AB-PT  Pictures,  announced  that  his  company 
plans  to  increase  its  production  schedule  to 
fifteen  films  in  1958  with  five  of  them  to  be 
budgeted  between  5500,000-51,000,000.  Addi- 
tionally, president  Irving  H.  Levin  announced 
that  five  pictures  will  have  been  completed 
by  the  end  of  this  year.  The  expansion  plans, 
as  outlined  by  Markley,  call  for  developing 
the  "vast  area  of  good  boxoffice  pictures  be- 
tween the  blockbuster  and  the  gimmick  pic- 
ture, and  we  intend  to  explore  this  field  to 
the  fullest.  We  don't  know  what  that  area 
is  in  money.  However,  we  will  spend  what- 
ever is  necessary".  Formed  ten  months  ago, 
the  American  Broadcasting-Paramount  The- 
atres subsidiary  has  released  two  films,  "Be- 
ginning of  the  End"  and  "The  Unearthly", 
as  a  combination  through  Republic. 

0 

ELMER  C.  RHODEN,  president  of  National 
Theatres,  told  theatremen-delegates  to  NT's 
four-day  convention  in  Solvang,  California, 
to  "become  aware  of  the  wants  of  our  cus- 
tomers and  give  helpful  guidance  to  our 
film  suppliers.  Assembled  from  over  20 
states  and  representing  350  theartes,  the  con- 


LEVIN  and  MARKLEY 


Page  26       Film  BULLETIN    September  30,  1957 


THEY 


MADE  THE  NEWS 


RHODEN 


ventioneers  were  told  by  Rhoden  "to  dedi- 
cate their  minds,  their  thinking,  to  solving 
problems  and  capturing  opportunities". 
Speaking  at  one  of  the  sessions,  Frank  H. 
Ricketson,  Jr.,  vice  president  and  general 
manager  of  the  20-state  chain,  asked  the  as- 
semblage to  "find  sure  ways  and  more  mod- 
ern weapons  of  dynamically  and  dramatically 
transmitting  our  knowledge  from  this  great 
powerhouse  into  every  outlet  of  our  thea- 
tres". Unveiled  to  the  group  was  a  35-minute 
footage  showing  of  some  scenes  from  "Cine- 
miracle  Adventure",  a  film  being  shot  by 
producer  Louis  de  Rochemont  in  the  new 
Cinemiracle  wide-screen  process,  to  be  re- 
leased by  NT  early  in  1958. 

o 

JOSEPH  R.  TOMLINSON  filed  a  complaint 
asking  the  U.  S.  District  Court  of  Delaware 
to  invalidate  proxies  held  by  Joseph  R. 
Vogel,  Loew's  president,  for  the  special 
stockholders  meeting  scheduled  for  October 
15.  A  judicial  order  signed  by  Chief  Judge 
Paul  Leahy  set  October  10  for  a  hearing  on 
the  complaint.  Tomlinson  charges  a  letter 
sent  to  stockholders  on  August  9  to  solicit 
proxies  contained  "false  or  misleading  state- 
ments" that  resulted  in  the  Vogel  group  ob- 
taining a  large  number  of  proxies.  In  another 
development  Chancellor  Collins  J.  Seitz  of 
the  Delaware  Court  of  Chancery  cleared  the 
road  for  the  October  15  special  stockholders 
meeting  of  Loew's.  In  a  37-page  opinion  the 
Chancellor  (1)  refused  to  halt  the  meeting, 
(2)  enjoined  management  from  using  any 
proxies  solicited  by  it  unless  the  Tomlinson 
faction  is  furnished  with  a  list  of  share- 
holders, (3)  ruled  that  Joseph  Tomlinson 
and  Stanley  Meyer  could  not  be  ousted  from 
the  board  by  the  Vogel  proxies,  (4)  dropped 
a  restraining  order  preventing  management 
from  spending  corporate  monies  to  solicit 


proxies,  (5)  issued  a  preliminary  injunction 
barring  the  use  of  company  facilities  and 
personnel  to  solicit  proxies  and  (6)  ruled 
that  the  court  has  no  power  to  compel  di- 
rectors to  attend  board  meetings. 

0 

PRODUCTION  REQUESTS  from  divorced 
circuits  will  be  discussed  at  an  October  10 
conference  called  by  the  Department  of  Jus- 
tice. Invitations  have  been  sent  to  producers, 
distributors  and  exhibitor  organizations  in  an 
effort  to  obtain  "a  broader  exchange  of 
views  on  the  subject".  Expected  to  take  part 
in  the  confab  are  assistant  attorney  general 
Victor  R.  Hansen  and  the  D  of  J  s  industry 
specialist,  Maurice  Silverman.  Circuits  vitally- 
interested  in  entering  production,  but  ex- 
cluded from  doing  so  without  government 
permission,  include  National  Theatres  and 
Stanley  Warner. 

0 

ROBERT  S.  BENJAMIN,  United  Artists 
board  chairman,  reported  net  earnings  for 
the  first  half  of  1957  of  SI,  196,000  as  com- 
pared to  S9S9,000  for  the  same  period  in 
1956.  Gross  film  income  was  532,498,000  for 
the  26-week  period,  up  from  S27,342,00()  in 
1956.  A  35-cent  dividend  on  the  common 
stock  was  declared  recently. 

0 

HERBERT  J.  YATES  has  refused  to  con- 
clude a  deal  calling  for  the  sale  of  566,223 
shares  of  Republic  Pictures  common  stock. 
So  charged  Joseph  Harris,  president  of  the 
Essex  LIniversal  Corp.  Harris  declared  his 
company  "will  seek  legal  redress  for  breach 
of  contract  and  specific  performance."  Cash- 
iers checks  totaling  51,689,000  were  refused 
by  the  Republic  president,  he  asserted. 
Yates  has  not  commented  on  the  charge. 
0 

ALEX  HARRISON  outlined  national  satura- 
tion campaigns  on  a  quintet  of  20th  Century- 
Fox  releases.  The  five  films:  "Three  Faces  of 
Eve,"  "No  Down  Payment,"  "Spot  Over 
Tokyo,"  "April  Love"  and  "Kiss  Them  For 
Me."  Speaking  at  a  3-day  meeting  of  divi- 
sion and  district  managers,  the  general  sales 
manager  announced  that  400-500  prints  will 
be  available  for  each  saturation  campaign 
thus  backing  up  the  company's  prior  an- 
nouncements that  prints  will  be  available 
during  the  peak  of  promotional  drives. 


HARRISON 


THEY 


MADE  THE  NEWS 

BUDDY  ADLER,  20th  Century-Fox  produc- 
tion chief,  told  delegates  to  the  National 
Theatres  convention  in  Solvang,  California, 
there  is  "no  fear  at  20th".  Describing  his 
company's  confidence  in  the  future,  he  de- 
clared: "Spyros  P.  Skouras  has  allocated 
563,000,000  to  produce  38  AA  pictures  in 
19^8,  a  program  that  makes  20th  Century- 
Fox  leader  in  the  entire  industry.  The  past 
year  found  the  industry  worried,  but  there 
was  no  fear  at  20th  Century-Fox.  No  one 
studio,  it  is  true  can  supply  all  the  features 
for  the  nation's  exhibitors,  but  our  leader- 
ship other  producers  have  followed." 

o 

TOLL-TV  tests  may  start  sometime  in  195S. 
The  Federal  Communications  Commission, 
in  a  timorous  step  to  appease  pay-television 
interests,  announced  that  it  will  consider 
"applications  from  present  or  proposed  tele- 
vision stations  requesting  authorization  to 
conduct  trial  subscription  TV  operations  on 
a  limited  basis".  Applications  would  be  con- 
sidered on  an  individual  station  basis  for 
trials  to  be  conducted  over  a  period  of  three 
years,  but  will  not  be  acted  on  before 
March  I,  19S8.  The  seven-man  commission 
made  it  clear  that  its  action  "does  not  con- 
stitute a  commitment  that  any  applications 
will  be  granted".  The  trial-run  authorization 
brought  a  heated  blast  by  Rep.  Emanuel  H. 
Celler,  chairman  of  the  House  Judiciary 
Committee,  who  questioned  the  FCC's  legal 
authority  to  proceed,  promptly  announced 
that  his  committee  will  hold  hearings  soon 
on  a  bill  to  prohibit  pay-TV. 

o 

JAMES  H.  NICHOLSON,  president  of 
American  International,  blasted  false  stand- 
ards of  production  based  on  ignorance  of  the 
public's  wants.  Speaking  before  the  Mis- 
souri-Illinois Theatre  Owners  convention,  he 
said  an  exploitation  program  of  two  "explo- 
sive" features  is  the  most  consistent  money- 
maker readily  available  to  exhibitors.  Plug- 
ging the  exploitation-type  product  A-I  is 
making,  Nicholson  declared  that  his  product 
"created  a  boxoffice  explosion  instantaneously 
.  .  .  This  is  evidence  of  the  dynamiting  the 
industry  needed  to  jolt  itself  into  a  new  kind 
of  product  which  would  give  the  audience  a 
jolt  at  the  same  time.  The  revolution  in  pro- 
duction and  exhibition  proved  that  the  audi- 
ence wanted  a  kind  of  program  which  was 
not  too  available  .  .  ." 

0 

SEN.  WAYNE  MORSE  will  address  the 
Allied  States  Association  convention  at 
Kiamesha  Lake,  N.  Y.,  on  October  30.  The 
Oregonian  has  long  been  a  champion  of 
small  business.  Measures  for  increasing  the- 
atre attendance  will  be  given  special  empha- 
sis on  the  conclave  agenda. 


HEADLINERS... 


ROBERT  S.  BENJAMIN,  Inited  Artists 
board  chairman,  named  chairman  of  the 
Tenth  Anniversary  Dinner-Concert  of  the 
America-Israel  Cultural  Foundation,  to  be- 
held at  N.  Y.'s  Waldorf-Astoria  Hotel  on 
January  13  .  .  .  L.  DOUGLAS  YETTER, 
Todd-AO  vice  president,  revealed  that  some 
theatres  in  the  U.  S.  and  Canada  are  now 
set  up  for  his  company's  system  .  .  .  Screen- 
craft  Enterprises  will  deliver  a  minimum  of 
six  productions  to  Astor  Pictures  in  the  next 
12  months  savs  Astor  president  FRED  BEL- 
LIN  .  .  .  HOWARD  G.  MINSKY,  former 
Paramount  mid-eastern  sales  manager  for  In- 


Attending  press  preview  of  "Escapade  in 
Japan"  at  L.A.'s  Academy  Award  Theatre: 
Dorothy  Malone,  Alfred  E.  Daff,  Charles 
Feldman,  David  Lipton,  Mrs.  Daff. 


ternational  Telemeter  .  .  .  ESTELLE  STEIN- 
BACH  of  Milwaukee's  Strand  Theatre  hailed 
as  "Showman  of  the  Year"  at  California  con- 
vention of  National  Theatres  .  .  .  Executive 
vice  president  EMILE  N.  SAVINI  of  Astor 
Pictures  died  at  the  age  of  65  in  Atlanta,  Ga. 
.  .  .  JACK  SATTINGER  has  been  appointed 
Assistant  Secretary  of  Allied  Artists  Pictures 
.  .  .  HERMAN  SILVERMAN  promoted  to 
eastern  sales  manager  for  Continental  Dis- 
tributing, Inc.  .  .  .  S.  H.  FABIAN  off  to 
Europe  on  Cinerama  business  .  .  .  MURRAY 
M.  KAPLAN  appointed  sales  manager  of 
NTA  pictures  by  A.  W.  SCHWA  LBiRG  .  .  . 


SPYROS  P.  SKOURAS  is  back  from  a  live- 
week  tour  of  the  Continent  and  South  Afriia 
to  look  over  20th's  interests  there  .  .  .  SAUL 
GOLDMAN  added  to  Allied  Theatres  of 
Illinois    buy  ing- book  inc.    staff    by  JACK 


General  zone  manager  Ted  Schlanger 
(seated,  third  from  left)  of  Stanley  War- 
ner Theatres  in  Philadelphia  inaugurates 
showmanship  drive  celebrating  his  25th 
year  with  Stanley-Warner.  With  Schlanger, 
his  executive  staff. 

KIRSCH,  Allied  president  .  .  .  New  directors 
of  National  Telefilm  Associates  include  B. 
GERALD  CANTOR,  Beverly  Hills  invest- 
ment banker;  Ohio  stock  broker  ROBERT  I. 
WESTHEIMER;  California  attornev  JACK 
M.  OSTROW  .  .  .  BILL  HEINEMAN  to 
be  honored  by  UA  via  a  28-week  sales  drive 
.  .  .  ALICE  GORHAM,  director  of  advertis- 
ing  and  exploitation  for  I'nited  Detroit  The- 
atres, died  suddenly  in  Detroit  .  .  .  ROGER 
II.  LEWIS  in  Hollywood  to  review  l.\ 
promotional  plans  .  .  .  CHARLES  EINFELD 
to  Europe  on  a  combined  business-pleasure 
trip  .  .  .  BARNEY  BALABAN  has  been 
named  co-chairman  of  the  testimonial  dinner 
in  honor  of  industry  attornev  LOUIS  NIZER, 
to  be  held  Oct.  24  in  New  York  .  .  .  WAL- 
TER E.  GREEN  to  retire  as  president  of 
National  Theatre  Supply  at  the  end  of  this 
year  .  .  .  JACK  GOLDSTEIN  has  formed 
his  own  public  relations  firm.  Formerly  with 
CBS  and  2()th-Fox  .  .  .  SMPTE  Sarnoff 
Award  goes  to  C.  P.  GINSBURG  of  Ampex 
Corp.  .  .  .  MIKE  TODD's  Madison  Square 
Garden  shindig  for  18,000  chums  to  be 
aired  over  CBS-TV  .  .  . 


James  P.  Clark 


nnounced 


Effective  October  1,  1957.  the  film,  newspaper,  magazine, 
and  theatrical  road  show  services  of  Highway  Express  Lines, 
Inc.  will  be  operated  by  a  newly  formed  subsidiary  company 
under  the  firm  name  of 

CLARK  TRANSFER,  INC. 

829  North  29th  St.  1638  Third  St.  N.E. 

Phila.  30,  Pa.  Washington,  D.C. 

LOcust  4-3450  Dupont  7-7200 

These  services  have  been  conducted  as  a  separate  division  of 
Highway  for  many  years.   The  employees  and  facilities  of 
this  division  constitute  the  new  company. 

"EVERYTHING  REMAINS  THE  SAME,  BUT  THE  NAME." 


Film  BULLETIN    September  30.  1757        Page  27 


THIS  IS  YOUR  PRODUCT 


All  The  Vital  Details  on  Current  &>  Coming  Features 

(Date  of  Film  BULLETIN  Review  Appears  At  End  of  Synopsis) 


ALLIED  ARTISTS 


August 

FROM  HELL  IT  CAME  Tod  Andrews,  Tina  Carver.  Di- 
rector Jack  Milner.  Director  Dan  Milner.  Producer 
Jack  Milner.  Horror.  Monster  threatens  to  destroy 
American  scientists.    75  min. 

PORTLAND  EXPOSE  Barry  Sullivan.  Edward  Binns. 
Producer  Lindsley  Parsons.  Director  Harold  Shuster. 
Melodrama.  Gangster  runs  wild  in  the  Pacific  North- 
west.   72  min. 

BADGE  OF  MARSHAL  BRENNAN  Jim  Davis,  Arleen 
Whelan,  Lee  Van  Cleef.  Producer-Director  Albert  C. 
Gannaway.  Western.  Wanted  man  posing  as  a  mar- 
shal saves  town. 


September 


DEATH  IN  SMALL  DOSES  Peter  Graves,  Mala  Powers, 
Chuck  Conners.  Producer  R.  Heermance.  Director  J. 
Newman.  Melodrama.  Investigator  cracks  ring  selling 
illegal  pills  to  truckers.    74  minutes. 

GUN  BATTLE  AT  MONTEREY  Sterling  Hayden,  Pamela 
Duncan,  Ted  de  Corsia.  Producer  D.  J.  Grut.  Director 
Sidney  Franklin,  Jr.  Melodrama.  Outlaw  leaves  buddy 
to  die,  thinking  him  dead.  76  minutes. 
NAKED  IN  THE  SUN  Eastman  Color.  James  Craig,  Lita 
Milan,  Barton  MacLane.  Producer-director  R.  John 
High.  Drama.  Story  of  Osceola,  Warrior  Chief  of  the 
Seminole  nation,  the  woman  he  loved,  and  the  war  that 
was  never  won.    72  min. 

TEENAGE  DOLL  June  Kenney,  Fay  Spain,  John  Brink- 
ley.  Producer-Director  Roger  Corman.  A  drama  of 
teenage  gang  warfare.    71  min. 

UNDERSEA  GIRL  Mara  Corday,  Pat  Conway,  Florence 
Marly.  Producer  Norman  Herman.  Adventure.  Skin 
divers  solve  mystery  of  lost  naval  shipment.    66  min. 

October 

AFFAIR  IN  HAVANA  John  Casavetes,  Raymond  Eurr, 
Sara  Shane.  A  Dudley  Production.  Director  Laslo 
Benedek.  Drama.  Young  American  composer  becomes 
involved  with  the  wife  of  a  wealthy  Cuban  tycoon  who 
is  a  helpless  paralytic.   80  min. 

LOOKING  FOR  DANGER  Hunti  Hall,  Stanley  Clements. 
Producer-director  Richard  Heermance.  Melodrama. 
Bowery  Boys  booby-trap  holdup  man.  61  min. 
WALK  TALL  CinemaScope,  Color.  Joel  McCrea,  Vir- 
ginia Mayo.  Producer  Walter  Mirisch.  Director  Thomas 
Carr.  Western.  Cowboy  helps  open  Colorado  to  set- 
tlers.   81  min. 

November 

HONG  KONG  INCIDENT  Jack  Kelly,  May  Wynn.  Pro- 
ducer J.  Raymond  Friegen.  Director  Paul  F.  Heard. 
Drama.  East-West  romance  with  Hong  Kong  as  back- 
ground. 

HUNCHBACK  OF  NOTRE  DAME.  THE  CinemaScope, 
Color.  Gina  Lollobrigida,  Anthony  Ou'nn-  A  Paris 
Production.  Director  Jean  Delannoy.  Drama.  Hunch- 
back falls  in  love  with  beautiful  gypsy  girl.  88  min. 
SABU  AND  THE  MAGIC  RING  Sabu,  Daria  Massey, 
Robert  Shafto.  Producer  Maurice  Dike.  Director 
George  Blair.  Adventure.  Stable  boy  finds  magic  ring. 
65  min. 

December 

BARBARIANS,  THE  Pierre  Cressoy,  Vittorio  Sanitoli, 
Helen  Remy.  Producer  William  Piior.  Director  Fer- 
rucio  Cerio.  Drama.  Sacking  of  16th  Century  Rome 
by  Spanish  hordes.   80  min. 

NEW  DAY  AT  SUNDOWN  Cinemascope  Color  George 
Montgomery,  Randy  Stuart,  Susan  Cummings.  Producer 
Scott  R.  Dunlap.  Director  Paul  Landres.  Western.  Be- 
lieved to  be  agent  for  railroad,  hero  becomes  a 
marked  man. 

UP  IN  SMOKE  Huntz  Hall.  Producer  Richard  Heer- 
mance. Director  William  Beardine.  Comedy.  Bowery 
Boys  become  involved  in  horse  race  betting.    62  min. 


Coming 


BEAST  OF  BUDAPEST  Michael  Mills,  Greta  Thyssen, 
Violet  Rensinn.  Producer  Archie  Mayo.  Director  Har- 
mon Jones.  Drama  of  freedom  fighters  in  Budapest. 
COLE  YOUNGER,  GUNFIGHTER  CinemaScope.  Deluxe 
Color.  Frank  Lovejoy.  Producer  Ben  Schwalb.  Director 
R.  G.  Springsteen.  Western.  Rebellion  against  carpet- 
bag rule  in  Texas. 

CRY  BABY  KILLER.  THE  Producer  Roger  Corman. 
Drama.  Juvenile  killer  on  a  crime  spree. 
ON  THE  MAKE  Hunt*  Hall.  Producer  Richard  Heer- 
mance. Director  William  Beaudine.  Comedy.  Interna- 
national  smugglers  make  Hall  fall  guy  in  robbery. 
OREGON  PASSAGE  CinemaScope.  Deluxe  Color.  John 
Ericson.  Produced  Lindsley  Parsons.  Director  Paul 
Landres.  Western.  Fight  against  Indian  uprisings  in 
Oregon  Territory. 

Film 


AMERICAN   INTN'L  PICTURES 


August 


REFORM  SCHOOL  GIRLS  Gloria  Castillo,  Ross  Ford. 
Producers  Samuel  Arkoff  and  Robert  Gurney,  Jr.  Di- 
rector Ed  Earnds.  Melodrama.  71  min. 

ROCK  AROUND  THE  WORLD  Tommy  Steele,  Nancy 
whiskey.  Producer  Herbert  Smith.  Director  Gerard 
Bryant.  Musical.  71  min. 

WHITE  HUNTRESS.  THE  Susan  Stephan,  John  Bentley. 
Breakston-Stahl  Production.  Action  Melodrama.  80  min. 


September 


AMAZING  COLOSSAL  MAN.  THE  Glenn  Langan, 
Cathy  Downs.  William  Hudson.  Producer-Director  Bert 
I.  Gordon.  Horror.  80  min. 

CAT  GIRL.  THE  Barbara  Shelley,  Robert  Ayres,  Kay 
Callard.  Producer  Lou  Rusoff.  Director  William  Shaugn- 
essy.  Horror.  6?  min. 

October 

MOTORCYCLE  GANG  Steve  Terrell,  John  Ashley, 
Frank  Gorshin.  Producer  Alex  Gordon.  Director  Edward 
L.  Cahn.  Melodrama. 

SORORITY  GIRLS  Susan  Cabot,  Dick  Miller,  Barboura 
Morris.    Producer-Director  Roger  Corman.  Melodrama. 


November 


Herman  Cohen. 


VIKING  WOMEN,  THE  Abby  Dalton,  Susan  Cabot, 
Brad  Jackson.  Producer-Director  Roger  Corman. 
Science-Fiction. 

December 

BATTLE  FRONT  Producer  Lou  Rusoff.  Adventure. 

JET  SQUAD  John  Agar,  Audrey  Totter.  Producer  Alex 
Gordon.  Director  Edward  L.  Cahn.  Adventure. 

Coming 

VOODOO   WOMAN    Maria    English,    Tom   Conway.  75 


COLUMBIA 


July 

FIRE  DOWN  BELOW  CinemaScope,  Technicolor.  Rita 
Hayworth,  Robert  Mitchum,  Jack  Ltmmon.  A  War- 
wick Production.  Director  Robert  Parrish.  Drama. 
Cargo  on  ship  is  ablaze.  Gravity  of  situation  it  in- 
creased by  highly  explosive  nitrate.  116  min. 
20  MILLION  MILES  TO  EARTH  Joan  Taylor,  William 
Hopper.  Director  Juran.  Science-fiction.  82  min. 

TORERO  Luis  Pracuna,  Manolete,  Carlos  Arruia.  Pro- 
ducer Manuel  Ponce.  Director  Carlos  Velo.  Drama. 
A  man's  fight  against  fear.    Bullfight  setting.    75  min. 

27TH  DAY.  THE  Gene  Berry,  Valeria  Freach.  Producer 
Helen  Ainaworfti.  Dtreocor  William  Ataer.  Science- 
flaflga.   Peopla   from  outer  space   plot  to  destroy  all 

human  life  on  the  earth.  75  min.  5/7. 


August 


YOUNG  DON'T  CRY.  THE  Sal  Mineo.  Jamas  Whitmora. 
Producer  P.  Waxmaa.  Director  Alfred  Werker.  Drama. 

Life  in  a  southern  orphanage.    89  min. 

JEANNE  EAGELS  Kim  Novak.  Jeff  Chandler.  A  George 
Sidney  Production.  Stormy  account  of  an  actress  who 
became  a  legend.  Drama.  114  min.  7/22 

NO  TIME  TO  BE  YOUNG  Robert  Vaughn.  Merry 
Anders.  Producer  Wallace  MacDonald.  Director  David 
Rich.     Youth  expelled   for   neglecting   college  studies. 

PICKUP  ALLEY  Cinemascope.  Victor  Mature.,  Anita 
Ekberg,  Trevor  Howard.  A  Warwick  Production.  Direc- 
tor John  Gilling.  Drama.  Story  of  international  dope 
runners.  92  min. 

3:10  TO  YUMA  Glenn  Ford,  Felicia  Farr,  Van  Heflin. 
Producer  David  Heilwell.  Director  Delmer  Daves.  West- 
ern. Cowboy  robs  stagecoach  then  poses  as  one  those 
robbed.    92  min. 

TOWN  ON  TRIAL  John  Mills,  Charles  Coburn.  Pro- 
ducer Maxwell  Setton.  Director  John  Guillerman.  Young 
girl  is  murdered.    Melodrama.   96  min. 


September 

BROTHERS  RICO  THE  Richard  Conte,  Kathryn  Grant, 
Dianne  Foster.  Producer  Lewis  Rachmil.  Director  Phil 
Karlson.  Drama.  Former  racketeer,  trying  to  go 
straight,  exposes  organization  when  they  push  him  too 

far.  90  min. 

PARSON  AND  THE  OUTLAW.  THE  Sonny  Tufts,  An- 
thony  Dexter,  Marie  Windsor.  Producer  Robert  Gilbert. 
Director  Oliver  Drake.  Billy  the  Kid  tries  to  become 
law-abiding  citizen. 

WOMAN  OF  THE  RIVER  Technicolor.  Sophia  Loren, 
Gerald  Oury.  Lise  Bourdin.  Producer  DeLauretiis  and 
Ponti.  Director  Mario  Soldati.  Beautiful  peasant  girl 
who  breaks  smuggling  ring. 

October 

DOMINO  KID  Rory  Calhoun,  Kristine  Miller.  Producers 
Rory  Calhoun  and  Victor  M.  Orsatti.  Director  Ray 
Nazzaro.  Western.  73  min.  Civil  War  hero  returns 
seeking  vengeance  on  outlaws  who  killed  his  father. 
GOLDEN  VIRGIN,  THE  Joan  Crawford,  Rossano  Brazil, 
Heather  Sears.  John  and  James  Woolf  producers.  Di- 
rector David  Miller.  Drama.  Unscrupulous  people  ex- 
ploit blind  girl  for  profit.    103  min. 

TIJUANA  STORY.  THE  Rodolfo  Acosta,  James  Darren, 
Robert  McQueeney.  Producer  Sam  Katzman.  Director 
Leslie  Kardos.  Drama.  Editor  wages  fight  against  vice 
lords  in  community. 


Coming 


ADMIRABLE  CRICHTON.  THE  Technicolor.  Kenneth 
More.  Diane  Cilento.  Cecil  Parker.  Producer  Ian  Dal- 
rymple.  Director  Lewis  Gilbert.  Drama.  The  story  of  a 

famous  butler  in  the  I900's.   94  min. 
BITTER   VICTORY   CinemaScope.    Technicolor.  Richard 
Burton,    Curd    Jurgens.    Raymond    Pellegrin.  Producer 
Paul  Graetz.  Director  Nick  Ray.  W.  W.  II.  97  min. 

BRIDGE  OVER  THE  RIVER  KWAI,  THE  William  Holden, 
Alec  Guinness.  Jack  Hawkins.  Producer  Sam  Spiegel. 
Director  David  Lean.  Drama.  British  soldiers  held  in 
prison  camp. 

DECISION  AT  SUNDOWN  Randolph  Scott,  Valerie 
French,  Karen  Steele.  Producer  Harry  Joe  Brown.  Di- 
rector Budd  Boetticher.  Climax  of  a  3-year  hunt  for 
the  man  who  stole  his  wife. 

FORTUNE  IS  A  WOMAN  Jack  Hawkins,  Arlene  Dahl, 
Dennis  Price.  Producers  Frank  Launder  and  Sidney 
Gilliat.    Director  Sidney  Gilliat. 

HARD  MAN.  THE  Guy  Madison,  Valerie  French,  Lorn* 
Green.  Producers  Wallace  MacDonald  and  Helen  Ains- 
worth.  Director  George  Sherman.  Western.  Deputy 
out  to  prove  he  is  not  a  killer. 

HIGH  FLIGHT  CinemaScope.  Technicolor.  Ray  Mil- 
land,  Sean  Kelly,  Kenneth  Haight.  Producers  Irving 
Allen  and  A.  R.  Brocolli.  Director  John  Gilling. 

LONG  HAUL,  THE  Victor  Mature,  Diana  Dors,  Peter 
Reynolds.  Producer  Maxwell  Setton.  Director  Ken 
Hughes. 


OPERATION  MAD  BALL  Jack  Lemmon,  Kathryn  Grant, 
Mickey  Rooney.  Producer  Jed  Harris.  Director  Rich- 
ard Quine.  Comedy.  Private  faces  court-martial  while 
involved  in  a  romance.    105  min. 

PAL  JOEY  Technicolor.  Frank  Sinatra,  Rita  Hayworth, 
Kim  Novak.  Producer  Fred  Kohlman.  Director  George 
Sidney.  Musical.  Filmization  of  the  Rodgers  and  Hart 
Broadway  hit.    I  I  I  min.  9/16. 

PAPA.  MAMA.  THE  MAID  AND  I  Robert  Lamoureui. 
Gaby  Morlay,  Nicola  Courcal.  Director  Jaan-Paul  La 
Chanen.  Corneal] 
family.  94  min.  9/ 

REMINISCENCES  OF  A  COWBOY  Glenn  Ford,  Jack 
Lemmon,  Anna  Kashfi.  Western.  Free-spending  cow- 
boy helps  friend  save  cattle. 

RETURN  TO  WARBOW  Color.  Phil  Carey,  William  Les- 
lie, Catherine  McLeod.  Producer  Wallace  MacDonald. 
Director  Ray  Nazzaro. 

SHE  PLAYED  WITH  FIRE  Jack  Hawkins,  Arlene  Dahl. 
Producers  Frank  Launder-Sidney  Gilliat.  Director  Sid- 
ney Gilliat.    Drama.    Story  of  an  arsonist.   95  min. 

SUICIDE  MISSION  Laif  Larson,  Michael  Aldridoe,  Atla 

Larsen.  A  North  Seas  Film  Production.  Director 
Michael  Forlong.  Adventure.  Norwegian  fishermen 
smash  German  blockade  in  World  War  II.    70  min. 

THIS  BITTER  EARTH  Silvana  Mangano,  Richard  Conte. 
Anthony  Perkins.  Producer  Dino  De  Laurentiis.  Direc- 
tor Rene  Clement.    Drama.    Family  fights  to  keep  land. 


TRIAL  OF  CAPTAIN  BARRETT,  THE  Edmond  O'Brien, 
Mona  Freeman,  Karin  Booth.  Producer  Sam  Katzman. 
Director  Fred  F.  Sears. 


BULLETIN 


YOUR  PRODUCT 


OCTOBER  SUMMARY 

Features  scheduled  for  October  releose 
number  25.  Allied  Artists.  Columbia, 
Paramount  and  Universal-International 
will  be  the  leading  suppliers  with  three 
films  each.  American  International, 
Metro,  Rank,  20th  Century-Fox,  United 
Artists  and  Warner  Bros,  will  release  two 
films  each.  Trans-Lux  will  release  one. 
More  than  half  of  the  releases,  13,  will 
be  Dramas.  Color  films  ^al  seven.  Five 
features  will  be  in  CinemaScope,  four  in 
VistaVision. 

1 3  Dramas  1  Adventure 

2  Comedies  2  Science  fiction 

2  Westerns  1  Horror 

4  Melodramas 


INDEPENDENTS 


August 

MARCELINO  I  United  Motion  Picture  Organization  I 
lablito  Calvo,  Rafael  Rivelles,  Juan  Calvo.  Director 
ladislao  Va|da.  Based  on  an  old  legend  about  a  boy 
laint.  90  min. 

September 

ED  OF  GRASS  (Trans-Lux)  Anna  Brazzou,  Mike 
Ijichols,  Vera  Katri.  Producer-Director  Gregg  Tallas. 
||>rama.  92  min. 

:ARTOUCHE    IRKO)    Richard   Basehart,   Patricia  Roc. 

roducer  John  Nasht.  Director  Steve  Sakely.  Adventure. 

he   story  of  a   lusty  adventurer  during  the   reign  of 

.ouis  XVI.  73  min. 

JUN  GIRLS  lAstor)  Jeanne  Ferguson,  Jean  Ann  Lewis, 
i'roducer  Edward  Frank.  Director  Robert  Derteano. 
I)rama.    Gang  girls  on  the  loose.    47  min. 

■ASSION ATE  SUMMER  IKingsley)  Madeleine  Robinson. 

wlagali  Noel.  Raf  Vallons.  Produced  by  Les  Films 
[«farceau.    Director   Charles   Brabant.    Drama.  Conflict- 

ng  passions  between  three  women  and  a  man.  iso- 
lated or.  a  rugged  farm  in  a  mountainous  French 
jjjrovince.  98  min. 

October 

=OUR  EAGS  FULL  (Trans-Lux)  Jean  Gabin,  Bourvil. 
leannette  Batti  A  Franco  London  Production  Director 
Claude   Autant-Lara.    French   Black    Market   Drama.  84 

November 

TEENAGE  BAD  GIRL  (DCA)  Sylvia  Syms,  Anna  Neagle. 
'roducer-Director  Herbert  Wilcox.  Juvenile  Delin- 
quents. 

TEENAGE    WOLF   PACK    (DCA)    Juvenile  Delinquents 

Coming 

a  MAN  ESCAPED  (Continental  Distributing)  Francois 
'Leterrier,  Charles  Leclainche,  Maurice  Beerblock.  Pro- 
ducers Jean  Thullier  and  Alain  Poire.  Director  Robert 
[Bresson.  French  Drama.  94  min. 

A  TIME  TO  KILL  (Producers  Associated  Pictures  Co  l 
Jim  Davis.  Don  Megowan,  Allison  Hayes.  Producer  Pat 
Betz.  Director  Oliver  Drake. 

ERAIN  FROM  PLANET  AROUS,  THE  I  Howco-Marquette 
for  Howco  International  release)  John  Agar,  Joyce 
Meadows,  Robert  Fuller.  Producer  Jacques  Marquette. 
Director  Jerry  Juran. 

BROTHERS  IN  LAW  (Continental)  Ian  Carmichel,  Rich- 
ard Attenborough,  Jill  Adams.  Producer-director,  the 
Boulting  Bros.  Comedy.  Adventures  of  a  young  lawyer. 
BUFFALO  GUN  Wayne  Morris,  Don  Barry,  Mary  Ellen 
Kaye.   Producer  Al  Milton.  Director  Albert  C.  Ganna- 

CJTY  OF  WOMEN   (Associated)   Oia   Massen,  Robert 
Huttofl,  Maria  Palmer.  Producer-director  Boris  Perroff. 
Drama.  From  a  novel  by  Stephen  Longstreet. 
COOL  AND  THE  CRAZY.  THE   (Imperial)    Scott  Mar- 
lowe,  Gigi    Perreau.    Producer   Elmer   Rhoden,   Jr.  Di- 
rector William  Whitney.  Story  of  teenage  violence. 
DAY  OF  THE  TRUMPET,  THE  (C.  Santiago  Film  Organi- 
lation    Prod.)    John   Agar,    Richard   Arlen,    Bill  Phipps. 
Producer  Harry  Smith.  Director  Eddie  Romero. 
DREAM    MACHINE.   THE    (Amalgamated    Prods.)  Rod 
Cameron,   Marty  Murphy,   Peter  llling.  Producers  Rich- 
ard  Gordon   and   Charles   Vetter,   Jr.    Director  Mont- 
gomery Tully. 

ESCAPADE    IDCA)    John   Mills,   Yvonne   Mitchell,  Ala- 
stair  Sim.   Producer  Daniel   M.  Angel.   Director  Philip 
Leacock.  Comedy  Drama.  87  min. 
min.  9/14. 

GARDEN  OF  EDEN  (Excelsior)  Jamie  O'Hara,  Mickey 
Knox,  R.  G.  Armstrong.  Director  Max  Nosseck.  Pro- 
ducer Walter  Bibo.  Drama.  The  happenings  in  a 
Florida  nudist  colony.  70  min. 

IL  GRIDO  (Robert  Alexander  Prods.)  Steve  Cochran, 
Betsy  Blair,  Allida  Valli.  Producer  Harrison  Reader. 
Director  Michelangelo  Antonioni. 

IT  HAPPENED  IN  THE  PARK  [Ellis  Films)  Vittorio  De 
Sica,  Gerard  Philipe,  Micheline  Presle.  Produced  by 
Astoria  Film.  Director  Gianni  Franciolini.  Five  short 
sketches  showing  happenings  within  the  garden  and 
park.  94  min.  9/2. 

LIGHT  ACROSS  THE  STREET,  THE  (UMPO)  Brigitte 
Bardot,  Raymond  Pellegrin,  Roger  Pigaut.  Producer 
Jacques  Gauthier.  Director  Georges  Lacombe.  Drama. 
A  French  husband  and  wife  try  to  live  without  normal 
sex  relations,  after  the  husband  had  a  near-fatal  acci- 
dent. 74  min. 

LAST  BRIDGE.  THE  (Union  Film  Distributors  I  Maria 
Schell,  Bernhard  Wicki,  Barbara  Rutting.  A  Cosmopol 
Production.  Director  Helmut  Kautner.  Austro-Yugoslav 
Film.  90  min. 

LOST  CONTINENT  IIFEI  CinemaScope,  Ferranicolor. 
Producer-director  Leonardo  Bomi.  An  excursion  into  the 
wilds  of  Borneo  and  the  Maylayan  Archepelago.  Eng- 
lish commentary.  84  min. 

MAID  IN  PARIS  (Continental)  Dany  Robin,  Daniel 
Gelin.  Producer  Yvon  Gueiel.  Directed  by  Gaspard 
Huit.  Comedy.  A  daughter  rebels  against  her  actress 
mother.  83  min. 

NEAPOLITAN  CAROUSEL  IIFEI  (Lux  Rim,  Rome!  Pathe- 
coJor.  Print  by  Technicolor.  Sophia  Loren,  Leonide 
Massine.  Director  Ettore  Giannini.  Musical.  The  history 
of  Naples  traced  from  1400  to  date  in  song  and  dance. 

OLD  YELLER  (Walt  Disney  Productions)  Dorothy  Mc- 
Guire, Fess  Parker,  Chuck  Connors.  Producer  Walt 
Disney.  Director  Robert  Stevenson. 

PERRI  IBuena  Vista)  Technicolor.  Producer  Winston 
Hibler.  Directors  Paul  Kenworthy  and  Ralph  Wright. 
A  true-life  fantasy  by  Walt  Disney.  The  life  story  of  a 
Pine  Squirrel  named  "Perri".   75  min.  7/2. 


RAISING  A  RIOT  (Continental)  Kenneth  More.  Shelagh 
l-raier,  Mandy.  Producer  Ian  Dalrymple.  Director 
Wendy  Toye.  tnglish  comedy.  90  mm. 

REMEMBER.  MY  LOVE  (Artists- Producers  Assoc.)  Cine- 
maScope, Technicolor  Michael  Redgrave,  Mel  Ferrer, 
Anthony  Quale.  Musical  drama.  Producer-director 
Michael  Powell.  Emeric  Pressburger.  Based  on  Strauss' 
"Die  Ftedermaus". 

SILKEN  AFFAIR.  THE  IDCAI  David  Niven,  Genevieve 
Page.  Ronald  Squire.  Producer  Fred  Feldkamp.  Direc- 
tor Roy  Kellino.  English  Comedy.  94  min. 
VIRTUOUS  f-COUNDSEL,  THE  (Zenith  Amusement 
Enterprises)  Michel  Simon  Producer-Director  Sachs 
Guitry.  A  comedy  of  irony  which  pokes  a  satirical 
finger   into   the    pretensions   of    Parisian    high  society. 

WOMAN  AND  THE  HUNTER  I  Gross-Krasna  and  Kenya 
Prods.)  Ann  Sheridan.  David  Farrar,  Jan  Merlin.  Pro- 
ducer-director George  Breakston. 


M  ETRO -GO  LDWYN  -  MAYER 


July 

MAN  ON  FIRE  Bing  Crosby.  Mary  Fickett.  Inger 
Stevens.  Producer  Sol  Siegel.  Director  R.  MacDougall. 
Drama  The  effect  of  divorce  on  a  boy  and  his  es- 
tranged parents.    95  min. 

SILK  STOCKINGS  MetroColor,  CinemaScope.  Fred  As- 
taire,  Cyd  Charrise,  Janis  Page.  Producer  Arthur 
Freed.  Director  R.  Mamoulian.  Musical.  Russian  girl 
falls  in  love  with  an  American  film  producer  in  Paris. 
I  17  min. 

August 

DECISION  AGAINST  TIME  Jack  Hawkins,  Elizabeth 
Sellars.  Producer  M.  Balcon.  Director  C.  Crichton. 
Adventure.  Test  pilot  attempts  to  land  disabled  plane. 
87  min.  7/22. 

GUN  GLORY  CinemaScope.  MetroColor.  Stewart 
Granger,  Rhonda  Fleming.  Producer  N.  Nayfack.  Di- 
rector Roy  Rowland.  Western.  Ex-outlaw  is  tormented 
by  his  former  reputation  as  a  killer.  89  min. 
TIP  ON  A  DEAD  JOCKEY  CinemaScope.  Robert  Taylor, 
Dorothy  Malone,  Gia  Scala.  Producer  Edwin  Knoph. 
Director  Richard  Thorp.  Melodrama.  International 
police  track  down  smugglers.  109  min.  9/2. 

September 

ACTION  OF  THE  TIGER  CinemaScope,  Eastman  Color. 
Van  Johnson,  Martine  Carol,  Gustave  Rocco.  A  Clar- 
idge  Production.  Director  Terence  Young.  Drama.  Beau- 
tiful girl  seeks  halp  of  contraband  runner  to  rescue 
brother  from  Communists.  94  min. 

HIRED  GUN,  THE  CinemaScope.  Gil  McCord,  El'en 
Beldon,  Kell  Beldon.  Producers  Rory  Calhoun  and  Vic- 
tor M.  Orsatti.  Director  Ray  Nazzaro.  Western.  44 
min.  9/14. 

LES  GIRLS  CinemaScope,  MetroColor.  Gene  Kelly, 
Mitzi  Gaynor,  Kay  Kendall.  Producer  Sol  C.  Siegel. 
Director  George  Cukor.  Musical.  Dancing  troupe  tour- 
inq  Europe.  I  14  min. 

HOUSE  OF  NUMBERS  CinemaScope.  Jack  Palance, 
Barbara  Lang.  Producer  Charles  Schnee.  Director 
Russell  House.  Melodrama.  Law-abiding  citizen  at- 
tempts to  engineer  San  Ouentin  escape  for  his  brother. 
92  min.  7/8. 

October 

INVISIBLE  BOY,  THE  Richard  Eyer.  Philip  Abbott. 
Diane  Brewster.  Producer  Nicholas  Nayfack.  Director 
Herman  Hoffman.  Science-fiction.  Sequel  to  "Forbid- 
den Planet". 

UNTIL  THEY  SAIL  CinmeaScope.  Jean  Simmons,  Joan 
Fontaine.  Paul  Newman.  Producer  Charles  Schnee.  Di- 
rector Robert  Wise.  Drama.  James  A.  Michener  story 
U.S.    troops   in    New   Zealand    during    World    War  I. 

Coming 

BROTHERS  KARAMAZOV,  THE  MetroColor.  Yul  Bryn- 
ner,  Maria  Schell,  Claire  Bloom.  Producer  Pandro  S. 
Berman.  Director  Richard  Brooks.  Based  on  famous 
novel  by  Dostoyevsky. 

DON'T  GO  NEAR  THE  WATER  CinemaScope.  Metro- 
Color.  Glenn  Ford.  Gia  Scala,  Keenan  Wynn.  Producer 
Lawrence  Weingarten.  Director  Charles  Walters 
Comedy.  Story  of  a  South  Seas  naval  base  during 
World  War  I. 

HAPPY  ROAD.  THE  Gene  Kelly,  Michael  Redgrave, 
Barbara  Laage.  A  Kerry  Production.  Directors,  Gene 
Kelly,  Noel  Coward.  Drama.  Two  children  run  away 
from  boarding  hchool  to  find  their  respective  parents. 
100  min.  2/4. 

I  ACCUSE  Jose  Ferrer,  Viveca  Lindfors,  Leo  Genn. 
Producer  Sam  Zimbalist.  Director  Jose  Ferrer.  Drama. 
French  officer  uniustly  accused  of  treason. 
JAILHOUSE  ROCK  Elvis  Presley,  Judy  Tyler.  Producer 
Pandro  Berman.  Director  Richard  Thorpe.  Musical- 
drama.  Youth's  singing  talent  is  fostered  in  prison. 
LIVING  IDOL,  THE  CinemaScope,  Eastman  Color. 
Steve  Forrest,  Lilliane  Montevecchi.  Producer-director 
Al  Lewin.  Drama.  An  archeologist  is  faced  with  an  un- 
worldly situation  that  threatens  the  safety  of  his 
adopted  daughter.    101  min.  5/13. 

MERRY  ANDREW  CinemaScope,  Metrocolor.  Danny 
Kaye,  Pier  Ageli,  Baccpopmo.  Producer  Sol  C.  Siegel. 
Director  Michael  Kidd. 

RAINTREE  COUNTY  MetroColor.  MGM  Camera  45 
Elizabeth  Taylor,  Montgomery  Clift.  Producer  David 
Lewis.  Director  Edward  Dymtryke.  Drama.  Life  in  Indi- 
ana during  the  middle  1880  s.  185  min. 
SADDLE  THE  WIND  Robert  Taylor,  John  Cassavetes, 
Julie  London.  Producer  Armand  Deutsch.  Director 
Robert  Parrish. 

SEVEN  HILLS  OF  ROME  LeCloud  Productions.  Mario 
Lanza,  Marisa  Allasio.  Producer  Lester  Welch.  Director 
Roy  Rowland. 


PARAMOUNT 


July 

BEAU  JAMES  VistaVision.  Technicolor.  Bob  Hope.  Pro- 
ducer Jack  Rose.  Director  Michael  Moore.  Drama. 
Biography  of  the  famous  Jimmy  Walker,  mayor  of  N.Y. 
from  1925  to  1932.  105  min.  4/24 

DELICATE  DELINQUENT,  THE  Jerry  Lewis.  Darren  Mc- 
Gavin,  Martha  Hyer.    Producer  Jerry  Lewis.  Director 

Don  McGuire.  Drama.  Janitor  longs  to  be  police  offi- 
cer so  he  can  hslp  delinquents.  101  min.  7/8. 

August 

LOVING  YOU  VistaVision.  Technicolor.  Elvis  Presley, 
Lizabeth  Scott.  Wendell  Corey.  Producer  Hal  Wallis. 
Musical.  Director  Hal  Kanter.  Small-town  boy  makes 
good  in  big-time  show  business.  101  min.  7/22. 
OMAR  KHAYYAM  VistaVision,  Technicolor.  Cornel 
Wilde,  Michael  Rennie,  Debra  Paget.  Producer  Frank 
Freeman,  Jr.  Director  William  Dieterle.  Adventure. 
The  life  and  times  of  medieval  Persia's  literary  idol. 
103  min. 

September 

MR.  ROCK  AND  ROLL  Alan  Freed.  Rocky  GrazianD. 
Lois  O'Brien.  Producers  Serpe  and  Kreitsek.  Director 
Charles  Dubin.  Musical.  Disc  jockey  establishes  au- 
thenticity of  rock  and  roll.    84  min. 

STOWAWAY  GIRL  Trevor  Howard,  Elsa  Martinell. 
Pedro  Armandariz.  Producer  Ivan  Foxwell.  Director 
Guy  Hamilton.  Drama.  A  beautiful  girl  stows  away  on 
a  tramp  steamer.    87  min. 

SHORT  CUT  TO  HELL  VistaVision.  Robert  Ivers.  Wil- 
liam Bishop,  Georgann  Johnson.  Producer  A.  C.  Lyles. 
Director  James  Cagney.  Drama.  Story  of  a  profes- 
sional killer  with  a  gun  for  hire.  87  min. 

October 

HAIRPIN  DEVIL'S.  THE  VistaVision,  Technicolor.  Cornel 
Wilde,  Jean  Wallace,  Mary  Astor.  Producer-director 
Cornel  Wilde.  Adventure.  Story  which  deals  with 
sports  car  racing.  82  min. 

JOKER  IS  WILD.  THE  VistaVision,  Technicolor.  Frank 
Sinatra,  Mltxi  Gavnor,  Jeanne  Crain  Producer  Samuel 
Briikhv  Director  Charles  Vtdbr.  Drama.  Film  biography 

of  Joe  E.  Lewis,  nightclub  comedian.  123  min.  9/2. 
HEAR  ME  GOOD  Hal  March,  Joe  E.  Ross.  Merry 
Anders.  Producer-Director  Don  McGuire.  Comedy. 
Broadway  con-men  hounded  by  creditors. 

November 

TIN  STAR.  THE  VistaVision.  Henry  Fonda,  Anthony 
Perkins.  A  Perlberg-Seaton  Production.  Director  An- 
thony Mann.  Outdoor  drama.  Bounty-hunting  in  the  old 
west.  93  min. 

ZERO  HOUR  Dana  Andrews.  Sterling  Hayden.  Pro- 
ducers John  Champion  and  Hall  Bartlett.  Director  Hall 
Bartlett.  Drama.  A  man  battles  for  his  life  and  love. 

December 

SAD  SACK  VistaVision,  Technicolor.  Jerry  Lewis,  David 
Wayne.  Producer  Hal  Willis.  Director  George  Mar- 
shall. Comedy.  Life  in  the  Army. 

Coming 

A  WOMAN  OBSESSED  VistaVision.  Anna  Magnani.  An- 
thony Quinn.  Producer  Hal  Wallis.  Director  George 
Cukor. 

DESIRE  UNDER  THE  ELMS  Sophia  Loren,  Anthony  Per- 
kins,  Burl  Ives.  Producer  Don  Hartman.  Director  Del- 
bert  Mann.  Drama.  Emotional  conflicts  of  a  farmer, 
his  son  and  his  second  wife. 

FLAMENCA  VistaVision.  Color.  Carmen  Sevilla.  Rich- 
ard Kiley.  Producer  Bruce  Odium.  Director  Donald 
Siegel. 


Film     B  U  L  L  E  T  I  N  —  T  H  I  S     IS     YOUR  PRODUCT 


HOT  SPELL  VistaVision  Shirley  Booth,  Anthony  Quinn, 
Shirley  MacLaine.  Producer  Hal  Wallis.  Director  Dan- 
iel Mann.  Drama.  The  disintegration  of  a  Southern 
family  during  a  torrid  heat  wave. 

HOUSEBOAT  VistaVision,  Technicolor.  Cary  Grant, 
Sophia  Loren.  Producer  Jack  Rose.  Director  Melville 
Shavelson.    Maid  reunites  family  and  becomes  wife  of 

MATCHMAKER.  THE  VistaVision.  Shirley  Booth.  An- 
thony Perkins,  Shirley  MacLaine.  Producer  Don  Hart- 
man.  Director  Joseph  Anthony.  Comedy.  Lovable 
widow  becomes  matchmaker  for  herself. 
SPANISH  AFFAIR  VistaVision,  Technicolor.  Carman 
Sevilla,  Richard  Kiley.  Producer  Bruce  Odium.  Director 
Donald  Siegel.  Adventure.  An  American  architect 
travelling  in  Spain  is  attracted  to  a  beautiful  girl, 
half-Gypsy,  half-Spanish. 

TEACHER'S  PET  VistaVision.  Clark  Gable.  Doris  Day. 
A  Pearlberg-Seaton  Production.  Director  George  Sea- 
ton.  Comedy.  Tough  newspaper  editor  and  college 
journalism  teacher  have  a  ball. 

TEN  COMMANDMENTS.  THE  VistaViiion.  Technicolor. 
Charlton  Htiton,  Yul  Brynner,  Anne  Bax'e'.  "roduear- 
direetor  Cecil  B.  DeMille.  kelioious  drama  Life  »tor» 
of  Moses  as  told  in  the  Bible  and  Koran.  219  min.  10/15 
WILD  IS  THE  WIND  VistaVision.  Anna  Magnani,  An- 
thony Quinn.  Producer  Hal  Wallis.  Director  John 
Sturges.  Drama.  Love,  hate,  and  violence  on  a  Nevada 
sheep  ranch. 


RANK 


July 

ELACK  TENT.  THE  Technicolor,  VistaVision.  Anthony 
Steel,  Donald  Sinden.  Producer  William  MacQuitty. 
Director  Brian  D.  Hurst.  Man  searches  for  brother 
among  people  of  Bedouin.  85  min.  7/22 
THIRD  KEY,  THE  Jack  Hawkins,  John  Stratton.  Pro- 
ducer Michael  Balcon.  Director  Charles  Frend.  Melo- 
drama. Superintendant  of  Scotland  Yard  is  assigned 
to  investigate  a  London  safe  robbery.  84  min. 
TRIPLE  DECEPTION  Technicolor.  VistaVision.  Michael 
Craig.  Julia  Arnall.  Producer  Vivian  A.  Cox.  Director 
Guy  Green.  Melodrama.  Story  of  man  who  imper- 
sonates a  Canadian  smuggler.  84  min. 
VALUE  FOR  MONEY  Technicolor,  VistaVision.  John 
Gregson,  Diana  Dors.  Producer  Sergei  Nolbandov. 
Director  Ken  Annakin.  Comedy.  Well-to-do  man  falls 
in  love  with  blond  only  to  find  her  interested  in  only 
his  money.  84  min. 

August 

GENTLE  TOUCH,  THE  Technicolor.  George  Baker,  Be- 
linda Lee.  Producer  Michael  Balcon.  Director  Pat 
Jackson.  Drama.  Nurse  and  doctor  fall  in  love,  and 
nurse  is  faced  with  making  choice  between  career  or 
marriage.  86  min. 

October 

SPANISH  GARDENER  Technicolor.  VistaVision.  Dirk 
Bogarde,  Jon  Whiteley.  Drama.  Producer  John  Bryan. 
Director  Philip  Leacock.  Gardener  deverts  affections 
of  boy  from  his  father.  95  min. 

AN  ALLIGATOR  NAMED  DAISY  Technicolor,  Vista- 
Vision. Donald  Sinden,  Diana  Dors.  Producer  Raymond 
Stross.  Director  J.  Lee-Thompson.  Comedy.  Alligator  is 
responsible  for  breakup  between  couple  who,  as  a 
result  find  more  suitable  mates.    88  min. 

November 

AS  LONG  AS  THEY'RE  HAPPY  Eastman  Color.  Jack 
Buchanan,  Janette  Scott.  Producer  Raymond  Stross. 
Director  J.  Lee-Thompson.  Comedy.  FaJher  and  two 
sons-in-law  become  jealous  of  crooner  who  has 
charmed  their  wives.  76  min. 

PURSUIT  OF  THE  GRAF  SPEE  Technicolor.  VistaVision. 
John  Gregson,  Anthony  Quayle.  Producer-director 
Michael  Powell  &  Emeric  Pressburger.  Adventure.  Story 
of  first  historic  naval  action  of  WWI  which  took  place 
on  River  Plate.  106  min. 


REPUBLIC 


July 

BEGINNING  OF  THE  END  IAB-PT)  Peter  Graves. 
Peggie  Castle,  Morris  Ankrum.  Producer-director  Bert 
Gordon.  Horror.  Grasshopper  giants  threaten  to  de- 
stroy U.  S.    73  min. 

TAMING  SUTTON'S  GAL  Naturama.  John  Lupton, 
Jack  Kelly,  May  Wynn.  Director  Lesley  Selander.  Pro- 
ducer William  J.  O'Sullivan.  Drama.  A  young  bank 
clerk  finds  a  gal  in  the  back  hill  country  of  California. 
71  min. 

LAST  STAGECOACH  WEST  Naturama.  Jim  Davis, 
Mary  Castle,  Victor  Jory.  Producer  Rudy  Ralston.  Di- 
lector  Joe  Kane.  Western.  Outlaws  are  stopped  by 
railroad  detective.  67  min. 

OPERATION  CONSPIRACY  Philip  Friend,  Leslie  Dwyer, 
Mary  MacKenzie.  Director  Joseph  Sterling.  Producer 
A.  R.  Rawlinson.  Melodrama.  Fashion  reporter  solves 
murder.    69  min. 

UNEARTHLY,  THE  IAB-PT)  John  Carradine,  Allison 
Hayes  Myron  Healy.  Producer-director  Brooks  Peters. 
Transplanted  glands  create  unearthly  monsters.  73  min. 

September 

HELL  CANYON  OUTLAWS  Dale  Robertson.  Brian  Keith, 
Rossana  Rory.  Producer  T.  F.  Woods.  Director  Paul 
Landres.  Western.  Ousted  sheriff  restores  order  to 
town.    72  min. 


PANAMA  SAL  Naturama.  Elena  Verdugo.  Edward 
Kemmer.  Producer  Edward  White.  Director  W.  Wit- 
ney. Drama.  The  making  of  a  singer.  70  min. 
WAYWARD  GIRL,  THE  Naturama.  Marcia  Henderson, 
Peter  Walker.  Producer  W.  J.  O'Sullivan.  Director 
Lesley  Selander.  Melodrama.  Daughter  arrested  for 
murder  by  her  stepmother  proves  innocence. 

Coming 

AMBUSH  AT  INDIAN  PASS  Vera  Ralston,  Anthony 
George.  George  Macready.  Producer  Rudy  Ralston. 
Director  Joe  Kane.  Western.  70  min. 
CROOKED  CIRCLE,  THE  John  Smith,  Fay  Spain,  Steve 
Brodie.  Producer  Rudy  Ralston.  Director  Joe  Kane. 
Drama.  Sports  editor  suspects  death  of  fighter  is  mur- 
der.   70  min. 

DEAD  END  STREET  Roland  Culver,  Patricia  Roc,  Paul 
Carpenter. 

FIGHTING  WILDCATS  Kay  Callard,  Karel  Stepanek, 
Ursula  Howells. 

HELL  SHIP  MUTINY  Jon  Hall,  John  Carradine,  Peter 
Lorre.  Lovina  Production. 

LAST  BULLET,  THE  Robert  Hutton,  Mary  Castle, 
Michael  O'Connell. 

OUTCASTS  OF  THE  CITY  Osa  Massen,  Robert  Hutton, 
Maria  Palmer. 

RAIDERS  OF  OLD  CALIFORNIA  Jim  Davis.  Arleen 
Whelan,  Faron  Young.  Producer  Albert  C.  Gannaway. 
Western.  Army  officer  determines  to  become  powerful 
landowner. 

STREET  OF  DARKNESS  Robert  Keyes,  John  Close, 
Sheila  Ryan. 

THUNDER  OVER  TANGIER  Robert  Hutton,  Lisa  Gastoni, 

Martin  Benson.  Sunset  Palisades  production. 

WEST    OF    SUEZ    John    Bentley,    Vera    Fusek,  Martin 

Boddey. 

YOUNG  MOTHER  Mary  Webster,  William  Campbell, 
Martha  Scott.  Producer  Edmond  Chevie.  Director  Joe 
Parker. 


20TH  CENTURY-FOX 


July 

ABDUCTORS,   THE  Victor   McLaglen,    Fay   Spain.  Carl 
Thayler.    Producer  R.  Wander.    Director  A.  McLaglen. 
Adventure.  Tale  of  a  plot  to  steal  Aleraham.  80  min. 
A  HATFUL  OF  RAIN  CinemaScope.    Eva  Marie  Saint, 
Don  Murray,  Tony  Franciosa.    Producer  Buddy  Adler. 
Director   Fred   Zinneman.    Drama.   A  dope   addict  de- 
cides to  shake  the  habit.  109  min.  6/24. 
AN    AFFAIR    TO    REMEMBER    CinemaScope  DeLuxe 
Color.     Cary   Grant,    Deborah    Kerr.     Producer  Jerry 
Wald.    Director    Leo    McCarey.    Comedy.  Notorious 
bachelor  falls  for  night  club  singer.  114  min.  7/22. 
APACHE  WARRIOR  Keilh  Larsen.  Jim  Davis.  Producer 
P  Skouras.  Director  E.  Williams.  Western.  74  min. 
BERNARDINE  CinemaScope.  Deluxe  Color.  Terry  Moore, 
Pat  Boone,  Janet  Gaynor.  Producer  Sam  Engel  Direc- 
tor H.  Levin.  Comedy.  Story  of  teenagers.  Filmization 
of  the  Broadway  comedy.  95  min.  7/22. 
COURAGE  OF  BLACK  BEAUTY  Color.  John  Crawford. 
Mimi  Gibson.  John  Bryant.  Producer  Edward   L.  Alper- 
son.  Director  Harold  Schuster.  The  story  of  a  boy  and 
his  horse.  Drama.  77  min. 

GOD  IS  MY  PARTNER  Walter  Brennan,  John  Hoyt, 
Marion  Ross.  Producer  S.  Hersh.  Director  W.  Claxton. 
Drama.  80  min. 

August 

HELL  ON  DEVIL'S  ISLAND  Regalscope.  Helmut  Dan- 
tine,  Donna  Mart-el.  William  Talman,  Jean  Wiles.  Pro- 
ducer  Lchoolvek.    Director  C.   Nyby.    Adventure.  74 

SEAWIFE  CinemaScope.  Deluxe  Color.  Richard  Bur- 
ton, Joan  Collins    Producer  Afldra  Hakim.  Director  Bob 

McNaught.  Drama.  Ship  is  torpedoed  by  Jap  sub- 
marine off  Singapore  harbor.  82  min. 
WILL  SUCCESS  SPOIL  ROCK  HUNTER  CinemaScope, 
DeLuxe  Color.  Jayne  Mansfield,  Clifton  Webb,  Tony 
Randall.  Producer-director  Frank  Tashlin.  Comedy. 
Filmization  of  the  Broadway  play.  94  min. 

September 

BACK  FROM  THE  DEADRegalscope.  Peggy  Castle, 
Marsha  Hunt,  Arthur  Franz.  Producer  R.  Stabler.  Di- 
rector C.  Warren.    Horror.   79  min. 

COPPER  SKY  Regalscope.  Jeff  Morrow,  Coleen  Gray. 
Producer  R.  Stabler.  Director  C.  Warren.  Melodrama. 
77  min. 

DEERSLAYER.  THE  CinemaScope,  DeLuxe  Color.  Lex 
Barker,  Forrest  Tucker,  Rita  Moreno.  Producer-director 
K.  Newmann.    Adventure.    78  min. 

FORTY  GUNS  CinemaScope.  Barbara  Stanwyck,  Barry 
Sullivan,  Gene  Barry.  Poducer-director  Samuel  Fuller. 
Adventure.  A  domineering  woman  attempts  to  rule  a 
western  town  by  force.    80  min. 

NO  DOWN  PAYMENT  CinemaScope.  Jeff  Hunter,  Bar- 
bara Rush,  Sheree  North,  Cameron  Mitchell.  Producer 
Jerry  Wood.  Director  Martin  Ritt.  Drama.  Problems 
of  four  married  couples  in  new  housing  development. 
105  min. 

SUN  ALSO  RISES,  THE  CinemaScope,  DeLuxe  Color. 
Ava  Gardner.  Mel  Ferrer,  Tyrone  Power.  Producer  D. 
Zanuck.  Director  Henry  King.  Drama.  From  Ernest 
Hemingway's  famous  novel.  129  min.  9/2. 
UNKNOWN  TERROR,  THE  Regalscope.  John  Howard, 
May  Wynn,  Mala  Powers.  Producer  R.  Stakler.  Direc- 
tor C.  Warren.  Horror.  77  min. 

October 

THREE  FACES  OF  EVE,  THE  David  Wayne,  Joanne 
Woodward.  Producer  Nunnally  Johnson.  Director  Nun- 
nally  Johnson.  Drama.  Story  of  a  woman  with  three 
distinct  personalities.    91  min. 


ABOMINABLE  SNOWMAN,  THE  Forrest  Tucker,  Peter 
Cushing.  Producer  Michael  Carreras.  Director  Val 
Guest.  Science-fiction  drama  dealing  with  the  search 
for  a  half-human,  half-beast  monster  of  the  Himalayas. 

November 

APRIL  LOVE  CinemaScope-DeLuxe  color.  Pat  Boone, 
Shirley  Jones.  Producer  David  Weisbert.  Director 
Henry  Levin.  Musical.  Love  story  of  a  boy  on  proba- 
tion.   97  min. 

RIDE  A  VIOLENT  MILE  Regalscope  Gene  Raymond, 
Wayne  Morris.  Producer-director  R.  Stabler.  Melo- 
drama. 

STOPOVER  TOKYO  Robert  Wagner.  Joan  Collins  Ed- 
mund O'Brien.  Producer  W.  Reisch.  Director  R.  Breen. 
Drama.  Pilot  forced  to  stop  over  in  Tokyo  solves  mys- 
tery.   100  min. 

UNDER  FIRE  Regalscope  Rex  Reason,  Henry  Morgan, 
Steve  Bodine.  Producer  P.  Skouras.  Director  J.  Clark. 
78  min. 

December 

A  FAREWELL  TO  ARMS  Producer  David  Selznick.  Di- 
rector Charles  Vidor.  Drama. 

ESCAPE  FROM  RED  ROCK  Regalscope.  Brian  Donlevy. 
J.  C.  Flippen,  Eileen  Janssen.  Producer  B.  Glasser. 
Director  E.  Bernds. 

FRAULEIN  Dana  Wynter,  Mel  Ferrer.  Producer  W. 
Reisch.    Director  H.  Koster. 

KISS  THEM  FOR  ME  Jerry  Wald  Prods.  CinemaScope. 
De  Luxe  Color.  Cary  Grant.  Jayne  Mansfield,  Suzy 
Parker.  Producer  Jerry  Wald.  Director  Stanley  Donen. 
105  min. 

PLUNDER  ROAD  Gene  Raymond.  Wayne  Morris.  Jeanne 
Cooper.  Producer  L.  Stewart.  Director  H.  Cornfield. 
ROCKABILLY  BABY  Virginia  Field,  Douglas  Kennedy. 
Producer-Director  W.  Claxton.    Musical.    82  min. 

Coming 

AMEUSH  AT  COMARRON  PASS  Regal  Films.  Brian 
Donlevy,  Jay  C.  Flippen.  Producer  Bernard  Glasser. 
Director  Edward  Bernds.  Western. 

Jennifer  Jones,  Rock  Hudson,  Vittorio  de  Sica.  Pro- 
ducer David  Selznick. 

BEAUTIFUL  BUT  DANGEROUS  Gina  Lollobrigida,  Vit- 
torio Gajsman.  Producer  Manuella  Malotti.  Director 
Robert  Leonard.  Drama. 

ENEMY  BELOW,  THE  CinemaScope.  Color.  Robert 
Mitchum,  Curd  Jurgens.  Producer-Director  Dick  Powell. 
PEYTON  PLACE  Jerry  Wald  Prods.  CinemaScope.  De 
Luxe  Color.  Lana  Turner,  Lloyd  Nolan,  Hope  Lange. 
Producer  Jerry  Wald.  Director  Mark  Robson. 
YOUNG  AND  DANGEROUS  Regal  Films.  Lil  Gentle. 
Mark  Damon,  Ann  Doran.  Producer-Director  William 
F.  Claxton.    78  min. 

YOUNG  LIONS,  THE  CinemaScope.  Marlon  Brando, 
Montgomery  Clift,  Joanne  Woodward.  Producer  Al 
Lichtman.  Director  Edward  Dmytryk. 

VIOLENT  ROAD,  THE  Regal  Films.  Gene  Raymond, 
Wayne  Morris.  Jeanne  Cooper.  Producer  Leon  Choo- 
luck  and  Laurence  Stewart.  Director  Hubert  Cornfield. 


UNITED  ARTISTS 


July 

BOP  GIRL  Judy  Tyler,  Bobby  Troup,  Margo  Woode. 
Producer  Aubrey  Schenck.  Director  Howard  Koch. 
Muhical.  Rock  and  roll-calypso  cavalcade  of  musical 
numbers.  79  min. 

PRIDE  AND  THE  PASSION,  THE  VistaVision,  Techni- 
color. Cary  Grant,  Frank  Sinatra,  Sophia  Loran.  Pro- 
ducer-director Stanlay  Kramer  Drama.  A  Spaniih 
guarrllla  band  marehai  an  incredible  distance  with  a 
6000  pound  cannon  during  Spanish  War  of  Independ- 
ence of  1810.  131  min.  7/8. 

OUTLAW'S  SON  Dane  Clark,  Ben  Cooper,  Lori  Nel- 
son. Bel  Air  Production.  Director  Lesley  Selander. 
Western.  Gunslinger  escapes  from  jail  to  save  son 
from  life  of  crime.  87  min. 

August 

FUZZY  PINK  NIGHTGOWN,  THE  Jane  Russell,  Keenan 
Wynn,  Ray  Danton.  Producer  Bob  Waterfield  Director 
Norman  Taurog.  Melodrama.  The  story  of  a  Holly- 
wood star  who  is  kidnapped.  87  min. 

JUNGLE  HEAT  Lex  Barker,  Mari  Blancha'd.  A  Bel-Air 
Production.  Director  H.  Koch.  Adventure.  Japanese 
saboteurs  in  Hawaii  prior  to  WWII.  75  min. 
LADY  OF  VENGEANCE  Dennis  O'Keefe,  Ann  Sears. 
Anton  Diffring.  Revenge  for  a  lady  who  has  been 
wronged.  Melodrama.  73  min. 

MONTE  CARLO  STORY.  THE  Technirama,  Color.  Mar- 
lane  Dietrich,  Vittorio  De  Sica.  A  Titanus  Rim.  Sam 

Taylor  director.  Marcello  Girosi  producer.  Drama.  A 
handsome  Italian  nobleman  with  a  love  for  gambling 
marries  a  rich  woman  in  order  to  pay  his  debts. 
100  min.  7/8. 

MY  GUN  IS  QUICK  Robert  Bray,  Whitney  Elake.  Don 
Randolph.  Producer-director  George  A.  White  and 
Phil  Victor.  Melodrama.  Based  on  a  novel  by  Mickey 
Spillane.  88  min. 

VALERIE  Sterling  Hayden  Anita  Ekberg,  Anthony  Steel. 
Producer  Hal  Makelim.  Director  Gerd  Oslwald.  West- 
em.  The  story  of  a  murder  trial  in  a  western  town. 
LEGEND  OF  THE  LOST  John  Wayne,  Sophia  Loren, 
Rossano  Brazzi.  Producer-direator  Henry  Hathaway.  Ad- 
venture   Sea.rch  for  treasure  in  the  Sahara.. 

September 

CARELESS  YEARS,  THE  Natalie  Trundy,  Dean  Stock- 
well.  Producer  Edward  Lewis.  Director  Arthur  Hiller. 
Drama.  Two  lovers  meet  parental  resistance  when  they 
decide  to  get  married.  70  min. 


Film     BULLETIN—  THIS     IS     YOUR  PRODUCT 


CHICAGO  CONFIDENTIAL  Brian  Keith,  Beverly  Gar- 
land,  Dick  Foran.  Producer  Robert  Kent.  Director  Sid- 
ney Salkow.  Melodrama  Syndicate  tries  to  gain  con- 
trol of  labor  union.  73  nnin.  9/2. 

ENEMY  FROM  SPACE  Brian  Donlevy,  John  Lonqden, 
Sydney  James.  Producer  Anthony  Hinds.  Director  Val 
Guest.  Science-fiction.  84  min. 

GUNSIGHT  RIDGE  Joel  McCrea  Mark  Stevens.  Pro- 
ducer Robert  Bassler.  Director  Francis  Lyon.  Western. 
Stranger  discovers  respected  citizen  is  really  a  holdup 
man.  85  min. 

SATCHMO  THE  GREAT  Louis  Armstrong.  Edward  R. 
Murrow,  Leonard  Bernstein.  Producers  Edward  R.  Mur- 
row  and  Fred  W.  Friendly.  Film  story  of  Louis  Arm- 
strong's international  jazz  tour.  63  min.  9/16. 
STREET  OF  SINNERS  George  Montgomery.  Geraldine 
Brooks  Producer-director  William  Berke  Drama. 
Rookie  policeman  clashes  with  youthful  criminals. 
74  min. 

October 

HELL  BOUND  John  Russel.  June  Blair.  Producer  How- 
ard Koch.  Director  William  Hole,  Jr.  Melodrama. 
[  Story  of  a  conspiracy  to  hijack  a  shipment  of  narcotics. 
TIME  LIMIT  Richard  Widmark,  Richard  Basehart  Pro- 
ducer William  Reynolds.  Director  Karl  Maiden. 


Coming 


BABYFACE  NELSON  Mickey  Rooney.  Carolyn  Jones. 
Sir  Cedric  Hardwicke.  Producer  Al  Zimbalist.  Director 
Don  Siegel.  Drama.  Story  of  one  of  America's  notori- 
ous gangsters. 

CHINA  DOLL  Victor  Mature,  Lili  Hua.  Producer-Di- 
rector Frank  Borzage.  Drama.  United  States  Air  Force 
Captain  marries  a  Chinese  girl. 

EDGE  OF  FURY  Michael  Higgins,  Lois  Holmes.  Pro- 
ducer Robert  Gurney.  Jr.  Directors  Robert  Gurney, 
Jr.  and  Irving  Lerner.  Suspense  Thriller  based  on  the 
novel  "Wisteria  Cottage ". 

FORT  EOWIE  Ben  Johnson,  Jan  Harrison,  Kent  Taylor 
Producer  Aubrey  Schenck.  Director  Howard  W.  Koch. 
I  BURY  THE  LIVING  Richard  Boone.  Peggy  Maurer. 
Producers  Band  and  Garfinkle.  Director  Albert  Bend. 
ISLAND  WOMEN  Marie  Windsor.  Vince  Edwards.  Pro- 
ducer-director William  Berke.  Musical.  Calypso  film 
filmed  in  the  Bahama  Islands. 

MUSTANG  Jack  Beutel,  Madalyn  Trahey.  Producer 
Robert     Arnell.     Director     Peter     Stephens.  Western 

ita  Ekberg. 

PATHS  OF  GLORY  Kirk  Douglas,  Ralph  Meeker, 
Adolphe  Menjou.  Producer  James  B.  Harris.  Director 
Stanley  Kubrick. 

QUIET  AMERICAN  Audie  Murphy,  Michael  Redgrave, 
Claude  Dauphin.  Figaro  Production.  Director  Joseph 
Mankiewicz.  Drama.  Story  set  against  the  recent 
fighting  in  IndoChina. 

RIDE  OUT  FOR  REVENGE  Rory  Calhoun,  Gloria  Gra- 
hame.  Joanne  Gilbert.  Producer  Norman  Retchin.  Di- 
rector Barney  Girard. 

THIS  IS  RUSSIA  Producer  Sid  Feder  and  Carey  Wilson. 
Documentary.  Life  of  Russian  masses  under  Kremlin 
rule. 

VIKINGS.  THE  Kirk  Douglas,  Tony  Curtis.  Ernest  Borg- 
nine.  Producer  Jerry  Bresler.  Director  Richard  Fleischer. 

WINK  OF  AN  EYE  Jonathan  Kidd,  Doris  Dowling, 
Irene  Seidner.  Producer  Fernando  Carrere.  Director 
Winston  Jones. 

WITNESS  FOR  THE  PROSECUTION  Tyrone  Power, 
Marlene  Dietrich,  Charles  Laughton.  Producer  Arthur 
Hornblow.  Jr.  Director  Billy  Wilder. 


U  N  I  VERSA  L- 1  NT'  L 


August 

LAND  UNKNOWN,  THE  Jock  Mahoney,  Shawn  Smith. 
Producer  William  ANand.  Director  Virgil  Vogel. 
Science-fiction.  Polar  expedition  finds  Mesozoic  age 
in  Antarctic  expedition.    78  min. 

MIDNIGHT  STORY,  THE  CinemaScope.  Tony  Curtis, 
Mansa  Pavan.  Producer  Robert  Arthur.  Director  Joseph 
Pevney.  Drama.  Rookie  cop  seeks  murderer  of  parish 
priest.  89  min.  6/24. 

NIGHT  PASSAGE  Technirama.  Technicolor.  James 
Stewart,  Audie  Murphy,  Dan  Duryea.  Producer  A. 
Rosenberg.  Director  James  Neilson.  Drama.  Payroll 
robbers  are  foiled  by  youngster  and  tough-fisted  rail- 
roader. 90  min.  6/24. 

September 

INTERLUDE  Technicolor,  CinemaScope.  June  Allyson, 
Rossano  Brazzi.  Producer  Ross  Hunter.  Director  Douglas 
Sirk.  Drama.  American  doctor  falls  in  love  with  wife 
of  famous  composer  in  Munich.  89  min.  6/24. 

JET  PILOT  Technicolor,  Superscope.  John  Wayne, 
Janet  Leigh.  Howard  Hugnes  Production.  Producer 
Jules  Furthman  Director  Josef  von  Sternberg.  Drama. 
The  story  of  a  Russian  woman  pilot  and  an  American 
let  ace.  I  19  min. 

JOE  DAKOTA  Eastman  Color.  Jock  Mahoney,  Luana 
Patten.  Producer  Howard  Christie.  Director  Richard 
Bartlett.  Drama.  Stranger  makes  California  oil  town 
see  the  error  of  its  ways.   79  min. 

RUN  OF  THE  ARROW  Technicolor.  Rod  Steiger,  Sarita 
Montiel.  Ralph  Meeker.  Producer-director  Sam  Fuller. 
Adventure.  Young  sharpshooter  joins  Sioux  Indians  at 
close  of  Civil  War.  86  min.  6/24. 

SLAUGHTER  ON  TENTH  AVENUE  CinemaScope.  Rich- 
ard Egan,  Jan  Sterling.  Dan  Duryea.  Producer  Albert 
Zugsmith.  Director  Arnold  Laven.  An  expose  of  New 
York  waterfront  warfare.    103  min.  9/16. 


THAT  NIGHT  John  Beal,  Augusta  Dabney,  Soepperd 
Strudwick.  Producer  Hiram  Brown.  Director  John 
Newland.    Drama.    A    tragedy    almost    shatters    a    1 5- 

year-old  marriage.  88  min. 

October 

MAN  OF  A  THOUSAND  FACES  CinemaScope  James 
Cagney,  Dorothy  Malone.  Producer  Robert  Arthur.  Di- 
rector Joseph  Pevney.  Drama    Life  story  of  Lon  Chaney. 

I2S  min.  7/22. 

PUANTEZ  CinemaScope.  Eastman  Color.  Fred  Mac- 
Murray,  Dorothy  Malone.  Producer  Gordon  Kay.  Direc- 
tor Harry  Keller.  Drama.  A  study  of  five  people  in- 
volved in  a  robbery  and  killing.  80  min.  9/2. 
UNHOLY  WIFE.  THE  Technicolor.  Diana  Dors.  Rod 
Steiger,  Marie  Windsor.  Producer-director  John  Far- 
row. Drama.  A  wife  cunningly  plots  the  death  of  her 
husband  who  she  has  betrayed.  94  min.  9/2. 


Coming 


A  GAME  OF  LOVE  CinemaScope.  Color.  Lana  Turner. 
Jeff  Chandler,  Richard  Denning.  Producer  William 
Alland.  Director  Jack  Arnold.  Drama.  Pilot  and  wife 
realize  true  love  in  the  air. 

ALL  MINE  TO  GIVE  Eastman  Color.  Glynis  Johns. 
Cameron  Mitchell,  Rex  Thompson.  Producer  Sam  Weis- 
enthal.  Director  Allen  Reisner.  Drama  The  story  of  a 
Scottish    immigrant    couple    in    Wisconsin    in    the  19th 

BIG  BEAT,  THE  Color.  William  Reynolds,  Andra  Mar- 
tin. Producer-Director  Will  Cowan. 

DAMN  CITIZEN  Keith  Andes.  Margaret  Hayes,  Gene 
Evans.  Producer  Herman  Webber.  Director  Robert 
Gordon.  Real  estate  man  becomes  leader  of  police 
in  fight  against  crime. 

DARK  SHORE,  THE  CinemaScope.  George  Nader.  Cor- 
nell Borchers,  Michael  Ray.  Producer  Robert  Arthur. 
Director  Abner  Biberman. 

DAY  OF  THE  BAD  MAN  CinemaScope.  Fred  MacMur- 
ray,  Joan  Weldon,  John  Ericson,  Robert  Middieton. 
Producer  Gordon  Kay.  Director  Harry  Keller.  West- 
ern. Brothers  of  a  murderer  attack  town  on  day  of 
trial. 

DOCTOR  AT  LARGE  Dick  Bogarde.  Muriel  Pavlow.  A 
Rank  Production.  Director  Ralph  Thomas.  Comedy.  Ad- 
ventures of  an  English  physician.  98  min.  6/24. 
ESCAPADE  IN  JAPAN  Color.  T«resa  Wright,  Cameron 
Mitchell,  Jon  Provost,  Roger  Nakagaws.  Producer-direc- 
tor Arthur  Lubin.  Search  for  two  boys  who  start  out 
in  the  wrong  direction  to  find  the  very  people  who 
are  trying  to  find  them.  92  min.  9/16. 
FEMALE  ANIMAL,  THE  CinemaScope.  Hedy  Lamarr 
Jane  Powell,  Jan  Sterling.  Producer  Albert  Zugsmith. 
Director  Harry  Keller.  Beautiful  movie  star  tries  to 
buy  a  husband. 

GIRL  MOST  LIKELY,  THE  Eastmai  Color.  Jane  Powell, 
Cliff  Robertson,  Keith  Andes.  Producer  Stanley  Rublin. 
Director  Mitchell  Leison.  Comedy.  A  girl  is  proposed 
to  by  three  men  on  the  same  day. 

I  MARRIED  A  WOMAN  George  Gobel,  Diana  Dors, 
Adolph  Menjou.  Producer  William  Bloom.  Director  Hal 
Kanter.  Coemdy.  Wife  objects  to  taking  second  place 
to  a  beer  advertising  campaign  with  her  husband. 
LOVE  SLAVES  OF  THE  AMAZONS  Color.  Don  Taylor, 
Giana  Sigale.  Producer-Director  Curt  Siodnak. 
MAGNIFICENT  BRAT,  THE  Color  Dan  Duryea,  Jan 
Sterling.  Producer  Sy  Gomberg.  Director  Jack  Sher. 
MAN  WHO  ROCKED  THE  EOAT,  THE  CinemaScope. 
Richard  Egan,  Jan  Sterling,  Dan  Duryea.  Producer 
Albert  Zugsmith.  Director  Arnold  Laven. 
MONOLITH  MONSTERS,  THE  Grant  Williams,  Lola 
Albright.  Producer  Howard  Christie.  Director  John 
Sherwood.  Science-fiction.  Army  of  rocks  threaten  U.S. 
MY  MAN  GODFREY  CinemaScope,  Technicolor.  June 
Allyson.  David  Niven.  Producer  Ross  Hunter.  Director 
Henry  Koster.  Comedy.  Story  of  a  topsy-turvy  butler. 
92  min.  9/2. 

PYLON  CinemaScope.  Rock  Hudson,  Robert  Stack, 
Dorothy  Malone,  Jack  Carson.  Producer  Albert  Zug- 
smith. Director  Douglas  Sirk.  Drama.  Reporter  un- 
covers World  War  I  hero  of  the  Lafayette  Escadrille. 
RAW  WIND  IN  EDEN  CinemaScope.  Color.  Esther 
Williams.  Jeff  Chandler.  Producer  William  Alland. 
Director  Richard  Wilson.  Couple  crash  on  island  and 
are  stuck  for  weeks. 

SEEDS  OF  WRATH  CinemaScope.  Jeff  Chandler.  Orson 
Welles.  Producer  Albert  Zugsmith.  Director  Jack  Ar- 
nold. Drama.  Sheriff  destroys  one-man  domination  of 
Texas  town. 

SLIM  CARTER  Color.  Jock  Mahoney.  Julie  Adams. 
Tim  Hovey.  Producer  Howie  Horwitz.  Director  Richard 
Bartlett.  Girl  press  agent  makes  Western  star  of  no- 
good  cafe  entertainer.    82  mins. 

SUMMER  LOVE  John  Saxon.  Judy  Meredith.  Producer 
William  Grady.  Jr.  Director  Charles  Haas.  Loves  and 
troubles  of  combo  on  first  job. 

VIOLATORS,  THE  Arthur  O'Connell.  Nancy  Malone. 
Producer  H.  Brown.  Director  John  Newland.  Drama. 
Story  of  a  probation  officer  in  the  New  York  City 
courts. 

WESTERN  STORY,  THE  CinomaScope.  Color.  Jock 
Mahoney,  Gilbert  Roland.  Producer  Howard  Christie. 
Director  George  Sherman. 


WARNER  BROTHERS 


July 

CURSE  OF  FRANKENSTEIN,  THE  Peter  Cushing,  Hazel 
Court,  Robert  Urqhart.  Producer  M.  Carreras.  Direc- 
tor Terence  Fisher.  Horror.  83  min.  7/8. 

PRINCE  AND  THE  SHOWGIRL,  THE  Color  Marilyn 
Monroe,     Laurence    Olivier,     Dame    Sybil  Thorndyke. 

Producer-director  Laurence  Olivier.  Comedy.  Filmiza- 
tion  of  the  Terence  Rattigan  play.  117  min.  5/27. 


RISING  OF  THE  MOON.  THE  Eileen  Crowe,  Cyril 
Cusack,  Frank  Lawton  Directed  by  John  Ford.  Three 
Irish  stories  with  Tyrone  Power  narrator.  81  min.  7/22 
X— THE  UNKNOWN  Dean  Jagger,  William  Russell. 
Producer  A.  Hinds.  Director  Leslie  Norman.  Science- 
fiction.  Keen  minded  scientist  fights  awesome  creation. 

August 

BAND  OF  ANGELS  WarnerColor.  Clark  Gable.  Yvonne 
De  Carlo    Director  Raoul  Walsh    Drama.  81  min.  7/22 
JAMES   DEAN   STORY.   THE  A  film   biography  of  the 
late  movie  star.  82  min 

PAJAMA  GAME.  THE  Warner  Color  Doris  Day.  John 
Raitt  Carol  Haney.  Producers  G.  Abbot.  F.  Bnsicn. 
R.  Griffith,  H.  Prince.  Director  Stanley  Donen.  Filmiza- 
tion  of  the  Broadway  musical. 

September 

BLACK  PATCH  George  Montgomery.  Producer  George 
Montgomery.  Director  Alan  Miner.  Western.  83  min. 
WOMAN  IN  A  DRESSING  GOWN  Yvonne  Mitchell, 
Anthony  Quayle.  Sylvia  Syms  Producer  Frank  Godwin 
Director  J.  Lee-Thompson.  A  wife's  happiness  is  threa- 
tened by  a  younger  woman. 

October 

BLACK  SCORPION,  THE  Richard  Denning.  Mara  Cor- 
day,  Carlos  Rivas.  Horror    88  min. 

HELEN  MORGAN  STORY.  THE  CinemaScope  Ann 
Blyth,  Paul  Newman  Producer  Martin  Rackin  Director 
Michael  Curtiz.  Drama.  80  min. 


Coming 


BLONDE  AND  DANGEROUS  Sally  Brophy.  Carla 
Merey,  Susan  Oliver.  An  Arwin  Production.  Director 
Bernard  Girard  Producer  Martin  Melcher.  Melodrama. 
Life  in  a  girl's  correction  school. 

EOTH  ENDS  OF  THE  CANDLE  CinemaScope.  Ann 
Blyth.  Paul  Newman,  Richard  Carlson.  Producer  Mar- 
tin Rackin.    Director  Michael  Curtiz. 

CHASE  A  CROOKED  SHADOW  Richard  Todd.  Ann 
Baxter.  Producer  Douglas  Fairbanks.  Director  Michael 
Anderson.  Melodrama. 

DARBY'S  RANGERS  WarnerColor  Charles  Heston,  Tab 
Hunter,  Etchika  Choureau.  Producer  Martin  Rackin.  Di- 
rector William  A.  Wellman. 

DEEP  SIX.  THE  Jaguar  Prods.  Alan  Ladd.  Dianne  Fos- 
ter.   Producer    Martin    Rackin     Director    Rudy  Mate. 

FIFTEEN  BULLETS  FROM  FORT  DOBBS  Clint  Walker. 
Virginia  Mayo.  Producer  Martin  Rackin.  Director  Gor- 
don Douglas. 

LAFAYETTE  ESCADRILLE  Tab  Hunter  Etchika  Choureau. 
J.   Carrol    Naish.     Producer-Director  William   A.  Well- 


NO  SLEEP  TILL  DAWN  CinemaScope.  WarnerColor. 
Karl  Maiden  Natalie  Wood.  Producer  Richard  Whorf. 
Director  Gordon  Douglas.  Story  of  the  men  who  man 
the  bombers  that  defend  our  nation. 

NO  TIME  FOR  SERGEANTS  Andy  Griffith,  Myron  Mc- 
Cormick,  Nick  Adams.  Producer-Director  Mervyn  Le- 
Roy. 

OLD  MAN  AND  THE  SEA.  THE  CinemaScope,  Warner- 
Color. Produced  by  Leiand  Hayward.  Director  John 
Sturges.  Adventure.  Film  version  of  Ernest  Heming- 
way's prize-winning  r.ovel. 

STAKEOUT  ON  DOPE  STREET  Producer  Andrew  Fenady. 
Director  Irvin  Kershner. 

SAYONARA  Technirama,  WarnerColor.  Marlon  Brando, 
Red  Buttons,  Patricia  Owens.  Producer  W'niar.  Goetz. 
Director  Josh  Logan.  Drama.  Based  on  »Se  award- 
winning  novel  of  James  Michener. 

STORY  OF  MANKIND  WarnerColor.  All-star  cast. 
Drama . 

TENDER  FURY  Susan  Oliver,  Linda  Reynolds.  Carla 
Merey.  Producer  Martin  Melcher.  Director  Bernard 
Girard. 


To  Better  Serve  You  .  .  . 

Office  &  Terminal  Combined  At 

305  N.  12th  St.  N,w  Ph°n« 

„ .,  .    ,    „  Phila:   WAInut  5-3944-45 

Philadelphia  7,  Pa.         N .  J . :  WOodlawn  4-7380 

NEW  JERSEY 
MESSENGER  SERVICE 

Member  National  Film  Carriers 


DEPENDABLE  SERVICE! 

CLARK 
TRANSFER 

Member  National  Film  Carriers 

Philadelphia.  Pa.:  LOcust  4-3459 
Washington,  D.  C:  DUpont  7-7200 


Film     BULLETIN  —  THIS     IS     YOUR  PRODUCT 


Entertainment  with 
enough  sex  lure  and  fast 
action  to  make  it  appeal  to 
both  younger  and  adult  sets!' 

—  Motion  Picture  Daily 


Good  entertainment! 

Has  pace,  suspense... 
liberally  sprinkled 
with  laughs!" 

— Boxoffice 


that  spells  Boxoffice 


"Rollicks  merrily  along  and 
will  be  enjoyed  by  all! 
Pleasing  entertainment 

—  Film  Daill 


'Enjoyable  film  fare!  Corned;1 
drama  that  will  amuse  and 
entertain  audiences!" 

—  Showmen's  Trade  Rev/ev 


JANE 

WSSEfr 


KEENAN 

He  held  the  gal  at 

gun  point  -  but  then  she 

got  into  that  nightie... 


andl^LPH 

as  MIKE     .  ^ 
He  thought  the  dame 
was  a  soft  touch  -  but 
every  time  he  touched  her 
he  got  scorched! 


ni&htffoWg, 

co-starring  tod  CLARK 

with  UNA  MERKEL  •  BENAY  VENUTA  •  ROBERT  H.'HARRIS 
BOB  KELLEY  •  DICK  HAYNES  •  JOHN  TRUAX  •  MILTON  FROME 


BOB  KELLEY  •  DICK  HAYNES  •  JOHN  TRUAX  •  MILTON  FROME 

ADOLKHEME33JOU 

Screenplay  by  RICHARD  ALAN  SIMMONS  •  Based  on  a  novel  by  SYLVIA  TATE 
Produced  by  ROBERT  WATERFIELD  •  Directed  by  NORMAN  TAUROG 
A  RtfsS-FIELD  PRODUCTION 


0L 

BULLETIN 


OCTOBER  14,  I957 


Business-wise 

Analysis  of 
the  New  Films 

Reviews: 

JAILHOUSE  ROCK 
UNTIL  THEY  SAIL 

WOMAN  IN  A  DRESSING 
GOWN 
LONG  AS  THEY'RE  HAPPY 
SHORT  CUT  TO  HELL 
JOHNNY  TROUBLE 
FORTY  GUNS 
THE  BLACK  SCORPION 
A  MAN  ESCAPED 
SLIM  CARTER 
THE  DEVIL'S  HAIRPIN 


PURSUIT  OF  THE 
GRAF  SPEE 

THE  TIN  STAR 


The  New  Economics 
of 

Film  Production 


".  .  .  Showmanship  must  be  substituted  for  expenditure  in 
the  planning  of  many  films  today,  so  that  cost  of  production 
is  brought  into  line  with  the  potential  of  our  own  market  .  .  ." 


VOGEL  vs.  TOMLINSON 


Read  FINANCIAL 


20th  SHOWS 


FREE 

SHOCKER  TEASER  TRAILER 

(from  20th  branch  manager) 

Two  weeks  before  opening! 

SPECIAL  TRAILER  TREATMENT 

Dramatize  showing  of  Production  Trailer 
week-before-opening : 

1.  Close  rurtains  and  dim  house  lights 

2.  Play  weird  sound  effects  over  house  p.  a. 
system  (free  record  available) 

3.  Beam  eerie  green  spotlights  at  stage  as 
curtains  part 

4.  Trailer  goes  on  screen  (production  trailer 
available  from  NSS) 

9  F REE 

CHILLER  RADIO  SPOTS 

(3  one-minute,  3  30-seconds,  3  20-seconds) 
all  on  one  record  (send  to  20th  for  it!) 

DRESS  HOUSE  STAFF  MEMBERS 

in  white,  and  have  a  nurse  in  attendance. 
Have  ambulance  parked  at  theatre.  Equip 
lobby  with  blood-pressure  instruments,  gadg- 
ets like  respirators  and  oxygen  tanks. 

SHOCK-RESISTANCE  TEST 

Register  scare-endurance  in  lobby  with  a  sim- 
ple electrical  machine  which  can  be  rented 
from  local  penny  arcade,  or  rigged  up  by  house 
electrician.  Electrodes  cause  mild  quivering 
as  person  pulls  them  out.  It  is  perfectly  safe. 

LOBBY  TEMPERATURE  TEST 

Have  thermometers  available,  for  nurse  to 
take  temperatures  of  all  who  want  to  be 
checked.  Announce  anyone  with  over  99.4 
temperature  not  allowed  to  enter. 

CAN-YOU-TAKE-IT  CHART 

Keep  record  in  lobby  of  those  who  pass  both 
Shock-Resistance  and  Temperature  Tests. 
These  brave  souls  can  be  handed  member- 
ship cards  in  the  U.  S.  Chamber  of  Horrors. 


P  WITH  THE  M0NS1 

...backed  with  20th's  M 


IN  HORRORSCOP 

starring 

FORREST  TUCKER  -  PETER  CO 

Produced  by   Directed  by  Screenplay 

AUBREY  BARING  -  VAL  GUEST  -  NIGEL  KNEAL 

i    A  Regalscope  picture  released  by  20th  Centu] 


FREE   

SOUND  EFFECTS  RECORD!  Scary  shrieks !  Spook  sounds!  i 

ing  winds!  Play  them  over  house  p.  a.  system  in  front  of  th 
(20th  has  'em  all;  send  for  them!) 

SHOCK  TABLOID  HERALD!  (Send  to  Cato  for  it— details  ii 

Book.)  Distribute  through  retail  stores,  at  schools,  in  letter- 
through  service  stations,  mailing  list,  libraries,  hotels — wh< 
crowds  gather! 


Your  Complete  Merchandising  Pac 


HAT  SHOWS  UP  ALL  THE  OTHERS! 

R  SHOWMANSHIP! 


INSTER  CUT-OUT 


ake  blow-up  of  monster  from  art  of  monster-and-girl 
:luded  in  your  NSS  set  of  stills.  Mount  on  marquees 
d  use  spotlights  and  steam  jets  for  added  excitement. 


4A00W  BOX 


on  one,  two  or  three  planes,  showing 
rmster  in  foreground,  girl  and  mountains  in  background. 
Dtating  motion  to  make  monster  appear  and  disappear. 


ONE  OF  THE  POWERFUL  ADS 
IN  THE  TICKET- SELLING 


CAMPAIGN  ! 


From  the  world  above  the 
world  comes  CREATION'S 

MOST  SHOCKING  MONSTER 

THEAB0M« 
SNOWMANof 

THE  HIMALAYAS 


IN  HORRORSCOPE 


PUBLIC  NOTICE:  Take  shock  endurance  tests 
lobby  to  determine  if  you  dare  see  th 


sts  in  our  1 
s  picture!]! 


Here  is  the  perfect 


MIDNIGHT  SHOCK-0-RAMA ! 

attraction  for  a  midnight  spook  show  presentation  at 
your  theatre.  This  is  the  basic  plan : 
Dim  house  lights  •  Play  free  sound  effects  record  •  Spin 
weird  music  over  p.  a.  system  •  Dress  staff  in  monster 
masks  and  grotesque  costumes  •  Have  figure  in  skeleton 
costume  run  across  stage  before  film  begins  •  Hand  out 
one  aspirin  to  calm  nerves  as  patrons  enter! 
(Repeat  same  plan  for  Horror  Matinee.) 


PREVIEW  SETS 
2-YEAR  RECORD 

Today's  hot  box-office  news:  M-G-M'i 
"DON'T  GO  NEAR  THE  WATER' 
wins  highest  audience  approval  ratin{ 
in  2  years  at  Loew's  Lexington,  N.  Yi 
This  confirms  advance  public  reactioi 
on  West  Coast  and  forecasts  a  "Lines 
around-the  BLOCKBUSTER"  attracj 
tion.  "DON'T  GO  NEAR  THE  WATER 
follows  "LES  GIRLS"  at  Radio  City  Musi 
Hall.  Then  it's  headed  for  the  happ;i 
holiday  time,  Christmas  —  New  Year's 

"PREVIEW  AUDIENCE    NEVER  STOPPEI 
LAUGHING.  DON'T  MISS  IT!" 

—Louella  Parsons  in  syndicated  columi 

"FUNNIEST  PICTURE  I'VE  EVER  SEEN!" 

—Groucho  Mai 

M-G-M  presents 

"DON'T  GO  NEAR  THE  WATEI 

Starring 

GLENN  FORD 

GIA  SCALA  •  EARL  HOLLIMAN  •  ANNE  FRANC1 
KEENAN  WYNN    .    FRED  CLARK    •    EVA  GABO 
RUSS  TAMBLYN  •  JEFF  RICHARDS 

Screen  Play  by  DOROTHY  KINGSLEY  and  GEORGE  WELLS 

Based  on  the  Novel  by  WILLIAM  BRINKLEY 
In  CinemaScope  and  METROCOLOR 
AN  AVON  PRODUCTION 

Directed  by  CHARLES  WALTERS  •  Produced  by  LAWRENCE  WEINGARTE 


N0.1  BEST-SELLER  IS 
N0.1  FILM  SENSATION! 

The  side-splitting  story  of  an 
intrepid  task  force  of  dedicated 
naval  officers  who  made  almost 
everything  but  sea  duty ! 


tewpoints 


OCTOBER  14,  1957 


VOLUME  25,  NO.  21 


Thv  \vtv  Eeanam ies  of  Film  l*nnl m  t  hm 


Having  made  the  decision  to  provide 
more  product,  as  noted  in  our  last  issue, 
the  motion  picture  industry  now  faces 
the  fact  that  the  economics  of  our  busi- 
ness have  changed.  The  product  which 
lies  ahead  must  be  attuned  to  the 
changes  in  our  market. 

The  decline  in  attendance  has  been  a 
selective  decline.  Some  types  of  pic- 
ture have  prospered  in  the  midst  of  the 
general  public  lassitude.  Some  types 
have  been  particularly  unsuccessful. 
Only  by  analyzing  the  economic  pat- 
tern of  the  recent  business  can  we  hope 
to  insure  the  right  kind  of  product  in 
the  future.  Only  by  knowing  where  the 
profits  come  from  can  we  know  the 
form  that  future  production  should 
take. 

Probably  the  most  undeniable  mar- 
ket trend  in  recent  motion  pictures  has 
been  the  squeeze  on  the  middle  bracket 
film.  The  high  budget,  spectacularly 
lavish  production  maintains  its  good 
chance  of  making  excellent  profits,  par- 
ticularly when  it  can  be  given  special 
treatment  and  long  runs.  At  the  other 
extreme,  the  low  budget  entry,  costing 
less  than  S250,000  to  produce,  is  often 
surprisingly  ending  up  in  the  black — 
at  least  those  that  have  a  good  promo- 
tion angle.  But  those  middle  bracket 
pictures — costing  perhaps  S  1,000,000  to 
S2,000,000  at  today's  budgets  —  have 
been  winding  up  in  the  red  far  more 
often  than  in  past  seasons. 

There  are  some  easily  discernible 
reasons  for  this  situation.  We  are  faced 
with  a  selective  audience.  They  select 
the  big  pictures  for  quality  or,  perhaps, 
sheer  size,  and  they  select  the  modest 
films  because,  having  few  stars  and  in- 
expensive stories,  these  entries  so  often 
are  specifically  designed  to  have  a  sales 
gimmick.  The  middle  bracket  pictures, 
too  often  for  comfort,  are  neither  big 
enough  nor  bolstered  by  a  promotion 
gimmick. 

Confronted  with  this  market  situ- 
ation,  producers   simply   must  adjust 


their  thinking  in  three  main  depart- 
ments: cost,  choice  of  subjects,  method 
of  distribution. 

Considering  costs,  it  is  necessary  to 
face  some  hard  facts.  We  must  recog- 
nize that  the  difference  between  profit 
and  loss  is  determined  by  how  closely 
you  gear  your  costs  to  your  market.  On 
that  yardstick,  there  is  no  denying  that 
producers  have  been  overpaying  many 
of  the  established  stars,  directors  and 
other  talents  and  technicians.  These 
people  just  don't  mean  as  much  today 
as  they  used  to  at  the  boxoffice.  While 
their  asking  price  has  been  going  up 
and  up,  their  drawing  power  have  been 
going  down  and  down. 

Proof  of  this  particular  pudding  is  in 
the  fact  that  the  low  cost  pictures  with 
little  known  players  have  been  doing  so 
much  better,  proportionately,  and 
profit-wise,  than  more  expensive  films 
with  big  names.  Bear  in  mind  that  a 
high-priced  star  in  an  inflationary  item 
in  a  film  budget.  You  hire  the  star, 
then  you  find  he  expects  certain  pro- 
duction values  in  the  supporting  cast, 
in  the  director,  and  so  forth.  Because 
you  are  spending  so  much  for  the  star, 
it  seems  almost  like  protecting  your  in- 
vestment to  invest  more  in  the  other 
aspects  of  the  production.  So  the  costs 
go  up  and  up.  But  with  low  cost  pic- 
tures you  not  only  avoid  this  pitfall; 
you  also  have  a  chance  to  develop  new 
stars  and  other  new  talent  at  sensible 


BULLETIN 


Film    BULLETIN:    Motion    Picture    Trad.  Pape 
published   every  ether      t  .       by    ■■■  .  ■  Publi 
cations.    Inc.     Me  W«,   Editor  and  Publisher 
PUBLICATION-EDITORIAL  OFFICES:    123?  Vin 
Street,  Philadelphia  7,  Pa..  LOcust  1-1*51,  1951 
Philip    R     Ward,    Associate    Editor:  Leenan 
Coulter     New   York   Associate   Editer;  Dueca 
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prices. 

This  is  not  mere  theory.  We  are  cit- 
ing facts,  evidenced  bv  the  income 
some  film  companies,  major  and  inde- 
pendent, have  earned  from  films  pro- 
duced at  the  right  price.  Not  every  one 
of  the  minor  pictures  has  made  money, 
but  in  the  aggregate  profits  are  being 
earned  in  the  low-budget  department. 

Of  course,  it  takes  ingenuity  to  make 
a  low -budget  film  a  success.  Once  the 
producer  decides  to  limit  costs,  he  must 
exercise  imagination  and  acumen  in  the 
choice  of  subject  matter.  As  a  business- 
man, he  recognizes  that  the  money  a 
teenager  spends  at  the  movies  is  just  as 
good  as  that  of  the  older  folks,  so  that 
it  can  be  very  sound  business  to  make 
entertainment  at  the  adolescent  level. 
But  above  all,  the  successful  makers  of 
the  low  budgeters  recognize  that 
movies  today  are  a  retail  business,  and 
a  retail  product  must  have  timely  sales 
appeal. 

At  the  moment,  the  choice  of  subject 
matter  for  the  low-budget  product  ap- 
pears to  be  limited  to  the  fields  of 
science  fiction,  horror  and  juvenile  de- 
linquency. But  there  is  no  reason  why 
the  output  must  be  restricted  to  these 
categories.  The  range  can  be  wide,  in- 
cluding comedies,  actioners,  off-beat 
stories  of  every  kind,  and  family  films, 
too.  What  is  essential,  it  seems,  is  that 
special  sales  handle  by  which  the  prod- 
uct can  be  exploited.  The  minor  films 
that  have  rolled  up  surprising  grosses 
this  season  have  had  that  handle — and 
no  small  measure  of  their  success  can 
be  attributed  to  the  fact  that  the  pro- 
motional gimmick  was  fully  utilized  bv 
the  advertising  brains  of  the  distribu- 
tors handling  them.  As  a  matter  of 
fact,  it  is  entirelv  conceivable  that 
closer  pre-production  liaison  between 
the  advertising  department  and  the 
film  makers  could  profit  every  one  of 
the  film  companies. 

In  brief,  we  mean  this:  showmanship 
(Continued  on  P,ige  IS) 


Film  BULLETIN    October  14    1957        Page  5 


THE  OCTOBER  REVOLUTION.  For  Loew  s,  Incorporated, 
which  has  drifted  from  crisis  to  crisis  over  the  past  12  months 
with  a  kind  of  numbing  regularity,  the  denouement  may  be 
mercifully  ar  hand. 

Such  is  the  fervent  hope  of  management  and  its  distraught 
field  personnel  the  world  over.  For,  despite  the  outward  calm 
with  which  these  members  have  reacted  to  the  unending  harass- 
ment visited  upon  them,  a  kind  of  corporate  delirium  tremens 
has  invaded  the  company,  the  inevitable,  clinically  predictable 
result  of  a  year  long  beleaguerment  which  has  robbed  the 
firm's  officialdom  of  that  security  men  must  be  granted  if  they 
are  to  do  the  work  entrusted  to  them — and  do  that  work  well. 
It  is  the  uncertainty  that  is  killing.  And  though  it  is  rather 
firmly  established  that  pro-Vogel  forces  hold  the  power  bal- 
ance, the  comfort  remains  a  small  one  until  Loew's  again  en- 
joys untrammelled  leadership  under  a  single  master  and  free- 
dom from  obstructionism.  "Let's  get  it  over  with,  that's  all," 
said  a  weary  executive  last  week.  "I  just  want  to  know  where 
I  stand." 

That  a  final  resolve  is  forthcoming  now  seems  certain.  It  is 
a  relief  springing  from  an  odd  source:  arch-protagonist  Joseph 
Tomlinson,  whose  single  proclamation  a  fortnight  ago  firmly 
anchored  the  contest  once  and  for  all.  In  advertising  himself 
with  the  S.E.C.  as  a  solicitor  of  proxies,  the  ruggedly  dapper 
Canadian  has  finally  catapulted  film  business'  epic  name-calling 
marathon  into  a  winner-take-all  "hot  war"  showdown.  As 
presently  scheduled,  the  contending  forces  were  to  come  to 
grips  October  15,  when  by  virtue  of  the  proxy  ballot,  stock- 
holders will  enunciate  their  pleasure  for  one  of  two  men. 
That's  what  it  amounts  to.  Only  a  postponement  of  the  share- 
holders meeting,  which  Tomlinson  is  now  furiously  striving  to 
gain,  can  forestall  an  immediate  resolution  of  the  problem. 

'Who  StrucL  John?' 

A  state  of  formal  and  open  belligerency  now  exists.  Where 
there  were  only  words  and  threats  before,  there  are  now  trum- 
pets and  alarums.  It  is  perhaps  to  Mr.  Vogel's  credit  that  the 
honor  of  firing  the  opening  round  fell  to  him,  when  weeks  be- 
fore he  invited  proxy  support  for  the  purpose  of  removing 
Tomlinson  from  the  board.  Stung  by  what  has  probably  since 
erupted  into  a  personal  pique,  Tomlinson  waited  until  Septem- 
ber's end  before  replying  in  kind  with  his  own  solicitation  for 
shareholder  favor.  The  Canadian  will  now  claim  that  it  is 
Vogel,  not  he,  who  has  flung  the  company  into  enfeebling 
proxy  combat.  Vogel  in  turn  can  justly  claim  that  his  move 
was  rendered  inevitable  by  the  former's  unceasing  assaults  upon 
his  administration. 

And  so  the  contest  has  assumed  the  classic  "who  struck 
John"  proportion.  In  the  end,  the  fates  will  be  on  the  side  of 
the  disputant  mustering  the  majority  of  proxies.  The  major 
relief  is  that  the  struggle  has  been  removed  from  a  cloak-and- 
dagger  environment  and  into  the  open  where  each  side  may 
seek  redress  via  legal  processes. 

0 

Essentially  the  Loew's  crisis  has  eroded  into  a  personal  clash. 
Stripped  of  all  window  dressing  and  superficialities,  it  is  in  fact 
an  "executive  suite"  death  struggle  in  which  two  powerful  per- 
sonalities are  locked  in  mortal  engagement.  And  rules  of  cor- 
porate government,  as  well  as  those  of  human  nature,  demands 
tha:  only  one  may  prevail.  Unless  there  is  an  eleventh  hour  at- 
tempt at  rapproachment,  only  one  will. 


FINANCIAL 

BULLETIN 

OCTOBER      14,  1957 

By  Philip  R.  Ward 

Thus  has  the  fine,  civilized  expedient  of  compromise  been 
discarded  for  the  truncheon.  Make  no  mistake,  this  is  an  un- 
happy moment  for  filmdom.  It  is  shocking  to  sense  the  titil- 
lation  manifest  in  some  circles  far  beyond  the  debate  that  sense 
some  type  of  blood  sacrifice  as  victory  for  one  side  is  sealed. 
But  it  is  more  shocking  to  view  one  of  the  industry's  great 
manufacturing  complexes  laying  sorely  immobilized  by  dint  of 
the  struggle  at  a  time  when  the  business  can  ill  afford  any 
dimunition  in  its  stockpile  of  product.  The  need  for  rational 
deliberation  grows  great. 

0  O 

The  Vogel  Case 

From  almost  the  onset  of  his  tenure  as  chief  elective  officer, 
Joe  Vogel  has  played  out  his  time,  half  in  command,  half  at 
bay.  Following  the  election  of  the  famous  split  board  in  Feb- 
ruary when  both  he  and  Tomlinson  fought  to  a  Bulgarian 
standoff  (each  commandeering  six  loyal  directors  plus  one  neu- 
tral), reports  drifted  back  that  Vogel  was  virtually  a  prisoner 
within  his  own  castle.  First  came  word  that  Tomlinson  and  as- 
sorted cohorts  has  established  headquarters  domicile  almost  at 
Vogel's  elbow.  Then  came  news  of  an  organized  campaign 
aimed  at  scrutinizing  all  books,  records,  contracts  and  other 
documents  within  a  boarding-house  reach.  What  began  as  criti- 
cal analysis  reportedly  degenerated  into  a  carefully  pre-con- 
ceived  hazing.  Information  then  leaked  that  prior  to  an  early 
meeting  of  the  new  board  a  "get- Vogel"  conspiracy,  allegedly 
engineered  among  others  by  the  then  little  known  Stanley 
Meyer,  had  been  choked  off  owing  mainly  to  the  revulsion  of 
certain  pro-Tomlinson  directors,  who,  we  might  presume,  shud- 
dered at  the  perfidy  of  the  scheme.  Other  intrigues  followed. 
Numbered  among  them  were  obstructions  to  participation  ven- 
tures sought  after  by  Vogel  from  leading  independent  pro- 
ducers. Most  notable:  a  Hecht-Hill-Lancaster  deal  that  some 
say  was  quashed  by  the  insurgents.  Throughout,  contend  Vogel 
jupporters,  Tomlinson  succeeded  handsomely  in  stringing  a 
barbed  wire  curtain  between  himself  and  operating  interests  of 
the  company.  And  all  the  while  the  name  Stanley  Meyer  began 
to  play  itself  with  ever-rasping  discords  upon  the  eardrums  of 
harried  Loew's  officials. 

Meantime,  Vogel,  beset  with  a  white  elephant  inherited  from 
past  administrations,  struck  off  on  the  difficult  task  of  cleansing 
his  concern  of  deadwood  and  eliminating  nepotism,  while  es- 
tablishing his  own  remedial  machinery.  If  this  task  seemed  a 
groaning  one,  it  was  no  more  a  burden  than  finding  the  equa- 
tion for  paying  pictures,  and  the  people  to  make  them.  And 
there  was  a  third  problem  with  which  Vogel  had  to  grapple: 
the  industry-wide  recession.  In  this  dolorous  climate,  Vogel 
sallied  forth.  If  ever  anyone  assumed  the  prime  management 
of  a  film  firm  under  like  conditions,  he  is  sure  to  find  a  sym- 
pathetic audience  in  Joseph  R.  Vogel. 

Nonetheless  he  was  determined  to  make  a  go  of  it,  when,  at 
the  conclusion  of  the  February  session,  evidence  abounded  that 


Page  6        Film  BULLETIN    October  14,  1957 


all  quarters  were  closing  ranks  behind  him  in  the  campaign  to 
lift  both  the  company  to  greater  plateaus  of  prosperity.  Fven 
Mr.  Tomlinson  gave  the  impression  that  he  was  on  the  Vogel 
bandwagon.  In  support  of  this  expectancy  are  a  feu  remarks 
offered  by  Tomlinson  himself  at  the  conclusion  of  the  annual 
meeting  last  February: 

"My  effort  in  the  first  place  was  to  see  the  stockholders  of 
this  company  get  a  fair  break.  That  was  the  reason  I  undertook 
the  movies  that  I  made  in  the  first  place.  When  it  became  ap- 
parent, in  my  opinion,  that  a  satisfactory  reconciliation — and  I 
hope  that  you  all  concur  in  this — could  be  made  and  save  the 
company  the  vast  expense  and  waste  which  would  take  place  if 
a  proxy  fight  were  carried  out,  and  that  the  main  objective  that 
we  all  wanted  with  reference  to  this  Company  could  be  accom- 
plished, I  was  happy  to  sit  with  Mr.  Vogel,  and  we  selected 
what  I  think  is  a  very  fine  board  ...  I  am  willing  to  do  every- 
thing that  is  in  my  power  as  a  Director  to  rehabilitate  this 
Company,  to  make  it  a  better  company,  to  make  it  make  money, 
to  make  the  equity  more  valuable  than  it  is  today." 

A  Curious  Way  To  Help 

Since  the  annual  gathering  Mr.  Tomlinson  must  be  regarded 
as  having  taken  curious  steps  toward  rehabilitating  the  com- 
pany, or,  for  that  matter,  "to  make  it  a  better  company"  .  .  . 
"make  it  make  money"  ...  or  "make  the  equity  more  valuable." 

He  must,  rather,  be  regarded  as  having  succeeded  in  ham- 
stringing management.  In  employing  the  inexorable  proxy 
threat  he  succeeded,  too,  in  marking  the  company  as  an  off- 
limits  concern  to  many  of  the  community's  creative  spirits,  who 
otherwise  might  have  been  only  too  happy  to  accept  Vogel's 
invitation  to  join  in  the  studio's  growth  prospects.  Among  the 
valuable  artistic  rabble,  Loew  s  became  known  as  a  "too  hot  to 
handle"  situation  and  potential  talent  hied  off  to  more  tranquil 
pastures.  Tomlinson  must  be  credited,  also,  with  depressing 
employe  morale  to  Death  Valley  depths  by  virtue  of  his  attacks 
on  the  management  team.  Throughout  the  field  and  even 
among  home  office  brass  uncertainty  has  had  at  least  a  partial 
paralyzing  effect. 

All  this  has  Tomlinson  wrought  without  granting  to  his  ad- 
versary the  anticipated  courtesy  of  a  trial  run.  Therein  lies  the 
nub  of  the  Vogel  case:  a  chance,  a  fair  and  reasonable  chance. 
It  quickly  became  apparent  that  Tomlinson  could  not  abide  by 
this  proposition.  Indeed,  no  sooner  had  the  February  gathering 
digested  its  box  lunches,  it  seemed,  than  Tomlinson  blew  the 
whistle  on  Joe  Vogel. 

Perhaps  Joe  Tomlinson  had  it  planned  that  way  all  along. 
Perhaps  he  eased  off  in  February  because  he  knew  he  had  gone 
as  far  as  he  could  at  the  time.  Perhaps  he  felt  his  next  moves 
would  be  better  directed  in  the  relative  obsurity  of  the  closed 
conference,  and  behind  the  scenes.  If  so,  these  motives  build  a 
more  eloquent  defense  for  Vogel  than  anything  the  company 
head  could  possibly  say. 

In  truth  it  is  only  now  that  the  accomplishments  of  the 
Vogel  tenure  begin  to  reflect  themselves,  both  on  the  screens 
and  in  the  earnings  statements.  Just  today,  in  films  such  as 
"Les  Girls",  "Raintree  County",  "Don't  Go  Near  the  Water" 
is  Vogel's  fine  (or  blunted,  as  the  case  may  be)  hand  apparent. 
And  whatever  is  reflected,  good  or  bad,  reflects,  too,  though 
invisible  to  the  eye,  the  handiwork  of  Joe  Tomlinson  and  his 
12-month  scar  upon  the  Vogel  administration. 


The  Tomlinson  Case 

The  Canadian  industrialist's  brief  begins  and  ends  with  his 
incontestable  right  to  safeguard  an  investment.  One  can  not 
minimize  the  fact  that  this  individual  has  supplied  Loew  s  with 
a  greater  degree  of  risk  capital  than  any  other.  It  is  his  privi- 
lege to  take  any  legally  prescribed  steps  necessary  to  insure 
competent  management,  and  if,  in  the  event  of  dissatisfaction, 
undertake  the  removal  of  any  officers  he  deems  incapable,  if 
the  majority  of  shareholders  concur. 

Certainly  Mr.  Tomlinson  must  realize  that  Mr.  Vogel,  too, 
holds  stock  interest  in  Loew  s,  Inc.  In  this  fundamental  respect 
the  two  antagonists  possess  parallel,  if  not  identical,  interests. 
And,  for  a  time,  Mr.  Tomlinson  held  as  much  policy-making 
power  as  Mr.  Vogel.  Certainly,  no  one  faction  clearly  prevailed 
over  the  other  at  the  directors  level.  Why,  then,  are  the  two 
at  loggerheads?  If,  as  Tomlinson  charges,  Vogel  has  been 
guilty  of  "inaction,"  one  must  speculate  on  why  he  didn't  use 
his  influence  on  the  board  to  soup  up  the  company  engines  in- 
stead of  throwing  in  sand. 

The  answer  may  well  be  that  Tomlinson  is  weakest  in  that 
area  of  criticism  where  he  wallops  Vogel  hardest:  operational 
performance.  Mr.  Tomlinson  is  apparently  a  man  of  great  re- 
sources, little  patience  and  a  pathetically  narrow  knowledge  of 
the  morion  picture  crafts.  He  is,  however,  obviously  a  sound 
businessman,  as  his  financial  condition  attests.  As  such,  he 
could  probably  serve  the  company's  interests  well  in  non-oper- 
ational matters,  i.e.  finance,  stock  issues,  fiscal  affairs,  acquisi- 
tions and  so  forth. 

Instead,  lacking  experience  in  movie  business,  he  chooses  to 
surround  himself  with  sundry  heir  apparents  to  high  company 
offices.  His  attitude  toward  the  storied  Stanley  Meyer  has  sud- 
denly taken  on  a  left-handed  tone,  if  we  may  judge  by  his  re- 
cent remarks  to  a  reporter  for  the  Wall  Street  Journal.  Now 
that  the  ailing  Louis  B.  Mayer  is  more  or  less  out  of  the  pic- 
ture, his  current  fair-haired  hoy  to  head  M-G-M  production  is 
one  Samuel  Briskin.  The  hitter's  qualifications  are  not  particu- 
larly germane  to  this  discussion,  but  let  it  be  said  there  is 
nothing  in  Mr.  Briskin's  record  to  suggest  that  he  would  work 
any  miracles  in  the  stewardship  of  Hollywood's  largest  studio. 
An  examination  of  Briskin's  performance  as  a  movie  maker  for 
Columbia  and  Paramount  reveal  him  as  pretty  much  of  a 
journeyman  producer,  hardly  a  Thalberg. 

A  strong  sentiment  abounds  that  Tomlinson  has  weakened 
his  position  immensely  by  the  character  of  personnel  he  offers 
to  shareholders.  There  are  perhaps  30  major  names  in  the  in- 
dustry who  might  have  added  immeasurable  prestige  to  his 
campaign,  and  one  must  wonder  why  none  have  come  to  his 
side.  The  feeling  is  that  Tomlinson  does  not  seek  others  out. 
They  come  to  him.  And  there  are  always  those  eager  to  carve 
their  careers  in  the  backs  of  others. 

O 

If  the  case  for  Mr.  Tomlinson  comes  thru  to  the  reader 
sounding  much  like  a  case  for  Mr.  Vogel,  it  is  because  a  judi- 
cious evaluation  of  the  varied  aspects  makes  it  come  out  thus. 
This  commentator  is  not  against  Tomlinson.  Indeed,  the  com- 
pany would  benefit  plentifully  if  the  disputants  could  find  it 
expedient,  as  well  as  honorable,  to  extend  the  hand  of  good 
will  and  work  together  for  the  advantage  of  the  company. 


Film  BULLETIN    October  14.  1957        Page  7 


TD  TELL  YDU  THE  TRUTH 


by  W.  Robert  Mazzocco 


Summer's  Puzzle 

After  exhibitors  have  discounted  the  extra-curricular  reasons 
for  this  summer's  generally  downbeat  boxoffice  performance, 
after  they  have  safely  bedded  away  such  in-the-red  proponents 
as  the  sudden  spurt  of  air  conditioning  units  in  the  home,  the 
mushrooming  suburban  use  of  outdoor  socials  a  la  the  barbecue 
party,  the  increasing  appetency  for  all  kinds  of  sports,  the 
intransigency  of  transportation,  baby  sitting  and  the  Bijou 
prices,  and  finally,  even  that  much  abused  whipping  boy,  TV 
and  old  movies  on  TV — after  all  this  has  been  squared  away, 
the  long  harassed  exhibitor  can  only  muse  perplexedly  over 
the  receipts  of  the  few  films  that  did  draw  out  the  populace 
and  the  many  others,  including  the  spectaculars,  which,  quite 
unaccountably,  did  not.  And  when  the  exhibitor  consults  his 
Trendex-type  listings,  he  should  find  himself  awestruck  at  the 
kind  of  currently  popular  items. 

Without  doubt,  summertime,  1957,  was  so  unlike  the  good 
old  summertime  of  recent  years,  when  it  was  the  most  glow- 
ingly lucrative  season,  that  it  would  seem  to  signal  the  com- 
plete collapse  of  predictable  tastes  in  the  traditional  audience- 
preference  areas.  Isn't  there  a  crying  need  for  one  of  those 
agonizing  reappraisals  of  market  research  and  patron  clarifica- 
tion, plus  a  full  elucidation  of  the  precise  nature  of  the  entire 
industry  and  its  prospective  destination? 

0 

Let's  examine  what  happened  during  the  summer,  produc- 
tionwise,  to  see  what  trends  might  be  discerned. 

The  first  for  particular  scansion,  and  the  most  obvious, 
would  be  the  "side-show  freak''  exhibits,  those  gaudy  horror 
films  so  high  and  mightily  in  current  fashion.  From  this 
bracketing  came  the  season's  "sleeper",  a  reconverted  bats-in- 
the-belfry  opus  about  a  famous  homemade  monster  called 
"Curse  of  Frankenstein".  From  the  same  camp  rushed  an  on- 
slaught of  super  constellated  science-fiction  screams  via  "Giant 
Claw",  "27th  Day",  and  "Kronos",  to  name  just  a  few. 

Hard  on  the  heels  of  these  worthies,  though  quite  a  few 
notches  below  in  production  values,  arrived  the  "hoochie- 
coochie"  epic,  the  flash  in  the  tin-pan  musical  that  spawned 
such  titles  as  "Bop  Girl  Goes  Calypso  ",  "Calypso  Heat  Wave" 
or  "Calypso  Joe". 

All  these  products,  however  diverse  in  form,  were  stagger- 
ingly united  in  content:  all  were  bizarre,  loose  in  logic,  syn- 
thetically stuffed  and  stylistically  inept.  And  the  mental  level 
of  appreciation  on  them  was  depressingly  low.  But  as  a  cate- 
gory they  have  been  a  boxoffice  staple  like  nothing  else  this 
year,  edging  out  in  comparable  grosses  some  of  the  season's 
most  artistically  deserving  entries. 

0 

One  of  the  season's  more  successful  films,  "Island  In  The 


Sun",  came  from  another  grouping,  the  "no  children  allowed" 
act.  Darryl  Zanuck's  sprawling  examination  of  the  Bahama 
backwash  offered  Negro  matinee  idol  Harry  Belafonte  in  some 
muted  but  obvious  sexual  shenanigans  with  Joan  Fontaine. 
Aside  from  the  breathtaking  beauty  of  the  locale  and  the  "for- 
bidden pleasure"  of  the  romancing,  it  was  rather  vaporous. 

The  other  in  this  category,  "Band  Of  Angels",  was,  to  be 
sure,  hardly  dull,  but  it  could  make  no  pretensions  whatever 
to  artistic  integrity,  being  a  most  garrulous  costume  melo- 
dramas in  which  the  theme  of  miscegenation,  served  up  in 
sumptuous  color,  was  evidently  a  potent  boxoffice  propellant. 

Finally  we  come  to  the  "slick-gimmick  seducers",  whose 
vanguard  boasted  four  vastly  popular  cults  among  the  juke- 
box habituees:  Elvis  Presley,  Pat  Boone,  Debbie  Reynolds  and 
Jerry  Lewis,  all  performing  at  breakneck  "charm".  The  show- 
cases, nevertheless,  were  something  less  than  memorable  with 
"Bernardine"  and  "Tammy"  sweet,  wholesome  and  vacuous, 
while  "Loving  You"  was  a  cheap  survey  of  a  rock  'n  roller's 
route  to  fame,  and  "Delicate  Delinquent"  a  tear  punctured 
valentine  to  urban  street  urchins.  Four  minor  entertainments, 
yet  all  performed  rather  well  at  the  boxoffice. 

The  last  in  this  category,  and  last  on  the  list,  is  the  big 
Western  of  the  summer,  "Gunfight  At  O.K.  Corral",  a  some- 
what grandiose  leather-and-lasso  roundup,  no  better  than 
"Night  Passage",  which  folded  quickly,  and  nowhere  near  as 
good  as  "3:10  To  Yuma",  which  never  got  started. 

0 

Of  course,  there  have  been  a  few  exceptions  to  this  carnival 
complex,  most  remarkably  "An  Affair  To  Remember  ",  but 
these  exceptions  have  been  so  minor  as  to  resemble  flukes  and 
did  not  indicate  any  pattern.  More  important  for  considera- 
tion have  been  the  number  of  time-honored  industry  theories 
that  came  a  cropper  this  summer. 

For  one  thing,  any  hope  that  the  tried-and-true  boxoffice 
stars  could  pull  a  film  through  on  their  names  was  summarily 
shattered  during  July  and  August.  I  need  only  mention  Cros- 
by's "Man  On  Fire",  Monroe's  "Prince  And  Showgirl",  Gar- 
dener's "Little  Hut",  Hayworth-Mitchum's  "Fire  Down  Below" 
and  Tracy-Hepburn's  "Desk  Set"  to  sound  the  funereal  bells. 

On  top  of  this,  the  direct  converse  which  vaunts  the  popular 
magnetism  of  the  new  and  younger  star,  finds  itself  stupen- 
dously shaken  at  the  write-ins  on  Eva  Marie  Saint-Don  Mur- 
ray-Anthony Franciosa's  "Hatful  Of  Rain",  Anthony  Perkin  s 
"Lonely  Man",  Tony  Curtis'  "Midnight  Story",  Andy  Griffith's 
"Face  In  The  Crowd",  etc.  etc.  And  the  films  which  featured 
these  performers  have  not,  in  most  cases,  been  to  blame. 

However,  the  really  stinging  blow  came  down  like  a  thun- 
derbolt when  the  favorite  industry-exhibitor  joint  pipe  dream 
about  the  "good  picture  cure"  and  the  "sure-fire  picture  cure" 
turned  into  a  nightmare  as  the  bright,  scintillating  "Love  In 
The  Afternoon"  went  through  some  surprisingly  sluggish  paces 
at  the  ticket  counter  and  the  star-stocked  "Fire  Down  Below" 
laid  a  big  round  egg. 

All  of  the  above  leaves  Hollywood  with  some  serious  ques- 
tions to  mull  over  in  the  months  ahead.  And  Hollywood's 
problems  will  be  the  subject  of  future  columns.  In  the  mean- 
time, the  exhibitor  can  look  hopefully  forward  to  what,  from 
all  reports,  are  three  cinematic  greats:  "Sayonara",  "A  Farewell 
To  Arms"  and  "Bridge  Over  The  River  Kwai  ".  These  films 
may  well  prove  a  landmark  in  Hollywood  history. 


Page  8        Film  BULLETIN    October  14,  1957 


THE 


STORY 


OF  AMERICA'S  YOUTH 
TOLD  FRANKLY  AND 


incf  it's  backed  by  a  soc 
advertising  campaign 


7 


"THE  CARELESS  YEARS"  Ua 

WfiM/JJM/fMW  m  m  m*  ,1 « k  tOWARD  LEWIS  m  k  ARTHUR  H!LLER » bmi  n  i 


WELTNER 


GEORGE  WELTNER,  vice  president  of 
Paramount  Pictures  Corp.,  announced  that 
his  company  has  acquired  Chicago's  Esquire 
Theatre  "as  an  additional  Chicago  outlet  for 
first-run  Paramount  pictures".  The  company, 
Weltner  stated,  hopes  to  eliminate  the  "prob- 
lems" it  has  had  in  the  past  in  booking  and 
marketing  its  films  in  Chicago.  Prior  to  its 
purchase  of  the  theatre  from  the  H.  &  E. 
Balaban  Corp.,  the  film  company  had  notified 
the  Department  of  Justice  of  its  intentions, 
although  it  was  not  specifically  required  by 
law  to  do  so.  However,  in  a  bulletin  from 
Allied  headquarters,  A.  F.  Myers,  general 
counsel  of  the  exhibitor  organization,  ques- 
tioned Paramount's  right  to  acquire  the  the- 
atre on  two  grounds:  "good  faith"  compli- 
ance with  the  consent  decree  and  the  legality 
of  such  acquisitions  under  the  "general  law". 
(Details  elsewhere  this  issue.) 

o 

MAX  E.  YOUNGSTEIN  has  been  elected 
president  of  two  new,  wholelj  -owned  United 
Artists  subsidiaries — United  Artists  Record 
Corp.  and  United  Artists  Music  Corp.  As 
announced  by  Arthur  B.  Krim,  president  of 
the  parent  concern,  Youngstein's  duties  will 
be  in  addition  to  his  present  activities  as  a 
UA  vice  president.  Youngstein,  a  member 
of  a  5-member  management  team  that  revital- 
ized UA,  in  discussing  his  plans  for  the  new 
ventures,  declared:  "We  believe  that  the 
music  business  is  ideally  suited  to  motion 
picture  promotion  and  distribution  methods. 
This  has  never  been  attemped  before  on  a 
full-scale  basis,  as  we  are  about  to  do  now. 
By  coordinating  our  film  and  music  activi- 
ties, we  expect  to  inaugurate  the  kind  of  sus- 
tained cross-promotion  that  will  yield  impor- 
tant advantages  in  the  two  fields  for  both 
the  company  and  artists  recording  on  the  new 
United  Artists  label.  Thus,  with  our  record 
and  music  operations,  we  are  acquiring  a 
fresh  source  of  revenue  and  a  new  pre-selling 
tool." 

0 

CHARLES  J.  FELDMAN,  vice  president  and 
general  sales  manager  of  Universal  Pictures, 
will  kick-off  a  7-day  confab  of  sales  execu- 
tives this  week  at  New  York's  Essex  House. 
High  on  the  meeting's  agenda  are  the  formu- 
lation of  plans  to  give  exhibitors  a  steady 


THEY 

MADE  THE  NEWS 

and  orderly  release  of  Universal  product. 
Alto  scheduled  to  address  the  gathering  are 
president  Milton  R.  Rackmil,  executive  vice 
president  Alfred  E.  Daff  and  vice  president 
in  charge  of  advertising,  David  A.  Lipton. 

o 

JOSEPH  R.  VOGEL  faces  the  October  15 
stockholders  meeting  of  Loew's,  Inc.  fortified 
in  his  struggle  with  Joseph  Tomlinson  by 
two  late  court  decisions.  The  decisions  fa- 
voring Vogel:  Federal  Judge  William  H. 
Kirkpatrick  refused  to  grant  a  motion  by 
Tomlinson  to  invalidate  the  proxies  solicited 
by  Vogel  for  Tuesday's  meeting,  and  the 
Delaware  Supreme  Court  denied  a  Tomlin- 
son appeal  from  a  lower  court  decision  in- 
validating the  election  of  two  Tomlinson 
supporters,  Louis  B.  Mayer  and  Samuel 
Briskin,  to  the  board  at  the  July  30  "rump" 
stockholders  meeting  called  by  the  dissident 
Canadian  industrialist.  Delaware  Chancellor 
Collins  J.  Seitz  had  previously  ruled  that  the 
July  meeting  lacked  a  quorum,  and  this  opin- 
ion was  supported  by  the  Supreme  Court 
decision.  On  the  proxy  question,  Tomlinson 
had  contended  that  the  Vogel  group  had 
solicited  them  on  the  basis  of  a  letter  that 
contained  "false  or  misleading"  statements. 
Judge  Kirkpatrick  did  not  agree  with  this 
contention. 

0 

HKRMAN  LEVY,  general  counsel  of  the 
Theatre  Owners  of  America,  urged  exhibitors 
everywhere  to  take  advantage  of  the  recently 
adopted  industry-wide  conciliation  plan, 
scheduled  to  go  into  effect  November  1. 
"Distribution  has  gone  further  than  it  ever 
did  in  the  past,"  he  declared,  and  "if  it 
functions  successfully,  resort  to  arbitration 
may  be  rare."  "Exhibitors  now  have  an 
avenue  of  relief  which  they  did  not  have 
before,"  he  added,  in  predicting  widespread 
usage  of  the  system. 

0 

REP.  EMANUEL  CELLER  served  notice  that 
toll-TV,  cable-style,  may  not  escape  federal 
control.  He  said  such  systems  will  have  to 
be  regulated  "to  afford  protection  to  the 
public".  Speaking  in  a  debate  with  Judge 
James  M.  Landis,  special  counsel  for  Skia- 
tron  Electronics,  the  chairman  of  the  House 
Judiciary  Committee  declared  "it  may  prove 
both  unfair  and  unfeasible  to  subject  on-the- 
air  television  to  express  Federal  regulation, 
while  exempting  the  closed  circuit.  Should 
that  time  come,  I  have  little  doubt  that  the 
reach  of  the  Commerce  Clause  amply  em- 
powers Congress  to  provide  needed  regula- 
tion. Toll-TV  was  hailed  by  Landis  as  "a 
dynamic  new  industry"  which  has  made 
king-size  gains  in  spite  of  "massive  opposi- 
tion" from  "industrial  giants". 

0 

TOLL-TV  bids  by  Skiatron,  International 
Telemeter-Fox  West  Coast  Theatres  and  Har- 


YOUNGSTEIN 


riscope  have  passed  a  first  reading  of  the 
Los  Angeles  City  Council.  Each  bid,  identi- 
cal in  all  respects  offered  two  per  cent  of 
annual  gross  receipts  for  the  21-year  fran- 
chises. The  bids  were  turned  over  to  the 
Council's  Industry  and  Transport  Committee, 
who  will  hold  public  hearings  on  the  ques- 
tion, then  report  their  findings  to  the  Coun- 
cil. Meanwhile,  in  San  Francisco,  Skiatron's 
application  for  a  toll-TV  franchise  was  post- 
poned for  the  fourth  time  in  three  months. 

o 

DICK  POWELL,  actor-turned-producer  came 
to  New  York  to  plug  "The  Enemy  Below", 
his  first  film  of  a  7-picture  pact  with  20th 
Century-Fox,  and  unburdened  himself  of  his 
views  on  subscription  television.  "Toll-TV 
may  change  the  form  of  exhibition  and  a 
new  group  of  exhibitors  may  come  in,"  he 
said.  "I  think  they'll  have  television  screens 
the  size  of  present  16  mm.  screens  at  home 
soon  enough." 

o 

VICTOR  R.  HANSEN,  Assistant  Attorney 
General  in  charge  of  the  anti-trust  division 
of  the  Department  of  Justice,  heard  argu- 
ments last  week  on  the  petition  by  several 
large  theatre  circuits  to  permit  them  to  en- 
gage in  film  production.  And  reports  from 
the  Washington  closed  meeting  indicated 
that  strenuous  opposition  was  voiced  by  the 
film  companies.  As  a  matter  of  fact,  Hansen 
told  the  press  that  "a  terrific  difference  of 
opinion"  existed  on  the  issue.  The  chains, 
and  exhibitor  organizations  supporting  their 
position,  based  their  appeal  on  the  ground 
that  there  is  a  serious  product  shortage.  The 
Justice  Department  is  expected  to  make 
known  its  decision  within  a  month. 

o 

IRVING  M.  LEVIN,  prominent  California 
exhibitor,  will  be  chairman  of  the  first  an- 
nual San  Francisco  International  Film  Festi- 
val opening  on  December  4.  Sponsored  by 
the  local  Art  Commission  with  the  backing 
of  Mayor  George  Christopher,  the  fete,  in 
which  14  countries  are  participating,  will  be 
held  at  the  1,000-seat  Metro  Theatre.  "Gol- 
den Gate  Awards",  plaques  of  merit,  will  be 
presented  to  winners  in  four  categories — 
best  film,  actor,  actress  and  director. 


Page  10       Film  BULLETIN    October  14,  1957 


Allied's  Myers  Criticizes 

"PARAMOUNT'S  STRATAGEM" 


The  following  bulletin  by  A.  F.  Myers,  general  counsel  of 
Allied  States  Ass'n,  analyzes  Paramount's  announcement 
that  it  is  acquiring  a  first  run  theatre  in  Chicago. 

Paramount's  dead  pan  announcement  that  it  has  acquired  the 
Iisquire  Theatre  in  Chicago  was  a  good  old-fashioned  coup 
which  can  be  admired  for  its  adroitness  even  if  one  fears  its 
possible  effects  and  dislikes  the  motives  behind  it. 

It  is  not  known  when  the  decision  to  acquire  the  Esquire 
was  made  or  when  the  deal  was  consummated,  and  neither 
point  is  essential.  The  important  feature  was  the  timing  of  the 
announcement  and,  from  Paramount's  standpoint,  that  could 
not  have  been  better.  It  crashed  into  the  headlines  on  the  eve 
of  a  conference  called  by  the  Department  of  Justice  to  consider 
whether  the  decrees  in  the  Paramount  Case  should  be  amended 
to  permit  the  divorced  circuits  to  produce  and  distribute  mo- 
tion pictures  in  competition  with  the  established  film  com- 
panies, including  Paramount. 

The  request  made  by  Allied  and  T.O.A.  to  the  Department 
of  Justice  to  permit  the  divorced  circuits  to  make  pictures 
under  certain  restrictions  in  order  to  relieve  the  product  short- 
age was  discussed  at  the  hearing  before  the  Senate  Small  Busi- 
ness Committee  in  1956.  It  was  opposed  by  representatives  of 
certain  of  the  producers.  The  Committee  sided  with  the  pro- 
ducers, saying: 

The  proposal  of  Allied  and  T.O.A.  docs  not,  in  the  commit- 
tee's opinion,  provide  an  equitable  solution.  Under  it,  the  di- 
vorced circuits  would  be  permitted  to  integrate  while  at  least 
three  of  the  major  distributors- producers  would  continue  to  be 
restricted  as  to  entering  the  exhibi- 
tion field.  Furthermore,  the  circuits 
would  be  granted  pre-emptive  rights 
on  the  pictures  they  make.  That  is 
one  of  the  evils  that  brought  about 
the  Paramount  case  in  the  first  place. 
The  dangers  and  inequities  involved 
in  this  plan  are  too  great.  The  com- 
mittee therefore  refects  the  proposal 
and  urges  the  Department  of  Justice 
to  oppose  it. 

The  spokesman  for  Paramount  at 
the  Committee  hearings  said  very 
bluntly  that  if  Paramount  cannot 
make  a  proper  deal  for  a  picture  it 
will  not  hesitate  to  acquire  (he  said 
"lease")  a  theatre.  He  added: 

And  we  are  going  to  talk  about 
it.  and  we  are  going  to  ask  permis- 
sion to  do  it  to  the  Department  of 
Justirc.  although  there  is  nothing  in 
our  decree  that  prevents  us  from 
doing  it. 


not  saying  to  you  that  we 


Paramount's  Announcement 

New  York.  October  4 — Paramount  Pictures  Cor- 
poration today  announced  that  it  is  acquiring  the 
Esquire  Theatre  in  the  City  of  Chicago. 

George  Weltner,  Vice-President  of  Paramount 
Pictures  Corporation,  in  making  the  announcement 
revealed  that  the  Esquire  Theatre  will  be  operated 
as  an  additional  Chicago  outlet  for  first-run  Para- 
mount pictures.  He  said,  "This  move  represents  no 
policy  change  on  the  part  of  Paramount,  insofar  as 
the  divorcement  of  its  theatre  interests  seven  years 
ago  is  concerned." 

Weltner  further  stated  that  the  problems  which 
Paramount  has  had  in  the  past  in  Chicago  in  mar- 
keting its  pictures  and  in  properly  booking  them, 
so  as  to  be  able  to  take  advantage  of  their  timely 
promotional  and  advertising  campaigns,  hopefully 
will  be  eliminated  by  the  acquisition  of  this  addi- 
tional outlet  in  which  to  show  Paramount  pictures. 

Weltner  also  commented  that  the  proper  exploi- 
tation and  exhibition  of  Paramount  pictures  first- 
run  in  the  City  of  Chicago  will  contribute  greatly 
to  the  box  office  success  of  the  pictures  in  the  runs 
that  follow. 


will,  I  am  saying  that  we  haven't  done  it,  but  we  have  a  legal 
right  to  do  it. 

Paramount's  "Legal  Right" 

The  consent  decree  relating  to  Paramount  was  entered  before 
the  Supreme  Court  had  affirmed  the  District  Court's  ruling  in 
favor  of  divorcement.  While  the  Department  of  Justice  held 
out  for  that  remedy  it  is  probable  that  its  staff  was  not  confi- 
dent that  divorcement  would  be  ordered.  Consequently,  the 
Paramount  decree  contains  two  loopholes  not  found  in  the 
Loew  s,  Fox  and  Warner  decrees.  If  these  were  intentional,  the 
purpose  must  have  been  to  sign  up  Paramount  for  divorcement 
for  its  effect  on  the  other  defendants  and  in  the  Court.  The 
first  loophole  is  that  the  decree  contains  no  injunction  against 
acquiring  theatres  after  divorcement  has  been  effected.  The 
second  is  that  it  contains  no  injunction  to  prevent  the  divorced 
Paramount  theatre  circuit  from  engaging  in  production  and 
distribution. 

Therefore,  the  spokesman  for  Paramount  was  technically  ac- 
curate in  his  reference  to  the  decree:  it  contains  no  specific  in- 
junction against  acquiring  theatres.  That,  however,  does  not 
justify  his  broad  claim  of  a  legal  right  to  do  so.  It  leaves  open 
the  question  of  good  faith  compliance  with  the  company's  de- 
clared purpose  in  entering  into  the  decree.  Also,  it  leaves  open 
the  question  of  the  legality  of  such  acquisitions  under  the  gen- 
eral law  as  distinguished  from  the  law  of  the  case. 

The  preamble  to  the  Paramount  decree  which  contains  the 
declaration  of  purpose  and  constituted  the  inducement  to  the 
Government  to  agree  to  it  and  upon  which  the  Court  approved 
it,  contains  the  following: 

The  Paramount  defendants,  hav- 
ing represented  to  the  plaintiff  and 
to  this  Court  that  they  propose,  for 
the  purpose  of  avoiding  discrimina- 
tion against  other  exhibitors  and  dis- 
tributors, promoting  substantial  in- 
dependent theatre  competition  for 
Paramount  theatres  and  promoting 
competition  in  the  distribution  of 
films  generally  (I)  to  divorce  their 
domestic  exhibition  business  from 
their  production  and  distribution 
business,  (2)  to  divest  Paramount 
Pictures,  Inc.  and  the  divorced  ex- 
hibition business  of  all  interest  in  a 
minimum  of  774  theatres,  and  (3) 
to  subject  themselves  and  said  di- 
vorced distribution  and  exhibition 
business  to  injunctive  provisions,  all 
as  hereinafter  set  forth:  and  that  ac- 
cording/) they  propose  to  adopt 
prior  to  April  19.  1949.  a  plan  of  re- 

(  C  out inued  on  Page  1 2  ) 


Film  BULLETIN    October  14.  1957        Page  11 


ALLIED  CRITICIZES  PARAMOUNT 


(Continued  from  Page  11) 

organization  which  will  have  at  its  purpose  and  effect  the  com- 
plete divorcement  of  the  ownership  and  control  of  all  the  thea- 
tre assets  of  Paramount  Pictures,  Inc.  located  in  the  United 
States  from  all  other  assets  of  the  Paramount  defendants  .  .  . 

Coming  to  the  general  law,  and  bearing  in  mind  Para- 
mount's  partiality  for  roadshows,  merchandising  engagements 
and  the  special  handling  of  pictures,  it  is  probable  that  Para- 
mount will  want  to  put  its  better  than  average  pictures  into  the 
Esquire  for  an  exclusive  first-run  to  continue  as  long  as  the  at- 
tendance holds  up.  That  as  a  practical  matter  will  give  Para- 
mount a  monopoly  of  the  exhibition  of  those  pictures  in  vast 
Chicago  area.  This  includes  not  only  the  city  proper,  but  also 
the  populous  suburban  districts.  The  drawing  area  includes 
Hammond  and  Gary,  Indiana,  and  the  effects  of  this  regional 
monopoly  will  be  felt  across  state  lines.  These  circumstances 
lead  us  to  think  that  Paramount's  legal  right  to  acquire  theatres 
and  do  with  them  as  it  sees  fit,  is  far  from  clear. 
Effect  Upon  the  Conference 

Whether  Paramount  really  wants  the  Esquire  or  any  other 
theatres,  or  whether  it  merely  meant  to  toss  a  bombshell  into 
Thursday's  conference,  we  may  never  learn.  If  the  latter,  the 
expectation  probably  is  to  force  those  who  advocate  allowing 
the  circuits  to  produce  pictures  to  a  difficult  choice.  What  Para- 
mount apparently  is  saying,  in  effect,  is  this:  "If  the  circuits 
want  to  make  and  distribute  pictures,  then  in  fairness  we  must 
have  the  right  to  own  theatres."  If  Paramount  goes  into  the 
theatre  business,  then  Loew's,  20th  Century  and  Warner  Bros, 
will  undoubtedly  seek  modifications  to  permit  them  to  do  like- 
wise. That  would  pose  a  tough  problem  for  the  circuits;  it 
might  be  an  even  tougher  one  for  the  independent  exhibitors. 

The  question  is  not  a  new  one  to  Allied.  Allied  took  a  stand 
on  the  question  more  than  a  year  ago  when  it  was  reported 
that  Paramount  was,  in  effect,  leasing  theatres  for  exhibitions 
of  "The  Ten  Commandments."  It  has  held  to  that  position  ever 
since  and  it  is  summed  up  in  the  following  paragraph  in  a  re- 
cent statement  by  the  General  Counsel: 

//  is  easy  to  say  that  if  the  divorced  circuits  are  permitted  to 
produce  and  distribute  pictures,  the  film  companies  should  be 
allowed  to  operate  theatres.  This  does  not  follow,  however,  be- 
cause the  purpose  in  relaxing  the  decrees  in  favor  of  the  cir- 
cuits would  be  to  enable  them  to  relieve  a  starved  market  and, 
hence,  to  promote  trade  and  competition,  whereas  to  permit 
film  companies  to  acquire  theatres,  in  view  of  their  past  history 


and  present  policies,  would  be  to  confer  on  them  the  power 
and  opportunity  to  strangle  competition  and  resume  their 
march  toward  a  complete  monopoly  of  exhibition  .  .  . 

It  is  Allied's  position,  therefore,  that  to  permit  the  film  com- 
panies to  re-engage  in  exhibition  would  be  ruinous  to  the  com- 
petition in  exhibition  that  has  been  revived  and  nourished 
under  the  decrees,  and,  hence  would  be  contrary  to  the  purpose 
of  the  decrees  and,  hence,  unlawful.  It  believes  that  to  permit 
the  circuits  to  engage  in  production  and  distribution,  with 
proper  safeguards,  would  promote  competition  and  thus  be 
consistent  with  the  decrees  and  with  the  law. 

Allied  does  not  believe  that  granting  the  divorced  circuits 
the  permission  requested  by  them  makes  it  incumbent  upon  the 
Department  of  Justice  to  cancel  the  divorcement  provision  of 
the  decrees.  It  does  not  believe  the  independent  exhibitors 
should  be  driven  to  an  election  in  this  matter.  If  at  Wednesday's 
conference  the  Department  of  Justice  should  inform  the  exhibi- 
tors that  they  must  make  a  choice,  a  serious  issue  would  be 
raised  which  could  not  be  finally  determined  in  that  forum.  It 
would  be  an  issue  in  which  every  exhibitor  in  the  United  States 
should  have  his  say,  especially  those  who  might  be  exposed  to 
the  blight  of  the  distributors'  "showcase"  theatres. 


Chicago  Unit  Protests 

RESOLVED  by  the  Board  of  Directors  of  Allied  Theatres  of 
Illinois,  Inc.,  in  meeting  assembled  this  9th  day  of  October, 
1957,  that  it  looks  with  great  disfavor  upon  and  condemns  the 
recent  move  of  Paramount  Pictures  in  acquiring  the  ownership 
of  the  Esquire  Theatre  in  Chicago,  it  being  the  feeling  that  this 
step  by  Paramount  Pictures  will  have  the  effect  of  further  re- 
stricting the  showing  of  motion  pictures  in  the  Chicago  area. 
It  is  a  foregone  conclusion  that  one  of  the  principal  reasons 
Paramount  Pictures  is  acquiring  the  Esquire  Theatre  is  to 
utilize  that  theatre  for  the  extended  and  unlimited  run  of  its 
pictures,  thereby  reducing  the  value  of  such  pictures  to  subse- 
quent run  independent  exhibitors. 

RESOLVED  further  that  since  this  action  by  Paramount  Pic- 
tures is  morally  at  variance  with  the  government's  divorcement 
decree  which  intended  to  dispose  of  a  monopoly  in  the  produc- 
tion and  exhibition  of  motion  pictures,  that  we  call  upon  the 
General  Counsel  of  Allied  States  Association  of  Motion  Picture 
Exhibitors  to  carefully  examine  and  advise  as  to  this  legal  as- 
pects of  this  matter. 


ing  from  Washington,  D.C.  Sunday  evening, 
Oct.  6  .  .  .  DCA  treasurer  PETE  SHAPIRO 
engaged  to  ROSE  WEINBERG  of  the  same 
organization  .  .  .  FRANCIS  M.  WINIKUS, 
in  from  Paris  to  confer  with  UA  vice  presi- 
dent MAX  E.  YOUNGSTEIN  .  .  .  ERIC 
JOHNSTON  personed-to-personed  by  ED 
MURROW  last  week  .  .  .  BARON  RANK 
denies  reports  of  retirement  on  his  68th 
birthday  .  .  .  GEORGE  JESSEL  has  formed 
Pickwick  Pictures,  to  produce  for  TV  and 
theatres  .  .  .  L.  R.  CONN  of  20th  Century- 
Fox's  Chicago's  exchange  reported  a  survey 
which  shows  an  increase  in  business  for  some 
1000  ozoners  between  the  Windy  City  and 
Denver  .  .  .  GEORGE  WELTNER  will  pre- 
side at  a  3-day  Tokyo  sales  conference  on  the 
Far  East  release  of  "Ten  Commandments" 
.  .  .  GENE  PLOTNICK  named  publicity 
manager  of  Screen  Corns  .  .  .  SID  SCHAE- 
FER  back  at  his  desk  in  the  Columbia  home 
office  ad  department. 


HEADLINERS... 


A.  W.  SCHWALBERG  announced  NTA  Pic- 
tures, Inc.  is  planning  the  release  of  24  films 
a  year  .  .  .  SOL  KRIM  leased  the  1,000-seat 
Krim  Theatre  in  Highland  Park  (Detroit 
suburb)  to  Trans-Lux  for  twenty  years  .  .  . 
EDWARD  SHULMAN  elected  president  of 
Studio  Theatre  Corp.,  Detroit  .  .  .  Producer 
BEN  SCHWALB  elected  assistant  secretary 
of  Allied  Artists  .  .  .  A.  E.  BOLLENGIER 
has  been  elected  treasurer  and  a  director  of 
United  Artists  Theatre  Circuit  .  .  .  American 
International  president  JAMES  H.  NICHOL- 
SON to  speak  at  North  and  South  Carolina 
TOA  convention  and  Allied  of  Indiana  con- 
clave this  week  .  .  .  JOSEPH  A.  MACCHIA, 
of  Loew's  legal  staff  nominated  as  Republi- 
can candidate  for  Justice  of  the  New  York 


Supreme  Court  .  .  .  FLOYD  C.  HENRY 
resigned  as  Far  East  division  manager  for 
Paramount  International  after  26  years  with 
the  company  .  .  .  SAMUEL  ROSEN,  execu- 
tive vice  president  of  Stanley  Warner  The- 
atres, awarded  the  B'nai  B'rith  Cinema 
Lodge's  "Honor  Scroll"  for  charity  work  .  .  . 
BOB  MONTGOMERY  elected  president  of 
the  Associated  Motion  Picture  Advertisers 
for  1957-1958  .  .  .  HENRY  S.  GRIFFING's 
Video  Independent  Theatres  mapping  Okla- 
homa City  and  Tulsa  to  determine  location 
of  cables  for  telemovie  operations  .  .  . 
RALPH  M.  EVANS,  Eastman  Kodak, 
awarded  the  SMPTE  Progress  Medal  for  '57 
at  the  Philadelphia  convention  .  .  .  DAVID 
E.  WESHNER  retained  as  producer's  repre- 
sentative on  "Gunsight  Ridge,"  Robert  Bass- 
ler  production  for  UA  release  .  .  .  BOSLEY 
CROWTHER,  N.  Y.  Times  film  critic,  and 
DORE  SCHARY  discussed  "What's  with 
the  Movies"  on  a  network  TV  show,  emanat- 


Page  12       Film  BULLETIN    October  14.  1957 


Forty  Guns" 

Su4iH£44   &<XtCK$   O    O  Plus 
Actionful  western  with  Barbara  Stanwyck  as  hard-riding 
cattle  queen.  Will  satisfy  outdoor  element. 

Barbara  Stanwyck  is  riding  the  ranges  once  again  as  a  strut- 
ting cattle  queen  in  Samuel  Fuller's  latest  entry,  "Forty  Guns". 
Since  Fuller,  as  writer-producer-director,  knows  how  to  four- 
flush  the  most  standard  of  Western  poker  games  and  Miss 
Stanwyck  can  shoot  it  out  or  sob  it  up  with  the  best  of  them, 
tumbleweed  devotees  should  find  this  actionful  20th-Fox  entrv 
a  very  satisfying  escapade.  Fuller  has  provided  enough  scenic 
scampering  and  skullduggery  against  a  black  and  white  Cine- 
maScope  setting  for  his  Arizona  1880  varn,  and  the  cast  headed 
by  star  Stanwyck,  Barry  Sullivan,  Dean  Jagger,  John  Fricson 
and  Gene  Barry,  give  pungently  professional  performances. 
Admittedly,  the  dramatics  play  second  fiddle  to  all  the  gun  and 
leather  gymnastics,  but  it  is  performed  and  directed  with  zest 
that  will  win  action  audience  approval.  As  a  hard-as-nails 
beauty  with  a  shock  proof  heart  and  a  torch  singer's  voice, 
Miss  Stanwyck  can  make  a  stronger  sex  snap  to  attention  in 
barnyard  or  saloon  and  runs  her  little  town  like  a  tribal  matri- 
arch. Dean  Jagger  is  her  hand  picked  sheriff,  John  Fricson  her 
bellicose  brother,  and  forty  odd  bronco  busters  are  her  guard 
of  honor.  Federal  men  Sullivan  and  Barn  ride  down  main 
street  looking  for  one  of  the  lady's  knights  and  soon  things  are 
really  breaking  open.  Naturally  no  one  bothers  to  help  the  law 
officers  and  instead  plague  them  with  bum  steers,  threats,  am- 
bushes and  bursts  of  gunshots.  Nevertheless,  Sullivan  makes 
hot  time  with  boss  Stanwyck.  When  Barry  is  brutally  murdered 
and  Jagger  and  Ericson  go  after  Sullivan,  Miss  Stanwyck  sees 
the  errors  of  her  w  ays. 

20th  Century-Fox.  80  Minutes.  Barbara  Stanwyck.  Barry  Sullivan.  Dean  Jagger 
Produced  and  Directed  by  Samuel  Fuller. 

"A  Man  Escaped'* 

'8*<MmC44  1R*u«f  O  O  © 

Rating  for  art  houses.  Arresting  French  suspense  film. 

Writer-director  Robert  Bresson's  "Journal  Of  A  Country 
Priest"  was  a  memorable  avant-garde  opus  and  his  current  "A 
Man  Escaped"  proves  equally  arresting.  It  will  be  hailed  by 
discriminating  art  film  patrons  as  a  distinguished  film.  For  M. 
Bresson  has  taken  a  concentration  camp  logbook  tale  of  WWII 
and  made  from  it  a  muted  tour-de-force  of  suspense  that  is  one 
of  the  most  rewarding  in  years.  And  he  has  brought  forth  his 
hairbreadth  touches  within  the  full  panoply  of  the  feckless 
world  of  prison  life  where  the  inhabitants  await  their  country's 
defeat  or  their  own  death.  Into  this  world  arrives  a  young 
French  lieutenant,  whose  indomitable  will  and  hope  signals  a 
remarkable  plan  of  escape  that  becomes  a  symbol  of  life,  not 
only  to  him  but  also  to  his  confederates.  It  is  the  plan  thac 
serves  as  the  plot  of  the  film  and  we  watch  its  growth  within 
the  lieutenant's  mind  as  it  follows  through  all  stages  of  execu- 
tion. A  spoon  initiates  the  proceedings:  he  scrapes  it  to  a  fine 
edge  on  the  floor  of  his  cell  and  then  uses  it  to  prod  inch  by 
inch  the  oak  planks  that  make  up  his  locked  door.  He  is  con- 
stantly watched,  his  confederates  become  suspect,  collaboration 
is  rife  and  a  French  teenager  is  dumped  in  as  his  cell  mate. 
How  the  lieutenant  tests  the  loyalty  of  the  boy  and  how  they 
finally  successfully  perform  their  coup  is  directed  by  Bresson 
with  a  masterful  flow  of  magnetism. 

Continental  Distributing.  94  Minutes.  Francois  Leterrier.  Charles  Leclainche. 
Produced  by  Jean  Thuiller  and  Alain  Poire.    Directed  by  Robert  Bresson. 


The  Black  ficorpian" 

Good  horror  item  is  backed  by  typical  Warner  promotion 
campaign.  Will  do  well  where  exploited. 

Warner  Bros.,  which  hit  the  jackpot  recently  via  "Curse  of 
Frankenstein",  has  a  new  addition  to  the  nightmare  league,  an 
horrendous  bit  of  other-worldly  filmflam  called  "The  Black 
Scorpion  ".  Backed  bv  one  of  Warners'  hard-hitting  showmanly 
promotion  campaigns,  it  will  probably  enjoy  surprising  success 
in  the  ballvhoo  houses.  While  this  Frank  Mel  ford  production 
never  reaches  the  bizarre  and  burlesque  horrorama  of  a  Baron 
Frankenstein  undertaking,  it  has  enough  of  the  currently  popu- 
lar creep  and  crawl  atmosphere  to  set  off  plenty  of  goose  pim- 
ples. For  scripters  David  Duncan  and  Robert  Blees  have  come 
up  with  another  of  those  cliff-hanging  tales  concerning  the  in- 
evitable explorers  of  Science,  who  stumble  across  some  awe- 
some, unearthlv  creatures.  In  this  one  they  are  mammoth  scor- 
pions emerging  from  a  long  dormant  volcano  finally  letting  off 
steam  after  thousands  of  centuries.  Tossed  thus  into  the  out- 
side world,  the  flies  are  a  mit  confused  but  manage  to  scare  hell 
out  of  the  neighboring  countryside,  dismantle  helicopters  in 
the  wild  blue  yonder,  paw  o\er  scantily-clad  lovelies  and  chase 
everyone  off  Miss  Mara  Corday's  ranch.  This  brings  geologist 
Richard  Denning  to  the  immediate  aid  of  the  distressed  damsel 
and  sets  about  discovering  the  reason  for  her  terrified  workers' 
defection.  What  they  find  out,  how  they  fight  the  meance  and 
how  thev  finallv  end  the  nightmare,  has  been  handled  by  direc- 
tor Edward  Ludwig  and  his  special  effects  men  with  a  sharp 
and  sinister  eye  towards  the  shock  spectacular. 

Warner  Bros.  87  Minutes.  Richard  Denning,  Mara  Corday,  Carlos  Rivas.  Pro- 
duced by  Frank  Melford.    Directed  by  Edward  Ludwig. 

'Slim  Carter" 

Sci4iKC44  ^OtCHf  O  O  plus 
Good  fare  for  the  family  trade.  OK  dualler.  Color. 

In  "Slim  Carter"  Universal-International  is  offering  one  of 
its  pet  products,  the  family  entertainment.  Everything  of  sweet- 
ness and  light,  from  the  cult  of  homespun  humor  to  the  sport- 
ing escapades  of  a  freckle-faced  youngster  playing  cupid,  are 
here  and  in  abundance.  This  is  good  dual  bill  fare  in  the  gen- 
eral market,  while  the  rural  houses  should  find  it  a  strong  at- 
traction. The  pint-sized  star  is  Tim  Hovey  whose  little-man  bits 
of  wisdom  caused  such  firewords  in  the  popular  "Major  Ben- 
son". He  is  seen  as  an  orphan  brought  to  Hollywood  for  a 
month's  lodgings  with  his  idol,  western  he-man  Jock  Mahoney, 
who  sort  of  approximates  a  combination  of  God  and  Wyatt 
Earp  in  the  boy's  esteem.  Of  course,  Mahoney  is  hardly  worth 
the  adulation,  since  off-camera  he  spends  his  time  chasing  dames 
in  night  clubs  and  wouldn't  know  a  real  Indian  from  the  cigar 
store  variety.  The  trek  westward  for  Tim  had  been  cooked  up 
by  publicity  agent  Julie  Adams,  who  resurrected  Mahoney  from 
obscurity  and  fashioned  him  into  the  all-honorable  saddle- 
swather,  a  symbol  to  the  younger  generation  of  everything 
worth  striving  for.  Just  how  this  symbol  is  kept  shining  for 
Tim  makes  for  most  of  the  comic  situations.  Eventually,  the  boy 
comes  to  mean  more  than  a  publicity  device  for  the  actor  and 
Mahoney  becomes  all  that  Tim  believes  him  to  be.  This  pro- 
vides the  wholesomely  tearful  parts,  while  Tim  abets  the  heart 
tugs  between  his  idol  and  Miss  Adams. 

Universal.  82  minutes.  Jock  Mahoney.  Julie  Adams,  Tim  Hovey.  Produced  by 
Howie  Horwiti.    Directed  by  Richard  Bartlett. 


Film  BULLETIN    October  14,  I957        Page  13 


"The  Tin  Star" 

GcUiHCU,  TR*tCKf  Q  O  O 
Taut  black-and-white  western.   Lifted  by  top-drawer  per- 
formance by  Henry  Fonda.  Will  satisfy  adult  action  fans. 

We  are  told  that  "The  Tin  Star"  is  the  first  Western  made 
hv  producers  William  Perlberg  and  George  Seaton,  but,  like 
a  couple  veterans,  they  have  harnessed  up  a  tautly  tempered 
chug-a-lug  tour  of  those  famed  back  streets  and  saloons,  ranches 
and  valleys,  thundering  horses  and  the  leathery  critters  who 
ride  them.  They  missed  in  not  embellishing  the  VistaVision 
with  color,  but,  nonetheless,  this  is  a  good  western.  They  had 
the  good  sense  to  get  "Stagecoach"  screenplaywright  Dudley 
Nichols  and  "Winchester  73"  director  Anthony  Mann  to  rig  up 
this  palpable  enough  tale  of  the  relationship  between  a  dust- 
battered,  hell-for-leather  ex-sheriff  turned  bounty  hunter  and  a 
young  greenhorn.  And,  further,  they  showed  wisdom  in  em- 
ploying for  the  former  role  the  redoubtable  star  Henry  Fonda, 
as  apt  and  artful  a  cowpolk  as  any,  along  with  the  popular 
Anthony  Perkins  in  the  young  sheriff  role.  Pretty  Betsy  Palmer, 
colt-happy  Michel  Ray,  bad  man  Neville  Brand  and  the  afore- 
mentioned Perkins,  while  good,  are  largely  surface  actors,  and 
the  story  is  also  largely  surface,  and  familiar,  entertainment 
that  only  Fonda  every  now  and  then  breaks  through  and  into 
the  audience's  heart.  However,  for  all  action  fans  and  anyone 
in  need  of  that  much  abused  term,  adult  Western,  "The  Tin 
Star"  should  prove  satisfying.  The  story  spends  most  of  its 
early  time  developing  the  father-son  type  friendship  of  embit- 
tered man-with-a-past  Fonda  and  the  guileless  Perkins  nervously 
trying  out  his  guns  as  the  town's  new  sheriff. 

Paramount.  93  minutes.  Henry  Fonda,  Anthony  Perkins,  Betsy  Palmer.  Produced 
by  William  Perlberg-George  Seaton.    Directed  by  Anthony  Mann. 

"The  Devil's  Hairpin" 

Minor  auto  racing  melodrama  for  action  houses. 

With  Cornel  Wilde  undertaking  much  more  than  his  capa- 
bilities allow,  performing  triple  threat  chores  as  actor-producer- 
director  and  half-a-threat  as  co-screenplaywright,  this  minor 
auto  racing  meller  via  Paramount-Theodora  production  is 
hardly  anything  audiences  will  get  steamed  up  over.  It's  merely 
a  dual  bill  entry  for  action  houses.  For  the  racing  fans,  there 
are  full  arrays  of  shots  along  speedways,  baked  in  Technicolor 
and  sharply  etched  by  VistaVision.  There  is  also  a  fetching 
blonde  in  Jean  Wallace,  who  knows  how  to  pout  and  percolate 
with  the  best  of  them.  However,  for  all  the  fancy  scampering 
in  both  the  racing  and  romantic  departments,  the  film  offers 
pretty  much  of  an  old  shoe  plot  that  shuffles  along  some  well 
worn  psychological  back  streets.  What  it  tells  is  simply  the 
old-hat  tale  of  an  heroic  heel  of  the  professional  hot-rod  set 
whose  cocksure  complex  has  always  bordered  near  turpitude 
at  the  expense  of  his  fellow  drivers.  Needless  to  say,  for  all 
his  triumphs,  he  has  not  loomed  large  in  social  respect.  To 
top  it  off,  he  cavalierly  courted  Miss  Wallace  away  from  his 
sponsor  Arthur  Franz  and  inadvertently  caused  his  younger 
brother's  on-track  smash  up,  for  which  mother  Mary  Astor  re- 
fuses to  forgive  him.  How  he  comes  to  grips  with  his  problems, 
reforms  his  high  living,  assuages  a  sudden  guilt  complex  and 
redeems  himself  in  the  eyes  of  all,  during  the  final  round  the 
bend  spectacular,  makes  up  the  rest  of  the  film. 


"Until  They  Sail" 
Scucnete  IRattHf  O  O  O 

Good  tear-jerker  will  hit  fern  audience  hard.  Well-played 
by  well-balanced  cast.   Word-of-mouth  will  build  grosses. 

The  amorous  problems  of  four  sisters  during  World  War  II 
as  they  face  a  bankruptcy  of  New  Zealand  males,  only  to  find 
themselves  suddenly  trespassed  upon  by  sex-hungry  American 
troops,  is  the  tear-jerker  theme  of  MGM's  "Until  They  Sail". 
Based  on  a  James  Michener  yarn,  most  of  this  multi-romantic, 
multi-character  tale  is  tender  and  touching,  and  it  should  please 
the  fern  trade  quite  a  bit.  It  should  build  a  growing  following 
on  word-of-mouth  response.  Producer  Charles  Schnee  and  di- 
rector Robert  Wise  have  deliberately  lathered  up  the  story's 
emotional  aspects  so  that  it  comes  out  a  housewife's  legacy,  one 
she  will  revel  in  as  some  refreshingly  young  and  handsome  per- 
formers meet  an  assorted  cul-de-sac  of  hearthrobs,  heartbreak, 
pregnancy,  infidelity  and  murder,  with  some  equally  refreshing 
non-pussyfooitng  down  the  primrose  path.  The  four  girls  with 
various  shades  of  orange  blossoms  are  Jean  Simmons,  Joan  Fon- 
taine, Piper  Laurie  and  Sandra  Dee,  while  Paul  Newman, 
Charles  Drake,  Wally  Cassell  and  John  Wilder  represent  the 
blossom  pickers.  Newman,  a  blistering  bundle  of  off-beat 
charms,  is  the  leader  of  the  bunch  and  he  goes  through  a  cyni- 
cal bit  of  reconnaisance  before  Miss  Simmons,  a  recent  war- 
widow,  comes  to  him.  He  refuses  to  commit  himself  to  mar- 
riage, yet  a  love-lost  Miss  Simmons  accepts  the  tenuous  troth 
and  in  the  end  follows  him  to  America,  there  to  continue  the 
bittersweet  affair.  During  all  this,  Miss  Fontaine  has  a  child 
by  Drake;  Miss  Laurie  whoops  it  up  with  the  boys  until  hus- 
band Cassell  fatally  beats  her  down,  while  teenager  Miss  Dee 
awakens  of  true  love  in  the  arms  of  honorable  G.I.  Wilder. 


Metro-Goldwyn-Mc 
Produced  by  Char 


Joan  Fontaine 


"Jailhouse  Rock" 
GutUeu  KatiH?  ©GO 

The  Presley  fans  will  love  it. 

To  the  thousands  of  teenagers  who  adore  the  young  godling, 
Elvis  Presley,  his  new  film,  MGM's  "Jailhouse  Rock",  should 
prove  a  holy  and  homageful  event.  We  see  emerge  an  Elvis 
tough  and  wise — and  with  a  vengeance,  a  real  lowdown,  rock 
n  roll  one,  with  producer  Pandro  Berman  and  director  Richard 
Thorpe  giving  the  popular  songster  a  chance  to  earn  his  place 
as  a  dramatic  star.  In  between  his  histrionic  chores,  Elvis  cuts 
up  with  six  smasheroo  songs,  stomps  about  like  a  mad  bull 
with  guitar,  soulfully  eyes  it  up,  and  generally  has  a  strutting 
and  sullen  time — over  which  his  fans  undoubtedly  will  have 
a  ball.  Screenplaywright  Guy  Trosper  starts  the  rags  to  riches 
yarn  with  local  yokel  Elvis  ensconced  on  a  gallant  manslaughter 
charge  in  the  pen,  where  he  learns  from  cellmate  Mickey 
Shaughnessy  that  the  world  is  crooked  and  squares  don't  sur- 
vive. Once  out  of  state  hock,  Elvis  meets  sweet  Judy  Tyler, 
who  has  an  entree  to  disc  jockeys  and  she  so  flips  for  our  dude 
that  she  arranges  his  first  recording  and  Elvis  catches  on  like 
mad.  But  Elvis,  by  this  time,  is  no  square;  he  refuses  to  push 
the  mush  with  Miss  Tyler — what  he  wants,  man,  is  loot  and 
more  loot,  so  he  can  swill  down  bonded  bourbon  and  own  col- 
ored convertibles.  Soon  he's  on  TV,  on  stage  and,  finally,  the 
apogee  of  Hollywood,  where  he  winds  up  with  deluxe  pad 
and  pool,  plus  an  array  of  real  hip  skirts. 

t  minutes.  Elvis  Presley,  Judy  Tyler.  Produced  by 
by  Richard  Thorpe. 


Page  14        Film  BULLETIN    October  14,  1957 


"Woman  In  A  Dressing  Gown' 

Engrossing,  if  drab,  domestic  drama  made  in  England.  Lacks 
names,  will  interest  adult  audiences.  Needs  strong  selling. 

"Woman  in  A  Dressing  Gown"  is  an  above-average  British 
film  of  the  realism  school,  in  which  the  world  of  everyday,  in- 
articualte  longings  become  the  atmospheric  background  for  an 
absorbing  domestic  drama.  Produced  by  Frank  Goodwin  and 
released  by  Warner  Bros.,  this  down-beat,  somew  hat  drab  story 
is  made  notable  by  the  bravura  performance  of  star  Yvonne 
Mitchell  and  the  expert  direction  of  Lee  Thompson.  If  the  lack 
of  known  names  and  the  poor  title  can  be  overcome  by  promo- 
tional effort,  it  should  attract — and  will  hold  the  interest  of — 
adult  audiences,  especially  in  metropolitan  areas.  The  storv  it- 
self is  the  classic  one  of  the  bedraggled,  bovine  housewife  who 
loses  her  husband's  love  after  twenty  years  of  assorted  devo- 
tions and  drudgeries.  Miss  Mitchell  plays  the  hapless  lady  with 
a  fine  sense  of  the  theatrical  touches;  she  is  every  bit  the  slat- 
ternly and  rather  stupid  marital  work  horse,  w  ho  is  unable  to 
see  the  doldrums  and  eventual  despair,  her  husband  Anthony 
Quayle,  lives  in.  Married  twenty  years  he  realizes  belatedlv  his 
drearv  job  and  drab  home  are  leading  up  a  blind  alley  and 
seeks  solace  with  his  secretary,  Sylvia  Sims.  When  he  asks  his 
wife  for  a  divorce  he  finds  that  he  cannot  go  through  with  it; 
twenty  years  is  too  much  to  chuck  aside.  Left  where  he  began, 
he  faces  Miss  Mitchell  with  renewed  love  and  a  promise 
neither  one  believes — things  will  be  different  from  now  on  oat. 

Warner  Bros,  release.  93  Minutes.  Yvonne  Mitchell,  Anthony  Ouayle,  Sylvia  Sims. 
Produced  by  Frank  Goodwin.    Directed  by  Lee  Thompson. 

"As  Long  As  They're  Happy" 

Fairly  amusing  British  screwball  farce  with  songs  and  dances. 
Will  serve  as  adequate  dualler  in  family  houses. 

This  Rank  offering  is  a  bit  of  English  middle-class  slapstick 
coupled  with  some  song  and  dance  blandishments  and  starring 
Jack  Buchanan,  Jean  Carson,  Jerry  Wayne  and  the  ubiquitous 
Diana  Dors.  Produced  by  Raymond  Stross  and  directed  by  Lee 
Thompson,  it  is  a  rather  bright  and  buoyant  item  bedecked 
with  Eastman  color,  chorus  girls  galore,  all  sorts  of  w  himsicali- 
ties and  seven  sentimentally  antic  songs  by  Sam  Coslow.  All 
tolled,  it  is  a  confection  indeed,  but  unfortunately  more  suited 
for  English  than  American  consumption.  For  the  fact  is,  despite 
a  plot  that  revolves  about  a  Yankee  crooner  invading  a  Chelsea 
suburban  household  and  upsetting  the  classicallv  phlegmatic 
routine,  most  of  the  humor  derived  from  such  a  situation  smacks 
of  the  London  music  hall.  It  should,  however,  draw  a  fair  share 
of  laughs  from  the  American  family  audience.  Alan  Melville's 
screenplay,  a  screwball  farce,  depicts  Jerry  Wayne,  a  singing 
sensation  who  has  women  on  both  sides  of  the  Atlantic  deliri- 
ous, arriving  in  London  to  play  the  Palladium  and,  through  a 
fortuitous  happening,  moving  into  Buchanan's  home.  As  it 
turns  out,  the  young  Miss  Scott  evinces  he  grand  passion  for  her 
idol  and  it  takes  Wayne  quite  a  bit  of  histrionics  to  convince 
her  he's  not  at  all  romantic — in  fact,  he's  married.  After  Bu- 
chanan puts  on  a  sham  sexplav  with  Miss  Dors  in  order  to 
bring  her  Wayne-infatuated  wife  to  her  senses,  and  after  all 
the  other  characters  come  to  theirs,  the  film  ends  with  everyone 
smiling  brightly  for  the  fadeout. 

Rank  Organiiation.  74  minutes.  Jack  Buchanan,  Jean  Carson,  Jarette  Scott.  Diana 
Dors,  Jerry  Wayne.    Produced  by  Raymond  Stross.    Directed  by  Lee  Thompson. 


"Short  Cut  To  Hell" 

Stitutcte  1R<tte*f  O  O 

Remake  of  "This  Gun  for  Hire"  lacks  power  of  original. 
Marks  Ccgney's  first  directorial  effort.  No  marquee  names. 

As  his  first  directorial  effort,  veteran  actor  James  Cagney  has 
remade  Graham  Greene's  taut  and  trim  classic  of  a  mayhem- 
minded  young  man.  "This  Gun  For  Hire",  and  the  results,  sad 
to  report,  are  lackluster.  However,  despite  the  absence  of  any 
names,  it  should  find  average  returns  in  the  action  houses. 
And  its  new  stars,  Robert  Ivers  and  Georgann  Johnson  (both 
making  debuts,  incidentally),  while  competent  performers,  fall 
far  short  of  the  supercharged  punch  delivered  by  their  prede- 
cessors, Alan  Ladd  and  Veronica  Lake.  Cagney  turns  in  a  pro- 
fessional job  in  his  first  try,  one  that  holds  promise  of  better 
efforts  in  the  future.  The  story  follows  the  Greene  blueprint 
less  with  an  eye  towards  characterization  than  contrivance.  Ivers 
as  a  one  man  Murder,  Inc.  bumps  off  two  city  employees  and  is 
paid  off  unwittingly  by  crime  syndicate  flunkey  Jacques  Aubu- 
chon  with  hot  money.  When  police  arrive  to  question  him,  he 
realizes  he's  been  double  crossed,  and  hops  a  train  to  Aubu- 
chon's  home.  On  route  he  meets  singer  Georgann  Johnson, 
whom  he  proceeds  to  use  as  decoy  in  his  bouts  with  Aubuchon's 
henchmen  and  skirmishes  with  police.  Ivers  succeeds  in  killing 
Aubuchon,  dies  himself  in  the  ensuing  gunplay. 

Paramount.  87  minutes.  Robert  Ivers,  Georgann  Johnson,  William  Bishop.  Pro- 
duced by  A.  C.  Lyles.   Directed  by  James  Cagney. 

"Johnny  Trouble" 

Sirupy  bit  of  soap  opera  starring  the  wonderful  Ethel  Barry- 
more.  Should  please  family  trade. 

Any  film  which  partakes  of  the  inexhaustable  Ethel  Barry- 
more  resoruces  is  bound  to  have  its  share  of  notable  moments. 
She  is  currently  the  star  of  Warner  Bros.'  "Johnny  Trouble ', 
a  rather  soggy  bit  of  soap  opera.  Screenwriters  Charles 
O  Neal  and  David  Lord  and  director  John  Auer  have  given 
it  all  a  markedly  professional  tone,  and  a  competent  cast  has 
peppered  up  its  sugary  atmosphere,  making  it  a  welcome  offer- 
ing for  the  family  trade.  In  addition,  the  Barrymore  name 
gives  it  some  special  value  for  class  situations.  To  be  sure, 
her  performance  amidst  such  "East  Lynne"  tapestries  is  hardly 
one  of  her  most  demanding  or  memorable,  but  since  it  gives 
so  regal  an  artist  an  opportunity  for  full  dress  display  of  some 
pyrotechnics,  however  dignified,  we  should  all  be  grateful  for 
the  entertainment.  And  entertaining  it  is,  even  with  Miss 
Barrvmore  dressed  like  Whistler's  Mother,  ensconced  in  an 
ancient  apartment  hotel,  awaiting  the  return  of  her  long  prodi- 
gal son,  vagabonding  for  twenty  seven  years.  At  any  rate, 
Cecil  Kellaway  as  an  old  retainer,  formerly  Miss  Barrymore's 
chauffeur,  still  takes  care  of  the  old  girl  and  aids  her  in  her 
fight  against  eviction  from  her  premises  which  are  to  be  con- 
verted into  a  college  dorm.  When  she  refuses  to  move,  a  flab- 
bergasted provost  allows  her  to  be  a  sort  of  Mother  Hubbard 
for  the  oncoming  freshman,  among  whom  is  young  Stuart 
Whitman,  whom  Miss  Barrymore  believes  to  be  her  grandson. 
Soon  she  charms  the  pants  off  the  recalcitrant  Whitman,  ar- 
ranges his  romance  with  pretty  Carolyn  Jones,  saves  him  from 
scholastic  melees  and  dies  happily  with  his  love. 

Warner  Bros.  80  minutes.  Ethel  Barrymore.  Cecil  Kellaway.  Carolyn  Jones.  Pro- 
duced and  Directed  by  John  Auer. 

Film  BULLETIN    October  14.  1957        Page  15 


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"Pursuit  of  the  Graf  Spee" 
GcuUeu  Rati*?  O  O  O 

Magnificent  epic  of  a  sea  battle  and  a  courageous  seaman. 
One  of  finest  films  from  England.  Great  performances. 
B.O.  promise  bright. 

On  December  13,  1939,  occurred  one  of  the  most  famous 
scenes  of  naval  warfare,  the  strange  and  startling  battle  of  the 
River  Plate,  in  which  Germany's  hell-hound  destroyer,  the  Graf 
Spee,  met  a  fatal  comeuppance  at  the  hands  of  a  three  cruiser 
British  squadron.  Such  a  memorable  saga  has  long  been  in  need 
of  screen  celebration  and  now  the  award-winning  writer-pro- 
ducer-director team,  Michael  Powell  and  Emeric  Pressburger, 
have  provided  a  remarkably  rewarding  movie.  A  documentary- 
styled  film  done  in  the  bold  and  blazing  colors  of  scenic  real- 
ism, something  for  which  discriminating,  as  well  as  other, 
moviegoers  will  be  grateful.  It  is  one  of  the  most  distinguished 
British  films  of  recent  years.  "Pursuit  of  the  Graf  Spee"  has 
a  group  of  shell-scarred  stagings  of  combat  on  the  high  seas 
that  are  among  the  most  devastating  yet  witnessed.  Indeed,  as 
breathtakingly  photographed  in  Technicolor  and  VistaVision 


by  Christopher  Challis  and  brilliantly  directed  by  Powell  and 
Pressburger,  this  is  one  of  those  rare  dramas  of  war  in  which 
the  stamp  of  authenticity  is  strikingly  apparent.  But  the  real 
piece  de  resistance  turns  out  to  be  the  characterization  of  the 
Graf  Spee's  commander.  Captain  Langsdorff,  by  Peter  Finch. 
He  brilliantly  portrays  him  with  just  the  right  austere,  angular 
exactitude,  a  kind  of  human  vessel  of  duty  and  honor,  a  man 
whose  ultimate  heart  and  soul  must  be  forever  personal,  never 
shown,  but  whose  depth  of  feeling  and  fidelity  lie  as  steel-bright 
as  the  pocket  battleship  he  masters.  John  Gregson  as  the  blus- 
tering young  Captain  Bell,  Anthony  Quayle  as  the  wiley  Com- 
modore Harwood  who  engineered  the  attack,  and  Bernard  Lee 
as  a  tanker  captain — all  give  stirring  performances.  As  for  the 
story,  it  follows  closely  upon  the  historical  record.  The  so- 
called  terror  of  the  seas,  the  Graf  Spee,  played  a  cat  and  mouse 
game  with  British  commerce  vessels.  Eventually,  hoodwinked 
by  a  masterly  British  Intelligence  bluff  concerning  an  armada 
of  reserves  mustering  at  the  River  Plate,  and  acting  under  direct 
orders  from  Hitler,  he  took  the  battleship  out  of  the  harbor 
and  scuttled  her.  Three  days  later  Captain  Langsdorff  com- 
mitted suicide. 

Rank  Film  Distributors.  104  minutes.  John  Gregson,  Anthony  Quayle,  Peter  Finch. 
Produced  and  directed  by  Michael   Powell  and  Emeric  Pressburger. 


Viewpoints 

( Continued  from  Page  5  ) 

must  be  substituted  for  expenditure  in 
the  planning  of  many  films  today,  so 
that  cost  of  production  is  brought  into 
line  with  the  potential  of  our  market. 
The  producer  of  the  less  than  AA  film 
must  remember  that  the  public  buys 
motion  pictures  in  a  package,  too;  and 
if  they  don't  like  the  way  the  package 
is  wrapped  they  won't  buy  it. 

This  brings  us  to  the  third  aspect  of 
the  new  economics,  the  methods  of  dis- 
tribution. Film  distribution  covers  two 
major  headings  today — merchandising 
and  actual  selling.  In  order  to  achieve 
sufficient  sales  of  a  picture,  you  have  to 
merchandise  it  against  the  competition 
of  other  pictures  and  other  media. 

It  is  a  striking  fact  of  modern  mo- 
tion picture  economics  that  today's  dol- 
lar is  apt  to  go  further  in  promotion 
than  in  production.  A  saving  of  $20,- 
000  in  production  seems  miniscule;  but 
we  know  of  one  major  company  which 
recently  found  that  by  spending  an  ad- 
ditional $20,000  on  their  advertising 
for  a  particular  low  budget  picture  they 
achieved  an  increase  of  more  than 
S200,000  in  its  gross. 


This  won't  happen  every  time.  It 
hardly  needs  saying  that  nothing  is  cer- 
tain in  the  movie  business  these  days. 
But  certainly  it  makes  sense  that  when 
you  make  product  for  the  mass  market 
you  should  make  sure  the  mass  market 
knows  about  it. 

And  that  brings  us  to  the  market  it- 
self. The  companies  have  all  been  dis- 
covering lately  that  the  mass  market, 
particularly  for  modest  budget  pictures, 
lies  in  the  neighborhoods,  not  the  first- 
run  houses.  First-run  engagements  are 
usually  disastrous  without  big  advertis- 
ing budgets;  with  such  budgets  they 
are  still  considered  successful  if  they 
manage  to  break  even.  Meanwhile  they 
are  draining  off  business  for  the  picture 
from  subsequent  run  bookings.  As  all 
the  companies  know  now,  it  is  much 
smarter  with  a  small  film — or  some- 
times even  with  a  big  one  —  to  play 
first-run  dates  on  a  saturation  basis  in 
the  neighborhood  houses,  making  the 
advertising  expenditure  work  directly 
for  all  these  dates,  and  selling  the  pic- 
ture at  a  price  the  average  patron 
doesn't  mind  paying. 

The  low-budget  pictures,  merchan- 
dises and  distributed  this  way,  could 
help  the  motion  picture  theatre  in  its 
very  real  battle  for  survival.  Such  films, 
designed  to  appeal  to  both  the  taste 
and  the  pocketbook  of  the  great  mass 


public  rather  than  the  big  city  critics 
and  their  first-run  following,  could  be 
key  factors  in  reversing  the  downward 
trend  of  attendance.  And  both  the  film 
company  and  the  exhibitor  have  a 
chance  to  realize  a  profit — because  the 
cost  does  not  exceed  the  market's 
limits! 

What,  then,  of  the  middle  bracket 
picture?  Where  does  it  fit  into  the 
changed  movie  market?  It  is  self-evi- 
dent that  exhibition  cannot  sustain 
itself  on  a  strict  continuous  diet  of  low- 
budget  gimmick  films,  plus  a  rare  AA 
spectacle.  The  middle  bracket  picture 
must  continue  to  be  produced,  but  it, 
likewise,  must  meet  the  new  conditions. 

If  this  tvpe  of  film  is  to  show  a 
profit  (for  the  film  company  and  the 
exhibitor),  two  major  factors  must  be 
considered:  first,  each  one  must  be  pro- 
duced within  a  production  cost  range 
keyed  to  the  economic  facts  of  life  in 
our  industry  today,  with  all  superfluous 
costs  eliminated;  second,  and  just  as  im- 
portant, each  must  have  a  built-in  pro- 
motional angle  that  will  allow  for  the 
same  kind  of  aggressive  showmanship 
that  is  being  put  behind  the  gimmick 
picture. 

A  tall  order,  you  say?  Well,  mister, 
the  whole  problem  of  survival  now  is  a 
tall  order,  so  let's  start  standing  up 
to  meet  it. 


Page  18       Film  BULLETIN    October  14,  1957 


ALLIED  STATES  ASSOCIATION 
of 

MOTION  PICTURE  EXHIBITORS 


National 

POW-WOW 

at  heap  big  tepee  on 
KIAMESHA  LAKE 

October  2&-Z9-30 

Concord  Hotel,  Kiamesha  Lake,  New  York 

<        *  *  ► 

Package  deal  of  $80.00  complete  for  3  days 
includes:  Registration  Fee,  All  Social  Affairs, 
Ronson  Lighter  Favors 

All's  Not  Business — Full  Social  Program:  Golf 
Tournament,  Cocktail  Parties,  Banquet,  "Pal 
Joey"  Screening,  Midnight  Swim 

Special  Ladies  Events:  Fashion  Show,  Beauty 
Expert,  Canasta  Tournament 

Extra  Added  Attraction:  U.  S.  Senator  Wayne 
Morse  of  Oregon  to  speak  at  Banquet 

<4         *  *  ► 

For  further  information  and  reservations,  contact: 

ALLIED  THEATRE  OWNERS  OF  NEW  JERSEY,  INC. 
234  WEST  44TH  STREET,  NEW  YORK  LAckawanna  4-2530 


Film  BULLETIN    October  14,  1957        Page  19 


Theatre  operators  "on  the  ball"  will  take  advantage 
of  the  special  three-for-one  trailer  package  on  "Oper- 
ation Mad  Ball,"  starring  Jack  Lemmon,  Ernie  Kovacs, 
Kathryn  Grant,  Arthur  O'Connell  and  Mickey  Rooney. 

For  the  price  ordinarily  paid  for  one  standard 
trailer,  the  Prize  Baby,  in  cooperation  with  Columbia 
Pictures,  is  offering  a  package  consisting  of  two  teas- 
ers and  a  most  irregular,  regular  trailer;  the  latter 
narrated  by  the  unorthodox  Mr.  Kovacs. 

This  Kovacs  trailer  is  rich  with  humor,  originality 
and  a  fresh-selling  approach.  Your  audience  will  take 
the  pitch . . .  and  you  will  have  a  hit  show! 


nflTIOflAL  Qcl€&l  SERVICE 

\  yj  pmif  attar  of  me  mousTRr 


Louisville  Greets,  Fetes 
IGM's  'Raintree  County' 


/tie  *Douty< 


w 


HEN  THE  excitement  of  a  great 
film  premiere  and  Southern  Hospi- 
tality are  blended  and  mellowed  for 
^         ^  48  hours  under  balmy  Kentucky  breezes  by 

pr*V^^j  ™  day  and  dazzling  klieg  lights  by  night,  the 
resulting  concoction  is  bound  to  be  a  mem- 
orable one,  comparable  only  to  the  conviviality  inspired  by  a 
mint-julep.  As  it  turned  out,  the  occasion  of  the  unveiling  of 
Metro-Goldwyn-Mayer's  spectacular  "Raintree  County'  was 
indeed,  an  event  that  all  of  Louisville,  the  nation's  press,  and 
scads  of  celebrities  will  never  forget. 


As  conceived  and  executed  by  Loew  s,  under  the  deft  direc- 
tion of  promotion  vice-president  Howard  Dietz,  the  launching 
of  the  56,000,000  production  must  rank  with  the  great  movie 
premieres  of  all  time.  From  the  ivory  tower  planning,  to  the 
laying  of  the  groundwork,  to  the  detailed  arrangements  that 
brought  stars,  press,  TV  and  radio  people  from  all  parts  of  the 
country  to  the  blue  grass  country,  to  the  tens  of  thousands  of 
people  who  lined  the  streets  to  welcome  the  arriving  visitors 
in  a  giant  motorcade  (see  above),  to  the  spectacular  fanfare 
that  was  climaxed  with  the  glittering  premiere,  all  was  a 

(Continued  on  Page  22  J 


Film  BULLETIN    October  14,  1957        Page  21 


7i i  fat  tie 
Sfacmtm 


On  stage  ceremonies  as  Boyd  Martin,  50-year  % 
veteran  critic  of  Louisville  Courier,  receives  gold 
watch  from  M-G-M.  From  left:  Lee  Marvin,  Van 
Johnson,  Mike  Todd,  Liz  Taylcr,  Martin,  George 
Murphy,  Eva  Marie  Saint,  Ann  Miller,  Terry 
Moore,  Russ  Tamblyn,  Jane  Powell,  Myrna  Han- 
sen, Millard  Kaufman,  Johnny  Green  and  Tom 
Drake.  The  presentation  took  place  just  prior 
to  the  premiere  at  the  Brcwn  Theatre. 


(Continued  from  Page  21) 
masterpiece  of  faultless  staging  and  su- 
perb showmanship.  It  was  a  treatment 
in  tun;  with  the  high  boxoffice  note 
the  picture  should  reach. 

To  bring  the  people  who  would 
spread  the  word  of  the  film  around  the 
country  and  into  virtually  every  home 
via  the  printed  and  spoken  word  and 
the  television  screen,  Metro  chartered 
two  special  planes.  The  Hollywood 
contingent  of  stars,  studio  executives 
and  press  picked  up  additional  fourth 
estaters  in  Chicago,  and  landed  at 
Louisville's  Standiford  Field  simultane- 
ously with  the  aircraft  carrying  more  of 
the  same  from  New  York. 

Arriving  at  high  noon  on  Tuesday, 
October  1,  the  planes  were  met  by 
Mayor  Andrew  Broaddus,  a  large 
crowd  of  Kentuckians,  two  bands  and 
a  fleet  of  47  shining  new  chauffercd 
convertibles,  each  bannered  with  the 
name  of  the  celebrity  or  publication 
represented  by  the  press.  A  crowd  esti- 
mated at  over  25,009  lined  the  route  of 
the  motorcade  from  the  airport  through 
Louisville's  main  street  to  the  Brown 
Hotel,  near  the  Brown  Theatre  where 
the  gala  premiere  was  to  be  held  the 
following  night. 

Following  a  precs  luncheon,  where 
the  stars  visited  the  various  tables  chat- 
ting with  the  newspaper,  radio  and  TV 
people,  and  taped  interviews  for  sub- 
sequent airing,  the  day's  festivities  were 
highlighted  by  a  Welcome  Dinner, 
sponsored  by  the  Louisville  Chamber 
of  Commerce,  emceed  by  George  Mur- 
phy, Hollywood's  premier  toastmaster, 
and  climaxed  by  a  full  dress  Raintree 
Country  Grand  Ball.  Sponsored  by  the 
Colonelettes  (Wives  of  the  Junior 
Chamber  of  Commerce)  for  the  benefit 
of  the  Children's  Hospital  of  Louis- 
ville, the  sumptuous  affair  drew  some 
5000  into  the  huge  Freedom  Hall  Coli- 
seum to  dance  and  chat  with  the  stars 
and  celebrities — and  contribute  ten  dol- 
lars a  head  to  the  worthy  charity. 


4  Montgomery  Clift  and  Elizabeth  Taylor 
in  a  dramatic  scene  from  "Raintree  Coun- 
ty" during  the  premiere  cf  the  three-hour 
film,  photographed  in  color  and  in  MGM's 
new  65mm  camera  process. 


Liz  Taylor  displays  her 
prettiest  smile  to  thousands 
of  yelling  Louisville  citizens  as 
she  says  hello  from  the  plat- 
form outside  the  theatre  prior 
to  the  screening  as  husband 
Mike  Todd  and  George  Mur- 
phy, who  made  the  introduc- 
tion that  set  off  the  ovation, 
stand  by.  Murphy  received  a 
Taylor-made  buss  for  his  stel- 
lar job  as  master  of  cere- 
monies. 


Page  22       Film  BULLETIN    October  14,  1 957 


*9-  Eva  Marie  Saint  and  husband  Jeffrey  Hayden 
parade  down  the  walk  from  the  Brown  Hotel  to  the 
Brown  Theatre,  solidly  lined  by  an  Honor  Guard 
from  the  University  of  Louisville  and  the  Kentucky 
Military  Institute. 


nan  behind  the  men  who  engineered 
ville  shindig,  Metro's  vice-president 
of  advertising  and  publicity,  How- 
,  joins  star  Jane  Powell  in  flashing 
i  the  cheering  throng  at  Louisville's 
Mr.  Dietz,  who  played  the  genial 
erfection,  had  much  to  smile  about 
e  affair  went  off  in  grand  style. 


4  Louisville's 
Mayor  Broaddus 
(top)  and  Millard 
Kaufman  associ- 
ate producer  and 
screenplay  writer, 
address  theatre 
front  crowds. 


4  Scenes  outside  the  Brown  Hotel 
and  the  theatre  the  night  of  the  pre- 
miere give  an  indication  of  the  great 
crowds  that  turned  out  to  hail  the 
visiting  celebrities.  Note  white  hats 
of  the  Honcr  Guard  that  was  hard 
put  to  keep  the  surging  fans  back 
from  parading  stars. 


The  day  of  the  premiere,  October  2, 
was  a  signal  one  for  both  the  visitors 
and  the  Louisville  hosts.  The  high  spol 
of  the  afternoon's  pre-premiere  activi- 
ties was  a  fabulous  barbecue  at  the 
famed  Matt  Wynn  Williamson  horse 
farm,  where  the  nation's  greatest  thor- 
oughbreds are  groomed.  As  the  guests 
arrived  at  the  Kentucky  blue  grass  site, 
white-coated  waiters  met  them  with 
trays  stocked  with  the  traditional  frosty 
mint-juleps,  kept  the  spirits  high 
throughout  the  afternoon  as  the  \isitors 
were  treated  to  burgoo,  the  incompa- 
rable Kentucky  taste  treat  served  in  sil- 

INTEGRATION  NOTE 

Not  even  the  burning  problem  of  integra- 
tion marred  the  junket.  Riding  down  Louis- 
ville's Main  Street  in  the  motorcade,  a  north- 
ern newsman  noted  a  schoolyard  full  of 
wide-eyed  youngsters,  with  a  sprinkling  of 
dark  skins  among  the  white  faces  pressed 
against  the  fence  bars.  "Is  that  a  parochial 
school'/" .  the  press  member  asked  his  young 
driver.  With  quiet  pride,  tin  blonde  young 
man  replied:  "So.  sub,  that's  a  public  school. 
We've  had  no  fuss  with  integration.  The 
law's  the  law."  It  was  a  perfect  start  for  a 
faultless  visit  to  a  congenial  Southern  city. 

ver  cups  from  a  tremendous  vat,  and 
succulent  barbecued  chicken  and  beef. 

It  was  the  evening  that  truly  capped 
the  hoop-la.  Following  a  buffet  dinner, 
stars,  press  and  celebrities  in  full  for- 
mal dress  stepped  from  the  hotel  to  be 
greeted  by  pressing,  shouting  crowds 
that  filled  the  streets,  bright  as  daylight 
under  the  klieg  glare.  Lining  the  block- 
long  pavement  between  the  hotel  and 
the  theatre  stretched  an  Honor  Guard 
in  spit-and-polish  dress  uniform  from 
the  Kentucky  Military  Institute  and  the 
University  of  Louisivlle,  as  police  were 
hard  put  to  hold  back  the  surging 
( Continued  on  Page  24 ) 


Film  BULLETIN    October  14,  I9S7        Page  23 


(Continued  from  Puge  21) 

crowds.  With  the  appearance  of  each 
of  the  well-known  personalities  to  walk 
from  the  hotel  to  the  theatre,  the  noise 
rose  to  a  crescendo.  Among  the  popu- 
lar faces  they  saw  were  Elizabeth  Tay- 
lor (with  husband  Michael  Todd)  and 
Eva  Marie  Saint  (also  with  husband 
Jeffrey  Hayden);  guest  stars  Van  John- 
son, Ann  Miller,  Jane  Powell,  Terry 
Moore,  Chill  Wills,  Russ  Tamblyn, 
Tom  Drake,  Lee  Marvin  and  Myrna 
Hansen.  Huzzahs  were  raised  for  Ken- 
tucky Governor  A.  B.  "Happy"  Chand- 
ler, Mayor  Broaddus,  composer  Johnny 
Green,  screenplay  writer  Millard  Kauf- 
man and  other  celebrities  introduced 
by  the  ingratiating  George  Murphy. 

In  the  theatre,  the  1500  invited 
guests  again  met  the  Hollywood  peo- 
ple, cheered  lustily  as  Boyd  Martin, 
film  critic  on  the  Louisville  Courier 
Journal  for  the  past  50  years,  was  hon- 
ored by  M-G-M,  then  settled  down  for 
the  three-hour  unveiling  of  "Raintree 
County". 

An  after-premiere  party  in  the 
Brown  Hotel's  Crystal  Ballroom  put 
the  lid  on  an  event  that  is  inscribed  in 
Louisville's  annals  as  vividly  as  "Gone 
With  the  Wind"  is  marked  in  Atlanta's. 

The  Metro  sales  and  promotional  or- 
ganization was  out  in  substantial  force 
to  host  and  dote  over  the  pageantry  for 
their  biggest  premiere  since  GWTW. 
Hosting  the  affair,  in  addition  to  Dietz, 
was  distribution  vice  president  Charles 
M.  Reagan.  Other  home  office  repre- 
sentatives: Robert  Mochrie,  John  P. 
Byrne,  Mike  Simons,  Emery  Austin. 
William  Ornstein  and  several  field  men 
from  the  promotion  department.  Studio 
publicity  chief  Howard  Strickling 
handled  the  West  Coast  contingent. 

Divisional  sales  heads  on  hand  were 
John  S.  Allen,  southwest;  Burtus  Bis- 
hop, Jr.,  midwest;  Lou  Formato,  south; 
John  J.  Maloney,  central,  and  Herman 
Ripps,  western. 

For  a  masterly  showmanship  job,  a 
doff  of  the  chapeau  to  Maestro  Dietz, 
aide  Austin,  exploitation  head  who  co- 
ordinated the  plans  and  worked  in  the 
field  with  Charles  Felleman  and  field 
press  reps  Judson  Moses,  E.  C.  Pearson, 
John  L.  John,  Floyd  Fitzimmons,  Tom 
Baldridge  and  Norman  Pyle. 

And  a  bow  to  Metro-Goldwyn- 
Mayer  for  proving  that  the  old-time 
movie  glamor  is  still  very  much  alive. 


Louisville's  stores  were  very 
much  a  part  of  the  activities, 
using  their  windows  to  excellent 
effect  to  play  up  the  grand  open- 
ing of  the  film.  Some  25  of  the 
city's  top  department,  fur,  book 
and  variety  stores  rigged  up  win- 
dow and  in-store  displays,  aided 
by  costumes  from  the  picture, 
flown  in  from  the  coast  several 
weeks  in  advance  especially  for 
the  purpose.  In  addition,  130 
cabs  were  bannered  offering 
premiere  tickets  as  prizes  in  a 
contest. 


Ed  Sullivan,  on  hand  to  get  ma- 
terial for  TV  show,  gathers  an 
extra-special  armful  in  pretty 
Myrna  Hansen,  who  seems  to  en- 
joy the  crushing  experience. 


The  Loew's  executive  sales  force,  headed  by  distribution 
v.p.  Charles  M.  Reagan,  enjoys  the  barbecue  festivities  at 
Matt  Wynn  Williamson  horse  farm.  Shown  are,  from  left, 
John  P.  Byrne,  Burtus  Bishop,  Jr.,  actor  Lee  Marvin,  John 
J.  Maloney,  Foster  B.  Gauker,  H.  Russel  Gaus,  columnist 
and  TV  star  Ed  Sullivan,  John  S.  Allen,  Reagan,  Herman 
Ripps,  Hillis  Cass,  Jay  Eisenberg,  and  Lou  Formato. 


Page  24       Film  BULLETIN    October  14,  1957 


Wttkh 

Ail" 


(trim 

BULLETIN 


Film  BULLETIN    October  14,  1957  Page 


EXPLOITATION  PICTURE 

Impact  of  Super-Shock  Ads  Makes 
"Black  Scorpion"  Showman's  Delight! 


Having  picked  up  a  tidy  bundle  by  exploit- 
ing horror  in  such  earlier  shockers  as  "The 
House  of  Wax",  "Beast  from  20,000  Fathoms", 
"Phantom  of  the  Rue  Morgue"  and,  most  re- 
cently, "The  Curse  of  Frankenstein,"  Warner 
Bros,  now  aims  to  top  em  all  in  scare  fodder 
with  "The  Black  Scorpion" — and  thereby  hangs 
an  exploitation  tale  for  the  showman. 

To  most  people,  there  is  nothing  more  shud- 
dery  than  a  giant  insect;  ergo,  the  proponent  of 
this  film  is  a  huge  arachnid — or,  more  properly 
a  swarm  of  them — slithering  one  hundred  and 
fifty  feet  from  fang  to  tail!  The  only  thing 
more  fearsome  than  a  bloody  creature  is  a  crea- 
ture with  NO  blood;  ergo,  our  monster  is 
bloodless — "that's  why  he  wants  yours!"  scream 
the  ads. 

The  terror  is  introduced  to  the  screen  in  the 
David  Duncan-Robert  Blees  scenario  following 
a  series  of  earthquakes  in  Mexico  that  leave 
huge  crevasses  from  which  pour  the  Things. 
Virtually  indestructible,  the  monstrous  scor- 
pions grab  up  every  human  being  in  their  path 
until  the  Mexican  Army  manages  to  lay  them 
low — all  except  one  which  escapes  to  attack 
Mexico  City.  Under  the  shadow  of  the  metrop- 
olis, a  battle  rages  between  the  tiny  humans 
and  the  lashing  monster  that  sees  the  final  dem- 
olition of  the  giant  scorpion  leav  ing  thousands 
of  pale,  shaken  humans  to  nightmares  the  rest 
of  their  lives. 

Whether  anything  more  horrific  has  ever 
been  filmed  is  a  moot  question  we  won't  debate 
here.    But  Warners  is  selling  it  as  the  horror 


A  pair  of  mats  to  enable  inexpensive 
quantity  reproduction  locally  are  the 
monster  mask  (above)  and  the  simple 
but  effective  herald  which  folds  into 
a  four-page  scaresheet. 


picture  that  has  pulled  out  all  the  stops,  and 
has  worked  up  an  ad  campaign  for  the  eager 
showmen  that  makes  no  bones  about  it. 

A  group  of  the  ad  approaches  are  shown  on 
the  opposite  page,  with  portions  of  the  copy 
ripped  out  to  point  up  the  text  as  well  as  the 
scare  catchlines.  Curiously,  the  ads,  primeval 
as  they  may  seem  at  first  glance,  are  designed 
to  snatch  up  not  only  the  horror  fans — which 
they  assuredly  will  do  in  whirlwind  style — but 
to  pique  the  interest  and  curiosity  of  those  who 
can  take  horror  pictures  or  leave  'em  with  such 
wry  warnings  as:  "We  Urge  You  Not  To  Panic 
or  Bolt  from  Your  Seats",  such  advice  as 
"Don't  Be  Ashamed  To  Scream.  It  Helps  Re- 
lieve the  Tension!",  such  reservations  as:  "The 


SPECIAL  TRAILER 
The  usual  trailer  employing  scenes 
from  the  film  was  discarded  by  War- 
ners' boxofficers  and  replaced  by  one 
specially  produced  to  carry  through 
the  striking  scare  effects  that  marks 
the  entire  "Scorpion"  campaign.  It 
is  said  to  be  a  real  shocker. 


Management  Reserves  the  Right  To  Put  Up  the 
Lights  Any  Time  the  Audience  Becomes  Too 
Emotionally  Disturbed."  This  may  bring  a 
smile  to  the  more  sophisticated  moviegoer,  but 
in  more  cases  than  not,  will  create  a  challeng- 
ing want-to-see  that  should  sweep  a  large  fringe 
of  the  lukewarm-to-horror-pictures  public  into 
the  theatre. 

Much  of  the  advertising  designed  for  the 
newspaper  is  versatile  enough  to  be  adapted  to 
shock  displays  and  gag  displays  alike.  The  art 
is  simple  enough  to  blow  up  to  sizeable  pro- 
portions with  the  blast:  "He'll  Get  You — 
Scared  Stiff!"  or  a  "See  This?  We  Defy  You 
Not  To  Get  a  Genuine  Case  of  the  Horrors 
When  You  See  It  on  the  Screen!"  Or  it  can 
take  the  form  of  straight  large  type  reader 
copy  asking  "Are  We  Too  'Nervy'  Showing 
'The  Black  Scorpion'?",  with  follow-up  word- 
ing similar  to  that  in  ad  at  upper  right  of  oppo- 
site page. 

Obviously,  there  are  gimmicks  and  stunts 
galore  to  go  along  with  the  "scariest"  aspect. 
The  nurse  in  the  lobby  with  smelling  salts  for 
those  who  are  shocked  senseless;  a  periodic  re- 
corded moan,  followed  by  the  admonition  to 
scream  to  relieve  the  tension;  even  a  dummy 


Highlights  from  the  various  display  ads 
underline  the  all-out  play  on  terror  and 
the  macabre  —  with  clever  tongue-in- 
cheek  notes  —  that  promises  "You 
Haven't  Really  Seen  Horror  on  the 
Screen  Till  You  See  the  Horror  of  'The 
Black  Scorpion'!" 


FRUSTRATION 


DESPERATION 


light  switch  near  the  door  with  a  placard  ad- 
vising the  patron  to  see  the  manager  to  put  up 
the  lights  if  the  screen  goings  get  too  rough. 
The  enterprising  showman  can  go  on  and  on 
with  such  gags,  sure  to  arouse  nervously  light- 
hearted  reaction  and  especial  awareness  of  the 
film  where  given  an  advance  play. 

Another  exploitaid  is  the  radio  series  of  six 
spots  on  one  record,  given  a  unique  and  chill- 
ingly humorous  treatment  that  lends  itself  to 
lobby  treatment  as  well  as  airwave  use. 

Basically,  experience  has  shown  there  is  an 
apparently  limitless  audience  for  the  well-sold 
horror  picture.  Warners  has  supplied  a  pre- 
cision set  of  selling  tools  in  the  advertising 
campaign  for  "The  Black  Scorpion"  that  should 
delight  the  exploitation  craftsmanager. 


Page  26       Film  BULLETIN    October  14,  1957 


EXPLOITATION  PICTURE 


of  the  issue 


We  don't  think  so.  We  know  from 
experience  that  people  strong  of  heart 
and  steel-nerved  enjoy  a  good  scare 
when  they  go  to  a  horror  picture. 
So  we've  pulled  out  all  the  stops. 
You'll  see  it  uncut,  exactly  as  it  was 
I  filmed!  YOU  HAVEN'T  REALLY  SEEN 
k  HORROR  ON  THE  SCREEN  TILL  YOU 
^SEE  THE  HORROR  OF 


WE  URGE  YOU 
NOT  TO  PANIC 
OR  BOLT  FROM 
YOUR  SEATS. 


Ca"'f  see  hS°  ™ 


EVERY  HORROR  YOU'VE  SEEN 
ON  THE  SCREEN  GROWS  PALE 
BESIDE  THE  HORROR  OF 

the  Black 


Note, 


Film  BULLETIN    October  14,  l?57       Page  27 


THIS  IS  YOUR  PRODIJ CI 


All  The  Vital  Details  on  Current  &)  Coming  Features 

(Date  of  Rim  BULLETIN  Review  Appears  At  End  of  Synopsis) 


ALLIED  ARTISTS 


August 

FROM  HELL  IT  CAME  Tod  Andrews,  Tina  Carver.  Di- 
rector Jack  Milner.  Director  Dan  Milner.  Producer 
Jack  Milner.  Horror.  Monster  threatens  to  destroy 
American  scientists.    75  min. 

PORTLAND  EXPOSE  Barry  Sullivan.  Edward  Binns. 
Producer  Lindsley  Parsons.  Director  Harold  Shuster. 
Melodrama.  Gangster  runs  wild  in  the  Pacific  North- 
west.   72  min. 

BADGE  OF  MARSHAL  BRENNAN  Jim  Davis,  Arleen 
Whelan,  Lee  Van  Cleef.  Producer-Director  Albert  C. 
Gannaway.  Western.  Wanted  man  posing  as  a  mar- 
shal saves  town. 


September 


DEATH  IN  SMALL  DOSES  Peter  Graves,  Mala  Powers, 
Chuck  Conners.  Producer  R.  Heermance.  Director  J. 
Newman.  Melodrama.  Investigator  cracks  ring  selling 
illegal  pills  to  truckers.  74  minutes. 
GUN  BATTLE  AT  MONTEREY  Sterling  Hayden,  Pamela 
Duncan,  Ted  de  Corsia.  Producer  D.  J.  Grut.  Director 
Sidney  Franklin,  Jr.  Melodrama.  Outlaw  leaves  buddy 
to  die,  thinking  him  dead.  76  minutes. 
NAKED  IN  THE  SUN  Eastman  Color.  James  Craig,  Lita 
Milan,  Barton  MacLane.  Producer-director  R.  John 
High.  Drama.  Story  of  Osceola,  Warrior  Chief  of  the 
Seminole  nation,  the  woman  he  loved,  and  the  war  that 
was  never  won.    72  min. 

TEENAGE  DOLL  June  Kenney,  Fay  Spain,  John  Brink- 
ley.  Producer-Director  Roger  Cormdn.  A  drama  of 
teenage  gang  warfare.    71  min. 

UNDERSEA  GIRL  Mara  Corday,  Pat  Conway,  Florence 
Marly.  Producer  Norman  Herman.  Adventure.  Skin 
divers  solve  mystery  of  lost  naval  shipment.    46  min. 


October 


AFFAIR  IN  HAVANA  John  Casavetes,  Raymond  Eurr, 
Sara  Shane.  A  Dudley  Production.  Director  Laslo 
Benedek.  Drama.  Young  American  composer  becomes 
involved  with  the  wife  of  a  wealthy  Cuban  tycoon  who 
is  a  helpless  paralytic.   80  min. 

LOOKING  FOR  DANGER  Huntz  Hall,  Stanley  Clements. 
Producer-director  Richard  Heermance.  Melodrama. 
Bowery  Boys  booby-trap  holdup  man.  61  min. 
WALK  TALL  CinemaScope,  Color.  Joel  McCrea,  Vir- 
ginia May*.  Producer  Walter  Mirisch.  Director  Thomas 
Carr.  Western.  Cewbey  helps  open  Colorado  to  set- 
tlers.   II  min. 

November 

HONG  KONG  INCIDENT  Jack  Kelly,  May  Wynn.  Pro- 
ducer J.  Raymond  Friegen.  Director  Paul  F.  Heard. 
Drama.  East-West  romance  with  Hong  Kong  as  back- 
ground. 81  min. 

HUNCHBACK  OF  NOTRE  DAME,  THE  CinemaScope, 
Color.  Gina  Lollobrigida ,  Anthony  Ouinn.  A  Paris 
Production.  Director  Jean  Delannoy.  Drama.  Hunch- 
back falls  in  love  with  beautiful  gypsy  girl.  88  min. 
SABU  AND  THE  MAGIC  RING  DeLuxe  Color.  Sabu. 
Daria  Massey.  Robert  Shafto.  Producer  Maurice  Dike. 
Director  George  Blair.  Adventure.  Stable  boy  finds 
magic  ring.  65  min. 

December 

BARBARIANS,  THE  Pierre  Cressoy,  Vittorio  Sanitoli, 
Helen  Remy.  Producer  William  Piior.  Director  Fer- 
rucio  Cerio.  Drama.  Sacking  of  16th  Century  Rome 
by  Spanish  hordes.    80  min. 

NEW  DAY  AT  SUNDOWN  CinemaScope  Color  George 
Montgomery,  Randy  Stuart,  Susan  Cunrwnings.  Producer 
Scott  R.  Dunlap.  Director  Paul  Landres.  Western.  Be- 
lieved to  be  agent  for  railroad,  hero  becomes  a 
marked  man.  82  min. 

UP  IN  SMOKE  Huntz  Hall.  Producer  Richard  Heer- 
mance. Director  William  Beardine.  Comedy.  Bowery 
Boys  become  involved  in  horse  race  betting.    62  min. 

Coming 

BEAST  OF  BUDAPEST  Michael  Mills,  Greta  Thyssen, 
Violet  Reasing.  Producer  Archie  Mayo.  Diree-tor  Har- 
mon Jones.  Drama  of  freedom  fighters  in  Budapest. 
COLE  YOUNGER,  GUNFfGHTER  CinemaScope.  Deluxe 
Color.  Frank  Lovejoy.  Producer  Ben  Schwalb.  Director 
R.  G.  Springsteen.  Western.  Rebellion  against  carpet- 
bag rule  in  Texas. 

CRY    BABY    KILLER,    THE    Producer    Roger  Corman. 

Drama.  Juvenile  killer  on  a  crime  spree. 
ON  THE  MAKE  Huntz  Hall.  Producer  Richard  Heer- 
mance. Director  William  Beaudine.  Comedy.  Interna- 
national  smugglers  make  Hall  fall  guy  in  robbery. 
OREGON  PASSAGE  CinemaScope.  Deluxe  Color.  John 
Ericson.  Produced  Lindsley  Parsons.  Director  Paul 
Landres.  Western.  Fight  against  Indian  uprisings  in 
Oregon  Territory. 


AMERICAN   INTN'L  PICTURES 


August 

Producer    Quentin  Reynolds. 

REFORM  SCHOOL  GIRLS  Gloria  Castillo,  Ross  Ford. 
Producers  Samuel  Arkoff  and  Robert  Gurney,  Jr.  Di- 
rector Ed  Earnds.  Melodrama.  71  min. 

ROCK  AROUND  THE  WORLD  Tommy  Steele.  Nancy 
whiskey.  Producer  Herbert  Smith.  Director  Gerard 
Bryant.  Musical.  71  min. 


September 


September 


AMAZING  COLOSSAL  MAN,  THE  Glenn  Langan, 
Cathy  Downs,  William  Hudson.  Producer-Director  Bert 
I,  Gordon.  Horror.  80  min. 

CAT  GIRL,  THE  Barbara  Shelley,  Robert  Ayres.  Kay 
Callard.  Producer  Lou  Rusoff.  Director  William  Shaugn- 
essy.  Horror.  6?  min. 

October 

MOTORCYCLE  GANG  Steve  Terrell.  John  Ashley, 
Frank  Gorshin.  Producer  Alex  Gordon.  Director  Edward 
L.  Cahn.  Melodrama. 

SORORITY  GIRLS  Sysan  Cabot,  Dick  Miller,  Barboura 
Morris.   Producer-Director  Roger  Corman.  Melodrama. 

November 

BLOOD  OF  DRACULA  Sandra  Harrison,  Louise  Lewis. 
Gail  Conley.  Poducer  Merman  oChen.  Director  Htrbert 
L.  Strock. 


VIKING  WOMEN,  THE  Abby  Dalton,  Susan 
Brad  Jackson.  Producer-Director  Roger  ( 
Science-Fiction. 

December 

BATTLE  FRONT  Producer  Lou  Rusoff.  Adventure. 


Coming 

VOODOO   WOMAN    Maria    English,   Tom  Conway. 


COLUMBIA 


July 

FIRE  DOWN  BELOW  CinemaScope,  Technicolor.  Rita 
Hayworth,  Robert  Mitchum,  Jack  Lemmon.  A  War- 
wick Production.  Director  Robert  Parrish.  Drama. 
Cargo  on  ship  is  ablaze.  Gravity  of  situation  it  in- 
creased by  highly  explosive  nitrate.  116  min. 

20  MILLION  MILES  TO  EARTH  Joan  Taylor,  William 
Hopper.  Director  Juran.  Science-fiction.  82  min. 

TORERO  Luis  Pracuna,  Manolete,  Carlos  Arruza.  Pro- 
ducer Manuel  Ponce.  Director  Carlos  Velo.  Drama. 
A  man's  fight  against  fear.    Bullfight  setting.    75  min. 

27TH  DAY.  THE  Goto  Barry.  Valeria  Freich.  Producar 
Mofen    Aloaworfh.    Director    William    Aider.  Sclenco- 


August 


YOUNG  DON T  C*Y,  THE  Sal  Mineo.  Jamat  Whitmore. 
Producer  P.  Wexmaa  Director  Alfred  Worker.  Drama. 
Life  in  a  southern  orphanage.    89  pain. 

JEANNE  EAGELS  Kim  Novak,  Jeff  Chandler.  A  George 
Sidney  Production.  Stormy  account  of  an  actress  who 
became  a  legend.  Drama.  114  min.  7/22 

NO  TIME  TO  BE  YOUNG  Robert  Vaughn,  Merry 
Anders.  Producer  Wallace  MacDonald.  Djrector  David 
Rich.  Youth  expelled  for  neglecting  college  studies. 
82  min. 

PICKUP  ALLEY  Cinemascope.  Victor  Mature.,  Anita 
Ekberg,  Trevor  Howard.  A  Warwick  Production.  Direc- 
tor John  Gilling.  Drama.  Story  of  international  dope 
runners.  92  min. 

3:10  TO  YUMA  Glenn  Ford,  Felicia  Farr,  Van  Heflin. 
Producer  David  Heilwell.  Director  Delmer  Daves.  West- 
ern. Cowboy  robs  stagecoach  then  poses  as  one  those 
robbed.    92  min. 

TOWN  ON  TRIAL  John  Mills,  Charles  Coburn.  Pro- 
ducer Maxwell  Setton.  Director  John  Guillerman.  Young 
girl  is  murdered.    Melodrama.   96  min. 


BROTHERS  RICO  THE  Richard  Conte,  Kathryn  Grant 
Dianne  Foster.  Producer  Lewis  Rachmil.  Director  Phii 
Karlson.  Drama.  Former  racketeer,  trying  to  go 
tar'n'  ?xp0SeS  or9anilat;°n  when  they  push  him  too 

PARSON  AND  THE  OUTLAW,  THE  Sonny  Tufts  An- 
thony Dexter,  Marie  Windsor.  Producer  Robert  Gilbert 
Director  Oliver  Drake.  Billy  the  Kid  tries  to  become 
law-abiding  citizen.  71  min. 

WOMAN  OF  THE  RIVER  Technicolor.  Sophia  Loren 
foerald  Oury,  Lise  Bourdin.  Producer  DeLauretiis  and 
Ponti.  Director  Mario  Soldati.  Beautiful  peasant  girl 
who  breaks  smuggling  ring.  98  min. 

October 

DOMINO  KID  Rory  Calhoun,  Kristine  Miller  Producers 
Rory  Calhoun  and  Victor  M.  Orsatti.  Director  Rav 
Nazzaro.  Western.  73  min.  Civil  War  hero  returns 
seeking  vengeance  on  outlaws  who  killed  his  father 
74  min. 

PAPA,  MAMA,  THE  MAID  AND  I  Robert  Lamouraux 
Gaby  Morlay,  Nicole  Courcel.  Director  Jean-Paul  La 
Chanon  Comedy.  The  lives  of  a  typically  Parisian 
family.  94  mm.  9/17. 

STORY  OF  ESTHER  COSTELLO  Joan  Crawford 
Rossano  Brazzi.  Heather  Sears.  John  and  James  Woolf 
producers.  Director  David  Miller.  Drama.  Unscrupulous 
people  exploit  blind  girl  for  profit.  103  min.  9/30. 
TIJUANA  STORY.  THE  Rodolfo  Acosta.  James  Darren 
Robert  McOueeney.  Producer  Sam  Katzman.  Director 
Leslie  Kardos.  Drama.  Editor  wages  fight  against  vice 
lords  in  community. 

Coming 

ADMIRABLE  CRICHTON.  THE  Technicolor.  Kenneth 
More.  Diane  Cilento.  Cecil  Parker.  Producer  Ian  Dal- 
rymple.  Director  Lewis  Gilbert.  Drama.  The  story  of  a 
famous  butler  in  the  I900's.    94  min. 

BITTER  VICTORY  CinemaScope.  Technicolor  Richard 
Burton,  Curd  Jurgens,  Raymond  Pellegrin.  Producer 
Paul  Graetz.  Director  Nick  Ray.  W.  W.  II.  97  min 
BRIDGE  OVER  THE  RIVER  KWAI,  THE  William  Holden 
Alec  Guinness,  Jack  Hawkins.  Producer  Sam  Spiegel' 
Director  David  Lean.  Drama.  British  soldiers  held  in 
prison  camp. 

DECISION  AT  SUNDOWN  Randolph  Scott  Valerie 
French,  Karen  Steele.  Producer  Harry  Joe  Brown  Di- 
rector Budd  Boetticher.  Climax  of  a  3-year  hunt  for 
the  man  who  stole  his  wife. 

FORTUNE  IS  A  WOMAN  Jack  Hawkins  Arlene  Dahl 
Dennis  Price.  Producers  Frank  Launder  and  Sidney 
Gilliat.    Director  Sidney  Gilliat. 

GODDESS,  THE  Kim  Stanley,  Lloyd  Bridges.  Producer 
Milton  Perlman.  Director  John  Cromwell. 
HARD  MAN,  THE  Guy  Madison,  Valerie  French  Lome 
Green.  Producers  Wallace  MacDonald  and  Helen  Ains- 
worth.  Director  George  Sherman.  Western.  Deputy 
out  to  prove  he  is  not  a  killer. 

HAUNTED,  THE  Dana  Andrews.  Producer  Hal  E.  Ches- 
ter. Director  Jacques  Tourner. 

HIGH  FLIGHT  CinemaScope,  Technicolor  Ray  Mil- 
land,  Sean  Kelly,  Kenneth  Haight.  Producers  Irving 
Allen  and  A.  R.  Irocolli.  Director  John  Gilling. 
LONG  HAUL.  THE  Victor  Mature,  Diana  Dors  Peter 
Reynolds.  Producer  Maxwell  Setton.  Director  Ken 
Hughes. 

NIGHT  OF  THE  DEMON  Dana  Andrews.    Producer  Hal 

E.  Chester.    Director  Jacques  Tourneur. 

OPERATION  MAD  BALL  Jack  Lemmon  Kathryn  Grant 
Mickey  Rooney.  Producer  Jed  Harris.  Director  Rich- 
ard Quine.  Comedy.  Private  faces  court-martial  while 
involved  in  a  romance.    105  min. 

PAL  JOEY  Technicolor.  Frank  Sinatra,  Rita  Hayworth, 
Kim  Novak.  Producer  Fred  Kohlman.  Director  George 
Sidney.  Musical.  Filmization  of  the  Rodgers  and  Hart 
Broadway  hit.    Ill  min.  9/14. 

REM.'NISCENCES  OF  A  COWBOY  Glenn  Ford,  Jack 
Lemmon,  Anna  Kashfi.  Western.  Free-spending  cow- 
boy  helps  friend  save  cattle. 

RETURN  TO  WARBOW  Color.  Phil  Carey,  William  Les- 
lie, Catherine  McLeod.  Producer  Wallace  MacDonald 
Director  Ray  Nazzaro. 

SHE  PLAYED  WITH  FIRE  Jack  Hawkins,  Arlene  Dahl. 
Producers  Frank  Launder-Sidney  Gilliat.  Director  Sid- 
ney Gilliat.    Drama.    Story  of  an  arsonist.    95  min. 

SUICIDE  MISSION  Leif  Larson,  Michael  Aldridge,  Atla 
Larse».  A  North  Seas  Film  Production.  Director 
Michael  Forlong.  Adventure.  Norwegian  fishermen 
smash  German  blockade  in  World  War  II.  70  min. 
THIS  BITTE*  EARTH  Silvana  Mangano,  Richard  Conte, 
Anthony  Perkins.  Producer  Dino  De  Laurentiis.  Direc- 
tor Rena  Clement.  Drama.  Family  fights  to  keep  land. 
TRIAL  OP  CAPTAIN  BARRETT,  THE  Edmond  O'Brien 
Mona  Freeman,  Karin  Booth.  Producer  Sam  Katzman. 
Director  Fred  F.  Sears. 


Film     BULLETIN  —  THIS     IS     YOUR  PRODUC 


OCTOBER  SUMMARY 

Features  scheduled  for  October  release 
number  29.  United  Artists  will  be  the 
leading  supplier  with  four  films.  Allied 
Artists.  Columbia,  Paramount  and  Univer- 
sal-International will  release  three  films 
each;  American  International,  Metro, 
Rank,  20th  Century-Fox.  Republic  and 
Warner  Bros,  will  release  two  each.  Inde- 
pendent distributors  will  release  three 
fj|ms — one  each  from  Trans-Lux,  Conti- 
nental and  Zenith.  Color  films  total  seven. 
Five  features  will  be  in  CinemaScope, 
four  in  VistaVision  and  two  in  Naturama. 
14  Dramas  2  Science-Fiction 

4  Comedies  1  Adventure 
2  Westerns  1  Horror 

5  Melodramas 


INDEPENDENTS 


August 

MAID  IN  PARIS  (Continental!  Oany  Robin.  Daniel 
Gelin.  Producer  Yvon  Guezel.  Directed  by  Gaspard 
Huit.  Comedy.  A  daughter  rebels  against  her  actress 
mother.  83  min. 

MARCELI NO  I  United  Motion  Picture  Organiiation ) 
Pablito  Calvo,  Rafael  Rivelles.  Juan  Calvo.  Director 
Ladislao  Vajda.  Based  on  an  old  legend  about  a  boy 
saint.  90  min. 

PERRI  IBuena  Vista)  Technicolor.  Producer  Winston 
Hibler.  Directors  Paul  Kenworthy  and  Ralph  Wright 
A  true-life  fantasy  by  Walt  Disney.  The  life  story  of  a 
Pine  Squirrel  named  "Perri".    75  men.  7/2. 

September 

BED  OF  GRASS  ITrans-Lux)  Anna  Brazzou,  Mike 
Nichols.  Vera  Katri.  Producer-Director  Gregg  Tallas. 
Drama.  92  min. 

CARTOUCHE  IRKOI  Richard  Basehart,  Patricia  Roc. 
Producer  John  Nasht.  Director  Steve  Sekely  Adventure. 
The  story  of  a  lutty  adventurer  during  the  reign  of 

Louis  XVI.  73  min. 

GUN  GIRLS  lAstorl  Jeanne  Ferguson,  Jean  Ann  Lewis. 
Producer  Edward  Frank.  Director  Robert  Derteano. 
Drama.  Gang  girls  on  the  loose.  47  min. 
PASSIONATE  SUMMER  IKingsley)  Madeleine  Robinson. 
Magali  Noel,  Raf  Vallons.  Produced  by  Les  Films 
Marceau.  Director  Charles  Brabant  Drama.  Conflict- 
ing passions  between  three  women  and  a  man,  iso- 
lated or.  a  rugged  farm  in  a  mountainous  French 
province.  98  min. 

October 

BROTHERS  IN  LAW  (Continental  I  Ian  Carmichel.  Rich- 
ard Attenborough.  Jill  Adams.  Producer-director,  the 
Boulting  Bros.  Comedy.  Adventures  of  a  young  lawyer. 
95  min. 

FOUR  BAGS  FULL  (Trans-Lux)  Jean  Gabin.  Bourvil, 
Jeannette  Batti.  A  Franco  London  Production.  Director 
Claude  Autant-Lara.  French  Black  Market  Drama.  84 
VIRTUOUS  SCOUNDREL.  THE  (Zenith  Amusement 
Enterprises!  Michel  Simon.  Producer-Director  Sacha 
Guitry.  A  comedy  of  irony  which  pokes  a  satirical 
finger   into   the    pretensions   of    Parisian    high  society. 

November 

A  MAN  ESCAPED  (Continental  Distributing)  Francois 
Leterrier.  Charles  Leclainche.  Maurice  Beerblock.  Pro- 
ducers Jean  Thullier  and  Alain  Poire.  Director  Robert 
Bresson.  French  Drama.  94  min. 

TEENAGE  BAD  GIRL  (DCAI  Sylvia  Syms,  Anna  Neagle. 
Producer-Director  Herbert  Wilcox.  Juvenile  Delin- 
quents. 

TEENAGE   WOLF   PACK    (DCAI    Juvenile  Delinquents. 

December 

OLD  TELLER  (Walt  Disney  Productions)  Dorothy  Mc- 
Guire,  Fess  Parker,  Chuck  Connors.  Producer  Walt 
Disney.  Director  Robert  Stevenson. 

SILKEN  AFFAIR,  THE  (DCA)  David  Niven.  Genevieve 
Page,  Ronald  Squire.  Producer  Fred  Feldkamp.  Direc- 
tor Roy  Kellino.  English  Comedy.  94  min. 

Coming 

A  TIME  TO  KILL  I  Producers  Associated  Pictures  Co.) 
Jim  Davis,  Don  Megowan,  Allison  Hayes.  Producer  Pat 
Betz.  Director  Oliver  Drake. 

BRAIN  FROM  PLANET  AROUS,  THE  ( Howco-Marquette 
■for  Howco  International  releasel  John  Agar,  Joyce 
Meadows,  Robert  Fuller.  Producer  Jacques  Marquette. 
Director  Jerry  Juran. 

BUFFALO  GUN  Wayne  Morris.  Don  Barry.  Mary  Ellen 
Kaye.  Producer  Al  Milton.  Director  Albert  C.  Ganna- 
way. 

CITY  OF  WOMEN   (Associated)   Ota   Massen  Robert 
Mutton    Maria  Palmar.  Producer-director  Boris  Patroff. 
Drama.  From  a  novel  by  Stephen  Longifreat. 
COOL  AND  THE  CRAZY.  THE   (Imperial)    Scott  Mar- 
lowe, Gigi   Perreau.   Producer  Elmer  Rhoden,   Jr.  Di- 
rector William  Whitney.  Story  of  teenage  violence. 
DAY  OF  THE  TRUMPET,  THE  IC.  Santiago  Film  Organi- 
iation  Prod.)    John  Agar,   Richard  Arlen,   Bill  Phipps. 
Producer  Harry  Smith.  Director  Eddie  Romero. 
DREAM    MACHINE,   THE    (Amalgamated    Prods.)  Rod 
Cameron,  Marty  Murphy,  Peter  llling.  Producers  Rich- 
ard  Gordon   and   Charles   Vetter,    Jr.    Director  Mont- 
gomery Tully. 

ESCAPADE    IDCA)    John   Mills,   Yvonne   Mitchell.  Ala- 
stair  Sim.   Producer  Daniel   M.  Angel.   Director  Philip 
Leacock.  Comedy  Drama.  87  min. 
min.  9/14. 

GARDEN  OF  EDEN  (Excelsior)  Jamie  O'Hara.  Mickey 
Knox,  R.  G.  Armstrong.  Director  Max  Nosseck.  Pro- 
ducer Walter  Bibo.  Drama.  The  happenings  in  a 
Florida  nudist  colony.  70  min. 

IL  GRIDO  (Robert  Alexander  Prods.)  Steve  Cochran, 
Betsy  Blair.  Allida  Valli.  Producer  Harrison  Reader. 
Director  Michelangelo  Antonioni. 

IT  HAPPENED  IN  THE  PARK  I  Ellis  Films)  Vittorio  De 
Sica,  Gerard  Philipe,  Micheline  Presle.  Produced  by 
Astoria  Film.  Director  Gianni  Franciolini.  Five  short 
sketches  showing  happenings  within  the  garden  and 
park.  94  min.  9/2. 

LIGHT  ACROSS  THE  STREET.  THE  IUMPO)  Brigitte 
Bardot,  Raymond  Pellegrin,  Roger  Pigaut.  Producer 
Jacques  Gauthier.  Director  Georges  Lacombe.  Drama. 
A  French  husband  and  wife  try  to  live  without  normal 
sex  relations,  after  the  husband  had  a  near-fatal  acci- 
dent. 74  min. 

LAST  BRIDGE,  THE  (Union  Film  Distributors)  Maria 
Schell,  Bernhard  Wicki,  Barbara  Rutting.  A  Cosmopol 
Production.  Director  Helmut  Kautner.  Austro-Yugoslav 
Film.  90  min. 


RAISING  A  RIOT  (Continental)  Kenneth  More.  Shelagh 
Fraier,  Mandy  Producer  Ian  Dalrymple  Director 
Wendy  Toye.  English  comedy.  90  min. 

REMEMBER.  MY  LOVE  I  Artists-Producers  Assoc.  I  Cine- 
maScope, Tachnkoaor.  Michael  Redgrave,  Mel  Farrar. 
Anthony  Quale.  Musical  drama.  Producer-director 
Michael  Powell,  Emerle  Pressburger.  Based  on  Strauss' 
"Die  Redermaui". 

WOMAN  AND  THE  HUNTER  I  Gross-Krasna  and  Kenya 
Prods.)  Ann  Sheridan,  David  Farrar.  Jan  Merlin.  Pro- 
ducer-director George  Breakston. 


METRO-GOLDWYN -MAYER 


LOST  CONTINENT  IIFE)  CinemaScope.  Ferranicolor. 
Producer-director  Leonardo  Bonii.  An  aicursion  into  the 
wilds  of  loniao  and  the  Maylayan  Archecelago.  Eng- 
lish commentary.  14  min. 

MISSOURI  TRAVELER.  THE  Brandon  DeWilde.  Fess 
Parker. 

NEAPOLITAN  CAROUSEL  IIFE)  ILui  Film,  Rome  Pathe- 
eolor.  Print  by  Technicolor.  Sophia  Loren,  Leoaide 
Mesiine.  Director  Ettore  Gienniai.  Musical  The  hittary 
of  Naples  traced  from  1400  to  data  in  song  and  dance. 

August 

DECISION  AGAINST  TIME  Jack  Hawkins.  Elizabeth 
Sellars.  Producer  M.  Balcon.  Director  C.  Crichton. 
Adventure.  Test  pilot  attempts  to  land  disabled  plane. 
87  min.  7/22. 

GUN  GLORY  CinemaScope,  MetroColor.  Stewart 
Granger,  Rhonda  Fleming.  Producer  N.  Nayfack.  Di- 
rector Roy  Rowland.  Western.  Ex-outlaw  is  tormented 
by  his  former  reputation  as  a  killer.   89  min. 

TIP  ON  A  DEAD  JOCKEY  CinemaScope.  Robert  Taylor, 
Dorothy  Malone,  Gia  Scala.  Producer  Edwin  Knoph 
Director  Richard  Thorp.  Melodrama.  International 
police  track  down  smugglers.  109  min.  9/2. 

September 

ACTION  OF  THE  TIGER  CinemaScope.  Eastman  Color. 
Van  Johnson,  Martine  Carol.  Gustave  Rocco.  A  Clar- 
idge  Production.  Director  Terence  Young.  Drama.  Beau- 
tiful girl  seeks  help  of  contraband  runner  to  rescue 
brother  from  Communists.  94  min. 

HIRED  GUN,  THE  CinemaScope.  Gil  McCord,  Ellen 
Beldon,  Kell  Beldon.  Producers  Rory  Calhoun  and  Vic- 
tor M.  Orsatti.  Director  Ray  Nazzaro.  Western.  44 
min.  9/14. 

LES  GIRLS  CinemaScope,  MetroColor.  Gene  Kelly, 
Mitzi  Gaynor,  Kay  Kendall.  Producer  Sol  C.  Siegel. 
Director  George  Cukor.  Musical.  Dancing  troupe  tour- 
ing Europe.  114  min.  9/30. 

HOUSE  OF  NUMBERS  CinemaScope.  Jack  Palance, 
Barbara  Lang.  Producer  Charles  Schnee.  Director 
Russell  House.  Melodrama.  Law-abiding  citizen  at- 
tempts to  engineer  San  Quentin  escape  for  his  brother. 
92  min.  7/8. 

October 

INVISIBLE  BOY,  THE  Richard  Eyer.  Philip  Abbott, 
Diane  Brewster.  Producer  Nicholas  Nayfack.  Director 
Herman  Hoffman.  Science-fiction.  Sequel  to  "Forbid- 
den Planet". 

UNTIL  THEY  SAIL  CinmeaScope.  Jean  Simmons,  Joan 
Fontaine,  Paul  Newman.  Producer  Charles  Schnee.  Di- 
rector Robert  Wise.  Drama.  James  A.  Michener  story 
U.S.   troops   in    New   Zealand    during    World    War  I. 

Coming 

BROTHERS  KARAMAZOV,  THE  MetroColor.  Yul  Bryn- 
ner,  Maria  Schell,  Claire  Bloom.  Producer  Pandro  S. 
Berman.  Director  Richard  Brooks.  Based  on  famous 
novel  by  Dostoyevsky. 

CRY  TERROR  James  Mason,  Inger  Stevens,  Rod  Steiger. 
Producer-director  Andrew  Stone. 

DON'T  GO  NEAR  THE  WATER  CinemaScope,  Metro- 
Color.  Glenn  Ford,  Gia  Scala,  Keenan  Wynn.  Producer 
Lawrence  Weingarten.  Director  Charles  Walters. 
Comedy.  Story  of  a  South  Seas  naval  base  during 
World  War  I. 

HAPPY  ROAD,  THE  Gone  Kelly,  Michael  Redgrave, 
Barbara  Laaga.  A  Kerry  Production.  Directors,  Gone 
Kally,  Noal  Coward.  Drama.  Two  children  run  away 
from  boarding  hchool  to  find  their  respective  parents. 
100  min.  2/4. 

I  ACCUSE  Jose  Ferrer,  Viveca  Lindfors,  Leo  Genn. 
Producer  Sam  Zimbalist.  Director  Jose  Ferrer.  Drama. 
French  officer  unjustly  accused  of  treason. 
JAILHOUSE  ROCK  Elvis  Presley,  Judy  Tyler.  Producer 
Pandro  Berman.  Director  Richard  Thorpe.  Musical- 
drama.  Youth's  singing  talent  is  fostered  in  prison. 
LIVING  IDOL,  THE  CinemaScope,  Eastman  Color. 
Stave  Forrest,  Lilliane  Monteveechi.  Producer-director 
AJ  Lewia.  Drama.  An  archeologist  is  faced  with  an  un- 
worldly situation  that  threatens  the  safety  of  hit 
adopted  daughter.    101  min.  5/13. 

MERRY  ANDREW  CinemaScope,  Metrocolor.  Danny 
Kaye,  Pier  Ageli,  Baccpopmo.  Producer  Sol  C.  Siegel. 
Director  Michael  Kidd. 

RAINTREE  COUNTY  MetroColor.  MGM  Camera  45. 
Elizabeth  Taylor,  Montgomery  Clift.  Producer  David 
Lewis.  Director  Edward  Dymtryke.  Drama.  Life  in  Indi- 
ana during  the  middle  1880  s.  185  min. 
SADDLE  THE  WIND  Robert  Taylor,  John  Cassavetes. 
Julie  London.  Producer  Armand  Deutsch.  Director 
Robert  Parrish. 

SEVEN  HILLS  OF  ROME  LeCloud  Productions.  Mario 
Lanza,  Marisa  Allasio.  Producer  Lester  Welch.  Director 
Roy  Rowland. 


PARAMOUNT 


August 

LOVING  YOU  VistaVision  Technicolor.  Elvis  Presley, 
Lizabeth  Scott,  Wendell  Corey.  Producer  Hal  Wallis. 
Musical.  Director  Hal  Kanter.  Small-town  boy  makes 
good  in  big-time  show  business.  101  min.  7/22. 
OMAR  KHAYYAM  VistaVision,  Technicolor.  Cornel 
WWde.  Michael  Rennie,  Dabra  Paget.  Producer  Frank 
Freeman  Jr.  Director  William  Dieterle.  Adventure- 
The  life  and  times  of  medieval  Persia's  literary  idol. 
103  min. 

September 

MR.  ROCK  AND  ROLL  Alan  Freed,  Rocky  Graziano. 
Lois  O'Brien.  Producers  Serpe  and  Kreitsek.  Director 
Charles  Dubin  Musical.  Disc  jockey  establishes  au- 
thenticity of  rock  and  roll.   84  min. 

STOWAWAY  GIRL  Trevor  Howard,  Elsa  Martinell. 
Pedro  Armandariz.  Producer  Ivan  Foxwell.  Director 
Guy  Hamilton.  Drama.  A  beautiful  girl  stows  away  on 
a  tramp  steamer.  93  min.  9/30. 

SHORT  CUT  TO  HELL  VistaVision.  Robert  Ivers.  Wil- 
liam Bishop,  Georgann  Johnson.  Producer  A.  C.  Lyles. 
Director  James  Cagney.  Drama.  Story  of  a  profes- 
sional killer  with  a  gun  for  hire.  87  min. 

October 

HAIRPIN  DEVIL'S,  THE  VistaVision,  Technicolor.  Cornel 
Wilde,  Jean  Wallace,  Mary  Astor.  Producer-director 
Cornel  Wilde.  Adventure.  Story  which  deals  with 
sports  car  racing.  82  min. 

JOKES  IS  WILD.  THE  VistaVision,  Technicolor.  Frank 
Sinatra,  Mltxi  Gaynor,  Jeanne  Craln.  Producer  Samuel 
Brwhm.  Director  Charles  Vkfor.  Drama.  Film  biography 

of  Joe  E.  Lewis,  nightclub  comedian.  123  min.  9/2. 
HEAR  ME  GOOD  Hal  March,  Joe  E.  Ross,  Merry 
Anders.  Producer-Director  Don  McGuire.  Comedy. 
Broadway  con-men  hounded  by  creditors. 

November 

TIN  STAR.  THE  VistaVision.  Henry  Fonda,  Anthony 
Parkins.  A  Perlherg-Seaton  Production.  Director  An- 
thony Mann.  Outdoor  drama.  Bounty-hunting  in  the  old 
west.  93  min. 

ZERO  HOUR  Dana  Andrews,  Sterling  Hayden.  Pro- 
ducers John  Champion  and  Hall  Bartlett.  Director  Hall 
Bartlett.  Drama.  A  man  battles  for  his  life  and  love. 

December 

SAD  SACK  VistaVision.  Technicolor.  Jerry  Lewis.  David 
Wayne.  Producer  Hal  Wcllis.  Director  George  Mar- 
shall. Comedy.  Life  in  the  Army. 

Coming 

A  WOMAN  OBSESSED  VistaVision  Anna  Magnani.  An- 
thony Ouinn.  Producer  Hal  Wallis.  Director  George 
Cukor. 

DESIRE  UNDER  THE  ELMS  Sophia  Loren.  Anthony  Per- 
kins. Burl  Ives.  Producer  Don  Hartman.  Director  Del- 
bert  Mann.  Drama.  Emotional  conflicts  of  a  farmer, 
his  son  and  his  second  wife. 

FLAMENCA  VistaVision.  Color.  Carmen  Sevilla.  Rich- 
ard Kiley.  Producer  Bruce  Odium.  Director  Donald 
Siegel. 

HOT  SPELL  VistaVision  Shirley  Booth.  Anthony  Quinn. 
Shirley  MacLaine.  Producer  Hal  Wallis.  Director  Dan- 
iel Mann.  Drama.  The  disintegration  of  a  Southern 
family  during  a  torrid  heat  wave. 

HOUSEBOAT  VistaVision.  Technicolor.  Cary  Grant. 
Sophia  Loren.  Producer  Jack  Rose.  Director  Melville 
Shavelson.  Maid  reunites  family  and  becomes  wife  of 
master. 

MATCHMAKER,  THE  VistaVision.  Shirley  Booth,  An- 
thony Perkins,  Shirley  MacLaine.  Producer  Don  Hart- 
man.  Director  Joseph  Anthony.  Comedy.  Lovable 
widow  becomes  matchmaker  for  herself. 


Film     BULLETIN  —  THIS     IS     YOUR  PRODUCT 


Coming 


SPANISH  AFFAIR  VistaVision,  Technicolor.  Carmen 
SerlNa,  Richard  Kiley.  Producer  Bruce  Odium.  Director 

Donald  Sieqel.  Adventure.  An  American  architect 
travelling  in  Spain  is  attracted  to  a  beautiful  girl, 
half-Gypsy.  half-Spanish. 

TEACHER'S  PET  VistaVision.  Clark  Gable,  Doris  Day. 
A  Pearlberg-Seaton  Production.  Director  George  Sea- 
ton.  Comedy.  Tough  newspaper  editor  and  college 
journalism  teacher  have  a  ball. 

TEN  COMMANDMENTS,  THE  VistaVision  Technicolor. 
Charlton  Helton,  Yul  Brynner.  Anne  Bai»«r.  Producer- 
director  Cecil  B.  DeMille.  Religious  drama.  Life  iter* 
of  Moset  as  told  in  the  Bible  and  Koran.  219  min.  10/15 
WILD  IS  THE  WIND  VistaVision.  Anna  Magnani  An- 
thony Oumn.  Producer  Hal  Wallis.  Director  John 
Sturges.  Drama.  Love,  hate,  and  violence  on  a  Nevada 
sheep  ranch. 


July 

?!"A?K  JENT'  THE  Technicolor.  VistaVision.  Anthony 
Steel,  Donald  Sinden.  Producer  William  MacQuitty 
Director  Brian  D.  Hurst.  Man  searches  for  brother 
among  people  of  Bedouin.  85  min.  7/22 

THIRD  KEY,  THE  Jack  Hawkins,  John  Stratton  Pro- 
ducer Michael  Balcon.  Director  Charles  Frend.  Melo- 
drama. Supermtendant  of  Scotland  Yard  is  assigned 
to  investigate  a  London  safe  robbery.  84  min. 

TRIPLE  DECEPTION  Technicolor.  VistaVision.  Michael 
Craig,  Julia  Arnall.  Producer  Vivian  A  Cox  Director 
Guy  Green.  Melodrama.  Story  of  man  who  imper- 
sonates a  Canadian  smuggler.  86  min. 

VALUE  FOR  MONEY  Technicolor,  VistaVision  John 
Gregson,  Diana  Dors.  Producer  Sergei  Nolbandov 
Director  Ken  Annakin.  Comedy.  Well-to-do  man  falls 
love  with  blond  only  to  find  her  interested  in  only 


his  money.  84 


August 


GENTLE  TOUCH,  THE  Technicolor.  George  Baker  Be- 
linda Lee.  Producer  Michael  Balcon.  Director'  Pat 
Jackson.  Drama.  Nurse  and  doctor  fall  In  love  and 
nurse  is  faced  with  making  choice  between  career  or 
marriage.  86  min. 

October 

SPANISH  GARDENER  Technicolor.  VistaVision  Dirk 
Bogarde,  Jon  Whiteley.  Drama.  Producer  John  Bryan 
Director  Philip  Leacock.  Gardener  deverts  affections 
of  boy  from  his  father.  95  min. 

AN  ALLIGATOR  NAMED  DAISY  Technicolor,  Vista- 
Vision. Donald  Sinden,  Diana  Dors.  Producer  Raymond 
Stross.  Director  J.  Lee-Thompson .  Comedy.  Alligator  is 
responsible  for  breakup  between  couple  who  as  a 
result  find  more  suitable  mates.    88  min. 

November 

AS  LONG  AS  THEY'RE  HAPPY  Eastman  Color  Jack 
Buchanan,  Janette  Scott.  Producer  Raymond  Stross. 
Director  J.  Lee-Thompson.  Comedy.  Father  and  two 
sons-in-law  become  jealous  of  crooner  who  has 
charmed  their  wives.  76  min. 

PURSUIT  OF  THE  GRAF  SPEE  Technicolor,  VistaVision 
John  Gregson,  Anthony  Quayle.  Producer-director 
Michael  Powell  &  Emeric  Pressburger.  Adventure  Story 
of  first  historic  naval  action  of  WWI  which  took  place 
on  River  Plate.  106  min 


REPUBLIC 


July 

BEGINNING  OF  THE  END  (AB-PTI  Peter  Graves 
Peggie  Castle,  Morris  Ankrum.  Producer-direct  ir  Bert 
Gordon.  Horror.  Grasshopper  giants  threaten  to  de- 
stroy U.  S.    73  min. 

TAMING  SUTTON'S  GAL  Naturama.  John  Lupton 
Jack  Kelly,  May  Wynn.  Director  Lesley  Selander  Pro- 
ducer William  J.  O'Sullivan.  Drama.  A  young  bank 
71  i mindS  8  931  *he  taCk  h'"  country  °f  California. 
LAST  STAGECOACH  WEST  Naturama.  Jim  Davis 
Mary  Castle,  Victor  Jory.  Producer  Rudy  Ralston.  Di- 
rector Joe  Kane.  Western.  Outlaws  are  stopped  bv 
railroad  detective.  67  min. 

OPERATION  CONSPIRACY  Philip  Friend,  Leslie  Dwyer 
Mary  MacKenne.  Director  Joseph  Sterling.  Producer 
A.  R.  Rawlmson.  Melodrama.  Fashion  reporter  solves 
murder.    6?  min. 

UNEARTHLY.  THE  (AB-PT)  John  Carradine,  Allison 
Hayes  Myron  Healy.  Producer-director  Brooks  Peters 
Transplanted  glands  create  unearthly  monsters.  73  min 
Horror. 

September 

PANAMA  SAL  Naturama.  Elena  Verdugo  Edward 
Kemmer.  Producer  Edward  White.  Director  W.  Wit- 
ney.   Drama.    The  making  of  a  singer.    70  min. 

October 

HELL  CANYON  OUTLAWS  Dale  Robertson,  Brian  Keith, 
Rossana  Rory.  Producer  T.  F.  Woods.  Director  Paul 
Landres.  Western.  Ousted  sheriff  restores  order  to 
town.   72  min. 

WAYWARD  GIRL,  THE  Naturama.  Marcia  Henderson, 
Peter  Walker.  Producer  W.  J.  O'Sullivan.  Director 
Lesley  Selander.  Melodrama.  Daughter  arrested  for 
murder  by  her  stepmother  proves  innocence. 


AMBUSH  AT  INDIAN  PASS  Vera  Ralston,  Antnony 
George.  George  Macready.  Producer  Rudy  Ralston. 
Director  Joe  Kane.  Western.  70  min. 
CROOKED  CIRCLE,  THE  John  Smith,  Fay  Spain,  Steve 
Brodie.  Producer  Rudy  Ralston.  Director  Joe  Kane. 
Drama.  Sports  editor  suspeefs  death  of  fighter  is  mur- 
der.   70  min. 

DEAD  END  STREET  Roland  Culver,  Patricia  Roc,  Paul 
Carpenter. 

FIGHTING  WILDCATS  Kay  Callard,  Karel  Stepanek, 
Ursula  Howells. 

HELL  SHIP  MUTINY  Jon  Hall,  John  Carradine,  Peter 
Lorre.  Lovina  Production. 

LAST  BULLET.  THE  Robert  Hutton,  Mary  Castle, 
Wlchael  O'Connell. 

OUTCASTS  OF  THE  CITY  Osa  Massen,  Robert  Hutton, 
Maria  Palmer. 

PLUNDERERS  OF  ELDORADO  Vera  Ralston.  Anthony 
George.  Producer  Rudy  Ralston.  Director  Joe  Kane. 
RAIDERS  OF  OLD  CALIFORNIA  Jim  Davis,  Arleen 
Whelan,  Faron  Young.  Producer  Albert  C.  Gannaway. 
Western.  Army  officer  determines  to  become  powerful 
landowner. 

STREET  OF  DARKNESS  Robert  Keyes,  John  Close, 
Sheila  Ryan. 

THUNDER  OVER  TANGIER  Robert  Hutton,  Lisa  Gastoni, 

Martin  Benson.  Sunset  Palisades  production. 

WEST    OF    SUEZ    John    Bentley,    Vera    Fusek,  Martin 

Boddey. 

YOUNG  MOTHER  Mary  Webster,  William  Campbell, 
Martha  Scott.  Producer  Edmond  Chevie.  Director  Joe 
Parker. 


20TH  CENTURY-FOX 


July 

ABDUCTORS,   THE  Victor   McLaglen,    Fay   Spain,  Carl 
Thayler.    Producer  R.  Wander.    Director  A.  McLaglen. 
Adventure.  Tale  of  a  plot  to  steal  Aleraham.  80  min. 
A  HATFUL  OF  RAIN  CinemaScope.    Eva  Marie  Saint, 
Don  Murray,  Tony  Franciosa.    Producer  Buddy  Adler. 
Director   Fred  Zinneman.   Drama.   A  dope   addict  de- 
cides to  shake  the  habit.  109  min.  6/24. 
AN    AFFAIR    TO    REMEMBER    CinemaScope  DeLuxe 
Color.     Cary   Grant,    Deborah    Kerr.     Producer  Jerry 
Wald.    Director    Leo    McCarey.    Comedy.  Notorious 
bachelor  falls  for  night  club  singer.  114  min.  7/22. 
APACHE  WARRIOR  Keith  Larsen,  Jim  Davis.  Producer 
P  Skouras.  Director  E.  Williams.  Western.  74  min. 
BERNARDINE  CinemaScope,  Deluxe  Color.  Terry  Moore, 
Pat  Boone,  Janet  Gaynor.  Producer  Sam  Engel.  Direc- 
tor H.  Levin.  Comedy.  Story  of  teenagers.  Filmization 
of  the  Broadway  comedy.  95  min.  7/22. 
COURAGE  OF  BLACK  BEAUTY  Color.  John  Crawford, 
Mimi  Gibson,  John  Bryant.  Producer  Edward   L.  Alper- 
son.  Director  Harold  Schuster.  The  story  of  a  boy  and 
his  horse.  Drama.  77  min. 

GOD  IS  MY  PARTNER  Walter  Brennan,  John  Hoyt, 
Marion  Ross.  Producer  S.  Hersh.  Director  W.  Claxton. 
Drama.  80  min. 


August 


HELL  ON  DEVIL'S  ISLAND  Regalscope.  Helmut  Dan- 
tine.  Donna  Martel,  William  Talman,  Jean  Wiles.  Pro- 
ducer  Lchoolvek.    Director  C.   Nyby.    Adventure.  74 

SEAWIFE  CinemaScope,  Deluxe  Color.  Richard  Bur- 
ton, Joan  Collins.  Producer  Andre  Hakim.  Director  Bob 

McNaught.  Drama.  Ship  is  torpedoed  by  Jap  sub- 
marine off  Singapore  harbor.  82  min. 
WILL  SUCCESS  SPOIL  ROCK  HUNTER  CinemaScope, 
DeLuxe  Color.  Jayne  Mansfield,  Clifton  Webb,  Tony 
Randall.  Producer-director  Frank  Tashlin.  Comedy. 
Filmization  of  the  Broadway  play.  94  min. 


September 


BACK  FROM  THE  DEADRegalscope.  Peggy  Castle, 
Marsha  Hunt,  Arthur  Franz.  Producer  R.  Stabler.  Di- 
rector C.  Warren.    Horror.   79  min. 


77  min. 

DEERSLAYER.  THE  CinemaScope,  DeLuxe  Color.  Lex 
Barker,  Forrest  Tucker,  Rita  Moreno.  Producer-director 
K.  Newmann.    Adventure.    78  min. 

FORTY  GUNS  CinemaScope.  Barbara  Stanwyck,  Barry 
Sullivan,  Gene  Barry.  Poducer-director  Samuel  Fuller. 
Adventure.  A  domineering  woman  attempts  to  rule  a 
western  town  by  force.   80  min. 

NO  DOWN  PAYMENT  CinemaScope.  Jeff  Hunter,  Bar- 
bara Rush,  Sheree  North,  Cameron  Mitchell.  Producer 
Jerry  Wood.  Director  Martin  Ritt.  Drama.  Problems 
of  four  married  couples  in  new  housing  development. 
105  min.  9/30. 

SUN  ALSO  RISES,  THE  CinemaScope,  DeLuxe  Color. 
Ava  Gardner,  Mel  Ferrer,  Tyrone  Power.  Producer  D. 
Zanuck.  Director  Henry  King.  Drama.  From  Ernest 
Hemingway's  famous  novel.  129  min.  9/2. 
UNKNOWN  TERROR,  THE  Regalscope.  John  Howard, 
May  Wynn,  Mala  Powers.  Producer  R.  Stakler.  Direc- 
tor C.  Warren.  Horror.  77  min. 

October 

THREE  FACES   OF  EVE,   THE  David   Wayne,  Joanne 

Woodward.  Producer  Nunnally  Johnson.  Director  Nun- 
nally  Johnson.  Drama.  Story  of  a  woman  with  three 
distinct  personalities.    91  min. 

ABOMINABLE  SNOWMAN,  THE  Forrest  Tucker,  Peter 
Cushing.  Producer  Michael  Carreras.  Director  Val 
Guest.  Science-fiction  drama  dealing  with  the  search 
for  a  half-human,  half-beast  monster  of  the  Himalayas. 


November 

APRIL  LOVE  CinemaScope-DeLuxe  color.  Pat  Boone 
Shirley  Jones.  Producer  David  Weisbert.  Director 
Henry  Levin.  Musical.  Love  story  of  a  boy  on  proba 
tion.    97  min 

RIDE  A  VIOLENT  MILE  Regalscope.  Gene  Raymond 
Wayne  Morris.  Producer-director  R.  Stabler.  Melo 
drama. 

STOPOVER  TOKYO  Robert  Wagner,  Joan  Collins.  Ed 
mund  O'Brien.  Producer  W.  Reisch.  Director  R.  Breen 
Drama.  Pilot  forced  to  stop  over  in  Tokyo  solves  mys 
tery.    100  min. 

UNDER  FIRE  Regalscope  Rex  Reason,  Henry  Morgan 
Steve  Bodine.  Producer  P.  Skouras.  Director  J.  Clark 
78  min. 

December 


ESCAPE  FROM  RED  ROCK  Regalscope.  Brian  Donlevy, 
J.  C.  Flippen,  Eileen  Janssen.  Producer  B.  Glasser. 
Director  E.  Bernds. 


KISS  THEM  FOR  ME  Jerry  Wald  Prods.  CinemaScope. 
De  Luxe  Color.  Cary  Grant,  Jayne  Mansfield,  Suzy 
Parker.   Producer  Jerry  Wald.  Director  Stanley  Donen. 


Coming 


AMBUSH  AT  COMARRON  PASS  Regal  Films.  Brian 
Donlevy,  Jay  C.  Flippen.  Producer  Bernard  Glasser. 
Director  Edward  Bernds.  Western. 

BEAUTIFUL  BUT  DANGEROUS  Gina  Lollobrigida,  Vit- 
torio  Gaasman.  Producer  Manuella  Malotti.  Director 
Robert  Leonard.  Drama. 

BLOOD  ARROW  Scott  Brady,  Phyllis  Coates,  Diane 
Darrin.  Producer  Robert  Staber.  Director  C.  M. 
Warren. 


PEYTON  PLACE  Jerry  Wald  Prods.  CinemaScope,  De 
Luxe  Color.  Lana  Turner,  Lloyd  Nolan,  Hope  Lange. 
Producer  Jerry  Wald.  Director  Mark  Robson. 

YOUNG  AND  DANGEROUS  Regal  Films.  Lil  Gentle, 
Mark  Damon,  Ann  Doran.  Producer-Director  William 
F.  Claxton.    78  min. 

YOUNG  LIONS,  THE  CinemaScope.  Marlon  Brando, 
Montgomery  Clift,  Joanne  Woodward.  Producer  Al 
Lichtman.  Director  Edward  Dmytryk. 

VIOLENT  ROAD,  THE  Regal  Films.  Gene  Raymond, 
Wayne  Morris.  Jeanne  Cooper.  Producer  Leon  Choo- 
luck  and  Laurence  Stewart.  Director  Hubert  Cornfield. 


UNITED  ARTISTS 


August 


FUZZY  PINK  NIGHTGOWN,  THE  Jane  Russell,  Keenan 
Wynn,  Ray  Danton.  Producer  Bob  Waterfield  Director 
Norman  Taurog.  Melodrama.  The  story  of  a  Holly- 
wood star  who  is  kidnapped.  87  min. 

JUNGLE  HEAT  Lex  Barker,  Mari  Blanchard.  A  Bel-Air 
Production.  Director  H.  Koch.  Adventure.  Japanese 
saboteurs  in  Hawaii  prior  to  WWII.  75  min. 
LADY  OF  VENGEANCE  Dennis  O'Keefe.  Ann  Sears. 
Anton  Diffring.  Revenge  for  a  lady  who  has  been 
wronged.  Melodrama.  73  min. 

MONTE  CARLO  STORY,  THE  Technirama,  Color.  Mar- 
lane  Dietrich,  Vittorio  De  Sica.  A  Titanus  Film.  Sam 

Taylor  director.  Marcello  Girosi  producer.  Drama.  A 
handsome  Italian  nobleman  with  a  love  for  gambling 
marries  a  rich  woman  in  order  to  pay  his  debts. 
100  min.  7/8. 

MY  GUN  IS  QUICK  Robert  Bray.  Whitney  Blake,  Don 
Randolph.  Producer-director  George  A.  White  and 
Phil  Victor.  Melodrama.  Based  on  a  novel  by  Mickey 
Spillane.  88  min. 

VALERIE  Sterling  Hayden,  Anita  Ekberg,  Anthony  Steel. 
Producer  Hal  Makelim.  Director  Gerd  Oslwald.  West- 
ern. The  story  of  a  murder  trial  in  a  western  town. 
LEGEND  OF  THE  LOST  John  Wayne,  Sophia  Loren, 
Rossano  Brazzi.  Producer-director  Henry  Hathaway.  Ad- 
venture   Sea.rch  for  treasure  in  the  Sahara.. 


September 


CARELESS  YEARS.  THE  Natalie  Trundy,  Dean  Stock- 
well.  Producer  Edward  Lewis.  Director  Arthur  Hiller. 
Drama.  Two  lovers  meet  parental  resistance  when  they 
decide  to  get  married.  70  min. 

CHICAGO  CONFIDENTIAL  Brian  Keith.  Beverly  Gar- 
land, Dick  Foran.  Producer  Robert  Kent.  Director  Sid- 
ney Salkow.  Melodrama.  Syndicate  tries  to  gain  con- 
trot  of  labor  union.  73  min.  9/2. 

ENEMY  FROM  SPACE  Brian  Donlevy,  John  Longden, 
Sydney  James.  Producer  Anthony  Hinds.  Director  Val 
Guest.  Science-fiction.  84  min. 

GUNSIGHT  RIDGE  Joel  McCrea,  Mark  Stevens.  Pro- 
ducer Robert  Bassler.  Director  Francis  Lyon.  Western. 
Stranger  discovers  respected  citizen  is  really  a  holdup 
man.  85  min. 


Film     BULLETIN  —  THIS     IS     YOUR  PRODUCT 


SATCHMO  THE  GREAT  Louis  Armstrong.  Edward  R 
Murrow.  Leonard  Bernstein.  Producers  Edward  R.  Mur- 
row  and  Fred  W.  Friendly.  Film  story  of  Louis  Arm- 
strong's international  jaii  tour.  43  min.  9/14. 
STREET  OF  SINNERS  G.org.  Montgomery,  Geraldine 
Brooks.  Producer-director  William  Berke.  Drama. 
Rookie  policeman  clashes  with  youthful  criminals. 
74  min. 

October 

GIRL  IN  THE  BLACK  STOCKINGS.  THE  Lex  Barker. 
Ann  Bancroft.  Melodrama.  73  min. 

HELL  BOUND  John  Russel.  June  Blair.  Producer  How- 
ard Koch.  Director  William  Hole.  Jr.  Melodrama. 
Story  of  a  conspiracy  to  hijack  a  shipment  of  narcotics. 
79  min. 

MUSTANG  Jack  Beutel,  Madalyn  Trahey.  Producer 
Robert  Arnell.  Director  Peter  Stephens.  Western 
Drama. 

TIME  LIMIT  Richard  Widmark,  Richard  Basehart  Pro- 
ducer William  Reynolds.  Director  Karl  Maiden.  Drama. 
Story  of  prisoner-of-war  turncoats.  94  min.  9/30. 

Coming 

BABYFACE  NELSON  Mickey  Rooney,  Carolyn  Jones. 
Sir  Cedric  Hardwicke.  Producer  Al  Zimbalist.  Director 
Don  Siegel.  Drama.  Story  of  one  of  America's  notori- 
ous gangsters. 

CHINA  DOLL  Victor  Mature,  Lili  Hua.  Producer-Di- 
rector Frank  Borzage.  Drama.  United  States  Air  Force 
Captain  marries  a  Chinese  girl. 

EDGE  OF  FURY  Michael  Higgins,  Lois  Holmes.  Pro- 
ducer Robert  Gurney,  Jr.  Directors  Robert  Gurney, 
Jr.  and  Irving  Lerner.  Suspense  Thriller  based  on  the 
novel  "Wisteria  Cottage ". 

FORT  BOWIE  Ben  Johnson,  Jan  Harrison,  Kent  Taylor. 
Producer  Aubrey  Schenck.  Director  Howard  W.  Koch. 
I  BURY  THE  LIVING  Richard  Boone,  Peggy  Maurer 
Producers  Band  and  Garfinkle.  Director  Albert  Band. 
ISLAND  WOMEN  Marie  Windsor,  Vince  Edwards  Pro- 
ducer-director William  Berke.  Musical.  Calypso  film 
filmed  in  the  Bahama  Islands. 


PATHS  OF  GLORY  Kirk  Douglas,  Ralph  Meeker, 
Adolphe  Menjou.  Producer  James  B.  Harris.  Director 
Stanley  Kubrick. 

PUIET  AMERICAN  Audie  Murphy,  Michael  Redgrave, 
Claude  Dauphin.  Figaro  Production.  Director  Joseph 
Mankiewicz.  Drama.  Story  set  against  the  recent 
fighting  in  IndoChina. 

RIDE  OUT  FOR  REVENGE  Rory  Calhoun.  Gloria  Gra- 
hame,  Joanne  Gilbert.  Producer  Norman  Retchin.  Di- 
rector Barney  Girard. 

VIKINGS,  THE  Kirk  Douglas,  Tony  Curtis,  Ernest  Borg- 
nine.  Producer  Jerry  Bresler.  Director  Richard  Fleischer. 

WINK  OF  AN  EYE  Jonathan  Kidd.  Doris  Dowling, 
Irene  Seidner.  Producer  Fernando  Carrere.  Director 
Winston  Jones. 

WITNESS  FOR  THE  PROSECUTION  Tyrone  Power, 
Marlene  Dietrich,  Charles  Laughton.  Producer  Arthur 
Hornblow,  Jr.  Director  Billy  Wilder. 


UNIVERSAL-INT'L 


August 

DOCTOR  AT  LARGE  Dick  Bogarde,  Muriel  Pavlow.  A 
Rank  Production.  Director  Ralph  Thomas.  Comedy  Ad- 
ventures of  an  English  physician.  98  min.  4/24. 
LAND  UNKNOWN,  THE  Jock  Mahoney,  Shawn  Smith. 
Producer  William  Afland.  Director  Virgil  Vogel. 
Science-fiction.  Polar  expedition  finds  Mesozoic  age 
in  Antarctic  expedition.    78  min. 

MIDNIGHT  STORY,  THE  CinemaScope.  Tony  Curtis, 
Marisa  Pavan.  Producer  Robert  Arthur.  Director  Joseph 
Pevney.  Drama.  Rookie  cop  seeks  murderer  of  parish 
priest.  89  min.  4/24. 

NIGHT  PASSAGE  Technirama,  Technicolor.  James 
Stewart,  Audie  Murphy,  Dan  Duryea.  Producer  A. 
Rosenberg.  Director  James  Neilson.  Drama.  Payroll 
robbers  are  foiled  by  youngster  and  tough-fisted  rail- 
roader. 90  min.  4/24. 

September 

INTERLUDE  Technicolor,  CinemaScope.  June  Allyson, 
Rossano  Brazzi.  Producer  Ross  Hunter.  Director  Douglas 
Sirk.  Drama.  American  doctor  falls  in  love  with  wife 
of  famous  composer  in  Munich.  89  min.  4/24. 

JET  PILOT  Technicolor,  SuperScope.  John  Wayne, 
Janet  Leigh.  Howard  Hughes  Production.  Producer 
Jules  Furthman    Director  Josef  von  Sternberg.  Drama. 

The  story  of  a  Russian  woman  pilot  and  an  American 
jet  ace.  112  min.  9/30. 

JOE  DAKOTA  Eastman  Color.  Jock  Mahoney,  Luana 
Patten.  Producer  Howard  Christie.  Director  Richard 
Bartlett.  Drama.  Stranger  makes  California  oil  town 
see  the  error  of  its  ways.   79  min. 

RUN  OF  THE  ARROW  Technicolor.  Rod  Steiger,  Sarita 
Montiel,  Ralph  Meeker.  Producer-director  Sam  Fuller. 
Adventure.  Young  sharpshooter  joins  Sioux  Indians  at 
close  of  Civil  War.  84  min.  4/24. 

SLAUGHTER  ON  TENTH  AVENUE  CinemaScope.  Rich- 
ard Egan,  Jan  Sterling,  Dan  Duryea.  Producer  Albert 
Zugsmith.  Director  Arnold  Laven.  An  expose  of  New 
York  waterfront  warfare.    103  min.  9/14. 

THAT  NIGHT  John  Beal,  Augusta  Dabney,  Sbeppard 
Strudwick.  Producer  Hiram  Brown.  Director  John 
Newland.  Drama.  A  tragedy  almost  shatters  a  15- 
year-old  marriage.  88  min. 


October 

MAN  OF  A  THOUSAND  FACES  CinemaScope  James 
Cagney,  Dororhy  Malone.  Producer  Robert  Arthur  Di- 
rector Joseph  Pevney.  Drama.  Life  story  of  Lon  Chanty. 

I2S  min.  7/22. 

PUANTEZ  CinemaScope,  Eastman  Color.  Fred  Mac- 
Murray,  Dorothy  Malone.  Producer  Gordon  Kay.  Direc- 
tor Harry  Keller.  Drama.  A  study  of  five  people  in- 
volved in  a  robbery  and  killing.  80  min.  9/2. 

UNHOLY  WIFE.  THE  Technicolor.  Diana  Dors,  Rod 
Steiger,  Marie  Windsor.  Producer-director  John  Far- 
row. Drama.  A  wife  cunningly  plots  the  death  of  her 
husband  who  she  has  betrayed.  94  min.  9/2. 

November 

ESCAPADE  IN  JAPAN  Color.  Teresa  Wright.  Cameron 
Mitchell,  Jon  Provost,  Roger  Nakagaws.  Producer-direc- 
tor Arthur  Lubin.  Search  for  two  boys  who  start  out 
in  the  wrong  direction  to  find  the  very  people  who 

are  trying  to  find  them     92  min.  9/14. 

MY  MAN  GODFREY  CinemaScope,  Technicolor.  June 
Allyson,  David  Niven.  Producer  Ross  Hunter.  Director 
Henry  Koster.  Comedy.  Story  of  a  topsy-turvy  butler. 
92  min.  9/2. 


Coming 


A  GAME  OF  LOVE  CinemaScope,  Color.  Lana  Turner. 
Jeff  Chandler,  Richard  Denning.  Producer  William 
Alland.  Director  Jack  Arnold.  Drama.  Pilot  and  wife 
realize  true  love  in  the  air. 

ALL  MINE  TO  GIVE  Eastman  Color.  Glynis  Johns, 
Cameron  Mitchell,  Rex  Thompson.  Producer  Sam  Weis- 
enthal.  Director  Allen  Reisner.  Drama.  The  story  of  a 
Scottish  immigrant  couple  in  Wisconsin  in  the  19th 
century. 


DAMN  CITIZEN  Keith  Andes,  Margaret  Hayes,  Gene 
Evans.  Producer  Herman  Webber.  Director  Robert 
Gordon.  Real  estate  man  becomes  leader  of  police 
in  fight  against  crime. 

DARK  SHORE,  THE  CinemaScope.  George  Nader,  Cor- 
nell Borchers,  Michael  Ray.  Producer  Robert  Arthur. 
Director  Abner  Biberman. 

DAY  OF  THE  BAD  MAN  CinemaScope.  F.-ed  MacMur- 
ray,  Joan  Weldon,  John  Ericson,  Robert  Middleton. 
Producer  Gordon  Kay.  Director  Harry  Keller.  West- 
ern. Brothers  of  a  murderer  attack  town  on  day  of 
trial. 

FEMALE  ANIMAL,  THE  CinemaScope.  Hedy  Lamarr, 
Jane  Powell,  Jan  Sterling.  Producer  Albert  Zugsmith. 
Director  Harry  Keller.  Beautiful  movie  star  tries  to 
buy  a  husband. 

GIRL  MOST  LIKELY.  THE  Eastmai  Color.  Jane  Powell. 
Cliff  Robertson,  Keith  Andes.  Producer  Stanley  Rublia. 
Director  Mitchell  Leison.  Comedy.  A  girl  is  proposed 
to  by  three  men  oa  the  same  day. 

I  MARRIED  A  WOMAN  George  Gobel,  Diana  Dors, 
Adolph  Manjou.  Producer  William  Bloom.  Director  Hal 
Kanter.  Coemdy.  Wife  objects  to  taking  second  place 
to  a   beer   advertising   campaign   with   her  husband. 

LOVE  SLAVES  OF  THE  AMAZONS  Color.  Don  Taylor, 
Giana  Sigale.    Producer-Director  Curt  Siodnak. 

MAGNIFICENT  BRAT,  THE  Color.  Dan  Duryea,  Jan 
Sterling.   Producer   Sy   Gomberg.   Director  Jack  Sher. 

MAN  WHO  ROCKED  THE  BOAT,  THE  CinemaScope. 
Richard  Egan,  Jan  Sterling,  Dan  Duryea.  Producer 
Albert  Zugsmith.  Director  Arnold  Laven. 
MONOLITH  MONSTERS,  THE  Grant  Williams,  Lola 
Albright.  Producer  Howard  Christie.  Director  John 
Sherwood.  Science-fiction.  Army  of  rocks  threaten  U.S. 
PYLON  CinemaScope.  Rock  Hudson,  Robert  Stack, 
Dorothy  Malone,  Jack  Carson.  Producer  Albert  Zug- 
smith. Director  Douglas  Sirk.  Drama.  Reporter  un- 
covers World  War  I  hero  of  the  Lafayette  Escadrille. 
RAW  WIND  IN  EDEN  CinemaScope.  Color.  Esther 
Williams,  Jeff  Chandler.  Producer  William  Alland. 
Director  Richard  Wilson.  Couple  crash  on  island  and 
are  stuck  for  weeks. 

SEEDS  OF  WRATH  CinemaScope.  Jeff  Chandler,  Orson 
Welles.  Producer  Albert  Zugsmith.  Director  Jack  Ar- 
nold. Drama.  Sheriff  destroys  one-man  domination  of 
Texas  town. 

SLIM  CARTER  Color.  Jock  Mahoney.  Julie  Adams, 
Tim  Hovey.  Producer  Howie  Horwitz.  Director  Richard 
Bartlett.  Girl  press  agent  makes  Western  star  of  no- 
good  cafe  entertainer.    82  mins. 

SUMMER  LOVE  John  Saxon.  Judy  Meredith.  Producer 
William  Grady,  Jr.  Director  Charles  Haas.  Loves  and 
troubles  of  combo  on  first  job. 

VIOLATORS,  THE  Arthur  O'Connell,  Nancy  Malone. 
Producer  H.  Brown.  Director  John  Newland.  Drama. 
Story  of  a  probation  officer  in  the  New  York  City 
courts. 

WESTERN  STORY.  THE  CinemaScope,  Color.  Jock 
Mahoney.  Gilbert  Roland.  Producer  Howard  Christie. 
Director  George  Sherman. 


WARNER  BROTHERS 


July 


CURSE  OF  FRANKENSTEIN,  THE  Peter  Cushing,  Hazel 
Court,  Robert  Urqhart.  Producer  M.  Carreras.  Direc- 
tor Terence  Fisher.  Horror.  83  min.  7/8. 

PRINCE  AND  THE  SHOWGIRL.  THE  C«lor.  Marilyn 
Monroe,    Laurence    Olivier,    Dame    Sybil  Thorndyka. 

Producer-director  Laurence  OHvier.  Comedy.  Filmiza- 
tion  of  the  Terence  Rattigan  play.  117  min.  5/27. 


RISING  OF  THE  MOON.  THE  Eileen  Crowe.  Cyril 
Cusack  Frank  Lawton  Directed  by  John  Ford,  ]*'•• 
Irish  stories  with  Tyrone  Power  narrator  81  mm.  7/22 
X — THE  UNKNOWN  Dean  Jagger.  William  Russell. 
Producer  A.  Hinds.  Director  Leslie  Norman  Science- 
fiction.  Keen  minded  scientist  fight,  awesome  creation. 

August 

BAND  OF  ANGELS  WarnerColor    Clark  Gable,  Yvonna 
De  Carlo    Director  Raoul  Walsh    Drama.  81  mm.  7/22 
JAMES   DEAN   STORY.   THE  A  film   biography  of  tha 
late  movie  star.  82  min. 

PAJAMA  GAME.  THE  Warner  Color  Doris  Day.  John 
Raitt  Carol  Haney.  Producers  G.  Abbot.  F.  Brinon, 
R  Griffith.  H.  Prince  Director  Stanley  Donen.  Filmiia- 
tion  of  the  Broadway  musical. 

September 

BLACK  PATCH  George  Montgomery  Producer  George 
Montgomery  Director  Alan  Miner.  Western  83  mm. 
WOMAN  IN  A  DRESSING  GOWN  Yvonne  Mitchell. 
Anthony  Quayle,  Sylvia  Syms  Producer  Frank  Godwin. 
Director  J.  Lee-Thompson.  A  wife's  happiness  is  threa- 
tened by  a  younger  woman. 

October 

BLACK  SCORPION,  THE  Richard  Denning.  Mara  Cor- 
day,  Carlos  Rivas.  Horror.  88  min. 

HELEN  MORGAN  STORY,  THE  CinemaScope  Ann 
Blyth,  Paul  Newman.  Producer  Martin  Rackin.  Director 
Michael  Curtiz.  Drama.  Biographical  film  of  an  ill- 
fated  torch  singer.  118  min.  9/30. 

Coming 

BLONDE  AND  DANGEROUS  Sally  Brophy.  Carla 
Merey.  Susan  Oliver.  An  Arwin  Production.  Director 
Bernard  Girard.  Producer  Martin  Melcher.  Melodrama. 
Life  in  a  qirl's  correction  school. 

BOMBERS  B-52  CinemaScope,  WarnerColor.  Karl  Mai- 
den Natalie  Wood.  Producer  Richard  Whorf.  Director 
Gordon  Douglas.  Story  of  the  men  who  man  the 
bombers  that  defend  our  nation. 

BOTH  ENDS  OF  THE  CANDLE  CinemaScope.  Ann 
Blyth.  Paul  Newman,  Richard  Carlson.  Producer  Mar- 
tin Rackin.   Director  Michael  Curtiz. 

CHASE  A  CROOKED  SHADOW  Richard  Todd,  Ann 
Baxter.  Producer  Douglas  Fairbanks.  Director  Michael 
Anderson.  Melodrama. 

DARBY'S  RANGERS  WarnerColor.  Charles  Heston.  Tab 
Hunter,  Etchika  Choureau.  Producer  Martin  Rackin.  Di- 
rector William  A.  Wellman. 

DEEP  SIX,  THE  Jaguar  Prods.  Alan  Ladd.  Dianne  Fos- 
ter. Producer  Martin  Rackin.  Director  Rudy  Mate. 
FIFTEEN  EULLETS  FROM  FORT  DOCBS  Clint  Walker. 
Virginia  Mayo.  Producer  Martin  Rackin.  Director  Gor- 
don Douglas. 

LAFAYETTE  ESCADRILLE  Tab  Hunter,  Etchika  Choureau, 
J.  Carrol  Naish.  Producer-Director  William  A.  Well- 
man. 

LEFT   HANDED   GUN,   THE   Paul    Newman,    Lita  Milan. 

Producer  Fred  Coe.  Director  Arthur  Penn. 

NO  TIME  FOR  SERGEANTS  Andy  Griffith.  Myron  Mc- 

Cormick     Nick   Adams.    Producer-Director    Mervyn  Le- 

Roy. 

OLD  MAN  AND  THE  SEA,  THE  CinemaScope.  Warner- 
Color. Produced  by  Leland  Hayward.  Director  John 
Sturges.  Adventure.  Film  version  of  Ernest  Heming- 
way's prize-winning  novel. 

STAKEOUT  ON  DOPE  STREET  Producer  Andrew  Fenady. 
Director  Irvin  Kershner. 

SAYONARA  Technirama.  WarnerColor.  Marlon  Brando, 
Red  Buttons,  Patricia  Owens.  Producer  W'nian  Goetz. 
Director  Josh  Logan.  Drama.  Based  on  *Se  award- 
winning  novel  of  James  Michener. 

STORY  OF  MANKIND  WarnerColor.  All-star  cast. 
Drama . 

TENDER  FURY  Susan  Oliver,  Linda  Reynolds,  Carla 
Merey.  Producer  Martin  Melcher.  Director  Bernard 
Girard. 


To  Better  Serve  You  .  .  . 

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YOUR  PRODUCT 


IT'S  THE  GREATEST 


w  >Mr  siatmnm  in  m  atmm...m  tm 
iZSSm*  m  mmmrmmmmsmrw_ 


BULLETIN 


)CTOBER  28,  1957 


Business-wise 

Analysis  of 
the  New  Films 


Reviews: 

ALL  MINE  TO  GIVE 

HEAR  ME  GOOD 

ACROSS  THE  BRIDGE 

HE  STORY  OF  MANKIND 

ZERO  HOUR 

THE  SAD  SACK 

AND  GOD  CREATED 
WOMAN 


Mr.  Goldenson's  Question 
■ 

ECONOMY- 

The  Wrong  Kind 
■ 

Come,  Come,  Mr.  Novins! 


WHAT'S  HURTING 
OUR  BUSINESS? 

See  Sindlinger  Report 
on  Page  7 


CINemaScoP^ 


r  WALTER  REISCH  T  RICHARD  L.  BREEN 
r  RICHARD  L.  BREEN  -  WALTER  REISCH 


presold  as  a  best- seller  and  in  the  pases  of  the  SATURDAY  EVENIMG  t  POST! 


Viewpoints 


OCTOBER  28.  1957 


VOLUME  25.  NO.  22 


Question 

"Are  sheep  running  this  business,  or 
are  there  leaders?"  The  query,  spoken 
in  heat,  came  from  the  usualy  diploma- 
tic lips  of  Leonard  Goldenson,  presi- 
dent of  American  Broadcasting-Para- 
mount Theatres,  at  a  meeting  with  the 
trade  press  last  week. 

Mr.  Goldenson  and  his  associate,  Ed- 
ward L.  Hyman,  vice  president  in 
charge  of  theatre  operations,  invited 
the  press  to  hear  their  views  on  the 
vital  problem  of  finding  ways  and 
means  of  achieving  an  "orderly  distri- 
bution of  quality  product  throughout 
the  year".  This  critical  issue  has  been 
pushed  by  the  AB-PT  executives  for 
the  past  two  years,  and  they  admit 
frankly  that  little  progress  has  been 
made.  Now  they  propose  to  call  a 
joint  meeting  of  distributors  and  ex- 
hibitors from  all  parts  of  the  country 
to  discuss  the  problem  and  to  seek  a 
solution. 

Pointing  out  that  while  theatres  to- 
day are  starved  for  good  films,  a  full 
dozen  important  releases  are  being 
held  back  for  the  year-end  holiday 
period,  Mr.  Hyman  questioned  why 
three  of  these  top  films  should  not  be 
delivered  in  October  and  three  in  No- 
vember "to  counteract  the  big  TV  at- 
tractions". He  expressed  the  hope  that 
a  united  exhibitor  front  could  convince 
the  distributors  that  such  an  orderly 
releasing  schedule  would  receive  "every 
cooperation  from  the  exhibitors  of 
America"  by  their  willingness  to  guar- 
antee "top  terms  and  additional  play- 
ing time." 

Mr.  Goldenson's  reference  to  a  lack 
of  leadership  was  well  taken.  The 
head-in-the-sand  position  adopted  by 
so  many  of  our  industry's  supposed 
leaders  is  an  appalling  sight  as  busi- 
ness continues  to  fall  off. 

We  urge  everyone  who  lives  by  the 
motion  picture  industry  to  heed  these 
words  by  Leonard  Goldenson: 

"It's  disgraceful  that  we,  who  are 


supposed  to  be  showmen,  have  per- 
mitted our  business  to  become  wrapped 
in  crepe  .  .  .  The  public  never  will  re- 
spond unless  we  sell  our  business  af- 
firmatively. 

"All  branches  of  the  industry  must 
be  brought  together  to  sell  and  re-sell 
our  business  to  the  public.  It  can  be 
done  by  enthusiasm  and  drive,  and  the 
refusal  to  be  licked  .  .  . 

"If  we  don't  do  it,  it's  because  we 
are  wanting  in  leadership.  It  means 
our  presidents  and  all  others  in  posi- 
tions of  responsibility  are  shirking  their 
duties  ...  If  they're  not  prepared  to 
exercise  their  responsibilities,  then  they 
ought  to  get  out  and  let  those  persons 
who  are  prepared  to  do  the  job,  do  it." 

Bravo!,  Mr.  Goldenson. 

f  Villi f  <>liii>, 

Air.  i\ovinsJ 

The  president  of  International  Tele- 
meter, Louis  A.  Novins,  was  speaking, 
apparently  seriously: 

"I  don't  know  why  exhibitors  are  so 
afraid  of  pay-as-you-see  TV",  he  said, 
without  even  a  slight  blush,  no  mean 
accomplishment  considering  the  fact 
that  he  was  facing  not  a  group  of 
stockholders,  but  informed  members  of 
the  movie  industry. 

"There  are  millions  of  people  who 
are  not  being  reached  by  even  the  big- 
gest million  dollar  epics,"  he  continued. 
"I  think  that  those  people  will  be  the 
potential   customers   of  pay-as-you-see 


BULLETIN 


Film    BULLETIN:    Motion    Picture    Trade  Paper 
published  every  other  Monday  by  Wax  Publi- 
cations,  Inc.     Mo  Wax.   Editor  and  Publisher. 
PUBLICATION-EDITORIAL  OFFICES:    123?  Vine 
Street,  Philadelphia  7,  Pa..  LOcust  8-0950,  0951. 
Philip    R.    Ward.    Associate    Editor:  Leonard 
Coulter,    New   York   Associate   Editor;  Duncan 
G.   Steele,   Business   Manager;   Marvin  Schiller, 
Publication  Manager;  Robert  Heath.  Circulation 
Manager.  BUSINESS  OFFICE:  522  Fifth  Avenue, 
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rope. $5.00.  TWO  YEARS:  S5.00  in  the 
U.  S.;  Canada,   $7.50;   Europe,  $9.00. 


TV.  There  will  still  be  plenty  of  others 
who  will  want  to  go  out  to  the  movies. 
Theatres  and  pay-as-you-see  TV  will 
represent  an  expanded  market  for  the 
producers  and  distributors  of  good 
entertainment.'' 

These  platitudes  were  delivered  by 
Mr.  Novins  as  if  they  were  fresh  and 
startling  revelations  of  a  beautiful  fu- 
ture that  was  to  enrich  everyone  con- 
nected with  movie  business  —  exhibi- 
tors, producers,  distributors,  not  to 
mention  the  entrepreneurs  who  yearn 
to  put  their  cash  registers  on  the  free 
airv>  aves. 

The  co-existence  of  pay-television 
and  the  theatre  is  an  immediate  contra- 
diction. The  reasons  have  been  thor- 
oughly explored  before  and  there  is  no 
need  to  labor  them  here.  Suffice  it  to 
say  that  television's  primary  competi- 
tive force  against  the  theatre  is  the 
comfort  and  convenience  it  offers.  If 
new  motion  pictures  were  to  be  de- 
livered into  the  living  room  via  pay- 
TV  devices  the  inevitable  result  must 
be  a  sharp,  destructive  diminuition  in 
the  go-out  desire  of  the  moviegoing 
public,  and  the  residual  audience  left 
for  theatres  would  be  a  mere  corporal's 
guard.  It  borders  on  the  preposterous 
to  make  any  other  claim. 

Telemeter,  or  any  other  toll-TV  sys- 
tem, if  it  ever  flourishes,  will  sound  the 
dirge  for  thousands  of  theatres — most 
likely  for  all  but  a  handful.  So,  come, 
come,  Mr.  Novins,  let's  face  it:  if  Para- 
mount's  Telemeter  succeeds,  a  billion 
theatre  industry  must  fall  by  the  way- 
side. It's  that  cold  a  proposition. 

1  Of ft  tin  soil  *.v 

A  postscript  needs  to  be  added  to  the 
Vogel-Tomlinson  struggle  for  the  soul 
of  Loew's,  and  it  is  this:  Joseph  Tom- 
linson  should  voluntarily  withdraw 
from  the  company's  Board  of  Directors. 

The  present  alignment  of  that  Board 
gives  Joseph  Vogel  a  majority  of  13  to 
(Continued  on  Page  21) 


Film  BULLETIN    October  28,  1957        Page  3 


HOT  FROM  SATELLITE 

HEADLINES! 

Science  In  The  Skies 


'MOON'  CIRCLING  GLOBE; 
FLASHING  SECRET  CODE 


SATELLITE  FLIGHT 
IS  STEP  INTO  SPACE 


MASKA 


Honestly  I  didn't 
do  it  — but  it's 
great  publicity  for 
'INVISIBLE  BOY' 
the  FIRST  BIG 
SHOWMANSHIP 
PICTURE  DRAMATIZING 
TODAY'S  HEADLINES!" 


Never  in  movie  annals  such  an 
opportunity  to  capitalize  on  the 
headlines!  USE  THIS  COPY  IN  ADS: 

You've  been  reading  about  satellites  and 
rockets  that  can  rule  the  earth!  Here's  the  first 
BIG  picture  that  dramatizes  the  miracles  of 
the  war  of  machines  in  the  sky.  You've  never 
seen  anything  like  it! 

MAKE  UP  LOBBY  DISPLAY! 

Enlarge  current  headlines  with  panel  of  ad  copy  above! 
SNIPE  POSTERS!  USE  TRAILER  WITH  SPECIAL 
TAG!  CAPITALIZE  ON  TODAY'S  HOT  NEWS! 


M-G-M  presents  "THE  INVISIBLE  BOY"  starring  Richard  Eyer 
Philip  Abbott  •  Diane  Brewster  •  with  Harold  J.  Stone  •  Robert 
H.  Harris  •  And  ROB  BY,  THE  ROBOT  >  Screen  Play  by  Cyril 
Hume  •  Based  on  the  Story  by  Edmund  Cooper  •  A  Pan  Production 
Directed  by  Herman  Hoffman  •  Produced  by  Nicholas  Nayfack 


DIMINISHING  RETURNS.  Reports  have  it  that  grosses  on 
"Ten  Commandments**  in  the  second  group  of  naborhood 
houses  (in  the  Philadelphia  territory)  were  very  disappointing. 
Apparently,  the  DeMille  spectacular  was  milked  in  its  long 
first-run  and  in  the  first  key  runs,  and  there's  not  enough  left 
in  the  market  for  a  second  batch  of  two-a-day  runs  at  advanced 
admissions.  It  is  expected  that  this  downturn  will  prompt  Para- 
mount to  put  the  film  into  a  general  lower  admission  release. 

0 

HOW  TO  SELL  A  MOVIE.  Madison  Avenue  is  abuzz  with 
praise  for  the  artful  pre-publication  treatment  accorded  Har- 
court.  Brace  &  Co  s.  "By  Love  Possessed,'*  James  G.  Cozzens' 
latest,  which  has  spiralled  to  the  head  of  best-seller  lists  the 
nation  over.  A  pointed  object  lesson  may  be  gained  by  movie- 
Sam's  merchandising  menage.  The  publisher  knew  it  had  a  hot 
one  from  the  first  draft  on,  and  showed  little  inclination  to 
keep  the  fact  a  secret.  By  a  skillful  blending  of  trade  press 
blurbs  three  months  prior  to  release,  plus  the  attitude  that  "We 
think  we  have  one  of  the  most  important  books  of  our  time," 
the  novel  generated  a  book-seller  demand  before  anyone  had 
seen  the  cover  leaf.  Then  two  months  before  publication  came 
magazine  plants  galore.  Massive  showcards  cropped  up  in  book 
stalls  to  herald  the  mighty  coming  attraction.  And  review 
copies  were  mailed  two  months  early,  rather  than  the  usual 
one  month,  to  catch  vacation-bound  critics.  All  in  all,  the  Har- 
court  success  story  points  up  the  proven  worth  of  early  sell. 
Cinema's  "Giant,"  "Around  the  World."  "From  Here  to  Eter- 
nitv, "  notable  recipients  of  hard-sell  pre-release  campaigns 
underscores  the  fact. 

0 

JUBILEE  TOUR  CANCELLATION.  There  is  a  strongly  felt 
difference  of  opinion  as  to  where  the  blame  should  be  placed 
j  for  cancellation  of  the  proposed  Hollywood  Golden  Jubilee 
tour.  Recently  published  reports  that  the  unavailability  of  top 
stars  was  the  reason  for  the  cancellation  do  not  tell  the  whole 
story.  Major  reason  for  the  tour  break-up  is  the  reported  in- 
ability of  exhibition  and  distribution  to  reconcile  their  differ- 
ences. Many  exhibitors  felt  that  the  time  was  not  propitious 
because  of  the  lack  of  sufficient,  strong  product  available  to 
complement  the  tour.  Thus  they  believed  the  public  wouldn't 
find  support  in  the  films  they  saw.  Film  people,  on  the  other 
hand,  contended  that  the  Jubilee  tour  would  have  stimulated  in- 


SWAP  YOUR  IDEAS, 
STUNTS,  CAMPAIGNS 
WITH  OTHER  SHOWMEN 
FOR  BENEFIT  OF  ALL! 


What  Jhey'te  Talking  About 

□    □    □    In  the  Movie  Business    □    □  □ 


terest  irregardless  of  the  product  status,  a  lot  of  work  having 
gone  into  the  project,  and  it  should  have  been  followed  through. 

0 

SLOW -PAY  TV.  Despite  all  the  glowing  reports,  early  returns 
from  Bartlesville,  seat  of  the  nation's  first  full-scale  home 
movies  experiment,  affirms  that  the  noble  test  actually  is  off  to 
a  halting  start.  While  Video  Independent  Theatres,  Inc.,  backer 
of  the  system,  reports  500  of  the  community's  8,000  set  owners 
alread\  have  signed  for  the  private  circuit  reception  of  first  run 
movies  in  October  and  the  list  is  growing,  there  are  reports  of 
complaints  and  cancellations.  Biggest  gripes:  S9-50  per  month 
cost,  and  the  impracticality  of  viewing  everything  offered. 
Video  is  expected  to  dow  ngrade  its  price  structure,  probably  put 
it  on  a  low  minimum  basis  with  additional  per-picture  charges. 

0 

TRIPLE-WHAMMY  TELEVISION.  Exhibitors  were  licking 
their  wounds  after  the  recent  Sunday  night  when  three  TV 
"blockbusters'* — "Pinocchio,"  "The  Edsel  Show  '*  and  the  "Stan- 
dard Oil  "T5th  Anniversary  Celebration" — were  presented  con- 
secutively at  the  maximum  evening  moviegoing  hours.  There 
is  no  denying  that  "biggest  night  in  television  history'  gave 
exhibitors  their  toughest  competition  since  some  of  the  dog 
days  of  the  early  Fifties.  Each  show,  with  a  roster  chock-full 
of  top  names,  provided  plenty  of  competition  for  the  nation's 
exhibitors.  Whether  or  not  the  shows  were  a  critical  success  is 
not  important.  What  is  important  is  the  fact  that  a  great  many 
theatregoers  were  induced  to  stay  home,  if  only  for  one  eve- 
ning, by  the  promise  of  a  host  of  top  names  performing  in 
some  better-than-average  offerings.  And  many  an  exhibitor  is 
remarking  that  the  saddest  part  of  it  all  was  the  fact  that  hard- 
ly a  topflight  picture  was  being  offered  anywhere  in  the  coun- 
tr\  that  night. 

0 

NO  OPEN  WIRE  FOR  SKIATRON.  The  Pacific  Telephone 
and  Telegraph  Company  dealt  a  body  blow  to  Matty  Fox' 
Skiatron  by  turning  thumbs  down  on  a  request  to  install  Parax 
open  wire  lines  on  PT&T  poles  to  transmit  closed-circuit  tele- 
vision programs  in  several  California  cities,  including  Los 
Angeles  and  San  Francisco.  According  to  electronic  experts, 
this  forced  switch  to  coaxial  cable  will  cost  Skiatron  some  S50 
million  to  blanket  the  Los  Angeles  area  alone,  as  against  a  S12 
million  estimate  for  open  wires.  In  another  development,  San 
Francisco's  City  Council  has  told  Skiatron  representatives  that 
it  will  not  consider  the  company's  bid  for  a  Bav  Citv  franchise 
until  Skiatron  comes  across  with  a  financial  statement.  Reason 
for  the  demand:  the  city  wants  to  make  sure  it  is  doing  busi- 
ness with  a  financially  responsible  organization  and  not  specu- 
lative promoters. 


Film  BULLETIN    October  28,  1957        Page  5 


PEACE,  TOO,  CAN  BE  KELL.  The  columns  upon  columns 
of  figures  cried  out  the  expected  name:  Joseph  Vogel — in  a  near 
landslide.  Thus,  in  the  hours  of  early  evening  October  15,  did 
a  harried  proxy  clerk  unfurl  his  tally  tape  to  proclaim  the  man- 
date which  meant  that  over  the  next  four  months  at  least,  the 
fate  of  Loew  s,  Inc.  shall  be  in  the  hands  of  a  single,  undis- 
puted master. 

Embattled  President  Vogel  had  successfully  concluded  his 
private  12  month  war  with  aggressive,  ill-counseled  Joseph 
Tomlinson.  He  had  accomplished  this  feat  with  a  shot  and 
shell  that  has  all  but  rendered  Mr.  Tomlinson  bors  de  combat 
from  any  future  obstructionist  action  or  grab  for  control.  But 
at  the  same  time,  there  are  observers  who  contend  that  for  all 
the  Vogel  skill  at  arms  the  Loew's  leader  has  earned  himself 
a  one-way  ticket  to  corporate  purgatory. 

This  has  been  a  curious  contest  throughout.  But  no  more 
puzzling  than  the  disquieting  peace  which  has  now  descended 
upon  Loew's  like  the  sole  of  a  hobnail  boot.  Mr.  Vogel  has 
won  the  honors.  He  wins  precious  little  else.  In  the  end,  his 
may  go  down  as  a  victory  without  spoils.  Only  his  indomitable 
courage  and  refusal  to  fail  may  prevent  this. 

A  stock-taking  of  the  battlefield  casualties  leads  to  the  un- 
mistakable conclusion  that  Mr.  Tomlinson  is  not  the  drama's 
only  ill-starred  Joe.  While  the  Canadian's  losses  are  open,  cir- 
cumscribed and  material,  Vogel's  are  not  so  easy  to  define. 
Tomlinson  loses  power.  Vogel  gains  a  scalding  hot  seat.  Given 
the  power  to  govern  his  company,  the  pressure  on  Joe  Vogel 
thus  builds  and  builds  and  builds. 

0 

The  rub  from  the  Vogel  standpoint  is  that  there  is  so  much 
to  do  and  so  little  time.  So  little  time,  that  is,  between  the 
present  and  February,  1958,  date  of  the  annual  Loew's  share- 
holder gathering,  when  it  is  suspected  that  new  and  bolder 
forces  may  begin  agitations  anew. 

If  Vogel  has  disposed  of  a  primary  obstacle,  than  another 
less  discernible,  more  imposing  threat  has  sprung  up  to  etch 
deeper  into  the  frown  line.  It  is  a  muted  threat,  draped  in  re- 
spectability and  not  readily  open  to  challenge.  It  will  take  more 
than  Vogel's  long-admired  Spartan  rigidity  to  beat  down  this 
storm  should  it  cloud  up  about  him.  Portents  have  already  risen 
that  Joe  Vogel  may  next  have  to  battle  Wall  Street  itself — at 
least  an  imposing  hunk  of  that  community,  the  brokerages  of 
Lehman  Bros,  and  Lazard  Freres,  and,  possibly,  several  more. 

Wall  Street  sources  close  to  Financial  Bulletin  are  exact  in 
stressing  that  this  potential  anti- Vogel  bloc  is  spiritually  unaffil- 
iated with  Tomlinson,  Stanley  Meyer  and  others  of  that  crowd. 
The  Lehman-Lazard  axis  likes  to  view  itself  as  a  patient  police- 
man conducting  a  fair  surveillance  of  company  operations,  as 
its  due  by  virtue  of  controlling  a  massive  swad  of  stock  (al- 
though not  close  to  the  3  million  out  of  a  total  of  5.3  million 
shares  that  Time  Magazine,  October  28,  reports).  In  casting 
for  Samuel  Briskin  as  a  company  director,  the  two  financial 
houses  may  be  construed  as  hurling  criticism  at  Joe  Vogel  as 
well  as  his  "show-case"  slate.  It  is  erroneous  to  label  this  move 
as  support  of  Tomlinson  or  any  of  the  vague  objectives  he 
stood  for.  It  must  be  construed,  rather,  as  a  denunciation  of 
too  few  movie  veterans  on  the  board. 


FINANCIAL 

BULLETIN 

OCTOBER      28.  1957 

By  Pbilip  R.  Ward 


This  development  should  come  as  no  surprise  to  Financial 
Bulletin  followers  who  have  been  repeatedly  cautioned  of  un- 
friendly Wall  Street  stirrings.  The  prospective  liquidation  of 
the  company  is  still  a  prime  behind-the-scenes  factor.  The  pro- 
tection and  preservation  of  equity  is  a  subject  on  which  hard- 
plated  investment  firms  show  one-track  minds.  Evidence  now 
exists  that  as  a  result  of  the  debilitating  proxy  contest,  as  well 
as  unpromising  conditions  obtaining  in  the  movie  industry  gen- 
erally, the  future  does  not  bode  bright  for  Loew's.  A  further 
depreciation  in  market  value  may  force  Wall  Street  hands. 

Mr.  Vogel  knows  this  well.  To  a  certain  extent  he  is  forti- 
fied by  a  backlog  of  reportedly  superior  films  spawned  under 
his  leadership.  Income  from  the  lease  of  the  Metro  library  to 
TV,  though  helpful,  cannot  carry  the  whole  load.  Income  de- 
riving purely  from  theatre  film  commerce  is  lagging,  and  the 
key  issue  is  not  how  much  will  this  division  earn  but  to  how 
small  a  point  can  the  loss  be  held. 

From  the  standpoint  of  the  immediate  future  the  prospects 
at  Loew's,  both  marketwise  and  income-wise,  loom  as  bleak  as 
the  surface  of  the  moon.  And  they  may  well  get  worse  before 
they  get  better.  And  now  come  an  even  deeper  problem. 

A  genuine  scare  is  prevalent  that  wholesale  dumping  of 
stock  may  soon  take  place.  Mr.  Tomlinson  owes  a  whopping 
$1.1  million  on  Loew's  shares.  His  paper  loss  now  extends  to 
a  reported  Si. 5  million.  He  may  soon  have  to  answer  a  call 
on  his  loan.  His  alternative  is  to  surrender  collateral  of  a 
separate  nature  or  unload  Loew's  to  set  straight  the  books. 
Based  upon  his  most  recent  comments,  Tomlinson  may  take  the 
position  that  further  retention  of  his  huge  Loew's  portfolio  is 
tantamount  to  tossing  good  money  after  bad.  Plainly  the  man 
is  disenchanted. 

Then  again,  the  unsuspected  downswing  in  stocks  at  large 
has  placed  other  Loew's  stockholders  in  a  peculiar  position.  As 
with  Tomlinson,  their  loans  must  be  covered.  Thus,  many 
others,  sadly,  reluctantly,  may  be  forced  into  selling  out  por- 
tions of  their  holdings. 

0 

Joseph  Vogel,  then,  in  the  full  bloom  of  victory  finds  little 
surcease  from  the  battle  he  has  been  through  in  the  past  8 
months  or  so.  He  has  won  a  victory  and  inherited  a  tiger  by 
the  tail.  Joe  Vogel  is  today,  title-holder  to  filmdom's  least  en- 
vied chair.  He  is  also,  without  a  moment's  deliberation,  the 
best  man  for  the  job.  One  can  only  hope  that  good  judgment 
will  prevail  upon  those  impatient  banking  forces  cited  earlier 
to  appreciate  his  groaning  burden  and  persevere  with  his  efforts 
to  resurrect  Loew's,  Inc.  The  bankers  must  allow  him  an  unob- 
structed period  of  reasonable  length  to  prove  his  merit,  or  find 
the  answer  to  their  64  million  dollar  question:  Where  do  they 
go  wit  bout  Joe  Vogel? 


Page  6        Film  BULLETIN     October  28,  1957 


What's  Hurtin 
Our  Business? 


Sindlinger  Study  Puts  the 
Finger  on  TV  Competition 
With  Our  Own  Movies 


One  of  the  major  factors  responsible  for  the  cur- 
rent decline  in  theatre  admissions,  movies  on  TV,  is 
pinpointed  in  a  recent  study  released  by  Sindlinger 
and  Company.  According  to  the  research  organiza- 
tion, "Nationwide  interest  in  Hollywood's  movies  is 
at  an  all  time  high — but  greater  for  TV  showings 
than  for  theatre  showings."  To  counter  the  public's 
belief  that  all  current  movies  will  be  seen  on  tele- 
vision in  the  near  future,  Sindlinger  believes  "the 


tranquil  Movie-TV  marriage  must  be  exploded"  and 
that  a  solution  can  be  found  by  directing  the  public's 
interest  away  from  movies  on  television  to  movies  in 
theatres  and  withholding  movie  product  from  TV.  The 
survey  cites  figures  to  substantiate  that  a  goodly 
number  of  people  still  consider  going  out  to  motion 
pictures  and  it  is  the  industry's  job  to  transform  this 
consideration  into  ticket-buying.  Reprinted  here  are 
major  portions  of  this  interesting,  illuminating  study. 


The  time  has  come  for  the  Industry  to  stop  procrastinating, 
and  think!  The  day  is  gone  when  there's  nothing  wrong  with 
the  Industry  that  a  good  picture  won't  cure — every  theatre  has 
recently  played  many  good  pictures  that  didn't  do  business — 
and  every  showman  knows  it.  Theatres  are  not  going  to  build 
business  with  slogans. 

Don't  rationalize  that  the  July  slump  was  all  caused  by  home 
air-conditioning  and  traffic  problems. 

Don't  be  misled  because  the  ad-pub  boys  work  hard  and 
plant  with  gusto — one  can  work  just  as  hard  peeling  potatoes 
as  sharpening  a  diamond — the  energy  is  the  same  but  the 
result  is  different.  And  don't  blame  the  July  slump  on  product 
per  se.  Those  who  have  seen  July  product  like  it  generally 
(there  are  a  few  exceptions,  of  course).  But  do  not  forget  that 
the  way  product  is  presented  to  the  public  is  almost  as  impor- 
tant as  the  product  itself. 

In  today's  market — a  showman's  past  experience  and  method 
of  selling  are  actually  handicaps.  Past  experience — the  way 
things  use  to  be  done — will  not  sove  today's  competition  for 
moviegoing  time. 

This  report,  in  summary  shows:  (1)  how  exhibition  this  sum- 
mer is  being  robbed  of  its  most  vital  and  effective  means  of 
communication — talk-about  or  word-of-mouth,  (2)  how  nation- 
wide interest  in  Hollywood's  movies  is  at  an  all  time  high — 
but  greater  for  TV  showings  than  for  theatre  showings,  (3) 
how  the  public — through  Industry  complacency — think  and 
expect  to  see  all  current  movies  on  TV — some  think  even  next 
winter  .  .  .  the  /'//  wait  for  it  attitude  is  becoming  stronger  each 
day,  and  (4)  how  the  first  step  in  any  constructive  business 
building  campaign  must  start  at  the  root  of  the  problem;  i.e., 
the  tranquil  Movie-TV  marriage  must  be  exploded.  Although 
a  complete  divorce  may  not  be  possible  now — because  of  the 
dependent  created  through  the  shotgun  marriage  (Movies  on 
TV) — a  trial  separation  ought  to  at  least  be  tried. 


SUMMER  OF  1957  vs  1956 

Average  weekly  total  attendance  this  summer,  as  compared 
with  last  summer,  is  shown  by  the  chart  below. 


CHART   NO.  1 


The  chart  above  present  average  weekly  total  attendance; 
i.e.,  including  paid  and  free,  at  both  4-walls  and  drive-ins. 

The  following  chart  shows  adult  attendance  only — where  the 
important  money  comes  from: 


Week 

This  Summer 

Last  Summer 

% 

Ending 

1957 

1956 

Change 

June  1 

40.147.000 

30,824,000 

;  30.2% 

June  8 

42.952,000 

36,316,000 

+  18.3 

June  15 

44,455,000 

37,839,000 

-  17.5 

June  29 

44,960.000 

42.674,000 

-  5.4 

Average  for  Month 

16.2% 

-  5.1% 

July  6 

47,053,000 

49,604,000 

July  13 

53,969,000 

54,247,000 

0.5 

July  20 

50,802,000 

57,542,000 

11.7 

July  27 

46,575,000 

63.500,000 

-26.6 

Average  for  Month 

11.8% 

30.3% 

August  3 

49,937,000 

65,048,000 

August  10 

60,458,000 

August  17 

63,072,000 

August  24 

65,518,000 

August  31 

67,245,000 

(Continued  on  Page  10) 


Film  BULLETIN    October  28.  1957        Page  7 


"Across  The  HridqR" 
Gutitete  Rati*}  O  O  Plus 

New  Graham  Greene  suspenser  should  attract  class  and  art 
audiences.  Good  performance  by  Rod  Steiger. 

Graham  Greene  certainly  knows  how  to  w  hip  up  souffle-style 
suspense  to  peaks  of  excitement,  as  amply  demonstrated  by 
"The  Third  Man"  and  "The  Fallen  Idol".  If,  in  the  new  Rank 
production,  "Across  The  Bridge",  the  Greene  touch  is  not  as 
persuasively  pungent  as  usual,  the  concoction  offered  is  still  a 
rather  tart  and  tasty  one.  It  should  draw  above  average  in  class 
and  art  houses,  but  elsewhere  figures  only  as  average  dualler. 
Judged  against  the  humdrum  mellers  of  recent  vintage,  this 
John  Stafford  production  has  a  good  many  high-class  points  in 
its  favor,  not  the  least  of  them  being  a  vividly  sharp  and  crisp 
direction  by  Ken  Annakin  and  a  whoppingly  bravura  perform- 
ance from  star  Rod  Steiger.  The  weaknesses  lie  in  the  fact  that 
scripters  Guy  Elmes  and  Denis  Freeman  have  expanded 
Greene's  original  one-finger  exercise  into  a  wildly  improbable 
tale  with  much  too  many  contrived  situations,  thereby  losing 
the  audience's  interest  at  crucial  times.  Further,  Steiger's  focal 
character  is  hardly  a  sympathetic  one.  He  is  seen  as  an  interna- 
tional high-finance  crook  who,  when  Scotland  Yard  finally  tabs 
him,  hops  off  to  Mexico.  In  flight  he  meets  a  Mexican  whom 
he  drugs  and  tosses  off  the  train,  in  order  to  get  the  man's  pass- 
port. He  discovers  later  that  the  man  is  wanted  for  a  political 
murder,  but  uses  the  information  at  pretending  he  is  the  assas- 
sin, thereby  getting  by  the  American  border  authorities  who 
have  been  alerted.  Once  in  Mexico  he  has  trouble  establishing 
his  identity,  is  blackmaled  by  the  police,  pressured  by  the 
townspeople,  left  homeless  and  friendless  while  Scotland  Yard 
emissary  plays  cat  and  mouse  with  him.  His  only  comfort  and 
remaining  friend  is  a  faithful  dog  he  has  acquired  during  his 
travels.  Finally  cornered,  it  is  his  attempt  at  saving  the  dog 
which  causes  his  death. 

Rank  Organization.  103  minutes.  Rod  Steiger,  David  Knight,  Maria  Landi.  Pro. 
duced  by  John  Stafford.    Directed  by  Ken  Annakin. 

The  Story  Df  Mankind" 

SudUU44  O   O  PIUS 

Kaleidoscopic,  all-star  melange  of  history's  famous  inci- 
dents and  characters.  Will  prove  selling  problem. 

A  star-studded  potpourri  cavorting  down  the  ages,  not  tak- 
ing its  subject  matter  too  seriously  or  pretending  profundities, 
and  always  seemingly  determined  to  present  the  famous  and  in- 
famous with  tongue-in-cheek  humor  or  flamboyant  glory- 
groupings,  "The  Story  of  Mankind",  properly  exploited, 
should  attract  a  fair  share  of  the  mass  metropolitan  trade, 
but  many  adults  and  the  discriminating  audiences  will  turn  up 
their  noses.  Warner  Bros,  will  probably  find  this  a  tough  one 
to  sell  to  exhibitors,  who,  in  turn,  will  find  the  public  reluctant. 
Writer-producer-director  Irwin  Allen  has  extracted  from  the 
celebrated  Hendrik  van  Loon  book  some  of  that  author's  popu- 
lar touch  with  historical  whimsies  and  kaleidoscoping  so  many 
tumultuous  events  in  such  short  amount  of  time.  It  offers  a  full 
WarnerColor  tour  from  the  cave  man  to  the  present  day,  and 
in  general  behaving  like  a  professional  quick-change  artist  in 


an  encyclopedic  carnival.  To  give  you  an  idea,  there's  glamor 
girl  Hedy  Lamarr  as  a  stalwart  Joan  of  Arc,  Virginia  Mayo  as 
a  comic  book  femme-fatale  Cleopatra,  Peter  Lorre  as  a  zombie- 
type  Nero,  bird-brain  Marie  Wilson  as  the  regal  Marie  Antoin-  f 
ette,  Marie  Windsor  as  Napoleon's  Empress  Josephine,  back-  * 
fence  gossip  Agnes  Moorehead  as  a  crotchety  Queen  Elizabeth. 
And  to  top  it  all  off,  the  Marx  brothers,  Groucho  as  the  pil-  3- 
grim  who  made  the  Indian-Manhattan  Island  deal,  Harpo  as  ' 
an  Issac  Newton  who  makes  applesauce  with  that  mythical  law  t 
of  gravity  apple,  and  Chico  as  the  bumpkin  monk  to  whom  j 
Columbus  first  demonstrates  a  round  world  using  an  orange.  I 
Tying  all  these  vignettes  together  is  the  debate  between  Ronald 
Colman  as  the  debonair,  democratic  Spirit  of  Man  and  Vincent  1 
Price  as  the  flippant,  striped  pants  Devil,  as  the  two  plead  their  ! 
case  before  High  Judge  Cedric  Hardwicke  of  heaven,  who  is 
deciding  whether  or  not  mankind  should  be  allowed  to  live 
since  it  has  just  invented  the  Super  H-Bomb.  The  Judge  finds 
equal  evidence  for  man's  evil  and  man's  good,  and  therefore 
reprieves  man,  but  warns  about  the  future,  looking  straight  out 
into  the  audience,  and  winding  up  the  entertainment  with  a 
message  to  ponder. 

Warner  Bros.    100  minutes.    Ronald  Colman,  Vincent  Price,  Hedy  Lamarr  Groucho 
Marx,  and  all-star  cast.    Produced  and  Directed  by  Irwin  Allen. 

"Zero  Hour" 

Scc4uee44  IRat&tf  Q  Q  p|Us 

Familiar  aviation  melodrama.  Fairly  strong  marquee  names 
will  help  it  as  dual  bill  attraction. 

This  aviation  suspense  melodrama  released  by  Paramount  for 
the  new  Champion  Bartlett  organization  has  little  to  offer  that 
hasn't  been  offered  many  times  before.  Starring  Dana  Andrews, 
Linda  Darnell  and  Sterling  Hayden  in  some  neat  little  charac- 
terizations and  snugly  directed  by  Hal  Bartlett,  "Zero  Hour": 
should  get  by  as  a  dualler  with  devotees  of  air  action.  The  plot: 
which  screenplaywrights  Arthur  Bailey,  Bartlett  and  Champion 
have  cooked  up  is  familiar  and  far-fetched,  albeit  adventure- 
some. The  players  are  competent,  with  Hayden  turning  in  an 
incisive  performance.  What  happens  is  simply  this:  passengers 
and  pilots  are  offered  fish  or  meat  for  dinner,  with  the  sea  food: 
eaters  contracting  ptomaine  poisoning,  and  as  you  can  guess, 
among  the  victims  turn  up  the  two  pilots.  The  only  man  on 
board  capable  of  taking  over  the  plane  controls  is  loose-living 
lush  Andrews,  who  suffers  from  a  guilt  complex  brought  about 
by  inadvertently  leading  his  WW  II  fling  brethren  to  destruc- 
tion. Andrews  is  in  bad  shape,  grounded  and  feckless  sina 
war's  end,  but  he  volunteers  in  order  to  prove  to  estrangec 
wife  Miss  Darnell  and  himself  that  his  skid  row  existence  i; 
not  really  a  failure  of  nerve.  But  when  Andrews  makes  con 
tact  with  Vancouver  control  tower,  he  finds  to  his  dismay  thai 
it  is  run  by  Hayden,  a  man  who  knew  and  hated  Andrews  dur 
ing  the  war.  Other  complications  include  Andrews'  inexperi 
ence  with  stratocruiser  type  planes,  bad  weather  conditions 
and  the  pressing  fact  that  some  of  the  sick  passengers  may  di< 
unless  hospitalized  immediately.  Nevertheless,  through  some) 
tense  climactic  scenes  Hayden  manages  to  talk  Andrews  dowr 
to  the  ground,  Miss  Darnell  is  reunited  with  her  husband  anc, 
Andrews  guilt  is  assuaged. 

Paramount.  81  minutes.  Dana  Andrews,  Linda  Darnell,  Sterling  Hayden.  Produce.' 
by  John  Champion.    Directed  by  Hal  Bartlett. 

O    POOR J 


[  Supine**  Rate*?       O  O  O  O    TOPS       ©  (yO    GOOD        OO  AVERAGE 


Page  8        Film  BULLETIN    October  28,  1957 


"The  Sari  Sack" 
'Scuckc^  "Rati*?  O  O  O 

Jerry  Lewis  has  good  laugh  vehicle  as  army  goofball.  Will 
draw  well  where  Lewis  has  following. 

Another  Jerry  Lewis  bag-of-tricks  is  delivered  in  "The  Sad 
Sack",  in  which  the  antics  are  the  sort  everyone  can  take  mid- 
way between  the  heart  and  the  funnvbone.  Where  comedies 
click,  this  Paramount  release  should  draw  well.  Hal  Wallis  has 
given  Jerry  a  snappy  production,  George  Marshall  has  directed 
it  like  a  drill  sergeant  and  scripters  Edward  Beloin  and  Nate 
Monaster  have  rigged  up  one  of  those  mad  and  zany  accounts 
of  a  walking  booby  trap  and  his  bizarre  adventures  in  learning 
the  ways  of  soldiering.  Lewis  has  a  tailor-made  role  that  fully 
allows  him  opportunity  for  his  tomfoolery,  confounding  as 
usual  those  people  in  high  places  and  creating  comic  havoc 
with  his  buddies,  David  W  ayne  and  Joe  Mantell.  For  plot,  we 
have  a  two-prong  affair.  First,  the  boot  camp  business  with 
Corporal  Wayne's  efforts  at  qualifying  buck  private  Lewis  as 
M-l  rifleman;  second,  the  ship-out  routine  to  North  Africa 
where  dashing  Jerry  gets  embroiled  in  counterspy  sleuthing 
and  sexy  dancer  slinkings.  Lillianne  Montevecchi  takes  care  of 
the  latter,  while  Peter  Lorre  is  evil  enough  as  an  Arab  cut- 
throat intent  on  stealing  the  secrets  of  the  Air  Force's  Rapid 
Fire  Cannon.  Of  course,  out  of  all  this  Jerry  emerges  the  cloak 
and  dagger  hero  extraordinary,  gets  Wayne  into  the  arms  of 
\\  AC  Major  Phyllis  Kirk,  finds  romance  himself  and  winds  up 
the  most  decorated  private  east  of  the  Gold  Coast. 

Paramount.  98  minutes.  Jerry  Lewis,  David  Wayne.  Phyllis  Kirk.  Produced  by  Hal 
Wallis.    Directed  by  George  Marshall. 

"Hear  Me  Good" 

Rating  O  O 

Mild  comedy  will  have  to  rely  on  Hal  March  TV  following 
B.O.  prospects  only  fair  in  general  market. 

Here  is  yet  another  high-powered  TV  personality  making 
his  bid  for  Hollywood  stardom  and  falling  on  his  handsome 
face  in  the  process.  Hal  March  has  a  Broadway-dandy  type  of 
charm,  a  minor  talent  for  comic  ploys,  a  sleazy  romantic  aura, 
but  he  simply  isn't  much  of  an  actor.  And  since  Paramount 
hasn't  equipped  him  with  anything  very  malleable  or  reward- 
ing in  the  way  of  a  script,  his  first  starring  film,  "Hear  Me 
Good",  must  be  considered  of  dubious  boxoffice  value.  It  will 
have  to  rely  on  his  antenna  laurels,  and  exhibition's  experience 
is  that  the  average  TV  personality  isn't  a  draw.  What  writer- 
producer-director  Don  McGuire  has  concocted  for  him  is  a 
moderately  amusing,  gag-littered  little  tale  that  spoofs  beauty 
contests  and  treats  prohibition-type  gangsterism  with  wild  de- 
light. March  plays  a  down-on-his-bottom  press  agent  full  of 
get-rich-quick  ideas  that  always  boomerang  and  Joe  E.  Ross, 
another  TV  luminary,  portrays  his  loyal  but  loony  sidekick.  In 
order  to  pay  their  hotel  bill,  March  comes  across  with  a  sure 
thing:  they'll  put  the  fix  on  a  beauty  contest,  bet  on  the  winner 
and  walk  off  with  the  chips.  The  blonde  amazon  they  get  for 
the  contestant  bit  turns  out  to  be  an  untouchable,  since  hood 
Irving  the  Hammer  is  her  underw  orld  knight.  Having  gambled 
aw  ay  some  of  the  blonde's  promotion  money,  the  boys  are  in  a 
plight  until  pretty  Merry  Anders  comes  along.  March  cons  her 
into  the  contest,  but  later  gets  in  a  bind  when  Irving  puts  his 
babe  back  in  the  running.  March  survives  the  gangster,  helps 
Miss  Anders  to  win,  loses  his  heart  to  her. 

Paramount.  80  minutes.  Hal  March,  Joe  E.  Ross,  Merry  Anders.  Produced  and 
Directed  by  Don  McGuire. 


"All   Milll!  Til  Imp 
Su4ine44  Rating  Q  O  Plus 

Technicolored  tear-jerker  should  do  well  in  hinterlands.  OK 
for  family  houses  elsewhere. 

A  true  tear-jerker  set  against  a  rustic  pioneer  Wisconsin, 
circa  I860,  RKO's  Technicolored  "All  Mine  To  Give",  is  brim- 
full  with  the  old  fashioned  values  of  self  reliance,  family  soli- 
daritv  and  ever-abiding  lo\e  between  husband  and  wife.  Since 
our  own  era  is  in  a  neurotic  flux,  these  values  come  across 
rather  refreshinglv  on  the  screen.  L'nfortunately,  the  plot  that 
they  are  part  of  is  one  of  those  rambling  chronicle  things,  in 
which  an  awful  lot  of  events  happen  but  none  seem  to  have 
very  much  dramatic  currency.  The  theme  and  gentle  pace  make 
this  good  fare  for  small  town  situations,  and  for  family  houses 
generally.  Glynis  Johns  and  Cameron  Mitchell  do  well  enough 
as  the  stalwart  couple  and  Rex  Thompson  is  a  fine  figure  of  a 
boy  as  their  eldest  son.  In  fact,  Master  Thompson  and  the 
other  five  small  frys  that  play  his  brothers  and  sisters  walk  off 
with  most  of  the  film,  especially  in  the  last  fifteen  minutes 
which  should  have  the  matinee  trade  wiping  away  their  tears. 
For  director  Allen  Reisner  and  screenplayw  rights  Dale  and 
Katherine  Eunson,  along  with  a  tremulous  Max  Steiner  score, 
have  had  some  very  good  people  meet  up  with  some  very  bad 
happenings  and  milked  the  results  for  all  their  worth.  Miss 
Johns  and  Mitchell  arrive  in  the  new  world  as  penniless  Scot- 
tish immigrants  only  to  find  their  one  kinsman  dead  and  his 
cabin  burned.  After  surviving  this,  the  children  start  coming 
and  Mitchell  must  work  at  the  hazardous  job  of  a  lumberjack 
and  combat  the  anti-foreigner  prejudice  of  his  boss.  Then  Mit- 
chell is  bedded  with  diptheria  and  eventually  dies.  Miss  Johns 
tries  valiantly  to  keep  her  brood  together,  but  she  succumbs  to 
typhoid  fever.  On  her  death  bed  she  designates  Thompson 
head  of  the  family  and  has  him  promise  to  parcel  out  the  chil- 
dren to  the  kindest  families  in  town  and  not  a  state  institution. 

RKO-Universal  International.  102  minutes.  Glynis  Johns,  Cameron  Mitchell.  Pro- 
duced by  Sam  Wiesenthal.    Directed  by  Allan  Reisner 

"And  God  Created  Woman" 
GciAiKCte  IZati*}  O  O  O 

Choice  French  import  will  delight  art  audiences. 

Kingsley  International's  latest  import  is  by  all  odds  the  sex- 
iest souffle  France  has  deposited  on  our  shores  in  years.  It 
figures  to  be  a  choice  item  for  the  art  houses.  The  main  embel- 
lishment is  Brigitte  Bardot,  who  portrays  the  kind  of  girl  men 
just  can't  leave  alone  so  vividly  and  warmly,  it's  as  if  she  new- 
ly invented  this  most  hackneyed  of  screen  characters.  For  Mile 
Bardot  is  decked  out  as  a  kind  of  Biblical  Lilith  who  drives 
hordes  of  men  to  rack  and  ruin  and  herself  under  the  shadows 
of  doom  and  degeneracy.  She  starts  out  as  a  poor  little  orphan 
in  the  roistering  seaport  of  Saint-Tropez,  whose  puritanical 
guardians  are  determined  to  preserve  her  chastity.  They  have 
their  troubles  w  ith  the  girl,  however,  who  is  a  w  ildly  romantic, 
headstrong  lass.  When  the  bluestockings  descry  Mile  Bardot 
as  a  defilement  of  the  town,  she  seduces  a  respectable  young 
man  into  the  marriage  vows.  Nevertheless,  with  all  her  past 
exercises  in  easy  virtue,  she  promises  herself  to  remain  a  faith- 
ful wife.  There  ensues  the  struggle  between  the  flesh  and  the 
spirit,  for  the  boys  simply  will  not  leave  her  alone  and  neither 
will  Mile  Bardot's  libido.  Director  Roger  Vadim  has  kept  the 
sensationalisms  pliant  and  provocative  in  an  adult  way. 

Kingsley  International.  100  minutes.  Brigitte  Bardot.  Curd  Jurgens.  Produced  and 
Directed  by  Roger  Vadim. 


Film  BULLETIN    October  28,  1957        Page  9 


THE  SINDLINGEB  REPORT 

( Continued  from  Page  7) 

Most  theatres  compare  dollars  this  ueek  with  dollars  the 
same  week  last  year.  Most  distributors  compare  dollars  this 
picture  with  another  picture  a  year  or  so  ago.  Today,  such  a 
comparison  can  fool  you.  Very  few  showmen  compare  attend- 
ance. It  might  be  a  good  idea  to  do  so  this  year — to  compare 
your  attendance  this  year  with  last  year. 

The  attendance  figures  on  the  previous  page  are  all  national, 
including  drive-in  and  four-wall  theatre  attendance.  Therefore, 
there  will  be  sectional  differences,  such  as:  the  drive-ins  in  the 
South  are  off  more  than  those  in  the  Midwest;  four-wall  thea- 
tres at  first  run  in  the  South  are  better  off  than  those  in  the 
Midwest;  etc. 

But,  the  point  to  be  remembered  is  this:  The  attendance  fig- 
ures shown  in  the  chart  and  the  gross  figures  (that  follow) 
refer  to  the  national  picture — and  distribution — the  source  of 
product — is  national. 

There's  a  joker  holding  up  the  net  gross.  As  previously 
shown,  average  weekly  paid  adult  attendance  in  June  195^  was 
ahead  of  last  year — but  July  ran  behind  by  11.8%.  Despite  this 
situation,  net  theatre  gross  is  actually  up  11.7%.  Thus,  there  is 
a  joker  holding  up  the  net  gross. 

Most  theatres,  except  those  charging  less  than  50  cents,  had 
a  different  Federal  tax  rate  this  summer  than  last,  as  the  current 
tax  rate  went  into  effect  on  September  1,  1956.   This  is  the 
joker.  Here  is  how  admission  prices  have  changed: 
THIS  YEAR  LAST  YEAR 

Ju'y  1957  July  1956 

$•533  NET  TO  THEATRES  $.421 

■021  FEDERAL  TAX  .084 

$•554  TOTAL  PUBLIC  PAID  $.505 

and,  here  is  how  average  weekly  income  from  admissions 
compares: 

THIS  YEAR  LAST  YEAR 

Ju|y  !957  Ju|y  1956 

$26,436,000  NET  TO  THEATRES  $23,670,000 

1,041,000  FEDERAL  TAX  4,723,000 

$27,477,000  $28,393,000 
Thus,  while  July's  attendance  this  year  was  11.8%  behind 

July  last  year,  the  public  spent  only  3.3%  less  than  last  year— 

because  of  the  increase  in  the  cost  of  the  average  ticket  at  the 

box-office. 

During  the  average  week  in  July  last  year,  theatres  paid 
Uncle  Sam  nearly  $5-million — whereas,  this  year,  it  was  onlv 
$  i  -million. 

In  other  words — at  today's  admission  prices — had  attendance 
in  July  this  year  held  up  to  the  same  level  as  last  year — net 
theatre  gross  would  be  up  20+%.  The  urgency  of  the  problem 
is:  the  attendance  decline  in  July — which  appears  to  be  a  trend 
— has  almost  eaten  up  the  Federal  tax  savings. 

Theatre  operators  and  distribution  heads  who  compare  this 
year  with  last  will  be  in  for  a  shock  in  September— for  up  to 
that  time,  gross  comparisons  were  not  comparable  because  of 
the  change  in  tax  rate. 

WHAT  HOPE  IS  THERE? 

Should  attendance  continue  at  a  level  of  10  percent  behind 
last  year.  All  Federal  tax  savings  would  be  wiped  out  in  Sep- 
tember—and theatres  would  be  right  back  where  they  were 
before  Federal  Admissions  Tax  relief.  10,000  theatres  would  be 
insolvent— even  with  their  current  concession  sales.  Such  a  situ- 


ation would  make  production  insolvent  to  service  the  remain- 
ing 8,000  theatres.  What  hope  is  there? 

Raise  admission  prices?  Current  indications  are  that  movie 
admission  prices  are  reaching  saturation — particularly  at  the 
first-run  level.  In  addition,  the  public  is  now  beginning  to  ex- 
pect to  see  current  features  on  television — either  free  or  house- 
hold for  SI. 00.  Thus,  further  increase  in  gross  through  higher 
admission  prices  is  unlikely  for  the  time  being. 

Attempt  a  nation-wide,  organized  business  building  cam- 
paign? To  attempt  a  nation-wide  business  building  campaign 
at  this  time- — without  knowing  the  real  problem  in  detail — 
would  be  like  spitting  in  the  ocean  to  raise  the  tide. 

What  alternative  is  there  then?  The  attendance  decline  will 
be  arrested  only  if  those  within  the  Industry  have  a  thorough 
knowledge  of  the  problem,  face  it  realistically,  and  take  prac- 
tical action.  As  stated  above,  to  attempt  a  nation-wide  business 
building  campaign  at  this  time — without  knowing  the  real 
problem  in  detail — would  be  like  spitting  in  the  ocean  to  raise 
the  tide.  A  slogan  won't  do  it. 

The  first  step  in  analyzing  any  ailing  business  is  to  first  take 
a  look  at  the  potential. 

WHAT  IS  THE  POTENTIAL? 

This  is  the  question  that  Sindlinger  &  Company  analysts  keep 
uppermost  in  mind  in  their  analyses  concerning  motion  pictures, 
for,  if  there  is  no  potential,  there  can  be  no  solution. 

It  is  the  opinion  of  Sindlinger  &  Company  that  the  best 
indication  of  the  potential  for  motion  picture  theatre  attend- 
ance is  derived  from  the  daily  measurement  of:  (a)  the  number 
of  people  who  consider  going;  (b)  the  number  of  people  who 
go — and  what  they  say  about  what  they  see;  and  (c)  the  num- 
ber of  people  who  consider  but  don't  go — and  why  they  don't 

If  the  facts  indicated  that  there  was  a  downward  trend  in  the 
number  that  consider  going  each  week,  Sindlinger  &  Company 
would  not  spend  its  time  even  preparing  this  report.  Rather, 
it  would  simply  advise  its  clients  that  the  future  of  the  motion 
picture  theatre  was  hopeless. 

But  facts  do  not  indicate  a  downward  trend.  They  do  indi- 
cate that  the  potential  is  actually  increasing.  This  is  why,  as 
is  well-known,  that  Sindinger  &  Company  has  taken  an  opti- 
mistic view  in  all  public  statements  concerning  the  movie 
potential.  The  optimistic  statements  that  Sindlinger  &  Com- 
pany has  made  at  various  exhibitor  conventions  have  not  been 
made  just  to  say  something.  They  have  been  based  on  facts. 

CONSIDERED  GOING  OUT  TO  THE  MOVIES 
' '  Z      &  ADMISSIONS  i  ACTUALLY  PURCHASED  _  :  " 


CHART   NO.  2 


Page  10       Film  BULLETIN    October  28,  1957 


THE  5INDL1NGER  HEPUHT 

A  study  of  Chart  No.  2  reveals  that  while  the  number  of 
movie  admissions  considered  shows  a  healthy  increase  (the  top 
line),  this  year  over  last  year,  the  actual  number  of  admissions 
purchased  (the  bottom  line)  is  lagging  more  and  more  each 
week.  Here  is  how  the  average  week  in  July  this  year  compared 
with  July  last  year: 


This  Year 
July  1957 
147,509,000 
49,598.000 


/../>/  Ve./t 

July  1956 
114,512,000 
56,223,000 


Weekly  admissions  considered 

Weekly  admissions  purchased 

%  that  considered  and  actually 

purchased    33.6%  49.1% 

433.6-million  admissions  lost  during  July  are  a  lot  of  lost 

admissions. 

Sindlinger  &  Company's  daily  interviewing  during  July  re- 
vealed that  17.1%  of  the  nation's  adult,  non-institutionalized 
population — now  about  123-milIion* — considered  going  out  to 
the  movies  during  the  average  day  in  July. 

This  means  that  21,072,000  admissions  were  considered  dur- 
ing the  average  day  of  July.  On  week-ends,  the  figure  went  up 
from  30-million  to  35-miUion;  during  week-days,  it  ran  between 
10-miIlion  and  15-miIlion. 

On  the  other  hand — the  number  of  actual  purchases  during 
the  average  day  in  July  represented  7,085,000  admissions. 
Thus,  for  the  entire  month  of  July  1957: 
653,232,000  admissions  were  considered; 
219,635,000  were  actually  purchased; 
433,597,000  were  considered  but  lost. 
Thus,  it  can  be  readily  seen  that  the  problem  in  July  was  not 
caused  by  people  not  wanting  to  go  to  the  movies — for  at  no 
time  during  any  month  since  1951,  when  S&Co.  started  the 
measurement,  did  so  many  people  consider  going. 

Of  further  significance:  Among  the  433.6-million  admissions 
considered  during  July: 

65.9%  or  two  in  every  three  were  considered  by 
people  who  were  infrequent  moviegoers; 
i.e.,  they  had  not  been  to  a  movie  theatre 
in  some  time;  and 
78.4%  of  all  considered  and  lost  admissions  in 
July  were  contributed  by  females. 
These  are  the  people  the  movie  theatre  needs  today — espe- 
cially the  female,  who  talks. 

A  slogan  will  not  solve  the  above  situation — but  knowing 
why  the  433.6-million  people  didn't  consummate  a  visit  to  the 
movies  after  considering  one  is  at  least  a  start  to  the  prob- 
lem's solution. 

*The  total  population  of  the  U.S.  is  now  about  170,000,000. 

433.6-MILLION  ADMISSIONS  LOST  IN  JULY 

Interviewing  among  31,897  different  persons  during  July 
1957 — the  largest  sample  ever  used  in  analysis  by  any  research 
organization  during  the  course  of  one  month — revealed  that 
July's  lost  admission,  after  they  had  been  considered,  were  due 
to  the  following  reasons: 

A.  3.1%  said,  in  one  way  or  another,  that  they  could  not  afford 
to  go. 

B.  3.9%  said,  in  one  way  or  another,  because  of  bad  weather. 

C.  4.4%  said,  in  one  way  or  another,  too  late  to  go  when  de- 
cided to  go. 

D.  5.2%  said,  in  one  way  or  another,  too  tired  to  go,  or,  some- 
thing else  came  up. 


E.  9.7%  said,  in  one  way  or  another,  no  baby  sitter. 

F.  12.6%  said,  in  one  way  or  another,  no  one  would  go  with 
me.  (Nearly  all  who  gave  this  reason  were  married  females 
who  reside  in  the  Midwest  and  Fast.  Most  complained  that 
they  could  not  get  their  husbands  away  from  television  or 
radio  because  of  baseball. 

G.  22.5%  said,  in  one  way  or  another,  they  decided  to  wait  to 
see  the  pictures  when  they  come  on  TV.  (Most  people  in 
this  group  think  that  all  pictures  playing  at  theatres  now 
will  soon  come  to  TV.) 

H.  38.6%  said,  in  one  way  or  another,  there  was  nothing  play- 
ing I  wanted  to  see. 

Categories  A  through  F,  representing  38.9%  of  the  lost  ad- 
missions— or  42-miIlion  weekly  lost  admissions — are  considered 
to  be  normal  reasons — reasons  that  are  outside  the  control  of 
the  Industry.  Through  the  years,  it  has  been  found  that  the  size 
of  the  Normal  Group  fluctuates  between  35-million  and  45- 
million  each  week. 

But,  the  other  61.1% — representing  93-million  lost  admis- 
sions during  the  average  week  in  July — are  very  much  within 
the  control  of  the  industry. 

PEOPLE  EXPECT  FILMS  ON  TV 

As  shown  on  the  preceding  page,  22.5%  of  the  lost  admis- 
sions in  July  were  contributed  by  those  who  said,  in  one  was 
or  another,  decided  to  unit  to  see  the  pic  ture  when  it  conies  on 
TV.  In  terms  of  admissions,  approximatley  36-million  were 
lost  during  each  week  in  July  because  of  this  reasoning. 

Why  do  these  people  think  all  theatre  entertainment  will 
eventually  be  on  TV?  This  question  can  be  simply  answered 
by  a  few  countering  questions. 

They  are  being  educated  to  think  this  by  television.  To  the 
public,  a  motion  picture  means  Hollywood.  When,  if  ever,  was 
the  public  told  that  a  motion  picture  means  the  local  theatre? 
When,  if  ever,  has  the  public  been  told  that  all  is  not  serene 
sweetness  and  light  between  the  movie  theatre  and  television? 

Is  it  not  fundamentally  true  that  the  public  likes  a  good 
fight? — witness  the  weekly  Sullivan- Allen  TV  battle — isn't  it 
building  attention  for  both  personalities?  Does  the  theatre 
publicly  battle  Sullivan- Allen ?  No,  for  most  theatre  people, 
especially  owners,  love  these  TV  shows* — are  too  busy  watch 
ing  to  regain  their  audience.  The  question,  who's  running  the 
store,  anyhow  ?,  is  in  order. 

Isn't  it  logical  for  the  public  to  assume — since  no  one  has 
advised  otherwise,  that  Hollywood  is  now  in  the  living-room 
and  not  down  the  street  when  these  things  are  happening: 

Compare  movie  ads  on  the  amusement  page  with  movie  ads 
on  the  televiesion  page.  Which  are  best?  Doesn't  the  public 
read  every  day  more  about  TV  than  about  movies  at  theatres? 
Doesn't  the  public  read  that  Sinatra  will  be  on  TV;  Cooper 
will  be  on  TV;  Audie  Murphy  will  be  on  TV;  et  al?  Doesn't 
the  public  read  how  Hollywood  is  busy  producing  for  TV — 
building  million  dollar  studios  for  TV  production? 

"NOTHING  PLAYING  I  WANTED  TO  SEE" 

As  was  shown  before,  38.6%  of  the  lost  admissions  in  July 
— 57-million  admissions — were  contributed  by  persons  who 
said,  in  one  way  or  another,  there  tins  nothing  playing  I  wanted 
to  see. 

This  is  a  segment  that  is  very  much  within  the  control  of  the 
Industry.  To  have  57-million  persons  each  week  in  July  decide 
to  go  to  the  movies  and  then  not  go  because  there  was  nothing 
playing  they  wanted  to  see,  is  an  appalling  situation. 

(Continued  on  Page  12) 


Film  BULLETIN    October  28.  1957        Page  11 


THE  SINDLINGER  REPORT 


TALK- ABOUT:  Movies  ot  Theotres 


(Continued  from  Page  II) 

To  sit  back  and  say  the  reason  is  that  product  doesn't  attract 
this  summer — to  blame  it  all  on  product — is  rationalizing,  for 
the  public  doesn't  know  that  much  about  this  summer's  product. 
It  is  rather  the  way  product  has  been  handled  this  summer — 
antiquated  distribution  and  faulty  salesmanship. 

What  the  public  means,  interviewing  shows,  when  they  say 
— there  teas  nothing  playing  I  wanted  to  see — falls  into  several 
categories: 

A.  They  mean  they  have  not  been  stimulated  enough  to  want 
to  see. 

B.  They  don't  know  enough  about  the  attractions  playing  to 
take  a  chance  to  go. 

C.  They  mean  they  have  information  about  the  picture  that  is 
negative — such  as  seeing  certain  film-clips  on  TV. 

D.  They  mean  the  selection  available  is  limited.  At  the  first- 
run  level  the  market  was  detrimentally  glutted  with  product 
this  July,  but  Sindlinger  &  Company's  library  of  newspaper 
amusement  pages  from  metropolitan  markets  reveals  that 
multi-run  policy  of  subsequent  runs  was  responsible  for  a 
very  limited  selection. 

E.  They  mean  that  /  looked  for  Picture  X,  but  when  I  found 
it  wasn't  playing  anywhere,  1  decided  not  to  go.  These 
respondents  were  referring  to  the  cold-storage  period — 
when  an  attraction  disappears  completely  from  the  market 
for  a  number  of  days. 

Thus,  the  57-million  decided  to  do  something  else,  including 
the  activity  of  watching  old  movies  on  TV. 

With  the  competition  of  free  movies  on  TV — the  problem 
of  stimualting  theatre  attendance  to  specific  pictures,  is  com- 
pounded by  the  factor  of  self  competition.  For  example:  Cary 
Grant  competes  with  himself  in  An  Affair  to  Remember  and 
The  Pride  and  the  Passion,  as  well  as  a  long  list  of  free 
TV  movies. 

TALK  ABOUT  MOVIES  AT  THEATRES 
The  top  chart  on  this  page  refers  to  average  daily  talk-about 
of  motion  pictures  playing  at  the  nation's  theatres — these  fig- 
ures are  published  each  week  in  Movie  Market  Trends.  A  study 
of  the  chart  shows  the  following  trend: 

During  April,  May,  June  and  the  middle  of  July  of  last 
year  (1956),  average  daily  talk  about  pictures  playing  at 
theatres  ran  at  55-million  daily. 

Late  in  July  and  August  last  year,  it  jumped  to  over  70- 
million  daily.  This  was  during  the  political  conventions. 
It  then  followed  a  downward  trend  to  October.  A  peak 
occured  during  the  Thanksgiving  and  Christmas  Holiday 
period. 

However,  since  April  of  this  year,  motion  picture  theatre 
talk-about  has  been  sluggish,  fluctuating  between  30-mil- 
lion  and  $48-million. 

July  talk  about  this  yar,  at  about  38-million  was  almost 
half  of  what  it  was  last  July. 
Thus,  talk  about  motion  pictures  in  release  this  July  was  at 
no  greater  volume  than  it  was  during  the  mid-winter  season. 

TALK  ABOUT  MOVIES  ON  TELEVISION 

The  middle  chart  on  the  left,  concerning  talk  about  movies 
on  television,  shows  the  following: 

Until  September  of  1956,  prior  to  the  release  of  the  MGM, 
Fox,  RKO,  et  al  packages  to  TV,  average  daily  talk  about 
movies  on  Television  was  practically  nil. 


TALK-ABOUT:  Movies  on  Television 


i 

■  -Hi 

TOTAL  TALK-ABOUT:  Movies  at  Theatres  plus  on  Television 


CHART   NO.  3 

By  September,  as  movie  product  was  released  to  TV — talk 
about  gained. 

Note  how  TV  movie  talk  about  gained  in  volume  during 
the  winter  season  and  then  settled  down  during  March. 
April,  and  May  this  year — at  the  very  time  there  was  a 
shortage  of  product  at  theatres. 

Then  note  what  started  to  happen  in  June — when  the  reg- 
ular TV  programs  started  to  leave  the  air  for  the  summer. 
July  talk  about  movies  on  TV,  ranging  between  35-million 
and  45-million,  even  greater  than  theatre  movie  talk  about. 
The  middle  chart,  on  this  page,  tells  the  real  story.  This 
chart  shows  what  is  happening.  There  is  no  lack  of  interest  in 
movies  as  judged  by  the  July  1957  talk  about. 

Hollywood's  movies  are  still  being  talked  about — and  by 
greater  volume  this  summer  than  last  summer,  as  the  bottom 
chart  this  page  shows.  But — this  year,  the  July  talk  about  was 
more  about  movies  on  TV  than  about  motion  pictures  at  theatres. 

The  first  step,  a  vital  step  in  building  theatre  business,  is  to 
work  to  divert  the  direction  of  talk  about  or  word-of-mouth. 

A  last  look  at  the  charts  on  this  page  shows  how  the  mar- 
riage of  the  movies  with  television  robbed  the  theatres  of  their 
most  valuable,  most  potent,  and  most  cherished  source  that  was 
also  free  of  cost.  The  chart  also  answers  the  question — "Who 
is  getting  what  from  the  Movie-TV  marriage?" 

Thus,  the  theatre's  No.  1  Problem  today  is  simply  this:  to 
rebuild  the  direction  of  talk  about  to  the  theatre,  away  from 
TV.  If  people  didn't  still  consider  going  out  to  the  movies — 
theatres  would  have  a  hopeless  problem — but  people  are  still 
considering  going  out. 

It  will  take  work  to  transform  a  consideration  into  a  ticket 
— but  at  least  people  are  still  considering— more  than  you  play 
to  each  week. 


Page  12        Film  BULLETIN    October  28,  1957 


^  ^  'GEARED  TO  MEET  THE  EVER-CHANGING 
ENTERTAINMENT  DESIRES  OF  THE  PUBLIC  mm 

-THOMAS  M.  PRYOR,  N.  Y.  TIMES 


A,1,ed  ^  biggest  schedule  .nj;vevie^ 


the  imeup 

0P^  'added 


,he  comply 
according  to 


o.dv.  p" 


""it;  .- •«  i 

nR  "Persian 
...ced  by 


AA  TO  RELEASE  36  PIX  NEXTYEAR 

Allied  Artists  will  re,ease  a  total  of  36  ^   TL  I  LHI\ 


months,  six  more  than 


THE 


«  and  Vuxe-cX^ac^  ft>J 
m  five  years"  Product  will  be  turned  out  by  at 
with  door  left  wide-open  to  indie 
producers  with  additional  proper- 
ties. Future  plans  call  for  produc- 
tion of  certain  films  of  the  stature 
"Friendly     Persuasion"  and 
in  the  Afternoon,"  which  '<■ 
'hat  pix  of  similar  o- 
hie,  the 


kUa  ***** * 

Next  tea* 


Our  properties,"  Broidy  stated, 
will  be  geared  for  release  to  meet 

d^i^T^nginS  entertainment 
desires  of  the  public.  Budgets  wHI 

Slue  «H         det*™in«»  by  star 

t  e,\n.d  subject  matter." 

Joel  McCrea  will  st 
the  upcoming  progr-  \*r\~- 

star  -  £°TiON 

that  "T* 


Stranger  head  list  of  C'Scope- 
DeLuxe-Color  films  in  company's 
backlog  of  films  which  will  be 
among  the  year's  36. 

Lindsle"  -sons  and  Roger  Cor- 
man  bot'  oduce  four  of  corn- 

slate  and  Ben 
three.  Scott 
"•ermance 
^Hve 


■"rKe 
Brolc/v. 


'"•on  up1: 


TAcCrea 


are 


more  fhi 


case  36 


tn 


'he 


from  Oct.  1« 1  " 


filled  ^ 
declared 


°ne  .v,  will  be 
WOnthn.£op. 


a  r  i 


"10rof  the_.fonV/ 


color  ^  ^ 

~"  ^"c»nenj 

Joel 
Head>ng  , 

V,neuPnrodi 

;°niW 

Sotre  D»f 
starrlnP 
briglda  P 

M>tbor>yj 
-The  Tal^ 


the 

BIG  NfMs  B 


I716  new 


Queen 

ifrtB", 


"g,j, 

^  the 


'nc/udo 


fljj'de, 


■TB 


"TOWj 

by 

a** 


PROGRAM' 


ALLIED  ARTISTS  DELIVERS  THE  SHOWMANSHI 


GINA  LOLLOBRIGIDA 
ANTHONY  QUINN 

in  "THE 

HUNCHBACK 

OF  - 

NOTRE  DAME" 


CINEMASCOPE  |  TECHNICOLOR 


A  Robert  and  Raymond  Hakim  Presentation 


GARY  COOPER 
AUDREY  HEPBURN 

MAURICE  CHEVALIER 

in  Billy  Wilder's 

™  -  "LOVE 
IN  THE 


CURRENT  RELEASE 


COLE  YOUNGER 
GUNFIGHTER" 


starring  FRANK 

LOVEJOY 


CINEMASCOPE 


COLOR 


"NEVER  LOVE 
A  STRANGER 

starring 

JOHN  DREW 
BARRYMORE 

LITA  MILAN 

ROBERT 
BRAY 


X  ~\    Frank  Slaughter's  Violent  Novel 


NAKED  IN 
THE  SUN 


i 


Starring 

JAMES  CRAIG  •  LITA  MILAN  •  BARTON  MacLANE 


Eastman 
COLOR 


Current  Release 


V 


DINO 

starring 

SAL  MINEO 
BRIAN  KEITH 
SUSAN  KOHNER 

CURRENT  RELEASE 


Dynamite  Bill  of  THRILL  GIRLS  ! 


"TEENAGE 
DOLL" 


and 

"UNDERSEA  GIRL" 


SUPER  SHOCKORAMA! 

Double  Header  of  Horror! 


"THE  CYCLOPS" 

cutct 

"DAUGHTER 

OF  DR.  JEKYLL" 


|    Current  Release 


JOEL  McCREA 

VIRGINIA  MAYO 

THE  TALL 
STRANGER" 


THE  BLOOD  BATH 
THAT  SHOOK  THE 
ENTIRE  WORLD! 


Gerald  Milton-John  Hoyt 
Greta  Thyssen 

CRUELTIES  OF 
AN  ARCH  FIEND! 


GUN  BATTLE  at  MONTEREY 


When  SHOSHONE  Savagery 
Swept  the  Northwest! 

"OREGON  PASSAGE 

_    starring    JOHN  ERICSON 


Hottest  BLAST  Since  jfy 
"The  Phenix  City  Story"! 

"PORTLAND 
EXPOSE 

with  Edward  Binns 
Carolyn  Craig 
Jeanne  Carmen 

SCORCHED  WITH  VICE  . 
AND  CORRUPTION!        W  ^ 

CURRENT  RELEASE 


With  Those  ARABIAN  NIGHTS  Thrills! 


FABULOUS  SPECTACLE! 

The  Barbaric  Ravaging  of  Rome! 

"THE 


PAGAN'S 

WITH  A  CAST  OF 
THOUSANDS 


II 


"NEW  DAY 
AT  SUNDOWN" 


starring 


GEORGE  MONTGOMERY 


CINEMASCOPE 


COLOR 


TONY  MARTIN    VERA  ELLEN 

LET'S  BE 
HAPPY" 


CINEMASCOPE 


COLOR 


CURRENT  RELEASE 


Sat.  Eve.  Post  Expose! 

"DEATH  IN 
SMALL  DOSES" 

CURRENT  RELEASE 


Gorilla 
Terror 
Rampage! 


"THE  BRIDE 

AND 
THE  BEAST" 


HUNTZ  HALL  and  the 
BOWERY  BOYS 

in 

4  COMEDY  RIOTS 
..The  Screen's  Top 
Fun  Series!  v^^TM, 


Sizzling 
Teenage 
Shocker! 


CRY  BABY 
KILLER" 


"THE 
RAWHIDE  BREI 

starring 

REX  REASON  NANCY  GATES 


THE  GIANT  BEHEMOTH 
QUEEN  OF  THE  UNIVERSE 


SLADE  IN  MONTANA 
QUANTRILL'S  RAIDERS 


PERSIAN  GULF 


CINEMASCOPE  •  COLOR 


THE  INCREDIBLE  YANQUI 
JOY  RIDE 
DESPERATE  WOMEN 


79  PARK  AVENUE 


CINEMASCOPE  •  COLOR 


THE  FAR  WANDERER 
DATELINE  TOKYO 
HELL'S  5  HOURS 


Showmen/  Say  it  with  Playdates  for 

ALLIED  ARTISTS 

20th   ANNIVERSARY  DRIVE 


MERCHANDISING      &      EXPLOITATION     DEPARTMENT  f 


/ 


Official  Industry  Promotional  Slogan 
Set  to  Back  Business-Building  Drive 


"Get  More  Out  of  Life  ...  Go  Out  To  A 
Movie!  That's  the  new  institutional  slogan 
that  will  hack  the  industry's  all-out  promotional 
ampaign.  As  outlined  hy  Paul  Lazarus,  chair- 
man of  the  Advertising  and  Publicity  Directors 
Committee  of  the  MPAA,  who  announced  the 
birth  of  the  by-word,  the  ten  little  words  will 
be  incorporated  into  the  long-awaited  institu- 
tional advertising  campaign,  once  it  gets  off  the 
ground,  as  well  as  individual  campaigns  by  the- 
atres, distributors  and  producers. 

Said  Lazarus:  "In  deciding  on  this  slogan,  we 
wanted  to  avoid  the  customary  superlatives  so 
traditional  with  our  business.  After  long  re- 
search, the  conclusion  was  reached  that  we  must 


try  to  remind  the  public  of  the  plus  value  in 
mov  iegoing — that  in  addition  to  entertainment, 
the  movie  theatre  provided  an  added  psycho- 
logical lift  so  important  in  modern  times  .  .  . 
If  all  branches  of  the  industry  cooperate  we 
can  make  (the  slogan)  an  American  by-word." 

Final  choice  of  the  slogan  was  made  by  some 
six  ad  agencies  who  handle  advertising  for  dis- 
tributors and  theatre  circuits. 

Suggestions  for  the  utilization  and  promotion 
of  the  slogan  by  various  industry  segments  are 
now  being  prepared  by  the  business-building 
committee.  MPAAmen  Oscar  Doob,  Charles  E. 
McCarthy  and  Taylor  Mills  will  head  up  the 
put-that-slogan-across  campaign. 


20th  Century-Fox 
debuted  "No 
Down  Payment", 
its  dramatic  film 
about  suburbia, 
at  the  Syosset, 
Theatre  in  Syos- 
set, N.  Y.  —  a 
perfect  suburban 
setting.  Star 
Tony  Randall 
put  in  a  personal 
appearance  and 
posed  with  these 
lovely  suburban- 
ites at  an  hon- 
est-to -goodness 
barbecue  held  in 
the  Mid-Island 
Plaza  Shopping 
Center  as  a  pro- 
motional stunt 
for  the  picture. 


Be  Selective  in  Motion 
Picture  Advertising:  Lipton 

Motion  picture  advertisers  "must  forget  the 
shotgun  approach  and  employ  that  of  the  sharp- 
shooter" declared  Universal  vice  president  David 
Lipton  at  a  recent  sales  conference  in  New 
York  City. 

He  advocated  selective  pre-selling  as  the  most 
powerful  weapon  in  moviedom's  promotional 
arsenal.  "The  American  public  today  is  ex- 
posed to  more  advertising,  through  more  media, 
in  more  ways  than  at  any  time  in  our  history," 
the  LT-I  ad  chief  said.  The  only  way  to  "break 
through  this  wall  of  advertising  volume"  is  to 
analyze  the  particular  audience  for  each  particu- 
lar film,  then  pre-sell  the  film  in  the  mode  and 
medium  best  suited  to  its  boxoffice  potential  so 
that  it  can  best  reach  its  primary  audience. 

The  obvious  goal  of  these  specialized  pre- 
selling  patterns  is  to  pave  the  way  for  the  local 
level  campaigns  in  the  newspapers,"  Lipton  de- 
clared. "The  newspaper  remains  the  backbone 
of  motion  picture  selling,  since  it  is  the  one 
medium  which  all  potential  moviegoers  rely 
upon  for  current  movie  information." 

Pressbooks  Approved — Lazarus 

Exhibitors  throughout  the  nation  are  pleased 
with  Columbia's  streamlined,  "Forward  Look" 
pressbooks,  claims  vice  president  Paul  N.  Laza- 
rus, Jr.  "Virtually  all  of  the  criticism  that  we 
have  received  has  been  constructive,"  he  said, 
"and  is  proving  helpful  to  us.  To  counter  beefs 
from  exhibitors  who  want  full-size  reproductions 
of  the  larger  ads,  which  are  shown  in  reduced 
size,  the  company  has  worked  out  a  system 
whereby  theatremen  "will  be  serviced  with 
proofs  as  soon  as  they  request  them." 

Rand  to  Bt.ena  Vista 

Harold  Rand,  former  newspaper  contact  at 
2()th  Century-Fox,  has  been  appointed  Buena 
Vista's  public ity  manager,  it  was  announced  by 
Charles  Levy,  BV  promotion  chief. 

Rand  served  in  a  variety  of  capacities  at  20th 
Century-Fox  for  seven  and  one-half  years,  first 
as  a  staff  w  riter,  as  trade  press  contact,  and, 
for  the  past  year,  as  publicity  contact  with  the 
dailies.  His  appointment  is  effective  Nov.  1. 


Film  BULLETIN    October  28.  1957        Page  17 


EXPLOITATION 
PICTURE 

of  the  issue 


The  excitement  and  suspense  of  the  chase  has  always 
been  a  bulwark  of  screen  entertainment,  an  opportuni- 
ty for  the  showman  to  demonstrate  his  merchandising 
mastery.  In  the  Rank  Organization's  "Pursuit  of  the 
Graf  Spee ",  producers  Michael  Powell  and  Emeric 
Pressburger  grasped  the  opportunity  offered  by  one  of 
the  classic  chase  stories  of  history,  dressed  it  up  in 
VistaVision,  Technicolor  and  the  grandeur  of  the  At- 
lantic Oecan,  and  presented  it  with  all  the  compelling 
force  of  verity. 

The  tale  of  the  German  gray  ghost  of  the  sea  that 
w  reaked  havoc  w  ith  British  shipping  in  the  early  days 
of  World  War  II,  refueling  at  sea  to  maintain  its 
deadly  mission  without  pause,  will  arouse  exciting 
memories  among  the  millions  that  followed  its  last 
days  afloat  with  avid  interest  as  it  was  cornered  in 
Montevideo  harbor  by  three  small  fighting  ships  and 
trapped  into  scuttling.  Those  too  young  to  remember 
have  found  the  story  in  their  history  books  and  it  is 
recent  enough  to  impart  its  excitement  to  them,  too. 
Thus,  in  addition  to  a  great  chase  story,  there  is  the 
lure  of  identification  with  the  events  and  it  is  a  hand- 
some bonus  that  should  be  capitalized. 

The  storied  names  of  the  actual  principals  in  the 
film  are  more  important  than  the  real  names  of  the 
fine  British  players  who  portray  them.  The  Graf  Spee's 
Captain  Langdorff,  and  the  Exeter's  Captain  Bell  will 
undoubtedly  mean  more  to  the  average  American 
moviegoer  than  Peter  Finch  and  John  Gregson,  the 
actors  in  those  respective  roles.  Most  important  of 
the  names,  however,  and  especially  to  the  selective 
moviegoer,  are  the  names  of  Powell  and  Pressburger, 
who  produced,  wrote  and  directed  the  film.  They 
should  be  linked  in  the  campaign  with  previous  out- 
standing pictures  on  which  they  have  combined  for 
successful  presentation  in  this  country.  It  would  be  wise 
to  mention  them — "The  Red  Shoes",  "Tales  of  Hoff- 
man", "One  of  Our  Aircraft  Is  Missing",  "Stairway  to 
Heaven",  "Black  Narcissus" — as  one  of  the  most  valu- 
able assets  in  making  the  pitch  to  the  discriminating. 

Also  of  import  in  this  direction  is  the  selection  of 
the  picture  as  the  Royal  Command  Performance  Film. 


■  v  Bki  it 

Exeter's  Bell     Spee's  Langdorff    Ajax'  Harwood 

Page  18       Film  BULLETIN    October  28,  1957 


With  the  -visit  of  Queen  Elizabeth  II  still  fresh  in  the 
headlines,  it  takes  on  an  added  exploitation  flavour. 

The  Rank  Organization,  with  boxofficers  Geoffrey 
Martin  and  Steve  Edwards  at  the  helm  of  the  cam- 
paign, is  backing  the  picture  to  the  hilt  with  a  super- 
lative selection  of  ads  (see  top  spread),  big-scale  per- 
sonal appearance  tours,  saturation  radio  and  news- 
paper advertising  for  the  regional  openings  and  a 
whopping  press  book,  literally  loaded  with  aids  for 
the  exploitation-minded. 

Suspense  and  The  Most  Famous  Sea  Chase  in  His- 
tory feature  the  advertising,  aimed  at  both  the  classes 
and  the  hoi  palloi  in  its  presentation,  art  and  text. 
Spotted  in  virtually  all  of  the  ads  is  the  figure  of 
April  Olrich,  a  touch  of  sex  that  won't  hurt  the  box- 
office  a  bit.  The  same  shapelj-  April  is  currently  on  an 
extensive  personal  appearance  junket  of  some  45  cities 
in  the  South  and  Southwest  along  with  the  "Graf  Spee 
Air  Caravan",  a  chartered  plane  hitting  the  cities  to  tie 
in  w  ith  the  openings.  Another  p. a.  impact  has  been  the 
recent  tour  of  Maj.  George  Fielding  Eliot,  famed  mili- 
tary and  naval  authority,  on  behalf  of  the  picture. 

The  U.  S.  Navy  is  in  on  the  campaign,  too,  with  a 
special  recommendation  that  "commandants  lend  full 
assistance  in  local  promotion  of  this  film".  The  Navy 
Department's  directive  calls  the  movie  "splendid  .  .  . 
done  in  excellent  taste  .  .  .  photograph)-  is  outstand- 
ing, the  incident  historic  and  screen  play  is  dramatic 
and  largely  factual.  The  result  is  an  extremely  fine 
movie  that  will  thrill  audiences,  young  and  old,  salty 
and  landlubbers  alike."    Nice  quotes  for  a  blow-up. 

Prominent  also  in  the  exploitables  featured  in  the 
pressbook  are  the  NBC  scoop  of  the  sinking  of  the  poc- 
ket battleship  as  a  newspaper  feature,  a  pair  of  special 
lobby  displays  in  addition  to  the  standard  accessories, 
and  a  host  of  ideas  for  local  promotions  and  co-ops. 


April  Olrich,  who  has  a  brief  b 
pressive  scene  as  the  Graf  Sp 
trapped  in  Montevideo  harb 
she  appears  in  the  picture  an 
low)  as  she  thanks  Ten-Arke 
trict  manager  Alec  Thompson 
rewarding  visit  to  Memphis  < 
personal  appearance  tou 


The  Graf  Spee  Story 

The  annals  of  naval  warfare  hold  a  revered  niche  for  the  German  pocket 
battleship  "Admiral  Graf  Spee"  and  the  suspenseful  battle  of  wits  and  guts  that 
ended  its  career  in  as  ironic  a  finis  as  the  colorful  stories  of  the  sea  ever  contrived. 
Michael  Powell  and  Emeric  Pressburger  ("The  Red  Shoes",  "Black  Narcissus") 
have  put  their  magical  combination  of  talents  to  work  once  again  producing, 
writing  and  directing  "The  Pursuit  of  the  Graf  Spee"  with  a  cast  of  top  British 
players  and  the  technical  excellence  of  VistaVision  and  Technicolor.  The  Graf 
Spee  and  its  Captain  Langdorff  became  a  legend  in  the  days  of  the  "phoney  war" 
in  1939,  sinking  British  supply  ships  with  deadly  regularity  and  continually  beat- 
ing off  or  eluding  British  warships.  The  task  of  tracking  down  the  raider  was 
handed  to  three  British  cruisers,  the  Exeter,  the  Ajax  and  the  Achilles,  under  the 
command  of  Commodore  Harwood.  Graduallv  the  net  was  tightened  as  Harwood 
began  outguessing  Langdorff,  and  the  three  cruisers  finally  attacked  off  the  coast 
of  South  Africa.  Although  outgunned  and  outranged,  the  cruisers  damaged  the 
Graf  Spee,  taking  a  terrible  beating  in  the  process,  and  forced  the  German  ship 
to  take  refuge  in  neutral  Montevideo  harbor.  In  a  battle  of  diplomatic  maneuver- 
ing, the  Uruguayan  government  set  a  time  limit  for  the  Graf  Spee  to  leave  the 
harbor  while  the  British  Intelligence  forces  led  the  Germans  to  believe  that  a 
formidable  British  task  force  lay  in  wait  for  the  raider  outside  the  harbor  instead 
of  three  badly  crippled  cruisers.  From  Germany  came  the  order  to  Langsdorff: 
"Scuttle".  The  warship  moved  out  of  the  harbor  as  the  heartbroken  captain 
watched  and  saw  it  explode  and  sink  in 
flames.  Powell  and  Pressburger  have  told 
the  story  with  the  emphasis  on  the  men  who 
commanded  the  ships  —  Langsdorff  (Peter 
Finch)  a  deadly  tactician  but  humane,  sym- 
pathetic; the  Exeter's  Captain  Bell  (John 
Gregson)  and  Commodore  Harwood  (An- 
thony Quayle),  dedicated  to  pursuit  to  the 
death,  theirs  or  the  German's.  Adding  the 
final  ironic  touch,  the  U.  S.  Heavy  Cruiser 
Salem  played  the  legendary  pocket  battleship. 


Memorable  scenes  show  Captain 
Langsdorff  pointing  out  to  the  cap- 
tive captain  of  the  sunken  British 
tanker  his  secret  chart  of  operations 
which  made  the  Graf  Spee  the  naval 
terror  of  WW  II;  the  "indiscreet" 
telephone  call  by  the  British  Minis- 
ter in  Montevideo,  the  ruse  that  led 
to  the  trap;  Langsdorff  watches  the 
Graf  Spee  burst  into  flames. 


vistaVisioh  J$  technicc 
H  GREGSON  ANTHONY  QUAYLE  PETER  FINCH  sarsam 


Film  BULLETIN    October  28,  1 957       Page  19 


4  As  part  of  the  promo- 
tional campaign  for  the 
premiere  of  "Escapade 
in  Japan"  at  the  St. 
Francis  Theatre,  San 
Francisco,  the  house 
staff  dressed  in  native 
garb  for  the  occasion. 
On  the  left  is  house 
manager  Ralph  Jaffe.  At 
right  is  Earl  H.  Long, 
Paramount  Theatre  city 
manager  in  S.  F. 


Clue  To  Public  Preference  in  Movies 
To  Be  Sought  Via  Motivation  Research 


Motivational  research  is  coming  to  Hollywood. 
Producers  Norman  Panama  and  Melvin  Frank 
have  hired  a  California  firm  of  psychological 
consultants  to  study  the  unconscious  forces  that 
influence  theatregoers  and  win  patrons.  To  de- 
termine exactly  what  elements  in  stories  exert 
the  most  favorable  responte  in  people,  the  in- 
quisitive producers  are  exposing  the  screenplays 
of  two  prospective  motion  pictures  ("The  Jay- 
hawkers"  and  "The  Transfer")  to  psychological 
probing. 

According  to  Panama  and  Frank,  they  hope 
to  find  out  the  public's  reasons  for  preferring 
one  type  of  motion  picture  over  another  so  that 
motion  pictures  can  be  tailored  to  the  "uncon- 
scious and  subconscious"  reactions  of  potential 
theatregoers. 

Some  twelve  years  ago,  Gallup's  Audience 
Research  Institute  did  a  market  study  attemptin  g 
to  predict  movie  success  on  the  basis  of  public 
reaction  to  a  story  synopsis.  The  study  was  not 
too  successful  a  gauge  in  predicting  boxoffice 
propects  for  motion  pictures. 

The  producers  told  a  New  York  Times  re- 
porter that  motivational  research  methods  can 
avoid  some  mistakes  that  "just  plain"  market 
research  is  liable  to  make.  "Poll-taking  may 
provoke  a  false  response,"  they  said.  "Perhaps 
a  potential  ticket-buyer  enjoys  the  emotion  of  a 


-A-  Little  Richard  Eyer,  star  of  Metro's  "In- 
visible Boy"  plugs  the  San  Francisco  opening 
of  the  science-fiction  thriller  over  KGO-TV  in 
an  interview  with  Waldo  the  Clown,  Bay  City 
favorite. 


love  story  and  will  pay  to  see  it  on  the  screen, 
but  nevertheless  is  reluctant  to  confess  this  pref- 
erence to  a  poll-taker." 

The  psychological  probing  and  the  results 
garnered  in  this  unique  experiment  will  be 
closely  watched  by  all  segments  of  the  industry 
for  possible  clues  to  help  revitalize  moviegoing. 

Reade  Managers  Garner 
S5,000  in  Showmanship  Prizes 

Some  $5,000  in  cash  prizes  were  awarded  to 
Walter  Reade  Theatres  managers  as  the  payoff 
on  the  recently  concluded  Nick  Schermerhorn 
Showmanship  Drive.  Walking  off  with  the  first 
prize  of  SI, 200  was  Bernard  Depa  of  the  Para- 
mount Theatre,  Long  Branch,  New  Jersey. 

Circuit  president,  Walter  Reader,  Jr.,  who 
made  the  awards,  called  the  six-week  showman- 
ship drive  the  most  successful  ever  sponsored  by 
the  chain  and  attributed  the  rise  in  business 
during  the  drive  to  special  efforts  by  Reade 
managers. 

Six  different  categories  were  used  as  a  basis 
in  judging  showmanship  efforts:  gross,  expenses, 
attendance,  concessions,  exploitation  and  theatre 
operations.  John  Balmer  of  the  Mayfair  Thea- 
tre, Asbury  Park,  garnered  a  S600  second  prize 
while  Michael  Dorso,  manager  of  the  Com- 
munity Theatre  in  Kingston,  New  York,  was 
awarded  the  S400  third  place  award. 

Reade  vice  presidents  Edwin  Gage,  Jack  P. 
Harris,  Al  Floersheimer,  Sheldon  Gunsberg;  cir- 
cuit controller  Joseph  Lamm;  and  assistant  ad- 
pub  manager  Paul  Baise  served  as  judges. 

Todd's  Birthday  Gifts 

Mike  Todd,  seeking  to  grab  some  redeeming 
publicity  after  his  recent  Madison  Square  Gar- 
den fiasco,  last  week  took  a  full-page  in  the 
New  York  dailies  to  announce  that  the  18,000 
people  who  attended  his  "Round  the  World" 
birthday  party  will  receive  their  gifts.  Todd  has 
engaged  the  Reuben  H.  Donnelley  Corp.  to  han- 
dle a  drawing  of  ticket  stubs.  According  to  the 
ad,  everyone  who  sends  a  stub  will  get  a  prize 
— even  if  it's  just  a  disk  of  the  "80  Days"  music. 


Boston  Hails  'Raintree' 

At  Hustling,  Bustling  Premiere 

Last  week  marked  the  third  sparkling  pre- 
miere for  Metro-Goldwyn-Mayer's  S6,000,000 
spectacular,  "Raintree  County",  as  a  host  of  en- 
tertainment, cultural,  political  and  business 
opinion-makers  were  hosted  at  a  showing  of 
film  in  Boston. 

On  hand  for  the  New  England  celebration 
were  starlet  Myrna  Hansen,  featured  in  the 
Civil  War  epic,  musical  director  Johnny  Green, 
society  editor  Rose  Walsh  of  the  Boston  Ameri- 
can and  Jack  Brown,  Boston's  official  greeter. 

The  Astor  was  flooded  by  kleig  lights  and  a 
93-piece  high  school  band  put  on  a  rousing 
one-hour  musical  extravaganza  on  jam-packed 
Tremont  Street  prior  to  the  premiere  showing. 
Radio  station  WEEf  and  TV  outlets  WNAC 
and  ABZ  covered  the  festivities  and  interviewed 
the  personalities  in  attendance.  Papers  gave  the 
affair  plenty  of  space. 

Prior  "Raintree  County"  premieres  were  held 
at  Louisville's  Brown  Theatre  and  the  Stanley- 
Warner  Theatre  in  Beverly  Hills. 

-V-  Miiko  Taka,  Marlon  Brando's  leading  lady 
in  "Sayonara",  is  covering  the  country  on  a 
39-city  drumbeating  tour  for  the  William 
Goetz  production,  scheduled  for  December 
release.  Top:  Miss  Taka  and  Robert  S.  Tap- 
linger,  WB  vice  president  of  advertising  and 
public  relations  at  Cinerama  opening  in  NYC. 
Bottom:  deputy  mayor  of  Philadelphia  shows 
star  the  Freedom  Bell  in  City  Hall. 


Page  23       Film  BULLETIN    October  28,  1967 


Viewpoints 

(Continued  from  Piigc  1) 
6,  which  means  that  on  any  question  of 
policy  Tomlinson  and  his  associates  can 
be  outvoted. 

This  majority  was  entrusted  to  the 
Vogel  group  by  the  company's  stock- 
holders at  the  October  1 5  general  meet- 
ing, when,  of  ten  new  directors  put 
into  office,  nine  were  Vogel  nominees. 
Only  one  —  Samuel  Briskin  —  was  a 
Tomlinson  nominee. 

Of  course,  Joe  Tomlinson  may  retort 
that  he  owes  his  directorship  to  the 
rank-and-file  stockholders,  who  elected 
him  last  year,  when  he  promised  to 
work  amicably  with  Joseph  Vogel.  "Un- 
til they  remove  me,"  he  may  add,  "it 
is  my  duty  to  continue  to  serve  on  the 
Board." 

But  the  whole  world  knows  by  now 
that  the  Vogel-Tomlinson  relationship 
has  not  been  amicable;  indeed,  it  has 
been  the  reverse,  and  the  existence 
within  the  Loew  s  directorate  of  a  dis- 
sident, "splinter"  minority  which  has 
been  on  bad  terms  with  the  manage- 
ment is  not  calculated,  in  our  judgment, 
to  advance  the  company's  welfare. 

There  is  no  law  (or  valid  precedent) 
which  states  that  one  stockholder  may 
enjoy  a  position  of  special  privilege  be- 
cause he  happens  to  be  wealthier  than 
any  other.  The  management  of  Loew's 
never  contrived  to  sell  Mr.  Tomlinson 
his  stock.  He  bought  it  of  his  own  free 
will,  and  the  fact  that  he  now  happens 
to  have  more  at  stake  than  other  in- 
vestors in  the  business  is  entirely  his 
own  responsibility. 

His  investment,  in  fact,  is  more  likely 
to  prove  profitable  by  his  stepping  out 
of  office  now  and  allowing  the  new 
Loew's  team  to  go  to  work  in  an  at- 
mosphere of  goodwill. 

Tomlinson's  resignation  now  would 
be,  we  believe,  the  finest  indication  he 
could  give  that  he  means  what  he  has 
maintained  all  along — that  he  puts  the 
company's  interests  first. 

Econ  om  i/ — /  It  v 
HVrony  Kind 

It  is  difficult  to  argue  with  economy 
when  business  is  on  the  decline.  The 
inescapable  responsibility  of  manage- 
ment  is   to   bring   expenditures  into 


alignment  with  income,  and  we  fully 
realize  that  this  burden  is  being  borne 
in  these  difficult  days  bv  many  film  and 
theatre  executies.  But  economy  is  not  a 
cut-and-dried  proposition.  What  to 
slash  and  how  deep  to  cut  are  the  big 
problems,  and  sometimes  the  decision 
is  one  to  baffle  a  business  Solomon. 

Those  who  firmly  believe — as  we  do 
—  that  in  this  slack  market  our  indus- 
try's showmanship  horses  must  not  be 
spared  were  saddened  by  the  drastic- 
slash  recently  made  in  Warner  Bros, 
picture  promotion  department. 

Apart  from  the  important  human 
considerations — and  the  effect  of  the 
sudden  Warner  dismissals  of  long-time 
employees  upon  employee  moral 
throughout  the  industry  is  truly  incal- 
culable— there  is  a  very  simple  ques- 
tion to  be  borne  in  mind.  Will  the 
Warner  pictures  from  here  on  in  re- 
ceive as  much  advertising  and  promo- 
tion support  as  in  the  past? 

If  the  Warner  move  succeeds — that 
is,  if  the  company  achieves  satisfactory 
promotional  and  sales  results  with  its 
reduced  budget — it  can  have  profound 
influence  on  the  industry.  On  the  other 
hand,  if  it  does  not  succeed  it  can  be 
disastrous;  and  exhibitors  as  well  as 
Warner  Bros.,  will  be  the  victims.  At 
least,  the  film  company  has  a  built-in 
escape  hatch  in  its  expanding  television 
department,  where  the  promotion  bud- 
get is  not  quite  as  hefty  and — in  our 
opinion — neither  is  the  showmanship. 
But  the  exhibitor  depends  on  Warner 
Bros,  for  a  significant  supply  of  his 
theatre  attractions,  and  for  a  brand  of 
showmanship  that  has  always  been  dis- 
tinctive and  rather  highly  effective. 

When  business  sloughs  off  —  as  it 
has,  with  a  vengeance — we  need  more 
promotion  work  and  more  advertising, 
not  less.  They  tell  the  story  of  Wil- 
liam Wrigley,  the  chewing  gum  mag- 
nate, who  was  challenged  by  a  fellow 
passenger  on  a  railroad  trip:  "Why, 
since  your  gum  is  known  the  world 
over,  don't  you  save  the  millions  of 
dollars  spent  on  advertising?"  Mr. 
Wrigley  smiled  and  asked  a  question 
of  his  own:  "How  fast  would  you  say 
this  train  is  moving?"  His  companion 
figured  60  miles  an  hour.  "Why,  then", 
Wrigley  continued,  "doesn't  the  rail- 
road remove  the  engine  and  let  the 
train  tra\el  on  its  own  momentum?" 

The  motion  picture  distributor  faces 
a  much  more  ponderous  task  than  the 
Wrigley  company.    Every  week  or 


month  the  film  man  has  a  brand  new 
product  to  sell — and  that  takes  man- 
pow  er-plus. 

In  our  last  issue  a  Viewpoint  cited 
a  recent  case  of  one  distributor,  who 
by  spending  a  little  more  in  promotion 
and  advertising  on  a  minor  film,  was 
able  to  register  a  truly  amazing  in- 
crease in  the  gross.  We  can  particu- 
larize. As  far  back  as  "Hotel  Berlin  ", 
or  as  recently  as  "The  Bad  Seed ",  or 
"Giant",  or  "Curse  of  Frankenstein", 
how  much  do  you  think  the  advertising 
and  promotional  campaigns  con- 
tributed to  the  success  of  the  picture? 

We  are  frankly  skeptical  that  a  cut 
in  the  size  of  the  staff  as  drastic  as  that 
at  Warner  Bros,  can  be  accomplished 
without  impairing  the  volume  and  effi- 
ciency of  the  promotional  operation. 

If  the  Warner  action,  however, 
merely  foreshadows  a  shift  of  promo- 
tional and  advertising  expenditure  from 
a  staff  function  to  a  sort  of  subcon- 
tracting with  outside  agencies,  then  we 
must  reserve  a  certain  degree  of  busi- 
ness judgment,  to  see  how  this  concept 
works  out.  Frankly,  we  find  it  hard  to 
believe  that  outside  agencies,  who  must 
make  their  own  profits  out  of  the  total 
budget,  can  produce  quite  as  much  as 
an  inside-the-company  staff  operation; 
also  inclined  to  think  that  the  kind  of 
continuous  institutional  sell  and  stabil- 
ized relationship  with  the  exhibitor 
will  be  more  difficult. 

But  what  most  concerns  us  is  the 
fundamental  fact  that  Warner  Bros, 
has  chosen  to  cut  the  power  of  its  loco- 
motive just  when  we  are  on  such  a 
steep  up-hill  track.  As  far  back  as  we 
can  remember,  Warners  has  been 
known  as  a  promotional  company.  The 
pictures  themselves  were  the  precious 
cargo,  but  promotion  was  the  locomo- 
tive. And  the  locomotive  now  seems  to 
be  stripped  of  most  of  its  pulling  pow  er. 

Movie  promotion  is  a  very  special- 
ized field.  Just  as  not  everybody  can 
produce  a  good  movie,  so  cannot  everv- 
body  do  a  good  film  promotion.  Madi- 
son Avenue,  however  critical  it  may  be 
of  movie  advertising,  is  quite  willing 
to  admit  that  the  field  is  unique  and 
requires  specialists — and  neither  War- 
ner Bros,  nor  any  other  company  has 
ever  had  an  over-supply  of  the  neces- 
sarj  talents. 

W  e,  in  common  with  many  others  in 
our  industry,  sincerely  hope  the  War- 
ner management  will  reconsider  its  de- 
cision to  cut  its  promotional  arm. 


Film  BULLETIN    October  28,  1957        Page  21 


VOGEL 

JOSEPH  R.  VOGF.L  won  a  clear-cut,  if  not 
complete,  victory  in  his  fight  for  control  of 
Loew's,  Inc.  The  stockholders,  meeting  Oct. 
15  in  New  York,  voted  overwhelmingly  to 
increase  the  board  of  directors  from  13  to 
19,  then  proceeded  to  elect  nine  new  direc- 
tors named  by  management  forces  and  one 
from  the  dissident  Tomlinson-Meyer  faction. 
The  latter  was  independent  producer  Sam- 
uel Briskin.  Elected  as  Vogel  supporters: 
lawyer  Ellsforth  C.  Alvord,  General  Omar 
N.  Bradley,  diamond  merchant  Charles 
Braunstein,  publisher  Bennett  Cerf,  adver- 
tising executive  Francis  W.  Hatch,  former 
U.  S.  Attorney  General  J.  Howard  McGrath, 
Loew's  vice  presidents  Robert  H.  O'Brien 
and  Benjamin  Melniker  and  educator  Charles 
H.  Silver.  As  the  board  now  stands,  13 
members  are  aligned  with  Vogel,  6  with 
Tomlinson.  The  special  shareholders  meet- 
ing, called  by  president  Vogel,  was  marked 
by  verbal  fireworks.  Tomlinson  declared 
that  his  "biggest  mistake  was  to  buy  stock" 
in  Loew's.  He  holds  some  18(),()()()  shares. 
He  denied  that  he  was  seeking  control  of  the 
company,  contended  that  he  only  wants 
"good  management",  charged  that  Vogel  is 
"not  capable  of  rooting  out  the  old  guard". 
Vogel  defended  his  administration,  pointed 
to  savings  of  S3, 500,000  in  operating  ex- 
penses, accused  Tomlinson  and  his  cohort, 
Stanley  Meyer,  of  deliberately  obstructing 
his  management  in  order  to  "throw  me  out". 

0 

JACK  KIRSCH  and  his  Allied  Theatres  of 
Illinois  unit  will  propose  that  the  major  film 
distributors  give  "assurance  that  their  cur- 
rent product  would  not  be  released  to  TV 
for  five  or  ten  years".  The  theatremen  urge 
distribution  "to  take  cognizance  of"  the 
"falling  off  of  boxoffice  receipts  due  to  the 
widespread  erroneous  belief  that  all  pictures 
will  be  shown  on  TV  in  the  near  future  ". 
Speaking  as  president  of  the  Chicago  unit, 
Kirsch  said,  "Why  do  these  people  (the 
public)  think  all  theatre  entertainment  will 
eventually  be  on  TV?  They  are  being  edu- 
cated to  think  this  by  television.  To  the 
public  a  motion  picture  means  Hollywood. 
When,  if  ever,  was  the  public  told  that  a 
motion  picture  means  the  local  theatre? 
Isn't  it  logical  for  the  public  to  assume — 


THEY 

MADE  THE  NEWS 


since  no  one  has  advised  otherwise — that 
Hollywood  is  now  in  the  living  room  and 
not  down  the  street?  ...  It  might  be  bene- 
ficial for  theatres,  in  their  future  advertising, 
to  stress  the  fact  that  this  or  that  picture  will 
not  be  shown  on  TV  for  so  many  vears  .  .  ." 

0 

THE  FCC  detailed  the  conditions  under 
which  toll-television  applications  would  be 
considered.  Although  interested  parties  may 
file  applications  now,  the  Commission  had 
prev  iously  ruled  that  it  would  not  start  act- 
ing on  them  before  March  1.  Basic  rules  to 
be  applied  to  all  applicants:  1)  tests  must 
run  three  years  from  the  time  broadcasting 
begins;  2)  each  system  must  meet  Commis- 
sion requirements  before  it  will  be  allowed 
to  begin  testing;  3)  toll-TV  can  only  be 
tested  in  cities  receiving  a  minimum  of  four 
good-quality  signals;  -i)  no  system  may  be 
tried  in  more  than  three  markets;  5)  more 
than  one  method  may  be  tried  on  each  indi- 
vidual station;  6)  in  each  city,  more  than 
one  station  may  participate  in  the  tests. 
After  all  toll-television  tests  have  been  com- 
pleted, the  Commission  will  again  hold 
hearings  on  the  subject. 

o 

SEYMOL^R  POE,  executive  vice  president  of 
I.  F.  E.  Releasing  Corp.,  announced  that  his 
company  has  finalized  contracts  with  nine 
states  right  distributors  to  release  the  Italian 
and  specialized  product  formerly  distributed 
to  exhibitors  by  I.  F.  E.  through  its  own  sales 
organization.  This  new  set-up  will  take  over 
the  national  distribution  of  thirty-five  I.  F.  E. 
features  now  in  release,  in  addition  to  six  new 
pictures.  Poe  also  announced  the  retention 
of  Budd  Rogers  as  co-ordinator  of  local 
independent  distributor  activities. 

o 

ROBERT  S.  BENJAMIN,  chairman  of  the 
I'nited  Artists  board  of  directors,  announced 
that  his  company  had  negotiated  a  S3, 500,- 


BENJAMIN 


000  loan  from  three  major  circuits — Loew's, 
RKO  and  AB-PT — for  new  production  fi- 
nancing. "This  financing  arrangement  marks 
a  new  and  fruitful  liaison  between  the  ex- 
hibition and  production-exhibition  branches 
of  the  industry.  Through  cooperation  of  this 
kind  we  can  establish  a  healthier  foundation 
for  the  future  success  and  growth  of  the 
entire  film  business,"  Benjamin  stated.  It 
has  been  reliably  reported  that  the  Justice 
Department  gave  the  go-ahead  sign  for  this 
important  financial  transaction. 

0 

JAMES  H.  NICHOLSON,  film  producer, 
told  the  Allied  of  Indiana  convention  that 
the  motion  picture  industry  needs  "some 
basic  nuts-and-bolts  common  sense"  to  bring 
down  the  cost  of  its  over-priced  productions. 
Said  the  American  International  Pictures 
president:  "Selling  prices  of  all  products 
in  any  industry  are  based  on  cost  and  the 
expectation  of  the  reasonable  profit  to  which 
investment  and  enterprise  are  entitled.  In 
the  case  of  film  features,  high  costs  mean 
tough  terms  for  the  exhibitor.  His  dollar 
gross  may  soar  with  special  attractions,  but 
his  net  probably  will  be  small — if  there  is  a 
net — because  of  the  high  terms  the  distribu- 
tor was  forced  to  demand  .  .  .  The  spiraling 
costs  of  film  production  resulted  from  a  mis- 
conception. Producers  rightfully  sought 
quality  in  production,  but  they  based  their 
idea  of  quality  on  dollars  spent  .  .  .  The  film 
makers  lost  track  of  the  fact  that  the  im- 
portant quality  in  pictures  is  audience  quali- 
ty, the  quality  that  attracts  an  audience  no 
matter  what  the  budget  .  .  ."  In  another 
recent  speech,  Nicholson  urged  the  industry 
to  "get  better  acquainted"  with  the  likes  and 
dislikes  of  its  customers. 

0 

OSCAR  DOOB,  executive  coordinator  of  the 
Motion  Picture  Association's  Advertising  and 
Publicity  was  among  the  speakers  at  the  Al- 
lied States  Association  convention  at  the 
Concord  Hotel,  Kiamesha  Lake,  New  York, 
October  28-30.  He  will  detail  business- 
building  projects  under  consideration  by  his 
group,  including  the  new  format  of  the 
Academy  Awards  program.  Other  speakers 
on  the  convention  schedule:  Julius  Gordon, 
president  of  Allied,  and  small  business 
champion,  Sen.  Wayne  B.  Morse  of  Oregon. 


Page  22       Film  BULLETIN    October  28,  1957 


THEY 


MADE  THE  NEWS 


TAPLINGER 


ROBERT  TAPLINGER,  W  arner  Bros.,  vice 
president  in  charge  of  advertising  and  public 
relations,  spread  the  unhappy  news  that  some 
15  employees  in  his  department,  in  the  home 
office  and  on  the  West  Coast,  were  being 
given  the  gate.  He  revealed  that  "future  ad- 
vertising campaigns  may  be  handled  by  ad- 
vertising agencies  to  be  announced  shortly". 
Described  by  WB  officials  as  a  "streamlin- 
ing" move,  the  mass  firing  is  viewed  by  most 
industry  promotion  executives  as  a  simple 
(and  harsh)  economy  cut.  Remaining  in  the 
New  York  office  are  Taplinger,  publicity 
chief  Meyer  Hutner  and  nine  publicists.  Ad- 
vertising manager  Gilbert  Golden  and  his 
assistant,  Richard  Lederer,  will  shift  to  the 
Burbank  studios.  Among  the  pinkslipped: 
production  supervisor  Ken  Aneser,  trade 
press  contact  Sid  Rechetnik. 

o 

JOHN  H.  DAVIS,  deputy  chairman  and 
managing  director  of  the  Rank  Organization, 
announced  a  20-film  production  program  for 
1958,  costing  approximately  Sl4  million. 
Speaking  at  a  celebration  marking  the  21st 
anniversary  of  the  company's  Pinewood  stu- 
dios, Davis  declared:  "These  will  star  our 
own  artists  who  are  growing  in  acceptability 
and  their  world  reputation  is  consistently 
growing.  In  addition  to  this,  our  program 
will  be  supported  by  international  stars  both 
from  Europe  and  the  lnited  States." 

0 

JACK  L.  WARNER,  while  retrenching  in 
the  films-for-theatres  department,  gave  the 
word  that  his  company  will  step  up  its  pro- 
duction of  television  films.  "The  possibilities 
for  television  motion  pictures  are  limitless 
and  Warner  Bros,  is  prepared  to  meet  their 
maximum  potential,"  he  declared,  in  outlin- 
ing an  expansion  program  to  present  five  or 
more  full  hours  of  television  film  entertain- 


ment weekly  by  June  1,  1958.  WB  now  pro 
duces  programs  equal  to  tvv  o-and-one-half 
hours  weekly.  Scheduled  for  completion 
within  the  next  three  months  is  a  $1,000,000 
television  operations  building,  touted  by  the 
company  as  "the  world's  most  modern  and 
completely  equipped  television  center." 

0 

WALTER  READE,  JR.  announced  that  his 
theatre  circuit  has  finalized  plans  to  "build 
the  most  luxurious  theatre  in  New  York" 
at  a  site  on  Third  Ave.,  between  59th  and 
60th  Streets.  It  will  be  Manhattan's  first 
newK    constructed   film  house  in  six  years. 

o 

LOS  ANGELES  CITY  COUNCIL  has  ac- 
cepted a  trio  of  identical  toll-television  fran- 
chise bids  by  International  Telemeter-Eox 
West  Coast  Theatres,  Skiatron  TV  and  Har- 
riscope.  Inc.  Each  company  will  pick  up  a 
21-year  franchise  in  return  for  giving  the  city 
two  per  cent  of  its  annual  gross. 

o 

STEVE  BROIDY,  president  of  Allied  Artists, 
reported  that  his  company  showed  a  loss  of 
11,783,910  for  the  fiscal  year  ended  June  29, 
1957,  as  compared  to  a  profit  of  S3~l,8~5 
in  1956.  Voicing  optimism  for  the  1957-1958 
season,  Broidy  reported  that  AA  plans  "to 
carry  forward  with  our  program  of  pictures 
carefully  budgeted  to  meet  conditions  of 
the  market." 

0 

LEONARD  H.  GOLDENSON,  president  of 
American  Broadcasting-Paramount  Theatres, 
estimated  that  net  operating  profit  for  the 
first  nine  months  of  195"  dropped  to  $4,033,- 
000  (91c  per  share)  from  $5,686,000  ($1.31 
per  share)  in  the  same  period  of  1956.  How- 
ever— surprisingly — theatre  business  was  up 
in  the  third  quarter  of  1957,  but  it  could 
not  offset  declines  in  the  broadcasting-tele- 
vision segment  of  the  business. 

o 

HENRY  S.  GRIFFING  declared  that  Video 
Independent  Theatres  is  "more  than  pleased 
with  the  initial  response  in  Bartlesv  ille". 
Commenting  on  the  30  subscribers  who  have 
dropped  the  wired  toll-TV  service  after  the 
first  month  of  operation,  he  reported  that 
Video  looks  on  this  low  drop-out  rate  "as  a 
fine  vote  of  confidence  by  the  great  majority 
of  the  people  who  have  taken  this  service. 
According  to  Griffing,  500  Bartlesv  ille  fami- 
lies now  subsribe  to  the  service.  Recently, 
however,  a  story  in  the  New  York  Times 
indicated  that  there  was  a  general  lack  of 
enthusiasm  among  Bartlesv  ille  residents  for 
telemovies.  This  report  stated  that  "the  glut 
of  home  entertainment  has  caused  some 
grumbling  about  the  flat  monthly  rate  .  .  . 
The  company  (Video)  hopes  to  handle  this 
by  paring  the  charge  to  a  minimum  of  about 
S3. 50  a  month  for  any  ten  movies  and  about 
50  cents  each  for  all  beyond  ten." 

CHARLES  J.  FELDMAN,  in  the  midst  of 
celebrating  his  30-year  association  with  Uni- 
versal Pictures,  died  suddenly  on  October  24. 
In  1951  he  was  named  General  Sales  Man- 
ager and  a  couple  of  years  later  was  elected 
a  vice-president  of  the  company.  He  was  one 
of  the  recognized  leaders  of  the  industry. 


HEADLUNERS... 


JOHN  G.  MOORE  appointed  Paramount 
Mid-Eastern  division  manager  to  suciecd 
HOW  ARD  G.  MINSKY.  now  cistern  sales 
manager  of  International  Telemeter  .  .  .  New 
United  Artists  branch  manager  in  Dallas, 
Texas,  is  RUSSELL  L.  BRENTLINGER 
ROY  KALVER  reelected  president  and  na- 
tional director  of  Allied  Theatre  Owners  of 
Indiana  .  .  .  W.  C.  MICHEL,  executive  vice 
president  of  20th-Fox  awarded  citation  b\ 
United  Epilepsy  Association  for  fund  raising 
activities  FRANK  KASSLER,  formcrl'v 

pres.  of  Continental  Distributing,  launched 
a  new  independent  distributing  companv, 
Kassler  Films,  Inc.  .  .  .  LOIS  EVANS  elected 
president  of  Women  of  the  Motion  Picture- 
Industry  .  .  .  MAX  YOUNGSTEIN  named 
motion  picture  coordinator  on  the  American 
Committee  for  Israel's  loth  Anniversary  Cele- 
bration .  .  .  BERT  ENNIS  resigned  as  Altec 


Alfred  H.  Tamerin  (left),  is  informed  of  his 
appointment  as  assistant  by  Max  E. 
Youngstein,  president  of  the  newly  formed 
United  Artists  Music  and  Records  Corp. 

public  relations  director  .  .  .  MRS.  HENRY 
DAWSON,  associate  director  of  community 
relations  for  MPAA  exits  Nov.  1.  Developer 
of  the  "wiggle"  test  to  analyze  children's 
reactions  to  motion  pictures  .  .  .  Y.  FRANK 
FREEMAN  was  named  chairman  of  the 
board  of  the  Motion  Picture  Research  Coun- 
cil .  .  .  JOSEPH  R.  VOGEL  to  be  named 
"Pioneer  of  the  Year"  Nov.  25  by  Motion 
Picture  Pioneers  at  Waldorf-Astoria  dinner 
.  .  .  JAMES  R.  VELDE  to  brief  LTA's  field 
sales  staff  on  exhibitor-distributor  concilia- 
tion procedures,  effective  Nov.  1  .  .  .  MIKE 
SIMON  appointed  special  sales  representa- 
tive of  NTA  Pictures  bv  A.  W.  SCHW  ALL- 
BERG  .  .  .  S.  A.  HENRIKSEN  named  super- 
visor for  Paramount  International  in  the  Far 
East  .  .  .  JACK  GARBER,  new  publicity- 
exploitation  director  of  AB-PT  Pictures.  Ap- 
pointed bv  president  IRVING  LEVIN  .  .  . 
WILLIAM  A.  CARROLL,  executive  secretan 
of  the  Allied  Theatre  Owners  of  Indiana, 
assumes  same  position  with  ITO  of  Ohio. 
He  will  handle  both  units  .  .  .  ALTON 
SIMS  of  Rowley  United  elected  president  of 
the  Motion  Picture  Theatre  Owners  of  Ar- 
kansas, Mississippi  and  Tennessee  at  the 
group's  »8th  conclave  in  Memphis  .  .  . 
KENNETH  W.  MURRAY  named  United 
Kingdom  and  European  representative  of 
Allied  Artists  International  .  .  .  JOSEPH 
STEINER  formed  Broadcast  Pictures  to  make 
films  for  theatrical  and  TV  release  .  .  .  DON 
M.  BRANDON  elected  chief  barker  of  Tent 
No.  45,  New  Orleans  ...  SI  H.  FABIAN 
and  the  Mrs.  back  from  a  month  in  Europe 
.  .  .  A.  B.  (JEFF)  JEFFFRIS,  president  of 
Mid-Central  Allied  Theatre  Owners  and  a 
director  of  National  Allied,  is  retiring  from 
the  theatre  business  ...  A.  W.  SHACKLE- 
FORD  exits  as  president  of  Canada's  Al- 
berta Theatres  Association.  Succeeded  bv 
DOUGLAS  MILLER  .  .  .  STEPHEN  G 
RIDDLEBERGER  recently  elected  a  vice 
president  of  American  Broadcasting-Para- 
mount Theatres  .  .  .  CECIL  B.  DeMILLI 
to  attend  Royal  Film  Performance  of  "Les 
Girls"  in  England  on  November  4  .  .  . 
STEVE  BROIDY  and  his  wife  recuperating 
from  injuries  suffered  in  Palm  Springs  auto 
accident  .  .  .  Puerto  Rico  circuit  operator 
J.  HOWARD  ODELL,  vice  president  of 
Commonwealth  Management  Corp.,  will  dis- 
tribute two  films  for  l  nited  Artists  on  the 
island,  both  of  which  will  be  made  on  P.  R. 
location. 


Film  BULLETIN    October  28,  1957        Page  23 


HIS  IS  YOUR  PRODUCI 


All  The  Vital  Details  on  Current  &>  Coming  Features 

(Date  of  Film  BULLETIN  Review  Appears  At  End  of  Synopsis) 


ALLIED  ARTISTS 


August 

FROM  HELL  IT  CAME  Tod  Andrews,  Tina  Carver.  Di- 
rector Jack  Milner.  Director  Dan  Milner.  Producer 
Jack  Milner.  Horror.  Monster  threatens  to  destroy 
American  scientists.    75  min. 

PORTLAND  EXPOSE  Barry  Sullivan,  Edward  Binns. 
Producer  Lindsley  Parsons.  Director  Harold  Shuster. 
Melodrama.  Gangster  runs  wild  in  the  Pacific  North- 
west.   72  min. 

BADGE  OF  MARSHAL  BRENNAN  Jim  Davis,  Arleen 
Whelan,  Lee  Van  Cleef.  Producer-Director  Albert  C. 
Gannaway.  Western.  Wanted  man  posing  as  a  mar- 
shal saves  town. 

September 

DEATH  IN  SMALL  DOSES  Peter  Graves,  Mala  Powers, 
Chuck  Conners.  Producer  R.  Heermance.  Director  J. 
Newman.  Melodrama.  Investigator  cracks  ring  selling 
illegal  pills  to  truckers.    74  minutes. 

GUN  BATTLE  AT  MONTEREY  Sterling  Hayden,  Pamela 
Duncan,  Ted  de  Corsia.  Producer  D.  J.  Grut.  Director 
Sidney  Franklin,  Jr.  Melodrama.  Outlaw  leaves  buddy 
to  die,  thinking  him  dead.  76  minutes. 
NAKED  IN  THE  SUN  Eastman  Color.  James  Craig,  Lita 
Milan,  Barton  MacLane.  Producer-director  R.  John 
High.  Drama.  Story  of  Osceola,  Warrior  Chief  of  the 
Seminole  nation,  the  woman  he  loved,  and  the  war  that 
was  never  won.    72  min. 

TEENAGE  DOLL  June  Kenney,  Fay  Spain,  John  Brink- 
ley.  Producer-Director  Roger  Corman.  A  drama  of 
teenage  gang  warfare.    71  min. 

UNDERSEA  GIRL  Mara  Corday,  Pat  Conway,  Florence 
Marly,  Producer  Norman  Herman.  Adventure.  Skin 
divers  solve  mystery  of  lost  naval  shipment.    66  min. 

October 

AFFAIR  IN  HAVANA  John  Casavetes,  Raymond  Eurr, 
Sara  Shane.  A  Dudley  Production.  Director  Laslo 
ienedek.  Drama.  Young  American  composer  becomes 
involved  with  the  wife  of  a  wealthy  Cuban  tycoon  who 
is  a  helpless  paralytic.   80  min. 

LOOKING  FOR  DANGER  Hunti  Hall,  Stanley  Clements. 
Producer-director  Richard  Heermance.  Melodrama. 
Bowery  Boys  booby-trap  holdup  man.  61  min. 
WALK  TALL  CinemaScope,  Color.  Joel  McCrea,  Vir- 
ginia Mayo.  Producer  Walter  Mirisch.  Director  Thomas 
Carr.  Western.  Cowboy  helps  open  Colorado  to  set- 
tlers.   81  min. 

November 

HONG  KONG  INCIDENT  Jack  Kelly,  May  Wynn.  Pro- 
ducer J.  Raymond  Friegen.  Director  Paul  F.  Heard. 
Drama.  East-West  romance  with  Hong  Kong  as  back- 
ground. 81  min. 

HUNCHBACK  OF  NOTRE  DAME,  THE  CinemaScope, 
Color.  Gina  Lollobrigida,  Anthony  <?ui"n.  A  Paris 
Production.  Director  Jean  Delannoy.  Drama.  Hunch- 
back falls  in  love  with  beautiful  gypsy  girl.  88  min. 
SABU  AND  THE  MAGIC  RING  DeLuxe  Color.  Sabu, 
Daria  Massey,  Robert  Shafto.  Producer  Maurice  Dike. 
Director  George  Blair.  Adventure.  Stable  boy  finds 
magic  ring.  65  min. 

December 

BARBARIANS,  THE  Pierre  Cressoy,  Vittorio  Sanitoli, 
Helen  Remy.  Producer  William  Pizor.  Director  Fer- 
rucio  Cerio.  Drama.  Sacking  of  16th  Century  Rome 
by  Spanish  hordes.    80  min. 

NEW  DAY  AT  SUNDOWN  CinemaScope  Color  George 
Montgomery,  Randy  Stuart,  Susan  Cummings.  Producer 
Scott  R.  Dunlap.  Director  Paul  Landres.  Western.  Be- 
lieved to  be  agent  for  railroad,  hero  becomes  a 
marked  man.  82  min. 

UP  IN  SMOKE  Huntz  Hall.  Producer  Richard  Heer- 
mance. Director  William  Beardine.  Comedy.  Bowery 
Boys  become  involved  in  horse  race  betting.    62  min. 

Coming 

BEAST  OF  BUDAPEST  Michael  Mills,  Greta  Thyssen, 
Violet  Rensing.  Producer  Archie  Mayo.  Director  Har- 
mon Jones.  Drama  of  freedom  fighters  in  Budapest. 
COLE  YOUNGER,  GUNFIGHTER  CinemaScope,  Deluxe 
Color.  Frank  Lovejoy.  Producer  Ben  Schwalb.  Director 
R.  G.  Springsteen.  Western.  Rebellion  against  carpet- 
bag rule  in  Texas. 

CRY  BABY  KILLER,  THE  Producer  Roger  Corman. 
Drama.  Juvenile  killer  ?n  a  crime  spree. 
IN  THE  MONEY  Huntz  Hall.  Producer  Richard  Heer- 
mance. Director  William  Beaudine.  Comedy.  Inter- 
national smugglers  make  Hall  fall  guy  in  robbery. 
OREGON  PASSAGE  CinemaScope.  Deluxe  Color.  John 
Ericson.  Produced  Lindsley  Parsons.  Director  Paul 
Landres.  Western.  Fight  against  Indian  uprisings  in 
Oregon  Territory. 

Film 


AMERICAN   INTN'L  PICTURES 


August 

NAKED  AFRICA  Color.  Producer  Ouentin  Reynolds. 
Adventure.  69  min. 

REFORM  SCHOOL  GIRLS  Gloria  Castillo,  Ross  Ford. 
Producers  Samuel  Arkoff  and  Robert  Gurney,  Jr.  Di- 
rector Ed  Earnds.  Melodrama.  71  min. 

ROCK  AROUND  THE  WORLD  Tommy  Steele,  Nancy 
whiskey.  Producer  Herbert  Smith.  Director  Gerard 
Bryant.  Musical.  71  min. 

WHITE  HUNTRESS,  THE  Susan  Stephan,  John  Bentley. 
Breakston-Stahl  Production.  Action  Melodrama.  80  min. 

September 

AMAZING  COLOSSAL  MAN.  THE  Glenn  Langan, 
Cathy  Downs,  William  Hudson.  Producer-Director  Bert 
I.  Gordon.  Horror.  80  min. 

CAT  GIRL.  THE  Barbara  Shelley,  Robert  Ayres.  Kay 
Callard.  Producer  Lou  Rusoff.  Director  William  Shaugn- 
essy.  Horror.  69  min. 

October 

MOTORCYCLE  GANG  Steve  Terrell,  John  Ashley, 
Frank  Gorshin.  Producer  Alex  Gordon.  Director  Edward 
L.  Cahn.  Melodrama. 

SORORITY  GIRLS  Susan  Cabot,  Dick  Miller,  Barboura 
Morris.   Producer-Director  Roger  Corman.  Melodrama. 

November 

BLOOD  OF  DRACULA  Sandra  Harrison,  Louise  Lewis. 
Gail  Conley.  Poducer  Herman  oChen.  Director  Htrbert 
L.  Strock.  Horror. 

I  WAS  A  TEENAGE  FRANKENSTEIN  Producer  Herman 
Cohen.  Horror. 

VIKING  WOMEN,  THE  Abby  Dalton,  Susan  Cabot, 
Brad     Jackson.     Producer-Director     Roger  Corman. 

Science-Fiction. 

December 

BATTLE  FRONT  Producer  Lou  Rusoff.  Adventure. 

JET  ATTACK  John  Agar,  Audrey  Totter.    Producer  Alex 

Gordon.  Director  Edward  L.  Cahn.  Adventure. 

Coming 

VOODOO   WOMAN    Maria    English,   Tom   Conway.  75 


October 

DOMINO  KID  Rory  Calhoun,  Kristine  Miller.  Producers 
Rory  Calhoun  and  Victor  M.  Orsatti.  Director  Ray 
Nazzaro.  Western.  73  min.  Civil  War  hero  returns 
seeking  vengeance  on  outlaws  who  killed  his  father. 
74  min. 

HOW  TO  MURDER  A  RICH  UNCLE  Charles  Coburn, 
Nigel  Patrick,  Wendy  Hitler.  A  Warwick  Production. 
Director  Nigel  Patrick.  Comedy.  English  family  plots 
to  murder  rich  American  uncle. 

PAPA,  MAMA,  THE  MAID  AND  I  Robert  Lamoureux, 
Gaby  Morlay,  Nicole  Courcol.  Director  Jean-Paul  Lo 
Chanois.  Comady.  The  lives  of  a  typically  Parisian 
family.  94  min.  VI7. 

STORY  OF  ESTHER  COSTELLO  Joan  Crawford, 
Rossano  Brazzi,  Heather  Sears.  John  and  James  Woolf 
producers.  Director  David  Miller.  Drama.  Unscrupulous 
people  exploit  blind  girl  for  profit.  103  min.  9/30. 

TIJUANA  STORY,  THE  Rodolfo  Acosta,  James  Darren, 
Robert  McQueeney.  Producer  Sam  Katzman.  Director 
Leslie  Kardos.  Drama.  Editor  wages  fight  against  vice 
lords  in  community. 

November 

OPERATION  MAD  BALL  Jack  Lemmon,  Kathryn  Grant, 
Mickey  Rooney.  Producer  Jed  Harris.  Director  Rich- 
ard Quine.  Comedy.  Private  faces  court-martial  while 
involved  in  a  romance.    105  min. 

PAL  JOEY  Technicolor.  Frank  Sinatra,  Rita  Hayworth, 
Kim  Novak.  Producer  Fred  Kohlman.  Director  George 
Sidney.  Musical.  Filmization  of  the  Rodgers  and  Hart 
Broadway  hit.    Ill  min.  9/16. 

Coming 

ADMIRABLE  CRICHTON.  THE  Technicolor.  Kenneth 
More.  Diane  Cilento.  Cecil  Parker.  Producer  Ian  Dal- 
rymple.  Director  Lewis  Gilbert.  Drama.  The  story  of  a 
famous  butler  in  the  I900's.   94  min. 

BITTER  VICTORY  CinemaScope,  Technicolor.  Richard 
Burton,  Curd  Jurgens,  Raymond  Pellegrin.  Producer 
Paul  Graetz.  Director  Nick  Ray.  W.  W.  II.  97  min. 

BRIDGE  OVER  THE  RIVER  KWAI,  THE  William  Halden, 
Alec  Guinness,  Jack  Hawkins.  Producer  Sam  Spiegel. 
Director  David  Lean.  Drama.  British  soldiers  held  in 
prison  camp. 

DECISION  AT  SUNDOWN  Randolph  Scott.  Valerie 
French,  Karen  Steele.  Producer  Harry  Joe  Brown.  Di- 
rector Budd  Boetticher.  Climax  of  a  3-year  hunt  for 
the  man  who  stole  his  wife. 


COLUMBIA 


August 

YOUNG  DON'T  CRY.  THE  Sal  Mineo.  Jam.s  Whitmore. 
Producer  P.  Wexmaa.  Director  Alfred  Worker.  Drama. 

Life  in  a  southern  orphanage.    89  min. 

JEANNE  EAGELS  Kim  Novak,  Jeff  Chandler.  A  George 
Sidney  Production.  Stormy  account  of  an  actress  who 
became  a  legend.  Drama.  114  min.  7/22 

NO  TIME  TO  BE  YOUNG  Robert  Vaughn,  Merry 
Anders.  Producer  Wallace  MacDonald.  Director  David 
Rich.  Youth  expelled  for  neglecting  college  studies. 
82  min. 

PICKUP  ALLEY  Cinemascope.  Victor  Mature.,  Anita 
Ekberg,  Trevor  Howard.  A  Warwick  Production.  Direc- 
tor John  Gilling.  Drama.  Story  of  international  dope 
runners.  92  min. 

3:10  TO  YUMA  Glenn  Ford,  Felicia  Farr,  Van  Heflin. 
Producer  David  Heilwell.  Director  Delmer  Daves.  West- 
ern. Cowboy  robs  stagecoach  then  poses  as  one  those 
robbed.    92  min. 

TOWN  ON  TRIAL  John  Mills,  Charles  Coburn.  Pro- 
ducer Maxwell  Setton.  Director  John  Guillerman.  Young 
girl  is  murdered.    Melodrama.   96  min. 


September 


BROTHERS  RICO  THE  Richard  Conte,  Kathryn  Grant, 
Dianne  Foster.  Producer  Lewis  Rachmil.  Director  Phil 
Karlson.  Drama.  Former  racketeer,  trying  to  go 
straight,  exposes  organization  when  they  push  him  too 

far.  90  min. 

PARSON  AND  THE  OUTLAW,  THE  Sonny  Tufts,  An- 
thony Dexter,  Marie  Windsor.  Producer  Robert  Gilbert. 
Director  Oliver  Drake.  Billy  the  Kid  tries  to  become 
law-abiding  citizen.  71  min. 

WOMAN  OF  THE  RIVER  Technicolor.  Sophia  Loren, 
Gerald  Oury,  Lise  Bourdin.  Producer  DeLauretiis  and 
Ponti.  Director  Mario  Soldati.  Beautiful  peasant  girl 
who  breaks  smuggling  ring.  98  min. 

BULLETIN— THIS     IS     YOUR  PRODUC 


FORTUNE  IS  A  WOMAN  Jack  Hawkins,  Arlene  Dahl, 
Dennis  Price.  Producers  Frank  Launder  and  Sidney 
Gilliat.    Director  Sidney  Gilliat. 


HARD  MAN,  THE  Guy  Madison,  Valerie  French,  Lome 
Green.  Producers  Wallace  MacDonald  and  Helen  Ains- 
worth.  Director  George  Sherman.  Western.  Deputy 
out  to  prove  he  is  not  a  killer. 


HIGH  FLIGHT  CinemaScope,  Technicolor.  Ray  Mil- 
land,  Sean  Kelly,  Kenneth  Haight.  Producers  Irving 
Allen  and  A.  R.  Brocolli.  Director  John  Gilling. 

LONG  HAUL.  THE  Victor  Mature,  Diana  Dors,  Peter 
Reynolds.  Producer  Maxwell  Setton.  Director  Ken 
Hughes. 

NIGHT  OF  THE  DEMON  Dana  Andrews.  Producer  Hal 
E.  Chester.    Director  Jacques  Tourneur. 

REMINISCENCES  OF  A  COWBOY  Glenn  Ford,  Jack 
Lemmon,  Anna  Kashfi.  Western.  Free-spending  cow- 
boy helps  friend  save  cattle. 

RETURN  TO  WARBOW  Color.  Phil  Carey,  William  Les- 
lie. Catherine  McLeod.  Producer  Wallace  MacDonald. 
Director  Ray  Nazzaro. 

SHE  PLAYED  WITH  FIRE  Jack  Hawkins,  Arlene  Dahl, 
Producers  Frank  Launder-Sidney  Gilliat.  Director  Sid- 
ney Gilliat.  Drama.  Story  of  an  arsonist.  95  min. 
SUICIDE  MISSION  Leif  Larson,  Michael  Aldridqe  Atla 
Larsen.  A  North  Seas  Film  Production.  Director 
Michael  Forlong.  Adventure.  Norwegian  fishermen 
smash  German  blockade  in  World  War  II.  70  min. 
THIS  BITTER  EARTH  Silvana  Mangano,  Richard  Conte, 
Anthony  Perkins.  Producer  Dino  De  Laurentiis.  Direc- 
tor Rene  Clement.    Drama.    Family  fights  to  keep  land. 

TRIAL  OF  CAPTAIN  BARRETT.  THE  Edmond  O'Brien. 
Mona  Freeman,  Karin  Booth.  Producer  Sam  Katzman. 
Director  Fred  F.  Sears. 


NOVEMBER  SUMMARY 

29  films  are  scheduled  for  tentative 
November  release.  Later  additions  to  the 
roster  should  add  another  half-dozen  films 
or  so.  Independent  distributors  will  be 
the  leading  suppliers  with  five  films  on 
the  agenda.  20th  Century-Fox  will  release 
four  films;  Allied  Artists,  Columbia. 
American  International  and  Warner  Bros, 
will  release  three  each;  Paramount,  Rank 
and  Universal  will  reease  two  each;  Metro 
and  United  Artists,  one  each.  Eight  No- 
vember films  will  be  in  color.  Three  films 
will  be  in  CinemaScope,  two  in  Vista- 
Vision. 

10  Dramas  3  Adventures 

3  Comedies  4  Melodramas 

1  Western  2  Science-fiction 

3  Musicals  3  Horror 


INDEPENDENTS 


August 

IT  HAPPENED  IN  THE  PARK  I  Ellis  Films)  Vittorio  De 
Sica,  Gerard  Phil  ipe ,  Micheline  Presle.  Produced  by 
Astoria  Film.  Director  Gianni  Franciolini.  Five  short 
sketches  showing  happenings  within  the  garden  and 
park.  94  min.  9/2. 

MAID  IN  PARIS  (Continental!  Dany  Robin.  Daniel 
Gelin.  Producer  Yvon  Guezel.  Directed  by  Gaspard 
Huit.  Comedy.  A  daughter  rebels  against  her  actress 
mother.  83  min. 

MARCELINO  (United  Motion  Picture  Organization) 
Pablito  Calvo,  Rafael  Rivelles.  Juan  Calvo.  Director 
Ladislao  Vajda.  Based  on  an  old  legend  about  a  boy 
saint.  90  min. 

PERRI  IBuena  Vista)  Technicolor.  Producer  Winston 
Hibler.  Directors  Paul  Kenworthy  and  Ralph  Wright. 
A  true-life  fantasy  by  Walt  Disney.  The  life  story  of  a 
Pine  Squirrel  named  "Perri".   75  min.  7/2. 

September 

BED  OF  GRASS  (Trans-Lux)  Anna  Braizou.  Mike 
Nichols,  Vera  Katri.  Producer-Director  Gregg  Tallas. 
Drama.  92  min. 

CARTOUCHE  IRKO)  Richard  Basehart,  Patricia  Roc. 
Producer  John  Nasht.  Director  Steve  Sekely.  Adventure. 
The  story  of  a  lusty  adventurer  during  the  reign  of 
Louis  XVI.  73  min. 

COOL  AND  THE  CRAZY.  THE  I  Imperial  I  Scott  Mar- 
lowe. Gigi  Perreau.  Producer  Elmer  Rhoden.  Jr.  Di- 
rector William  Whitney.  Story  of  teenage  violence. 

GUN  GIRLS  (Astor)  Jeanne  Ferguson,  Jean  Ann  Lewis. 
Producer  Edward  Frank.  Director  Robert  Derteano. 
Drama.  Gang  girls  on  the  loose.  47  min. 
PASSIONATE  SUMMER  IKingsley)  Madeleine  Robinson. 
Magali  Noel,  Raf  Vallons.  Produced  by  Les  Films 
Marceau.  Director  Charles  Brabant.  Drama.  Conflict- 
ing passions  between  three  women  and  a  man,  iso- 
lated or.  a  rugged  farm  in  a  mountainous  French 
province.  98  min. 

CARNIVAL  ROCK  (Howco  International)  Susan  Cabot, 
David  Stewart.  Producer-director  Roger  Corman.  Mu- 
sical. Rock  n'  roll  love  story.  75  min. 
TEENAGE  THUNDER  (Howco  International)  Charles 
Courtney,  Melinda  Bryon.  Producer  Jacques  Marquette. 
Director  Paul  Helmick.  Melodrama.  Hot  rods  and 
drag  strips.    75  min. 

October 

BROTHERS  IN  LAW  (Continental)  Ian  Carmichel,  Rich- 
ard Attenborough,  Jill  Adams.  Producer-director,  the 
Boulting  Bros.  Comedy.  Adventures  of  a  young  lawyer. 
95  min. 

DEADLIER  THAN  THE  MALE  I  Continental )  Jean  Gabin, 
Daniele  Delorme.  Director  Julien  Duvivier.  Melodrama. 
The  duplicity  of  a  seemingly  shy  and  innocent  girl 
leads  to  homicide. 

FOUR  BAGS  FULL  [Trans-Luxl  Jean  Gabin.  Bourvil, 
Jeannette  Batti.  A  Franco  London  Production.  Director 
Claude  Autant-Lara.  French  Black  Market  Drama.  84 
VIRTUOUS  SCOUNDREL,  THE  (Zenith  Amusement 
Enterprises)  Michel  Simon.  Producer-Director  Sacha 
Guitry.  A  comedy  of  irony  which  pokes  a  satirical 
finger   into  the   pretensions   of   Parisian   high  society. 

November 

A  MAN  ESCAPED  (Continental  Distributing)  Francois 
Leterrier,  Charles  Leclainche,  Maurice  Beerblock.  Pro- 
ducers Jean  Thullier  and  Alain  Poire.  Director  Robert 
Bresson.  Drama.  Young  French  lieutenant  plans  daring 
escape  from  German  concentration  camp.  94  min. 
10/14. 

BRAIN  FROM  PLANET  AROUS,  THE  I Howco-Marquette 
for  Howco  International  release)  John  Agar,  Joyce 
Meadows,  Robert  Fuller.  Producer  Jacques  Marquette. 
Director  Jerry  Juran.  Science-Fiction. 
TEENAGE  BAD  GIRL  (DCAI  Sylvia  Syms,  Anna  Neagle. 
Producer-Director  Herbert  Wilcox.  Juvenile  Delin- 
quents. Melodrama. 

TEEN  AGE  MONSTER  IHowco  International  I  Anne 
Gwynne,  Charles  Courtney.  Producer-director  Jacques 
Marquette.  Horror.  Cosmic  rays  turn  teenager  into 
hairy  monster. 

TEENAGE  WOLF  PACK  IDCA)  Juvenile  Delinquents. 
Melodrama . 

December 

OLD  YELLER  (Walt  Disney  Productions)  Dorothy  Mc- 
Guire,  Fess  Parker,  Chuck  Connors.  Producer  Walt 
Disney.  Director  Robert  Stevenson. 

SILKEN  AFFAIR.  THE  IDCA)  David  Niven,  Genevieve 
Page,  RonaTd  Squire.  Producer  Fred  Feldkamp.  Direc- 
tor Roy  Kellino.  English  Comedy.  94  min. 

Coming 

A  TIME  TO  KILL  (Producers  Associated  Pictures  Co.) 
Jim  Davis,  Don  Megowan,  Allison  Hayes.  Producer  Pat 
Betz.  Director  Oliver  Drake. 

BUFFALO  GUN  Wayne  Morris,  Don  Barry,  Mary  Ellen 
Kaye.  Producer  Al  Milton.  Director  Albert  C.  Ganna- 
way. 

DAY  OF  THE  TRUMPET.  THE  (C.  Santiago  Film  Organi- 
zation Prod.)  John  Agar,  Richard  Arlen,  Bill  Phipps. 
Producer  Harry  Smith.  Director  Eddie  Romero. 
DREAM  MACHINE.  THE  (Amalgamated  Prods.)  Rod 
Cameron,  Marty  Murphy,  Peter  llling.  Producers  Rich- 
ard Gordon  and  Charles  Vetter,  Jr.  Director  Mont- 
gomery Tully. 

ESCAPADE    IDCA)   John   Mills,   Yvonne   Mitchell,  Ala- 
stair  Sim.   Producer  Daniel   M.  Angel.   Director  Philip 
Leacock.  Comedy  Drama.  87  min. 
min.  9/14. 


LIGHT  ACROSS  THE  STREET.  THE  IUMPOI  Brlgitte 
Bardot,  Raymond  Pellegrin.  Roger  Pigaut.  Producer 
Jacques  Gauthier.  Director  Georges  Lacombe  Drama 
A  French  husband  and  wife  try  to  live  without  normal 
sex  relations,  after  the  husband  had  a  near-fatal  acci- 
dent. 74  min. 

LAST  BRIDGE.  THE  lUnion  Film  Distributors)  Maria 
Schell,  Bernhard  Wicki,  Barbara  Rutting.  A  Cosmopol 
Production.  Director  Helmut  Kautner.  Austro-Yuqoslav 
Film.  90  min. 

LOST  CONTINENT  IIFE)  Cin.maScepe.  F.rranicolor. 
Producer-director  Leonardo  Bonzi.  An  excursion  into  the 
wilds  of  Borneo  and  the  Meylayan  Archepelago.  Eng- 
lish commentary.  84  min. 

MISSOURI    TRAVELER,    THE    Brandon    DeWilde,  Fess 

Parker. 

NEAPOLITAN  CAROUSEL  IIFE]  (Lux  Film,  Rom. I  Path.- 
color.  Print  by  Technicolor.  Sophia  Loren,  Leonid* 
Massin*.  Director  Ettore  Giannini.  Musical.  The  history 
of  Naples  traced  from  1400  to  date  in  song  and  dance. 
RAISING  A  RIOT  (Continental  I  Kenneth  More.  Shelagh 
Frazer,  Mandy.  Producer  Ian  Dalrymple.  Director 
Wendy  Toye.  English  comedy.  90  min. 
REMEMBER.  MY  LOVE  (Artists-Producers  Assoc. I  Cine- 
maScope, Technicolor  Michael  Redgrave,  Mel  Ferrer. 
Anthony  Quale.  Musical  drama.  Producer-director 
Michael  Powell,  Emeric  Pressburger.  Based  on  Strauss' 
"Die  Fledermaus". 

WOMAN  AND  THE  HUNTER  I Gross-Krasna  and  Kenya 
Prods.)  Ann  Sheridan,  David  Farrar.  Jan  Merlin.  Pro- 
ducer-director George  Breakston. 


METRO-GOLDWYN -MAYER 


August 

DECISION  AGAINST  TIME  Jack  Hawkins,  Elizabeth 
Sellers.  Producer  M.  Balcon.  Director  C.  Crichton. 
Adventure.  Test  pilot  attempts  to  land  disabled  plane. 
87  min.  7/22. 

GUN  GLORY  CinemaScope,  MetroColor.  Stewart 
Granger,  Rhonda  Fleming.  Producer  N.  Nayfack.  Di- 
rector Roy  Rowland.  Western.  Ex-outlaw  is  tormented 
by  his  former  reputation  as  a  killer.  89  min. 
TIP  ON  A  DEAD  JOCKEY  CinemaScope.  Robert  Taylor, 
Dorothy  Malone,  Gia  Scala.  Producer  Edwin  Knoph 
Director  Richard  Thorp.  Melodrama.  International 
police  track  down  smugglers.  109  min.  9/2. 

September 

ACTION  OF  THE  TIGER  CinemaScope,  Eastman  Color. 
Van  Johnson,  Martine  Carol,  Gustavo  Rocco.  A  Clar- 
idge  Production.  Director  Terence  Young.  Drama.  Beau- 
tiful girl  seeks  help  of  contraband  runner  to  rescue 
brother  from  Communists.  94  min. 

HIRED  GUN,  THE  CinemaScope.  Gil  McCord.  Ellen 
Beldon,  Kell  Beldon.  Producers  Rory  Calhoun  and  Vic- 
tor M.  Orsatti.  Director  Ray  Nazzaro.  Western.  44 
min.  9/14. 

LES  GIRLS  CinemaScope.  MetroColor.  Gene  Kelly, 
Mitzi  Gaynor,  Kay  Kendall.  Producer  Sol  C.  Siegel. 
Director  George  Cukor.  Musical.  Dancing  troupe  tour- 
ing Europe.  114  min.  9/30. 

HOUSE  OF  NUMBERS  CinemaScope.  Jack  Palance. 
Barbara  Lang.  Producer  Charles  Schnee.  Director 
Russell  House.  Melodrama.  Law-abiding  citizen  at- 
tempts to  engineer  San  Quentin  escape  for  his  brother. 
92  min.  7/8. 

October 

INVISIBLE  BOY,  THE  Richard  Eyer.  Philip  Abbott, 
Diane  Brewster.  Producer  Nicholas  Nayfack.  Director 
Herman  Hoffman.  Science-fiction.  Sequel  to  "Forbid- 
den Planet".    90  min. 

UNTIL  THEY  SAIL  CinmeaScope.  Jean  Simmons.  Joan 
Fontaine,  Paul  Newman.  Producer  Charles  Schnee.  Di- 
rector Robert  Wise.  Drama.  James  A.  Michener  story 
U.S.  trooos  in  New  Zealand  during  World  War  I. 
95  min.  10/14. 

November 

JAILHOUSE  ROCK  Elvis  Presley,  Judy  Tyler.  Producer 
Pandro  Berman.  Director  Richard  Thorpe.  Musical- 
drama.  Youth's  singing  talent  is  fostered  in  prison. 
94  min.  10/14. 

Coming 

BROTHERS  KARAMAZOV.  THE  MetroColor.  Yul  Bryn- 
ner,  Maria  Schell.  Claire  Bloom.  Producer  Pandro  S. 
Berman.  Director  Richard  Brooks.  Based  on  famous 
novel  by  Dostoyevsky. 

CRY  TERROR  James  Mason,  Inger  Stevens,  Rod  Steiger. 
Producer-director  Andrew  Stone. 

DON'T  GO  NEAR  THE  WATER  CinemaScope.  Metro- 
Color.  Glenn  Ford,  Gia  Scala,  Keenan  Wynn.  Producer 
Lawrence  Weingarten.  Director  Charles  Walters. 
Comedy.  Story  of  a  South  Seas  naval  base  during 
World  War  I. 

HAPPY  ROAD,  THE  Gene  Kelly,  Michael  Redgrave, 
Barbara  Laaga.  A  Karry  Production.  Directors.  Gane 
Kally,  Noal  Coward.  Drama.  Two  children  run  away 
from  boarding  hchool  to  find  their  respective  parents. 

100  min.  2/4. 

I  ACCUSE  Jose  Ferrer,  Vlveca  Lindfors,  Leo  Genn. 
Producer  Sam  Zimbalist.  Director  Jose  Ferrer.  Drama. 
French  officer  uniustly  accused  of  treason. 

LIVING  IDOL,  THE  CinemaScope,  Eastman  Color. 
Stava  Forrest,  Lillian*)  Montevecchi.  Producer-director 
Al  Lewin.  Drama.  An  archeologist  is  faced  with  an  un- 
worldly   situation    that    threatens    the    safety    of  his 

adopted  daughter.    101  min.  5/13. 

MERRY  ANDREW  CinemaScope,  Metrocolor.  Danny 
Kaye,  Pier  Ageli,  Baccpopmo.  Producer  Sol  C.  Siegel. 
Director  Michael  Kidd. 


RAINTREE  COUNTY  MetroColor.  MGM  Camera  45. 
Elizabeth  Taylor,  Montgomery  Clift.  Producer  David 
Lawit.  Director  Edward  Dymtryk*.  Drama.  Life  in  Indi- 
ana during  the  middle  1880  s.  185  min. 
SADDLE  THE  WIND  Robert  Taylor.  John  Cassavetes. 
Julie  London.  Producer  Armand  Deutsch.  Director 
Robert  Parrish. 

SEVEN  HILLS  OF  ROME  LeCloud  Productions.  Mario 
Lanza,  Marisa  Allasio.  Producer  Lester  Welch.  Director 
Roy  Rowland. 


PARAMOUNT 


August 

LOVING  YOU  VistaVision,  Technicolor.  Elvis  Presley. 
Lizabeth  Scott,  Wendell  Corey.  Producer  Hal  Wallis. 
Musical.  Director  Hal  Kanter.  Small-town  boy  makes 
good  in  big-time  show  business.  101  min.  7/22. 
OMAR  KHAYYAM  VistaVision,  Technicolor.  Cornel 
WWde,  Michael  Rennie,  Debra  Paget.  Producer  Frank 
Freeman,  Jr.  Director  William  Dieterle.  Adventure- 
The  life  and  times  of  medieval  Persia's  literary  idol. 
103  min. 

September 

MR.  ROCK  AND  ROLL  Alan  Freed,  Rocky  Graziano, 
Lois  O'Brien.  Producers  Serpe  and  Kreitsek.  Director 
Charles  Dubin.  Musical.  Disc  jockey  establishes  au- 
thenticity of  rock  and  roll.   84  min. 

STOWAWAY  GIRL  Trevor  Howard,  Elsa  Martinell, 
Pedro  Armandariz.  Producer  Ivan  Foxwell.  Director 
Guy  Hamilton.  Drama  A  beautiful  girl  stows  away  on 
a  tramp  steamer.  93  min.  9/30. 

SHORT  CUT  TO  HELL  VistaVision  Robert  Ivers.  Wil- 
liam Bishop,  Georgann  Johnson.  Producer  A.  C.  Lyles. 
Director  James  Cagney.  Drama.  Story  of  a  profes- 
sional killer  with  a  gun  for  hire.    87  min.  10/14. 

October 

HAIRPIN  DEVIL'S,  THE  VistaVision,  Technicolor.  Cornel 
Wilde,  Jean  Wallace.  Mary  Astor.  Producer-director 
Cornel  Wilde.  Adventure.  Story  which  deals  with 
sports  car  racing.   82  min.  10/14. 

JOKER  IS  WILD,  THE  VlitaVlsion,  Technicolor.  Frank 
Sinatra,  Mltzi  Gaynor,  Jeanne  Craln.  Producer  Samuel 
Brfskhv  Director  Charles  Victor.  Drama.  Rim  biography 

of  Joe  E.  Lewis,  nightclub  comedian.  123  min.  9/2. 
HEAR  ME  GOOD  Hal  March,  Joe  E.  Ross.  Merry 
Anders.  Producer-Director  Don  McGuire.  Comedy. 
Broadway  con-men  hounded  by  creditors.   80  min. 

November 

TIN  STAR,  THE  VistaVision.  Henry  Fonda,  Anthony 
Parkins.  A  Perlberg-Seaton  Production.  Director  An- 
thony Mann.  Western.  Bounty-hunting  in  the  old  west. 
93  min.  10/14. 

ZERO  HOUR  Dana  Andrews,  Sterling  Hayden.  Pro- 
ducers John  Champion  and  Hall  Bartlett.  Director  Hall 
Bartlett.  Drama.  A  man  battles  for  his  life  and  love. 
81  min. 

December 

SAD  SACK  VistaVision,  Technicolor.  Jerry  Lewis,  David 
Wayne.  Producer  Hal  Willis.  Director  George  Mar- 
shall.  Comedy.    Life  in  the  Army.   98  min. 

Coming 

DESIRE  UNDER  THE  ELMS  Sophia  Loren,  Anthony  Per- 
kins,  Burl  Ives.  Producer  Don  Hartman.  Director  Del- 
bert  Mann.  Drama.  Emotional  conflicts  of  a  farmer, 
his  son  and  his  second  wife. 

FLAMENCA  VistaVision.  Color.  Carmen  Sevilla.  Rich- 
ard Kiley.  Producer  Bruce  Odium.  Director  Donald 
Siegel. 

HOT  SPELL  VistaVision  Shirley  Booth,  Anthony  Quinn, 
Shirley  MacLaine.  Producer  Hal  Wallis.  Director  Dan- 
iel Mann.  Drama.  The  disintegration  of  a  Southern 
family  during  a  torrid  heat  wave. 


Film     BULLETIN  —  THIS     IS     YOUR  PRODUCT 


HOUSEBOAT  VistaVision,  Technicolor.  Cary  Grant, 
Sophia  Loren.  Producer  Jack  Rose.  Director  Melville 
Shavelson.  Maid  reunites  family  and  becomes  wife  of 
master. 

MATCHMAKER,  THE  VistaVision.  Shirley  Booth,  An- 
thony Perkins,  Shirley  MacLaine.  Producer  Don  Hart- 
man.  Director  Joseph  Anthony.  Comedy.  Lovable 
widow  becomes  matchmaker  for  herself. 
SPANISH  AFFAIR  VistaVision,  Technicolor.  Carmen 
Sevilla,  Richard  Kiley.  Producer  Bruce  Odium.  Director 
Donald  Siegel.  Adventure.  An  American  architect 
travelling  in  Spain  is  attracted  to  a  beautiful  girl, 
half-Gypsy,  half-Spanish. 

TEACHER'S  PET  VistaVision.  Clark  Gable,  Doris  Day. 
A  Pearlberg-Seaton  Production.  Director  George  Sea- 
ton.  Comedy.  Tough  newspaper  editor  and  college 
journalism  teacher  have  a  ball. 

TEN  COMMANDMENTS,  THE  VistaVision.  Technicolor. 
Charlton  Heston,  Yul  Brynner  Anne  Bax*er.  Producer- 
director  Cecil  B.  DeMille.  Keligious  drama.  Life  ston 
of  Moses  as  told  in  the  Bible  and  Koran.  219  min.  10/15 
WILD  IS  THE  WIND  VistaVision.  Anna  Magnani,  An- 
thony Quinn.  Producer  Hal  Wallis.  Director  John 
Sturges.  Drama.  Love,  hate,  and  violence  on  a  Nevada 
sheep  ranch. 


RANK 


July 

BLACK  TENT,  THE  Technicolor,  VistaVision.  Anthony 
Steel,  Donald  Sinden.  Producer  William  MacQuitty. 
Director  Brian  D.  Hurst.  Man  searches  for  brother 
among  people  of  Bedouin.  85  min.  7/22 
THIRD  KEY,  THE  Jack  Hawkins,  John  Stratton.  Pro- 
ducer Michael  Balcon.  Director  Charles  Frend.  Melo- 
drama. Superintendant  of  Scotland  Yard  is  assigned 
to  investigate  a  London  safe  robbery.  84  min. 
TRIPLE  DECEPTION  Technicolor,  VistaVision.  Michael 
Craig,  Julia  Arnall.  Producer  Vivian  A.  Cox.  Director 
Guy  Green.  Melodrama.  Story  of  man  who  imper- 
sonates a  Canadian  smuggler.  86  min. 
VALUE  FOR  MONEY  Technicolor,  VistaVision.  John 
Gregson,  Diana  Dors.  Producer  Sergei  Nolbandov. 
Director  Ken  Annakin.  Comedy.  Well-to-do  man  falls 
in  love  with  blond  only  to  find  her  interested  in  only 
his  money.  84  min. 

August 

GENTLE  TOUCH,  THE  Technicolor.  George  Baker,  Be- 
linda Lee.  Producer  Michael  Balcon.  Director  Pat 
Jackson.  Drama.  Nurse  and  doctor  fall  in  love,  and 
nurse  is  faced  with  making  choice  between  career  or 
marriage.  86  min. 

October 

SPANISH  GARDENER  Technicolor.  VistaVision.  Dirk 
Bogarde,  Jon  Whiteley.  Drama.  Producer  John  Bryan. 
Director  Philip  Leacock.  Gardener  deverts  affections 
of  boy  from  his  father.  95  min. 

AN  ALLIGATOR  NAMED  DAISY  Technicolor,  Vista- 
Vision. Donald  Sinden,  Diana  Dors.  Producer  Raymond 
Stross.  Director  J.  Lee-Thompson.  Comedy.  Alligator  is 
responsible  for  breakup  between  couple  who,  as  a 
result  find  more  suitable  mates.   88  min. 

November 

AS  LONG  AS  THEY'RE  HAPPY  Eastman  Color.  Jack 
Buchanan,  Janette  Scott.  Producer  Raymond  Stross. 
Director  J.  Lee-Thompson.  Comedy.  Father  and  two 
sons-in-law  become  jealous  of  crooner  who  has 
charmed  their  wives.  76  min.  10/14. 
PURSUIT  OF  THE  GRAF  SPEE  Technicolor,  VistaVision. 
John  Gregson,  Anthony  Quayle.  Producer-director 
Michael  Powell  &  Emeric  Pressburger.  Adventure.  Story 
of  first  historic  naval  action  of  WWI  which  took  place 
on  River  Plate.    106  min.  10/14. 


September 

OPERATION  CONSPIRACY  Philip  Friend,  Leslie  Dwyer, 
Mary  MacKenzie.  Director  Joseph  Sterling.  Producer 
A.  R.  Rawllnson.  Melodrama.  Fashion  reporter  solves 
murder.   69  min. 

PAWNEE  Trucolor.  George  Montgomery,  Bill  Williams, 
Lola  Albright.  Director  George  Wagner.  Western. 
Cavalry    puts   down    high-riding    Pawnee    Indians.  80 

TAMING  SUTTON'S  GAL  Naturama.  John  Lupton, 
Jack  Kelly,  May  Wynn.  Director  Lesley  Selander.  Pro- 
ducer William  J.  O'Sullivan.  Drama.  A  young  bank 
clerk  finds  a  gal  in  the  back  hill  country  of  California. 
71  min. 

October 

HELL  CANYON  OUTLAWS  Dale  Robertson,  Brian  Keith, 
Rossana  Rory.  Producer  T.  F.  Woods.  Director  Paul 
Landres.  Western.  Ousted  sheriff  restores  order  to 
town.    72  min. 

PANAMA  SAL  Naturama.  Elena  Verdugo  Edward 
Kemmer.  Producer  Edward  White.  Director'  W.  Wit- 
ney. Drama.  The  making  of  a  singer.  70  min. 
WAYWARD  GIRL,  THE  Naturama.  Marcia  Henderson 
Peter  Walker.  Producer  W.  J.  O'Sullivan.  Director- 
Lesley  Selander.  Melodrama.  Daughter  arrested  for 
murder  by  her  stepmother  proves  innocence. 

Coming 

CROOKED  CIRCLE,  THE  John  Smith,  Fay  Spain,  Steve 
Brodie.  Producer  Rudy  Ralston.  Director  Joe  Kane. 
Drama.  Sports  editor  suspects  death  of  fighter  is  mur- 
der.   70  min. 


DEAD  END  STREET  Roland  Culver,  Patricia  Roc,  Paul 
Carpenter. 

FIGHTING  WILDCATS  Keefe  Braselle.  Kay  Callard, 
Karel  Stepanek,  Ursula  Howells. 

GUNFIGHT   AT    INDIAN    GAP   Vera    Ralston,  Anthony 
George.    George   Macready.     Producer   Rudy  Ralston. 
Director  Joe  Kane.    Western.    70  min. 
HELL  SHIP  MUTINY  Jon  Hall,  John  Carradine,  Peter 
Lorre.    Lovina  Production.    66  min. 

LAST  BULLET,  THE  Robert  Hutton,  Mary  Castle, 
Michael  O'Connell. 

OUTCASTS  OF  THE  CITY  Osa  Massen,  Robert  Hutton, 
Maria  Palmer.    62  min. 

PLUNDERERS  OF  ELDORADO  Vera  Ralston,  Anthony 
George.  Producer  Rudy  Ralston.  Director  Joe  Kane. 
RAIDERS  OF  OLD  CALIFORNIA  Jim  Davis,  Arleen 
Whelan,  Faron  Young.  Producer  Albert  C.  Gannaway. 
Western.  Army  officer  determines  to  become  powerful 
landowner.    72  min. 

STREET  OF  DARKNESS  Robert  Keyes,  John  Close, 
Sheila  Ryan. 

THUNDER  OVER  TANGIER  Robert  Hutton,  Lisa  Gastoni, 
Martin  Benson.  Sunset  Palisades  production.  63  min. 
WEST  OF  SUEZ  John  Bentley,  Vera  Fusek,  Martin 
Boddey. 

YOUNG  MOTHER  Mary  Webster.  William  Campbell, 
Martha  Scott.  Producer  Edmond  Chevie.  Director  Joe 
Parker. 


20TH  CENTURY-FOX 


July 

ABDUCTORS,  THE  Victor  McLaglen,  Fay  Spain,  Carl 
Thayler.  Producer  R.  Wander.  Director  A.  McLaglen. 
Adventure.  Tale  of  a  plot  to  steal  Aleraham.  80  min. 

A  HATFUL  OF  RAIN  CinemaScope.    Eva  Marie  Saint, 
Don  Murray,  Tony  Franciosa.    Producer  Buddy  Adler. 
Director   Fred   Zinneman.   Drama.   A  dope   addict  de- 
cides to  shake  the  habit.  109  min.  6/24. 

AN  AFFAIR  TO  REMEMBER  CinemaScope  DeLuxe 
Color.  Cary  Grant,  Deborah  Kerr.  Producer  Jerry 
Wald.  Director  Leo  McCarey.  Comedy.  Notorious 
bachelor  falls  for  night  club  singer.  114  min.  7/22. 

APACHE  WARRIOR  Keith  Larsen,  Jim  Davis.  Producer 
P  Skouras.  Director  E.  Wiiliams.  Western.  74  min. 

BERNARDINE  CinemaScope,  Deluxe  Color.  Terry  Moore, 
Pat  Boone,  Janet  Gaynor.  Producer  Sam  Engel.  Direc- 
tor H.  Levin.  Comedy.  Story  of  teenagers.  Filmization 
of  the  Broadway  comedy.  95  min.  7/22. 

COURAGE  OF  BLACK  BEAUTY  Color.  John  Crawford, 
Mimi  Gibson,  John  Bryant.  Producer  Edward  L.  Alper- 
son.  Director  Harold  Schuster.  The  story  of  a  boy  and 
his  horse.  Drama.  77  min. 

GOD  IS  MY  PARTNER  Walter  Brennan,  John  Hoyt, 
Marion  Ross.  Producer  S.  Hersh.  Director  W.  Claxton. 
Drama.  80  min. 

August 

HELL  ON  DEVIL'S  ISLAND  Regalscope.  Helmut  Dan- 
tine,  Donna  Martel,  William  Talman,  Jean  Wiles.  Pro- 
ducer  Lchoolvek.    Director  C.   Nyby.    Adventure.  74 

SEAWIFE  CinemaScope,  Deluxe  Color.  Richard  Bur- 
ton, Joan  Collins.  Producer  Andre  Hakim.  Director  Bob 

McNaught.  Drama.  Ship  is  torpedoed  by  Jap  sub- 
marine off  Singapore  harbor.  82  min. 
WILL  SUCCESS  SPOIL  ROCK  HUNTER  CinemaScope, 
DeLuxe  Color.  Jayne  Mansfield,  Clifton  Webb,  Tony 
Randall.  Producer-director  Frank  Tashlin.  Comedy. 
Filmization  of  the  Broadway  play.  94  min. 

September 

BACK  FROM  THE  DEADRegalscope.  Peagy  Castle, 
Marsha  Hunt,  Arthur  Franz.  Producer  R.  Stabler.  Di- 
rector C.  Warren.   Horror.   79  min. 

COPPER  SKY  Regalscope.  Jeff  Morrow,  Coleen  Gray. 
Producer  R.  Stabler.  Director  C.  Warren.  Melodrama. 
77  min. 

DEERSLAYER,  THE  CinemaScope,  DeLuxe  Color.  Lex 
Barker,  Forrest  Tucker,  Rita  Moreno.  Producer-director 
K.  Newmann.    Adventure.    78  min. 

FORTY  GUNS  CinemaScope.  Barbara  Stanwyck,  Barry 
Sullivan,  Gene  Barry.  Poducer-director  Samuel  Fuller. 
Adventure.  A  domineering  woman  attempts  to  rule  a 
western  town  by  force.  80  min.  10/14. 
NO  DOWN  PAYMENT  CinemaScope.  Jeff  Hunter,  Bar- 
bara Rush,  Sheree  North,  Cameron  Mitchell.  Producer 
Jerry  Wood.  Director  Martin  Ritt.  Drama.  Problems 
of  four  married  couples  in  new  housing  development. 
105  min.  9/30. 

SUN  ALSO  RISES,  THE  CinemaScope,  DeLuxe  Color. 
Ava  Gardner,  Mel  Ferrer,  Tyrone  Power.  Producer  D. 
Zanuck.  Director  Henry  King.  Drama.  From  Ernest 
Hemingway's  famous  novel.  129  min.  9/2. 
UNKNOWN  TERROR,  THE  Regalscope.  John  Howard, 
May  Wynn,  Mala  Powers.  Producer  R.  Stakler.  Direc- 
tor C.  Warren.  Horror.  77  min. 

October 

ABOMINABLE  SNOWMAN,  THE  Forrest  Tucker,  Peter 
Cushing.  Producer  Michael  Carreras.  Director  Val 
Guest.  Science-fiction  drama  dealing  with  the  search 
for  a  half-human,  half-beast  monster  of  the  Himalayas. 
GHOST  DIVER  James  Craig,  Audrey  Totter.  Producer 
Richard  Einfeld.  Director  Merril  White. 
ROCKABILLY  BABY  Virginia  Field,  Douglas  Kennedy. 
Producer-Director  W.  Claxton.  Musical.  82  min. 
THREE  FACES  OF  EVE,  THE  David  Wayne,  Joanne 
Woodward.  Producer  Nunnally  Johnson.  Director  Nun- 
nally  Johnson.  Drama.  Story  of  a  woman  with  three 
distinct  personalities.    91  min. 


November 

APRIL  LOVE  CinemaScope-DeLuxe  color.  Pat  Boons, 
Shirley  Jones.  Producer  David  Weisbert.  Director 
Henry  Levin.  Musical.  Love  story  of  a  boy  on  proba- 
tion.   97  min 

RIDE  A  VIOLENT  MILE  Regalscope.  Gene  Raymond, 
Wayne  Morris.  Producer-director  R.  Stabler.  Melo- 
drama . 

STOPOVER  TOKYO  Robert  Wagner,  Joan  Collins,  Ed- 
mund O'Brien.  Producer  W.  Reisch.  Director  R.  Breen. 
Drama.  Pilot  forced  to  stop  over  in  Tokyo  solves  mys- 
tery.   100  min. 

UNDER  FIRE  Regalscope  Rex  Reason,  Henry  Morg 
Steve  Bodine.  Producer  P.  Skouras.  Director  J.  Cla. 
Drama.    78  min. 

December 

A  FAREWELL  TO  ARMS  Producer  David  Selzoick.  Di- 
rector Charles  Vidor.  Drama. 

ESCAPE  FROM  RED  ROCK  Regalscope.  Brian  Donlevy 
J.  C.  Flippen,  Eileen  Janssen.  Producer  B.  Glassei 
Director  E.  Bernds. 

FRAULEIN  Dana  Wynter,  Mel  Ferrer.  Producer  W. 
Reisch.    Director  H.  Koster. 

KISS  THEM  FOR  ME  Jerry  Wald  Prods.  CinemaScope, 
De  Luxe  Color.  Cary  Grant,  Jayne  Mansfield,  Suzy 
Parker.  Producer  Jerry  Wald.  Director  Stanley  Donen. 
105  min. 

PLUNDER  ROAD  Gene  Raymond,  Wayne  Morris,  Jeanne 
Cooper.    Producer  L.  Stewart.    Director  H.  Cornfield. 

Coming 

AMBUSH  AT  COMARRON  PASS  Regal  Films.  Brian 
Donlevy,  Jay  C.  Flippen.  Producer  Bernard  Glasser. 
Director  Edward  Bernds.  Western. 

BEAUTIFUL  BUT  DANGEROUS  Gina  LoNobrigida,  Vit- 
torio  Gassman.  Producer  Manuella  Malotti.  Director 
Robert  Leonard.  Drama. 

BLOOD  ARROW  Scott  Brady,  Phyllis  Coates.  Diane 
Darrin.  Producer  Robert  Staber.  Director  C.  M. 
Warren. 

ENEMY  BELOW.  THE  CinemaScope,  Color.  Robert 
Mitchum,  Curd  Jurgens.  Producer-Director  Dick  Powell. 

PEYTON  PLACE  Jerry  Wald  Prods.  CinemaScope,  De 
Luxe  Color.  Lana  Turner,  Lloyd  Nolan,  Hope  Lange. 
Producer  Jerry  Wald.  Director  Mark  Robson. 

YOUNG  AND  DANGEROUS  Regal  Films.  Lil  Gentle, 
Mark  Damon,  Ann  Doran.  Producer-Director  William 
F.  Claxton.    78  min. 

YOUNG  LIONS,  THE  CinemaScope.  Marlon  Brando. 
Montgomery  Clift,  Joanne  Woodward.  Producer  Al 
Lichtman.  Director  Edward  Dmytryk. 

VIOLENT  ROAD,  THE  Regal  Films.  Gene  Raymond, 
Wayne  Morris,  Jeanne  Cooper.  Producer  Leon  Choo- 
luck  and  Laurence  Stewart.  Director  Hubert  Cornfield. 


UNITED  ARTISTS 


August 

FUZZY  PINK  NIGHTGOWN,  THE  Jane  Russell,  Keenan 
Wynn,  Ray  Danton.  Producer  Bob  Waterfield  Director 
Norman  Taurog.  Melodrama.  The  story  of  a  Holly- 
wood star  who  is  kidnapped.  87  min. 

JUNGLE  HEAT  Lex  Barker,  Mari  Blanchard.  A  Bel-Air 
Production.  Director  H.  Koch.  Adventure.  Japanese 
saboteurs  in  Hawaii  prior  to  WWII.  75  min. 
LADY  OF  VENGEANCE  Dennis  O'Keefe,  Ann  Sears, 
Anton  Diffring.  Revenge  for  a  lady  who  has  been 
wronged.  Melodrama.  73  min. 

MONTE  CARLO  STORY.  THE  Technirama,  Color.  Mar- 
lene  Dietrich,  Vittorio  De  Sica.  A  Titanus  Rim.  Sam 

Taylor  director.  Marcello  Girosi  producer.  Drama. _  A 
handsome  Italian  nobleman  with  a  love  for  gambling 
marries  a  rich  woman  in  order  to  pay  his  debts. 
100  min.  7/8. 

MY  GUN  IS  QUICK  Robert  Bray,  Whitney  Blake,  Don 
Randolph.  Producer-director  George  A.  White  and 
Phil  Victor.  Melodrama.  Based  on  a  novel  by  Mickey 
Spillane.  88  min. 

VALERIE  Sterling  Hayden,  Anita  Ekberg,  Anthony  Steel. 
Producer  Hal  Makelim.  Director  Gerd  Oslwald.  West- 
ern. The  story  of  a  murder  trial  in  a  western  town. 

September 

CARELESS  YEARS,  THE  Natalie  Trundy,  Dean  Stock- 
well.  Producer  Edward  Lewis.  Director  Arthur  Hiller. 
Drama.  Two  lovers  meet  parental  resistance  when  they 
decide  to  get  married.  70  min. 

CHICAGO  CONFIDENTIAL  Brian  Keith.  Beverly  Gar- 
land, Dick  Foran.  Producer  Robert  Kent.  Director  Sid- 
ney Salkow.  Melodrama.  Syndicate  tries  to  gain  con- 
trol of  labor  union.  73  min.  9/2. 

ENEMY  FROM  SPACE  Brian  Donlevy,  John  Longden. 
Sydney  James.  Producer  Anthony  Hinds.  Director  Val 
Guest.  Science-fiction.  84  min. 

GUNSIGHT  RIDGE  Joel  McCrea,  Mark  Stevens.  Pro- 
ducer Robert  Bassler.  Director  Francis  Lyon.  Western. 
Stranger  discovers  respected  citizen  is  really  a  holdup 
man.  85  min. 

SATCHMO  THE  GREAT  Louis  Armstrong,  Edward  R. 
Murrow,  Leonard  Bernstein.  Producers  Edward  R.  Mur- 
row  and  Fred  W.  Friendly.  Film  story  of  Louis  Arm- 
strong's international  jazz  tour.  63  min.  9/16. 
STREET  OF  SINNERS  George  Montgomery,  Geraldine 
Brooks.  Producer-director  William  Berke.  Drama. 
Rookie  policeman  clashes  with  youthful  criminals. 
76  min. 


Film     BULLETIN  —  THIS     IS     YOUR  PRODUCT 


October 


HELL  BOUND  John  Russel,  June  Blair.  Producer  How- 
ard Koch.  Director  William  Hole,  Jr.  Melodrama. 
Story  of  a  conspiracy  to  hijack  a  shipment  of  narcotics. 
7?  min. 

MUSTANG  Jack  Beutel,  Madalyn  Trahey.  Producer 
Robert  Arnell.  Director  Peter  Stephens.  Western 
Drama. 

TIME  LIMIT  Richard  Widmark.  Richard  Basehart.  Pro- 
ducer William  Reynolds.  Director  Karl  Maiden.  Drama. 
Story  of  prisoner-of-war  turncoats.  96  min.  9/30. 

November 

LEGEND  OF  THE  LOST  John  Wayne.  Sophia  Loren, 
Rossano  Braiii.  Producer-director  Henry  Hathaway.  Ad- 
venture   Sea  rch  for  treasure  in  the  Sahara.. 

Coming 

BABYFACE  NELSON  Mickey  Rooney,  Carolyn  Jones, 
Sir  Cedric  Hardwicke.  Producer  Al  Zimbalist.  Director 
Don  Siegel.  Drama.  Story  of  one  of  America's  notori- 
ous gangsters. 

CHINA  DOLL  Victor  Mature,  Lili  Hua.  Producer-Di- 
rector Frank  Borzage.  Drama.  United  States  Air  Force 
Captain  marries  a  Chinese  girl. 

EDGE  OF  FURY  Michael  Higgins,  Lois  Holmes.  Pro- 
ducer Robert  Gurney,  Jr.  Directors  Robert  Gurney, 
Jr.  and  Irving  Lerner.  Suspense  Thriller  based  on  the 
novel  "Wisteria  Cottage". 

FORT  BOWIE  Ben  Johnson,  Jan  Harrison,  Kent  Taylor. 
Producer  Aubrey  Schenck.  Director  Howard  W.  Koch. 
I  BURY  THE  LIVING  Richard  Boone,  Peggy  Maurer 
Producers  Band  and  Garfinkle.  Director  Albert  Band. 
ISLAND  WOMEN  Marie  Windsor,  Vince  Edwards.  Pro- 


PARIS  HOLIDAY  Bob  Hope.  Fernandel,  Anita  Ekberg. 
Director  Gerd  Oswald. 

PATHS  OF  GLORY  Kirk  Douglas,  Ralph  Meeker, 
Adolphe  Menjou.  Producer  James  B.  Harris.  Director 
Stanley  Kubrick. 

OUIET  AMERICAN  Audie  Murphy,  Michael  Redgrave, 
Claude  Dauphin.  Figaro  Production.  Director  Joseph 
Mankiewici.  Drama.  Story  set  against  the  recent 
fighting  in  IndoChina. 

RIDE  OUT  FOR  REVENGE  Rory  Calhoun,  Gloria  Gra- 
hame,  Joanne  Gilbert.  Producer  Norman  Retchin.  Di- 
rector Barney  Girard. 

VIKINGS.  THE  Kirk  Douglas,  Tony  Curtis,  Ernest  Borg- 
mne.  Producer  Jerry  Bresler.  Director  Richard  Fleischer. 
WINK  OF  AN  EYE  Jonathan  Kidd,  Doris  Dowling 
Irene  Seidner.  Producer  Fernando  Carrere.  Director 
Winston  Jones. 

WITNESS  FOR  THE  PROSECUTION  Tyrone  Power 
Marlene  Dietrich,  Charles  Laughton.  Producer  Arthur 
Hornblow,  Jr.  Director  Billy  Wilder. 


U  N  I  VERSA  L- 1  NT'  L 


August 

DOCTOR  AT  LARGE  Dick  Bogarde.  Muriel  Pavlow.  A 
Rank  Production.  Director  Ralph  Thomas.  Comedy  Ad- 
ventures of  an  English  physician.  98  min  6/24 
LAND  UNKNOWN,  THE  Jock  Mahoney,  Shawn  Smith. 
Producer  William  Alland.  Director  Virgil  Vogel. 
Science-fiction.  Polar  expedition  finds  Mesozoic  age 
m  Antarctic  expedition.    78  min. 

MIDNIGHT  STORY,  THE  CinemaScope.  Tony  Curtis, 
Mansa  Pavan.  Producer  Robert  Arthur.  Director  Joseph 
Pevney.  Drama.  Rookie  cop  seeks  murderer  of  parish 
priest.  89  min.  6/24. 

NIGHT  PASSAGE  Technirama,  Technicolor.  James 
Stewart,  Audie  Murphy,  Dan  Duryea.  Producer  A. 
Rosenberg.  Director  James  Neilson.  Drama.  Payroll 
robbers  are  foiled  by  youngster  and  touqh-fisted  rail- 
roader. 90  min.  6/24. 

September 

INTERLUDE  Technicolor,  CinemaScope.  June  Ailyson, 
Rossano  Brani.  Producer  Ross  Hunter.  Director  Douglas 
Sirk.  Drama.  American  doctor  falls  in  love  with  wife 
of  famous  composer  in  Munich.  89  min.  6/24. 
JET  PILOT  Technicolor,  SuperScopt.  John  Wayne, 
Janet  Leigh.  Howard  Hughes  Production.  Producer 
Jules  Furthman  Director  Josef  von  Sternbero.  Drama. 
The  story  of  a  Russian  woman  pilot  and  an 'American 
let  ace.  112  min.  9/30. 

JOE  DAKOTA  Eastman  Color.  Jock  Mahoney,  Luana 
Patten.  Producer  Howard  Christie.  Director  Richard 
Bartlett.  Drama.  Stranger  makes  California  oil  town 
see  the  error  of  its  ways.   79  min. 

RUN  OF  THE  ARROW  Technicolor.  Rod  Steiger,  Sarita 
Montiel,  Ralph  Meeker.  Producer-director  Sam  Fuller. 
Adventure.    Young  sharpshooter  joins  Sioux  Indians  at 

.close  of  Civil  War.  86  min.  6/24. 
SLAUGHTER  ON  TENTH  AVENUE  CinemaScope.  Rich- 
ard Egan,  Jan   Sterling,   Dan  Duryea.    Producer  Albert 
Zugsmith.   Director  Arnold   Laven.  An  expose  of  New 

,Tork  waterfront  warfare.    103  min.  9/16. 
THAT  NIGHT  John  Beal,  Augusta  Dabney,  Sbepperd 
Strudwick.     Producer    Hiram    Brown.    Director  John 
Newland.   Drama.   A   tragedy   almost  shatters   a  IS- 
/ear-old  marriage.  88  min. 

October 

MAN  OF  A  THOUSAND  FACES  CinemaScope.  James 
-aqney,  Dorothy  Malone.  Producer  Robert  Arthur.  Di- 
rector Joseph  Pevney.  Drama.  Life  story  of  Lon  Chaney. 


OUANTEZ  CinemaScope.  Eastman  Color.  Fred  Mac- 
Murray,  Dorothy  Malone.  Producer  Gordon  Kay.  Direc- 
tor Harry  Keller.  Drama.  A  study  of  five  people  in- 
volved in  a  robbery  and  killing    80  min  9/2. 

UNHOLY  WIFE.  THE  Technicolor.  Diana  Dors,  Rod 
Steiger,  Marie  Windsor.  Producer-director  John  Far- 
row. Drama.  A  wife  cunningly  plots  the  death  of  her 
husband  who  she  has  betrayed.  94  min.  9/2. 

November 

ESCAPADE  IN  JAPAN  Color.  Teresa  Wright.  Cameron 
Mitchell,  Jon  Provost,  Roger  Nakagaws.  Producer-direc- 
tor Arthur  Lubin.  Drama.  Search  for  two  boys  who 
start  out  in  the  wrong  direction  to  find  the  very  peo- 
ple who  are  trying  to  find  them.    92  min.  9/16. 

MY  MAN  GODFREY  CinemaScope.  Technicolor.  June 
Ailyson.  David  Niven.  Producer  Ross  Hunter.  Director 
Henry  Koster.  Comedy.  Story  of  a  topsy-turvy  butler. 
92  min.  9/2. 


August 


Coming 


A  GAME  OF  LOVE  CinemaScope.  Color.  Lana  Turner. 
Jeff  Chandler.  Richard  Denning.  Producer  William 
Alland.  Director  Jack  Arnold.  Drama.  Pilot  and  wife 
realiie  true  love  in  the  air. 

ALL  MINE  TO  GIVE  Eastman  Color.  Glynis  Johns, 
Cameron  Mitchell,  Rex  Thompson.  Producer  Sam  Weis- 
enthal.  Director  Allen  Reisner.  Drama.  The  story  of  a 
Scottish  immigrant  couple  in  Wisconsin  in  the  19th 
century. 


DAMN  CITIZEN  Keith  Andes,  Margaret  Hayes,  Gene 
Evans.  Producer  Herman  Webber.  Director  Robert 
Gordon.  Real  estate  man  becomes  leader  of  police 
in  fight  against  crime. 

DARK  SHORE.  THE  CinemaScope.  George  Nader.  Cor- 
nell Borchers,  Michael  Ray.  Producer  Robert  Arthur. 
Director  Abner  Biberman. 

DAY  OF  THE  BAD  MAN  CinemaScope.  T.-ed  MacMur- 
ray,  Joan  Weldon,  John  Ericson,  Robert  Middleton. 
Producer  Gordon  Kay.  Director  Harry  Keller.  West- 
ern. Brothers  of  a  murderer  attack  town  on  day  of 
trial. 

FEMALE  ANIMAL,  THE  CinemaScope.  Hedy  Lamarr, 
Jane  Powell,  Jan  Sterling.  Producer  Albert  Zugsmith. 
Director  Harry  Keller.  Beautiful  movie  star  tries  to 
buy  a  husband. 

GIRL  MOST  LIKELY.  THE  Eastman  Color.  Jane  Powell, 
Cliff  Robertsoa,  Keith  Andes.  Producer  Stanley  Rublin. 
Director  Mitchell  Laiton.  Comedy.  A  girl  is  proposed 
to  by  three  men  on  the  same  day. 

I  MARRIED  A  WOMAN  George  Gobel,  Diana  Dors, 
Adolph  Menjou.  Producer  William  Bloom.  Director  Hal 
Kanter.  Coemdy.  Wlfa  objects  to  taking  secoad  place 
to   a    beer   advertising    campaign   with    her  husband. 

LOVE  SLAVES  OF  THE  AMAZONS  Color.  Don  Taylor, 
Giana  Sigale.    Producer-Director  Curt  Siodnak. 

MAGNIFICENT  BRAT,  THE  Color.  Dan  Duryea,  Jan 
Sterling.    Producer    Sy   Gomberg.    Director   Jack  Sher. 

MAN  WHO  ROCKED  THE  EOAT,  THE  CinemaScope. 
Richard  Egan.  Jan  Sterling.  Dan  Duryea.  Producer 
Albert  Zugsmith.    Director  Arnold  Laven. 

MONOLITH  MONSTERS,  THE  Grant  Williams,  Lola 
Albright.  Producer  Howard  Christie.  Director  John 
Sherwood.  Science-fiction.  Army  of  rocks  threaten  U.S. 
PYLON  CinemaScope.  Rock  Hudson,  Robert  Stack, 
Dorothy  Malone.  Jack  Carson.  Producer  Albert  Zug- 
smith. Director  Douglas  Sirk.  Drama.  Reporter  un- 
covers World  War  I  hero  of  the  Lafayette  Escadrille. 
RAW  WIND  IN  EDEN  CinemaScope.  Color.  Esther 
Williams,  Jeff  Chandler.  Producer  William  Alland. 
Director  Richard  Wilson.  Couple  crash  on  island  and 
are  stuck  for  weeks. 

SEEDS  OF  WTJATH  CinemaScope.  Jeff  Chandler.  Orson 
Welles.  Producer  Albert  Zugsmith.  Director  Jack  Ar- 
nold. Drama.  Sheriff  destroys  one-man  domination  of 
Texas  town. 

SLIM  CARTER  Color.  Jock  Mahoney,  Julie  Adams 
Tim  Hovey.  Producer  Howie  Horwitz.  Director  Richard 
Bartlett.  Girl  press  agent  makes  Western  star  of  no- 
good  cafe  enertainer.  82  min.  10/14. 
SUMMER  LOVE  John  Saxon,  Judy  Meredith.  Producer 
William  Grady,  Jr.  Director  Charles  Haas.  Loves  and 
troubles  of  combo  on  first  job. 

VIOLATORS.  THE  Arthur  O'Connell,  Nancy  Malone. 
Producer  H.  Brown.  Director  John  Newland.  Drama. 
Story  of  a  probation  officer  in  the  New  York  City 
courts. 

WESTERN  STORY,  THE  CinemaScope.  Color.  Jock 
Mahoney.  Gilbert  Roland.  Producer  Howard  Christie. 
Director  George  Sherman. 


WARNER  BROTHERS 


July 

CURSE  OF  FRANKENSTEIN.  THE  Peter  Cushing.  Hazel 
Court,  Robert  Urqhart.  Producer  M.  Carreras.  Direc- 
tor Terence  Fisher.  Horror.  83  min.  7/8. 

PRINCE  AND  THE  SHOWGIRL.  THE  C«lor.  Marilyn 
Monroe,     Laurence    Olivier,    Dame    Sybil  Thorncryke. 

Producer-director  Laurence  OHvier.  Comedy.  Filmiza- 
tion  of  the  Terence  Rattigan  play.  117  min.  5/27. 
RISING  OF  THE  MOON.  THE  Eileen  Crowe,  Cyril 
Cusack,  Frank  Lawton.  Directed  by  John  Ford.  Three 
Irish  stories  with  Tyrone  Power  narrator.  81  min.  7/22 
X— THE  UNKNOWN  Dean  Jagger,  William  Russell. 
Producer  A.  Hinds.  Director  Leslie  Norman.  Science- 
fiction.  Keen  minded  scientist  fights  awesome  creation. 


PAJAMA  GAME.  THE  Warner  Color  Doris  Day.  John 
Raitt.  Carol  Hanay.  Producers  G.  Abbot.  F.  Brisscn, 
R.  Griffith,  H.  Prince.  Director  Stanley  Donen.  Filmua- 
tion  of  the  Broadway  musical. 


September 


BLACK  PATCH  George  Montgomery  Producer  George 
Montgomery.  Director  Alan  Miner.  Western.  83  min. 

JOHNNY  TROUBLE  Ethel  Barrymore.  Cecil  Kellaway. 
Producer-director  John  Auer  Drama  Mother  waits 
twenty-seven  years  for  her  long  lost  son.  80  min. 
10/14. 

WOMAN  IN  A  DRESSING  GOWN  Yvonne  Mitchell. 
Anthony  Quayle,  Sylvia  Syms.  Producer  Frank  Godwin 
Director  J.  Lee-Thompson.  Melodrama.  A  wife's  happi- 
ness is  threatened  by  a  younger  woman.  93  min.  10/14. 

October 

BLACK  SCORPION.  THE  Richard  Denning  Mara  Cor- 
dav.  Carlos  Rivas.  Horror  Mammoth  scorpions  emerge 
to  terrify  earthpeople  88  min.  10/14. 
HELEN  MORGAN  STORY,  THE  CinemaScope  Ann 
Blyth,  Paul  Newman.  Producer  Martin  Rackin  Director 
Michael  Curtiz.  Drama.  Biographical  film  of  an  ill- 
fated  torch  singer.  118  min.  9/30. 


Coming 


BLONDE  AND  DANGEROUS  Sally  Brophy.  Carla 
Merey,  Susan  Oliver.  An  Arwin  Production.  Director 
Bernard  Girard.  Producer  Martin  Melcher.  Melodrama. 
Life  in  a  girl's  correction  school. 

BOMBERS  B-52  CinemaScope.  WarnerColor.  Karl  Mai- 
den, Natalie  Wood.  Producer  Richard  Whorf.  Director 
Gordon  Douglas.  Drama.  Story  of  the  men  who  man 
the  bombers  that  defend  our  nation.  106  min. 
BOTH  ENDS  OF  THE  CANDLE  CinemaScope.  Ann 
Blyth.  Paul  Newman,  Richard  Carlson.  Producer  Mar- 
tin Rackin.    Director  Michael  Curtiz. 

CHASE  A  CROOKED  SHADOW  Richard  Todd.  Ann 
Baxter.  Producer  Douglas  Fairbanks.  Director  Michael 
Anderson.  Melodrama. 

DARBY'S  RANGERS  WarnerColor  Charles  Heston,  Tab 
Hunter  Etchika  Choureau.  Producer  Martin  Rackin.  Di- 
rector William  A.  Wellman. 

DEEP  SIX,  THE  Jaguar  Prods.  Alan  Ladd.  Dianne  Fos- 
ter. Producer  Martin  Rackin.  Director  Rudy  Mate. 
FIFTEEN  BULLETS  FROM  FORT  DOBBS  Clint  Walker. 
Virginia  Mayo.  Producer  Martin  Rackin.  Director  Gor- 
don Douglas. 

LAFAYETTE  ESCADRILLE  Tab  Hunter.  Etchika  Choureau. 
J.  Carrol  Naish.  Producer-Director  William  A.  Well- 
man. 

LEFT  HANDED  GUN,  THE   Paul   Newman.    Lita  Milan. 

Producer  Fred  Coe.  Director  Arthur  Penn. 

NO  TIME  FOR  SERGEANTS  Andy  Griffith.   Myron  Mc- 

Cormick     Nick   Adams.    Producer-Director   Mervyn  Le- 

Roy. 

OLD  MAN  AND  THE  SEA,  THE  CinemaScope.  Warner- 
Color. Produced  by  Leland  Hayward.  Director  John 
Sturges.  Adventure.  Film  version  of  Ernest  Heming- 
way's prize-winning  novel. 

STAKEOUT  ON  DOPE  STREET  Producer  Andrew  Fenady. 
Director  Irvin  Kershner. 

SAYONARA  Technirama.  WarnerColor.  Marlon  Brando. 
Red  Buttons,  Patricia  Owens.  Producer  W!;iiar.  Goetz. 
Director  Josh  Logan.  Drama.  Based  on  *Se  award- 
winning  novel  of  James  Michener. 

STORY     OF     MANKIND    WarnerColor.     All-star  cast. 

Producer-director  Irwin  Allen.  Drama. 

TENDER    FURY    Susan    Oliver,    Linda    Reynolds.  Carla 

Merey.    Producer    Martin    Melcher.    Director  Bernard 

Girard. 


To  Better  Serve  You  .  .  . 

Office  &  Terminal  Combined  At 
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BULLETIN  —  THIS     IS     YOUR  PRODUCT 


BULLETIN 


hori 


IOVEMBER  II,  1957 


Business-wise 

Analysis  of 
the  New  Films 


1 

FILM  OF 

1 

DISTINCTION 

SAYONARA 

Other  Reviews: 

N'T  GO  NEAR  THE  WATER 

HE  TARNISHED  ANGELS 

BOMBERS  B-52 

KISS  THEM  FOR  ME 

STOPOVER  TOKYO 

THE  HUNCHBACK  OF 
NOTRE  DAME 

THE  AMAZING 
COLOSSAL  MAN 


"\othiny.  hut  nothing*  is 
keeping  me  away  front  the 
movie  theatre  as  much  as 
your  very  own  movies— yes. 
the  old  ones  — on  my  TV  set.' 


LETTER 
FROM  AN 
EX-MOVIEGOER 


-V, 

SEGALE-EDUARDOCWNELU 


'eftsoffon$/  s/hff/y. .  .bui 

Here's  a  SOOM/A/G-  big  bo> 

that  smart  showmen  everywhere 


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~7h//CEAS  70G£THE&! 

OFFICE  BOMB...a  Smash  Combination 
will  Book  NOW.. -to  cash-in^>/9-/ 


TO  THE 
HONOR  ROLL 
OF  BIG 
WESTERN  DRAMAS 
ADD  M-G-M's 

"SADDLE  THE  WIND 


The  stars  blazon  the  movie  sky  with  memorable  performances,  the 
beauty  of  the  Colorado  Rockies  is  inspiring  in  CinemaScope  and  Metro- 
color,  the  story  thunders  from  the  screen  with  suspense  and  passion! 


M-G-M  presents  ■'SADDLE  THE  WIND"  starring  ROBERT  TAYLOR-  JULIE  LONDON-  JOHN 
CASSAVETES  -  Donald  Crisp  *  Charles  McGraw  -  Screen  Play  by  Rod  Serlitig  •  Screen  Story  by  Thomas 
Thompson  •  In  CinemaScope  And  Metrocolor  •  Directed  by  Robert  Parrish  -  Produced  by  Armand  Deutsch 
A  AUtro-Goldivyn-Mayer  Picture 


v, 


teapot  fits 


VOLUME  25,  NO.  23 


Letter  from  an  Ex-Morieyoer 


The 
Mail 
Box 


The  following  letter,  bear- 
ing a  New  York  postmark, 
was  received  in  last  week's 
mail.  We  believe  it  truly 
represents  the  viewpoint  of 
countless  people  who  were 
once  regular  moviegoers. 
It  is  reproduced  here  in  its 
entirety,  with  only  the 
name  of  the  writer  with- 
held in  deference  to  his 
wishes.  We  recommend  the 
writer's  views  for  consider- 
ation by  everyone  inter- 
ested in  the  welfare  of  the 
motion  picture  industry. 

— Editor's  Note 

To  the  Editor 
Dear  Sir: 

You  may  be  surprised  to  get  this 
letter.  Your  correspondence,  I  imagine, 
is  pretty  well  confined  to  people  in  the 
movie  business  and  I'm  not  in  the 
movie  business.  Unless  you  call  being 
on  the  viewing  end  of  a  motion  picture 
a  part  of  movie  business. 

You  see,  I'm  an  ex-moviegoer.  As  a 
matter  of  fact,  you  might  even  call  me 
a  "movie-stayer,"  since  I  see  movies, 
plenty  of  them,  by  staying  at  home  in- 
stead of  going  to  the  theatre. 

Why,  then,  am  I  writing  to  you? 
Well,  for  a  number  of  reasons. 

First,  let  me  explain  that  a  friend  of 
mine  is  an  exhibitor  and  our  discus- 
sions have  given  me  a  slight  insight 


into  the  movie  industry's  thinking.  I 
see  your  publication  and  Variety  in  his 
home  and  we've  had  some  pretty  li\elv 
bull  sessions  about  movie  business  con- 
ditions, which  (to  put  it  bluntly)  are 
lousy.  I  told  my  exhibitor  friend  that 
I  might  write  a  letter  and  he  urged  me 
to  do  so  and  to  send  it  to  you. 


I've  read  and  heard  a  hundred  rea- 
sons why  movie  business  has  taken 
such  a  licking.  The  fact  that  you  peo- 
ple won't  face  the  plain  blank  truth 
that's  there  big  as  life  would  make  me 
laugh,  if  it  didn't  make  my  exhibitor 
friend  so  unhappy. 

Perhaps,  I  thought,  a  letter  not  from 
an  expert  movieman,  but  from  one  of 
the  guys  who  has  been  causing  the 
movie  industry  depression  by  staying 
away  from  the  theatres,  might  help  in 
the  other  direction  by  telling  you  why 
I'm  an  f.v-moviegoer. 

Right  off,  as  far  as  I'm  concerned, 
you  can  take  all  the  tear-soaked  excuses 
for  the  drop  in  attendance,  wrap  them 
in  a  soggy  package  and  drop  them 
down  the  nearest  sewer.  There  is  only 
ONE  big  reason  why  I  (and  millions 
more  like  me)  am  not  going  out  to  see 
your  new  pictures,  and  here  it  is: 
nothing,  but  nothing,  is  keeping  me 
away  from  the  movie  theatre  as  much 
as  your  very  own  movies — yes,  the  old 


BULLETIN 


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ones — on  my  TV  set!  Any  other  rea- 
son has  to  play  second  fiddle  to  that 
one. 

What  if  the  movies  are  old?  Just  as 
an  example,  the  wife  and  I  were  all  set 
to  go  out  to  a  neighborhood  movie 
house  to  see  a  picture  we'd  missed  in 
the  downtown  theatre  (because  we 
were  watching  some  of  those  old  ones 
on  TV).  It  was  the  first  time  in  months 
that  we  actually  had  made  plans  to  go 
to  a  movie  theatre.  Right  after  dinner 
an  ad  on  the  newspaper  television  page 
caught  my  eye.  It  announced  that 
"Louis  Pasteur''  was  to  be  shown  that 
night.  We  stayed  home,  forgot  about 
the  other  movie,  and  had  a  wonderful 
time  with  that  classic.  Our  movie  appe- 
tite was  satisfied  for  that  night  and  the 
next  couple  of  evenings  as  well — and 
we  never  did  get  to  see  the  new  one 
in  the  theatre. 

How  old  is  "Louis  Pasteur  "?  Maybe 
fifteen  or  twenty  years,  I  guess.  Is 
there  any  thing  around  today  that's  bet- 
ter? It  doesn't  matter  how  old  the 
good  ones  are.  And  believe  me,  there 
are  plenty  of  them  only  three  or  four 
years  old  on  the  TV  screen  in  our  liv- 
ing room  these  days. 

It  wasn't  always  this  way.  Not  too 
long  ago,  w  e  were  pretty  steady  movie- 
goers .  .  .  once  a  week,  usually,  some- 
times twice  if  the  pictures  were  good 
enough.  Not  that  we  didn't  watch  tele- 
vision. It  had  its  place  in  our  enter- 
tainment scheme.  But  we  had  sort  of 
settled  down  to  a  pattern  that  included 
a  few  select  shows.  The  rest  was  just 
take-it-or-leave-it  stuff,  because  most  of 
it.  frankly,  is  trash.  Any  good  movie 
in  town  or  in  the  neighborhood  thea- 
tres was  a  sure-fire  be:  for  our  money  . 

All  that  was  changed  about  a  year 
ago  when  we  stopped  going  to  the 
movie  theatre.  And  here's  where  all 
those  cockeyed  alibis  for  the  slump  in 
(Continued  on  Pugc  l(>) 


Film  BULLETIN     November  II     1957        Page  5 


"Don't  Ho  Near  the  Water" 
Sccauuu*  1£<zUk?  O  O  O  Plus 

Rollicking,  lusty,  salty  comedy  will  leave  'em  howling.  Has 
its  tender  romance,  too.  Big  boxoffice  show. 

William  Brinkley's  recent  best-seller  which  took  a  spoof- 
humored  look  at  the  Navy's  World  War  II  public  relations  offi- 
cers and  the  martini-loaded  tank  force  they  sponsored,  has  been 
made  into  an  utterly  wacky  and  wonderful  comedy  by  MGM. 
Filmed  in  CinemaScope  and  Metrocolor,  the  Avon  Production 
is  a  maze  of  fast  and  funny  situations,  a  punch-happy,  ship- 
shape survey  of  one  of  the  odd-ball  off-shoots  of  the  war,  the 
gallant  seafarer-with-typewriter  corps  that  kept  the  home  front 
happily  supplied  with  battle  news,  but  didn't  dare  go  near  the 
water.  Smartly  produced  by  Lawrence  Weingarten  and  snap- 
pilv  directed  by  Charles  Walters,  it  features  a  buoyantly  inven- 
tive cast,  including  Glenn  Ford  in  a  surprisingly  engaging  per- 
formance, Gia  Scala,  Anne  Francis,  Eva  Gabor,  Earl  Holliman 
and,  most  especially,  Mickey  Shaughnessy,  a  beer  barrel  riot  of 
the  first  order.  This  is  undoubtedly  the  best  thing  of  its  kind 
since  "Mister  Roberts ',  and  should  roll  up  some  heavy  salvoes 
at  the  box  office  from  one  end  of  the  country  to  the  other.  Al- 
though there  is  no  actual  plot,  writers  Dorothy  Kingsley  and 
George  Wells  have  strung  together  a  fanfare  of  related  adven- 
tures set  on  the  lovely,  obscure  Pacific  island  of  Tulura.  Ford, 
is  the  hero,  whose  tender  romance  with  native  schoolteacher 
Miss  Scala  undergoes  a  series  of  East- West  difficulties.  Yeoman 
Holliman  and  nurse  officer  Francis  have  an  after-dark  jeep 
spoon  that  consideraby  upsets  the  service  caste  system.  Dazzling 
correspondent  Gabor  works  her  way  on  a  cruiser,  has  her  black 
lace  panties  flying  from  its  masthead  as  a  symbol  of  "what  we're 
fighting  for"  and  goes  off  to  the  wars  with  her  "darling  leather- 
necks". Fred  Clark  makes  a  fantastic  attempt  at  taking  over  the 
Seabees  job  in  building  an  officer's  club,  and  Keenan  Wynn 
plays  a  Chicago  Gazette  ace  who  receives  a  sexpot's  come-up- 
pance  in  howling  fashion.  Best  of  all,  however,  is  the  Shaugh- 
nessy sequence  in  which  Ford  tries  to  turn  this  profanity-cradled 
old  sailor  into  the  Typical  Young  Navy  Man.  The  results  make 
for  the  saltiest  and  lustiest  humor  heard  on  film  in  years,  surely 
destined  to  be  a  Topic  of  Conversation  everywhere. 

Metro-Goldwyn-Mayer.  107  minutes.  Glenn  Ford,  Gia  Scala  Earl  Holliman.  Pro- 
duced by  Lawrence  Weingarten.    Directed  by  Charles  Walters. 

"The  Hunchback  of  Notre  Dame" 

The  classic  horror  tale  given  big  production.  Anthony  Quinn 
and  Lollobrigida  add  marquee  value.  Should  do  very  well. 

Victor  Hugo's  famed  Gothic  tragedy  has  been  dusted  off  by 
producers  Robert  and  Raymond  Hakim  and  arrayed  in  an  elabo- 
rate CinemaScope-Technicolor  picturization  that  swamps  the 
screen  with  spectacle  in  the  grand  manner.  Hugo's  romantic 
commentary  on  a  human  beast,  doomed  love  and  the  corruption 
at  the  heart  of  passion  is  overshadowed  by  a  kind  of  museum 
of  medieval  horrors,  with  scores  of  crowd  scenes,  resplendent 
costumes  and  pageantry,  military  parades,  an  army  of  beggars, 
gypsy  revelry,  everyday  thieves  and  cut-throats,  dazzling  mas- 
querades— the  whole  repertoire  of  a  Paris  riotously  emerging 
from  the  Dark  Ages.  Sometimes  this  besotted  tapestry  loses 
sight  of  the  strange  and  sibyline  tale  it  should  be  telling,  so 
much  so  that  the  human  factor  has  been  overshadowed  in  one 
super-colossal  scene  after  another.  Nevertheless,  the  film  should 
do  crackerjack  business  with  the  mass  audrence  and  needless  to 


say,  this  Allied  Artists  release  is  a  highly  exploitable  bit  of  mer- 
chandise with  a  world-famous  title,  Gina  Lollobrigida  and  An- 
thony Quinn  as  stars  and  horror  shows  booming  across  the  land. 
In  the  title  role,  Quinn  stumbles  about  triumphantly  decked  out 
with  enormous  head,  feet,  hands  and  back,  crooked  legs,  a 
jutted  square  nose,  horseshoe-shaped  mouth,  a  gaping  one-eye 
overhung  by  a  bushy  brow  and  a  funereal  experssion  of  amaze- 
ment, hatred,  melancholy — all  worked  together  in  a  perpetual 
grimace.  Miss  Lollobrigida  is  voluptuous  as  ever,  but  lack-luster 
as  an  actress.  Screenplay w  rights  Jean  Aurenche  and  Jacques 
Prevert  have  kept  the  famed  tale  intact:  Quinn,  the  hunch- 
backed bell-ringer  of  Notre  Dame  becomes  enamored  of  gypsy 
girl  Lollobrigida,  long  sought  by  his  evi^  master,  after  she  gives 
him  water  on  the  whipping  block,  only  to  find  that  his  master 
plots  to  have  her  hung  as  a  murderess  unless  she  loves  him. 
Quinn  saves  her  from  the  gibbet,  takes  her  to  the  ramparts  of 
the  cathedral,  fights  soldiers  and  mobs,  but  in  the  end  finds  his 
master  and  girl  dead.  Jean  Dellanoy  has  directed  in  scenically 
stunning  fashion  but  a  psychologically  pondersome  way. 

Allied  Artists.  103  minutes.  Gina  Lollobrigida,  Anthony  C-uinn.  Produced  by 
Robert  and  Raymond  Hakim.    Directed  by  Jean  Dellanoy. 

"The  Tarnished  Angels" 
Scuckcu,  'RatUf  OOO 

Strong  melodrama  of  air-devils  and  sex.  Stars  of  "Written 
on  the  Wind"  head  cast.  Holds  promise  of  good  returns 
in  mass  market. 

Almost  all  the  talents  that  created  the  flamboyantly  success- 
ful "Written  On  The  Wind",  have  been  reunited  in  the  picturi- 
zation of  William  Faulkner's  "Pylon",  a  somber,  Southern- 
primitive  study  of  some  ill-fated  human  relationships.  Titled 
"Tarnished  Angels",  the  Universal-International  offering  is  one 
slam-bang  scene  after  another,  all  done  up  in  black  and  white. 
CinemaScope.  The  tale  is  set  in  a  1930  New  Orleans  era  against 
a  carnival  of  death  background  where  former  World  War  air 
aces  dangerously  dagger  the  sky  to  the  applause  of  a  thril! -seek- 
ing Mardi  Gras  crowd.  Producer  Albert  Zugsmith  and  director 
Douglas  Sirk  have  filled  the  screen  with  some  spectacular  air 
shots,  while  screenplaywright  George  Zuckerman  has  counter- 
plotted it  all  with  earthy  and  eruptive  sexual  shenanigans.  A 
trio  of  popular  stars,  Rock  Hudson,  Dorothy  Malone  and 
Robert  Stack,  perform  in  full-blown  style,  seething  at  the  melo- 
dramatic seams.  What  it  lacks  is  some  of  the  class  that  made 
"Wind"  such  a  big  hit,  but  "Angels"  is  going  to  be  a  pretty 
srong  attracion  in  its  own  right.  It  tells  the  story  of  newspaper- 
man Hudson  uncovering  the  complex  personal  world  of  one- 
time Lafayette  Escadrille  hero  Stack,  now  reduced  to  death-defy- 
ing stunt  flying  at  a  sleazy  carnival.  Hudson  becomes  enamored 
of  Stack's  parachute-jumping  wife,  Miss  Malone,  after  she  re- 
veals the  strange  story  of  her  idolization  of  a  husband  who  cares 
for  nothing  but  planes,  and  who  married  her  only  when  she 
became  pregnant  and  he  had  tossed  dice  for  her  with  long-suf- 
fering buddy  Jack  Carson.  When  Stack  damages  his  plane,  he 
sends  Miss  Malone  to  seduce  manufacturer  Robert  Middleton 
into  giving  Stack  a  plane  with  which  to  compete  in  the  Mardi 
Gras  air  race.  Stack  is  subsequently  killed  when  his  plane 
catches  fire,  but  not  before  he  confesses  his  real  love  for  his 
wife.  Soon  after  the  wake  Miss  Malone  is  hitting  the  bottle 
with  Middleton  in  order  to  gain  money  for  her  child's  support, 
only  to  be  saved  from  the  lower  depths  by  Hudson  who  wants 
to  show  her  the  good  things  of  life. 

Universal-International.  91  minutes.  Rock  Hudson,  Robert  Stack,  Dorothy  Malone, 
Jack  Carson.    Produced  by  Albert  Zugsmilh.    Directed  by  Douglas  Sirk. 


Page  6        Film  BULLETIN     November  II,  1957 


?//*  klitikctiPk 


"SAYONARA"  Warm.  Del 

Su4CHCdd  IZctfiH?  O   O   O  O 

Top-drawer  production  of  Michener's  East-West  romance 
will  appeal  to  audiences  of  every  stripe.  Superbly  played 
by  Marlon  Brando  and  fine  cast.  Will  draw  strong  word- 
of-mouth. 

Every  so  often  one  of  those  rare  films  arrives  on  the  scene, 
filled  with  so  much  universal  appeal  that  it  suddenly  lights  up 
the  sky  and  just  as  suddenly  sets  the  whole  town  talking.  Such 
a  film  is  "Sayonara". 

It  is  an  extraordinary  entertainment  in  every  way.  Producer 
William  Goetz  and  director  Joshua  Logan  seem  to  have  had 
the  pleasure  of  an  audience  in  mind  at  each  creative  step.  They 
have  poured  into  it  all  the  technical  know-how  ,  the  good  taste, 
the  heart  and  the  humor  that  one  has  reason  to  expect  from 
such  expert  showmen.  "Sayonara"  may  not  be  a  work  of  art 
and  does  not  attempt  new  pathways  in  technical  achievements 
— it  superbly  presents  a  wonderful  love  story  played  against  the 
marvellously  colorful  and  complex  world  of  modern  day  Japan, 
at  the  same  time  filling  each  scene  to  the  brim  with  moments  of 
human  and  humane  truths.    It  is  warm,  delightful,  fulfilling. 

"Sayonara"  has  something  for  everyone,  and  it  is  certain  to 
please  every  class  of  moviegoer.  Boxoffice  returns  in  every  situ- 
ation will  be  big.  Exhibitors  will  be  wise  to  give  it  maximum 
playing  time,  for  word-of-mouth  will  boost  grosses  down  the  line. 

Marlon  Brando  is  the  star,  and  a  more  moving  and  dynamic 
performer  would  be  hard  to  find.  Ideally  cast  as  an  American 
jet  ace,  a  drawling  Southerner  with  latent  racial  prejudices,  he 
finds  himself  irresistably  drawn  to  a  beautiful  but  untouchable 
Matsubayashi  dancer.  Based  on  the  famous  James  Michener 
novel,  the  film  tells  how  the  lovers  enter  into  their  liaison  and 
the  effect  it  has  on  them  and  those  close  tothem.  It  is  in  its 
own  way,  a  haunting  parable  of  love  which  brilliantly  reveals 
the  cultural  contretemps,  both  social  and  political,  at  the  center 
of  current  East-West  relations.  As  the  dancer,  the  film  intro- 
duces Japanese  star  Miiko  Taka,  as  graceful  and  fragile  as  a 
piece  of  fine  porcelain. 

Much  of  "Sayonara"  was  filmed  on  location  in  Kyoto;  abetted 
by  Technirama  and  Technicolor,  it  is  a  veritable  wonderland  of 
beauty.  The  scenes  of  pagodas,  temples,  luxurious  tea  gardens, 
deep  harbors,  shadowy  coves,  kingdoms  of  sparkling  rivers  and 
sunburnt  bridges,  flowering  cherry  blossoms  and  many  other  de- 
lights cast  a  mood  of  utter  enchantment  upon  the  film,  quite 
unlike  anything  yet  felt.  Further,  director  Logan  has  wisely  in- 
corporated some  vivid  shots  of  the  legendary  Kabuki  troupe, 
plus  a  spectacular  showing  of  the  Schochiku  Kagekidan  Girls 
Revue,  a  kind  of  Oriental  Ziegfeld  Follies,  rivalling  in  every 
way  that  eminent  Broadway  classic.  And  to  top  it  all  off  com- 
poser Irving  Berlin  has  incorporated  into  one  of  the  love  scenes 
the  title  theme-song  which  will  may  veryy  likely  be  the  season's 
most  popular  ballad. 

As  a  corollary  to  the  Brando  romance  there  is  Red  Buttons 
as  a  G.I.  married  to  a  Japanese  girl,  a  charming  and  completely 
devoted  wife,  winsomely  played  by  Miyoshi  Umeki.  And  But- 
tons himself,  one-time  TV  comedian,  proves  an  expert  and  en- 

[More  REVIE 


Inl.  Fulfilling  Love  Story 


Tender  scene  involving  the  American  flier  (Marlon 
Brando)  and  his  Japanese  sweetheart  (Miiko  Taka) 


gaging  actor,  the  very  picture  of  a  young  man  head  over  heels 
in  love.  The  marriage  ends  in  tragedy,  an  emotional  value  di- 
rector Logan  has  not  over-worked  but  set  in  a  fine  balance  with 
the  film's  other  tones:  tenderness,  humor,  frustration,  enlighten- 
ment, romance.  And  he  has  garnered  from  a  hand-picked  cast 
a  gallery  of  vigorous  and  vital  full-length  portraits.  Patricia 
Owens  as  a  General's  daughter  and  Brando's  one-time  fiancee, 
Ricardo  Montalban  as  a  famous  Japanese  actor  who  teaches 
Miss  Owens  the  wisdom  of  the  Orient,  James  Garner  as  Bran- 
do's buddy,  Douglas  Watson  as  a  cruelly  bigoted  Colonel,  and 
Martha  Scott  and  Kent  Smith  as  Miss  Owen'  culturally  con- 
stricted parents.  All  give  sharp  and  sure  performances. 

The  story  opens  with  jet  ace  Brando  beginning  to  feel  the 
psychological  effects  of  battle  fatigue.  On  leave  in  Kobe,  even 
the  tonic  presence  of  lovely  fiancee  Miss  Owens  cannot  counter- 
act his  strange  mood  of  frustration.  When  he  chances  upon  an 
exquisite  but  highly  exclusive  dancer.  Miss  Taka,  he  feels  his 
heart  come  alive.  With  the  help  of  airman  Buttons,  whose  wed- 
ding to  a  Japanese  girl  he  had  somewhat  unwillingly  partici- 
pated in,  Brando  meets  the  strange  beauty  and  they  confess  their 
love  for  each  other.  Both,  however,  are  engaging  in  forbidden 
relations,  due  to  the  American  Exclusion  Act  barring  Japanese 
brides  in  the  States  and  the  dancer's  own  traditional  chastity 
vow.  Things  are  brought  to  a  head  w  hen  Buttons  is  ordered  to 
ship  home  by  Jap-hating  Colonel  Watson.  Desperate,  no  longer 
wanting  to  live  without  each  other.  Buttons  and  his  wife  com- 
mit suicide.  Later,  it  is  learned  that  Washington  is  rescinding 
the  restriction  act.  In  the  end,  Brando  and  Miss  Taka  plan  to 
marry. 

Warner  Bros.  147  minutes.  Marlon  Brando,  Miiko  Taka,  Red  Buttons.  Produced 
by  William  Goeti     Directed  by  Joshua  Logan 

on   Page    I  3] 

Film  BULLETIN     November  II,   1957        Page  7 


Vive  Le  Cinema! 

MOVIE  BUSINESS  IN  FRANCE 


By  ELLIOTT  ABRAMS 

PARIS,  November,  1957 
Movie  business  in  France  is  better  than  ever! 
Why?  Ask  ten  exhibitors  and  you'll  get  ten  different  rea- 
sons. But  on  the  whole  it  all  boils  down  to  the  simple  facts 
that  television  is  not  yet  a  major  factor  here  and  the  French 
movie  going  public  is  getting  what  it  wants — variety,  action, 
sex,  stars,  and  substance. 

Although  right  from  the  inception  of  le  cinema  in  France, 
movies  have  been  and  still  are  treated  as  an  art  on  a  par  with 
the  theatre  and  the  concert  hall,  French  producers  and  exhibi- 
tors (who  are  among  the  best  businessmen  in  the  world)  have 
always  made  it  a  point  to  give  their  public  exactly  what  it  wants. 

Variety  is  what  the  French  demand  and  it  obviously  has  been 
a  prime  factor  in  influencing  the  exhibitor's  film  schedule.  In 
Paris,  for  instance,  films  of  16  different  nationalities  are  cur- 
rently playing.  Most  of  these  are  shown  in  their  original  ver- 
sion with  French  sub-titles,  which  seems  to  be  the  most  satis- 
factory way  of  preserving  the  flavor  of  a  foreign  film  for  the 
French  audience. 

A  star's  name  is  always  heavily  advertised  here  since  the 
French,  in  addition  to  knowing  all  their  own  stars,  are  amaz- 
ingly familiar,  not  only  with  American  film  stars,  but  with 
many  of  our  featured  players,  as  well.  Among  the  big  names 
that  consistently  draw  well  in  France  are  Rita  Hayworth,  Kim 
Novak,  William  Holden,  James  Stewart,  The  Marx  Brothers, 
and  any  Alfred  Hitchcock  picture.  Charlie  Chaplin,  a  long 
time  French  favorite,  will  have  his  new  picture,  "A  King  in 
New  York,"  running  simultaneously  in  four  different  theatres 
in  Paris. 

A  look  at  the  list  of  some  of  the  current  American  titles 
now  running  and  eagerly  being  devoured  by  the  French  reveals 
the  popularity  of  every  variety  of  the  Hollywood  product: 
western,  action,  adventure,  comedy,  and  sex — "Gunfight  at  the 
O-K  Corral ",  "Miami  Expose",  "Fire  Down  Below",  "20  Mil- 
lion Miles  to  Earth",  "My  Man  Godfrey",  "Will  Success  Spoil 
Rock  Hunter?"  (re-titled  "The  Explosive  Blonde")  and  "The 
Girl  Can't  Help  It"  (retitled  "The  Blonde  &  I"). 

In  addition,  many  of  the  smaller  houses  continue  to  do  a 
steady  to  near-capacity  business  on  one  or  two  showings  a  day 
of  old  American  films  which  they  rent  at  a  very  low  price. 
Currently  playing:  "Viva  Villa"  (1933),  "Hallelujah"  (1929), 
"Hellzapoppin"  (1941),  and  "Crossfire"  (1947). 

Because  the  French  insist  on  variety,  never  will  just  3  or  4  of 
the  latest  French  or  American  films  blanket  an  entire  area  or 
series  of  neighborhoods  to  the  exclusion  of  almost  all  other 


films.  The  Frenchman  demands  a  wide  choice,  and  if  he  didn't 
get  it  he'd  simply  throw  up  his  hands  in  that  characteristic 
French  gesture  of  futility  and  stay  home. 

Effect  of  Television 

As  mentioned  above,  films  have  always  been  treated  as  a 
respected  art  in  France  and  some  executives  feel  that  when 
television  matures  here,  trie  French  public's  interest  in  films 
will  not  diminish  any  less  than  interest  in  music,  art,  theatre, 
and  literature  diminished  in  the  U.S.  after  the  advent  of  tele- 
vision. Others,  however,  feel  that  the  Frenchman  cannot  resist 
a  bargain  and  once  television  starts  to  offer  quality  entertain- 
ment and  old  films  (as  it  does  in  the  States),  the  French  will 
almost  completely  turn  their  backs  on  the  movie  house. 

Right  now,  French  television  is  notably  poor  and  only  trans- 
mitted for  a  few  hours  in  the  evening.  Although  sets  are  not 
rare  here,  a  heavy  percentage  of  homes  are  without  them. 

Although  moviegoing  in  France  is  much  the  same  as  it  is 
in  the  U.S.,  there  are  a  few  differences — some  not  without 
their  logic.  There  are  often  two  or  three  different  prices  for 
seats,  with  the  balcony  the  most  expensive,  since  the  heads  in 
front  do  not  obstruct.  In  some  smaller  towns,  the  audience  is 
assigned  specific  seats.  This  gives  impetus  to  the  idea  that 
going  to  the  movies  is  a  matter  of  importance  .  .  .  and  it  does 
assure  everyone  who  buys  a  ticket  that  he  gets  a  seat — a  definite 
matter  to  be  considered  in  some  of  the  tiny  country  theatres. 

A  majority  of  theatres  in  cities  with  universities  offer  reduc- 
tions to  students  as  a  regular  policy  and  it  is  surprising  how 
often  students  will  go  out  of  their  way  to-patronize  these  mov- 
ies, even  if  the  reduction  is  just  10  or  15  per  cent. 

Double  features  are  rare  and,  because  the  hours  of  each 
complete  show  are  prominently  featured  in  the  theatre's  ads, 
patrons  have  fallen  into  the  habit  of  arriving  on  time  for  the 
complete  performance.  Therefore,  there's  seldom  much  move- 
ment or  seat  changing  once  the  feature  begins. 

Generally,  the  exhibitor  will  begin  his  program  by  offering 
a  Newsreel  followed  by  his  coming  attractions.  Then  the  house 
lights  go  up  again  and  usherettes  pass  down  the  aisles  selling 
candy,  Eskimo  pies,  and  ice  cream  cups  (no  popcorn — yet). 
After  this,  while  the  house  lights  are  still  up,  a  series  of  30- 
second  to  one-minute  advertising  shorts,  resembling  our  tele- 
vision commercials,  are  shown.  Usually  in  technicolor,  they 
often  have  a  humorous  approach  toward  the  product  adver- 
tised. Some  feature  surrealistic  art  backgrounds,  lush  music, 
and,  naturally,  pretty  girls  sampling  or  presenting  the  adver- 
tised product.  The  French  seem  to  enjoy  them.  Finally  the 
house  lights  are  dimmed  and  the  feature  begins. 

On  the  whole,  the  French  movie  exhibitor  looks  optimistic- 
ally toward  the  future.  Many  theatres  have  been  re-modeled 
with  more  comfortable  seats  and  modern  ventilating  systems. 
The  general  feeling  is  that  television  will  never  replace  the 
ritual  of  going  out  for  an  evening  "an  cinema."  The  French 
exhibitor  has  one  less  expense  than  his  American  equivalent: 
his  usherettes  are  paid  by  his  patron's  tips — usually  10  per 
cent  of  the  price  of  the  ticket.  The  French  are  so  used  to  the 
tipping  system  that  they  just  take  this  for  granted. 


Page  8        Film  BULLETIN     November   II,  1957 


TH 


HAS 

FOUR 


THE 

HOLIDAY 


WHETHER  YOUR  THEATRE  IS  BIG  OR  SMALL, 
EAST  OR  WEST,  NORTH  OR  SOUTH, 
20TH  HAS  WHAT  EVERY  EXHIBITOR  WANTS 
FOR  CHRISTMAS..  .AND  NEW  YEAR'S  TOO! 


)>••••••••••••••• 


presents 


1 

STARRING 


W 

i 


ROCK        JENNIFER  VITTORIO 

HUDSON -JONES  -  DE  SICA 

PRODUCED  BY  DIRECTED  BY 

DAVID  O.  SELZNICK  •  CHARLES  VIDOR 

SCREENPLAY  BY  BEN  HECHT 


COLOR  BY  DE  LUXE 

CinemaScopE 

Prints  available  with  magOptical  sound  The  best  in  Stereophonic  Sound 


starring 


IE  UUKE  •  LEE 
DIANE  VARSI  - 


PHILIPS  •  LLOYD 


featuring  DAVID  NELSON- BARRY  COE 

BETTY  FIELD  •  MILDRED  DUNNOCK  •  LEON  AMES  •  LORNE  GREENE 


ODUCED  BY 


RRYWALD   •   MARK  ROBSON 

REENPLAY  BY 

IHN  MICHAEL  HAYES 


.OR  BY  DE  LUXE 


"The  Amnzinij  Colossal  Mini" 

Su4ite44  IQcUiKf  O  O  Plus 
Out-size  man  runs  amok.  Horror  entry  has  built-in  promo- 
tional angles.  Should  do  well  where  sold. 

American-International  delivers  another  "gimmick"  picture 
that  has  built-in  promotional  angles.  "The  Amazing  Colossal 
Man"  is  the  intriguing  title  of  a  yarn  that  reverses  the  growth 
processes  of  Universale  recent  "Incredible  Shrinking  Man". 
Where  the  latter  film  earned  its  way.  this  new  entry  should 
draw  well  enough  where  it  is  expected.  Glenn  Langan  is  the 
much  beset  hero  and,  being  a  competent  actor,  he  adds  notes 
of  real-life  intensity  to  a  largely  hokum  creation,  while  Cathy 
Downs  as  the  girl  who  loves  him  brings  some  nice  touches  of 
poignancy  to  the  romantic  interludes.  Special  credit  goes  to 
the  special  effects  department  which  producer-director  Bert 
Gordon  uses  in  crackerjack  fashion  as  he  has  his  towering 
monster  run  amuck  through  Las  Vegas  like  a  human  King 
Kong.  Screenplayw  right  Mark  Hanna  first  introduces  Langan 
as  an  ordinary  6  ft.  Lt.  Colonel  who  gets  caught  in  a  plu- 
tonium  explosion  on  an  Army  testing  ground  in  the  Nevada 
desert.  Much  to  the  consternation  of  the  doctors,  Langan  soon 
spouts  an  overnight  growth  of  completely  healthy  skin  and 
shoots  up  10  ft.  a  day.  All  this,  we  find,  is  due  to  the  blast 
which  upset  his  cell  growth,  which  could  fatally  expand,  so 
the  medics  work  like  mad  against  the  clock  to  find  the  nec- 
essary antidote.  When  Langan  escapes  all  hell  breaks  loose 
and  Las  Vegas  gamblers  get  traumas  for  life.  Finally,  now  an 
absolute  beast,  the  poor  Colonel  is  slaughtered  in  monumental 
fashion  right  across  Boulder  Dam. 

American  International.  81  minutes.  Glenn  Langan,  Cathy  Downs.  Produced  and 
Directed  by  Bert  I.  Gordon. 

'Bombers  13-52" 

This  entry  from  Warner  Bros,  is  an  overlong  mixture  of  air 
events  and  soap  opera,  fashioned  suspiciously  like  a  piece 
of  Air  Force  propaganda. 

Producer  Richard  Whorf  and  director  Gordon  Douglas  have 
staged  some  stunning  scenes  of  combat  planes  against  Castle 
Base  backgrounds  in  CinemaScope  and  WarnerColor.  And 
writer  Irving  Wallace  has  allowed  for  some  melodramatic  high 
spots  every  now  and  then,  along  with  a  few  coke  time  kisses, 
which  teenage  audiences  on  the  metropolitan  market  should 
find  tepid  enough.  The  plot  revolves  about  the  present  day 
world  of  the  Strategic  Air  Command  and  how  it  effects  twenty- 
year  man  Karl  Maiden,  a  line  chief  sergeant  ready  for  retire- 
ment, his  wife  Marsha  Hunt  and  daughter,  Miss  Wood.  The 
daughter  dreams  of  having  her  father  accept  a  lucrative  avia- 
tion executive  job  in  order  that  her  own  social  status  be  con- 
siderably uplifted.  Maiden,  however,  is  one  of  SAC's  unex- 
pendables,  a  fact  he  proudly  realizes  and  therefore  decides 
against  entering  civilian  life.  But  when  Miss  Wood  becomes 
enamored  of  his  commanding  officer,  Colonel  Efrem  Zimbal- 
ist,  Jr.,  Maiden  applies  for  his  discharge.  He  does  nip  the 
romance,  but  father  and  daughter  have  a  falling-out.  Every- 
thing ends  happily  when  Zimbalist  saves  Maiden's  life  on  a 
B-52  secret  trial-mission,  winning  the  handshake  of  his  father- 
in-law  to-be.  And  Maiden  re-signs  with  the  Air  Force  for 
another  20  years. 

Warner  Bros.  104  minutes.  Natalie  Wood,  Karl  Maiden.  Marsha  Hunt.  Produced 
by  Richard  Whorf.    Directed  by  Gordon  Douglas. 


"Kiss  Them  For  Mr" 

'Su&iKC44  "Rctii*<>  O  O  Plus 
Wacky,  mixed  up  comedy-romance  of  three  war  buddies  on 
leave.   Cary  Grant,  Jayne  Mansfield  for  marquee. 

"Kiss  Them  For  Me"  struck  this  reviewer  as  a  rather  mixed 
up,  if  occasionally  amusing,  affair.  From  20th-Fox,  in  Cinema- 
Scope-Deluxe  color,  the  giddy  happenings  too  often  misfire. 
The  tone  director  Stanley  Donnen  sets  is  always  brassy  and  the 
much  needed  eclat  is  missing.  Nevertheless,  it  has  its  share 
of  wacky  gags  that  will  rock  the  mass  audience.  There  is 
plenty  of  marquee  strength,  as  well  as  the  provocative  title  to 
attract  metropolitan  audiences.  Cary  Grant  is  seen  as  a  battle 
blazoned  Commander  on  his  first  leave  in  three  years,  a  role 
he  is  required  to  play  with  less  than  his  usual  elegance.  The 
high  publicized  model-turned-actress,  Suzy  Parker,  is  a  lovely 
redhead  who  delivers  her  lines  in  a  monotone.  There  is  also 
Jayne  Mansfield  as  the  standard  bouncy  blonde  who  "only 
dances  with  serviceman  and  civilians"  and  whose  hair  is  "na- 
tural except  for  the  color".  The  story  concerns  Grant  and  his 
two  battle-buddies  living  it  up  in  Frisco  on  a  four  day  pass 
not  quite  authorized.  Ensconced  at  the  Fairbanks,  the  boys 
toss  a  riotous  party,  attended  by  practically  everyone  around, 
including  kiss-happy  Mansfield  and  society-deb  Parker,  the 
fiancee  of  tycoon  Lief  Erickson  who  wants  the  boys  to  do  some 
speech  making,  an  idea  which  so  irritates  Grant  he  blows  his 
top,  something  which  no  one  ever  does  to  vengeance- vowing 
Erickson.  Soon  the  boys  are  embroiled  in  hospital  orders,  then 
ship-out  orders,  followed  by  automatic  discharge  and  myriad 
other  adventures.  Finally,  all  three  realize  they  can't  desert  the 
war,  kiss  the  girls  goodbye  and  take  off  for  the  Pacific. 

20th  Century-Fox.  105  minutes.  Cary  Grant,  Jayne  Mansfield,  Suiy  Parker.  Pro- 
duced by  Jerry  Wald.    Directed  by  Stanley  Donnen. 

Stopover  Tokyo" 

SW*£44  O  O  Plus 

Fast-moving  espionage  melodrama  with  Robert  Wagner 
leading  chase.  CinemaScoped  color  on  Japanese  locations. 

John  P.  Marquand's  famous  cloak  and  dagger  hero,  Mr. 
Moto,  has  been  reshaped  to  fit  the  All-American  charms  of 
Robert  Wagner  in  the  new  20th- Fox  espionage  melodrama, 
"Stopover  Tokyo".  Since  the  star  has  considerable  currency 
with  the  teenage  set,  they  are  sure  to  find  the  change  an  un- 
alloyed delight;  devotees  of  the  Marquand  original  will  miss 
Mr.  Moto's  urbane  grace  and  the  trim  little  thriller  Marquand 
built  for  him.  Writer-producer-directors  Walter  Reisch  and 
Richard  Breen  have,  nevertheless,  whipped  up  enough  whirl- 
ing action,  potboiler  excitement  and  suspense  to  keep  action- 
minded  audiences  absorbed.  Further,  they  have  filmed  it  on 
location  in  Japan,  capturing  through  the  CinemaScope-Deluxe 
Color  cameras  that  land's  stunning  splendor  and  indigenous 
intrigue.  Joan  Collins  is  an  airline  clerk  with  whom  Wagner 
has  occasional  moments  of  romance,  and  Fdmund  O'Brien,  is 
a  viscous  American  in  the  underground  employ  of  supposedly 
Russian  agents.  When  U.S.  Secret  Service  courier  Wagner 
arrives  in  Tokyo  to  pass  on  documents  revealing  a  fifth  column 
plot  concerning  assassination  of  the  U.S.  High  Commissioner 
to  a  local  agent,  he  finds  his  contact  dead.  Under  orders  to 
preserve  his  identity,  Wagner  runs  through  the  whole  espion- 
age gamut,  until  he  successfully  counterattacks  O'Brien,  and 
scuttles  the  attempted  assassination. 

20th  Century-Fox.  100  minutes.  Robert  Wagner.  Joan  Collins,  Edmund  O'Brien 
Produced  by  Walter  Reisch.    Directed  by  Richard  Breen. 


Film  BULLETIN     November  II.   1957        Page  13 


THEY  MADE  THE  NEWS 

Allied  Calls  For  Gov't  Help 
United  Front  By  Exhibition 


National  Allied's  annual  convention,  held 
at  the  Concord  Hotel  in  Kiamesha  Lake, 
New  York,  October  23-30,  sounded  a  fight- 
in.;  battle  cry  for  exhibition  to  revitalize  it- 
self— or  face  a  catastrophic  future. 

Tabbed  as  a  "we've  got  work  to  do"  con- 
vention right  from  the  start,  the  delegates 
went  about  their  duties  with  a  sense  of  ur- 
gency and  awareness  that  their  actions  would 
have  a  favorable  effect  on  their  fight  for  sur- 
vival in  today's  competitive  entertainment 
market. 

Prime  among  the  topics  considered  was 
president  Julius  Gordon's  request  that  Al- 
lied, in  concert  with  other  distributors,  seek 
from  the  U.  S.  Government  an  accelerated 
depreciation  write-off  on  theatre  properties 
and  equipment  similar  to  those  granted  other 
enterprises  and  industries.   Said  Gordon: 

"1  propose  to  you  that  this  organization 
(in  conjunction  with  all  other  theatres  in 
America)  go  to  the  government  and  ask  for 
a  retroactive  accelerated  depreciation  for  the 
past  ten  years.  The  vast  majority  of  you 
during  the  first  five  years  of  the  past  decade 
paid  enormous  taxes  to  the  federal  govern- 
ment from  your  profits  as  well  as  acting  as  a 
collection  agency  for  the  government  on 
hundreds  of  millions  of  dollars  in  admission 
taxes,  and  this  was  after  the  national  emer- 
gency had  ceased.  During  that  time  you 
were  allowed  against  these  taxes  only  a  nor- 
mal rate  of  depreciation  due  to  the  fact  that 
you  and  the  government  had  every  right  to 
believe  that  the  depreciation  life  of  your 
business  would  be  long.  Such  assumption 
unfortunately  seems  to  have  been  incorrect, 
and  you  now  have  single  purpose  buildings 
with  single  purpose  equipment  which  is  ob- 
solete, and  we  have  failed  in  all  other  meth- 


MARCUS 


Page  14       Film  BULLETIN    November  II,  1957 


ods  of  relief,  though  we  have  pursued  them 
with  all  diligence,  we  must  have  aid  from 
our  government  or  go  out  of  business — thus 
great  and  harmful  effects  on  hundreds  of  thou- 
sands of  people  will  take  place  just  as  it 
would  have  in  other  businesses  which  the  gov- 
ernment did  protect  with  similar  measures. 

"If  the  government  would  look  favorably 
upon  this  request  (and  I  think  they  would 
if  properly  presented)  I  would  like  to  spell 
out  for  you  the  results: — It  would  mean  that 
you  could  apply  the  accelerated  depreciation 
retroactively  against  taxable  profits  in  pre- 
vious years  and  thus  be  entitled  to  an  im- 
mediate credit  against  those  taxes  paid  and 
collectable  now.  If  then,  as  a  result  of  this 
concession,  you  were  able  to  improve  your 
establishments  and  survive  until  better  times 
came  along,  the  government  would  not  be 
the  loser  for  it  would  use  up  future  depre- 
ciation, and  on  any  future  profits,  your  tax 


MYERS 


would  be  higher  because  you  would  have 
less  depreciation  to  deduct  from  profits." 

The  conventioneers  backed  Gordon's  pro- 
posal to  the  hilt  by  passing  a  resolution  put- 
ting the  organization  squarely  behind  it  and 
calling  for  a  campaign  to  achieve  this  end. 

On  the  problem  of  orderly  film  releases, 
Allied  called  for  a  staggered  release  system 
of  top  product  coupled  with  a  local-level 
approach  to  the  advertising  of  motion  pic- 
tures. An  experimental  plan,  proposed  by 
Julian  Rifkin  of  Boston  would  have  the  dis- 
tributors divide  the  country  into  a  number 
of  zones  and  stagger  the  releases  of  films 
among  the  various  zones.  It  was  also  sug- 
gested that  advertising  monies  be  appor- 
tioned on  a  regional  basis  while  the  pictures 
are  being  exhibited  in  a  particular  area  in- 
stead of  on  a  strictly  across-the-board  na- 


GORDON 


tional  basis. 

At  a  special  session,  Abram  F.  Myers,  Al- 
lied's  general  counsel,  outlined  a  plan  that 
would  have  the  arbitration  committee  press 
for  an  agreement  to  put  a  limit  on  the  wait- 
ing time  (clearance)  between  the  close  of  a 
film  at  a  prior  run  to  its  actual  opening  at  a 
subsequent  run  in  the  same  competitive  area. 
Said  Myers:  "In  the  past  few  years  more 
complaints  have  risen  over  delayed  availa- 
bilities than  any  other  cause."  To  alleviate 
this  problem,  he  proposed  the  formation  of 
an  arbitration  tribunal  comprised  of  the  fol- 
lowing— a  representative  named  by  the  dis- 
tributor, a  representative  chosen  by  the  ex- 
hibitor, and  a  neutral  third  party  chosen  by 
the  other  two.  Clearances  should  be  revised 
so  they  are  cognizant  of  "present  day  reali- 
ties" and  not  "a  mere  reminder  of  things 
that  used  to  be,"  he  said.  Specifically,  he 
wants  the  arbitration  agreement  revised  so 
the  arbitrators  "can  fix  the  maximum  in  terms 
of  the  intervening  days  between  engagements 
of  the  theatres  involved".  The  convention 
also  passed  this  resolution  unanimously. 

Former  president  of  Allied  States,  Ben 
Marcus,  blasted  the  "rationing"  of  motion 
pictures  as  a  "Frankenstein"  which  could 
not  only  eliminate  exhibitors,  but  "will  also 
destroy  the  distributors  and  the  producers 
with  it"  if  it  is  allowed  to  continue  una- 
bated. Citing  the  withholding  of  Paramount's 
"Ten  Commandments"  as  an  excellent  ex- 
ample of  "rationing",  he  went  on  to  describe 
the  boxofnce  potential  of  the  DeMille  spec- 
tacular as  "an  atomic  missile  which  has  the 
power  to  dislodge  150,000,000  Americans 
from  the  midget  screens  of  their  living 
rooms".  If  relief  is  not  forthcoming,  he 
(Continued  on  Page  22) 


THEY 


MADE  THE  NEWS 


KRiM 


ARTHUR  B.  KRIM,  president  of  United  Ar- 
tists, revealed  expansion  plans  in  two  sepa- 
rate fields.  Beginning  January  1,  1958,  the 
company  takes  over  operation  of  the  Vic- 
toria and  Astor  Theatres  on  N.  Y.'s  Broad- 
wax.  William  J.  Heineman,  vice  president 
in  charge  of  distribution,  will  head  up  the 
new  UA  exhibition  arm.  The  fast-moving 
company  is  also  expanding  into  television 
film  production  activities,  with  Krim  an- 
nouncing appointment  of  Bruce  G.  Ellis  as 
executive  vice  president  of  United  Artists 
Television,  Inc.,  a  new  subsidiary  of  the  film 
company.  Films  made  by  independent  pro- 
ducers for  television  will  be  financed  and 
distributed  by  UA  within  same  basic  pattern 
as  its  theatrical  films  set-up.  Opposition  to 
the  theatre  acquisitions  came  from  Ben  Mar- 
cus, Wisconsin  independent,  who  advised 
UA  "to  apply  its  energies  and  financial  re- 
sources to  the  production  and  distribution  of 
pictures  rather  than  to  exhibition."  "If 
United  Artists  has  ample  outlets  for  its 
product  on  Broadway,"  he  said,  "I  see  no 
justifiable  reason  why  it  should  go  into 
exhibition." 

<0 

JOSEPH  R.  VOGEL  announced  that  Loew  s, 
Inc.  will  by-pass  two  regular  dividend  pay- 
ments and  retain  the  monies  for  "production 
of  profit-making  films".  The  action  was 
taken  at  a  board  meeting  with  all  of  the  13 
directors  present  voting  for  the  move.  It  is 
the  first  time  in  its  33-year  history  that  the 
company  has  not  paid  a  dividend.  In  his 
statement  to  the  stockholders,  Loew's  presi- 
dent declared  that  the  management  proposes 
"to  take  every  step  to  achieve  further  econo- 
mies, which  would  be  real  economies  and 
not  diminish  revenue".  He  expressed  the 
confidence  that  his  company  has  ready  for 
distribution,  between  October  and  March, 
"more  boxoffice  pictures  than  it  has  had  in 


the  past  three  years",  naming  "Les  Girls", 
Raintree  County",  "Jailhousc  Rock"  and 
Don't  Go  Near  the  Water",  among  others. 

0 

SENATOR  WILLIAM  LANGER  (N.D.)  is 
conducting  a  survey  in  Bartles\  ille,  Okla., 
to  get  "a  good  indication  of  how  people 
feel  towards  this  proposed  service  (toll-tele- 
vision)". Langer  pointed  out  the  fact  that 
only  500  of  8,000  set  owners  in  Bartlesville 
hav  e  subscribed  to  the  Telemov  ie  experi- 
ment indicates  public  apathy  to  toll-TV.  He 
proposes  to  submit  the  results  of  his  stud) 
to  the  Senate  antitrust  and  monopoly  sub- 
committee. Henry  S.  Gritting,  president  of 
Video  Independent  Theatres,  which  is  spon- 
soring Telemovies,  charged  that  Langer's 
poll  has  hurt  the  wired  TV  project  there. 
Said  Griffing:  "We  are  afraid  the  senator 
has  helped  to  confuse  some  of  the  people- 
here  and  has  put  an  unnecessary  burden  on 
telemovies.  We  believe  i;  is  unfair  to  de- 
scribe telemovies  as  pay-TV,  and  the  senator 
was  in  error  when  he  said  the  TM  test  here- 
had  been  'allowed'  by  the  FCC" 

o 

ROBERT  GOTTSCHALK,  president  of  Pan- 
avision,  Inc.,  motion  picture  equipment 
maker,  announced  the  formation  of  a  new 
production  company,  Panav  ision  Films,  to 
produce  films  of  "roadshow"  calibre.  First 
offering  of  the  new  organization  will  be  a 
wide-screen  film  based  on  a  historical  novel 
by  Kathleen  Dickenson  set  in  the  Hawaiian 
Islands.  David  Lewis  of  "Raintree  County'' 
fame  will  produce  the  $2,000,000  film. 
0 

REP.  EMANUEL  CELLER,  chairman  of  the 
House  Judiciary  Committee,  and  PAUL 
PORTER,  former  FCC  chairman,  who  now 
represents  International  Telemeter  Corp., 
traded  verbal  blows  on  the  merits  of  toll- 
TV  at  a  roundtable  luncheon  meeting  of 
radio  and  television  executives.  Celler  called 
the  projected  tests  on  toll-TV  an  avenue  for 
"the  airways  to  be  stolen  away  by  profit- 
hungry  entrepreneurs",  thus  forcing  the  pub- 
lic to  pay  a  price  for  the  same  fare  that  it 
receives  on  TV  today.  Porter  countered  that 
"pay-TV  will  relieve  the  present  dilemma  of 
scarcity  of  channels  and  pressure  for  change 
and  bring  about  competitive  access". 

0 

DORE  SCHARY.  former  M-G-M  produc- 
tion chief,  has  inked  a  production-distribu- 
tion contract  with  United  Artists  calling  for 
three  films  over  a  2-year  period.  L'A  presi- 
dent Arthur  B.  Krim  announced  that  Schary's 
first  effort  will  be  "The  Gravy  Train". 


LOUIS  B.  MAYER  died  October  28  of  leu- 
kemia. The  former  Metro-Goldw  yn-Mayer 
production  czar  was  72  years  old.  Long 
acknowledged  as  one  of  the  industry's  pio- 
neers, he  was  tabbed  the  "King  of  Holly- 
wood" by  virtue  of  his  profitable  production 
record  at  the  Culver  City  lot.  In  1951,  in- 
creasing pressure  because  of  declining  reve- 
nues forced  his  resignation  from  the  com- 
pany he  had  served  for  2"7  years.  During  his 
tenure,  he  earned  a  fabulous  $27,000,000. 
More  recently,  he  was  aligned  with  Joseph 
H.  Tomlinson  in  an  unsuccessful  attempt  to 
gain  control  of  Loew's. 

[More  NEWS  on   Page  22] 


HEADLINERS... 


NORMAN  J.  AYERS  has  been  promoted  to 
the  post  of  assistant  to  JULES  LAPIDUS, 
Warner  Bros,  eastern  and  Canadian  division 
sales  manager  .  .  .  Jerrold  Elec ironic 's  presi- 
dent MILTON  J.  SHAPP  spoke-  to  Allied 
lonventioneers  on  closed  circuit  TV  oper- 
ations, reported  that  several  exhibitors  are 
preparing  to  add  cable-  theatres  to  their  oper- 
ations .  .  .  SAM  DIAMOND,  head  of  20th- 
Fox  Eastern  Pa.  branch,  elected  chief  Barker 
of  Variety  Tent  1.3  ..  .  JACK  L.  WARNER 
announces  that  ten  features  will  be  in  pro- 
duction for  WB  by  December  1  .  .  MO 
ROTH  MAN  has  been  appointed  continental 
sales  manager  for  UA,  it  was  announced  In 
CHARLES  SMADJA,  v.  p.  in  charge  of 
European  production  .  .  .  NORTON  V. 
RITCHEY,  president  of  Allied  Artists  Inter- 
national has  initiated  a  policy  of  acquiring 
European  films  for  Latin  American  Distri- 
bution .  .  .  GIL  GOLDEN  back  in  N.  Y. 
after  2-weeks  visit  to  the  WB  studio  ...  A 
$4,006  check  from  COMPO  was  presented 
to  Army  Relief  fund  by  ALEX  HARRISON, 
proceeds  from  the  public  service  film,  "This 
is  Your  Army"  .  .  .  DONALD  S.  RUGOFF 
the  new  president  of  Rugoff  and  Becker  the- 
atres .  .  .  CHARLES  EINFELD  back  from 
Europe  .  .  .  Elected  by  Motion  Picture  As- 
sociates of  Phila.:  Joseph  Engel,  president; 
Edward  Adleman,  v. p.;  David  Law,  treas.; 
Stanley  Kositsky,  sec  y  .  .  .  JASON  RABIN- 
0\  ITZ  has  been  appointed  assistant  treas- 
urer of  Loew's,  Inc.  .  .  .  IRVING  SOCHIN 
announces  the  openint;  of  a  new  branch 
office  in  Minneapolis  for  Rank.  EARL  WIL- 
SON is  branch  manager  .  .  .  EDITH  EDELL 
resigned  as  a  Columbia  publicist.  Going 
free-lance  ...  J.  J.  COHN  heads  a  special 
TV  film  producing  unit  at  M-G-M  studios 
.  .  .  WILLIAM  DOZIER,  v.  p.  in  charge  of 
production  at  RKO  Radio  Pictures  to  rejoin 
CBS  Television  as  a  general  program  execu- 
tive .  .  .  Allied  president  JULIUS  GOR- 
DON squelched  reports  that  Texas  unit  is 
out  of  existence  .  .  .  Federal  Judge  ED- 
MUND L.  PALMIERI  has  tentatively  set 
January  15,  1958,  for  a  final  hearing  on  the 
Loew's  debt  split  .  .  .  BERNARD  G. 
KRANZE,  vice  president  of  Stanlev -Warner 
Cinerama,  walked  off  with  a  Cadillac  at  the 
B'nai  B'rith  Cinema  Lodge  drawing  in  N.Y. 
.  .  .  SPYROS  P.  SKOURAS  recently  visited 
with  Ike  at  the  White  House  .  .  .  WILL 
BALTIN  of  TeleMovie  Development  Co. 
announces  his  company  will  start  building 
the  west  coast's  first  cable  theatre  come  the 
end  of  the  year  .  .  .  ERIC  JOHNSTON  due 
back  from  Europe  Nov.  15th  .  .  .  BORIS 
MORROS  to  be  cited  with  Human  Relations 
Award  by  Joint  Defense  Appeal  at  the  Sher- 
aton Astor  in  N.  Y.  C.  .  .  .  GL'Y  M  \D1 
SON  and  WILLIAM  F.  BROI D V  have 
formed  a  new  production  unit,  Romson  Pro- 
ductions .  HERBERT  J.  YATES  is  being 
charged  with  breach  of  contract  in  a  S2,- 
"00,000  suit  filed  against  him  by  Essex  Uni- 
versal Corp.  for  refusing  to  sell  his  control- 
ling  interest  in  Republic  .  .  .  STEVE 
BROIDY,  injured  in  a  recent  auto  accident, 
is  expected  to  miss  the  AA  stockholders 
meeting  in  Hollywood,  November  13  . 
JIM  CLARK,  president  of  Clark  Transfer, 
film  carrier  in  Eastern  Penna.  area,  has  ad- 
v  ised  all  distributors  that  some  service  cur- 
tailments will  be  necessary  .  .  .  GENE 
LUTES  is  the  new  prexy  of  the  Kentucky 
Association  of  Theatre  Owners.  Succeeds 
RALPH  McCLANAHAN  [OSEPH  R 

VOGEL  to  be  honored  Nov.  25  by  the  Mo- 
tion Picture  Pioneers  with  dinner  at  the 
Waldorf  .  .  .  LOUIS  ASTOR,  sales  exec  of 
Columbia  Pictures,  will  continue  his  associa- 
tion with  the  company  on  a  consultative  basis 
after  Dec  31  ...  Publicity  manager  HOR- 
TENSE  SCHORR  of  Columbia  takes  on 
added  radio-TV  duties  .  .  .  Deaths:  WAL- 
TER POTAMKIN,  Columbia  salesman  in 
Philadelphia  .  .  .  HELEN  SPILLER  of  the 
Denver  and  Centre  Theatres,  Denver. 

Film  BULLETIN     November   II.   1957        Page  15 


tewpoifits 


(Continued  from  Page  5) 

your  industry  becomes  just  so  much 
hogwash.  I  didn't  stop  going  out  to  a 
movie  because  of  poor  pictures;  there 
were  enough  good  ones  around. 

rNor  did  the  price  of  a  movie  ticket 
ever  keep  me  from  seeing  a  show  I 
wanted  to  see. 

'I  never  kicked  at  paying  a  parking 
fee,  even  though  it  costs  over  a  dollar 
in  town. 

'  We  have  no  baby-sitter  problem. 

'  Neither  of  us  are  night  ball  fans — 
half  a  dozen  games  a  season  was  our 
limit. 

rAnd  we  aren't  of  the  nightclub  set. 

The  standard  TV  shows  are  no  bet- 
ter than  before.  As  a  matter  of  fact, 
when  some  of  our  favorite  "steadies" 
went  off  the  air  we  cut  down  our  view- 
ing of  regular  television  stuff  pretty 
sharply. 

There  were  no  more  nor  less  special 
super-duper  TV  "spectaculars''  that 
might  keep  us  at  home. 

If  none  of  these  were  responsible,  you 
might  ask,  why  did  we  stop  seeing 
movies  ? 

The  answer  is,  we  DIDN'T! 

On  the  contrary,  we  began  to  see 
more  movies  than  ever  before.  But  not 
in  the  movie  theatre.  At  home.  Cozy 
and  snug,  with  slippers  and  cigarettes 
and  a  cool  drink  and  a  soft  arm  chair 
and  the  lights  down  low.  And  some  of 
the  best  pictures  ever  made  by  the  big- 
gest studios  in  Hollywood  with  our 
favorite  stars. 

It  didn't  matter  that  they  were  made 
five,  ten,  twenty  years  ago.  They're  still 
wonderful  entertainment,  often  better 
than  anything  playing  in  downtown 
theatres.  And  lately  they  have  been 
coming  on  at  a  decent  hour  so  that  we 
didn't  have  to  stay  up  half  the  night 
to  see  the  fadeout. 

Until  a  year  ago  or  so,  we  rarely 
watched  a  movie  on  TV.  Those  British 
films  were  so  unintelligible  you  needed 
subtitles  to  make  out  the  dialogue.  The 
Westerns  were  cut  out  of  a  pattern 
that  was  frayed  when  Tom  Mix  was 
riding  the  plains?  The  others  were 
minor  pictures  from  the  minor  studios. 


The  difference  now  is  that  we  are 
getting  movies  we  had  paid  —  and 
would  still  pay — money  to  see.  Only 
we're  getting  them  for  free.  Why, 
then,  in  the  name  of  good  sense,  should 
I  go  out,  and  pay  a  couple  of  bucks 
for  the  privilege,  when  I  can  get  ex- 
actly the  same  type  of  entertainment 
at  home  for  nothing?  It's  as  simple 
as  that. 

But  there's  something  more  to  it 
than  plain  logic.  It  came  out  in  a  dis- 
cussion I  had  with  my  unhappy  exhib- 
itor friend  who  argued  that  looking 
at  some  of  these  good  old  movies 
should  sharpen  my  appetite  for  going 
out  to  see  the  good  new  ones.  I  told 
him  that  we  discovered  (both  my  wife 
and  I)  that  a  curious  by-product  had 
been  developed  from  this  steady  diet 
of  good,  though  old,  movies — we  were 
getting  more  than  our  fill  of  movie 
entertainment. 

Something  similar  once  happened 
when  I  was  managing  a  resort  hotel 
dining  room  one  summer  where  the 
steak  was  the  talk  of  the  Catskills.  I 
loved  steak  and,  glory  hallelujah,  it 
was  mine,  free,  to  have  whenever  I 
liked.  For  the  first  three  weeks,  I 
gorged  myself  on  it  every  evening.  By 
midsummer,  I  couldn't  stand  the  sight 
of  a  steak.  It  was  the  same  delicious 
dish  and  the  new  guests  still  raved 
about  it,  but  to  me  it  was  spinach.  I 
had  just  had  too  much  of  a  good  thing. 

That,  I'm  afraid,  is  what  has  hap- 
pened to  me  and  to  millions  of  others 
who  used  to  go  out  to  the  movies  and 
are  now  getting  nightly  servings  of  the 
same  quality  movie  entertainment  at 
home  for  nothing.  I  have  seen  it 
among  my  friends  who  used  to  join  us 
in  our  weekly  trips  to  the  movie  thea- 
tre and  have  become  so  stuffed  with 
the  steady  stream  of  movies  in  their 
living  rooms  that  they  don't  even  think 
of  going  out  to  a  movie  anymore. 

Recently  I  saw  some  stories  in  your 
industry  papers  about  an  advertising 
scheme  for  new  pictures  that  promised 
the  picture  would  not  be  shown  on  TV 
for  five  years.  If  they  think  that's  go- 
ing to  cure  the  problem,  I  think  they're 
in  for  a  sad  disappointment.  I  can 
wait,  so  long  as  the  good  old  ones  are 


still  around  in  my  living  room.  The 
only  time  I'll  be  going  back  to  the 
movr?  theatre  on  anything  like  a  regu- 
lar basis  is  when  NO  movies  are  being 
show  n  on  television.  Of  course,  I  don't 
mean  what  you  call  the  "quickies"  or 
the  foreign  pictures  or  those  that  are 
made  specially  for  TV  showings — 
they're  all  inferior.  But  the  famous  old 
pictures,  regardless  of  age,  are  going 
to  keep  me  at  home. 

And  let  me  add  this  ...  it  makes  me 
sorry — not  just  for  you  people  in  the 
movie  business — but  for  myself,  too. 
My  wife  and  I  both  feel  that  we  are 
getting  sluggish  sitting  around  at  home 
too  much.  We  used  to  enjoy  the  excite- 
ment of  going  out  to  a  movie  show 
with  another  couple.  We  resent  the 
small  screen  on  which  we  see  the  mov- 
ies now.  And,  to  tell  the  truth,  we 
often  remark  on  our  yearning  for  the 
"good  old  days"  when  we  went  out 
more.  Yes,  we're  getting  older,  but  I 
honestly  don't  think  that  is  the  reason 
for  our  new  habits.  It's  simply  that 
your  industry  is  providing  the  tempta- 
tion to  keep  us  at  home  by  showing 
your  best  films  on  TV. 

If  you  movie  people  aren't  commit- 
ting suicide,  what  would  you  call  it? 

Sincerely, 

EX-MOVIEGOER 


This  is  your  industry  slogan.  We 
think  it  is  an  effective  business- 
building  device  because  it  lays  its 
full  stress  on  the  psychological 
value  of  "going  out"  to  the 
movie  theatre.  Use  it  in  every 
phase  of  your  advertising. 


Page  16        Film  BULLETIN     November  II,  1957 


because  it  has  the 


GREATEST  CREATIVE  TALENTS 


in  the  industry . . 


UA  has.. 


THE  TOP  STARS 
THE  TOP  DIRECTORS 
THE  TOP  PRODUCERS 
THE  TOP  PROPERTIES 


UA  MAKES  THE  BIGGEST  PRODUCTION  NEWS   ■      I  UA  MAXES  THE  BIGGEST  PRODUCTION  NEWS   I      I  UA  MAKES  THE  BIGGEST  PRODUCTION  NEW 


BOB 
HOPE 

Oil 

i 

Li 

PARIS  HOLIDAY 

RUN  SILENT.  RUN  DEEP 


UA  MAKES  THE  BIGGEST  PRODUCTION  NEW 


ARTHUR 
HORNBLOW 


JOSEPH  L. 
MANKIEWICZ 


ANTHONY 
MANN 


THK  BIG  COUNTRY 


for  the  theatres  of  the  world 

UA  WILL  DELIVER  MORE 

BOXOFFICE  BLOCKBUSTERS 

THAN  EVER  BEFORE  IN 
'TS  ENTIRE  HISTORY! 


FINANCIAL 

BULLETIN 

NOVEMBER      II,  1957 

By  Philip  R.  Ward 


MOVIE  STOCKS  NOSEDIVED  to  their  lowest  level  in  almost 
four  years  in  October's  shake-down  market.  One  would  have 
to  trace  industry  shares  back  to  pre-CinemaScope  1953  to  dis- 
cover greater  bargains  or  more  woeful  depths — depending 
upon  the  investor's  point  of  view. 

From  the  inception  of  the  Big  Screen  era  (which,  as  a  prac- 
tical phenomenon,  may  be  considered  as  having  begun  around 
October,  1953)  to  the  present  time,  the  securities  of  leading 
movie  companies  have  almost  turned  full  circle. 

By  way  of  illustration  we  portray  below  the  closing  Film 
BULLETIN  Cinema  Aggregate  figures  for  film  companies 
from  the  year  1953  to  1956  as  well  as  the  close  of  Oct.,  1957. 

Close  Close  Close  Close  (October) 

1953  1954  7955  1956        Close  1957 

111%         178i/2         I58y2         130%         116 1/8 

It  would  appear  from  the  foregoing  that  the  stocks  of  the 
film  firms  attained  their  apex  in  1954  and  have  been  back- 
tracking steadily  ever  since.  Actually  the  apogee  was  reached 
in  May,  1955,  when  the  Cinema  Aggregate  recorded  a  reading 
of  18l3/8.  From  that  atmospheric  point  to  now  the  pattern  of 
descent  has  been  inexorable. 

Within  certain  limits,  the  financial  statements  of  individual 
companies  have  corresponded  with  the  movements  of  the 
Cinema  Aggregate.  So,  to  a  certain  extent,  has  the  record  of 
theatre  attendance. 

The  prime  point  is  that  moviedom,  from  an  earnings  and 
equity-  standpoint,  is  back  close  to  where  it  was  before  the 
magic  of  the  Scopes,  the  'Visions  and  the  extra  dimensions. 
Four  years  have  come  and  gone  and  the  net  achievement  in 
terms  of  securities  values  is  virtually  zero. 

O 

Many  industry  professionals,  especially  those  affiliated  with 
companies  which  have  engineered  and  sustained  the  techno- 
logical revolution,  tend  to  mark  time  from  the  advent  of  the 
enlarged  proscenium.  Flushed  with  its  early  successes,  they 
have  honored  the  mechanical  contrivances  by  so  naming  movie- 
dom's  modern  phase  the  Big  Screen  Era.  But  no  number  of 
super  screens  presently  seem  capable  of  arresting  the  mounting 
decline.  Therefore,  from  a  psychological  viewpoint  alone,  it 
may  well  be  wise  to  wring  down  the  curtain  on  this  episode 
in  the  industry's  development  and  strive  for  a  fresh  beginning. 

Certainly  one  lesson  may  be  learned:  a  sustained  and  power- 
fully merchandised  program  which  calls  the  public's  attention 


to  the  dramatic  innovations  in  movies  will  beget  boxoffice 
dollars.  Such  a  program  was  developed  around  the  attributes  of 
the  wall-to-wall  screen  surface.  Purists  may  argue  that  in  the 
first  instance  it  is  the  quality  of  the  film  that  sells,  but  four 
years  of  retrospect  answers  back  that  most  of  all  it  was 
the  gimmick. 

Any  other  conclusion  admits  that  movies  were  simpl\  su- 
perior in  1954  to  what  they  are  today.  Few  will  hold  with 
this.  The  answer,  then,  is  that  the  hard-sell  of  the  novelty 
brought  them  in — and  from  this  point  it  was  the  mission  of 
the  entertainment  to  bring  them  back. 

Lest  anyone  dispute  the  enormous  selling  capacity  of  the 
novelty  factor  in  movies,  let  him  view  the  two  most  extra- 
ordinary successes  of  the  moment,  "The  Ten  Commandments" 
and  "Around  the  World  in  80  Days."  The  novelty  aspects  of 
each  abounds.  Each  is  unique,  distinct  and  unusual.  The  dis- 
tinguished motion  picture  writer  of  the  New  York  Times,  Mr. 
Bosley  Crowther,  in  a  recent  critique,  asked  why  the  DeMille 
picture  seems  headed  for  an  all-time  record  gross  while  other 
high  budget  biblical  films  scale  only  ordinary  earnings  plateaus. 
His  answer,  aesthetic  considerations  aside,  is  that  in  effect  the 
DeMille  film  is  different.  Its  scope  is  bigger,  its  spectacle  is 
greater,  the  very  marketing  of  the  epic  causes  it  to  stand  out 
in  bold  relief.  In  brief,  it  is  a  novelty  presentation.  By  defi- 
nition the  novel  is  the  unusual.  CinemaScope,  VistaVision, 
Three-Dimension,  "The  Ten  Commandments",  "Around  the 
World" — the  common  denominator  of  novelty  runs  thru  all. 

0 

It  is  not  for  this  forum  to  suggest  what  shape  a  fresh  begin- 
ning should  take.  It  is  enough  to  point  out  that  one  certainly 
is  indicated.  Moviedom  requires  a  new  and  novel  window 
dressing.  There  are  brains  enough  within  the  industry  to  fer- 
tilize the  form. 

One  last  point  needs  major  emphasis.  It  is  not  good  enough 
to  sit  back  and  say  the  best  films  are  making  more  money  than 
ever,  that  all  this  industry  needs  are  better  films.  The  better 
pictures  will  always  be  in  scarcity  just  as  there  will  always  be 
a  short  supply  of  the  best  people  to  make  them.  What  about 
the  millions  invested  in  journeymen  films  made  by  people 
working  at  the  top  of  their  competence?  And  what  of  the 
millions  invested  in  theatres  which  cannot  be  sustained  by  a 
half-dozen  first-quality  films  per  vear? 

The  big  screen  carried  many  an  average  film.  The  motion 
picture  industry,  day  in,  day  out,  depends  upon  the  average 
film.  A  fresh  and  intriguing  mode  of  packaging  and  merchan- 
dising is  necessary  to  excite  the  public  anew  and  start  it  talking 
movies  again.  What  shall  it  be? 


Film  BULLETIN     November  II.   1957        Page  21 


THEY 


MADE  THE  NEWS 


MARTIN 


HENRY  M.  (HI)  MARTIN  has  succeeded 
the  late  Charles  J.  Feldman  as  general  sales 
manager  of  Universal  Pictures.  The  appoint- 
ment was  announced  by  president  Milton  R. 
Rackmil.  Martin,  who  has  been  in  the  Uni- 
versal organization  for  23  years,  began  his 
career  as  a  poster  clerk  in  the  company's 
Oklahoma  City  exchange.  Working  his  way 
up  the  ladder,  he  eventually  became  South- 
ern division  manager,  the  post  he  held  prior 
to  his  new  appointment.  Commenting  on 
Martin's  ability,  executive  vice  president  Al- 
fred E.  Daff  said:  "We  are  extremely  fortu- 
nate in  having  within  our  organization  one 
of  the  most  capable  distribution  executives 
in  "Hi"  Martin,  who  has  proved  himself  to 
be  a  man  of  great  capacity  and  integrity. 
Those  who  have  had  a  close  relationship 
with  him,  have  admired  his  ability  and  his 
fairness  in  all  things.  He  is  one  of  the 
youngest  men  to  be  appointed  to  such  a  po- 
sition— he  is  barely  45  years  of  age,  and  I 
feel  certain  that  the  industry  will  welcome  a 
man  of  his  outstanding  ability." 

o 

THE  BOARD  OF  GOVERNORS  of  the 
Academy  of  Motion  Picture  Arts  and  Sciences 
have  simplified  procedures  for  determining 
"Oscar"  nominees  and  winners.  The  new 
streamlining  rules:  1)  nominations  for  act- 
ing, writing,  directing  and  other  accomplish- 
ments will  be  restricted  to  voting  by  mem- 
bers of  the  branch  concerned.  2)  a  reduction 
of  the  number  of  awards  to  be  made  in  six 
work  categories.  An  earlier  ruling  prevents 
performers  receiving  co-star  billing  from  re- 
ducing their  status  to  supporting  player  in 
order  to  compete  for  supporting-perform- 
ance awards. 

o 

TYRONE  POWER  and  TED  RICHMOND 
will  produce  a  quartet  of  motion  pictures 
for  release  via  United  Artists,  it  was  an- 


nounced by  Power  and  UA  president  Arthur 
B.  Krim.  First  of  the  films  to  be  produced 
by  the  new  ly-formed  company,  Copa  Produc- 
tions, will  be  "The  Lost  Steps,"  an  adven- 
ture drama  which  will  be  filmed  on  location 
in  Venezuela  in  C'Scope  and  color. 

o 

JASON  RABINOVITZ  has  been  appointed 
assistant  treasurer  of  Loew's,  Inc.  by  finan- 
cial vice  president  Robert  H.  O'Brien.  With 
AB-PT  Theatres  since  1950,  Rabinovitz  was 
appointed  assistant  controller  in  1954  and, 
then,  in  1956  was  advanced  to  administrative 
vice  president  of  the  ABC  television  network. 

0 

ALLIED  ARTISTS,  following  up  its  expan- 
sion policy  of  offering  distribution  and  co- 
production  facilities  to  independent  pro- 
ducers, has  concluded  arrangements  to  ac- 
quire 32  films.  Twelve  films  have  already 
been  completed  and  negotiations  are  now 
going  on  with  11  producers  for  another  20 
motion  pictures.  To  supplement  the  new 
operational  policy,  which  was  announced  by 
president  Steve  Broidy  some  three  months 
ago,  the  company  is  preparing  for  the  pro- 
duction of  six  of  its  own  films  during  the 
next  three  months. 

0 

20TH  CENTURY-FOX  has  denied  rumors 
that  it  plans  to  distribute  its  own  film  prod- 
uct to  TV.  Here  is  the  denial  statement 
issued  by  the  film  company:  "The  report  is 
entirely  without  basis  in  fact.  Our  company 
is  not  engaged  in  any  such  negotiations,  nor 
is  it  contemplating  any  such  move.  More- 
over, we  have  been  completely  satisfied  with 
the  work  and  performance  of  National  Tele- 
film Associates  who  are  properly  handling 
the  distribution  of  our  feature  films  and 
television  material." 

0 

SAMUEL  GOLDWYNs  antitrust  suit 
against  20th  Century-Fox,  Fox  West  Coast 
Theatres  and  Fox  West  Coast  Agency  Corp. 
resumed  last  week  before  Federal  Judge  Ed- 
ward P.  Murphy.  Scheduled  to  take  the  wit- 
ness stand  as  the  last  major  witness  in  the 
51,755,000  suit  is  the  noted  producer  himself. 

0 

MARTIN  MULLIN,  president  of  Allied 
Theatres  of  New  England,  announced  that 
his  organization  has  endorsed  the  work  of 
Leonard  Goldenson  and  Edward  Hyman  of 
American  Broadcasting-Paramount  Theatres 
who  are  attempting  to  obtain  orderly  distri- 
bution of  product  from  the  film  companies. 
He  revealed  that  ATNE,  which  is  unaffili- 
ated with  any  national  exhibitor  organiza- 
tion and  represents  some  200  theatres,  will 
send  representatives  to  take  part  in  the  forth- 
coming N.  Y.  meeting  w  ith  film  distributors. 

0 

JERRY  WALD,  20th  Century-Fox  producer, 
blasted  the  television  industry'  for  being 
"hitch-hikers"  and  "brain  pickers ".  In  a 
San  Francisco  speech,  he  accused  the  cathode- 
tube  medium  of  having  "no  courage  of  their 
own"  and  of  fostering  "assembly-line  prod- 
uct". Some  Waldisms:  "The  public  doesn't 
know  what  it  wants,  so  you  give  the  public 
what  you  want.  This  is  the  (film  industry's) 
greatest  strength  .  .  .  TV  is  the  place  where 
you  see  the  pictures  you've  been  trying  to 
avoid  for  years." 


Allied  Report 

(Continued  from  Page  14) 
urged  exhibitors  to  take  the  following  action 
in  ^elf  defense:  if  a  distributor  does  not 
make  a  film  available  on  normal  clearance 
schedules,  the  picture  should  be  passed  up 
completely  by  the  exhibitor.  After  the  film 
companies  have  whetted  the  public's  desire 
to  see  a  particular  film,  "they  promptly  take 
the  pictures  off  the  market  after  the  first-run 
engagement  and  dissipate  a  great  potential 
by  starving  the  public  as  well  as  the  exhibi- 
tor," he  charged. 

In  the  same  vein,  Horace  Adams,  presi- 
dent of  Independent  Theatre  Owners  of  Ohio, 
and  Ruben  Shor,  former  Allied  president,  de- 
clared that  the  small  theatre  is  being  put  out 
of  business  as  part  of  a  preconceived  plot. 
The  basis  for  their  charge  was  the  continu- 
ing print  shortage.  Shor  indicated  that  the 
big  buyer  could  always  get  a  print  when  he 
needed  it,  but  that  this  is  not  the  case  with 
the  small  theatre  owner.  "If  exhibitors  want 
to  stay  in  business,  they  had  better  join  up 
together,"  he  said.  The  Cincinnati  exhibitor 
openly  advocated  a  boycott  of  those  com- 
panies who  are  not  providing  prints  on  the 
dates  they  are  supposed  to  be  available.  "You 
are  being  cut  up  singly.  Some  of  you  are 
operating  in  the  black  now,  but  it  won't  be 
for  too  long.  You  will  be  in  the  red  w  ithin 
a  year  and,  in  fighting  this  issue,  the  reds 
and  the  blacks  will  have  to  work  together." 

These  following  actions  were  also  taken 
by  the  convention: 

A  condemnation  of  Paramounts  acquisition 
of  the  Esquire  Theatre  in  Chicago.  Allied  w  ill 
also  request  the  Attorney  General  to  take 
prompt  action  "to  annul  this  transaction  and 
to  halt  "any  further  movements  among  film 
companies  to  follow   Paramount's  lead." 

Protested  the  "feast  and  famine"  policies 
of  releasing  top  grade  product  during  holi- 
day periods.  Made  a  plea  for  orderly  releas- 
ing schedules  keyed  to  the  needs  of  the  the- 
atregoing  public  and  exhibition. 

Endorsed  motion  picture  industry  sponsor- 
ship of  the  Academy  Awards  telecast  next 
March.  However,  only  qualified  approval 
was  given  to  the  Sweepstakes  plan.  Gordon 
indicated  that  Allied  would  support  the  AA 
Sweepstakes  only  if  every  film  in  the  1958 
competition  has  had  a  minimum  of  2,500 
playdates. 

Urged  Paramount  Pictures  to  eliminate  its 
five-theatre  sub-run  blueprint  for  "Ten  Com- 
mandments" and  place  the  film  in  general 
release. 

Requested  film  companies  to  subject  the 
release  of  feature  films  to  television  to  clear- 
ance protection  that  would  favor  theatres.  A 
committee  is  to  be  appointed  to  discuss  this 
problem  with  the  film  companies  on  an  indi- 
vidual basis. 

Protested  Joseph  L.  Mankiewicz'  statement 
that  "motion  pictures  can  be  shown  just  as 
well  in  a  living  room  as  in  a  2,000  seat  barn" 
and  requested  an  apology  from  the  producer. 

An  expression  of  sympathy  to  the  family 
of  the  late  Charles  J.  Feldman,  Universal 
general  sales  manager. 


Page  22       Film  BULLETIN     November  II,  1957 


MR.  EXHIBITOR  HERE  IS  THE  ANTIDOTE 
FOR  YOUR  BOX  OFFICE  FLU 


THE  SPECTACULAR  STORY  OF  THE 

WORLD'S  MIGHTIEST  SEA.  RAIDER! 


TECHNICOLOR  VISTAVlSION 


HENRY  G.  PUTT 
President 
PARAMOUNT  GULF  THEATRES 


THANK  YOU 
HANK  PUTT  FOR 
KICKING  OFF  THE 
200  THEATRE 
SATURATION 
THROUGHOUT 
THE  SOUTH 
AND  SOUTHWEST 


THESE  FLAGSHIP  THEATRES  ARE  DOING 
HOLDOVER  BUSINESS! 


SAENGER  THEATRE,  NEW  ORLEANS 
STATE  THEATRE,  OKLAHOMA  CITY 
STRAND  THEATRE,  MEMPHIS 
MAJESTIC  THEATRE,  TULSA 
PARAMOUNT  THEATRE,  AUSTIN 


HART   THEATRE,  BATON  ROUGE 
PARAMOUNT  THEATRE,  ALEXANDRIA 
SAENGER  THEATRE,  BILOXI 
STRAND  THEATRE,  SHREVEPORT 
SAENGER  THEATRE,  MOBILE 


SAENGER  THEATRE,  PENSACOLA 
PARAMOUNT,  TEXARKANA 
METROPOLITAN  THEATRE,  HOUSTON 
IMPERIAL  THEATRE,  CHARLOTTE 
CAROLINA  THEATRE,  COLUMBIA 


AND  BOOKED  BY  THESE  TOP  CIRCUITS! 


FLORIDA  STATES 
WOLFBERG 
WESTLANO 
FRONTIER 


GIBRALTAR 
DICKINSON 
FOX  WEST  COAST 
U.A.  THEATRES 
RKO  THEATRES 


PARAMOUNT  TRI-STATES 
UNITED  PARAMOUNT-SALT  LAKE 
FOX  INTERMOUNTAIN  AMUSEMENT  CO. 
BLACK  HILLS  AMUSEMENT  CO. 


HAMRICK  EVERGREEN 
MINNESOTA  AMUSEMENT 
STANDARD  THEATRES 
UNITED  CALIFORNIA 


RANK  FILM  DISTRIBUTORS 


of  AMERICA,  Inc. 


MERCHANDISING     &     EXPLOITATION     DEPARTMENT  X 


Jl*><><>< 


"Go  Out  To  A  Movie"  Slogan  Draws 
All-Out,  Industry-Wide  Cooperation 


Industry  acceptance  of  those  "ten  little  words" 
is  snowballing.  Since  its  adoption  last  month 
as  the  motion  picture  industry's  new  slogan, 
"Get  More  Out  of  Life  ...  Go  Out  To  A 
Movie,"  has  been  eagerly  welcomed  by  all  seg- 
ments of  the  industry,  and  exhibitors  are  joining 
with  the  film  companies  to  put  the  slogan  on 
everyone's  tongue.  Consensus  of  opinion  seems 
to  be  that  this  is  a  campaign  catch-phrase 
worthy  of  a  concentrated,  all-out  long-range 
promotional  push. 

Oscar  A.  Doob  and  Charles  E.  McCarthy,  who 
are  piloting  the  campaign  for  COMPO,  report 
that  pledges  of  cooperation  are  pouring  in  from 
every  section  of  the  country.  There  is  general 
satisfaction  with  the  slogan,  especially  with  the 
avoidance  of  the  usual  superlatives  relating  to 
the  quality  of  product.  Exhibitors  seem  highly 
pleased  by  the  phrase's  simplicity,  its  positive 
approach,  psychological  appeal  in  offering  a  re- 
minder of  the  plus  value  of  moviegoing.  "Get 
More  Out  of  Life  .  .  .  Go  Out  To  A  Movie" 
was  very  favorably  received  at  the  recent  Allied 
convention,  and  it  is  getting  the  full  support 
of  the  country's  largest  circuits. 

Every  advertising-publicity-exploitation  de- 
partment of  the  major  film  distributors  has  in- 
dicated a  willingness  to  cooperate.  Columbia 
Pictures  vice  president  Paul  N.  Lazarus,  Jr.  re- 
ported that  "the  slogan  is  being  incorporated 
in  all  Columbia  advertising  immediately".  Metro 
ad  manager  Si  H.  Seadler  said  the  slogan  is 
already  playing  a  role  in  all  M-G-M  picture 
campaigns  that  are  in  work. 

General  advertising  manager  Harry  Mandel 
of  RKO  Theatres  has  started  inserting  the  catch- 
phrase  in  all  advertising  in  New  York  City 
dailies.  Ernie  Emerling,  advertising  director  of 
Loew's  Theatres  has  a  big  4-weeks  drive  under 
way,  in  which  forthcoming  product  will  be  tied 
in  with  the  "Get  More  Out  of  Life"  slogan. 

Hy  Fine  of  New  England  Theatres  has  pre- 
pared special  art  treatments  of  the  slogan  in 
various  sizes  for  inclusion  in  newspaper  and 
TV  ads.  Down  South  Carolina  way,  president 
Albert  Sottile  of  the  Pastime  Amusement  Co. 
declared:  "It's  a  good  slogan  and  we  will  start 
making  use  of  it  at  once — here  and  there  and 


DOOB 


everywhere,  and  in  any  place  we  have  access  to." 

"Wherever  merchants  suffer  from  hardening 
of  the  arteries  of  trade  due  to  TV,  traffic  stran- 
gulation and  inertia,  your  slogan  opens  vistas 
of  co-op  promotion  with  theatres  that  may  earn 
them  their  dues  from  COMPO,"  says  Emil 
Bernstecker  of  Florida  State  Theatres. 

Albert  Bernstein,  district  manager  of  Vir- 
ginia's Neighborhood  theatres,  an  aggressive 
showman  who  has  been  plugging  his  own 
slogans  for  quite  a  while,  promptly  switched  to 
the  new  all-industry  catchline  for  his  business 
building  campaigns.  "Immediate  publicity  is 
being  given  to  the  slogan  in  our  theatres  in 
Cleveland,  Toledo,  Akron  and  Chicago",  reports 
Frank  Murphy  of  Loew's  Theatres  in  Cleveland. 

It  is  reported  by  COMPO  that  negotiations 
are  now  under  way  for  tie-in  use  of  the  phrase 
in  cooperation  with  various  retail  merchants, 
including  restaurants  and  hotels. 

For  theatremen  who  want  suggested  editorials 
which  they  might  show  to  their  local  news- 
papers, Doob  and  McCarthy  have  prepared  two 
articles.  They  are  available  for  the  asking  by 
writing  to  COMPO,  1501  Broadway,  New  York 
City,  36,  N.  Y. 


Rank  Product  Greeting 
Good  Old  U.  S.  Ballyhoo 

J.  Arthur  Rank,  the  British  movie  mogul  who, 
more  than  once,  must  have  despaired  of  ever 
seeing  his  product  achieve  real  success  in  the 
U.S.,  is  having  occasion  to  rejoice  these  days. 
Some  of  his  recent  releases  are  receiving  a  wel- 
come reception  from  American  theatregoers, 
and  no  little  credit  must  go  to  the  top-notch 
promotional  support  being  accorded  them  by 
RFDA  boxofficers  Geoffrey  Martin,  Steve  Ed- 
wards and  associates. 

As  an  illustration,  Rank  general  sales  manager 
Irving  Sochin  reports  that  the  exciting  naval 
drama,  "Pursuit  of  the  Graf  Spee",  is  the  "in- 
dustry's top  grossing  motion  picture  of  the  past 
two  months".  Quite  an  accomplishment  for  an 
organization  that  has  been  in  existence  for  less 
than  one  year,  but  it's  indicative  of  what  good 
old-fashion  ballyhoo  can  do. 

Another  Rank  import,  the  Rod  Steiger  starrer, 
"Across  the  Bridge",  was  kicked  off  with  a 
kleig-lighted  premiere  that  drew  a  big,  fash- 
ionable crowd — not  to  mention  the  $23,500  in 
receipts,  which  was  donated  to  a  cancer  charity. 


Rank  showmanship:  giant-size 
billboard  sign  on  Broadway 
for  current  releases.  RFDA 
president  Kenneth  Hargreaves 
(right)  presents  $23,500  check 
to  charity,  proceeds  of 
"Across  the  Bridge"  debut. 
Crowds  at  Sutton  Theatre 
premiere  in  New  York. 


WATCH  FOR 

THE  SPECTACULAR  STORY 
_  OF  THE  WORLDS 

StA  RAIDER/ 


Page  24        Film  BULLETIN     November  II,  1957 


-A-  Metro-Goldwyn-Mayer  has  been  promot- 
ing "Raintree  County"  with  a  lineup  of  re- 
gional debuts  to  follow  up  the  smash  Louis- 
ville world  premiere.  Plenty  of  ballyhoo  and 
excitement  was  generated  at  recent  premieres 
in  Boston,  Chicago  and  Washington,  D.  C. 
From  top  to  bottom:  Festive  throngs  crowd 
the  front  of  Boston's  Plaza  Theatre  prior  to 
festivities;  Ann  Sheridan,  ambassador  of 
good-will,  George  Murphy,  and  starlet  Myrna 
Hansen,  who  appears  in  the  $6  million  dollar 
spectacular,  at  the  Chicago  opening;  radio 
personality  Milt  Grant  interviews  Miss  Hansen 
for  the  Washington  debut  over  station  WTTG. 

-9-  The  U.  S.  Navy  is  coordinating  its  nation- 
wide recruiting  program  with  the  December 
release  of  20th  Century-Fox'  "The  Enemy  Be- 
low". Rodney  Bush  (right)  20th-Fox  exploi- 
tation director,  publicity  director  Edward  E. 
Sullivan  (left)  and  Commander  H.  H.  Bishop 
of  the  U.  S.  Navy  discuss  promotional  facets 
of  the  tie-up  on  the  Dick  Powell  filmization 
of  a  World  War  II  story. 


Nicholson  Says  Hard  Sell 
Must  Start  with  Production 

"You  can't  (ell  me  there  is  anything  wrong 
with  this  business  that  hard  selling  won't  CUM." 
This  view  was  addressed  by  James  H.  Nichol- 
son, president  of  American  International  Pic- 
tures, to  the  recent  National  Allied  convention. 
The  words  came  from  a  film  man  for  whom  the 
aggressive  brand  of  showmanship  has  paid  off 
handsomely. 

Terming  the  present  state  of  the  industry  as 
a  "paralysis",  Nicholson  told  the  conventioneers 
that  an  analytical  approach  to  showmanship  is 
the  panacea.  "We  have  forgotten  that  things  and 
people  change  every  year,  every  day,  every 
hour,"  he  said.  "We've  been  wearing  the  w  rong 
glasses  too  long." 

Starting  three  years  ago  with  one  picture  and 
some  SI 200,  Nicholson  and  his  associates  have 
delivered  a  steady  stream  of  features  with 
"built-in  showmanship"  which  have  made  money 
for  exhibitors  and  catapulted  AIP  to  the  point 
where  it  is  currently  planning  some  24  films  a 
year. 

"Don't  think  dollars  alone  will  sell  a  pic- 
ture," he  declared.  "The  approach  must  be  fresh, 
provocative  and  new,  appealing  to  the  eye,  ear 
and  imagination  .  .  .  (The  producer)  must  ana- 
lyze, calculate  and  connive  to  put  showmanship 
factors  into  production,  starting  with  story,  title 
and  selling  campaign.  Then  the  exhibitor  must 
add  his  mind  and  effort  to  imrove  on  the  pro- 
ducer's concept  .  .  .  There  has  never  been  a  pic- 
ture made  that  some  exhibitor  hasn't  turned  into 
a  hit,  or  made  it  a  bigger  hit  that  it  would 
normally  be." 

★  


Reade  Tries  Adults  Only 
Policy  in  One-Night  Test 

In  an  effort  to  capture  additional  adult  pa- 
tronage, two  Walter  Keade  Theatres  (the  Carl- 
ton, Red  Bank,  New  Jersey,  and  the  Community, 
Kingston,  New  York)  have  set  aside  Thursday 
evenings  for  adult  admissions  only.  Tabbed 
"Adult  Night  ",  no  patrons  under  IK  years  of 
age  will  be  admitted  to  the  houses. 

Explaining  the  reasoning  behind  the  move. 
Walter  Reade,  Jr.,  president  of  the  circuit, 
stated:  "Throughout  the  year  we  cater  to  our 
younger  patrons  with  many  types  of  kiddie  at- 
tractions and  special  reduced  admission  cards 
for  students.  We  are  now  setting  aside  one  eve- 
ning each  week  especially  for  the  adults  to  en- 
joy our  motion  pictures  in  a  quiet,  comfortable- 
atmosphere.  Coffee  will  be  served  with  the  the- 
atre's compliments  in  the  mezzanine  before  the 
film  program  begins." 

The  experimental  project  will  be  instituted 
at  other  Reade  Theatres  if  favorable  reaction  is 
garnered  from  the  present  experiment. 

Feldman  Upped  at  20th 

Edward  S.  Feldman  has  been  promoted  to 
metropolitan  newspaper  contact  for  20th  Cen- 
tury-Fox, while  Jack  Brodsky  takes  over  the 
trade  press  contact  post.  The  appointments  were 
announced  by  publicity  director  Edward  E.  Sul- 
livan. Feldman  had  previously  been  fan  maga- 
zine contact,  copywriter  and  staff  publicity 
writer,  in  addition  to  holding  the  trade  press 
post  for  the  past  year.  Brodsky,  who  joined 
20th  last  January,  is  a  former  New  York  Times 
sunday  magazine  staffer. 

 ★ 


Hey*  lin In*.  Help! 

With  3350  Contracts  on  Variety  International's  Official  Picture 
of  its  World-Wide  Activities 

"THE  HEART  OF  SHOW  BUSINESS" 

We  Are  Not  Getting  The  Play-Off 
This  Fine  Technicolor  Subject  Deserves 

The  New  Version  is  only  20  Minutes,  and  Columbia  Exchanges 
Everywhere  Have  125  Prints  Available  for  Dating. 

0 

PROFITS,  IF  ANY,  TO 
WILL  ROGERS  MEMORIAL  HOSPITAL  and  V.  C.  INTERNATIONAL 

Please  Submit  Dates  Now,  Especially  During  the  Forthcoming  Holidays. 

Thank  You! 

JLL  J4. 

Chief  Barker  V.  C.  International 

SPACE  CONTRIBUTED  BY  FILM  BULLETIN 


Film  BULLETIN     November  II,   1957        Page  25 


20th  Gives  Pat  Boone's 
New  One  the  Happy  Sell 

Twentieth  Century-Fox,  an  old  hand  at  young  love  amidst  beautiful  blue  grass  surround- 
ings has  a  prospective  hit  for  the  Thanksgiving  Holiday  season.  "April  Love"  is  that  kind  of 
a  youthful  movie,  complete  with  horses,  carnival  county  fair  atmosphere  and  the  clean,  home- 
spun wholesome  family  flavor  (that  exhibitors  have  been  clamoring  for).  "April  Love"  has 
all  that,  plus  a  big  extra  for  the  youth  group,  an  extra  that,  exploitation-wise,  tops  all  of  the 
assets — young  Pat  Boone,  number  one  recording  singer  and  high-flying  television  star  whose 
following  is  growing  by  leaps  and  bounds. 

The  popular  young  singer  demonstrated  his  marquee  pull  with  his  first  picture  "Bernar- 
dine",  which  racked  up  surprising  returns,  both  in  urban  and  hinterland  houses,  largely  on  the 
strength  of  his  name  and  the  title  song.  For  those  who  are  looking  for  an  antidote  to  the 
juvenile  delinquency  films,  as  well  as  the  rock  n'  rollers  and  their  association  with  Young 
America  as  a  whole,  "April  Love"  is  the  ticket. 

The  David  Weisbart  CinemaScope  DeLuxe  Color  pro- 
duction shines  with  that  clean-scrubbed  look  that  made  a  hit 
with  the  family  trade  in  such  previous  20th  successes  as 
"Scudda  Hoo,  Scudda  Hay",  "Home  in  Indiana"  and  "Count}' 
Fair".  There  is  the  refreshing  interplay  of  young  love,  the 
excitement  of  harness  racing,  the  superb  background  of  the 
Kentucky  horse  country,  the  happy  hullabaloo  of  the  county 
fair,  all  integral  aspects  of  those  earlier  films. 

Everything  is  in  key  with  this  atmosphere.  Abetting  the 
Boone  wholesomeness  is  a  castful  of  the  same — Shirley  Jones, 
blossoming  afresh  after  her  hits  in  "Oklahoma"  and  "Carou- 
sel"; the  upcoming  Dolores  Michaels,  whose  two  previous 
film  appearances  in  "Wayward  Bus"  and  the  current  "Time 
Limit"  portend  a  bright  starring  future  for  the  shapely  blonde; 
Arthur  O'Connell,  whose  performances  in  "Picnic"  (garner- 
ing an  Oscar  nomination)  and  "Bus  Stop"  have  made  him  one 
of  the  most  sought-after  character  actors  in  Hollywood. 

Also  in  tune  with  sprightly  proceedings  are  the  quintet 
of  songs  delivered  by  Boone,  including  the  title  tune  (already 
sweeping  up  the  Hit  Parade  ladder  on  the  wave  of  its  pre-re- 
lease by  Dot  Records  to  bally  the  film),  "Clover  in  the  Mea- 
dow", "Do  It  Yourself",  "Give  Me  a  Gentle  Girl"  and  "Ben- 
tonville  Fair".  The  full  album  from  the  movie  sound  track  is 
getting  a  big  play  by  the  Dot  people,  whose  distributors  are 
ready  to  work  hand  in  hand  with  exhibitors  on  the  local  level. 


PLUGGING  VIA  TV,  RADIO 

Among  the  most  potent  of  the  exploitation  extras  is  the 
solid  8-week  publicity  impact  on  the  star's  Chevy  Showroom 
show  Thursdays  over  the  ABC-TV  network.  All  during  Oc- 
tober and  November,  Pat  will  be  plugging  one  or  two  songs 
from  the  film,  with  co-star  Shirley  Jones  helping  out  during 
three  of  the  programs.  At  the  same  time  disc  jockeys  are  being 
bombarded  by  Dot  distributors  and  20th  field  men  for  added 
plays  and  plugs  to  coordinate  with  playdates. 

There  are  two  TV  trailers  sampling  Pat's  singing  of  love 
songs  to  Shirley,  six  radio  spots,  and  an  extra  special  two- 
sided  Boone  interview  disc,  featuring  a  full  interview  on  one 
side,  and  the  other  with  the  "foreign"  interviewer  wiped  off  to 
permit  the  local  d.j.  to  do  the  questioning.  All  the  radio  and 
TV  accessories  are  the  showman's  for  the  asking. 

The  20th  Century  box-officers  under  vice  president  Charles 


4 


00 


Finfeld  have  made 
ing  aids  for  the  sh 


which  featured  the 


mailable  a  Boone-ful  series  of  other  sell- 
vman.  The  six-foot  standee  of  the  star 
Bernardine"  showings  is  again  available 
from  National  Screen  (if  you  saved  it,  you're  that  much 
ahead)  as  well  as  a  regular  "April  Love"  standee  spelling  out 
the  film's  attractions  in  full  color  and  cutout. 


I 


Page  26        Film  BULLETIN     November   II,  1957 


p 


Lamoureui, 
fan-Paul  L* 
lly  Parisian 

Crawford, 
mes  Woolf 
Unscrupulous 
in.  1/30. 
'ames  Darren, 
an.  Director 
against  vice 


ryn  Grant, 

ctor  Rich- 

£ 

rtial  while 

t 

Hayworth, 

-r  George 

and  Hart 

i 

ond,  Merry 

.  75  min. 

m  Holden, 
m  Spiegel, 
•s  held  in 


Kenneth 
er  Ian  Dal- 
ie  story  of  a 

olor.  Richard 
rin.  Producer 
.  ?7  min. 
:ott,    Valerie  I 
■e  Brown.  Di-  I 
/ear  hunt  for 

'•,  Arlene  Dahl, 
*r   and  Sidney 

j'ges.  Producer 

<i  French,  Lome 
and  Helen  Ains- 
Western.  Deputy 

mcer  Hal  E.  Ches- 

"lland,  Sean  Kelly, 
Allen    and    A.  R. 


Jiana  Dors,  Peter  ! 
n.     Director  Ken 

-ews.    Producer  Hal 
,'  ;ur. 

Glenn  Ford,  Jack  j 
Free-spending  cow- 

I  Carey,  William  Les- 
Wallace  MacDonald.  i 

Hawkins    Arlene  Dahl, 
Gilliat.  Director  Sid- 
rsonist.   95  min. 
ichael  Aldridge,  Atlt 
.Production.  Diracfor 
Norwegian  fishermen 
,d  War  II.    70  min. 
4angano,  Richard  Conte, 
•no  De  Laurentiis.    Direc-  ; 
nil y  fights  to  keep  land. 
,   THE   Edmond  O'Brien. 
Producer  Sam  Katiman 


fugust 

'  PARK  C  El  I  is  Films)  Vittorio  De 
0  Micheline   Presle.    Produced  by 


Continental)  Dany  Robin,  Daniel 
on  Gueiel.  Directed  by  Gaspard 
aughter  rebels  against  her  actress 


DECEMBER  SUMMARY 

Features  scheduled  for  December  re- 
lease ot  this  writing  total  20.  Later  addi- 
tions to  the  roster  are  expected  to  add 
another  dozen  or  so  films  to  the  year's 
final  month.  Thus  far,  20th  Century-Fox 
promises  to  be  the  leading  supplier  with 
five  releases;  Allied  Artists,  American  In- 
ternational and  the  Independents  each 
will  have  three;  Universal-International 
will  release  two;  while  Columbia.  Metro- 
Goldwyn-Mayer,  Paramount  and  Warner 
Bros,  one  each.  Seven  December  releases 
will  be  in  color.  Four  films  will  be  in 
CinemaScope,  one  in  VistaVision,  one  in 
Technirama. 

1  Drama  5  Comedies 

2  Westerns  1  Melodrama 
1   Horror                   1  Adventure 


MARCELINO  (United  Motion  Picture  Organization ) 
Pablito  Calvo,  Rafael  Rivelles.  Juan  Calvo.  Director 
Ladijlao  Vajda.  Based  on  an  old  legend  about  a  boy 
saint.  90  min. 

PERRI  IBuena  Vistal  Technicolor.  Producer  Winston 
Hibler.  Directors  Paul  Kenworthy  and  Ralph  Wright 
A  true-life  fantasy  by  Walt  Disney.  The  life  story  of  a 
Pine  Squirrel  named  "Perri".   75  min.  7/2. 

September 

BED  OF  GRASS  ITrans-Lux)  Anna  Brazzou  Mike 
Nichols,  Vera  Katri.  Producer-Director  Gregg  Tallas 
Drama.  92  min. 

CARTOUCHE  IRKOI  Richard  Basehart  Patricia  Roc 
Producer  John  Nasht.  Director  Steve  Sekely.  Adventure. 
The,  itory  of  a  lusty  adventurer  during  the   reign  of 

In,.,,   YVI  71 


COOL  AND  THE  CRAZY.  THE  (Imperial!  Scott  Mar- 
lowe.  Gigi  Perreau.  Producer  Elmer  Rhoden.  Jr.  Di- 
rector William  Whitney.  Story  of  teenage  violence. 
GUN  GIRLS  lAstor)  Jeanne  Ferguson,  Jean  Ann  Lewis. 
Producer  Edward  Frank.  Director  Robert  Derteano. 
Drama.  Gang  girls  on  the  loose.  67  min. 
PASSIONATE  SUMMER  IKingsley)  Madeleine  Robinson 
Magati  Noel,  Raf  Vallons.  Produced  by  Les  Films 
Marceau.  Director  Charles  Brabant.  Drama.  Conflict- 
ing passions  between  three  women  and  a  man,  iso- 
lated or.  a  rugged  farm  in  a  mountainous  French 
province.  98  min. 

CARNIVAL  ROCK  IHowco  International)  Susan  Cabot, 
David  Stewart.  Producer-director  Roger  Corman.  Mu- 
sical. Rock  n'  roll  love  story.  75  min. 
TEENAGE  THUNDER  IHowco  International)  Charles 
Courtney,  Melinda  Bryon.  Producer  Jacques  Marquette. 
Director  Paul  Helmick.  Melodrama.  Hot  rods  and 
drag  strips.    75  min. 

October 

BROTHERS  IN  LAW  (Continental)  Ian  Carmichel  Rich- 
ard Attenborough,  Jill  Adams.  Producer-director,  the 
Boulting  Bros.  Comedy.  Adventures  of  a  young  lawyer. 

DEADLIER  THAN  THE  MALE  (Continental)  Jean  Gabin, 
Daniele  Delorme.  Director  Julien  Duvivier.  Melodrama 
The  duplicity  of  a  seemingly  shy  and  innocent  girl 
leads  to  homicide. 

FOUR  BAGS  FULL  (Trans-Lux)  Jean  Gabin,  Bourvil, 
Jeannette  Batti.  A  Franco  London  Production.  Director 
Claude  Autant-Lara.  French  Black  Market  Drama.  84 
VIRTUOUS  SCOUNDREL.  THE  (Zenith  Amusement 
Enterprises)  Michel  Simon.  Producer-Director  Sacha 
Guitry.  A  comedy  of  irony  which  pokes  a  satirical 
finger   into  the   pretensions   of   Parisian   high  society. 

November 

A  MAN  ESCAPED  (Continental  Distributing)  Francois 
Leterner,  Charles  Leclainche,  Maurice  Beerblock.  Pro- 
dacers  Jean  Thullier  and  Alain  Poire.  Director  Robert 
Bresson.  Drama.  Young  French  lieutenant  plans  daring 
®*c^pe    from    German    concentration    camp.     94  min. 

BRAIN  FROM  PLANET  AROUS.  THE  I Howco-Marquette 
for  Howco  International  release)  John  Agar,  Joyce 
Meadows,  Robert  Fuller.  Producer  Jacques  Marquette. 
Director  Jerry  Juran.  Science-Fiction. 
TEENAGE  BAD  GIRL  (DCA)  Sylvia  Syms,  Anna  Neagle 
Producer-Director  Herbert  Wilcox.  Juvenile  Delin- 
quents. Melodrama. 

TEEN  AGE  MONSTER  IHowco  International)  Anne 
Gwynne,  Charles  Courtney.  Producer-director  Jacques 
Marquette.  Horror.  Cosmic  rays  turn  teenager  into 
hairy  monster. 

TEENAGE  WOLF  PACK  (DCA)  Juvenile  Delinquents. 
Melodrama . 

AND  GOD  CREATED  WOMAN  IKingsley  International! 
Brigitte  Bardot,  Curd  Jurgens.  Producer-director  Roger 
Vadim.  Drama.  Story  of  a  woman  of  easy  virtue.  100 
min.  10/28. 

PLEASE,  MR.  BAIZAC  (DCA)  Daniel  Gelin,  Brigitte 
Bardot.  Producer  Raymond  Eger.  Director  Marc  Alleg- 
ret.  Comedy.  Young  daughter  writes  scandalous  novel. 
99  mm. 

December 

OLD  YELLER  (Walt  Disney  Productions)  Dorothy  Mc- 
Guire,  Fess  Parker.  Chuck  Connors.  Producer  Walt 
Disney.  Director  Robert  Stevenson. 

SILKEN  AFFAIR.  THE  (DCA)  David  Niven,  Genevieve 
Page.  RonaTd  Squire.  Producer  Fred  Feldkamp  Direc- 
tor Roy  Kellino.  English  Comedy.  96  min. 
GERUAISE  (Continental)  Eastman  Color.  Maria  Schell 
Francois  Perrer.  Director  Rene  Clement.  Drama.  Based 
on  a  famous  novel  by  Emile  Zola. 

Coming 

A  TIME  TO  KILL  (Producers  Associated  Pictures  Co. I 
Jim  Davis,  Don  Megowan,  Allison  Hayes.  Producer  Pat 
Beti.  Director  Oliver  Drake. 

BUFFALO  GUN  Wayne  Morris.  Don  Barry,  Mary  Ellen 
Kaye.  Producer  Al  Milton.  Director  Albert  C.  Ganna- 
way. 

DAY  OF  THE  TRUMPET,  THE  (C.  Santiago  Film  Organi- 
zation Prod.)  John  Agar,  Richard  Arlen  Bill  Phipps. 
Producer  Harry  Smith.  Director  Eddie  Romero. 
DREAM  MACHINE,  THE  (Amalgamated  Prods.)  Rod 
Cameron,  Marty  Murphy,  Peter  llling.  Producers  Rich- 
ard Gordon  and  Charles  Vetter,  Jr.  Director  Mont- 
gomery Tully. 

ESCAPADE    (DCA)    John   Mills,   Yvonne   Mitchell  Ala- 
stair  Sim.   Producer  Daniel   M.  Angel.   Director  '  Philip 
Leacock.  Comedy  Drama.  87  min. 
min.  9/16 

LIGHT  ACROSS  THE  STREET,  THE  IUMPO)  Brigitte 
Bardot,  Raymond  Pellegrin,  Roger  Pigaut.  Producer 
Jacques  Gauthier.  Director  Georges  Lacombe.  Drama. 
A  French  husband  and  wife  try  to  live  without  normal 
sex  relations,  after  the  husband  had  a  near-fatal  acci- 
dent. 76  min. 


LAST  BRIDGE.  THE  lUnion  Film  Distributors!  Maria 
Schell,  Bernhard  Wicki,  Barbara  Rutting.  A  Cosmopol 
Production.  Director  Helmut  Kautner.  Austro-Yugoslav 
Film.  90  min. 

LOST  CONTINENT  IIFE)  CinemaScc-p*.  F.rranicolor. 
Producer-director  Leonardo  Bonii.  An  excursion  into  the 
wilds  of  Borneo  and  the  Maylayan  Archepelago.  Eng- 
lish commentary.  86  min. 

MISSOURI  TRAVELER,  THE  Brandon  DeWllde  Fess 
Parker. 

NEAPOLITAN  CAROUSEL  IIFEI  ILuxFilm,  Rome!  Pathe- 
color.  Print  by  Technicolor.  Sophia  Loren,  Leonid* 
Massin*  Director  Ettore  Giannini.  Musical.  The  history 
of  Naples  traced  from  1600  to  date  in  song  and  dance. 
RAISING  A  RIOT  Continental!  Kenneth  More.  Shelagh 
Frazer.  Mandy.  Producer  Ian  Dalrymple.  Director 
Wendy  Toye.  English  comedy.  90  min. 
REMEMBER,  MY  LOVE  I  Artists-Producers  Assoc.  I  Cine- 
maScope, Technicolor.  Michael  Redgrave,  Mel  Ferrer, 
Anthony  Quale.  Musical  drama.  Producer-director 
Michael  Powell,  Emeric  Pressburger.  Based  on  Strauss' 
"Die  Fledermaus". 

WOMAN  AND  THE  HUNTER  I  Gross-Krasna  and  Kenya 
Prods  !  Ann  Sheridan.  David  Farrar.  Jan  Merlin.  Pro- 
ducer-director George  Breakston. 


METRO-GOLDWYN -MAYER 


August 

DECISION  AGAINST  TIME  Jack  Hawkins,  Elizabeth 
Sellars.  Producer  M.  Balcon.  Director  C.  Crichton. 
Adventure.  Test  pilot  attempts  to  land  disabled  plane. 
87  min.  7/22. 

GUN  GLORY  CinemaScope.  MetroColor.  Stewart 
Granger,  Rhonda  Fleming.  Producer  N.  Nayfack.  Di- 
rector Roy  Rowland.  Western.  Ex-outlaw  is  tormented 
by  his  former  reputation  as  a  killer.  89  min. 
TIP  ON  A  DEAD  JOCKEY  CinemaScope.  Robert  Taylor, 
Dorothy  Malone,  Gia  Scala.  Producer  Edwin  Knoph. 
Director  Richard  Thorp.  Melodrama.  International 
police  track  down  smugglers.  109  min.  9/2. 

September 

ACTION  OF  THE  TIGER  CinemaScope.  Eastman  Color. 
Van  Johnson.  Martine  Carol,  Gustavo  Rocco.  A  Clar- 
idge  Production.  Director  Terence  Young.  Drama.  Beau- 
tiful girl  seeks  help  of  contraband  runner  to  rescue 
brother  from  Communists.  94  min. 

HIRED  GUN.  THE  CinemaScope.  Gil  McCord,  Ellen 
Beldon,  Kell  Beldon.  Producers  Rory  Calhoun  and  Vic- 
tor M.  Orsatti.  Director  Ray  Nazzaro.  Western.  64 
min.  9/14. 

LES  GIRLS  CinemaScope,  MetroColor.  Gene  Kelly, 
Mitzi  Gaynor,  Kay  Kendall.  Producer  Sol  C.  Siegel. 
Director  George  Cukor.  Musical.  Dancing  troupe  tour- 
ing Europe.  fl4  min.  9/30. 

HOUSE  OF  NUMBERS  CinemaScope.  Jack  Palance, 
Barbara  Lang.  Producer  Charles  Schnee.  Director 
Russell  House.  Melodrama.  Law-abiding  citizen  at- 
tempts to  engineer  San  Quentin  escape  for  his  brother. 
92  min.  7/8. 

October 

INVISIBLE  BOY,  THE  Richard  Eyer,  Philip  Abbott, 
Diane  Brewster.  Producer  Nicholas  Nayfack.  Director 
Herman  Hoffman.  Science-fiction.  Sequel  to  "Forbid- 
den Planet".    90  min. 

UNTIL  THEY  SAIL  CinmeaScope.  Jean  Simmons,  Joan 
Fontaine,  Paul  Newman.  Producer  Charles  Schnee.  Di- 
rector Robert  Wise.  Drama.  James  A.  Michener  story 
U  S.    troops    in    New   Zealand    during    World    War  I. 

95  min.  10/14. 

November 

JAILHOUSE  ROCK  Elvis  Presley,  Judy  Tyler.  Producer 
Pandro  Berman.  Director  Richard  Thorpe.  Musical- 
drama.    Youth's   singing   talent   is   fostered    in  prison. 

96  min.  10/14. 

December 

DON'T  GO  NEAR  THE  WATER  CinemaScope,  Metro- 
Color.  Glenn  Ford,  Gia  Scala,  Keenan  Wynn.  Producer 
Lawrence  Weingarten.  Director  Charles  Walters. 
Comedy.  Story  of  a  South  Seas  naval  base  during 
World  War  I. 

Coming 

BROTHERS  KARAMAZOV,  THE  MetroColor.  Yul  Bryn- 
ner,  Maria  Schell,  Claire  Bloom.  Producer  Pandro  S. 
Berman.  Director  Richard  Brooks.  Based  on  famous 
novel  by  Dostoyevsky. 

CRY  TERROR  James  Mason,  Inger  Stevens.  Rod  Steiger. 
Producer-director  Andrew  Stone. 

HAPPY  ROAD.  THE  Gene  Kelly.  Michael  Redgrave, 
Barbara  Laage.  A  Kerry  Production.  Directors,  Gene 
Kelly,  Noel  Coward.  Drama.  Two  children  run  away 
from  boarding  hchool  to  find  their  respective  parents. 
100  min.  2/4. 

I  ACCUSE  Jose  Ferrer,  Viveca  Lindfors,  Leo  Genn. 
Producer  Sam  Zimbalist.  Director  Jose  Ferrer.  Drama. 
French  officer  unjustly  accused  of  treason. 

LIVING  IDOL.  THE  CinemaScope,  Eastman  Color. 
Steve  Forrest,  Lilliane  Montevecchi.  Producer-director 
Al  Lewin.  Drama.  An  archaologist  is  faced  with  an  un- 
worldly   situation    that    threatens    the    safety    of  his 

adopted  daughter.    101  min.  5/13. 

MERRY  ANDREW  CinemaScope,  Metrocolor.  Danny 
Kaye,  Pier  Ageli,  Baccpopmo.  Producer  Sol  C.  Siegel. 
Director  Michael  Kidd. 

RAINTREE  COUNTY  MetroColor.  MGM  Camera  65. 
Eliiabetti  Taylor,  Montgomery  Clift.  Producer  David 
Lewis.  Director  Edward  Dymtryke.  Drama.  Life  in  Indi- 
ana during  the  middle  1 880  s.  185  min. 


SADDLE  THE  WIND  Robert  Taylor,  John  Cassavetes. 
Julie  London  Producer  Armand  Deutsch.  Director 
Robert  Parrish. 

SEVEN  HILLS  OF  ROME  LeCloud  Productions.  Mario 
Lanza,  Marisa  Allasio.  Producer  Lester  Welch.  Director 
Roy  Rowland. 


PARAMOUNT 


August 

LOVING  YOU  VistaVision.  Technicolor.  Elvis  Presley, 
Lizabeth  Scott,  Wendell  Corey.  Producer  Hal  Wallis. 
Musical.  Director  Hal  Kanter.  Small-town  boy  makes 
good  in  big-time  show  business.  101  min.  7/22. 
OMAR  KHAYYAM  VistaVision,  Technicolor.  Cornel 
WWde.  Michael  Rennie,  Qebra  Paget.  Producer  Frank 
freeman,  Jr.  Director  William  Dieterle.  Adventur*. 
The  life  and  times  of  medieval  Persia's  literary  idol. 
103  min. 

September 

MR.  ROCK  AND  ROLL  Alan  Freed.  Rocky  Graziano, 
Lois  O'Brien.  Producers  Serpe  and  Kreitsek.  Director 
Charles  Di/bin.  Musical.  Disc  jockey  establishes  au- 
thenticity of  rock  and  roll.   86  min. 

STOWAWAY  GIRL  Trevor  Howard,  Elsa  Martinell. 
Pedro  Armandariz.  Producer  Ivan  Foxwell.  Director 
Guy  Hamilton.  Drama.  A  beautiful  girl  stows  away  on 
a  tramp  steamer.  93  min.  9/30. 

SHORT  CUT  TO  HELL  VistaVision.  Robert  Ivers  Wil- 
liam Bishop,  Georqann  Johnson.  Producer  A.  C.  Lyles. 
Director  James  Cagney.  Drama.  Story  of  a  profes- 
sional killer  with  a  gun  for  hire.    87  min.  10/14. 

October 

HAIRPIN  DEVIL'S,  THE  VistaVision,  Technicolor.  Cornel 
Wilde,  Jean  Wallace,  Mary  Astor.  Producer-director 
Cornel  Wilde.  Adventure.  Story  which  deals  with 
sports  car  racing.    82  min.  10/14. 

JOKER  IS  WILD.  THE  ViitaVfsion,  Technicolor.  Frank 
Sinatra,  Mltii  Gaynor.  Jeanne  Craln.  Producer  Samuel 
Brijkhv  Director  Chaslet  Vkfor.  Drama.  Rim  biography 

of  Joe  E.  Lewis,  nightclub  comedian.  123  min  9/2. 
HEAR  ME  GOOD  Hal  March,  Joe  E.  Ross,  Merry 
Anders.  Producer-Director  Don  McGuire.  Comedy. 
Broadway  con-men  hounded  by  creditors.  80  min.  10/28 

November 

TIN  STAR,  THE  VistaVision.  Henry  Fonda,  Anthony 
Perkins,.  A  Perlberg-Seaton  Production.  Director  An- 
thonv  Mann.  Western.  Bounty-hunting  in  the  old  west. 
93  min.  10/14. 

ZERO  HOUR  Dana  Andrews.  Sterling  Hayden.  Pro- 
ducers John  Champion  and  Hall  Bartlett.  Director  Hall 
Bartlett.  Drama.  A  man  battles  for  his  life  and  love. 
81  min.  10/28. 

December 

SAD  SACK  VistaVision,  Technicolor.  Jerry  Lewis,  David 
Wayne.  Producer  Hal  Willis.  Director  George  Mar- 
shall. Comedy.  Life  in  the  Army.  98  min.  10/28. 
SPANISH  AFFAIR  VistaVision,  Technicolor.  Carmen 
Sevilla,  Richard  Kiley.  Producer  Bruce  Odium.  Director 
Donald  Siegel.  Adventure.  An  American  architect 
travelling  in  Spain  is  attracted  to  a  beautiful  girl, 
half-Gypsy,  half-Spanish. 

Coming 

DESIRE  UNDER  THE  ELMS  Sophia  Loren,  Anthony  Per- 
kins,  Burl  Ives.  Producer  Don  Hartman.  Director  Del- 
bert  Mann.  Drama.  Emotional  conflicts  of  a  farmer, 
his  son  and  his  second  wife. 

FLAMENCA  VistaVision.  Color.  Carmen  Sevilla,  Rich- 
ard Kiley.  Producer  Bruce  Odium.  Director  Donald 
Siegel. 

HOT  SPELL  VistaVision  Shirley  Booth.  Anthony  Ouinn, 
Shirley  MacLaine.  Producer  Hal  Wallis.  Director  Dan- 
iel Mann.  Drama.  The  disintegration  of  a  Southern 
family  during  a  torrid  heat  wave. 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


HOUSEBOAT  VistaVision,  Technicolor.  Cary  Grant, 
Sophia  Loren.  Producer  Jack  Rose.  Director  Melville 
Shavelson.  Maid  reunites  family  and  becomes  wife  of 
master. 

MATCHMAKER,  THE  VistaVision.  Shirley  Boofh,  An- 
thony Perkins.  Shirley  MacLaine.  Producer  Don  Hart- 
man.  Director  Joseph  Anthony.  Comedy.  Lovable 
widow  becomes  matchmaker  for  herself. 
TEACHER'S  PET  VistaVision.  Clark  Gable,  Doris  Day. 
A  Pearlberg-Seaton  Production.  Director  George  Sea- 
ton.  Comedy.  Tough  newspaper  editor  and  college 
journalism  teacher  have  a  ball. 

TEN  COMMANDMENTS,  THE  VistaVijion.  Technicolor. 
Charlton  Helton.  Yul  Brynner.  Anne  Bax*e>\  Producer- 
director  Cecil  B.  DeMille.  Religious  drama.  Life  itor. 
of  Moses  as  told  in  the  Bible  and  Koran.  219  min.  10/15 
WILD  IS  THE  WIND  VistaVision.  Anna  Magnani,  An- 
thony Ouinn.  Producer  Hal  Wallis.  Director  John 
Sturges.  Drama.  Love,  hate,  and  violence  on  a  Nevada 
sheep  ranch. 


RANK 


August 

GENTLE  TOUCH,  THE  Technicolor.  George  Baker,  Be- 
linda Lee.  Producer  Michael  Balcon.  Director  Pat 
Jackson.  Drama.  Nurse  and  doctor  fall  in  love,  and 
nurse  is  faced  with  making  choice  between  career  or 
marriage.  84  min. 

October 

SPANISH  GARDENER  Technicolor,  VistaVision.  Dirk 
Bogarde,  Jon  Whiteley.  Drama.  Producer  John  Bryan. 
Director  Philip  Leacock.  Gardener  deverts  affections 
of  boy  from  his  father.  95  min. 

AN  ALLIGATOR  NAMED  DAISY  Technicolor,  Vista- 
Vision. Donald  Sinden,  Diana  Dors.  Producer  Raymond 
Stross.  Director  J.  Lee-Thompson.  Comedy.  Alligator  is 
responsible  for  breakup  between  couple  who,  as  a 
result  find  more  suitable  mates.   88  min. 

November 

AS  LONG  AS  THEY'RE  HAPPY  Eastman  Color.  Jack 
Buchanan,  Janette  Scott.  Producer  Raymond  Stross. 
Director  J.  Lee-Thompson.  Comedy.  Father  and  two 
sons-in-law  become  jealous  of  crooner  who  has 
charmed  their  wives.  76  min.  10/14. 
PURSUIT  OF  THE  GRAF  SPEE  Technicolor,  VistaVision. 
John  Gregson,  Anthony  Quayle.  Producer-director 
Michael  Powell  &  Emeric  Pressburger.  Adventure.  Story 
of  first  historic  naval  action  of  WWI  which  took  place 
on  River  Plate.    106  min.  10/14. 

January 

ACROSS  THE  BRIDGE  Rod  Steiger,  David  Knight,  Mar- 
la  Land!,  Noel  Willman.  Producer  John  Stafford.  Di- 
rector Ken  Annakin.  Melodrama.  Scotland  Yard  de- 
tective hunts  international  high-finance  crook  in  Mexi- 
co.  103  min.  10/28. 


REPUBLIC 


September 

OPERATION  CONSPIRACY  Philip  Friend,  Leslie  Dwyer, 
Mary  MacKenzie.  Director  Joseph  Sterling.  Producer 
A.  R.  Rawlinson.  Melodrama.  Fashion  reporter  solves 
murder.   69  min. 

PAWNEE  Trucolor.  George  Montgomery,  Bill  Williams, 
Lola  Albright.  Director  George  Wagner.  Western. 
Cavalry    puts   down    high-riding    Pawnee    Indians.  80 

TAMING  SUTTON'S  GAL  Naturama.  John  Lupton, 
Jack  Kelly,  May  Wynn.  Director  Lesley  Selander.  Pro- 
ducer William  J.  O'Sullivan.  Drama.  A  young  bank 
clerk  finds  a  gal  in  the  back  hill  country  of  California. 
71  min. 

WAYWARD  GIRL.  THE  Naturama.  Marcia  Henderson, 
Peter  Walker.  Producer  W.  J.  O'Sullivan.  Director 
Lesley  Selander.  Melodrama.  Daughter  arrested  for 
murder  by  her  stepmother  proves  innocence.  71  min. 

October 

HELL  CANYON  OUTLAWS  Dale  Robertson,  Brian  Keith. 
Rossana  Rory.  Producer  T.  F.  Woods.  Director  Paul 
Landres.  Western.  Ousted  sheriff  restores  order  to 
town.    72  min. 

PANAMA  SAL  Naturama.  Elena  Verdugo,  Edward 
Kemmer.  Producer  Edward  White.  Director  W.  Wit- 
ney.  Drama.   The  making  of  a  singer.   70  min. 

Coming 

CROOKED  CIRCLE,  THE  John  Smith.  Fay  Spain,  Sfeve 
Brodie.  Producer  Rudy  Ralston.  Director  Joe  Kane. 
Drama.  Sports  editor  suspects  death  of  fighter  is  mur- 
der. 72  min. 

DEAD  END  STREET  Roland  Culver,  Patricia  Roc,  Paul 
Carpenter. 

EIGHTEEN  AND  ANXIOUS  Mary  Webster  William 
Campbell,  Martha  Scott.  91  min. 

FIGHTING  WILDCATS  Keefe  Braselle,  Kay  Callard 
Karel  Stepanek,  Ursula  Howells.  77  min. 

GUN  FIRE  Vera  Ralston,  Anthony  George,  George 
Macready.  Producer  Rudy  Ralston.  Director  Joe  Kane. 
Western.  70  min. 

HELL  SHIP  MUTINY  Jon  Hall,  John  Carradine,  Peter 
Lorre.    Lovina  Production.    66  min. 

LAST  BULLET,  THE  Robert  Hutton,  Mary  Castle 
Wlcnael  O'Connell. 

OUTCASTS  OF  THE  CITY  Osa  Massen,  Robert  Hutton, 
Maria  Palmer.    62  min. 


RAIDERS  OF  OLD  CALIFORNIA  Jim  Davis,  Arleen 
Whelan,  Faron  Young.  Producer  Albert  C.  Gannaway. 
Western.  Army  officer  determines  to  become  powerful 
landowner.    72  min. 

STREET  OF  DARKNESS  Robert  Keyes,  John  Close, 
Sheila  Ryan. 

THUNDER  OVER  TANGIER  Robert  Hutton,  Lisa  Gastoni, 
Martin  Benson.  Sunset  Palisades  production.  63  min. 
WEST  OF  SUEZ  John  Bentley,  Vera  Fusek,  Martin 
Boddey. 

YOUNG  MOTHER  Mary  Webster,  William  Campbell, 
Martha  Scott.  Producer  Edmond  Chevie.  Director  Joe 
Parker. 


20TH  CENTURY-FOX 


July 

ABDUCTORS,  THE  Victor  McLaglen,  Fay  Spain,  Carl 
Thayler.  Producer  R.  Wander.  Director  A.  McLaglen. 
Adventure.  Tale  of  a  plot  to  steal  Aleraham.  80  min. 

A  HATFUL  OF  RAIN  CinemaScope.    Eva  Marie  Saint. 
Don  Murray,  Tony  Franciosa.    Producer  Buddy  Adler. 
Director   Fred  Zinneman.   Drama.   A  dope  addict  de- 
cides to  shake  the  habit.  109  min.  6/24. 

AN  AFFAIR  TO  REMEMBER  CinemaScope  DeLuxe 
Color.  Cary  Grant,  Deborah  Kerr.  Producer  Jerry 
Wald.  Director  Leo  McCarey.  Comedy.  Notorious 
bachelor  falls  for  night  club  singer.  114  min.  7/22. 

APACHE  WARRIOR  Keith  Larsen,  Jim  Davis.  Producer 
P  Skouras.  Director  E.  Williams.  Western.  74  min. 

BERNARDINE  CinemaScope,  Deluxe  Color.  Terry  Moore, 
Pat  Boone,  Janet  Gaynor.  Producer  Sam  Engel.  Direc- 
tor H.  Levin.  Comedy.  Story  of  teenagers.  Filmization 
of  the  Broadway  comedy.  95  min.  7/22. 
COURAGE  OF  BLACK  BEAUTY  Color.  John  Crawford, 
Mimi  Gibson,  John  Bryant.  Producer  Edward  L.  Alper- 
son.  Director  Harold  Schuster.  The  story  of  a  boy  and 
his  horse.  Drama.  77  min. 

GOD  IS  MY  PARTNER  Walter  Brennan,  John  Hoyt, 
Marion  Ross.  Producer  S.  Hersh.  Director  W.  Claxton. 
Drama.  80  min. 

August 

HELL  ON  DEVIL'S  ISLAND  Regalscope.  Helmut  Dan- 
tine,  Donna  Martel,  William  Talman,  Jean  Wiles.  Pro- 
ducer  Lchoolvek.    Director  C.   Nyby.    Adventure.  74 

SEAWIFE  CinemaScope,  Deluxe  Color.  Richard  Bur- 
ton, Joan  Collins.  Producer  Andre  Hakim.  Director  Bob 

McNaught.  Drama.  Ship  is  torpedoed  by  Jap  sub- 
marine off  Singapore  harbor.    82  min. 

WILL  SUCCESS  SPOIL  ROCK  HUNTER  CinemaScope, 
DeLuxe  Color.  Jayne  Mansfield,  Clifton  Webb,  Tony 
Randall.  Producer-director  Frank  Tashlin.  Comedy. 
Filmization  of  the  Broadway  play.  94  min. 

September 

BACK  FROM  THE  DEADRegalscope.  Peggy  Castle, 
Marsha  Hunt,  Arthur  Franz.  Producer  R.  Stabler.  Di- 
rector C.  Warren.   Horror.   79  min. 

COPPER  SKY  Regalscope.  Jeff  Morrow,  Coleen  Gray. 
Producer  R.  Stabler.    Director  C.  Warren.  Melodrama. 

77  min. 

DEERSLAYER,  THE  CinemaScope,  DeLuxe  Color.  Lex 
Barker,  Forrest  Tucker,  Rita  Moreno.  Producer-director 
K.  Newmann.   Adventure.    78  min. 

FORTY  GUNS  CinemaScope.  Barbara  Stanwyck,  Barry 
Sullivan,  Gene  Barry.  Poducer-director  Samuel  Fuller. 
Adventure.  A  domineering  woman  attempts  to  rule  a 
western  town  by  force.  80  min.  10/14. 
SUN  ALSO  RISES,  THE  CinemaScope,  DeLuxe  Color. 
Ava  Gardner,  Mel  Ferrer,  Tyrone  Power.  Producer  D. 
Zanuck.  Director  Henry  King.  Drama.  From  Ernest 
Hemingway's  famous  novel.  129  min.  9/2. 
UNKNOWN  TERROR,  THE  Regalscope.  John  Howard, 
May  Wynn,  Mala  Powers.  Producer  R.  Stakler.  Direc- 
tor C.  Warren.  Horror.  77  min. 

October 

ABOMINABLE  SNOWMAN,  THE  Forrest  Tucker,  Peter 
Cushing.  Producer  Michael  Carreras.  Director  Val 
Guest.  Science-fiction  drama  dealing  with  the  search 
for  a  half-human,  half-beast  monster  of  the  Himalayas. 
GHOST  DIVER  James  Craig,  Audrey  Totter.  Producer 
Richard  Einfeld.  Director  Merril  White. 
NO  DOWN  PAYMENT  CinemaScope.  Jeff  Hunter,  Bar- 
bara Rush,  Sheree  North,  Cameron  Mitchell.  Producer 
Jerry  Wood.  Director  Martin  Ritt.  Drama.  Problems 
of  four  married  couples  in  new  housing  development. 
105  min.  9/30. 

ROCKABILLY  BABY  Virginia  Field,  Douglas  Kennedy. 
Producer-Director  W.  Claxton.    Musical.   82  min. 

THREE  FACES  OF  EVE.  THE  David  Wayne,  Joanne 
Woodward.  Producer  Nunnally  Johnson.  Director  Nun- 
nally  Johnson.  Drama.  Story  of  a  woman  with  three 
distinct  personalities.    91  min. 

November 

APRIL  LOVE  CinemaScope-DeLuxe  color.  Pat  Boone, 
Shirley  Jones.  Producer  David  Weisbert.  Director 
Henry  Levin.  Musical.  Love  story  of  a  boy  on  proba- 
tion.   97  min 

RIDE  A  VIOLENT  MILE  Regalscope.  Gene  Raymond, 
Wayne  Morris.  Producer-director  R.  Stabler.  Melo- 
drama. 

STOPOVER  TOKYO  Robert  Wagner,  Joan  Collins,  Ed- 
mund O'Brien.  Producer  W.  Reisch.  Director  R.  Breen. 
Drama.  Pilot  forced  to  stop  over  in  Tokyo  solyes  mys- 
tery.   100  min. 


UNDER  FIRE  Regalscope  Rex  Reason,  Henry  Morgan, 
Steve  Bodine.  Producer  P.  Skouras.  Director  J.  Clark. 
Drama.    78  min. 

December 

A  FAREWELL  TO  ARMS  Producer  David  Selznick.  Di- 
rector Charles  Vidor.  Drama. 

ESCAPE  FROM  RED  ROCK  Regalscope.  Brian  Donlevy, 
J.  C.  Flippen,  Eileen  Janssen.  Producer  B.  Glasser. 
Director  E.  Bernds.  Western. 

FRAULEIN  Dana  Wynter,  Mel  Ferrer.  Producer  W. 
Reisch.  Director  H.  Koster.  Drama. 

KISS  THEM  FOR  ME  CinemaScope,  DeLuxe  Color. 
Cary  Grant,  Jayne  Mansfield,  Suzy  Parker.  Producer 
Jerry  Wald.  Director  Stanley  Donen.   105  min. 

PLUNDER  ROAD  Gene  Raymond,  Wayne  Morris,  Jeanne 
Cooper.  Producer  L.  Stewart.  Director  H.  Cornfield. 
Drama. 

Coming 

AMBUSH  AT  COMARRON  PASS  Regal  Films.  Brian 
Donlevy,  Jay  C.  Flippen.  Producer  Bernard  Glasser. 
Director  Edward  Bernds.  Western. 

BEAUTIFUL  IUT  DANGEROUS  Gina  Lotlobrigida,  Vlt- 
torio  Ganman.  Producer  Manuella  Malotrl.  Director 
Robert  Leonard.  Drama. 

BLOOD  ARROW  Scott  Brady,  Phyllis  Coates,  Diane 
Darrin.  Producer  Robert  Staber.  Director  C.  M. 
Warren. 

ENEMY  BELOW,  THE  CinemaScope,  Color.  Robert 
Mitchum,  Curd  Jurgens.  Producer-Director  Dick  Powell. 

PEYTON  PLACE  Jerry  Wald  Prods.  CinemaScope,  De 
Luxe  Color.  Lana  Turner,  Lloyd  Nolan,  Hope  Lange. 
Producer  Jerry  Wald.  Director  Mark  Robson. 

YOUNG  AND  DANGEROUS  Regal  Films.  Lll  Gentle, 
Mark  Damon,  Ann  Doran.  Producer-Director  William 
F.  Claxton.    78  min. 

YOUNG  LIONS,  THE  CinemaScope.  Marlon  Brando, 
Montgomery  Clift,  Joanne  Woodward.  Producer  Al 
Lichtman.  Director  Edward  Dmyfryk. 

VIOLENT  ROAD,  THE  Regal  Films.  Gene  Raymond, 
Wayne  Morris,  Jeanne  Cooper.  Producer  Leon  Choo- 
luck  and  Laurence  Stewart.  Director  Hubert  Cornfield. 


UNITED  ARTISTS 


August 

FUZZY  PINK  NIGHTGOWN,  THE  Jane  Russell,  Keenan 
Wynn,  Ray  Danton.  Producer  Bob  Waterfield  Director 
Norman  Taurog.  Melodrama.  The  story  of  a  Holly- 
wood star  who  is  kidnapped.  87  min. 

JUNGLE  HEAT  Lex  Barker,  Mari  Blanchard.  A  Bel-Air 
Production.  Director  H.  Koch.  Adventure.  Japanese 
saboteurs  in  Hawaii  prior  to  WWII.  75  min. 

LADY  OF  VENGEANCE  Dennis  O'Keefe,  Ann  Sears, 
Anton  Diffring.  Revenge  for  a  lady  who  has  been 
wronged.  Melodrama.  73  min. 

MONTE  CARLO  STORY.  THE  Technirama,  Color.  Mar- 
lene  Dietrich,  Vittorio  De  Sica.  A  Titanus  Rim.  Sam 

Taylor  director.  Marcello  Girosi  producer.  Drama.  A 
handsome  Italian  nobleman  with  a  love  for  gambling 
marries  a  rich  woman  in  order  to  pay  his  debts. 
100  min.  7/8. 

MY  GUN  IS  OUICK  Robert  Bray,  Whitney  Blake,  Don 
Randolph.  Producer-director  George  A.  White  and 
Phil  Victor.  Melodrama.  Based  on  a  novel  by  Mickey 

VALERIE  Sterling  Hayden,  Anita  Ekberg,  Anthony  Steel. 
Producer  Hal  Makelim.  Director  Gerd  Oslwald.  West- 
ern. The  story  of  a  murder  trial  in  a  western  town. 

September 

CARELESS  YEARS.  THE  Natalie  Trundy,  Dean  Stock- 
well.  Producer  Edward  Lewis.  Director  Arthur  Hiller. 
Drama.  Two  lovers  meet  parental  resistance  when  they 
decide  to  get  married.  70  min. 

CHICAGO  CONFIDENTIAL  Brian  Keith,  Beverly  Gar- 
land, Dick  Foran.  Producer  Robert  Kent.  Director  Sid- 
ney Salkow.  Melodrama.  Syndicate  tries  to  gain  con- 
trol of  labor  union.  73  min.  9/2. 

ENEMY  FROM  SPACE  Brian  Donlevy,  John  Longden, 
Sydney  James.  Producer  Anthony  Hinds.  Director  Val 
Guest.  Science-fiction.  84  min. 

GUNSIGHT  RIDGE  Joel  McCrea,  Mark  Stevens.  Pro- 
ducer Robert  Bassler.  Director  Francis  Lyon.  Western. 
Stranger  discovers  respected  citizen  is  really  a  holdup 
man.  85  min. 

SATCHMO  THE  GREAT  Louis  Armstrong,  Edward  R. 
Murrow,  Leonard  Bernstein.  Producers  Edward  R.  Mur- 
row  and  Fred  W.  Friendly.  Film  story  of  Louis  Arm- 
strong's international  jazz  tour.   63  min.  9/16. 

STREET  OF  SINNERS  George  Montgomery,  Geraldine 

Brooks.  Producer-director  William  Berke.  Drama. 
Rookie  policeman  clashes  with  youthful  criminals. 
76  min. 

October 

GIRL  IN  THE  BLACK  STOCKINGS,  THE  Lex  Barker. 
Ann  Bancroft.  Melodrama.  73  min. 

HELL  BOUND  John  Russel,  June  Blair.  Producer  How- 
ard Koch.  Director  William  Hole,  Jr.  Melodrama. 
Story  of  a  conspiracy  to  hijack  a  shipment  of  narcotics. 
79  min. 

MUSTANG  Jack  Beutel,  Madalyn  Trahey.  Producer 
Robert  Arnell.  Director  Peter  Stephens.  Western 
Drama. 


Film     BULLETIN  —  THIS     IS     YOUR  PRODUCT 


TIME  LIMIT  Richard  Widmark.  Richard  Basehart.  Pro- 
ducer William  Reynolds.  Director  Karl  Maiden.  Drama. 
Story  of  prisoner-of-war  turncoats.  96  min.  9/30. 

November 

LEGEND  OF  THE  LOST  John  Wayne.  Sophia  Loren. 
Rossano  Brani.  Producer-director  Henry  Hathaway  Ad- 
venture   Sea.rch  for  treasure  in  the  Sahara 

Coming 

BABYFACE  NELSON  Mickey  Rooney.  Carolyn  Jones 
Sir  Cedric  Hardwicke.  Producer  Al  Zimbalist.  Director 
Don  Siegel.  Drama.  Story  of  one  of  America's  notori- 
ous gangsters. 

CHINA  DOLL  Victor  Mature.  Lili  Hua.  Producer-Di- 
rector Frank  Borzage.  Drama.  United  States  Air  Force 
Captain  marries  a  Chinese  girl. 

EDGE  OF  FURY  Michael  Higgins.  Lois  Holmes.  Pro- 
ducer Robert  Gurney.  Jr.  Directors  Robert  Gurney 
Jr.  and  Irving  Lerner.  Suspense  Thriller  based  on  the 
novel  "Wisteria  Cottage". 

FORT  BOWIE  Ben  Johnson,  Jan  Harrison.  Kent  Taylor 
Producer  Aubrey  Schenck.  Director  Howard  W.  Koch. 
I  BURY  THE  LIVING  Richard  Boone.  Peggy  Maurer. 
Producers  Band  and  Garfinkle.  Director  Albert  Band. 
ISLAND  WOMEN  Marie  Windsor.  Vince  Edwards  Pro- 
ducer-d.rector  William  Berke.  Musical.  Calypso  film 
filmed  in  the  Bahama  Islands. 

PARIS  HOLIDAY  Bob  Hope.  Fernandel  Anita  Ekberg 
Director  Gerd  Oswald. 

PATHS  OF  GLORY  Kirk  Douglas,  Ralph  Meeker, 
Adolphe  Menjou.  Producer  James  B.  Harris  Director 
Stanley  Kubrick. 

QUIET  AMERICAN  Audie  Murphy,  Michael  Redgrave 
Claude  Dauphin.  Figaro  Production.  Director  Joseph 
Mankiewicz.  Drama.  Story  set  against  the  recent 
fighting  in  IndoChina. 

RIDE  OUT  FOR  REVENGE  Rory  Calhoun,  Gloria  Gra- 
hame,  Joanne  Gilbert.  Producer  Norman  Retchin.  Di- 
rector Barney  Girard. 

VIKINGS,  THE  Kirk  Douglas,  Tony  Curtis  Ernest  Borg- 
nine.  Producer  Jerry  Bresler.  Director  Richard  Fleischer. 
WINK  OF  AN  EYE  Jonathan  Kidd,  Doris  Dowling. 
Irene  Seidner.  Producer  Fernando  Carrere.  Director 
Winston  Jones. 

WITNESS  FOR  THE  PROSECUTION  Tyrone  Power 
Marlene  Dietrich,  Charles  Laughton.  Producer  Arthur 
Hornblow,  Jr.  Director  Billy  Wilder. 


U  N  I VE  RSAL-I  NT*  L 


August 

DOCTOR  AT  LARGE  Dick  Bogarde,  Muriel  Pavlow  A 
Rank  Production.  Director  Ralph  Thomas.  Comedy  Ad- 
ventures of  an  English  physician.  98  min.  4/24. 
LAND  UNKNOWN,  THE  Jock  Mahoney,  Shawn  Smith. 
Producer  William  Alland.  Director  Virgil  Vogel. 
Science-fiction.  Polar  expedition  finds  Mesozoic  age 
in  Antarctic  expedition.    78  min. 

MIDNIGHT  STORY,  THE  CinemaScope.  Tony  Curtis, 
Mansa  Pavan.  Producer  Robert  Arthur.  Director  Joseph 
Pevney.  Drama.  Rookie  cop  seeks  murderer  of  parish 
priest.  89  min.  6/24. 

NIGHT  PASSAGE  Technirama,  Technicolor.  James 
Stewart,  Audie  Murphy,  Dan  Duryea.  Producer  A. 
Rosenberg.  Director  James  Neilson.  Drama.  Payroll 
robbers  are  foiled  by  youngster  and  tough-fisted  rail- 
roader. 90  min.  A/24. 

September 

INTERLUDE  Technicolor,  CinemaScope.  June  Allyson, 
Rossano  Brazzi.  Producer  Ross  Hunter.  Director  Douglas 
Sirk.  Drama.  American  doctor  falls  In  love  with  wife 
of  famous  composer  in  Munich.  89  min.  6/24. 
JET  PILOT  Technicolor,  SuperScope.  John  Wayne, 
Janet  Leigh.  Howard  Huanes  Production.  Producer 
Jules  Furthrnan  Director  Josef  von  Sternberg.  Drama. 
The  story  of  a  Russian  woman  pilot  and  an  American 
let  ace.  112  min.  9/30. 

JOE  DAKOTA  Eastman  Color.  Jock  Mahoney,  Luana 
Patten.  Producer  Howard  Christie.  Director  Richard 
Bartlett.  Drama.  Stranger  makes  California  oil  town 
see  the  error  of  its  ways.   79  min. 

RUN  OF  THE  ARROW  Technicolor.  Rod  Steiger,  Sarita 
Montiel.  Ralph  Meeker.  Producer-director  Sam  Fuller. 
Adventure.  Young  sharpshooter  joins  Sioux  Indians  at 
close  of  Civil  War.  86  min.  6/24. 

SLAUGHTER  ON  TENTH  AVENUE  CinemaScope.  Rich- 
ard Egan,  Jan  Sterling,  Dan  Duryea.  Producer  Albert 
Zugsmith.  Director  Arnold  Laven.  An  expose  of  New 
York  waterfront  warfare.  103  min.  9/16. 
THAT  NIGHT  John  Beal,  Augusta  Dabney,  Sbepperd 
Strudwiek.  Producer  Hiram  Brown.  Director  John 
Newlend  Drama.  A  tragady  almost  shatters  a  15- 
year-old  marriage.  88  min. 

October 

MAN  OF  A  THOUSAND  FACES  CinemaScope.  Jamas 
Cagney,  Dorothy  Malone.  Producer  Robert  Arthur.  Di- 
rector Joseph  Pevney.  Drama.  Life  story  of  Lon  Chaney. 

125  min.  7/22. 

QUANTEZ  CinemaScope,  Eastman  Color.  Fred  Mac- 
Murray,  Dorothy  Malone.  Producer  Gordon  Kay.  Direc- 
tor Harry  Keller.  Drama.  A  study  of  five  people  in- 
volved in  a  robbery  and  killing.  80  min.  9/2. 

UNHOLY  WIFE,  THE  Technicolor.  Diana  Dors,  Rod 
Steiger,  Marie  Windsor.  Producer-director  John  Far- 
row. Drama.  A  wife  cunningly  plots  the  death  of  her 
husband  who  she  has  betrayed.  94  min.  9/2. 


November 

ESCAPADE  IN  JAPAN  Color.  Teresa  Wright,  Cameron 
Mitchell,  Jon  Provost,  Roger  Nakagaws.  Producer-direc- 
tor Arthur  Lubin.  Drama.  Search  for  two  boys  who 
start  out  in  the  wrong  direction  to  find  the  very  peo- 
ple who  are  trying  to  find  them.   92  min.  9/16. 

MY  MAN  GODFREY  CinemaScope.  Technicolor.  June 
Allyson,  David  Niven.  Producer  Ross  Hunter.  Director 
Henry  Koster.    Comedy.    Story  of  a  topsy-turvy  butler. 


i  biography  of  the 

PAJAMA  GAME,  THE  Warner  Color  Doris  Day.  John 
Raitt,  Carol  Haney.  Producers  G.  Abbot,  F.  Brlnon, 
R.  Griffith,  H.  Prince.  Director  Stanley  Donen.  Filmlia- 
tion  of  the  Broadway  musical. 


December 


ALL  MINE  TO  GIVE  Eastman  Color.  Glynis  Johns 
Cameron  Mitchell,  Rex  Thompson.  Producer  Sam  Weis- 
enthal.  Director  Allen  Reisner.  Drama.  The  story  of  a 
Scottish  immigrant  couple  in  Wisconsin  in  the  19th 
century.  102  min.  10/28. 

TARNISHED  YEARS.  THE  CinemaScope.  Rock  Hudson. 
Robert  Stack,  Dorothy  Malone,  Jack  Carson.  Producer 
Albert  Zugsmith.  Director  Douglas  Sirk  Drama.  Re- 
porter uncovers  World  War  I  hero  of  the  Lafayette 
Escadrille. 


Coming 


LADY  TAKES  A  FLYER,  THE  CinemaScope,  Color.  Lana 
Turner,  Jeff  Chandler.  Richard  Denning.  Producer  Wil- 
liam Alland.  Director  Jack  Arnold.  Drama.  Pilot  and 
wife  realize  true  love  in  the  air. 


DAMN  CITIZEN  Keith  Andes.  Margaret  Hayes.  Gene 
Evans.  Producer  Herman  Webber.  Director  Robert 
Gordon.  Real  estate  man  becomes  leader  of  police 
in  fight  against  crime. 

DARK  SHORE,  THE  CinemaScope.  George  Nader.  Cor- 
nell Borchers,  Michael  Ray.  Producer  Robert  Arthur. 
Director  Abner  Biberman. 

DAY  OF  THE  BAD  MAN  CinemaScope.  Fred  MacMur- 
ray,  Joan  Weldon.  John  Ericson,  Robert  Middleton. 
Producer  Gordon  Kay.  Director  Harry  Keller.  West- 
ern.   Brothers  of  a  murderer  attack  town  on  day  of 

trial. 

FEMALE  ANIMAL,  THE  CinemaScope.  Hedy  Lamarr, 
Jane  Powell,  Jan  Sterling.  Producer  Albert  Zugsmith. 
Director  Harry  Keller.  Beautiful  movie  star  tries  to 
buy  a  husband. 

GIRL  MOST  LIKELY.  THE  Eastmai  Color.  Jane  Powell, 
Cliff  Roberttoa,  Keith  Andes.  Producer  Stanley  Rublin. 
Director  Mitchell  Leiton.  Comedy.  A  girl  is  proposed 
to  by  three  men  on  the  same  day. 

I  MARRIED  A  WOMAN  George  Gobel,  Diana  Dors. 
Adolph  Menjou.  Producer  William  Bloom.  Director  Hal 
Kanter.  Coemdy.  Wife  objects  to  taking  secoed  place 
to  a   beer  advertising   campaign   with   her  husbaad. 

LOVE  SLAVES  OF  THE  AMAZONS  Color.  Don  Taylor, 
Giana  Sigale.    Producer-Director  Curt  Siodnak. 

MAGNIFICENT  BRAT,  THE  Color.  Dan  Duryea,  Jan 
Sterling.    Producer   Sy   Gomberg.   Director  Jack  Sher. 

MAN  IN  THE  SHADOW  CinemaScope.  Jeff  Chandler, 
Orson  Welles.  Producer  Albert  Zugsmith.  Director 
Jack  Arnold.  Drama.  Sheriff  destroys  one-man  domina- 
tion of  Texas  town. 

MAN  WHO  ROCKED  THE  BOAT,  THE  CinemaScope. 
Richard  Egan,  Jan  Sterling.  Dan  Duryea.  Producer 
Albert  Zugsmith.    Director  Arnold  Laven. 

MONOLITH  MONSTERS.  THE  Grant  Williams.  Lola 
Albright.  Producer  Howard  Christie.  Director  John 
Sherwood.  Science-fiction.  Army  of  rocks  threaten  U.S. 

RAW  WIND  IN  EDEN  CinemaScope.  Color.  Esther 
Williams.  Jeff  Chandler.  Producer  William  Alland. 
Director  Richard  Wilson.  Couple  crash  on  island  and 
are  stuck  for  weeks. 

SLIM  CARTER  Color.  Jock  Mahoney,  Julie  Adams, 
Tim  Hovey.  Producer  Howie  Horwitz.  Director  Richard 
Bartlett.  Girl  press  agent  makes  Western  star  of  no- 
good  cafe  enertainer.    82  min.  10/14. 

SUMMER  LOVE  John  Saxon,  Judy  Meredith.  Producer 
William  Grady.  Jr.  Director  Charles  Haas.  Loves  and 
troubles  of  combo  on  first  job. 

VIOLATORS.  THE  Arthur  O'Connell,  Nancy  Malone. 
Producer  H.  Brown.  Director  John  Newland.  Drama. 
Story  of  a  probation  officer  in  the  New  York  City 
courts. 

WESTERN  STORY.  THE  CinemaScope,  Color.  Jock 
Mahoney,  Gilbert  Roland.  Producer  Howard  Christie. 
Director  George  Sherman. 


WARNER  BROTHERS 


July 

CURSE  OF  FRANKENSTEIN,  THE  Peter  Cushing,  Hazel 
Court,  Robert  Urqhart.  Producer  M.  Carreras.  Direc- 
tor Terence  Fisher.  Horror.  83  min.  7/8. 

PRINCE  AND  THE  SHOWGIRL.  THE  C«lor.  Marilyn 
Monroe,     Laurence    Olivier,    Dame    Sybil  Thorndyke. 

Producer-director  Laurence  Orivier.  Comedy.  Filmiza- 
tion  of  the  Terence  Rattigan  play.  117  min.  5/27. 
RISING  OF  THE  MOON.  THE  Eileen  Crowe.  Cyril 
Cusack,  Frank  Lawton.  Directed  by  John  Ford.  Three 
Irish  stories  with  Tyrone  Power  narrator.  81  min.  7/22 
X— THE  UNKNOWN  Dean  Jagger,  William  Russell. 
Producer  A.  Hinds.  Director  Leslie  Norman.  Science- 
fiction.  Keen  minded  scientist  fights  awesome  creation. 


September 


BLACK  PATCH  George  Montgomery  Producer  George 
Montgomery.  Director  Alan  Miner.  Western    83  min. 

JOHNNY  TROUBLE  Ethel  Barrymore,  Cecil  Kellaway. 
Producer-director  John  Auer  Drama  Mother  waits 
twenty-seven  years  for  her  long  lost  son  80  min. 
10/14. 

WOMAN  IN  A  DRESSING  GOWN  Yvonne  Mitchell. 
Anthony  Quayle,  Sylvia  Syms.  Producer  Frank  Godwin. 
Director  J.  Lee-Thompson  Melodrama  A  wife's  happi- 
ness is  threatened  by  a  younger  woman   93  min.  10/14. 

October 

BLACK  SCORPION,  THE  Richard  Denning.  Mara  Cor- 
day.  Carlos  Rivas.  Horror  Mammoth  scorpions  emerge 
to  terrify  earthpeople.    88  min.  10/14. 

HELEN  MORGAN  STORY.  THE  CinemaScope.  Ann 
Blyth.  Paul  Newman.  Producer  M-irtin  Rackin.  Director 
Michael  Curtiz.  Drama.  Biographical  film  of  an  ill- 
fated  torch  singer.  118  min.  9/30. 

December 

SAYONARA  Technirama,  WarnerColor.  Marlon  Brando, 
Red  Buttons,  Patricia  Owens.  Producer  Wiiar,  Goetz. 
Director  Josh  Logan.  Drama.  Based  on  *Se  award- 
winning  novel  of  James  Michener. 


Coming 


BLONDE  AND  DANGEROUS  Sally  Brophy.  Carla 
Merey,  Susan  Oliver.  An  Arwin  Production.  Director 
Bernard  Girard.  Producer  Martin  Melcher.  Melodrama. 
Life  in  a  girl's  correction  school. 

BOMBERS  B-52  CinemaScope  WarnerColor.  Karl  Mai- 
den. Natalie  Wood.  Producer  Richard  Whorf  Director 
Gordon  Douglas.  Drama.  Story  of  the  men  who  man 
the  bombers  that  defend  our  nation.    106  min. 

BOTH  ENDS  OF  THE  CANDLE  CinemaScope.  Ann 
Blyth.  Paul  Newman.  Richard  Carlson.  Producer  Mar- 
tin Rackin.    Director  Michael  Curtiz. 

CHASE  A  CROOKED  SHADOW  Richard  Todd.  Ann 
Baxter  Producer  Douglas  Fairbanks.  Director  Michael 
Anderson.  Melodrama. 

DARBY'S  RANGERS  WarnerColor.  Charles  Heston.  Tab 
Hunter.  Etchika  Choureau.  Producer  Martin  Rackin.  Di- 
rector William  A.  Wellman. 


FIFTEEN  BULLETS  FROM  FORT  DOBBS  Clint  Walker, 
Virginia  Mayo.  Producer  Martin  Rackin.  Director  Gor- 
don Douglas. 

LAFAYETTE  ESCADRILLE  Tab  Hunter,  Etchika  Choureau, 
J.  Carrol   Naish.    Producer-Director  William  A.  Well- 

LEFT   HANDED   GUN,   THE   Paul    Newman.    Lita  Milan. 

Producer  Fred  Coe.  Director  Arthur  Penn. 

NO  TIME  FOR  SERGEANTS  Andy  Griffith,   Myron  Mc- 

Cormick,    Nick   Adams.    Producer-Director   Mervyn  Le- 

Roy. 

OLD  MAN  AND  THE  SEA,  THE  CinemaScope,  Warner- 
Color.  Produced  by  Leland  Hayward.  Director  John 
Sturges.  Adventure.  Film  version  of  Ernest  Heming- 
way's prize-winning  novel. 


STORY  OF  MANKIND  WarnerColor.  All-star  cast. 
Producer-director  Irwin  Alien.  Drama.  A  world-wide 
tour  from  the  caveman  to  present  day.  100  min.  10/28. 

TENDER  FURY  Susan  Oliver,  Linda  Reynolds,  Carla 
Merey.  Producer  Martin  Melcher.  Director  Bernard 
Girard. 


To  Better  Serve  You  .  .  . 

Office  &  Terminal  Combined  At 
305  N.  12th  St.  N«w  Phones 

„..,    ,  ,  .  .    ,    „  Phila:  WAInut  5-39 

Philadelphia  7,  Pa.         N  j  .  wOodlawn  4 

NEW  JERSEY 
MESSENGER  SERVICE 

Member  National  Film  Carriers 


August 


DEPENDABLE  SERVICE! 

CLARK 
TRANSFER 

Member  National  Film  Carriers 

Philadelphia,  Pa.:  LOcust  4-3450 
Washington,  D.  C:  DUpoat  7-7200 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


BULLETIN 


Joe  Exhibitor  Talks  About 
Stockholders  and  Bankers: 

"They  don't 
have  to  live 
with  this 
business  -- 
we  do!" 


OVEMBER  25,  1957 


Business-wise 

Analysis  of 
the  New  Films 


DISTINCTION 


HE  BRIDGE  ON  THE 
RIVER  KWAI 

Other  Reviews: 

WITNESS  FOR  THE 
PROSECUTION 

APRIL  LOVE 
THE  ENEMY  BELOW 
BABY  FACE  NELSON 
PATHS  OF  GLORY 

OLD  YELLER 

ABOMINABLE  SNOWMAN 
OF  THE  HIMALAYAS 


ACTIO* 


The  tough  marine  of  "Mr.  Allison" -now  the  Captain  of  the  Sub-Ki 


The  famed  international  star  as  Commander  of  the  Killer 


4*  J 


For  your 
holiday  season 
box-office 
celebration 
from 
20th!  f 


1h 


Purls  available  with  magOptical  sound  I  he  best  in  Stereophonic  Sound 


Color  by  DE  LUXE  •  Produced  ai 


Pths  BIGGEST 
\LOCKBUSTERS  ! 


( POWELL  •  Screenplay  by  WENDELL  MAYES  •  Based  on  the  Novel  by  Commander  D.  A.  Rayner 


THE  SAME  3  EXCITING  Stated 

THAT  GAV 


BURKE... he  had  heard  all  the 
whispers.  He  knew  just  what 
La  Verne  was  — but  he  also 
knew  that  he  loved  her! 


ROGER... he  won  La  Verne  on 
a  throw  of  the  dice.  He  gave 
her  his  name  — 
and  took  everything  else! 


co-starring 


ROBERT  MIDDLETON »» ROBERT  J.  WILKE 


Directed  by  DOUGLA! 


3 


HE  SAME  JOLTING  IMPACT! 
SUCH  BOX  OFFICE  POWER! 


5nplay  by  GEORGE  ZUCKERMAN  •  Produced  by  ALBERT  ZUGSMITH  •  A  UNIVERSAL-INTERNATIONAL  PICTURE 


11 


WATER*  WOW! 


29-CITY  THEATRE 
PREVIEWS  FORECAST 
SMASH  M-G-M  HIT! 

ALBANY,  Palace.  "Excellent!" 

ATLANTA,  Grand.  "Nothing  but  raves.  Fun- 
niest I  ever  saw." 

BUFFALO,  Shea's.  "Hilarious,  voted  100%  excel- 
lent on  cards.  Greatest  audience  picture  in  years." 

CHARLOTTE,  Plaza.  "Most  outstanding  display 
of  spontaneous  enjoyment  ever  seen.  It's  money  in 
the  bank." 

CHICAGO,  Chicago.  "Excellent,  cards  outstand- 
ing. Great  comedy." 

CINCINNATI,  Albee,  "Excellent!" 

CLEVELAND,  State.  "Audience  in  continuous 
uproar.  Excellent — can't  miss." 

DALLAS,  Majestic.  "All  ages  laughed  heartily 
throughout.  All  cards  were  raves.  This  is  the  sort 
of  picture  which  gives  top  box-office." 

DENVER,  Orpheum.  "Outstanding.  Best  reac- 
tion we've  had  in  many  years." 

DES  MOINES,  Des  Moines.  "Excellent!" 

DETROIT,  Adams.  "Excellent!" 

INDIANAPOLIS,  Loew's.  "Laughs  through  en- 
tire film  beginning  to  ending." 

KANSAS  CITY,  MO.,  Midland.  "Laughter 
throughout. " 

LOS  ANGELES,  Studio.  "Invitational  Press  Pre- 
view on  big  sound  stage  of  Hollywood  correspon- 
dents got  howls  and  raves." 


Read  theatre  managers' 
reports  below  of  terrific 
audience  reaction! 


MEMPHIS,  Palace.  "Hilarious!  Should  do  a 
terrific  business." 

MILWAUKEE,  Riverside.  "Outstanding!" 

MINNEAPOLIS,  State.  "Comment  cards  claimed 
'Pix  tops  AIR.  ROBERTS  as  hilarious  comedy  in 
addition  to  beautiful  girls'." 

NEW  HAVEN,  Poli.  "Sensational!" 

NEW  ORLEANS,  State.  "A  howling  success." 

NEW  YORK,  Lexington.  "Preview  scored  high- 
est audience  rating  in  two  years." 

OKLAHOMA  CITY,  Midwest.  "One  of  the  fun- 
niest and  best  pictures  in  two  years.  An  outstand- 
ing box-office  attraction." 

OMAHA,  State.  "Excellent!" 

PHILADELPHIA,  Tower.  "Exceptionally  good. 
People  in  lobby  talked  about  many  hilarious 
incidents." 

PITTSBURGH,  Penn.  "Terrific.  Looks  like  mort- 
gage lifter." 

PORTLAND,  Liberty.  "Terrific!" 

ST.  LOUIS,  MO.,  State.  "Terrific.  Comment  cards 
100%  rave." 

SALT  LAKE  CITY,  Utah.  "Hilarious.  Audience 
enthusiastic." 

SAN  FRANCISCO,  Warfield.  "Terrific.  People 
stated  this  was  better  than  MR.  ROBERTS." 

WASHINGTON,  Capitol.  "A  riot.  Everyone  will 
be  talking  about  it. " 


GIANT  AD  CAMPAIGN  SPANS  AMERICA!  ASK  M-G-M 


M-G-M  presents  "DON'T  GO  NEAR  THE  WATER"  starring  GLENN  FORD 
Gia  Scala  •  Earl  Holliman  •  Anne  Francis  •  Keenan  Wynn  •  Fred  Clark  •  Eva  Gabor 
Russ  Tamblyn  •  Jeff  Richards  •  Screen  Play  by  Dorothy  Kings  ley  and  George  Wells  •  Based 
on  the  Novel  by  William  Brinkley  •  In  Cinemascope  and  Metrocolor  •  An  Avon  Production 
Directed  by  Charles  Walters  •  Produced  by  Lawrence  Weingarten 


Viewpoints 


NOVEMBER  25.  1957 


VOLUME  25,  NO.  24 


JOE  EXHIBITOR  WHITES: 


We  Desperately  \reett  Men  «/  Courage! 


To  the  Editor 
Dear  Sir: 

I  am  directing  the  remarks  in  this 
letter  to  the  men  who  head  the  film 
companies.  What  I  am  going  to  get  off 
my  chest — and  I've  been  loaded  down 
with  it  for  what  seems  an  eternity — I 
shall  try  to  say  without  bitterness  or  re- 
crimination. And  that,  sir,  won't  be 
easy  because  I  am  watching  a  business 
to  which  I  have  devoted  all  my  adult 
life  being  hacked  to  pieces  for  the  sake 
of  a  few  million  quick  dollars. 

Let  me  say  first,  in  justice  to  the  film 
executives,  that  had  I  been  in  their 
boots  at  the  time  the  suicidal  process 
began,  I  don't  know  whether  I  would 
have  been  able  to  withstand  the  pres- 
sures and  temptations  they  have  experi- 
enced in  recent  years  without  yielding 
to  them,  as  they  have  done. 

And  there  was  plenty  of  pressure, 
I'm  sure.  There  was,  for  instance,  the 
threat  of  a  serious  decline  in  their  film 
grosses,  television's  relentless  drain  on 
the  boxoffice,  rising  costs  of  production. 
And  from  the  outside,  they  had  to  meet 
pressure  from  the  stockholders  who 
wanted  a  steady  flow  of  dividends,  and 
from  the  bankers  who  were  scared  that 
the  millions  they  had  invested  in  the 
movie  industry  might  not  be  secure. 
Nor  am  I  overlooking  the  fact  that 
these  men,  though  they  hold  positions 
as  top  executives  of  the  film  companies, 
always  face  the  threat  of  proxy  fights 
by  powerful  stockholders  in  alliance 
with  banking  interests. 

The  temptation  was  great  and  ra- 
tionalization came  pretty  easily  as  the 
pressures  began  to  get  stronger.  I  sup- 
pose the  film  company  presidents 
thought  along  these  lines: 

"After  all,  those  hundreds  of  mil- 


lions in  production  costs  lying  there 
packed  away  in  the  vaults  have  been 
written  off  the  books  and  represent  un- 
productive assets.  As  they  stand,  we 
could  get  25,  maybe  50,  million  quick 
without  turning  a  camera  or  paying  a 
salary,  or  haggling  with  exhibitors,  or 
advertising  a  single  line.  We  wouldn't 
even  have  to  cut  in  Uncle  Sam  for  his 
usual  take  of  the  profits.  We  can  get 
away  with  the  capital  gains  gimmick, 
they  tell  us,  on  a  deal  like  this.  Brother, 
what  a  financial  picture  that  would 
make  for  the  stockholders  and  the 
banks !" 

I  guess  it  seemed  perfectly  logical  to 
think  something  like  that  w  hen  the  go- 
ing was  rough  and  the  money  guvs 
were  breathing  down  their  neck.  To 
those  people,  of  course,  the  film  com- 
pany represents  an  interest  among 
many  others,  one  which  can  be  sold  off 
at  the  market  price  if  it  fails  to  bring 
them  a  profitable  return. 

So  if  their  hunger  for  profits  and 
ignorance  of  our  industry's  workings 
made  them  shortsighted,  it  is  an  under- 
standable thing.  Besides,  what  if  it  did 
kill  off  the  goose  that  had  laid  those 
golden  dividends?  They  'd  get  their  cash 


BULLETIN 


Film    BULLETIN:    Motion    Picture    Trade  Paper 
published   every  other   Monday  by  Wax  Publi- 
cations.   Inc.     Mo  Wax,   Editor  and  Publisher. 
PUBLICATION-EDITORIAL  OFFICES:    123?  Vine 
Street,  Philadelphia  7,  Pa.,  LOcust  8-0950,  0951. 
Philip    R.    Ward.    Associate    Editor:  Leonard 
Coulter,    New   York   Associate   Editor;  Duncan 
G.   Steck.   Business   Manager;   Marvin  Schiller, 
Publication  Manager;  Robert  Heath  Circulation 
Manager.  BUSINESS  OFFICE:  522  Fifth  Avenue 
New    York    34.    N.    Y.,    MUrray    Hill  2-3631; 
Wm.  R.  Maziocco,  Editorial  Represen- 
tative.   Subscription  Rates:  ONE  YEAR 
S3. 00  in  the  U.  S.;  Canada,  $4.00;  Eu- 
rope   $5.00.  TWO  YEARS:  $5.00  in  the 
U.   S.;  Canada.   $7.50;   Europe,  $9.00. 


quick  and  put  their  dough  into  another 
investment. 

But,  my  friend,  they  don't  have  to 
live  with  this  business — we  do! 

All  the  men  in  our  business,  in  pro- 
duction, in  distribution  and  in  exhibi- 
tion, who  have  spent  a  lifetime  build- 
ing a  business  or  a  career,  yvho  sw  eated 
out  the  lean  years  time  and  again  to 
establish  our  industry  —  they  are  the 
ones  who  must  suffer  the  long-range 
consequences  resulting  from  the  sale  of 
the  old  film  libraries  to  television.  The 
destruction  of  our  business  is  not  in- 
evitable. We  only  have  to  think  clearly 
to  prevent  it. 

When  they  made  the  boohoo  of  sell- 
ing their  libraries  to  TV,  the  heads  of 
the  film  companies  probably  did  not 
know  what  would  happen  to  the  box- 
office.  But  now  that  they  see  the  ter- 
rible consequences,  if  continue  to  fol- 
low the  same  course  that  won't  be  ig- 
norance or  shortsightedness — it  will  be 
plain  criminal,  like  committing  suicide 
by  blowing  up  your  house  and  your 
whole  family  w  ith  it ! 

I  see  by  the  trade  papers  that  the 
whole  vicious  cycle  was  just  recently 
explained  by  Eddie  Silverman,  out  in 
Chicago.  It's  true  that  just  when  thea- 
tres were  beating  back  the  novelty  of 
TV  competition,  the  film  companies' 
unloaded  the  best  of  their  backlogs  to 
television  and  gave  us  a  low  body  blow. 
Silverman's  warning  that  10,000  thea- 
tres may  close  during  the  next  year 
shouldn't  be  taken  lightly.  He's  no 
alarmist.  He's  a  guy  who  knows  this 
business,  who's  been  in  it  since  he  was 
a  kid,  and  who's  pinned  his  future  to 
it.  His  prediction  that  the  theatre  busi- 
ness as  we  know  it  will  soon  disappear 
unless  the  film  companies  stop  making 
( Continued  on  Page  1 1 ) 


Film  BULLETIN    November  25,  1957        Page  7 


FINANCIAL 

BULLETIN 


NOVEMBER      25,  1957 


By  Philip  R.  Ward 


MAKING  BOOK  (Value).  In  these  days  of  tumbling  equity 
values  in  film  industry  shares,  it  is  a  wonder  that  some  cheery 
Pollyanna  has  not  made  the  most  of  the  one  seemingly  bright 
condition  in  trade  securities — namely,  the  book  value. 

As  the  financial  people  define  it,  book  value  is  the  surplus 
of  a  firm's  assets  over  liabilities  spread  over  the  outstanding 
stock.  In  short,  it  is  net  worth  per  share. 

Were  it  not  for  the  myriad  forces  beyond  pure  objective 
criteria  which  shape  human  judgment,  book  value  might  be 
regarded  as  the  most  perfect  of  barometers  in  appraising  the 
true  measure  of  a  stock.  But  such  never  can  be  the  case.  Fore- 
casts, hunches,  trends,  general  economic  conditions,  special 
circumstances,  emotionalism — all  these  forces  and  more — act 
and  interact  upon  each  other  to  render  a  single  verdict  which 
manifests  itself  in  the  price  of  a  security  at  a  given  time. 

Nonetheless  some  mathematical  basis  is  needed  to  hold  the 
workings  of  human  judgment  within  reasonable  limits.  That 
basis  is  book  value. 


There  comes  a  time  when  (other  conditions  being  equal) 
book  value  so  exceeds  market  value  that  analysts  are  tempted 
to  say  a  stock  is  undervalued.  In  moviedom  such  a  distinction 
exists  and  the  gap  is  ever  widening.  It  will  serve  our  case  to 
cite  just  a  few  industry  examples  in  which  current  stock  mar- 
ket prices  are  contrasted  with  approximate  book  values  based 
upon  the  best  available  evidence: 


Columbia 
Loew's 
Paramount 
20- Fox 

Stanley-Warner 


Current  Price  Range  Approx.  Book  ]'alue 
13-14  281/4 
12-13  271/2 
29-30  391/2 
22-23  341/4 


13-14 


311/2 


With  Loew's,  especially,  there  is  much  dispute  regarding 
book  value.  Some  agencies  suspect  a  worth  approaching  545 
per  share  and  claim  that  accounting  practice  provides  mis- 
leading information  in  connection  with  theatre  real  estate. 
The  conservative  figure  has  been  offered  here.  There  is  no 
reason  to  believe  that  in  the  event  of  Loew's  liquidation,  its 
theatres  could  command  anything  but  a  sacrifice  price. 

This  last  point  underscores  the  danger  of  putting  too  much 
emphasis  on  a  high  book  value-low  market  value  condition. 
After  all,  book  value  has  no  real  practical  meaning  to  an  in- 
vestor except  as  measured  by  potential  liquidation.  At  this  point 


the  excess  of  assets  over  liabilities  takes  on  concrete  meaning, 
and  the  nature  of  the  assets  become  of  prime  importance. 


Of  chief  concern  to  equity-holders  are  the  quick  assets:  cash, 
negotiable  instruments,  receivables,  and  so  forth.  On  this 
front,  the  major  film  companies  are  generally  strong.  By  tra- 
dition Hollywood  has  been  a  high  cash  position  industry. 
Paramount  Pictures  has  been  notable  in  this  department  for  a 
number  of  years.  Based  on  its  annual  report  for  the  year  ended 
December  29,  1956,  however,  Paramount  reduced  its  bank 
deposits  by  almost  one  half:  S22.2  million  to  Si  1.7  million. 
Yet  its  current  assets  fell  only  S4.6  million.  But  whereas  it 
could  show  only  S10.8  million  in  another  current  assets  cate- 
gory, ".Released  Productions  ",  on  its  December,  1955,  balance 
sheet,  that  item  showed  S30.2  million  on  the  December,  '56, 
balance  sheet.  "The  Ten  Commandments"  probably  absorbed 
a  good  amount  of  the  increase. 

From  the  investors  standpoint,  sound  fiscal  policy  might 
have  dictated  preserving  cash  because  of  shaky  boxoffice  trade 
generally. 

In  receding  times,  the  investor  tends  to  hold  suspect  assets 
other  than  those  quickly  convertible  into  cash.  He  plumped  for  a 
sale  of  the  backlog  libraries  for  this  very  reason.  Now  he  is 
concerned  about  the  dollars  tied  up  in  current  production.  Un- 
like the  one-shot  transactions  with  TV,  theatre  films  must  earn 
their  way  over  long  months  under  flagging  demand  conditions. 

Similar  apprehensions  obtain  for  other  assets.  Enormous 
sums  have  been  invested  in  specialized  structures  and  equip- 
ment. In  times  of  decline,  the  investor  agrees  these  assets  are 
perhaps  too  specialized.  Beyond  an  unpredictable  consumer 
in  television,  Hollywood's  unique  real  estate  is  possessed  of 
pitiful  re-sale  appeal.  Yet  this  prodigious  chattel,  even  after 
years  of  depreciation,  makes  up  a  major  part  of  the  industry's 
net  worth. 

These  are  a  few  reasons,  among  others,  why  the  so-called 
bargain  hunters  have  shied  away  from  industry  shares.  From 
a  strictly  paper  and  pencil  standpoint  there  is  no  gainsaying 
the  number  of  depressed  and  potentially  profitable  situations 
available  in  the  movie  investment  field.  But  the  investment 
public  has  grown  wary.  In  moviedom  itself  defeatism  is  epi- 
demic. This,  more  than  perhaps  anything  else,  is  scaring  risk 
capital  away. 

It  is  our  opinion  that  a  show  of  hyper-confidence  on  the 
part  of  movie  industry  leaders,  backed  by  a  material  program 
of  action,  could  attract  a  fresh  rush  of  speculation  money  and 
bolster  sagging  values.  Knowledgeable  market  people  know 
film  shares  are  depressed  in  terms  of  book  value.  They  want  to 
be  reassured  that  film  shares  are  under-valued  in  terms  of  fact. 


Page  8       Film  BULLETIN    November  25,  1957 


FOR  WHOM  THE  POLL  TOLLS.  It  appears  to  be  tolling  for 
toll-tv,  if  we  can  accept  the  results  of  several  recent  public 
polls.  First  came  Senator  William  Langer's  (N.D.)  survey  right 
on  the  first  w  ired-television  testing  grounds  in  Bartles\  ille. 
Oklahoma,  where  the  citizenry  recorded  themselves  as  opposed 
to  "telemovies"  by  something  like  a  12-to-l  count.  The  Senator 
announced  his  intention  of  bringing  his  findings  to  the  atten- 
tion of  the  forthcoming  session  of  Congress,  which  is  expected 
to  review  the  whole  toll-tv  issue  and  to  instruct  the  Federal 
Communications  Commission  on  its  future  course  re  this  prob- 
lem. Broadcasting,  the  t\ -radio  trade  weekly,  recently  polled  a 
cross-section  of  ten  major  cities  and  came  up  with  a  2-to-l  re- 
sult against  subscription  television.  The  study,  conducted  for 
the  magazine  by  Pulse,  Inc.,  a  professional  polling  service,  re- 
vealed some  interesting  facts.  For  one:  "Two-thirds  of  the  re- 
spondents voted  that  they  were  not  interested  in  having  toll-tv 
in  their  homes  even  though  they  were  told  that  first-run 
movies,  major  sports  events,  Broadway  shows,  operas,  ballets 
were  among  the  programs  being  held  out  to  them  as  a  supple- 
ment to  their  free-tv  fare."  Of  those  who  voted  for  pay-tv,  a 
large  majority  preferred  to  be  charged  on  a  per-program  basis, 
rather  than  a  flat  monthly  fee.  The  pay-tv  advocates  showed  a 
decided  preference  for  two  forms  of  entertainment,  if  they  had 
to  pay  for  them — sports  events  and  movies.  Still  another  poll 
showed  the  subscription  television  idea  in  public  disfavor,  by 
even  a  wider  margin  than  the  others.  This  one  was  conducted 
by  rj  Guide,  which  had  tabulated  some  45,000  ballots  from 
its  readers  up  to  last  week,  with  over  96  percent  voicing  oppo- 
sition to  pay-tv.  And,  to  top  it  off,  came  the  unanimous  rejec- 
tion of  cable-tv,  or  any  other  form,  by  the  Theatre  Owners  of 
America  at  their  convention  in  Miami  last  w  eek. 

O 

WHO'S  TO  GET  EM  OUT.  There  is  a  growing  belief  among 
some  prominent  exhibition  leaders  that  if  any  "go  out  to  the 
movies"  institutional  campaign  is  to  get  off  the  ground  and  ac- 
complish its  purpose,  it  will  have  to  be  done  by  the  exhibitors 
themselves.  They  feel  that  the  best  they  can  expect  from  the 
film  companies  (with  perhaps  two  exceptions)  is  mere  token 
support,  since  most  film  executives  have  a  blind  spot  about 
anything  that  doesn't  directly  sell  their  product.  There  is  no 
lack  of  enthusiasm,  mind  you,  among  progressive  theatremen 
for  the  "Get  More  Out  of  Life"  slogan,  but  they  are  simply 
coming  to  the  conclusion  that  the  job  will  have  to  be  done  by 
them,  and  without  the  full-scale  aid  of  the  distributors. 
0 

PARAMOUNT  &  TELEMETER.  Reports  have  it  that  Para- 
mount is  planning  to  switch  more  of  its  film  personnel  to  the 
Telemeter  toll-tv  subsidiary.  President  Barney  Balaban  remains 
firmly  convinced  that  his  company's  future  rests  with  the  sub- 
scription television  system  (which  explains  why  he  has  been 
reluctant  to  sell  the  Paramount  oldies  to  tv).  Meanwhile,  it 
appears  that  strict  economy  in  production,  in  promotion,  in 
sales,  and  in  every  other  branch  of  this  company's  operations 
will  be  the  order. 

O 

UNDERCOVER  PUSHING.  Despite  the  apparent  hands-off 
attitude  of  motion  picture  companies  toward  subscription  tele- 
vision (except  for  Paramount,  which  is  openly  in  the  field  via 
its  International  Telemeter  subsidiary),  behind-the-scenes  ma- 
neuvering in  favor  of  toll-tv  was  charged  to  film  interests  by 


l/l/hat  They'te  hiking  About 

□    □    □    In  the  Movie  Business    □    □  □ 


Harold  Ii.  Fellows,  president  of  the  National  Association  of 
Radio  and  Television  Broadcasters.  "Motion  pictures  are  inter- 
ested only  in  making  the  American  living  room  into  a  box- 
office"  was  the  main  tenet  of  the  charge  hurled  recently  by 
Fellows.  He  also  flatly  predicted  that  subscription  systems 
"would  fail  because  I  don't  think  people  will  pay  the  $3  to 
a  week  they  would  have  to". 

0 

CINEMIRACLE  VS.  CINERAMA.  Cinemiracle,  according  to 
some  of  those  who  have  witnessed  tests  of  the  new  photo- 
graphic-projection process,  is  going  to  supplant  Cinerama  as 
the  leading  audience  participation  medium.  From  a  cost  stand- 
point, this  3-film  system,  with  its  three  projectors  interlocked 
in  one  projection  booth  as  compared  to  Cinerama's  projectors 
in  three  separate  booths,  helps  to  cut  down  on  the  high  exhibi- 
tion costs  inherent  in  the  Cinerama  process.  From  the  audience 
viewpoint,  the  blending  of  the  lines  of  demarcation  between 
the  film  segments  in  the  Cinemiracle  process,  making  the  lines 
almost  invisible,  is  a  vast  improvement.  Another  plus  factor  in 
Cinemiracle's  favor  is  its  adaptability  to  close-up  shots.  Indus- 
try insiders  expect  the  new  process  to  replace  Cinerama  within 
a  year,  unless  the  latter  comes  up  with  the  necessary  technical 
advances  that  will  enable  it  to  compete  with  the  new  process 
developed  by  National  Theatres. 

O 

TV  SET  PRODUCTION  DROP.  Saturation  appears  to  be 
smothering  the  TV  set  producers.  Production  during  October 
was  655,844,  compared  to  832,631  in  September,  a  drop  of 
2lr'f.  and  about  the  same  amount  off  from  October  a  year  ago. 
Industry  officials  are  pessimistic  over  the  possibility  that  in- 
creased business  during  the  holiday  season  will  raise  sales  levels 
to  last  year's  figures.  To  add  to  the  black-bordered  picture, 
RCA  has  laid  off  350  production  workers  at  its  Bloomington, 
Indiana,  plant  while  General  Electric  has  given  pink  slips  to 
some  "00  at  its  TV  plant  in  Syracuse.  Layoffs  in  other  com- 
panies are  the  rule  rather  than  the  exception.  Major  reason  for 
the  dead  market  in  TV  set  sales  seems  to  be  those  two  old 
bugaboos:  saturation  and  lack  of  a  replacement  market.  The 
majority  of  industry  executives,  except  at  RCA,  are  of  the 
opinion  that  color  can't  be  sold  to  the  public  until  the  prices 
come  down  to  the  black-and-white  level,  about  S300  for  a  top 
quality  console. 

O 

UNCLE  SAM  WILL  BE  TOUGH.  Exhibition  leaders  frankly 
admit  that  their  call  for  a  retroactive  accelerated  depreciation 
to  be  awarded  theatremen  by  the  government  in  an  effort  to 
help  the  movie  houses  is  due  for  tough  sledding  in  Congress. 
With  defense  spending  back  on  the  upswing  and  the  public- 
hoping  (futilely)  for  a  tax  cut  next  year,  many  politicos,  al- 
though they  believe  exhibition  has  a  valid  case,  doubt  that  a 
b'Al,  if  introduced,  would  ever  get  out  of  committee  under 
present  circumstances. 


Film  BULLETIN    November  25.  1957        Page  9 


Millions  of  movies-oer*  Qii 

and  their  won,!      '  feainsters 

f°rthis  expose  of,      ^  1°okin* 
xpose  of  gangsterism  in 

*  the  trucking  industry! 


ith  PATRICK  ALLEN  .  Screenplay  by  KEN  HUGHES  •  Produced  by  MAXWELL  SETTON  .  Directed  by  KEN  HUGHES  •  A  MAXWELL  SETTON  PRODUCTION 


HAUL  YOURSELF  DOWN  TO  THE  EXCHANGE 

...AND  BOOK  THE  BIG  THRILLS  FROM 


Viewpoints 


(Continued  from  Page  7) 

any  more  important  pictures  available 
to  TV  simply  lays  it  on  the  line  how 
deadly  serious  the  situation  is.  And  the 
film  companies  ought  to  take  to  heart 
his  warning  that  "If  theatres  perish, 
future  quality  motion  pictures  will  not 
be  available  to  television  because  TV 
cannot  absorb  the  heavy  production 
costs  that  accompany  the  making  of 
quality  movies." 

The  letter  from  an  ex-moviegoer 
published  in  your  last  Film  BULLETIN 
was  a  clear  presentation  of  what  has 
put  our  business  on  the  edge  of  the 
cliff. 

It's  ABC:  You  can't  give  a  product 
away  and  expect  people  to  buy  the 
same  thing,  even  if  it  is  a  little  fresher! 

If  anybody  needs  proof  of  how  TV 
can  injure  a  business,  look  at  what  has 
happened  to  baseball.  Uncontrolled 
televising  of  major  league  games  has 
practically  wiped  out  the  minor  leagues. 
Even  some  of  the  big  league  teams  have 
taken  it  on  the  chin  to  a  point  where 
the  biggest  city  in  the  country  is  left 
with  a  single  ball  club  where  three 
teams  once  filled  the  stands.  Consider 
the  case  of  the  ex-Brooklyn  Dodgers. 
Mr.  O'Malley  tried  to  explain  away 
the  drop  in  attendance  in  Brooklyn  on 
everything  but  the  one  simple  reason: 
televising  all  his  games  into  the  homes 
of  his  would-be  patrons.  They  just 
stayed  home  in  droves.  And  you  can 
bet  your  bottom  dollar  that  if  they  tele- 
vise the  home  games  for  free  in  Los 
Angeles,  he'll  be  looking  for  another 
city  to  move  the  club  to  within  a  few 
years.  Most  of  the  baseball  teams  that 
prosper  have  the  good  sense  to  keep 
their  home  games  for  sale  at  the  box- 
office. 

The  college  and  pro  football  inter- 
ests now  have  controlled  TV  showings 
so  that  it  gives  them  a  minimum  of 
competition.  They  had  to  learn  their 
iesson  the  hard  way  when  college  foot- 
ball was  almost  wrecked  by  indiscrimi- 
nate televising  of  regional  games,  and 
it  was  only  when  the  NCAA  adopted  a 
policy  of  strict  control  over  televised 
games  that  it  was  able  to  fill  the  stadi- 
ums again.  The  pro  football  league  has 
been   growing   by   leaps   and  bounds 


since  it  set  its  policy  of  no-TV  in  any 
territory  where  the  home  team  is  play- 
ing. 

So  by  logic  and  by  example,  the  film 
companies'  presidents  should  know  by 
now  that  they  can't  justify  their  sales 
of  their  films  to  TV  on  any  sound  eco- 
nomic grounds. 

I  recall  that  some  of  the  film  execu- 
tives claimed  they  were  worried  by  the 
anti-trust  suit  filed  by  the  Department 
of  Justice  a  couple  of  years  ago  to  com- 
pel the  distributors  to  offer  their  back- 
logs for  sale  to  free  television.  They 
should  have  stood  up  and  contested 
that  threat.  On  the  very  face  of  the  de- 
mand that  one  business  be  forced  to 
sell  its  merchandise  to  a  competitor 
who  will  then  give  it  away  free  of 
charge,  it  was  probably  the  most  asinine 
case  the  Justice  Department  ever  under- 
took. And  it  was  as  flagrant  an  ex- 
ample of  bullying  by  the  Government 
as  any  industry  had  to  face.  There's  no 
doubt  in  my  mind  that  the  Supreme 
Court  would  have  thrown  the  case  out, 
and  quickly.  For  how  could  any  court 
have  fixed  the  price  at  which  the  film 
companies  would  have  to  sell  their 
libraries!  That  was  a  time  when  some 
courage  on  the  part  of  the  film  men 
would  have  come  in  handy,  but  they 
were  listening  to  a  siren  song  and 
didn't  want  to  weigh  the  consequences. 

Now  every  company  but  Paramount 
has  made  its  pre-'48  films  available  to 
home  showings,  and  I  wish  Para- 
mount's  holdout  could  be  attributed  to 
nobler  motives,  but  I'm  afraid  the  an- 
swer is  not  consideration  of  the  thea- 
tres or  the  industry,  but  Mr.  Balaban's 
Telemeter  baby.  If  and  when  pay-TV 
gets  the  green  light,  he  probably  ex- 
pects to  reap  a  harvest,  but  I  think  he's 
doomed  to  disappointment. 

Let's  admit  now,  men,  that  the  sale 
of  the  old  feature  libraries  to  TV  was  a 
blunder.  Where  do  we  go  from  here? 

Before  long,  the  film  executives  will 
have  to  face  the  problem  of  what  to  do 
with  their  post-1948  features.  The 
hungry  TV  market  wants  them,  and 
our  industry  is  going  to  have  to  take  a 
stand.  Even  if  they,  themselves,  are 
convinced,  the  film  men  are  going  to 
have  to  convince  the  pressure  groups 


that  once  the  present  films  they  have 
sold  are  played  out,  not  another  film 
made  for  theatres  will  be  made  avail- 
able to  television. 

Will  they  as  a  body  stand  up  to  the 
stockholders  and  the  financial  interests 
and  tell  them: 

"We  listened  to  you  once  and  have 
ended  up  practically  bankrupting  our 
customers  by  giv  ing  away  the  same  type 
of  product  they  were  asking  the  public 
to  buy.  We  are  losing  our  basic  source 
of  revenue,  the  theatres,  and  the  drop 
in  our  share  of  film  rentals  will  quicklv 
eat  up  whatever  monies  we  get  from 
the  sale  of  our  pictures  to  television.  II 
we  continue  to  sell  to  TV,  we'll  lose 
practically  the  entire  source  of  income 
we  need  to  stay  alive. 

"You  are  investors  in  our  products 
and  we  need  your  money  to  continue 
making  these  products.  But  we  know 
the  movie  business.  We  have  spent  a 
lifetime  learning  the  public's  entertain- 
ment demands  and  meeting  their  re- 
quirements and  building  an  industry 
that  merited  your  investing  in  us. 

"You  stuck  with  us  through  the  worst 
of  several  crises,  the  pre-talkies  slump, 
the  depression,  the  1950-53  dive.  But 
we  knew  our  public  and  we  knew  that 
if  we  weathered  television's  novelty,  we 
could  bring  the  public  back  to  the  su- 
perior entertainment  we  have  to  offer. 
The  public  began  to  return  to  the  thea- 
tres and  we  felt  we  had  TV  licked — 
until  we  sold  our  fine  films  to  TV,  and 
now  the  movie  fans  are  sitting  at  home 
watching  them. 

"Now  we  ask  you  to  let  us  run  our 
business  for  its  best  interests,  and  yours, 
too,  in  the  long  run. 

"If  we  sell  any  more  pictures  to  TV, 
we  might  as  well  put  everything  we 
have  on  the  block.  It  will  be  worthless 
to  our  theatre  customers;  it  will  mean 
the  end  of  big-time  movie  business.  It 
means  we  sell  and  get  out.'' 

It  will  take  men  of  foresight  and  real 
courage,  to  take  that  position.  But  it  is 
the  sensible  thing  to  do,  and  we  need 
men  with  courage  and  good  sense  des- 
perately at  this  moment. 

Otherwise,  the  next  sale  of  films  to 
television  will  go  down  in  history  as 
the  movie  industry's  big  bankruptcy 
sale. 

I  am, 

Hopefully  yours, 
JOE  EXHIBITOR 


Film  BULLETIN    November  25,   1957        Page  11 


1 

REPUBLIC  HAl 
RELEASE 


Available  sot. 


THUNDER  OVER  TANGIER 

ROBERT  HUTTON    -    LISA  GASTONI    •    MARTIN  BENSON 


siiiiiiiiiiliiS 


gunfire \jn JJSST-  — eE 

VERA  RALSTON    •  ^^^RWRWRU 

JON  H^-^OHH  CARRAD.NE 


COREY  ALLE 


VENILE  JUNGLE 


TAGE  THRILL  SHOWS!   

r 


TD  TELL  YOU  THE  TRUTH  •  by  W.  Robert  Mazzocco 


Things  Are  Looking  Up 


A  few  issues  back  we  were  bemoaning  the  past  summer's 
lackluster  performance.  Now,  believe  it  or  not,  it  is  our  firm 
conviction  that  movies  are  really  and  truly  getting  better  than 
ever.  And  not  just  a  few  films  that  you  can  count  on  one  hand, 
but  a  whole  batch  and  bustle  of  them  which  can  be  said  to 
augur  a  trend. 

It  is  a  trend  that  does  not  spark  out  of  any  one  product  pat- 
tern or  any  one  company;  there  is,  thank  heaven,  no  uniformity 
in  this  bounty.  The  maverick  marvel  of  motion  pictures  is  com- 
ing back  into  its  own  again.  That  endless  and  totally  engaging 
variety  not  only  in  subject  matter  but  in  story  approach  and 
execution  is  once  more  in  full  swing. 

Exhibitors  get  this  babble  and  bromide  daily,  so  they  may 
quite  naturally  react  to  this  view  with  dark  skepticism  and 
some  heady  sarcasm.  They  know  the  score,  explicitly  docu- 
mented in  the  red  ink  on  their  books  of  late,  and  they've  gone 
through  those  periodic  turnabouts  of  their  local  bijou  into  a 
chamber  of  horrors.  They  are  hardened  business  men  and  not 
susceptible  to  sentiments  a  la  Madison  Avenue.  But  we  are 
certain  that  even  they  must  be  a  little  on  the  qui  rive.  Word 
is  spreading  from  coast  to  coast,  real  enthusiasm  seems  to  be 
making  the  rounds  in  private  screening  rooms.  One  crusty 
Hollywood-hater  was  recently  persuaded  by  us  to  look  at  a 
spate  of  new  films,  and  there's  been  an  amazing  and  unquali- 
fied recantation  from  him.  He  sat  in  a  kind  of  blinking  won- 
der— he  was  seeing  a  barrage  of  topflight  entertainment  from 
an  industry  he  thought  moribund. 

Two  Sparkling  Musicals  Making  Rounds 

But  all  this  shouldn't  be  that  surprising;  just  look  at  what's 
beginning  to  make  the  rounds.  In  the  sparkling  manner  and 
mood  of  the  best  in  musical  comedy  we  have  two  dandy  shows, 
"Pal  Joey"  and  "Les  Girls".  And  we  have  the  kind  of  dazzling 
performances  of  Frank  Sinatra  in  one  and  Kay  Kendall  in  the 
other  that  make  an  audience  go  wild  in  appreciation.  Right  on 
the  twinkling  toes  of  these  two,  we  have  a  pair  of  outrageously 
fast,  funny  and  furious  service  comedies,  a  survey  of  the 
dizzier  side  of  war.  They  are  "Don't  Go  Near  The  Water"  and 
"Operation  Mad  Ball",  and  the  howls  they're  already  eliciting 
are  squelching  that  fashionable  idea  that  Hollywood  has  lost 
its  touch  with  screwball  and  original  humor. 

Since  variety  is  the  keynote  in  the  new  product,  it  is  nice  to 
note  a  fine  polemical  drama  like  "Paths  Of  Glory".  Whereas 
the  above-mentioned  comedies  treat  the  war  as  a  lark,  the  latter 
film  courageously  draws  sharp  and  compassionate  portraits  of 
the  complexities  of  life  under  fire  and  probes  deeply  into  the 
psychological  mechanisms  of  the  soldier. 

And  in  "The  Enemy  Below"  and  Britain's  "Pursuit  of  the 
Graf  Spee",  we  have  two  films  that  in  the  impressively  and 
masterfully  recreate  the  suspense  of  ship  and  submarine  war- 
fare. They  are  action  films  as  tense  and  taut  as  one  of  those 
battle-scarred  documentaries.  Both  offer  superb  performances. 
In  "The  Enemy  Below"  German  actor  Curt  Jurgens  makes  his 
American  debut.  He's  the  type  of  new  foreign  blood  that  is 
currently  doing  much  to  bolster  the  Beverly  Hills  acting  roster. 


In  "Graf  Spee-'  Peter  Finch  is  simply  magnificent  as  the  famous 
German  commander,  Captain  Langsdorff. 

For  those  who  like  the  immensities  of  the  screen,  sprawling 
in  spectacle  there  is  the  pageantry  and  profusion  of  the  post 
Civil  War  era  in  M-G-M's  "Raintree  County  ".  There  is  the 
mystery  of  the  Sahara  and  the  fabulousness  of  a  treasure  hunt 
in  "Legend  Of  The  Lost"  and  a  lean  and  leathery  Western  saga 
in  "Saddle  The  Wind". 

Certainly  one  of  the  most  stylish  suspense  thriller  we've  ever 
seen  is  "Witness  For  The  Prosecution  ".  A  contemporary  love 
story  set  against  a  feast  of  Japanese  splendor  is  "Sayonara", 
just  the  kind  of  great  popular  entertainment  the  "lost  audi- 
ence" has  been  searching  for. 

Filmizations  of  Four  Top  Novels 

And  on  the  horizon  are  a  quartet  of  films  made  from  four 
major  novels,  each  with  a  temperamental  and  territorial  canvas. 
These  are:  "Peyton  Place",  "A  Farewell  To  Arms",  "The 
Brothers  Karamazov"  and  "The  Quiet  American".  Though  we 
haven't  seen  any  of  them,  we  have  it  on  unimpeachable  authori- 
ty that  all  the  mighty  power  and  persuasion  of  the  originals 
has  been  breathtakingly  transcribed  into  cinematic  terms. 

And  there's  more,  much  more.  Anna  Magnani's  return  in 
"Wild  Is  The  Wind",  Shirley  Booth's  in  "The  Matchmaker", 
the  screen's  most  popular  new  stars,  Sophia  Loren  and  Anthony 
Perkins,  in  a  tempestuous  picturization  of  Eugene  O'Neil's 
"Desire  Under  The  Elms ",  teen  age  gods  Tab  Hunter,  Pat 
Boone  and  Elvis  Presley  all  in  new  juke  box  delights,  and 
others.  Taking  a  back  seat  to  none  of  the  big  shows  coming  up 
is  the  "The  Bridge  On  The  River  Kwai"  (see  review  in  this 
issue).  In  any  year  it  would  be  a  standout,  coming  now  at  such 
a  crucial  time  it  is  a  kind  of  banner  film  to  which  all  movie 
fans  will  rally  happily  around. 

And  just  in  case  we've  given  the  impression  that  the  above 
named  hoard  of  goodies  is  going  to  the  market  place  at  the 
same  time,  we  hasten  to  inform  you  that  the  distribution  heads 
have  seen  the  light  or  are  making  definite  plans  to  anyway.  For 
example,  a  few  days  ago  United  Artists'  bright  and  bouncy 
president  Arthur  Krim  announced  a  balanced  schedule,  a  list- 
ing of  sixteen  top  films  which  he  has  proportionately  divided 
in  all  the  four  seasons  of  next  year.  This  means  that  exhibitors 
will  not  be  stranded  with  a  dearth  of  merchandise  during  one 
season  and  an  over  abundance  during  another.  The  products 
will  be  evenly  spaced,  establishing  a  steady  stream  of  high 
quality  film  continually  on  the  market,  thereby  getting  the  old 
moviegoer  back  into  the  habit  of  attendance  by  offering  an  un- 
ending diet  of  irresistible  bait.  Other  film  companies  also  are 
revising  and  rearranging  their  release  schedules  to  fit  the  pat- 
tern UA  has  just  instituted. 

Show  business  is,  of  course,  the  most  precarious  industry  in 
the  world.  But  with  the  creative  fires  burning  buoyantly  once 
again  in  Hollywood,  with  a  blaze  of  new  talent  and  a  rekindl- 
ing of  the  old  ones,  plus  some  vigorous  new  thinking  in  the  ex- 
ecutive departments,  the  future  is  looking  up. 


Page  14       Film  BULLETIN    November  25,  1957 


United  fittiiti  Ha*  the  /Jhjm/- 

So  Exhibitors  Want 
A's  the  Year  'round! 


Arthur  Krim  sat  at  his  corner  desk 
on  the  14th  floor  of  United  Artists' 
New  York  HQ  and  announced:  "This 
is  the  most  significant  progress  report 
we  have  ever  made." 

Its  significance,  said  UA's  President, 
lay  in  the  fact  that  for  the  first  time 
"since  we  have  been  in  business",  United 
Artists  is  able  to  announce  to  exhibitors 
"a  full  program  of  top  pictures  for  the 
entire  calendar  year  1958,  spaced  so  that 
the  program  is  balanced  in  every  way 
throughout   the   coming   year."  Lest 


KRIM 

some  members  of  the  press  assembled 
might  view  the  pronouncement  with 
jaundiced  eye,  printed  proof  of  the 
company's  '58  program  of  top  features 
and  the  periods  in  which  they  will  be 
released  were  spread  out  for  all  to  see. 

While  this  releasing  program  seemed, 
on  its  face,  to  be  United  Artists'  direct 
response  to  the  Goldenson-Hyman  plea 
for  a  "better  spread"  of  product,  Krim 
revealed  that  it  was  something  that  had 
been  in  the  works  for  three  years  at 
least. 

"There  are  in  this  schedule  two  pic- 
tures a  month  in  the  A  category  and 


one  a  month  of  program  pictures. 

"We  are  not  going  to  make  any  more 
deals  for  program  pictures  for  1958. 
This  does  not  mean  we  are  giving  up 
this  type  of  picture,  but  we  have  our 
full  quota  and  it  will  be  five  or  six 
months  before  we  reactivate  that  type 
of  deal.  We  are,  however,  putting  into 
production  additional  top  pictures,  so 
that  there  is  every  expectation  and  pos- 
sibility that  our  release  schedule  will  be 
closer  to  four  a  month  for  1958. 

"The  importance  of  this  kind  of  as- 
surance to  exhibitors  is  that  at  this  very 
moment  we  can  book  for  important 
periods  of  playing  time  right  through 
until  Christmas  of  1958;  which  means, 
of  course,  that  any  exhibitor  can  now 
plan  that  fare  in  advance. 

"Bill  Heineman  (general  sales  man- 
ager) tells  me  that  this  is  unprecedented 
in  all  the  years  he  has  been  in  distri- 
bution. 

"There  alway  s  seems  to  be  some  con- 
fusion when  production  programs  are 
announced,  and  it  has  been  recently  re- 
ported that  we  were  going  to  put  36 
pictures  into  production  in  1958.  But 
the  36  which  we  are  now  listing  are 
not  going  into  production  at  all;  they 
are  going  into  release. 

Same  Plan  for  '59 

"Now,  as  to  the  1959  story;  we  are 
going  to  be  able  to  do  this  very  same 
thing  again  next  year  —  and  in  every 
succeeding  year.  We  have  just  made  a 
check  of  the  pictures  in  the  A  category 
that  we  have  set  to  go  into  production 
during  1958  for  release  in  1959 — and 
we  find  there  will  be  a  minimum  num- 
ber of  24. 

"I  would  say  that  a  year  from  today 
we  will  most  certainly  be  able  to  give 
exhibitors  a  spaced  release  schedule  of 
minimum  of  two,  and  perhaps  two  and 
a-half,  A  pictures  a  month." 

The  1958  program,  Krim  stated,  will 
represent  an  investment  of  S60,000,000. 


UA  IN  '58! 


Following  is  the  schedule  of  "A"  films 
already  set  by  United  Artists  for 
the  four  quarters  of  next  year: 


JANUARY  •  FEBRUARY  •  MARCH 

LEGEND  OF  THE  LOST 


A  Batiac  Prod..  Panama,  Inc.  Pres. 

THE  QUIET  AMERICAN 

Starring  Audie  Murphy.  Michael  Redgrave.  Claude  Dauphin. 
Giorgia  Moll.  Written  for  the  screen  and  Directed  by  Joseph 
L.  Mankiewici.   A  Figaro.  Inc.  Prod 

PATHS  OF  GLORY 

Starring  Kirk  Douglas,  co-starring  Ralph  Meeker,  Adolphe 
Meniou.  Directed  by  Stanley  Kubrick.  Produced  by  James  B 
Harris.    A  Bryna  Production. 

WITNESS  FOR  THE  PROSECUTION 

Starring  Tyrone  Power,  Marlene  Dietrich,  Charles  Laughton 
Directed  by  Billy  Wilder.  Produced  by  Arthur  Hornblow  An 
Edward  Small  Presentation. 


APRIL -MAY -JUNE 


RUN  SILENT,  RUN  DEEP 

Starring  Clark  Gable,  Burt  Lancaster.  Directed  by  Robert 
Wise.  Produced  by  Harold  Hecht.  A  Hecht,  Hill  and  Lan- 
caster  Presentation. 

PARIS  HOLIDAY 

Technirama,  Technicolor.  Starring  Bob  Hope,  Fernandel,  Anita 
Ekberg,  Martha  Hyer.  Directed  by  Gerd  Oswald.  A  Tolda 
Production. 

GOD'S  LITTLE  ACRE 

Starring   Robert  Ryan.   Aldo   Ray,   Tina    Louise.     Directed  by 


THUNDER  ROAD 


JULY  -  AUGUST  -  SEPTEMBER 


THE  BIG  COUNTRY 

Technirama,  Technicolor.  Starring  Gregory  Peck,  Jean  Sim- 
mons,  Carroll  Baker,  Charlton  Heston,  Burl  Ives.  Directed  by 
William  Wyler.  Produced  by  William  Wyler  and  Gregory 
Peck.   An  Anthony-Worldwide  Production. 

THE  VIKINGS 

Technirama,  Technicolor.  Starring  Kirk  Douglas.  Tony  Curtis. 
Ernest  Borgnine.  Janet  Leigh.  Directed  by  Richard  Fleischer. 
Produced  by  Jerry  Bresler.   A  Kirk  Douglas  Production. 

KINGS  GO  FORTH 

Starring  Frank  Sinatra.  Tony  Curtis,  Natalie  Wood.  Directed 
by  Delmer  Daves.   Produced  by  Frank  Ross. 

CHINA  DOLL 

Starring 
Borzage 


OCTOBER  -  NOVEMBER  -  DECEMBER 


SEPARATE  TABLES 

Starring  Rita  Hayworth,  Deborah  Kerr.  David  Niven,  Wendy 
Hiller  Burt  Lancaster.  Directed  by  Delbert  Mann.  Produced 
by  Harold  Hecht.  A  Hecht,  Hill  and  Lancaster  Presentation. 

MAN  OF  THE  WEST 

PRODUCTION  STARTS  IN  JANUARY 
In  color.    Starring  Gary  Cooper. 


ch  Co.  Production 


THE  BARBARA  GRAHAM  STORY 

PRODUCTION  STARTS  IN  JANUARY 

Starring  Susan  Hayward.  Directed  by  Robert  Wise.  Produced 
by  Walter  Wanger.   A  Figaro,  Inc.  Production. 

And  for  Christmas,  1958 

Burt  Lancaster  in 

THE  UNFORGIVEN 


Film  BULLETIN    November  25,  l?S7        Page  15 


TDA  CONVENTION  REPORT 

Johnston  Promises  Aid  in  Urging 
Distributors  To  Balance  Releases 


Eric  Johnston  gave  his  version  of  what 
ails  the  motion  picture  industry,  and  offered 
some  remedies  to  the  Theatre  Owners  of 
America,  assembled  in  Miami,  Florida,  for 
the  organization's  10th  Anniversary  Conven- 
tion. On  the  burning  question  of  balanced 
scheduling  of  feature  films,  the  MPAA  pres- 
ident told  the  assembled  exhibitors  that  this 
could  be  accomplished  only  by  individual 
conferences  between  theatremen  and  distrib- 
utors. A  joint  meeting  with  all  the  distrib- 
utors in  attendance  would  run  afoul  of  the 
Justice  Department,  he  declared. 


JOHNSTON 


In  a  surprise  resolution,  the  convention 
unanimously  voted  its  flat,  firm  opposition 
to  all  forms  of  toll-television  —  cable  or 
broadcast.  The  resolution  stated  that  the  or- 
ganization should  work  to  preserve  the  right 
of  the  public  to  view  television  in  their 
homes  free  of  charge,  and  that  pay-TV 
would  inflict  serious  damages  on  theatres 
and  other  businesses.  Mitchell  Wolfson, 
Florida  circuit  operator,  told  the  convention, 
that  "theatres  will  commit  financial  suicide" 
by  supporting  cable  TV. 

Elected  president  for  a  second  term,  Ernest 
G.  Stellings  pledged  that  his  major  goal  will 
be  to  stimulate  and  encourage  the  produc- 
tion of  additional  pictures  in  order  that  the 
nation's  theatres  will  be  assured  of  an  ade- 
quate supply  of  quality  films  the  year  around. 

One  of  the  highlights  of  the  convention 
was  a  statement  of  policy  by  20th  Century- 
Fox,  issued  by  sales  manager  Alex  Harrison 
on  behalf  of  president  Spyros  P.  Skouras. 
It  contained  four  principles:  (1)  The  theatre 
is  the  key  to  the  future  of  the  motion  pic- 
ture industry.  (2)  2()th  w  ill  continue  to  pro- 
duce a  maximum  amount  of  films  to  satisfy 
exhibitor  demands.    (3)  The  company  will 


do  its  utmost  to  work  out  a  release  program 
featuring  an  orderly  release  of  product.  (4) 
Theatres  will  be  guaranteed  a  reasonable  and 
e  ,_iitab!e  clearance  over  television.  This  is 
expected  to  be  for  a  minimum  of  at  least 
five  years. 

Elmer  C.  Rhoden,  president  of  National 
Theatres,  in  his  keynote  address  urged  "mili- 
tant action"  by  exhibitors  to  solve  the  prob- 
lems of  television  clearance,  product  supply, 
modernization  of  theatres  and  exhibitor  unity. 

On  the  problem  of  television  clearance, 
Rhoden  declared:  "We  want  n:>  secret  clear- 
ances. We  must  acquaint  the  public  with 
the  fact  in  OLir  advertisements.  Our  trailers 
should  read — This  Picture  Will  Not  Be 
Seen  on  Television  for  5  Years — or  7  Years. 
The  first  producer,  or  distributor,  who  will 
have  the  cojrage  to  permit  us  to  advertise 
that  his  film  will  never  be  shown  on  free 
television  should  be  rewarded." 

On  product:  "Employ  a  paid  representa- 
tive whose  job  it  will  be  to  inform  this  asso- 
ciation of  the  pictures  that  are  gning  into 
production  and  their  ultimate  releace  dates 
.  .  .  We  should  go  to  our  congressmen  and 
senators  and  solicit  their  support  in  remov- 
ing restrictions  imposed  by  the  Department 
of  Justice  under  the  Consent  Decree,  where- 
by former  affiliated  circuits  are  restricted 
from  production  and  distribution." 

On  modernization:  "My  advice  is  to  get 
read)  for  wall  to  wall  projection  .  .  .  (In 
the  food  retailing  industry)  neighborhood 
grocery  stores  closed  one  after  another  .  .  . 
Modern  buildings  permitting  a  showman- 
ship-like presentation  of  food  necessities 
were  built.  That  same  change  is  going  to 
happen  to  motion  pictures.    We  will  have 


fewer,  but  the)'  will  be  better  .  .  ." 

On  unity:  "I  urge  this  convention  to  put 
aside  the  petty  bickering  and  to  do  every- 
thing possible  to  join  with  Allied,  and  other 
independent  groups,  to  form  one  strong,  ac- 
tive, theatre  organization." 

Johnston,  making  his  first  appearance  be- 
fore an  exhibitor  convention  in  several  years, 
declared  "the  noisiest  issues  within  our  in- 
dustry are  mostly  fancied  and  cooked  up". 
He  repudiated  charges  made  by  distributors 
against  exhibitors  that  the  latter  "have 
stopped    being    showmen"    and    that  their 


STELLINGS 


"theatres  are  falling  apart".  In  the  same 
breath,  he  blasted  exhibitor  complaints  that 
"distributors  are  trying  to  gouge  us"  and 
"Hollywood  is  deliberately  holding  down 
production  to  create  a  shortage".  The  MPAA 
head  cited  figures  to  prove  that  there  is  a 
record  number  of  booking  today  as  com- 
pared to  twenty  years  ago.  "(These  figures) 
demonstrate  —  and  incontrovertibly  —  that 
today,  as  twenty  years  ago,  there  are  plenty 
of  pictures  that  aren't  being  played.  The 
actual  booking  figures  prove  that  thousands 
of  theatres  didn't  play  pictures  available 
to  them." 

If  he  were  an  exhibitor,  Johnston  declared. 
"I  would  join  with  my  fellow  exhibitors 
.  .  .  in  conducting  a  clinic  into  the  state  of 
the  theatre  business  .  .  .  Our  joint  energies 
would  be  devoted  to  exploring  and  develop- 
ing ways  within  the  community  to  bring  new 
customers  into  the  theatre.  I  don't  say  these 
clinics  and  seminars  will  solve  all  our  prob- 
lems. But  I  do  say  that  our  problems  will 
not  be  solved  unless  there  are  intensive 
local  efforts." 

(Continued  on  Page  IH) 


Page  16       Film  BULLETIN     November  25,  1957 


Ji/nenican.  DnlejuialianaL 


OPENING  75  THEATRES  IN  TEXAS  including  INTERSTATE  THEATRES  CO.,  ROWLEY  UNITED  and  JEFFERSON 
AMUSEMENT  THEATRES  on  November  28,  1957 
!  OPENING  WARNER  THEATRE,  OKLAHOMA  CITY  -  PLUS  50  VIDEO  INDEPENDENT  THEATRES,  December  12,  1957 
j  OPENING  PARAMOUNT  and  FENWAY  THEATRES,  BOSTON  -  PLUS  55  OTHER  THEATRES  THROUGHOUT  NEW 
ENGLAND  on  January  15,  1958 
OPENING  STANLEY  WARNER,  ALHAMBRA  THEATRE,  MILWAUKEE  on  November  28,  1957 


Y  OF  A  BOY!  MIND  OF  A  MONSTER! 
...SOUL  OF  AN  UNEARTHLY  THING! 

I  WAS  A 

Teenage 

RANKENsIeiN 

si  ' 


\\\  BimLL-PHTLLirCOATES .  ROBERT  BURTON •  GARY  CONWAY 

roduced  by  HERMAN  COHEN  •  D«*feiby  HERBERT  L  SHOCK  •  screen^  by  KENNETH  LANGTRY 
A  1AMES  H.  NICHOLSON-SAMUEL  Z.  ARKOFF  PRODUCTION  •  AN  AMERICAN  INTERNATIONAL  PICTURE 


starring 

Sandra  HARRISON  •  Louise  LEWIS  •  Gail  GANLEY  •  Jerry  BLAIr 

Produced  by  HERMAN  COHEN  •  Directed  by  HERBERT  L.  STROCK  •  stm*q  by  RALPH  THORf 
A  JAMES  H.  NICHOLSON-SAMUEL  Z.  ARKOfF  PRODUCTION  •  AN  AMERICAN  INTERNATIONAL  PICTU 


WHAT  MAKES  A  GOOD 
MOTION  PICTURE 
GREAT? 


All  great  motion 
pictures  have  one 
thing  in  common... 
certain  quality 
...  a  mysterious 
something. 

Whatever  it  is . . . 
'Old  Yeller'  has  it! 


For  here  is  an 
unforgettable  emotional 
experience  you  will 
enjoy  sharing. 


That's  why 
'Old  Yeller'  is  sure 
to  become  one  of  the 
*  most -talked-  about' 
movies  in  years! 


DOROTHY  McGUIRE  and  FESS  PARKER 


Technicolor' 


JEFF  YORK  ■  TOMMY  KIRK  •  KEVIN  CORCORAN 
BEVERLY  WASHBURN  •  CHUCK  CONNORS 

Sctrnpu,  t»  FRED  CIPSON  Md  WILLIAM  TUNBCftC 


TDA  Convention  Repart 

(Continued  from  Page  16) 

In  reply  to  a  recent  letter  from  Ben  Marcus,  Allied 
of  Wisconsin  leader,  urging  him  to  call  an  all-industry 
conference  to  study  ways  and  means  of  solving  the  prob- 
lem of  balanced  film  releases,  Johnston  said:  "Some  lead- 
ing exhibitors,  acting  on  their  own  initiative,  are  already 
meeting  separately  with  distributing  company  executives 
to  examine  forthcoming  picture  releases.  This  seems  to 
me  a  wise  and  proper  approach.  These  exhibitors  inform 
me  that  the  individual  conferences  already  are  showing 
much  promise.  In  their  talks  with  me  exhibitors  have 
emphasized  that  they  would  like  to  impress  upon  the 
companies  and  upon  outside  producers  the  desirability  of 
fixing  release  dates,  not  on  the  basis  of  seasons  or  peri- 
ods of  the  year,  but  upon  the  basis  of  a  52-week-year 
to  assure  stabilized  business  for  producers,  distributors 
and  exhibitors.  They  have  also  emphasized  that  distrib- 
utors, once  they  have  announced  a  release  schedule, 
should  stick  to  it.  You  can  be  sure  that  I  shall  under- 
take to  press  this  view  upon  the  executive  heads  of  the 
producing  and  distributing  companies  with  all  the  per- 
suasiveness that  I  can." 

Can  Win  Back  Audience — Stellings 

President  Ernest  G.  Stellings  report  to  the  TOA  board 
of  directors  and  executive  committee  stressed  that  the 
all-industry  business-building  drive  will  only  be  effective 
if  there  is  a  plentiful  supply  of  product  released  on  a 
regular  basis.  "If  we  have  sufficient  good  product  re- 
leased in  an  orderly  manner  throughout  the  year  and 
supplement  this  with  a  good  national  promotion  cam- 
paign and,  in  addition,  exploitation  at  the  local  theatre 
level,  we  should  be  able  to  win  back  a  large  share  of 
our  lost  audience,"  he  said. 

He  sounded  a  call  for  harmony  among  all  segments  of 
the  industry  because  "the  future  and  security  of  our  en- 
tire industry"  and  its  component  groups — exhibition, 
production,  and  distribution — are  dependent  upon  one 
another  for  survival. 

General  counsel  Herman  M.  Levy  reported  that  an  im- 
passe has  been  reached  in  the  exhibition-distribution 
arbitration  discussions  now  going  on.  He  expressed  the 
opinion,  however,  that  a  way  would  be  found  to  break 
the  deadlock.  Some  nine  different  plans  have  been  sub- 
mitted by  exhibition  in  an  effort  to  reach  agreement,  he 
said,  but  the)  have  all  been  turned  down  by  distribution 
representatives.  He  reminded  the  assemblage  to  take 
advantage  of  the  conciliation  plan  which  went  into  effect 
November  I,  because  "it  will  fail  only  if  exhibitors 
don't  use  it". 

Stellings  and  Levy  announced  that  TOA  will  support 
the  recent  National  Allied  proposal  that  the  government 
grant  retroactive  accelerated  depreciation  benefits  to  the- 
atre owners.  A  committee  will  be  appointed  by  the  TOA 
president  to  cooperate  with  Allied  in  achieving  this  end. 

Shapp  Plugs  Cable  Theatre 

Hawking  his  cable  television  system  to  the  assemblage, 
president  Milton  J.  Shapp  of  Jerrold  Electronics,  declared 
that  "as  an  extension  of  the  motion  picture  theatre  into 
the  home,  cable  theatre  should  be  an  integral  part  of  the 
motion  picture  industry".  Commenting  that  it  is  still  too 
early  to  form  any  definite  conclusions  from  the  Bartles- 
ville  experiment,  he  called  for  additional  test  situations 
to  appraise  consumer  acceptance  of  the  new  medium. 
He  also  cautioned  exhibitors  against  a  wholesale  rush 
for  cable  theatre  franchises. 

Said  Shapp:  "By  extending  his  theatre  into  the  home 
via  cable  theatre,  the  motion  picture  exhibitor  can  recap- 
ture the  industry's  lost  audience  by  using  rather  than 
competing  with  the  television  screen.  By  providing  his 
entertainment  in  the  one  area  where  the  public  today 
wants  to  be  entertained — the  home." 


ONE  OF  A  SERIES  of  Sunday  ads  appearing  in 
12  Key  City  Newspapers  starting. November  24th 
announcing  the  December  25th  World  Premiere 
engagement  of  Walt  Disney's  "OLD  YELLER." 


?///»  c(  btitiHCthH 


The  Bridge  on  the  River  Kwai" 
Memorable  Drama  of  Men  at  War 

Gcuuteu  Kciti*?  o  o  o  o 

Powerful,  searching  drama  will  enthrall  audiences.  Mag- 
nificently acted.   Merits  roadshowing. 

Although  it  is  always  a  dangerous  business  being  clairvoyant 
about  year-end  film  awards,  it  would  seem  a  safe  bet  that  "The 
Bridge  On  The  River  Kwai"  can  be  counted  on  to  walk  off 
with  a  fair  share  of  the  "best  film"  sweepstakes.  Certainly  this 
Sam  Spiegel  production  is  among  the  very  best  we've  seen. 
Make  no  mistake  about  it,  what  we  have  here  is  a  monumental 
and  memorable  film,  a  sweeping  and  searching  World  War 
II  drama  that  may  very  well  prove  as  much  a  landmark  for 
this  generation  as  "All  Quiet  On  The  Western  Front"  was 
before  it.  Adult  audiences  the  world  over  will  find  it  an  ex- 
plosive encounter;  its  emotions  and  excitements  are  of  uni- 
versal appeal.  Its  boxoffice  performance  promises  to  rank  with 
the  outstanding  films  of  recent  years.  The  film  merits  the  two- 
a-day  hard  ticket  showings  Columbia  is  planning. 

Basically  this  is  a  tale  of  adventure,  played  out  against  a 
Japanese  internment  camp  where  British  prisoners  of  war  con- 
struct a  railroad  bridge  as  part  of  the  Bangkok  to  Rangoon 
thruway.  As  used  by  screenplayw  right  Pierre  Boule,  the  bridge 
is  the  key  structure  for  story  and  symbol.  On  the  level  it 
comes  to  represent  the  personal  doom  of  an  English  officer 
whose  all-abiding  sense  of  order  leads  him  into  the  sinful  ways 
of  pride  over  the  bridge's  construction  and,  on  the  other,  to 
pinpoint  it  as  an  object  of  war  singled  out  for  destruction  by 
the  officer's  Commando  compatriots,  and  an  American  sailor 
who  has  escaped  from  the  camp.  But  the  double-pronged  na- 
ture of  such  an  adventure — and  a  shatteringly  suspenseful  one 
it  is — is  secondary  to  the  massive  canvas  filling  the  Cinema- 
scope-Technicolor screen  with  a  war-tattered  pageantry  of 
human  emotions  superbly  wrought  by  the  master  strokes  of 
director  David  Lean.  Here  is  the  sprawling  and  sumptuous 
yarn,  the  spectacle  narrative  at  last  brought  under  control. 
For  once  the  immensities  of  the  surroundings,  the  turbulence 
of  the  cinematic  techniques,  do  not  overwhelm  the  human 
factor.  The  people  are  never  submerged,  they  prevail  over  all 
that  happens.  Director  Lean  has  underscored  the  heart  and 
mind  of  his  characters  with  irony,  tenderness,  humor,  terror 
and  an  overall  feeling  of  awe  for  th  spirit  of  man  which  can 
survive  the  degradation  of  war.  This  is  an  achievement  of 
lasting  merit,  one  which  unhesitatingly  places  Lean  at  the 
forefront  of  screen  artists,  for  he  has  given  us  that  rara  a  lis 
of  an  era  not  given  to  heroics,  a  truly  stirring  film. 

And  from  stars  William  Holden,  Alec  Guinness  and  Jack 
Hawkins  the  director  has  elicited  performances  that  ring  with 
authenticity  and  crackle  with  dramatic  vibrancy.  Guinness, 
especially,  as  the  officer  unable  to  view  life  without  the  abso- 
lute in  order,  attacks  his  role  with  an  almost  total  identifica- 
tion with  the  psychological  intangibles  of  the  character. 

Holden  in  the  role  of  the  American  posing  as  an  officer, 

[More  REVIEWS 


Alec  Guinness  silently  suffers 
abuse  at  the  hands  of  a  Jap  officer. 


brings  to  his  role  his  usually  taut  and  highly  tempered  talents, 
focusing  expertly  on  the  hard-bitten,  but  humorous,  realism  of 
the  man.  In  depicting  the  anti-hero  type  who  refuses  to  wave 
flags  or  get  idealistically  involved  with  war,  but  who  pro\es 
when  the  chips  are  down  that  he  is  as  gallant  as  any  soldier. 
Holden  makes  it  a  portrait  of  fire  and  gusto.  As  for  the  Cam- 
bridge done  turned  into  a  rattling  good  commando,  Jack 
Hawkins  presents  him  with  wry  flippancies,  detachment  and 
a  certain  sardonic  stiff  upperlism. 

This  accent  on  the  feeling  of  all  men  and  the  relationships 
between  them  pervades  the  whole  film — actually  forms  the 
backbone  of  the  theme.  The  supreme  example  of  this  is  Sessue 
Hayakawa's  sympathetic  portrayal  of  the  internment  camp's 
Japanese  commander.  Through  him  and  through  the  non-sa- 
distic men  under  him,  we  view  the  past  enemy  as  people  caught 
up  unwillingly  in  the  barbarism  of  war,  but  preserving  as  best 
they  can  whatever  dignity  is  left  them. 

Guinness  and  his  men,  captured  by  the  Japanese,  are  pressed 
into  building  service  on  the  projected  railway  bridge.  Guin- 
ness refuses  to  have  his  officers  work  along  with  their  own 
men  as  this  would  demoralize  the  command  and  result  in 
anarchy.  This  implaccable  stand  costs  him  hot  box  imprison- 
ment and  deprivation,  but  he  refuses  to  surrender  his  prin- 
ciples and  finally  forces  Hayakawa  to  relent.  Guinness  then 
undertakes  the  full-scale  production  of  the  bridge  to  prove 
that  British  POW's  are  not  slaves  and  can  prove  their  superior- 
ity to  their  captors  by  leaving  behind  them  a  lasting  edifice. 
In  the  meantime,  Holden  has  managed  to  escape  and  after  an 
agonizing  jungle  journey  to  reach  British  lines.  However,  com- 
mando Hawkins  influences  him  into  returning  to  the  camp  in 
order  to  dynamite  the  bridge  after  he  lets  slip  that  his  depart- 
ment has  knowledge  that  Holden  has  been  impersonating  an 
officer.  When  the  two  finally  reach  their  goal  after  many  hairs- 
breadth  mishaps,  they  find  Guinness  has  become  madly  at- 
tached to  his  construction,  forgetting  the  enemy's  use  of  it 
and  all  set  to  sabotage  their  plan.  In  the  suspense  that  follows, 
the  emblazoned  bridge  takes  the  lives  of  all  the  principles, 
save  Hawkins,  who  remains  realizing  the  futility  of  war. 

Columbia  Pictures.  161  minutes.  William  Holden.  Alec  Guiness,  Jack  Hawkins 
Produced  by  Sam  Spiegel.    Directed  by  David  Lean. 

on  Page  20] 

Film  BULLETIN    November  25,  1957        Page  19 


"Witness  For  The  Prosecution" 

Scrtutete  O  Q  O  Plus 

View's  top  suspense  melodrama.  Superb  performances  by 
Laughton,  Dietrich,  Power.  Will  fascinate  all  adult  audiences. 

Here  is  the  top  suspense  melodrama  of  the  year,  a  cracker- 
jack  Agatha  Christie  tale,  an  international  stage  success,  which 
producer  Arthur  Hornblow  and  director  Billy  Wilder  have  re- 
created in  resounding  cinematic  style,  both  subtle  and  sensa- 
tional. United  Artists,  the  distributor,  has  a  winner,  and  for 
the  exhibitor  this  is  the  kind  of  entertainment  that  should  mag- 
netize adult  audiences  in  all  the  markets,  most  especially  the 
urban  and  class  houses.  Filled  with  stinging  shots  of  humor, 
baffling  bolts  of  mystery  and  the  aura  of  a  perverse  puzzle,  it 
emerges  as  an  utterly  irresistible  thriller,  a  corker.  For  stars 
Tyrone  Power,  Marlene  Dietrich  and  Charles  Laughton  it  is  a 
tour  de  force  and  they  rise  to  the  occasion  triumphantly.  For 
Billy  Wilder  it  is  a  return  to  his  old  detective  story  haunts, 
proving  again  that  he's  still  one  of  the  best  sleuths  making 
movies.  The  tale  Miss  Christie  has  cooked  up  concerns  the 
uncovering  of  a  perfect  crime  as  set  against  London's  legendary 
Old  Bailey,  but  its  pithy  plot  also  affords  two  very  rewarding 
characterizations  for  Laughton  and  Miss  Dietrich.  If  there  was 
ever  any  doubt  on  how  droll  and  devastating  the  former  could 
be,  his  crusty  and  complex  portrait  of  a  brilliant  criminal  bar- 
rister should  dispel  it  forever.  However,  it  is  La  Dietrich  who 
all  but  walks  away  with  the  film;  all  her  inscrutable  beauty, 
feline  arrogance  and  shimmering  elegance  has  never  been  used 
with  more  finesse.  Power  is  plenty  good,  but  just  misses  the 
magical  mark  of  the  other  two.  We  first  meet  Power  when  he 
is  arrested  and  charged  with  the  murder  of  an  old  woman 
whose  will  names  him  as  beneficiary.  A  mass  of  circumstantial 
evidence  is  produced  against  him  which  his  lawyer  Laughton  is 
unable  to  assuage.  When  Power's  wife,  Miss  Dietrich,  tosses 
a  bombshell  in  court,  stating  she  was  never  really  married  to 
him  and  that  Power  admitted  his  crime  to  her,  Laughton  is  at 
a  complete  loss.  But  after  he  produces  letters  proving  Miss 
Dietrich  a  perjurer,  the  case  against  Power  crumbles  and  he 
is  acquitted.  This,  however,  is  not  the  end  of  the  story.  There 
is  a  surprise  ending  we're  honor  bound  not  to  reveal,  a  denoue- 
ment that  should  dafczle  any  spectator. 

United  Artists.     114  minute's.    Tyrone  Power,   Marlene  Dietrich    Charles  Laughton 
Produced  by  Arthur  Hornblow.    Directed  by  Billy  Wilder. 

"Paths  Df  Glory" 

ScuiHC^  &<Ztt*$  O   O  Plus 

Heavy  war  drama  sparked  by  fine  Kirk  Douglas  perform- 
ance.  Good  for  class  audience.   Needs  selling  elsewhere. 

The  young  director,  Stanley  Kubrick,  who  jumped  into  the 
artistic  limelight  last  year  with  a  little  surprise  package  called 
"The  Killing  ",  makes  a  bid  for  more  wide-scale  recognition  in 
his  new  film,  "Paths  of  Glory".  While  this  United  Artists  re- 
lease boasts  some  intensely  styled  scenic  effects,  coupled  with 
a  purity  of  dramatic  line  and  austerity  of  characterization,  it 
has  spread  throughout  its  composition  all  the  elements  of  a 
decidedly  controversial  piece.  For  this  is  a  heavy,  moody  film 
more  familiar  to  the  European  art  form  than  the  commercially 
minded  Hollywood  product.  Accordingly,  the  film's  boxoffice 
performance  will  lean  heavily  on  the  appeal  of  its  popular  star, 
Kirk  Douglas.  It  will  have  to  be  backed  by  a  strong  promo- 
tional campaign  to  gather  in  the  mass  audience.  Fortunately, 

[More  REVIEWS 

Page  20       Film  BULLETIN    November  25,  1957 


Douglas  gives  a  crackerjack  performance,  superbly  coordinated 
into  the  off-beat  effect  of  the  film,  making  the  inherently 
bizarre  psychological  atmosphere  a  somewhat  more  palatable 
tonic  for  the  groundlings.  Still,  because  of  the  artistic  integrity 
of  Kubrick  and  the  unusually  defiant  anti-war  and,  more  im- 
portantly, anti-army  implications  in  the  Calder  Willingham- 
Jim  Thompson  screenplay,  the  James  Harris  production  is 
every  inch  of  the  way  an  adult  and  class  house  offering.  The 
story  itself  is  a  kind  of  World  War  I  courtmartial  drama  con- 
cerning the  French  army  and  the  forces  within  it  which  unite 
to  form  the  old  duration  debacle  of  humane  principles  vs.  in- 
humane expediencies.  Douglas  is  seen  as  a  battle  baptized 
Colonel,  commander  of  a  popular  and  gallant  regiment.  The 
General  Staff,  represented  by  ultra-realist  Adolphe  Menjou 
and  cowardly  flag-waver  George  Macready,  orders  Douglas  to 
have  his  men  take  the  insurmountable  position  known  as  Ant 
Hill.  Against  his  will,  Douglas  orders  the  attack,  but  his  open- 
ing forces  are  so  badly  beaten,  fear  runs  through  the  back  lines 
and  the  skirmish  turns  into  hopeless  retreat.  The  campaign 
becomes  a  full-scale  debacle,  requiring  a  scapegoat,  and  three 
of  Douglas'  men  are  haphazardly  picked  to  atone  for  the  so- 
called  cowardice  of  the  assault.  In  a  mock  trial  they  are  found 
guilty  and  shot  by  firing  squad,  with  Douglas  left  an  embit- 
tered man,  refusing  to  sanction  such  an  act  and  at  film's  end 
quickly  dispatched  to  the  front  lines. 


United  Artist.  86  minutes.  Kirk  Douglas,  Ralph  Meeker,  Adolphe  Menjou.  Produced 
oy  James  Harris.    Directed  by  Stanley  Kubrick. 

"Baby  Face  Nelson" 

'ScUiKCW  'Rati*?  GOO 

Hard-hitting  gangster  melodrama.  Cagney  explosively  plays 
the  notorious  killer.  Strong  for  the  action,  ballyhoo  houses. 

Since  the  roughhouse  gangland  era  of  the  Thirties  is  having 
a  current  revival  in  public  interest,  United  Artist  appears  to 
have  a  good  boxoffice  bet  in  "Baby  Face  Nelson".  Al  Zim- 
balist's  production  is  a  taut,  caustic,  crisp  study  of  a  psycho- 
pathic killer,  filled  with  its  share  of  hide-out  suspense,  stick-up 
violence  and  a  general  bullet-riddling  air  of  maniacal  mayhem. 
With  Mickey  Rooney  giving  a  jazzed-up,  neurotic  presentation 
in  the  title  role,  always  on  the  lookout  for  psychological  foibles 
and  collecting  cleverly  a  mass  of  compulsive  characteristics,  it 
is  occasionally  explosive  entertainment,  distinctly  not  for  the 
tender-minded.  Screenplaywright  Irving  Shulman  and  director 
Don  Siegel  seemed  interested  in  making  their  dramatic  points 
only  with  a  sledge  hammer,  thereby  overloading  the  show  with 
one  blood-stained  scene  after  another,  which  restricts  the  film's 
appeal  considerably  to  the  hard-knock  school.  Nevertheless, 
the  viewer  is  caught  up  in  a  modern  day  reign-of-terror  with 
the  flavor  and  force  of  the  depression-day  Thirties  stingingly 
recreated.  Opening  with  Rooney's  release  from  the  state  pen, 
the  story  follows  him  into  big  boy  Dillinger's  orbit,  who  iron- 
ically christens  him  with  the  fabled  name  when  he  sees 
Rooney's  mastery  with  a  sub-machine  gun.  After  a  spectacular 
set  of  hoists  and  robberies,  the  net  closes  tightly,  Dillinger 
meets  his  end  and  Rooney  attempts  escape  through  the  Mid- 
west brush  country  only  to  be  finally  slaughtered  in  a  brutal 
gun  bout  with  the  FBI.  Prominently  fe.t  red  through  all  this 
is  Carolyn  Jones  as  the  ever-faithful  moll  and  Sir  Cedric  Hard- 
wicke  as  the  cynical  doctor  who  administers  to  gangland  w  ounds. 


United  Artists.  85  minutes.  Mickey  Rooney,  Carolyn  Jones,  Cedric  Hardwicke 
Produced  by  Al  Zimbalist.    Directed  by  Don  Siegel. 

on  Page  23] 


/tie  'Doing,! 


Buena  Vista  Promotional 
Drive  Set  for  Whitney's  'Traveler' 

Buena  Vista  is  sharply  stepping  up  its  pro- 
motional tempo  to  sell  a  quintet  of  forthcoming 
releases  —  "Old  Yeller"  (December  release), 
"Snow  White  and  the  Seven  Dwarfs"  (February 
reissue),  "The  Missouri  Traveler"  (early  '58), 
"The  Young  Land"  (Spring  '5S)  and  "Light  in 
the  Forest"  (Summer  *5H). 

Scheduled  to  get  a  lion's  share  of  the  bally- 
hoo is  C.  V.  Whitney's  "Traveler",  which  will 
be  backed  by  over  a  quarter  of  a  million  dollars 
for  advertising  and  promotion,  with  the  empha- 
sis on  national  magazine  and  newspaper  space, 
although  local  level  coverage  will  not  be  neg- 
lected. The  giant  campaign  shapes  up  as  one  of 
the  largest  in  BV  history.  The  Patrick  Ford 
production  kicks  off  January  29  in  a  17-state  pre- 
miere saturating  the  midwestern  portion  of  the 
nation. 

Among  the  highlights  of  the  campaign:  four- 
color  full-page  ads  in  the  January  18  Saturday 
E\ening  Post  and  the  Feb.  18  Look;  24  key  mar- 
ket newspapers  will  feature  ads  in  Sunday  sup- 
plement sections;  3,500  radio  spots  in  eighty 
cities;  TV  film  clips  and  spot  announcements. 

Old  Techniques  Retarding 
Movie  Advertising,  Says  Lewis 

An  unwillingness  to  follow  untrodden  adver- 
tising paths  was  charged  to  film  company  execu- 
tives by  Roger  H.  Lewis,  United  Artists  adver- 
tising executive,  in  a  speech  before  the  N.  Y. 
chapter  of  a  national  advertising  fraternity. 
Lewis  put  the  blame  for  retarded  practices  in 
the  motion  picture  business  on  custom-bounj 
executives  who  are  afraid  to  depart  from  the 
tried-and-true  practices  of  the  past.  A  new  crea- 
tive climate  is  needed,  he  said,  to  stimulate  sales 
elfectiveness,  but  it  may  not  be  forthcoming 
until  a  new  batch  of  management  executives 
come  into  the  business. 


-A-  Travelin'  "Jailhouse".  A  joint  effort  of  Metro  and  Loew's  Theatres,  this  prisonon-wheels 
ballyhoo  stunt  toured  the  New  York  City  area  to  beat  the  drum  for  Elvis'  new  film.  The 
float,  complete  with  an  amplifier  system,  featured  two  jailbirds,  dressed  in  suitable  attire,  rock 
n'  rolling  to  the  "Jailhci_se  Rock"  song.   Attention  grabbing  gimmick  drew  p!enty  of  eyes. 


Iowa-Nebraska  Allied 
Sets  Contest  for  Newsmen 

Following  the  lead  of  Georgia  exhibitors  who 
recently  concluded  a  motion  picture  publicity 
contest  among  newspapermen  in  their  area.  Al- 
lied of  Iowa  and  Nebraska  has  announced  a 
similar  idea.  The  midwest  exhibitor  group  is 
going  to  award  an  expense-paid  2-week  trip  to 
Hollywood  for  two,  to  the  scribes  on  bo:h  a 
weekly  and  daily  paper  who  submit  the  best 
scrapbooks  featuring  motion  picture  information 
in  the  following  forms — news,  editorial,  feature, 
art  or  advertising  material. 

The  contest,  which  starts  January  1,  is  de- 
signed to  convice  editors,  publishers  and  jour- 
nalists that  motion  picture  news  is  "a  source 
of  great  news  interest"  to  newspaper  readers 
and  "the  public  is  far  more  interested  in  movies, 
movie  personalities  and  stories  than  they  are  in 
TV  and  its  counterparts".  Representatives  from 
journalism    schools    will    serve    as  judges. 

-W-  Some  six  thousand  devotees  cf  singer-  -«J> 
actor  Pat  Boone  jammed  New  York's  Roxy 
Theatre  to  pay  tribute  to  the  rising  young 
star  at  a  one-shot  premiere  showing  of  "April 
Love".  Left  to  right:  20th-Fox  president  Spy- 
ros  F.  Skcuras  and  his  wife  chat  with  the 
Boones;  fan  club  enthusiasts  assemble  in 
lobby  to  welcome  their  idol;  Charles  Einfeld, 
20th  vice  president,  Robert  Wagner  and  Mrs. 
Skouras;  Boone's  fellow-students  at  Columbia 
University  were  represented  by  the  school's 
65-man  band. 


lone  Ranger'  Campaign 
by  UA  Stresses  Tie-ins  and  TV 

The  Lone  Ranger  rides  again.  That  perennial 
favorite  of  kids  from  eight-to-eighty  will  be  re- 
vitalized via  a  giant-si/e  merchandising  and  TV 
promotional  drive  set  by  I'nited  Artists,  the  Co- 
lumbia Broadcasting  System,  the  American 
Broadcasting  Company,  General  Mills  and  the 
American  Baking  Company  to  plug  "The  Lone 
Ranger  and  the  City  of  Gold",  due  for  release 
next  Spring. 

As  outlined  by  Roger  H.  Lewis,  UA  national 
ad  chief,  "City  of  Gold"  will  be  given  the  full 
treatment  by  a  6-month  drive  that  will  include 
supermarket  displays  in  106  key  trading  areas 
throughout  the  nation.  In  addition,  weekly  plugs 
will  spotlight  the  film  during  Lone  Ranger 
broadcasts  over  CBS  and  ABC  television.  Spear- 
heading the  drive  will  be  a  one-hour  spectacular 
over  the  CBS  network  on  February  1  commem- 
orating the  25th  anniyersary  of  the  legendary 
hero  of  the  plains. 

It  is  estimated  that  some  61,000,000  tele- 
viewers will  be  exposed  to  plugs  for  the  film, 
while  almost  twice  that  number  will  view  store 
displays  and  newspaper  and  magazine  advertise- 
ments. Co-op  newspaper  ads  will  be  scheduled 
to  coincide  with  local  playdates. 

In  an  effort  to  ballyhoo  the  film  to  the  kid 
audience,  comic  books,  heralds,  giveaways  and 
contest  will  be  utilized  to  effectively  sell  the 
exploits  of  Tonto  and  friend. 


C0LUMB 


Film  BULLETIN    November  25,  1957        Page  21 


Suzy  Parker,  fashion  model-turned-actress,  drum- 
beats 20th's  "Kiss  Them  for  Me"  in  San  Fran- 
cisco. Top:  autograph  party  in  Macy's  depart- 
ment store.  Bottom:  producer  Jerry  Wald  ad- 
dresses a  press  luncheon  honoring  Miss  Parker. 


Starlet  April 
Olrich  touring 
the  South  for 
Rank's  "Graf 
Spee".  helps 
manager  Walt 
Guarino  pro- 
mote the  sea 
epic  at  the 
Paramount  The- 
atre, Jackson, 
Mississippi,  by 
touring  the  city 
on  a  float.  The 
scale  mod 
ship  and  the 
sailor  both  were 
furnished 
through  the 
courtesy  of  the 
U.  S.  Navy. 


4k-  Cute  stunt  was  this  one 
on  "Old  Yeller".  Walt  Dis- 
ney's Christmas  offering, 
which  was  previewed  for  the 
canine  crowd  at  the  Festival 
of  Pets  Show  in  New  York 
City's  Coliseum.  Prior  to  the 
dog-gone  screening  a  buffet 
breakfast  of  milk  bones  and 
other  assorted  delicacies 
was  served  to  the  pooches. 


Producer  Sam  Spiegel  (center)  and  Columbia 
ad  executives,  Paul  N.  Lazarus,  Jr.  (right)  and 
Robert  S.  Ferguson,  plug  "Bridge  on  the  River 
Kwai"  at  a  trade  press  luncheon  in  New  York. 


Oshkosh,  Wisconsin,  got  its  first  movie  premiere  when  "All  Mine  to  Give"  was  introduced  at  the 
Raulf  Theatre.  The  affair  launched  some  ISO  playdates  in  the  Wisconsin  territory:  left  to  right: 
Jody  McCrea.  Carl  Steiger,  exhibitor  Ben  Marcus,  Universal  district  manager  Manie  M.  Gottlieb, 
Andra  Martin,  Wisconsin  Governor  Vernon  Thomson,  stars  Cameron  Mitchell  and  Rex  Thompson, 
and  Universal  eastern  exploitation  manager  Herman  Kass. 


Page  22       Film  BULLETIN    November  25,  1957 


"April  Love" 

ScuUete,  1R*U*?  GOO 

Another  Pat  Boone  valentine  will  delight  his  coke  fans,  and 
their  elders,  too.   Handsome  production  in  color,  'Scope. 

That  pleasant  homestead  romance  with  songs,  "Home  In 
Indiana",  of  some  dozen  years  ago,  has  heen  resurrected  to  fit 
the  white  bucks  and  blazer  charms  of  Pat  Boone.  The  new 
version,  "April  Love  ',  also  from  20th-Fox,  is  all  done  up  in 
Cinemascope  and  DeLuxe  Color.  David  Weisbart's  production 
is  from  start  to  finish  a  vehicle  meticulously  measured  to  the 
drawl,  the  slow  smile,  the  sly,  twinkling  eyes,  the  corn  flakes 
wholesomeness  and,  above  all,  the  college  crooner  style  of  one 
of  the  nation's  most  popular  teenage  idols.  And  it  all  adds 
up  to  easygoing  entertainment,  populated  with  amiable  char- 
acters, homespun  observations,  handsome  scenery,  a  bevy  of 
heart-tugging  songs,  a  young  man  in  lo\e  and  a  striking  reti- 
nue of  trotter  racing  horses,  which  serves  as  the  background 
for  the  story.  Better  than  Boone's  "Bernardine ',  it  should 
enjoy  even  greater  boxoffice  success  with  the  coke  set  and  many 
of  their  elders.  Pretty  and  pert  Shirley  Jones,  fresh  from  "Car- 
ousel'' and  Oklahoma  ",  sings,  dances  and  gets  charmingly 
moonstruck,  while  Arthur  O'Connell  serves  to  play  cupid  and 
wise  old  man  of  the  Farmer's  Almanac.  Director  Henry  Levin 
has  kept  the  tempo  smooth  and  syrupy,  staged  the  production 
numbers  with  fine  bucolic  taste  and  screenplayw  right  Winston 
Miller  has  provided  the  appropriately  sentimental  saga.  The 
plot  deposits  city  boy  Boone  at  the  farm  of  uncle  O'Connell, 
having  been  sent  there  by  a  Chicago  judge  on  probationary 
terms  because  of  his  misdemeanor  as  passenger  in  a  stolen  car. 
Of  course,  Boone  is  no  delinquent;  he  only  needs  real  home 
life,  parental  advice  and  two  neighboring  farmer's  daughters 
I  to  set  him  right.  The  girls,  Miss  Jones  and  Dolores  Michaels, 
battle  for  the  crooner's  love  while  O'Connell  teaches  him  the 
intricate  art  of  trotter  racing.  In  the  end.  Miss  Jones  wins 
Boone,  he  wins  the  race  and  O'Connell  gains  a  son. 

20th  Century-Fox.  97  minutes.  Pat  Boone,  Shirley  Jones.  Arthur  O'Connell.  Pro- 
I     duced  by  David  Wisebart.    Directed  by  Henry  Levin. 

"Abominable  Snowman  of  the  Himalayas" 

Expedition  climbs  Everest,  meets  fate  of  horror. 

The  idea  of  strange  monsters  marrauding  about  the  top  of 
Mt.  Everest  like  ice-clad  ghosts,  rigged  out  with  occult  powers 
and  enswathed  behind  staggering  winds  of  mystery,  is  the  the- 
matic material  bv  which  Regalscope  unwinds  skein  by  shiver 
its  latest  horrorama.  Favored  by  the  horrendous  title  of  "The 
Abominable  Snow  man  of  the  Himalayas ',  this  20th-Fox  re- 
lease, if  coupled  with  another  horror  item,  should  be  exploit- 
able for  the  goose-pimple  addicts.  Screenplayw  right  Nigel 
Kneale  and  director  Val  Guest,  players  Forrest  Tucker,  Peter 
Gushing  and  Maureen  Connell,  have  all  gone  about  their  chores 
in  a  kind  of  dead-of-night  seriousness,  piling  up  one  aura  of 
fear  after  another.  Nor  has  producer  Aubrey  Baring  skimped 
on  the  special  effects.  The  inevitable  scientific  group  is  this 
time  hell-bent  on  scaling  Mt.  Everest  in  the  hope  of  smoking 
out  a  legendary,  if  obscure,  group  of  half-beast,  half-human 
inhabitants.  The  Tibetans  descry  their  adventure,  auguring  the 
wrath  of  the  snow  gods  upon  them  and  letting  slip  that  anyone 
attempting  such  folly  will  surely  die.  And  such  is  the  case. 
Only  lovers  Cushing  and  Miss  Connell  emerge  unscarred. 

Regalscope-201h  Centurv-Fo<.  85  minutes.  Forrest  Tucker.  Peter  Cushing  Pro- 
duced by  Aubrey  Baring.    Directed  by  Val  Guest 


The  Enemy  Below" 

g«46ttd4  KttfcH?  O   O  O 

Suspenseful  sea  thriller  stars  Mitchum  and  striking  new- 
comer Jurgens.  Will  draw  action  and  class  audiences. 

For  sheer  excitement  and  gruelling  suspense,  20th  Century- 
Fox's  "The  Enemy  Below''  is  one  of  the  better  action  entries 
of  the  year.  Although  Robert  Mitchum  is  the  titular  star,  the 
film  is  made  noteworthy  by  the  debut  of  German  actor  Curt 
Jurgens,  a  man  of  rugged,  yet  tender,  good  looks,  who  is  a 
shattering  and  impressive  actor.  He  lifts  the  script  with  a 
piercing  glance,  a  touch  of  a  smile  or  an  exhausted  tone,  por- 
traying all  the  disappointments  and  desperations  of  the  Nazi 
sub  commander  he  plays.  While  Wendell  Mayes'  script  does 
not  make  him  the  hero,  yet  that  is  exactly  what  he  will  be  to 
many  spectators  as  they  watch  Jurgen  s  irresistible  force  and 
charm.  The  hero,  Robert  Mitchum,  runs  a  pale  second,  even 
though  he  performs  with  his  usual  rough  and  ready  compe- 
tence. Producer-director  Dick  Powell  has  staged  a  technically 
fine  show,  and  the  Cinemascope-DeLuxe  color  cameras  have 
captured  some  superb  shots  of  modern  sea  warfare.  It  promises 
to  attract  strong  returns  in  action  and  class  houses.  Adult 
audiences  who  go  for  these  semi-documentary,  suspense-adven- 
ture yarns.  The  story  itself  is  extremely  simple.  An  American 
destroyer  commanded  by  Mitchum  sights  a  I -Boat  commanded 
by  Jurgens  and  the  business  of  pursuit,  escape,  attack  and  finally 
destruction  of  both  vessels  is  engaged.  Within  this  framework 
the  characters  of  the  men  on  each  ship  are  sharply  sketched. 

20th  Century-Fox.  92  minutes  Robert  Mitchum.  Curt  Jurgens.  Produced  and 
directed  by  Dick  Powell. 

"Did  Yeller" 

S«46*e4d  ^atcHf  Q  Q  p|us 

Walt  Disney's  warm,  sentimental  tale  of  boy  and  his  dog.  In 
Technicolor.  Will  delight  family  trade,  especially  youngsters. 

It  has  been  a  long  time  since  the  small-fry  have  had  a  biscuit- 
eater  type  saga,  a  wholesome  little  valentine  to  the  love  be- 
tween a  boy  and  his  dog,  like  Walt  Disney's  latest  Techni- 
colored  live-action  "Old  Yeller  ".  Set  for  holiday  release,  this 
Buena  Vista  release  should  fit  the  bill  very  nicely  indeed.  The 
family  trade,  grownups  as  well  as  youngsters,  should  love  it. 
In  a  frankly  sentimental  mood,  Disney  presents  a  mellow  por- 
trait of  frontier  life  in  Texas  during  the  1860  s,  drenched  in 
wonderfully  natural  pigments  and  full  of  the  nostalgic  flavor 
of  the  outdoors,  of  growing  up  and  youthful  adventures  and 
first  emotional  experiences.  The  yarn  is  based  on  screenplav- 
wright  Fred  Gipson's  recent  best-seller,  warmly  directed  by 
Robert  Stevenson,  charmingly  played  by  Dorothy  McGuire, 
Fess  Parker  and  young  Tommy  Kirk.  The  lad  will  delight  his 
counterparts  in  the  audience.  The  story  concerns  the  frontier 
family  of  Miss  McGuire  and  Parker  and  their  two  bo\s,  13- 
year  old  Tommy  Kirk  and  six-year  old  Kevin  Corcoran.  When 
Parker  is  called  away  on  a  cattle-driving  job.  Tommy  becomes 
man  of  the  house  and  comes  across  a  stray  mongrel  dog  to 
whom  he  takes  an  intense  dislike  and  tries  to  drive  off  the 
homestead.  But  the  dog  refuses  to  leave  and  one  day  proves 
his  worth  by  saving  the  life  of  the  younger  boy  from  a  mar- 
rauding bear.  After  this  Tommy  and  the  dog,  "Old  Yeller", 
become  inseparable  until  tragedy  strikes.  The  dog  is  bitten  bv 
a  mad  wolf.  Tommy  is  forced  to  kill  him. 

Buena  Vista.  83  minutes.  Dorothy  McGuire.  Fess  Parker.  Tommy  Kirk.  Produced 
by  Walt  Disney.    Directed  by  Robert  Stevenson. 


Film  BULLETIN    November  25,   1957        Page  23 


EXPLOITATION  PICTURE    J\\  " 


"All  Mine"  Makes 
Strong  Family  Pitch 


The  warm  appeal  of  the  wholesome 
family  relationship,  of  a  houseful  of  kids 
with  the  multitude  of  smile-provoking 
problems  and  most  of  all,  the  heart-en- 
compassing plight  of  children  left  or- 
phaned to  find  homes  in  which  they  will 
be  welcome  —  these  are  the  wonderful, 
boxofhceful  elements  that  Universal  is  of- 
fering in  "All  Mine  to  C  :.ve". 

The  source  of  this  Sam  Wiesenthal  pro- 
duction, made  by  RKO  Radio  in  Techni- 
color, is  one  of  the  most  delightfully 
heartwarming  —  and  true  —  stories  of 
American  pioneering,  "The  Day  They 
Gave  Babies  Away".  It  has  been  read  and 
loved  by  millions  in  its  novel  form,  as  a 
Cosmopolitan  Magazine  feature  which 
was  so  well  received  that  it  appeared 
twice  to  satisfy  demands  of  readers,  and, 
finally,  as  a  Readers  Digest  condensed 
book.  The  authors,  Dale  and  Katherine 
Eunson,  grandchildren  of  one  of  the 
brood  of  six  young  protagonists  of  the 
film,  have  collaborated  on  the  screenplay 
to  maintain  the  original's  flavor. 

Of  at  least  equal  importance  in  name 
value  to  the  grown-up  stars,  Cameron 
Mitchell  and  Glynis  Johns,  are  those  of 
young  Rex  Thompson,  who  scored  in 
"The  Eddy  Duchin  Story"  and  "The  King 
and  I",  and  the  sensation  of  "The  Bad 
Seed",  Patty  McCormack,  reversing  her 
fiendish  role  in  the  earlier  film  to  portray 
the  oldest  of  the  three  girls. 

It  is  the  juvenile  contingent  that  offers 
the  showman  his  greatest  exploftential  in 
"All  Mine  to  Give" — the  all-important 
woman's  audience.  And  the  Universal 
boxofficers  have  tailored  the  campaign  to 
spotlight  this  asset,  in  the  advertising,  in 
the  paper,  in  the  radio  and  TV  material 
and  in  special  features.  The  six  appealing 


Among  the  tender  scenes  that  fill  the  film  is  the  heart-tugging  ad- 
monition of  the  dying  mother  (Glynis  Johns)  to  her  six  children.  At 
top  left,  father  (Cameron  Mitchell)  and  brood  view  a  forest  wonder. 


faces  of  the  youngsters  form  the  key  art 
for  ad  and  display.  The  drama  of  their 
search  for  a  place  that  would  be  "home" 
highlights  the  copy  and  the  catchlines. 

Another  key  avenue  for  showmanship 
is  the  heartwarming  closeness  of  the  fam- 
ily, opening  wide  opportunities  for  group 
and  organizational  support.  Coupled  with 
the  title,  it  becomes  a  natural  for  a  Com- 
munity Chest  tie-in,  or  to  get  Kiwanis 
chapter  support  in  line  with  the  organiza- 
tion's pledge  to  aid  underprivileged  chil- 
dren, or  the  Lions  Clubs  program  of  com- 
munity betterment.  Women's  clubs,  with 
their  universal  dedication  to  improvement 
of  family  relations,  are  excellent  outlets 
for  plugging  the  picture.  Special  screen- 
ings for  leaders  of  all  these  groups  are 
certain  to  set  off  a  chain  of  want-to-see 
talk  destined  to  swell  the  audience. 

An  important  by-product  of  such  group 
exploitation  is  the  public  relations  value 
that  is  always  so  welcome  to  the  exhibitor- 
showman.  Co-ordinating  the  film's  show- 
ing with  a  campaign  to  spread  the  good- 
neighbor  spirit,  securing  endorsement  of 
the  picture  and  theme  as  a  wonderful  de- 
piction of  the  blessings  of  wholesome 
family  relationship,  and  joining  with  es- 
tablished p.r.  agencies  to  increase  public 
interest  in  local  welfare  objectives,  makes 
for  a  rounder  standing  by  the  theatre, 
highlights  its  role  in  the  community. 

A  special  endorsement  by  the  group 
leaders  in  the  newspaper  and  radio  adver- 
tising, or  on  the  screen  with  the  trailer 


should  be  used  wherever  possible.  Also 
highly  effective  is  the  discriminately  used 
manager's  recommendation  message: 

"We  urge  you  to  bring  the  whole  fam- 
ily to  see  'All  Mine  to  Give'.  It  is  a 
touching  story  that  really  happened — to  a 
family  of  six  children  without  parents  or 
a  home,  but  with  the  courage  of  the  very 
young  .  .  .  Each,  on  this  day,  must  find 
a  home  on  the  street  where  strangers  live 
.  .  .  Each  with  so  much  love  for  each 
other  they  opened  the  doors  and  hearts 
of  a  wilderness  town.  We  recommend 
this  as  a  motion  picture  of  wonderful  en- 
tertainment that  will  leave  its  mark  on 
your  heart — and  bring  your  own  family 
closer  together." 

The  radio  advertising,  with  15-,  30-  and 
.  60-second  spots  available  on  a  single  rec- 
ord, free  on  request  from  Universal,  is 
similar  to  the  message  above  and  can  be 
used  in  co-ordination  with  the  manager's 
plea  or  local  group  endorsements.  Also 
on  a  no-charge  basis  to  exhibitors  is  a 
16mm  reel  of  a  series  of  film  spots  for 
TV  use,  including  two  20  second  station 
breaks  and  a  minute  spot,  with  silent  tag 
footage  for  theatre  name  and  playdate. 

Fitting  in  nicely  with  the  pre-Christmas 
release  of  the  picture  is  the  poignant 
scene  of  the  oldest  lad's  Christmas  Day 
trek  to  neighboring  houses  to  find  foster 
parents  for  the  children,  suggesting  pro- 
motion of  Yuletide  theatre  parties  and 
gift  tickets. 


Page  24        Film  BULLETIN     November  25,  1957 


Rises 


yoimlso  alone.  ..so  (xmmus! 


Mine  To  Give"  Stnry 


The  Civil  War  had  just  ended  when  a 
young  Scottish  couple,  Robert  and  Mamie 
Eunson,  arrived  from  the  land  of  the  heather 
to  the  Wisconsin  woodlands  to  find  their 
only  relative  dead  and  his  cabin  destroyed 
by  fire.  With  Mamie  eight  months  preg- 
nant, their  new  life  seemed  bleak  and  hope- 
less. But  they  were  of  stout  heart  and, 
helped  by  sympathetic  neighbors,  rebuilt  the 
cabin  and  their  first  born,  Robbie,  was 
brought  safely  into  the  world.  Five  more 
children  were  born  while  Robert  was  light- 
ing for  existence  in  the  logging  country. 
Then  diphtheria  struck  eight-year-old  Kirk 
and  Mamie  sent  the  others  away  while  she 
desperately  attempted  to  save  the  boy's  life. 
Cirk  survived  but  the  epidemic  vengefully 
took  both  Robert  and  Mamie,  leaving  11- 
year-old  Robbie  to  find  homes  for  his  or- 
phaned brothers  and  sisters.  That  Christ- 
mas day,  he  r,  de  the  rounds  of  the  neigh- 
bors and  before  the  Yule  sun  had  set,  each 
of  the  other  children  were  ensconced  in  a 
friendly  home.  His  mission  completed  Rob- 
bie set  out  to  make  his  way  in  the  logging 
country.  That  he  succeeded  is  attested  to  by 
this  warm  and  wonderful  story  told  by  his 
grandchildren,  read  by  millions  in  Cosmo- 
politan and  Readers  Digest,  and  re-lived  in 
the  Universal-International 


kcM  t,  ALLEN  REISNER  •  Screenpti,  Di  DALE ...  KATHERINE  EUNSON  •  Produced  t?i  SAM  WIESENTHAL 
AN  RKO  RADIO  PICTURE  .  A  UNIVERSAL  INTERNATIONAL  RELEASE 


The  appeal  generated  by  the  child  players  in  "All  Mine  to  Give" 
has  been  captured  in  large  part  by  the  ads,  displayed  in  generous 
variety  in  the  Universal  pressbook.  The  emphasis  is  on  the  latter 
portion  of  the  film,  dramatically  underlining  the  plight  of  the  s!x 
orphans  who  must  each  find  a  home  after  their  parents  had  been 
taken  by  sickness.  The  art  shown  in  the  ad  above  is  basic 
throughout,  utilizing  drawing  rather  than  photography  to  illustrate 
the  youngsters.  In  all  cases,  the  adult  stars  are  secondary,  shar- 
ing equal  featuring  with  the  book.  At  right  is  a  portion  of  the 
24-sheet,  illustrating  its  adaptability  as  a  full-color  lobby  standee. 


Film  BULLETIN    November  25.  1957        Page  25 


O'NEIL 


THOMAS  F.  O'NEIL,  RKO  Teleradio  board 
chairman,  revealed  that  negotiations  for  the 
sale  of  RKO's  film-making  facilities  in  Holly- 
wood and  Culver  City  to  Desilu  Productions 
are  proceeding,  with  "basic  terms"  already 
agreed  on.  It  is  expected  that  the  sale  will 
be  consummated  within  a  few  days.  The  dis- 
cussions are  being  conducted  by  RKO  presi- 
dent Daniel  T.  O'Shea  and  Martin  Leeds, 
Desilu  vice  president.  In  a  recent  statement, 
Mr.  Leeds  intimated  that  there  is  a  distinct 
possibility  that  Desilu,  one  of  the  nation's 
leading  producers  of  television  films,  may 
enter  feature-film  production  with  the  acqui- 
sition of  expanded  production  facilities.  In 
another  recent  action,  O'Neil  announced  that 
RKO  Teleradio  is  filing  for  FCC  authoriza- 
tion to  participate  in  toll-television  tests. 

o 

PARAMOUNT  fired  five  publicists  and  ar- 
tist from  its  home  office  advertising  staff 
last  week.  Two  of  the  dismissed  have  been 
with  the  company  for  over  30  years. 

<0> 

ROBERT  S.  TAPLINGER,  Warner  Bros, 
vice  president  in  charge  of  advertising  and 
public  relation,  announced  that  Buchanan  & 
Co.  will  handle  future  advertising  for  the 
company.  It  has  been  estimated  that  the 
account  will  bill  approximately  5750,000  a 
year.  The  dismissal  of  some  45  employees 
in  the  Warner  Bros,  ad-pub  department  is 
now  being  arbitrated  by  the  American  Arbi- 
tration Association  in  New  York  City. 

0 

JACK  KIRSCH,  president  of  Allied  of  Illi- 
nois, blasted  production  for  "reducing  their 
output  of  picture  in  color,  especially  at  a 
time  when  they  are  most  needed".  He  cau- 
tioned against  the  excessive  use  of  economy 
in  color  production,  pointing  out  that  tinted 
films  "are  a  potent  selling  point  and  a 
medium  which  is  far  superior  to  anything 
the  people  can  see  on  TV."  Pointing  out 
that  there  had  been  a  decrease  from  151 
color  films  in  1955  to  114  in  1957,  Kirsch 
said,  "Other  industries  are  doing  everything 
they  can  to  improve  their  products  so  that 
they  are  more  appealing  to  the  public,  while 
our  industry,  on  the  other  hand,  is  doing 
nothing  but  economizing  ...  If  that  is  what 


THEY 


MADE  THE  NEWS 

they  consider  good  business  judgment,  then 
I  fear  for  the  future  of  this  great  industry 
of  ours." 

o 

BUDDY  ADLER  has  inked  a  new  exclusive, 
long-term  contract  as  production  chief  of 
20th  Century-Fox  film  studios,  it  was  an- 
nounced by  president  Spyros  P.  Skouras.  Ad- 
ler,  in  charge  of  production  at  20th  since 
succeedin-j  Darryl  F.  Zanuck  in  1956,  will 
oversee  an  expenditure  of  some  $60  million 
in  1958.  His  new  contract  was  unanimously 
approved  bv  the  board  of  directors. 

o 

ARTHUR  M.  LOEW  is  stepping  down  as 
president  of  Loew's  International  Corp.,  ef- 
fective the  first  of  next  year.  He  gave  as  his 
reason  the  fact  that  he  is  "tired  of  the  re- 
sponsibilities of  work  in  a  large  corpora- 
tion". He  plans  to  go  into  independent  pro- 
duction. He  has  served  as  president  of  the 
parent  company  from  December,  1955,  to 
October,  1956,  then  resigned  to  make  way  for 
Joseph  R.  Vogel.  Son  of  Marcus  Loew, 
founder  of  the  film  empire,  Arthur  has  been 
with  the  company  since  1920.  Morton 
Spring,  former  vice  president  of  the  foreign 
subsidiary,  was  named  to  take  over  the  spot 
vacated  by  Loew. 


JOHN  DAVIS  (right)  talks  with  Leonard 
Coulter,  Film  BULLETIN  associate  editor, 
at  press  conference  in  New  York. 


JOHN  DAVIS,  managing  director  of  the 
Rank  Organization,  recently  returned  from  a 
trip  to  the  United  States,  told  the  British 
press  that  present  production  plans  call  for 
20  films  to  be  produced  in  1958  at  a  cost  of 
SI 4,000,000.  In  reviewing  the  operation  of 
the  Rank  Film  Distributors  of  America,  he 
said:  "We  do  not  underestimate  the  task  we 
have  undertaken,  but  we  assessed  it  when  we 
started  as  a  'reasonable  business  risk'. 
Nothing  has  happened  in  the  first  nine 
months  of  our  operation  to  cause  us  to  alter 
this  assessment  of  the  situation."  While  in 
the  U.  S.  recently,  Davis  has  been  quoted  as 
being  "very  pleased"  with  RFDA's  progress. 


BOASBERG 


GEORGE  D.  BURROWS,  executive  vice 
president  and  treasurer  of  Allied  Artists,  told 
stockholders  at  the  annual  meeting  that  net 
profit  for  the  first  quarter  of  the  current  fiscal 
year  (ended  Sept.  28)  totaled  $90,800  as 
compared  to  a  loss  of  S100,000  for  the  simi- 
lar period  in  '56.  Burrows  presided  over  the 
meeting  in  the  absence  of  president  Steve 
Broidy,  hospitalized  with  automobile  acci- 
dent injuries.  Burrows  revealed  that  the 
regular  dividend  on  AA's  5*/2  Per  cent  cum- 
ulative preferred  stock  would  be  paid. 

o 

CHARLES  BOASBERG  will  become  Warner 
Bros.'  general  sales  manager  effective  Janu- 
ary 1st,  it  was  announced  by  executive  vice 
president  Benjamin  Kalmenson.  He  succeeds 
Roy  Haines,  western  division  manager,  who 
has  been  handling  the  top  sales  post  on  an 
"interim  basis".  For  the  last  two  years,  Boas- 
berg  has  supervised  international  sales  for 
Paramount's  "Ten  Commandments".  He  was 
previously  general  sales  manager  for  RKO 
Radio  Pictures  and  DCA. 

0 

JERRY  WALD  scoffed  at  those  who  lack 
confidence  in  the  future  of  the  motion  pic- 
ture industry.  In  an  address  to  the  American 
Society  of  Cinematographers,  the  indepen- 
dent producer  pointed  out  there  are  "too 
many  pallbearers  eager  to  reach  for  a  coffin 
that,  fortunately,  hasn't  been  built  yet"  .  .  . 
"With  a  maximum  of  considered  opinion 
and  a  minimum  of  snap  judgment,  we  can 
make  our  'healthy  invalid'  even  healthier." 
The  industry  has  been  in  a  state  of  crisis 
practically  since  the  first  nickelodeon 
opened ",  Wald  declared. 

o 

ARTHL'R  HORNBLOW  termed  out-of-this- 
world  salaries  for  stars  and  other  creative 
personnel,  demanded  for  the  sake  of  vanity, 
are  "ths  curse  of  the  motion  picture  busi- 
ness". He  predicted  that  heavy  economic 
pressures  will  bring  these  "ultra-high"  sala- 
ries to  a  more  reasonable  level  in  the  near 
future.  The  producer  (with  Edward  Small) 
of  "Witness  for  the  Prosecution",  a  forth- 
coming United  Artists  release,  said  the  film- 
maker today  must  build  solid  boxoffice  values 
into  each  film  to  meet  the  competition  in  the 
entertainment  world. 


Page  26       Film  BULLETIN     November  25,  1957 


THEY 


MADE  THE  NEWS 


SCHNEIDER 


A.  SCHNEIDER,  Columbia  Pictures  vice 
president,  told  stockholders  at  the  annual 
meeting  that  earnings  for  the  first  half  of  the 
1958  fiscal  year,  the  six  months  ending  De- 
cember 31,  w  ill  decline  sharply.  He  indicated 
that  the  June-September  quarter  balance 
sheet  may  show  a  loss.  Primary  blame  for 
the  company's  poor  showing  was  attributed 
by  Schneider  to  two  factors:  1)  the  recent  flu 
epidemic  which  caused  many  theatregoers  to 
stay  away  from  theatres,  and  2)  the  fact  that 
Columbia  had  no  important  pictures  in  re- 
lease. He  forecast  a  pick-up  in  business  dur- 
ing the  second  half  on  the  basis  of  expected 
earnings  from  two  top  releases,  "Pal  Joey" 
and  "The  Bridge  on  the  River  Kwai".  He 
also  revealed  that  the  company's  TV  film 
distributing  subsidiary,  Screen  Gems,  is  ne- 
gotiating for  Paramount's  "00  pre- 1948  fea- 
tures. Other  business  transacted  at  the  meet- 
ing: vice  president  and  general  sales  manager 
A.  Montague  was  awarded  a  new  five  year 
contract,  all  present  members  of  the  board  of 
directors  were  reelected  and  stock  option 
plans  were  granted  to  a  number  of  top  ex- 
ecutives. Action  on  a  dividend  is  expected 
to  be  taken  up  by  the  directors  when  they 
meet  next  month. 

0 

BEN  MARCUS,  the  Wisconsin  exhibitor, 
asked  for  a  cut  in  first  run  clearance  in  the 
Milwaukee  area  from  28  days  to  7  or  14 
days,  in  a  letter  sent  to  all  the  film  com- 
panies. He  pointed  out  that  "the  method  of 
merchandising  the  operation  of  our  theatres" 
should  be  reexamined  in  the  light  of  current 
trends  and  events.  "If  my  requeest  is  denied, 
I  am  asking  you  to  arrange  to  conciliate  this 
problem."  Marcus  declared  that  the  movie 
industry  is  "still  using  'Model  T'  methods  of 
exhibition  and  distribution",  while  other 
businesses  are  moving  forward  with  modern 
methods. 


EDWIN  SILVERMAN,  president  of  Essaness 
Theatres,  Chicago,  warned  that  "10,000  the- 
atres may  close  during  the  next  year"  if  the 
film  companies  continue  making  "additional 
important  pictures  available  to  TV".  He- 
charged  "banking  interests"  and  their  "liqui- 
dating influence"  with  causing  "veteran  film 
executives  to  act  against  their  best  judgment 
in  selling  their  backlogs  to  television  for 
meager  sums  in  comparison  to  original  pro- 
duction costs." 

0 

CHARLES  REAGAN,  vice  president  and 
general  sales  manager  of  Loew's,  announced 
that  "Raintree  County"  will  be  booked  on  a 
continuous  run  policy  in  most  situations,  ex- 
cept where  exhibitors  express  a  desire  to 
continue  with  the  2-a-day  reserved  seat 
policy.  The  continuous  presentations  will 
run  for  two  hours  and  forty-eight  minutes  as 
contrasted  to  the  three  hour  and  five  minute 
roadshow  version.  "We  can  now  accept  more 
dates  on  'Raintree  County'  than  would  be 
available  under  the  limited  reserved-seat 
method  and  bring  the  picture  to  large  audi- 
ences while  the  publicity  still  is  gaining  mo- 
mentum," said  Reagan. 

0 

LOUIS  PHILLIPS,  vice  president  and  gen- 
eral counsel  of  Paramount  Pictures,  denied 
the  accusation  of  Indiana  exhibitor  Trueman 
Rembusch  that  Paramount  would  wreck  the 
industry's  conciliation  plan.  Rembusch's  Syn- 
dicate Theatres  an-'  the  distributor  are  pres- 
ently involved  in  a  court  action  arising  from 
the  circuit's  pay-what-you-choose  policy  dur- 
ing a  recent  engagement  of  "The  Ten  Com- 
mandments". Phillips  charged  Rembusch 
with  going  against  "the  letter  and  the  spirit 
of  the  conciliation  plan"  in  an  effort  "to 
build  a  record  for  himself  with  an  eye  per- 
haps to  the  courtroom". 

0 

ELMER  C.  RHODEN  and  JACK.  L.  WAR- 
NER, in  a  joint  announcement,  outlined 
plans  whereby  their  organizations,  National 
Theatres  and  Warner  Bros.  Pictures,  will 
join  hands  in  the  production  and  presenta- 
tion of  a  number  of  films  in  the  Cine-Miracle 
process.  All  of  the  proposed  productions  will 
be  made  specifically  for  roadshow  engage- 
ments. First  of  the  joint  ventures  will  be 
"The  Miracle,"  the  Max  Reinhardt  play, 
which  is  scheduled  to  go  into  production 
early  in  1958.  Cine-Miracle  is  a  wide-screen 
projection  method  that  utilizes  three-strip 
film,  three  projectors  in  a  single  projection 
booth  and  a  large  curved  screen. 

0 

CARL  PEPPERCORN,  vice  president  in 
charge  of  sales  for  Continental  Distributing, 
Inc.,  announced  the  opening  of  five  new 
branch  offices  in  Chicago,  Pittsburgh,  Kan- 
sas City,  Albany  and  Atlanta.  The  new 
branches  will  be  supervised  by  three  district 
managers  and  two  salesmen.  The  district 
managers:  Mike  Kassel  for  Chicago,  Mil- 
waukee and  Minneapolis;  Joel  Golden  for 
Pittsburgh,  Cincinnati  and  Cleveland;  and 
Clarence  Schultz  for  Kansas  City,  St.  Louis, 
Des  Moines  and  Omaha. 


HEADLINERS... 


JIM  NICHOLSON,  president  of  American 
International  Pictures  being  honored  by  a 
sales  dri\e  to  celebrate  the  founding  of  the 
three  vear-old  organization  .  .  .  G.  R. 
FRANK  appointed  Paramount  Des  Moines 
branch  manager,  succeeding  DONALD  R. 
HICKS,  named  Cincinnati  branch  manager 
.  .  .  New  resident  of  TESMA  is  THOMAS 
E.  LA  VEZZ1  of  Chicago  .  .  .  The  Manos- 
operated  Moore  Theatre  Service  merged  with 
Stearn-Hanna  cooperative,  western  Pennsyl- 
vania huv  ing-booking  service.  TIDD  MAN- 
OS,  son  of  veteran  exhibitor  MIK1  MAN- 
OS,  will  collaborate  in  the  new  organization 
with  BERT  M.  STEARN  and  LOUIS  E. 
HANNA  .  .  .  Warner  Bros,  moves  into  its 
new  home  office  quarters  next  Monday,  666 
Fifth  Ave.  .  .  .  E.  R.  (Red)  SLOCUM.  ex- 
ecutive director  of  United  Theatre  Owners  of 
Oklahoma,  elected  Chief  Barker  of  Variety 
Tent  No.  22  ...  A  memorial  plaque  in  the 
memory  of  the  late  JACK  COHN  was  un- 
veiled Nov.  18  in  the  grand  ballroom  of 
N.  Y."s  Plaza  Hotel.  It  will  be  installed  in 
the  ground  floor  lobby  of  the  Columbia  home 
office  building  .  .  .  Some  40  new  Motion  Pic- 
ture Pioneers  will  be  inducted  at  the  19th 
annual  dinner  honoring  Loew's  president 
IOSEPH  R.  VOGEL  .  .  .  A  joint  RKO-Buena 
Vista  release  set  for  RKO's  "Stage  Struck", 
it  was  announced  by  BV  general  sales  man- 
ager LEO  F.  SAMUELS  and  RKO  vice  presi- 
dent WALTER  E.  BRANSON  .  .  .  HAL 
ROACH,  JR.  plans  a  production  schedule  of 
12  features  in  association  with  Carl  K.  Hit- 
tleman  Productions  .  .  .  GEORGE  J.  SCHAE- 
FER  elected  president  of  the  Todd-AO  Corp. 
.  .  .  DAVID  A.  SHAPIRO  appointed  execu- 
tive secretary  of  the  Texas  Drive-In  Theatre- 
Association  .  .  .  ROCK  HUDSON  named 
TOA's  "Star  of  the  Year"  .  .  .  HAROLD 
FRIEDMAN  appointed  sales  director  of  the 
newly-formed  United  Artists  Record  Corp. 
.  .  .  JILTON  SHAPP's  Jerold  Electronics 
will  demonstrate  an  automatic  metering  sys- 
tem for  tabulating  and  billing  cable  theatre 
customers  on  a  per-program  basis  .  .  .  AL- 
FRED E.  F.  STERN  resigned  as  world-widc- 
director  of  publicity  and  promotion  to  be- 
come West  Coast  p.r.  director  for  National 
Telefilm  Associates  .  .  .  BEN  GRIMM  has 
been  named  manager  of  world-wide  adver- 
tising and  publicity  for  RKO,  while  FRED 
Ll'TKIN  has  been  promoted  to  the  post  of 
associate  manager  .  .  .  The  independent  pro- 
ducing firm  headed  by  JOE  PASTERNAK 
and  SAM  KATZ  have  terminated  their  pro- 
duction pact  with  Columbia  .  .  .  LOUIS  AS- 
TOR,  Columbia  home  office  exec  since  1933, 
becomes  a  consultant  after  December  31  .  .  • 
SHERRILL  CORWIN  and  PAUL  PORZELT 
elected  directors  of  Allied  Artists  .  .  .  BER- 
NARD E.  ZEEMAN  elected  a  vice  president 
of  Columbia  International  .  .  .  LEON  EN- 
KEN,  JR.  elected  president  and  treasurer  of 
Ohio's  Robbins  Amusement  Co.  succeeding 
the  late  JOE  ROBINS  .  .  .  FRANK  QUIN- 
LIVEN  now  Buffalo  zone  manauer  for  Dip- 
son  Theatres  .  .  .  IRVING  WINDISCH. 
former  WB  publicist  heads  N.  V.  office  of 
Loeff  and  McElwaine,  public  relations  firm 
.  .  .  W.  R.  BRIZENDINE  elected  chief 
barker  of  the  Baltimore  Variety  tent  .  .  . 
JAMES  DI  GANGI,  president,  and  DON 
KRANZE,  vice  president,  announced  forma- 
tion of  Park  East  Films  with  plans  to  pro- 
duce three  features  within  the  next  six 
months  .  .  .  SIDNEY  SCHWARTZ,  a  stock- 
holder of  List  Industries,  has  filed  suit  in 
Delaware  Court  of  Chancery  to  rescind  the 
sale  of  140,000  shares  of  stock  sold  by  direc- 
tor DAVID  J.  GREENE  to  the  company  at 
S9  a  share  ...  TED  COTT  named  vice 
president  of  National  Telefilm's  television 
and  radio  properties  .  .  .  IRA  MEIN- 
HARDT  nominated  for  the  post  of  chief 
barker  of  Tent  35  New  York  Variety  Club 
.  .  .  SPYROS  P.  SKOURAS,  speaking  in 
London  at  a  Royal  Naval  College  dinner, 
expressed  hopes  of  producing  a  film  about 
the  English  Navy. 


Film  BULLETIN    November  25.  1957        Page  27 


THIS  IS  YOUR  PRODUCI 


All  The  Vital  Details  on  Current  &>  Coming  Features 

(Date  of  Film  BULLETIN  Review  Appears  At  End  of  Synopsis) 


ALLIED  ARTISTS 


September 

DEATH  IN  SMALL  DOSES  Peter  Graves,  Mala  Powers, 
Chuck  Conners.  Producer  R.  Heermance.  Director  J. 
Newman.  Melodrama.  Investigator  cracks  ring  selling 
illegal  pills  to  truckers.    74  minutes. 

GUN  CATTLE  AT  MONTEREY  Sterling  Hayden,  Pamela 
Duncan.  Ted  de  Corsia.  Producer  D.  J.  Grut.  Director 
Sidney  Franklin,  Jr.  Melodrama.  Outlaw  leaves  buddy 
to  die,  thinking  him  dead.    76  minutes. 

NAKED  IN  THE  SUN  Eastman  Color.  James  Craig,  Lita 
Milan,  Barton  MacLane.  Producer-director  R.  John 
High.  Drama.  Story  of  Osceola,  Warrior  Chief  of  the 
Seminole  nation,  the  woman  he  loved,  and  the  war  that 
was  never  won.    72  min. 

TEENAGE  DOLL  June  Kenney,  Fay  Spain,  John  Brink- 
ley.  Producer-Director  Roger  Cormjn.  A  drama  of 
teenage  gang  warfare.    71  min. 

UNDERSEA  GIRL  Mara  Corday,  Pat  Conway,  Florence 
Marly  Producer  Norman  Herman.  Adventure.  Skin 
divers  solve  mystery  of  lost  naval  shipment.    66  min. 

October 

AFFAIR  IN  HAVANA  Jchn  Casavetes.  Raymond  Eurr, 
Sara  Shane.  A  Dudley  Production.  Director  Laslo 
Benedek.  Drama.  Young  American  composer  becomes 
involved  with  the  wife  of  a  wealthy  Cuban  tycoon  who 
is  a  helpless  paralytic.    80  min. 

LOOKING  FOR  DANGER  Hunt*  Hall,  Stanley  Clements. 
Producer-director  Richard  Heermance.  Melodrama. 
Bowery  Boys  booby-trap  holdup  man.    61  min. 

TALL  STRANGER,  THE  CinemaScope,  Color.  Joel  Mc- 
Crea,  Virginia  Mayo.  Producer  Walter  Mirisch.  Direc- 
tor Thomas  Carr.  Western.  Cowboy  helps  open  Colo- 
rado to  settlers.    83  min. 

November 

HONG  KONG  INCIDENT  Jack  Kelly,  May  Wynn  Pro- 
ducer J.  Raymond  Friegen.  Director  Paul  F.  Heard. 
Drama.  East-West  romance  with  Hong  Kong  as  back- 
ground. 81  min. 

HUNCHBACK  OF  NOTRE  DAME,  THE  CinemaScope, 
Color.  Gina  Lollobrigida,  Anthony  Quinn.  A  Paris 
Production.  Director  Jean  Delannoy.  Drama.  Hunch- 
back falls  in  love  with  beautiful  gypsy  girl.  103  min. 
11/14. 

SABU  AND  THE  MAGIC  RING  DeLuxe  Color.  Sabu, 
Daria  Massey,  Robert  Shafto.  Producer  Maurice  Dike. 
Director  George  Blair.  Adventure.  Stable  boy  finds 
magic  ring.  65  min. 

December 

FAGANS,  THE  Pierre  Cressoy,  Vittorio  Sanito'i,  Helen 
Remy.  Producer  William  Pizor.  Director  Ferrucio  Cerio. 
Adventure.  Sacking  of  16th  Century  Rome  by  Spanish 
hordes.  80  min. 

NEW  DAY  AT  SUNDOWN  CinemaScope,  Color.  George 
Montgomery,  Randy  Stuart,  Susan  Cummings.  Producer 
Scott  R.  Dunlap.  Director  Paul  Landres.  Western.  Be- 
lieved to  be  agent  for  railroad,  haro  becomes  a 
marked  man.  82  min. 

UP  IN  SMOKE  Huntz  Hall.  Producer  Richard  Heer- 
mance. Director  William  Beardine.  Comedy.  Bowery 
Boys  become  involved  in  horse  race  betting.    62  min. 

Coming 

CEAST  OF  BUDAPEST  Michael  Mills,  Greta  Thysscn, 
Violet  Rensing.  Producer  Archie  Mayo.  Director  Har- 
mon  Jones.     Drama  of  freedom   fighters   in  Budapest. 

C@LE  Y6UNGER,  GUNFIGHTER  CinemaScope,  Deluxe 
Color.  Frank  Lovejoy.  Producer  Ben  Schwalb.  Director 
R.  G.  Springsteen.  Western.  Rebellion  against  carpet- 
bag rule  in  Texas. 

CRY  BABY  KILLER,  THE  Jack  Nicho'son,  Carolyn 
Mitchell.  Producer  Roger  Corman.  Director  Jus  Addis. 
Melodrama.  Juvenila  killer  on  a  crime  spree. 

IN  THE  MONEY  Huntz  Hall.  Producer  Richard  Heer- 
mance. Director  William  Beaudine.  Comedy.  Inter- 
national smugglers  make  Hall  fall  guy  in  robbery. 
OREGON  PASSAGE  CinemaScope.  Deluxe  Color.  John 
Ericson.  Produced  Lindsley  Parsons.  Director  Paul 
Landres.  Western.  Fight  against  Indian  uprisings  in 
Oregon  Territory.    82  min. 

NEVER  LOVE  A  STRANGER  John  Drew  Barrymore  Lita 
Milan.  Robert  Bray.  Producer  Harold  Robbins. 
TEVEN  GUNS  TO  MESA  Lola  Albright,  Charles  9uin- 
hven.  Producer  William  F.  Broidy.  Director  Edward 
Dein.  Western.  Stagecoach  passengers  are  hj'd  pris- 
oners by  outlaw-killers. 


OUANTRILL'S  RAIDERS  CinemaScope,  DeLuxe  Color. 
Steve  Cochran,  Diane  Brewster.  Producer  Ben  Schwalb. 

RAWHIDE  BREED,  THE  Rex  Reason.  Nancy  Gates.  Pro- 
ducer Earle  Lyon.  Director  Robert  Gordon.  Western. 
Two  men  are  falsely  accused  of  leading  wagon  train 
into  an  Indian  ambush. 


September 

AMAZING  COLOSSAL  MAN,  THE  Glenn  Langan, 
Cathy  Downs,  William  Hudson.  Producer-Director  Bert 
I.  Gordon.  Horror.  Out-size  man  runs  amok.  81 
min.  11/14. 

CAT  GIRL,  THE  Barbara  Shelley,  Robert  Ayres.  Kay 
Callard.  Producer  Lou  Rusoff.  Director  William  Sh'augn- 
essy.  Horror.  69  min. 

October 

MOTORCYCLE  GANG  Steve  Terrell,  John  Ashley, 
Frank  Gorshin.  Producer  Alex  Gordon.  Director  Edward 
L.  Cahn.  Melodrama.  78  min. 

SORORITY  GIRLS  Susan  Cabot,  Dick  Miller,  Barboura 
Morris.   Producer-Director  Roger  Corman.  Melodrama 

An  m;„ 


November 

BLOOD  OF  DRACULA  Sandra  Harrison,  Louise  Lewis. 
Gail  Conley.  Poducer  Herman  oChen.  Director  Hirbert 
L.  Strock.  Horror. 

VIKING  WOMEN,  THE  Abby  Dalton  Susan  Cabot 
Brad  Jackson.  Producer-Director  Roger  Corman. 
Science-Fiction. 

I  WAS  A  TEENAGE  FRANKENSTEIN  Whit  Bissell,  Phyl- 
lis Coates.  Robert  Burton.  Producer  Herman  Cohen 
Director  Herbert  L.  Strock.  Horror. 

December 

ASTOUNDING  SHE  MONSTER,  THE  Robert  Clarke, 
Kenne  Duncan,  Marilyn  Harvey.  Producer-director 
Ronnie  Ashcroft.  Horror. 

ASTOUNDING  SHE-MONSTER,  THE  Robert  Clarke, 
Keene     Duncan.     Producer-director     Ronnie  Ashcroft! 

Coming 

FANTASTIC  PUPPETT  PEOPLE,  THE  John  Agar  John 
Hoyt.     Producer-director   Bert  I.  Gordon. 

January 

JET  ATTACK  John  Agar,  Audrey  Totter.    Producer  Alex 

Gordon.  Director  Edward  L.  Cahn.  Drama. 

HELL   RAIDERS   Michale   Connors,    John    Ashley  Russ 

Bender.    Producer    Lou    Rusoff.    Director    E.    C  Cahn 

Drama. 


COLUMBIA 


September 

BROTHERS  RICO  THE  Richard  Conte,  Kathryn  Grant 
Dianne  Foster.  Producer  Lewis  Rachmil.  Director  Phii 
Karlson.  Drama.  Former  racketeer,  trying  to  go 
straight,  exposes  organization  when  they  push  him  too 


PARSON  AND  THE  OUTLAW,  THE  Sonny  Tufts  An- 
thony Dexter,  Marie  Windsor.  Producer  Robert  Gilbert 
Director  Oliver  Drake.  Billy  the  Kid  tries  to  become 
law-abiding  citizen.  71  min. 

WOMAN  OF  THE  RIVER  Technicolor.  Sophia  Loren, 
Gerald  Oury,  Lise  Bourdin.  Producer  DeLauretiis  and 
Ponti.  Director  Mario  Soldati.  Beautiful  peasant  girl 
who  breaks  smuggling  ring.  98  min. 

October 

DOMINO  KID  Rory  Calhoun,  Kristine  Miller.  Producers 
Rory  Calhoun  and  Victor  M.  Orsatti.  Director  Ray 
Nazzaro.  Western.  73  min.  Civil  War  hero  returns 
seeking  vengeance  on  outlaws  who  killed  his  father 
74  min. 

HOW  TO  MURDER  A  RICH  UNCLE  Charles  Coburn 
N.gel  Patrick,  Wendy  Hiller.  A  Warwick  Production] 
Director  Nigel  Patrick.  Comedy.  English  family  plots 
t?  murder  rich  American  uncle. 

PAPA.  MAMA.  THE  MAID  AND  I  Robert  Lamoureux. 
Gaby  Morlay,  Nicole  Courcel.  Director  Jean-Paul  L« 
Chanois.  Comedy.  The  lives  of  a  typically  Parisian 
family.  94  min.  9/17. 

STOSY  OF  ESTHER  COSTELLO  Joan  Crawford 
Rossano  Brazzi,  Heather  Sears.  John  and  James  Woolf 
producers.  Director  David  Miller.  Drama.  Unscrupulous 
people  exploit  blind  girl  for  profit.  103  min.  9/30. 


TIJUANA  STORY.  THE  Rodolfo  Acosta,  James  Darren. 
Robert  McQueeney.  Producer  Sam  Katzman.  Director 
Leslie  Kardos.  Drama.  Editor  wages  fight  against  vice 
lords  in  community. 

November 

OPERATION  MAD  BALL  Jack  Lemmon,  Kathryn  Grant. 
Mickey  Rooney.  Producer  Jed  Harris.  Director  Rich- 
ard Quine.  Comedy.  Private  faces  court-martial  while 
involved  in  a  romance.    105  min. 

PAL  JOEY  Technicolor.  Frank  Sinatra,  Rita  Hayworth, 
Kim  Novak.  Producer  Fred  Kohlman.  Director  George 
Sidney.  Musical.  Filmization  of  the  Rodgers  and  Hart 
Broadway  hit.    I  I  I  min.  9/16. 

ESCAPE  FROM  SAN  QUENTIN  Johnny  Desmond,  Merry 
Anders.  Melodrama.  81  min. 

TORERO  Documentary  starring  Luis  Procuna.  75  min. 
Disney.  Director  Robert  Stevenson.  Drama. 

December 

BRIDGE  OVER  THE  RIVER  KWAI.  THE  William  Holden, 
Alec  Guinness,  Jack  Hawkins.  Producer  Sam  Spiegel. 
Director  David  Lean.  Drama.  British  soldiers  held  in 
prison  camp. 

HARD  MAN,  THE  Guy  Madison,  Valerie  French.  Lome 
Green.  Producers  Wallace  MacDonald  and  Helen  Ains- 
worth.  Director  George  Sherman.  Western.  Deputy 
out  to  prove  he  is  not  a  killer. 

Coming 

ADMIRABLE  CRICHTON,  THE  Technicolor.  Kenneth 
More.  Diane  Cilento.  Cecil  Parker.  Producer  Ian  Dal- 
rymple.  Director  Lewis  Gilbert.  Drama.  The  story  of  a 
famous  butler  in  the  I900's.    94  min. 

EITTER  VICTORY  CinemaScope.  Technicolor.  Richard 
Burton,  Curd  Jurgens,  Raymond  Pellegrin.  Producer 
Paul  Graetz.  Director  Nick  Ray.  W.  W.  II.  97  min. 
BON  JOUR  TRISTESSE  CinemaScope,  Color.  David 
Niven,  Deborah  Kerr,  Jean  Seberg.  Producer-director 
Otto  Preminger. 

DECISION  AT  SUNDOWN  Randolph  Scott.  Valerie 
French,  Karen  Steele.  Producer  Harry  Joe  Brown.  Di- 
rector Budd  Boetticher.  Climax  of  a  3-year  hunt  for 
the  man  who  stole  his  wife. 

FORTUNE  IS  A  WOMAN  Jack  Hawkins,  Arlene  Dahl, 
Dennis  Price.  Producers  Frank  Launder  and  Sidney 
Gilliat.    Director  Sidney  Gilliat. 

GIDEON'S  DAY  Jack  Hawkins,  Dianne  Foster.  Pro- 
ducer-director John  Ford. 

GODDESS.  THE  Kim  Stanley,   Lloyd  Bridges.  Producer 
Milton  Perlman.    Director  John  Cromwell. 
HAUNTED.  THE  Dana  Andrews.  Producer  Hal  E.  Ches- 
ter. Director  Jacques  Tourner. 

HIGH  FLIGHT  CinemaScope.  Ray  Milland.  Sean  Kelly, 
Kenneth  Haight.  Producers  Irving  Allen  and  A.  R. 
Brocolli.  Director  John  Gilling. 

KEY,    THE    William    Holden,    Sophia    Loren.  Producer 

Carl   Forman.    Director  Carol  Reed. 

LONG   HAUL.  THE  Victor  Mature,   Diana  Dors,  Peter 

Reynolds.     Producer    Maxwell     Setton.     Director  Ken 

Hughes. 

NIGHT  OF  THE  DEMON  Dana  Andrews.  Producer  Hal 
E.  Chester.  Director  Jacques  Tourneur. 
NO  TIME  TO  DIE  Victor  Mature,  Leo  Genn.  Producer 
Phil  Samuel.  Director  Terence  Young. 
OTHER  LIFE  OF  LYNN  STUART,  THE  Betsy  Palmer, 
Jack  Lord.  Producer  Bryan  Foy.  Director  Lewis  Seiler. 
REMINISCENCES  OF  A  COWEOY  Glenn  Ford,  Jack 
Lemmon,  Anna  Kashfi.  Western.  Free-spending  cow- 
boy helps  friend  save  cattle. 

RESCUE  AT  SEA  Gary  Merrill.  Nancy  Davis,  Irene 
Hervey.  Producer  Sam  Katzman.  Director  Fred  Sears. 
RETURN  TO  WARBOW  Color.  Phil  Carey,  William  Les- 
lie, Catherine  McLeod.  Producer  Wallace  MacDonald. 
Director  Ray  Nazzaro. 

SCREAMING  MIMI  Anita  Ekberg,  Phil  Corey,  Gypsy 
Rose  Lee,  Harry  Townes.  A  Brown-Fellows  Production. 
Director  Gerd  Oswald. 

7TH  VOYAGE  OF  SINBAD.  THE  Kerwin  Matthews, 
Kathryn  Grant.  Producer  Charles  Schneer.  Director 
Nathan  Juran. 

SHE  PLAYED  WITH  FIRE  Jack  Hawkins,  Arlene  Dahl, 
Producers  Frank   Launder-Sidney  Gilliat.  Director  Sid 
ney  Gilliat.    Drama.    Story  of  an  arsonist.   95  min. 
SNORKEL,  THE  Peter  Van   Eyck,   Betta   St.   John.  Pro- 
ducer Michael  Carreras.    Director  Guy  Green. 
SUICIDE  MISSION  Leif  Larson,  Michael  Aldridqe,  Atl< 
Larsen.     A    North    Seas    Film    Production.  Director 
Michael    Forlong.     Adventure.      Norwegian  fishermen 
smash  German  blockade  in  World  War  II.    70  min. 
THIS  BITTER  EARTH  Silvana  Mangano,  Richard  Conte, 
Anthony  Perkins.    Producer  Dino  De  Laurentiis.  Direc- 
tor Rene  Clement.    Drama.    Family  fights  to  keep  land. 
TRIAL  OF  CAPTAIN   BARRETT.   THE  Edmond  O'Brien. 
Mona  Freeman,   Karin  Booth     Producer  Sam  Katzman. 
Director  Fred  F.  Sears. 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


INDEPENDENTS 


September 

CCD    OF    GRACS     (Trans-Luxl     Anna     Brazzou  Mike 
Nirhols.    Vera    Katri.    Producer-Director    Greqq  Tallas 
I  Drama.  92  min. 

CARTOUCHE  IRKOI  Richard  Basehart,  Patricia  Roe. 
'  Producer  John  Nasht.  Director  Steve  Sekely.  Adventure. 
S  Lh*'  "xvY  73    *"  'UltV   adv'n,urer   during   ,h«   reign  of 

COOL  AND  THE  CRAZY,  THE  llmperiall  Scott  Mar- 
lowe.   Gigi    Perreau     Producer   Elmer   Rhoden    Jr.  Di- 

R  rector  William  Whitney.  Story  of  teenage  violence. 
GUN  GIRLS  (Astor!  Jeanne  Ferguson    Jean  Ann  Lewis 
Producer    Edward    Frank.     Director    Robert  Derteano 

jj  Drama.   Gang  girls  on  the  loose.   47  min. 

PASSIONATE  SUMMER  IKingsleyl  Madeleine  Robinson 
li  Magali  Noel.  Raf  Vallons  Produced  by  Les  Films 
I  Marceau.  Director  Charles  8rabant.  Drama.  Conflict- 
I  ing  passions  between  three  women  and  a  man.  iso- 
lated or.  a  rugged  farm  in  a  mountainous  French 
I  province.  93  min. 

CA.7 NIVAL  ROCK   (Howco  International!   Susan  Cabot, 
David  Stewart     Producer-director  Roger  Corman  Mu- 
tt sical.    Rock  n'  roll  love  story.    75  min. 

i  TEENAGE  THUNDER  IHowco  International)  Charles 
Courtney.  Melinda  Bryon  Producer  Jacques  Marquette 
Director    Paul    Helmick.     Melodrama.     Hot    rods  and 

i  drag  strips.    75  min. 

October 

BROTHERS  IN  LAW  (Continental!  Ian  Carmichel,  Rich- 
ard  Attenborough,   Jill   Adams.    Producer-director,  the 
I   faulting  Bios.  Comedy.  Adventures  of  a  young  lawyer. 

D'ADLITR  THAN  THE  MALE  (Continental!  Jean  Gabin. 
.  Daniele  Delorme.  Director  Julien  Duvivier.  Melodrama. 
t  The  duplicity  of  a  seemingly  shy  and  innocent  giri 
L  leads  to  homicide. 

FOUR  CAGS  FULL  (Trans-Lux!  Jean  Gabin.  Bourvil, 
j  Jeannette  Batti  A  Franco  London  Production.  Director 
I  Claude   Autant-Lara.    French   Black    Market   Drama.  84 

VIRTUOUS  SCOUNDREL,  THE  (Zenith  Amusement 
j  Enterprises)  Michel  Simon.  Producer-Director  Sacha 
j  Guitry.  A  comedy  of  irony  which  pokes  a  satirical 
I  finger    into   the    pretensions   of    Parisian    high  society. 

November 

A  MAN  ESCAPED  (Continental  Distributing  I  Francois 
;  Leterrier,  Charles  Leclainche,  Maurice  Beerblock.  Pro- 
djcers  Jean  Thullier  and  Alain  Poire.  Director  Robert 
Eresson.  Drama.  Young  French  lieutenant  plans  daring 
escape  from  German  concentration  camp.  94  min. 
I  10/14. 

fRAIN  FiJOM  PLANET  AROUS,  THE  I  Howco-Marquette 
I  for  Howco  International  release!  John  Agar,  Joyce 
Meadows,  Robert  Fuller.  Producer  Jacques  Marquette. 
Director  Jerry  Juran.  Science-Fiction. 
TEENAGE  BAD  GIRL  ( DCA 1  Sylvia  Syms.  Anna  Neagle. 
I  Producer-Director  Herbert  Wilcox.  Juvenile  Delin- 
quents. Melodrama. 

TEEN  AGE  MONSTER  IHowco  International)  Anne 
Gwynne,  Charles  Courtney.  Producer-director  Jacques 
Marquette.  Horror.  Cosmic  rays  turn  teenager  into 
hairy  monster. 

TEENAGE  WOLF  PACK  IDCA)  Juvenile  Delinquents. 
Melodrama . 

AND  GOD  CREATED  WOMAN  (Kingsley  International  I 
Crigitte  Bardot,  Curd  Jurgens.  Producer-director  Roger 
Vadim.  Drama.  Story  of  a  woman  of  easy  virtue.  100 
nin.  10/28. 

PLEASE.  MR.  BAIZAC  (DCAI  Daniel  Gelin,  Brigitte 
Bardot.  Producer  Raymond  Eger.  Director  Marc  Alleg- 
ret.  Comedy.  Young  daughter  writes  scandalous  novel. 
99  min. 

December 

OLD  YELLER  (Walt  Disney  Productions)  Dorothy  Mc- 
Guire.  Fess  Parker  Chuck  Connors  Producer  Walt 
Disney.  Director  Robert  Stevenson.  Western.  83  m'n. 
SILKEN  AFFAIR,  THE  IDCA)  David  Niven.  Genevieve 
Page.  Ronald  Squire.  Producer  Fred  Feldkamp.  Direc- 
tor Roy  Kellino.  English  Comedy.  96  min. 
GERVAISE  (Continental)  Eastman  Color.  Maria  Schell, 
Francois  Perrer.  Director  Rene  Cement.  Drama.  Based 
on  a  famous  novel  by  Emile  Zola.    Drama.     114  min. 

Coming 

A  TIME  TO  KILL  (Producers  Associated  Pictures  Co.) 
Jim  Davis,  Don  Megowan,  Allison  Hayes.  Producer  Pat 
Betz.  Director  Oliver  Drake. 

BUFFALO  GUN  Wayne  Morris.  Don  Barry  Mary  Ellen 
Kaye.  Producer  Al  Milton.  Director  Albert  C.  Ganna- 
way. 

DAY  OF  THE  TRUMPET,  THE  (C.  Santiago  Film  Organi- 
sation Prod.)  John  Agar,  Richard  Arlen,  Bill  Phipps. 
Producer  Harry  Smith.  Director  Eddie  Romero. 
DREAM  MACHINE.  THE  (Amalgamated  Prods.)  Rod 
Cameron,  Marty  Murphy,  Peter  llling.  Producers  Rich- 
ard Gordon  and  Charles  Vetter,  Jr.  Director  Mont- 
gomery Tully. 

ESCAPADE    (DCA)    John   Mills,   Yvonne   Mitchell  Ala- 
stair  Sim.   Producer  Daniel   M.  Angel.   Director  Philip 
Leacock.  Comedy  Drama.  87  min. 
min.  9/14 

LIGHT  ACROSS  THE  STREET,  THE  IUMPO)  Brigitte 
Bardot,  Raymond  Pellegrin,  Roger  Pigaut.  Producer 
Jacques  Gauthier.  Director  Georges  Lacombe.  Drama. 
A  French  husband  and  wife  try  to  live  without  normal 
sex  relations,  after  the  husband  had  a  near-fatal  acci- 
dent 74  min. 


LOST  CONTINENT  IIFEl  Cmemajccpe  F-erranicolor. 
Producer-director  Leonardo  Bonn  An  taCyMIO*  into  in* 
wilds  of  Borneo  and  tht  Mayleyan  Arcneoe>aqo  Eng- 
lish commentary.  84  min 

MISSOURI  TRAVELER.  THE  Brandon  DeW.lde  Fess 
Parker. 

NEAPOLITAN  CAROUSEL  IIFEl  'lu.  Film  Unmet  Path, 
color.  Print  by  Technicolor  Soonie  Loren  Leonia* 
Matsine.  Director  Ettore  Giannini  Musical.  The  History 
of  Naples  traced  from  1400  to  da'e  in  song  and  aenc» 
RAISING  A  RIOT  (Continental  I  Kenneth  More.  Shelagh 
Fraier.  Mandy.  Producer  Ian  Dalrymple  Director 
Wendy  Toye.  English  comedy.  90  min. 


METRO-GOLDWYN -MAYER 


August 

DECISION  AGAINST  TIME  Jack  Hawkins.  Elizabeth 
Sellars  Producer  M.  Balcon.  Director  C.  Crichton 
Adventure.  Test  pilot  attempts  to  land  disabled  plane 
87  min.  7/22. 

GUN  GLORY  CinemaScope,  MetroColor  Stewart 
Granger,  Rhonda  Fleming.  Producer  N.  Nayfack.  Di- 
rector Roy  Rowland.  Western.  Ex-outlaw  is  tormented 
by  his  former  reputation  as  a  killer.  89  min. 
TIP  ON  A  DEAD  JOCKEY  CinemaScope.  Robert  Taylor, 
Dorothy  Malone.  Gia  Scala  Producer  Edwin  Knoph 
Director  Richard  Thorp.  Melodrama.  International 
police  track  down  smugglers.  109  min.  9/2. 

September 

ACTION  OF  THE  TIGER  CinemaScope.  Eastman  Color 
Van  Johnson.  Martine  Carol.  Gustavo  Rocco.  A  Clar- 
idge  Production.  Director  Terence  Young.  Drama  Beau- 
tiful girl  seeks  help  of  contraband  runner  to  rescue 
brother  from  Communists.  94  min. 

HIRED  GUN,  THE  CinemaScope.  Gil  McCord.  El'en 
Beldon,  Kell  Beldon.  Producers  Rory  Calhoun  and  Vic- 
tor M.  Orsatti.  Director  Ray  Nazzaro.  Western.  44 
min.  9/14. 

LES  GIRLS  CinemaScope,  MetroColor.  Gene  Kelly. 
Mitzi  Gaynor,  Kay  Kendall.  Producer  Sol  C  Siegel. 
Director  George  Cukor.  Musical.  Dancing  troupe  tour- 
ing Europe.  114  min.  9/30. 

HOUSE  OF  NUMBERS  CinemaScope.  Jack  Palance. 
Barbara  Lang.  Producer  Charles  Schnee.  Director 
Russell  House.  Melodrama.  Law-abiding  citizen  at- 
tempts to  engineer  San  Quentin  escape  for  his  brother. 
92  min.  7/8. 

October 

INVISIBLE  BOY,  THE  Richard  Eyer,  Philip  Abbott. 
Diane  Brewster.  Producer  Nicholas  Nayfack.  Director 
Herman  Hoffman.  Science-fiction.  Sequel  to  "Forbid- 
den Planet".    90  min. 

UNTIL  THEY  SAIL  CinmeaScope.  Je*n  Simmons,  Joan 
Fontaine.  Paul  Newman.  Producer  Charles  Schnee.  Di- 
rector Robert  Wise.  Drama.  James  A.  Michener  story 
U.S.  troops  in  New  Zealand  during  World  War  I. 
95  min.  10/14. 

November 

JAILHOUSE  ROCK  Elvis  Presley,  Judy  Tyler.  Producer 
Pandro  Berman.  Director  Richard  Thorpe.  Musical- 
drama.  Youth's  singing  talent  is  fostered  in  prison. 
94  min.  10/14. 

December 

DON'T  GO  NEAR  THE  WATER  CinemaScope.  Metro- 
Color.  Glenn  Ford,  Gia  Scala,  Keenan  Wynn.  Producer 
Lawrence  Weingarten.  Director  Charles  Walters. 
Comedv.  Story  of  a  South  Seas  naval  base  during 
World  War  I.    107  min.  11/14. 

Coming 

BAY  THE  MOON  Jose  Ferrer.  Gena  Rowlands.  Jim 
Backus.     Producer   Milo    Frank.     Director   Jose  Ferrer. 

BROTHERS  KARAMAZOV,  THE  MetroColor.  Yul  Bryn- 
ner,  Maria  Schell,  Claire  Bloom.  Producer  Pandro  S. 
Berman.  Director  Richard  Brooks.  Based  on  famous 
novel  by  Dostoyevsky. 

CRY  TERROR  James  Mason,  Inger  Stevens.  Rod  Steiger. 
Producer-director  Andrew  Stone. 

GIGI  CinemaScope  Metrocolor.  Maurice  Chavalier, 
Leslie  Caron,  Louis  Jourdan.  Producer  Arthur  Freed 
Director  Vincente  Minnelli. 

I  ACCUSE  Jose  Ferrer.  Viveca  Lindfors,  Leo  Genn. 
Producer  Sam  Zimbalist.  Director  Jose  Ferrer.  Drama. 
French  officer  unjustly  accused  of  treason 

MERRY  ANDREW  CinemaScope,  Metrocolor  Danny 
Kaye,  Pier  Ageli,  Baccpopmo.  Producer  Sol  C.  Siegel. 
Director  Michael  Kidd. 

MOCK  TRIAL  Dean  Jones,  Joan  O'Brien.  Thomas  Mit- 
chell, John  Smith.  Producer  Morton  Fine.  Director 
David  Friedkin. 

RAINTREE  COUNTY  MetroColor.  MGM  Camera  45. 
Eliiabeth  Taylor,  Montgomery  Clift.  Producer  David 
Lewis.  Director  Edward  Dymtryke.  Drama.  Life  in  Indi- 
ana during  the  middle  1880  s.  185  min. 
SADDLE  THE  WIND  Robert  Taylor,  John  Cassavetes, 
Julie  London.  Producer  Armand  Deutsch.  Director 
Robert  Parrish. 

SEVEN  HILLS  OF  ROME  LeCloud  Productions.  Mario 
Lanza,  Marisa  Allasio.  Producer  Lester  Welch.  Director 
Roy  Rowland. 

SHEEPMAN,  THE  CinemaScope  Metrocolor.  Glenn 
Ford,  Shirley  MacLaine.  Leslie  Nielson.  Producer  Ed- 
mund Grainger.    Director  George  Marshall. 

UNDERWATER  WARRIOR  Dan  Dailey,  Claire  Kelly. 
Producer  Ivan  Tors.  Director  Andrew  Marton. 


DECEMBER  SUMMARY 

The  tentative  release  schedule  for  De- 
cember numbers  25  films.  However,  late." 
additions  to  the  roster  should  add  an- 
other six  or  so  films  to  the  rosier.  20:h 
Century-Fox  will  be  the  leading  supplier 
with  five  films;  Allied  Artists,  ihe  Inde- 
pendents and  Warner  Bros,  will  release 
H  three  each;  American  International,  Co- 
fj  lumbia.  Paramount,  United  Artists  and 
Universal  will  release  two  each;  Metro 
will  release  one  film.  Seven  December 
features  will  be  in  color.  Four  films  will 
be  in  CinemaScope,  two  in  VistaVision, 
one  in  Technirama. 
14  Dramas  3  Comedies 

5  Westerns  2  Horror 

1  Adventure 


PARAMOUNT 


August 

LOVING  YOU  VistaVision  Technicolor.  Elvis  Presley. 
Lizabeth  Scott.  Wendell  Corey.  Producer  Hal  Wallis. 
Musical.  Director  Hal  Kanter.  Small-town  boy  makes 
good  in  big-time  show  business  101  min.  7/22. 
OMAR  KHAYYAM  VistaVision.  Technicolor.  Cornel 
WHde,  Michael  Rennie,  Debra  Paget.  Producer  Frank 
Freeman.  Jr.  Director  William  Dieterle.  Adventure. 
The  life  and  rimes  of  medieval  Persia's  literary  idol. 
103  min. 

September 

MR.  ROCK  AND  ROLL  Alan  Freed.  Rocky  Grazianr 
Lois  O'Brien.  Producers  Serpe  and  Kreitsek.  Director 
Charles  Di/bin.  Musical  Disc  iockey  establishes  au- 
thenticity of  rock  and  roll.   84  min 

STOWAWAY  GIRL  Trevor  Howard,  Elsa  Martinell. 
Pedro  Armandariz.  Producer  Ivan  Foxwell.  Director 
Guy  Hamilton.  Drama.  A  beautiful  girl  stows  away  on 
a  tramp  steamer.  93  min.  9/30. 

SHORT  CUT  TO  HELL  VistaVision.  Robert  Ivers  Wil- 
liam Bishop.  Georgann  Johnson.  Producer  A.  C.  Lyles 
Director  James  Cagney.  Drama.  Story  of  a  profes- 
sional killer  with  a  gun  for  hire.    87  min.  10/14. 

October 

HAIRPIN  DEVIL'S,  THE  VistaVision  Technicolor  Cornel 
Wilde,  Jean  Wallace.  Mary  Astor.  Producer-director 
Cornel  Wilde.  Adventure  Story  which  deals  with 
sports  car  racing.    82  min.  10/14. 

JOKER  IS  WILD,  THE  ViitaVWion.  Technicolor.  Frank 
Sinatra,  Mitxi  Gaynor.  Jeanne  Craln.  Producer  Samuel 
Bri»km.  Director  Charles  Victor.  Drama.  Film  biography 
of  Joe  E.  Lewis,  nightclub  comedian.  123  min.  9/2. 
HEAR  ME  GOOD  Hal  March.  Joe  E.  Ross.  Merry 
Anders.  Producer-Director  Don  McGuire.  Comedy 
Broadway  con-men  hounded  by  creditors.  80  min.  10/23 

November 

TIN  STAR,  THE  VistaVision.  Henry  Fonda.  Anthony 
Perkins,.  A  Perl.herg-Seaton  Production.  Director  An- 
thonv  Mann.  Western.  Bounty-hunting  in  the  old  west. 
93  niin.  10/14. 

ZERO  HOUR  Dana  Andrews.  Sterling  Hayden  Pro- 
ducers John  Champion  and  Hall  Bartlett.  Director  Hall 
Bartlett  Drama.  A  man  battles  for  his  life  and  love. 
81  min.  10/28. 

December 

SAD  SACK  VistaVision.  Technicolor.  Jerry  Lewis,  David 
Wayne.  Producer  Hal  Willis.  Director  George  Mar- 
sh all.  Comedy.  Life  in  th*  Army.  98  min.  10/23. 
SPANISH  AFFAIR  VistaVision.  Technicolor.  Carmen 
Sevilla  Richard  Kiley.  Producer  Bruce  Odium.  Director 
Donald  Siegel.  Adventure.  An  American  architect 
travelling  in  Spain  is  attracted  to  a  beautiful  girl, 
half-Gypsy,  half-Spanish. 

Coming 

BUCCANEER,  THE  Technicolor,  VistaVision.  Yul  Bryn- 
ner,  Charlton  Heston.  Charles  Boyer,  Claire  Bloom. 
Producer  Henry  Wilcoxon.    Director  Anthony  Quinn. 

DESIRE  UNDCR  THE  ELMS  Sophia  Loren.  Anthony  Per- 
kins. Burl  Ives.  Producer  Don  Hartman.  Director  Del- 
bert  Mann.  Drama.  Emotional  conflicts  of  a  farmer, 
his  son  and  his  second  wife. 

FLAMENCA  VistaVision.  Co'or  Carmen  Sevil'a.  Rich- 
ard Kiley.  Producer  Bruce  Odium.  Director  Donjld 
Siegel. 

FROM  AMONGST  THF  DEAD  VistaVision.  Technico'or. 
James  Stewart,  Kim  Novak,  Barbara  Bel  Geddes.  Pro- 
ducer-director Alfred  Hitchcock. 

HOT  SPELL  VistaVision  Shirley  Booth  Anthony  Quinn. 
Shirley  MacLaine.  Producer  Hal  Wallis.  Director  Dan- 
iel Mann  Drama.  The  disintegration  of  a  Southern 
family  during  a  torrid  heat  wave. 


Film 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


HOUSEBOAT  VistaVision,  Technicolor.  Cary  Grant, 
Sophia  Loren.  Producer  Jack  Rose.  Director  Melville 
Shavelson.  Maid  reunites  family  and  becomes  wife  of 
master. 

MATCHMAKER,  THE  VistaVision.  Shirley  Booth,  An- 
thjny  Perkins,  Shirley  MacLaine.  Producer  Don  Hart- 
man.  Director  Joseph  Anthony.  Comedy.  Lovable 
widow  becomes  matchmaker  for  herself. 
ST.  LOUIS  BLUES  VistaVision.  Nat  "King"  Cole,  EaHha 
Kitt.  Pearl  Bailey  Ella  Fitzgerald.  Producer  Robert 
Smith.    Director  Allan  Reisner. 

TEACHER'S  PET  VistaVision.  Clark  Gable.  Doris  Day. 
A  Pearlberg-Seaton  Production.  Director  George  Sea- 
ton.  Comedy.  Tough  newspaper  editor  and  college 
journalism  teacher  have  a  ball. 

TEN  COMMANDMENTS,  THE  VistaVision  Technicolor. 
CWIron  Helton,  Yul  Brynner  Anne  Bai»»'.  Producer- 
flireetor  Cecil  B.  DeMille.  Religious  drama  Life  s»or> 
of  Moses  as  told  in  the  Bible  and  Koran.  21*  min.  10/15 
WILD  IS  THE  WIND  VistaVision.  Anna  Magnani,  An- 
thony Quinn.  Producer  Hal  Wallis.  Director  John 
Sturges.  Drama.  Love.  hate,  and  violence  on  a  Nevada 
sheep  ranch. 


RANK 


August 

GENTLE  TOUCH,  THE  Technicolor.  George  Baker,  Be- 
linda Lee.  Producer  Michael  Balcon.  Director  Pat 
Jackson.  Drama.  Nurse  and  doctor  fall  in  love,  and 
nurse  is  faced  with  making  choice  between  career  or 
marriage.  86  min. 

October 

SPANISH  GARDENER  Technicolor,  VistaVision.  Dirk 
Bogarde,  Jon  Whiteley.  Drama.  Producer  John  Bryan. 
Director  Philip  Leacock.  Gardener  deverts  affections 
of  boy  from  his  father.  95  min. 

AN  ALLIGATOR  NAMED  DAISY  Technicolor.  Vista- 
Vision. Donald  Sinden,  Diana  Dors.  Producer  Raymond 
Stross.  Director  J.  Lee-Thompson.  Comedy.  Alligator  is 
responsible  for  breakup  between  couple  who,  as  a 
result  find  more  suitable  mates.   88  min. 

November 

AS  LONG  AS  THEY'RE  HAPPY  Eastman  Color  Jack 
Buchanan,  Janette  Scott.  Producer  Raymond  Stross. 
Director  J.  Lee-Thompson.  Comedy.  Father  and  two 
sons-in-law  become  jealous  of  crooner  who  has 
charmed  their  wives.  76  min.  10/14. 
PURSUIT  OF  THE  GRAF  SPEE  Technicolor,  VistaVision. 
John  Gregson,  Anthony  Quayle.  Producer-director 
Michael  Powell  &  Emeric  Pressburger.  Adventure.  Story 
of  first  historic  naval  action  of  WWI  which  took  place 
on  River  Plate.    106  min.  10/14. 

January 

ACROSS  THE  BRIDGE  Rod  Steiger,  David  Knight,  Mar- 
la  Landi,  Noel  Willman.  Producer  John  Stafford.  Di- 
rector Ken  Annakin.  Melodrama.  Scotland  Yard  de- 
tective hunts  international  high-finance  crook  in  Mexi- 
co.  103  min.  10/28. 


REPUBLIC 


September 

OPERATION  CONSPIRACY  Philip  Friend.  Leslie  Dwyer. 
Mary  MacKenzie.  Director  Joseph  Sterling.  Producer 
A.  R.  Rawlinson.  Melodrama.  Fashion  reporter  solves 
murder.    69  min. 

PAWNEE  Trucolor.  George  Montgomery,  Bill  Williams, 
Lola  Albright.  Director  George  Wagner.  Western. 
Cavalry    puts    down    high-riding    Pawnee    Indians.  80 

TAMING  SUTTON'S  GAL  Naturama.  John  Lupton, 
Jack  Kelly.  May  Wynn.  Director  Lesley  Selander.  Pro- 
ducer William  J.  O'Sullivan.  Drama.  A  young  bank 
Herk  finds  a  gal  in  1he  back  hill  country  of  California. 
71  min. 

WAYWARD  GIRL,  THE  Naturama.  Marcia  Henderson. 
Peter  Walker.  Producer  W.  J.  O'Sullivan.  Director 
Lesley  Selander.  Melodrama.  Daughter  arrested  for 
murder  by  har  stepmolher  proves  innocence.  71  min. 

October 

HELL  CANYON  OUTLAWS  Dale  Robertson,  Brian  Keith, 
Rossana  Rory.  Producer  T.  F.  Woods.  Director  Paul 
Landres.     Western.    Ousted   sheriff  restores  order  to 

town.    72  min. 

PANAMA  SAL  Naturama.  Elena  Verdugo,  Edward 
Kemmer.  Producer  Edward  White.  Director  W.  Wit- 
ney.  Drama.   The  making  of  a  singer.   70  min. 

Coming 

CROOKED  CIRCLE,  THE  John  Smith,  Fay  Spain.  Steve 
Brodie.  Producer  Rudy  Ralston.  Director  Joe  Kane. 
Drama.  Sports  editor  suspects  death  of  fighter  is  mur- 
der. 72  min. 

DEAD  END  STREET  Roland  Culver,  Patricia  Roc,  Paul 
Carpenter. 

EIGHTEEN  AND  ANXIOUS  Mary  Webster,  William 
Campbell,  Martha  Scott.  91  min. 

PIGHTING  WILDCATS  Keefe  Braselle,  Kay  Callard, 
i:arel  Stepanek,  Ursu'a  Howells.  77  min. 

GUN  FIT1E  Vera  Ralston,  Anlhony  George,  George 
Macready.  Producer  Rudy  Ralslon.  Director  Joe  Kane. 
Western.  70  min. 

HELL  SHIP  MUTINY  Jon  Hall,  John  Carradine,  Peter 
Lorre.    Lovina  Production.   66  min. 

LAST  BULLET,  THE  Robert  Hutton,  Mary  Castle, 
MTeTiael  O'Connell. 


OUTCASTS  OF  THE  CITY  Osa  Massen,  Robert  Hutton, 
Maria  Palmer.    62  min. 

RAIDERS  OF  OLD  CALIFORNIA  Jim  Davis.  Arleen 
Whelan,  Faron  Young.  Producer  Albert  C.  Gannaway. 
Western.  Army  officer  determines  to  become  powerful 
landowner.    72  min. 

STREET  OF  DARKNESS  Robert  Keyes,  John  Close, 
Sheila  Ryan. 

THUNDER  OVER  TANGIER  Robert  Hutton,  Lisa  Gastoni. 
Martin  Benson.    Sunset  Palisades  production.    63  min. 

WEST  OF  SUEZ  John  Benlley,  Vera  Fusek,  Martin 
Boddey. 

YOUNG  MOTHER  Mary  Webster,  William  Campbell, 
Martha  Scott.  Producer  Edmond  Chevie.  Director  Joe 
Parker. 


20TH  CENTURY-FOX 


August 

HELL  ON  DEVIL'S  ISLAND  Regalscope.  Helmut  Dan- 
tine,  Donna  Martel,  William  Talman  Jean  Wiles.  Pro- 
ducer  Lchoolvek.    Director  C.   Nyby.    Adventure.  74 


SEAWIFE  CinemaScope,  Deluxe  Color.  Richard  Bur- 
ton, Joan  Collins.  Producer  Andre  Hakim.  Director  Bob 

McNaught.  Drama.  Ship  is  torpedoed  by  Jap  sub- 
marine off  Singapore  harbor.    82  min. 

WILL  SUCCESS  SPOIL  ROCK  HUNTER  CinemaScope, 
DeLuxe  Color.  Jayne  Mansfield,  Clifton  Webb,  Tony 
Randall.  Producer-director  Frank  Tashlin.  Comedy. 
Filmization  of  the  Broadway  play.  94  min. 

September 

BACK  FROM  THE  DEADRegalscope.  Peqgy  Castle, 
Marsha  Hunt,  Arthur  Franz.  Producer  R.  Stabler.  Di- 
rector C.  Warren.   Horror.   79  min. 

COPPER  SKY  Regalscope.  Jeff  Morrow,  Coleen  Gray. 
Producer  R.  Stabler.    Director  C.  Warren.  Melodrama. 

77  min. 

DEERSLAYER,  THE  CinemaScope  DeLuxe  Color.  Lex 
Barker,  Forrest  Tucker,  Rita  Moreno.  Producer-director 
K.  Newmann.    Adventure.    78  min. 

FORTY  GUNS  CinemaScope.  Barbara  Stanwyck,  Barry 
Su'livan,  Gene  Barry.  Poducer-director  Samuel  Fuller. 
Adventure.  A  domineering  woman  attempts  to  rule  a 
western  town  by  force.   80  min.  10/14. 

SUN  ALSO  RISES,  THE  CinemaScope.  DeLuxe  Color. 
Ava  Gardner,  Mel  Ferrer.  Tyrone  Power.  Producer  D. 
Zanuck.  Director  Henry  Kinq.  Dram*.  From  Ernest 
Hemingway's  famous  novel.  129  min.  9/2. 

UNKNOWN  TERROR,  THE  Regalscope.  John  Howard, 
May  Wynn,  Mala  Powers.  Producer  R.  Stakler.  Direc- 
tor C.  Warren.  Horror.  77  min. 

October 

AEOMINABLE  SNOWMAN,  THE  Forrest  Tucker,  Peter 
Cushing.  Producer  Michael  Carreras.  Director  Val 
Guest.  Science-fiction  drama  dealing  with  the  search 
for  a  half-human,  half-beast  monster  of  the  Himalayas. 

GHOST  DIVER  James  Craig,  Audrey  Totter.  Producer 
Richard  Einfeld.  Director  Merril  White. 

NO  DOWN  PAYMENT  CinemaScope.  Jeff  Hunter,  Bar- 
bara Rush,  Sheree  North,  Cameron  Mitchell.  Producer 
Jerry  Wood.  Director  Martin  Ritt.  Drama.  Problems 
of  four  married  couples  in  new  housing  development. 
105  min.  9/30. 

ROCKABILLY  BABY  Virginia  Field,  Douglas  Kennedy. 
Producer-Director  W.  Claxton.    Musical.   82  min. 

THREE  FACES  OF  EVE,  THE  David  Wayne.  Joanne 
Woodward.  Producer  Nunnally  Johnson.  Director  Nun- 
nally  Johnson.  Drama.  Story  of  a  woman  with  three 
distinct  personalities.    91  min. 

November 

APRIL  LOVE  CinemaScope-DeLuxe  color.  Pat  Boone, 
Shirley  Jones.  Producer  David  Weisbert.  Director 
Henry  Levin.  Musical.  Love  story  of  a  boy  on  proba- 
tion.   97  min 

RIDE  A  VIOLENT  MILE  Regalscope.  Gene  Raymond, 
Wayne  Morris.  Producer-director  R.  Stabler.  Melo- 
drama. 

STOPOVER  TOKYO  Robert  Waqner,  Joan  Co'lins,  Ed- 
mund O'Brien.  Producer  W.  Reisch.  Director  R.  Breen. 
Drama.  Pilot  forced  to  stop  over  in  Tokyo  sol.ves  mys- 
tery.    100  min.  11/14. 

UNDER  FIRE  Regalscope  Rex  Reason,  Henry  Morgan, 
Steve  Bodine.  Producer  P.  Skouras.  Director  J.  Clark. 
Drama.    73  min. 

December 

A  FAREWELL  TO  ARMS  Producer  David  Selznick.  Di- 
rector Charles  Vidor.  Drama. 

ESCAPE  FROM  RED  ROCK  Regalscope.  Brian  Donlevy, 
J.  C.  Flippen,  Eileen  Janssen.  Producer  B.  Glasser. 
Director  E.  Bernds.  Western. 

FRAULEIN  Dana  Wynter,  Mel  Ferrer.  Producer  W. 
Reisch.  Director  H.  Koster.  Drama. 

KISS  THEM  FOR  ME  CinemaScope,  DeLuxe  Co'or. 
Cary  Gr.ant,  Jayne  Mansfield,  Su-y  Parker.  Producer 
Jerry  Wa'd.  Director  Stan'ey  Donen.  Comedy.  Three 
war  buddies  on  leave  paint  the  town  red.  105  min. 
11/14. 

PLUNDER  ROAD  Gene  Raymond,  Wayne  Morris.  Jeanne 
Cooper.  Producer  L.  Stewart.  Director  H.  Cornfield. 
Drama. 


Coming 

AMBUSH  AT  COMARRON  PASS  Regal  Films.  Brian 
Donlevy,  Jay  C.  Flippen.  Producer  Bernard  Glasser. 
Director  Edward  Bernds.  Western. 

BEAUTIFUL  BUT  DANGEROUS  Gina  LoHobrigida,  Vit- 
torio  Gaitm*n.  Producer  Manuella  Malotti.  Director 
Robert  Leonard.  Drama. 

BLOOD  ARROW  Scott  Brady,  Phyllis  Coates,  Diane 
Darrin.  Producer  Robert  Staber.  Director  C.  M. 
Warren. 

CATTLE  EMPIRE  CinemaScope.  Joel  McCrea.  Pro- 
ducer Robert  Stabler.  Director  Charles  Warren. 
ENEMY  BELOW,  THE  CinemaScope.  Color.  Robert 
Mitchum,  Curd  Jurgens.  Producer-Director  Dick  Powell. 
GIFT  OF  LOVE,  THE  CinemaScope,  Color.  Robert 
Stack.  Lauren  Bacall,  Evelyn  Rudie.  Producer  Charles 
Brackett.    Director  Jean  Negulesco. 

HELLBENT  KID,  THE  CinemaScope,  DeLuxe  Color.  Don 
Murray,  Diane  Varsi,  Ken  Scott.  Producer  Robert 
Buckner.    Director  Henry  Hathaway. 

LONG  HOT  SUMMER  Paul  Newman,  Anthony  Fran- 
ciosa,  Joanne  Woodward.  Producer  Jerry  Wald.  Di- 
rector Martin  Ritt. 

PEYTON  PLACE  Jerry  Wald  Prods.  CinemaScope,  De 
Luxe  Color.  Lana  Turner,  Lloyd  Nolan,  Hope  Lange. 
Producer  Jerry  Wald.  Director  Mark  Robson. 
SHADOW  OF  A  GUNMAN  Charles  Bronson,  John  Car- 
radine. Producer  Harold  Knox.  Director  Gene  Fow- 
ler, Jr. 

SOUTH  PACIFIC  Todd-AO,  Technicolor.  Rossano  Brazzi, 
Mitzi  Gaynor,  John  Kerr.  Producer  Buddy  Adler.  Di- 
rector Joshua  Logan. 

SINGIN'  IDOL,  THE  CinemaScope  Tommy  Sands,  Ed- 
mund O'Brien,  Nick  Adams.  Producer-director  Henry 
Ephron. 

TOWNSEND  HARRIS  STORY,  THE  CinemaScope  De- 
Luxe  Color.  John  Wayne.  Producer  Eugene  Frenke. 
Director  John  Huston. 

YOUNG  AND  DANGEROUS  Regal  Films.  Lil  Gentle, 
Mark  Damon.  Ann  Doran.  Producer-Director  William 
F.  Claxton.    78  min. 

YOUNG  LIONS,  THE  CinemaScope.  Marlon  Brando, 
Montgomery  Clift.  Joanne  Woodward.  Producer  Al 
Lichtman.  Director  Edward  Dmytryk. 

VIOLENT  ROAD,  THE  Regal  Films.  Gene  Raymond, 
Wayne  Morris.  Jeanne  Cooper.  Producer  Leon  Choo- 
luck  and  Laurence  Stewart.  Director  Hubert  Cornfield. 


•JNATED  ARTISTS 


September 

CARELESS  YEARS,  THE  Natalie  Trundy,  Dean  Stock- 
well.  Producer  Edward  Lewis.  Director  Arthur  Hiller. 
Drama.  Two  lovers  meet  parental  resistance  when  they 
decide  to  get  married.  70  min. 

CHICAGO  CONFIDENTIAL  Brian  Keith,  Beverly  Gar- 
land. Dick  Foran.  Producer  Robert  Kent.  Director  Sid- 
ney Salkow.  Melodrama.  Syndicate  tries  to  gain  con- 
trol of  labor  union.  73  min.  9/2. 

ENEMY  FROM  SPACE  Brian  Donlevy,  John  Longden, 
Sydney  James.  Producer  Anthony  Hinds.  Director  Val 
Guest.  Science-fiction.  84  min. 

GUNSIGHT  RIDGE  Joel  McCrea,  Mark  Stevens.  Pro- 
ducer Robert  Bassler.  Director  Francis  Lyon.  Western. 
Stranger  discovers  respected  citizen  is  really  a  holdup 
man.  85  min. 

SATCHMO  THE  GREAT  Louis  Armstrong,  Edward  R. 
Murrow,  Leonard  Bernstein.  Producers  Edward  R.  Mur- 
row  and  Fred  W.  Friendly.  Film  story  of  Louis  Arm- 
strong's international  jazz  tour.   63  min.  9/16. 

STREET  OF  SINNERS  George  Montgomery,  Geraldine 

Brooks.  Producer-director  William  Berke.  Drama. 
Rookie  policeman  clashes  with  youthful  criminals. 
76  min. 

October 

GIRL   IN   THE  BLACK  STOCKINGS,   THE   Lex  Barker, 

Ann  Bancroft.  Melodrama.  73  min. 

HELL  BOUND  John  Russel,  June  Blair.  Producer  How- 
ard Koch.  Director  William  Hole,  Jr.  Melodrama. 
Story  of  a  conspiracy  to  hijack  a  shipment  of  narcotics. 
79  min. 

MUSTANG  Jack  Beutel,  Madalyn  Trahey.  Producer 
Robert  Arnell.  Director  Peter  Stephens.  Western 
Drama. 

TIME  LIMIT  Richard  Widmark,  Richard  Basehart.  Pro- 
ducer William  Reynolds.  Director  Karl  Maiden.  Drama. 
Story  of  prisoner-of-war  turncoats.  96  min.  9/30. 

November 

LEGEND  OF  THE  LOST  John  Wayne,  Sophia  Loren, 
Rossano  Brazzi.  Producer-director  Henry  Hathaway.  Ad- 
venture   Sea.rch  for  treasure  in  the  Sahara.. 

December 

BABYFACE  NELSON  Mickey  Rooney,  Carolyn  Jones, 
Sir  Cedric  Hardwicke.  Producer  Al  Zimbalist.  Director 
Don  Siegel.  Drama.  Story  of  one  of  America's  notori- 
ous gangsters.    85  min. 

PATHS  OF  GLORY  Kirk  Douglas.  Ralph  Meeker, 
Adolphe  Menjou.  Producer  James  B.  Harris.  Director 
Stanley  Kubrick.    World  War  I  courtroom  drama.  86 

Coming 

BIG  COUNTRY,  THE  Technirama.  Gregory  Peck, 
Charlton  Heston  Jean  Simmons.  Producers  Gregory 
Peck,  William  Wyler.    Director  William  Wyler. 


Film     BULLETIN  —  THIS     IS     YOUR  PRODUCT 


CHINA  DOLL  Victor  Mature.  Lili  Hud.  Producer-Di- 
rector Frank  Borzage.  Drama.  United  States  Air  Force 
Captain  marries  a  Chinese  girl. 

COP  HATER  Robert  Loggia,  Gerald  OLoughlin.  Pro- 
ducer-director William  Berke. 

EDGE  OF  FURY  Michael  Higgins.  Lois  Holmes.  Pro- 
ducer Robert  Gurney,  Jr.  Directors  Robert  Gurney. 
Jr.  and  Irving  Lerner.  Suspense  Thriller  based  on  the 
novel  ■  Wisteria  Cottage". 


FORT  MASSACRE  Joel  McCrea.  Forrest  Tucker.  Susan 
Cabot.  Producer  Walter  Mirisch.  Director  Joseph 
Newman. 

GOD'S  LITTLE  ACRE  Robert  Ryan  Aldo  Ray.  Tina 
Louise.     Producer    Sidney   Harmon.     Director  Anthony 


ISLAND  WOMEN  Marie  Windsor.  Vince  Edwards.  Pro- 
ducer-director William  Berke.  Musical.  Calypso  film 
filmed  in  the  Bahama  Islands. 

PARIS  HOLIDAY  Bob  Hope,  Fernandel,  Anita  Ekberg. 
Director  Gerd  Oswald. 

PROUD  REBEL,  THE  Technicolor.  Alan  Ladd.  Olivia 
deHaviland,  David  Ladd.  Producer  Samuel  Goldwyn. 
Jr.    Director  Michael  Curtiz. 

QUIET  AMERICAN  Audie  Murphy,  Michael  Redgrave, 
Claude  Dauphin.  Figaro  Production.  Director  Joseph 
Mankiewici.  Drama.  Story  set  against  the  recent 
fighting  in  IndoChina. 

RIDE  OUT  FOR  REVENGE  Rory  Calhoun.  Gloria  Gra- 
hame,  Joanne  Gilbert.  Producer  Norman  Retchin.  Di- 
rector Barney  Girard. 

RUN  SILENT,  RUN  DEEP  Clark  Gable.  Burt  Lancaster. 
Producer  Harold  Hecht.    Director  Robert  Wise. 
10  DAYS  TO  TULARA  Sterling  Hayden,  Rodolfo  Hoyos. 
Producers  George  Sherman,  Clarence   Eurist.  Director 
George  Sherman. 

THUNDER  ROAD  Robert  Mitchum.  Gene  Barry,  Jacques 
Aubuchon.  Producer  Robert  Mitchum.  Director  Arthur 
Ripley. 


VIKINGS,  THE  Kirk  Douglas,  Tony  Curtis,  Ernest  Borg- 
nine.  Producer  Jerry  Bresler.  Director  Richard  Fleischer. 
WINK  OF  AN  EYE  Jonathan  Kidd.  Doris  Dowling, 
Irene  Seidner.  Producer  Fernando  Carrere.  Director 
Winston  Jones. 

WITNESS  FOR  THE  PROSECUTION  Tyrone  Power. 
Marlene  Dietrich.  Charles  Laughton.  Producer  Arthur 
Hornblow,  Jr.  Director  Billy  Wilder. 


UNIVERSAL- 1  NT'  L 


September 

INTERLUDE  Technicolor,  CinemaScope.  June  Allyson, 
Rossano  Brazzi.  Producer  Ross  Hunter.  Director  Douglas 
Sirk.  Drama.  American  doctor  falls  in  love  with  wife 
of  famous  composer  in  Munich.  89  min.  6/24. 

JET  PILOT  Technicolor,  Superscope.  John  Wayne. 
Janet  Leigh.  Howard  Hugnes  Production.  Producer 
Jules  Furthman    DirecTor  Jo'set  von  STernDerg  Drama 

The  story  of  a  Russian  woman  pilot  and  an 'American 
jet  ace.  112  min.  9/30. 

JOE  DAKOTA  Eastman  Color.  Jock  Mahoney,  Luana 
Patten.  Producer  Howard  Christie.  Director  Richard 
Bartlett.  Drama.  Stranger  makes  California  oil  town 
see  the  error  of  its  ways.   79  min. 

RUN  OF  THE  ARROW  Technicolor.  Rod  Steiger,  Sarita 
Montiel,  Ralph  Meeker.  Producer-director  Sam  Fuller. 
Adventure.  Young  sharpshooter  Joins  Sioux  Indians  at 
close  of  Civil  War.  86  min.  6/24. 

SLAUGHTER  ON  TENTH  AVENUE  CinemaScope.  RJch- 
ard  Egan,  Jan  Sterling,  Dan  Duryea.  Producer  Albert 
Zugsmith.  Director  Arnold  Laven.  An  expose  of  New 
York  waterfront  warfare.  103  min.  9/16. 
THAT  NIGHT  John  Beal,  Augusta  Dabney,  Snepperd 
Strudwick.  Producer  Hiram  Brown.  Director  John 
Newland.  Drama.  A  tragedy  almost  shatters  a  IS- 
year-old  marriage.  88  min. 

October 

MAN  OF  A  THOUSAND  FACES  CinemaScope.  James 
Cagney,  Dorothy  Malone.  Producer  Robert  Arthur.  Di- 
rector Joseph  Pevney.  Drama.  Life  story  of  Lon  Chaney. 
125  min.  7/22. 

QUANTEZ  CinemaScope,  Eastman  Color.  Fred  Mac- 
Murray,  Dorothy  Malone.  Producer  Gordon  Kay.  Direc- 
tor Harry  Keller.  Drama.  A  study  of  five  people  in- 
volved in  a  robbery  and  killing.  80  min.  9/2. 

SLIM  CARTER  Color.  Jock  Mahoney,  Julie  Adams, 
Tim  Hovey.  Producer  Howie  Horwitz.  Director  Richard 
Bartlett.  Girl  press  agent  makes  Western  star  of  no- 
good  cafe  enertainer.   82  min.  10/14. 

UNHOLY  WIFE,  THE  Technicolor.  Diana  Dors,  Rod 
Steiger,  Marie  Windsor.  Producer-director  John  Far- 
row. Drama.  A  wife  cunningly  plots  the  death  of  her 
husband  who  she  has  betrayed.  94  min.  9/2. 

November 

ESCAPADE  IN  JAPAN  Color.  Teresa  Wright,  Cameron 
Mitchell,  Jon  Provost,  Roger  Nakagaws.  Producer-direc- 
tor Arthur  Lubin.  Drama.  Search  for  two  boys  who 
start  out  in  the  wrong  direction  to  find  the  very  peo- 
ple who  are  trying  to  find  them.  92  min.  9/16. 
LOVE  SLAVES  OF  THE  AMAZONS  Color.  Don  Taylor, 
Giana  Sigale.    Producer-Director  Curt  Siodnak. 


MONOLITH  MONSTERS.  THE  Grant  Williams,  Lola 
Albright.  Producer  Howard  Christie  Director  John 
Sherwood.  Science-fiction.  Army  of  rocks  threaten  U.S. 

MY  MAN  GODFREY  CinemaScope.  Technicolor.  June 
Allyson,  David  Niven.  Producer  Ross  Hunter.  Director 
Henry  Koster.    Comedy.    Story  of  a  topsy-turvy  butler. 


Decern  ber 


ALL  MINE  TO  GIVE  Eastman  Color.  Glynis  Johns 
Cameron  Mitchell.  Rex  Thompson  Producer  Sam  Weis- 
enthal.  Director  Allen  Relsner.  Drama  The  story  of  a 
Scottish  immigrant  couple  in  Wisconsin  in  the  19th 
century.   102  min.  10/28. 

TARNISHED  ANGELS.  THE  CinemaScope.  Rock  Hud- 
son. Robert  Stack.  Dorothy  Malone.  Jack  Carson 
Producer  Albert  Zugsmith.  Director  Douglas  Sirk 
Drama.  Reporter  uncovers  World  War  I  hero  of  the 
Lafayette  Escadrille.    91   min.  11/14. 

Coming 

LADY  TAKES  A  FLYER,  THE  CinemaScope.  Color.  Lana 
Turner.  Jeff  Chandler,  Richard  Denning.  Producer  Wil- 
liam Alland.  Director  Jack  Arnold.  Drama.  Pilot  and 
wife  realize  true  love  in  the  air. 


CHRISTMAS  IN  PARADISE  Color.  Dan  Duryea.  Jan 
Sterling,  Patty  McCormack.  Producer  Sy  Gomberg. 
Director  Jack  Sher. 

DAMN  CITIZEN  Keith  Andes.  Margaret  Hayes.  Gene 
Evans.  Producer  Herman  Webber  Director  Robert 
Gordon.  Real  estate  man  becomes  leader  of  police 
in  fight  against  crime. 

DARK  SHORE,  THE  CinemaScope.  Gecrge  Nader.  Cor- 
nell Borchers.  Michael  Ray.  Producer  Robert  Arthur. 
Director  Abner  Biberman. 

DAY  OF  THE  BAD  MAN  CinemaScope.  l"-ed  MacMur- 
ray.  Joan  Weldon,  John  Ericson,  Robert  Middleton. 
Producer  Gordon  Kay.  Director  Harry  Keller.  West- 
ern. Brothers  of  a  murderer  attack  town  on  day  of 
trial. 

DEATH  RIDES  THIS  TRAIL  CinemaScope,  Color.  Will 
Rogers.  Jr.  Maureen  O'Sulilvan.  Producer  John  Hor- 
ton.    Director  Charles  Haas. 

FEMALE  ANIMAL,  THE  CinemaScope.  Hedy  Lamarr. 
Jane  Powell,  Jan  Sterling.  Producer  Albert  Zugsmilh. 
Director  Harry  Keller.  Beautiful  movie  star  tries  to 
buy  a  husband. 

FOR  LOVE  OR  MONEY  C  nemaScope.  Co'or.  Debbie 
Reynolds,  Curt  Jergens,  John  Saxon.  Producer  Ross 
Hunter.    Director  Blake  Edwards. 

GIRL  MOST  LIKELY,  THE  Eastmai  Color  Jane  Powell. 
Cliff  Robertsoa,  Keith  Andes.  Producer  Stanley  Rublin. 
Director  Mitchell  Leison.  Comedy.  A  gin  Is  proposed 
to  by  three  men  on  the  same  day. 

HEMP  BROWN  CinemaScope.  Color.  Rory  Calhc-un, 
Beverly  Garland.  Producer  Gordon  Kay.  Director 
Harry  Keller. 

I  MARRIED  A  WOMAN  George  Gobel,  Diana  Dors, 
Adolph  Menjou.  Producer  William  Bloom  Director  Hal 
Kanter.  Coemdy.  Wife  objects  to  taking  second  place 
to   a    beer   advertising    campaign    with    her  husband. 

MAGNIFICENT  BRAT,  THE  Color.  Dan  Duryea,  Jan 
Sterling.    Producer   Sy   Gomberg.   Director  Jack  Sher. 

MAN  IN  THE  SHADOW  CinemaScope.  Jeff  Chandler 
Orson  Welles.  Producer  Albert  Zugsmith.  Director 
Jack  Arnold.  Drama.  Sheriff  destroys  one-m;n  domina- 
tion of  Texas  town. 

MAN  WHO  ROCKED  THE  BOAT,  THE  CinemaScope. 
Richard  Egan.  Jan  Sterling.  Dan  Duryea.  Producer 
Albert  Zugsmith.  Director  Arnold  Laven. 
MIDDLE  OF  THE  STREET  CinemaScope,  Color.  Ajril- 
Murphv  Gia  Scala.  Producer  Howard  Pine.  Director 
Jesse  Hibbs. 

MONEY,  WOMEN  AND  DREAMS  CinemaSccp-  C-lT. 
Jock  Mahoney  Jean  Hagen  Jeffrey  Stone.  Producer 
Howie  Horowitz.  Director  Richard  Bartlett. 
NO  FOWER  ON  EARTH  CinemaScope.  Richird  Eg-n, 
Julie  London.  Arthur  O'Connell.  Producer  Gordon 
Kay.    Director  Harry  Keller. 

ONCE  UPON  A  HORSE  Dan  Rowan,  Dick  Martin. 
Martha  Hyer.  Producer-director  Hal  Kanter. 
RAW  WIND  IN  EDEN  CinemaScope,  Color.  rs<h-r 
Williams.  Jeff  Chandler.  Producer  William  Alland. 
Director  Richard  Wilson.  Couple  crash  on  islcnd  end 
are  stuck  for  weeks. 

SUMMER  LOVE  John  Saxon.  Judy  Meredith  Producer 
William  Grady,  Jr.  Director  Charles  Haas.  Loves  and 
troubles  of  combo  on  first  job. 

TEACH  MZ  HOW  TO  CRY  Cin?m  i  Scope .  Jchn  5  *-n, 
Sandra  D"e,  Teresa  Wrigh\  Producer  Ross  H.-'er. 
Director  He'mut  Dantine. 

VIOLATORS,  THE  Arthur  O'Connell.  Nancy  Malone. 
Producer  H.  Brown.  Director  John  Newland.  Drar^e 
Story  of  a  probation  officer  in  the  New  York  City 
courts. 

WESTERN  STORY,  THE  CinemaScope,  Color.  Jr-ek 
Mahoney,  Gilbert  Roland.  Producer  Howard  Ch-isiie 
Director  George  Sherman. 


WOMAN  IN  A  DRESSING  GOWN  Y.onne  Mitchell, 
Anthony  Quayle,  Sylvia  Syms  Producer  Frank  Godwin. 
Director  J.  Lee-Thompson.  Melodrama  A  wife  s  n«PP'- 
ness  is  threatened  by  a  younger  woman.  93  mm.  10/14. 

October 

BLACK  SCORPION.  THE  Richard  Denning.  Mara  Cor- 
day.  Carlos  Rivas.  Horror  Mammoth  scorpions  emerge 
to  terrify  earthpeople.  88  min.  10/14. 
HELEN  MORGAN  STORY.  THE  CinemaScope^  Ann 
Blyth  Paul  Newman  Producer  Martin  Rackin  Director 
Michael  Curtiz  Drama  Biographical  film  of  an  ill- 
fated  torch  singer.  118  min.  9/30. 

November 

EOMBERS  B-S2  CinemaScope.  WarnerColor  Karl  Mai- 
den Natalie  Wood.  Producer  Richard  Whorf.  Director 
Gordon  Douglas.  Drama.  Story  of  the  men  who  man 
the  bombers  that  defend  our  nation.    106  mm.  ll/n. 

December 

DAPBY'S  R/NGCRS  WarnerColor.  Charles  Hestcn.  Tab 
Hunter    Etchika  Choureau    Producer  Martin  Rackin.  Di- 
rector William  A.  Wellman.  Dram-. 
DEEP  SIX.  THE  Jaguar  Prods.  Alan  Ladd    Dianne  Fos- 
ter.   Producer    Martin    Rackin.    Director    Rudy  Mate 

SAYONARA  Technirama.  WarnerColor.  Marlon  Brando. 
Red  Buttons  Patricia  Owens.  Producer  W  Mar.  Goetz 
Director  Josh  Logan.  Drama.  Based  on  'Se  award- 
winning  novel  of  James  Michener.     147  mm.  11/14. 

Coming 

BLONDE  AND  DANGEROUS  Sally  Brophy.  Carla 
Merey  Susan  Oliver.  An  Arwin  Production.  Director 
Bernard  Girard.  Producer  Martin  Melcher.  Melodrama. 
Life  in  a  girl's  correction  school. 

COTH  ENDS  OF  THE  CANDLE  CinemaScope.  Ann 
Blyth.  Paul  Newman.  Richard  Carlson.  Producer  Mar- 
tin Rackin.   Director  Michael  Curtiz. 

CHASE  A  CROOKED  SHADOW  Richard  Todd.  Ann 
Baxter.  Producer  Douglas  Fairbanks.  Director  Michael 
Anderson.  Melodrama. 

FIFTEEN  CULLETS  FROM  FORT  DOBBS  Clint  Walter 
Virginia  Mayo.  Producer  Martin  Rackin.  Director  Gor- 
don Douglas 

HELL'S  HIGHWAY  Brian  Keith.  Dick  Foran  Efrom 
Zimbalist  Jr.  Producer  Aubrey  Schenk.  Director 
Howard  Koch. 

LAFAYETTE  ESCADRILLE  Tab  Hunter,  Etchika  Choureau. 
J.  Carrol   Naish.    Producer-Director  William  A.  Well- 

LEFT  HANDED  GUN.  THE   Paul  Newman.   Lita  Milan. 
Producer  Fred  Coe.  Director  Arthur  Penn. 
MARJOSIE  MCRMINGSTAR  WarnerColor.    Gene  Kelly, 
Natalie  Wood,  Claire  Trevor.    Producer   Milton  Sper- 
ling.   Director  Irving  Rapper. 

MO  TIME  FOR  SERGEANTS  Andy  Griffith.  Myron  Mc- 
Cormick,  Nick  Adams.  Producer-Director  Mervyn  Le- 
Roy. 

OLD  MAN  AND  THE  SCA.  THE  CinemaScope.  Warner- 
Color. Produced  by  Le  and  Hayward.  Director  John 
Sturges.  Adventure.  Film  version  of  Ernest  Heming- 
way's prize-winning  ,-.cvel. 

CNIONHEAD  Andy  Grif  i  h    Erin  O'Brien.  Ray  Dentcn. 
Producer  Jules  Shermer.    Director  Norman  Taurog. 
STAKEOUT  ON  DOPE  STRICT  Producer  Andrew  Fenady. 
Director  Irvin  Kershner. 

STORY  Or  MANKIND  WarnerColor.  All-'tar  r*>i 
Producer-director  Irwin  A'ien.  Drama.  A  world  wide 
tejr  iron  the  caveman  to  present  day.  100  min.  10/23. 
TENCCR  FURY  Susan  Oliver.  Linda  Reynolds.  Carla 
Merey.  Producer  Martin  Melcher.  Director  Bernard 
Girard. 

TOO  ML'CH.  TOO  SCON  Doroth,  Malone.  Errol  Flynn. 
Producer   Henry   Blanke.    Director  Art  Napoleon. 
W3STCOUND    R:ndolph    Sco(t,    Virginia    Mayo,  Karen 
S  ee'e.     Producer   Henry   B  _nl<e.     Directcr   Budd  Boet- 


To  Belter  Sent  )  ou  .  .  . 

Office  &  Terminal  Combined  At 


New  Phones 

Phila:  WAInut  5-3944-45 
N.J.:  WOodlawn  4-7380 


NEW  JERSEY 
MESSENGER  SERVICE 

Member  National  Film  Carriers 


September 


BLACK  PATCH  George  Montgomery.  Producer  George 
Montgomery.  Director  Alan  Miner.  Western.  83  min. 
JOHNNY  TROUBLE  Ethel  Barrymore,  Cecil  Kellaw<>y. 
Producer-director  Jchn  Auer.  Drama.  Mother  wai  s 
twenty-seven  years  for  her  long  lost  son.  80  min. 
10/14. 


DEPENDABLE  SERVICE! 

CLARK 
TRANSFER 


i  f»  lOcus-  *-3«5S 
0    C     DUooo'  7-7200 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


®DSM\M 


With  the  launching 
of  their  new  production 
company,  Harold,  Walte 
and  Marvin  Mirisch 
bring  added  stature  to 
the  entire  motion 
picture  industry. 


lents  have  already  been  made  with  the  distinguish^ 
Oscar- winning  producer- director,  Billy  Wilder,  and  seven  toj 
stars... Gary  Cooper,  Tony  Curtis,  Doris  Day,  Audrey  Hepbui 
Joel  McCrea,  Audie  Murphy  and  Lana  Turner  —  each  in  a  toj 
boxoffice  property.  A  multi-million  dollar  film  program  is  ii 
preparation  . . .  and  a  minimum  of  twelve  top  features  has  beei 
set  for  UA  distribution. 


THE  MIRISCH  COMPANY  HAS  ALREADY  STARTED  PRODUCTION  ON  THE  FIRST  OF  ITS  PROJECT 


BULLETIN 


C 


P1 


iCEMBER  9,  I957 


Business-wise 
Analysis  of 
he  New  Films 


Reviews: 
WILD  IS  THE  WIND 
THE  HARD  MAN 
THIS  IS  RUSSIA 
THE  LONG  HAUL 
rHE  TALL  STRANGER 
TIME  WITHOUT  PITY 
AST  A  DARK  SHADOW 
GERVAISE 


P.S. 


POSTSCRIPT   FROM   JOE  EXHIBITOR 


".  .  .  In  my  dream  each  of  the  major 
film  companies  announced  no  more 
features  made  for  theatres  would  be 
offered  to  television  .  .  .  And  within  a 
few  months  millions  of  people  were 
pouring  out  to  theatres  and  our  whole 
industry  started  to  come  alive  again  . . 


Challenge  tc  a 
FILM  PRODUCER'S  PITCH  FOR  TOLL-TV 


The  people  of 


P Jerry  Wald's 
eyton 

Place 


are  on  the  screen! 


CinemaScopE 

Prints  available  with  magOpticai  sound  The  best  in  Stereophonic  Sound 

STARRING 


COLOR  by  DE  LUXE 


HOPE 

n 


LEE 


0 


DP. 


LLOYD    1  ff  DIANE 


SPREAD  THE  SLOGAN:  GET  MORE  OUT  OF  LIFE!  GO  OUT  TO  A  MOVIE! 


THIS  AD  IS 

Fulfillment  of  the  bast 


UA  ANNOUNCES  THIS  BA 


IN  A  BALANCED  RELEASE 
AS  A  PART  ONLY  OF  THE 


Keep  this  ad 
and  check  our 
performance 
against  our 
promise! 


JANUARY  ■  FEBRUARY  -MARCH 


LEGEND  OF  THE  LOST 

Technirama  •  Technicolor  •  Starring  John  Wayne  •  Sophia  Loren  •  Rossano  Brazzi 
Produced  and  Directed  by  Henry  Hathaway  •  A  Batjac  Prod.,  Panama,  Inc.  Pres. 

THE  QUIET  AMERICAN 

Starring  Audie  Murphy  •  Michael  Redgrave  •  Claude  Dauphin  •  Giorgia  Moll 
Written  for  the  screen  and  Directed  by  Joseph  L  Mankiewicz  •  A  Figaro,  Inc.  Prod. 

PATHS  OF  GLORY 

Starring  Kirk  Douglas  •  co-starring  Ralph  Meeker  •  Adolphe  Menjou  •  Directed  by 
Stanley  Kubrick  •  Produced  by  James  B.  Harris  •  A  Bryna  Production. 

WITNESS  for  the  PROSECUTION 

Starring  Tyrone  Power  •  Marlene  Dietrich  •  Charles  Laughton  •  Directed  by  Billy 
Wilder  •  Produced  by  Arthur  Hornblow  •  An  Edward  Small  Presentation  •  Based  on 
Agatha  Christie's  smash  Broadway  play. 


RUN  SILENT,  RUN  DEEP 

Starring  Clark  Gable  •  Burt  Lancaster  •  Directed  by  Robert  Wise  •  Produced  by 
Harold  Hecht  •  A  Hecht,  Hill  and  Lancaster  Presentation 

PARIS  HOLIDAY 

Technirama  •  Technicolor  •  Starring  Bob  Hope  •  Fernandel  •  Anita  Ekberg  •  Martha 
Hyer  •  Directed  by  Gerd  Oswald  •  A  Tolda  Production. 

GOD'S  LITTLE  ACRE 

Starring  Robert  Ryan  •  Aldo  Ray  •  Tina  Louise  •  Directed  by  Anthony  Mann 
Produced  by  Sidney  Harmon  •  A  Security  Pictures  Presentation  •  From  the  world's 
greatest  best-selling  novel  by  Erskine  Caldwell. 

THUNDER  ROAD 

Starring  Robert  Mitchum  •  Directed  by  Arthur  Ripley  •  A  DRM  Production. 


\N  EVENT! 

zed  of  all  exhibitors! 

OF  BLOCKBUSTERS 
ULE  FOR  THE  FULL  YEAR  1958 


OGRAM  FOR  1958! 


JULY  ■  AUGUST -  SEPTEMBER 

THE  BIG  COUNTRY 

Technirama  •  Technicolor  •  Starring  Gregory  Peck  •  Jean  Simmons  •  Carroll  Baker 
Charlton  Heston  •  Burl  Ives  •  Directed  by  William  Wyler  •  Produced  by  William 
Wyler  and  Gregory  Peck  •  An  Anthony-Worldwide  Production. 

THE  VIKINGS 

Technirama  •  Technicolor  •  Starring  Kirk  Douglas  •  Tony  Curtis  •  Ernest  Borgnine 
Janet  Leigh  •  Directed  by  Richard  Fleischer  •  Produced  by  Jerry  Bresler  •  A  Kirk 
Douglas  Production. 

KINGS  GO  FORTH 

Starring  Frank  Sinatra  •  Tony  Curtis  •  Natalie  Wood  •  Directed  by  Delmer  Daves 
Produced  by  Frank  Ross. 

CHINA  DOLL 

Starring  Victor  Mature  •  Prod,  and  Dir.  by  Frank  Borzage  •  A  Batjac  Presentation. 


SEPARATE  TABLES 

Starring  Rita  Hayworth  •  Deborah  Kerr  •  David  Niven  •  Wendy  Hiller  •  and  Burt 
Lancaster  •  Directed  by  Delbert  Mann  •  Produced  by  Harold  Hecht  •  A  Hecht, 
Hill  and  Lancaster  Presentation. 

MAN  OF  THE  WEST 

PRODUCTION  STARTS  IN  JANUARY 

In  color  •  Starring  Gary  Cooper  •  Directed  by  Anthony  Mann  •  A  Mirisch  Co.  Prod. 

THE  BARBARA  GRAHAM  STORY 

PRODUCTION  STARTS  IN  JANUARY 

Starring  Susan  Hayward  •  Directed  by  Robert  Wise  •  Produced  by  Walter  Wanger 
A  Figaro,  Inc.  Production. 

 AND  FOR  CHRISTMAS  1958  

Burt  Lancaster  in 

THE  UNFORGIVEN 


All  this,  and 
Mike  Todd's 
'AROUND  THE 
WORLD  IN 
80  DAYS",  too. 
Plus 

additional 
big  ones 
about  to  go 
into  production 
in  time  for 
1958  release1. 


GET 
MORE 

OUT  <C£ 
OF 


LIFE 


77 


GO 
OUT 


TO  A 


movie: 


M-G-M 
BACKS  UP 
THE 

INDUSTRY 
SLOGAN ! 


RAINTREE 
COUNTY 


0 


It's  the  talk  of  the  nation,  launched  in  widely  publicized  area 
Premieres.  The  Big  MGM  "Camera  65"  production  in  the  great 
tradition  of  Civil  War  romance  hailed  by  press  and  public 
as  one  of  the  BIG  ONES  of  our  time.  (Montgomery  Clift, 
Elizabeth  Taylor,  Eva  Marie  Saint  •  Print  by  Technicolor®). 


Never  such  nationwide  publicity  in  magazines,  press  and  b; 
word-of-mouth.  And  its, smash  Music  Hall  business  is  bein 
duplicated  in  its  first  play-dates.  A  "must  see"  attraction 
(Gene  Kelly,  Mitzi  Gaynor,  Kay  Kendall,  Taina  Elg  •  Sol  C 
Siegel  production  •  CinemaScope  •  Metrocolor). 


Already  acknowledged  to  be  Presley's  top  grosser,  it's  hitting 
new  M-G-M  highs  nationwide.  And  the  title  song,  America's 
No.  1  hit,  is  a  teen-age  magnet!  (Elvis  Presley,  Judy  Tyler, 
Mickey  Shaughnessy  •  Avon  Production  •  CinemaScope). 


f 


'DON'T  GO  NEAR 
THE  WATER" 


Aewpoints 

DECEMBER  9,   1957     "  VOLUME  25.  NO.  25 


Postscript  /o  ./o#>  Exhibitor's  Mjettew* 


We  published  a  beartjelt  letter  in 
the  last  issue  from  Joseph  B.  (for 
Battling)  Exhibitor  regarding  the 
destructive  force  of  the  old  feature 
films  being  offered  free  of  charge 
on  the  television  screens.  Belon  . 
Joe  adds  a  Postscript  to  that  letter 
regarding  a  dream  he  had.  Once 
before,  more  than  20  centuries  ago, 
another  Joseph  interpreted  a  dream 
that  came  to  pass  and  helped  save 
a  nation.  Perhaps  the  twentieth 
century's  Joe's  dream  can  help  save 
an  industry.  EDITOR'S  NOTE 

To  the  Editor 
Dear  Sir: 

In  my  last  letter,  which  you  v.  ere  kind 
enough  to  publish  intact  despite  its 
length  and,  I  guess,  stepping  on  some 
important  toes,  I  believed  I  had  gotten 
out  of  my  system  my  feelings  about  the 
suicidal  business  of  competing  with  fea- 
ture film  on  television.  But  it  seems  I 
didn't,  quite. 

Just  last  night,  I  had  a  dream,  and,  if 
you'll  bear  with  me,  I  would  like  to  tell 
you  about  it,  as  a  P.S.  to  my  letter. 

I  was  knocked  out  after  a  bout  with 
the  end  of  the  month  bills  and  had 
gone  to  bed  a  bit  earlier  than  usual.  As 
soon  as  my  head  hit  the  pillow  the  bill 
worries  dissolved  into  a  thick  fog  and 
this  strange  dream  began. 

I  seemed  to  be  on  a  wagon,  rolling 
downhill  and  the  fog  was  getting 
thicker  and  thicker.  There  was  silence, 
a  scary  sort  of  silence,  on  all  sides  of 
me,  and  as  I  kept  going  down  faster 
and  faster,  I  passed  theatre  after  thea- 
tre, the  marquees  dark  and  barely  dis- 
tinguishable in  the  gloomy  fog.  Then, 
suddenly,  I  heard  a  loud  voice  roar: 

"NO  MORE! 

The  wagon  slowed  down.  The  fog 
began  to  clear.  The  voice  kept  on  re- 
peating, "No  more!",  onlv  this  time 
there  were  two  voices,  then  a  third  one 


joined  in  and  a  fourth,  and  with  each 
new  voice  the  wagon's  downgrade 
slowed  and  the  gloomy  fog  cleared  a 
little  more  until  there  was  a  large  chorus 
of  voices  shouting,  "No  more!"  and  the 
fog  was  all  gone  and  I  was  on  a  bright- 
ly lit  street. 

The  street  was  lined  with  high  piles 
of  film  cans  marked  "1949",  "1950" 
and  so  on  up  to  "1957",  and  on  top  of 
each  pile  sat  a  traffic  cop  with  hand 
held  up  in  the  "Stop"  signal.  All  had 
the  same  uniform,  only  the  badges  were 
different.  One  badge  showed  a  lion's 
head,  another  a  globe  of  the  world,  an- 
other a  woman  holding  a  torch,  and  I 
recognized  these  as  the  insignias  of  the 
film  companies.  Each  officer  had  a  big 
cheer  leader's  megaphone  and  they  kept 
up  the  chant,  "No  more,  no  more,  no 
more."  They  all  seemed  to  merge  into 
one  big  voice. 

And  in  my  dream  each  of  the  major 
film  companies  announced  no  more  fea- 
tures made  for  theatres  would  be 
offered  to  television.  The  one  big  voice 
was  booming  out.  Experience  had 
proved  to  the  film  companies,  it  said, 
that  the  sale  of  their  old  feature  films 
to  television  was  a  grave  mistake  and 
their  theatre  market  was  being  de- 
stroved  and  no  amount  of  revenue  they 
could  get  from  such  liquidation  sales 
could  compensate  for  this  loss  of  thea- 
tre income,  and  that  the  ultimate  result 
would  be  their  own  destruction. 


BULLETIN 


Film    BULLETIN:    Motion    Picture    Trade  Paper 
published  every  other  Monday  by  Wa*  Publi- 
cations   Inc.     Mo  Wax.   Editor  and  Publisher. 
PUBLICATION. EDITORIAL  OFFICES:    1239  Vine 
Street.  Philadelphia  7.  Pa.,  LOcust  8-0950.  0951. 
Philip    R.    Ward,    Associate    Editor:  Leonard 
Coulter.    New   York   Associate   Editor;  Duncan 
G.   Steele,   Business   Manager;   Marvin  Schiller, 
Publication  Manager;  Robert  Heath.  Circulation 
Manager.  BUSINESS  OFFICE:  341  Madison  Ave- 
nue    New    York    17,    N.    Y.,    ORegon    9  8747; 
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rope   $5.00.  TWO  YEARS:  $5.00  in  the 
U.  S.;  Canada.  $7.50;  Europe,  $9.00. 


And  then  they  all  pointed  to  me  and 
the  great  voice  proclaimed: 

"We  will  make  pictures  for  you  and 
we  will  make  pictures  for  television. 
And  the  pictures  we  make  for  you  will 
be  shown  only  in  your  theatres  and  the 
pictures  we  make  for  tele\ ision  will  be 
shown  only  on  television.  And  these 
films  on  which  we  sit  and  which  were 
made  for  you  in  past  years  shall  never 
be  shown  on  a  free  screen,  for  we  know 
now  that  an  impossible  comperitive  con- 
flict exists  today  between  your  theatre 
customers  and  these  films  on  TV." 

And  in  my  dream  it  came  to  pass  that 
the  movies  that  had  been  sold  earlier  to 
television  were  plaved  out.  and  within 
a  few  months  millions  of  people  were 
pouring  out  to  theatres  and  our  whole 
industry  started  to  come  alive  again. 

I  found  myself  on  an  enormous  ele- 
vator with  the  traffic  cops  and  thou- 
sands of  other  movie  industry  people, 
and  the  elevator  kept  going  up.  And 
instead  of  floor  markers,  the  numbers 
were  marked  off  in  weekly  theatre  at- 
tendance. And  the  numbers  started 
from  the  lowest  of  30,000,000  and  rose 
to  50,000,000  and  the  elevator  kept  go- 
ing up,  up,  up  .  .  . 

Then  I  woke  up,  or  rather  I  was 
awakened  by  what  sounded  like  a  clash 
of  armor  and  loud  voices,  but  nothing 
like  the  voices  in  my  dream.  I  went  to 
the  head  of  the  stairs  and  looked  down. 
The  noises  came  from  the  TV  screen  in 
the  living  room  where  my  1 6-year  old 
daughter  was  thoroughly  enjoying  "The 
Se.i  Hawk",  that  vintage  thriller  I  had 
plaved  in  my  theatres  more  than  15 
years  ago.  My  daughter  used  to  go  out 
to  the  mov  ies. 

Tell  me,  sir,  must  I  go  back  to  sleep 
to  recapture  that  wonderful  dream,  or 
is  there  some  hope  that  the  wise  men  of 
our  industry  will  make  it  come  true? 

Hopefully  yours, 
JOE  EXHIBITOR 


Film  BULLETIN     December  9,   1957        Page  7 


FINANCIAL 

BULLETIN 

DECEMBER      9.  1957 


By  Philip  R.  Ward 

AMID  THE  GLOOM,  SOME  SUNSPOTS.  That  super-icono- 
clast, Spyros  Skouras,  has  done  it  again. 

For  the  umpteenth  time  in  an  olympian  career,  trend-buster 
Skouras  has  shaken  the  established  order  with  daring  improvi- 
sation in  the  teeth  of  overwhelming  odds.  This  trip  he  has 
simply  produced  the  flashiest,  shiniest  chrome-trimmed  income 
report  to  emanate  from  a  major  film  producing  firm  in  some 
time.  And  he  has  effected  this  magic,  in  part,  by  closing  his 
ears  to  the  economic  pundits  and  opening  his  eyes  to  the  reali- 
ties of  the  market.  The  man  simply  ordered  more  pictures 
made  than  anyone  else.  And,  in  the  bargain,  he  contrived  to  ge: 
his  full  share  of  good  ones.  To  top  off  the  success  formula,  20th 
Century  promotes,  promotes,  promotes  its  product  with  unstint- 
ing energy,  talent  and  funds.  It's  a  company  of  Enthusiasm. 

Result:  a  39  week  statement  (ended  September  28,  1957) 
recording  an  80%  upshot  in  per  share  earnings,  S2.13  vs.  SI. 20, 
each  figure  based  upon  the  same  number  of  shares.  In  all,  net 
earnings  for  the  term  scaled  S5.3  million  as  against  S3.1  million 
in  the  prior  year. 

Making  the  20th-Fox  achievement  all  the  more  impressive  is 
that  it  knifes  through  the  deep  melancholia  that  has  lately 
wrapped  itself  around  the  picture  colony  like  a  shroud.  It  has 
become  characteristic  of  some  industry  leaders  to  strike  the  pose 
of  the  ruptured  duck.  They  traipse  the  industry,  these  expen- 
sinvely-groomed  zombies,  with  a  frightened  "we're  dead — 
we're  cooked — we're  finished''  posture  more  suited  to  19th 
Century  French  aristocrats  than  alleged  heads  of  potentially 
dynamic  business  organisms.  With  a  unanimity  usually  asso- 
ciated with  four-footed  herds  they  have  let  themselves  be  horn- 
swoggled  into  following  a  phantom  shepherd  who  preaches  a 
dictum  of  curtailment  as  the  answer  to  declining  times.  Mr. 
Skouras,  who  is  no  phantom,  rates  a  staff  and  a  goatskin  of  his 
own.  This  man  leads;  he  does  not  follow. 

0 

Of  course,  increased  output  is  not  the  whole  20th-Fox  story. 
Rentals  from  TV  added  in  large  measure,  as  did  the  company's 
growing  oil  income.  But  the  basic  impetus  derived  from  a 
liberal  production  of  saleable  product.  As  one  key  Fox  official 
put  it,  his  company  operates  not  one  but  many  studios,  a  refer- 
ence to  20th's  association  with  such  premiere  independents  as 
Zanuck,  Wald,  Selznick,  et  al. — a  truly  illustrious  stable  of  film 
makers.  In  effect,  this  organization  is  prepared  to  proffer  to 
the  market  the  steadiest  supply  of  important  films  intermingled 
with  a  steady  and  generous  diet  of  lower-budgeted  features. 

The  financial  performance  of  20th  Century-Fox  reveals,  then, 
that  the  restrictive  production  policy  is  not  necessarily  the  right 
policy.  To  the  contrary,  it  may  very  well  be  illusionan.  and 
probably  born  of  fear,  rather  than  logic.  That  a  policy  of  cur- 
tailed production  is  endorsed  with  more  or  less  popular  accep- 
tance by  major  film  producers  is  hardly  persuasive  justification. 
A  more  rational  approach  weights  the  results  of  the  one  system 
against  the  results  of  the  other. 


One  has  only  to  go  back  less  than  one  year.  At  that  time 
revenues  from  the  theatre  market  were  generally  on  the  decline. 
The  majority  of  studios  are  still  on  that  downhill  path,  and  the 
executives  are  loaded  with  worry.  But  none  of  them  are  not 
turning  out  more  footage.  As  a  matter  of  fact,  a  few  actually 
are  curtailing  further.  But  what  of  the  Skouras  improvisation? 
Here  was  no  act  of  towering  mentality,  no  tricky  technology, 
no  steam-winding  novelty.  It  was  a  simple  act  of  faith  and 
courage — this  decision  to  go  all  out,  hell-bend  for  production. 
And  it  worked,  as  20th's  most  recent  income  report  avers. 

Why  buck  common  sense?  In  the  industry  marketplace  de- 
mand outstrips  supply.  Are  Spyros  Skouras  (and  the  United  Ar- 
tists stalwarts)  the  only  disciples  of  Adam  Smith  extant  in 
moviedom?  If  they  are,  sure  as  shootin',  there  will  soon  be 
others  around  to  take  away  the  play.  Bury  the  zombies,  and  let's 
ge:  some  live  material  into  the  industry! 

0  0 

OTHER  HAPPY  NOTES  have  been  struck  by  Warner  Brothers 
Pictures  and  Stanley  Warner.  WB  shows  a  hearty  advance  in 
fiscal  year  net  profit  (reporting  year  ended  August  31,  1957) 
with  S3.4  million  vs.  roughly  $2.1  million.  However,  some 
SI 5  million  resulting  from  sale  of  film  libraries  to  television  in 
1956  was  not  included  in  the  statement  of  a  year  ago,  but  carried 
over  into  the  earned  surplus  account,  helping  to  brighten  the 
new  financial  report. 

Shareholders  of  Stanley  Warner  Corporation  were  treated  to 
preliminary  holiday  wassail  with  news  of  a  net  earnings  spurt 
of  5573,600  above  the  preceding  year.  Net  per  share  income 
reached  SI. 82  as  opposed  to  $1.47  the  year  before.  The  present 
figure  was  attained  on  approximately  100,000  fewer  shares.  S.  H. 
Fabian,  Stanley  Warner  president,  reported  that  the  theatre,  as 
well  as  Cinerama  and  International  Latex  divisions,  all  operated 
at  a  profit.  Of  course,  it  is  impossible  to  tell  just  how  much  of 
the  $115  million  in  gross  sales  (as  against  $96  million  in  pre- 
vious fiscal  year)  comes  from  movie  tickets  and  how  much 
from  ladies  unmentionables.   Nonetheless,  happy  tidings. 

0 

THE  YEAR  IN  MOVIE  STOCKS.  Below  is  portrayed  the 
volatile,  comb-toothed  year  in  key  industry  shares — from  the 
close  of  trading,  1956,  month-by-month  through  November: 


Film  BULLETIN  Cinema  Aggregate* 


*Composed  of  carefully  selected  representative  industry  issues. 


Page  8        Film  BULLETIN     December  9,  1957 


The  Producer's  Dream 
of  a 

Toll-TV  Heaven 


MOTION  PICTURES  and  PAY  TV  : 

by  MERVYN  LeROY 

H  OLLYWOOD,  which  thrives  on  crises  and  romance,  ner- 
vously finds  itself  on  the  threshold  of  a  royal  marriage.  Having 
played  an  elusive  philanderer  for  almost  a  decade,  the  motion 
picture  industry,  for  whom  television  has  been  a  beguiling  and 
convenient  mistress,  is  about  to  make  an  honest  woman  of  its 
faithful  paramour  through  a  proposal  of  marriage  with  pay 
TV;  if  it  should  come  to  pass,  despite  opposition  which  has 
reached  clear  to  the  floor  of  Congress,  this  royal  wedding  could 
have  far-reaching  repercussions.  It  may  well  trigger  another 
bloodless  revolution  in  the  field  of  mass  entertainment  com- 
parable to  that  set  off  thirty  years  ago  by  the  bold-visioned 
Warner  brothers  when  they  startled  a  bemused  nation  with  the 
first  talking  picture.  The  Jazz  Singer. 

There  are  two  powerful  groups  not  radiating  joy  over  the 
impending  liaison.  The  exhibitors  who  own  the  nation's  20,- 
00  movie  houses  and  those  who  control  the  destinies  of  the 
giant  television  networks  have  a  common  cause  in  opposing  the 
marriage  of  motion  pictures  and  pay  TV.  Although  normally 
competitors,  their  billion-dollar  investment  has  brought  them 
together  in  a  mutuality  of  interest  as  their  newest  rival  bids  for 
public  affection.  With  stakes  so  high,  the  entire  subject  is 
fogged  in  mists  of  intense  partisanship.  Charges  and  counter- 
charges, debates  in  public  forums,  and  millions  of  words  poured 
out  in  the  press  have  made  it  increasingly  difficult  for  the 
American  people  to  distinguish  fact  from  propaganda. 

In  this  area  the  television  networks  undoubtedly  have  had  a 
willing  ally  in  Madison  Avenue's  top-drawer  advertising  agen- 
cies, for  whom  the  preservation  of  the  status  quo  in  television 
is  an  economic  must,  in  view  of  the  handsome  commissions  they 
pocket  on  the  millions  of  dollars  their  clients  spend  for  TV 
sponsorship.  It  would  not  be  surprising  if  Madison  Avenue's 
professional  hand  were  behind  a  highly  vocal  organization  with 
the  name  "Committee  Against  Pay  To  See  TV."  This  commit- 
tee has  been  sounding  the  theme  that  not  only  is  freedom  of 
the  air  waves  an  established  American  tradition,  but  that  pay 
TV — bv  its  very  name — is  a  threat  to  every  red-blooded  Ameri- 
can's right  to  life,  liberty,  and  the  pursuit  of  happiness.  In  the 
same  dire  vein,  Marcus  Cohn,  counsel  for  the  committee,  has 
stated:  "If  the  American  public  is  ever  told  it  will  have  to  pay 

(Continued  on  Page  10) 


Reprinted  from  ATLANTIC  MONTHLY. 
December  issue,  by  permission  of  Mr. 
LeRoy  and  the  publisher. 


In  the  current  issue  of  The  ATLANTIC 
MONTHLY,  Mervyn  LeRoy,  producer  of 
some  of  Hollywood's  finest  films,  re- 
lates a  movieman's  dream  of  the  boun- 
ties that  will  befall  the  motion  picture 
industry  if  and  when  subscription  tele- 
vision becomes  a  reality.  He  sees 
naught  but  good  in  the  marriage  of 
movies  and  pay  TV,  urges  exhibitors  to 
submit  to  the  inevitable  and  capitalize 
on  it.  We  have  studied  Mr.  LeRoy's  rev- 
erie and  find  ourselves  living  in  a  dif- 
ferent dream  world.  The  conflicting 
views  start  on  this  page. 


Cannes  the  Datvttl 


by  PHILIP  R.  WARD 

Mervyn  LeRoy  is  not  the  first  of  the  creative  gentry  to  plump 
for  television  at  a  price.  He  undoubtedly  will  not  be  the  last 
to  be  wrong  on  the  subject. 

In  the  Atlantic  Magazine  article  appearing  opposite.  Mr. 
LeRoy  frankly  professes  his  partiality  for  a  system  of  see-for- 
a-fee  broadcasting,  and  he  avers  that  his  thinking  derives  from 
a  point  of  view  thus  far  not  heard.  He  speaks,  continues 
LeRov,  for  "the  one  group  which  really  has  the  most  to  say" 
on  the  subject — the  creative  segment  of  movie  business.  In  the 
famous  producer's  opinion,  the  mode  of  cash  communication 
he  espouses  will  open  entertainment  horizons  unmatched  bv 
any  other  medium. 

His  entire  proposition  is  contestable  on  a  number  of  fronts. 

For  one,  LeRoy  appears  to  be  confused  in  the  order  in  w  hich 
he  ranks  the  interest  groups.  Heretofore  it  had  been  suspected 
that  the  one  agency  with  most  to  say  on  the  matter  was  the 
public  at  large.  We  doubt  that  this  has  changed.  First,  last 
and  always  must  the  debate  be  resolved  by  the  thoughtful 
assessment  of  the  implications  of  pay  TV  from  the  standpoint 
of  the  commonweal. 

For  another,  Mr.  LeRoy  reasons  a  priori — before  the  fact — 
in  evaluating  the  glittering  entertainment  potential  of  sub- 
scription television.  It  is  a  long  drink  of  vodka  between  pros- 
pect and  fulfillment.  But  we  do  not  indict  advocate  LeRov  for 
his  mere  enthusiasm.  The  deficiency  in  his  case  springs  from 
the  lack  of  evidence  to  support  the  claim  of  improved  quali- 
tative standards  on  pay-TV  as  against  pay-theatre,  or  even  com- 
mercial, no-pay  TV.  Neither  of  the  two  last  mentioned  indus- 
tries have  cornered  the  market  in  bravura  artistic  achievements 
despite  the  handsome  rewards  they  offer  the  creative  elements 
of  show  business.  Quality  in  entertainment,  not  unlike  the 
scientific  achievements  our  nation  so  urgently  seeks,  is  not  al- 

( Continued  on  Page  1 1  ) 


Film  BULLETIN     December  9    1957        Page  9 


LeHOY  ON  MOVIES  R  TOLL  TV 

(Continued  from  Page  9) 

for  its  TV  programs  the  Boston  Tea  Party  will  fade  into  an 
insignificant  skirmish." 

So  well  has  the  propaganda  war  been  waged  that  Chairman 
Emanuel  Celler  of  the  House  Judiciary  Committee  warned  the 
Federal  Communications  Commission  —  which  regulates  tele- 
vision broadcasting  —  to  keep  its  hands  off  pay  TV  and  let 
Congress  decide.  He  also  introduced  a  bill  imposing  a  five-year 
prison  term  or  a  fine  of  $10,000  or  both  on  anyone  attempting 
to  impose  a  fee  on  home  TV  viewers.  When  the  FCC  autho- 
rized a  wide  test  of  pay  TV,  Representative  Celler  stated  he 
would  press  for  early  action  in  the  next  session  of  Congress. 

Not  an  Ogre,  He  says 

As  is  usually  the  case  when  the  kettle  is  called  black,  pay  TV 
is  not  the  ogre  its  opposition  has  made  it  out  to  be.  If  this 
statement  implies  an  ulterior  motive  on  my  part,  it  is  motivated 
by  a  point  of  view  that  thus  far  has  not  been  heard.  In  the 
tumult  and  shouting  of  recent  months,  very  little,  much  less  an 
opinion,  has  been  heard  from  the  one  group  which  really  has 
the  most  to  say:  the  directors,  producers,  stars,  writers,  camera- 
men, art  designers,  costumers,  and  many  other  creators  whose 
collaborative  efforts  in  Hollywood  make  possible  most  of 
America's  entertainment. 

I  have  been  identified  with  the  production  and  direction  of 
motion  pictures  since  1928.  I  have  spent  the  better  part  of  a 
lifetime  making  responsible  and  costly  movies  for  a  mass  audi- 
ence. I  have  loved  the  audience  challenge.  A  successful  movie 
at  the  box  office  is  seen  and  enjoyed  by  millions.  I  have  had 
more  than  a  fair  share  of  success  at  the  box  office,  and  intend  to 
keep  making  pictures,  because  there  will  always  be  a  demand 
for  good  pictures.  I  do  not  necessarily  regard  pay  TV  as  a  cure- 
all.  But  I  am  for  its  marriage  with  motion  pictures,  It  is  a 
healthy  alliance  because  it  opens  up  exciting  new  horizons  in 
audience  penetration. 

Let  me  make  plain  that  I  understand  the  threat  that  pay  TV 
poses  for  many  movie  exhibitors.  I  wholeheartedly  sympathize 
with  them.  Their  apprehension  is  understandable  because  of 
their  enormous  investment  in  land,  theaters,  and  equipment. 
But  progress,  change,  evolution — whatever  you  care  to  call  it 
— invariably  takes  it  economic  toll.  The  crude  nickelodeon  of 
the  1910  era  was  replaced  by  comfortable,  attractive  movie 
houses.  In  turn  came  huge  cathedrals  of  screen  entertainment 
like  Radio  City  Music  Hall.  A  few  years  ago  came  a  further 
refinement  in  movie-going,  the  drive-in.  It  has  mushroomed  in 
popularity  for  a  familiar  reason,  convenience. 

The  emergence  of  a  new  competitor  like  pay  TV  will  not 
destroy  America's  zest  for  movie-going.  Quite  to  the  contrary, 
it  will  stimulate  a  desire  to  see  movies.  As  a  people  Americans 
are  gregarious.  The  bright  lights  of  Broadway,  Chicago's  State 
Street,  San  Francisco's  Market  Street  will  always  be  a  magnet 
for  audiences  to  crowd  first-run  theaters. 

Pay  TV  is  not  a  rule-or-ruin  situation.  It  was  said  that  movies 
would  ruin  the  legitimate  stage.  They  haven't.  Pessimists  said 
radio  would  hurt  motion  pictures.  It  didn't.  When  television 
arrived,  the  prediction  was  freely  expressed  that  Hollywood 
was  about  to  be  engulfed  in  a  catastrophe.  Movies  are  still 
being  made  and  with  more  enthusiasm  than  ever. 

There  are  plenty  of  resourceful  exhibitors  who  will  come  to 
grips  with  the  competition  of  pay  TV  and  capitalize  on  it.  One 
exhibitor  has  already  shown  the  way.   Early  in  September,  a 


chain  operating  one  hundred  seventy-five  theaters  in  the  South- 
west began  a  practical  pay-as-you-see  operation  in  Bartlesville, 
Oklahoma.  For  a  subscription  fee  of  $9.50  per  month,  residents 
of  Bartlesville  are  being  offered  a  daily  fare  of  first-run  movies. 
The  Bartlesville  project  is  the  beginning  move  for  other  exhibi- 
tors to  apply  for  pay  TV  franchises  throughout  the  country, 
using  such  systems  as  Telemeter,  which  I  regard  as  the  best 
developed. 

Pay  TV  will  eventually  be  the  bridge  that  will  transport  new 
and  old  audiences  to  attend  fully-equipped  movie  theaters,  be- 
cause of  the  dramatic  difference  in  screens.  The  wide  screens 
which  today  enable  theaters  to  project  such  processes  as  Cine- 
maScope,  Warnervision,  Vista-Vision,  and  Todd-AO  offer  a 
depth  and  dimension  that  home  screens  cannot  match.  As  the 
mass  distribution  of  paperback  editions  has  augmented  reader 
volume  for  the  book  business,  pay  TV  will  create  a  fresh  audi- 
ence for  motion  picture  theaters. 

Unlike  the  exhibitor's  situation,  the  opposition  of  the  tele- 
vision networks  to  pay  TV  is  frankly  indefensible.  The  inten- 
sity of  their  apprehension  is  a  clear  reflection  of  the  excesses 
they  have  committed  against  the  American  public  in  the  name 
of  good  entertainment  and  standards  of  quality.  There  are 
things  television  does  superbly  well.  In  the  broadcasting  of 
fast-breaking  news  events,  political  conventions,  sports,  debates, 
travelogues,  educational  projects,  it  has  been  exciting  and  topi- 
cal. In  such  undertakings  as  Omnibus  or  Wide  Wide  World, 
television  also  has  functioned  with  great  effectiveness. 

But  the  reverse  side  of  the  coin  is  anything  but  shiny.  Such 
entertainment  hodgepodge  as  give-away  panels,  unspectacular 
spectaculars,  warmed-over  dramatic  hours,  and  a  plethora  of 
situation  comedy  shows  has  alienated  and  wearied  many  tele- 
vision viewers.  The  responsibility  for  this  is  split  three  ways 
between  the  networks,  Madison  Avenue's  advertising  agencies 
who  call  the  turn,  and  the  big-time  commercial  sponsors  who 
foot  the  bills. 

Advertisers  and  Show  Business 

In  the  last  analysis  Madison  Avenue  mirrors  the  prejudices, 
ideas,  and  tastes  of  hardheaded  sponsors  who  know  next  to 
nothing  about  show  business  but  are  willing  to  pay  for  it  as 
an  acceptable  interlude  between  commercials.  Since  there  is  no 
box  office  in  television,  Madison  Avenue  has  devised  systems 
for  measuring  popularity  on  TV  such  as  the  Nielsen,  Trendex, 
and  other  ratings.  Each  week  these  ratings  purport  to  reassure 
the  uncertain  sporsor  by  reporting  the  number  of  Americans 
glued  to  his  show.  The  net  effect  has  been  to  drive  a  score  of 
talented  performers  from  the  network  channels. 

If  anything  justifies  the  marriage  of  pay  TV  with  the  motion 
picture  industry  it  is  television's  indiscriminate,  wholesale  ap- 
propriation of  old  movies.  With  no  particular  regard  for  stan- 
dards, the  television  networks  and  their  station  affiliates  have 
bought  up  for  reshowing  on  home  television  screens  hundreds 
of  films  made  prior  to  1948.  Many  of  the  films  range  back  to 
the  early  thirties.  In  the  outpouring  of  movies  to  the  TV  pub- 
lic, fine  films  and  trash  have  been  lumped  together.  I  know 
something  about  old  movies  on  television.  Some  twenty  of  my 
pictures,  including  such  well-remembered  favorites  as  The  Wiz- 
ard of  Oz,  Fugitive  from  a  Chain  Gang,  Thirty  Seconds  over 
Tokyo,  Little  Caesar,  Waterloo  Bridge,  and  Random  Harvest, 
to  name  a  few,  have  appeared  on  television  screens.  I  have 
been  pleasantly  surprised  to  receive  many  letters  from  TV 
viewers  who  have  enjoyed  seeing  my  pictures  despite  the  bar- 
rage of  interrupting  commercials. 

(Continued  on  Piigc  14) 


Page  10        Film  BULLETIN    December  9,  1957 


COMES  THE  L1AWN! 

( Ctrntimued  from  Page  9) 

ways  purchaseable  for  cash.  Just  why  a  scheme  of  metered 
broadcasting  may  be  expected  to  produce  an  artistic  renaissance 
in  American  culture  beyond  the  scope  of  existing  media  is 
deftly  left  unanswered  by  Mr.  LeRoy. 

The  answer,  of  course,  flows  by  implication:  profits — profits 
of  such  enormity  as  to  stagger  the  earthbound  thoughts  of 
contemporary  showmen,  the  S25  million  one  night  boxoffice 
— that's  the  sort  of  pie  in  the  sky  all  the  toll  TV  plungers  are 
dreaming  of.  When  they  recite  the  verse  about  "new  hori- 
zons", one  immediately  recognizes  the  poetry  of  high  finance. 
The  economics  of  pay  TV  are  not  within  the  ken  of  this  dis- 
cussion, so  we  will  avoid  argument  with  the  overstatements 
repeated  by  with  regard  to  the  potential  take.  But  the  subject 
cannot  be  dismissed  without  one  brief  reference  to  the  rather 
meagre  enthusiasm  now  being  recorded  in  Bartlesville. 

No,  Mr.  LeRoy  is  not  the  first  to  state  the  case  for  the  crea- 
tive artist.  That  pride  of  discovery  must  be,  regrettably,  quashed. 
The  fact  is,  aside  from  these  who  fabricate  and  market  various 
toll  TV  systems,  few  parties  to  the  issue  have  been  heard  as 
vocally  or  for  as  long  the  the  movie  producers.  Only  several 
weeks  ago  peripatetic  producer-director  Stanley  Kramer  was 
heard  from  Madrid  proclaiming  that  the  movie  industry  is  des- 
tined to  fall  before  the  onrush  of  pay  home  TV.  "Eventually," 
forcast  Kramer,  "there  must  be  paid  television  in  America  and 
throughout  the  world  because  only  home-toll  can  today  assure 
a  film  producer  an  immediate  profit."  As  intrigued  as  others  by 
the  mathematics  of  the  device,  Kramer  asserted  that  a  film  cost- 
ing one  million  must  gross  three  million  to  cover  costs  "while 
the  same  film  on  20,000,000  home  receivers  at  25c  per  set  means 
an  overnight  gross  of  five  million."  Kramer  counts  the  house 
like  a  mossbacked  conservative. 

Comes  the  'Bloodless  Revolution' 

If  Mr.  LeRoy  is  not  the  first  of  his  sect  to  take  up  the  advo- 
cacy of  pay  TV,  he  is,  however,  unique  in  another  department. 
With  the  director's  fine  hand  for  the  happy  ending,  he  takes 
special  pains  to  comfort  and  assuage  the  principal  victim  of  the 
home  boxoffice,  the  exhibitor.  He  contemplates  no  real  danger. 
"Quite  to  the  contrary,"  says  he,  "it  will  stimulate  a  desire  to 
see  movies  (in  the  theatre)."  At  the  outset  of  his  piece  he  moves 
quickly  to  press  home  the  point.  An  amalgamation  of  the  mo- 
tion picture  with  home  toll,  says  he,  may  "trigger  another 
bloodless  revolution"  comparable  with  that  of  the  introduction 
of  sound  to  films.  Let's  check  that. 

His  choice  of  the  term  "bloodless"  is  particularly  unfortunate, 
not  only  because  some  S2.5  billion  in  precious  blood — repre- 
senting the  fixed  investment  in  organized  exhibition — stands  to 


be  let  by  the  cutting  edge  of  a  national  pay  TV  system,  but  be 
cause  LeRoy  unwittingly  contradicts  himself  in  a  later  section 
with  this  analysis:  "Their  (the  exhibitors')  apprehension  is 
understandable  because  of  their  enormous  investment  in  land, 
theatres  and  equipment.  But  progress  change,  evolution — what- 
ever you  care  to  call  it — invariably  takes  its  economic  toll." 

But  before  he  is  finished,  LeRoy  falls  back  on  this  home) 
platitude:  "Pay  TV  will  eventually  be  the  bridge  that  will  trans- 
port new  and  old  audiences  to  attend  fully  equipped  movie  the- 
atres because  of  the  dramatic  difference  in  screens." 

The  Fate  of  Exhibition 

The  judgment  of  the  overw helming  number  of  experts  in  the 
field  is  that  organized  exhibition,  as  it  is  constituted  today,  faces 
swift  decimation  in  the  wake  of  subscription  television.  The 
documentation  is  already  in.  The  mere  telecasting  of  Holly- 
wood-made features  of  antique  origin  on  free  television  i*>  now 
widely  accepted  as  being  mainly  responsible  for  the  declining 
theatre  boxoffice  in  the  past  year  or  so.  The  Wall  Street  Jour- 
nal the  other  day  reported  that  this  rueful  consequence  has 
made  most  studios  wish  they  had  forsworn  the  easy  money  they 
got  for  their  old  films — and  held  more  of  their  theatre  audience. 

Pay  TV  can  only  compound  the  distress.  And  the  cruel  as- 
pect is  that  theatredom  may  anticipate  the  worst  even  if  the 
fee  medium  delivers  only  lO'vr  of  what  it  promises.  The  reason 
is  this:  with  the  advent  of  free  commercial  TV,  a  great  inertia 
set  in  with  regard  to  the  nation's  going-out  habits.  Beyond  the 
occasional  restaurant,  the  ball  game  or  a  visit  with  Aunt  Sally, 
the  motion  picture  theatre  still  prevailed  as  America's  greatest 
magnet  beyond  the  home,  no  matter  how  infrequently  patron- 
ized. Now  with  the  promise  of  first-run  film  entertainment 
within  the  warm  environment  of  the  household  the  theatre's 
pulling  power  must  inevitably  be  diminished  to  zero. 

Quality  will  not  be  the  stern  measuring  rod  pay  TV  propo- 
nents speciously  argue  it  must  be.  Despite  near  universal  criti- 
cism, the  public  continues  to  stare  hypnotically  at  its  21 -inch 
screens.  Accordingly,  the  public  will  reason  it  has  a  bargain  if 
it  can  for  a  small  fee  kick  off  its  shoes  at  home  before  the  same 
feature  playing  at  the  neighborhood  Bijou.  Good,  bad  or  in- 
different as  the  entertainment  may  be,  a  fee  is  exacted  either 
way,  at  home  or  at  theatre. 

The  pity  of  the  entire  situation  is  that  pay  TV  figures  to  de- 
liver in  fact  no  more  than  10^  of  the  flowery  estimates  of  its 
backers.  The  prime  reason  was  covered  earlier:  the  inevitable 
scarcity  of  creative  potential  to  cover  that  which  has  been 
pledged  of  the  medium.  Pay  proponents  pay  a  bland,  half- 
meant  lip  service  toward  the  inexhaustible  cultural  possibilities 
of  their  device.  Opera,  ballet,  educational  services  of  all  shades, 
entice  they.  Pure  dw addle!  Fee  TV  shall  be  no  less  commercial 

(Continued  on  Page  N) 


SHOWMEN .  . . 
What  Are  YOU  Doing? 

Send  us  your  advertising,  publicity  and  exploitation 
campaigns  —  with  photos  —  for  inclusion  in  our 
EXPLOITATION  &  MERCHANDISING  DEPARTMENT 


Film  BULLETIN    December  9.  1957        Page  11 


UNIVERSAL-INTERNATIONAL  SHOWMANSHIP 
AT  ITS  TIMELY,  TERRIFIC  BOX-OFFICE  BEST! 


'/'f/rj  7.  7 


THE  RED-HOT  EXPLOITATION  EXPLOSION 
OF  THIS  CENTURY  WITH  THE 


GREATEST  PRE  SOLD  AUDIENCE  OF  OUR  TIME! 


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(Continued  from  Page  10) 

These  letters  are  important  as  a  barometer  of  the  audience 
that  is  building  for  the  appearance  of  quality,  first-run  pictures 
via  a  convenient  and  nominally-priced  subscription  TV  system. 
And  I  am  firmly  convinced  that  these  good  films  will  drive  out 
the  bad. 

No  matter  where  the  chips  fall  for  the  exhibitors  or  the  tele- 
vision networks,  pay  TV's  marriage  with  motion  pictures  can- 
not be  halted,  because  of  the  inexorable  changing  social  scene 
in  America  since  the  end  of  World  War  II. 

America  is  changing  its  entertainment  patterns  as  radically  as 
it  is  changing  its  way  of  living.  America  is  on  the  movie  from 
the  cities  to  suburbia.  Decentralization  has  led  to  such  social 
phenomena  as  all-inclusive  shopping  centers  and  do-it-yourself 
projects.  The  home  again  is  a  focal  point  of  interest.  Ameri- 
cans are  marrying  younger — because  of  better  economic  con- 
ditions— and  raising  families.  Classes  of  society  are  upgrading 
themselves.  What  was  once  an  upper-lower  class  has  become 
part  of  a  big  middle  class.  Because  it  has  a  zest  for  living,  this 
middle  class  has  become  a  tremendously  important  consumer 
market. 

Sees  New  Horizons 

From  the  creative  standpoint,  a  marriage  of  pay  TV  and 
motion  pictures  promises  to  open  up  exciting  new  horizons  in 
mass  audience  exposure.  Unlike  some  freewheeling  thinking  in 
Hollywood  that  anything  will  make  money  on  pay  TV,  this 
mass  audience  will  create  exacting  standards  that  should  prove 
rewarding  to  those  who  artistically  meet  the  acid  test. 

Pay  TV  will  represent  a  wonderful  coming  of  age  for  the 
talented  writer,  director,  and  producer.  Great  screen  properties, 
like  great  plays  or  novels,  are  never  plentiful.  The  acute  de- 


mand that  exists  today  in  Hollywood  for  good  story  material 
will  be  accelerated  by  pay  TV.  It  will  also  encourage  bolder 
writing,  which  in  turn  holds  promise  for  a  widening  maturity 
of  themes  on  the  screen. 

The  amalgamation  will  be  healthy  on  many  creative  fronts, 
particularly  in  opening  doors  to  new  talent  in  the  fields  of  pro- 
ducing and  directing.  Let  me  warn,  however,  that  pay  TV  rep- 
resents no  short  cut  to  success.  A  meticulous  and  intense  ap- 
prenticeship is  still  a  prerequisite  for  authority  and  skill  as  a 
producer  or  director.  Pay  TV,  with  its  critical  audience,  will 
be  no  less  exacting  than  the  audiences  in  the  movie  theaters. 

Finally,  pay  TV  will  not  only  provide  a  golden  showcase  for 
the  talented  star  and  the  exciting  personality,  but  will,  of  neces- 
sity, spur  a  fresh  and  unending  search  for  new  talent.  Star  dust 
is  never  easy  to  come  by.  The  discovery  of  new  stars  will  take 
on  a  new  zest  and  purpose. 

When  the  cultural  history  of  twentieth-century  America  is 
written,  its  outstanding  characteristic  may  well  be  the  accelera- 
tion that  has  taken  place  in  the  field  of  mass  communications. 
Consider  the  developments  in  a  single  lifetime:  the  telephone, 
high  speed  presses,  the  teletype,  motion  pictures,  radio,  the 
phonography,  television.  Pay  TV  is  clearly  part  of  this  exciting 
evolution. 

Some  skeptics  in  the  motion  picture  industry  persist  in  saying 
that  it  is  impossible  to  tailor  full-length  movies  made  for  the 
theater's  wide  screen  to  the  home  television  screen.  What  about 
a  Ten  Commandments,  a  Giant,  they  ask?  My  answer  is  that 
the  yardstick  of  quality  is  not  the  size  of  the  screen  but  what 
you  put  on  it.  Nothing  suffers  on  the  screen  if  it's  good.  A  bad 
picture  is  bad  whether  it  plays  Radio  City  Music  Hall  or  your 
living  room.  A  good  picture  will  prove  its  quality  on  a  small 
screen  in  your  home  or  on  a  wide  screen  in  your  favorite  thea- 
ter. It's  as  simple  as  that. 


COMES  THE  DAWN! 

(Continued  from  Page  11) 

than  its  Madison  Avenue  brethren,  than  Broadway,  or  the  mo- 
tion picture.  In  the  final  analysis  we  shall  get  our  share  of 
cheesecake,  mayhem,  trivia,  vaudeville,  even  burlesque,  with  the 
occasional  class-A  production.  As  a  promotion  geared  for  the 
fast  buck,  you  can  look  for  a  pandering  to  the  popular  appeals. 

Texas  on  a  21-inch  Screen 

In  the  showdown  between  films  in  the  theatre  and  films  in 
the  home,  LeRoy  graciously  gives  all  the  edge  to  the  theatre  be- 
cause of  the  various  special  projection  systems  which  offer  "a 
depth  and  dimension  that  the  home  screen  cannot  match".  At 
the  same  time,  he  concludes  his  article  by  suggesting  that  "The 
Ten  Commandments''  or  "Giant"  might  have  done  just  dandy 
on  pay  TV.  He  maintains  the  test  of  quality  is  not  the  dimen- 
sion of  the  screen  but  what  you  put  on  it.  "Nothing  suffers  on 
the  screen,"  claims  he,  "if  it's  good."  In  other  words  Mr.  Le- 
Roy would  give  us  Texas  on  a  21"  by  21"  glass  frame.  Though 
no  one  will  argue  size  as  an  absolute  pre-requisite  for  quality, 
skilled  director  LeRoy  should  know  better.  He  should  know 
that  entire  new  standards  are  demanded  of  films  shot  exclusively 
for  a  thumbnail  proscenium. 

What  LeRoy  wants  to  get  across  is  that  a  harmonious  co-exist- 
ence between  theatre  and  pay  TV  seems  possible. 

When  Mr.  LeRoy  appeals  for  co-existence  between  theatre 


and  pay  TV  he  is  on  the  wrong  track.  It  is  impossible  to  accept 
his  contention  that  the  small  pay  screen  will  whet  an  appetite 
for  the  theatre-going. 

Failing  to  convince  with  authority  on  the  co-existence  thesis, 
Mr.  LeRoy  caps  his  case  with  this  admirably  honest  alternative: 
Oh  well,  if  the  theatres  fail — that's  progress.  What  he  doesn't 
state  is  that  progress  in  the  American  industrial  tradition  carries 
the  connotation  of  advancement  of  the  public  interest. 

We  frankly  regard  the  subscription  TV  gimmick  as  a  balloon 
being  expanded  far  beyond  its  limits  by  those  who  view  it  as  a 
Cloud  9  bonanza.  We  doubt  that  it  is  "inevitable",  as  they  firm- 
ly insist,  and  we  doubt  the  potential  its  advocates  dream  of.  We 
rather  think  that  if  Mr.  LeRoy  had  opened  his  eyes  from  his 
reverie,  he  would  not  have  taken  that  headlong  plunge  into  the 
murky  toll  TV  seas. 


Sorry,  We  re  Out 

We  regret  to  inform  our  readers  that  no  more  copies 
of  the  Nov.  11  issue  of  Film  BULLETIN  are  avail- 
able. This  was  the  issue  that  carried  the  "Letter  from 
an  Ex-moviegoer",  and  the  requests  for  extra  copies 
were  much  heavier  than  usual.  We  appreciate  your 
interest. 

The  Publisher 


BULLETIN    December  9,  1957 


TO  TELL  YOU  THE  TliUTH  •  by  W.  Hobcrt  Mazzocco 


Say  Hello  To  Josh  Logan 

"Well,  I  hope  it  does,  I  hope  it  does  have  meaning  the  world 
over.  We  have  to  be  internationally  minded  these  days;  we 
have  to  think  in  terms  of  international  markets." 

Joshua  Logan,  the  celebrated  director  of  "Picnic"  and  "Bus 
Stop",  was  talking  about  his  "Sayonara",  a  film  which  seems 
fated  for  even  more  fanfare  than  its  predecessors.  He  was  talk- 
ing in  that  fashionable  backstage  den  known  as  Sardi's,  at  a 
press  conference  arranged  by  those  Samurai  warriors  of  Bexerly 
Hills,  the  Warner  Bros.,  and  stood  against  a  resplendent  array 
of  Japanese  dolls,  immaculate  imitations  of  the  film's  stars. 

Mr.  Logan,  however,  was  somewhat  less  than  resplendent 
himself;  the  copper  tan  was  fading,  the  paternally  cherubic 
good  looks  grew  a  bit  tense  about  the  jowls,  the  onyx-bright 
eves  wavered  between  interest  and  boredom.  He  looked  like  a 
reluctant  Chairman  of  the  Board  or  the  Man  of  Distinction  you 
always  find  exhaustedlv  ensconced  in  club  cars  on  the  way  back 
to  Westport. 

People  would  crowd  about  the  Great  Man,  heaping  one  aco- 
lade  after  another  upon  him,  while  he  would  accept  the  well 
wishes  graciouslv,  gallantly,  albeit  a  touch  bemusedly.  And  in 
turn  the  public  relations  bovs  would  hover  about  him.  Mr.  Logan 
was  new  at  the  game,  the  movie  business,  they  would  tell  us. 

We  asked  him  suddenly,  for  want  of  something  to  ask,  if  he 
enjoyed  making  "Sayonara",  and  we  were  happily  surprised  to 
find  his  face  light  up. 

The  Idea  for  'Sayonara' 

"Enjov  it?",  said  Mr.  Logan  animatedly,  "I  only  know  I've 
never  been  so  enthralled  with  any  project,  at  least  in  films,  as 
much  as  I  have  with  'Sayonara'.  It's  something  I've  wanted  to 
do  for  many  years,  yes  many  years  .  .  .  You  know,  after  'South 
Pacific'  opened,  my  wife  and  I  went  on  a  world  cruise,  during 
which  we  hit  the  Orient.  It  was  the  first  time  I'd  seen  anything 
so  utterly  fascinating  and  yet  so  utterly  alien.  I  remember  dis- 
tinctly watching  some  Indian  men  in  Benares  bathing  along  the 
Ganges  in  mustard  colored  water,  performing  some  sort  of  re- 
ligious ceremonv.  I  think,  and  catching  the  eye  of  one  man  in 
particular.  And  suddenly  I  was  conscious  of  this  man  looking 
at  me  in  the  same  way  I  must  have  been  looking  at  him,  with 
the  outlandishly  skeptical  eyes  one  assumes  when  you  come 
across  something  that  has  no  connection  with  your  everyday 
world. 

"Well,  this  occurrence  started  me  thinking  of  a  kind  of  East- 
NX  est  enlightenment,  but  not  in  UN  missionary  terms,  in  per- 
sonal ones,  inter-personal  relationships.  A  love  story,  say,  be- 
tween an  American  and  a  Japanese  girl.  At  any  rate,  I  ap- 
proached James  Michener  with  the  idea  and  told  him  one 
should  not  only  think  of  the  unearthly  beauty  of  the  East,  ol 
exquisite  Japan,  but  also  shape  the  customs  of  the  land  into  the 
verv  form  of  the  story  and  the  characters  .  .  .  Well.  1  don't 
know  if  Jim  paid  any  attention  to  me  but  after  about  five  years 
later  he  wrote  'Sayonara'.  I  read  it,  saw  it  was  just  what  I 
wanted  and  a  few  years  later  filmed  it  .  .  .  Simple  as  that!" 

More  guests  now  arrived.  Mr.  Logan,  the  cynosure  of  all 
eyes,  was  clearlv  embarrassed;  the  excessive  hand-shaking  seemed 
to  unnerve  him.  He  busied  himself  seeing  that  everyone  had  a 


drink,  pressed  an  hors  d'oeuvre  in  your  hand,  smiled  awkwardh 
at  the  latest  hosanna.  Dore  Schary  walked  up  to  him,  very  thin, 
looking  like  a  scientific  fashion  plate  a  la  Vannevar  Bush,  dressed 
very  English-tweedy.  Mr.  Logan  beamingly  thanked  him  for 
the  wonderful  "fan  letter"  he  wrote,  telling  him  he  really  didn't 
have  to  go  to  all  "that  trouble".  "That's  all  right",  said  Mr. 
Schary,  "you  went  to  all  the  trouble  to  make  the  film,  least  we 
can  do  is  go  to  some  trouble  to  thank  you  for  it." 

Someone  decided  to  pepper  up  the  proceedings  and  asked 
about  The  Sew  Yorker  article,  a  current  cause  celebre.  "The 
Seu  Yorker  article?",  said  Mr.  Logan  amicably  enough,  "why 
sure  I'll  talk  about  it,  I'd  like  to  talk  about  it.  After  all,  Tru- 
man Capote  is  a  friend  of  mine,  yes,  he  still  is  .  .  .  Actually,  I 
think  he  was  very  kind  to  me,  when  I  think  of  the  things  he 
could  have  written."  (A  tremor  of  dark  laughter  here.)  "Well, 
now  about  Truman,  The  New  Yorker  wired  us  on  location  in 
Kyoto,  asking  whether  we'd  mind  having  him  come  over  and  do 
a  sort  of  profile  on  the  production  and  crew  .  .  .  Bill  Goetz,  the 
producer,  was  all  for  it,  but  I  knew  Truman,  I  knew  what  a 
devastating  writer  he  could  be  and  I  didn't  want  him  on  the  set 
taking  bon  mot  pop-shots  at  us,  so  I  said  for  God-Sake's  NO. 
However,  that  didn't  stop  Truman;  oh  no,  he  came  anyway. 
Fortunately,  he's  so  vague  about  the  mundane  things  of  life,  he 
got  ensnared  in  passport  difficulties,  was  holed  up  in  Hong 
Kong  and  elsewhere  for  quite  a  spell,  so  that  when  he  finally 
reached  Kyoto  shooting  was  pretty  well  wrapped  up.  Even  so. 
as  soon  as  I  saw  him  registering  at  the  reception  desk  at  my 
hotel,  I  went  right  over,  picked  him  up  in  my  arms — Truman's 
like  a  little  hooligan  out  of  'Alice  In  Wonderland'  —  and 
dumped  him  in  front  of  a  taxi,  and  told  him  to  leave  town 
AT  ONCE. 

Brando  Talks  Off-the-Cuff 

"However,  I  discounted  on  Marlon.  Marlon,  it  seemed,  also 
knew  Truman  and  agreed,  because  Marlon  is  no  naive,  so  basi- 
cally unsuspecting,  to  entertain  Truman  for  dinner  and  have 
some  nice  off-the-cuff  conversation." 

"Well",  said  the  famed  director  reflecting  expansively,  "Well, 
you  know  all  about  that  nice  off-the-cuff  conversation,  it's  all  in 
7  be  New  Yorker — all  except  Truman's  share.  Marlon  tells  me 
he  had  an  aria  going  for  something  like  three  hours  ...  Of 
course,  I  don't  think  what  Truman  had  to  say  about  'Savonara' 
and  the  people  in  it  will  hurt  us  or  the  picture,  I'm  sure  of  it 
...  As  for  Marlon,  everyone  that  knows  him  knows  that  he  says 
things  as  he  feels  them,  just  at  the  moment.  It  shows  in  his  act- 
ing, this  feeling  of  his.  There's  something  so  exciting  about 
Marlon,  it's  so  wonderful  working  with  him,  he's  like  lighten- 
ing, like  quicksilver  .  .  .  You've  never  met  him?  Well,  all  I  can 
say  he's  an  experience,  he's  the  most  passionate  person,  most 
painstaking  craftsman  in  the  world.  Why  he  held  up  scene 
after  scene  w  ith  Miiko  Taka,  just  so  she  wouldn't  be  nervous  and 
their  love  shots  would  come  out  perfect.  He  was  the  same  with 
Red  Button,  with  all  the  cast.  He's  a  perfectionist,  really  a 
perfectionist." 

And  Mr.  Logan  stopped  short  for  a  moment  in  admiration; 
there  was  a  loosening  of  tension  in  his  body.  He  drained  the 
remainder  of  his  Bloody  Mary,  affixed  his  face  slightly  to  the 
heavens  and  concluded  with  a  pronunciamento  everyone  ac- 
cepted as  an  article  of  faith.  "Why,  I  fully  intend  to  do  another 
film  with  him.  After  all,  Marlon  Brando  is  the  greatest  actor 
in  the  world." 


Film  BULLETIN    December  9,   1957        Page  15 


When 
they 
see 


TELL  THEM  ABOUT  IT  NOW! 


And  spread  the  word:  GET  MORE  OUT  OF  LIFE  ...  GO  OUT  TO  A 


CINEMIRACLE 


How  Much  a  Miracle  ? 


Is  Cincniiracle,  the  new  wide-screen  process  of  photography 
and  projection,  just  another  "gimmick"  or  has  it  real  signifi- 
cance for  the  film  business?  The  question  springs  readily  to 
mind  now  that  Elmer  C.  Rhoden,  President  of  National  The- 
atres, has  brought  the  process  east,  taken  off  the  wraps  and 
exposed  it  to  the  view  of  the  industry  at  large. 

It  must  be  reckoned  as  an  improvement  over  Cinerama.  Like 
the  latter  it  conveys  a  strong  sense  of  audience  participation 
— something  which  has  hitherto  been  unique  with  Cinerama. 
Like  Cinerama  it  is  photographed  on,  and  projected  from,  three 
separate  films.  Thus  it  involves  the  use  of  three  linked  cameras 
three  synchronized  projectors,  plus  a  multi-channel  sound  track 
on  separate  film.  Also  like  Cinerama,  therefore,  the  screen 
image  it  provides  is  formed  of  three  separate  panels  blended 
together  at  the  "seams". 

The  major  improvement  over  Cinerama  is  this:  whereas  the 
three  segments  in  the  former  are  butt-joined  on  the  screen, 
those  in  Cincmiracle  overlap  slightly,  the  resultant  discolora- 
tion being  reduced  almost  to  vanishing  point  by  print  processing. 

Segments  Better  Synchronized 

It  is  in  the  devices  employed  to  achieve  precise  alignment 
that  Cinemiracle  differs  radically  from  Cinerama.  Those  de- 
vices include  special  electronic  controls  which,  during  photog- 
raphy, ensure  in-step  focussing  and  lateral  movement  of  the 
cameras  and  lenses — without  individual  adjustment  by  the  crew 
— and  a  system  of  mirrors  in  both  the  camera  set-up  and  the 
three  synchronized  projectors  to  simplify  convergence  of  the 
three  separate  images  and  to  minimize  parallax. 

The  result  is  that  the  matchlines  on  the  screen,  while  notice- 
able, are  not  distracting  except  where  large  light  areas,  such 
as  the  sky,  show  in  the  picture.  The  amount  of  "jiggling" 
between  one  panel  and  another  is  practically  non-existent. 

Cinemiracle,  as  the  technically-minded  will  know  by  now, 
is  not,  therefore,  just  a  blown-up  picture — a  35mm,  or  even  a 
55mm  or  70mm,  frame  enlarged  to  massive  proportions.  It  is 
not  in  any  sense  an  anamorphic  system,  like  CinemaScope, 
which  "squeezes"  a  lot  of  landscape  onto  a  small  area  of  film 
and  is  then  "unsqueezed"  on  the  screen. 

It  is  a  three-camera,  three-projector  treatment  of  a  complete 
panorama  as  seen  by  the  human  eye  and,  being  free  of  distor- 
tion, conveys  (as  does  Cinerama)  a  tremendous  feeling  of  real- 
ism and  "presence". 

Much  of  the  test  footage  with  which  Cinemiracle  is  now 
being  demonstrated  is  of  the  "stunt"  variety,  deliberately 
planned  to  create  a  feeling  of  nervous  excitement  in  the  viewer, 
just  as  Cinerama  did  with  its  famous  roller-coaster  sequence. 

In  scenes  such  as  these  Cinemiracle  and  Cinerama  both  offer 
something  which  no  other  form  of  screen  presentation  has  suc- 
cessfully achieved.  And  it  is  clear,  therefore,  that  pictures  must 


be  specially  made  for  the  process  if  it  is  to  demonstrate  its 
sole  advantage  over  other  wide-screen  systems  such  as  55mm 
CinemaScope  or  Todd- AO.  Sheer  size  in  a  screen  does  not 
convey  that  impression  of  participation. 

That  National  Theatre  does  intend  to  produce  pictures 
tailor-made  for  this  special  medium  is  no  secret.  The  first,  due 
to  be  released  next  Spring,  will  be  Louis  de  Rochemont's 
"Cinemiracle  Adventure."  Others  will  follow;  some  made  by 
National  (which  has  been  given  a  special  dispensation  by  the 
U.S.  Justice  Department  to  engage  in  production,  despite  the 
provisions  of  the  Consent  Decree)  and  others  by  Warner  Bros. 

Clearly  the  making  of  a  Cinemiracle  picture  is  considerably 
more  expensive  than  one  produced  under  orthodox  conditions: 
for  each  frame  three  separate  exposures  on  specially-made 
Eastman  film  have  to  be  made.  And  three  prints  (plus  the 
sound  track)  have  to  be  used  in  projection.  There  are  also  addi- 
tional costs  to  be  met  in  the  special  printer  used  to  minimize 
the  matchlines. 

Since  there  are  few  established  theatres  with  booths  large 
enough,  or  positioned  low  enough  to  handle  Cinemiracle  with- 
out structural  alteration,  it  is  obvious  that  the  new  process  is 
not  suitable  for  general  adoption,  but  is  intended  for  first-run 
theatres  in  key  cities  which  can  sustain  the  road-show  type  of 
picture  for  an  extended  period,  on  Cinerama  or  Todd-AO  lines. 

Should  Stimulate  Interest 

Eor  the  industry  as  a  whole  it  would  appear  to  have  real 
advantages.  It  should  help  stir  up  public  discussion  and  excite- 
ment about  movies  generally. 

By  tieing-up  playing  time  at  key  first-runs  in  the  major  cities 
it  could  free  top-rate  product  for  other  exhibitors  in  the  local- 
ity and,  to  that  extent,  help  ease  the  product  shortage  and  take 
some  of  the  pressure  from  exhibitors  as  far  as  terms  are  con- 
cerned. Contrariwise,  of  course,  if  Hollywood's  major  com- 
panies became  so  intrigued  with  the  system  that  the)  aban- 
doned some  of  their  standard  production  and  replaced  it  with 
Cinemiracle  "epics",  the  small  exhibitor  might  find  himself 
worse  off  than  before. 

The  situation  is  full  of  ifs  and  buts.  It  does,  however,  appear 
that  Cinemiracle  is  likely  to  be  a  miracle  for  only  the  few, 
perhaps  the  theatres  that  do  adapt  to  this  new  system  will  be 
ible  to  boast  of  something  unusual — and  it  seems  to  be  the 
unusual  presentation  that  holds  the  strongest  attraction  for  the 
public  today. 

This  is  not  to  say  that  Mr.  Rhoden  and  his  associates  are 
unmindful  of  the  plight  of  the  rank-and-file  exhibitor,  so  that 
they  should  be  criticized  for  spending  so  much  time  and  money 
on  a  process  which  is  not  universally  applicable.  Indeed,  the 
entire  industry  should  wish  them  well  with  their  new  venture, 
for  success  is  often  contagious. 


Film  BULLETIN     December  9,   1957        Page  17 


"Gervaise" 
'Rati*?  OOO 

Fine  French  drama.  First-rate  for  art  houses. 

French  director  Rene  Clement,  who  made  "Forbidden  Games", 
returns  in  triumph  with  this  picturization  of  Emil  Zola's  classic 
naturalistic  tract,  "L'Assommoir".  Now  called  "Gervaise"  and 
starring  Maria  Schell  in  a  superbly  incandescent  portrayal,  this 
Continental  Distributing  release  presents  Clement  at  the  peak 
of  his  powers,  searing  etching  out  in  dynamically  cinematic 
terms  the  squalor,  the  shame,  the  relentless  misery  of  slum  life 
in  Paris  circa  1850.  And  at  the  same  time  he  tells  a  human  and 
moving  tale  of  a  young  mother  who  is  buffeted  about  amidst 
scenes  of  lust,  despondency  and  degeneration,  always  trying  to 
preserve  one  bit  of  integrity.  It  is  a  sordid  story,  as  Zola  in- 
tended, to  depict  the  unvarnished  truth,  to  grasp  within  the  eye 
of  the  camera  the  all-revealing,  naked  emotions.  Mark  it  down 
as  one  of  the  year's  most  memorable  adult  dramas,  destined  to 
garner  an  overflowing  art  house  audience.  Miss  Schell  match- 
lessly conveys  the  pitiable  torment  of  a  woman  endlessly  raked 
over  the  coals  by  her  surroundings  and  the  men  in  her  life.  Her 
lover,  a  sleazy  dandy  played  expertly  by  Armand  Mestral,  treats 
her  miserably  and  looks  with  contempt  on  their  two  children. 
After  ridding  the  girl  of  her  savings,  he  deserts  her  and  leaves 
town  with  the  village  prostitute.  Miss  Schell  becomes  a  laun- 
dress and  secretly  dreams  of  having  a  home  for  the  children.  A 
respectable  roofer,  Francois  Perrier,  marries  her  and  life 
promises  happiness.  But  one  day  Perrier  falls,  breaks  his  back 
and  becomes  a  worthless  dipsomaniac  in  his  bitterness.  The  old 
lover  returns,  lodges  with  the  couple,  seduces  Miss  Schell  again, 
until  the  woman's  pride  completely  crumbles  and  she  takes  to 
the  streets.  Ironically,  the  daughter  Perrier  and  Miss  Schell  have 
is  the  famous  Nana,  who  was  later  amidst  the  luxuries  of  upper- 
class  Paris  to  ultimately  find  the  same  fate  as  her  mother. 

Continental  Distributing.  116  minutes.  Maria  Schell,  Farncois  Perier.  Produced 
by  Annie  Dorfmann.   Directed  by  Rene  Clement. 

"Wild  is  the  Wind" 

1R*U«f  O  O  Plus 

La  Magnani  has  inferior  vehicle.  Will  require  strong  sell- 
ing. Best  suited  for  class  and  art  situations. 

Anna  Magnani  is  still  an  actress  of  fire  and  great  talent,  but 
in  her  second  Hal  Wallis  production,  "Wild  Is  The  Wind ",  she 
has  a  vehicle  that  is  far  inferior  to  "The  Rose  Tattoo".  This 
will  be  a  difficult  piece  of  merchandise  to  sell  in  most  situations. 
Best  returns  can  be  expected  in  class  and  art  houses,  where  La 
Magnani  has  her  following.  In  the  role  of  a  frustrated  mail 
order  wife  forced  to  descent  into  an  impossible  love  affair  with 
a  younger  man,  the  great  Italian  star  seems  frustrated  herself  in 
finding  a  dramatically  large  enough  outlet  for  her  torrential 
store  of  emotions.  Director  George  Cukor  has  allow  ed  the  great 
lady  quite  a  bit  of  leeway  for  bellowing,  laughing,  cavorting, 
crying  and  having  her  heart  broken  in  all  the  vital  and  pristine 
ways  that  mark  Miss  Magnani  as  such  a  unique  performer.  The 
story  takes  place  in  the  Nevada  sheep  lands,  to  which  Miss 
Magnani  comes  as  the  wife  of  ranch  owner  Quinn,  whose  first 
wife,  now  dead,  had  been  her  sister.  Unhappiness  results  when 
Quinn  refuses  to  love  Miss  Magnani  for  herself.  When  he  be- 
gins calling  her  by  her  dead  sister's  name,  she  unwillingly  seeks 
love  with  inflamed  youth  Franciosa.  Their  ill-fated  liaison  final- 
ly forces  Quinn  to  accept  his  new  wife  as  the  person  she  is. 

Paramount.  114  minutes.  Anna  Magnani,  Anthony  Quinn  Anthony  Franciosa. 
Produced  by  Hal  Wallis.    Directed  by  George  Cuckor. 


"Cast  a  Dark  Shadow" 

^€iUh$  O  Op|us 
British  chiller  about  a  handsome  "lady-killer". 

Since  England  is  the  land  of  Scotland  Yard,  the  Old  Bailey 
and  the  shabby,  genteel  murderer,  all  three  famous  shrines  for 
crime  addicts,  it  is  not  surprising  that  the  new  British  import, 
"Cast  A  Dark  Shadow",  being  released  by  DCA,  craftsmenlike 
thriller.  What  is  surprising  is  that  it  is  no  better  than  that.  It 
lacks  some  of  the  cool  and  compelling  malevolence  this  kind  of 
plot  requires  to  be  wholly  successful;  there  is  too  much  the  aura 
of  well-controlled  competence  and  too  little  of  the  daringly 
diabolical.  However,  within  the  flossy  Victorian  era  screenplay- 
wright  John  Cresswell  has  set  for  his  tale  and  the  sinuously 
effete  mood  director  Lewis  Gilbert  has  garnered  from  his  cast 
and  cameramen,  the  film  manages  enough  taut  and  tingling 
sequences  for  class  house  admirers  of  the  ornate-type  chiller. 
Star  Dirk  Bogarde,  in  the  role  of  the  deadly  charmer  who  mur- 
ders ladies  for  their  wealth,  turns  on  the  full  force  of  his  per- 
sonal magnetism,  coupling  it  with  a  bizarre  and  bitter  dash  of 
psychotic  shadowings.  And  Margaret  Lockwood  gives  a  sur- 
prisingly off-beat  characterization  as  a  bar  maid  who  jubilantly 
strikes  it  rich,  while  Kathleen  Harrison  shines  with  a  sparkling 
carricature  of  the  traditionally  sour  and  dour-faced  housemaid. 
The  story  itself  chronicles  dandy  Bogarde's  way  with  wealthy 
and  seducable  dowagers,  as  he  goes  on  his  rise  to  mayhem  and 
riches.  After  arranging  quite  a  few  more  plots,  he  finally  gets 
his  come-uppance  in  a  way  that  review  ers  should  not  give  away. 

DCA  Release.  80  minutes.  Dirk  Bogarde,  Margaret  Lockwood,  Kay  Walsh.  Pro- 
duced and  directed  by  Lewis  Gilbert. 

"Time  Without  Pity" 

Su4tHe44  Katutf  O  O  Pius 

Engrossing  suspense  thriller  in  British  tradition. 

Here  is  another  of  those  mordantly  mysterious  character 
studies,  all  wrapped  up  in  a  sly  and  stylish  whodunit  plot,  that 
the  British  studios  do  so  well  and  in  which  British  actors  have 
such  a  histrionic  holiday.  In  "Time  Without  Pity"  the  star  is 
Michael  Redgrave  and  he  gives  a  roaringly  redoubtable  per- 
formance as  a  father,  literary  hack  and  chronic  alcholic,  who 
faces  the  task  of  saving  his  long-neglected  son  from  a  murder 
charge.  Redgrave  romps  through  the  two-fold  melodramatic 
plot  screenplayw  right  Ben  Barzman  and  director  Joseph  Losey 
have  pinpointed  for  him.  First  is  the  working-against-the-clock 
mechanism,  in  which  Redgrave  must  produce  the  real  killer 
w  ithin  24  hours,  and  second,  the  agonizing  doubt  of  whether  he 
can  stay  on  the  wagon  long  enough  to  do  so.  Producers  John 
Arnold  and  Anthony  Simmons  have  concocted  an  entertainingly 
enough  show  for  the  class  audience  that  likes  well-made,  literate 
and  lively  charades.  And  popular  stars  Ann  Todd  and  Peter 
Cushing  are  on  hand  for  decorative  and  debonair  touches,  along 
with  Leo  McKern  as  the  sharp  and  sinister  villain  of  the  piece. 
As  noted,  the  story  follows  Redgrave's  search  for  evidence  that 
will  clear  his  son  of  the  bludgeoning  of  the  son's  sweetheart 
and  takes  him  on  a  tour  of  the  youth's  past.  All  clues  and  hints 
prove  futile  until  he  begins  to  detect  in  McKern,  a  wealthy  car 
manufacturers  whose  wife,  Miss  Todd,  had  befriended  Red- 
grave's son,  signs  of  reserve  and  concealment.  When  he  dis- 
covers that  McKern's  secretary  has  been  paid  off  and  that  Mc- 
Kern suffers  from  maniacal  rages,  he  finally  forces  McKern's 
hand,  but  in  so  doing  loses  his  own  life. 

Astor  Pictures  release.  88  minutes.  Michael  Redgrave,  Ann  Todd,  Peter  Cushing. 
Produced  by  John  Arnold  and  Anthony  Simmons.    Directed  by  Joseph  Losey. 


Page  18       Film  BULLETIN    December  9,  1957 


"The  Tall  Stranger" 

Su4utC44,  'RcUcKf  O  O  plus 

OK  western  in  'Scope,  Technicolor  with  Joel  McCrea. 

This  post-Civil  War  western  for  Allied  Artists  travels  the  old 
sagebrush  trail  with  professional  hoof  beats.  Producer  Walter 
Mirisch  has  ruggedly  arrayed  his  show  in  sprawling  scenic  shots 
of  the  California  frontier — all  in  imposing  CinemaScope  and 
DeLuxe  Color.  Joel  McCrea  and  Virginia  Mayo  lend  credibili- 
ty to  their  roles.  And  director  Thomas  Carr  has  taken  the  tra- 
ditional cow-polk  symbols  of  saloon,  range,  and  gunbout  and 
invested  them  with  a  strong  dose  of  suspense  and  fireworks. 
McCrea  is  really  second  to  none  in  playing  the  unsmiling,  strong 
but  sensitive  hero,  whose  draw  is  always  the  fastest  this  side  of 
Tombstone  and  whose  steely  disinterest  in  women  is  the  strong- 
est magnet  the  fair  sex  could  ever  meet.  But  "The  Tall  Stranger" 
suffers  from  Christopher  Knopf's  rather  uninspired  little  script 
with  its  cliche  contrivances  and  lackluster  dialogue,  making  the 
film  a  contender  for  action  fans  and  the  rural  trade,  but  a  slight 
one  on  the  other  markets.  The  story  opens  with  wounded  Mc- 
Crea being  discovered  by  oily  scoundred  George  Neise  and  the 
wagon  party  he  is  currently  masterminding.  McCrea,  on  his  way 
to  join  his  half-brother  Barry  Kelley,  a  big-time  operator  in 
Bishop  Valley,  had  been  shot  at  by  unknown  assailant.  He  is 
nursed  by  Miss  Mayo,  a  pretty  thing  of  tarnished,  but  not  easy, 
virtue,  who  though  she  has  a  small  son  born  out  of  wedlock, 
nevertheless  dreams  of  becoming  a  good  woman  and  wife. 
There  is  an  eventual  showdown  between  Neise  and  McCrea, 
after  which  he  looks  to  a  brighter  daw  n  with  Miss  Mayo. 

Allied  Artist.  81  minutes.  Joel  McCrea.  Virginia  Mayo,  Barry  Kelley.  Produced 
by  Walter  Mirisch.    Directed  by  Thomas  Carr. 

"This  is  Russia" 

Satinet  TZatitQ  O  O 

Interesting  documentary  of  life  behind  iron  curtain. 

Winston  Churchill  once  called  the  Soviet  Union  "an  enigma 
wrapped  in  a  riddle",  and  after  seeing  Universal-International's 
new  Eastman  color  feature,  "This  Is  Russia",  one  finds  his  de- 
scription quite  apt.  For  this  documentary,  written  and  photo- 
graphed by  Sid  Feder,  famous  newspaperman  and  world  traveler 
and  filmed  during  a  recent  seven-month,  20,000  mile  tour  of 
Russia,  has  about  it  the  aura  of  secrecy  and  stealth,  a  kind  of 
Oriental  mystery  impossible  to  decipher.  Feder  has  many  inter- 
esting and  some  amusing  scenes  of  life  behind  the  Iron  Curtain, 
where  life  is  evidently,  layer  upon  layer,  a  very  constricted  and 
closed  society,  one  which  even  the  most  probing  of  Westerners 
can  not  open.  This  is  the  first  documentary  of  its  kind,  so  its 
importance  is  unquestioned  and  it  should  prove  of  major  inter- 
est to  the  class  trade,  to  students  and  to  segments  of  the  general 
market.  The  narration  is  by  co-producer  Carey  Wilson,  who 
sometimes  gets  a  bit  portentous  as  the  cameras  go  about  their 
67  minute  tour.  We  see  an  array  of  social  and  cultural  pursuits, 
from  large  and  somewhat  cosmopolitan  department  stores  to  im- 
poverished collectives  and  farms,  from  a  bleak  and  dowdy 
fashion  show  to  a  gala  night  at  the  Ballet,  from  the  skyscraper 
majesty  of  Moscow  University  to  the  appallingly  regimented 
kindergartens.  We  see  the  stolid  and  somber  faces  of  the  people 
themselves,  go  street  walking  through  Kiev,  Leningrad,  Yalta, 
Georgia,  even  Samarkand  and  always  followed  by  the  dreaded 
MVD  police,  learn  w  hat  can  be  shown  and  w  hat  can  not. 

Universal-International.  47  minutes.  Written  and  Photographed  by  Sid  Feder. 
Produced  by  Carey  Wilson  and  Sid  Feder. 


"The  Long  Haul" 

&«4i*C44  IRattKf  O  O  Plus 
Sex-and-crime  melodrama  moves  at  fast  pace.  Victor  Ma- 
ture, Diana  Dors  for  marquee.   Good  ballyhoo  prospects. 

In  this  foray  into  sex  and  melodrama,  Victor  Mature  plays  a 
truck  driver  who  becomes  ensnared  in  the  seamier  side  of  his 
business  when  he  becomes  enamored  of  the  well  rounded  shape 
and  sensuous  steam  of  Diana  Dors.  They  handle  the  yarn,  a 
Maxwell  Setton  production  for  Columbia,  with  whoppingly 
professional  savvy.  The  film  itself  is  jam-packed  with  all  the 
fast  and  furious  action  shots  a  Liverpool  underworld  of  shoot- 
out, hi-jacks,  tip-offs,  scenic  chases  and  what  not  could  provide, 
plus  the  blues  and  booze  romancing  of  Miss  Dors  and  the  corol- 
lary domestic  troubles  of  Mature  s  wife,  lovely  Gene  Anderson. 
But  despite  all  this  gravy,  writer-director  Ken  Hughes  has  not 
underscored  the  plot  contrivances  with  the  kind  of  taut,  trench- 
ant handling  that  would  have  made  it  sizzle.  "The  Long  Haul" 
is  strictly  for  metropolitan  areas,  where  slugfest-and-sex  fans 
should  find  it  fitted  to  their  taste.  Its  prospects  will  depend  on 
ballyhoo.  The  story  finds  ex-G.I.  Mature  settled  in  Liverpool 
with  his  English  wife,  Miss  Anderson,  trying  to  make  a  go  of  it 
as  a  truck  driver.  He  meets  racketeer  Patrick  Allen,  w  ho  propo- 
sitions him  about  hauling  contraband  cargo.  He  starts  to  slip 
w  hen  gun  moll  Miss  Dors  wiggles  past  him.  And  w  hen  he  finds 
that  his  innocent  wife  once  had  an  affair  with  another  man,  a 
disillusioned  Mature  hops  off  to  a  roadside  with  Diana,  accepts 
Allen's  offer  and  gets  launched  on  a  sea  of  crime.  After  Allen  is 
killed,  the  adultery  proves  sour  and  the  cops  start  to  close  in. 
Mature  gives  himself  up,  hoping  to  expiate  his  errors  and  one 
day  return  to  his  ever-loving  wife. 

Columbia.  88  minutes.  Victor  Mature,  Diana  Dors.  Gene  Anderson.  Produced  by 
Maxwell  Setton.    Directed  by  Ken  Hughes. 

"The  Hard  Man" 

Su4tK€44  TZatixq  Q  O  Plus 
Familiar,  but  fast-moving,  western  in  Technicolor  will  please 
outdoor  fans.  Well  played  by  Guy  Madison,  Valerie  French. 

Guy  Madison  is  back  in  the  saddle,  this  time  as  a  gunslinger 
turned  deputy  sheriff  who  is  forced  to  shoot  an  old  crony  from 
his  law-breaking  days.  Columbia's  "The  Hard  Man",  directed 
by  old  sawdust  veteran  George  Sherman  and  scripted  by  Leo 
Katcher,  follows  the  familiar  round-up  and  broncho  stomping 
paths  of  innumerable  other  westerns,  replete  with  the  true-blue 
but  taut-tempered  hero,  the  smiling  villains,  the  big-wheel 
tradesman  and  the  femme  fatale  in  breeches,  played  fetchingly 
enough  by  Valerie  French.  Since  practically  everyone  concerned 
with  this  project  is  an  old  ranch  hand  and  ham,  there  is  a  hard 
core  of  professional  sharp  shooting  with  good  pacing,  compe- 
tent performances  and  some  vivid  and  vigorous  Technicolor 
shots  of  the  Texas  canyons  and  deserts,  all  of  which  should 
make  it  palatable  for  action  fans.  The  story  is  concerned  with 
the  inevitable  quest  for  the  real  culprits  behind  Madison's  fatal 
shooting  of  his  one-time  outlaw  buddy.  Enroute  to  discovery, 
he  stumbles  across  the  mysterious  lady,  Miss  French,  whose 
name  had  been  gasped  out  by  the  dying  friend.  He  finds  she  is 
the  wife  of  buckskin  overlord  Lome  Greene  and  soon,  despite 
his  misgivings,  falls  prey  to  her  feminine  wiles.  However,  he 
recovers  long  enough  to  take  to  the  trail  again,  find  all  the  cul- 
prits concerned  and  prove  Miss  French  herself  is  the  lethal 
queen  bee,  and  then  ride  off  into  the  hills. 

Columbia.  79  minutes.  Guy  Madison.  Valerie  French,  Lome  Greene.  Produced 
by  William  McDonald.    Directed  by  George  Sherman. 


Film  BULLETIN    December  9,  1957        Page  19 


■  ^ 


HOID  OVER 

MOVE  OVER 

MOVE  OVER 

THEATRE  CITY 

DAYS  (So  Far!) 

DAYS  (So  Fori) 

THEATRE 

Park  Menlo  Park  (Calif.) 

7 

Senate  Springfield  (III.) 

3 

World  St.  Paul. 

30 

Village  Raleigh  (N.C.) 

14 

State  Spokane 

14 

J.  P.  Harris  Pittsburgh 

17 

5th  Ave.  Seattle 

21 

Liberty  Great  Falls 

3 

Rainbow 

Palace  Dallas 

14 

Tower 

RitZ  Los  Angeles 

14 

Will  Rogers  Tulsa 

13 

Keith  Cincinnati 

21 

Byrd  Richmond 

7 

Capitol 

State  Richmond 

7 

Capitol 

Spreckles  San  Diego 

7 

14 

B'way 

Brainerd  Brainerd 

3 

Paramoun 

State  Long  Beach  (Calif.) 

7 

Town 

LOS  AltOS  D  1  Long  Beach  (Calif. 

7 

Rivoli 

Denver  Denver 

2 

Esquire  Sacramento 

6 

Times 

Del  PaSO  Sacramento 

6 

Times 

Rivoli  Toledo 

7 

Partheon 

Keith  Dayton 

6 

State 

Orpheum  Portland  (Ore.) 

6 

Lyric  Salt  Lake  City 

7 

E.  M.  Loew  Hartford 

7 

Paramount  St.  Cloud 

3 

Hays 

Criterion  Durham 

7 

Beach  Atlantic  City 

2 

Center  Charlotte 

7 

Chicago  Chicago 

7 

Chateau  Rochester  (Minn.) 

3 

Times 

Michigan  Detroit 

Midtown  Grand  Rapids 

7 

Gables  Coral  Gables 

1 

Olympia  Miami 

1 

Flamingo  Miami  Beach 

14 

Goldman  Philadelphia 

7 

Hillstreet  Los  Angeles 

7 

Hollywood  Los  Angeles 

7 

Midway  D.  1.  Tucson 

7 

Orpheum  Boston 

5 

State  Boston 

5 

Studio  San  Jose 

3 

RialtO  Atlanta 

7 

Radio  City  Minneapolis 

7 

Center  Oklahoma  City 

6 

Lawton  Lawton 

3 

Vaska 

starring  JACK  LEMMON '  ERNIE  KOVACS  •  KATHRYN  GRANT  -ARTHUR  O'CONNELL, 

with  DICK  YORK  •  JAMES  DARREN  •  ROGER  SMITH  •  WILLIAM  LESLIE  •  screen  puy  b,  ARTHUR  CARTER, 

JED  HARRIS  and  BLAKE  EDWARDS  •  From  *  play  by  ARTHUR  CARTER  .  Directed  by  RICHARD  QUINE 
Produced  by  JED  HARRIS*  A  JED  HARRIS  Production 


MICKEY  R00NE1 


MERCHANDISING      &      EXPLOITATION     DEPARTMENT  ^ 


Jl*><_><>< 


Promotional  Plans  for  'Oscar'  Telecast 
Progressing,  AA  Sweepstakes  Dropped 


Promotional  plans  for  the  industry-sponsored 
Academy  Awards  telecast  on  March  26  are  mov- 
ing forward.  Roger  H.  Lewis,  at  a  recent  meet- 
ing of  the  advertising  and  publicity  directors 
of  the  MPAA,  outlined  blueprints  for  the  up- 
coming affair.  It  is  expected  that  a  financial 
program  to  underwrite  the  promotion  and  final- 
ization  of  the  contract  with  the  National  Broad- 
Lasting  Company  will  be  announced  shortly. 

As  for  the  question  of  theatres  throughout 
the  nation  shuttering  on  the  night  of  the  Oscar 
ceremonies,  that  is  still  to  be  resolved.  The 
Miami  convention  of  TOA  decided  to  leave  the 
matter  of  closings  up  to  individual  theatreman, 
but  additional  confabs  relating  to  closings  will 
probably  be  held  under  COMPO's  banner. 

Indecision  on  the  part  of  the  upper  echelon 


film  leaders  is  tabbed  as  the  major  factor  in 
holding  up  implementation  of  the  over-all  pro- 
gram. Exhibition  leaders,  for  their  part,  are 
reluctant  to  commit  themselves  on  the  promo- 
tion unless  they  receive  assurances  that  future 
releasing  schedules  will  provide  a  steady  flow 
of  first-rate  product  to  satisfy  the  increased  pub- 
lic interest  that  might  be  stimulated  by  the 
larger  dose  promotional  activity. 

In  other  business,  the  advertising-publicity 
committee  voted  to  drop  the  Academy  Award 
Sweepstakes  contest  because  of  exhibitor  apathy 
towards  the  promotion.  This  is  the  second  in- 
dustry ballyhoo  tool  to  be  abandoned  in  recent 
months,  the  other  one  being  the  Golden  Jubilee 
Tour  of  Stars,  dropped  for  lack  of  cooperation 
from  the  production  end  of  the  business. 


GREAT 
MOTION  PICTLRR* 
PONT  JUST  HAPPE1 


Hul  lhc\  do  happen 
I  hoi  nuke  tllcni  ereu/.  0fcj> 


m 


Yea  -  .ill  of  that  . 


That  mysterious  qualil> 
that  certain  something 
at  all  treat  pictures 
have  ilways  had.  Wlut- 

e%er  it  is -Walt  Disney* 
■Old  W-ller'  hax  ii  | 

movie  that  i>  trill]  ^^3V*— ^ 


i  picture  you  will  Uel 
to  talk  about. 


Walt  Disney 


Old  Veller 


WHAT  MAKES  A  GOOD 
MOTION  PICTURE  GREAT? 


All  great  motion  pictures  have 
one  thing  in  common... a  certain 
quality... a  mysterious  something. 


\\  I, j 


•Old  Yeller'  has  i 


For  here  is  an  unforgettable 
emotional  experience  you  wil 
enjoy  sharing. 


That's  why  Old  Veller'  is  sure 
to  become  one  of  the  'most-talkeii- 
about'  movies  in  years! 


Walt  Disney 

OOROnn  McGUKEwl  FISS  PttKH 

Old  Yeller 


WILSHIRE 


4  To  kick  off  "Old  Yeller"  in  a  dozen 
key  cities  on  Christmas  Day,  Buena 
Vista  is  utilizing  a  series  of  fine  ads, 
two  of  which  are  reproduced  here,  fea- 
turing distinctive  line  engravings  and 
plenty  of  white  space.  The  ads  are 
running  on  five  successive  Sundays  in 
each  of  the  premiere  cities. 


Pre-Sold  Product  is  Only  Way 
To  Boost  Attendance:  Sindlinger 

"Slogans,  tours  and  institutional  selling''  will 
not  induce  the  marginal  moviegoer — those  at- 
tending theatres  once  a  month,  or  infrequent 
moviegoers — those  attending  less  than  once  a 
month,  to  step  up  their  movie  attendance,  Al- 
bert Sindlinger  said  in  a  recent  speech  to  Ca- 
nadian exhibitors.  All  attempts  to  influence 
these  fringe  audiences  by  such  methods  are 
"completely  futile,"  the  analyst  said. 

The  only  way  to  get  more  people  into  the- 
atres, Sindlinger  told  the  Motion  Picture  The- 
atres Ass'n  of  Ontario  is  to  pre-sell  product. 
"The  financial  stability  of  the  motion  picture 
industry  during  the  coming  year  will  depend 
upon  how  well  individual  attractions  are  pre- 
sold to  the  marginal  group." 

The  four  most  numerous  reasons  given  by 
respondents  for  not  going  to  the  movies,  Sind- 
linger revealed,  are  these:  (1)  There  was 
nothing  playing  tonight  I  wanted  to  see.  (2) 
All  theatres  were  playing  the  same  thing  (that 
I  didn't  want  to  see  or  what  I  had  seen).  (3) 
Don't  know  enough  about  what  was  playing  to 
take  a  chance  on  going.  (4)  The  pictures  on 
TV  tonight  look  better  than  anything  playing 
at  the  theatres. 

Heidr  to  Bally  'Kwai' 

Joseph  Heidt  has  been  appointed  press  di- 
rector for  the  special  engagements  of  "The 
Bridge  on  the  River  Kwai"  by  Columbia  vice 
president  Paul  X.  Lazarus,  Jr.  The  first  four 
roadshow  situations  opening  this  month's— 
RKO  Palace  in  New  York,  Egyptian  in  Los 
Angeles,  Lincoln  in  Miami  Beach  and  Gary  in 
Boston— will  be  handled  by  Heidt.  He  formerly 
was  ad-pub  director  for  the  N.Y.  Theatre  Guild. 


Miiko  Taka,  fern  » 
lead  of  WB's  "Say- 
onara,"  currently  on 
a  39-city  drumbeat- 
ing  trek  for  the  Wil- 
liam Goetz  produc- 
tion, visits  with  R.  J. 
(Bob)  O'Donnell, 
general  manager  of 
the  Interstate  Circuit 
in  Dallas,  Texas. 


Film  BULLETIN    December  9,  1957        Page  21 


TilUttAe 
S6acwte*t 


"Sayonara"  Dolls.  A  likeness  of  each 
topcaster  in  the  Warner  release  is 
featured  in  an  eye-catching  window 
display  at  Macy's,  N.  Y.,  heralding 
Xmas  engagement  of  the  film  at 
Radio  City  Music  Hall. 


Witness  "Witness".  At  a  press  preview  of 
United  Artists'  "Witness  for  the  Prosecution" 
at  N.  Y.'s  Victoria.  Top:  Noel  Coward,  Marlene 
Dietrich  and  producer  Arthur  Hornblow.  Bot- 
tom: UA  ad  executives  (I  to  r)  Mort  Nathan- 
son,  Joseph  Gould  and  Roger  H.  Lewis  chat 
with  Lopert  Films  v.  p.  Max  Fellerman  (right). 


4  Producer  Otto  Prem- 
inger  and  Mylene  De- 
mongeot,  one  of  the 
topcasters  in  the  up- 
coming "Bonjour  Trist- 
ess"  talk  things  over 
with  Columbia  vice  pres- 
ident A.  Schneider  (left) 
and  executive  Leo  Jaffe 
(right)  at  a  French  Con- 
sulate reception  in  New 
York  City  for  the  allur- 
ing French  actress. 


Fetching  Mohana,  Indian  ac- 
tress, and  Ernest  R.  Under- 
wood (right),  executive  direc- 
tor of  the  World  Wide  Travel 
Show  learn  travel  tips  on  "De- 
luxe Tour"  from  Adrian  Awan, 
20th-Fox  special  ballyman. 


Showmanship  King.  Clark  Gable 
gifts  exhibitor  Willis  E.  Shaffer  of 
Hutchinson,  Kansas,  with  a  $2500 
check  for  his  prize-winning  cam- 
paign in  UA's  King  of  Showmen 
contest  for  "King  and  4  Queens." 
Shaffer  and  wife  also  received  ex- 
penses-paid trip  to  Hollywood. 


^  "Les  Girls"  Award.  Si  Seadler,  Metro 
advertising  manager,  happily  receives  the 
Picture  of  the  Month  Award  from  Ed  Miller, 
amusement  editor  of  Seventeen  magazine  for 
for  the  musical,  "Les  Girls". 


"Lone  Ranger"  Rides  Again.  Producer  Jack  Wrather  details  promo- 
tional plans  on  United  Artists'  "Lone  Ranger"  and  the  Lost  City  of 
Gold,"  set  for  summer  release.  Promotional  campaign  centers 
around  radio-TV  drive  over  CBS  and  ABC  with  the  cooperation  of 
three  national  advertisers.  Left  to  right:  Al  Fisher,  UA  exploiteer; 
Lou  Smith,  head  of  his  own  organization;  William  Shay,  ad-pub 
director  for  the  Lone  Ranger,  Inc.;  Wrather;  UA  pressbook  editor 
Howard  Carnow,  and  Lige  Brien,  UA  special  events  executive. 


Page  22       Film  BULLETIN    December  9,  1957 


JOHN  P.  BYRNE  will  be  Charles  ML  Rea- 
gan's successor  as  general  sales  manager  of 
Loew's,  Inc.,  effective  within  a  matter  of 
days.  Reagan,  who  announced  his  resigna- 
tion "at  the  pleasure"  of  president  Joseph 
R.  Vogel,  had  been  vice  president  and  gen- 
eral sales  manager  since  1952,  prior  to  which 
he  had  been  with  Paramount  Pictures  in  the 
same  capacity.  Byrne  has  been  serving  as 
assistant  general  sales  manager  for  the  past 
year,  after  previously  heading  Loew  s  eastern 
sales  division.  Rumors  had  persisted  that 
Reagan  would  step  out  ever  since  his  con- 
tract expired  some  six  months  ago.  He  has 
not  yet  announced  his  future  plans. 

0 

SAMUEL  G.  ENGEL,  president  of  the  Screen 
Producers  Guild,  declared  that  his  organiza- 
tion "unqualifiedly  rejects  the  falacious  argu- 
ment that  exhibition  of  the  (post- 1948)  pic- 
tures on  television  is  not  harmful  to  the 
entire  motion  picture  industry".  The  policy 
statement,  which  had  been  unanimously 
adopted  by  over  200  members  of  the  guild, 
termed  the  sale  of  feature  films  on  TV  as 
"suicidal",  and  put  the  organization  on  rec- 
ord as  opposed  to  the  release  of  any  the- 
atrical features  to  commercial  television.  The 
producers'  declaration  made  these  other 
points:  "Films  made  fifteen  or  twenty  years 
ago,  and  now  showing  on  television,  are 
proving  ruinous  to  a  large  segment  of  the 
exhibition  industry.  The  guild  is  convinced 
that  the  continuation  of  supplying  films  origi- 
nally produced  for  theatrical  release  to  tele- 
vision is  an  imprudent  and  ill-advised  prac- 
tice, one  which  must  inevitably  do  immea- 
surable injury  to  the  motion  picture  and  the- 
atre industries  ...  It  is  in  the  best  interests 
of  all  persons  engaged  in  our  industry  that 
a  concerted  effort  be  made  to  bring  about  a 
halt  of  this  suicidal  method  of  distribution." 

o 

THE  LEGION  OF  DECENCY  has  modified 
its  motion  picture  rating  policy  by  setting 
up  a  new  category  keyed  to  adolescents.  The 
A2  classification  has  been  changed  to  "mor- 
ally unobjectionable  for  adults  and  adoles- 
cents", while  A3,  formerly  A2,  will  refer  to 
films  "morally  unobjectionable  for  adults ". 
Monsignor  Thomas  F.  Little,  execuive  sec- 
retary of  the  Catholic  organization,  termed 


REAGAN 


THEY 

MADE  THE  NEWS 


BYRNE 


the  change  "an  attempt  to  face  the  problem 
of  the  more  adult  subject  matter  in  entertain- 
ment motion  pictures.  It  cannot  be  denied 
that  the  new  A  classifications  are  intended 
to  strengthen  the  meaning  of  the  B  cate- 
gory." The  Legion  recently  extended  its  ac- 
tivities to  the  radio  and  television  field. 

0 

WARNER  BROS,  released  a  rosy  financial 
report  for  the  fiscal  year  ended  August  31, 
1957.  Net  earnings  increased  to  S3,4 15,000 
from  S2,098,000  in  the  '56  period.  Part  of 
the  increase  is  attributable  to  the  fact  that 
the  prior  year's  return  did  not  include  profit 
on  sale  of  old  films.  Per  share  profits  this 
year  were  S1.90  on  the  1,793,296  common 
shares  outstanding  as  compared  to  S.84  per 
share  on  2,482,247  shares  in  the  previous 
year.  Film  rental  revenues  increased  some  S2 
million  dollars  during  1957.  Not  so  rosy  is 
the  expected  loss  for  the  three  months  ended 
November  20  because  of  a  decline  in  film 
rentals. 

o 

NATIONAL  THEATRES  announced  that  it 
will  shutter  ten  of  its  Fox  West  Coast 
houses  for  a  period  of  from  one  to  three 
weeks  before  Christmas.  The  action,  at- 
tributed to  a  shortage  of  top  product,  will 
affect  first,  key  and  subsequent  runs. 

o 

TOLL-TV  will  be  opposed  b>  a  newly- 
formed  national  organization  called  the- 
American  Citizens  Television  Committee, 
Inc.  Headquartered  in  Washington,  D.  C, 
the  group  will  wage  an  all-out  educational 
drive  on  a  national  basis  against  pay-to-see 
video.  Tabbed  the  "ACT"  committee,  the 
organization  will  seek  support  from  veterans 
groups  and  labor  organizations  in  addition 
to  businesses,  associations  and  individuals. 

[More  NEWS  on  Page  24] 


It  is  expected  that  local  chapters  will  be  or- 
ganized throughout  the  country.  On  another 
front,  Philip  Harling  and  Trueman  Rem- 
busch,  co-chairmen  of  the  Joint  Committee 
on  Toll-TV,  called  a  meeting  of  exhibition 
leaders  in  New  York  on  December  9  to 
blueprint  plans  aimed  to  persuade  Congress 
to  ban  subscription  television. 

0 

I  NIVERSAL-INTERNATIONAL  dismissed 
nineteen  employees  in  the  advertising-pub- 
licity department  at  the  west  coast  studios. 
Although  no  official  reason  was  given  for 
the  mass  firing,  it  has  been  reported  that  the 
firm  is  planning  a  cutback  in  the  number  of 
films  to  be  produced  in  '58. 

o 

ABRAM  F.  MYERS,  general  counsel  of  Na- 
tional Allied,  hailed  the  recent  Theatre 
Owners  of  America  recent  convention  for 
taking  "parallel  action  on  several  important 
issues  included  in  the  program  adopted  by 
Allied"  at  its  recent  national  convention. 
Said  Myers:  "TOA  charted  its  own  course 
and  did  not  merely  follow  in  Allied's  wake. 
It  acted  as  it  did  in  recognition  of  the  fact 
that  the  problems  confronting  exhibitors  are 
so  acute  that  no  exhibitor  organization  hav- 
ing a  proper  regard  for  its  members  can  af- 
ford to  ignore  them.  It  is  noteworthy  that 
two  national  organizations  which  have  dif- 
fered on  so  many  issues  and  still  differ  on 
some,  and  have  been  so  fiercely  competitive 
over  so  long  a  time,  should  have  come  up 
with  programs  having  so  much  in  common. 
This  is  a  gradual  evolution  stemming  from 
Allied's  action  in  1954  proposing  a  joint 
committee  of  the  several  exhibitor  organiza- 
tions to  combat  the  menace  of  subscription 
television  .  .  .  This  experiment  demonstrates 
that  diverse  elements  in  exhibition  can  work 
together  in  matters  of  common  concern. 
Since  then  committees  representing  TOA  and 
Allied  have  worked  in  harmony  in  the  nego- 
tiations looking  to  the  establishment  of  an 
arbitration  system.  Now  Allied  and  TOA 
will  have  committees  seeking  accelerated 
depreciation  write-offs  for  theatres  over  tele- 
vision in  the  exhibition  of  motion  pictures. 
There  is  every  reason  to  expect  that  these 
( Continued  on  P.igi  ) 


MYERS 


Film  BULLETIN    December  9,  l?57        Page  23 


THEY 


MADE  THE  NEWS 


SKOURAS 


SPYROS  P.  SKOURAS  had  happy  news  for 
his  company's  stockholders.  Fox's  net  earn- 
ings for  the  first  39  weeks  of  1957  were  up 
a  whopping  80%  over  the  same  period  in 
1956.  Earnings  increased  to  55,623,858 
($2.13  per  share)  from  $3,182,099  ($1.20 
pre  chare).  Gross  income  for  the  period 
ended  September  23  totaled  $98,556,893,  of 
which  film  rentals,  including  television  "divi- 
dends", accounted  for  $89,419,401.  That 
compared  with  a  gross  of  $87,157,860  in  the 
corresponding  period  last  year,  when  film 
rentals  totaled  $77,719,336.  Earnings  for  the 
1957  third  quarter  amounted  to  $1,553,993, 
an  increase  of  more  than  $500,000  over  the 
third  quarter  in  '56. 

0 

ELMER  C.  RHODEN  announced  another 
move  by  National  Theatres  into  diversifica- 
tion via  acquisition  of  television  station 
WDAF-TV  and  radio  station  WDAF-AM 
from  the  Kansas  City  Star  for  $7.6  million 
in  cash.  Formal  approval  of  the  deal  is  ex- 
pected to  be  given  by  the  FCC  sometime 
this  week.  The  Stay  filed  an  antitrust  con- 
sent decree  four  weeks  ago  in  which  it 
agreed  to  divest  itself  of  its  broadcast  prop- 
erties. Said  Rhoden  of  the  move:  "Our  en- 
trance into  the  telecast  and  broadcasting  field 
through  the  acquisition  of  (the  stations)  is 
a  move  of  major  importance  for  National 
Theatres.  It  marks  the  first  step  toward  di- 
versification of  its  interests.  National  Thea- 
tres is  most  fortunate  to  be  entering  the 
communications  field  by  the  acquisition  of 
WDAF-TV  and  WDAF-AM,  for  they  are 
important  stations  in  an  important  and  rapid- 
ly expanding  market."  Charles  L.  Glett,  a 
former  CBS  executive,  who  is  present  of 
National  Flim  Investments,  a  NT  subsidiary, 
will  head  up  the  new  operation. 

0 

BUREAU  OF  LABOR  STATISTICS  re- 
ported that  theatre  admission  prices  hit  a 


new  peak  in  the  34  largest  cities  in  the  U.  S. 
during  the  third  quarter  of  1957.  Adult 
prices  were  up  1.6  per  cent  in  the  June- 
September  period,  while  children's  ticket 
costs  advanced  .8  per  cent. 

o 

TOA's  executive  committee  and  board  of  di- 
rectors again  asked  the  Department  of  Jus- 
tiec  to  give  the  go-ahead  sign  to  motion  pic- 
ture production  and  distribution  by  the  di- 
vorced theatre  circuits.  The  new  appeal,  the 
third  from  the  exhibitor  organization,  was 
adopted  by  the  exhibition  leaders  on  the 
final  day  of  the  group's  recent  Miami  Beach 
convention.  Specifically,  TOA  is  asking  that 
every  restriction  to  circuit  production  be  dis- 
solved in  order  to  successfully  combat  the 
ever  increasing  product  shortage.  The  reso- 
lution called  on  the  D  of  J  to  appeal  to  the 
court  for  approval  of  ammendments  in  the 
antitrust  decrees  to  permit  production  by  the 
former  affiliates. 

0 

MINORITY  STOCKHOLDERS  of  Associ- 
ated Artists  Productions  are  seeking  a  tem- 
porary injunction  against  the  management  of 
the  films-to-television  organization  to  enjoin 
the  proposed  sale  of  controlling  stock  to 
National  Telefilm  Associates.  The  plaintiffs 
claim  that  United  Artists  offered  AAP  a 
much  more  lucerative  proposition  that  was 
approved  by  the  board  of  directors  but  not 
submitted  to  shareholders  for  action.  Defen- 
dents  are  Louis  Chesler,  chairman  of  the 
board;  Maxwell  Goldhar,  executive  vice 
president  and  attorney  M.  Mac  Schwebel. 
0 

JOSEPH  R.  VOGEL  was  honored  by  some 
500  industryites  as  Motion  Picture  Pioneer 
of  1957  and  lauded  for  "his  new  strength  of 
leadership"  by  industry  attorney  Louis  Nizer, 
principal  speaker  at  the  dinner.   Ned  Depi- 


MPAA   president   Eric   Johnston    and   Joseph  Vogel 
chat  on  the  dais  at  Pioneer  dinner. 


net,  president  of  the  organization,  presented 
the  Loew's  president  with  a  large  silver 
tureen.  Howard  Dietz,  Loew's  vice  presi- 
dent, served  as  a  witty  toastmaster  for  the 
organization's  19th  annual  affair.  Mrs.  Jack 
Cohn,  widow  of  the  founder  and  president 
of  the  Pioneers,  received  a  silver  tray  as  a 
posthomous  aw  ard  to  her  late  husband. 
0 

ARTHUR  HORNBLOW  announced  that 
L^A's  "Witness  for  the  Prosecution"  will 
debut  December  17  at  the  Warner  Beverly 
in  Los  Angeles  to  qualify  for  Academy 
Award  nominations. 


Producer  Hornblow  )  left )  and  United  Artists  pub 
manager    Mort    Nathanson    at   a    press  conference. 


HEADLINERS... 


20th  Century-Fox  president  SPYROS  P. 
SKOURAS  to  be  awarded  the  annual  Mile- 
stone Award  of  the  Screen  Producer's  Guild 
at  the  organization's  banquet  next  April  .  .  . 
Two  new  Warner  Bros,  vice  presidents 
elected:  EDMOND  L.  DePATIE  and  WIL- 
LIAM T.  ORR.  Both  in  the  production  end 
of  the  business  .  .  .  Report  Philadelphia's 
5000-seat  Mastbaum  to  close  .  .  .  Lancaster, 
Pa.,  city  amusement  tax  to  drop  from  10% 
to  5%  next  month.  Fight  led  by  Stanley 
Warner  managers  and  local  inde  exhibitors 
.  .  .  IRVING  M.  LEVIN  has  already  set 
eight  of  the  14  films  for  his  upcoming  first 
annual  LI.  S.  International  Film  Festival  .  .  . 
A.  DAYTON  OLIPHANT,  retired  justice 
of  the  Supreme  Court  of  New  Jersey,  elected 
to  the  board  of  Loew's  Theatres  .  .  .  OTTO 
PREMINGER  picked  up  the  option  on  Jean 
("Saint  Joan")  Seberg's  contract  .  .  .  RUS- 
SEL  SIMPSON  elected  president  of  the  Mo- 
tion Picture  Association  of  Toronto  ...  He 
is  associated  with  the  Ottawa  Valley  Cir- 
cuit .  .  .  Promotion  of  MATTHEW  POLON, 
former  RKO  Theatres  film  booker,  to  head 
of  the  film  department  announced  by  presi- 
dent SOL  A.  SCHWARTZ  .  .  .  President  of 
the  Academy  of  Motion  Picture  Arts  and 
Sciences,  GEORGE  SEATON,  is  calling  for 
all-out  support  of  the  industry-sponsored 
"Oscar"  show  .  .  .  LEE  KOKEN,  chief  of 
RKO  Theatres'  concessions,  elected  president 
of  the  National  Association  of  Concession- 
aires .  .  .  JACK  L.  WARNER  to  be  honored 
with  the  1957  Humanitarian  Award  of  the 
National  Foundation  of  Infantile  Paralysis 
on  Januarv  21  with  a  dinner  at  the  Waldorf 
.  .  .  B.  B.  GARNER,  president  of  Talgar 
Theatres,  reelected  president  of  the  Motion 
Picture  Exhibitors  of  Florida  .  .  .  ALFRED 
E.  STERN,  former  RKO  publicity-promotion 
director,  takes  over  as  west  coast  director  of 
public  relations  for  National  Telefilm  Asso- 
ciates .  .  .  MILTON  MORITZ  joins  Ameri- 
can International  as  assistant  to  general  sales 
manager  LEON  P.  BLENDER.  Also  will 
serve  as  president  JIM  NICHOLSON'S  spe- 
cial advisor  on  advertising  and  exploitation 
.  .  .  Chicago's  Variety  Club  Tent  26  elects 
WILLIAM  MARGOLIS  chief  barker  .  .  . 
ANTHONY  HAYNES  replaces  ARNOLD 
WILLIAMS  as  National  Screen's  managing 
director  in  Great  Britain  .  .  .  President  BOB 
MONTGOMERY  has  set  December  17  as 
the  date  for  the  Associated  Motion  Picture 
Advertiser's  annual  Xmas  luncheon,  at  Hotel 
Piccadilly  in  N.Y.C.  .  .  .  IRVING  PALEY 
appointed  publicity  and  advertising  director 
of  Paramount  Gulf  Theatres  .  .  .  ELMER 


Warner   Bros,   vice   president   Robert   S.  Taplinger 
talks  things  over  with  Douglas  Fairbanks,  producer 
of   "Chase   a   Crooked   Shadow".   WB   release,  at 
trade  press  conference  in  New  York. 


RHODEN  and  the  Mrs.  off  for  a  tour  of 
Europe  ...  MAX  E.  YOUNGSTEIN  is  na- 
tional chairman  of  a  national  campaign  to 
raise  $1.5  million  for  a  research  center  at  the 
national  Home  for  Asthmatic  Children,  Den- 
ver, Colo.  .  .  .  TED  COTT,  new  vice  presi- 
dent of  National  Telefilm  Associates,  will 
take  charge  of  television  and  radio  proper- 
ties .  .  .  RKO  to  distribute  Allied  Artists 
product  in  Australia,  it  was  jointly  an- 
nounced by  NORTON  V.  RITCHEY,  presi- 
dent of  AA  International,  and  WALTER 
BRANSON,  RKO  distribution  chief  .  .  . 
GEORGE  J.  SCHAEFER  elected  president  of 
Todd-AO  .  .  .  Exhibitor  MEL  MORRISON 
is  new  mayor  of  Dover,  New  Hampshire. 


Page  24        Film  BULLETIN     December  9.  1957 


GREAT 
MOTION  PICTURES 
DON'T  JUST  HAPPEN! 


They  Made  The  News 

(Continued  from  Page  ) 


committees,  following  the  foregoing  precedents,  will  co- 
operate fully  in  the  tasks  assigned  to  them.  Neither  the 
film  companies  nor  the  puhlic  officials  with  whom  these 
committees  must  deal  can  fail  to  appreciate  the  signifi- 
cance of  this  demonstration  of  exhibitor  unit\.  The  com- 
mittees will  represent  and  speak  for  the  vast  majority  of 
organized  exhibitors.  It  will  not  be  possible  to  thwart 
their  efforts  by  setting  off  one  organization  against  an- 
other under  a  policy  of  divide  and  conquer.  This  is  in- 
deed progress."  Switching  to  the  problem  of  TV  clear- 
ance, Myers  declared:  "When  the  exhibitors  recovered 
from  their  first  shock  over  what  they  regarded  as  the 
perfidy  of  the  film  companies  in  putting  into  the  hands  of 
the  broadcasters  the  ammunition  with  which  to  destroy 
the  theatres,  they  were  lulled  into  a  false  sense  of  security 
by  vague  promises  that  only  old  pictures  would  be  sup- 
plied to  this  deadly  competitor  ...  In  the  haste  of  reso- 
lution drafting  at  Kiamesha,  Allied  failed  to  include  in 
its  resolution  No.  6  all  of  Mr.  Kirsch's  proposition.  It 
declares  for  adequate  clearance  in  view  of  all  the  cir- 
cumstances involved  in  television  competition  but  is  silent 
on  the  right  to  advertise  the  fact  and  duration  of  such 
clearance.  Elmer  Rhoden  in  his  keynote  speech  before 
the  TOA  convention  summarized  the  urgent  need  of  the 
theatres  so  forcefully  and  so  succinctly  .  .  ."  (Rhoden 
urged  that  the  public  be  told  via  advertisements  that  pic- 
tures seen  in  theatres  will  not  be  seen  on  TV  for  from 
five  to  seven  years). 

0 

S.  H.  FABIAN  reported  that  Stanley  Warner  Corp.  had  a 
record  year  in  both  sales  and  earnings  for  the  fiscal  year 
ended  August  31.  Net  profit  for  the  period  totaled  S3,- 
767,800  (SI. 82  per  share)  as  compared  to  S3, 194,200 
(S1.47  per  share)  for  1956.  All  three  divisions  of  the 
company  —  theatre,  Cinerama  and  International  Latex 
operated  at  a  profit,  he  said,  with  combined  theatre  ad- 
mission and  mechandise  sales  hitting  SI  15,125,300,  an  in- 
crease of  S19,069,600  for  the  prior  fiscal  year.  The  SW 
president  told  the  stockholders:  "Despite  all  competition 
— old  and  new — and  this  includes  TV  and  toll-TV,  it  is 
our  opinion  that  the  theatre  industry  has  an  important 
permanent  role  in  public  entertainment.  A  vast  theatre 
audience  is  ever  present  waiting  for  the  pictures  of  its 
choice.  When  a  feature  appeals  to  the  public  there  is 
invariably  an  eager,  massive  response.  This  does  not 
mean  that  all  existing  theatres  will  continue  to  operate. 
We  are  continuously  reviewing  the  operating  results  of 
our  properties  to  ascertain  which  theatres  should  remain 
in  the  Stanley  Warner  circuit.  As  neighborhoods  and 
economic  conditions  change,  we  adjust  our  theatre  oper- 
ations to  meet  the  existing  facts  and  future  prospects." 
On  the  product  situation:  "In  recent  years,  the  public  has 
been  offered  either  a  'feast  or  famine'  of  motion  pictures 
.  .  .  Assurances  are  now  being  given  by  major  producers 
that  their  top  features  will  be  made  available  uniformly 
throughout  the  year." 


NEW  NEW  YORK  OFFICE 

Film  BULLETIN'S  New  York  office 
is  now  located  at 
341  MADISON  AVENUE 
New  York  17,  New  York 
ORegon  9-8747 


But  they  do  happen 
to  have  certain  qualities 
that  make  them  great. 
Is  it  action  . . .  suspense 
. . .  drama  . . .  comedy  . . , 
heart? 

Yes  —  all  of  these  . . . 
and  more! 


For  here  is  a 
movie  that  is  truly 
an  emotional  experience  — 
a  picture  you  will  feel  as  well 
as  see  ...  a  picture 
to  talk  about. 

That  mysterious  quality 
. . .  that  certain  something 
that  all  great  pictures 
have  always  had.  What- 
ever it  is  —  Walt  Disney's 
'Old  Yeller'  has  it! 


HfitLT  Disney 

DOROTHY  McGUIRE  and  FESS  PARKER 


Technicolor- 

JEFF  YORK  ■  TOMMY  KIRK  ■  KEVIN  CORCORAN 
BEVERLY  WASHBURN    CHUCK  CONNORS 


ONE  OF  A  SERIES  of  Sunday  ads  appearing  in 
12  Key  City  Newspapers  starting  November  24th 
announcing  the  December  25th  World  Premiere 
engagement  of  Walt  Disney's  "OLD  YELlER." 


EXPLOITATION 
PICTURE 

of  the  issue 


HOT,  HOT  ADS 

When  Wayne  tangles  with  Loren,  that's 
Exploitationews !  And  United  Artists  is  tell- 
ing and  selling  the  world  about  it  in  a  cam- 
paign as  white-hot  as  the  starring  combo 
that  makes  "Legend  of  the  Lost"  the  show- 
man's dish. 

From  the  smash  series  of  ads  worked  out 
by  Roger  Lewis  and  his  boxoffice  alchemists, 
through  the  cannily  conceived  television- 
radio  push,  the  tie-ups,  the  supplemental  pro- 
motions, all  the  way  to  the  theatre  level,  the 
power  of  the  John  Wayne-Sophia  Loren 
action-and-sex  appeal  is  being  concentrated 
by  UA  to  cut  a  wide  swath  in  the  public 
consciousness  that  bodes  one  of  the  year's 
top  moneymakers  for  the  company  and  its 
customers. 

Produced  and  directed  by  Henry  Hatha- 
way for  Batjac  Productions,  Panama,  Inc., 
the  roles  of  the  principals  have  been  tailored 
to  each  of  the  stars'  most  popular  assets. 
Wayne,  as  a  sand-burned  desert  guide  fight- 
ing the  Sahara's  elements  along  with  his 
human  adversaries,  is  in  his  strong-and-silent 
element.  Loren's  sultriness  pours  through 
her  desert  wench  role  and  Rossano  Brazzi, 
completing  the  potent  starring  trio,  has  a 
meaty  good-and-bad  characterization  as  the 
proponent  of  a  fanatical  search  for  a  legen- 
dary biblical  city.  Hathaway  has  entrusted 
the  screenplay  to  the  expert  hands  of  Ben 
Hecht  and  Robert  Presnell,  Jr.,  adding  the 


TEASERS! 


grand  treatment  in  Technirama  and  Techni- 
color to  assure  production  values  in  keeping 
w  ith  the  star  power. 

As  is  evident  from  the  samples  on  these 
pages,  the  ads  are  a  monument  to  capitali- 
zation of  a  film's  assets.  Five  thematic  art 
pieces  key  the  ads:  (1)  the  heroic  Wayne 
full-figure;  (2)  a  striking  star  head  etching; 
(3)  the  fight  scene;  (4)  the  sullen  Loren- 
on-sand  figure  and  (5)  the  sex-crammed 
\\  ayne-Loren  clinch.  Their  use,  singly  or  in 
combination,  has  been  varied  to  permit  the 
showmen  to  angle  the  pitch  to  the  type  of 
audience  he  caters  to — within  the  broad  cate- 
gory that  will  enjoy  the  film's  appeal.  More- 
over, each  of  the  key  art  pieces  are  distinc- 
tive enough  in  themselves  to  permit  wide 
opportunities  for  displays. 

The  ad  copy,  while  it  lets  the  art  talk  for 
the  most  part,  gets  in  some  terse  catchlines 
that  enhance  the  illustrations,  emphasizing 
either  the  Wayne  appeal  individually  or  the 
spark  ignited  by  the  stars  in  combination.  A 
series  o;  four  teasers  (two  of  which  are 
shown  at  lower  left)  uses  the  key  art  in- 
dividually, injects  the  "legend"  factor  in  the 
teaser  caption — "This  Scene  Will  Write  a 
New  Legend  of  Fiery  Romance"  .  .  .  "This 
Scene  Will  Write  a  New  Legend  of  Fury", 
and  so  on. 


Bulwarking  the  ad  mastery  is  a  sock  na- 
tional video  drive,  highlighted  by  a  filmed 
interview  with  Wayne  on  the  Ed  Sullivan 
show;  a  featured  spot  on  the  new  CBS 
Sunday  show,  The  Seven  Lively  Arts;  a  four 
week  plug  on  the  People  Are  Funny  show, 
utilizing  an  interest-building  gimmick. 

For  local  level  TV  selling,  UA  is  making 
available  special  reels  of  four-minute  fea- 
tures filmed  while  the  picture  was  in  pro- 
duction to  give  an  added  fillip  to  the  stan- 
dard TV  accessories.  Four  of  these  will  be 
in  the  field  to  coordinate  with  playdate  use 
wherever  requested  by  the  exhibitor. 

For  audio  purposes,  there  is  a  series  of 
hard-selling  radio  spots  to  provide  the  mak- 
ings for  a  saturation  airwave  campaign.  UA 
has  mapped  the  spots  for  25  major  markets, 
in  addition  to  making  them  available  for  in- 
dividual theatre  use.  The  company  has  also 
waxed  a  special  disc  for  lobby  use. 

Theatrerr.en  who  play  "Legend"  will  be  in 
for  an  extra  bonus  from  disc  jockeys,  since 
the  title  song  from  the  film  will  mark  the 
launching  of  United  Artists  Records  opera- 
tions. With  Joe  Valino  doing  the  song,  UA 
has  gone  all-out  on  a  campaign  backing  the 
recording,  due  for  distribution  December  9, 
with  field  men  working  in  combination  with 
the  platter-spinners  for  important  point-of- 


Fag*  2i        fi  m  GUILETIN     December  9.  I9D7 


_  rimes 

THAT  MAM 


WOMANl 


sale  action.  A  variety  of  smart  display  pieces 
adds  zest  to  the  promotion. 

Ading  to  the  thunder  is  a  series  of  tie-ups, 
featuring  Wayne's  appearance  in  "Legend ". 
One  to  look  for  especially  is  the  two-page 
full-color  spread  by  Remington  Rand  in  Life 
with  heavy  top  credits  for  the  picture,  mark- 
ing the  first  time  Remington  has  gone  for 
this  type  of  plugging.  Single  page  versions 
are  set  for  Satevepost  and  Look.  Another 
tie,  a  full-page  Rheingold  Beer  ad  with 
Wayne  featured,  will  run  in  58  papers 
(around  76,000,000  readers),  plus  insertions 
in  the  New  Yorker,  Cue  and  Playbill. 

The  exciting  art  in  full  color  will  sock 
the  public  in  supermarkets  and  store  win- 
dows on  the  cover  of  Berkley  Books  pocket- 
book  fictionalization  of  the  film.  Berkley  is 
making  the  largest  single  printing  in  its  his- 
tory with  this  one,  aims  to  merchandise  it 
in  some  100,000  outlets  nationally  with  spe- 
cial point-of-sale  flash. 

For  newspaper  features  or  special  art  use, 
the  popular  Hershfield  cartoon  technique 
(opposite  page)  has  been  applied  to  feature 
the  slam-bang  battle  between  the  two  male 
principals,  with  the  glowering  and  busty 
Sophia  prone  on  the  desert  sands.  Another 
touch  of  class  to  an  already  richly  endow  ed 
movie  showmanship  piece. 


1  Legend  of  the  Lost'  Story 

The  hard-hitting,  imaginative  talents  of  Ben  Hecht 

i 


tt,  

In|^^9flMf  i     ll.ttha\\a\  s  production  in   rechnicolor.     Legend  of  the 

Lost".  Undoubtedly  scripted  with  the  marquee-he avy 
principals  in  mind,  the  tale  concentrates  on  alternating  accord  and  conflict  between 
John  Wayne,  Sophia  Loren  and  Rossano  Brazzi,  with  the  Sahara  Desert  as  the  back- 
ground— and  the  chief  antagonist— to  their  shifting  emotions.  The  force  behind  the 
conflict  is  pegged  on  Brazzi's  search  for  his  father,  who  had  disappeared  in  quest  of 
a  treasure  believed  buried  in  the  ruins  of  a  lost  desert  city,  vanished  two  thousand 
years  ago.  Wayne  is  induced  to  act  as  his  guide,  finds  the  dangerous  mission  more 
hazardous  with  the  addition  of  Loren,  a  lonely  desert  gamin  who  has  been  be- 
friended by  Brazzi,  and  refuses  to  leave  her  benefactor's  side.  Discord  is  heightened 
when  Wayne  yields  to  natural  impulses  and  makes  a  pass  at  Loren,  resulting  in  a 
battle  between  the  men.  Beyond  the  point  of  return,  the  trio  make  their  way  through 
th  desert's  perils,  reach  the  city,  where  they  find  three  skeletons.  One,  identified  by 
Brazzi  as  his  father,  has  a  bullet  hole  in  the  skull.  A  clue  in  the  bible  found  near  the 
dead  man  unearths  the  treasure's  location  and  they  discover  a  fabulous  bounty  of 
gold  and  jewels.  Brazzi  steals  away  during  the  night  with  the  pack  animals  and  the 
treasure,  but  Wayne  and  Loren  pursue  him,  find  him  crazed  by  the  sun  and  thirst. 
In  a  last  violent  struggle,  Loren  kills  Brazzi  just  as  he  plunges  his  knife  into  Wayne. 
What  Wayne  and  the  girl  suspect  to  be  a  mirage,  is  actually  a  caravan  and  rescue. 


Film  BULLETIN    December  9.  1957        Page  27 


THIS  IS  YOUR  PRODUCI 


All  The  Vital  Details  on  Current  &)  Coming  Features 

(Date  of  Film  BULLETIN  Review  Appears  At  End  of  Synopsis) 


ALLIED  ARTISTS 


September 

DEATH  IN  SMALL  DOSES  Peter  Graves.  Mala  Powers, 
Chuck  Conners.  Producer  R.  Heermance.  Director  J. 
Newman.  Melodrama.  Investigator  cracks  ring  selling 
illegal  pills  to  truckers.    74  minutes. 

GUN  BATTLE  AT  MONTEREY  Sterling  Hayden.  Pamela 
Duncan.  Ted  de  Corsia.  Producer  D.  J.  Grut.  Director 
Sidney  Franklin.  Jr.  Melodrama.  Outlaw  leaves  buddy 
to  die,  thinking  him  dead.    74  minutes. 

NAKED  IN  THE  SUN  Eastman  Color.  James  Craig,  Lita 
Milan.  Barton  MacLane.  Producer-director  R.  John 
High.  Drama.  Story  of  Osceola,  Warrior  Chief  of  the 
Seminole  nation,  the  woman  he  loved,  and  the  war  that 
was  never  won.    72  min. 

TEENAGE  DOLL  June  Kenney.  Fay  Spain,  John  Brink- 
ley.  Producer-Director  Roger  Cormjn.  A  drama  of 
teenage  gang  warfare.    71  min. 

UNDERSEA  GIRL  Mara  Corday.  Pat  Conway,  Florence 
Marly.  Producer  Norman  Herman.  Adventure.  Skin 
divers  solve  mystery  of  lost  naval  shipment,    66  min. 

October 

AFFAIR  IN  HAVANA  John  Casavetes,  Raymond  Eurr. 
Sara  Shane.  A  Dudley  Production.  Difector  Laslo 
Benedek.  Drama.  Young  American  composer  becomes 
involved  with  the  wife  of  a  wealthy  Cuban  tycoon  who 
is  a  hefpless  paralytic.   80  min. 

LOOKING  FOR  DANGER  Hunti  Hall,  Stanley  Clements. 
Producer-director  Richard  Heermance.  Melodrama. 
Bowery  Boys  booby-trap  holdup  man.    61  min. 

TALL  STRANGER,  THE  CinemaScope,  Color.  Joel  Mc- 
Crea,  Virginia  Mayo.  Producer  Walter  Mirisch.  Direc- 
tor Thomas  Carr.  Western.  Cowboy  helps  open  Colo- 
rado to  settlers.    83  min. 

November 

HONG  KONG  INCIDENT  Jack  Kelly,  May  Wynn.  Pro- 
ducer J.  Raymond  Friegen.  Director  Paul  F.  Heard. 
Drama.  East-West  romance  with  Hong  Kong  as  back- 
ground. 81  min. 

HUNCHBACK  OF  NOTRE  DAME.  THE  CinemaScope. 
Color.  Gina  Lollobrigida,  Anthony  Ouinn.  A  Paris 
Production.  Director  Jean  Delannoy.  Drama.  Hunch- 
back falls  in  love  with  beautiful  gypsy  girl.    103  min. 

SABU  AND  THE  MAGIC  RING  DeLuxe  Color.  Sabu, 
Dana  Massey,  Robert  Shafto.  Producer  Maurice  Dike. 
Director  George  Blair.  Adventure.  Stable  boy  finds 
magic  ring.  65  min. 

December 

MAN  FROM  GOD'S  COUNTRY  CinemaScope,  Color, 
George  Montgomery,  Randy  Stuart,  Susan  Cummings. 
Producer  Scott  R.  Dunlap.  Director  Paul  Landres. 
Western.  Believed  to  be  agent  for  railroad,  hero  be- 
comes a  marked  man.  82  min. 

PAGANS,  THE  Pierre  Cressoy,  Vittorio  Sanitoli,  Helen 
Remy.  Producer  William  Pizor.  Director  Ferrucio  Cerio. 
Adventure.  Sacking  of  16th  Century  Rome  by  Spanish 
hordes.  80  min. 

UP  IN  SMOKE  Huntz  Hall.  Producer  Richard  Heer- 
mance. Director  William  Beardine.  Comedy.  Bowery 
Boys  become  involved  in  horse  race  betting.    62  min. 


Coming 


BEAST  OF  BUDAPEST  Michael  Mills,  Greta  Thyssen. 
Violet  Rensing.  Producer  Archie  Mayo.  Director  Har- 
mon Jones.    Drama  of  freedom  fighters  in  Budapest. 

BULLWHIPPED  CinemaScope,  DeLuxe  Color.  Guy  Madi- 
son, Rhonda  Fleming.  A  Romson-Brody  Production. 
COLE  YOUNGER,  GUNFIGHTER  CinemaScope,  Deluxe 
Color.  Frank  Lovejoy.  Producer  Ben  Schwalb.  Director 
R.  G.  Springsteen.  Western.  Rebellion  against  carpet- 
bag rule  in  Texas. 

CRY    BABY    KILLER,    THE    Jack    Nicholson,  Carolyn 
Mitchell.  Producer  Roger  Corman.  Director  Jus  Addis. 
Melodrama.  Juvenile  killer  on  a  crime  spree. 
IN  THE  MONEY  Huntz  Hall.    Producer  Richard  Heer- 
mance.   Director  William  Beaudine.    Comedy.  Interna- 
national  smugglers  make  Hall  fall  guy  in  robbery. 
NEVER  LOVE  A  STRANGER  John  Drew  Barrymore,  Lita 
Milan,  Robert  Bray.  Producer  Harold  Robbins. 
OREGON  PASSAGE  CinemaScope.    Deluxe  Color.  John 
Ericson.     Produced    Lindsley    Parsons.     Director  Paul 
Landres.    Western.    Fight  against  Indian   uprisings  in 
Oregon  Territory.    82  min. 

SEVEN  GUNS  TO  MESA  Lola  Albright,  Charles  Quin- 
liven.  Producer  William  F.  Broidy.  Director  Edward 
Dein.  Western.  Stagecoach  passengers  are  held  pris- 
oners by  outlaw-killers. 


RAWHIDE  TRAIL.  THE  Rex  Reason,  Nancy  Gates.  Pro- 
ducer Earle  Lyon.  Director  Robert  Gordon.  Western. 
Two  men  are  falsely  accused  of  leading  wagon  train 
into  an  Indian  ambush. 

WAR  OF  THE  SATELLITES  Susan  Cabot,  Dick  Miller. 
Producer  Roger  Corman. 


AMERICAN   INTN'L  PICTURES 


September 


AMAZING  COLOSSAL  MAN.  THE  Glenn  Langan 
Cathy  Downs,  William  Hudson.  Producer-Director  Bert 
I.  Gordon.  Horror.  Out-size  man  runs  amok.  81 
min.  11/14. 

CAT  GIRL,  THE  Barbara  Shelley,  Robert  Ayres,  Kay 
Callard.  Producer  Lou  Rusoff.  Director  William  Shaugn- 
essy.  Horror.  6?  min. 

October 

MOTORCYCLE  GANG  Steve  Terrell,  John  Ashley. 
Frank  Gorshin.  Producer  Alex  Gordon.  Director  Edward 
L.  Cahn.  Melodrama.  78  min. 

SORORITY  GIRLS  Susan  Cabot.  Dick  Miller.  Barboura 
Morris.  Producer-Director  Roger  Corman.  Melodrama. 
60  min. 

November 

BLOOD  OF  DRACULA  Sandra  Harrison.  Louise  Lewis. 
Gail  Conley.  Poducer  Herman  oChen.  Director  Herbert 
L.  Strock.  Horror. 

I  WAS  A  TEENAGE  FRANKENSTEIN  Whit  Bissell,  Phyl- 
lis Coates.  Robert  Burton.  Producer  Herman  Cohen. 
Director  Herbert  L.  Strock.  Horror. 

VIKING  WOMEN.  THE  Abby  Dalton.  Susan  Cabot, 
Brad  Jackson.  Producer-Director  Roger  Corman. 
Science-Fiction. 

December 

ASTOUNDING    SHE    MONSTER.    THE    Robert  Clarke. 


Coming 


FANTASTIC  PUPPETT  PEOPLE.  THE  John  Agar,  John 
Hoyt.    Producer-director  Bert  I.  Gordon. 

January 

HELL  RAIDERS  Michale  Connors,  John  Ashley,  Russ 
Bender.    Producer    Lou    Rusoff.    Director    E.    C.  Cahn. 


COLUMBIA 


September 

BROTHERS  RICO  THE  Richard  Conte.  Kathryn  Grant, 
Dianne  Foster.  Producer  Lewis  Rachmil.  Director  Phil 
Karlson.  Drama.  Former  racketeer,  trying  to  go 
straight,  exposes  organization  when  they  push  him  too 
far.  90  min. 

PARSON  AND  THE  OUTLAW.  THE  Sonny  Tufts,  An- 
thony Dexter,  Marie  Windsor.  Producer  Robert  Gilbert. 
Director  Oliver  Drake.  Billy  the  Kid  tries  to  become 
law-abiding  citizen.  71  min. 

WOMAN  OF  THE  RIVER  Technicolor.  Sophia  Loren, 
Gerald  Oury,  Lise  Bourdin.  Producer  DeLauretiis  and 
Ponti.  Director  Mario  Soldati.  Beautiful  peasant  girl 
who  breaks  smuggling  ring.  98  min. 

October 

DOMINO  KID  Rory  Calhoun,  Kristine  Miller.  Producers 
Rory  Calhoun  and  Victor  M.  Orsatti.  Director  Ray 
Nazzaro.  Western.  73  min.  Civil  War  hero  returns 
seeking  vengeance  on  outlaws  who  killed  his  father 
74  min. 

HOW  TO  MURDER  A  RICH  UNCLE  Charles  Coburn 
Nigel  Patrick,  Wendy  Hiller.  A  Warwick  Production. 
Director  Nigel  Patrick.  Comedy.  English  family  plots 
to  murder  rich  American  uncle. 

PAPA,  MAMA,  THE  MAID  AND  I  Robert  Lamoureux, 
Gaby  Morloy,  Nicole  Courcel.  Director  Jean-Paul  Lt 
Chanois.  Comedy.  Tho  lives  of  a  typically  Parisian 
family.  94  min.  9/17. 

STORY  OF  ESTHER  COSTELLO  Joan  Crawford, 
Rossano  Brazzi,  Heather  Sears.  John  and  James  Woolf 
producers.  Director  David  Miller.  Drama.  Unscrupulous 
people  exploit  blind  girl  for  profit.  103  min.  9/30. 
TIJUANA  STORY.  THE  Rodolfo  Acosta,  James  Darren, 
Robert  McOueeney.  Producer  Sam  Katzman.  Director 
Leslie  Kardos.  Drama.  Editor  wages  fight  against  vice 
lords  in  community. 


November 


OPERATION  MAD  BALL  Jack  Lemmon,  Kathryn  Grant, 
Mickey  Rooney.  Producer  Jed  Harris.  Director  Rich- 
ard Ouine.  Comedy.  Private  faces  court-martial  while 
involved  in  a  romance.    I0S  min. 


PAL  JOEY  Technicolor.  Frank  Sinatra,  Rita  Hayworth. 
Kim  Novak.  Producer  Fred  Kohlman.  Director  George 
Sidney.  Musical.  Filmization  of  the  Rodgers  and  Hart 
Broadway  hit.    1 1 1  min.  9/16. 


December 

ADMIRABLE  CRICHTON.  THE  Technicolor.  Kenneth 
More.  Diane  Cilento.  Cecil  Parker.  Producer  Ian  Dal- 
rymple.  Director  Lewis  Gilbert.  Drama.  The  story  of  a 
famous  butler  in  the  I900's.   94  min. 

BRIDGE  OVER  THE  RIVER  KWAI.  THE  William  Holden. 
Alec  Guinness.  Jack  Hawkins.  Producer  Sam  Spiegel. 
Director  David  Lean.  Drama.  British  soldiers  held  in 
prison  camp.  161  min.  11/25. 

HARD  MAN.  THE  Guy  Madison,  Valerie  French,  Lome 
Green.  Producers  Wallace  MacDonald  and  Helen  Ains- 
worth.  Director  George  Sherman.  Western.  Deputy 
out  to  prove  he  is  not  a  killer. 

January 

LONG  HAUL.  THE  Victor  Mature,  Diana  Dors,  Peter 
Reynolds.  Producer  Maxwell  Setton.  Director  Ken 
Hughes. 


Coming 


BITTER  VICTORY  CinemaScope,  Technicolor.  Richard 
Burton  Curd  Jurgens,  Raymond  Pellegrin.  Producer 
Paul  Graetz.  Director  Nick  Ray.  W.  W.  If.  97  min. 

BON  JOUR  TRISTESSE  CinemaScope,  Color.  David 
Niven.  Deborah  Kerr,  Jean  Seberg.  Producer-director 
Otto  Preminger. 

DECISION  AT  SUNDOWN  Randolph  Scott.  Valerie 
French,  Karen  Steele.  Producer  Harry  Joe  Brown.  Di- 
rector Budd  Boetticher.  Climax  of  a  3-year  hunt  for 
the  man  who  stole  his  wife. 

FORTUNE  IS  A  WOMAN  Jack  Hawkins,  Arlene  Dan, 
Dennis  Price.  Producers  Frank  Launder  and  Sidney 
Gilliat.   Director  Sidney  Gilliat. 

GIDEON'S  DAY  Jack  Hawkins,  Dianne  Foster.  Pro- 
ducer-director John  Ford. 


HAUNTED,  THE  Dana  Andrews.  Producer  Hal  E.  Ches- 
ter. Director  Jacques  Tourner. 

HIGH  FLIGHT  CinemaScope.  Ray  Milland.  Sean  Kelly, 
Kenneth  Haight.  Producers  Irving  Allen  and  A.  R. 
Brocolli.  Director  John  Gilling. 

KEY,    THE   William   Holden.    Sophia    Loren.  Producer 
Carl  Forman.    Director  Carol  Reed. 
NIGHT  OF  THE  DEMON  Dana  Andrews.    Producer  Hal 
E.  Chester.   Director  Jacques  Tourneur. 
NO  TIME  TO  DIE  Victor  Mature,  Leo  Genn.  Producer 
Phil  Samuel.    Director  Terence  Young. 
OTHER   LIFE   OF   LYNN   STUART,   THE   Betsy  Palmer. 
Jack  Lord.    Producer  Bryan  Foy.  Director  Lewis  Seiler. 
REMINISCENCES  OF  A   COWBOY   Glenn    Ford,  Jack 
Lemmon,   Anna   Kashfi.    Western.    Free-spending  cow- 
boy helps  friend  save  cattle. 

RESCUE  AT  SEA  Gary  Merrill,  Nancy  Davis,  Irene 
Hervey.  Producer  Sam  Katzman.  Director  Fred  Sears. 
RETURN  TO  WARBOW  Color.  Phil  Carey,  William  Les- 
lie, Catherine  McLeod.  Producer  Wallace  MacDonald. 
Director  Ray  Nazzaro. 

SCREAMING  MIMI  Anita  Ekberg,  Phil  Corey.  Gypsy 
Rose  Lee,  Harry  Townes.  A  Brown-Fellows  Production. 
Director  Gerd  Oswald. 

7TH  VOYAGE  OF  SINBAD,  THE  Kerwin  Matthews. 
Kathryn  Grant.  Producer  Charles  Schneer.  Director 
Nathan  Juran. 

SHE  PLAYED  WITH  FIRE  Jack  Hawkins,  Arlene  Dahl, 
Producers  Frank   Launder-Sidney  Gilliat.  Director  Sid- 
ney Gilliat.    Drama.   Story  of  an  arsonist.   95  min. 
SNORKEL.  THE  Peter  Van  Eyck,  Betta  St.  John.  Pro- 
ducer Michael  Carreras.    Director  Guy  Green. 
SUICIDE  MISSION  Leif  Larson,  Michael  Aldridqe.  Atll 
Larsen.     A    North    Seas    Film    Production.  Director 
Michael    Forlong.     Adventure.      Norwegian  fishermen 
smash  German  blockade  in  World  War  II.    70  min. 
THIS  BITTER  EARTH  Silvana  Mangano,  Richard  Conte, 
Anthony  Perkins.    Producer  Dino  De  Laurentiis.  Direc- 
tor Rene  Clement.    Drama.    Family  fights  to  keep  land. 
TRIAL  OF  CAPTAIN   BARRETT,  THE  Edmond  O'Brien, 
Mona  Freeman,  Karin  Booth.    Producer  Sam  Katzman. 
Director  Fred  F.  Sears. 


Film     BULLETIN  —  THIS 


YOUR  PRODUC 


DECEMBER  SUMMARY 

Some  28  motion  pictures  will  be  re- 
leosed  during  December.  The  leading  sup- 
plier will  be  20th  Century-Fox  who  will 
hove  five  films  on  the  roster.  A  total  of 
four  films  will  be  released  by  independent 
distributors:  Columbia,  Warner  Bros,  and 
United  Artists  will  release  three  each; 
American  International,  Paramount  and 
Universal  will  release  two  each;  Metro 
will  place  one  on  the  agenda.  More  than 
half  of  the  films,  15  will  be  in  color.  Four 
features  will  be  in  CinemaScope,  two  in 
VistaVision,  one  in  Technirama. 

1  5  Dramas  4  Comedies 

5  Westerns  2  Horror 

2  Adventures 


INDEPENDENTS 


September 

BED  OF  GRASS  Trans-Lu«]  Anna  Branou.  Mike 
fNichols.  Vera  Karri.  Producer-Director  Gregg  Tallas. 
Drama.  92  min. 

CARNIVAL  ROCK  Howco  Internationa  I )  Susan  Cabot, 
i, David  Stewart.  Producer-director  Roger  Corman.  Mu- 
sical.   Rock  n'  roll  love  story.    75  min. 

CARTOUCHE  IRKO)  Richard  Bas.hart,  Patricia  Roc. 
Producer  John  Nasht.  Director  Steve  Sektly.  Adventure. 
The  story  of  a  lusty  adventurer  during   the   reign  of 

.1  Louis  XVI.  73  min. 

COOL  AND  THE  CRAZY,  THE  I  Imperial  I  Scott  Mar- 
lowe. Gigi  Perreau.  Producer  Elmer  Rhoden.  Jr.  Di- 
rector William  Whitney.  Story  of  teenage  violence. 
GUN  GIRLS  Astor!  Jeanne  Ferguson,  Jean  Ann  Lewis. 
Producer  Edward  Frank.  Director  Robert  Derteano. 
Drama.   Gang  girls  on  the  loose.   47  min. 

PASSIONATE  SUMMER  (Kingsleyl  Madeleine  Robinson. 
Magali  Noel,  Raf  Vallons.  Produced  by  Les  Films 
Marceau.  Director  Charles  Brabant.  Drama.  Conflict- 
ing passions  between  three  women  and  a  man,  iso- 
lated on  a  rugged  farm  in  a  mountainous  French 
province.  98  min. 

TEENAGE  THUNDER  'Howco  International!  Charles 
Courtney,  Melinda  Bryon.  Producer  Jacques  Marquette. 
Director  Paul  Helmick.  Melodrama.  Hot  rods  and 
drag  strips.    75  min. 

October 

BROTHERS  IN  LAW  (Continental)  Ian  Carmichel.  Rich- 
ard Attenborough,  Jill  Adams.  Producer-director,  the 
Boulting  Bros.  Comedy.  Adventures  of  a  young  lawyer. 

DEADLIER  THAN  THE  MALE  Continental)  Jean  Gabin. 
Daniele  Delorme.  Director  Julien  Duvivier.  Melodrama. 
The  duplicity  of  a  seemingly  shy  and  innocent  girl 
leads  to  homicide. 

FOUR  BAGS  FULL  [Trans-Lux]  Jean  Gabin.  Bourvil, 
Jeannerte  Batti.  A  Franco  London  Production.  Director 
Claude  Autant-Lara.  French  Black  Market  Drama.  84 
VIRTUOUS  SCOUNDREL.  THE  IZenith  Amusement 
Enterprises)  Michel  Simon.  Producer-Director  Sacha 
Guitry.  A  comedy  of  irony  which  pokes  a  satirical 
finger   into   the    pretensions   of    Parisian    high  society. 

Nov  em  ber 

A  MAN  ESCAPED  (Continental  Distributing  I  Francois 
Leterrier,  Charles  Leclainche,  Maurice  Beerblock.  Pro- 
ducers Jean  Thullier  and  Alain  Poire.  Director  Robert 
Bresson.  Drama.  Young  French  lieutenant  plans  daring 
escape  from  German  concentration  camp.  94  min. 
10/14. 

AND  GOD  CREATED  WOMAN  Kingsley  International) 
Brigitte  Bardot,  Curd  Jurgens.  Producer-director  Roger 
Vadim.  Drama.  Story  of  a  woman  of  easy  virtue.  100 
min.  10/28. 

BRAIN  FROM  PLANET  AROUS,  THE  I  Howco-Marquette 
for  Howco  International  releasel  John  Agar,  Joyce 
Meadows.  Robert  Fuller.  Producer  Jacques  Marquette. 
Director  Jerry  Juran.  Science-Fiction. 
PLEASE.  MR.  BAIZAC  (DCA)  Daniel  Gelin.  Brigitte 
Bardot.  Producer  Raymond  Eger.  Director  Marc  Alleg- 
ret.  Comedy.  Young  daughter  writes  scandalous  novel. 

RODAN  IDCA)  Technicolor.  A  Toho  Production.  Hor- 
ror. Story  of  a  super-sonic  creature  no  weapon  can 
destroy. 

TEENAGE  BAD  GIRL  DCA)  Sylvia  Syms  Anna  Neagle. 
Producer-Director  Herbert  Wilcoi.  Juvenile  Delin- 
quents. Melodrama. 

TEEN  AGE  MONSTER  I  Howco  International  I  Anne 
Gwynne,  Charles  Courtney.  Producer-director  Jacques 
Marquette.  Horror.  Cosmic  rays  turn  teenager  into 
hairy  monster. 

TEENAGE  WOLF  PACK  IDCA)  Juvenile  Delinquents. 
Melodrama. 

December 

IT'S  GREAT  TO  BE  YOUNG  I  Fine  Arts)  Technicolor. 
John  Mills.  Cecil  Parker  Jeremy  Spenser.  Musical. 
A  spoof  of  the  British  public  school  tradition. 
GERVAISE  (Continental )  Eastman  Color.  Maria  Schell. 
Francois  Perrer.  Director  Rene  Clement.  Drama.  Based 
on  a  famous  novel  by  Emile  Zola.  Drama.  114  min. 
OLD  YELLER  (Walt  Disney  Productions)  Dorothy  Mc- 
Guire.  Fess  Parker,  Chuck  Connors.  Producer  Walt 
Disney.  Director  Robert  Stevenson.  Western.  Tale  of  a 
boy  and  his  dog.  83  min.  I  1/25. 

SILKEN  AFFAIR,  THE  IDCA)  David  Niven,  Genevieve 
Page,  RonaTd  Squire.  Producer  Fred  Feldkamp.  Direc- 
tor Roy  Kellino.  English  Comedy.  96  min. 

Coming 

A  TIME  TO  KILL  (Producers  Associated  Pictures  Co.) 
Jim  Davis,  Don  Megowan,  Allison  Hayes.  Producer  Pat 
Beti.  Director  Oliver  Drake. 

BUFFALO  GUN  Wayne  Morris.  Don  Barry,  Mary  Ellen 
Kaye.   Producer  Al  Milton.  Director  Albert  C.  Ganna- 

DAY  OF  THE  TRUMPET,  THE  IC.  Santiago  Film  Organi- 
lation  Prod.)  John  Agar,  Richard  Arlen,  Bill  Phipps. 
Producer  Harry  Smith.  Director  Eddie  Romero. 
DREAM  MACHINE,  THE  (Amalgamated  Prods.)  Rod 
Cameron,  Marty  Murphy,  Peter  llling.  Producers  Rich- 
ard Gordon  and  Charles  Vetter,  Jr.  Director  Mont- 
gomery Tully. 

ESCAPADE     DCA)    John   Mills,   Yvonne   Mitchell,  Ala- 
stair  Sim.   Producer  Daniel   M.  Angel.   Director  Philip 
Leacock.  Comedy  Drama.  87  min. 
min.  9/14. 


LIGHT  ACROSS  THE  STREET.  THE  UMPO  Brigitte 
Bardot  Raymond  Pellegrin.  Roger  Pigaut  Producer 
Jacques  Gauthier.  Director  Georges  Lacombe.  Drama 
A  French  husband  and  wife  try  to  live  without  normal 
sei  relations,  after  the  husband  had  a  near-fatal  acci- 
dent 76  min. 

LOST  CONTINENT  IIFE)  CinemaScope.  Ferranieolor. 
Producer-director  Leonardo  Bomi.  An  eicursion  into  the 
wilds  of  Borneo  and  the  Maylayan  Archepe  ag;  Eng- 
lish commentary.  84  min. 

MISSOURI  TRAVELER.  THE  Brandon  DeWilde.  Fess 
Parker. 

NEAPOLITAN  CAJ  OUSEL  IIFEl  ILuiFilm,  Rome!  Pathe- 
coior  Print  by  Technicolor.  Sophia  Loren,  Laontde 
Massine.  Director  Ettore  Giannini.  Musical.  The  history 
of  Naples  traced  from  1400  to  date  in  song  and  dance. 

RAISING  A  RIOT  [Continental)  Kenneth  More.  Shelagh 
Fraier,  Mandy.  Producer  lar.  Dalrymple.  Director 
Wendy  Toye.  English  comedy.  90  min. 

STORY    OF   VICKIE.    THE  IBuena    Vista)  Technicolor. 

Romy     Schneider,     Adrian  Hoven.  Producer-director 

Ernst  Marischka.  Drama.  The  romance  of  England's 
Victoria  I. 


METRO-GOLDWYN -MAYER 


September 

ACTION  OF  THE  TIGER  CinemaScope,  Eastman  Color. 
Van  Johnson,  Martine  Carol,  Gustavo  Rocco.  A  Clar- 
idge  Production.  Director  Terence  Young.  Drama  Beau- 
tiful girl  seeks  help  of  contraband  runner  to  rescue 
brother  from  Communists.  94  min. 

HIRED  GUN,  THE  CinemaScope.  Gil  McCord.  Ellen 
Beldon,  Kell  Beldon.  Producers  Rory  Calhoun  and  Vic- 
tor M.  Orsatti.  Director  Ray  Hanaro.  Western.  44 
min.  9/14. 

HOUSE  OF  NUMBERS  CinemaScope.  Jack  Palance. 
Barbara  Lang.  Producer  Charles  Schnee.  Director 
Russell  House.  Melodrama.  Law-abiding  citiien  at- 
tempts to  engineer  San  Quentin  escape  for  his  brother. 
92  min.  7/8. 

LES  GIRLS  CinemaScope,  MetroColor.  Gene  Kelly. 
Mitzi  Gaynor.  Kay  Kendall.  Producer  Sol  C.  Siegel. 
Director  George  Cukor.  Musical.  Dancing  troupe  tour- 
ing Europe.  114  min.  9/30. 

October 

INVISIBLE  BOY,  THE  Richard  Eyer,  Philip  Abbott, 
Diane  Brewster.  Producer  Nicholas  Nayfack.  D<rector 
Herman  Hoffman.  Science-fiction.  Sequel  to  "Forbid- 
den Planet".    90  min. 

UNTIL  THEY  SAIL  CinmeaScope.  Jean  Simmons.  Joan 
Fontaine  Paul  Newman.  Producer  Charles  Schnee.  Di- 
rector Robert  Wise.  Drama.  James  A.  Michener  story 
U.S.    troops    in    New   Zealand    during    World    War  I. 

95  min.  10/14. 

November 

JAILHOUSE  ROCK  Elvis  Presley.  Judy  Tyler.  Producer 
Pandro  Berman.  Director  Richard  Thorpe.  Musical- 
drama.   Youth's   singing   talent   is   fostered   in  prison. 

96  min.  10/14. 

December 

DON'T  GO  NEAR  THE  WATER  CinemaScope  Metro- 
Color.  Glenn  Ford,  Gia  Scala,  Keenan  Wynn.  Producer 
Lawrence  Weingarten.  Director  Charles  Warters. 
Comedy.  Story  of  a  South  Seas  naval  base  during 
World  War  I.    107  min.  11/14. 

January 

RAINTREE  COUNTY  MetroColor.  MGM  Camera  45. 
BiiaaeHi  Taylor,  Montgomery  Clift.  Producer  David 
Lewis.  Director  Edward  Dymtryke.  Drama.  Life  in  Indi- 
ana during  the  middle  1880  s.  IBS  min. 

SADDLE  THE  WIND  Robert  Taylor.  John  Cassavetes 
Julie  London.  Producer  Armand  Deutsch.  Director 
Robert  Parrish. 

Coming 

BAY  THE  MOON  Jose  Ferrer.  Gena  Rowlands.  Jim 
Backus.     Producer   Milo    Frank.     Director  Jose  Ferrer. 

BROTHERS  KARAMAZOV,  THE  MetroColor.  Yul  Bryn- 
ner,  Maria  Schell,  Claire  Bloom.  Producer  Pandro  S. 
Berman.  Director  Richard  Brooks.  Based  on  famous 
novel  by  Dostoyevsky. 

CRY  TERROR  James  Mason,  Inger  Stevens,  Rod  Steiger. 
Producer-director  Andrew  Stone. 

GIGI  CinemaScope  Metrocolor.  Maurice  Chevalier. 
Leslie  Caron.  Louis  Jourdan.  Producer  Arthur  Freed. 
Director  Vincente  Minnelli. 

I  ACCUSE  Jose  Ferrer  Viveca  Lindfors,  Leo  Genn. 
Producer  Sam  Zimbalist.  Director  Jose  Ferrer.  Drama. 
French  officer  unjustly  accused  of  treason. 

MERRY  ANDREW  CinemaScope,  Metrocolor.  Ddnny 
Kaye,  Pier  Ageli,  Baccpopmo.  Producer  Sol  C.  Siegel. 
Director  Michael  Kidd. 

MOCK  TRIAL  Dean  Jones,  Joan  O'Brien.  Thomas  Mit- 
chell. John  Smith.  Producer  Morton  Fine.  Director 
David  Friedkin. 

SEVEN  HILLS  OF  ROME  LeCloud  Productions.  Mario 
Lania.  Marisa  AHasio.  Producer  Lester  Welch.  Director 
Roy  Rowland. 

SHEEPMAN.  THE  CinemaScope  Metrocolor.  Glenn 
Ford.  Shirley  MacLaine.  Leslie  Nielson.  Producer  Ed- 
mund Grainger.    Director  George  Marshall. 

UNDERWATER  WARRIOR  Dan  Dailey.  Claire  Kelly. 
Producer  Ivan  Tors,   Director  Andrew  Marton. 


PARAMOUNT 


September 

MR.  ROCK  AND  ROLL  Alan  Freed.  Rocky  Grailano, 
Lois  O'Brien.  Producers  Serpe  and  Kreitsek.  Director 
Charles  Dubin.  Musical.  Disc  jockey  establishes  au- 
thenticity of  rock  and  roll.   84  min. 

SHORT  CUT  TO  HELL  VistaVision  Robert  Uers  Wil- 
liam Bishop.  Georgann  Johnson.  Producer  A.  C.  Lyles. 
Director  James  Cagney.  Drama  Story  of  a  profes- 
sional killer  with  a  gun  for  hire.  87  min.  10/14. 
STOWAWAY  GIRL  Trevor  Howard,  Elsa  Martinell. 
Pedro  Armandarii.  Producer  Ivan  Fo»well.  Director 
Guy  Hamilton.  Drama.  A  beautiful  girt  stows  away  on 
a  tramp  steamer.  93  min.  9/30. 

October 

HAIRPIN  DEVIL'S,  THE  VistaVision  Technicolor.  Cornel 
Wilde,  Jean  Wallace,  Mary  Astor.  Producer-director 
Cornel  Wilde.  Adventure.  Story  which  deals  with 
sports  car  racing.    82  min.  10/14. 

HEAR  ME  GOOD  Hal  March,  Joe  E.  Ross  Merry 
Anders.  Producer-Director  Don  McGuire.  Comedy. 
Broadway  con-men  hounded  by  creditors.  .80  min.  10/28 

JOKES  IS  WILD.  THE  VistaVision,  Technicolor.  Frank 
Sinatra,  MItii  Gaynor,  Jeanne  Craln  Producer  Sarmial 
Mains.  Director  Charles  Victor.  Drama.  Film  biography 

of  Joe   E.    Lewis,   nightclub   comedian.    123   min.  9/2. 

November 

TIN  COMMANDMENTS,  THE  VistaVision  Technicolor. 
Caarltoa  Hestos  Yul  Brynner  Annt  Bai*e'.  Droducer- 
direct-^  Cecil  I.  DeMille.  Religious  drama.  Life  ite»-» 
of  Moses  as  told  in  the  Bible  and  Koran.  219  min.  10/15 

TIN  STAR.  THE  VistaVision.  Hanry  Fonda,  Anthony 
Perkins,.  A  Perlnerg-Seaton  Production.  Director  An- 
thony Mann.  Western.  Bounty-hunting  in  the  old  west. 
93  min.  10/14. 

ZERO  HOUR  Dana  Andrews,  Sterling  Hayden.  Pro- 
ducers John  Champion  and  Hall  Bartlett.  Director  Hall 
Bartlett.  Drama.  A  man  battles  for  his  life  and  love. 
81  min.  I0/2B. 

December 

SAD  SACK  VistaVision,  Technicolor.  Jerry  Lewis.  David 
Wayne.  Producer  Hal  Willis.  Director  George  Mar- 
shall. Comedy.  Life  in  the  Army.  98  min.  10/28. 

SPANISH  AFFAIR  VistaVision,  Technicolor.  Carmen 
Seville,  Richard  Kiley.  Producer  Bruce  Odium.  Director 
Donald  Siegel.  Adventure.  An  American  architect 
travelling  in  Spain  is  attracted  to  a  beautiful  girl. 
half-Gypsy,  half-Spanish. 

January 

DESIRE  UNDER  THE  ELMS  Sophia  Loren.  Anthony  Per- 
kins. Burl  Ives.  Producer  Don  Hartman.  Director  Del- 
bert  Mann.  Drama.  Emotional  conflicts  of  a  farmer, 
his  son  and  his  second  wife. 

Coming 

BUCCANEER.  THE  Technicolor.  VistaVision.  Yul  Bryn- 
ner. Charlton  Heston.  Charles  Boyer.  Claire  Bloom. 
Producer  Henry  Wilcoxon.    Director  Anthony  Quinn. 

FLAMENCA  VistaVision.  Color.  Carmen  Sevilla,  Rich- 
ard Kiley.  Producer  Bruce  Odium.  Director  Donald 
Siegel. 

FROM  AMONGST  THE  DEAD  VistaVision,  Technicolor. 
James  Stewart,  Kim  Novak.  Barbara  Bel  Geddes.  Pro- 
ducer-director Alfred  Hitchcock. 

HOT  SPELL  VistaVision  Shirley  Booth  Anthony  Quinn, 
Shirley  MacLaine.  Producer  Hal  Wallis  Director  Dan- 
iel Mann.  Drama.  The  disintegration  of  a  Southern 
family  during  a  torrid  heat  wave. 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


HOUSEBOAT  VistaVision,  Technicolor.  Cary  Grant, 
Sophia  Loren.  Producer  Jack  Rose.  Director  Melville 
Shavelson.  Maid  reunites  family  and  becomes  wife  of 
master. 

MATCHMAKER,  THE  VistaVision.  Shirley  Booth,  An- 
thony Perkins,  Shirley  MacLaine.  Producer  Don  Hart- 
man.  Director  Joseph  Anthony.  Comedy.  Lovable 
widow  becomes  matchmaker  for  herself. 

ST.  LOUIS  BLUES  VistaVision.  Nat 
Kitt,  Pearl  Bailey.  Ella  Fitzgeralc 
Smith.    Director  Allan  Reisner. 

TEACHER'S  PET  VistaVision.  Clark  Gable,  Doris  Day. 
A  Pearlberg-Seaton  Production.  Director  George  Sea- 
ton.  Comedy.  Tough  newspaper  editor  and  college 
journalism  teacher  have  a  ball. 

WILD  IS  THE  WIND  VistaVision.  Anna  Magnani,  An- 
thony Quinn.  Producer  Hal  Wallis.  Director  John 
Sturges.  Drama.  Love,  hate,  and  violence  on  a  Nevada 
sheep  ranch. 


August 


GENTLE  TOUCH.  THE  Technicolor.  George  Baker,  Be- 
linda Lee.  Producer  Michael  Bakon.  Director  Pat 
Jackson.  Drama.  Nurse  and  doctor  fall  in  love,  and 
nurse  is  faced  with  making  choice  between  career  or 
marriage.  86  min. 

October 

AN  ALLIGATOR  NAMED  DAISY  Technicolor,  Vista- 
Vision. Donald  Sinden,  Diana  Dors.  Producer  Raymond 
Stross.  Director  J.  Lee-Thompson.  Comedy.  Alligator  is 
responsible  for  breakup  between  couple  who,  as  a 
result  find  more  suitable  mates.   88  min. 

SPANISH  GARDENER  Technicolor,  VistaVision.  Dirk 
Bogarde.  Jen  Whiteley.  Drama.  Producer  John  Bryan. 
Director  Philip  Leacock.  Gardener  deverts  affections 
of  boy  from  his  father.  95  min. 

November 

AS  LONG  AS  THEY'RE  HAPPY  Eastman  Color.  Jack 
Buchanan,  Janette  Scott.  Producer  Raymond  Stross. 
Director  J.  Lee-Thompson.  Comedy.  Father  and  two 
sons-in-law  become  Jealous  of  crooner  who  has 
charmed  their  wives.    76  min.  10/14. 

PURSUIT  OF  THE  GRAF  SPEE  Technicolor,  VistaVision. 
John  Gregson,  Anthony  Quayle.  Producer-director 
Michael  Powell  &  Emeric  Pressburger.  Adventure.  Story 
of  first  historic  naval  action  of  WWI  which  took  place 
on  River  Plate.    106  min.  10/14. 

January 

ACROSS  THE  ERIDGE  Rod  Steiger,  David  Knight,  Mar- 
la  Landi,  Noel  Willman.  Producer  John  Stafford.  Di- 
rector Ken  Annakin.  Melodrama.  Scotland  Yard  de- 
tective hunts  international  high-finance  crook  in  Mexi- 
co.  103  min.  10/28. 


REPUBLIC 


September 

OPERATION  CONSPIRACY  Philip  Friend,  Leslie  Dwyer, 
Mary  Mackenzie.  Director  Joseph  Sterling.  Producer 
A.  R.  Rawlinson.  Melodrama.  Fashion  reporter  solves 
murder.   6?  min. 

PAWNEE  Trucolor.  George  Montgomery,  Bill  Williams, 
Lola  Albright.  Director  George  Wagner.  Western. 
Cavalry    puts   down    high-riding    Pawnee    Indians.  80 

TAMING  SUTTON'S  GAL  Naturama.  John  Lupton, 
Jack  Kelly,  May  Wynn.  Director  Lesley  Selander.  Pro- 
ducer William  J.  O'Sullivan.  Drama.  A  young  bank 
clerk  finds  a  gal  in  the  back  hill  country  of  California. 

WAYWARD  GIRL,  THE  Naturama.  Marcia  Henderson, 
Peter  Walker.  Producer  W.  J.  O'Sullivan.  Director 
Lesley  Selander.  Melodrama.  Daughter  arrested  for 
murder  by  her  stepmother  proves  innocence.  71  min. 

October 

HELL  CANYON  OUTLAWS  Dale  Robertson,  Brian  Keith, 
Rossana  Rory.  Producer  T.  F.  Woods.  Director  Paul 
Landres.  Western.  Ousted  sheriff  restores  order  to 
town.    72  min. 

PANAMA  SAL  Naturama.  Elena  Verdugo,  Edward 
Kemmer.  Producer  Edward  White.  Director  W.  Wit- 
ney.  Drama.   The  making  of  a  singer.   70  min. 


Coming 


CROOKED  CIRCLE,  THE  John  Smith,  Fay  Spain,  Steve 
Brodie.  Producer  Rudy  Ralston.  Director  Joe  Kane. 
Drama.  Sports  editor  suspects  death  of  fighter  is  mur- 
der. 72  min. 

DEAD  END  STREET  Roland  Culver,  Patricia  Roc,  Paul 
Carpenter. 

EIGHTEEN    AND    ANXIOUS  Mar 

Campbell,  Martha  Scott.  91  min. 


Webste 


Willi 


GUN  FIRE  Vera  Ralston,  Anthony  George,  George 
Macready.  Producer  Rudy  Ralston.  Director  Joe  Kane 
Western.  70  min. 


RAIDERS  OF  OLD  CALIFORNIA  Jim  Davis.  Arleen 
Whelan,  Faron  Young.  Producer  Albert  C.  Gannaway. 
Western.  Army  officer  determines  to  become  powerful 
landowner.    72  min. 

STREET  OF  DARKNESS  Robert  Keyes,  John  Close, 
Sheila  Ryan. 


Fusek,  Martin 


YOUNG  MOTHER  Mary  Webster,  William  Campbell, 
Martha  Scott.  Producer  Edmond  Chevie.  Director  Joe 
Parker. 


20TH  CENTURY-FOX 


September 


BACK  FROM  THE  DEAD  Regal  scope  Peggy  Castle, 
Marsha  Hunt,  Arthur  Franz.  Producer  R.  Stabler.  Di- 
rector C.  Warren.    Horror.    79  min. 

COPPER  SKY  Regalscope.  Jeff  Morrow,  Coleen  Gray. 
Producer  R.  Stabler.  Director  C.  Warren.  Melodrama. 
77  min. 

DEERSLAYER,  THE  CinemaScope,  DeLuxe  Color.  Lex 
Barker,  Forrest  Tucker,  Rita  Moreno.  Producer-director 
K.  Newmann.   Adventure.    78  min. 

FORTY  GUNS  CinemaScope.  Barbara  Stanwyck,  Barry 
Sullivan,  Gene  Barry.  Poducer-director  Samuel  Fuller. 
Adventure.  A  domineering  woman  attempts  to  rule  a 
western  town  by  force.   80  min.  10/14. 

SUN  ALSO  RISES,  THE  CinemaScope,  DeLuxe  Color. 
Ava  Gardner,  Mel  Ferrer,  Tyrone  Power.  Producer  D. 
Zanuck.  Director  Henry  King.  Drama.  From  Ernest 
Hemingway's  famous  novel.  129  min.  9/2. 

UNKNOWN  TERROR,  THE  Regalscope.  John  Howard, 
May  Wynn,  Mala  Powers.  Producer  R.  Stakler.  Direc- 
tor C.  Warren.  Horror.  77  min. 


October 


ABOMINAELE  SNOWMAN  OF  THE  HIMALAYAS  For- 
rest Tucker,  Peter  Cushing.  Producer  Michael  Carreras. 
Director  Van  Guest.  Science-fiction  drama  dealing 
with  the  search  for  a  half-human,  half-beast  monster  of 
the  Himalayas.   85  min.  I  1/25. 


NO  DOWN  PAYMENT  CinemaScope.  Jeff  Hunter,  Bar- 
bara Rush,  Sheree  North,  Cameron  Mitchell.  Producer 
Jerry  Wood.  Director  Martin  Ritt.  Drama.  Problems 
of  four  married  couples  in  new  housing  development. 
105  min.  9/30. 

Kennedy. 

THREE   FACES   OF  EVE.   THE   David   Wayne,  Joanne 

Woodward.  Producer  Nunnally  Johnson.  Director  Nun- 
nally  Johnson.  Drama.  Story  of  a  woman  with  three 
distinct  personalities.    91  min. 

November 

APRIL  LOVE  CinemaScope-DeLuxe  color.  Pat  Boone, 
Shirley  Jones.  Producer  David  Weisbert.  Director 
Henry  Levin.  Musical.  Love  story  of  a  boy  on  proba- 
tion. 97  min.   I  1/25. 

RIDE  A  VIOLENT  MILE  Regalscope.  Gene  Raymond, 
Wayne  Morris.  Producer-director  R.  Stabler.  Melo- 
drama. 

STOPOVER  TOKYO  Robert  Wagner,  Joan  Collins,  Ed- 
mund O'Brien.  Producer  W.  Reisch.  Director  R.  Breen. 
Drama.  Pilot  forced  to  stop  over  in  Tokyo  sol.ves  mys- 
tery.   100  min.  11/14. 

UNDER  FIRE  Regalscope  Rex  Reason,  Henry  Morgan, 
Steve  Bodine.  Producer  P.  Skouras.  Director  J.  Clark. 
Drama.    78  min. 

December 


ESCAPE  FROM  RED  ROCK  Regalscope.  Brian  Donlevy, 
J.  C.  Flippen,  Eileen  Janssen.  Producer  B.  Glasser. 
Director  E.  Bernds.  Western. 


KISS  THEM  FOR  ME  CinemaScope,  DeLuxe  Color. 
Cary  Grant,  Jayne  Mansfield,  Suzy  Parker.  Producer 
Jerry  Wald.  Director  Stanley  Donen.  Comedy.  Three 
war  buddies  on  leave  paint  the  town  red.  105  min. 
11/14. 

PLUNDER  ROAD  Gene  Raymond,  Wayne  Morris,  Jeanne 
Cooper.  Producer  L.  Stewart.  Director  H.  Cornfield. 
Drama. 

January 

PEYTON  PLACE  Jerry  Wald  Prods.  CinemaScope,  De 
Luxe  Color.  Lana  Turner,  Lloyd  Nolan,  Hope  Lange. 
Producer  Jerry  Wald.  Director  Mark  Robson. 


Coming 


AMBUSH  AT  COMARRON  PASS  Regal  Films.  Brian 
Donlevy,  Jay  C.  Flippen.  Producer  Bernard  Glasser. 
Director  Edward  Bernds.  Western. 

BEAUTIFUL  IUT  DANGEROUS  Gina  LoHobrigida,  Vit- 
torio  Gassman.  Producer  ManueMa  MalotH.  Director 
Robert  Leonard.  Drama. 


BLOOD  ARROW  Scott  Brady,  Phyllis  Coates,  Diane 
Darrin.  Producer  Robert  Staber.  Director  C.  M. 
Warren. 

CATTLE  EMPIRE  CinemaScope.  Joel  McCrea.  Pro- 
ducer Robert  Stabler.  Director  Charles  Warren. 
ENEMY  BELOW,  THE  CinemaScope,  Color.  Robert 
Mitchum,  Curd  Jurgens.  Producer-Director  Dick  Powell. 
A  life-and-death  struggle  between  a  German  U-boat 
and  an  American  destroyer.  92  min.  11/25. 
GIFT  OF  LOVE,  THE  CinemaScope,  Color.  Robert 
Stack,  Lauren  Bacall,  Evelyn  Rudie.  Producer  Charles 
Brackett.    Director  Jean  Negulesco. 

HELLBENT  KID,  THE  CinemaScope.  DeLuxe  Color.  Don 
Murray,  Diane  Varsi,  Ken  Scott.  Producer  Robert 
Buckner.    Director  Henry  Hathaway. 

LONG  HOT  SUMMER  Paul  Newman,  Anthony  Fran- 
ciosa,  Joanne  Woodward.  Producer  Jerry  Wald.  Di- 
rector Martin  Ritt. 

SHADOW  OF  A  GUNMAN  Charles  Bronson.  John  Car- 
radine.  Producer  Harold  Knox.  Director  Gene  Fow- 
ler, Jr. 

SINGIN'  IDOL,  THE  CinemaScope  Tommy  Sands,  Ed- 
mund O'Brien,  Nick  Adams.  Producer-director  Henry 
Ephron. 

SOUTH  PACIFIC  Todd-AO,  Technicolor.  Rossano  Brazzi, 
Mitzi  Gaynor,  John  Kerr.  Producer  Buddy  Adler.  Di- 
rector Joshua  Logan. 

TOWNSEND  HARRIS  STORY,  THE  CinemaScope.  De- 
Luxe  Color.  John  Wayne.  Producer  Eugene  Frenke. 
Director  John  Huston. 

YOUNG  AND  DANGEROUS  Regal  Films.  Lil  Gentle. 
Mark  Damon,  Ann  Doran.  Producer-Director  William 
F.  Claxton.    78  min. 

YOUNG  LIONS.  THE  CinemaScope.  Marlon  Brando. 
Montgomery  Clift,  Joanne  Woodward.  Producer  Al 
Lichtman.  Director  Edward  Dmytryk. 

VIOLENT  ROAD,  THE  Regal  Films.  Gene  Raymond, 
Wayne  Morris,  Jeanne  Cooper.  Producer  Leon  Choo- 
luck  and  Laurence  Stewart.  Director  Hubert  Cornfield. 


JNiTED  ARTISTS 


September 

CARELESS  YEARS,  THE  Natalie  Trundy,  Dean  Stock- 
well.  Producer  Edward  Lewis.  Director  Arthur  Hiller. 
Drama.  Two  lovers  meet  parental  resistance  when  they 
decide  to  get  married.  70  min. 

CHICAGO  CONFIDENTIAL  Brian  Keith,  Beverly  Gar- 
land, Dick  Foran.  Producer  Robert  Kent.  Director  Sid- 
ney Salkow.  Melodrama.  Syndicate  tries  to  gain  con- 
trol of  labor  union.  73  min.  9/2. 

ENEMY  FROM  SPACE  Brian  Donlevy,  John  Longden. 
Sydney  James.  Producer  Anthony  Hinds.  Director  Val 
Guest.  Science-fiction.  84  min. 

GUNSIGHT  RIDGE  Joel  McCrea,  Mark  Stevens.  Pro- 
ducer Robert  Bassler.  Director  Francis  Lyon.  Western. 
Stranger  discovers  respected  citizen  is  really  a  holdup 
man.  85  min. 

SATCHMO  THE  GREAT  Louis  Armstrong,  Edward  R. 
Murrow,  Leonard  Bernstein.  Producers  Edward  R.  Mur- 
row  and  Fred  VV.  Friendly.  Film  story  of  Louis  Arm- 
strong's international  jazz  tour.   63  min.  9/16. 

STREET  OF  SINNERS  George  Montgomery,  Geraldine 

Brooks.  Producer-director     William     Berke.  Drama. 

Rookie  policeman  clashes  with  youthful  criminals. 
76  min. 


October 


HELL  BOUND  John  Russel,  June  Blair.  Producer  How- 
ard Koch.  Director  William  Hole,  Jr.  Melodrama. 
Story  of  a  conspiracy  to  hijack  a  shipment  of  narcotics. 
79  min. 

MUSTANG  Jack  Beutel,  Madalyn  Trahey.  Producer 
Robert  Arnell.  Director  Peter  Stephens.  Western 
Drama. 

TIME  LIMIT  Richard  Widmark,  Richard  Basehart.  Pro- 
ducer William  Reynolds.  Director  Karl  Maiden.  Drama. 
Story  of  prisoner-of-war  turncoats.  96  min.  9/30. 


November 


LEGEND  OF  THE  LOST  John  Wayne,  Sophia  Loren. 
Rossano  Brazzi.  Producer-director  Henry  Hathaway.  Ad- 
venture   Sea.rch  for  treasure  in  the  Sahara.. 

December 

BABY  FACE  NELSON  Mickey  Rooney,  Carolyn  Jones, 
Sir  Cedric  Hardwicke.  Producer  Al  Zimbalist.  Director 
Don  Siegel.  Drama.  Story  of  one  of  America's  notori- 
ous gangsters.  85  min.  11/25. 

HELL  BOUND  John  Russell,  June  Blair.  Producer  Au- 
brey Schenk.  Director  William  Hole,  Jr.  Adventure. 
Hi-jacking  on  the  high  seas. 

PATHS  OF  GLORY  Kirk  Douglas,  Ralph  Meeker, 
Adolphe  Menjou.  Producer  James  B.  Harris.  Director 
Stanley  Kubrick.    World  War  I   courtroom  drama.  86 


Coming 


BIG  COUNTRY,  THE  Technirama.  Gregory  Peck, 
Charlton  Heston,  Jean  Simmons.  Producers  Gregory 
Peck,  Wifliam  Wyler.    Director  William  Wyler. 

CHINA  DOLL  Victor  Mature,  Lili  Hua.  Producer-Di- 
rector Frank  Borzage.  Drama.  United  States  Air  Force 
Captain  marries  a  Chinese  girl. 


BULLETIN 


S     YOUR  PRODUCT 


EDGE  OF  FURY  Michael  Higgins.  Lois  Holmes.  Pro- 
ducer Robert  Gurney.  Jr.  Directors  Robert  Gurney. 
Jr.  and  Irving  Lerner.  Suspense  Thriller  based  on  the 
lovel  "Wisteria  Cottage". 


:ORT  MASSACRE  Joel  McCrea.  Forrest  Tucker.  Susan 
;abot       Producer    Walter    Mirisch.     Director  Joseph 

SOD'S  LITTLE  ACRE  Robert  Ryan.  Aldo  Ray.  Tina 
.ouise.  Producer  Sidney  Harmon.  Director  Anthony 
Hsrfann. 

I  BURY  THE  LIVING  Richard  Boone.  Peggy  Maurer. 
Producers  Band  and  Garfinkle.    Director  Albert  Band. 

ISLAND  WOMEN  Marie  Windsor.  Vince  Edwards.  Pro- 
iucer-director  William  Berke.  Musical.  Calypso  film 
:ilmed  in  the  Bahama  Islands. 

PARIS  HOLIDAY  Bob  Hope,  Fernandel,  Anita  Ekberg. 
i  Director  Gerd  Oswald. 

PROUD  REBEL,  THE  Technicolor.  Alan  Ladd.  Olivia 
deHaviland.  David  Ladd.  Producer  Samuel  Goldwyn, 
Jr.    Director  Michael  Curtii. 

OUIET  AMERICAN  Audle  Murphy,  Michael  Redgrave. 
Claude  Dauphin.  Figaro  Production.  Director  Joseph 
Mankiewicz.  Drama.  Story  set  against  the  recent 
fighting  in  IndoChina. 

RIDE  OUT  FOR  REVENGE  Rory  Calhoun.  Gloria  Gra- 
hame,  Joanne  Gilbert.  Producer  Norman  Retchin.  Di- 
rector Barney  Girard. 

RUN  SILENT,  RUN  DEEP  Clark  Gable.  Burt  Lancaster, 
j  Producer  Harold  Hecht.    Director  Robert  Wise. 
10  DAYS  TO  TULARA  Sterling  Hayden    Rodolfo  Hoyos. 
Producers  George  Sherman,  Clarence   Eurist.  Director 
George  Sherman. 

THUNDER  ROAD  Robert  Mitchum,  Gene  Barry,  Jacques 
[Aubuchon.  Producer  Robert  Mitchum.  Director  Arthur 
Ripley. 

TOUGHEST  GUN  IN  TOMBSTONE  George  Montgom- 
ery. Producer  Robert  Kent.  Director  Earl  Bellamy. 
VIKINGS,  THE  Kirk  Douglas,  Tony  Curtis,  Ernest  Bora- 
nine.  Producer  Jerry  Bresler.  Director  Richard  Fleischer. 
WINK  OF  AN  EYE  Jonathan  Kidd.  Doris  Dowling. 
Irene  Seidner.  Producer  Fernando  Carrere  Director 
Winston  Jones. 

WITNESS  FOR  THE  PROSECUTION  Tyrone  Power 
Marlene  Dietrich.  Charles  Laughton.  Producer  Arthur 
Hornblow,  Jr.  Director  Billy  Wilder.  Tha 
of  a  perfect  crime.  I  14  min.  I  1/25. 


U  N  I  VERSA  L- 1  NT'  L 


September 

INTERLUDE   Technicolor,    CinemaScope.   June  Allyson, 
Rossano  Brazzi.  Producer  Ross  Hunter.  Director  Douglas 
*  Sirk.   Drama.   American  doctor  falls  in   love  with  wife 
j  of  famous  composer  in  Munich.  89  min.  6/24. 

JET    PILOT    Technicolor,     SuperScope.     John  Wayne, 
:  Janet    Leigh.    Howard    Hugnes    Production.  Producer 
Jules  Furthman    Director  Josef  von  Sternoerg.  Drama. 

i  The  story  of  a  Russian  woman  pilot  and  an  American 
I  iet  ace.  112  min.  9/30. 

i  JOE  DAKOTA  Eastman  Color.    Jock   Mahoney,  Luana 
|  Patten.     Producer  Howard   Christie.     Director  Richard 
Bartlett.    Drama.    Stranger  makes  California  oil  town 
i  see  the  error  of  its  ways.   79  min. 

RUN  OF  THE  ARROW  Technicolor.  Rod  Steiger,  Sarita 
I  Montiel,  Ralph  Meeker.  Producer-director  Sam  Fuller. 
I  Adventure.  Young  sharpshooter  joins  Sioux  Indians  at 
j  close  of  Civil  War.  86  min.  6/24. 

SLAUGHTER  ON  TENTH  AVENUE  CinemaScope.  Rich- 
ard Egan,  Jan   Sterling,   Dan   Duryea.    Producer  Albert 

j  Zugsmith.   Director  Arnold   Laven.  An  expose  of  New 

I  York  waterfront  warfare.    103  min.  9/16. 
THAT  NIGHT  John  Beal,  Augusta  Dabney,  Shepperd 

.  Strudwick.      Producer    Hiram    Brown     Director  John 

,  Newland.    Drama.   A   tragedy   almost   shatters   a  15- 

I  year-old  marriage.  88  min. 

October 

MAN  OF  A  THOUSAND  FACES  CinemaScope.  James 
Cagney,  Dorothy  Malone.  Producer  Robert  Arthur.  Di- 
rector Joseph  Pevney.  Drama.  Life  story  of  Lon  Chaney. 
125  min.  7/22. 

OUANTEZ  CinemaScope,  Eastman  Color.  Fred  Mac- 
Murray,  Dorothy  Malone.  Producer  Gordon  Kay.  Direc- 
tor Harry  Keller.  Drama.  A  study  of  five  people  in- 
volved in  a  robbery  and  killing.  80  min.  9/2. 
I  SLIM  CARTER  Color.  Jock  Mahoney,  Julie  Adams, 
Tim  Hovey.  Producer  Howie  Horwitz.  Director  Richard 
Bartlett.  Girl  press  agent  makes  Western  star  of  no- 
good  cafe  enertainer.  82  min.  10/14. 
UNHOLY  WIFE,  THE  Technicolor.  Diana  Dors,  Rod 
Steiger,  Marie  Windsor.  Producer-director  John  Far- 
row. Drama.  A  wife  cunningly  plots  the  death  of  her 
husband  who  she  has  betrayed.  94  min.  9/2. 

November 

ESCAPADE  IN  JAPAN  Color.  T«resa  Wright,  Cameron 
1   Mitchell,  Jon  Provost,  Roger  Nafagaws.  Produeer-dlrac- 

tor  Arthur  Lubin.    Drama.    Search  for  two  boys  who 
start  out  in  the  wrong  direction  to  find  the  very  peo- 
I    pie  who  are  trying  to  find  them.   92  min.  9/16. 

LOVE  SLAVES  OF  THE  AMAZONS  Color.  Don  Taylor, 
Siana  Sigale.  Producer-Director  Curt  Siodnak. 
MONOLITH  MONSTERS,  THE  Grant  Williams,  Lola 
Albright.  Producer  Howard  Christie.  Director  John 
Sherwood.  Science-fiction.  Army  of  rocks  threaten  U.S. 
MY  MAN  GODFREY  CinemaScope,  Technicolor.  June 
Allyson,  David  Niven.  Producer  Ross  Hunter.  Director 
Henry  Koster.  Comedy.  Story  of  a  topsy-turvy  butler. 
92  min.  9/2. 


December 

ALL  MINE  TO  GIVE  Eastman  Color.  Glynis  Johns. 
Cameron  Mitchell,  Rex  Thompson.  Producer  Sam  Weis- 
enthal.  Director  Allen  Reisner.  Drama.  The  story  of  a 
Scottish  immigrant  couple  in  Wisconsin  in  the  19th 
century.   102  min.  10/28. 

TARNISHED  ANGELS,  THE  CinemaScope  Rock  Hud- 
son. Robert  Stack.  Dorothy  Malone.  Jack  Carson 
Producer  Albert  Zugsmith.  Director  Douglas  Sirk. 
Drama  Reporter  uncovers  World  War  I  hero  of  the 
Lafayette  Escadrille.    91   min.  11/14. 

January 

GIRL  MOST  LIKELY,  THE  Eastmai  Color.  Jane  Powell, 
Cliff  Roberttoa,  Keith  Andes.  Producer  Stanley  Rublin. 
Director  Mitchell  Leiion.  Comedy.  A  girl  is  proposed 
to  by  three  men  o*  the  same  day. 

THIS  IS  RUSSIA  Eastman  Color.  Documentary  of  life 
in  Russia. 

VIOLATORS,  THE  Arthur  O'Connell,  Nancy  Malone. 
Producer  H.  Brown.  Director  John  Newland.  Drama. 
Story  of  a  probation  officer  in  the  New  York  City 
courts. 


Coming 


LADY  TAKES  A  FLYER.  THE  CinemaScope,  Color.  Lana 
Turner.  Jeff  Chandler,  Richard  Denning.  Producer  Wil- 
liam Alland.  Director  Jack  Arnold.  Drama.  Pilot  and 
wife  realize  true  love  in  the  air. 

BIG  BEAT,  THE  Color.  William  Reynolds,  Andra  Mar- 
tin. Producer-Director  Will  Cowan. 

CHRISTMAS  IN  PARADISE  Color.  Dan  Duryea.  Jan 
Sterling,  Patty  McCormack.  Producer  Sy  Gomberg. 
Director  Jack  Sher. 

DAMN  CITIZEN  Keith  Andes,  Margaret  Hayes,  Gene 
Evans.  Producer  Herman  Webber.  Director  Robert 
Gordon.  Real  estate  man  becomes  leader  of  police 
in  fight  against  crime. 

DARK  SHORE,  THE  CinemaScope.  George  Nader,  Cor- 
nell Borchers.  Michael  Ray.  Producer  Robert  Arthur. 
Director  Abner  Biberman. 

DAY  OF  THE  BAD  MAN  CinemaScope.  Fred  MacMur- 
ray,  Joan  Weldon,  John  Ericson,  Robert  Middleton. 
Producer  Gordon  Kay.  Director  Harry  Keller.  West- 
ern. Brothers  of  a  murderer  attack  town  on  day  of 
trial. 

DEATH  RIDES  THIS  TRAIL  CinemaScope,  Color.  Will 
Rogers,  Jr.  Maureen  O'Sulilvan.  Producer  John  Hor- 
ton.    Director  Charles  Haas. 

FEMALE  ANIMAL,  THE  CinemaScope.  Hedy  Lamarr, 
Jane  Powell,  Jan  Sterling.  Producer  Albert  Zugsmith. 
Director  Harry  Keller.  Beautiful  movie  star  tries  to 
buy  a  husband. 

FOR  LOVE  OR  MONEY  CinemaScope,  Color.  Debbie 
Reynolds.  Curt  Jergens  John  Saxon.  Producer  Ross 
Hunter.    Director  Blake  Edwards. 

HEMP  BROWN  CinemaScope,  Color.  Rory  Calhoun. 
Beverly  Garland.  Producer  Gordon  Kay.  Director 
Harry  Keller. 

I  MARRIED  A  WOMAN  George  Gobel,  Diana  Dors, 
Adolph  Menjou.  Producer  William  Bloom.  Director  Hal 
Kanter.  Coemdy  Wife  objects  to  taking  seco«d  place 
to  a   beer  advertising   campaign   with   her  husband. 


MAN  IN  THE  SHADOW  CinemaScope.  Jeff  Chandler, 
Orson  Welles.  Producer  Albert  Zugsmith.  Director 
Jack  Arnold.  Drama.  Sheriff  destroy*  one-man  domina- 
tion of  Texas  town. 

MAN  WHO  ROCKED  THE  BOAT,  THE  CinemaScope 
Richard  Egan.  Jan  Sterling,  Dan  Duryea.  Producer 
Albert  Zugsmith.  Director  Arnold  Laven. 
MIDDLE  OF  THE  STREET  CinemaScope.  Color.  Audie 
Murphy.  Gia  Scala.  Producer  Howard  Pine.  Director 
Jesse  Hibbs. 

MONEY,  WOMEN  AND  DREAMS  CinemaScope  C^lcr. 
Jock  Mahoney.  Jean  Hagen.  Jeffrey  Stone.  Producer 
Howie  Horowitz.  Director  Richard  Bartlett. 
NO  POWER  ON  EARTH  CinemaScope.  Richard  Egan. 
Julie  London,  Arthur  O'Connell.  Producer  Gordon 
Kay.    Director  Harry  Keller. 

ONCE  UPON  A  HORSE  Dan  Rowan.  Dick  Martin. 
Martha  Hyer.  Producer-director  Hal  Kanter. 
RAW  WIND  IN  EDEN  CinemaScope.  Color.  Esther 
Williams,  Jeff  Chandler.  Producer  William  Alland. 
Director  Richard  Wilson.  Couple  crash  on  island  and 
are  stuck  for  weeks. 

SUMMER  LOVE  John  Saxon,  Judy  Meredith.  Producer 
William  Grady,  Jr.  Director  Charles  Haas.  Loves  and 
troubles  of  combo  on  first  job. 

TEACH  ME  HOW  TO  CRY  CinemaScope.  John  Saxon, 
Sandra  Dee,  Teresa  Wright.  Producer  Ross  Hunter. 
Director  Helmut  Dantine. 

WESTERN  STORY,  THE  CinemaScope.  Color.  Jock 
Mahoney,  Gilbert  Roland.  Producer  Howard  Christie. 
Director  George  Sherman. 


WARNER  BROTHERS 


September 


October 

BLACK  SCORPION,  THE  Richard  Denning,  Mara  Cor- 
day.  Carlos  Rivas.  Horror.  Mammoth  scorpions  emerge 
to  terrify  earthpeople.  88  min.  10/14. 
HELEN  MORGAN  STORY.  THE  CinemaScope.  Ann 
Blyth.  Paul  Newman.  Producer  Martin  Rackin.  Director 
Michael  Curtiz.  Drama.  Biographical  film  of  an  ill- 
fated  torch  singer.  118  min.  9/30. 

November 

EOMBERS  B-52  CinemaScope,  WarnerColor.  Karl  Mai- 
den Natalie  Wood.  Producer  Richard  Whorf.  Director 
Gordon  Douglas.  Drama.  Story  of  the  men  who  man 
the  bombers  that  defend  our  nation.  106  min.  11/14. 
GREEN-EYED  BLONDE,  THE  Susan  Oliver  Linda  Plow- 
man Beverly  Long.  Producer  Martin  Melcher.  Director 
Bernard  Girard.  Melodrama.  Life  at  an  institution  for 
wayward  teen-age  mothers. 

December 

DARBY'S  RANGERS  WarnerColor.  Charles  Heston,  Tab 
Hunter  Etchika  Choureau.  Producer  Martin  Rackin.  Di- 
rector William  A.  Wellman.  Drama. 
DEEP  SIX,  THE  Jaguar  Prods.  Alan  Ladd,  Dianne  Fos- 
ter. Producer  Martin  Rackin.  Director  Rudy  Mate. 
Drama. 

SAYONARA  Technirama,  WarnerColor.  Marlon  Brando, 
Red  Buttons.  Patricia  Owens.  Producer  W  mar,  Goetz. 
Director  Josh  Logan.  Drama.  Based  on  *Se  award- 
winning  novel  of  James  Michener.  147  min.  11/14. 
STORY  OF  MANKIND  WarnerColor.  Ali-«tar  cast. 
Producer-director  Irwin  Alien.  Drama.  A  world  wide 
tour  from  the  caveman  to  present  day.  100  mm.  10/28. 

January 

CHASE  A  CROOKED  SHADOW  Richard  Todd.  Ann 
Baxter.  Producer  Douglas  Fairbanks.  Director  Michael 
Anderson.  Melodrama. 

Coming 

BLONDE  AND  DANGEROUS  Sally  Brophy,  Carla 
Merey  Susan  Oliver.  An  Arwin  Production.  Director 
Bernard  Girard.  Producer  Martin  Melcher.  Melodrama. 
Life  in  a  girl's  correction  school. 

BOTH  ENDS  OF  THE  CANDLE  CinemaScope.  Ann 
Blyth.  Paul  Newman.  Richard  Carlson.  Producer  Mar- 
tin Rackin.    Director  Michael  Curtiz. 

FIFTEEN  BULLETS  FROM  FORT  DOBBS  Clint  Walker. 
Virginia  Mayo.  Producer  Martin  Rackin.  Director  Gor- 
don Douglas. 

HELL'S  HIGHWAY  Brian  Keith,  Dick  Foran,  Efram 
Zimbalist,  Jr.  Producer  Aubrey  Schenk.  Director 
Howard  Koch. 

LAFAYETTE  ESCADRILLE  Tab  Hunter.  Etchika  Choureau, 
J.  Carrol   Naish.    Producer-Director  William  A.  Well- 

LEFT  HANDED  GUN,  THE   Paul   Newman,    Lita  Milan. 
Producer  Fred  Coe.  Director  Arthur  Penn. 
MARJORIE  MORNINGSTAR  WarnerColor.    Gene  Kelly, 
Natalie   Wood,   Claire   Trevor.     Producer   Milton  Sper- 
ling.   Director  Irving  Rapper. 

NO  TIME  FOR  SERGEANTS  Andy  Griffith,  Myron  Mc- 
Cormick,  Nick  Adams.  Producer-Director  Mervyn  Le- 
Roy. 

OLD  MAN  AND  THE  SEA,  THE  CinemaScope,  Warner- 
Color. Produced  by  Leland  Hayward.  Director  John 
Sturges.  Adventure.  Film  version  of  Ernest  Heming- 
way's prize-winning  ncvel. 

ONIONHEAD  Andy  Griffith,  Erin  O'Brien,  Ray  Danton. 
Producer  Jules  Shermer.    Director  Norman  Taurog. 
STAKEOUT  ON  DOPE  STREET  Producer  Andrew  Fenady. 
Director  Irvin  Kershner. 

TENDER  FURY  Susan  Oliver,  Linda  Reynolds,  Carla 
Merey.  Producer  Martin  Melcher.  Director  Bernard 
Girard. 

TOO  MUCH,  TOO  SOON  Dorothy  Malone,  Errol  Flynn. 
Producer   Henry   Blanke.     Director  Art  Napoleon. 
WESTEOUND    Randolph    Scott,    Virginia    Mayo,  Karen 
Steele.     Producer   Henry   Blanke.     Director   Budd  Boet- 
ticher. 


To  Better  Serve  You  .  .  . 

Office  &  Terminal  Combined  At 
305  N.  12th  St.  N«w  Phones 

,    .  Phila:  WAInut  5-39 

hilid.lph.a  7,  Pa.         N. J . :  WOodlawn  4 

NEW  JERSEY 
MESSENGER  SERVICE 

Member  National  Film  Carriers 


BLACK  PATCH  George  Montgomery.  Producer  George 
Montgomery.  Director  Alan  Miner.  Western.  83  min. 
JOHNNY  TROUBLE  Ethel  Barrymore,  Cecil  Kellaway. 
Producer-director  John  Auer.  Drama.  Mother  waits 
twenty-seven  years  for  her  long  lost  son.  80  min. 
10/14. 

WOMAN  IN  A  DRESSING  GOWN  Yvonne  Mitchell, 
Anthony  Quay\e,  Sylvia  Syms.  Producer  Frank  Godwin. 
Director  J.  Lee-Thompson.  Melodrama.  A  wife's  happi- 
ness is  threatened  by  a  younger  woman.  93  mm.  10/14. 


DEPENDABLE  SERVICE! 

CLARK 
TRANSFER 

Member  National  Film  Carriers 

Philadelphia,  Pa.:  LOcust  4-3469 
Washington,  D.  C:  DUpoot  7-7200 


Film     BULLETIN  —  THIS     IS     YOUR  PRODUCT 


The  Prize  Baby  holds  an  enviable 
record  for  high  fidelity  service 
to  exhibition  at  low  cost. 

But  the  Prize  Baby  is  not  content 
to  rest  on  past  laurels  and  is 
constantly  seeking  sound  ways  to 
increase  its  range  of  faithful 
performance... and  bring  more 
wonderful  music  to  the  box  office! 


BULLETIN 


ECEMBER  23,  1957 


Business-wise 
Analysis  of 
he  New  Films 


FILMS  OF 


DISTINCTION 


AREWELL  TO  ARMS 
PEYTON  PLACE 

Other  Reviews: 
EGEND  OF  THE  LOST 
UN  ON  THE  PROWL 
i  GREEN-EYED  BLONDE 
AN  IN  THE  SHADOW 


To  Whom  Witt  SH&ehnq... 

The  Bold 
or 

The  Timid? 

■ 

What  They're  Ming  About 

■  □    □    □    In  the  Movie  Business  ODD 

Pre-Holiday  Closings  .  .  .  'Don't  Sell'  Outcry 
Proxy  Fights  in  '58  .  .  .  'Time'  Switch 


season  s « 
greetings 


SANTA  IS  USING 
LIONS  NOW! 

Leo  of  M-G-M  makes  the  Christmas 
Season  gala  with  these  samples  of 
BIG  ONES  in  the  M-G-Months  ahead! 


RAINTREE  COUNTY" 

From  sensational  area  premieres  to 
nationwide  fame! 

"DON'T  GO  NEAR  THE  WATER 

Off  to  a  hilarious  start! 

"THE  BROTHERS  KARAMAZOV" 

Truly  a  milestone  of  the  screen!  Its  Preview  confirms  advance  prais 
given  few  productions.  This  drama  of  love  and  hate,  the  sensu; 
and  spiritual,  lust,  rage  and  repentance  fulfills  its  brightest  forecasi 


The  romance  of  Yul  Brynner  and  Maria  Schell 
shadowed  by  Claire  Bloom. 


'•THE  BROTHERS  KARAMAZOV"  Starring  YUL  BRYNNER      .      MARIA  SCHELL  •  CLAIRE  BLOOM  .  Lee  J.  Cobb  .  Albert  Sal 
And  co-starring  Richard  Basehart    •    With  William  Shatner    •    Screen  Play  by  Richard  Brooks    •    From  the  Novel  by  Fyodor  Dostoyevs 
An  Avon  Production   •   In  Metrocolor  •   Directed  by  Richard  Brooks   •    Produced  by  Pandro  S.  Berman 


"MERRY  ANDREW" 

A  Big  Musical.  A  great  comedy!  A  beloved  star  eagerly  awaited 
his  NEW  picture.  A  giant  attraction  packed  with  songs,  spectacl 
romance  and  laughter.  It  is  already  hailed  as  his  greatest  yet. 


Danny  Kaye  wins  Pier  Angeli  by  a  nose. 


M-G-M  presents  A  Sol  C.  Siegel  Production  •  Starring  DANNY  KAYE  in  "MERRY  ANDREW"  •  Co-starring  PIER  ANGELI  •  Baccal 
Robert  Coote  •  With  Noel  Purcell  •  Patricia  Cutts  •  Screen  Play  by  Isabel  Lennart  and  I.  A.  L.  Diamond  •  Based  On  a  Story  by  Paul  Gallico  •  Mu 
by  Saul  Chaplin    •    Lyrics  by  Johnny  Mercer   •    Choreography  by  Michael  Kidd    •    In  CinemaScope  and  Metrocolor  •   Directed  by  Michael  K 


"GIGI" 

Famed  Colette  play  of  innocence  and  worldliness  in  Paris  wi 
Lerner  and  Loewe's  first  score  since  "My  Fair  Lady."  Wonder 
songs,  racy  humor,  eye- filling! 


Innocence  and 


Leslie  Caron,  Louis  Jo 


M-G-M  presents  An  Arthur  Freed  Production  •  "GIGI"  •  Music  by  Frederick  Loewe  •  Lyrics  by  Alan  Jay  Lerner  .  Starring  LESLIE  CAR 
MAURICE  CHEVALIER  •  LOUIS  JOURDAN  •  HERMIONE  GINGOLD  •  EVA  GABOR  •  Jacques  Bergerac  •  Isabel  Jeans  •  Screen  I 
by  Alan  Jay  Lerner  .  Based  On  a  Novel  by  Colette  •  Costumes,  Scenery  and  Production  Designed  by  Cecil  Beaton  •  In  CinemaScope  and  Metroc 

Directed  by  Vincente  Minnelli 


fpwpnmfs 

BER  23,  1957     *  VOLUME  25,  NO.  26 


The  Haiti  ami  Tin*  Tint  til 


A  hard,  clinical  study  of  the  state  of 
our  industry  in  the  closing  days  of  1957 
presents  a  somewhat  confused  and  dis- 
organized picture.  One  segment,  and 
the  larger  by  far,  is  seen  gripped  by  a 
stultifying,  immobilizing  paralysis  of 
fear,  while  a  hardy  minority  element 
presses  forward  with  vitality,  vigor  and 
an  elan  that  belies  the  mounting  dis- 
asters which  some  recent  statements  al- 
lege are  plummeting  the  movie  industry 
to  the  end  of  its  line. 

How  does  one  reconcile  the  widely 
contrasting  responses  to  the  problems 
that  beset  us? 

Perhaps  the  answer  is  that  the  busi- 
ness organism,  like  the  human  organ- 
isms which  make  it  go,  adjust  indi- 
vidually, each  one  finding  through  faith 
or  courage  or  reason  its  own  best  way. 

Thus,  as  the  year  passes  into  history, 
a  growing  number  of  film  firms  are 
taking  adjustment  to  mean  retrenchment 
all  the  way  to  the  last  hole  in  the  belt; 
finding  it  to  mean  personnel  lop-offs  by 
the  droves  and  large-scale  curtailment 
of  production  output. 

Economy  moves  and  the  step-cau- 
tiously attitude  in  times  like  these  must 
evoke  tolerance  and  understanding,  it  is 
true.  But  the  fact  is  that  some  forms  of 
belt-tightening,  when  over-extended 
tend  to  compound  the  spiraling  loss  of 
faith  already  at  loose  in  the  industry. 
Operational  cut-backs  for  the  purpose 
of  immediate  economies  are  expected 
and  reasonable.  But  deeper  acts  of  re- 
trenchment similar  to  those  announced 
by  some  of  the  major  film  companies 
can  only  serve  to  feed  fresh  viruses  of 
fear  into  the  bloodstream  of  industry 
life.  And,  from  a  public  relations  stand- 
point, they  add  terse  confirmation  to  the 
rash  of  bad  publicity  about  the  future 
of  our  business.  Too  many  of  this  in- 
dustry's hardnoses  are  behaving  like  in- 
genues on  opening  night;  they  are  suc- 
cumbing to  butterflies  in  the  belly — 


that  psychological  malady  that  only  the 
real  pros  manage  to  conquer. 

Sad  to  say,  our  industry  has  too  few 
pros,  too  many  hysterical  ingenues.  But 
the  rugged  showmen  among  us  are  not 
fearful;  they  appraise  the  situation  and 
move  forw  ard.  With  characteristic  verve 
and  a  flair  for  accurately  gauging  the 
temper  of  their  market,  20th  Century- 
Fox  and  United  Artists,  for  example, 
are  busily  occupied  with  plans  to  de- 
liver an  unceasing  flow  of  feature  prod- 
uct in  high  numbers  backed  up  by  an 
undiminished  program  of  promotion  in 
trade  and  public  media  alike.  If  either 
of  these  two  stalwards  are  familiar  with 
the  necrology  and  nihilism  given  such 
free  airing  of  late,  they  have  chosen  to 
regard  it  as  less  than  holy  writ.  Quite 
the  opposite.  Rather,  as  though  stimu- 
lated and  buoyed  by  the  challenge,  their 
answer  to  the  fright  and  timidity  of 
their  contemporaries  has  been  a  con- 
tinuation and  even  a  speedup  of  their 
normal  showmanship  endeavor. 

20th  Century-Fox,  already  winding 
up  a  year  of  high  quota  filming,  made 
headline  news  in  the  announcement  by 
president  Spyros  Skouras  and  produc- 
tion chief  Buddy  Adler  of  an  "unprece- 
dented'' S65  million  expenditure  in 
1958  spread  over  65  feature  films,  some 
37  to  be  Fox  studio  projects,  the  bal- 
ance lower  budget  pictures  prepared  for 
Fox  release  by  Regal  Films.  In  its  tvpi- 


BULLETIN 


Film    BULLETIN:    Motion    Picture    Trade  Paper 
published  every  other  Monday  by  Wax  Publi- 
cations,   Inc.     Mo  Wax,   Editor  and  Publisher. 
PUBLICATION. EDITORIAL  OFFICES:    1239  Vine 
Street,  Philadelphia  7,  Pa.,  LOcust  8-0950,  0951. 
Philip    R.    Ward,    Associate    Editor:  Leonard 
Coulter,    New   York   Associate   Editor;  Duncan 
G.   Steck,   Business   Manager;   Marvin  Schiller, 
Publication  Manager;  Robert  Heath.  Circulation 
Manager.  BUSINESS  OFFICE:  341  Madison  Ave- 
nue,   New    York    17,    N.    Y.,    ORegon  9-8747; 
Wm.  R.  Maiiocco,  Editorial  Represen- 
tative.    Subscription  Rates:  ONE  YEAR, 
S3. 00  in  the  U.  S.;  Canada,  $4.00;  Eu- 
rope, S5.00.  TWO  YEARS:  SS.00  in  Hie 
U.  S.;  Canada,  $7.50;  Europe,  $9.00. 


cal  showmanly  style,  20th-Fox  told  the 
story  of  its  product  program  in  bold 
and  articulate  terms. 

In  a  recent  trade  advertisement  her- 
alding its  1958  entertainment  schedule, 
United  Artists  was  seen  holding  up  a 
cornucopia  of  hope  to  exhibition  on 
two  problems  of  sore  concern:  a  suf- 
ficiency of  important  feature  films  and 
an  orderly,  year-round  plan  of  release 
dates.  Read  a  portion  of  the  UA  ad 
headline:  "UA  Announces  This  Back- 
log of  Blockbusters  in  a  Balanced  Re- 
lease Schedule  for  the  Full  Year  1958 
As  a  Part  Only  of  the  UA  Program  for 
1958."  This  declaration  of  intent  was 
followed  by  a  calendar  breakdown  by 
quarters  of  the  big  product  showmen 
may  expect — all  the  way  from  January 
to  December,  four  top-drawer  produc- 
tions per  quarter. 

Not  to  be  overlooked  in  any  count  of 
those  men  and  organizations  who  will 
buck  the  tide  of  these  trying  times  with 
courage  and  vision  is  Loew  s,  whose 
president,  Joseph  R.  Vogel,  is  steadily 
fighting  his  way  out  of  the  internal 
entanglements  that  hamstrung  his  ef- 
forts for  the  past  year  to  restore  his 
company  to  its  once  preeminent  status. 
Mark  you,  the  roar  of  Leo  the  Lion  will 
again  be  a  kingly  one  ere  the  new 
year  is  out. 

The  story  of  1958  thus  takes  shape 
as  a  test  between  the  bold  and  the 
timid  among  the  film  companies.  Which 
shall  prosper?  Those  who  produce  and 
promote?  Or  those  who  sit  and  watch 
and  tremble? 

The  future,  we  say,  belongs  to  those 
companies,  each  dedicated  to  the  calcu- 
lated risk,  each  foresworn  of  the  timid, 
the  hesitant  course,  whose  leaders  are 
possessed  of  that  indispensible  ingredi- 
ent called  faith — faith  in  their  capacity 
to  deliver  an  audience  for  their  films, 
and  faith  in  the  audience  itself.  It  is 
noteworthy  that  these  companies  prac- 
tice an  old-fashioned,  fire-eating  brand 
of  faith — the  kind  that  is  supported  by 
action,  not  mere  idle  hope.  In  the  end, 
this  is  the  only  kind  that  matters. 


Film  BULLETIN    December  23,   1957        Page  5 


FINANCIAL 

BULLETIN 

DECEMBER      23.  1957 


By  Philip  R.  Ward 


HOW  TO  STAY  ALIVE  IN  MOVIE  BUSINESS.  Within  re- 
cent weeks  moviedom  has  been  the  subject  of  a  sudden  splurge 
of  press  notices  dealing  with  its  economic  infirmities. 

No  one  knows  better  than  the  exhibitor  from  his  foxhole 
vantage  in  the  industry's  front  lines  just  how  accurate  the  re- 
ports are.  One  shocking  statistic  neatly  underscores  the  tenor 
of  the  times:  the  Sindlinger  &  Company  revelation  that  among 
the  17,800  theatres  in  operation  today  (there  were  19,000  one 
year  ago)  some  6,000  end  up  losing  money,  some  10,000  do 
no  better  than  break  even.  This  leaves  1,800  theatres  eking  out 
a  profitable  existence  of  some  kind  or  another.  1,800  theatres! 
That's  roughly  1  out  of  every  10  at  large  which  is  capable  of 
producing  a  return  on  investment  after  all  bills  are  paid,  ac- 
cording to  Sindlinger.  These  are  the  mathematics  of  depres- 
sion. After  this,  a  no  more  shattering  commentary  on  trade 
conditions  seems  possible. 

Yet  an  even  more  menacing  portent  looms  large  on  the  hori- 
zon. Correction!  A  number  of  menacing  portents — and  unless 
they  are  swiftly  and  irrevocably  crushed  by  concerted  action, 
only  ruinous  consequences  can  result.  A  proper  resolve  of  the 
impending  threats  may  not  only  forfend  disaster,  but  might 
conceivably  turn  the  industry  in  an  upward  direction. 

O 

Foremost  among  the  disquieting  prospects  is  the  still  stirring 
threat  of  post- 1948  films  on  TV.  A  tide  of  reaction  has  been 
rising  against  the  sale  of  features  made  for  theatres  to  be  dis- 
pensed to  the  public  free  of  charge  in  millions  of  living  rooms. 
It  may  yet  compel  the  film  moguls  to  heed  the  destructive  as- 
pects of  this  policy  over  the  long  range.  But  the  real  test  of 
their  future  course  will  come  only  at  that  critical  moment  when 
Madison  Avenue  walks  in  with  the  souped-up  offer  in  its  hip 
pocket.  At  that  juncture  the  industry  will  learn  if  it  has  men 
of  vision  at  the  helm. 

For  the  experience  of  the  past  18  months  or  more  since  a 
flood  of  old  major  films  have  been  telecast  has  rendered  one 
inescapable  verdict:  the  impact  on  theatre  business  has  grown 
increasingly,  seriously  deleterious.  To  add  fresh  sandstone  to 
this  boxoffice  abrasive  steadily  grinding  down  grosses,  chipping 
away  clientele,  in  the  alleged  interest  of  stockholder  relations, 
would  serve  no  movie  interest  in  the  long  run — not  the  exhibi- 
tor, not  the  film  company,  not  the  investor.  A  pained  and 
wiser  Hollywood  should  now  realize  that  the  sale  of  the  old 
film  libraries  to  TV  has  proven  a  snare  and  a  delusion. 

0 

Another  buzz  in  the  wind  is  toll  TV.  The  toll  might  be 
taken  to  stand  for  what  will  be  taken  of  theatres  in  the  event 
this  should  come  to  pass.  The  weight  of  common  sense  tips 
heavily  in  opposition  to  subscription  television,  despite  all  the 
praise  being  sung  of  its  prospects.  Many  of  the  leading  advo- 


cates of  this  system  are  those  who  produce  and  direct  films  for 
theatre  revenue.  Enchanted  by  illusionary  estimates  of  the 
multi-million  one  night  boxoffice,  these  elements  would  add 
mischief  to  present  grief.  An  iron  discipline  is  demanded  of 
the  industry  in  trafficking  with  this  breed.  Certainly,  exhibition 
must  fight  the  tollers  tooth  and  nail. 

0 

Then  there  is  the  subject  of  production  totals  and  the  sensi- 
ble 12  month  distribution  of  same.  The  morning  line  on  vol- 
ume is  odds-on  there  will  be  fewer  pictures  come  '58.  Distress- 
ing but  not  unexpected,  considering  film  making's  perennial 
discomfort  in  facing  up  to  a  gamble.  The  overall  posture  is 
to  slow  down  so  we  see  what's  happening.  The  slow-down 
quite  naturally  will  cause  the  worst  to  happen.  Luckily  a  few 
intrepid  souls  are  pushing  the  other  way.  So  thanks  to  20th- 
Fox,  United  Artists  and  one  or  two  others,  plus  some  inde- 
pendent newcomers,  the  grubbing  will  be  tough  but  not  in- 
surmountable. 

The  question  of  an  orderly  year-around  flow  of  important 
product  is  inextricably  hooked  up  with  production  volume.  A 
larger  output  assures  a  larger  number  of  key  films,  and  hence, 
the  possibility  of  this  type  of  merchandise  projecting  on  screens 
the  year  through. 

0 

Now  comes  the  poser.  What  can  the  industry,  and  most 
specifically  exhibition,  do  about  these  evils?  The  answer  sur- 
prisingly derives  from  Wall  Street,  where  some  segments, 
miraculously  enough,  continue  to  manifest  a  stubborn  faith  in 
things  cinematic.  In  conversations  Financial  Bulletin  has  had 
with  a  number  of  leading  brokerages  one  theme  seems  to  pre- 
dominate: the  motion  picture  theatre  is  an  integral  adjunct  of 
community  life,  just  as  surely  as  the  grocer,  the  druggist  and 
the  dry  cleaner.  Their  answer:  find  your  level  and  proceed 
from  there.  To  achieve  this  result  a  number  of  firms  suggested 
an  all  industry  pow-wow  to  define  a  clear  course  of  action  and 
establish  a  series  of  realistic  objectives.  The  trouble  with  the 
movie  business,  said  one,  is  that  it  follows  no  specific  direction, 
thus  it  has  no  way  of  knowing  whether  its  troubles  are  the 
result  of  just  cyclical  bad  times  or  whether  it  is  a  decaying 
enterprise. 

Another  financial  house  questioned  if  times  are  actually  as 
bad  as  they  seem  when  companies  such  as  20th-Fox  and  Para- 
mount are  capable  of  achieving  earnings  gains,  as  based  on 
their  latest  statements.  This  same  source  took  exception  with 
Sindlinger's  figures,  not  only  questioning  the  sample  but  ex- 
pressing the  view  that  the  number  of  houses  in  operation  today 
belies  the  estimate  of  only  1,800  profit-making  outlets.  Noting 
that  though  four-walled  houses  (according  to  the  Film  Daily 
Yearbook)  have  been  reduced  from  16,150  in  1951  to  14,509 
on  January  1,  1957,  thanks  to  drive-in  construction,  the  total 
of  all  movie  theatres  today  is  19,003  as  compared  with  18,980 
in  1951.  No  matter  how  you  look  at  it,  he  continued,  a  lot 
of  people  still  go  to  the  movies.  And  he  concluded  by  agree- 
ing with  one  of  our  other  Wall  Streeters:  the  job  for  the  movie 
industry  is  to  find  out  where  it  is  going.  Having  gained  direc- 
tion, then  it  can  put  the  wheels  of  progress  into  motion. 


Page  b       Film  BULLETIN    December  23,  1957 


PRAYER  FDR  1958 


Grant  that  the  light  of  wisdom  shine  upon  the  statesmen  of 
the  world  that  they  may  guide  Mankind  upon  the  road  of  Peace. 
Grant  us  tranquility  in  which  freedom  can  flourish  and  in  which 
men  will  build,  rather  than  destroy. 

Give  us  the  reason  to  understand  what  is  right  and  the  courage 
to  heed  the  dictates  of  our  conscience. 

Grant  that  the  people  of  the  earth  may  come  to  know  that 
love  is  God's  blessing  upon  those  who  love,  hate  His  curse  upon 
those  who  hate. 

Breathe  into  our  hearts  the  spirit  of  Good  Will,  that  we  may  al- 
ways and  forever  do  unto  others  as  we  would  have  them  do  unto  us. 

Preserve,  in  Thy  infinite  wisdom,  the  bounties  with  which  Thou 
hast  endowed  our  wonderful  land,  and,  above  all  else,  perpetuate 
the  greatest  of  these  bounties,  our  Freedom. 

Grant  unto  the  people  of  the  motion  picture  industry  an  ever 
deeper  sense  of  responsibility  in  their  roles  as  creators  and  exhibi- 
tors of  this  wondrous  medium  of  entertainment  and  enlightenment. 
Reveal  to  the  makers  of  motion  pictures  the  ways  by  which  they 
may  pursue  their  art  with  good  taste  and  integrity.  To  those  whose 
theatres  provide  enchantment  upon  silver  screens,  show  the  way 
to  conduct  their  business  with  dignity,  yet  always  in  the  happy 
spirit  of  showmanship. 

Grant  that  the  motion  picture  flourish  this  new  year,  while 
earning  applause  for  the  happiness  and  surcease  it  brings  to  the 
people  of  the  world. 


Amen. 


♦ 


To  All  Our  Friends  and  Headers 


n 


'ew 


Film  BULLETIN    December  23,  1957        Page  7 


What  They'te  Talking  About 

□    □    □    In  the  Movie  Business    □    □  □ 


PRE-HOLIDAY  RESPITES?  The  feeling  is  growing  among 
many  exhibitors  that  a  nationwide  shutdown  of  all  movie  houses 
twice  a  year  would  be  prudent,  economical  and,  perhaps,  even 
prove  to  be  a  boxoffice  stimulant.  They  say  that  since  hardly  a 
theatre  in  the  country  avoids  losing  money  during  the  week  be- 
fore Christmas  and  during  Holy  Week  these  would  be  ideal 
times  to  have  national  theatre  "holidays".  The  idea  is  practiced 
successfull)  in  other  industries.  Those  who  advocate  it  for  our 
business  argue  that  not  only  would  it  prove  a  money-saving  idea 
for  exhibition,  but  it  would  offer  these  additional  advantages: 
(!  dispose  of  the  vacation  problem  for  personnel;  (2  provide 
every  exhibitor  an  opportunity  to  look  over  his  physical  proper- 
ty thoroughly,  give  it  a  good  cleaning  twice  a  year  and  perhaps 
a  coat  of  paint  annually;  (3  consider  renovations;  (4  refresh  his 
advertising  facilities  and  methods,  etc.  One  keen  theatreman, 
who  has  written  us  strongly  urging  the  twice-a-year  shutdown 
plan,  makes  this  additional  point:  "The  very  closing  of  every 
movie  house  in  the  country  would  have  a  tremendous  impact  on 
the  public.  Because  the  local  theatres  are  always  there,  never 
closed,  people  take  them  for  granted.  I  would  like  to  hear  a 
few  million  people  talk  about  going  out  to  the  movies  during 
those  two  weeks  in  the  year,  only  to  discover  that  there  isn't  a 
movie  house  open  in  their  town.  Wouldn't  it  make  them  more 
theatre-conscious  than  ever  before?  And,  believe  me,  when  all  the 
theatres  reopened  for  the  Xmas  and  Easter  Holidays,  our  business 
would  be  far  better  than  if  we  had  stayed  open  and  labored 
fruitlessly  through  those  two  awful  weeks  preceding."  Another 
advocate  makes  the  point  that  two  non-operating  weeks  would 
help  relieve  the  product  problem  to  a  degree  for  all  theatres. 

O 

PROXY  BATTLES  IN  '58.  There  is  no  question  in  the  minds 
of  many  Wall  Streeters  that  1958  will  witness  the  mounting  of 
new  proxy  fights  against  the  managements  of  at  least  two  film 
companies.  Eirst  of  all,  they  say,  the  movie  industry  is  roman- 
tically attractive  to  certain  moneyed  elements  with  a  yen  for 
show  business  connections,  and  in  their  present  unsettled  state 
the  film  companies  look  particularly  inviting  to  these  prospec- 
tors. The  two  studios  that  are  considered  fairest  game,  it  should 
be  noted,  are  functioning  today  without  any  strong  controlling 
personalities  and  without  a  firm  operating  policy.  With  many 
film  stocks  selling  at  very  low  prices  today,  the  proxy  fighters 
can  buy  up  what  they  need  to  get  their  foot  in  the  door  for  a 
comparatively  modest  investment.  And  the  buying,  we're  told, 
is  going  on. 

0 

'DON'T  SELL'  OUTCRY.  The  reaction  to  the  recent  series  of 
letters  ("Letter  From  an  Ex-Moviegoer  ",  "Letter  From  Joe  Ex- 
hibitor" and  "Postscript  From  Joe  Exhibitor  ")  published  in 
Film  BULLETIN  about  the  deleterious  effects  of  the  old  fea- 
tures on  TV  has  been  unusually  strong.  Comments  from  every 
segment  of  the  industry  clearly  indicate  that  there  is  an  over- 


whelming sentiment  against  any  further  sales  of  feature  libraries 
to  television.  Ranging  from  apoplectic  to  frenetic,  those  voic- 
ing opposition  to  any  post- 1948  films  being  sold  almost  unani- 
mously agree  that  it  would  totally  wreck  the  industry.  To  a 
man,  they  lay  down  the  commendment  "Thou  Shall  Not  Sell!" 
Pleased  as  punch,  of  course,  Film  BULLETIN  takes  pride  in  not- 
ing concrete  symptoms  of  protest  that  are  beginning  to  rear  up 
all  over  the  industry.  All  influential  exhibitor  organizations 
have  gone  bluntly  on  record  (many  reprinting  excerpts  from 
Film  BULLETIN  in  their  own  house  organs),  and  strident 
voices  from  within  the  MPAA's  own  Hollywood  membership 
are  being  heard.  So  far  the  most  vocal  group  has  been  the 
powerful  Screen  Producers  Guild.  Declared  this  body  in  a  state- 
ment of  recently  adopted  policy:  "The  SPG  opposes  the  distri- 
bution of  post- 1948  pictures  for  exhibition  on  television.  It  un- 
qualifiedly rejects  the  falacious  argument  that  the  exhibition  of 
these  pictures  on  television  is  not  harmful  to  the  entire  motion 
picture  industry  ...  It  predicates  its  reasoning  on  the  fact  that 
e\en  films  made  fifteen  and  twenty  years  ago,  and  now  showing 
on  television,  are  proving  ruinious  to  a  large  segment  of  the 
exhibition  industry."  Vowing  to  present  documentation  in  sup- 
port of  the  damaging  effects  of  the  old  films  on  TV,  TOA  com- 
missioned the  Albert  Sindlinger  research  firm  to  perform  a  sta- 
tistical study  of  the  ruinous  influence  of  free  home  movies.  The 
result  of  that  survey,  to  be  disclosed  in  late  January,  will  do 
little  more  than  confirm  what  desperate  exhibitors  have  known 
for  the  past  year  or  more.  This  survey  should,  through  the 
medium  of  modern  measuring  methods,  offered  without  bias, 
ram  home  to  film  company  policy  makers  the  economic  insensi- 
bility of  trading  off  a  billion  dollar  theatre  industry  market  for 
the  quick  profits  offered  by  TV.  The  crux  of  the  case  those 
opposed  to  any  further  sell-offs  of  feature  libraries  is  that  tele- 
vision's short-term  dollars  are  not  worth  the  loss  of  exhibition's 
continuing  commerce  in  the  years  to  come.  Statistically  fore- 
armed, the  theatre  industry  will  have  the  economic  argument — 
as  well  as  all  the  weight  of  justice,  morality  and  common  sense 
on  its  side. 

0 

'TIME'  CHANGES.  Time  Magazine,  always  quick  to  blast  the 
motion  picture  industry  and  its  product,  by  emphasizing  the 
downbeat,  changed  its  line  last  week.  In  reporting  on  Chicago 
exhibitor  Edwin  Silverman's  recent  statement  that  every  major 
studio  except  one  would  shutter  during  the  next  six  months,  the 
Luce  publication  made  like  a  chameleon  in  dismissing  the  im- 
portance of  the  circuit  executive's  statement  as  just  another  case 
of  an  exhibitor  crying  "wolf".  Now  if  Time's  bright  boy  would 
only  review  each  picture  on  its  merit,  instead  of  as  a  vehicle  for 
some  weak  puns,  the  metamorphosis  would  be  a  happy  one. 


NEW  NEW  YORK  DFFIEE 

Film  BULLETIN'S  New  York  office 
is  now  located  at 
341  MADISON  AVENUE 
New  York  17,  New  York 
ORegon  9-8747 


Page  8       Film  BULLETIN    December  23,  1957 


Lovers  Jennifer  Jones  and  Rock  Hudson  are 
reunited  after  being  torn  apart  by  the  war. 


"A  Farewell  To  Arms" 
Selznick  Smash  Hit! 

3u4i*eu  IZettut?  O  O  O  O 

Peerless  Selznick  production  of  Hemingway's  epic  love  story. 
Top-drawer  in  every  aspect.  Huge  boxoffice  promise. 

"Ernest  Hemingway  s  epic  story  of  two  lovers  fleeing  the 
furies  of  war  has  been  realized  on  the  screen,"  the  ads  tell  us, 
they  are  spelling  out  the  gospel  truth.  When  confronted  with 
a  smashingly  showmanship  affair  like  this  David  O.  Selznick 
production,  one  is  forced  to  enter  the  press  agent  land  of  hy- 
perboles. America's  Nobel  Prize  "Papa"  has  long  been  a 
stumbling  block  in  cinematic  transcriptions,  but  laurel-browed 
producer  Selznick  has  further  brightened  his  head  dress  and 
finally  cut  the  Gordian  knot.  The  feel,  the  fiber,  the  famed 
sportsman  sense  of  subtlety  and  sophistication  and  above  all  the 
wonderfully  graphic,  haunting  and  pungent  characters  of  the 
world-acclaimed  original — all  of  these  things  are  now  the  vib- 
rant inhabitants  of  a  strong  and  splendorous  CinemaScope- 
De  Luxe  Color  housing.  It  is  the  kind  of  transcription  that  will 
;idd  much  to  the  novel-into-film  annals  and  the  kind  of  produc- 
tion which  exhibitors  the  land  over  can  proudly  show  as  an 
examplar  of  entertainment  no  TV  set  can  compete  with  or  en- 
compass. Beyond  a  doubt,  this  20th  Century-Fox  offering  is  one 
of  the  all-time  romantic  dramas,  destined  to  fascinate  both  men 
and  women  and  be  a  whopping  smash  hit  in  every  market. 

The  stars  of  the  show  are  Rock  Hudson  and  Jennifer  Jones, 
and  one  cannot  imagine  their  roles  of  the  lovers  played  more 


EDITOR  S  NOTE 
It  is  rare  that  two  new  movies  are  designated  "Films 
of  Distinction"  in  any  one  issue  of  Film  BULLETIN.  Even 
more  rare  is  the  occasion  when  both  are  from  a  single 
company.  We  are  happy  to  give  this  distinction  to  20th 
Century-Fox  for  "A  Farewell  to  Arms"  and  "Peyton 
Place",  two  outstanding  motion  pictures  in  both  artistic 
merit  and  boxoffice  potential.  Congratulations,  20th! 


lyrically,  more  decoratively  or  with  more  obvious  boxoffice 
magic.  Hudson,  surely  the  modern  day  Adonis,  has  never  had  a 
more  malleable  characterization  and  he  comes  through  as  the 
romantic  hero  par  excellence.  Miss  Jones  as  the  ill-fated  nurse 
caught  up  in  the  wonder  of  love  against  the  horror  of  war,  gives 
a  shining,  tender,  poignant  performance,  perhaps  the  best  Hem- 
in  a v  screen  portrayal  of  all.  And  the  too-long  absent  Mr. 
Selznick,  with  his  impeccable  production  taste  in  photography, 
musical  score,  location  shots,  costuming  and  everything  else 
needed  for  class  entries,  proves  he's  something  Hollywood  and 
audiences  cannot  do  without  for  any  more  protracted  hiatuses. 

Vittorio  De  Sica's  performance  as  Major  Rinaldi,  that  troubled 
and  tempestuous  medico  and  magnifico,  is  down  to  the  very 
last  breath  of  him  the  character  Hemingway  so  memorably 
created.  The  earthy  humor,  the  devil  incarnate  conceit,  the  ram- 
bling lecher,  the  warm  heart  and  the  dedication  to  human  life 
and  hatred  of  war — it's  all  red-bloodedly  pulsing  out  of  this 
amazing  actor.  And  we  have  the  poor  priest,  Father  Galli,  w  ith 
his  Franciscan  holiness,  beautifully  wrought  by  Alberto  Sordi, 
Kurt  Kaszner,  as  the  war-stupified  ambulance  orderly,  Elaine 
Stritch,  as  the  good  Joe  American  nurse,  Mercedes  McCam- 
bridge,  as  an  implaccably  starched  and  sullen  one,  and  many 
more  minor  characters  all  are  stinginglv  interwoven  in  the 
sprawling  tapestry. 

Director  Charles  Vidor  h*as  staged  the  story  brilliantly,  fol- 
lowing the  heartbreaking  brutalities  into  the  legendary  retreat 
from  Caporetto,  where  soldiers  and  civilians  alike  drag  their 
broken  limbs  along  a  blood-drenched  road  in  the  wake  of  the 
invading  German  army.  Here  the  camera  equals  the  Heming- 
way prose  with  scene  upon  scene  of  pictorial  magnitude,  dy- 
namic, ironic  and  shattering.  And  screenplaywright  Ben  Hecht 
has  shrewdly  retained  the  Hemingway  dialogue  with  all  its 
adult,  searching  power,  never  losing  sight  of  the  strange  world 
the  author  created  for  his  doomed  lovers  and  the  symbol  he 
made  of  war. 

The  story  finds  Hudson,  an  American  writer,  attached  to  an 
Italian  ambulance  corps  as  an  officer,  in  the  winter  of  1917, 
along  with  his  friend  and  doctor,  De  Sica,  who  tells  him  of  the 
arrival  of  a  beautiful  English  nurse.  Miss  Jones.  When  they 
meet,  he  finds  her  bitter  about  a  lost  love  killed  in  the  war,  but 
soon  they  are  very  much  in  love.  Hudson  is  wounded  at  the 
front  and  sent  to  the  hospital  where  Miss  Jones  nurses  him  and 
rhey  create  an  idyllic  world  of  their  own.  Later  Hudson  is  sent 
back  to  the  front,  participates  in  the  retreat  from  Caporetto, 
sees  a  war-sickened  De  Sica  shot  as  a  spy  by  a  crazed  Italian 
court  martial,  deserts  the  army  himself  to  escape  a  similar  fate 
and  rejoins  Miss  Jones  who  is  now  pregnant.  Together  thev  flee 
to  Switzerland  w  here  they  have  their  last  happy  moments  before 
both  the  baby  and  Miss  Jones  die  in  childbirth  and  Hudson  is 
left  alone  in  a  bitter,  war-ravaged  world. 

20th  Century-Fox.  165  minutes.  Rock  Hudson,  Jenifer  Jones,  Vittorio  De  Sica. 
Produced  by  David  O.  Selznick.    Directed  by  Charles  Vidor. 


Film  BULLETIN    December  23,  1 957        Page  9 


"Legend  of  the  Lost" 

Scuute^  'Rati*?  O  O  O 

John  Wayne,  Sophia  Loren,  Rossano  Brazzi  sparks  overlong 
rale  of  desert  treasure  trek.  Has  mass  audience  ingredients. 

This  desert  yarn  certainly  offers  the  most  extended  tour  of 
the  Sahara  since  Rudolph  Valentino  was  using  it  as  a  boudoir 
au  naturel  back  in  "The  Shiek"  days.  And  it  also  makes  an 
appropriately  sizzling  background  for  John  Wayne  in  one  of 
'lis  leathery  and  lusty  roles  as  he  makes  a  few  drunken  passes 
at  that  fiery  belle,  Sophia  Loren,  who  feels  she  can  be  made 
a  good  woman  by  serving  an  intense  and  dedicated  explorer, 
played  with  Latin  lyricism  by  Rosanno  Brazzi.  Within  such 
a  type-casting  haven  and  cued  by  producer-director  Henry 
Hathaway,  who  was  obviously  aiming  for  commercial  impact, 
these  stars  know  how  to  serve  up  to  their  fans  some  tempestu- 
ous repasts.  Unfortunately,  the  same  cannot  be  said  for  the 
script  Robert  Presnell  and  old  chef  Ben  Hecht  have  cooked  up, 
an  overlong,  Grade-B  tale  about  some  search  for  buried  treas- 
ure and  the  ruins  of  a  fabled  city  that  flourished  ages  ago  in 
the  middle  of  the  desert.  Not  only  is  the  plot  too-typical  ad- 
venture stuff,  but  most  of  the  dialogue  has  that  flower-and-corn 
touch  that  no  one  can  be  expected  to  take  very  seriously. 
However,  the  shots  of  Wayne  struggling  to  survive  a  Sirocco, 
of  La  Loren  using  an  oasis  as  a  bathtub,  of  Brazzi  slugging 
it  out  with  Wayne,  and  of  the  latter  snug  as  a  desert  bug  next 
to  our  lady's  ample  bosom — these  will  satisfy  action  fans  and 
the  less  discriminating  in  any  market.  And  backed  by  the  usual 
hard-hitting  United  Artist's  promotion,  grosses  will  probably 
be  above  average.  What  there  is  to  the  tale  brings  missionary- 
explorer  Brazzi,  guide  Wayne  and  Timbuctoo  call-girl  Loren 
on  a  trek  for  the  aforementioned  treasure.  Along  the  way,  a 
triangle  develops,  superseded  in  the  discovery  of  the  objective, 
resulting  in  the  madness  and  animal  craving  of  Brazzi  for 
Loren,  his  subsequent  French  leave  of  the  others,  and  their  final 
vindication  when  Brazzi  is  killed  and  they're  rescued  by  caravan. 

United  Artist  release.  109  minutes.  John  Wayne,  Sophia  Loren,  Rossano  Brazzi. 
Produced  and  directed  by  Henry  Hathaway. 

"Man  nn  the  Prowl" 

SudiK&M  RctfiHQ  O  O 
Tough  meller  has  fair  action,  suspense.  OK  dualler. 

James  Best,  a  moody,  malevolent  young  man  with  saturnine 
good  looks  and  a  sensuous,  stomping  swagger  a  la  Elvis  Pres- 
ley, gives  this  routine  melodrama  a  lift.  Unfortunately,  Best 
is  the  only  novel  thing  in  the  film,  for  writer-director  Art  Na- 
poleon is  back  in  the  oh-so-familiar  back  alleys  of  psychopathic 
nightmares.  However,  where  tough  melodrama  is  the  fans' 
dish,  "Man  on  the  Prowl"  will  serve  adequately  as  a  dualler. 
It  has  its  share  of  action  and  some  crisp  dialogue.  Best  is  seen 
as  a  delivery  boy  whose  charming  ways  belie  the  fact  that  he 
has  just  murdered  a  local  damsel  and  who  parlays  his  physical 
assets  into  the  good  graces  of  a  pretty  wife  and  mother,  Maria 
Powers.  Best  has  a  mother  himself,  a  hag-ridden  old  thing 
who  fully  senses  her  boy's  unorthodox  dealings  but  keeps  mum 
about  it  in  order  to  get  the  three  square  meals  a  day  she  needs. 
When  Miss  Powers  finds  that  she  has  been  unwittingly  play- 
ing around  with  a  crackpot,  she  becomes  aptly  terror-stricken 
and  it  is  here  the  suspense  of  the  picture  nicely  accumulates, 
until  it  bursts  into  a  no-complexes-barred  ending  worthy  of 
both  gangland  and  the  psychiatric  ward. 

United  Artists.   73  minutes.   James  Best,  Maria  Powers,  Ted  de  Corsia.  Produced 
and  directed  by  Jo  and  Art  Napoleon. 


"The  Green-Eyed  Blonde" 
Sututeu  Rate*}  O  O 

Low-budgeter  about  girl's  reform  school.  Story  poorly  de- 
veloped. OK  as  dualler  for  ballyhoo  houses. 

This  Warner  Bros,  release  dealing  with  a  reform  school  for 
wayward  lassies  is  designed  explicitly  for  teenagers,  but  it's  a 
pretty  trashy  little  item.  The  Sally  Tubblefield  screenplay  is  a 
jazzed-up  soap  opera  full  of  juke  box  psychology  and  Bernard 
Girard's  direction  tries  to  mix  hearts  and  flowers  with  rock 
and  roll,  but  only  concocts  confusion.  The  most  redeeming 
asset  is  the  tonic  presence  of  three  talented  ingenues:  Susan 
Oliver,  a  lustrous,  earthy  blonde;  Linda  Plowman,  a  sullen 
beauty  and  unwed  mother  and  Norma  Jean  Nilsson,  a  sensitive 
young  actress  as  the  inevitable  loony  inmate.  They  cannot, 
however,  salvage  the  maudlin  and  melodramatic  plotting.  Ex- 
hibitors in  ballyhoo  houses  can  draw  on  the  thematic  "hush- 
hush"  problems  of  womanhood  for  exploitation  angles.  The 
Martin  Melcher  production  is  strictly  of  quickie  calibre.  The 
plot  is  set  when  Miss  Plowman's  bottle-hitting  momma  leaves 
the  girl's  illegitimate  baby  in  a  car  after  paying  a  visit  to  the  re- 
form school.  The  lonely  girls  give  vent  to  their  suppressed 
motherly  instincts  and  "kidnap"  the  child.  The  powers  that  be 
discover  the  child  and  send  it  to  the  orphanage.  After  that  all- 
hell  breaks  loose,  with  Miss  Oliver  spearheading  the  revolt.  She 
is  questioned,  sentenced  to  longer  stay,  almost  goes  off  her 
rocker  and  finally  attempts  escape  with  the  boyfriend,  only  to 
meet  death  on  the  highways. 

Warner  Bros.  76  minutes.  Susan  Oliver,  Linda  Plowman,  Beverly  Lonq.  Produced 
by  Martin  Melcher.    Directed  by  Bernard  Girard. 

"Man  in  the  Shadow" 
Scuc*e&4  RttftKf  Q  Q  Plus 

Orson  Welles  is  the  booming  baddie,  Jeff  Chandler  the 
sheriff.  OK  western  meller,  but  with  nary  a  horse.  B  &  W 
CinemaScope. 

The  good  people  of  Texas  might  react  unfavorably  to  Orson 
Welles,  of  all  people,  strutting  and  stomping  around  like  a 
modern-day  ranch  baron  who  rides  roughshod  over  one  of  that 
sovereign  state's  little  towns.  But ,  he  provides  some  added 
color  to  this  black-and-white  CinemaScope  offering  from  Uni- 
versal. Sheriff  Jeff  Chandler  is  called  in  to  set  things  right 
and  stop  the  ornery  critter  from  upsetting  the  law,  and  this 
meeting  of  indomitable  wills,  of  black  evil  clashing  with  ster- 
ling goodness,  makes  for  some  rattling  hot  gun-play  and  trig- 
ger-sharp tension.  Producer  Albert  Zugsmith  and  director  Jack 
Arnold  have  turned  out  a  contemporary  Western  with,  believe 
it  or  not,  nary  a  horse  or  bronco  bus'ter  in  sight.  Welles  moves 
about  via  the  automobile,  but  it's  still  a  western,  anyway  you 
look  at  it.  Welles  plays  it  in  the  grand  manner,  booming  and 
bellowing,  outweighing  any  heavy  of  recent  vintage.  Chandler, 
handsome  and  hard-fisted,  makes  a  fine  upright  figure.  Colleen 
Miller  and  Barbara  Lawrence  take  care  of  the  distaff  side;  Miss 
Miller  as  the  debutantish  daughter  who  falls  for  her  father's 
enemy,  and  Miss  Lawrence  as  that  enemy's  frau.  The  melo- 
dramatic plot  centers  on  the  fatal  beating  of  a  Mexican  laborer 
by  two  of  Welles'  troopers.  After  receiving  an  eyewitness 
report,  Sheriff  Chandler  decides  to  act,  but  is  met  with  a  wall 
of  silence,  conspiracy,  redtape  and  finally  more  slaughtering, 
until  he  breaks  it  all  down  and  gets  the  goods  on  the  bad  man. 

Universal-International.  79  minutes.  Jeff  Chandler,  Orson  Welles.  Produced  by 
Albert  Zugsmith.   Directed  by  Jack  Arnold. 


Page  10       Film  BULLETIN    December  23,  1957 


?///»  *(  kiitiHctiPH 


"Peyton  Place"  Fine  Version  of  Hot  Best-Seller 


gu4i*C44  R<UC«?  O    O   O  PIUS 

Skillful  filmization  of  best-seller,  with  most  of  its  lurid  sex 
aspects  cleaned  up.  Excellent  entertainment  for  entire 
family.  Superb  Jerry  Wald  production  in  'Scope,  color. 
Fine  performance  by  veterans  and  exciting  newcomers. 

Jerry  Wald  will  probably  be  hailed  by  exhibitors  as  Santa 
Claus  this  year,  for  he  has  given  them  in  "Peyton  Place"  a 
Christmas  package  all  done  up  with  bright  ribbons,  appropri- 
ately sentimental  greetings  and  just  chock-full  of  boxoffice 
goodies.  He  has  also  done  an  amazing  feat  in  de-Kinseyizing 
Grace  Metalious'  sexological  best-seller  and  has  turned  it  instead 
into  an  All-American  small  town  portrait  that  is  colorful,  hon- 
est, humorous,  touching  and,  on  the  whole,  a  most  appealing 
show  indeed.  However,  do  not  misunderstand;  w  hile  Wald  has 
wisely  laundered  out  of  the  story  most  of  its  sordid  sexuality, 
the  movie  still  deals  frankly  (but  inoffensively)  with  those  parts 
of  the  original  that  are  essential. 

The  scenes  of  elm-lined  streets,  clapboard  churches.  Colonial 
homes,  of  High-School  proms,  Labor  Day  jamborees  and  pic- 
nics, of  graduations  and  funerals  have  a  wonderfully  nostalgic 
flavor,  and  are  vividly  and  naturally  shot  in  DeLuxe  Color  and 
CinemaScope.  And  the  people  of  the  tow  n  are  very  much  alive 
themselves,  the  kind  of  people  audiences  the  world  over  will 
recognize  and  understand.  The  youthful  moviegoers,  especial!}, 
will  enjoy  a  kinship  with  the  principal  characters,  and  this  fac- 
tor adds  to  the  boxoffice  potential  of  "Peyton  Place."  Grosses 
should  be  very  strong  in  all  markets,  for  this  is  one  of  those 
rare  movies  with  real  universal  appeal.  The  class  trade  will 
find  it  literate  and  produced  with  consummate  finesse.  The 
mass  audience  will  appreciate  the  warmly  human  aspects  of 
the  story,  and  the  younger  folks  will  enjoy  the  excitement  of 
witnessing  a  film  that  deals  somewhat  daringly  with  subject 
matter  called  "adult." 


Hope  Lange,  Barry  Nelson,  Lloyd  Nolan 


Lana  Turner  and  Lee  Philips 


Screenplayw  right  John  Michael  Hayes  has  given  the  charac- 
ters and  the  somewhat  unwieldy  circumstances  of  the  story  a 
thoroughly  sensitive  and  sure  projection,  and  director  Mark 
Robson  has  arranged  the  variegated  episodes  in  a  fine  schematic 
structure.  One  cannot  escape  the  feeling,  however,  that  the  film 
would  have  profited  by  some  shrewd  scissoring.  The  opening 
sequences,  particularly,  are  slow  on  the  pick-up.  The  production 
is  studded  with  topflight  performances.  Lana  Turner  reveals 
new  talent  as  the  emotionally  constricted  mother  trving  to  hide 
a  youthful  fall  from  grace.  Lee  Philips  is  good  as  the  school 
principle  who  attempts  to  open  her  heart.  Hope  Lange  comes 
through  strongly  as  a  lovely  lass  who  is  raped  by  her  boozing 
stepfather,  Arthur  Kennedy.  Llovd  Nolan  is  solidly  competent 
as  the  town  doctor  and  oracle  who  befriends  the  girl  when  she 
becomes  pregnant.  Most  striking  and  effective  of  all  is  Diane 
Varsi,  the  teenage  heroine  and  narrator,  rebellious  daughter  of 
Miss  Turner  who  sees  all  the  faults  and  virtues  of  her  town  and 
is  hurt  by  the  town  gossip  in  her  tender  romance  with  Russ 
Tamblyn.  She  is  a  real  "find".  It  is  in  her  romance,  a  beautiful 
evocation  of  first  love  and  Miss  Varsi's  subsequent  poignant 
change  to  womanhood,  after  she  finds  out  her  illegitimate 
status,  leaves  town  and  then  returns  when  she  has  grown  up 
enough  to  forgive,  that  the  best  and  most  enduring  qualities 
of  the  film  lie. 

The  story  itself  is  a  tangled  and  sprawling  affair,  culminating 
in  the  trial  of  Miss  Lange,  charged  w  ith  the  murder  of  Kennedy 
when  he  attempted  a  second  rape,  and  ending  with  her  acquital, 
the  reunion  of  Miss  Turner  and  Miss  Varsi  and  the  return  of 
the  town's  young  men  from  the  Second  World  War.  All  in  all, 
even  with  its  melodramatic  events,  what  we  have  here  is  very 
potent  and  popular  entertainment,  a  treat  for  both  the  hinter- 
land and  metropolitan  audiences. 

2Cth  Century-FoK.  142  minutes.  Lana  Turner.  Hope  Lange.  Lee  Philips,  Lloyd  Nolan, 
Arthur  Kennedy,  Russ  Tamblyn,  Diane  Varsi,  Terry  Moore.  Produced  by  Jerry 
Wald.   Directed  by  Mark  Robson. 


Film  BULLETIN    December  23,  1957        Page  11 


THE 


FOR 
MAS 


250  dates 
set  for 
saturation 
bookings 
with  extra 
playing  time 
blocked  out! 


HE  GREAT  SAHARA  ADVENTURE! 


KURT  KASZNAR-SONIA  MOSER- ANGELA  PORTALURI  •  IBRAHIM  EL  HADISH •  Screenplay  by  ROBERT  PRESNELL,  JR. 

ben  hecht  p.ouuc.aa^owciedb, HENRY  HATHAWAY- a bauac  ?,^»m. ^ 


UA 


SKOURAS 


SPYROS  P.  SKOURAS  and  BUDDY 
ADLER  gave  the  industry  fighting  answer 
to  predict  a  gloomy  future  by  announcing 
a  $65  million  65-picture  20th  Century-Fox 
production  schedule  for  1958.  The  record 
outlay  will  finance  thirty-seven  studio  proj- 
ects, the  balance  to  be  programmers  made 
by  Regal  Films.  The  program  was  made 
known  following  a  conference  last  week 
between  top  home  office  and  studio  execu- 
tives. Recently  the  20th  Century-Fox  presi- 
dent blasted  the  statement  by  Edwin  Silver- 
man, president  of  Essaness  Theatres  Corp.  of 
Chicago  that  "all  major  studios,  with  the 
possible  exception  of  one,  will  close  in  the 
next  six  months".  Skouras  said  "I  was  sur- 
prised and  shocked  at  such  a  statement  from 
a  motion  picture  pioneer  like  Mr.  Silverman. 
A  man  with  such  a  large  investment  in  our 
industry  should  give  facts  concerning  a  matter 
of  this  kind.  He  ought  to  tell  all  he  knows 
and  advise  everyone  of  any  details  he  may 
know  which  are  so  vital  to  us."  For  him- 
self, Skouras  declared,  "I  continue  my  faith 
in  the  motion  picture  industry  and  theatre 
exhibition." 

o 

JAMES  H.  NICHOLSON  and  SAMUEL  Z. 
ARKOFF,  heads  of  American  International 
Pictures,  promised  exhibitors  that  their  com- 
pany will  not  sell  its  pictures  to  television 
"prior  to  ten  years  after  release".  In  a  let- 
ter to  TOA's  Ernest  Stellings  and  Allied's 
Julius  Gordon,  they  pledge  (1)  AI  will 
increase  its  production  schedule  to  between 
30-36  features  for  1958.  (2)  product  releases 
will  be  balanced  throughout  the  year.  The 
growing  independent  outfit  also  offered  its 
facilities  to  exhibitors  for  co-production 
deals. 

0 

ELMER  C.  RHODEN  reported  that  Na- 
tional Theatres  earnings  for  the  fiscal  year 
ended  September  24,  1957,  were  substan- 
tially similar  to  the  previous  year.  Net  in- 
come this  year  totaled  $2,266,096  (84  cents 
per  share)  compared  to  S2, 277, 254  (84  cents 
per  share)  in  '56,  exclusive  of  the  income 
resulting  from  the  1956  sale  of  the  Roxy 
Theatre  property  in  New  York  City.  Al- 
though attendance  at  NT  houses  "continued 
on  a  downward  trend,"  the  circuit  president 
declared  that  diversification  progress  (Cine- 


THEY 


MADE  THE  HEWS 

miracle  and  the  purchase  of  television  sta- 
tion WDAF-TV  and  radio  station  WDAF 
in  Kansas  City)  establishes  "an  improved 
basis  for  earnings  and  growth". 

0 

BARNEY  BALABAN  told  the  Wall  Street 
Journal  last  week  that  Paramount  earnings 
for  the  first  eleven  months  of  1957  are 
ahead  of  the  S2.17  earned  from  all  of  1956. 
The  Paramount  president  attributed  a  major 
portion  of  the  increase  in  earnings  to  the 
boxoffice  performances  of  "Ten  Command- 
ments" and  "War  and  Peace".  He  revealed 
that  several  exhibitors  have  entered  into 
negotiations  as  possible  buyers  of  the  com- 
pany's pre- 1948  film  library,  which  are  now 
on  the  block  for  purchase  by  TV  interests. 
As  for  post-'48  features,  Balaban  declared 
that  Paramount  has  no  plans  to  sell,  and  he 
doubts  that  any  of  the  majors  will  peddle 
them  for  2  or  3  years. 


UA  ACTIVE  ON  ALL  FRONTS 


Dynamic  United  Artists  is  moving  forward 
on  various  fronts.  Top:  Detailing  the  new 
UA  release  pattern  for  1958  at  the  com- 
pany's San  Francisco  sales  convention  are 
( center)  William  J ■  Heineman,  vice  presi- 
dent in  charge  of  distribution,  and  general 
sales  manager  James  R.  Velde.  Observing: 
(left)  Roger  Lewis,  national  director  of  ad- 
vertising, publicity  and  exploitation,  and  Al 
Fitter,  Western  division  manager.  Center: 
UA  vice  president  Max  Youngstein  (left) 
and  Bruce  G.  Eells,  executive  vice  president 
of  United  Artists  Television.  Inc.  announce 
plans  to  launch  the  company's  first  television 
production  program.  "United  Artists  Play- 
house", a  i9-U>eek  series  of  half-hour  films. 
Bottom:  At  special  screening  of  "Witness 
for  the  Prosecution"  for  Columbia  Univer- 
sity Taw  School  alumni  are  UA  president 
Arthur  Krim,  Marlene  Dietrich  and  Dean  of 
Columbia  Law,  William  C.  Warren. 


SCHLANGER 


ALBERT  SINDLINGER's  research  organi- 
zation has  been  hired  by  TOA  in  an  effort 
to  amass  statistical  evidence  to  prove  that 
distributor  sales  of  feature  films  to  television 
hurts  all  segments  of  the  industry.  Accord- 
ing to  TOA  president  Ernest  G.  Stellings, 
"the  results  of  this  research  will  be  given 
to  the  distributors  before  the  end  of  Janu- 
ary .  .  .  We  are  positive  that  this  report 
will  conslusively  substantiate  the  soundness 
of  our  position." 

0 

TED  SCHLANGER,  Stanley  Warner  Eastern 
Penna.  zone  manager,  will  be  honored  at  a 
dinner  celebrating  his  25th  anniversary  with 
the  circuit.  Pennsylvania's  Governor  George 
Leader  and  many  industry  notables  will  at- 
tend the  affair  at  the  Bellevue-Stratford, 
Monday,  December  30.  Proceeds  will  go  to 
the  Will  Rogers  Memorial  Hospital  and  the 
Multiple  Sclerosis  Foundation.  Jay  Emanuel 
is  general  chairman  of  the  affair. 

0 

ARBITRATION  talks  have  been  tentatively 
set  to  resume  in  mid-January.  A  conference 
originally  set  for  December  9  was  postponed 
because  Charles  M.  Reagan,  a  member  of 
the  committee,  had  resigned  as  Loew's  gen- 
eral sales  manager.  Julius  M.  Gordon,  pres- 
ident of  Allied  States  Association,  blasted 
distribution  for  calling  off  the  scheduled 
meeting,  asserting  that  his  organization  had 
not  consented  to  a  postponement.  In  a 
telegram  to  A.  Montague,  chief  of  the  dis- 
tributor delegation,  Gordon  stated:  ".  .  . 
Such  cancellation  is  not  with  the  consent  or 
agreement  of  Allied  States  Association  .  .  . 
We  feel  that  the  reason  for  the  cancellation 
of  the  meeting  is  not  a  valid  one  .  .  ." 

0 

HERMAN  ROBBINS,  board  chairman  of 
National  Screen  Service,  and  JAMES  P. 
CLARK,  president  of  National  Film  Service, 
jointly  announced  that  NSS  is  negotiating  to 
acquire  a  one-half  interest  in  NFS.  Their 
statement  declared,  "All  forces  in  the  mo- 
tion picture  industry  today  have  to  work  to- 
gether to  find  the  most  economical  way  of 
distributing  pictures  .  .  .  (Our  plans)  will 
be  revolutionary  in  concept  and  will  stream- 
line the  present  distribution  method." 


Page  14       Film  BULLETIN    December  23,  1 957 


THEY 


MADE  THE  NEWS 


GOLDEN 


HERBERT  L.  GOLDEN  will  serve  as  vice 
president  in  charge  of  operations  of  L'nited 
Artists  Corp  and  president  of  L'nited  Artists 
Television,  Inc.  He  is  leaving  his  post  as 
vice  president  in  charge  of  amusements  in- 
\estments  of  Bankers  Trust  Co.,  to  join  the 
film  company  at  a  time  when  it  is  rapidly 
moving  into  other  entertainment  fields.  UA 
president  Arthur  B.  Krim,  who  announced 
the  new  appointment,  said  that  Golden  will 
also  serve  on  the  parent  organization's  board 
of  directors.  L'nited  Artists  Television  will 
soon  start  financing  production  and  distribu- 
tion of  films  for  television  under  a  set-up 
similar  to  form  to  its  theatrical  motion  pic- 
ture operations. 

0 

COLLMBIA  PICTLRES  reported  a  net  loss 
of  S425,000  for  the  quarter  ended  September 
28,  1957.  For  the  same  quarter  in  1956  a 
net  profit  of  $843,000  was  earned.  A  stock 
dividend  of  21/,  per  cent  was  declared  by 
the  company's  board  of  directors.  Business 
conditions  precluded  declaration  of  a  cash 
dividend  at  this  time. 

0 

PHIL  HAYS,  director  of  the  Bartlesville 
telemovie  project  for  Video  Independent 
Theatres,  resigned.  Although  attributed  to 
personal  reasons,  his  resignation  added  cred- 
ence to  continuing  reports  of  increased  dif- 
ficulty in  selling  "cable  theatre"  to  Bartles- 
ville residents. 

o 

HARRY  MANDEL  has  been  named  execu- 
tive assistant  for  theatre  operation  to  RKO 
Theatres  president  Sol  A.  Schwartz.  Mandel, 
who  now  heads  the  circuit's  advertising  de- 
partment, will  continue  these  duties  in  ad- 
dition to  his  new  position.  Assisting  the 
newly-promoted  executive  in  the  theatre  oper- 
ations department  will  be  Tom  Crehan. 


HAROLD  HJECHT,  president  of  Hecht-Hill- 
Lancaster,  announced  that  his  organization 
will  spend  some  >12  million  to  produie  11 
motion  pictures  for  l'nited  Artists  in  1958. 
Justifying  such  an  ambitious  program  at  this 
time,  Hecht  declared:  "We  are  convinced 
there  is  a  vital  and  enthusiastic  audience  for 
dims  throughout  the  world  .  .  .  The  reason 
for  the  failing  boxoffice  lies  neither  with  the 
people  nor  with  television  but  with  us,  the 
film  makers." 

0 

RICHARD  OREAR,  executive  vice  president 
of  Commonwealth  Theatres,  and  LOLIS 
HIGDON,  president  of  Mid-Central  Thea- 
tres, jointly  announced  that  Commonwealth 
has  acquired  18  Mid-Central  situations,  four- 
teen of  which  are  indoor  theatres,  two 
drive-ins.  Commonwealth  operates  in  six 
midvvestern  states. 

0 

GEORGE  P.  SKOLRAS,  president  of  United 
Artists  Theatres  Circuit,  Inc.,  reported  net 
income  for  the  year  ended  August  31  of 
S2 19,435  compared  to  S303.918  in  the  pre- 
vious year.  He  attributed  most  of  the  revenue 
decline  to  an  erratic  supply  of  top  product. 


MGM  SALES  CABINET 


Sales  manager  John  P.  Byrne  holds  bis  first 
conference  with  bis  M-G-M  sales  associates. 
Byrne  is  flanked  at  the  table  by  Robert 
Mocbrie  (left)  and  Burtus  Bishop.  Jr.,  newly 
appointed  assistant  general  sales  manager. 
Standing  (I  to  r):  John  S.  Allen.  Dallas; 
Herman  Ripps.  Los  Angeles;  Jobn  J.  Mo- 
loney, Pittsburgh;  Lou  Formato,  Washing- 
ton; Hillis  Cass,  Toronto. 

0 

R.  J.  O'DONNELL  declared  that  "the  con- 
sistant  release  of  top  pictures  spaced  through- 
out the  year  will  mean  more  to  re-instilling 
the  moviegoing  habit  than  anything  else  yet 
devised".  Speaking  before  some  100  circuit 
executives,  independent  exhibitors,  film 
buyers  and  distributors,  at  a  Dallas  luncheon 
O'Donnell  said  the  balanced  scheduling  of 
releases  will  enable  exhibitors  "to  plan 
bigger  and  better  selling  campaigns  to  bring 
the  public  back  to  our  theatres".  The  lunch- 
eon was  hosted  by  fellow  Texas  Phil  Isley. 

o 

TOLL  TELEVISION  franchises  were 
awarded  to  a  trio  of  applicants  by  the  Los 
Angeles  City  Council  last  week.  However, 
indications  point  to  an  eventual  referendum 
to  decide  finally  the  franchise  issue  because 
of  the  reported  public  opposition  to  toll- 
television.  Leading  the  fight  against  adop- 
tion of  the  ordinance  was  Julius  F.  Tuchler 
of  the  Southern  California  Theatre  Owners 
Association. 


RICKETSON 


FRANK  H.  RICKETSON,  vice  president  and 
general  manager  of  National  Theatres,  gave 
the  Screen  Producers  Guild  and  its  president 
Samuel  F.ngel  a  pat  on  the  back  for  opposing 
the  sale  of  feature  films  to  TV.  Ricketson 
wired  Engel:  "Your  statement  branding  con- 
tinuation of  supplying  films  to  TV  as  an  im- 
prudent and  ill-advised  practice  which  must 
do  immeasurable  injury  to  the  motion  pic- 
ture and  theatrical  industries  is  a  gigantic 
first  step  in  the  only  direction  that  can  pre- 
serve the  unity  and  solvency  of  these  two 
great  industries.  Our  entire  NT  organization 
joins  progressive  exhibitors  everywhere  in 
endorsing  this  important  statement." 


BUSY  BUENA  VISTA 


To  intrdoitce  its  new  Technicolor  import. 
"The  Story  of  Vickie",  to  tbeatremen.  Buena 
Vista  is  holding  a  series  of  special  screen- 
ings in  a  number  of  key  cities.  Top;  (I  to 
r)  Walter  Higgius.  Prudential  Theatres  top- 
per, talks  things  over  with  BV  president  Leo 
Samuels  and  advertising  director  Charles 
Levy  in  New  York.  Center;  At  the  N.  Y. 
preview:  (I  to  r)  Ted  Minsky.  Stanley 
Warner  executive:  BV  western  division-man- 
ager Jesse  Chinicb;  SW's  Sat  Fellman: 
Samuels,  and  Frank  Marshal/  of  SW.  Bot- 
tom: At  Boston.  Mass..  exhibitor  luncheon: 
(I  to  r)  Samuels.  BV  district  manager  Herb 
Schaefer.  American  Theatres  executive  Henri 
Schwartzbert.  BV  domestic  sales  manager  Irv- 
ing H.  Ludwig  and  Tommy  Fermoyle  of  AT. 

Film  BULLETIN    December  23,   1957        Page  15 


HEADLINERS 


GEORGE  M.  AURELIUS,  Phoenix  theatre 
executive,  elected  president  of  Arizona  The- 
atres' Association  .  .  .  83rd  SMPTE  Conven- 
tion scheduled  for  Los  Angeles'  Ambassador 
Hotel,  April  21-25,  1958  .  .  .  DAVID  A. 
SHAPIRO  of  Dallas  is  the  new  executive 
secretary  of  the  500  theatre-member  Texas 
Drive  In  Theatre  Owners'  Association.  Group 
will  hold  its  annual  convention  at  the  Baker 
Hotel  in  Dallas,  January  19-21  .  .  .  BARNEY 
BALABAN,  SPYROS  P.  SKOURAS  and 
JACK  L.  WARNER  head  the  Motion  Picture 
Industry  Committee  participating  in  the  10th 


anniversarv  of  Israel  .  .  .  Gulf  States  Allied 
elected  ABE  BERENSON  president,  F.  G. 
HART,  JR.,  vice  president  .  .  .  The  Greater 
Houston  United  Theatre  Association  elected 
ALVIN  GUGGENHEIM  president  .  .  .  20th- 
Fox  general  sales  manager  ALEX  HARRI- 
SON heads  industry's  1958  Brotherhood  cam- 
paign ...  A.  JULIAN  BRYLAWSKI  re- 
elected president  of  Washington,  D.  C.  TOA 
for  his  36th  term  .  .  .  RALPH  WHEEL- 
WRIGHT exciting  Metro  publicity  post  to 
write  and  co-produce  motion  pictures  .  .  . 
JACK  L.  LABOW  appointed  managing  di- 
rector of  RKO  Radio  Pictures  in  Australia 
.  .  .  JACK  JUDD,  manager  of  Columbia's 
Pittsburgh  exchange  to  head  up  the  com- 
pany's southwest  division  .  .  .  WILLIAM 
W.  HOWARD,  vice  president  of  RKO  The- 
atres, has  retired  after  35  years  service  .  .  . 


Musical  director  JOHNNY  GREEN  leavei 
M-G-M  .  .  .  S.  H.  FABIAN  announced  a 
1,000-seat  Cinerama  theatre  is  being  readied 
for  the  Brussels  World  Fair,  opening  next 
March  .  .  .  Second  annual  Japanese  Film 
Week  kicks  off  January  21  at  N.  Y.'s  Mu- 
seum of  Modern  Art  '.  .  .  EARL  RETTIG 
elected  president  of  California  National  Pro- 
ductions, an  NBC  subsidiary  .  .  .  SIDNEY 
POITIER  to  play  Porgy  in  SAMUEL  GOLD- 
WYN's  production  of  "Porgy  and  Bess". 
He  previously  withdrew  from  the  role  .  .  . 
TOM  BALDRIDGE,  Metro  Middle  Atlanitc 
States  sales  executive,  retiring  .  .  .  LEON- 
ARD GOLDENSON  announced  his  resigna- 
tion of  AB-PT  vice  president,  secretary  and 
general  counsel  HERBERT  R.  LAZARUS 
.  .  .  Republic  Pictures  is  out  of  the  MPEA 
.   .   .  U-I  to  pay  25c  quarterly  dividend. 


Page  16       Film  BULLETIN    December  23,  1957 


20tb-Fox  vice  president  Charles  Einfeld  discusses 
bis  iOO-stalion  time  buy  for  "Tbe  Enemy  Below" 
with  ABC  network  president  William  Eastman. 

Einfeld  Sets  Radio  Saturation 
Campaign  for  'Enemy'  via  ABC 

Charles  Einfeld,  20th-Fox  vice  president,  de- 
clared his  faith  in  the  promotional  power  of 
radio  last  week  with  one  of  the  largest  time 
purchases  in  the  company's  history.  The  Fox 
promotional  chief  announced  the  purchase  of 
air  time  on  some  300  ABC-Radio  Network  sta- 
tions to  ballyhoo  "The  Enemy  Below". 

An  estimated  14,000,000  listeners  will  be  ex- 
posed to  commercials  plugging  the  adventure 
thriller  from  December  23  through  the  28th. 
The  intensity  of  this  airlane  push  has  never 
been  exceeded  for  any  20th  release.  In  fact,  this 
purchase  marks  the  first  such  promotional  effort 
for  a  dramatic  production.  A  complete  satura- 
tion of  the  network's  shows  is  planned  for  the 
CinemaScope-De  Luxe  color  production. 

Featured  will  be  personal  endorsements  by  top 
network  stars,  plus  interviews,  both  live  and 
taped,  with  producer  Dick  Powell  and  stars 
Robert  Mitchum  and  Curt  Jurgens.  The  unprece- 
dented number  of  spot  announcements  will  be- 
on  a  round-the-clock  basis. 


Dick  Powell,  producer-director  of  "The  Enemy 
Below",  chats  with  columnist  Drew  Pearson  at 
Washington,  D.  C.  screening  for  government 
officials,  Navy  brass  and  other  opinion-makers. 


Have  Picture,  Will  Travel 
Says  Columbia's  Rube  Jackter 

Columbia  general  sales  manager  Rube  Jackter 
will  use  a  person-to-person  approach  to  pro- 
mote the  sales  campaign  for  "Bonjour  Tristesse". 

Within  the  next  week  or  so,  Jackter  will 
open  a  series  of  meetings  with  his  top  held  sales 
executives  that  w  ill  take  him  to  every  section  of 
the  country.  On  his  travels,  he  will  devote  his 
efforts  exclusively  to  the  Otto  Preminger  pro- 
duction. 

The  unusual  campaign,  kicked  off  at  a  recent 
combination  luncheon-screening-conference  of 
Columbia  marketing  and  advertising  toppers,  is 
the  first  such  undertaking  in  Columbia's  history. 

In  his  first  swing  around  the  nation,  the 
ubiquitous  Jackter  w  ill  hold  sessions  w  ith  branch 
and  division  managers  in  four  areas:  South- 
eastern group  in  Atlanta;  West  Coast  and  Rocky 
Mountain,  Los  Angeles:  Northwestern  area  in 
San  Francisco;  Southwestern,  Dallas. 

Mouseketeers  Unit  To  Cover 
N.E.  Plugging  'Snow  White' 

Leo  F.  Samuels,  president  of  Buena  Vista,  an- 
nounced that  New  England  w  ill  be  blanketed  by 
an  intensive  four-week  publicity-exploitation 
campaign  for  the  re-release  of  Walt  Disney's 
"Snow  White  and  the  Seven  Dwarfs"  prior  to 
its  opening  in  mid-February.  The  campaign, 
under  the  direction  of  advertising  director 
Charles  Levy,  w  ill  include  local  radio,  TV,  press 
and  school  appearances  of  Jimmie  Dodd  and 
other  cast  members  of  Disney's  Mickey  Mouse 
TV  program.  The  group  w  ill  aso  make  p.a.'s  at 
theatres  show  ing  "Old  Veller"  during  this  period. 

Prior  to  the  arrival  of  the  Mouseketeer  unit, 
each  city  will  be  given  advance  build-up  with 
the  help  of  merchandisers  and  manufacturers  of 
film-keyed  items  who  will  tie-in  with  the 
"SWASD"  campaign. 


LEWIS 


UA  to  Back  '58  Releases  with 
$9  Million  Promotional  Budget 

Approximately  $9  million  of  promotional  ef- 
fort will  be  poured  by  L'nited  Artists  into  sell- 
ing some  S50  million  worth  of  1958  releases,  it 
was  announced  by  Roger  H.  Lewis,  national  di- 
rector of  advertising,  publicity  and  exploitation. 

Speaking  at  the  L'A  sales  convention  in  San 
Francisco,  Lewis  emphasized  that  the  promo- 
tional monies  would  be  used  to  develop  more 
effective  techniques,  find  new  markets  and  stim- 
ulate existing  markets.  One  of  the  campaign's 
plans  will  be  an  attempt  to  influence  newspaper 
readers  by  off-the-movie-page  advertising.  These 
ads  will  differ  in  copy  angle  and  art  approach 
from  the  usual  amusement  page  displays. 

Other  facets  of  the  all-out  promotional  pro- 
gram are  these:  additional  suburban  preview 
screenings,  better  use  of  TV,  an  increase  in  the 
number  of  advance  showings  for  special  groups, 
wider  utilization  of  24-sheet  posters  and  the 
slanting  of  more  ads  to  the  feminine  audience. 

AA  Telecast  Plans 

Promotional  plans  for  the  Academy  Awards 
telecast  arc  moving  forward.  COMPO  and  the 
Advertising  and  Publicity  Directors  Committee 
of  the  MPAA  are  mobilizing  their  joint  efforts 
in  an  attempt  to  boost  "Oscar's"  TV  audience 
to  some  75,000,000  from  last  year's  65,000,000 
for  the  first  industry-sponsored  telecast. 


Eye-catching  banner  on 
"Raintree  County"  decorates 
traffic  island  on  Sew  York's 
Broadway.  M-G-M  biggie 
is  currently  playing  at  both 
Loew's  State  and  the  Plaza. 


PLAT  IT  SAFE !  CROSS  On  THE  0«Et»  U6HT  OKIT..  it  m  ui  i 

PfllHTREE  COUNTY  g 


Film  BULLETIN    December  23,  1757        Page  17 


EXPLOITATION  PICTURE 

It  Has  Youthfulness! 


This  bouncy,  peppy  musical,  is  the 
kind  of  film  that  might  slip  by  the 
showman  with  an  eye  for  pat  exploit- 
ables.  But  any  showman  worth  his  salt 
can  see  immediately  that  it  is  loaded 
with  that  top  selling  ingredient — youth- 
fulness. 

The  names  may  not  be  powerhouse 
pullers  and  the  title  may  sound  a  bit 
obtuse,  but  let's  dig  a  bit  deeper  into 
the  exploitation  possibilities. 

The  director,  for  example,  cues  the 
bounce  behind  the  frothy  tale.  Mitchell 
Leisen  has  a  string  of  successes  way 
down  to  here  ("Lady  in  the  Dark  ", 
"To  Each  His  Own",  "Suddenly  It's 
Spring",  "Tonight  We  Sing"  to  name 
a  few),  built  on  a  real  pro's  touch  with 
light  romantic  comedy,  both  with  and 
without  music.  Another  hallmark  of 
quality  is  the  line  prominent  in  the 
credits:  "Dances  and  Musical  Sequences 
Staged  by  Gower  Champion",  lending 
that  extra  sparkle  to  the  production 
numbers  to  boost  them  above  average. 

Then  there  are  the  young  people, 
five  of  them,  featured  in  the  top  roles. 
They  are  an  attractive  and  personable 
group  collectively,  led  by  Jane  Powell, 
bloomed  into  well-rounded  young 
womanhood  with  a  voice  as  lovely  as 
ever;  Cliff  Robertson,  remembered  for 
his  role  opposite  Joan  Crawford  in 
"Autumn  Leaves"  following  his  screen 
debut  in  "Picnic";  the  increasingly  pop- 
ular Tommy  Noonan  and  the  ebullient 
Broadway  comedienne-singer  Kaye  Bal- 
lard for  the  risibles,  and  handsome 
newcomer  Keith  Andes  rounding  out 
the  starring  quintet.  They  are  the  kind 
of  performers  who  sit  well  with  the 
young  audience — and  their  appeal  is, 
happily,  not  limited  to  the  teenagers. 

Abetting  the  principals  is  a  large  and 
talented  batch  of  terpsichoreans  who 
cavort  in  a  stirring  variety  of  colorful 
and  unusual  settings  in  the  sextet  of 
Champion-inspired  and  directed  pro- 
duction numbers.  It  is  here  perhaps 
that  the  bulk  of  the  showmanship  ideas 
will  make  their  mark  most  tellingly. 
Built  around  the  six  new  tunes  by 
Hugh  Martin  and  Ralph  Blanc,  the 
song-and-dance  scenes  pulsate  with 
rhythmic  movement  and  spectacular 
splashes  of  Technicolor.  The  "Travel- 
ogue" beach  number  is  a  frenzied  frolic 


that  will  leave  the  audience  as  breath- 
less as  the  performers:  "All  the  Colors 
of  the  Rainbow"  gives  the  color  cam- 
eras as  violent  a  workout  as  it  does 
the  dancers;  the  famed  Balboa  beach 
resort  is  glorified  in  a  swirl  of  dancing 
figures  in  the  sequence  of  the  same 
name — and  so  on  down  the  gamut  of 
Champion  creations. 

A  closer  examination  of  the  title  re- 
veals another  broad  gimmick  outlet, 
dovetailing  beautifully  with  store  tie- 
ups,  co-op  newspaper  advertising,  con- 
tests and  audience  participation  stunts. 

Universal,  releasing  the  RKO  Radio 
Stanley  Rubin  production,  is  backing  it 
with  an  appropriately  gay  magazine 
advertising  campaign  aimed  at  garner- 
ing the  youth  element.  The  newspaper 
ads  (right)  are  also  calculated  to  spur 
the  want-to-see  of  this  most  important 
segment  of  the  paying  customers,  with 
romance  on  a  perky  level  highlighted, 
while  the  music  and  the  dancing  play 
whirlingly  in  the  background. 

A  tie-up  with  Capitol  Records  has 
uncoiled  a  Jane  Powell  Record  Festival 
in  which  retailers  and  disc  jockeys  will 
be  staging  special  events  and  broad- 
casts featuring  the  star's  recordings  and 
her  newest  picture.  Local  Capitol  Rec- 
ord distributors  have  been  alerted  and 
stocked  with  display  material  to  work 
hand  in  hand  with  theatres. 


\ 


The  ads  above  are  typical  of  the  entire  cam- 
paign, pushing  the  youth  theme  to  the  hilt. 
Captions  all  stress  the  daring  young  gal  with 
three  eager-beaver  beaux. 


F  w 


Page  18       Film  BULLETIN    December  23,  1957 


EXPLOITATION 
PICTURE 

of  the  issue 


velogue"  num- 
red  below  is  one 
ilm's  dancing 
sts,  a  gay  frolic 
water's  edge. 


mm 


Music,  Title,  Theme  Stunts 

On  the  musical  front,  seven  new  songs  offer  showmen 
a  golden  opportunity  for  tie-ins  with  music  stores,  platter 
spinners,  local  band  leaders  and  music  editors  of  local 
newspapers.  There's  a  Capitol  sound  track  album  plus 
sheet  music  to  help  boost  promotional  efforts  in  this  di- 
rection. For  the  working  gals,  this  film  is  a  natural  for 
an  early  morning  sneak  previews  complete  with  orange 
juice,  coffee  and  doughnuts. 

A  contest  to  find  your  town's  "girl  most  likely"  can 
be  snowballed  by  newspaper,  radio-television  sponsor- 
ship. Such  an  exploitation  gimmick  contains  plenty  of 
human-interest  editorial  and  pictorial  angles.  With  prizes 
offered  by  co-op  advertisers  such  as  beauty  salons  and 
womens'  specialty  shops,  you'll  be  able  to  garner  more 
than  your  share  of  space  and  plugs,  especially  if  news- 
paper and  radio-television  beauty,  fashion  and  movie  edi- 
tors act  as  judges.  For  an  extra  push,  peg  this  musical 
to  the  teenagers  by  inviting  the  kid  crowd  to  vote  for  their 
fern  classmates  as  those  "most  likely"  to  be  engaged, 
married  or  win  some  special  honor. 

Gower  Champion's  choreography  provides  a  double- 
barreled  outlet  for  promotion — via  the  topnotch  dancing 
and  the  unique  settings.  Where  stage  facilities  are  avail- 
able, a  dance  contest  tied  in  with  the  production  numbers 
is  a  certain  teener-gatherer  and  word-of-mouth  hypo. 


THE  STDHV 


Take  a  pretty  young  lass,  put  her  in 
a  beach  resort  locale,  and  add  a  trio 
of  swains,  anyone  of  which  she  could 
conceivably  marry,  and  you  have  the 
ingredients  for  a  rhythm-filled  ro- 
mance. Complete  with  attention-grab- 
bing song-and-dance,  "Girl  Most  Like- 
ly'' offers  quite  a  few  sparkling  coined) 
characterizations.  Jane  Powell  dates 
real  estate  salesman  Tommy  Noonan 
just  enough  so  he  considers  himself  en- 
gaged to  her.  At  her  job  in  a  bank, 
she  eyes  a  yacht  in  the  bay  belonging 
to  Keith  Andes,  a  young  playboj  with 
plenty  of  everything  including  money. 
Scheming  to  meet  him,  Jane  throws 
herself  in  to  the  bay,  attempts  to  have 
herself  rescued  by  Andes  but  winds  up 
being  saved  by  mechanic  Cliff  Robert- 
son. After  dating  her  for  a  short  time, 
he  also  considers  himself  engaged  to 
her.  Eventually,  Miss  Powell  meets  up 
with  Andes,  he  falls  in  love  with  her, 
and  —  presto  —  another  engagement. 
Forced  to  make  her  choice,  she  chooses 
Andes.  At  the  wedding  on  the  play- 
boy's yacht,  all  three  swains  are  pres- 
ent. When  Robertson  kisses  her  good- 
bye for  the  last  time  she  hears  bells 
ring,  whistles  clang  and  the  sound  of 
true  love.  After  telling  Andes  she  can't 
go  through  w  ith  a  marriage  to  a  person 
she  doesn't  love,  she  once  again  dives 
into  the  bay  to  be  rescued  again  by 
Robertson.    Only  this  time  for  keeps. 


Film  BULLETIN    December  23,   1957        Page  19 


HIS  IS  YOUR  PRODVCI 


All  The  Vital  Details  on  Current  &)  Coming  Features 

(Date  of  Film  BULLETIN  Review  Appears  At  End  of  Synopsis) 


ALLIED  ARTISTS 


September 

DEATH  IN  SMALL  DOSES  Peter  Graves,  Mala  Powers, 
Chuck  Conners.  Producer  R.  Heermance.  Director  J. 
Newman.  Melodrama.  Investigator  cracks  ring  selling 
illegal  pills  to  truckers.  74  minutes. 
GUN  BATTLE  AT  MONTEREY  Sterling  Hayden,  Pamela 
Duncan,  Ted  de  Corsia.  Producer  D.  J.  Grut.  Director 
Sidney  Franklin,  Jr.  Melodrama.  Outlaw  leaves  buddy 
to  die,  thinking  him  dead.  76  minutes. 
NAKED  IN  THE  SUN  Eastman  Color.  James  Craig.  Lita 
Milan,  Barton  MacLane.  Producer-director  R.  John 
High.  Drama.  Story  of  Osceola,  Warrior  Chief  of  the 
Seminole  nation,  the  woman  he  loved,  and  the  war  that 
was  never  won.   72  min. 

TEENAGE  DOLL  June  Kenney,  Fay  Spain,  John  Brink- 
ley.  Producer-Director  Roger  Corman.  A  drama  of 
teenage  gang  warfare.    71  min. 

UNDERSEA  GIRL  Mara  Corday,  Pat  Conway,  Florence 
Marly.  Producer  Norman  Herman.  Adventure.  Skin 
divers  solve  mystery  of  lost  naval  shipment.    66  mm. 

October 

AFFAIR  IN  HAVANA  John  Casavetes.  Raymond  Eurr, 
Sara  Shane.  A  Dudley  Production.  Director  Laslo 
Benedek.  Drama.  Young  American  composer  becomes 
involved  with  the  wife  of  a  wealthy  Cuban  tycoon  who 
is  a  helpless  paralytic.   80  min. 

LOOKING  FOR  DANGER  Huntz  Hall,  Stanley  Clements. 
Producer-director  Richard  Heermance.  Melodrama. 
Bowery  Boys  booby-trap  holdup  man.  61  min. 
TALL  STRANGER,  THE  CinemaScope,  Color.  Joel  Mc- 
Crea,  Virginia  Mayo.  Producer  Walter  Mirisch.  Direc- 
tor Thomas  Carr.  Western.  Cowboy  helps  open  Colo- 
rado to  setlers.    81  min.  12/9. 

November 

HONG  KONG  INCIDENT  Jack  Kelly,  May  Wynn.  Pro- 
ducer J.  Raymond  Friegen.  Director  Paul  F.  Heard. 
Drama.  East-West  romance  with  Hong  Kong  as  back- 
ground. 81  min. 

HUNCHBACK  OF  NOTRE  DAME.  THE  CinemaScope, 
Color.  Gina  Lollobrigida,  Anthony  Ouinn.  A  Paris 
Traduction.  Director  Jean  Delannoy.  Drama.  Hunch- 
back falls  in  love  with  beautiful  gypsy  girl.  103  min. 
I  1/14. 

SABU  AND  THE  MAGIC  RING  DeLuxe  Color.  Sabu, 
Daria  Massey,  Robert  Shafto.  Producer  Maurice  Dike. 
Director  George  Blair.  Adventure.  Stable  boy  finds 
magic  ring.  65  min. 

December 

MAN  FROM  GOD'S  COUNTRY  CinemaScope,  Color, 
George  Montgomery,  Randy  Stuart,  Susan  Cummings. 
Producer  Scott  R.  Dunlap.  Director  Paul  Landres. 
Western.  Believed  to  be  agent  for  railroad,  hero  be- 
comes a  marked  man.  82  min. 

PAGANS,  THE  Pierre  Cressoy,  Vittorio  Sanitoli,  Helen 
Remy.  Producer  William  Pizor.  Director  Ferrucio  Cerio. 
Adventure.  Sacking  of  16th  Century  Rome  by  Spanish 
hordes.  80  min. 

UP  IN  SMOKE  Huntz  Hall.  Producer  Richard  Heer- 
mance. Director  William  Beardine.  Comedy.  Bowery 
Boys  become  involved  in  horse  race  betting.    62  min. 

Coming 

BEAST  OF  BUDAPEST  Michael  Mills,  Greta  Thyssen, 
Violet  Rensing.  Producer  Archie  Mayo.  Director  Har- 
mon Jones.  Drama  of  freedom  fighters  in  Budapest. 
BULLWHIPPED  CinemaScope,  DeLuxe  Color.  Guy  Madi- 
son, Rhonda  Fleming.  A  Romson-Brody  Production. 
OOLE  YOUNGER,  GUNFIGHTER  CinemaScope,  Deluxe 
Color.  Frank  Lovejoy.  Producer  Ben  Schwalb.  Director 
R.  G.  Springsteen.  Western.  Rebellion  against  carpet- 
bag rule  in  Texas. 

CRY    BABY    KILLER,    THE    Jack    Nicholson,  Carolyn 
Mitchell.  Producer  Roger  Corman.  Director  Jus  Addis. 
Melodrama.  Juvenile  killer  on  a  crime  spree. 
IN  THE  MONEY  Huntz  Hall.    Producer  Richard  Heer- 
mance.   Director  William  Beaudine.    Comedy.  Interna- 
national  smugglers  make  Hall  fall  guy  in  robbery. 
NEVER  LOVE  A  STRANGER  John  Drew  Barrymore,  Lita 
Milan,  Robert  Bray.  Producer  Harold  Robbins. 
OREGON  PASSAGE  CinemaScope.    Deluxe  Color.  John 
Ericson.     Produced    Lindsley    Parsons.     Director  Paul 
Landres.    Western.    Fight  against  Indian   uprisings  in 
Oregon  Territory.    82  min. 

SEVEN  GUNS  TO  MESA  Lola  Albright,  Charles  puin- 
liven.  Producer  William  F.  Broidy.  Director  Edward 
Dein.  Western.  Stagecoach  passengers  are  held  pris- 
oners by  outlaw-killers. 

OUANTRILL'S  RAIDERS  CinemaScope,  DeLuxe  Color. 
Steve  Cochran,  Diane  Brewster.  Producer  Ben  Schwalb. 


RAWHIDE  TRAIL,  THE  Rex  Reason,  Nancy  Gates.  Pro- 
ducer Earle  Lyon.  Director  Robert  Gordon.  Western. 
Two  men  are  falsely  accused  of  leading  wagon  train 
into  an  Indian  ambush. 

WAR  OF  THE  SATELLITES  Susan  Cabot,  Dick  Miller. 
Producer  Roger  Corman. 


AMERICAN   INTN'L  PICTURES 


September 

AMAZING  COLOSSAL  MAN,  THE  Glenn  Langan, 
Cathy  Downs,  William  Hudson.  Producer-Director  Bert 
I.  Gordon.  Horror.  Out-size  man  runs  amok.  81 
min.  11/14. 

CAT  GIRL,  THE  Barbara  Shelley,  Robert  Ayres,  Kay 
Callard.  Producer  Lou  Rusoff.  Director  William  Shaugn- 
essy.  Horror.  69  min. 

October 

MOTORCYCLE  GANG  Steve  Terrell,  John  Ashley, 
Frank  Gorshin.  Producer  Alex  Gordon.  Director  Edward 
L.  Cahn.  Melodrama.  78  min. 

SORORITY  GIRLS  Susan  Cabot,  Dick  Miller,  Barboura 
Morris.  Producer-Director  Roger  Corman.  Melodrama. 
60  min. 

November 

BLOOD  OF  DRACULA  Sandra  Harrison,  Louise  Lewis. 
Gail  Gonley.  Producer  Herman  Cohen.  Director  Herbert 
L.  Strock.  Horror. 

I  WAS  A  TEENAGE  FRANKENSTEIN  Whit  Bissell,  Phyl- 
lis Coates,  Robert  Burton.  Producer  Herman  Cohen. 
Director  Herbert  L.  Strock.  Horror. 

December 

JET  ATTACK  John  Agar,  Audrey  Totter.  Producer  Alex 
Gordon.  Director  Edward  L.  Cahn.  Drama. 

January 

ASTOUNDING  SHE  MONSTER,  THE  Robert  Clarke, 
Kenne  Duncan,  Marilyn  Harvey.  Producer-director 
Ronnie  Ashcroft.  Horror. 

VIKING  WOMEN,  THE  Abby  Dalton,  Susan  Cabot. 
Brad  Jackson.  Producer-Director  Roger  Corman. 
Science-Fiction. 

February 

FANTASTIC   PUPPETT  PEOPLE,   THE  John   Agar  John 

Hoyt.    Producer-director  Bert  I.  Gordon. 

SUICIDE   BATTALION    Michael   Connors,   John  Ashley, 

Russ  Bender.  Producer  Lou  Rusoff.  Director  E.  C.  Cahn! 

Drama. 


COLUMBIA 


September 

BROTHERS  RICO  THE  Richard  Conte,  Kathryn  Grant, 
Dianne  Foster.  Producer  Lewis  Rachmil.  Director  Phil 
Karlson.  Drama.  Former  racketeer,  trying  to  go 
straight,  exposes  organization  when  they  push  him  too 
far.  90  min. 

PARSON  AND  THE  OUTLAW,  THE  Sonny  Tufts  An- 
thony Dexter,  Marie  Windsor.  Producer  Robert  Gilbert. 
Director  Oliver  Drake.  Billy  the  Kid  tries  to  become 
law-abiding  citizen.  71  min. 

WOMAN  OF  THE  RIVER  Technicolor.  Sophia  Loren, 
Gerald  Oury,  Lise  Bourdin.  Producer  DeLauretiis  and 
Ponti.  Director  Mario  Soldati.  Beautiful  peasant  girl 
who  breaks  smuggling  ring.  98  min. 

October 

DOMINO  KID  Rory  Calhoun.  Kristine  Miller.  Producers 
Rory  Calhoun  and  Victor  M.  Orsatti.  Director  Ray 
Nazzaro.  Western.  73  min.  Civil  War  hero  returns 
seeking  vengeance  on  outlaws  who  killed  his  father. 
74  min. 

HOW  TO  MURDER  A  RICH  UNCLE  Charles  Coburn, 
Nigel  Patrick,  Wendy  Hiller.  A  Warwick  Production. 
Director  Nigel  Patrick.  Comedy.  English  family  plots 
to  murder  rich  American  uncle. 

PAPA.  MAMA.  THE  MAID  AND  I  Robert  Lamoureux, 
Gaby  Morlay,  Nicole  Courcel.  Director  Jean-Paul  La 
Chanois.  Comedy.  The  lives  of  a  typically  Parisian 
family.  94  min.  9/17. 

STORY  OF  ESTHER  COSTELLO  Joan  Crawford, 
Rossano  Brazzi,  Heather  Sears.  John  and  James  Woolf 
producers.  Director  David  Miller.  Drama.  Unscrupulous 
people  exploit  blind  girl  for  profit.  103  min.  9/30. 
TIJUANA  STORY.  THE  Rodolfo  Acosta,  James  Darren, 
Robert  McOueeney.  Producer  Sam  Katzman.  Director 
Leslie  Kardos.  Drama.  Editor  wages  fight  against  vice 
lords  in  community. 


November 

ESCAPE  FROM  SAN  <?UENTI N  Johnny  Desmond,  Merry 
Anders.  Melodrama.  Escape  of  three  prisoners  from 
S.  Q.    81  min. 

OPERATION  MAD  BALL  Jack  Lemmon,  Kathryn  Grant, 
Mickey  Rooney.  Producer  Jed  Harris.  Director  Rich- 
ard Puine.  Comedy.  Private  faces  court-martial  while 
involved  in  a  romance.    105  min. 

PAL  JOEY  Technicolor.  Frank  Sinatra,  Rita  Hayworth, 
Kim  Novak.  Producer  Fred  Kohlman.  Director  George 
Sidney.  Musical.  Filmiiation  of  the  Rodgers  and  Hart 
Broadway  hit.    Ill  min.  9/16. 

TORERO  Documentary  starring  Luis  Procuna.  75  min. 
Disney.  Director  Robert  Stevenson.  Drama. 

December 

ADMIRABLE  CRICHTON,  THE  Technicolor.  Kenneth 
More.  Diane  Cilento.  Cecil  Parker.  Producer  Ian  Dal- 
rymple.  Director  Lewis  Gilbert.  Drama.  The  story  of  a 
famous  butler  in  the  I900's.   94  min. 

BRIDGE  OVER  THE  RIVER  KWAI,  THE  William  Holden, 
Alec  Guinness,  Jack  Hawkins.  Producer  Sam  Spiegel. 
Director  David  Lean.  Drama.  British  soldiers  held  in 
prison  camp.  161  min.  11/25. 

HARD  MAN,  THE  Guy  Madison,  Valerie  French,  Lome 
Green.  Producers  Wallace  MacDonald  and  Helen  Ains- 
worth.  Director  George  Sherman.  Western.  Deputy 
out  to  prove  he  is  not  a  killer.    79  min.  12/9. 

January 

DECISION  AT  SUNDOWN  Randolph  Scott,  Valerie 
French,  Karen  Steele.  Producer  Harry  Joe  Brown.  Di- 
rector. Budd  Boetticher.  Western.  Climax  of  a  3-year 
hunt  for  the  man  who  stole  his  wife. 

LONG  HAUL,  THE  Victor  Mature,  Diana  Dors,  Peter 
Reynolds.  Producer  Maxwell  Setton.  Director  Ken 
Hughes.  Melodrama.  Truck  driver  becomes  ensnared 
with  English  underworld.    88  min.  12/9. 

Coming 

BITTER  VICTORY  CinemaScope,  Technicolor.  Richard 
Burton,  Curd  Jurgens,  Raymond  Pellegrin.  Producer 
Paul  Graetz.  Director  Nick  Ray.  W.  W.  If.  97  min. 
BON  JOUR  TRISTESSE  CinemaScope,  Color.  David 
Niven,  Deborah  Kerr,  Jean  Seberg.  Producer-director 
Otto  Preminger. 

COWBOY  Glenn  Ford,  Jack  Lemmon,  Anna  Kashfi. 
Western.  Free-spending  cowboy  helps  friend  save 
cattle. 

FORTUNE  IS  A  WOMAN  Jack  Hawkins,  Arlene  Dahl, 
Dennis  Price.  Producers  Frank  Launder  and  Sidney 
Gilliat.    Director  Sidney  Gilliat. 

GIDEON'S  DAY  Jack  Hawkins,  Dianne  Foster.  Pro- 
ducer-director John  Ford. 

GODDESS.  THE  Kim  Stanley,   Lloyd  Bridges.  Producer 
Milton  Perlman.    Director  John  Cromwell. 
HAUNTED.  THE  Dana  Andrews.  Producer  Hal  E.  Ches- 
ter. Director  Jacques  Tourner. 

HIGH  FLIGHT  CinemaScope.  Ray  Milland,  Sean  Kelly, 
Kenneth  Haight.  Producers  Irving  Allen  and  A.  R. 
Brocolli.  Director  John  Gilling. 

KEY,    THE   William    Holden,    Sophia    Loren.  Producer 
Carl  Forman.    Director  Carol  Reed. 
NIGHT  OF  THE  DEMON  Dana  Andrews.    Producer  Hal 
E.  Chester.    Director  Jacques  Tourneur. 
NO  TIME  TO  DIE  Victor  Mature,  Leo  Genn.  Producer 
Phil  Samuel.    Director  Terence  Young. 
OTHER   LIFE   OF   LYNN   STUART,   THE   Betsy  Palmer, 
Jack  Lord.    Producer  Bryan  Foy.  Director  Lewis  Seiler. 
RESCUE   AT   SEA   Gary    Merrill,    Nancy    Davis,  Irene 
Hervey.    Producer  Sam  Katzman.    Director  Fred  Sears. 
RETURN  TO  WARBOW  Color.    Phil  Carey,  William  Les- 
lie, Catherine  McLeod.    Producer  Wallace  MacDonald. 
Director  Ray  Nazzaro. 

SCREAMING  MIMI  Anita  Ekberg,  Phil  Corey,  Gypsy 
Rose  Lee,  Harry  Townes.  A  Brown-Fellows  Production. 
Director  Gerd  Oswald. 

7TH  VOYAGE  OF  SINBAD,  THE  Kerwin  Matthews, 
Kathryn  Grant.  Producer  Charles  Schneer.  Director 
Nathan  Juran. 

SHE  PLAYED  WITH  FIRE  Jack  Hawkins,  Arlene  Dahl, 
Producers  Frank  Launder-Sidney  Gilliat.  Director  Sid- 
ney Gilliat.  Drama.  Story  of  an  arsonist.  95  min. 
SNORKEL,  THE  Peter  Van  Eyck,  Betta  St.  John.  Pro- 
ducer Michael  Carreras.  Director  Guy  Green. 
SUICIDE  MISSION  Leif  Larson,  Michael  Aldridge.  Atla 
Larsen.  A  North  Seas  Film  Production.  Director 
Michael  Forlong.  Adventure.  Norwegian  fishermen 
smash  German  blockade  in  World  War  II.  70  min. 
THIS  BITTER  EARTH  Silvana  Mangano,  Richard  Conte, 
Anthony  Perkins.  Producer  Dino  De  Laurentiis.  Direc- 
tor Rene  Clement.  Drama.  Family  fights  to  keep  land. 
WORLD  WAS  HIS  JURY,  THE  Edmond  O'Brien,  Mona 
Freeman,  Karin  Booth.  Producer  Sam  Katzman.  Director 
Fred  F.  Sears.  Melodrama.  Captain  of  ocean  liner  is 
charged  with  mass  murder.    82  min. 


Film 


BULLETIN  —  THIS     IS     YOUR  PRODUCT 


JANUARY  SUMMARY 

24  features  ore  tentafively  scheduled 
for  January  release;  however,  later  addi- 
tions to  the  roster  should  raise  the  total 
by  10  to  12  films.  20th  Century- Fox  will 
be  the  leading  supplier  with  six  films; 
Metro-Goldwyn-Mayer  and  Warner  Bros, 
will  release  three  each;  American  Interna- 
tional, Columbia,  Paramount.  Rank  and 
Universal  will  release  two  each;  United 
Artists  and  Aster  will  reiease  one  each. 
Six  January  films  will  be  in  color.  Three 
filrr.s  will  be  in  CinemaScope,  one  in 
Camera  65  and  one  in  VistaVision. 

6  Dramas  3  Advenrures 

6  Melodramas  1  Horror 

3  Westerns  1  Science-fiction 

3  Musicals  1  Documentary 


INDEPENDENTS 


September 

BED  OF  GRASS  Trans-Lux)  Anna  Brauou,  Mill* 
Nichols.  Vera  Katri.  Producer-Director  Gregg  Tallas. 
Drama.  92  min. 

CARNIVAL  ROCK  IHowco  International)  Susan  Cabot, 
David  Stewart.  Producer-director  Roger  Corman  Mu- 
sical. Rock  n'  roll  love  story.  75  min. 
CARTOUCHE  IRKO)  Richard  Basehart,  Patricia  Roc. 
Producer  John  Nasht.  Director  Steve  Sekely.  Adventure. 
The  story  of  a  lusty  adventurer  during  the  reign  of 
Louis  XVI.  73  min. 

COOL  AND  THE  CRAZY,  THE  I  Imperial)  Scott  Mar- 
lowe. Giqi  Perreau.  Producer  Elmer  Rhoden  Jr.  Di- 
rector William  Whitney.  Story  of  teenage  violence. 
GUN  GIRLS  [Astorl  Jeanne  Ferguson.  Jean  Ann  Lewis. 
Producer  Edward  Frank.  Director  Robert  Derteano. 
Drama.  Gang  girls  on  the  loose.  67  min. 
PASSIONATE  SUMMER  IKingsley)  Madeleine  Robinson, 
Magali  Noel,  Raf  Vallons.  Produced  by  Les  Films 
Marceau.  Director  Charles  Brabant  Drama.  Conflict- 
ing passions  between  three  women  and  a  man.  iso- 
lated or,  a  rugged  farm  in  a  mountainous  French 
province.  98  min. 

TEENAGE  THUNDER  Howco  International  I  Charles 
Courtney.  Melinda  Bryon  Producer  Jacques  Marquette 
Director  Paul  Helmick.  Melodrama.  Hot  rods  and 
drag  strips.    75  min. 

October 

BROTHERS  IN  LAW  I  Continental  1  Ian  Carmichel.  Rich- 
ard AHenborough,  Jill  Adams.  Producer-director,  the 
Boulting  Bros.  Comedy.  Adventures  of  a  young  lawyer 
95  min. 

DEADLIER  THAN  THE  MALE  Continental)  Jean  Gabin, 
Daniele  Delorme.  Director  Julien  Duvivier.  Melodrama. 
The  duplicity  of  a  seemingly  shy  and  innocent  girl 
leads  to  homicide. 

FOUR  BAGS  FULL  (Trans-Luxl  Jean  Gabin,  Bourvil, 
Jeannette  Batti.  A  Franco  London  Production.  Director 
Claude  Autant-Lara.  French  Black  Market  Drama.  84 
VIRTUOUS  SCOUNDREL,  THE  IZenith  Amusement 
Enterprises)  Michel  Simon.  Producer-Director  Sacha 
Guitry.  A  comedy  of  irony  which  pokes  a  satirical 
finger   into   the    pretensions   of    Parisian    high  society. 

November 

A  MAN  ESCAPED  (Continental  Distributing)  Francois 
Leterrier.  Charles  Leclainche,  Maurice  Beerblock.  Pro- 
ducers Jean  Thullier  and  Alain  Poire.  Director  Robert 
Bresson.  Drama.  Young  French  lieutenant  plans  daring 
escape  from  German  concentration  camp.  94  min 
10/14. 

AND  GOD  CREATED  WOMAN  Kingsley  International) 
Engitte  Bardot,  Curd  Jurgens.  Producer-director  Roger 
Vadim.  Drama.  Story  of  a  woman  of  easy  virtue  >0C 
min.  10/28. 

ERAIN  FROM  PLANET  AROUS,  THE  I Howco-Marquette 
for  Howco  International  release)  John  Agar.  Joyce 
Meadows.  Robert  Fuller.  Producer  Jacques  Marquette. 
Director  Jerry  Juran.  Science-Fiction. 
PLEASE,  MR.  BALZAC  IDCA)  Daniel  Gelin.  Briqette 
Bardot.  Producer  Raymond  Eger.  Director  Marc  Alleg- 
ret.  Comedy.  Young  daughter  writes  scandalous  novel 
99  min. 

RODAN  (DCA)  Technicolor.  A  Toho  Production.  Hor- 
ror. Story  of  a  super-sonic  creature  no  weapon  can 
destroy. 

TEENAGE  BAD  GIRL  IDCA)  Sylvia  Syms,  Anna  Neagle. 
Producer-Director  Herbert  Wilcox.  Juvenile  Delin- 
quents. Melodrama. 

TEEN  AGE  MONSTER  IHowco  International)  Anne 
Gwynne,  Charles  Courtney.  Producer-director  Jacques 
Marquette.  Horror.  Cosmic  rays  turn  teenager  tnto 
hairy  monster. 

TEENAGE  WOLF  PACK  IDCA)  Juvenile  Delinquents. 
Melodrama. 

December 

CAST  A  DARK  SHADOW  IDCA)  Dirk  Bogarde.  Mar- 
garet  Lockwood,  Kay  Walsh.  Producer-director  Lewis 
Gilbert.  Melodrama.  A  man-about-town  murders  ladies 
for  their  wealth.    80  min.  12/8. 

GERVAISE  (Continental )  Eastman  Color.  Maria  Schell. 
Francois  Perrer.  Director  Rene  Clement.  Drama.  Based 
on  a  famous  novel  by  Emile  Zola.  Drama.  116  min. 
12/9. 

IT'S  GREAT  TO  BE  YOUNG  I  Fine  Arts)  Technicolor. 
John  Mills,  Cecil  Parker  Jeremy  Spenser.  Musical. 
A  spoof  of  the  British  public  school  tradition. 
OLD  YELLER  (Walt  Disney  Productions)  Dorothy  Mc- 
Guire,  Fess  Parker,  Chuck  Connors.  Producer  Walt 
Disney.  Director  Robert  Stevenson.  Western.  Tale  of  a 
boy  and  his  dog.  83  min.  11/25. 

ORDET  (Kingsley-lnternational)  Henrik  Malberg.  Preben 
Lerdorff  Rye.   Director  Carl  Dreyer.  Drama. 
Robert  Parrish.  Western. 

SILKEN  AFFAIR,  THE  IDCA)  David  Niven.  Genevieve 
Page.  Ronald"  Squire.  Producer  Fred  Feldkamp.  Direc- 
tor Roy  Kellino.  English  Comedy.  96  min. 

January 

TIME  WITHOUT  PITY  lAstor)  Michael  Redgrave.  Ann 
Todd,  Peter  Cushing.  Director  Joseph  Losey.  Melo- 
drama. Chronic  alcoholic  saves  long-neglected  son 
from  murder  charge.    88  min.  12/9. 

Coming 

A  TIME  TO  KILL  I  Producers  Associated  Pictures  Co.) 
Jim  Davis,  Don  Megowan,  Allison  Hayes.  Producer  Pat 
Beti.  Director  Oliver  Drake. 

BUFFALO  GUN  Wayne  Morris,  Don  Barry,  Mary  Ellen 
Kaye.  Producer  Al  Milton.  Director  Albert  C.  Ganna- 
way. 


DAY  OF  THE  TRUMPET.  THE  C  Santiago  Film  Organ!- 
zation  Prod.)  John  Agar,  Richard  Arlen.  Bill  Phipps 
Producer  Harry  Smith.  Director  Eddie  Romero. 
DREAM  MACHINE.  THE  (Amalgamated  Prods  )  Rod 
Cameron,  Marty  Murphy,  Peter  llling.  Producers  Rich- 
ard Gordon  and  Charles  Vetter.  Jr.  Director  Mont- 
gomery Tully. 

LIGHT  ACROSS  THE  STREET,  THE  IUMPO)  Brigitte 
Bardot.  Raymond  Pellegrin,  Roger  Pigaut.  Producer 
Jacques  Gauthier.  Director  Georges  Lacombe.  Drama 
A  French  husband  and  wife  try  to  live  without  normal 
sex  relations,  after  the  husband  had  a  near-fatal  acci- 
dent. 76  min. 

LOST  CONTINENT  IIFE)  CinemaScope.  Ferraoicolor. 
Producer-director  Leonardo  Bonii.  An  excursion  into  the 
wilds  of  Borneo  and  the  Maylayan  Archepeiago.  Eng- 
lish corr  Mlltary.  86  min. 

MISSOURI  TRAVELER.  THE  Buena  Vista)  Brandon  De- 
Wilde.  Fess  Parker  A  C.  V.  Whitney  Production. 
NEAPOLITAN  CAJ  OUSEL  IIFE)  (Lux  Film.  Rome/  Path*, 
color.  Print  by  Technicolor.  Sophia  Loren,  Leonide 
Massin*.  Director  Ettore  Giannini.  Musical.  The  history 
of  Naples  traced  from  1600  to  date  in  song  and  dance 
RAISING  A  RIOT  I  Continental )  Kenneth  More.  Shelagh 
Frazer.  Mandy.  Producer  lar,  Dalrymple.  Director 
Wendy  Toye.  English  comedy.  90  min. 

STORY  OF  VICKIE.  THE  Buena  Vista)  Technicolor. 
Romy  Sehneider  Adrian  Hoven.  Producer-directcr 
Firnst    Marischka.     Drama.    The    romance   of    England  s 

Victoria  I. 


METRO-GOLDWYN-MAYER 


September 

ACTION  OF  THE  TIGER  CinemaScope.  Eastman  Color. 
Van  Johnson,  Marline  Carol,  Gustavo  Rocco.  A  Clar- 
idge  Production.  Director  Terence  Young.  Drama  Beau- 
tiful girl  seeks  help  of  contraband  runner  to  rescue 
brother  from  Communists.  94  min. 

HIRED  GUN.  THE  CinemaScope.  Gil  McCord.  Ellen 
Beldon,  Kell  Beldon.  Producers  Rory  Calhoun  and  Vic- 
tor M.  Orsatti.  Director  Ray  Nazzaro.  Western.  64 
min.  9/16. 

HOUSE  OF  NUMBERS  CinemaScope.  Jack  Palance. 
Barbara  Lang.  Producer  Charles  Schnee.  Director 
Russell  House.  Melodrama.  Law-abiding  citizen  at- 
tempts to  engineer  San  Quentin  escape  for  his  brother. 
92  min.  7/8. 

LES  GIRLS  CinemaScope,  MetroColor.  Gene  Kelly, 
Mitzi  Gaynor,  Kay  Kendall.  Producer  Sol  C.  Siegel. 
Director  George  Cukor.  Musical.  Dancing  troupe  tour- 
ing Europe.  114  min.  9/30. 

October 

INVISIBLE  BOY,  THE  Richard  Eyer.  Philip  Abbott. 
Diane  Brewster.  Producer  Nicholas  Nayfack  Director 
Herman  Hoffman.  Science-fiction.  Sequel  to  "Forbid- 
den Planet".    90  min. 

UNTIL  THEY  SAIL  CinmeaScope.  Jean  Simmons,  Joan 
Fontaine,  Paul  Newman.  Producer  Charles  Schnee.  Di- 
rector Robert  Wise.  Drama.  James  A.  Michener  story 
U.S.    troops    in    New   Zealand    during   World    War  I. 

95  min.  10/14. 

November 

JAILHOUSE  ROCK  Elvis  Presley,  Judy  Tyler.  Producer 
Pandro  Berman.  Director  Richard  Thorpe.  Musical- 
drama.    Youth's    singing   talent   is    fostered    in  prison. 

96  min.  10/14. 

December 

DON'T  GO  NEAR  THE  WATER  CinemaScope.  Metro- 
Color.  Glenn  Ford.  Gia  Scala,  Keenan  Wynn.  Producer 
Lawrence  Weingarten.  Director  Charles  Walters 
Comedv.  Story  of  a  South  Seas  naval  base  during 
World  War  I.    107  min.    I  1/14. 

January 

RAINTREE  COUNTY  MetroColor.  MGM  Camera  65. 
Elizabeth  Taylor,  Montgomery  Cliff.  Producer  David 
Lewis.  Director  Edward  Dymtryk*.  Drama.  Life  in  Indi- 
ana during  the  middle  1880  s.  185  min. 
SADDLE  THE  WIND  Robert  Taylor,  John  Cassavetes. 
Julie  London.  Producer  Armand  Deutsch.  Director 
Robert  Parrish. 

SAFECRACKER,  THE  Ray  Milland.  Barry  Jones.  Pro- 
ducer. David  E.  Rose.  Director  Ray  Milland.  Adven- 
ture. 

Coming 

BAY  THE  MOON  Jose  Ferrer.  Gena  Rowlands,  Jim 
Backus.  Producer  Milo  Frank.  Director  Jose  Ferrer. 
BROTHERS  KARAMAZOV,  THE  MetroColor.  Yul  Bryn- 
ner,  Maria  Schell,  Claire  Bloom.  Producer  Pandro  S. 
Berman.  Director  Richard  Brooks.  Based  on  famous 
novel  by  Dostoyevsky. 

CRY  TERROR  James  Mason.  Inger  Stevens,  Rod  Steiger. 
Producer-director  Andrew  Stone. 

GIGI  CinemaScope  Metrocolor.  Maurice  Chevalier 
Leslie  Caron,  Louis  Jourdan.  Producer  Arthjr  Freed. 
Director  vlncente  Minnelli. 

I  ACCUSE  Jose  Ferrer,  Vlveca  Llndfors,  Leo  Genn. 
Producer  Sam  Zimbalist.  Director  Jose  Ferrer.  Drama. 
French  officer  uniustly  accused  of  treason. 

MERRY  ANDREW  CinemaScope,  Metrocolor.  Danny 
Kaye,  Pier  Ageli,  Baccpopmo.  Producer  Sol  C.  Siegel. 
Director  Michael  Kidd. 

MOCK  TRIAL  Dean  Jones,  Joan  O'Brien.  Thomas  Mit- 
chell, John  Smith.  Producer  Morton  Fine.  Director 
David  Friedkin. 

SEVEN  HILLS  OF  ROME  LeCloud  Productions.  Mario 
Lanza,  Marisa  Allasio.  Producer  Lester  Welch.  Director 
Roy  Rowland. 


SHEEPMAN,  THE  CinemaScope  Metrocolor.  Glenn 
Ford.  Shirley  MacLaine.  Leslie  Nielson.  Producer  Ed- 
mund Grainger.    Director  George  Marshall. 

UNDERWATER  WARRIOR  Dan  Dailey.  Claire  Kelly. 
Producer  Ivan  Tors.   Director  Andrew  Marten. 


PARAMOUNT 


October 

HAIRPIN  DEVIL'S,  THE  VistaVision.  Technicolor.  Cornel 
Wilde,  Jean  Wallace.  Mary  Astor.  Producer-director 
Cornel  Wilde.  Adventure.  Story  which  deals  with 
sports  car  racing.    82  min.  10/14. 

HEAR  ME  GOOD  Hal  March,  Joe  E.  Ross,  Merry 
Anders.  Producer-Director  Don  McGuire.  Comedy 
Broadway  con-men  hounded  by  creditors.  80  min.  10/28 
JOKER  IS  WILD,  THE  VistaVision,  Technicolor.  Frank 
Sinatra,  Mitxi  Gaynor,  Jeanne  Crain.  Producer  Samuel 
Bnskm.  Director  Charles  Victor.  Drama.  Rim  biography 
of  Joe   E.   Lewis,   nightclub  comedian.    123   min.  9/2. 

November 

TEN  COMMANDMENTS.  THE  VistaVision  Technicolor 
Charlton   Heston    Yul   Brynner,   Anne   8ax»e'  °roduc*r 
director  Cecil  B.  DeMille    Reliaious  arama  li<e 
of  Moses  as  told  in  the  Bible  and  Koran.  219  min.  ID/15 

TIN  STAR.  THE  VistaVision.  Henry  Fonda.  Anthony 
Parkins.  A  Perlherg-Seaton  Production.  Director  An- 
thony Mann.  Western.  Bounty-hunting  in  the  old  west 
93  min.  10/14. 

ZERO  HOUR  Dana  Andrews.  Sterling  Hayden.  Pro- 
ducers John  Champion  and  Hall  Bartlett.  Director  Hall 
Bartlett  Drama.  A  man  battles  for  his  life  and  love. 
81  min.  10/28. 

December 

SAD  SACK  VistaVision.  Technicolor.  Jerry  Lewis,  David 
Wayne.  Producer  Hal  Willis.  Director  George  Mar- 
shall.  Comedy.  Life  in  tha  Army.  98  min.  10/28. 

SPANISH  AFFAIR  VistaVision,  Technicolor.  Carmen 
Seville  Richard  Kiley.  Producer  Bruce  Odium.  Director 
Donald  Siegel.  Adventure.  An  American  architect 
travelling  in  Spain  is  attracted  to  a  beautiful  girl. 
half-Gypsy,  half-Spanish. 

January 

DESIRE  UNDER  THE  ELMS  Sophia  Loren.  Anthony  Per- 
kins,  Burl  Ives.  Producer  Don  Hartman  Director  Del- 
bert  Mann.  Drama.  Emotional  conflicts  of  a  farmer, 
his  son  and  his  second  wife. 

Coming 

BUCCANEER,  THE  Technicolor.  VistaVision.  Yul  Bryn- 
ner. Charlton  Heston,  Charles  Boyer,  Claire  Bloom. 
Producer  Henry  Wilcoxon.    Director  Anthony  Quinn. 

FLAMENCA  VistaVision.  Color.  Carmen  Sevilla.  Rich 
ard  Kiley.  Producer  Bruce  Odium.  Director  Donald 
Siegel. 

FROM  AMONGST  THE  DEAD  VistaVision,  Technicolor. 
James  Stewart,  Kim  Novak,  Barbara  Bel  Geddes.  Pro- 
ducer-director Alfred  Hitchcock. 

HOT  SPELL  VistaVision  Shirley  Booth.  Anthony  Ouinn. 
Shirley  MacLaine.  Producer  Hal  Wallis.  Director  Dan- 
iel Mann.  Drama.  The  disintegration  of  a  Southern 
family  during  a  torrid  heat  wave. 

HOUSEBOAT  VistaVision,  Technicolor.  Cary  Grant. 
Sophia  Loren.  Producer  Jack  Rose.  Director  Melville 
Shavelson.  Maid  reunites  family  and  becomes  wife  of 
master. 

MATCHMAKER,  THE  VistaVision.  Shirley  Booth,  An- 
thony  Perkins,  Shirley  MacLaine.  Producer  Don  Hart- 
man.  Director  Joseph  Anthony.  Comedy.  Lovable 
widow  becomes  matchmaker  for  herself. 


BULLETIN  —  THIS     IS    YOUR  PRODUCT 


ST.  LOUIS  B'.UES  VistaVision.  Nat  •'King"  Cole,  Eartha 
Kitt,  Pea^i  Bailey,  Ella  Fitzgerald.  Producer  Robert 
Smith.    Director  Allan  Reisner.  Musical. 

TEACHER'S  PET  VistaVision.  Clark  Gable,  Doris  Day. 
A  Pearlberg-Seaton  Production.  Director  George  Sea- 
ton.  Comedy.  Tough  newspaper  editor  and  college 
journalism  teacher  have  a  ball. 

WILD  IS  THE  WIND  VistaVision.  Anna  Magnani,  An- 
thony Quinn.  Producer  Hal  Wallis.  Director  John 
Sturges.  Drama.  Love,  hate,  and  violence  on  a  Nevada 
sheep  ranch.    114  min.  12/?. 


August 


GENTLE  TOUCH,  THE  Technicolor.  George  Baker,  Be- 
linda Lee.  Producer  Michael  Balcon.  Director  Pat 
Jackson.  Drama.  Nurse  and  doctor  fall  in  love,  and 
nurse  is  faced  with  making  choice  between  career  or 
marriage.  86  min. 

October 

AN  ALLIGATOR  NAMED  DAISY  Technicolor  Vista- 
Vision. Donald  Sinden,  Diana  Dors.  Producer  Raymond 
Stross.  Director  'J.  Lee-Thompson.  Comedy.  Alligator  is 
responsible  for  breakup  between  couple  who,  as  a 
result  find  more  suitable  mates.  88  min. 
SPANISH  GARDENER  Technicolor,  VistaVision.  Dirk 
Bogarde,  Jon  Whiteley.  Drama.  Producer  John  Bryan. 
Director  Philip  Leacock.  Gardener  deverts  affections 
of  boy  from  his  father.  95  min. 

November 

AS  LONG  AS  THEY'RE  HAPPY  Eastman  Color.  Jack 
Buchanan,  Janette  Scott.  Producer  Raymond  Stross. 
Director  J.  Lee-Thompson.  Comedy.  Father  and  two 
sons-in-law  become  jealous  of  crooner  who  has 
charmed  their  wives.   74  min.  10/14. 

PURSUIT  OF  THE  GRAF  SPEE  Technicolor.  VistaVision. 
John  Gregson,  Anthony  Quayle.  Producer-director 
Michael  Powell  &  Emeric  Pressburger.  Adventure.  Story 
of  first  historic  naval  action  of  WWI  which  took  place 
on  River  Plate.    106  min.  10/14. 

December 


January 

ACROSS  THE  BRIDGE  Rod  Steiger  David  Knight  Mar- 
la  Landi,  Noel  Willman.  Producer  John  Stafford.  Di- 
rector Ken  Annakin.  Melodrama.  Scotland  Yard  de- 
tective hunts  international  high-finance  crook  in  Mexi- 
co. 103  min.  10/28. 


February 

SMILES  OF  A  SUMMER  NIGHT  Ulla  Jacobs 
Dahlbeck,  Harriet  Anderson.    108  min. 


REPUBLIC 


September 

OPERATION  CONSPIRACY  Philip  Friend,  Leslie  Dwyer 
Mary  Mackenzie.  Director  Joseph  Sterling.  Producer 
A.  R.  Rawlinson.  Melodrama.  Fashion  reporter  solves 
murder.   69  min. 

PAWNEE  Trucolor.  George  Montgomery  Bill  Williams 
Lola  Albright.  Director  George  Wagner.  Western' 
Cavalry    puts   down    high-riding    Pawnee    Indians.  80 

TAMING  SUTTON'S  GAL  Naturama.  John  Lupton, 
Jack  Kelly,  May  Wynn.  Director  Lesley  Selander.  Pro- 
ducer William  J.  O'Sullivan.  Drama.  A  young  bank 
7|ermii!'nd$  3  9dl      *he  tdCk  h'"  coun,ry  of  California. 

WAYWARD  GIRL,  THE  Naturama.  Marcia  Henderson 
Peter  Walker.  Producer  W.  J.  O'Sullivan.  Director- 
Lesley  Selander.  Melodrama.  Daughter  arrested  for 
murder  by  her  stepmother  proves  innocence.  71  min. 

October 

HELL  CANYON  OUTLAWS  Dale  Robertson.  Brian  Keith 
Rossana  Rory.  Producer  T.  F.  Woods.  Director  Paul 
Landres.  Western.  Ousted  sheriff  restores  order  to 
town.    72  min. 

PANAMA  SAL  Naturama.  Elena  Verdugo  Edward 
Kemmer.  Producer  Edward  White.  Director'  W.  Wit- 
ney.  Drama.   The  making  of  a  singer.   70  min. 

December 

EIGHTEEN  AND  ANXIOUS  Mary  Webster,  William 
Campbell.  Martha  Scott.  Producer  Irving  H  Levin 
Director  Joe  Parker.  Melodrama.  Story  of  wayward 
girls.    91  min. 

Coming 

CROOKED  CIRCLE,  THE  John  Smith,  Fay  Spain  Steve 
Brodie.  Producer  Rudy  Ralston.  Director  Joe'  Kane 
Drama.    Sports  editor  suspects  death  of  fighter  is  mur- 


FIGHTING    WILDCATS    Keefe    Braselle     Kay  Callard 
Karel  Stepanek,  Ursula  Howells.  77  min. 
GUN    FIRE    Vera    Ralston,    Anthony    George,  George 
Macready.  Producer  Rudy  Ralston.  Director  joe  Kane 
Western.  70  min. 


HELL  SHIP  MUTINY  Jon  Hall.  John  Carradine,  Peter 
Lorre.    Lovina  Production.   66  min. 

LAST  BULLET.  THE  Robert  Hutton,  Mary  Castle, 
Rieliael  O'Connell. 

OUTCASTS  OF  THE  CITY  Osa  Massen,  Robert  Hutton, 
Maria  Palmer.    62  min. 

RAIDERS  OF  OLD  CALIFORNIA  Jim  Davis.  Arleen 
Whelan,  Faron  Young.  Producer  Albert  C.  Gannaway. 
Western.  Army  officer  determines  to  become  powerful 
landowner.    72  min. 


WEST  OF  SUEZ  John  Bentley,  Vera  Fusek,  Martin 
Boddey. 

YOUNG  MOTHER  Mary  Webster,  William  Campbell, 
Martha  Scott.  Producer  Edmond  Chevie.  Director  Joe 
Parker. 


20TH  CENTURY-FOX 


October 

ABOMINACLE  SNOWMAN  OF  THE  HIMALAYAS  For- 
rest Tucker,  Peter  Cushing.  Producer  Michael  Carreras. 
Director  Van  Guest.  Science-fiction  drama  dealing 
with  the  search  for  a  half-human,  half-beast  monster  of 
the  Himalayas.   85  min.  11/25. 


NO  DOWN  PAYMENT  CinemaScope.  Jeff  Hunter,  Bar- 
bara Rush,  Sheree  North,  Cameron  Mitchell.  Producer 
Jerry  Wood.  Director  Martin  Ritt.  Drama.  Problems 
of  four  married  couples  in  new  housing  development. 
105  min.  9/30. 


THREE  FACES  OF  EVE,  THE  David  Wayne.  Joanne 
Woodward.  Producer  Nunnally  Johnson.  Director  Nun- 
nally  Johnson.  Drama.  Story  of  a  woman  with  three 
distinct  personalities.    91  min. 

November 

APRIL  LOVE  CinemaScope-DeLuxe  color.  Pat  Boone. 
Shirley  Jones.  Producer  David  Weisbert.  Director 
Henry  Levin.  Musical.  Love  story  of  a  boy  on  proba- 
tion. 97  min.   I  1/25. 

RIDE  A  VIOLENT  MILE  Regalscope.  Gene  Raymond. 
Wayne  Morris.  Producer-director  R.  Stabler.  Melo- 
drama . 

STOPOVER  TOKYO  Robert  Wagner.  Joan  Collins,  Ed- 
mund O'Brien.  Producer  W.  Reisch.  Director  R.  Breen. 
Drama.  Pilot  forced  to  stop  over  in  Tokyo  solves  mys- 
tery.   100  min.    I  1/14. 

UNDER  FIRE  Regalscope  Rex  Reason,  Henry  Morgan, 
Steve  Bodine.  Producer  P.  Skouras.  Director  J.  Clark. 
Drama.    78  min. 


December 


FRAULEIN  Dana  Wynter.  Mel  Ferrer.  Producer  W. 
Reisch.  Director  H.  Koster.  Drama. 

KISS  THEM  FOR  ME  CinemaScope,  DeLuxe  Color. 
Cary  Grant,  Jayne  Mansfield,  Suzy  Parker.  Producer 
Jerry  Wald.  Director  Stanley  Donen.  Comedy.  Three 
war  buddies  on  leave  paint  1he  town  red.  105  min. 
I  1/14. 

PLUNDER  ROAD  Gene  Raymond.  Wayne  Morris,  Jeanne 
Cooper.  Producer  L.  Stewart.  Director  H.  Cornfield. 
Drama. 

January 

A  FAREWELL  TO  ARMS  CinemaScope,  DeLuxe  Color. 
Rock  Hudson,  Jennifer  Jones,  Vittorio  de  Sica.  Pro- 
ducer David  Selznick.  Director  Charles  Vidor.  Drama. 
Filmization  of  famous  Hemingway  novel. 
DIAMOND  SAFARI  Kevin  McCarthy,  Adre  Morrell. 
Producer-director  Gerald  Mayer.  Adventure. 
ENEMY  BELOW,  THE  CinemaScope,  Color.  Robert 
Mitchum,  Curd  Jurgens.  Producer-Director  Dick  Powell. 
Adventure.  A  life-and-death  struggle  between  a  Ger- 
man U-boat  and  an  American  destroyer.  92  min.  I  I/2S. 
ESCAPE  FROM  RED  ROCK  Regalscope.  Brian  Donlevy, 
J.  C.  Flippen,  Eileen  Janssen.  Producer  B.  Glasser. 
Director  E.  Bernds.  Western. 

PEYTON  PLACE  Jerry  Wald  Prods.  CinemaScope,  De 
Luxe  Color.  Lana  Turner,  Lloyd  Nolan,  Hope  Lange. 
Producer  Jerry  Wald.  Diector  Mark  Robson.  Drama. 
SING  EOY  SING  CinemaScope  Tommy  Sands,  Edmund 
O'Brien,  Nick  Adams.  Producer-director  Henry  Ephron. 
Musical  drama. 


Coming 


AMBUSH  AT  COMARRON  PASS  Regal  Films.  Brian 
Donlevy,  Jay  C.  Flippen.  Producer  Bernard  Glasser. 
Director  Edward  Bernds.  Western. 

BEAUTIFUL  IUT  DANGEROUS  Gina  LoHobrigida,  Vit- 
torio Gaisman.  Producer  Manuella  MalotH.  Director 
Robert  Leonard.  Drama. 

BLOOD  ARROW  Scott  Brady,  Phyllis  Coates.  Diane 
Darrin.  Producer  Robert  Staber.  Director  C.  M. 
Warren. 

CATTLE    EMPIRE    CinemaScope.     Joel    McCrea.  Pro- 
ducer  Robert   Stabler.     Director  Charles  Warren. 
GIFT    OF    LOVE,    THE    CinemaScope,    Color.  Robert 
Stack,   Lauren  Bacall,   Evelyn   Rudie.    Producer  Charles 
Brackett.    Director  Jean  Negulesco. 

HELLBENT  KID,  THE  CinemaScope,  DeLuxe  Color.  Don 
Murray.  Diane  Varsi,  Ken  Scott.  Producer  Robert 
Buckner.    Director  Henry  Hathaway. 


LONG  HOT  SUMMER  Paul  Newman,  Anthony  Fran 
ciosa,  Joanne  Woodward.  Producer  Jerry  Wald.  Di 
rector  Martin  Ritt. 


SOUTH  PACIFIC  Todd-AO,  Technicolor.  Rossano  Brazzi, 
Mitzi  Gaynor,  John  Kerr.  Producer  Buddy  Adler.  Di- 
rector Joshua  Logan. 

TOWNSEND  HARRIS  STORY,  THE  CinemaScope  De- 
Luxe  Color.  John  Wayne.  Producer  Eugene  Frenke. 
Director  John  Huston. 

YOUNG  AND  DANGEROUS  Regal  Films.  Lil  Gentle 
Mark  Damon,  Ann  Doran.  Producer-Director  William 
F.  Claxton.    78  min. 

YOUNG  LIONS,  THE  CinemaScope.  Marlon  Brando, 
Montgomery  Clift,  Joanne  Woodward.  Producer  Al 
Lichtman.  Director  Edward  Dmytryk. 

VIOLENT  ROAD,  THE  Regal  Films.  Gene  Raymond, 
Wayne  Morris,  Jeanne  Cooper.  Producer  Leon  Choo- 
luck  and  Laurence  Stewart.  Director  Hubert  Cornfield. 


UNITED  ARTISTS 


September 


CARELESS  YEARS,  THE  Natalie  Trundy,  Dean  Stock- 
well.  Producer  Edward  Lewis.  Director  Arthur  Hiller. 
Drama.  Two  lovers  meet  parental  resistance  when  they 
decide  to  get  married.  70  min. 

CHICAGO  CONFIDENTIAL  Brian  Keith,  Beverly  Gar- 
land, Dick  Foran.  Producer  Robert  Kent.  Director  Sid- 
ney Salkow.  Melodrama.  Syndicate  tries  to  gain  con- 
trol of  labor  union.  73  min.  9/2. 

ENEMY  FROM  SPACE  Brian  Donlevy,  John  Longden. 
Sydney  James.  Producer  Anthony  Hinds.  Director  Val 
Guest.  Science-fiction.  84  min. 

GUNSIGHT  RIDGE  Joel  McCrea,  Mark  Stevens.  Pro- 
ducer Robert  Bassler.  Director  Francis  Lyon.  Western. 
Stranger  discovers  respected  citizen  is  really  a  holdup 
man.  85  min. 

SATCHMO  THE  GREAT  Louis  Armstrong,  Edward  R. 
Murrow,  Leonard  Bernstein.  Producers  Edward  R.  Mur- 
row  and  Fred  W.  Friendly.  Film  story  of  Louis  Arm- 
strong's international  jazz  tour.  63  min.  9/16. 
STREET  OF  SINNERS  George  Montgomery,  Geraldine 
Brooks.  Producer-director  William  Berke.  Drama. 
Rookie  policeman  clashes  with  youthful  criminals. 
76  min. 

October 

GIRL   IN   THE  BLACK  STOCKINGS,   THE   Lex  Barker, 

Ann  Bancroft.  Melodrama.  73  min. 

HELL  BOUND  John  Russel,  June  Blair.  Producer  How- 
ard Koch.  Director  William  Hole,  Jr.  Melodrama. 
Story  of  a  conspiracy  to  hijack  a  shipment  of  narcotics. 

79  min. 

MUSTANG  Jack  Beutel,  Madalyn  Trahey.  Producer 
Robert  Arnell.  Director  Peter  Stephens.  Western 
Drama. 

TIME  LIMIT  Richard  Widmark,  Richard  Basehart.  Pro- 
ducer William  Reynolds.  Director  Karl  Maiden.  Drama. 
Story  of  prisoner-of-war  turncoats.  96  min.  9/30. 

November 

LEGEND  OF  THE  LOST  John  Wayne,  Sophia  Loren. 
Rossano  Brazzi.  Producer-director  Henry  Hathaway.  Ad- 
venture   Sea.rch  for  treasure  in  the  Sahara.. 

December 

BABY  FACE  NELSON  Mickey  Rooney,  Carolyn  Jones, 
Sir  Cedric  Hardwicke.  Producer  Al  Zimbalist.  Director 
Don  Siegel.  Drama.  Story  of  one  of  America's  notori- 
ous gangsters.  85  min.  11/25. 

HELL  BOUND  John  Russell,  June  Blair.  Producer  Au- 
brey Schenk.  Director  William  Hole,  Jr.  Adventure. 
Hi-jacking  on  the  high  seas. 

PATHS  OF  GLORY  Kirk  Douglas,  Ralph  Meeker, 
Adolphe  Menjou.  Producer  James  B.  Harris.  Director 
Stanley  Kubrick.    World  War  I   courtroom  drama.  86 


11/25. 


January 


WITNESS  FOR  THE  PROSECUTION  Tyrone  Power, 
Marlene  Dietrich,  Charles  Laughton.  Producer  Arthur 
Hornblow,  Jr.  Director  Billy  Wilder.  Melodrama.  The 
uncovering  of  a  perfect  crime.    114  min.  11/25. 


Coming 


BIG  COUNTRY,  THE  Technirama.  Gregory  Peck. 
Charlton  Heston.  Jean  Simmons.  Producers  Gregory 
Peck,  Wifliam  Wyler.  Director  William  Wyler. 
CHINA  DOLL  Victor  Mature,  Lili  Hua.  Producer-Di- 
rector Frank  Borzage.  Drama.  United  States  Air  Force 
Captain  marries  a  Chinese  girl. 

COP  HATER  Robert  Loggia.  Gerald  O'Loughlin.  Pro- 
ducer-director William  Berke. 

EDGE  OF  FURY  Michael  Higgins,  Lois  Holmes.  Pro- 
ducer Robert  Gurney,  Jr.  Directors  Robert  Gurney. 
Jr.  and  Irving  Lerner.  Suspense  Thriller  based  on  the 
novel  "Wisteria  Cottage". 

FORT  BOWIE  Ben  Johnson,  Jan  Harrison,  Kent  Taylor. 
Producer  Aubrey  Schenck.  Director  Howard  W.  Koch. 
FORT  MASSACRE  Joel  McCrea,  Forrest  Tucker,  Susan 
Cabot.  Producer  Walter  Mirisch.  Director  Joseph 
Newman. 

GOD'S  LITTLE  ACRE  Robert  Ryan.  Aldo  Ray.  Tina 
Louise.  Producer  Sidney  Harmon.  Director  Anthony 
Mann. 

I  BURY  THE  LIVING  Richard  Boone,  Peggy  Maurer. 
Producers  Band  and  Garfinkle.  Director  Albert  Band. 
ISLAND  WOMEN  Marie  Windsor,  Vince  Edwards.  Pro- 
ducer-director William  Berke.  Musical.  Calypso  film 
filmed  in  the  Bahama  Islands. 


Film    BULLETIN  —  THIS    IS    YOUR  PRODUCT 


LONE  RANGES  AND  THE  LOST  CITY  OF  GOLD,  THE 

Eastman  Color.  Douglas  Kennedy.  Charles  Watts.  Pro- 
ducer Jack  Wrather  Western. 

PARIS  HOLIDAY  Bob  Hope  Fernandel.  Anita  Ekberg 
Director  Gerd  Oswald. 

PROUD  REBEL.  THE  Technicolor  Alan  Ladd.  Olivia 
deHaviland,  David  Ladd  Producer  Samuel  Goldwyn 
Jr.    Director  Michael  Curtiz. 

UIET  AMERICAN  Audie  Murphy.  Michael  Redgrave, 
laude  Dauphin.  Figaro  Production.  Director  Joseph 
Mankiewici.  Drama.  Story  set  against  the  recent 
fighting  in  IndoChina. 

RIDE  OUT  FOR  REVENGE  Rory  Calhoun.  Gloria  Gra- 
hame,  Joanne  Gilbert.  Producer  Norman  Retchin.  Di- 
rector Barney  Girard. 

RUN  SILENT.  RUN  DEEP  Clark  Gable.  Burt  Lancaster. 
Producer  Harold  Hecht.    Director  Robert  Wise. 

10  DAYS  TO  TULARA  Sterling  Hayden  Rodolfo  Hoyos. 
Producers  George  Sherman.  Clarence  Eurist  Director 
George  Sherman. 

THUNDER  ROAD  Robert  Mitchum.  Gene  Barry.  Jacques 
Aubuchon.  Producer  Robert  Mitchum.  Director  Arthur 
Ripley. 

TIGER  BY  THE  TAIL  Larry  Parks.  Producers  Robert 
Baker.  Monty  Berman  Director  John  Gilling.  Melo- 
drama. The  tribulations  of  an  Americean  correspondent 
on  assignment  in  London.    83  min. 

TOUGHEST  GUN  IN  TOMBSTONE  George  Montgom- 
ery.    Producer   Robert  Kent.    Director   Earl  Bellamy. 

VIKINGS,  THE  Kirk  Douglas.  Tony  Curtis.  Ernest  Borg- 
nine.  Producer  Jerry  Bresler.  Director  Richard  Fleischer. 

WINK  OF  AN  EYE  Jonathan  Kidd.  Doris  Dowling. 
Irene  Seidner.  Producer  Fernando  Carrere.  Director 
Winston  Jones. 


U  N  I VERSAL-INT'  L 


September 

INTERLUDE  Technicolor,  CinemaScope.  June  Allyson, 
Rossano  Brazzi.  Producer  Ross  Hunter.  Director  Douglas 

Sirk.  Drama.  American  doctor  falls  in  love  with  wife 
of  famous  composer  in  Munich.  8?  min.  4/24. 

JET  PILOT  Technicolor,  SuperScopt.  John  Wayne, 
Janet  Leigh.  Howard  Hughes  Production.  Producer 
Jules  Furthman    Director  Jo'sef  von  Sternoerg.  Drama. 

The  story  of  a  Russian  woman  pilot  and  an  American 
jet  ace.  112  min.  9/30. 

JOE  DAKOTA  Eastman  Color.  Jock  Mahoney,  Luana 
Patten.  Producer  Howard  Christie.  Director  Richard 
Bartlett.  Drama.  Stranger  makes  California  oil  town 
see  the  error  of  its  ways.   79  min. 

RUN  OF  THE  ARROW  Technicolor.  Rod  Steioer,  Sarita 
Montiel,  Ralph  Meeker.  Producer-director  Sam  Fuller. 
Adventure.  Young  sharpshooter  joins  Sioux  Indians  at 
close  of  Civil  War.  86  min.  6/24. 

SLAUGHTER  ON  TENTH  AVENUE  CinemaScope.  Rich- 
ard Egan.  Jan  Sterling.  Dan  Duryea.  Producer  Albert 
Zugsmith.  Director  Arnold  Laven.  An  expose  of  New 
York  waterfront  warfare.    103  min.  9/14. 

THAT  NIGHT  John  Beal,  Augusta  Dabney,  Sbepperd 
Strudwick.  Producer  Hiram  Brown.  Director  John 
Newland.  Drama.  A  tragedy  almott  shatters  a  15- 
year-old  marriage.  88  min. 

October 

MAN  OF  A  THOUSAND  FACES  CinemaScope.  James 
Cagney,  Dorothy  Malone.  Producer  Robert  Arthur.  Di- 
rector Joseph  Pevney.  Drama.  Life  story  of  Lon  Chaney. 
I2S  min.  7/22. 

QUANTEZ  CinemaScope,  Eastman  Color.  Fred  Mac- 
Murray,  Dorothy  Malone.  Producer  Gordon  Kay.  Direc- 
tor Harry  Keller.  Drama.  A  study  of  five  people  in- 
volved in  a  robbery  and  killing.  80  min.  9/2. 
SLIM  CARTER  Color.  Jock  Mahoney.  Julie  Adams. 
Tim  Hovey.  Producer  Howie  Horwitz.  Director  Richard 
Bartlett.  Girl  press  agent  makes  Western  star  of  no- 
good  cafe  enertainer.  82  min.  10/14. 
UNHOLY  WIFE,  THE  Technicolor.  Diana  Dors,  Rod 
Steiger,  Marie  Windsor.  Producer-director  John  Far- 
row. Drama.  A  wife  cunningly  plots  the  death  of  her 
husband  who  she  has  betrayed.  94  min.  9/2. 

November 

ESCAPADE  IN  JAPAN  Color.  Uresa  Wright,  Cameron 
Mitchell,  Jon  Provost,  Roger  Nakagaws.  Producer-direc- 
tor Arthur  Lubin.  Drama.  Search  for  two  boys  who 
start  out  in  the  wrong  direction  to  find  the  very  peo- 
ple who  are  trying  to  find  them.  92  min.  9/14. 
LOVE  SLAVES  OF  THE  AMAZONS  Color.  Don  Taylor, 
Giana  Sigale.  Producer-Director  Curt  Sicdnak.  81  min. 
MONOLITH  MONSTERS.  THE  Grant  Williams,  Lola 
Albright.  Producer  Howard  Christie.  Director  John 
Sherwood.  Science-fiction.  Army  of  rocks  threaten  U.S. 
MY  MAN  GODFREY  CinemaScope,  Technicolor.  June 
Allyson,  David  Niven.  Producer  Ross  Hunter.  Director 
Henry  Koster.  Comedy.  Story  of  a  fopsy-turvy  butler. 
92  min.  9/2. 

December 

ALL  MINE  TO  GIVE  Eastman  Color.  Glynis  Johns. 
Cameron  Mitchell,  Rex  Thompson.  Producer  Sam  Weis- 
enthal.  Director  Allen  Reisner.  Drama.  The  story  of  a 
Scottish  immigrant  couple  in  Wisconsin  in  the  19th 
century.  102  min.  10/28. 

TARNISHED  ANGELS,  THE  CinemaScope.  Rock  Hud- 
son. Robert  Stack,  Dorothy  Malone,  Jack  Carson. 
Producer  Albert  Zugsmith.  Director  Douglas  Sirk. 
Drama.  Reporter  uncovers  World  War  I  hero  of  the 
Lafayette  Escadrille.    91  min.  11/14. 


January 

GIRL  MOST  LIKELY  THE  Eastmai  Color  Jan.  Powell, 
Cliff  Roberttoa,  Keith  Andes.  Producer  Staaley  Rublla. 
Director  Mitchell  Ltnon  Comedy.  A  girl  Is  proposed 
to  by  three  men  oa  the  same  day. 

THIS  IS  RUSSIA  Eastman  Color  Documentary  of  life 
in  Russia.  Written  and  photographed  by  Sid  Feder. 
47  min.  12/9. 

VIOLATORS,  THE  Arthur  O'Connell,  Nancy  Malone. 
Producer  H.  Brown.  Director  John  Newland.  Drama. 
Story   of   a   probation  officer  in   the   New   York  City 

courts.    74  min. 

Coming 

LADY  TAKES  A  FLYER.  THE  CinemaScope.  Color.  Lana 
Turner  Jeff  Chandler,  Richard  Denning  Producer  Wil- 
liam Alland.  Director  Jack  Arnold  Drama.  Pilot  and 
wife  realize  true  love  in  the  air. 

BIG  BEAT.  THE  Color.  William  Reynolds.  Andra  Mar- 
tin.   Producer-Director  Will   Cowan.    Musical  merry-go- 

CHRISTMAS  IN  PARADISE  Color  Dan  Duryea.  Jan 
Sterling,  Patty  McCormack.  Producer  Sy  Gomberg 
Director  Jack  Sher. 

DAMN  CITIZEN  Keith  Andes.  Margaret  Hayes.  Gene 
Evans.  Producer  Herman  Webber.  Director  Robert 
Gordon.  Real  estate  man  becomes  leader  of  police 
in  fight  against  crime. 

DAY  OF  THE  BAD  MAN  CinemaScope.  I":ed  MacMur- 
ray,  Joan  Weldon,  John  Ericson,  Robert  Middleton. 
Producer  Gordon  Kay.  Director  Harry  Keller.  West- 
ern.   Brothers  of  a  murderer  attack  town  on  day  of 

trial. 

DEATH  RIDES  THIS  TRAIL  CinemaScope  Color.  Will 
Rogers  Jr.  Maureen  O'Sulilvan.  Producer  John  Hor- 
ton.    Director  Charles  Haas. 

FEMALE  ANIMAL,  THE  CinemaScope.  Hedy  Lamarr, 
Jane  Powell,  Jan  Sterling.  Producer  Albert  Zugsmith. 
Director  Harry  Keller.  Beautiful  movie  star  tries  to 
buy  a  husband. 

FOR  LOVE  OR  MONEY  CinemaScope.  Color.  Dabble 
Reynolds  Curt  Jergens.  John  Saxon.  Producer  Ross 
Hunter.    Director  Blake  Edwards. 

FLOOD  TIDE  CnemaScope.  George  Nader.  Cornell 
Borchers,  Michael  Ray.  Producer  Robert  Arthur.  Di- 
rector  Abner  Biberman. 

HEMP  EROWN  CinemaScope  Color  Rory  Calhoun, 
Beverly  Garland.  Producer  Gordon  Kay.  Director 
Harry  Keller. 

I  MARRIED  A  WOMAN  George  Gobel,  Diana  Dors, 
Adolph  Menjou.  Producer  William  Bloom.  Director  Hal 
Kanter.  Coemdy.  Wife  objects  to  taking  secoad  place 
to  a  beer  advertising  campaign  with  her  husband. 
MAGNIFICENT  BRAT,  THE  Color.  Dan  Duryea,  Jan 
Sterling.  Producer  Sy  Gomberg.  Director  Jack  Sher. 
MAN  IN  THE  SHADOW  CinemaScope  Jeff  Chandler. 
Orson  Welles.  Producer  Albert  Zugsmith.  Director 
Jack  Arnold.  Drama.  Sheriff  destroy*  one-man  domina- 
tion of  Texas  town. 

MAN  WHO  ROCKED  THE  EOAT,  THE  CinemaScope 
Richard  Egan,  Jan  Sterling,  Dan  Duryea.  Producer 
Albert  Zugsmith.  Director  Arnold  Laven. 
MARK  OF  THE  HAWK,  THE  Technicolor.  Superscope. 
Eartha  Kitt  Juano  Hernandez,  John  Mclntire.  Sidney 
Poitier.  Producer  Lloyd  Young.  Director  Michael 
Audley.  Drama.  Unrest  and  nationalism  in  Africa. 
MIDDLE  OF  THE  STREET  CinemaScope.  Color  Audie 
Murphy,  Gia  Scala.  Producer  Howard  Pine.  Director 
Jesse  Hibbs. 

MONEY,  WOMEN  AND  DREAMS  CinemaScope.  Cllor. 
Jock  Mahoney  Jean  Hagen.  Jeffrey  Stone.  Producer 
Howie  Horowitz  Director  Richard  Bartlett 
NO  POWER  ON  EARTH  CinemaScope.  Richard  Egan. 
Julie  London.  Arthur  O'Connell.  Producer  Gordon 
Kay.    Director  Harry  Keller. 

ONCE  UPON  A  HOSSE  Dan  Rowan.  Dick  Martin, 
Martha  Hyer.  Producer-director  Hal  Kanter. 
RAW  WIND  IN  EDEN  CinemaScope,  Color.  Esther 
Williams.  Jeff  Chandler.  Producer  William  Alland 
Director  Richard  Wilson.  Couple  crash  on  island  and 
are  stuck  for  weeks. 

SUMMER  LOVE  John  Saxon.  Judy  Meredith.  Producer 
William  Grady.  Jr.  Director  Charles  Haas.  Loves  and 
troubles  of  combo  on  first  job. 

TEACH  ME  HOW  TO  CRY  CinemaScope.  John  Saxon. 
Sandra  Dee,  Teresa  Wright.  Producer  Ross  Hunter. 
Director  Helmut  Dantine. 

TOUCH  OF  EVIL  Charlton  Hestcn.  Janet  Leigh,  Orson 
Welles. 

WESTERN  STORY,  THE  CinemaScope,  Color.  Jock 
Mahoney,  Gilbert  Roland.  Producer  Howard  Christie. 
Director  George  Sherman. 


WARNER  BROTHERS 


September 

BLACK  PATCH  George  Montgomery.  Producer  George 
Montgomery.  Director  Alan  Miner.  Western.  83  min. 
JOHNNY  TROUBLE  Ethel  Barrymore.  Cecil  Kellaway 
Producer-director  John  Auer.  Drama.  Mother  waits 
twenty-seven  years  for  her  long  lost  son.  80  min. 
10/14. 

WOMAN  IN  A  DRESSING  GOWN  Yvonne  Mitchell, 
Anthony  Quayle,  Sylvia  Syms.  Producer  Frank  Godwin. 
Director  J.  Lee-Thompson.  Melodrama.  A  wife's  happi- 
ness is  threatened  by  a  younger  woman.  93  mm.  10/14. 

October 

BLACK  SCORPION.  THE  Richard  Denning.  Mara  Cor- 
day,  Carlos  Rivas.  Horror.  Mammoth  scorpions  emerge 
to  terrify  earthpeople.   88  min.  10/14. 


HELEN  MORGAN  STORY.  THE  CinemaScope  Ann 
Blyth.  Paul  Newman.  Producer  Martin  Rackin.  Director 
Michael  Curtiz.  Drama.  Biographical  film  of  an  ill- 
fated  torch  singer.  118  min.  9/30. 

November 

BOMBERS  B-52  CinemaScope.  WarnerColor  Karl  Mai- 
den Natalie  Wood.  Producer  Richard  Whorf.  Director 
Gordon  Douglas  Drama.  Story  of  the  men  who  man 
the  bombers  that  defend  our  nation  104  min.  11/14. 
GREEN-EYED  BLONDE,  THE  Susan  Oliver  Linda  Plow- 
man Beverly  Long  Producer  Martin  Melcher  Director 
Bernard  Girard  Melodrama.  Life  at  an  institution  for 
wayward  teen-age  mothers. 

December 

DARBY'S  RANGERS  WarnerColor.  Charles  Heston.  Tab 
Hunter.  Etchika  Choureau.  Producer  Martin  Rackin.  Di- 
rector William  A.  Wellman.  Drama. 

DEEP  SIX.  THE  WarnerColor  Jaguar  Prods.  Alan  Ladd. 
Dianne  Foster.  Producer  Martin  Rackin.  Director  Rudy 
Mate.  Drama. 

SAYONARA  Technirama.  WarnerColor.  Marlon  Brando, 
Red  Buttons,  Patricia  Owens.  Producer  W'nlar.  Goetz. 
Director  Josh  Logan.  Drama.  Based  on  »Se  award- 
winning  novel  of  James  Michener.  147  mm.  11/14. 
STORY  OF  MANKIND  WarnerColor.  All-star  cast. 
Producer-director  Irwin  Alien.  Drama  A  world-wide 
tour  from  the  caveman  to  present  day.  100  mm.  10/28. 

January 

BLONDE  AND  DANGEROUS  Sally  Brophy.  Carla 
Merey  Susan  Oliver.  An  Arwin  Production.  Director 
Bernard  Girard.  Producer  Martin  Melcher.  Melodrama 
Life  in  a  girl's  correction  school. 

CHASE  A  CROOKED  SHADOW  Richard  Todd.  Ann 
Baxter.  Producer  Douglas  Fairbanks.  Director  Michael 
Anderson.  Melodrama. 

JAMBOREE  Kay  Medford.  Robert  Pastine.  Count  Basie 
and  orchestra.  Producer  Max  Rosenberg.  Director  Roy 
Lockwood.  Musical.  Double  romance  between  press 
agents  and  their  clients.    84  min. 

Coming 

BOTH  ENDS  OF  THE  CANDLE  CinemaScope  Ann 
Blyth.  Paul  Newman.  Richard  Carlson.  Producer  Mar- 
tin Rackin.    Director  Michael  Curtiz. 

FIFTEEN  BULLETS  FROM  FORT  DOBBS  Clint  Walker. 
Virginia  Mayo.  Producer  Martin  Rackin.  Director  Gor- 
don Douglas. 

HELL'S  HIGHWAY  Brian  Keith.  Dick  Foran  Efram 
Zimbalist.  Jr.  Producer  Aubrey  Schenk.  Director 
Howard  Koch. 

LAFAYETTE  ESCADRILLE  Tab  Hunter.  Etchika  Choureau, 
J.  Carrol   Naish.     Producer-Director  William  A.  Well- 

LEFT  HANDED  GUN,  THE  Paul   Newman.    Lita  Milan. 
Producer  Fred  Coe.  Director  Arthur  Penn. 
MARJORIE  MORNINGSTAR  WarnerColor.    Gene  Kelly. 
Natalie   Wood,   Claire  Trevor.     Producer    Milton  Sper- 
ling.   Director  Irving  Rapper. 

NO  TIME  FOR  SERGEANTS  Andy  Griffith.  Myron  Mc- 
Cormick,  Nick  Adams.  Producer-Director  Mervyn  Le- 
Roy. 

OLD  MAN  AND  THE  SEA,  THE  CinemaScope,  Warner- 
Color. Produced  by  Leland  Hayward.  Director  John 
Sturges.  Adventure.  Film  version  of  Ernest  Heming- 
way's prize-winning  novel. 

ONIONHEAD  Andy  Griffith.  Erin  O'Brien.  Ray  Danton. 
Producer  Jules  Shermer.    Director  Norman  Taurog. 
STAKEOUT  ON  DOPE  STREET  Producer  Andrew  Fenady. 
Director  Irvin  Kershner. 

TENDER  FURY  Susan  Oliver,  Linda  Reynolds.  Carla 
Merey.  Producer  Martin  Melcher.  Director  Bernard 
Girard. 

TOO  MUCH,  TOO  SOON  Dorothy  Malone.  Errol  Flynn. 
Producer  Henry  Blanke.    Director  Art  Napoleon. 
WESTEOUND    Randolph    Scott,    Virginia    Mayo,  Karen 
Steele.    Producer  Henry  Blanke.    Director  Budd  Boet- 

ticher. 


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BULLETIN  —  THIS     IS     YOUR  PRODUCT 


E.  C.  RHODEN 

President  of  National  Theatres 


The  Importance 

of  the 
Motion  Picture 
Industry  Press" 


publications  are  very  important 
to  the  welfare  of  any  industry. 
They  serve  as  a  medium  of  in- 
formation that  is  certainly  nec- 
essary in  show  business.  One 
creative  idea  taken  from  a  trade 
publication  can  mean  thousands 
of  dollars  to  a  theatre  man. 

"A  free  exchange  of  views 
via  trade  publications  is  a 
healthy  thing  for  our  business, 
and  it  certainly  should  be  main- 
tained. Naturally,  there  can  be 
an  abuse  of  trade  publications, 
and  to  be  constructive  the  pub- 
lication offices  must  use  good 
judgment  in  the  conduct  of  their 
trade  paper.  Fortunately,  in  this 
industry  we  have  publishers  of 
the  highest  integrity  and  well 
meaning." 


•'■'One  of  a  series  of  opinions  by  prominent  members  of  our  industry