make 1960 your biggest ! ■ Inside: Detailed 1960*61 Feature Product Program WILLIAM C. MICHEL Executive Vice-President JOSEPH MOSKOWITZ Vice-President DONALD A. HENDERSON T reasurer-Secretary C.E. M'CARTNEY Comptroller OR 20th Century-Fox 1960 marks several anniversaries. But, this year entails more than fes- tive cognizance of them. More importantly is the fact that they come at the inaugural of a new decade, perhaps the most challenging period in the annals of not only this company, but of the entire industry itself. Past achievements— and there have been many, most beneficially affect- ing not only this company, but the industry as well— are nostalgically exhilarating, true. How- ever, it is the present and the future that are the decisive factors in the progressive perpetua- tion of a successful functioning of the global dimensions of 20th Century-Fox. They are the concern of its clients. Hence, it is with the present and finalized plans for the future with which this edition of Dynamo deals and factually reports. 45 YEARS YOUNG- AND GROWING! Expanded Diversified Activities Encircle The Globe PRESIDENT 20th Century -Fox International and 20th Century- Fox Inter-Americas MURRAY SILVERSTONE PRESIDENT De Luxe Laboratories OWN through five years short of a half century 20th Century-Fox has re- ligiously adhered to a policy of far-sighted oper- ation on a global scale. Particularly has that been the case in the almost past 18 years that Spyros P. Skouras has been at its helm. His initiation and dedication to a corporate redo that today’s planning and research pro- vide the only positive course to a progres- sively fruitful future has earned for 20th Century-Fox Film Corporation a lofty posi- tion among the great business organizations of the wo rid. February marked the 45th anniversary of this organization’s founding and incorpora- tion as Fox Film Corporation. This year, too. Continued on page 60 PRESIDENT 20th-Fox Records Corp. H 111 v ' ’ v„ 3 I .. fjj _ . ; Wm'~ ■ PETER G. LEVATHES PRESIDENT 20th Century-Fox Television Corp. DIRECTOR of Research ALAN FREEDMAN HENRY V. ONORATI EARL A. SPONABLE 2 By Spyros P. Skouras A Summary Of Pertinent Facts In This Company’s All-Out Drive For Maximum Patronage Rehabilitation Twentieth Century-Fox has launched the new decade with a necessary and intensive drive, backed by all of its resources and facilities, to restore motion picture patronage to its pre-television proportions. Obviously that, in light of the diminished patronage sustained during the previous decade, is no small under- taking in these times. But, I am convinced that it will be a success in every sense of the word, if there is a continuously working unity among the three branches of our industry: production, dis- tribution and exhibition. There is no alternative, for unless we work together as a team we will needlessly, hut seriously jeopardize the future of our industry. Therefore, 1960 and the decade it inaugurates are a chal- lenge, but, also, they present new opportunities for exalta- tion of a great industry. Words and good intentions will not perform the task before us. We, all of us, must make a continuing contribution of actual deeds. Twentieth Century-Fox, in this drive for perpetuity, is fully cognizant of its responsibilities to exhibition, and to the public. The discharge of these responsibilities will, I pledge you, be translated into performance. To effect perpetuity there must be a long-range pro- gram. That this company has in effect. It will sponsor new advancements about which more will be said in the not distant future. But, our immediate concern is the present, this year I960. There can be no perpetuity unless provision is made for the supply of means that will enable not only the larger key-city theatres, but EVERY motion picture theatre to continue to operate. Twentieth Century-Fox this year will make available the largest num- ber of feature attractions it ever has made bookable in a 12-month’s period. WE WILL POSITIVELY SUPPLY AMPLE PRODUCT FOR EVERY THEATRE. Within the year we will release at least 52 feature attractions. Our studio, under the direction of Buddy Adler, will, among the 30 productions it will create, supply one “block-buster” type attraction each month. Additionally, we will release at- tractions of similar box office pro- portions but independently pro- duced by Darryl F. Zanuck, Jerry Wald, Mervyn LeRoy, Samuel G. Engel, Jack Cummings, Walter Wanger and others. Cole Porter’s “Can-Can”, in CONTINUED ON PAGE FOUR 3 DESIGN FOR PERPETUITY continued from PAGE THREE Meeting Decade’s New Challenge A Continuous Flow Of Product Tailored To Requirements Of Every Theatre And Backed With All-Media Promotion Drive Todd-AO, will be presented as a road-show. We will release one “family trade” type attraction per month. We have acquired for domestic release from the Arthur Rank Organization seven productions based on excellent stories with sterling casts of international stars, and each a credit to our industry. We will have such showmanship specials like “Masters Of The Cong Jungle”, sponsored by His Majesty, Leopold III, of Belgium, and “When Comedy Was King”. We will offer also a minimum of 12 action, outdoor, science- fiction and Western screenplays. The foregoing product will he written, produced and directed by the best craftsmen in those facets of picture-making. They will he performed by such stars as Frank Sinatra, Paul Newman, Clark Gable, Gregory Peck, Pat Boone, Montgomery Clift, Anthony Franciosa, Alec Guinness, Robert Wagner, Maurice Chevalier, Don Murray, Clifton Webb, Elvis Presley, Stephen Boyd, Bing Crosby, Gig Young, Howard Trevor, Edward G. Rob- inson, Dick Bogarde, Orson Welles, John Wayne, Rod Steiger, Tony Randall, Louis Jourdan, Kenneth More, Ernie Kovacs, Robert Morley, Milton Berle, Eli Wallach, Rita Hayworth, Joan Collins, Dana Wynter, Eva Bartok, Ingrid Bergman, Joanne Woodward, Lee Remick, Lauren Bacall, Juliette Greco, Myrna Loy, Marilyn Monroe, Wendy Hiller, Peggy Woods, Taina Elg, Carol Lynley, Hope Lange, Joan Crawford, Mary lire, Brigitte Bardot, Susan Hayward, Jennifer Jones, Deborah Kerr, Dolores Michaels, Suzy Parker, Elizabeth Taylor, Shirley MacLaine, Bar- rie Chase, Heather Sears, Viveca Lindfors, Laraine Day, Julie London and others. Additionally, these new young stars, most of whom are bene- ficiaries of our talent development program, will also appear in our 1960 attractions: Stuart Whitman, Bradford Dillman, Dean Stockwell, Diane Baker, Millie Perkins, Fabian, Gary Crosby, Barbara Eden, Jill St. John, Ray Stricklyn, Richard Beymer, May Britt, Barry Coe, John Gabriel, David Hedison and others. I predict that this year these comparative newcomers will achieve important stardom by being popularly acclaimed for the excellence of their talents: Yves Montand and Frankie Vaughn in the Marilyn Monroe picture, u Let’s Make Love”; Elana Eden who plays the title part in “The Story Of Ruth”; Ina Ballin whom you will see in “From The Terrace”, and Margo Moore and Dick Shawn who are co-starred in “Wake Me When It’s Over.” But, Mr. Adler and all of our producers will not consider their tasks terminated with completion of their respective pic- tures. Instead, our creative and performing personnel will directly participate in the public promotion of their pictures. Producers, directors, writers and players under contract to Twentieth Century-Fox will go into the field and person- ally engage in not only national, but, whenever feasible, also in the local level promotion. Our advertising, publicity and exploitation expenditure for this year is the largest in our history. We have established advertising, publicity and exploita- tion units in every territory to work on the local-level, not only with key-city first-run exhibitors, but with operators of all theatres. To insure a thorough coverage of our market we are going into the homes of our potential ticket-buyers. This we will do through television and radio advertising. We are aware, too, that today millions of potential ticket- buyers are on the highways in their automobiles . . . and we will take our advertising message to them on every picture through radio advertising. We have made provisions, too, for substantially increased use of newspapers and magazines in publicizing our product. No matter how outstanding a motion picture may he, in this market its box office fate largely depends more than ever on its thorough and efficient exploitation. But, our promotion activity will not he confined exclusively to the “block-busters”. We will get solidly behind every release on a scale com- mensurate with its patronage potential. If this statement, briefly outlining our program for per- petuity, abounds with enthusiasm, it is because I am very en- thusiastic, very optimistic and very excited with what I know our studio will deliver to our sales personnel, to exhibitors and to the public, and with the merchandising plans we have in operation. We know that we can serve best our corporate interests only if we best serve the exhibitors of our attractions and the vast public we seek to patronize them. The prosperity of motion picture theatres — all of them — is indispensibly and inseparably linked with the prosperity of this company. We consider exhibitors more than just customers; we ac- cept them as partners in a mutual all-out drive to make the 1960 ’s the most prosperous era in the annals of theatre motion picture presentation. The opportunity and means to bring about such a result are at hand. Twentieth Century-Fox will do its full part, and do so working hand in hand with exhibitors — and with a continu- ous consciousness of their requirements. Of that you may be positive. FOOTNOTES TO THE 1960-61 PRODUCT STORY Yves Montand (page 62), who makes his American film debut in “Let’s Make Love” (page 61), has been cast by Jerry Wald for the male lead in “The Bohemian”. Because of his excellent performance in his first picture, Mervyn LeRoy’s “Wake Me When It’s Over” (page 40), the studio has signed Dick Shawn to a long-term contract. Richard Fleischer, who directed “Crack In The Mirror” (page 36) and last year’s “Compul- 4 sion”, has been signed to a long term contract by Darryl Zanuck. He will direct the latter’s next 1960 production, “The Big Gamble” (page 71). Incidentally, “The Big Gamble” is Zanuck’s most important and costlier production for this year, with a four-month “shooting” schedule in England, France and Africa. The Marshall and Noonan comedy team’s next production to be filmed at the 20th Century- Fox Studios under Buddy Adler’s supervision, in CinemaSeope with De Luxe Color, will be “Up The River”. Sammy Cahn and James Van Heusen have written a catchy song carrying the LeRoy picture’s title, “Wake Me When It’s Over”. Andy Williams of TV-fame has recorded it for Cadence Records. Alec Guinness, Academy Award winner for his performance in “The Bridge On The River Kwai”, has signed to play the principal role in the picturization of Alistair MacLean’s novel, “South *Of Java Head”, which Sydney Boehm is adapting and will produce for 1961 release. A FACT- BASED PLEDGE FROM EXECUTIVE PRODUCTION HEAD By BUDDY ADLER A Diverse Output Of Mass Appeal Without any reservations whatsoever I predict that the 30 attrac- tions in CinemaScope that our studio and independent producers will deliver this year will, quantitatively and particularly qualitatively, constitute the finest mass entertainments created by any studio. And, I make that statement with boxoffice returns in mind. In venturing that prediction I am not basing it on exuberance, wishful thinking or speculation of any kind. On the contrary, I am basing it on the fact that these entertainments, dwelling on a multi- tude of diverse themes, are, or will be, picturizations of great story properties brought to screen life by a creative personnel determined to make this the outstanding year, product-wise, in the history of this company and performed by a galaxy of fine box office stars and an abundance of new talent that, together, will competently and success- fully meet the challenge of keener competition for public patronage. We will this year produce more “block-buster” types of mass entertainments than this or any other studio has delivered in any four combined seasons. In today’s market we must be realistic, and that is precisely what I am being in briefly sharing with the sales department and exhibitors knowledge of what this studio will achieve this year. We are fully aware of exhibition requirements for profitable operation. We are fully aware that, in justifying the record increased investment this company is making in 1960-61 production, we must place on a discriminating market a continuous flow of entertainments with unfailing mass box office potency. This year this studio will make available to exhibitors a minimum of one “block-buster” per month. Audience reaction at a half score previews of our Todd-AO produc- tion of Cole Porter’s “Can Can” indicates we have the greatest musical of all time. I have seen in completed rough-cut or enough of Darryl Zanuck’s “Crack In The Mirror”, Mervyn LeRoy’s “Wake Me When It’s Over”, Sam Engel’s “The Story Of Ruth”, Elia Kazan’s “Wild River”, Mark Robson’s “From The Terrace”, Jerry Wald’s “Sons And Lovers” and “Let’s Make Love” and Charles Brackett’s “High Time” to predict they will achieve tremendous box office success for long periods of time everywhere. Now on our stages, on location, ready for filming or in preparation for production by the end of July we have these additional 1960 attractions based on best-sellers, important plays or timely original stories s Jerry Wald’s “Return To Peyton Place” and “High Heels”, Richard Zanuck’s “Sanctuary” (tentative title for “Requiem For A Nun”), Charles Brackett’s sequel to “Blue Denim” and Rodgers’ and Hammerstein’s “State Fair”, Dick Powell’s “Big River, Big Man” and “Solo”, Sam Engel’s “The King Must Die”, Irwin Allen’s “The Lost World”, David Weisbart’s “The Live Wire” and “The Comancheros”, my own personal production in Todd-AO of “John Brown’s Body” with screenplay and direction by Joseph Mankiewicz, Sydney Boehm’s “One Foot In Hell”, the Stevens-Colbert pleturization of “The Mar- riage-Go-Round”, “The Alaskans”, Walter Wanger’s “Cleopatra” and “Mountolive”, George Stevens’s “The Greatest Story Ever Told”, “O Mistress Mine” and three others from Darryl Zanuck. I firmly believe the foregoing constitutes a program of individ- ually outstanding mass entertainments that, properly exploited and sold to their vast audience potential, will meet with mutual profit and public satisfaction every test and make 1960 for their exhibitors throughout the world their most successful year. I reiterate, in my opinion, this is a great product, and experience continues to prove that great product makes great box office. 5 C.G. PANTAGES Albany JACK L. STURM Buffalo D.S. GOLD Des Moines S.E. DIAMOND Philadelphia IRA SICHELMAN Washington J.O. MOCK Charlotte R.C. M'NABB Detroit M.A. LEVY Minneapolis NAT ROSEN Pittsburgh R.L. STERN Ca Igary AL LEVY Boston HOWARD KINSER Indianapolis W.A. BRIANT New Orleans C.F. POWERS Portland G.L. CHERNOFF Montreal DOMESTIC MANAGERS OF AUTONOMOUS BRANCHES For the 38 managers of as many offices in the United States and Canada, as well as for the Dominion’s managing director, Peter Myers (right), autonomy in branch supervision and territorial opera- tion is no theory. Rather, it is a policy that has, on the record, developed a better merchandising of screen product that has mu- tually benefitted both the company they and their staffs represent and the more than 13,000 motion picture theatres they collectively serve week after week. Continued on page 76 PETER MYERS M'g'g Director, Canada WELDEN WATERS Cincinnati RAY SCHMERTZ Cleveland T.O. M’CLEASTER Dallas R. KNIFFIN Denver T.P. TIDWELL Jacksonvi lie SHEP BLOOM New Haven W.C. GEHRING St. Louis G. LIGHTSTONE St. John J.R. NEGER Kansas City ABE DICKSTEIN New York K.O. LLOYD Salt Lake V.J. BEATTIE T oronto MORRIS SUDM1N Los Angeles M.W. OSBORNE Oklahoma City J.M. ERICKSON San Francisco DAWSON EXLEY Vancouver D.M. COURSEY Memphis F.P. LARSON Omaha MARK SHERIDAN Seattle PHIL GELLER Winnipeg A POLICY DESIGNED FOR MUTUAL PROFIT By ALEX HARRISON Local Level Team Action Frankly, I sincerely anticipate 1960 being the greatest season in the 45-year history of 20th Century-Fox. That anticipation, obviously, is predicated on the belief that during the year we will release a program of attrac- tions that will reap a profitable harvest at every theatre’s box office. That anticipation is based also on several other decisive reasons: (1) During 1960 no type of motion picture theatre operation will want for an ample quantity of quality screen entertainments , insofar as 20th Century-Fox is concerned, I feel I am on solid ground when / make that statement because during this year we will domestically release as many attractions as the market can advantageously absorb. (2) Our 1960 program provides for satisfaction of every en- tertainment taste 9 for each and every month will bring at least one attraction of 66 block-buster” proportions , one feature designed for the so-called “ family trade ”, one out-and-out showmanship picture and a fourth that will place the stress on action , science- fiction or topical themes. (3) Each and every release will be supported with national and local level promotions utilizing every segment of communication media , and exploitation procedures that will most effectively dram- atize to a maximum ticket-buying potential the entertainment assets of the attraction. The foregoing adds up to one fact, the 20th Century-Fox merchandising policy for 1960: We will take NOTHING for granted ! Each feature release will he given individual treatment, first on a national basis and subsequently on the local-level. The fallacy that an expensive exploitation heralding the world premiere of a attraction will open a receptive market everywhere for it is conspicuous by its absence in our 1960 merchandising policy. We are more convinced than ever that our local repre- sentative-branch manager and salesman— actively working with his customers, is best equipped and qualified, by actual knowledge based on experience and personal contact, to determine the most effective means to sell each picture to the local public. In the economy of our industry today there is no place for isolation of film salesmanship and showmanship. In today s market they constitute an indispensible and in- separable combination. That is one reason why Mr. Skouras not only placed this company’s territorial film distribution on an autonomous basis, but also authorized the establishment of an advertis- ing, publicity and exploitation unit at every branch to co- operate with exhibitors in the local-level promotion of every picture. We are fully aware of exhibition’s needs, for the very good reason that fulfillment of their needs is the only means to bring about mutual success. The product we offer this year constitutes a variey of entertainments that we sincerely believe will effect such a fulfillment. 7 p§gn iilll! THE ELITE IN SHOWMANSHIP (1) Eddie Yarbrough, Los Angeles; (2) Frank Jenkins, New Orleans; (3) J. E. Watson, Cincinnati and Indianapolis; (4) Hal Marshall, Philadelphia and Washington; (5) Ralph Buring, Pittsburgh and Buffalo; (6) Bob Favaro, Minneapolis, Omaha and Des Moines; (7) Harold Cummings, Charlotte; (8) Louis Orlove, Milwaukee; (9) Don Yarbrough, San Francisco; (10) Jimmie Gillespie, Dallas; (11) Sam Glasier, Canada; (12) Helen Garrity Yorke, Salt Lake City; (13) Ed Schreiber, assistant to Mr. Bush; (14) Warren Slee, Seattle and Portland; (15) Rodney Bush, director of exploitation; (16) Adrian Awan, New York; (17) John Rhea, Memphis; (18) Phil Engel, Boston and New Haven; (19) Sol Gordon, Chicago; (20) Chick Evans, Kansas City; (21, partially hid- den behind Evans), Pete Bayes, Denver; (22) Ed Hale, Jacksonville; (23) Gerald Rafshoon, Atlanta; (24) Jerry Berger, St. Louis, and (25) Thomas McGuire, Detroit. Absent at time the above picture was taken was Manny Pearson, who covers the Cleveland territory. MNNHK^' - - < • ~ ■■ ■■■■ mmm i "... mm mmm a— mu i mmmmmmmmmmmmmm A Vote For A Zooming tf SQ” By S. CHARLES EINFELD I have often said that I believe in doers, not mouthers. The people who make the bigger contribution to our industry are those who do more thinking and working, and less talking . That is why I am especially proud to be associated with the tough-fighting and hard-hitting group of men and women constituting our far-flung merchandising organiza- tion throughout the United States and Canada, and across the whole free world today. It is a predominantly young group, led, as it ought to be, by well-seasoned experts whose thinking is every bit as energetic as that of the youngest man on the staff. Because this is a quick-thinking, aggressive and razor- sharp group of people, it stands today as the peer of our business. But, we are not satisfied to settle for that. We are constantly dedicated to seeking newer heights of ability and efficiency in the service of our customers, the exhibitors, and our ultimate critic, the public. This changing industry, in which we function each day, makes constantly new demands on us. We must always be in a position to show a top record of achievement in order to compete for top producing units to release their product through our company. Only this will convince the top talent of the indus- try that our men, scattered from Akron to Zanzibar, do consist- ently and continuously the greatest merchandising job obtainable in our industry on their entertainment creations. That is why we never allow ourselves to take time out for a bow. Today’s competition is globally too keen for any single one of us to ease up. I am happy to say that we are protected against this hazard by the fact that each of us is a “pro” with a high IQ and — much more important — an even higher SQ, which is the Showmanship Quotient. I, for one, vote for the zooming SQ. It stands for well-rounded background, attuned to every turn and trick of the trade, and an ability to keep up with the times. To sum up, I am proud of this unbeatable combination of manpower and know-how. As I said at the outset, this kind of a force does not have to make speeches, lower the boom on its com- petition, or wash the industry’s dirty linen in public. This kind of a team is too busy getting the job done, and per- forming it on the highest levels of good taste, with integrity and moral standards prevailing in every concept of publicity, adver- tising and promotion it undertakes. Do you wonder then that I am so very proud of this team, and proud that the contribution we make is within the spirit and tradi- tion of Twentieth Centurv-Fox, a company that continues to stand for leadership in our motion picture industry. MANPOWER PLUS KNOW-HOW / ED SULLIVAN MARTIN MICHEL RODNEY BUSH ABE GOODMAN HARRY BRAND Publicity Director TV-Radlo Director Exploitation Director Advertising Director Studio Adv.- Publicity Director 9 SPECIALISTS IN THE PRODUCTION OF BOX OFFICE “BLOCK-BUSTERS" Pictured on this page are six acknowledgedly outstanding specialists in the creation of box office “block-busters”. They head their own producing companies whose attractions are glob- ally distributed by this company. Over a period of more than 30 years no other combination of as many producers has brought forth more box office successes as this group has. Even the very brief outlines of their careers submitted on this page supply cor- roborative evidence of the accuracy of that statement. DARRYL F. ZANUCK, head of Darryl F. Zanuck Productions, Inc., is this year celebrating his 25th anni- versary of association with this com- pany, for it was a quarter of a century ago that his 20th Century Pictures merged with the then Fox Films to flower into what is today known as 20th Century-Fox Film Corporation. Like most of the producers, whose wares this company will release, Zanuck started his motion picture career as a writer. He is the only producer who has thrice earned the much coveted Irving Thal- berg Memorial Trophy for outstanding production: in 1937, 1944 and 1950. For 31 years he has set the screen enter- tainment fashion. He produced the first JACK CUMMINGS, whose inde- pendent producing company bears his name, has completed the Todd-AO pro- duction of Cole Porter’s “Can Can”. Starting out as an office boy at the MGM Studios when he was 17, Cum- mings became a producer of short sub- jects in 1934. Two years later he ad- vanced to feature producer, his first being “Born To Dance”, starring Eleanor Powell. Since then he has com- piled an enviable list of box office hits including “Seven Brides For Seven Brothers”, “Kiss Me, Kate”, “The Strat- ton Story”, “Three Little Words”, “The Last Time I Saw Paris”, “Teahouse Of, The August Moon”, and others. 10 “talking” feature-length picture, “The Jazz Singer” with A1 Jolson. Few pro- ducers can point to a record that in- cludes such important pictures as “The House Of Rothschild”, “How Green Was My Valley” (1938 Academy Award winner), “The Grapes Of Wrath”, “Gentleman’s Agreement” (1947 Academy Award winner), “Wilson”, “Pinky”, “No Way Out”, “All About Eve” (1951 Academy Award winner), “The Man In The Gray Flannel Suit”, “Jesse James”, “Lloyds Of London”, “In Old Chicago”, “Alexander’s Rag- time Band”, “Island In The Sun” and others too numerous to mention in this limited space. He has completed his first motion picture for 1960 release: “Crack In The Mirror”. MERVYN LEROY, recipient in 1945 of a Special Academy Award for direction of “The House I Live In”, as head of Mervyn LeRoy Productions, Inc., has just completed his first “block- buster” for 1960 release by this com- pany: “Wake Me When It’s Over”. No producer-director active today has turned out as many major box office triumphs as has LeRoy. A i^ative Cali- fornian, he was born in San Francisco in 1900, LeRoy was in vaudeville be- fore entering the motion picture in- dustry as a gag writer. Between 1927 and 1937 he served as director and in the latter year became producer-direc- tor. As a director he turned out such memorable pictures as “I Am A Fugi- tive From A Chain Gang”, “Gold- Diggers Of 1933”, “Five-Star Final”, “Oil For The Lamps Of China”, “Little Caesar”, “Tugboat Annie”, “Anthony Adverse”, “Johnny Eager”, “Random Harvest”, “Madam Curie”, “Thirty Seconds Over Tokyo”, “Little Women”, “Any Number Can Play”, “Quo Vadis”. “East Side, West Side”, “Rose Marie”, and “Mister Roberts”. He produced and directed “Strange Lady In town”, “Bad Seed”, “Toward The Unknown”, “No Time For Sergeants”, “Home For Dark” and “The FBI Story”. Few film- makers have matched LeRoy’s sheer diversity of material: comedy, musi- cals, melodrama, phychological drama, documentary, adventure, tragedy, spec- tacle, romantic drama, biography, fan- tasy and the drama of social protest. Whatever makes human nature inter- esting and dramatic has been grist for his mill. JERRY WALD, under the banner of Company Of Artists, his independ- ent producing company, is scheduled to deliver at least four major attrac- tions for release by this company in 1960: “The Story On Page One”, “Sons And Lovers”, “Let’s Make Love” and “Return To Peyton Place”. A former newspaper man, he too, launched his career as a screenplaywright. When he entrusted the release of his product to this company, in 1956, he brought with him more than 25 years’ experience in picture-making, with a record of suc- cesses matched by few men. His first production for release by this company WALTER WANGER, President of Walter Wanger Productions, was gen- eral manager of production for Para- mount for 10 years, an executive pro- ducer for MGM, Columbia Vice-Presi- dent and an independent producer since 1945. In addition to “Cleopatra” which he has scheduled for filming early this Spring, Wanger’s 1960-61 at- tractions for release by this company include “Mountolive” and the tenta- tively “Dud Avocado”. Among his more notable film entertainment achieve- ments one most list “Another Language”, “Washington Merry-Go- Round”, “Fugitive”, “Stagecoach”, “Gung Ho”, “Battle Zone”, and last year’s “I Want To Live”. was “An Affair To Remember”, in 1957. Subsequently he delivered such box office triumphs as “Peyton Place”, “Long, Hot Summer”, “Mardi Gras”, “The Sound And The Fury”, “The Best Of Everything” and others. He was awarded the Irving Thalberg Me- morial Trophy for outstanding pro- duction in 1948, the year in which his “Johnny Belinda” won an Academy Award for its star, Jane Wyman. Born in New York, 47 years ago, Wald in the 1930’s wrote screenplays for “They Drive By Night”, “Varsity Show”, “The Roaring Twenties” and “Brother Rat”. As a producer his record includes “Mildred Pierce”, “Humoresque”, “Sadie Thompson”, “Queen Bee”, “The Eddy Duchin Story”, “Clash By Night”, “The Damned Don’t Cry”, “Key Largo” and others. Wald, incidentally, is one of the few producers who continuously gets promotionally behind his pictures. SAMUEL G. ENGEL, under the aegis of Samuel G. Engel Productions, Inc., has two of this company’s most expensive productions scheduled for 1960 filming. The first, “The Story Of Ruth”, has been filmed. His second will be a Todd-AO picturization of Mary Renault’s best-selling novel, “The King Must Die”, which he plans plac- ing before the cameras late this year, for public viewing in 1961. Engel’s en- try into the motion picture industry dates back to 1929, when he became associated with Darryl Zanuck. He has been with this organization since the 20th Century-Fox merger in 1935. Prior to his entrance into the entertainment world, Engel was in the retail drug business. Born in New York in 1904, he started in film production as a writer, his first being “The Big Shake- Down” with Bettfi Davis and Charles Farrell. But, his rise in the creative end of this business zoomed spectacu- larly after his completion of four years’ service in the Navy. Since then he has either supplied the screenplays or pro- duced “Crack-Up”, “Lancer Spy”, “My Darling Clementine”, “Street With No Name”, “Sitting Pretty”, “Come To The Stable”, “Jackpot”, “Rawhide”, “Mr. Belvedere Goes To College”, “Follow The Sun”, “Belles On Their Toes”, “A Man Called Peter”, “Daddy Long Legs”, “Boy On A Dolphin” and others. He wrote and produced the Navy documentary, “December 7”, which won a Special Academy Award in 1942. JENNIFER JONES JOAN COLLINS NOBU M'CARTHY ROLES TAILORED TO THEIR TALENTS Wide Variety Of Themes In Their 1960 Assignments The lovely actresses pictured on this page will find little time for leisure this year, for they, singly or together, are scheduled to portray principal roles in picturizations of well-known stage plays and novels. Under consideration for parts in “Stage Door”, for instance, are Joan Collins who continues to reveal precious and glamorous histrionic talent in “Seven Thieves”; Juliet Prowse who makes her American film debut as the dancing-singing sister of Shirley MacLaine in “Can Can”; Jayne Mansfield, back from triumphant personal appearances abroad, May Britt, Nobu McCarthy (the beautful, young Japanese actress who makes her bow in “Wake Me When It’s Over”) and Millie Perkins. “Stage Door” will be produced by Jack Cummings and directed by Jose Quintero. It is the story of a group of girls living in a Times Square theatrical boarding house, but enduring precarious existences waiting for a “break” for Broadway fame. The accent is on a particularly dedicated and beautiful aspirant who, about to attain her objective, after heart-breaking frustrations, settles for marriage to a promising assistant motion picture director who jeopardized his own career to advance hers. Another play, “Good-Bye, Charlie”, currently on Broadway, also is sched- uled for filming this year. It will be produced and directed by George Cukor who is currently completing “Let’s Make Love”, the Marilyn Monroe-Yves Montand vehicle. “Good-Bye, Charlie ' tells the fantastic story of a handsome man notorious for his profession of making passionate love to a married woman, but is eventually killed by a jealous husband. He is returned to the world as a beautiful woman, sets out to trick unsuspecting admirers and falls in love with a man who was his best friend. Jennifer Jones is scheduled to co-star in David O. Selznick’s “Tender Is The Night”, based on a novel by F. Scott Fitzerald. This property has been in preparation for almost two years. It is the story of a rich, but unstable wife of a psychiatrist who stakes his brilliant career in an uncompromising pursuit of personal wealth and acceptance by society. Deborah Kerr is the foremost contender for the feminine lead in the Leslie Stevens-Stanley Colbert production of the current Broadway success, “The Marriage-Go-Round”. She is sought for the role being played on Broad- way by Claudette Colbert, that of a wife whose years of happiness with her husband is jeopardized when a voluptuous young woman frankly concedes she is determined to have him father her child. In the play Charles Boyer acts the husband. Julie Newmar, who co-stars in the current motion pictures, “Rookie” and “Li’l Abner”, is the flirtatious guest who deliberately sets out to break up the marriage. Three other comparative newcomers have been assigned principal parts in productions. They are Margo Moore, who makes her debut in “Wake Me When It’s Over”, Ina Balin in “From The Terrace”, and Mary Ure who has a co-starring role in “Sons And Lovers”. Before 1960 is very old, however, at least a half dozen other new personalities, who for the past several years have been in training in the studio Talent School, will also make their debut in screenplays now in preparation. ■ ■ ■ ■ \ m m 1960 DEBORAH KERR JULIET PROWSE 11 PRODUCERS’ PAST PERFORMANCES INSURE GREATER 1960 ENTERTAINMENTS It is fact that no production-distribution organi- zation today functioning on a global basis has as many acknowledgedly great producers as this one. A single glance at the producers’ portraits pictured on the preceding, this and the following pages will sub- stantiate that claim. As Buddy Adler, executive head of production, has pointed out, the producers pic- tured on these pages will turn out in 1960 the “great- est lineup of top-budgeted program of ‘block-busters’ in this company’s history.” Their productions will be supplemented by those to be turned out for 1960 release by other film- makers, each with his eyes and mind firmly fixed on entertainment and box office values. Four of the producers, who will create super- attractions representing a combined investment in excess of $22,000,000, have, among them, been the recipients of six Irving Thalberg Memorial Trophies for “outstanding achievement in motion picture production.” Darryl Zanuck won three; Buddy Ad- ler, Jerry Wald and George Stevens one each. That today, more than ever, in motion pictures “the story is the deciding factor”, as Adler has stated time and again, is stressed by the fact that most of the producers under studio contract, or independent producers whose 1960-61 attractions this company will merchandise, can boast excellent records as writers. One, Nunnally Johnson, not only produces, but also directs and adapts his screenplays. Producers who double as directors include Elia Kazan, Leo McCarey, Dick Powell, Anatole Litvak, Mervyn Le Roy, George Stevens and Mark Robson. Sydney Boehm, Charles Brackett and Leslie Stevens are in the writer-producer category. Following are brief records of past performances and 1960 assignments of the 16 producers pictured on this and the following page, presented alpha- betically: IRWIN ALLEN: 43-year-old New Yorker made his mark as a magazine writer, in radio for 11 years and as owner of a Hollywood talent agency before being associated with the production of “Double Dynamite”, “Girl In Every Port”, “Dangerous Mis- sions” and others. He was executive producer for Windsor Productions, Inc., and wrote, produced and directed “The Animal World”, “Story Of Man- kind” and “The Big Circus”. He will produce the 1960 science-fiction spectacular, “The Lost World.” CHARLES BRACKETT : A former writer of fiction for The Saturday Evening Post, Colliers and other top magazines and drama critic for The New Yorker, this erudite graduate of Williams (1914) and Harvard Law School (1920), after writing two successful novels, transferred his literary talent to Hollywood in 1934. He collaborated with Billy Wilder on “Blue Beard’s Eighth Wife”. Their fur- ther collaboration resulted in such different screen- plays as “Ball Of Fire”, “Hold Back The Dawn” and “Ninotchka”. Subsequently, Wilder was made a director and Brackett a producer. Together, they made “Five Graves To Cairo”, “The Lost Week- End”, “The Emperor Waltz” and “Sunset Boule- vard.” Among his outstanding pictures as a pro- ducer-writer for this company, Brackett turned out “Titanic” (which won him an “Oscar” for the best screenplay), “D-Day, Sixth Of June”, “King And I”, “Blue Denim” and “Journey To The Center Of The Earth”. For release this year he will produce “High Time” and Rodgers’ & Hammerstein’s “State Fair”. JOHN BRADBOURNE: This young English producer entered the industry as a production as- sistant and in that capacity was associated with the filming of “The Wooden Horse”, “Lady With The Lamp”. Other credits include “Beggar’s Opera”, “Trent’s Last Case”, “Seven Thunders” and others. His Mersham Productions, Ltd., made “Harry Black”. His first and most important production, “Sink The Bismarck”, will be released by this com- pany in February. SYDNEY BOEHM: This writer-producer, born in Philadelphia, 51 years ago, also came to the movies via newspaper work, reporter for the New York Journal-American and International News Service. He had a hand in the making of “Union Station’ V“ Violent Saturday”, “Tall Men” and others. His first for this year, “Seven Thieves”, is currently in domestic release. His second production for 1960 domestic availability will be “One Foot In Hell”. STANLEY COI BERT : A comparative new- comer to the motion picture production ranks, but a young man who has shown a brilliant knack in stage plays that have met with public favor. He will co-produce the picturization of the current Broad- way comedy hit, “The Marriage-Go-Round”. GEORGE CUKOR: One of the truly great di- rectors, Cukor has to his credit important records Continued on page 13 JOHN BRADBOURNE STANLEY COLBERT GEORGE CUKOR NUNNALLY JOHNSON ELIA KAZAN 12 ANATOLE LITVAK MARTIN MANULIS LEO M'CAREY DICK POWELL MARK ROBSON LESLIE STEVENS DAVID WEISBART RICHARD ZANUCK THEY ARE PRODUCING AN UNPRECEDENTED FEATURE PROGRAM SCHEDULED TO TURN OUT 25 SPECIALS ON GRANDEST Continued from page 12 not only for film-making, but also Broadway stage hits running back to 1926. His better known stage successes include “The Great Gatsby”, “Her Card- board Lover”, “The Constant Wife” and “The Furies”. He journeyed to Hollywood when films took on sound, as dialogue director on “River Of Romance” and “All Quiet On The Western Front”. As a director he made “Dinner At Eight”, “Keeper Of The Flame”, “The Royal Family”, “Bill Of Divorcement”, “Little Women”, “David Copper- field”, “Holiday”, “The Women”, “Susan And God”, “Philadelphia Story”, “Winged Victory”, “Adam’s Rib”, “Gaslight”, “Born Yesterday”, “A Star Is Born”, “Bhowani Junction” and “Wild Is The Wind”. NUNNALLY JOHNSON: A former newspaper- man, novelist and contributor to The Saturday Evening Post, he began writing for the screen in 1932. Subsequently he advanced to director-pro- ducer, continuing to write his own screenplays. Among his better known pictures, the list includes “The House Of Rothschild”, “Thanks A Million”, “Jesse James”, “Grapes Of Wrath”, “Tobacco Road”, “Keys To The Kingdom”, “The Moon Is Down”, “How To Marry A Millionaire”, “The Gun- fighter”, “Desert Fox”, “The Man In The Gray Flannel Suit” and “Three Faces Of Eve”. ELIA KAZAN: This outstanding director-pro- ducer became a “box office name” on Broadway well before being induced to create a motion picture for this company. His first was “A Tree Grows In Brooklyn.” He heightened his film directorial sta- ture with “Boomerang”, “Sea Of Grass” , “Panic In The Streets”, “Pinky”, “Streetcar Named Desire”, “Viva Zapata”, “On The Waterfront” (for which he won the 1954 director’s Academy Award), “East Of Eden”, “Baby Doll” and others. He has just completed producing and directing his first 1960 production, “Wild River”. ANATOLE LITVAK: He joined the American production sphere after winning fame in Europe with such international successes as “Be Mine To- night” and “Mayerling”. Since then he has pro- duced or directed “Tovarich”, “Blues In The Night” “This Above All”, “Snake Pit”, “Sorry, Wrong’ Number”, “The Journey” and others. MARTIN MANULIS: This year marks his de- but as a producer of feature motion pictures. Since 1937, when he began directing Summer stock com- panies, his theatrical star has soared with the velo- city of a rocket. This 42-year-old Brooklynite earned lame in television after directing Broadway and road stage plays. In TV he produced “Studio One”, Climax” and the “Playhouse 90” shows. On Sept. 1, 1958 he became executive in charge of all tele- vision production for this company. LEO M’CAREY : He has been directing since the days of the Laurel and Hardy and Charley Chase comedies. He is not only a distinguished director and producer, but he has for many years enjoyed high rating as screen and song writer. In 1940 he SCALE EVER ATTEMPTED won two “Oscars”, one for writing the original story and another for directing “Going My Way”. Among his better known works are “Road House”, “The Kid From Spain”, “Indiscreet”, “Ruggles Of Red Gap”, “The Awful Truth”, “Going My Way”, “The Bells Of St. Mary”, “An Affair To Remember” and “Rally ’Round The Flag, Boys”. DICK POWELL: He unquestionably rates one of the most versatile men in the entertainment world. After stage and night-club appearances, he made his film debut in 1932 as an actor in “Blessed Event.” He starred in “42nd Street”, “Gold-diggers Of Broadway”, “Wonder Bar”, “Flirtation Walk”, “Thanks A Million” and other screen musicals, be- fore devoting himself to directorial chores. He pro- duced and directed “The Enemy Below” and “The Hunters” for this company. He also is a leading TV producer. He will produce and direct “Big River, Big Man” and “Solo” for this company for 1960 release. MARK ROBSON: Producer-director of “From The Terrace”, his first for this year, Robson started as film editor and cutter. Born in Montreal, he made low-budgeted pictures for RKO. His first “big picture” was “The Champion”. He followed that with “Home Of The Brave”, “My Foolish Heart”, “The Bridges At Toko-Ri”, “Trial”, “Bright Vic- tory”, “Return To Paradise”, “Peyton Place” and “The Inn Of The Sixth Happiness”. LESLIE STEVENS: He will co-produce “The Continued on page 76 13 PERTINENT FACTS GARNERED FROM PRODUCTION AGENDA 1960-61 PROGRAM Best-Selling Novels, Hit Plays, Timely Originals Dominate Output Outstanding Creative And Performing Talents Will Bring To Screen Life DICK SHAWN JILL ST. JOHN SUZY PARKER On instructions from Spyros P. Skouras, this company’s far-flung producing organization headed by Buddy Adler and an array of outstanding independent producers are carrying out a film-making program that provides not only for 1960, but subsequent several years as well. This year’s feature out- put of an average of four releases per month represents the largest filming investment this or any other producing-distri- buting organization as ever made in a 12-month’s product. • Of particular significance to motion picture theatre operators the world over, it can be authoritatively reported here that each successive quarter of 1960 will bring them attractions of increasing box office potency. These are designed to fill the needs of every type of theatre operation. They will present not only a galaxy of established stars, but the cast of each attraction will have its quota of new personalities, “stars of tomorrow”. • Novels that have had or are currently experiencing a vast readership and more Broadway hit plays than this company has every picturized in any season of its 45 years existence dominate not only the 1960 program, but that projected for 1961. Additionally, the output will be reinforced with original stories of timely significance. Here are some of the popular novelists and playwrights whose works will be brought to screen life this year and in 1960: James A. Michener of “South Pacific” fame; two by William Saroyan, two by John O’Hara, Irwin (“The Young Lions”) Shaw, Meyer (“Compulsion”), two by Garson Kanin, William (“Bus Stop”) Inge, Ben Hecht, O scar Hammerstein, Grace Me- talious, Mary Renault, Clifford Odets, George Alexrod, F. Scott Fitzgerald, Ful- ton Oursler, William Faulkner, C. S. Forester, Paul Osborne, William Bradford Huie, Norman Corwin, Marcel Haedrich, Howard Singer, Norman Krasna, D. H. Lawrence, Thomas Duncan, Elaine Dundy, Leslie Stevens, Terence Rattigan, Irving Wallace, Arthur Conan Doyle, Lawrence Durrell and others. • Cole Porter’s “Can Can” will be the first of the annual Todd-AO road-show attractions this company will globally dis- tribute. Screenplays for most of the output for 1960 have been written. Adaptations also have been completed for such 1961 vehicles as “Salammbo”, “Wild Is The Country”, “Dud Avo- cado”, “The Jungle”, “High Tide”, “Settled Out Of Court”, “The Chapman Report”, “The Bachelor’s Baby”, “Flaming Lance”, “Destruction Test”, “Tender Is The Night” and others. • In addition to the Todd-AO “Can Can” and “South Pacific”, both musical. romances, music and dancing play important parts in five other attractions for 1960 public exhibition. They are the tenta- tively titled “Bobbikins” with Shirley Jones and Max Bygraves; “Let’s Make Love” with Marilyn Monroe, Yves Montand, Tony Randall, Milton Berle and Frankie Vaughn; “High Time” with Bing Crosby, Fabian and Barrie Chase; “Solo” with Elvis Presley, and Rodgers & Hammerstein’s all-star “State Fair”. Burt Balaban, producer, and Stuart Rosenberg, director, at press-time were busy casting 101 roles — three “focal, 34 featured and 64 principals” — for “Murder, Inc.” Pictorially presented on this page are 13 relatively new, young performers. Most of them have been serving their ap- prenticeship under the studio’s extremely successful new-talent training program. This talent development program has brought to the screen many “new faces” whose owners, be- cause of display of fine histrionic ability, today rate stars of increasing box office potency. Others in the group are recruits from the stage, modelling field, television, radio, night-clubs, amateur theatre groups and other fields allied with entertainment endeavors. Gary Crosby and Dick Shawn are popular night-club stars. Suzy Parker, already has made the grade, and her following has been increasing with each suc- cessive appearance. Ray Stricklyn gets his first starring role in “Young Jesse James”. • Nobu McCarthy has a principal role in “Wake Me When It’s Over”, Dean Stockwell attained stardom by a magnificent per- formance in “Compulsion” and co-stars in this year’s “Sons And Lovers”, Elana Eden makes her debut in “The Story Of Ruth”, and John Gabriel plays her brother-in-law in that Sam Engel production. • Carol Lynley, who rocketed to stardom last season in “Blue Denim”, has been assigned major roles in “High Time”, “Return To Peyton Place” and the sequel to “Blue Denim”. Diane Baker, who last year appeared in “The Diary Of Anne Frank” and “Journey To The Center Of The Earth”, will be co-starred in “Re- turn To Peyton Place”. Other comparative newcomers who have been entrusted im- portant roles in 1960 productions include Mary Ure in “Sons And Lovers”, Ina Balin in “From The Terrace”, Ziva Rodann in “The Story Of Ruth”, Frankie Vaughn in “Let’s Make Love”, the sen- sational Yves Montand in “Let’s Make Love”, Margo Moore in “Wake Me When It’s Over”, Richard Beymer in “High Time”, Barry Coe in “High Time”, Barrie Chase in the same vehicle, Juliette Prowse in “Can Can”, and Fabian as Bing Crosby’s room-mate in “High Time”. Never before has any one company’s single year’s output of features remotely presented so many international stars as will this one in 1960. The list includes Japan’s Yoko Tani in “The Wind Cannot Read” and Nobu McCarthy in “Wake Me When It’s Over”; France’s Maurice Chevalier and Louis Jour- dan in “Can Can”, Montand and Nicole Maurey in “High Time”; South Africa’s Juliette Prowse in “Can Can”; Hungary’s Eva Bartok in “Operation Amsterdam”, and Israel’s Elana Eden and Ziva Rodann. • Also Sweden’s May Britt; additionally France’s Mylene De- mongeot in “The Three Murderesses” and “Upstairs And Down- stairs”, Brigitte Bardot in “And God Created Woman”, Juliette Greco in “Crack In The Mirror” and Alain Delon in “The Three Murderesses”; England’s Frankie Vaughn, Kenneth More, Dick Bogarde, Peter Finch, Trevor Howard, Wendy Hiller, Heather Sears, Mary Ure, John Gregson, Nadie Grey, Max Bygraves, Michael Craig and Anne Haywood, and Finland’s Taina Elg. • Elia Kazan’s “Wild River” includes 48 speaking roles of which 80% are played by Tennesseeans who had never seen a professional movie camera. DIANE BAKER CAROL LYNLEY RAY STRICKLYN 14 NOBU M'CARTHY DEAN STOCKWELL ELANA EDEN NINA SHIPMAN JOHN GABRIEL MARGO MOORE mo Published In New York, N.Y., U. S. A., By The Distribution Department Of T wentieth Century-Fox Film Corporation For The In- formation And Guidance Of Its Personnel. ROGER FERRI Editor INDEX TO 1960-1 PRODUCT EDITION Subject Page Alaskans, The 72 Bobbikins 59 Can Can 43 Captain’s Table, The 53 Crack In The Mirror 36 Cleopatra 25 Dog Of Flanders, The 29 Dud Avocado 73 Ferry To Hongkong 57 Flames Over India 21 Fool’s Paradise 81 From The Terrace 54 Goodbye Charlie 81 Greatest Story Ever Told, The 26 High Time 63 Idiot, The 79 John Brown’s Body 82 King Must Die, The 26 Let’s Make Love 61 Live Wire, The 73 Lost World, The 78 Marriage-Go-Round, The 78 Masters Of The Congo Jungle 33 Movietone News 84 Murder, Inc. 75 One Foot In Hell 74 O Mistress Mine 77 Operation Amsterdam 28 Return To Peyton Place 67 Seven Thieves 16 Short Subjects, CinemaScope 84 Sink The Bismarck! 19 Solo 72 Sons And Lovers 69 South Of Java Head 85 South Pacific 32 State Fair 83 Story Of Ruth, The 49 Story On Page One, The 17 Terrytoons 84 Third Voice, The 18 Thirty-Nine Steps, The 35 Three Murderesses, The 27 Upstairs And Downstairs 39 Wake Me When It’s Over 40 Wald Productions 67 When Comedy Was King 24 Wild River 65 Wind Cannot Read, The 22 Young Jesse James 56 Zanuck Product 71 OTHER SUBJECTS “Big River, Big Man” 81 “Blue Denim” Sequel 80 Feature (1959) Backlog 86-87 Field Exploitation Personnel 8 1960-61 Program Resume 14 Producers 10-12-13-76 Showmanship Attractions 46 “The Visit” 20 “The Girl In The Red Bikini” (3-D) 26 Yves Montand 62 Periscopic Resui Of Things To Co 1 1 i 1 1 e e Today And Tomorrow Producing the 45th Anniversary Year’s “block- busters” are five film-makers who, combined, have won more major industry awards than has any similar number functioning elsewhere. This fact came to your reporter’s mind when the 1960 David Wark Griffith Award of the Directors Guild of America was presented to George Stevens, who currently is making preparations for what he per- sonally considers “the most important motion pic- ture of my career” — “The Greatest Story Ever Told”. In 1953 Stevens was presented the Irving Thalberg Memorial Award. Four other producers have earned that much coveted award. Darryl Zanuck earned it on three occasions: in 1937, 1944 and 1950. David 0. Selznick, who has been “packaging” two screenplays for production by this company (“Tender Is The Night” and “Mary Magdalene”), won it in 1953, Jerry Wald in 1948 and this company’s executive head of production, Buddy Adler, in 1957. • In the award and trophy department for su- perior screen entertainment creations this com- pany’s record is one particularly timely to point up in this anniversary year. Since the Academy started presenting “Oscars” for superior achieve- ments in 19 classifications of picture-making — in 1928 — this company has been cited 193 times. The talent development pro- gram, on which Mr. Adler re- ports this company has already spent in excess of three million dollars, continues to pay off, not only in acting talent, but in other departments as well. For instance: John Healy, former Mr. Skouras’ executive studio assistant, after a number of years of unpublicized training, this year makes his bow as a full- fledged feature producer with “12 Hours To Kill”. • Present plans indicate that 1961’s commitment with this company will in all probability see her playing the title role in George Cukor’s production of “Goodbye Charlie”. It is interesting to note that Cukor, who will serve as both producer and director of that comedy, is currently megaphoning “Let’s Make Love”, Marilyn’s 1960 co-starrer. • With his “Wake Me When It’s Over” completed, producer-director Mervyn LeRoy is already giving thought to his 1961 production for this company’s release: a picturization of William (“Bus Stop”) Inge’s “A Loss Of Roses”. Martin Manuelis, who transferred his talents from heading this company’s television production to the creation of theatre motion pictures, is pre- paring his first CinemaScope production, which will not be released until next year. It is tentatively titled “The Tom Dooley Story”, an original. • Richard Zanuck has solved the title problem anent his forthcoming picturization of William Faulkner’s only play, which was presented on the Broadway and London stages as “Requiem Of A Nun”. He went to theatre owners for help. They overwhelming chose “Sanctuary” as a better title, and “Sanctuary” it will be when the picture is domestically released this year. Incidentally, the Faulkner novel, on which play was based, was titled “Sanctuary”. MARY URE Mary Ure, acclaimed by New York newspaper and nationally circulated drama critics, for her portrayal of the unhappy wife in “Look Back In Anger”, has one of the key roles in Jerry Wald’s “Sons And Lovers”. She repeated that excellent performance in the screen version that Warner Brothers is currently releasing in the domestic market. • Blonde Miss Ure has been signed to a term con- tract and next Spring is scheduled to report at the studio for future assignments. She is unquestionably headed for major stardom. Certainly, she has proven herself one of the more capable of the young stage and screen actresses on the international scene. She is the wife of John Osborne, who authored both the stage and film versions of “Look Back In Anger”. • Grace Metalious’ “Return To Peyton Place”, an- other Wald production, is now in the best-seller list. Readership on this sequel is assuming the propor- tions of her first novel, “Peyton Place”. Publishers of the paperback edition of “Return To Peyton Place” are authority for the statement that a mil- lion copies of that book were sold in less than three weeks following its publication. Buddy Adler continues to pile up story material for future Todd-AO production. With Cole Porter’s “Can Can” ready to for its road-show career; “The Greatest Story Ever Told ’ and his own tentatively titled John Brown’s Body’ in preparatory stages, Mr. Adler is looking ahead to the not distant future when this company will make a Todd-AO picturization of one of the all-time great stories, “The Last Days Of Pompeii”, planned for 1962 exhibition. Barry Coe should achieve stardom this year. He has a leading role in three forthcoming, important 1960 productions. He first attracted critical com- mendation for his portrayal of the local mill owner’s luckless son in “Peyton Place”... In “High Time” Fabian, instead of rock ’n’ roll, sings several new ballads, one with Bing Crosby .. .Another newcomer to watch: 26-year-old Rory Harrity who makes his screen debut in “From The Terrace”. Between acting chores he has been a magazine humor writer. Paperback editions of 10 screenplays scheduled for release this year have either already been placed on sale or will be in circulation within the next couple of months. They include Bantam Books’ “Murder, Inc”, “Wake Me When It’s Over”, “Let’s Make Love”, “The Hell Raisers” and “From The Terrace”; Dell Publi- cations’ “Return To Peyton Place” and “Crack In The Continued on page 70 15 EDWARD G. ROBINSON ROD STEIGER . . . .the “professor" ...the mastermind JOAN COLLINS ...the Casino star ELI WALLACH . . .the "beatnik" BERRY KROEGER ii it* . . muscle man* ALEXANDER SCOURBY . . . “inside" man MICHAEL DANTE . . . “safecracker" JOAN COLLINS & ROD STEIGER, IN LOVE, ARE THREATENED BY REBELLIOUS THIEVES 16 SEVEN THIEVES IN THE MOST FABULOUS ROBBERY THAT EVER ROCKED MONTE CARLO! Veteran showmen have time and again contended that since the earliest days of movie-making when “The Great Train Robbery” flickered its way onto the silent screens, nothing has seemingly held as much fascination for audiences everywhere .as an exciting robbery. But, Sydney Boehm’s “Seven Thieves”, based on Max Catto’s novel, “Lions At The Kill”, unquestionably dramatizes the most fabulous theft detailed in fiction, either in books, on screen or stage. Directed by Henry Hathaway and photographed in CinemaScope by Academy Award winner, Sam Leavitt, this suspense-packed, melo- dramatic story exposes a virtually “scientific” plot that seven profes- sional thieves carried out: robbing the vault beneath a plush gambling casino in Monte Carlo. Actually, most of the picture was filmed in Monte Carlo and other places along the beautiful French Riviera. The seven thieves are Edward G. Robinson, internationally known as “the professor” who master-minds the fantastic, yet beautifully pre- cise scheme; Rod Steiger who was summoned to superintend the plot of its consummation; Joan Collins as the strip-tease dancer who serves as the decoy; Eli Wallach as the shrewd robber with a “beatnik” com- plex; Alexander Scourby as the “inside man”, secretary to the casino’s managing director; Michael Dante as Louis, the expert safecracker, and Berry Kroeger as Baumer, the “strong-arm” member, a stolid German and driver for the group. Others in the cast are Sebastian Cabot as the casino director, Marcel Hillaire as the Duke, John Bernardino as the chief of detectives, Alphonse Martell as the Governor, Jonathan Kidd and Marga Ann Deighton. The screenplay opens with the “professor” (Robinson) greeting Paul Mason (Steiger) whom he informs he has concocted a fool-proof plan to rob the Monte Carlo casino. At first unwilling to go along with the project, Mason finally agrees to meet the six others who will be involved and to listen to all details. At a night-club Mason meets a beautiful strip-tease dancer, Melanie (Joan Collins), who is to serve as foil and whom he lets know he thinks she is cheap. Agreeing to lead the gang, Mason changes the date of the robbery to the night of the Governor’s ball. Baumer (Kroeger) violently resents the change, but is subdued. By now Mason views Melanie with friend- lier eyes. All the timing, rehearsing and planning comes to focus and so does the night for the robbery attempt. Mason and Louis (Dante) cling to the preciptious wall high above the ground to reach the casino director’s office. Meanwhile, in the casino, the professor has rendered unconscious Pancho (Wallach) pos- ing as a rich gambler who is unable to walk. Supposedly very ill, Pancho is wheeled into the director’s office in a wheelchair constructed specially for the crime. The vault is opened. Louis and Mason take out $4,000,000, they place it in a large pocket in the wheelchair and Pancho, supposedly dead, is wheeled out in it. On their way back the excitement is so great that the professor dies of a heart attack. Mason’s grief is so great that Melanie, who has come to love him, realizes he and the professor are son and father. Back at the hotel, the remaining six thieves find the $4,000,000 is in brand new, recorded, large bills whose spenders can be easily traced and arrested. Mason and Melanie decide to return the money, and do so, but not until after a show of superior strength and violence. Newspaper reviews in cities where “Seven Thieves” had opened by press-time were unanimous endorsements of the production, its performances and particularly its direction by Henry Hathaway whose second 1960 assignment is “The Alaskans” with John Wayne. Reviewers recalled that Hathaway has enjoyed extraordinary success in melo- dramatic and suspenseful screenplays. Screaming front-page newspaper headlines in the past several months have dramatically heralded murder trials resultant from illicit love triangles. Learned judges have observed that never in their memory have there been so many such cases brought before the bar of justice. These trials, too, have developed questions that are currently and will continue to be the subject of discussion not only among members of the legal profession, sociologists, penalogists and on newspaper edi- torial pages, but also by a shocked public. Three particularly significant and important questions are: (1) is jus- tice always given a chance to triumph in the United States?, (2) are the cards legally stacked against the average citizen in our courtrooms?, and (3) are members of today’s juries swayed by public opinion rather than legal evidence? These are some of the grave questions raised by Jerry Wald’s “The Story On Page One”, starring Rita Hayworth, Anthony Franciosa and Gig Young. Written and directed by Clifford Odets this CinemaScope production points up the inequity existing today between the huge law-enforcement devices in the hands of the average prosecuting forces in the United States and the comparatively meager resources at the command of the average accused citizen. In a large metropolis, for example, there may be numerous annonymous people aiding a district attorney in his burdensome chore of proving a defendant guilty. Oppos- ing this huge machine there are often only a relatively few people working for the de- fense. Many times a man or woman on trial for life cannot afford that much, although in virtually every State, in such cases, the court appoints defense counsel. The foregoing constitutes the powerful theme developed in “The Story On Page One”. Odets, who authored such plays as “Golden Boy”, “Country Girl” and “Waiting For Leftv”, wrote the story originally and specifically for the CinemaScope screen. However, NEW YORK DAILY NEWS 17 JULIE LONDON A FIENDISH EXPERIMENT IN MURDER Having succeeded in swindling a Mexican bank out of $250,000 in cash, after he dis- posed of the body of an American millionaire his co-plotter, Laraine Day, who plays the latter’s jilted and vengeful mistress, has killed him, “the voice” (Edmund O’Brien) picks up a pretty young woman, Julie London (seated), presumably sight-seeing in Mexico City. Meantime, in another city, in the States, Laraine awaits word from “the voice” that she could return to share in the spoils. Back in Mexico, the murderess envisions a celebration with her co-conspirator. Instead, the latter, intent on doublecrossing her and keeping the entire cash, tries to choke her to death. At this point “The Third Voice” takes a switch when the plotters are exposed by a surprise caller. Failing to find an adjective in the dictionaries that, in a word, ac- curately described the nature of “The Third Voice”, an inventive ad- vertising expert, Max Stein, came up with “diabolikill”. The adjective fits the bill like the proverbial glove, for “The Third Voice” drama- tizes a diabolical murder plot that almost succeeded, after being carried out with professional accuracy by an impersonator and a woman scorned. Written (from Charles Williams’ novel, “All The Way”) and di- rected by Hubert Cornfield, who co-produced with Maury Dexter, “The Third Voice”, in CinemaScope, co-stars Ed- mond O’Brien, who won an Academy Award for his portrayal of a press-agent in “The Barefoot Contessa”, in the title part; Laraine Day as the scheming, vengeful, cold-blooded mistress turned murderess, and Julie London as a mystery girl of seemingly easy virtue. With the exception of a few feet cuts, O’Brien appears in every foot of this sus- pense thriller, with facial expressions and gestures carrying much of the action. O’Brien, identified in the screenplay only as “the third voice”, rehearses an impersona- tion of Harris Chapman (Ralph Brooks), an American millionaire, as the key to a scheme to murder him and secure $250,000. Collab- orating with him is Marian Forbes (Laraine Day), Chapman’s private secretary and mis- tress who concocts the plot, in part for greed, but basically for revenge after the million- aire jilted her to marry a younger, attrac* HUBERT CORNFIELD tive socialite. Through a blackmail letter, Marian lures her employer to a house in a Mexican resort town. There she shoots him, with “the voice” arriving soon afterward to dispose of the body. Thereafter, “the voice”, donning Chapman’s clothes and personal effects impersonates the mil- lionaire while Marian returns to Seattle. Everything proceeds accord- ing to the plot time-table; so well, in fact, that “the voice”, having eventually managed to get the $250,000, decides to doublecross Marian, whom he summons to return to the Mexican town, presumably to divide the money. Meantime, “the voice”, in his hotel lobby, has picked up a pretty girl, Corey (Julie London) who encourages his advances, but, in the end, it is she who cleverly uncovers the plot and brings about the arrest of the murderous plotters— and just in time to save Marian from being choked to death by her co-conspirator. Johnny Mandel, whose score for “I Want To Live”, won him a 1959 Academy Award nomination, has composed similarly distinctive “off-beat” music for “The Third Voice” that Ernest Haller photo- graphed. Because of the surprise ending, it is suggested to exhibitors that they use the display ads available on “The Third Voice”, informing the public that no one will be seated during the climax. Playing a supporting role, that of a Mexican trollop, is Olga San Juan, who is Mrs. Edmond O’Brien in private life. Laraine Day, puts into motion her dia- bolical scheme to kill her employer and, through a perfect impersonation of him by a confederate, obtain $250,000. Here she is pictured as she confronts the mil- lionaire with a gun . , . and cold-blooded- ly kills him. 18 “SINK THE BISMARCK! A SPELL-BINDING DRAMA OF TRUE ADVENTURE One night, early in 1958, Spyros P. Skouras, ad- dressing a dinner in London, said his company wanted to make a motion picture about the part the British Royal Navy played during World War II. He declared then that, in his personal belief, the greatest war sea story had never been filmed: the Bismarck action. The idea and subsequent problems he placed in the capable hands of producer John Bradbourne, who succeeded in inducing C. S. Fores- ter to write a book, “Sink The Bismarck!”, which won a world-wide readership. The novel subse- quently was adapted into a screenplay by Edmund H. North. Early in January of last year Bradbourne flew to Hollywood to discuss production details with Buddy Adler. Returning to England, the former obtained the unlimited co-operation of the British Navy. Lieut. Commander Peter Peake, R. N. (Ret.) was named technical adviser. Meantime, he signed Lewis Gilbert to direct and Kenneth More and Dana Wyn- ter to co-star in a cast that includes Carl Mohner, Laurence Naismith, Karel Stepanek, Maurice Den- ham, Michael Goodliffe, Michael Hordern, Esmond Knight, Mark Dignam, Jack Gwilliam, Geoffrey Keen, Jack Watling and television-radio commen- tator and newscaster Edward R. Murrow. In mid-Autumn of last year Bradbourne had com- pleted his commission. “Sink The Bismarck!” tells the story behind a promise made by Winston Churchhill to the British nation at a critical time in its history. The promise: England could expect nothing but “blood and sweat, and toil, and tears.” That is the historic background canvas of this motion picture based on fact, a background that embraces oceans, and great battles fought on those oceans in the dark days of Hitler’s war; a back- ground that embraces people stripped of all their pretences, formalities and trivialities, of people with nerves strung out to breaking point, geared to achieve one goal. The story of “Sink The Bismarck!” is one of steel and men’s nerves tempered like steel, of blackness and despair, of adoration and the agony love can bring, of hate and fanaticism, of faith and courage and hope, steadfast and shining, in the face of great disaster. It is like no other motion picture produced to date, for the story is the spectacle of a gigantic game of chess played by remote control with the Atlantic ocean as the chess board, little destroyers as the pawns and huge warships like the Victorious, Repulse, Rodney, King George V, Hood and Shef- field as the other chess. Sink The Bismarck !” paints history and re-creates the past to make it live again in an awe-inspiring drama of men’s courage and strength, and weak- ness. It depicts the menace of the Nazi Bismarck, the weeks the British Navy spent in shadowing her. the engagements in which she sank the Hood, the naval air strikes against her and the torpedoes that crippled her, her battles with the George V and Rodney, and, finally, her plunge to her grave. Many who took part in the engagements, that eventually led to the sinking of the Bismarck, appear in the production. Among them is Esmond Knight who plays himself. He is seen on the bridge of the shattered Prince Of Wales after the Bismarck had blasted away the bridge, killing 27 out of 30 men on it. Knight was blinded in that engagement, but has now partially regained the sight of one eye. The scene is re-created in the picture exactly as it hap- pened 19 years ago. Among the many brave men, and women, who played a part in the actual Bismarck action, were six Americans: Ensign Rinehart, now a captain in the U. S. Navy; Lieut. Commander Stanhope C. Ring, of Tunkhannock, Pa., now a rear admiral in the U. S. Navy; Lieut. Commander J. H. Wellings of Washington, D. C., now a rear admiral in the U. S. Navy; Lieut. Commander August D. Clark, now a retired U. S. Navy captain; Lieut. Comman- der Moorhouse, .and Ensign J. J. Maechtlen. In fact, an American naval officer, flying a Cata- lina, played a major role in tracking down and thus causing the destruction of the mightiest warship the world has known, the Nazi battleship Bismarck. Continued on page 20 19 SINK THE BISMARK CONTINUED KENNETH MORE plays the director of oper- ations. He served on a British plane carrier during World War II. At the beginning of “Sink The Bismarck!”, American war correspondent Ed Murrow, now a famed TV-radio newscaster, is pictured broadcasting the following: “Never in the long and stormy history of England have her fortunes been so low as they are this Spring of 1941. Britain is fighting for her existence. The worst news of all comes from the North Atlan- tic where German U-boats and surface raiders last month sank 600,000 tons of shipping ...In this battle Britain’s life-blood is at stake. The battle is being fought at sea, but it is being directed from the Admiralty here in London.” Then, Kenneth More is pictured taking over as director of operations, a highly efficient, solitary, unbend- ing man whose only thought is to trap the Bis- marck and so prevent her from joining the Nazi U-boats in the North Atlantic. DANA WYNTER plays Second Officer Anne Davis. Her first meeting with the director of op- erations is one of disgust, for she considers him an “icicle”, a man withdrawn as a monk, but, in truth, a man with a reservoir of sorrow and pain, damned up inside him, that he is too proud to reveal to a living soul. As time passes and duty brings them closer together, she is appalled by the cold, calm, ruthless decision he makes to risk the lives of 20,000 troops sailing in con- voy by detaching their chief escort to send them into the Bismarck chase. But, she cannot dis- guise her mounting admiration for him when the Bismarck sinks the Hood and sends the Prince Of Wales limping out of battle, badly damaged. It is then that Churchill, from 10 Downing Street, issues his historic message to the Admiralty: “This is a battle we cannot af- ford to lose. I don’t care how you do it, but sink the Bismarck!” CARL MOHNER as the Bismarck’s captain. Born in Vienna in 1921, in “Sink The Bismarck” he breaks away from the romantic roles he has long been portraying on screen and stage for years. He distinguished himself universally in motion pictures with his characterizations in “The Last Bridge” with Maria Schell, in “Rififi”, He Who Must Die” and other European films that have enjoyed success in this country, mostly at its art theatres. Karel Stepanek is another who is co-starred in “Sink The Bismarck”, play- ing the part of Admiral Lutjens. He has played featured roles not only in British, French and German films, but also in such American-pro- duced attractions as “Never Let Go”, “Fallen Idol”, “State Secret” and others. Two technical advisers worked on the picture’s filming. Prob- lem of getting a German advisor was great for only 100 men had survived out of the crew of 2,500 on the Bismarck. NOTHING LIKE IT EVER ON SCREEN! Continued from page 19 Authority for that statement is the pilot of the Catalina, Wing Commander P. R. Hatfield, now a director of Aerial Spraying Company of Colchester, England. The co-pilot was Ensign Rinehart of the U. S. Navy. Although the United States was at that pre- Pearl Harbor time supposed to be neutral. Ensign Rinehart, officially an assistant naval attache at the U. S. Embassy in London, was in fact attached to the British 210 Squadron as a “neutral observer”. Hatfield and Rinehart located the Bismarck at approximately 10 o’clock on the night of May 26, 1941, and shadowed her for most of that night. Later, torpedo-carrying aircraft arrived and the British and American pilots had a grandstand view of the ruth- less onslaught of the British planes on the Bismarck as they unleashed their cargoes of death. On that momentous flight Hatfield and Rinehart set a rec- ord: they stayed in the air 26 hours, 45 minutes. Kenneth More plays Capt. Jonathan Shepard, who takes over as director of Naval Operations deep down under blacked-out London. Shepard’s was one of the early personal tragedies of World War II. His ship was sunk. When he returned to his home in London he found it in ruins. His wife had been killed by a bomb that demolished the home. En- trusted with the job of trapping the Bismarck so the British Navy can destroy her, he is determined never again to place himself in a position where anybody or anything can hurt him. Thus, when he meets Second Officer Anne Davis, played by Dana Wynter, and has reason to repri- mand her, he reveals his credo: “Getting emotional is a peace-time luxury. In wartime it is much too painful.” But, time brings them close and care very much about each other, although never revealing their personal feelings until after the Bismarck is finally sunk. Incidentally, available for promotional purposes is a Columbia record on which Johnny Horton sings “Sink The Bismarck”, for which he wrote a song that could very well be as popular as his “Battle Of New Orleans”, a recording that became one of the best sellers of 1959. THE A Jilted Small-Town Girl Returns A ealthy Woman To Wreak A Sadistic Revenge On Her Ex-Lover Critics are in agreement that the stage has never exposed as devastating a drama about the perfidy of the human soul as “The Visit” in which Lynn Fontaine and Alfred Lunt have been internationally triumphing for several years. During its long run on Broadway, “The Visit” was lavished with unani- mous critical acclaim and went on to win numerous awards. Its success has been so widespread and em- phatic that it returned to Broadway for a third en- gagement. The foregoing should give the reader an idea of the importance and popularity of this story property recently acquired by this company in competition with all major studios. It was written by the Swiss playwright, Frederich Duerrenmatt, who, incident- ally, has provided Broadway with its outstanding dramatic success of the 1959-60 season, “The Deadly Game”. “The Visit” is the second play, in which the Lunts have successfully appeared on the stage, that this company has acquired for picturization in 20 CinemaScope with DeLuxe Color. The other is Terence Rattigan’s “O Mistress Mine” in which, it has been announced, Ingrid Bergman will appear. “The Visit” begins amusingly enough. In a bank- rupt, stagnant village, a delegation of its leading citizens assemble at the railroad station to welcome a fabulously rich lady who, many years previous, had been forced to leave the town under disreput- able circumstances. Every member of the delega- tion hoped she would be bountiful with the town where she was born. But, she had another purpose for returning to the village. Nevertheless, in answer to a welcoming address, she announces that at the proper time she will make an offer to redeem the village. Subse- quently she states she will give a billion marks, if the villagers will exterminate their elderly store- keeper. She had looked forward many years for this opportunity, for when she was a girl the grocer, then a handsome, popular young man, not only seduced her, but, in court, denied the paternity to their child. The scandal that followed was further aggravated when he added insult to injury by marry- ing the daughter of a well-to-do middle class family. Branded a harlot by the villagers, she left the town, determined to one day return for revenge. Cynical and embittered, she, in time, through successive marriages, attains great wealth, a title, fame and enormous power. With her opportunity for vengeance at hand, she proposes to repair her former lover’s act of sadistic injustice— with a sadistic plan of her own; to have him murdered by his friends. The slow, almost imperceptible, hardening of opinion among the villagers, their unprecedented purchase of luxuries on credit against the lady’s offer, their unoctuous politeness toward the grocer, the growing, obvious reasonableness of their deci- sion to take his life and his acceptance of fate make “The Visit” one of the most extraordinarily drama- tic story properties acquired by any studio. LAUREN BACALL, AN AMERICAN NURSE, AND KENNETH MORE, A BRITISH CAPTAIN, ASSIGNED TO DELIVER A FUGITIVE CHILD-RULER TO SAFETY, WATCH REBELS ATTACK THEIR ANTIQUATED TRAIN. TRADE PAPER CRITICS RATE THIS EXCITING DRAMA, MARCEL HELLMAN'S BEST SCREENPLAY.’ A MEMORABLE & REMARKABLE SUSPENSE DRAMA OF HUMAN STRIFE IN INDIA With greater excitement, suspense, scope and story warmth than “Bhowani Junction” and “King Of The Khyber Rifles”, there is every logic to sup- port the belief of all who have viewed it that Marcel Heilman’s production of “Flame Over India” will exceed the widespread popularity of those specta- cular dramas. This exciting, warm-hearted romantic spectacle deals with events in what is known as the North West frontier of India, a seething, vibrant, sun- scorched province, at the turn of the century; an area populated by some of the most rebellious, toughest, militant fighters the world has known. This gripping story, from a screenplay by Robin Estridge and directed magnificently by J. Lee Thompson, co-stars Lauren Bacall as the American Catherine Wyatt, governess to a prince; Kenneth More as Capt. Scott, a soldied dedicated to carrying out a seemingly impossible mission, and Herbert Lorn, a tough journalist with conflicting loyalties, all available to the highest bidder. Others playing featured roles are internationally outstanding performers like I. S. Johar as Gupta, the engineer who fearlessly nurses an antiquated locomotive, carrying precious human cargo through 300 trouble-torn miles; Ian Hunter as the man who stays behind, even though he is aware that a threat of death hangs over him; Wilfrid Hyde White as the pacifist secretary to the Governor, swept by continuous attacks on the train by rebels into a fury that gives an elusive enemy no quarter or mercy; Eugene Deckers as an enigmatic armament sales- man; six-year-old Govind Raja Ross as the Maha- rajah’s son, Prince Kishnan, whom the rebels are determined to kill, for he is destined to be the re- ligious and political leader of hundreds of thou- sands of Hindus, and Ursula Jeans as the Gov- ernor’s wife. Briefly, this memorable screenplay, wholly filmed in the locales of the story, deals with a virtual hand- ful of faithfuls’ fight against time. Capt. Scott is sent by the British Governor to rescue the Prince and his American Governess when a rebellion breaks out among tribesmen, Moslems, hereditary enemies of the Maharajah, and his Hindu subjects. As Scott and his men take the Prince and Cather- ine Wyatt into the hills the attack is launched. The Maharajah, too proud to run away from his enemies, is killed. A # nd Scott gets his party to Haserabad Continued on page 70 21 Secretly married, "Sabby”, the Japanese teacher, (Yoko Tani, left) and her RAF pilot-husband (Dick Bogarde), on their honeymoon, go on a happy sight-seeing tour of India. Here they are pictured in the beautiful gardens of the Taj Mahal (center, background), famous white marble mausoleum considered one of the ''seven wonders of the world.” Miss Tani, after singing and dancing appearances at European night-clubs, went on to become a stage and screen star. She starred in the Paris stage presentation of * 'Teahouse Of The August Moon”. Bogarde, out- standing international screen and stage star, will be remembered for his film triumphs in "Hunted”, "Appointment In London” and "Simba”. In featured roles in "The Wind Cannot Read”, based on Richard Mason’s novel and directed by Ralph Thomas, are Ronald Lewis, John Fraser and Anthony Bushell. Moving Portrayals By Dick Bogarde And Delightful Newcomer , Yoki Tani THE WIND CANNOT READ A Love Story That Is As Tender As “Love Is A Many Splendored Thing” Not since “Love Is A Many Splendored Thing” and “Three Coins In The Fountain” has this company had on its program as beautiful a love story as is revealed in the Betty E. Box-Ralph Thomas production, “The Wind Cannot Read.” This is motion picture entertainment at its loveliest, and in color. The beautiful romance between a young RAF pilot and a pretty Japanese girl is echoed by a passage in a Japanese poem: “Though ... it is written ‘Don’t pluck these blossoms’, it is useless . . . for the wind cannot read.” The story is a meeting between East and West, but it is a bitter-sweet meeting between the young Englishman stationed in India and the girl who teaches him Japanese at a military school for interrogators of prisoners of war. They are idyllically happy. They secretly marry, but are soon separated when he is ordered to a forward battle area where he is captured in a Japanese ambush. Eventually he escapes and, after crossing savage desert country, tormented by heat and thirst, he reaches Delhi to find his wife dangerously ill in a hospital. Only then he learns the secret of the strange fear he had glimpsed in her eyes, a realization that brings their joy to an immensely moving climax. Starring Dick Bogarde as Lieut. Quinn, “The Wind Cannot Read” introduces a new personality in pretty Yoko Tani who plays Suzuki San, lovingly called “Sabby” because “sabishii” is Japanese for sad, and there is something about her that spells sadness. Born in Paris, the daughter of a Japanese embassy attache, Yoko (meaning “child of the ocean” in Japanese) returned to the French capital in 1950 after a formal education in Tokyo. In Paris she studied singing and danc- ing, later toured the Scandinavian countries with a ballet company and made her professional singiflg debut in a cabaret. THE WIND CANNOT READ (1) Fenwick, a stickler for FOR/A, OBJECTS TO MICHAEL'S OBVIOUS INTEREST IN A W9WWWI JAPANESE GiRL. The brigadier in charge OF THE SCHOOL INTRODUCES THE NEW INSTRUCTRESS, SUZUKI SAN ’ DAUGHTER OF AN EX! LED /f JAPANESE DEMOCRAT. m RECOVERED, MICHAEL IS GROUNDER AND if POSTED TO DELHI TO H LEARN JAPANESE B SO THAT HE CAN /N~ B TERRO& ATE JAP. B RO.W.sMHKM IN THE 1942 RETREAT FROM BURMA F/Lt MICHAEL QUINN, AN R.A.F. PILOT, AND ANOTHER R.A.F. OFFICER REACH INDIA ON FOOT AND EXHAUSTED. A FELLOW STUDENT AT THE COMBINED SERVICES LANGUAGE SCHOOL IS FENWICK, A SUPERCILIOUS SQDN. LDR.JBSSC r AT LAST! " THE BRITISH < LIMES." j CONTINUED attention, day after day, but it is expertly pictured with interest-build- ing text. This serialization, which covers a five-day period, will be available for alert, promotion-minded exhibitors in either cut or matrix form, in eight, seven or five-column widths. The reader will note that the fifth strip carries a “teaser” box in the last panel. However, if the exhibitor so chooses, he could substitute the actual finish of the screenplay instead of the reprinted text, if the newspaper insists on a definite conclusion for the story. BkETDI Al 1 7 ft fit 8 8l 91 Reproduced on this and the Uk EIIBBL iBnBB I iUPN following pages is an inter- esting picture strip serializa- HIATIIIIP ilYlBIIB tion of the tentatively titled PICTURE STRIP attraction, “The Wind Can- B "BP B BP IB Hi BP I IB 1 1 not Read”. This is a feature that every newspaper should welcome because not only is the story one that will hold the reader’s 22 ;; x : Because the service would FORBID THE MARRIAGE, MICHAEL AHD CABBY HAVE A SECRET HA WEDDING /NJNPUR. ‘OH, MICHAEL I WANT SO 1 MUCH TO MARRY. OH MIL .YOU EVER TORGWIEr^A F/NGERS LOCKED id A JAPANESE PROM- ISE' MICHAEL AND THE WISTFUL JAPAN- ESE girl swear THEIR UNCdlNG dove. ON LEAVE, MICHAEL AND SABBY HAVE A HOLIDAY TOGETHER HV THE ANCIENT CfTY — 1 Of JAIPUR. r*YOU LOOK SO^S SAD-SO'SABlSHlt'. I SHALL. CALL YOU ^ \ER w OF BATTLE?' N 'HE WANTED HER ^ TO ENJOY HERSELF WHILE SHE COULD 0 WHAT DO YOU MEAN ‘WHILE SHE COULD? SHE'S ALONE, I MUST GO TV HER? ’THIS ILLNESS ^ HANGING OVER HER ^ I'M SORRY...' ^ I KNOW NOTHING. CONTINUED Michael, his wounded arm in PLASTER, DISCUSSES WHERE 7HEY WILL LIVE AFTER 7HE WAR. TROUGH SHOT IN THE ARM, M/CNAEL MAKES A SUC- CESSFUL GETAWAY FROM THE JAPS. HAGGARD FROM HIS WOUND AND THE HEAT, HE IS AT LAST PICKED UP BY A BRITISH PATROL. Hastening to delh/, m/cnael LEARNS SABBY IS IN HOSPITAL TO HELP MICHAEL ESCAPE , FENWICK CREATES A DISTURB- ANCE AND DRAWS 7UE GUARDS AWAY. IN THE CONFUSION, MICHAEL FELLS NAKAMURA AND RUNS FOR IT A', THIS IS hot THE EH D OF THIS DRAMATIC AND SINCERE LOVE STORY. WE DO HOT SHOW THE ENDING BECAUSE WE 00 NOT WISH TO /NTRUDE UPON YOUR ENJOYMENT OF THE FILM. A very Difficult i OPERATION,BUT SHE .WAS WONDERFUL^ * I HOPE YOU WILL ALWAYS FEEL I AM .BESIDE YOU engagement. Then the regular advance display ad campaign should get under way. In the event a newspaper is not interested in running the serial gratis, the exhibitor would do well to use it as an advance ad cam- paign. Inasmuch as mats are available on the serial, it could be incor- porated in a herald for house-to-house distribution. Enlargements of each strip will also make an unusually interesting lobby display. The above serialization can be put to many advan- tageous uses by enterprising showmen, in addition to striv- ing for its publication in a local newspaper. In the case of weekly newspapers, the se- six weeks in advance of the rialization should be planted for start |A ‘ — -s. w==- w / ft MichaeCs friend - | ship wrm suzuki san 1 blossoms into love. CHARLES CHAPLIN STAN LAUREL OLIVER HARDY HARRY LANGDON “WHEN COMEDY WAS KING” BRINGING BACK THOSE HILARIOUS YEARS “When Comedy Was King” is a nostalgic pre- sentation of silent motion picture comedy, a style and form of humor that reached its full flower in the 1920’s and that passed, seemingly, all too soon when films became audible. Although taken for granted, silent screen comedy, time has disclosed, was a true and unique art. By transcending the laws of space, time and distance, it utilized the camera to its fullest capabilities. By soaring above the language barrier, it carried laughter from the United States throughout the rest of the world. “When Comedy Was King” is an inclusive docu- ment, spanning the period from Mack Sennett in 1914 to the sophisticated era of the Hal Roach comedies of 1928. “When Comedy Was King” brings back to reel life every one of the really first rank comedy clowns, with one unavoidable exception. Among them are: Charlie Chaplin, Buster Keaton, Laurel and Hardy, Harry Langdon, Ben Turpin, Fatty Arbuckle, Mabel Normand, the Keystone Cops, Charlie Chase, Edgar Kennedy, the famed Mack Sennett bathing beauties, Andy Clyde, Chester Conklin, Snub Pollard, A1 St. John, Jimmy Finlay- son, Mack Swain and Billy Bevan, along with two all-time great stars, Wallace Beery and Gloria Swanson who had their beginnings in comedy. The uncovering of the material, together with its rejuvenation, selection, editing, assembly and the addition of sound effects, narration and an 81-minute original musical score, was the culmina- tion of 18 months’ work. In that time some 2,500 reels were screened. Much of the material was pre- viewed before invited audiences so that their laugh- ter could serve as a guide in reducing thousands of feet of film down to the eight reels that comprise “When Comedy Was King”. “When Comedy Was King” is divided into seven parts. Part One. which also serves as a background for the main title and credits, shows Charlie Chase and his family visiting a typical neighborhood movie theatre of the early 1920’s. After a series of mishaps, they finally turn their attention to the show, and upon that screen of almost two score years ago is flashed the main body of the picture. Part Two deals with “The Good, Old Days At Keystone”, Mack Sennett’s Keystone Studio where American film comedy was born and where the viewer gets his first view of a 24-year-old Charlie Chaplin, madcap Mabel Normand and her roguish partner, Roscoe (“Fatty”) Arbuckle, Wallace Beery, Gloria Swanson who, at that time, was Mrs. Beery. Part Three brings back onto the screens the second of silent comedy’s three completely or- iginal clowns: white-faced Harry Langdon, the trustful “infant” in a wised-up world. Part Four is a nostalgic examination of Hal Roach, master of inventive comedy, humor largely dependent upon objects. Part Five, “The Great Stone Face”, presents the third of the three outstanding comedy talents: Buster Keaton. Part Six explores “The Wacky World Of Mack Sennett” who thrived on the comedy of surprise. In this section Ben Turpin, Billy Bevan and the Mack Sennett Bathing Beauties cinemati- cally again come to life. Part Seven, “The Fiddle And The Bow” is de- voted to Laurel and Hardy. As the last scene of Laurel and Hardy, in this Part Seven, fades out, “When Comedy Was King” returns to its beginning: the neighborhood theatre of the 1920’s, the audience of three decades ago pouring from its seats . . . into a new world that so desperately seeks and needs respite from the grim realities of the day. JiMMY FINLAYSON CHARLIE CHASE ROSCOE (FATTY) ARBUCKLE LOVES AND INTRIGUES OF A GREAT AND FASCINATING WOMAN As soon as he has contracted for the services of two outstanding male stars to play Julius Caesar and Marc Antony opposite Elizabeth Taylor (above), producer Walter Wanger will be ready to start film- ing of “Cleopatra” in CinemaScope with De Luxe Color. This is not only the most important production that veteran producer has undertaken to film, but also one of the major ventures of this company. Actually, Wanger has been making preparations for “Cleopatra” for more than a year. Elizabeth Taylor, whose latest personal triumph is in “Suddenly Last Summer”, will play the title role in “Cleopatra”, an assignment perfectly tailored to her talents and beauty. Wanger’s “Cleopatra” will not be the story of a strumpet as presented in Shakespeare’s “Anthony And Cleopatra”, nor as the naive and silly teen- ager she is characterized in George Bernard Shaw’s play. This version dramatizes the true Cleopatra, based on a bibliography of the writings of Plutarch, Suetonius, Cicero and other new sources. This pro- duction presents her as a great and fascinating woman of continuous intrigue and passion. It is based largely on the sources used by Carlo Maria Franzero in his book, “The Life And Times Of Cleopatra”. Wanger’s “Cleopatra” is largely high romance. The three principal characters— Cleopatra, Caesar and Antony— gamble for the rulership and control of the world. At no time during the unfolding of the story is that objective forgotten, even in the sequences of passion, by any of the three principals, especially not Cleopatra. Driven by a burning ambition to retain the inde- pendence of ancient Egypt and become Empress of the world, Cleopatra becomes first the mistress of Caesar, married dictator of the Roman Empire, then the wife of the young, handsome and virile general, Antony when the latter succeeds Caesar. Rouben Mamoulian will direct “Cleopatra”. Con- cededly one of the topnotch directors, he was a celebrated director of Broadway plays before enter- ing the motion picture field. He staged such plays as the Theatre Guild’s original production of “Porgy”, “Marco’s Millions”, “Farewell To Arms”, “Okla- homa!”, “Sadie Thompson” and “Carousel”. For the screen he has directed such vehicles as “Dr. Jekyll And Mr. Hyde”, “Love Me Tonight”, “Song Of Songs”, “Golden Boy”, “Mark Of Zorro”, “Becky Sharpe”, “Blood And Sand”, “Rings On Her Fingers”, “Summer Holiday” and “Silk Stockings”. In discussing his treatment of “Cleopatra”, the erudite producer Wanger, points out that the screen- play will cover her life from the time she was 19 until her 39th year. “In our research and in our presentation of the true Cleopatra”, he informed Dynamo, “she is a brilliant queen and a great administrator who gave Egypt, whom she was trying to remove from the strangle-hold the Romans had on that country, its greatest economic period. She spoke seven lan- guages. “Ours is the intimate story of a woman, not a pompous production aimed at impressing audiences mainly with scenery or costumes . ” 25 ANOTHER FROM AN ACCLAIMED EXCITING AND BEST-SELLER " KING MUST DIE 99 SET FOR AUTUMN RELEASE Global Quest For Young Actor With All Qualifications To Play Focal Role Is Fruitful, Reports Producer Sam Engel With filming completed on “The Story Of Ruth”, pro- ducer Samuel G. Engel is finalizing plans for produc- tion of his second “block- buster” for 1960 release, “The King Must Die”. One of the costlier and bigger of the studio’s entertainment proj- ects for this year, this pictur- ization of Mary Renault’s best-selling novel is sched- uled to go before the cam- eras this Spring. It is tenta- tively scheduled for domestic release next Fall. Like George Stevens, who will produce and direct our next Todd-AO production, “The Greatest Story Ever Told”, Engel is deeply involved in an anything but an ordinary casting chore. As the trade in general and the personnel of the world-wide distribution organization are aware, Engel is desirous of casting a relatively unknown actor for the focal role of Theseus. Exhibitors have been asked to participate in the global search for candidates to portray that part. The silhouetted figure at the head of this column will give the reader an idea of the physical require- ments of the actor sought. Here are the exact speci- fications, as submitted by the studio: The candidate must be at least six feet tall and weight between 180 and 200 pounds. Nationality is unimportant, but the candidate must speak English perfectly and fluently. His body must exude dynamic power, agile enough to perform the numerous Her- culean feats of skill and daring the part calls for. Up to press-time, Engel stated, more than 350 candidates had been submitted from 72 countries, 121 from the United States alone. However, there will be no screentests made of candidates until the search has been completed, which will be very soon. Preference, of course, for screentesting, will be given candidates with histrionic talent. Engel is elated with the results of the co- operative search. Actually, never in the history of any studio has there been simultaneously current so far-reaching a multiple search for new players to play major roles as exists not only for casting of “The King Must Die” and “The Greatest Story Ever Told”, but also for Buddy Adler’s personal Todd-AO production, the tentatively titled “John Brown’s Body” that Joseph Mankiewicz is adapting and will direct. A complete report on “John Brown’s Body” preparations appears on another page in this edition. Stevens, who has created such outstanding screen- plays as “The Diary Of Anne Frank”, “Giant” which made a clean sweep of Academy Awards in 1956; “A Place In The Sun” for which he won a director’s “Oscar” in 1951 ; “Shane”, “I Remember Mama”, “Woman Of The Year” and others, has been in- volved with research on and selection of locations for “The Greatest Story Ever Told.” Actual filming will not get under way on this project until late this year. Stevens also won the Irving Thalberg Memorial Trophy in 1953. However, Stevens will not get his search for talent for his production under way until after com- pletion of the screenplay. He plans doing the actual production in the Near East where practically all of the exteriors will be filmed, and interior sequences in California, London and Rome. A perfectionist, George Stevens is well equipped to give this great story a treatment that will corre- spond with the importance the book has attained in literary and publishing circles. “The Greatest Story Ever Told”, in hard-cover book form, has, its pub- lishers report, been read by more than 180,000,000 people in 47 countries, for it has been translated in 33 foreign languages. It has appeared as a serial in 736 newspapers throughout the world. Its paperback edition, printed in 35 languages, has attained an astronomical readership. Also, as a radio serial “The Greatest Story Ever Told” has over the years pene- trated many millions of homes. Its broadcast, too, has been translated in foreign languages. Hence, it is no exaggeration to state that “The Greatest Story Ever Told” has been read and heard by many more people in more countries than any literary work, excepting, of course, the Bible. “Story Of Ruth” is currently being edited and scored. On that assignment, too, Mr. Engel led a world-wide search for a newcomer to play the screenplay’s chief role. The search embraced more than a year before he assigned the title part to a 20-year-old amateur actress, Elana Eden, from Israel. Even more extensive has been his current quest for a young man to play Theseus. 44 The King Must Die” tells the extraordinary story of Theseus and Minatour, half-man-half-beast crea- ture of 1500 B.C. Engel must be credited with having turned out a large number of major box office successes of such popular dimensions that they have been re-released time and again. His memorable production of “A Man Called Peter” in the past three years alone has played more than 5,100 repeat engagements in the United States alone. It was originally released in 1955. Since then, including repeat engagements, “A Man Called Peter”, as of Jan. 2 of this year, had played more than 20,000 engagements! Engel also delivered to exhibitors such attrac- tions as “My Darling Clementine”, “Jackpot”, “Raw- hide”, “Come To The Stable” and “Belles On Their Toes”. GIRL IN THE And, It Is In 3-D CinemaScope! nTT r TXTT ^ n Unusual Underseas Treasure XV E D B I K I I Hunt Drama Filmed At Mallorca In “The Girl In The Red Bikini” producer Edward L. Alperson has come up with a combina- tion of entertainment values that gives promise to make it not only one of the more colorful, but also one of the exciting box office successes of 1960. That, briefly, is the appraisal of a number of seasoned showmen who have seen “The Girl In 'The Red Bikini” in “rough-cut”. To begin with, it will be the first CinemaScope presented in 3-D. It will be in color. Alperson is authority for the statement that it “can be projected not only in 3-D CinemaScope, but in any wide- screen process.” Also, “The Girl In The Red Bikini” is the first American-filmed motion picture wholly produced on the beautiful island of Mallorca, off the Coast of Spain, in the Mediterranean Sea, and in the area surrounding it. Mallorca has become Europe’s No. 1 year-round vacation resort. “The Girl In The Red Bikini” co-stars Joanne Dru in the title role, Mark Stevens and Robert Strauss as the fortune-hunters. It introduces a hand- some, young, Latin-type newcomer, Asher Dann, 26 whom Alperson and director Byron Haskin believe, “will become the new heart-throb” of feminine moviegoers. Dann plays a young Spanish seaman whose persistent, but boyish courtship of Miss Dru (as a model from New York vacationing in Mal- lorca) makes possible a fast-paced, action-packed, suspense-wrapped hunt for gold stowed away in a wrecked ship at the bottom of the sea off Palma, Mallorca’s principal and only city. However, Dann hails from Brooklyn. He turned to acting after an Army “stretch”, played Summer stock in Pennsylvania, studied for the drama in New York and subsequently did “live” TV shows. “The Girl In The Red Bikini” is his first motion picture. This Alperson production will mark the first instance in which audiences will experience under- sea 3-D viewing. The story pursues the audacious activities of two young Americans, Stevens and Strauss, to steal gold from the sunken hulk. Dann is an employee on the luxurious yacht of a wealthy sportsman. With his employer absent, Dann in- duces Miss Dru to visit the yacht, which he lies belongs to him. While they are aboard, Stevens and Strauss sight the yacht and decide it is exactly what they need for their sunken treasure hunt. They frankly detail their plan to the love-sick Spanish lad and model, who agree to join them. By convincing his absentee employer that the yacht is direly in need of serious repairs that will take two weeks to make (the period Stevens and Strauss fix for successful completion of their underseas adventure), he is able to turn the vessel over to the pair, in return for a share of the gold. But, at the end of the fortnight the operation is far from completed. When the young seaman in- sists on returning the yacht to port, Stevens and Strauss “hi-jack” it and proceed with their plan which eventually succeeds. Meantime, the yacht’s disappearance prompts its owner to enlist the aid of the police. When it suddenly returns to Palma, the owner is promised and agrees to a fifth of the gold treasure. However, it is too late for him to call off the police, who finally confiscate the gold. But, it all adds up happily, for Miss Dru and Stevens who fell in love during the hunt. INCOMPARABLE “THREE MURDERESSES" RIOTOUS COMEDY OF A TRIO OF GLAMOROUS GIRLS WHO CONCOCT AN AMAZING PLOT TO MURDER A PLAY-BOY WHOM THEY ALL LOVE Full of gayety and suspense “Three Murderesses”, strangely enough, is a solid criminal comedy, fea- turing three popular, young French stars: Mylene Demongeot, Jacqueline Sassard, Pascale Petit, who play the title roles, and handsome Alain Delon as a charming playboy who makes violent love tO three girls who are friends while he is engaged to a wealthy South American young woman. Produced by Paul Graetz, “Three Murderesses” strikes a new note in film entertainment. At least two of the co-stars, Alain Delon and Mylene Deo- mongeot, bid fair to become popular among movie- goers in this country. Miss Deomongeot is the personification of sex, 1 but also she is one of the most talented young ac- tresses presently on the screen. Young Delon has all the qualifications that brought the late James Dean universal favor with moviegoers of all ages and particularly those of the feminine gender. Gifted with an exceptional physique and a blend of charm and virility, this Paris-born young man has declined offer after offer from talent scouts of American studios. Only 23 years old today, when he was 17, he served with the French army in Indo- China. After being honorably discharged from service three years ago, he returned to Paris. Since then he has scored in three French motion pictures: “Three Murderesses”, “Quand La Femme S’En Mele” and “Sois Belle Et Tais-Toi”. His natural gaiety, his youth, talent and debannair manner serve him advantageously in “Three Murderesses”. The exhilarating story of “Three Murderesses” opens at a wedding reception. Agathe (Pascale Petit) is confronted by Julien (Delon), her ex-boy friend. Although uninvited to the reception, the young man causes a sensation, especially with Sabine (Mylene Deomongeot), Agathe’s closest friend. Although aware of Julien’s reputation as a “love- ’em-and-leave-’em” rake, Sabine is confident of her ability to control him and readily accepts a date that he promptly fails to keep. Later, she consents to another date with him, at a time when she is with Helene (Jacqueline Sassard), a friend, on a day off from her studies at a convent. Julien, though feigning to submitting to Sabine’s amorous wiles, finds her friend Helene more interesting. A few days later Helene, at the convent, is sum- moned to the visitor’s room to see her “cousin”, and is surprised to find Julien. He professes love for her. She, in the meantime, has found him most attractive and joyously accepts his profession that his every thought is qf her. Agathe returns from her honeymoon. She meets Julien and resumes her pre-marriage affair with him. At a reunion, the three girls, each boasting of her new found happiness, learn the truth: Julien has been running around with all three of them. Julien learns of their discovery. He would like to hold Agathe, but, at the same time, continue to court Sabine and Helene. As the girls attempt to figure out what to do with Continued on page 76 27 OPERATION AMSTERDAM The “best kept secret of World War II” is vividly and dramatically exposed in “Operation Amster- dam”, a suspenseful story covering a single day, actually 14 hours, when three men, and a woman, risked their lives for diamonds that were vital to the free world fighting for its existence. Moreover, the story is true, astounding, for death stood by while the three men blasted their way to the greatest diamond “haul” the world has ever known. “Operation Amsterdam” is a human drama . . . three men against the German war machine, and a girl at war with her heart. Co-starred are Peter Finch as Jan, desperate, and in love, but determined to help get the diamonds it was vital to keep out of the Nazis’ hands; Eva Bartok as Anna, sad and disillusioned, but ready to sacri- fice her life, and Tony Britton as a tough, loyal secret agent who knew his mission must not fail. Co- starred are Alexander Knox and Malcolm Keen. “Operation Amsterdam” was produced by Maurice Cowan and directed by Michael McCarthy from a screenplay by McCarthy and John Eldridge. Here is an outline of the story:” May, 1940, and German troops have crossed the Dutch frontier, fighting their way rapidly towards Amsterdam. In London one of the war’s most secret and daring missions is being planned. An English major and two Dutch civilians are about to risk their lives to snatch from Amsterdam millions of pounds’ worth of in- dustrial diamonds before the German invasion. The Germans need these diamonds to build tanks, to ex- pand their armaments. Time is short They have exactly 14 hours to bring off this amazing coup. Volunteers for this perilous raid are diamond experts Jan Smit (Peter Finch) and Walter ( Alexander Knox). In charge of the party is Dillon (Tony Britton). Dodging bombs and shell-fire they land at Ijmuiden. It is still burning from the last raid. Everyone is a suspected fifth columnist. On the quay they suddenly see an open tourer heading towards the water. Anna (Eva Bartok) is at Continued on page 70 THREE MEN ON A VITAL MISSION ARE SKEPTICAL ABOUT THE YOUNG WOMAN THEY HAD COUNTED ON HELPING THEM GET MILLIONS OF DOL- LARS WORTH OF INDUSTRIAL DIAMONDS OUT OF HOLLAND ON THE EVE OF HITLER'S INVASION OF THAT COUNTRY. LEFT TO RIGHT: PETER FINCH, EVA BARTOK, ALEXANDER KNOX AND TONY BRITTON. TOP LEFT: MISS BARTOK, AS A LOOKOUT, FIRES AWAY AT ADVANCING NAZI SOLDIERS. 28 INSPIRATIONAL Despondent over his in- ability to find employment, after his grandfather’s sud- den death, the impoverished, orphaned Dutch boy (David Ladd), turns his dog over to a neighbor and makes his sor- rowful way back to Antwerp’s famed Cathedral Of Our Lady where he is finally permitted to view the Rubens painting, “The Deposition” by a kindly priest. While kneeling in rev- erence to his idol’s great work, the boy is suddenly overcome when the freed dog nuzzles up to him and his playmate (Siohban Taylor) tells him he has a home to go to. The artist (Theodore Bikel) and his ex-model, now his wife, gladden the lad’s heart by insisting he live with them and be the painter’s apprentice. Thus, the lad’s dream comes true: an oppor- tunity to become an artist and keep Patrasche, his de- voted dog. THE BOY (DAVID LADD) FINDS SOLACE VIEWING RUBEN’S PAINTING “THE DEPOSITION”, IN AN ANTWERP CATHEDRAL. DOG OF FLANDERS A MOTION PICTURE THAT WILL LIVE FOREVER As the display advertisements state, “A Dog Of Flanders” is a motion picture with the heart of the world in it. A heart-warming drama of courage and devotion, this 97-minute picture is based on a novel that has been favorite reading for the younger generation for almost 100 years! Not only the trade paper critics, but hundreds of exhibitors, who have seen “A Dog Of Flanders”, an Easter special in the domestic market, have characterized it “a motion picture that will earn long runs because it captures and holds the heart of every one”, as RKO Theatres’ President, Sol Schwartz put it. Variety, for example, put it this way: “If this film doesn’t warm the cockles of the heart, the heart needs a new set of cockles. It is as charming as a Victorian valentine”. Motion Picture Herald states: “There has been little fanfare connected with this dramatic block- buster; but, by the time it hits the screens during the Easter season, the whispers will be loud and strong to herald one of the biggest surprise ‘sleepers’ ”. Co-starring David Ladd as an impoverished Dutch boy (the entire production was filmed in Holland and Belgium), Donald Crisp as his grand- ( Continued on page 31 29 A DOG OF FLANDERS continued The artist (Theodore Bikel), his heart softened by a boy’s dilemma and told that his model (Monique Ahrens) has always loved him, holds her lovingly when she accepts his proposal of marriage. The boy, Nello, and his grandfather, Jehan Daas, while making their milk delivery rounds in the city, find and eventually nurse back to health a cart dog that had been left to die by a brutal, drunken master, another peddler. Given the name Patrasche, the dog is trained to help the lad in covering the milk route after Daas finds it difficult to walk. On one of his trips to the city, the boy is able to keep his dog when an artist stops the latter’s former owner from taking Patrasche back by force. A warm and close friend- ship develops between the grateful Nello and the artist, and the latter’s beautiful model. The artist encourages Nello to pursue his ambition to paint, Under his guidance, the boy, whose idol is the mas- ter Rubens, makes fine progress. The artist and model find their protege becoming more endearing with the passing of each day. It is this concern for the boy that eventually brings about their marriage. DEATH COMES TO AILING GRANDFATHER (RONALD CRISP) WHILE POSING FOR HIS GRANDSON. 30 But, the lad’s happiness is short-lived. His grandfather succumbs to a heart attack while posing for his grandson who does not discover his death until after he has completed and is about to show Daas the drawing he has made of him. Subsequently, Nello enters the drawing in the annual children’s art competition. Full of hope, because the cash prize means so much to the orphaned lad, he attends (above) the meeting of the contest judges. But, that hope turns to despair when another entry is judged the best. Learning of the boy’s heart-break over his frustration, the artist and model seek him, but learn Nello had given his dog to a neighbor and left his deceased grandfather’s home. However, the dog breaking away, helps his friends and a playmate track down the boy in the Cathedral where Nello had sought solace on Christmas Eve in the presence of Rubens’ painting, unveiled for him by a priest. ESTABLISHES A NEW STAR! “A Dog Of Flanders”, states Motion Picture Herald in echoing the conclusion of all critics who have seen the picture, “will zoom to importance the name of David Ladd for a magnificent, sensi- tive portrayal” as the boy who befriends a dog and dreams of one day becoming a great artist. That this 12-year-old youngster may very well get official recognition for his beautiful perform- ance in “A Dog Of Flanders” Is promised by the opinions voiced by many in the industry to the effect that, as the Medford (Oregon) Tribune put it, “the Academy Of Motion Picture Arts And Science should set up a special ‘Oscar’ in 1960, for his is a memorable and rare portrayal.” For David Ladd “A Dog Of Flanders” is his third motion picture. This talented, young actor made his screen debut with his father, Alan Ladd, in “The Proud Rebel”, a role that won him the 1958 Critics’ Award for being voted “the best male ju- venile actor” of that year. His second mo- tion picture was “The Sad Horse”, one of our 1959 re- leases in which he played a handi- capped youngster who finds solace with his dog when he believes his fa- ther has turned against him. Variety, in its review of “A Dog Of Flanders”, observed: “Young Ladd happily is one of those children who barely seems to be acting. Teamed with the veteran Donald Crisp and the latter’s polished style, the two mesh nicely”. Another pertinent observation of Variety: “(Theodore) Bikel is amusing, and, with the. win- ning Dutch actress, Monique Ahrens, provides an adult love interest that is ingeniously threaded through the film. Even a scene of Miss Ahrens pos- ing bare-backed for artist Bikel is done so inno- cently and correctively that its intent cannot be mistaken. Otto Jeller’s camera work is rich in tone and composition, and the music of Paul Sawtell and Bert Shefter is about the finest each composer has ever done”. Already “A Dog Of Flanders” has been awarded the coveted Parent’s Magazine Medal for family entertainment. DAVID LADD A DOG OF FLANDERS continued PANICKED BY HIS GRANDFATHER’S DEATH, THE ORPHANED BOY, FOLLOWED BY HIS CART DOG, RUSHES TO SYMPATHETIC NEIGHBORS IN SEARCH OF HELP. FILMED IN EXACT LOCALES OF A UNIVERSALLY READ ROOK Continued from page 29 father, Theodore Bikel as a temperamental, but soft-hearted artist, and Monique Ahrens as the latter’s lovely model, “A Dog Of Flanders” can deservedly boast an unusually array of exceptional performances by other principles, too. Motion Picture Daily voices the general feeling in that regard, observing that “creditable performances are also delivered by Siohban Taylor as the boy’s playmate, and Max Croiset as a stern miller, a stalwart in the community.” In summing up its reasons why “A Dog Of Flanders” should enjoy a huge box offi ce harvest, Boxoffice states: “There are countless reasons why this photoplay should be financially successful for all types of theatres. To list but a few: its literary source should attract its share of patronage, especially from the oldsters; in the title role is ‘Old Yeller’, the mongrel dog who won the love of millions of ticket-buyers in the Walt Disney film similarly named; CinemaScope photography and De Luxe Color to lend stature to the picture’s prestige and exploitability, and, above all, the fact that the screen should be enthusiastically eager to welcome a photoplay so clean that the most carping of mentors can find nothing about which to rant.” Motion Picture Herald, along with The Hollywood Reporter, The Film Daily, Ex- hibitor and Film Bulletin, emphasized the craftsmanship of those who created this production. Motion Picture Herald, for instance, wrapped up the critical view with this typical paragraph: “Robert Radnitz’s entire production is in itself a masterpiece, artistically designed by Nico Baarle with highly impressive, colorful backgrounds. The subject matter contains a number of basic human emotions drawn from Ted Sherde- mans’ screenplay, with pleasing strokes of direction by James B. Clark. 31 “SOUTH PACIFIC” PREPARED TO CONTINUE DELIGHTFULLY ENTERTAINING THE MANY MORE MILLIONS OF MOVIEGOERS EAGERLY AWAITING ITS POPULAR-PRICED PRESENTATIONS JUANITA HALL 32 Buddy Adler (left), producer, and director Joshua Logan flank Mitzi Gaynor, who plays Nellie Forbush in "South Pacific", during a lull in filming of the great Rodgers and Hammerstein musical, "South Pacific? ROSSANO BRAZZI FRANCE NUYEN JOHN KERR v : THE INTERNATIONAL SCIENTIFIC FOUNDATION presents UNDER THE gracious auspices of HIS MAJESTY KING LEOPOLD III THE CRITICS BRING IN THEIR VERDICT ON MOTION PICTURE DAILY: In the world of today where civilization has progressed to where men can travel faster than the speed of sound, it would seem difficult to accept the fact that there are places on this “small world” where a primitive link still exists between today and prehistoric times. Here is an unusual, magnificently photographed documentary of life in the Congo jungle, enhanced immeasurably by CinemaScope and color by De Luxe. The film offers natural opportunities for good box office pay-off. The musical score by Richard Cornu and the narration Ly joe Wills punc- tuate the suspenseful, thrilling action and beauty captured under the directorial efforts of Henz Siel- man and Henry Brandt. We find it a rich, reward- ing experience in motion pictures. DAILY VARIETY: “Masters Of The Congo Jungle” is a beautiful, unusual, feature-length documentary of Academy Award calibre. Both artistic and informative, it deals with the stone- age of natives of the northeastern Belgian Congo and looks like a promising entry. No travelogue, the film doesn’t seek mere curiosity, but faithfully follows a theme. King Leopold III of Belgian, under whose auspices the International Scientific Foundation made the picture, states the theme in a title card: “There is a communion between the man of the forest and his natural surroundings which inspires in us a sense of respect, a recogni- tion of spiritual heritage.” The film editor and the sound man did outstanding jobs. In sum, it’s docu- mentary fit for a king. Continued on page 34 33 Press Appraisal: Greatest Jungle Film Ever Made! Continued from page 33 THE FILM DAILY : Beautifully photographed and an expertly put together documentary. Strik- ing entertainment. Excitingly-made and excel- lenty photographed. As a documentary excursion into the Belgian Congo, it rates exceedingly well and will win high favor with the fans. The film is pervaded with a sense of the ferociousness and preciousness of life. The story is at an elemental level. The offstage narration by Orson Welles and William Warfield is particularly effective in its simple eloquence. An extraordinary job of photo- graphy has been accomplished by the team headed by Paul Grupp, George Schimzenski Neubert and Fernand Tack. They have caught the varieties of wild life, the vegetation and the natives with some stunning closeups. THE HOLLYWOOD REPORTER: From its title one might be misled into thinking “Masters Of The Congo Jungle” is a B-type African adven- ture film. Instead, it is one of the most impres- sive scientific films ever assembled. The manner of its being placed before the public is news- worthy. When Spyros Skouras was in Brussels he was surprised to hear former King Leopold III remark: “In a way Pm a movie producer. I’d like to show you some film.” Politely acquiescing (but expecting to see royal “home movies”), the 20th-Fox president was astounded when the former sovereign showed him reel after reel of beautifully shot foot- age revealing the tribes and wild life of the Belgian Congo. Some imaginative animation, coupled with authentic volcano shots, depicts how some pre-liis- toric cataclysm divided the area into rain forests of the west and the plains and savannahs of the east. A completely fascinating film. LOS ANGELES HERALD EXPRESS: “Mas- ters Of The Congo Jungle” has the best of every- thing in the teeming world of nature in its primi- tive state. This film strikes a new note in jungle drama, for it is all very true and the most amazing motion picture of its kind ever made. Particularly good for the youngsters. BEVERLY HILLS (CAL.) CITIZEN: This pic- ture is definitely of Oscar calibre. An almost cer- tain Academy Award winner, in my opinion. You owe it to yourself and family to see it. It is the most fascinating film on jungle life ever filmed. Families, groups and school classes should make this a MUST SEE LOS ANGELES TIMES: This film has excite- ment, authenticity, good taste and drama . . . the sort of drama that comes from intelligent picturization of wild life in the jungle in its primitive state. In light of the rapid changes taking place in our shrunken world of today, it is fitting and consider- ate of His Majesty King Leopold II to have pre- served through the medium of the screen the sur- viving vestiges of the ancient life of the Congo. It runs 90 rare and enthralling minutes. LOS ANGELES EXAMINER: “Masters Of The Congo Jungle” is a masterpiece, a film that will bring excitement and surprise to people of all ages. It is a most unusual film, one that informs and en- tertains, and this is a rare combination. LOS ANGELES MIRROR-NEWS: I have never seen anything to equal “Masters Of The Jungle”. It is spell-binding in its factual picturization of jungle life. It constitutes one of the major accom- plishments of the motion picture industry. No other medium could possibly have given the world such an authentic record. Its story runs the gamut of entertainment requirements, for it has the elements of fear, of suspense, of comedy and drama, and has been excellently photographed. SAN FERNANDO (CAL.) VALLEY TIMES: When Royalty gets involved in a motion picture project it is news, and in “Masters Of The Congo Jungle” we have a product that befits the regal standards of the head of a country. Exciting and eye-filling from beginning to end. Unlike past fea- ture pictures dramatizing jungle animal and native life, there is nothing stagey about this picture. It is authentic throughout. We agree with those who have seen this film in the belief that it will be awarded an Oscar as the best documentary of the year, for, in truth, it is the best picture of its kind ever exposed to public acclamation. It is not only an exceptionally excellent film in what it reveals, but it is revealing entertainment for everybody. 34 REPORT FROM "BIBLE OF SHOW BUSINESS” What’s What And Who’s Who In "Masters Of The Congo Jungle” Because it so thoroughly and accurately re- ports both the picture’s contents and reflects the concensus of opinions of newspaper and trade paper critics and exhibitors who have seen “Masters Of The Congo Jungle”, Dynamo here- with publishes, in its entirety, the appraisal of what is generally accepted as the “bible of show business”, Variety: “Masters Of The Congo Jungle” is a beauti- ful, unusual, feature-length docunsentary of Academy Award calibre. Both artistic and in- formative, it deals with the stoneage natives of the northeastern Belgian Congo. Looks like a promising entry for the art houses. The CinemaScope - De Luxe Color footage brought out by producer Henri Storck, directors Heinz Sielmann and Henry Brandt and a half dozen cameramen (not credited) includes mag- nificent vistas of jungles and volcanoes, close, dramatic views of birds and animals and, most important, captures the daily lives of the people. No travelog, the film doesn’t seek mere curi- osity but faithfully follows a theme. King Leo- pold III of Belgium, under whose auspices the International Scientific Foundation made the picture, states the theme in a title card: “There is a communion between the man of the forest and his natural surroundings which inspires in us a sense of respect, a recognition of spiritual heritage.” The voices of Orson Welles and William Warfield alternate at narrating Joe Wilis’ dialog (Sam Hill’s story). It’s subtly written and the great voices give it a poetic quality. Welles seems to speak as a scientist, learned but humble in a quest for truth, and Warfield speaks as a native, secure and dignified in a world he under- stands in his very bones. The world of the natives (related to Pygmies) is first shown in a superb, mood-setting ani- mated sequence (not credited). Then, follow- ing the course of a wise man’s lecture to the village warriors, the camera picks out each sub- ject as the narrators relate each myth to fact. For example: traditional dances and rites are shown and the bird or animal which inspired them is spot-lighted ; the belief in the volcano god is made plausible through artfully selective photography and narrative. Among the many notable animal scenes are: a little “night heron” gruesomely capturing and killing a larger bird’s chick; a family of gorillas charging, almost at the camera. The scenes are the more remarkable because of the consistent studio quality of the photography. The film editor and the sound man (not credited) did outstanding jobs and Richard Cornu produced a fine score — all of which was part of a rare harmony among all departments in this film. trien. Just As It Happened From Time Immemorial ...IT HAPPENS TODAY! ONE MAN WITH A SECRET PITS HIMSELF AGAINST A RUTHLESS SPY RING Above: two who co-star in “The 39 Steps'*. Kenneth More, (right) plays the immortal Richard Hannay in that picturization of what is considered the best and most exciting of the Buchan classics. Lovely Taina Elg (left) heightens her stature as a dramatic actress with her role of the school teacher, who is sus picious of the stranger at first, but finally aids him in break- ing up a gang of spies. However, while she has been playing dramatic roles in recent years. Miss Elg attained stardom in musicals. She will be recalled for a fine job in “Les Girls**. IN "THE THIRTY-NINE STE PS** CLIMAX, THE EXPOSED SPY, PROF. LOGAN (BARRY JONES), AFTER SHOOTING HIS DUPE, *‘MR. MEMORY** (JAMES HAYTER), LEAPS ONTO THE MUSIC HALL STAGE IN AN ATTEMPT TO ELUDE THE POLICE. DRAMA IS REPUTEDLY BASED ON F ACT*. The internationally popular screen and stage star, Kenneth More, was given his first opportunity to attain histrionic fame when producer Betty Box cast him in “The Clouded Yellow” some years ago. His second chance came when director Ralph Thomas cast him in a leading role in “Appointment With Venus”. Together, Betty Box and Ralph Thomas later put him in the comedy that launched him a global movie star: “Doctor In The House”. Now, together again, the three have brought John Buchan’s classic thriller, “The 39 Steps”, to the screen. Co-starred with him is beautiful Finnish-born actress, Taina Elg, who danced and sophis- ticatedly clowned, danced and sang her own way to popularity in the musical, “Les Girls”. Enacting principal roles in “The 39 Steps” also are Brenda De Banzie as Nellie Lumsden, Barry Jones as Prof. Logan and James Hayter as “Mr. Memory”, the man with the “photographic brain”. H is role in “The 39 Steps” is rated among the best Kenneth More has played. Starting as a stage- hand in London, he worked himself up to being a stand-in singer and, after World War II service, to repertory acting. He has personally scored, in addition to the pictures already mentioned, in “Gene- vieve”, “Reach For The Sky”, “The Sheriff Of Fractured Jaw” and “A Night To Remember”. Taina Elg, who makes her home in California, started out studying ballet with the Sadler’s Wells School, but, after a screen-test by MGM’s producer Edwin Knopf, was signed to a contract. Her first film, a small part, was “The Prodigal”. Then came co-starring parts in “Les Girls”, “Imitation General” and others. She also has guest-starred on television. The story of “The 39 Steps” starts innocently enough: a pedestrian, Richard Hannay (Kenneth More) picks up a baby’s rattle ic* London’s Kensington Gardens. That simple act sparks off a trail of espionage, intrigue and murder, for Hannay finds himself enmeshed in a web of evil from the moment he hands the rattle to the baby’s nurse, a secret service agent who tells him she is in fear of her life. Before she is actually murdered in his flat, Hannay learns that the “brain” of an organization seeking to smuggle plans of vital importance to Britain lives in Scotland, and that mystery is tied in with three words: “the 39 steps”. Pursued by police who want him for murder, and members of the traitorous organization, Han- nay boards a train to Scotland to clear himself. Trapped on the train he vainly tries to get an attrac- tive school-teacher, Fisher (Miss Elg) to help him, but he does manage to reach a roadside garage where an eccentric couple help him evade police cordons. He finally reaches his destination where he be- lieves he can find the man who holds the key to the mystery. There he learns that that respected citizen is actually the “brain” of the organization. The later is determined to do away with Hannay who takes refuge in Fisher’s school. She hears his story and now agrees to help. After several escapes from death at the hands of the organization’s “muscle men”, they reach a London Music Hall where they find the solution to the riddle of “the 39 steps”. 35 SIX WHOSE ILLICIT LIVES LEAD TO A RENDEZVOUS OF TRAGIC IRONY “Saw lady" JULIETTE GRECO Mistress “Lecherous bully'* ORSON WELLS Civil Leader A POWERFUL DRAMA OF HUMAN FOIBLES A foreword to the script that guided the production of “Crack In The Mirror ” stated that the point of the story depends upon each of the three stars in the picture playing two roles , since , in a sense , each has an identical counterpart. It concludes with this further statement: “vary them (the characters) physically , if you like , but in each instance the same actor must play both roles . . . We who judge , we judge , ultimately, ourselves How Messrs. Zanuck and Fleischer carried out the foregoing in converting this extraordinary story to the screen is indicated by the following detailed synopsis of the finished screenplay. • In a sordid part of Paris, Eponine Mercadier (Juliette Greco) lives with Emile Hagolin (Orson Welles), a brutish, much older man she has grown to hate, but cannot leave because she and her two small daughters have no other place to turn for food and shelter. She is in love with Robert Larnier (Brad- ford Dillman), a young laborer employed on the same construction iob as Emile. “Lover boy" BRADFORD DILLMAN Respected lawyer In 3 much more elite section of the cit Y another triangle exists which, Continued on page 38 CRACK IN THE MIRROR A REMARKABLE POINT OF VIEW AOOUT LOVE, LUST, MURDER AND PEOPLE A daring, unflinching, sometimes stark drama of two romantic triangles on vastly different social levels of Paris, brought together by a murder and suddenly welded by a surprise climax, “Crack In The Mirror” is a Darryl F. Zanuck Production, directed by Richard Fleischer and stars Orson Welles, Juliette Greco and Bradford Dillman. It is based on the novel, “Drama In The Mirror” by Marcel Haedrich, noted French journalist. Zanuck changed the first word in the title, feel- ing that it adds impact, implies more accurately the story’s unusual premise. Despite Orson Welles’ contention that having each of the three stars play dual roles was “a plot of Zanuck’s to cut casting costs and ultimately do away with actors entirely”, the producer points out that the multiple dual casting is no “gimmick”. “It’s the basic point of the story”, says the pro- ducer, “that two sets of people, no matter how different their environments, are essentially the same.” While Zanuck Sr. was preparing “Crack In The Mirror”, Richard, his 25-year-old son and partner in Darryl F. Zanuck Productions, completed his first stint as a producer with “Compulsion”. The results of that box office hit so pleased the’ firm’s senior partner that he drafted four key mem- bers of the “Compulsion” unit for “Crack In The Mirror”: Actors Orson Welles and Bradford Dill- man, Director Richard Fleischer, and Cinemato- grapher William Mellor, Academy Award winner for “A Place In The Sun”. Having three stars portray six people presented a challenge which the “Mirror” team determined to meet without resorting to the split screen and doing it with mirror techniques, customary solu- tions to filming dual roles. It required careful plot construction, planning of camera angles and con- siderable foresight to bring it off, but they suc- ceeded. Since the two sets of romantic triangles do not come together until the story is well under way, the early scenes presented no problem in this respect. But, as the drama gathers momentum, moves rapidly toward its climax, two of three stars —Juliette Greco and Bradford Dillman — are brought into the same courtroom with the other characters they also portray. By that time Welles was no problem. One of the characters he plays had been murdered, and in his other role he was defending the couple accused of the crime. Interiors were all filmed at Paris’ Studios de Boulogne, including a vast reproduction of a court- room in the Palace of Justice. Here many scenes had to be done twice: once with Miss Greco and Dillman as the down-at-heels defendants; again with them in their alternate roles; she as the stylist mistress of distinguished attorney Welles, Dillman as his young assistant, ambitious to take his boss’s place in legal circles and in the arms of his mistress. Thus, as the cameras pan from one set of characters to catch the reactions of their counter- parts, what seems to have been a fleeting instant was actually filmed days later. When, for example, standing before his dowdy clients, attorney Welles drops his verbal thunderbolt into the proceedings, the quick reactions of his mistress and his assistant were shot a week later. So carefully plotted were the scenes that “doubles” were used on only three occasions. Two transpired in the huge courtroom, when the cameras peer past one set of characters across the big set to their counterparts — so far away and so similar as to be indistinguishable from the or- iginals. Continued on page 37 36 CRACK IN THE MIRROR continued ORSON WELLES (STANDING, RIGHT), AS THE CELEBRATED CRIMINAL LAWYER, SURPRISES THE COURT BY PLACING MURDER BLAME COMPLETELY ON JULIETTE GRECO (SEATED, BEHIND HIM), AFTER SHE HAD DOUBLE-CROSSED BRADFORD DILLMAN BY TESTIFYING HE INSTIGATED THE CRIME. LIFE’S MOST BASIC EMOTIONS EXPOSED DARRYL ZANUCK PRESENTS HIS MOST SEARCHING DRAMA Continued from page 36 In the other, Dillman as the sleek young lawyer faces the cameras in a tawdry flat as his double stands in half-shadow, partially turned away from the cameras. Before the makeups ofthe three stars for each of their roles were decided upon, extensive tests were made. Welles, like Alec Guinness and many top character artists, is himself a master of makeup and prefers the do-it-yourself method. Orson re- ported with a sizeable collection of artificial noses. For his role as the crude laborer who becomes a murder victim, a somewhat pug-like creation was chosen which seemed to alter all his features. He then let his beard grow— and voila ! He was ready. For his other character, that of the eminent lawyer, he wore a somewhat Roman model which somehow makes his face seem longer, almost pa- trician, in contrast with the rotund flabbiness of his other face. A session with the barber and the tailor and Welles’ transformation was complete. But, it was Miss Greco’s preparation for the role of the fashionable mistress which aroused Paris, elicited Page 1 stories in the press. Known as “the Legend of St. German-des-Pres”, the sym- bol of the Existentialists ( fore-runners of the beat- niks) and the idol of Left Bank bohemians, Juli- ette had her famed long, careless locks cut fairly short. Although “Crack In The Mirror” marks Miss Greco’s fourth English-speaking role, it is the first in which she has worn more than two costumes. Eight high-fashion numbers by Givenchy, $145,000 worth of diamond jewelry by Van Cleef & Arpels and a stunning new up-swept coiffure transformed. as her Welles put it, “a talented cocoon into a glamorous butterfly.” The transformation was ef- fected only after Miss Greco had completed her other role in the picture; that of the hard-bitten Parisienne from the city’s seamy side, with virtu- ally no makeup, no coiffure. As the young, ambitious lawyer who covets his employer’s social position and his mistress. JULIETTE GRECO AND BRADFORD DILLMAN Bradford Dillman required only a few light streaks in his hair which emphasized his sleek good looks. But preparing for his alter ego-the crude, dull- witted murder accomplice— involved long makeup sessions wherein his straight hair was curled, small sponges inserted in his nostrils to give them a pre- datory flair, more sponges behind his molars to further alter his naturally clean-cut features, give him a vaguely animal look. “Crack In The Mirror” was filmed entirely in Paris, the exteriors against such varied, colorful backgrounds as the Palace of Justice, the banks of the Seine, fashionable residential streets, the crowded near-slums behind Montparnasse, at “Gare de Lyons , the vast railway station, it’s rococo up- stairs cafe, in and around the Wagon Lit’s famed “Blue Train”. Despite, considering the problems inherent in three dual roles, a tight schedule of 53 days, Di- rector Fleischer brought his movie in only a week late, due entirely to bad weather during exterior shooting. But, as Zanuck pointed out: “Why film it in Paris if we don’t show Paris?” Supporting the three stars in principal roles are Alexander Knox, who scored his greatest personal triumph in another Zanuck production, “Wilson”, in which he played the title role; William Lucas, Catherine Lacey, and Austin Willis. Mark Canfield wrote the screenplay and Maurice Jarre the musical score. Henri Patterson wrote the song, “Eponine’s Song” that Miss Greco sings. Incidentally, cinematographer Mellor, who has already been mentioned, did the photographic work on “A Place In The Sun”, “Peyton Place”, “Diary Of Anne Frank” and “Giant”. 37 CRACK IN THE MIRROR continued Juliette Greco, who with her lover, Bradford Dillman, is charged with cold-bloodedly murdering the gross laborer whose mistress she had been, demonstrates for the Paris police how the crime was com- mitted ° However, the defendants* lawyers plan their defence at cross purpose Sa In court she betrays her accomplice so cleverly that reporters and public seem convinced she had been the unwitting victim of circum- stances and that her young lover alone is guilty . In a subsequent court- room * 'double-cross**, an eminent lawyer, in a devastating plea to the court, suddenly turns the trial’s course, placing the entire murder blame on the woman o Final verdict: both guilty., “CRACK IN THE MIRROR” TWO PARALLEL STORIES THAT BLEND INTO ONE! Continued from page 36 although on a higher social strata, is a replica of that composed of Eponine, Emile and Robert. This one involves: Lamorciere (Orson Welles), an elderly, very distinguished attorney; Florence (Juliette Greco), handsome sultry, and for the past ten years, Lamorciere’s mistress; and Claude Lancastre (Bradford Dillman), an ambitious young lawyer who is Florence’s secret lover. At Emile’s shabby flat Eponine bitterly resents the old man’s insults and rough treatment in Robert’s presence. When Emile finally goes to bed half- drunk, after threatening Eponine, she urges Robert to kill him. Although he thinks Emile suspects their relationship, the young man holds back until Eponine, exasperated, reveals an iron bar she had hidden and says she will kill the old man herself. Robert tells her to go ahead. She goes to the room where Emile is sleeping, but as she tries to strike him with the bar she misses; hits the bed-top instead. Emile awakens, wrests the weapon from her. Robert joins the struggle, gets his arm around the old man’s throat and tells Eponine to get his scarf from the next room. She does, but, as she returns with it, she closes the door so that the audience does not see what transpires as gradually the sounds of struggle subside. Later, the lovers quarrel briefly, each alleging the other did the actual strangling with the scarf, but the argument is dropped temporarily in their plans to dispose of the body in the excavation where Emile and Robert have been working and where cement is to be poured for a new building. Next day they buy a big wicker basket and Eponine buys a saw. That night they go to the nearby excavation. W hile Eponine holds the night watch- man’s attention, Robert climbs into the pit with the basket. He emerges with the empty basket, but when, Eponine leaves to join Robert in the darkness, the watchman sees them together. Soon after, he inadvertently makes a grisly discovery. A short time later the watchman points out the lovers to the police in a small cafe and they are arrested. Across the city, Florence and Claude Lancastre are having a rendez- vous in his apartment when he gets notification that the court has ap- pointed him to defend Eponine, who has been charged with Emile’s murder. Although his new client is penniless, Claude is delighted at the publicity her trial will bring him. At the prison he is puzzled by Eponine’s strange, almost disinterested calm, but finally shakes her with the news that police found 80,000 francs on Robert when they arrested him. Before leaving, Claude suggests Eponine attend mass regularly, and is startled by the sudden flash of cunning in her eyes as she agrees. He meets Kerstner, another young lawyer, appointed to defend Robert. Kerstner chides him about having to defend Eponine who “—is not defendable, for you can’t take that saw out of her hand.” That night at a party given by Lamorciere and Florence, Claude is worried by Lamorciere’s interest in Eponine’s defense, lest the distinguished attorney try to join him in the case and steal the newspaper headlines. Prior to the preliminary hearing, Claude coaches Eponine carefully, tells her to forget her first deposition and follow his coaching. As they enter the judge’s chambers they meet Robert and Kerstner just leaving. Robert averts his eyes from Eponine’s tender gaze. Claude notices both, is sure Robert has testified against Eponine and worried lest his client falter in her testimony. However, she follows the line he has taught her: Emile was a beast, Robert did the actual strangling. When the judge interposes and reads from her lover’s testimony that it was she who strangled Emile, she merely says quietly: “I’m sorry I thought it was Robert.” But, during the hearing Claude is again surprised at her cunning in showing tender concern for her children, her casual reference to attending mass. He feels these points have impressed the judge. In Monte Carlo, Lamorciere reads in his Paris paper a story, with Claude’s photo, on Eponine’s approaching trial. He calls the young lawyer and offers to join him in her defense. When Claude declines his help, Lamorciere is furious, orders Florence to pack for their immediate return to Paris. At the scene of the crime, Eponine and Robert are re-enacting their versions of the murder before the judge, police officers and their own attorneys, contradicting each other as to who strangled Emile, when Lamorciere appears. Kerstner announces the noted lawyer has joined him in Robert’s defense. Coldly ignoring Claude, Lamorciere watches Robert’s demonstration of how he held Emile, points out that since the young man’s arms were busy holding Emile he could not have simul- taneously strangled the old man with the scarf. Belatedly, Claude re- alizes how much he has infuriated Lamorciere by refusing his help. At the prison later, Eponine asks to see the Mother Superior. When Claude sees Eponine, he is startled by her changed attitude. Almost cheer- fully she agrees to adhere to his plan, reiterates flatly that the murder was conceived and committed by Robert. Exasperated, Claude says it is virtually too late to help her now, since this new version contradicts so much of her first deposition and the story Robert has told from the first. Next day the trial opens. Robert testifies Eponine planned and did the murder, that the police had elicited this earlier admission of complicity in the murder by brutal methods. When the judge cynically asks Eponine if she, too, was tortured by the police, she says they were very kind to her and had not mistreated her. During her time on the stand Robert screams “Liar” at her. When Eponine testifies that Robert planned and did the murder, had her buy the saw and that it was he who used it, the judge points out she is contradicting her previous testimony. She acknowledges this calmly, proceeds to explain that after the murder Robert had forced her to vow on her children’s heads that she would lie to protect him and assume all blame for the crime. After psychiatrists have testified that both defendants are sane, La- morciere calls eight character witnesses for Robert. Claude then tells the court that, although he could call dozens of such witnesses for Eponine, he will call only one, the Mother Superior of the prison. Her testimony is brief, but it explodes in the courtroom like a bomb. Eponine, says the Mother Superior, had come to her the day before the trial began, asked if it would be a mortal sin to betray an oath, the oath she said she had given Robert to assume all blame for the murder. “I believed her,” the good woman states, “so, of course I told her to come here and tell the truth.” Lamorciere and Kerstner are stunned, Claude dizzy with his triumph. Lamorciere requests a recess to confer with Claude, during which he bitterly concedes the difficulty of his client’s position. He offers to join forces with Claude in an attempt to get both Eponine and Robert off with relatively light sentences. Without hiding his jubilation, the young lawyer agrees, even consents, condescendingly, to let Lamorciere plead last. They plan the line each will follow in his argument: Kerstner to point up two miserable people caught in a trap; Claude to stress on the loving mother, and Lamorciere to conclude by hammering on the defendants’ lack of education and their overwhelming passion. Leaving the meeting Claude encounters Florence, joyfully tells her they’ve won and his future is assured. Now, he adds, she can leave Lamorciere and they can be together. As he leaves her, Lamorciere enters. Florence tells him she loves Claude and is going with him, but the elderly barrister pushes past her without uttering a word. The trial resumes. Kerstner and Claude both follow the plan agreed upon for their pleas. But, when Lamorciere launches into the final plea. He ignores the just-made agreement and blasts Eponine in a scathing attack upon her evilness and deception, and brilliantly pounds home the contradic- tions in her own testimony, painting Robert as her hapless, innocent slave. The noted attorney, fired by fury and jealousy, is at his scornful best in his withering tirade. Too late Claude realizes he and his client have been set up by Lamorciere for a double cross, and the judge over-rules his feeble protests. No one, including Eponine, is surprised at the jury’s verdict. Robert gets off with a six year sentence. Eponine, however, is condemned to life at hard labor, a verdict she seems to take better than her young attorney, who is humiliated and bitter at his defeat. Meeting Lamorciere in the locker rooms after the trial, Claude screams angry accusations at him, tells the older man to look at himself in the mirror. Just as Lamorciere glances in the mirror at his own and Claude’s reflections, he slumps suddenly to the floor and succumbs to a heart attack. Claude meets Florence outside, tells her Lamorciere is dead. A moment later Eponine and Robert are taken from the building, as the crowd outside hoots: “lover boy!” and “saw lady”. Turning, Florence and Claude see Kerstner and a small group emerging from the building, staring coldly at the two of them together. Suddenly the lovers cannot stand the scrutiny. As they turn to get away from it, Florence watches the departing police cars and asks Claude: “What’s the difference between us and those two? Why aren’t we in those police cars? Why aren’t they free on the streets?” 38 There Are Baby-Sitters And Baby-Sitters, But This One Was Quite A ”Grown-Up Baby” Herself! Undaihi and (DotmMaiu Kate and Richard Barry (Anne Heywood and Michael Craig), after purchasing a home, go on-a honeymoon. Kate is his boss’ daughter. His father-in-law has told him that, as he is losing his hostess, the job of entertaining the firm’s clients must be under- taken by them. As Kate is keeping on with her job, her father, Mansfield (James Robertson Justice), engages an Italian girl, Maria (Claudia Cardinale), to do the house work while they are honey- mooning. “Upstairs And Downstairs”, in De Luxe Color, is sparkling entertainment that provides continuous fun, for it not only satirizes the baby-sitting situation, but also introduces three players who, before 1960 has passed into history, are reasonably certain of becoming outstanding box office stars in the domestic markets. There can be no doubt that, after she is seen in “Upstairs And Downstairs” and “Three Murderesses”, Mylene Demongeot (center at bottom of page), a vivacious, 23-year-old French actress, will zoom to major popularity here. The other members of the trio co-starred in “Upstairs And Downstairs” are Michael Craig, a 30-year-old Canadian who went to England when 21 and there be- came a stage and film actor, and beautiful, 27-year-old Anne Heywood. From beginning to end “Upstairs And Downstairs” is a succession of laughs. It was produced by Betty E. Box and directed by Ralph Thomas from a screenplay by Frank Harvey. Co-starred, too, is James Roberston- Justice. In principal roles are Sidney James, Madge Ryan, Jean Cadell, Barbara Everest, Claudie Cardinale, Joan Hickson and others. m M Anne f Heywood, architect, f played by Michael Craig. She was in- fected with the act- ing “bug” w hile ushering at a Lon- don movie house, subsequently won a “Miss Britain” beauty contest, be- gan her career as a singer. In 1955 she was signed to a Rank Organization contract. She be- came a film star af- ter her second pic- ture and has been in abnormal inter- national demand since then. On their return from the honeymoon, Kate and Richard find their Italian housegirl is entertaining drunken American sailors (Bill Edwards and Gaylord Cavallero). Maria in- sists it was all quite innocent, that she was lonesome, worked hard and could not do her chores without relaxing. It is obvious to the newlyweds that they will have to hire older help to be sure their home will be properly attended to. However, their troubles have just begun! But, they are certain that eventually they will find the right person for the job. Their next housekeeper (Joan Hickson) appears a treasure in spite of her huge sheep-dog. But, when she persists in serving guests while drunk, she is let go. In time, the Barrys’ first child arrives. Richard goes to Wales for another girl (right), but she gets train sick and returns home. The Barrys’ next girl, Ingrid (Mylene Demongeot, below, center), a student from Sweden, is un- glamorous, unsophisticated and outspoken. When Kate gives a party she asks advice on make-up. The resulting transformation is breathtaking and soon Ingrid is dining with all the “misunderstood” husbands, including Kate’s father! She develops a “crush” on Richard who advises her to marry his American friend (Daniel Massey) who is in love with him. But, she leaves the latter waiting at the church and returns to her boy-friend in Sweden. 39 RECLINING CAPTAIN STARK (ERNIE KOVACS), ‘‘THE WILDEST MAN IN THE AIR FORCE”, LAYS DOWN THE LAW TO (LEFT TO RIGHT) JACK WARDEN, DICK SHAWN AND ROBERT STRAUSS. INSET: SHAWN FLANKED BY TWO STAR-BOUND CUTIES, MARGO MOORE AND NOBU M'CARTHY. MERVYN LEROY TOPS HIS NO TIME FOR SERGEANTS WITH THIS COMEDY The producer-director who turned out a wacky, ribald jape on the army in the exceedingly popular “No Time For Sergeants” has obviously done it again! In fact, there is every reason to believe, on the basis of advance reports from the studio, that his picturization of Howard Singer’s raucous, riotous, cock-eyed best-selling novel, “Wake Me When It’s Over”, will register ticket-buyers even more lucratively and for longer periods of time than did “No Time For Sergeants.” Mervyn Le Roy, the producer-director who has a fabulous record for turning out truly great screenplays that have spanned the range of human emotions, including such memorable “block-busters” as “Tugboat Annie”, “Little Caesar”, “Wizard Of Oz”, “Quo Vadis”, “Random Harvest”, “Mister Roberts” and others too numerous to list here, deliberately went out to make “Wake Me When It’s Over” one of his outstanding entertainments and top “No Time For Sergeants”. Judging from studio reports he has achieved his objective. “Wake Me When It’s Over” is strictly for laughs. There is not a single serious moment in Richard Breen’s entire adaptation. It spoofs Air Force “brass” and reveals an uproarious story that makes not only “No Time For Sergeants”, but “Don’t Go Near The Water” as well, seem somber dramas. Certainly it is a substantially more elaborate production than either of those two service comedies. It has been produced on the same scale as was “South Pacific”. To insure that every situation and line of dialogue are perfectly projected on the CinemaScope screens, for this lavish circus of laughs, in De Luxe color, Le Roy assembled a group of comedians whose roles were seemingly written by novelist Singer with their talents in mind. Headlining the cast is the immensely popular Ernie Kovacs as the captain of the small Pacific island base, “the wildest man in the Eighth Air Force”. Others: night-club comic Dick Shawn, making his screen debut as the World War II sergeant who, though officially listed by Washington as killed in action, is re-drafted and virtually shanghaied into service at a small Pacific island base, Shima, where he conceives and carries out a scheme to turn the native village into a health resort and establish a Gl-owned plush hotel; Jack Warden as the base doctor; Robert Strauss as a top-rated non-com; Don Knotts; Marvin Kaplan and others. The distaff side of the cast includes two young actresses whom the studio believes will merit stardom in the not too distant future. They are Margo Moore as a flight nurse with whom Kovacs becomes romantically involved and Nobu McCarthy who portrays the delicately beautiful Japanese girl who is Shawn’s inspiration for the conversion of shabby little Shima into a health resort with the plushiest and most extraordinary hotel in the Pacific. 40 EVEN SCREAMINGLY FUNNIER THAN BOOK Exhibitors, who read Howard Singer’s best-selling novel and have been privileged to view a “rough-cut” of Mervyn LeRoy’s “Wake Me When It’s Over”, are in agreement that the screen ver- sion, written by Richard Breen, is “screamingly funnier”, as one of them put it. The famed LeRoy “touches” and the photographic treatment by multiple Academy award-winning cinematographer, Leon Shamroy, with the aid of a carefully selected cast of topnotch comedians and other actors and actresses, have effected what, from all advance re- ports of qualified entertainment appraisers, should win an even greater patronage than the novel’s tremendous readership. Here is an outline of the screen “Wake Me When It’s Over”: Gus Brubaker (Dick Shawn), a likable, easy-going ex-Air Force sergeant in World War II, running a Manhattan bar and grill, is hounded by his wife to take out GI insurance, which he failed to buy when discharged. To keep peace in the family, Gus applies for the insurance, but runs into a complication. While a prisoner of war, as the result of being forced to bail out over Germany, the Germans had failed to notify the Allies that they had imprisoned him. Lacking word about his fate, he was officially listed as killed in action and his file closed. When Gus turned up alive at the end of the war, so he could be discharged, the Air Force issued him a new serial number and separated him. Gus’ present problem to get insurance is: which serial number to use. He decides to use the serial number under which he served just two days. But, to his amazement a short while later, he is re-drafted. Despite efforts to clear up the mistake, he is re-inducted and before he can plead his case, he finds himself in a Continued on page 42 WAKE ME WHEN IT’S OVER continued Wandering out to the woods Gus (Shawn) meets a delicately beautiful, young Japanese girl, Ume (Nobu McCarthy), picking tiger flowers. She tells him that, if he wants to cool the beer he has been soaking in a nearby stream, he had better move it because he has the beer cans in a hot spring. Gus tests the water and verifies her statement. Ume tells him that in Japan there are many hotels built at hot springs and the people there find the baths very healthful. As she talks, Gus’ face lights up with a monumental idea. Thanking her, but, forgetting his beer, he rushes off... to sell his buddies on the idea of operating a luxurv hotel! Result? scenes neiow. 41 WAKE ME WHEN IT’S OVER Continued WHAT HAPPENED BEFORE THIS PLUSH HOTEL WAS BUILT AND OPENED BY GI'S, AND SUBSEQUENTLY, MAKE THIS THE SCREEN'S MOST HILARIOUS COMEDY. GAYEST SERVICE COMEDY EVER MADE HERE’S OUTLINE OF SCREENPLAY FROM BEST-SELLER Continued from page 41 tiny Japanese village, Shima, on an island that is a little more than a speck in the Pacific. There he is taken in charge by Hap Cosgrove (Marvin Kaplan) and Sam Weiscoff (Robert Strauss), a top-rated non-com. Arriving at the base headquarters, Gus mistakes Doc Farrington (Jack Warden) for the CO. He tells Farrington he wants to see the CO about being re- leased from service. A few moments later Capt. Stark (Ernie Kovacs), the CO, appears. Gus recog- nizes the latter as his plane commander during World War II. Stark is delighted to see him, but has only a roar of laughter for Gus’ rejoinder that he wants to get out. So, Gus settles down to a tour of duty on Shima and is given a “project” by Sgt. Warren (Don Knotts). One day, searching for solitude, Gus, in the woods, meets a pretty Japanese girl, Ume (Nobu McCarthy). She points out that if he wants his beer to cool he had better remove it from the nearby stream, because it is a hot spring. She explains that in Japan there are many hotels built at hot springs and that the Japanese find the baths very healthful. As she talks, Gus’ face lights up. He has an idea, thanks Ume and rushes off to the base headquarters. There he outlines his idea to Stark and Doc Far- rington. He wants to build a luxury hotel on Shima. Air Force regulations, he explains, permit base per- sonnel to hold jobs in off-duty hours and the island is loaded with surplus material they could buy for 10 cents on the dollar. He wants to organize a cor- poration to build and operate the hotel, with every GI a stockholder. He wants to build the hotel at the Shima Hot Springs. His listeners at first think his idea is ridiculous, but, after he persists and points out that the mainland is choked with military and civilian personnel hungry for a place where they can spend their leaves, Stark and Doc agree to go into the project. Gus calls a meeting, outlines his plan that meets 42 with the men’s prompt and hearty approval. Then things begin to hum on Shima. The corporation is formed, with Gus holder of power of attorney. Ma- terials are purchased, the site selected, the hotel design completed by a GI architect and construction about to start. But, Doc discovers the hotel site is owned not by the Air Force, but the island’s natives. Gus and Doc head for the native village to right the situation. Their efforts to open the corporation ac- count with the local bank, as a gesture of good-will, gets them nowhere. The mayor will not see them. As Gus and Doc leave the mayor’s office, they meet Ume coming in. They explain their predica- ment, but their hopes are quickly raised again when Ume informs them the mayor is her father. Through her they are able to lease the land and use the local bank. At last, the Shima Hot Springs Hotel takes shape. Then, one day, while supervising the unloading of some equipment at the air strip, Stark is amazed to see a beautiful blonde flight nurse step out of a newly-arrived C-47. When Stark identifies himself, the newcomer tells him she is Flight Nurse Nora McKay (Margo Moore) ordered to Shima at the request of Doc and is reporting for duty. Still per- plexed, Stark seeks o„ut Doc and learns from the latter that he had asked for Miss McKay because the fast-rising luxury hotel needed a woman’s touch in the decorating, etc. Stark likes the idea, and ob- viously is personally smitten with Nora as well. Nora goes to work, hiring the entire Shima fish- ing fleet, some 200 boats, to provide King crab for the hotel table. When she tries to hire a staff of hostesses, chambermaids and other female help, she learns that on Shima one cannot hire a girl to work: one must “buy” her, an innocent and old island tra- dition. So, in Gus’ name, she “buys” the prettiest native girls on the island. She introduces them to Gus and tells the girls he is “Papa-San”. Among them is Ume. With the hotel nearly ready to open for business, Gus wonders how he and his partners can let the world know of its existence. Doc has the way: an old friend, Joab Martinson (Robert Emhart), who writes on medical articles, is in Tokyo to address a convention of doctors on “miracle” drugs. Doc decides he will invent certain health-giving “properties” for the water of Shima when taken internally, and convince Martinson* to mention the water in his speech. Armed with a tiny bottle of the water, which Doc has fixed up with a pill or two, he and Gus head for Tokyo. There they meet Martinson. In response to Martinson’s queries they explain that they are not certain what the water does, but there are men on Shima who are in their late 90’s and early 100’s still having children. Mar- tinson volunteers to test the water for them and to base his speech on the Shima hotel and its magic waters— if they will just tell him where it is, so he can get more of the water. Eventually, through Martinson’s speeches and articles lauding Shima Hot Springs and its health- giving properties, the hotel begins to boom. Among the first guests are area commander, Colonel Hol- lingsworth and his wife. The hotel is now in full swing, Bikini-clad girls loll around the pool, there are fireworks displays at night, uniformed waiters rush around with flaming skewers of shish-kebab and a staff photographer is busily taking pictures of guests. Into this scene returns Martinson to get a little sun and soak up a little water. As he enters he sees an extremely old man lead 10 tiny children through the hotel. Seeing the attractive little chambermaids, Joab wonders what their duties include. Gus ex- plains they merely dust, wash dishes, greet people— “and nothing more”, he stresses to impress Martin- son. Later, after much water mixed with saki, Mar- tinson is intoxicated. He sees Stark dancing with Nora, to whom the base captain has just proposed marriage. Martinson groggily tries to cut in. When he obnoxiously persists, Stark levels him with one punch. LOUIS JOURDAN a i 111 % / M ■PR I - l < AT THEIR BEST!” It is the unanimous opinion of 288 show- men, who have seen “Can Can" at pre- views in theatres in six different sections of the United States, that the four stars and newcomer (Juliet Prowse) pictured on this page are “at their sparkling best'* in this Todd-AO musical giant. The co-star- ring leads: (above, left to right) Frank Sinatra, Shirley MacLaine and Maurice Chevalier, and (upper left) Louis Jourdan. 1*1 JULIET PROWSE AUDIENCE-ACCLAIMED u CAN CAN 1 1 TODD-AO MUSICAL PROVES AN UNQUESTIONABLE ENTERTAINMENT COLOSSUS The element of speculation in the Todd-AO pro- duction of Cole Porter’s “Can Can” has been com- pletely eliminated. That statement is very much in order on the basis of audience tests in a half dozen cities where the Jack Cummings production was “sneak-previewed” in the past month. The previews were attended by approximately 18,000 ticket-buyers. Those 18,000 patrons registered their opinions not only with ovations, but also by the spontaneous ap- plause at the conclusion of a dozen spectacular dance numbers, including the famous “Can Can”, and the vocal renditions of Cole Porter songs by Frank Sinatra, Shirley MacLaine, Maurice Chevalier and Louis Jourdan. The entertainment excellence of “Can Can” was also unquestionably indicated by the more than 8,000 people who took time to fill out opinion cards and deposit them in the preview theatres’ lobbies. The costliest musical filmed, “Can Can” will run in the neighborhood of two hours and ten minutes when it has its world premiere at the Rivoli thea- tre in New York on March 9. Based on the Broad- way stage hit, where it ran 894 performances, its transfer to the Todd-AO screens will have had every conceivable advantage that talent and money could buy. Directed by Walter Lang, who served similarly on many major successes headed by “The King And I”, and produced by the man who turned out such outstanding entertainment triumphs as “Teahouse Of The August Moon”, “Seven Brides For Seven Brothers” and “Kiss Me, Kate”, it has been filmed not only with the stars already mentioned, but also with a supporting cast and settings assembled on a basis consistent with an enterprise of its great scope. Specialists were imported from Paris to add crea- tive touches and contribute to the lavish tone of the production. Continued on page 47 43 Frank Sinatra (left) and Maurice Chevalier get "Can-Can” off to a sparkling start with their rendition of Cole Porter’s "Montmart* ” Later, together, they sing the exceedingly popular "I Love Paris”, and "Live And There can be no doubt how Shirley Mac- Laine feels about her lawyer and lover, Sin- atra. She vainly tries to induce him to marry her, so, in an effort to make him jealous, she announces her engagement to Louis Jourdan. Shirley taunts Sinatra who accepts the gesture in a spirit of fun, while Chevalier ap- plauds. To get revenge on Sinatra she makes him temporary owner of her cafe, dances the can-can, and then has the place raided! Flanked by Shirley MacLaine (left) and Miss Prowse (right), Sinatra is undecided whether to respond to a toast. He sings six songs in this elaborate musical, including two with Miss MacLaine. He solos "It’s All Right With Me” and the smart "C’Est Magnifique!”. 44 SHIRLEY MACLAINE (left) AND NEWCOMER JULIET PROWSE (right) LEAD SPECTACULAR "CAN C P WHY "CAN CAN" EXHALTS TH : HOW COLE PORTER'S STAGE HIT HAS GAINED ENTERTAIN*! For this company “Can Can” represents an investment approximating $6,000,000. To insure the creation of “the greatest motion picture musical”, producer Jack Cummings spent months in negotiations to obtain the serv- ices of outstanding creative and histrionic talent. Based on the play by Abe Burrows and the music of Cole Porter, Cummings considered himself “lucky” to obtain, first, the services of Dorothy Kingsley and Charles Lederer to write the screen play; second, Walter Lang to direct it; third, choreographer Hermes Pan, cinematog- rapher William H. Daniels and, more important than all, as box office insurance, co-stars Frank Sinatra, Shirley MacLaine, Maurice Chevalier and Louis Jourdan. To further do justice to the Cole Porter-Abe Burrows’ stage success’ conversion to Todd-AO screen presentation, Cummings signed music spe- cialist Saul Chaplin as associate producer. Chaplin, on his own, wrote many popular songs, including “Bei Mir Bist Du Schoen” and “The Anni- versary Song”, won Academy Awards for collaborating in the scoring of “An American In Paris” and “Seven Brides For Seven Brothers”. Dorothy Kingsley adapted such successful vehicles as “Seven Brides For Seven Brothers”, “Kiss Me, Kate”, “Pal Joey” and others. Her col- laborator, Charles Lederer, an outst~..di acquired an imposing list of credits, too. Choreographer Hermes Pan created 1 capacity on “An Evening With Fred ta TV “spectacular”. He won also an A 3e “Damsel In Distress”. Other motion *,«ct came with “Kiss Me, Kate”, “Pal Joey”, The costumes worn by the players ii from hundreds of patrons at the pi< r< of Irene Sharaff, tops in her field, oi ta clothes for such stage successes as Roc^re Drum Song”, Leonard Bernstein’s “Cam Miss Sharaff’s outstanding achieveme by the costumes of the Can Can dar rs to make them as spectacular as pos£ le on the question of whether the Can C«A i reasoned that the Can Can as presented dance was standardized, might have be 1890’s, but is pretty tame in the eyes f ’ JMBER. INSET: (center) MISS MACLAINE AND PARTNER DO SATIRE ON "APACHE” DANCE. SCREEN MUSICAL COMEDY tENT STATURE IN CONVERSION TO MOTION PICTURE n 0 icreen-writer since 1931, has it :IT u 958’s television sensation in that and the latter’s more recent Award as choreographer for . _ choreographic achievements “Silk Stockings” and others, i “Can Can” came in for praise ;’4 reviews. They are the work g< ind screen. She has designed i a__J Hammerstein’s “The Flower lide” and “West Side Story”, nt in this picture is represented aducer Cummings asked her t ause the entire story hinged vl_ an obscene dance. Cummings at Paris’ Bal Tabarin, where the en considered “naughty” in the lie morality today. He could not radically change the dance and still call it Can Can, so he had to find an answer in the costumes. So, Miss Sharaff has put the screen dancers in flesh-colored briefs, cov- ered by sheer, black pantaloons. The effect is startling because the briefs are not apparent to the casual eye. Although the basic movements of the Can Can have been traced to ancient Egypt and other antique civilizations, the dance, as an entity, appears to have been observed first in Paris about 1830. It enjoyed periods of popularity and disrepute thereafter, coming to world-wide notice as the spicy symbol of the “Gay Nineties”. Although the story of “Can Can” makes the dance illegal in Paris, this is believed not to have been true, although there were strong moves by reformers against it which led to riots in which were fatalities. It was banned in London, however. The chief temple of the Can Can was the Bal Tabarin where Toulouse- Lautrec glorified it. The dance, as standardized there has five movements including “The Cathedral” (the arch formed by elevated legs); the “Coupe des Derrieres” (back view) and one movement of improvisation. The story of “Can Can” takes place in Paris in 1896, when the Can Continued on page 58 Until a new j udge, Louis Jourdan, a political op- portunist, heeds public c lamor. Shir ley MacLaine (right) and her lawyer, Frank Sinatra (left), operate the suc- cessful Cafe Le Bal Du Paradis where the can-can dance is featured, despite reformers* efforts to abol ish it. Not only her lawyer, with whom she is in love, but also the presiding justice of a high French court, Maurice Chevalier (right), relax at the cafe and enjoy the company of its co-owner and star, Miss MacLaine, Jourdan, a stickler for law enforcement, orders a raid by which he hopes to obtain the conviction of the can-can dancers. Above Miss MacLaine seeks toevad© the police, but it is a wasted effort. She is arrested. in the course of the post-raid procedings, Jourdan becomes infatuated with MacLaine. The wily Sinatra plays on this emotion and Jourdan*s iron conscience to secure the release of the outraged dancer. 45 MOIICEI IT TWO EXHIBITOR-HEADED COMPANIES SHOWMANSHIP ATTRACT I ONS That 20th Century-Fox, with a former national circuit op- erator as its President and an ex-independent exhibitor as head of its studio, should have three leading members of the exhibi- tion fraternity producing showmanship attractions, in Cinema- Scope, for its release is not surprising. API, which this year will make 12 showmanship specials is headed by Robert Lippert, veteran operator of a West Coast circuit. The newly formed Shergari Corporation, which will produce “The Golden Touch”, is headed by Frank H. (Rick) Ricketson of Denver, formerly Vice-President and General Manager in charge of theatre operations of National Theatres, Inc.; Ted R. Gamble, well-known northwestern circuit operator, and veteran director George Sherman. API has completed its first five mass-appeal action, mystery and outdoor dramas. They are “Young Jesse James”, “13 Fighting Men”, “Desire In The Dust”, “Valley Of The Redwoods”, and the star-packed “Double Indemnity” mystery type melodrama, “The Third Voice”, on which a full report appears on an- other page in this edition. ROBERT LIPPERT 44 ^ ‘Young Jesse James”, also fully reported in this edition, is an ideal showmanship package, full of action as it dramatizes the true story of that outlaw’s youth. Involved in that attraction are most of the notorious outlaws who terrorized a growing West, including the Cole boys, Belle Starr and others. 441 T3 Fighting Men” is an- other original drama, with an element of surprise, based on a group of Confederate sol- diers and their commander who refused to honor Gen. Lee’s surrender to Gen. Grant . . . and went on to create havoc for both North and South. “Valley Of The Red- woods” is a beautiful, roman- tic adventure of fearless men and brave, self-sacrificing women who endure hard- ships to help carve out a peaceful existence in an area that resists intrusion from outsiders. “Desire In The Dust” is the drama of an impover- ished group, a story that Lip- pert describes as “a cross be- tween ‘Tobacco Road’ and ‘Long, Hot Summer’ ”, API also has in prepara- tion for domestic release dur- ing 1960 such major screen- plays, in De Luxe Color, as “Secret Of The Purple Wreath”, based on a Saturday Evening Post story; a ro- mantic, wild animal-jungle drama, full of action, human interest and suspense, and “The Big Show”, a spectacu- lar circus drama to be filmed in Copenhagen’s colorful and famed Tivoli Gardens. Additionally API is pre- paring a showmanship “horror” combination com- prising “I Am Legend”, based on a story by R. Matheson who wrote “The Invisible, Shrinking Man”, and the ten- tatively titled “Freak Maker 46 • y : . . &£ BARBARA EDEN New Producer NICO MINARDOS Two New Stars Debut In "12 Hours To Kill” With his tentatively titled “12 Hours To Kill”, John Healy makes his debut as a feature producer for this company. However, for two others in this API CinemaScope melodrama it is a first-time appearance as stars. The new, young stars are Nico Minardos and Barbara Eden. Minardos plays a European engineer, who, on arriving in the United States, becomes the sole eye-witness to a murder. The killing had been ordered by underworld chieftains who demand an unrelenting search by their mur- derous hirelings to find the witness and put him out of the way before he can tell his story to a crusading district attorney. Edward Cahn, who is also the director, collaborated with Jerry Sohl, in writing the screenplay. Minardos and Miss Eden head a cast that includes Grant Richards, Gavin MacLeod, Richard Reeves, Russ Conway, Art Baker and CeCe Whitney. Neither Miss Eden (no relation to Elana Eden who plays the title role in “The Story Of Ruth”) nor Minardos is a stranger to viewers of this company’s vehicles. Miss Eden was featured as Gary Crosby’s sweetheart in “A Private’s Affair”, while Minardos was the bombastic, young Brazilian who violently courted Clifton Webb’s older daughter in “Holiday For Lovers”. A one-time Greek guerrilla hero in his country’s successful defense against an attempt by Communists to control Greece, Minardos has starred in numer- ous television shows, including “Adventure In Paradise”, “Five Fingers”, “Sugarfoot”, “General Electric Theatre”, “77 Sunset Strip” and others. Miss Eden, a descendant of Benjamin Franklin and pioneers of the West, was born in Tucson, Ariz. She was educated and brought up in San Francisco. After a stint with the USO and some Little Theatre acting, she was screen- tested by several major studios, but nothing came of it. However, she did obtain an agent, Louis Shurr, who succeeded in getting her a screentest at the 20th Century-Fox studios for the role in “Peyton Place” that was eventu- ally assigned to Terry Moore. On the recommendation of drama coach Helena Sorrell, in August 1957, she was signed by Buddy Adler who changed her name from Barbara Huffman to Barbara Eden. "Golden Touch” First From Two Famed Showmen! Shegari Corporation, headed by exhibition leaders, Frank H. (Rick) Ricketson and Ted R. Gamble, and director George Sherman, has selected “The Golden Touch” as its first CinemaScope pro- duction in color for release by this company. Filmed in Mexico City, “The Golden Touch” is based on an original screenplay by Daniel D. Beauchamp. It will star Richard Basehart and feature Stu Erwin, Arthur Shield and Rex Allen. Basehart was for several years under contract to this country. In recent years, however, he has appeared mostly in screenplays produced abroad. However, Basehart is rated one of the finest dramatic actors in motion pictures. Before making his film debut in 1945 in “Cry Wolf”, Basehart had earned a distinguished Broad- way stage career. He starred in “House On Tele- graph Hill”, “Fourteen Hours”, “Decision Before Dawn”, “Fixed Bayonets”, and “Titantic” for this company. He also headlined with distinction in “Moby Dick”, “La Strada”, “Reign Of Terror”, ^Tension”, “Stranger’s Hand” and “Repeat Perform- ance”. Basehart is currently co-starring with Lana Turner “Portrait In Black”. Arthur Shields is one of the outstanding char- acter actor of screen and stage. For this company he co-starred in “Drums Along The Mohawk”, and “The Keys To The Kingdom”. He has also head- lined in MGM productions. “Rick” Ricketson, holding several master de- grees from the University of Kentucky and Univer- sity of Denver, was a reporter for the Kansas City Star and Denver Post before associating himself with this industry. His first post was as exploitation representative for Paramount in the Denver terri- tory. He launched his meteoric theatre operating career, in 1924, as President of Consolidated Theatres and successively served as President of Fox Inter-Mountain Theatres and Vice-President and general manager in charge of theatre operations for National Theatres, Inc. Ted Gamble, with degrees from the University of Washington and University of Oregon, started in the entertainment field as assistant manager at the Pantages theatre in Seattle. Subsequently, he held executive posts with the Orpheum vaudeville circuit and other theatre operations. In 1940 he formed the Gamble Theatres in Seattle, resigned in 1942 to become national director of the War Finance Division of the United States Treasury Department, but returned at the conclusion of World War II. He is also head of the Northwest Television And Broadcasting Corporation. George Sherman, who is the producer-director of “The Golden Touch”, started in the creative end of the industry in 1932 as assistant to Mack Sennett and become a full-fledged director six years^ later. Among his better known attractions are “The Bandit Of Sherwood Forest”, “Sword In The Desert”, “Comanche Territory”, “Spy Hunt”, “Tar- get Unknown”, “Steel Town”, “Raging Tide”, Border River”, “Johnny Dark”, “Treasure Of Pancho Villa” and “Reprisal”. "CAN CAN " CONTINUED SHIRLEY MACLAINE (above) has what is undoubtedly the most important role of her meteoric screen career: proprietress, singing and dancing star of a popular Paris night-club whose Can-Can dance becomes the toast of entertainment-seekers, but a target for a “blue-nose" group seeking its abolishment and criminal prosecution of all participating in the number and the floor show itself. NEWCOMER JULIET PROWSE (above), a musical comedy star from Europe, makes her film debut in **Can Can r> as Shirley Mac- Lame’s sister. In the raid scene (top of page, lower right) Miss Prewse is futilely fighting a gendarme trying, and succeed- ing, to place her under arrest. 47 CHAOS RULES WHEN POLICE RAID “CAN CAN*' CAFE THE FUN, THE ROMANCE, THE SONGS AND DANCES IN TODD-AO “CAN-CAN" A finer, nor as talented, a combination of stars could, in the opinion of showmen, have been assembled than Cum- mings signed to headline “Can Can”. Frank Sinatra, on to- day’s market, must be rated at the very pinnacle of the entertainment world. In virtually every branch of that world (movies, television, radio, night-clubs and records) he is a commanding figure. Shirley MacLaine, originally from the Broadway produc- tion, “Pajama Game”, has become so popular that all of the widely circulated pictorial news-magazines, including Life and Look in this country and France’s Match, have front- paged her, with lengthy feature stories inside. She has rock- eted to undisputed major box office power. She won an Academy nomination for her performance in “Some Came Running”, and followed that with equally fine portrayals in “Ask Any Girl” and “Career”. Maurice Chevalier, who celebrated his 71st birthday and 60 years as an entertainer during “Can Can” filming, is as potent a box office star today as he was in American-produced pictures more than a score years ago. Actually, box office statistics on “Gigi” would indicate he has a greater world following than ever. Louis Jourdan is another who scored personally in “Gigi”. “Can Can” gives promise also of being the “making” of another star, India-born, South Africa-raised, England-edu- cated Juliet Prowse, who plays Claudine, Miss MacLaine’s sister. She was signed for that dancing role at the suggestion of Choreographer Hermes Pan who Had seen Miss Prowse dance in a musical in Rome. Actually, before being induced to sign a contract with this company, she was a musical com- edy star in Europe and South Africa. To the aforementioned foursome, producer Cummings assigned the vocalizing and terpsichorean interpretation of the Cole Porter music. Porter, it will be recalled, among Continued on page 58 ' RUTH HUGS TEBAH (DAPHNA EINHORN) A CHILD TO BE SACRIFICED TO THE MOABITES’ STONE GOD, CHEMOSH. ABOVE: PRETTY, DARK-EYED, 20- YEAR-OLD, ISRAELI STAGE ACTRESS, ELANA EDEN, WHO PLAYS THE NAME TITLE IN "THE STORY OF RUTH" ANOTHER WORLD SEARCH ENDS GIRL FROM THE HOLY LAND WINS TITLE ROLE IN "THE STORY OF RUTH” THUS, BIBLICAL EPIC ASSURED COMPLETION IN TIME FOR 1960 RELEASE After more than a year’s search, producer Samuel G. Engel and director Henry Koster last Fall found the young actress to play the name role in “The Story Of Ruth”. Appropriately enough, the search ended in the Holy Land, for it was a dark-eyed beauty, an Israeli stage actress, Elana Eden, who was assigned the coveted role only two months be- fore this Easter Week spectacle, in CinemaScope and De Luxe Color, was scheduled to go before the cameras. Elana owes her discovery and film debut to an earlier, widely different search: for a girl to play the title part in “The Diary Of Anne Frank”. A nov- ice drama student then at the prestigious Habima theatre in Tel-Aviv, Elana was screen-tested in that r city, in 1957, for the role for which Millie Perkins 48 was later selected. However, it was that screen test that served to bring her to the attention of the studio for its drama about the biblical Ruth, lineal accentress both of Jesus and of King David.. Elana’s education has consisted of public school, residence for a time on a Israeli kibutz, or co-opera- tive farm community, and the conclusion of her high school studies at the Habima drama school with which she had been affiliated for three years. There in her final year she played principal roles in “The Merchant Of Venice”, “Aristophanes” and several other vehicles. Before the studio signed her to seven-year pact, she lived on a family farm in the little town of Bat-yam, hard by the ancient city of Jaffe in Israel. Her father is a landscape gardener. She has a brother who is a merchant mariner and a married sister. Elana had never left the small confines of her homeland until in September of last year when she was summoned to London to perform the first of several tests for the role of Ruth. Her real name is Elana Lani Cooper. Coincidentally, another young Israeli actress, Ziva Rodann, has a featured role in “The Story Of Ruth”, that of Ruth’s sister-in-law. Miss Rodann, a curvaceous brunette, however, is deglamorized in this screenplay written by Norman Corwin. Misses Eden and Rodann are featured in a cast hand-picked for each player’s qualification to measure up to the exceedingly histrionic demands of the many roles in the story. Tom Tryon (left) as Mahlon who seals his marriage to Ruth with a kiss... and then dies. Right: John Gabriel as his young brother, Chilion, killed by a Moab guard. THE STORY OF RUTH After more than two years’ preparation, producer Sam G. Engel and director Henry Koster have completed a Cinema- Scope-De Luxe production, “The Story Of Ruth”, that promises to be one of the highlights of the 1969 entertainment season. Based on a screenplay by Norman Corwin, while spectacular in its scenic backgrounds, this is a poignant, intimate story of a young woman, who, in Biblical times, gave up a life of luxury as a priestess in Moab, land of worship of the stone god, Chemosh, to devote herself wholly to the mother of her husband, who was murdered, along with his father and brother, because of his love for her. Playing Ruth and making her screen debut is Elana Eden, a report on whom appears on the preceding page. Co-starring are Stuart Whitman, Tom Tryon, Yiveca Lindfors, Peggy Wood, John Gabriel, Ziva Rodann, Basil Ruysdael, Jean Inness, Thayer David, Leo Fuchs and Eduard Franz in a cast of thousands. So that Dynamo readers may have a full appreciation of the depth of this intimate story of love and faith, it is herewith outlined. Five-year-old Ruth is sold by her impoverished farmer-father to the priests of Moab so he may feed his other children. Thus, Ruth and other youngsters are trained in all the rights of Chemosh worship by the Moab High Priestess, Eleilat (Viveca Lindfors). When they are letter perfect the High Priest, Hedak (Thayer David), receives them to make his selection of the child to be given as human sacrifice to the stone god. After selecting Ruth a blemish is noticed on the child’s arm. Angrily Hedak reminds Eleilat a sacrificial child must be without a blemish. She protests the blemish was not there a moment ago. Little Ruth is crest- fallen when another child is chosen instead. However, the blem- ish fades and her plea falls on deaf ears. Fifteen years later, Ruth (Elana Eden) graduates as a priestess and is assigned to take charge of that year’s sacrificial child, Tebah ( Daphna Einhorn). Later when she, with Eleilat and Tebah, go to a goldsmith’s shop to inspect a crown for the child, Ruth meets Mahlon (Tom Tryon), his father Elimelech (Les Tremayne), his mother Naomi (Peggy Wood) and his brother Chilion (John Gabriel), all Judeans, and Chilion’s wife, Orpah (Ziva Rodann), a Moabite. The High Priestess is displeased with the crown, and resents Mahlon’s replies to her questions. She tells him she feels he doesn’t approve of human sacrifice. He ad- mits his belief is in a merciful God, and when Eleilat asks him to show his God, Mahlon replies He is invisible, but is everywhere. Ruth is puzzled by Mahlon’s beliefs. His parents berate him for attacking the Moab rites, reminding him that, being Judeans in the land of Moab, they must be careful. But, Mahlon is too sickened by the idea of human sacrifice to have any sense of self- preservation. However, he is pleased it is Ruth to whom he must bring his crown, for he was immediately attracted by her beauty. When next Ruth and Mahlon meet, she questions him about Continued on page 50 STUART WHITMAN HAS HIS MOST IMPORTANT ROLE AS WIDOWED RUTH'S BROTHER-IN-LAW DIRECTOR HENRY KOSTER REHERSES ELANA EDEN (RUTH, LEFT) AND PEGGY WOOD (NAOMI) 49 THE STORY OF RUTH CONTINUED When wounded Mahlon (Tom Tryon), who fell in love with Ruth at virtually first sight, despite the turbulence of that meeting, tells her he loves her too much to die, she responds that he must live so they can be married. But, fate rules otherwise and, realizing that he is dying, Mahlon asks his mother, Naomi, for her wedding ring. He places it on Ruth’s finger, taking her as his wife, according to the laws of Moses. They embrace and kiss . . . but, suddenly, Mahlon dies in Ruth’s arms In this intimate story of Ruth, a rich kinsman is built up as a serious and ruthless rival to Boaz, who, eventually becomes her second husband. In the cast appear hundreds of players. Included are some of the most efficient film and stage character performers: Peggy Woods, Thayer David, Eduard Franz, Leo Fuchs, Basil Ruysdael, Jean Inness and others. Mahlon dead, Ruth turns to her now mother-in-law, Naomi, whose own husband and younger son had been previously killed. She insists Naomi take her along to her old home across the river Jordan, in Bethlehem. But, Naomi entreats Ruth to return to Moab since Moabites are not welcome in Judah, and there would be nothing but unhappiness there for her. It is then that Ruth vows: “Entreat me not to leave you or to keep me from following you, for where you go, I will go; where you lodge, I will lodge; your people shall be my people, and your God my God.” Two young actors, whose followings have been expanding tremendously in the past year, play Ruth’s husbands. Tom Tryon is the articulate Mahlon. Stuart Whitman plays Boaz, her second husband. Whitman was chosen for the role despite the eagerness of a half dozen long- established stars to play it. Producer Engel and director Henry Koster will be recalled as the team that turned out the exceedingly popular “Come To The Stable” and “A Man Called Peter”. Koster, incidentally, was the director of the first motion picture film in CinemaScope: “The Robe”. 50 The stern Moab High Priest, Hedak, who chooses the child to be offered as the annual human sacrifice to the stone god, Chemosh. POIGNANT DRAMA OF AN EPICAL DEVOTION Continued from page 49 his beliefs. They are attracted to each other ... an attraction that develops into mutually conceded love. But, Ruth fears Mahlon will be seized and killed. Before he goes Mahlon gives her a charm bracelet he has lovingly made for her, linking tablets engraved with his God’s laws: the Ten Commandments. Having heard news of her meetings with Mahlon, Hedak sum- mons Ruth who confesses she has doubted the ceremony of the sacrifice and that the young Judean’s talk of his God has con- fused her. She is admonished to prepare for the exalted honor of leading Tebah to the sacrifice. But, on the day of the sacrificial rites she is horrified and dashes away. That night Moabite officers arrest Mahlon, Chilion and their father. When Mahlon and Chilion attack a guard who has brutally pushed their father, Elimelach and his young son are killed. Mahlon is sentenced to the quarries for the rest of his life. That night the Hedak, having summoned Ruth, tears the tri- angular symbol of the temple she has been wearing, cuts her long hair in token of dismissal and sentences her to a cell where she languishes in solitude for six months. She is then released, sup- posedly at the command of the King. With the help of an old servant, Ruth, dressed in peasant clothes, meets Naomi and Or- pah and is helped by a sympathetic guard to reach Mahlon at the quarry. Their escape is almost completed when a guard detects them, draws a dagger and strikes Mahlon in the back. However, they struggle to the top of the quarry and drive to a cave where, just before Mahlon dies, he marries Ruth. Mahlon buried in a sealed cave, Ruth insists going to Bethle- hem with Naomi who begs her to return to Moab. “Entreat me not to leave you”, Ruth replies, “or to keep from following you, for where you go I will go, where you lodge I will lodge, your people shall be my people, and your God my God.” Together, they leave, with their donkeys, for Judah, across the river Jordan. Meantime, the Moab king and Hedak order an officer, Sochin (Leo Fuchs), and his men to find Ruth and Naomi and bring them back. After finally crossing Jordan, as they approach Judea they encounter a group of horsemen led by Boaz (Stuart Whitman), a handsome man with an angry expression. Naomi greets Boaz as a kinsman of her husband. He warns Ruth that it is not too late to return to Moab, but she will go only where Naomi goes and Naomi knows nowhere else to go but her home in Bethlehem. There Naomi finds her home in ruins. Naomi recalls her hus- band was unkind to another kinsman, Tob (Jeff Morrow) to whom otherwise they might turn. But, Ruth suggests they can live by gleaning. Boaz finds his interest in Ruth growing. Later, Boaz calls on Tob to vainly seek his assistance in looking after Naomi and Ruth. Turned down, Boaz suggests he will provide all the help they need through Tob, pretending it came from the latter. Naomi’s farm and home are restored, thanks to Boaz who is paying the bill, while Tob is playing the gallant benefactor with Ruth. But, Ruth is eventually to learn the truth. Working on Continued on page 52 THE STORY OF RUTH CONTINUED MEMORABLE SPECTACLE While “The Story Of Ruth” deals with the intimate life of a dedicated and beautiful biblical creature from the day when, as a mere five-year- old child she was sold to the priests of Moab for training as a sacrificial offering to the stone god to her marriage to Boaz, her second hus- band and a Judean kinsman of her mother-in-law, Naomi, the drama is unfolded against a spectacular back- ground. Two such scenes are pic- tured on this page. Above: the Moab king and High Priest visit the quarry where pris- oners are condemned to perform hard labor from which few survive. Below: the High Priest announces that the annual rites of sacrificing a child to the stone god, Chemosh, will begin. This is the beginning of the sequence in which the Moabite Ruth rebels, is sentenced to six months’ imprisonment. She eventu- ally escapes and joins Naomi in their journey to Bethlehem. 51 Ifte (^plain's Table What with so many cruise-minded people in the world today, the combination of a young, handsome captain on his maiden voyage and a flock of beautiful women —married, unmarried and widowed— tossing conventional behavior overboard in their quest for husbands, affairs or just fun, a nautical excursion like “The Captain’s Table” is tailor-made. Filmed in De Luxe Color from Richard Gordon’s novel and John Whiting’s, Bryan Forbes’ and Nicholas Phipps’ screenplay produced by Joseph Janni and directed by Jack Lee, this comedy can be exploited as a 12,000-mile mirth- quake, for that is the distance covered by a luxury liner piloted by a nervous cap- tain persistently pursued by two older women and a bevy of younger, seductive lovelies. “The Captain’s Table” co-stars John Gregson as the captain, the result of whose maiden trip will deter- mine whether he is to pilot a luxury liner or go back to cargo ships; Peggy Cummins as an attractive widow; Donald Sinden as the cruise-wise First Officer whose main interest is the opposite sex and Nadia Gray as the beauty who has set her romantic sights on the skipper. Continued on page 70 lliilil Sketched above are the captain (John Gregson) of the decrepit tramp steamer and four of his seductive passen- gers* on a 12,000-mile cruise, from Southampton, England, to Sydney, Australia. It is a feast of fun and dames. The captain ran the ship, but the passengers ran the captain who could not call even his cabin his own. A general view of the few privileged to sit at the Captain’s table on board the cruise ship, Queen Adelaide. Left to right, around the table, beginning at bottom left: Reddich (Nicholas Phipps), Annette (Rosalie Ashley), Capt. Eggs (John Gregson), Mrs. Judd (Peggy Cummins), Henry Lomax (John Warner), Gwennie Coke (June Jago), Major Broster (Maurice Denham) and Mrs. Lomax (Nora Nicholson). "The Captain’s Table” is scheduled for U.S. release in June. 53 , ■ -*■>- . ■' ^$|Pi :» : ■ mm ■ MARK ROBSON STANDING THE (SECOND, RIGHT) FACT THAT SHE DIRECTS PAUL NEWMAN AND JOANNE WOODWARD, WHO PLAY HUSBAND AND WIFE, IN A SCENE IN WHICH SHE, NOTWITH- IS HAVING AN AFFAIR WITH HER FORMER FIANCE, REFUSES TO GIVE HIM A DIVORCE SO HE CAN MARRY ANOTHER WOMAN. ASTOUNDING DRAMA OF A MAN OF AFFAIRS CAUGHT IN AN EMOTIONAL CROSS-CURRENT OF HES PERSONAL PASSIONS AND DRIVE FOR POWER There is agreement among exhibitors and critics, backed by a public concurrence reflected in consis- tently increasing patronage of screen vehicles and plays in which they have appeared, that Paul New- man and Joanne Woodward constitute one of the most versatile husband-wife acting teams the enter- tainment world has known. All of their collabora- tion as such has been in motion pictures sponsored by this company. But, to those who have read Ernest Lehman’s screenplay from John O’Hara’s novel, Newman and Joanne Woodward have their best histrionic innings in “From The Terrace”. This is their third co- starring screen appearance, their previous ones being in “The Sound And The Fury” and “Rally ’Round The Flag, Boys”. Moreover, in “From The Terrace” they play husband and wife for the second time. Even before producer-director Mark Robson com- pleted “From The Terrace”, the studio acquired the screen rights to John O’Hara’s next novel, “The Man Who Could Not Lose” which will be published late this year. Meantime, Robson, with “From The Terrace” completed, has activated a year-ahead project to film a sequel to that O’Hara story. Robson hopes to have 54 the same principals for his 1961 sequel to the 895- page novel. Robson and adapter Ernest Lehman agreed it was not possible to include all of the novel in a single motion picture. The present picture takes its leading character from his return from war service through the early years of his marriage and extra-curricula laison with another woman. The sequel will continue with O’Hara’s story through the enriched man’s govern- mental involvements in Washington and a conclu- sion in southern California. When the studio acquired “From The Terrace”, rights to make more than one picture from the O’Hara story were included. '“From The Terrace” marks Robson’s debut as a producer. However, his list of directorial achieve- ments is a particularly lengthy one. He started his career in motion pictures in the Property Depart- ment at this company’s studio, in 1932. He became a director in 1944. His most recent directorial accom- plishments for this company were “Peyton Place” and “The Inn Of The Sixth Happiness”. Among other pictures he directed were “Harder They Fall”, “Bridges At Toko-Ri”, “Return To Paradise”, “Bright Victory”, “Edge Of Doom”, “My Foolish Heart”, “Home Of The Brave” and “Champion”. In “From The Terrace” Paul Newman portrays Alfred Eaton, despised scion of a crusty steel tycoon. Miss Woodward is the wife whom he, through grow- ing indifference and uncompromising determina- tion to make five million dollars before he is 40 years old, and neglect, drives her to drink. Not since her Academy Award winning performance in “The Three Faces Of Eve” has Miss Woodward had as intensely emotional and violent a role. That Alfred Eaton made for himself a life and career that would unhesitatingly take advantage of the weaknesses of those who loved and trusted him seemed logical enough, for, as he advanced from an unwanted and unloved youth to Navy officer to ruth- less businessman, he followed in the footsteps of an embittered father with a merciless hatred of his wife and son. Sam Eaton, his father, was a self-made industrial success, whose fortune assumed fabulous propor- tions through war profiteering. His only whole- hearted interest, besides the perpetuation of his steel empire, was his first son who died of pneumonia. His son, Alfred, was an “accident” of passion and made, by his father, to feel unwanted. His wife, Martha, resigns herself to the industrialist’s increas- Continued on page 55 LEON AMES, WHO PLAYS A CRUSTY STEEL TYCOON EMBITTERED BY THE DEATH OF HIS FAVORITE SON, BERATES MYRNA LOY, AS HIS DISILLUSIONED NEG- LECTED WIFE DRIVEN TO DIPSOMANIA, WHEN SHE CONFESSES CARRYING ON A PASSIONATE LOVE AFFAIR WITH A YOUNG, LECHEROUS PHILADELPHIAN. O’HARA’S MOST POWERFUL STORY "FROM THE TERRACE” FIRST OF TWO OF HIS EMOTION-PACKED NOVELS TO BE RELEASED EARLY THIS YEAR AND FOR FILMING LATER IN 1960 Continued from page 54 ing preoccupation with his business and grief over his son’s death. She finds solace in the bottle and eventually in an affair with a young, lecherous Philadelphian. After the war, Alfred finds nothing has changed in his family circle. His father is still grieving over his boy’s death and his mother has become a dipso- maniac. And, his father still considers him weak. After ’beating up his mother’s lover, Alfred goes to New York, helps organize an areonautical company. He pioves in high society and eventually marries an heiress from Wilmington, Del. She brings him higher social position. Her family contributes to his advancement in the business world. Fate again plays a timely hand. He rescues the grandson of the head of a powerful Wall Street brokerage concern. The grandfather, in gratitude, makes him an executive of the company. This is the opportunity Alfred sought. His advance is rapid. His responsibilities mount. But, success has brought neglect of his wife, Mary. He becomes increasingly indifferent, and frankly tells her his career comes before her. Frustrated, she becomes passionately involved with a doctor who*m she jilted when she succumbed to young Eaton’s profession of undying love for her. Eaton is entrusted with a very important mission by his company, but it entails spending several months away from home, a small city in Pennsyl- vania. While on the mission he meets and falls in love with Natalie, daughter of a coal mine owner, and she with him. Notwithstanding the fact that she knows he is wedded to another, she wholeheartedly becomes involved in an affair with him. He returns home, to face a wife who admits her indiscretions with her former fiance. Like his mother, she, too, becomes an alcoholic, but she refuses to give him a divorce when he confesses he wants to marry Natalie. In the end, however, with the threat of scandal hanging over both their heads, Mary agrees to the divorce, leaving him free to marry Natalie. Co-starred with Newman and Miss Woodward in this emotionally inflammatory drama is Myrna Loy who plays Alfred Eaton’s mother. “From The Ter- race” is Miss Loy’s first co-starring appearance in a 20th Century-Fox production since “Cheaper By The Dozen” and “Belles On Their Toes”. The 54- year-old actress, however, has resumed a career that includes triumphs in many motion pictures, includ- ing “Arrowsmith”, “Animal Kingdom”, “The Prize- fighter And The Lady”, “The Thin Man” series, “The Rains Came”, “The Best Years Of Our Lives”, “Mr. Blanding Builds His Dream House”, “Lonely Hearts” and “Meet Me In St. Louis”. Playing the stone-hearted industrialist, Sam Eaton, is Leon Ames, a veteran of stage and screen, ac- knowledgly one of the finer character actors in show business. A comparative newcomer to motion picture audi- ences, Ina Balin, plays the ‘other woman”, the home- wrecking Natalie in this story of epic loves and lively infidelities. So pleased is production head Buddy Adler with her performance that he has signed her to a long-term contract. She has been a Broadway stage actress for several years. After play- ing Ruth in the original stage production of “Com- pulsion”, on Oct. 13, 1958, she made her screen debut, playing Anthony Quinn’s daughter in “The Black Orchid” in which Sophia Loren co-starred. Miss Balin was born on November 12, 1937. Barbara Eden, who will be recalled for a fine performance in “A Private’s Affair”, will play Clem- mie, the pretty “no-gooder” the first post-World War girl to whose charm Alfred Eaton succumbs. 55 man YOUNG JESSE JAM Exciting, and in most instances startling, facts are dramatized with a flair of authenticity that promises pa- tronage of the CinemaScope production of “Young Jesse James” by even entertainment-seekers who seldom “buy” outdoor and action-packed motion pictures. After more than a year of diligent research, producer ack Leewood saw through production a story that has all the ingredients to satisfy every type of moviegoer, plus the element of surprise. That statement can advisedly be reported because “Young Jesse James” reveals heretofore untouched facts regarding the factors that induced the son of a law-abiding middle-class family of pioneers to turn outlaw. Ray Stricklyn, who distinguished himself as the al- coholic son in “Ten North Frederick”, portrays Jesse James in this suspenseful drama that brings into the pic- ture many of the notorious outlaws of his youth, including his brother, Frank, acted by Robert Dix; Cole Younger, played by Willard Parker, and others. William Claxton, who turned out “Stagecoach To Fury , directed “Y oung Jesse James”, pursuing the out- law s family life and romance with a young woman who willingly endured sacrifice after sacrifice in a vain effort to dissuade him from giving vent to a hatred for law and order, once he was forced to helplessly stand by and wit- ness the hanging of his step-father. Pictured on this page are scenes from an attraction in which Merry Anders co-stars in a cast whose members were selected because they had the qualifications to bring to screen life, authentically, characters whose activities in' the years before and the decade after the Civil War have inspired many of America’s best-selling adventure novels.' Young Jesse James”, while providing consider- able gunplay, dwells on the effect an illegal killing had on a family, and the moral breakdown of several of its members. Action-P acked Dramatization Of Heretofore Unknown Facts About A Merciless Killing That Exploded Into An Era Of Outlawry 56 A Desolate Tramp To All Who Saw And Met Him, But A Courageous And Tender Lover To A Woman Who Saw Behind His Mask Of Hate! Right: Curt Jurgens as a man without a coun- try and Sylvia Syms, as the school-teacher who finds that be- hind his mask of hat- red is a courageous and tender lover. Milton Reid as the shaven- headed, merciless pirate leader who plans to kidnap of children. - a group Orson Wells as the pompous captain of the ferryboat M Fat Annie* *, who longs for re- spectability and bitterly, but vainly seeks to rid himself of an outcast passenger who is an affront to all that his soul craves. Ip Revealing an exciting story of startling originality from a novel by Simon Kent and filmed in CinemaScope with De Luxe Color, “Ferry To Hong Kong” is high adventure and high drama played against a background of the China coast by a cast headed by international stars Curt Jurgens, Orson Welles and Sylvia Syms. In the fetid heat of Hong Kong, where this picture was entirely filmed, three people as different in temperament as they are fascinating in character, are thrown together by fate, bound together by circumstances, yet finding, at last, a strange and touching comaraderie. Jurgens plays Mark Conrad, a man without a country, a piece of human wreckage shunted back and forth between Hong Kong and Macao, a rogue, rake and rascal who found a chance to prove hftnself aboard a disreputable old hulk, a ferry called “Fat Annie”. Welles plays the captain of the ferry to Hong Kong, at best a hypocrite and at worst a tyrant, who hated his unwanted passenger Conrad because the latter was all he despised in a man, but all that he had feared to be. Sylvia Syms portrays a prim, proper and pretty school teacher who learned that the best calling card on Conrad was a bottle of whisky. But in the end she penetrated the mask of the outcast forbidden to set foot on either side and seemingly destined to travel back and forth on the ferry. A Lewis Gilbert production, “Ferry To Hong Kong”, produced by George Maynard, features Jeremy Spenser as a crew member whose payment for cour- age is death; Noel Skinner as the old engineer and Milton Reid as the pirate leader Yen, whom the outcast goads him to the point which costs him his life. Gilbert, not only directed this production, but also collaborated with Vernon Harris on writing the screen adaptation. It is aboard the “Fat Annie” that Conrad— vagrant of the Orient, kicked out of Hong Kong, unwanted in Macao, without passport, without self-respect —begins to salvage his self respect and realizes there is a future for him. But, this realization does not come to him until after he falls in love with the school-teacher and a succession of dramatic events that force him to defy the captain, (who, incidentally, had won the ferry in a game of cards) and takes over when a typhoon strikes the ship. Moreover, it is the unwanted passenger who, when the captain is in- jured, tends him, keeps the ferry on course. It is also this man lost to the world and condemned to drift forever who, when pirates board the ferry, concocts a lethal plan to dispose of their leader and his followers. And, as the storm-battered “Fat Annie” sinks it is Conrad, who with the grudging admiration of the captain and happiness of the teacher who almost saves it. 57 The three principals pictured on this page (Shirley MacLaine being the recipient of a surprise kiss from Louis Jourdan, left, and Frank Sinatra pleading her case at the bar of justice, right) leaped to the height of popularity in 1959. True, they had achieved fine performances in the prior years, Sinatra and Jour- dan in particular. But, it was in 1959 that each was popularly rated “hot”. Miss MacLaine played the leading feminine role, and with distinction, in “Around The World In 80 Days”, but she really became an important star in “Some Came Running” in which Sinatra, too, proved his histrionic right to the label of being “the hottest male star in show business.” Later Miss MacLaine scored personally in “Ask Any Girl” and “Career”. But, in “Can Can” she has her first singing-danc- ing role since she, as understudy to Carol Haney, became a Broad- way musical comedy star overnight (when she latter sprained her ankle) in “Pajama Game”. Sinatra is admittedly at the very pinnacle of the entertainment world, a commanding figure not only on the screen, but also in tele- vision, radio with records and in the night-clubs. Jourdan, generally considered one of the handsome and more ro- mantic men in motion pictures, is “hot” just now off his performance in the Academy Award winner, the musical “Gigi”, in which incident- ally, the fourth star of “Can Can”, Maurice Chevalier, also appeared with brilliant success. “Can Can” preview audiences have left no doubt that newcomer Juliet Prowse is headed for stardom in this, her first American-filmed vehicle. Juliet’s father died when she was three. To keep her child out of mischief, her widowed mother sent Juliet, at four, to a dancing school in Johannesburg, South Africa. In her teens this five-feet-eight inch trouper starred in a ballet company. Subsequently she went to London where she, eventually, became a musical comedy dancing celebrity. Suc- cessful in England, she moved on to the Continent, being featured at Le Nouvelle Eve in Paris, then toured Italy, Germany, and, finally, Spain. It was while she was filling an engagement in Madrid that she came to the attention of “Can Can” pro- ducer Jack Cummings. For Jack Cummings And Lang "Can Can” Is Classed Their Entertainment Masterpiece! "Can Can” Dwarfs All Prior Musicals In Every Segment Of Sparkling Entertainment Continued from page 47 many popular songs, wrote the music for such successful Broadway produc- tions as “Kiss Me, Kate”, “Mexican Hayride”, “DuBarry Was A Lady”, “Silk Stockings” and “Night And Day”. Here is the program of songs and those who sing them in “Can Can”: “Montmart’ ” Frank Sinatra, Maurice Chevalier “Maidens Typical Of Paris” Chorus “C’Est Magnifique” Frank Sinatra Reprise: “C’Est Magnifique” Frank Sinatra, Shirley MacLaine “Live And Let Live” Maurice Chevalier, Louis Jourdan Reprise : “Live And Let Live” Frank Sinatra, Maurice Chevalier “It’s All Right With Me” Frank Sinatra “I Love Paris” Frank Sinatra, Maurice Chevalier “Lets Do It” Frank Sinatra, Shirley MacLaine “Just One Of Those Things” Maurice Chevalier “You Do Something To Me” Louis Jourdan All the musical numbers in Cole Porter’s “Can Can” are really dance numbers as well. However, there are five which must be rated as considerably more complicated than the rest and these are: “The Garden Of Eden Ballet”, “Maidens Typical Of France”, “Apache”, “Let’s Do It” and, of course, the “Can Can”. Of these, “The Garden Of Eden Ballet”, is the most spectacular. It took five days to shoot and as best these things can be estimated to cost about $225,000. The dance features Miss MacLaine, Juliet Prowse and Marc Wilder with a chorus of 36. It, of course, tells the story of the fall of man and does so in an extraordinary imaginative fashion both in respect to choreography and in costuming. “Let’s Do It” is apt to turn out to be a highly provocative number. “Apache” is creative satire and “Maidens Typical Of France” is a poem to feminine derriere. Preparations for filming of “Can Can” started back in the late Spring of 1954 when this company purchased the screen rights for a sum in excess of $300,000. However, it was not until 1958 that Jack Cummings brought his independent pro- duction unit, Suffolk-Cummings, to this company’s studio. He had long been in- terested in the property and had some specific ideas about converting the story to the film medium. He “sold” Buddy Adler on letting him have it. Cummings, working with scenarist Dorothy Kingsley (and later with Charles Lederer), kept the basic story line of “Can Can”, but departed radically from the original in the telling of it on the screen. The key character, portrayed by Frank Sinatra, was not even in the Broadway presentation and other roles in the latter were eliminated. This adaptation resulted in the deletion of several of the songs that were sung in the stage production because they were no longer appropriate to the action. However, Cummings added two other Cole Porter works to cover new situations. The film version, admittedly, is infinitely simpler in regard to characters and situations than was the stage hit. That the producer-Cummings and director Walter Lang combination was ideal for the transfer of “Can Can” to the screen has been pointed up by public and exhibitor’s reaction noted at the previews. In addition to “Seven Brides For Seven Brothers”. “The Stratton Story” and “Teahouse Of The August Moon”, Cummings converted another Cole Porter musical to the screen, “Kiss Me, Kate.” He was also associated with the production of such works as “Broadway Melody”, “Girl From Rector’s”, “Three Little Words”, “The Last Time I Saw Paris” and others. Walter Lang holds an incomparable record for turning out outstanding musical successes for this company. His most recent major box office success was “The King And I”. Others include Rodgers’ & Hammerstein’s “State Fair”, “Tin Pan Alley”, “Star Dust”, “Coney Island”, “Mother Wore Tights”, “On The Riviera”, “When My Baby Smiles At Me”, “With A Song In My Heart”, “Call Me Madam”, “There’s No Business Like Show Business”, as well as “Sitting Pretty”, “Cheaper By The Dozen”, “Margie”, and “Jackpot”. Cole Porter’s music and brilliant lyrics have earned for him an everlasting niche in the world entertainment structure. Among his many Broadway triumphs that wen on to be fine screen vehicles one must list “Anything Goes”, “Born To Dance”, “Rosalie”, “Broadway Melody Of 1940” and “Du Barry Was A Lady”. He also collaborated with characteristic distinction in scoring “High Society.” William H. Daniels, concededly one of the truly great cinematographers, “shot” this eagerly awaited musical. The studio was so pleased with Juliet Prowse’s first performance in her first American motion picture that it has signed her to a term contract. She will have a leading singing and dancing role in “State Fair”, which, incidentally, Lang has been assigned to direct. Two masters in their craft did the set decorations: Walter M. Scott and Paul R. Fox. 58 WHY ’ CAN CAN’’ EXHALTS SCREEN Continued from page 45 Can dance was forbidden. However, through a combination of corrupt policemen and complaisant judges, it is danced nightly at the Cafe Le Bal Du Paradis, operated by Shirley MacLaine, Frank Sinatra, Miss MacLaine’s lawyer and presumably sweetheart, carry on happily until a new judge, Louis Jourdan, is appointed to the sympathetic court presided over by Maurice Chevalier. A stickler for the law. Judge Jourdan engineers a raid by which he hopes to obtain a conviction of the Can Can dancers. In the course of this operation. Judge Jourdan becomes infatuated with Miss MacLaine, but sternly carries out what he conceives to be his duty. The wily Sinatra plays on this emotion and Judge Jourdan’s iron conscience to obtain Miss Mac- Laine’s freedom. Jourdan presses his suit anyway. Miss MacLaine admires him and his flattered by his attentions, but loves Sinatra. When Jourdan offers to marry her, she uses it as a lever to obtain the same proposal from Sinatra. Sinatra refuses, so Miss MacLaine announces her engagement to Jourdan. Judge Chevalier, feeling that Jourdan is throwing his life away by marry- ing a Can Can dancer, approaches Sinatra and together they cook up a plot whereby Shirley will disgrace herself before all of Jourdan’s friends among the. socially elite. The plot succeeds, but Jourdan is not disen- chanted. However, Shirley realizes she can never marry without love. She is determined to be revenged upon Sinatra, though. Through a ruse, she makes him temporary owner of her cafe, then dances the Can Can and has the place raided. This puts Sinatra in serious trouble, because a conviction will result in his being disbarred. In the end, Shirley cannot go through with it and refuses to give the evidence that will convict him. Chevalier suggests that members of the court and leaders of the reform element see a demonstration of the Can Can to determine whether it truly should be abolished, or the law should be amended. The decision is that “obscenity, like beauty, is in the eyes of the beholder.” Sinatra and Miss MacLaine are left cozily debating the question of whether marriage is the assassin of love. MAX BYGRAVES, HOLDING BOBBIKINS, WITH SHIRLEY JONES EXPRESS THEIR JOY IN A MUSICAL NUMBER. FABULOUS “BOBBIKINS!” A MIRTHQUAKE FOR EVERY AUDIENCE “Bobbikins”, as Variety’s critic concluded, is an exhilarating comedy that should steer ticket-buyers to box offices in family lots. An original story, it is fast- paced with laughs once a 14-month-old child begins to pass out fantastic financial lips that dizzingly zoom his father, just out of the navy, to sudden wealth. Co-starring internationally famed comedian Max Bygraves and Shirley Jones as two London music hall entertainers, “Bobbikins” presents situations that create almost continuous hilarity, once the baby shows a fantastic knowledge of finance. When things go wrong for his father and family life is dis- rupted, Bobbikins takes a hand. He develops a habit of talking, but only to his father. The latter, unable to convince others, in- cluding his wife. Miss Jones, that the baby is loquacious, lands on a psychiatrist’s couch. But, nothing is solved. Bobbikins’ talent enriches his father after they meet the Chan- cellor of the Exchequer. The father’s success on the stock mar- ket rockets him to fame and for- tune. But, the baby, seeing that money and success are spoiling his father and breaking up a happy home, double-crosses him with a false tip. Wiser and happier, the family, cashing in on the publicity Bobbikins received, return to the stage. However, before Bobbikins brings about his par- ents’ reconciliation, an international financial upheaval is threatened. Moreover, the father, in his success, be- comes almost involved with a beautiful siren imposed on him by a desperate stockbroker on the verge of bankruptcy. Previews and subsequent reviews by trade paper critics indicate the delightfulness of “Bobbikins”. The mouthing of adult dialogue, in the form of stock mar- ket tips, by a 14-month-old boy, is both a remarkable job of dubbing, and hilarious. Director Robert Day, cinematographer Geoffrey Faithfull and art director Allan Harris put together a riotous comedy that is warm in its domestic turbulence, extraordinary in story development and rich with catchy songs. Max Bygraves, as the bewil- dered father and ex-sailor who revels in the fortune and fame his infant’s tips have brought him, and Shirley Jones, as the loving wife who resigns her star- ring part in a London musical comedy when her husband in- sists he will be perfectly capable of supporting her, only to soon learn otherwise, are at their best. In producer Oscar Brodney’s screenplay, Bygraves and Miss Jones between them sing four songs composed by the versatile comedian and Wilson Stone. They are “Funny Little Clown”, “Bobbikins Lullaby”, “Last Night I Dreamed” and “World Of Dreams”. Several of them give every promise of being popular hits. In support of Bygrave and Shirley Jones, her first picture since “April Love” in which she co-starred with Pat Boone, appear Colin Gordon as the psychiatrist who ends up needing the services of one himself; Lionel Jeffries as the shady stock-broker; Barbara Shelley as his girlfriend, Charles Carson as the Chancellor of Exchequer and others. Steven Stocker, a particularly cute infant, fills the central role of Bobbikins to per- fection. To the amazement of his dad, Barnaby, his infant-son Bobbikins (in cradle) speaks... and gives him the first stock tip. A new-made friend, the Chancellor of the Exchequer, enables Bobbikins to pass on more valuable money-making tips to his father. Refusing to believe her husband’s story, Mrs. Barnaby induces him to consult a noted psychiatrist whom he confounds! His fabulous success on the stock mar- ket wins Barnaby a partnership in a finance company. His singer-wife (right) is proud. When Barnaby’ s wealth begins to attract women, his wife, though thrilled with her mink coat present, rebells. ..but all ends well. 59 45 YEARS YOUNG -AND GROWING! Yields Of Progressive Action We Welcome A New Decade, Not Only With An Awareness Of Its Opportunities And Responsibility, But Also With A Program Keyed To Meet The Every Challenge Of A Changing Industry Continued from page 2 marks the 25th anniversary of the merger of that company with 20th Century Pictures, Inc*, to become the present 20th Century-Fox Film Cor- poration. But, this report is not one of hind- sight, but of foresight, of things that 1960 will bring, and of plans that are in operation to meet the demands, the responsibilities and challenge of a new decade. Those plans are based on a full awareness of the considerably changed world market in which this industry operates. The past is touched on only insofar as corporate achievements of the past relate to the present and future. In 1960 this far-flung organization will definitely make history anew. Significantly, the record shows that in time of stress, within and outside the industry, this company has made its best strides forward. Economic, sociological and other changes have had and continue having an unprecented influence on the status of motion picture entertainment. No longer is movie-going a habit. The me- dium is in greater competition not only from free entertainment supplied by television, but other factors as well. Today, according to U.S. government statistics, 91.4% of the homes in the domestic market have television sets. Hence, while this company will this year continue to utilize every communications medium to sell its pictures to the public, it will invest substantially more, both on the na- tional and local levels, in television exploitation of its wares. It will spend more also in radio advertising. Today, pleasure automobile own- ership reportedly is 53% greater than 12 years ago. This means a sub- stantially greater driving population. Thus, this company will spend more this year on outdoor advertising and other means to reach those itinerant millions. 1960 also will find this company in- itiating an intensive drive to accelerate family patronage of theatres by offer- ing at least one picture per month with potent family appeal. The record proves conclusively that the contemporary, discriminating pub- lic will patronize motion pictures of merit in larger numbers for longer periods of time than ever. This company’s 1960 comprises by far the largest number of “block- busters” it ever offered in any past year in its history. Moreover, it will release more feature attractions than ever, thus guaranteeing a continuous flow of CLARENCE A. HILL Branch Operations Director product to every type of theatre operation. It will continue to develop new talent in every segment of picture- making. But, ambitious as are its plans for this 45th anniversary year, this com- pany is planning beyond 1960. It will not rest on its laurels of either past or present accomplishment. The company that, in the early 1930’s, introduced sound-on-film, and the first theatre wide-screen (grandeur), and 23 years later brought about the prevail- ing CinemaScope era, has further ad- vancements that will benefit not only it, but the world industry as well. The world industry’s transition to CinemaScope in less than seven years has been acknowledgedly phenomenal, because the anamorphic system has be- come the virtual standard for film pro- duction and exhibition. Today 58,007 throughout the world are equipped to present Cine- maScope attractions: 16,224 in the United States, 1,452 in Canada and 40,331 in the rest of the world. Con- version to CinemaScope, both in pro- duction and exhibition, is spreading, too, in the U.S.S.R. But, popular acceptance of Cinema- Scope, while gratifying, is enabling this company to accelerate research for establishment of other advancements to promote a continuing increase in motion picture theatre patronage. For the past four years, under Mr. Skouras’ sponsorship, scientists and electronic engineers have been perfecting another medium that showmen eagerly await: Eidophor, theatre -large -screen -television — in De Luxe Color. Progress on its per- fection has reached a stage where it can be reported that its trade demon- stration will take place in the not distant future, Mr. Skouras states. Another indication of this company’s unlimited confidence in the future of this industry: streamlining of its dis- tribution and merchandising facilities, and procedures. Clarence A. Hill, manager of branch operations, has been supervising a pro- gram of adjusting the physical phase of film distribution to the requirements of a changed market. He has super- vised the construction of new branch buildings in 16 domestic distributing areas, set up two sub-stations and nego- tiated long-term leases for other ex- changes. This program of moderniza- tion has embraced every territory. To further reinforce the earning capacity of this company Mr. Skouras has led it into many diver- sified fields, some allied with the entertainment industry and others outside that area of business activity. Today on the payrolls of its 201 sales branches — 38 in the United States and Canada plus sub-offices at Butte, Mont., and Newfoundland in the Dominion, 171 throughout the remainder of the world — of its production centers here and abroad, and diversified operations, there are more than 18,000 daily employees. These speak 87 different foreign languages and dialects, in addition to English. Operating on a global scale are these subsidiary companies: 20th Century-Fox International and 20th Century-Fox Inter-America Cor- porations, of which Murray Silverstone is President. Movietonews, Inc., which produces Movietone News in seven languages, CinemaScope short subjects, United Press-Movietone Television News a$ well as industrial and government films. W. C. Michel is President and Edmund Reek Vice-President and pro- ducer of Movietonews, Inc. De Luxe Laboratories, Inc., with plants in New York, Hollywood and Chicago, with Alan Freedman (who, incidentally, is this year celebrating his 45th anniversary with the organiza- tion) as President. 20th Century Television, Inc., pro- ducing and distributing television ve- hicles for the world market, with Peter Levathes, President. 20th Century Record Corporation, manufacturers and distributors of re- cordings and music in all forms, with Henry Onorati, President. In addition to Movietone City in Westwood, Cal. (which, incidentally, is the first plant expressly built for the production of sound-on-film attrac- tions) this company also maintains filming facilities at its original Coast studio on Western Avenue in Holly- wood, Movietone News studios in New York and the Century Ranch, for out- door “shooting”, situated 31 miles from Movietone City. It also maintains a producing organi- zation in England, operating under the supervision of Vice-President Joseph Moskowitz with Robert Goldstein its managing director. It has theatre operating interests in England, South Africa, Israel, Austra- lia, New Zealand and Holland. It owns and operates Station KMSP- TV in the Minneapolis-St. Paul, Minn., area, with Donald Schwartz its operat- ing head and President. It maintains, too, a studio at Johan- nesburg, South Africa, for the produc- tion of theatre entertainments and in- dustrial subjects in the Afrikaan lan- guage. Its other South African holdings in- clude the internationally famed Bos- well Circus, legitimate theatres and plays, a catering organization, concert and operatic presentations and other operations outside the amusement field. Last year 20th Century-Fox acquired a large interest in Todd-AO. The company also has oil and na- tural gas interests in California. In the television field, under the supervision of Peter Levathes, 20th Century-Fox Television, Inc., in the very short time it has been in opera- tion, has been making what leaders in that industry consider “amazing progress.” Movetonews, Inc., this year will be the beneficiary of the considerable in- crease in revenue anticipated from aug- mented manufacture of industrial films. Plans for a substantial expansion in this motion picture production field are now in operation. Buddy Adler, executive head of pro- duction, in 1958 produced the enor- mously successful musical, “South Pa- cific”, in Todd-AO. Jack Cummings has completed Cole Porter’s “Can Can” in Todd-AO, to be publicly presented on a road-show basis this year. For the future Mr. Skouras has an- nounced at least one Todd-AO produc- tion per year. “The Greatest Story Ever Told”, to be put in production late this year by George Stevens, and Adler’s tentatively titled “John Brown’s Body”, being prepared for filming in the Sum- mer by director Joseph Mankiewicz who is also supplying the screenplay, are the next Todd-AO attractions. ■ ' V . '■ • 1 ,v;;. // 'V-: ’■© ■ . - / ... COMING To Enrich Motion Picture Theatres Everywhere: EIDOPHOR 60 Marilyn Monroe (above), star of an off-Broadway musical, pictured at left with Yves Montand, the billion- aire, and (right) singing ”My Heart Belongs To Daddy”. Other head- liners are Tony Randall, Frankie Vaughan and guest stars, Frank Sinatra, Milton Berle, Gene Kelly. No motion picture in which Marilyn Monroe has appeared has been subjected to the vast preparation as has Jerry Wald’s production of “Let’s Make Love”. Formerly titled “The Billionaire”, this star-packed vehicle is based on an original comedy by Norman Krasna. In CinemaScope and De Luxe it will be directed by George Cukor and produced on an even more lavish scale than “Gentlemen Prefer Blondes” and “How To Marry A Millionaire.” Today’s “hottest” screen star, Marilyn will play a chorus girl who becomes romantically, and financially, involved with a fabulously wealthy, eccentric, young tycoon from continental Europe. Playing the billonaire is the versatile, internationally popular singer- actor, Yves Montand (left), who recently appeared on the Dinah Shore television program and whose one-man show in this country has brought him a deluge of superlative praise from public, showmen and critics. The role has been tailored to his multiple talents. In “Let’s Make Love”, smitten by the glamorous chorus girl, he becomes involevd in the production of a Broadway musical based on his life and fantastic business success. A bit stage-struck himself, he offers to finance the production, but in so doing uses his influence to swing the stage char- TONY RANDALL, MILTON BERLE, YVES MONTAND Continued on page 64 61 LET’S MAKE LOVE CONTINUED Right: the internationally popular singer-dancer-actor, Frankie Vaughan, not only competes with Yves Montand vocalizing, but also for the favors of Marilyn Monroe in “Let’s Make Love” in which Tony Randall (left) co-stars. After Yves Montand made his American debut in his one-man show, labelled “An Evening With Yves Montand”, at Henry Miller’s theatre in New York in mid-September last year, stage, film, television and radio producers vied with each other for his services. France’s outstanding male entertainer has since that Broadway debut been recognized on this side of the Atlantic as “the greatest all-around European per- former to come to this country”, as critics in New York, Chicago, Los Angeles and other American cities where he has appeared in his one- man show, have wholeheartedly ap- praised his many talents in the past four months! Every studio sought to sign him. He has been deluged under an avalanche of offers from Broadway producers, too. A TV network has offered to star him in a show of his own, offering, as inducement, a fabulous life-time contract. He per- sonally and his manager have read more than a score of plays and screenplays, turning them all down. But, it has remained for this com- pany to sign him to appear oppo- site inimitable Marilyn Monroe in “Let’s Make Love”. He will portray the role originally scheduled for Gregory Peck, but now tailored to his multiple talents, for he can act,, sing, dance and mimic. A discerning French critic last year wrote that “Yves Montand is the heart and hands of our time.” Another reviewer said that “if Trener has the sound and Maurice Chevalier the charm, it is Montand who has the soul.” In his one-man show, which has been presented to capacity audi- ences that, in most cases, required engagement extensions to meet the ticket demand, Montand employed a minimum of scenery and very few props: a derby, wide-brimmed cowboy’s hat, cane and umbrella. Each of his songs is a carefully worked out performance embrac- ing dancing, gesture, acrobatics and juggling. His attire (see right) has always been the same and is con- sidered his trade-mark: brown shirt, open at the neck and slacks. The tour, now completed, is his first visit to the United States. Here- tofore, he has been known to Ameri- cans only through his recordings (which Columbia Records makes and distributes in this country), through his graphic performances in such French films as “Wages Of Fear” and “Witches Of Salem”, and through reports of Americans who have seen him perform in various European countries. Not only through his stage one-man show presentations, but also through a series of guest-star appearances on a half dozen network television shows, millions of Americans have seen him and are well aware of his versatility as an all-around entertainer of rare charm. 62 So that readers may understand the reason behind the elation over the casting of Yves (pronounced “Eves”) Montand to portray the continental “billionaire” opposite Marilyn Monroe in “Let’s Make Love”, Dynamo here- with reprints the conclusions of a Variety critic: “Yves Montand is one of those performers whom audiences can’t resist. Little known in the U. S., but a great favorite in Europe, he’s a charming, relaxed and immensely talented French- man of such extraordinary versatil- ity that he seems like a combina- tion Danny Kaye, Ray Bolger and Maurice Chevalier. He’s a phe- nomen of sorts. Those who see him will come away congratulating themselves on having ‘discovered’ a great, new personality. There’s plenty of room at the top of the entertainment ladder and Yves Montand’s got all it takes to get there.” He was born in Monsummano, Oct. 13, 1921, the youngest child of a family of Italian peasants. He was only two when his family, in flight from the excesses of Mussolini, moved to the tough harbor district of Marseilles, France. There Mon- tand spent his next 20 years. Forced to leave school at the age of 11, successively he was a waiter, barman, factory laborer and apprentice hair-dresser. Due, in part, he says, to his exposure to American motion pictures, Montand had an urge to perform when still in school. His first public demon- stration was on a platform in the public square near his home, an al fresco incubator for fledglings. Montand was 18 when he made his professional debut at the Al- cazar theatre in Marseilles, his offer- ings made up of Trenet’s “C’est La Vie”, “Qu’va” and “Bourn”, an imi- tation of Donald Duck, a song of Maurice Chevalier and another of Fernandel’s. Thereafter, he ap- peared sporadically in small Music Halls and suburban movie houses. In between he worked on the Mar- seilles docks as a longshoreman. The Allied armies were in Caen when Montand arrived in Paris in 1944. Almost immediately he wangled a booking at the ABC Music Hall. His act immediately followed that of the star and closed the bill: in Paris, as in this coun- try, an unfortunate position since audiences tend to reach for their coats and rush to the exists once they have heard the headliber. But, the voice and per- sonality of the newcomer arrested their flight, and they remained to give him an ovation at every performance. He supplemented his meagre income of 1600 francs a week by after-hour performances in small cabarets. While singing at the Moulin-Rouge he met Edith Piaf whose encouragement whetted his ambition. His first great triumph was made at Paris’ Theatre de l’Etoile. In 1945 he made his screen debut in Piaf’s “Etoile San Lumiere. HE’S SENSATIONAL- AND MARILYN’S GOT HIM! MEET THE PERFORMER WHO CAN DO EVERYTHING: YVES MONTAND ■■I TUESDAY WELD BING CROSBY’S COLLEGE CHUMS Pictorially flanking Bing Crosby (above) as the eccen- tric, middle-aged millionaire, who goes to college to “learn about things in life that money cannot buy”, are three of his room-mates and two of the several ladies of varying ages who indirectly induce him, in four years, to develop a new philosophy about human beings in general. Screen-, play is from an original story and introduces a group of* new songs. MIDDLE-AGED MILLIONAIRE, BORED WITH SUCCESS AND HIS FAMILY, GOES TO COLLEGE TO LEARN ABOUT LIFE There can be no doubt in the minds of anyone who has read Garson Kanin’s screenplay, based on his original story, that “High Time” should be one of the major screen entertainment successes of 1960! In the first place, Bing Crosby, who has appeared in many outstanding box office successes in the past more than 25 years he has been in motion pictures, is authority for the statement that this is the best story with which he has been associated “in many years”. Crosby, who won an Academy Award in 1944 for his performance in “Going My Way”, plays a role ideally suited to his histrionic and singing talents. Charles Brackett, who turned out “The King And I” and more recently “Journey To The Center Of The Earth”, is producing, and Blake Edwards, who megaphoned the popular “Operation Petticoat”, is the director of “High Time”. Garson Kanin has written many outstanding screen successes over the past 23 years including “A Double Life”, “Adam’s Rib”, “Born Yesterday”, “The Mar- rying Kind”, “Pat And Mike”, “It Should Happen To You” and “Teacher’s Pet”. “High Time” tells the story of a middle-aged, self-made multi-millionaire who, at a time in life when most men consider retirement, goes to college. Obviously his presence at college is a puzzlement to students younger than either of his two own off- springs. But, as time goes on he not only endears himself to the students, but, on commencement day, delivers a moving valedictory that in all probability will be rated as constituting his “finest hour” on the screen. The valedictory provides the reader with an ex- cellent idea of the warmth and depth of the story Kanin has written. It is delivered at the climax of the screenplay, a sequence that perfectly summarizes the millionaire’s four years at college where, among other things, he, a widower, finds an inspiring com- panionship and love in his French teacher of lit- erature. Here is the text of the valedictory. Continued on page 64 ii ■ M RICHARD BEYMER BARRIE CHASE (left) returns to the screen in a role tailored to her danc- ing and histrionic talents, in “High Time”. Since she scored a personal triumph in “Mardi Gras”, Miss Chase has gone on to win an enormous following via her superb dancing in two Fred Astaire television “spectaculars”. She is un- der contract to the studio and will also be co-starred later in “State Fair” and “Solo”, according to the studio’s present plans. NEW YOUNG STARS IN "HIGH TIME” Continued on page 6 3 ££ MARILYN MONROE TO SING AND DANCE IN “LET'S MAKE LOVE” Continued from page 61 acterization of himself more in his favor. Unquestionably, this is the most ambitious mo- tion picture undertaken by Jerry Wald. Not only has he provided a custom-made role for fabulous Marilyn Monroe and succeeded in securing the services of Yves Montand, whom critics and show- men rate the “No. 1 new personality to appear on the American stage in 1959”, but he has assembled also a cast of brilliant, supporting stars. Tony Randall, for instance, plays the “billionaire’s” press agent. Additionally, “Let’s Make Love” will present such guest-stars as Frank Sinatra, Milton Berle, Fred Astaire and others of that stature. Moreover, Miss Monroe will sing five songs, three of them new ones: “Let’s Make' Love”, “In- curably Romantic” and “Specialization”, whose music and lyrics have been provided by James Van Heusen and Sammy Cahn, respectively. This Acad- emy Award song hit-writing combination has either as a team or in association with others written an extraordinary number of popular melodies, includ- ing, for instance: “Three Coins In The Fountain”, “I’ll Walk Alone”, “April In Paris” and “Swing- ing On A Star”. Together their more recent works were the numbers sung in “Journey To The Center Of The Earth”, “Holiday For Lovers” and “Say One For Me”. Miss Monroe will also sing Cole Porter’s “My Heart Belongs To Daddy”. Her role calls, too, for her to give imitations of Marlene Dietrich, Marlon Brando, Elvis Presley and Zsa Zsa Gabor. Another stroke of good fortune came when Wald was able to sign veteran film-stage director George Cukor to assume directorial responsibility for the picture. Cukor’s career as a stage director started back in 1920 on Broadway. Eight years later he transferred his directorial allegiance to Hollywood where in the past more than 31 years he has turned out large number of box office successes. Among his more successful motion pictures, that have deservedly brought Cukor the distinction of being, for many years, one of the outstanding di- rectors in this industry, one must list “Wild Is The Wind”, “Bhowani Junction”, “A Star Is Born”, “Adams’ Rib”, “Little Women”, “Born Yesterday”, “Dinner At Eight”, “Philadelphia Story” and the “Royal Family”. The new Marilyn Monroe has become not only one of the “hot” screen stars, but has gained con- siderably in histrionic stature in the eyes of show- men, critics and public. Her most recent personal triumph was in last year’s comedy, “Some Like It Hot”. It was under the expert sponsorship and pro- motional activities of this company that Miss Monroe attained tremendous universal popularity as a film star. Among her personal successes in this company’s attractions must be listed “Bus Stop”, “Seven-Year Itch”, “There’s No Business Like Show Business”, “How To Marry A Millionaire”, and “Gentlemen Prefer Blondes.” She also co- starred with Laurence Olivier in “The Prince And The Show Girl”. Tony Randall made his motion picture debut in this company’s production of his Broadway hit, “Will Success Spoil Rock Hunter?”. More recently he has starred on network television programs. His last screen appearance for this company was also in a Jerry Wald production, “No Down Payment”. ► NINA SHIPMAN (right) is one of the dozen new, young starlets— graduates of the 20th Century- Fox Studio Talent School— who have been cast in principal roles in the Bing Crosby starring vehicle, “High Time.” She plays Bing’s snobbish daughter. A newcomer, Angus Duncan, plays her brother. ► “Fellow classmates and friends: ‘How unfor- tunate that youth should be given to the young.’ Bernard Shaw said that. I wonder if he was right? Is youth given to any of us, or do we take it? Does age overtake us, or do we overtake it? Can the long, cruel, oldest and bitterest of wars — that one which is fought everlastingly be- tween the young and the old — ever be ended? It is never too late to learn? Can old dogs be taught new tricks? I don’t know. “But, because I wanted answers to these ques- tions, and to many others, I came here four years ago. For a while I was an odd duck, but this class was so full of odd ducks that pretty soon it didn’t seem to matter. “Everywhere in these halls and in these hills I found a warmth of friendship and a depth of under- standing I hardly knew existed. “For 1,458 days I worried about this day, and all at once here I am. I have a daughter. When I told her that I had made it, she said to me: ‘It’s a miracle’! “In a way, I suppose it is a miracle. Sometimes miracles happen, but more often they are made of will and imagination, and faith and hope, to say nothing of sweat, or, maybe the valedictorian should say, perspiration. “Having made this miracle, the question naturally arises: was it worth making? Who knows? It’s too early to tell. My son said to me when I began, ‘What are you trying to prove?’ I couldn’t tell him then, but today maybe I can. I was trying to prove, not to him, nor to the world; but, only to myself I was trying to prove that I’m not dead yet. “I was trying to prove that age isn’t a matter of years, but of zest. I was surprised to find out around here how many young fogies there are! “Isn’t every waking day a lifetime, and isn’t every sleeping night a death? Isn’t the human race a youngster after all? “I came here — I admit it — looking for my youth. But, instead I found something better. I found my life! “And, as I was led gently through the exalting world of thought and science and feeling, I learned that man’s struggle to better himself, to better his lot, to better all about him, was and is noble and worthy . . . and I learned that, if there is anything which a man cannot achieve by himself, he should not hesitate to join with someone else.” Crosby plays K. C. Moon, an Oklahoman, who has come a long way since he hitch-hiked his way to California at 16, found employment there as a “soda-jerk” and eventually became the owner of a chain of 1,434 road-side soda fountains and sand- wich shoppes. But, in dedicating himself to building the busi- ness, Moon indulged in no relaxation. He felt that, while he was a success at money-making, he knew nothing about the “worthwhile things that money could not buy.” All he could personally show for his success was unhappiness and boredom. A lonely widower, he had nothing in common with a 27-year- old son with an exaggerated air of sophistication and a 24-year-old daughter, a born snob. So, in his mid-50’s, Moon decides and goes to Stanford College to “learn the facts of life”. He shares a room at college dormitory with three stu- dents: 18-year-old Gil Cuneo (Fabian) from Los Angeles, 18-year-old “Pi” Veerasawamy (Richard Beymer) and 19-year-old Robert Bannerman (Barry Coe) of Tampa, Fla. Others with whom he becomes particularly chum- my during his four years at college are Tuesday Weld, Barrie Chase, Kenneth MacKenna and others. Barry Coe has been steadily climbing up the ladder of stardom since his sterling performance in “Peyton Place”. Richard Beymer will be recalled as the young man who became romantically involved with Anne Frank in “The Diary Of Anne Frank”. Tuesday Weld, a beautiful youngster with an elec- trifying personality, is one of the screen’s most promising, new stars. Treated in a light vein, but dramatizing the de- termination of a self-made multi-millionaire who neglected his education for belated enlightment in the autumn of his life, “High Time” spans the range of human emotions. Nicole Maurey, the charming French stage and screen star, plays Helene, the foreign languages teacher with whom Bing falls in love. One of the lovelier actresses to come to these shores from France, Mile. Maurey and Crosby are no strangers. She appeared opposite him three years ago in “Little Boy Lost”, produced by William Perlberg and George Seaton and released by Paramount. Crosby sings several new numbers, singly and with Fabian. Songs, too, are sung by lovely Tues- day Weld as the flirtatious co-ed who tries vainly to make love to a man old enough to be her father. Barrie Chase, along with other students, leads sev- eral numbers and has a far richer, opportunity- packed role than she so brilliantly enacted in “Mardi Gras”. 64 PpMM MffliM i WO* 3, 'vtj> Wm: mm ■■ HH MmHHBB -l' '"S' XM'h : -% : - ; ' yy - h^bhhi I VIOLENCE IN THE TENNESSEE VALLEY. LEE REMICK (ABOVE ON THE FERRY) VIEWS GARTH ISLAND FIRE. RIGHT: THREE DRAMATIC SCENES FROM ELIA KAZAN PRODUCTION. WILD AN 80-YEAR-0LD GRANDMOTHER AND A WIDOWED GRAND-DAUGHTER LEAD A COMMUNITY FIGHT TO HOLD LAND THEY CONSIDER THEIR BIRTHRIGHT To stop the devastation, waste and loss of life caused by a treacherous stream at flood, the Congress of the United States, on May 18, 1933, authorized the Federal Government to purchase all the land in the course of the Tennessee river for the construction of a series of dams at chosen points along it. But, Congress did not envision the violence that might result in governmental appropriation of the required land. In some isolated, small communities Tennesseeans considered the land, on which they and their ancestors had lived for so long, their birthright. Such a community was Garthville, Tenn. And particularly resentful of the authorization act of Con- gress was an 80-year-old grandmother, Ella Garth. To persuade her to sell her Garth Island farm to the government, the Tennessee Valley Authority sent a special agent. She had become the valley’s only hold- out. But, the agent and his superiors reckoned without thought that the reluctance of the grand lady of Garth island to bow to government pressure could stir up an entire community, which it did. The story is a romance told against the changing social conditions brought about in the South by the huge TVA water and power complex. The girl is a southern traditionalist and the agent a dedicated engineer. The foregoing is the background of Elia Kazan’s production, “Wild River”, Paul Osborne’s screen- play based on two novels: William Bradford Huie’s “Mud On The Stars” and Borden Deal’s “Dunbar’s Cove”. Co-starring in this powerful drama are Montgomery Clift as Chuck Glover, the TVA agent from Washington; Lee Remick as the 23-year-old grand-daughter, Carol, widowed mother of two children, and Jo Van Fleet as the grandmother. Others playing principal roles in this CinemaScope production in De Luxe Color are Albert Salami, lay C. Flippen, James Westerfield, Barbara Loden, Frank Overton and Malcolm Atterbury. Producer-director Elia Kazan and a large company, for their 43 speaking roles in “Wild River”, spent several months in the Tennessee Valley, headquartering at Cleveland, Tenn., filming outdoor se- quences. There, in the heart of the TVA project, hundreds of natives were pressed into service. A small town was constructed for production purposes. In his quest for understanding, the TVA agent encountered human problems that seemingly were be- yond the well-intentioned understanding of Washington. He battled bigotry in its worst forms. And, he had to overcome community belief that its way of life was in jeopardy. But, most difficult of all was the agent’s problem to win over the grand-mother and her grand-daughter. Although at first anything but sympathetic with the stranger’s mission, as time goes on, the girl finds herself falling in love with him, notwithstanding the fact that a local man has long taken for granted that he and she would eventually marry. Thus, the agent copes with a personal problem, for he, too, has fallen in love with her. In the end the agent completes his mission, the government acquires the old lady’s island. However, with the passing of her century-old island home, her heart gives out, but not until after she has seen her grand-daughter married to the visitor. By the end of 1939, the TVA had completed 16 dams on the river. The past was behind and the killer stream transformed into man’s servant. The river, which for many years had kept man a slave to poverty and ignorance, opened the way to a future alive with promise. WILD RIVER CONTINUED FINALLY CONVINCED BY THE U. S. AGENT (MONTGOMERY CLIFT) THAT THE GOVERNMENT PROJECT IS A COMMUNITY SAFEGUARD, THE GRAND-DAUGHTER AND WIDOWED MOTHER OF TWO CHILDREN (LEE REMICK) CONCEDES SHE LOVES HIM. A MUTUAL ACKNOWLEDGEMENT THAT CONCLUDES IN MARRIAGE. NATURE’S VIOLENCE VS. HUMAN PASSIONS Filming of “Wild River” was itself a dramatic affair. Producer-director Elia Kazan has stressed realism in characterizations of not only the three principals, but in the men and women, and chil- dren, who people the area wherein the story took place. Moreover, he spared no exploratory means to give authenticity to the backgrounds, and the violences of nature and human passions that made the early days of construction of the dams hectic for TV A officials and the people who had been born and lived in the area all their lives. Also, to give authoritative realism to every in- cident the performers personally carried out each hazardous incident in which their respective roles involved them. The fights against enraged natives and the rages of nature are devoid of synthetic reproduction. There were no “stand-ins” or “stunt” experts from Hollywood. Out of a fight in which Montgomery Clift was being beaten by a former suitor, Lee Remick stops the fistic duel by biting the latter’s ears, but emerges with bloody hands. In several other sequences in which Clift combats the destructive elements, he suffered injury in one and narrowly escaped serious injury in two others. Elia Kazan, who launched his major film direc- torial career with this company’s “A Tree Grows In Brooklyn”, produced 95% of “Wild River” in the exact locales in the screenplay. Between early October and late December, he and his company worked at three outdoor “locations” in the Tennes* Continued on page 68 troubles. When the showdown came between the two men (Clift and A1 Salami) the widow, seeing that the TVA agent was sustaining a systematic beating in the rain and mud, flung herself into the conflict. Finding her little fists ineffectual, she bit her self-presumed former sweetheart’s ear, leaving no doubt as to whom she had lost her heart. The law of self-preservation and a persecution complex took hold of many a Garthsville man and woman when the TVA agent stepped into their midst. Most personally resentful of his stay was a young native who took for granted that the young widow and he would soon marry. But, the 23-year-old mother fell in love with the agent... and added to the latter’s 66 CAROL LYNLEY SUZY PARKER JOAN CRAWFORD TERRY MOORE DEAN STOCKWELL DIANE BAKER RETURN TO PEYTON PUCE DESTINED TO BE ONE OF THE MOST WIDELY- DISCUSSED SCREENPLAYS OF 1960 Jerry Wald is a producer who acts quickly. After “Peyton Place” had been in domestic release about six months, in 1958, he began receiving mail from not only motion picture theatre operators, but also from almost 2500 people (of varying ages), of the millions who had seen that picturization of Grace Metalious’ novel. Most of the letters commended the film adaptation of a young wife’s first book that had created consid- erable controversy. But, more than 1100 of these missives either contained outright requests that a sequel to “Peyton Place” be filmed, or pointed out that their writers had become so personally intrigued with the characters— particularly Selena, Allison, her mother, and the young war widow, Betty Anderson —that they wondered “if it wouldn’t be possible to let us know what happened” once the luckless Cross girl was freed by a jury that preferred to believe she killed her drunken step-father in self defense. Always a showman eager to comply with public demand, Wald probed deeper. Without publicizing his motive, Wald began querying exhibitors and sampling the feelings of hundreds of ticket-buyers. His investigators’ findings indicated a virtual un- animity in interest in what influence the trial had on the community and specifically on the principal characters in “Peyton Place.” Thus, no extraordinary surprise was occasioned when Wald announced he had induced Grace Meta- lious to write a sequel, titled “Return To Peyton Place”. The novel was placed on public sale last year. Public interest in the post-trial demeanor of the characters was indicated by the reportedly large readership attained by the novel. Today a paper- back edition of “Return To Peyton Place” is, accord- ing to its publisher and distributing agency, enjoy- ing a readership as large as that of the 50-cent edi- tion of “Peyton Place”. Wald next proceeded with the casting task, a project started shortly after the “Return To Peyton Place” book was placed in circulation. The chore had not been fully completed when this report on this company’s 1960-61 product was going to press. Diane Baker, who did so well in “The Best Of Everything” as the naive girl who was jilted by a millionaire playboy when the latter learned she was pregnant, will be Allison, the part Diane Varsi played in “Peyton Place”. Joan Crawford has been announced for a portrayal of the possessive mother, Mrs. Carter. Carol Lynley, whose popularity has assumed tremendous proportions among moviegoers of all ages, will be seen in a role radically different from any she has enacted to date: a pretty, young, spoiled Boston socialite, Jennifer, a girl with murder in her heart. Dean Stockwell and Trevor Howard, who co-star in another Wald production, “Sons And Lovers”, also appear in the all-star cast of this drama. Howard plays a country doctor who was characterized in “Peyton Place” by Lloyd Nolan. Suzy Parker, who did so well as the luckless actress in “The Best Of Everything”, plays a New York sophisticate who marries the doctor. “Return To Peyton Place” is the third of Wald’s productions scheduled for domestic release this year. His first “Story On Page One”, is now in release. “Sons And Lovers” is in the process of filming. Currently he also has in production “Let’s Make Love”. Around May he expects to be ready to start production on “High Heels”. In preparation, however, Wald has several other “block-busters”, including “Wild In The Country”. In “Return To Peyton Place” most of the people, who figured in the original screenplay, have resolved their problems, romantic and economic. But, some pay heavily the price for injuries done to others. Selena Cross’ exoneration of the charge of killing her drunken father does not erase memory of the sordid affair. Instead the publicity resultant from Continued on page 68 67 "HIGH HEELS ”, NOSTALGIC MUSICAL ROMANCE THAT BLOSSOMS IN A TAXI-DANCE HALL “Return To Peyton Place” Is One Of Four “Block-Busters” On Wald’s Schedule For 1960 Continued from page 67 the trial complicates her life. She falls passionately in love with a handsome, virile actor from Broad- way while he is appearing with a Summer stock company playing eight miles north of Peyton Place. Allison, Selena’s friend who testified at the trial, back in Peyton Place, finds her real love after an affair with a New York literary agent and a dis- illusioning experience in Hollywood where she had gone as technical adviser on a picturization of the book she had written and that had become a popular sensation. Her mother, Constance, and Tom, the school prin- cipal, have settled down and their marriage con- sidered ideal in every respect. The mill-owner, Leslie Harrington, who had wanted nothing to do with and had turned his son’s widowed wife away with $250, repents and lives with a fear he will never see his grandson. He does locate his embittered daughter-in-law, Betty, work- ing as a waitress to maintain herself and son. It is her turn now . . . and to obtain his way her father-in- law reluctantly pays heavily to have her and his grandson live permanently in his home. Roberta Carter, the possessive mother, after her son (Ted) graduates Harvard Law School, finds, to her disappointment, that she can not control him. He has fallen in love and marries Jennifer, the spoiled daughter of the head of one of the leading law firms in Boston. The young couple, who make Boston their permanent home, spend their week- ends in Peyton Place. On one such occasion, Roberta, resentful of her daughter-in-law, discovers a sordid side of the latter’s character, and plans to kill her. But, Jennifer learns of her mother-in-law’s scheme and turns the tables on her. The authorities decide Roberta’s death was accidental. Dean Stockwell can be reasonably certain of en- joying, in 1960, the most important year of his career. The young Broadway star, who gained pub- lic favor with his portrayal of the weaker of the two “thrill-killers” in “Compulsion”, has just com- pleted a co-starring role in “Sons And Lovers”. With that intense characterization behind him, next month he undertakes the part of Ted Carter in “Return To Peyton Place”. That role romantically couples him with Carol Lynley. With “Let’s Make Love”, co-starring Marilyn Monroe, Yves Montand, Frankie Vaughan and Tony Randall, and “Sons And Lovers” before the cameras, Wald these days must be burning the midnight oil completing plans for filming of “High Heels”. Based on a story by Lloyd Shearer, “High Heels” is a nostalgic musical romance laid in the period when taxi dancehalls flourished throughout the United States. No definite cast assignments, how- ever, had been announced up to press-time. Wald acquired the screen rights to the Shearer story while a producer for RKO. The screenplay has been written by Daniel Fuchs. Filming of Elia Kazan Screenplay In Tennessee Valley Was Exciting Drama INSIDE ON "WILD RIVER” Continued from page 66 see valley. They were: (1) Coon Denton Island, upstream from Charleston, Tenn., on the Hiwassee river from which the foothills of the Great Smokies may be seen; (2) a peninsula west of Cleveland, Tenn., on Lake Chickamauga. (The lake and the Hiwassee locales constituted the Garth island where the 80-year-old grandmother lived, and (3) Charles- ton’s old business section. Also, a studio for “shooting” interior sequences was set up in the armory at Cleveland, 12 miles south of Charleston. The company headquarters were at Cleveland, a county seat with a population of about 12,000. Ellsworth Frederick was the director of photo- graphy on “Wild River”. Previously he cinemato* graphically served on “Sayonara”, “Friendly Per- suasion” and Walt Disney’s “The Light In The Forest”. Lee Remick, who this year co-stars not only in “Wild River”, but later will be seen in the focal role in “Sanctuary”, made her acting mark on the Broadway stage and television before she launched her film career in this company’s “The Long, Hot Summer”. She scored her greatest personal triumph last year in “Anatomy Of A Murder”. Miss Remick, a native New Yorker, is the daughter of a Boston furniture store owner and Patricia Remick, a former actress. 68 Montgomery Clift rates one of the outstanding young stars of screen and star. This 39-year-old actor distinguished himself on Broadway in “There Shall Be No Night”, “Skin Of Our Teeth”, “Our Town”, “Searching Wind”, “Fly Away Home” and “You Touched Me” before devoting himself en- tirely to screen appearances. The latter include “The Young Lions”, “Lonelyhearts”, “Raintree County”, “Indiscretion Of An American Wife”, “From Here To Eternity”, “I Confess”, “A Place In The Sun”, “The Big Lift”, “The Heiress”, “Search” and “Red River”. Jo Van Fleet is concededly one of the all-time great character actresses on screen or stage. Born in Oakland, Calif. Miss Van Fleet is a young woman, despite the fact that much of her fame on screen and stage has been earned by portrayals of elderly people. In “Wild River”, for example, she plays an 80-year-old woman with only memories of a happy life with a devoted, but deceased husband and a loyal grand-daughter for solace in her remaining years on her Garth island farm the Federal govern- ment is determined to appropriate, and finally does, to carry out the TVA project. Miss Van Fleet won an Academy Award for the best performance by an actress in a supporting role, in 1955. That was in “East Of Eden” which Kazan also directed. Incidentally, that appearance was her first in motion pictures, although she had appeared at the Neighborhood Playhouse in New York and in a half score of Broadway plays. Among her other motion picture credits one must include “Gun- fight At The OK Corral”, “Rose Tattoo”, “King And Four Queens” and “I’ll Cry Tomorrow”. Fifty-year-old Kazan, called “Gadge” by his friends and followers, majored in drama at the Yale Dramatic School, after graduating from Wil- liams College. Born in Turkey, he was brought to this country when a mere lad. He served his ap- prenticeship with New York’s Group Theatre. Later he acted and directed Broadway plays. It was in a directorial capacity that he gained increasing stature in the legitimate theatre and subsequently in mo- tion pictures. His Broadway stage associations included “Wait- ing For Lefty”, “Golden Boy”, “Liliom”, “Skin Of Our Teeth”, “All My Sons”, “Streetcar Named Desire”, “Death Of A Salesman”, “Cat On A Hot Tin Roof” and the more recent “J. B.” He won an Academy Award in 1947 for his direction of “Gentleman’s Agreement”. Other screen directorial credits include “Boomerang”, “Viva Zapata”, “On The Waterfront” (which brought him his second director’s award, in 1954), “Streetcar Named De- sire”, “Viva Zapata”, “Man On A Tight Rope”, “East Of Eden”, “Baby Doll” and “Face In The Crowd J’ DEAN STOCKWELL an intense boy with a flair for painting. His frustrated, posses- sive mother, a woman of refinement and charac- ter who married beneath her station, instills in Paul a love that makes him a stranger to other and younger women. He loves his mother dearly, but, like his brothers, hates and is jealous of his father. Several young women are attracted to him and he to them, but, always, his mother stands between them . . . and holds control over him. TREVOR HOWARD plays the husband of the daughter of a well-born family whose head goes bankrupt. A young, handsome, fascinating, but rough and illiterate miner, he is able to live happily with his wife for a few years. But, when his wife learns that, instead of paying for their furniture he had spent the money on drink, she begins to despise him. As time passes she dedi- cates herself entirely to their three sons, harbor- ing nothing but mounting hatred for her husband. WENDY HILLER, one of the world’s fore- most screen and stage actresses, is Gertrude Cop- pard, who is swept off her feet and marries a colliery worker exactly one year after they had first met. When she loses her love for her alco- holic husband and her first son succumbs to pneu- monia and her second leaves home to marry a local girl, Mrs. Morel becomes obsessed with the idea of her youngest boy, Paul, rising above his environment. A SENSITIVE YOUNG MAN ENSLAVED BY HIS MOTHER’S OBSESSION “Sons And Lovers” is a powerful drama of pos- sessive mother love, the uncompromising control a frustrated woman holds over her sons. Her first- born was her favorite, but he died of pneumonia. Her second marries and sets up a home in another city. Her third, Paul, a sensitive young man, falls completely under her spell and unrelenting control. The young man’s every aspiration is to please his mother whose influence extends to the women at- tracted to him. A farmer’s daughter, Miriam, spent much time with him, but she did not have his mother’s approval. So into his life came Mrs. Clara Dawes, an attractive young woman, separated from her husband for five years and to whom he had been introduced by Miriam. His mother thought no more of Clara than she did of Miriam, but the latter was not so easily dis- couraged. Clara fell passionately in love with Paul and eventually they became involved. But, as time went on, she learned he could never completely love her . . . that his love for his mother would al- ways stand between them. Then death came to his mother. He broke with Clara who returns to her husband, but he finds contentment in memory of a mother who carried his soul with her to the Great Beyond. A Jerry Wald production, “Sons And Lovers” co-stars Dean Stockwell as Paul, Wendy Hiller as his mother, Trevor Howard as his father, Heather Sears as Miriam (the embodiment of spiritual love), and Mary Ure as Clara, a sensualist who takes the young man away from her best friend. Jack Cardiff directed. Cardiff, for many years a prominent cinematographer, turned to direction with “Intent To Kill” and “Scent Of Mystery”. D. H. Lawrence’s best-selling novel is being brought to the screens in CinemaScope and black and white. Always a controversial novelist, Lawrence penned two other internationally famed books: “Lady Chatterly’s Lover” and “The Rainbow”. Son of a Nottingham, England, coal miner and the daughter of a middle-class family in reduced circumstances, Lawrence’s life was as stormy as his literary career. He died in 1930 at the age of 44. Remarkably handsome, though tubercular, he re- portedly could be the most charming man or a most irritating boor, as the spirit moved him. He ran away with another man’s wife, the mother of three children. His biography reports he ran the full gamut of political systems and social philosophies at various times. The story of “Sons And Lovers” is set in Notting- ham, where all exteriors were filmed. This is how Lawrence outlined his novel to his publisher, Ed- ward Garnett, according to the latter: “It follows this idea: a woman of character and refinement goes into the lower class and has no satisfaction in her own life. She has had a passion for her husband, so her children are born of pas- sion . , . When her sons grow up their mother is the strongest power of their lives and holds them . . .” In his adaptation of the novel, Gavin Lambert has stuck to the spirit of the story. There is a reduction in number of characters in the screenplay and a concentration on telling their story. These are: the youngest son, his mother and father, the girl who wants him and fights his mother for him, and the young woman who is the object of his soul-less passions. Dean Stockwell won the assignmerit of Paul for his brilliant performance as one of the “thrill-kill- ers” in “Compulsion”. A former child star who had appeared in 22 films by the time he was 15, Stock- well has played principal roles in such well-known pictures as “Valley Of Decision”, “The Green Years”, “Gentleman’s Agreement”, and “Down To The Sea In Ships”. As an adult he drew critical commendation for his performance in the Broad- way stage production of “Compulsion” and later in its film version. Heather Sears, 24 years old, was born and raised in London. She became a London stage celebrity and went on to distinguish herself in motion pic- tures. She has drawn international attention for her performance in “Room At The Top”. She also has appeared in the stage version of “Look Back At Anger”. Wendy Hiller is an international favorite and an outstanding interpreter of Bernard Shaw, having been chosen by the late Irish playwright himself to do “Saint Joan” and “Pygmalion” on the stage in England. She also played Eliza Doolittle opposite the late Leslie Howard in the film version of “Pyg- malion”. She enhanced her international stature with her portrayal of the title role in “Major Bar- bara”. Miss Hiller also won praise for her perform- ance in the film version of “Separate Tables”. Mary Ure, who plays Clara, is rated one of Eng- land’s best young actresses. She starred in London and New York in “Time Remembered” and “Look Back In Anger”. She headlined also in the screen version of the latter play. 69 FUME OVER A Continued from page 21 1 1 only just in time. The rebel army is already attack- ing the city, burning and looting. Scott receives special orders that the young Prince should be taken to safety in Kalapur — 300 miles away — because while he is alive, no rebellion can be successful. But, the last train has gone, and their only chance of escape is a temperamental old shunt- ing engine, improbably called “Empress of India.” It is decided that, with luck, the old engine may be able to make the journey. Others who go on the train are, Lady Windham, the Governor’s wife, Bridie his secretary, Peters, a bombastic armament salesman who has been busily and profitably selling rifles to both sides, and finally Van Levden, a news- paper correspondent with no love for the British. Scott’s plan to smash through the railway gates, which are in rebel hands, succeeds, but a few miles further on, they find the last refugee train in a siding — silent. All but one of the passengers have been massacred. As the train rolls on across arid desert and through mountain passes, the threat of attack constantly hanging over it, the seven passengers find them- selves alone in a fight againt time and against fan- tastic odds. The line has been blown up, and they must work to clear it before they are attacked and killed. The only bridge has been partly destroyed and they must make their way over a dizzy canyon, be- fore Scott risks his life bringing over the empty train. And, on top of all this — long before the final attack by rebel triblesmen — it becomes apparent that the main danger does not lie in attack from outside, but from within. Someone on the train is trying to kill the Prince - the little boy on whose life depends the fate of a country. Today and Tomorrow Continued from page 15 Mirror”; Pocket Books’ “Sanctuary” (formerly titled “Requiem Of A Nun”) and “The King Must Die”, and New American Library’s “Sons And Lovers”. Darryl Zanuck is director Richard Fleischer’s most ardent fan. And, for good reason. Fleischer directed Zanuck’s “Crack In The Mirror”. Zanuck is so pleased with the result of his directorial en- deavors that he is signing him to megaphone three more of his productions. Fleischer, Dynamo readers will recall, directed young Dick Zanuck’s “Com- pulsion” last year. • “The Marriage-Go-Round”, the domestic comedy, after 54 weeks at the Plymouth theatre in New York, leaves to make way for another play this company has scheduled for future production. Gar- son (“The Live Wire”) Kanin’s adaptation of Felicien Marceau’s French play, “The Good Soup”, succeeds it. While “The Marriage-Go-Round” is scheduled to go before the cameras this Spring, “The Good Soup” will not be filmed until next year. “The Good Soup”, prior to its opening on Broadway, has been on a try-out tour, with very enthusiastic reaction from the critics. This is a dramatic story that has to its credit exceptional popularity on the Paris stage. It deals with the adventures of a once great, beautiful and idol- ized actress whose financial reverses force her into a life she despises. A side of contemporary Parisian life, with which very few people, outside the French metropolis, acquainted, will be exposed in Walter Wanger’s production of the tentatively titled “Dud Avocado”. W r anger plans to start its filming this Spring, with Joanne Woodward in all probability in the all-star cast. This story of young people, French, Ameri- cans and others “holed up” in Paris’ Left Bank, is detailed elsewhere in this publication. 70 "The Captain’s Table” A 12,000-Mile Fun Banquet Continued from page 53 Others in principal roles are Maurice Denham, a different sort of passenger, a personal friend of the chairman of the shipping line and a stockholder in the company; Richard Wattis as the chief purser who is carrying on a profitable smuggling business in the ship’s supplies; Reginald Beckwith, Lionel Murton, Bill Kerr, Nicholas Phipps, Joan Sims, Miles Matteson, John Le Mesurer, James Hayter, June Jago, Nora Nicholson, Jean Rollins, Margaret Clews, and others. Among the eye-filling lovelies are petite Beth Rogan, red-haired Yvonne Buckingham, blonde Rosalie Ashley and dark-haired Lynn Cole, all of whom are sketched at left. Here is an outline of the story: As the ship. Queen Adelaide, sails from England for Australia, her Captain is a happy man. After 22 years on the South Star Line’s tramp steamers, he has been promoted at last, but it is to be only a trial. If his voyage is a success, so is he. If not, for him it will be back to the tramp freighters. His personal steward, Tiny Burtweed takes an extremely considerate interest in his new Captain’s welfare, but his First Officer, Shawe-Wilson resents the authority that Ebbs has been given. Shawe- Wilson believes that ships should be rather free and easy. That is just his approach to any pretty passengers. Also interested in the future of Captain Ebbs is the Chief Purser, Prittlewell, who has a most profit- able sideline in disposing of the surplus stores he always makes sure tjie liner carries. He points out to the Captain that he has a large number of socials functions to attend— talent competitions, beauty con- tests, dances, debates, an almost endless list— and quietly hopes that these will keep him so busy that the Prittlewell enterprises will pass unobserved. Among the passengers with their eyes on the Captain— who is a bachelor— are Mrs. Judd and Mrs. Porteous, Bill Coke a very lively Australian and his wife Gwennie, Canon Swingler, a clergyman trying very hard to get away from it all, and last but by no means the least of Ebbs’ worries. Major Broster. Major Broster is a personal friend of the Line’s chairman and also a large shareholder in the com- pany. He makes it perfectly plain to Ebbs that if his comfort is in any way disturbed on the voyage the chairman will hear the full story as soon as the liner docks. Mrs. Porteous sets off in full pursuit of the re- luctant Captain and even invades his cabin, forcing him to wander lone and sleepless round the ship all night. He makes a brief appearance at the ship’s children’s party, which promptly gets out of hand and ends in an explosion of flying cakes, jellies and other goodies, most of them directed at the unfor- tunate Ebbs. Fortified by a session with the Chief Engineer Earnshawe, the bedevilled Ebbs makes advances to Mrs. Judd and is finally the host at the end-of-voyage fancy-dress dance. Here the schemes of Prittlewell bring disaster, for the guests discover that the “champagne” they have paid for is, in fact, cider. Amid the uproar the furious Major Broster makes it quite clear that “the chairman will hear of this outrage” and it seems that Ebbs’ career is drawing noisily to its close. But he is saved by discovering the Major in a somewhat compromising position with Mrs. Porte- ous. Now a complaint by the Major could mean a complaint about the Major, and Ebbs looses no time in making the point clear. The Queen Adelaide docks at Sydney with Ebbs assured of a glowing report to the Line’s chairman, glowing over the attentions of the faithful Mrs. Judd and with the fraudulent Prittlewell in the hands of the police at long last. There are many bon voyages in store for Ebbs and his faithful Burtweed . . . and many more happy gatherings at the Captain’s table ... Towering Courage And Audacity That Is "Operation Amsterdam”. Continued from page 28 the wheel. Her face is tense. Jan runs forward, jumps on the running board and pulls on the handbrake. “Leave me alone,” she says, trying to control her tears. She is in love with a Jewish soldier whose parents have just been killed. After preventing Anna from taking her life, Jan and Walter persuade her to drive them to Amster- dam. She becomes the fourth vital member of the party. Vital because she knows the city; she also works in the war ministry. In Amsterdam, Jan visits his father, Johan Smit ( Malcolm Keen)— a diamond merchant — and tells him their plan. Johan immediately contacts other merchants and diamonds swiftly change hands. But many merchants are helpless. Their stocks are in the vaults at the Diamond Beurs. It is Whit Monday— a Bank Holiday— and there is no way of getting them out until the following day. “Then the vaults must be forced,” says Johan. The merchants agree. It is left to Jan, Walter, Dillon and Anna to find a way into this steel fortress. Every minute is precious. The burglar alarm is large and threatening. Dillon co-opts the help of Alex, a secret agent ( Christopher Rhodes ), and his men. They force their way into the stronghold and are about to blow up the massive safes when the sound of firing penetrates the. vaults. Jan and Dillon finish their job. They have cleared the safes. Alex and his men keep the fifth columnists at bay with tommy-guns in the square outside. They cover Jan, Walter, Dillon and Anna as they try to dash across the square. But it is too late. They are ambushed. Anna picks up a tommy-gun and fires. Jan and Dillon have revolvers. It is imperative for them to get away. They dash for the car with 20 minutes left to reach the quay. As they pass a straggling line of re- fugees a German ’plane dives with machine-guns blazing. Their car is hit— a tyre is punctured. Grimly, Jan and Dillon change the wheel. Bullets from the aircraft spray the road. “The boat won’t wait,” says Dillon. They arrive at the quay with only seconds to spare. “We want you to come to England with us,” Jan says to Anna. She refuses. “I must stay and help Holland,” she replies. Jan persists, but Anna is determined. But as they part they both know it is not the end. For them. Or for Holland. Parts of the shooting of “Operation Amsterdam” were considered by director Michael McCarthy too dangerous for actual Amsterdam location. So a section of the city, a town square, several streets and canal with barges, had to be studio-built. This was the enormously exciting scene of the gun battle in which Peter Finch, Eva Bartok and Tony Britton battle a gang of fifth columnists, during which a bank is blown up, bullets whizzed off the cobblestones and cars careered at top racing speed. Domestically, “Operation Amsterdam” is a Spring release. Peter Finch and Eva Bartok are no strangers to moviegoers in the domestic market. Finch’s most recent performance was in “The Nun’s Story”. Miss Bartok has co-starred in several motion pictures filmed in Hollywood and in quite a few others produced abroad by American producing companies. CELEBRATING HIS 25TH ANNIVERSARY OF 20TH CENTURY-FOX PICTURE-MAKING Zanuck Plans Four Major 1960 Specials Darryl F. Zanuck Productions, headed by the only producer to win three Irving Thai* berg Memorial Awards for outstanding pic- ture-making, will produce at least four Cine- maScope attractions for domestic release by this company this year. In fact, Darryl Zanuck’s first personal pro- duction for this year, “Crack In The Mirror”, has been completed. A detailed report on this extraordinary motion picture appears else- where in this issue. The man, who has been setting screen en- tertainment fashion for many years, is cele- brating his 25th anniversary of association with this company. It was in 1935 that 20th Century Pictures, then owned by Joseph M. Schenck, Darryl Zanuck and William Goetz, merged with the then Fox Film Corporation. In August of that year, Mr. Zanuck became the greater company’s Vice-President in charge of production, a position he held until he decided to produce independently. In announcing his 1960 projects, Mr. Zanuck states: “I am interested in mak- ing pictures that are not formula. I will concentrate on entertainment pictures with a story appealing to the largest pos- sible audience, not a message.” That he is losing no time carrying out his policy is evidenced from the type of story un- folded in “Crack In The Mirror”, in which six roles are played by three stars: Juliette Greco, Bradford Dillman and Orson Welles. Lee Remick In “Sanctuary” The second Zanuck production will be pro- duced by his son, Richard. It is “Sanctuary” based on William Faulkner’s only novel (of that title) adapted into a play. On the stage it was titled “Requiem For A Nun”. As a play it was a long-run success in London. It also enjoyed popular reception from theatre- goers in Paris and other continental Euro- pean cities. Because the stage title, “Requiem For A Nun”, in young Zanuck’s opinion, is mis- leading for the very good reason that the story has no bearing whatsoever on a Sister, he polled the 20th Century-Fox sales per- sonnel and exhibitors. Result led to adoption of the book’s title for the screen version, which will be in CinemaScope. Lee Remick, who co-stars in Elia Kazan’s “Wild River”, will have the feminine lead in “Sanctuary” which concerns a young wife, who desperately seeks to make amends for her erratic ways when she realizes that the death of her child, for which a loving servant is convicted, was actually her own doing. Richard Zanuck, it will be recalled, was the universally lauded producer of one of the outstanding dramatic screenplays of 1959, “Compulsion.” “Ballad Of Red Rock” Late this Spring, or early Summer, Zanuck will send before the cameras another major property, a dramatization of Meyer (“Com- pulsion”) Levin’s “Ballad Of Red Rock”. This is the story of modern youth in Israel.' It will have the dramatic impact of “Rebel Without A Cause”: the story of young people trying to find themselves in a newly-founded country. “Ballad Of Red Rock” will be entirely filmed in Israel, with the new Juliette Greco in an all-star cast. Meyer Levin spent an investgative two-year period in Israel, doing research and whipping his story into shape. The novel is expected to be placed on sale in this country about the time that Zanuck and his company are filming its picturization in Israel. u The Chapman Report Unquestionably, one of the finer and un- usual story properties Zanuck has ventured to adapt to the screen will be “The Chapman Report”. The book version is scheduled to be published and placed on sale in the United States in April. Zanuck plans its production in the late Summer and expects to have* it completed for domestic release in the fourth quarter of this year. It, too, will have an all-star cast. It will be entirely filmed in a small community in Cali- fornia. “The Chapman Report” is a bold drama; what happens to a group of seemingly re- spectable women, married and unmarried, after their statements to an interviewer, in- vestigating the sex life of the fair sex, have been made public. A quiet suburban town, the community undergoes an extreme and turbulent change in not only its every-day way of life, but also in the attitudes of residents toward each other. 66 .59 The Big Gamble^ Most of Zanuck’s productions for 1960 and 1961 will be based on the works of inter- nationally celebrated novelists and play- wrights. For instance: Irwin Shaw’s “The Big Gamble” is scheduled by Zanuck to be one of his major attractions for this year. Shaw will be recalled as the author of “The Young Lions”. This is an “off-beat” drama: about a truck and three people, members of the same family. The screenplay will accent the per- sonal lives of this trio and the changes the truck brings about. “The Big Gamble” will be filmed in Italy, the Azores and Chile. A Saroyan Play Before the end of the year, Zanuck has still another important property he expects to have in production: William Saroyan’s latest play, “Settled Out Of Court”. Additionally, Zanuck has in preparation for production next year: “Patate”, based on a play by Marcel Achard that enjoyed long runs in London and Paris; Carlo Blanco’s “The Fish Don’t Bite”, dealing with the ad- ventures of the amorous sons of a fisherman and a philosophical beachcomber; Genevieve de Yilmorin’s novel, “Yes, Monsieur” and seven other properties whose identities will be revealed later. ‘ 'vf ; if i - r . V - •'>. t ' : -mi . THE NEW JULIETTE GRECO Motion picture patrons are due for a surprise when they see the new Juliette Greco (above) in “Crack In The Mirror”. The sultry symbol of Paris’ post-war youth and an international night-club and recording star, Miss Greco is destined to attain added motion picture acting stature when seen in the latest Darryl Zanuck production. In “Crack In The Mirror” she plays two roles. As Eponine, the cunning murderess, who almost gets away with her crime, she is seen in a type of role with which she is usually identified: earthy, passionate, possessed of a primitive seductiveness and tawdry appeal. As Florence, the sophisticated, social darling of a public figure, Miss Greco emerges as a new, glamorous, suave personality, a strik- ing beauty and a subtly lethal charm. Typical of the glamorous wardrobe she wears as Florence is the outfit in which she is pic- tured above. yj The Nome Gold Rush One Of The Gala 1960 Events! ELVIS PRESLEY WILL BE BACK! Elvis Presley, about to be honorably discharged from military service which he has carried out with a dedication that has earned him official and editorial commendation, will return to the screens this year! A sergeant in the army, Presley, through no effort on his part, has con- tinuously been in the news. His return to professional life is eagerly awaited by millions of not only Americans of all ages, but also by an entire world, for his record as a peace-time soldier has tremendously heightened his per- sonal stature. He is committed to make his first post-service motion picture for another studio. After completion of that contractual commitment, he will report to Mr. Adler to perform in “Solo”, a romantic comedy with songs. Dick Powell will produce and direct “Solo” which will be in CinemaScope with De Luxe Color. He will have stellar support. “Solo” is based on a novel by Stanford Whitmore and deals with a strange, but talented young man who goes to Chicago to earn a place for himself in the entertainment world. There he joins a “jazz combo” playing at a low- dive. His extraordinary talent impresses Chicago’s shady characters who utilize “fronts” in operation of night-clubs. The “mob” decides to manage the stranger who will divulge no personal information about himself, except that his name is Virgil Jones. The “mob” traps him, but, with the help of a girl, he manages to extricate himself. 72 THE ALASKANS John Wayne Stars In A Hard-Hitting Role In An Outdoor Drama After more than a year’s preparation, all is in readi- ness for filming this Spring of “The Alaskan”, with John Wayne heading an all-star cast. Henry Hathaway, whose last di- rectorial effort accounted largely for the excellence of “Seven Thieves”, will direct. It will be filmed in Alaska in CinemaScope with De Luxe Color. An original story, “The Alaskan” is based on the gold rush on Nome, Alaska, in 1900, which fol- lowed by two years the original Klondike “strike” of 1898. Wayne plays a former lumberjack, who, with a partner and the latter’s 17-year old brother pros- pect in Alaska. Theirs is an up-and-down existence. Finally, they accidentally discover a creek rich with gold. Wayne goes to Seattle to bring the boy’s sweetheart back for a wed- ding and to buy equip- ment to operate their prosperous claim. But, in Seattle he finds the girl has married another man. Wayne goes on a “bender” and meets a woman down on her luck, who falls in love with him, and ac- companies him to Nome. Complications, roman- tic and otherwise, de- velop— what promised to bring the trio fortune en- abling them to lead a life of luxury in the States, turns into a succession of encounters with claim- jumpers, “con” men, but eventually everything is* ironed out and a happy future faces Wayne and the woman from Seattle. “The Alaskan” is the type of free-swinging, he- man adventure that for many years has main- tained John Wayne among the top box office per- sonalities. GROPING YOUTH IN CONTRASTING ENVIRONMENTS — IP mm . mm mS illjpr ROBERT WAGNER \ DON MURRAY ALAN LADD ONE FOOT IN HELL” AND “THE LIVE WIRE" IN ANOTHER YOUNG AMERICANS IN PARIS EXPERIMENT IN BOHEMIAN LIVING, BUT WITH SURPRISING RESULTS The population explosion the world over, with its resultant educational and social upheavals, and job problem, constitutes a present that is of growing concern to adults, but it is particularly a puzzlement to youth facing a future of promise and threat, of opportunity and challenge. Thus, with a studio that keeps in step with chang- ing times, one is not surprised to find on its 1960 program feature attractions that place the accent on the many facets of contemporary youth’s demeanor, lhat there is a public and exhibition eagerness for screenplays of that type is apparent, for instance, by the clamor for a sequel to last year’s “Blue Denim.” Among the 1960 productions dealing with youth are two scheduled for filming this Spring and for domestic release in the late Summer. They are David Weisbart s The Live Wire” and Walter Winger’s tentatively titled “Dud Avocado”. “The Live Wire”, in which Robert Wagner heads a cast of young people, with a role custom-made for his sparkling talent, is based on a Garson Kanin play. Actually, it has a comedy vein running through it, dealing with the ambitions, frustrations and amorous gropings of a group of young actors and actresses who buy a Quonsei hut from the Govern- ment, when they find that even their combined funds are insufficient to meet an apartment rental. The youngsters, with “live wire” Wagner as their leader, set up their home in the Quonset hut on East 49th street, near Second avenue, in New York. There they live while awaiting their chance in the theatre or television. Meantime, they maintain them- S ^jA y working as soda “jerks”, models, etc. Dud Avocado ’, on the other hand, concerns less serious-minded youngsters: an American teenager Continued on page 74 AN ARTIST’S SKETCH OF PARIS’ LEFT-BANK WHERE AMERICAN AND PARISIAN ’TEENAGERS AND B EATNIKS CAVORT IN “DUD AVOCADO’’. 73 ONE FOOT IN HELL” l READYING “DUD AVOCADO” KEN SCOTT Continued from page 73 in Paris, who takes up with a variety of characters on the Left Bank: French “beatniks”, exhibitionists, extentialists, professional love-makers, amateur ar- tists, singers and dancers living a Bohemian exist- ence and forgetful of their original aims to attain fame, and others with gripes against the world in general. No definite cast had been assigned at press- time to “Dud Avocado” which will go before the cameras at the exact locales of the story in Paris in March, Meantime, Sydney Boehm, who already is on the domestic screens with “Seven Thieves”, which he wrote and produced, has another major assignment DOLORES MICHAELS on his 1960 agenda. It is “One Foot In Hell”, in CinemaScope and De Luxe Color. This one deals with a man who has dedicated himself to vengeance against an entire small town that he believes was directly responsible for his wife’s death. Alan Ladd and Don Murray share the co-starring male roles in this post-Civil War drama. Also in major roles are Dolores Michaels and Ken Scott. Ladd’s last appearance in a vehicle flying this com- pany’s banner was “Boy On A Dolphin.” Murray’s last part was an outdoor drama, “From Hell To Texas”. He made his film debut in this company’s “Bus Stop” and scored his outstanding triumph in “A Hatful Of Rain”. Murray plays an erstwhile highly respected and friendly man who becomes a merciless tyrant in his almost maniacal quest for revenge. Both Miss Michaels and Scott have been grow- ing in histrionic stature and box office significance with each succeeding assignment. In her most re- cent appearance, in “Five Gates To Hell”, Miss Michaels again gave convincing evidence of her versatility. In that explosive war drama, she played Athena who was in love with Scott. The latter por- trayed the American surgeon, Dr. Richter. Miss Michaels was born in Kansas City where her father was a professional baseball player. Her first stage appearance was with a road company of “Brigadoon”. From there she went to Summer stock and then television. Her test for and subsequently portrayal of a role in “Wayward Bus” won her a term contract with this company. In addition to that vehicle, Miss Michaels has co-starred with Pat Boone and Shirley Jones in “April Love”, in “Fraulein”, “The Fiend Who Walked The West” and opposite Richard Widmark in “Warlock”. Scott, like Miss Michaels, is a graduate of the studio’s Talent School. The 31-year-old, former Brooklynite has continuously labored for this com- pany since October of 1956 when he was placed under contract, after a talent scout spotted him on a television show. James Clark, who directed the unanimously ac- claimed “Dog Of Flanders”, is officiating in the same capacity on “One Foot In Hell”. Jill St. John, Margo Moore To Co-Star In “Live Wire” As this edition was going to press the studio announced assignments in “The Live Wire” for two other young stars: Jill St. John and Margo Moore, fresh from playing a co-starring part in “Wake Me When It’s Over”. Miss Moore, who until her assignment in the latter comedy was professionally known as Margo Warner, is a former New York model. However, there is an interesting story connected with the studio’s acquisition of her services. Several major studios had her under considera- tion, including 20th Century-Fox and Metro-Gold- wyn-Mayer, the front-runners. Our studio screen- tested her in New York, but did not sign her. MGM asked her to test. She did. MGM informed her that studio was interested. After several weeks of wait- ing, MGM asked her to report at its studio in California to sign a contract the following Monday. That same day. Chief Eastern Talent Scout Joseph Pincus phoned her to report, also the following Monday, at the Movietone studio in New York, for further tests. Margo explained she would be busy that day signing with Metro in California. Pincus relayed the information to production chief Buddy Adler who phoned back instructions to immediately sign her. Sunday she signed . . . and on Monday, instead of reporting to MGM, she arrived at the 20th Century-Fox Studios where Jerry Wald promptly assigned her the role of Susie Bell, the earthy, blatantly sexy, philandering wife, in “Hound Dog Man”. Miss Moore’s real name is Marguerite Guar- nerius. She is directly descended from the famous violin-making family of Cremona, Italy. She was educated at the University of Indiana. In 1953 Margo, who was born in Chicago, but raised in In- dianapolis, went to New York to try her hand at Broadway. To earn a living there, while waiting for Broadway to call, she turned to modeling. Even- tually, she was signed to be the “hard to curl” girl in the Toni commercials on the Arthur Godfrey Show. In 1954, along with another of this company’s new stars, Hope Lange, she became one of the runners-up in the “Miss Rhinegold” contest. Sub- sequently, she did more television commercials and TV acting. Glamorous Jill St. John, who will not reach her 20th birthday until August 19, was last co-starred in “The Remarkable Mr. Pennypacker” and “Holi- day For Lovers”. This is her second year under 20th Century-Fox contract. TWO OTHER STARS WHO SHINE IN “LIVE WIRE if MARGO MOORE J ILL ST. JOHN 74 FILMED WHERE IT HAPPENED An Expose Of •n Murder, Inc. Stuart Whitman-May Britt In Crime Syndicate Drama The Burt Balaban-Larry Joachim production of “Murder, Inc” should be one of the more widely discussed motion pictures of the year, if public reaction to the book by Burton B. Turkus and Sid Feder is any criterion. The New York Journal-American, typifying the opinion of newspaper and magazine critics generally, found the widely read book “gorier than fiction ... one that should be a ‘must’ with any advocate of law and order.” After many months, the producers came up with a treatment that leads them to believe their screenplay will have as profound an impact on its viewers as the book had on its readers. For one thing, it has for its scenic backgrounds the same locales in Brooklyn and Greater New York where the crime syndicate allegedly concentrated their operations, and where the Cinema- Scope picturization is set. m m STUART WHITMAN Stuart Whitman and May Britt have the leading roles in “Murder, Inc.”, that Stuart Rosenberg, one of television’s top directors, will megaphone. Whitman and Miss Britt play husband and wife. Whitman por- trays an innocent citizen who is trapped into doing the bidding of the nefarious crime syndicate. Whitman has become one of the more popular new male stars. This is a completely daring melodramatic expose of the most cold-blooded, murder-for-hire syndicate crime history has known. It was Turkus, who broke up the syndicate and succeeded in prosecuting its leaders. The picturization reveals the drama from the side of the law as seen through the eyes of former district attorney, Turkus, and also from the side of the criminal through the eyes of “Kid Twist” Reles, whose information enabled that fearless prosecutor to break up “Murder, Inc.” The syndicate had its headquarters in Brooklyn, but was allegedly equipped to kill whenever the price was right, anywhere! A present Old Folk’s Home plays the most sinister role in “Murder, Inc.” Now a serene center of relaxation and rest for the aged, the Coney Island home is the former Half Moon Hotel where “Kid Twist” allegedly fell to his death. Murder, Inc. , appeared as a book in 1951 and quickly rocketed into the best-seller class. Since then its publishers report having sold more than 5,000,000 copies of its hard-cover and paper-back editions. Before the filming script was finalized, Burt Balaban, son of Barney Balaban, President of Paramount I ictures, had two versions of the book written. One treatment was written by a lawyer, the second by a professional screenplay- wright. The two scripts were intermingled and then carefully scanned by a group £2126 6 30 o m 30 s ™ V - WR2BS2 v of attorneys to insure freedom from the possibility of libel suits from the still living persons mentioned in the book. Those who read the book will recall that its authors worked on the theory that “truth is stranger than fiction”. They state they based their story on police data never previously revealed to the public in the several years’ sensational, newspaper first-page reportage of a determined combination of law-enforcing authorities to expose “Murder, Inc.” and bring its members to justice. In outlining the picturization of “Murder, Inc.” to INS-UP Hollywood cor- respondent Louella Parsons, Balaban stated: “Because the story concerns its,elf with crime against criminals, within the underworld itself, rather than the public, we will be able to show these hoodlums in the proper light. When we show the vicious murders of notorious underworld leaders committed by this group of professional murder-for-hire syndicate, we will present them as they factually came about. The screen version of the book will show how incredibly brutal the hoodlums are in their dealings with each other.” DRAMA OF TEXAS RANGERS, OUTLAWS AND MURDEROUSLY CUNNING INDIANS The most ambitious outdoor drama this company has undertaken to produce in CinemaScope with De Luxe Color, “The Comancheros”, is now on the 1960 release schedule. Present plans provide for a late Fall release in the United States and Canada. David Weisbart has scheduled its filming to start immediately after he has completed “The Livewire”, Garson Kanin’s story. “The Comancheros” is based on the story by Clair Huffaker. He has also supplied the screenplay. The story takes place in Texas shortly after the Alamo. It is a two-fisted drama with a historic back- ground, for its hero was one of three Texas Rangers, (he was a fugitive from Louisiana) selected to in- vade Comanche Indians’ hideouts to put an end to their vicious raids that held up Congressional ac- tion on the Lone Star State’s eagerness to join the Union. Congress showed an inclination to favor Texas’ annexation petition if the Comanches could be sub- dued. It was obvious that a mysterious, cunning group of white men were behind the Comanches’ raids. These renegade whites were known as the Commancheros and lived somewhere in the wilder- ness of the Staked Plains. They reputedly fostered the murderous raids so the Comanches could bring them plunder. Disguised as fugitive criminals the Texas Rangers tricked the Comancheros into accepting them, learned their strength and eventually were instrumental in obliterating both the Indians and their white leaders. ‘The Comancheros” was originally a property that George (“Giant”) Stevens owned. However, because he is busy making preparations for the production and direction of the Todd-AO picturiza- tion of “The Greatest Story Ever Told”, he sold the screen rights to this company. A romance blossoms in the screenplay, despite its turbulent action. No definite cast assignment had been announced up to press-time, but the studio was negotiating with two major male stars to portray the roles of a Texas Ranger and Mississippi river-boat gambler. Weisbart expects to be ready to start production on “The Comancheros” early in June. 75 Outstanding In Creative Film-Making Autonomy In Exchange Operation Developing Better Merchandising Continued from page 6 Proud to represent the only company in the industry that has given its field representatives what amounts to virtually presidential authority in their terri- tories, the 38 managers are authorized to operate as though they are the personal proprietors of their branches. There is absolutely no Home Office interference, nor any “red-tape” which they must contend before making a decision. How completely they have justified the unprecedented confidence their President, Mr. Skouras, has displayed in their ability to successfully function under the territorially autonomous operating policy he put into effect last year is a fact with which their exhibitors are aware. Exercising all the perogatives that go with autonomous operation, these managers are dedicated to a customer service that entails more than the mere distribution of films. They are vested with exclusive authority to determine the territorial investments this company shall make in the exploitation of every release, and how that money shall be spent in their respective domains. To carry out territorial promotion policies on every feature attraction they have super- vision over their own seasoned exploitation, advertising and publicity managers. Civic-mindedness is a quality demanded of 20th Century-Fox branch managers. Hence, it was no sur- prise when branch manager Tom O. Me- Cleaster (above, ex- treme right) made news on the occasion of start of construc- tion work on the new Dallas branch. The building is conceded to be the most beau- tiful constructed by a film distributor and will be ready for occu- pancy this Summer. Pictured with Mr. McCleaster at the dedi- cation are (left to right): John Rowley, head of Rowley United Theatres; Wil- liam O’Donnell, Presi- dent of the Cinema Arts circuit; Raymond Willie, assistant gen- eral manager of Inter- state circuit, and Robert Thornton, mayor of Dallas. Something Entirely New: "The Three Murderesses” Continued from page 13 Marriage-Go-’Round” with Stanley Colbert. Stevens wrote “Marriage-Go-’Round”, a play in which Claudette Colbert and Charles Boyer have been co-starring for more than two years. Previously he authored two other Broadway plays, “The Cham- pagne Complex” with Polly Bergen, and “The Lovers” with Joanne Woodward. He has produced several films and can boast also a successful career as writer of television scripts, both comedy and dramatic. DAVID WEISBART : He associated himself with production in 1935 as a film editor. He ad- vanced to a producer’s status and turned out “Car- son City”, “Steel Jungle”, “Rebel Without A Cause”, “Between Heaven And Hell”, “Love Me Tender”, “April Love” and others. For 1960 he is scheduled to produce “The Livewires” and “The Coman- cheros”. RICHARD ZANUCK.: The son of Darryl Zanuck, this 25-year-old producer has spent all his working years in this industry. After discharge as a second lieutenant assigned to the Army Pictorial Service in New York, Richard joined his father as both a story and production assistant on “Island In The Sun and “The Sun Also Rises”. His first pro- duction, “Compulsion”, rated ori*e of the finer mo- tion pictures and box office triumphs of 1959. He will put the tentatively titled “Requiem For A Nun” in production in the Spring, for release later this year. Directorial "Who’s Who” • Other producers whose features this company ^ will release in 1960 include Betty E. Box, George • Maynard, Joseph Janni, Marcel Heilman, Maurice ^ Cowan, Robert B. Radnitz, Hubert Cornfield, George O’Hanlon, Paul Graetz, Robert McNaught, 9 and John Healy, and Jack Leewood. _ A virtual complete list of “who’s who in direc- w don” will be represented in the 1960-61 output. In- 4$ eluded in that roster are Joseph Mankiewicz, Henry Koster, Richard Fleischer, Blake Edwards, Henry ® Hathaway, Rouben Mamoulian, Carol Reed, Jack £ Cardiff, Walter Lang, Lewis Gilbert, Henry Levin, Robert Day, James B, Clark, Michel Boisrond, ® Ralph Thomas, Jack Lee, J. Lee Thompson, Michael £ McCarthy, Edward Cahn and Don Siegel. Six producers who also direct their 1960 attrac- ® tions include George Stevens, Elia Kazan, Mervyn g Le Roy, Mark Robson, Irwin Allen and Dick Powell. George Cukor, who, as already noted above, • is under contract in a dual capacity of producer and ^ director, is the director on Jerry Wald’s “Let’s Make Love”. # However, the directors’ lineup will expand as m preparations are finalized on future 1960-61 pro- ® ductions. £ The writers’ list also is one that stresses the magnitude of the 1960 attractions completed or ® scheduled for this year. In that list one finds the $ works of such eminent authors and playwrights as Phil Stong, William Faulkner, Meyer Levin, Irwin ® Shaw, William Saroyan, Frederick Wakeman, Henry £ Ceil, Howard Singer, J. D. Lawrence, C. S. Forester, Conan Doyle, Charles Williams, Ted Sherdeman, ® Jules Verne, Sydney Boehm, Vera Caspary, Alfred q H ayes, Joseph Mankiewicz, Norman Corwin, Stephen Vincent Benet, Terence Rattigan, Wendell • Mayes, Clifford Odets, William Bradford Huie, ^ Norman Krasna and others. Composers and lyricists include Cole Porter, # Richard Rodgers and Oscar Hammerstein II, Sammy ^ Cahn, Jimmy Van Heusen, Hugo Friedhofer, Cyril ® Mockridge, Lionel North, Alex North and others. # Under contract to the studio this year is an array of cinematographers who among them have % over the years earned 14 Academy Awards for out- standing color or black and white photography. ® Leon Shamroy, for example, won three: in 1943 £ with “Black Swan”, in 1945 with “Wilson”, and in 1946 with “Leave Her To Heaven”. ® Continued from page 27 their “quadrangle”, they suddenly learn that Julien is engaged and has, in fact, been so for a long time, to a South American heiress. Moreover, his mother is quite decided that he shall marry the Latin girl who comes equipped with social position and a complacent nature, an ideal situation for Julien. The three girls meet and decide on revenge. Julien drops in and is promptly stepped upon by them en masse. But, he escapes unscathed. That night each of the frustrated girls has a dream of the best way to do away with him. As a result, various murder weapons are discussed by them, but Agathe, whose parents own a drug store, convinces the others that poison is their best agent. While Helene keeps Julien busy, Agathe and Sabine break into his apartment and put the poison into a chocolate candy. Helene, whom Julien has found he truly loves, weakens when she is con- vinced by him of his love, and decides to prevent his murder. Even though the girls do not kill Julien, they are found out when the missing poison is reported to the police. They are arrested and hauled into court along with Julien’s abandoned South American fiancee who sought to shoot him after he announced their engagement was at an end because he loved Helene. Julien and Helene are married in a prison chapel as Agathe and Sabine watch from behind cell bars. The future takes on a brighter prospect for they will be released from jail in six months, free from the wiles of Julien, now a respectable married man. 76 TERENCE RATTIGAN PLAY AROUT CONCEALED LOVE O Mistress Mine CO-STARRING INGRID BERGMAN For several years this company has owned the screen rights to Terence Ratti- gan’s play, “O Mistress Mine”, patiently waiting for “the right players to be avail- able” before putting it on film. Now, the first of the “right players” has been signed, and the screenplay is scheduled to be filmed late in the Summer. As the reader probably has guessed by now, the great Academy Award actress, Ingrid Bergman, pictured below, will be one of at least five stars who will head the cast of the picturization, in CinemaScope with De Luxe, of Rattigan’s most popular play. Within the next several months the studio expects to have finalized current negotiations for the services of an international male star to appear opposite Miss Bergman, and two younger ones who, like their elders, will also be romantically, but more conventionally involved in the story. “O Mistress Mine” is a romantic drama dealing with complications that arise in the concealed love affair of a sophisticated widow and a distinguished English cabinet member separated from his wife. The widow’s young son, back home from school and from whom she had kept secret her affair, takes drastic means to break up the romance. But, in the end, is forced to the realization that he was indirectly the instigator of the unconventional alliance, and that his elders truly love each other. Alfred Lunt and Lynn Fontanne, the celebrated man-wife team, for five years co-starred in stage presentations of “O Mistress Mine”, not only on Broadway and major cities in the United States and Canada, but also in seven foreign lands. Critics incline to the conclusion that this internationally popular couple scored their outstanding triumph in “O Mistress Mine”. |g HNS ■ - ■ r ' ' ■ ; mmm mm ffifpflf ■ | s ■ " . INGRID BERGMAN SUSAN HAYWARD 'k. FOUR STORIES IN ONE Mountolive WITH A STELLAR CAST Certainly one of the more unusual entertainment creations the studio is preparing for 1960-6i is “Mountolive”. Four novels by Lawrence Durrell are combined in this CinemaScope production with De Luxe Color. Academy Award winner Susan Hayward (above) will be one of a galaxy of stars who will appear in this production that Walter Wanger will place before the cameras following completion of his “Cleopatra”. Mountolive” retains the basic plots and most of the characters in the f our novels. The story covers about ten years, before and during World War II, and an assorted array of people from several walks of life. The background extends from Portugal to Alexandria, with the latter colorful Egyptian city, most involved. In the carefree pre-war days aspiring, conspiring and, in some cases, ruthless government officials, political exiles, a writer and several teach- ers, along with their women, become involved in a maelstrom of pas- sion, greed, intrigue and duplicity. The screen merger of the four stories has already been completed, but no director has yet been assigned. In any case, “Mountolive” will occupy a high rating in the list of important, mass-appeal, star-rich motion pictures for domestic release in the 1960-61 period. 77 World A SENSATIONAL, SCIENCE-FICTION SPECTACLE BASED ON A. CONAN DOYLE’S FABULOUS STORY SET IN THE LEGENDARY "LOST CONTINENT” OF ATLANTIS DAVID HEDiSON MICHAEL RENNIE ORSON WELLES Another of the heftier entertainment events scheduled for public display this year is “The Lost World”, based on a novel by Arthur Conan Doyle, who is popularly known as the author of the “Sher- lock Holmes” stories. “The Lost World”, to be produced and directed by Irwin Allen, is a startling science-fiction adven- ture. Those who have read the screenplay incline to the opinion that the currently successful Jules Verne story, “Journey To The Center Of The Earth” is “tame” compared with the Arthur Conan Doyle drama. One of the finer casts of international stars as- sembled in some time headlines this CinemaScope production in De Luxe Color. It includes Clifton Webb, Fernando Lamas, Orson Welles, Jill St. John, Michael Rennie, David Hedison, Claude Rains and Robert Morley. Hedison and Miss St. John play the romantic leads. Hedison enacted the title role in “The Fly”. For Rennie this assignment means a return to the studio where he launched his American film career. Morley was last seen in “Around The World In 80 Days.” “The Lost World” dramatizes a jungle expedi- tion that leads a motley group of fortune-hunters, headline-seekers, scientists and others to an isolated plateau inhabited by pre-historic animals, savage aborigines and “missing link” ape-men. Members of the group, who survive, are radically changed by what they experienced and saw. A most important announcement from Allen pertains to the signing of Willis O’Brien, the great- est living authority in the creation of pre-historic monsters and enabling them to realistically move on film. In the basement of the old Imperial theatre in San Francisco, one day in 1915, the then young sculptor Willis O’Brien found a way to bring the monsters to screen life. His initial work was released under the title, “The Dinosaur And The Missing Link”. Thus, that day motion picture special effects came into being. Today, at 74, O’Brien is still ply- ing his trade, and is presently busy finalizing the special effects and trick work that will go into “The Lost World”. O’Brien has held magic in his hands most of his adult life. In 1919 he completed his second film, the first one in which un-real monsters were shown on the screen with people. It was called “The Ghost Of Slumber Mountain”, an immediate smash suc- cess. From “Ghost Of Slumber Mountain” O’Brien went on to start preparing and making tests for the first version of “The Lost World” which, like the present one, was based on the Arthur Conan Doyle fantasy-classic of the same name. Wallace Beery, Bessie Love and Lewis Stone starred in that one. Undoubtedly the foremost expert in his field, the quiet, grey-haired O’Brien has a list of credits too long to be included here. His was the skilled and imaginative hand that created the mighty “King Kong” and later “Son Of Kong.” And, it was the O’Brien genius that thrilled motion picture patrons of the period as they watched the spine- tingling “The Last Days Of Pompeii” unfold before them. “Mighty Joe Young” was another O’Brien product. O’Brien points out that the techniques he in- vented almost 45 years ago are still in use today, with practically no changes. He is convinced the pre-historic animals that will be seen in this Cinema- Scope and DeLuxe color version of “The Lost World” will be the most exciting, the most fright- ening ever put on film. As a sculptor, O’Brien, of course, studied anat- omy, but he has, over the past 45 years, became quite an expert in historical geology and paleontol- ogy as a result of the vast amount of research he has been called upon to do in creating hundreds of animals he has put on film over the years. Marriage-Go-Round 99 A VOLUPTUOUS BLONDE GUEST CREATES HAVOC IN A HAPPY HOUSEHOLD With his play, “The Marriage-Go-Round”, hav- ing completed its long run at the Plymouth theatre in New York, playwright Leslie Stevens is now de- voting himself completely to its picturization in CinemaScope with De Luxe Color. Scheduled to go before the cameras this Spring for release, in all probability, late next Summer, “The Marriage-Go-Round” rates one of the ex- hilarating events of 1960. An idea of its popularity as a play may be had from knowledge that it ran for 432 performances over a period of 54 weeks on Broadway. However, before settling down for the long run there, “The Marriage-Go-Round” had spent a year on a transcontinental tour that originated on the Pacific Coast and included about 20 major cities from there to New York. “The Marriage-Go-Round”, a Stevens-Colbert production, is “a gay and irridescent comedy”, as The New York Times’ great critic, Brook Atkinson, described it. The pace and tone of the story are droll and buoyant. The critics generally summed it as a “thoroughly delightful marital charade.” It concerns, mainly, three people: a middle- aged professor of anthropoligy ; his wife, dean of women at an up-State New York college, and a voluptuous blonde from Sweden. There is a fourth character, a language professor who has long been in love with the wife. Paul Deville, the professor, and his wife, pro- fessionally called Content Lowell, are happily mar- ried. Years before Prof. Deville, famed lecturer on cultural anthropology, and a Swedish professor had become intimate friends. Before his marriage, De- ville had occasion to often visit Prof. Sveg and his family, which included a daughter, who, even as a child, adored the American. As years passed, the child, Katrin, now a beau- tiful young woman, convinced herself she was in love with the professor for whom her father had great esteem and whom she had seen only in news- reels. Came a time when Prof. Sveg accepted an invitation from the Devilles to visit them. Out of the blue to the latter’s happy home came a young woman of extraordinary charm. She introduced her- self as Katrin, explaining that her father would arrive later. But, the Devilles were in for a shock, for Katrin frankly stated her reason for coming to stay with them ahead of her father: she wanted Prof. Deville to father her child. How she goes about trying to seduce the married man and how she upsets the peace and quiet of a learned couple’s life makes for a succession of events that provides an abnormal succession of hilarity. In fact, the uncommonly audacious young wom- an presses her case with a persistence where the situation becomes intolerable to a charming and intelligent wife who moved briskly through the crisis, at first with a dry sense of humor . . . and then outraged, she threatens to leave her husband. However, the problem is finally solved when the Devilles learn that Prof. Sveg had sent on his daugh- ter to personally inform them he could not make the trip. In the end, she finds herself with no other alternative but return home, a move the reconciles the Devilles. Up to press-time no cast assignments had been announced. Claudette Colbert and Charles Boyer co-starred as wife and husband in the play and Julie Newmar was featured as the scheming guest in the stage play. “The Marriage-Go-Round” was Leslie Stevens’ third play to reach Broadway. The others were “Champaign Complex” with Polly Bergen and “The Lovers” with Joanne Woodward. He was formerly associated with Orson Welles’ Mercury Theatre Players. He graduated from the Yale Drama School and subsequently the American Theatre Wing, be- ing tutored by such master craftsmen as Moss Lind- say, Robert Anderson and Moss Hart. Stevens has written for television and for Warner Brothers scripted “The Left Handed Gun” in which Paul Newman headlined. “The Marriage-Go-Round” could have continued playing on Broadway indefinitely, but both its co-stars. Miss Colbert and Charles Boyer, had other commitments contractually requiring their services at the beginning of this month. Incidentally, Stevens is the son of the late Admiral Leslie C. Stevens, author of the best- seller, “Russian Assignment”. 78 THE IDIOT “The Idiot”, based on what has been internation- ally accepted as Fyodor Dostpyvesky’s finest novel, is the first motion picture wholly produced in the Soviet Union to be domestically released by 20th Century-Fox. Its distribution is at the request of the U. S. State Department in connection with the lat- ter’s cultural exchange agreement with the U.S.S.R. Directed by Ivan Pyriev, who also wrote the screen- play, “The Idiot” features four leading Soviet Union stars: Yulia Borisova, Yuri Yakovliev, Nikita Podgorny and Leonid Parkhomenko. Dubbed in English, “The Idiot” concentrates on the experiences of a sorrowful young man, a rest- less prince seeking to better the sad plights of others, and a beautiful woman who, despite the con- stant deceptions of men, finds new hope in a lovable rebel struggling against the injustices he sees around him. St. Petersburg (now known as Petrograd)— the majestic, magnificent city that arose as if by magic amidst swamps and fogs, the superb creation of hu- man hands, a city of wonders, of ghosts and illu- sions— provides the background for “The Idiot.” This is the old St. Petersburg, with all its grandeur and poverty, with its luxurious palaces and squalid slums, where passions, good and evil, lurked in the shadows, and the life within it, European critics have said, “have been captured with heart and imagination.” In that St. Petersburg, which for centuries was one of the world’s great cities, lived impoverished Prince Myshkin who became “the idiot” in the eyes of friends and enemies alike because of his unshak- able sympathy and love for his fellowmen. Their troubles he viewed as his problems. When he met beautiful, but embittered Nastasya Filippovna, his one-man “crusade” took an uncompromising per- sistence, notwithstanding the fact that his closest friend and collaborator turned against him when both fell in love with her. In that St. Petersburg, too, Myshkin rises against petty and sordid characters, against the humiliation and desecrations of the unfortunates and weak, against a world of chaos whose mastery was mer- cilessly sought by despots bartering in conscience, honor and helpless people. Yuri Yakovliev TWO NEW STARS SHINE IN U.S.S.R. PRODUCTION Two new Russian stars make their debut on American screens in “The Idiot.” Above: Yuri Yakovliev who plays the title role, Prince Myshkin who is pauperized as the result of his untiring efforts against overwhelm- ing odds to relieve the lot of persecuted and starving people of St. Petersburg. Below (center) : Yuri Yakovliev portrays the beautiful, but embittered Nastasya, mistress of a wealthy and powerful nobleman. Other prin- cipals in this dramatic screenplay include Nikita Podgorny as Ganya, a ruthlessly ambitious, vain and paltry type; Leonid Parkhomenko as Parfen, Myshkin’s friend who becomes his enemy when both fall in love with Nastasya; Vera Pashennaya as a foolish and kind-hearted wife; Lyudmila Ivanova as Ganya’s straightforward sister; Vladimir Muravyov as an alcoholic; Leonid Parkomenko as Myshkin’s most dangerous antagonist; Nikolai Pashitnov as General Yepanchin; Klavdia Polovikovo as Ganya’s disillusioned mother, and Ivan Lyubeznov as a weak-willed army officer gone to seed. While Yuri Yakovliev makes his film debut in “The Idiot” he is an outstanding star of the Moscow stage. He is a graduate of Moscow’s famed Vakhtangov Theatre from which have come most of the leading stars of U.S.S.R. stage and screen. mmmi MMWMi I*™ Igll 111111 jHHBB iMHwM I 79 HEEDING PUBLIC AND EXHIBITION REQUEST A Sequel To”Blue Denim” Seldom in the annals of civilization has contem- porary youth had to cope with as many and complex problems as those with which today’s youngsters are wrestling. Their approaches to solutions vary radi- cally and, economists, as well as sociologists, con- tend, from seemingly day to day. But, this is not a youth seeking escape or delibe- rate evasion of its problems. This definitely was proved by the millions who saw “Blue Denim”, one of the more successful motion pictures of last year. The impact this picture has had on not only youth, but moviegoers of all ages, and particularly parents, is evidenced by several thousand letters received by its producer, Charles Brackett. No motion picture produced and publicly exhib- ited last year spurred such vocal and written com- mendation from people in all walks of life as did “Blue Denim.” Hundreds, in their letters, expressed an interest in knowing what happened to the pregnant girl and the ’teenager who rendered her in that condition, after their parents came to their rescue. This interest was indicated in the flinging of such questions as “what happened to the youngsters?”, “was it a per- manent solution their parents provided?”, “did the girl give birth to a healthy child?”, “how happy are they in their marriage?”, “how radically did their lives change, if there was a change?”, etc., etc. Certainly, no motion picture produced by this company has developed so much public interroga- tion regarding the future of its characters as has “Blue Denim.” Many leaders in youth welfare, including nation- ally celebrated social authorities, in lauding the studio for creating so moving a story about “nicer youngsters” and successfully “avoiding sensational- im in telling this story that some day had to be told”, have urged it to “follow through” on the further experiences of the two involved youngsters. Magazine writers and editorialists are among those who have influenced the production of a sequel to the picturization of the play by James Leo Herlihy and William Noble. Parents Magazine, which gave rare, high praise to “Blue Denim”, was among the publications that pointed up the wisdom of a sequel, “explored with the same dignity and insight that went into the treatment of the problem of decent young people whose early sex drives get them into trouble.” It was after due consideration, many discussions and consultations with exhibitors who queried hun- dreds of patrons who had seen “Blue Denim”, that Buddy Adler and producer Brackett agreed to film a sequel for release this year. No title has yet been selected for the sequel. However, Carol Lynley and Brandon de Wilde will re-enact the roles they played in “Blue Denim”. MacDonald Carey and Marsha Hunt will again portray Miss Lynley’s parents. A treatment of the story approach for the sequel is now being written. Filming is scheduled to start in the Spring. Brackett is hoping to have the sequel completed for domestic release in September. MARSHA HUNT MACDONALD CAREY Memory of the pictured foursome's performances in "Blue Denim", superbly acted, in fact, by the entire cast, has much to do with the tremendously numerous public and exhibitors' requests that the studio create a sequel to that extremely popular 1959 screenplay. Such a sequel is being written. 80 EXTRA! BRIGITTE BARDOT IN HER FIRST ENGLISH-SPEAKING PICTURE Brigitte Bardot (right) has joined, the galaxy of international stars who will appear in CinemaScope-De Luxe Color productions this company has scheduled for 1960-61. Her enrollment in the stellar group is significant because she will speak English for the first time on the screen in “Fool’s Paradise”, which is currently being filmed simultaneously in English and French versions. It is being produced in France where the story takes place. Not only Brigitte, but co-starring with her will be her husband, Jacques Charrier. It is a Jacques Hoitfeld production. “Fool’s Paradise” is based on the novel, “Le Grand Dadais” by Bertrand Poirot- Delpech. It is a dramatic story of a weak and spoiled young man who, after carrying on a sizzling romance with a strip-teaser, spurns the latter for a rich, aristocratic girl. “Fool’s Paradise” will be distributed by this company through its releasing branches everywhere, excepting in continental Europe. No need here to even briefly report on the sensational career of Brigitte Bardot, for it is well known to virtually all moviegoers, newspaper and magazine readers here and abroad. She has appeared in many pictures in the past five years, but her most successful, according to trade belief and critics, was “And God Created Women”. All the “B-B” pictures released to date have been in French, with dubbed in English dialogue. Her young husband, Jacques Charrier, is also an internationally known screen figure, for Bardot admirers will remember him as her co-starring mate in several of her pictures. Moreover, he personally also has obtained a substantial volume of publicity in newspapers and movie “fan” publications in the United States and Canada. ' Oi BRIGITTE BARDOT FROM A BEST-SELLER ABOUT A RUTHLESS EMPIRE-BUILDER WHO IS FORCED TO BOW TO AN IRONIC FATE WHEN HIS LUST FOR GREATER WEALTH AND POWER BOOMERANGS This Spring producer-director Dick Powell ex- pects *to start production on his picturization, in CinemaScope with De Luxe story, of “Big River, Big Man”, a project he has been preparing for more than a year. Based on the novel by Thomas Duncan, this outdoor saga is the costliest motion picture Dick Powell will have made under 20th Century- Fox sponsorship. • Presently, Powell is busy testing candidates for the major roles of which there are 17 in “Big River, Big Man”. However, this picture will also introduce a feminine graduate from the talent school whom production experts are convinced is fully qualified to portray the scheming, sex-hungry Esperanza, daughter of a Prussian immigrant. There are, how- ever, four other women in the life of Jim Buch- master, a bull cook in a Wisconsin logging camp. But Buchmaster, ruthless and ambitious, knew he would one day be a man of unlimited power. Women, succumbing to his charm and drive, helped him. In his determination to make his weight felt, he exploited virtually every important person with whom he came in contact. He became an expert in “double-crossing” as a means of short-cutting his way to power. One woman, by whom he was soon to have a child, committed suicide when he married Esperanza. But, the suicide was to develop in him a hatred for Esperanza who killed her new-born son in fear that the infant would stand between her and Buchmaster. In time, Buchmaster was well on his way to realizing his dreams. He bought timberland and expanded in every direction: railroad, toll bridges, gas company, bank and newspapers. He now had his empire. Came the Civil War and Buchmaster, profiteering, became many millions of dollars richer. A dominant force in business, Buchmaster, in later years, aspired to high Congressional office. A former chore boy for Buchmaster was his op- ponent. He was a crusader against all that the em- pire-builder represented. Again Buchmaster’s ruthlessness came into play, for he revealed the fact that his opponent had fathered an illegitimate child in his youthful past. But, even that charge failed to stop his rival’s poli- tical rise, for, shortly after, Buchmaster lost his life in a forest fire that devoured his private rail- road car that had been shunted to a spur line through some of the timberland he owned. By then the voters had forgotten about the illegitimacy charge and the only man ever to dare oppose the “big man” was sent to Congress by a landslide vote. GOODBYE, CHARLIE BASED ON GEORGE AXELROD’S PLAY ABOUT A "HEEL” KILLED BY A JEALOUS HUSBAND, AND RETURNS TO EARTH AS A BEAUTIFUL GIRL! George Cukor, who is directing Jerry Wald’s “Let’s Make Love”, has been assigned the produc- tion reins on a picturization of “Goodbye Charlie”. This will be Cukor’s first responsibility as a pro- ducer for this company. He will prepare for its filming after completion of “Let’s Make Love”. Thus, “Goodbye Charlie” will be either a late 1960 or an early 1961 attraction in CinemaScope. Marilyn Monroe is being offered the title role in the adaptation of George Axelrod’s play in which Lauren Bacall has been starring at the Lyceum theatre in New York. Before settling on Broadway “Goodbye Charlie” filled engagements in Pitts- burgh, Detroit, Cleveland, Baltimore and Phila- delphia. “Goodbye Charlie” is about a rouge called Charlie who is killed by an irate husband after the latter learns that among the modern Don Juan’s conquests his wife was included. As Charlie’s punishment he is compelled to re- turn to earth as “the most beautiful girl in the world”. As the seductive young woman, also named Charlie, she encounters various girls with whom, as a man, she has had affairs. However, she falls in love with a young man, who had been “her” best friend and with whom she, as a playboy, had often gone roistering. The action takes place in a California beach house where the “heel” was shot, and where he returns as a beautiful woman. George Axelrod is no stranger to exhibitors and patrons of 20th Century-Fox vehicles, for two of his plays were brought to the CinemaScope screens by this company. They were “The Seven Year Itch” in which Miss Monroe starred with Tom Ewell, and “Will Success Spoil Rock Hunter?” which marked the motion picture debut of Tony Randall. Axelrod also produced “A Visit To A Small Planet” on Broadway. A native New Yorker, his first job in show business was as an assistant stage manager for Grace George in a revival of “Kind Lady”. He has reportedly written about 500 radio and television scripts. As a novelist he authored “Beggar’s Choice” and “Blackmail”. He not only wrote the screenplay for “The Seven Y'ear Itch”, but also for “Phfft” for which he provided the original story. Q1 JOHN BROWN’S BODY Pictured on this page are woodcuts from newspapers of 1859, depicting various events connected with John Brown’s sensation- al, but disastrous raid on a Union arsenal at Harpers Ferry. Above: Brown and a few followers, who constituted his "army” of 22, capture Harpers Ferry. This happened on October 16, 1859. But, the venture, ill-planned, was doomed to failure and collapsed when Washington rushed soldiers to the scene. . .soldiers who, ironically enough, were under the personal command of the man who was to lead the South’s military forces against the North in the war that broke out less than two years later: Gen. Robert E. Lee. Above: Brown is pictured in a firehouse, standing over his two dead sons. Seventeen days, Nov. 2, after his historic, attemp- ted raid, Brown was placed on Federal trial, charged with treason. He was brilliantly, but vainly defended by a young lawyer from Boston, George Hoyt. During the trial, John Brown lay on a cot (above), but, after being con- victed, he rose for a last speech, excoriating slavery. The entire resources of this company, plus the largest investment it has made in a single motion picture are involved in Buddy Adler’s determination to make his per- sonal Todd-AO production, in De Luxe Color, of the tentatively titled “John Brown’s Body”, based on Stephen Vincent Benet’s poem. Mr. Adler’s and screenplaywright-director Joseph Mankiewicz’s objective is to make this the great motion picture of all time. In the story Mr. Mankiewicz is writing there are 28 speaking roles, and all of them will be acted by major box office per- sonalities. While Stephen Vincent Benet’s poem concerned the ill-fated raid by John Brown and his band of 22 of the United States arsenal at Harpers Ferry on Oct. 18, 1859, the Todd-AO screenplay not only unfolds a great love story against a wonderful back- ground, but it also will have tremendous action. One particular sequence, the charge on Bull Run, is designed to be the most exciting episode cinematically dramatized. Moreover, producer Adler and director Mankiewicz have taken unparalleled steps to completely eliminate the element of chance in creating a motion picture designed to make box office history. To bring about such a certainty even before Mankiewicz gives his first “Camera!”, Sindlinger & Company, Inc., an organization of analysts well known to the trade and public, was engaged to make a nation-wide survey. Exhibitors and public were asked to give their opinions about the story, the title and other ques- tions pertaining to John Brown, the Harpers Ferry incident, etc., etc. Mankiewicz and a camera crew last Fall filmed actual re-creations of John Brown’s raid at Har- pers Ferry in West Virginia. Filming of this background material took place during that little town’s centennial celebration of the raid of the abolitionist and his little band. Part of the footage Mankiewicz plans using in a sequence dramatizing the defeat of the raid and the arrest of John Brown by a company of United States Marines that, interestingly enough, was under the personal command of the then Col. Robert E. Lee whom Washington sent to the small town at the com- fluence of the Shenandoah and Potomac rivers and who, ironically enough, as general, was to lead the South in the armed conflict with the North. With the subject matter acknowledgedly having greater human depth than “Gone With The Wind”, “John Brown’s Body” is scheduled to go before the cameras this Summer. Its world pre- miere is planned for early 1961, which will mark the 100th anniversary of the outbreak of the war between the States (on April 12, 1861). There is agreement among historians that John Brown and his abolitionists were an inflam- matory influence in the period before armed conflict started. The Todd-AO production will deal not only with that period, but also on developments after the beginning of the Civil War. Brown lived variously in Ohio, Pennsylvania, Massachusetts and New York State, but failing at such trades as sheep raising, wool trading and farming. In 1854 he went to Kansas to join five of his 20 children, whom he had by two wives, in the war over the question whether Kansas Territory was to be admitted to the Union as a free or slavery State. His first major achievement, history reports, was in that conflict, the Pottawatomie massacre (May 25, 1956) in which he is alleged to have had a hand, along with other anti-slavery fighters, in killing five pro-slavery adherents. This, history records, was to avenge the killing of five Free-Staters. Accounts of John Brown’s activities state he conceived the idea of setting up, somewhere in the mountains of Virginia, an independent State for fugitive slaves, with its own government and its own armed force. A so-called “Secret Six”, respectable northeastern abolitionists, is recorded in history as hav- ing backed and financed Brown and his men in making possible the attack on the arsenal at Harpers Ferry. It was a dismal failure, for they were forced to surrender, after two of the would-be raiders were killed, and Brown himself seriously wounded. The raid’s survivors were speedily tried on the charge of treason, found guilty and hanged at Charlestown (now in West Virginia), on Dec. 2, 1859. IN TODD-AO, IT IS DESIGNED TO BE SCREEN’S MOST SPECTACULAR DRAMA Sentenced to be hanged, Brown is pictured above ascending the scaffold. However, before his execution, facing civil and military authorities he prophetically ex- claimed ” slavery will be purged away in blood”. Though his raid failed, Brown’s passionate sacrifice dramatized the struggle that issued in the subsequent Civil war. 82 U. S. MARINES SURPRISE AND CAPTURE “OLD OSAWATOMIC” IN THE ENGINE HOUSE. RODGERS’ AND HAMMERSTEIN’S State Fair Star-Packed, Super-Musical From Phil Stong’s Novel Unquestionably one of the major events of this entertainment year, 1960, will be Richard Rodgers’ and Oscar Hammerstein’s “State Fair”. Unlike the two prior picturizations this company made of Phil Stong’s best-selling novel. Buddy Adler stresses the fact that this CinemaScope-De Luxe Color super-special will not be a musical. “However”, Mr. Adler announces, “ ‘State Fair’ will have plenty of songs, new songs, by Rodgers and Hammerstein.” Present plans schedule “State Fair” for domestic release late this year, with actual filming to start late in the Spring. For the past six years the studio has been beseiged by exhibitors with requests to make “State Fair”, the feeling being that this is one of the “best family stories ever filmed”. “State Fair” is no stranger to the most famous song-writing team in show busi- ness. The 1945 version was adapted for the screen by Hammerstein and featured the songs of Rodgers and Hammerstein. Among those tunes were “It Might As Well Be Spring”, which won an Academy Award as the best song of that year, and “It’s A Grand Night For Singing”. The first picturization of “State Fair” was made by this company in 1933 and co-starred the late Will Rogers, Janet Gaynor, Lew Ayres, Frank Craven and others. The 1945 musicalization starred Jeanne Crain, Dana Andrews, Dick Haymes, Vivian Blaine, Charles Winninger, Donald Meek and Frank McHugh. “State FaitT has been allotted a budget comparable with that which went into the making of MI of this company’s top musicals. It will feature an all-star cast, with Pat Boone, who is currently enjoying the greatest success of his entertainment career in “Journey To The Center Of The Earth” as well as with his weekly ABC-TV network show, the only personality assigned a role to date. Significant of the vast scale on which “State Fair” will be made is the fact that it will be produced by Charles Brackett and directed by Walter Lang. This is a reunion for the pair, for they collaborated in similar capacities in the production of another Rodgers and Hammerstein musical, “The King And I.” However, it is interesting to note that Walter Lang directed the 1945 “State Fair”. He can boast having directed an incomparably long list of musical successes for this company, including “Tin Pan Alley”, “Coney Island”, “When My Baby Smiles At Me”, “On The Riviera”, “With A Song In My Heart”, “Call Me Madam” and “There’s No Business Like Show Business”. His latest major achievement is the Todd-AO production of “Can Can”. “R & H” Symbol Of Musical Supremacy 66 66 Although Richard Rodgers and Os- car Hammerstein II (right) have been a music and lyrics team for only 17 years, they have been friends since they attended Columbia University. Rodgers’ successful composing began in 1925 when, with the late Lorenz Hart as lyricist, he wrote the music for “The Garrick Gaieties.” Then, also with Hart, he wrote such stage suc- cesses as “Dearest Enemy”, “The Girl Friend”, “Connecticut Yankee”, “Pre- sent Arms”, “Spring Is Here”, “Jumbo”, On Your Toes”, “Babes In Arms”, I Married An Angel”, “Pal Joey” and others. Prior to collaborating with Rodgers, Hammerstein had written lyrics for a fabulous succession of hits. With Otto Harbach, Rudolph Friml, Jerome Kern and Sigmund Romberg, as co-authors and composers, Hammerstein wrote such major stage musical triumphs as Wildfiower”, “Rose Marie”, “Sunny”, The Desert Song”, “Show Boat”, New Moon”, “Music In The Air” and “Sweet Adeline”. Rodgers and Hammerstein initiated their collaboration in 1943, and “R & H” went on to be acknowledged the most extraordinary, singular, success- ful and respected team in the musical theatre: the symbol of undisputed supremacy in contemporary musical entertainment. Their first collaboration, “Okla- homa !”, revolutionized the American 66 66 66 1 RICHARD RODGERS AND musical, with the emphasis on story and the songs an integral part of de- velopment of the story. Thereafter, they turned out “Carou- sel”, “South Pacific”, “The King And I”, “Me And Juliet”, “Pipe Dream”. Currently they have two SRO succes- ses simultaneously playing on Broad- OSCAR HAMMERSTEIN II way: “Flower Drum Song” at the St. James, and “The Sound Of Music” at the Lunt-Fontaine theatre. Besides, “R & H” produced “I Re- member Mama”, “John Loves Mary”, “Annie Get Your Gun”, “Happy Birth- # day”, “John Loves Mary”, the 1947 re- vival of “Show Boat” and “Happy Time” as well as other stage produc- tions of their own creation. Among the numerous honors be- stowed upon them, space here permits mention only of their Pulitzer Prizes for “Oklahoma!” and “South Pacific”. No other combination of writers in the theatre or literature can boast hav- ing twice won a Pulitzer Prize. In 1957 they collaborated on a CBS- TV network “spectacular”, titled “Cin- derella”. In 1952 Rodgers wrote the score for NBC-TV’s “Victory At Sea”. Hammerstein began his film collabo- ration career with “Viennese Nights”. Subsequently, he was associated as col- laborator, lyricist or librettist, on many motion pictures, including “Swing High, Swing Low”, “Children Of Dreams”, “One Night In The Tropics”, “The Desert Song” and “Broadway Rhythm.” 83 President Eisenhower is pictured chatting with Edmund Reek (above, left), Vice-President and producer of Movietone News, Inc., after he joined the world’s and industry leaders in con- gratulating the latter on completion of 40 years of service with 20th Cen- tury-Fox Film Corporation: four ex- citing decades ... the roaring ’20’s, the jittery ’30’s, the world upheaved ’40’s, through the cold war of the ’50’s; 40 years that saw motion pictures leaving the so-called “silent era”, taking on sound tracks to give voice to the screen, to CinemaScope to give it new dimensions . . . and meanwhile, take an active role in television. Right : Mr. Reek as he looked at press-time. MOVIETONE NEWS Still Rates No. 7 The World Over The global leadership of Movietone News, produced by Movietonews, Inc. is today more pronounced than ever. More than 22,000 theatres throughout the world today regularly feature Movie- tone News. It still rates No. 1 in screen circulation in the domestic market. There are many reasons for this cir- culation leadership of what is univer- sally acknowledged to be, qualitatively and in alertness, the finest newsreel of the industry. For one thing, Movietone News maintains a larger global camera staff than all the other newsreels com- bined. It regularly turns out editions in 37 foreign languages and dialects. Movietone News continues featuring stellar commentators. The domestic edi- tion’s stars not only narrate the news, but also figure in the CinemaScope short Sub- jects output. These stars include the No. 1 sports newscaster, Mel Allen who for more than a quarter of a century has been “the voice of the New York Yankees” and for many years has won distinction for his broadcasting and television reportage of baseball’s world series and major inter- collegiate football contests; Joe King, Joe Wills and Vyvyan Donner. Fox News came into being in 1919 and made it debut as Movietone News at New York’s Embassy theatre on Aug. 3, 1927. Today, Movietonews, Inc., employing about 2,000 people, full and part time, operates from New York, London, Paris, Sydney and Munich. 84 MEL ALLEN DRAMATIC MIRROR OF EXCITING CONTEMPORARY TIMES Short Subjects in Production on the 12 CinemaScope short sub- e jects for domestic release this year is well under way. In fact, Jack Kuhne, their production director, stated at press-time, that that program was more than 609c completed. All will be in De Luxe Color. One Movietone-CinemaScope short subject team, headed by Dick Kuhne, is circling the globe, “shooting” material for featurettes that will be bookable later this year. This crew is currently in Australia and New Zealand. Out of that stay will come a short subject on the “bush men”. From New Zealand, it will head eastward to Singa- pore, Thailand, Burma, In- dia, Pakistan, Turkey and on to Europe. In each country the team will ponder long enough to film material for incorporation later into a short subject. The journey is scheduled to be completed next October, which will mean the crew will have been away 11 months. Completed at press-time for 1960 release were these CinemaScope short subjects: “State 50”, and “Navy Angels”. Com- pleted, but only presently with tentative titles are a golf story wherein golf notable Sam Snead gives a lesson on how to successfully negotiate the trickiest shots; the self-explanatory “Japan Today”, and “Sails Ahoy”. Additional 1960 CinemaScope short subjects, currently being edited, are: one on the training of Navy frogmen, filmed in the Virgin Islands; “Operation Little Bear”, dwelling on missile equipped troops stationed in Alaska; another on the startlingly increasing outpouring of refugees into Hongkong; “Down The Road To America”, an Americana story on wheels, and a subject on Manila today. 18 NEW CARTOONS AND SIX RE-RELEASES More Terrytoons This Year JACK KUHNE TERRYTOONS* MIGHTY MOUSE & CO f Instead of 12 new Terrytoons in color, as has been the practice in the past, this year, there will be 18, according to announce- ment by William Weiss, Vice-President and General Manager of CBS-Terrytoons, Inc. In all, domestically, 24 Terrytoons will be in release this year. An even dozen of those new Terrytoons will be in CinemaScope with color. Six, also in color will be in all-purpose 2-D dimensions. Additionally, this year there will be six All-Purpose Terrytoon re-releases, all in color. Increase the new Terrytoons for 1960 from 12 to 16 entails a production budget boost of about 20%. The first 12 Terrytoon releases for this year have been completed. The first six CinemaScope Terrytoons are: (5001-3), “Hide And Go Sidney”; (5002-1), “The Mis- understood Giant”; (5003-9), “Foofle’s Pic- nic”; (5004-7), “The Famous Ride”; (5005-4), “Tusk, Tusk”, and (5006-2), “Hearts And Glowers”. The first three new 2-D Terrytoons com- pleted and labelled are: (5021-1), “Thousand Smile Check-Up”; (5022-9), “The Tiger King”, Aesop’s Fable, and (5023-9), “Mint Men”. Initial three Topper re-releases are: (5031-0), “How To Relax”; (5032-8), “The Helpless Hippo”, and (5033-6) “Nonsense Newsreel”. the most tempestuous a*i forbidden of the world's great love storms, . , flam across 3,000 years f L OJif^wmjv v ww vi^^ C-aa 85 A PRIVATE’S AFFAIR: Comedy, with songs. About a draftee and his buddies who endeavor to extract him from his mistaken marriage to a middle- -aged U. S. Secretary of Defense. Co-starring Sal Minero, Christine Carere, Gary Crosby, Terry Moore, Barrie Coe and Barbara Eden. David Weis- bart, producer. Raoul Walsh, director. 92 minutes. CinemaScope. De Luxe Color. MAN WHO UNDERSTOOD WOMEN: Ro- mantic comedy about a “has-been” director who “comes back” when he “discovers” and makes a star out of a young girl, marries her, but, because of his neglect, sends her into the arms of another man. Co-starring Henry Fonda, Leslie Caron, Cesare Danova and others. Nunnally Johnson, producer- director. 105 minutes. CinemaScope. De Luxe Color. Pictured on this and the following page are scenes from 1959 CinemaScope fea- ture releases. These are at- tractions still playable in many subsequent - run and small-town situations. Currently some of the 1959 fourth quarter’s features are enjoying a greater patronage than when first released. This lucrative situation has re- sulted from word of mouth praise. Since its release last year “The Diary Of Anne Frank” has won increasing, universal praise. In the United States and Canada, as well as in foreign lands, it continues winning awards. “Journey To The Center Of The Earth” continues one of the major box office suc- cesses. It has established new patronage and box office marks in numerous first-run situations. In smaller situa- tions it is not only matching the downtown key runs, but developing extended engage- ments. “South Pacific”, which set up a long string of records as a Todd-AO road-show and at 35MM pre-release engage- ments, will go into general release in the United States within the next few months. THE BEST OF EVERYTHING: Romantic drama. Multiple expose of the trials and tribula- tions of career-minded girls and their quests for husbands. Co-starring Hope Lange, Stephen Boyd, Suzy Parker, Martha Hyer, Brian Ahern, Robert Evans, and Louis Jourdan and Joan Crawford. Jerry Wald, producer. Jean Negulesco, director. 121 minutes. CinemaScope. De Luxe Color. OREGON TRIAL: Melodramatic outdoor story about a group of Midwesterners who join a trek to the U. S. Northwest and their adventures on that historic journey. Co-starring Fred MacMurray, Nina Shipman, Gloria Talbot, Henry Hull and others. Produced by Richard Einfeld. Directed by Gene Fowler, Jr. 86 minutes. In CinemaScope with De Luxe Color. 86 OTHER FEATURE ATTRACTIONS PLATARLE NOW Re-issue combinations are proving, generally, exceptionally popular offerings in the United States. “Bernardine” and “Love Me Tender”, in which Pat Boone and Elvis Presley, respectively, made their screen dehuts, is a combination that has met with widespread public patronage. “Violent Saturday” and “Teenage Rebel” is another that has been gaining in exhibitor and patronage favor. These re-issue combinations have become standard box office bonanzas: “Love Is A Many Splendored Thing” with William Holden and Jennifer Jones, and “Three Coins In The Fountain”; “Tobacco Road” and “Banjo On My Knee”, the latter co-starring Joel McCrea, Walter Brennan and Barbara Stanwyck; “I’d Climb The Highest Mountain”, with Susan Hayward and William Lundigan, and “Man Called Peter” with Richard Todd and Jean Peters, and “Tobacco Road” with John Steinbeck’s “The Grapes Of Wrath”, co-starring Henry Fonda and others. Other bookable CinemaScope feature attractions in the 1959 backlog, but not pictured on these pages, are “The Inn Of The Sixth Happiness” with Ingrid Bergman, Curt Jurgens and Robert Donat; “The Sheriff Of Fractured Jaw” with Kenneth More, Jayne Mansfield and Henry Hull; “Rally ’Round The Flag, Boys” with Joanne Woodward, Paul Newman, Joan Collins and Jack Carson; “I, Mobster” with Steve Cochran, Lita Milan and Robert Strauss; “These Thousand Hills” with Don Murray, Richard Egan, Lee Remick and Patricia Owens; “The Remarkable Mr. Pennypacker” with Clifton Webb, Dorothy Mc- Guire, Charles Coburn, Jill St. John and Ron Ely; “The Sound And The Fury” with Yul Brynner, Joanne Woodward, Margaret Leighton, Stuart Whitman and Ethel Waters, and “Warlock” with Richard Widmark, Henry Fonda, Anthony Qumn and Dorothy Malone. Also bookable are “Smiley Gets A Gun”, “Intent To Kill”, “Alaska Passage”, “The Lone Texan”, “The Sad Horse”, “The Little Savage”, “Here Come The Jets”, “Miracle Of The Hills”, “Alligator People”, “Return Of The Fly” and “Blood And Steel”. COMPULSION : One of the widely praised pic- tures of last year. Based on Meyer Levin’s novel about two young, wealthy Chicago “thrill-killers”. Co-starring Dean Stockwell and Bradford Dillman as the murderers, Orson Welles as their attorney and Diane Varsi, with E. G. Marshall and Martin Milner. Richard Zanuck, producer. Richard Flei- scher, director. CinemaScope, black and white. BLUE DENIM: One of the more successful and a widely discussed screenplays, based on a play about a teenage girl and boy faced with the prob- lem of pregnancy. Co-starring Carol Lynley, Bran- don de Wilde, Warren Berringer, MacDonald Carey and Marsha Hunt. Charles Brackett, producer. Philip Dunne, director. 89 minutes. In Cinema- Scope and black and white. WOMAN OBSESSED : Dramatic story of a young, widowed mother, her son and their involvement with a lonely backwoodsman. Based on a story by Sydney Boehm. Co-starring Academy Award win- ner, Susan Hayward; Stephen Boyd and Barbara Nichols, with Dennis Holmes, Theodore Bikel, Ken Scott and others. Sydney Boehm, produced. Henry Hathaway, director. CinemaScope. De Luxe Color. FIVE GATES TO HELL: Melodramatic story of five United Nations Army nurses who bravely, but futilely resist the sadistic attacks of a blood- thirsty group of enemy soldiers. Co-starring Patricia Owens, Dolores Michaels, Neville Brand and others. Produced and directed by James Clavell. 98 minutes. In CinemaScope and black and white. HOUND DOG MAN: Rural romantic story about a young farm hand who comes to the con- clusion that the time has come when he must learn life’s values on his own. Co-starring Stuart Whit- man, Carol Lynley, Arthur O’Connell and Dodie Stevens, and introducing Fabian. Jerry Wald, pro- ducer. Don Siegel, director. With songs. 87 minutes. CinemaScope. De Luxe Color. BELOVED INFIDEL: Autobiographical ro- mantic screenplay concerning the love affair of newspaper Hollywood columnist Sheilah Graham and the famed American novelist, F. Scott Fitz- gerald. Co-starring Gregory Peck, Deborah Kerr and Eddie Albert. With Philip Ober, Ken Scott and others. A Jerry Wald production. Henry King, di- rector. 123 minutes. In CinemaScope, with De Luxe Color. HOLIDAY FOR LOVERS: Comedy about the adventures and pitfalls a Massachusetts family en- counters in trying to stop a suspected wedding of their daughter to a much older South American architect. Co-starring Clifton Webb, Jane Wyman, Jill St. John, Carol Lynley, Paul Henreid, Gary Crosby and Nico Minardos. David Weisbart, pro- ducer. Henry Levin, director. CinemaScope. De Luxe Color. BLUE ANGEL: Dramatic story about an erst- while respected professor, who, after reprimanding his students for patronizing a dive featuring a cheap singer, succumbs to her wiles and almost wrecks his life when he marries her. Co-starring Curt Jur- gens, May Britt and Theodore Bikel. Jack Cum- mings, producer. Edward Dymtryk, director. 107 minutes. CinemaScope. De Luxe Color. JOURNEY TO THE CENTER OF THE EARTH: A spectacular and fabulous science-fiction story based on a story by Jules Verne about four people who successfully fight their way to the center of the earth. Co-starring Pat Boone, James Mason, Arlene Dahl, Diane Baker and Peter Ronson. A Jerry Wald production. Henry Levin, director. In CinemaScope, with De Luxe Color. 87 Directory Of Autonomous Branch Offices In The United States And Dominion Of Canada branch Albany N- ^ • Atlanta 3, ^ a * n 7 Ma s s . Boston i/. m Buffalo 3, N. ^ • » 1 N. 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Election Day Nov. 11 - Veterans’ Day NOTE: (") Holidays so d< Kin., OA OC TAC Annltmi-r-sm \A/nnl/ pqI na+ir» Scanned from the collection of Karl Thiede Coordinated by the Media History Digital Library www.mediahistoryproj ect.org