Boxoffice-08.01.1960

2446 BOXOFFICE BookinGuide Aug. 1, 1960 2445
Opinions on Current Productions
Symbol ® denotes color; @ CinemoScope; (¥ Vistovision; ^i Superscope; iK> Noturon
Feature reviews
Regolscope; ^T' Techniromo. For story synopsis ch picture, sec reverse side
J
The Time Machine
•C Ratio:
MGM (9) 103 Minutes
1.85-1 O
Rel. Aug. '60
•"
Producer-director George Pal, the grcmddaddy of sciencefiction
films, herein convincingly demonstrates that he has
lost nothing of the mastery that made memorably popular
and financially cuccessful hits of his earlier entries ("War
of the Worlds," etc.) in the science-fiction field. His celluloid
adaptation of H. G. Wells' frightening and sometimes
prophetic tome of nearly a century ago gifts the screen
with a fascinating, exciting photoplay that is uncomparably
superior to the scores oi pictures of the same general theme
that have been avalanched upon the public during the past
decade. That the feature will play to enthusiastic, capacity
audiences appears a certainty. It possesses sufficient of
the spine-freezing ingredients to more than satisfy the seekers
of goose-pimples—and, as past performances have
proven, they are legion-—and in addition has all of the click
production values, including effectively employed Metrocolor,
indicated by its unstinting budget and distinguished literary
genesis. While the cast lists no red-hot names, performances—most
especially those contributed by Rod Taylor
and a pulchritudinous and shapely newcomer, Yvette
Mimieux—are praiseworthy. In short, the parcel of cinema
proves that Pal and the late Wells have no peers.
Rod Taylor, Alan Young, Yvette Mimieux, Sebastian
Cabot, Tom Helmore.
The Day They Robbed the Bank
of England
"'""^
^^^'^
cnme Drama
MGM (19) 84 Minutes Rel. July '60
The popularity currently being enjoyed by photoplays
treating with crime should assure this British-made Summit
Film production satisfactory boxoffice profits in those theatres
electing to play it. It has a suspense-filled plot, action and
a touch of romance, all of which combine to give the viewer
an hour and 25 minutes of absorbing screenfare. Top asset
of the offering is the authentic backgrounds which give the
audience a first-hand, inside look into the historical Bonk
of England and a knowledge of the elaborate system by
which Her Majesty's "cash box" of gold bullion is protected.
The cast is short on marquee value as concerns American
audiences since all performers are British with the exception
of Aldo Ray. All perform convincingly, however, and Ray is
strong in the starring role. Particularly outstanding in feature
roles are Peter O'Toole, whose handsome looks and histrionic
ability make his portrayal of the Lieutenant of Her
Majesty's guards believable, and Elizabeth Sellars, who
provides the love interest as Roy's sweetheart. Direction by
John Guillermin is taut and smoothly paced. Jules Buck
produced.
Aldo Roy, Elizabeth Sellars, Peter O'Toole, Hugh Griffith,
Kieron Moore, Albert Sharpe, Joseph Tomlety, Wolf Frees.
The Trials of Oscar Wilde A
Drama
Technirama
©
Warwick Films 128 Minutes Rel.
The second British-made feature dealing with the talented
and notorious Oscar Wilde, this Warwick Films presentation
is splendidly photographed in Technirama-Technicolor with
two names with considerable marquee value in the U. S.
and is thus in almost every way superior to the black-andwhite
Vantage production which has Robert Morley's magnificent
portrayal as its outstanding asset. As produced by
Harold Huth and directed by Ken Hughes from his own
screenplay, this second film, which opened in New York
only a week later, delves more deeply into Wilde's private
life with his wife and family and makes his unsavory "affair"
with the completely selfish and petulant young Lord
Alfred Douglas almost understandable. The picture, with its
lavish period settings and costumes, is a brilliant re-creation
of London's high life at the turn of the century. Peter
Finch, by clever padding and photography, manages to suggest
the portly Wilde admirably and he gives a moving and
sensitive portrayal throughout. James Mason is less effective
than Ralph Richaixdson as the queen's counsel at Wilde's
trial but he and Finch, who scored in "The Nun's Story,"
insure boxoffice draw,
Peter Finch, James Mason, Yvonne MitchelL Nigel
Patrick, John Fraser, Lionel Jeffries, Maxine Audley.
Studs Lonigan
United Artists ( )
F
Ratio:
1.85-1
103 Minutes ReL
Proper handling of : everal good exploitation features
should serve to happily complement Philip Yordan's un
usually fine production of James T. Farrell's all-time bestseller
and result in handsome profits for showmen who book
the film. While the conditions that Farrell depicted in his
story of the emotional problems of a boy growing up in the
midst of the wild and roaring 20s aren't as sensational today
as they were when the book was first published, they serve
admirably to mirror the attitude of life that prevailed at the
time. Production elements are of considerable value
throughout, among them a stirring musical score by Gerrald
Goldsmith, excellent photography that maintains the
mood of the era through muted lens and blackout editing,
and an. overall perceptive directorial approach by Irving
Lerner. All of it is based on Yordan's own intelligent script
which provides a firm basis for the other fine work.
Christopher Knight makes an auspicious major film bow
in the title role. He looks like star material and could well
benefit the film as the focal point of a heavy exploitation
campaign, with support from Frank Gorshin and pretty
Venetia Stevenson, as well as Jack Kruschen, hot now from
his hit work in; "The Apartment."
Christopher Knight, Frank Gorshin, 'Venetia Stevenson,
Carolyn Craig, Jay C. FUppen, Helen Westcott.
Why Must I Die? A "g';" '""^'""'
American-Int'I (504) 90 Minutes ReL June '60
This may very well evolve as the biggest grosser in the
still-young American International organization's history. It
contains just about any anticipated element in the topical,
general-appeal genre that a showmanship-wise exhibitor
can ask for in these days of tremendously increased competition
for the leisure-time dollar. With Terry Moore and Debra
Paget, two of the more competent younger actresses on the
American scene, portraying the lives of two death-doomed
girls on the fringe of show business and smalltime crime,
the 'Viscount-Terry Moore attraction meticulously details
their tragic paths to the electric chair. Miss Moore is cost
as a singer. Miss Paget as a safe cracker, and when Miss
Moore's father and boy friend foil to fulfill long-mouthed
promises of luxury. Miss Moore goes back to nightclub
singing. But the boy friend comes back into her life, forces
her to accompany him on a criminal spree, and in the
process she is accused of murder. Productionwise, this AIP
release has been accorded first-rate surroundings, aided
immeasurably by a hard-hitting script credited to George
W. Waters and Richard Bernstein, the latter also functioning
as producer. The veteran Roy Del Ruth handled the directorial
details and it's a top-calibre job he's come up with too.
Terry Moore, Debra Paget, Bert Freed, Julie Reding.
Lionel Ames, Richard Le Pore, Selette Cole, Phil Harvey.
Oscar Wilde
Four City Enterprises
A
'^ Ratio:
1.85-1
96 Minutes Rel.
One of the two British-made films dealing with Oscar
Wilde produced simultaneously and shortly to be released in
the U. S. at the some time, this Vantage Production made by
William Kirby is in black-and-white and is less lavish pictorially
than "The Trials of Oscar Wilde" (produced by
Warwick Films in Super Technirama 70) but it has the distinct
advantages of having Robert Morley, one of Britain's
finest actors, who recreates his magnificent stage portrayal
of the great playwright, in the title role, plus another
standout performance by Ralph Richardson, as the ruthless
defense counsel at Wilde's sensational trial. Although the
subject matter, dealing with Wilde's "unnatural" relations
with Lord Alfred Douglas, would never have been attempted
on the screen a few years ago and is strictly adult in nature,
the picture should be a strong draw in the art houses and in
metropolitan centers, where Morley, Richcfrdson and Phyllis
Calvert have marquee draw with class patrons. As directed
by Gregory Ratoff and written for the screen by Jo Eisinger
from the play by Leslie and Sewell Stokes, the film confines
itself to c few indoor sets. But Morley's shatteringly effective
breakdown during his courtroom castigation by Richardson
is tremendous drama.
Robert Morley, Sir Ralph Richardson, Phyllis Calvert,
John Neville, Dennis Price, Alexander Knox.
, for $1.00, postage paid.
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