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Opinions on Current Productions
^EATURE REVIEWS
Symbol O denotes color; c CincmoScope; V Visto Vision; f' Superscepe; (J)
Ponovision; ® Regalscope; ® Techreiromo. For story synopsis on eooh picture, see reverse sid*.
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Walk on the Wild Side A
Ratio;
1.851
Drama
Columbia (619) 114 Minutes Rel. Feb. '62
Two always-dependable veteran screen personalities,
Barbara Stanwyck and Anne Baxter, plus a vibrant newcomer,
Jane Fonda, and Laurence Harvey and Capucine, in
sure top marquee lure for this powerful and daring drama of
the reamy side of life in the deep south, a la Tennessee
Williams. While the reali::tic bordello backgrounds and generally
sordid atmosphere make it "adult fare," as Columbia's
ads proclaim, Charles K. Feldman's production is strong
entertainment generally, always excepting family audiences.
Tautly directed by Edward liraytryk, from the sensational
novel by Nelson Algren, the film is a fascinating portrait of
life in the honky-tonks of New Orleans in the 1930s, when vice
and corruption held sway. The various characters who defy
conventions use amazingly frank dialog, cruelty and lust are
rampant and the tale has a necessarily tragic ending. But
the acting is outstanding, particularly that of Miss Stanwyck,
as the ruthless, pcssesive owner of a house of assignation.
Miss Baxter, in the picture's most sympathetic role of a lovelorn
Mexican girl, and Miss Fonda, as a trampish youngster
who goes wrong. All three merit Academy Award consideration.
Harvey, as a Texas drifter, is first-rate. Elmer Bernstein
contributes a haunting title song and musical score-
Laurence Harvey, Barbara Stanwyck, Capucine, Anne
Baxter, Jane Fond^. Donald Barry, loanna Moore.
C'_____,__4_ O T
Sergeants 3 t 2.35.1 ^ ©
Ratio: Comedy-Western
United Artists (6213) 112 Minutes ReL Feb. '62
Producer Frank Sinatra and all the members of his wellpublicized
"clan." Dean Martin, Peter Lcrwford, Sammy Davis
jr. and Joey Bishop, have switched the familiar "Gunga Din"
plot to a western setting in order to give tongue-in-cheek portrayals
in this mad-and-merry adventure film. The five stars,
plus the first film appearance of the three younger Crosby
boys, Phillip, Dennis and Lindsay, in non-singing roles, will
guarantee strong grosses generally. Although the romantic
interest is slight and Ruta Lee is too glamorous for the oldwest
setting, Sinatra and Lawford will attract women fans
the males will thoroughly enjoy it anyway. Of the stars,
Davis jr. is a standout and creates genuine sympathy for a
bugle-playing ex-slave who attaches himself to the sergeants
as they track down Indians. Sinatra and Lawford also play
their roles seriously, except for an occasional gleam in their
eyes or a too-clever retort, but director John Sturges has permitted
Martin to take over and clown his way through his
every scene—he is never even slightly believable. While
there is a great deal of slapstick, much of the action is
exciting and the rousing battle scene finale is
a realistic one.
Technicolor-Panavision backgrounds are magnificent.
Howard W. Koch is li.-ted as executive producer,
Frank Sinatra, Dean Martin, Sammy Davis jr., Peter Lawford,
Joey Bisho.), Henry Silva, Hula Lee, Buddy Lester.
,om-
A View From the Bridge A
Ratio: Drama
1.85-1
Continental 110 Minutes Rel. Feb. '62
Eai As a slice of raw meal, dramatically compelling and
,i ; splendidly acted, this picturization of Arthur Miller's Broadway
stage hit, produced by Paul Graetz in Brooklyn locations
and in a French studio, has rarely been equalled. Compared
to the memorable "On the Waterfront" of 1954, this
lacks only Brando's marquee lure, although Maureen Stapleton
and Carol Lawrence are stage luminarie.^; and Raf
Vallone, one of Italy's top film stars, is currently in "El Cid"
and will be familiar to all followers o! foreign imports. This
cannot fail to chalk up long runs in art theatres and (as in
New York) will be a strong entry lor the regular first runs or
the better neighborhoods. The lilm's excessive violence and
olf-beat theme tounching on incest and homosexuality, restricts
it to adults. Strikingly photographed against drab
backgrounds ol the Brooklyn docks and grubby sireets, the
Norman Rosten screenplay has been tautly directed by Sidney
Lumet so that the Italian characters are absolutely
authentic and the spectator seems to feel their innermost
thoughts. Startling as are the story's developments the film
is always in good taste. Vallone is tremendously moving and
lorceful as the tortured longshoreman with an unnatural regard
lor his niece.
Raf Vallone, Maureen Stapleton, Morris Carnovsky, Carol
Lawrence, Jean Sorel, Raymond Pellegrin.
Make Mine a Double F Ratio:
1.85-1
Comedy
Ellis Films 86 Minutes Rel. Feb. '62
Great good iun here, very much in the time-honored tradition
ol rousing boxollice successes Irom across the seas.
This comedy teams some of the londly remembered faces of
the Peter Rogers "Carry On" series with a most engaging
young man, Brian Rix, in some mad carryings-on against
the otherwise grim background of World War II. The basic
premise—a poor excuse for a soldier is pressed into urgent
top-secret assignment, only to prove flamboyantly heroic
,usin has been employed to varying degrees of success since the
.,1^ late hostilities, but rarely with such consummate skill. Rix
brings a bounce, on ebulliency relreshing to behold in a
dual role, while Liz Eraser, best-recalled Irom the Peter
Sellers' romp, "Two-Way Stretch," and Leslie Phillips, the
woman-conscious chap of the Rogers series, bring up spirited
featured support. Cecil Parker, William Hartnell, Hattie
Jacques and other competent talents irom the British comedygeared
studios are also very much present and contributing
significantly to the hilarious pace. The John Chapman
screenplay has been accorded superb effects by producer
David Henley and director Darcy Conyers.
Brian Rix, Cecil Parker, William Hartnell, Leslie Phillips.
John Welsh, Liz Fraser, Hattie Jacques.
Deadly Duo
United Artists (6212)
F
Ratio:
1.85-1
Drama
69 Minutes Rel. Feb. '62
One of the better programmers in the long series being
produced by Robert E. Kent for UA release, this has an
interest-holding murder plot, based on a novel by Richard
Jessup, and three players familiar to devotees of action films
or TV. Morcia Henderson, who plays the contrasting roles of
twin sisters, one a sweet brunette, the other a scheming
blonde, was featured in "Naked Alibi" and in the "Dear
Phoebe" TV series; the capable and personable Craig Hill
has been in many minor pictures and Robert Lowery, former
lead in action programmers, has added weight and a
mustache but does well as a suave villain. Another asset is
the Acapulco backgrounds, with brief shots of the diving
boys. It all adds up to good supporting fare, the only purpose
for which it v/-as made. Opening with an explosive shot of a
crashing racing car, the story gets right down to business
as a down-on-his luck lawyer is hired by a wealthy woman
io "buy" her grandson from the daughter-in-law she disapproves
of. This leads to an attempted murder, a bit of
suspense and even a dash of romance, but director Reginald
LeBorg has tied together all the loose ends for a too-sudden
happy ending. Produced by Harvard Film Corp.
Craig HilL Marcia Henderson, Robert Lowery, Dayton Lummis,
Irene Tedrow, Carlos Romero, David Renard, Peter Oliphant.
tick-
?,000,
^N
Some Like It Cool A Ratio:
1.85-1
Novelty
©
Janus Films 61 Minutes Rel. Feb. '62
Strictly novelty entertainment—from lade-in to fade-out
this can anticipate absorbed interest in situations virith
patronage known to like the off-beat attraction. As far as
booking the feature into the regular-run houses, however,
the film buyer should be fully aware of local prudery, since
the verbal opposition may well be long and loud. The undraped
human form is the prime subject, with the cameras
dwelling at length at world-famous nudist colonies, although
producer Adrienne Fancey and director-writer Michael
Winner do manage to convey a semblance of dramatic
continuity in a girl's initial opposition to casting aside
modesty in the sunshine only to be eventually lured over
to the other side of the long-standing argument. Acting demands,
as such, are rather light, the thespians in the main
seemingly aware of the very novel premise put forth in
Winner's shooting script. Miss Thalia Vickers is the leading
lemme and a "looker." Eastman Color captures the general
atmosphere of the nudist camps rather enticingly, and there's
a suitable accompanying musical score by Jackie Brown and
Cy Payne. Boxoffice performance probably will compare
favorably to like attractions in the past.
Thalia Vickers, Julie Wilson, Mark Roland, Douglas Muir.
Ttie revi«w9 on theae pages may be filed for future reference in any of ttie follovring woys: (1) Id any standord three-ring
loose-leaf binder; (2) indtyiducity, by company, in any iton dard 3xS card index file; or (3) in the BOXOFFICE PICTURE
GUIDE three-ring, pocket-size binder. The latter. Including a year's supply of booking and doily business record sheets,
may be obtained from Associated PubNcotions, 825 Van Brunt Blvd., Kansas City 24, Mo., for $1.00, postage paid.
2602 BOXOFFICE BookinGuide :: Feb. 5. 1962 2601