•WLM R E V I E W S PfoRIETT W e d n e s d a y , M a r c h 2 0 , 1 9 6 S

The Party (PANAVISION-COLOR)

Limp comedy with Peter Sell-era as a disaster-prone party guest. Blake Edwards' pic over-emphasizes visual gags. Spotty b.o. in special situa­tions.

Hollywood, March 15. United Artists release of a Mirisch

presentation, produced and directed by Blake Edwards. Stars Peter Sellers. Screenplay, Edwards, Tom Waldman, Frank Waldman, based on an Edwards story; camera (DeLuxe Color), Lucien Ballard: editor, Ralph Winters; music, Henry Mancini; song lyric, Don Black; production design, Fernando Carrere; sound, Robert Martin; asst. director, Mickey McCardle. Reviewed at Directors Guild of America, L.A., March 15, '68. Running Time, 88 MINS. Hrundi V. Bakshi Peter Sellers Michele Monet Claudine Lbnget Rosalind Dunphy Marge Champion Butler Steve Franken Alice Clutterbuck Fay McKenzie Fred Clutterbuck J. Edward McKinley Princess Helena Sharron Kimberly Wyoming Bill Kelso Denny Miller C. S. Divot Gavin MacLeod

main, a laugh-getter only to the pimply sub-teener and the cloddish adult: what to do when all avail­able bathrooms a r e in use. This dubious crude gag is developed for at least 12 minutes, and, in its unfolding, ruins the introduction of the sole poptune, by Mancini with Don Black lyrics. Titled "Nothing to Lose," and sung by Miss Longet, it isn't that much to begin with, but with Sellers cross­ing his legs in the background, it is worse.

Other technical credits, partic­ularly the femme costumes by An­gela Alexander and men's ward­robe, by Wes Jeffries, are top-notch. Murj.

L'Ecnne Des Jours (Spray of the Days)

(FBENCH-COLOR-SCOPE)

All the charm of two-reel com­edy, as well as all the resulting tedium when the concept is dis­tended to 10 reels, is evident in "The Party." Peter Sellers stars as a bumbling actor from India, acci-dently invited to a "Hollywood" party. The one-joke script, told in laudable, if unsuccessful, at tempt to emulate silent nix technique, is dotted with comedy ranging from drawing-room repartee to. literal­ly, bathroom vulgarity. Blake Ed­wards produced, quite handsomely, and directed, quite lethargically, his original story for The Mirisch Corp. The offbeat film, with b.o. prospects to match, seems best suited for United Artists release in special situations.

What is reported to have been only a 63-page script was written by Edwards with Tom and Frank Waldman. Under Edwards' indie banner of Geoffrey Prods., in part­nership with Mirisch, film is the third teaming of Edwards and Sellers. Ken Wales again serves as associate producer, and Henry Mancini encores as composer.

Sellers is a disaster-prone for­eign thesp, who, in an amusing eight-minute prolog to titles, fouls up an important Bengal Lancer-type film location. His outraged producer, Gavin MacLeod, black­balls him to studio chief J, Ed­ward McKinley, but, in a mixup, Sellers gets invited to a party at McKinley's home. Production de­signer Fernando Carrere has done an outstanding job in creating, on the one set used, a super-gauge house of sliding floors, pools, cen­tralized controls and bizarre t rap­pings.

Besides Sellers, most prominent thesps in final cut are Claudine Longet, the romantic interest who Is likeable in the Leslie Caron tra­dition, who also sings in frail voice the single tune; and Steve Fran-ken, a tipsy butler. Franken gets much exposure, a lot of it quite good, but as with the entire film, eventually it all becomes a big yawn.

Marge Champion, as a profes­sional clubwoman, Fay McKenzie as the befuddled hostess, Sharron Kimberly, a European princess on the canape circuit, Denny Miller, an oater star, Carol Wayne, a boozy sexpot, Timothy Scott, a swishy hairburner, and Elianne Nadeau, a model called "Wiggy," are among the large supporting cast of party guests. Many character names are on the cutesy side, but, soft-pedalled (or absent) as they are in the telling, comedy impact thereof is nil.

Sellers is a comedy craftsman, no doubt of that, but herein, once the mise en scene is established, there is no place to go. Edwards' direction is lazy—static medium shots abound — and resembles photographed vaude acts. Lack of zesty editing puts an overall dam­per on entire pic. A climactic scene, in which the house is filled with soap suds ("Mister Roberts" style) does not communicate to an audi­ence, which, after the first reel, has given up hope that the early potential will ever materialize.

The attempt was made to em­phasize the visual. It might have worked with snappy cross-cutting and sofe teleblurb lensing gim­micks, but it doesn't, as filmed through Lucien Ballard's pre­dominantly, obediently, and im­mobile Panavision-DeLuxe Color camera. Ralph Winters executed the editing to just over 98 min­utes but pic seems much longer.

The latterday new freedom of the screen permits exploitation of a gag that has been, and will re -

Paris, March 19. Rank release of Chaumiane-SEPIC pro­

duction. Stars Marie-France Pisier, Jac­ques Perrin, Samy Krey, Alexandra Stew­art; features Bernard Fresson, Sacha Pitoeff, Claude Pieplu. Directed uy Charles Belmont. Screenplay, Pierre Pel-egri, Philippe Dumarcey, Belmont; from book by Boris Viail; camera (Eastman-color), Jean-Jacques Rochut; editor Jean Revel. Previewed in Paris. Running Time, 110 MINS. Eiise Marie-France Pisier Colin Jacques Perrin Partre Samy Frey Isis Alexandra Stewart Nicolas Bernard Fresson Druggist Sacha Pitoeff Doctor Claude Piep.u Cloe Anne Brunet

Boris Vian was the spokesman for the brief but influential days of Saint Germain-Des-Pres in the early fifties, which spawned many new talents, and backed some brief anarchic flings before they settled down. Vian died about 10 years ago but has lately had a re-evalu­ation discovery and one of his first books is here brought conscienti­ously, and perhaps too literally, to film by newcomer director-actor Charles Belmont.

It appears curiously dated and with an anarchic spirit more geared for cabaret sketches than a full length film. I t tries to send up cult authors, here mainly St. Germain Pied Piper Jean-Paul Sartre, middle class conservatism, militar­ism and most handed down notions. But underneath is a sentimentality and some surrealistic touches about love at first sight and unusual juxtapositions of everyday objects in strange surroundings. But poetics are missing and this be­comes disjointed, with characters rarely explored, though disappear­ing and re-appearing.

I t is all fairly quaint ra ther than probing and shows that the whole era was more a fad than a truly viable ar t movement. Preciosity is also there as a young innocent, Jacques Perrin, broods about life and love with his trusty servant, Bernard Fresson, while their friend, a fanatic about collecting articles and books of a writer, Samy Frey, sacrifices love for buy­ing mementos of his hero, be it a pipe, suspenders, etc.

When Perrin finds a young girl, It is love and marriage. But she is like a flower and soon dies. Fres­son becomes the lover of a banker 's daughter and the collector disap­pears on some humanistic mission inspired by his cult writer. His girl kills the writer and Perr in steals his beloved's body to go off somewhere with it. Players have youth and freshness and the direc­tion courageously tries to find a poetry, meaning and depth in all this surface cleverness and sym­bolism.

But it all appears too mannered in spite of some witty inventive­ness in a piano that creates cock­tails as music is played on it, tender love scenes and fresh playing by a group of fine young actors. It may have some chances here where its allusions would be clearer while mainly specialized and perhaps uni­versity use is its best bet for for­eign chances. But it would need hard sell, careful labeling and placement for best results.

Fragile satire is a difficult theme, handled with obvious sincer­ity here but without being able to find the right contemporary ring or true re-creation of a time to give it a more universal tang. But Charles Belmont does show a com­mendable, perhaps too slavish, fidelity to his source and the players are charming with nice color and good production backing. I t just misses, which is a disaster area for this kind of film. - h ' <

Mosk.

The Female (Setenta Veces Siete)

(ARGENTINE) This turns out to be Leo-

poldo Torre Nilsson's 6-year-old "Seventy Times Seventy," pic which gave Argentine sex-ploiter star Isabel Sarli her sole chance to work with a "serious" director. Though late to U.S. market, under monicker "The Female" it seems to be running neck-and-neck with Audubon's "Car­men, Baby" for title of the biggest sex-art grosser since "I , a Woman," on the basis of 40-odd engagements since it was put into release at Christmas. U.S. distrib Cam­bist Films has made some slight cuts and has added Some brief nude footage. Run­ning time is now 85 minutes, as opposed to 89 when it was reviewed by Mosk. in May 30 1962 VARIETY from the Can­nes Film Festival.

"Elemental tale is treated with a knowing imagery to make for a deceptively ad­venturous and revealingly d r a m a t i c tale," reviewer wrote. "This looms as a defi­nite bet for the U.S. . . . Direc­tor Nilsson has given this a controlled visual unity and shows, a solid outlook . . . Isabel Sarli's impassive face is well used."

T h e O n e a n d O n l y , G e n u i n e , O r i g i n a l

F a m i l y B a n d (SONGS—COLOR)

Overly -contrived m u s i c a l which misses its mark; not up to Disney standards. Deals with political race between Grover Cleveland and Benja­min Harrison so has some Presidential y e a r allusion value.

overdose of politics by Brennan — Grandpa — a rather cantankerous old coot constantly spoiling for an argument but 100% American to the core, believing in free speech . . . as long as it's Democratic-slanted. Some additional value may also accrue from the songs by Richard M. and Robert B. Sher­man, but none of these is particularly outstanding.

Brennan becomes s o m e w h a t tedious and Buddy Ebsen and Jane t Blair have little opportunity for more than walkon parts. Lesley Ann Warren as the eldest daughter and John Davidson, a young publisher infused with the future of the Dakota Territory, provide the romantic element and both are in for several songs. The children are numerous and so is the sup­porting cast of townspeople.

Michael O'Herlihy had a herculean task in directing, but script was against him. Technical departments, as usual with a Dis­ney film, are expertly executed.

Whit.

Grazie, Tia (Thank You, Aunt)

(ITALIAN)

Rome, March 19. Cineriz release of Enzo Doria produc­

tion. Stars Lisa Gastoni, Lou Castel and Gabriele Ferzetti; features Luisella De Santis. Directed by Salvatore Semperi from original story and screenplay by Semperi and Sergio Bazzini. Camera, Aldo Scavardo; art director, Mechia Mad-dalena; music, Enzo Morricone. At ANICA Screening Room, Rome. Running Time, 96 MINS. Les Lisa Gastoni Alvise Lou Castel Serafino Gabriele Ferzetti

Portrait of t h i e h o (Chieko-Sho)

(JAPANESE—COLOR)

Exquisitely beautiful Japanese film, a current Oscar nominee. Ideal for discriminating situa­tions.

Hollywood, March 15. Buena Vista release of Walt Disney

production, produced by Bill Anderson. Stars Walter Brennan, Buddy Ebsen, Lesley Ann Warren, John Davidson, Janet Blair; features the Bower children, Wally Cox, Richard Deacon. Directed by Mi­chael O'Herlihy. Screen story-screenplay, Lowell S. Hawley; based on book, "Bebrasks, 1888," by Laura Bower Van Nuys; camera (Technicolor), Frank Phil­lips; music, Richard M. and Robert B. Sherman; art direction, Carroll Clark, Herman Allen Blumenthal; editor, Cotton Warburton; asst. director, Paul L. Cam­eron; sound, Harold Lewis. Reviewed at Disney Studios, March 14, '68. Running Time, 110 MINS. Grandpa Bower Walter Brennan Papa Bower Buddy Ebsen Joe Carder John Davidson Alice Bower Lesley Ann Warren Mama Bower Janet Blair Sidney Bower Kurt Russell Ernie Stubbins Steve Harmon Charlie Wrenn Richard Deacon Wampler Wally Cox Lulu Bower Debbie Smith Mayo Bower Bobby Riha Nettie Bower Smitty Wordes Rose Bower Heidi Rook Quinn Bower John Walmsley Laura Bower Pamelyn Ferdin Frank John Craig Henry White William Woodson

With such a title and bearing the Walt Disney trademark, t h i s musical (filmed after the death of the producer) should have caught all the warmth, humanness and nostalgia inherent in its pro­claimed theme. Instead, it is an overly-contrived f e a t u r e which soon forgets its promise and premise and turns instead to a political mishmash of events which has little novelty. It should have fair appeal for the family trade, where the Disney name counts, but lacks the ingredients of a top Dis­ney product.

Based upon an autobiography of Laura Bower Van Nuys, of Rapid City, S.D., one of the musical fami­ly of eight children w h o homesteaded in the Dakota Ter­ritory during the 1880's, actually the Bill Anderson production focuses more on the grandfather, played by Walter Brennan, than on the family itself and its music. The Lowel S. Hawley screen story and screenplay centers on Brennan, a hardcore Democrat while the rest of his family are Republicans, becoming embroiled in t h e presidential battle between Grover Cleveland (D., up for re-election) and Benjamin Harrison (R) after the family, also consisting of his son and daughter-in-law (parents of the eight) , have migrated from their Nebraska farm to the Da-kotas.

A point in pic's favor is its release in the current Presidential year, where smart exploitation may draw a parallel with the race between the incumbent Cleveland and Harrison in the film. Spec­tator, however, is handed an

Influence of Marco Bellocdhio's "Fist In His Pocket" Is rarely ab­sent in Salvatore Semperi 's auspi­cious film-author debut with "Thank You, Aunt." The troubled atmosphere of provincial seclusion, an invailiid protagonist, tragic in­evitability and mounting tension to a point of almost malignant taufcness are elements that Sem-peri emulates with surprising va­lidity for a beginer in his early twenties.

Semperi also draws from Belloc-chio's "China is Near"—particular­ly the political nuances of rabid, far-left extremism and the psycho­pathic destructiveness of a limited sector of youth, for added shock effects. "Thank You, Aunt" is a dev-astatingly bleak appraisal of man­kind that emerges from a downbealt but absorbing human tragedy of impotence, frustrated incest aind suicidal solitude.

Wheeldhaired wiith a disorder that defies diagnosis, Alvise (Lou Castel) is consigned to his aunt (Lisa Gastoni) a femme doctor in he r middle thirties. Though long am invalid, the young mam uses every mischevious device and fine-ly-colculated cruelty to wrest Lea from a man whom she has lived out-of-wedlock for years.

Excitement of the grotesque re­lationship between Lea and Alvise presses on all her passion points, a development matched by a rising frenzy in the boy to subjugate his aunt mercilessly and completely— with some sick, desperate hope his victimization of the woman will help him pass the block of sexual impotency. The eerie ritual, how­ever, even at peak tension leaves him sterile. His final act is suicide with Lea forced to play the accom­plice.

At tempt is made to explain Al-vise's far-out conduct by his rejec­tion of social reality. His mayor depression stimuli are stuffy radi­cals, the war in Vietnam, the intol­erable emptiness of his own affluent environment and the spiritual deg­radation he believes most normal people carry in them. Regardles,. <*f Semperi 's thesis, however, Alvise ends up much more a psychopath thiain a rebel extremist.

Lisa Gastomd's performameie is spendiid. Role is particularly taxing, demanding a believable dissolution of well-established mental and psy­chological defenses. Castel impres­sively sustains the macabre mocd aiight up to the fatal injection. Gab-riele Ferzetti is also first-rate as am over-confident leftwing intellec­tual whose dulM platitudes cover his own comfortable adjustment to a hostile society.

Aldo Soavarda's black-amd-white lensing plays a vital role in catch­ing provincial backdrop and mental mood of the picture. Music by Enzo Monridone is equally effec­tive. Production resourcefulness provides » lush mounlting for low-budgeter.

"Thank You, Aunt" is a solid arthousa feature arid film fest con-

I tender. Werb.

Hollywood, March 13. Shochiku Co. production and release.

Stars Tetsuro Tamba, Shima Iwashtta. Directed by Noboru Nakamura. Screen­play, Minoru Hirose, Nakamura; based on novel by Haruo Sato; camera (East-mancolor), Hiroshi Takemura; art direc­tion, Tatsuo Homada; music, Masaru Sato. Reviewed at Kabuki Theatre, Los Angeles, March 13, '68. Running Time, 125 MINS.

Kotaro Takamura Tetsuro Tamba Chieko Shima Iwashita Tsubaki Eiji Okada Koun Takamura Takamura Sasaki Hoshu Jin Nakayama Kazuko Yoke Minamida

"Portrai t of Chieko," U.S. Os­car nominee for this year's best foreign language film and true-life story of Kotaro Takamura, one of Japan's foremost sculptors and poets, is a tender love story of moving proportions. As a piece of dramatic art its mood is al­most poetic. Beautifully develop­ed and enacted and directed with rare skill, picture, an ar t form it­self in color photography, is rich in the attr ibutes of Japanese pic­ture-making which in the pa«t have made certains films from that country so memorable.

Screenplay by Noboru Nakam­ura, who also directs, and Minoru Hirose, based upon the novel by Harou Sato, is inclined toward leisureliness in building to the tragedy that overtakes the artist as his wife, Chieko, slowly be­comes mad. I t is proper in this case, however, and if anything the film benefits by this approach, typical of Nipponese films which lean toward beauty ra ther than straightforward narration. ,

Takamura's poetry, wri t ten to his ailing wife, frequently is util­ized as an annotation to the ac­tion which dwells on Chieko's passionate love for her creation of beauty. When she realizes the does not have the capacity for such creation, as recognized by critics of her paintings, she with­draws within herself, and after an attempt at suicide becomes a hopeless mental case. She finally dies of pneumonia.

Shima Iwashita in title rola delivers a finely restrained per­formance of Oscar proportions, catching every nuance of charac­ter with consummate acting skill. As the artist, Tetsuro Tamba evinces considerable understand­ing of the part as he devotes his life to his wife's care. Nakamura in his direction has provided a human document of tragic people.

Color photography by Hiroshl Takemura is cinematography at its best and Tatsuo Homada's ar t direction perfectly fits the mood as does Masaru Sato's music score.

Whit.

Attach on the Iron Coast (COLOR)

World War II actioner, okay for program market.

Hollywood, March 7. United Artists release of Mirisch Films

presentation, produced by John C. Cham­pion. Stars Lloyd Bridges. Directed by Paul Wendkos. Screenplay, Herman Hoffman; story, Champion; camera, (De-Luxe Color), Paul Beeson; art direction. Bill Andrews; editor, Ernie Hosier; mu­sic, Gerard Schurmann; asst. director, Anthony Waye; sound, Cvril Swern. Re­viewed at Samuel Goldwyn Studios, March 6, '68. Running Time, SO MINS.

Major James Wilson Lloyd Bridges Captain Owen Franklin Andrew Keir Sue Wilson Sue Lloyd Lt. Commander Donald Kimberley

Mark Eden Sir Frederick Grafton . .Maurice Denham Lieutenant Forrester Glyn Owen Lieutenant Graham Howard Pays Captain Strasser George Mikell Lieutenant Smythe Simon Prebble First Commando Keith Buckley Second Commando Bill Henderson Third Commando ; Gavin Breck Van Horst Walter Golell Lt. Kramer Michael Wolf Cansley John Welsh Wren Officer Joan Crane A.V.M. Woodbridge Ernest Clark German Infanty Sst. Richard Shaw German Battery Commander

Victor Beaumont German Gunnery Sgt John Albineri Flag Lieutenant John Kelland Timmy Wilson Mark Ward Pringle . . Dick Haydon Helmsman John Goliehtly Bosn's Mate Murray Evan9 Radar Man Robin Hawdon Radio Man Sean Barrett

With the 24th anniversary of the Normandy invasion — D-Day — looming ' J u n e 6) , United Artists has an exploitation peg for its latest Mirisch Film presentation. While the John C. Champion pro­duction does not focus on the ac­tual invasion, its narrative of a dar­ing Commando attack to destroy a

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