text: i iw I ((1 ■■ IVM/p|B rbX < \ H BL - i i : w7 A&Bk dtkwh Zj \ I reJfclA 1 TWA ir J/y!\n Z / 1/, i.v I\J - / I i\ I Mm/ \ \ JlhHl^hi \ v <1^ \ \ \ -*•*** **\ / •s ANOTHER ONE FROM ITALY'S FILM FACTORIES 2 On? of the more widely discussed of current ; movie imports, “Boccaccio 70,” is composed of i three stories filmed‘by three directors, Vittorio B de Sica, Federico Fellini and Luchino Visconti. IpLLYWOOD Misquoted |Too Often, Ava's Wary (By BHEILAH GRAHAM gorth American Newspaper AUiaaca HOLLYWOOD. - “I don’t hme columnists and photog raphers,” said Ava Gardner. ‘T just hate being inter v wed, especially when it’s so leone I have not met be f4 e.” have known Ava since the d r she was pointed out to n in the Metro commissary h e as “the girl Mickey RQpney just married.” Now si is starring in “55 Days a Peking" in Madrid, with C srlton Heston and David N en, and receiving a guar a| eed salary from producer 8 n Bronston of $500,000. S s has come a long way, I had come a long way - o Madrid, last month—to tak to her. TLong experience has taught me,” continued the brunette star, “that there are fe r movie writers who are g< id reporters, especially in H Uywood. I don't know how nt ny times I’ve been quoted a saying things I never w ild have said, or my re nt rks have been so com p tely twisted they express cc ipletely different view p nts from my own. That’s w r I now give so few, if at ’, Interviews. Loathes “Candids” (Most photographers seem to want to photograph stars in the most unflattering poses possible. I loathe “candid photographers who try to catch a star off guard. I certainly am willing to pose for photographers who have good taste and discrimination. But I simply won’t allow strange cameramen on the set aiming at me from all angles and without warning. I’m sure that you, as a woman, can understand how I feel.” “55 Days at Peking” is Ava’s first movie in two years. And for a while I thought she had retired to her attractive, red-awninged apartment in the best section of Madrid where her neighbor, until he left recently, was ex-Dictator Peron of Argentina. Her apartment is exquisitely decorated, elegance combined with comfort, French and Italian antiques, ideal by side with Oriental and objects of art from India. At home, Ava, who starred in “The Barefoot Contessa,” is usually barefoot. She even paddles around the set in her bare feet. “I haven’t yet picked up a nail.” AMUSEMENTS ADAPTED FROM THE STAGE Peter Sellers plays the central military figure in “Waltz of the Toreadors," screen version of the play, arriving on Thursday at the Apex, or a splinter, she boasted. Ava has pretty feet but admits she is somewhat flat-footed. When guests come for dinner, Ava does the cooking. Her specialities are Southern fried chicken, cornpone and hominy grits which she brought with her from North Carolina. “I enjoy making pictures,” Ava confided, “as long as I can make the pictures I enjoy. Nowadays the money involved is not too important to me, so I choose only the parts I want to play, the producer and director I want to work with, and the conditions under which the picture will be made. I’ve had some tough locations—‘Mogambo’ in Africa, ‘Bhowani’ Their stars, respectively, are Sophia Lore (right), Anita Ekberg (left) and Romy Schneider. The picture opens on Wednesday at the Trans-Lux and Playhouse. In India, ‘The Sun Also Rises’ and ‘On the Beach.’ I’ll never go through this kind of film making again. Mr. Bronston has a good script in ‘55 Days at Peking,’ but what appealed to me almost as much was the fact that I could make it in Spain.” Ava’s next picture, “The Pink Panther,” will take her to Italy. And she might do “Olympia” for George Cukor in Greece. No Romance Rumors There have been very few romance rumors in connection with Ava in the last two years, and, she stated, “There is no man in my life right now, but there are several men whose company I enjoy.” Walter Chiari, who everyone expected Ava to marry a few years ago, is still a devoted beau, and has visited her. Several times since she started her “Peking” picture. And Ave has had several dates with an American Army flyer based near Madrid. But her close friends tell me that marriage is not on her immediate schedule. Ava was born on a Christmas Day, I would guess 38 years ago (no lady ever asks another lady how old she is). She has never glossed over her humble beginnings, and when someone in the press department wanted to change the statement of her first MGM biography that her father was a sharecropper, into “Gentleman Farmer,” Ava said, “Absolutely ho.” I must admit I like Ava very much. THE PASSING SHOW 'Mr. President' Future Bright By HARRY Mac ARTHUR Star Staff Writer There probably never was a show with such a bright future after such a unanimous critical drubbing as “Mr. President.” It opened in Boston, was trounced by the professional theatergoers, then did four weeks of sellout business. It opened here at the National this week, met with unanimous critical disfavor and will do three weeks (minus a day) of sellout business. From here it will go on to New York and it seems safe to predict that the same thing will happen. The advance sale there last was reported nearing the $3 million mark and those who know about such things say this means it can’t help running at least a year. You can be sure that those who have been forced professionally to register disapproval of "Mr. President" will not begrudge it an iota of its success. There is no joy in letting Nanette Fabray and Robert Ryan, who play the leading roles so engagingly, know that their winning performances are somewhat futile. Times Have Changed There is no joy, either, in pointing out to such respected old pros as Irving Berlin. Howard Lindsay and Russell Crouse that times have changed. The major shortcoming of “Mr. President” is that this is 1962. The last joint project of Mr. Berlin, Mr. Lindsay and Mr. Crouse was “Call Me Madam,” which opened in Oc tober, 1950. In the dozen years since the nature of the American musical comedy has changed considerably. This process started with “Pal Joey,” was given great Impetus by "Oklahoma!” and arrived at “West Side Story” before a line of “Mr. Presi dent" was on paper. It’s Old Fashioned Our entire environment, in fact, has changed drastically in the last dozen years. The effect of all of this is to make "Mr. President’ ’ seem terribly old fashioned. Pleasant, harmless and old fashioned. This is more evident in the book than in the music. The score sounds exactly as if it had been written by Irving Berlin, which is as it should be. His lyrics are marked by a certain naivete that is no longer as widely shared as it once was, but he has never come around claiming to be Cole Porter or Larry Hart or Alan Jay Lerner. It Is a bit surprising, though, to be confronted with this evidence that Mr. Lind say and Mr. Crouse appar ently have not been aware of what has been happening to the musical. Realism is one of the Important things that has happened to It. The time Is gone when you can do anything in a musical show book on the grounds that making sense Is not re quired In this particular area of literary endeavor. But This Is Realism You can use the zany, free-wheeling, anything-for a-laugh approach, of course, if it is used consistently from start to finish. “Mr. Presi- TODAY'S'SCHEDULES STAGE NATIONAL—Dark. “Mr. President” resumes tomorrow. HOWARD —Roy Hamilton and All-Star Revue; 2, 4:45, 7:30 and 10 pun. AMBASSADOR—“Guns of Darkness”; suspense drama with Leslie Caron, David Niven and featuring James Robertson, Justice; 1:25, 3:20, 5:25, 7:30 and 9:40 pm. APEX—“A Taste of Honey”; excellent film-version of Shelagh Delaney’s play (she wrote the script); 1:15, 5:25, 7:35 and 9:50 pm. CAPITOL—“The Tartars”; barbarians at war; 1:15, 3:45, 6:30, 8:15 and 10 pm. DUPONT—“Shoot the Piano-Player”; slapstick entry directed by Francois Truffaut, who made “The 400 Blows”; 1:25, 3:35, 5:35, 7:40 and 9:45 pm. KEITHS—“Pressure Point”; reached by two angry young men played by Sidney Poitier and Bobby Darin; 1:30, 3:35, 5:35, 7:40 and 9:45 pm. MacARTHUR—“A Coming Out Party”; James Robertson, Justice is superbly acid in this spoof of many things but chiefly the armed services; 1:30, 3:40, 5:50, 8 and 10:15 pm. METROPOLITAN—“Guns of Darkness”; 1:25, 3:30 5:35, 7:35 and 9:40 pm. ONTARIO—“Rear Window”; re-issue of the Alfred Hitchcock thriller; 1:20, 3:25, 5:30, 7:35 and 9:40 pm. PALACE—“I Thank a Fool”; Susan Hayward, Peter Finch in a schizophrenic nightmare; 1:45, 3:45, 5:40, 7:40 and 9:40 pm. PLAYHOUSE—“The Best of Enemies”; David Niven and Alberto Sordi in an imaginative, absorbing war drama; 1:15, 3:15, 7:15 and 9:10 pm. PLAZA—“I Spit on Your Grave”; its title measures its taste; 1:20, 3:25, 5:35, 7:40 and 9:40 pm. TOWN—“Damn the Defiant”; Alec Guinness and Dirk Bogarde star in a rousing British naval adventure; 1:25, 3:35, 5:50, 7:55 and 9:55 pm. TRANS-LUX—“The Interns”; the height of medi-carelessness; 1, 3:05, 5:15, 7:25 and 9:30 pm. WARNER—“West Side Story”; top-notch film version of America’s most beguiling musical; 1, 3:40, 6:20 and 9 pm. The text, however, is marked by realism, or at least semi-realism. Its central figure, played by Mr. Ryan, is a Chief Executive who has four more months of his second term to live with public international tensions and private domestic tensions. In an apparent move to ease both, he packs his wife (Miss Fabray) and son and daughter (played appealingly by Anita Gillette and Jerry Strickler) aboard a plane and sets off on a good-will tour. It’s a great success until he is en route to Moscow, when he receives word that the man in the Kremlin has withdrawn permission for his visit. He lands at the Moscow airport anyhow, makes a speech to a handful of Russian peasants (which subsequently turns out to be an important bit of the plot), then departs. A Jarring Note This, in 1912, is the wildest sort of fantasy. Since all that transpires before and after it is more or less realistic, it can’t be accepted as fantasy for fun. It’s just an unbelievable scene that strikes a terribly jarring note. “Mr. President” also shows up Mr. Lindsay and Mr. Crouse as satirists who can fire away at the external results of politics, but who haven’t made much of a study of politics itself. There is no other explanation of the device they employ to wind this thing up and get the final curtain down. Mr. Ryan’s man has been out of office for awhile and is beginning to paw the ground and snort at the in office. Opposition's moves. He is eager to return to the political wars in Washington. Opportunity to do so comes up when a Senator dies and the Governor comes around to offer the former President the appointment to fill out the term. Belated Discovery The Governor makes some stipulations, though, suggesting that it may be all right for a President to think of 50 States, but a Senator has to think of his own State first. There are harsh words and the Governor departs, taking his appointment with him and leaving behind an utterly crushed ex-President. He is shaken to his heels by this discovery of the true nature of politics and flees to a shack out in the woods to think and regain his faith in his country and its people. How he rose in party ranks to presidential nomination stature, then got elected and served eight years in the White House without learning that all politicians are not shining altruists, is a question only Mr. Lindsay and Mr. Crouse can answer. This is a far cry from the sharp comment of “State of the Union.” Those close to “Mr. President,” however, have been quoted as saying the rewriting after the Boston opening has been finished and the show is now “frozen.” So, there it will be in New York, its plot unstrung by a moment of sheer fantasy and a completely incredible reaction, running maybe for a year or more. SCREEN Amusements, F-1-4—Music, F-4 Art-Radio, F-5—Hobbies, F-6 Schools, F-6-8 A well-known menace leaps from a box to the box. Stage of the London Opera House in the new British version of “The Phantom of the Opera.” Herbert Lorn plays the title role in the picture coming to the Metropolitan and Ambassador Theaters on Wednesday. BROADWAY October First Nights To Bring in 14 Shows NEW YORK (AP). _ Broadway theatrical activity reaches its seasonal peak during October with 14 arrivals scheduled. Fourteen current attractions continue on display. This is the order in which the newcomers arrive: Eddie Fisher Variety Show, at the Winter Garden. A four-week engagement begins October 2. The vocalist’s supporting company includes Juliet Prowse and Dick Gregory. “Stop the World I Want to Get Off,” Shubert, October 3. English musical about a poor boy’s rise to power and prestige. Cast includes Anthony Newley, also co-author and director; Anna Quayle and Stephanie Winters. “Come on Strong,” Moresco, October 4. Garson Kanin comedy about a young actress and fledgling photographer, played by Carroll Baker and Van Johnson. Albee’s Long One “Who’s Afraid of Virginia Woolf?” Billy Rose, October 14. Edward Albee’s first full-length play concerns a couple embattled over truth and illusion. Principals are Uta Hagen, George Grizzard and Arthur Hill. “Seidman and Son,” Belasco, October 15. Comedy about a dress manufacturer, with Sam Levene, Nancy Wickwire and Morgan Sterne. “Step on a Crack,” Barrymore, October 17. Family drama starring Gary Merrill. “Mr. President,” St. James, October 20. Irving Berlin's new musical about a fictional First family as it departs from the White House. Robert Ryan and Nanette Fabray head the cast. “The Fun Couple,” Lyceum, October 22. A young couple (Jane Fonda, Bradford Dillman) invent a make-believe world. “Night Life,” Atkinson, October 23. Sidney Kingsley allegory about a cross-section of humanity. The cast includes Neville Brand, Carol Lawrence, Walter Abel and Carmen Mathews. Topical Revue “The Perfect Set-up,” Cort. October 24. A businessman (Gene Barry) keeps wife (Angie Dickinson) and mistress (Jan Sterling) happy. “A Matter of Position,” Booth, October 25. Elaine May is the author, and her erstwhile performing partner, Mike Nichols, is the star of a comedy about a young man who wants everyone to like him. “Beyond the Fringe,” Golden, October 27. A topical revue, imported from long-run success in London. Performed by its four young authors. “Tchin-Tchin,” Plymouth, October 29. Margaret Leighton and Anthony Quinn star in tragi-comedy of love and neglect. "Calculated Risk,” Ambassador, October 1. A mysterious financier plots to gain control of a corporation. Joseph Cotten, Patricia Medina and Frank Conroy are main characters. Tickets are generally available for almost all of them prior to opening night appraisal by the critics. “Mr. President” is already in the order-well-ahead class with a $3 million advance box office sale. Tickets Available Following is an alphabetical list of the current lineup, showing theater, stars and subjects. Ticket shoppers can get what they want (especially early-in-the-week performances!) on short order for all but “How to Succeed in Business Without Really Trying," “A Funny Thing Happened on the Way to the Forum” and "No Strings." The first two musicals are the third nearly so. “A Funny Thing Happened on the Way to the Forum,” Alvin—Zero Mostel is Chief clown in bawdy ancient Rome farce. “A Man for All Seasons,” ANTA—Emlyn Williams as Sir Thomas More in absorbing drama of individual integrity versus kingly might. “A Thousand Clowns,” O’Neill—Jason Robards, Jr, is a rebel against teachers, television and sundry symbols of conformity. “Camelot.” Majestic—William Squire and Janet Pavek as the king and queen in sumptuous musical about days of the Table Round. Kathryn Grayson replaces Miss Pavek October 23. “Carnival,” Imperial— Susan Watson sings her way as a charming waif through fantasy. Vallee the Tycoon "Come Blow Your Horn.” Atkinson A lively young bachelor (Gene Rayburn) concludes long run October 6 for national tour. “How to Succeed in Business Without Really Trying,” Forth-sixth Street Upstart Robert Morse and Tycoon Rudy Vallee skirmish for corporate supremacy in satire musical. “I Can Get It for You Wholesale,” Broadway An other, more pungent musical look at the business climb er, portrayed here by Elliott Gould. “Mary, Mary,” Hayes—Bar bara Bel Geddes, Barry Nelson, Edward Mulhare square a marital triangle with gags. “Milk and Honey,” Beck- Robert Weede, Mimi Benzell, Hermione Gingold on tuneful tour of modern Israel. “No Strings,” Broadhurst -Diahann Carroll, Richard Kiley in an uneven story about love in Paris, with score by Richard Rodgers. “The Affair," Miller’s - First arrival of the new sea- See BROADWAY, Page F-4 F. 