text: Ji™ a ■ y_ B* 3Ty. ■ i>‘, ~-?ll It f ■ ja\lS®’,i WPH :?‘ '-** w li := W • 3 bC" 55 V '/5 • 0 1 1 <i TrW : B ■ -’<■< -ffi BBUr < t ~ B B ~ i7 < Ik- , <WbL- jr~ ’. X ®V w 9| X w * «g /, ■';Z / fl i / Hi I I A / MB a JiX * i jhjHrxF' j P 1 Bf**..- * BES fe- 'Ta WllllllllllX'Z £■ — |W BP ■ Fkr ' V> j£BK* Bn % k SCREEN: ONE OF THOSE BIG ONES RETURNS Audrey Hepburn employs the coy gambit as she dances discreetly with Henry Fonda in a lavish ballroom sequence in Dino de Laurentiis’ movie spectacle adapted from Tolstoy’s “War THE PASSING SHOW Film and O'Neill Finally Fused By JAY CABMODY Drama Critic of The Star Eugene O’Neill wrote "Long Day’s Journey Into Night” with a pencil, one palsied hand supporting the other as he set down the word. In the motion picture at the MacArthur Theater, Director Sidney Lumet in effect rewrote it with a motion picture camera. Thanks to Mr. Lumet's awareness of the difference not only between these Two instruments, but the greater one between the stage and screen, the film is Hollywood’s best transcription of O’Neill’s work. At long last, then, moviegoers are given a chance to see the greatest of American dramatists in scale. Previously, under the camera's inevitable magnification of his passionate writing, O’Neill's screen adaptations looked embarrassingly like parodies of the originals. Two memorable specimens of this grisly truth were "Mourning Becomes Electra" and "Desire Under the Elms." In the first, mourning profoundly did not become Electra and the elm-shaded desire of the second became lust. Both, as films, were unjust to O’Neill. It Explains O’Neill For the record, "Desire Under the Elms" was sent to the Cannes Festival in 1958 to diminish O’Neill’s stature until 1962 when "Long Day’s Journey" turned up at the same place to win a major prize; that for best acting. On the screen, as on Broadway where it won both Critics' Circle and Pulitzer prizes, the fascination of "Long Day’s Journey" is that, as autobiography, it explains Eugene O’Neill. It explains that Intensity of feeling for which he never quite could find the words which would have made him even greater as the greatest of American playwrights. With admirable cleverness, Mr. Lumet in directing the film has seized the opportunity to visualize what O’Neill struggled so painfully to verbalize. His work remains faithful to O’Neill; a parable still of a tumultuous family each of whose members loved himself more than the others. O’Neill, himself, contributed importantly to the economy of "Long Day's Journey" to which Lumet has added his own. Infinite Richness in family portraits but four with a fifth, the appearing figure cast composed. Hepburn (the on Robards, Jr., r Jamie), Ralph (father) and •11 (Edmund or the screenplay te richness of lon. It is basic to Director Lumet's intention, to do more than photograph a stage play that he has dared to edit his screenplay out of the three-hour original. On Broadway, not even the artful direction of Jose Quintero could conceal that "Long Day's Journey" was a series of dialogues. Mr. Lumet's cameras give their participants more freedom of motion, including the spacious yard of that wretchedly furnished summer home where the Tyrones (thinly disguised O’Neill’s) fought their dramatic 18-hour battle. The result: More action, less speech. In Sorrow, Net Anger On one vital aspect of what O’Neill wrote of his family, the two young directors are in complete and engaging agreement. This is that for all the Intramural fury, the abrasive relationships with which the play and film deal, it was written more in sorrow than in anger. As Tennessee Williams said of his “Glass Menagerie,” the O’Neill drama is a memory play, the sad memory of a father whose penury made a drug addict of his wife, a destruction-bent drunk of his older son, and almost put the younger son under sentence of death from tuberculosis. Nevertheless, among the film’s multitude of deeply moving or stormy scenes, none is more dramatic than that in which Father Tyrone tells his younger son, the playwright-to-be, why he is so terrified of poverty. Orphaned at 10, he went to work and to live out the rest. Of his days with the specter of insecurity. Inspires Forgiveness This trauma was to cost him everything that would have made life worth living, first the chance to be a great actor, later and more importantly the love of his family. This explanation, on which the play and film turn, is not offered as a justification of what James Tyrone did to his family. But it does explain his behavior. More dramatically, it inspires forgiveness, deep into the "night" of the play's title, toward which the family moved in the anguish of the long, long day O’Neill is remembering. It is interesting that Hollywood could find no place on its five "best picture" nominations for "Long Day's Journey Into Night." That, indeed, of its many excelences, the single one recognized in the Oscar race is Katharine Hepburn’s performance as Mary Tyrone, the mother. Even "The Music Man," that huge peasant of nostalgia, beat it out of a place among the "best" candidates. However, this remissness, oversight, or whatever one prefers to call it, is the more tolerable for Hollywood’s success in bringing O’Neill so recognisably to the screen. "TODAY'S SCHEDULES STAGE NATIONAL—Dark, "Mary," resumes tomorrow. ARENA—All the Way Home." WASHINGTON THEATER CLUB—“Brecht on Brecht”; 2:30 and 8:30 pm. HOWARD—Dick Gregory, Jimmy McGriff; 4:30, 7:30 and 10 pm. SCREEN AMBASSADOR—“Days of Wine and Roses”; a young couple’s battle with alcoholism, not for the squeamish; 1:16, 3:25, 5:25, 7:40 and 9:45 p.m. APEX—“The Longest Day”; a great war picture; the D-Day story; 2:00 and 8:30 pm. CAPITAL—"Swordsman of Sienna”; 1:30, 4:50, 8:10 pm. “Cairo”; 3:15, 8:35 and 9:55 pm.; adventuretime films. DUPONT—“Freud”: film biography with Montgomery Clift as Dr. Freud; 12:30, 2:50, 5:10, 7:30 and 9:50 pm. KEITH’S—“Love Is a Ball”; love and laughter on the French Riviera; 1, 3:15, 5:30, 7:45 and 10 pm. MacARTHUR—"Long Day’s Journey Into Night”; top flight film version of O’Neill’s great play; 1, 3:15, 6:30, 7:45 and 9:55 pm. METROPOLITAN—"Days of Wine and Roses”; 1:05, 1:16, 6:25, 7:30 and 9:45 pm. ONTARIO—“Lawrence of Arabia”; motion picture of true distinction with Peter O'Toole as the legendary hero; 2:00 and 8:15 pm. PALACE—"Courtship of Eddie’s Father”; romantic comedy with Glenn Ford and Shirley Jones; 1:30, 3:30, 5:35, 7:35 and 9:40 pm. PLAYHOUSE—"David and Lisa”; highly rated film based on a psychiatric case history, winner of last year’s Venice Film Festival; 1:45, 3:35, 5:30, 7:20, 9:10 pm. PLAZA—"A Stranger Knocks”; first United States showing of a suspense-shocker from Denmark; 1:30, 3:10, 4:50, 8:30, 8:10 and 9:50 pm. TOWN—"To Kill a Mockingbird”; a great movie. From Harper Lee's Pulitzer-Prize winning novel; a must to see; 1, 3:10, 5:25, 7:40 and 9:55 pm. TRANS-LUX—"Diamond Head"; one version of modern Hawaii with Charlton Heston as an Island autocrat; 1:15, 3:20, 5:25, 7:30 and 9:30 pm. UPTOWN—“How the West Was Won”; Cinerama-size version of Johnny Appleseed’s story; 2 and 8 pm. WARNER—"Mutiny On the Bounty”; a classic has turned into a spectacular; 2 and 8 pm. STAGE: AN IMPORT FROM BRITAIN Sir Ralph Richardson plays Sir Peter Teaile and Meriel Forbes is Lady Sneerwell in the London production of “School For Scandal,” a recent Broadway success coming to the National Theater on April 1. Sir John Gielgud also is starred in the Richard Brinsley Sheridan comedy. WASHINGTON, D.C., MARCH 24, 1963 HOLLYWOOD Ann-Margret Is Puzzled By HAROLD HEFFERNAN North American Newspaper Alliance HOLLYWOOD On the evening of April 9, 1902, the annual Motion Picture Academy awards show was moving along true to its tediously stereotyped pattern. There was the steady procession to and from the platform. Methodically, by stop-watch, envelopes were being slit open. Presenters were presenting and winners were emotionally mumbling long-studied thank-you speeches. The audience was stirring restlessly. And then out of the wings, bunt a ball of human fire, an almost unknown starlet who swung, swayed and gyrated wildly as she sang one of the nominated songs, "Bachelor in Paradise." The sluggish proceedings were immediately galvanized. Millions of television viewers sat up in their chain to ask one another "who is she?" Answer Soon Came The answer was soon on the lips of everyone. And by morning all the giants of the entertainment field in Hollywood were on her trail. Little Ann-Margret (Olson), a 21-year-old Swedish-born thrush with only one picture to her credit, "A Pocketful of Miracles," had in that single Academy sally, gone the old overnight star cliche one better. She had become the town's first three-minute star. And simultaneously, the most sought-after young actress in show business. All this happened nearly a year ago and yet the unlikely sequel is that Ann-Margret's Exposure since then has been so limited that fans have not yet had a chance to get acquainted. Since tearing the Oscar show apart, she’s had but one movie release "State Fair." And her performance in Columbia's "Bye Bye Birdie" won’t be on view until late summer. Growing Puzzled The question naturally arose among her many appreciative friends and boosters: “Why didn’t she capitalize on her sudden fame with more appearances?” Ann-Margaret, who seems growing a little puzzled and impatient about the slow down, too, tries to assure herself she’s following the correct hard-to-get course. “I leave everything to my manager,” she says loyally, "and I think he’s the greatest in the business. He thinks we should proceed slowly and cautiously.” She defended the methods of Bobby Roberts, who has handled her affairs since she first came to Hollywood notice as a member of a George Burns show playing in a Las Vegas bistro. "He BROADWAY Twin Stage Careers Are Not Easy By WILLIAM GLOVER AuoelsUd Press Writer NEW YORK. What’s It like when family careers collide on a single stage? "I have a feeling," says Ell Wallach, “we are more critical of one another than if we weren’t married." “You both have to be nuts to make it work,” avers his spouse, Anne Jackson. The candid pair are sharing one of the most unusual — and exciting — events of the theatrical season. They are the entire casts of a pair of plays called “The Tiger” and “The Typists.” Special Interest focuses upon them because of the Amusements, F-1-3—Radio, F-4 Music, F-5—Hobbies, F-6 Art News, Schools, F-7 Ann-Margret set the movie world on fire a year ago with her song stint on the Academy Awards show, but under exposure rather than over exposure has been her puzzling fate since. believes being seen too much would be the worst possible thing for me.” But when asked if she didn’t think too little exposure, such as her program has dictated, would cause the public to forget, Ann-Mar gret seemed to waver. She recalled that Roberts was deluged with offers after her theft of the Oscar show, even had to add an extra secretary to his staff to sort mail and offers. And, meanwhile, and with her complete support, he has turned down almost high praise lavished by critics—one hailed them as “the proletarian Lunts”—and because of their mutually high spirited temperaments. “Ego incarnate” was Wallach’s self-description a while back of his approach to the acting vocation. In similar confession, Miss Jackson called herself "a complete egotist.” With Reservations Now they report a certain mellowing—with reservations. “We were fortunate," notes the lady with a toes of her flame-red tresses, "that without saying it, we always believe in each other in terms of acting and abilities. But it took me a long time to gain his caress. He’d never give you a compliment for a long, long time, that one—you know that’s true, Eli.” To which he replies: “Now I give you compliments.” “Oh sure. I say 'I was wonderful, wasn’t I?’ and he says 'Yes.’ I give him the answers I want to hear.” At the same time, she concedes, he is a lot calmer about accepting criticism and advice. "We’ve learned to be as tactful as possible," says Wallace gallantly. Then he turns to another aspect of their relationship. “We’re able to buoy each other's spirits. There have been times when she was working and I wasn’t, and vice versa. We never have been guilty of jealously about that—what we can do is shift our ego into basking in the pleasure of the other’s accomplishments.” There are arguments, of course, many of them about movie roles. He's been in films, she in 2, and doesn’t feel stimulated at all by the camera. "Pictures tend to put a player in a formula, and I fight bitterly about that all the time. I’m a terrible snob and tell him Don't do that part.” We had a fight this morning. But he's usually the best thing in the film when I go to see it. I got to say that.” Everything, including a repeat invitation that she sings on the coming Academy show of April 9. “I just don’t think I could score such a big hit twice in a row,” she tried to explain away her Academy refusal, "and rather than chance a flop, maybe it would be best for me to skip it and wait another year.” The secret of the Ann-Margaret appeal can be summed up like this: Those first gazing upon the clean-cut. All-American-Swedish girl next. Eli Wallach and Anne Jackson, a team on and off stage, are seen on here, in "The Typists," paired with "The Tiger" as Wallach-Jackson theater hit.—AP News features Photo. Are they able to help each other in developing characteristics? Yes, says Anne. No, asserts Eli. "We studied with the same teachers, but we work very differently." Miss Jackson explains. "I have to latch on to the reality of someone I've known in the past when I figure out a role. He hardly knows what I'm talking about — yet he does it instinctively. His part toward the end of 'The Typists' is taken from the way his own father was — he just doesn't think so." The twin bill at the Orpheum Theater was written by Murray Schisgal, a new dramatist, and gives the couple a workout in bravura farce and sentimental irony. The scripts came their way while they were on the lookout for new challenge. There is no family disagreement about the need for that. "If you lose your curiosity, the door would have a great surprise should the music start up. At this point the quiet, soft-spoken girl disappears and in her place swings a vibrating, dynamic figure dancing and gyrating wildly to the rhythm. "I never saw such a change come over any person." observed a "Bye-Bye Birdie" cameraman after filming one of her red-hot song numbers. "Start up that music and she becomes an animal. That's the only way I can describe her," he added. "And pull the oars into the boat to relax, then you're in career trouble." asserts Wallach. For their next acting frontier, Miss Jackson is talking up a workout with the kings and queens of Shakespeare. "Simply because we haven't done them," she explains. As To continuing as a performing team—"Well, just leave ourselves open, and decide as offers come along." There's never going to be any feeling of one of us going into a show with the other just for the ride. That could be a team danger. It causes conflicts, it does affect our married life, and we are enjoying it thoroughly. The rough moments are there, however. It somehow slips by. If Anne is introduced as Anne Wallach. But if I'm introduced as Ell Jackson... Eli Jackson? It can't be allowed. 