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Boxoffice Barometer (March 6, 1961)

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MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph. Producers Frank King and Maurice King. : Jl n il Metro-Goldwyn-Mayer presents Edna Ferber’s “CIMARRON” starring GLENN FORD • MARIA SCHELL • ANNE BAXTER • ARTHUR O’CONNELL • Russ Tamblyn • Mercedes McCambridge co-starring Vic Morrow • Robert Keith • Charles McGraw • with Henry (Harry) Morgan • David Opatoshu • Aline MacMahon • Lili Darvas • Edgar Buchanan • Screen Play by Arnold Schulman Based on the Novel by Edna Ferber • Directed by Anthony Mann • Produced by Edmund Grainger "FOUR HORSEMEN OF THE APOCALYPSE” — • presents a Julian Blaustein pro- ( CinemaScope Metrocolor ) Metro-Goldwyn-Mayer duction “THE FOUR HORSEMEN OF THE APOCALYPSE” starring GLENN FORD • INGRID THULIN • CHARLES BOYER • PAUL HENREID PAUL LUKAS • YVETTE MIMIEUX • LEE J. COBB • Based on the Novel by Blasco Vincente Ibanez * Screen Play by Robert Ardrey • Produced by Julian Blaustein • Directed by Vincente Minnelli. "MUTINY ON —THE BOUNTY” (Camera 65 Metrocolor ) 1 letro-Goldwy n-Mayer presents MARLON BRANDO [I REVOR HOWARD in an Areola production “MUTINY ON I HE BOUNTY” with Hugh Griffith • Tim Sealy • Keith McCon- "KING OF KINGS’ t Technicolor ) ’ *11 • Based on trilogy of novels (Men Against The Sea; Mutiny Metro-Goldwyn-Mayer presents Samuel Bronston’s production “KING OF KINGS” co-starring Jeffrey • i i the Bounty; Pitcairn Island) by Charles Nordhoff and James Hunter Siobhan McKenna • JJurd Hatfield • Ron Randell • Viveca Lindfors • Rita Gam • Carmen I' orman Hall • Screen Play by Eric Ambler • Produced by Aaron Sevilla • Brigid Bazlen • Rip Tom •'lHarry Guardino • Frank Thring • Robert Ryan as John The Baptist Rosenberg • Directed by Sir Carol Reed. Screen Play by Philip Yordan • Directed by Nicholas Ray. i i 'ft T\ePu&EE -cS, ‘ TITANUS ^““coLQR CINEMASCOPE* > ' ' -K ir A LUX pILM p RooucTION IN cinemas BOXOFFICE o n t n t A 1 i Many Changes Are Envisaged for 1961 . 9 R *s ! British and Foreign Films In Big Year .... 16 I The All-American Favorites of 1960 . 19 0 :jx: Grosses—Ratings at the Boxoffice 30 '60 M Cooperative Campaigns Spurred in . 43 Boxoffice Salutes Ten Top Newcomers . 44 E See Revitalization of Short Subjects in 1961 56 Blue Ribbon Winners of 1959-60 60 T Blue Ribbon Winners of Past Years . 73 E Blue Ribbon Honor Roll Call . 74 Producers of the 1959-60 Hit Films 78 R Directors of the Season's Big Hits . 82 Roster of the National Screen Council . 86 British Production—A Review and Preview . 91 Britain's Top Ten Boxoffice Hits . 94 Alphabetical Index and Review Digest . 125 I Feature Index of the 1959-60 Releases . 133 Published by Associated Publications, Inc., as a section of BOXOFFICE at 825 Van Brunt Blvd., Kansas City 24, Mo. Ben Shlyen, Publisher and Editor-in-Chief; Don- old M. Mersereau, Associate Publisher and Looking Ahead at Coming Features 155 General Manager; Nathon Cohen, Executive Editor; Al Steen, Eastern Editor; Jesse Shlyen, Managing Editor; E. S. Nelson, Velma West Sykes, Marje Sweeney, As- sociate Editors; Ivan Spear, Hollywood Shorts Index of the 1959-60 Releases 183 Editor. Eastern Office, 45 Rockefeller Plaza, New York 20, N. Y. Central Of- fice, 920 North Michigan Ave., Chicago, III. Western Office, 6404 Hollywood Boulevard, Hollywood 28, Calif. 20th Produces In Quality and Quantity For The Entire World! mm mm 'meg’wm FOR 1961 BOXOFFICE • THE BIG SHOW (Color) ESTHER WILLIAMS CLIFF ROBERTSON NEHEMIAH PERSOFF ROBERT VAUGHN MARGIA DEAN DAVID NELSON • THE CANADIANS (Color) ROBERT RYAN JOHN DEHNER TERESA STRATAS (20th CENTURY-FOX PRODUCTIONS, LTD.) • THE LITTLE SHEPHERD OF KINGDOM COME (Color) JIMMIE RODGERS LUANA PATTEN CHILL WILLS LINDA HUTCHINGS ROBERT DIX • IT HAPPENED IN ATHENS (Color) JAYNE MANSFIELD TRAX COLTON NICO MINARDOS • BATTLE AT BLOODY BEACH AUDIE MURPHY GARY CROSBY DOLORES MICHAELS • DESIRE IN THE DUST • THE LONG ROPE • TESS OF THE STORM COUNTRY (Color) • SECRET OF THE PURPLE REEF (Color) • FRECKLES (Color) • WALK TALL (Color) • HIGH-POWERED RIFLE • SQUAD CAR In Preparation • THE TEDDY BEARS • CABINET OF DR. CALIGARI • 20,000 EYES • THE SILENT CALL ROBERT L. LIPPERT Executive Producer ALL PRODUCTIONS RELEASED BY 20TH CENTURY-FOX BAROMETER Section By AL STEEN decision, only a handful of states of- practices and amending the consent fered threats of possible censorship decrees, after the production project has OU’VE heard about Monday morn- legislation, but now, Chicago-type or- been launched. With Sol Schwartz’s of Thea- ing quarterbacks—the football dinances could mushroom. Exhibition resignation as president RKO enthusiasts who gather around on and the most ardent opponents of cen- tres to become an executive of Columbia Mondays to discuss the previous Satur- sorship among laymen appear to be of Pictures, he automatically abdicated his day’s grid games and toss out their the opinion that the only way to avoid role as ACE chairman, a post to which his opinions as to how the plays should censorship is to remove the cause of its he had been elected shortly before have been called. But you don’t hear necessity. And that is to lower the boom resignation. A successor had not been much about Friday morning quarter- on violence and sex in picture themes selected at press time. It is true that if backs for obvious reasons. plus a stricter adherence to the purposes ACE is successful in helping to relieve of the Production Code. It is a pretty the product shortage, it will have made DIFFICULT YEAR TO FORECAST safe prediction that something along a big contribution. But it will have to As a Monday morning quarterback those lines will be accomplished this do more to justify its existence as a year. The trend will be to convince the service to exhibitors on other matters for the film industry, it would be easy public and the legislators, state, city and and fulfill the purposes for which it to rake 1960 over the coals and point out what was done and what should national, that the industry has become was founded. The industry is looking to have been done. But anybody who conscious of the needs for firmer self- ACE for action this year. thinks he can be a Friday morning regulation and that from now on, WORK IS CUT OUT FOR COMPO quarterback for the current year in censorship by law will be unnecessary. That plan is in the formative stage. It this business is more than a genius be- The Council of Motion Picture Organ- in 1961 cause 1961 shapes up as more of an has a good chance of maturing izations has a busy year and its work enigma than almost any year in recent because, if it doesn’t, past censorship already is cut out for it. It will concern industry history. laws will look tame in comparison. itself with censorship, the wages and hours legislation, press relations and Why? Well, let’s take a look at the BATTLE OF ALLIED FACTIONS the so-called Ben Marcus business- drawing board. What’s with exhibitor organizations? building plan among other projects. We can start off with pay television. It would take more than an amateur This year will see the start of produc- With Telemeter fairly well entrenched crystal ball-gazer or even a Saturday tion by Pathe -America, a TOA-spon- in a Toronto suburb and the formation morning quarterback to foresee the sit- sored project designed to place more of the British syndicate to launch the uation as it might be at the yearend. pictures on the market. The first pic- medium in England, the company has We can eliminate Theatre Owners of ture, “The Deadly Companions,” already laid the groundwork for the U. S. debut America in this commentary because is in work and more are to follow. Some in Little Rock, Ark., and, at this writing, there appears to be no problem in that skeptics thought the plan never would negotiations have started with the camp. But the year started off with the get off the ground, but in less than six Southwestern Bell Telephone Co.
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  • Sgt. Bilko, M*A*S*H and the Heyday of U.S

    Sgt. Bilko, M*A*S*H and the Heyday of U.S

    TV/Series 10 | 2016 Guerres en séries (II) “‘War… What Is It Good For?’ Laughter and Ratings”: Sgt. Bilko, M*A*S*H and the Heyday of U.S. Military Sitcoms (1955-75) Dennis Tredy Electronic version URL: http://journals.openedition.org/tvseries/1764 DOI: 10.4000/tvseries.1764 ISSN: 2266-0909 Publisher GRIC - Groupe de recherche Identités et Cultures Electronic reference Dennis Tredy, « “‘War… What Is It Good For?’ Laughter and Ratings”: Sgt. Bilko, M*A*S*H and the Heyday of U.S. Military Sitcoms (1955-75) », TV/Series [Online], 10 | 2016, Online since 01 December 2016, connection on 05 May 2019. URL : http://journals.openedition.org/tvseries/1764 ; DOI : 10.4000/ tvseries.1764 This text was automatically generated on 5 May 2019. TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. “‘War… What Is It Good For?’ Laughter and Ratings”: Sgt. Bilko, M*A*S*H and t... 1 “‘War… What Is It Good For?’ Laughter and Ratings”: Sgt. Bilko, M*A*S*H and the Heyday of U.S. Military Sitcoms (1955-75) Dennis Tredy 1 If the title of this paper quotes part of the refrain from Edwin Starr’s 1970 protest song, “War,” the song’s next line, proclaiming that war is good for “absolutely nothing” seems inaccurate, at least in terms of successful television sitcoms of from the 1950s to the 1970s. In fact, while Starr’s song was still an anti-Vietnam War battle cry, ground- breaking television programs like M*A*S*H (CBS, 1972-1983) were using laughter and tongue-in-cheek treatment of the horrors of war to provide a somewhat more palatable expression of the growing anti-war sentiment to American audiences.