There was a curious dichotomy at the heart of promotional efforts for this picture. On the one hand, theater managers were encouraged to make contact with those affected by divorce, on the other to make a great play of weddings and marriage.
So theater managers were told to contact groups such as Parents without Partners, Children of Divorce, Divorce Reform Groups, Alimony Payers and Family Counsellors. Divorce Parties and Divorce Breakfasts were suggested as other sources of publicity. Free screenings were aimed at couples who could prove they were divorced – presumably, that is, if they could still stand the sight of each other.
“Wedding rings can make a very positive contribution” to a promotional campaign was the other side of efforts to sell the movie. That meant possibly offering a wedding ring as a prize in a competition for divorced couples planning to re-marry…”re-marriage might take place at your theater…but it is not mandatory.” Free tickets could be given to jewelers to hand out to anyone buying an engagement or wedding ring. Another idea was a newspaper article on what divorced women did with their wedding rings after they had split from their partner.
Dick Van Dyke had been named “Screen Father of the Year” by the National Father’s Day committee and he had made a national tour in support of the picture meeting the media in New York, Chicago, Miami, Atlanta, New Orleans. Oklahoma City, Rochester, Washington, Syracuse, Boston and Philadelphia so journalists in those localities were already primed to support the efforts of cinemas. In Dallas, he was met by 1,000 people and later presented with a plaque from the Domestic Relations Court because “the ideals of the film serve as a deterrent to divorce.”
Unusually, the fashion boost this time focused on the male. Jason Robards had turned himself into a male model for Ratner California Clothes with advertisements appearing in Gentlemen’s Quarterly. Equally unusual was a suggestion to tie up with a local hypnotist – a scene in the picture involves Pat Collins’ nightclub act.
Van Johnson played a used car dealer in the film so they were also targeted for joint promotions or car parades. Bowling alleys, too, since that form of leisure activity featured in the film. On a more straightforward note Popular Library had produced a novelization and United Artists the original soundtrack album by Dave Grusin.
Mercenaries rampaging through strife-ridden Africa, chainsaw the weapon of choice, marketing to The Dirty Dozen crowd a formality, but how do you interest the rest of the paying public?
“Bright ideas to boost your box office” as computed by the MGM marketeers in the Pressbook fell into four categories: fashion, jungle, diamonds, and military. Oddly enough, the pick of the bunch was fashion. And not what the chic mercenary was wearing. Instead, the focus was on Yvette Mimieux who “took time off” filming to “model sensational creations by Dorothy McNab of Jamaica Fashions.” This picture is set in the Congo and Jamaica is about 3,000 miles away across an entire ocean so where did Jamaica come into it? Well, it was shot in Jamaica and that appeared excuse enough, and it was hoped that cinemas would link up with department stores showing the seven outfits modelled ranging from casual to elegant evening wear.
The jungle seemed a safer bet so managers were encouraged to kit out doormen and usherettes in jungle outfits while tropical plants and foliage and possibly tropical birds could turn the lobby into a jungle paradise. Local military Army reserve or National Guard units could be persuaded to lend military equipment to add to the display and, as a longer shot, recruitment agencies might choose to get involved. Since the main thrust of the picture involves diamonds the marketeers suggested linking up with large jewelry store chains to give away cheap industrial diamonds prior to launch or as a competition.
Since Toyota land cruisers play a significant part in the movie, MGM had set up a promotional tie-in with 1500 dealers coast to coast with the potential for one of the vehicles mounted on a ramp in front of the theater drawing attention both to the picture showing inside and the car itself. In addition, discounted tickets to members of four-wheel drive clubs might bring in customers. More standard material included an original soundtrack album and a paperback book.
Much of a Pressbook’s job was to provide snippets of information that could be fed to local journalists. Former boxer Rod Taylor did some of his own stunts, 6-foot 3-inch 240lb former gridiron star Jim Brown needed his own bed flown in to location, the temperature was so high the actual film had to be cooled down in giant vats of ice, and certain sequences used live bullets. The giant steam locomotive was a “55” built in 1902 and brought out of retirement.
And there was no shortage of usable quotes. “I don’t believe in love at first sight,” commented Mimieux; “I was warned off directing by some of the finest directors in the business,” said director Jack Cardiff.