What Was On – London’s West End – Week Ending October 11th 1969

A total of 23 cinemas – comprising 22,000 seats – made up the roster for London’s West End, the most important cinemagoing location in the United Kingdom. All films had their British (occasional European or World) premiere here. Eleven cinemas could accommodate over 1,000 patrons, the biggest being the Odeon Leicester Square with 1,994 seats. At the other end of the scale and just round the corner from that Odeon was the Cinecenta, a multiplex of four tiny screens, highly unusual in Britain where the doubling and tripling of cinemas was in its infancy.

Although the roadshow was beginning to die the death in the United States, it remained very big business in London. the longest-running film was The Lion in Winter (1968) still taking £4,803 at the 600-seat Odeon Haymarket in its 40th week, equivalent to $11,046 (taking inflation into account that would amount to a colossal $83,248 at today’s prices). So you can see the advantage of letting films run and run in one location rather than shifting them out as soon as possible onto the circuits. Although roadshow tickets were more expensive than continuous performance, there were substantially fewer showings, a roadshow might be screened 15 times a week compared to 35-40 in continuous.

Top film of the week was aerial spectacular roadshow The Battle of Britain (1969) with an all star cast which took in £17,104 ($39,339) in its third week at the 1,654-seat Dominion. Setting a house record in its debut, Midnight Cowboy (1969), going down the continuous performance route at the 1,004-seat London Pavilion, knocked up £11,577 ($26,627).  Third, with £8,255 ($18,986) was Oscar-winning musical Oliver! (1968) in its 38th week at the 1,407-seat Leicester Square Theatre.

Sam Peckinpah’s controversially violent The Wild Bunch (1969), blown up to 70mm, came fourth at the 1,568-seat Warner Theatre with £8,091 in its seventh week. The sophomore outing at the Odeon Leicester Square of John Wayne and Rock Hudson in The Undefeated (1969) rammed home £6,094. Holding down sixth spot was the 70mm Cinerama disaster epic Krakatoa-East of Java (1968) with £5,091 in its tenth week at the 1,121-seat Astoria.

The Lion in Winter placed seventh. Eighth was a surprise package, Easy Rider (1969), racking up an extraordinary £4,493 in the tiny 272-seat classic Piccadilly. Omar Sharif as revolutionary Che! (1969) was next, first week at the 1,159-seat Carlton bringing in £4,475. Rounding out the top ten was The Fixer with £4,460 in its second week at the 1,366-seat Empire. The last three movies were all in continuous performance.

Reissues were surprisingly popular. Gone with the Wind (1939), also showing in 70mm, was in its 12th week – after a long run at the Empire – at the 1,360-seat Odeon Marble Arch while The Jolson Story (1946) starring Larry Parks played separate performances at the 1,394 Metropole in an eight-week run.

Also making their debuts were Cannes Award Winner Z (1969) at the 546-seat Curzon, The Royal Hunt of the Sun at the 713-seat Odeon St. Martin’s Lane, documentary Footprints on the Moon – Apollo 11 at the 570-seat Rialto, and in move-over The Prime of Miss Jean Brodie at the 550-seat Studio One.

Other long-runners were: Barbra Streisand giving an Oscar-winning performance in musical Funny Girl (1968) in its 38th week at the 760-seat Columbia; Where Eagles Dare (1968), also in 70mm, in its 30th week at the 412-seat Ritz, after a long run at the Empire; Ice Station Zebra (1968), filmed in 70mm Cinerama, in its 28th week at the 1,127-seat Casino Cinerama; Robert Aldrich’s The Killing of Sister George (1968) also in its 28th week at the 648-seat Prince Charles; and Oh! What a Lovely War (1969) in its 26th week at the 972-seat paramount.

Other films still showing include The Graduate (1967) in week fourteen at the 154-seat Cinecenta 4 and Goodbye, Columbus (1969)  in week five at the 820-seat Plaza.  

In those days the length of run a film racked up in the West End impacted on when it would go into general release. So if a film ran for six months in the West End, it could delay its circuit release for that length of time.

Movies were judged as much by length of run as box office. Except in the case of specialize product, a film achieving “legs” was seen as indicative of its future performance. There was  subtle marketing going on here – West End films were advertised every day in the London evening newspapers so if a film ran for six months that was six months of daily exposure of that picture for the rest of the city’s inhabitants who, unable to afford West End prices, were desperate for it to appear at their local cinema.

SOURCE: “Box Office Business,” Kine Weekly, October 11, 1969, p8.

The Scorpio Letters (1967) ***

Desultory spy thriller with over-complicated story that’s worth a look mostly for the performance of Alex Cord (Stiletto, 1969). I can’t say I was a big fan of Cord and I certainly didn’t shower him with praise for his role as a disillusioned Mafia hitman in Stiletto. But now I’m wondering if I have been guilty of under-rating him.

Normally, critics line up to acclaim actors if they deliver widely differing performances – Daniel Day-Lewis considered the touchstone in this department after Room with a View and My Beautiful Launderette opened in New York on the same day in 1985. But usually screen persona rarely changes, amounting to little more than a heightened or amalgamated version of the actor’s character or features. Once Charles Bronson, for example, started wearing his drooping mustache he was never seen without.  Actors may grow old, but never bald.

The macho mustachioed Cord of Stiletto is nowhere in sight. In fact, in The Scorpio Letters minus moustache and resisting attempts to reveal his musculature, he is almost unrecognizable. In this picture Joe Christopher (Alex Cord) is flip, resentful, thoughtful, occasionally pedantic, more natural than many of the crop of Hollywood new stars being unveiled at the time, and for once as a transplanted American in London rather scornful of British traditions. There’s a realistic flourish here, too, he is so poorly paid – and on a temporary contract – that he has to take the bus. And although he is an ex-cop fired for brutality, that level of violence ain’t on show here. Virtually the opposite of the character Cord created for Stiletto, I’m sure you’ll agree. So full marks for versatility and talent.

Unfortunately, the rest of the movie is not up to much, at the very bottom of the three-star review category, almost toppling into two-star territory. Christopher is investigating the death of a British agent who was the subject of a blackmail attempt. By coincidence – or perhaps not – another part of British Intelligence is investigating the same death and this brings Christopher into contact with Phoebe Stewart (Shirley Eaton) and eventually they work together to unravel a list of codenames and uncover the conspiracy with a bit of risk to life and limb.

But the pay-off doesn’t work despite all the exposition attempting to build it up and you’re left with a kind of drawing-room drama rather than exciting spy adventure. It’s determinedly London-centric with red buses, red postboxes, Big Ben, and The Horse Guards all putting in an appearance. The scene shifts to Paris and Nice without a commensurate heightening of tension. Despite a couple of neat scenes – a chase held up behind a wedding party, an irate German chef, an interrogation in a wine cellar – it’s much too formulaic.

Cord apart, Shirley Eaton (Goldfinger, 1964) adds some glamour, but her rounded portrait depicts a character with warmth rather than oozing sex. This is the kind of film that should be awash with character actors and up-and-comers but I recognized few names except for Danielle De Metz (The Karate Killers, 1967), Oscar Beregi (Morituri, 1965) and Laurence Naismith (Jason and the Argonauts, 1963).

One-time top MGM megger Richard Thorpe (The Truth about Spring, 1965) was coming to the end of a distinguished career which had included Ivanhoe (1952) and Knights of the Round Table (1953). This was his penultimate film. The appropriately-named Adrian Spies (Dark of the Sun, 1968) wrote the screenplay based on the Victor Canning thriller. Making his movie debut was composer Dave Grusin (Divorce American Style, 1967)

Albeit made on a budget of just $900,000, MGM intended the picture for theatrical release but with a short cinema window to make it available for a speedy showing on ABC TV. It was originally scheduled for a May 1967 theatrical release but MGM, contractually obliged to deliver the picture within a specified time to television, could not fit in an American release. So it made its debut in the “Sunday Night at the Movies” slot on February 19, 1967, and was shown in cinemas abroad. Nor was it shown first on U.S. television because the studio believed it to be a disaster. Reviews were positive. Variety (February 22, 1967, page 42) called it “very hip.”

Subterfuge (1968) ***

Worth seeing just for super-slinky leather-clad uber-sadistic Donetta (Suzanna Leigh) who  delights in torturing the daylights out of any secret agent who crosses her path, in this case Michael Donovan (Gene Barry). She’s got a neat line in handbags, too, the poisonous kind. Two stories cross over in this London-set spy drama. American Donovan is under surveillance from both foreign powers and British intelligence. When his contact comes into unfortunate contact with a handbag, he finds himself on the sticky end of the attention of Shevik (Marius Goring) while at the same time employed by the British spy chief Goldsmith (Michael Rennie) to find the mole in their camp.

The three potential British suspects are top-ranking intelligence officer Col. Redmayne (Richard Todd), British spy Peter Langley (Tom Adams) and backroom underling Kitteridge (Colin Gordon). On top of this Langley’s wife Anne (Joan Collins) adds conscience to the proceedings, growing more and more concerned that the affairs of the secret state are taking too much precedence over her marriage.

The hunt-the-mole aspect is pretty well-staged. Kitteridge always looks shifty, keenly watching his boss twisting the dials on a huge office safe containing top secret secrets. Langley is introduced as a villain, turning up at Shevik’s with the drugs that are going to send the Donovan to sleep for eight hours before being transported abroad in a trunk. But he turns out to be just pretending and aids Donovan’s innovative escape. Charming but ruthless Redmayne is also under suspicion if only because he belongs to the upper-class strata of spies (Burgess, Philby and Maclean) who had already betrayed their country.

In investigating Langley, Donovan fixes on the wife, now, coincidentally, a potential romantic target since her husband is suing for divorce. She is particularly attracted to Donovan after he saves her son from a difficult situation on the water, although that appears manufactured for the very purpose of making her feel indebted. However, the couple are clearly attracted, although the top of a London bus would not generally be the chosen location, in such glamorous spy pictures, for said romance to develop.

As you will be aware, romance is a weak spot for any hard-bitten spy and Shevik’s gang take easy advantage, putting Anne, her son and Donovan in peril at the same time as the American follows all sorts of clues to pin down the traitor.

This is the final chapter in Gene Barry’s unofficial 1960s movie trilogy – following Maroc 7 (1967) and Istanbul Express (1968) – and London is a more dour and more apt climate for this more down-to-earth drama. Forget bikinis and gadgets, the best you can ask for is Joan Collins dolled up in trendy mini-skirt and furs. Barry, only too aware that London has nothing on Morocco or Istanbul in the weather department, dresses as if expecting thunderstorms, so he’s not quite the suave character of the previous two pictures. In this grittier role, he does not always come out on top. But that does not seem to dampen his ardor and the gentle romantic banter is well done.

Joan Collins, in career trough after her Twentieth Century Fox contract ended with Esther and the King (1960), has the principled role, determining that the price paid by families for those in active secret service is too high. No slouch in the spy department himself, essaying Charles Vine in three movies including Where the Bullets Fly (1966), Tom Adams plays with audience expectations in this role. It’s a marvelous cast, one of those iconic congregations of talent, with former British superstar Richard Todd (The Dam Busters, 1955), Michael Rennie, television’s The Third Man (1959-1965), Marius Goring (The Girl on a Motorcycle, 1968) and Suzanna Leigh (The Lost Continent, 1968) trading her usual damsel-in-distress persona for a turn as terrific damsel-causing-distress.

Shorn of sunny location to augment his backgrounds, director Peter Graham Scott (Bitter Harvest, 1963) turns his camera on scenic London to take in Trafalgar Square, the zoo, Royal Festival Hall, the Underground, Regent’s Park with the usual flotilla of pigeons and ducks to fill in any blanks in the canvas.

Catch-Up: Previously reviewed in the Blog are Gene Barry in Maroc 7 (1967) and Istanbul Express (1968), Joan Collins in Esther and the King (1960) and Suzanna Leigh in The Lost Continent (1968).

This is hard to find so your best bet is ebay although it is available on Youtube for free but the print quality is not great.

A Study in Terror (1965) ****

Excepting Sherlock Holmes and the Deadly Necklace (1962) and The Hound of the Baskervilles (1959) the world’s most famous fictional detective had been absent from the big screen for over two decades so it seemed an inspired decision to set him on the trail of the world’s most infamous serial killer – Jack the Ripper. The result is high-class comfort food – the first of the series made in color – classic deduction coupled with barbaric murders in a fog-bound London replete with cobbled streets, Dickensian urchins and sex workers apop with cleavage and corset. Throw in sensitivity towards the abject poverty of the period, female exploitation and a nod towards an upper-class cover-up and you have a movie with a surprisingly contemporary outlook.

This is a tougher Holmes, handy with his fists, sporting a spring-loaded knife in his walking stick. The investigation draws in the Prime Minister (Cecil Parker) and the Home Secretary (Dudley Foster) as well as Sherlock’s pompous brother Myron (Robert Morley) and the ubiquitous Inspector LeStrade (Frank Finlay).

Pretty quickly it is Suspects Assemble. Due to a scalpel being the murderer’s instrument of choice, doctors are immediately implicated, the most likely candidate the philanthropic Dr. Murray (Anthony Quayle) who operates a soup kitchen. Publican Max Steiner (Peter Carsten), with a sideline in blackmail, is another possibility. And there is the mysterious disinherited son of a lord, Michael Osborne who has married sex worker Angela (Adrienne Corri).

The Italian ad campaign combined a more conservative Sherlock Holmes
with exploitative illustrative detail.

As ever, the plot is complicated by red herrings and sleights of cinematic hand. But the highlight of a Holmes picture is the sleuth’s mastery of deduction based on clues missed by the ordinary mortal and every now and then the story comes to a halt to allow time for the detective to demonstrate genius. Occasionally he dons a disguise. And thoroughly enjoyable these scenes are before he gets down to the main business of uncovering the killer.

A Study in Terror introduces social depth to the Holmes saga. When the crimes focus the media spotlight on Whitechapel, Dr. Murray draws attention to the constant “murder by poverty” ignored by the state. Female exploitation is of course the norm in the sex worker business and small wonder that such women are easy targets for the Ripper and although that is an overdone trope in this case a different angle comes into play. 

Shakespearian actor John Neville (Oscar Wilde, 1960) handles the main character with considerable aplomb with Donald Houston (The Blue Lagoon, 1949) as his often baffled sidekick Watson. Robert Morley (Genghis Khan, 1965) is a splendid Mycroft although Anthony Quayle (East of Sudan, 1964) fails to nail down his Scottish accent.

The considerable supporting cast includes Judi Dench making her second film appearance, Barbara Windsor of Carry On fame, John Fraser (Operation Crossbow, 1965), John Cairney (Jason and the Argonauts, 1963), Peter Carsten (Dark of the Sun, 1968),  singer Georgia Brown (Nancy in the original stage production of Oliver!), Edina Ronay (The Black Torment, 1964), Corin Redgrave (The Girl with the Pistol,1968), former British leading lady Kay Walsh (Oliver Twist, 1948) and future television comedy writer Jeremy Lloyd (Are You Being Served?, 1972-1985).

The picture was unusual in that it was not drawn from the existing Holmes canon but as an original devised by Derek and Donald Ford (The Black Torment), the former going onto a more extensive career as a director of British sexploitation pictures such as Suburban Wives (1972). Production company Sir Nigel Films had been set up as an official vehicle to exploit the Holmes legacy.

Director James Hill (The Kitchen, 1961) had won an Oscar for the short Giuseppina (1960) and was a year away from his breakthrough Born Free. Given the low-budget this is a highly watchable picture.

Flick Vault has this for free on Youtube or if you want to own it forever there’s a DVD.

The Secret Partner (1961) ****

Curious about what happened to Haya Harareet, Charlton Heston’s leading lady in Ben Hur (1959), filmed in 70mm glorious color, I happened across this neat twisty British thriller filmed in standard ratio and black-and-white. Turned out to be put together by the Basil Dearden/ Michael Relph combo and starring Stewart Granger, one-time star of MGM extravaganzas like King Solomon’s Mines (1951) and clearly now atoning for failing to hit the box office mark often enough for Hollywood’s liking.

Driven by a brilliant plot, whose resolution I defy you to guess, it climaxes with three stunning twists, the first story-driven but the others landing a no less effective emotional and human punch. I should warn you right away that Harareet is not in the picture as much as you would expect given that she took second billing. That’s no surprise, really, since on her first entrance, as wife Nicole, she walks out on husband John Brent (Granger) citing his illicit romantic liaisons.  

Though driving a swanky car and living in a big London house, Brent , a top-level shipping executive, is one harassed individual. He is being blackmailed by alcoholic dentist Ralph Beldon (Norman Bird).  When the shipping company’s safe is robbed of £130,000 (equivalent to £3 million today), suspicion falls on Brent, one of only two employees with both keys and the combination. Enter about-to-retire chain-smoking Detective Superintendent Hanbury (Bernard Lee, shortly to achieve global fame as “M” in the Bond series).

Constantly wreathed in a cloud of smoke, Hanbury’s investigation leads to various suspects – the other keyholder Charles Standish (Hugh Burden) whose job is at risk, interior designer Clive Lang (John Lee) who is too familiar with Nicole and friend Alan Richford (Conrad Philips) who is secretly in love with her. All have good reason to be responsible for the theft, not least Nicole because of Brent’s habit of talking in his sleep and in trying to memorize ever-changing safe combinations constantly running them through his head, conscious or unconscious.

To add to the complications, Brent has a mysterious past. In addition, a masked gunman pops up from time to time. So, although Brent remains the prime suspect, Hanbury, with an investigator’s vigilance and attention to detail that Hercule Poirot would be proud of, uncovers clues that point elsewhere. Pretty soon, Brent is on the run, first to France, where he is arrested, and then, after escaping custody, through the murky streets of Soho trying to locate a girl to whom he might have given the combination while asleep. He, too, discovers some unpleasant truths far closer to home.

Dearden does a brilliant job of setting up the mystery, a dab hand, too, at serving up multiple red herrings, as well as a spot of sleight of hand, not least when the music intrudes too loudly in old-fashioned manner as if to point the finger, and the audience’s attention, in a misleading direction. Sure, it’s a low-budget affair by Hollywood standards and indeed by Dearden/Relph standards (big-budget roadshow Khartoum, for example), and the black-and-white photography is for financial rather than artistic reasons, but it is superbly done and keeps you guessing to the end. Granger is at his suave best. Harareet, all fur coat and steely resolve, gives a good performance. Bernard Lee is an excellent British copper, hoping to end his career on a high note, patiently probing suspects, and there is a good turn from Norman Bird as the dodgy dentist and a fleeting appearance by Willoughby Goddard as an equally dodgy hotel manager.

Except there’s no extraneous violence, it could be a latter-day film noir.

Catch-Up: Other Dearden/Relph films reviewed in the Blog are: Masquerade (1965), Khartoum (1966), Only When I Larf (1968) and The Assassination Bureau (1969). Stewart Granger was also reviewed in The Secret Invasion (1964).

Strange Bedfellows (1963) ****

I had my first belly-laugh within seconds, a wonderful sight gag, and was chortling all the way through this London-set battle-of-the-sexes comedy. Rock Hudson is a high-flying businessman who needs to win back long-estranged wife Gina Lollobrigida in order to gain promotion in a family-conscious oil company. Initially, Hudson re-discovers the reasons he had first fallen in love with her but then, of course, only too bitterly, why they split. Hudson and La Lollo had previously teamed up for Come September (1963) and Hudson had spent most of the early 1960s in romantic mishap with Doris Day so he could call on an extensive range of baffled and enraged expressions. Lollobrigida is an artist-cum-political-firebrand which sets up hilarious consequence. Gig Young is on hand to act as referee.

There’s some marvelous comic invention,  a conversation between the two principals relayed through taxi controllers turns into a masterpiece of the misheard and misunderstood. Complications arise from Lollobrigida’s fiance Edward Judd (First Men on the Moon, 1964), also an activist, but on the pompous side, and an Italian lothario. Taking advantage of the less than congenial London weather, there are jokes aplenty about umbrellas and in a nod to farce occasions for Hudson to lose his trousers and share a bed with the fiance. Smoldering sexual tension also kindles many laughs. By the time the film enters its stride it’s one comedic situation after another. It being England, naturally enough Lady Godiva is involved.

Hudson in suave mode trying to cope with the feisty Lollobrigida is an ideal comedy match. Costume designer Jean Louis has swathed the actress in a stunning array of outfits, some of which leave little to the imagination. When Doris Day got angry you tended to laugh, not quite believing this was anything more than a moderate hissy fit, but if you crossed Lollobrigida you were apt to get both barrels and it never looked like acting, she was a very convincing when she switched on the fury engine, plus, of course, whatever she threw added both to the comedy and her character’s conviction.   Both have terrific comic timing.

Writer-director Melvin Frank was something of a comedy specialist, a dab hand at suiting comedy to screen persona having previously set up Road to Hong Kong (1962) and Mr.  Blandings Builds a Dream House (1948). Terry-Thomas makes an appearance as a comic mortician and there are parts for English comedian Arthur Haynes and Dave King. Hudson and Lollobrigida exude screen charisma and while not in the class of Come September this delivers enough laughs to make you wonder why they don’t make them like that anymore.

You should find this in Amazon Prime.

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