Word: onscreen
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Dates: during 1960-1969
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...Nothing really does happen. The come-ons are put-ons; there is no smoking or drinking onscreen, and the promised love play is usually limited to an innocent kiss behind a surfboard. Frankie Avalon and ex-TV Mouseketeer Annette Funicello, the romantic leads who trip through their scenes with mindless abandon, come across as the Ma and Pa Kettle of the teeny-bopper set. Explains an A.I.P. market researcher: "Kids realize that sex play exists, but they don't like movies to get involved with it. A boy watching a movie and sitting next to a girl with whom...
...which rang up one of the biggest box-office grosses ever (over $8.3 million) for a comedy movie. Then, in the Japanese-made film What's Up, Tiger Lily?, he collected $75,000 for supplying the dubbed-in dialogue that is totally alien to anything that is happening onscreen. In November, following a performance in the forthcoming Casino Royale, in which he ad-libbed 60% of his lines, he opened his new Broadway play Don't Drink the Water, for which he gets an average weekly royalty check...
Long Road. Onscreen, Caine's impact seems half visceral, half sociological. He is professionally at home in such separate skins as those of an Establishment army officer or a U.S. Southerner, but his soul seems to belong to his working-class roles. He is that new hero, the chap who is supposedly above class-but if he really is, why does he keep aggressively displaying his non-U traits and compulsively needling Old Blighty's oldest values? With Caine, all this springs from something deeper than dialogue and technique, as does his mock-deadly appeal to women...
Oscar-winning Cat Ballou, she was outclassed by everything onscreen, including Lee Marvin's horse. In any case, there were others who helped along the way. An old family friend, Joshua Logan, directed her in starring roles in both her first film (Tall Story) and first play (There Was a Little Girl), and Daddy, "nonverbal" as she thinks he is, could not have been a total liability...
...scene is shrewdly written, strongly performed. Bedford, the only holdover from the Broadway cast, is the perfect mouse-funny when he squeaks, staggering when he roars. Whenever she is onscreen, Actress Sommars matches him laugh for laugh, and Farentino with never a false step leads the spectator to the clear-eyed conclusion of this wise little comedy: people who use people are the loneliest people in the world...