The War Of The Worlds (1953)

Add Comment on August 26, 1953 by BOXOFFICE Staff

   Inasmuch as for some time the screen has been free of so-called space operas-of which so many were popular and profitable a few months back-there is every reason to predict that this will be one of the most widely discussed and generously patronized among upcoming features. Nor is its chance to attain that goal handicapped because it is possibly the most impressive all-time entry in its field. Basing his Technicolorful thriller on a story by the granddaddy of all science-fiction writers, H.G. Wells, producer George Pal went all out for spectacle, scope, fantasy, action, suspense and chills. His special effects, trick photography and results thereof defy description. They'll scare the jeans off of youngsters, and frequently adults.

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From Here To Eternity (1953)

Add Comment on August 05, 1953 by BOXOFFICE Staff

When this company acquired the film rights to James Jones' best selling novel, widespread were the conjectures as to whether, after elimination of the four-letter words and the daring approach to sex, enough would be left to make a good picture. Such doubts are resoundingly banished in the finished product -- not only a good movie, but a great one. Puritanical indeed will be the critic or spectator who finds the film offensive, due largely to brilliant scripting, excellent direction by Fred Zinnemann, tasteful production guidance by Buddy Adler and magnificent performances by a star-studded, marquee-magnetic cast.

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Gentlemen Prefer Blondes (1953)

Add Comment on July 31, 1953 by BOXOFFICE Staff

  One of the most famous gold-diggers of all time, the diamond-loving Lorelei Lee, is portrayed by the boxoffice bombshell, Marilyn Monroe, in a lavish, colorful and hilarious Technicolor musical. With Jane Russell, singing, delivering comedy lines and exuding sex as her more level-headed showgirl friend while Marilyn acts the dim-witted blonde to perfection -- in a manner to make the male patrons drool -- this will be a tremendous grosser. In addition to Monroe and Russell, the fame of the Anita Loos novel, which later became a play and then a smash musical, and the several hit songs, which are again being heard on jukeboxes everywhere are strong exploitation angles.

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House of Wax

Add Comment on April 25, 1953 by BOXOFFICE Staff

The first 3-D feature in WarnerColor and with Warner-Phonic sound is a magnificently macabre thriller and far superior to the earlier 3-D efforts. By playing up the many objects which seem to leap out of the screen, including dancing girls, and the excellent color and off-screen sound effects, the picture will be big boxoffice in any type of house. It is made-to-order for patrons who revel in these spine-chilling epics -- and their name is legion. The story employs all the reliable horror devices -- lurking figures, a frightened and screaming heroine, a blazing fire which melts down realistic wax dummies and a last minute rescue from a violent death. Many of the depth illusions, as viewed through Polaroid glasses, are startling and tremendously effective.

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Invaders From Mars

Add Comment on April 22, 1953 by BOXOFFICE Staff

   It isn't until the near-end footage that this resorts to the special effects, trick photography and other gimmicks upon which most science-fiction thrillers depend for chills. Nonetheless, it is spine-tingling from scratch, with excitement and suspense being built and maintained through a cleverly contrived screenplay, sincere performances and adroit direction by William Cameron Menzies. When the interplanetary gadgets are finally called into play, the action goes all-out and winds up in a hair-elevating climax. So the offering is dependable to hand the moppets a full dosage of nightmares and, for that matter, to deliver a few scares to adult ticket buyers. That, after all, is what a space opera needs to fill theatres, which this Edward L.

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Peter Pan

Add Comment on February 05, 1953 by Wade Major

Little could James Matthew Barrie have known, when he first introduced the character of Peter Pan in his 1902 book "The Little White Bird," that the naif waif would go on to become one of the century's most beloved literary characters, captivating not only generations of readers but theater patrons and filmgoers as well. Barrie himself helped grow the phenomenon by further penning the popular stage play in 1904, a novella in 1911 and even a screenplay adaptation for Herbert Brenon's 1924 silent. It's the two musical adaptations, however, that have proved most enduring--the 1953 Disney animated classic and the 1954 Broadway musical directed by Jerome Robbins and starring Mary Martin (more recently revived with former Olympic gymnast Cathy Rigby).

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I Was a Communist for the FBI

Add Comment on May 05, 1951 by BOXOFFICE Staff

When Producer Bryan Foy blasts the Communist menace in the United States, he uses no small-caliber artillery. He unlimbers the 16-inch cases and fires them until they are white-hot -- and let the shell fragments fall where they may. Such employment of block-busting barrages adds up to noisy and actionful screenfare albeit it reveals nothing that has not been previously and widely exposed about the Red threat, its proponents, their aims and methods. With the public in its current mood regarding Communistic activities, the picture can easily attract cash-drawer-loading grosses, especially if the exhibitor takes advantage of the patent exploitation possibilities of it subject matter.

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