VSCHiI GinAss

A CANADIAN MAGAZINE Sof

ie Al eelénde

&

CINE World Best Wishes

or A Happy An as Aaah

| ‘Day wy Meor

1967

ES SS99S99S999999S99 9093959999 999SS9S299 9800099995) 3 5 Bo SS 9998991 SSS 99SSSSSSSSS9999 9909S SSSSSSSSSS SSeS SCS OSC DSSS SS OC SSeS SST eS TOSS SSSSSeS SS TS SECS SESS ST SSESIO SS SS FSSS99 99999995 0SeS Stee s

A SPLIT SECOND IN ETERNITY

2 90 se er aot

The Ancients Called It COSMIC CONSCIOUSNESS

Must man die to release his immer con- sciousness? Can we experience momentary flights of the soul—that is, become one with the universe and receive an influx of great understanding?

The shackles of the body—its earthly limitations—can be thrown off and man’s mind can be attuned to the Infinite Wisdom for a flash of a second. During this brief interval intuitive knowledge, great inspira- tion, and a new vision of our life’s mission are had. Some call this great experience a psychic phenomenon. But the ancients knew it and taught it as Cosmic Consciousness — the merging of man’s mind with the Uni- versal Intelligence.

Let This Free Book Expiain

This is not a religious doctrine, but the application of simple, natural laws, which give man an insight into the great Cosmic plan. They make possible a source of great joy, strength, and a regeneration of man’s personal powers. Write to the Rosicru- cians, an age-old brotherhood of under- standing, for a free copy of the book “The Mastery of Life.” It will tell you how, in the privacy of your own home, you may indulge in these mysteries of life known to the ancients. Address: Scribe F.C.N.

She ‘Rosicructans

(AMORC)

SAN JOSE, CALIFORNIA 95114, U.S.A, Please Include Your Zip Code

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a LOUTH RR eevee

Another Canadian Gal, Beautiful

SUSAN CLARK

Is Doing Well In Hollywood

By RON RIEDER

Hollywood—

When it comes to family trees, Susan Clark has roots that run deeper than the famed California redwoods.

Susan, talented actress who will make her American - movie debut early in 1967 in Universal’s “Banning,” was born in Sarnia, Ontario, but her bloodliness link her with leading families in England, Ireland and United States.

Susan’s paternal great grandmother, Lady Eileen Fitz- gerald, a relative of the late President John Fitzgerald Kennedy, broke with stolid Irish tradition by marrying a Protestant. However, he wasn’t just the garden variety of Protestant. He was a titled member of the aristocracy, Baron Raymond Clark.

Needless to say, baron or no baron, great grandfather Clark was still a Protestant and as such he found his Catholic surroundings somewhat less than cordial. So he packed up his title and his bride and migrated to Ontario, leaving his land and. property in Ireland to eventually revert back to state ownership.

In sparsely populated Ontario of his day, Baron Clark’s grand title and documented linage went pretty much un- noticed. Certainly the Indians weren’t the least bit im- pressed.

And when Lady Eileen bore her husband a son, even he was to dismiss his noble heritage with a casual shrug.

5

In fact, when young George (Susan’s grandfather) came of age, he gave into an urge to travel and struck out for the Virgin territory in the Yukon where, as Susan puts it, “he had a damned good time and brought back a few gold nuggets to prove it.”

George finally settled down and married into the Cuth- bert family, a noteworthy clan in its own right. It was a Cuthbert who founded the first Protestant church in Quebec.

What does Susan think of it all?

“Of course, it’s all quite fascinating,” she admits, “but it actually means so very little in 1966. I leave all that sort of heraldry to my old maiden great aunt in Ontario. My career as an actress depends solely on my own individual qualifications and I wouldn’t be any better or worse as a talent even if I were the daughter of the Queen Mother herself.”

Where has her talent taken her? In her first American film “Banning” Susan has a top- featured role as Guy Stockwell’s stately wife in the sex- filled expose of the exclusive country club set.

Susan has been acting professionally since the tender age of 11. Summer stock, other stage work in Canada, United States and England and television has taken up her time until the “Banning” role. She landed the part after being referred to Elenor Kilgalen, Universal’s talent agent in New York and in turn to “Banning” director Ron Winston.

The only thing left is vital statistics which her Holly- wood press releases give as follows: Height five foot seven and a half inches; weight 128 pounds; hair auburn; eyes gray-green. Put all these together and it spells Susan Clark, Canadian actress on her way up.

ELVA STROM

93 CHILTERN HILL RD. TORONTO 10, ONT. 787-3012

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FIRST CANADIAN: @ SOUTH AMERICAN @ CO-PRODUCTION

Love ra Stianger

Special to CINE World

_Montevideo—

_ Suiely the first of its kind, the Canadian-South American feature film co-production ‘Love With a Stranger’ (working title) is now being ~shot m Eastmancolor, in and around Montevideo. Well on the way to completion, the shooting schedule is about seven weeks.

The story, which deals with a controversial mother-daughter-lover

triangle, was written by English writer Margot Stevens, and has since

' been especially adapted for setting in South America. Producers of

* ‘Love With a Stranger’ are: Executive Films of N.Y., Independent

Film Associates, and Orion Studios (Montevideo). The film will be released and distributed through Executive Films of N.Y.

The film, which aims to capture a natural realism, wherever pos- sible utilizes location settings. Well-known Canadian Director of Photography, Stanley Lipinski, has been flown down for the entire filming. Lipinski, who as well as doing considerable filming for the C.B.C., was also the cinematographer for ‘Room for a Stranger’. He has recently just completed the Canadian feature film ‘The Offering’ for David Sector. However, other crew and cast, are made up of local technicians and artists. Director Ted Leversuch is delighted with the locals and firmly believes in the scope for future co-productions here.

Lead roles in the film are played by French actor Martin Lasalle

8

(the lover), Rica Bergman, flown in from Los Angeles, who plays the daughter, and Elsa Guirot, who plays the mother.

Martin Lasalle: in addition to his work in Europe, is an accom- plished actor in the Argentine, experienced in film, theatre and tele- vision. In 1960 played the lead in Robert Bresson’s film ‘Pickpocket’. Was a Member of the Actor’s Studio in N.Y. 1961-1964. Played lead in N.Y. feature film ‘O.K. End Here’ which won Ist prize at Locarno Film Festival 1963, and was selected American entry in N.Y. Film Festival. Also had lead role in ‘Acteon’ a film by Jorge Grau, made in Spain in 1964, and attended Moscow Film Festival 1965 as representative for that film. In 1965 did television drama in Spain and some in New York with Janice Rule, Maurice Evans. His next scheduled film will be made by Torres Nilsson in Peru, at the end of the year.

Rica Bergman: a stunning German girl of Swedish extraction, while only twenty years of age, has proved a definite natural talent in the film. After studying acting as a teenager in Germany, she came to Toronto and modelled Village fashions, with the occasional television commercial. From there she moved to Los Angeles and into television work. But Rica still keeps an apartment on Yorkville, and between working dates gets to Toronto to visit friends and buy fashions. An ambitious young lady, she is already working out details for another leading role, slated for December, and plans to firmly establish her- self in cinematic circles.

Elsa Guirot: a competant television actress and radio artist in

Montevideo, who, when not playing the part of a susceptible widow, even dose a little Shakespeare.

Additional Cast:

i GSO PIER, Sf hot Lene ROOM TATORE ge SOE. Pie sO ET Lo OEEE Sergio Regules Oe ah iss ah if addiodgs I a they Fred Deakin a I EM i ORO Carlos Kanarek 2 BRIE AMSA R Die IE ie SAL TURAL Nes Caroline Barberot SS EEG aR See 8 OO le ME Horacio Flores Ite. Ad... ss... Ee casey IG ee DL pepe Oscar Azuri

Love With A Stranger — Continued

Production: TOON a AE 2, INE PR OI IPD? Leer Ted Leversuch PBS ATO EPMA ta ae. 2 Ed Leversuch API EOC AES TAFE He ia BI Stan Lipinski A radatet @ ere 8 BE EASE © oes Ae 5) ere Juan Roca Rest Gam: Operator 2. F828? Pie BE. Juan Jose Gutierrez ills en = ee OE Es ZT Ferrucio Musitelli NS Pe Feo eid ei pel ee el ter Bee 1k Sg a ia? Cec Tiboni Serie See ee eee Araceli de Tezanos TroguucmOn wianacer <2 * 4 Pe Bits he ee eee Carlos Bayarres Production Asst. ...... Sr ee On, ena ete George Bayarres Ge Besigh * 2 Bees : Seis is Se Ae ie Vent Be Arturo Farre POPGTES 5c oe Marta Degener POC 2 aie ees Alex Lab. (B.A.)

The producers gratefully acknowledge the co-operation of the Montevideo Police Dept.

To: CINE World Box 86, Toronto 9, Canada

Please find enclosed $2.00 for my year’s subscription of CINE World (6 issues). WE AED ; 7

Province Gr State 1200. RE Country ........... OE,

10

ilms e gan : ec Biiene-Greens

Films are so much a part of our everyday lives that few people ever give a thought to their invention. Ask any cinema-goer when moving pictures were invented; ask any so-called enthus- iast the name of the inventor; ask about the earliest ‘‘talkies’’. You will be surprised at the answers (if any) you will receive.

For years there have been disputes about who invented motion pictures. | can tell you right at the beginning that my father, William Friese-Greene, was the first to apply for and obtain a patent for a moving picture camera in June 1889; and a later patent, to make it possible to produce motion pictures as we know them to-day. (British Patent No. 10, 131, June 1889). Yet long before that year, in 1885, my father had alighted on the secrets of the motion picture.

It is with all due modesty that | place on record the fact that my father was an extraordinary genius; like many other men with fertile brains, he did not get his reward.

It was in 1887 that my father conceived the idea of linking up the newly-invented phonograph of Edison Bell with photo- graphed movement. In 1889, after he had been struggling month in and month out to perfect this idea, he alighted on a solution and sent a description of it to Edison. He asked the American to co-operate with him and produce talking pictures. That was in 1889. |

‘Tl

Mr. Edison, being a shrewd man, was obviously interested in such a project. He sent a request for the drawings of the camera patent; but nothing further was heard from the Edison officials.

First, however, let me tell you of my father’s early days. William Friese-Greene was born at Bristol on September 7, 1855 and was educated at the Blue Coat School, Clifton. He was very young when he became interested in photography, then at the beginning of its development. It was in 1882 that my father and John Arthur Roebuck Rudge, who had devised a projection lantern, which he called the Bio-Phantoscope, joined forces. Rudge incidentallly was the first man to run an electri- cally propelled boat (his own invention) up the River Avon, at Bath. In St. Michael’s Cemetery, Bath, there is a tomb on Rudge’s ‘grave, with an ‘inscription recording his inventions; a tablet to the joint memory of Rudge and my father has been affixed to the wall near the house where Rudge lived in Bath. Rudge produced what he called ’’Life in the Lantern’, using 4 by 5 inch glass plates, with an oscillating shutter, made of two leaves and opening and closing from the centre. As the shutter closed over one plate the next plate was advanced between the light and the lens, and this gave the illusion of animation.

It was this device that gave my father his first idea for mo- tion photography. He made several improvements on Rudge’s invention, and in 1885 gave an exhibition before the Photo- graphic Society of Great Britain. Rudge, by this time, had died and my father had to continue his experiments alone.

Two years later my father had still further improved his lan- tern. He was a very successful photographer in Piccadilly, Lon- don. Further fame and notoriety came his way when he drew such large crowds to his studio by the exhibition of his “moving pictures” that the police compelled him to stop the exhibition.

| want you to notice that | stress the fact that he was a suc- cessful photographer. He had money then. But so keen was he on his invention that he had lost every penny and had actually been imprisoned for debt before he died dramatically while addressing a meeting of film men at the Connaught Rooms, London, on May 5, 1921.

The search for a suitable flexible material for negative and

12

positive prints gave my father a great deal of anxiety. He realized that true motion picture photography could never be obtained satisfactorily with glass as a basic material. Then, in 1888, he found what he had been seeking. He devised a camera that enabled him to take pictures in series on strips of sensitized paper of a length as great as fifty feet. It was with this camera that he photographed a street scene at Brighton that gave him proof over an Edison claim in the United States courts more than twenty years later.

It was for this case that my father made his first and only visit to America in 1910. This action definitely proved that my father, and not Thomas A. Edison, first conceived and invented the cinematograph camera, and that it was also W. Friese- Greene who first thought of linking sound and photographed action together.

When the case was heard in the United States Circuit Court, South District, in December, 1910, that street scene at Brighton was invaluable.

With a camera built for him by R. Chipperfield of Clerkenwell Green, London, my father was able to take photographs on a sensitized strip of paper, at the rate of seven or eight a second. But the problem was, when the reproduction of life motion was needed, how to prevent the paper from breaking.

A solution was found in celluloid, which had then begun to appear as a substitute for the glass plates used by photo- graphers. One of the manufacturers of celluloid was Mr. Alex- ander Parker, of Birmingham. My father got in touch with him and told him of his problem. The two men worked and experi- mented until in that same year another camera was invented, that was able to take celluloid film. This was what was known as a stereoscopic or di-optic camera. It had two lenses side by side, but could be used as a single camera merely by closing one lens aperture.

It was in January, 1889 that my father took his first motion picture with celluloid. This was a scene in Hyde Park, showing Mr. Alfred J. Carter strolling with his son, Bert. This strip of film, by the way, was also used in the American courts to prove my father’s case against The Edison Trust.

There was one objection to this camera—the size of the pic- ture. The next advance was a camera constructed for him by A. Lege and Co., of Hatton Garden, London, and delivered in the summer of 1889. This used tooth sprockets and was de- signed to run perforated film, slightly less than 2/2 inches wide. Twelve pictures a second could be taken with this camera, and its first experiment was a scene in the King’s Road, Chelsea, early in 1890.

1887 —— The First Cine Camera

In association with Mortimer Evans, an engineer, my father obtained a patent for a ‘camera for taking pictures at a rapid rate.’ This was on June 21, 1889, so that it was on this date that (officially) the first cinematograph camera was born. Few people were very excited about this invention. In fact not until November 15, 1889, when ‘The Opitical Magic Lantern Jour- nal’’ gave the news to the world, did anybody realize the possi- bilities of the invention. Although the daily and weekly news- papers commented on the article, the whole idea was so fan- tastic and far-fetched that sneers, rather than cheers, welcomed the invention. Let me give you a short extract from that article of only 43 years ago.

lt was headed ’A Startling Optical Novelty-Photoramic and Phon-Photoramic Effects.’ “‘Imagine the sensation,”’ the article said, ‘‘that would be produced, if the whole of the recent Lord Mayor’s Show were to be presented upon a screen exactly as seen by a person stationed at one particular point looking across the street. The house on the opposite side would remain stationary and the procession would pass along, each minute movement, as it actually took place at this given point, being represented.

“The name of Friese-Green, the eminent photographer of Brook Street, W., will become familiar throughout the land in connection with an invention by which all these effects can be produced. He has invented a peculiar kind of camera—to out- ward appearances not unlike an American organette, handle and ail—about one foot square. The instrument is pointed at a particular moving object and, by turning the handle, several

(Continued on page 19) .

14

KEE RE KEG EGE REE KEE EEG ERE EEG

Throughout this issue of CINE World are depicted Europe's answer to America's "'sex-starved"’ tastes. Beauty queens like USCHI GLASS, UTA LEVKA, EVA RENZI, CHRISTA KLEEFISCH. GISELA HAHN from Germany; France's MARIE VERSINI and Madrid's MARILU

TOLO will be invading our screens shortly.

KE KEK

KEE EEE EGE EE EGRESS EGRESS ES

CAE EE — i

(Continued from page 14)

photographs are taken each second. These are converted into transparencies and placed in succession upon a long strip, which is wound on rollers and passed through a lantern of peculiar construction (also the invention of Mr. Friesce-Greene) and, by its agency, projected upon the screen. When the reproduction of speech is also desired, this instrument is used in conjunction with the phonograph.”’

Do you hear a faint echo of the word “‘talkies’”’ drifting back through the ages?

But although he had gone so far, nobody else would get any farther. Unbelievable though it seems to-day, nobody could then see the commercial possibilities of this invention. Certainly the War Office did go so far as to ask him to go for a whole day to the Isle of Wright to conduct experiments with this new camera, for which he was paid the munificent sum of five guineas. The first report contained the momentous statement that the new invention ‘might be useful for balloon photography in war-time.’ Shades of 1914-1918!

My father had spent no less than £10,000 of his own money on experiments. What was worse, he had neglected his previous- ly prosperous photographer’s business to further his invention. In February, 1891, his home and practically everything else he had were sold to pay off his debts. Even this failed to quash his enthusiasm. He knew that he had a marvellous invention and he was anxious for the world to realize its possibilities.

Colour on films was the next thing to which he set his active brain. As far back as 1903, when | was only a child of five, he had perfected a colour scheme of cinematography. He took a picture of me in our garden at Brighton. | was waiving a Union Jack (it was just after the Boer War) and the red, white and blue came out remarkably distinctly.

| have always felt that his true worth has never been thor- oughly appreciated. One possibly does not expect the general public to appreciate his work, but those men in the industry, to whom my father’s invention has meant so much, might have been keener to have praised where praise was due. Don’t ima-

19

gine for one moment that | am ungrateful, but | do feel that a little more might have been done. In 1916, for instance, when | was with the Cinematograph Branch of the Royal Flying Corps, my father’s resources were so low that a public subscription was opened. The sum of £136 os. 2d. was raised.

Five years later he died, at the age of 65, after making a moving speech, full of sincerity and sound commonsense, to a group of film renters, exhibitors and producers. British films were in a sad state at that time. Wrangling and differences of opinion only accentuated the plight of the industry. My father endeavoured to get these people to see the folly of wrangling. He tried to make them realize that co-operation was the only thing to prevent America getting the whole of the film monop- oly. He altered the tone of that meeting and then went back to his seat and died.

Two policemen took him to the nearest mortuary. In his pocket was a cheap, well-worn leather purse. Inside were a few coins that came to the grand total of one shilling and tenpence —all the money he had in the world.

One and tenpence—just enough to buy a seat at the pictures.

(Reprinted from the World Film ii eee published in London, Eng., in 1933).

CINE World is published by CINE World Publications; K. Godzinski, Publisher. Subscription in Canada and U.S.: $2.00 per year (6 issues); Foreign $3.00; Single copy: 35¢. Mailing address: Box 86, Toronto 9, Canada. Advertising rates upon request. Printed in Canada. Signed articles represent the views of their authors, which views are not necessarily shared by the editors and publishers. Vol. 3 No. 5 (14) 1967

20

Poland’s Best Actor Dies At 39

Zbigniew Cybulski, the Polish actor whose frog sun- glasses were an emblem to a generation, died when he was boarding a train for Warsaw after filming. A friend tried to haul him to safety but the young hero of a period had grown too heavy, and he slipped be- tween the train and the rails. His age was 39.

We had known his work for less than eight years; the quality of the films in which he appeared was er- ratic; but the disappearance of a personality both ap- pealing and powerful leaves one with a feeling of be- reavement.

His celebrity began with his performance as the counter-revolutionary boy in Wajda’s “Ashes and Dia- monds.” The film was not his first, but it had a quality of sudden, inspired achievement; and the blunt vul- nerable face behind its heavy glasses rapidly became a kind of symbol for the post-war Polish screen.

He was immensely impulsive, convivial, accident- prone and superstitious. He played occult games with himself, sometimes about having to tread on the nail- heads in floorboards. When he had made ‘To Love’ in Sweden he bought a Volvo, without altogether taking into account that he couldn’t drive. As a younger man he had been involved with a company called the Bim- bom Theatre, putting on plays by writers like Sartre, Durrenmatt and Ionesco.

21

FESTIVAL II IN TORONTO

A nine day International Film Festival, sponsored by The Toronto French School, will be held at the Crest Cinema, May 8 to May 16, 1967.

eee

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Mr. Dodd is authorized to accept subscriptions and payments for advertising to be printed in CINE World. Annual (6 issues) Subscription: Canada and U.S. $2.00. All other countries $3.00.

22

ida

kaminska

by maria sten

Ida Kaminska’s performance in “Frank V” by F. Diirrenmatt was the hit of the 1962 theater season in Warsaw. This was the first time that the celebrated Jewish actress appeared on the Polish speaking stage. The public greeted her appearance with a round of applause every evening. ‘One may agree or disagree with her interpretation of Otylia Frank, but the fact remains that the audiences immediately sensed an extraordinary personality i in this small, bent woman and succumbed to the charm of her

genius.

~ This venerable artist (she has been on the stage more than fifty years) does not have a captivating beauty nor does she appear in artful cos- tumes. The secret of her popularity lies elsewhere: in her forceful person- ality which dominates the stage and that magnetic quality which consti- tutes the secret of great acting.

Ida Kaminska is endowed with an artistic temperament that rushes in a stream of passion and vivacity, in a desire to act, to reform and to change. She possesses an inexhaustible strength and spirit. If she did not act, she would probably travel in a circus wagon or camp like a gypsy. She is compared to Ethel Barrymore in the United States. Both hemi- spheres know her as the daughter of the famous Esther Rachel Kaminska, “Mother of the Jewish theater,” and the most pathetic mother on aad

Jewish stage.

A conversation with Ida Kaminska is full of reminiscences interrup- tured constantly by affairs connected with the theater of which she is a director (the E. R. Kaminska State Theater in the Jewish language).

_. Ida Kaminska made her first stage appearance at the age of five. From that day she has appeared on the stage for the past fifty years. She spent her childhood and youth at the side of her great mother (“it is hard to be a good actress with such a name”). Ida Kaminska and her large family travelled by coach to the small Russian towns which had a large Jewish

23

population at the beginning of the 20th century. These towns still live in Chagall’s pictures and Isaak Babel’s stories. The harsh conditions. of nomadic life in the vast unbounded regions and bad roads of Tsarist Russia took their toll. The only survivors were Ida (born when her parents were appearing in Odessa) and her brother.

In the Nineties of the 19th century, her parents Moat their own troupe in Warsaw and in 1913 established the Kaminski Theater which burned down during the last war. The theater is now rebuilt and forms a part of the House of Jewish Culture in Warsaw. Meanwhile, Ida Kaminska developed her talent, first in operetta and later as a dramatic actress. After her mother’s death in 1925 Ida succeeded to her place in the theater. Fearing Nazi persecution, Ida Kaminska escaped to Lvov dur- ing the Second World War. After long years of vagabondage and social work during the war, Ida Kaminska returned to liberated Poland where for the first time a State Jewish Theater was established in 1945 — the Esther Rachel Kaminska State Jewish Theater. Ida Kaminska is its ad- ministrative and stage director, first actress and untiring propagator of Jewish culture. |

The theater’s repertory ranges from Moliére to Brecht, from Sholem Aleychem, a classic of Jewish literature and Anski’s “Dybbuk” to Orzesz- kowa’s “Meir Ezofowiicz’” and Casona’s “The Trees Die Standing.” This is a socially committed theater not only with an excellent form of presen- tation but also a deeper inner sense which compels the spectator to think, to confront drama with reality. This theater evokes the irrevocably dead past of small Jewish towns, Jewish folklore and Jewish folk wisdom. Curious, that this theater performing in Jewish should attract Polish audi- ences. Although they do not understand the language (the Polish transla- tion is given over the earphone system), they attend the performances in order to learn about the culture of this ancient race whose history is so inextricably bound with that of Poland.

- Ida Kaminska’s late debut on the Polish speaking stage is not extra- ordinary, as she herself claims. The language is not important because she feels equally at home in both Jewish and Polish. The important thing is the theater itself, the opportunity to play and to transmit intrinsic ar- tistic values. “My life has bound me eternally with Jewish culture and the Jewish language. It could have been otherwise. The drama lies elsewhere. My parents’ theater wrested with terrible difficulties but it had a public which understood its language in every town. Today, when I have the opportunity to direct a State Theater that public has disappeared.”

These are not bitter words. They contain an understanding for the tragic events of the last twenty years.

_ ED. NOTE: Madame Kaminska was introduced to the North Amer- ican audiences last year in the famous Chechosloviakian film “Shop on Main Street’.

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26

HALLO FROM GLAMOURTOWN:

* Harry Saltzman, the Canadian who hit it big with the James Bond craze, sez despite Sean Connery’s latest_state-. ments about no more Bond-age, “we can’t stop making them because of him.” The current “You Only Live Twice” Bond epic is nearing completion at a nine-million dollar budget.

* Roger Corman will coproduce “Judas” in Tsrael with Noah Productions, company based there. Sharon Comp- ton’s script will be based on findings of the Dead Sea Scrolls. Corman currently is producing-directing “St. Val- entine’s Day Massacre” for 20th-Fox.

* Edmonton-born Beverly Adams took off for London and “Torture Garden”, but before she left her two room- mates gave her a surprise 21st birthday party.

* Hottest piece of property to come out of Italy in many a day is Virna Lisi who brought her Hilywd press conference to a boil by rapping countrywoman Gina Lolobrigida for appearing in the all together on film. To keep tongues wagging, Virna just completed two dramatic roles for Carlo Ponti, husband of Sophia Loren. She de- buted in Hllywd two years ago when she took home a mere $15,000 for “How to Murder Your Wife.” Today, three Hllywd pix later, her asking price is $300,000 before she steps in front of the cameras.

FILM FACTORIES: Hiring and firing are the daily doings at Paramount since the huge lot was sold to Gulf Oil etc. interests. You have to read Variety every morning to find out who is in and who is out . . . $10,000,000 “Camelot” went before the Warner Bros. cameras in De- cember under personal production of Jack L. Warner. Jack is the guy who did not want to “take a chance” with Julie Andrews when making “My Fair Lady,” went with Audrey Hepburn who can’t even sing. Now Julie, who Broadwayed both “Lady” and “Camelot,” is unavailable due to heavy demands . . . Liz Taylor and Burton have formed their own film factory called Taybur. Will grind out “Osmosis” as first effort beginning next fall .. . After Robert Wise came up with what probably will be biggest money-makers of all time, “Sound of Music,” 20th gave him blank check for “Sand Pebbles” which he filmed in Hong Kong and Formosa, soon to be released.

MARRIAGE MILL: Natalie Wood telling friends she will center aisle it with her manager after long dating ses- sion with Warren Beatty who was it after she shed Robert Wagner . . . Ann-Margret, currently in the big push for “The Swinger,” has cooled the hot and torrid stuff with Roger Smith. —

TWOSOME TIME: Jean Paul Belmondo and Ursula Andress . -. Leslie Caron and an Italian prince (two or three trans Atlantic calls a day) ... Zsa Zsa Gabor and Joshua Cosden Jr. who commutes from Dallas . . . Thordis Brandt (German beauty who spent her childhood in Can- ada) with Peter Deuel . . . Vivacious Joey Heatherton and singer P. J. Proby.

CANDIANA: Fifi d’Orsay (Quebec) linked by Warners for “The Assignment,” her first non-French role in her

40-year career. She plays a German . . . Motion Pictures International to shoot “The Fox” in Toronto beginning early in ’67 . . . Montreal is where some of the scene for

“Wait Until Dark” will be filmed by Warner Bros... . Glenn Ford (Quebec) returns for 20th starring picture “Pistolero,” another oat burner. . . . Norman Jewison (Ontario) will direct “In the Heat of the Night” a who

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done it for Mirisch . . . Yvonne De Carlo (Winnipeg) is feminine lead in Huntsville now filming at Paramount.

TOLD YOU SO: As predicted some time ago in this column. Raquel Welch is soaring to the top as the movie sex queen. She already has had several big spreads in national magazines such as Life and others. Thot you would like to see another pic of her. Her only flick out so far is the $6,500,000 “Fantastic Voyage.” ‘

Las Vegas is becoming the camping ground for Hllywd dancers. Work is regular and the dancers can knock off for picture work. Shapely Rosalie Shay (see pic) is one of those who commutes from the gambling capital for movie- tv work on the coast.

HOW ’BOUT THAT: Actress Suzanne Lloyd, in Paris working on Universal’s “The Scandal” with French director Claude Chabrol, sipped wine and conversed in French during lunch. The crew was surprised at her almost per- fect pronunciation until costar Anthony Perkins explained Miss Lloyd is of French Canadian lineage.

EDITORIALLY SPEAKING: Longer and _ longer movies are flowing from Hilywd. Each company seems to be competing for length, but the only result seems to be poorer and poorer, more expensive film footage. Overhear at one longy—‘“Luck there is an intermission. It gives half the audience a chance to go home.”

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