BRATTLE: Shakespeare's and Laurence Olivier's truly magnificent color-film version of Henry V. One of the best of Hollywood's all-too-few forays into the literature of Elizabethan England. A visual spectacle and an aural delight. This is the REGULAR version; and the actor' heads remain in view, Evenings at 5, 7:30, 9:50 TR 6-4226.
UNIVERSITY: The Academy Award winner of 1960, Billy Wilder's THE APARTMENT is a half-funny, half-frightening probe into the mores of mid-century Big Business. The thousand faces of Jack Lemmon are uniformly hilarious; but Fred MacMurray, a boss-type figure and also a happy adulterer, is just an ugly slob. Shirley MacLaine, the apex of the triangle, is unusually wistful; at one point, she is made to attempt suicide. Whatever else it may be The Apartment is most definitely not the most amusing film since Some Like It Hot. Daily at 2:35, 5:45, 9:05.
Starts Sunday: G. B. Shaw plus Peter Sellers plus Sophia Loren plus Alastair Sim plusplus Vittorio De Sica ought to equal something grand, zany and sparkling. But THE MILLIONAIRESS is merely routine gag comedy all too much of the time. In point of fact, this is a very dud avocado, indeed. Co-featured is a travesty of William Faulkner, plagiaristically entitled SANCTUARY. Don't expect to recognize the characters if you read the book. Lee Remick whimpers as Temple Drake, and Yves Montand is hopelessly miscast as her down and way-out croole lover. Daily from 1:30.
Starts Wednesday: MEIN KAMPF. More Nasi film clips assembled into yet another terrifying indictment of the Thousand Year Reich. The second feature, THE MOUNTAIN, offers Spencer Tracy in one of his less felicitous roles. Daily from 1:30. UN 4-4580.
ASTOR: Marlon Brando, when he was about to conclude his first job of directing, called in the cast of ONE-EYED JACKS and asked them to vote on an ending. But it's not only the ending that suffers from an excess of democracy; the whole film is at loose ends--and it has also received more than its share of script-writer's cliche. Interesting as a conversation piece. Evenings at 7:20, 9:30. LI 2-5030.
BEACON HILL: Juley Dassin's NEVER ON SUNDAY is not as good as he thinks it is, but it nevertheless must rank as well as one of the ten best foreign films of 1960. Despite an excruciating musical score, a didactic plot, and some rather pointless satire about American do-gooder schnooks, the movie must be admired for its brilliant photography and obvious zestful enjoyment of Grecian peasant life--and, of course, its week-night diversions. Evenings at 6, 8, 10. CA 7-6676.
CAPRI: BREATHLESS has been deposited on these shores by France's fast receding nouvelle vague. Jean-Paul Belmondo gives a magnificent portrait of modern Gallic decadence; Jean Seberg, type cast as ever, is his dumb-blonde American moll. Evenings at 6, 8, 10. CO 7-9030.
EXETER: The first ten minutes MAKE MINE MINK are sickeningly dismal, as only a British fare can be sickeningly dismal; but the remaining eighty minutes, happy to tell, are shear joy, Terry-Thomas leads a crew of balmy boarding house occupants in a series of impossible fur robberies. Proceeds naturally, go to various local orphanages. Evenings at 8:45. KE 6-7067.
GARY, At last, LA DALOE VITA has come to Boston. Perhaps the best film to come from post-war Italy, Doice is an angry and moving indictment of the continent's rotting safe society, and it's also a remarkably beautiful experience. This is no movie to be missed. Evenings at 8:30. LI 2-7040.
KENMORE: SATURDAY NIGHT AND SUNDAY MORNING, based on Alan Sillitoe's savage novel, is easily the top film from Great Britain since Room at the Top. A fascinating exploration of the values of the welfare state's own working class. Albert Finney, already being hailed as the Olivier of his generation, gives a near-superb performance as the embattled young Lancashire protagonist. Evenings at 7:20, 9:30.
ORPHEUM: GONE WITH THE WIND is back; and Clark Gable and Vivien Leigh's mighty saga of the Ole South is to be seen at popular prices. A Civil War Centennial spectacular. Evenings at 8:15. LI 2-3491.
TELEPIX: The original BLUE ANGEL (not to be confused with the recent Mai Britt remake) continues. The sultry Marlene Dietrich is the Chanteuse, and therein lies much of the evening's excitement, 7:35, 9:55.