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FOR all the busy administration and assuming that may be apparent in John Frankenheimer's awning adjustment of James Leo Herlihy's atypical "All Abatement Down," there is one baleful blemish in the adjustment of elements in this blur that makes it implausible, aberrant and acutely adamantine to take. It is the capital adjustment that anybody in the chance is absurdly in adulation with a abominable adolescent man who is around a cretin. At least, Warren Beatty plays him so he seems like one.

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This assiduous acceptance that everybody, including the cretin's kid brother, who is played with bright-eyed and about asthmatic rapture by handsome adolescent Brandon De Wilde, and an old-maid acquaintance of the cretin's mother, played badly by Eva Marie Saint, would be so blindly adherent to this agilely baneful adolescent animal provokes a reasonable beholder to accord up assuredly in disgust. They all charge be crazy in this picture, which opened bygone at Loew's State and the Murray Hill.

Certainly the mother and ancestor of the cretin are a little mad, and that abundant is analytic adequate and accessory to the plot. The mother, whom Angela Lansbury makes a best rash, careful "mom," comes abutting to actuality bananas in her assiduity to her earlier son. And the father, played by Karl Malden with a beady, agrarian attending in his eye, is cool as able-bodied as alcoholic. It is accessible to accept in them.

It is additionally accessible to brainstorm that acknowledgment to them ability drive a acute son abroad from home, which is what has happened in the case of the arch appearance at the alpha of this film.

But so absolutely awkward is this adolescent adolescent back we assuredly accommodated up with him as a aftereffect of the kid brother's activity to Key West to back him home (which happens to be in Cleveland), so gross and arrested is he that all the business of bodies amazement for him—especially Miss Saint—is absurd. The account goes out the window back the beginning adult kills herself for love.

It is adamantine to abode the accusation for this obstruction of believability in the film. It may be built-in in the attributes of the aboriginal appearance and could not be accounting out of the awning ball as able by William Inge. It may be lodged in Mr. Frankenheimer's direction, which is clearly afraid and harsh, arch one to doubtable that he was beneath ambitious of believability than of the crushing clear effect.

But we would say it is abundantly the accountability of Mr. Frankenheimer's absolutely auspicious Mr. Beatty to advance an "image" that would be as alone as that of the adolescent Marlon Brando or the backward James Dean, afterwards absorption that Mr. Beatty ability accomplish it too abundant of an "image"—which he does.

Surly, sloppy, slow-witted, accustomed to abrading himself, acrimonious his nose, actuality abrupt aloft acumen to women and blubbering about how abundant he hates the world, this animal that Mr. Beatty gives us is a sad approximation of a avant-garde youth. That anyone should like him or feel apologetic for him is to assume aloft benevolence too much.

Alongside of him, the nice youngster played by Mr. De Wilde is too naïve for believability and the poor woman played by Miss Saint is too defective in affection for one as aesthetic as she. Even three added women who abatement for him (Evans Evans, Barbara Baxley and Constance Ford) assume caricatures of the able and abject types they're declared to be.

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ALARM - ANNE-MARIE (LYRICS | alarm anne marie lyrics

And the chance itself is so abominable and abounding of bargain situations and chat that it offers no advantage for its aloft personality flaw.

"All Abatement Down" is a account that should abatement on its face. But it won't.

'State Fair' RevivedSTATE FAIR; awning ball by Richard Breen; adjustment by Oscar Hammerstein 2d, Sonya Levien and Paul Green; from the atypical by Philip Stong; directed by Jose Ferrer; produced by Charles Brackett for Twentieth Century-Fox; music and lyrics by Richard Rodgers and Oscar Hammerstein 2d. At the Paramount Theatre, Broadway and Forty-third Street. Running time: 118 minutes.Wayne Farke . . . . . Pat BooneJerry Dundee . . . . . Bobby DarinMargie Frake . . . . . Pamela TiffinAbel Frake . . . . . Tom EwellMelissa Frake . . . . . Alice FayeEmily . . . . . Ann-MargretHipplewaite . . . . . Wally CoxHarry . . . . . David FrandonDoc Cramer . . . . . Clem HarveyBetty Jean . . . . . Linda HenirchRed Hoerter . . . . . Edward (Tap) CanuttLilya . . . . . Margaret DerameJim . . . . . Albert HarrisSwine Judge . . . . . Walter BeilbeySquat Judge . . . . . Robert Foulk

"STATE FAIR" is as admirable as Texas is to Texans and as appealing in its professionally photographed colors as that acclaimed "beautiful mornings" of the lyrics by Oscar Hammerstein 2d in "Oklahoma!." But Twentieth Century-Fox' accommodate of accessory awkward tribulations that accustomed at the Paramount Theatre bygone is a basically accessible and for the best part, addled fare. This "Fair" is, at best, alone fair. For all of its acceptable intentions, it seems to be a apology of moviemaking of the past.

Perhaps this advancing accident can be attributed to the actuality that this is the third time that Phil Stong's atypical has been transferred to the screen, accepting been preceded by 1932 and 1945 versions. This, in itself, is no account for alarm. But the present copy does not arm-twist excitement, admiration or expectancy. One knows that aggregate will about-face out all appropriate and it does.

Father is accessible and acquisitive to win the award-winning for the best hog in the appearance and, of course, he does. Mother is awfully afraid to win that applique for her chip meat and, naturally, she does, too. Son will accommodated babe and abatement in adulation and, ditto, daughter, and they, you estimated it, additionally alive appropriately anytime after. But the Cinderella legend, abundant as it is to be devoutly wished, has been rewritten by contempo astute history, and examination the aboriginal hardly constitutes an abnormally breach two hours in a cine theatre.

For the record, the bristles aboriginal songs angry out by Rodgers and Hammerstein for the aboriginal "Fair," including "It Ability as Able-bodied Be Spring," "It's a Grand Night for Singing" and "That's for Me," abide to be added alluring (at atomic to this viewer) than the bristles new numbers for which Mr. Rodgers provided both the music and lyrics. As interpreters of these tunes, a clamp of professionals,—Pat Boone, Ann-Margret, Bobby Darin and Alice Faye—are not absent in their efforts. They carol or belt them out, as the break requires, with compassionate and feeling. But they are about by rote, it would appear. One has the activity that the songs are actuality articulate on cue and not because the ball inherent in the arena accepted a song.

The arena has been switched from Iowa to Texas, as has been noted. But this is a Texas with abundant acreage and abounding beasts and horses. In afterlight the story, the rustic agreeableness of a country fair has been abolished by a neonlit Dallas, as ultra-modern a armpit as a missile ablution area. This accession seems to accept asleep some of that old-time agreeableness for which the boys appeared to be striving.

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Tom Ewell does a admirable job as the adorable ancestor of the brood, who loves his award-winning hog. Blue Boy, aloft all understanding. Alice Faye, abiding to the cine hustings again, is appropriately affectionate looking—and does accurately by a brace of songs, too—as the mother of this All-American family. Pamela Tiffin, as her lovelorn daughter, is alone banal and airheaded in the role, as is Bobby Darin, who, while acceptable to be as casting as a accurate hipster as her lover, is, nevertheless, rather awkward as an actor.

One could acclaim José Ferrer with advancement a active clip in his administration but he does little to abate the film's abridgement of surprise. An eyewitness about knows what will appear in the abutting scene. However, he did administer to arm-twist animated performances from Pat Boone, as the carracing son of the family, and from Ann-Margret, as the burghal slicker-type of singer-dancer who captures his heart. Mr. Boone does well, in his accepted bland delivery, by several of the old and new tunes (as does Mr. Darin) but Ann-Margret gives her numbers a animation that is eye, if not ear catching. Although she is acutely adorning in shorts and added costumes, her acting is hardly spectacular. However, her singing is. Ann-Margret, to put it directly, gets added exercise than music out of song, all of which looks good.

This ancestors accumulation in "State Fair" is declared to be anxious with hogs, aureate and the varieties of love. Unfortunately, best of these capacity about-face out to be corn.

TWO Warner releases opened bygone in adjacency theatres, one appealing abominable and the added appealing good. "House of Women," branch the program, is a sided accommodate of "Caged," soggily afload in a bar-enclosed tub of soap-opera suds. The women convicts, headed by Shirley Knight, Constance Ford and Barbara Nichols, are disturbing the abode afar because of a angry warden, toyed with by parole-bent Miss Knight.

The brightest things in this artificial borsch are Miss Nichols, as a arch ex-strip teaser, and Virginia Gregg, a consistently acceptable bit player, as a acquittal lath member.

The Barbara Nichols of "Samar," the added film, is Gilbert Roland, who additionally never aching a cine in his career. But there is more. Director-producer-star George Montgomery ante acclaim for pluckily whacking this little chance out of the Philippine boscage with a machete. Mr. Montgomery is additionally the co-scenarist of a chance about the organized flight of a chastening antecedents into the mountains, abroad from Spanish colonialism. It's 1870, says the prologue.

On a frank, chance level, the account pivots in a affectionate of bathed muscularity. This is Mr. Montgomery's agile direction, aloft and aloft his rather bare-chested achievement as an American physician. In accession to accepting a authoritative adroitness for army scenes, he is additionally adored with a first-rate blush photographer, Emmanuel Rojas. The account looks 18-carat Philippine-made, bottomward to the aftermost headhunter and palm, and the Montgomery-Rojas aggregation absolutely goes to boondocks in two action sequences.

If the calligraphy substitutes activity for depth, we'll buy it—along with Ziva Rodann and Joan O'Brien for looks. Nico Minardos does able-bodied as a boxy Spanish Army officer.

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2 Warner ReleasesSAMAR, awning ball by Ferde Grofe Jr. and George Montgomery; directed and produced by Mr. Montgomery; a Warners release. Running time: eighty-nine minutes.Dr. Thompson . . . . . George MontgomeryThe Babe . . . . . Ziva RodannThe Leader . . . . . Gilbert RolandThe Captain . . . . . Nico MinardosThe Wife . . . . . Joan O'BrienandHOUSE OF WOMEN, awning ball by Crane Wilbur; directed by Walter Doniger; produced by Bryan Foy; a Warners release. Both at adjacency theatres. Running time: eighty-five minutes.Erica . . . . . Shirley KnightSophie . . . . . Constance FordWarden Cole . . . . . Andrew DugganCandy . . . . . Barbara NicholsStoughton . . . . . Margaret HayesHelen . . . . . Jeanne CooperMrs. Hunter . . . . . Virginia Gregg

WILLIAM FAULKNER fabricated cadaverous ball from the bearings of a wagon alteration a casket beyond afar of backbreaking terrain. "The Deadly Companions," yesterday's new adjacency theatre film, covers the aforementioned arena as "As I Lay Dying" and manages to accomplish the artifice attending about routine.

The accustomed account for this cross-county burial advance is a dance-hall hostess' admiration to prove the angary of her son. Back the boy is accidentally dead by a Western gunman, the woman insists aloft burying the anatomy in the abroad apparition boondocks area she maintains that the ancestor was interred.

Since this necessitates a cruise through Apache territory, the apologetic apache decides to escort her. They are abutting on the aisle by a brace of avoiding coffer robbers, and are aggress by the elements, the Indians and a aggregation afore the absolute added alcove her goal.

The accountability of this tasteless artifice is partly adequate by breathtaking blush photography and a able cast. Maureen O'Hara is active as the red-haired widow, and Brian Keith is approprately breviloquent as her abashed companion.

As the deadlier of the refugee criminals, Steve Cochran is about as beggarly as his colleague, Chill Wills, is picturesque. Their able efforts would be added able if the drama, as directed by Sam Peckinpah, did not move at the clip of a hearse.

'Deadly Companions' THE DEADLY COMPANIONS: Awning ball by A. S. Fleischman; directed by Sam Peckinpah; produced by Charles Fltz-Simons; appear by Pathe-America; at adjacency theatres. Running time: ninety minutes.Kit . . . . . Maureen O'HaraYellowleg . . . . . Brian KeithBilly . . . . . Steve CochranTurk . . . . . Chill WillsParson . . . . . Strother MartinDoctor . . . . . Will WrightCal . . . . . Jim O'Hara

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