DESCRIPTION : Here for sale is an EXCEPTIONALY RARE and ORIGINAL POSTER for the ISRAEL 1963 PREMIERE of the romantic scewball comedy film "ALL IN A NIGHT'S WORK" in the small rural town of NATHANYA in ISRAEL.  Starring DEAN MARTIN and SHIRLEY MacLAINE to name only a few . The cinema-movie hall " CINEMA SHARON" , A local Israeli version of "Cinema Paradiso" was printing manualy its own posters , And thus you can be certain that this surviving copy is ONE OF ITS KIND.  Fully DATED 1963 . Text in HEBREW and ENGLISH . Please note : This is NOT a re-release poster but PREMIERE - FIRST RELEASE projection of the film , A year after its release in 1961 in the USA. The ISRAELI distributors of the film have given it a quite archaic and amusing HEBREW text  . An ARAB FILM in a matinee show. GIANT size around 24" x 38"       ( Not accurate ) . Printed in red and blue . The condition is very good .  One central fold. ( Pls look at scan for accurate AS IS images ) Poster will be sent rolled in a special protective rigid sealed tube.

AUTHENTICITY : The POSTER is fully guaranteed ORIGINAL from 1963 , It is NOT a reproduction or a recently made reprint or an immitation , It holds a with life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.
 
PAYMENTS : Payment method accepted : Paypal & All credit cards.

SHIPPMENT : SHIPP worldwide via registered airmail is $ 25 . Poster will be sent rolled in a special protective rigid sealed tube. Handling around 5-10 days after payment. 

All in a Night's Work is a 1961 romantic screwball comedy starring Dean Martin and Shirley MacLaine, and directed by Joseph Anthony.[1] Contents 1 Plot2 Cast3 See also4 References5 External links Plot Tony Ryder's uncle, the wealthy owner of a newspaper, has just died. The young playboy Tony inherits the paper but is left with a board of directors that thinks he's unsuited for the task, plus a hotel detective who thinks Tony should know about a girl who was seen running away from his uncle's Palm Beach hotel room, wearing nothing but a Turkish towel and an earring, on the night of his death. Tony discovers that the young lady in question, Katie Robbins, is employed in his own research department. The board decrees that he must send in the detective to watch her and head off any attempts at blackmail. But the more time Tony spends trying to get Katie to open up about what her relationship to his uncle was, the less he cares. Complications ensue in the form of Ms. Robbins's fiance—he's a strait-laced veterinarian—and the board's insistence that Katie be silenced at all costs. Cast Dean Martin as Tony RyderShirley MacLaine as Katie RobbinsCliff Robertson as Warren Kingsley, Jr.Charles Ruggles as Dr. Warren Kingsley, Sr. (billed as Charlie Ruggles)Norma Crane as Marge CoombsJack Weston as LaskerJohn Hudson as Harry LaneJerome Cowan as Sam WeaverGale Gordon as Oliver DunninRalph Dumke as BakerMabel Albertson as Mrs. KingsleyRex Evans as CarterMary Treen as Miss SchusterRoy Gordon as AlbrightIan Wolfe as O'Hara All in a Night s Work (1961) Miss MacLaine in 'All in a Night's Work' By BOSLEY CROWTHER Published: March 23, 1961 IT is our considered opinion that they tell us too early along in Hal Wallis' "All in the Night's Work" that the principal character is as pure as snow. Almost at the start, they tip us that this girl, played by Shirley MacLaine in what we would cautiously label her most ladylike comedy style, was not up to any hanky-panky when she was seen emerging from a gentleman's hotel room wrapped in nothing more formal than a bath towel and a state of considerable alarm. They let us know, rather clearly, that she was simply passing through that wealthy gentleman's room, trying to escape another fellow whom she had just saved from drowning in a swimming pool. Although this is valid information and assures us that Miss MacLaine is much more sensible than she was in "The Apartment" (in which she turned out to be a naughty girl), it might have been more entertaining if they had let us proceed through the film, suspecting, as does the leading man, Dean Martin, that she had been in that room for no good. This might have kept us guessing how it would all turn out when Mr. Martin sets his traps to prevent her from spilling the dirt on the hotel gentleman (who was dead). And that might have given more interest to this considerably lightweight farce. As it is, there is not the slightest question about the goodness of Miss MacLaine. She's just a dumb little girl who went to Florida and got caught in an odd embarrassment. And when Mr. Martin starts to ply her with compliments, courtship and champagne, there's no question that, sooner or later, the prosaic truth will out. That's how it is with this picture, which opened yesterday at the Normandie and the Victoria. No matter how hard the actors try, no matter how cute the situations and how glib the dialogue, it is just one prolonged anticlimax. We know the truth about the heroine—and it is dull. However, the actors do labor. Miss MacLaine and Mr. Martin spar and weave with a great deal more determination than the plot seems to justify. Cliff Robertson works like a Trojan as Miss MacLaine's sober fiancé, and Charles Ruggles is briefly delightful as the latter's father who gets soused. Edmund Beloin and Maurice Richlin have planted some cracky complications in their script and Joseph Anthony has directed for a perceptible casualness and ease. But it is very thin and obvious. We know too soon that the fix is in. The Cast ALL IN A NIGHT'S WORK, screen play by Edmund Beloin and Maurice Richlin; directed by Joseph Anthony; produced by Hal Wallis For Paramount Pictures. At the Victoria Theatre, Broadway and Forty-sixth Street, and the Trans-Lux Normandie Theatre, Fifty-seventh Street east of Seventh Avenue. Tony Ryder . . . . . Dean Martin Katie Robbins . . . . . Shirley MacLaine Dr. Warren Kingsley Sr . . . . . Charles Ruggles Warren Kingsley Jr . . . . . Cliff Robertson Marge Coombs . . . . . Norma Crane Oliver Dunning . . . . . Gale Gordon Sam Weaver . . . . . Jerome Cowan Lasker . . . . . Jack Weston O'Hara . . . . . Ian Wolfe Mrs. Kingsley . . . . . Mabel Albertson In All In A Night’s Work, devoted corporate researcher and union representative Shirley MacLaine learns that hard work and the principles of organized labor can only take working women so far—particularly those afflicted with plot-thickening character quirks and a tendency to become involved in wacky mishaps. After MacLaine returns from a Florida vacation, during which a good deed gone awry places her in the room of a dead publishing magnate, which leads her to a panicked, towel-clad run through a fancy hotel, she begins to question both her impending marriage to a mild-mannered veterinarian (Cliff Robertson) and her ability to negotiate a new contract with boss Dean Martin. Martin, as it turns out, is the hard-drinking playboy nephew of the dead man in the hotel room. Though eager to prove his leadership skills, he discovers that his abilities might be compromised when he becomes smitten with MacLaine. Then the plot grows really complicated. Having left an earring behind at the scene of Martin’s uncle’s death, MacLaine becomes a suspect in an imagined blackmail plot, a notion seemingly confirmed when she breaks into hysterics at the uncle’s funeral and begins sporting a mink coat sent by a spurned admirer. This doesn’t sit well with her straitlaced future in-laws, and it prompts Martin to begin furtively taping her conversations. But love will find a way, albeit occasionally in the form of sexual harassment. Invited to Martin’s apartment to talk matters over, MacLaine finds it difficult to resist his aggressive pursuit, even as half the cast piles into his bachelor pad. After a few cocktails, everyone walks away much happier than before. All in a Night’s Work (1961) Kristen / September 6, 2013 I enjoy finding gems within the Warner Archive (so far they have an even ratio of great work to clunkers). The gem for the month is All in a Night’s Work, a 1960s romantic comedy with an all-star cast and a cheeky personality. A witty script sells this comedy of errors, miscommunications and non-sequiturs. Dean Martin hasn’t wowed me, and he is the weakest link in the chain, but the movie is funny enough (refusing to fall into dated 1960s jokes) to even turn him into a charming personality. Tony Ryder (Dean Martin) is a Lothario tasked with running a successful magazine when his uncle, Colonel Ryder, dies. However, a mysterious woman seen fleeing Colonel Ryder’s room the night he died is feared to be an extortionist . As Tony tries to find the mystery woman, she’s right under his nose. Katie Robbines (Shirley MacLaine) is a meek researcher who, through a crazy series of events, ends up with a mink coat she can’t afford, and two men vying for her affections. A 1960s romance film had me leery because it could be the apotheosis of antiquated notions of women combined with charming moments for the menfolk. All in a Night’s Work has brief glimmers of those moments, but never enough to drown the picture in pandering female sentiment. The script by Edmund Beloin and Maurice Richlin is remarkably nuanced, with witty turn of phrase that I wasn’t expecting to make a frothy and sly experience. There’s a slight self-awareness (or at least an implied one) that plays to the audience’s knowledge of the actors strengths. For example, I couldn’t believe that Dean Martin was a publishing magnate, and neither do the characters! In a boardroom sequence that sets up the plot, the various men all agree, “You may not be much, but you’re all we’ve got.” They can’t stand Tony and have the same lack of faith in him that the audience does. The doubt extends to his literacy in a hilarious line, “I didn’t even know he could spell ‘amortization.'” Martin plays to his strengths and the character of Tony Ryder is certainly written around him. He’s a lounge lizard by night and full-time playboy whose only sleuthing ability comes from hunting down women; so the plot to track down who Katie is, and in turn seduce her so she can’t sue the company, is perfect for Martin’s persona. Martin is the one to exhibit the misogynistic tendencies defining the 1960s male; he believes he’s so smooth that Katie would definitely go to bed with him. It’s the reason his pairing with MacLaine works so well; you expect a tough woman to play opposite him, but MacLaine walks the line between tough, modern, woman, and Girl Scout. MacLaine walks away with this movie, creating a 1960s character that kept reminding me of Natalie Wood in Sex and the Single Girl, although the two women are very different. MacLaine’s Katie isn’t as domineering and militant as Wood’s character. Katie has a moral center that’s continually in danger of corruption. The movie’s narrative has Katie carefully doling out the real story on how she ended up in Colonel Ryder’s room, and from there the movie becomes a series of assumptions and misinterpretations. It’s an intriguing study of a woman’s reputation and how it’s constantly at risk because of innuendo. By the end, you end up sympathizing with Katie and realizing how arrogant and undeserving the men in her life are; yes, even Cliff Robertson is undeserving of Shirley MacLaine. Robertson plays another second banana character as he did in Picnic; his character here is a wavering veterinarian worried about whether his parents will take to Katie or not. Robertson is still gorgeous in this role, and certainly adorable while working with animals. Compared to past roles in Picnic and Gidget, he’s goofier and adept at the quick phrasing and physical comedy. I was incredibly impressed with All in a Night’s Work. Outside of one greedy female, the movie never seeks to turn events into a battle of the sexes. Katie is concerned about her reputation, and the theme of female propriety insinuates itself subtly into the plot. The script is skillful, and consistently funny. The performances by MacLaine, Robertson, and Martin are all good. It’s worth snagging via Warner Archive, or watching when it’s made available on Warner Instant.        ebay3265