With a full Hollywood background and settings but more an expose of scandal-and-gossip magazines of the era, has-been actor John Blakeford agrees to write his memoirs for magazine-publisher... See full summary »
Episodic look at married life and in-law problems. Adventures include a ride on a crowded trolley with a live turkey; a wild spin in a new auto with the in-laws in tow; and a sequence in ... See full summary »
Fred C. Newmeyer,
In this satire on 70s B-movie industry, a young ditsy pretty blond arrives in Hollywood to try her luck as an actress. After some mishap, a shady agent finds her a job with a sleazy B-movie crew plagued by strange deadly accidents.
The life of spoiled rich Robert Merrick is saved through the use of a hospital's only resuscitator, but because the medical device cannot be in two places at once, it results in the death ... See full summary »
John M. Stahl
Country Doctor, Jack Jackson is called in to treat the Sick-Little-Well-Girl, who has been making Dr. Saulsbourg and is sanitarium very rich, after years of unsuccessful treatment. His ... See full summary »
Fred C. Newmeyer,
John T. Prince
With a full Hollywood background and settings but more an expose of scandal-and-gossip magazines of the era, has-been actor John Blakeford agrees to write his memoirs for magazine-publisher Jordan Winston. When Blakeford's daughter, Patricia, ask him to desist for the sake of his ex-wife, Carlotta Blakeford, he attempts to break his contract with Winston. Written by
Les Adams <email@example.com>
Florey's original cut ran 83 minutes, which I'll agree was too long to hold audience interest in a central story that, although strongly plotted, was weighed down with an inconsequential subsidiary romance featuring an overly verbose and mindlessly self-centered young hero. The shears were desperately needed, but instead of taking them to the youthful egotist, the main story was trimmed instead, throwing the whole movie way off balance. This was bad enough. But worse still was the fact that the repulsive know-it-all who delivers every single line of his wearisome dialogue with such over-the-top enthusiasm, was enacted by the overbearing Robert Cummings, whose non-stop self-adulation even manages to shade his beautiful co-star, Marsha Hunt. Florey's direction was slack in this respect, but fortunately, John Halliday and a fascinating line-up of support players, including Frieda Inescort, Maurice Costello and Gary Cooper, do their utmost to re-focus audience attention. They are helped immeasurably by the superb cinematography of Karl Struss. The Hollywood street scenes and other location cameos like the series introducing Marsha Hunt holding flowers are often breath-taking.
6 of 6 people found this review helpful.
Was this review helpful to you?