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Over-Exposed (1956) More at IMDbPro »


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James Gunn (screen play) &
Gil Orlovitz (screen play) ...
View company contact information for Over-Exposed on IMDbPro.
Release Date:
April 1956 (USA) See more »
CAMERA...CURVES...AND NO CONSCIENCE! (original print ad - all caps) See more »
Sexy blonde dance club girl learns the photography trade and moves to New York in pursuit of a new career. | Add synopsis »
Plot Keywords:
User Reviews:
Cleo Moore's demonstration of Blonde Ambition, mid-1950s style See more (9 total) »


  (in credits order)
Cleo Moore ... Lily Krenshka aka Lila Crane

Richard Crenna ... Russell Bassett
Isobel Elsom ... Mrs. Payton Grange
Raymond Greenleaf ... Max West

Constance Towers ... Shirley Thomas (as Shirley Thomas)
James O'Rear ... Roy Carver
Donald Randolph ... Coco Fields
Dayton Lummis ... Horace Sutherland
rest of cast listed alphabetically:

Jack Albertson ... Les Bauer (uncredited)
Barbara Aler ... (uncredited)
Shirlee Allard ... Minor Role (uncredited)
Robert Bice ... Patrolman Outside Office Building (uncredited)
Barry Brooks ... Minor Role (uncredited)
Norma Brooks ... Doris (uncredited)
Chuck Cason ... Taxi Driver (uncredited)
John L. Cason ... Studio Thug (uncredited)
George Cisar ... Club Customer Photographed by Lila (uncredited)
Charles J. Conrad ... Policeman (uncredited)
David Constantine ... Minor Role (uncredited)

Jeanne Cooper ... Renee (uncredited)
Dick Crockett ... Jerry (uncredited)
Diane DeLaire ... Hysterical Woman (uncredited)
Robert Dulaine ... Minor Role (uncredited)
William Duray ... Minor Role (uncredited)
Helen Eby-Rock ... Mrs. Grannigan (uncredited)
Franklyn Farnum ... Dancer (uncredited)
Dick Gordon ... Minor Role (uncredited)
Geraldine Hall ... Martha (uncredited)
Edna Holland ... Mrs. Gulick (uncredited)
Bob Hopkins ... Operator (uncredited)
Lenore Kingston ... (uncredited)
Philo McCullough ... Minor Role (uncredited)
Bill McLean ... Freddy the Bellhop (uncredited)
Joan Miller ... Frank (uncredited)
Frank Mitchell ... Steve the Bartender (uncredited)
Leo Mostovoy ... Mario--Club Coco Maitre D' (uncredited)
Paul Murray ... Minor Role (uncredited)
William H. O'Brien ... Cop (uncredited)
Eddie Parker ... Matt - Thug (uncredited)
Voltaire Perkins ... Judge Evans (uncredited)
Roy N. Sickner ... Bit (uncredited)
Emil Sitka ... (uncredited)

Roger Smith ... Reporter (uncredited)
Bert Stevens ... Man in Nightclub (uncredited)
Robert Williams ... Police Sergeant (uncredited)
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Directed by
Lewis Seiler 
Writing credits
James Gunn (screen play) &
Gil Orlovitz (screen play)

Richard Sale (story) and
Mary Loos (story)

Produced by
Lewis J. Rachmil .... producer
Original Music by
Mischa Bakaleinikoff (uncredited)
Cinematography by
Henry Freulich 
Film Editing by
Edwin H. Bryant  (as Edwin Bryant)
Art Direction by
Carl Anderson 
Set Decoration by
Robert Priestley 
Costume Design by
Jean Louis (gowns)
Makeup Department
Clay Campbell .... makeup artist
Helen Hunt .... hair stylist
Second Unit Director or Assistant Director
Abby Singer .... assistant director (as Abner E. Singer)
Sound Department
J.S. Westmoreland .... sound (as Josh Westmoreland)
Camera and Electrical Department
Albert Bettcher .... first assistant camera (uncredited)
Music Department
Mischa Bakaleinikoff .... conductor
George Duning .... composer: stock music (uncredited)
Werner R. Heymann .... composer: stock music (uncredited)
Friedrich Hollaender .... composer: stock music (uncredited)
George Parrish .... composer: stock music (uncredited)
Heinz Roemheld .... composer: stock music (uncredited)
Hans J. Salter .... composer: stock music (uncredited)

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Additional Details

Also Known As:
80 min
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Mono (Westrex Recording System)

Did You Know?

Factual errors: Lila appears on a New York City-based TV show aired by KXIV; in reality, all east coast TV/radio stations are prefaced by the letter W. Stations prefaced by letter K are in the west.See more »
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6 out of 10 people found the following review useful.
Cleo Moore's demonstration of Blonde Ambition, mid-1950s style, 5 July 2004
Author: bmacv from Western New York

In Over-Exposed, Cleo Moore makes an ascent from B-Girl to reigning photographer of café society that's as rapid as it is unpersuasive. She's a mid-1950s version of Blonde Ambition, or, as she puts it, `Where there's money, there's Lila – green becomes me.'

She wasn't always Lila, least of all not the night the clip joint she'd just started working for got raided. The alcoholic, has-been shutterbug (Raymond Greenleaf) who snaps her mug outside the police station takes pity on her by showing her the rudiments of his craft. She's a quick study and, more to the point, a shrewd operator, buttering up monied old janes with appeals to their deluded vanity.

Off to New York, she tries in vain to land a job as a photojournalist, though she befriends a young reporter (Richard Crenna). Instead, she opts for the glamor and easy money to be had as a `flash-girl' in a nightclub; on the side, she snaps compromising photos for a sleazy columnist (James O'Rear). Soon, she holds a concession at the poshest watering-hole in town, the Club Coco; the fact that it's mob-operated doesn't bother her, but it bothers straight-arrow Crenna, who's thinking of popping the question.

Invited to snap a birthday celebration at the club for grand dame Isobel Elsom, Moore inadvertently records the dowager's death throes as she slumps while displaying her newly acquired skills at the mambo. Moore decently destroys the photo, only to have O'Rear steal and publish the negative; closing ranks, her society clients drop her like a hot brick. Up against a wall, Moore decides to dabble in blackmail, using as bait another inadvertent picture – one that demolishes the alibi of one of club's mob backers, wanted for murder....

With elements of Shakedown and the soon-to-come Sweet Smell of Success, Over-Exposed stays a little too nice to rival them. It pulls back from any real nastiness and grit in its eagerness to keep the hard cookie Moore soft at the center (and insure smiles at the ending). Still, there are smirky glimpses into the world of parasites and lick-spittles who buzz around money, as well as welcome, old-school turns from Greenleaf and Elsom. Moore flashes solid credentials as a brassy schemer, while Crenna takes yet another step in the career that would stretch, chiefly through the magic of television, from Our Miss Brooks to The Rape of Richard Beck. Over-Exposed, diverting enough to watch, is quite under-developed.

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