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Where Love Has Gone (1964)

 -  Drama  -  2 November 1964 (USA)
6.6
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Ratings: 6.6/10 from 740 users  
Reviews: 31 user | 13 critic

A divorced couple's teen-age daughter stands trial for stabbing her mother's latest lover.

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Title: Where Love Has Gone (1964)

Where Love Has Gone (1964) on IMDb 6.6/10

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Nominated for 1 Oscar. Another 2 nominations. See more awards »
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Cast

Complete credited cast:
...
Valerie Hayden Miller
...
Mrs. Gerald Hayden
...
Maj. Luke Miller (as Michael Connors)
...
Danielle Valerie Miller
...
Marian Spicer
...
Sam Corwin
...
Gordon Harris
...
Dr. Sally Jennings
...
Judge Murphy
Walter Reed ...
George Babson
...
Mrs. Geraghty
Bartlett Robinson ...
Mr. John Coleman
...
Prof. Bell
...
Rafael
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Storyline

After his teenage daughter Danny is arrested for the murder of his ex-wife's current lover, Luke Miller recalls his marriage to Valerie Hayden and the subsequent events which led to the tragedy. The lurid story seems to have been suggested by the real-life Lana Turner/Johnny Stompanato/Cheryl Crane murder scandal of six years earlier when Lana's daughter Cheryl stabbed her mother's boyfriend (Stompanato) to death in the bedroom of Lana's Beverly Hills home. Written by alfiehitchie

Plot Summary | Add Synopsis

Taglines:

From the blistering best-seller! From the team that brought you 'The Carpetbaggers'! The explosive story of the violent world where a mother and her teenage daughter compete for the same lover...WHERE LOVE HAS GONE goes where no motion picture has ever dared go before!

Genres:

Drama

Certificate:

See all certifications »
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Details

Country:

Language:

Release Date:

2 November 1964 (USA)  »

Also Known As:

Adonde fue el amor  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Westrex Recording System)

Color:

(Technicolor)

Aspect Ratio:

2.35 : 1
See  »
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Did You Know?

Trivia

Natalie Wood's younger sister Lana was mentioned as possibility for Joey Heatherton role. See more »

Goofs

During lengthy flashback sequence taking place 20 years earlier, none of the three leading characters look any younger than they do in present-day story set in 1964 nor do clothes or hairstyles reflect styles of two decades in the past. See more »

Quotes

Mrs. Gerald Hayden: You have made it publicly obvious that you have only one concept of love... a vile and sinful one.
Valerie Hayden Miller: When you're dying of thirst, you drink fronm a mudhole.
Mrs. Gerald Hayden: You have devoted your life to mud and filth.
Valerie Hayden Miller: Only to get even with you.
See more »

Soundtracks

WHERE LOVE HAS GONE
Lyrics by Sammy Cahn
Music by Jimmy Van Heusen
Performed by Jack Jones
See more »

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User Reviews

Where Camp Has Gone...
6 May 2003 | by (Cincinnati, OH) – See all my reviews

Fans of great "bad movies" should lap this up like a bowl of frosting. Loosely based on the Lana Turner-Johnny Stompanato-Cheryl Crane murder incident, Harold Robbins fashioned a novel to cash in on and exploit the gossipy tale. This resultant film carries on the tradition in high, campy style complete with hilarious "racy" dialogue, glamorously sanitized sexual shenanigans, concerned social workers, over the top sets and decor and signature Edith Head costumes. Velvet-voiced crooner Jack Jones (later to be immortalized as the pipes heard in "The Love Boat" theme song) kicks off the film with a yummy title song against dreamy shots of San Francisco. Hayward stars as a socialite sculptress who finds herself paired with WWII hero Conners. Her gorgon-like mother (Davis) steers them toward marriage, yet, when Conners doesn't do her bidding, pulls out all the stops to destroy the union and press for a divorce. The marriage does produce a daughter (Heatherton) who, years later, finds herself in juvenile hall after filleting one of Hayward's live-in lovers. Though the tale spans twenty years, Conners and Hayward (and Davis!) look exactly the same throughout. The hair, clothes and furnishings show no evolution, nor any feel for the period. (Hayward has her customary bouffant bubble 'do which she wore in virtually every film from the '50's on, no matter what the time, place or character!) Hayward frets and yells and suffers while draped in fur accented suits (or sometimes in her uproarious sculpting scarves) with her bizarre accent fully in place. Somewhat paunchy Davis sashays around in her pretty concoctions, wearing an intriguing grey wig and doling out orders. At times she resembles her old nemesis Joan Crawford and one could easily picture her in the part as well. Conners does all right, though no matter what histrionics he could come up with, there's no room for him in this film. The battle royale is between Hayward and Davis. Davis was already miffed at Hayward for just having remade "Dark Victory" as "The Stolen Hours". Then there were differences over the script with Davis reworking scenes until finally Hayward pulled her weight and demanded that the script be shot as originally written (which was no Pulitzer Prize winner.) Later, Davis had yet another battle (which she won) over how her character's fate should be played out. The animosity between these two women is palpable. Amid all the soapy trappings and turgid dramatics, there is some really hateful fire and some awesomely bitter moments between them, which are fun to behold. Anyone wanting to get plastered should do a shot every time one note Heatherton whines the word "Daddy". Nearly twenty belts of booze ought to do anyone in! She is hilariously bratty and annoying, though she does get some decent licks in, notably in a scene with Seymour. Greer shows up as a sympathetic and concerned case worker. She holds her own with dignity against the fire-breathing Hayward. The dialogue is riotous throughout with some lines actually eliciting guffaws. The lawyer has a great one about the deceased and his relationships with the mother-daughter team, "He wasn't any good at double entry bookkeeping, but he was great at double entry housekeeping". "Star Trek" fans will be startled to see Kelley in a film like this, referring to the bedroom habits of Hayward. In the source novel, Davis' character comes across far more sympathetically, though that may not have been as interesting for the cinema. Also, Conners' character had a devoted second wife who was carrying his child. Most of the novel's plot line made it to the screen, however, though the film's ending is far less happy. There's very little resembling reality in this movie, but thank God for it. It's a glossy, pseudo-sordid potpourri of theatrics and glitz with occasional verbal fireworks.


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