Where Love Has Gone (1964)

Director:

Edward Dmytryk

Writers:

John Michael Hayes
Harold Robbins (novel)

Release Date:

2 November 1964 (USA)

Genre:

Drama

Tagline:

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!

Plot:

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

Plot Keywords:

Murder | Marriage | Teenage Daughter | Trial | Alcoholism

Awards:

Nominated for Oscar. Another 2 nominations

Cast

Susan Hayward	...	Valerie Hayden Miller
Bette Davis	...	Mrs. Gerald Hayden
Mike Connors	...	Maj. Luke Miller (as Michael Connors)
Joey Heatherton	...	Danielle Valerie Miller
Jane Greer	...	Marian Spicer
DeForest Kelley	...	Sam Corwin
George Macready	...	Gordon Harris
Anne Seymour	...	Dr. Sally Jennings
Willis Bouchey	...	Judge Murphy
Walter Reed	...	George Babson
Ann Doran	...	Mrs. Geraghty
Bartlett Robinson	...	Mr. John Coleman
Whit Bissell	...	Prof. Bell
Anthony Caruso	...	Rafael
rest of cast listed alphabetically:
Jay Adler	...	Bartender (uncredited)
James Bell	...	Judge, Divorce Court (uncredited)
Walter Brooke	...	Banker (uncredited)
Roy Glenn	...	Valerie's Servant (uncredited)
Jack Greening	...	Minor Role (uncredited)
Sam Harris	...	Art Gallery Patron (uncredited)
John Indrisano	...	Joe (uncredited)
Kenner G. Kemp	...	White House Guest (uncredited)
Colin Kenny	...	Minor Role (uncredited)
Walter Woolf King	...	Bank Board Member (uncredited)
Walter Matthews	...	Reporter (uncredited)
Mort Mills	...	Petey Peterson (uncredited)
Byron Morrow	...	Bill, Nightclub Doorman (uncredited)
Robert 'Bob' Olen	...	Policeman (uncredited)
Grandon Rhodes	...	Banker (uncredited)
Lisa Seagram	...	Edna - Bar Girl (uncredited)
Olga Sutcliffe	...	Minor Role (uncredited)
Russell Thorson	...	Mayor Barrett (uncredited)
Howard Wendell	...	Mr. Carruthers (uncredited)

Directed by
Edward Dmytryk

Writing credits (in alphabetical order)
John Michael Hayes
Harold Robbins		novel

Produced by
Joseph E. Levine	....	producer

Original Music by
Walter Scharf

Cinematography by
Joseph MacDonald

Film Editing by
Frank Bracht

Art Direction by
Hal Pereira
Walter H. Tyler

Set Decoration by
Sam Comer
Arthur Krams

Costume Design by
Edith Head

Makeup Department
Gene Hibbs	....	makeup artist
Wally Westmore	....	makeup designer

Production Management
Frank Caffey	....	production manager

Visual Effects by
Farciot Edouart	....	process photography
Paul K. Lerpae	....	special photographic effects

Costume and Wardrobe Department
Joan Joseff	....	costume jeweller (uncredited)

Other crew
Frank London	....	dialogue director

Production Companies

• Joseph E. Levine Productions (for)
• Embassy Pictures Corporation

Distributors

• Paramount Pictures (1964) (USA) (theatrical)
• Olive Films (2010) (USA) (DVD)
• Olive Films (2012) (USA) (DVD) (Blu-ray)
• Paramount (1965) (West Germany) (theatrical) (dubbed)
• American Broadcasting Company (ABC) (1967) (USA) (TV) (pan/scan)

Also Known As:

Runtime:

111 min

Country:

USA

Language:

English

Color:

Color (Technicolor)

Aspect Ratio:

2.35 : 1

Sound Mix:

Mono (Westrex Recording System)

Certification:

Finland:K-16 | Portugal:17 (censored version) | West Germany:18 (f) | Netherlands:18 (orginal rating)

Filming Locations:

Paramount Studios - 5555 Melrose Avenue, Hollywood, Los Angeles, California, USA

Company:

Joseph E. Levine Productions

Trivia:

At the last minute, the producers wanted to add a scene where Bette Davis' character goes insane and commits suicide. Davis resisted, saying it was out of character for the role. The producers attempted to sue her but Davis won the case.

Goofs:

Miscellaneous: During a scene in her bedroom, Susan Hayward is shown using a then-new Princess phone, however the dial does not light up. This was one of the new phone's selling points at the time, which was advertised with the slogan "It's little... It's lovely... It lights".

Quotes:

Valerie Hayden Miller:When you're dying from thirst, you'll drink from a mudhole.

Soundtrack:

WHERE LOVE HAS GONE

Where Camp Has Gone...

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.