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|Index||51 reviews in total|
Brassy, singing tomboy near Hollywood in the 1930s gets a screen test and is soon thrust into the crazy spotlight of Tinsel Town. Ham-handed soaper intends to paint show business as cool, decadent and uncaring, but director Robert Mulligan is unable to set an appropriate tone, and his bad guys are enigmatic shadies who conspire in whispers. This combined with Natalie Wood's raucous rendering of a 15-year-old results in some problems. Still, the look and atmosphere of the film are really extraordinary, and Christopher Plummer gives off sparks of neurotic heat as the head of the movie studio. Robert Redford is a good screen match for Natalie, although his love-interest role is steeped in the hypothetical; Wood herself runs hot and cold, though she has some very strong early moments. The pacing might've stood some picking up, and the movie is much too long, but it looks stylish and has a lot of talent behind it. **1/2 from ****
It's always amazed me that this movie doesn't get more respect--sure it's campy, but the performances are fantastic: Christopher Plummer's speech to Daisy by the pool after she's been abandoned by her new husband (a super young Robert Redford playing a gorgeous pansexual for God's sake--what more could a person ask?) is stunning and Natalie Wood's "The Circus is a wacky world"-induced breakdown in the sound booth is brilliant and scary. Roddy McDowell's killing smile as he says "Good night, Miss Clover." Redford getting away with lines like "Good night, sweet, sad, lonely lady" and a drunken Malora (great name) screaming at Daisy "They say I've got a headache, BUT I'VE GOT A HEARTACHE!!!" The gorgeous black and white promotional video of Daisy singing and bouncing her way through the cardboard galaxies. All incredible stuff--why isn't this on DVD yet? Wake up, Hollywood, and give us this treasure on DVD!
This film seems way ahead of it's time, made in 1965 it's one of the
first to show a darker side of Tinsel Town. Natalie Wood plays a tomboy
who's plucked from obscurity and becomes a teen singing star. Her
character is almost immediately jaded by the experience, manipulated by
a studio head and a dubious male heartthrob, played by a stunning
looking Robert Redford. Ruth Gordon once again stands out as the teen
stars' mother. Christopher Plummer is excellent as the smooth studio
head with Roddy McDowall as his cold assistant. Katharine Bard plays
Plummers' wife, and her character is fascinating. She seems to float
and flow when she moves and her character sums up the film's overall
feel. Distant, detached and alien yet seething with anger and
The problem with the film is that it's very dark in tone. That is to say the slick big budget production is overshadowed by a strange menace, highlighting the fact that the studio system was basically a people factory, uncaring and cannibalistic. Audiences at the time must have been very confused, expecting a light, breezy musical. Instead it's a realistic yet stylized downer, reminiscent of Valley of the Dolls, which was yet to come. There's very little genuine romance, sentiment or humor, just a steady flow of odd scenes.
This is one of those movies that many have never heard of, it remains obscure despite it's almost epic appeal. It's certainly worth a look, but just try to nail it down to any specific category.
*** This review may contain spoilers ***
Depression-era, rags-to-riches story with Natalie Wood as the tomboy-heroine abandoned by her father and living with her eccentric mother in a run-down shack by the seashore. Discovered by a film producer (the darkly sinister Christopher Plummer), Daisy quickly achieves stardom as a musical singing star (a la Judy Garland) but, unable to cope with the sudden fame, she escapes into a romance with matinée idol Robert Redford. Later realizing that Redford is gay and that her studio sees her only as a commodity, a disillusioned Daisy has a nervous breakdown and attempts suicide before finally finding the strength to turn her back on Hollywood. On the face of it, this film (based on a novel by Gavin Lambert) sounds compelling but too many cartoonish situations and characters (particularly Daisy's mother and sister) undermine the story. Natalie Wood, herself, is allowed to overdo the tomboyish nature of Daisy's personality (she's like a female Huck Finn). Christopher Plummer and Robert Redford are both very good, however, and, in supporting roles, Roddy McDowall and Katherine Bard lurk mysteriously in the background (Bard seems to belong in a different film entirely. When she confronts Daisy following Daisy's failed marriage to the matinée idol, it's like Jane Eyre coming face to face with Rodchester's mad wife). A disappointment.
Almost everything about this film ... from the casting and acting, to
the plot, to the musical numbers, to the costumes and hairstyles ...
Natalie Wood, 27 years old, plays 15-year old Daisy Clover, a spunky tomboy/brat/beach bum extraordinaire. Daisy, who lives with her eccentric elderly mom, played by Ruth Gordon, in a shabby wooden trailer near the beach in Southern California, has Hollywood stars in her eyes. And when Raymond Swan (Christopher Plummer), head of The Swan Studio comes calling, Daisy jumps at the chance to be a movie star.
She leaves her mom and lets Swan remake her into America's ideal of a teenage girl. In effect, Swan Studio is Daisy's image maker. Even though surrounded by cold-blooded snakes in the movie business, Daisy is such a brat that she doesn't elicit much sympathy from me. But then I found little interest in any of the characters.
With the exception of Daisy's mom, the characters lack depth of emotion. Maybe that's the point ... Hollywood is filled with emotionally empty people. They're all image, no substance.
Set in the 1930s, the film has visuals that look straight out of the 1960s, especially relative to hairstyles and costumes. The musical numbers, though well executed, trend toward upbeat, bubble gum optimism, which is inconsistent with the film's overall thematic cynicism. I know what they're driving at with these musical numbers. But the abrupt tonal shift is jarring.
Perhaps the worst element of this film is Natalie Wood's performance. She seriously overacts. It's a performance not unlike that of Patty Duke, in "Valley Of The Dolls" (1967).
"Inside Daisy Clover" is filmed in color. It would have been more realistic had it been filmed in 1930s B&W. And the cinematography projects an annoying wide screen image.
The only thing I liked about this film is the presence of the always interesting, and unique, Ruth Gordon. Otherwise, this film is forgettable.
Every time I watch this movie, I am more and more impressed with the range of ability that Natalie Wood exhibits. Terrific job on her part. As for the story itself, what really strikes me about "Inside Daisy Clover" is the countless times that she is alone, confined and boxed in. The entire time that Daisy is trying to break loose and make a noise in the world, she continuously finds herself practically jailed. The little booth where she makes her first records, the tiny shop where she sells star photos, the claustrophobic cabin she shares with "The Dealer," the sound room where she dubs "The Circus Is A Wacky World"--all of these create a sense of suffocation. With Daisy constantly placed in these pressure cookers, you just have to believe that sooner or later she is going to explode!
Though not without interest, this 1965 film based on Gavin Lambert's adaptation of his novel, is a disjointed mess that never finds the right tone. It's notably lacking in energy and depth, and it's too funereal to even succeed as camp. It's part musical and part Hollywood Gothic. Natalie Wood plays Daisy Clover whose manufactured rise to fame is chronicled beginning on her 15th birthday. At 26, Wood plays the tough talking tomboy for what its worth, but the streetwise Daisy seems to lose her spunk and ambition the minute she enters Swan Studios. Except for Christopher Plummer and Robert Redford, the supporting cast is forgettable, and the only performance of interest besides Wood's is Ruth Gordon's as her mother. Gordon was Oscar-nominated, but gave a funnier performance the following year in Lord Love a Duck. The musical sequences, choreographed by Herbert Ross, are the highlight of the film along with a promotional film for Daisy, and an showy scene of Daisy breaking down in a recording booth. The film lacks a clear conflict, has no momentum, and feels longer than 128 minutes. In addition, the sense of period isn't convincingly rendered, and the ending is as uncertain as the rest of the film. Gavin Lambert wrote a biography of Natalie Wood in which he says the film was originally some 20 minutes longer, a musical number was cut, and Daisy's narration was heard throughout the film not just at the beginning and end as in the released film. Director Richard Mulligan worked with Wood previously in Love with the Proper Stranger (63). The scenes set at Angel Beach were shot on the famous Santa Monica Pier.
I would speculate that this is one of the worst major studio motion pictures ever made, starring and directed by A-list talent. I was a teenager when this came out in the theatre, and even then, I distinctly remember - because I was a Natalie Wood fan -- that I hated this movie. I expected forty years later that I would embrace it more deeply, partially for nostalgia, partially for being more forgiving of its foibles. Well ... it's even worse than I remember a lurid, melodramatic potboiler where not a scene, or piece of dialogue, rings true. Natalie Wood acts like a silent film star, mugging atrociously, and playing tomboy like a truck driver in army boots. I am reminded of the numerous Razzie worst actress awards she got from Harvard back then. Someone on IMDb assumed that 60s audiences accepted this -- but it was a critical bomb back then. The story is beyond far-fetched as she dreams of being a singer, she sends in a recorded disc of her voice -- and the studio head himself pays her a personal call at her pier-side shack because he's so excited about her talent and when we watch her screentest her singing is mediocre. She's immediately signed to a contract, but never shows a shred of pleasure or excitement that she has gotten her wish, but only seems to want to escape. The costumes and hair are maddeningly anachronistic teased hair, pink lipstick, eyeliner, shaggy bangs, turtlenecks, Capri pants, empire waist dresses, narrow suit lapels, pure 60s. Her musical number belongs more on Hullabaloo than a 1930s movie screen. Scenes on the 1930s studio lot, and on the soundstage, are always as deserted as a tomb, and the studio head who is so evil he should be twirling his moustache like a silent film villain -- seems to have no other duties or interests than meeting incessantly with, and watching over, Daisy. Worth renting only for curiosity value -- or Wood fans who need to round out their viewing repertoire. The one positive is Robert Redford not the most interesting of actors but more animated than in some of his later roles, and gorgeously handsome beyond belief.
*** This review may contain spoilers ***
Daisy Clover is 50 years old when she is 16...This means she has the worries, the stress, and the broken promises of misguided relationships and fraudulent compassion, even before her braces come off... Pressure is a key ingredient to her hassled existence, as well as being lead down the garden path by numerous societal retro bates...This sordid lifestyle makes Daisy a victim of life, and an innocent who can rely on nothing but talent and capitulation...Hollywood is a natural playground for debauchery and ambiguous reactions, Daisy's situation is no exception to the rule!! Her one day marriage is a stilted précis which boggles her precocious emotions...Such a devastating debacle would emotionally disrupt a genuine adult and not just somebody masquerading as one. Neon homosexuality (As displayed by Robert Redford) in the thirties, is a new concept to all Americans .. Hollywood is accustomed to it somewhat, however, this is Daisy's entry into adulthood, which is tantamount to learning how to be a pilot when you are behind the cockpit of a Stealth bomber!!....In a nutshell, Hollywood is a morally impervious society which has thrown Daisy one curve of adversity after the next!! This knifing realization is so overdone that Daisy interprets all of this like it is an amuzing little doggerel, and now it is time to buy another comic book!! This movie is a compelling character portrayal by Natalie Wood, and she effectively illustrates how personal neglect can bring a dressed up teenager to the virtual breaking point!! Daisy's nervous breakdown is what unveils the revelation that she is merely a Hollywood commodity, and as "replaceable as piston rods"... If she suffers from clinical depression permanently, it will simply justify the insurance premiums.. Daisy is slightly oblivious to the fact that she is being reduced to chattel!!! At the end of the movie, Daisy wants to commit suicide, but realizes she doesn't have the time... I was in Kindergarten when this movie was made.. In a callous life lesson sense, so was Daisy!!!
*** This review may contain spoilers ***
I admit I haven't read all the reviews of this movie, but of the ones I
did read I was surprised to find that nobody mentioned that Natalie
Wood has only about 12 lines of dialogue in a film in which she is the
star. And to top it off, most of those lines make no sense in the
context of the scene! The whole movie is like one big parade of
soliloquies, where a character walks into the room and starts talking
to, not with, Ms. Wood, and all she does is sit there and glare at
them. She doesn't even talk to herself after they leave.
I don't know what the director was going for but unfortunately God gave Ms. Wood a completely expressionless face, so we as the audience have no way of knowing what she's thinking during all these one-sided conversations. Once in a while her eyebrows will move or she'll attempt a half-smile, but other than that she never says, "Hello, how are you?" or "What are you doing here?" or "Get out before I kill you!" She doesn't even move her arms or shift position. It's as though the screenwriters forgot that she was even in the film. The lawn furniture showed more depth and emotion than Ms. Wood.
As an example of how ridiculous Ms. Wood's line are when she has any at all, take this scene: Daisy just got married to Wade Lewis and they check into a motel in the middle of nowhere for their honeymoon. Instead of saying something like, "I love you Wade, with all my heart, and this is the happiest day of my life!" she says, "I'm going to learn how to cook! And not just fishburgers either." Huh? Where in the heck did that come from? Daisy Clover's signature song is "You're Gonna Hear From Me." Not in this movie they won't. This thing stunk worse than yesterday's leftover fishburgers.
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