5.9/10
127
9 user 3 critic

Synanon (1965)

Approved | | Drama | 31 August 1967 (Mexico)
This film chronicles the goings on at Synanon House, a rehabilitation center for people with all kinds of addictions. Chuck Dederich, a recovering alcoholic, founded and runs Synanon House.

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, (story) | 2 more credits »
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Cast

Cast overview, first billed only:
...
Chuck Dederich
...
Ben
...
Joaney Adamic
...
Zankie Albo
...
Reid Kimble
...
...
Mary (as Barbara Luna)
...
Chris
Richard Evans ...
Hopper
Gregory Morton ...
Vince
Chanin Hale ...
...
Pruddy (as Casey Townsend)
Larry Kert ...
Bob Adamic
...
Pete
Solomon Sturges ...
Joe Mann (as Mark Sturges)
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Storyline

This film chronicles the goings on at Synanon House, a rehabilitation center for people with all kinds of addictions. Chuck Dederich, a recovering alcoholic, founded and runs Synanon House.

Plot Summary | Add Synopsis

Taglines:

Life Magazine Calls Synanon House "A Tunnel Back Into The Human Race!" See more »

Genres:

Drama

Certificate:

Approved | See all certifications »
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Release Date:

31 August 1967 (Mexico)  »

Also Known As:

Get Off My Back  »

Filming Locations:


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Did You Know?

Trivia

Alex Cord's bare-chest scenes in this movie probably qualify as his finest "beefcake" moments on the screen. See more »

Soundtracks

The Whiffenpoof Song
Music by Rudy Vallee & Robert Merrill, Lyrics by George S. Pomeroy & Meade Minnigerode
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User Reviews

 
Too much gloss and not enough grit...still a worthwhile drama, with good performances
25 March 2011 | by (las vegas, nv) – See all my reviews

Dramatization of real-life Synanon House, a Santa Monica-based rehabilitation center for hardcore drug addicts (many of them recent parolees). Heroin-user Alex Cord butts heads with former prison adversary Chuck Conners, while Stella Stevens sorts out relations with her ex-husband and struggles to stay off the streets. A bit glamorous in its depiction of life in the gutter, perhaps due to the kicky fashions and the ocean-front locale, though director Richard Quine is quick to underline the narrative with bitterness and regret. Not as moving as it should have been, but still quite potent. Harry Stradling Jr.'s black-and-white cinematography is excellent, as is Neal Hefti's jazzy score. **1/2 from ****


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