Joe Baron is a cop with money problems who sees them solved when he is assigned a burglary case involving $500.000 missing from a doctor's office safe. Joe and his partner decide to find the missing cash.
Peter Churchman stopped robbing banks a long time ago and is now living as a wealthy and respected citizen in Pamplona, Spain. But then his former companion Angela appears and blackmails ... See full summary »
A playboy golf pro down is on his luck. Kicked off the circuit for alleged cheating he is forced to hustle for a living. Moving from one Country Club to another, he uses his talents to ... See full summary »
Jill St. John
Based on Polly Adler's best-selling autobiography about her life in the Roaring Twenties as a legendary Madam. The movie follows Polly's life from an immigrant worker to becoming friend and... See full summary »
Frankie Fane has clawed his way to the top of the Hollywood heap. Now, as he's preparing to win his Oscar, his friend Hymie Kelly reminisces over their life together, and Frankie's ruthless struggle to the top and the people he's stepped on (i.e., everyone else in the movie) to make it there. Written by
Tony Bennett's only movie. In his autobiography, 'The Good Life,' he states that it was a terrible experience and he never sought future roles. See more »
The newspaper photos of Cheryl Barker hitting Frankie don't match the scene when it happens. She could have hit him twice (she was angry enough), and the photographers might have caught the second hit. See more »
Alfred 'Kappy' Kapstetter:
Have you ever seen a moth smashed against a window? Leaves the dust of its wing. You're like that, Frankie. You leave a powder of dirt everywhere you touch.
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Absolutely atrocious film from producer Joseph E. Levine, here ripping the lid off the Hollywood can but getting nothing out of it except hot air. Ruthless, snarling Stephen Boyd scratches his way up from seamy strip joints (as manager for the non-blushing Jill St. John) to the top of the H-wood heap as the world's most constipated actor. Laughable backstage melodrama is high camp, but how can you laugh without feeling sorry for all those embarrassed personalities on the screen--none more so than Tony Bennett, looking like a basset hound in a tuxedo. The lousy, fifth-rate screenplay is full of now-legendary fruit-loop lines, Elke Sommer shows more skin than talent, and Frank and Nancy Sinatra have a cameo...It's not for the squeamish! *1/2 from ****
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