George lives with her lover, Childie and plays a cheerful district nurse in a BBC soap opera. However, her character is to be killed off, and George realises that the only other job she can... See full summary »
Set in the Depression, a gang of half-witted small-time hoods led by Slim Grissom kidnap heiress Barbara Blandish and Slim proceeds to fall in love with her. Remake of the 1948 British film... See full summary »
At the end of the Second World War six German ex-soldiers return to Berlin and set up as a bomb disposal group. The pressure of the dangerous work starts to affect them, the more so as they... See full summary »
Millicent Wetherby is a middle-aged woman whose life is devoid of love and affection. Millicent's solitary existence changes when she encounters Burt Hansen a charismatic younger man. As ... See full summary »
A chorus girl comes to the realization that she is not getting any younger and that her longtime relationship with a nightclub comedian is going nowhere. She finds herself attracted to an ... See full summary »
A sexy starlet resembles Lylah Clare, a flamboyant star of the thirties, who died mysteriously and tragically on her wedding night gets a chance to play her in a biographical film directed by Lylah's real-life husband (Peter Finch) and history repeats itself as he falls for her reincarnation. Written by
Although this was her first film in three years, Kim Novak found that she had little enthusiasm for her character. Director Robert Aldrich found it increasingly difficult to elicit a viable performance from her. See more »
After Bart throws the ball through the window glass, every later shot that has the window visible shows no hole or broken glass. Further, the sound of the glass breaking is too late after the ball is thrown. See more »
THE LEGEND OF LYLAH CLARE looks initially like some sort of camp classic. Don't expect a companion piece to VALLEY OF THE DOLLS, however. Kim Novak plays a mousy aspiring actress picked to portray Lylah Clare, a Marlene Dietrich/Greta Garbo-type screen goddess from Hollywood's golden era who died tragically 30 years before, in a screen version of her life. Under the tutelage of Peter Finch, Lylah's director and husband, Novak is transformed physically and psychologically into the screen star. Along the way, we're treated to three different versions of Lylah's death(kitschy flashbacks in watery black and white framed with lurid red borders, with Novak's close-up in the corner of the screen), a great bitch-out scene between Novak as Lylah and a crippled gossip-columnist hag based on Louella Parsons, a lesbian drama coach, and Novak spouting dubbed, throaty, German-accented dialogue. The make-up job on Novak to make her look like Lylah really doesn't reflect 1930s movie glamour; with her teased and bleached bob, frosted pink lips, and inch-thick eyeliner, she looks more like Dusty Springfield than Jean Harlow. Despite all this, the film isn't some out-of-control camp fest. Really. No scenery chomping, bad dubbed singing sequences, emotional breakdowns, down-and-dirty catfights, or the like. The only fault with a performance might be with Novak during her fits when she impersonates Lylah, throwing her head back to laugh maniacally in that throaty, faux-Garbo accent. Still, its the only real fault in an otherwise competent film. Aldrich is hardly subtle with his digs at the Hollywood system and corruption, but they come out during the course of his characters' conversations and aren't sensationalized. Too many good performances and sympathetic characters to keep it from being an all-out guilty pleasure, but still engaging
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