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
Screenwriter Hugo Butler - a longterm associate of Robert Aldrich - was suffering from failing health when the film was being made and never lived to see it released. 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 »
[Talking about choosing a stage name for Elsa]
Elsa Brinkmann. "John Foster Brinksmanship." It's horrible. We'll have to change your name.
Thank you, but I'm happy with the name I have.
Well, I'm not! And neither will the public be! Anyway, what's in a name? Why are you so sensitive? If it's any consolation to you, I rejoiced in the name of "Flack." Louie Flack, F-L-A-C-K, Flack. How does *that* grab you? Then one day I saw this magician: "Zarkan the Magnificent." He was a terrible act. I think ...
See more »
Another piece of yesterday from Robert Aldrich, filthied-up through his askew, slightly campy/slightly too-serious vision. We never know where we sit with an Aldrich movie; he enjoys setting up a comfortable scenario before wickedly pulling the rug out from under his audience. He exposes all the weaknesses of Kim Novak as an actress, brutally letting the puckered blonde look silly (at her expense) and without ever giving her a fair shot at a meaty scene. The opening moments are richly evocative, but they don't last long: Kim (in a mousy wig) hangs out in a dingy apartment in Hollywood, surrounded by old movie magazines. Turns out she resembles a long-deceased movie queen named Lylah Clare and is quickly tapped to star in a picture of the actress' doomed life--to be directed by Lylah's widower husband! Bits of satire, supernatural elements, and symbolism muddy up this stew, though I admit to being engrossed by it all. Peter Finch, as always, is worth watching, and Novak's mere presence is tantalizing (even if her acting is not). Frank De Vol's background score is lush, and I loved some of the set-pieces and overwrought melodrama. As for the ending, I would have a tough time explaining it to anyone, except to say that it is Aldrich's stamp as a director to go over-the-top. Here, he goes a little bit over-the-edge as well. ** from ****
18 of 22 people found this review helpful.
Was this review helpful to you?