Fred, George, Doug and Howie are quickly reaching middle-age. Three of them are married, only Fred is still a bachelor. They want something different than their ordinary marriages, children... See full summary »
Brendan O'Malley arrives at the Mexican home of old flame Belle Breckenridge to find her married to a drunkard getting ready for a cattle drive to Texas. Hot on O'Malley's heels is lawman ... 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 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
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 »
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 ****
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