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 »
Charles Castle is a successful Hollywood actor who has opted for screen success over art. He must make critical decisions regarding his career, his marriage, his art & morality. In this ... 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 »
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 »
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 »
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
When Kim Novak walks along Hollywood Blvd, a theater she passes by is playing The Dirty Dozen (1967), a film Robert Aldrich made a year earlier, and whose commercial success made it possible for the director to start his own production company and make movies like this. See more »
When Elsa is speaking in Lylah's voice, if you look closely you can see that the words are slightly out of sync with Elsa's mouth. 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 ...
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Puts the Hollywood Studio System to Rest (not) In Peace
If you stumble onto this Movie without the knowledge of its Cult/Camp/Bad Movie Reputation, it may be a rather Mind-Boggling Experience. A Jaw-Dropping display of Badness that defies any Rational Analysis or Explanation.
Director Robert Aldrich had ventured into Greatness with Gloriously Grotesque Films like Kiss Me Deadly (1955) and Whatever Happened to Baby Jane (1962), a Bizarre Bent and close to Over the Top takes on well worn Genre Stuff like Film-Noir and Psychological Horror.
If the inner workings of a Maverick Director's Mind is made possible, one might find that it was all done as Think Kink. Everyone On Screen seemed to be in on the Joke except its Female Star, Kim Novak as She Underplays as the whole Production is Overplayed to the Nth Degree.
There is so much in this Crazy Movie to Relish that choosing any one thing would do a Disservice to the rest. A lot of it is Indescribable and Indecipherable and so Underhandedly Charming that it really has to be seen to be Believed or Appreciated. It has an energy of already Dated (in 1968) Decadence that cannot be denied.
A One of a Kind, Cartoonish, Daytime-Soap-Nightmare that is Fanatically Fascinating. One only needs to see the Post Script Ending to Realize the Director's Original Intent. Nothing more than a Great Grand Guignol Movie about a Hollywood System that at precisely its Time of Release was being Embalmed and Laid to Rest. This was an Excellent Eulogy.
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