Lila Green is an insecure and aging showgirl for Madame Olga's stage shows. When her boyfriend, Rick, runs off with the show's money, Madame Olga and Ronny let Lila go. Lila goes to stay ... See full summary »
Franklin J. Schaffner
Grace, newly widowed, has a youthful spirit which puts her at odds with her daughter and son-in-law who are on the stodgy side. She handles things with a sweet spirit that men find ... See full summary »
J. Pat O'Malley,
A housewife is doing her best to keep her family together as it's slowly falling apart, a fact she's trying to ignore. Her cheating husband's birthday party is approaching and many lines will be crossed after that event.
There is an on-going battle of industrial espionage between rival cosmetics companies, Femina, owned by Sir Jason Fox, and May Fortune, owned by Matthew Cutter. Caught in the middle between... See full summary »
For svært mange var de glade 20-årene ikke særlig lystige, med arbeidsløshet, fattigdom og en bitter desillusjonert ungdom. Men det var samtidig forbudstidens Norge, med storstilt ... See full summary »
Bad accents, poor sets, and clumsy direction help to derail dark-hued comedy-drama...
Poorly written and directed TV-movie from Universal has blissfully naïve American tourist Shirley Booth agreeing to 'smuggle' a religious statue over the Italian border from Austria for a charming man she's befriended at the inn; incredulous step-daughter Carol Lynley fears the mysterious crate contains drugs, while French detective Donnelly Rhodes suspects contraband arms. Mixture of lighthearted folly and macabre elements really needed a graceful, nimble touch to come off, yet this thing is far too heavy and flat to be much fun. Michael J. Pollard turns up as an Italian half-wit with a homicidal streak; his accent seems picked up from a local Italian restaurant--and he's nothing compared to Rhodes' quasi-Frenchman (with wiggly eyebrows!). Intended, I'm sure, to be a pleasant whiff of an entertainment designed as a showcase for Booth's joie de vivre (which is reminiscent of Thelma Ritter's in her later period). Shirley is indeed colorful and hammy, but this below-average script plays like a failed TV pilot (and one chock full of European stereotypes). The darker, meaner overtures are interesting, but do not work in this la-di-da context, while Lynley passes the time rolling her eyes and making exaggerated faces. "The Smugglers" is harmless after all, which may be one reason why it has all but been forgotten.
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