During an evacuation in the waning days of the Korean War, three American soldiers retrieve an enemy airman and take him prisoner aboard the civilian ship returning them to their lines. ... See full summary »
Robert Walker Jr.,
San Francisco debutante, Jessica Poole, is marrying Napa Valley cattle rancher, Roger Henderson, and hopes her peripatetic father, "Pogo" Poole, whom she hasn't seen for years, comes to the... See full summary »
Private eye P.J. is reluctant when he gets a new job: he shall protect Maureen Preble, mistress of millionaire Orbeson, mainly from attacks by his wife and her greedy family. In truth ... See full summary »
Leschenhaut and Morillon are trying to organize a plot to overthrow the French government and set up a new fascist organization. Their plans are interrupted by Davis, an American boxer, ... See full summary »
Seditious anti-establishment comedy whose truths keep it out of television
I saw this film during my impressionable teen years. Its message has haunted me since. Suppose a virus exists that alters human brain chemistry and folks become happy? What would that do to contemporary society based on fear, insecurity and petty neuroses? What would be the response of our critical, western socio-economic institutions that were established to deal with those very fears, hang-ups and neuroses? From our consumer society to our police, mental health, religious and military institutions? How would these institutions and hierarchies react and respond to the a spontaneous outburst of mass euphoria? I have looked for this comedy for decades. Only once to my memory has it been shown on television. I have always been suspicious about that, considering it is wrapped in rather cutesy, mid-60's Paramount-picture-esque, candy-coated plot much like the Rock Hudson/Tony Randall/Doris Day comedies typical of that era. Don't get me wrong, this comedy is no "Dr. Strangelove" but unlike the Doris Day pap of the day, under all the silliness, this movie hides a seditious message. I don't know who wrote or directed it, but if you told me Norman Lear, Buck Henry, or Terry Sothern (sp?) it would not surprise me. This is the kind of message-laden stuff Lear taught us to expect in the early 70's. Only three other comedies from that era stayed with me, "The President's Analyst," "Watermelon Man," and "Cold Turkey." All hid powerful messages under their surface silliness.
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