An obese, embittered nurse doesn't mind if her toupee-wearing boyfriend romances and fleeces other women, as long as he takes her along on his con jobs.
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‘The Honeymoon Killers’ Blu-ray Review (Arrow Video)
20 November 2015 3:14 PM, +01:00 | Blogomatic3000
20 November 2015 3:14 PM, +01:00 | Blogomatic3000
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Title: The Honeymoon Killers (1969)
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Cast
| Cast overview, first billed only: | |||
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Shirley Stoler | ... | |
| Tony Lo Bianco | ... | ||
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Mary Jane Higby | ... |
Janet Fay
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| Doris Roberts | ... |
Bunny
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Kip McArdle | ... | |
| Marilyn Chris | ... | ||
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Dortha Duckworth | ... |
Mrs. Beck - Martha's Mother
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| Barbara Cason | ... |
Evelyn Long
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Ann Harris | ... |
Doris
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Mary Breen | ... | |
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Elsa Raven | ... |
Matron
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Mary Engel | ... |
Lucy
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Guy Sorel | ... |
Mr. Dranoff
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Michael Haley | ... |
Jackson
(as Mike Haley)
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Diane Asselin | ... |
Severns
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Plot Summary
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Plot Synopsis
Storyline
In the early 1950s, Martha Beck, who lives with her slightly senile mother, is the head nurse in a Mobile, Alabama hospital. She is bitter about her life, she not having male companionship in large part because she is overweight, while her bitterness in turn does not endear her to people. She is initially angry with her best friend, Bunny, for signing her up to a lonely hearts club, but eventually decides to give it a try. Through it, she meets Ray Fernandez, a suave Spanish immigrant living in New York, he who contacted Martha as the first through the club. After Ray's trip to Mobile to meet Martha, they fall in love. Upon a subsequent visit Martha makes to Ray in New York - which leads to her being fired in part for her time off work - he decides to be up front with her: that she is not only not his "first" but that he is really a con man who, primarily through the club, seduces then bilks lonely women of their money. Pretending to be his sister to prospective targets, Martha ... Written by Huggo
Taglines:
One of the most bizarre episodes in the annals of American Crime. See more »Parents Guide:
View content advisory »
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Details
Country:
USALanguage:
EnglishRelease Date:
4 February 1970 (USA) See more »Also Known As:
Dear Martha See more »Box Office
Budget:
$150,000 (estimated)Company Credits
Show detailed
company contact information
on
IMDbPro »
Technical Specs
Runtime:
| (original)Sound Mix:
MonoAspect Ratio:
1.85 : 1
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(uncredited)
Music by William Steffe
Lyrics by Julia Ward Howe
Sung by Ann Harris
See more »
Did You Know?
Trivia
Director François Truffaut called this his favorite American film. See more »Goofs
A copy of the album "Whipped Cream & Other Delights" by Herb Alpert and the Tijuana Brass is clearly visible in Martha's apartment. The album was released in 1965, while the movie takes place prior to 1951, according to the message at the end. See more »Quotes
Mother: [shouting at Martha from the window of the rest home she's been dumped at] Goddamn you, goddamn you! I hope you end up like this! I hope someone does this to YOU!See more »
Soundtracks
The Battle Hymn Of The Republic(uncredited)
Music by William Steffe
Lyrics by Julia Ward Howe
Sung by Ann Harris
See more »
I had to add a comment after reading so many on here comparing The Honeymoon Killers to John Waters. If Waters had made a serious attempt at true crime, this would be it. Based on a true story, two sociopaths come together through a "lonely hearts" dating service and discover they are mutually compatible serial killers. Tony Lo Bianco plays Raymond Fernandez, a greasy con-man and loser preying on naive women looking for love. Lo Bianco manages to be sexy even as such a pathetic jerk. Shirley Stoler is Martha Beck, his accomplice and apparent true love. Probably best known as the evil Nazi commandant in Seven Beauties, Stoler steals the film and in my humble opinion is really the only reason to check the movie out. Stoler and Water's star Divine are so similar, they could be "sisters". Stoler eats the scenery with gusto in an angry, bitchy way and it's fascinating just to watch her mouth move. The film is surprisingly watchable with some shockers and a parade of character actresses as victims. To contrast this grim black and white film against the Oscar winner for best picture that year (Patton) only adds to it's bizarreness. The director, Leonard Kastle presents the story bleakly with no bells and whistles. Sadly this is the only film he directed, it would have been great to see how his career would have progressed.