Updated version of the Jacqueline Susann best selling 1960's novel shows the lives of three very different women who come to New York City to achieve fame and fortune in show business and ... See full summary »
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Updated version of the Jacqueline Susann best selling 1960's novel shows the lives of three very different women who come to New York City to achieve fame and fortune in show business and get all messed up in the process. Written by
You see Neely's has a very special young talent, it needs a place to grow, to become more confident, now I can give her that and we can all share in those results, but it's that talent that's so valuable it's precious, it needs firm professional guidance and if you're going to continue to handle you better learn your business young man, the amateurs have a tendency to bring everyone down to their level, and in this case, that's intolerable.
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I positively adore Jackie Susann's novel, and the 1967 version was a lot of fun (though it hardly did the book justice). However, why they had to make this ultra-bland piece of garbage is beyond me. It bears almost no relationship to the book--the storyline takes completely different directions, the material is diluted so much that it's rendered pointless, and the elements of the characters are entirely changed. Ted is no longer Neely's long-suffering bisexual husband, but her womanizing, domineering manager. Neely herself goes from hell-on-heels to poor put-upon li'l sugarpie with eyes full of tears and a box full of "rainbows"--the term "dolls" is never used. The only shock is seeing David (Last House on the Left) Hess as a Frenchman named Robaire!
And the acting! Veronica Hamel is a terrible actress and has none of the delicate poignancy that Sharon Tate possessed. Note the way she smokes her cigarettes--she's trying so hard to appear stylish and feminine that she looks like a drag queen. When Hamel's brittle, unappealing Jennifer committed suicide, I was glad I didn't have to put up with her any longer! Bert Convy is gratingly awful as Tony, Catherine Hicks is dishwater-dull as Anne, and Lisa Hartman is hopelessly miscast as the toned-down Neely. Jean Simmons's Helen Lawson is sickeningly un-evil.
What else? Well, the songs are godawful (despite Dionne Warwick's performance of the theme, "What Becomes of Love"), the atmosphere is nonexistent, and worst of all, IT'S NOT EVEN GOOD FOR LAUGHS! Four hours of unadulterated boredom. If Jacqueline Susann hadn't died in 1974, this monstrosity would've killed her.
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