A Commander receives a citation for an attack on General Erwin Rommel's headquarters, which is actually undeserved, as the Commander is unfit for his job. On top of that, unbeknownst to him, his wife is having an affair with one of his officers.
Stephen Torino (Wilde), who is tricked by his brother Marco (Adler) into an arranged marriage with tempestuous Annie Caldash (Russell). Annie is willing to give the union a go, but Torino wants none of it.
The most complete, newly restored version of Nicholas Ray's experimental masterpiece embodies the director's practice of film-making as a "communal way of life." Ray plays himself in the ... See full summary »
Experimental anthology film consisting of nine segments - Contrasts, The Janitor, The Plumber, Another Wet Dream, The Happy Necrophiliacs, On a Sunday Afternoon, A Face, Politfuck, Flames - all focused on 70s sex, love and politics.
Lawyer Thomas Farrell has made a career defending crooks in trials. He has never realized that there is a downside to his success, until he meets the dancer Vicki Gaye. She makes him decide to get a better reputation. But mob king Rico Angelo *insists* that he continues his services.Written by
Director Nicholas Ray was certainly impressed with Robert Taylor's commitment. "He worked for me like a true Method actor," said Ray, who remembered Taylor going to an osteologist, poring over X-rays and asking probing questions so that he would have an understanding of where in his body the pain would be from his character's crippled leg. See more »
Although the film is set in the early Thirties, the hairstyles, fashions, interior decoration, and choreography are in the style of the Fifties. At one point Lee J Cobb calls Cyd Charisse a "chick," a slang term not used until the Forties. See more »
Tony Martin, himself:
[Opening tune - singing]
Party girl, Party girl, Where do you play tonight, girl? Party girl, Party girl, Will it be gay tonight, girl?
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Opening credits prologue: Chicago In The Early Thirties See more »
Most any film directed by Nicholas Ray is usually worth watching, and "Party Girl's" no exception. Ray took here what might have been a quite routine movie under another director and turned it into something quite interesting.
He extracted an unusually strong performance from Robert Taylor, who celebrated his final MGM film here, and drew equally effective work from Cyd Charisse, who also demonstrated her formidable dancing skills.
Then there was that burly "brute" Lee J. Cobb doing his no-nonsense "gangster thing," which always rang true. Yes, "Party Girl" had lots of bite.
A bit of age comparisons are interesting here. Would you believe the actors playing the "handsome leading man" and "sinister character villain" were both born the same year? It was 1911 when Taylor and (gulp) Cobb entered this world. Adding to the mix, Ray was also born the same year, making for a perfect triumvirate. (Trivia note: Taylor and Ray both expired of the same terminal illness.)
Charisse showed what a 37-year-old-dancer-in-shape can do. Dig those mobile movements: cool hip action, fast torso turns, strenuous leg extensions and fantastic full-bodied falls. Cyd seemed one of the last holdouts as the film musical glory days "bit the dust."
The post-Lewis B. Mayer period allowed for more violence than ever before at MGM, and "Party Girl" had its abundant supply in the final gangland sequences.
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