A successful talent agent enjoys the good life until his wife leaves him. He moves in with his friend and begins an affair with the man's wife. He also gets a new difficult client whose public image must be preserved at any cost.
Near the end of WW II, a member of the German underground (Martin Richter) escapes from the Gestapo and takes shelter at Hotel Berlin, where he meets Lisa Dorn, a sleek actress involved ... See full summary »
This is the story of the clock-like movements of a giant, big city New Orleans hotel. The ambitious yet loyal manager, wrestles with the round-the-clock drama of its guests. A brazen sneak thief, who nightly relieves the guests of their property, is chased though the underground passages of the hotel. The big business power play for control and the thrilling crash of an elevator add to the excitement.Written by
I love this movie, a smooth 1967 throwback to the "Grand Hotel" tradition of interweaving stories, stylishly directed by Richard Quine ("Bell, Book, and Candle.") Johnny Keating's lush score shifts easily from sad melancholy (for the grand lost past of this grand hotel) to sexy jazz (in accord with the film's New Orleans setting.) Three main stories interact: the business battle to takeover the hotel; cover-up and blackmail attendant to a hit-and-run by a regal guest; the comedy relief antics of hotel thief Keycase Milne as he tries to make a big score. It all comes together in an elevator cliffhanger. Favorite bits: the surrogate father-son relationship between hotel owner Melvyn Douglas and his ace manager Rod Taylor; the antics of Karl Malden as Keycase (in one of Malden's personal favorite roles); and the tough intelligence of the three-way battle to take over the hotel. The characters are smart, witty, and gracious (even the villains), the mood slightly mournful for the good old days. I hated checking out of "Hotel."
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