IMDb-BEWERTUNG
4,3/10
836
IHRE BEWERTUNG
Füge eine Handlung in deiner Sprache hinzuA former actress clashes with her wealthy and spoiled stepdaughter over their inheritance after the death of their protector.A former actress clashes with her wealthy and spoiled stepdaughter over their inheritance after the death of their protector.A former actress clashes with her wealthy and spoiled stepdaughter over their inheritance after the death of their protector.
Dan O'Herlihy
- Charles Winthrop
- (as Daniel O'Herlihy)
Víctor Junco
- Delacroix
- (as Victor Junco)
Pedro Galván
- University Dean
- (as Pedro Galvan)
Regina Torné
- Queen Bee
- (as Regina Torne)
Ricardo Adalid
- Justice of the Peace
- (Nicht genannt)
Felipe de Flores
- Reporter
- (Nicht genannt)
Rogelio Guerra
- David Brandt - Queen Bee's Bodyguard
- (Nicht genannt)
Handlung
WUSSTEST DU SCHON:
- WissenswertesThe Winthrops' car is a 1968 Chrysler Imperial Convertible; fewer than 500 of these rolled out of the factory that year, ranking it as one of the rarest and most rarely-seen passenger vehicles of that era.
- Zitate
Julius the butler: Anything else you wish?
Bibi: There might be, if you were 80 years younger, you sexy thing.
- VerbindungenFeatured in Colorspace Vol. 1 (2010)
Ausgewählte Rezension
Douglas Sirk Meets Roger Corman at Churobusco
Man, what a mess.
Yes, another example of old-line Hollywood attempting to deal with the pop culture youthquake of the late 1960's, and failing miserably. This thing lurches back and forth between a Douglas Sirk like melodrama and an LSD exploitation film. Jarring changes in pacing and tone abound. Even the accompanying background score shifts disturbingly from string-drenched light orchestral goop to fuzz-laden rock and roll freak-out.
Somehow I get the feeling that both Russ Meyer and Roger Ebert yanked a lot out of this film for their own delirious happening, "Beyond the Valley of the Dolls," released a couple years later. Fans of that craziness should be right at home here.
Lana Turner overacts appropriately here, and I am not going to blame any of the actors here (except for Mossberg -- this was her last film credit, probably appropriately), but I will take the writer, director, and the entire crew to task for their dubious contributions.
The fact that this film was actually produced in Mexico with a Mexican crew (though all American actors and shot in English) tells you a lot of the background. The set design has the over-the-top qualities of Mexican production design has in spades. The homes of the wealthy main characters are drenched in overdone luxurious furnishings. The freaky psychedelic club overflows with more colored lights and oil projection lamps than Bill Graham's storage room. The fashions worn are of the most extreme examples available at that time. These were clothes that might actually be worn by real people you might see on the street (maybe if you lived in Beverly Hills) but, just barely.
The Swedish accent of lead actress Karin Mossberg also throws another off-kilter element into the highly unbelievable proceedings. Explained away by the fact that she's been in boarding school in Switzerland for years, the fact that she looks nothing like the actor portraying her father is another example of the ongoing cognitive dissonance that makes this film a laugh riot. (I would also like to point out the ironic fact, that she did not recognize LSD laced into a sugar cube when exposed to it, due to the fact that she had been sheltered all these years in a boarding school in Switzerland. This conveniently ignores the historical fact that LSD was discovered by Dr. Albert Hoffman in a laboratory...wait for it....wait for it....in Switzerland).
To sum up, if you are ready for a ride into high camp, a film that screams to even the most submissive viewer, "Don't take me seriously," then you will be in a heaven of arranged artificiality. If you liked "The Trip," or "Skidoo" or "Beyond The Valley of the Dolls," and can appreciate all of them on the level of laughing at the fact that anyone could possibly take this kind of foolishness seriously, then you will have a riot of a time with this film.
Yes, another example of old-line Hollywood attempting to deal with the pop culture youthquake of the late 1960's, and failing miserably. This thing lurches back and forth between a Douglas Sirk like melodrama and an LSD exploitation film. Jarring changes in pacing and tone abound. Even the accompanying background score shifts disturbingly from string-drenched light orchestral goop to fuzz-laden rock and roll freak-out.
Somehow I get the feeling that both Russ Meyer and Roger Ebert yanked a lot out of this film for their own delirious happening, "Beyond the Valley of the Dolls," released a couple years later. Fans of that craziness should be right at home here.
Lana Turner overacts appropriately here, and I am not going to blame any of the actors here (except for Mossberg -- this was her last film credit, probably appropriately), but I will take the writer, director, and the entire crew to task for their dubious contributions.
The fact that this film was actually produced in Mexico with a Mexican crew (though all American actors and shot in English) tells you a lot of the background. The set design has the over-the-top qualities of Mexican production design has in spades. The homes of the wealthy main characters are drenched in overdone luxurious furnishings. The freaky psychedelic club overflows with more colored lights and oil projection lamps than Bill Graham's storage room. The fashions worn are of the most extreme examples available at that time. These were clothes that might actually be worn by real people you might see on the street (maybe if you lived in Beverly Hills) but, just barely.
The Swedish accent of lead actress Karin Mossberg also throws another off-kilter element into the highly unbelievable proceedings. Explained away by the fact that she's been in boarding school in Switzerland for years, the fact that she looks nothing like the actor portraying her father is another example of the ongoing cognitive dissonance that makes this film a laugh riot. (I would also like to point out the ironic fact, that she did not recognize LSD laced into a sugar cube when exposed to it, due to the fact that she had been sheltered all these years in a boarding school in Switzerland. This conveniently ignores the historical fact that LSD was discovered by Dr. Albert Hoffman in a laboratory...wait for it....wait for it....in Switzerland).
To sum up, if you are ready for a ride into high camp, a film that screams to even the most submissive viewer, "Don't take me seriously," then you will be in a heaven of arranged artificiality. If you liked "The Trip," or "Skidoo" or "Beyond The Valley of the Dolls," and can appreciate all of them on the level of laughing at the fact that anyone could possibly take this kind of foolishness seriously, then you will have a riot of a time with this film.
hilfreich•172
- Scott_Mercer
- 25. Juli 2010
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- Laufzeit1 Stunde 38 Minuten
- Seitenverhältnis
- 1.85 : 1
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Oberste Lücke
By what name was Dosierter Mord (1968) officially released in Canada in English?
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