All-Time Top 40

I started this Blog two years ago this month and to my astonished delight it is now read in over 120 countries. I am now well past over 500 reviews. So I thought you might be interested to know which of these reviews has attracted the most attention. This isn’t my choice of the top films in the Blog, but yours, my loyal readers. The chart covers the films viewed the most times since the Blog began, from June 1, 2020 to May 31, 2022.

  1. The Secret Ways (1961). Richard Widmark exudes menace in this adaptation of an early Alistair MacLean spy thriller set in Hungary during the Cold War. Senta Berger  has a small role.
  2. Jessica (1962). Innocently gorgeous widow Angie Dickinson finds her looks turn so many male heads in a small Italian town that the female population seeks revenge.
  3. Ocean’s 11 (1960). The Rat Pack makes its debut – Frank Sinatra, Dean Martin, Sammy Davis Jr. et al plan an audacious Las Vegas robbery. 
  4. Pharoah (1966). Priests battle kings in Polish epic set in ancient Egypt. Fabulous to look at and thoughtful.
  5. Fraulein Doktor (1969). Suzy Kendall in the best role of her career as a sexy German spy in World War One.
  6. The Golden Claws of the Cat Girl (1968). Cult French movie starring Daniele Gaubert as a sexy cat burglar.
  7. The Swinger (1966). Ann-Margret struts her stuff as a magazine journalist trying to persuade Tony Franciosca she is as sexy as the character she has written about.
  8. It’s Not All Rock’n’Roll (2020).  Ageing rocker Dave Doughman aims to mix a career with being a father in this fascinating documentary
  9. A Place for Lovers (1969). Faye Dunaway and Marcello Mastroianni in doomed love affair directed by Vittorio De Sica.
  10. The Venetian Affair (1966). Robert Vaughn hits his acting stride as a former CIA operative turned journalist investigating suicide bombings in Venice. Great supporting cast includes Elke Sommer and Boris Karloff.
  11. Moment to Moment (1966). Hitchcockian-style thriller with Jean Seberg caught up in  murder plot in the French Riviera. Also features Honor Blackman.
  12. 4 for Texas (1963). Frank Sinatra and Dean Martin face off in a Robert Aldrich western featuring Ursula Andress and Anita Ekberg with Charles Bronson in a smaller part.
  13. Age of Consent (1969). Helen Mirren stars as the nubile muse of jaded painter James Mason returning to his Australian roots.
  14. The Double Man (1967). Yul Brynner chases his doppelganger in the Swiss Alps with Britt Ekland adding a touch of glamour.
  15.  Subterfuge (1968). C.I.A. operative Gene Barry hunts an M.I.5 mole in London. Intrigue all round with Joan Collins supplying the romance and a scene-stealing Suzanna Leigh as a villain.
  16. A House Is Not a Home (1965). Biopic of notorious madam Polly Adler (played by Shelley Winters) who rubbed shoulders with the cream of Prohibition gangsters.
  17. Can Heironymous Merkin Ever Forget Mercy Humpe and Find True Happiness? (1969). Off-the-wall musical directed by star Anthony Newley that has to be seen to be believed. Joan Collins pops up. 
  18. Pressure Point (1962). Prison psychiatrist Sidney Poitier must help racist Nazi Bobby Darin.
  19. Deadlier than the Male (1967). Richard Johnson as Bulldog Drummond is led a merry dance by spear-gun-toting Elke Sommer and Sylva Koscina in outlandish thriller.
  20. Valley of Gwangi (1969). Special effects genius Ray Harryhausen the star here as James Franciscus and Gila Golen encounter prehistoric monsters in a forbidden valley.
  21. The Naked Runner (1967). With his son held hostage, Frank Sinatra is forced to carry out an assassination in East Germany.
  22. Orgy of the Dead (1965). Bearing the Ed Wood imprint, mad monster mash-up with the naked dead.
  23. Once a Thief (1965). Ann-Margret is a revelation in crime drama with ex-con Alain Delon coerced into a robbery despite trying to go straight. Supporting cast boasts Jack Palance, Van Heflin and Jeff Corey. 
  24. The Sicilian Clan (1969). Stunning caper with thief Alain Delon and Mafia chief Jean Gabin teaming up for audacious jewel heist with cop Lino Ventura on their trail. French thriller directed by Henri Verneuil. Great score by Ennio Morricone.
  25. Dark of the Sun / The Mercenaries (1968). More diamonds at stake as Rod Taylor leads a gang of mercenaries into war-torn Congo.  Jim Brown, Yvette Mimieux and Kenneth More co-star. Based on the Wilbur Smith bestseller
  26. Stiletto (1969). Mafia hitman Alex Cord pursued by tough cop Patrick O’Neal. Britt Ekland as the treacherous girlfriend heads a supporting cast including Roy Scheider, Barbara McNair and Joseph Wiseman.
  27. Maroc 7 (1967). Yet more jewel skullduggery with Gene Barry infiltrating a gang of thieves in Morocco who use the cover of a fashion shoot. Top female cast comprises Elsa Martinelli, Cyd Charisse, Tracy Reed and Alexandra Stewart.
  28. The Rock (1996). Former inmate Sean Connery breaks into Alcatraz with Nicolas Cage to prevent mad general Ed Harris blowing up San Francisco. Michael Bay over-the-top thriller with blistering pace.
  29. The Swimmer (1968). Burt Lancaster’s life falls apart as he swims pool-by-pool across the county. Superlative performance. 
  30. Hour of the Gun (1967). James Garner as a ruthless Wyatt Earp and Jason Robards as Doc Holliday in John Sturges’ realistic re-telling of events after the Gunfight at the O.K. Corral.
  31. Fade In (1968). Long-lost modern western with Burt Reynolds serenading low-level movie executive Barbara Loden whose company is actually filming Terence Stamp picture Blue.
  32. Dr Syn Alias the Scarecrow (1963). The British movie version of Disney American television mini-series sees Patrick McGoohan as a Robin Hood-type character assisting local smugglers.
  33. P.J./New Face in Hell (1968). Private eye George Peppard is duped by shady millionaire Raymond Burr and mistress Gayle Hunnicutt in murder mystery.
  34. Sol Madrid/The Heroin Gang (1968). In his second top-billed role David MacCallum drags hooker Stella Stevens to Mexico to capture drugs kingpin Telly Savalas.
  35. A Twist of Sand (1968). Diamonds again. Smugglers Richard Johnson and Jeremy Kemp hunt long-lost jewels in Africa. Honor Blackman is along for the voyage.
  36. Genghis Khan (1965). Omar Sharif plays the legendary warlord who unites warring Mongol tribes. Stellar cast includes Stephen Boyd, James Mason, Francoise Dorleac, Eli Wallach, Telly Savalas and Robert Morley.
  37. Interlude (1968). Bittersweet romance between famed conductor Oskar Wener and young reporter Barbara Ferris.
  38. Woman of Straw (1964). Sean Connery tangles with Gina Lollobrigida in lurid tale of murder and inheritance.
  39. Bedtime Story (1964). Marlon Brando and David Niven are rival seducers on the Riviera targeting wealthy women.
  40. Sisters (1969). Intrigue, adultery and incest haunt Nathalie Delon and Susan Strasberg as they try to recapture the innocence of the past.

The Pleasure Seekers (1964) ***

Unlike Paris, London and Rome, in the early 1960s Madrid lacked an array of easily-recognized iconic buildings so it fell to one of the three main characters to keep audiences informed of why and at what they should marvel. Director Jean Negulesco freshened up his remake of Three Coins in the Fountain (1954) by adding songs, not enough to turn it into a full-blown musical, but enough to define Fran (Ann-Margret) as a singer.

She shares a flat with Maggie (Carol Lynley) and newcomer Susie (Pamela Tiffin) and pretty much all they have in common is trying to get married. The major changes to the previous picture is that the girls are younger, and therefore marriage not so critical, and that nobody has a terminal illness, so it never falls into the three-hanky romantic category. Maggie is in love with her married boss Paul (Brian Keith) and reporter Pete (Gardner McKay) is in love with her. Susie is wooed by millionaire playboy Emilio (Anthony Franciosca) and Maggie falls for humble doctor Andres (Andre Lawrence).

The meet-cutes are well done. Emilio attempts to comfort Susie in a museum believing her tears are caused by being overcome by a painting when instead she is just homesick. The doctor attracts Fran’s attention when he accidentally runs her over (a reversal of the situation in her next film Bus Riley’s Back in Town, 1964, when her character runs into the car of the eponymous Bus). And there are some interesting twists. Susie, believing Emilio, is a good-for-nothing impoverished man, moves her handbag away from him when they dine in a restaurant. Maggie finds that Paul’s stern wife Jane (Gene Tierney) brings her up to speed on her errant husband. Fran is astonished to discover Emilio has principles. And there is a running gag with an apparently voyeuristic neighbor who turns out to have a bride the equal of any of the girls.

Sometimes it just seems like an excuse for the women to adopt endless poses in their lingerie, or for Maggie to belt out a few numbers, or for a tourist round-up of the city’s most interesting places. But it’s effortlessly done, wrapped up in patina of innocence, as though the events were taking place a decade before in glorious color, in the kind of film where once in a while the action could stop for a song.

Pamela Tiffin and Anthony Franciosca get acquainted.

None of the songs, by Sammy Cahn and Jimmy van Heusen, are anywhere as good as their theme tune for Three Coins in the Fountain, but Maggie is less of the hip-swinging song-belter of Viva Las Vegas (1964) and more a torch singer, although the choreography, as in the matador number, is occasionally stunning. It’s hard to see why she merits four songs when one would have sufficed to fix her character as a cabaret singer. And Madrid ain’t Rome. And, excepting Ann-Margret, the film has no stars.

In some respects this was a backward step for Ann-Margret who had just started taking on more dramatic roles with Kitten with a Whip and with the exception of her singing has the least interesting role. Pamela Tiffin (The Lively Set, 1964) portrays the most interesting character, not just suspicious of male motives but able to protect herself again them. Carol Lynley (Danger Route, 1967) was another one on the cusp of stardom. Anthony Franciosca, who would star again with Ann-Margret in The Swinger (1966) and opposite Raquel Welch in Fathom (1967) was constantly being tipped as the next big star. This was the final film of Gene Tierney (Leave Her to Heaven, 1945).

Jean Negulesco (Jessica, 1962) would not make a picture for another six years and you can see how easily his brand of romantic drama was already beginning to lose its appeal. No matter how much the marketeers dressed up his movies, Jessica another example, as sexy, they remained endearingly innocent at a time when audiences wanted to move on from virtue.

This might have worked better had it revolved around one character rather than three and the stopping for indifferent songs undercuts what little drama the film possesses. Edith Sommer (Jessica, 1962) cracked out the screenplay based on the previous film.

Bus Riley’s Back in Town (1965) ***

Given that Ann-Margret receives top billing I had automatically assumed she was the Bus Riley in question. Although decidedly the female lead, her role is secondary to that of a sailor returning to his small town. The backstory is that Bus – no explanation ever provided for this nickname, Buster perhaps? – Riley (Michael Parks) had been too young to marry the gorgeous Laurel (Ann-Margret) before he joined the U.S. Navy and in his absence she married an older wealthy man.  

Bus dithers over his future, re-engages with his mother and two sisters and finds he has not lost his attraction to Laurel. Although a handy mechanic, he has his eye on a white collar  career. An initial foray into becoming a mortician founders after sexual advances by his employer (Crahan Denton). Instead he is employed as a vacuum salesman by slick Slocum (Brad Dexter).  While his sister’s friend Judy (Janet Margolin) does catch his eye, she is hardly as forward or inviting as the sexy Laurel who crashes her car into his to attract his attention. But easy sex available with Laurel and the easy money from exploiting lonely housewives trigger a crisis of conscience.

Perhaps the most prominent aspect is the absence of good male role models. Bus is fatherless, his mother (Jocelyn Brando) taking in boarders to meet her financial burden – including the neurotic Carlotta (Brett Somers) – and while younger sister Gussie (Kim Darby) adores Bus the other sister Paula (Mimsy Farmer) is jealous of his freedom. Judy’s father is also missing and her mother (Nan Martin) a desperate alcoholic. The biggest male players are the ruthless Slocum and Laurel’s husband who clearly views her as a plaything he has bought. The biggest female player, Laurel, is equally ruthless, boredom sending her in search of male company, slithering and simpering to get what she wants.     

Scandal is often a flickering curtain away in small towns so it’s no surprise that Bus can enjoy a reckless affair with Laurel or that a meek mortician can get away with making his desires so quickly apparent, or that behind closed doors houses reek of alcohol or repression. A couple of years later and Hollywood would have encouraged youngsters like Bus and Laurel to scorn respectability in favor of free love. But this has a 1950s sensibility when finding a fulfilling job and the right partner was preferred to the illicit.

In that context – and it makes an interesting comparison to the more recent Licorice Pizza that despite being set in the 1970s finds youngsters still struggling with the difference between sex and love – it’s an excellent depiction of small-town life.

While Michael Parks (The Happening, 1967) anchors the picture, it’s the women who create the sparks. Not least, of course, is Ann-Margret (Once a Thief, 1965), at her most provocative but also revealing an inner helpless core. And you can trace her screen development from her earlier fluffier roles into the more mature parts she played in The Cincinnati Kid (1965) and more especially Once a Thief (1965).

In her movie debut Kim Darby (True Grit, 1969) is terrific as the bouncy Gussie and Janet Margolin (David and Lisa, 1962) invests her predominantly demure role with some bite. Jocelyn Brando (The Ugly American, 1963) reveals vulnerability while essaying the strong mother. Mimsy Farmer (Four Flies on Grey Velvet, 1971) also makes her debut and it’s only the second picture for David Carradine (Boxcar Bertha, 1972). Brad Dexter (The Magnificent Seven, 1960) is very convincing as the arrogant salesman.

It’s also the first film for Canadian director Harvey Hart (The Sweet Ride, 1968) and he has some nice visual flourishes, making particular use of aerial shots. The scenes of Bus trudging through town at night are particularly well done as are those of Laurel strutting her stuff.

It was also the only credit for screenwriter Walter Gage. That was because Gage didn’t exist. Like the Allen Smithee later adopted as the all-purpose pseudonym for pictures a director had disowned, this was the name adopted when playwright William Inge (Oscar-winner for Splendor in the Grass, 1961) refused to have anything to do with the finished film.

The movie was in limbo for over a year. It was never intended as a major picture, the budget limited to $550,000. Shot in Spring 1964, release was delayed for about a year until  Universal re-edited it and added new scenes. In part this was because Ann-Margret had  achieved surprising movie stardom between her recruitment and the film’s completion. Along with Raquel Welch, she became one of the most glamorous stars of the decade and in building up her own career Welch clearly followed the Ann-Margret template of taking on a bucket of roles and signing deals with competing studios.

After making just three movies, Ann-Margret was contracted for three movies with MGM at an average $200,000 per plus an average 12% of the profit, substantial sums for a neophyte. On top of that she had four far less remunerative pictures for Twentieth Century Fox, three for Columbia, Marriage on the Rocks with Frank Sinatra and a couple of others.

Universal also had another property to protect. Michael Parks was one of small contingent of novice actors in whom the studio had invested considerable sums, using them in television roles before placing them in major movies. Others in this small group – at a time when most studios had abandoned the idea of developing new talent – included Katharine Ross and Tom Simcox who both appeared in Shenadoah (1965), James Farentino (The War Lord, 1965), Don Galloway (The Rare Breed, 1965), Doug McClure (The Lively Set, 1964) and Robert Fuller and Jocelyn Lane in Incident at Phantom Hill (1965).

However, the introduction of Parks had not gone to plan. He was set to make his debut in The Wild Seed (1965) – originally titled Daffy and going through several other titles besides – but that was also delayed until after Bus Riley, riding on Ann-Margret’s coat-tails, offered greater potential.

SOURCES: “Escalating Actress,” Variety, May 22, 1963, page 4; “Inge Thinks Writer Contentment May Lie in Creative Scope of Cheaper Pix,” Variety, May 6, 1964, p2; “Ann-Margret Into the Cash Splash,” Variety, July 22, 1964, p5; “Universal Puts 9 Novices Into Pix,” Variety, March 3, 1965, p25; “Fear Ann-Margret Going Wrongo in Her Screen Image,” Variety, March 24, 1965, p5.

There’s a VHS copy available on Amazon, but otherwise it’s Ebay or this decent enough print on YouTube.

Viva Las Vegas (1964) / Love in Las Vegas ***

Screen chemistry, a great racing sequence and some good songs set alight this typical Presley vehicle. Unlike previous recording giants Frank Sinatra and Bing Crosby, Elvis Presley had not made much attempt to be anything other than himself on screen, nor elevated his status by taking on adaptations of hit Broadway shows, so his movies tended to need a certain extra something to set them apart, if only from his other pictures  – he was churning them out at the rate of three or four a year. The certain something, a whole bag of je ne sais quoi, came in the shape of Ann-Margret.

Garage mechanic Lucky (Elvis Presley), a racing driver wannabe, gets the hots for Rusty (Ann-Margret) after he tunes up her car. Chasing her to Las Vegas where she is a swimming instructor rather than a hot-shot performer, he takes a job as a hotel waiter. He has a rival, both in driving and romance, in Count Emo Mancini (Cesare Danova). Initially, Rusty  brushes Lucky and even when they get closer she fears getting too close since the consequences of falling in love with a man who chases danger are obvious.

There’s no danger of a picture like this straying from the most obvious path and helping fill in the screen time are nods to tourism, excerpts from Vegas shows, some water ski-ing and a helicopter ride over the Boulder Dam (Rusty supplying an earnest educational lecture). There is some lackluster comedy and not much in the way of subplot.

The race is well done for the times (i.e. pre-Grand Prix, 1966) with plenty of crashes, and it looks realistic enough although probably the cars were speeded up in the cameras.

But the pairing is dynamite. Rusty, all sizzle, smoky eyes and pout, dances Presley off the screen. She has the curves and she has the moves. Not a great deal of acting is required by either – they were in the early throes of an affair – but Rusty, a homely girl after all, keeps her sexuality in check long enough to hook her suitor.

The title song – shot in one take – is a winner but what lingers in the memory is the dazzling choreography (involving multiple camera) for Lucky’s dance numbers. And Lucky dancing. Only so many ways to say that that woman can shake her booty, but she shakes it in so many different ways the outcome is sensational.

But in the end just as dancing in an Ann-Margret picture was never enough to hit the box office heights so singing, except in his first screen forays, was not enough to create the longest queues for a Presley picture. Although previous Presley movies had featured the likes of Ursula Andress (Fun in Acapulco, 1963) and Stella Stevens (Girls! Girls! Girls!, 1963) none had the impact of Ann-Margret.

Perhaps fearful that audiences might respond more to his co-star, Ann-Margret’s musical contribution was limited. The pair performed a duet on one number, “The Lady Loves Me” – two other duets were recorded but dropped from the film – and she contributed two solo songs. By comparison, Presley was accorded eight solos. The theory being, I suppose, that audiences had come to hear Presley sing. And that might have been correct, in theory, but once the public saw Ann-Margret on screen they would surely have been calling for more.

It was both the shortest film of Presley’s career and the highest grossing. While Ann-Margret was entitled to have her name above the title – not equal billing as some would have it since his name came first (equal would have put them in alphabetical order) – some cinemas took matters into their own hands and on the marquees, over which studios could exert no contractual control, put Ann-Margret’s name first.

Perhaps more interesting was the question of career development. Presley kept on doing the same old stuff until Charro (1969) by which point it was too late to save his career. Within a year, however, she was moving on to more serious roles such as Once a Thief (1965) and The Cincinnati Kid (1965).   

Taking the helm was veteran George Sidney who had directed Ann-Margret in Bye Bye Birdie (1962) and was also responsible for Pal Joey (1957), Show Boat (1951)  and Anchors Aweigh (1945). He could have done this kind of picture in his sleep, so all credit to him that he brought it to such life.

Year-End Round-Up: Top 30 Films Chosen by You

Top 30

This isn’t my choice of the top films of the year, but yours, my loyal readers. This is a chart of the films viewed the most times over the full calendar year of January 2021 – December 2021.

  1. The Secret Ways (1961). Richard Widmark in spy thriller set in Hungary during the Cold War and adapted from the Alistair MacLean novel. Senta Berger has a small role.
  2. Ocean’s 11 (1960). Frank Sinatra, Dean Martin and the Rat Pack embark on an audacious Las Vegas robbery.  
  3. Pharoah (1966). Epic Polish picture about political shenanigans in ancient Egypt.
  4. Age of Consent (1969). Helen Mirren stars as the nubile muse of jaded painter James Mason returning to his Australian roots.
  5. The Venetian Affair (1966). Robert Vaughn hits his acting stride as a former CIA operative turned journalist investigating suicide bombings in Venice. Great supporting cast includes Elke Sommer and Boris Karloff.
  6. The Golden Claws of the Cat Girl (1968). Cult French movie  starring Daniele Gaubert as a sexy cat burglar.
  7. Moment to Moment (1966). Jean Seberg is caught up in a Hitchcockian murder plot in the French Riviera. Also features Honor Blackman.
  8. It’s Not All Rock’n’Roll (2020).  Ageing rocker Dave Doughman aims to mix a career with being a father in this fascinating documentary.
  9. 4 for Texas (1963). Frank Sinatra and Dean Martin face off in a Robert Aldrich western featuring Ursula Andress and Anita Ekberg with Charles Bronson in a smaller part.
  10. Once a Thief (1965). Trying to go straight ex-con Alain Delon is coerced into a robbery. Ann-Margret is a revelation as his wife. Jack Palance, Van Heflin and Jeff Corey add up to a great supporting cast.  
  11. Stiletto (1969). Alex Cord as a Mafia hitman wanting to retire is pursued by tough cop Patrick O’Neal. Britt Ekland heads a supporting cast which includes Roy Scheider, Barbara McNair and Joseph Wiseman.
  12. Subterfuge (1968). C.I.A. operative Gene Barry is called to London to uncover a mole in M.I.5. Joan Collins provides the romance. Richard Todd, Tom Adams, Suzanna Leigh and Michael Rennie lend a touch of class.
  13. The Swimmer (1968). Burt Lancaster delivers a superlative performance as a man whose life is falling apart.
  14. The Rock (1996). Blistering thriller starring Sean Connery as an ex-inmate of Alcatraz helping Nicolas Cage infiltrate the island to prevent mad general Ed Harris destroying San Francisco. Michael Bay directs.
  15. The Sicilian Clan (1969). Alain Delon joins forces with Jean Gabin to pull off an daring jewel heist with tenacious cop Lino Ventura on their trail. French thriller directed by Henri Verneuil.
  16. The Naked Runner (1967). With his son held hostage, Frank Sinatra is forced to carry out an assassination in East Germany.
  17. A House Is Not a Home (1965). Biopic of notorious madam Polly Adler (played by Shelley Winters) who rubbed shoulders with the cream of Prohibition gangsters.
  18. Pressure Point (1962). Prison psychiatrist Sidney Poitier must help racist Nazi Bobby Darin.
  19. Genghis Khan (1965). Omar Sharif plays the legendary warlord who unites warring Mongol tribes. Stellar cast includes Stephen Boyd, James Mason, Francoise Dorleac, Eli Wallach, Telly Savalas and Robert Morley.
  20. A Twist of Sand (1968). Beleaguered smuggler Richard Johnson spars with Jeremy Kemp in thriller about hidden diamonds in Africa. Honor Blackman is along for the voyage.
  21. Jason and the Argonauts (1963). Ray Harryhausen special effects dominate this legendary tale of the hunt for the Golden Fleece.  
  22. Dr Syn Alias the Scarecrow (1963). Disney movie that was turned into a mini-series in the U.S. starring Patrick McGoohan as the eponymous Robin Hood-type character who assists smugglers.
  23. The Hitman’s Wife’s Bodyguard (2021). Ryan Reynolds and Samuel L. Jackson reunite for wild sequel also featuring Salma Hayek and Antonio Banderas.
  24. Dark of the Sun / The Mercenaries (1968). Rod Taylor leads a private army into the war-torn Congo to rescue a cache of uncut diamonds. Jim Brown, Yvette Mimieux and Kenneth More co-star. Based on the Wilbur Smith bestseller.
  25. The Guns of Navarone (1961). Classic war mission picture with an all-star cast of Gregory Peck, David Niven, Anthony Quinn, Stanley Baker, Irene Papas and Gia Scala. Adapted from the Alistair McLean bestseller.
  26. Maroc 7 (1967). Gene Barry infiltrates a gang of jewel thieves in Morocco operating under the cover of a fashion shoot. Dazzling female cast includes Elsa Martinelli, Cyd Charisse, Tracy Reed and Alexandra Stewart.
  27. The Satan Bug (1965). John Sturges adaptation of Alistair MacLean pandemic thriller stars George Maharis, Richard Basehart and Dana Andrews.
  28. Five Golden Dragons (1967). Cult thriller with Robert Cummings as the playboy caught up in an international crime syndicate. Klaus Kinski and Christopher Lee head an exceptional supporting cast that also includes Margaret Lee, Brian Donlevy, George Raft, Dan Duryea and Maria Rohm.
  29. Claudelle Inglish (1961). Diane McBain as the poor farmer’s daughter who wants to get rich quick.
  30. Jessica (1962). Angie Dickinson plays a young widow who turns so many heads in a small Italian town that their wives seek revenge.

Stagecoach (1966) ****

It’s probably sacrilege to admit that I quite enjoyed this. Also it’s been so long since I’ve seen the John Ford original that I could remember very little of the specifics and I haven’t seen the remake before so this was just like watching a new movie.

Basically, it’s the story of a group of passengers taking the stagecoach to Cheyenne for different reasons who are joined by an escaped murderer and shepherded along by the driver and a town marshal. There is some excellent action but mostly it’s a relationship picture, how the characters react to one another and their response to crisis.

Good-time girl Dallas (Ann-Margret) is on the run, banker Gatewood (Bob Cummings) is hiding a stash of stolen money, alcoholic doctor Boone (Bing Crosby) is penniless, liquor salesman Peacock (Red Buttons) is a coward, gambler Hatfield (Mike Connors) has Civil War secrets, pregnant Lucy Mallory (Stefanie Powers) is meeting her cavalry husband in Cheyenne. Ornery Buck (Slim Pickens) is the driver. Curley (Van Heflin) is riding shotgun and when he comes upon stranded escaped murderer the Ringo Kid (Alex Cord) promptly arrests him.

The drama unfolds as the characters confront each other or their own weaknesses. Dallas, who had a high old time as a saloon girl, is way out of her depth in respectable company,  concealing the secret of her affair with the married Gatewood. Ringo coaxes her along, bringing her out of her shell, giving her back self-respect, and of course falling in love. Curley, with his eyes on the $500 reward for bringing Ringo in, has no intention of letting the gunslinger take his revenge in Cheyenne on Luke Plummer (Keenan Wynn) who killed his family. Boone and Peacock provide the fun, the doctor spending most of his time separating the salesman from his cargo of booze.

There are endless permutations with a story like this, the kind of material favoured in  disaster movies like Airport (1970) and The Towering Inferno (1974) where disparate characters battle for survival. The action is only part of the deal. The picture only truly works if the characters are believable. For that, you need a heap of good acting. The audience could certainly rely on old dependables like Bing Crosby (The Road to Hong Kong, 1962) in his big screen swansong, Van Heflin (Shane, 1953), Red Buttons (Oscar-winner for Sayonara, 1957), Robert Cummings (Saboteur, 1942) and cowboy picture veteran Slim Pickens to put on a good show. But the main dramatic load was to be carried by relative newcomers Ann-Margret and Alex Cord.

Ann-Margret has made her name with sassy light-hearted numbers like The Pleasure Seekers (1964) and had only just stepped up to the dramatic plate with Once a Thief (1965). This was Alex Cord’s sophomore outing after Synanon (1965), the odds stacked against him making any impact in the role which turned John Wayne into a star. 

Amazingly, the casting works. Ann-Margret moves from feisty to restrained, meek to the point of being cowed, and for most of the film, far removed from the false gaiety of the saloon, seeks redemption. The cocky trouble-making minx emerges only once, to knock the wind out of Mrs Mallory, but, after taking a tumble down the humility route, gradually steers her way towards a better self, preventing Gatewood from causing chaos, nursing Mallory and inching her way towards true feelings for Ringo. As in the best movies, it’s not for her to open up about her woeful life but for another character, in this case Ringo, to identify her predicament: “What you doin’ about your scars, you got ‘em even if they don’t show…when you goin’ to stand up and stop crawlin’?” When they finally kiss it is one of the most tender kisses you will ever see.  

My reservations about Alex Cord’s acting skills were based on his moustachioed performance in Stiletto (1969) but I reversed my opinion after seeing him in The Scorpio Letters (1967) and this is another revelation. As much as he can deliver on the action front, and sports on occasion a mean-eyed look,  it’s in the dramatic scenes that he really scores, gentle, vulnerable, caring. He certainly matches the Duke’s trademark diffidence in terms of romance. That the camera can mine depths of expression from both faces proves the calibre of their acting.

If director Gordon Douglas (Rio Conchos, 1964) had more critical standing, his bold long opening aerial tracking shot over rugged forest, mountain and plain before reaching the stagecoach would have received the acclaim accorded Stanley Kubrick for a similar shot in The Shining (1980). The opening also makes it clear how far removed this is from the original, not just in colour obviously, but (although filmed in Colorado) in a different locale, Wyoming, rather than the arid Arizona of Monument Valley. After a brief glimpse of the stagecoach, Douglas switches to a cavalry troop making camp. A soldier going into a wagon is met by a hatchet in the head. The camera tracks the corpse’s blood as it flows down a stream where it alerts another soldier washing clothes. Before he can raise the alarm, he gets a lance in the back.

Where the passengers have heard rumors, quickly dismissed (“nobody got scalped by an old rumor”) of the Sioux (Apaches in the original) on the warpath, the audience has seen the cavalry troop slaughtered, so (in effectively a Hitchcockian device) provides the movie with the tension the on-screen characters initially lack The passengers soon grasp reality when they come across another patrol dead at a staging post, and eventually are battling for their lives when ambushed. But prior to that there is a tense sequence of leading the stagecoach across a narrow mountain ridge during a storm.

There’s a clever reversal before the Sioux onslaught. The passengers think they have seen soldiers approaching, but it is the Sioux wearing cavalry uniforms. There is no river to cross as in the original, but the chase along a mountainous path is breathtaking, aerial and tracking shots given full rein, ending in a shoot-out without (as in the original) the cavalry riding to the rescue.

Douglas has his work cut out with the drama, as various characters confront their issues, and his staging is superb, characters always given reason to move. Screenwriter Joseph Landon (Rio Conchos) borrowed material from the Dudley Nichols original but added and subtracted quite a bit.

At the time critical deification of John Ford had not begun and Hollywood was in a cyclical remake mood – new versions of Beau Geste and Madame X appearing the same year – so Gordon Douglas didn’t quite face a critical backlash, although praise was generally sparse. Judging by the box office it received an audience thumbs-up – as it does from yours truly.

You can rent this on Amazon Prime.

The Swinger (1966) ***

Pure confection. There was a sub-genre of romantic comedy pictures that spun on a simple plot device to throw together actors with terrific screen charisma. Doris Day, Rock Hudson and Cary Grant did little more than meet a potential new partner, fall out with them and then resolve their differences. The importance of actors of this calibre was the difference between a high class piece of froth and mere entertainment. This falls into the latter category, neither Ann-Margret nor Anthony Franciosca reaching the high standards of the likes of That Touch of Mink or Pillow Talk.

That said, this was clearly custom-made for Ann-Margret and her growing fan-base. Despite displaying unexpectedly serious acting chops in Once a Thief (1965) this plays more obviously to her strengths. She gets to sing, dance and generally throw herself around. The face, hair, smile and body combine in a sensational package.

Kelly Olsson (Ann-Margret) plays a budding writer so naïve she tries to sell her stories to Girl-Lure, a Playboy-type magazine, owned by high-class Brit Sir Hubert Charles (Robert Coote) and run by Ric Colby (Anthony Franciosca). When her work is rejected, Olsson writes an imitation sex-novel, The Swinger, purportedly based on her own life. Sir Hubert buys the idea and Ric sets up a series of accompanying photo-shoots using Kelly as the model until he discovers her book is pure fiction.

The setting is an excuse to show an avalanche of young women in bikinis. The slight story is justification enough for Ann-Margret to strut her stuff as a singer and dancer. Since her stage show depended more on energy than singing, this effectively showcases her act.

So two-dimensional are the principals, you are not going to mistake any of these characters for actual characters. The film lacks such depth you would not be surprised if the likes of Elvis Presley or Cliff Richard popped up. The comedy is very lite, an initial attempt at satire soon dropped, the few bursts of slapstick seeming to catch the stars unawares.  

But that’s not to say it’s not enjoyable, Ann-Margret is a gloriously old-fashioned sex symbol and certainly knows how to shake her booty. The standout (for lack of a better word) scene revolves around body painting. She even gets the chance to ride a motorcycle, one of  her trademarks. Anthony Franciosca (Go Naked in the World, 1961) has little to do except smile. Yvonne Romain (The Frightened City, 1961) has a thankless role as Ric’s girlfriend.

Director George Sidney teams up with Ann-Margret for the third time after Bye Bye Birdie (1963) and Viva Las Vegas (1964). This was his penultimate outing in a 20-year Hollywood career whose highlights included Anchors Aweigh (1945), The Three Musketeers (1948), Annie Get Your Gun (1950), Showboat (1951) and Pal Joey (1957). So he certainly had the musical pedigree to ensure the songs had some pizzazz but clearly less impact on the script which was reputedly scrambled together at short notice by Lawrence Roman (McQ, 1974) to fulfil a studio commitment to the star.

The film is available on Youtube.

CATCH-UP: Previous Ann-Margret films reviewed in the Blog are The Cincinnati Kid (1965) and Once a Thief (1965).

Once a Thief (1965) ****

Latter-day film noir gem with terrific cast filmed in black-and-white and often at night that crams into a taut storyline  different slants of the themes of the con-going-straight, the vendetta and the double-cross. While Hollywood at this point had imported platoons of foreign beauties in the Sophia Loren-Elke Sommer vein, there had been less interest in the male of the species with the exception of a small British contingent and possibly Omar Sharif, on whom the jury was still out. 

MGM was gambling on Frenchman Alain Delon (The Leopard, 1963) to alter industry perceptions at the same time as pushing new contract star Ann-Margret (The Pleasure Seekers, 1964) along more dramatic lines away from the glossy puffery that had made her name and which relied more upon her physical assets than acting potential. Had she continued in this vein, her career would certainly have taken a different turn. 

Eddie Pedak (Alain Delon), former minor hood turned San Francisco truck driver, is happily married to Kristine (Ann-Margret) with a young daughter they both adore. But tough cop Mike Vido (Van Heflin), with a reputation for brutality, is determined to pin a murder on him in revenge for purportedly being shot by him early in Eddie’s previous career. Eddie manages for a time to resist the overtures of brother Walter (Jack Palance) to participate in a million-dollar diamond. But when he loses his job, that changes.

While the robbery naturally takes center stage, that’s not actually the dramatic highlight. Instead, it is the Eddie-Kristine relationship. Instead of Eddie being the usual down-on-his-luck ex-con, he has clearly turned his life around, so much so he can afford a $500 down payment on a small boat. A loving father, he accepts without rancor when his daughter interrupts a night-time lovemaking session. And he’s stylish, too, wearing an iconic sheepskin jacket and driving a snazzy 1931 Ford Model A roadster. Kristine just wants a normal home life, desiring domesticity above all else, but swallowing her pride when she needs to go out to work in a night club to make ends meet, for a time rendering the unemployed Eddie a house husband.

But Eddie is not all he initially seems. His tough streak has not been smothered by the good life. In a brilliant Catch-22 situation he gets violent when an employment benefits clerk refuses to accept that Eddie was fired from his job, instead believing his employer’s claim that he resigned – the former triggering relief payment, the latter zilch. But that’s nothing to the beating he inflicts on Kristine when, pride injured that he is not the breadwinner, he discovers the skimpy costume she wears for her job.

Adding to the unusual mix are Vido and Walter, the former’s brooding presence somewhat undercut by the fact that in middle age he still lives with his mother, the latter while a big-time gangster letting nothing get in the way of strong fraternal feeling for Eddie. You won’t be surprised to learn that double cross is in the air, not when Walter employs a creepy sunglass-wearing henchman Sargantanas (John Davis Chandler) who appears to have more than a passing interest in little girls. The climax, which contains both emotional and dramatic twist, involves redemption and sacrifice.

Delon has played the cold-eyed ruthless but romantic character before, but here adds depth from his paternal commitment and as a man turned inside out by the system.

Ann-Margret is the revelation, truly believable as mother first, sexy wife second, and her anguish in the later parts of the picture showcase a different level of acting skill to anything she previously essayed. This role immediately preceded her man-eater in The Cincinnati Kid (1965) which attracted far more attention and considerably bigger box office and it would have been interesting to see how her career might have panned out had Once a Thief been the critical and commercial triumph. She probably did not attain such acting heights again until Carnal Knowledge (1971). And I did wonder, as with Daliah Lavi (The Demon, 1963) before her whether her acting skills were too often overshadowed in the Hollywood mindset by her physical attributes.  

Van Heflin (Cry of Battle, 1963) is excellent as the cop tormented by the idea that a villain is walking free, Jack Palance (The Professionals, 1966) is good as always and character actor Jeff Corey (The Cincinnati Kid) puts in an appearance as Vido’s whip-cracking boss. This marks the debut of Tony Musante (The Bird with the Crystal Plumage, 1970). Watch for a cameo by screenwriter Zekial Marko, who wrote the original book.

This represented another change of pace for director Ralph Nelson, Oscar-nominated for the Lilies of the Field (1963) and also known for box office comedy hit Father Goose (1964). His  use of an experimental extremely light-sensitive camera eliminated the bulky lighting commensurate with filming at night, bringing freshness and greater freedom to those scenes. His natural gift for drama ensured that the emotional was given as much prominence as the action. Racial awareness was demonstrated by the opening scene in a jazz club where African Americans were clearly welcome, hardly the norm at that time.

The picture was shot on location in San Francisco including Nob Hill, Chinatown and Fisherman’s Wharf. To add authenticity, Nelson employed as extras or in bit parts people famed for different reasons in the area. There was Armenian Al Nalbandian who owned the Cable Car flower store on Union Square. William ‘Tiny’ Baskin was a highly successful diamond cutter, owner of the city’s biggest diamond collection – because of his size he was ideal to play a night club bouncer. The North Beach night club provided cameos for Big Al and resident jazz drummer Russell Lee, who both play themselves. Local singer Toy Yat Mar plays the woman murdered at the start of the film. Also appearing were piano player Jimmy Diamond, bus driver Wed Trindle and belly dancer Shereef.

Mention again of a terrific score by Lalo Schifrin, especially the bold drum solo that played out over the credit sequence. Schifrin’s work on the film was showcased in a featurette aimed at schools and colleges. Russell Lee’s drumming so impressed Ralph Nelson that the opening credits were rewritten around his drum solo.

Catch-Up: Alain Delon has featured in the Blog in reviews for Lost Command (1966), Is Paris Burning? (1966), The Girl on a Motorcycle (1968) and Farewell, Friend (1968); check out also Ralph Nelson’s Duel at Diablo (1966) and Ann-Margret in The Cincinnati Kid (1965).

Book into Film – “The Cincinnati Kid” (1965)

Richard Jessup’s brilliant 1963 novel was so short – barely 150 pages – it was almost custom-made for the movies. While it built up the tension to the confrontation between young stud poker contender The Cincinnati Kid (Steve McQueen in the film) and the reigning world champ Lancey Hodges (Edward G. Robinson) and covered the on-off relationship between the Kid and Christian (Tuesday Weld), a large chunk of the novel was in effect an insider’s guide to the world of poker and its unwritten rules.

As appeared always to be the case in translating novels to films, there were some incidental changes. The Kid was 26 in the book, but clearly in his 30s in the film. Lancey’s surname became Howard. In the book he was thin, in the film well-upholstered. Melba (Ann-Margret), the girlfriend of Shooter (Karl Malden) is not given a name in the book. The book is set in St Louis, the film in New Orleans.

But the book lacks sub-plots. It’s a straightforward narrative. The Kid decides to take on Lancey and while waiting for the game to be fixed up, having effectively broken up with Christian, he takes a 20-hour bus journey out to see her at her farm, returns on his own and for the rest of the book is involved in the poker duel with Lancey. Incidental characters make an appearance, Shooter as the dealer, some others including Pig (Jack Weston) making up the poker table.

The book doesn’t open with the Kid hustling, playing in a run-down part of town against inferior players, being accused of cheating, getting involved in a punch-up and being chased across a railroad yard. That’s all the invention of the scriptwriters Terry Southern (Barbarella, 1968) and Ring Lardner Jr. (Mash, 1970). The young shoeshine boy who interacts with the Kid several times throughout the movie doesn’t appear in the book either. And there was no cockfight in the book, that was also added by the screenwriters.

These were small devices to develop screen character. The punch-up showed that the Kid could take care of himself. The scenes with the shoeshine boy suggested that the Kid had begun early as a compulsive gambler, always measuring himself against an older player. And those scenes also demonstrated that gambling was not a sport for the kind-hearted. An actor with less confidence in his screen persona than McQueen might have insisted that he did not take the boy’s losing bet. (Such considerations are not rare – Robert Redford, for example, refused to play lawyer Frank Galvin in The Verdict unless the character was changed from being an alcoholic). The cockfight revealed that the characters mostly lived in an illegal world – the cops might turn a blind eye to a poker game in a private room in a hotel but would frown upon a bloody and brutal sport like cockfighting.

Sometimes, the screenwriters had to embellish certain scenes to bring them alive. The sequence where the Kid won over Christian’s parents with his card tricks is nothing more than a sentence in the book and characters like Pig are fleshed out.

But the most significant alterations to the book were the additions of two sub-plots. The first had Shooter, while acting as dealer, risk his reputation by agreeing to flip the Kid an occasional good card. This comes from being blackmailed by wealthy businessman Slade (Rip Torn) who threatens to call in Shooter’s marker, his gambling debt. Not only is this idea a screenwriter creation, but the character of Slade does not exist in the book. In fact, the whole idea runs against the unwritten code of honor among big-time poker players. And it would be extremely unlikely that Shooter would stoop so low. Even if broke, he would be able to eventually win back a stake. But if caught facilitating cheating his name would be mud and he would never play poker again in his life.

The second sub-plot concerns Melba (Ann-Margret). She exists on the periphery in the book. But she is something of a character, a genuine class act among the women who follow the game or are in relationships with the players. In the book, she was believed to have had a college education because “she read thick books and she dressed New York”  and she attended arthouse cinemas. She was also admired for sticking with Shooter when his luck turned bad.

That’s not the character in the film. While not a gambler per se, she has a competitive streak and cheats at ordinary games – solitaire, jigsaw puzzles – where it makes no sense to cheat. In the book she is merely “beautiful;” in the film she turns into a man-eater, seducing the Kid, an action that went against her character in the book.

You would harldy argue that these sub-plots impaired enjoyment of the film. Perhaps those who read the  book first might object. But, as ever, in examining what happens to books once they are bought up for the movies, each film examined is an example of the difference between a book and a film and how screenwriters compensate for perceived flaws. Some books, Blindfold, for example, required wholesale changes. Here, while the key storyline works like a charm, what was missing were the extra beats to ramp up the tension, otherwise there would be too long a wait in hanging around for the poker game to start. As a result of the sub-plots, what is put in jeopardy is the Kid’s relationship with Christian and his purity of involvement in the game itself, not just that any hint of cheating would bar him from the game, but that he wanted to beat Lancey fair and square so that, should he achieve that ambition, he would never have cause to doubt how he managed it.

Behind the Scenes – “The Cincinnati Kid” (1965)

As you can see from the advertisement above, this was originally intended to be quite a different film, directed by Sam Peckinpah and starring Spencer Tracy in the role of ageing poker champ Lancey. The director had just come off one troubled shoot, Major Dundee (1965), and was seeking Hollywood redemption. Two-time Oscar winner Tracy was also hoping to revive his career. Except for what amounted to little more than a extended cameo on It’s A Mad, Mad,, Mad, Mad World (1963) he had not worked since Judgement at Nuremberg (1961). Also initially on board in a small role was Sharon Tate (Valley of the Dolls, 1967)

This was also a big gamble for industry outsider Martin Ransohoff who had moved to the forefront of independent production after The Americanization of Emily (1964) with Julie Andrews and James Garner and The Sandpiper (1965) starring current top-billed royalty Elizabeth Taylor and Richard Burton. He had wheeled and dealed with top studios – MGM, Columbia and United Artists – desperate for quality product. He was planning the biggest movie of his career having purchased the rights to the Alistair MacLean bestseller Ice Station Zebra. Ransohoff was a marketing innovator and long before Robert Evans pumped tens of thousands of Paramount dollars into advertising the book of Love Story (1970) to ensure it rode high on the bestseller charts and thus increased public awareness, Ransohoff had pulled off the same trick for Richard Jessup’s novel The Cincinnati Kid.

Tracy was first to quit, infuriated that he was denied script approval. Essentially, he wanted his role beefed up. But Ransohoff “would not expand his role in any way” and angered at the prospect of playing second fiddle to McQueen the actor walked out, to be replaced by a star with considerably less marquee appeal, Edward G. Robinson.

At least Tracy was able to depart with head held high. Peckinpah was ignominiously fired after shooting had begun. The intemperate director had already locked horns with the producer over a story which had now taken the efforts of four screenwriters – Oscar-winner Paddy Chayefsky (The Americanization of Emily), Oscar-winner Ring Lardner Jr. (Woman of the Year, 1943), Oscar nominee Terry Southern (Dr Strangelove, 1964) and newcomer Charles Eastman (Little Fauss and Big Halsy, 1970) – to knock the book into a workable screenplay without the extra bother of Peckinpah adding his own scenes.

Trade newspaper Variety reported: “Peckinpah’s problems stemmed from his filming of a nude scene that wasn’t in the script but which the director wrote on his own. Last Friday (November 4, 1964) he reportedly excused the featured cast and began to lense the nudie scene using an extra from the cast.” Whether this was indeed Sharon Tate, of whom Peckinpah was reported to have filmed in a flimsy shirt without a bra so that her nipples were showing, is unclear. And although there is an undertone of sex in the actual picture, as delivered by Ann-Margret, it was considerably more discreet.

Strangely enough, Ransohoff was no stranger to the benefits of nudity in his pictures and had fought a losing battle with the all-powerful MPAA, the industry ruling body in matters of censorship, to have nude scenes included in The Americanization of Emily. The nude statue of Elizabeth Taylor in The Sandpiper was permitted, however, and Ransohoff sent hundreds of miniature statues out to influencers as a gift.

Peckinpah did not have final cut so Ransohoff could easily have excised any nude scenes from the finished movie. What was considerably more alarming was that Peckinpah was shooting in black-and-white. Later, Ransohoff would contend that he was outraged by this notion but he surely must have signed off on it at the outset. Whatever the reasons, and some believed fisticuffs were involved, Peckinpah was sacked, leaving a $750,000 hole in the budget.

Production closed for over a month while Ransohoff scrambled for a new director. McQueen was pay-or-play, so if the film was cancelled, the actor was due his entire fee. McQueen had signed on for a fee of $200,000 – or $350,000 depending on who you believe – and $30,000 a week in overtime plus 25 per cent of the profit and a host of extras. McQueen had been initially lined up for a Ranoshoff remake of Boys Town to co-star James Garner, but that proved little more than a publicity flyer.

Replacement Norman Jewison had no reputation for hard-line drama – more at home with light comedy such as Send Me No Flowers (1964) – but was available and more likely to toe the Ransohoff line. However, initially he demurred. It was against the rules of the Directors Guild to step in in such a manner and Jewison required reassurance that Peckinpah was indeed out of the picture, and the film had been shut down, before accepting the job. Theoretically, Jewison received more control of the final cut than Peckinpah. His contract called for him to be in sole charge of the completed picture until after the third public preview. If it wasn’t working by that point, Ransohoff had the right to take over. Jewison exerted control in other ways, denying actors a chance to look at the rushes

Theoretically, McQueen had conceded top billing to Spencer Tracy, but that was not reflected in the artwork MGM put out – the illustration at the top of the Blog appeared in the trade press prior to production. To keep McQueen sweet during the layoff, Ransohoff handed him $25,000 to play the tables in Vegas. Edward G. Robinson had the same worries as Spencer Tracy, fearing his part would be cut to build up the star. In reality, McQueen welcomed going head-to-head with an older star, a situation he had not experienced since The Magnificent Seven (1960) with Yul Brynner.

But if the male stars, under the confident direction of Jewison, gave no trouble, that was not the case with the female contingent. Tuesday Weld came with a heap of personal issues related to becoming, as a child model,  the family breadwinner at an early age – nervous breakdown at nine, alcoholic at ten, suicide attempt at twelve. She had never quite achieved stardom, in part as a result of turning down roles like Lolita (1962)

Ann-Margret was the opposite. She could earn nearly as much as McQueen – her fee at some studios was $250,000. However, Twentieth Century Fox was holding her to an earlier four-picture deal which paid a miserly $25,000 per movie, forcing her to lose out on a $150,000 payday in Europe for The 10th Victim (1965) with Marcello Mastroianni – known at the time as The Seventh Victim, Ursula Andress her replacement – in order to take up a contracted role in the remake of Stagecoach (1966). Her over-sexed screen persona had caused playwright William Inge to remove his name from Bus Riley’s Back in Town (1965).

One of the hottest young stars in the business, she intended to stay that way, and her portrayal of Melba in The Cincinnati Kid pretty much fitted in with audience expectation. She was in such demand that she was under contract to make a total of 17 pictures for five separate studios plus Frank Sinatra’s independent production company. Her deals were with Universal (six pictures), Fox (four), MGM (three), Columbia (three) and United Artists (one). But after dropping out of Marriage on the Rocks (1965) with Sinatra her output for the rest of the decade comprised one movie apiece for Paramount, MGM, Fox and Columbia and four independent pictures in Italy.

MGM spent big bucks promoting the picture and, in particular, the Ann-Margret connection. The studio had put a marker down on Thanksgiving 1965 for the launch date, but was marketing the movie more than six months ahead, the kind of exposure that was normally only allotted to roadshow features.

SOURCES: Christopher Sandford, McQueen: The Biography, Harper Collins paperback (2002) pages 165, 170-176; Penina Spiegel, Steve McQueen: The Untold Story of a Bad Boy in Hollywood,  Collins, 1986, p162, 169-173; “Ransohoff To Start Five Films in 6-Month Period,” Box Office, June 17, 1963, p27; “Marty Ransohoff To Seek Code Changes,” Box Office, November 25, 1963, p6; “Ann-Margret Into The Cash Splash,” Variety, July 22, 1964, p5; advert, Box Office, October 9, 1964, p9; “More Cincinnati Kid Books,” Box Office, October 24, 1964, pW-5; “Refuse Spencer Tracy Xincy Kid Script Okay So Actor Takes Powder,” Variety, November 11, 1964, p24; “Jewison Replacement for Sam Peckinpah,” Variety, December 9, 1964, p24; Advert, Variety, March 10, 1965, p80; “Fear Ann-Margret Going Wrongo In Her Screen Image,” Variety, March 24, 1965, p5; “Fox Holds Ann-Margret To Stagecoach, Denying Her For Mastroianni,” Variety, April 14, 1965, 4; Advert, Variety, May 19, 1965, p20.

Discover WordPress

A daily selection of the best content published on WordPress, collected for you by humans who love to read.

The Atavist Magazine

by Brian Hannan

WordPress.com News

The latest news on WordPress.com and the WordPress community.