KIM NOVAK's screen career came to an abrupt halt after this disaster and it's easy to see why. Despite direction from Robert Aldrich (who was experienced at camp classics), this one is so incredibly off the mark as believable entertainment that it's no wonder it has the reputation that puts it in the same class with horrors like VALLEY OF THE DOLLS. Bad dialog and a dull script are a fatal combination.
PETER FINCH is the has-been director who fashions a model (Novak) into the image of his dead wife in order to do a screen bio of the woman. (Shades of VERTIGO with Stewart doing the same to Novak). But execution of this plot is so staggeringly inept, with performances either over-the-top (Finch and ERNEST BORGNINE) or extremely underplayed by Novak who seems to be sleepwalking through most of the film.
The dialog is priceless. After someone breaks a window in Peter Finch's living room he calmly says: "I take it you're trying to capture my attention." And even then, it takes the man endless pages of dialog to get to the point. VALENTINA CORTESE is lucky in that most of her dialog is buried beneath a thick accent--and she's supposed to have been Lylah's dialog coach.
Too much exposition destroys whatever pace the film might have had. Endless talk about Lylah and her background, as well as aspiring actress Novak, before she even appears. And when she does appear, the plot becomes even more absurd with Novak suddenly assuming a German accent when Lylah's personality overtakes her. Ridiculous.
Another example of a behind-the-scenes lowdown on Hollywood that has no credibility whatsoever--a mess of a film from beginning to end, though the story idea itself had potential. Even deVol's music does nothing to establish mood or atmosphere. Ironically, the film within a film that director Finch has been shooting, is every bit as bad as the main story and yet when the film is released, it's supposed to be the director's masterpiece. Too bad life couldn't imitate art, in the case of Aldrich's film.
Summing up: Do yourself a favor and skip this one.
PETER FINCH is the has-been director who fashions a model (Novak) into the image of his dead wife in order to do a screen bio of the woman. (Shades of VERTIGO with Stewart doing the same to Novak). But execution of this plot is so staggeringly inept, with performances either over-the-top (Finch and ERNEST BORGNINE) or extremely underplayed by Novak who seems to be sleepwalking through most of the film.
The dialog is priceless. After someone breaks a window in Peter Finch's living room he calmly says: "I take it you're trying to capture my attention." And even then, it takes the man endless pages of dialog to get to the point. VALENTINA CORTESE is lucky in that most of her dialog is buried beneath a thick accent--and she's supposed to have been Lylah's dialog coach.
Too much exposition destroys whatever pace the film might have had. Endless talk about Lylah and her background, as well as aspiring actress Novak, before she even appears. And when she does appear, the plot becomes even more absurd with Novak suddenly assuming a German accent when Lylah's personality overtakes her. Ridiculous.
Another example of a behind-the-scenes lowdown on Hollywood that has no credibility whatsoever--a mess of a film from beginning to end, though the story idea itself had potential. Even deVol's music does nothing to establish mood or atmosphere. Ironically, the film within a film that director Finch has been shooting, is every bit as bad as the main story and yet when the film is released, it's supposed to be the director's masterpiece. Too bad life couldn't imitate art, in the case of Aldrich's film.
Summing up: Do yourself a favor and skip this one.