...when films of 1960-1965 had one foot in the demure production code era and one foot in the budding sexual revolution.
After the credits open with some horrid MOR song over idyllic shots of San Francisco, we cut to the action. Joey Heatherton stabs Rick Lazich in the presence of her mother (Susan Hayward), who had him as her latest boyfriend. Heatherton's dad (Mike Conners) flies in for appearance's sake, since he's there at the sufferance of Grandma (Bette Davis in another of her juicy later career roles) who controls everything.
We get a flashback to how Conners and Hayward married and divorced. Although, this is a flashback to some alternate-universe 1944 in which the US is still at war but everybody wears 1960s fashions and hairstyles. Conners is a war hero; Hayward a sculptress; Davis interferes in their marriage and gets all of the bankers in Frisco to make it so that Conners can only go back to her family business rather than start his own architecture firm. Hayward sleeps around (presumably) with her models while Conners drinks himself into a divorce.
Back in the present day, the killing is deemed a justifiable homicide, but Heatherton is kept in juvie while the courts can figure out who, if anybody should get custody of her. George Macready plays Davis' lawyer; Jane Greer comes from out of the past to play a social worker; and DeForrest Kelly plays Hayward's art dealer (Jim, I'm a doctor, not an art critic!).
Davis overacts and delivers pointed bons mots; Hayward wears big hair and recites some terribly overripe lines; Conners gets to be wooden; and Heatherton cries "Daddy!" all the time; you almost expect her to break out into the "I've Written a Letter to Daddy" song that appears at the beginning of What Ever Happened to Baby Jane? And then there's an ending that makes no sense.
If you're looking for a serious movie, I'd rate it a 3/10. But if you're looking for the sort of turgid, over-the-top potboiler where you yell back at the screen and laugh at the absurdity of it all, I'd give it an 8/10. It's not quite as "so bad it's good" as Valley of the Dolls or Torch Song, but it's an eminently entertaining disaster nonetheless. I split the difference to give it a 6/10.
Just one more thing. Bette Davis is only nine years older than Susan Hayward, but very credibly looks like her mother. Part of that was that Bette Davis, dish that she was when she was young, aged very poorly for whatever reason. The other part is makeup. In contrast, Susan Hayward aged very well, as short as her life was, and she looks nowhere near 47 here, which was her actual age.
After the credits open with some horrid MOR song over idyllic shots of San Francisco, we cut to the action. Joey Heatherton stabs Rick Lazich in the presence of her mother (Susan Hayward), who had him as her latest boyfriend. Heatherton's dad (Mike Conners) flies in for appearance's sake, since he's there at the sufferance of Grandma (Bette Davis in another of her juicy later career roles) who controls everything.
We get a flashback to how Conners and Hayward married and divorced. Although, this is a flashback to some alternate-universe 1944 in which the US is still at war but everybody wears 1960s fashions and hairstyles. Conners is a war hero; Hayward a sculptress; Davis interferes in their marriage and gets all of the bankers in Frisco to make it so that Conners can only go back to her family business rather than start his own architecture firm. Hayward sleeps around (presumably) with her models while Conners drinks himself into a divorce.
Back in the present day, the killing is deemed a justifiable homicide, but Heatherton is kept in juvie while the courts can figure out who, if anybody should get custody of her. George Macready plays Davis' lawyer; Jane Greer comes from out of the past to play a social worker; and DeForrest Kelly plays Hayward's art dealer (Jim, I'm a doctor, not an art critic!).
Davis overacts and delivers pointed bons mots; Hayward wears big hair and recites some terribly overripe lines; Conners gets to be wooden; and Heatherton cries "Daddy!" all the time; you almost expect her to break out into the "I've Written a Letter to Daddy" song that appears at the beginning of What Ever Happened to Baby Jane? And then there's an ending that makes no sense.
If you're looking for a serious movie, I'd rate it a 3/10. But if you're looking for the sort of turgid, over-the-top potboiler where you yell back at the screen and laugh at the absurdity of it all, I'd give it an 8/10. It's not quite as "so bad it's good" as Valley of the Dolls or Torch Song, but it's an eminently entertaining disaster nonetheless. I split the difference to give it a 6/10.
Just one more thing. Bette Davis is only nine years older than Susan Hayward, but very credibly looks like her mother. Part of that was that Bette Davis, dish that she was when she was young, aged very poorly for whatever reason. The other part is makeup. In contrast, Susan Hayward aged very well, as short as her life was, and she looks nowhere near 47 here, which was her actual age.