Mimi Dillard Movies

Steve Victor (Robert Walker Jr.) is the head of a sexual research organization. When a wealthy madame dies, he must locate the three heirs, all prostitutes who have identical tattoos on their posteriors. The thin plot allows for some voyeuristic looks at females in various stages of undress as he searches for the heirs to the 15 million dollar fortune. The MPAA somehow gave this stag film an R rating instead of an X. Comedians Steve Rossi and Slappy White also appear in this flesh feature. The tilte is an obvious spoof on the television spy saga "The Man From U.N.C.L.E." ~ Dan Pavlides, All Movie Guide

Posing as "Jim Owen", fugitive Richard Kimble (David Janssen) has fallen in love with the beautiful but neurotic Laurel Harper (Carol Rossen). Realizing the danger in staying in one place too long, Kimble reluctantly breaks off the relationship. Shortly afterward, Laurel is sexually assaulted and her sister Sheila (Sarah Marshall) accuses Kimble of the crime. With Laurel unable to remember what really happened (or at least that is what she claims), Kimble must identify the real attacker before his true identity is exposed. Future Star Trek costar James Doohan appears as a doctor. ~ Hal Erickson, All Movie Guide

Popular singer Connie Francis stars in this romantic musical-comedy as Libby Caruso, an aspiring young entertainer who yearns for the attention of handsom Paul Davis (Jim Hutton). Though at first Paul is not interested in her, Libby soon wins him over. Upon catching him, however, Libby changes her mind and decides a young grocer (Joby Baker) is a better prospect. Libby's roomate and pal, Jan (Susan Oliver), doesn't seem to mind leftovers when Paul takes an interest in her. Along with much of the supporting cast from Francis' first screen role, Where the Boys Are (1960), a few celebrities also appear onscreen. Included are cameos from Johnny Carson, Danny Thomas, Paula Prentiss, George Hamilton and Yvette Mimeiux. ~ Kristie Hassen, All Movie Guide

Show business agent Janice Brandt (Anne Baxter) all but abandons her client list to advance the career of young actor Larry Duke (George Segal), with whom she has fallen in love. Janice's alcoholic husband, Ed (Harry Townes), objects to this situation, expressing his displeasure by striking out at his wife -- who manages to knock Ed unconscious. In a panic, Janice tells Larry what she has done...whereupon Larry calmly suggests that she finish the job and murder Ed, and thus finally be rid of him. ~ Hal Erickson, All Movie Guide

This was the first film directed by dancer and choreographer Gower Champion, already experienced at directing television and theatrical productions by the early '60s. The routine romantic comedy, somewhat bogged down by the children it features, is centered on overwrought actress Janice Courtney (Debbie Reynolds). She has had it with paparazzi and publicity campaigns and escapes to the Connecticut countryside for a little R & R. At that point, a half-dozen youngsters intrude into her life after they are abandoned by their ne'er-do-well guardians, and though she is anything but enthusiastic, Janice takes them under her frayed wings. The local pastor, Rev. Jim Larkin (Cliff Robertson) has something to do with that, and ultimately, more than a little something to do with Janice's personal life. ~ Eleanor Mannikka, All Movie Guide

An unusually tense and intelligent political thriller, The Manchurian Candidate was a film far ahead of its time. Its themes of thought control, political assassination, and multinational conspiracy were hardly common currency in 1962, and while its outlook is sometimes informed by Cold War paranoia, the film seemed nearly as timely when it was reissued in 1987 as it did on its original release. It opens with a group of soldiers whooping it up in a bar in Korea as their commander, Sgt. Raymond Shaw (Laurence Harvey), arrives to inform them that they're back on duty. These men obviously have no fondness for Shaw, and he feels no empathy for them. While on patrol, Shaw and his platoon are ambushed by Korean troops. Months later, Shaw is receiving a hero's welcome as he returns to the United States to accept the Congressional Medal of Honor, and several of the soldiers who served under Shaw repeatedly refer to him as "the bravest, finest, most lovable man I ever met." It soon becomes evident that after their capture by the Koreans, Shaw and his men were subjected to an intense program of brainwashing prior to their release. While several are troubled by bad dreams and inexplicable behavior, it's Capt. Bennett Marco (Frank Sinatra) who seems the most haunted by the experience. In time, Marco is able to piece together what happened; it seems Raymond Shaw was programmed by a shadowy cadre of Russian and Chinese agents into a killing machine who will assassinate anyone, even a close friend, when given the proper commands. On the other side of the coin, Shaw is also used for political gain by his harridan mother (Angela Lansbury), who guides the career of her second husband, John Iselin (James Gregory), a bone-headed congressman hoping to win the vice-presidential nomination through a campaign of anti-Communist hysteria.

The Manchurian Candidate features a host of remarkable performances, several from actors cast cleverly against type. Frank Sinatra's edgy, aggressive turn as Marco may be the finest dramatic work of his career; Laurence Harvey's chilly onscreen demeanor was rarely used to s better advantage than as Raymond Shaw; James Gregory is great as the oft-befuddled Senator Iselin; and Angela Lansbury's ultimate bad mom will be a shock to those who know her as the lovable mystery writer from Murder, She Wrote. George Axelrod's screenplay (based on Richard Condon's novel) is by turns compelling, witty, and horrifying in its implications, and John Frankenheimer's direction milks it for all the tension it can muster. While Frankenheimer's career has had its ups and downs, The Manchurian Candidate and Seconds (1966) suggest that he deserves to be recognized as one of the most brilliantly paranoid American filmmakers of the '60s. Entertaining yet unsettling, both films indicate that things in the '60s were not what they seemed, with a resonance that still echoes uncomfortably in the present. ~ Mark Deming, All Movie Guide