Deanna Lund Movies
- 1989
This particularly bizarre horror variant on Joe Dante's Gremlins (1985) was directed by newcomer Jeff Mandel. The ridiculous plot concerns the efforts of a group of Nazis to set the stage for a Fourth Reich by mating one of Santa Claus' elves with a pretty teenaged waitress (Julie Austin). The cast is peppered with former television stars, including Deanna Lund of Land of the Giants as Austin's mother (she kills cats and has a nude scene) and Dan Haggerty of The Life and Times of Grizzly Adams as a drunken department-store Santa who used to be a detective. Even better is Haggerty's predecessor, a cocaine fiend who gets castrated by the Nazi elves. Mandel went on to co-direct Robo-C.H.I.C. (1989), which was almost as bad. ~ Robert Firsching, All Movie Guide
- Starring:
- Dan Haggerty, Julie Austin, (more)
- 1989
- PG
In Transylvania Twist, producer Roger Corman and director Jim Wynorski make Mel Brooks movies look like Noël Coward drawing-room comedies. The film begins with nubile innocent Patty (Monique Gabrielle) being chasing through the woods by the Greatest Horror Hits of the 1980s --with Jason, Freddy Krueger, and Leatherface all vying for a piece of her. Robert Vaughn has the hammiest role as a vampire named Lord Byron Orlock. His ravishing niece Marissa (Teri Copley), an American singing star, arrives at Lord Byron's castle in Transylvania after the death of her father. Accompanying her is Dexter Ward (Rick Altman), her wise-cracking Donald O'Connor-inspired sidekick. What happens next involves a frantic search for a mysterious book that will raise "the evil one" from the dead. The flimsy plot serves as a handy clothesline on to which to hang self-referential parodies of the horror film genre, with time out for some clever editing of an appearance by long-dead Boris Karloff. ~ Paul Brenner, All Movie Guide
- Starring:
- Robert Vaughn, Teri Copley, (more)
- 1985
- R
Burt Reynolds directed and starred in this actioner from an Elmore Leonard novel about an ex-con living dangerously close to the drug traffickers in Miami. When Stick (Reynolds) arrives in Miami just out of prison, an old buddy of his is murdered, sending Stick on a wild and complex journey to track down the killers. Along the way, he meets the attractive Kyle (Candice Bergen), has to deal with Chucky (Charles Durning in a blond wig and loud tourist shirts), a mob go-fer, and the albino Moke (Dar Robinson). In order to better zap his enemies, Stick gets a job as chauffeur to rich Palm Beach underworld figure Barry (George Segal) -- and the plot coils and twists from there until the bad guys get their due. ~ Eleanor Mannikka, All Movie Guide
- Starring:
- Burt Reynolds, Candice Bergen, (more)
- 1981
- PG
Jerry Lewis' first film in a decade stars the comedian as Bo Hooper, an unemployed circus clown who cannot hold down a job. ~ Jason Ankeny, All Movie Guide
- Starring:
- Jerry Lewis, Susan Oliver, (more)
- 1979
"Master of disaster" Irwin Allen was so confident of his talents in 1979 that he actually thought he could stretch out a suspense tale for a full 200 minutes. Originally telecast in two parts, Allen's Hanging by a Thread concerns a group of friends and tourists, trapped in a sightseeing tram that dangles precariously over a yawning chasm. You might start yawning as well during the film's entirely dispensable flashback sequences. The "suspense" scenes themselves aren't bad, permitting an all-star cast (Sam Groom, Patty Duke Astin, Joyce Bulifant, Donna Mills, Burt Convy et. al.) to alternate between screaming and looking terrified. Hanging by a Thread was first broadcast on May 8 and 9, 1979. ~ Hal Erickson, All Movie Guide
- 1976
In this drama, a gentle geologist, distraught after the rape of his wife, becomes a killer. ~ Sandra Brennan, All Movie Guide
- 1975
In spite of all his hard work and ambition, John-Boy (Richard Thomas) is worried that he hasn't really got what it takes to be a professional writer. John-Boy's father John (Ralph Waite) is likewise weighed down with worry: his 25th high school reunion is approaching, and he's afraid to face his former classmates because he feels he hasn't lived up to their expectations. Without revealing any more of the story, suffice to say that both Waltons are in for some pleasant surprises. ~ Hal Erickson, All Movie Guide
- 1973
I Love a Mystery was a campy TV revival of Phillips Lord's old radio series. The three adventure-loving heroes are Jack, Doc and Reggie (Les Crane, David Hartman and Hagan Beggs), insurance investigators hired to tackle a mystery at a remote island mansion. Ida Lupino plays a domineering matriarch whose billionaire husband is missing, and who seems to know more than she's letting on. The mystery's ingredients include the eerie nocturnal sound of a crying baby and a series of related murders and kidnappings. The heroes are occasionally distracted from their work by Lupino's nubile daughters Faith, Hope and Charity (Karen Jensen, Deanna Lund and Melodie Johnson). The script for I Love a Mystery was based on Philips Lord's classic radio serial "The Thing That Cries in the Night," but there's nothing classic or even remotely entertaining about the derisive, patronizing treatment of the source material herein. This made-for-TV "busted pilot" gathered dust for seven years before its 1973 premiere, and not without just cause. A further note: Though Don Knotts is advertised as one of the "stars," he shows up to sputter one miserable line at the end of the film! ~ Hal Erickson, All Movie Guide
- 1969
For its second season, Land of the Giants opened with a new credit sequence and different John Williams theme music, that was less suspenseful and more action/adventure oriented -- in lieu of the first season's chase motif, this one spliced and juxtaposed the action sequences from various episodes into a kind of mosaic related to the series. This change in the opening credits reflected a slight change in the series as well, although the key plot elements from the first season remained -- the "little people" from Earth stranded in the wrecked sub-orbital passenger ship Spindrift, still trapped on a planet where everything was 12 times larger than on Earth. There was more character variation but also a softening of many of the edgier character attributes from the first season -- now in their second year in this alien world, the Spindrift crew and passengers are usually working together more harmoniously, and they know each other better, so there are fewer surprises in that area of the plotting.
The key difference was that they also know more about the giants and their world, and are able to work a little more pro-actively in seeing to their own needs. The plots also took an occasional wilder turn, such as having the Spindrift crew interacting with aliens from other worlds (including two played by Bruce Dern and Yvonne Craig), and even engage in attempts at time travel ("Wild Journey"), with help from those aliens. It is in one of those episodes that they learn that, at least in one potential variation of the past, if the Spindrift had not passed through the space-warp to the giants' home world, it would have been destroyed in flight to London in an accident. The actors were clearly having more fun with their roles in the second season, especially Kurt Kasznar's Alexander Fitzhugh -- now a somewhat more reliable (if still slightly unpredictable) member of the party, he becomes more likable but still shows his devious side every so often. Kasznar, a theater veteran with long experience on-stage, unlike everyone else in the cast (which makes his performances sometimes seem like they're taking place in a different production), obviously relished the chance to be a farceur -- a very rare opportunity on American television in the 1960's, especially in a dramatic series -- and ran with it. Deanna Lund and Heather Young were still as pretty as ever, with Lund showing a cuter and more playful side -- though she still could have stepped right from this show into Melrose Place or Gossip Girl without skipping a beat; and Don Matheson, Gary Conway, and Don Marshall were making more of their lines in this season's episodes. Most of the plots continued to gravitate toward the desire of the little people to return to Earth, and the giants' pursuit of their capture, but there were also a handful of light-hearted episodes in Season Two: One in which the "little people" meet an Irish giant (?!!!), played by Alan Hale, Jr. (of the then-recently cancelled Gilligan's Island) who believes in leprechauns; and an eerie fantasy tale involving the actual Pied Piper of Hamlin (played by Jonathan Harris of the then-recently-cancelled Lost In Space), who has come to work his evil magic on the giants' world.
Land Of The Giants was massively expensive to produce, because of the outsized (and sometimes under-sized) props and sets needed and the requirement for a huge number of takes and camera set-ups for the different perspective shots, as well as any special effects required. As a result of these costs and ratings that weren't as high as the producer or the network had hoped for, it was cancelled after the 1969-70 season. Had Land of the Giants gone to a third season or beyond, many of the participants believe that the plots would eventually have had the little people repairing their ship, at least to the degree that they could move to different locales on the giants' planet. Fans of the series, however, were able to content themselves to some extent with three surprisingly good -- indeed, downright excellent, by the usual standards of the genre -- "novelizations" of the series, authored by veteran science fiction writer Murray Leinster: Land of the Giants, Land of the Giants 2: The Hot Spot, and Land of the Giants 3: Unknown Danger, published by Pyramid Books in 1968 and 1969. Those books not only make an effort to explain how the giants -- 12 times larger than us and, by the laws of physics, 144 times more massive -- can move around, or survive, and gives a wonderfully plausible explanation for why the little people are hunted (and it has to do with a lot more than mere curiosity). For those who want to see a more ambitious vision of what the show could have been, but never got to be in just two seasons, the books are worth tracking down. ~ Bruce Eder, All Movie Guide
The key difference was that they also know more about the giants and their world, and are able to work a little more pro-actively in seeing to their own needs. The plots also took an occasional wilder turn, such as having the Spindrift crew interacting with aliens from other worlds (including two played by Bruce Dern and Yvonne Craig), and even engage in attempts at time travel ("Wild Journey"), with help from those aliens. It is in one of those episodes that they learn that, at least in one potential variation of the past, if the Spindrift had not passed through the space-warp to the giants' home world, it would have been destroyed in flight to London in an accident. The actors were clearly having more fun with their roles in the second season, especially Kurt Kasznar's Alexander Fitzhugh -- now a somewhat more reliable (if still slightly unpredictable) member of the party, he becomes more likable but still shows his devious side every so often. Kasznar, a theater veteran with long experience on-stage, unlike everyone else in the cast (which makes his performances sometimes seem like they're taking place in a different production), obviously relished the chance to be a farceur -- a very rare opportunity on American television in the 1960's, especially in a dramatic series -- and ran with it. Deanna Lund and Heather Young were still as pretty as ever, with Lund showing a cuter and more playful side -- though she still could have stepped right from this show into Melrose Place or Gossip Girl without skipping a beat; and Don Matheson, Gary Conway, and Don Marshall were making more of their lines in this season's episodes. Most of the plots continued to gravitate toward the desire of the little people to return to Earth, and the giants' pursuit of their capture, but there were also a handful of light-hearted episodes in Season Two: One in which the "little people" meet an Irish giant (?!!!), played by Alan Hale, Jr. (of the then-recently cancelled Gilligan's Island) who believes in leprechauns; and an eerie fantasy tale involving the actual Pied Piper of Hamlin (played by Jonathan Harris of the then-recently-cancelled Lost In Space), who has come to work his evil magic on the giants' world.
Land Of The Giants was massively expensive to produce, because of the outsized (and sometimes under-sized) props and sets needed and the requirement for a huge number of takes and camera set-ups for the different perspective shots, as well as any special effects required. As a result of these costs and ratings that weren't as high as the producer or the network had hoped for, it was cancelled after the 1969-70 season. Had Land of the Giants gone to a third season or beyond, many of the participants believe that the plots would eventually have had the little people repairing their ship, at least to the degree that they could move to different locales on the giants' planet. Fans of the series, however, were able to content themselves to some extent with three surprisingly good -- indeed, downright excellent, by the usual standards of the genre -- "novelizations" of the series, authored by veteran science fiction writer Murray Leinster: Land of the Giants, Land of the Giants 2: The Hot Spot, and Land of the Giants 3: Unknown Danger, published by Pyramid Books in 1968 and 1969. Those books not only make an effort to explain how the giants -- 12 times larger than us and, by the laws of physics, 144 times more massive -- can move around, or survive, and gives a wonderfully plausible explanation for why the little people are hunted (and it has to do with a lot more than mere curiosity). For those who want to see a more ambitious vision of what the show could have been, but never got to be in just two seasons, the books are worth tracking down. ~ Bruce Eder, All Movie Guide
- Starring:
- Gary Conway, Don Matheson, (more)
- 1968
The basic premise of Land Of The Giants, along with most of the attributes of the seven characters, is established in the first episode, "The Crash". The sub-orbital passenger ship Spindrift, en route from Los Angeles to London, is drawn into a glowing space apparition that carries them to a world exactly like Earth -- except that everything, people, animals, plants etc., is 12 times larger than on Earth. And as the crew and the passengers soon discover that they are subject to capture and experimentation by whatever inhabitants of this planet might trap them.
Within that framework, however, the series did undergo changes during the first season. In the first episode, the giants -- who are seen mostly in the guise of a scientist and his assistant -- are seen as distant, distorted figures, the size differential almost disorienting to the camera; and they are heard only indistinctly, speaking in muffled and distorted voices, and it's not clear at first what language they might be speaking. In other words, the size differential is emphasized to the degree that the giants and the "little people," as we later learn Earth visitors are referred to, are isolated from one another even in each others' presence, as sentient beings. This creates an eeriness to their interactions and adds an element of isolation in the point of view of the main characters in the early episodes that was lost in subsequent shows, as the point-of-view changed along with the way that the giants were presented.
In later shows, the giants' voices are fully comprehensible and they are speaking English and communicating with the "little people." And we discover that there is a government bounty on them. And we learn that most of the planet seems to be organized as a worldwide totalitarian state, similar to some of the Eastern bloc communist countries, with a secret police service -- a similarity that residents of many of those countries picked up on and resonated to very strongly, once the series started running in Eastern Europe in the 1970's. One such member of that service, Inspector Kobick (Kevin Hagen), investigates enough cases involving the Sprindrift's complement, that he actually at one point refers to the ship's commander, Captain Steve Burton (Gary Conway), by his last name -- a major concession to Burton's essential humanity and Kobick's own inability to ignore it, despite his official position.
During the first season, many of the episodes revolve around the Spindrift's crew and passengers trying to patch up their vessel for an eventual attempted return to Earth -- if they can get the equipment they need, if they can reach escape velocity, and find a space-warp that will take them back to Earth. There are so many barriers to their escape, that sheer curiosity about how they might overcome any of these obstacles made one want to tune in from week to week, this despite the fundamental concept behind the series being scientifically absurd -- people and animals (or anything else) 12 times larger than normal will, of necessity, weigh 144 times as much, and be incapable of movement, and it's not even a matter of weight so much as mass, which is independent of gravity. But the series was presented with enough of a brisk pace and sense of adventure so that few viewers were bothered by this matter (anymore than anyone ever tuned out The Adventures of Superman over the matter of how he flies . . . .).
The visitors are still learning about the giants' planet and social order during this season, and coping with their own individual motivations. This is especially true where Alexander Fitzhugh (Kurt Kasznar), an embezzler on the run with a million dollars, is concerned; he has a soft spot for the orphaned boy Barry Lockridge (Stefan Argrim), who looks up to him because Fitzhugh is wearing a US Navy commander's uniform (which is clearly a disguise, but one maintained for the run of the show), but otherwise is a sometimes unstable personality. The others aren't too much better -- Mark Wilson (Don Matheson) is a high-powered businessman and engineer who has an agenda of his own; and Valerie Scott (Deanna Lund) is a wealthy playgirl accustomed to getting her own way in most things. There were enough places for friction to keep the show interesting on a basic character level across the first season.
The first season credit sequence of the series has always been a point-of-interest for television and music mavens. Most of it is comprised of an animated motif in which a diminutive figure, representing the "little people," is being stalked by a much larger shadowy figure with a searchlight, while John Williams' sting-laden theme music plays, building gradually in intensity, in the background. Both the design and the music for this sequence bear a striking resemblance to the opening credits for Kraft Suspense Theater, which had aired across the early and middle 1960's on network television -- and had a similar musical accompaniment by . . . John Williams. ~ Bruce Eder, All Movie Guide
Within that framework, however, the series did undergo changes during the first season. In the first episode, the giants -- who are seen mostly in the guise of a scientist and his assistant -- are seen as distant, distorted figures, the size differential almost disorienting to the camera; and they are heard only indistinctly, speaking in muffled and distorted voices, and it's not clear at first what language they might be speaking. In other words, the size differential is emphasized to the degree that the giants and the "little people," as we later learn Earth visitors are referred to, are isolated from one another even in each others' presence, as sentient beings. This creates an eeriness to their interactions and adds an element of isolation in the point of view of the main characters in the early episodes that was lost in subsequent shows, as the point-of-view changed along with the way that the giants were presented.
In later shows, the giants' voices are fully comprehensible and they are speaking English and communicating with the "little people." And we discover that there is a government bounty on them. And we learn that most of the planet seems to be organized as a worldwide totalitarian state, similar to some of the Eastern bloc communist countries, with a secret police service -- a similarity that residents of many of those countries picked up on and resonated to very strongly, once the series started running in Eastern Europe in the 1970's. One such member of that service, Inspector Kobick (Kevin Hagen), investigates enough cases involving the Sprindrift's complement, that he actually at one point refers to the ship's commander, Captain Steve Burton (Gary Conway), by his last name -- a major concession to Burton's essential humanity and Kobick's own inability to ignore it, despite his official position.
During the first season, many of the episodes revolve around the Spindrift's crew and passengers trying to patch up their vessel for an eventual attempted return to Earth -- if they can get the equipment they need, if they can reach escape velocity, and find a space-warp that will take them back to Earth. There are so many barriers to their escape, that sheer curiosity about how they might overcome any of these obstacles made one want to tune in from week to week, this despite the fundamental concept behind the series being scientifically absurd -- people and animals (or anything else) 12 times larger than normal will, of necessity, weigh 144 times as much, and be incapable of movement, and it's not even a matter of weight so much as mass, which is independent of gravity. But the series was presented with enough of a brisk pace and sense of adventure so that few viewers were bothered by this matter (anymore than anyone ever tuned out The Adventures of Superman over the matter of how he flies . . . .).
The visitors are still learning about the giants' planet and social order during this season, and coping with their own individual motivations. This is especially true where Alexander Fitzhugh (Kurt Kasznar), an embezzler on the run with a million dollars, is concerned; he has a soft spot for the orphaned boy Barry Lockridge (Stefan Argrim), who looks up to him because Fitzhugh is wearing a US Navy commander's uniform (which is clearly a disguise, but one maintained for the run of the show), but otherwise is a sometimes unstable personality. The others aren't too much better -- Mark Wilson (Don Matheson) is a high-powered businessman and engineer who has an agenda of his own; and Valerie Scott (Deanna Lund) is a wealthy playgirl accustomed to getting her own way in most things. There were enough places for friction to keep the show interesting on a basic character level across the first season.
The first season credit sequence of the series has always been a point-of-interest for television and music mavens. Most of it is comprised of an animated motif in which a diminutive figure, representing the "little people," is being stalked by a much larger shadowy figure with a searchlight, while John Williams' sting-laden theme music plays, building gradually in intensity, in the background. Both the design and the music for this sequence bear a striking resemblance to the opening credits for Kraft Suspense Theater, which had aired across the early and middle 1960's on network television -- and had a similar musical accompaniment by . . . John Williams. ~ Bruce Eder, All Movie Guide
- Starring:
- Gary Conway, Don Matheson, (more)
A murder investigation uncovers a plot that could destroy the world as we know it in this thriller. When a scientist doing research on nuclear weapons is murdered during a hospital stay, federal investigator Dave Pomeroy (Howard Duff) is called in to find out who killed him and why. With the help of Dr. Paula Stevens (Linda Cristal), the late scientist's assistant, Pomeroy learns that the scientist fell victim to a group of communist renegades whose members include two brilliant but unstable weapons experts, August Best (Nehemiah Persoff) and Myra Pryor (Anne Jeffreys). Pomeroy discovers that Best and Pryor have constructed an atomic bomb of their own -- and that they're threatening to use it to start World War III, forcing the detective to take swift action to prevent worldwide devastation. Panic in the City also features Dennis Hopper in the small role of Goff, just a year before Easy Rider would make him a star. ~ Mark Deming, All Movie Guide
- Starring:
- Howard Duff, Linda Cristal, (more)
Frank Sinatra brings a sneering Rat Pack ethos to his first hard-boiled detective role in Tony Rome. Tony is an ex-cop who lives on a houseboat off Miami, accepting fees for private-eye work. His former partner, Ralph Turpin (Robert J. Wilke), asks Tony for help in locating Diana Pines (Sue Lyon), the daughter of rich construction magnate Rudolph Kosterman (Simon Oakland). Tony finds her unconscious and drunk in a sleazy motel room and returns her to her home. Rudolph decides to hire Tony in order to find out why his daughter is behaving so erratically. In the meantime, Diana's stepmother, Rita (Gena Rowlands), also offers Tony money to inform her first about whatever Tony finds out. He discovers that Diana has lost an expensive diamond pin, but before he can act upon the information, he is beaten up by two goons and nearly killed by Diana's crazy step-uncle. Tony then finds out that Turpin has been murdered. With help from sultry and sexy divorcée Ann Archer (Jill St. John), Tony discovers that Diana has been funneling large sums of money to her alcoholic mother, Lorna (Jeanne Cooper), with Rita's priceless jewelry being replaced by fakes. A collection of disagreeable human sludge all take their turns trying to get Tony and the information that he holds -- including his old pal Lieutenant Santini (Richard Conte). After a murder attempt on Rudolph's life, Tony uncovers a series of vile connections involving blackmail, deceit, and betrayal. ~ Paul Brenner, All Movie Guide
- Starring:
- Frank Sinatra, Jill St. John, (more)
- 1966
There's an underwater menace haunting the Everglades, killing local fishermen in horrible ways and stealing equipment from a nearby research laboratory. Despite the presence of danger, marine biologist Dr. Richardson (Jack Nagle) welcomes his daughter Karen (Valerie Hawkins) and her sorority sisters to his home on the canal for a relaxing weekend of swimming. Karen meets Dr. John Hoyt (Joe Morrison), the doctor's handsome assistant and sparks fly; she also fends off the affections of Egon (John Vella), the ugly, awkward jellyfish researcher who has always loved her from afar. Egon is treated with derision by the other members of the team, and all of Karen's friends are uneasy around him, so the scarred, sensitive recluse becomes even more withdrawn. When a boatload of dance-crazed biology students arrives for a beer blast, the eerie half-man, half-jellyfish monster makes an appearance and attacks a beautiful girl in a swimming pool. Panic ensues, with deadly results. The scientists struggle to understand just what they're up against, while the murders continue and Karen is eventually targeted by the weird mutant monster. Famed pop star Neil Sedaka provides two numbers for the soundtrack, including the ska-flavored teen dance hit "Do The Jellyfish." ~ Fred Beldin, All Movie Guide
- 1966
George Dean (Robert Taylor) and his three children relocate when he takes a teaching position at a Seminole Indian reservation in Florida. He is overwhelmed by the poverty of the tribe and their ability to interact in society without giving up their treasured tribal customs. Sam (Ford Rainey) is the old Seminole chief who resents the white man and wants his grandson Johnny (Chad Everett) to renounce the white man's ways and assume leadership of the tribe. Johnny and George's daughter Barbara (Brenda Scott) fall in love, which leads to problems in both families. George falls for the pretty female physician (Geraldine Brooks), who is dedicated to healing the poverty-stricken people. ~ Dan Pavlides, All Movie Guide
- Starring:
- Robert Taylor, Geraldine Brooks, (more)
- 1966
In this sci-fi spy thriller, a secret agent for Espionage, Inc., is assigned to stop the Dragon, a Chinese communist organization, from detonating a nuclear bomb in Los Angeles. ~ Sandra Brennan, All Movie Guide
- 1966
In this musical farce, a dim-witted fellow finally gets his chance to become a secret agent like his brother when the former receives an important phone call meant for the latter. He then begins looking into a conspiracy to sabotage an upcoming beach party. He learns of this plot from a concerned teen who over head a fellow who has been "driven mad by rock'n'roll" scheming with another. The film is filled with music from the day's popular stars including: "Malibu Run" (Jim Karstein, Leon Russell, Gary Lewis, T. Leslie, sung by Gary Lewis and the Playboys), "Out on the Floor" (Fred Darian, Al De Lory, sung by Dobie Gray), "She'll Come Back" (Nita Garfield, Howard Kaylan, sung by the Turtles), "Baby Please Don't Go" (Joe Williams, sung by the Astronauts), "It's Not Unusual" (Gordon Mills, Les Reed, sung by the Knickerbockers), "Funny over You" (Freddie Garrity, sung by Freddie and the Dreamers), "A Love Like You" (Quinn & Jones, sung by Freddie and the Dreamers), "What's Her Name," and "Hip City" (Darian, De Lory). ~ Sandra Brennan, All Movie Guide
- Starring:
- Jonathan Daly, Maren Jensen, (more)
Elvis Presley plays rock singer and racecar driver Mike McCoy in the typical musical romp Spinout, directed by Norman Taurog. His band includes Curly Jack Mullaney, Larry Jimmy Hawkins and the female tomboy drummer Les Deborah Walley. Mike is coveted by a bevy of beauties that include the intellectual journalist Diana St. Clair Diane McBain, Susan Dodie Marshall and the spoiled rich girl Cynthia Foxhugh Shelley Fabares. Cynthia's millionaire father Howard Carl Betz wants Mike to race his newly built auto. All the girls want Mike, but he manages to marry them off to different paramours and in the end falls for his replacement drummer Susan. The 12-song album of the same title contained a musical curiosity, Bob Dylan's Tomorrow Is A Long Time. It was the only Dylan song ever recorded by Presley -- and the longest, at over five minutes in length. ~ Dan Pavlides, All Movie Guide
- Starring:
- Elvis Presley, Shelley Fabares, (more)
- 1965
- Add Dr. Goldfoot and the Bikini Machine to QueueAdd Dr. Goldfoot and the Bikini Machine to top of Queue
The great Vincent Price obviously had fun with his characterization of Dr. Goldfoot in this campy spy spoof directed by Norman Taurog. With his henchman Igor (Jack Mullaney), the demented doctor builds a machine that mass-produces an army bikini-clad babes. Goldfoot programs his vixens to seduce the wealthiest men alive and convince them to sign their fortunes over to him - thus enabling the fiendish doctor to amass tremendous wealth and take over the world. Frankie Avalon co-stars as Secret Agent Craig Gamble, who sets out to destroy the women and bring Goldfoot's plan to a screeching halt. Annette Funicello and Harvey Lembeck provide cameo appearances. Strictly for fans who loved those 1960s drive-in quickies. ~ Dan Pavlides, All Movie Guide
- Starring:
- Vincent Price, Frankie Avalon, (more)
In this romance, a wealthy playboy falls in love with a folk singing waitress. Her ambitious employer attempts to persuade the fellow into buying his coffeehouse so the two can continue to be together. Meanwhile, the young lover's competitor creates many obstacles to their happiness. ~ Sandra Brennan, All Movie Guide
- 1965
Ugo Tagnazzi and Rhonda Fleming co-star in this situation comedy that spoofs the lifestyles of wealthy American women. Ricardo (Tognazzi) is a teacher who accompanies an American businessman to act as an interpreter. Soon he is off on a series of adventures that brings him into the jet-set social life of the idle rich females of New York, Miami, and Texas. ~ Dan Pavlides, All Movie Guide
- Starring:
- Ugo Tognazzi, Rhonda Fleming, (more)
