I have never read a Jacqueline Susann novel, but I have also seen Valley of the Dolls, based on another of her books. On both occasions I thought the movie is probably better than the book and will further improve with age (certainly contrary to the books). The reason being that a movie focuses more on a specific style in fashion, design and behavior patterns. And in this aspect The Love Machine offers quite a lot. The set design fits the story perfectly. And all the characters fit in, too. They're perfect in the way that they complete a well balanced general picture. They are superficial and do not develop, it is true, but in this movie I wouldn't want it any different.
David Hemmings reprises the role he played in Antonioni's Blow Up. And it's more than a rip-off. He's a fashion photographer, looks visibly aged and seems to start going slightly to seed. Robert Ryan reprises the role he played in Max Ophül's Caught, he is Smith Ohlrig all over again, greedy, bored and boring, uninspired and uninspiring. It's possible Ryan did not want to be in this picture and acted accordingly, on the other hand he might have thought a lot about his part and then given a carefully studied performance. Whatever happened, it fits the picture. Dyan Cannon is great (fantastic wardrobe!), she dominates every scene she's in and is involved in the two highlights of the movie: the burning of a luxurious bed and the knocking down of the Hemmings character with a Academy Award statuette.
The title, The Love Machine, is, of course, meant ironically. Robin Stone is a kind of a Barry Lyndon of the pop era (incidentally, the movie IS slightly kubrickysh). That he chooses a TV station to work his way up to the top seems to be a mere coincidence. He sees love (meaning sexual favors) merely as a means for personal advancement. There are rather scary hints of a troubled sexuality which are not explored in the movie. Homosexuality is treated very casually, probably not the standard for mayor movies of the period. The open cynicism of the TV executives need not fear comparison with other good movies about the subject like A Face in the Crowd or Network or Truman Show. They are producing crap, they agree among themselves it's crap and they know they will make a lot of dough with it.
I did not regret spending the odd 108 minutes with this movie and would not be surprised if it picked up a cult following, provided it's given the chance (meaning a DVD release).
David Hemmings reprises the role he played in Antonioni's Blow Up. And it's more than a rip-off. He's a fashion photographer, looks visibly aged and seems to start going slightly to seed. Robert Ryan reprises the role he played in Max Ophül's Caught, he is Smith Ohlrig all over again, greedy, bored and boring, uninspired and uninspiring. It's possible Ryan did not want to be in this picture and acted accordingly, on the other hand he might have thought a lot about his part and then given a carefully studied performance. Whatever happened, it fits the picture. Dyan Cannon is great (fantastic wardrobe!), she dominates every scene she's in and is involved in the two highlights of the movie: the burning of a luxurious bed and the knocking down of the Hemmings character with a Academy Award statuette.
The title, The Love Machine, is, of course, meant ironically. Robin Stone is a kind of a Barry Lyndon of the pop era (incidentally, the movie IS slightly kubrickysh). That he chooses a TV station to work his way up to the top seems to be a mere coincidence. He sees love (meaning sexual favors) merely as a means for personal advancement. There are rather scary hints of a troubled sexuality which are not explored in the movie. Homosexuality is treated very casually, probably not the standard for mayor movies of the period. The open cynicism of the TV executives need not fear comparison with other good movies about the subject like A Face in the Crowd or Network or Truman Show. They are producing crap, they agree among themselves it's crap and they know they will make a lot of dough with it.
I did not regret spending the odd 108 minutes with this movie and would not be surprised if it picked up a cult following, provided it's given the chance (meaning a DVD release).