Good schlocky fun. Until it isn't. In other words, I didn't much care for desegregation being used as a plot device, especially in a film made at the time of King's "I Have A Dream Speech". And the romantic sub plot between Rod Taylor and the monumentally untalented Catherine Spaak has about as much spice as canned gumbo. And speaking of ersatz Creole/Cajun, what's with filming on location in one of America's most pictorial cities and 90% of the movie is interior? So I guess scenarist/producer Wendell Mayes and director Richard Quine, usually the purveyors of good work, fell down on the job here, although the stuff with Melvin Douglas and Kevin McCarthy, representing the past and future of American innkeeping, is interesting, and Karl Malden's cheerful, perky thief is good until he too, like this film, wears out his welcome somewhere in the long second hour. Give it a C plus. PS...Don't know if it was intentional or not but Roy Roberts, the actor who plays the desk clerk who denies entry to the African American couple, was also the clerk who denied entry to Gregory Peck's pretend Jew in 1947's "Gentleman's Agreement".