A hunch horse-player's marriage is threatened by his betting ways; in desperation, his wife becomes his bookie.A hunch horse-player's marriage is threatened by his betting ways; in desperation, his wife becomes his bookie.A hunch horse-player's marriage is threatened by his betting ways; in desperation, his wife becomes his bookie.
Jay Adler
- Man in Car Accident
- (uncredited)
Leon Alton
- Elevator Passenger
- (uncredited)
Don Ames
- Elevator Passenger
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaAccording to newspaper movie gossip columns of the day, Anne Bancroft originally sought to play second female lead under Lana Turner.
- GoofsAfter Tony sits down to talk with Melanie in the kitchen, the items on the table change position between shots. Most notably, a bottle of tomato ketchup appears out of nowhere.
Featured review
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This is an example of what Hollywood was doing, or becoming, in the 60s. Basically television.
The opening scenes of this motion picture were bizarrely generic. A middle aged couple leaves an apartment building for a cab ride to a restaurant all of which plays under the opening credits. It's dialogue-free and the couple turns out to be Dean Martin and a matronly Lana Turner. The silly nothings continue as Dean is interrupted, continually, by phone calls from (his bookie?) and his romantic date, with his wife, goes down the... I don't know this is where I bailed.
Hollywood was trying to squeeze the last drop of revenue from existing resources (sound stages, big name stars and supporting actors, technical and administrative support). I didn't recognize Lana Turner even after she started talking. Never a big fan but aware of her work. The middle-aged Turner was not instantly recognizable, like Joan Crawford or Bette Davis or more recently Jane Fonda or Helen Mirren. This was essentially a domestic sit-com with lies, misapprehensions and bizarre inferences (no doubt) throughout. Supporting cast upholds the resource theory: mostly contract support players from the 40s and 50s.
Post-war Hollywood was teeming with "guys" who could write this stuff, with experience dating back to the 30s, and endless reserves of pretty people who could sell the same old three-act formula ad infinitum, hour-long for dramas, 30 minutes for comedies.
It went on through the 70s before new formats began to emerge in the evolution of what we now call long-form serial entertainment. So this movie? Blech.
The opening scenes of this motion picture were bizarrely generic. A middle aged couple leaves an apartment building for a cab ride to a restaurant all of which plays under the opening credits. It's dialogue-free and the couple turns out to be Dean Martin and a matronly Lana Turner. The silly nothings continue as Dean is interrupted, continually, by phone calls from (his bookie?) and his romantic date, with his wife, goes down the... I don't know this is where I bailed.
Hollywood was trying to squeeze the last drop of revenue from existing resources (sound stages, big name stars and supporting actors, technical and administrative support). I didn't recognize Lana Turner even after she started talking. Never a big fan but aware of her work. The middle-aged Turner was not instantly recognizable, like Joan Crawford or Bette Davis or more recently Jane Fonda or Helen Mirren. This was essentially a domestic sit-com with lies, misapprehensions and bizarre inferences (no doubt) throughout. Supporting cast upholds the resource theory: mostly contract support players from the 40s and 50s.
Post-war Hollywood was teeming with "guys" who could write this stuff, with experience dating back to the 30s, and endless reserves of pretty people who could sell the same old three-act formula ad infinitum, hour-long for dramas, 30 minutes for comedies.
It went on through the 70s before new formats began to emerge in the evolution of what we now call long-form serial entertainment. So this movie? Blech.
helpful•10
- irearly
- Jun 7, 2023
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Details
- Release date
- Country of origin
- Language
- Also known as
- Immer nur deinetwegen
- Filming locations
- The Talmadge, 3278 Wilshire Blvd., Los Angeles, California, USA(Exteriors of the Flood's apartment)
- Production company
- See more company credits at IMDbPro
Box office
- Gross US & Canada
- $3,488,000
- Runtime1 hour 33 minutes
- Aspect ratio
- 2.35 : 1
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