Bardlerx Strictly average movie

Freeman This film is so real. It treats its characters with so much care and sensitivity.

Ginger Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

Yazmin Close shines in drama with strong language, adult themes.

jjnxn-1 Looked at from a modern perspective this film is horrendously sexist and there is cause for about a half dozen sexual harassment suits within the first fifteen minutes of the movie. But if looked at as a product of its time it's a bright fluffy colorful comedy with a stunning Ann-Margret and for anyone who is a fan of fashion a real eye candy treat. The film is loaded with high fashion sixties designs and has a fashion show smack dab in the middle. There is also a very fun number of You've Got To See Mama Ev'ry Night (Or You Can't See Mama At All) performed by A-M and a dolled up Reta Shaw. A nice surprise for Miss Shaw's fans since she usually was cast as maids and crotchety spinster ladies, it's great to see her frisky and animated singing a spirited version of the tune.As for the actual plot of the picture it boils down to sensible girl gets a chance to go to Paris and make a big impression at work but ends up turning into a dithery fool whose head is turned every which way by various men.

Poseidon-3 A film also exclusively for admirers of Ms. Margret (or of mid-60's couture), this fluffy romance starts off interestingly, but eventually wears out its welcome. Margret plays a model-turned-fashion buyer for a major New York department store. After a hit-or-miss courtship with the owner's son (Everett), she finds herself assigned to a Paris buying trip, thanks to the impromptu marriage of the normal buyer (Adams.) Upon arrival in Paris, Margret soon discovers that Adams had typically done some extra unzipping with one of the primary designers (Jourdan) and believes he wants her to provide the same type of service. This leads to some misunderstanding between Margret and Jourdan which is further complicated by the arrival of Everett and the presence of his pal Crenna, who he'd assigned to look out for her during her stint in The City of Love. A near wordless opening sequence between Everett and Margret demonstrates the dynamic between them, with him expecting to go to bed with her after a night on the town and with her batting her eyes, but refusing to go further than a kiss on the cheek. Most of the film involves her flip-flopping madly between behaving like a turned-on, panting, lovestruck feline or a chaste, buttoned-down virgin. Before too long, the audience becomes as frustrated as the men in her life trying to decipher exactly what she's after. Margret looks amazing throughout most of the film in a dazzling array of costume concoctions and with crazy hairstyles by Guilaroff (who did love to get his hands on her scalp.) Her baby doll voice is a matter of taste (including her left-field, dewy duet with Jourdan more than halfway in), but one can't deny that she had an interesting look and moved well. At this stage in her career, practically every A-M film had a gyrating dance number and this one is no exception with a quartet of male bar patrons somehow falling into full-on stage show choreography in support of her! Jourdan, ever the class act, does a nice job, but isn't required to do anything out of his usual comfort zone. Crenna seems to be enjoying his man-about-town role, though there isn't really anything special about it either. Adams isn't given very much to do, but looks lovely in her own set of sexy Helen Rose creations, especially a tight black gown in which Adams can almost walk! Everett is a Ken doll come to life, but manages to establish a little chemistry with Margret. Dalio and Calnan nicely portray the confused and concerned servants at Margret's Parisian apartment. Made at a time when audiences were supposed to be shocked (or at least MGM thought perhaps they might be shocked) that a man in pajamas has entered a woman's bedroom, the film is dated, to be sure, but does provide a colorful and sometimes lively diversion. Marked "for adults only", one would be hard-pressed to find anything objectionable about it, if one could even stay with it until the bitter end. It's hard to believe "Valley of the Dolls" was released merely one year later! A few critics at the time noted the double meaning of the title, but no one gets any action here! One highlight is a fashion show, replete with lanky models showing off the instantaneously-dated, to-die-for clothes, and featuring a truly ugly wedding gown which A-M describes as the most beautiful she has ever seen. (Rose had to settle that year for an Oscar nomination for "Mister Buddwing" in the black and white category, rather than for her rather eye-popping items here.) The nightclub scene with seductive Margret writhing for Jourdan's benefit is also fun (and the place is so smoky that Crenna can barely tell whose hand he's holding!) This was made during Everett's chief stab at film stardom, but within three years he would be on TV making his mark on "Medical Center", his signature role.

floydianer 'Made in Paris' was just another flop (film-critical wise) in Ann-Margret's film career, which had started off extremely successful with 'Bye Bye Birdie' and Elvis' most entertaining movie 'Viva Las Vegas' and then kind of took a wrong turn with 'Kitten with a Whip', which she, or better her managers, took instead of 'Cat Ballou'. It was a good movie but a critical disaster. One could say the only really good movie of her early career was 'The Cincinnati Kid', although her presence makes everyone of her films quite a pleasure to watch, even 'The Swinger'.Yes, this 'romantic comedy' here is not bad. Unfortunately I would have to lie to say it was good. You'll not be harmed by watching it but don't expect The Godfather, though. Despite being a "comedy" the film is not very funny, except maybe for Richard Crenna, who gives the best acting performance here and has the best lines (relatively speaking, this is not Woody Allen quality). Jourdan does his usual French sophisticated charm routine and he and the other supporting players are all quite good.Of course the simple romantic story was nothing spectacular. The highlight is, as you probably expected, the No. 1 sex kitten of the Sixties, a woman I can easily call the quintessential American beauty and sex symbol of her time and perhaps even all: Ann's sexy dance numbers are energetic, she's a fine dancer and the outfits are well-chosen, showing just enough of cleavage and legs. And that's about it. No surprise: She looks absolutely stunning here and if you happen to be unmoved by her looks, you should NEVER watch it. If you're an Ann-Margret fan, you should definitely give this one a try. Her acting is quite fine (although there's not enough character in the screenplay that could allow a great performance), and her unbelievable charisma and screen presence make this a very watchable movie in the end. Watch it for her and nothing else.

moonspinner55 An American fashion-buyer is sent to Paris on assignment and immediately gets on the wrong side of a major French designer. Soon though, she almost inadvertently manages to charm him, as well as two other men. What is Ann-Margret doing to drive all these eligible bachelors crazy? As far as we in the audience can see: nothing. Yes, she gets to dance a little and sing a pretty ditty on the docks, but the character is haphazardly written. One minute she's a firebrand, the next she's icy, almost frigid. Judging from her teasing and emotional schizophrenia, it's unlikely that suave Louis Jourdan would even give her the time of day. There's a funny gay-misunderstanding gag involving Richard Crenna (who is a lot more appealing than he's supposed to be), however this is one of A-M's weakest starring vehicles of the 1960s. *1/2 from ****