ÉVALUATION IMDb
6,0/10
10 k
MA NOTE
Version cinématographique du roman à succès de Jacqueline Susann relatant l'ascension et la chute de trois jeunes femmes dans le monde du spectacle.Version cinématographique du roman à succès de Jacqueline Susann relatant l'ascension et la chute de trois jeunes femmes dans le monde du spectacle.Version cinématographique du roman à succès de Jacqueline Susann relatant l'ascension et la chute de trois jeunes femmes dans le monde du spectacle.
- Nommé pour 1 oscar
- 6 nominations au total
Alexander Davion
- Ted Casablanca
- (as Alex Davion)
Sherry Alberoni
- Neely O'Hara
- (voice)
- (uncredited)
Histoire
Le saviez-vous
- AnecdotesDirector Mark Robson had a very combative relationship with all his actresses, particularly singling out Sharon Tate for his harsh treatment. Patty Duke hated working with him, and years later, after his death, still called him "a mean son of a bitch".
- GaffesWhen Neely is tap dancing on the table, shown by her shadow on the wall, the shadow does not reflect a pony tail, but when she jumps down, she has a pony tail.
- Citations
Neely O'Hara: Boobies, boobies, boobies. Nothin' but boobies! Who needs 'em? I did great without 'em.
- ConnexionsEdited into Intimate Portrait: Patty Duke (2001)
Commentaire en vedette
One of the great landmarks in the history of American cinema. This is one of those movies that tells it like it is, takes it on the chin, and really shows some SPARKLE. Oh yeah, the wigs and gowns are fab, too, especially that sequined poison-green trapeze minidress Patty Duke is too trashed to get into towards the end.
There is a kind of sublime awfulness about the performances that elevates every sentence in the screenplay to some scriptural stratum of indelible elegance. Lines like "Gee, honey, that ole witch oughta be boiled in oil," "You're not the BREADWINNAH either," and "SPARKLE, Neely, SPARKLE" ring with poetic resonance in one's mind long after viewing the film. Especially when you find yourself compulsively watching it over and over and over again...
The montage sequences are unbelievably powerful. Forget Medium Cool, you haven't experienced the true tacky splendor of the Sixties till you've seen Barbara Parkins' Gillian Girl Commercial. Get the soundtrack and use the jingle composed by master artiste Andre Previn on your answering machine. Why, all your friends will be ringing the phone off the hook just to have a listen.
As Superstar Helen Lawson, Susan Hayward is head and shoulderpads above the rest of the cast, especially when she's attempting to lipsynch her way through "I'll plant my own tree" while dodging the giant translucent fake Calder mobile (probably built by Monsanto) that's slowly revolving around her. The symbolic-castration wig-in-the-loo sequence has to be seen to be believed. "I'll go out the way I came in" admirably sums up the sentiments of everyone connected with this movie after it was released. See Patty Duke's autobiography for some anecdotes about the filming.
This movie pretty much destroyed Director Mark Robson's career, but it made pots and pots of money for the studio, and was still playing drive in theatres around the country years after its release. And curiously enough, many women I have known now in their fifties and sixties felt drawn to this film, felt that it spoke to them (if not for them) in a way nothing else up till that time had done.
There is a kind of sublime awfulness about the performances that elevates every sentence in the screenplay to some scriptural stratum of indelible elegance. Lines like "Gee, honey, that ole witch oughta be boiled in oil," "You're not the BREADWINNAH either," and "SPARKLE, Neely, SPARKLE" ring with poetic resonance in one's mind long after viewing the film. Especially when you find yourself compulsively watching it over and over and over again...
The montage sequences are unbelievably powerful. Forget Medium Cool, you haven't experienced the true tacky splendor of the Sixties till you've seen Barbara Parkins' Gillian Girl Commercial. Get the soundtrack and use the jingle composed by master artiste Andre Previn on your answering machine. Why, all your friends will be ringing the phone off the hook just to have a listen.
As Superstar Helen Lawson, Susan Hayward is head and shoulderpads above the rest of the cast, especially when she's attempting to lipsynch her way through "I'll plant my own tree" while dodging the giant translucent fake Calder mobile (probably built by Monsanto) that's slowly revolving around her. The symbolic-castration wig-in-the-loo sequence has to be seen to be believed. "I'll go out the way I came in" admirably sums up the sentiments of everyone connected with this movie after it was released. See Patty Duke's autobiography for some anecdotes about the filming.
This movie pretty much destroyed Director Mark Robson's career, but it made pots and pots of money for the studio, and was still playing drive in theatres around the country years after its release. And curiously enough, many women I have known now in their fifties and sixties felt drawn to this film, felt that it spoke to them (if not for them) in a way nothing else up till that time had done.
- Gothick
- 6 juin 1999
- Lien permanent
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- How long is Valley of the Dolls?Propulsé par Alexa
Détails
- Date de sortie
- Pays d’origine
- Langues
- Aussi connu sous le nom de
- La vallée des poupées
- Lieux de tournage
- Redding Center, Connecticut, États-Unis(Welles' Home in Lawrenceville)
- société de production
- Consultez plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 4 690 000 $ US (estimation)
- Durée2 heures 3 minutes
- Couleur
- Rapport de forme
- 2.35 : 1
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By what name was Valley of the Dolls (1967) officially released in Canada in French?
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