Heller in Pink Tights

The film is the story of an acting troupe (Anthony Quinn, Sophia Loren, Eileen Heckart, Margaret O'Brien) who run into various monetary and Indian problems as they travel across the Western United States.

George Cukor, who directed this film, supposedly never liked how the usual western looked. They lacked color, according to him, and in "Heller in Pink Tights," Cukor set out to remedy that. The film is full of vivacious color. From Eileen Heckart's orange hair to Sophia Loren's platinum blonde wig and the various pieces of clothing that they wear. Visually the film is quite arresting. It mixes such loud, bright colors with the colors of such a rigid and tough landscape.

While the use of color is certainly interesting, the film never gets quite as far. The story is entertaining, but in a silly way. The chemistry between Loren and her two love interests (Quinn and Steve Forrest) is non-existent. She also looks totally uncomfortable with the blonde wig she is saddled with. Eileen Heckart is fun as the loudmouth actress/stage mother to O'Brien's character, and Anthony Quinn is his usual "dramatic" self.

"Heller in Pink Tights" certainly is a different kind of Western. I just only wish the film's story would have been as interesting as its use of color.

This is George Cukor's sole attempt at a western. As is typical of Cukor, instead of doing a western like Ford or Hawks or Curtiz as a look at men fighting men against pure nature backgrounds we have Cukor looking at the coming of culture to the West (here in the acting troop led by Anthony Quinn and Sophia Loren), and how it is doomed to triumph over the individualist (here Steve Forrest, a desperado who ends up accepting his defeat). It is not a great western (Ford and the others were better at that type), but it a worthy exception to the rule (Ford did deal with culture twice, using Alan Mowbray in "My Darling Clementine" and "Wagon Master" as a fading Shakespearean - although he pulls himself together in the second film). Cukor loves the theater (his one film noir, "A Double Life" is set in a theater in New York City). Here some of the most interesting things are the company rehearsing (in one scene they are putting on Offenbach's "La Belle Hellene"). But what is most interesting is their guaranteed show stopper - "Mazeppa".

It was a popular play in the middle 19th Century, based on an incident of the wars between Peter the Great and Charles XIV of Sweden. Mazeppa, a "hetman" of the Ukranian Cossacks, was captured by his enemies, tied naked to a wild horse, which was released into the forest. Mazeppa died as a result. The play was a big success for Adah Mencken, a poet and actress who was prominent in the 1860s on both sides of the Atlantic, and was briefly married to John Heenan, the leading heavyweight champ of America (bare knuckles days). To tittle-late the men in the audience she wore skin colored clothing, so that it looked like she was naked. Sophia Loren puts on similar (pink colored) tights - hence the films' title - and does the scene on a real horse and a moving stage. It certainly is interesting to see a brief glance at a 19th Century dramatic highlight, even if it seems rather silly to us today.

Decent western/comedy/drama with awesome actors giving splendid interpretations, and set in the untamed border in which many people strugge simply to survive . Revolving around a traveling rep company called "Great Healy's Dramatic and Concert Company" in the Old West, it is a seedy vaudeville troupe in the 1880s when they arrive in Bonanza, a mining and smelter town . It features Tom Healy : Anthony Quinn, as the company manager, along with Angela: a bewigged Sophia Loren as his leading asset. In the way the latter dallys with a gunfighter named Clint Mabry : Steve Forest, who chases her out of Bonanza town. They are well accompanied by others members of this especial company : Eileen Eckart, Margaret O'Brien, Edmund Lowe. Centering the plot in this particular troupe and being well explored as the company performing to ramshackle communities in an untamed frontier. There's also Indian attacks and more risks until the troupe arranges to encounter a safe haven.

Offbeat Western and curiously some boring with a great main and support cast. Being based on a novel by prolific Louis L'Amour that follows faithfully the fun and dramatic adventures of a peculiar troupe acting out heroic tales of passion, tragedy, love and honourable death surrounded by altogether less romantic reality in which abounds gunslinging, more confrontation and Indian assaults. Including account for the unusual roles as well as confused plot, and playing much of adventure for comedy. The action includes entertaining extracts from various plays as La Belle Helene in the company's repertoire. Outstanding the duo protagonists, Anthony Quinn as a manager who stays hardly ever ahead of his creditors and Sophia Loren as the main stage actress who becomes involved with a pistolero played by Steve Forrest. Sophia Loren's assets are the movie's highlights.

The motion picture was professionally and sympathetically directed by George Cukor, but resulted to be some dull, briefly tedious and with some unbelievable roles . Cukor's one stab at the Western genre was an ordinarily personal response to the conventions, being partially sophisticated, Cukor's especiality. Cukor was a classic filmmaker who made a lot of films, many of them considered to be classic movies. It contains sensational main cast and support cast. Old time idols Ramon Novarro and Edmund Lowe prop up the casting. Along with other secondaries as Eileen Heckart, the ex prodigy child Margaret O'Brien, George Mathews, Edward Binns and brief appearance of Ken Clark.

It packs colorful cinematography in brilliant Technicolor by Harold Lipstein. Colour sets and production designs from Hal Pereira and Eugene Allen are excellent. As well as evocative and atmospheric musical score by Daniel Amfitheatrof. Interesting but tiring script by the prestigious writers Dudley Nichols and Walter Berstein. Adequate direction under the expert eye of George Cukor, but with no passion. Cukor worked from the Thirties to seventies making pretty good films with penchant for sophisticated comedy and drama, such as : One hour with you, What price Hollywood?, Dinner at eight, Camille, Unconventional Linda, Zaza , Susan and God ,Two-faced woman, Keeper of the flame, A double life ,A life of her own, The marrying kind, I should happen to you, The actress , Let's make love, The Chapman report, Justine, Love among ruines, The Blue Bird. Being his big hits the following ones : Little women, David Copperfield, Sylvia Scarlett, The Philadelphia story, Gaslight, Adam's rib, Born yesterday, Pat and Mike, A star is born, Bhowani Junction, My Fair Lady and his last movie : Rich and famous.

Director George Cukor was famous for his ability to extract quality performances from female actresses. In HELLER IN PINK TIGHTS he gets a good show from Sophia Loren, even if the emphasis is on her physical beauty. Margaret O'Brien and Eileen Heckart do not exactly stand out.

The costuming, the sequences where Indians descend on the acting troop, and Forrest's flight from Healy Theater stayed on my mind since I first watched HELLER back in the late 1960s.

All aspects considered, Anthony Quinn probably comes off better than the rest, as tends to happen when he does not overact as a force of nature or some brutish loudmouth.

Steve Forrest also has a catchy - if comparatively short - part, as a gunslinger on the run from a wealthy man who has put a hit on his head, and who in between gets to score La Loren, to Quinn's deep chagrin.

Direction is good, cinematography by Harold Lipstein extremely competent in its depiction of a theater troupe trying to survive in the young West. The screenplay by Dudley Nichols has its high moments in between dud moments.

The great cast more than covers admission price, would warrant watching in any event. Some weaknesses notwithstanding, the good things in this film are bonus. 7/10.

George Cukor said he'd always wanted to make a western, and this rollicking 1960 adaptation of a Louis L'Amour novel provided him with good material. It starts out tremendously, with creditors chasing Anthony Quinn and Sophia Loren's ragtag theatrical troupe across state lines, and the credits, supported by Daniele Amfitheatrof's splendid scoring, promise a good time. What follows is a bit inconsistent; it's never sure if it wants to be a giddy theatrical comedy or a gritty western, and farce and violence don't mix well. Quinn seems miscast and devoid of personality, and Loren tries to overcompensate with some stilted line readings. She's gorgeous, of course, delectably costumed by Edith Head, and the rest of the troupe-Eileen Heckart, a fetchingly grown-up Margaret O'Brien, and a hammy Edmund Lowe-provide plenty of diversion. Steve Forrest ably plays a studly, surprisingly complex villain, and Ramon Novarro is an excellent villain. Few westerns carry such a beautiful color palette, and it moves swiftly and satisfyingly. Not quite the masterpiece it wants to be, but it's consistently entertaining, and great to look at.