An American Dream

How did Warner Brothers and producer William Conrad get such a fine "A" cast for this sudser? Keep in mind, Janet Leigh and Eleanor Parker were not that long off their "A" list roles in "Harper" and "The Sound of Music," respectively. Keep in mind that Stuart Whitman had just come off "Those Magnificent Men in their Flying Machines." This is the worst written movie based upon a book by a fine novelist (Norman Mailer) I've seen, except, perhaps, for "Mr. Budwing" (written by Evan Hunter). Interestingly, both films have "A" list actors and both were released in 1966. Perhaps more unfortunate is the lack of chemistry between Whitman and Janet Leigh. In order for this tripe to even begin to work requires a smoldering passion between the leads. Further, Leigh looks at least 10 years older than her 39 years, and she is playing a 29 year old(!). Parker looks more glamorous (and younger, at 44) as the drugged-out wife. Too bad, producer William Conrad didn't hire Israeli actress Ina Balin for the Leigh role. Balin was the right age and provided considerable sexual tension with Whitman in "The Commancheros".

Mailer's storyline is so stupidly contrived it is impossible to believe. If Mailer's intent was cynicism to the point of nihilism, he only succeeded by making all the characters behave as idiots.

The only really worthwhile elements of the film are the song (Oscar nominated) and the performances of Eleanor Parker and Lloyd Nolan (as Parker's father). They bring luster, albeit briefly to a movie more akin to a cow pie.

I give "An American Dream" a "3".

It's unclear to me, with its TV cast, whether this was a B movie in theaters or a TV movie. It looks for all the world like a '60s TV film, produced by William Conrad, who did occasionally direct second features, notably "Brainstorm" starring Jeffrey Hunter. The timing at 1:45 suggests television.

"An American Dream" stars Stuart Whitman as a TV show host named Rojack who sits in front of rows of different telephones and answers questions. He's vocal about police corruption and the mob. He's separated from his wife (Eleanor Parker), the daughter of the 8th richest man in the world (Lloyd Nolan). She's a vicious drunk who's sleeping around. When Rojack visits her in her over-the-top penthouse, complete with gorgeous maid (Susan Denberg) who attempts to seduce him. His wife attacks him, and at one point, he nearly strangles her to death. Finally, after a lot of caterwauling, she ends up on the terrace railing and starts to slip. Rather than grab her, Rojack lets her go.

The police (including Barry Sullivan) can't prove whether it's an accident or murder, and Rojack takes up with an old girlfriend (Janet Leigh) who is now a mob-connected nightclub singer. Complications ensue.

Based on a novel by Norman Mailer, "An American Dream" is fun to watch because it's so '60s - in fact, it's reminiscent of early Columbo episodes. The furnishings, the color processing and dialogue like "I can't make the scene" are a hoot.

Janet Leigh, with a short Carnaby Street haircut, blue eyeshadow, dark eye makeup and light lipstick is the epitome of the '60s look. All she needed was white go-go boots. Strangely, the gown she wears in the nightclub scene (not the one picture on IMDb) is back in style, minus the cheesy material.

The high places - the wife's penthouse, Leigh's rooftop, suggest the heights and the only place you go once you get there. With none of the characters being particularly likable and an okay story, this is mainly something to watch if you were alive and cognizant in the '60s or just to get a look at some of the styles of the day. A lot flashier than Mad Men.

This has every appearance of a mid-1960s contemporary television drama, filmed on 1960s television studio sets, using 1960s television lighting, using 1960s television music, with overskilled movie actors for the roles they're given. I expect an epilogue announcing "this is a quinn-martin production." t Janet Leigh's 1940 noir moll dialogue is ludicrous almost to the point of spoof. Eleanor Parker's portrayal is grotesque, indulgent, and minimally watchable. There are some interesting police procedural tidbits, almost lifted from Dragnet. J.D. Cannon is great as a Joe Friday with anger issues.

The two stars, Whitman and Leigh, seemed to take a mini-vacation from acting. They're both easy to watch, but seem distracted or tired or like they're donating their time for free. I don't know what the norman mailer novel was like, but I hope to god it wasn't like this movie.

I watched this film for the first time today, having avoided it since its release. Mailer wrote the book, Janet Leigh is in it, so can it REALLY be as bad as all that? Oh gee . . . Eleanor Parker opens the "action" with a performance that beggars description. She acts demented, if not possessed. In the context of the film, it is impossible to believe she did not manifest bizarre behavior, such that suicide would be deemed unthinkable. Then there's the unexpected involvement of the mob boss as the film veers away from a police procedural into film noir. And then comes the whole religious prohibition against abortion and suicide, but by that point . . . Who cares? This is not one of those films which are so bad they are good. This is just bad.

The film was ridiculous but that theme song will live forever. A Time for Love, by Johnny Mandel, has an unforgettable melody and Mandel's arrangement, playing over the opening credits, was the best part of the movie. Vidal Sassoon also gets special mention for Janet Leigh's chic hairstyle. The pacing and direction were so weak, I lost interest early on. I was hoping the movie would be good but it wasn't. The five stars go to Johnny Mandel. The rest of the movie deserves a big fat zero.