Hotel

Warner Bros cast Rod Taylor, a perfect leading man, in this film directed by Richard Quine who made those great Kim Novak films at Columbia -Strangers When We Meet, Pal Joey, Notorious Landlady-when Hotel features two legendary stars Melvyn Douglas and Merle Oberon, both given wonderfully rich parts to play. Also cast Richard Conte and Michael Rennie. This is a film where the action on the set was likely to be even better than when the cameras rolled. Kevin McCarthy is properly tough minded. Lovely Catherine Spaak has the nominal female lead.

Merle Oberon one of the cinema's great all time beauties steals the movie. The real show stopper is Ms. Oberon then 60 but looking 35 and gorgeous to behold, and I recall Merle Oberon wore her own fantastic jewel collection in Hotel. While Oberon's peers like Bette Davis, Joan Crawford, Ann Sothern, and Olivia De Havilland were starring in horror films to stay in the public eye, Merle Oberon who in her legendary career worked with Brando, Cooper, Wyler, Laughton, et al stayed above the fray and lived the live of a real Movie Queen.

Hotel is a film concerning a few days at the end of the life of one of those old fashioned hotels, the St. Gregory's in New Orleans. It's owner Melvyn Douglas is facing some financial problems and he's hired Rod Taylor as manager whose made some improvements and the place is beginning to turn around. But way too slowly to keep Douglas's creditors off his back. The story on which Hotel is based is from an Arthur Hailey novel who wrote Airport and inspired that series of films. The film bears some resemblance to Airport to be sure, but I also think it bears comparison to the Humphrey Bogart classic Deadline, USA about a newspaper going out of business with Bogart in the Taylor role and Ethel Barrymore in the one that Melvyn Douglas has here.

Douglas and Taylor are not going down without a fight. What they don't want to do is sell out to Conrad Hilton like hotel magnate Kevin McCarthy who will turn the place antiseptic and it will lose its traditional charm. It's a problem with hotels, so many of even the finest rated old ones are being purchased by chains, a problem back then to be sure. So few independents are even operating today.

McCarthy does have a secret weapon in the charming and voluptuous Catherine Spaak and her assignment is Taylor.

There are a couple of other subplots working here. Titled couple Michael Rennie and Merle Oberon are involved in a hit and run accident after they've both had too much and they face a blackmailing house detective in Richard Conte. And the police are after a very clever thief who works the New Orleans hotels in Karl Malden. All these stories do connect as you will see.

Director Richard Quine directed this film with an eye for style and elegance which the fictional St. Gregory is famous for. The cast is seasoned one of good professionals who give some professional performances. Hotel is a film of class and I think you'll like it.

Very mild account of major New Orleans hotel facing closure and its last days as the owner (Douglas) and general manager (Taylor) attempt to secure its future without compromising its integrity and traditions. A number of story lines intertwine amid the closure backdrop, with Rennie & Oberon as the Duke and Duchess of Landbourne entangled in a police matter, Malden as the hotel's resident kleptomaniac and McCarthy as a potential investor keen to save the grand hotel but with a litany of changes in mind of which Douglas disapproves.

Taylor does a good job as the efficient right hand man, not tempted by McCarthy's graft offer to persuade Douglas to sell, taking Spaak instead as a consolation prize. Malden was a bit too hammy for my liking and the film never quite fulfilled its promise, although I thought Taylor and McCarthy in particular were very engaging. "Hotel" has a pseudo disaster film texture with its diverse characters coming in and out of focus against a common backdrop; it even indulges the genre with a reasonably tense elevator malfunction and a feverish rescue while the lift hangs by a thread.

The decorative touches, lounge music and brassy sets are all fashionable reminders of the mid-to-late sixties and the film itself is old-fashioned in its tone and sentiment, perhaps too dated for younger viewers today. I'd categorise this as a somewhat bittersweet tale, a window into the late sixties social culture, suitable with tea and biscuits moreso than beer and pizza.

Highly enjoyable adaptation of Arthur Hailey's bestseller about tumult in an older New Orleans hotel: nearly all the guests are up to no good! Rod Taylor, excellent as always, plays the hotel manager, Melvyn Douglas is the property owner, Kevin McCarthy is a takeover shark, Karl Malden plays a thief, Merle Oberon is a troubled duchess being blackmailed by Richard Conte, etc. Lots of intricate human action, well-written and staged. The romance between Taylor and Catherine Spaak doesn't get in the way, and there are some very humorous, mordant asides. Marvelous backing score by Johnny Keating; good fun. Later a TV series. **1/2 from ****

This slick drama based on Arthur Hailey's novel has similarities to the later "Airport" in that various plot threads eventually converge at the climax. This film's climax isn't even a fraction as exciting as the bomb in "Airport", but the film has loads of style and a fair amount of interest to keep viewers watching. Taylor plays the general manager of the New Orleans hotel The St. Gregory (switched to San Francisco in the long-running TV series based on the novel.) His feats include fending off a takeover by McCarthy, trying to thwart sneaky thief Malden, appeasing crusty owner Douglas, figuring out what's going on with Rennie and Oberon, searching for house detective Conte and cavorting with Spaak. He's an appealing man, though, believe it or not with all this to do, he still seems a tad bland. McCarthy grabs a bit more attention in his role. His Method training for some reason led him to believe that his character should undress and play with his belly and twiddle his own chest hair during business meetings! The self-appointed sex symbol of the film, he finds 3 or 4 different ways throughout of having his shirt unbuttoned! Malden's role is nearly pantomime with little opportunity to speak. He skulks around the hotel with a sh*t-eating grin on his face while the world's most annoying music plays the same riff over and OVER and O-V-E-R! Douglas is a believable curmudgeon, stubbornly holding on to his ways. Rennie has almost nothing to do, his character being completely underdeveloped. Oberon, however, is a vision. Her still-lovely face is framed in all sorts of elaborate hairstyles and Edith Head hats. Each time she appears, she's in another jaw-dropping Head concoction. Unfortunately, many of her scenes are chopped down to the bare bones and she's hardly given time to register before it's on to the next episode. She manages to give a performance despite nearly all the attention going to her clothes. Conte appears in some of her best scenes as a detective trying to extort her secret. Spaak gives new meaning to the term "decorative". Her character barely does anything but lie around in a series of trendy outfits and ornate hairdo's whispering lines in a French accent in which wrong syllables are emphasized. Even at 22, she's filmed in a soft focus that would make Lucille Ball in "Mame" jealous. The film has beautiful sets and is plush look to it. Despite this, there's really nothing special about it which explains why it's become overshadowed to almost the point of anonymity.