HOME |  JOIN |  CULT MOVIES | COMPETITIONS | ADVERTISE |  CONTACT US |  ABOUT US
 
 
Newest Reviews
Lodgers, The
Eagle vs Shark
American Assassin
Die, Mommie, Die!
All the Money in the World
Effect of Gamma Rays on Man-in-the-Moon Marigolds, The
Black Panther
Children's Hour, The
Mayhem
Sphere
Guyver, The
Night School
Loveless
Ragtime
Mishima: A Life in Four Chapters
Murders in the Rue Morgue
Wound, The
Scalawag
Let's Get Harry
Girl with Green Eyes
Sunchaser, The
Tom Jones
Downsizing
Defiant Ones, The
Centerfold Girls, The
Loneliness of the Long Distance Runner, The
120 BPM (Beats Per Minute)
Police Academy 3: Back in Training
Safe Place, A
Saturday Night and Sunday Morning
   
 
Newest Articles
Bad Taste from Outer Space: Galaxy of Terror and Xtro
A Yen for the 1990s: Iron Monkey and Satan Returns
Hey, Punk: Jubilee and Rock 'n' Roll High School
Help! with The Knack: Richard Lester in 1965
Roll Up, Get Yer Free Cinema: The Shorts on the BFI Woodfall Blu-rays
Time for Heroes: The Dam Busters and How I Won the War
Hell is a City: Midnight Cowboy and Taxi Driver
Boris Goes Bonkers, Bela Goes Bats: The Old Dark House and Mark of the Vampire
Charles Bronson's Mid-70s: Breakheart Pass and Others
Kids in America: The Breakfast Club vs Metropolitan
80s Dance-Off: Staying Alive vs Murder-Rock vs Breakin'
The Cinematic Darkside of Donald Crowhurst
Dutch Courage: The Flodder Series
Coming of Age: Boys on Film 18 - Heroes on DVD
Country and Irish - The secret history of Irish pop culture
   
 
  Where Love Has Gone Wayward HaywardBuy this film here.
Year: 1964
Director: Edward Dmytryk
Stars: Susan Hayward, Bette Davis, Mike Connors, Joey Heatherton, Jane Greer, DeForest Kelley, George Macready, Anne Seymour, Willis Bouchey, Walter Reed, Ann Doran, Bartlett Robinson, Whit Bissell, Anthony Caruso
Genre: Drama, Trash, Romance
Rating:  5 (from 1 vote)
Review: Luke Miller (Mike Connors) is an architect who is close to making a deal for creating a swanky high rise apartment complex when he receives a telephone call. Immediately he has to tell his business partner he has to leave, and when questioned why the answer is very grave: it's to do with his daughter Danielle (Joey Heatherton), and she's in serious trouble. On landing in San Francisco, Luke meets with the lawyer (George Macready) handling the case who fills him in with the details as he knows them: basically Danielle was caught up in an argument with the boyfriend of her mother Valerie Hayden (Susan Hayward), Luke's ex-wife, which resulted in the man being stabbed to death with an artist's chisel...

If you know your Hollywood Babylon, then you'll recognise this as one of the twentieth century's major celebrity scandals, except that in spite of the similarities, nobody involved ever admitted this was based on the troubles Lana Turner suffered in the fifties. Not the studio, and certainly not the author of the original novel Harold Robbins who had a habit of scanning the headlines for material, then denying his stories had anything to do with real life, no matter how much the opposite appeared to be the case. Hollywood fell for Robbins in a big way, adapting many of his books featuring casts littered with stars, and indeed the director of Where Love Has Gone had recently completed a production of his The Carpetbaggers.

No matter how compelling Robbins plots may have been on the page - and he sold millions, thrilling them on the world's beaches and just before they turned the lights off to go to bed - when they were made into movies the results were, every one of them, absolutely ridiculous. Not one of them has lasted as a recognised classic, and are now relegated to the lovers of camp to praise them, no wonder in this case when you had two of the most forceful actresses of their time in Susan Hayward and Bette Davis, who played Valerie's mother, sparring verbally as Mrs Hayden ruinously controls her daughter's life and that of her family. She's the sort of wealthy matriarch who will buy a lavish home for Valerie and Luke on the condition there is a huge portrait of herself hung prominently in the living room.

She likes the way the eyes follow you around, so she says. The film was essentially split into two, with a lengthy flashback informing us of how Valerie and Luke were united in marriage, had their baby, then the mother-in-law split them apart through her machinations as she prevented Luke's dream of setting up lucrative architecture contracts now he's home as a war hero just so he would be forced to stay with the Hayden family business, a state of affairs which leaves him an alcoholic. As for Valerie, she wasn't an actress as Lana Turner was, nope she was a sculptor, completely different so how could anyone have made the mistake of connecting actual events? They might as well have cast Lana for all anyone was convinced, but it's the second half which concerned itself with the aftermath of the crime.

At the time and to this day, many were speculating that Turner really was the killer, murdering her abusive gangster boyfriend and pinning the blame on her daughter who as a juvenile could not be charged with murder, and all the signs were the filmmakers were guiding us to that conclusion as well. Well, they managed a twist there but before that finale, which takes Valerie's reactions to new heights of kitsch lunacy, we were treated to minor sixties icon Joey Heatherton emoting as the fifteen-year-old Dani as the plot offered shocking revelations such as her not being a virgin anymore - the horseback riding excuse doesn't cut the mustard with the authorities, either. With its flat lighting and exactly the same production design in every set, be they sixties modern or forties, er, modern, coupled with absurd dialogue designed to push the characters' buttons this had a certain amusement as Valerie it turns out is most artistically inspired when she is sleeping around, leading to a priceless yelling match as a drunken Luke returns home one night to find her in flagrante delicto. Slightly mindboggling. Music by Walter Scharf.
Reviewer: Graeme Clark

 

This review has been viewed 956 time(s).

As a member you could Rate this film

 
Review Comments (0)


Untitled 1

Login
  Username:
 
  Password:
 
   
 
Forgotten your details? Enter email address in Username box and click Reminder. Your details will be emailed to you.
   

Latest Poll
Which film has the best theme song?
Spectre
The Ups and Downs of a Handyman
   
 
   

Recent Visitors
Graeme Clark
Enoch Sneed
Paul Smith
  Jamie Nichols
Andrew Pragasam
George White
Darren Jones
  Butch Elliot
   

 

Last Updated: