Directed by Mark Robson, produced by David Weisbart and Helen Deutsch, with a screenplay by Dorothy Kingsley and Harlan Ellison. Cinematography by William H. Daniels (CAT ON A HOT TIN ROOF 1957, IN LIKE FLINT 1967).
Film editing by Dorothy Spencer (STAGECOACH 1939, TO BE OR NOT TO BE 1942, LIFEBOAT 1944 and CLEOPATRA 1963) Set Direction by Raphael Bretton (HUSH HUSH SWEET CHARLOTTE 1964 and THE POSEIDON ADVENTURE 1972) and Walter M Scott. (THE SOUND OF MUSIC 1965 and BUTCH CASSIDY AND THE SUNDANCE KID 1969) Art Design by Richard Day (ON THE WATERFRONT 1954, A STREETCAR NAMED DESIRE 1951 and THE GRAPES OF WRATH 1940) and Jack Martin Smith (BATMAN 1966 and PLANET OF THE APES 1968) and wardrobe by Travilla.
With all that creative talent on board, you can call the film trashy, but it sure has a lot of style!
Starring Barbara Parkins (THE MEPHISTO WALTZ 1971 never looking more beautiful in my opinion. One of my favorite horror films of the 70s, I plan on doing a long winded overview of it this Winter 2012.)
as Anne Welles, Patty Duke as Neely O’Hara, Sharon Tate as Jennifer North, Susan Hayward as Helen Lawson, Paul Burke as Lyon Burke, Toni Scotti as Tony Polar, Lee Grant as Miriam Polar, Martin Milner as Mel Anderson, Alexander Davion as Neely’s 2nd husband the bisexual Ted Casablanca, Naomi Stevens as Miss Steinberg and Robert H Harris as Henry Bellamy.
From the moment the utter fabulousness of this tawdry pulp icon of the 60s starts rolling on screen with Barbara Parkin’s heavenly visage gazing out the train window, and Dionne Warwick starts confessing the movie’s theme song with her soulful voice… I get verklempt.
Doll a euphemism for little colored pills of varying types of barbiturates… ‘uppers’ and ‘downers.’
Based on the best-selling explosively trashy novel by Jacqueline Susann and directed by of all people, Mark Robson. (THE SEVENTH VICTIM 1943, THE GHOST SHIP 1943, ISLE OF THE DEAD 1945, and well his telltale progression into melodrama land with PEYTON PLACE 1957 and eventually into darker territories with DADDY’S GONE A- HUNTING 1969)
Growing up as a little girl in the 60s there wasn’t a coffee table or bookshelf that I didn’t see a copy of Valley of the Dolls sitting atop next to a hardcover of best-selling self-help book by Dr. Thomas A. Harris’, I’m Okay You’re Okay which was first published in 1967, the year Valley of The Dolls was released.
There was certainly a copy of it in my own house and I remember seeing the film either during its theatrical release or later on the huge Magnavox cabinet tv with only 3 dials. At first, I was struck by the incredible score from composer John Williams and songs by Andre Previn and lyrics by Dory Previn. And then I fell under the spell of the badness and the beautifulness of it all…
Standing out is its vivid colors of the 60s film processing, the vogue style couture, flashy set design, and mod art direction. Populated by the campy over-the-top acting in all the right places of course, by the entire cast makes for one hell of a ride through the tunnel of tragic love in high dramaville. As cliche after libidinous, compulsive, and histrionic cliche prance across the screen as a story of meandering disassembled desire, by the needful women, and their male companions.
It’s campy and tawdry and melodramatic trash, and that’s a GOOD THING, for us junkies of melodramatic trashy & campy flicks from the 1940s -1960s.