The Oscar

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camina f Nov 19 There must have been a lot of good intentions to make a portrait of a ruthless Oscar aspiring actor, who uses everybody to get it. But the over the top acting of Stephen Boyd makes you bleed when you see it, because in the making of the "hate me" character of Frankie Fane, he becomes so repulsive that you can never imagine how could Frankie ever rise to Hollywood as a sexy symbol. And if you have some patience, you can also hear Elke Sommer finishing her line, or watching Eleanor Parker about to take her last breath when Frankie is leaving her. It's because all this flamboyance wanted and demanded by the director steps on your nerves, in almost every minute of the movie. As far as I go I found Tony Bennett a best fit of the cast, with a colorful presence, despite the bad reviews that I read. But yes, I would watch it for all that, because with all the caricaturized portrayals, the outcome is at least balanced and quite harmonious in the manner, with no notable flops and with a very good art direction and care for photo and the chromatic details. I mean, you might not like an expressionist painting, but this doesn't make it a poor painting. And the effort of the actors to overplay is, after all, a merit. For an audience that the genre demands, i.e. Saturday night home cinema See more Ed . Aug 29 Grade C for camp value. I think this picture was rigged: the mob must have gotten to Tony Bennett, because nobody acts so poorly. Not even Bo Derek in Ghosts Can't Do It. Even the Puerto Rican kid in Gloria outshines Bennett's performance. Stephen Boyd, an actor with talent, must have also been on the take. Or was it just poor direction? While poorly acted and overly melodramatic, I gave this film a 'like' for providing unintended laughter. It doesn't approach Valley of the Dolls, Mommie Dearest or Showgirls, but how many trashy films can attain such heights? See more Buzz Y Mar 6 I've watched this film several times and it has become one of my favorite guilty pleasures. Stephen Boyd is perfect as the despicable arrogant jerk actor Frankie Fane who will step on anyone to get what he wants. The film is full of ridiculous dialogue which gives it a unique trashy charm. Tony Bennet is completely believable as Fane's Sad Sack pal and press agent Hymie. The women are gorgeous! Jill St. John in a leopard bikini and Elke Sommer in a sheer teddy will leave you weeping with joy. Every supporting role is better than it should be including Eleanor Powell as a lovelorn talent scout, Milton Berle as a long suffering agent, Joseph Cotton as the pragmatic studio head, and Ernie Borgnine as a sleazy private eye. Peter Lawford, who's own career was in decline, is especially effective as a one time movie star now reduced to being a Hollywood head waiter. The surprise cameo at the end is a real classic. As far as trashy camp classics go, the Oscar goes to The Oscar. See more Steve D 07/27/2023 It seems like it wants to be a comedy. See more CodyZamboni 06/21/2023 Movie is comically trashy. The lead character a total jerk. Jill St John is stunning. Movie has lots of famous cameos, and it was nice seeing Tony Bennett in a dramatic performance. Overall, movie is watchable more as a time capsule of the mid 1960s fashion, culture, art design, and moral attitudes. See more 01/03/2020 Forty years after reading about it in THE FIFTY WORST FILMS OF ALL TIME, I finally saw THE OSCAR, from 1966, starring Stephen Boyd, Tony Bennett and a cavalcade of stars from the era. Unlike SHOWGIRLS, which plays like a spiritual reboot, the Fox suits have done an admirable job burying this film from view and accessibility. Never released to video in any form, I saw this from a DVD that ripped a TCM midnight showing. Stephen Boyd plays loser schmuck turned actor Frankie Fane, who could be SHOWGIRL's Nomi Malone's father. Fane destroys anyone that gets in the way of his thirst for power. Singer Tony Bennett, in his only acting role, tells the story in flashbacks, which are so pompous and over the top they defy belief. Screenwriter Harlan Ellison never got to see the rushes, and reported wept at the premier screening. Released in March, Boyd would save his career when FANTASTIC VOYAGE dropped in August. Fifty years on, this begs for a restoration with commentaries and a book. In a just world, this would have been a midnight movie riff fest. Like CATS, you can't unsee this, but you can't resist it either. See more Read all reviews

The Oscar

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