Reviewing my Blog stats below is an encore presentation of my most popular Blog post to date.

Below is a great clip from the great movie  (1967) starring and highlighting ‘s classic musical score.

The girl who washes the car and gets the chain gang all hot and bothered is Fantasy Femme in her most memorable role though she doesn’t utter a word.

Joy Harmon began her show business career as a teenage extra in The Man Who Came to Dinner (1956).  Her curvaceous figure, measuring 41-22-36, was her ticket to Broadway in the comedy Make Me Laugh starring Sam Levene in 1958 as the comic foil to the comedian.  On television the popular pin-up (who also posed for numerous men’s magazines except Playboy because she wouldn’t go topless) became a favorite of such talk show hosts as Steve Allen and Gary Moore who spun as many double-entendres as possible at Joy’s expense and, of course, comparisons to Jayne Mansfield were inevitable.  In between variety show appearances, she found time to make her film debut as a tough chain-smoking broad in the juvenile rock-and-roll flick, Let’s Rock (1958) starring, of all people, Julius LaRosa.

Hollywood soon beckoned and Harmon became a regular on the short-lived Tell It to Groucho in 1962.  On the big and small screens, Harmon was so adept at playing the dizzy bugged-eyed blonde with the giggly laugh that she became typecast.  Minor movie roles in  (1962),  (1963), Young Dillinger (1965), and  (1965) led to lead roles as a teenage delinquent in Village of the Giants (1965) opposite Beau Bridges and a beach denizen in Hawaii mixed up in robbery in One Way Wahine (1965).  Even when playing bad girls, audiences could not help but love Joy due to her effervescent personality and the innocence she brought to all her characters.  This quality is undoubtedly why she was hired for her most infamous role in Cool Hand Luke (1967).

Cool Hand Luke examines life for men on a chain gang in a Southern prison camp.  The immensely entertaining social drama stars Paul Newman as a loner who refuses to conform to society’s rules and George Kennedy, who won an Oscar for his performance as one of Newman’s fellow prisoners.  On paper, Joy’s part seemed innocuous enough—a pretty girl washes her car while shackled prisoners of a chain gang peer on.  Recalling the audition Joy says, “I had this agent named Leon Lance who was around forever in Hollywood.  He got me the interview for Cool Hand Luke and told me that I had to wear a bikini for it.  Paul Newman, Stuart Rosenberg [the director], and somebody else were there.  I remember Paul Newman said to me, ‘Gosh, you have the bluest eyes!’  They just talked to me and that was it.  It was a small part with no lines but I wanted to work with Newman so when they offered it to me I accepted.”

Cool Hand Luke was filmed in Stockton, California.  None of the actors were allowed to bring their wives or girlfriends to the set because Stuart Rosenberg wanted his actors to have the feel for what it would be like to work on a chain gang without female contact.  When they finally saw a woman their reactions would be believable and not “acting.”  After arriving on location, Joy was sequestered at the hotel for two days and never saw anyone.  They kept her away from all the actors until filming began.  With Newman, Kennedy, and the rest of the chain gang entranced, Harmon washes her car like she’s making love to a man.  While Kennedy dubs her his innocent “Lucille,” Newman realizes she is just a tease and knows exactly what she is doing by getting the prisoners excited.  “Stuart Rosenberg was so sensitive and took time to work with me,” recalls Joy fondly.  “I didn’t even have a line but he just wanted everything motivated with a thought behind it.  He was an actor’s director—more concerned with the actors than the lighting or anything else.  He kept talking with me and it was like a bonding kind of thing, which is why I was able to release all that energy in that scene.

“Stuart was very specific and knew exactly what he wanted,” continues Joy.  “I guess you can tell that by the way the scene comes off—but I didn’t realize it.  And I don’t think I even realized it right after I did it.  There were a lot of things he made me do a certain way—soaping the windows, holding the hose— that had a two-way meaning.  He would tell me to look different ways and we kept shooting it over and over again.  I just figured I was washing the car.  I’ve always been naïve and innocent.  I was acting and not trying to be sexy.”

All of Rosenberg’s work paid off as the scene is unforgettable and is truly one of the sixties’ most provocative moments.  Joy, clad in a tatty housedress with her cleavage clearly on display, holds the nozzle of the hose suggestively, squeezes the soap from the sponge and drenches her dress, and presses her bounteous bosom on the passenger-side window as she washes the roof putting on quite a tantalizing show for the frustrated prisoners.  “I never had any inclination that this would be such a memorable role,” says Joy.  “Except for being in a movie with Paul Newman, I never expected this part to be so notable and get the reaction it did.  After seeing it at the premiere I was a bit embarrassed.  Of all the things I’ve done people know me most from this film.”

Unfortunately for movie audiences Joy never capitalized on the notoriety that the film brought her.  After the movie was released she met film editor Jeff Gourson and they wed.  American International Pictures wanted to sign Joy to a contract beginning with the lead role in The Young Animals (1968) but she declined as she was happy juggling bit roles (A Guide for the Married Man, Angel in My Pocket, Norwood) with her new marriage.

Harmon continued acting mostly on television in such series as Love, American Style and The Odd Couple until 1973 when she retired to raise her children.  Her only foray back into show business was doing voiceover work in her husband’s hit TV series Quantum Leap.  Today that girl from Cool Hand Luke has her own business called Aunt Joy’s Cakes.  While she was acting Joy’s bosoms weren’t the only treats she brought to the set as she also shared her delicious homemade cakes and cookies with cast and crew.  In the nineties, she began supplying her niece’s coffee shop with her desserts and then saw her business quickly expand to include all the major movie studios.  She now has a web site and you can order Joy’s baked goods online at Aunt Joy’s Cakes.

the Grade-Z horror movie  opened starring Robert Hutton, Les Tremayne, Judee Morton, and in her first feature role Drive-In Dream Girl Susan Hart who talked about making the movie.

When asked how she landed this role, Hart answered facetiously, “Just luck I guess.” Robert Hutton, who also produced and directed , went to Hart’s agent and several other agents and asked if they had anybody on their rosters suitable for the role of Gwen. “All Bill Schuyler told me about it was that it was a reading for lead in a motion picture,” revealed Hart. “At that point I still did not know the title of the film. But I did know it was going to star Robert Hutton, whom I remember my sister Helen thought was just a fabulously handsome man. I read for the role in the morning. I went to lunch with a friend and when I arrived home around four o’clock I got a call from my agent telling me that I got the part. Not only did I get a role but also my roommate, Judee Morton, was cast as my little sister. It was incredible!  Even after I found out the title I thought this was still a pretty good opportunity.”

was shot at KTLA Studios. After about nine days of filming, the cast stopped getting paid and the make-up man left. However, Hart proved to be a trouper and continued with the production. She even did her own make-up. Despite these misfortunes, Susan does not look back on this film with any bad memories. “Everybody connected to this was really nice. Don Hansen was the name of the man who financed the film. As I recall, he always wore a Fedora and owned a lot of dry cleaners. Robert Hutton knew I didn’t have any experience doing films and he couldn’t have been nicer or more helpful. He practically told me every move to make and taught me about hitting your mark.”

In , nuclear testing decimates Los Angeles leaving the city enshrouded in a blanket of fog. A small group of survivors try to make it out of the deserted metropolis while battling subterranean creatures roused from hibernation. Robert Hutton stars playing a hot shot pilot with Robert Burton as a professor and Hart and Morton as his daughters. One of the films many unintentional laughs is that despite the fact that she is being terrorized and chased by the Slime People, Hart’s character Gwen keeps on her four-inch high heel shoes and never lets go of her oversize black pocketbook. “Isn’t that funny? I think I still have that purse around my home somewhere. We were given something like eighteen dollars to pick out our own wardrobe. Judee and I went to Orbach’s and it was my decision to buy those shoes and purse. Those shoes killed my feet, which were never the same again.

“A man Tracey Putnam played the doctor in this,” continued Hart. “He was an actual doctor and had discovered a drug which keeps Epileptics from going into seizures. His stepson, Jock Putnam, played one of the Slime People and talked his stepfather into playing one of these roles. It was a riot to see Jock and the other actor who played the Slime People sitting on the set smoking a cigarette. You’d see smoke pouring out of all of the orifices of these gigantic costumes.”

The ad copy for  proclaimed, “Up from the Bowels of the Earth Come …The Slime People.” Needless to say, the film did not receive rave reviews. It is no wonder then Hart tried to distance herself from the as much as she could. “Now talking about The Slime People is fun,” admitted Hart. “But a few years after making it I kept thinking that The Slime People was a terrible movie to be associated with. It wasn’t very good and didn’t play in many theaters. The reviews weren’t very good if it even got reviewed at all.” To keep journalists from asking about the film, when Hart landed one of the lead roles in her fourth movie, Ride the Wild Surf (1964), it was touted as a first starring role.

Hart would then go on to land a contract with AIP and then a husband, one of the studio’s founders Jack H. Nicholson. Her subsequent work included the features Pajama Party; War-Gods of the Deep; Dr. Goldfoot and the ; and The Ghost in the Invisible Bikini before she retired to raise her son.

Read more about Susan Hart in my book Drive-In Dream Girls.

One of my biggest regrets was that I never shared by book Dueling Harlows: Race to the Silver Screen with any publishers because I thought there would be minimal interest so I self-published. It is one of most popular books and most reviewed on Amazon (and I do agree with some of the criticisms). Here is the latest.

I have been busy guesting on a few different podcasts these last couple of weeks.

Usually its my 60s starlets talking sixties drive-in movies but here it is me with Kristen Lopez on her wonderful podcast Ticklish Business talking Girl Happy starring Elvis Presley, Shelley Fabares, Mary Ann Mobley, Gary Crosby &  Chris Noel featured in my BearManor Media Book Talking Sixties Drive-In Movies.

https://ticklishbusiness.podbean.com/e/episode-47-girl-happy-1965/

On The Junot Files, Jim Junot and I talk about my book Talking Sixties Drive-In Movies.

And on Forgotten Films, Todd Liebenow and I discuss The Pleasure Seekers (1964) starring Pamela Tiffin, Carol Lynley, Ann-Margret, Tony Franciosa, Gardner McKay, Brian Keith, Gene Tierney, and Andre LAwrence.

Forgotten Filmcast Episode 109: The Pleasure Seekers

The Sixties beach movie craze began with (1959) starring Sandra Dee and James Darren, a fictionalized look at teenager Kathy Kohner’s surfing escapades in Malibu during the mid-Fifties. It was groundbreaking as the movie contributed to the mass dissention of surfers on the beaches of Malibu and started a series of surf-theme films such as  and Ride the Wild Surf.

The surf movie soon morphed into the beach-party film, whose heyday was from 1963 through 1965, where surfing was only used as a backdrop to fanciful teenage beach adventures. Beach Party from AIP starring Frankie Avalon and Annette Funicello launched , , , , , and The Ghost in the Invisible Bikini. Soon other studios were releasing their own Beach Party rivals such as , The Girls on the Beach, and Beach Ball. Some of these films varied from the formula by shifting the locale to a lake () or the ski slopes (, Winter a-Go-Go, Wild Wild Winter). These movies for the most part followed a successful simple formula—start with attractive swimsuit clad teenagers twisting on the sand, add a dash of surfing (or ski) footage, mix in romantic misunderstandings, stir in popular musical performers, add aging comedians for comic relief, and whisk in villainous bikers or predatory adults.

Gay subtext crept into a few of the beach-party movies giving these films camp appeal today. Discounting the obvious fact that these sand-and-surf epics were titillation for homosexual men of the time, as good looking shirtless movie hunks such as Jody McCrea, Fabian, Aron Kincaid, James Stacy, and Peter Brown frolic on the sand in swim trunks or the slopes in tight ski pants. Or that gay actors such as Tab Hunter, Tommy Kirk, and Paul Lynde appeared in these movies, there were other factors that probably were not obvious back in the Sixties. Either a director or screenwriter may have tried to slip in with a wink and a nudge to the homosexual community in an unassuming way that made it past the oblivious producers and censors.

The most obvious example is Muscle Beach Party (1964) featuring a clean-cut group of surfers versus a cult of bodybuilders headed by Don Rickle’s Jack Fanny. During the Fifties and Sixties, the public automatically associated bodybuilding with homosexuality because muscle men of the time appeared as objects of desire wearing posing briefs or sometimes nothing at all in physique magazines whose readers were mostly gay men. Writing on the subject, film historian Joan Ormond commented, “Homosexuality in this era was regarded as potentially more damaging to society as the wild antics of surfers.” Hence, the bodybuilders of Muscle Beach Party are seen as the bad guys along the lines of Eric Von Zipper’s motorcycle gang of Beach Party as they are out to corrupt the youth of America.

Though handsome Fabian, Tab Hunter, and Peter Brown pursue beach babes when not in the water in Ride the Wild Surf (1964), there is a strong “homo-erotic undercurrent” throughout. The scenes of these shirtless surfers bonding or comforting each other while tackling the huge waves of Waimea Bay have become gay porn staples. Supposed swinging bachelors Paul Lynde and Woody Woodbury in For Those Who Think Young (1964) come off like two bickering old queens rather than swinging playboys as they frolic on the shore with the surfer crowd headed by James Darren. They even sneak in a Paul Lynde quip while he’s holding two large-sized hot dogs. Keeping with the wiener symbolism, the scene of boyish surfer boy Mike Nader (later “Dex Dexter” on TV’s Dynasty) inserting a frankfurter into the mouth of equally blonde Johnny Fain in  (1965) while Donna Loren sings about an unrequited love is certainly an eyebrow raiser. How to Stuff a Wild Bikini (1965) went a step further with one of the nameless surfers more interested in his books than girls resulting in raised eyebrows and innuendo that he prefers boys whenever he makes a comment. And finally in The Ghost in the Invisible Bikini (1966) while Deborah Wally sleeps alone in a double-size bed, Tommy Kirk shares his with Aron Kincaid.

Winter a-Go-Go (1965), a beach party in the snow, has the obligatory scantily clad ski babes and their horny tight pants wearing boyfriends, which you’d expect to find in this type of film. But what makes the movie especially interesting and an undiscovered camp classic is that it arguably introduces the first major ambiguous gay character to appear in a beach-party type movie. The role of Roger that screenwriter Bob Kanter created for himself is the asexual best friend of socialite Janine (Jill Donohue). Though he travels with her and her friend Dori (Judy Parker) there is no evidence of any current or past romance with either gal. During the course of the film Janine sets her sights on Danny (James Stacy) and Jeff (William Wellman, Jr.) but winds up reuniting with tough guy Burt (Anthony Hayes). Dori makes goo-goo eyes at Frankie (Tom Nardini) throughout the film. Poor Roger—if he is not running to Jeff and Danny for protection from the bullying Burt he just sits there drinking his cokes making catty comments about the proceedings.

Of course, you couldn’t have a beach movie without putting some of the actors in women’s clothes. Scenes of guys dressed in drag dominated three movies. In The Girls on the Beach (1965), Martin West, Aron Kincaid, and Steve Rogers make glamorous college girls complete with lip-gloss, false eyelashes, and mascara as they don some coeds’ frocks to sneak out of a sorority house. In Beach Ball (1965) Kincaid was back to wearing a dress (though he was not as fabulous looking as in his prior movie) along with Edd Byrnes, Don Edmonds and Robert Logan as they try to avoid the police at a music fair. And best of all Ski Party (1965), a sort of Some Like It Hot for the teenage crowd, had Frankie Avalon and Dwayne Hickman disguise themselves as British lasses “Jane” and “Nora”, respectively, to infiltrate the opposite sex to learn what women are looking for in a man. In the process, suave Aron Kincaid as ladies man Freddie falls for Hickman’s female persona. At first Hickman finds it annoying but when his girlfriend (Yvonne Craig) keeps giving him grief, he decides to turn back into “Nora” and go out with Freddie because he knows “how to treat a girl.” I bet he does.

teenagers had to choose in seeing the just opened Beach Party or Gidget Goes to Rome. The latter starred James Darren back as Moondoggie and Cindy Carol stepping in for a pregnant Deborah Walley as the new Gidget. With only a short early scene on the sand, this does not qualify as a beach movie as the previous two did and more a romantic comedy travelogue beautifully shot on location in Italy. Co-stars include Joby Baker, Peter Brooks, Noreen Corcoran, and my fave the quirky Trudi Ames. Cindy Carol is perky and fun and I preferred her in this role more than Walley. Thank you John Ashley for knocking up your wife.

More adventurous teens chose the swingin’ seaside sensation Beach Party that made co-stars Frankie Avalon and Annette Funicello forever synonymous with the beach and started its own movie genre. They are backed by a wonderful cast that became regulars Harvey Lembeck, John Ashley, Jody McCrea, Valora Noland, Candy Johnson, Meredith MacRae, Delores Wells, and surf rocker Dick Dale, among many others. It was the surprise sleeper hit of 1963 and without it there would be no Hollywood Surf and Beach Movies: The First Wave, 1959-1969 book.

the exciting biker flick Angels from Hell opened. Shot by director Bruce Kessler on location in Bakersfield, California and featuring reall members of Hell’s Angels, it starred Tom Stern as Mike, a disillusioned GI just returning from Vietnam, out to combat the establishment for sending him off to war. He heads for a new town where his buddy Smiley (Ted Markland) and his other former gang members are part of a new biker club, the Madcaps. Backed by his military experience, Mike takes out the club’s leader and beds the mini-skirted Ginger (Arlene Martel), who lets the bikers hang out at her farm because “they amuse her.” Unlike the other biker chicks, Ginger “hangs loose” and doesn’t want to be any man’s old lady. She rides with Mike and the gang to Hollywood to see a former member, pretty boy Dude Marshall (Steven Rogers), who is now a movie star. Ginger gets jealous of Mike’s attention towards Dude’s bimbo girlfriend (Susan Holloway) and when Mike makes time with a go-go dancer she calls the girl’s Lesbian lover who catches them in bed. During the course of the film the Madcaps drink beer, smoke pot, make love and tangle with “the squares.”(“We don’t want them to love us—just leave us alone.”) Mike’s power as leader of the gang goes to his head as he dreams to unite all the biker gangs, after biker Speed (Stephen Oliver) is “accidentally” killed by the police. When an innocent flower child is raped and murdered by one of the drugged-out bikers (Paul Bertoya as Nutty), the police close in as Mike tries to cover it up, to the consternation of Ginger. Now out of control, an enraged Mike calls for an all-out war against the cops only to die defiantly opposing the oppression of the establishment.

Recalling the shoot in my book Drive-In Dream Girls, Arlene Martel said,

“They [Hell’s Angels] were the most courteous and polite people we encountered. Some of the townspeople on the other hand, were so rude. One day Paul Bertoya and I were eating at this restaurant. This guy comes up to Paul and says, ‘I didn’t think we let any hippie fags into this town.’ He then assaults Paul and they started fighting. Nobody did anything! I was so scared. After my frantic prodding somebody finally called the police. It was a frightening moment—let me tell you. I had not been exposed to anything quite like that before.”

The Mini-Skirt Mob opened starring Diane McBain as a leader of a gang of motorcycle mamas described as “hog straddling female animals on the prowl.” A baby doll blonde whose big screen career began during the days of Sandra Dee, Tuesday Weld, Carol Lynley, Connie Stevens, and Yvette Mimieux, Diane McBain immediately stood out from the pack. While some of them were typed as the viriginal ingenue or pristine girl next door, Diane excelled as the bad girl from a man-eating slut in Claudelle Inglish, to a boozy rich bitch in Parrish, to a uppity socialite in Mary, Mary, to a haughty Easterner in A Distant Trumpet, and not surprisingly Diane rarely got her man. Though some of her contemporaries complained and could not break free of the good girl roles, Diane wished she could play one. She said in my book Fantasy Femmes of Sixties Cinema, “These roles typed me almost forever as the bad girl. I wanted to play the ingenue. I could never understand why everyone wanted to play the bitch. Because when you go into society people view you as they see you on the screen. It’s horrible to be thought of as this messy, horrible person when you’re not!”

Though Diane McBain would seem to be perfectly cast as a beauty queen, she was excellent as the vicious leader of The Mini-Skirt Mob, the ultimate sixties drive-in movie.  It was directed by Maury Dexter and was an exciting variation on the typical biker films released in the late sixties. It was beautifully shot on location in the Arizona desert by cinematographer Arch R. Dalzell and features a winning musical score by Les Baxter. Spurned by her former boyfriend (Ross Hagen), McBain seeks revenge against him and his new bride (Sherry Jackson). She enlists her fellow cyclists to make life hell for the newlyweds. Their idyllic honeymoon is turned into a wild, beer-swilling melee after The Mini-Skirts crash it. The brawl ends with a wild motorcycle chase with Rondell swerving off a cliff. Later the gang causes the death of McCormack who, tiring of McBain’s sadistic ruthlessness tries to help the newlyweds escape. The film climaxes with McBain and Slate catching up with the fleeing couple. While Slate tries to run down Hagen, the women scuffle.  McBain ends up hanging over the side of a cliff with one hand held by Jackson. As Hagen goes to get help from the police, Jackson delivers her own brand of justice and lets McBain fall to her death.

Diane McBain recalled:

“I wasn’t an obvious choice to play this part. I think I was just the person with the recognizable name. That’s what the producers were looking for. After I agreed to do this movie I went out and learned how to ride a motorcycle.  A big motorcycle. When I arrived on the set they gave us these tiny scooters. It was the silliest bike you ever saw. I thought it was ridiculous to have this Mini-Skirt Mob on these small bikes. I knew then I was in trouble.”

“What attracted me to do this film was the role of Shayne. I thought it would be fun to play such a sadistic killer because women don’t usually get to play these sort of roles. The part also required me to do my own stunts. I rode my own motorcycle. I actually hung off the mountain attached to a cable. And I did the fight scenes with Sherry. We had been roommates at one time so we were fairly friendly. We had no problems doing those scenes. Actually, all the actors got along nicely which was great because we shot it on location. Patty McCormack was very nice. Jeremy Slate was friendly and professional with me but we didn’t get close or anything. He often plays the tough guy because he has those distinct features. Harry Dean Stanton was such a character, very intense with a spark in his eye. It always looked like he was keeping some funny little secret.”

Viva Las Vegas opened starring Elvis Presley and Ann-Margret. Some feel (not me) this is the King’s best sixties movie and a lot of the credit went to sex kitten Ann-Margret who more than held her own singing and dancing opposite him. Their chemistry lit up the screen and continued once the cameras stopped rolling as Elvis famously romanced the redhead throughout the entire shoot only to fade out once production wrapped.

Elvis played Lucky Jackson a racecar driver in town to compete in the Vegas Grand Prix. Lucky is immediately attracted to Rusty Martin (Ann-Margret) a red-headed stunner who wiggles her way into his garage with car trouble. Lucky’s racing rival Count Elmo Mancini (Cesare Danova) also flips for her charms. Guess who wins the big race and the girl?

Christopher Riordan recalled making the movie in my book Talking Sixties Drive-In Movies:

“Elvis was delightful—right from the very beginning. He was the kind of man that if he saw that you had some kind of talent or had dedication or what have you, he’d zero in on that immediately…Ann-Margret is shy, but a sweet, sweet lady and not at all pretentious. She was having a grand time on Viva Las Vegas even though she worked really hard on this. I wound up working with Ann-Margret two more times.”

Parrish opened starring everybody ‘s wet dream Troy Donahue with not 1 but 3 leading ladies – Connie Stevens as a gold digging slut, Diane McBain as booze-swilling rich bitch, and Sharon Hugueny as the (yawn) good girl. All set in the tobacco fields of Connecticut!?!

After their success with  (1959), star reunited with director Delmer Daves for Parrish. The Golden Boy (who stepped in after reportedly Warren Beatty turned the part down) plays Parrish who reunites with his mother Claudette Colbert working as a governess for rich tobacco grower Dean Jagger in Connecticut’s Tobacco Valley. For me, Parrish is the most entertaining of Warner Bros.’ early Sixties romances (Susan Slade, Claudelle Inglish, , etc.) that they released featuring their contract players. Donahue was one handsome man and never looked better though he seems so out of place in a tobacco field. He is paired with Warner Bros.’ top two starlets both going over-the-top with their melodramatic roles though under stated as compared to the hammy Karl Malden as the meanest richest tobacco grower in the valley making Parrish a camp tour-de-force.

Connie Stevens beat out Tuesday Weld to play a slutty farm girl who wears false eyelashes and makeup while toiling in the steaming tobacco fields of Connecticut in the dog days of August. While new boy in town Troy Donahue is attracted to her, she spends her nights with rich married Hampton Fancher. After she gets knocked up, her popularity plummets as Fancher deserts her and Troy only wants to be friends leaving poor Connie to raise her baby alone.

In contrast, Diane McBain played tobacco farmer Dean Jagger’s spoiled, willful daughter who dumps teen dream Troy Donahue when he refuses an offer to work for wealthy tycoon Karl Malden. McBain marries the rich man’s younger weak-willed son and their dysfunctional unhappy marriage causes her to drink and sleep around. Realizing money can buy lots of Jack Daniels but can’t buy you happiness, she makes a desperate pathetic attempt to reunite with Troy who rejects her and chooses Malden’s much nicer rebellious daughter Sharon Hugueny.

Commenting on making Parrish in my book Fantasy Femmes of Sixties Cinema, Diane McBain said:

“I like Parrish.  It was fun to do. I played my first movie bad girl in this film and it typed me almost forever. Troy Donahue was a star at that time and that’s what they wanted. Troy and I got along very well. He’s a good guy. Perhaps Connie Stevens and I should have been rivals but we were friendly.

This was Claudette Colbert’s swan song in the film business. I’m sure she wanted to make a good impression. I was a novice actress. Even though I had done some things in television, I still was quite green. I didn’t sleep a wink the night before the first day of shooting. When it came time for me to say my lines I just froze. I couldn’t remember any of the lines I learned. In all honesty, I ruined the scene. It was pure terror for me. Colbert and the director got very upset with me. I think she looked upon me with some sort of disdain. I was very aware that she was not happy and she had every right to be unhappy. I swore that I would never let that happen again. And I haven’t.  It was the only time.”