Gina Lollobrigida an Unhappy Hooker in ‘Go Naked in the World’ 1961

 

In 1961's "Go Naked in the World, " Gina Lollobrigida's working girl
can't even go to Acapulco without being recognized!

MGM's Go Naked in the World is one of those mid-century movie soap operas that have one foot in the fuddy-duddy '50s and the other in the sexy '60s. And the disparity shows in this schizophrenic story. The 1961 slick sudser stars Gina Lollobrigida as high class call girl Julie and Tony Franciosa as returning GI Nick Stratton, who's gaga for Lollo. Standing in the way is his overbearing father, Pete Stratton, overplayed to the hilt by Ernest Borgnine.

Sizzling romance, followed by gloomy guilt, is the wash, rinse, repeat formula
 of 1961's "Go Naked in the World." With Gina Lollobrigida & Tony Franciosa.

If this plot seems vaguely familiar, MGM had just released BUtterfield 8 the year before, with Elizabeth Taylor as a high class girl who has an ill-fated love affair with one of her admirers. Later in '61, Metro would also release Ada, starring Susan Hayward, as a working class hooker who propels her hubby to congress—doesn’t sound so absurd today, does it?! 

If classy MGM seemed preoccupied with prostitutes during this time, legend has it when Elizabeth Taylor was on the hook for one last film they offered her all three roles in succession to cash in on her then scandalous image. She grudgingly settled on BUtterfield 8, which became their highest grossing film of the year. The other movies were not hits. Frankly, all three are just entertaining trash, but Taylor was at her zenith, and the public flocked to see her sinner soap opera.

Gina Lollobrigida as a hot & haughty call girl, 1961's "Go Naked in the World."

Like Taylor's fiery call girl, Gina's Julie is similarly independent, and also brought low by love in Go Naked in the World. They both meet smooth-talking men, fall head over stiletto heels, yet feel tortured by their sinful lifestyles, all while slinking around in Helen Rose cocktail dresses. And yes, to pay for their sins, these ladies of the evening gowns pay the ultimate price. And the men who loved them get off the hook scot-free save for some noble tears.

Tony Franciosa & Gina Lollobrigida flirt/fight, 1961's "Go Naked in the World."

In the case of Go Naked in the World, the sinful set up seems silly from the get-go. Franciosa's returning soldier brags that he knows how to make love in 12 languages, yet doesn't recognize a call girl when he sees one. Tony is made out to be boyish and his Nick is constantly referred to as a "kid." From the same name novel, Nick’s 23, but Tony's 33 here, with Gina, who was 34. So his naiveté seems false. He first sees Julie, all dolled up at a cocktail bar with an older man, who suddenly must stand her up. Later, at her apartment, Nick comments that her phone is always ringing and that her apartment seems impersonal, with an empty fridge, save for champagne and olives. Clue, she's not a librarian! On Julie’s part, she knows that his father was one of her former clients, not to mention all his business pals! With Sonny Boy instantly falling in love, why even go there? Romance and regret ensue, natch.

Tony Franciosa's soldier thinks working girl Gina Lollobrigida's swanky pad
 is sterile in 1961's "Go Naked in the World. "

Aside from Tony being too old as the young swain, he's also only 10 years younger than Borgnine. As his pop, Ernie’s the Greek buffoon/tycoon, forever yelling that he's an old dying man. He clutches his hollering heart attack more than Fred Sanford!

Ernest Borgnine's Greek papa has more heart attacks than Fred Sanford,
in 1961's "Go Naked in the World."

The moment we see Ernie's Pete, he's waiting for Nick in his hotel room, irate he hasn't returned immediately to the family home. The minute Pete sees his son, he yells louder than Seinfeld's Frank Costanza! Bellowing, berating, belittling—all because he wants what’s best for son Nick. The fatherly demonstrations of love to his family have to be seen to be believed! Ernest's carrying on like an old man at 43 is especially absurd.

Tony Franciosa as prodigal son Nick is exhausted by his father's overbearing
 personality, in 1961's "Go Naked in the World."

Tony's Nick repeatedly proclaims that he wants to be his own man, but he's always hitting up his dad for dough, or sponging off Julie. The one truly good scene in this sleazy soap is when Ernie makes his son come out on a construction beam 20 stories high for his handout. 

Tony Franciosa's Nick has to work hard for his handout from father Pete
 (Ernest Borgnine) in 1961's "Go Naked in the World."

Tony is head over heels with Gina after one night—typical romantic movie scenario. He naively brings her to his parents' anniversary party, where she is all dolled up and sticking out like a sore thumb. Well, Pops and all his aging buddies recognize her! When Nick has his eyes opened, he goes through the typical wronged movie male tropes, capped by flinging money in Julie’s face. From then on, it's a cycle of recriminations, reconciling, and regret. Their affair becomes exhausting!

What's a sordid soap opera if the jealous lover doesn't throw money
in the face of his working girl, in 1961's "Go Naked in the World."

The cast are given thankless roles, with illogical plot turns, and truly absurd dialogue. While Ernest Borgnine is a great actor and has some touching scenes, he is encouraged to go big, and certainly does!

Ernest Borgnine goes full tilt as a Greek tycoon, in '61's "Go Naked in the World."

Tony Franciosa, while handsome and capable, played the weak charmer once too often and I think it hurt his film career. I always found him glib and affected, with his line delivery reminiscent of a smarmy Tony Curtis.

Tony Franciosa as the louche son, should put his "skills" to good use,
but lives off his rich dad & working girl, in 1961's "Go Naked in the World."

Gina Lollobrigida comes off best here. While Gina never had Sophia Loren's natural fluid emotional quality, she does well here, for the most part. Like Elizabeth's call girl Gloria, Gina's Julie is the story's whipping post for the phony morality after wallowing in dirty soap suds. And like Gloria, Julie must pay for her sins by death.

An intense scene when Gina Lollobrigida's Julie instigates her lover's
 jealousy and a subsequent gang rape, in 1961's "Go Naked in the World." 

At the finale, Julie debases herself in a dive bar to drive Nick away, and on the way home from her walk of shame, takes a plain white dress she finds on a clothes line. Once home, with makeup and hairdo washed away, garbed in a white death shroud, Julie jumps to her death. Gina does a good job of giving Julie empathy.

Gina Lollobrigida's final scene, where she comes clean of her prostitute
 persona and commits suicide. 1961's "Go Naked in the World. "

This was one of screenwriter Ranald MacDougall's few directorial efforts. He is not in good form at either in this campy outing. The storytelling in plotting and dialogue are so bad that Go Naked in the World plays like a SCTV spoof. The film is adapted from a novel, by Tom T. Chamales, who also wrote Never So Few, which later starred Frank Sinatra and Gina. Milton R. Krasner's cinematography is lovely, the MGM glam squad makes Gina look like a million, and Lollo's in very fine form in Helen Rose's swanky creations. My guilty pleasure is Julie 's plush pad, complete with a portrait of Gina that looks like a Keane!

Working girl Gina Lollobrigida's phone number is busier than "BUtterfield 8."
 From 1961's "Go Naked in the World  "

Go Naked in the World is fun if you're in the mood for camp. The dialogue must be heard to be believed. Maybe better to watch on mute!

Next on Jerry Springer!: "My Son's Dating a Prostitute and Brought Her
to Our Wedding Anniversary!" 1961's "Go Naked in the World."

Gina Lollobrigida was 40 & fab in the 1968 comedy Buona Sera, Mrs. Campbell. Gina's fiery, funny, & sexy as the mother of a daughter about to be married, & has 3 long ago flings who each think they are the girl's father. Sound familiar?! My look at Gina as Mrs. Campbell here: 

https://ricksrealreel.blogspot.com/2021/11/buoyant-buona-sera-mrs-campbell-1968.html

Mrs. Campbell!

 

Veteran Joan Collins & Newcomer Jon-Erik Hexum Make ‘Male Model’

 

Jon-Erik Hexum, blue steel in 1983's Making of a Male Model, co-starred Joan Collins.

Making of a Male Model was a 1983 ABC TV movie, with Joan Collins riding high at 50 from her new Dynasty stardom, as an ambitious model agency owner. Jon-Erik Hexum co-stars a country boy turned NYC super model, and he got a lot of buzz from this, at just 25. The TV film made the Nielson top ten ratings the week it aired and is still classic '80s ABC/Aaron Spelling television eye candy.

A slick made for TV soap opera which borrows a bit—ludicrously—from 1970's Midnight Cowboy. Hexum as Tyler Burnett struts around the streets of NYC in cowboy gear, relying on an older woman, becoming disillusioned by unsavory characters he encounters, except for one down and out new friend. And that's where the similarities end with that gritty classic and this glossy camp classic.

Cowboy Tyler Burnett on the mean streets of NYC, in 1983's Making of a Male Model.

Joan Collins' Kay Dillon likes what she sees in Jon-Erik Hexum's Tyler Burnett,
in 1983's Making of a Male Model.

Joan Collins' Kay Dillon takes a chance on Hexum's hunky hick, and puts him up with fading gay supermodel Chuck Lanyard. Played by Jeff Conaway with over the top awfulness, his Chuck’s cynical sarcasm is a ritzy Ratso Rizzo to Tyler's rube cowboy model. Sadly, Conaway himself went down the drugs and alcohol highway, dying at just 60. Jeff was a boyish and lanky star on Taxi and in Grease, but cast as a supermodel? With a beard that makes him look like Chuck Norris, Jr.?  And BTW, has there ever been a male supermodel named Chuck?!

Fading gay supermodel Chuck Lanyard, played by... Jeff Conaway?
Here, recovering from eye surgery, in 1983's Making of a Male Model.

ABC and Aaron Spelling's favorite perennial male starlet Ted McGinley plays the current model flavor of the month, Gary Angelo. Ted, with frosted blonde hair and tan, looks and acts like a catty Ken doll. In fact, most of the models surrounding Hexum's Tyler look more like soap stars!

'80s ABC male starlet Ted McGinley as a bland but catty model du jour
in 1983's Making of a Male Model.

The story of Making of a Male Model is as old as the Hollywood Hills, but with a male twist. Instead of the gals from Ziegfeld Girl or The Best of Everything or Valley of the Dolls, it's The Boys of the Big Apple soaring and suffering here. I guess that makes Joan Collins the dragon lady, a much less rough Joan Crawford or Susan Hayward, doling out the tough lessons. And in a twist, an affair with Kay means more to Tyler than to her. Tyler responds to Kay's noncommittal nature by going down the same path as chaotic Chuck. In an about face scene worthy of any latter day Joan Crawford bitch-fest, Collins' Kay tearfully tells her secretary in the finale that she let Tyler go for his own good. Sure, Joan!

Joan Collins indicates deep emotions when the career woman tells her secretary she let besotted hunk go for HIS sake! Making of a Male Model.

Before Tyler goes totally all in for booze and dope, he says goodbye to the yellow brick road of male modeling. He buys a carriage horse and rides down the streets of NYC like a rhinestone cowboy—all the way back to Nevada? 

At this point, Joan Collins was an old hand at making glossy trash watchable. Here, early in her reincarnation as Alexis, Joan is still subtle in looks and performance as the career-minded Kay Dillon. Collins is much more humane and warm, as well. Still, you'll think Kay's crazy for not wanting to commit to quarter of a century younger Tyler, who adores her.

Joan Collins stays in character as driven career woman Kay Dillon,
and still looks lovely, in 1983's Making of a Male Model. 

Only in one scene does Joan Collins let Alexis in, inexplicably showing up for her model's shoot, in lady exec drag! From 1983's Making of a Male Model.

I was only familiar with Jon-Erik Hexum as a handsome young actor who died young. I previously have never seen Hexum in anything. That's because he quickly became a star, and who became deceased even more quickly, like James Dean, with just five credits in two years.

Jon-Erik Hexum looking all rugged with baby oil "sweat,"
in 1983's Making of a Male Model. 

Jon-Erik Hexum's new model after his makeover. 1983's Making of a Male Model.

Jon- Erik Hexum was probably the greatest male Hollywood beauty since Guy Madison. A true knockout, he also had a strong speaking voice and genuine presence. For a beginner, Hexum is fairly decent in Making of a Male Model.  Since Hollywood was still coming off its era of realistic film leading men, Erik probably would have ruled on television, like veteran Tom Selleck. Compare Hexum with co-star Ted McGinley (one year younger) in any scene and the difference in star quality is obvious. 

Jon-Erik Hexum's Tyler Burnett cleans up nice, just in time for Joan Collins'
 boss to dump him over lunch! 1983's Making of a Male Model. 

Kevin McCarthy is in slimy villain mode as a client who plays hardball. Familiar faces have bits as fashion photographers, who all hate models: Michael Anderson, Arte Johnson, and Robert Walker, Jr. Jeff Conway's model is gay and handled sympathetically, just before the AIDS crisis. Still, his drunken monologues are the most florid since Van Heflin's BFF to Robert Taylor’s Johnny Eager.

Rhinestone Cowboy meets Cougar Cleopatra! A typical artificial Aaron
 Spelling party scene. At least Sammy Jo doesn't turn up to tear up the
dance floor! From 1983's Making of a Male Model. 

A funny moment is when Joan refers to Jon-Erik's allure as that a cougar. Collins would become Exhibit A in giving new meaning to that word! Also an eye roll is a typically awful Aaron Spelling party sequence, which bears no resemblance to one in the real world. Jon-Erik is duded up as a Rhinestone Cowboy. And Joan Collins gets a chance to play dress-up as Cleopatra once again—Collins tells anyone who will listen that she almost appeared as the Egyptian queen in the 1963 epic. Again—sure, Joan!

Jon-Erik Hexum & Joan Collins make a hot May-December couple in 1983's
 Making of a Male Model. 

Making of a Male Model is really Jon- Erik Hexum's show, with Joan Collins as the special guest star. But they have a nice rapport and make a most attractive older woman/younger man couple. Sadly, a year later, Hexum would be dead a month before turning 27, from an on-set shooting accident. And as of this writing, Joan Collins will be 93 on May 23, 2026. Cheers to Ms. Collins, a true Hollywood survivor!

Joan Collins signature role!

My look at Dynasty, the show that made a star of Joan Collins: https://ricksrealreel.blogspot.com/2020/02/dynasty-catfights-cliffhangers-clothes.html

 

Jon-Erik Hexum's Tyler Burnett will give you "Fever!" 1983's Making of a Male Model. 

 

Robinson, Dietrich, & Raft’s Star Power Gives ‘Manpower’ a Boost 1941

 

"Manpower," with mega-watt star power of Marlene Dietrich, Edward G. Robinson,
 and George Raft. 

Raoul Walsh was a WB director up to the task of putting high-voltage stars like Edward G. Robinson, Marlene Dietrich, and George Raft through their paces in the action triangle, 1941’s Manpower. Walsh specialized in masculine stories, but also with strong female characters. The star trio is game here, but the script is strictly by the numbers.

Bachelor # 1! The lovable lug Edward G. Robinson, gaga for Marlene Dietrich,
in 1941's "Manpower. "

Bachelor #2! George Raft's tough guy plays hard to get, but so does Marlene Dietrich,
  in WB's "Manpower."

In a nutshell, Robinson and Raft play Hank and Johnny, best buddies who work as California electrical line men. Hank is lovelorn but keeps up a steady patter of girl talk; Johnny is a man of few words, but actually gets the girls. Their job is fraught with danger, often brought on by deadly weather. First, Hank’s leg gets electrocuted, and later, Johnny takes a bad fall. In between this, Johnny’s voice of doom old pal, Pop Duval, asks him to take him to his daughter, Fay, who’s getting out of prison. Raft and Dietrich’s characters have an instant love-hate attraction. This is complicated when Pop’s gloomy prediction comes true and he gets fried on the job. When Hank and Johnny go to Fay to give her the bad news, guess who also becomes gaga for Dietrich’s tough cookie? From there, Manpower alternates between the men’s dangerous occupation and their preoccupation with her.

Marlene Dietrich has her hands full in 1941's "Manpower!" With George Raft
and Edward G. Robinson. 

Off-camera, there was friction, as well. Raft resented being third-billed, while playing the lead. He also didn’t like the way Robinson was performing certain scenes together. And rumor had it that Raft was romancing Dietrich, and was suspicious that Eddie was smitten with her, too! It all came to a head when the boys got into a heated argument and shoving match—all captured on-camera by a visiting Life photographer! For more dish, here’s the skinny: https://starsandletters.blogspot.com/2018/12/controversy-on-set-of-manpower.html

 

George Raft and Edward G. Robinson play besties in 1941's "Manpower."
Off-camera, things got a bit beastly between the two stars.

Much of WB's They Drive by Night, from the previous year, had the same talent: director, writer, producer, composer, and several of the cast members. Part of what enlivened They Drive by Night was a juicy subplot lifted from 1935's Bordertown, with Paul Muni as the male lead and Bette Davis as the unhappy wife who bedevils him. Night’s Ann Sheridan and Ida Lupino were far more realistic leading ladies in a WB melodrama than languid and lacquered Marlene Dietrich. Not that Marlene is bad, just very miscast. And what would possess her Fay to marry a homely little man who has a thankless job as an electrical line man?

Eve Arden's fellow "hostess" reacts to Marlene Dietrich’s Fay and her ambivalence
 over marrying a man she doesn't love, in 1941's "Manpower."

The men of 1941's "Manpower!"

The juvenile way the Manpower guys obsess about dames and sex non-stop, plus Marlene’s character is referred to as a "kid" who makes a lot of dumb life decisions is an eye roll, since Eddie G. was 47 and Marlene and George were 40 at the time. That being said, they all play well, given the clichéd characters and script.

No-makeup scene with Marlene Dietrich in 1941's "Manpower." Okay, I didn't say
 anything about false eyelashes and a wig!

Amusing when Marlene gets out of the joint and her first request is to hit a drug store to buy makeup—mind you she's wearing false eyelashes like awnings! From there on, Dietrich's face is painted like a kewpie doll, whether she's working, sleeping, or making morning biscuits for her new husband! Sitting next to fellow clip joint girl Eve Arden—normally made up, Marlene in her mannequin makeup and wig looks like she’s from another movie. 

And she can cook, too! Marlene Dietrich as Edward G. Robinson's blase bride,
in 1941's "Manpower."

Whether horny, drunk, or throwing punches, over-zealous Eddie seems a bit absurd and not especially convincing. Especially when he socks Ward Bond, who's a head taller and built like a brick shithouse! Eddie's energetic emoting is in stark contrast to Marlene and George's deadpan style. And Dietrich is not the only one clinging to '30s makeup—Raft is still wearing generously applied guy-liner and eye shadow!

Handsome George Raft, with smoky eye makeup to go with his non-stop smoking,
in 1941's "Manpower. "

And George Raft's tough guy act, throwing punches and furniture at the least provocation, trash-talking Dietrich's character non-stop, and slapping her up near the climax, doesn't age well at all.

George is getting angry! From WB'S 1941 action flick, "Manpower. "

Edward G. Robinson beating the competition,  in 1941's "Manpower."

Alan Hale is more annoying than usual with his "lovable" buffoon persona. He’s even more over the top here than as the bumptious boyfriend of Stella Dallas or the crass hubby of Ida Lupino in They Drive by Night. There's way too much comic relief, to the point they might as well have brought in The Three Stooges, what with Hale, Frank McHugh, and Walter Catlett, going so overboard.

Alan Hale is the alleged comic relief in WB's "Manpower."

I always loved the WB depiction of the working class during their golden era. A highlight is the diner scene, where the guy behind the counter calls out the orders to the cook in slang. And if you took a drink every time George Raft calls Marlene’s shady lady “sister,” you’d be sloshed! And the girl talk at the Midnight Club clip joint is zingy. Manpower is quite watchable, just rather unoriginal. 

George Raft and Ward Bond are hands-on help when Edward G. Robinson
gets zapped in 1941’s "Manpower."

My look at Marlene Dietrich in a similar role, but with a far better script, in Billy Wilder’s post-war comedy/drama, A Foreign Affair:  https://ricksrealreel.blogspot.com/2023/05/billy-wilders-adult-foreign-affair-1948.html 

Love this montage of George Raft's Johnny recovering in the hospital,  as a nurse
gives him a cigarette! 1941's "Manpower."