'Lucky Lady' & Other Cine-bombs of My '70s Youth

 

The most memorable thing about 1975's 'Lucky Lady'
starring Gene Hackman, Liza Minnelli, & Burt Reynolds
may be this beautiful Richard Amsel poster.

 

I discovered classic films during the early '70s, on TV afternoon movies. This coincided when Hollywood struck gold with modern cinematic gems that harkened to its studio era heyday: The Way We Were; The Sting; Chinatown; and That's Entertainment, to name the most notable.

Alas, there were an equal amount of much-hyped films that my '70s teen self couldn't wait to see, but which never made it to my local theater in Upper Michigan. And for good reason—most were flops!

One of the few film duds that did come to my hometown Manistique was 1974's The Great Gatsby. The 3rd version of F. Scott Fitzgerald's novel actually made money, but was a disappointment because of the enormous money spent making and promoting the lifeless movie. I was turned off because I already loved the book and couldn't imagine why anyone would pine after Mia Farrow for a decade. As for remote Robert Redford, he was not great as Gatsby. The supporting cast came off best in this fashion spread of a movie, which I never saw again.

My entertainment guru of the '70s was Rona Barrett, who really beat the
 drums for 1974's "The Great Gatsby." Note the Lucy headline at lower left!

I was also excited to see Lucille Ball as Mame in ’74. I watched all three of Lucy's series, which CBS was running: I Love Lucy and The Lucy Show in daytime reruns and Here's Lucy in prime time. The latest series should have been a warning. Canned comedy ensued whenever Lucy Carter met a celebrity and irritated them with her star struck antics or looked for an excuse to sing. On I Love Lucy, Ball's singing always caused intentional laughter. 

'Lucille Ball as Mame' was the hype mantra for this 1974 mammoth musical.

There were all kinds of promo for Mame. The gay geek that I was, I kept looking at the big spreads Rona Barrett's mags, marveling at how young Lucy looked. And there was the new fave, TV's Maude, Bea Arthur in a black Joan Crawford wig and ankle straps. I was awestruck —and so naive.

Love this headline for Rona Barrett's 1974 story on "Mame."
The short answer is NO!

Then the bad reviews for Mame came out… then there were stories about the reviews! I read one news story of Lucy at an event, dabbing tears away, distraught over the backlash. The news photo showed that she did not look young, despite Ball all dolled up like Mame. The film never shook the blues in my hometown! 

I saw Mame a couple times later on TV. My thought was that if the songs with Lucy's raspy singing were cut, Mame would have been much better. Only, then you would have Auntie Mame again. So why not just watch the 1958 Rosalind Russell as Mame Dennis?

Lucille Ball was a favorite veteran star for Rona Barrett magazines. 

Next, I was fascinated that my favorite star, Elizabeth Taylor, was heading an all-star musical remake of The Blue Bird, filmed in Russia. Directed by George Cukor, it was hyped as the ‘70s answer to The Wizard of Oz. I read gossip items on the troubled filming, but when I saw that Rona Barrett was promoting a big spread for the epic in her next issue, I was hopeful. Then the issue came out, and no sneak preview of Easter 1976’s The Blue Bird! I've only seen clips of the elusive epic on You Tube since and that was plenty. The Blue Bird looks like a chintzy costume party.

I was agog when I bought this People magazine with Elizabeth Taylor in
 costume in "The Blue Bird." I think I still have the Milton Greene cover shot.

A lovely poster for 1976's "The Blue Bird," a gawd-awful movie.

By 1976, I was becoming a jaded teen when it came to modern Hollywood cashing in on old-time Tinseltown. I loved the biography book, Gable and Lombard, which made me a new fan of Carole Lombard. When they cast Marcus Welby's James Brolin as Clark and newcomer Jill Clayburgh as Carole, I was appalled. When clips were previewed on TV talk shows, I knew once again that the onscreen Gable and Lombard was never coming to Upper Michigan. I finally watched Gable and Lombard during 2020's Covid lockdown, and found the film bio inaccurate at best, smutty and juvenile at worst.

I was hoping that 1976's "Gable and Lombard" wouldn't be as terrible
as it looked... sadly, it was!

And there was so much bad press about Barbra Streisand's ’76 remake of A Star is Born that I vowed not to go see it. In the '70s, people would flock to see Streisand sing from a phone book, so Star was a big hit. My female classmates loved it and when I sang the praises of Judy Garland's version over Babs', their sullen stares said, “Shut up, nerd!” I didn't see Streisand's Star until 2017, over 40 years later. It was indeed still awful, after all these years!

By the time 1976's "A Star is Born" came out, I never wanted to hear about this
 ego trip again. I finally watched Babs' version in 2017!

This brings me to 1975's Lucky Lady, which inspired all these movie memories. This was another event movie that I was all excited about back then: Cool Burt Reynolds! Judy Garland's daughter, Liza Minnelli! Gene Hackman, that guy from The Poseidon Adventure! And dreamboat Robby Benson, who sealed the deal! They were starring in a comedy caper like The Sting, which I loved. Once again, I pored over my bible, Rona Barrett’s magazines, trying to figure out what Lucky Lady was all about. Turns out, not much! The Christmas blockbuster was looked upon as a cinematic lump of coal and bad word of mouth trumped three superstars at the height of their appeal. This too didn't come to pass at my hometown's theater.

Just watched 1975's "Lucky Lady" for the 1st time in 2026! Better late than never?

I just saw a great copy of Lucky Lady for the first time on YouTube, in March 2026, over 50 years later. The disjointed story and style of Lucky Lady reflects its troubled filming. The plot of Lucky Lady was inspired by rum running stories on the western coast and classic buddy movies where the men fight over the sassy leading lady. What appeared onscreen was pretty thin, and no one knew how to end the movie. No one liked the original finale, where the men were killed, ala Butch Cassidy and the Sundance Kid. One version that was quickly discarded had the trio reunited in their senior years and looking decomposed, not aged. 

The "old age" ending for 1975's "Lucky Lady" was quickly scrapped,
for good reason. The stars look mummified!

Stanley Donen, a classic era director fave of mine, was past his prime and out of his depth. As the romantic triangle, Gene Hackman fares well enough, displaying an early comic touch. Liza Minnelli, the leading lady, just wrote in her memoirs that Gene was extremely rude to her throughout filming. Hackman could be a curmudgeon, I think because he was rarely cast as a romantic leading man. Or perhaps it was because Gene was appalled by Liza's obnoxious performance as Claire. If you looked up "over the top," in the dictionary, I'm sure Liza's picture is on that page. And Liza goes beyond the pale in Lucky Lady. Minnelli is all over the place—character, comically, and she caterwauls her dialogue and two songs, both Kander and Ebb on autopilot. My guess is director Donen turned Liza loose, hoping the results would be triple threat Judy all over again. She looks like a deranged Clara Bow and whines and wheezes in her harried moments like Shelley Winters! Burt Reynolds is the surprise here. As the handsome but dim rum runner, Burt doesn't fall on his mock macho shtick and is quite endearing. Reynolds was a natural comic actor and could be a strong dramatic one, too. A shame Burt didn't prioritize those qualities over stardom.

Liza Minnelli, Gene Hackman, & Burt Reynolds take over the "Tonight Show"
 to promote 1975's "Lucky Lady." Everyone seems jovial here.

Gene Hackman, Liza Minnelli,  & Burt Reynolds may be wondering how
they got stuck in 1975's "Lucky Lady" here.

It must be said while Gene, Liza, and Burt were at the top of their ‘70s stardom, independent modern day stars weren't any better at choosing scripts than the old studio star system. All three made some real clinkers during this time: Gene in Zandy's Bride and Bite the Bullet; Liza in A Matter of Time and New York, New York; Burt in W.W. and the Dixie Dance Kings, At Long Last Love, and Nickelodeon. None of which I have seen, nor plan to, ever!

Of the superstar menage a trois with Burt, Liza, & Gene? I'd take only one!
 1975's "Lucky Lady."

As for Lucky Lady, what began with anticipation became a boondoggle, with a final film that satisfied no one. Visually, it's lovely despite the excessive soft focus, filmed along the water in Mexico. Some beautiful architecture serves as backdrops. Despite the incoherent story and unfunny dialogue, Gene, Burt, and Robby Benson, do decent work. But you have to be a hardcore Liza fan to enjoy her performance—she's one unlucky lady here. 

A sweet snapshot of the "Lucky Lady" cast: Robby Benson, Burt Reynolds,
 Liza Minnelli, & Gene Hackman.

Up next for Minnelli was New York, New York, which was another troubled production that flopped on first release. A few years later, a director's cut was released, to better effect. While Liza won praise for New York, New York, it's almost an anti-musical, not a tribute. To revamp a quip that Bette Midler made about another '70s song-laden movie disaster, "I never miss a Martin Scorsese musical.”

Well actually, I did. I don’t even recall if New York, New York came to Manistique—a Minnelli miss to be remedied at a later date!

Another big movie everyone was excited about... until it was released!
Rona Barrett gives the big build-up for 1977's "New York, New York."

My deep dish on Barbra Streisand's diva version of A Star is Born: 

https://ricksrealreel.blogspot.com/2017/08/barbra-streisands-star-is-born-still.html

 

 

 

 

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.