Zwei Frauen um Joe

Laura (Suzanne Pleshette...Hi Bob!) is married to Matt (Ralph Meeker), but we can see right off she's not as happy as she might be. They hire horse trainer Joel, played by Ty Hardin, who married eight times. Tied with Liz Taylor! Laura gives Joel good advice on how to deal with hubby, but when Laura gives Joel more than advice, Joel is canned. So he figures a way to buy a long shot horse and try going into business for himself. Ups and and downs along the way, if he can get the horse in shape to win. Now, for better or worse, he's on his own! Directed by Richard Wilson, who had worked with Orson Welles for years. The film is a little formula, and the last ten minutes are pretty corny, but aside from that, it's mostly good. Kind of a study in business and personal relationships.

Apt title for a screenplay that talks much and says little.

Ty Hardin stars in Wall Of Noise a story about a thoroughbred racehorse trainer anxious to succeed and do a bit of social climbing. He's working the west coast circuit and most of the film is shot in Hollywood Park which is now history.

The social climbing consists of him falling for the wife of Ralph Meeker who has hired him to be trainer of a stable of racehorses he's starting. Meeker is a rather crude Harry Brock type married to former old money heiress Suzanne Pleshette and she's bored with his boorishness. She's got an itch and Hardin is around to scratch said itch.

Through a bit of Pleshette's scheming Hardin goes on the hook for the cost of a promising racehorse who's quite a bit rank. Meaning he has to win a big stakes race or else. There's also a good girl, not too good mind you, but Dorothy Provine has it big time for Hardin.

I always like racetrack stories like this or humorous ones like the Marx Brothers in A Day At The Races. This one is most serious with some fine characters. Acting honors go to Suzanne Pleshette as a woman trapped in a most loveless marriage who finds herself coming up way short on her machinations.

If you want a good cinematic day at the races, bet on Wall Of Noise.

I hesitated to watch this film because I have zero interest in horse racing; but when I saw that Pleshette and Meeker were in the cast, I decided to give it a go. Initially, I wasn't impressed. However, as it progressed, I grew more interested to the point I wanted to see it all the way through. It's an interesting glimpse into the industry.

Overall, it's not a fantastic movie. It's melodrama with some action sequences here and there. Nonetheless, the storyline drew me in; and I was glad I watched it all the way through.

There's some really cool cinematography here. The horse racing sequences are fine examples of that. Pleshette's costuming is nothing short of gorgeous; and if you're into set decoration and design, there's scenes featuring luxurious furniture examples of the 1960s.

My only true criticism is more in the form of a question: If Ty Hardin had not been handsome, would he even have had a career as an actor?

For a real kick, do some internet research on Mr. Hardin. It will surprise you.

Daniel Michael Stein's novel--about racetrack characters betting with their money as well as with their lives--becomes typical Warner Bros. stew capably filled with their contract talent. Glowering Ty Hardin, built like a brick and possessing maybe two different expressions, plays a well-respected horse-trainer at Hollywood Park who, with the help of a wealthy horse-owner's neglected wife, becomes an owner himself; his new racehorse entry, however, is an untamed wild-card, a fast but stubborn animal who can possibly get Hardin into the Winners' Circle, but at what price? Ralph Meeker oozes stubborn villainy as the man Ty would love to beat, Suzanne Pleshette is Meeker's spouse (with heavy lids and heavy sighs), while Dorothy Provine is Hardin's ex-girl, a fashion model who lays her virtue on the gambling table. The leads all do fine work, but two supporting players steal their thunder: Simon Oakland as Provine's blow hard boss (they have an electrifying scene together near the climax) and Jimmy Murphy as Hardin's former friend but choice jockey. Excellent cinematography from Lucien Ballard (one of the best in the movie business at this time) and a fine score by William Lava make up for lapses in the script; there's some clumsy story exposition at the beginning, and even clumsier character exposition coming in too late at the close. Still, the plot is mounted very well, and though the mechanisms at work definitely skirt '60s-era television melodrama, the formula remains a lot of fun for fans of this genre. **1/2 from ****