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It's always amazed me that this movie doesn't get more respect--sure it's campy, but the performances are fantastic: Christopher Plummer's speech to Daisy by the pool after she's been abandoned by her new husband (a super young Robert Redford playing a gorgeous pansexual for God's sake--what more could a person ask?) is stunning and Natalie Wood's "The Circus is a wacky world"-induced breakdown in the sound booth is brilliant and scary. Roddy McDowell's killing smile as he says "Good night, Miss Clover." Redford getting away with lines like "Good night, sweet, sad, lonely lady" and a drunken Malora (great name) screaming at Daisy "They say I've got a headache, BUT I'VE GOT A HEARTACHE!!!" The gorgeous black and white promotional video of Daisy singing and bouncing her way through the cardboard galaxies. All incredible stuff--why isn't this on DVD yet? Wake up, Hollywood, and give us this treasure on DVD!

Almost everything about this film ... from the casting and acting, to the plot, to the musical numbers, to the costumes and hairstyles ... seems fake.

Natalie Wood, 27 years old, plays 15-year old Daisy Clover, a spunky tomboy/brat/beach bum extraordinaire. Daisy, who lives with her eccentric elderly mom, played by Ruth Gordon, in a shabby wooden trailer near the beach in Southern California, has Hollywood stars in her eyes. And when Raymond Swan (Christopher Plummer), head of The Swan Studio comes calling, Daisy jumps at the chance to be a movie star.

She leaves her mom and lets Swan remake her into America's ideal of a teenage girl. In effect, Swan Studio is Daisy's image maker. Even though surrounded by cold-blooded snakes in the movie business, Daisy is such a brat that she doesn't elicit much sympathy from me. But then I found little interest in any of the characters.

With the exception of Daisy's mom, the characters lack depth of emotion. Maybe that's the point ... Hollywood is filled with emotionally empty people. They're all image, no substance.

Set in the 1930s, the film has visuals that look straight out of the 1960s, especially relative to hairstyles and costumes. The musical numbers, though well executed, trend toward upbeat, bubble gum optimism, which is inconsistent with the film's overall thematic cynicism. I know what they're driving at with these musical numbers. But the abrupt tonal shift is jarring.

Perhaps the worst element of this film is Natalie Wood's performance. She seriously overacts. It's a performance not unlike that of Patty Duke, in "Valley Of The Dolls" (1967).

"Inside Daisy Clover" is filmed in color. It would have been more realistic had it been filmed in 1930s B&W. And the cinematography projects an annoying wide screen image.

The only thing I liked about this film is the presence of the always interesting, and unique, Ruth Gordon. Otherwise, this film is forgettable.

This movie often seems surrealistic, sometimes comic, sometimes despairing and it has musical numbers which come from another dimension entirely--they are a mix of Busby Berkeley and 1960s design. The film seems like an eccentric comedy at first with 15 year-old tomboy Daisy (Natalie Wood) and her wacky mother (Ruth Gordon) both competing over who can chew scenery faster. Suddenly, she's plucked by sinister studio head Christopher Plummer and turned into a star. The studios of the time were certainly often sinister, but I found the dispatch of Ma Clover to the mental institution a bit of a stretch. The film has other implausible moments plus a tone of anachronism as the songs, by Andre and Dory Previn, are 1960s Broadway in style. Many scenes of loneliness and isolation--a strangely deserted Santa Monica pier,an empty desert motel, a studio that always seems empty, even the sound stages seem empty. You rarely see the bustle you expect in a film set at a studio or in Hollywood. This is an odd, fascinating, 1/2 successful film.

This film seems way ahead of it's time, made in 1965 it's one of the first to show a darker side of Tinsel Town. Natalie Wood plays a tomboy who's plucked from obscurity and becomes a teen singing star. Her character is almost immediately jaded by the experience, manipulated by a studio head and a dubious male heartthrob, played by a stunning looking Robert Redford. Ruth Gordon once again stands out as the teen stars' mother. Christopher Plummer is excellent as the smooth studio head with Roddy McDowall as his cold assistant. Katharine Bard plays Plummers' wife, and her character is fascinating. She seems to float and flow when she moves and her character sums up the film's overall feel. Distant, detached and alien yet seething with anger and disappointment.

The problem with the film is that it's very dark in tone. That is to say the slick big budget production is overshadowed by a strange menace, highlighting the fact that the studio system was basically a people factory, uncaring and cannibalistic. Audiences at the time must have been very confused, expecting a light, breezy musical. Instead it's a realistic yet stylized downer, reminiscent of Valley of the Dolls, which was yet to come. There's very little genuine romance, sentiment or humor, just a steady flow of odd scenes.

This is one of those movies that many have never heard of, it remains obscure despite it's almost epic appeal. It's certainly worth a look, but just try to nail it down to any specific category.

A rather strange film upon revisit. For those who have loved Aldrich's LEGEND OF LYLAH CLARE and BAREFOOT CONTESSA--This one is for you. Granted Natalie Wood is playing young when the actress was in her late 20's--but her legend is alive and well in this film. Plummer is amazing, as is the actress who plays his manic depressive wife. The film is beautifully shot in and around LA, and the Kurt Weill'ish musical score by Previn is superb. A decidedly campy look inside the film studios of the Forties, but intriguing, interestingly acted, superbly scored, photographed, and one of those strange films in which the leading lady who died tragically offers many amazing moments to remember. The film was horribly reviewed when it was first released--but time and the personal stories, both successful and tragic, of many of its actors, give the film a certain fascination in 2002. Unfortunately it has not yet been released on DVD--but it must be seen in wide screen and not in the pan and scan version available on VHS. Gavin Lambert did the screenplay based on his own novel. . .and it works.