Die Dame und der Killer

The film is the story of an acting troupe (Anthony Quinn, Sophia Loren, Eileen Heckart, Margaret O'Brien) who run into various monetary and Indian problems as they travel across the Western United States.

George Cukor, who directed this film, supposedly never liked how the usual western looked. They lacked color, according to him, and in "Heller in Pink Tights," Cukor set out to remedy that. The film is full of vivacious color. From Eileen Heckart's orange hair to Sophia Loren's platinum blonde wig and the various pieces of clothing that they wear. Visually the film is quite arresting. It mixes such loud, bright colors with the colors of such a rigid and tough landscape.

While the use of color is certainly interesting, the film never gets quite as far. The story is entertaining, but in a silly way. The chemistry between Loren and her two love interests (Quinn and Steve Forrest) is non-existent. She also looks totally uncomfortable with the blonde wig she is saddled with. Eileen Heckart is fun as the loudmouth actress/stage mother to O'Brien's character, and Anthony Quinn is his usual "dramatic" self.

"Heller in Pink Tights" certainly is a different kind of Western. I just only wish the film's story would have been as interesting as its use of color.

Director George Cukor's only western, this is about a traveling stage show that keeps getting into trouble because of the escapades of their leading star, Angela Rossini, deliciously played by Sophia Loren, quite fetching as a blonde. She is top billed along with Anthony Quinn. It also stars an adolescent Margaret O'Brien (a child in "Meet Me in St. Louis"), whose mother does not want her to grow up.  I thought O'Brien was as charming in this as she was in "St. Louis."  

I had never seen "Heller" in its complete form, never in any quality print, and this DVD looks great.  I'd only seen edited for TV versions, and that made it hard to follow.  Seeing this DVD release surprised me.  The film is top notch Cukor, ranking as one of the most entertaining westerns of the 1960s. The director also got a full- blooded and emotional performance from Loren, perhaps one of her most natural, and the director even held the reins on Quinn, who could overdo his roles on occasion.

Actor Steve Forrest also has a well-integrated part, and his character appears at just the right moments to thrust the story forward or change its direction.  Ramon Novarro (Judah in the silent "Ben-Hur," opposite Garbo in "Mata Hari") appears on screen for the last time, effectively playing a conniving banker.  If you go into this film with an open mind, I think you'll find that it is funny, exciting, romantic and often surprising. I never knew where it was going, and that made it refreshing. You'll probably also enjoy the wonderfully visualized period atmosphere in stunning Technicolor. There's also a fine score by Daniele Amphitheatrof, a far too unappreciated composer.

Give this film a try. You'll probably have a good time.

The look alone is worth the trouble. Rich, colorful, slightly baroque. Sophia Loren is as good as when she's directed by a great actor's director, this time is not Vittorio De Sica but George Cukor and her timing, her intention as a character is total perfection. Her sympathy is not merely believable but contagious and sympathy was Loren's secret weapon. True, it's not your Ford or Hawks western if anything it's closer to Sergio Leone with a slightly more refined if not feminine sensibility. The showdowns here are not of gun powder but of love power. The Art Direction is superb and the film shouldn't be dismiss because it doesn't fulfill the rules of the genre. This is a Cukor film and that in itself makes it a cut above most movies. Anthony Quinn is also traveling unknown territory very successfully. Eileen Heckart is, as usual, a scene stealer: "She's only sixteen!, only sixteen, do you hear?" she shouts trying to protect her most valuable asset, her daughter, played by Margaret O'Brien wanting to be accepted as a 20 year old. An extra plus for film lovers is a glimpse of Ramon Novarro one of the biggest stars of the silent era.

Heller in Pink Tights is directed by George Cukor and adapted to screenplay by Walter Bernstein from the novel "Heller With a Gun" written by Louis L'Amour. It stars Sophia Loren, Anthony Quinn, Margaret O'Brien, Steve Forrest, Eileen Heckart and Ramon Novarro. Music is by Daniele Amfitheatrof and cinematography by Harold Lipstein.

In simple terms this is Cukor trying to be clever whilst doing his only Western film. Plot basically follows The Great Healy Dramatic and Concert Company as they represent civilisation and culture coming to the Wild West. It's part spoof, part period farce but always narratively shallow. The costuming and colour lensing are sublime, undeniably, but these can't compensate for such a turgid story being performed by miscast stars.

Quinn called the picture unfortunate, Loren (looking painfully thin and sporting an unfortunate blonde mop on her head) was unhappy with the direction she received and serves solely as a clothes horse, while Cukor himself bemoaned cuts made by Paramount that further damaged what he thought was already a weak story. Receiving mixed reviews upon release, "Heller" was a box office flop, and really it's not hard to see why. Even if there's some value for Loren and Edith Head (costumes) fans. 4/10

This strangely titled western follows the adventures of a group of stage actors who participate in a traveling theatrical troupe. It is an unusual subject for a western - one rarely portrayed on screen - and novelty value alone almost makes the film worth a look. The film is, however, never quite as fascinating it sounds. There is a nail- bitingly intense poker game in the mix, and all of the troupe's stage performances are excellent with some surprisingly raunchy costumes courtesy of Edith Head, plus lead actress Sophia Loren playing all the important male (!) stage roles needs to be seen to be believed, however, everything off-stage is less engaging. Loren lacks chemistry with lead actor Anthony Quinn and only has slightly more chemistry with Steve Forrest as a crooked gunslinger who takes to protecting the troupe to get closer to her. The film has a couple of great supporting characters in Margaret O'Brien as an upcoming young actress and Eileen Heckart as her overbearing, over-protective mother; the banter between the pair is always very real and O'Brien's struggle to break out as an actress of her own (asking Quinn whether he finds her attractive at one point) is encapsulating. The film is, however, a Loren vehicle through and through and there is a limit to how far the filmmakers can push her story, unusual subject matter or not. That said, there is enough that it is worthwhile here, but on the same note, it is understandable why director George Cukor was disappointed with the final product. As for what the title means, it is anybody's guess.