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IMDbPro

...denn keiner ist ohne Schuld

Originaltitel: The Oscar
  • 1966
  • 16
  • 1 Std. 59 Min.
IMDb-BEWERTUNG
5,2/10
1529
IHRE BEWERTUNG
Ernest Borgnine, Stephen Boyd, Joseph Cotten, Jill St. John, Tony Bennett, Edie Adams, Eleanor Parker, and Elke Sommer in ...denn keiner ist ohne Schuld (1966)
Showbiz DramaTragedyDrama

Füge eine Handlung in deiner Sprache hinzuArrogant Hollywood actor Frankie Fane is nominated for the Best Actor Academy Award. His friend Hymie Kelly recalls their life together, Frankie's ruthless struggle to the top, and the peopl... Alles lesenArrogant Hollywood actor Frankie Fane is nominated for the Best Actor Academy Award. His friend Hymie Kelly recalls their life together, Frankie's ruthless struggle to the top, and the people Frankie has used and abused to get there.Arrogant Hollywood actor Frankie Fane is nominated for the Best Actor Academy Award. His friend Hymie Kelly recalls their life together, Frankie's ruthless struggle to the top, and the people Frankie has used and abused to get there.

  • Regie
    • Russell Rouse
  • Drehbuch
    • Richard Sale
    • Harlan Ellison
    • Russell Rouse
  • Hauptbesetzung
    • Stephen Boyd
    • Elke Sommer
    • Milton Berle
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    5,2/10
    1529
    IHRE BEWERTUNG
    • Regie
      • Russell Rouse
    • Drehbuch
      • Richard Sale
      • Harlan Ellison
      • Russell Rouse
    • Hauptbesetzung
      • Stephen Boyd
      • Elke Sommer
      • Milton Berle
    • 69Benutzerrezensionen
    • 32Kritische Rezensionen
  • Siehe Produktionsinformationen bei IMDbPro
  • Siehe Produktionsinformationen bei IMDbPro
    • Für 2 Oscars nominiert
      • 3 Nominierungen insgesamt

    Fotos9

    Poster ansehen
    Poster ansehen
    Poster ansehen
    Poster ansehen
    Poster ansehen
    Poster ansehen
    Poster ansehen
    Poster ansehen

    Topbesetzung99+

    Ändern
    Stephen Boyd
    Stephen Boyd
    • Frank Fane
    Elke Sommer
    Elke Sommer
    • Kay Bergdahl
    Milton Berle
    Milton Berle
    • Kappy Kapstetter
    Eleanor Parker
    Eleanor Parker
    • Sophie Cantaro
    Joseph Cotten
    Joseph Cotten
    • Kenneth Regan
    Jill St. John
    Jill St. John
    • Laurel Scott
    Tony Bennett
    Tony Bennett
    • Hymie Kelly
    Edie Adams
    Edie Adams
    • Trina Yale
    Ernest Borgnine
    Ernest Borgnine
    • Barney Yale
    Ed Begley
    Ed Begley
    • Grobard
    Walter Brennan
    Walter Brennan
    • Orrin C. Quentin
    Broderick Crawford
    Broderick Crawford
    • Sheriff
    James Dunn
    James Dunn
    • Network Executive
    Edith Head
    Edith Head
    • Edith Head
    Hedda Hopper
    Hedda Hopper
    • Hedda Hopper
    Peter Lawford
    Peter Lawford
    • Steve Marks
    Merle Oberon
    Merle Oberon
    • Merle Oberon
    Nancy Sinatra
    Nancy Sinatra
    • Nancy Sinatra
    • Regie
      • Russell Rouse
    • Drehbuch
      • Richard Sale
      • Harlan Ellison
      • Russell Rouse
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen69

    5,21.5K
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    Empfohlene Bewertungen

    captainot

    Watch this one around Academy Award time for greater (?) effect!

    The Academy Award. The Oscar. Hollywood's token of prestige and honor. Many try for it. Many fail. Some succeed. A lot of films have been made about the Oscars. Some good. Some bad. This one is completely off the map!

    This movie is the story of an actor up for an Oscar. Sounds simple right? That's what the name says on the movie poster. We then spend the entire movie watching his slow struggle to the top, going through the ranks, overcoming adversity, and finally achieving the nomination. Sounds pretty good, yes?

    But when your hero is Stephen Boyd, an actor who majored in overacting and vein-popping, when the script uses every movie cliche in the book, when the directing is at best horrible, you're in for a rough voyage.

    Throw in Milton Berle as Boyd's agent and it gets ugly. Uncle Miltie plays it straight, trying to garner a real Oscar nomination for Best Supporting Actor. An hour into this movie, you're praying Berle will dress in drag just to lighten things up. His whole performance screams "Nominate Me!"

    However, this movie was doomed when Tony Bennett was given the role of Boyd's best friend/narrator of the film. This was Tony's only starring role and after 10 seconds, you'll know why. Acting just wasn't his forte. Bennett remains emotionless and motionless when others speak in the film. But when his cue comes up, you can see the twinkle in his eye, his arms flail, and he delivers the line. He wisely stuck to his day job after this movie.

    Look for Hedda Hopper in this film, just months before she died.
    nunculus

    The best terrible movie of all time

    This expose of a Hollywood heel plays like a bush-league attempt at the baroque language of SWEET SMELL OF SUCCESS, but man, does it work. Stephen Boyd is the absurdly mannered amoral punk who'd screw over his mother and steal her shoes to make it to the top. Among those with his shoeprints on their neck are Milton Berle (horny, melancholy, used-up agent), Jill St. John (tragic "roundheels broad"), Tony Bennett (as Hymie Kelly, the tragic Jewish-Irish second banana) and Elke Sommer (Swedish zaftig-bomb with a conscience). As directed by Russell Rouse, THE OSCAR has the feel of Sam Fuller doing overbright TV. The movie is way beyond "campy" or "good-bad;" nearly every scene is a diamond-plated jaw-dropper.
    7AlsExGal

    A guilty pleasure of mine...

    ... and a film that would never win an Oscar nor do I think its makers imagined that it would.

    In the same vein as "Valley of the Dolls", it's a camp classic about Hollywood. It paints Hollywood as full of vicious amoral people, but the worst of them is Frankie Fane (Stephen Boyd). The film starts at the Academy Awards where Frankie Fane is expecting to win the Best Actor Oscar, which he needs to get back on top. The film then traces his rise in Hollywood, a rise that is full of him stepping on other people. There are tons of Hollywood stereotypes and situations in the process.

    But along the way he meets an actor who has aged out of leading parts and has suddenly been labeled box office poison and has to take a job as head waiter where his old Hollywood pals eat because he has also ran through all of his money. Frankie is terrified of becoming that guy, and yet he oddly does everything he can to become just that guy. He uses people and discards them, and he also spends like there is no tomorrow. And then tomorrow comes. Complications ensue.

    It's too bad Boyd isn't better remembered today for roles other than that of Messala in Ben Hur, because he really was a very good actor. He takes a part that could have been quite two dimensional and breathes some life into it so that his character is a very believable and hissable villain.
    tostinati

    As a film, a B or B-; as a nostalgia piece an A+

    I'm less interested in the alleged camp value of this film that I am in the opportunity to again see so many of the names with which I grew up working. It was business as usual in those days fifty years past, and anytime they surface again, in any form, it is to treasure. This film IS Hollywood of the mid '60s.

    The Oscar isn't any worse than 75% of the films of the era. --Or today, when you get down to it. In that day, an all-star cast was employed to conceal all inadequacies; these days, CGI fulfills the very same function. I get it. A lot of people don't, simply because CGI is so big and bombastic by its very nature as to overwhelm judgment. Another fifty years from now, I think there are going to be lots of films like The Oscar, films that people laugh at because they have nothing going for them but an obvious patch meant to cover their weakness. You can bet on it.

    The film is built around three male roles, with everyone else more or less stepping out of their way for the big acting moments given to them. Boyd, always the stony-jawed, steely-eyed manly male actor, is exactly as you remember him. Tony Bennett does a really nice job, which is a pity, given this films negative rep. Milton Berle was a surprisingly good dramatic actor, and proved it in many films and TV shows, just like this one. Eleanor Parker rises above the secondary status to which the actresses in this film are consigned. She makes the development from haughty to pathetic entirely credible.

    Bottom line: Enjoy it as a chance to see names, names, names, even if you don't buy the drama or the story. It comes straight from the heart of the last demi golden age, just past the decline and disappearance of The Golden Age of Hollywood. It commemorates this unique time and place as well as any film.
    didi-5

    well, its interesting ...

    It starts with some really bad chunks of dialogue - and it gets worse! However, it is weirdly watchable and by the end I was quite enjoying it. A larger collection of ott performances you probably won't find. Some review I read called it 'The Bad and the Beautiful crossed with Harold Robbins'. Approach it as a kind of weird comedy and you'll have fun. It doesn't really deserve to be out-of-print - it's an interesting cast (set of misfires), and has a kind of odd historical value ...

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    Handlung

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    Wusstest du schon

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    • Wissenswertes
      This was the only film in which Tony Bennett played a fictional character. In his autobiography, "The Good Life," he states that it was a terrible experience and he never sought future roles. This picture marked his screen debut.
    • Patzer
      The newspaper photos of Cheryl Barker hitting Frankie don't match the scene when it happens. She could have hit him twice (she was angry enough), and the photographers might have caught the second hit.
    • Zitate

      Hymie Kelly: [narrating] Frankie wanted the town to be aware he was alive and he knew how to do it. Man, he wanted to swallow Hollywood like a cat with a canary. And he did it. The parts got bigger, and Frankie was hooked. Like a junkie shooting pure quicksilver into his veins. Frankie got turned on the wildest narcotic known to mortal man: Success. And he needed larger and larger doses. As the years went by, it became part of his life like air. The attention, the recognition. Now he was somebody. He was always too hungry. Too much and too far ahead of himself. He bought a Rolls before he could afford it. He bought the mansion in Bel Air. He went the route. The interiors were from the best shops on decorators row. Even Sam the houseboy was imported. Frankie played the part for real, the whole image. He had arrived.

    • Verbindungen
      Edited from The 37th Annual Academy Awards (1965)
    • Soundtracks
      Thanks for the Memory
      by Leo Robin and Ralph Rainger

    Top-Auswahl

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    FAQ17

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    Details

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    • Erscheinungsdatum
      • 12. August 1966 (Westdeutschland)
    • Herkunftsland
      • Vereinigte Staaten
    • Sprachen
      • Englisch
      • Spanisch
    • Auch bekannt als
      • The Oscar
    • Drehorte
      • Paramount Studios - 5555 Melrose Avenue, Hollywood, Los Angeles, Kalifornien, USA(Studio)
    • Produktionsfirma
      • Greene-Rouse Productions
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    Box Office

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    • Budget
      • 3.000.000 $ (geschätzt)
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

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    • Laufzeit
      1 Stunde 59 Minuten
    • Seitenverhältnis
      • 1.66 : 1

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    Ernest Borgnine, Stephen Boyd, Joseph Cotten, Jill St. John, Tony Bennett, Edie Adams, Eleanor Parker, and Elke Sommer in ...denn keiner ist ohne Schuld (1966)
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