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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
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    Poster ansehen
    Poster ansehen
    Poster ansehen
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    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

    3shell46nopaddle

    Ruthless young actor will stop at nothing for that Oscar nomination

    I also love this movie. I first saw it about 12-15 years ago on a short-lived series on TNT called "Bad movies we love" or something like that. For many years I traditionally watched it right before the Oscar broadcast. The "Airplane" of bad movies, the hilarious dialogue just keeps coming. I taped it from a pay TV source many years ago, but would also buy a pristine VHS or DVD copy. Jill St. John's finest hour. Struggling young actor,impatient for stardom, steps on everyone he meets on his way to an Oscar nomination. Terrible overacting by nearly everyone involved, and ridiculous,riotous dialogue make this a classic guilty pleasure. Made at a time when Hollywood was not yet consciously making "bad" movies. Great fun.
    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 ...
    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.
    EL BUNCHO

    THE MOVIE THAT SPACE ALIENS WOULD HAVE MADE AFTER TOO MANY YEARS OF INTERCEPTING OUR TV SIGNALS!

    There is no other way to concieve of this film getting made other than being the by-product of extraterrestrials intercepting tv signals of DYNASTY, MELROSE PLACE and the like and recreating them as a realistic depiction of the way Earthlings behave. This gets my vote as the most unintentionally fall-on-your-ass hilarious movie ever made; you simply can't write comedy this good! The dialogue must have turned John Waters chartreuse with envy, and the performance by Steven Boyd is akin to what if one of the THUNDERBIRDS marionettes had been cast in WHO'S AFRAID OF VIRGINIA WOOLFE?. His body language is quite like some poor puppet being randomly jerked around while the puppeteer tries to shake off LSD-conjured spiders. And the incredibly strange dialogue from a knife-wielding strip joint owner:(attempting to be intimidating, with a crazy gleam in his eye and tossing his switchblade between both of his hands) "Pretty? Pretty?" No one in the history of civilization has ever talked like any of the characters in this film. If you are fortunate enough to have this unjustly out-of-print film at your local video store, not only should you rent it immediately, but you should invite over all of your friends and let them stare at this mess in slack-jawed amazement. A solid 10 on the laughs scale! And you will pee your pants at Tony Bennet's narration/ performance!!! RENT IT RIGHT NOW, FOR GOD'S SAKE!
    3DeanNYC

    The Film Where The Opening Credits Are Spoilers!!!!

    Perhaps the most notable thing about "The Oscar," aside from the fact that the Academy of Motion Picture Arts and Sciences probably wishes it didn't allow the filmmakers to use its award as a part of their turkey, is that the opening credits of the film give away two key elements that really shouldn't be revealed, one of which laughably gives away the ending!

    This really goes to the point that nobody in this film seemed to know or care about the process of making it and were more enamored with the concept of setting their film on Oscar Night than in having the story make any sense, and were more about getting names to list, hoping to increase the Box Office receipts. Bad move.

    I was hoping for an over the top, completely ridiculous, scenery chewing melodrama, and I was rather disappointed. Granted, Stephen Boyd definitely does have some ludicrous dialog and plays bigger than he should for what he's doing, but it really isn't "fun" to watch. Even more to the point, there's no one in the film who can challenge him.

    Milton Berle comes the closest as his agent. But Berle doesn't get to crack wise, as we would expect him to do with a knucklehead client like this one. He plays it straight up. What was the point of that? And Elke Sommer is such a conflicted character, it's difficult to understand what she brought to the film, aside from the obvious eye candy intended.

    The other oddity is in seeing Tony Bennett play his one and only acting role. Clearly, he wasn't ready for this sort of challenge and I can't blame him for begging off film for the safety of his music career after this disaster.

    Wasted were Oscar Winner Ernest Borgnine who plays some two bit private eye and Edie Adams who actually seems the most realistic character in the entire film. Also, Edith Head, the multiple Oscar winning Costume Designer, who was seen on screen in three different scenes, and uttered half a word.

    But I'm seriously still reeling over the credit spoilers. If you do watch this film (and I don't recommend you do because it definitely isn't good and it unfortunately isn't bad enough to be amusing) don't read the opening credits!

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    Handlung

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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

    • How long is The Oscar?Powered by Alexa

    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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