Cuando el amor se va

Fans of great "bad movies" should lap this up like a bowl of frosting. Loosely based on the Lana Turner-Johnny Stompanato-Cheryl Crane murder incident, Harold Robbins fashioned a novel to cash in on and exploit the gossipy tale. This resultant film carries on the tradition in high, campy style complete with hilarious "racy" dialogue, glamorously sanitized sexual shenanigans, concerned social workers, over the top sets and decor and signature Edith Head costumes. Velvet-voiced crooner Jack Jones (later to be immortalized as the pipes heard in "The Love Boat" theme song) kicks off the film with a yummy title song against dreamy shots of San Francisco. Hayward stars as a socialite sculptress who finds herself paired with WWII hero Conners. Her gorgon-like mother (Davis) steers them toward marriage, yet, when Conners doesn't do her bidding, pulls out all the stops to destroy the union and press for a divorce. The marriage does produce a daughter (Heatherton) who, years later, finds herself in juvenile hall after filleting one of Hayward's live-in lovers. Though the tale spans twenty years, Conners and Hayward (and Davis!) look exactly the same throughout. The hair, clothes and furnishings show no evolution, nor any feel for the period. (Hayward has her customary bouffant bubble 'do which she wore in virtually every film from the '50's on, no matter what the time, place or character!) Hayward frets and yells and suffers while draped in fur accented suits (or sometimes in her uproarious sculpting scarves) with her bizarre accent fully in place. Somewhat paunchy Davis sashays around in her pretty concoctions, wearing an intriguing grey wig and doling out orders. At times she resembles her old nemesis Joan Crawford and one could easily picture her in the part as well. Conners does all right, though no matter what histrionics he could come up with, there's no room for him in this film. The battle royale is between Hayward and Davis. Davis was already miffed at Hayward for just having remade "Dark Victory" as "The Stolen Hours". Then there were differences over the script with Davis reworking scenes until finally Hayward pulled her weight and demanded that the script be shot as originally written (which was no Pulitzer Prize winner.) Later, Davis had yet another battle (which she won) over how her character's fate should be played out. The animosity between these two women is palpable. Amid all the soapy trappings and turgid dramatics, there is some really hateful fire and some awesomely bitter moments between them, which are fun to behold. Anyone wanting to get plastered should do a shot every time one note Heatherton whines the word "Daddy". Nearly twenty belts of booze ought to do anyone in! She is hilariously bratty and annoying, though she does get some decent licks in, notably in a scene with Seymour. Greer shows up as a sympathetic and concerned case worker. She holds her own with dignity against the fire-breathing Hayward. The dialogue is riotous throughout with some lines actually eliciting guffaws. The lawyer has a great one about the deceased and his relationships with the mother-daughter team, "He wasn't any good at double entry bookkeeping, but he was great at double entry housekeeping". "Star Trek" fans will be startled to see Kelley in a film like this, referring to the bedroom habits of Hayward. In the source novel, Davis' character comes across far more sympathetically, though that may not have been as interesting for the cinema. Also, Conners' character had a devoted second wife who was carrying his child. Most of the novel's plot line made it to the screen, however, though the film's ending is far less happy. There's very little resembling reality in this movie, but thank God for it. It's a glossy, pseudo-sordid potpourri of theatrics and glitz with occasional verbal fireworks.

Society sculptress in San Francisco marries a war veteran, a man who quickly turns to the bottle after failing to carve out his own niche away from the realm of his domineering mother-in-law; sometime later, the daughter they share apparently kills mom's lover in a jealous rage. Harold Robbins' best-selling roman à clef lifts its subplot from the real-life Lana Turner-Johnny Stompanato case, and those bits and pieces are rather interesting. However, much of the movie is spent with bickering marrieds Susan Hayward and inert Michael Connors trading barbs, and the promising idea loses its impetus and becomes a stillborn soaper. Connors, heavily made-up and with lacquered black hair that never changes during the story's many years, twitches and twists his mouth into a grimace throughout the entire picture, only coming to life while tipsy in a brief dinner scene. Hayward fares better, but her slurpy, silly lines are pure camp ("You're a kept-man, not a war hero! And a drunk! A drunk! A DRUNK!"). Bette Davis is pretty much wasted as Hayward's mother (who would've thought a film co-starring these two high-powered ladies could be so dull?) and Joey Heatherton scowls continuously as the teenager in trouble (I loved her retort. Though, about how she lost her virginity: "It happened horseback riding!"). Tatty-looking picture has some fun trappings--Susan's round bed, Princess telephones, fashions that often match the room décor--but the plot is lazy and Edward Dmytryk's direction is completely rote. One Oscar nomination: for the cheesy title song composed by Jimmy Van Heusen and Sammy Cahn. *1/2 from ****

On April 4, 1958, Lana Turner's daughter, Cheryl Crane, stabbed Turner's boyfriend, underworld figure Johnny Stompanato, to death, in what was later deemed a justifiable homicide. This scandalous incident served as the inspiration for Harold Robbins' 1962 novel "Where Love Has Gone," his follow-up to "The Carpetbaggers." And this tawdry novel was given the A-list treatment by Paramount two years later, in a film that was critically lambasted but commercially successful. The picture featured the cream of Hollywood talent both in front of and behind the camera, but turned out to be a highly melodramatic affair, replete with florid dialogue and soap operalike qualities. But is it fun to watch today, almost five decades later? Oh, yes, indeed!

The film cleaves into two fairly discrete sections. In the first, we meet Luke Miller, an aspiring architect (played by Mike Connors) whose daughter, Danni, has just killed his ex-wife's lover in San Francisco. (Fifteen-year-old Danni, it should be mentioned, is played by future sex symbol Joey Heatherton, 20 here and almost unrecognizable as a redhead.) In flashback, we see how Luke first met Danni's mom, a sculptress and artist named Valerie Hayden (Susan Hayward), daughter of society matron Mrs. Gerald Hayden (Bette Davis, despite the fact that Bette was only 10 years older than Susan), and how their marriage soon dissolved due to alcoholism and infidelity. In the film's second half, we are witness to Danni's juvenile hearing and see the aftermath of the murder, including a short sojourn in blackmailing territory.

"Where Love Has Gone" features some beautiful sets and makes excellent use of its S.F. locales. It also features a catchy Sammy Cahn/James van Heusen theme song, warbled by Jack Jones, and eye-catching costumes by famed designer Edith Head. Edward Dmytryk's direction (he had previously worked with Susan on 1955's "Soldier of Fortune," though never before with Bette, and had just directed the film adaptation of "The Carpetbaggers") is typically expert, and the supporting cast (including DeForest Kelley as a cynical art critic, here two years pre-"Trek"; the always hissable George Macready; Jane Greer, who had appeared with Susan in 1947's "They Won't Believe Me"; and Whit Bissell, who seems to have appeared in half the films ever made!) is just fine. But of course, the main selling point of this film has to be the first and only pairing of two of Hollywood's greatest actresses, Bette Davis and Susan Hayward (two of MY personal favorites, at least). These two supposedly didn't get along well on the set (surprise, surprise), but sure do have a cutting and nasty chemistry on screen! Susan's final courtroom speech may be the film's finest moment, thespianwise, although Mike Connors, here three years prior to beginning his eight-year run as TV's Mannix, provides the film with its most ingratiating performance. In short, "Where Love Has Gone" is certainly nobody's idea of a great film, much less "high art," but yes, it sure is fun to watch. And really, where else are you going to see the "Brooklyn Bombshell," Susan Hayward, handle a blowtorch?

If you're up on your old Hollywood gossip, you probably remember when Lana Turner's daughter stabbed Lana's boyfriend to death in the 1950s. If you didn't know that, there's no need to read up on it; Hollywood made a movie about it seven years later! In Where Love Has Gone, a teenage daughter is arrested for murdering her mother's boyfriend and is put on trial. While the names were changed, Susan Hayward plays the Lana Turner part, Joey Heatherton plays the daughter, and Mike Connors plays the ex-husband, puzzled by his daughter's behavior.

Bette Davis joins the cast as Susan's mother, and when the two powerhouse actresses share the screen together, they practically tear each other apart! The gloves are off and the two women spit fury, snap one-liners, and give their all in emotional outbursts. Regardless of the scandalous plot, it's worth watching the movie just to see the two strong legends act together. If you like courtroom dramas, dysfunctional families, or emotional soap operas, rent Where Love Has Gone over the weekend with a bunch of your girlfriends. In the supporting cast, you'll see Jane Greer, DeForest Kelley, Anne Seymour, Walter Reed, and Whit Bissell.

And that's not ALL poor Joey Heatherton's lost, in this lurid melodrama adapted from the Harold Robbins novel. Produced by Schlockmeister Joseph E. Levine (''The Carpetbaggers'') ''Where Love Has Gone is a VERY thinly disguised dramatization of the Lana Turner/Cheryl Crane/Johnny Stompanato case in which he was supposedly stabbed to death by Lana's daughter Cheryl. Here, the central figure is a famous sculptress (Susan Hayward) who resents her domineering mother (Bette Davis) and spends most of her time in the sack with various low-life lovers. Heatherton is her neglected teenage daughter, whose estranged father (Michael Connors) flies to her defense when she is accused of the murder. This leads to a lengthy flashback which shows, in detail, the courtship, marriage and eventual divorce he and Hayward endure.And, back in the present (where no one involved looks a day older, let alone wiser) things get worse, as one sordid revelation after another leads all of this to it's laughably melodramatic conclusion. Davis, who reputedly didn't like the script (or Hayward either, for that matter)and sporting a white wig and very thick eye makeup,reads her lines like an elocution school teacher, while Hayward bellows hers so loudly that people who saw this in a theater could probably hear them in the bathroom.And it's Hayward we have to thank for this exercise in excess, because she insisted the script be filmed as written-refusing any changes. Heatherton, trying (and failing) to look 15 yeas old, does little more than pout her way through her part, while occasionally delivering some howlers: ''Oh, Daddy, what's wrong with me? I love all the wrong people-and I HATE all the right ones!''. Oh Yes, and blaming the loss of her virginity on ''Horseback Riding''?. Connors, a few years away from ''Mannix'' is just there. ''Star Trek's'' DeForest Kelly is around as a sleazy art critic, while Film Noir bad girl Jane Greer (making a comeback after a heart operation)is a reserved, but concerned probation officer.And it's Greer, along with Anne Seymour (''All The King's Men'')as a psychiatrist, who give the best performances.This was pretty Hot Stuff for 1964, though less so these days. Despite the box office success it had, it's largely forgotten now.A new DVD has just been released by Olive Films, And the plush Technicolor production is something to see-remastered for the first time in all it's Widescreen Glory. And in spite of (or ,maybe because of) it's Producer attempt to cash in on what was really a very seamy incident in Hollywood History, the film is very entertaining, and a time capsule from a bygone era.