Hecho en París

'Made in Paris' was just another flop (film-critical wise) in Ann-Margret's film career, which had started off extremely successful with 'Bye Bye Birdie' and Elvis' most entertaining movie 'Viva Las Vegas' and then kind of took a wrong turn with 'Kitten with a Whip', which she, or better her managers, took instead of 'Cat Ballou'. It was a good movie but a critical disaster. One could say the only really good movie of her early career was 'The Cincinnati Kid', although her presence makes everyone of her films quite a pleasure to watch, even 'The Swinger'.

Yes, this 'romantic comedy' here is not bad. Unfortunately I would have to lie to say it was good. You'll not be harmed by watching it but don't expect The Godfather, though. Despite being a "comedy" the film is not very funny, except maybe for Richard Crenna, who gives the best acting performance here and has the best lines (relatively speaking, this is not Woody Allen quality). Jourdan does his usual French sophisticated charm routine and he and the other supporting players are all quite good.

Of course the simple romantic story was nothing spectacular. The highlight is, as you probably expected, the No. 1 sex kitten of the Sixties, a woman I can easily call the quintessential American beauty and sex symbol of her time and perhaps even all: Ann's sexy dance numbers are energetic, she's a fine dancer and the outfits are well-chosen, showing just enough of cleavage and legs. And that's about it. No surprise: She looks absolutely stunning here and if you happen to be unmoved by her looks, you should NEVER watch it. If you're an Ann-Margret fan, you should definitely give this one a try. Her acting is quite fine (although there's not enough character in the screenplay that could allow a great performance), and her unbelievable charisma and screen presence make this a very watchable movie in the end. Watch it for her and nothing else.

Ann-Margret, Louis Jourdan, Chad Everett, and Edie Adams star in this light film which when seen today sets the #metoo movement back 50 years.

Ann-M, whom the boss' son (Everett) is in love with, plays a courtier buyer for a department store, in Paris on her first job. She is replacing another buyer (Edie Adams). Now in the corporate apartment, Ann-M doesn't realize that her predecessor was having a mad fling with one of the designers (Jourdan) as part of their contract.

This is just a frothy romance that is a showcase for the gorgeous, sexy Ann-Margret in glamorous Helen Rose outfits. If you're an Ann-Margret fan, you don't want to miss this.

Beautiful fashion model, salesgirl and assistant buyer Ann-Margret (as Maggie Scott) dates handsome boss' son Chad Everett (as Ted Barclay). When it's time to make out on the sofa, Ann-Margret hits Mr. Everett violently on the head with an "Objet d'art". Everett survives, but with a bandaged head. After the credits, Ann-Margret learns she is being transferred to Paris, where she'll work as a fashion consultant. It's a glamorous and exciting job. Ann-Margret is courted by famous fashion designer Louis Jourdan (as Marc Fontaine) and playboy reporter Richard Crenna (as Herb Stone). Everett also goes to Paris, probably because he regrets asking Mr. Crenna to look after Ann-Margret. Co-worker Edie Adams (as Irene Chase) tries to explain Mr. Jourdan needs sexual satisfaction, but Ann-Margret doesn't seem to understand...

Ann-Margret is an amazing beautiful woman, and director Boris Sagal provides opportunities to see her underclothing. Dressing and undressing scenes are a highlight of "Made in Paris". One standout moment has the leading lady flashing a sexy glimpse of upper thighs while getting up and going to do something impossible to remember unless you're not looking up her short nightie. You could almost see France, but all of this story was done in the US. Of course, you see nothing, but it's Ann-Margret. The actual story is incredibly dull. There is a dreadful "fashion show" segment with stuff Mr. Jourdan's character admits no woman is going to wear. Ann-Margret has a lively dance segment, but this film otherwise wastes its star. The question, "Will her virginity remain intact until just after the closing credits?" is answered.

*** Made in Paris (1966-02-09) Boris Sagal ~ Ann-Margret, Chad Everett, Louis Jourdan, Richard Crenna

This thing was made in 1966, there were social changes a' coming. Heck, the Beatles and dozens of other Brit bands were here; fashions/makeup and social mores were changing fast. And here is our darling young gorgeous naive Ann Margret in the Gay Paree fashion world, fending off several inexplicably straight men dying to get into her lacy undies. Everyone wearing already dated huge Dairy Queen ice-cream-cone hairdos. An eye-goggling endless fashion shows of amazing, though already dated, 'Paris Fashions' (including a hideous hideous wedding gown at the end of the fashion show). And enough dead skinned animal fur to taint the Seine blood red for a year. Every other gown/coat/pantsuit was festooned with fur. Everyone smoking like MAD (and all that fur and expensive clothes worn in nightclubs so thick with nicotine you could hardly see them). Lots of I'm-not-that-kind-of-girl slap and tickle, lots of groovy and not dancing, some OK music of the time - this was made for ladies like my aunt, about 40, and still in love with Elvis years after he peaked. Long gloves, lots of up-do hair, amazing colors, exquisite set decorations (her hotel room - to. die. for.) Just watch this silly dated thing for the eye candy. It plays, and sounds, exactly like something Doris Day would have starred in (she turned it down, wisely, being a bit long in the tooth to play a beautiful young naive virgin being solicited by the three straight men in all of the fashion world.). A lovely Sunday afternoon time-filler. Not good, but not horrible.

Overall, this grab-bag of 60s genres really doesn't work very well. The MGM gloss is clearly evident, however, and some of the set pieces are not to be missed.

Two-thirds of the way through this flick, I realized that I had lost interest, mainly due to weak characterizations, and stupid plot contrivances. The AM dance number and subsequent vocal come out of nowhere - this is definitely an everything-but-the-kitchen-sink script.

AM's performance is unsubstantial, although LJ provides his usual touch of sophistication. RC and CE are completely inconsequential.

Recommended only for set and costume design......and perhaps for the chance to see AM in her prime.