A Woman for All Men

This movie begins with a beautiful woman by the name of "Karen" (Judith Brown) marrying an older man named "Walter McCoy" (Keenan Wynn) and subsequently driving home with him to meet his adult daughter "Cynthia" (Patty Bodeen) and his two sons, "Steve" (Andrew Robinson) and "Paul" (Peter Hooten). It then becomes known that Walter is a multi-millionaire who owns a construction company and is extremely selfish and over-bearing to everyone. Karen, as it turns out, was a high-class Las Vegas prostitute who never loved Walter and has married him only because he is rich. Needless to say, both Paul and Cynthia suspect that Karen is nothing but a gold digger and they now feel threatened by her influence with Walter and the probable impact on their inheritance. Steve, on the other hand, becomes attracted to Karen and discovers that Karen is equally attracted to him. They eventually have an affair which threatens everything. Now, rather than reveal any more, I will just say that this was a rather standard film-noir which was greatly enhanced by the presence of Judith Brown and some decent mystery toward the end. It isn't a great movie by any means, but I didn't think it was necessarily that bad either and I have rated it accordingly. Average.

Judith Brown who plays the young hot wife and gold digger to her much older and very rich recent newlywed husband Keenan Wynn come home to a not too friendly welcome by Keenan Wynn's three (3) adult children. I find it hard to relate to these particular family dynamics as my own upbringing was much simpler.

In direct contrast to my own upbringing the McCoy family owned a huge general contracting business building large industrial plazas in and around California, they drove the most expensive vehicles, lived in a luxurious home on a large property, and they had servants taking care of any and all their household needs, but the McCoy children were lacking any semblance of love and/or affection from their matriarch father Walter (Keenan Wynn).

The new young hot looking wife Karen (Judith Brown) made no bones about why she married the much older businessman Walter McCoy it was because of his enormous wealth and nothing else. Walter liked to brag how rich, strong and virile he was and he ran his house as if everyone was expected to cow tow to him, not only the servants, but his new bride and three (3) adult children as well. If any of his family even breathed a sigh of discontent Walter would quickly tell them they knew where the front door was and they were free to leave and try and make it on their own without any of his financial support.

It doesn't take long for one of Walter's son Steve McCoy (Andrew Robinson) to be exposed to Walter's new bride Karen who starts having wandering eyes towards her much younger stepson who she begins grooming to be her next and new lover. This sets off even higher levels of mistrust and emotions between the various McCoy family members until Walter is suddenly and unexpectedly pronounced as missing and assumed to have committed suicide.

Now the family members including Walter's recent new bride Karen call in their husband/father's lawyer to commence dispersing his last will and testament which the lawyer states unequivocally that he is not prepared to do as he has specific orders from the missing Walter McCoy to follow.

I won't divulge how the family dynamics deteriorate further but suffice to say that the McCoy family show their greed, lust and anger towards one another even with their father still missing and assumed to have committed suicide, and their hussy stepmother grinning like a cheshire cat.

This is a strange family which reflects that money can't buy happiness. It is an under rated film which is why I have given it a slightly higher rating at 8 out of 10 to counter some of the lower under appreciated IMDB ratings.

The fact a sexpot from Roger Corman women-in-prison flicks (directed by Jack Hill) could hold more power and importance over Andy Robinson and Keenan Wynn is proof that the seventies were far from over... In fact, racy drive-in vehicles from the infamously dirty decade were going through an awkward and contrived mid-life crisis...

That same summer, 1975, a giant shark named JAWS was devouring audiences in record-breaking numbers. Because of this "bigger boat," it was up to smaller theaters to suit those embarrassed to frequent porno houses: Sitting on the fence were a pileup of R-Rated wannabe X's, and most were pretty bad: Enter Judith Brown, star of THE BIG DOLL HOUSE and WOMEN IN CAGES when she was billed as Judy (whose name seemed to change with a haircut), playing the title character with a title that's exploitation enough: A WOMAN FOR ALL MEN...

The basic though tangled plot has the usual grouchy millionaire marrying a young beauty. In this case the rich dick is Kennan Wynn, who owns a construction company where his two sons, played by "The Scorpio Killer" Robinson and blue-eyed oddball Peter INGLORIOUS BASTARDS Hooten, work hard outdoors without cozy office jobs, providing enough frustration in what's already predictably forced into the overall Film Noir template...

Soon enough, oldest son and dad's trophy wife hook up and, like TAROT starring Sue Lyon and Gloria Graham a few years earlier, it's the heart-of-gold housekeeper (a respectfully aged Lois Hall) who begins figuring things out: along with dad's only-daughter played by Patty Bodeen, a blue-eyed, round-faced, pouting beauty who should have been in a lot more of these kitschy thrillers... Her melodramatic gusto really fits when needed: And with more dialogue than action, anything spontaneous is welcome to wake things up: Especially since Brown, usually the "straight woman" of Corman films, has to remain firm and one-dimensional in the lead role.

The suspense builds nicely but it's almost too late once the viewer gets lethargically captured. Then again, random twists and turns occur too soon for the essential "boiling point" to amount to anything beyond a reason for square-jawed Brown to shed her clothes (in an ongoing homemade film within this film).

And yet, with recognizable actors Don Porter as Wynn's lawyer and Alex Rocco as the inevitable snoopy cop, this WOMAN is better than one might think. Perhaps those who had served in classic crime heaven (the likes of THE GODFATHER, THE MECHANIC and CHARLEY VARRICK) lacked the usual guilt while reigning in this sizzling perdition of super-low-budget fare.

"A Woman For All Men" aka "Deadly Intrigue" is a good movie. It's about two brothers: Steve (Andy Robinson) and Paul (Peter Hooten) who work for their father Walter (Keenan Wynn). When Walter brings home the beautiful Sarah (Lois Hall), everything spins out of control. Soon, blackmail, double-crosses, and murder become family traits.

The performances are well-acted, and the plot has some fun twists. Alex Rocco is only in it for 10 minutes, but his presence is always welcome. The only problem with the movie is that the 2nd half drags a little.

In the end: If you can locate this movie, it's definitely worth watching.

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Arthur Marks had a respectably consistent career as a director and producer, working on TV series like "Perry Mason", then transitioning to exploitation films in the 1970s: blackspoitation ("Friday Foster", "Detroit 9000", "J. D.'s Revenge"), sexploitation ("Togetherness", "Linda Lovelace for President"), and things like the sexploitation/proto-slasher hybrid "The Roommates". While these films were popular, none of them would hit any artistic high marks, which brings us to this film, something of an anomaly in Marks' oeuvre. I watched this on a DVD/Blue Ray set that included both "A Woman For All Men" and "The Roommates", so I could compare Marks' style. "A Woman For All Men" wins hands down in terms of being the better film. That being said, it's still not a great or even good film when held up against other "mainstream" titles of the era. Marks was not a great screenwriter, so he was wise to bring in Robert Brees to provide the story. Brees had also had a respectable career, writing (or more accurately, collaborating on) potboilers like "Magnificent Obsession" and "Autumn Leaves" before graduating up (or down, depending on your preference) to exploitation like "From Earth to the Moon", "Frogs", and "Whoever Slew Auntie Roo?" What we have here is a domestic soap opera with some noirish overtones, accented with some rather demur nudity by Judith Brown. Anyone who is familiar with Ms. Brown inevitably remembers her as she looked in "Women in Cages" and "The Big Doll House", with long auburn hair. For this film, she totally changed her look, getting a curly, dyed-blonde bob that would become the standard coiffure of middle-aged, gated-community housewives during the 1980s; she looks a younger Rue McClanahan. I won't bother to rehash the plot, but I do believe the movie begins to fragment once the affair between Brown and Andrew Robinson's characters is underway. The supporting characters, such as the older brother and his girlfriend and Steve's girlfriend, all but vanish from the story. There's also a lot of choppy editing and scenes that end suddenly. One complaint: we see a randomly inserted scene where Karen, Brown's character, witness the daughter masturbating. The scene cuts from Karen's face, to the daughter doing the act, then back to Karen, then a close-up of the daughter screetching at Karen that she's ruined everything. Apparently this was some sort of leftover from an incest plot point that was cut from the final print. It would have been interesting, but some slipshod editing let it go. And of course, the twist ending that you could more or less suspect: there were two characters that might have possibly wanted Karen out of the picture, so it was no big surprise to learn who it was.

Despite being a decent thriller, Marks couldn't resist marketing the movie like one of his "girly" flicks, insinuating all kinds of sexy shananigans (the movie's alternate title was "Part Time Wife") which ultimately were not there. The version I saw looked great, the only noticeable grain was on the opening montage of Karen putting on make-up under the credits. The dialogue in the first half of the film is crisp, but as I said erratic editing plagues the second half. The ending seems like something out of a TV movie of the era, most of which look like high art when stacked up against recent theatrical offerings. Given this was made by a sexploitation director/producer, all around it's rather good. Average, but good.