Where It's At

I saw this movie in 1969 when it was first released at the Cameo Theater on South Beach, now the famous Crowbar Night-club. It was the last year of the wild 60s and this movie really hit home. It's got everything; the generation gap, the sexual revolution, the quest for success, and the conflict between following one's family "traditions" to those of seeking ones own way through life.

It was a fast paced, highly enjoyable movie. Vegas was at it's hippiest peak, Sin City in all it's glory. Beautiful women, famous cameos, laughs, conflict, romance, and even a happy ending. A very enjoyable time over all.

The poster from this film rests on my bedroom wall. I look at it and I go back in time; a time of my youth and my times with my dad, a great time in my life.

Garson Kanin wrote and directed this look at "modern day" Las Vegas and the gap between generations, his first directorial effort since the 1940s! David Janssen is somewhat miscast as a big-shot casino owner who reunites with his son (Robert Drivas, who looks disconcertingly like an older Jason Bateman). Janssen approaches every scene the same way: defensively, with a chip on his shoulder. Playing this role cool and laid-back is asking too much from Janssen, who barks at everyone like a grouchy put-upon husband (he even chews out Don Rickles and makes him cry!). His son, a ne'er-do-well in search of his own identity, makes hip comments about how young people look down on Vegas (give them another ten years), and his disapproval of Dad's lifestyle causes friction. Brenda Vaccaro is cute as a self-conscious secretary and Edy Willaims has a fun bit as a showgirl at an audition. Unfortunately, "Where It's At" doesn't have much else going for it other than the now-dated ruminations on ethics between adults and their kids, some quick T&A shots and amusingly jaded satirical bits on the high-stakes world of gambling--most of which has been covered by now, ad nauseum. ** from ****

Just re-saw this movie after thirty seven years. I was eleven years old and caught this flick on South Beach at the long gone Cinema Theater on Washington Avenue. In 1969, I thought Where it's At! was a very good movie. Now, however, after almost forty years, it's not as good as it was. Times have changed, and this movie is now a tired old re-hash of the war between the generations. It did however, catch a place in time which is just a memory. It's really interesting to see the mod fashions, the old Vegas, a slim Don Rickles, chain smoking, and a hip opening song. The acting was decent, the script somewhat out-dated, but the memories were still fresh. Where it's At, may not be where it's at for you, but for me, it was still a nice and entertaining trip down memory lane.

Whether the son was gay was settled by the middle of the film. His sexuality was of no importance to the movie. As to the statement that he did not consummate any relationship. I can only say he must have been watching a different movie.

One of the most fascinating things about the movie was that the shot of Caesar's Palace pool area showed a vast empty space space behind the hotel. Another is that all the main characters in the movie smoked quite a bit - it is a bit jarring to current sensibilities. Brenda Vacarro was great and was the best thing about the movie. David Jansen also did a good job. He played the part much as I would have thought Clark Gable would have played it. My main problem with the movie was that i thought the son was miscast. He was supposed to be an idealist but he seemed a bit slimy to me right from the start.

Whilst I would agree that Rosemary Forsyth is a great reason to watch this film, there are other points in favour of Where It's At. David Janssen plays a Type A casino owner who tries to bring his son (Robert Drivas, in a low key but effective performance) into the business. Shot on location at Las Vegas Caesar's Palace, this is a trip down memory lane for anyone who spent time in that city of sin back in the '70s. You'll see lots of big names in lights on marquees, but alas, Totie Fields is not amongst them. Anyhoo, the canny Drivas turns the tables on his father, leading to an unlikely though plausible family hug at the end of the picture.

Another interesting aspect of Drivas' character is the screenplay's refusal to commit on his sexuality. He's presented with willing female partners throughout the film (including the astonishing Edy Williams and cute as a button Brenda Vaccaro) but never consummates the relationship, and doubt is repeatedly cast on his manhood. I don't know if Drivas was gay, but the fact that he died of AIDS at the age of 48 lends a bittersweet piquancy to his performance here. All in all, an interesting film that will keep your attention.