Hotel

Highly enjoyable adaptation of Arthur Hailey's bestseller about tumult in an older New Orleans hotel: nearly all the guests are up to no good! Rod Taylor, excellent as always, plays the hotel manager, Melvyn Douglas is the property owner, Kevin McCarthy is a takeover shark, Karl Malden plays a thief, Merle Oberon is a troubled duchess being blackmailed by Richard Conte, etc. Lots of intricate human action, well-written and staged. The romance between Taylor and Catherine Spaak doesn't get in the way, and there are some very humorous, mordant asides. Marvelous backing score by Johnny Keating; good fun. Later a TV series. **1/2 from ****

Hotel is a film concerning a few days at the end of the life of one of those old fashioned hotels, the St. Gregory's in New Orleans. It's owner Melvyn Douglas is facing some financial problems and he's hired Rod Taylor as manager whose made some improvements and the place is beginning to turn around. But way too slowly to keep Douglas's creditors off his back. The story on which Hotel is based is from an Arthur Hailey novel who wrote Airport and inspired that series of films. The film bears some resemblance to Airport to be sure, but I also think it bears comparison to the Humphrey Bogart classic Deadline, USA about a newspaper going out of business with Bogart in the Taylor role and Ethel Barrymore in the one that Melvyn Douglas has here.

Douglas and Taylor are not going down without a fight. What they don't want to do is sell out to Conrad Hilton like hotel magnate Kevin McCarthy who will turn the place antiseptic and it will lose its traditional charm. It's a problem with hotels, so many of even the finest rated old ones are being purchased by chains, a problem back then to be sure. So few independents are even operating today.

McCarthy does have a secret weapon in the charming and voluptuous Catherine Spaak and her assignment is Taylor.

There are a couple of other subplots working here. Titled couple Michael Rennie and Merle Oberon are involved in a hit and run accident after they've both had too much and they face a blackmailing house detective in Richard Conte. And the police are after a very clever thief who works the New Orleans hotels in Karl Malden. All these stories do connect as you will see.

Director Richard Quine directed this film with an eye for style and elegance which the fictional St. Gregory is famous for. The cast is seasoned one of good professionals who give some professional performances. Hotel is a film of class and I think you'll like it.

The late Arthur Hailey was not a great writer, but he was a great storyteller, which made up for it. And that's evident in the films of his books, as well. The original "Airport" is probably the best known, but "Hotel," which later became a hit TV series in the 1980s, is a good, overlooked adaptation as well. One can easily dismiss it as colorful, all-star glitz and gloss, but one is fascinated by it as well.

As directed by Richard Quine, written and produced by Wendell Mayes, and costumed by the legendary Edith Head, it has atmosphere to spare, even if most of that atmosphere is courtesy of the Warner back lot. The story is slight and somewhat diffuse, but the atmosphere and cast, especially Rod Taylor, Melvyn Douglas, Kevin McCarthy, Karl Malden (In a role with almost no dialog!), and the ageless Merle Oberon, keep you riveted every step of the way. And, as with "Airport," there's the usual crisis element, in this case an elevator crash sequence that's suspsnsefully staged.

One complaint, though: Johnny Keating's music, while nice, is often loud and intrusive. Background music is supposed to be just that, BACKGROUND music. If I wanted to hear the score that badly, I would have bought the soundtrack album.

Big, colorful, lavish, HOTEL is a very nice movie. It's set in New Orleans' French Quarter, and Warner Brothers even managed to get the NOPD star-and-crescent badges on the police officers' uniforms correct...a nice attention to detail. Even the music was properly scored to the locales depicted...another plus. True, most of the movie was shot on WB's back lots, but some of the French Quarter scenes were actually shot in New Orleans.

An all-star cast performs more than adequately, but Karl Malden literally steals the movie! He plays a sneak-thief named "Keycase", and he obviously played his role with relish. In one wonderful scene, he surveys his loot after a harrowing evening's thieving, and sadly mutters "It's those damned credit cards!" If you remember that Malden later became the American Express man ("Don't leave home without it!"), this scene is priceless.

Another classic is when the cops finally get him. Handcuffed to a NOPD officer, Malden can't help but swipe a hotel ashtray as he's being led to jail...grinning happily the whole time.

It's great entertainment, and I rate it 9 out of 10.

I love this movie, a smooth 1967 throwback to the "Grand Hotel" tradition of interweaving stories, stylishly directed by Richard Quine ("Bell, Book, and Candle.") Johnny Keating's lush score shifts easily from sad melancholy (for the grand lost past of this grand hotel) to sexy jazz (in accord with the film's New Orleans setting.) Three main stories interact: the business battle to takeover the hotel; cover-up and blackmail attendant to a hit-and-run by a regal guest; the comedy relief antics of hotel thief Keycase Milne as he tries to make a big score. It all comes together in an elevator cliffhanger. Favorite bits: the surrogate father-son relationship between hotel owner Melvyn Douglas and his ace manager Rod Taylor; the antics of Karl Malden as Keycase (in one of Malden's personal favorite roles); and the tough intelligence of the three-way battle to take over the hotel. The characters are smart, witty, and gracious (even the villains), the mood slightly mournful for the good old days. I hated checking out of "Hotel."