Trois filles à Madrid

Granted ---this movie is sooo 60's! But, I thought it was a fun film. Granted, there was a mad attempt to recapture the 50's here (DID NOT WORK)---but it was easy on the eyes and entertaining----PLUS Ann-Margret was indeed Ravishing! ---especially in that PINK ruffled dress singing the title tune! Worked For Me!!!

The hair, the clothes, the accents, the song and dance numbers by Ann-Margret -- really, what's not to love in this film? Yeah, it's silly, yeah, it's little outdated in gender relations, but who cares? The styling is excellent, Ann-Margret sings her heart out, and the guys are cute. I wanted to buy this DVD the first time I saw the film, but haven't been able to find it for sale anywhere. Please, powers that be, make this film available for sale!!!!!!

I so enjoy teasing a friend of mine about his long-time and, let's face it, abject adoration of the Swedish bombshell, Ms. A-M. This one was shown on American Movie Classics recently, "formatted" (Why do they bother?!?), which reduces one's visual pleasure by approximately 50%! But even without a forty-foot wide screen to celebrate her astonishingly talented assets, Annie is something to behold. When she waggles that tush...well, it's no wonder she performs almost all of her musical numbers indoors on studio sets. The censorious Spanish would have had her arrested! It rivals "Viva! Las Vegas" as her finest hour!

As an artifact of times long gone, this is still fairly enjoyable. Today's young ingenues seem like such tired-out, world weary ladies of the evening compared to the virginal Miss Tiffin, the ambitious Miss Lynley and the incomparable Miss Margret. (Eat your heart out, J. Lo!) And with Brian Keith and Gene Tierney on hand to attest that those beyond their thirties could still care for each other (though it takes the scriptwriters until about the final sequence to maneuver them to that realization), one can regretfully observe that we've come a long way from the bright and beautiful early Sixties, and there's not much to crow about on that score.

This film was mentioned in a book I have about bad movies. No, these are not incompetent films or films with horrible production values, but ones that are sleazy and over-the-top--sort of like guilty pleasures--and that is definitely true of "The Pleasure Seekers".

What the producers of the film did was take the 1950s film "Three Coins in a Fountain" and inserted a lot of sexual innuendo--at least, as much as they could get away with in 1964. While I liked the original film, "The Pleasure Seekers" was far inferior because it lacked heart and subtlety--replacing it was bedroom scenes and talk about premarital sex.

The film is about three young American ladies who live in Madrid and are trying to have healthy relationships while strenuously avoiding premarital sex...at least sometimes. Carol Lynley plays a career girl who has her sights set on a married man (Brian Keith) as well as a single guy. Pamela Tiffin plays a stereotypical beautiful but dumb lady. She falls for an over-sexed rich playboy (Tony Franciosa) who promises marriage but really wants another notch on the bedpost. Ann-Margret plays a woman who is infatuated with a doctor who obviously has a secret, as he plays hard to get!! After all, this IS Ann-Margret and he either must be gay or married to resist her many charms.

Towards the end of the film, it appears that the three have struck out in love and two of them are preparing to go back to America. However, because this is a Hollywood-style film, you know that at least some of these relationships will work out for the best. Tune in for yourself to see where these high-minded ladies land in this trashy soap.

Overall, the film sure looks nice. It was filmed in and around Madrid and is pretty just like the original film (which was filmed in and around Rome). The music is also very nice and evocative. As for the acting and writing, it all seemed rather fake--like the people were playing caricatures instead of real people. Not a whole lotta depth with these folks--just a lot of raging hormones and inconsistent behavior. It is truly a guilty pleasure--the sort of titillating fare that they no longer make but was popularized in the late 1950s to mid-1960s--just as the Production Code was on the way out.

Deep and insightful? No way,...but still worth a peek. For a similar experience, try watching THE BEST OF EVERYTHING (1959) and PEYTON PLACE (1957)--two films that manage to tell similar stories but in a bit better way.

When servicemen of the sixties were polled over who was their favorite female star, Ann-Margret was it. To them, she must have been a tantalizing tease with big, red hair, and when she shook her head, it looked like it was on fire. She must have kept them pretty happy with those moves of hers. The camera always seemed fixated on her gyrating behind. She was irrepressible; even if you knew better, you couldn't take your eyes off her. (Elvis Presley at one point fretted that she might steal "Viva Las Vegas" right out from under him.)

In "The Pleasure Seekers" she plays Fran Hobson, a sometimes-working singer/dancer holed up in Madrid who, between gigs, passed the time dreaming of landing Mr. Right. He comes in the form of a young Spaniard doctor (Andre Lawrence) whose own dream is to render medical service to the poor, a dream which doesn't include a wife. He changes his mind, of course. What man in a uniform wouldn't?

Hers is not the most interesting romantic entanglement. That one belongs to nifty Carol Lynley as Maggie Williams who harbors impure designs on her boss (Brian Keith) only to be publicly humiliated for them by his wife (a not-so-well-aged Gene Tierney). Lynley ends up with Gardner McKay (whom I would confuse with Richard Beymer if I wasn't paying attention).

"The Pleasure Seekers" belongs to a long tradition of movies with three single women in the leads seeking husbands as far back as I can remember as the 1932 release "Three On A Match" with Joan Blondell, Ann Dvorak, and Bette Davis. With this one, director Jean Negulesco is actually remaking his 1954 "Three Coins In A Fountain" which won the Academy Award for best song. The musical efforts in this movie by Sammy Cahn and Jimmy Van Heusen are respectable enough. How could you not like Ann-Margret serenading the object of her desire with "Something to think about" or her bouncing her way through "Everything Makes Music When You're In Love" in a tight bikini?

With my favorite Italian actor in the whole wide world Vito Scotti as the girls' next-door neighbor; Anthony Franciosa; and ditzy Pamela Tiffin to round out the sublet. By the looks of the leads, you'd think they were cast for their hair color. Negulesco might have called this one "The Blonde, the Brunette, and Big Red."