Amour toujours

This film plays like a cross between a 40s MGM musical and a 60s sitcom, combining the worst of both worlds. And, not being a Francis fan, even the many musical interludes don't pacify me. Seeing that the director and scriptwriter were from TV, I shouldn't be surprised at the result. I guess MGM didn't think poor Connie deserved first-rate attention. But, then again, Elvis suffered the same fate.

Connie's character is an idiot, and Jim Hutton's a jack#@@. We are supposed to believe that "Libby" pines after "Paul," a man who blatantly shows a hatred towards women? There is no chemistry between either of the two couples, in any combination.

Paula Prentiss must have established a friendship with Francis after making "Where the Boys Are" four years earlier; otherwise, why would she have agreed to a 30 second cameo, during which she speaks one short sentence, and is promptly bopped on the head?

And, please, the Lady Valet? Perhaps the writer didn't realize that such a "contraption," in some form or another, has existed for hundreds of years. One doubts the lame version presented in the film could ever secure its creator a slot on The Tonight Show (but it is great to see Johnny).

The movie does display a reasonable budget, as many of the sets have a more- than-sitcom feel. I wonder how many times they had to shoot that grocery store scene? However, notice that after the girls become rich, and live in a HUGE mansion, they still share a bedroom? (It's not surprising that scriptwriter Flippen did some work on "The Brady Bunch.")

If you plan on sampling one of the four 60s Francis flicks, stick with the first, "Where the Boys Are."

There were two popular "Connie's" in the 1960's: Warner Bros. had Connie Stevens and would showcase the lovely star in a series of films and across town MGM had Connie Francis and Leo the Lion showcased the songstress in a series of light, fluffy comedies that do no harm but are not so great either: Follow The Boys, When The Boys Meet The Girls and a true classic Where The Boys Are that featured Paula Prentiss, Jim Hutton, Yvette Mimieux and Dolores Hart ( who would leave showbiz to be a cloistered Catholic Nun). Looking For Love reprises the cast of Where The Boys Are- Prentiss , Mimieux, Hamilton who by the time this film was made had become major stars and co starred Connie Francis with Jim Hutton who had been on a lengthy suspension at MGM and did this film as his release valve from a ironclad MGM contract. Funny to see tall Jim Hutton in romantic clinches with the petite Ms. Francis.

Note MGM had two other stars under contract George Peppard and Richard Chamberlain, both immensely famous and likely escaped being cast in this film due to their respective standings at MGM

David Barra

After a great opening credits sequence, our story begins. Attractive telephone operator Connie Francis (as Libby Caruso) wants to make it big in show business, get married and have babies. With her figure and singing voice, this shouldn't take too long. To prevent clothing from wrinkling overnight, Ms. Francis invents the "Lady Valet" which garners her an appearance on "The Tonight Show" starring Johnny Carson. He thinks her invention looks like a "blind date for a Martian," and invites Francis to sing. She's another Caruso, but goes unnoticed by tall Jim Hutton (as Paul Davis)...

"Looking for Love" finds Francis in good voice, and improved as a comedy star. She's not paired well with Mr. Hutton, which was the story's point, but still… Best friend Susan Oliver (as Jan McNair) and bass player Joby Baker (as Cuz Rickover) round out a romantic quartet. The title track reached #34 on the "Cash Box" pop chart and the soundtrack LP sold moderately during The Beatles' "A Hard Day's Night" onslaught. MGM and Francis continued the formula for one more film, with decreasing returns. They really should have been producing a TV variety series, with singing and skits.

**** Looking for Love (8/5/64) Don Weis ~ Connie Francis, Jim Hutton, Susan Oliver, Joby Baker

As I've gotten older, I've begun to realize that the saying, 'not like it used to be' is a fallacy with regard to music and visual media. The truth is there has always been a ton of bad work, it's just that the lens of history whittles out the chaff. What's left? The great, the good, and at times the really really bad. One has to really look for the average to just below average films - generally to fill out some niche of fanaticism regarding an actor or director.

Why watch this movie? The Jonny Carson scene is amazing. First, he plays himself, but actually acts and performs - and that youthful look! This scene should be a clinic on how you direct a talk show host. This scene is generally butchered in more recent films.

The film stock - my goodness these colors! I will never understand why this saturated film look is lost. The astonishing primary colors and shining eyes of the performers - this movie has a absolute visual glow.

Acting is awful. And some of the casting - listening to these shrieking voices will make you scramble for the volume remote just to end the pain. And yet...

The numbers (music performances) are pretty good, certainly entertaining - and back to my original point; this isn't a good movie, but it so much better than contemporary bad films. Films that actually bring nothing to the table.

Wow, maybe they don't make them like they used to?

intentionally over rated 6/10

Another movie that seems like play like an Elvis movie, sans Elvis, this time featuring the effervescent Connie Francis. Oddly enough, despite the dumb script and sort of weird presentation of the star as a second banana, one gets a vague hint than in an alternate universe Connie Francis could've been a dramatic actress. She manages to project desperation in a few scenes in a sort of scary way.

This movie is also a curiosity for the fake late show TV appearances -- Johnny Carson and Danny Thomas -- in the era when Jay Leno appears in every third movie that comes out, hard to remember the beginnings of crossover promotion.

The plot is a typical romantic cross, and it didn't shock me too much to find the screenwriter, Ruth Brooks Flippen, was a writer on both the Gidget movies and the TV show, (as well as a few other notables, e.g. Bewitched) sequeing later to the Odd Couple. It made me want to learn a bit more about her.

If you already like Connie Francis, this will be a delight, and if you're interested in the mating habits of your parents (at least superficially), there are worse ways of spending an hour and a half.