Tag Archives: Frank Tashlin

The Slender Thread (1965) Frank Tashlin, Dick Powell, Debbie Reynolds, Anne Francis, Comedy, Drama

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Mark Christopher is a 35-year old, award-winning comedy scriptwriter who is struggling to be taken seriously as a drama writer. On Christmas Eve, two police officers bring 17-year old Susan (picked up for vagrancy and brawling) to Mark’s apartment. If she spends a few days with him, Mark could use Susan as inspiration to write a script about juvenile-delinquents and Susan could avoid spending Christmas behind bars.
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The Man from the Diners’ Club (1963) Frank Tashlin, Danny Kaye, Cara Williams, Martha Hyer, Comedy

The Man from the Diners' Club (1963)
Mobster Foots Pulardos, who operates a health gym as a front, plans to flee to Mexico to evade government tax officials. His girl friend, Sugar Pye, suggests that he first arrange for the cremation of a man having his own peculiar identifying characteristic–feet of different sizes–and then apply for a Diners’ Club card for use in paying his fare. The request for the credit card comes to the desk of Ernie Klenk, a timid clerk. Nervous about his forthcoming marriage to the boss’s secretary, Lucy, Ernie inadvertently okays the application, then, discovering his mistake, rushes to the health gym to recover the club card he has issued.
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The Girl Can’t Help It (1956) Frank Tashlin, Tom Ewell, Jayne Mansfield, Edmond O’Brien, Comedy, Music

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The inimitable writer-director Frank Tashlin once more aims his satiric barbs at modern culture (modern 1950s culture, that is) in The Girl Can’t Help It. Much of the film is dominated by Edmond O’Brien as mob boss Murdock, who while serving a term in federal prison becomes a singing sensation with his hit tune “Rock Around the Rock Pile.” Once he’s sprung, Murdock hires impoverished agent Tom Miller (Tom Ewell), not to promote his own career, but to turn his curvaceous lady friend Jerri Jordan (Jayne Mansfield) into a star. Alas, Jerri has no singing or acting talent whatsoever, a fact that she’s eager and willing to admit. A domestic type at heart, all Jerri really wants out of life is to marry Murdock, so that she can clean his house, cook his meals and raise his children. When Murdock refuses to grant her wishes, Jerri falls in love with Tom instead. Every so often, director Tashlin takes time out from the plot to poke fun at such technical marvels as CinemaScope and Technicolor, and to lampoon the American male’s fixation on female bosoms and bottoms (at one point, Jayne Mansfield leans towards the camera, her cleavage exposed as far as the censors will allow, and plaintively asks Tom Ewell if he believes that she’s equipped for motherhood). While much of the humor in the film is dated, The Girl Can’t Help It is an invaluable record of the pop-music scene of the 1950s, featuring such guest artists as Julie London (playing Tom Ewell’s dream girl), Ray Anthony, Fats Domino, The Platters, Little Richard and his Band, Gene Vincent and his Blue Caps, the Treniers, Eddie Fontaine, Abbey Lincoln and Eddie Cochran.
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Caprice (1967) Frank Tashlin, Doris Day, Richard Harris, Ray Walston, Comedy, Crime, Thriller

Caprice (1967)
There is an on-going battle of industrial espionage between rival cosmetics companies, Femina, owned by Sir Jason Fox, and May Fortune, owned by Matthew Cutter. Caught in the middle between the two are among others top industrial designer Patricia Foster, who officially is on May Fortune’s payroll after being fired by Femina, and Christopher White, a suave Brit who also is officially on May Fortune’s payroll as Cutter’s right hand man. On the surface, Patricia is still working for Femina trying to steal the new top secret formula for a water repellent hairspray developed by Dr. Stuart Clancy for May Fortune, that hairspray which would make all other hairsprays obsolete, while Christopher secretly tries to stop her. Below the surface, it is not clear whether either Patricia or Christopher truly are working for May Fortune, Femina or someone else. But as they progress through these on the surface missions, their true missions are eventually revealed as are their true allegiances, which …
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Hollywood or Bust (1956) Frank Tashlin, Dean Martin, Jerry Lewis, Pat Crowley

Hollywood or Bust (1956)
The last movie with Jerry Lewis and Dean Martin together, is a satire of the life in Hollywood. Steve Wiley is a deceiver who cheats Malcolm Smith when he wins a car, claiming that he won it too. Trying to steal the car, Steve tells Malcolm that he lives in Hollywood, next to Anita Ekberg’s. When Malcom hears that, they both set out for Hollywood and the adventure begins…
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