Linbeymusol Wonderful character development!

Pacionsbo Absolutely Fantastic

Beystiman It's fun, it's light, [but] it has a hard time when its tries to get heavy.

Aedonerre I gave this film a 9 out of 10, because it was exactly what I expected it to be.

bettycjung 1/26/18. I watched this because it is a National Film Registry pick. It was an okay movie for the time period. However, what was interesting was Mansfield's breathless delivery throughout the whole movie. While Marilyn Monroe was her contemporary, after watching this movie it makes me wonder if all the characteristics that Monroe was noted for (breathless delivery) was really Mansfield's creation than Monroe's. Oh well, I guess we'll never know.

classicsoncall It doesn't take long to realize Jayne Mansfield is doing Marilyn Monroe in the picture, it happens with her very first squeal of delight. You know, it's not easy to squeal like that, just try it a couple of times. I don't know how Mansfield kept it up for the whole picture.Not ever having seen Mickey Hargitay before other than in photos, I wasn't sure if it was him playing the part of Bobo Branigansky or not. Turns out it was, and even though he had an impressive physique, I'd point out what a difference a few decades makes when it comes to winning a Mr. Universe title today. By the time 1977's "Pumping Iron" came out, the muscular look of guys like Schwarzenneger and Lou Ferrigno far outpaced the more natural looking physique of body builders like Hargitay.As for Tony Randall, without knowing it he was giving us all an early, two decade preview of the character that would eventually become Felix Unger in TV's "The Odd Couple". He had the nervous persona down pretty well and that nose honk was a dead giveaway at one point in the story.The film is a nifty spoof of the advertising industry, such as it was in the late Fifties. The picture does it's fair share of name dropping with industry celebrities like John Wayne, Debra Paget, Cary Grant and Harry Belafonte, and the Groucho Marx appearance near the end of the movie was a fun spot. Old timers like myself will hardly bat an eye, but I'd be curious to know what younger viewers make of the reference to Idlewild Airport. It wouldn't be until 1963 that the name would be changed to John F. Kennedy International.

Lechuguilla It's a super-dated fluff story about an ambitious advertising man named Rock Hunter (Tony Randall) who finds a way to climb the corporate ladder with the help of a bleach-blonde bimbo with big lips named Rita Marlowe (Jayne Mansfield). She coos and squeals, and poses in front of a camera, on her way up Hollywood's stardom ladder. I have seen silent-era films that had more depth, entertainment value, heart, and contemporary relevance than this atrocity.Characters are as shallow as they are silly, as superficial as they are stereotyped. The only thematic message is contained in the film's title. And guess how the film defines "success"; materialistic values, here we come. Aside from this odious theme, there is no message. Viewers back in 1957 must have been easy to please and free from the burdens of critical thinking to enjoy such a nothing movie.Each main actor gets his or her own long monologue, no doubt a selling point to lure in the principal performers. I didn't like the way Tony Randall breaks the fourth wall and talks directly to viewers, corn pone savoir-faire straight from Hollywood. Script dialogue lacks subtext. And the plot flows straight from point A to point Z with nary a zigzag to interfere with viewers' minimal comprehension skills.Background music is standard 1950's nondescript. Casting is acceptable except for Tony Randall, a mouse who couldn't fight his way out of a paper bag, much less able to take on the rigors of cold, in-house corporate politics. The one really fine performance is from reliable Joan Blondell, as companion to dimwit Rita Marlowe. Joan Blondell and a few funny lines save this antique from being a total cinematic misdemeanor.Apparently aimed at an audience of giggly 16-year-old females, this popcorn and candy flick is pure diversionary fluff, and embarrassingly dated, a time capsule of horrid mainstream American pop culture during the stodgy Eisenhower era. No wonder juveniles back then were driven into delinquency.

dougdoepke Advertising man makes publicity deal with voluptuous Hollywood star.Hilarious spoof of the mammary-worshipping 1950's. The innuendos fly fast and furious so keep an ear cocked. Sure, viewers see much racier material now on TV. Still, the dialog's clever, the visuals inventive, and the cast superb. Director Tashlin's satiric eye is penetrating and years ahead, as the 1960's-like ending suggests.That spoof of TV advertising is especially funny and still timely. Keep in mind that the TV medium was still new and so was making fun of its life-blood commercials. I love it when the jalopy crumbles under the salesman's boastful pitch. Corporations were also growing, laying out a new yardstick for success. So, Hunter's ecstatic delight with a symbolic key-to-the-washroom is not far off. And, of course, there's Rita's (Mansfield) low-hanging sex appeal, doubly emblematic of the time.But Mansfield's also an adept comedienne. Catch how well she spoofs her own role. And were there two more droll characters than Randall and the underrated Henry Jones. Their little tete-a-tete's fairly ooze with actors' delight. Good also to see that great brassy dame Joan Blondell pick up a payday. (Catch the rather humorous shot of her coming rump-first out of the sleeping berth, which seems Tashlin's style, even with minor details.) Looks like someone also threw her the big dramatic grieving scene, maybe out of respect for her veteran status.Anyway, the movie's a delightful glimpse of that strait-jacketed decade's more vulnerable absurdities, and in Technicolor's brightest candy box colors. Arguably, it's Tashlin's best.