In Their Own Words: Actors on Film Flops and Disappointments

Nobody sets out to make a bad movie. Why would they? Not only is it a colossal waste of money but it will remain on the permanent record of everyone associated with it. Still, there are factors that no one can control and sometimes an actor makes a movie with the best intentions that the critics hate, audiences avoid like the plague or conflicts during production doom it to failure.  Here are 15 well documented examples including Marlon Brando (A Countess from Hong Kong), Shelley Winters (Knickerbocker Holiday), Richard Widmark (Slattery’s Hurricane), Beverly Garland (Swamp Women and Stark Fear), Bruce Dern (The Incredible 2-Headed Transplant), Ava Gardner (The Bible…In the Beginning), Christopher Plummer (The Royal Hunt of the Sun), Ida Lupino (The Hard Way), Tony Curtis (Son of Ali Baba), Sally Kellerman (Reform School Girl), Ernest Borgnine (The Devil’s Rain), Raquel Welch (Myra Breckinridge), Warren Oates (Chandler), Joan Shawlee (Prehistoric Women) and Vincent Price (Green Hell).

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Hollywood’s Holy Grail

Often cited as one of the worst major studio movies ever made, The Oscar (1966) lives up to its infamous reputation but unlike many films which get tagged as “the world’s worst” and are usually tedious and only intermittently hilarious in small doses such as The Conqueror [1956] or The Swarm [1978], this one is consistently entertaining for its flamboyantly excessive performances, sordid situations and bitchy, mean-spirited dialogue that paints Hollywood as a place where you sell your soul and become an easily disposable product.  Continue reading

Nicholas Ray’s Gender Bender Western

In the fifties, the Western genre experienced a revitalization that saw new approaches to the form – everything from a film noir interpretation like The Furies (1950) to a psychological thriller like High Noon (1952) to a promotional gimmick like the 3-D Western, Hondo (1953). However, it’s safe to say that Johnny Guitar (1954), Nicholas Ray’s bold experiment with color, role reversal, stylized sets, and operatic emotions is a one of a kind masterpiece that will never be repeated.   Continue reading