Finding a positive review of “The Oscar” is a bit of a challenge, but I really like this particular review!
Bitter Drama Looks Inside Hollywood by Kate Cameron
March 5, 1966, Daily News, New York
There have been many “inside” film stories about Hollywood producers and stars, including the current attraction at the Music Hall, “Inside Daisy Clover.” But there has never been as bitter a pill for Hollywood to swallow as “The Oscar” which had a gala premiere Thursday night at Loew’s State with a number of the film’s stars in attendance. It opened to the public yesterday at both the State and Festival Theatres.
The Embassy Pathe Color production is being released in the nick of time as the balloting on the 1965 awards is going on right now in Hollywood. The results will be announced by the Academy April 18. As unseemly as the fight for the coveted award is shown to be, and in spite of the shockingly violent stripping of a star’s glamor during the course of the film, “The Oscar” is bound to attract attention from other than inveterate movie-goers. For anyone with a modicum of interest in the behind-the-scenes of a movie studio, “The Oscar is a must-see film.
The the first place, it gives Stephen Boyd a chance to prove that he is a fine actor, as well as a handsome profile in a wide screen colorful epic, is role, penned with acid by Harlan Ellison, Russell Rouse and Clarence Greene from Richard Sale’s novelistic expose, is a fascinating portrayal of a heel.
The sorry tale is about Frankie Fane’s rise from manager of a stripper for stag parties to a top Hollywood star to his slipping career, suddenly stopped on the slide downhill by is nomination for the Academy Award. Fane’s ruthless, despicable maneuvers to cop the Oscar and revitalize his screen career are shown in all their naked baseness on the screen. Frankie is exposed as a man without feeling and, as on of his erstwhile friends says of him, carrying the seed of rot inside himself.
The role of the Hollywood heel is played with remarkable verisimilitude by Boyd. He is surrounded bu a bevy of beauties, each one adding to the success of the production. Elke Sommer represents the beautiful and talented clothes designer who becomes the star’s wife. Eleanor Parker is the woman who gives him his first big boost towards success. Jill St. John plays the gorgeous stripper in the early part of the film and Edie Adams helps him with a battle with a blackmailer.
The surprise of the film is the excellent performance that Tony Bennett contributes in his first screen role and Milton Berle’s fine portrayal in the straight dramatic role as Fane’s agent. Joseph Cotton, Ernest Borgnine, Peter Lawford, Ed Begley, Broderick Crawford and a feminine quartet of famous people add spice to the production. The four woman are the late Hedda Hopper, Merle Oberon, Nancy Sinatra and dress-designer Edith Head. Rouse directed the film in a realistic manner.
Seeing the film on the screen is better than a conducted tour of the exterior Hollywood and its studios, as “The Oscar” gives one a real inside look at the cinema capital and its people. However, I hope that this picture of what happens to an Oscar nominee is presented more in fancy than in fact.