Review: ‘Made in Paris’

A Parisian setting and some snazzy femme costumes provide the major props for this otherwise weak and formula comedy programmer. Sexy plot overtones are too protracted in scripting, and become boring via heavy-handed direction. Ann-Margret and Louis Jourdan top the list of adequate players.

A Parisian setting and some snazzy femme costumes provide the major props for this otherwise weak and formula comedy programmer. Sexy plot overtones are too protracted in scripting, and become boring via heavy-handed direction. Ann-Margret and Louis Jourdan top the list of adequate players.

Stanley Roberts’ dull script, strongly reminiscent of yesteryear Doris Day-Rock Hudson-Cary Grant plots (but less effective), finds fashion buyer Ann-Margret rushed to Paris from the lecherous arms of her employer’s son (Chad Everett). Jourdan is the French designer, who, it appears, has had what is usually called an adult arrangement with Edie Adams, whom Ann-Margret has replaced. Richard Crenna is a foreign correspondent who bobs from time to time.

Plotting permits Ann-Margret to essay some wild terpery, which David Winters choreographed to the desired effect. Mongo Santamaria and band provide a solid beat for the bumps.

Made in Paris

Production

Euterpe/M-G-M. Director Boris Sagal; Producer Joe Pasternak; Screenplay Stanley Roberts; Camera Milton Krasner; Editor William McMillin; Music George Stoll; Art Director George W. Davis, Preston Ames

Crew

(Color) Widescreen. Extract of a review from 1966. Running time: 103 MIN.

With

Ann-Margret Louis Jourdan Richard Crenna Edie Adams Chad Everett John McGiver
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