Set in a glossy world of penthouses and charge accounts, the medium for Jackie Collins’ first (1968) novel’s message is sexploitation melodrama which, cunningly, will titillate both sexes.
Anthony Franciosa brings a mercifully light touch to the central antihero, an errant advertising executive who trips over one floozie too many and falls in love. Carroll Baker works creditably hard as Franciosa’s oft-betrayed spouse who – in a suspiciously convenient dramatic move – finds affection in the back of a limousine with a teen-idol some 15 years her junior. Paul Nicholas in that role is uncharismatic.
Collins’ manipulative technique does not allow for in-depth characterization, so cameos tend to come off best. Georgina Hale is routine (for her) but effective as a laconic wife who’s come to terms with the sexcess scene.
