JACKIE COLLINS’ PARIS CONNECTIONS

  

When I first read Jackie Collins serialised novel L. A. CONNECTIONS in 1998 I remember thinking that it would definitely make a great miniseries. But since minis were quickly becoming a thing of the past, I had little hope that it would come to fruition, let alone become a movie or a TV movie. Cut to 2010 and surprise, surprise, the thing was actually happening, thanks to the UK chain store Tusco which then produced (with the help of Collins herself) an actual movie adaptation and released it on DVD exclusively. It took this Canadian blogger a multi-region DVD and another 15 years to finally catch a copy to review.

 

The main premise of JACKIE COLLINS’ PARIS CONNECTIONS is basically the same as in L. A. CONNECTIONS: American reporter Madison Castelli (Nicole Steinwedell) flies to Paris to investigate a murder mystery involving dead models during Fashion Week. There she hooks up, in more ways than one, with old fling and photographer Jake Sica (Anthony Delon) who agrees to help her with the case.

 

Shot on location, JACKIE COLLINS’ PARIS CONNECTIONS is a sight for sore eyes with its panorama view of the City of Light and the many glittery sequences of the fast-moving jet setters. Whether focusing on a catwalk or simply on a terrace café director Harley Cokeliss (BLACK MOON RISING) clearly succeeds in capturing the essence of Collins vision in the French capitol. Story wise, Michael Tupy does a fine job translating the author story to the screen. His understanding of the characters, especially of the heroine, makes for a fine light-hearted mix of romance and suspense. The entire cast seem to enjoy themselves as well, including GAME OF THRONES Charles Dance and the late international star Anouk Aimée (A MAN AND A WOMAN) who makes a delightful cameo as a sought-after but headstrong designer.

 

Nicole Steinwedell who, as noted earlier, plays the sassy heroine is completely new to me. She already has quite an impressive acting resume, however, in shows like DAWSON’S CREEK, TWO AND A HALF MEN, CSI and feature films like A SINGLE MAN. In 2024, according to Wikipedia, she was appointed Vice-President and Banker for a private firm in New-York. So my guess is that she’s put her acting chomps aside for a career in finance. We wish her well. Maybe she’ll turn up in something else someday. She sure is a good enough actress.

 

JACKIE COLLINS’ PARIS CONNECTIONS may come down to as nothing more than a frivolous whodunit whose time is indeed more spent on looks than substance, and still I dig it—as expected. If you’ve managed to make it thus far through this post, guess what: you‘re addicted to this type of cinematic brain candy just as I am. And for that I only have one thing left to say: respect.

 

Until next post—Martin

 

 

BAD GIRLS CLUB: CARROLL BAKER IN ‘SYLVIA’

 

You could easily say that I’m a Carroll Baker fan. I have yet to see everything she’s in but I’ve seen enough to consider myself a proud connoisseur of her work—especially after catching her in the 1964 Harold Robbins adaptation of THE CARPETBAGGERS which is long overdue to be spotlighted on this blog. But as for now, I’d like to focus on SYLVIA, a film she’s made a year later and one that equally deserves the spotlight.

 

The film begins when Baker’s just about to marry one of the wealthiest men in California, played by the still dashing Peter Lawford. Unbeknownst to her, however, her groom-to-be hires a private detective to do a background check. This investigator is none other than gay-closeted and former Playgirl centerfold George Maharis. Maharis goes back to her hometown and discovers that financially free (!) and talented poet Baker—she has a book published—holds a big secret that involves a heavy past. I won’t get into all that but if you enjoy sleaze and melodrama like I do you’ve certainly come to the right film.  Oh boy did you.

 

Yet surprisingly, underneath all that on-screen craziness hides a sensitive film worth noticing, mostly due to Baker’s strong performance as a lost soul. She succeeds in making Sylvia likable and, in return, generates some form of empathy which of course can only be a good thing. At least that’s how I felt when I watched the film—twice. As for Maharis, he’s fine as well—so is Paul Gilbert as a wisecracking drag queen (yes, a drag queen)—but it’s Baker who impresses the most. I admit, SYLVIA is not for everyone. It’s hard to watch at times and it’s probably why it got so panned by the critics but the overall delivery is quite fetching, in my opinion.

SYLVIA is based on a novel of the same name by best-selling author Howard Fast who used a pseudonym. Superstar Paul Newman was one time attached to the project but eventually opted put. The original director, David Miller (1960 MIDNIGHT LACE starring Doris Day), ended up being replaced by Gordon Douglas (the delightfully trashy CLAUDELLE INGLISH from 1961). So this leads to believe the film was a trouble shoot. Also, I remember reading somewhere that Baker threw a tantrum when she complained to deaf hears about the script, or something like that.

 

Despite of all of this, I think the film turns out better than its reputation makes it out to be. But hey, I’m the guy who thinks THE LONELY LADY is a great piece of art. In the end it comes down to what turns you on as a viewer but you’ll certainly be missing something if you fail to give SYLVIA a try.

 

Until next post—Martin