MartinHafer "A House is Not a Home" is a piece of pure 1960s trash. However, it's set apart from other such pictures because, inexplicably, decent mainstream actors appear in the movie. How they got Robert Taylor, Shelly Winters, Caesar Romero and Broderick Crawford to appear in this film is beyond me!When the film begins, Polly (Shelly Winters) is a poor, struggling nice girl in 1930s Chicago. However, when she is raped, she is tossed out of her house and is forced to find a place to live. Frank (Taylor) offers to share an apartment with her. However, over time she slowly begins to help Frank by throwing parties for him and his bootlegger associates...and soon these become more regular and Polly finds herself a madame! She likes the work and doesn't need to sleep with anyone. Not surprisingly, complications arise and the glamorous life of a madame isn't all it's cracked up to be. Through the course of the film, it alternates between drama, melodrama, sleazy exploitation movie as well as a comedy...and the way the film changes so rapidly is unconvincing and weird. Sadly, some of the funniest scenes are supposed to be poignant--such as the smack- addicted prostitute as well as the New Years celebration. Interspersed throughout the film is some incredibly preachy narration by Polly....again, meant to be poignant but eliciting laughter instead! Awkward and uncomfortable to say the least...as well as about as subtle as a board upside the viewer's head!! It's loud, over-the- top and utterly ridiculous trash...much like you'd see in "Valley of the Dolls". How this film isn't more infamous, I have no idea...but it's really bad and you have to see it to believe it! Entertaining garbage and nothing more.

brefane Despite its source, A House Is Not a Home, based on the life of notorious madam Polly Adler, is devoid of insight, conflict or character. Russell Rouse who directed the camp classic The Oscar is defeated by the script and low budget. The film lacks pace and atmosphere and plays like a TV drama limited to a few sets with hardly any exterior shots. Polly's girls and their clients are the usual assortment of junkies, cops, politicians and gangsters. The film's theme song by Burt Bacharach and Hal David remains a standard while the film itself is strictly sub standard. It's Raquel Welch's film debut, but she, like Edy Williams, is most visible in the stills that accompany the titles. The unsinkable Winters appeared in a variety of films during the 60s including Lolita, Alfie, A Patch of Blue, Wild in the Streets, The Mad Room, The Balcony and The Chapman Report, and though she is unconvincing as young Polly, she gives this lackluster film some energy.

moonspinner55 Shelley Winters plays Polly Adler, real-life New York City cathouse proprietress in the 1930s who fell inadvertently into the sex-for-sale business after seeking help from a big-time bootlegger following a rape and an eviction. Although adapted from Adler's (ghostwritten) autobiography, this entertainingly tawdry movie plays more like an adult version of TV's "Playhouse 90" rather than a salacious expose. Dotted with 'shocking' words ("I'm a WHORE!"), and saddled with a bland production design so generic it's often difficult to get a reading on the characters, it isn't any wonder the only aspect of the film to survive the years is its title tune, written by Hal David and Burt Bacharach. Winters is fine in the latter portion of the plot (and does well with a teary telephone scene in the final reel), but she's hopeless when depicting the more demure Polly in her early years. Raquel Welch makes one of her first movie appearances as one of Polly's girls (she's usually found hovering on the edges of group shots), while Cesar Romero plays gangster "Lucky" Luciano as if he were running for office. ** from ****

jazzybill I thought the movie was all right I voted an 8 for the movie. I saw it for the first time last year. I am just happy I have this movie in my collection of old classic movies. It is always a treasure to add old classic movies to your collection.