calvinnme ...when films of 1960-1965 had one foot in the demure production code era and one foot in the budding sexual revolution.After the credits open with some horrid MOR song over idyllic shots of San Francisco, we cut to the action. Joey Heatherton stabs Rick Lazich in the presence of her mother (Susan Hayward), who had him as her latest boyfriend. Heatherton's dad (Mike Conners) flies in for appearance's sake, since he's there at the sufferance of Grandma (Bette Davis in another of her juicy later career roles) who controls everything.We get a flashback to how Conners and Hayward married and divorced. Although, this is a flashback to some alternate-universe 1944 in which the US is still at war but everybody wears 1960s fashions and hairstyles. Conners is a war hero; Hayward a sculptress; Davis interferes in their marriage and gets all of the bankers in Frisco to make it so that Conners can only go back to her family business rather than start his own architecture firm. Hayward sleeps around (presumably) with her models while Conners drinks himself into a divorce.Back in the present day, the killing is deemed a justifiable homicide, but Heatherton is kept in juvie while the courts can figure out who, if anybody should get custody of her. George Macready plays Davis' lawyer; Jane Greer comes from out of the past to play a social worker; and DeForrest Kelly plays Hayward's art dealer (Jim, I'm a doctor, not an art critic!).Davis overacts and delivers pointed bons mots; Hayward wears big hair and recites some terribly overripe lines; Conners gets to be wooden; and Heatherton cries "Daddy!" all the time; you almost expect her to break out into the "I've Written a Letter to Daddy" song that appears at the beginning of What Ever Happened to Baby Jane? And then there's an ending that makes no sense.If you're looking for a serious movie, I'd rate it a 3/10. But if you're looking for the sort of turgid, over-the-top potboiler where you yell back at the screen and laugh at the absurdity of it all, I'd give it an 8/10. It's not quite as "so bad it's good" as Valley of the Dolls or Torch Song, but it's an eminently entertaining disaster nonetheless. I split the difference to give it a 6/10.Just one more thing. Bette Davis is only nine years older than Susan Hayward, but very credibly looks like her mother. Part of that was that Bette Davis, dish that she was when she was young, aged very poorly for whatever reason. The other part is makeup. In contrast, Susan Hayward aged very well, as short as her life was, and she looks nowhere near 47 here, which was her actual age.

Edgar Allan Pooh . . . deals with one of the most dreaded afflictions of the previous century, Hereditary Nymphomania. "You're not a woman--you're a disease!" Congressional Medal of Honor Winner Luke is forced to yell at his tart Rich Wife Valerie, who's indiscriminately Open Nightly. As Val takes on all comers in front of her impressionable young daughter Danny, the pivotal Bruce Dern-style scene from director Alfred Hitchcock's MARNIE is repeated. However, WHERE LOVE HAS GONE is far more explicit that Hitch's pulled punch, and also dispenses with the subsequent Reign of Boredom featuring red-tinted camera lenses. LOVE makes it clear that most if not all American men would stand in a line stretching around the block to have a go at Susan Hayward's Valerie, while MARNIE's Tippi Hedren would be lucky to attract ANY Yank to join Britain's Weird Al on his casting couch.As the spawn of Corrupt Capitalist Plutocrat Bette Davis, Valerie's morals are as Deplorable as Iwanna Rump's. With Val's daughter Danny given over to Demonic Debauchery by Age 15, LOVE proves the necessity for a U.S. Constitutional Convention to REPEAL AND REPLACE that Rancid Racist 1700s Suicide Pact currently terrorizing all of us. This will allow the Red Commie KGB-controlled Rich People Party to be permanently outlawed and eradicated, just as Germany's Fourth Reich booted out the Nazis after World War Two. Lucifer's interchangeable Three C's--Communism, Capitalism, and Conservatism--will be banned in our New Constitution, as well as all Job-Killing Corporations (the Devil's Tools). Folks like Mrs. Hayden, Valerie, and Danny no longer will be allowed to corrupt or slay True Blue Loyal Patriotic Normal Union Label American Heroes such as Luke. If these Fat Cat One Per Centers fail to Self-Deport (taking a maximum of $16,000 Per Capita with them), the USA's New Founding Fathers will have to PURGE the laggards by Any and All Means Necessary. After a Seven Generation Cooling Off Period Up North, perhaps the weak genes Hot Pants Problem of Val and Danny will resolve itself.

MartinHafer "Where Love Has Gone" is a bad movie. The characters are pretty much one-dimensional, the acting is about as subtle as a baseball at upside your head and the script is salacious and sleazy...yet, this film is incredibly entertaining because it's so over-the-top! Subtle, this movie ain't!! The film begins with a killing that I am sure was modeled after the true-life killing of Lana Turner's husband by her daughter from a previous marriage. Though the details aren't 100% certain, it sure bears a lot of similarity to the start of this film. It was a HUGE and very sensational story back in the 50s--and now the tale is being brought to the screen--in a story that has many, many changes from the original true tale.The next portion of the film is a long flashback. Susan Hayward lives with her very rich and extremely controlling and manipulative mother (Bette Davis). She's very unhappy yet she doesn't leave...though she longs for change. When a guy comes into her life (Chuck Connors), Hayward is smitten. Why? Because when Davis tries to wrap him around her finger, he tells her to take her money and stuff it! However, he has no idea that this is what made Hayward love him.Shortly after they marry, Connors' self-esteem is in the toilet. Behind his back, she made sure he'd fail in business and would be forced to work for her company. As a result of this, Connors is disheartened and starts to hit the bottle. And, because he's no longer the virile man who stood up to Davis, Hayward has contempt for him and his weakness--and their marriage fizzles. Soon, he's drunk all the time and she's whoring about with one boy-toy after another. Not surprisingly, they divorce--and the rest is history. These jerks apparently created the poor girl killer (Joey Heatherton) and the rest of the film is about the family trying to pick up the pieces. Who is best to raise this teen killer--the highly unstable and oversexed mother, the ex-alcoholic or the evil controlling mother? How it all ends is,....well....incredible! The plot idea isn't terrible. The problem is that the writing NEVER approaches subtlety or grace-and the ending is just WAAAY over the top!! It's full of screaming, sleaze and, well, a few more doses of sleaze! It's also hilariously preachy. The PRETENDS to be a morality tale to teach parents not to neglect their poor kids, but it's a very, very thin sort of veil for a bucket of steaming..., um,...soap. But it's also very entertaining and you can't keep your eyes off it--like a funny train wreck (if there could be such a thing). And, a lot like "Peyton Place".By the way, if you care, DeForrest Kelley is also in the film in a supporting role. And, oddly, he comes off the best of any of them--playing the role like he's NOT a combination of constipated and intensely mad!

M. J Arocena I don't think my comment is worth ten lines but I'll try, the little I have to say I want to say it because this is one of those really bad movies I like. The kind of bad movie with little treasures buried in it. Bette Davis and Susan Hayward as mother and daughter and let's stop right there for a moment. Two actresses who never took the easy way out. That, in itself, makes the movie a collector's item and, I guess it is. Then, based on a Harold Robbins best seller based on the Lana Turner, Johnny Stompanato's affair, remember? Lana's daughter stabbed Johnny Stompanato, her mother's lover and, it seems, her lover too That should be enough to make a classic melodrama. Unfortunately, a classic, this one, it ain't'. But a must for movie nuts, like me.