Plot so thin, it passes unnoticed.

An absolute waste of money

I really wanted to like this movie. I feel terribly cynical trashing it, and that's why I'm giving it a middling 5. Actually, I'm giving it a 5 because there were some superb performances.

Blending excellent reporting and strong storytelling, this is a disturbing film truly stranger than fiction

Beautiful fashion model, salesgirl and assistant buyer Ann-Margret (as Maggie Scott) dates handsome boss' son Chad Everett (as Ted Barclay). When it's time to make out on the sofa, Ann-Margret hits Mr. Everett violently on the head with an "Objet d'art". Everett survives, but with a bandaged head. After the credits, Ann-Margret learns she is being transferred to Paris, where she'll work as a fashion consultant. It's a glamorous and exciting job. Ann-Margret is courted by famous fashion designer Louis Jourdan (as Marc Fontaine) and playboy reporter Richard Crenna (as Herb Stone). Everett also goes to Paris, probably because he regrets asking Mr. Crenna to look after Ann-Margret. Co-worker Edie Adams (as Irene Chase) tries to explain Mr. Jourdan needs sexual satisfaction, but Ann-Margret doesn't seem to understand...Ann-Margret is an amazing beautiful woman, and director Boris Sagal provides opportunities to see her underclothing. Dressing and undressing scenes are a highlight of "Made in Paris". One standout moment has the leading lady flashing a sexy glimpse of upper thighs while getting up and going to do something impossible to remember unless you're not looking up her short nightie. You could almost see France, but all of this story was done in the US. Of course, you see nothing, but it's Ann-Margret. The actual story is incredibly dull. There is a dreadful "fashion show" segment with stuff Mr. Jourdan's character admits no woman is going to wear. Ann-Margret has a lively dance segment, but this film otherwise wastes its star. The question, "Will her virginity remain intact until just after the closing credits?" is answered.*** Made in Paris (1966-02-09) Boris Sagal ~ Ann-Margret, Chad Everett, Louis Jourdan, Richard Crenna

One of the series of mediocre films that saw Ann-Margret's film career stagnate until 'Carnal Knowledge', 'Made In Paris' looks great, has a decent cast and should be at the very least a harmless timewaster. But it's not even that.What really sinks it is (as other reviews here have noted) how badly written Ann-Margret's character is, going from prim and naive to a wildcat with no rhyme or reason.I think this is because the film was trying to have its cake and eat it too in trying to represent both the more permissive culture that was developing in mid-1960s America (even though this is mainly set in Paris), while dealing with the restrictions of the conservative Hays Code, then in its dying days. Unfortunately, the script and direction aren't good enough to overcome this contradiction and the film is a largely dreary mess.Ann-Margret is largely sunk by the horribly-written character she's saddled with. But she does display her skills during a fun dance number and provides some entertainment when briefly showing her 'wild side'.Of the rest of the cast, Crenna comes off best with a role that you wish had been more substantial. Everett is dull and Adams is wasted in a nothing role that is even more poorly-scripted than Ann-Margret's is.Only for die-hard Ann-Margret fans.

A film also exclusively for admirers of Ms. Margret (or of mid-60's couture), this fluffy romance starts off interestingly, but eventually wears out its welcome. Margret plays a model-turned-fashion buyer for a major New York department store. After a hit-or-miss courtship with the owner's son (Everett), she finds herself assigned to a Paris buying trip, thanks to the impromptu marriage of the normal buyer (Adams.) Upon arrival in Paris, Margret soon discovers that Adams had typically done some extra unzipping with one of the primary designers (Jourdan) and believes he wants her to provide the same type of service. This leads to some misunderstanding between Margret and Jourdan which is further complicated by the arrival of Everett and the presence of his pal Crenna, who he'd assigned to look out for her during her stint in The City of Love. A near wordless opening sequence between Everett and Margret demonstrates the dynamic between them, with him expecting to go to bed with her after a night on the town and with her batting her eyes, but refusing to go further than a kiss on the cheek. Most of the film involves her flip-flopping madly between behaving like a turned-on, panting, lovestruck feline or a chaste, buttoned-down virgin. Before too long, the audience becomes as frustrated as the men in her life trying to decipher exactly what she's after. Margret looks amazing throughout most of the film in a dazzling array of costume concoctions and with crazy hairstyles by Guilaroff (who did love to get his hands on her scalp.) Her baby doll voice is a matter of taste (including her left-field, dewy duet with Jourdan more than halfway in), but one can't deny that she had an interesting look and moved well. At this stage in her career, practically every A-M film had a gyrating dance number and this one is no exception with a quartet of male bar patrons somehow falling into full-on stage show choreography in support of her! Jourdan, ever the class act, does a nice job, but isn't required to do anything out of his usual comfort zone. Crenna seems to be enjoying his man-about-town role, though there isn't really anything special about it either. Adams isn't given very much to do, but looks lovely in her own set of sexy Helen Rose creations, especially a tight black gown in which Adams can almost walk! Everett is a Ken doll come to life, but manages to establish a little chemistry with Margret. Dalio and Calnan nicely portray the confused and concerned servants at Margret's Parisian apartment. Made at a time when audiences were supposed to be shocked (or at least MGM thought perhaps they might be shocked) that a man in pajamas has entered a woman's bedroom, the film is dated, to be sure, but does provide a colorful and sometimes lively diversion. Marked "for adults only", one would be hard-pressed to find anything objectionable about it, if one could even stay with it until the bitter end. It's hard to believe "Valley of the Dolls" was released merely one year later! A few critics at the time noted the double meaning of the title, but no one gets any action here! One highlight is a fashion show, replete with lanky models showing off the instantaneously-dated, to-die-for clothes, and featuring a truly ugly wedding gown which A-M describes as the most beautiful she has ever seen. (Rose had to settle that year for an Oscar nomination for "Mister Buddwing" in the black and white category, rather than for her rather eye-popping items here.) The nightclub scene with seductive Margret writhing for Jourdan's benefit is also fun (and the place is so smoky that Crenna can barely tell whose hand he's holding!) This was made during Everett's chief stab at film stardom, but within three years he would be on TV making his mark on "Medical Center", his signature role.

Overall, this grab-bag of 60s genres really doesn't work very well. The MGM gloss is clearly evident, however, and some of the set pieces are not to be missed.Two-thirds of the way through this flick, I realized that I had lost interest, mainly due to weak characterizations, and stupid plot contrivances. The AM dance number and subsequent vocal come out of nowhere - this is definitely an everything-but-the-kitchen-sink script.AM's performance is unsubstantial, although LJ provides his usual touch of sophistication. RC and CE are completely inconsequential.Recommended only for set and costume design......and perhaps for the chance to see AM in her prime.