The greatest movie ever!

Save your money for something good and enjoyable

Memorable, crazy movie

In truth, there is barely enough story here to make a film.

. . . 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.

Any negative review of this film is all wrong because it approaches it too seriously. Think of "Where Love Has Gone" as a model for a Charles Busch parody, because it's so bad that it parodies itself -- and is immensely hilarious on that level.Everything about it is so insanely artificial. Bette Davis is outrageously mannered and artificial. Susan Hayward is completely mannered and artificial. And since they're the only members of the cast with any real talent, everyone else is wonderfully artificial and artificial. Even the sets are amusingly artificial; they're almost all hideous early '60s moderne (very Vegas, not at all San Francisco), and they all feature bleached wood and probably depleted the world's supply.Yeah! "Bleached wood"! A perfect description for everything from the performances to the script. That should have been the film's title."Where Love Has Gone" is a fabulous comedy if you regard it as such.

When I was a kid in the 80's, every woman came to the beach equipped with three things: sunglasses, sun tan lotion, and a trashy paperback novel as big as my head. "Where Love Has Gone" reminds me of one of those novels: melodramatic, convoluted, and somewhat absurd.This is not to say it's a bad movie, but it's definitely a guilty pleasure, an acquired taste... The people most likely to watch this film today are fans of Bette Davis, fans of Susan Hayward, and Star Trek fans enjoying the appearance DeForest "Bones" Kelly before he was stationed on the Enterprise. I fit into all three categories and still I must admit I was less than impressed with the film, which tells the tale of a domineering society mother who creates and destroys her daughter's marriage for the "good of the family name." The acting is over-the-top, the dialogue is stilted, and the story is about as cheesy as they come. The movie's finale- a shocking courtroom confessional- bears little resemblance to anything that has ever happened here on Earth.But maybe that's the charm of this movie… maybe it wasn't made for the time capsule or for intense critical examination. Maybe it was only made to pass an afternoon in 1964, and maybe that's enough. Just like those paperbacks: It may not be the greatest novel ever written, but you have to admit it's great to be at the beach.GRADE: C-

This movie is regarded today as an unintentional camp classic. Having seen Edward Dymitryk's black comedy "Bluebeard", I think the director might have been in on the joke, but I'm not so sure anybody else was. As others have said, this is loosely based on the real-life Hollywood scandal where Lana Turner's teenage daughter Cheryl Crane stabbed Turner's gangster boyfriend Johnny Stompanato to death in a domestic violence incident. Somehow this movie manages to make the real incident even sleazier by positing an actual sexual relationship between the daughter and the gangster. Susan Hayward gives a very earnest (and, thus, unintentionally campy) performance as the Lana Wood character. She's made a scupltress here rather than an actress, which is hilarious because, while a vapid bimbo can be an actress, it usually takes some depth to be a sculptor. But even more hilarious her manager (Dr. McCoy--I mean DeForrest Kelley) claims that her "talent" is based on her behaving like an "alley-cat". Well, the real Lana Turner could reportedly alley-cat with the best of them, but it never seemed to do much for her acting.Speaking of alley-cats though, Joey Heatherton is severely miscast as the daughter. Even if she could act, Heatherton was 20 then and looked even older. (They should have cast Tuesday Weld, but a good performance would have stuck out like a sore thumb here). Heatherton was a minor sex symbol of the era, who could fill out a mean sweater and reputedly slept her way through the entire Rat Pack. I did find her kinda sexy, but I also kinda wanted to strangle her (OK, not just kinda) because she has a horrible screechy, petulant voice that make nails on a chalkboard seem sonorous (she's slightly better in "Bluebeard" where she at least busts out her bust after aurally torturing the poor viewers for the entire movie). And speaking of torture, Betty Davis gives a performance as Hayward's domineering mother that somehow manages to seem both incredibly hammy and lethargically phoned-in.The male actors really don't have a chance against three generations of scenery-chewing harpies, but they try. DeForrest Kelley gets to earnestly deliver some real unintentional howlers (between this and "Night of the Lepus" maybe he should have stuck to the small screen). Mike Connor's plays the nice-guy father/ex-husband--a character who was conspicuously absent in the real-life Turner tragedy. This is not as enjoyable as "Bluebeard" (Heatherton and her sweaters really don't make up for a whole bevy of naked Europe-babes), but if you like unitentional camp look no further.