User Reviews (18)

Add a Review

  • 'Made in Paris' was just another flop (film-critical wise) in Ann-Margret's film career, which had started off extremely successful with 'Bye Bye Birdie' and Elvis' most entertaining movie 'Viva Las Vegas' and then kind of took a wrong turn with 'Kitten with a Whip', which she, or better her managers, took instead of 'Cat Ballou'. It was a good movie but a critical disaster. One could say the only really good movie of her early career was 'The Cincinnati Kid', although her presence makes everyone of her films quite a pleasure to watch, even 'The Swinger'.

    Yes, this 'romantic comedy' here is not bad. Unfortunately I would have to lie to say it was good. You'll not be harmed by watching it but don't expect The Godfather, though. Despite being a "comedy" the film is not very funny, except maybe for Richard Crenna, who gives the best acting performance here and has the best lines (relatively speaking, this is not Woody Allen quality). Jourdan does his usual French sophisticated charm routine and he and the other supporting players are all quite good.

    Of course the simple romantic story was nothing spectacular. The highlight is, as you probably expected, the No. 1 sex kitten of the Sixties, a woman I can easily call the quintessential American beauty and sex symbol of her time and perhaps even all: Ann's sexy dance numbers are energetic, she's a fine dancer and the outfits are well-chosen, showing just enough of cleavage and legs. And that's about it. No surprise: She looks absolutely stunning here and if you happen to be unmoved by her looks, you should NEVER watch it. If you're an Ann-Margret fan, you should definitely give this one a try. Her acting is quite fine (although there's not enough character in the screenplay that could allow a great performance), and her unbelievable charisma and screen presence make this a very watchable movie in the end. Watch it for her and nothing else.
  • 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
  • Warning: Spoilers
    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.
  • An American fashion-buyer is sent to Paris on assignment and immediately gets on the wrong side of a major French designer. Soon though, she almost inadvertently manages to charm him, as well as two other men. What is Ann-Margret doing to drive all these eligible bachelors crazy? As far as we in the audience can see: nothing. Yes, she gets to dance a little and sing a pretty ditty on the docks, but the character is haphazardly written. One minute she's a firebrand, the next she's icy, almost frigid. Judging from her teasing and emotional schizophrenia, it's unlikely that suave Louis Jourdan would even give her the time of day. There's a funny gay-misunderstanding gag involving Richard Crenna (who is a lot more appealing than he's supposed to be), however this is one of A-M's weakest starring vehicles of the 1960s. *1/2 from ****
  • Ripshin20 October 2005
    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.
  • Ann-Margret, Louis Jourdan, Chad Everett, and Edie Adams star in this light film which when seen today sets the #metoo movement back 50 years.

    Ann-M, whom the boss' son (Everett) is in love with, plays a courtier buyer for a department store, in Paris on her first job. She is replacing another buyer (Edie Adams). Now in the corporate apartment, Ann-M doesn't realize that her predecessor was having a mad fling with one of the designers (Jourdan) as part of their contract.

    This is just a frothy romance that is a showcase for the gorgeous, sexy Ann-Margret in glamorous Helen Rose outfits. If you're an Ann-Margret fan, you don't want to miss this.
  • Made In Paris is not referring to something that happens to Ann-Margret while in Paris. Not that there aren't three men willing to take on that assignment. No in fact it refers to Ann-Margret's first assignment taking over as a department store buyer in place of Edie Adams who is going to get married. No Ann's in Paris to get designer clothing for her store with that all important label in the fashion industry.

    The three men in her life are designer Louis Jourdan, reporter Richard Crenna and the son of the store owner Chad Everett. Jourdan and Everett are in heat over her, Crenna just sits back and offers cynical comments hoping the other two kill each other off.

    Ann-Margret was just a wee bit too innocent for this comedy with pretensions of sophistication. Not the best films for any of her leading man for that matter either. But entertaining and pleasant enough for a Saturday afternoon.
  • 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.
  • richard-178717 July 2013
    TCM ran this tonight, and I had to wander why. There's plenty of talent here, but not in the script or the direction.

    Poor Ann-Margret, who was an accomplished dancer - and, of course, a very attractive woman - gets stuck in a role where her only dancing is a very bad knock-off of what made her famous in Bye, Bye Birdie. She plays someone so naive and puritanical that all her sex appeal fails to overcome the impression that she's one frigid, repressed basket case.

    The rest of the movie isn't much better. Good to very good actors get stuck in roles that barely have two dimensions.

    And don't let the "Paris" in the title fool you. Most of this movie was filmed not just on sets - after all, that was true of An American in Paris as well, and that is a stupendous movie - but uninteresting sets, hotel rooms that may have been left over from MGM's 1939 Ninotchka. The only atmospheric moment is an embarrassment. AM and Louis Jourdain appear on the set used for Gene Kelly and Leslie Caron in AAIP, the great Seine River scene where the two great dancers dance and fall in love. This time, however, that same set is shot without any of the poetry that has immortalized it in AAIP. The song is not great Gershwin, but an forgettable flop. And there is no dancing. Even though AM was a great dancer. Talk about wasting an opportunity! In short, there really is nothing to recommend this movie. Those in it all did better, much better, elsewhere. It's often embarrassing to watch them here.

    Skip it.
  • Ann Margret, (Maggie Scott) plays the role of a young gal who came from Illinois and went to NYC and worked at Barclay Department Store where she was very successful and when Irene Chase, (Edie Adams) told her boss at Barclay she was leaving Paris in order to get married, it opened the door for Maggie Scott to take her place. However, Maggie was sort of dating the boss's son, Ted Barclay, (Chad Everett) who wanted to score with Maggie but she preferred to stay a virgin which made Ted rather angry, but he really loved her so he told his father Maggie would be great for this assignment as a fashion buyer in Paris, France. Maggie was in for a big surprise when she arrived in Paris because she ran into Louis Jourdan,(Marc Fontaine) who was a ladies man and a famous fashion designer of women's clothing who started to get very interested in Maggie in more ways than one. There is plenty of dancing by Ann Margaret and even a few songs are sung. Richard Crenna, (Herb Stone) gave an outstanding performance and he looked so young in this picture I could hardly recognize him.
  • Looked at from a modern perspective this film is horrendously sexist and there is cause for about a half dozen sexual harassment suits within the first fifteen minutes of the movie. But if looked at as a product of its time it's a bright fluffy colorful comedy with a stunning Ann-Margret and for anyone who is a fan of fashion a real eye candy treat. The film is loaded with high fashion sixties designs and has a fashion show smack dab in the middle.

    There is also a very fun number of You've Got To See Mama Ev'ry Night (Or You Can't See Mama At All) performed by A-M and a dolled up Reta Shaw. A nice surprise for Miss Shaw's fans since she usually was cast as maids and crotchety spinster ladies, it's great to see her frisky and animated singing a spirited version of the tune.

    As for the actual plot of the picture it boils down to sensible girl gets a chance to go to Paris and make a big impression at work but ends up turning into a dithery fool whose head is turned every which way by various men.
  • This thing was made in 1966, there were social changes a' coming. Heck, the Beatles and dozens of other Brit bands were here; fashions/makeup and social mores were changing fast. And here is our darling young gorgeous naive Ann Margret in the Gay Paree fashion world, fending off several inexplicably straight men dying to get into her lacy undies. Everyone wearing already dated huge Dairy Queen ice-cream-cone hairdos. An eye-goggling endless fashion shows of amazing, though already dated, 'Paris Fashions' (including a hideous hideous wedding gown at the end of the fashion show). And enough dead skinned animal fur to taint the Seine blood red for a year. Every other gown/coat/pantsuit was festooned with fur. Everyone smoking like MAD (and all that fur and expensive clothes worn in nightclubs so thick with nicotine you could hardly see them). Lots of I'm-not-that-kind-of-girl slap and tickle, lots of groovy and not dancing, some OK music of the time - this was made for ladies like my aunt, about 40, and still in love with Elvis years after he peaked. Long gloves, lots of up-do hair, amazing colors, exquisite set decorations (her hotel room - to. die. for.) Just watch this silly dated thing for the eye candy. It plays, and sounds, exactly like something Doris Day would have starred in (she turned it down, wisely, being a bit long in the tooth to play a beautiful young naive virgin being solicited by the three straight men in all of the fashion world.). A lovely Sunday afternoon time-filler. Not good, but not horrible.
  • Ann-Margret is simply irritating trying to play a naive and coy young lady wandering into Paris for her very first time with two (2) men both trying to woo her affections. I could not help but compare it to the earlier 196 film Gidget Goes to Rome starring James Darren, and Cindy Carol which was a more genuine adorable movie for young first time lovers.

    Made in Paris was a big disappointment. It also reminded me of any number of Jerry Lewis's 1960's slapstick films. So for a so called Romance genre film it tanked big time.

    I give it a lowly 4 out of 10 IMD rating.
  • atlasmb12 October 2020
    Ann-Margret plays Maggie Scott, an employee of a NYC fashion salon who has ambitions of moving up in the industry. An unexpected turn of events gives her the opportunity to travel to Paris as a buyer for her firm at the launch of top designer Marc Fontaine's new line. It is arranged for her to meet Herb Stone (Richard Crenna) there so he can act as tour guide and protector. But when she gets to Paris, a misunderstanding leads to a farcical confrontation with Marc Fontaine himself.

    Though the fashions might be considered sophisticated, the plot of "Made in Paris" is rather basic. Worldly Herb predicts, when she first arrives in the City of Lights, that she will "go ape". And so she predictably unravels at times, while trying to establish credibility in her job.

    But Maggie Scott is a flawed character. As she tries to juggle three men, her character acts erratically, blowing hot and cold without any justification or consistency. Still, Ann-Margret has the obligatory dance sequence, where she jerks and frugs splendidly.

    You might swear that some of the scenes were filmed in Paris, but the entire production was filmed in California. And it's worth a look, especially if you are a fan of Ann-Margret.
  • This would've been a fun movie to watch if it had been made in MGMs glory days: Joan Crawford as the up and coming buyer trying to prove herself, Clark Cable as the department store heir, William Powell as the newspaper reporter, and of course Franchot Tone as the designer, Fun to watch in the 30s, but boring and stodgy for the 60s. This type of comedy had seen its day. Also, as other reviewers have mentioned; the sets were recycled , and the lighting might've worked for black and white or technicolor, but by the 60s a more realistic approach is warranted, the sets just look like a cheap set for a TV sitcom. And why put Ann Margaret in an those clothes that were suitable for old ladies? This was the height of the youth culture of the 60s and she's dressed in clothes fit for an old MGM matron. Helen Rose was no Givenchy that's for sure.
  • Maggie Scott (Ann-Margret) is a young assistant buyer at a high end New York store. She has a date with the owner's son Ted Barclay (Chad Everett) but she's not that kind of girl. It doesn't stop him from trying. Senior buyer Irene Chase is getting married and Maggie goes to Paris in her place. Ted asks columnist friend Herb Stone (Richard Crenna) to look after her. She encounters Irene's fling and fashion designer Marc Fontaine (Louis Jourdan) at the luxury company apartment. It goes badly and Ted flies to Paris to fix the problem.

    This has sexy Ann-Margret. She's doing the single gal striving in the working world. Of course, all the men are after her. This doesn't have the comedic punch. I wish Ted could be played by a better actor to alleviate some of his annoying personality. There is a superficiality to all the relationships. Ann-Margret's sexiness is on full display but she can't carry the weight on her shoulders. She does her best sexy dance but she's not some kind of acting powerhouse. Crenna and Jourdan are fine. I especially love the cool French superiority of Jourdan. This is interesting as a time capsule of a movie era although it may not be the best example.
  • Boris Sagal's "Made in Paris" is pretty much what I expected. Despite the poster, we don't actually see Ann-Margret in her bra and panties. It's all about her having awkward flings with men in the French capital. Although we remember Ann-Margret as a sex kitten, she did eventually graduate to serious roles in "Carnal Knowledge", "Tommy", "Magic" and "Our Sons". She played a truly surprising role in the suspense thriller "Memory".

    However, one line in the movie caught my attention. They mentioned Algerians. It's worth noting that this came out only a few years after Algeria had won independence from France. France had occupied Algeria since the 1830s, with the French army committing all sorts of horrific atrocities there. Following an uprising in 1954, France waged a brutal eight-year war to try and reclaim Algeria, torturing prisoners in the process. I recently saw a movie called "Outside the Law", about some Algerian brothers and their participation in the independence movement amid French persecution. Believe me, France was not innocent in this regard.

    Yeah, I know. Pretty tangential. Anyway, it's a nice, innocuous movie. Plenty of dated qualities - gender relations, fur coats - but otherwise fun. As far as I'm concerned, any Ann-Margret movie is a good one.
  • Iloveparis66011 February 2021
    I love anything that takes place in 1960s Paris, but the writing reminded me how we have made so much progress in gender equality. Clearly written by a man, in a way that was very frustrating to watch (coming from someone that loves old movies like A New Kind of Love or Will Success Spoil Rock Hunter). What woman gets an opportunity of a lifetime? The love angle does not make any sense either.