| Photos (see all 4 | slideshow) |
| Tony Curtis | ... | Carlo Cofield | |
| Claudia Cardinale | ... | Laura Califatti | |
| Robert Webber | ... | Rod Prescott | |
| Joanna Barnes | ... | Diane Prescott | |
| Sharon Tate | ... | Malibu | |
| David Draper | ... | Harry Hollard | |
| Mort Sahl | ... | Sam Lingonberry | |
| Dub Taylor | ... | Electrician | |
| Ann Elder | ... | Millie Gunder | |
| Chester Yorton | ... | Ted Gunder | |
| Reg Lewis | ... | Monster | |
| Marc London | ... | Fred Barker | |
| Douglas Henderson | ... | Henderson | |
| Sarah Selby | ... | Ethyl | |
| Mary Grace Canfield | ... | Seamstress | |
| Julie Payne | ... | Helen | |
| Holly Haze | ... | Myrna | |
| Edgar Bergen | ... | Madame Lavinia | |
| Paul Barselou | ... | Pilot (as Paul Barselow) | |
| George Tyne | ... | Newspaperman | |
| David Fresco | ... | Newspaperman | |
| Gilbert Green | ... | Newspaperman (as Gil Green) | |
| Eduardo Tirella | ... | Decorator | |
| rest of cast listed alphabetically: | |||
| Henny Backus | ... | Herself (uncredited) | |
| Jim Backus | ... | Himself (uncredited) | |
| Johnny Fain | ... | Beach boy (uncredited) | |
| China Lee | ... | Topless swimmer (uncredited) | |
Directed by | |||
| Alexander Mackendrick | |||
Writing credits(in alphabetical order) | ||
| George Kirgo | writer | |
| Maurice Richlin | writer | |
| Terry Southern | uncredited | |
| Ira Wallach | novel "Muscle Beach" | |
| Ira Wallach | screenplay | |
Produced by | |||
| Julian Bercovici | .... | associate producer | |
| John Calley | .... | producer | |
| Martin Ransohoff | .... | producer | |
Original Music by | |||
| Vic Mizzy | |||
Cinematography by | |||
| Philip H. Lathrop | |||
Film Editing by | |||
| Rita Roland | |||
| Thomas Stanford | |||
Art Direction by | |||
| Edward C. Carfagno | |||
| George W. Davis | |||
Set Decoration by | |||
| Henry Grace | |||
| Charles S. Thompson | |||
Costume Design by | |||
| Donfeld | |||
Makeup Department | |||
| Sydney Guilaroff | .... | hair stylist | |
| William Tuttle | .... | makeup artist | |
Production Management | |||
| Edward Woehler | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Carl Beringer | .... | assistant director | |
| Erich von Stroheim Jr. | .... | assistant director | |
Sound Department | |||
| Franklin Milton | .... | recording supervisor | |
Stunts | |||
| Bob Buquor | .... | skydiver (uncredited) | |
| Lee Faulkner | .... | stunts | |
Camera and Electrical Department | |||
| Cliff King | .... | assistant camera (uncredited) | |
| James V. King | .... | camera operator (uncredited) | |
Music Department | |||
| Vic Mizzy | .... | conductor | |
| Gus Levene | .... | orchestrator (uncredited) | |
Other crew | |||
| Leigh Hunt | .... | sky diving sequence | |
| Eduardo Tirella | .... | technical advisor | |
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| Factory Girl | The Stunt Man | Calendar Girl | A Face in the Crowd | La meglio gioventù |
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| Full cast and crew | Company credits | External reviews |
| IMDb Comedy section | IMDb USA section | Add this title to MyMovies |
Tony Curtis stars in this odd look at Southern California at a major turning point in American culture. The forces of the past, typified by the businessman played by Robert Webber with his wealthy wife (Joanna Barnes) and klutzy mistress (Claudia Cardinale), meet the forces of the present (surfer girl Sharon Tate, curiously also called Malibu, and her muscle man boyfriend played by David Draper) head on. This collision is put into physical form at the film's climax, when all of the film's principals resolve their problems in a house that is falling off a cliff onto the beach.
Yes, it's an odd film. Perhaps the best thing about it is the title track by the Byrds, who also make a cameo appearance. The plot doesn't make sense, basically it's an updated Doris Day/Rock Hudson romantic comedy which falls completely flat. Curtis, forced to play a comic role without being given much comic dialog, does an okay job, but his relationships with the women are empty. Draper pauses over his lines as if he is reciting Lincoln's Gettysburg address, and Webber is a major downer every time he appears on screen.
Tate is the reason to watch this. She is magnificent. Her opening scenes are the best, when she is helping Curtis recover from a surfing accident and then bouncing on a trampoline. She reminds me of Bo Derek a dozen years later in "10," they have the same bronzed look and angular facial features. Another connection between this film and "10" is the presence of Webber, and in both, he serves as a complicating factor. Dudley Moore brilliantly took on the Curtis role in "10" and showed what could have been done here, highlighting his crazed lust and with a more comic and less romantic attitude than the sometimes suave, sometimes hyperactive, always edgy Curtis.
Director Alexander Mackendrick apparently was trying to poke fun at assorted "wacky" aspects of the emerging Southern California youth culture (astrology, surfing, precarious real estate), but there aren't any punchlines and what humor exists is droll, understated and implied. It's a pretty film, with pretty women and stunning scenery, that's the reason to see this one.