Year: 1978
Runtime: 150 mins
Language: English
Director: Joseph Hardy
In this cut‑throat portrait of Hollywood, a pretty small‑town girl arrives with big dreams of stardom. She marries a once‑famous actor whose career is in decline and, determined to reclaim the spotlight, she meticulously plots to revive his fortunes—hoping the comeback will lift both of them back into the glittering limelight.
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Elena Scheider, a poised and classy figure, is hired by film producer Adam Baker to seduce Randy Brent, the embattled star working in Phoenix on his latest film The Last Man, a post-apocalyptic, dystopian thriller. Since the death of his wife seven years ago, Randy has stepped away from the spotlight and is seen by many as a has-been trying to make a comeback. Elena’s seduction is swift, and before long she moves into the Hollywood mansion Randy calls home.
In Hollywood, Elena is welcomed by the insiders, including Randy’s famous daughter Marina Brent, [Michelle Phillips], and the wealthy socialite Grace St. George, [Joan Fontaine]. Elena and Marina quickly become friends, and Marina opens up about a Love Life tangled with powerful movie producers who use people for their own gain. The only man she claims to trust is married to a formidable, high-society woman. Elena soon hears from her masseur Harvey Parkes, [Michael Baseleon], that the married man is Adam, whose intimidating wife Nancy Baker, [Carrie Nye], is well aware of the affair.
It becomes painfully clear to Elena that Hollywood is built on mutual manipulation, where everyone uses everyone else to advance their careers. She impulsively marries Randy in Las Vegas and leans on Grace to help her ascend the social ladder—attending the right parties and wearing the right clothes. As Randy’s film gears toward release, Marty Lesky, [Alan Feinstein], fights to spin it as a made-for-TV movie, arguing it isn’t theatrical material. Elena and Marina scramble to keep Randy from fading back into obscurity and push for him to land his next big screen opportunity before the film drops.
Elena targets Warren Ambrose, [Red Buttons], a powerful studio boss behind Rogue’s Gallery, a project that promises major success. The industry voices doubt Randy’s chances, suggesting bigger-name leads. Warren directs Elena to Reade Jamieson, [John Forsythe], a wealthy executive producer, and the pair feel an immediate pull. Reade warns that the decisive casting is controlled by Henry Waller, [Darren McGavin], a sharp screenwriter who holds the fate of the project in his hands.
Returning home, Elena discovers Randy in an intimate moment with Andrew Lyons, [Douglas Warner], a screenwriter who hopes to cast Randy in his own project. Enraged by what she sees, Elena leaves, though she reconsiders when she learns that Randy attempted suicide that same night. Marina uncovers a harsher truth about Adam when Nancy reveals he slept with her to secure a lead, underscoring how little loyalty there is in the industry.
With Grace’s help, Elena throws Henry a party; Henry declines, insisting he won’t consider casting Randy. Undeterred, Elena tracks Henry to his hotel, spends the night with him, and ensures that Randy will get the lead role after all. Elena returns home the next day and ends things with Randy. Rogue’s Gallery goes on to contend for the 51st Academy Awards, and in the end, Randy and Marina regain their fame while Elena and Reade Jamieson settle into a happy marriage.
Last Updated: October 09, 2025 at 10:49
Discover curated groups of movies connected by mood, themes, and story style. Browse collections built around emotion, atmosphere, and narrative focus to easily find films that match what you feel like watching right now.
Cynical dramas that pull back the glamorous curtain on the film industry.If you liked The Users and its cynical portrait of fame, you'll find similar stories here. These movies explore ambition, manipulation, and the high cost of success in the film industry, offering a dramatic look behind the scenes.
Stories typically follow ambitious characters navigating the cutthroat entertainment industry, using alliances and manipulation to climb the ladder. The central conflict is often social and psychological, pitting personal morality against professional ambition, leading to compromised victories.
They share a dark, cynical tone and a steady pace, focusing on the psychological tension of career maneuvering rather than physical action. The glamorous setting contrasts with emotionally cold characters, creating a consistent vibe of industry disillusionment.
Stories where relationships are strategic tools for climbing the social ladder.Fans of The Users will appreciate these stories of calculated ambition and mutual manipulation. These dramas feature characters who use each other as stepping stones, resulting in tense, bittersweet narratives about the cost of success.
The narrative pattern involves a central figure meticulously using a partner or benefactor to advance their own status. The journey is one of strategic social climbing, where personal fulfillment is sacrificed for professional gain, culminating in a bittersweet or morally ambiguous ending.
They are united by a focus on psychological manipulation as the primary driver of plot, a medium emotional weight that prioritizes strategic maneuvering over deep trauma, and a consistent tone of moral ambiguity. The pacing is steady, allowing the web of manipulation to unfold deliberately.
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