14 Deep Facts About Valley of the Dolls

The Criterion Collection
The Criterion Collection

Based on Jacqueline Susann's best-selling 1966 novel (which sold more than 30 million copies), Valley of the Dolls was a critically maligned film that somehow managed to gross $50 million when it was released 50 years ago, on December 15, 1967. Both the film and the novel focus on three young women—Neely O’Hara (Patty Duke), Jennifer North (Sharon Tate), and Anne Welles (Barbara Parkins)—who navigate the entertainment industry in both New York City and L.A., but end up getting addicted to barbiturates, a.k.a. “dolls.”

Years after its original release, the film became a so-bad-it’s-good classic about the perils of fame. John Williams received his first of 50 Oscar nominations for composing the score. Mark Robson directed it, and he notoriously fired the booze- and drug-addled Judy Garland, who was cast to play aging actress Helen Lawson (Susan Hayward took over), who was supposedly based on Garland. (Garland died on June 22, 1969 from a barbituate overdose.) Two months after Garland’s sudden demise, the Manson Family murdered the very pregnant Tate in August 1969.

Despite all of the glamour depicted in the movie and novel, Susann said, “Valley of the Dolls showed that a woman in a ranch house with three kids had a better life than what happened up there at the top.” A loose sequel, Beyond the Valley of the Dolls—which was written by Roger Ebert—was released in 1970, but it had little to do with the original. In 1981, a TV movie updated the Dolls. Here are 14 deep facts about the iconic guilty pleasure.

1. JACQUELINE SUSANN DIDN'T LIKE THE MOVIE.

To promote the film, the studio hosted a month-long premiere party on a luxury liner. At a screening in Venice, Susann said the film “appalled” her, according to Parkins. She also thought Hollywood “had ruined her book,” and Susann asked to be taken off the boat. At one point she reportedly told Robson directly that she thought the film was “a piece of sh*t.”

2. BARBARA PARKINS WAS “NERVOUS” TO WORK WITH JUDY GARLAND.

Barbara Parkins had only been working with Judy Garland for two days when the legendary actress was fired for not coming out of her dressing room (and possibly being drunk). “I called up Jackie Susann, who I had become close to—I didn’t call up the director strangely enough—and I said, ‘What do I do? I’m nervous about going on the set with Judy Garland and I might get lost in this scene because she knows how to chew up the screen,’” Parkins told Windy City Times. “She said, ‘Honey, just go in there and enjoy her.’ So I went onto the set and Judy came up to me and wrapped her arms around me and said, ‘Oh, baby, let’s just do this scene,’ and she was wonderful.”

3. WILLIAM TRAVILLA BASED THE FILM'S COSTUMES ON THE WOMEN’S LIKES.

Costume designer William Travilla had to assemble 134 outfits for the four leading actresses. “I didn't have a script so I read the book and then the script once I got one,” he explained of his approach to the film. “I met with the director and producer and asked how they felt about each character and then I met with the girls and asked them what they liked and didn’t like and how they were feeling. Then I sat down with my feelings and captured their feelings, too.”

4. SUSANN THOUGHT GARLAND “GOT RATTLED.”

In an interview with Roger Ebert, Susann offered her thoughts on why Garland was let go. “Everybody keeps asking me why she was fired from the movie, as if it was my fault or something,” she said. “You know what I think went wrong? Here she was, raised in the great tradition of the studio stars, where they make 30 takes of every scene to get it right, and the other girls in the picture were all raised as television actresses. So they’re used to doing it right the first time. Judy just got rattled, that’s all.”

5. PATTY DUKE PARTIALLY BLAMES THE DIRECTOR’S BEHAVIOR FOR GARLAND’S EXIT.

During an event at the Castro Theatre, Duke discussed working with Garland. “The director, who was the meanest son of a bitch I ever met in my life ... the director, he kept this icon, this sparrow, waiting and waiting,” Duke said. “She had to come in at 6:30 in the morning and he wouldn’t even plan to get to her until four in the afternoon. She was very down to earth, so she didn’t mind waiting. The director decided that some guy from some delicatessen on 33rd Street should talk to her, and she crumbled. And she was fired. She shouldn’t have been hired in the first place, in my opinion.”

6. DUKE DIDN’T SING NEELY’S SONGS.

All of Neely’s songs in the movie were dubbed, which disappointed Duke. “I knew I couldn’t sing like a trained singer,” she said. “But I thought it was important for Neely maybe to be pretty good in the beginning but the deterioration should be that raw, nerve-ending kind of the thing. And I couldn’t convince the director. They wanted to do a blanket dubbing. It just doesn’t have the passion I wanted it to have.”

7. GARLAND STOLE ONE OF THE MOVIE'S COSTUMES.

Garland got revenge in “taking” the beaded pantsuit she was supposed to wear in the movie, and she was unabashed about it. “Well, about six months later, Judy’s going to open at the Palace,” Duke said. “I went to opening night at the Palace and out she came in her suit from Valley of the Dolls.”

8. A SNEAK PREVIEW OF THE FILM HID THE TITLE.

Fox held a preview screening of the film at San Francisco’s Orpheum Theatre, but the marquee only read “The Biggest Book of the Year.” “And the film was so campy, everyone roared with laughter,” producer David Brown told Vanity Fair. “One patron was so irate he poured his Coke all over Fox president Dick Zanuck in the lobby. And we knew we had a hit. Why? Because of the size of the audience—the book would bring them in.”

9. IT MARKED RICHARD DREYFUSS'S FILM DEBUT.

Twentieth Century Fox

Richard Dreyfuss made his big-screen debut near the end of Valley of the Dolls, playing an assistant stage manager who knocks on Neely’s door to find her intoxicated. After appearing on several TV shows, this was his first role in a movie, but it was uncredited. That same year, he also had a small role in The Graduate. Dreyfuss told The A.V. Club he was in the best film of 1967 (The Graduate) and the worst (Valley of the Dolls). “But then one day I realized that I had never actually seen Valley of the Dolls all the way through, so I finally did it,” he said. “And I realized that I was in the last 45 seconds of the worst film ever made. And I watched from the beginning with a growing sense of horror. And then I finally heard my line. And I thought, ‘I’ll never work again.’ But I used to make money by betting people about being in the best and worst films of 1967: No one would ever come up with the answer, so I’d make 20 bucks!”

10. THE DIRECTOR DIDN’T DIG TOO DEEP.

In the 2006 documentary Gotta Get Off This Merry Go Round: Sex, Dolls & Showtunes, Barbara Parkins scolded the director for keeping the film’s pill addiction on the surface. “The director never took us aside and said, look this is the effect,” she said. “We didn’t go into depth about it. Now, if you would’ve had a Martin Scorsese come in and direct this film, he would’ve sat you down, he would’ve put you through the whole emotional, physical, mental feeling of what that drug was doing to you. This would’ve been a whole different film. He took us to one, maybe two levels of what it’s like to take pills. The whole thing was to show the bottle and to show the jelly beans kinda going back. That was the important thing for him, not the emotional part.”

11. A STAGE ADAPTATION MADE IT TO OFF-BROADWAY.

In 1995, Los Angeles theater troupe Theatre-A-Go-Go! adapted the movie into a stage play. Kate Flannery, who’d go on to play Meredith Palmer on The Office, portrayed Neely. “Best thing about Valley of the Dolls to make fun of it is to actually just do it,” Flannery said in the Dolls doc. “You don’t need to change anything.” Parkins came to a production and approved of it. Eventually, the play headed to New York in an Off-Broadway version, with Illeana Douglas playing the Jackie Susann reporter role.

12. JACKIE SUSANN BARELY ESCAPED THE MANSON FAMILY.

By 20th Century-Fox - eBayfrontback, Public Domain, Wikimedia Commons

The night the Manson Family murdered Tate, the actress had invited Susann to her home for a dinner party. According to Vanity Fair, Rex Reed came by The Beverly Hills Hotel, where Susann was staying, and they decided to stay in instead of going to Tate’s. The next day Susann heard about the murder, and cried by the pool. A few years later, when Susann was diagnosed with cancer for the second time, she joked her death would’ve been quicker if she had gone to Tate’s that night.

13. PATTY DUKE LEARNED TO EMBRACE THE FILM.

Of all of the characters in the movie, Duke’s Neely is the most over-the-top. “I used to be embarrassed by it," Duke said in a 2003 interview. "I used to say very unkind things about it, and through the years there are so many people who have come to me, or written me, or emailed who love it so, that I figured they all can’t be wrong." She eventually appreciated the camp factor. “I can have fun with that,” she said. “And sometimes when I’m on location, there will be a few people who bring it up, and then we order pizza and rent a VCR and have a Valley night, and it is fabulous.”

14. LEE GRANT DOESN’T THINK IT’S THE WORST MOVIE EVER MADE.

In 2000, Grant, Duke, and Parkins reunited on The View. “It’s the best, funniest, worst movie ever made,” Grant stated. She then mentioned how she and Duke made a movie about killer bees called The Swarm. “Valley of the Dolls was like genius compared to it,” Grant said.

Kodak’s New Cameras Don't Just Take Photos—They Also Print Them

Your Instagram account wishes it had this clout.
Your Instagram account wishes it had this clout.
Kodak

Snapping a photo and immediately sharing it on social media is definitely convenient, but there’s still something so satisfying about having the printed photo—like you’re actually holding the memory in your hands. Kodak’s new STEP cameras now offer the best of both worlds.

As its name implies, the Kodak STEP Instant Print Digital Camera, available for $70 on Amazon, lets you take a picture and print it out on that very same device. Not only do you get to skip the irksome process of uploading photos to your computer and printing them on your bulky, non-portable printer (or worse yet, having to wait for your local pharmacy to print them for you), but you never need to bother with ink cartridges or toner, either. The Kodak STEP comes with special 2-inch-by-3-inch printing paper inlaid with color crystals that bring your image to life. There’s also an adhesive layer on the back, so you can easily stick your photos to laptop covers, scrapbooks, or whatever else could use a little adornment.

There's a 10-second self-timer, so you don't have to ask strangers to take your group photos.Kodak

For those of you who want to give your photos some added flair, you might like the Kodak STEP Touch, available for $130 from Amazon. It’s similar to the regular Kodak STEP, but the LCD touch screen allows you to edit your photos before you print them; you can also shoot short videos and even share your content straight to social media.

If you want to print photos from your smartphone gallery, there's the Kodak STEP Instant Mobile Photo Printer. This portable $80 printer connects to any iOS or Android device with Bluetooth capabilities and can print whatever photos you send to it.

The Kodak STEP Instant Mobile Photo Printer connects to an app that allows you to add filters and other effects to your photos. Kodak

All three Kodak STEP devices come with some of that magical printer paper, but you can order additional refills, too—a 20-sheet set costs $8 on Amazon.

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16 Facts About The Other Guys On Its 10th Anniversary, Courtesy of Adam McKay

Mark Wahlberg and Will Ferrell star in Adam McKay's The Other Guys (2010).
Mark Wahlberg and Will Ferrell star in Adam McKay's The Other Guys (2010).
Macall Polay/Columbia TriStar Marketing Group, Inc.

August marks the 10th anniversary of The Other Guys, director Adam McKay’s send-up, and tribute, to the buddy cop movies that have been a Hollywood mainstay for decades. Will Ferrell and Mark Wahlberg play Detectives Allen Gamble and Terry Hoitz, two disgraced and otherwise dismissed desk jockeys who inadvertently uncover a massive financial scandal at the exact moment when corporate malfeasance begins grabbing overdue newspaper headlines. The duo’s comic chemistry thrives on Ferrell’s bookish awkwardness juxtaposed with Wahlberg’s macho exasperation, while McKay (working with writer Chris Henchy) exercises a growing social consciousness against the backdrop of one of cinema’s most familiar and durable genres. Supporting performances by Eva Mendes, Michael Keaton, and Steve Coogan, plus cameos by Dwayne "The Rock" Johnson and Samuel L. Jackson (not to mention a murderer’s row of up-and-coming comedians and improvisers) breathe unforgettable life into an escalating series of side-splitting scenarios.

McKay’s most vivid memory of the shoot, he tells Mental Floss, was of the cinematic and gastronomic indulgence he enjoyed shooting a (for him) robustly-budgeted action movie in New York City. “I think I put on literally 25 pounds during that shoot,” he says. “At the end, my wife just looked at me and was like, 'You look as big as a house.' I mean, some days my body would hurt from laughing all day, and then I just ate like chicken parm sandwiches and pizza.

"That's the closest I've come to a full-on decadent Hollywood movie," McKay continues. "We had a really big budget. We were in New York City. We had cars blowing up. We had all these big actors everywhere. It's still, by the way, a budget that's probably half of a Marvel movie or a Michael Bay movie. But that's the closest I've ever come to feeling like Tony Scott and that kind of world."

Exclusive to Mental Floss, check out these behind-the-scenes tidbits and trivia from the making of The Other Guys, straight from McKay himself.

1. The Other Guys started with the unlikely pairing of Mark Wahlberg and Will Ferrell—as dinner companions.

"We went to a little Italian place off Santa Monica and the energy between the two of them was really funny," McKay recalled of what kicked off the idea for Will Ferrell and Mark Wahlberg's on-screen pairing. "Mark's a Boston guy, athlete, tough, boxer; Will's big—Will's 6-foot-3 and definitely an athlete and no pushover—but at the same time, at root, kind of a sweetheart. And they just had a funny dynamic between them. I kept laughing the whole night. And that was really what launched it."

2. Adam McKay didn’t set out to make The Other Guys a parody, but Hollywood quickly taught him not to edge too closely to familiar properties.

Mark Wahlberg and Will Ferrell are The Other Guys (2010).Macall Polay/Columbia TriStar Marketing Group, Inc.

"There was some movie that came out about two 'star' cops. And I jokingly said, 'We should do the movie about the cops in the background of the star cops,'" McKay says. "Because they were doing an A-Team movie, I said, 'We should call ours The B-Team.' We may have even announced the movie as that, and someone back-channeled us, like, 'By the way, don't call your movie The B-Team. We're not going to sue you, but like, just don't do that.'"

3. As appealing as it was to send up buddy-cop movie conventions, then- (and still-) current events helped solidify The Other Guys's themes.

"The other big component was that the financial collapse was actively happening," McKay says of the timing of The Other Guys. "We kept talking about how you can't do a jeopardy plot that’s about drug smugglers—like we'll be looking back wistfully at the days of drug smugglers and safe crackers and bank robbers. And so a big part of it was: How do you do a modern cop buddy film when banks have disappeared trillions of dollars and millions of people have lost their homes through this kind of bureaucratic malfeasance? And that launched Ferrell’s character, a forensic accountant into paperwork—and the idea was that the new cop heroes are going to be bureaucrats who are into paperwork."

4. Michael Keaton’s repeated TLC references were written into The Other Guys script, though Adam McKay wasn't sure how well the running joke would translate.

A running joke in The Other Guys has Michael Keaton's Captain Gene continually quoting TLC songs. "We had done a couple readings of the script where it played really well, not that that means it's going to play funny in the final movie," McKay says. "We've had bits that killed in read-throughs, and then they go in the final cut and something about the rhythm just doesn't work. We were fairly confident in that joke. There are other times though where you do discover the bit and you're improvising, you're throwing out alternatives, the actors are playing around, and you discover a bit. Then I'll turn to Kate Hardman, our script supervisor and say, 'Alright, we’ve got to keep that one alive.' And then in future scenes, she would remind me, 'Remember, you had this joke you wanted to keep alive' and I'll get one take where we do it."

5. Dirty Mike and the Boys, on the other hand, were not in the original script.

"Rob Huebel improvised the line 'soup kitchen' and we kept joking about Dirty Mike and The Boys. The scene where I show up with our DP Oliver Wood, [our property master] Jimmy Mazzola, and our producer Pat Crowley, and we're Dirty Mike and the Boys, was not scripted," McKay explains. "That came out of us loving Huebel’s improv so much that we knew we had to put Dirty Mike and the Boys in the movie. That was a perfect example where improv spawned a bit that ended up running through the movie."

6. The scene involving Allen’s ex-girlfriend “Christinith” was inspired not just by the particular way some people spell or pronounce their names, but by their annoyance when it's mispronounced.

"Obviously it was a running joke that very beautiful women love Allen Gamble," McKay says. "And we were joking about people through the years who have names they want pronounced a certain way and they're oddly hostile about it. There was someone we'd known who was named Anna, but she wanted to be called 'Ana,' and if you called her Anna, she would get mad and I'd be like, 'Wait a minute, what? You can't get mad about that.' So that was where the Christinith joke came from."

7. Will Ferrell’s “Gator” alter ego in The Other Guys was created to further develop the film’s “paper-pushers as heroes” idea.

"The character [Allen] was a guy who appears very mousy and very beta and quiet and we just kept kicking around the idea of: What's power now? What's a hero now? And we had this idea that the reason that Allen Gamble was so conservative and buttoned-down was that he had kind of let his power out once before and it hadn't gone very well," McKay explained of the many dichotomies of Ferrell's character. "And then we just started laughing about the idea that he became a pimp and didn't realize it. So that was the joke—the idea that he’s like, 'No, no, no, I'm helping them run a dating service.' 'No, you were a pimp.' And the lifestyle pulling him down without him really realizing what he's become. The thing that makes me laugh the hardest is when he's first talking to the girl in college, she's just going, 'I could go on dates with guys.' 'Oh yeah. I can make sure to collect the money.' It’s so innocent."

8. Adam McKay and his collaborators refined a unique technical process leading up to The Other Guys to keep track of the many variations attempted, and often improvised, during production.

"Brent White, the editor on The Other Guys, has this great system where you can go to each line of the script and click it and all the alt versions of it will be underneath it," McKay explains. "That was really a breakthrough, and once he really got that system going, it changed a lot of things. Every version, every permutation of the joke is right in front of you, and it made the whole thing easier to sort."

9. The Other Guys composer Jon Brion is a musical chameleon, but Adam McKay didn’t direct him to draw on the sound of, say, Michael Kamen’s Lethal Weapon scores for Allen and Terry’s themes.

"A lot of movies I did with Will are always kind of in between an original story and a parody," McKay says. "We want them to be original, but they're clearly messing around with the tropes of the genre that you're used to. So the trick was I wanted it to sound like a cop score, but I also wanted it to be good. So we kept kind of batting that around."

10. The Oscar-worthy end credits song “Pimps Don’t Cry” emerged from a need for actress Eva Mendes to have a melody to sing, and Jon Brion’s chops corralling heavy hitters for a comedy-soul classic.

Will Ferrell and Eva Mendes in The Other Guys (2010).Macall Polay/Columbia TriStar Marketing Group, Inc.

"We just wrote 'Pimps Don't Cry' for the scene," McKay explains. "When [Eva Mendes] sang it, we're like, wait a minute, can we record this? And, of course, Jon Brion knows everyone and has access to studios. So before you know it, we had CeeLo Green in there and it turned out Eva Mendes could sing. We recorded a whole track and I think even shot a video. But it came out of the scene. The actors were like, 'Well, what's the melody?' And we're like, 'Jon, you want to write something?' And then of course I was like, I gotta hear that song!"

11. Adam McKay explored the idea of Pop-Up Video-style detours in The Other Guys, but couldn’t figure out how to pull it off in the pre-streaming era.

"We had a thing that we were going to try and do in the movie where we would freeze-frame scenes and then a little box would pop out and show something from a couple months later. That was a style that was written into the script we had happening a bunch of times, and we could not get it to work. It's funny because now I know how I would do it, but at that time we just couldn't [make it work]."

12. The Other Guys's planned “flash-forward” scenes also included future President Donald Trump, whose Trump Tower gets blown up in the opening scene.

Future president Donald Trump filmed a cameo for The Other Guys, but it didn't make the final cut. "Donald Trump just basically wants to get paid," McKay says. "So if you show up and you write out a check for a certain amount of money, I can't remember what the amount was, $75,000 or $100,000 or something, he'll do it. Pretty much anyone could go to him and be like, 'Here's a check for $75,000,' and he will do it. Never in a trillion years imagining the guy would become president. He sort of was a New York joke for years, and Trump Tower was kind of known as being this cheeseball place, so it was a pure joke. But when we put it in the movie, we were like, 'Donald Trump’s so cheesy and cheap, let's not put this in the movie.' Even for the silly movie we were doing, it felt cheeseball, so we ended up cutting it out."

13. If there was a scene in The Other Guys that gave Adam McKay the “tingle in his balls” as a filmmaker that Allen and Terry feel while pursuing bad guys, it was the “Aim for the bushes” scene that sets up the whole film.

"I mean, that's one of my all-time favorite moments from anything I've ever been involved in," McKay says of his favorite scene. "I would say the family prayer scene in Talladega Nights, the Jenga tower scene in The Big Short, the other one was in Anchorman, when Jack Black kicks the dog off the bridge where the audience made this weird sound and were so stunned by it. And then Danson and Highsmith jumping off the building —oh my god, I had so much fun watching that with test audiences. No one saw it coming.

"[The Rock and Samuel L. Jackson] are such big stars that just in a million years, no one imagined it. When the guys were falling off the tower, they were so convinced they weren't going to die. You would hear people in the audience go, 'Yeah right, they would never survive that.' But when they hit, there was such a collective inhale from the whole audience, and then just explosion of laughter. But the other great moment for that was when I was in the edit with Erica Weis, our music editor and music supervisor, and we discovered the Foo Fighters song for that moment. It was just so perfectly over-the-top and a little cheesy, yet plausible. Of course the filmmakers would play this song! The entire puzzle clicked together perfectly when that song went in."

14. Adam McKay credits his executive producer for the coup of recruiting Dwayne Johnson and Samuel L. Jackson as the “star cops” by whose police work Allen and Terry would be measured.

"I give [executive producer] Kevin Messick a lot of credit for that casting," McKay says. "We wanted two big action stars that you would never think would die in a movie, and boy, Kevin really helped us get them. He had some connection to Dwayne Johnson, and he worked the phones to really help us get Sam Jackson. I saw Sam Jackson years later and he's like, 'People keep asking me if we're going to do a spinoff movie with these guys.' I was like, oh man, that could be fun. And Dwayne Johnson told me too he had people come up to him and mention those characters all the time."

15. The original ending to The Other Guys was even more bleak than the statistics that play over the end credits.

"We had this whole ending where like they bust Steve Coogan's character Ershon and they pull the thing together and they take him in and it turns out Congress has changed the laws and what he's done is no longer illegal," McKay explains. "I wish we had ended with that. That would have been a better ending. And then we had this other ending with Derek Jeter, where he comes out and it turns out he's connected to this whole underground thing that's fighting against the big banks. That's in the TV version they air, but it didn't really work ... when I say work, I don't care if the audience loved it. It didn't work for me with the narrative when we a test screened it. So I didn't think we stuck the landing on the ending on it."

16. Adam McKay always worked culturally relevant themes into his films, but The Other Guys galvanized this approach going forward, reflected more prominently in The Big Short and Vice.

Adam McKay on the set of The Other Guys (2010).Macall Polay/Columbia TriStar Marketing Group, Inc.

"Ferrell and I would do these comedies, and we would always have something [else] going on in them," McKay says of his desire to weave bigger themes into his films. "Even Step Brothers was kind of about how consumer culture turns us into big giant children. And the Iraq War was such a horrible tragedy and disaster that right around that time, and that’s when I started thinking, 'I just gotta do some stuff that's more overt.' When the financial collapse hit, it was just like, all bets are off. So yeah, we tried to craft the whole movie like a comedic allegory for the financial collapse. If you look at the movie, they keep ignoring their union. And then there’s a big financier covering losses by taking money from workers. Of course, when the movie came out, no one cared—the movie just played as a comedy. Except for the ending credits, people really didn't catch it at all. Which I don't blame them! I think it was a little bit of an experiment in that sense. And the good news is the movie’s funny and I really love how it turned out."