“There are no secrets in this sandpile.”
Love Has Many Faces (1965), directed by Alexander Singer, is a tawdry look at Acapulco “beach bums,” a polite euphemism for gigolos, and their wealthy prey–lonely, middle-aged American divorcees. The film shows the culture clash between the native Mexicans and the jaded Americans in the first scene when a gang of happy Mexican children, running along the beach stumble upon a body washed ashore. The body is of a young American named Billy whose last known relationship was with wealthy, aging playgirl Kit (Lana Turner). She’s since married and moved on to former gigolo Pete (Cliff Robertson) who helped her pick up the pieces in hospital after yet another drunken car wreck. Billy, left only with an ID bracelet from Kit inscribed “Love is thin ice,” is possibly the victim of foul play. Hot on the case is local cop, Lt. Andrade (Enrique Lucero), the moral centre of the film, who doesn’t bother to hide his contempt for the hedonistic lifestyle of the male American gigolos who crowd the Acapulco beaches looking for fresh meat.
Kit happens to be the biggest catch around, but she’s stopped playing the field since Pete moved in, and the couple spend their time on the beach in a cabana, lounging on her yacht, or in her gorgeous beach home. This leaves envious Hank Walker, a hunky, tanned and well-oiled Hugh O’Brien, strutting around in skimpy trunks, waiting like a dog for a dropped bone for the day Kit tires of Pete, or Pete tires of Kit. Either scenario is fine with Hank, and he makes sure that both Kit and Pete know that he’s ready for the job.
But in the meantime, a gigolo has to make a living… enter Margo (Ruth Roman) and Irene (Virginia Grey), two lonely women who arrive in Acapulco right in time to catch the attention of Hank and his protégé of sorts, Chuck (Ron Husman). There are no illusions as to the relationship between these young men and their middle-aged prey, and Hank notes as he moves in for the kill:
“A new shipment. A little over ripe, but choice. Lesson number 1, that’s the best.”
It’s through his relationships with Margo and his training lessons with Chuck that we see just what a lowlife Hank really is.
Into this sandy Peyton Place, arrives one of Billy’s former girlfriends, Carol (Stephanie Powers). Initially, she has no idea that she’s stepped into a male flesh market, but she soon sniffs that everyone’s for sale. But since she still has some integrity, Pete feels an attraction and a desire to protect her from the ugly truth about Billy’s death. Opportunist Hank, however, sees Carol as a way to bag the big catch, by prying Kit away from Pete.
While Pete and Kit are mired in self-loathing by the things they’ve done in the past, in complete contrast Hank clearly has no scruples or conscience whatsoever; he’s as oily as his suntan lotion, and that makes him a joy to watch as he smooches worldly divorcee Margo, a woman who’s onto Hank’s game but still hopes that he’s not as sleazy as she thinks he is. But Hank knows himself well and doesn’t bother to hide his unscrupulousness: from his shabby shack walls covered with polaroids of former conquests, his strategic posing in skimpy trunks on the beach, to his statement: “It’s too bad I’m not illegal. Just immoral.” Hugh O’Brien as Hank steals the film, and if Lt. Andrada is the film’s moral centre, the hunky Hank is the polar opposite. Even Chuck, the gigolo-in-training is disgusted by Hank and he asks:
“Is there anything you wouldn’t do for a buck?”
Smirking, Hank replies: “There must be something but I’ve yet to find it.”
Love Has Many Faces is surprisingly suggestive at times. At one point, for example, a woman asks Hank to help her with her swimming stroke. He tells her “go ahead and get wet. If I’m not there in 5 minutes, you start without me.”
Lana Turner’s clothes are designed by Edith Head, and you’ll notice a similarity to some of them, the cut in particular. Lana Turner, who was married 8 times to 7 different husbands, looks wonderful here, and she throws her heart into the role of the neurotic aging playgirl who’s afraid to show any weakness. This is a glossy soapy, drama, and while this viewer hoped, in vain, for everyone to go a little wilder on the beaches of Acapulco, nonetheless this is an interesting film for fans of Lana, and the well-acted support performances from Ruth Roman and Hugh O’Brien make this film and its tacky tale of a world in which (almost) everything is for sale well-worth watching.
Here’s a clip