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Party with Frankie & Annette: The 7 Official Beach Party Movies

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In the 1960s, a unique genre of movies came into the world: the "beach party movies." The inevitable ingredients included several attractive "teenagers" (and I use the term loosely), surfing, the beach, a few token adults thrown in, a wafer-thin plot line, and, of course, many almost wafer-thin bikinis worn by the female cast members.

The basic premise was fairly simple: a very innocent boy and girl are in love (in a wholesome way) only to encounter some threat from the outside (of the beach) world, either an adult villain or:
a) A handsome young fellow who tries to attract the girl away from the guy
b) A hot-looking young chick who tries to attract the guy away from the girl.

The plot line is played out, a few songs by '60s artists are thrown in, add some slapstick gags, and a nice, simple resolution in which, above all, the guy and the girl realize that nothing can ever come between them. As simplistic and formulaic as it all sounds, the low-budget beach party movies were tremendously popular in the early to mid-1960s. Teenagers all over America flocked to see the surfing, the mildly amusing jokes and gags, and—let's be honest here—the very healthy young people in their extremely well-fitting swim suits. (The films were usually filmed in Paradise Cove in Malibu, CA, in the dead of winter to fit their future release schedule dates. The poor actors and actresses had to frolic on the beach in swimsuits, freezing in the cold weather.)

Although there were many spin-offs and rip-offs (movie makers never miss a chance to cash in on another's successful formula), the "classic" beach party films were the ones made by American-International Studios and usually directed by William Asher, a total of seven films.

1. Beach Party

In 1963, Beach Party, the first official "beach party" movie, was released and became a box-office smash. It starred the most popular beach party couple: Frankie Avalon and Annette Funicello. (Oddly, Frankie always played a character named "Frankie," but Annette was inevitable dubbed either "Didi" or "Dolores.") Frankie was already well into his twenties when the film was made, but played a "teen" for the next several years. Annette was fresh from her days as a Mouseketeer on The Mickey Mouse Club with Walt Disney and became the epitome of the sweet, wholesome beach girl. According to Annette, old Walt was severely against her even donning a bikini, as he thought it would tarnish her image, as well as Disney's. (I can't neglect to point out the fact that Annette's bikini is hardly "skimpy;" it is hilariously big and full, almost a one-piece swimsuit with an inch or two sliced out of the middle.)


Nonetheless, the fact is that Annette, more than any other single figure, made the bikini acceptable and popular with American women and untold women and girls all over the world. From its introduction in 1946 to when Annette began donning bikinis in the beach party movies, bikini sales in America actually rose an incredible 3,000 percent. The films also helped generate a huge spike in the mid-'60s in the sale of surfboards to guys.

2. Muscle Beach Party

Beach Party was followed quickly by three more beach party films in 1964: Muscle Beach Party, Pajama Party. The first two were pretty much just more formula films starring Frankie and Annette. The main claim to fame for Muscle Beach Party is that it was the official big screen debut of "little" Stevie Wonder. The beach party films became showcases for other music legends, too, such as the Beach Boys, Little Richard, the Animals, and the Supremes.

3. Bikini Beach

The third movie, Bikini Beach, has a slight (very uneasy) twist: Frankie plays dual roles, that of "Frankie" and also a bizarre "rock star" known as "The Potato Bug." Obviously a take-off of the new musical sensations, The Beatles (beetles, potato bug... get the gag?), Frankie's "Potato Bug" had a mustache, glasses, and a very cheesy British accent. In the end, of course, Frankie's charm triumph's over the "threat" of "The Potato Bug" stealing Annette away.


One indispensable figure of almost all the beach party films, including Bikini Beach, was Harvey Lembeck in his memorable role as Eric Von Zipper. Lembeck, a marvelous character actor, played Von Zipper as a middle-aged satire of Marlon Brando's motorcycle-riding hood in black leather from his classic movie The Wild One (1953). As Von Zipper, Lembeck played the teens' adult nemesis, a bumbling clown who always got the worst of it in the end. He gave the films their single most memorable sight gag with "the finger," a paralyzing index finger being forced against his temple, which left him completely immobile.

4. Pajama Party

The third beach party movie of 1964, Pajama Party, is notable mainly because former Disney actor Tommy Kirk took over the "Frankie" role as Annette's boyfriend. Frankie makes only a few brief cameos, and Kirk is definitely a weak fill-in. As if poor Tommy Kirk didn't have a hard enough time fitting in, in Pajama Party he plays a Martian (!) who comes to Earth, interacts with the resident teens, and is justifiably confused. Oh, and look quickly to spot a teenaged Teri Garr as one of the girl dancers buried in the sand on the beach.

5. Beach Blanket Bingo

The beach party movie genre reached its apogee in 1965 with what is almost unanimously regarded as the finest beach party film, Beach Blanket Bingo. The film is both funny and, at times, quite touching. (I swear!) It features Frankie singing his best beach party song, "These are the Good Times," and also features a young Don Rickles with a glimpse of his famous insulting nightclub act. Paul Lynde acts as comedic relief and, believe it or not, the indomitable Buster Keaton is present to do a few brilliant pratfalls. (Keaton actually appeared in several of the beach party films and was, as always, brilliant and hilarious.) Also featured in the cast is a very young and drop dead gorgeous Linda Evans playing singing sensation Sugar Kane. Marta Kristen (of TV's Lost in Space) plays a mermaid named Lorelei who has a platonic romantic encounter with the beach party films' resident goofball, "Bonehead" (played by a likable Jody McCrea). Beach Blanket Bingo is a perfect time capsule of the pre-Beatles 1960s, although it premiered after their arrival in the U.S.

6. How to Stuff a Wild Bikini

In 1965's How to Stuff a Wild Bikini, Frankie appears for only 6 minutes. (He may have been getting bored; he was also growing a bit long in the tooth to play the perennial chipper "teenage" surfer boy.) In his place is Dwayne Hickman (of "Dobie Gillis" TV fame) but, like Tommy Kirk, Hickman just can't fill Frankie's shoes.


How to Stuff a Wild Bikini does give us the treat of seeing Mickey Rooney camp it up as "Peachy" Keane, an ad executive, with a very fetching Beverly Adams as his protege. According to Rooney, his agent gave him hell for accepting the role; he had been approached by American-International directly and his agent had no part of the deal. Rooney says he was paid well, hung out with a lot of fun kids, and got to listen to rock 'n' roll all day. The money he earned probably came in handy, too, as Rooney had recently declared bankruptcy.

7. Ghost in the Invisible Bikini

The final classic beach party film (and I use the term film loosely) was 1966's Ghost in the Invisible Bikini. Though there was no Frankie, no Annette, no surfing, and no beaches, this very bizarre movie is still considered the last of the "beach party" films. Featuring the great Boris Karloff in one of his final roles, the movie is about a bikini-sporting ghost who is a guardian angel to the female lead, Deborah Walley. Walley and Tommy Kirk replace Frankie and Annette, who had, by this time, outgrown their "Frankie and Dolores" roles. This "golden turkey" is pleasant only for the lonely guys who want to stare at a gorgeous ghost running around in a bikini. (OK, guilty as charged.)

With Ghost in the Invisible Bikini, the end of the beach party movies had finally arrived.

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20 Facts About Your Favorite Coen Brothers Movies
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Gramercy Pictures

Ethan Coen turns 60 years old today, if you can believe it. Since bursting onto the scene in 1984 with the cult classic Blood Simple, the younger half of (arguably) the most dynamic moviemaking sibling duo in Hollywood has helped create some of the most memorable and quirky films in cinematic history, from Raising Arizona to Fargo and The Big Lebowski to No Country For Old Men. To celebrate the monumental birthday of one of the great writer-directors of our time (though he’s mostly uncredited as a director), here are some facts about your favorite Coen brothers movies.

1. THE COENS THINK BLOOD SIMPLE IS “PRETTY DAMN BAD.”

Fifteen years after Blood Simple’s release, the Coens reflected upon their first feature in the 2000 book My First Movie. “It’s crude, there’s no getting around it,” Ethan said. “On the other hand, it’s all confused with the actual process of making the movie and finishing the movie which, by and large, was a positive experience,” Joel said. “You never get entirely divorced from it that way. So, I don’t know. It’s a movie that I have a certain affection for. But I think it’s pretty damn bad!”

2. KEVIN COSTNER AND RICHARD JENKINS AUDITIONED FOR RAISING ARIZONA.

Kevin Costner auditioned three times to play H.I., only to see Nicolas Cage snag the role. Richard Jenkins had his first of many auditions for the Coens for Raising Arizona. He also (unsuccessfully) auditioned for Miller's Crossing (1990) and Fargo (1996) before calling it quits with the Coens. In 2001, Joel and Ethan cast Jenkins in The Man Who Wasn't There, even though he had never auditioned for it.

3. THE BROTHERS TURNED DOWN BATMAN TO MAKE MILLER’S CROSSING.

20th Century Fox Home Entertainment

After Raising Arizona’s success established them as more than one-hit indie film wonders, the Coens had some options with regard to what project they could tackle next. Reportedly, their success meant that they were among the filmmakers being considered to make Batman for Warner Bros. Of course, the Coens ultimately decided to go the less commercial route, and Tim Burton ended up telling the story of The Dark Knight on the big screen.

4. BARTON FINK AND W.P. MAYHEW WERE LOOSELY BASED ON CLIFFORD ODETS AND WILLIAM FAULKNER.

The Coens acknowledge that Fink and Odets had similar backgrounds, but they had different personalities: Odets was extroverted, for one thing. John Turturro, not his directors, read Odets’s 1940 journal. The Coens acknowledged that John Mahoney (Mayhew) looks a lot like the The Sound and the Fury author.

5. THE COENS' WEB OF DECEPTION IN FARGO GOES EVEN FURTHER THAN THE OPENING CREDITS. 

While the tag on the beginning of the movie reads “This is a true story. The events depicted in this film took place in Minnesota in 1987,” Fargo is, by no stretch of the imagination, a true story. During the film's press tour, the Coens admitted that while not pinpoint accurate, the story was indeed inspired by a similar crime that occurred in Minnesota, with Joel stating, “In its general structure, the film is based on a real event, but the details of the story and the characters are fictional.”

However, any and all efforts to uncover anything resembling such a crime ever occurring in Minnesota come up empty, and in an introduction to the published script, Ethan pretty much admitted as much, writing that Fargo “aims to be both homey and exotic, and pretends to be true." 

6. THEY WANTED MARLON BRANDO TO PLAY JEFFREY LEBOWSKI.

According to Alex Belth, who wrote the e-book The Dudes Abide on his time spent working as an assistant to the Coens, casting the role of Jeffrey Lebowski was one of the last decisions made before filming. Names tossed around for the role included Robert Duvall (who passed because he wasn’t fond of the script), Anthony Hopkins (who passed since he had no interest in playing an American), and Gene Hackman (who was taking a break at the time). A second “wish list” included an oddball “who’s who," including Norman Mailer, George C. Scott, Jerry Falwell, Gore Vidal, Andy Griffith, William F. Buckley, and Ernest Borgnine.

The Coens’ ultimate Big Lebowski, however, was the enigmatic Marlon Brando, who by that time was reaching the end of his career (and life). Apparently, the Coens amused themselves by quoting some of their favorite Jeffrey Lebowski lines (“Strong men also cry”) in a Brando accent. The role would eventually go to the not-particularly-famous—albeit pitch-perfect—veteran character actor David Huddleston. In true Dude fashion, it all worked out in the end.

7. JOEL COEN WOOED FRANCES MCDORMAND ON THE SET OF BLOOD SIMPLE.

Ethan Coen, Frances McDormand and Joel Coen at the Oscars
Ethan Coen, Frances McDormand, and Joel Coen celebrate their Oscar wins in 1997.
KIM KULISH/AFP/Getty Images

Coen and McDormand fell in love while making Blood Simple and got married a couple of years later, after production wrapped. McDormand told The Daily Beast about the moment when she roped him in. “I’d only brought one book to read to Austin, Texas, where we were filming, and I asked him if there was anything he’d recommend,” she said. “He brought me a box of James M. Cain and Raymond Chandler paperbacks, and I said, ‘Which one should I start with?’ And he said, ‘The Postman Always Rings Twice.’ I read it, and it was one of the sexiest f*ckin’ books I’ve ever read. A couple of nights later, I said, ‘Would you like to come over and discuss the book?’ That did it. He seduced me with literature. And then we discussed books and drank hot chocolate for several evenings. It was f*ckin’ hot. Keep it across the room for as long as you can—that’s a very important element.”

8. O BROTHER, WHERE ART THOU? WAS ORIGINALLY INSPIRED BY THE WIZARD OF OZ.

Joel Coen revealed as much at the 15th anniversary reunion. “It started as a 'three saps on the run' kind of movie, and then at a certain point we looked at each other and said, 'You know, they're trying to get home—let's just say this is The Odyssey. We were thinking of it more as The Wizard of Oz. We wanted the tag on the movie to be: 'There's No Place Like Home.’”

9. THE ACTORS IN FARGO WENT THROUGH EXTENSIVE TRAINING TO GET THEIR ACCENTS RIGHT.

Having grown up in Minnesota, the Coens were more than familiar with the idiosyncrasies of the “Minnesota nice” accent, but much of the cast—including Frances McDormand and William H. Macy—needed coaching to get the intricacies right. Actors were even given copies of the scripts with extensive pronunciation notes. According to dialect coach Larissa Kokernot, who also appeared as one of the prostitutes Gaear and Carl rendezvous with in Brainerd, the “musicality” of the Minnesota nice accent comes from a place of “wanting people to agree with each other and get along.” This homey sensibility, contrasted with the ugly crimes committed throughout the movie, is, of course, one of the major reasons why the dark comedy is such an enduring classic.

10. NICOLAS CAGE'S HAIR REACTED TO H.I.'S STRESS LEVEL IN RAISING ARIZONA.

Ethan claimed that Cage was "crazy about his Woody Woodpecker haircut. The more difficulties his character got in, the bigger the wave in his hair got. There was a strange connection between the character and his hair."

11. A PROP FROM THE HUDSUCKER PROXY INSPIRED THE MAN WHO WASN’T THERE.

Billy Bob Thornton in the Coen brothers' 'The Man Who Wasn't There' (2001)
© 2001 - USA Films

A bit of set dressing from 1994’s The Hudsucker Proxy eventually led to 2001’s The Man Who Wasn’t There. In a barbershop scene, there’s a poster hanging in the background that features a range of men’s hairstyles from the 1940s. The brothers liked the prop and kept it, and it’s what eventually served as the inspiration for The Man Who Wasn’t There.

12. GEORGE CLOONEY SIGNED ON TO O BROTHER, WHERE ART THOU? BEFORE EVEN READING THE SCRIPT.

The brothers visited George Clooney in Phoenix while he was making Three Kings (1999), wanting to work with him after seeing his performance in Out of Sight (1998). Moments after they put their script on Clooney’s hotel room table, the actor said “Great, I’m in.”

13. A SNAG IN THE MILLER’S CROSSING SCRIPT ULTIMATELY LED TO BARTON FINK.

Miller’s Crossing is a complicated beast, full of characters double-crossing each other and scheming for mob supremacy. In fact, it’s so complicated that at one point during the writing process the Coens had to take a break. It turned out to be a productive one: While Miller’s Crossing was on pause, the brothers wrote the screenplay for Barton Fink, the story of a writer who can’t finish a script.

14. INTOLERABLE CRUELTY IS THE FIRST COEN MOVIE THAT WASN’T THE BROTHERS’ ORIGINAL IDEA.

In 1995, the Coens rewrote a script originally penned by other screenwriters, Robert Ramsey, Matthew Stone, and John Romano. They didn’t decide to direct the movie, which became Intolerable Cruelty, until 2003.

15. THE LADYKILLERS WAS WRITTEN FOR BARRY SONNENFELD TO DIRECT.

A still from the Coen Brothers' 'The Ladykillers.'
Melinda Sue Gordon, SMPSP - © 2004 - Touchstone Pictures. All rights reserved.

The Coens effortlessly jump from crime thriller to comedy without missing a beat. So when they were commissioned to write a remake of the British black comedy The Ladykillers for director Barry Sonnenfeld, it seemed to fall in line with their cinematic sensibilities. When Sonnenfeld dropped out of the project, the Coens were hired to direct the film.

16. BURN AFTER READING MARKED THE FIRST TIME SINCE MILLER’S CROSSING THAT THE COENS DIDN’T WORK WITH THEIR USUAL CINEMATOGRAPHER, ROGER DEAKINS.

Instead, eventual Academy Award-winner Emmanuel Lubezki acted as the director of photography. The Coens would work with Deakins again on every one of their films until 2013’s Inside Llewyn Davis.

17. IT TOOK SOME CONVINCING TO GET JAVIER BARDEM TO SAY “YES” TO NO COUNTRY FOR OLD MEN

Though it’s hard to imagine No Country for Old Men without Javier Bardem’s menacing—and Oscar-winning—performance as antagonist Anton Chigurh, he almost passed on the role. “It’s not something I especially like, killing people—even in movies,” Bardem said of his disdain for violence. “When the Coens called, I said, ‘Listen, I’m the wrong actor. I don’t drive, I speak bad English, and I hate violence.’ They laughed and said, ‘Maybe that’s why we called you.”’

18. PATTON OSWALT AUDITIONED FOR A SERIOUS MAN.

Patton Oswalt auditioned for the role of the obnoxious Arthur Gopnik in A Serious Man, a part that ultimately went to Richard Kind. Oswalt talked about his audition while appearing on Marc Maron’s WTF podcast, in which it was also revealed that Maron was being considered for the lead role of Larry Gopnik (the role that earned Michael Stuhlbarg his first, and so far only, Golden Globe nomination).

19. THE CAT IN INSIDE LLEWYN DAVIS WAS “A NIGHTMARE.”

A photo of Oscar Isaac in the Coen brothers' 'Inside Llewyn Davis' (2013).
© 2013 - CBS Films

Ulysses, the orange cat who practically stole Inside Llewyn Davis away from Oscar Isaac, was reportedly a bit of a diva. “The cat was a nightmare,” Ethan Coen said on the DVD commentary. “The trainer warned us and she was right. She said, uh, ‘Dogs like to please you. The cat only likes to please itself.’ A cat basically is impossible to train. We have a lot of footage of cats doing things we don't want them to do, if anyone's interested; I don't know if there's a market for that.”

20. THE COEN BROTHERS PROBABLY DON’T LOVE THE BIG LEBOWSKI AS MUCH AS YOU DO. 

We’re assuming the Coen brothers are plenty fond of The Dude; after all, he doesn’t end up facing imminent death or tragedy, which is more than most of their protagonists have going for them. But in a rare Coen brothers interview in 2009, Joel Coen flatly stated, “That movie has more of an enduring fascination for other people than it does for us.”

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Brush Up on Your Film Trivia With This Website Dedicated to First and Last Lines From Popular Movies
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Castle Rock Entertainment

Few elements of a film are more important than its opening and closing lines. In some cases, they divulge pivotal truths or serve as bookends to establish the movie’s overall tone. In others, they provide important context or reveal key information about the lead characters.

No matter which purpose these snippets of dialogue serve, the most iconic establishing or concluding film lines are perhaps the most quotable ones. (After all, how many Citizen Kane fans can hear the phrase “Rosebud” without being reminded of Kane’s favorite childhood sleigh?) But if you can’t remember the openers and closers from your own favorite flicks, a new website is here to help you brush up on your pop culture knowledge.

Made by the team over at AT&T Internet, the fun reference site takes iconic blockbusters and presents their first and last lines of dialogue using typography and the occasional illustration. The site “is a way to recap the last 50 years of movies into a slideshow,” communications manager Alex Thomas tells Mental Floss.

You can check out AT&T Internet’s online slideshow of first and last lines—featuring bits from 1972’s The Godfather, 1999’s The Sixth Sense, 1994's The Shawshank Redemption, and more—here.

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