
A busboy at a disco has sexual problems related to events in his childhood. He becomes obsessed with a disc jockey at the club, leading to obscene phone calls, voyeurism, trips to the porn shop and adult movie palace, and more! A police detective is similarly obsessed with sexual materials, leading him to become personally involved in the case.... (Full plot summary below)
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A busboy at a disco has sexual problems related to events in his childhood. He becomes obsessed with a disc jockey at the club, leading to obscene phone calls, voyeurism, trips to the porn shop and adult movie palace, and more! A police detective is similarly obsessed with sexual materials, leading him to become personally involved in the case.
Leave your thoughts about Who Killed Teddy Bear?.
| Backseat MafiaRob AldamIt's an irresistibly cool psychedelic thriller which mixes the party vibes of '60s New York with the dark and twisted mind of a madman. |
| Ozus' World Movie ReviewsDennis SchwartzIt wasn't so bad that it can't be appreciated as a curio. |
| The Sun (UK)Belle HartIt may have been taboo back then, when it was even refused an age certification for its cinema release, but its shock value has long since faded. However it's still worthy of being called a cult classic. |
| User ReviewBill TAwesome film. Shows beautiful, sleazy Times Sq. |
| User ReviewJohn SThis low-budget shocker, released in 1965, breaks all boundaries! It is amazing it got past the censors! Featuring hints of masturbation, pornography, lesbians, stalking, and drugs, it almost ruined Sal Mineo's career.. Interestingly, this film now is considered a ground-breaking cult classic! Famed movie reviewer, Leonard Maltin, is one of the MANY critics who now praise this dirty little pleasure, and it now occasionally plays at film festivals around the world. It centers around Nora (played by famed dancer, Juliet Prowse ),who works at a seedy little club.She begins getting perverted calls from a man. At first she disregards them as a prank. But soon, it becomes clear the caller is very serious. Sal Mineo plays, Lawrence, who works at the club as a busboy. Lawrence takes care of his mentally challenged sister, and their relationship seems very odd indeed. You have to see it to believe it. Sal spends most of this film in skin-tight jeans, shirts, and underwear briefs. Any excuse to show off his muscled physique on camera. The lighting is terrible, the script thin, and the music is terrible: ALL THE INGREDIENTS of a classic cult film! Still, the movie is, without a doubt, a guilty pleasure! Sal delivers a riveting performance, as the demented stalker! And the shocking plot twists keep you on the edge of your seat till the final scene! This film truly delivers! Even for today, this film's a SHOCKER! Worth the price of admission for the "dance scene" between Sal & Juliet alone! PRICELESS! Just don't say I didn't warn you! This is NOT a "G" rated little movie! It is VERY gritty, exploitive, violent, and at times, disturbing. But, well worth watching! Never released on home video, this film is a very hard to find collector's item! If you get the chance, DON'T MISS IT! |
| User ReviewDave SToo bad about the material that was probably supposed to be shocking and provocative in 1965. It just makes the movie look dated. Get past that and there's a pretty good psychological thriller in there. Juliet Prowse and Sal mineo look just primal and who knew Elaine Stritch was kinda hot back in the day? |
| User ReviewMatt RTotally absurd, occasionally offensive, strangely engrossing and surprisingly unsettling. |
| User ReviewJames CA long out of circulation cult film, Who Killed Teddy Bear is a kind of stepping stone between Hitchcock's excavation of the warped mind in psycho, with its final psychiatric classification of Norman Bates, and Martin Scorsese's Taxi Driver, with its disturbed lonely man lost amongst the newly permissive urban landscape. The primary focus of Joseph Cates' 1965 film is a sometime dancer and barmaid (Juliet Prowse) who has been receiving obscene and threatening phone calls from an unknown person. Yet as the case unfolds, the film becomes more intrigued by the characters surrounding her â?? the possibly lesbian manageress of the bar (Elaine Stritch), the investigating detective who is obsessed by abnormal psychologies (Jan Murray) and the disturbed busboy who turns out to be the caller (Sal Mineo). Each of the characters seems alone and immersed in the modern urban condition. Throughout the film, a preponderance of mirror shots (the "solving of the case even involves a mirror) suggests a world in which everyman and everywoman's sickness reflects everyone else's. The detective seems to have become so obsessed with his quarry that he almost crosses the line into psychosis himself, the manageress might have her own sexual agenda in wishing to help her victimized employee and each of the seem as much of a threat as the unknown caller. Prowse does not know who to trust, even whether to trust herself, and although the film descends into a "get the culprit" finale, even this traditional end fractures into a private turmoil lost in an alienating environment. The film offers a series of very strong character studies, all remarkably well acted, but often seems concerned to conjure the feel and sound of the times through montages to music, of dancing, walking and wandering, and its black and white footage cut to pop hits makes it seem like a greyscale Kenneth Anger at times. One of the montages involves Mineo drifting through the fleshpots, bookshops and cinema foyers of Times Square, an eerie presentiment of Travis Bickle. Mineo is particularly strong in the role of the tormented busboy, tortured on a rack between the unfettered expression of carnal nature he sees all around him (and has the potential for within) and the last psychotic jerks of a Puritan sexual consciousness. Mineo proves what a remarkable actor Hollywood wasted when it underused him, and his physical presence â?? often showing his toned body in swimming trunks or flaunting his butt in the tightest of Chinos â?? suggests a bridge between mainstream Hollywood and underground stars like Warhol's Joe Dallesandro and Pink Narcissus' Bobby Kendall. Who Killed Teddy Bear isn't a perfect film â?? there's something missing structurally and a tendency towards melodrama â?? but its picture of a world fallen from a childhood Eden into an adulthood of sticky and strange sexual dramas, it was way ahead of its time and still stands head and shoulders above most of the so-called sophisticated cinema of today. |
| User ReviewTrent RIncredibly sleazy and Noir in outlook, with everyone pretty equally debased and animalistic. Full of nice B&W cinematography of `60s NY, with lingering shots of dirty book shops and grindhouse picture shows. Prowse and Mineo look great, and the blaring pop soundtrack paired with low-angle shots of pumping, thrusting bodies (whether working out or dancing) does far more by suggestion to evoke the sexualized world they live in. |
| User ReviewPierluigi PDated aesthetics, poor acting and arythmic direction. The bonus is that it deals with themes that were taboo for the time. Sal Mineo is very clearly a precursor of De Niro in Taxi Driver , his wanderings in the NYC red light district, infatuation with a stranger, and even his workout routine, all make me wonder if Scorsese, Paul Schrader or even Bernard Herrmann ever saw this mediocre but gutsy b-movie. |