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Reply 0. Lolly Small Birthday: December 1 , Home Town: , , United States. Lolly Small Trivia Lolly Small started her career as a model and ventured into the adult entertainment industry.

I don't remember much about the music, but perhaps it wormed itself into my mind. Nope, no particular reason for it, and I've only seen it once..

I'd love to have the chance to see it again. Websnacker 2 July I was actually intrigued by its title and decided to watch it assuming it was a campy 70's sex romp.

Though not everybody's cup of tea, Lolly Madonna XXX is a surprise treat - one of those movies that surprise you just when you think you know whats going to happen next or assume nothings going to happen at all.

With terrific performances especially by Ed Lauter, a very thin looking Randy Quaid and a very young Jeff Bridges besides a beautiful score thats just right,this is a movie you shouldn't miss.

HardToFindMovies 19 January One thing to remember is that the title actually refers to a signature written at the end of a letter and should be read as: Lolly Madonna Kiss Kiss Kiss.

The movie appears to be a metaphor for the futility of war and the waste of precious lives over petty feuds. What we have here is a poorly written violent film with an all star cast and riveting action!

This film has a tragic accident, land dispute, kidnapping These issues could be overlooked by the fine acting as Steiger verses Ryan is pretty wild to see and the talented supporting cast does good work The film is not upbeat in any way, shape or form and reeks of despair This is not a great film, by any means, but they make an honest effort to build up the ridiculous notion of territorial ownership of people, fences, and honor.

Robert Ryan wonderful actor since the 40's and Rod Steiger more restrained than usual are the patriarchs of two rural hillbilly families with an innocent girl standing between them.

Kiel Martin is very good. Nice cinematography and none of the cast is coasting, it just never really catches fire.

Worth a watch, though. One of the criminal neglects in DVD history. This one starts out like the distant inbred cousin of Deliverance from West Virginia come out on the porch to play the banjo.

A menacing beat-up flatbet truck runs circles around a girl killing time in a remote bus stop on her way to Nashville. There's promise of backwoods squalor and meanness and the delivery of it, not exploitation graphic and gratuitous but it's there, the passerby girl is snatched, another girl is raped, a moonshine still is busted, and a backwoods yokel with painted eyes and a bra makes a scene.

At that point the Feathers family appears to be only a few generations of inbreeding away from moving down to Texas to make lampshades out of human skin and chase Marilyn Burns with a buzzing chainsaw.

Then, as the two feuding families headed by patriarchs Rod Steiger and Robert Ryan begin to spar about stolen hogs and a postcard written to one Lolly-Madonna and a grassy meadow that at one time belonged to one or the other family, something begins to change like a dark cloud passes over the movie.

It's not about the futile anguish and madness of vendetta, although it seems so at first. And it's not about hogs or the grassy meadow or even land as a basic abstraction and what it's come to signify for people who had nothing to call their own for generations but land.

It's about the creeping realization of a broken life muttering to itself late at night on a rocking chair by the window that "it's too late", that it's too late not for killing and dying but for even words.

It's about something that happened long ago which can't be made right again, and it has something to do with a son who never came back from the war, about brothers who can never measure up to that son who never came back from the war because they stayed behind, about a dead wife who was more important to the father-in-law than the son who lost her, that much more important that the father-in-law had to sacrifice that which was the most important thing in the life of the other son the one who never amounted much for anything to repudiate the killing.

And about horses. It's about bitter regret pain and anguish gnawing at the insides and then the grassy meadow is set on fire and the two families meet for a standoff outside the old rundown Feathers home, once probably elegant with wealth happiness and good fortune.

In the end, the look on Rod Steiger's eyes turns from anger and sadness to complete madness and Sarafian gives us freeze frames of the main characters that look like portraits of despair, the colors are drained out and the movie turns sepia yellowish as if in memory of something lost, of that small insubstantial detail that involved horses and the dead wife that was the result not of practical design or coincidence but of the pure blind chance of the cointoss that forever changed the lives of two families.

Immense sadness. Don't turn up yer nose! Strelnikoff 20 January A movie which sounds pornographic but isn't--and now rarely seen and hard-to-find; this is a compelling little movie from It's one of the few movies ever made at least which I know of anyway which treats such a rural setting--Tennessee--and maybe that makes it memorable right off the bat.

Theme-wise as well: family feuds are a topic not often used as a backdrop. There was a Burt Lancaster film called 'The Kentuckian' which featured a feud but that's the only other one which springs to mind.

The director --Richard Sarafian--is not a famous name. He started in TV and after the seventies were over, went back to it tv movies, rather.

Here, he has the advantage of a thoroughly beautiful countryside and wonderful cinematography by Phillip Lathrop to start with. Lathrop, by the way, IS a notable cinematographer--just look at the long string of hits he shot!

You haven't seen a cast like that outside of "The Long Riders". The story, two hick families warring over a contested meadow; has some wonderful moments.

Season Hubley remember her in 'Hardcore'? She and Bridges develop a romance, that's all. To be fair, once you're in--you're sort of just left there.

It's really the one criticism I have for the flick; it just doesn't explode. Stays rather quiet and subdued the whole way through. Elements of the plot make for potentially winning drama but somehow nothing really shocking ever happens.

But it's one of those films where I guess it doesn't really matter. The chance to see a sweating, grizzled, Robert Ryan and slovenly, brooding, Rod Steiger as characters nursing a huge hatred for each other is a helluva treat.

There's strong work from everybody in the film and even one awesome laugh-out-loud moment. What I found very interesting reading the IMDb page for the movie is that the screenplay is by none other than Sue Grafton.

Can you beat that? I didn't know she was writing screenplays in the early 70s. Lolly Madonna XXX: worth a look!

After the first viewing, movies don't hold much interest for me. Lolly-Madonna XXX is one of the exceptions. I first saw it about 15 years after its release on late-night TV, and was very surprised at the way the plot held my interest, and the absence of even a slight awkwardness in any of the performances, given the potential for some of them to be taken over the top.

I see it whenever there is a chance, and it still has an impact. I wish it were available on tape or DVD so I could choose the times to watch it, and not have to wait for it to show up on late-night TV, whenever someone decides to run it.

I saw this movie when I was a boy and it had an indelible effect on me. I am 41 years old and I still remember how its simple folk and their seemingly insurmountable problem touched me.

Like another reviewer I also recall the score as being perfect. See this movie if you can. I would surely buy it. I have been searching for this movie for 20 years and i couldn't find it anywhere.

Then the next year it was listed in net flicks although they didn't have a copy to rent yet But now as the last year of my searching came around I'm happy to say you ll find this movie on more than three streaming sights not to mention the Pirates Bay.

The cast alone makes viewing this multiple title film worthwhile. With the authenticity of the rural setting never in doubt, there is a lot to like here as far as realism is concerned.

Although the ending seems a bit rushed, it cannot cancel what has preceded it. Highly recommended, especially for fans of the actors.

Not an awful movie, but not successful Wizard-8 6 June Like a number of movies from Metro-Goldwyn-Mayer that were made in the first half of the s, "Lolly-Madonna XXX" was hard to see for many years until quite recently.

I'd always been curious about it, so when it popped up on Turner Classic Movies one night, I was sure to record it and subsequently watch it.

After seeing it, I think I can understand why the movie was held back for so long. As I said in my summary line, the movie is not awful. It is well acted, both by established stars Steiger and Ryan, as well as by the members of the cast who hadn't become stars yet.

The movie feels authentic; you really get a taste of what run down and poverty-stricken life the characters live. However, there is one big flaw that sinks the movie, and that is that it's extremely slow.

Scene after scene goes by with no real consequence - even the ending feels incomplete. If there had been more real plot, we might have had something here.

But as it is, the movie will probably only appeal to film buffs with interest in the cast as well as with major studio movies that are obscure.

Not for all Tastes dougdoepke 23 May Not a film for all tastes. It's violent, almost nihilistic in outcome, and certainly not a classic Hollywood ending.

Like some other reviewers, I take the narrative to be an allegory on war, at least of certain types of war. Here a dispute over a lovely Tennessee meadow escalates tragically into a shooting war between two patriarchal families that devastates both clans.

Tragically, neither patriarch Steiger nor Ryan exercises the kind of leadership to head off the calamitous results. Thus headstrong elements are allowed to operate at gut level instead of anything reasoned, producing tragic results.

Frankly, I'm not sure whether I liked the film or not. Parts are compelling, especially the sensitive romance between Bridges and Hubley.

Both are outstanding; in fact Hubley almost made me feel her painful confusion. Also, the beauty of the rolling hills and meadow contrasts creatively with the clans' destructive emotions.

Then too, whose inspiration was balding Edd Lauter's secret fantasy to fly away on his tattooed wings to become the next southern Elvis, his chances about as good as mine.

And judging from the dilapidated shacks, their time would be better spent fixing up where they dwell instead of taking each other down.

On the movie's downside is the choppy editing that at times makes the storyline hard to follow, especially when the scene shifts from one clan to the other.

Thus the threads can at times be hard to follow. Moreover, except for the few romantic interludes, the mood is unrelentingly grim, not exactly an audience come-on.

Anyway, Steiger is uncharacteristically restrained, while Ryan doesn't get the screen time his talent deserves.

At the same time, a lot of younger talent does get a chance to shine. All in all, I guess I respect the movie more than I liked it, its moral certainly meriting that kind of consideration.

Two families, two fathers, with memorable acting provided by all. I purchased this print on 16mm film, I do not believe it is on video or DVD format.

On some occasions AMC will broadcast it late at night. Is this a great film? You bet it is. Two rustic families controlled by fathers Rod Steiger and Robert Ryan , provide for some excellent acting.

Then there is Season Hubley making her movie debut, what a looker in her time. Director Richard Sarafian did an great job showing what life could still be like in the Tennessee southern backwoods.

Lolly-Madonna XXX, you just can not go wrong with this all star cast. Highly recommended. I give it an 9 out of This interesting but ultimately not very successful 70s obscurity can't quite decide how to approach its whole "hillbilly blood feud" premise: Old-fashioned blood and thunder melodrama with broad archetypes, or something more naturalistic and credible?

It winds up somewhere in the middle, with a capable cast not credible as family of course it's not their fault that so many of the younger actors later became famous, and hence are a little too recognizable , or as rural folk.

Some of them play up the "inbred yoke" cliche, others don't at all, but no one has a fully rounded character. So we don't feel much when inevitably the hostility rooted in an old land dispute-then escalated by a series of new blunders and misunderstandings-erupts into practically everybody killing practically everybody else at the final shootout.

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The cast alone makes viewing this multiple title film worthwhile. With the authenticity of the rural setting never in doubt, there is a lot to like here as far as realism is concerned.

Although the ending seems a bit rushed, it cannot cancel what has preceded it. Highly recommended, especially for fans of the actors.

Not an awful movie, but not successful Wizard-8 6 June Like a number of movies from Metro-Goldwyn-Mayer that were made in the first half of the s, "Lolly-Madonna XXX" was hard to see for many years until quite recently.

I'd always been curious about it, so when it popped up on Turner Classic Movies one night, I was sure to record it and subsequently watch it.

After seeing it, I think I can understand why the movie was held back for so long. As I said in my summary line, the movie is not awful.

It is well acted, both by established stars Steiger and Ryan, as well as by the members of the cast who hadn't become stars yet.

The movie feels authentic; you really get a taste of what run down and poverty-stricken life the characters live.

However, there is one big flaw that sinks the movie, and that is that it's extremely slow. Scene after scene goes by with no real consequence - even the ending feels incomplete.

If there had been more real plot, we might have had something here. But as it is, the movie will probably only appeal to film buffs with interest in the cast as well as with major studio movies that are obscure.

Not for all Tastes dougdoepke 23 May Not a film for all tastes. It's violent, almost nihilistic in outcome, and certainly not a classic Hollywood ending.

Like some other reviewers, I take the narrative to be an allegory on war, at least of certain types of war. Here a dispute over a lovely Tennessee meadow escalates tragically into a shooting war between two patriarchal families that devastates both clans.

Tragically, neither patriarch Steiger nor Ryan exercises the kind of leadership to head off the calamitous results.

Thus headstrong elements are allowed to operate at gut level instead of anything reasoned, producing tragic results.

Frankly, I'm not sure whether I liked the film or not. Parts are compelling, especially the sensitive romance between Bridges and Hubley.

Both are outstanding; in fact Hubley almost made me feel her painful confusion. Also, the beauty of the rolling hills and meadow contrasts creatively with the clans' destructive emotions.

Then too, whose inspiration was balding Edd Lauter's secret fantasy to fly away on his tattooed wings to become the next southern Elvis, his chances about as good as mine.

And judging from the dilapidated shacks, their time would be better spent fixing up where they dwell instead of taking each other down.

On the movie's downside is the choppy editing that at times makes the storyline hard to follow, especially when the scene shifts from one clan to the other.

Thus the threads can at times be hard to follow. Moreover, except for the few romantic interludes, the mood is unrelentingly grim, not exactly an audience come-on.

Anyway, Steiger is uncharacteristically restrained, while Ryan doesn't get the screen time his talent deserves. At the same time, a lot of younger talent does get a chance to shine.

All in all, I guess I respect the movie more than I liked it, its moral certainly meriting that kind of consideration. Two families, two fathers, with memorable acting provided by all.

I purchased this print on 16mm film, I do not believe it is on video or DVD format. On some occasions AMC will broadcast it late at night.

Is this a great film? You bet it is. Two rustic families controlled by fathers Rod Steiger and Robert Ryan , provide for some excellent acting.

Then there is Season Hubley making her movie debut, what a looker in her time. Director Richard Sarafian did an great job showing what life could still be like in the Tennessee southern backwoods.

Lolly-Madonna XXX, you just can not go wrong with this all star cast. Highly recommended. I give it an 9 out of This interesting but ultimately not very successful 70s obscurity can't quite decide how to approach its whole "hillbilly blood feud" premise: Old-fashioned blood and thunder melodrama with broad archetypes, or something more naturalistic and credible?

It winds up somewhere in the middle, with a capable cast not credible as family of course it's not their fault that so many of the younger actors later became famous, and hence are a little too recognizable , or as rural folk.

Some of them play up the "inbred yoke" cliche, others don't at all, but no one has a fully rounded character. So we don't feel much when inevitably the hostility rooted in an old land dispute-then escalated by a series of new blunders and misunderstandings-erupts into practically everybody killing practically everybody else at the final shootout.

As the patriarchs, Steiger and Ryan are maybe the least defined of all, their usual strong personalities failing to bring the roles into focus at all.

It sort of personifies the film's near-miss quality that during one big chunk of the climactic mayhem, Steiger just sits in the kitchen making a sandwich, for no tangible reason at all.

Anyway, a watchable film, but as with so many now hard-to-find early 70s flops, it's easy to see why this one didn't connect with audiences.

The only thing that surprised me in Lolly Madonna XXX is that there was actually a bus stop in that nowhere corner of the Tennessee hills where Season Hubley had to change buses.

He was a character who didn't exist but who the villains take for a flesh and blood person. Same with Season Hubley making her debut in this film. The one family lures the guards away from the other's still so they can wreck it.

So when Hubley arrives she's thought to be one Lolly Madonna a girl interested in one of the brothers guarding a still. The Feather and Gutshall families don't really need a reason to fight, they've been doing it for generations.

Although I will say that family patriarchs Rod Steiger and Robert Ryan do keep a lid on somewhat as they seek advantage when the blood does start flowing.

As for Hubley she has no real family, she lost them early and was raised in foster care. Despite all the flaws she sees, she does love the Smokey Mountain scenery, the strong family ties and Jeff Bridges in particular.

The last third is very bloody as both families lose a lot of kinfolk. Lolly Madonna XXX is a nice realistic portrayal of the hill folk.

It sure ain't the Beverly Hillbillies. JasparLamarCrabb 17 August A prank committed by one hillbilly family leads to catastrophic actions on both sides.

Rod Steiger is the grizzled patriarch of one family, Robert Ryan is the "principled" head of the other. They're two bullheaded sociopaths who think nothing of sacrificing their sons rather than swallow their pride.

Directed with a lot of finesse by Richard C. Steiger and Ryan are, as expected, excellent, but it's the cast of newcomers playing the sons that steal the movie.

The great underutilized Season Hubley plays the title role or does she? The exceptional music score is by Fred Myrow. Story about two hillbilly families.

One is run by Rod Steiger, the other by Robert Ryan. Two of Steiger's sons rape Ryans' daughter. Things quickly escalate and it all ends tragically.

However despite all the good acting this movie never really works. Nothing seems to have the impact it should have.

The ending also is incredibly brutal and negative. So it's OK but just doesn't work. Otherwise, this is a cleverly designed mould that does the job well.

This set of four individual moulds is ideal for smaller freezers, taking up barely any more room than the lolly itself. Instead, the mould peels off the lolly.

This can be a little bit fiddly, but is less messy than using hot water. Each mould holds 95ml and is BPA-free, making it suitable for children.

Although a little pricier than average, these moulds are a worthwhile investment for smaller freezers. We loved these lolly moulds. Adults and kids alike enjoy chomping through a classic rocket lolly, and these were the best rocket-shaped moulds we tested.

Six individual moulds fit securely into the base, and, once frozen, can be removed and stored separately.

Speaking of height, the main downside of this mould is its size. The stick inside is also quite long for small mouths. On the upside, the accompanying box is relatively small, which makes the moulds easy to store.

Although not a budget option, this is a great choice for a hit of nostalgia. Compact design: As well as fitting easily into an average-sized freezer drawer, we looked for moulds that could be put away in a cupboard easily, too.

Sturdiness: We wanted to avoid spills, so any moulds that had a tendency to tip in the freezer, had very loose lids or were hard to fill were disqualified.

Ease of eating: Although spills will never be entirely avoided, we looked for moulds with spill guards and sturdy handles that were suitable for small hands.

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