Victor/Victoria (1982)

 

Only a moron gives advice to a horse’s arse.  Paris, 1934. Coloratura soprano Victoria Grant (Dame Julie Andrews) fails in her audition at a nightclub where she’s seen by gay cabaret singer Carole “Toddy” Todd (Robert Preston) who has been fired from his gig at a second-rate Chez Lui. When Victoria punches out Toddy’s bisexual hustler lover Richard (Malcolm Jamieson), Toddy comes up with what he considers to be an inspired idea: to pass Victoria off as a female impersonator. Victoria. Her male alter ego could be the toast of Paris and make a lot of money as gay Polish Count Victor Grazinski. It all goes well until Chicago gangster King Marchan (James Garner) turns up with his girlfriend Norma Cassady (Lesley Ann Warren) and falls for Victor, convinced he is a she … A woman pretending to be a man pretending to be a woman. A breathtaking blend of musical comedy, gender confusion, romance, slapstick, cross-dressing and cabaret, this loose remake of 1933 German screwball film Viktor Und Viktoria  written by Hans Hoemburg and director Reinhold Schuenzel is a showcase for all writer/director Blake Edwards’ talents as well as providing wife Julie Andrews’ greatest role. Preston is a joy as her outrageous gay mentor in a warm, funny, generous performance and Garner has great fun subtly unravelling when his suspicions are proved happily correct in a scenario that takes pleasure in mocking his macho stance. Warren is also excellent as his Thirties moll with bodyguard Alex Karras surprising everyone by coming out.  And for Edwards fans there’s the prospect of Graham Stark providing his customary support in a cast alight with provocation and tolerance proving sexual orientation really is not the issue as long as you’re getting some. What great characters! With songs by Leslie Bricusse and composer Henry Mancini there’s a lot to love in an astonishingly constructed entertainment. Never mind twist endings, the entire narrative is twisted in every possible direction. A modern classic. People believe what they see

Advance to the Rear (1964)

Advance to the Rear

My wife wouldn’t believe half the things that go on around here. In 1862, during the American Civil War, a company of Union infantrymen, commanded by Colonel Claude Brackenbury (Melvyn Douglas) who has a comfortable arrangement with his opposite number to exchange a round of gunfire for an agreed amount of time each morning to avoid any real conflict. However the status quo is disrupted when his junior Captain Jared Heath (Glenn Ford) captures some of the enemy. When he receives an order to attack the Confederate positions. his horse stampedes toward the rear of the front by accident. The confused soldiers, deployed in assault formation, follow their colonel in a rush. The consequent Board of Inquiry sees this as plain cowardice in the face of the enemy and Colonel Brackenbury is demoted to the rank of Captain while his executive officer,, is demoted to Lieutenant. As further punishment, together with a few of their NCOs they are deployed west to Fort Hooker where they are to take charge of a company of misfits and rejects. The new company is designated as Company Q (army slang for ‘sick list’). On the way, the demoted officers travel on a river-boat. Among the passengers there are several prostitutes, led by Madam Easy Jenny (Joan Blondell) being run out of town by the decent townsfolk. But it’s saucy Martha Lou Williams who tickles Heath’s fancy, particularly when he figures she’s got a scam going. It turns out she’s a spy for the other side but he decides to do nothing except keep her out of trouble because he wants to marry her. Then things come to a head when they arrive at their destination and the unit is required to escort a gold shipment and are captured by Thin Elk (Michael Pate) an Indian chief West Point graduate who’s in league with Hugo Zattig (James Griffith) of the Confederates …  I ain’t never seen no troops that looked quite so defeated. A period variation on the service comedies so popular in the post-war era, this Civil War gang could serve as a model for The Dirty Dozen, minus the violence or cynicism. Ford had starred in a series of military comedies since The Teahouse of the August Moon but this is the first one to be set in the Civil War. It’s mild material but Douglas scores as the unruffled General who believes in not fighting like a West Point gentleman when tea can be enjoyed instead. Jack Schaefer’s non-comedic 1957 novel Company of Cowards was adapted from a Saturday Evening Post story by William Chamberlain and the screenplay is by Samuel A. Peeples and William Bowers with uncredited work by Robert Carson. It’s a rather thin piece of work, lacking focus on the main event and coasting on Ford’s easy personality and Stevens’ charm with some nice scenes featuring Alan Hale and Whit Bissell while Blondell is fun as the blowsy madam. There are some interesting sound effects and songs by the New Christy Minstrels. Directed by George Marshall. When are we going to stop doing all this?

 

Smashing Time (1967)

Smashing Time large

I do love your accent. It’s so tuned in. Selfish Yvonne (Lynn Redgrave) and her best friend frumpy Brenda (Rita Tushingham) leave the drab North of England and head for London with dreams of hitting the big time, their ideas of the place dominated by what they read in trendy magazines. But when they arrive and quickly lose their savings to a robber, they find that city life is tougher than expected and success may be more elusive than they planned. Yvonne hits Carnaby Street where she encounters trendy photographer Tom Wabe (Michael York) and then lucks her way into TV and achieves celebrity when she unexpectedly turns a bad song into a hit single.  She begins to wonder about the cost of fame, and the whereabouts of her old friend who has become Tom’s modelling muse and is now the face of a cosmetics campaign including the perfume Direct Action which uses footage from protests in its TV advertising … Ain’t she smashing when she gets the needle! Screenwriter George Melly (yes, the same jazz hero) has a ball making fun of the Swinging London scene with ‘Brenda’ and ‘Yvonne’ which were the nicknames given to the Queen and Princess Margaret by Private Eye magazine. Director Desmond Davis had previously directed Tushingham and Redgrave in The Girl With Green Eyes and they clearly have a rapport – their burning charisma has a lot to contend with in a narrative that is essentially ten slapstick scene-sequences (including a pie fight) so there’s a lot of wide-eyed mugging as well as some nifty lingo. Effectively our lovely ladies are turned into a distaff Laurel and Hardy. Tushingham’s A Taste of Honey co-star Murray Melvin makes an appearance, Ian Carmichael does a kind of class throwback as a nightclub lech who gets his back at his, Anna Quayle scores as posh shop-owner Charlotte who doesn’t want to sell anything, Arthur Mullard and Sam Kydd have a knockabout in a greasy spoon and Irene Handl seems to appear with one of her own chihuahuas in the vintage clothes shop. The last scene is literally set to overload and the pair see the ludicrousness of the cool gang for themselves even if they’ve briefly been their icons. The garish glare of the ‘happening’ places is physically some distance from the rest of London, which is shot in several tracking shots, revealing its true grimy drabness. The songs are a lot of fun in a pastiche score by John Addison. A time capsule that might even have been too late by the time it was released but a must for fans of the appealing stars whose sheer exuberance lights up the screen.  Watch out for the psychedelic group Tomorrow. Thanks to Talking Pictures for putting this on their schedule.  I may be green but I’m not cabbage-coloured

I Was a Male War Bride (1949)

I Was a Male War Bride theatrical

If the American army says that I CAN be my wife, who am I to dispute them? French Army Captain Henri Rochard (Cary Grant) is assigned to work with American 1st Lieutenant Catherine Gates on a mission to locate a German lens maker Schindler (Martin Miller) in post-war Occupied Germany. Henri and Catherine worked together before and are at daggers drawn. However despite the initial problems between the two, with only Catherine being allowed to drive a motorcycle to Bad Neuheim and Henri forced to sit in a sidecar, it’s not long before their battling turns to romance and they hastily arrange to get married. But a steady stream of bureaucratic red tape ensures the couple cannot be together and with Catherine receiving orders that she’s to be sent home, there is just one option – Henri will have to invoke a War Brides Clause in army regulations and be recognised as Catherine’s bride but to do that he has to disguise himself as a WAC … Oh, no! You mean you and ME? Well, I’d be glad to explain to them. The very idea of any connection is revolting. Shot in the last months of 1948 in post-war Germany, this is resolutely apolitical in the typical manner of producer/director Howard Hawks but it was plagued by problems. Illness meant that the beginning and end of the midpoint sequence – Grant vanishing into a haystack and coming out the other side – were shot several months apart, with Grant 37 pounds lighter from hepatitis when we meet him again. Sheridan was also ill, with pleurisy. Hawks got hives. Even co-writer Charles Lederer got sick and Orson Welles stepped in to write a scene (allegedly). When the production moved to London for the interiors they were subjected to work-to-rule habits of the British unions which prolonged things further. However it’s still fun to watch for its low-key fashion rather than the antic hilarity of Hawks and Grant’s earlier Bringing Up Baby.  Despite its being promoted on the basis of Grant’s cross-dressing, that only takes place in the last 10 minutes and it works because Grant listened to Hawks and didn’t do effeminate, he plays it totally straight, a man dressed in women’s clothes – and it ain’t pretty. This is a whip smart attack on bureaucracy and transatlantic misunderstandings and the whole plot basically revolves around coitus postponus because even when the squabbling couple agree to the three marriages deemed necessary to be legal they still can’t get five minutes together, not even in a haystack (which led to their marriage in the first place). It fits nicely into that crossover between screwball and army farce with the entire construction designed to be an affront to Grant’s dignity and an essay on sexual frustration. That said, it’s slow to set up and a lot of the jokes are sight gags, relying on Grant’s acrobatic background to pull them off, while Sheridan is a great broad in the best sense, fizzing with common sense and sex appeal, the very incarnation of a good sport. Hawks’ very young girlfriend Marion Marshall has a nice role as her colleague who gets to relay verbally what women see in Grant and the whole thing is a very relaxed entertainment, the antithesis of the circumstances in which it was apparently produced. It marked Hawks’ and Grant’s fourth collaboration and Grant always said it was his favourite of his own films while it was the third highest grossing of Hawks’ career. Adapted by Lederer & Leonard Spigelgass and Hagar Wilde from  I Was an Alien Spouse of Female Military Personnel Enroute to the United States Under Public Law 271 of the Congress, a biographical account of Belgian officer Henri Rochard’s [the pseudonym for Roger Charlier] experience entering the US when he married an American nurse during WW2. My name is Rochard. You’ll think I’m a bride but actually I’m a husband. There’ll be a moment or two of confusion but, if we all keep our heads, everything will be fine

Father of the Bride (1991)

Father of the Bride 1991

From that moment on I decided to shut my mouth and go with the flow. Los Angeles-based shoe factory proprietor George Banks (Steve Martin) leads the perfect life with his wife Nina (Diane Keaton), beloved twentysomething student architect daughter Annie (Kimberly Williams) and little son Mattie (Kieran Culkin). However, when Annie returns from her semester in Rome with Bryan Mackenzie (George Newbern) her new fiancé in tow, he has a hard time letting go of her. George makes a show of himself when he and Nina meet Bryan’s parents at their palatial Hollywood home; then Nina and Annie plan a grand celebration with bizarre wedding planner Franck Eggelhoffer (Martin Short) and the costs escalate wildly to the point where George believes the entire scheme is a conspiracy against him … It’s very nice. We’ll change it all though. Let’s go! This remake and update of the gold-plated classical Hollywood family comedy is much modernised by husband and wife writer/director Charles Shyer and screenwriter Nancy Meyers but retains a good heart. Carried by a marvellous cast with Martin superb in a difficult role – sentimental and farcical in equal measure as he confronts a crisis triggered by the loss of his darling little girl to another man!  – his voiceover narration is perfectly pitched between loss, self-pitying acceptance and mockery. It’s interesting to see Meyers lookalike Keaton back in the camp after Baby Boom (and not for the last time).  The early Nineties era of comedy is well represented with Short side-splitting as the insufferable but indispensable wedding planner with his impenetrable strangulated locutions; and Eugene Levy has a nice bit auditioning as a wedding singer. The ironies abound including the car parking issue forcing George to miss the whole thing; and the first snowfall in Los Angeles in 36 years that means the absurd swans have to be kept warm in a bathtub (if nothing else, a brilliant visual moment). The updating includes giving Annie a career and given the dramatic significance of homes in Meyers’ work it’s apt that she is (albeit briefly) an architect – a homemaker of a different variety. George and Nina’s marriage is a great relationship model without being sickening – a tribute to the spot-on performing by the leads in a scenario that has more than one outright slapstick sequence – meeting the future in-laws at their outrageous mansion is a highlight. Adapted by Meyers & Shyer from the original screenplay written by another husband and wife team, Frances Goodrich and Albert Hackett, which was adapted from Edward Streeter’s novel. The eagle-eyed will spot the filmmakers’ children Hallie and Annie as Williams’ flower girls. Hallie has of course continued in the business and is a now a writer/director herself. Hugely successful, this was followed four years later by an amusing sequel. For more on this you can read my book about Nancy Meyers:  https://www.amazon.co.uk/Pathways-Desire-Emotional-Architecture-Meyers-ebook/dp/B01BYFC4QW/ref=sr_1_1? dchild=1&keywords=elaine+lennon+pathways+of+desire&qid=1588162542&s=books&sr=1-1. Directed by Charles Shyer. That’s when it hit me like a Mack Truck. Annie was like me and Brian was like Nina. They were a perfect match

Along Came Polly (2004)

Along Came Polly

I’ve found the perfect woman. Risk-averse insurance company risk assessor Reuben Feffer (Ben Stiller) takes a chance on marrying his ideal woman, realtor Lisa Kramer (Debra Messing) but she has an affair with nudist scuba instructor Claude (Hank Azaria) on the first day of their St Bart’s honeymoon. His best friend actor Sandy Lyle (Philip Seymour Hoffman) known from his bagpipe-playing role in an 80s teen movie advises him to play the field and at a gallery opening they encounter their junior school classmate Polly Prince (Jennifer Aniston) now working as a waitress. He asks her out and finds his life taking a different turn when they date because she’s a kook who tries everything (including Latin dancing and Middle Eastern food) but commits to nothing while his buttoned-up persona descends into a kind of undone madness by association. Meanwhile he has to assess daredevil accident-prone businessman Leland Van Lew (Bryan Brown) who is forever leaving a trail of destruction behind him but represents a great deal of money to the firm run by Stan Indursky (Alec Baldwin). Chaos ensues when Lisa returns to reconcile with Reuben and he has to make decisions that don’t depend on his Risk Master technology … I can’t have thrown up 19 times in 48 days if I wasn’t in love with you. Writer-director John Hamburg was listening in screenwriting class because he pushes every single character to do the opposite of what their nature impels them to – with delightfully nutty comic results in this modern take on screwball, the ill-advised toilet humour notwithstanding (an issue arising from Reuben’s unfortunate Irritable Bowel Syndrome condition). Sure, there are cheap laughs, including Polly’s flatmate – her blind ferret Rodolpho – but all of the character flaws are cleverly turned into neat plot pivots: when Reuben’s silent dad Irving (Bob Dishy) finally speaks he talks only common sense and spins the plot into its final happy resolution, with Sandy letting go of his past and getting his greatest role, posing as Reuben so that Reuben can stop Polly from leaving the country, with Polly committing at last and Reuben ultimately taking a risk. It’s crazy but works because at its beating heart it’s dramatically logical. Great silly fun with Stiller and Aniston making for a tremendously charismatic couple in a story that makes neat references to The Breakfast Club and Friends. What kind of guy are you?

The Great St Trinian’s Train Robbery (1966)

The Great St Trinians Train Robbery

They’re only schoolgirls. “Alphonse of Monte Carolo” aka Alfred Askett (Frankie Howerd) is a hairdresser running ops for a gang of crooks led behind the scenes by an invisible mastermind (voiced by Stratford Johns). He gives instructions to Askett about a new train robbery, Operation Windfall, using a variety of gadgets. The crooks hide the money in Hamingwell Grange, a deserted country mansion, and after waiting for the fuss to die down they return to collect the mailbags which contain £2.5 million (the same amount as in the real Great Train Robbery). However, after the Labour Party win the election, the house has been converted into a new home for St Trinian’s School for Girls because the new Minister for Schools, Sir Horace (Raymond Huntley) is having an affair with the headmistress, Amber Spottiswood (Dora Bryan). The crooks decide to infiltrate the school by enrolling Askett’s delinquent daughters, Lavinia (Susan Jones) and Marcia Mary (Maureen Crombie) as pupils, in order to case the joint and retrieve the loot from its hiding place. The crooks’ attempt to recover the mailbags on Parents’ Day, disguised as caterers, results in a climactic train chase back and forth between the robbers and the girls… If a Labour Government gets in it means the end of all public schools – and that appalling school, St Trinian’s! The fourth and final installment about Ronald Searle’s anarchic schoolgirls under the original authors, Launder and Gilliat, this is a little more episodic than usual, using the recent real-life Great Train Robbery as the starting point, making satirical jibes about the current political situation, spoofing James Bond’s gadgets and that series’ criminal mastermind (the iteration here is voiced by Stratford Johns) and replacing Alastair Sim with Dora Bryan, who performs with gusto in this colour production. Richard Wattis, Terry Scott and George Cole return, and there are new faces familiar to TV comedy fans, like Eric Barker and Arthur Mullard. James Mason’s daughter Portland plays Georgina, one of the kids. Droll fun, with a terrific montage introducing not only the gang members (including Reg Varney as Gilbert the Wheel) but the teachers, including art teacher Susie Naphill played by Margaret Nolan (who was Bond’s masseuse Dink in Goldfinger), doing the real-life striptease she usually did in a Soho club, to music performed by the John Barry Seven! Directed by Sidney Gilliat and Frank Launder from a screenplay by Gilliat and Ivo Herbert, based on the directors’ story co-written with producer Leslie Gilliat. The final extended chase sequence is a doozy straight out of silent movies. A photograph of these sordid excesses could well unmask this whole imposture

Simon and Laura (1955)

Simon and Laura alt

I have acted with octogenarians, dipsomaniacs, dope-fiends, amnesiacs, and veteran cars. When television producers select warring married actors Simon Foster (Peter Finch) and his wife Laura (Kay Kendall), to be the subjects of a live television series documenting a completely happy marriage, they appear to be the perfect choice by chirpy producer David Prentice (Ian Carmichael) but they’re only chosen because the Oliviers aren’t available. On camera, the couple is caring and supportive of each other in the daily one-hour long show. In reality their relationship is rocky but because the show is a hit, Simon and Laura try to keep up the facade until cracks start to surface and romantic complications with the production staff threaten to upset the publicity machine and finally they go off-script on live TV … Do you know what happens when you allow yourself to be regularly exhibited in that glass rectangle? As a response to the incoming threat of TV which was more than existential but factual with the introduction of a new independent channel in addition to BBC, this adaptation of Alan Melville’s stage play by Peter Blackmore elides the situation into a marital farce in which the battling opposites learn to live with one another. The running joke about scripted reality shows is surprisingly pertinent today. See that the script stresses the solidarity of the home. Even what once was called a public intellectual, in the shape of journalist and commentator Gilbert Harding, makes an appearance, describing the dangers inherent in appearing on television:  the  reflexive ironies proliferate.  I find the rapier thrust of Madam’s conversation highly stimulating! The inimitably elegant Kendall is perfectly cast and gets a few barbs that recall her real-life (as it were) career as well as having some opportunities for slapstick antics; while Muriel Pavlow is terrific as the show’s scriptwriter Janet Honeyman, in an engaging cast filled with familiar faces like Richard Wattis, Thora Hird and Alan Wheatley. Finch is good in his first leading role in a British film as the put-upon middle-aged hubby who thinks it’s all rather beneath him but he’s almost upstaged by the obnoxious know it all kid (Clive Parritt) playing his TV son. Television? You call that a wonderful job? Three weeks’ rehearsal, not enough money to cover your bus fares out to Lime Grove, technical breakdown in your one big scene, and no repeat performance? No, thank you. (The line about the Oliviers must have been a little odd for him to hear after his affair with Vivien Leigh). A terrific satirical premise that blends Taming of the Shrew with the growing pains of TV, played at a rate of knots. Great fun. Directed by Muriel Box with beautiful production design by Carmen Dillon and costumes by Julie Harris. We’ll mirror the lives of an ordinary, happily married husband and wife!

 

Used Cars (1980)

Used Cars

Fifty bucks never killed anybody! Rudy Russo (Kurt Russell) is an unscrupulous car salesman who aspires to become a State Senator for Arizona. In the meantime he works for the nice but ineffective old dealer Luke Fuchs (Jack Warden) with a dodgy ticker selling bangers that die once they leave the lot. When Luke dies in mysterious circumstances, Rudy takes over the business, but he faces stiff competition from his rival across the street, the scheming Roy L. Fuchs – pronounced ‘fewks’ – (also Warden) who wants his brother’s business for himself because he’s paying off the Mayor to put the interstate freeway through the property. Rudy needs to get hold of $10,000 to launch his political campaign. In order to get more customers, Rudy and Roy each devise ever more ridiculous promotions to gain the upper hand. Now it’s every salesman for himself! Then Luke’s estranged daughter Barbara Jane (Deborah Harmon) shows up just when there’s a televised Presidential address to disrupt They are the lowest form of scum on the face of this earth and I urge you to stay away from them! John Milius gave the idea for the script to Robert Zemeckis & Bob Gale and lo! comedy gold was born in this outrageous tale of oneupmanship, rivalry and sheer chutzpah, a parody of hucksters and a satire about the USA at the tail end of the 70s. Russell and Warden are fantastic. This country’s going to the dogs. Used to be, when you bought a politician the son of a bitch stayed bought! Gerrit Graham, David L. Lander, Frank McRae and Michael McKean are among the brilliant cast where everyone has an angle, even Toby the dog. Screamingly funny, this is one of the best bad taste comedies ever made and simply hurtles to its riotous conclusion taking absolutely everybody prisoner on its mercilessly outrageous joyride. Executive produced by Milius and Steven Spielberg. Nothing sells a car better than a car itself. Now remember this, you have to get their confidence, get their friendship, get their trust. Then get their money

Micki + Maude (1984)

Micki and Maude

I’m so hung over my head feels like a tuning fork. TV reporter Rob Salinger (Dudley Moore) desperately wants to be a father but his ambitious lawyer wife Micki (Ann Reinking) wants to be a judge and hasn’t time for a baby just now. When Rob has an affair with beautiful cellist Maude (Amy Irving) she shocks him when she informs him she’s pregnant and he determines to divorce Micki. But at the dinner he’s arranged to break the bad news Micki announces she’s finally pregnant and has to be on bed rest for the duration of the pregnancy.  Rob doesn’t want to ruin things so he marries Maude, pretending that he’s divorced Micki and lives with both women bigamously until their anticipated due dates coincide and they give birth in neighbouring suites at the same hospital … When Daddy retires he’s going to take up decorating full time. Blake Edwards’ marital comedy is heartwarming and funny and depends upon his usual quotient of farce although that is mostly confined to the final trimester of this battle of the sexes outing. John Pleshette is Rob’s TV director, looking and sounding not a little unlike Edwards himself;  Edwards’ ensemble regular Richard Mulligan plays Rob’s best friend, his TV producer; Wallace Shawn is a doctor; and there’s a wonderful Meet the Parents sequence when Rob is introduced to Maude’s father, Barkhas Guillory (H.B. Haggerty) a mean-looking wealthy wrestler who’s surrounded by much bigger colleagues like André the Giant. And he wants to buy the couple a house in the Hollywood Hills that he plans to decorate himself. In a film that could be purely stereotypical, this is turning some tropes upside down. And, in time-honoured fashion befitting a comedy expert, Edwards brings it all to a very satisfying, sincere conclusion, helped by Moore’s sweet performance as the politest bigamist in town. Great fun. Written by Jonathan Reynolds. It won’t get the fat gene