Showing posts with label Edmond O'Brien. Show all posts
Showing posts with label Edmond O'Brien. Show all posts

Friday, June 13, 2014

The Love God?









The Love God?

August 1969
Universal
Comedy
VHS
B
Written and directed by Nat Hiken, of Car 54 fame, this is both more risque and more satirical than your average Don Knotts movie.  (And I've seen my share, although I don't currently own any besides this one.)  Knotts is playing a typical character, in this case Abner Audubon Peacock IV, the fourth-generation publisher of a bird-watching magazine, but what happens to him is far from typical.  Abner is used by everyone from hippie protestors (including in France!) to pornographers to civil rights attorneys to horny women (including Anne Francis, as a tough career gal editor who sort of falls for him) to uphold the twin causes of free speech and the sexual revolution.  In one of the nicest pieces of stunt casting I've ever seen, Herb Voland, who looks so much like then new Vice-President Agnew that he'd play him in the Rich Little movie Another Fine Mess (1972, I've never seen it), plays the attorney general out to wipe out smut, and even he wants Abner to keep publishing the "dirty" version of his magazine.

This is of course delightfully dated-- especially the proto-Ralph-Furley outfits that Abner has to wear as part of his Hefner-like image-- and sometimes very funny, mostly intentionally.  I like both the details of Abner's small town, including his bird calls at the annual concerts, and the big city, well, bigness, including Abner's lush penthouse.  Abner's old secretary Miss Pickering, played by Marjorie Bennett, takes to her new job in the wild world of New York publishing so much that she's soon wearing miniskirts and dying her hair.  There are some other nice cameos, like Jim Begg's as fellow bird-watcher Hotchkiss and James Gregory's as the crusading attorney disgusted by "the filthy little degenerate" but defending the degenerate's right to publish filth, while Edmond O'Brien and Maureen Arthur are perfectly cast as the initial pornographer and his covergirl wife.  When she says that Abner wanting to hold a press conference to confess his virginity (so he can marry the wholesome and loyal minister's daughter Rose Ellen back home) is the most disgusting thing she's ever heard, I just wish there were more of her and O'Brien.

They get pushed aside not so much by Knotts and Francis as by B. S. Pully as the mobster J. Charles Twilight, AKA Icepick Charlie.  Some of the stuff with Charlie is good, like his English lessons with elderly Miss Love, who turns out to be an FBI agent, but he brings too much violence to what is mostly a frothy comedy, Vic Mizzy music and all.  Not only does he slap around O'Brien's character, but he hits Francis when she prefers Abner to him.  And even Abner punches Rose Ellen!  Yes, it's to stop her from coming closer when Icepick and his goons show up at the village church, but it's still disturbing.  I mean, this is Don Knotts!  I'd probably give the movie a B+ if it were less violent.  The sexual content though, which earned an M (today's PG-13) rather than the usual G, is fine, pretty clean by today's standards, but a great contrast to Knotts's image.  Too great for the times apparently, as this was a flop.  (Hiken died before it was released.)
It seems to have a bit of a cult following now though, and I recommend it, albeit with reservations.

Oldest Choir Member Delos Jewkes (then 75) had performed in the Munchkin Medley of The Wizard of Oz.  Choir singer Betty Noyes ironically lip-synced for Debbie Reynolds lip-syncing on "Would You" for Jean Hagen in Singin' in the Rain.  Bob Harvey plays a photographer and had been Robert the Rat in the AIP Beach Party movies.  James McHale, a reporter here, was Shorty in Spinout.

Arthur Tovey had minor roles in earlier movies of mine, like The Graduate, and here plays a club patron.  Amber Smale played Sandra Dee as a little girl in Doctor, You've Got to Be Kidding!, and was 12 by the time of her appearance here.  Angelique Pettyjohn plays a model here and was a secretary in The Cool Ones and Gloria in Clambake.  Dal McKennon plays a bird caller here and was the old soldier in Did You Hear the One About the Traveling Saleslady?

Araceli Rey, who plays the Italian cleaning lady, would be Señora Gavilan in Change of Habit.  Darlene Love (of "He's a Rebel" fame) would be a backup singer in Change, while here she's prominently featured singing "Mr. Peacock."  Glenn Dixon, a family member here, would be a sponsor in The Barefoot Executive, while Leon Alton, a club patron here, would be a TV exec there.  Barbara Bosson would do Mame.  Al Dunlap, who's the mayor here, would be a deputy in Escape to Witch Mountain.  Ceil Cabot, who has a minor role here, would be Miss McGuirk in Freaky Friday and the landlady in The Nude Bomb, but I'm guessing she's probably been seen by more people as Buddy Hinton's mother on The Brady Bunch.  

Larry McCormick, the handsome young Black man playing Rich, also has a Brady credit, as the TV announcer on the episode where Bobby wants to run away, and he had other acting credits over the next 35 years, but to a Gen-X Southern Californian like me he is of course best known as a KTLA reporter/anchor.  (His earnestness adds to the hilarity of this movie.)  Bob Hastings plays Shrader, the other assistant attorney, a very different role than his in Did You Hear the One...?  Berniece Janssen would be an extra in Nine to Five.

Wednesday, April 9, 2014

Will Success Spoil Rock Hunter?

Will Success Spoil Rock Hunter?
July 29, 1957
Fox
Comedy
DVD
C+

While Tashlin is even more satiric here than in The Girl Can't Help It, I don't find this movie as funny, or overall as enjoyable.  Yes, the main problem is that there isn't anything to compare to the music of GCHI.  But also, I felt like it is a period piece that has not aged well, and it's more interesting to think about than to watch.  For instance, the view of celebrity culture, with Jayne Mansfield, as Rita Marlowe, playing a self-parody (including her real-life future husband Mickey Hargitay as her onscreen boyfriend), and Tony Randall's character of Rock Hunter basically becoming famous for his supposed love life.  This feels both quaint and prescient, in that celebrity culture is much bigger than it was then.  Also, Tashlin, as in GCHI, both parodies and salutes the '50s mammary obsession, this time with Rock's girlfriend having a nervous collapse after trying breast-expanding exercises.  Her doctor recommends falsies, which is better than him suggesting plastic surgery, but a long way from him telling her to be happy as she is.  Rock, to his credit, loves her as she is.  Randall is actually very sweet at times in this movie, although "success" does turn his head for awhile.

Something else to ponder is that, while the double entendres aren't too surprising for Tashlin (including an expansion of his milkman fetish), I was startled by a perhaps unintentional lesbian subtext, as seen particularly with the characters of Rock's niece April and Rita's assistant played by Joan Blondell.  April's fan-worship of Rita is similar to "Phoebe's" in All About Eve (without the dishonesty), and she has pictures of Rita all over her bedroom.  (It gets stranger when she starts putting up pictures of her uncle.)  Blondell, despite her milkman crush and romance with Henry Jones (much more animated than in GCHI), has some moments that suggest she's served female stars as more than just a companion.

Of course, the definition of "success," at the height of the "gray flannel suit" days, is something that the movie grapples with, successfully or not.  I just don't think that it makes for as good a time at the movies (or on a 21-inch screen at home) as its predecessor.

John Williams was Sabrina's father in the Audrey Hepburn movie.  Ann McCrea was in Singin' in the Rain and The Band Wagon.  Fred Catania was in GCHI and would be in John Goldfarb, Please Come Home!  Oddly enough, Blondell would play Vi in Grease, perhaps a reference to her character of Violet here.