Down with Love

Down with Love
May 16, 2003
Fox
Comedy, Romance, Historical, Musical
DVD
B+

This was a box-office disappointment and there are still people who loathe it, but I find it almost as delightful as I did a dozen years ago.  It is both an over-the-top loving parody of early '60s "sex comedies" and an early 21st-century look at gender roles.  It is a rom-com but it puts surprising spins on the conventions, new and old, as with the moment when it seems like the movie could end but there's another twenty minutes or so.  The dialogue is suggestive and layered in other ways, and there's a lot of physical humor, not just slapstick but things like the stylized ways people walk and smile.

Renée Zellweger and Ewan McGregor are cast somewhat against both type and archetype.  That is, this is not the usual McGregor role and he's little like Rock Hudson.  Ditto for Zellweger and Doris Day.  The two supporting roles, played by Sarah Paulson and David Hyde Pierce, however, are dead on Paula Prentiss and Tony Randall, although again with little twists and surprises.  (That they're both queer in real life adds yet another layer, as in the Japanese restaurant scene.)  Randall himself, then 83 and a year away from death, has a little gem of a role as the head of the publishing company where the book of the title is ignored and then celebrated.  "Down with Love" is also a song, and music is such an integral part of the movie that I think this deserves the "musical" tag, even if not strictly speaking a musical.

The film is especially notable for the look, as seen in set design and costumes, but also in such touches as a Mad Magazine cover.  It all looks like a slightly hyped-up version of what you would've seen in a 1962 film, from opening credits to closing.  There's also creative (and suggestive) use of split-screen.  If I can't rate the movie higher, it's that it hasn't aged quite as well as I hoped.  I still really enjoy it, but I don't love it as much after multiple viewings.  And it doesn't seem quite so innovative now as it did then.

Just as he had in I Wanna Hold Your Hand, and many other appearances, Will Jordan plays Ed Sullivan.  Sarah Christine Smith was a Go-Go Dancer in Austin Powers #1 and is an Astronette here.  Turtle, who was Cult Member Jeff in Dude, Where's My Car?, plays a Beatnik here.

The Gong Show Movie

The Gong Show Movie
May 23, 1980
Universal
Comedy, Musical
VHS
C+

This is sort of what it says on the package, a behind-the-scenes look at the odd '70s "talent" show that I watched regularly and even saw in person.*  But it's also a cynical look at show business, co-written by Robert Downey, Sr.  It doesn't really work, especially with Chuck Barris playing himself as worn out and mumbling.  (It was the year for that, as we'll see with Paul Simon in One-Trick Pony.)  But the movie is marginally entertaining, especially the songs.  My favorite is the group song, "Don't Get Up for Me," even though no one except Mabel King, as Mabel, can sing.  (She's not quite playing herself, but Chuck does greet her with "What's happening?")  Barris's then real-life wife Robin plays his girlfriend Red, with many people, from Tony Randall and 17-year-old daughter Della Barris to of course The Unknown Comic and Gene Gene the Dancing Machine, appearing as themselves.

Milton Delugg is best known for the Gong Show, and for the music in Santa Claus Conquers the Martians.  Tourist lady Nora "Dodo" Denney is best known as Mrs. Teevee in Willy Wonka.  Gary Mule Deer, who plays Gary, was a man at the health food restaurant in Annie Hall.  Pat Cranshaw, the old man who dies in the elevator (as Chuck and Red are oblivious), was the Western Union messenger in Sgt. Pepper.

Stand-up comic Taylor Negron is "Blond-Haired Man Auditioning," and he'd turn up as a delivery man in Johnny Dangerously.  Cynthia Szigeti, Diner Doll Sophie here, would also be in Dangerously, as Mrs. Capone, and she was a passenger in The Big Bus.

Betsy Lynn and Carol Gwynn Thompson of the Siamese Connection would be in The Fab 400 in Hamburger-- The Motion Picture.  (They were also responsible for my best friend Carla laughing incredibly hard at the trailer for Midnight Madness, which was 1980's answer to Scavenger Hunt.  I never saw the movie but I still remember the fat disco-dancing twins.)

Band member Dana Glover would contribute "The Way" to the Two Weeks Notice soundtrack.  Danny DeVito allegedly is a performer here, although I didn't spot him.


*Growing up in Southern California, I got to be part of a lot of live studio audiences, and I was there for the misery of the all-"Feelings" episode in '76.  On the bright side, at the end of the day, Arte Johnson gave me one of the balloons that came down from the ceiling.

Scavenger Hunt

Scavenger Hunt
December 21, 1979
Fox
Comedy
VHS
D+

Wow.  I never considered this a good movie of course-- it has the same director, Michael Schultz, as Sgt. Pepper-- but I had remembered it as at least silly fun.  This time it was painfully unfunny.  Well, there's one sort of funny part, when Richard Mulligan is disguised as a mummy in order to steal a suit of armor, and he's doing his Burt Campbell mannerisms, and he wouldn't scare a mouse, while everyone runs screeching from him, acting like they're refugees from Attack of the Killer Tomatoes!  (Which is entirely possible, since both movies were filmed in San Diego.)  There's gratuitous sexism, particularly with the Babbette [sic] character.  The gratuitous racism shows not so much with Cleavon Little's character-- he always carries himself with grace and style (this is after all the man who got away with the line "Where the white women at?" in Blazing Saddles)-- as in the characters of the Japanese gardener (who for some reason doesn't make it onto the servants' team) and of the elderly Indian whose dentures get stolen.

You see, there is, as the title suggests, a scavenger hunt (with what must be the easiest clues ever), the winners of which will inherit a $200 million fortune.  Vincent Price, as Milton Parker (see, he's a game inventor) dies in the first scene, lucky him.  A dizzying cast (why this is a D+ rather than a D) participates in the hunt.  I'd better just list them:

• Team A:  The servants are Cleavon L. as the American chauffeur, Roddy McDowall as the English butler, James Coco as the French chef, and Stephanie Faracy as the French maid.  (Little and Faracy would play a married couple on the early '90s Fox sitcom True Colors, which I've always had a soft spot for.)
• Team B:  Cloris Leachman is Parker's bitchy sister, Richard Masur (of the early days of One Day at a Time) is her overage bratty son, and Richard Benjamin is their shady lawyer.
• Team C: Leachman rejects her stepdaughter Lisa (Maureen Teefy), but Lisa is invited to join the Stevens brothers, Parker's nephews, played by Dirk Benedict and Willie Aames (in his film debut, although he was already on Eight Is Enough).
• Team D:  Tony Randall plays Parker's widowed son-in-law, whose four children include Shane Sinutko (not given much to do, so I can't say if he's improved as an actor since The Shaggy D.A.), shark-jumping David Hollander ("Little Earl" on What's Happening!!), Julie Anne Haddock (tomboy Cindy on the first season of The Facts of Life), and some little girl I don't recognize.
• Team E:  Mulligan, as taxi driver Marvin Dummitz (a Melvin Dummar parody I believe), works alone until he recruits Scatman Crothers, who gets kidnapped by Team B while unconscious in the suit of armor, leading to the happy ending.
• Various cameos, from Carol Wayne as Parker's nurse to go-to fat guys Stuart Pankin and Stephen Furst.  (If you've ever wanted to see a movie where Dirk Benedict and Willie Aames try to abduct Stuart Pankin into their van, this is the one.)  In amazingly creative casting, Arnold Schwarzenegger plays a fitness instructor, Meat Loaf the leader of a biker gang, and Ruth Gordon a nutsy, gutsy old lady.  Pat McCormick works at the carnival, while Avery Schreiber is a lisping ostrich-keeper at the zoo.
• The only performer I don't feel sorry for is Robert Morley, because he just does his Robert Morley eccentric-but-reasonable-sounding-English-chap thing and spends most of his scenes sitting in the shade and calmly watching the chaos around him.  He's accompanied by the scorekeeper, Hal Landon, Jr., who would be Ted's father in Bill and Ted's Excellent Adventure.

Jerado Decordovier (who was Samoan) plays the Indian here and was a waiter in Gidget Goes Hawaiian.  Janine King was a crying baby in Tony Randall's Hello Down There and is a carnival patron here.  Alan Scharf, who's a clerk here, was Roberts in Attack of the Killer Tomatoes!, while Art Koustik was the FIA director there and is the zoo director here.  Henry Polic II (probably best known for his role on the sitcom Webster) plays the "naked" policeman here (he's stripped down to his underwear when his uniform is on the list), and he was Tito in Rabbit Test.

Adam Anderson, who was Sobbing Sailor in Rabbit Test, is Policeman #2 here and would be a pilot in The Nude Bomb.  Marji Martin, who plays fat lady Kay here, would be "Sister" in Going Ape!

Note that both Aames and Crothers sing on the forgettable soundtrack.  There is no title song.

Some of the subtle humor that has made this the cult classic that it is.

Hello Down There

Hello Down There
June 25, 1969
Paramount
Comedy, Musical, Sci-Fi, Action
VHS
B+

No, I didn't grow up with this one, but I wish I had.  Even discovering it in my early 20s, I couldn't believe what I was seeing and hearing, and I still don't.  It's not exactly a kids' movie, too much drug humor and sex humor, although pretty mild by post-1972 standards.  And, yet, just like Did You Hear the One About the Traveling Saleslady?, it could pass for a '60s sitcom pilot if you squint a bit.  I mean, look at this cast!  Tony Randall, Ken Berry (as Randall's rival), Arnold Stang (as Berry's stupider [!] assistant, and like in Skidoo he dies, or at least his character is left for dead and forgotten), Jim Backus (Howelling up a storm as Randall's boss), Backus's wife as a concerned parent,  Charlotte Rae (as a wacky maid, there's a stretch), Harvey Lembeck (as a radar technician), Merv Griffin as himself, Janet Leigh, Richard Dreyfuss-- wait a minute.  Janet Leigh and Richard Dreyfuss?  What are they doing here?  Well, like everyone else, they are both embarrassing themselves and playing to their strengths, respectively screaming and being sarcastic.

This was an Ivan Tors production, so we get a lot of shots of dolphins and other sea critters frolicking around the underwater home that Randall, wife Leigh, forgettable blond kids, and the kids' friends (Dreyfuss and the comic relief one named Marvin) live in for somewhere between two weeks and thirty days.  (The movie ends in media res, with Navy parachutists attacking.)  The house is called the Green Onion, even though it's white, so the band that the teens are in is renamed from Harold and His Hang-Ups to, yes, the Green Onion.  There's also an orange submarine that becomes yellow.  Continuity is not this movie's strong point, as seen in the fact that Leigh's character is established as a writer (of Forty Nights in a Harem), and then this is forgotten for over an hour.

The script is co-written by Tors, Art Arthur (who also co-wrote Birds Do It), and a couple other people.  The director is Jack Arnold, who did a lot of TV, including Gilligan's Island.  Obviously, this adds to the TV feel.  But in an attempt to be more contemporary than television, we get McDowall sort of reprising his Tony Krum character in The Cool Ones, this time as "boy millionaire" record producer Nate Ashbury.  (I never said this movie was subtle.)  As in The Cool Ones, there's a computer that determines the potential success of a rock band, this time one that's operated by Catwoman: Lee Meriwether as a miniskirted computer scientist.  The songs are, well, wonderful, in an absolutely cheesy way.  Not only are they worthy of the Archies, but they're quite obviously lip-synced (except for Randall's serenade of Leigh).  No wonder Rae, who drinks tonic that she worries is spiked with LSD, can't resist shaking her groove thang.

I'm still marveling over the cast.  I mean, there's a moment where Merv Griffin translates McDowall's hip slang for Backus, and they're not even the ones stealing the scene.  A couple less familiar faces:  Jay Laskay, Philo here, was Willie in Birds Do It; Janine King, age unknown, plays a crying baby and would turn up as a carnival patron in Scavenger Hunt.

This is, incidentally, the 100th comedy I've reviewed, although I'll admit my genre tags are somewhat arbitrary.  Clearly, this one isn't just a comedy, but, man, is it hilarious!

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.