Emaisie39

Now this is a great film. You have got to see it. At first I thought it would be another talky British import that got over-nominated by the Oscars. Boy was I wrong. A riveting tale based on a novel very loosely based on the Mary Lou Leturno scandal, it pulls you in and never lets go. Dench and Blanchett are brilliant as the so-called friend and the wayward adulteress who loses her mind when she falls inlove with her sexy 15 year old self-absorbed student. Dench is incredible and perhaps should have gotten the Oscar over Helen Mirren. Cate is superb as the woman who becomes the victim of her own insecurities and the advances of a teenage lothario. Marvelous direction, cinematography and musical score. Bill Nighly is excellent as Cate's bewildered husband and Andrew Simpson is unforgettable as the brat who along with Dame Judi brings Cate's character to her knees. A must. This should have been a blockbuster but of course U.S. audiences could not be pulled in without car crashes and male bonding.

Highly mediocre musical is a botched filmization of Ethel Merman's Broadway smash. In this one, the marvelous Ann Sothern at the peak of her pin-up girl beauty almost saves the film with another delightful performance. Glossy MGM production values and a game cast including Dan Dailey, Red Skelton, Virginia O'Brien and the lovely Lena Horne give it their all. Story is very thin but this was still a huge hit at the time. Probably because Miss Sothern was then one of MGM's top box-office draws at the time. Sothern's "Lady Be Good"(MGM,1941) is a far superior film with a charming script and an Oscar-winning song but was somehow less popular than "Panama Hattie." WHo knows why some films make a fortune and others tank....

I just saw this on TCM and was so surprised at how gripping it was. Loosely based on Somerset Maugham's "The Letter" that was a major early talkie hit for Jeanne Eagels at Paramount and then remade into a the William Wyler-Bette Davis-Warner Brothers classic of 1940, this version pulls you in and gives Ann Sheridan one of her finest roles. Lew Ayres, Zachary Scott, Eve Arden and Marta Miltrovich are all outstanding as well. Top notch Jerry Wald production includes excellent Max Steiner score, superb Ernest Haller cinematography, and a very good script. Outstanding direction by Vincent Sherman allows Sheridan to shine in her central role as a woman who kills a supposed stranger in self-defense and then watches her life implode around her. The ending is the only letdown. Definitely a must for fans of the "Oomph Girl" at her Warner Brothers peak.

From 1923 to 1930 Laura LaPlante was the Queen of Universal Studios. She was a delightful comedienne and a fine dramatic actress. She was outstanding in the part-talkie epic "Showboat"(1929) though the film itself in its current form is mediocre at best. She left Universal in 1930 after two musical flops but found considerable success in England starring in half a dozen comedies for Warner Brothers-Teddington Studios. "The Man of the Moment"(Warner Bros, 1935) made its U.S. debut last night and proved once and for all that LaPlante should have had a great talkie career in the kind of films she excelled in the silent twenties. SHe makes a delightful pairing with the handsome young Douglas Fairbanks Jr.. The film is given a glossy Hollywood-style sheen, the script and direction is excellent, but it is these 2 stars at their charismatic best that makes this constant fun. Why Warner Brothers did not re-team these two is a mystery....The film never got a U.S. release though Fairbanks was a major star at the time. LaPlante's career was going into eclipse but she was still widely known by the public.

Although he rarely gets respect from the critics, Steve Guttenberg was quite a big film star in the 1980's. He made his first impression as a pudgy teenager who gets killed by Gregory Peck in the excellent "Boys From Brazil"(1978). The classic "Diner"(MGM,1982) established him as a fine actor and in "Police Academy"(1984) he was suddenly a buff leading man in a critically maligned yet audience loved box office blockbuster. He was now a "STAR" and the smash hits kept coming: several "Police Academy" sequels, "Short Circuit"(1985) and its sequel, the Oscar-winning classic Ron Howard's "Coccoon"(Universal, 1985) whose pool scene established him as a minor sex symbol, and finally the massive blockbuster "Three Men and a Baby"(Disney, 1987). Director/writer Curtis Hanson then cast him in the excellent Hitchcockian thriller "The Bedroom Window"(1987) alongside another young star of the time Elizabeth McGovern who had made a major impact in "Ragtime"(Paramount, 1981). Now he was a full-fledged star of a Top "A" quality film. This excellent thriller will keep you glued to screen. Hanson's taut direction, the gorgeous cinematography, and the excellent cast will hold your attention. The script has a couple holes but it is still very good. And Guttenberg who had a goofy face and could look geeky if not photographed carefully looks great so this should have been another feather in his cap. However this film tanked. Why I will never know. After this he would have one more big hit with "Three Men and a Little Lady"(Disney, 1990) and that was it. His career never recovered. Nonetheless his best films are definitely worth a look and "The Bedroom Window" is certainly among his best.

The forgotten Warner Brothers melodrama "Nora Prentiss" was one of the biggest hits of Ann Sheridan's career. Finely directed by Vincent Sherman who guided Joan Crawford and Bette Davis in several hit films, this is a sad, haunting yet somehow realistic story about a married doctor (a great performance by Kent Smith) who fatefully bumps into a nightclub singer (Sheridan) and soon falls madly in love with her. His illicit love of Sheridan leads to his downfall. Some may find the plot a bit contrived but an excellent script and the superb heartfelt performances of Sheridan and Smith make it work beautifully. THe ending is quite a knockout.

From Capra's early talkie hit "Ladies of Leisure"(Columbia, 1930) through her Emmy winning turn opposite Richard Chamberlain in "The Thorn Birds"(ABC, 1983) Barbara Stanwyck was one of Hollywood's greatest actresses. An amazing run even outlasting Joan Crawford and Bette Davis in terms of longevity and quality. Anatole Litvak's masterfully directed "Sorry Wrong Number" captures Stanwyck at her exact Hollywood peak. A marvelously suspenseful expansion of Lucille Fletcher's celebrated 22-minute radio thriller, Stanwyck delivers a mesmerizing performance that brought her a fourth and final Oscar nomination. A critical success as well as a big box-office hit, this films pulls you in and never lets you go. Unlike the great Davis who often seemed overly mannered or the underrated Crawford who had a habit of walking through parts with an insolent attitude whenever the scripts were weak, Stanwyck is always very natural and believable. Even in high melodrama she keeps it grounded in reality. Lancaster delivers a very fine performance as her boy toy of a husband. Top notch Paramount production values and lush cinematography are big pluses...And the supporting cast is outstanding with Ed Begley terrific as Stanwyck's father, a sinister young William Conrad, and a very good performance from the forgotten Ann Richards as Stanwyck's competition for Lancaster. A must especially for Stanwyck's still huge following.

Greer Garson had a charmed film career. She was discovered on the English stage by Louis B. Mayer when she was 33. Her MGM career stalled until she was cast opposite Robert Donat in the classic "Goodbye Mr. Chips"(1939) which made her an immediate major star and a worthy successor to fading MGM superstars Norma Shearer, Joan Crawford and Garbo. Her lovely, charismatic performance in this film brought her the first of seven Best Actress Oscar nominations. Truth be told her role was too small for such a nomination and Shearer's and Crawford's superb work in "The Women"(1939) should have gotten the nominations. Garson's next film was the disastrous "Remember"(1939) a glossy flat so-called comedy that had her much too prim and proper. But after Shearer unwisely passed on "Pride and Prejudice"(1940) Garson was cast in the central role and received raves from everyone. In retrospect she seems too old for this and the more youthful-looking classy Shearer would have been much better but this film made Garson an enormous star which she remained until a string of entertaining disasters in the early 50's. Of course Garson would win her Oscar for the excellent blockbuster "Mrs.Miniver (1942) -another dumb Shearer turn-down- and Garson would now be typecast in generally too noble and ladylike roles. Nonetheless Garson gave a sparkling performance opposite Crawford in the forgotten "When Ladies Meet"(1941) and gave marvelous natural performances in the hugely popular yet maligned "Adventure"(1946) and superb in the disastrous "Desire Me"(1947). The comedy "Julia Misbehaves" came right after and proved a tremendous hit on both sides of the Atlantic. Though superficially "the lady" once again this role allows Greer to be the comedienne and she succeeds splendidly. The sparkling script and direction, the MGM gloss, her great chemistry with Pidgeon, and the beautiful young co-stars Elizabeth Taylor and Peter Lawford add to the non-stop fun. She plays a wayward showgirl who wants to be part of her daughter's wedding even though she has not been around for years. It's the kind of light hearted romp that Hollywood tries to do now in days with Sandra Bullock, Meg Ryan, Reese Witherspoon and surprisingly Diane Keaton. Of course these recent films rarely work as well as the delightful "Julia Misbehaves." After this Garson returned to the lady roles and had her last big hit with the stodgy technicolored "That Forsythe Woman"(1949). Most of the films that followed were failures except for her outstanding work in "Julius Caesar"(MGM,1953) and Oscar-nominated as Eleanor Roosevelt in "Sunrise at Campobello"(Warner Brothers, 1960).

After deciding to end "I Love Lucy" at its peak in the spring of 1957, Desi and Lucy opted for frequent hour-long specials centering around the same characters that made the original show such a blockbuster. These 13 shows were extremely popular with audiences but varied wildly in quality with "Lucy and Desi's Summer Vacation"(1959)with Ida Lupino and the last one "Lucy and the Mustache" (1960) with Ernie Kovacs very mediocre but this episode with Paul Douglas is a delight. Superb script has Lucy finally get that showbiz job this time as Douglas' weather girl on a morning TV show. It's an absolute hoot but obviously very few have seen it though it is on video from CBS(?).

Ann Sothern was always an amazingly talented woman. She had a beautiful singing voice (the Oscar winning "Lady Be Good"MGM 1941),was a superb dramatic actress(the Oscar winning "A Letter to Three Wives"20th 1948) and a wonderful comedienne(the classic "Trade Winds" UA 1938 and 50 years later Oscar nominated for her performance opposite Bette Davis and Lillian Gish in "The Whales of August" 1987). She remained a very big star for 30 years but today she is mysteriously forgotten. Like Eve Arden she could make a nothing script funny or at least amusing with her one of a kind timing. She was a star by 1935 and reached her peak as a major MGM star in the early forties though that studio rarely put her in the quality vehicles she deserved. By 1951 she had left MGM for the stage but hepatitis cut this short. Her old friend Lucille Ball had also been a highly popular yet misused star throughout the forties but Lucy suddenly became one of the greatest superstars with the debut of "I Love Lucy" in October 1951. Following Lucy's lead, the still very beautiful Ann jumped into the new medium in 1952. Her first Television sitcom "Private Secretary" debuted to mediocre reviews but great popularity in early 1953. When seen today this show as well as its followup "The Ann Sothern Show" is quite entertaining and Ann is at her most charismatic in both series which she produced herself. She had great chemistry with handsome Don Porter, mousy Ann Tyrell and just in P.S. catty Joan Banks. The Sothern-Porter-Tyrell team remained on the air almost continuously from February 1953 through September 1961 winning Sothern five Emmy nominations for Best Actress in a Comedy. Sothern first teamed with Lucy for the classic "Lucy and Desi Meet in Havana"(10/1957) special. They were back together on "The Ann Sothern Show" in 1959 but had their most delightful moments together on several marvelous "Lucy Show" episodes in 1965 which gave Ann her last big success. Though well past forty Sothern remained extremely beautiful in both hit series but her weight fluctuated wildly. In 1953 she still had her pinup girl figure but by early 1956 she had ballooned to such an extent she was always filmed in black and hidden behind over-sized clipboards, file cabinets and large plants. Watching these photographic tricks maintain Sothern's allusion of youth and sexiness is an amazing thing to see. By the debut of "The Ann Sothern Show" in October 1958 she had slimmed down considerably but she never got her figure back like it was in those early days of "Private Secretary."She remained a comedic delight until her last show was cancelled in late 1961. She returned to films in several superb performances through the mid-70s but her popularity finally faded out. Nonetheless she is still a joy to watch.

Kay Francis rose to sudden stardom playing a vamp opposite Walter Huston in a very early Paramount talkie called "Gentlemen of the Press"(Par, 1929). By 1930 she was one of that studio's top stars. In late 1931 her three-year contract was expiring and to much surprise she jumped ship to Warner Brothers that had promised her great scripts and a huge salary. The salary was forthcoming but the scripts varied wildly from the classic "One Way Passage"(1932) to the unbelievably bland "The White Angel"(1936) a disastrous William Dieterle directed biography on Florence Nightingale. Gorgeous and charismatic Kay's first vehicle for Warners and her first with Dieterle is this marvelous adult comedy about an emancipated woman who is the boss who needs a new "male" secretary. Running only about 70 minutes this film is a witty, wonderfully directed gem. Kay and Manners are so sexy and charming in their only film together. A must for Francis fans and forgotten classic movie lovers.

Although critics constantly gripe that Esher Williams could not act this movie lore is absolutely nonsense. Most of her films were slight escapist fare that called for her to display her sparkling light comedic touch which she showed over and over in hit after hit throughout the forties and fifties. WHen allowed to play more dramatic roles like "Million Dollar Mermaid"(MGM,1952) and most superbly in the underrated "The Unguarded Moment"(Universal,1956) she was very fine indeed but the rumor persists. But I will say it is in delightful musical confections like "Easy TO Love"(MGM, 1953) that she remained a top box-office star. Her chemistry with Van Johnson was always there. This was their fifth film together: their first was in Victor Fleming's dramatic fantasy "A Guy Named Joe"(MGM,1943) in support of superstars Spencer Tracey and Irene Dunne but this film made both stars; the empty but hugely successful "Thrill of a Romance"(MGM, 1945); certainly holding their own opposite the marvelous Lucille Ball in the charming and extremely popular "Easy to Wed"(MGM, 1946); and finally the solid hit "Duchess of Idaho"(MGM,1950) which allows Esther and Van to sparkle. But it is their last film "Easy to Love" that captures Esther and Van at their most captivating. The story is the usual fluff about fighting ex-lovers and is topped off with spectacular Busby Berkeley production numbers but all this is wrapped up in a witty script and the superb comic performances of Miss Williams and Mr. Johnson who were never better. Sad to say both their careers declined after this success.

After the classic "Long Long Trailor"(1954) raked in millions at international box-offices, MGM allowed Desi Arnaz to produce a follow-up that was based on an old script that Metro was going to star Lucy in with William Powell back in 1945. Well this story about a married couple- a scientist and his domestic wife who seeks advice from an Angel played by the superb James Mason- does not work that well. Lucy is excellent and she gives it her all but the plot line is too fanciful. Some sections are quite amusing but overall it is not a success. Also Lucy looked so beautiful in their previous film but atrocious set design and flat color cinematography do nothing for Lucy's looks or the visual aspect of the film..It makes it look like its a lower budgeted effort. Desi did produce it on the cheap at their Desilu studios and it does look it. At least if the film had the gorgeous cinematography of "Trailor" it would not be such a let down. Nonetheless it has its entertaining moments and Lucy and Desi fans should eat it up.

In the 1980's Kathleen Turner was a tremendous star. Several of her films were huge box-office hits:"Romancing the Stone"(1984), "Jewel of the Nile"(1986), "Peggy Sue Got Married"(Best Actress Oscar nomination,1986), and "The War of the Roses"(1989). Critics loved her in John Huston's "Prizzi's Honor"(1985) and "The Accidental Tourist"(1987). Her sexy voice helped make "Who Framed Roger Rabbit"(1988) an enormous blockbuster. And who can forget her star-making performance that made her quite the sex-symbol in "Body Heat"(1981). When "V.I. Warshawski" came out Turner was still at her peak. The huge success of "War of the Roses" made her the #1 female star at US BoxOffices in early 1990. But "V.I." opened to disastrous reviews. She is actually very good in it but the script is so mediocre and the direction is so flat. She is given nothing to work with but her vibrant personality and sultry looks keep it together. The film ended up pulling in only 12 million in the US. This disaster immediately derailed Turner's career. Male stars like Bruce Willis and Nicolas Cage can star in one flop after another pulling in huge salaries but it does not matter as long as they get an occasional blockbuster. But take a huge Female star like Turner- give her one colossal dud and she is more or less finished in Hollywood. Turner's career never recovered. A few more mediocre duds followed then her looks went so now she is stuck in supporting roles that make it hard to believe she was once among the greatest of female stars. Maybe she can make a comeback as a star character actress. WHo knows.

So often critics and historians say that Lucy never made it in films or that she was just the "Queen of the B's before TV made her a superstar." But many of her best 40's films are now available on DVD and this absolute gem from the 50's should prove Lucy's film worthiness to everyone. A perfect comedy with some dramatic undertones that was filmed in 1953 just as Lucy and Desi were at their zenith as stars. Minnelli' s superb direction, a delightful script, and gorgeous technicolor magnify Lucy and Desi's wonderful performances. Like all comedy classics this film is grounded in reality and that is why all the pratfalls and situations work so beautifully. The story about newlyweds who spend their honeymoon in a trailer does not date one bit. Lucy looks amazingly young and beautiful even though she was already 42. Desi also gives a great performance. His shower scene is unforgettable and Lucy flying out of the trailer is a must see for any comedy lover. It's shame Lucy did not get more scripts like this one. Often her films were highly successful at the box-office but not that good("DuBarry Was a Lady"1943, "Easy to Wed"1946,"Sorrowful Jones"1949) but this is one of the great winners in her long career.

Lucille Ball starred in many films from the late 30's until she entered TV in 1951. Many of these films are forgotten but were highly popular at the time. WHile no classic this charming comedy gives Lucy a chance to shine in a tailor- made role that allows her to show real chemistry with a very handsome young William Holden who would along with Lucy become one of the very biggest superstars of the 1950's and 1960's. She plays a somewhat scatterbrained secretary for secret bookie Holden. Although some have said this is a B-film they are wrong. This was a major Columbia picture at the time. The glossy production values prove it. Definitely *** out of ****. For the best Lucy movie comedy check out the superior Technicolor MGM smash "The Long Long Trailor(1954).

After nearly 20 years as a top pop and television star, Cher suddenly skyrocketed to film stardom in the mid-80's, walked off with an Academy Award, ranked among the top ten box-office stars and just as suddenly disappeared from the big screen in 1991 after one last hit "Mermaids"(1990) cleaned up at cinemas. In 1999 she made a tremendous comeback with a multimillion selling CD "Believe"(Warner Bros, 1998) and most impressively returned to the big screen with a luminous performance in Franco Zefferelli's "Tea With Mussolini"(MGM,1999). Reviews were mixed but after I saw this in the movie theater, I felt the film was rather good. Based on an autobiography by Zefferelli recounting his early years trying to survive the Nazi-Mussolini atrocities of WWII. During this dangerous time Zefferelli was protected by a coterie of socialite dowagers played splendidly by Maggie Smith, Judi Dench, Joan Plowright, Lily Tomlin and of course Cher who was perfectly cast as a gorgeous Jewish chanteuse. The story has some holes and the film was probably edited down too much for its US release that cause some continuity issues but this is overall a charming, thoughtful period piece highlighted by Cher at her latter day peak. Shame this success did not resuscitate her dormant film career. She has made nothing of note since.

Norma Shearer began her career playing bit parts in 1920. Four years later she reached stardom in a series of hit films like "He Who Gets Slapped"(MGM,1924) and "The Snob"(MGM,1924) but it is this beautifully done film released in early 1925 that made her a top MGM star. She plays a good girl and a bad girl and is just marvelous in both roles. The film is not long on story but Monta Bell's excellent direction and Norma's superb acting make this silent film so much more. The forgotten George K. Arthur lends fine support but it is Norma at her silent era peak that makes this a must see. SHe is just great in the hooker role-a forerunner of the racy roles she would excel in during the early talkie period.

I always wanted to see this movie. It was one that Joan Crawford wanted to do after so many mediocre movies in the mid-30's. But I just did not like it. It was based on Keith Winter's Broadway hit but it was probably overly sanitized for the post-1933 censors that did not allow characters to have real problems unless they were killed for their human indiscretions. The cast is tops. Youthful Joan , the lovely Margaret Sullivan, the excellent Robert Young, the charming Melvyn Douglas and the superb character actress Fay Bainter. The script just does not properly develop why these characters especially Bainter's are so conflicted. And Joan seems too mannered in that way that made it look like she was just walking through the part. Not one of Joan's classics but watchable nonetheless. Bainter walks away with it though her character's sudden change at the end does not make any sense.

For nearly 20 years Norma Talmadge was one of early cinema's 5 greatest superstars (The others being Mary Pickford, Douglas Fairbanks, Chaplin and Gloria Swanson). Supposedly she had a dreadful NEW YORK accent like Jean Hagen's silent queen parody in "Singin in the Rain"(1952). This film proves that this is indeed not true. Norma at 37 makes a lovely heroine and her voice is a pleasing combination of Claudette Colbert and Irene Dunne. Her acting is very good as she was known at the time to be one of the silver screen's finest actresses of the late 10's and 20's. Her leading man is the excellent and handsome Conrad Nagel and receives fine support from silent veteran William Farnum and the funny Alison Skipworth. The problem with the film lies in the too static direction and the ridiculous dialogue Norma is forced to utter in one or two dreadful scenes(especially the sceptor scene where she stands on her bed).But her acting is often excellent. SHe handles all the dialogue like a pro and her silent film technique of emoting works wonderfully well in many scenes especially the fine closing sequence. This still made nearly half a million dollars in the states plus probably a lot more in Europe where Norma still had a huge following in late 1930. Why the critics at the time attacked her so is outrageous. They were probably just sick of her "invincible popularity" that had kept her a top favorite from the flicker days of 1911's "Tale of Two Cities" through her first highly popular but critically panned first talkie "New York Nights"(late 1929). Plus her torrid affair with the Latin lover Gilbert Roland in the late 20's and early 30's hardly endeared her to her homely extremely powerful husband producer Joseph Schenk who probably enjoyed seeing his wayward wife's career collapse so easily amid terrible reviews and his sudden lack of concern. Schenk used Norma's enormous drawing power to buy his was into United Artists where he became President. His brothers owned MGM. So obviously Norma slit her own career throat by hooking up with Roland. This is probably why her career collapsed so suddenly. Filthy rich Norma and her equally popular sister Constance walked away from films forever and their great reputations crumbled away. This film proves that Norma could of had quite a career in talking pictures. Sadly Constance never made a talkie so we will never be able to see what a great comedienne she could have been with dialogue. Constance's wonderful performance in Griffith's "Intolerance"(1916) is on DVD for modern audiences. None of Norma's greatest hits from "Panthea"(1917) through the Oscar winning "The Dove"(1928) are available for viewing. Her legacy rests on her maligned "Dubarry" which is obviously quite available. It's not good but Norma makes it worth a look. She is after all a very important part of film history.

Why this film is so maligned I will never figure out. The script is witty. Leonard's direction sparkles and the acting by the charismatic Norma Shearer and Melvyn Douglas is a delight. Certainly it is MGM glossy fluff but it is so entertaining. Something about a penniless princess and the playboy she falls in love with. However it does not matter with these two stars at their peak. Norma is beautiful in her second to last film. I wonder if this film really flopped since box-office numbers are not available. Now Norma's last film "Her Cardboard Lover" is terrible but this charmer does not deserve such a hideous reputation. The forgotten Gail Patrick is also a delight as Norma's competition for Douglas.

"The Big Street" was not a major hit when first released but the critics at the time all noted Lucille Ball's superb star-making performance as one of the all-time nastiest women ever to reach the big screen. Lucy was already a minor star thanks to a string of popular B-grade comedies and dramas but this film cemented her stardom and brought her to MGM where she reached an early peak the next year. The film is sentimental and does have some plot points that have to be swallowed but Ball's great acting and chemistry with a splendid Fonda makes this tale of unrequited love work. Fonda plays a kind innocent busboy who falls madly in-love with a crippled chanteuse(Ball). The last scene on the dance floor is unforgettable. Why RKO did not get Lucy an Oscar nomination for this performance is a crime. All the critics at the time hailed her work in this but it just slipped under the rug when the film posted only small profits. This was the kind of role Bette Davis made her own but Ball does it without Davis' habit of falling into mannerisms. Agnes Moorehead is also excellent as Fonda's concerned friend. Beautiful cinematography makes Ball look incredible in her close-ups. Worth a look but overlook the occasional mawkish elements. Lucy makes it a must.

One of MGM's biggest stars from the silent 20's who easily transitioned into "the talkies" and became an even bigger star in the 30's and early 40's, Norma Shearer usually picked her films very carefully but this film was a big mistake. It is talky and boring and Norma is poorly photographed especially in the early scenes. A great actress who was capable of almost anything, Norma is done in by the script. Who can forget her marvelous "Marie Antoinette"(1938), the classic "The Women"(1939) or the unforgettable "Escape"(1940). Even her next to last film the delightful but neglected "We Were Dancing"(1942) shows her at her comedic peak but "Her Cardboard Lover" is just a dud.

Lucille Ball's forty year film career came to a screeching halt after the critics massacred this film version of Angela Lansbury's 1966 Broadway musical blockbuster. SHe is actually excellent as usual. On film throughout the late 30's, 40's and 50's Lucy proved herself a superb comedienne ("Stage Door"(1937), "Easy To Wed"(1946)and especially the wonderful "The Long Long Trailor"(1954)) , an outstanding dramatic actress("Five Came Back"(1939), brilliant in the highly offbeat "The Big Street"(1942), and years later the Oscar-winning "The Facts of Life"(1960)) and an enjoyable musical star(though her vocals were usually dubbed she was a decent dancer "Seven Days Leave"(1942), "DuBarry Was a Lady"(1943) and "Best Foot Forward"(1943)). Despite a lavish budget, Mame is completely done in by an unbelievably mediocre script and Gene Saks' uncinematic direction. WIth a good witty script and someone like VIncente Minnelli or George Cukor(who was originally penciled in) attached, Mame could have been a wonderful swansong for Lucy. Lucy is too old but if she had kept the red-hair throughout and was more carefully lit and photographed she could have visually pulled it off. Even in her youth she looked terrible with black-hair(see "Beauty For the Asking"(1939)). Nonetheless, Lucy is very good throughout the film. Bea Arthur is always a delight and Jane Kean is a hoot though the originally cast Madeline Kahn would have been a more wacky and believable choice(Lucy had her fired!). Because of the script problems it does get too sentimental but Lucy pushes it through. And the film did make many millions at 1974 Box-offices so it was not the financial disaster that film historians constantly allude to. If you want to see a perfect Lucy film check out the 1968 blockbuster "Yours,Mine and Ours"(1968) that showed her at her later peak.