It's the late 1920s. Upon the death of wealthy Chicagoan Edward Dennis, his nine-year old son Patrick Dennis becomes the ward of their only living relative, Edward's equally wealthy New ...
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A middle aged restaurateur begins to feel the desire to roam and realizes that one day each week, his mother's apartment will be empty all afternoon. He makes several attempts at seduction,... See full summary »
Carter Collins, a spoiled Party boy is fired from his hosting gig at QVC and now must learn to fend for himself in a world without sex, parties, and money when finds himself moving in with a married couple expecting their first child.
Jesse Cord Weber
It's the late 1920s. Upon the death of wealthy Chicagoan Edward Dennis, his nine-year old son Patrick Dennis becomes the ward of their only living relative, Edward's equally wealthy New York residing sister, Mame Dennis. Edward's will states that Patrick is to be raised Protestant in a "traditional" manner and that the trustee, Mr. Babcock with the Knickerbocker Bank, will pay Mame for expenses incurred in raising Patrick, he having the right of refusal to pay if he deems that the spirit of Edward's will is not honored. Mr. Babcock and Patrick's longtime nanny, the timid Agnes Gooch, are to ensure that Patrick is raised correctly. Edward included these stipulations in his will as he knows his sister is a flamboyant, free wheeling and eccentric woman who can be considered anything but traditional or conventional. Despite the disruption each provides in the other's life, Mame and Patrick form a loving, supportive relationship. Mame wants to provide her sense of guidance to Patrick, ...Written by
When Mame and Beauregard do their elegant soft-shoe routine in the middle of the title number, she holds her riding crop in her left hand. When the other dancers join in, the angle changes and goes to a close-up, and as it pulls back, the riding crop is now in her right hand, though her arms were linked by the dancers from one shot to the next, and she never realistically had a chance to move it. See more »
I'm thrilled by the style and wit of each jest that you make. It's bracing to me. Trade quips with my bosom buddy. You Woolcott, you Benchley, you snake.
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I wasn't surprised to learn that Lucille Ball bankrolled this movie adaptation of the Broadway musical MAME -- that explains her miscasting. Don't get me wrong: Ball looks gorgeous in the spectacular costumes and her slapstick is still up to par. But even her bullfrog singing voice (which proves that even the worst voice can't completely ruin Jerry Herman's wonderful songs. They *could* ruin Cole Porter's songs in AT LONG LAST LOVE, but that's a review for another time :-) didn't bother me nearly as much as the fact that Ball is too old and, worst of all, too *COLD* to play lovable madcap Mame Dennis. It's comical in the wrong way to see Lucy in soft focus in her solo shots and everybody else photographed crystal clear. She looks more like she's modeling than acting, and she has all the warmth and tenderness of the iceberg that sank the Titanic. She also tends to look like she's trying to seduce Kirby Furlong and Bruce Davison as, respectively, the younger and older Patrick -- creepy! Moreover, it's obvious the dances have been slowed down considerably to accommodate Lucy's rusty dancing skills (notice how people seem to dance *around* her rather than with her). Madeline Kahn, the original choice for Agnes Gooch, should've been playing Mame, not Ball. Luckily, Lucy's miscasting is balanced out by the terrific casting in the other roles, especially the hilarious Beatrice Arthur and Jane Connell recreating their stage roles as Vera Charles and Agnes, Joyce Van Patten as Sally Cato, and Robert Preston as dashing Beauregard Jackson Pickett Burnside. Worth a look for both its good and bad points, if you stumble across it on AMC in its letterboxed form.
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