What a Way to Go

Sometimes, no matter how hard you try, things just don't work out. Sometimes, no matter how much money and starpower you put into a movie, it just doesn't turn out. Such is the trouble with What a Way to Go.

Shirley MacLaine is our lead, with Gene Kelly, Dean Martin, Robert Mitchum AND Paul Newman as her leading men. Screenplay by Comden & Green, costumes by Edith Head, hair by Sydney Guilaroff, jewels by Harry Winston. Yet, somehow, What a Way to Go doesn't quite get there. It wants to be an outrageous, self-mocking comedy, but it's afraid to muss its hair or make any waves. So why watch it then? Well..

Edith Head's career contained many dazzling achievements, from Elizabeth Taylor in a A Place in the Sun to Gloria Swanson in Sunset Boulevard to Grace Kelly in To Catch a Thief. In What a Way to Go, Head was, well, given her head--and half a million dollars, which was some serious scratch back in 1964. Shirley MacLaine is attired in a series of fur hats, beaded gowns and marabou pajamas that would knock the most discerning eye out. If you lean back, put some Peggy Lee or Raveonettes on the stereo, pop open a bottle of bubbly and let the fashion show commence, What a Way to Go is far more enjoyable.

So, out opening introduces us to fabulously wealthy widow Shirley, who is trying to give her fortune away to the U.S. government. See, every one of her husbands has gotten rich and then died while she was married to them Since she actually loved her husbands, this is problematic and she thinks she's cursed. We are told the story in flashback as she tells it to a psychiatrist (part of the telling-it-to-your-shrink genre that was popular for a bit.)

Actually, this would be a great film for little girls with all the pink & sparkly & fancy.

Well, little girls who can find the humor in death, anyway.

We start with the young Shirley flouncing around the family home with drawn-on freckles and a giant lollipop. Her mother rants about the importance of "money success money success"--even for what's basically a 90-second role, they got Marx Brother foil Margaret Dumont. We immediately get the heavily parodic tone of the movie, but somehow it feels forced, not funny. Perhaps Frank Tashlin or a Billy Wilder could have gotten it right but, instead, one gets the feeling that What a Way to Go is waiting for a punchline that never comes, which is actually sort of is--it's a comedy with virtually no jokes, just a jokey tone. I mean, if you're already making a comedy predicated on multiple deaths, why are you playing everything else vanilla?

"You turned out real beautiful! You have something to sell!
Take a mother's advice and sell it now!"

(Yes, we're all told this is bad advice. But, frankly, as someone who's been there, I wish i'd sold it when i still looked like a damn Barbie doll. Prince Charming ain't coming, sweet cheeks, and it's better to wind up with something than nothing. If I could go back in time and tell myself one thing, it would be this. So i'm telling you in case you can use it. Or, if find yourself back in time and run into me, pass on the message.)

Here we meet Dean Martin as the town rich asshole--Shirl's boyfriend, even though she hates him. We're supposed to hate Dean, but it's hard to hate Dean. We also get Dick Van Dyke as some kind of general store-owning, Thoreau-reading proto-hippie, who becomes Mr. MacLaine #1.

Her time as Van Dyke's bride is rendered as a silent movie with her as Mabel Normand and him as
Buster Keaton. This conceit of rendering each romance in a different style will continue--Paul Newman's New Wave art film, Robert Mitchum's big-budget epic, Gene Kelly's flashy musical--but it never quite lands. It may be because the film never quite abandon's its own 20th Century Fox production values to embrace those of the style it intends to inhabit.

So Dino insults Dick, so Dick decides to make his general store into Wal-Mart and run local scion Dean out of business. Doing so makes him rich, but deprives Shirley of his company and eventually he dies from counting his money too hard or something...

Sad Shirl arrives in Paris, where she meets boorish beatnik Paul Newman, who is weirdly like some kind of post-millennial hipster with his machines that paint and his being a dick to the locals and his beard. But Shirley is happy in her Parisian garret with her bullet bra and Paul Newman. Who wouldn't be?

(Few invoke as much of a universal "I'd hit that" as young Paul Newman. I still recall sitting in Lucy's bar on Avenue A sometime back in the 90s, watching The Long Hot Summer with my friend Denise and Lucy, the little Ukranian babushka who owned the place. When Paul first appeared shirtless and sweaty, Lucy poured us all a shot of whiskey and we drank to his hotness...)

Anyhow, What a Way to Go. So, Paul Newman become a famous painter (thus giving Edith Head reason to design Shirley some dope outfits that match his paintings and look great with her Anna Karina wig) but this means he has no time for his lady. We're supposed to be charmed by the fact that Shirley wants a man who spends his every waking minute with her but, frankly, it seems kind of clingy and needy... or maybe she's a nymphomaniac and needs a man who has no job but giving her some D every 20 minutes. Add in the fact that she seems to have no personality characteristic besides a love for pretty clothes and the need to latch onto a man (Hey, it's Jupiter Ascending!) and we have a lead character with no character. Which would be fine if it were obscured by a nonstop barrage of jokes, but it's not. Oh, believe me, it's not...

So, anyway, Newman buys it at the hands (brushes? rollers? poky sticks?) of one of his steampunk painting machines (see, told you he was a hipster) but sales of his paintings have left Shirley, once again, a rich widow....

The widow runs across the Millionaire Playboy, played by Robert Mitchum. As always, Mitchum is a welcome presence and he and MacLaine have a nice chemistry--probably because they had it in real life in the form of a multi-year affair... anyway. He's a fabulously wealthy captain of industry.

The "Lush Budgett Production" joke is funny the first or second time. By use #9 they've pretty much torn it and are you seriously telling me that, with all the drunken, bitter, overeducated screeenwriters in Hollywood, you could only come up with ONE pun on a movie mogul's name. Anyway, we do at least get the most magnificently glamorous costumes. Bow down to Edith Head!

 

So there's that and then there's Mitch and Shirley repeating "Remind me to tell you that I love you" a few dozen times. It is literally a 20-minute sequence that hangs on two jokes repeated over and over again. A large part of the problem with What a Way to Go is that it is one of the most lazily written films ever made--in scenes like this, you get the feeling that Betty Comden and Adolph Green didn't even finish it. The wit that made Singin' in the Rain and Auntie Mame is nowhere here apparent. But, still, the outfits...

Mitchum dies when they go back to the farm he grew up on--he's been fixated on the cow he had as a boy, Melissa, throughout the film. It makes you sorry they didn't include any if the many bestiality jokes Mitchum must've made off-camera. Especially since he dies trying to milk a bull...

Husband number next is Gene Kelly, a struggling hoofer. We get a nice dance number starring Kelly and MacLaine and then some more non-comedy as Kelly, of course, becomes rich and famous. Since his name is Pinky, he demands that everything be painted pink, which leads to some really great lewks, both is set and in costume, if nothing else (and there is pretty much nothing else)...

But, again, we have our lazy screenwriters who come up with no other joke other than "everything's pink!" Kelly becomes an unbearable stereotype of a narcissistic Hollywood star and comes off as an asshole, not a comedian. Maybe because he doesn't have any funny lines. Everything's pink! Geddit? He's a jerk! Geddit? Anyway, he dies too when his fans swamp him Day of the Locust style. So funny!

Which brings us back to the present, and you can guess whether Shirley decides to go with the psychiatrist, go back to a now-broke Dean Martin or strike out on her own to find her own purpose in life beyond obsessive devotion to a man. Well, I'm sure you can guess which one is not happening...

Apparently the first choice for the lead role in What a Way to Go was Marilyn Monroe and one cannot help but thinks she would have been better--MacLaine was a professional dancer and a skilled comedienne, but somehow she didn't have the aptitude for physical comedy nor the innocent deadpan that Monroe possessed. Few played the straight woman as well as she did and if What a Way to Go had let its male leads go to town with a sort of reverse Lorelei Lee at its center... that might have worked. Or Comden & Green could have just gotten off of their asses and written some jokes.

Still, the costumes--72 of them, if you're counting--are to die for. If you own a hair salon or boutique or a bar that does brisk sales in rosé, you should consider putting What a Way to Go on your screens just for the visuals. Just be sure and turn the sound off. No one wants to hear that "remind me to tell you that I love you" joke again....

Atomic Blonde

... Played with a reserve as icy as the cubes she tosses into her many glasses of vodka (seriously, people drink and smoke in this movie like it’s Barfly), Lorraine herself comes in with only a few shreds of backstory and remains enigmatic throughout the film, which some might find off-putting but, hell, isn’t that how James Bond has operated for 26 movies?

Read the rest of the review at Vegas Seven...

Mandalay

Mandalay is a relic of Hollywood's pre-code era, back when you could get away with shit like adultery and blasphemy and abortion and drugs and theft and whoring and murder and saying things like "toilet" and "double bed."

The the Hays Code came along and you had to be punished or repent, preferably both. But, before then, we had movies like Mandalay, where our heroine lives in sin, becomes a prostitute... and continues from there.

During the 30s, Kay Francis was on the covers of all of the movie magazines, but she's relatively forgotten today.  It's too bad: While many of her films don't hold up over time, she does. Her demeanor is low-key and, if anything, she underacts, but she serves glamour like no one's business. Francis wears clothes like Dietrich or Dovima.

Not only can she make the most tricky of outfits seem like something she just threw on, she also has the grace and savoir-faire that could make a backless sequinned gown seem occasion-appropriate to a PTA meeting. I mean, it makes perfect sense that Kay Francis would pay a visit to the police station while wearing a floor-length white gown, a hat with a two-foot brim and a fan that unfurls to about a yard wide.

So, we open with Kay--here Tanya Borodoff--on a boat with Ricardo Cortez, her no-good, gun-running lover. He may look great in a white linen suit, but he's a terminal loser who can't pull off a deal. But Kay worships the ground he walks upon....

I believe it was Bessie Smith who said that there's nothing as dangerous as a man who knows how much you love him. It may not have been her words but, regardless, truer ones were never spoken. As Kay Francis is about to learn....

So Sleazebag Boyfriend takes Kay to the Jardin d' Orient nightclub in Rangoon, where he introduces her around to a variety of shady characters, including Nick, who owns the joint and the Countess, who's the resident hostess/madam, as well as some leering old guys in tuxedos. Then Sleazebag trades Kay Francis to Nick for a few cases of machine guns. That's an ammosexual for ya: Whether it's 20 grade-school kids or the woman you love, nothing's quite as important....

Kay sulks and hunger strikes, albeit in a lovely room with a gorgeous carved bed. Then the Countess gives her some wise advice..

Kay Francis decides to do precisely that, making a killer entrance into the Jardin d'Orient that lets everyone know who's the most precious piece of ass in all of Asia--fuck, perhaps the entire Eastern hemisphere...

We then get a too-brief montage of Kay Francis changing outfits, accepting gifts, drinking cocktails and playing torch songs--okay, the same torch song, over and over--on the piano for an adoring audience of men.

Kay Francis is now calling herself "Spot White" for reasons i'm unsure of--Because she always wears white? Because she's one of the few white chicks working the club? Because she's a White Russian? Because she drinks White Russians? No matter.

She gets hauled down to the police station, prompting a fantastic scene in which an utterly blase Kay Francis not only doesn't get deported, but winds up sashaying away with 10,000 of the police chief's rupees to buy herself out of the Jardin d'Orient with enough left over for a nice cabin on the next boat to Mandalay and a new wardrobe of ladylike white clothes. Kay Francis was apparently applying the "if i wear all white, i will look less trampy" philosophy long before Lana Turner in The Postman Always Rings  Twice...

Of course, as she's unpacking, she drops her framed photo of Sleazeball Boyfriend--Wait, why did she have that? I've been known to forgive a man anything (twice) but even i would give the Soviet wiped-from-history treatment to anyone who sold me into prostitution. Anyway, she cuts herself on the glass and the cabin boy runs to the bar and gets a doctor there to come look at it and, woohoo, meet cute. Well, kind of. It doesn't take long before he reveals that he's an alcoholic who once operated drunk and killed someone, so he's going off to some colony where everyone has the plague so he can do penance and probably die. She, of course, hears this and immediately wants to come with him....

“We’re two wrecked people. We need each other.”

But wait! Guess who else is on the boat? Why, Sleazeball Boyfriend, of course. He sneaks into Kay Francis' cabin, but she brushes him off. Although first she stares meaningfully at the bottle of wound cleaner or whatever the doctor left her, helpfully labeled  POISON in big letters. But then it seems Sleazeball Boyfriend disappears--having taken the bottle of POISON and fallen/jumped/was pushed off the boat. Everyone suspects Kay Francis of murder...

 

... but then they find not only Sleazeball Boyfriend's suicide note, but a note someone had sent warning him that the cops were waiting for him in Mandalay. Phew! But then Sleazeball Boyfriend returns! he just faked his own death and, well, if it almost got her arrested for murder, that's oke, toots! He's also heard how successful Kay Francis was peddling it and he has this great idea that they'll open up their own whorehouse. Then he can quit running guns and just pimp her out full-time...

... and Kay Francis thinks, "You know, everybody believes this guy is already dead." What will  Kay
Francis do?

As the great Bebe Zahara Benet once said, "I give face, face, face..." 

Mandalay is just over an hour long, which is fine by me: There's no bullshit subplots, no droning on with dialogue, no stupid twists to pad out the running time. It also seems like a film that could have starred Marlene Dietrich--white Russian adventuress who becomes queen of a Far East brothel and then avenges herself on the man who wronged her... it's kind of like Shanghai Express meets Dishonored. Hell, Mandalay even has Warner Oland white slave-ing Kay Francis two years after he attempted to do the same with Dietrich in Express. There's also more than a touch of The Shangahi Gesture here as well....

As for Kay Francis herself, she once said, "When I die, I want to be cremated so that no sign of my existence is left on this earth. I can't wait to be forgotten." Francis was always underwhelmed by fame--it seems she never really intended to be an actress but, sort of wandered into it on a combination of beauty, style and being in the right place at the right time. Francis' interests were chiefly men, booze and travel and she saw movie stardom as a way to get away with it--not unlike those two other legendary existential beauties, Ava Gardner or Louise Brooks. While she may not be quite as iconic as those ladies, Kay Francis is still worth another look...

Mae West

Most television biopics suck. Jennifer Love Hewitt as Audrey Hepburn, Lindsay Lohan as Elizabeth Taylor, any number of bland blonde starlets as Marilyn Monroe. However, there are a few exceptions: Christina Ricci as Lizzie Borden, Gina Gershon as Donatella Versace, Loni Andersen as Jayne Mansfield and Ann Jillian as Mae West.

During the 80s, Jillian was in the sassy waitress sitcom It's a Living, playing the sassiest waitress. While she doesn't quite possess the pulchritude of Mae West, she does convey more than a little of the sexiness, the self-possession and the wit of that resoundingly feminine proto-femninist.

The movie covers Mae's career through her child star days, her time in vaudeville, her scandalous stage productions of the 20s, her film career in the 30s and her later comeback. (Although they stop well before Myra Breckinridge. Because there's pretty much no one who wants to acknowledge that ever happened.) The wide chronology also offers plenty of opportunities for fabulous period costumes.

We first see Baby Mae as a precocious child performer with a head of Nellie Olsen ringlets, stomping her feet and demanding her spotlight (a tale West was to tell often later in life). Giving Baby Mae constant encouragement, support and new frocks is her mother Matilda, player by Piper Laurie as pretty much the polar opposite of the mom in Carrie.

We see the brunette Mae West plug along in vaudeville, trying singing trios, dancing duos, solo shimmys. She picks up a husband, who seems to spend most of his time following her around going, "Awww, Mae!" until she finally brushes him off--from both the act and the marriage. Well, i mean, she doesn't divorce him, she just gets him booked "on another circuit, with a lotta women. For forty weeks."

Mae is mentored and taught the fine points of individuality and style by a drag queen played by none other than Roddy McDowall. He watches in horror as she squeaks and grinds her way through a tawdry cave girl routine but, in the great tradition down to Bianca del Rio HerSelf, he counsels the tacky newcomer on how to get better. He takes Mae through everything from the nature of being a star to how to develop a routine to the finer points of contouring. I recall watching this movie when i was a kid and thinking: I need someone like this in my life.

Mae doesn't just pick up stage business and dance steps fast, she's also a quick study in life. She learns quick that when two men fight over a woman, it's often more about ego than love; that a woman who'll put up with anything from a man usually does. As the real Mae said: "I made up my mind early that I would never love another person as much as I loved myself. Maybe that sounds selfish. It is. But I saw what a mess people could make of their lives when they're smitten. Some of them go temporarily insane."

But TV movie Mae hooks up with rich businessguy James Timony, played by power bottom James Brolin. Blonde and begowned, Mae becomes a headliner with a bevy of tuxedoed chorus boys and a nice way with "C. C. Rider" and "Frankie and Johnny."

She writes and stars in her own play, Sex, promptly gets arrested and, after some laugh-tracked courtroom scenes, is thrown in the clink and comes out bigger and badder than ever. She writes and stars in Diamond Lil on Broadway, goes to Hollywood--if it seems to be happening awfully fast, it's because it is. The only real pause point, interestingly, is during the shooting of West's first film, Night After Night, where she gives a fine clinic in standing up for one's artistic rights (and comic timing).

Timony trails besottedly behind her the whole way but Mae West is too busy with her career to let anyone put a ring on it (again).  "Marriage is not a natural state! It was something invented by women to hang on to men!" This is kind of the closest we get to authentic Mae once the de rigeur romance kicks in..

The "becoming" part of the film is much more interesting and it's largely because it's all about Mae, not about some tacked-on romance. Mae West may have been well know for being more interested in career than romantic relationships but, once this movie hits the romantic relationship, that's all it's about. Unsurprising. The movie also brushes past the controversial nature of West's plays -- interracial relationships, homosexuality, cross-dressing, drug use, adultery, prostitution, castration, political corruption. Mae West: Too edgy for the 80s....

Jillian is notably less voluptuous than Mae West (isn't everybody, though) but she rocks the flapper look well. And heaven knows she does a better job then other ersatz Maes, the worst of which must be Faye Dunaway in a bargain-basement pseudo-religious flick entitled The Calling (don't inquire further, but let's just say there's a really cheap-ass Liberace too). It's recently been announced that Bette Midler will be playing Mae for HBO and, heaven knows, ain't no one (living) going to deliver those lines better. Still, her Mae West will probably give us a latter Mae, while Ann Jillian's Mae West , before it lapses into sentimentality, gives us an interesting depiction of her early years.