Auntie Mame (1958)
Rosalind Russell is a marvel, and she rules the ship here, thankfully. As a movie, overall, it hasn't worn well. The humor (and it is a comedy above all) is a product of some uptight 1950s Hollywood stuffiness, and the filming (the photography and editing both) are stiff. The movie is filled with rich color, and is sharp as a tack (it uses the superior Technirama lens and camera equipment, as well as newer one-part Technicolor color), but this is hardly compensation for a really dull product.
Worst of all, I think, is the story. It attempts to spice up things (mainly, at first, by exposing a child to adult humor, which doesn't totally slip past him) before the Hays Code fell away. It has a kind of "How to Marry a Millionaire" or "Pillow Talk" kind of obvious, forced story line, and if you love those movies, you might truly enjoy this one. But even if you do, you might find that many of the jokes are old, even for 1958. There really are portions, in small spurts, that are touching, or even (I do admit) funny, and some of the music is so period and scintillating, it works.
Above and beyond all complaints, I find, popping back and forth through it again (and avoiding the "story" per se), the set designs are really about as good as it gets. Scenes are color coordinated with exquisite perfection, like the department store scene (the one with the Tinker Toys) where it's all grey and red. Great stuff. And the modern apartment with the rising and falling benches (you'll see) is amazing 1950s stuff, pure Moderne. Love it.
But that doesn't mean you'll love the movie. Go prepared.
Rosalind Russell is a marvel, and she rules the ship here, thankfully. As a movie, overall, it hasn't worn well. The humor (and it is a comedy above all) is a product of some uptight 1950s Hollywood stuffiness, and the filming (the photography and editing both) are stiff. The movie is filled with rich color, and is sharp as a tack (it uses the superior Technirama lens and camera equipment, as well as newer one-part Technicolor color), but this is hardly compensation for a really dull product.
Worst of all, I think, is the story. It attempts to spice up things (mainly, at first, by exposing a child to adult humor, which doesn't totally slip past him) before the Hays Code fell away. It has a kind of "How to Marry a Millionaire" or "Pillow Talk" kind of obvious, forced story line, and if you love those movies, you might truly enjoy this one. But even if you do, you might find that many of the jokes are old, even for 1958. There really are portions, in small spurts, that are touching, or even (I do admit) funny, and some of the music is so period and scintillating, it works.
Above and beyond all complaints, I find, popping back and forth through it again (and avoiding the "story" per se), the set designs are really about as good as it gets. Scenes are color coordinated with exquisite perfection, like the department store scene (the one with the Tinker Toys) where it's all grey and red. Great stuff. And the modern apartment with the rising and falling benches (you'll see) is amazing 1950s stuff, pure Moderne. Love it.
But that doesn't mean you'll love the movie. Go prepared.