The 4th Tenor

Rodney did spectacular in this movie, especially for pushing 80. It had a great charm, and made me laugh. I did not really enjoy some of the mysterious magical effects, but it was still great, if a bit cheesy. I thought all in all, it was great. If I had to watch it again, I would not mind. It was, definitely, a straight to video type film. It had cheesy qualities, and did not have too great effects. Rodney is pushing 80 and just plain couldn't deliver like he used to. But I still liked it. Time one a look at me i know what I'm doing, Bwahahahahahahaah. Midnight, foresight, the clock has run out, we're going past midnight.

Daft Punk - Around the World

around the world, around the world (x 54)

One two three. You cannot escape the cube.

If it is true that Rodney Dangerfield "don't get no respect," then it is not for the want of trying. This latest outing into features by the 80-year-old comedian, who had a star unveiled recently on the Hollywood Walk of Fame, keeps the sight gags coming fast although a little restrained.

Rodney is Lupo, the owner of an Italian restaurant who employs singing waiters and waitresses. He is in love with one waitress whose operatic areas pack them in every night but she doesn't return the favor,

understandable as Lupo's singing voice could stop a clock. In a move to impress her, he flies to Italy for the best singing coaches.He has an open checkbook so he is quickly aided and abetted by a couple of con artists who see a crock of gold at the end of this particular rainbow.

If anything, this movie is lighter on extraneous humor and heavier on plot which, in my opinion, is an improvement over his earlier excursions. Dangerfield has good rapport with the assembled cast headed by Robert Davi as the chief antagonist. Once Lupo is in Italy, "The 4th Tenor" takes on a sort of fairy tale quality which increases the entertainment quotient and is sure to please more than the usual Rodney Dangerfield fans.

This is a very predictable romantic comedy. Although he is the main character, we see very little of the Rodney we have come to know and love. We see so little of Vincent Schiavelli, its hard to tell its him. The operatic ingenue-diva, early on, is certainly fetchingly sensual, but her portrayal of a devious wench is unconvincing by any measure. Generally, the acting by all parties is tepid.

There are a few beautiful landscapes of Italy in the movie; watch for them. Sadly, most of the action is shot on a soundstage.

The operatic elements are wonderful, but all too short. The fans of opera will play this soundtrack over and over, and use the DVD as a coaster for their iced latte.

Lose the DVD, save the Soundtrack.

Towards the end of his life, Rodney Dangerfield starred in (and sometimes also wrote) several low budget movies that either went straight to video or had a limited release beforehand, this movie being one of them. It was quietly released and hasn't been rediscovered, and I think I know why. While the production values are okay for a made-for-video cheapie (though there are obvious cost-cutting actions like filming on studio backlots and trying to pass the California countryside as Italy), and Dangerfield in his 80s still has energy (though it's obvious when a stunt double is used), there is a problem with the screenplay he co-wrote - it's not very funny. It lacks the zing and outrageousness associated with Dangerfield in the past. In fact, it seems to have been aimed at a family audience. That wouldn't be bad if the movie was funny, but it isn't. It's pretty predictable, both with its story and humor. One surprise about the movie is that it was produced by Joseph Merhi, who earlier had made a name for himself with exciting made-for-video action flicks. Watch one of those instead.

Do you find Rodney Dangerfield amusing? Would you like to see an entertaining Dangerfield film? Then avoid THE 4TH TENOR. It is a pitiful vanity project where Rodney generally neglects his strengths and wallows in sickening bathos.

As a prosperous Italian restaurant owner named Lupo, Dangerfield falls in love with a young luscious singer Gina (Annabelle Gurwitch). She doesn't return his affections, especially since Lupo can't sing opera. So he goes to Italy to take opera lessons. There, he meets a sweet local girl named Rosa (Anita De Simone) and learns the secret of great singing. Will Lupo find true love? Who really cares?

Part of the problem with THE 4TH TENOR is that Dangerfield is far less interested in generating laughs than in endearing himself to his audience. Rarely does he spew his customary one-liners. Instead he spends an awful lot of time acting lovelorn and wistful. But his strivings for sentimentality are so humorless and effortful, he becomes embarrassingly cloying. Even more disturbing is the concept of the geriatric, physically homely Dangerfield romancing women young enough to be his granddaughters. Part of the appeal in Dangerfield's stand-up act was that he acknowledged he was ugly and therefore unsuccessful with women. If he wanted to be a romantic lead in his dotage, why couldn't Rodney pursue women his own age?

The pedestrian supporting cast cannot enliven the dreary material. They are the type of bland performers you'd expect in a film deemed too poor for theatrical release.

THE 4TH TENOR is truly a morbid experience. One watches an embalmed looking man who, in attempting to touch our hearts, dies in the course of his performance, a once bright star whose career has been dying. If this is the best Rodney can offer, it's time for him to retire.