The Night They Raided Minsky's

This movie captures the time period so beautifully and is the only movie I've ever seen that does so with this genre, it must be accepted as exceptional. The cinematography is very good, the acting excellent, the story very good, and the music perfect. The final touches are real burlesque acts in their entirety, great side acts not part of the stage yet depicting burlesque, great tension (the Amish father, Minskys father, and the threat of closing the theater down for moral reasons), and most of all seeing the movie through the eyes of a titillated Amish virgin, create the kind of perfection rarely seen in cinema. I saw this movie 35 years ago and forgot about it. I just viewed it and realize it deserves to be recognized as exceptional. Not a discarded movie rarely seen on cable.

The lights dim. The curtain goes up. The girls are on stage. The spot hits the tux-wearing tenor, silver haired and a little plump.

"I have a secret recipe / Concocted with much skill / And once you've tried my special dish / You'll never get your fill...

"Take ten terrific girls, but only nine costumes, and you're cooking up something grand..."

The Night They Raided Minsky's is a valentine to the long-gone burlesque houses of the Twenties. Naughty, bawdy and surprisingly innocent, filled with chorus girls who might generously be called a little past their prime, with plenty of belly work, with comedians and their second bananas, with pratfalls, seltzer bottles and song and dance acts. This Norman Lear/William Friedkin/Ralph Rosenblum movie has it all. It even has a story. Most of all, it has some great songs by Charles Strouse and Lee Adams, wonderful performances by Jason Robards and Norman Wisdom, and a collection of pungent characters played by the likes of Elliot Gould, Forrest Tucker, Bert Lahr, Harry Andrews, Joseph Wiseman, Jack Burns, Denholm Elliot and Dexter Maitland. And we're there when history is made, as Britt Ekland playing an innocent Amish girl from Smoketown, Pennsylvania, who longs to perform her Bible dances on stage, inadvertently invents the strip tease.

Billy Minsky runs Minsky's Burlesque. Vance Fowler, secretary of New York's Society for the Suppression of Vice, is determined to close it down. Then Rachel Elizabeth Schpitendavel shows up. She's young. She's innocent. She's built. She catches the eye of headliner Raymond Paine (Jason Robards), a song, dance and straight man who works with his second banana, the small, mild and fall-down physical Chick Williams (Norman Wisdom). Paine wants Rachel to fall into his bed. Chick just falls for Rachel. Minsky's, however, is on the verge of closing. Then Raymond has an idea. They'll advertise a midnight show featuring Mademoiselle Fifi, "the hottest little cooch artist in the world." When Fowler shows up with the cops, Fifi will be Rachel doing her Bible dances. Fowler will be a laughing stock and Minsky's will be saved.

Now forget all that. What's important is the sweet nature of this burlesque gift. Most of the movie takes place backstage, on stage and in a near-by deli. It's a great, true deli, where we have bowls of half sours on the table and plenty of chunks of rye bread. (In that deli we'll watch Raymond nearly sweet talk a good looking woman at the next table into his bed, and then sweet talk her husband, who suddenly appears, into agreeing Raymond just gave them both a great compliment. Robards is as smooth as warm chicken fat.)

Backstage is packed with sets, lights and half dressed chorus girls, but it's on stage where the goods are delivered...chorus girls who can barely dance but can jiggle with vigor and bump with oomph. Jason Robards and Norman Wisdom do wonderful work together. Robards is the wise-guy straight man to Wisdom's eternally innocent optimist. Their song and dance numbers really work. We'd expect this of Wisdom, who got started in English music halls and became one of Britain's great clowns. Robards, who was one of America's great stage actors, is almost as skilled. Their "Perfect Gentleman" number by rights should be a remembered classic. I don't know how Friedkin managed it, but the people in the audience look authentic, right down to their delighted reactions.

The Night They Raided Minsky's also has a clever script. Says Raymond to Chick when the little guy wants some reassurance after meeting Rachel. "You met a girl!" says Raymond with a big smile. "Ah, Chick, my boy, when it comes to girls you have three qualities that are far worse than being short and funny looking. You have the curse of the three D's. You are decent, devoted and dependable...good qualities in a dog, disastrous in a man!"

Charles Strouse scored the movie and, with Lee Adams, provided great songs. "The Night They Raided Minsky's," "Take Ten Terrific Girls" and "Perfect Gentleman" establish more than anything else the good-natured, fast, harmlessly bawdy style of the movie. The Night They Raided Minsky's had a troubled parentage, with director William Friedkin disliking it and film editor Ralph Rosenblum claiming credit for everything good about it. There's more jump cutting than we need and perhaps a few too many historical clips. Still, we have potent nostalgia for things past that no one now is alive to remember. The movie carries Norman Lear's imprint at his best, and if Rosenblum and Friedkin want to arm wrestle over the movie, that's all right with me. Who cares who cut the paper lace for the valentine? I'm just happy we've got it.

I'm ready for Dexter Maitland as the tenor to see us home...

"I have a secret recipe / Concocted with much skill / And once you've tried my special dish / You'll never get your fill...

"Take ten terrific girls, but only nine costumes, and you're cooking up something grand.

"Then add some funny men / And pepper with laughter./ It's hot and tasty I know.

"Then serve it piping hot and what have you got... A burlesque show!"

And I mean that most sincerely, this is one of the great films of the 1960s, charting the last days of the burlesque music-hall theatricals in America. The plot of the film is something of a mish-mash, mixing up Britt Ekland as an Amish runaway who finds herself onstage, with Denholm Elliot as a moralistic do-gooder trying to close down Minsky's theatre, but in truth, as with a large number of films of the period (see also The Pink Panther films), the plot is merely a convenience, a washing line upon which to hang a large number of characters, theatrical set-pieces and little illustrations of life in and around the theatrical world. A host of fine actors grace the screen, with Elliot Gould making an early appearance as Minsky jr, Harry Andrews as Ekland's glowering father, Joseph Wiseman as Minsky sr and most affectingly, Bert Lahr in his final screen performance. Even Ekland is OK, and it takes a lot to say that. But at the centre of it all are Jason Robards and Norman Wisdom as the theatre's chief comedy double-act. An odd pairing that works amazingly well, with Robards an effectively sleezy straight man (his seduction of Ekland is both funny and stomach churning). But if Robards is good, Wisdsom is fantastic, his comedic skills honed in England finally being given full rein (I enjoy a lot of his British films, but few of them really allow him full use of his abilities), and the song and dance routine and when he defines burlesque to Ekland rank as his finest on-screen moments. it's a bitter shame that the failure of this film and personal circumstances forced him to leave Hollywood, because with the right material he could have gone so much further. Truth is, if you have no sympathy for this sort of material, this will not change your mind. But for an utterly unique film, packed with beautiful little minutiae of theatrical life and a great mix of dark humour and bawdy comedy, this is really something to be cherished.

This film succeeds in both areas, comedy and nostalgia. It captures the period it portrays in wonderful fashion, with a very enthusiastic cast. I consider it one of the best cast movies I've ever seen, from the lead actors to the bit roles. Many classic burlesque routines are included, some of them done on the burlesque stage and some worked into the movie's dialogue. If you're in the mood for a comedy with a bit of feeling for another period in abundance, you can't do much better than this!

Following the 12 Norman Wisdom vehicles I watched during the course of the last 2 weeks, I decided to add to them his only American film. A nostalgic piece about vaudeville in New York's lower East Side in the 1920s, perhaps the film's single greatest asset is its remarkable recreation of that era; amazingly, the inspired transition from black-and-white photos of the period to the film itself seems to have been a happy accident which occurred during the editing process!

The IMDb also noted that the film's preview was a disaster and that editor Ralph Rosenblum employed more than a year of his life to try and save it!; I have no idea how Friedkin's 'original' version looked like but the finished product is a very enjoyable film indeed, if somewhat shapeless (featuring too many 'girlie' shows, for instance, though the music by Charles Strouse is admirably 'of the period'): the plot concerns the goings-on in a second-rate (self-proclaimed "The Poor Man's Follies") burlesque theater whose lease is about to expire and the manager (Elliott Gould) - with the help of his two star comedians (Jason Robards and Wisdom) - has to devise a plan to hold on to his venue; the solution arrives in the shapely form of a naïve Midwestern girl (Britt Ekland), an aspiring dancer but whose debut performance is turned via a series of incidents into the first-ever striptease act!

Friedkin managed to come up with a splendid cast: while Robards may be too stern for the 'leading man' figure (who falls for Ekland's ingénue), he's got some of the film's best lines; Ekland herself is delightful, particularly during the literally show-stopping climax; Wisdom's moving but unsentimental performance makes the most of his 'comic sidekick' role, emphasizing the character's humanity (realizing Ekland's inaptness at performing on stage, he patiently schools her) and feelings (he secretly loves her too but since Ekland prefers Robards herself, he's happy to leave her to his pal).

The supporting cast, then, is a pure delight: Forrest Tucker (as a gangster with a share in the theater), Elliott Gould (playing, as already mentioned, the flustered but inexperienced manager who's entirely dependant on his star attractions), Joseph Wiseman (as Gould's bemused Jewish father, the owner of the theater who's intent on its foreclosure because he disapproves of the style of his son's shows!), Harry Andrews (sporting a wicked beard and exaggerated eye-brows to match as Ekland's Amish father, who arrives in New York in order to claim back his wayward daughter), Denholm Elliott (hilarious as a Vice Squad official whose presence at the theater is recurrent so as to fervently jot down all form of lewdness and general unwholesomeness he happens to notice going on, in preparation for an eventual Police raid...which, naturally happens on "The Night They Invented Striptease", as the film was alternately called!) and Bert Lahr (as, more or less, the Chorus to the narrative but whose role was considerably diminished because, sadly, he passed away in mid-production!). Perhaps the film's funniest moment is the confrontation scene between Wiseman and Andrews (with the former telling the latter that "The only God who could tolerate me is the only one who could tolerate you!"), after which their joint prayer for their children's souls is interrupted by the perpetually awkward Elliott, who's forced to accompany them but is clearly lost!

Unfortunately, the film was recorded off what has to be the sloppiest channel on Cable TV; in fact, the screening froze at one point and the reception was subsequently lost for a brief instance!