Pepe

It seems as if the 195-minute print of this all-star oddity has forever been pulled from circulation. However the remaining 157-minute version is quite long enough. This movie has always been made fun of, but as misguided as it is, it is still entertaining, if only because it is so crammed full of guest appearances.

Here's who you get: Greer Garson trying to buy a prize horse; Edward G. Robinson playing himself though he is seen here as a famous film producer; Ernie Kovacs as an immigration inspector; William Demarest as a studio gate keeper; Zsa Zsa Gabor reading a copy of "The Interns" to promote Columbia's upcoming film version; Bing Crosby signing Cantinflas's tortilla and joining him in a few lines of "South of the Border"; Jay North playing Dennis the Menace; Billie Burke hitting Charles Coburn with a slingshot; Jack Lemmon dressed as Daphne from "Some Like It Hot" in a bizarre sequence involving a parking lot; Andre Previn at the piano while Bobby Darin sings a terrific number called "That's How It Went, All Right"; Michael Callan, Shirley Jones, and Matt Mattox doing a sizzling dance called "The Rumble"; Judy Garland (heard but not seen) singing "The Faraway Part of Town" on the radio; Ann B. Davis playing her "Shultzy" character from "The Bob Cummings Show" but here assigned to working as Edward G. Robinson's secretary; Donna Reed making cutesy banter with Dan Dailey about her then-current TV series; a trip to the Sands Casino in Las Vegas where we see Peter Lawford and Richard Conte standing around in the lobby, Sammy Davis Jr. doing impressions to "Hooray for Hollywood", Frank Sinatra and Dean Martin gambling, Cesar Romero hanging out at the slot machines, a dejected Jimmy Durante losing at cards, and Joey Bishop saying "son of a gun"; Hedda Hopper boarding a plane; a ghastly sequence in which a miniature Debbie Reynolds drunkenly dancing with Cantinflas on Dan Dailey's desktop to "Tequila"; a delightful moment when Dailey and Cantinflas join Maurice Chevalier in dancing to "Mimi"; Janet Leigh being surprised in the bathtub the same year as her "Psycho" shower; Tony Curtis getting pushed into an indoor pool; and Kim Novak giving advice on buying a wedding ring.

Somehow I find this hodgepodge strangely irresistible.

Cantinflas meets every star in Hollywood, in an attempt to recapture the 80 Days magic. No such luck. Cantinflas was asked to carry Pepe and simply wasn't up to the task, though it's perfectly acceptable all-star entertainment. Cameos by Tony Curtis, Janet Leigh, Dean Martin, Ernie Kovacs, and particularly Kim Novak, help make it more than watchable. In a way it's better than 80 Days, since Kim wasn't in that one. I stayed around for the next show to see Kim's cameo again. In those days you could remain in the theatre on one paid admission for as long as you wished.

In San Francisco, PEPE played at advanced prices, on continuous showings, no reserved seats. On March 14, 1961 I spent nearly seven hours in the St. Francis Theatre on Market Street. PEPE runs 195 minutes. Us Kim Novak fans are durable, and loyal - she's still one of my favorite stars. Wow.

It seems Hollywood just didn't know what to do with Cantinflas; after his appearance in AROUND THE WORLD IN 80 DAYS, it took four years for him to appear in his next Hollywood movie - which was this train wreck that I'm sure had many of its participants licking their wounds for years to come!

Upon seeing PEPE, it seems even its filmmakers weren't sure what to do with him, given the fact that a great deal of the movie is devoted to the ton of cameo appearances, appearances where Cantinflas is more or less made to simply blubber statements that you can barely make out, or just sit back stunned. In fact, even in the scenes where he appears with the regular characters, Cantinflas really doesn't have that much to do. Needless to say, he ends up being completely unfunny. There's nothing he does here that gives me a clue as to why he was so popular south of the border. (One other possible problem may be that reportedly his style of humor was geared towards the language and customs of his part of the world.)

The whole movie is agonizing to sit through for its 158 minutes - the scary thing is that the movie was originally LONGER - over THREE HOURS LONG! (I am curious as to what was cut out - anyone know?) The only moment that provides anything of real entertainment is the "beatnik ballet" segment. Though it runs too long, and is somewhat goofy, some of the choreography is pretty spectacular.

While this film doesn't especially take advantage of Mexican actor Cantinflas's talent, it's not nearly the bomb that other IMDB reviewers might indicate. True, the plotline isn't particularly compelling (in fact, it's a bit absurd), there are many memorable moments in the film. Shirley Jones is particularly appealing, and we get vocal performances by Bobby Darrin AND Judy Garland (what's not to like there), as well as a rare screen performance by jazz pianist/composer/conductor Andre Previn. Together with cameo appearances by Edward G. Robinson, Billy Burke, and tons of other 30s/40s/50s luminaries, this film is well worth the 2-1/2 hours or so to watch.

A throw-anything-in all-star bloat, designed to showcase the talents of "international favorite" (as he's billed) Cantinflas, but wedded to a wispy and misconceived screenplay padded out with pointless but attention-getting guest-star appearances. You'd never know he was a great comic from his portrayal of a nearly mindless patsy in 1960 Hollywood, catering to the charmless bellowing of a miscast Dan Dailey (the more Dailey condescends and insults, the more Cantinflas seems to like it) and a tough-talking Shirley Jones as a hard-bitten beatnik-of-sorts. That she and Dailey would form the love story at the emasculated title character's expense is a given in this xenophobic mid-century climate, but both characters are so unlikeable that they're impossible to root for. Jones does more dancing (and not terribly well) than singing, while Dailey is allowed one brief soft-shoe, to "Mimi." Highlights include one seriously hep Bobby Darin number, a comic interlude with Janet Leigh at Acapulco's Las Olas resort that almost works, and a Las Vegas sequence that attempts to show what nice, regular guys the Rat Pack were. It's an almost unremittingly terrible movie, but as others have pointed out, it's a valuable time capsule -- for 1960 fashion, architecture, autos, and offensive American-imperative bossiness.