I saw this terrible film when it was released in 1980. I couldn't believe how bad it was -- and I went in with low expectations.
I saw the last half again on cable last night, and the film was just as bad as I remember.
Chuck Barris's acting style, as such, is to look at the ground and mutter to himself and shake his head -- every five seconds. Chuck Barris the director has given himself a juicy role and lots (lots and lots) of close ups. The actress playing Barris' long-suffering girlfriend is photographed like she is playing Beetle Bailey -- you never see her eyes, for the hair hanging over her forehead, or the floppy hats that hide her eyes.
The narrative strategy of this film is to repeat the following situation -- strangers accost Barris and do impromptu and unwanted auditions for The Gong Show. Barris invariably looks at the ground, shakes his head and mutters to himself.
During the prolonged finale, which attempts to be a Fellini-esque parade of grotesques, Barris looks at the ground, shakes his head and mutters to himself -- a lot.
I can understand the feeling.
I saw the last half again on cable last night, and the film was just as bad as I remember.
Chuck Barris's acting style, as such, is to look at the ground and mutter to himself and shake his head -- every five seconds. Chuck Barris the director has given himself a juicy role and lots (lots and lots) of close ups. The actress playing Barris' long-suffering girlfriend is photographed like she is playing Beetle Bailey -- you never see her eyes, for the hair hanging over her forehead, or the floppy hats that hide her eyes.
The narrative strategy of this film is to repeat the following situation -- strangers accost Barris and do impromptu and unwanted auditions for The Gong Show. Barris invariably looks at the ground, shakes his head and mutters to himself.
During the prolonged finale, which attempts to be a Fellini-esque parade of grotesques, Barris looks at the ground, shakes his head and mutters to himself -- a lot.
I can understand the feeling.