Bunny O'Hare

I'm not sure if this was a feature or a TV movie. It came off like a TV movie.

It's cute. Davis plays Bunny O'Hare, a woman whose house is not only foreclosed on, but demolished. She hooks up with Bill (Borgnine) who goes around collecting toilets and sells them in Mexico. She finds out he was a bank robber, and he's wanted, so she asks him to teach her the robbing ropes.

The two deck themselves out as hippies and motorcycle around robbing banks. The only reason Bunny is robbing banks is to help her kids - her daughter's husband is an ex-butcher trying to get back into the meat business, but he doesn't want to cut liver - he needs intensive therapy.

Her son (John Astin) is a playboy who tells her he has business plans but in reality is a gambler in constant trouble with loan sharks. This is what she's wasting her time on.

Jack Cassidy has a cartoony role as a police lieutenant who would be brought up on charges in the #metoo movement. He speaks for the adults - he hates, hates hippies Nixon, another lover of my generation, adorns his walls - with Agnew.

This film had potential but really misses the mark. Davis and Borgnine are very good - she's quite subdued in the role. Borgnine is very sweet as her partner in crime. I did like the ending. However, if this wasn't a TV movie, it should have been.

In a most unusual role for Bette Davis she's playing the title role in Bunny O'Hare with her partner Ernest Borgnine from The Catered Affair. Ernie maybe doing plumbing sales now, but back when he was younger he was a notorious bank robber.

Davis is having a cash flow problem mainly because of her two parasitic children, John Astin and Reva Rose. She's constantly giving them money, especially to Astin who's a degenerate gambler. Her house has also been foreclosed because she can't pay her own mortgage.

What to do but get a new source of money. So Borgnine comes out of retirement and trains Bette. They work out a lovely disguise as a pair of hippies on a motorcycle.

Wouldn't you know it, they happen to get an investigating officer in Jack Cassidy who is a vigorous opponent of the counter culture. His absolute hatred of the protesting counterculture generation blinds him in pursuing other leads.

One weakness of Bunny O'Hare is that I cannot believe Davis and Borgnine kept using the same method in their robberies. They pull off about half a dozen or more robberies and you would think that the bank guards would be ready for it. Won't tell you what it is, but the state of New Mexico's banks are being flipped the bird.

New Mexico at the time had a Governor named David Cargo who made one of the main points of his program to attract film companies to shoot in his state. Several films of varying quality were done there and Cargo always inserted himself in a small role.

I have to classify Bunny O'Hare as one of the few full blown comedies that Bette Davis did since leaving Warner Brothers. I'm sure she did that deliberately looking for something different. She's quite a bit subdued here, even generous as the laughs go to her supporting players. Most especially Jack Cassidy and John Astin.

Bette's fans will most definitely not get the Davis they're used to, but the film is pleasant viewing with a few chuckles besides.

An aging widow in New Mexico is left homeless after the bank forecloses on her property and tears down the house; she chances to meet a retired bank robber still on the lam and asks him to teach her to rob the bank which took her to the cleaners. Still-relevant sociological observations (occasionally cutting quite deep) played for TV-type yuks, a mixture which had professional critics groaning in 1971. Indeed, the outré bits of business involving the hold-ups are sloppy, and Jack Cassidy gives a grueling performance as a sleazy police lieutenant. Still, Bette Davis is very fine in the lead; natural, unglamorous and earthy, she's not a tough cookie nor a weeping willow--and when she chit-chats with Ernest Borgnine and her famous voice breaks mid-sentence, she's also endearing. Borgnine looks a bit incredulous at being caught in this scenario, but he doesn't embarrass himself and works well with Bette (their second picture together after 1956's "The Catered Affair"). In fact, most of the film is entertaining on a minor level, with something to say about oldsters and their financial plight. **1/2 from ****

As a lifelong Bette Davis fan, I have been curious to see this for a long time. In the book 'Mother Goddam', the author states that in response to Borgnine's question 'What about your family'?, Bette says 'f--k them'! So hearing her say THAT word was another reason to want to see this movie.

Well Showtime aired it yesterday morning and I was glad to have my chance to see this, but boy is it lame. There is nothing to enjoy really, not a single thing. Davis is extremely subdued and SHE DOESN'T EVEN SMOKE or scream or use any of her famous mannerisms, and this movie could've used a little something to make it less painful. Borgnine tries hard but the odds were against him from the start.

And to top it, the line I was waiting to hear was dubbed (badly, I might add)! She says 'screw them' instead..somehow fitting, but boy was I disappointed.

This film belongs to an enigmatic category I refer to as Extinct. No VHS or DVD release. Only a TV broadcast now and then. It deserves more, as do most extinct films: they should all be available for streaming or download on the web.

After seeing it yesterday on THIS, the new CBS digital broadcast sub-channel, I found Delaney's performance to be the highlight. Her ambivalent, playful acquiescence must epitomize the fate of countless intelligent women, even to this day. I'm no feminist, but I can empathize. She's clearly the superior cop. But the best she can do is gently nudge her male boss in the right direction. And when he errs, she can't correct him, lest he lose face. Civilization would probably be a hundred years further along by now if we humans weren't so rigidly patriarchal. Too many great women have been relegated to the sidelines. Including Delaney, whose film career apparently ended here.

Davis and Borgnine, meanwhile, help us understand the unfortunate issue of exploitative adult children. They've grown up, but they don't want to be independent. They happily parasitize their aging parents, who in Bette Davis' case, actually risk life and limb to procure infusions of cash in response to concocted, irresponsible excuses. Her progeny's utter lack of conscience was bewildering to me. I shudder to think how many elderly grandparents sympathize with Bunny's futile situation. There are probably millions of real-life parent-parasites in the world, preying upon their progenitors' unconditional affections.

This is a multifaceted film. Thanks to its stars, it's engaging too.