Smile

So rarely do we find such a dark and acidic commentary filmed in such an exquisitely light fashion. "American Beauty" is an example of success in this genre, but the relatively obscure "Smile" reigns supreme.

It lays bare all the emptiness and hypocrisy of suburban America relentlessly and without mercy, and yet somehow manages to keep itself funny and bright and rarely deals with its subject matter with an overt contempt or scorn.

"Agent 99" Barbara Feldon is superb as the veneer ice-queen teen beauty pageant coordinator -- all diplomacy and smiles glossing over a charred and empty soul. (She greets the dog with smiles and kisses then ignores the husband.) Likewise, Bruce Dern portrays his vapid community leader role with perfect candor, and it becomes delicious to see him question what he perceived as the status quo.

A truly classic and trail-blazing film, well directed and edited and brilliantly written and acted. Such a shame it remains so obscure and unknown. This is one of my top five favourite films and becomes richer and more intricate with each viewing.

And I will never hear Nat King Cole sing the title song again and not picture the strained and pained perma-grins as the opening shot pans across the hopeful beauty contestants.

All the beauty contestants have to "Smile" in this 1975 film written by Jerry Belson and directed by Michael Ritchie. It's a take-off on pageants and American values in the '70s. It stars Barbara Feldon, Bruce Dern, Michael Kidd, and Nicholas Pryor, while featuring some familiar young faces as contestants: Melanie Griffith, Colleen Camp, and Annette O'Toole.

Feldon is the ever-chipper but icy "Young American Miss" who has no use for her drunken husband (Pryor) and devotes herself to the pageant; she's terrific, as is Bruce Dern as a used car salesman, the main judge of the pageant who has an enterprising son with a Polaroid camera. Best of all is Michael Kidd as the choreographer. Kidd started out as a ballet dancer, moved to Broadway, and finally Hollywood where he danced, acted, and choreographed, later adding directing to his list of talents. Here, he gives a wonderful performance as a choreographer whose cynicism and toughness hides a heart of gold.

There are too many vignettes among the contestants to describe - the talent competition that consists of packing a suitcase, the flaming baton; the rehearsals with the orchestra are hilarious, as is the contestant looking for her butter churn.

The film hits just the right note between satire/comedy and drama. Beauty contestants haven't changed much; they all want to help people, and being brought up without a father is a distinct advantage. Boys are still horny. And never has any of this been presented in a more of a light, amusing way than in "Smile."

As with all the great episodic ensemble films (If..., Fame, Nashville, M*A*S*H)it's the little touches that makes this film quite so deliriously wonderful e.g.: The wide-eyed girl's nervousness of the orchestra; the cop's recapture of Little Bob's two accomplices; Maria's expression as the winners of the pageant are being announced; "...and that girl had a wooden foot"; and so on.

All of the cast are uniformly excellent, not one of them, major or minor, misses a beat.

This is one film that invites repeated viewings, until it almost feels like an old friend. I think that we should start a campaign to get this film the recognition it deserves.

Director Michael Ritchie made two films in the seventies that nailed the suburban existence, not just of Southern California, but of America right on the head.

While Bad News Bears was a deserved box office hit, the under-recognized Smile is the better movie...and that's saying a lot as I adore them both. Having seen the recently released Thank You For Smoking and its lame attempt at broad satire it made me reflect about what made Smile so great. Ritchie genuinely cares for his characters, making them sympathetic instead of one dimensional cardboard cut-outs which would have been very easy to do. The many characters Ritchie focuses on are human, with all the foibles that entails, so while it may be easy to laugh at the beauty pageant contestants and their problems, you do it with a touch of guilt because they are so earnest in their attempt to win respect from not only the judges, but the choreographer (Michael Kidd), the den mother (Barbara Feldon), and ultimately themselves.

To mock them is to mock yourself for rooting for your favorite girl at the film's conclusion which fittingly, as it turns out, doesn't matter anyway.

Now that's good satire.

A truly under appreciated gem.

This wonderful comedy-drama has much the same tone as "Nashville." It's a satirical view of a place and time centering around a specific event, in this case a teenage beauty pageant. It has a couple of things "Nashville" doesn't have, however--a heart, and a great deal of affection for its flawed characters. Bruce Dern has never been sufficiently appreciated--often typed as a psycho--but he has never been better than he is here as a used-car salesman with a lot of inner torment. And Michael Kidd, the great choreographer, shows what an adept actor he can be in a supporting performance which in a perfect world would have won an Oscar, and in this imperfect one was not even nominated. Michael Ritchie, one of the most erratic of directors, here hits his career peak.