Rich and Famous

Throwing his hat into the ring one last time before retiring (and then dying two years later!), legendary director George Cukor helmed this remake of "Old Acquaintance", the type of film that would not have been a surprise to see on his resume back in '43 (but the director was actually Vincent Sherman.) Cukor was noted throughout his remarkable 40 year career for his way with actresses (some of which were considered the most famous under the sun!), so it is appropriate that his last film featured two of them in showy starring roles. Bisset and Bergen are college friends in 1959 when Bergen skips out of the dormitory to marry Selby. A few years later, Bergen is a seemingly contented housewife and mother while Bisset has published a highly acclaimed first novel (and a second one is slow in coming!) Eventually, Bergen expresses a desire to write as well and this kicks off a feud between the ladies regarding art versus entertainment. meanwhile, they each experience heartbreaks in the romance department. Bisset produced this film (understandably, to get out of dreck like "When Time Ran Out") and is the more prominently featured of the two. She has many strong moments in the film and more than a few silly and/or tiresome ones as well. She makes no attempt at any point in the film to display even a shred of period detail in her hair or costuming (insisting on a shaggy-poodle hairstyle that is neither appropriate nor flattering to her gorgeous features) and this hurts the quality of the film more than one might expect. Bergen, on the other hand, looks smashing in a time-tunnel-tour of fabulous hair and clothing pieces. She gives her role every ounce of zest and humor that it can contain. In short, she comes out way on top in the acting and presence horse races. At times threatening to become a parody, she manages to imbue her character with depth and resonance. Also in the cast are (the oddly cast) Selby as Bergen's emasculated husband, (gorgeous) Bochner as a laid-back Rolling Stone reporter who admires Bisset and a wet-behind-the-ears Ryan (in her first role) as Bergen's impetuous daughter. Though some of the dialogue gets a little out there every once in a while and the story is bound by its old fashioned roots despite modern (foul) language and sexual implications, some degree of true human emotion still comes through and the ladies share a nice onscreen rapport. Georges Delerue provides a lovely pre-"Steel Magnolias" score. The plot occasionally gets a little off track and the film resorts to overdone melodrama at times (the teddy bear scene), but enough intelligence went into the portrayals and the script for this to have some meaning. As an added treat, impossibly young Lattanzi shares his much-lauded rump with the camera and the delectable Dack Rambo makes an unbilled appearance.

Okay, it is not the most upbeat movie ever shot, but it is for sure one of the smartest and deepest pictures about friendship. Candice Bergen and Jacqueline Bisset shine as two intelligent women who found wiseness, if not happiness, through the cracks of personal failure. Plus, this was Meg Ryan's first appearance, in a small role as Candice Bergen's daughter!

If you're old enough to remember when television networks aired movies of the week--usually part 1 on Sunday nights and part 2 on Tuesday nights--you'll probably understand how this film fits into that, at least in my view. Remakes, reboots, and reworkings have been a part of storytelling since it began, but the question I'm left with is...why? Why did someone decide that Old Acquaintance, with Bette Davis and Miriam Hopkins, would work as an updated, R-rated film, especially with a television-like feel to it?

I disagree with reviewers who say this is wonderfully cast. Yes, there is chemistry between Bisset and Bergen, but that doesn't mean it works for the film as a whole. I do, however, agree that Bergen's southern accent is more than just distracting. She slips in and out of it so often, I wanted to stop watching.

The movie did, in my opinion, pick up around the 1 hr 30 min mark; and that's the only reason I watched it in its entirety. It was fun and slightly nostalgic to see Meg Ryan in her debut. And I also agree with other reviewers who comment on Ms. Bergen's cool wardrobe. I also reluctantly concede that Deleure's music score is too sappy for this production.

In all, it's average and nothing more. If you're big fans of either of the lead actresses, it's worth your time. Otherwise, it's kind of a snooze fest.

Both Jackie and Candice are terrific in this movie. They are well-suited to their roles and have several chances to shine. In particular, the way Candice pronounces the words "Puerto Rican" is very funny, as she is being kind as she can be but condescending at the same time. I had seen the original of this movie, called "Old Acquaintance", starring Bette Davis and Miriam Hopkins. They allegedly did not get along, so because the movie is about female friendship, that might have been a problem. Here, the actresses clearly admire and respect each other. Hart Bochner and Meg Ryan have supporting parts and are both excellent, in particular Bochner, who never got many decent parts in movies, as far as I am concerned. George Cukor did not make another movie after this, so this was a good one to go out on.

George Cukor is an actresses director.He told himself it was nothing but an old cliché ,probably as old as the hills ,as old as "gone with the wind" when Leigh and De Havilland went on rehearsing with him even after he was fired.

But this cliché is completely true here.Every scene where Jacqueline Bisset and Candice Bergen are together is riveting,dazzling,moving,funny all at once.but when the movie deals with Bisset's love affairs,it 's an awful bore.Doug's scenes are watchable at a pinch because the actor has a certain presence ,but the Rolling Stone guy's ones are almost unbearable,being bland ,pseudo-intellectual ;this is really a lightweight performance ,to put it mildly.

But the two actresses work wonders when they share the screen.Two scenes highlight the movie:the first ,in Malibu,where the two women spend a whole night reading Bergen's writing prowess;the second in NYC,when they have an ultimate quarrel :Bisset tells her mate she's only one part of a woman:you easily guess which one.

Of course ,it's a very uneven movie and inferior to Cukor's precedent work ("travels with my aunt",not counting his ill-fated "the blue bird") but the fast forward button is useful when the movie begins to drag on.