Stars, Style, & No Substance! ‘What a Way to Go!’ 1964

 

Shirley MacLaine stars as Louisa May Foster, who marries and loses most of her
 five husbands in 1964's comedy, "What a Way to Go!"

One of the many '60s all-star spectaculars that was heavy on stars and style, but light on solid story or scintillating dialogue, was 1964’s What A Way to Go! Movies like this are often fun for star gazing and glamour. Yet such films are often dull and don't age well, and here’s just a few: Let's Make Love, The V.I.P.s, The Yellow Rolls-Royce, and What's New, Pussycat?

Shirley MacLaine's widow tells shrink Robert Cummings about EVERY husband
in "What a Way to Go!"

This 20^th Century Fox fluff is a comedic story of a woman who’s looking for true love but is always left widowed—and richer. Money doesn't buy happiness, but it brings 70-plus Edith Head costumes, Sydney Guilaroff wigs, Harry Winston jewels, and fabulous sets in What a Way to Go! The featherweight romp also features some diverse husbands: Dick Van Dyke, Paul Newman, Robert Mitchum, Gene Kelly, & Dean Martin. 

The super-size comedy was originally meant for superstar Marilyn Monroe, when Fox decided to take Marilyn back after Something's Got to Give. Marilyn certainly could have elevated this mild vehicle with her natural comedic charms. But it was not meant to be, as Marilyn died soon after. Continuing in the same daft logic, Fox then offered the role to their other diva headache, Cleopatra aka Elizabeth Taylor. The part of a woman who marries five times and becomes richer, with bigger wardrobe and bigger hair with each marriage... what a stretch! But ET’s world now revolved around Richard Burton.

Can't imagine why Fox offered this movie to Elizabeth Taylor! Actually,
Robert Cummings plays the shrink in "What a Way to Go!," not a husband...

The sensible choice of Shirley MacLaine as Louisa May Foster was finally made. Was MacLaine as a brunette here a hangover from the prior choice of Liz? Regardless, while Shirley presents a model slim figure that was more in keeping with the '60s than either curvy MM or ET, MacLaine seems at times dwarfed by the outlandish costumes, towering wigs and Christmas tree jewel sparklers.

Naturalistic Shirley MacLaine & '60s glamour didn't seem to go together.
Note the pancake makeup on her face, then her freckled arm in "What a Way to Go!"
With Robert Mitchum as her tycoon husband.

While MacLaine is a natural comedic actress, a strong director like Billy Wilder was needed to keep her from going from Shirley to shrilly. There's more than a few screaming Mimi moments in this broad comedy, but MacLaine also gets some laughs. It's fascinating to see her play the child Louisa with a wink, without the '60s pancake foundation, false eyelashes, stenciled brows, and overdrawn lipstick—though I do detect mascara. 

Shirley MacLaine as little Louisa in an amusing moment from "What a Way to Go!" 

Most of Shirley MacLaine’s co-stars were old pals or lovers, so Shirley has a nice rapport with each "husband" in What a Way to Go! In a nutshell, in order:

Dick Van Dyke is a very energetic match for Shirley. As Edgar Hopper, Dick is a small-town guy whose hero is Thoreau. But when his love rival mocks his and wife Louisa’s low-budget lifestyle, Hopper hops to, and becomes a big success as a businessman. And promptly keels over from overwork!

Dick Van Dyke as Shirley MacLaine's first husband in "What a Way to Go!"

Paul Newman is next up, as the artist in Paris, where Louisa goes to grieve. Paul gives one of his more relaxed comedic performances, unlike the leering Rally Round the Flag Boys and A New Kind of Love. Amusingly, his character’s name is Larry Flint, but not that Larry Flynt. Paul looks great with a beard, as the starving artist who's always eating! Slim and slight Paul and Shirley are dwarfed by the lavish contraptions and sets in their marital sequence. As Larry’s painting machines finally create successful works, Flint is consumed by the cash rolling in. As he and the machines become more frenzied, they turn on their creator.

Shirley MacLaine's Louisa seems to adapt to each husband's life.
Here, she is Paul Newman's artist wife in "What a Way to Go!"

Next, widowed again Louisa meets Robert Mitchum as a Howard Hughes-type tycoon, Rod Anderson, Jr., at the airport (remember Hughes once owned an airline). MacLaine’s unlucky in love lady figures this latest love is already rich, so what can happen? Ironically, their attempt at living simple down on his farm turns out to be a kick in the head for Rod. Mitchum is laid-back and droll, as always.

I never miss a Nina Foch movie! Kidding! Shirley MacLaine goes platinum for a
hot minute in "What a Way to Go!" With hubby #3 Robert Mitchum.

Shirley’s perennial widow meets Pinky Benson at a local diner. Gene Kelly parodies his Singin’ in the Rain persona here as the small town entertainer, who finally makes it big. Though criticized by some folks as too old, Kelly looks fine for 50, is quite funny, and dances beautifully, of course. Pinky’s fate is getting fatally mobbed by his fans!

Shirley MacLaine's Louisa envisions her marriage to Pinky Benson as a Hollywood musical number. Gene Kelly, aptly cast as hubby #4 in "What a Way to Go!"

At this point, once again widowed Louisa is telling her woes to her shrink, when an old beau walks in. Once her small town’s richest guy, the man is now the building’s janitor! Dean Martin plays comedic jerk Leonard Crawley quite well, and his nonchalant demeanor is perfect here. As the one husband that Louise doesn’t initially love, the creep turns out to be the keeper.

Dean Martin bookends "What a Way to Go!" as first a foiled suitor, then as
Shirley MacLaine's final husband.

Finally, there is Bob Cummings, his usual unctuous self as the smarmy shrink who nearly becomes a husband to Louisa, as well.

One surprise was Margaret Dumont, of the Marx Brothers movie fame, who is bizarre and unfunny as Shirley's mother. Plus, Dumont’s dressed like she’s from a guest shot on The Beverly Hillbillies!

The Edith Head costumes and the sets are meant to be over the top but sometimes veer into awesome ugliness. Head cleverly uses the clothes to further Louisa's story, but I was surprised how many costumes were visions of monochromatic vivid colors. I was getting visions of Liz Taylor's Vincente Minnelli-supervised wardrobe in The Sandpiper. And the Pepto Bismol pink mansion of Gene Kelly’s Pinky is truly stomach churning.

Husband Pinky Benson decrees that his mansion be painted in his honor, in
"What a Way to Go!" Wafer slim Shirley MacLaine sports a contrasting black bikini.

Broadway’s Adolph Green and Betty Comden, the couple that wrote this story, also gave us Singin' in the Rain and Auntie Mame. Sadly, their script and wit seems very broad and sporadic in their last feature film together.

There are few zingy lines and most of the movie parodies of each marriage are mildly amusing, except the Ross Hunter-esque "Lush Budgett" sequence, which is so one-note that it quickly becomes tedious. The musical number with Gene Kelly is a great take off on MGM numbers, and still fun in its own right. Shirley and Dick Van Dyke’s expressive faces and graceful forms make their silent movie spoof fun. And Paul Newman and Shirley are certainly sexy enough in their French “art” film parody, though it’s pretty tame.

Shirley MacLaine & Dick Van Dyke are charming in the silent movie fantasy scene that symbolizes their marriage in "What a Way to Go!"

The director J. Lee Thompson was an odd choice for comedy as he previously helmed The Guns of Navarone and Cape Fear. He next directed Shirley in the 1965 bomb John Goldfarb, Please Come Home! Written by William Peter Blatty, who rewarded his friendship with Shirley by modeling her for his heroine in The Exorcist, thus creating the urban myth that MacLaine's daughter needed an exorcism!

Shirley MacLaine's Louisa in wearable art, courtesy of artist husband Paul Newman
 in "What a Way to Go!"

While I hardly laughed out loud during the entire movie, What a Way to Go! is generally amusing. But it all feels like a pile of frosting—on a cupcake! Shirley MacLaine didn’t carry another hit movie until The Turning Point over a dozen years later. Even then, Anne Bancroft was pulling equal weight. Frankly, Shirley never carried a movie on her own during MacLaine’s leading lady heyday.

There are worse ways to go than watching What a Way to Go! Watch the stars and lavish production, with your brain turned off.

Actress Gari Hardy with Paul Newman, in a deleted scene from "What a Way to Go!" Is it my imagination or is she supposed to resemble Marilyn Monroe? If so, that seems in bad taste as this film was intended for Monroe, before she died two years earlier.

 

 

 

 

Gene & Judy! “For Me and My Gal” 1942

Gene Kelly and Judy Garland teamed for the first time in "For Me and My Gal."

MGM’s For Me and My Gal boasts two firsts: This was Gene Kelly’s film debut and Judy Garland’s bow in getting billed above the title. The 1942 musical drama may not be as well-remembered as some of Gene and Judy’s best efforts. For Me and My Gal was a big hit on a modest budget, which is always the best bottom line in Hollywood’s book. Gene was given the lead over George Murphy at the last minute, and when Kelly scored, he began a long association with MGM. For Judy, to carry this film meant that Metro’s faith in her was justified.

Judy Garland & Gene Kelly rehearsing in "For Me and My Gal."

Gene Kelly and Judy Garland were on the cusp of 30 and 20 when they filmed For Me and My Gal. Male stars enjoyed a longer shelf life in Hollywood than their female counterparts. Imagine if Metro starred Judy in her first film at age 30—no way. Kelly had done some work on stage, including Pal Joey. Gene’s Irish good looks, athletic build, charm, decent acting ability, and great dancing—all made him a versatile and valued performer. Personally, my only pet peeve with Gene Kelly was his tendency to preen, as if “Look at me!” He didn’t need to.

Judy Garland spars romantically with Gene Kelly in "For Me and My Gal."

Judy Garland truly warrants her name above the title as Jo Hayden. Judy is in youthful voice and good humor, a nimble dancer and a natural in her dramatic scenes. The star is so strong in all the major categories of performing, it’s no wonder MGM considered her their greatest asset. Though some Judy Garland’s films may seem slight by today’s standards, looking over her filmography, Judy’s box office was mighty strong. Only a few of Garland’s first and last films failed to perform, the rest made mountains of money for MGM. This goes a long way to explain why they put up with her problems for so long.

Judy Garland got her name above the title for the first time in "For Me and My Gal."

For Me and My Gal has a major flaw: the story is a clichéd soap opera, set to music. Every time something good happens to Gene and Judy’s vaudeville performers, you just know heartbreak lurks in the next scene. But the two stars ably handle the tear-jerking as well as the song and dance numbers.

Judy Garland, flanked by George Murphy & Gene Kelly in "For Me & My Gal."

This story makes Ziegfeld Girl look like a hard-hitting documentary. Since For Me and My Gal was filmed in the first half of ’42, it looks like this musical morphed into a wartime story, as well. The film’s characters all go off to WWI in gung-ho fashion, to promote patriotic spirit in audiences for the U.S. entry into WWII. The climactic scenes, when Gene’s Harry Palmer redeems himself on the war front, feels especially tacked on. The latter half of the film has plenty of nostalgic WWI-era songs, beautifully sung by Garland and company. MGM was now in full war time propaganda mode, at the behest of FDR. When Judy appears in the finale in uniform, it’s a distinctly World War Two uniform! There’s even a tagline at the finale to buy war bonds.

Judy Garland's "WWI" uniform in "For Me and My Gal."

The most important aspect of For Me and My Gal is to just enjoy great talents Gene Kelly and Judy Garland, at the height of their youthful energy and appeal. Watching “Ballin’ The Jack,” I was amazed by Gene’s high-energy performing, but also admired how nimble Judy was as a dancer, as well. Judy’s great number “After You’re Gone,” is just stunning for this young star.

Gene Kelly & Judy Garland make beautiful music together in "For Me & My Gal."

Interestingly, two show biz up and comers have significant but unbilled performances: future director Richard Quine as Judy’s kid brother and Keenan Wynn as the couple’s tough agent. Wynn would soon become one of MGM’s great character actors.

Richard Quine is unbilled as Judy's kid brother who goes off to war.
Quine later became a director with a knack for romance and comedy.

Busby Berkeley was a rather odd choice as director. He usually helmed splashy musicals, filmed in ‘40s Technicolor. Here, Busby is directing a modestly budgeted dramatic musical in black and white. The dance numbers, which he didn’t even direct, are filmed in straightforward vaudeville style. No busy Busby stunts here!

The supporting cast is fine, save for a very annoying opera singer, who is Judy’s love rival. Why, you ask? MGM honcho L.B. Mayer was obsessed with “class” and was forever overcompensating with his Anglophile fantasies. This opera singer is shrill and looks old enough to be Judy’s mother! It’s the same mentality that gave us Kitty Carlisle and Allan Jones disrupting A Night at the Opera or the semi-operatic ingénues in Mickey and Judy movies. Metro also created the short-termed opera craze with Jeannette MacDonald and Nelson Eddy.

George Murphy, Judy Garland, and Gene Kelly in 1942's "For Me and My Gal."

If you can suspend disbelief with the ‘40s MGM sentiment, you will enjoy Gene and Judy, in all their youthful exuberance and talented glory in For Me and My Gal.

Here’s a much more elaborate musical starring Judy Garland, with Lana Turner and Hedy Lamarr! My look at 1941’s Ziegfeld Girl: https://ricksrealreel.blogspot.com/2021/02/ziegfeld-girl-1941.html

FYI: I put my movie overflow on my FB movie page. Check it out & join!  

https://www.facebook.com/groups/178488909366865/

 

Is this the secret MGM handshake? Joan visits Judy on the "For Me and My Gal" set.

 

Singin’ in the Rain 1952

"Singin' in the Rain." Hollywood's greatest musical?

I've been watching classic movies since I was about12, over 50 years now. But I never saw Singin' in the Rain until my mid-40s. I thought the MGM classic was just another cute and corny musical. Mom had told me to watch, who said it was clever and funny—and she was right!

When you look at the passé musicals that other studios were putting out in the early ‘50s, Metro’s Singin’ in the Rain is far more imaginative, funny, smart, vivid, and exuberant, by far.

Debbie Reynolds became a star upon her 20th birthday with "Singin' in the Rain."

With Debbie Reynolds, a star was born in Singin’ in the Rain. Considering that she was then not a singer or dancer per se, Reynolds worked very hard to get up to speed. Co-director Stanley Donen had her two solos dubbed because Debbie sounded too Midwestern—typical MGM, home of the “mid-Atlantic” accent. You can find one of her solos on YouTube with her own vocals and she sounds just fine. While Reynolds wasn't a born dancer like those dervishes Gene Kelly and Donald O' Connor, Debbie keeps up with them in their group numbers. 

Debbie Reynolds shines as Kathy Selden in 1952's "Singin' in the Rain."

Debbie Reynolds was just 19 when Singin’ in the Rain filmed and the release was just days before her 20th birthday. Debbie was obviously working with superior talent and material in Rain. In lesser vehicles, Reynolds could come off as saccharine, like Doris Day; here Debbie is genuinely sweet and girlish. As Kathy Selden, her energy and natural clown personality are well-utilized. This film officially made her America's sweetheart, which came in handy during the downtimes of her career. I prefer Reynolds in her early stardom, when she was a honey blonde sweetie rather than the later bleached blonde dead set on wowing her audience. Debbie’s the girl next door and quite endearing. I won't dwell on co-director Gene Kelly's taskmaster reputation. If Gene had treated prior co-star and neophyte dancer Frank Sinatra the way he treated Debbie, Frankie probably would have knocked his teeth out. But Debbie was from a tough working class Texas family, and she survived.

Donald O' Connor, Debbie Reynolds, & Gene Kelly are triple threats in "Singin' in the Rain."

Debbie, Donald O' Connor, and Gene Kelly were a trio who were triple threats at singing, dancing, and comedy. “Good Morning” is still an instant high, with its upbeat lyrics and joyful dancing. Kelly worked hard with them on the musical numbers and Stanley Donen's sophisticated touch shined on the rest.

Donald O' Connor's famed acrobatic number, "Make 'Em Laugh," from "Singin' in the Rain."

Everyone's on their game here. As Cosmo Brown, Donald O' Connor's impish and energetic, and his dancing is just as brilliant as Gene's. Donald was also a great clown, showcased in “Make 'Em Laugh,” though the song is a total rip off of Cole Porter’s “Be a Clown.” When Donald and Gene sing and dance to the imaginative “Moses Supposes,” the song is a tongue-twisting delight and their dancing is like watching an Olympic event. Gene as matinee idol Don Lockwood is pretty dang perfect. Kelly is at his most handsome and charismatic, and his dancing is superb. There's a great versatility in his showcased numbers, capped by his rain dance of the title tune. And I'm supposing that Stanley Donen, one of Hollywood's smartest directors, helped reign in the three stars tendency to mug. While they all get to clown, there's very little ham here.

Aside from his many talents, Gene Kelly is well-cast as a matinee idol in "Singin' in the Rain."

Singin' in the Rain has that favorite movie myth attached that it wasn't a huge hit upon release, just a modest hit. Those who tell it usually compare Rain to Kelly's previous An American in Paris. Well, if you're talking about Oscars, yes. Paris got 8 Oscar noms and won 6; Rain got 2 noms, and won 0, which I find ridiculous. The only ones nominated were Jean Hagen for Best Supporting Actress and Lennie Hayton for Best Musical Score. Again, proof that Oscars are not a part of what ultimately makes movies memorable. As for the box office, both films cost about the same to produce and Paris made slightly more money. But which film is better remembered today? For my money, it's Singin’ in the Rain.

Cyd Charisse makes a guest appearance for "Singin' in the Rain's" "Broadway Melody."

One quibble: though the 13 minute “Broadway Melody” is presented as a "pitch" to the studio head in the movie, it feels very tacked-on. Superbly done in every respect, it also has zero to do with Singin' in the Rain or especially, the movie within a movie, The Dancing Caballero. It’s certainly superior to a similar showstopper, Judy Garland’s “Born in a Trunk” from ‘54’s A Star is Born. And Judy’s saga is twice as long! While I’ve read some smart comments in defense of “Broadway Melody,” it just feels like a Kelly showstopper, “All About Gene.”

Gene Kelly was never shy about seeking audiences' adulation.

I'm also puzzled as to why Jean Hagen's hilarious Lina Lamont lost to Gloria Grahame that year. Was it because Hagen's shrill star sounded too much like Judy Holliday in Born Yesterday, for which Hagen was her understudy on Broadway? To me, Jean’s shtick is much easier to enjoy in small doses than Judy's shrieking at bellowing Broderick Crawford throughout the movie version of Born Yesterday. As for Grahame, she was the “It” bad girl of the early '50s, but her role as a flirty southern wife in MGM’s The Bad and the Beautiful was a mere nine minutes... and she even dies off-camera!

Jean Hagen, right, gives a hilarious performance as silent star Lina Lamont.
With an equally funny Kathleen Freeman, as Lina's poor diction coach!

With a couple of exceptions, the songs are all from MGM’s early decades, tied to the story of Hollywood's silent era ending and sound beginning. The satire is snappy, with some real life nods to casualties of the silent era. Funny bits abound, with a great cast down to the smallest parts, like hilarious Kathleen Freeman as Lina’s voice coach. Cyd Charisse is spectacular in the “Broadway Melody” number. Watch fast for Rita Moreno as starlet Zelda Zanders.

Perhaps the most famous song and dance number in movie history?
Gene Kelly is "Singin' in the Rain!"

Singin’ in the Rain is such a treat, with memorable song and dance numbers, gorgeous sets and costumes, great humor and performances. It all adds up to be MGM’s greatest musical. 

Here’s my tribute to Debbie Reynolds, when she passed away, on her life and very readable memoirs: https://ricksrealreel.blogspot.com/2017/01/debbie-reynolds-double-dose-of-memoirs.html

Debbie Reynolds was no longer in the movie background after "Singin' in the Rain!"

FYI: I put all the movie overflow on my public FB  movie page. 

Check it out & join!  https://www.facebook.com/groups/178488909366865/

“40 Carats” 1973

 

Liv Ullman & Edward Albert in the 1973 romantic comedy "40 Carats."

The frothy comedy 40 Carats is one of those ‘70s movies that strives for smart and progressive, but is uneasily mixed with romantic soap suds.

New Yorker Ann Stanley is on vacation in Greece when her car breaks down in the countryside. Young and handsome Peter Latham comes to her rescue on his motorcycle. He’s immediately attracted, she’s more inhibited. But the lovely Greece beach scenery, plus some Ouzo, allows them both to drop their defenses, along with their clothes. What happens in Greece stays in Greece, right? Back in NYC at her upscale realtor job, Ann instantly meets Peter again through her daughter, Trina. Ann is mortified, but Peter wants to pick up where they left off.

Lovely couple Liv Ullman & Edward Albert in a romantic moment, "40 Carats."

Not exactly hard-hitting stuff, but 40 Carats is lightly entertaining and surprisingly positive toward the May-December romance. And it’s still moderately entertaining despite one huge problem.

Norwegian Liv Ullman was Hollywood's "It" actress from 1972-74,
seemingly cast--and miscast--in everything, including "40 Carats."

It’s impossible for me to watch a film about romance where age is the title factor and not judge the stars’ respective ages. Norwegian star Liv Ullman wowed Hollywood with her foreign film work in the early '70s. So, the studios sought to mold her into a Nordic star in North America, along the lines of Garbo and Ingrid Bergman. There were so few roles for actresses at the time, that Hollywood shoe-horned Liv into everything, including the Broadway comedy adaptation of 40 Carats. With so many 40-ish actresses at the time for whom this role could have been perfect, they cast 34-year-old Liv as a woman of 40, who finds love with a 22-year-old man. What undercuts the premise, along with Liv Ullman's fresh-faced looks, is her heavy accent and total lack of comedic timing for this feather-weight romantic comedy. Further emphasizing Liv’s youth is casting Gene Kelly as her ex-husband. Gene was still an attractive, energetic guy, but standing in scene with Ullman, her soft looks against his 60- year-old self, with Kelly’s obvious toupee, will have viewers scratching their heads. At nearly 70, Binnie Barnes is an energetic hoot as Liv's mother. In the scene where Binnie and Gene disco dance, they look like a senior couple having a blast. 40-ish Billy Green Bush is the 42-year-old twangy tycoon who wants to marry 17-year-old daughter of Liv, played by then-20 Deborah Raffin. And Edward Albert followed up his success in Butterflies Are Free with 40 Carats. At 22, Edward is gorgeous and quite good in his role—as a 22-year-old. Imagine that!

Emphasizing Liv's youth was casting 60-year-old Gene Kelly as her ex, who looks like
the easy-chair loving dad on TV's "Frasier!"

Aside from Ullman’s Ann Stanley always hedging on her age, there are the throwaway lines to explain the various accents and ages. Unlike the play’s original Ann, the movie heroine left Norway at young age, where her father hailed from. Who then moved to America with his British bride, played by Brit Binnie Barnes. Got that? And Billy Green Bush’s Alabama drawl was utilized for his character. And there are some lines that hint that Gene Kelly’s Billy may be a bit older than Ullman’s Ann Stanley. Yes, like 26 years older!

Julie Harris got to go glam on Broadway & won a Tony for the smash "40 Carats!"

40 Carats was based on a smash Broadway play that ran for two years and won a Tony for leading lady Julie Harris, who got to be glamorous for a change. How could Hollywood mess up a no-brainer like this? A number of 40-ish Hollywood divas were considered, but apparently thought to be past their box-office prime: Audrey Hepburn was a pro at classy comedy; Joanne Woodward had the everywoman touch; Shirley MacLaine would have handled the comedic scenes with sass; Elizabeth Taylor played a much older woman who has plastic surgery in Ash Wednesday during this time and looked sensational. Best of all might have been Lee Remick at 38, who looked like a Hollywood version of Ullman with those big blue eyes. But Columbia thought they were playing it safe with Liv Ullman, miscast the movie, and the Broadway hit became a Hollywood flop.

Though their romance is at times on thin ice, the "40 Carats" romantic duo prevail.

Sadly for Ms. Ullman, Liv’s Hollywood bombs quickly torpedoed her US career. Casting Liv in a Broadway hit that tanked was bad enough, but Saint Joan, The Abdication, and Zandy’s Bride quickly sunk, too. All this paled in comparison to Ross Hunter’s hilariously tacky musical remake of Lost Horizon. This camp classic quickly joined other such career-enders as Mame, At Long Last Love and Can’t Stop the Music. Actually, Ross Hunter should have produced 40 Carats, this glossy and glam light comedy would have been right up his alley!

Edward Albert & Liv Ullman meet cute in Greece, in "40 Carats."

Not that Liv Ullman is horrible as Ann Stanley in 40 Carats—she's a naturally empathetic actress—but the foreign star of heavy dramas is just terribly uncomfortable and miscast. Gene Kelly as Billy Boylan, Liv’s “slightly” older ex is a bit much, but he knows this type of material like the back of his hand, as does Binnie Barnes as mother Maud, and Nancy Walker as Liv’s secretary, and Natalie Schaefer as the annoying client.

Deborah Raffin knew her way around a pool table and light comedy in "40 Carats."

Note how good Deborah Raffin was playing pool, and she brings some game to breezy comedy, too. Raffin and Barnes have a good comic rapport as Trina, the modern young New York daughter and her with-it grandmother. Binnie Barnes neither looks nor acts her age and practically steals the movie.

Binnie Barnes is one hip grannie in "40 Carats," w/Edward Albert & Deborah Raffin.

Edward Albert's character Peter comes on a bit strong, but that’s from the script’s clumsy attempt to make his character look like a “no hang-ups” young man. Albert’s natural sensitivity makes up for the occasionally overbearing script points. But all’s forgiven in the closing scene, where Albert pulls up on his motorcycle, and finds Ullman waiting for him. Peter scrutinizes Ann, scowling slightly and then breaks out in a smile that would melt an iceberg.

Edward Albert, adoring and adorable, at the finale of "40 Carats."

Don Porter and Rosemary Murphy play Albert’s wealthy parents. Both are skilled actors, but Porter in particular comes off absurd, as the heavy who keeps referring to Ullman’s Ann as of “their generation.” Porter was frankly 60 and and Murphy pushing 50, so this is one of many instances where Ullman’s actual age undermines her character and performance.

No, Liv Ullman isn't laughing because Don Porter as her young beau's father,
keeps referring to her character as of "their generation!" With Rosemary Murphy.

I know some of my friends and family think I know too much movie trivia, but this blew my mind: M.J. Frankovich, a big producer in ‘60s and ‘70s Hollywood, was the adopted son of Joe E. Lewis! AND he was also married to Binnie Barnes. I had no idea! I found Frankovich quite interesting as he produced many sexy comedies in the late ‘60s and early ‘70s: Bob & Carol & Ted & Alice; Cactus Flower, Butterflies are Free, There’s a Girl in My Soup; and 40 Carats.  The producer also made a couple unintentional comedies: The Love Machine and Doctors’ Wives.

"40 Carats" in a nutshell!

Jay Presson Allen wrote the American adaptation from the French play for the Broadway version of 40 Carats. Leonard Gershe, a long time sitcom comedy writer, who also wrote Butterflies are Free, wrote the screenplay for 40 Carats.

Milton Katselas, a Broadway, film, and TV director, started off as an acting coach. His first directing gig was Edward Albee’s off-Broadway sensation The Zoo Story. Milton also directed the Broadway and movie version of Butterflies are Free. He directed Bette Davis in her Emmy-winning comeback, Strangers: The Story of a Mother and Daughter. He later directed Burton and Taylor in their infamous Private Lives production.

Binnie Barnes & Gene Kelly boogie down and steal a scene in "40 Carats."

40 Carats is very 70s, but in a good way. The worst comes at the beginning, with a sappy ballad over the opening credits, by Michel Legrand and Marilyn Bergman. Luckily, they wrote a truly lovely ballad that year, The Way We Were, which won them an Oscar.

Jean Louis wardrobe designs/selections are chic and character appropriate. Except Liv’s engulfing fur hat—that comes off as very Lucy Ricardo-esque. The opening and closing Greece scenes are lovely and the early ‘70s N.Y.C. scenes are evocative of the era, too.

Liv's Ann doesn't fit in at her young boyfriend's party, and neither does her hat!

For a ‘70s film, where there’s some characters that are shocked by Ann and Peter’s 18 year age difference, an equal number of characters are okay with their romance. And Gene Kelly’s ex-hubby gives a nifty little monologue about why numbers don’t matter when it comes to love. And Ann gets her happy ending with Peter after all. That was pretty progressive, for early ‘70s mainstream Hollywood!

Sadly, the two young stars of 40 Carats, Edward Albert and Deborah Raffin, beautiful to look at and charmingly well-cast, died young. Edward died of lung cancer at age 55 on Sept. 22, 2006 and Deborah of leukemia at 59 in 2012. 

This photo is a giveaway that "40 Carats" came from a stage comedy.

Edward Albert died at 55 in 2006, just a year and a half after his 99-year-old father, Eddie Albert.

Here’s a tribute to Edward Albert, in his first starring role, Butterflies are Free: https://ricksrealreel.blogspot.com/2021/02/edward-albert-forever-young-in.html

FYI: I put all the movie overflow on my public FB  movie page. 

Check it out & join!  https://www.facebook.com/groups/178488909366865/