Shot by a jealous husband, Charley falls out a porthole and is lost at sea only to find himself returned as an attractive blond woman. His best friend is staying at his house as he puts ...
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Shot by a jealous husband, Charley falls out a porthole and is lost at sea only to find himself returned as an attractive blond woman. His best friend is staying at his house as he puts Charlie's affairs in order and after being convinced, finds himself an unwilling helper in Charlie's new plan to marry into money. Written by
John Vogel <firstname.lastname@example.org>
Boy oh boy...do the opinions differ about this one! As a diehard Minnelli fan I went to see this one when it was first released. Even then I forgave its jerry-built comic premise and tried to enjoy it as I had some of Vincente's earlier assignments at M-G-M. But it really was quite labored and, for its day, a bit on the smutty side. Hard to believe that the devilishly clever George Axelrod had a hand in this script.
Minnelli, as usual, insisted upon giving it the maximum possible visual gloss. An acquaintance of mine who worked on the art direction/production design team assigned by 20th-Century Fox to this project revealed that when Minnelli first came to the studio to review some planned sets and storyboards, he threw them out and insisted that everyone give it another, better try. The final result, along with Helen Rose's chic women's wardrobe (a Minnelli ally from M-G-M, and, probably, brought to Twentieth with Debbie's enthusiastic approval), and Milton Krasner's slick CinemaScope/DeLuxe Color cinematography, is a good example of studio product that was becoming increasingly out-of-touch with the emerging tastes of audiences looking for somewhat less glossy entertainments. Andre Previn's title song, with lyrics by his then-wife, Dory Langdon, aptly underscored the somewhat off-color proceedings. The VHS video is, no doubt, "formatted," so, once again, I warn all comers: "Don't bother!"
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