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30 Is a Dangerous Age, Cynthia (1968)

 -  Romance | Comedy  -  4 March 1968 (USA)
5.0
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Rupert Street, a piano player and composer, decides to write a musical and marry before he reaches his thirtieth birthday. One minor problem: he'll be 30 in six weeks...

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Title: 30 Is a Dangerous Age, Cynthia (1968)

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Cast

Cast overview, first billed only:
...
Rupert Street
Eddie Foy Jr. ...
Oscar
Suzy Kendall ...
Louise Hammond
John Bird ...
Herbert Greenslade
Duncan Macrae ...
Jock McCue
...
Mrs. Woolley
Peter Bayliss ...
Victor
John Wells ...
Honorable Gavin Hopton
Harry Towb ...
Mr. Woolley
Jonathan Routh ...
Ted Dicks Jr. ...
Horst Cohen
Nicky Henson ...
Paul
...
Doctor
...
Registrar
Derek Farr ...
TV Announcer
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Storyline

Rupert Street, a piano player and composer, decides to write a musical and marry before he reaches his thirtieth birthday. One minor problem: he'll be 30 in six weeks... Written by Homme A. Piest <piest@pobox.leidenuniv.nl>

Plot Summary | Add Synopsis

Genres:

Romance | Comedy

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Details

Country:

Language:

Release Date:

4 March 1968 (USA)  »

Also Known As:

Trau keinem über 30  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)
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Did You Know?

Trivia

Last film role of Duncan Macrae he had died before its release. See more »

Connections

References The Wild One (1953) See more »

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User Reviews

 
Madcap old-fashioned comedy...
30 March 2011 | by (las vegas, nv) – See all my reviews

"30 Is a Dangerous Age, Cynthia" could never be lumped in with Richard Lester's irreverent (i.e., disrespectful) comedies of the 1960s, nor the Monty Python movies which came into vogue a few years later. It's too enamored with American nostalgia...and is too eager-to-please to make its mark as a swinging comedy with an edge (such as 1967's "Bedazzled"). Dudley Moore plays 29-year-old British composer who hopes to be married by his 30th birthday (the age when a man is supposed to have his life together); he has his eye on a pretty lodger (named Louise!), but is also consumed by work while writing his first theatrical musical. Moore, who also co-wrote the screenplay with director Joseph McGrath and John Wells, seems to be having a high time here, though he relies too often on exaggerated facial expressions for laughs. McGrath eschews the popular mod trappings of the day for a more old-fashioned visual approach, including Walter Mitty-like daydreams, which is fine for the first three-quarters of an hour; after that, the gags get pushy and desperate, while the Bogart-spoof late in the proceedings is a complete miscalculation. Some spirit and style on a minor scale, and the score (also by Moore) is excellent. ** from ****


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