Loretta Dalrymple, a homely young country girl comes to New York City and gets a job as a chambermaid in a large hotel. She meets Ed Olson, a photographer out of work, and Dan Riley, a ... See full summary »
A washed up singer is given a couple days to compose a chart-topping hit for an aspiring teen sensation. Though he's never written a decent lyric in his life, he sparks with an offbeat younger woman with a flair for words.
Marge is a capable secretary, but her bosses are more interested in her than her abilities. This causes her to be frequently unemployed. To get a job, she changes her look to make herself ... See full summary »
Two researchers have come to San Francisco to compete for a research grant in Music. One seems a bit distracted, and that was before he meets her. A strange woman seems to have devoted her life to confusing and embarassing him. At the same time a woman has her jewels stolen and a government whistle blower arrives with his stolen top secret papers. All, of course have the same style and color overnight bag. Written by
John Vogel <firstname.lastname@example.org>
Four songs from Cole Porter's musical "Anything Goes" are featured in the movie. They are "Anything Goes", "Night & Day", "You're the Top" and "I Get a Kick Out of You". See more »
When the cars chase the three wheeled bike, they drive from a hill with a STOP-sign. On the right we can see some parked cars (Chevrolet Corvair, Ford, Pinto and a Rover). In the next shot, when the Cadillac limo passes, the three cars are disappeared and changed in a 1971 Chevrolet Vega coupe, Chevrolet Caprice coupe, Triumph GT-6. See more »
I think the Hugh Simon theory will stand the test of time.
Exactly what *is* that theory Mr Simon?
I doubt you are qualified to understand it but it says that the 16th and 17th century composers developed a uniform scale platform based upon the intervals utilised in the mountaineer yodel.
And you developed this theory? That should come as a shock to Professor Findelmeyer.
I don't know what you're talking about.
Sure you do, the Findelmeyer Proposition.
I don't know what you're talking about, ...
[...] See more »
Well I simply can't resist to join what at a glance seems to be a very affectionate army of fans of this film - which is not only in my top three favourites of all time, but most definitely the funniest hour and a half ever registered on celluloid. I first saw it in 1974 - I was nine - and instantly fell under the spell. Frisco never looked prettier, flairs were fluttering, volkswagen beetles were zooming around, the muzak coming out of lifts and hotel lobbies is just as I remember it, the hair was only beginning to get big, but the aspirins were already huge...in the midst of all this, Streisand delivers like a sniper and actually looks sexy and desirable, O'Neal does his bespectacled Iowa music professor with all the dizziness of sex on legs that he was, and the cast generally glide through two separate crescendos of stupid situations, fuelled by dialogue in break neck speed, each more hilarious than the previous, all inexorably slipping into general uproar and mayhem at every turn.
But it's due to Madeline Kahn's ability to send one into hysterics with as much as opening her mouth that the film is a screwball comedy masterpiece, far superior than "Bringing Up Baby" to which it's nauseatingly compared to. The relish with which she bites into the character of Eunice Burns, in a role made for her down to the last breath in the script - is spectacular, as is its result on screen. In my mind it only compares to Jean Hagen's Lina Lamont effort in "Singin' In The Rain" - the only other single funniest female episode on screen.
Other than that, one liners, with which this stuff is packed to the rafters are still in circulation today - kept alive by enthusiast fans of seemingly all generations. This is a true comedy classic that hasn't lost any of it's breeziness, funk, sexiness and freshness with years. Dumb, twisted and invigorating all at once it's a true gem. Watch it and feel your I.Q. drop, and get hooked by all means. Or miss at your own peril.
In fact, I think I might just watch it again - now.
10/10, full on. :-)
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