It's the late 1920s. Upon the death of wealthy Chicagoan Edward Dennis, his nine-year old son Patrick Dennis becomes the ward of their only living relative, Edward's equally wealthy New ...
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Nicky and Tacy are going to be married. Nicky wants to save up money for a house, but Tacy dreams of starting off with their own home on wheels--a trailer. After the two are hitched, they ... See full summary »
An American actor (Arthur Tyler) impersonating an English butler is hired by a nouveau riche woman (Effie Floud) from New Mexico to refine her husband and headstrong daughter (Aggie). The ... See full summary »
Susan and Lorenzo have been married for over five years and they are starting to drift apart. So into her life comes an angel, which only Susan can see, to tell her that there will be ... See full summary »
Little Pinks is in love with a nightclub singer named Gloria. But it is a unrequited love as she does not know that he exists. Pinks is a shy busboy and Gloria only goes out with men who ... See full summary »
In the fourth of the highly successful Frankie and Annette beach party movies, a motorcycle gang led by Eric Von Zipper kidnaps singing star Sugar Kane managed by Bullets, who hires ... See full summary »
Judy O'Brien is an aspiring ballerina in a dance troupe. Also in the company is Bubbles, a brash mantrap who leaves the struggling troupe for a career in burlesque. When the company ... See full summary »
Roy Del Ruth
It's the late 1920s. Upon the death of wealthy Chicagoan Edward Dennis, his nine-year old son Patrick Dennis becomes the ward of their only living relative, Edward's equally wealthy New York residing sister, Mame Dennis. Edward's will states that Patrick is to be raised Protestant in a "traditional" manner and that the trustee, Mr. Babcock with the Knickerbocker Bank, will pay Mame for expenses incurred in raising Patrick, he having the right of refusal to pay if he deems that the spirit of Edward's will is not honored. Mr. Babcock and Patrick's longtime nanny, the timid Agnes Gooch, are to ensure that Patrick is raised correctly. Edward included these stipulations in his will as he knows his sister is a flamboyant, free wheeling and eccentric woman who can be considered anything but traditional or conventional. Despite the disruption each provides in the other's life, Mame and Patrick form a loving, supportive relationship. Mame wants to provide her sense of guidance to Patrick, ... Written by
Many years later, Jane Connell went into a Manhattan video rental store and asked if they had a copy of "Mame". The clerk told her "You don't want to watch that movie - it's terrible - you want to watch Auntie Mame (1958) instead". See more »
When Mr. Babcock and Mame argue, she has her hands protectively on Patrick's shoulders. Shot cuts to Babcock saying "That's not a school, it's the Garden of Eden," and when it cuts back to the longer shot, her hands are covering Patrick's ears. This odd bit of continuity is due to cut dialogue, in which she declares "What could be more wholesome and natural?" and he responds "It is not wholesome and natural for boys and girls to run around half nude." Mame is shown covering Patrick's ears while responding "Mr. Babcock! Not in front of the B-O-Y!" See more »
[after Patrick and Pegeen say he can't go to Siberia with Mame]
You know what your problem is mom? You don't Live Live LIVE! Life is a Banquet and most sons of bitches are starving to death!
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The Paragon of American Film: 1970s Opulence Over '50s/'60s Camp & Kitsch
Like the glorious cinematography from beginning to end, "Mame" sparkles in true silver-screen opulence and is to the embarrassment of 1950s/1960s musicals and films represented by "Auntie Mame" that 1970s "Stars Wars" is to the embarrassment of 1950s/1960s science-fiction films. On par with 1970s "The Black Stallion" and "The Godfather," the unsurpassed cinematography during a time when silver was still used in film-making, with every shot of Lucy a photographic masterpiece, the lush orchestrations and arrangements of the masterfully-reworked songs brought to shimmering life by the 1970s characteristic most monstrous orchestras in history, the seamless dance numbers and unparalleled choreography, and some of the most touching scenes in all of film, with young-Patrick singing to Lucy after her cameo stage number, all come together in a chef d'oeuvre that elevates this "Queen of Television" to her throne as "The Queen of Film" too. The intellectual and artist apex of this civilization represented by the 1970s is in blazing contrast against the campiest and most kitschy time-period in history represented by 1950s/1960s film, television, and music. And this film, Lucy's most revered trophy, stands as that symbol.
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