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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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 »
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 »
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 »
Two Americans on a hunting trip in Scotland become lost. They encounter a small village, not on the map, called Brigadoon, in which people harbor a mysterious secret, and behave as if they were still living two hundred years in the past.
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
When Mame and Beauregard do their elegant soft-shoe routine in the middle of the title number, she holds her riding crop in her left hand. When the other dancers join in, the angle changes and goes to a close-up, and as it pulls back, the riding crop is now in her right hand, though her arms were linked by the dancers from one shot to the next, and she never realistically had a chance to move it. See more »
Now we all know about these women things, don't we.Come down here and sit beside me.
[Heavily pregnant Agnes sits down]
Now, what's your name dear?
And what does Mr. Gooch do?
Oh, my father passed on.
No no, I meant your husband.
I'm a bachelor girl. My baby is going to be a little bas...
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It has been a puzzlement to me ever since seeing Mame in it's premiere run way back in 1974, that so many people have so many different views of this movie. It is either absolutely loved or positively hated by the people who see it. I believe Lucille Ball is, and always will be Mame. She plays the character exactly the way she should be played, hard, tender, funny, bitchy, loving, sophisticated and free-spirited.
This film has a bright cheery look and feel with big splashy production numbers which lovingly look back at the grand old Hollywood Musicals of the past. The production values are stunning, with beautiful sets and costumes that are truer to the period than the ones in Auntie Mame. The supporting cast is great, with Bea Arthur as Vera Charles and Jane Connell as Gooch. And concerning the complaints about the filming of Lucy through gauze, just go back to the MGM Musicals of the 40's and 50's and you'll see almost every major female star, young and old, filmed through heavy gauze.
I've come to the conclusion that this movie has been labeled a bomb for so long that some people already have their minds made up not to like it before the opening credits have ended. And the ones who see it for the first time without any idea of it's troubled history, end up loving it!
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