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W.C. Fields and Me (1976)

W.C. Fields is an American original, the curmudgeonly master of wit and good, mean fun.

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Cast

Complete credited cast:
...
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Carlotta Monti
...
Studio Head Bannerman
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Melody
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Agent Dockstedter
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...
Ludwig
...
Milt Kamen ...
Dave Chasen
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Gene Fowler
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Claude Fields
...
Ingenue
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Storyline

W.C. Fields is an American original, the curmudgeonly master of wit and good, mean fun.

Plot Summary | Add Synopsis

Taglines:

Even a man who hates children and dogs has to love someone. See more »

Genres:

Biography | Drama

Certificate:

PG
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Details

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Release Date:

11 January 1978 (France)  »

Also Known As:

Frenesi de Glória  »

Company Credits

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Color:

(Technicolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

The only actual incident from Carlotta Monti's book that was used in the movie was when Monti sprayed a hose on W.C. Fields' tin roof to simulate the sound of a waterfall. See more »

Goofs

The siren of the ambulance transporting W.C. Fields to the hospital is a modern electronic version, not the air driven type that would have been in use in the forties when he last lived. See more »

Connections

Referenced in Midnight Movies: From the Margin to the Mainstream (2005) See more »

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User Reviews

 
Steiger and Hiller give W.C. an even break...
25 April 2009 | by (las vegas, nv) – See all my reviews

Carlotta Monti, a would-be Hollywood hopeful in the 1930s, met rascally, alcoholic, volatile comedy actor W.C. Fields at a movie wrap-party and was later invited out to his spread, supposedly to talk about a part in his next picture; there wasn't one, but she spent the next fourteen years with him anyway, playing his loving--though seemingly platonic--mistress who also acted as Fields' personal stenographer, script girl, cook, maid, and mother-figure-cum-warden. Based on Monti's memoir, and with her advisory assistance, this biography of Fields seems pretty truthful and not a white-washed kiss-up job. Director Arthur Hiller and star Rod Steiger do not shy away from showing W.C. as an occasional heel, a heartless, self-confessed son-of-a-bitch. Yet, the movie's best moments are the quieter ones (Fields' brotherly relationship with a little person, his reunion with the son he hadn't seen in twenty years, his reaction after Carlotta discovers how lonely he is). Steiger, whose make-up job causes him to resemble a portly Van Johnson rather than Fields, is a bit shrill in places, and he gets off to a bad start; however, Steiger eases into the role with obvious relish, and his eagerness to showcase this incredible personality definitely comes through (his final scene in bed is a heartbreaker). Valerie Perrine as Carlotta is also too shrill (which can be blamed on Hiller's handling), but she matches up well with Steiger and doesn't take too much guff off him. The sequences set in and around the movie studio never quite achieve the magic we hope they'll reach (they're squashy and limp, due--partially at least--to David M. Walsh's terrible cinematography). However, the central relationship is nicely carried off, aided by a lovely Henry Mancini score and good character actors in support. A forgotten film--yet another sitting on the shelf down at Universal--but worth seeking out, especially to see Steiger's work. **1/2 from ****


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