Arthur is a happy drunk with no pretensions at any ambition. He is also the heir to a vast fortune which he is told will only be his if he marries Susan. He does not love Susan, but she ... See full summary »
Dudley Moore plays a composer who suspects his wife of cheating. He plots to kill her and frame it on her lover. The whole movie sort of compares his expectations of a perfect result to reality. In the end nothing turns out as planned.
Arthur is a happy drunk with no pretensions at any ambition. He is also the heir to a vast fortune which he is told will only be his if he marries Susan. He does not love Susan, but she will make something of him the family expects. Arthur proposes but then meets a girl with no money who he could easily fall in love with. Written by
John Vogel <firstname.lastname@example.org>
At one point during the production, Liza Minnelli is supposed to board a bus in front of Bergdorf's on Fifth Avenue. When a real bus came along, she boarded it thinking it was the "movie bus". Not until she was halfway down the block did she realize her blunder when she looked back and saw the whole crew cracking up. See more »
When Hobson is in the hospital, a two-tiered cart is rolled up the hall of the hospital. The only things on the bottom is a glass container of orange juice and a glass. When the cart enters Hobson's hospital room, a carafe of coffee has joined the orange juice and glass. See more »
From the beginning of this movie it seems apparent that the role of Arthur was meant to be played by a much younger actor. By the end, it's clear that nobody other than Dudley Moore could have done it so well. Looking back, one remembers the sappy Christopher Cross theme song (does anyone remember Christopher Cross?) and oh-so-80's clothing and sets with an unavoidable nostalgia. But the triumvirate of Moore as Arthur, Liza Minnelli as Linda, and Sir Johnny G as the butler Hobson, dripping with sarcasm and at the pinnacle of his considerable talent, make this more than a throw-away farce.
All the best lines belong to Gielgud, and the Academy Award was hardly adequate for such a legendary performance. Moore's lovable drunk would wear thin in later years, but here it is a fresh and delightful tour de force in the most politically incorrect way. Liza is flawless, but one hates to see her in a non-musical role, for fear of squandering such an immense talent. But the chemistry, the synergy between these legends is palpable.
The laughs never get old. It is, however, a tragedy that the DVD is not available in cinematic aspect.
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