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Victor Victoria (1982)

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A struggling female soprano finds work playing a male female impersonator, but it complicates her personal life.

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(screenplay), (concept) | 1 more credit »
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Won 1 Oscar. Another 10 wins & 15 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
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...
...
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Graham Stark ...
Waiter
Peter Arne ...
Labisse
Herb Tanney ...
Charles Bovin (as Sherloque Tanney)
Michael Robbins ...
Manager of Victoria's hotel
Norman Chancer ...
Sal Andratti
...
Restaurant Manager
Maria Charles ...
Madame President
Malcolm Jamieson ...
Richard DiNardo
John Cassady ...
Juke
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Storyline

In 1934 Paris, trained coloratura soprano Victoria Grant, a native Brit, can't get a job as a singer and is having trouble making ends meet. She doesn't even have enough money for the basics of food and shelter. Gay cabaret singer Carole 'Toddy' Todd may befall the same fate as Victoria as he was just fired from his singing gig at a second rate club named Chez Lui. To solve both their problems, Toddy comes up with what he considers an inspired idea: with Toddy as her manager, Victoria, pretending to be a man, get a job singing as a female impersonator. If they pull this scheme off, Toddy vows Victoria, as her male alter ego, will be the toast of Paris and as such be extremely wealthy. That alter ego they decide is Polish Count Victor Grazinski, Toddy's ex-lover who was disowned by his family when they found out he was gay. The Count auditions for the city's leading agent, Andre Cassell, who, impressed, gets him a gig performing in the city's best nightclub. In the audience on the ... Written by Huggo

Plot Summary | Plot Synopsis

Taglines:

The disguise surprise comedy of the year!


Certificate:

PG | See all certifications »

Parents Guide:

 »
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Details

Country:

|

Language:

|

Release Date:

2 April 1982 (USA)  »

Also Known As:

Victor/Victoria  »

Box Office

Gross:

$21,933,614 (USA)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Metrocolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Rumors that Tom Selleck was at one time under consideration to play King Marchand were denied by Blake Edwards, who insisted that his first and only choice for the role was James Garner. See more »

Goofs

When Norma is attacking King in the hotel suite, and Squash steps in to protect him, Norma picks up a "decorative" spear and charges, unfortunately, she charges a bit too fast, because she has to take a quick pause (half step backwards) to allow Squash to slam the bedroom door, which she then pierces with the spear. See more »

Quotes

Norma: [about Squash] You know, I know he's supposed to protect you, but does he have to stay in the same suite with us? I mean I just keep expecting him to break in while we're, uh... while we're making love.
King Marchand: He'd only do that if he heard something unusual. Like if I got excited!
See more »

Connections

Featured in The Celluloid Closet (1995) See more »

Soundtracks

You And Me
(uncredited)
Music by Henry Mancini
Lyrics by Leslie Bricusse
Performed by Robert Preston and Julie Andrews
See more »

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User Reviews

 
The last great musical?
15 January 2003 | by (London, England) – See all my reviews

"Victor/Victoria" was the film where Blake Edwards finally managed to deliver his valentine to his wife, Julie Andrews, and convince the public to join in. Maybe because of that, it's one of his most heartfelt movies, and the enormous love between the director and his star do as much to warm up this movie as the careful colour composition of Dick Bush's fantastic - and underrated - photography.

This is a film where everything works perfectly. The acting ranges from the impeccable (the leads) through the touching (Alex Karras) right to the truly sublime (Robert Preston and Lesley Ann-Warren). The musical numbers are lovingly staged and shot and, possibly because this is a pre-MTV film, we actually get to see dancers dancing, as opposed to machine-gun assemblies of body parts performing details of not necessarily connected movements. The directorial touch is assured, proficient but never showy: the many complicated set-ups are executed with elegance, economy - not a frivolous camera movement to be seen - and discretion. (The circular pan around Julie as she sings "Crazy World" is a lovely example of how camera movement can create emotion without drawing attention to itself.) The sets and costumes are lavish but, again, do not distract. The screenplay is witty, full of deft touches, and Edwards treats his rather daring (for 1982) theme without blinking, and with great lucidity. (The other drag film of the year was "Tootsie", which stuck to the romance and stayed away from uncomfortable homosexual touches as much as it managed to.) The timing never falters. And the score is priceless.

All in all, a flawless entertainment, which, like the best movies from the studio system's heyday of which "Victor / Victoria" is a proud and worthy descendant, rewards the attentive (and interested) viewer with far more substance - and style - than might appear at first. I do not have the space to analyse this film at the length it deserves; but I can recommend it, which I do wholeheartedly.


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