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Victor Victoria (1982)

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

Director:

Writers:

(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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Andre Cassell
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Herb Tanney ...
Charles Bovin (as Sherloque Tanney)
Michael Robbins ...
Norman Chancer ...
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Restaurant Manager
Maria Charles ...
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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:

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Language:

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Release Date:

19 March 1982 (USA)  »

Also Known As:

Victor/Victoria  »

Box Office

Gross:

$21,933,614 (USA)
 »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

(Metrocolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Julie Andrews and John Rhys-Davies appeared in The Princess Diaries 2: Royal Engagement (2004). See more »

Goofs

The song Norma sings in the nightclub, "Chicago, Illinois," includes the line "maybe some day we'll have an airport." The movie is set in 1933. Midway Airport began operations in 1927 and by 1929 was considered "the world's busiest airport" with over 100,000 passengers annually. See more »

Quotes

Norma: [being taken to the train station by Squash] Thinks he can just push me around! Thinks I'm just gonna hop on the next boat for the States and that'll be that! Well, you've got another thing coming Mr. Big-shot Fairy Marchand! 'Cause Mrs. Cassidy's little goil Norma ain't gonna take this one lyin' down!
[Norma boards the train. The camera follows her through the windows, walking down the corridor, raving to herself. She gets out on the balcony of the last car]
Norma: ...And don't kid yourself! You ain't ...
[...]
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Connections

Referenced in Hay que Hacer un Musical (2014) See more »

Soundtracks

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