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Beverly Hills couple Barbara and Dave Whiteman are very rich but not happy Dave is a hard working business man, his wife is only interested in yoga, aerobics and other meditation classes, and he sleeps with the house maid. Their teenage son is confused about his sexuality and their daughter is suffering from eating disorders. While they are celebrating thanksgiving having plenty of food, street tramp Jerry is hungry, homeless, sleeping rough and has lost his dog. Jerry decides to end his life by drowning himself in their swimming pool. Dave rescues him and invites him to stay for a while. How does this stranger change the life style of this family? Written by
Sami Al-Taher <email@example.com>
According to show-business trade-paper Variety, the film is a "comedy of manners" which "continues [writer-director] Paul Mazursky's love-hate relationship with the bourgeoisie and its institutions, especially marriage". See more »
Camera equipment is reflected in the patio doors as various characters run towards the pool where Jerry is drowning. See more »
Max, I think it's time you stopped all this screwing around and started to learn the hanger business.
I don't like hangers.
You don't like hangers? It's hangers that clothe you, and it's hangers that feed you!
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The credits open on scenes showing sites featured in Beverly Hills The end credits scroll on the alleyway outside the Whiteman's home, during which a bum pushing a trolley walks by, pauses to check on the Whiteman's dumpster, then continues on his way. See more »
This isn't one of Mazursky's better, serious films but it is an awful lot of fun nevertheless and it stays in the memory. It's an American reworking of Renoir's "Boudu sauve des eaux" and in the role of the scampish tramp it has the great Nick Nolte who looks like a disheveled bear. He's the Boudu character rescued by Beverly Hills businessman Richard Dreyfuss who is as genial and as soft as a poached egg and who radiates goodness. He's the kind of man who feels he has to set the world to rights but isn't pushy enough to do it. That can't be said of his jiggly wife, Bette Midler, who is brash, lewd and who seems to be wearing dresses several sizes too small for her. Midler moves like a mini tornado and her performance has some of the energy of her stage shows. Between them, Nolte, Dreyfuss and Midler bring combined wit and intelligence to the material. They seem to be having a right old time and their pleasure is infectious. Mazursky keeps things on a low boil and lets his players have their rein. It's to our advantage.
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