Reviews written by registered user
|6 reviews in total|
From what I recall, Diana Shore was very much the lead on this one,
with Diana Ross a very comfortable performer along side of her. I
remember thinking this was one of Ross's first shows away from the
Supremes. The Shore and Ross were the cool "Hep" ones, and Lucille Ball
was the clown. "I'm Hip", she kept saying, which, on this show, was the
wrong thing to say.
Gowns, and dancing were well produced. I can't remember much about the musical presentation, though I remember being entertained through this show.
Very enjoyable, with many funny sight gags thrown in. I think "Laugh In" influenced this one.
This short lived series was not very pleasing to watch when it was new.
Thankfully Ms.Andrews found better vehicles for her talents following
this. Perhaps time will be kind to her appearances here, especially
since she did have full use of her unique singing voice then. She sang
on many of the episodes. Her vocal talents were taken for granted for
too many years, as they were by audiences at the at the time of the
showing of this series.
She sang with a monkey on one of the episodes: a low point, as I recall. The supporting cast was very mediocre: and the series seemed to be written to make Julie accessible to middle America by playing down her gifts. This is unfortunate, she is not a common performer by any means, and she doesn't play one well. She is simply too damn talented. Pity that American culture didn't afford her the recognition she deserved during these years. I suppose one cannot have a renaissance in one's career without having a good long slump, as she seemed to be enduring when this series was broadcast. I felt at the time that she would get over this, and she did.
*** This review may contain spoilers ***
I found this a very good complement to the equally underrated, in my
opinion, Isn't She Terrific. There are several memorable, and very
effective moments in this film. Michele Lee does a very good job. A
small film, but very enjoyable version of a wonderful love, and success
I remember how shocked we all were when Ms. Susanne's death was announced. In this film I remember her husbands' quiet pleading for her not to kill herself. I liked the depiction of the depths of Susannes demoralization as she chases "fame", over which she and her husband triumph. Her defense of the criticism of the frank passages in her book, as when she was confronted by her publisher that she couldn't write "You know how bitchy fags can be!" "It's true!" she declaims. I'm a gay man, she was right to defend her writing, and I loved the way Lee played it.
This version includes several EXCELLENT Ethyl Merman scenes, lots of fun, and very well played. I could go on: I saw this once, and was very impressed. Very Different than the Bette Midler version, which, in my opinion is an unusual vehicle to combing two wonderful stage performers, Midler and Nathan Lane. (Unusual yes, but people forget that this is both Midler and Lane together. (two performing legends, together)
*** This review may contain spoilers ***
Miss Ball does a fairly good job in an extended "solo" scene where she depicts her character's acute fears regarding her upcoming life as a single woman. As I recall, the scene seemed to be done in one cut... Additional scenes with her co-stars are fine, but no where near as unusual for Miss Ball. In her scene she is alone in her new apartment, with nothing but unpacked boxes to comfort her. In deciding what to do, all her fears confront her. Terrified, she breaks down, then finds the will to face tomorrow. This scene allowed her to present her dramatic side to her television audience, though I don't think many people watched. The show continued with a September/ June (not quite May) romance with Joseph Bologna, whom she initially puts off, but agrees to leave on a vacation with.
I saw this program when it premiered on broadcast TV. I haven't seen it
since except in my mind's eye and ear several times a year.
That counts as unforgettable, doesn't it?
I especially remember the excellent job of hosting Peters and Merrill both do. Especially when he introduces Sills: "Here's Beverly, at her best." He was right. She sings "Oh Luce de quest'anima". with sure confidence, no BROAD gestures, or smile, she nails it, she nails it, and nails it again. Like it was absolutely nothing for her. THAT was Sills in her prime, pre 1970 I believe.
Peters comment as she introduces Tebaldi and Corelli as "giants that we don't find in opera anymore" is sad and all too true. Still.
If you are a voice fan, you will be in heaven. And grateful that these excerpts were found.
I love this movie, and simply wish more film fans would watch it, and
watch it CLOSELY. The timing and line delivery are from an era we may
never see again. Those who know this film readily admit that most of
todays actors cannot do the things that came so easily to the actors
and director in this film.
PLEASE see this film, look closely, and urge others to at least see it.
I can add that I am happy that this film is at least anything but forgotten today, regularly turning in most "Top 100" lists. I regularly saw this film overlooked over the years, but not lately. When I mention this film there is usually at least one other person in the room who has seen it, and knows it's value. They always become as enthusiastic as I am when we speak of it.