7.0/10
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Sweet Charity (1969)

Taxi dancer Charity continues to have Faith in the human race despite apparently endless disappointments at its hands, and Hope that she will finally meet the nice young man to romance her ... See full summary »

Director:

Bob Fosse

Writers:

Neil Simon (from the New York stage production book by), Federico Fellini (based upon the screenplay by: "Nights of Cabiria") | 3 more credits »

On Disc

at Amazon

Nominated for 3 Oscars. Another 3 nominations. See more awards »

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Cast

Cast overview, first billed only:
Shirley MacLaine ... Charity
John McMartin ... Oscar
Ricardo Montalban ... Vittorio
Sammy Davis Jr. ... Big Daddy
Chita Rivera ... Nickie
Paula Kelly ... Helene
Stubby Kaye ... Herman
Barbara Bouchet ... Ursula
Suzanne Charny Suzanne Charny ... Dancer
Alan Hewitt ... Nicholsby
Dante DiPaolo Dante DiPaolo ... Charlie (as Dante D'Paulo)
Bud Vest Bud Vest ... Dancer
Ben Vereen ... Dancer
Lee Roy Reams Lee Roy Reams ... Dancer
Al Lanti Al Lanti ... Dancer
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Storyline

Taxi dancer Charity continues to have Faith in the human race despite apparently endless disappointments at its hands, and Hope that she will finally meet the nice young man to romance her away from her sleazy life. Maybe, just maybe, handsome Oscar will be the one to do it. Written by Jeremy Perkins {J-26}

Plot Summary | Add Synopsis

Taglines:

Hey Big Spender ! See more »


Certificate:

G | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

17 May 1969 (Japan) See more »

Also Known As:

Sweet Charity: The Adventures of a Girl Who Wanted to Be Loved See more »

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Box Office

Budget:

$20,000,000 (estimated)
See more on IMDbPro »

Company Credits

Production Co:

Universal Pictures See more »
Show more on IMDbPro »

Technical Specs

Runtime:

| (TCM print)

Sound Mix:

70 mm 6-Track (70 mm prints)| Mono (Westrex Recording System) (35 mm prints)

Color:

Color (Technicolor)

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Original producer Ross Hunter dropped out after a conflict with director Bob Fosse over how to handle the racy story line. See more »

Goofs

In the "Aloof" movement of "The Rich Man's Frug," two of the male principal dancers walk down the stairs to light a woman's cigarette, while the others dance behind them. The background choreography in this shot leads directly to the triangle formation of the next shot, and the two men are now in the middle of the group, although there was no time for them to reach that position. See more »

Quotes

Vittorio: Without love, life would have no purpose.
See more »

Alternate Versions

The version shown on British TV has the alternate 'happy' ending (available as a special feature on the DVD release) instead of the normal 'depressing' ending. See more »

Connections

Referenced in McCloud: Top of the World, Ma! (1971) See more »

Soundtracks

Big Spender
(uncredited)
Music by Cy Coleman
Lyrics by Dorothy Fields
Performed by Female Ensemble
See more »

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User Reviews

 
Fosse's first
1 July 2005 | by buby1987See all my reviews

Sure, Bob Fosse sometimes indulges in trendy late-60's stylistic touches like freeze-frames and crash-zooms. Some of the jokes by Neil Simon are corny, and Shirley MacLaine can be a little hard to take sometimes. The film also suffers from the bloated, over-produced quality that infected most 60's major studio musicals.

The dull non-musical scenes are a chore to sit through, but when one of Fosse's amazing production numbers begins, Sweet Charity soars into the sublime. Fosse was quite simply a genius, and the great showcase numbers such as "Hey Big Spender" and "Rich Man's Frug" are as brilliant as any dance numbers ever put on film.

Shifting configurations of dancers, contorted body poses, dance steps that are by turns awkward and graceful, a studied contrast between clustering dancers and separating dancers -- it is hard to describe the magic of the Pompeii Club sequence. I've always felt that Fosse's choreography has the same sense of space and volume as Cubist painting.

Fosse's camera placement and camera movement capture an ideal "in-the-round" feeling of choreographed numbers that one cannot experience in the theater. For a first-time film director, Fosse revealed an amazing facility for the form. Usually theater directors don't take to the medium of film as quickly as Fosse did. Usually, theater directors make visually unexciting films that feel stage-bound. Not Fosse -- Sweet Charity, despite some flaws, doesn't play like a filmed stage play, it has the visual panache of Fellini and Godard.

Sweet Charity was just a warm-up, Fosse's personal film school at Universal's expense, before he truly mastered the form of film-making with the classic Cabaret.


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