Matchmaker Dolly Levi travels to Yonkers to find a partner for "half-a-millionaire" Horace Vandergelder, convincing his niece, his niece's intended, and his two clerks to travel to New York City along the way.
Henrietta Robins works out of her home and her husband Pete drives a cab to try to support her. When Pete gets a tip from one of his fellow drivers that a deal will be made by the Americans and the Soviets over pork bellies, he decides to invest in the market, but needs to $3000 to invest. Henrietta then goes to extreme lengths to get the money by dealing with first a loan shark, then a madame, then the mob and finally cattle rustlers. All this in the name of love.Written by
Brian Washington <Sargebri@att.net>
The film was remade as a Hindi language Bollywood movie around three years later under the title of Aap Ki Khatir (1977) whose literal English translation is "For Your Sake". See more »
When Pete pulls Henry into the bathtub with him after the awful family dinner, it is clear that he is wearing briefs. See more »
Henrietta 'Henry' Robbins:
This is Henrietta Robbins, your cousin from Brooklyn... How's Dallas?... Great. Look. I hate to bother you again, but um I thought you'd like to know we got the pork bellies. The only thing is now they want 4000, or they're gonna kill me... Pete!... Oh My god, they got Pete!
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Although I have been aware of this film for a long time, it was only after watching its amusing theatrical trailer – on THE OWL AND THE PUSSYCAT (1970) DVD – that I became eager to watch it. The end result proved to be a patchy affair but, nevertheless, it does have its fair share of belly-laughs and, in any case, watching Streisand in kooky mode is always fun; Estelle Parsons and William Redfield are her hubby (Michael Sarrazin)’s well-to-do and snobbish relatives who particularly look down on Streisand.
It clearly emulates the screwball style of WHAT’S UP, DOC? (1972), parodies THE FRENCH CONNECTION (1971) – the underground station cat-and-mouse chase between Gene Hackman and Fernando Rey is performed here by a disguised Streisand and a persistent police dog! – and it also homages Buster Keaton’s GO WEST (1925) in the urban cow stampede sequence and Luis Bunuel’s BELLE DE JOUR (1967) in the role-playing encounters during Streisand’s disastrous stint as a call-girl! British action director Yates was surprisingly roped in for this, but he seems to have enjoyed the experience as his next project was on similarly zany lines – the black comedy MOTHER, JUGS AND SPEED (1976; which I’ll be watching presently).
Another notable sequence sees the heroine involved, unbeknownst to her, in terrorist activity (she’s asked to deliver a package in disguise to a similarly-dressed woman) – which eventually rebounds on her shady brother employers! Similarly, one of the best lines has Streisand’s nonchalant black maid (she hires a Hispanic woman to do her own cleaning-up!) who, admiring the former’s tenacity, tells her: “Girl, you could even sell a Confederate flag in Harlem!”
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