30 Is a Dangerous Age, Cynthia

Dudley Moore, one of America's all time strangest movie stars, long before proving he could hold his own opposite Julie Andrews, displays his bag of tricks in this delightful (and extremely well-edited) tale of a 29-year-old composer who wants to hit it big and be married by the time he's 30, though he starts off with no prospects for either.

Naturally, it's wackiest up front, then settles in toward the hour mark as Moore loses and must find the woman he thinks he loves (Suzy Kendall, who actually was Mrs. Moore for a while. And who never looked better).

The music, by Moore, is pretty good. A delightful opening theme that gives one the mistaken impression it's going to be a knock off of "The Knack" and promises a superstitious theme it then forgets. Some excellent jazz (including a serious piece where Dud shows what he can do vis-a-vis a piano). Even a faux-madrigal where he gets to sing harmony with himself (I like early music, and it's not half-bad).

Some people think during this period Dud wasn't as good without his erstwhile partner, Peter Cook. And for someone who enjoyed Pete and Dud movies like "The Wrong Box" and "Bedazzled," one almost expects Cook to pop through a door at any given moment. But, genius though he was, Cook's career suffered worse, without Moore. (And don't judge this movie by what it isn't, but what it is).

Naturally, the sort of humor established early on can't be sustained. But this movie with the unwieldy title has some of Britain's familiar comic faces popping up for comedic turns, though it's worst crime may be the underutilizing of Eddie Foy, Jr. ("The Pajama Game"). The whole thing is refreshingly off-kilter without the more serious subtext that nearly upended "The Knack."

"30 Is A Dangerous Age, Cynthia" shares a producer (Walter Shenson) with the Beatles' "Help!" and runs along the same lines as well - the flimsy so-called plot is merely an excuse for endless musical segments, fantasy sequences and comic gags. It's very clear from the beginning how things are going to turn out for our hero (Dudley Moore as Rupert Street), and even moments of worry or conflict for the characters pass very quickly or are made humorous. Several chances for drama are wasted - much like Rupert's own musical, you could imagine that this movie began life with some thought and delicacy that was discarded in favour of more harmless frolic. Well, it's undeniably full of that, with its swinging 60's colour, fun and music. The detective who fancies himself an American-style "private dick" with appropriate voiceovers is very funny, as is Eddie Foy Jr. as Oscar, Rupert's endlessly scheming agent. Those who are looking for something along the lines of "Bedazzled" (ie. the Moore/Cook version, a personal favourite of mine) will likely be disappointed with the fluffy non-plot and lack of anything resembling drama (not to mention the absence of Peter Cook's witty scripting). However, this really is a must-see for Dudley Moore fans - the imaginary bits display him in a vast array of costumed guises, and he performs several of his self-penned songs in their entirety. If you're just looking for a bit of "Help!"-style silly fun, you'll enjoy this one.

In the beginning, I actually enjoyed this rather strange little film and then it seemed to run out of gas. Dudley wants to marry before 30 (in a few weeks.) So he proceeds to pursue this new girl, with time taken out to perform to the camera, musical numbers which I enjoyed very much. Then when she leaves the country, he takes off after her. Then a private investigator is hired to follow him. It all is very unbelievable, but enjoyable due to Dudley's childish charm. My main criticism is that the film kind of peters out by the end. But all in all, to forget your own troubles, you can be entertained by Dudley Moore's looney antics here.

"30 Is a Dangerous Age, Cynthia" could never be lumped in with Richard Lester's irreverent (i.e., disrespectful) comedies of the 1960s, nor the Monty Python movies which came into vogue a few years later. It's too enamored with American nostalgia...and is too eager-to-please to make its mark as a swinging comedy with an edge (such as 1967's "Bedazzled"). Dudley Moore plays 29-year-old British composer who hopes to be married by his 30th birthday (the age when a man is supposed to have his life together); he has his eye on a pretty lodger (named Louise!), but is also consumed by work while writing his first theatrical musical. Moore, who also co-wrote the screenplay with director Joseph McGrath and John Wells, seems to be having a high time here, though he relies too often on exaggerated facial expressions for laughs. McGrath eschews the popular mod trappings of the day for a more old-fashioned visual approach, including Walter Mitty-like daydreams, which is fine for the first three-quarters of an hour; after that, the gags get pushy and desperate, while the Bogart-spoof late in the proceedings is a complete miscalculation. Some spirit and style on a minor scale, and the score (also by Moore) is excellent. ** from ****

Doesn't take long into this movie before it becomes obvious a young Rowan Atkinson must have devoured this film at a tweener. In fact, I bet he hid between the seats to watch multiple showings of it on Saturdays.

Dudley Moore at the piano pulling toidy faces and singing like a git. Moore in front of the mirror pulling faces and singing in a falsetto. His rubbery, put-upon mannerisms. Black Adder and Mr. Bean are all hear in protean form.

I don't know whether this is the funniest thing I've ever seen. It was probably a lot funnier to the Brits in 1968. But it's an interesting snapshot in the career of one of England's most celebrated comics. And a harmless way to kill 90 minutes. I suggest it holds up a lot better than his two most celebrated movies: Arthur, when being shytfaced drunk 'round the clock was considered super-hilarious. And 10, when stalking super-hot and completely unattainable women was considered charming.