I Just Watched...

[EricJ]

1 hour ago, LornaHansonForbes said:

Oh I didn’t say Susan Clark was a lesbian, I said she was a lesbian icon. Same thing with Doris Day.

Lesbian icons are not made, they’re born, And they themselves do not have to actually be lesbians.i can’t explain the phenomenon.

(So...guess there's no hope on the Fantasy Island question, then?  Or how Exorcist II, Sgt. Pepper, and the original Jem & the Holograms ended up in the sale?)

Quote

Gay icons, that’s easy. Give me a ponytail extension,  some body glitter and a drum beat and I can become a gay icon by next Wednesday.

The lesbians tend to be more discerning though.

Sadly, I am on my phone and I can’t post any images, but Susan Clark on WEBSTER Just is WALKING LESBIAN CHIC (Right down to the interracial adoption which is the ultimate lesbian accessory, forget the key ring on the belt loop),  Even if she was not in fact a lesbian....

Okay, so, like most LGBT "icons", it's just wishful thinking, then--"Gee, I WISH she was just like us, and then we'd have a really character in mainstream pop-culture!"--like Spongebob and Queen Elsa?  Especially if it emphasizes obvious cliche'd mainstream stereotypes, which is the only way they believe straights can "identify" them in public in the first place?  😛

(Oh, and I remember explaining the whole Peppermint Patty & Marcie thing in the "Peanuts" strip a while back...I did do that, right?)

[LawrenceA]

Fireball 500 (1966)  -  4/10

AIP knew the beach party formula had gone stale, so they decided to take their cast to the world of...stock car racing! Frankie Avalon stars as hotshot racer Dave, who gets mixed up with moonshiners in North Carolina. He meets nice girl Jane (Annette Funicello), and starts a rivalry with local racing champ Sonny (Fabian). Also featuring Harvey Lembeck, Chill Wills, Julie Parrish, Douglas Henderson, Len Lesser, and a bunch of Playboy models. Powerful, exciting, scintillating, well-acted, well-written, and entertaining are all words that I would not use to describe Fireball 500. With real racing footage, and the voice of Vin Scully.

Source: internet

[LornaHansonForbes]

I watched the 1953 HOUSE OF WAX for the 19th time. 

There are so many small moments of real violence in this film, im continuously surprised that they managed to get past the Hayes office.

[Tikisoo]

With all the David Lynch news I decided to catch up on some of his movies yet unseen and took 2001's Mulholland Drive out from the library.

The opening of a colorful kaleidoscope of jitterbug dancers had me hopeful this Lynch might be different: cheerful, fun homage to the 40's, maybe old Hollywood. The story starts out with a beautiful blonde girl in the back of a limo winding up Mulholland drive at night and then CRASH! an accident. A beautiful but dazed dark haired girl stumbles from the wreckage and makes her way down the hill and sneaks into a home to recover.

A pretty blonde girl (same as in the limo?) enters the home and discovers the bruised brunette who apparently has a concussion and amnesia. Instead of taking her to the hospital or even calling police -this is a Lynch film- they set off to unravel her identity. And because this is a Lynch film the mystery is not resolved, it just becomes more confusing the longer you watch.

I am always disappointed at the end of Lynch's films, there is never a cohesive story-this one is no exception. I don't even think Lynch HAS a story, he just shows us all sorts of nightmarish images from several angles, using the same people playing different roles, crafting a big confusing mess. The principle actors talent keeps the viewer interested enough to finish the movie- the imagery is often shocking, lurid, fascinating and confounding all the same. Mulholland Dr is no exception...Lynch has trotted out his usual bits; the midget, the cowboy, the dazed person, the hired gun, etc. 

The best aspect of any Lynch film is the inclusion of Angelo Badalamenti's music. I bought his Twin Peaks soundtrack on a whim way back in the 80's and have collected everything he's ever crafted since then. I love how Badalamenti's music colors Lynch's films, but it also completely stands on it's own. And like Lynch, Badalamenti's music evokes interaction, conscientious thought by the listener. 

Some filmmakers spoon feed you a story (Capra) while others show you the story in pictures (Kubrick) and Lynch just shows you action, with only the thinnest story. He can claim there's a story, and you can fabricate one based on the imagery, but there really isn't one. Storytelling isn't Lynch's schtick. But I'm glad he's making movies, he's crafted movies into his own genre and I'm sure there's those who really enjoy the challenge he presents.

[rayban]

"The Female Animal" - Harry Keller - 1958 -

starring Hedy Lamarr, Jane Powell, George Nader and Jan Sterling -

alright, it's trash cinema, pure and simple -

a famous Hollywood actress and her daughter who become involved with the same man -

the man, a Hollywood extra, is afraid of being "a kept man" -

the problem with the film is that the director and the stars try to transform it into something tasteful -

if its' trashiness had been embraced, it might have been a cult classic - 

or maybe so bad that it's good fringe cinema -

kudos to George Nader,  for giving us something that we've never seen before -

a man trying to hang on to his masculinity -

some men do not want to be "boy-toys" -

or handled like "arm candy" -

will he - or won't he -

your choice, ladies and gentlemen -

 

[Janet0312]

3 hours ago, LornaHansonForbes said:

I watched the 1953 HOUSE OF WAX for the 19th time. 

There are so many small moments of real violence in this film, im continuously surprised that they managed to get past the Hayes office.

You know, you're right. I tuned into the other night and I couldn't watch. There's always been something about that picture that disturbed me. Maybe it's the violence. 

[Janet0312]

On 6/27/2019 at 8:44 AM, LornaHansonForbes said:

i watched THE LAST GANGSTER (1937)- a film EDWARD G ROBINSON made on loanout to MGM...it was the most challenging role I've seen him play, and he was excellent- and the film has a lot of effective moments, but overall IT IS FRIGGIN WEIRD.

ROBINSON is a crime boss obviously modeled on AL CAPONE who married a foreign lady who can barely speak English who reminded me a lot of the current First Lady, only the lady in the movie's English improved notably as her role progressed. she was played by ROSE STRADNER- who did not do a lot of other stuff and i can see why (bless her heart). edit- according to imdb, LUISE RAINER was supposed to play the part.

EDDIE goes to ALCATRAZ for tax evasion and she takes their infant son and marries JAMES STEWART- who was not good in a badly written role.

10 years later, EDDIE gets out and seeks revenge, but before that- his son with his ex who has grown into a SLIGHTLY less prissy FREDDIE BARTHOLEMEW in a clown beanie , is drawn into a sadistic kidnapping scheme.

The ending to this thing is bonkers and there are some torture scenes that I'm surprised the Hayes Office allowed.

Just a weird movie, but EDDIE was GREAT.

It IS a strange little flick. I tune in whenever I can just because of EGR.

[Hibi]

1 hour ago, rayban said:

"The Female Animal" - Harry Keller - 1958 -

starring Hedy Lamarr, Jane Powell, George Nader and Jan Sterling -

alright, it's trash cinema, pure and simple -

a famous Hollywood actress and her daughter who become involved with the same man -

the man, a Hollywood extra, is afraid of being "a kept man" -

the problem with the film is that the director and the stars try to transform it into something tasteful -

if its' trashiness had been embraced, it might have been a cult classic - 

or maybe so bad that it's good fringe cinema -

kudos to George Nader,  for giving us something that we've never seen before -

a man trying to hang on to his masculinity -

some men do not want to be "boy-toys" -

or handled like "arm candy" -

will he - or won't he -

your choice, ladies and gentlemen -

't

 

Yes, agree. The film wasn't trashy enough to become a cult classic. On another tangent, if they had developed the mother/daughter relationship more it could've been sort of a 50's Mildred Pierce. But it failed there also. Still, George is nice to look at and takes his shirt off a lot.........

[speedracer5]

A Double Life (1947). ***POSSIBLE SPOILERS AHEAD***

As part of my Edmond O'Brien kick, I borrowed A Double Life from the library.  O'Brien isn't in the first part of the film much at all.  I was beginning to wonder if he was going to do more than say a couple lines here and there.  His character is mentioned often and fuels the jealousy in Ronald Colman's character.  O'Brien however plays a pivotal role in the last part of the film.

A Double Life was fantastic.  In this film, Colman stars as an actor who is known for his extreme "method acting" to the point where his own personality is completely taken over by the personality of whatever character he's playing at the time.  When Colman is playing a comedic role in a play, he's completely charming and everyone loves him.  However, if he is playing a dramatic role, he gets so enmeshed in the part that he's a completely different person--usually an awful person, depending on the character.  His wife, Signe Hasso, actually divorces him because of this.  Despite loving him, she just couldn't handle his personality completely changing each time he appeared in a new dramatic role.

Colman is offered the title role in Shakespeare's Othello, which Colman is very hesitant to accept.  Hasso, who still loves Colman, is also unsure of him taking on this project.  At this point in the film, I had to research what Othello was about so I could understand everyone's hesitation. In a nutshell, Othello is about a man who becomes extremely jealous when he thinks his wife, Desdemona is having an affair (at least that's what I gathered). 

Anyway, as Colman hems and haws over the part, to the point of reciting Othello's soliloquies to himself and picturing himself as Othello, and decides to accept the part.  Prior to starting in the play, Colman means a young, buxom (as she's described later) waitress, Shelley Winters. He finds himself charmed with her and even spends time with her.  As far as I can tell though, he isn't in love with her, like he is with ex-wife Hasso.  I think Colman likes that this young woman is interested in him, and she likes that this older, distinguished gentleman is interested in her.  Anyway... 

Rehearsals are over and Colman and Hasso perform for the first time as Othello and Desdemona.  There's a scene toward the end of the play where Othello strangles Desdemona to death while kissing her passionately.  The play is a big hit.  We then are treated to a montage of standing ovations, performances, telegrams, etc. showing us that the play is now in its 200th performance.  As expected, Colman has completely lost himself in the part of Othello.

Soon, life imitates art as Colman completely loses himself while canoodling with Winters.  Seeing that it is Shelley Winters, her part in the film does not end well. 

Colman was in such a fugue state that he has no idea what has happened.  This is when O'Brien's character comes in and tries to figure out what really happened to Winters.  Underneath all of this story, there is the theme of jealousy, where Colman whose personality has been taken over by Othello, becomes jealous of O'Brien's relationship with Hasso.  It seems that O'Brien has feelings for her, she knows, and she is friendly with him.  As far as I can tell though, they aren't having any type of romantic relationship.

Anyway.  This was a great film, one that I'd definitely watch again.  Colman completely deserved the Oscar he won for this film.  I read that Cary Grant was offered this part, but he turned it down, concerned that he couldn't deliver Shakespearean dialogue. Grant in this part may have been interesting...

[cigarjoe]

3 hours ago, TikiSoo said:

A pretty blonde girl (same as in the limo?)

You lost it right there.... 

[LawrenceA]

Follow Me, Boys! (1966)  -  6/10

Family film from Disney, with Fred MacMurray as a former musician who agrees to head a small town's Boy Scout troop on an effort to curb delinquency. Fred also romances bank employee Vera Miles, and attempts to mentor troubled kid Whitey (Kurt Russell), son of the town drunk (Sean McClory). Also featuring Lillian Gish, Charles Ruggles, Elliott Reid, Luana Patten, Ken Murray, Donald May, Steve Franken, William Reynolds, Richard Bakalyan, Paul Gleason, John Larroquette, and Parley Baer. Typically wholesome family fun, the kind one expects from live-action Disney films of the time. MacMurray was nearly 60 at the time, and was too old for his role, but he's not bad. I watched it for Kurt Russell, who gets the featured kid role and does well in it. From what I've read, this was the last Disney film produced during Walt's life, and he died a couple of weeks after its release.

Source: TCM

[LawrenceA]

Fort Yuma Gold aka For a Few Extra Dollars (1966)  -  6/10

Spaghetti western from director Calvin J. Padget (real name Giorgio Ferroni). Montgomery Wood (real name Giuliano Gemma) stars as Confederate officer Gary Hammond, imprisoned shortly after the end of the Civil War. The Union general in charge of the prison asks Hammond to go on a mission to stop a renegade Confederate general and his band of outlaws from robbed the gold deposits at Fort Yuma. Hammond agrees, but soon discovers that there's more to the story than he was led to believe. Also featuring Dan Vadis, Sophie Daumier (playing a character named "Connie Breastfull"), Jose Calvo, Angel del Pozo, Andrea Bosic, Benito Stefanelli, Red Carter (real name Nello Pazzafini), and Jacques Sernas. The movie has six credited screenwriters, which was not uncommon on Italian films at the time, but it may explain the overstuffed and piecemeal feel of the story. Wood/Gemma is boring as the hero, but Vadis makes for a good villain, and Daumier is good as the showgirl love interest. There's a little bit of Ennio Morricone music on the score.

Source: Mill Creek Blu-ray

[CinemaInternational]

22 hours ago, kingrat said:

One of the interesting things about North Avenue Irregulars is how low Cloris Leachman is billed. She had won an Oscar for The Last Picture Show and was one of the best-known players in the cast. Her name certainly meant more at the box office than Barbara Harris did. It's a "fire your agent or demand extra money for the bad billing" situation.

While we're on the topic of billing on that film, Patsy Kelly and Virginia Capers also both had shockingly low co-starring billing.

[EricJ]

4 hours ago, LawrenceA said:

Follow Me, Boys! (1966)  -  6/10

I watched it for Kurt Russell, who gets the featured kid role and does well in it. From what I've read, this was the last Disney film produced during Walt's life, and he died a couple of weeks after its release.

In fact, Walt's last public film appearance (apart from the Epcot film) was a filmed introduction to the premiere, telling studio insiders to keep an eye on the career of that Kurt Russell kid, he's going places...

[LawrenceA]

The Frozen Dead (1966)  -  4/10

Sci-fi/horror shot in England with Dana Andrews as a Nazi scientist working to revive a bunch of frozen Third Reich officers that he keeps in a walk-in freezer. Dana's having trouble reviving them without brain damage resulting, so he does some experiments on a woman's disembodied head that he keeps on a table (think The Brain That Wouldn't Die). Also featuring Anna Palk as Dana's clueless niece, Philip Gilbert as a young doctor who may or may not assist Dana with his atrocities, Kathleen Breck, Karel Stepanek, Basil Henson, Alan Tilvern, Oliver MacGreevy, and Edward Fox. This is very silly and frequently stupid, but the head-on-a-table looks creepy, with pulsating tubes attached and a clear dome on top providing a view of the brain. There's also a wall with human arms hanging from it that Dana can activate with a switch. How useful. The version I saw was in full color, as it was in the British release, but the American distribution was in B&W.

Source: internet

[scsu1975]

44 minutes ago, LawrenceA said:

The Frozen Dead (1966)  -  4/10

Sci-fi/horror shot in England with Dana Andrews as a Nazi scientist working to revive a bunch of frozen Third Reich officers that he keeps in a walk-in freezer. Dana's having trouble reviving them without brain damage resulting, so he does some experiments on a woman's disembodied head that he keeps on a table (think The Brain That Wouldn't Die). Also featuring Anna Palk as Dana's clueless niece, Philip Gilbert as a young doctor who may or may not assist Dana with his atrocities, Kathleen Breck, Karel Stepanek, Basil Henson, Alan Tilvern, Oliver MacGreevy, and Edward Fox. This is very silly and frequently stupid, but the head-on-a-table looks creepy, with pulsating tubes attached and a clear dome on top providing a view of the brain. There's also a wall with human arms hanging from it that Dana can activate with a switch. How useful. The version I saw was in full color, as it was in the British release, but the American distribution was in B&W.

Source: internet

I saw this in the theater when it first came out. It was pretty creepy at the time ... now it's pretty ridiculous. When I saw it years later on television, I thought "hey, I saw this in black and white ... how come it's in color now?"

Anna Palk had a nice pair. Philip Gilbert was dull. The arms probably did the best acting.

[scsu1975]

The Frozen Dead might make a nice double feature with Frozen Alive (1964), although compared to the latter, the former is a work of genius.

[LawrenceA]

A Funny Thing Happened on the Way to the Forum (1966)  -  7/10

Musical comedy directed by Richard Lester, based on the stage hit. Zero Mostel stars as Pseudolus, a slave owned by wealthy Romans Senex (Michael Hordern) and Domina (Patricia Jessel). In order to win his freedom, Pseudolus attempts to help his owners' son Hero (Michael Crawford) unite with his beloved **** (Annette Andre), a virgin residing in the brothel run by Marcus Lycus (Phil Silvers). Also featuring Buster Keaton (in his final role), Jack Gilford, Leon Greene, Roy Kinnear, Pamela Brown, Jon Pertwee, and Inga Neilsen. Many of the stage triumph's songs were cut for the film, as the producers felt musicals were waning in popularity. I thought the film was funny, even if some of it fell flat for me. I wasn't as annoyed by Phil Silvers as usual, and Mostel was perfectly cast. The movie won an Oscar for Best Score, Scoring of Music, Adaptation or Treatment (that category name just rolls off the tongue, doesn't it?).

Source: MGM DVD

[the censored name is P-h-i-l-i-a]

[Casey06]

I just had a classic double feature, My Man Godfrey(1936), and The Asphalt Jungle(1950). 

I probably couldn’t have picked two more different films lol! Both were a lot of fun. My Man Godfrey was pretty funny and had some wonderful acting. I had never seen a William Powell or Carole Lombard film before this and I was very impressed.

The Asphalt Jungle is my preferred of the two. I love John Huston movies and this one didn’t disappoint in the least. Loved the heist aspect and the cast. Really, some fantastic character actors are in this film; Sterling Hayden, Sam Jafe, James Whitmore, Jean Hagen and of course a little blond bombshell named Norma Jean😉. Love me some good old fashioned film noir! 

[JamesJazGuitar]

11 minutes ago, Casey06 said:

I just had a classic double feature, My Man Godfrey(1936), and The Asphalt Jungle(1950). 

I probably couldn’t have picked two more different films lol! Both were a lot of fun. My Man Godfrey was pretty funny and had some wonderful acting. I had never seen a William Powell or Carole Lombard film before this and I was very impressed.

The Asphalt Jungle is my preferred of the two. I love John Huston movies and this one didn’t disappoint in the least. Loved the heist aspect and the cast. Really, some fantastic character actors are in this film; Sterling Hayden, Sam Jafe, James Whitmore, Jean Hagen and of course a little blond bombshell named Norma Jean😉. Love me some good old fashioned film noir! 

Powell and Lombard were married but divorced before making Godfrey but they were still close friends.    They have wonderful on-screen chemistry in the film.    I highly recommend other films from these two greats;  E.g. The Thin Man serial with Powell and his best screen partner,  Myrna Loy,   and Lombard comedies she made with Fred MacMurrray etc..

  

 

[EricJ]

Twilight's Last Gleaming (1977) - 👎

My eye for late-70's thrillers saw this on the rare-Blu-ray shelf at the library, so my urge to go completist picked this up:  Usually, when I find a rare movie, I like to check its listing out first with Amazon Prime (a good place to find rare vintage trailers) or Vudu (which lists the RottenTomatoes critic-blurbs), but for some reason--possibly its German-American ownership--it was nowhere to be found on any of the streaming services.  In fact, trying to look up whether any TCM'er had already reviewed it, I found one post from '05 asking "Why does nobody ever show it??"  Okay, now I HAD to watch this on Blu.  😎

It's a fairly standard late-70's all-star cast Pentagon thriller--If it says Richard Widmark on the cast, you know he's going to play a top general, and even more ridiculously than in "The Swarm".  Here, Burt Lancaster--playing the mad-dove equivalent of his mad-hawk general from "Seven Days in May"--hijacks a nuclear missile silo, demanding the President (Charles Durning, uncannily resembling the present-day Bill Clinton) as hostage, and threatens to launch if the government doesn't release the secret memo of why we went to Vietnam.  (Apparently, the original book was written back before Daniel Ellsberg leaked the Pentagon Papers, and Burt could have waited and saved the trouble.)  

The whole "Ironic patriotism" is laid on a little too thickly, as if the German filmmakers were trying a little too hard to make an American Picture, but the real problem is director Robert Aldrich:  The ex-Baby Jane director didn't quite survive the 70's ("The Longest Yard", "The Choirboys"), the Aldrich touch was never elegant or subtle, and the opening "heist" scenes of hijacking the silo are spoiled by turning Lancaster's partners-in-crime into foul-mouthed cliche' thugs.  Also, for almost half the film, Aldrich tries to borrow Brian dePalma's trick of split-screening parallel plots and phone conversations, but doesn't seem to understand how dePalma used them for "suspense"--Here, he just lets things play out like we're watching the movie on dual security cameras, or a film-school editing assignment of "How would you intercut these two scenes to make it more exiting?"

[LawrenceA]

The Game Is Over (1966)  -  6/10

French drama from director Roger Vadim, based loosely on Emile Zola's La Curee. Young, rich Canadian Renee (Jane Fonda) is unhappily married to older, rich Frenchman Alexandre (Michel Piccoli). When Alexandre's grown son from a previous marriage Maxime (Peter McEnery) comes home to stay, Renee and the young man begin a love affair. Also featuring Tina Aumont and Howard Vernon. There's very nice cinematography by Claude Renoir, but not much else beyond the half-naked Fonda. She spends a lot of time with her shirt off, and there's a lot of fleeting almost nudity, enough to cause a ruckus at the time and to get the movie banned in Italy. This was filmed in English and French versions, and I saw the latter.

Source: internet

[LawrenceA]

Here Is Your Life (1966)  -  8/10

Swedish drama from director Jan Troell. The nearly three-hour film tracks the teenage years of Olof (Eddie Axberg) in the late 1910's. He leaves home at age 15 to find work, settling in at a lumber company, meeting odd characters and learning about life. Olof later moves on to working at a movie theater, and eventually a traveling circus. His experiences shape his outlook, as does his voracious reading, with a particular interest in philosophy. Also featuring Max Von Sydow, Gunnar Bjornstrand, Allan Edwall, Ake Fridell, Per Oscarsson, and Ulla Sjoblom. Lyrical, meandering, often beautiful, this was director Troell's feature debut. It's a snapshot of Sweden at a particular time and among a particular class, but the film holds universal appeal thanks to the quality of its compositions and the effective performances. The secondary characters come and go, with Axberg's Olof being the one constant, and he anchors the film well. The cinematography is mostly B&W, but there are bits here and there in color, usually memories or imaginings of Olof's. Recommended.

Source: The Criterion Channel

[rayban]

8 hours ago, LawrenceA said:

The Game Is Over (1966)  -  6/10

French drama from director Roger Vadim, based loosely on Emile Zola's La Curee. Young, rich Canadian Renee (Jane Fonda) is unhappily married to older, rich Frenchman Alexandre (Michel Piccoli). When Alexandre's grown son from a previous marriage Maxime (Peter McEnery) comes home to stay, Renee and the young man begin a love affair. Also featuring Tina Aumont and Howard Vernon. There's very nice cinematography by Claude Renoir, but not much else beyond the half-naked Fonda. She spends a lot of time with her shirt off, and there's a lot of fleeting almost nudity, enough to cause a ruckus at the time and to get the movie banned in Italy. This was filmed in English and French versions, and I saw the latter.

Source: internet

Roger Vadim's films were one-of-a-kind.

And let's not forget Peter McEnery's nudity.

 

 

 

 

[LornaHansonForbes]

GOD is looking out for me, MYRA BRECKINRIDGE has NOT shown up in my HULU feed, it is probably for the best.

However, THE RITZ (1976) (which was part of the BIG GAY TRIBUTE last night) was.

I had never heard of it and I watched it.

It is a terribly uneven farce- an OBVIOUSLY adapted stage play- about a DEEPLY, DEEPLY STUPID straight man (JACK WESTON) who is hiding out from JERRY STILLER and the MAFIA, who want to kill him and/or frame him in some weird photo blackmail scheme- in a GAY BATH HOUSE IN NEW YORK CITY.

Forgive this analogy because I know the dates on this don't line up, but this movie is BASICALLY what would happen if QUENTIN CRISP grabbed TERRANCE MACNALLY, handed him a carton of joints and said "rework BOAT TRIP in two days so it's not THE WORST THING ever" and he was all "YOU'RE ON" and went and gave it his best damned shot and in the end basically succeeded...

....I'm just that one guy in the back row saying, "yes, Terry, but why?"

I'd be lying if I said I didn't laugh loud and often- the check-in scene is EXCELLENT- but I'd also be lying if I said I wasn't tempted to turn it off many times during the THIRD ACT IN NEED OF A REWRITE.

some of the bits get old and I think they should have asked themselves if this whole thing wasn't better suited to the stage

F MURRAY ABRAHAM is in this, and he is really charming. You'd never guess you're looking at a future BEST ACTOR WINNER, but the talent is there.

RITA MORENO is in this as the Bathhouse Betty (entertainer.) It is my understanding that RITA barely worked in the decade after WEST SIDE STORY because all she was offered were "JOO TAKE JOUR DAMN DERTY HANS HOFFA ME JOO  FEELTHY PEEG!!!"-type roles. Guess she needed to make a house payment or something, because honestly, that quote should have been her character's name....and you have to kind of love a performance where she throws a man down a laundry shoot for ruining her act and then dives in after him screaming "I KEEL YOU" when he shouts from the bottom of the chute that her drag act is bad. ..but still. It's not exactly that PUERTO RICAN LADY MACBETH part that RITA had been holding her breath for since 1964...and still is.

TREAT WILLIAMS is in this. It is supposed to be funny that his character has a high voice. I have read here and there that TREAT WILLIAMS is supposed to have been good in PRINCE OF THE CITY and other things I have not seen. I have never found him more than BARELY ADEQUATE in anything I have seen him in. He is cute tho.

aside from the fact that they were seemingly constructed of balsa wood and cardboard room dividers and decorated with heavy input from GRACE JONES, BATHHOUSES LOOK PRETTY **** AWESOME. I know I'd be in the theater checking out A STAR IS BORN.