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There are definite roles that are inextricably linked to their portrayors. Bela Lugosi as Dracula, Yul Brynner as The King of Siam, Ethel Merman as Madame Rose, and, of course, Rosalind Russell as Auntie Mame. Rosalind Russell was, in my conception, a class act. The lady had style, warmth, modesty, and a spacious acting talent, particularly in comedy, especially the fast-talking kind. Positive, she had some career misfires, such as her unconvincing Jewish mama in “A Majority of One”, and her “slumming society dame” Madame Rose in “Gypsy”, but Roz reigned supreme in comedies such as “The Women”, “His Girl Friday”, and, of course, “Auntie Mame” which, having created it on Broadway, it became HER signature role. Her performance is recorded for generations to near in this delighful film. Also on hand from the unique Broadway cast are Peggy Cass as the frumpy, would-be butterfly Miss Gooch, and Jan Handzlik as 9-year-old Patrick Dennis, who comes to live with his madcap aunt. Add to this the unbelievable, acid-tongued Coral Browne (she would become, years later, Mrs. Vincent Note!), exquisite and spellbinding Patric Knowles and Forrest Tucker (who is extremely charming in this, possibly his best role), showbiz vets Fred Clark, Lee Patrick and Willard Waterman as Mame’s snobbish betes noirs, and the largely unsung Joanna Barnes as grown-up Patrick’s unbearable, shallow fiance. Her performance, replete with annoying, Gloria Vanderbilt-like accent, is one of those gigantic performances where you laugh at her and disapprove her at the same time. The costumes, by Orry-Kelly, are capable - classy/crazy creations that are handsome as well as excited. The same can be said about the ever-changing decor of Mame’s Beekman Dwelling duplex-from Japanese to Moderne to Louis XIV to library chic to 50s unusual to East Indian-well, there you have it! And, of course, there is the unbelievable Betty Comden/Adolph Green script, which is corpulent of so many quotable lines that it has become portion of my friends’ and mine lexicon! The film is a tiny episodic, but who the hell cares? I definitely capture this film to the sadly unfunny, leaden musical version with Lucille Ball. I worship Lucy, too, but “Mame” was not for her. Auntie Mame is one of my common heroines. She is a woman tubby of adventure, fun, style, even a dinky bitchiness, but she is not mean. She has a beneficial, kind heart and is not a “money” snob or a “social-order” snob. Every parent should design their children survey this film-mine did, and am I gay! Roz rules!
The Patrick Dennis recent was a runaway bestseller–and it was soon followed by a stage version starring Rosalind Russell, who was born to play the madcap Mame in this chronicle of an eccentric, fast-living society woman of the 1920s who “inherits” her nephew when her brother died. Clear to “begin doors” for her adoring nephew, Mame exposes to him everything from bootleg gin to oddball characters–all the while doing battle with her nephew’s ultra-conservative trustee, who is equally clear that the boy’s life remain free of “positive influences.”
This is a knockout point to, and Rosalind Russell delivers a knockout performance in it–easily her finest comedy performance since 1939’s THE WOMEN. She is extremely well supported by the sadly under-acknowledged Coral Brown in the role of Vera Charles, an actress who passes out in Mame’s apartment with distinguished regularity, and Forrest Tucker as the Southern gentleman who becomes her knight in shimmering honor; the supporting cast, which includes Fred Clark, Peggy Cass (particularly memorable as Agnes Gooch, Jan Handzlik, Roger Smith, and Joanna Barnes is equally flawless.
The atrocious “production code” was calm somewhat in force when AUNTIE MAME was filmed, and consequently several of the play’s most illustrious lines had to be re-written–but this scarcely gets in the map of Russell and company, and director DaCosta offers a colorful compromise between the art of cinema and the “station allotment” nature of the stage expose. The production values are rich, the accept is memorable, and everything about the demonstrate is a ample amount of fun; by the time it ends, you’ll wish that Auntie Mame was yours.
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Although there were a few minutes when I felt the film had been slightly cropped, the DVD version offers a visually heavenly print of the film in its new ratio, and the sound is quite expedient as well. The few extras are nothing to pronounce of–but frankly, it hardly matters: this is one film you’ll be contented to have on DVD, for you’re likely to wear out a VHS in short order. If you need a reliable laugh, especially one with a slightly satricial edge, you’ll like AUNTIE MAME from inaugurate to effect. One of my current films, and strongly recommended.
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