Now With More Than 3000 Reviews! Go Nuts - Read 'Em All!!

WELCOME! Use the search engines on this site (or your own off-site engine of choice) to gain easy access to the complete MAKSQUIBS Archive; over 2500 posts and counting. (New posts added every day or so.)

You can check on all our titles by typing the Title, Director, Actor or 'Keyword' of your choice in the Search Engine of your choice (include the phrase MAKSQUIBS) or just use the BLOGGER Search Box at the top left corner of the page.

Feel free to place comments directly on any of the film posts and to test your film knowledge with the CONTESTS scattered here & there. (Hey! No Googling allowed. They're pretty easy.)

Send E-mails to MAKSQUIBS@yahoo.com . (Let us know if the TRANSLATE WIDGET works!) Or use the Profile Page or Comments link for contact.

Thanks for stopping by.

Friday, September 19, 2014

THE LOVED ONE (1965)

The distinctive voices of scripter Terry Southern (fresh off DR. STRANGELOVE/’64) and Tony Richardson (just Oscar’d® for helming TOM JONES/’63) are hard to miss in this adaptation of Evelyn Waugh’s poison-pen satire to all things So. Cal. But with fish-in-a-barrel targets like OTT Hollywood cemeteries & the shifting sands of movie studio politics, their coarse efforts come off as hopelessly overcooked. Even with an impressively starry cast showing up for a scene or two (click on the poster to get the names), drawn by the filmmakers’ trendsetting hits, actual laughs are few & far between. John Gielgud, as a corpse, and Rod Steiger, as his embalmer, manage the only sustained piece of comedy in here, while Robert Morse is saddled with trying out a series of failed British accents and Jonathan Winters, in two roles, flubs his shot at starting a Stateside Peter Sellers franchise. Haskell Wexler’s b&w cinematography finds a soft, buttery look, but too often settles for ‘funny’ angles & fish-eye lenses, doing its part at conveying the film’s largely laughless results.

WATCH THIS, NOT THAT: Few of director Frank Tashlin’s digs at American mores & culture in the ‘50s measure up to their high critical reps, but at his best, in collaboration with playwright George Axelrod on WILL SUCCESS SPOIL ROCK HUNTER/’57, they got a lot right that this film gets wrong.

No comments: