Yes, Marlon Brando really does strip down to his skivies for a cheap laugh in this comic misfire.* Just one mortification from a decade of resets after ONE-EYED JACKS and MUTINY ON THE BOUNTY tagged him box-office poison. (THE GODFATHER and LAST TANGO IN PARIS came to the rescue in ‘72.) Brando’s films weren’t all bad in this period (‘63 - ‘71), but nothing really clicked. Certainly not this styleless romantic caper from the combined talents then giving us THE BEVERLY HILLBILLIES and PETTICOAT JUNCTION. Brando’s American conman in Europe is an ex-soldier fleecing pretty locals for pocket-change with woeful tales about a sick old Grandma when he meets-cute with David Niven, a mock Prince working the same angle in the A-League, tapping rich American ladies looking for class. A brief partnership works well, but turns into a competition when Stateside heiress Shirley Jones wafts in. Win her favor and the lesser man leaves the Riviera forever. Michael Caine & Steve Martin added a few extra twists, swank & style in the far superior remake DIRTY ROTTEN SCOUNDRELS/’88. This version, much like Universal Pictures house-style at the time, pure chintz. And Brando’s new ingratiating personality (smiling more here than in all his other films combined) feels a bit desperate. Shirley Jones was lucky though, showing up after the film is half over, and perking things up just by giving the boys a target to aim at.
WATCH THIS NOT THAT: Smartly reimagined, DIRTY ROTTEN SCOUNDRELS/’88 is a hoot. Especially Michael Caine’s hair styling.
ATTENTION MUST BE PAID: *Marlon on film a good deal beefier than on the poster. (Built like Alec Baldwin, another Stanley Kowalski gone to seed.)
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