The V.I.P.s (1963)

I have no idea how you came to The V.I.P.'s, whether it was following Margaret Rutherford or Orson Welles, both of who are funny in this, but I hope you didn't come for Liz and Dick, whose storyline most resembles a movie plot, but is a dull love triangle. The only value of this movie is in the generous time each of its cameo stars get. Orson Welles for instance has multiple scenes, maybe adding up to 15 minutes screen time, I'd be curious to calculate it. They are all little scenes, but add up to a decent amount of value for the Orson Welles completionist. He plays a probably gay film producer who talks like Akim Tamiroff and is having some kind of nebulous trouble with the film he's making. Margaret Rutherford is really fun. She has this kind of batty effortless humour to her. Louis Jordan is infuriating. Rod Taylor is a stereotypical aggressive Aussie, at least the accent is good, because its genuine! Check out Orson in The Southern Star (1969) for the worst Aussie accent I've ever heard. I could try and tell you The V.I.P.'s isn't that great of a movie, but you've clearly gone pretty deep in whatever it is you're interested in, you may as well check it out. For fans of Orson or Rutherford I'd say sure, add it to your collection.

Lush, plush, silly but fun. Everyone is terribly rich and terribly troubled but of course everything is happily resolved in just two hours, if you like that sort of thing this is for you. Liz and Dick are the featured couple of course but theirs really isn't the most compelling vignette. Still Elizabeth looks great and Burton is appropriately intense. Orson Welles is aboard in a plot that doesn't go anywhere until the end but he adds an amusing performance to the film so it isn't that much of an intrusion. The two best bits belong to Rod Taylor and a very young Maggie Smith, who is excellent-she gives the film's second best performance but the absolute standout is Margaret Rutherford in an Oscar winning part as a dotty but oddly touching Duchess who has to go to work to save her home. She's utterly brilliant, the very definition of what a supporting performance should add to a film.

The London fog grounds several wealthy passengers who must spend the night in the airport and a hotel. Among the unrelated stories are a wife running off with her lover, a cheap movie mogul, a businessman on the brink of disaster, and an addled Duchess.Typical of the star-studded movies of its time, this one is all style and no substance. The writing is straight out of a soap opera and Liz Taylor really wallows in the suds. Her star-power can't hide bad acting and her breathy, whiny voice and faux-British accent make the movie seem interminable. Burton is a better actor, but is still stuck with a predictable and ridiculously melodramatic storyline. The other vignettes serve no purpose except to fill the time, even though Margaret Rutherford won a Best Supporting Actress Oscar as the pill-popping aristocrat.This is a dated, cliché-ridden film filled with flowery speeches and silly characters, although it is nice to return to the days when people dressed in their finest clothes to fly.Tedious.

rare to hear Rod Taylor with his actual Aussie accent soapyWhile this movie has a big-name cast (including Elizabeth Taylor and Richard Burton) and it quite nicely made, at heart it's very much a soap opera. The story consists of the lives of several passengers who are awaiting the departure of a British Air flight overseas. However, because of fog, the flight is delayed and various subplots involving the passengers are played out during this time. One involves a woman (Taylor) who is leaving her husband (Burton) for a gigolo (Louis Jourdan). Another, a daffy old duchess (Margaret Rutherford) whose secret is only revealed near the end of the film. And another, a businessman (Rod Taylor) who is on the edge of complete ruin and his secretary who secretly loves him (Maggie Smith). In many ways, this film plays like a well made episode of "Love Boat" or "Hotel" or an old flick like "Grand Hotel". This is not meant disparagingly--just a way to describe the way the plots are all interconnected and work through the course of the film. Well written (if a bit broad) and enjoyable. Not a brilliant film but one that you can't help but be pulled into as it unfolds.