Myra Breckinridge (1970)

Myra Breckenridge has everything you don't want to see in a movie from start to finish. The comedy is Disturbing, Offensive, Obscene and just Sickening. I didn't even want to see the ending it was that bad, but I had to keep strong and I'm never watching this move again in my life. Why did all these big star even agree to this movie, huh? Rachael Welch, John Carradine, even George Furth. Although there we Big Star in this movie before they were big stars like: Farrah Fawcett and Tom Selleck, and I say sorry to you two for even being in the credits of this movie. I don't know why some people consider this a Cult Film because there is nothing in this movie that people can relate to, not even the sexual content or the Characters.

This is actually one of the films (like "Beyond the Valley of the Dolls") that are miles out of my normal comfort zone but that I uncharacteristically liked; perhaps because -- as one disgruntled IMDb reviewer complains -- for all the myriad sexual references it is not actually at all erotic, and there is little that is actually offensive (although there are certainly one or two jaw-dropping sequences...) It is also, of course, a loving if comic homage to the classic Hollywood constantly shown or referred to in the script, from Gloria Swanson and Al Jolson through to the Technicolor era; Myra, with her 1940s hairstyles and tailored costumes that contrast with the blue-jeans students, is after all on a one-woman crusade to educate modern youth as to the talents of the Andrews Sisters and the folly of the Method approach to acting.John Huston excels as the over-the-top and over-the-hill former cowboy star, and Raquel Welch is both commanding and funny as Myra, apparently every transsexual's fantasy. Rex Reed (who has a rather sweet dance sequence with his alter ego at the beginning of the film) actually looks as if he has a potential woman in him, while Mae West -- whose screen persona was always a thoroughly artificial creation -- appears to have changed remarkably little from her last film appearance, with the exception of an obviously very fake wig and the loss of her singing voice; she still has her old timing with an innuendo.I thought the device of interpolating archive clips to make a satirical comment or illustration of events was a surprisingly successful one -- more so than the similar 'montage' effects introduced by Soviet experimentalists into silent films -- and of course for the old film buff there is infinite fun to be had in identifying the allusions as they rush by, as in recognising the famous faces on the walls of Myra's rooms or Uncle Buck's academy. In this context it may be observed that only 20th Century Fox film footage was made available: thus we have Shirley Temple, but only sequences from the late-period Laurel & Hardy productions.Ultimately I enjoyed "Beyond the Valley of the Dolls" more as a film, because I found myself caring more about the characters as people. But I wouldn't agree with the comment that the film is wholly heartless or unrelentingly vicious; it's hard not to sympathise with Myra as she goes about her self-appointed mission of exploding the myths of contemporary Hollywood, or out-foxing the smarter-than-he-acts Uncle Buck, and there is a genuine poignancy to Myron's increasing confidence and enchantment as he begins to dance opposite his ravishing alter ego, and to the ironic realisation in the end that 'she' cannot find love without being a man.Despite a two-hour-plus running time the film never committed the sin of being boring, although it was sometimes hard to watch (the opening scenes had the audience discernibly squirming in discomfort!) According to the director, it was originally intended as a comedy about the Sixties, elements of which ultimately turned sour as the decade itself soured into disillusionment; much of it is still very funny, even if the humour is often aghast. Possibly not a film for the nervous of disposition (although I myself am living evidence that it can after all be enjoyed by the easily-offended!), but definitely not a "Heaven's Gate" for 20th Century Fox.

Great groundbreaking movie that was so far ahead of it's time that it was trashed by critics and viewers alike! Perhaps only a handful of us get it! I think for the most part, the movie got across it's point that Hollywood was changing. The world was changing! Using Mae West to show that sex has been the driving force behind movie-making was brilliant! The old film clips are to convey the emotion or response of the viewer and were cleverly used. Most viewers have a limited range of intelligence and miss the point! The movie also was a very good take on the liberal attitudes that were taking over Hollywood at that time. A response to movies like Midnight Cowboy with their anti-heroes. They even mention that in the movie actors like Clark Gable and John Wayne are gone and have been replaced by this new breed of leading males. I think the movie was way ahead of it's time. Just look at what er have now running Hollywierd!

Much like Orson Welles thirty years earlier,Mike Sarne was given "the biggest train set in the world"to play with,but unfortunately lacked the ability to do anything more than watch his train set become a train wreck that is still spoken of with shock and a strange sort of awe. Despite post - modern interpretations purporting somehow to see it as a gay or even feminist tract,the fact of the matter is that it was a major disaster in 1970 and remains one today.How anyone given the resources at Mr Sarne's disposal could have screwed up so royally remains a closely - guarded secret.Only Michael Cimino ever came close with the political and artistic Armageddon that constitutes "Heaven's Gate".Both films appeared to be ego trips for their respective directors but at least Mr Cimino had made one of the great movies of the 1970s before squandering the studio's largesse,whereas Mr Sarne had only the rather fey "Joanna" in his locker. Furthermore,"Heaven's Gate" could boast some memorable and well - handled set - pieces where,tragically,"Myra Breckinridge"s cupboard was bare. Simply put,it is overwhelmingly the worst example of biting the hand that feeds in the history of Hollywood.