Mame (1974)

1 out of 10. Too bad you don't accept fractions. In my opinion there was no reason to make this awful film. I angered me so just to watch it! That had never happened to me while watching any other film. I know I kept comparing it to the amazing,brilliant,wonderful Auntie Mame with Rosalind Russell while watching it but that's the point. Changing some of the brilliant dialog is one thing. But what about just a little character development? One minute Robert Preston is skiing and the next he is dead! They change the part of Peggy to some boring scullery maid with a horrible fake Irish accent. Patrick does not even know shes in the same room and in the next scene they are married! The character of Gooch was completely ruined. There was no reason to turn her in to an unmarried slut And what was with that horrifying kid at the end? They change his name from Michael to Peter??? Why??? He was so bad...and had such an annoying voice i wanted to kick my television. This had so much potential but was done so poorly. There was no reason for the lousy changes,poor character development and some of the funniest moments eliminated. Yes I know it's a different version being a musical and all but it still made me throw up.

I can quote the lines from "Auntie Mame" pretty much from beginning to end, even though it was this version that I first saw on its TV premiere in the mid 1970's. I was a young, unsophisticated pre-teen at the time, so I thought it was sensational. That, on top of having the original Broadway cast recording, made this one of my first favorite Broadway musicals. Then, I was introduced to "Auntie Mame", and after reading about what a flop this one was, I snootily began to dismiss it myself, even though I enjoyed the musical selections I would see from time to time in nightclubs that specialized in showtune videos.25 years after giving this a ** (out of ****) rating, I have re-discovered it, and found much to appreciate, if not rave about it. Rosalind Russell, as Auntie Mame, became alive to me in this part, and hearing Angela Lansbury on the Broadway cast album made me think that nobody but those two people could play this part successfully (with the exception of a few of Lansbury's replacements). I have seen several productions of each version, and have to admit, it is a difficult role to play, mainly because the memory of those two performances is difficult to erase. The problem with Lucy's version is not only that she was about 10 years too old to play the part (and couldn't sing), it was the fact that she is begging for the audience's acceptance, and that takes away from the spontaneity of her performance. There are moments when she allows herself to relax in the part, and is indeed as good as her predecessors. However, in a few sequences, you forget she's playing this elegant NY matron with a lust for life as she sinks back into Lucy Ricardo, Carmichael, or Carter, such as hobbling about with one roller skate on, or being stuck to her horse during the foxhunt. The overusage of hugs, too, makes Lucy's desire to get the audience's approval slightly unbearable, as does the unnecessary use of flashbacks towards the end.Beatrice Arthur perfectly recaptures the role of Vera Charles, and when she says "pity" to the identification of Gloria Upson, it is pure elegant bitchery, like Tallulah Bankhead would have done. Jane Connell is fun, if a bit late in the game to be believable as Gooch, and the overabundance of her big belly when she comes back pregnant is too much. Thank God though they kept in Gooch's song. Robert Preston is simply divine. I can't think of anybody better to portray Beaugard, especially since he was preparing to star in Jerry Herman's "Mack and Mabel" on Broadway.As for the supporting players, I was disappointed as to their lack of eccentricities as seen in "Auntie Mame". Here, Babcock and the Upsons are presented without much flair, as opposed to the hysterical "top drawer" (said with teeth clenched) personas that showed how ridiculous they were. By taking away Mame's writing her story, this also took away Gloria Upson's hysterical "ping pong" story, one of the highlights of the non-musical film. Of the minor characters, Lucille Benson's Mother Burnside and Joyce Van Patten's Sally Cato stand out.This is a physically gorgeous production, with lavish (and sometimes over the top) costumes by Theodora Van Runkle and breathtaking art direction. The photography, which softens Lucy's face, does make her show her age in the early sequences where Mame has dark hair, is for the most part outstanding, particularly in the wonderful title song sequence. Bea Arthur's costumes, which some critics said made her look like a football player in drag, aren't all that garrish, except for the outfit she wears in her longest sequence, singing "Boosom Buddies" with Mame and helping her change Gooch's image. She is hysterical in the "Man in the Moon" sequence, and there is a wonderful exchange in her dressing room after the number is over with her dresser. Ball's singing, which slows down the upbeat "It's Today" sequence considerably (except when the chorus comes in), works well with Arthur in their duet together, but sadly, "If He Walked into My Life" looses its impact. You can't really watch this one without comparing it to Rosalind Russell's version, but you'll enjoy it much more if you suppress that desire and find the joy that is there.

Lucille Ball was very fine as Mame Dennis in the Warner Bros film "Mame". Starting with the terrific opening sequence the rest of the film was what Warner Bros and Lucille Ball wanted, a photographed Play. Lucille Ball started her career as a showgirl in the 20's and nearly 50 years later still had a terrific showgirl figure. I liked Robert Preston as the male star. Bruce Davison had a fine start to his career and does well in this movie. To those who still years after this movie opened still complain about the casting of Lucille Ball, the fact is that money talks. Lucille Ball was the only star of her contemporaries who could have opened this Warner Bros picture as well as it did. Great songs from Jerry Herman, and choreography by Oona White. Additonally there has been some carping on these boards that Ms. Ball invested $5 Million US Dollars to co produce Mame and insure her casting. On a YouTube Video with Ms. Ball on the Phil Donahue show the host asks Ms. Ball if she wanted the movie to be a hit for the Studio. Ms. Ball replies on YouTube that "It wasn't My studio, it was Warner Bros., but no one wants to be in a flop". I hope this settles once and for all: Lucille Ball did not invest in Mame as a ploy to be its star. David Barra Los Angeles

I don't think this movie is nearly as bad as many people say. The choreography is spirited, several of the songs are memorable, the set designs are vibrant, some of the dialogue is witty, and the character of Vera (Bea Arthur) is a hoot. One song, "Bosom Buddies", is even clever. Most of the criticism seems to revolve around the casting of Lucille Ball as Mame. Granted she is not the best singer, but her acting is better than acceptable. Her face expresses both elation and sadness quite convincingly, and we can easily believe she is the free spirit that Mame is supposed to be. Two things, however, are downright stupid. Mame and young Patrick sitting on the Statue of Liberty's hat is straight out of a cartoon. Almost as absurd is Mame's skill at riding a temperamental horse when it is obvious, from the look of terror on her face, that she has never even been astride a horse before. Many movies require "suspension of disbelief", but that exceeds my willingness to do it.