Nothing I add here will help this film, of course, unless you're a Lucy fan. For once, her energy doesn't work and she fails to do much of anything: romance, comedy or otherwise. As H.L. Menken once said 'it both shines and stinks like rotting mackerel'. Too bad. This is the last film Arnaz and Ball made together. Arnaz will never be seen again as an 'A' list star. Went right to the 'C' list. Not Ball, who not only survives but will go on to even greater heights and prosperity. Arnaz, the other way.
Sort of shows just who had the talent in the family.
'Forever, Darling' was supposed to be the first of many Desilu films.
The studio, known only for TV selected this film as their first project. The poor box office and critical reception it received led Arnaz to scrap those plans and close Desilu Films as well as his production company (Zenra). Desilu would not make another film until the 1968 release of 'Yours, Mine and Ours'. Arnaz had nothing to do with that film, didn't pick the script or push its being made. He did ensure the Studio keep an option on it, which at least kept it around as a vehicle for Ball. Which is why he got it.
While 'Forever, Dear' barely recouped the $1,250,000 production costs ($11,260,820.90 today) 'Yours, Mine and Ours' was made for $2,100,000 ($14,955,964.60) in 1968 and earned $36,000,000 ($256,387,964.60) at the box office and other rights. Ball, who was then the sole owner of Desilu Studios, made the film in partnership with Paramount Studios who had recently purchased her company and owned half of rights. When Ball went to the bank in 1969 her share from the movie was so big ($128,193,982.30)and unexpected that she had failed to cover her assets for income taxes and wound up taking a large hit.
Ball always seemed to walk away from her projects financially better. This continued with her new production company (Lucille Ball Productions (LBP)) who owned and produced her final major run series 'Here's Lucy'. The series earned a lot of money and enjoyed a brief spurt of high ratings in seasons 2-4. However, it was her first series that fell out of the top 20 programs (5-6). When she figured she had enough episodes in the can LBP/Ball sold the rights to it as well.
A quick note on the film and Arnaz. Arnaz was getting pretty cocky in 1956. He was at the top of the TV business and was staring in the top rated TV show and married to his co-star. He made Desilu considerable money but was under pressure to make more. To help free up his time he tried to distance himself from 'ILL'. It took up too much time and, not known then, forcing him to work with Ball, now something he hated. Arnaz wasn't jealous of her success but was seething with vile over the lack of recognition for what he did with Desilu. Ball propped him up, which made it worse. So, as a master stroke, Arnaz would bring in a clunker like this film and using his own skills make it work and show them all he had it.
The failure of the film was the first major failure for Arnaz and marks the spot where his career, and life, started to spiral downward. The film represented the last bold extension of Arnaz hubris. He stuck it out and got it cut off. He was never the same.
He remained as head of Desilu Studios until November 22, 1962 when he was ousted in a partnership coupe led by his wife and a team of bankers, lawyers, accountants and industry experts. He took a $3,100,000 ($24,947,973.33)buyout and then spent the next 10 years blowing all of it. He was broke by 1975 and forced to write his bio 'A Book' to earn money. He hung in there but basically out of the business. It was ironic, here he was, in the 1970's, a guy with a great resume in the biz but unable to find a job. His reputation was, outside of the Lucy franchise, not very good. Add his drinking and other very large issues and you've got a guy who's finished in Hollywood. Ball of course still loved him, and bailed him out of many problems caused by his drinking and his spending. Much of that area isn't widely known and has frustrated writers doing research. Ball didn't make it this far in show biz without learning how to keep her mouth shut.
That said, you know, this film is an OK watch if for nothing else the 50's connection. I read a 1956 review that gave the film high marks for production values, in particular the great outdoor scenes at Yosemite which were so typical of the era and for what the critic thought was a standard view of 1950's America. Maybe he meant the Arnaz marriage, which had made them the Royal Couple of the era. This film marked the beginning of the end of their reign. And, just like the Arnaz' marriage, the 50's would be gone and as we drive away we can see them in our rear-view mirrors, forever left back in that era. Maybe that is what the title means after all.
Sort of shows just who had the talent in the family.
'Forever, Darling' was supposed to be the first of many Desilu films.
The studio, known only for TV selected this film as their first project. The poor box office and critical reception it received led Arnaz to scrap those plans and close Desilu Films as well as his production company (Zenra). Desilu would not make another film until the 1968 release of 'Yours, Mine and Ours'. Arnaz had nothing to do with that film, didn't pick the script or push its being made. He did ensure the Studio keep an option on it, which at least kept it around as a vehicle for Ball. Which is why he got it.
While 'Forever, Dear' barely recouped the $1,250,000 production costs ($11,260,820.90 today) 'Yours, Mine and Ours' was made for $2,100,000 ($14,955,964.60) in 1968 and earned $36,000,000 ($256,387,964.60) at the box office and other rights. Ball, who was then the sole owner of Desilu Studios, made the film in partnership with Paramount Studios who had recently purchased her company and owned half of rights. When Ball went to the bank in 1969 her share from the movie was so big ($128,193,982.30)and unexpected that she had failed to cover her assets for income taxes and wound up taking a large hit.
Ball always seemed to walk away from her projects financially better. This continued with her new production company (Lucille Ball Productions (LBP)) who owned and produced her final major run series 'Here's Lucy'. The series earned a lot of money and enjoyed a brief spurt of high ratings in seasons 2-4. However, it was her first series that fell out of the top 20 programs (5-6). When she figured she had enough episodes in the can LBP/Ball sold the rights to it as well.
A quick note on the film and Arnaz. Arnaz was getting pretty cocky in 1956. He was at the top of the TV business and was staring in the top rated TV show and married to his co-star. He made Desilu considerable money but was under pressure to make more. To help free up his time he tried to distance himself from 'ILL'. It took up too much time and, not known then, forcing him to work with Ball, now something he hated. Arnaz wasn't jealous of her success but was seething with vile over the lack of recognition for what he did with Desilu. Ball propped him up, which made it worse. So, as a master stroke, Arnaz would bring in a clunker like this film and using his own skills make it work and show them all he had it.
The failure of the film was the first major failure for Arnaz and marks the spot where his career, and life, started to spiral downward. The film represented the last bold extension of Arnaz hubris. He stuck it out and got it cut off. He was never the same.
He remained as head of Desilu Studios until November 22, 1962 when he was ousted in a partnership coupe led by his wife and a team of bankers, lawyers, accountants and industry experts. He took a $3,100,000 ($24,947,973.33)buyout and then spent the next 10 years blowing all of it. He was broke by 1975 and forced to write his bio 'A Book' to earn money. He hung in there but basically out of the business. It was ironic, here he was, in the 1970's, a guy with a great resume in the biz but unable to find a job. His reputation was, outside of the Lucy franchise, not very good. Add his drinking and other very large issues and you've got a guy who's finished in Hollywood. Ball of course still loved him, and bailed him out of many problems caused by his drinking and his spending. Much of that area isn't widely known and has frustrated writers doing research. Ball didn't make it this far in show biz without learning how to keep her mouth shut.
That said, you know, this film is an OK watch if for nothing else the 50's connection. I read a 1956 review that gave the film high marks for production values, in particular the great outdoor scenes at Yosemite which were so typical of the era and for what the critic thought was a standard view of 1950's America. Maybe he meant the Arnaz marriage, which had made them the Royal Couple of the era. This film marked the beginning of the end of their reign. And, just like the Arnaz' marriage, the 50's would be gone and as we drive away we can see them in our rear-view mirrors, forever left back in that era. Maybe that is what the title means after all.