This film version of one of Stephen Sondheim's greatest shows is a hard one to review. Having seen several versions of the show on stage, I had hoped that the movie would share the magic and romance of what I saw on Broadway. But in retrospect, I had to come to the conclusion that this would be a difficult stage show to film as presented in the theatre. You would have to obviously cut out the Greek chorus that circles around the major characters throughout the show, but here, the story is presented as a show within a show format that seems sort of false. And when leading lady Elizabeth Taylor starts singing the lyrics "Love Takes Time" in a not-too-strong singing voice, I had to predict that the original audiences of this film must have giggled much like audiences did later when Pierce Brosnan sang in the film version of "Mamma Mia".
As European stage star Desiree Armfeldt, Elizabeth seems like perfect casting. Indeed, in 1977, it must have seemed like the best idea, and acting wise, she is more than adequate in the part. Singing the part, on the other hand, is a different matter, even if the originator of the role on stage, Glynis Johns, was not a strong singer either. Add to that some disappointing photography that makes Taylor look heavy, and this comes off as really not a flattering movie portrayal in her gallery of classic films. Once she puts on the red dress, however, she is stunning, making it appear that there was a gap in the filming.
Fortunately, Len Cariou and Hermoine Gingold repeat their roles from the stage production and are wonderful. Every moment Gingold is on screen is priceless, whether she is talking about her former lovers, the tragedy of loosing one's teeth, or the tale of the wooden ring. She can be candidly bitchy, totally wise, hysterically droll, or in the case of the wooden ring, downright heart-wrenching. Lesley Anne Downe appears a bit too old to be playing Anne Egerman, but Diana Rigg is the right touch as the Countess.
For Sondheim affictionados (I am a major fan of his work), it will be easy to pick on the negative aspects of this film. Certainly, a PBS version of the show (later done via the New York City Opera Company) is a better idea than a full-scale film, but what they do get out of what they've done is merely acceptable. The problem is in the filming; It has the look of one of Anna Neagle's color British films of the late 40's and 50's, and it is easy to see why it failed. When Taylor breaks into "Send in the Clowns", I had to sympathize with the actress, if not the character. Sadly, the movie omitted two of the best songs from the stage production, "The Miller's Son", sung by the Egerman's maid, and "Liasons", Madame Armfeldt's 11:00 number. In retrospect, I gave this film a higher rating than I did the first time I saw it 20 years ago. Maybe, like a fine wine, the film seems a little better with age.
As European stage star Desiree Armfeldt, Elizabeth seems like perfect casting. Indeed, in 1977, it must have seemed like the best idea, and acting wise, she is more than adequate in the part. Singing the part, on the other hand, is a different matter, even if the originator of the role on stage, Glynis Johns, was not a strong singer either. Add to that some disappointing photography that makes Taylor look heavy, and this comes off as really not a flattering movie portrayal in her gallery of classic films. Once she puts on the red dress, however, she is stunning, making it appear that there was a gap in the filming.
Fortunately, Len Cariou and Hermoine Gingold repeat their roles from the stage production and are wonderful. Every moment Gingold is on screen is priceless, whether she is talking about her former lovers, the tragedy of loosing one's teeth, or the tale of the wooden ring. She can be candidly bitchy, totally wise, hysterically droll, or in the case of the wooden ring, downright heart-wrenching. Lesley Anne Downe appears a bit too old to be playing Anne Egerman, but Diana Rigg is the right touch as the Countess.
For Sondheim affictionados (I am a major fan of his work), it will be easy to pick on the negative aspects of this film. Certainly, a PBS version of the show (later done via the New York City Opera Company) is a better idea than a full-scale film, but what they do get out of what they've done is merely acceptable. The problem is in the filming; It has the look of one of Anna Neagle's color British films of the late 40's and 50's, and it is easy to see why it failed. When Taylor breaks into "Send in the Clowns", I had to sympathize with the actress, if not the character. Sadly, the movie omitted two of the best songs from the stage production, "The Miller's Son", sung by the Egerman's maid, and "Liasons", Madame Armfeldt's 11:00 number. In retrospect, I gave this film a higher rating than I did the first time I saw it 20 years ago. Maybe, like a fine wine, the film seems a little better with age.