To me, the first half is funny as heck. Overall, the White House antics amount to a perceptive spoof of scarcely managed turmoil. That exchange between mother Kahn and daughter Radner over upholding appearances even though the repressed Radner's hormones are bursting is poignant in a satirical way. And catch the punctured dignity balloon among diplomats at the UN. It's delicious.
But once second-half events move to black people's country of Gorm, the screenplay loses footing. Of course, by today's standards the spoof's racial side flirts with incorrectness, which may account for the sudden erratic uncertainty. There are still amusing moments, but the screenplay appears to thrash around with no clear direction. And the less said about the ending, the better.
Anyway, the cast amounts to a collection of TV all-stars, from Newhart to Willard to Radner. In fact, there's probably too many stars, such that vivid talents like Kahn don't get nearly enough shtick. Likely, producer-director-writer Henry was aiming at a Mel Brooks type burlesque, but only partially succeeds. All in all, White House subject matter remains a ripe target for satire, but needs better consistency than this one.
But once second-half events move to black people's country of Gorm, the screenplay loses footing. Of course, by today's standards the spoof's racial side flirts with incorrectness, which may account for the sudden erratic uncertainty. There are still amusing moments, but the screenplay appears to thrash around with no clear direction. And the less said about the ending, the better.
Anyway, the cast amounts to a collection of TV all-stars, from Newhart to Willard to Radner. In fact, there's probably too many stars, such that vivid talents like Kahn don't get nearly enough shtick. Likely, producer-director-writer Henry was aiming at a Mel Brooks type burlesque, but only partially succeeds. All in all, White House subject matter remains a ripe target for satire, but needs better consistency than this one.