...except in one respect; Elmer Bernstein's Oscar winning score carries the film, from its title song, to Carol Channing's "I'm A Jazz Baby" number, through the film's slow/irritating/self-consciously "Cute" spots.
Director George Roy Hill has to be given credit; he attempted a spoof of early silent movies, with effects like wipes, title cards, and visuals like using pastels for most of the colors, especially Mary Tyler Moore's outfits. He does an extended riff on Harold Lloyd's "Safety Last" (1923), which is funny and effective. Sometimes he is off by a decade or so, though. For example, when the secondary pair of lovers first meet, they duet to "Ah, Sweet Mystery of Life", which is amusing, but thirteen years early (film is set in 1922). Each character spoofs a type.
Julie Andrews is the perky heroine. Her parody is right on target, and her singing and dancing are also near perfect. I found Mary Tyler Moore irritatingly helpless, until I recognized her type was the helpless rich girl who never does anything for herself. Then, I was able to appreciate her performance. James Fox was enjoyable in his role; I didn't know he could sing. John Gavin, as Millie's boss, must have been directed to act as wooden as humanly possible; again, I didn't know he could sing.
This was one of the last 1960's "Roadshow" musicals to make a profit. It has a wonderful musical score, but an uneven script and too many "cutesy" moments offset that strength. Still, it is more than worth seeing if it comes your way.
Director George Roy Hill has to be given credit; he attempted a spoof of early silent movies, with effects like wipes, title cards, and visuals like using pastels for most of the colors, especially Mary Tyler Moore's outfits. He does an extended riff on Harold Lloyd's "Safety Last" (1923), which is funny and effective. Sometimes he is off by a decade or so, though. For example, when the secondary pair of lovers first meet, they duet to "Ah, Sweet Mystery of Life", which is amusing, but thirteen years early (film is set in 1922). Each character spoofs a type.
Julie Andrews is the perky heroine. Her parody is right on target, and her singing and dancing are also near perfect. I found Mary Tyler Moore irritatingly helpless, until I recognized her type was the helpless rich girl who never does anything for herself. Then, I was able to appreciate her performance. James Fox was enjoyable in his role; I didn't know he could sing. John Gavin, as Millie's boss, must have been directed to act as wooden as humanly possible; again, I didn't know he could sing.
This was one of the last 1960's "Roadshow" musicals to make a profit. It has a wonderful musical score, but an uneven script and too many "cutesy" moments offset that strength. Still, it is more than worth seeing if it comes your way.