THE GOOD, THE BAD AND THE IFFY (6)

The GOOD:  "WHO'S AFRAID OF VIRGINIA WOOLF?" Nominated for thirteen Academy Awards, this film won five including Acting Oscars to Elizabeth Taylor and Sandy Dennis.  The other two co-stars, Richard Burton and George Segal were nominated but did not win.  Likewise, Mike Nicholas as Best Director.  The film was also in nomination for Best Picture but lost out to "A Man For All Seasons."  Still, this is a well thought-out ant thought provoking movie.  And Ms. Taylor (who gained 30 pounds to play the frumpy Martha) is a revelation.  Ernest Lehman wrote the screenplay from the play by Edward Albee and it is very true to the original.  A lesson in acting, this is high on the list of films to see for that reason.












The BAD:  "BYE, BYE BIRDIE."  Where to begin: what was a delightful Broadway musical was turned into a vehicle for Ann-Margret as a teen-age sex kitten while attempting to keep the plot in tact.  Dick Van Dyke (in his film debut) reprises his Broadway role and Janet Leigh steps into the shoes formerly worn by Chita Rivera (the character's name was changed from Rose Alvarez to Rose DeLeon for some reason)   Paul Lynde again plays the beleaguered father and Bobby Rydell is the "love interest."   There's even a cameo by Ed Sullivan.  So why didn't this all work?  Bad direction and that performance by Ann-Margret.  They also added some useless animation to "Put on a Happy Face" which was appalling. Janet Leigh for all of her talent was not happy with the film when she found out that most of the close-ups would be of you know who.  Facing the music, the movie is a mess with a capital M.   I cringe every time it comes around on TV.







The IFFY:  "VALLEY OF THE DOLLS."   If "It's so bad, it's good" every truly applied to a movie, this is the one.  If you can get past the over-acting of Patty Duke and the terrible dialogue, it's OK.  Even kinda fun.   Susan Hayward (replacing Judy Garland) is a hoot as the aging star and foil to Ms Duke.   The lovely Sharon Tate (in one of her last roles) lends a touch of sadness to the proceedings (partly because of what befell her and partly because of the performance)  And Barbara Parkins is adequate if not spellbinding. So, in retrospect, the film has attained somewhat of a cult following as an agreeable (and unintentionally funny) entertainment.














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