Category Archives: Farce

Animal House (1978)

By Richard Winters

My Rating: 7 out of 10

4-Word Review: They like to party!

In 1962 the Dean of Faber College, Vernon Wormer, (John Vernon) wants to rid the campus of the Delta Fraternity as he considers their rundown house and partying ways to be a blight to the University. He works with the clean-cut Omega President (James Daughton) to establish a kangaroo court which has Delta’s charter revoked. The Delta members then seek revenge by creating havoc at the homecoming parade of which both Wormer and his wife Marion (Verna Bloom) are attending.

The film, which was a huge box office hit at the time of its release, succeeds by wisely balancing the farcical humor with a believable setting where many of the scenarios shown were based off of real-life experiences of the film’s writer Harold Ramis and producer Ivan Reitman during their own fraternity years. While the film does devolve at the end to being just a procession of slapstick gags it also manages to provide diverse characters and a genuine college atmosphere, which was filmed on-location at the University of Oregon.

The inspired casting helps especially John Belushi who mostly improvised his part. Although he’s best remembered for his pimple gag I actually laughed more when he cries out like he’s lost some prized possession after witnessing a crate of alcohol go crashing to the ground. His ability to chug an entire bottle of whiskey in one take is impressive and I liked how his character, as crude as he is, was able to convey a sympathetic side in his attempts to ‘cheer-up’ a despondent Flounder (Stephen Furst) after his car gets wrecked.

Tim Matheson is equally engaging as the cool and collected fraternity leader whose dry delivery doesn’t initially hit you as being funny until you go back and actually think about what he has just said. Kevin Bacon is hilarious in his film debut as a member of the snotty Omega Theta Pi who tries to quell a panicked crowd only to get quite literally flattened by them.

It’s also great seeing Verna Bloom, an actress relegated to mostly plain Jane roles, wearing a snazzy brunette wig and playing a sexually frustrated woman who has an amusingly drunken ad-libbed segment. Karen Allen is gorgeous as always playing a ‘good-girl’, but who isn’t afraid to flip someone the finger if she has to. You also get a nice glimpse of her bare ass as well as Donald Sutherland’s, apparently Allen only agreed to show hers if he bared his, and for the record Matheson’s crack gets exposed briefly too.

However, what I took away from this movie the most were the politically incorrect segments. The most extreme one is when Larry (Tom Hulce) contemplates having sex with Clorette (Sarah Holcomb) after she passes out drunk, which would be considered date rape now, but treated merely as throwaway bit here. Then in a later scene Larry tries to have sex with her again only for her divulge to him that she is just 13. Although the actress looks much older and was actually 19 when it was filmed it still gets implied that they went ahead and had sex anyways despite the character’s age issue.

I was alive when this film was released and although there was criticism pertaining to the film’s overall raunchiness these specific segments, which would create shockwaves now, were never brought up. Whether things are better now, or we’ve become too sensitive about stuff that was merely considered ‘tasteless’ back then is a whole other argument. Yet when they say things shown in the ‘70s could never be done now it’s all true, which makes watching this movie and others like it feel almost like you’ve slipped into a different universe.

My Rating: 7 out of 10

Released: July 27, 1978

Runtime: 1Hour 49Minutes

Rated R

Director: John Landis

Studio: Universal

Available: DVD, Blu-ray, Amazon Video, YouTube

The Million Dollar Duck (1971)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Duck lays golden eggs.

Albert Dooley (Dean Jones) is a research scientist who brings home a duck as a pet for his young son Jimmy (Lee Montgomery) after the bird accidently gets exposed to radiation while at the lab. To his shock he finds that the duck can now lay eggs with a golden yolk every time she hears the sound of a barking dog. Albert decides to use this to his advantage has he is drowning in unpaid bills, but his neighbor (Joe Flynn), who works at the United States Treasury Department, tries to take the duck away from Albert, so that the government will control it and used the eggs for their own purposes.

The film became notorious as being one of the three that critic Gene Siskel walked out of during his film reviewing career and to which he would brag about for many years later. Roger Ebert described it as “one of the most profoundly stupid movies I have ever seen.” and while I agree it’s no classic I failed to see how it was any sillier than any of the other Disney movies that came out during the same decade.

With that said the plot is loopy although it does define what the term bullion means, so in that respect it’s actually a bit enlightening. The concept though of having a duck lay an egg every time it hears barking is pretty dumb especially when the barking comes from humans who don’t sound anything like a real dog especially Jones’s pathetic attempts. I also didn’t understand why a pinging noise resembling bell had to be heard each time an egg was laid. Did the radiation cause this to occur too?

The action is pretty light for Disney standards and the only two funny parts are when Sandy Duncan, who plays Jones’s wife, tries to a deposit a golden yolk at a bank as well as when they try to find their duck on a farm amidst hundreds of other ducks who all look the same. The film also comes with a car chase finale that seemed to be a standard plot device for Disney movies of that era although this one is more restrained and not as funny or exciting.

Jones is bland while Duncan and Terry Roberts, who plays Jones’s lawyer friend, are far more amusing. Both Roberts and Duncan had starred together that same year in Star Spangled Girl and they could’ve easily have played the couple while Jones could’ve been cut out of it completely and not missed at all.

Montgomery is cute in his film debut and Flynn is funny as the exasperated neighbor. He had co-starred in many Disney films during his career and seemed to have a different color of hair with each role. In some of them his hair was graying while in others it was jet black and here it had a reddish tint. I also found it ironic that he plays a character with a backyard pool and at one point he gets pushed into it as in real-life he ended up mysteriously drowning in his own backyard pool just three years after this film came out.

My Rating: 4 out of 10

Released: June 30, 1971

Runtime: 1 Hour 29 Minutes

Rated G

Director: Vincent McEveety

Studio: Buena Vista Distribution

Available: DVD, Amazon Video, YouTube

Harper Valley PTA (1978)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: She gets her revenge.

Based on the hit 1968 song the story centers on Stella Johnson (Barbara Eden) whose liberated single life style and provocative way of dressing is considered ‘scandalous’ by the prudish members of her local school board. They give a letter  to her daughter Dee (Susan Swift) to be send home for Stella to read, which informs her that if she doesn’t ‘clean up her act’ they’ll have her daughter expelled. Stella then goes to the school board meeting and exposes all of their dirty secrets and then continues the harassment by playing dirty pranks on them one-by-one.

The song, which was written by Tom T. Hall and sung by Jeannie C. Riley, was a cute novelty ditty that encompassed the social rebellion of the late ‘60s through the scope of small town southern life. The film though ruins the song’s appeal by overplaying its theme and losing touch with its core issue.

The song had a very heavy country tinge to it making it seem that the setting should’ve been the Deep South, but for some reason the film takes place in Ohio instead. It also has the time period as being the present day, late ‘70s, which makes some of the lines in the song, which Stella reiterates pretty much word-for-word when she tells the board members off, seem dated and out-of-touch. Stuff like sock-it-to and ‘Peyton Place’ referred to hit TV-shows that by the late ‘70s had already been off the air for years, so the film should’ve either updated the script to make it more topical to the times, or had the time period be in the ‘60s, which like with the southern locale would’ve given the film a far stronger atmosphere.

Having Stella tell off the board members like in the song seemed sufficient, but having her continue her efforts by pulling elaborate pranks on them made it come off like overkill and in some cases borderline cruel and even criminal. The fact that other people in attendance at the board meeting clap and cheer when Stella humiliates the PTA board makes it seem that these people are on their way out and don’t have much of a hold over anything, so watching Stella continue to humiliate them further is not emotionally satisfying. They’re also so easily taken advantage of that the pranks cease to be either entertaining or funny.

The only segment that is genuinely fun is the one where a sex ed. film gets shown to the high school students. The film seems to be an actual product from the early ‘60s and features rather graphic animated illustrations. We unfortunately only get treated to a couple of minutes of it even though it was the funniest thing in the movie without ever actually trying to be.

Eden looks gorgeous and probably even hotter than she did in ‘I Dream of Jeannie’ minus the harem outfit. If you watch this for basic eye candy then you’ll be satisfied, but she speaks initially with a southern accent that she ends up losing by the second half.

John Fiedler gives good support by appearing fully nude in one segment despite not having the physique for it, so I commend his bravery. Audrey Christie shows equal regard by exposing herself with her head completely shaved, but overall the only character that I really liked was Susan Swift’s who seems the most relatable and like with the song her character should’ve been the central one and not Eden’s.

The threadbare premise gets stretched out far longer than it should. The story and the many pranks have a very redundant and mechanical quality to them that quickly becomes old. I’m not sure whose idea it was to try to turn the song into a movie, but it was one that should’ve been shot down quickly and never seen the light-of-day.

My Rating: 3 out of 10

Released: June 2, 1978

Runtime: 1 Hour 42 Minutes

Rated PG

Director: Richard C. Bennett

Studio: April Fools Productions

Available: DVD

Hot Stuff (1979)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: A phony pawn shop.

Tired of seeing the criminals they apprehend getting off on legal technicalities three cops (Dom DeLuise, Jerry Reed, Suzanne Pleshette) decide to turn-the-tables by opening up their own pawn shop, which will work as a front to reel in the crooks that try to resell stolen items. They use the magic of a hidden camera and video tape, which was a new thing at the time, to record the criminals as they bring in the stolen loot and therefore leave no question as to their guilt, but their plan gets off to a rocky start and only gets more convoluted as they proceed with it.

The film, which was directed by DeLuise, starts out fast and includes a car chase before the opening credits even occur, but once the premise is established it bogs down. Supposedly much of what occurs is based on real-life accounts taken from various police cases, but it lacks cohesion. There are gun battles and a wide array of criminal characters that pop up out of nowhere with the pawn shop setting being the only thing that loosely ties it together. Any element of reality gets lost during its farcical ending, which involves all the criminals attending a party that quickly turns into a long drawn slapstick-like battle that resembles something found in a cartoon and is really inane particularly the pathetic ‘fights’ that occur between the various characters where it is clear the actors are pulling their punches and not doing a very good job of disguising it.

The film does make an effort, at least at the beginning, to show the private side of a cop’s life and many of the frustrations that go along with doing the job, but by the end the characters seem too comically inept to be believable. I also found it amusing that DeLuise uses his own children to play the kids of his character even though with their blonde hair they looked more like they should be Reed’s offspring instead.

The one funny moment comes when DeLuise smokes some weed and goes off on a long laughing binge that is genuinely memorable, but otherwise this thing, which was shockingly co-written by the normally reliable Donald E. Westlake, suffers from an uneven focus that is more content at showing slapdash comedy than conveying something that is original, interesting or multi-dimensional.

My Rating: 3 out of 10

Released: August 10, 1979

Runtime: 1Hour 31Minutes

Rated PG

Director: Dom DeLuise

Studio: Columbia Pictures

Available: DVD

The Ritz (1976)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Hiding out in bathhouse.

On the run from is homicidal brother-in-law (Jerry Stiller) heterosexual businessman Gaetano (Jack Weston) decides to hide out inside a Manhattan bathhouse unaware that it’s for gay men only until he’s already stuck inside. While there the overweight Gaetano gets harassed by an amorous chubby-chaser (Paul B. Price) as well as an aging starlet named Googie (Rita Moreno) who thinks Gaetano is a Broadway producer who can finally give her the long-waited break that she feels she deserves. Things get even worse when his brother-in-law finds out where Gaetano is hiding and proceeds to shoot up the place until he is finally able to weed him out.

For a farce, which is based on the hit Broadway play by Terence McNally and has much of the same cast recreating their roles for the movie, this thing is pretty much dead-on-arrival. The plot is thin and predictable and not enough happens to justify sitting through it. There are a few snappy lines here-and-there, but overall it’s effect is flat while filled with a lot of mindless running around that eventually grows quite tiring. Director Richard Lester has had success with this genre before, but the material here is unimaginative and second-rate and having everything confined to one setting gives it a claustrophobic feel.

The supporting cast gives the proceedings a boost and to some extent saves it from being a complete misfire. F. Murray Abraham nails it as a flaming queen and manages to elicit laughs with every scene he is in. Treat Williams is quite good as an undercover detective who’s a very well built man, but stuck with the voice of a 5-year-old. Jerry Stiller is surprisingly effective as the gun-toting bad guy and this also marks the film debut of John Ratzenberger.

Kudos must also go out to Moreno whose hilariously bad rendition of ‘Everything’s Coming up Roses’ is a film highlight. I also liked the precarious way that she puts on her eyelashes and the fact that her so-called dressing room is inside the building’s boiler room. The only performance that doesn’t work is Weston’s as his character is too naïve and his over-reactions to everything that occurs around him quickly becomes one-dimensional.

There may have been a time when this type of storyline would’ve been considered ‘fresh’ over even ‘daring’, but that time is long gone. In fact I couldn’t believe how tame and shallow it was. Whatever passed for farce back-in-the-day is no longer tangible, which makes this one relic that deserves its place on the back shelf of obscurity.

My Rating: 3 out of 10

Released: August 12, 1976

Runtime: 1Hour 31Minutes

Rated R

Director: Richard Lester

Studio: Warner Brothers

Available: DVD (Warner Archive), Amazon Video, YouTube

Brewster’s Millions (1985)

By Richard Winters

My Rating: 1 out of 10

4-Word Review: He spends thirty million.

Richard Pryor plays Monty Brewster a struggling baseball pitcher in the minor leagues who has never earned more than $11,000 in a year, but finally gets his chance to be rich via a deceased uncle (Hume Cronyn) who leaves him a vast fortune, but with conditions. He must spend $30 million in 30 days in order to get $300 million and if not whatever is left over from the unspent $30 million will be given over to a law firm. He is also given the option to accept $1 million upfront with no strings, but he chooses the challenge only to find that spending a lot of money is even harder than making it.

The film is based on the 1902 novel of the same name by George Barr McCutcheon and this marked the seventh film version of that story. The novel though does things differently. In that version Brewster has already inherited one million, but given the chance to attain seven million if can spend the one million during a full year, which is a little more believable. Watching Brewster trying to spend the 30 million on any dumb thing that comes along gets dizzying and hard to keep track of until it eventually plays itself out by becoming a one-joke concept throwing out the same punchline over-and-over. Why the amount was raised to 30 million and the time span to spend it shortened isn’t clear. Possibly it was for inflation or simply to make it ‘more comical’, but it ends up getting wildly overblown.

With so many people out there who are poor and desperate it’s hard to be sympathetic to Brewster’s dilemma. Spending a lot of money foolishly simply to serve his own greed and attain even more isn’t exactly a noble mission. Had he at least tried to spend it on things that could help others, like in the novel, it might’ve made a little more of an emotional impact. The Pryor character is also portrayed as having very little confidence and therefore I would think in reality he would’ve just accepted the million, which in his eyes would’ve been a lot of money anyways and never bothered to take the challenge, which most anyone else would’ve found monumental and impossible.

Pryor isn’t funny at all and John Candy is far more amusing as his loyal friend, but unfortunately isn’t seen enough. Stephen Collins is good as the duplicitous Warren Cox and this also marks David White’s final film appearance, who is best known for playing Larry Tate on ‘Bewitched’ and whose name is strangely not listed in the film’s opening credits despite having a major role. Yakov Smirnoff and Rick Moranis can also be seen in brief bits.

The film was directed by Walter Hill who later referred to this as ‘an aberration’ and having only done it to ‘improve his bank account’. His forte is in action flicks and his attempt at comedy turns terribly flat from its first frame to its last. It is also in many ways similar to Trading Places, which coincidentally was written by the same screenwriter Hershel Weingrod, but that film was far better.

My Rating: 1 out of 10

Released: May 22, 1985

Runtime: 1Hour 41Minutes

Rated PG

Director: Walter Hill

Studio: Universal

Available: DVD, Blu-ray, Amazon Video, YouTube

Gus (1976)

gus

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Mule becomes a kicker.

The California Atoms are the worst team in football and their owner Hank Cooper (Ed Asner) is desperate to try anything in order to get them winning and fans back into the seats. His secretary Debbie (Louise ‘Liberty’ Williams) reads an article about a mule living in Yugoslavia that is able to kick soccer balls at a long distance. He decides to have the animal and its owner Andy (Gary Grimes) shipped all the way from there to the United States where they hope to have the mule try out as a field goal kicker for the team. Since the rule book never specifically states that the players must be human they figure they can get away with it and do. The team starts to win again and Gus is a fan favorite, but mobster Charles (Harold Gould) doesn’t like it and hires two bumbling crooks (Tom Bosley, Tim Conway) to kidnap the animal, so he won’t be able to show up when the team plays in the all-important Superbowl.

Although as a kid I found this film to be enjoyable as an adult it comes off as boring and lacking. The idea that simply adding in a mule to kick long field goals would be enough to turn around a team’s dismal fortunes is highly suspect. For one thing a long distance field goal kicker will kick the ball at a much lower trajectory in order to get it to travel farther and thus the potential to block those kicks is much higher and yet for some reason that never occurs with any of Gus’s kicks, but most likely would. Also, just having a good kicker who can make field goals does not improve the defense that still must stop the other team from scoring. This team was described as getting blown out of every game that they were in, so how then does the defense start magically keeping the other team’s offense in check, so that the games remained manageable and Gus’s field goals would mean something?

The viewer never gets to see Gus kick an actual field goal anyways. What we see instead is the animal kick the ball and then the camera immediately cuts to a superimposed ball floating in the air with a corny sound effect tacked on and then another cut showing it gliding through the goal posts, but never an unedited long shot, which proves most likely no animal would be able to do the feat in real-life or able to do it in a consistently accurate way.

The comical elements aren’t too great either with the two best moments coming from a chase through a hospital as well as another one inside a grocery store, but even here there are problems. For one thing the super market chase, where Bosley and Conway try to corral the animal, goes on way too long and most likely the security or police would’ve been called in long before many of the antics that do occur would’ve happened. There’s also a tacky ‘life lesson’ thread thrown in dealing with Andy learning to have self-confidence, which does nothing but make the film seem even more contrived than it already is.

This marks Grimes’s last film to date as he ended up retiring from movies at the young age of 21 even though his career started off so promisingly with his starring role in Summer of ’42. He stated that the roles he was being offered were no longer up to his standards, but most likely studios were realizing that his acting abilities were limited and it was either get into another line of work, or be relegated to B-movie hell afterwards and his transparent presence here more than proves that.

Asner is the real star and has a few funny lines. I also enjoyed football legend Dick Butkus playing the role of a jealous boyfriend. His acting isn’t exactly good, but his constant expressions of aggravation are fun. Bob Crane in a brief bit manages to be a scene stealer as an obnoxious sportscaster who won’t stop talking until he finally loses his voice.

Kids may take to this more, but even then I’m not so sure as many of them may find it dated in a film that unfortunately can’t stand up to the test of scrutiny or time.

My Rating: 4 out of 10

Released: July 7, 1976

Runtime: 1Hour 37Minutes

Rated G

Director: Vincent McEveety

Studio: Buena Vista Distribution Company

Available: DVD, Amazon Video, YouTube

A Fine Mess (1986)

fine-mess-2

By Richard Winters

My Rating: 4 out of 10

4-Word Review: They buy a piano.

Spence (Ted Danson) works as an actor and during a break in shooting, which is being done at a local horse track, decides to take a rest in a nearby horse stall. While he is there he overhears a conversation between two men (Stuart Margolin, Richard Mulligan) in the next stall discussing how they are going to inject a horse with a drug that will cause him to run faster and therefore make him a ‘sure thing’ in the his next scheduled race. Spence decides to use this information to bet on the horse and make a killing at the track with the help of his friend Dennis (Howie Mandel), but the bad guys realize that they’ve been found out and try to nab Spence and Dennis before they are able to place the bet. Spence and Dennis try to hide from their pursuers by attending an auction where they inadvertently purchase a piano, which they must later deliver to a rich customer (Maria Conchita Alonso) who is dating a mobster (Paul Sorvino).

I was genuinely shocked at how limp and threadbare this script was and how it routinely resorted to some of the most empty-headed humor I’ve ever seen. Much of it consists of long and extended chase sequences that aren’t particularly exciting or imaginative and rely on gags that we’ve all seen a million times before.

The casting is also off. Margolin can be a great character actor, but not in this type of role and Mulligan’s dumb guy routine and facial muggings is to me the epitome of lame. Danson doesn’t seem particularly adept at physical humor and shows no real chemistry with his co-star. Sorvino, who walks around with a limp, gets a few chuckles, but believe it or not I came away liking Mandel the best and actually found him to my surprise to be the most normal person in the movie.

The intention was to make this a completely improvisational exercise, which would give the actors free rein to come up with lines and scenarios as they went while relying on the broadest of story blue prints as their foundation, but the studio wanted more of an actual script and forced director Blake Edwards, who later disowned this project, to approach the thing in a more conventional way. The result is a mish-mash of nonsense that doesn’t go anywhere and makes the viewer feel like they’ve done nothing but waste their time in watching it.

All could’ve been forgiven had they at least played up the piano moving bit, which is what I was fully expecting. The inspiration was to make this a remake of the classic Laurel and Hardy short The Music Box with a scene, like in that one, where the two stars must somehow move an upright piano up a long flight of stairs. However, instead of showing this it cuts away to the next scene where the two have somehow without any moving experience gotten the piano up the stairs with apparently no hassle, but what’s the use of introducing a potentially funny comic bit if you’re not going to take advantage of it?

I still came away somewhat impressed with the way that it managed on a very placid level to at least hold my interest. I suppose in this era where scripts with a plethora of winding twists tend to be the norm one could almost deem this a ‘refreshing’ change-of-pace in its simplicity. Those that set their entertainment bar very low may enjoy it more.

My Rating: 4 out of 10

Released: August 8, 1986

Runtime: 1Hour 30Minutes

Rated PG

Director: Blake Edwards

Studio: Columbia Pictures

Available: DVD, Amazon Video

Say Yes (1986)

say-yes-2

By Richard Winters

My Rating: 2 out of 10

4-Word Review: Marrying for the money.

Luke (Art Hindle) is set to receive a very large inheritance from his recently deceased grandfather (Jonathan Winters) who was the owner and founder of a prosperous toy company. The problem is that the will stipulates that he must marry within 24 hours, or the money will go to his father (Logan Ramsey) instead. Luke isn’t even dating anyone and so he must immediately go looking for a virtual stranger who’s willing to marry him on-the-spot simply for the profit. He finds that person in the form of Annie (Lissa Layng) who is a country girl visiting the big city and who Luke finds to be more down-to-earth than his other past girlfriends who now want to marry him simply so they can get their lecherous hands on his newfound fortune, but as they move ahead with their impromptu wedding his father tries everything in his means to put a stop to it.

Writer/director Larry Yust rose to some prominence in the film scene with his controversial film short The Lottery, which was based on the Shirley Jackson short story about a small town who stones one member of their community each year after their name gets randomly picked from a lottery. He followed it up with the Blaxploitation favorite Trick Baby and after that the offbeat horror flick Homebodies. While none of these films were masterpieces they still showed flair and creative potential, so why he would end up helming this dud, which is his last film to date, is a mystery, but the humor in this thing is excessively lame and the storyline utterly ridiculous.

Hindle makes for a very transparent and bland lead, but my real qualm came from his costar Layng who is a complete turn off in every way. I really hated her rural sounding accent and her phone conversation with her mother, who has even more of one, gets particularly annoying. Why Luke would choose her at random and become so very attached to her so quickly when a horde of other woman are chasing after him is never made clear and doesn’t make much sense.

Winters is the only good thing about this otherwise forgettable flick and it’s a shame he wasn’t made the star, but his ad-libs actually manages to elicit a few chuckles and what he does with his tongue at one point is rather obscene looking. I also enjoyed Logan Ramsey as his son even though in real-life he was four year older than Winters.

A slightly surreal segment where they go into a factory where workers are conditioned to crack open eggs in unison, which eventually leads to an egg throwing fight is the film’s one-and-only highpoint and even this isn’t much. I also got a kick out of the scenes with Anne Ramsey playing the part of a street preacher who tries to marry the couple first on the back of a speeding junk truck and then later while the three are floating in water with lifejackets on.

My Rating: 2 out of 10

Released: June 12, 1986

Runtime: 1Hour 29Minutes

Rated PG

Director: Larry Yust

Studio: Cinetel Films

Available: VHS

The Busy Body (1967)

busy body

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Find the dead body.

George Norton (Sid Caesar) is a nebbish mama’s boy who, for whatever reason, gets taken in by Charley (Robert Ryan) a Chicago mob boss. Charley even gives George a seat on his board of governors. When a fellow crime boss (Bill Dana) gets killed in a freak accident it is George who selects a blue suit for the corpse to wear at the funeral. Unfortunately that blue suit was lined with a million dollars and Charley demands that George dig up the body and retrieve the money, but when he does he finds that the body is gone and thus begins a long, winding, ‘madcap’ search for the missing body and money.

Noted horror director/producer William Castle decided late in his career to give comedy a stab and this is the result. The beginning is mildly amusing, but the humor gets terribly strained and a 100 minute runtime is just too long for such trite material. Everything gets suppressed into silliness with an overplayed music score that has too much of a playful quality to it making the whole thing thoroughly ingrained on the kiddie level from start-to-finish.

Dom DeLuise has an amusing bit as a mortician that would really rather be a hairdresser and Kay Medford is quite funny as George’s doting mother, but the rest of the supporting cast is wasted, which includes Richard Pryor, in his film debut, playing in a role that does not take advantage of his comic skill. Caesar is just not leading man material and his vaudeville-like shtick is quite passé and predictable. His co-star Ryan is far funnier and without having to try half as hard.

The plot goes off on wild tangents until it becomes impossible to follow and quite pointless. The whole production is horribly dated and will not appeal to kids or adults. In fact the film’s intended audience has long ago passed away making this thing a silly relic of its time and nothing more.

My Rating: 3 out of 10

Released: March 12, 1967

Runtime: 1Hour 40Minutes

Not Rated

Director: William Castle

Studio: Paramount

Available: DVD, Amazon Instant Video