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This is a great film. Some have said it epitomizes the 1960s glamour comedies but what it cleverly does is parody them, and other film genres, through its movie dream sequences and the ridiculous and gorgeous costumes Shirley wears. It has a great cast and everyone is in top tongue in cheek form. Dick Van Dyke plays his usual neo-Marx brothers physical comedy schtick (with Margaret DuMont, no less!) at the height of his powers. Paul Newman is great playing against type as a tortured artist, a perfect sendup of Kirk Douglas' portrayal of Van Gough in *Lust for Life* (he even wears the same beard). Mitchum is suave and cool as a kind of Cash McCall gone wrong, but far more slick then Jim Garner ever was. To top it off, Gene Kelley does an incredible spot on parody of himself in the Holywood story, with iconic images taken straight from his greatest triumph *Singing in the Rain,* turned on their head and twisted into a grotesque commentary on the evils of Hollywood as opposed to its dreams and glamour. The scene where he is trampled to death by his fans holds up a hilarious mirror to the similar scene in *Singing in the Rain* where he has his clothes torn off by them. This film elevated parody to a high art form before anybody had even heard the term "post modernism!" And those gowns she wears! The best one is the one which is just a string of pearls down Shirley's sexy back (she faces away from the camera for the shole scene because she is obviously topless). They must have cost a fortune! this is obviously a film with a very Lush Bugett!

MacLaine gets a huge workout in this episodic comedy about a woman from humble beginnings who is satisfied with the smaller things in life, but who keeps marrying men who make a fortune and then die, leaving her a wealthy widow four times over! Each one of the marriages sees MacLaine experiencing a new level of frustration and enveloping herself in an increasingly over-the-top super-glam wardrobe. As she relates the marriages to the rather manipulative psychologist Cummings, each relationship is seen as if it were a certain movie genre. Van Dyke lives a simple existence as a small-time store owner and their sequence contains an old silent-movie vignette. Newman is an expatriate artist living in Paris, so theirs is a slightly naughty French art film. Mitchum is a businessman loaded with dough which lends itself to a parody of the fur-and-fashion Ross Hunter women's pictures. Then marriage to small town hoofer Kelly includes a big song and dance number out of a 1940's musical. Also on hand is loutish playboy Martin, who plays the man her mother (Dumont) wanted her to marry in the first place. MacLaine gives a worthy performance with lots of physical comedy and an impressive dance sequence. She's occasionally a little shrill, but that's the character. Van Dyke is solid, Newman is sexy (and shows more skin here - albeit G-rated - than in the bulk of his other movies), Mitchum is charming, Kelly is appropriately self-involved and Martin is his usual suave, laid-back self. All of the actors establish a nice chemistry with MacLaine (who lived many a gal's dream when she got to pair up with all the leading men of this film!) It's fun to see these actors hamming it up and having fun with their unusual roles. The real star, however, apart from MacLaine, is the eye-popping, jaw-dropping parade of costumes and wigs. Some are breathtakingly glamorous, some are atrociously eye-assaulting, but they really steal the show, especially during the Mitchum sequence. Edith Head clearly had a field day (but lost the Oscar to equally-gifted Cecil Beaton for his "My Fair Lady" gowns.) There are also some attention-getting set designs. It's the kind of frothy, harmless, yet beautiful film that rarely gets made today. Some modern movie-goers will note MacLaine's uncanny resemblance to Renee Zellweger at times in this film. She gave this type of frothy flick a go in "Down With Love", but no one came (of course, it wasn't as good, so it isn't surprising!) The pattern of the movie threatens to become tiresome, but the changes in stars and venues and the clever scripting of Comden and Green help keep it afloat.

"WHAT A WAY TO GO" is the epitome of the lush mid 60's style comedies. Great cast. Shirley MacLaine as Louisa, is a simple girl who longs for the simple life. Although her mother, played by the great Marx Brothers straight woman Margaret Dumont, pushes her to get with the money, Louisa marries for love. Once a little prosperity has touched hubby # 1, he works himself to an early grave. Poor Louisa goes through 3 more husbands who also are devoured by their various forms of greed leading to their demise(s). Finally with husband # 5 , Dean Martin as Leonard Crawley, she has found the simple life...or has she ? As Louella Parsons would have put it : Shirley was never lovelier than in this picture ! Edith Head clothes, and hair by Guilaroff, MacLaine looks wonderful wallowing in her chicest mourning weeds...Best Segment : Hubby #3 Bob Mitchum ........

I love when I sit down to an older film and the first question I find myself asking is "Where has this movie been all my life?" What A Way to Go is the kind of silly romp I would have expected my Dad to introduce to me early in life. We've always shared a similar sense of humor, and the goofy farce that this black comedy utilizes is exactly the style he would love. In fact, I wasn't even 20 minutes in before I decided this was a DVD I'm going to loan to him before returning it to the library. I laughed, and I laughed a lot at the silly buffoonery of What a Way to Go! It has moments where it plays like a ZAZ comedy in the vein of Airplane or The Naked Gun, but years before those movies ever came around. The entire premise is hilarious in itself because it focuses entirely on a woman who DOESN'T want wealth, which flies directly in opposition to what most people would consider common sense and is diametrically opposed to your traditional Hollywood script.

What makes it even more surprising that I'd never heard of What a Way to Go, is the unbelievable cast. Shirley MacLaine acts opposite a cavalcade of legendary actors that I never would have guessed had all appeared in the same film. Each one of them lends their own unique flavor to their scenes, and I could not get enough of it. They even have several homages to different styles of cinema throughout, and I was delighted by each one. Of course, as a lover of musicals I was particularly enamored with the Gene Kelly section because he choreographed a big bombastic song-and-dance that felt straight out of a Rodgers & Hammerstein film. The story can get a little repetitive at times, which makes it so you are several steps ahead of the action waiting for the movie to catch up, but I was still laughing and enjoying myself through most of that, so it wasn't a big deal. I won't say What a Way to Go is my favorite comedy of its era, but it's a highly effective one that I will seek out again.

The premise is amusing - a woman who seeks the simple life, yet inadvertently ends up four times widowed and fabulously wealthy. There is also the charming conceit of each marriage being represented by a stylized mini film within a film. (Alas, these bits are often cut in network airings.) In the end, though, the whole thing devolves into little more than a lavish fashion parade of Edith Head's reported $500,000 worth of creations. And many a time everyone seems to be trying just a bit too hard to be amusing (except for the ever cool Robert Mitchum).

But if there is no real "there , there" cinematically, it doesn't much matter. Not every movie needs to be another "Citizen Kane". Just relax and have fun.