Was gibt's Neues, Pussy?

Even for a budding great movie writer and producer such as Woody Allen, this film fails to measure up to the lowest level of entertainment. Heavy, plodding script, patchwork scenes, a very loose plot. Generally, not worth the time spent in watching it. HOWEVER, the Oscar-nominated title song, by Burt Bacharach and Hal David, and as performed by the incomparable Tom Jones, makes it all worthwhile.

It's hard to recommend this film if you're looking for non-stop laughs. The humor is hit- and-miss, with far too many misfires. But there's still a lot going for it, especially, a stellar cast who appear to be game for anything. Peter O'Toole proves he can be very funny. Peter Sellers as a lecherous psychiatrist, with a Prince Valiant wig, and a Valkyrie wife is a character right out of Woody Allen's comic sensibility. Woody himself is here, refining and polishing his nebbish persona so convincingly, that many viewers assume he's not acting at all. His assignment, when hired to write the film, was merely to gather a collection of beautiful women and send everyone off to Paris.

There is a bevy of beautiful women here. Paula Prentiss gets the most obviously outrageous role: a suicidal poetry-with-a-social-conscience writer who's also a performer at the Crazy Horse Saloon. The exquisite Capucine shows off her remarkable flair for physical comedy. Ursula Andress doesn't have to do anything other than show up in a bikini, but even she turns out to be a delightful comedienne. Romy Schneider doesn't fare as well. She looks amazing, but her character is cloying. She does shine, however, in the hilarious English-as- a-second-language class sequence.

There are some other gems: The nighttime courting below the window, the group therapy sessions, the library bully. The film comes to life at the end when it turns into pure slapstick. It contrives to assemble all the characters in a French château, with everyone chasing after each other in some cleverly devised sight gags. Just don't look for consistency, coherence, or continuity in this film. They don't exist. Enjoy it, instead, as a series of comic set-pieces.

"What's New, Pussycat" marks the writing and acting debut of Woody Allen; as an actor, he clearly steals the show, and he has a couple of hilarious scenes. Peter O'Toole is agreeable in a somewhat self-parodying role, but Peter Sellers is really disappointing in this film, constantly overacting and earning very few laughs. Allen's screenplay has some witty lines but generally it's a complete and utter mess - in a way that gives the film an feeling of sloppiness. There are a few chuckles in this movie, but it's very dated, and as comedy it can best be described as highly uneven. And I didn't understand if the sets were intentionally so fake-looking.

I guess this was the weekend on TCM for '60s international films. In the '60s, most of what was done was big - big historical dramas, big western dramas, big international comedies, and done on a smaller scale, the sex comedies like Sex and the Single Girl.

What's New Pussycat was an international sex comedy with the usual huge, well known cast: Peter Sellers, Romy Schneider, Peter O'Toole, Ursula Andress, Paula Prentiss, Capucine, with a cameo by Richard Burton. This was Woody Allen's first produced film script and his first film role. It wasn't a happy experience.

Peter O'Toole plays Michael James, the British editor of a Paris magazine He is in love with Carole (Schneider). She wants to get married, but he can't commit to her. Women are constantly after him, and he is constantly giving in.

He sees one Dr. Fritz Fassbender (Sellers) who wants Michael's life, particularly one of his patient, Renee (Capucine). Carole, meanwhile, is friendly with Michael's friend Victor (Allen) who is crazy about her and also wants Michael's life. The whole thing converges at the Château Chantel one weekend.

This film is purportedly based on the love life of Warren Beatty and the title taken from the way he answered the phone. He obviously did not wind up making the film. Peter Sellers adlibbed through a great deal of the movie and took all of Woody Allen's funny lines, diminishing Allen's part. The two of them loathed one another.

What's New Pussycat started out hilariously, with funny dialogue and situations. As it went on, it became more and more of an annoying mess and went out of control, culminating in a Keystone Kops type scene that was very funny. However, what preceded it was disorganized insanity.

There definitely are funny scenes and good performances. Paula Prentiss is especially good, as is Allen. Sellers is great until he seems to veer off of the script. I'm not sure if Peter O'Toole did his own stunts, but some of what he did was fantastic - the role called for him to be very physical. He was quite funny. Romy Schneider as usual was the straight man to this chicanery.

Watch in the bar scene where Peter O'Toole and a man talk and O'Toole says, give my best to what's-her-name - it's Richard Burton, and the what's-her-name is guess who. Very cute.

I like slapstick, I like madcap, but I like it structured, so I'm not the best judge of this. I prefer the MGM Marx Brothers to the Paramount ones, for instance.

This was hard to take after a while.

This, the first time Woody Allen wrote and played in a film, is indeed an easygoing laugh-a-minute introduction to his unmistakable neurosis humor, though it is not a proper introduction to the height of his genius as a writer or an on-screen persona, which in its cinematic infancy here is in its mostly widely recognized distillation, an intellectual nebbish whose life is a never-ending uphill battle to deduce why he can't score with any women. Like his first three efforts at the helm, What's Up, Tiger Lily?, Take the Money and Run and Bananas, What's New Pussycat? is a prime example of the swinging '60s vogue, but whereas in Take the Money and Run, for instance, his cinematic approach hearkens back to early documentaries and silent comedies, this romp is under the much more generic direction of Clive Donner, who had before been an assistant director.

But even as an especially commercial production with a then modern pop soundtrack, which absorbed the movie lots of success (though the most memorable use, a Dionne Warwick track, was much overlooked), and a slapdash editing job, it has some impressive elements not limited to the wit and inspired silliness contributed by Woody. Peter O'Toole had already done Lawrence of Arabia, Becket and Lord Jim before this silly little farce, which was a cool and slick showcase of his range. He plays a strapping, earnest young man who struggles to remain faithful to his fiancé but cannot seem to avoid women who want to sleep with him. Peter Sellers plays his analyst, a Deutsche pervert who hates his nagging, brutish wife and proposes to follow his patient O'Toole and "study his behavior." Sellers provides one of his most hilarious performances, making it seem so easy to alternately embellish and subdue his Germanic caricature while completely inhabiting his ridiculous '60s swinger get-up.

So this is a classic screwball sex comedy of its time and captures the era not in the material, or even in production value, but in sight and sound. The movie was a box-office success, appealing of course to date moviegoers and mainstream audiences who saw the names Peter O'Toole, Peter Sellers, Capucine, Ursula Andress, Tom Jones and Burt Bacharach, but also, surely, to those who were cynical of the gender double-standard as well as Sellers' Teutonic psychiatrist. But yeah, definitely well worth a look, full of laughs.