Sweet Charity

This is loaded to the brim with that dancing and just general idiosyncratic "cool" feeling that made Fosse who he was as a creator. "Big Spender" and "If My Friends Could See Me Now" are all-timer Musical numbers in film history. And yeah, a couple of the numbers have certainly dated (hearing Sammy Davis tell a bunch of Broadway Hippies to "Sock it to me" in the "Rhythm of Life" number is worth a major eye-roll), plus Fosse's attempts to do uh La Jetee type still image montages at a couple of points. However, Shirley MacLaine is often so moving in a role that others might have played a little less intensely felt (what sold me was the job interview scene, which is just about perfect, but her comic timing is impecable). She's adorable but also very serious as a person, which is hard to pull off. It's big and flashy and a little bit silly (I like to call Ricardo Montalban Casanova Khan in this), and the director jumps off from Fellini and Neil Simon (in a Peter Stone script) for as much audacious advantage as he can. Not all of it works, but it's far from a "disaster" like Pauline Kael called it. 7.5/10

There's just something about this movie that I love. I had seen bits and pieces of it some half a dozen times in the past couple of years. Tonight I finally sat and watched all of it. In theory it sounds like blasphemy: a musical remake of Fellini's Nights of Cabiria. But somehow first time director Bob Fosse pulls it off, and enormously well. Fosse is daring and innovative in his direction. Not just in the musical numbers, where you would expect it, but in every scene. He plays, and he's obviously having a ball. After the direction, a high percentage of the film's success is due to Shirley MacLaine, who was never better as Charity Hope Valentine. As much as I love and care for Giullieta Masina's Cabiria, I love and care for MacLaine's Charity. She's such an enormously lovable character, and MacLaine is simply brilliant. Her comic timing is impeccable. Sweet Charity also proves an interesting time capsule of late 60s New York City. In the scene cognate to the Picadilly Club in Nights of Cabiria, we visit a trendy night club where the girls where blue feathers as hats. Clips of Cleopatra (the one with Claudette Colbert) and an unidentifiable W.C. Fields movie play on a big screen in the background. We visit a religious ceremony for hippies who sing The Rhythm of Life. Sammy Davis Jr. is the priest! In Cabiria, a parade of young people cheer her at the end of the film. In Sweet Charity, a group of hippies, amongst them a young Bud Cort, hand out flowers in the morning, just saying good morning to everyone they meet. This movie was a huge bomb when first released. Fosse is actually really lucky they gave him another chance at direction, and then he made a film instantly recognizable as a masterpiece, Cabaret. Sweet Charity did not deserve to fail so miserably. Just the fickle fingers of fate, I guess.

Great Sets, choreography, music, cast. "If They Could See Me Now" is worth the price of admission. "I'm A Brass Band" is also a highlight. Somewhat depressing story line makes this a happy/unhappy experience. But if you haven't seen it, give it a whirl. I hear the DVD has an alternate ending, which may be a good idea!

"Hey big spender" That's all I knew about Sweet Charity. A musical version of Federico Fellini's masterpiece "The Nights Of Cabiria" - I didn't think of Cabiria when I saw Charity on the screen. Shirley MacLaine's recreates and reinvents Giulietta Masina's Cabiria. That is something that very rarely works. But here in Bob Fosse's version, Cabiria has a new life, an American life, a song and dance life but just as sad. Sad but not hopeless. There is the spirit of Cabiria/Charity that will survive. Shirley MacLaine is magnificent. She manages to project that innocence that makes everything not just palatable but delicious.

Bob Fosse's first opportunity to direct a movie was the 1969 film version of his own Broadway musical SWEET CHARITY, a musical based on the film NIGHTS OF CABERIA, with a book by Neil Simon and music by Cy Coleman and Doothy Fields. The story is best described by the film's subtitle: "The Adventures of a Girl Who Wants to be Loved". Shirley MacLaine, taking over the title role from Fosse's wife and muse, Gwen Verdon, plays Charity Hope Valentine, a pathetic thing who has worked as a taxi dancer in the Fandango Ballroom for eight years and has basically been a doormat to men all her life. As her friend Nickie (Chita Rivera) explains, "You run you heart like a hotel...you got men checking in and checking out all the time." The story is told in a series of amusing and touching vignettes which lead to Charity meeting the possible man of her dreams, a milquetoast named Oscar Lindquist (John McMartin, reprising his Broadway role). This film died at the box office in 1969 and I'm not sure why except for the fact that this was a period when musicals just weren't being made anymore and that's a shame because the movie is extremely entertaining, thanks to the bravura performance by MacLaine as Charity and the extraordinary choreography by Bob Fosse. I can watch this movie over and over again just to watch the dance numbers. The raw sensuality of "Hey Big Spender"...the angular, disjointed and pointed moves of "Rich Man's Frug"...the Broadway exuberance of "There's Gotte be Something Better Than This", exuberantly danced by MacLaine, Rivera, and Paula Kelly...the brilliant jazzy classic Fosse moves of "Rhythm of Life"..and the pure joy of "I'm a Brass Band." All of Fosse's choreographic signatures are present here...the hats, the gloves, the turned in feet, the disjointed body parts, the expressionless dancer faces, it's all here to be watched and studied and marveled over. For dance purists and Fosse devotees, SWEET CHARITY is a must.