Toll trieben es die alten Römer

I hadn't seen this in twenty years, and then on TV (with many cuts and commercials), so I jumped at the chance to view a video recently. "Funny Thing" is just as funny as I remembered it to be -- a marvelous opportunity to see the brilliant and hilarious Zero Mostel, plus a dream cast that includes Jack Guilford, Phil Silvers, Michael Crawford (very young), Roy Kinnear, etc.

Zero Mostel was an incredible Broadway comedic genius, but his most famous work was probably in "Fiddler on the Roof", where it only exits as the wonderful Broadway cast album. When they made the film, they inexplicably passed over Mostel to cast the much lower keyed Topol as Tevye. "Funny Thing" is more brilliant vintage Mostel from roughly the same period, but we get the real thing as he reprises his performance. No one can really approach Mostel for his comic timing, ability to not only sing but sing FUNNY and the expressiveness of his face.

Directed by Richard Lester (Hard Days' Night, Three Musketeers), the film is particularly beautiful in its period setting -- Lester had a spectacular eye for detail - and I honestly believe that this is the most realistic film ever done VISUALLY about Ancient Rome. From the credits, I see it was filmed in Madrid, Spain, which must have an incredible treasure trove of Ancient Roman buildings. The sets, costumes, extras etc. are pitch perfect....with one glaring exception. Like a lot of movies, the filmmakers could not bear to show us an attractive young woman in authentic period costume or makeup, so all the courtesans are circa 1967, right down to their blue eye shadow, false eyelashes, push up bras and back-combed hair!!

I understand from reading other comments that nearly 3/4 of the Stephen Sondheim score was cut for the film, which seems like a shame. However, what's left is very funny and well-integrated into the comedy. Many popular sixties film editing techniques are here -- quick cross cuts, Keystone Kops-like action sequences -- and while a bit dated, they fit the broad comedic tone of the story surprisingly well. The ending title sequence is spectacularly done, with wonderful Roman type and fresco's integrated into it.

Comedy styles go in and out of fashion, so this may not be everyone's taste these days. But having a visual record of a brilliant performer is a highlight and a cultural treasure, and that's what this performance by Zero Mostel truly is. I think most people won't be able to help laughing out loud, even at some of the dumbest and corniest of jokes here, and as usual, the Sondheim score (what remains of it) is delightful and witty.

When I was in High School I had a role in a production of this musical. The film actually stays pretty close to the plotting of the Broadway show, but the truth is that it's story lines are tried and true ancient Roman comic lines from the plays of Plautus and Terence. As such, A FUNNY THING HAPPENED ON THE WAY TO THE FORUM is a useful film - it is one of the few movies that are based on ancient drama. Of Greek tragedy only Sophocles OEDIPUS THE KING and Euripides THE TROJAN WOMEN made it onto the screen. None of Aristophanes' comedies did, although a "western" version of LYSISTRATA (heavily bowdlerized) called THE SECOND GREATEST SEX was produced. Menander has not popped up yet (with only THE GROUCH extant, there is little chance of that). But this Sondheim musical is the sole example of Roman Comedy - specifically the play MILES GLORIOUSUS ("THE BOASTFUL SOLDIER"). When Aristophanes created "Old Comedy" he created a phantasy comedy of kingdoms of birds or dead playwrites holding contests for supremacy. Political satire was also quite important. After the end of Athenian's Golden Age, even Aristophanes had to tone down his plays. Menander introduced a comedy of character and situation. THe Romans followed Menander's example. So A FUNNY THING HAPPENED is actually a comedy of daily regular life in Rome - it is not a realistic view of Roman society, but it is a type of distorted mirror of that society.

It is also important for another reason: Zero Mostel. There is no doubt that Mostel was one of the great Broadway performers of his generation, but his movie record on this is spotty. Mostel was best recalled for his Leopold Bloom in ULYSSES IN NIGHTTOWN, Pseudolus in A FUNNY THING HAPPENED, the lead role in RHINOCEROS (by Ionesco), and (most of all) the original Tevye the Dairy Man in FIDDLER ON THE ROOF. But only two of these performances got filmed - Pseudolus in this Richard Lester movie, and (in the 1970s)RHINOCEROS (with his co-star from THE PRODUCERS, Gene Wilder). The real loss for his fans was that Tevye was played by Topol in the Norman Jewison film version of FIDDLER. Topol was very good in the film (and was nominated for an Oscar for his performance), but one wishes Jewison could have used Mostel. It would have been an interesting film record of a major Broadway performance.

Mostel's filmography is an odd one. He first crops up in the early 1950s, most notably in two of Humphrey Bogart's last films, THE ENFORCER and SIROCCO. He (like his friend, and fellow FUNNY THING performer, Jack Gilford) was blacklisted in the McCarthy period, so that Mostel turned to working in nightclubs and developed his interest in painting (his painting always showed great promise). The slow resurrection of his carreer in the late 1950s led to some movie roles of interest, such as THE HOT ROCK, GREAT CATHERINE, THE ANGEL LEVINE, but the films were mostly flops. Only twice, when he starred in THE PRODUCERS and FUNNY THING HAPPENED did a glimmer of the manic power of the actor show up on celuloid, preserving an idea of what he was at his best. For that reason alone A FUNNY THING HAPPENED is worth watching and enjoying.

The supporting cast is great too, including Buster Keaton in one of his last roles as a befuddled old man, Gilford as Hysterium (Mostel's foil in the household where they are both slaves), Phil Silvers as Lycus the procurer (one of Silver's best performances on screen), and the two Michaels (Hordern and Crawford) as Senex and Hero - father and son (and rivals for the same girl). One particular added joy is the ill-fated Roy Kinnear, here playing a gladiatorial trainer who treats the use of a mace as though it were a golf club. A few numbers of the score are cut (FREE, IMPOSSIBLE) but they keep in COMEDY TONIGHT, EVERYBODY OUGHT TO HAVE A MAID, and one of Sondheim's few good love ballads, LOVELY. All this and a look at the power of mare sweat (don't ask - you have to be there). I found this film a great joy.

"Forum" is one film adaptation of a Broadway musical that is a half-glass of water. On the half-full side we get to see Zero Mostel and Jack Gilford reprising their Broadway roles, and they're joined by a fine supporting cast including Phil Silvers as Lycus (ironically, he would star as Pseudolus in the 1972 Broadway revival) and Buster Keaton in his last film. But even though the film delivers the laughs and opens itself up well from its stage origins (let's face it. That climactic chase in the Broadway version is wonderful but it just wouldn't work on film at all). But what I can't forgive is how nearly three-quarters of Sondheim's outstanding score (his best I think) has been jettisoned to give us a too short running time of barely an hour and a half. And on top of that, why do *both* of Milos Gloriosus's numbers get kept, while Mostel's two best numbers from Broadway, "Pretty Little Picture" and "Free" (which is supposed to be the heart of the show) are gone (along with Gilford's "I'm Calm")? That, I do not understand at all. It's gotten to a point where I purposefully stop the film after Psuedolus falls out of the tree so I can then play Mostel's version of "Free" from the Broadway cast CD (which is where it would have belonged in the film). And it's too bad this wasn't a roadshow movie with an intermission because Mostel's funny Act One closer would have worked great there as well.

All in all it's worth having, but be prepared for your mood to shift from seeing the film as a half-full glass or a half-empty one.

I never saw this in the 60's though I was of an age to...just saw it the other night on television and only watched it for Buster Keaton, whom I have recently developed a great joy in seeing. I enjoyed the whole thing...silly, (sexest,yes, a movie of the 60's), funny stuff. My kids aged 10 and 12 really enjoyed it, too.

This movie really does have something for everyone. Beautiful singing for the girls, erotically dancing half-naked prostitutes for the guys, and a lot of laughs for both. The late Zero Mostel was fabulous in this movie. For great music, great laughs, and great-looking women, rent "A Funny Thing Happened on the Way to the Forum."