S.O.B. - Hollywoods letzter Heuler

Next to Victor/Victoria, S.O.B. is probably my favorite Blake Edwards film. I'm not a great fan of his movies, but when his films are funny, they're usually hilarious. This movie has its fair share of laugh out loud moments that more than make up for some of the slow and less-well-scripted parts. It features a number of wonderful, if sometimes over-the-top, performances by many well-known performers. Most of the scenery chewing is very well in tune with the theme of this Hollywood harpooning. Given the ever-increasingly cynical nature of movie producing, some of S.O.B.'s elements even seem quaint.

The Viking send-off is one of my all-time most memorable movie scenes, and the fact that this is also William Holden's last role gives this section an added air of sadness.

One of the curious things about S.O.B. is that while it has an incredibly good name cast, there is no real star of the film. Julie Andrews gets first billing because she's the director/producer's wife and after her William Holden has the biggest marquee name so he's second. But if there's a star in this film it's Richard Mulligan because it's on his troubles that the plot of S.O.B. turns.

Mulligan came in for a lot of criticism as the frantic film producer who after a string of hits, totally loses his mind. So much so that his movie star wife, Julie Andrews, is leaving him. The first half of the film involve some hilarious attempts at suicide, the best being when he falls through the floor of his beach house trying to hang himself and flattens nosy gossip columnist Loretta Swit.

Julie Andrews is basically cast as a movie star like Julie Andrews who gained her fame and popularity with wholesome entertainment like Mary Poppins and The Sound of Music. During an orgy/party that his good friend, cheerfully hedonistic director William Holden has at Mulligan's house while on suicide watch, Mulligan gets a brainstorm and decides to redo his last G rated film as soft core porn with Julie Andrews displaying her glockenspiels.

Mulligan gets crazier and crazier as the film now becomes a battle between him and studio head Robert Vaughn for control of the film. It all ends quite wildly indeed.

A lot of people say Richard Mulligan overacts and chews the scenery. But that's what the part calls for. He no more does it here than Robin Williams or Jonathan Winters at their zaniest. A little fine tuning in his performance might have helped, but the director who should have done this was busy elsewhere.

Instead of Blake Edwards doing it himself, he should have begged Billy Wilder to do this film. S.O.B. is the greatest Billy Wilder film that Billy Wilder never directed.

Besides those mentioned such luminaries as Shelley Winters, Robert Webber, Marisa Berenson, Stuart Margolin, Craig Stevens, Paul Stewart, Larry Hagman and Robert Loggia play various Hollywood types. But the best by far in the cast is Robert Preston as the Doctor Feelgood to the stars. It's a variation on the conman Harold Hill he played in The Music Man only he's far more cynical. When Preston is on screen, he dominates the film.

S.O.B. was the farewell performance of William Holden. Knowing the senseless way Holden died after completing the film, you twinge when you hear him cheerfully tell Richard Mulligan how he drank enough booze to kill a dozen healthy livers. Still S.O.B. was a good film to leave on for him.

I enjoy what Blake Edwards did with the talented bunch he assembled for this film. It would have been perfect if Billy Wilder had done it though.

In this satirical look at Hollywood, a film producer tries to commit suicide after a big-budget flop, but then decides to reshoot it as porn. It has some very funny moments but runs out of steam long before its excessive running time. It boasts a terrific all-star cast, but Preston steals the film as a wise-cracking doctor. Andrews, playing a wholesome actress not unlike herself, flashes her breasts in an attempt to boost the box office of the reshot film. Mulligan plays her husband, presumably modeled after Edwards. In his final film, Holden plays a hard-drinking, hedonistic director. In a sad irony, the actor drank himself to death months after the film was released.

This is one of the greatest all-star comedies around. It focuses on the lives of Hollywood movie moguls and their decision to make a G-rated flop into an X-rated box-office smash. Featuring many comedic talents including Richard Mulligan, Robert Preston, Julie Andrews, Loretta Swit, Robert Loggia, Robert Vaughn, Robert Webber, William Holden and Shelley Winters. Also, look for a shocking scene depicting sweet and innocent Julie Andrews being not so Mary Poppin-like. A fast-moving great ride. I didn't want to get off. Highly recommended!

I never quite figure out Blake Edwards as a filmmaker. He had a side that was as sophisticated and poignant as it was funny. Think "The Party" or the first Pink Panther, the other side was pure commercialism without any regard for its audience. SOB is a blatant example of that. Here he even uses his characters to badmouth "Last Tango In Paris" - The premise is terrific for a biting Hollywood satire but a premise is just a premise. He has to resort to farting during a sequence that should have been a comedy showstopper. Hey he got his wife to go topless and his wife was Julie Andrews - he must have heard cash registers in his mind like Richard Mulligan's character when he decides to put his wife in a porno=erotic something or other to make zillions of dollars. Richard Mulligan plays his suicidal director like he was in a Mack Sennett routine. Outrageous and I'm tempted to say, unforgivable. I must also confess that made me uncomfortable to see William Holden in the middle of it all. Shelley Winter, Robert Preston, Stuart Margolin, Larry Hagman, Robert Vaughn even a glimpse of the very young Rossana Archette keeps the film going. Loretta Swit - of MASH fame - plays a gossip columnist in such a way that may very well explain why she didn't have much of a film career. So, even if I'm aware I've spent a couple of hours with a bunch of characters I hope I never meet in real life, SOB deserves to be seen if only because it is a piece of film history solidly set on its day.