The 4th Tenor

If it is true that Rodney Dangerfield "don't get no respect," then it is not for the want of trying. This latest outing into features by the 80-year-old comedian, who had a star unveiled recently on the Hollywood Walk of Fame, keeps the sight gags coming fast although a little restrained.

Rodney is Lupo, the owner of an Italian restaurant who employs singing waiters and waitresses. He is in love with one waitress whose operatic areas pack them in every night but she doesn't return the favor,

understandable as Lupo's singing voice could stop a clock. In a move to impress her, he flies to Italy for the best singing coaches.He has an open checkbook so he is quickly aided and abetted by a couple of con artists who see a crock of gold at the end of this particular rainbow.

If anything, this movie is lighter on extraneous humor and heavier on plot which, in my opinion, is an improvement over his earlier excursions. Dangerfield has good rapport with the assembled cast headed by Robert Davi as the chief antagonist. Once Lupo is in Italy, "The 4th Tenor" takes on a sort of fairy tale quality which increases the entertainment quotient and is sure to please more than the usual Rodney Dangerfield fans.

This is a very predictable romantic comedy. Although he is the main character, we see very little of the Rodney we have come to know and love. We see so little of Vincent Schiavelli, its hard to tell its him. The operatic ingenue-diva, early on, is certainly fetchingly sensual, but her portrayal of a devious wench is unconvincing by any measure. Generally, the acting by all parties is tepid.

There are a few beautiful landscapes of Italy in the movie; watch for them. Sadly, most of the action is shot on a soundstage.

The operatic elements are wonderful, but all too short. The fans of opera will play this soundtrack over and over, and use the DVD as a coaster for their iced latte.

Lose the DVD, save the Soundtrack.

Being a huge Rodney Dangerfield fan, it was more of a sad than funny experience watching this film. It's not for the simple reason that I know that Rodney is no longer with us, but the fact that he looks extremely sick throughout this movie. His face is pale, his eyes are really puffy. There are quite a few scenes in the film where it's evident that Rodney would've rather been lying in bed than performing. So right off the bat, don't expect that same relentless energy you saw in "Back to School" or "Easy Money." There are even scenes where he screws up the timing of his one-liners. It had nothing to do with incompetence (Hell, Rodney's the GREATEST comedian of all time, in my opinion), but because sickness and old age had gotten to him. Now let's go on to what I did like about "The 4th Tenor." It may not work perfectly as a comedy, but it makes a touching and light-hearted romance. I really did feel for Rodney's character, as the woman who captured his heart would continually blow him off. And I also felt his new-found love for the Italian woman, who would treat him with nothing but love and respect, but is forced to marry the man her father wants her to marry. The movie even has a climax, involving Rodney rushing to the wedding. Normally, I hate when I see that cliché in romantic comedies, but since I was taken by the story, I was able to forgive the cliché. This is in no way a memorable film, and the gags come in an intermittent fashion. I don't think director/comedian Harry Basil was talented enough to find the right balance to make this film work as a comedy. The comedy arrives in a too-little-too-late fashion, amidst handfuls of sentimental moments. If you're in the mood to laugh, I'd better suggest any of Rodney's other films. Or you can simply pop in his great "No Respect" CD. But I enjoyed this film for what it was. It went straight-to-video, and has straight-to-video written all over it. The filmmakers didn't even put in a half-assed effort to make the sets appear like Italy. And the New York scenes were obviously filmed on backlots. Harry Basil's a comedian and not a director, and it shows in his amateurish style.

Towards the end of his life, Rodney Dangerfield starred in (and sometimes also wrote) several low budget movies that either went straight to video or had a limited release beforehand, this movie being one of them. It was quietly released and hasn't been rediscovered, and I think I know why. While the production values are okay for a made-for-video cheapie (though there are obvious cost-cutting actions like filming on studio backlots and trying to pass the California countryside as Italy), and Dangerfield in his 80s still has energy (though it's obvious when a stunt double is used), there is a problem with the screenplay he co-wrote - it's not very funny. It lacks the zing and outrageousness associated with Dangerfield in the past. In fact, it seems to have been aimed at a family audience. That wouldn't be bad if the movie was funny, but it isn't. It's pretty predictable, both with its story and humor. One surprise about the movie is that it was produced by Joseph Merhi, who earlier had made a name for himself with exciting made-for-video action flicks. Watch one of those instead.

totally predictable and really cheap movie in every way but one and that's opera. lovely opera, lovely arias and everything else becomes lovely that would otherwise stink. some genuinely good jokes, however, which merits another 2 stars.

lovely scenery, lovely italy, lovely....further enforces the extra 2 stars.

And then we have Rodney Dangerfield, who seems to be unable to do anything wrong. That man has funny-bones for sure.

The story here is ridiculous but who cares? For anyone who hates opera this film is a disaster but for us opera-lovers or, should I say "aria-lovers" (because a long opera with no good arias is some serious pain in the ... whatever).

The only bad film I've seen with Rodney Dangerfield so far is "The Godson" and that was with Dom DeLuise as well! Strange movie that one - everybody looked as if they would rather be sleeping.

Here everybody looks as if they would rather be in Italy and I do not blame them.