Ricas y famosas

Throwing his hat into the ring one last time before retiring (and then dying two years later!), legendary director George Cukor helmed this remake of "Old Acquaintance", the type of film that would not have been a surprise to see on his resume back in '43 (but the director was actually Vincent Sherman.) Cukor was noted throughout his remarkable 40 year career for his way with actresses (some of which were considered the most famous under the sun!), so it is appropriate that his last film featured two of them in showy starring roles. Bisset and Bergen are college friends in 1959 when Bergen skips out of the dormitory to marry Selby. A few years later, Bergen is a seemingly contented housewife and mother while Bisset has published a highly acclaimed first novel (and a second one is slow in coming!) Eventually, Bergen expresses a desire to write as well and this kicks off a feud between the ladies regarding art versus entertainment. meanwhile, they each experience heartbreaks in the romance department. Bisset produced this film (understandably, to get out of dreck like "When Time Ran Out") and is the more prominently featured of the two. She has many strong moments in the film and more than a few silly and/or tiresome ones as well. She makes no attempt at any point in the film to display even a shred of period detail in her hair or costuming (insisting on a shaggy-poodle hairstyle that is neither appropriate nor flattering to her gorgeous features) and this hurts the quality of the film more than one might expect. Bergen, on the other hand, looks smashing in a time-tunnel-tour of fabulous hair and clothing pieces. She gives her role every ounce of zest and humor that it can contain. In short, she comes out way on top in the acting and presence horse races. At times threatening to become a parody, she manages to imbue her character with depth and resonance. Also in the cast are (the oddly cast) Selby as Bergen's emasculated husband, (gorgeous) Bochner as a laid-back Rolling Stone reporter who admires Bisset and a wet-behind-the-ears Ryan (in her first role) as Bergen's impetuous daughter. Though some of the dialogue gets a little out there every once in a while and the story is bound by its old fashioned roots despite modern (foul) language and sexual implications, some degree of true human emotion still comes through and the ladies share a nice onscreen rapport. Georges Delerue provides a lovely pre-"Steel Magnolias" score. The plot occasionally gets a little off track and the film resorts to overdone melodrama at times (the teddy bear scene), but enough intelligence went into the portrayals and the script for this to have some meaning. As an added treat, impossibly young Lattanzi shares his much-lauded rump with the camera and the delectable Dack Rambo makes an unbilled appearance.

George Cukor is an actresses director.He told himself it was nothing but an old cliché ,probably as old as the hills ,as old as "gone with the wind" when Leigh and De Havilland went on rehearsing with him even after he was fired.

But this cliché is completely true here.Every scene where Jacqueline Bisset and Candice Bergen are together is riveting,dazzling,moving,funny all at once.but when the movie deals with Bisset's love affairs,it 's an awful bore.Doug's scenes are watchable at a pinch because the actor has a certain presence ,but the Rolling Stone guy's ones are almost unbearable,being bland ,pseudo-intellectual ;this is really a lightweight performance ,to put it mildly.

But the two actresses work wonders when they share the screen.Two scenes highlight the movie:the first ,in Malibu,where the two women spend a whole night reading Bergen's writing prowess;the second in NYC,when they have an ultimate quarrel :Bisset tells her mate she's only one part of a woman:you easily guess which one.

Of course ,it's a very uneven movie and inferior to Cukor's precedent work ("travels with my aunt",not counting his ill-fated "the blue bird") but the fast forward button is useful when the movie begins to drag on.

Screenwriter Gerald Ayres' crazy dialogue throughout "Rich and Famous", a remake of the Bette Davis chestnut "Old Acquaintance", continually sounds like failed poetry (or, perhaps, an amateur poet's idea of what movie dialogue should sound like). When college chums-turned-literary rivals Jacqueline Bisset and Candice Bergen are arguing, Bisset refers to herself metaphorically as a dedicated dog. "One come into the yard, we'd kick it out!" Bergen hisses to her. Bisset: "They're refreshingly loyal!" Bergen: "They'd **** a snake if it stood still!" It gets worse. While cuddling with her boy-toy (a writer from Rolling Stone!), Bisset asks if men weep. Her fella says, "We have little hairs that stand up on the backs of our necks." Bisset: "Are your little hairs standing up?" This is a flaky, camp-melodrama, ostensibly aimed at just the sort of women depicted on-screen. Though the two ladies look beautiful, they're acting styles clash: Bisset, trying for depth, comes off as cold and dour; Bergen is hyped-up for a battle, yet her southern accent is shaky (to be charitable) and her approach to this part seems out of place--she's a puff pastry on a dinner table full of oysters. At the end of the film, New Year's Eve, Bisset is feeling lonely and reaches out to her lifelong friend/enemy/whatever. "I need the press of human flesh!" she whispers dramatically to Bergen. "And you are the only flesh around...kiss me!" Somebody send this writer back to movie-school. ** from ****

George Cukor is and always will be one of my favorites. The unsung hero of his generation. Nobody mentions Cukor in the same breath as John Ford, Howard Hawks, William Wyler or Billy Wilder and yet, look at his filmography. From sparkling comedies "The Philadelphia Story" "Adam's Rib" "Holiday" Psycho melodramas "Gaslight" "A Double Life" a great semi western "Heller in Pink Tights" not to mention "My Fair Lady" or "Travels with my Aunt" He was at the service of his actors, he never put himself in front of the camera. I feel a certain tenderness watching "Rich and Famous" flashes of the old master still very much in evidence. Candice Bergen gives us for the first time in her career glimpses of the wonderful comedian she was about to become. Jacqueline Bisset is a throwback to the days of Greer Garson and Loretta Young and Hart Bochner steps in, teasing us, promising something spectacular that will eventually materialize in 1989 with "Apartment Zero", Meg Ryan, as Bergen's daughter is already Meg Ryan. As tired as the formula is, it remains a Cukor film and for what I gather one of Almodovar's favorite movies.

If you're old enough to remember when television networks aired movies of the week--usually part 1 on Sunday nights and part 2 on Tuesday nights--you'll probably understand how this film fits into that, at least in my view. Remakes, reboots, and reworkings have been a part of storytelling since it began, but the question I'm left with is...why? Why did someone decide that Old Acquaintance, with Bette Davis and Miriam Hopkins, would work as an updated, R-rated film, especially with a television-like feel to it?

I disagree with reviewers who say this is wonderfully cast. Yes, there is chemistry between Bisset and Bergen, but that doesn't mean it works for the film as a whole. I do, however, agree that Bergen's southern accent is more than just distracting. She slips in and out of it so often, I wanted to stop watching.

The movie did, in my opinion, pick up around the 1 hr 30 min mark; and that's the only reason I watched it in its entirety. It was fun and slightly nostalgic to see Meg Ryan in her debut. And I also agree with other reviewers who comment on Ms. Bergen's cool wardrobe. I also reluctantly concede that Deleure's music score is too sappy for this production.

In all, it's average and nothing more. If you're big fans of either of the lead actresses, it's worth your time. Otherwise, it's kind of a snooze fest.