The 4th Tenor

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.

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.

A comedy like this won't hold up to today's standards. It doesn't have the acidic bite, the sarcasm or the snappy gags that make modern comedies so successful, despite the fact that it was written by & stars Rodney Dangerfield who basically invented acidic bite, sarcasm & snappy gags.

Instead, in this story--the last one Rodney would write for the big screen--he takes us on a trip back to the smooth, human vibe we used to get from the classic comedies with Jimmy Stewart, Tony Curtis, etc. He doesn't play the part of the wisecracking, quick-witted hero you might expect from "Back to School" but instead he plays sort of a schlep, an emotionally downtrodden loser (despite his material success) who evokes our sympathies like a lost puppy dog.

Having read some of the other reviews, I think this takes people by surprise, particularly his fans, who deem his performance sluggish & lackluster. However, if you drop all preconceived notions of what a Rodney film 'should be' and instead approach this as a human story where the wisecracks are merely incidental, you'll really enjoy it. This is Rodney, the real man, not the performer. And I consider it a real treat to catch a glimpse of his human side.

Some of the gags are predictable or outright silly, but then again, can't we say the same thing about a classic Jimmy Stewart comedy? I can't stress enough how much this film reminds me of those bygone movies, right down to the dreamy cinematography (lots of crane shots) and manufactured studio sets (like in the opening scene of a city block on a rainy night: pure nostalgia). I think a lot of care went into establishing this old-timey vibe. It's quite the opposite of the slick & hip "Back to School" (which I loved, by the way). "The 4th Tenor" is more like an 80s Hugh Grant romantic comedy but instead of the face of prettyboy Hugh & his classic British accent, we get the mug of Rodney Dangerfield & his Brooklyn twang. If that image doesn't scare you off, then I think you'll really enjoy the flick.

Even though I'm a huge Rodney Dangerfield fan, I never had the chance to see this film until today since it was in limited release theatrically and the DVD is surprisingly hard to find. Now I know why: the flick just isn't any good. Dangerfield tries his best, but he can't save the uninspired directing (this was director Harry Basil's feature debut and it shows), poor production values, and sluggish pacing. The supporting cast of the usually reliable Annabelle Gurwitch, Robert Davi, and Charles Fleischer is disappointing with each given little to do. However, the first twenty minutes or so are quite funny with Dangerfield's signature quips popping up almost non-stop. Once Dangerfield starts singing, the viewing experience becomes a drag. The 4th Tenor is easily Dangerfield's worst. Basil also directed Dangerfield in Back by Midnight,a much better collaboration between the two. 3/10