Madame croque-maris

Oh yes, absolutely. Just go to the movies to see a flick done with all the nerve in the world and for what? "To make a buck" I have an idiot sitting next to me, he is the pseudo intellectual who killed movies like this. I envy my parent's generation, as far as movie going habits are concerned. Doris Day comedies and Belle de Jour. Tell me who could be so unself conscious today to make "What a Way To Go" for what it is. The world has changed so much, women, us, that it would be impossible not to make it feel satirical,"Down with loveish" "What a Way to go" maybe satirical in its own way but it's not self conscious. If we cold only disconnect the micro chip implanted in our brains during the 70's we could have a wider spectrum of our lives without passing judgment, learning or re learning to enjoy. Shirley Mac Laine is priceless. Adorable. Superb. Paul Newman, lovely and very funny. Robert Mitchum plays it hysterically straight. The Gene Kelly episode has a life all of its own. Robert Cummings plays Robert Cummings beautifully as usual. Dean Martin plays himself and a softer version of himself, Dick Van Dike plays a sort of Rob Petrie who wants to simplify. Directed by J Lee Thompson, a Brit, with "Guns of Navarone" to his credit. He had signed a few odd gems like "Woman in a Dressing Gown", "Tiger Bay" and "Return from the Ashes". I thought I mention that. Listen to me, disconnect the micro chip, lay back and enjoy!

A 1960's slightly dark comedy with a whole host of massive names but there is only one star, that is Shirley MacLaine, who is one of the most under-rated actresses of any generation. The main idea of the film is Shirley MacLaine's character is only interested in finding love and hates wealth, and this being a comedy, you can imagine the rest. Well acted with good humour, this is a good comedy film, though not one of MacLaine's best.

To describe WHAT A WAY TO GO as an ultra-light 1960s confection would be an understatement: frothy, foolish, and seeking no more than to be mildly entertaining, it is a classic of its kind and of its era.

The plot is episodic. When multi-millionaire Louisa May Foster tries to give away her money she finds herself slapped onto a psychiatrist's couch--where she details the story of a little girl from the wrong side of the tracks who was only interested in marrying for love. But as fate would have it, every husband she touched turned to gold, and their successes spelled finish to the marriage in no uncertain terms, with each widowhood leaving Louisa even more fabulously wealthy than before. What's a poor little rich girl to do? The charm here is in the cast and the production values. Although she offered considerably more in her most celebrated films, Shirley MacLaine had a remarkable way with light comedy, and she pulls out all the stops as the eternal widow, at times sassy, at times silly, but never less than completely watchable. Her unlikely co-stars--Dean Martin, Dick Van Dyke, Paul Newman, Robert Mitchum, Gene Kelly, Robert Cummings and (in her final film) the amazing Margaret Dumont--are also up to the task.

The humor is both obvious and sly, lampooning various rags-to-riches (or in one case riches-to-riches) stereotypes with a wink, a nod, and now and then an unexpectedly sophisticated bit of wit. The film works best when it gently mocks both itself and the more obvious cinematic conventions of its day, as when Louisa recalls each of her marriages with the words "it was like one of those movies where..." Everything from silent film to musicals gets a poke, and over-budgeted romantic blockbusters suddenly become considerably more comic than you'd ever imagine.

The production values are first rate, and to say there is always something to look at on the screen would be an understatement: they are deliberately and often deliciously over the top--and often as amusing as the performances. (The "Lush Budget" sequence, in which MacLaine changes gowns every few seconds, is particularly witty.) True, the movie is a no-brainer, but it is a fun one. Only a sour-puss could resist! Recommended.

Gary F. Taylor, aka GFT, Amazon Reviewer

The premise is amusing - a woman who seeks the simple life, yet inadvertently ends up four times widowed and fabulously wealthy. There is also the charming conceit of each marriage being represented by a stylized mini film within a film. (Alas, these bits are often cut in network airings.) In the end, though, the whole thing devolves into little more than a lavish fashion parade of Edith Head's reported $500,000 worth of creations. And many a time everyone seems to be trying just a bit too hard to be amusing (except for the ever cool Robert Mitchum).

But if there is no real "there , there" cinematically, it doesn't much matter. Not every movie needs to be another "Citizen Kane". Just relax and have fun.

I love when I sit down to an older film and the first question I find myself asking is "Where has this movie been all my life?" What A Way to Go is the kind of silly romp I would have expected my Dad to introduce to me early in life. We've always shared a similar sense of humor, and the goofy farce that this black comedy utilizes is exactly the style he would love. In fact, I wasn't even 20 minutes in before I decided this was a DVD I'm going to loan to him before returning it to the library. I laughed, and I laughed a lot at the silly buffoonery of What a Way to Go! It has moments where it plays like a ZAZ comedy in the vein of Airplane or The Naked Gun, but years before those movies ever came around. The entire premise is hilarious in itself because it focuses entirely on a woman who DOESN'T want wealth, which flies directly in opposition to what most people would consider common sense and is diametrically opposed to your traditional Hollywood script.

What makes it even more surprising that I'd never heard of What a Way to Go, is the unbelievable cast. Shirley MacLaine acts opposite a cavalcade of legendary actors that I never would have guessed had all appeared in the same film. Each one of them lends their own unique flavor to their scenes, and I could not get enough of it. They even have several homages to different styles of cinema throughout, and I was delighted by each one. Of course, as a lover of musicals I was particularly enamored with the Gene Kelly section because he choreographed a big bombastic song-and-dance that felt straight out of a Rodgers & Hammerstein film. The story can get a little repetitive at times, which makes it so you are several steps ahead of the action waiting for the movie to catch up, but I was still laughing and enjoying myself through most of that, so it wasn't a big deal. I won't say What a Way to Go is my favorite comedy of its era, but it's a highly effective one that I will seek out again.