Star!

If somebody wins a fortune at a Casino, will you finance the winner to have another go? Absurd, right? That's what I'm afraid happened here. Robert Wise and Julie Andrews were coming out of the most sensational success with "The Sound of Music". The kind of success that tends to be unrepeatable. What were they thinking then? The experts, I mean. The green light guys. Gertrude Lawrence was not Maria Von Trapp. But Julie Andrews was, is and always will be Julie Andrews. For an actor that must be a blessing even if most actors treat it like a curse. We can accept Julie in everything as long as you don't expect us to forget that she's Julie. She can poke fun at herself and show her boobs in "S.O.B" or pretend to be a man pretending to be a woman in "Victor Victoria" She can also play a quadriplegic in bed with Liam Neeson in "Duet for One" because the writing and the treatment of the character is, one way or another, tailor made. She managed to be Julie Andrews without betraying what the public, her public expects of her. A blessing or a curse? It doesn't matter, the actress herself can decide whether is one thing or the other. Julie Andrews has remained a name to be reckon with. Right up to Shrek. Star! gives her some fantastic moments, musical moments. Surrounded by great production values and wonderful costumes plus a delightful Daniel Massey as Noel Coward. But the shape of the film is a mess. We can't truly connect with her and we get lost in the masses and masses of information. From biopic to comedy, to drama to musical the film never finds the right tone. Disjointed, confused and confusing. I'm sure the film will find a new breath of life after we stop breathing. There is something in it that it's valuable and great but, at the moment, remains buried under the puzzling heaviness of its intentions.

It's de rigeur to dish this film; yes, it's interminable, and it's inevitable that Andrews outlives her welcome. (Not sure I can think of any star who WOULDN'T become somewhat wearisome in a biopic of this length). The pace is incredibly leisurely; the decision to work towards a wedding means that there is simply too much material. Unfortunately, there is no motor in the plot, no 'desire' that runs throughout, no theme; Andrews can't find a line for character development. Instead, there are endless changes of image, and endless set-piece re-creations of theatre history. Whatever else, you can't say that you're short-changed, but the experience is a little like having a whole box of chocolates force-fed to you at a sitting.

But Andrews works her tail off; she sings, she comedies, she thesps. She does her all-time best dancing. She generally outshines the frocks and the sets. It's probably deliberate that Gerty is chosen as the subject: it's an ADVANTAGE that most of the audience has never seen the real thing. Andrews is not trapped into a Streepish impersonation - she plays the script as if it's fiction.

Daniel Massey's Noel Coward is trapped by audience expectation; personally, I think it's very good, provided you accept that 'Noel Coward' is a fictional character based on a real person. He and Andrews have an excellent rapport, although I suspect the real Noel and Gertie were a bit more feral as performers. (Coward liked his godson's impersonation: but "A shade too many 'dear boys', dear boy.") In other roles, Beryl Reid and Bruce Forsyth are worth the price of admission (it's the English musical numbers that work best). The "beards" are dull: dull performers with a script that gives them absolutely nothing. (How much Sound of Music depended on the implicit threat of Christopher Plummer! )

In other news, Lennie Hayton's musical direction of this film is exemplary. The arrangements are simply splendid; this must just about be the last gasp of Hollywood's ability to pastiche all the styles of vaudeville and Broadway.

Bernie Leven's production design is so pervasive that it warrants savouring. You could argue that this is a movie that has been hi-jacked by its tradesmen: Wise hires all these great talents, and then "gives them their head".

I think "Star!" has all the joys of a triumphant folly. It's utterly predictable, but never dull (cf. Jumbo!) You have to be in the mood for it, and probably its pleasures are best savoured over several days, interspersed with Godard and Ken Loach.

Forty-five years have passed since this film debuted! A notorious flop in its day, the film looks better all the time. An old-fashioned, full-throttle musical starring diva Julie Andrews as diva Gertrude Lawrence in a series of musical numbers with dramatic scenes interspersed. As biography, it's bosh, but as entertainment it's aces.

Andrews is superb as Lawrence, capturing the blazing talent and her inability to deal with reality and men. The film nicely captures the razzle dazzle of Broadway in the 20s and 30s when there were such things as stars on stage. The musical numbers of terrific. The costumes are eye popping. Only the story lags.

I suspect that those who say Andrews is "stiff" in this film haven't seen it. Andrews is a whirlwind of singing, dancing, and acting as she covers Lawrence's life from early adulthood til her marriage to Richard Aldrich in 1940 and her triumph in LADY IN THE DARK.

Co-stars include the marvelous Daniel Massey as Noel Coward, Richard Crenna as Aldrich, Michael Craig, Robert Reed, Anthony Eisley, Jenny Agutter, Beryl Reid, Bruce Forsythe, and Alan Oppenheimer as Charlot.

Look quick for Conrad Bain, Tony Lo Bianco, J. Pat O'Malley, Anna Lee, Ballard Berkeley, Bernard Fox, and Don Crichton (CAROL BURNETT SHOW dancer)in the "Limehouse Blues" number.

STAR! ranks as one of Julie Andrews' very best performances. And that's saying a lot.

Robert Wise's "STAR!" got lost in 1968 as the public and indeed the world's taste and sensibilities quickly changed. The big Hollywood Musical was no longer in vogue as were pretty English sopranos. The public was now more fascinated by "real" looking films and exotic looking large nosed female singers. Fate has a funny way of turning things around and what was I am sure considered a fiasco at the time by Twentieth Century Fox now appears as a newly discovered masterpiece. In "STAR!" we get to see a never more beautiful Julie Andrews give her strongest performance as the temperamental British actress Gertrude Lawrence. She shows more depth as an actress in this film than in any of her other musicals. She is also in top vocal form and that genius is showcased in about fifteen brilliant and lavish musical numbers. "STAR!" is worth viewing for this alone. Michael Kidd deserves much praise for the witty and stylish way he staged these production numbers. In the last "circus" number, Kurt Weil's "Saga of Jenny", Andrews not only sings and dances but does actual gymnastics as well!!! This has to be one of the highlights of Hollywood musicals of all time. Visually "STAR!" is a treat for the eyes. Costume designer, Donald Brooks' contribution is another reason this film must be seen. He has created some of the most beautiful gowns and costumes ever to grace the screen. They are not only large in number but elegant and chic in a way that is not seen today. His designs are reminiscent of Adrian's best work at MGM. Art director, Boris Levin, does so well with both recreating the historical locations and the "on stage" scenery, it reminds you why he is one of Hollywood's most successful designers. Daniel Massey takes a brave approach to his portrayal of his real life godfather, Noel Coward. He creates the illusion without ever falling into mimicking, stereotypical gestures. He proves a good support to the star of "STAR!", Julie Andrews who will only win more fans and artistic respect from viewers of this film.

*THUD* Like that the romance between box office and Julie Andrews was over.

Why?

There are a variety of answers. Tastes had changed. Big-budget musicals were on their way out (and continued to fall out of favor as the decade proceeded--see "Chitty Chitty Bang Bang," "Camelot," and "Paint Your Wagon" for further evidence). And the public had mysteriously cooled on Julie Andrews as well, although the reason behind that eludes those of us who still carry the torch for her.

Caught in the downward spiral, unfortunately, was "STAR!" the musical that was supposed to recapture the magic of "The Sound of Music" by allowing Andrews, Wise, and Chaplin the opportunity of working again. According to critics and box-office receipts, this reunion failed miserably.

But there has been a revisionist feel to "STAR!" over the past few years, as evidenced by the VHS and laser releases, and that's a good thing. This treasure certainly didn't deserved to remain buried forever.

Andrews gives a tour de force performance, tackling a barrel full of unforgettable songs from some of the world's greatest composers/lyricists. She's also given amply opportunity to show off her acting chops, as her Gertie is alternately dazzled and dazzling, enraged, funny, drunk, enamoured, witty, urbane, base, coy, and even sad, lonely, and depressed.

Last, Julie/Gertie is dolled up in some of the most exquisite costumes to ever grace a screen--the Donald Brooks outfits and Cartier jewels will knock your eye out.

That Andrews voice... that Andrews face... that Andrews talent... that Andrews dancing... All up on the screen with nobody to appreciate it in 1968. Luckily, it's now all within grasp.