Mame

This was Lucille Ball's penultimate film ("Stone Pillow" being her last) and proves, despite her age, she still has all her youthful charms and charisma, but strengthens the "Lucy Ricardo" in her as well--she can't sing. But she is quite talented on her feet (and she was recovering from a broken leg!). She brought a bit of the 'Lucy' persona into the Mame, which I feel didn't hurt the character-- now Auntie Mame is both free-spirited and screwballed; strengthening Mame's brother's wariness to let his son stay with her.

Rosalind Russell's 50's version was great as well, but was more solemn and serious than this, and was the nonmusical adaptation. That's all good and well, but I feel music enhanced the airy blitheness that is Mame.

Oh, and I forgot to mention Bea Arthur, who played Vera Charles impeccably, as if she was born for the role.

Let's face it: If you like Russell, you'll abhor this film; if you like Lucy you'll fall in love with it; if you like the nonmusical you'll feel the musical was deprived of proper depth; and if you liked the musical you'll think the nonmusical was rather pensive.

...for example, Bea Arthur as Vera Charles has one solo and parts of three duets--she steals the film easily, no contest. Robert Preston has one solo & is part of two other numbers, in limited screen time--he does his best to make Lucy look good in the title song and dance and succeeds. The instrumental music is so loud during Lucy's numbers it almost drowns her out, along with other cast members who can't sing.

Now for the bad - Lucy didn't have the range to sing the title part and shouldn't have been cast. She ruins her first two songs, then she and the kid cast ruin song number three. From then on she alternates between a very limited tenor range and talk-singing her songs, like Rex Harrison in My Fair Lady (1964). Also, all of the choreography seems slowed down--there is so much blurring of the camera lens one can barely see the pearls Lucy is wearing--they look to be dots. In the end the film just barely avoids disaster and today is considered a bit of a camp classic.

For those who enjoyed seeing this lively piece in the 1960s, or who liked the novel thirty years ago, Mame could be not only an entertaining sentimental journey, but an interesting view of how times have changed.

Lucille Ball is an interesting if not entirely right choice for the main role. She shows Mame Dennis's vivacious personality beautifully, accenting - naturally - the comic aspects of the character. It is a demanding role, covering eleven years from the heyday of the twenties until the start of the forties. Among the character developments are a period of job-hunting, the Southern-belle wooing of a second husband, and the growth involved in raising a child. Her acting is ideal. However, the role asks for a singer equal to the actor, and Ball is not up to it. Her low, aging voice has some depth, especially in the elegiac "Boy with the Bugle," but not the force and clarity of a good singer. The music and lyrics give her a hand, however, with an especial highlight in "Bosom Buddies," the scathing and hilarious duet with Bea Arthur as Vera Charles, "the first lady of American theater." Other catchy tunes you might remember are the title song ("You coax the blues right out of the horn,) Mame," and the romantic, "My Best Girl."

Beware of what you may get into as you watch it though: Mame is a piece whose message has become dated. Mame Dennis was a hero to a generation of young novel readers some forty years ago, and those who saw her character on the original musical stage were struck by her energy and her view of the world. "Live!" she says. "Life is a banquet, and most poor sons-of-bitches are starving to death!" But those viewers were from a different era, when women did not work, were expected to be domestic, and her world-hopping would have been seen as radical: an early expression of women's spirit. She was inspirational in her context.

Today, though, she represents a different notion. Coming from a vantage point of extreme wealth, her admonition, "Live!" is easy for her to say. She did not create her wealth, but inherited it from her first and second husbands. On her own, Mame cannot provide for herself. When her first inheritance is wiped out in the Great Crash of 1929, Mame gets fired from job after job, relying on her former butler and nanny to pay the bills, until she fortuitously manages to marry into wealth again.

So in a modern context, we see Mame not as a freedom-loving feminist expressing herself against the prevailing social constraints, but as a woman who must depend on men to provide her with the necessary element of her freedom: money. In the depression, she could afford to fly around the world and spoil her children on her inherited money, while those who may have wished to be inspired by this spirit could not.

Her heroism was not in how she gained her money, but in what she did with it. Even so, taking a two-year honeymoon and holding thirteen parties in two weeks ("She had to cancel one," the butler explains) is hardly politically correct, today. Even her altruistic gesture at the end, when she buys a plot of land for a home for single mothers, is as much a jab at her nephew's future in-laws as pure philanthropy, and the plight of her beneficiaries is only brought home to her when her secretary becomes one of them.

It is therefore difficult today, to find Mame unambiguously admirable or inspiring. Her spirit comes from wealth; her wealth is unearned; and is used primarily to pump her own spirit. Her charm notwithstanding, the view of her lifestyle has taken a turn in an age when the wealthy can know how to live, while most poor sons-of-bitches are starving to death.

Mame, therefore, is worth a second glance, not only for its tuneful exuberance and wonderful comic moments, not only as a vehicle for a sentimental review of an old favorite, but as a historical piece: a view of the admirability that was.

Nearly 40 years later, this musical looks better than ever.

First off, the music and lyrics of Jerry Herman make this one of the great Broadway musicals, which happens to be based on a great play. The 1950s play and film version starred Rosalind Russell in one of the great roles of her estimable career.

The 1960s Broadway musical was a smash hit for Angela Lansbury, but Lansbury wasn't a big enough name to star in a lavish film version of the musical. In 1974 there were probably a lot of "middle-aged" stars who could have put this over, but Mame was a role Lucille Ball chased for years.

At the end of her long film and TV career, MAME should have been her crowning achievement, but nothing could mask the fact that she couldn't really sing, although in the final version they were able to piece a vocal performance together, Ball doesn't do Herman's music justice.

That aside, the 63-year-old Ball looks great and easily carries the comedy of the role, and she's in nearly every scene. The sets and costumes are lush and loud, and Ball gets great support from Beatrice Arthur and Jane Connell (Vera and Gooch from the Broadway show) and Robert Preston as Beau.

The rest of the cast is serviceable if not memorable. Don Porter and Audrey Christie as the Upsons, Bruce Davison as the grown Patrick, John McGiver as Babcock, Doria Cook as Gloria, Joyce Van Patten as Sally Cato, Lucille Benson as Mother Burnside, and George Chiang as Ito.

Ball and Arthur won Golden Globe nominations. Te film earned no Oscar nominations. The film opened to big numbers but fell off after a few months. Usually considered a bomb, the film did not lose money.

Mame was Lucille Ball's last movie, and to honest she was too old to be convincing in much of it. She throws away probably the best song in the musical - If He Walked Into My Life - but claws back a bit of class for Bosom Buddies (with the fabulous Bea Arthur, from the stage production), and the whole Southern sequence, starting with the hunt and culminating in 'Mame' the song. Lucy on roller skates is also pretty funny. I'd have liked to have seen someone like Angela Lansbury or Janis Paige, both who had done the role successfully in stage, star in it, but there are compensations (Jane Connell, who was Agnes on stage, is good here, as is Robert Preston as Beau). It's not bad - it just could have been just that bit better.