Mia moglie ci prova

Ira Levin's play Critic's Choice which ran 189 performances on Broadway in the 1960-1961 season was expanded exponentially for the screen version. It's Broadway origins are hardly noticeable.

Stepping into the roles played on stage by Henry Fonda and Georgeann Johnson are Bob Hope and Lucille Ball in their fourth and last film together. The more traditional Hope and traditional Lucy are to be found in their earlier films Sorrowful Jones and Fancy Pants. Still Critic's Choice works a whole lot better for them than The Facts of Life.

Bob Hope is a theater critic and he's got a son by his first marriage to Marilyn Maxwell, Ricky Kelman. He's married now to Lucille Ball and Lucy's taken it in her head to write a play about her family life growing up with two sisters, Marie Windsor and Joan Shawlee, and her mother Jessie Royce-Landis. Hope fluffs the idea off, but this only makes Lucy more determined especially when she's working with director Rip Torn and producer John Dehner.

There are a ton of characters not in the original play which took place in the Hope/Ball apartment. The addition of a lot of these people allowed Hope and Lucy to engage in some of their traditional comedy which they didn't do in The Facts of Life and paid dearly for it.

This has to be the only film I know where the 'other' woman is the first wife. Marilyn Maxwell who it was reputed Hope was involved with around 1950 and who appeared in The Lemon Drop Kid with him, sees her chance back with him as Rip Torn starts to get interested in Lucy.

Bob and Lucy get good support from a well chosen cast of familiar faces and Critic's Choice should please their fans.

If you want to see Lucy at her least funny, watch this. She looks like she has a lot of personal strain, or something. Lucy never clicked in the movies for some reason, but on TV she soared. Bob Hope also struggles with the lame screenplay. You'll recognize many of the faces here, like Jim Backus and Rip Torn, among others. Apparently the play that this is based on got good reviews, but this movie version is so bad I'm surprised they didn't stop production and revamp it. On an up note, the movie is an indispensable time capsule. With JFK's assassination and the Beatles, this early 60's world would soon change forever. It's also worth seeing for the tiny Soupy Sales cameo.

When you watch a film that starred two legends of comedy (Lucille Ball and Bob Hope) you expect to find a very funny movie. And, yes, "Critic's Choice" has some amusing parts to it. As a comedy, it's more "Bob Hope" style than "Lucille Ball" style. The humour is more subtle and ironic (more like Hope) than the kind of slapstick physical comedy that Ball was known for - although it does include some physical comedy, surprisingly given to Hope in the last half hour or so. But to call this movie a "comedy" I think is to miss the point. I saw it as more of a drama, even more a psychological study of Hope's character. He played Parker Ballantine, a fierce Broadway critic for a New York newspaper, while Ball plays his wife Angie, who gets it into her head to write a play about her early life with her mother and three sisters.

If I were to rate this as a comedy, I'd probably say that it fell flat - but I was actually quite taken with the story and the character of Parker. He was an unpleasant character. Yes, Hope played him with some comedy - but he wasn't a nice man. Once Angie decided to write her play (very early in the movie) Parker wouldn't let his critic's voice go. He discouraged her, he belittled her, he made fun of her - and most of it, while couched as a comedy, was actually rather mean and not funny. When the movie opened, Parker was writing a scathing review of a play that starred his ex-wife (who was played by Marilyn Maxwell.) That goes almost immediately into his acerbic attitude toward Angie's play. The point gets made in the movie that maybe Parker has a problem - he disses everything that the women who are close to him try to do, almost as if he's trying to sabotage them and their careers; as if he doesn't want a "successful" woman in his life. And, although there's an attempt to redeem him slightly at the end, Parker's most obnoxious scenes come late in the movie at the theatre, the night Angie's play opens in New York. Having withdrawn from reviewing the play, he shows up anyway - drunk and, frankly, obnoxious (I'm not sure why he wouldn't have been kicked out of the theatre, or even why he was allowed in in the first place) - tries to kick his paper's reviewer out and when he can't do that goes up to the balcony and causes quite a scene (this is where Hope's physical comedy comes in.) He then proceeds to write a review of the play anyway and his review is blistering, as he writes that the play "was written by Angela Ballantine, directed by Dion Kapakos, and produced by mistake." (I must admit that I wondered why his paper would allow a drunken reviewer - even a big name one - to write a review of a play written by his own wife to which someone else had been assigned as the reviewer, but maybe that's thinking too much about this.)

This was not what I was expecting. I was expecting a light comedy - instead I got more of a drama about a couple with some really serious issues in their marriage. And while I wouldn't rate it that highly as a comedy, I thought that if you look at it as a marital drama it's actually pretty good. For me, the most powerful scene in the movie didn't even involve Ball - it was the very dramatic and even acerbic confrontation between Parker and his son John (played by Ricky Kelman) - who seems to have irritated a few reviewers, but who I thought was actually pretty good, playing a kid who had obviously been raised in a somewhat strange environment. The scene was set at home on opening night, before Parker's drinking binge. That confrontation aside, John's relationship with his mother (Maxwell) was especially weird - she seems to have been largely uninterested in him, and he calls her not "Mom" but "Ivy."

There's a decent supporting cast - most of whose names (Rip Torn, Jim Backus, Richard Deacon and even Soupy Sales) add to the expectation that you're going to be watching a funny movie. But I would suggest not watching this to get a good laugh, even if that is your initial expectation. Watch it as more of a character study of Parker. It works much better that way. (7/10)

I will assume that Ira Levin's original Broadway play was much better than this dull, tedious film. It has obviously been altered to fit the acting styles of Ball and Hope. Lucy's role comes across as a toned-down version of her Lucy-wants-to get-in-show-business character, and Hope hams it up as the husband. Scene after scene comes across as rather pedestrian. The sets and cinematography are fine, and Edith Head provides Lucy with great costumes. Perhaps fans of the then-running "Lucy Show" made this film a success. However, 1968's "Yours, Mine and Ours" is a much better vehicle for Ball, even if her advanced age made that role unrealistic. In retrospect, Lucy comes across as annoying and passive in this film. In addition, the child actor Ricky Kelman is extremely irritating as the son of Hope, and step-son of Ball.

This movie has possibly the lowest entertainment value/star power ratio I've ever seen. Bob Hope and Lucille Ball, two of the 20th century's greatest comedy geniuses. Plus the legendary Jim Backus, Rip Torn, and a surprise uncredited cameo from a television comedy icon of the 1950's and 1960's who has a brief part as a hotel clerk. You almost have to give the writing, directing, and production team credit for taking a cast this spectacularly talented, and making them so dull and unfunny.

A major problem is the casting. The lovable Bob Hope as a mean-spirited, psychologically abusive husband? Lucille Ball as a mousy, milquetoast-ish wife who mostly takes the abuse her pathetic husband dishes out? The real life Lucille Ball would have kicked Bob Hope's character to the curb after the first 30 seconds -- and we all would have cheered!

But another major problem is that everyone seems to be sleepwalking through their parts. You would expect Jim Backus and Rip Torn to breathe a little life into their characters, but quite untypically, they seem to be phoning in their lines and waiting for their paychecks. Although I am quite impressed with Rip Torn's ability to do handstands in his younger days.

If you are a fan of any of these stars, they ALL have done better films. I'd suggest checking those out first.