Dolci vizi al foro

After a couple of decades of only knowing about this musical comedy, I finally got to see this just now with Mom who said she had watched this before then after it was over, said maybe she only saw a few scenes. Anyway, this was quite a pretty funny farce especially when Zero Mostel, Jack Gilford, and Phil Silvers are around. Buster Keaton, in his final film appearance, is also pretty amusing in his few scenes. Richard Lester bringing his method of doing cut-in scenes seemed to serve him well here though some of his visual gags are hit-and-miss. Still, Mom and me had quite a good many laughs while watching. So we recommend A Funny Thing Happened on the Way to the Forum.

"Forum" is one film adaptation of a Broadway musical that is a half-glass of water. On the half-full side we get to see Zero Mostel and Jack Gilford reprising their Broadway roles, and they're joined by a fine supporting cast including Phil Silvers as Lycus (ironically, he would star as Pseudolus in the 1972 Broadway revival) and Buster Keaton in his last film. But even though the film delivers the laughs and opens itself up well from its stage origins (let's face it. That climactic chase in the Broadway version is wonderful but it just wouldn't work on film at all). But what I can't forgive is how nearly three-quarters of Sondheim's outstanding score (his best I think) has been jettisoned to give us a too short running time of barely an hour and a half. And on top of that, why do *both* of Milos Gloriosus's numbers get kept, while Mostel's two best numbers from Broadway, "Pretty Little Picture" and "Free" (which is supposed to be the heart of the show) are gone (along with Gilford's "I'm Calm")? That, I do not understand at all. It's gotten to a point where I purposefully stop the film after Psuedolus falls out of the tree so I can then play Mostel's version of "Free" from the Broadway cast CD (which is where it would have belonged in the film). And it's too bad this wasn't a roadshow movie with an intermission because Mostel's funny Act One closer would have worked great there as well.

All in all it's worth having, but be prepared for your mood to shift from seeing the film as a half-full glass or a half-empty one.

I never saw this in the 60's though I was of an age to...just saw it the other night on television and only watched it for Buster Keaton, whom I have recently developed a great joy in seeing. I enjoyed the whole thing...silly, (sexest,yes, a movie of the 60's), funny stuff. My kids aged 10 and 12 really enjoyed it, too.

I saw this film when I was a young girl (seven or so) and I adored it. When I was about fourteen, I finally got to see the stage production. When I saw the film again, I realized there were some bad choices made. I think the film has many excellent points and some bad points:

Good:

-For starters, you couldn't have asked for a better cast. I don't just mean Zero Mostel and Jack Gilford (though both are incredible) but casting Buster Keaton was inspired.

-Very accurate portrayal of ancient Rome (up to a point, of course). The only reason I bring it up is because when I took Latin in high school, we studied ancient Rome and I like the research that went into that for the film.

-The chase scene at the end. That's what I remember laughing at the most as a child.

Bad:

-Cutting so many songs, specifically "Free" and Hysterium's number (I must say, Jack Gilford was highly underused in this film).

-The direction of most remaining musical numbers and some scenes.

-Changing the character of Dominia. I don't mind it too much (she does get some good lines in there) but I liked having another strong female character aside from Philia.

Now I have nothing against Richard Lester. In fact, I enjoyed his work in A Hard Day's Night and Help! and I think when it comes to those types of films, he does well. I'm just not completely sure if he was right for this film. He treated the songs like music videos, kind of forgetting that in this case, the songs are being used to tell a story, not just for entertainment. We recently watched parts of the film in my Musical Theater History class, and that was one of the point brought up. He tended toward the fast pace/quick edit direction, which I think worked for "Comedy Tonight", but not much else (especially not "Everybody Ought to Have a Maid"). While I disliked some of his direction on "Lovely", I did like that he repeated (more or less) the same direction in the reprise of the song.

I will say, though, when he's good in the film, he's really good. I can't deny there are parts in the film that are incredibly funny, most notably the chariot chase. I am a bit torn about the film. In the long run, I will probably always love the film and watch it when I get the chance, despite its shortcomings. Still, I wouldn't mind a remake of it. And I think we can safely say this isn't the worst film version of a Sondheim show (A Little Night Music anyone?).

I hadn't seen this in twenty years, and then on TV (with many cuts and commercials), so I jumped at the chance to view a video recently. "Funny Thing" is just as funny as I remembered it to be -- a marvelous opportunity to see the brilliant and hilarious Zero Mostel, plus a dream cast that includes Jack Guilford, Phil Silvers, Michael Crawford (very young), Roy Kinnear, etc.

Zero Mostel was an incredible Broadway comedic genius, but his most famous work was probably in "Fiddler on the Roof", where it only exits as the wonderful Broadway cast album. When they made the film, they inexplicably passed over Mostel to cast the much lower keyed Topol as Tevye. "Funny Thing" is more brilliant vintage Mostel from roughly the same period, but we get the real thing as he reprises his performance. No one can really approach Mostel for his comic timing, ability to not only sing but sing FUNNY and the expressiveness of his face.

Directed by Richard Lester (Hard Days' Night, Three Musketeers), the film is particularly beautiful in its period setting -- Lester had a spectacular eye for detail - and I honestly believe that this is the most realistic film ever done VISUALLY about Ancient Rome. From the credits, I see it was filmed in Madrid, Spain, which must have an incredible treasure trove of Ancient Roman buildings. The sets, costumes, extras etc. are pitch perfect....with one glaring exception. Like a lot of movies, the filmmakers could not bear to show us an attractive young woman in authentic period costume or makeup, so all the courtesans are circa 1967, right down to their blue eye shadow, false eyelashes, push up bras and back-combed hair!!

I understand from reading other comments that nearly 3/4 of the Stephen Sondheim score was cut for the film, which seems like a shame. However, what's left is very funny and well-integrated into the comedy. Many popular sixties film editing techniques are here -- quick cross cuts, Keystone Kops-like action sequences -- and while a bit dated, they fit the broad comedic tone of the story surprisingly well. The ending title sequence is spectacularly done, with wonderful Roman type and fresco's integrated into it.

Comedy styles go in and out of fashion, so this may not be everyone's taste these days. But having a visual record of a brilliant performer is a highlight and a cultural treasure, and that's what this performance by Zero Mostel truly is. I think most people won't be able to help laughing out loud, even at some of the dumbest and corniest of jokes here, and as usual, the Sondheim score (what remains of it) is delightful and witty.