I miei problemi con le donne

Has there ever been a film where Julie Andrews didn't do a good job? I thought she was great as David Fowler's analyst--so calm and poised, regardless of how ridiculous Fowler's problems got, or how agitated he became. Burt Reynolds was ... well, Burt Reynolds, but that's enough. Barry Corbin seemed a natural for the role of a Texas oilman/rancher in a cowboy hat. If he wasn't on 'Dallas' (and I don't think he was in the years I watched it), he should have been. I liked Marilu Henner as Agnes but wish we had seen more of her. I didn't recognize Kim Basinger or Sela Ward, but I like them both in most of what I've seen.

It wasn't a great film, but a good one. It was funny enough of the time, though it could be depressing.

There are two movies reported to have been what Burt Reynolds decided to star in instead of co-starring in TERMS OF ENDEARMENT for the role famously taken by Jack Nicholson... and along with being box office bombs, they embodied each sub-genre that rode Burt through six-years as box office king...

The second is the action-comedy STROKER ACE directed by collaborator/stuntman muse Hal Needham; and the first by a director Burt's said to have liked the best, Blake Edwards, in the romantic-comedy THE MAN WHO LOVED WOMEN...

Which is a far better vehicle for Reynolds, herein playing it safely and naturally as a doomed sculptor who, as we begin, has a myriad of women attending his funeral that, narrated by sophisticated shrink and ultimate love-interest (and the director's wife) Julie Andrews, keeps the viewer guessing on how he'll eventually buy the farm...

As that too is ultimately humorous while MAN rolls around dryly and coolly... without any big laughs... in that slow-burn fashion of Blake's game-changing 10: both depicting a wealthy mid-life-crisis-struck artist with everything who still complains about having too much... of everything...

But it's the WOMEN who are the most intriguing... not only to gander at but to anticipate... ranging from extremely sexual married-Texan Kim Basinger, lovely-legged Marilu Henner, down-home Cynthia Sikes, 11th hour groupie Sela Ward while the cutest is the most subtle in Edwards' daughter Jennifer as a hooker turned secretary...

Overall making this Americanized 1970's-French-remake seem from that very decade of good-old-fashion jazz-soaked womanizing through dry self deprecation that surely suits Burt -- despite being on cruise control throughout.

THE MAN WHO LOVED WOMEN begins with a sculptor roaming around LA trying to find out what makes women tick. The sculptor is played by Burt Reynolds, one of the biggest movie stars in the world, so I guess the women will pay attention. Actually, the movie begins with his funeral and we see woman after woman in all shapes and sizes, roaming up the cemetery grass to pay tribute to this guy.

Now any movie with an opening like this had better feature one helluva guy so we immediately cut to the scenes of Burt seducing woman after woman, while providing some tender advice on life to keep them warm when he's gone in the morning. I really liked Burt Reynolds performance in this movie. He shows in this movie that when he wants to he can be a fine actor. We know Burt Reynolds has an amazing screen presence but it's nice to see him in a movie where he doesn't wink at the camera to show us how much fun he's having. His scenes with the feminist shrink(Julie Andrews) are funny as Reynolds exhibits every male symptom in the book. The women are Cynthia Sikes, Marila Henner and Kim Basinger to name a few, and rest assured that they're all(especially Basinger)very beautiful.

If the movie had stayed true to this idea it might've been special.but it degenerates into a series of three's company set ups and grows tired. After Basinger stirs Reynolds interest they have a romp in her husband's condo. The husband arrives and Reynolds must lurch around. I couldn't count how many scenes there were like that. It's at this point we realize the movie isn't going to be as incisive as it promised. It's silly how Reynolds keeps getting into the same situation with the jealous husband and not very funny either, not even when he say, glues his hands to the steering wheel.

Another major problem is the chemistry between Reynolds and Andrews. There's no heat between them and I suspect that maybe they didn't get along with each other on the set. This isn't the type of a man she'd go out with, canon of ethics aside. It's awkward at the end when Andrews drops everything to join Reynolds on vacation when we don't even believe he's gotten to first base. I can't quite recommend THE MAN WHO LOVED WOMEN, it's just not true to itself. The movie introduces us to an interesting man looking to make real discoveries and ends up with a bunch of people who aren't right for each other.

DG

STAR STAR (out of four)

In the climactic moment of one of the great film scripts of all time, "The Verdict" by David Mamet, attorney Edward Concannon (James Mason) implores the judge, "We can't be expected to accept a (photo)copy when we have the original."

Many consider Truffaut's 1977 "L'homme qui aimait les femmes" a wonderful film. Anyone who has seen this original, need not venture to this 1983 remake, the land of Blake Edwards, his family and his friends.

This film likely falls under the category of 'the studio still needs another film from me (Edwards) and I have not a single inspired idea'.

Don't get me wrong. I'm an avid fan of Edwards, and consider many of his films (notably Days of Wine and Roses, Breakfast at Tiffanys, S.O.B., and Operation Petticoat to ALL be amongst my favorites. Of course the Pink Panther series is a masterpiece in and of itself.

But this film is weak, and uninspired, laden with narrative-I've never really figured who came up with the idea of opening a 'comedy' with the main character's funeral, and an accompanying heart-wrenching eulogy from one of his lovers.

Don't accept a copy when the original is available.

The title of 1983's "The Man Who Loved Women" tells you everything you need to know: Burt Reynolds plays David Fowler, a man who sees the beauty in practically every woman and therefore can never settle down with one. As such, he ends up isolated and on the couch of a therapist, Marianna (Julie Andrews). The entire movie consists of Marianna trying to figure David out and help him while the latter relays several of his amorous connections in flashback. When the therapy is over will THEY start a relationship? Fowler's many women include Kim Basinger, Marilu Henner and Denise Crosby.

I encourage you to read Nsouthern51's review from April 25, 2001, on IMDb because it expertly interprets and evaluates the movie. While the film could be considered a romantic comedy it's also a tragic study of a Romeo and therefore there's a pall of melancholy despite the light tone and amusing elements, including black comedy. Speaking of which, while I don't think adultery's something to take lightly and therefore don't find it very amusing, it ties into Fowler's folly and blindness due to his weakness, women.

The good thing is that Fowler's not all bad or unlikable (Burt is his typical amiable self in an atypical role). He's not the conventional lothario who uses and abuses; he genuinely loves women and is fascinated by them. He loves them so much he can't bear to be with just one because that would mean he'd never know hundreds or thousands of others, but then he aches because he doesn't want to hurt the women he leaves.

The best part is Fowler's salvation of a new-to-the-trade prostitute whom he ends up hiring for his sculpting business. He nobly resists acting on his carnal instincts and therefore sacrifices for her good. The girl is played by a pre-Star Trek (TNG) Denise Crosby and she looks great.

At the end of the day the movie features Reynolds in an unusual role, which might turn off fans, and the strange mix of melancholy and amusement may turn-off others. It's not great, but it's good enough for what it is and therefore worthwhile. It's similar to Altman's "Dr. T and the Women" (2000) so if you don't like that movie you probably won't like this one.

The film runs 110 minutes and was shot in Houston, Texas, and Los Angeles, CA.

GRADE: B-