Papai Playboy

PLEASURE OF HIS COMPANY was a PLEASURE to watch from beginning to end and LILLI PALMER is totally ravishing and steals the show.. Fred may have been a bit too old and ditto Debbie but it worked anyway and it was charming, from beginning to end and Lilli was absolutely marvelous as usual..Charles Ruggles was hilarious as always and repeated his Tony award winning performance from the original stage play. I highly recommend this bright comedy and San Francisco,such a beautiful city, added to the pleasure of their company. This was not a musical and so Fred danced with his daughter and his wife as he should, a normal man, not a show dancer....but with grace and elegance as usual and he does sing a tiny bit while dancing with Lilli, his ex-wife whom he stills appears to be in love with, who wouldn't be. If you are looking for a Fred musical, look up one of the MGM or RKO films he did.

American Movie Classics channel has just started showing this 1961 flick, and I can't speak too highly of it. A charming domestic comedy with some real dramatic tension, the film boasts a superb cast with the venerable Fred Astaire (yes, of course he dances...), the elegantly funny Lilli Palmer, and a befuddled Gary Merrill. Charley Ruggles as grampa positively steals the show as a sort of geriatrically comic Greek chorus; his brief rejoinders and observations always perfectly set off a scene. The production values, as well, are sumptuous; today's movies don't look as good as this 40-year-old number (the Technicolor process has it all over contemporary processes). Sparkling dialogue and wonderful acting make this story of a playboy father's disruptive effects on his daughter's impending wedding a delightful must-see. I just can't figure it out; how can a movie with no swear words, no violence, no nudity, and not a single sex scene be so captivating???

Watched this movie on labor day, and it made my day! It was delightful, funny, charming, and thoroughly enjoyable! And a thought occurred to me, it would be a great movie for a remake, the plot is very current and could make a great updated story, and the potential to be quite funny. I actually laughed out loud several times during the movie. If you have not seen it, please check it out... its great!

This is what used to be called a "drawing room comedy" Yes, everything feels like a period piece and, of course, it is. Fred Astaire plays a sort of playboy who hasn't seen his daughter, Debbie Reynolds, in 15 years. He arrives in time for her wedding to Tab Hunter and , it appears, to seduce her away from her plans. Hmm. The biggest surprise and it shouldn't have been. Is Lilli Palmer as Fred Astaire's ex wife and Debbie's mother. She is sensational. Elegant and funny. I remembered I saw her as the Mother Superior in "Conspiracy Of Hearts" and I always remembered her as the one who killed Sophia Loren in "Operation Crossbow" Here she lifts the proceedings from the moment she appears and that in itself it makes it a must.

This production had its origins in a successful stage play in which, if memory serves, Cyril Ritchard played the role of "Pogo" Poole on Broadway. I saw this on Hollywood Blvd. at the then Paramount Theater, across the street from the world-famed Grauman's Chinese. I'd looked forward to its release, which had been delayed by a several-week shutdown during shooting, due to a Hollywood union dispute (I think it involved the Writers Guild, though I may be wrong.), because I was then, and always will be, a devoted fan of Miss Lilli Palmer, Germany's gift to the cinema.

The finished product betrayed its stage origins but was luxuriously produced and nicely enacted by a thoroughly professional cast. I'll always remember that scene when devoted daughter, Jessica, played by Debbie Reynolds, tearfully confesses that she's willing to postpone her planned and very lavish wedding in order to accompany her long-lost and suddenly returned father, "Pogo," on one last globetrotting trip before his imminent demise of "old age." Fred Astaire's horrified reaction to this declaration of daughterly affection was something to behold.

The Technicolor cinematography by the gifted Robert Burks (one of Hitchcock's favorites) is one of this film's best assets. (Too bad Paramount was getting too cheap to use its 70mm VistaVision process on this one, since San Francisco provided some lovely backgrounds.) And, as always, Alfred Newman underscored the proceedings quite elegantly. The title song, a nice one, was sung by Vic Damone over the opening credits, if I'm not mistaken, which were static shots of San Francisco and environs. I remember wishing that moving images of the same vistas had been used instead.