Uma Certa Casa em Chicago

It is a colorful movie, full of wonderful characters. This movie shows the life of a young boy, named Ben Harvey -maybe young Ben Hecht-who tries to succeed as a reporter in Chicago. It features in the cast the beautiful and mercurial Melina Mercouri, who as Madame Lily-owner of a brothel- 'adopts' Ben when he runs to Chicago to prove himself. Melina Mercouri provides the film with one stellar performance, but you can not stop the thought that she is restrained in some scenes, especially in the beginning with an unflattering piece of hair. She even sings a song of Henry Mancini that as far as I know has never been recorded. (Mercouri although never a professional singer, had a wonderful voice that helped here to record some classic songs like 'Never on Sunday'. Keith and Kennedy are good in their but easily forgotten. Bridges provides some somewhat stupid expressions, but his part is never developed, as N.Jewison never gave him directions.

At first GAILY, GAILY (1969) seems to have a lot going for it. An excellent cast, a fine director, a script based on a novel by the great screenwriter Ben Hecht, a unique historical setting, and a loose comedic tone. But the story fizzles out halfway through as the trajectory of the plot is never quite high enough.

Beau Bridges plays a naive young man whose "evil" sexual impulses drive him away from his innocent small-town home and into the bustling city in search of his place in the world. There he is taken in by kind-hearted Melina Mercouri (TOPKAPI - 1964), who runs a brothel, although Bridges is too thickheadedly innocent to make that connection (even after meeting all the female "boarders"). Mercouri hooks him up with a job at the newspaper, working with slick sensationalist reporter Brian Keith (in an Irish brogue).

George Kennedy and Hume Cronyn play rival corrupt politicians, with Wilfrid Hyde-White (MY FAIR LADY - 1964) as the corrupt governor. Margot Kidder (SUPERMAN - 1978) debuts as a beautiful young prostitute who sees Bridges as a knight in shining armor who can rescue her from a life she doesn't want.

Bridges eventually has his eyes opened to the sin and corruption in the world and the climax involves a free-for-all scramble to obtain and exploit Cronyn's little black ledger, which details all the political bribery in the city.

The 1910 Chicago setting gives the film an interesting flavor, and the script is full of irreverent comedy and some (quite literal) gallows humor. (At its wildest, the film calls to mind the even zanier British comedy THE WRONG BOX - 1966.) There are flashes of Hecht's "The Front Page" in the scenes involving the newspaper.

One wonders how much Beau Bridges's character ("Ben Harvey", an idealistic young writer) is a stand-in for Ben Hecht himself. Hecht started out as a Chicago newspaperman before becoming a successful playwright, screenwriter, and novelist. The film is almost over-the-top in its comedy, but the original novel must have been to some degree autobiographical.

It would have been nice to see more of Bridges and Keith at the newspaper after Keith takes the youngster under his wing. The movie could have shown Bridges become cynical with his work, ultimately choosing between a dirty career as a newspaperman or a more fulfilling one as an independent writer. But this film opts for a smaller payoff. At the end it feels like something is missing, or as if the story could continue. But the film is content to end where it does and hope viewers had fun along the way.

As it is, GAILY, GAILY is a lot of fun. The cast is splendid and the characters colorful. Melina Mercouri even sings a song. The black comedy is a hoot and the old-time setting gives the film personality. One just can't help thinking the movie could've been more.

Directed by Norman Jewison (IN THE HEAT OF THE NIGHT - 1967).

6.5/10

The first 15 minutes or so are wonderful, a rose-colored reminiscence of small-town America at the turn of the last century that suggests "Ah, Wilderness!" Then the Ben Hecht prototype, played by Beau Bridges with such innocence as to border on retardation, lights out for Chicago, and the narrative loses traction. It's quite a gorgeous, expensive production, and Melina Mercouri helps out as the madam who takes him under her wing (this was right toward the end of the movie era when prostitutes and bordellos were considered automatically titillating and hilarious, hence neither Mercouri nor any of her girls are fleshed out as characters). The always-good Brian Keith is Ben's alcoholic newspaper mentor, and other good actors mill about (Hume Cronyn, George Kennedy), but it's all color and very little forward thrust. Chicago 1910 had to be more interesting than this, and there must be more compelling stories to tell about it.

Ben Hecht wrote a book detailing his experiences as a reporter in Chicago during the early part of the century. It is more entertaining than this mix mash of a movie that jumps all over the place. The film has its moments. However, there are too few of them to see. The colorful characters that Hecht crossed paths with are watered down in this movie.

Teenage rube (Beau Bridges) leaves his hometown for Chicago circa 1910 to find work as a writer; he's robbed on his first day off the train but is soon taken in by a madam who allows the kid to think he's living in a 'boarding house'. Waxy-poetic remembrances from Chicago Daily News reporter Ben Hecht turned into overstated nostalgia by producer-director Norman Jewison. The opening sequence pretty much sets the tone for the rest: Bridges, still living with his family, is lying in bed moaning while dreaming of naked women; he wakes up everyone else in the house and, as if we didn't already get the message, his grandmother exclaims, "The boy's juices are all dammed up!" This is the kind of movie where our hero has to lose his innocence (and his virginity) before he can become a whole person (he's redeemed by experience; the madam is redeemed, too, by romance). Jewison is overemphatic with his panoramic scenes of a bustling big city, which look expensive rather than expressive. The early small town picnic and political grandstanding, which were probably written to be satirical, are also galumphing. Nothing works here, not even Henry Mancini's music nor Richard H. Kline's 'authentic' cinematography. Three Oscar nominations: for art direction-set decoration, sound, and Ray Aghayan's costumes. *1/2 from ****