Um Escravo das Arábias em Roma

Recently re-released on DVD, this film is a revelation for anyone who has only seen the pan-and-scan version. So many of the film's visual jokes are lost when you can't see the whole picture, and if there's one thing Richard Lester knows how to do, it's pack in visual jokes. Some people complain that Lester altered the original show too much, cutting songs and dialogue alike, but this is the only way people can see Zero Mostel's fantastic -- and frenetic -- performance, so count your blessings. Michael Hordern is also a hoot as the whipped Senex. Other members of Lester's stock company put in appearances, from Frank Thornton and John Bluthal to the always-welcome Roy Kinnear (as a matter-of-fact gladiator trainer). And Michael Crawford never had it better than when he was in front of Lester's camera.

"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 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.

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.

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.