Quando o Strip-Tease Começou

This film succeeds in both areas, comedy and nostalgia. It captures the period it portrays in wonderful fashion, with a very enthusiastic cast. I consider it one of the best cast movies I've ever seen, from the lead actors to the bit roles. Many classic burlesque routines are included, some of them done on the burlesque stage and some worked into the movie's dialogue. If you're in the mood for a comedy with a bit of feeling for another period in abundance, you can't do much better than this!

Everyone may know William Friedkin for "The French Connection" and "The Exorcist", but this gem from before his heyday will always come to my mind. During the movie's first few minutes, you're not exactly sure where it's going, but then we meet Rachel Schpitendavel (Britt Ekland), an Amish woman who has just arrived in 1920's New York City. Not quite sure where to go in this bustling metropolis, she goes to Billy Minsky's Burlesque House. Of course, she doesn't know that burlesque involves some stuff that is perpetually anathema to the Amish lifestyle. But performer Raymond Paine (Jason Robards Jr) sees some real potential in her. Meanwhile, there are two forces at work against Rachel's potential success: her father has arrived in town to take her back to the farm, and the police are seeking to shut down the burlesque house.

Overall, "The Night They Raided Minsky's" is one of those nostalgia pieces that always has something coming. Interestingly, it was also a debut and farewell: Elliott Gould made his film debut playing Billy Minsky, and Bert "Cowardly Lion" Lahr plays a role too (he actually died while they were filming). Maybe this movie's not a masterpiece, but it's truly got something for everyone. Cool.

This movie captures the time period so beautifully and is the only movie I've ever seen that does so with this genre, it must be accepted as exceptional. The cinematography is very good, the acting excellent, the story very good, and the music perfect. The final touches are real burlesque acts in their entirety, great side acts not part of the stage yet depicting burlesque, great tension (the Amish father, Minskys father, and the threat of closing the theater down for moral reasons), and most of all seeing the movie through the eyes of a titillated Amish virgin, create the kind of perfection rarely seen in cinema. I saw this movie 35 years ago and forgot about it. I just viewed it and realize it deserves to be recognized as exceptional. Not a discarded movie rarely seen on cable.

The lights dim. The curtain goes up. The girls are on stage. The spot hits the tux-wearing tenor, silver haired and a little plump.

"I have a secret recipe / Concocted with much skill / And once you've tried my special dish / You'll never get your fill...

"Take ten terrific girls, but only nine costumes, and you're cooking up something grand..."

The Night They Raided Minsky's is a valentine to the long-gone burlesque houses of the Twenties. Naughty, bawdy and surprisingly innocent, filled with chorus girls who might generously be called a little past their prime, with plenty of belly work, with comedians and their second bananas, with pratfalls, seltzer bottles and song and dance acts. This Norman Lear/William Friedkin/Ralph Rosenblum movie has it all. It even has a story. Most of all, it has some great songs by Charles Strouse and Lee Adams, wonderful performances by Jason Robards and Norman Wisdom, and a collection of pungent characters played by the likes of Elliot Gould, Forrest Tucker, Bert Lahr, Harry Andrews, Joseph Wiseman, Jack Burns, Denholm Elliot and Dexter Maitland. And we're there when history is made, as Britt Ekland playing an innocent Amish girl from Smoketown, Pennsylvania, who longs to perform her Bible dances on stage, inadvertently invents the strip tease.

Billy Minsky runs Minsky's Burlesque. Vance Fowler, secretary of New York's Society for the Suppression of Vice, is determined to close it down. Then Rachel Elizabeth Schpitendavel shows up. She's young. She's innocent. She's built. She catches the eye of headliner Raymond Paine (Jason Robards), a song, dance and straight man who works with his second banana, the small, mild and fall-down physical Chick Williams (Norman Wisdom). Paine wants Rachel to fall into his bed. Chick just falls for Rachel. Minsky's, however, is on the verge of closing. Then Raymond has an idea. They'll advertise a midnight show featuring Mademoiselle Fifi, "the hottest little cooch artist in the world." When Fowler shows up with the cops, Fifi will be Rachel doing her Bible dances. Fowler will be a laughing stock and Minsky's will be saved.

Now forget all that. What's important is the sweet nature of this burlesque gift. Most of the movie takes place backstage, on stage and in a near-by deli. It's a great, true deli, where we have bowls of half sours on the table and plenty of chunks of rye bread. (In that deli we'll watch Raymond nearly sweet talk a good looking woman at the next table into his bed, and then sweet talk her husband, who suddenly appears, into agreeing Raymond just gave them both a great compliment. Robards is as smooth as warm chicken fat.)

Backstage is packed with sets, lights and half dressed chorus girls, but it's on stage where the goods are delivered...chorus girls who can barely dance but can jiggle with vigor and bump with oomph. Jason Robards and Norman Wisdom do wonderful work together. Robards is the wise-guy straight man to Wisdom's eternally innocent optimist. Their song and dance numbers really work. We'd expect this of Wisdom, who got started in English music halls and became one of Britain's great clowns. Robards, who was one of America's great stage actors, is almost as skilled. Their "Perfect Gentleman" number by rights should be a remembered classic. I don't know how Friedkin managed it, but the people in the audience look authentic, right down to their delighted reactions.

The Night They Raided Minsky's also has a clever script. Says Raymond to Chick when the little guy wants some reassurance after meeting Rachel. "You met a girl!" says Raymond with a big smile. "Ah, Chick, my boy, when it comes to girls you have three qualities that are far worse than being short and funny looking. You have the curse of the three D's. You are decent, devoted and dependable...good qualities in a dog, disastrous in a man!"

Charles Strouse scored the movie and, with Lee Adams, provided great songs. "The Night They Raided Minsky's," "Take Ten Terrific Girls" and "Perfect Gentleman" establish more than anything else the good-natured, fast, harmlessly bawdy style of the movie. The Night They Raided Minsky's had a troubled parentage, with director William Friedkin disliking it and film editor Ralph Rosenblum claiming credit for everything good about it. There's more jump cutting than we need and perhaps a few too many historical clips. Still, we have potent nostalgia for things past that no one now is alive to remember. The movie carries Norman Lear's imprint at his best, and if Rosenblum and Friedkin want to arm wrestle over the movie, that's all right with me. Who cares who cut the paper lace for the valentine? I'm just happy we've got it.

I'm ready for Dexter Maitland as the tenor to see us home...

"I have a secret recipe / Concocted with much skill / And once you've tried my special dish / You'll never get your fill...

"Take ten terrific girls, but only nine costumes, and you're cooking up something grand.

"Then add some funny men / And pepper with laughter./ It's hot and tasty I know.

"Then serve it piping hot and what have you got... A burlesque show!"

This can be a wonderful guilty pleasure, as it mixes a little (and I mean a little) skin, music hall numbers, traditional burlesque routines, a slightly salacious backstage story, and film-style slapstick.

Jason Robards and Norman Wisdom are a very convincing comedy team, although Robards is a bit dark. Give the actor and the filmmakers credit for maintaining the character as a ruthless SOB and not trying to make this guy cute and lovable.

You'll also see Bert Lahr (the Cowardly Lion) in his last film performance, which had to be truncated as he died during production (his role would have been more important and added a touch of surrealism). Also on hand is Elliott Gould, in pre-"Bob, Carol, Ted & Alice" days as a sweet schnook (and the title character), as well as Forrest Tucker as a gangster, Jack Burns as a candy butcher (that's the guy who sells the crummy boxes of candy that MIGHT have a watch in them--and if you believe that...,) Denholm Elliott (Indiana Jones' friend) as the guy who conducts the raid, as well as some real burlesque dancers and comics from the old days.

Adams and Strouse, who wrote BYE BYE BIRDIE contribute a small group of peppy songs, including "From Head To Toe You're A Gentleman" a duet for Robards and Wisdom (the latter a beloved variety star in Britain) and the immortal production number, "Take Ten Terrific Girls But Only Nine Costumes And You're Cooking Up Something Grand."

Britt Ekland inadvertently invents the striptease (it's complicated, read the plot synopsis), but reliable rumor and legend is that the breasts on display belong to a double. Incidentally, the nudity here is about as extensive as in Titanic, so if your kids have already seen that, this will not corrupt them.

The fact is the whole thing is a curiously innocent Mulligan stew of comedy and music, given its subject matter.

Norman Lear wrote and produced in his pre-ALL IN THE FAMILY DAYS, and William Friedkin directed in his pre-FRENCH CONNECTION days. According to the book "WHEN THE SHOOTING'S DONE THE CUTTING BEGINS" by Ralph Rosenblum, the film's editor, Friedkin shot the film indifferently and left immediately. Rosenblum spent the best part of a year recutting the film with the blessing of United Artists production chief David Picker. Rosenblum uses a technique of editing in hokey old silent footage to indicate to the audience that no one is taking the story too seriously, which lifts the curse over some purple writing and acting. Also Rosenblum seems to have invented a trick of mixing authentic B&W archive footage with new footage printed in black and white, which suddenly switches to color. This is an exciting and startling effect the first couple of times, but it is a bit overplayed.

Anyway, this film is better than you probably think it is, and better than it needs to be. Give it a look, it couldn't hurt.