Amor, Eterno Amor

Peter Bogdanovitch is obviously in love stars and being among them - the starrier, the better.After a while, some of his films like this one seem to feel like "us" (the stars) vs "them", (the unanointed audience). He seems to have assembled a sure-fire formula for success - the glitziest supported by a Cole Porter score. The problem, of course, is that the singers can't sing or dance at all. What in the world was in the mind of the director. He was star-struck - that much is completely obvious - but it ended up that the stars were stuck. So was the audience.

Curtis Stotlar

An homage to 30s musicals, this vastly underrated film features tongue-in-cheek performances by Cybill Shepherd and Burt Reynolds, and terrific comedy turns by Eileen Brennan and Madeline Kahn.

Kahn does a great, obscure Cole Porter (all music in this film) called "Find Me a Primitive Man"; Brennan shines in the "Gentlemen Don't Want Love" number. Duilio del Prete, Mildred Natwick, and John Hillerman are also quite good.

Many obscure Porter songs and a few well-known ones. The costumes and sets are nice and evoke the 30s with the star blacks and whites with hints of beige. While the dancing may be a little rough, the stars more than make up for it in their zest and obvious enjoyment of the material.

The entire cast has fun with this slight story of changing partners until each finds at long last love. Reynolds might be a tad too silly but Shepherd has fun and display a great set of pipes. Ultimately, Brennan and Kahn make this one worth catching.

This is definitely a case of people running around saying a film is terrible they've probably never seen. Upon release, the film was trashed, probably partially because of its type of cinema being out of favor (this was Scorsese/Altman time) and because of people's annoyance with Bogdanovich and Shepard on talk shows and such. But with time as a distancer, watch this film and dare to tell me it isn't superiour to "Everyone Says I Love You" in every way! I LIKE "Everyone says..." but this film, with its cinematography, and its use of Cole Porter tunes to advance the plot, while uneven, is much more ambitious than the charming Allen film. If you didn't like the Allen film, you may well not like this -- but Reynolds, Shepard, Eileen Brennan singing, which got trashed upon release, is just as good as Roberts, Norton et al warbling in "Everyone." This is a funny, unique work that does occasionally suffer from the cutes -- but so what? Polly Platt, Bogdanovich's ex-wife, always talks about this as one of his "he's no good after he left me" examples, but at least his musical retains its music (she's one of the creators of James L. Brooks' "I'll Do Anything"). This film is a target from so many for no good reason. I recommend this and "Nickelodeon", another overlooked Bogdanovich picture, to be rediscovered as the just plain good films they are!

Writer-director Peter Bogdanovich attempts to resurrect the fast-talking, romantic-minded musicals of the past with "At Long Last Love", but he fails to infuse it with the proper talent. As a wealthy heiress in smart society circa 1935, dating an immigrant gambler but in love with a playboy, Cybill Shepherd doesn't quite invoke the spirit of Jean Arthur or Ginger Rogers. She's boxy and flippant, like a female impersonator, and she never connects with anyone else on-screen. Burt Reynolds fares a bit better by emulating Clark Gable--affable yet quizzical--though he has more rapport with Madeline Kahn as a Broadway chanteuse than with shallow Shepherd. We can see that, but why can't Bogdanovich? Because the picture is meant as a showcase for Shepherd's musical and comedic talents, however her dancing abilities are nil and she's pseudo-addlepated without being funny. The movie, scored with Cole Porter songs (which the actors sing live), doesn't soar, however Kahn manages to blossom regardless--and in unexpected ways (she's softer and more womanly than ever before). John Hillerman, as Reynolds' valet, and Eileen Brennan have a nice romantic subplot, and Mildred Natwick is well-cast as Burt's dotty, energetic mother (essentially the same character she played in "Barefoot in the Park"). Bogdanovich approaches the material with a giddy sense of fun, but the results are like an inside-joke: the audience comes in after the punchline. *1/2 from ****

Remember the scene in the remake of "The Fly" when Gena Davis and Jeff Goldblum are tasting a steak and then tasting a steak that has been sent through the molecular transporter? The reaction is that the transported steak tastes "synthetic", like a computer's "interpretation" of what a steak is. That's the same sensation you get with "At Long Last Love". Bogdanovich, heady with success and power, decided that he could make a "live" musical, the way they had to make them in the Thirties. "Hey, I know what Musicals are made of!" you can imagine him saying. What he didn't understand was casting and historical context. His musical is plastic, inept, and grotesquely embarrassing. It is a "must-see" for your All-Time Worst Movies list, along with John Boorman's "The Heretic: Exorcist II". It's that bad.