Amor, Eterno Amor

Bogdonovich & company made this with endless tongue in cheek, and as an homage to the stage musicals of the 20s and stage AND film musicals of the 30s - glib, off-handed, seemingly "UN-artful" if you will. Also, the actors all sang - or spoke - their songs IN REAL TIME, in what was a brave attempt to duplicate the reality and presence of a live production.

Obviously, beauty is in the eye of the beholder, and I clearly saw this film much more in the spirit on Bogdonovich's vision than those who wemt in looking for something else. I feel a lot of baggage was brought to this film by the audience, and the movie was never really "seem" or "heard" by them. Too bad, because technically this is how musicals SHOULD be made.

I enjoyed the movie very much, and lament that it isn't available to allow everyone to make up their own mind about how well the vision of the director, cast, Musical Director and all concerned was carried out.

This is one I have saved-One of the few that is so bad I show it to friends for laughs-Inept out of tune singing is over reached by ludicrous clumsy dancing- No one is in step!!! Even in a publicity still I saw.Bad singing is no problem if it is part of a good natured joke in movies like Paint Your Wagon-Lee Marvin-Clint Eastwood??? Singing??? SURE!! Why not???In At Long Last Love the plot is equal to the rest of the film-so dumb it's fun ___The back story seems to be Bogdanovich and Shepherd were an item and he decided to make her STAR with ready made Cole Porter songs and a 30's setting which had served him so well previously. Love is indeed blind, his critical judgement was lost behind and the result? A Classic- I save it with Plan 9 from Outer Space & Oasis of the Zombies to show when everyone is ready for silly!!

To make up for the sound trashing this film has received in many quarters since its release, some cult fans go to the opposite extreme. This is neither a neglected gem nor a piece of crap, but an interesting experiment. Using actors who aren't singers must have been a conscious choice (although we can't help wondering what Cybill Shepard thinks of a strategy that nearly finished her career) in the manner of Woody Allen's "Everyone Says I Love You" (but Allen's film DOES achieve true glories, such as Hawn's dance along the Seine, that Bogdanovich does not). Most worthwhile element: extensive use of alternate Cole Porter lyrics that one rarely hears. It's greatest sin upon its release was probably in being itself: an off-kilter experiment with "tradition" during a time that didn't care for musicals much in the first place. I'm becoming increasingly interested in 70s musical "disasters" b/c they're worth seeing.

When I saw it in'75 (I was 25 at the time) I walked out of the theater smiling, and sang Cole Porter tunes in my car all the way home. It was a preview, so it hadn't been panned yet and I had formed my own opinion. Eileen Brennan cracked me up in her wanton pursuit of John Hillerman. Cybill was just my age and a knockout and, no, she doesn't sing badly. I've never been a big fan of Burt, but I liked him more after the movie than before. Kahn was marvelous, Del Prete the weak link, because I couldn't understand his English. Don't expect it to be more than cotton candy, it's sweet without substance and doesn't pretend to be more. It was probably the first exposure I'd had to Cole Porter since Can-Can (1960 - I was 10 then) and I fell in love with his music again, and forever. It's not the Music Man or Top Hat or Flying Down to Rio, but just go along for the pleasant ride, enjoy the sets and costumes, and, especially, the words and music. If you want to trash it, go ahead, but I think that those who do need a glass of champagne(or two)and to just chill out. --- Carl

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