Amor, Eterno Amor

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!

I'm a bit perplexed regarding what to say about this movie. First off, I think I enjoyed it more when I saw it years ago than I did now. But I think that was mainly because of the choice of songs. Cole Porter wrote all sorts of songs, but the movie goes for the particularly witty and urbane choices, including a number I hadn't heard before.

The style of the movie has giddy improvisational style, as actors often seem to be chatting amongst themselves or making quiet asides. This is true not just in conversation, but in song as well, and it's clear the intention is to make the songs work as a continuation of the story and the characterization. It's an interesting approach that I found somewhat likable in conversation but not so much in songs, because it often completely trashes the melodies.

Unfortunately, Bogdonavich was apparently of the opinion that a musical requires very little musical talent. Reynolds is a decidedly poor singer. Shepards can at least carry a tune, but it's hard to imagine anyone casting her as the lead in a musical who wasn't dating her.

The supporting players do better. None of them are great singers either, but Eileen Brennan, John Hillerman, Madelein Kahn and that guy no one's ever heard of all understand how to sell a song. They would make great second bananas behind actors who were strong singers (or dancers, as was the case with Astaire or Kelly musicals), but instead they overshadow the leads, which is a little sad.

The story is simple, essentially a matter of flirting and coupling among the four. Then ending is unsatisfactory.

I've heard there are numerous edits of this movie floating around, and that some work better than others. I saw the version released on VHS, which is apparently neither the best nor the worst version out there. (I've heard the best version is on Netflix and DVD.)

This isn't as terrible as some people claim, and it has some nice touches throughout, but it comes across as a bit of a vanity project in which a director with no experience in musicals nor much sense of what makes them work decided to put his girlfriend in one.

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

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!!