Para Eles, com Muito Amor

Bette Midler proves that she can single-handedly make a film worth watching in FOR THE BOYS, an overlong but rewarding comedy-drama with music which chronicles the relationship between singer Dixie Leonard and comic Eddie Sparks (James Caan), a character clearly patterned after Bob Hope, which begins during a WWII USO tour and concludes in the present where the glamorously aging couple are being reunited for a television special. Bette received her second Best Actress Oscar nomination for her commanding performance here, She lights up the screen whether Dixie is upstaging Eddie in front of thousands of troops during WWII, cursing out sponsors during her and Eddie's television show, or tearing Eddie a new one when she thinks he is trying to steal her son away from her. As expected, she makes the most of her musical moments in the film with "Stuff Like that There" and "Come Rain or Come Shine" as standouts. Caan works hard in the role of Eddie Sparks, managing to make a pretty despicable character rather likable for the majority of the story. The only big mistake here was director Mark Rydell's casting of his real-life son, Christopher in the pivotal role of Dixie's adult son. Rydell's lifeless performance is a major detriment to an important part of the film, but for the most part, FOR THE BOYS is grand entertainment, thanks to the Divine Miss M.

In full brassy form, Bette Midler plays Dixie Leonard, who does USO performances in WWII, the Korean War, and the Vietnam War. Throughout pleasant times and hard times (and even through tragedies), she and co-star Eddie Sparks (James Caan) always have to find a way to make sure that the show goes on.

I don't know whether I would call this a masterpiece, but it's some good nostalgia. Midler shows off her talents the same as she did in "The Rose". And moreover, "For the Boys" also looks at the sorts of things going on during those wars, including Cold War-era red-baiting. Worth seeing.

A wonderful epic on war, modern American history, entertainment, and music. There is hardly a subject it doesn't touch on, from the 1950s Blacklist, to the antiwar movement in the 1960s, to the exploitation of talent, and to betrayal of friendship in politics and in marriage. All the performances are superb: Midler is extraordinary--her singing, acting, dancing and characterization are peerless; James Caan in one of the finest roles in his post-Godfather career, conveys the talented smarmy-but-sentimental Eddie Sparks; George Segal in a finely nuanced role as Caan's writer, and Arye Gross, who sets the entire backdrop for the story, all are excellent. On top of a plot-line that never sags, we are treated to a musical feast: Many old standards and obscure songs with orchestrations and vocal arrangements that are all first-rate, and the performances are flawless. The dramatization and attention to detail in the various historical periods is accurate and fascinating. Some may find the film too sentimental or simplistic: but it is a film, not an historical study, and sentimentality is different from sentiment. And finally, a movie that not only offers great music, great comedy, a story on an epic scale with characters that are realistic and has you crying in three or four magnificently poignant scenes is truly rare.

Obviously given her background this is hardly a stretch for Bette. However rather than dial it in she gives a bombastic performance that makes this quite an entertaining film.

The story doesn't wow you, rather it just provides a vehicle for Bette to strut her stuff.

Worth a look :)

Production assistant Jeff Brooks (Arye Gross) tries to convince Dixie Leonhard (Bette Midler) to join Eddie Sparks (James Caan) on his TV special. Dixie is bitter and recounts her history with Eddie. During WWII, Dixie is overjoyed to sing with Eddie. On the other hand, he is dismissive at first and angry at her crude humor. Art Silver (George Segal) convinces them to be an entertainment duo. Dixie's husband gets killed in the war. During Korea, they get caught up in the fighting. Art is blacklisted and Eddie is forced to fire him. Dixie's son Danny starts rebelling and sees Eddie as a father figure. Danny joins the military for Vietnam and Dixie blames Eddie for his lost.

The construction is very flat and biopic-like. The problem is that it's not a biography and it doesn't have that extra appeal. There is very little intensity and the drama has no tension. The central conflict centers on Danny and yet he is no more than a prop. This movie should be mostly about the conflict between Eddie and Dixie over Danny. That's the only place where the drama has any tension.