Lord Love a Duck

The early nineteen sixties were the great age of black comic satire in American cinema. Everyone remembers Doctor Strangelove and The Nutty Professor and Lolita and One Two Three and The Loved One.In a sense, this neglected masterpiece was the culmination. Even though Axelrod wasn't a genius like Kubrick or Wilder, this film hits its target just as unerringly. Think of it as a darker, much more savage Rushmore, in which almost all the false Gods of our civilization - phony preachers, psychoanalysis, public "education",consumerism, youth 'culture',- are weighed in the scales and found wanting. Roddy Mcdowall and Tuesday Weld give two of the great comic perfomances. Indeed, Mcdowall is inspirational to any would-be anarchist. Should be seen - and discussed - more often. Scorsese once listed this film among his "guilty pleasures": He has nothing to be guilty about-this is wonderful

Sex suffused satire on something or other that may have been cutting edge in '66, but is no longer. Sure, I get the shaking beach butts of Gidget, the drive-in religiosity of SoCal car culture, or Mom's Playboy bunny cum' prostitute. Some movie parts of course are funnier than others. Trouble is, whether funny or not, they're poorly blended, unlike the better satires of the day—The Loved One (1965), Dr. Strangelove (1964). Unfortunately, the vignettes here sprawl without adding up.

What the film does have in spades is Tuesday Weld. If there was ever a better sex kitten with bite, I haven't seen her. She injects real spunk into the often lame proceedings. Plus, who would have thought that Peter Gunn's dignified torch singer, Lola Albright, could be so funny. Then too, what an inspiration getting Ruth Gordon to do her waspish bit, as a mother, no less. On the other hand, Mc Dowell tries hard, but he's caught up in a role that borders on the incoherent. Could be that his 35-year old teenager is supposed to make a profound statement, but if so, It's beyond me

As I recall, writer Axelrod's film got a lot of buzz at the time. After all, the mid-60's were a time of growing social ferment. Thus, the long-time lid on movies was at last coming off, and what these satirical films show is that black humor was definitely in the air. Trouble is, unlike Strangelove or Loved One, this film doesn't get beyond that time period. There's no unifying theme that could compensate for the meandering lamer parts. As a result, it's more like a regional (SoCal) artifact than anything lasting-- except, of course, for us fans of Tuesday, in which case it's a permanent fan fest.

I first watched this movie about one year ago without knowing anything about it other than what is written on the back of the video box. Since that first viewing this movie has...well...haunted me. I can't get the theme song out of my head for one thing. The movie itself is a bizarre story about Southern California teens in the Sixties, but read the other reviews to learn about that. I agree with all of them. It is a great movie for all those reasons but there also seems to be something else. Almost a Felliniesque other-worldliness about it. I haven't been quite able to put my finger on it. Maybe that is why this movie has burned itself into my brain. There is some kind of, for lack of a better word, magical element to it. It is interesting to me how the other reviewers see this as a very important movie in their lives as well. It is a great film discovery on all levels. One of those overlooked gems that it is so important to hang onto.

The darkest of black comedies, this odd curio is likely to delight some viewers while leaving others completely cold. McDowall is an odd duck of a high school student (the fact that the actor was 37 doesn't seem to matter in the film's lopsided world!) who fixates on Weld, a pretty fellow student who is used to being popular, but worries about her future at the all new Consolidated High. Soon, McDowall is somehow making every wish of Weld's come true from acquiring a baker's dozen angora sweaters to getting married and beyond! His omnipotent presence is welcome at first, but after a while becomes problematic. The bizarre, but ingratiating film creates a world of its own where fathers melt like butter before their nubile daughters, Principals break pencils in their mouths at the sight of pretty coeds and disapproving mothers-in-law are dealt with through the end of a booze bottle. Actually, these points are some of the most realistic in the film! Try an evangelist who delivers his message through the speakers of a drive-in movie or a house with a living room so cavernous that there's a distinct echo-effect during conversation! Quirky touches abound throughout, some enjoyable (the curvy teens dancing ala "Beach Party", the surreal luncheon with Weld's dad), some not (those annoying glimpses of boom mikes, intended or not.) McDowall (covered in makeup!) gives a strange, but intriguing performance. Weld is infectiously lovely and engrossing. Her hair alone, is deliriously sexy. Albright is wonderful and alternately hilarious and touching as Weld's cocktail waitress mother. Gordon, good or bad, is the Gordon that audiences have come to expect. Korman (in a role that screams for the talents of Paul Lynde) does a decent job as an excited Principal. West is adequate as the hapless guy who falls for Weld and pays the price. The title tune is catchy, though a tad overused. This isn't going to be everyone's cup of tea, but it's a refreshingly different spin on the teen movies typically seen in the 1960's and a knowing glimpse into the old adage "Be careful what you wish for".

This film is a brilliant black comedy on par with Dr. Strangelove and that's not being hyperbolic. It's incredible that this film is unknown, it ought to at least be a cult favorite. By turns strange, hilarious, bizarre and even moving, if you haven't seen this you should. It is unlike any movie I've ever seen. I first saw it when I was a teenager when it came on an afternoon movie showing. (This was before the afternoon dial was filled up with Jerry Springer and his ilk.) I'm sure at least twenty minutes to a half hour were cut out of it to make room for commercials but I knew instantly this was something special. Something different. Something that touched a nerve where other movies had completely passed me by. And as if that weren't enough, the scene with Tuesday Weld going shopping for sweaters is my choice for the single most erotic scene in the history of movies. Get it. Watch it. Consider yourself a cut above the rest because you are in for something special.