Enfin l'amour

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.

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 ****

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