Victor/Victoria

Despite all of its gender-bending commentary on sexuality, both hetero- and homo-, "Victor/Victoria" looked and sounded in 1982 (year of "ET" and "The Road Warrior") as if it were made in 1962 -- and that was a good thing. Blake Edwards' trademark ability to combine lush romanticism with immitable slapstick comedy was here matched by a wonderful score by his longtime collaborator Henry Mancini, "Voila!" -- we're back in the early sixties again. (It didn't hurt that stars Julie Andrews and James Garner were hottest in the sixties, and had acted together in 1964's "The Americanization of Emily.")

Robert Preston, "The Music Man" of late fifties Broadway and 1962 screen fame, further added an element of early sixties nostalgia -- with the twist that he here used his booming vocal tones in the service of a delightfully out and comfortable gay man. Preston was one of two hot contenders for the Best Supporting Actor Oscar that year. The winner was Lou Gossett, Jr. for his Drill Instructor in "An Officer And A Gentleman."

Rounding out the great cast are Lesley Ann Warren (sexy and very funny) in an Oscar-nominated role as Garner's mob moll floozie, and Alex Karras, continually funny as Garner's softhearted ox of a bodyguard. (Karras gets a classic Blake Edwards slapstick routine trapped in the freezing snow outside a Paris hotel, getting big laughs out of the simple line: "You've got heat? That's good.")

And be sure to keep a lookout for "Sherloque Tanney" as the French private detective on Victor/Victoria's trail. Tanney was Blake Edwards dentist, and appeared in almost every Blake Edwards film from "Darling Lili" (1970) on. Other than his corpse in "SOB," (1981), the French detective is possibly Dr. Tanney's greatest role on the screen. Tanney, too, gets to anchor several great trademark Blake Edwards slapstick routines.

Oh, and there's music, too. Enough music for a Broadway musical (which is what "Victor/Victoria" became), and with a sad and wistful Mancini title tune (reprised in the film by Andrews) that reminds one a bit of "Moon River" and "Days of Wine and Roses." Just like in the early sixties.

Many social innovations, have often as not originated in France. Take cross-dressing for instance. In the 1930's a singer created quite a sensation when her fabulous show became the toast of Paris. She traveled throughout Europe and remained a novelty for years. Her success was due to the fact that she was not a woman after all. She was a man. This fact became the inspiration for the film "Victoria/Victoria." In the movie, a talented female singer (Julie Andrews) named Victoria Grant (aka Count Victor Grezhinski) schemes with an out of work cabaret singer, Carroll 'Toddy' Todd (Robert Preston, who is fantastic in this role) to create a female impersonation act. With the help of Andre Cassell, (John Rhys Davies) a night club owner they hope to get rich with the unusual act. Complications arise however, the least of which is a visiting gangster named King Marchand (James Garner) who takes a liking for Victoria. His Chicago girlfriend Norma Cassady (Lesley Ann Warren) become jealous and informs other hoodlums to come to Paris. Alex Karras, plays Mr. Bernstein, Garners' bodyguard). The film is a solid hit for the cast and lays the foundation of it become a classic. ****

"Victor/Victoria" was the film where Blake Edwards finally managed to deliver his valentine to his wife, Julie Andrews, and convince the public to join in. Maybe because of that, it's one of his most heartfelt movies, and the enormous love between the director and his star do as much to warm up this movie as the careful colour composition of Dick Bush's fantastic - and underrated - photography.

This is a film where everything works perfectly. The acting ranges from the impeccable (the leads) through the touching (Alex Karras) right to the truly sublime (Robert Preston and Lesley Ann-Warren). The musical numbers are lovingly staged and shot and, possibly because this is a pre-MTV film, we actually get to see dancers dancing, as opposed to machine-gun assemblies of body parts performing details of not necessarily connected movements. The directorial touch is assured, proficient but never showy: the many complicated set-ups are executed with elegance, economy - not a frivolous camera movement to be seen - and discretion. (The circular pan around Julie as she sings "Crazy World" is a lovely example of how camera movement can create emotion without drawing attention to itself.) The sets and costumes are lavish but, again, do not distract. The screenplay is witty, full of deft touches, and Edwards treats his rather daring (for 1982) theme without blinking, and with great lucidity. (The other drag film of the year was "Tootsie", which stuck to the romance and stayed away from uncomfortable homosexual touches as much as it managed to.) The timing never falters. And the score is priceless.

All in all, a flawless entertainment, which, like the best movies from the studio system's heyday of which "Victor / Victoria" is a proud and worthy descendant, rewards the attentive (and interested) viewer with far more substance - and style - than might appear at first. I do not have the space to analyse this film at the length it deserves; but I can recommend it, which I do wholeheartedly.

Paris in the '30s is the setting for this screwball sex comedy wherein JULIE ANDREWS, for the sake of being employed, takes a job as a woman pretending to be a man pretending to be a woman--figure that one out. Then we have a great moment when ROBERT PRESTON does an imitation of Julie singing "The Shady Dame from Seville" in drag--yes drag--the actor who played such sturdy romantic leads in the '40s and '50s is hilarious as a gay blade who hooks up with Julie during a restaurant scene in which she plants a cockroach in her plate to avoid paying for dinner.

That's the kind of romp this is. And it's extremely witty, with JAMES GARNER as Julie's romantic interest who hasn't figured out why he's so attracted to "the shady dame" when she's supposed to be a man.

First-rate sets and cinematography in color, and while none of it really makes any sense, the song and dance routines are fabulous with some great tunes by Henry Mancini. LESLEY ANN WARREN gives a priceless performance as a bird brained vamp in her Oscar nominated supporting role.

The first time I saw it, I thought it was "pretty good." Amusing, but I didn't expect to find myself watching it again.

It's unpretentious. It doesn't have Big Ideas or profound themes that you have to watch it twice to get.

But it's got lovable characters and a kickin' plot, and I happen to have a huge crush on the 1930s. I love the friendship between Victoria and Toddy because it feels so genuine and it's rare to see a friendship (particularly between men and women) portrayed so well in movies. I love the romance between Victoria and King, because they're well-matched, but at the same time the problems in their relationship are so realistic. Fundamental inability to compromise? I think everyone knows what that's like.