Gidget

This film most closely resembles the Film Noir of the 40's & 50's in feel and form. The only difference is the open light of LA on the Thanksgiving weekend. The scene at the airport communicates how much this City (LA) is a city where everyone comes from somewhere else. The great evacuation scene at LAX leaves lonely people like Fonda and Bridges behind, and is meant to explain the relative vacant feel of the town throughout the rest of the film.

The bright autumn light and vacant cityscape during the film is a surrealistic version of LA, which even a native like me seldom gets to see. The rest of the film is much like a "B" film noir picture, where we wonder (but not seriously) whether Jane's character may have actually done the deed in a drunken haze, and whether the Cop's will be able to get the right killer.

I love this film, not only for the scenes of LA, but for the good suspense generated by the unseen evil lurking in the all too limited shadows.

If you love Jonathan Winters, Harry Morgan and Peter Ustinov you shouldn't miss this send up to nationalism and its short comings. However, if you find jokes about KKK members, who can't find white sheets because the local merchant only carries flower printed bedding, offensive then maybe this film is not for you.

As a former Texan who loves and can still laugh at some of the larger than life historical figures that make up the Texas Mystic, I can only say this was a fun film, and should not be missed even if it never makes it to DVD. I recalled this film fondly when watching the history textbook discussion at the beginning of Lone Star, and during my many viewings of Miss Congeniality too. This one's not only for those who have been to the Alamo, but will be extra fun for those who have.