DamienWasHere

This tacky reproduction of a great show is annoying. Who are these panelists? What is their claim to fame? Why is the broad such a loudmouth and why are the men so feminine?

I realize that I am mixing shows with my Kitty Carlisle reference in that she was a panelist on To Tell The Truth, but allow me to make another off-kilter reference. I think that Dorothy Kilgallen had a vision of the future and what she saw was this show -- so she popped a few extra Secanols.

Can you imagine Betsy Palmer watching a guy break pencils with his ass? Can you imagine Bill Cullen watching Betsy Palmer watch a guy break pencils with his ass?

Henry Morgan would have walked off and so will I.

Damien

In the future, any closeup of Burt Reynolds should come with a disclaimer or at least a warning from Vincent Price. This fact is made especially more frightful in this film because Burt's character has no reason to exist in this story. I mean...why frighten children for no reason?

Ugh, what am I doing home on a Monday afternoon watching this horror show on Lifetime TV? Between Mary Tyler Moore and Burt Reynolds, this movie had me in stitches -- too bad most of them were behind Mary and Burt's ears and eyelids.

This movie was made for simpletons and first year plastic surgery residents. I'm sorry but it's just terrible. The story is contrived, the acting is dull and the payoff is predictable. I even sensed a little racism in that the African American characters who figure largely in the script, seem to be wrought from a 1930s movie. I mean, it's nice that they make Charles Robinson and Irma Hall wiser than the white folk but they're still depicted as "help" -- geez!

The only thing nice I can say about this movie is that the lamb is cute.

damien

One of the biggest mistakes in film history was allowing Ayn Rand to write the screenplay adaptation for her own novel. Boy does she like to hear herself talk or what? There is not one line of dialogue in this film that isn't overly dramatic and patently didactic. Rand does for dialogue what Norma Desmond does for mannerisms, except in the case of Norma Desmond there's an excuse -- she's nuts. Rand as a screenwriter just comes off as an egomaniac and she proves it with every over-stretched word. Even Hamlet would have told her to shut up.

Rand somehow manages to make Gary Cooper and Patricia Neil totally unlikeable in their respective roles. The whole thing is a handbook for art-deco dialogue as a dying language. Okay, Howard won't compromise his art and Dominique is a tortured chick -- we get it already, lady. Massey's newspaper mogul character, on the other hand, is great and he plays with the fecund dialogue like a little boy plays with a puppy. Too bad he's in the wrong movie.

I now have a new nightmare. I'm dead and I run into Ayn Rand at a celestial cocktail party. She corners me in a conversation and, oh my god, she sounds just like this movie.

Damien