Long after the comedy classic collaborations with Mel Brooks and Richard Pryor, Gene Wilder's writing and directing resulted in this late 80's comedy that, at the time and whilst I was growing up, was seen as a classic comedy. But over time this seems to have faded along with Wilder's other later offerings.
This movie was actually based on a French comedy from 1976, and this American version is, apparently, a near shot-for-shot remake. Naturally, there are cultural differences. In the French film the main character having a mistress is more accepted, with less manic action. The French film also offers more story for the other characters who are best friends with the main character. The French film was also more subtle with obviously a more Eurocentric approach to the humour. Wilder made his version more zany, more frantic, with physical humour and sight gags (which he obviously excelled at).
Much of the hype at the time was due to the stunning Kelly LeBrock as the woman in red. This was her film debut and boy did she nail it, in the looks department at least. Growing up watching this movie in the 80's I had a crush on LeBrock, as did everyone else at my age. In fact, I think everyone did as she definitely helped to boost the movie's recognition. Her red dress ventilation scene was also a big media and marketing draw at the time. Obviously homaging Marilyn Monroe, it became quite an iconic little moment at the time. Alas like the movie, this seems to have faded away in time.
The funny thing is, looking back, this movie was seen as a bit racy, a bit naughty and not for kids. You can see the French/Euro-ness of it all. A middle-of-the-road, middle-aged advertising executive ends up having a midlife crisis as he develops a huge man crush on his company's newest supermodel. The movie follows him as he tears around trying to get a date with this mysterious beauty whilst trying not to give the game away to his wife. Meanwhile, his three boisterous friends try to help him carry out this devious deed whilst dealing with their own marital/relationship issues.
These days this movie definitely would not go down too well with the politically correct crowd. Admittedly, this movie has not aged too well in the male and female relationship department. Joseph Bologna plays one of Theodore's (Gene Wilder's) friends, and he is quite the misogynist! He spends most of the movie objectifying women, and sometimes even touching them inappropriately. I mean, this is the guy's character; he's meant to be a creep, but oh boy, it has not aged well, and I'm no liberal. On the other hand, another friend played by Charles Grodin is gay (because San Francisco?), and he comes across more like a bit of a stereotype to be honest. But heck, these characters are still funny, can't deny that. I mean, does Wilder's character stalk the woman in red in this movie? Hmmmmm.
This is the thing, Wilder's character Theodore, is meant to be the nice guy, and he is. However, technically, he is also a creep. He's running around behind his wife's back, lying to her, lusting after this young woman, and getting his female work colleague accidentally involved (hilarious mind you). This works cos Gene Wilder is such a likeable and funny guy with his goofy puppy dog looks, childlike crazy behaviour and reactions, plus his comedic genius. But at the same time, we know Theo's marriage is a decent happy one with a loving wife and kids, so you kinda feel bad for the wife and realise Theodore is a bit of a cad really. He also flirts with an airline stewardess at one point, on his way to see the woman in red. He really doesn't deserve his happy marriage. And here's the kicker (spoiler alert), at the end, he doesn't learn his lesson and goes after ANOTHER young woman! Sheesh!
I've always wondered what the woman in red actually saw in Theo to be honest. I guess it's his lovable cuteness and the fact she thinks he's a lonely dorky guy. But it turns out she was married all along and just wanted a quick roll in the sack? Gee, when you really think about it, this movie is morally corrupt innit. Yet back in the day, we all accepted it as a hilarious cheeky comedy with a popular, charming Hollywood comedian (things weren't so political back then). The movie is funny, don't get me wrong, I'm not trying to be some kind of moral arbiter, but when you watch this now (as a proper grown-up), you can't help but question the story and character motives.
On the plus side, the movie looks beautiful with gorgeous location work in San Francisco. America was a much nicer place during the 80's, I think. I can't not mention the soundtrack; it's pretty iconic, or it was. Stevie Wonder elevates the movie with his songs that were created specifically for this movie. Yes that's right, 'I Just Called to Say I Love You' was written by Wonder for this movie. For that reason alone, this movie should be more of a classic. And the songs fit perfectly into this movie too, they aren't forced in any way.
So what we have here is a very solid comedy with some excellent performances from every actor. There are some truly classic moments of comedy gold in this movie, and no one can say otherwise. When Wilder is on form, he's on form. Bologna is hilariously cringe as the smooth-talking sleazeball, whilst Gilda Radner is brilliant as the (deliberately less-attractive) fiery co-worker who gets revenge on Theo for being used. The movie was very popular, it did well, and most of that was down to Wilder. Alas, over the decades, upon reflection, the story is a bit of a bum note. The main character gets away with his actions and he doesn't learn anything. It's not even a happy ending really. What happened to his marriage? Did Theo's wife leave him? Did he cheat again with the reporter? It seems like only Radner's character got the happy ending. Oh well.
6/10
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