then let me take a bite
Oh man, I just watched Fun With Dick And Jane, the original version with George Segal and the divine (Lady) Jane (Seymour) Fonda. Cos I've been wanting to watch the remake with Jim Carrey and the equally divine Tea Leoni for a while but, as usual, felt I needed to see the original first. And a couple of days ago I spotted this on the shelf in my video store which was such a surprise and delight. Naturally I told my video store that they rock like no other video store, never mind that they totally ordered in The King Of Comedy just for me. *squee*
But but Segal and Fonda! I was a bit uncertain when it began. Loved the opening credits but the film itself began with that slightly odd Sixties production aesthetic where all the colours are a bit flat and the predominant colour seems to be brown with accents of brown and trimmed with brown. Plus there was at least one scene with that thing I hate most about Sixties and Seventies movies --- the oppressive silence. *shudders*
But then it went to interesting to good to hilarious to just plain WIN and ahahahahaha, bestest ending I could have hoped for, exactly what I wanted.
I've always had a soft spot for George Segal. I mean, admittedly I've only seen a fraction of his movie work and I pretty much love him only because of Just Shoot Me and cos I knew he was Aquarian. I love that cheeky twinkle in his eye and that adorable puppy look of his. And oh man, they totally worked that here, it's that contrast of how he looks and what he actually does which makes his performance endlessly hilarious and endearing. And Jane is so clever and so sarcastic that I'm in love with her all over again and feeling slightly incestuous about it too. *squints*
But aaaaahhhhh the best thing was the whole movie! I mean, how it was so wonderfully egalitarian and so wonderfully social conscientious. The kind of film that has watched Frank Capra and gone "okay, I see what you're doing, you make some excellent points but holy fuck, dude, turn back the syrup tap a bit!" and then has proceeded to come at the same issues from this beautifully intelligent angle. And yet it's never cruel. Never!
I kept waiting for it to go too far the way some Sixties films do, when the gloves come off and they become all icky and nasty and make me want to cry and wish I had never started to watch the film. But it was always charming and compassionate. And holy fuck, man, you could have knocked me over with a feather with the appearance of the transsexual woman. I immediately tensed up and thought "shit, they're going to be complete arseholes now." And yeah, see, there again is the awesomeness of George Segal, how he can turn on a dime and be a smarmy arsehole and have us hate him so much more because he looks so lovable and yet says such horrible things. I wanted to scream and beat him for what he said.
So when the unemployment officer raised his head and delivered that absolutely brilliant setdown, oh boy oh boy oh boy. Talk about my face wreathed in smiles, almost unable to believe my ears. Cos yes, it was satirical, the whole scenario, but it still got the point across, it still said what needed to be said, exactly needed to be said. And George Segal was put firmly in his place and I cheered like a cheery thing, feeling totally vindicated for the way I ripped into Alpha Male last night at writing group about including an incredibly offensive stereotype of a flamboyant gay man where there was absolutely no need. Not that Alpha Male will change it at all but still. *nods and beams*
And it continued right across every stratum of what I think was American society at the time, representing Hispanic to black communities, the snobby white rich and the working class folk, the charlatans and the battlers. Every single bit fit right into the story, the plot cracked along at this wonderful easy organic pace, all the characterisation skilful and warm. And totally skewered the old white fatcats with righteous delight. It was marvellous!
What I found absolutely lovely was the balance it struck between cheeky and charming and just a little naughty. How they did that I have absolutely no idea. It was like Ernst Lubitsch where the sleazy reality is acknowledged but handled with such elegance and humour that it never actually becomes sleazy or trivialised. Ted Kotcheff, the director. I totally have to find out what else he's done.
There were all these sexy puns that kept shocking me with delight, like "Omigod I can't believe you got that past the censors! WHAT did she just say? Omigod that's awesome! Hee!" And the condoms bit was high-larious! *squeee*
My most favourite bit, though? Which I actually had to pause and skip back just to watch again, open mouthed with delight. When they're getting all sexy and tussling which totally had to happen, omg, and he rolls on top of her and she lets out this dreadful screech that goes on and on. And he curses and rolls off to get his gun out. And she says, ahahahaha, she says "Oh I'm ruined forever!" WAHAHAHAHAHAHAHAAAAAAA! *cries* As if the sound she makes and the way she lies there and says it so straight isn't priceless, the way he fumbles and goes right back to her is just like icing on the whole awesome cake of a moment. *wipes tears* Oh man. Seriously, one of the funniest things I've ever seen. I wish I could find it on YouTube but all I can find is the trailer.
WOAH, WAIT, IT'S NOT SIXTIES AT ALL!! It's Seventies. Oh, even more fucking awesome! Well, there y'go. I have now found a movie made in the Seventies which I fucking love. Aside from Grease. I always think of Grease as an Eighties film even though it came out in '78. I don't know why I just assumed this was made in the Sixties, prolly cos of Jane looking as young as she does.
I was a bit startled at that, actually. She seemed to be wearing almost no makeup at all in the opening scenes and I've gotten so used to seeing her with loads of eyeliner and the false lashes, that heavy smoky look. Here there was none at all at the start and her eyes looked so small and almost naked. It was quite disconcerting until I got used to it and hell, she's just so gorgeous I loved her even more for it. Now that I know it's a Seventies film, the lack of makeup makes a lot more sense. And her eyes did get more defined and emphasised towards the end which was ever so sexy and glamorous.
Oh I hope Henry watched this film. I hope he loved it. I bet he did. He better have!
And now I seriously doubt the remake could be this awesome. Because that really was a film that could only have been so charming and incisive because of its time. Here and now? I doubt. But I'll give it a go anyway, if only to see Carrey and Leonie married to each other. Urgh, how hot is that combination?! Oof.
But but Segal and Fonda! I was a bit uncertain when it began. Loved the opening credits but the film itself began with that slightly odd Sixties production aesthetic where all the colours are a bit flat and the predominant colour seems to be brown with accents of brown and trimmed with brown. Plus there was at least one scene with that thing I hate most about Sixties and Seventies movies --- the oppressive silence. *shudders*
But then it went to interesting to good to hilarious to just plain WIN and ahahahahaha, bestest ending I could have hoped for, exactly what I wanted.
I've always had a soft spot for George Segal. I mean, admittedly I've only seen a fraction of his movie work and I pretty much love him only because of Just Shoot Me and cos I knew he was Aquarian. I love that cheeky twinkle in his eye and that adorable puppy look of his. And oh man, they totally worked that here, it's that contrast of how he looks and what he actually does which makes his performance endlessly hilarious and endearing. And Jane is so clever and so sarcastic that I'm in love with her all over again and feeling slightly incestuous about it too. *squints*
But aaaaahhhhh the best thing was the whole movie! I mean, how it was so wonderfully egalitarian and so wonderfully social conscientious. The kind of film that has watched Frank Capra and gone "okay, I see what you're doing, you make some excellent points but holy fuck, dude, turn back the syrup tap a bit!" and then has proceeded to come at the same issues from this beautifully intelligent angle. And yet it's never cruel. Never!
I kept waiting for it to go too far the way some Sixties films do, when the gloves come off and they become all icky and nasty and make me want to cry and wish I had never started to watch the film. But it was always charming and compassionate. And holy fuck, man, you could have knocked me over with a feather with the appearance of the transsexual woman. I immediately tensed up and thought "shit, they're going to be complete arseholes now." And yeah, see, there again is the awesomeness of George Segal, how he can turn on a dime and be a smarmy arsehole and have us hate him so much more because he looks so lovable and yet says such horrible things. I wanted to scream and beat him for what he said.
So when the unemployment officer raised his head and delivered that absolutely brilliant setdown, oh boy oh boy oh boy. Talk about my face wreathed in smiles, almost unable to believe my ears. Cos yes, it was satirical, the whole scenario, but it still got the point across, it still said what needed to be said, exactly needed to be said. And George Segal was put firmly in his place and I cheered like a cheery thing, feeling totally vindicated for the way I ripped into Alpha Male last night at writing group about including an incredibly offensive stereotype of a flamboyant gay man where there was absolutely no need. Not that Alpha Male will change it at all but still. *nods and beams*
And it continued right across every stratum of what I think was American society at the time, representing Hispanic to black communities, the snobby white rich and the working class folk, the charlatans and the battlers. Every single bit fit right into the story, the plot cracked along at this wonderful easy organic pace, all the characterisation skilful and warm. And totally skewered the old white fatcats with righteous delight. It was marvellous!
What I found absolutely lovely was the balance it struck between cheeky and charming and just a little naughty. How they did that I have absolutely no idea. It was like Ernst Lubitsch where the sleazy reality is acknowledged but handled with such elegance and humour that it never actually becomes sleazy or trivialised. Ted Kotcheff, the director. I totally have to find out what else he's done.
There were all these sexy puns that kept shocking me with delight, like "Omigod I can't believe you got that past the censors! WHAT did she just say? Omigod that's awesome! Hee!" And the condoms bit was high-larious! *squeee*
My most favourite bit, though? Which I actually had to pause and skip back just to watch again, open mouthed with delight. When they're getting all sexy and tussling which totally had to happen, omg, and he rolls on top of her and she lets out this dreadful screech that goes on and on. And he curses and rolls off to get his gun out. And she says, ahahahaha, she says "Oh I'm ruined forever!" WAHAHAHAHAHAHAHAAAAAAA! *cries* As if the sound she makes and the way she lies there and says it so straight isn't priceless, the way he fumbles and goes right back to her is just like icing on the whole awesome cake of a moment. *wipes tears* Oh man. Seriously, one of the funniest things I've ever seen. I wish I could find it on YouTube but all I can find is the trailer.
WOAH, WAIT, IT'S NOT SIXTIES AT ALL!! It's Seventies. Oh, even more fucking awesome! Well, there y'go. I have now found a movie made in the Seventies which I fucking love. Aside from Grease. I always think of Grease as an Eighties film even though it came out in '78. I don't know why I just assumed this was made in the Sixties, prolly cos of Jane looking as young as she does.
I was a bit startled at that, actually. She seemed to be wearing almost no makeup at all in the opening scenes and I've gotten so used to seeing her with loads of eyeliner and the false lashes, that heavy smoky look. Here there was none at all at the start and her eyes looked so small and almost naked. It was quite disconcerting until I got used to it and hell, she's just so gorgeous I loved her even more for it. Now that I know it's a Seventies film, the lack of makeup makes a lot more sense. And her eyes did get more defined and emphasised towards the end which was ever so sexy and glamorous.
Oh I hope Henry watched this film. I hope he loved it. I bet he did. He better have!
And now I seriously doubt the remake could be this awesome. Because that really was a film that could only have been so charming and incisive because of its time. Here and now? I doubt. But I'll give it a go anyway, if only to see Carrey and Leonie married to each other. Urgh, how hot is that combination?! Oof.