Natalie Wood, Christopher Plummer, Robert Redford, Roddy McDowell, Ruth Gordon
what a cast! What a waste!
Sheer, unending boredom abounds in this Hollywood story. Wood is unbelievable throughout as the oh-so-talented tomboy. Her hair looks like a wool mop, and is styled in a mid-60s shag even though the story takes place in the mid-30s. There are two equally horrid production numbers featuring Wood one filmed in black and white ("Everything's coming up Clover," she warbles). Watch carefully at the beginning of the black and white song, you'll notice Wood shaking her head as if she can't quite believe it either. Poor Wood. They gussyed her up in the most gawdawful Scarlett O'Hara ballgowns and then made her run around in them barefoot to underscore what wild child she's playing. Much of the time, Wood does not even get to speak, but hangs her head and glares at the camera.
Katharine Bard, who plays the mogul's serene and seemingly noble wife, looks like late period Marlene Dietrich and serves no purpose other than to inform us of Redford's bisexuality. McDowell, playing a secretary, has exciting lines, most of them informing Wood that her car is waiting or that so-and-so is waiting. Gordon, maybe in character, maybe not, looks dazed and confused and longing for the whole thing to be over.
This flick does not even score points for camp value.
Sheer, unending boredom abounds in this Hollywood story. Wood is unbelievable throughout as the oh-so-talented tomboy. Her hair looks like a wool mop, and is styled in a mid-60s shag even though the story takes place in the mid-30s. There are two equally horrid production numbers featuring Wood one filmed in black and white ("Everything's coming up Clover," she warbles). Watch carefully at the beginning of the black and white song, you'll notice Wood shaking her head as if she can't quite believe it either. Poor Wood. They gussyed her up in the most gawdawful Scarlett O'Hara ballgowns and then made her run around in them barefoot to underscore what wild child she's playing. Much of the time, Wood does not even get to speak, but hangs her head and glares at the camera.
Katharine Bard, who plays the mogul's serene and seemingly noble wife, looks like late period Marlene Dietrich and serves no purpose other than to inform us of Redford's bisexuality. McDowell, playing a secretary, has exciting lines, most of them informing Wood that her car is waiting or that so-and-so is waiting. Gordon, maybe in character, maybe not, looks dazed and confused and longing for the whole thing to be over.
This flick does not even score points for camp value.