Auntie Mame (1958)

brilliant actors, brilliant editing

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

A truly brilliant movie that can be enjoyed over and over every time you see it but sadly Lucille Ball's musical remake version (Mame) changing aspects of the original plot, changing some of the characters and replacing many things that made Rosalind Russel's 1958 Auntie Mame a joy to watch with some mediocre acting and lame show tunes. MAME is indeed a musical movie to avoid but Auntie Mame is truly a classic. ☺

AUNTIE MAME is a funny romantic comedy about growing up and maturing. This movie is not only a good Christmas party for the high society. Serious social and family reviews are presented through a series of virtual sketches and comic situations.An eccentric bohemian from New York gets custody of her nephew. She has tried to raise her nephew as a liberal-minded man. However, one uptight aristocrat has crouched in him...Except for some absurd situations and mild exaggeration, this comedy is one „tireless" fun. The rich and ruthless society has been presented with a certain irony. The story, in certain moments, has a sentimental character, but these moments usually end up with a banal phrase. Costume design is very appropriate for the theme in this film.Rosalind Russell as Mame Dennis is a talkative woman, who lives carelessly in luxury with her own whims. Her nephew has made a change in her character. One reckless innovator and spendthrifts becomes a traditional housewife. One egomaniac becomes a caring person full of love and generosity. Roger Smith as Patrick Dennis (older) and Jan Handzlik as Patrick Dennis (younger) are interesting characters between a curious boy and mature man. They will allow their aunt to show them the freedom of life. However, she will turn their lives upside down.Their support are a rich and witty oil man from the south, a sly and arrogant banker, a myopic secretary, tipsy actress, a family pair as the embodiment of petty bourgeois, unwanted bride, maid with good reviews and servant with the "most beautiful" smile in the world.One crazy and somewhat unconvincing comedy, which has the strength, defiance and heart in the right place.

Reveals its stage origins, which in this case, benefits the more theatrical aspects of the story. When Mame and Beau are on their honeymoon, all the scenes are shot indoors. It is clear that the plantation scenes were done inside a studio, too. There is also the lighting-- a pseudo- spotlight that silhouettes Mame at the end of each major scene, to remind us that the producers are bringing Broadway culture into suburban movie theatres.As for Rosalind Russell's performance, she is definitely in command of the role, and her interactions with the other cast members seem rather congenial. While Russell is aware of her above-the-title status, she confidently plays off the others and lets all the actors have their moments. When she plays Mame, she sometimes throws lines away. She comes through with flying colors, though, because she juices it up with a nervous, chaotic energy that makes the character seem larger than life, but not necessarily sane.

Auntie Mame (1958)Rosalind Russell is a marvel, and she rules the ship here, thankfully. As a movie, overall, it hasn't worn well. The humor (and it is a comedy above all) is a product of some uptight 1950s Hollywood stuffiness, and the filming (the photography and editing both) are stiff. The movie is filled with rich color, and is sharp as a tack (it uses the superior Technirama lens and camera equipment, as well as newer one-part Technicolor color), but this is hardly compensation for a really dull product.Worst of all, I think, is the story. It attempts to spice up things (mainly, at first, by exposing a child to adult humor, which doesn't totally slip past him) before the Hays Code fell away. It has a kind of "How to Marry a Millionaire" or "Pillow Talk" kind of obvious, forced story line, and if you love those movies, you might truly enjoy this one. But even if you do, you might find that many of the jokes are old, even for 1958. There really are portions, in small spurts, that are touching, or even (I do admit) funny, and some of the music is so period and scintillating, it works. Above and beyond all complaints, I find, popping back and forth through it again (and avoiding the "story" per se), the set designs are really about as good as it gets. Scenes are color coordinated with exquisite perfection, like the department store scene (the one with the Tinker Toys) where it's all grey and red. Great stuff. And the modern apartment with the rising and falling benches (you'll see) is amazing 1950s stuff, pure Moderne. Love it.But that doesn't mean you'll love the movie. Go prepared.