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Mr. Sondheim is certainly something, isn't he? In such classic musicals as GYPSY or WEST SIDE STORY, his lyrics always seem to sparkle with such exhilarating wit. It's the same here, at least in the few numbers the filmmakers retained from the Broadway show in the film, particularly with the catchy opening tune "Comedy Tonight" (a tune that's still stuck in my mind right now).

As for the stretches without music---well, for me it's a mixed bag. Having not seen Richard Lester's more famous previous films (like A HARD DAY'S NIGHT), I can't say whether the frantic editing style he employs here is a trademark of his or not. Mostly it works here, giving the material a welcome screwball farcical edge. Lester, though, pursues this chaotic style at the expense of clarifying the story, resulting in a movie that eventually becomes a mess in terms of plot (since so much seems to be going on at once). Perhaps the climactic chase scene towards the end is the prime example of this fault: Lester and his editor John Victor-Smith hardly bother to clarify at certain points who's chasing whom---it's simply chariots and horses flying by, in a visceral whizz of fast motion. That's basically the problem with the storytelling overall. In short, the style is mostly effective but self-conscious (although perhaps it is a forbear of the blitzkrieg comedy style of later movies like AIRPLANE!).

Still, the movie has its moments, although most of those moments come in the witty songs and Zero Mostel's likably over-the-top performance as Pseudolus (a precursor to his classic portrayal of Max Bialystock in THE PRODUCERS). It's not a great film, but for the most part, it's good entertainment.


Schizophrenic; and hardly a MUSICal   June 2, 2004
 1 out of 2 found this review helpful

This movie is schizophrenic. It is not funny. It is just half-funny slapstick gags delivered as if by a schizophrenic on drugs. Example: the Chariot race... What the hell is going on during that scene? It looks like everyone is just chasing everyone else and has no idea where they themselves are going. It's frightening. Another example: choreography for "Everybody's Gotta Have a Maid"... what the hell is going on during that scene? Rapid cuts from totally different settings and really random choreography make this one of the most bewildering stagings I have ever seen.

I've seen this stage musical, and it is far funnier than the film. Firstly, because it retains the music. Sondheim's music is absolutely hilarious, in many ways funnier than the book. Songs like "That'll Show Him", "Dirty Old Man," "Pretty Little Picture", "Love I Hear", and of course, the fabulous "I'm Free" are all missing. Why? For the love of God, why? And secondly, because the director did not replicate the good pacing of the musical. The musical itself is fast-paced but funny. Apparently, while making the transition to film, the director figured "I can do even more with a film" and thus WAY overdid it. Seriously, this film could give you a heart attack.

Also, other than Zero Mostel (who arguably is not at his best) the performers are not very good, except for the "Lovely (Reprise)" which was the highlight of the film. And the Captain has a good voice too.


Horribly Dated   May 28, 2004
With apparently no faith in the pretty strong material, the filmmakers decided to do away with most of the aspects that made the musical charming in the first place (like, oh, most of the music!) and replace it with groovy 60's trickery that looks like something right out of Benny Hill (look, the action is sped up to make everyone look like they're running really, really fast...isn't that funny?)

Zero Mostel does what he can, but he can't salvage this. No one else even registers.

I saw this on stage, and that version blows the film version out of the water.

Grade: D


not bad   April 16, 2004
I've never cared for Richard Lester's direction. My initial reaction to AFTHotWttF when it premiered almost 40 years ago (can it be _that_ long?) was similar to Pauline Kael's -- it was irritatingly -- even embarrassingly -- frenetic and unfocused.

Times change. Lester's brisk pace and quick cutting can now be seen as ushering in a new style that's not only acceptable, but appropriate. * When Zero Mostel blackmails Jack Gilford by threatening to reveal his collection of obscene pottery, he goes through a jump-cut sequence of the poses and postures that appear on the pottery (alliteration intentional). Each is only a few frames, and they whip by in less than two seconds. It's funny, in a way it could never be if it were done in real time.

Only five of the original songs remain, but they're well-integrated. Neither the story nor the camera come to a stop when people start singing. And is it just my imagination, or does Marni Nixon sing "I'm Lovely" for Philia? It sure sounds like her.

An entertaining bit of fluff. Doctor Who fans should note Jon Pertwee as Crassus.

* Though it sometimes seems out of place in a film that tries to be historically accurate in every detail, even to showing older women in heavy white makeup. I'd have let Phil Silvers wear his trademark glasses as a comic anachronism. After all, Miles Glorious demands that his bride be delivered in two minutes -- and minutes weren't defined for another 1600 years.


Fantastic   March 25, 2004
Easily one the most memorable musicals to date. Hilarious script, great songs, and an all star cast make this one a must have for any home.