I have to let you know something-- I'm a bit of a kook.
Just to show you how much of a kook I am, listen to what I did the last time "Sweet Charity" aired on television. I taped it. Well, not exactly. I taped the musical numbers only and ignored the action in between.
This act of kookiness should let you know what to expect from the 1967 film, Sweet Charity, which was based on the Broadway show of the same name. As a musical, the film is a sight for sore eyes for anyone sickened by the saccharine-sweet, over sentimentality of Rogers and Hammerstein. You will never find a musical so sassy and sexy about something so seamy-- a taxi hall dancer (Charity Valentine) with a... um... dubious past in an equally--ah-- dubious profession. The numbers sizzle-- from "There's Gotta Be Something (Better Than This)"-- a terrific number reminiscent of the outstanding dance roof sequence from West Side Story-- to "The Rhythm of Life," a lively dance number featuring Sammy Davis, Jr. as the head minister of a church of hippies. And let us not forget the scene that made cinematic history-- "Hey, Big Spender"-- in which we see MacLaine, Rivera, Kelly et. al sexily propositioning horny male customers who have come to their hall for the night looking for a good time. As it stands, "Sweet Charity"-- its numbers, that is-- is one of the greatest musicals in recent history.
Funny that, considering that it is also one of the worst produced musicals of all time.
Now let me explain--
No matter how excellent the songs of a musical are, it can only work if it fulfills two requirements-- one, it has to have an interesting story; two, the musical numbers have to work with that story. Unfortunately, Sweet Charity fails on both counts.
Now what is its plot about? A typical story about a woman who constantly gets screwed over by men and wishes longingly for "Mr. Right" to come along. (Isn't that fascinating?) When the movie opens, Charity is dumped by her lowlife boyfriend in Central Park and will have another romantic misadventure before she does eventually find the man of her dreams. (Yawn.) And yes, there is something else in the story about how Charity wants to make something better out of her life and be something other than a taxi dancer. But the events of the story are so horribly predictable that there's no dramatic tension when they eventually play out. It doesn't help matters that Charity's dream man, played by John McMartin, is such a pathetic drip that you don't care too much about him. Heck, you even wish she would dump him and fine someone else more dynamic and interesting.
Making matters worse is that many of the musical numbers, though rousing, have nothing to do with the story. This is a big no-no when it comes to musicals. Songs in a musical are suppose to advance the story along. But because the ones in Sweet Charity don't, they make the already languid storyline that much more uninteresting. You're almost always disappointed when a musical number ends because then you groan with disappointment, "Aw, yeah, right-- there's some story I have to sit through before I get to the next number!"
My verdict? Well, Sweet Charity isn't altogether a bad film. MacLaine is perfect as the perky ill-fated romantic who never loses hope even when things go wrong, and Chita Rivera and Paula Kelly give spirited performances as her more down-to-earth pals. Sweet Charity, though flawed, is one of those movies I think that is worth seeing at least once in your life. And like I said, it contains one of the most memorable musical numbers in film history. But it could have been better. As for whether you'll enjoy it-- maybe the numbers will more than make up for the rather thin story line. They didn't for me, and that's why I am giving it two stars. (However, add an extra half-star for great songs.)
Shirley MacLaine gives one of her greatest performances in this spectacular musical based on Neil Simon?s smash Broadway hit. Director Bob Fosse brok...More at NBC Universal
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