All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
Artists and Models
Eugene and Rick are two struggling artists who share apartment. However, Rick has problems with that, because Eugene is obsessed with pulp fiction comic books and has nightmares because of that. However, Rick soon finds that those nightmares could be excellent material for writing his own comic books.
Dean and Jerry play the original Ren and Stimpy in this sexed up satire. I mean, really, Tashlin is ogling the women in this like crazy, nary a thigh remains covered and even Martin & Lewis end up in a bathtub together. I kind of checked out a bit whenever Dino started singing, so mileage may vary, but the billboard setpiece and the bit of business with the little kid whose mind has been ruined by reading violent comic books are enough to support the whole. This is that great kind of satire that is able to take fair and much deserved shots at multiple sides of controversial issues (the Bill Gaines-esque publisher of the Bat Girl comics is a hoot!)
One underrated approach to satire is to abandon all attempt to make any kind of point and just make whatever it is you want to make fun of look ridiculous, preferably from more than one angle. That's definitely the approach taken with Artists and Models towards 50s comic book hysteria, which isn't so much what the movie is about as it is a clothesline on which to hang as many sexual innuendos and Technicolor pop-art gags as possible.
So what is this movie about, then? Shirley MacLaine, dressed as "Bat-Lady," tied to a chair, struggling to escape. God bless this beautiful stupid country.
A brightly colored, Groucho Marxist satirical musical, this film makes mock of Seduction of the Innocent-style hysteria during the height of the Hollywood blacklisting. While the film has some great moments of physical comedy from Lewis, some mediocre songs made palatable by Martin's rich voice, and a certain appeal to anyone with a costume fetish (thank you, Edith Head), its Marx Brothers-inspired madcap trampling of its themes works against it despite its shining moments. The context means those themes could have been biting and powerful, but it all comes out toothless instead. Perhaps they weren't really aiming for more than the comic book stuff to begin with.
I was a bit surprised at how much they got away with in…
Colors, colors, colors. Tashlin is like a mini-Minnelli. Also: Shirley MacLaine was hot!
Is it too obnoxious to bait the IMDB crowd by calling this the "greatest comic book movie ever"? This was an absolute joy from start to finish, working well both as a vehicle for the substantial talents of Dean Martin and Jerry Lewis and as an auteur project for the colourful mis-en-scene, brilliant sight gags and thematic concerns of Frank Tashlin.
Dorothy Malone and Shirley MacLaine are effective as the love interests, and there are many brilliant scenes - the Rear Window reference, Lewis's "pretending" early in the apartment, the musical numbers (especially the final one on a giant paint board) and many others.
I'm torn on the narrative arc over the last half hour, a ridiculous spy plan/space race…
Madcap comedy propels madcap performances, led by Tashlain's manic visual invention. Lewis is God.
I'm guessing the Marin & Lewis comedy style is just too dated for me since this, what's commonly referred to as one of their best movie together, fell pretty flat for me. It's that kind of screwball comedy where they throw everything at the wall and see what sticks, leading to a mishmash of scenes that don't feel like they belong in the same movie at all. Shirley Maclaine's gotta pretty great number in here though. Also the intense level of objectification of women in this was downright unsettling at times.
Didn't age well.
Enjoyed this much more than 'Will Success Spoil Rock Hunter?', Jayne Mansfield was just really fucking annoying in that
"Who's the actual creator of this film?'
SAW: at the SGT
What a strange strange movie. The beginning is so irritating thanks to a comedically horrible performance by Jerry Lewis. Then it somehow all becomes charming thanks to other characters like the joyful Shirley McClaine. Then it becomes almost impossible to follow the plot. Then it won me back with some funny scenes and enjoyable musical numbers. Then the plot just goes insane on an international level. It's a bonkers movie but I'm really glad I saw it.
Saw a 60 year old IB Technicolor print at Siskel. The colors of this world never existed. The artificiality is total, a consumer dream brought to life full of delectable dames. The hyper cartoonization doesn't necessarily keep boredom entirely at bay but the desperate desire to entertain does keep us mildly, pleasantly entertained, like kids in a candy store. Dean cracks at times like a Saturday Night Live star with a giggles fit (I like his relaxed presence which to me doesn't smack of any self-regard) and he and Jerry still have some of the anarchic energy they brought to the nightclubs when they waded into the audience. I like it best when the ridiculousness is total, such as when Jerry gets a massage and enlists Dean to untie him. After Hollywood or Bust, this is the best Tashlin I've seen.
Jerry Lewis on his own is unbearable. Dean Martin playing the straight man counter to Lewis was what really saved the film for me.
Colorful and fun! For some reason I have a weariness about talking about Tashlin-as-auteur, cuz I think it's over-written about and over conceptualized and just seems like an easy way to establish your cred as someone who read Godard and/or to justify a guilty pleasure that doesn't need justifying. I mean, of course this guy's an auteur. I just don't get why we have to pretend that all his movies are suddenly due for big in-depth aesthetic excavations/exegeses. Artists and Models is a movie with Martin and Lewis singing songs and making jokes and falling in love and occupying cool 'n colorful soundstages. Plus it's got Shirley MacLaine. So it's great. But not this extra-mile Satirical Greatness that everyone leapfrogs to instantly upon creaming their pants at the name of Tashlin.
It's May 2009: 50 years since the French New Wave began in full force; since the crowds arrived at Cannes only to discover that the sole film representing France was a drama in black-and-white Dyaliscope about a delinquent kid directed by a critic who couldn't keep his mouth shut. Is the University of Chicago's Film Studies Center intentionally paying tribute to this half-century mark by showing films by two of the New Wave's favorite uncles? Uncle Max, who'll give you a Schnitzler novel for your birthday, and Uncle Frank, who'll let you sneak sips from his beer. Conventional wisdom seems to hold that Max Ophüls' French films are his best; conventional wisdom be damned. That a film is by Ophüls…
From his book Essential Cinema.
A huge thanks to everyone who added films, helped me find films with alternate titles,…
Complete list of movies that The Dissolve decided to honor with their "Movie Of The Week" features.
Three latest entries…