Set in 1930s Paris, starving opera singer Victoria (Julie Andrews) is aided by gay cabaret performer Toddy (Robert Preston). When Victoria dons Toddy’s ex’s clothes and then sends the abusive ex flying with a booming shout and an equally booming right hook, Toddy is hit with inspiration: he’ll pass her off as a female impersonator. A woman pretending to be a man pretending to be a woman? It all goes well until Chicago “businessman” King Marchand (James Garner), starts to investigate, sure that a man like himself could never fall for another man! The revelation of Kings infatuation brings his body guard ‘Squash’ Bernstein (Alex Karras) roaring out of the closet and his spurned moll Norma Cassady (brilliantly acted by Leslie Ann Warren) off to Chicago to plan revenge with King’s other “business associates”. —IMDb
Blake Edwards’ stepfather’s father J. Gordon Edwards was a silent screen director, and his stepfather Jack McEdwards was a stage director and movie production manager. Blake acted in a number films, beginning with Ten Gentlemen from West Point (1942) and wrote a number of others, beginning with Panhandle (1948) and including six for director Richard Quine. He created the popular TV series “Peter Gunn” (1958), “Mr. Lucky” (1959) and “Dante” (1960). He directed a diverse body of films, from comedies to dramas to war films to westerns, including such pictures as Operation Petticoat (1959), Breakfast at Tiffany’s (1961), Experiment in Terror (1962), Days of Wine and Roses (1962), The Pink Panther (1963) and A Shot in the Dark (1964). After The Great Race (1965) he began fighting with studios. In England he surfaced again with The Return of the Pink Panther (1975), then went back to Hollywood and a real hit, 10 (1979). Victor Victoria (1982) won him French and Italian awards for Best Foreign… read more
Benign, but tame and timid musical in the Lubitsch mode, rather too self satisfied with its own perceived naughtiness which might only be shocking to a novice emerging from cloisters, otherwise it lacks any courage or convictions. However it’s played with good natured zest and a useful extension of the Andrews persona, but is strangely hampered by some poor songs and lumpy direction from Edwards in his farceur style.
Loveley comedy dealing three possibly controversial issues: homosexuality, genre equality and finally fighting to achieve your dreams. The humour is quite mild, not at all offensive. I adored the score, the songs and the music numbers. Julie Andrews is gorgeously funny, once again in a charming but more complete role. Its length could´ve been reduced. All in all, shiningly magnificent classic and feel-good story.