Suave John Russo, inept Charles Rutledge, and hip Arthur Brodsky all work for a detective agency, where they are assigned to follow a trio of beautiful women — Angela Niotes, Deborah Wilson and Dolores Martin — whom their husbands think are cheating on them.
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Absolut Bogdanavich. Starring Ben Gazzara, John Ritter and Audrey Hepburn. A chaotic mess and it loses speed at the end but it's New Hollywood, and it feels right. 1981, although it's a real Seventies Movie with sideburns and feathered hair and roller disco. And it's worth it just to see Hepburn and Gazzara kiss. 3.7*
A movie that is in my collection. From back in the drinking days. I watched it again the other day and it might as well had been the first time. What a treat! Bogdanovich channeling Lubitsch and the comedies of Howard Hawks. A real deft film mostly about communication. Colleen Camp is doing some Rosalind Russell shit. Audrey H. has aged into wisdom. Ben Gazzara is as great a movie star as Bogart or Jean Gabin. Aces.
In fear of a confronting solitude, and of what is hiding beneath their own predictable surfaces, these people have learned to fleet from one lustful lover to another, never allowing anyone to look deeper and find "unattractiveness". They promise themselves never to fall in love, but they do every single time, and the blackness fattens underneath the thick skin whenever they "have to" leave a lover/love.
This movie is a fantasy. All those women are dreams, those guys are all charming and real life just seems pushed away, they just forget about it because of the undeniable magic. Peter Bogdanovich has said it is his favourite because it was the happiest time of his life and that reflects itself very accurate on screen. So sad the whole Dorothy Stratten situation, a very cruel step to reality after the fantasy.
A seriously flawed film with some seriously redeeming features. All right the tone can be a bit winsome, the dialogue stilted, Gazzara a bit of a creep, the women a bit too dime-a-dozen, the country music woeful--however, the cinematography is spectacular, and the comic timing razor sharp, Ritter especially, And there are moments between Hepburn and Gazzara that are so tender, it almost feels illicit watching them.