Inadvands
Boring, over-political, tech fuzed mess
Billie Morin
This movie feels like it was made purely to piss off people who want good shows
Cheryl
A clunky actioner with a handful of cool moments.
bkoganbing
I'm not figuring out why W.C. Fields And Me was panned the way it was by some critics. Although it's hardly a linear biography, Rod Steiger gave a good interpretation of the character. The parts I liked best was when he was away from performing and we got to see some of what may be the inner workings of that very uniquely funny man.We've never had a comedian like W.C. Fields and I doubt we'll see his like again. The mold was shattered in a million pieces when the comedy gods made him. His comedy style wasn't with one liners or fancy dialog. He created a character of an everyman with a big dose of curmudgeon, his body language during a scene was as important, even more than the words of a script.The film is based on the memoirs of Carlotta Monti who was Fields's live-in mistress. Quite a bit more was added to it. The famous story of Lee Tracy urinating off a hotel balcony in Mexico is attributed to Fields. Now the story of Fields spiking Baby LeRoy's formula with some of his best gin, that's a tale told and retold and seems to be the real deal.For those who want to see W.C. Fields at his very best I cannot too highly recommend The Bank Dick. In a way I'm glad Steiger did not use it because no one, absolutely no one could do justice to what W.C. Fields did in that film.Valerie Perrine complements Steiger very well as Carlotta Monti and Jack Cassidy makes his scenes count playing John Barrymore who was Bill Fields drinking companion and America's greatest actor in his generation. Both lost their lives and health eventually to booze.But both left us a lot of great performances. s
earlytalkie
This adaptation of W.C. Fields' life is a pretty good one which shows the great comic, warts and all. This is based on the book published by Field's mistress of many years, and she is played by Valerie Perrine, who does a splendid job. Steiger is very good, but I have to agree with a previous poster that he sort-of resembles a blown-up Van Johnson rather than Fields. The only technical flaw I could see in an otherwise splendid recreation of 30's Hollywood is one street scene where the street is dressed with the proper 1930s autos, but then a late 1960s Lincoln Continental Mark III passes by, followed by a 1973 Pontiac LeMans and a Volkswagen Beetle! After this gaffe, the parade of passing cars returns to the classic 1930s cars. The late Jack Cassidy does a pretty good job playing John Barrymore, and the Mancini score is, as always, an asset. This is streaming on Netflix in a gorgeous wide-screen copy.
moonspinner55
Carlotta Monti, a would-be Hollywood hopeful in the 1930s, met rascally, alcoholic, volatile comedy actor W.C. Fields at a movie wrap-party and was later invited out to his spread, supposedly to talk about a part in his next picture; there wasn't one, but she spent the next fourteen years with him anyway, playing his loving--though seemingly platonic--mistress who also acted as Fields' personal stenographer, script girl, cook, maid, and mother-figure-cum-warden. Based on Monti's memoir, and with her advisory assistance, this biography of Fields seems pretty truthful and not a white-washed kiss-up job. Director Arthur Hiller and star Rod Steiger do not shy away from showing W.C. as an occasional heel, a heartless, self-confessed son-of-a-bitch. Yet, the movie's best moments are the quieter ones (Fields' brotherly relationship with a little person, his reunion with the son he hadn't seen in twenty years, his reaction after Carlotta discovers how lonely he is). Steiger, whose make-up job causes him to resemble a portly Van Johnson rather than Fields, is a bit shrill in places, and he gets off to a bad start; however, Steiger eases into the role with obvious relish, and his eagerness to showcase this incredible personality definitely comes through (his final scene in bed is a heartbreaker). Valerie Perrine as Carlotta is also too shrill (which can be blamed on Hiller's handling), but she matches up well with Steiger and doesn't take too much guff off him. The sequences set in and around the movie studio never quite achieve the magic we hope they'll reach (they're squashy and limp, due--partially at least--to David M. Walsh's terrible cinematography). However, the central relationship is nicely carried off, aided by a lovely Henry Mancini score and good character actors in support. A forgotten film--yet another sitting on the shelf down at Universal--but worth seeking out, especially to see Steiger's work. **1/2 from ****
Fred Sliman (fs3)
In 1976, Universal spent significant money to bring two golden-age Hollywood biopics to the screen: Gable and Lombard and W.C. Fields and Me. Both were panned, gave little return on the money spent, and have been relegated to rarely seen, not-on-video status. I haven't seen Gable since the year of its release, but caught up with W.C. on cable awhile back. It's imperfect, but certainly interesting, well-acted and worth another look. (I'd like to see Gable again, too, to see if it's worse or better than I remember.)Steiger gives a good interpretation of Fields, though unable to channel the unique comic gifts that he possessed. It was always good to see Perrine onscreen in her too-few roles, and Jack Cassidy was effective in one of his last roles prior to his untimely death. The design and technical work result in a great look, unfortunately panned and scanned in the TV version that is seen today (when it's seen at all.)Interestingly, the Fields portrayal can be traced back to the memorable serial killer Steiger portrayed in 1968's No Way To Treat A Lady, adapting several disguises and voices, one of which evoked Fields. Universal has been pretty good about releasing older films of theirs to DVD at a good price; how about a couple of widescreen editions of these flawed but interesting biopics?
