Reviews (185)

Redefining the Rock Musical.
I've been a fan of musicals ever since I saw Dorothy go Technicolor in "The Wizard of Oz" when I was about five - but I had just about given up hope of a modern day musical. The last popular musicals were done in the seventies (Tommy, Rocky Horror, The Wiz), and they weren't really emotionally moving. Entertaining, yes - but thought provoking and touching, not exactly.

Hedwig has given me hope. Based on a play that became a cult hit in New York and other big cities, now it's been put on DVD with great care by its creator John Cameron Mitchell. He's done an excellent job of bringing Hedwig's energy and intimacy to the screen. I'd love to see him direct and star in more films.

The music is excellent and the lyrics surprisingly insightful. You have to watch this movie more than once to fully appreciate the intricate story, but the music will grab you right away. Stephan Trask is an amazingly talented writer.

Although not everyone may think of an East German transsexual punk rock whore as a heroin - I do. This is the story of her self-discovery, how she finds completeness within herself. She wants love and acceptance ' just as we all do.

Not bad. But ROCKY HORROR is better.
I have a feeling that in later years this movie will be as big a cult classic as ROCKY HORROR or BLOODSUCKING FREAKS. No, its not a great movie, but it has just the right amount of weirdness, pomp and some pretty good rock music to become one of the first major cult sucesses of the 21st century. It centers around a German transexual who after a sex change op gone wrong leaves him with the "angry inch" of the title, is appalled when his secret gay lover steals credit for his music and becomes a number one chart success and sets out to get his music back. The music is pretty good, but the movie itself isn't completely sucessful. That said it works better as a film because the visual elements including animation add to what is a rather bizarre, unique viewing experience. Naturally, I haven't seen the musical on which it is based (typical of me, I know) but I recommend it if you are in the mood to watch something a little different, though personally I think ROCKY HORROR stands head and shoulders over HEDWIG any day.

Rock N Roll & Passion, Truth,Sadness,Loves found & Lost
This movie -- I can watch it each and every day. The characters captured me and they were real people with their faults, genius, heart and soul. Anyone who enjoys Rock and a fabulously written script exploring Transgender relationships, the transgender mind will fall in love with Hedwig. ^5 to all connected with this brilliant movie. It is passion, grit, soul, heart, double cross, greed, and a search for love, acceptance. This movie is so great and moving I do not possess the vocabulary to describe the emotional journey the viewer travels. FANTASTIC

Ladies and Gentlmen the best movie you'll ever see
To say the least i am a fag hag, thus, i love musicals and anything remotely gay. albeit i am neither a boy nor a gay boy but rather a female whose only form of male friends are queer, gay, fagets etc. and i have to say this is one of my favorite movies of all times when i first viewed this movie i couldn't believe it i thought "yes, i'm not a freak someone took two of my favorite things Rock and Roll and Transexuals and rolled it into one great movie" and not only did i completely fall in love with the movie the directer, writer and star of the movie but also the soundtrack which by the way you the soon to be viewer should definetly get because its the best. Hedwig or Hansel as that was his name before his transformation or rather confusion, he and his mother lived in a cramped apartment in Communist Berlin, before the wall came down that is, They were left by his American GI father and it was just his mother and him. THe apartment was so small that the only place for Hedwig slash Hansel could find refuse to listen to his American Rock and Roll music was in the oven. The two lived together sleeping in the same bed until around Hedwig slash Hansel was into his late twenties and was discovered sunbathing on ruins by his semi perverted prince charming, an American military black man the two decides to get married and get the hell out of berlin. the only thing that stands in their way is Hedwig slash Hansel's little bishop between his slash her's legs but Hansels mother whose name by the way is Hedwig convinces him that its just a simple cut and paste job and she'll be on her way to america. but little did they know what they were into unfortunately for Hansel Berlin did not have the best plastic surgens around and instead of a female genitalia or even male genitalia he was left with a inch of skin where something was supposed to be there. thus the title angry inch. But to cut a good story short He took on his mothers name Hedwig and was then known throughout the movie as hedwig and referred to as her or she. and after a few months of wedding bliss she was left by her GI husband for a younger more tight boy. left by her husband and with an inch to work with she took all her anger and fustraion into making a remarkable band with beautiful songs in which she meets tommy gnosis or rather makes tommy gnosis this psuedo rockstar whom was created and shaped into a rockstar by none other Ms Hedwig herself and then like her father and husband left her in the dumps. but this time she wasn't going to let anyone take what she worked so hard at, her music and her heart. you see first Hedwig meet tommy while babysitting for his family tommy was just a christian rock nerd before ever meeting Hedwig and the two hit it off they were more in love than ever the problem tommy was sadly not into the whole inch thing and couldn't work it out so like the dish and the spoon he ran away with her heart and the songs in which she wrote and made him famous rather than herself. the underlining of this movie is all about find yourself and accepting who you are once you've found yourself and its about love and how sometimes you just have to let that one person who feel you can't live without, go. but enough about the film i command you to watch it listen to the soundtrack and be in love.

incredulous
There are people on here that do not think that Hedwig is very good, and that is okay. The next time somebody mentions that they do not think the "story is good!!1!!" or that "all of these transies are weird, omgggg!!!!1", I might vomit.

If you think that the metaphors John Cameron Mitchell employs are silly or trite- news flash, he didn't make them up. If you want to disagree with Plato, however, be my guest (it'll just validate your stupidity). Since Hedwig and the Angry Inch was based upon The Speech of Aristophranes from Plato's Symposium (a foundational text which deals with greek mythology and is really just another version of Genesis which includes room for people of all sexual orientation) you might want to think twice about what you call silly.

People know Plato's name for a reason. Mitchell is a genius.

Bravo. ... Read more

Reviews (75)

Sheer delight
For my money this is Blake Edwards' most enjoyable movie. I've viewed it perhaps a dozen times, and its combination of a peerless cast, fine songs, supremely witty script and sure-footed direction make this a real gem that I will never tire of watching.

Robert Preston (in a role originally intended for Peter Sellers) practically steals the show as Toddy, a gay nightclub perfomer in 1930s Paris. Preston's vitality and charisma make the character of Toddy so warm, humorous and believable that he feels like an old friend by the end of the movie. What a shame Preston made so few films! (We do, however, have his memorable aoppearance in SOB - another Edwards triumph - to be grateful for.)

Julie Andrews is perfectly cast, with her distinctive voice and seemingly ageless face and figure all contributing to a convincing portrayal of a supposed female impersonator. The rapport between her and Preston is a joy to behold, and one can only applaud their classy professionalism.

The rest of the cast is top-notch, and the film reunites Julie Andrews with James Garner 18 years after their first movie together, the 1964 Americanization of Emily. Garner shows a fine comic touch - as always - and Lesley Ann Warren is inimitable as his supremely irritating ex-girlfriend.

The film positively overflows with 1930s Parisian atmosphere and sophistication. In short, Victor/Victoria is a real treat that offers a little something for everybody.

Essential viewing.

Le Jazz Hot!
Although he has just recieved an honorary Oscar, Blake Edwards is often looked upon as a purvayer of low comedy. Although he is the genius behind such sparkling classics as The (original) Pink Panther and Breakfast at Tiffanys, many people frown upon him for his later films such as S.O.B., Blind Date and Switch (let's not mention the post-Sellars Panthers). Victor / Victoria falls, chronologically, between the two sets of films and, in my view, is Edwards at his peak.
Edwards directs his wife Julie Andrews (never better and that includes being a nanny and a nun), in a tale of a [woman pretending to be a man pretending to be a woman]. The central plot serves as an excellent backbone on which to hang a wonderfully farcical script, some hilarious set-pieces and the fantastic song-and-dance numbers (Bricuse and Mancini's score makes you wish they'd worked together more often).
Andrews, as I say, is flawless coming somewhere between the innocence of Poppins and the lewdness of S.O.B. and giving a fantastic performance. From under her very nose though, the film is stolen by the ever-watchable Robert Preston as Toddy. Preston brings great depth and love to a part that could quite easily have been, as he is refered to in the film, 'a pathetic old queen'. James Garner commendably plays the straight-man (in more ways than one!) with a twinkle in his eye and Lesley Ann Warren hilariously chews every bit of scenery she lays her hands on.
The script, which bears Edwards' name as a co-writer, is as witty and moving as anything written in Hollywood's 'Golden Era' and the musical elements have as much vibrancy as MGM's in their hey-day. Musical highlights include Le Jazz Hot and The Shady Dame from Seville (not to mention the riotous reprise as performed by Preston for the films finale). One-liners don't come much better than "A lot of men can't get it ... up to now, you've been fine", "You look like a raccoon" (you need to see it) and the entire scene in the restaurant that leads to the line "It is a moron who takes advice from a horse's arse" (Edwards regular Graham Stark at his dead-pan best).
The extras on the DVD are limited to trailers and a commentary. The commentary by Edwards and Andrews is informative, if a little disappointing considering the wildness of the film and mainly consists of Edwards enjoying watching the film and Andrews making sure that all of the on and off-screen talent is name-checked.
A real unsung gem that deserves to be seen as often as possible. Tell your friends!

JULIE ANDREWS! A LEGEND!
I remember sitting through it in 1983 in the theatre with Mama and Grandmother. We all LOVED it. With Poppins, Maria and Gertrude; Julie`s Victor/Victoria is HER BEST effort on celluloid. Leslie Ann-Warren, James Garner, Robert Preston, Blake Edwards, Henry Mancini & Leslie Bricusse ALL excell in this comedy. It may be a trifle long and the Hercule Poirot-imitation unnecessary; but it really is the last of the GREAT MGM MUSICALS(although it was shot i England, released by MGM). The set-designs are a treasure 2 behold.

One Big Riot
There is one word that best describes this film, and it's RIOT. The film is one big and grand RIOT. The cockroach-instigated riot scene in the restaurant is memorable. Mr Edwards shot this from the outside so that we get to see a third-person view of what is going on inside through the windows. Also, look at that RIOTY performance by Leslie Ann Warren: the scene where she walks down the train aisle spurting out vehement %$&*$# should be made a classic!! Again, this was shot using a third-person view so that we see inside the train windows but never actually hear her. The film delights in its RIOTS, we get the feeling that it makes fun of its characters in this way, albeit a tender way.
But beneath all the film's RIOTS, is a warm heart (highlighted by Henry Mancini's score.) This warm-hearted attitude transcends even through all those nightclub brawls; and I believe that without this formula, the film might not have been able to handle the issue of homosexuality so well. Excellent performances by Julie Andrews, James Garner, Robert Preston (in a delicious drag queen finale,) Leslie Ann Warren (show stealer) and the whole cast. The musical numbers are also winners. Certainly not for the Lazy Afternoon viewing, but for the Friday/Saturday night film. To those who are offended by gay contents, be warned, the film insists. This is one GAY & RIOTY film.

Blake Edwards - Musical Gender Bending At It's Best!
This is most definitely musical gender-bending at it's best!

Not many musical/comedies are produced nowadays, let alone good ones like Rocky Horror Picture Show & Little Shop Of Horrors to name a few that come to my mind.

This 80's musical/comedy is set in 1934 GAY and I DO MEAN GAY Paree! This film is quite unparalled in the fact that Victor/Victoria was a movie BEFORE it made it to The Great White Way. Julie Andrews played Victor/Victoria in both movie and on stage.

Great songs in - Julie's "Le Jazz Hot" & Lesley Warren's bimboesque "Kings Can-Can". The sexual chemistry is A+++ between Andrews & a sexually confused James Garner who plays "King Marchand" a Chicago club owner, who is so TOTALLY out of his element in Paris, let alone being sexually frustrated and confused over his crush on the beautiful, stylish and gay, Victor.

Great cast, great songs and a greater storyline with lots of slapstick comedy make Victor/Victoria a classic of it's time!

Happy Watching! ... Read more

Reviews (291)

'The Rocky Horror Show' Movie
There is one reason why everyone should see "The Rocky Horror Picture Show": it is the best cult film ever made. There are also three reasons why everyone should want to watch it: 1) It is one of the only 'R' rated musicals in existence. 2) It has strong science-fiction overtones. 3) It is very funny. The movie starts Barry Bostwick and Susan Sarandon (before they were stars) as the recently engaged Brad and Janet. However, they are upstaged in nearly every scene by Tim Curry who plays Frank N. Furter, the mad doctor. The cast delightfully performs many memorable songs including "Over at the Frankenstein Place" and, of course, the "Time Warp". To fully enjoy RHPS, one must not be closed minded or the picture could prove to be quite offensive. Don't think it's gratuitously violent- it isn't. Merely, the situations the characters find themselves in could shock or appall overly sensitive viewers. If you think you won't enjoy RHPS, going to a midnight screening might be your best bet. The live audience participation will guarantee you a good time, despite your opinion of the actual film. So overall, RHPS is quite a good adaptation of Richard O'Brien's original concept, which always honors its roots on the stage.

DVD = Perfect format to truly experience "Rocky" at home
I loved going to "Rocky Horror" when I was in college, but watching on home video just wasn't the same. I'm probably committing heresy but there's a reason why this sci-fi, horror, B-movie satire, rock musical didn't really make it big until theaters started showing it as a midnight movie and fans started attending in costume and talking back to the screen. The 25th anniversary DVD, with several audience participation options, really is the next best thing to being there.

For the uninitiated, "Rocky Horror" tells the story of two clean-cut American youths, uptight Brad Majors (Barry Bostwick of "Spin City") and Janet Weiss (Susan Sarandon of "Dead Man Walking") whose car breaks down on a dark, deserted road in the middle of a storm--the classic beginning to many horror movies--and who seek help at a nearby castle. Castles, as Rocky fans know, don't have phones! What this castle has instead is a cross-dressing mad scientist Frank-N-Furter Tim Curry, in perhaps his finest performance), two very creepy servants, Riff-Raff (Richard O'Brien, who wrote the musical) and Magenta (Patricia Quinn), and various other hangers-on, including lovers Columbia (Little Nell) and biker Eddie (Meat Loaf). Brad and Janet walk in on a party celebrating the creation of Frank-N-Furter's muscle-bound boy-toy "Rocky." Bed-hopping chaos soon ensues, until the servants reveal their true identities and take control.

Punctuating this wacky plot are some of the wildest rock-musical songs ever written. In addition to the classic "Time Warp," there's O'Brien's salute to cult-classic B-movies, "Science Fiction Double Feature," Meat Loaf's "Hot Patootie," and Sarandon ode to sexual self-discovery, "Toucha Toucha Touch Me!"

So much for the "Rocky virgin" portion of the review... What makes the DVD so exceptional is the chance to experience "Rocky Horror" at home nearly like you would in the theater. The DVD has the option of turning on the audience screen comments as well as another option for viewing members of the Rocky Horror Fan Club performing select scenes before returning to the main movie. For those less familiar with audience participation, the DVD can prompt when to throw toast, toilet paper, rice, etc., light a match, put your newspaper on your head, etc.

The second disc contains fascinating interviews with cast members, where fans can find out about their reaction to starring in this cult classic. Meat Loaf's description of not realizing what "Rocky Horror" was going to be about and running out of the theater when Tim Curry entered wearing fishnet stockings, spiked heels, a merry widow, and a leather jacket and singing "Sweet Transvestite" is hysterical. Patricia Quinn talks about how her fondness for the opening song, "Science Fiction Double Feature" made her want to take the role even though she hadn't read the rest of the script. What? Don't remember Quinn singing that number? In the stage versions she did, but the song got reassigned in the film version--and Quinn makes her feelings about that QUITE clear. Sarandon makes the interesting observation that "Rocky Horror" probably kept a lot of art house theaters in business over the years, since they could count on good revenue from the midnight movie, even if the latest regular-hours offering flopped. In Bostwick's interview, however, the actor sounds a bit like William Shatner giving his anti-Trekkie diatribe on "Saturday Night Live."

The only disappointments on the DVD are that the outtakes really aren't that interesting and actor bios aren't provided. I would have liked to see what else the "minor" cast members did after Rocky, but that information is limited to a few lines in the companion booklet. Also, some of the audience-participation comments are nearly impossible to understand because fans are talking over each other. But then that's part of the modern-day theater experience. Even Sarandon noted in her interview that talking back to the screen has gone from the more unison catechism approach to a loud free-for-all.

What seemed so risqué and shocking a few decades ago seems much more innocent today, but it was great when it all began and it's still great! If you've never ventured into the theater to experience "Rocky Horror," this is the best way to experience it at home.

Mesmerizing film.
This is a very outrageous movie. The rock is the background to tell us a horror movie but also spiced with sex , ransvestism and above all a splendid tribute to the movies specially King Kong .
One couple strands in an old house full of weirdos . This movie (here between you and me)could have inspired for Tim Burton in Beetle juice .
In this decade there were great visuals films too . Sherman built a magnificent story absolutely free , intelligent and sarcastic, irreverent and bitter . You might state that Fellini's influence (dressed of english manners and clothes) is present all along the film .
Inmediatly after its release this one acquired the status of cult movie.

The original is still the best!
Don't bother with the play, or the music from the play. The original is still the best. Nobody can fill the shoes of Sarandon, Curry, etc. They originated the roles and have been associated with them for far too long for anyone else to come in try to change them so many years later and attempt to redo them. Stay with the best.

Those Gold Shorts!
Ahhhhh...Rocky had such a lovely outline showing in his gold lame shorts. ... Read more

Amazon.com

Swan Lake became an unexpected popular hit when radical choreographer Matthew Bourne took Tchaikovsky's traditional ballet by the scruff of theneck and reworked it with a myriad of modern influences and themes to astonishing effect. Seldom have the dark psychological riptides at the heart of so many classicalballets been so brilliantly exposed. The Prince (Scott Ambler) is a wretchedand dissolute young man dominated by his mother, the Joan Collins-like Queen(Fiona Ambler). Shades of Tennessee Williams, indeed. Von Rothbart becomes apress secretary, more sinister eminence grise than hissable villain. Moststartling of all, the Swan (Adam Cooper) is a muscular, emphaticallymasculine male.

Bourne has stressed the universality of his interpretation, which proved sucha success for his Adventures in Motion Pictures dance company. And indeedthis is never an overtly "gay" Swan Lake, although the electricity of the pasde deux at the height of Act 2 delivers a palpably homoerotic charge. Its universal threads--as Bourne suggests, the need to be held and understood is common to us all--are synthesized in the utterly moving conclusion as the Swan cradles the lifeless Prince and raises him to a better place. Swan Lake becomes a human, rather than simply romantic, tragedy.--Piers Ford ... Read more

Reviews (42)

Fascinating (Mostly Male) Version of Swan Lake Ballet
This is a very odd but very interesting version of Swan Lake that played in London and New York two or three years back. The ballet uses the original Tchaikovsky music but is set (in London?) in the mid 1930s or so. The story is set so that the Prince falls in love with a MALE swan. The switch in plot works pretty well in terms of story telling -- the male swans are tremendously athletic in their dancing -- the royal family reminds one of the current crop of British royals. The video is taken from a stage performance and the music is well recorded. On whole, a successful record or an unusual but interesting Swan Lake.

If it's not one thing, it's your mother!
Finally, Matthew Bourne's innovative production of Tchaikovsky's SWAN LAKE is available on DVD. This is not a camp send-up of the balletic war horse, but a modern, freshly imagined telling of a tale of enchantment, betrayal, disenchantment, and release. What most people already know about this production is that the swans and cygnets are performed by male dancers, that the choreography emphasizes the aggressive rather than the graceful movements in swans' repertoire, and that the story is heavily freighted with Freudian implications as it shows a young prince's efforts to break free of his mother's hold (she's part Merry Widow and part Cruella deVil). The viewer who tries to analyze plot points too carefully is heading toward frustration and confusion. (For those who just can't let it alone, there's a helpful on-screen synopsis you can jump to whenever you need it.) The best way to enjoy this production is by focusing on the choreography and the dancing itself. Adam Cooper's nameless Swan is powerful, persistent, and unapologetic. He could be the prince's alter ego, his embodied desires, the id, or just about anything else you'd want to ascribe to him. He woos son and mother with equal conviction. Besides the moments when Cooper is on stage/screen, the choreographic hightlight of this production for me was the dance of the cygnets (pas de quatre). This is a moment of levity in every production of SWAN LAKE, but more so here where the mischievous antics and curiosity of the cygnets are played for all they're worth.

The other thing worth commenting on is the quality of the filming of this live performance. I have usually been disappointed by ballets on film--presentation is often static, or feet and hands get cut out of the picture, or the camera goes in for a close-up at a point when something significant is happening in the choreography. Given the trade-offs, Adventures in Motion Pictures has done an excellent job of capturing all the key choreography while creatively managing close-ups, transitions, and montages. The colors are rich and expressive (the dance of the swans by the lake is bathed in a haunting nocturnal blue). And best of all, the film is completely free of the annoying halos and bizarre shimmerings that always seem to make their way into filmed stage productions.

Aren't We Special and Innovative!
I don't mind the homoeroticism, I don't mind the updating, I don't mind the rethinking. What I mind is the smugness that permeates this "Swan Lake." At every step you can practically see Bourne patting himself on the back, his buttons bursting with how innovative and "new" his vision is. (His send-up of classical ballet is particularly self-congratulatory.) And is Bourne doing anything special here? Not really. Okay, the swans are male, the prince is gay blah, blah, blah. All this adds up to is a new plotline, period -- and not a very compelling one at that. The jokes, such as they are (particularly the prince's ditsy girlfriend), wear pretty thin pretty quickly. And the dancing itself is, for the most part, badly executed. The corps of swans especially lacks coordination, their arms flailing about sloppily. Some might praise Bourne for not doing the same-old-same-old, but I'd rather see a superbly executed, staid version of "Swan Lake" than a supposed rethinking that doesn't really have a thought in it's precious little head.

A Perverted Parody of Swan Lake
In my time I have seen hundreds of performances of Swan Lake by many different companies. Bourne's version is by far the worst rendition of Swan Lake I have ever seen. It is a perverted parody and any resemblance to Swan Lake is purely coincidental. It must be shocking to any true lovers of ballet.

Unlike performances by the Royal Ballet or the Bolshoi or Kirov which fit the music like a glove, the music in this ballet is only incidental. There is no grace or precision in this performance. Just a bunch of unsynchronized apes prancing and at times just stumbling around. The filming is a disaster. The camera does not stay focused on the "dancing." Perhaps that is because the "dancing" is so bad that Bourne wants to divert the viewers attention away from it..

People have a good taste in music and particularly in ballet should avoid watching this sickening and disgusting version. I wish I had.

A brave new Swan Lake
Matthew Bourne transformed this beloved antique of a ballet into a parable for our times. Set in the early 1960's (I think; judging from the costumes, anyway) it follows a little prince as he grows up surrounded by the paparrazzi and discovers his own sexuality in the form of a swan prince. Just the fact that Swan Lake was given an involving storyline is a vast improvement over previous versions, but the complex themes of the prince's homosexuality, his relationship with his mother, his failed relationship with a "bad" girl, and the constant presence of the media add multiple dimensions to what was once a loosely structure story. The costumes, the sets, and choreography are all amazing--the DVD gives a scene-by-scene synopsis of the new version, but it really isn't necessary because of the creative use of pantomime and focus on the dancers' expressions tells the story for itself. And although it does contains more false endings than the third Lord of the Rings movie, it is definitely worth watching. It is certainly not your grandmother's Swan Lake, but this is surely for the better. ... Read more

Reviews (52)

A Nearly Perfect Fun Camp Film
This movie is a definate visual treat. From the beautiful and fun Valerie Perrine to the spectacle that is Bruce Jenner in short shorts which are so tight that my eyes watered for him and then there's Steve Guttenburg....who is so hyper and manic in this movie that one wonders what he was on that kept him so perky and wide eyed? :o) It was after all 1980 and I don't even think Betty Ford was thought of as anything but a former first lady at that point in time. Then there's The Village People without whom this film would never had been made at all. Now I was a pre-teen when this came out and I wasn't a huge fan of their music but I still remember the David Hodo musical sequence and thinking to myself....Yikes. And then there's the ode to the "Milkshake" and I ask you, Got Milk? How ahead of it's time! In a strange note, since buying this video I had an erotic dream about Felipe, the Indian, and to this day I can't explain that one? So if you like a fun, frilly, fluffy, and Fabu film....PLEASE buy this movie A.S.A.P. P.S. Valerie Perrine is still a goddess, why isn't she making movies anymore, where is the justice in this world?

OH, YEAH....SO BAD, IT'S *GOOD*!
OK, first of all, completely ignore Leonard Maltin's taking-himself-far-too-seriously review of this film. Like a pug that's so ugly it's cute, this movie, like so many others have pointed out, is deliciously bad -- horrible acting; cheesy special effects (no doubt state-o'-the-art way back then); riduclous plot; oh, and did I mention *horrible acting*? -- so bad it's wonderful. Like a horrible auto accident you can't tear your eyes away from, this movie is so dreadful that you can't stop watching, if only to see how badly any of the actors (except the ever-perky/pro Valerie Perrine) will deliver their lines. The musical numbers are a delight, though, and it's obvious THAT is where most of them money went. Poor, poor Nancy Walker (that's right, Rhoda's mom) directed this and she'll be remembered for this if nothing else. You haved to wonder WHAT she was thinking, though....

You don't have to be gay or into disco to enjoy this: just sit back and let the horror (and the fun) wash over you. It's THE perfect movie for a group of people to watch and groan together.

BUY THIS MOVIE!

Relentlessly incredible
This film is one of the best musical movies ever made. The Village People are incredible. I highly recommend this film to everyone that likes to watch a bunch of fun people having a great time.

Can't stand the movie
There are some movies so horrible that you watch them, not out of guilty pleasure but rather with the same interest as rubbernecking a 20 car pile-up on a major highway.

Nothing works about this movie. It is bad, bad bad, not even Valerie Perrin can make it good. As for Bruce Jenner, what was he thinking. The rumour is that a lot of coke was used in the making of the movie, the reason, they all wanted to dull their senses it is that bad. I'm surprised anyone had a career after this.

I appeared in this movie, and I think it's great!
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OK, so I wasn't exactly a "star" in this epic, but I was in the final scene, filmed in San Francisco. It was a HUGE disco-bash filmed at The Galleria, and I was on one of the balconies hanging over the dancers below. We all kind of wondered what the heck was happening; what they were filming. No one was really sure at the time. (And NO ONE could figure out what Gypsy Rose lee's little sister "Baby June" (June Havoc) was doing at a gay dance bash... sing OUT, Louise!)

When the film came out (inside joke here, as the gay aspect of the movie was closeted within the context of the film itself), I went to the San Francisco premiere. The film continued to play for about a week before fading into oblivion. It was a HUGE BOMB!

I always thought the best part of this film (besides the over-the-top production numbers) was Bruce Jenner's fabulously sexy belly in the scene where he wears a half-shirt and cut-offs. However, when I saw this on DVD and kept my finger on the freeze-frame button, I was amazed to see more than I ever remember seeing in the theatre during the "YMCA" number. Hard to believe this film has a "PG" rating with what they show in the shower scene! (I thought I was at a hotdog stand!)

A few years after this film bombed in theatres world-wide, I remember meeting Bruce Jenner in San Francisco and telling him that I thought his belly in that scene was the best part of the film. He said that if that was the best part of the movie, he now understood why he and most of the other actors in that film never made another film!

Well, since this film effectively killed the careers of everyone who appeared in it (except for Steve Guttenberg), his words proved true.

Anyway, it's a fun movie to watch, just don't take it seriously. It's just a big disco joke. Enjoy it for what it's worth. This ain't "Gone With The Wind", it's a different kind of epic!

Oh, I remember disco, and the glory of the BOOM BOOM BOOM when we all saw our faces reflected in the spinning mirror globes high above the dance floor, and thinking it would never end. This movie is an effective reminder of the good times, bad taste, and sweet excess of the disco era. ... Read more

Description

One of the world's most talented and best-loved performers, Julie Andrews reaches new heights in the most challenging role of her career as a woman pretending to be a man impersonating a woman! Filmed on the Broadway stage in 1995 (and based on the 1982 film), the immenselypopular Victor/Victoria is a warm, funny, wildly energetic look at the nature of love, gender perceptions and the battle of the sexes. Written and directed by Blake Edwards, with an unforgettable score by Henry Mancini and Leslie Bricusse, Victor/Victoria tells the story of an out-of-work singer whose life changes when she meets the flamboyant Toddy (Tony Roberts). With his help, she becomes "Victor," an overnight singing sensation in the nightclubs of Paris. But success becomes hilariously complicated when she meets the love of her life, King Marchan, a macho Chicago gangster (Michael Nouri). Adding her two cents to the couple's troubles is Marchan's ex-girlfriend, the ditzy Norma Cassidy (Rachel York). From the electrifying excitement of "Le Jazz Hot" to the contemplative "Crazy World," from the humor of "Chicago, Illinois" to the touching "Almost a Love Song," this truly classic musical has it all.146 minutes. Filmed in High-Definition video. 16x9 anamorphic widescreen transfer. ... Read more

Reviews (34)

AN EXCELLENT PRESERVATION OF A WONDERFUL NIGHT
On December 2, 1995, I was lucky enough to be in New York City and saw "Victor-Victoria" on Broadway. The excitement and anticipation of seeing Julie Andrews on Broadway was so great-- I'll never forget that. We would have applauded and cheered like mad if Julie had merely appeared on stage and read from the phone book. Naturally, I was thrilled when the Broadway production was released on video. The show is excellently presented in wide-screen format. I'm still in awe of Robin Wagner's wonderful set designs-- one of the production's best assets. Andrews is well supported by Tony Roberts as Toddy. Michael Nouri is super sexy as King Marchan, and Gregory Jhbara is endearingly sweet as his gay bodyguard. Rachael York is extremely funny, but, in retrospect, the best she can do in the role of Norma is give a carbon-copy of Lesley Ann Warren's inspired performance in the 1982 film. Despite what some have said, the Broadway production does flow and move well, with just as much sparkle and bounce as the 1982 film (in some cases, perhaps more). These are professional actors. They know what they're doing, and they give their very best. Let's face it: either you like Julie Andrews (with all her amazing stamina and energy; thankfully captured here before her devastating 1997 throat surgery) and "Victor-Victoria" or you don't. Not much more needs to be said. Having this video in my collection is like having my wonderful night in New York City over and over again. A real treat-- if you were "there" or not.

A "Must Have" for Julie Andrews Fans
This video of the stage production of "Victor/Victoria" preserves what is likely to be the last Broadway performance of a living legend of the musical theater - Julie Andrews. Complications from vocal chord surgery performed not long after Dame Andrews left this production damaged her singing voice, probably permanently. The opportunity to see her in this historic Broadway performance should therefore not be missed by any of her fans.

The show isn't perfect. It gets off to a bit of a slow start with a moody opening number, "Paris By Night," then it takes a while for the story to unfold. There is a bit more exposition than is necessary, and the show really doesn't get into full swing until Julie and company's notable "Le Jazz Hot." From that point on, however, "Victor/Victoria" accelerates, and the laughs come quickly and often.

The energy boost is thanks in large part to the comic genius of Drama Desk Award Winner Rachel York as the dizzy blond gangster moll, Norma Cassidy. She takes the Oscar-winning role created in the 1982 movie version by Lesley Ann Warren and makes it her own. She finds the vulnerable core underneath the crass exterior and turns Norma into a lovable lunatic. Her timing is perfection, and the unexpected little twists in her delivery and physicality delight at every turn. She almost steals the show, but not quite. What she does accomplish, however, is to give Ms. Andrews a venerable foil. When the two of them are onstage together, the chemistry is electric. They have a tango toward the end of the first act that is one of the funniest pieces of choreography ever staged.

All the dance numbers are stellar, in fact. Credit goes to Rob Marshall, who has now become famous for his direction of the Academy Award winning movie adaptation of "Chicago." Every bit of choreography sizzles as the audience watches and wonders just which dancers are men and which are women.

While Michael Nouri as Victor/Victoria's love interest, King Marchand, may be considered the weak link in this cast (he just doesn't have the befuddled charisma that James Garner had in the movie), he sings and acts well enough to carry his share of the load. Tony Roberts is wonderfully droll as Victor's gay mentor, Toddy, and Greg Jbara is quite likeable as King's bodyguard, Squash. He offers up more than one surprise during the course of the evening.

By the time the last laugh is had, the audience is on its feet cheering for a landmark performance by one of the musical theater's all time greats. This reviewer has to agree with Ms. Andrews' own comments about Victor/Victoria. The entire show, and in particular cast member Rachel York, were egregiously overlooked by the Tony's.

IGNORE the other reviews.........
First of all, this is an EXCELLENT brodayway show! It cannot be just like the 1982 movie because people wouldn't go and see it. The acting is pretty good and most people dissed Julie Andrews on her acting, but remember she was older in this production and I thought she did an excellent job. The rest of the cast, Tony Roberts, Rachel York, and Michel Nouri do an excellent job. Bravo to Rachel York for doing an Excellent job playing Norma! There is more songs and dance then the 1982 movie and they do leave out the "Shady Dame from Saville" that was the only thing that I thought they should have put in the this production. All in all, one heck of a show! IT made me laugh, until I was almost crying! If you in Doubt, don't be. It is good and I suggest it to everyone! Also, you will the the intro Julie Andrews does before the show starts and at intermission!

A really fun show, luckily preserved
I was lucky enough, in 1995 to not only see "Victor/Victoria," but to get backstage to meet the lovely and truely gracious Ms. Andrews.

While the show has it's problems, it's not nearly the disaster critics made it out to be. Thirteen years after the huge success of the film, Ms. Andrews re-creates her role for the stage (how many other actresses can play the same role, convincingly, 13 years later.) While Michael Nouri, in my opinion, is no match for James Garner, Tony Roberts is a delightful Toddy and Rachael York makes Norma her own. Lesley Ann Warren was BRILLIANT in the film version, Ms. York is equally as stunning in this production and was ROBBED of not only a Tony nomination, but the award itself.

A must-have for all Broadway collectors, the shows flaws (primarily the book) can be easily overlooked due to the fabulous performances, brilliant technical achievements (sets being the most obvious) and terrific production values.

Get it now!

VICTOR/VICTORIA 1995 BROADWAY PRODUCTION
I HAD THE CHANCE TO VIEW THIS WONDERFULL PLAY LAST NIGHT. I WAS VERY IMPRESSED WITH THE PROFORMANCE THAT MS. ANDREWS DID IN THIS PLAY. I HAVE NEVER SEEN HERE LIVE BEFORE SHE WAS EXCELLENT IN THIS. THIS VIDEO OF HER PROFORMANCE IS A MUST FOR ANYONE WHO LIKES MS. ANDREWS AND WHO HAS NEVER SEEN HER BEFORE LIVE ON STAGE. ... Read more

Reviews (5)

This one succeeded in its own candor.
Often reminder of Indian movies where characters sing and dance periodically even in tragic situation, this one still succeeded in its own candor. Talented actress Virginie Ledoyen is a natural charmer in her role.

Excellent entertainment!
This show is delightful in its honesty and refreshing in its candour. The characters in the show, though somewhat lacking in actual ability to sing, carry the storyline, which tends to be thin, through with their innocence and energy. A very watchable film with catchy tunes and an attractive cast.

Jeanne and the Perfect Movie
Wow. I've never seen a musical that covered so many issues: AIDs, Sex, Gay-Issues, Love. "Jeanne and the Perfect Guy" is a wonderful French musical about a woman who really loves sex, but finally falls in love, only to find that the object of her affection has AIDs. This musical is not only a splendid tale of love and angst, but is also a beautiful musical, with a moveing score and a lead actress who is beyond compare. Virginie Ledoyen matches an incomparable beauty with a lovely voice and a superb talent. She makes this musical the Perfect Movie.

fabulous viewing experiance
i have seen this film 3 times...and everytime i have beenimpressed. the film covers a range of topics but focuses in on a girlwho cannot decide between men until the moment she falls upon mr.right. the movie covers gay issues, aids, sex, love, and compassion. iabsolutely recommend this film to everyone.

might just be fantastic
I caught about 1/3 of this movie on the Sundance channel one day, and have been obsessed with seeing the rest ever since. I can't say I know how good it is, since I haven't seen it in it's entirity... but what I saw absolutely enchanted me. A foreign musical about sex, love, AIDS, irony... who could resist? The cinematography is gorgeous, brilliant use of RGB colour. Deffinately one I'd preffer in DVD. ... Read more