After FOR THE BOYS flopped at the box office, Bette Midler angrily told the press she would never make another musical.
But the trouble was she DIDN'T make a musical. She threw a few numbers into a heavy-handed "message picture" that strikes political poses which are obvious and overly-familiar.
It starts out so well, a real old-time star vehicle, perfectly showcasing Midler's musical and comedic gifts, but less than an hour in, it transforms into something much less interesting.
Musical numbers disappear, replaced by pious liberal sermonettes, teaching us that blacklisting, patriotism, sexism, and the Viet Nam war are all Very Bad.
FOR THE BOYS illustrates the damage done to a story when the writers refuse to be fair to a major character. Here, James Caan is painted in such broad strokes as a two-dimensional villain (sexist! adulterous! untalented! corrupt!), the whole film becomes a cartoon.
By the time you see them in the worst old age make-up in Hollywood history (it looks like someone stuck pie dough on Midler and Caan's faces), what little credibility remains is swept away for good.
But the first 45 minutes reminds you how great Midler can be in the right vehicle. Will someone please cast her in another musical? A REAL one this time.
But the trouble was she DIDN'T make a musical. She threw a few numbers into a heavy-handed "message picture" that strikes political poses which are obvious and overly-familiar.
It starts out so well, a real old-time star vehicle, perfectly showcasing Midler's musical and comedic gifts, but less than an hour in, it transforms into something much less interesting.
Musical numbers disappear, replaced by pious liberal sermonettes, teaching us that blacklisting, patriotism, sexism, and the Viet Nam war are all Very Bad.
FOR THE BOYS illustrates the damage done to a story when the writers refuse to be fair to a major character. Here, James Caan is painted in such broad strokes as a two-dimensional villain (sexist! adulterous! untalented! corrupt!), the whole film becomes a cartoon.
By the time you see them in the worst old age make-up in Hollywood history (it looks like someone stuck pie dough on Midler and Caan's faces), what little credibility remains is swept away for good.
But the first 45 minutes reminds you how great Midler can be in the right vehicle. Will someone please cast her in another musical? A REAL one this time.