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7 of 7 people found the following review helpful:
4.0 out of 5 stars
An Odd Little Movie, February 9, 2002
I really don't know what to make of this movie. It seems like an allegory of changing events that were occurring exponentially during that fragile time smack in the middle of the decade of the 1960s. Being photographed black & white it has a feel of some of those high school teenage movies made during the 1950s. However we see many influences from the year it was released in 1966. For instance we see teenage girls clad in bikinis on a beach behind the film's credits. The film also suggests that it may actually be taking place in the near future by some of the set designs found in the high school and in a scene where Roddy McDowall is being psychoanalyzed by a female psychiatrist. Overall the film has a strange feel to it. Even the score by Neal Hefti was not typical of the work he was doing in the 60s. Hefti's score seems to be making some comment on society norms in general, specifically that they shouldn't be taken too seriously. This directly reflects Roddy McDowall's sentiments. And that's where this movie is so odd. Is it a comedy, a parody or is it trying to make some series statement on where we were headed as a country? This movie almost has a "Twilight Zone" feel about it. Tuesday Weld's character seems like she's going to languish in mediocrity. Roddy McDowall seems bent on changing here course for loftier pursuits. McDowall initially seem benevolent. As the movie unfolds McDowall becomes displeased with Tuesday Weld's love interest and he seems bent on undermining here. After a while you begin to wonder if the McDowall character is a figment of the audience's imagination. Or even more challenging is the possibility that the entire story is taking place in the mind of McDowall. For an odd little quirky film it is somewhat disturbing because it is just so unclear what the message of this film is.
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10 of 12 people found the following review helpful:
4.0 out of 5 stars
This DUCK Was Better The Second Time Around, August 1, 2004
Just to see Tuesday Weld (never better!), Roddy McDowall (rarely better)and Ruth Gordon (always wonderful, no matter what she's in) romp through this comic mess is worth the price of the DVD, and then some. I saw this film when it came out in the 60s and didn't like it much, but bought the DVD hoping I might find more in it than I did as a teenager. Turns out I really enjoyed it the second time around. It makes fun of a lot of different things and has an edge about it in the process. School, school administrators, authority figures, parents, shrinks, teenagers, consumerism, fame, dating, social snobism---you name it and it's a target. There are several scenes that are laugh-out-loud funny: Tuesday Weld going out with her father (she lives with her divorced mother), first to a drive-in fast food joint and then on a sweater-buying shopping spree; Harvey Korman in all his scenes. (By the way, what I really find interesting about 60s films is how much people smoked and drank, even in comedies. Lola Albright, very good as Weld's cocktail-waitress mother, just pours herself a stiff one when things get tough. It's almost jarring how that type of on-screen behavior has changed over the last 40 years.) In any event, this is an inconsistent but highly enjoyable film from the "crazy" 60s.
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9 of 11 people found the following review helpful:
4.0 out of 5 stars
Lord Love A Boom Mike, August 25, 2001
First time I saw this I could hardly believe the many, many visible boom mikes throughout the film. Loved the picture regardless, and now I've come to accept those boom mikes as characters as central to LORD LOVE A DUCK's frazzled beauty as Roddy McDowall & Tuesday Weld, its stars. Most knowledgeable film fans hold 70s films in reverence for their embracing of a deeper, richer reality more inspired by novels than by prior Hollywood films. 60s cinema tends to suffer by comparison: it often seems like a clumsy standoff between the death-throes of the old studios and their formulas, and the insisting beating on the door of a new, artistic, more experimental aesthetic: DUCK is one of those, subverting the soundstage-bound Mickey & Judy cliches by emulating that shot-on-indoor-sets look, with the vital modification of peopling this familiar artifical environment with the hyperAmerican grotesques who routinely populate Geo Axelrod's universe. Thus, like a lot of the best 60s movies, DUCK is part-fish, part-fowl and suffused with an atmosphere of strangeness beyond its subject matter - yet, given how Real Life in that decade similarly swayed on unsteady footing in two seperate realities, it works beautifully. And it definitely doesn't hurt that Tuesday Weld is a goddess of apple-cheeked carnality and conspicuous consumption. She may not be Everywoman exactly, but she IS Everywoman who ever dreamed of marrying Elvis, and that's good enough - like the King, you can't help falling in love with her. As has been noted, the 'cashmere sweater' scene is among the most erotic ever caught on film - unnervingly so, given she's playing the scene with, and for, her father. The movie is chockfull of scenes that similarly push black humor and social satire past the threshold of good taste or story logic; you're either going to go with it, or reject it altogether. I recommend the former: like a lot of underrated and outright ignored 60s movies that don't comfortably fit into any standard category, LORD LOVE A DUCK rewards the viewer who's willing to suspend disbelief for an hour-and-a-half with a totally absorbing and unique unreality all its own. It's a buzz you can only get from an American film made between JFK's fall and the rise of Tricky Dick, and it's a hoot besides.
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