Naught Moses Forrest Tucker was an acquaintance of my adoptive father's. Pa adored him in the "Crunch & Des" TV series from the mid-'50s but could not understand why he ever deigned to be a part of this "West Hollywood weirdness." (Dad spent a lot of time in WH in those days, but was very much a stranger in strange land.) I was too young to "get" all this in '58... BUT a lifetime in and around La and Palm Springs -- and their eccentricities -- was enough to elevate my consciousness. One might not wish to share in =all= the "fun," but let's face it: A little time outside the common cult-ural box most of us are forced to live in to make enough to pay the rent is good for everyone. They used to call shows like this "comedies of manners." Any wonder?

atlasmb While I agree with the general theme of the film--live life to its fullest--I cannot say that I find the film very successful. I had a grandmother who was rather flamboyant--artistic, outspoken, colorful, free-thinking. And genuine. It may be a minor point, but I find Mame's willingness to pretend to be what she is not ungenuine.Would I want to know someone like Mame? Probably not. She is entertaining, but I think I would find her flightiness and exaggeration annoying.I still recommend "Auntie Mame", but I cannot agree with those who place it among their pantheons of cinema. One wrote that Rosalind Russell was born to play the title role. She probably plays it as well as anyone could, but I must point to her role in "Picnic" as her crowning cinematic performance. One writer said that it's a long movie, but it goes by fast. I cannot agree. I felt it lagged, especially in the second half, and mostly during the fox hunt scene, which was out of place, as if purloined from "It's a Mad, Mad, Mad, Mad World."I think the director wanted to maintain a reference with the (so successful) stage play by opting to end "acts" of the film with the stylish fade outs. I think the method is slightly too precious and self-conscious. The ending feels a little contrived in that manner. For comparison, I prefer the ending of "Camelot", with Richard Harris' touching lines.The bottom line is that I think the film could have been more. There is plenty of acting talent on the screen.

Like_Wu_told_me Going into this movie, I had an open mind but expected a stagy, dated comedy. I was very pleasantly surprised to find a snappy, frank, and surprisingly fresh comedy filled with delightful performances and dialogue, colorful costumes and set designs, and a clichéd but solid message about life. Rosalind Russell plays Mame Dennis, who takes in her nephew Patrick (Jan Handzlik) after her brother unexpectedly dies. What ensues is a very fun romp about the adventures and trials of Mame and Patrick over 9 years as he grows up and they weather the Great Depression. The film is populated by a wide assortment of colorful, entertaining characters and comedic situations. And, for a 54-year-old movie, I actually found it to be hilarious. I laughed out loud several times throughout, for example when Mame at one point tries to mount a horse, and the dialogue is genuinely funny without straining too hard, with jokes rarely falling flat. The film's comedic success is amplified by its enormous heart, which takes center stage during several dramatic, emotional moments. The film wears its heart on its sleeve but never lapses into overdone sentimentality. As the movie's famous line goes, "Life's a banquet, and some poor suckers are starving to death." The film's message to live your own way and to the fullest no matter what really resonates, even if it is a bit unoriginal. The film takes thinly veiled shots at the norms, prejudices, and judgments of mid-20th century American society. It has a blast shooting down anti-Semitism, socioeconomic elitism, social judgment (involving such topics as unmarried pregnancy), to name a few, and it's 143-minute runtime flies by. The film itself, especially the cast, seems to be having a great time as it progresses, and I couldn't help but to be sucked right in. The performances are very good across the board. Rosalind Russell is just perfect as Mame, capturing her larger-than-life personality and big heart. She's an ace at spouting out the character's lightning-fast lines with impeccable comic timing. Coral Browne also gives a great comic performance as Vera, although she doesn't have as much depth as Russell. The rest of the supporting cast are all very good as well. Jan Handzlik is endearing and funny as a young Patrick, and Peggy Cass is outstanding in a paper-thin role (she did a good job, but her Oscar nomination is perplexing). I also thought Joanna Barnes was a riot as Gloria, and Lee Patrick and Willard Waterman are excellent as her parents. Overall, Auntie Mame is a hugely entertaining, even uplifting movie filled with wacky characters, spot-on comedic performances, hilarious writing, and a big heart. It's not the deepest movie you'll ever see, or the least conventional, but it's an absolute delight. Highly recommended.

secondtake Auntie Mame (1958)Rosalind Russell is a marvel, and she rules the ship here, thankfully. As a movie, overall, it hasn't worn well. The humor (and it is a comedy above all) is a product of some uptight 1950s Hollywood stuffiness, and the filming (the photography and editing both) are stiff. The movie is filled with rich color, and is sharp as a tack (it uses the superior Technirama lens and camera equipment, as well as newer one-part Technicolor color), but this is hardly compensation for a really dull product.Worst of all, I think, is the story. It attempts to spice up things (mainly, at first, by exposing a child to adult humor, which doesn't totally slip past him) before the Hays Code fell away. It has a kind of "How to Marry a Millionaire" or "Pillow Talk" kind of obvious, forced story line, and if you love those movies, you might truly enjoy this one. But even if you do, you might find that many of the jokes are old, even for 1958. There really are portions, in small spurts, that are touching, or even (I do admit) funny, and some of the music is so period and scintillating, it works. Above and beyond all complaints, I find, popping back and forth through it again (and avoiding the "story" per se), the set designs are really about as good as it gets. Scenes are color coordinated with exquisite perfection, like the department store scene (the one with the Tinker Toys) where it's all grey and red. Great stuff. And the modern apartment with the rising and falling benches (you'll see) is amazing 1950s stuff, pure Moderne. Love it.But that doesn't mean you'll love the movie. Go prepared.