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Genres: Comedy , Fantasy , Romance
Actors: Tony Curtis , Debbie Reynolds , Pat Boone , Joanna Barnes , Ellen Burstyn , Laura Devon , Martin Gabel , Roger C. Carmel , Harry Madden , Myrna Hansen , Michael Romanoff , Michael Jackson , Anthony Eustrel , Donna Michelle , Walter Matthau
Director: Vincente Minnelli
Country: United States
Year: 1964
IMDB Rating: 5.9/10 (623 votes)

Shot by a jealous husband, Charley falls out a porthole and is lost at sea only to find himself returned as an attractive blond woman. His best friend is staying at his house as he puts Charlie’s affairs in order and after being convinced, finds himself an unwilling helper in Charlie’s new plan to marry into money.

Film Review

A playboy is killed by a gangster and then returns to earth as a women (Reynolds). After a OK first fifteen minutes this thing really degenerates into complete boredom. The cast does nothing but sit and talk, and talk, and talk. Making annoying, dated sex jokes that are sad to think they were ever considered provocative. The low point comes when Reynolds confronts her/his killer and still nothing happens. They just sit and talk some more. These same sociological differences between men and women have been handled in far more interesting ways in far better films. Even Matthau seems out of place.

Having only recently seen this movie (four plus decades after it was made) for the first time, it definitely is a time capsule of an era gone by … when Curtis ranked supreme as a leading man and Reynolds still drew audiences based on her fifties's films (Singing in the Rain, Hit the Deck), and America had a living president named Kennedy. That era is long gone now … Curtis retired to Vegas and bloated, and Reynolds is known now-a-days more for being Carrie Fisher's "real" mom and/or Grace Adler's "fictional" mom. I go on about this because although this film is watchable, and really comes to life when Matthau hilariously overplays a horny movie producer, its value to me derives more from what it captures on celluloid … an era of film-making w/ Camelot-like production values (ie.- Come September, That Touch of Pink) that ended with the passing of Kennedy.

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