Director, writer, producer Peter Bogdonovich has managed something amazing in AT LONG LAST LOVE. He actually managed to make a musical with leads who actually sang worse than those in Joshua Logan's PAINT YOUR WAGON. I used to think seeing and hearing Lee Marvin and Clint Eastwood singing in Logan's film was the height of horrid casting, but Bogdonovich managed to find four singers who were equal to or worse than Marvin and Eastwood. That's no small feat, as perhaps only Andy Devine and Marcel Marceau were more ill-suited to a musical than Madeline Kahn, Burt Reynolds, Cybill Shepherd and Duilio Del Prete (not to mention many other supporting actors in the film who simply couldn't sing).
And, by the way, WHO the heck is Duilio Del Prete and why is this Italian playing a guy called "the Spaniard"--especially since his command of English and acting skills are marginal, at best?! Plus, his having previously been in THE ASSASSINATION OF TROTSKY wasn't exactly a glowing endorsement of his talents! This is just one of many bizarre casting decisions by Bogdonovich.
Bogdonovich's idea of making a homage to 1930s style musicals (complete with excellent and familiar Cole Porter songs) isn't bad at all. In many ways, the film is reminiscent of some of the Astaire/Rogers films--minus the quality singing and dancing. In fact, it looks much more like a community theater or talent show production because of all the insane choices that brought the quality of the film to an unbelievably low level. It's really a shame, as a similar idea was very well executed in MOVIE MOVIE a film made about the same time as AT LONG LAST LOVE. Here, however, wretchedly inappropriate actors and singers doomed the film from the start--especially since audience members really wanted to hear singing that didn't totally suck or see dancers with two left feet (go figure!).
This film was crucified by the critics--and deservedly so. The singing is simply so bad, so grating and so painful that the viewer is left to wonder what the heck everyone involved was thinking! In fact, 1979's book, "The Fifty Worst Movies Ever Made" included it among it's selections--and I heartily agree.
Cole Porter must have spun in his grave like a rotisserie when this terribly failed experiment debuted. What an incredibly big waste of a nice idea and a film only of interest to the curious and bad movie buffs.
And, by the way, WHO the heck is Duilio Del Prete and why is this Italian playing a guy called "the Spaniard"--especially since his command of English and acting skills are marginal, at best?! Plus, his having previously been in THE ASSASSINATION OF TROTSKY wasn't exactly a glowing endorsement of his talents! This is just one of many bizarre casting decisions by Bogdonovich.
Bogdonovich's idea of making a homage to 1930s style musicals (complete with excellent and familiar Cole Porter songs) isn't bad at all. In many ways, the film is reminiscent of some of the Astaire/Rogers films--minus the quality singing and dancing. In fact, it looks much more like a community theater or talent show production because of all the insane choices that brought the quality of the film to an unbelievably low level. It's really a shame, as a similar idea was very well executed in MOVIE MOVIE a film made about the same time as AT LONG LAST LOVE. Here, however, wretchedly inappropriate actors and singers doomed the film from the start--especially since audience members really wanted to hear singing that didn't totally suck or see dancers with two left feet (go figure!).
This film was crucified by the critics--and deservedly so. The singing is simply so bad, so grating and so painful that the viewer is left to wonder what the heck everyone involved was thinking! In fact, 1979's book, "The Fifty Worst Movies Ever Made" included it among it's selections--and I heartily agree.
Cole Porter must have spun in his grave like a rotisserie when this terribly failed experiment debuted. What an incredibly big waste of a nice idea and a film only of interest to the curious and bad movie buffs.