source: What's New Pussycat

What's New Pussycat

What's New Pussycat makes no pretense of being anything other than what it seems on the surface. Peter O'toole holds the lead in a high energy performance consistent with the times that the film represents and was made in. It is Peter Sellers who, once again, steals the screen as the whacked-out Dr. Fritz Fasbender. His performance is classically neurotic "Sellers," with one of his best bavarian (austrian, german - whatever) accents which makes the character. Fans of the Austin Powers series are well served in seeing this film for the influences it produces some 30 years later. Ultimate this is a very funny period piece, uncharacteristically written by Woody Allen (who also co-stars in the film). One of the best scenes of the film occurs between Allen and Sellers as Allen interrupts Sellers Overly Dramatic Suicide with an annual dinner ritual. The humor is raw, the move is fun and should be taken at face value. For Peter Sellers fans this film is a MUST.

What's New Pussycat? (1965) As a sex maniac psychologist, Peter Sellers creates one of the funniest characterizations achieved in the 1960s. Half the cast goes to him to be treated for, what else? Sexual addiction! Peter O'Toole is his primary patient, who earns his reputation as a smooth sophisticated playboy by cheating on the delicious Romy Schneider (taken from us tragically too soon) with: Capuccine, Paula Prentis and Bond-icon Ursula Andress! Lots of groovy chicks, groovy guys, Pucci dresses, romps in out-of-the-way hotels and the incomparable Herb Albert and the Tijuana Brass soundtrack with Tom Jones thrown in for good measure. It's a fine and fitting debut for Woody Allen, who acts as both writer and supporting cast member. With Casino Royale, this is one of the screwballiest comedies of the '60s.

One joke after another bombs in this overly silly and utterly dull comedy. The joke vacuum is all the more irritating considering the familiar cast. However, likable as they may be, the actors are far from saving this film. Probably Woody Allen's most hopeless script. The finish, with the car chase and the chaos, is as boring and unfunny as it gets (and Benny Hill has done this sort of thing much better). But hardly surprising, considering how few good comedies came out in the 60s. The "Animal House" of the 60s, you could say; popular (I assume) but uninspired. The Swinging 60s have rarely been duller. Of course, if you enjoyed movies like "Police Academy 3", "Animal House", or "1941", disregard my comments and have a ball with this mess.

Surprisingly flat comedy about a girl-crazy fashion magazine editor and his eccentric psychiatrist, and their adventures with mini-skirted birds. Peter O'Toole is game but miscast; Peter Sellers, in an exaggerated Beatles wig, seems constricted by the mostly unfunny screenplay, his personality never coming to a full boil. Glossy, pseudo-naughty, but unfunny picture, which doesn't even capture the Swinging '60s with much appeal. Directed by Clive Donner with assistance from Richard Talmadge; written by Woody Allen, who also makes his movie debut. The title song, sung by Tom Jones, may be the most memorable thing in it. *1/2 from ****

Paula Prentiss gorgeous Texan was a fave of mine from her MGM comedies with Jim Hutton: Where The Boys Are, Honeymoon Machine with Steve McQueen and Hutton, Bachelor in Paradise with Lana Turner and Bob Hope, and the Horizontal Lieutenant with Hutton. Paula Prntiss also did a cameo in Hutton's Looking For Love with MGM Stars Yvette Mimieux and George Hamilton also playing themselves. Paula Prentiss on Loan out did Howard Hawks Man's Favorite Sport with Rock Hudson, at Universal, The World of Henry Orient with Peter Sellars ar United Artists and Otto Preminger's In Harms Way with John Wayne, Patricia Neal and Kirk Douglas at Paramount. Above the title billing. Paula Prentiss was a Star. Paula Prentiss flew to Paris to co star with Peter O Toole and again with Peter Sellars in this outrageous comedy that pushed the limits of good taste. Ms Prentiss plays a * and does a strip tease that for the mid 60's was daring. This was a huge hit and the title song a big hit

"What's New, Pussycat" marks the writing and acting debut of Woody Allen; as an actor, he clearly steals the show, and he has a couple of hilarious scenes. Peter O'Toole is agreeable in a somewhat self-parodying role, but Peter Sellers is really disappointing in this film, constantly overacting and earning very few laughs. Allen's screenplay has some witty lines but generally it's a complete and utter mess - in a way that gives the film an feeling of sloppiness. There are a few chuckles in this movie, but it's very dated, and as comedy it can best be described as highly uneven. And I didn't understand if the sets were intentionally so fake-looking.

Some have "analyzed" this (movie) with the heavy, combat-boot tone of the cerebral and moral second-millennium spirit. They say it belongs to the past, the bad bad bad 60s, full of irresponsibility and partying, sexual license and depravity. Well I say HA! --- HA! HA! Forget all those (mostly young!) preachers and dive into a silly, inconsequential, wacky movie, full of unrealistic characters doing unrealistic things. It is colorful, full of joy and beautiful people, unpretentious and charming. And in the end, the guy gets the girl and they get married. As a young boomer, watching this is like slipping into Hush Puppies. You may say what you want about or against the "guilty" innocence of that era, but it sure was comfortable! I miss those times. And a note for the moderns: we were not that innocent, we knew that some of this was dangerous ground... but what do you know, living is the thing that makes you die.