W.C. Fields and Me (1976)

A Brilliant Conflict

Mostly, the movie is committed to the value of a good time.

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

If you're interested in the topic at hand, you should just watch it and judge yourself because the reviews have gone very biased by people that didn't even watch it and just hate (or love) the creator. I liked it, it was well written, narrated, and directed and it was about a topic that interests me.

I'm not figuring out why W.C. Fields And Me was panned the way it was by some critics. Although it's hardly a linear biography, Rod Steiger gave a good interpretation of the character. The parts I liked best was when he was away from performing and we got to see some of what may be the inner workings of that very uniquely funny man.We've never had a comedian like W.C. Fields and I doubt we'll see his like again. The mold was shattered in a million pieces when the comedy gods made him. His comedy style wasn't with one liners or fancy dialog. He created a character of an everyman with a big dose of curmudgeon, his body language during a scene was as important, even more than the words of a script.The film is based on the memoirs of Carlotta Monti who was Fields's live-in mistress. Quite a bit more was added to it. The famous story of Lee Tracy urinating off a hotel balcony in Mexico is attributed to Fields. Now the story of Fields spiking Baby LeRoy's formula with some of his best gin, that's a tale told and retold and seems to be the real deal.For those who want to see W.C. Fields at his very best I cannot too highly recommend The Bank Dick. In a way I'm glad Steiger did not use it because no one, absolutely no one could do justice to what W.C. Fields did in that film.Valerie Perrine complements Steiger very well as Carlotta Monti and Jack Cassidy makes his scenes count playing John Barrymore who was Bill Fields drinking companion and America's greatest actor in his generation. Both lost their lives and health eventually to booze.But both left us a lot of great performances. s

When I first went to see this movie in a theater I went to watch Steiger, who never, to my knowledge, did a lick of comedy previously, fall flat on his face. However, about five minutes into the movie I could no longer see Steiger. He had so well portrayed the great comic that you would think he invoked the very spirit of Fields and allowed Fields to tell his own story. The research behind the acting must have been quite thorough, as I never once saw anything I could fault. His mastery of Fields speech patterns was impeccable and not overdone like so many who attempt to sound like Fields. The story line never took liberties for dramatic effect, and as far as I can tell, remained true to the real life and events of W.C.Fields. I can only hope that, some day the studio will relent and put this great movie out on DVD or Blu-Ray; despite the poor box office returns. I really would like to see this movie again; and consider it one of the all time great biographical works.

Based on the memoir of Carlotta Monti, who had a very long affair with WC Fields, this film is surprisingly, unrelentingly joyless. Fields comes across as a self-serving nitwit who drank his talents away while the studios tried mightily to keep him in check. His relationship with Monti is seen as a series of shrieking fights with no winners. Rod Steiger mimics Fields well enough, but the script by Bob Merrill offers very little insight into what made the comedy legend tick. Valerie Perrine is stunning as Monti, but she's a bit too close to saintliness for any of this to be truly believable. On the plus side, the art direction is terrific and director Arthur Hiller manages to create a sense of early '30s Hollywood when Los Angeles was still a one horse town. The colorful supporting cast includes Billy Barty, Bernadette Peters, John Marley and Jack Cassidy (who appears to be having a lot of fun as John Barrymore).

Carlotta Monti, a would-be Hollywood hopeful in the 1930s, met rascally, alcoholic, volatile comedy actor W.C. Fields at a movie wrap-party and was later invited out to his spread, supposedly to talk about a part in his next picture; there wasn't one, but she spent the next fourteen years with him anyway, playing his loving--though seemingly platonic--mistress who also acted as Fields' personal stenographer, script girl, cook, maid, and mother-figure-cum-warden. Based on Monti's memoir, and with her advisory assistance, this biography of Fields seems pretty truthful and not a white-washed kiss-up job. Director Arthur Hiller and star Rod Steiger do not shy away from showing W.C. as an occasional heel, a heartless, self-confessed son-of-a-bitch. Yet, the movie's best moments are the quieter ones (Fields' brotherly relationship with a little person, his reunion with the son he hadn't seen in twenty years, his reaction after Carlotta discovers how lonely he is). Steiger, whose make-up job causes him to resemble a portly Van Johnson rather than Fields, is a bit shrill in places, and he gets off to a bad start; however, Steiger eases into the role with obvious relish, and his eagerness to showcase this incredible personality definitely comes through (his final scene in bed is a heartbreaker). Valerie Perrine as Carlotta is also too shrill (which can be blamed on Hiller's handling), but she matches up well with Steiger and doesn't take too much guff off him. The sequences set in and around the movie studio never quite achieve the magic we hope they'll reach (they're squashy and limp, due--partially at least--to David M. Walsh's terrible cinematography). However, the central relationship is nicely carried off, aided by a lovely Henry Mancini score and good character actors in support. A forgotten film--yet another sitting on the shelf down at Universal--but worth seeking out, especially to see Steiger's work. **1/2 from ****