A lawyer, then a writer, then a film director, is the career path of the bashful Leo Harrigan. But Leo has problems as well, such as being hopelessly smitten with his leading lady, who ...
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This film was Peter Bogdanovich's homage to musical comedies of the 1930s. A millionaire named Michael Oliver Pritchard III and a singer named Kitty O'Kelly meet and fall in love. Meanwhile... See full summary »
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Called up for jury duty, Richard Dice finds his first crush and only real, but unrequited love, on trial for murder. Richard desperately tries to prove Mollys innocence while untangling a ... See full summary »
A lawyer, then a writer, then a film director, is the career path of the bashful Leo Harrigan. But Leo has problems as well, such as being hopelessly smitten with his leading lady, who chooses to reward his attentions by getting herself hitched to Harrigan's vulgar leading man, Buck Greenaway.Written by
Before Rhett kissed Scarlett. Before Laurel met Hardy. Before Butch Cassidy met the Sundance Kid. Before any movie ever made you laugh or cry or fall in love. There was a handful of adventurers who made flickering pictures you could see for a nickel. See more »
It's real simple, you'll have no problem.
Hell, no, any jerk can direct. Now you see over there? Marty & Kingsley putting on their makeup? Those are the actors.
Thank you very much.
Okay, now you see over there? That box on the sticks? John's putting a blanket on it. That's the camera. Now the first thing you do is tell me where to put it.
I'm about to.
No - I'm the cameraman.
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A black-and-white director's cut runs seven minutes longer. See more »
Overdone slapstick gags make for a tedious look at early film-making...
If director Peter Bogdanovich hadn't used such a heavy-handed slapstick treatment of his little epic about early film-making called NICKELODEON, there might have emerged a fond tribute to the pioneering days of silent films in the early part of the 20th Century.
But instead, he has filled NICKELODEON with a whole series of non-stop sight gags that become tiresome and repetitious, even more so because none of the characters involved really come to life. As the pretty heroine of the piece, JANE HITCHCOCK has very limited abilities beyond staring wide-eyed into the camera lens for comic effect. BURT REYNOLDS at least does derive several good chuckles from his comedy efforts as a reluctant participant in RYAN O'NEAL's troupe of silent film actors.
O'Neal has obviously chosen to play his role as though he has just watched a Harold Lloyd film, wearing spectacles for his first entrance and doing the bumbling sight gags on cue, as hapless a hero as Lloyd was in all his comedies. He's not too bad, but is never as funny as he was in WHAT'S UP DOC?, an earlier Bogdanovich film.
Tecbnically, the film is handsomely produced and pleasing to look at in color, but STELLA STEVENS is given little to do in what amounts to a supporting role. JOHN RITTER doesn't have too much opportunity to display his comic gifts. Entirely too much footage is devoted to a rough and tumble fight between Reynolds and O'Neal that takes up too much time with too many slapstick pratfalls to emerge as anything more than filler.
The film plods along without the benefit of a tight script or a really compelling story and suffers, mainly, from the heavy-handed approach to comedy.
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