THE WORLD'S GREATEST LOVER

US, 1977, 89 minutes, Colour.
Gene Wilder, Carol Kane, Dom De Luise.
Directed by Gene Wilder.

The World's Greatest lover is, of course, a spoof of Valentino. It came in the middle of a Hollywood trend of the '70s, examining the stars and styles of Hollywood '20s and '30s e.g. Gable and Lombard, W. C. Fields and Me, Won Ton Ton ... There was also Ken Russell's film of Valentino with Rudolf Nureyev.

Gene Wilder produced, directed, wrote, composed a song and starred in this film. He does not seem to control himself and goes for exaggerations; one reviewer remarked 'more decibels than laughs'. He had appeared to excellent effect in Mel Brooks' films: The Producers, Young Frankenstein, Blazing Saddles. With Marty Feldman, another Brooks protege in Hollywood, he made The Adventures of Sherlock Holmes' Smarter Brother. Feldman was to make The Last Remake of Beau Geste, In God We Trust and Yellow Beard. Wilder has some funny slapstick jokes, some gentle parody, but there is a lot of exaggeration. Carol Kane, on the other hand, is rather restrained. (She had appeared in Hester Street and received an Australian Film Institute nomination for her performance in Norman Loves Rose.

There are some good moments, some points being made about screen myths and fantasies and the contrast with ordinary reality. They come through despite the slapdash slapstick.

1. Quality of humour, send up? Spoof? Seventies' interest in films about Hollywood? The send up of Hollywood? The influence of Mel Brooks and his films?

2. Gene Wilder's contribution to the film? His contrast with the real Valentino? His trying to capture a piece of Americana, the period, the Hollywood studios, the dream, reality and fantasy? The colour photography, sets and decor, the musical score, especially the tango rhythms and the final song?


3. Valentino as the first matinee idol and the reasons for this? The first universal idol? His sex appeal, style, film vehicles? The impact on men ? and their dreams and imitation? women's emotions and vicarious experience? The Mediterranean type with the touch of fierce cruelty? The fans, the fan mail? The more quiet presentation of the real Valentino in this film - his advice to Rudy and to Annie? The parody of Valentino's image?


4. The slapstick opening ? the studios, satire on movie producers, the range of yes-men (especially the Chinese with the Ingmar Bergman accent), the search for gimmicks? Studio rivalries? Dom De Luise as Zitz and his shouting style? Caricature of the eccentric Hollywood producer? His ideas, questions, his barber contradicting him? His emotions? The comedy with the yes-men and the barber? The quest, the announcing of it, the conduct of it, the screen tests,, his emotional response to Rudy? His dismay at the end?

5. Rudy and his initial fantasy? The Valentino image - sex appeal, macho, tangos etc.? His waking up and the reality? The comic turns at the factory, especially on the assembly line? His job opportunities and losing them?

6. The introduction to Annie? her emotional response to the movies? The marriage and Rudy's enthusiasm, her trying to respond? The explanation of her later leaving him? Their reconciliation?

7. Themes of marriage, sex by numbers and manuals, the presuppositions that what was seen on the screen was real? Rudy and his decision to become the new screen idol? The humour of the train trip and the humour of the mistaking of the sexes with the homosexual overtones The reprisal of this with the camp dancing in the hotel? The poking fun at male-female roles?

8. Reaching the hotel, the mistakes in getting the main suite, the comedy in the room, the overflowing bath, the loud uncle and his family? The contrast with the pathos of Annie leaving? His trying to pretend she was there? The comedy with the manager of the hotel and the verbal routines with the uncle etc.? The yes-man for the celebrity?

9. The screen test, the actress and her response? Rudy imagining Annie and his violent emotional reaction? The director and his desperation? The filming of the screen test and the barber's response? Zitz and his response? The final test and again Rudy imagining Annie and the moving performance? The women reporters in tears? The satire in the scenes? Audience knowing what had preceded in terms of relationship with Annie? The genuine feel?

10. The real Valentino and his work, discussions with Rudy in the walk along the street, the agreement to the deception, the entourage and their going along with the seduction scene? The build-up of the seduction scene? The comedy of Rudy pretending? Annie’s genuine searching for fulfilment and sympathy? Reality and fantasy? The final confession and the happy ending as the new Valentino rejects his screen role but rides to rescue his wife?

11. The character of Annie, her bewilderment about the marriage, going to the studio, getting in, being thought of as an extra, the bus trip, going to the tent? Her encounter with what she thought was Valentino? Sexual fulfilment? The aftermath and her disillusionment? Her wanting Rudy to win the test and her leaving?

12. The American dream of success? The poor sequence and Rudy not being the Valentino type? His decision to ride away? The spoof of the ending with the horse overtaking the train and riding off into the sunset?

13. The ingredients of American farce, the traditions of slapstick American comedians? Broad humour, routines? American pathos about the ordinary hero - the little man? The dedication to Fellini - its meaning? Pretentious?