falderal : a moving images blog

Archive for the ‘1990s’ Category

More film watching

Monday, May 11th, 2015

I’ve been naughty and have been rewatching some films. I can’t always get myself to watch new movies — I don’t know why!!!


The Age of Innocence (1993)
Director: Martin Scorsese
Actors: Daniel Day-Lewis, Michelle Pfeiffer, Winona Ryder, Geraldine Chaplin
Country: U.S.A.

First of all, I did like the film, but there were things that I felt were slightly off because of the casting of the main characters. Day-Lewis, Pfeiffer, and Ryder are great actors but I guess that I imagined these characters a certain way that I couldn’t get passed the cast. However, I do think that it says something about how great these actors are because I started seeing why these actors were chosen for their parts. Pfeiffer was graceful, the way I imagined Ellen to be; Ryder occasionally looked so sweet and innocent, which is how I saw May; and I started to get over Day-Lewis’ hair because I always imagined Newland to have a more slicked down hairdo. My ideal cast would have been John Barrymore for Newland, Mary Astor or Vivien Leigh for Ellen, and… oh May is such a hard one! Maybe Lana Turner? Joan Fontaine? Ooooh maybe Lillian Gish?!?! I think Lillian is the one I’ll stick with for May!
Because I have such an immense crush on Winona Ryder, I just have to say that the sweetness of May came through in the scene when she is reading (narrating?) the letter to Newland about agreeing to hasten the wedding. Also, she did a perfect job in the scene when she tells Newland that she is pregnant.
The only major complaint I have is the use of voiceover even though I know why it was used — I knew that voiceovers would be inevitable for this film. I wondered how in the world anyone could film this book due to how descriptive it is and how much of it is based on Newland’s perception of New York society, but I was pleasantly surprised when I ended up enjoying the film even though I hoped that Scorsese would find a way around voiceovers. I honestly was a bit wary to watch the film because I imagined that anyone who attempts to film The Age of Innocence would fail.
Beautifully shot film (especially the ending!!!) and I loved all the food porn. I still stand by that this is Scorsese’s Barry Lyndon because I didn’t expect either Scorsese or Kubrick to make the films.


Chaplin (1992)
Director: Richard Attenborough
Actors: Robert Downey Jr., Geraldine Chaplin, Paul Rhys, Moira Kelly, Anthony Hopkins, Dan Aykroyd
Country: U.S.A., Japan, France, Italy

Since I do not know much about Chaplin’s personal history, I don’t really have anything to compare this film too, which I am actually glad about because knowing too much about Chaplin could have made me dislike the film because all I would be doing is moan about inaccuracies or wonder why they left certain things out. But maybe the film isn’t riddled with inaccuracies since Chaplin’s daughter is in the film and I doubt she would have been in it if she strongly disagreed with it. I don’t think the film itself is made well (it is ok but I had some issues with the way they edited it), but the acting was phenomenal!!! I also loved Mary Pickford’s hair in the film and even though she wasn’t portrayed in a good light, it is true that Chaplin and Pickford did not get along so I wouldn’t be surprised if Pickford was nasty to Chaplin.
Geraldine Chaplin and Robert Downey Jr. shine in this film and seeing their performance was a joy to watch. At first I was like, “Robert can’t get away with this. He can’t be Chaplin.” but I was proven wrong because his performance was so convincing that it was as if he became Chaplin. I wouldn’t mind rewatching this movie to watch Robert Downey Jr.’s performance again because it is just that good.


Singin’ in the Rain (1952)
Director: Stanley Donen, Gene Kelly
Actors: Gene Kelly, Donald O’Connor, Debbie Reynolds, Jean Hagen, Cyd Charisse
Country: U.S.A.

I’ve wanted to rewatch this movie for some time and I finally got around to it! The last time (and only time) I watched this was in 2007 or 2008 and my mom told me that she enjoyed this movie a lot and that I should watch it. I loved this movie back then because I thought that it was hilarious and fell in love with Gene Kelly’s dancing. I still love the same scene, which is when The Dueling Cavalier‘s sound synchronization goes out the window; it is one of the most hilarious scenes I have seen in any film that I’ve watched.
The reason why I wanted to rewatch this film was because I remembered enjoying it but didn’t remember why I liked it so much nor did I really remember much about it. After rewatching it, I found out that I still love the movie because I find it funny, but I now love it because of all the references to film history. When I first watched it, it was when I was getting my feet wet with film history, so I knew about silent films but not much. Now that I am more aware of film history, all the scenes related to the silent-to-talkie transition resonated with me.
It was rewatching this movie that made me keenly aware of Gene Kelly’s athleticism in regards to his dancing. In the “Moses Supposes” number, seeing Gene dancing next to Donald O’Connor made me think of Fred Astaire because O’Connor is slim and his dancing isn’t as full of power and energy like Gene’s. O’Connor is a great dancer but his style is different than Gene’s, just like how Fred and Gene are very different too. I saw so much power in Gene’s dancing that I was blown away.
I still can’t get over the beauty of how that long veil moves in the “Broadway Melody” sequence — Cyd Charisse looked awesome in it! The whole “Broadway Melody” sequence also made me think that Hollywood films can be very avant-garde and artsy-fartsy too because there were times when it looked very surreal. I actually find all of Gene Kelly’s ballet sequences to be really surreal and it takes the musical genre to a whole ‘nother level. Fred and Ginger tell a story through their dancing and Gene Kelly does the same thing too, but by taking the viewers into a whole different realm than the location of the story is a bold thing to do. I guess it isn’t as jarring in this film because Gene Kelly’s character is telling his idea for The Dancing Cavalier, but it was rather surreal in On the Town and (if I remember correctly) An American in Paris.
Also, does anyone think that Gene Kelly is not a very convincing silent film actor? I don’t know what it is about him but he just doesn’t look like one!!! I know that makes no sense whatsoever because there is no “look” when it comes to an actor in a silent film. I kind of felt that way about Jean Hagan too. Don’t get me wrong though because this movie would not be the same without them and I love them in it.


On the Town (1949)
Director: Stanley Donen, Gene Kelly
Actors: Gene Kelly, Frank Sinatra, Betty Garrett, Ann Miller, Jules Munshin, Vera-Ellen, Alice Pearce
Country: U.S.A.

Around 2008 or so, I did a Gene Kelly marathon where I would hunt down as many Gene Kelly films as I can and watch whatever I could get my hands on. After several years passed, my memory of these films waned but I remember that back then, there was a film that I considered to be better than Singin’ in the Rain in Gene’s oeuvre. The thing is, I don’t remember what the movie was called but I thought that it was this film or It’s Always Fair Weather because I remembered sailors, Frank Sinatra, and Cyd Charisse.
Now that I watched this film, I don’t think this is the movie I was thinking about but at least I know which movie has Frank Sinatra and sailors — I hope that I don’t forget again. I wonder if my taste and perceptions of movies have changed so much that I won’t know which film I preferred back then. This film was fun to watch but I didn’t think it was anything special and I don’t think I’d watch it again because there isn’t even a scene that would draw me back to this film. Oh wait, I will rewatch parts of this film because I want to learn how to do the Charleston and I think that this film shows off the dance quite well! I wonder what I thought of this film when I first watched it; this is why I need to be more vigilant with my blogging!
Between the time I first watched this film and the time I rewatched it, I was on a Bewitched kick so I was so happy to see Alice Pearce because I love her as Gladys Kravitz.
Now I need to get my hands on It’s Always Fair Weather!!!


Mr. Skeffington (1944)
Director: Vincent Sherman
Actors: Bette Davis, Claude Rains, Walter Abel
Country: U.S.A.

This is the first Bette Davis film that I’ve ever watched and the first time I watched it, I hated it! I hated the film, I hated Bette Davis, and I was a raging madwoman and didn’t understand the hype about this film or Bette. Well, things have changed over many many years and I think I’ve watched more Bette Davis films than Joan Crawford films >_>; I used to say that I love Joan more than Bette but I’m not too sure anymore!!! I now love them both and they’re brilliant in their own ways.
Anyway, I rewatched this film a year or two ago and I really enjoyed it and found it so touching. I don’t know why I hated it so much when I first watched it and why I found it to be such a bore then, but when I rewatched this film once again, I enjoyed it once more. When Job comes back and Fanny accepts him, my heart was wrung dry and my eyes watered from emotion.
I believe that I read this in Bette’s memoir when she said that she bluffed her way through this role because she knew she wasn’t the most beautiful woman. This film shows off Bette’s acting chops because she is totally convincing as the most desirable woman. I also find Bette to be pretty and wouldn’t mind if I looked like her at all — Warner Brothers knew how to make her up! Maybe all I need is a studio makeover?
I know I’m babbling a lot about Bette BUT HOW CAN WE FORGET CLAUDE RAINS’ PERFORMANCE? Jesus christ that man can act!!! He is so touching as Job and when Fanny keeps on mentioning his eyes, you completely understand what she means because Claude Rains is SO GOOD.


Robin Hood (1922)
Director: Allan Dwan
Actors: Douglas Fairbanks, Wallace Beery, Sam De Grasse, Enid Bennett, Paul Dickey
Country: U.S.A.

I know the basics about Fairbanks due to reading a bit about Mary Pickford but I never watched any of his films because I had this odd abhorrence towards them for no good reason. I think it’s because I felt as if the kinds of films he was known for wasn’t my type but… I WAS WRONG! My reluctance to watch a Fairbanks film ended up being the way I felt about western films: my feelings towards them were completely irrational.
I have to say that this film is something special because no other film has drawn me in that I started to whoop and holler while watching it. Without knowing, when Robin Hood was kicking some booty, I was shouting, “YOU GET THEM!”, “HOORAY!!!”, and other related things. I was laughing, squealing, and rooting for Robin Hood and this is something that I’ve never done in my entire life. I can now understand people who shout at bars while watching sports. Because no other film gave me such an interactive experience, I have to think highly of this film and put it in a special place. It’s rather odd since it’s not really a film I would watch on repeat or whenever I want to cheer up, but I can’t disregard the experience that this film gave me. I wonder if contemporary moviegoers also rooted for Robin Hood while watching this film.
Fairbanks was so charming in the role of Robin Hood. He was ok as the Earl of Huntingdon but he truly blossomed when he portrayed Robin Hood and I wanted to see more of Fairbanks and didn’t care for any of the other actors because he was a joy to watch. Kind of random, but I was surprised to like Wallace Beery in this film because I usually don’t care for him and always see him as a douchecanoe (I don’t know why), but I did like him as King Richard.
The film was shot beautifully and I couldn’t get over the gorgeous sets and elaborate costumes. Also, SERIOUS HAIR INSPIRATION IN THIS FILM. If anyone says that old films weren’t polished or as great as modern films or talkies, they need to watch this film because it has the finesse of films from Hollywood’s Golden Age.
Did anyone else think of The Cabinet of Dr. Caligari in the scene where the court jester is murdered? Another thing that surprised me was that people getting hanged and hanged people were shown in the film — isn’t that a bit disturbing?!
I need to make a gazillion gifs from this film because there were so many great moments.
I’m glad that the ice is broken and I look forward to watching more of Fairbanks’ work!


Ninotchka (1939)
Director: Ernst Lubitsch
Actors: Greta Garbo, Melvyn Douglas, Ina Claire, Bela Lugosi, Sig Ruman, Felix Bressart, Alexander Granach
Country: U.S.A.

Before I start rambling about the movie, CAN WE PLEASE DISCUSS BELA LUGOSI AND ALEXANDER GRANACH BEING IN THIS FILM?! I was working on my “art project” (paper chain) while watching this movie and when the film started and the credits came on, my eyes went straight for Bela Lugosi’s name and I was like, “WTFBBQQQQQQ?!?!”, because I’ve watched this film probably 10+ times and I never noticed. When the credits came on at the end of the film, my eyes went straight for Alexander Granach and once again I had the same exact reaction as I did to Bela Lugosi’s name. HOW IN THE WORLD DID I MISS THIS THE LAST BAZILLION TIMES THAT I HAVE WATCHED THIS FILM? HOW?! I always associate Alexander Granach with German silent films (never forget the pig exit in Schatten) so to see him in an American film (and a talkie at that!) had my head reeling.
I haven’t watched Ninotchka in awhile and decided that this time around, I’m going to be a more active viewer and try to find Lubitsch’s brilliance because as much as I love Lubitsch, I also question why he is so great. Sometimes I wonder if Lubitsch is great because of the great scripts he has (I’m focusing on the sound picture era here) or if he’s great because he really brings out the greatness of a darn good script. I need to read some academic works on Lubitsch to help me out… but I should do that after I do another Lubitsch marathon! After rewatching Ninotchka, I think that maybe Lubitsch’s brilliance is that you forget everything and become a passive viewer; I just take in the jokes and have a good time. I guess that’s some dangerous filmmaking though… I think this is even more apparent in To Be or Not to Be because I always feel reluctant recommending that film because as much as I love it and find it hilarious, some people might find it offensive. I wonder how Russians would see Ninotchka, especially people who lived much of their life in the USSR.
I have a love/hate relationship with Greta Garbo but I absolutely LOVE, LOVE her in this film. I wish that she did more comedies because she is brilliant in this film. Her deadpan face expressions are perfect but she is also great when her character loosens up too. It’s a real shame that her last film, also a comedy, was kind of a dud. I remember not enjoying it when I watched it… or maybe I’ll change my mind like I did with Mr. Skeffington?

Pi ; 1998

Tuesday, February 4th, 2014

Director: Darren Aronofsky
Actors: Sean Gullette, Mark Margolis, Ben Shenkman
Country: U.S.A.

I was very surprised that I enjoyed this movie. Lately I have been thinking quite a bit about what kind of movies I like. I know that for the most part, my genre of choice is romantic comedy and that I prefer narrative films, so I figured that I like anything that is mainstream and easy to watch. When I was in high school and during part of my college days, I suffered from special snowflake syndrome and wanted to watch obscure movies that no one knew about or cared for non-linear and foreign films. Part of that phase did stem from me being interested in them, but my intentions weren’t very pure and I think I cared more about the cool points than actually educating myself. Anyway, it’s been awhile since I watched anything that was “challenging” (unless Quentin Tarantino’s works falls into that category) and to my surprise, I enjoyed Pi immensely. I think it’s the editing style that kept my attention the entire time because the quick cuts and close ups made it feel as if the pace of the movie was going faster. I also liked that technique in another Aronofsky film, Requiem for a Dream (2000), because I think that it made habits look cold and calculated, which for the most part they are because we always do certain things a certain way at a certain time.

As for the story, it was captivating for me because it was about a man’s search to find out a pattern behind the stock market and the obsessive quest is enjoyable (uh… painful?) to watch. I liked seeing how this obsession ruins Max’s (Gullette) physical body and his mental state and how his search for an explanation runs him into trouble. The closer he gets to the truth behind the numbers, the more he cannot handle it physically or mentally because perhaps it is as if he is playing with fire and his headaches and paranoia are all signs for him to back off something that is beyond his control. The way the movie played out and how it ended reminded me of people’s quest to understanding the world and believing in God. Whether or not I believe in God or believe people should believe in God is beyond the point of the post, but when I talk to people who believe in God or even just a higher being, many say that it is faith and that it’s not about trying to find an explanation for everything. Believing in God gives them a sense of lightness and comfort, and it reminded me of how Max ends up in the end. I see Max as finally being content once he gives up trying to find numbers/explanations for everything and can just enjoy being. Or maybe he’s content because he finally understood the numbers and also because he has learned to stop thinking about it and just accepting whatever he has learned in his quest.
What happens to Max also reminded me of how someone’s identity is shaped and how one’s interests become tied to one’s identity. For Max, his obsession with his quest to find the pattern in the stock market becomes his identity. He has nothing other than this quest and his quest is his identity and it physically manifests itself as well through the headaches and the paranoia. He is one with the numbers, just as he said about being the one who was chosen to understand the number sequence. What I liked was that the film medium allows the viewers to only know about Max in relation to numbers and we don’t know how he is outside of the scenes we see of him. This allows the viewers to once again associate Max’s identity to numbers. I think what’s so great is that this movie is so visibly shot on film that one can’t help but be aware of all this. And speaking of that, I absolutely love the look of this movie.

On a side note, I also couldn’t help like the film since it mentions the Kabbalah because in my favourite manga series, X, the Kabbalah is shown in the artwork and also in connection to the tech savvy character, Satsuki. Sort of a connection to this movie, ey?

IMDb Link: Pi

Jackie Brown ; 1997

Monday, January 20th, 2014

Director: Quentin Tarantino
Actors: Pam Grier, Samuel L. Jackson, Robert Forster, Bridget Fonda, Michael Keaton, Robert De Niro
Country: U.S.A.

Someone told me that this Quentin Tarantino movie was a movie that non-Tarantino fans were a fan of. I think the person told me this because I probably mentioned that I’m not a Tarantino fan but here is the deal: I’ve enjoyed every single Tarantino film that I’ve watched but I’m too much of a pretentious person to just out-right say that I’m a fan. Actually, nix that: last month, I declared that I am a Tarantino fan. I don’t even know what my own deal is and why I stupidly refused to say that I’m a fan of his works even though I like his movies so much. Well, I don’t know why non-Tarantino fans see Jackie Brown as something different but it sure wasn’t anything different for me because I enjoyed watching this movie just as much as I enjoyed watching any Tarantino picture.

As usual, the script and casting was excellent, which I take as a given for any Tarantino movie. Like Ernst Lubitsch, I see Tarantino as a director who puts the oomph in their pictures through a superb script and a great cast. Cinematically, I would say that both directors are on par (for me) because while the effects of the mise-en-scène and camera movement isn’t overt, watching any of their films closely makes one more aware of how much control they have over every aspect of their picture and how knowledgeable they are of the filmic language. Of course, Tarantino has a more non-traditional approach to story telling and editing, but I never found his movies to be jarring or difficult to follow. Surprisingly enough, I find his editing style quite easy to follow and even though scenes may be shown in a non-linear fashion, I can’t think of any other way those scenes should have been shot. For example, in Jackie Brown, the Billingsley bag switch segment was PERFECT. By showing what happens to the four different character in succession through each character’s perspectives, you pick up bits and pieces of what’s going on and eventually, everything makes sense. When I saw Jackie (Grier) coming out of the dressing room all frantic, I didn’t understand what was going on. Did something go wrong? Did I miss something? And why did she leave that bag behind? But after I saw Max (Forster) pick up the bag and then saw Jackie using her supposed frazzled state of mind as an alibi at the police station, I was like, “OHHHHHHHHH! It all makes sense!”

And another thing, how could I dislike a movie that shows lipstick that has been rubbed off from a kiss? All in all, definitely liked this movie and would recommend it to anyone. I’m starting to wonder if there is going to be a Tarantino film that I dislike. Oh wait, there is only one more to watch. TIME WILL TELL.

IMDb Link: Jackie Brown

As Good as It Gets ; 1997

Sunday, July 7th, 2013

Director: James L. Brooks
Actors: Jack Nicholson, Helen Hunt, Greg Kinnear, Cuba Gooding Jr.
Country: U.S.A.

I watched this movie on television in either middle school or high school and I remembered enjoying the movie a lot. I came across it again so I decided to watch it and I found it highly enjoyable this time around as well.

I have a weird relationship with Jack Nicholson in that I admire his acting but I find him scary. It isn’t scary in the Boogieman scary but Nicholson has his own weird vibe that I can’t shake off. Even in this movie, all I can think of is, “It’s Jack Nicholson. It’s Jack Nicholson.” while enjoying the movie.

What I liked so much about this movie was the way the actors worked with each other. It was as if the characters were written for them and no one else could play them the way they did. Even though I didn’t think that there was any romantic chemistry between Nicholson and Helen Hunt, I didn’t find it weird either. Speaking of Helen Hunt, I thought that she was wonderful in this film. While Nicholson’s character, Melvin, is the protagonist and it is his story in regards to how he changes by helping other people, it was Hunt’s performance that I found to be most touching. Her scenes with Greg Kinnear were so sweet and she seemed so genuine that I couldn’t differentiate Helen Hunt, the actress, and the character she was playing. I love it when I watch a movie and I forget that it’s a movie; it’s as if I’m no longer here and I’m just a fly on the wall observing real life people. I guess this is why Brecht came up with his idea of theatre, but I really do love this feeling of total immersion when I watch films and in regards to this film, I’m happy that I can pinpoint why I felt this way. Helen Hunt, you are an amazing actress.

And another thing… Verdell is so cute!!! (ref. Picture 2) I know that animals that perform for movies are highly trained but I couldn’t help but wonder how many takes it took to get the right shot. Verdell was so perfect in every moment that I was astounded by how well he conveyed the necessary emotion to complement the other actors. Verdell and Melvin were the best couple in this movie, I swear. Ugh Jack Nicholson… WHY ARE YOU SO TALENTED?!

I’ve decided that this movie is one of my favourite feel good movies; I wouldn’t be surprised if I come back to it every now and then to cheer myself up.

IMDb Link: As Good as It Gets

Vénus beauté (institut) (Venus Beauty Institute) ; 1999

Saturday, June 13th, 2009

Director: Tonie Marshall
Actors: Nathalie Baye, Bulle Ogier, Samuel Le Bihan, Jacques Bonnaffé, Mathilde Seigner, Audrey Tautou
Country: France

This was a film that left me very confused the first time I watched it and I was not sure how I felt. I was a bit reluctant to re-watch it although I’ve been meaning to for some time and I finally did and I don’t regret it. Now I think that this is a beautiful and complex film despite its simple appearance. It’s not the editing that makes it confusing but the protagonist, Angèle (Baye), is such a complicated person. Every scene is essential in this film to understand why Angèle is the way she is. There are so many thoughts going through my head right now that I don’t know how to even start typing about this.

I guess I can start with Angèle because everything in this film revolves around her. She is afraid of love because she is sick of jealousy and the pain that love can bring with it and prefers one night stands. From what I understand, she did love Jacques (Bonnaffé), and because she was jealous and angry at him, she got a gun and shot him. Although they are on good terms, Angèle is torn between what she did to him in the past and her feelings in general towards him. Then she meets Anotine (Le Bihan) who comes out of the blue in her world and he tells her that she moves him and that he loves her. Although at first she does not want to be with him, slowly she does start falling for him and then she realizes that she really does like him when she is jealous of seeing him with his ex-fiancée. Outside of all this stuff revolving around love, Angèle is just… agh, I really don’t know how to articulate my thoughts. She’s a beautician at the titular store and her job is to help people, yet she does everything to not help herself. She puts up a façade with her one night stands, she hurts herself by purposefully washing herself with cold water (or some can see her just caring for her skin, although she does say that she doesn’t care about appearances) and her relationships with men, and she does not want to enjoy Antoine’s company nor accept his love in the beginning. Angèle appears to have the tendency to be clingy as can be seen in the first scene of the film, and although she later on she says that she can see how her relationships will turn out, she didn’t really see it with the guy in the first scene. Or maybe she did but her masochistic tendencies made her ignore all the signals.

Ah and all the stuff about love with each of the three girls working at Vénus beauté… that’s all very beautiful, sad, and moving as well.

The ending is really quite beautiful cinematographically and symbolically that it made me feel all fuzzy inside.

There are so many things I want to say about this film and all my thoughts make sense in my head but I just don’t know how to convey them. I highly recommend watching this film more than once because I think that it’s a film that can’t be fully understood the first time around. I would like to see this film one more time and maybe I’ll be able to post about this film again and have a full entry of my analysis.

IMDb Link: Vénus beauté (institut)
Where to buy: Amazon.com

Drop Dead Fred ; 1991

Sunday, May 10th, 2009

Director: Ate de Jong
Actors: Phoebe Cates, Rik Mayall, Marsha Mason, Tim Matheson, Carrie Fisher, Ron Eldard
Country: U.S.A. / United Kingdom

After finishing with finals and packing, I relaxed with my friend to watch this film because I told her I wanted to watch a comedy. I have heard about this film from another friend who is a fan of Rik Mayall and I wanted to watch this film since I adored Mayall in The Young Ones. Anyway, I don’t know why this film has such low ratings on IMDb, but I loved this film and found it to be absolutely adorable.

Although a bit predictable, it didn’t impede on the story about a woman who learns to be her own person. Lizzie (Cates) is the wife of a two-timing husband and although she knows that he is cheating on her, she doesn’t care because she loves him. Her controlling mother brings her back home and that is when her imaginary friend from her childhood comes back! Drop Dead Fred (Mayall) is a troublemaker who likes to have fun and sometimes has good intentions, but he ends up creating chaos due to his want for fun. Lizzie tells Drop Dead Fred that he has never helped her, but in the end of the film, we find out how much he ends up helping her to truly grow up and be on her own and how he has helped her best friend, Janie (Fisher), as well.

The comedy can be a bit on the “immature” side, but I found all of it to be quite hilarious. From reading reviews, I realized that most people mainly had problems with the comedy and found it to be crude, but if you’re not a person who takes themselves too seriously, you should be fine. For example, if you find the following situation to have the potential to be funny, you should be fine:
Imagine a living room with pristine white carpet (recently cleaned) and furniture only to be soiled by having doggy-doo spread all over it!

If you aren’t too offended by that, please give this film a chance. Also, Drop Dead Fred’s outfits are to die for and he has the most amazing hairdos! His hairdo in the second screencap is by far the best I’ve seen in any film. And of course, that is one of my favourite scenes, along with the scene when he also looks between Lizzie’s mother’s legs and makes a hilarious comment.

IMDb Link: Drop Dead Fred
Where to buy: Amazon.com