directed by Stanley Donen
USA 1967

Films such as “A Star is Born” (1976), “The Vanishing” (1993), and “Psycho” (1998) exemplify the rubbish that generates Hollywood’s reputation for poor remakes. While it’s difficult to pinpoint precisely why remakes are often executed poorly, there’s bound to be relevance in an all-too-familiar cliché: “if it ain’t broke, don’t fix it.”

This problem is evident in Hollywood’s support of filmmaker Harold Ramis’s desire to rework Stanley Donen’s “Bedazzled” (1967) for modern American audiences. In 2000, Ramis and his co-writers Larry Gelbart and Peter Tolan devised a script that maintains the central Faustian tale while adjusting character dynamics and updating cultural references; obviously, the humor associated with Britain’s trends in the 1960s would be lost on today’s younger audiences. Ramis also assembled an attractive cast consisting of Elizabeth Hurley, Brendan Fraser, and Orlando Jones. Despite the consistency in plot and alluring cast, the result is an uninspired attempt at capturing the vitality and spirited comedy of British duo Peter Cook and Dudley Moore.

In one of many variations on the original script, Ramis alters the sex of Cook’s character George Spiggot (The Devil) to lengthen Hurley’s sensual and bikini-clad presence in his film. This is a decision consistent with Hollywood’s reckless and hasty attempts to attract male audiences. In Donen’s version, sexuality is restricted to the character of Lust, which capitalizes on actress Raquel Welch’s striking figure and popular reputation in North America. In this case, Donen’s wisdom and filmmaking experience afford logical decision-making and an awareness of audience intellect.

Donen’s career began as a choreographer for MGM studios in the early 1940s. Eventually, his impressive body of work encouraged executives to offer him the opportunity to co-direct “On the Town” (1949) with actor/dancer extraordinaire Gene Kelly. The pair worked together on a couple more popular films, which include “Singin’ in the Rain” (1952) and “It’s Always Fair Weather” (1955). Aside from generating a consistent profit with his films, Donen established a reputation for experimenting with new approaches to the musical genre. For instance, “On the Town” was the first Hollywood musical to emerge from the confines of Studio back-lots; previously, sound recording prevented location shooting. Additionally, in “Royal Wedding” (1951), Donen’s specially designed rotating set allowed Fred Astaire to defy gravity.

After considerable success in the musical genre, Donen shifted his focus towards comedies (“The Grass in Greener”) and light-hearted thrillers (“Charade” [1963]) where his keen sense for comedic staging worked to his advantage. Most notably, in the transition, Donen’s work became increasingly mature; while his work remained consistently optimistic, Donen relied less on physical gags and more on wit. Perhaps his most sensible contribution to “Bedazzled” is his guidance and control over the acting of Dudley Moore and Peter Cook--two comedians known for wild improvisation.

For Moore and Cook, “Bedazzled” was the opportunity to initiate a career in acting and showcase their flair for comedic writing. While the transition from television to film could have been risky, both embody their characters with an understated charisma. Donen may or may not have been aware of their versatility, but he cleverly exploits their natural personas--Moore as the charming and endearing everyman and Cook as the mysterious, but sophisticated dignitary. In an interview included on Fox’s recent DVD release of the film, Ramis expounds on these distinct characteristics in likening Moore to Paul McCartney and Cook to John Lennon. While the allusion is somewhat fanciful, Ramis is genuine is his estimation of the two comedians.

In general, Donen’s films may lack psychological depth and moral complexity, but “Bedazzled” succeeds on an intellectual level and as entertainment. Created during Donen’s most fruitful period, following “Two for the Road” (1967)--a sublime exercise in style, “Bedazzled,” like Richard Lester’s “Petulia” (1967), captures society’s fragmentation in the 1960s. Where Lester is concerned with class divisions, Donen explores the role of desire in human lives. For sheer film value, the recent DVD release is among the most exciting releases of 2007.

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Theatrical Release: December 10th, 1967

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DVD Review: 20th Century Fox - Region 1 - NTSC

Big thanks to Kurtis Beard for the Review!

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