VICTOR/VICTORIA [1982 / 2016] [Warner Archive Collection] [Blu-ray] [USA Release]
Blake Edwards Crowning Achievement! The Disguise Surprise Comedy of the Year!
Is she a woman pretending to be a man, pretending to be a woman? Or is he a man, pretending to be a woman, pretending to be a man? Piece of cake. But a woman whose livelihood depends on pretending to be a man who pretends to be a woman? Now you’ve got problems! You’ve also got laughs when Dame Julie Andrews plays Victor and Victoria in this clever delight, from filmmaker Blake Edwards, boasting a marvellous Academy Award® winning score by Henry Mancini and Leslie Bricusse.
Robert Preston plays a cabaret performer who devises the gender-bender stage act. Farcically complicating matters are James Garner as a mobster suspecting Victor is a Victoria and Lesley Ann Warren as a short-fused floozy. Of this film’s seven Oscar® nominations, three went to Golden Globe Winner Dame Julie Andrews [Actress], National Board of Review Award winner Robert Preston [Supporting Actor] and Lesley Ann Warren [Supporting Actress].
FILM FACT No.1: Awards and Nominations: 1982 Academy Awards®: Win: Best Music, Original Song Score and Its Adaptation or Best Adaptation Score for Henry Mancini and Leslie Bricusse. Nominated: Best Actress in a Leading Role for Julie Andrews. Nominated: Best Actor in a Supporting Role for Robert Preston. Nominated: Best Actress in a Supporting Role for Lesley Ann Warren. Nominated: Best Writing, Screenplay Based on Material from Another Medium for Blake Edwards. Nominated: Best Art Direction-Set Decoration for Harry Cordwell, Rodger Maus, Tim Hutchinson and William Craig Smith. Nominated: Best Costume Design for Patricia Norris. 1982 British Society of Cinematographers: Nominated: Best Cinematography Award for Dick Bush. 1982 New York Film Critics Circle Awards: 3rd place: Best Supporting Actress for Lesley Ann Warren and Best Supporting Actor for Robert Preston. 1983 Golden Globes® Awards: Win: Best Actress in a Motion Picture in a Comedy or Musical for Julie Andrews. Nominated: Best Motion Picture for a Comedy or Musical. Nominated: Best Actor in a Motion Picture for a Comedy or Musical for Robert Preston. Nominated: Best Actress in a Supporting Role in a Motion Picture for Lesley Ann Warren. Nominated: Best Original Score for a Motion Picture for Henry Mancini. 1983 César Awards: Win: Best Foreign Film (Meilleur film étranger) for Blake Edwards. 1983 Grammy Awards: Nominated: Best Album of Original Score Written for a Motion Picture or Television Special for Henry Mancini (composer) and Leslie Bricusse (lyricist). 1983 Writers Guild of America: Win: Best Comedy Adapted from Another Medium for Blake Edwards.
FILM FACT No.2: ‘VICTOR/VICTORIA’ is a remake of the 1933 German film ‘Viktor und Viktoria.’ The vocal numbers in the film are presented as nightclub acts, with choreography by Paddy Stone. However, the lyrics or situations of some of the songs are calculated to relate to the unfolding drama. Thus, the two staged numbers "Le Jazz Hot" and "The Shady Dame from Seville" help to present Victoria as a female impersonator. The latter number is later reinterpreted by Toddy for diversionary purposes in the plot, and the cosy relationship of Toddy and Victoria is promoted by the song "You and Me," which is sung before the audience at the nightclub. The film's screenplay was adapted by Blake Edwards (Dame Julie Andrews' husband) from the 1933 German film ‘Viktor und Viktoria’ written and directed by Reinhold Schünzel from an original story treatment by Hans Hoemburg. According to Blake Edwards, the screenplay took only one month to write. Blake Edwards and Dame Julie Andrews watched the 1933 version to prepare for her role. The film had been planned as early as 1978 with Dame Julie Andrews to star alongside Peter Sellers, but Peter Sellers died in 1980 while Dame Julie Andrews and Blake Edwards were filming ‘S.O.B.’ [1981], so Robert Preston was cast in the role of Toddy that originally was envisaged for Peter Sellers. The costume worn by Dame Julie Andrews in the number "The Shady Dame from Seville" is in fact the same costume worn by Robert Preston at the end of the film. It was made to fit Preston, and then, using a series of hooks and eyes at the back, it was drawn in tight to fit Dame Julie Andrews' shapely figure. Black silk ruffles were added to the bottom of the garment to hide the differences in height. The fabric is a black and brown crepe, with fine gold threads woven into it, that when lit appears to have an almost wet look about it.
Cast: Dame Julie Andrews, James Garner, Robert Preston, Lesley Ann Warren, Alex Karras, John Rhys-Davies, Graham Stark, Peter Arne, Herb Tanney, Michael Robbins, Norman Chancer, David Gant, Maria Charles, Malcolm Jamieson, John Cassady, Mike Tezcan, Christopher Good, Matyelok Gibbs, Jay Benedict, Olivier Pierre, Martin Rayner, George Silver, Joanna Dickens, Terence Skelton, Ina Skriver, Stuart Turton, Geoffrey Beevers, Sam Williams, Simon Chandler, Neil Cunningham, Vivienne Chandler, Bill Monks, Perry Davey, Elizabeth Vaughan, Paddy Ward, Tim Stern, Norman Alden (uncredited), George Lane Cooper (uncredited), Peter Diamond (uncredited), Geoffrey Edwards (uncredited), Kevin Field (uncredited), Terri Gardener (uncredited), Jill Goldston (uncredited), Philip Herbert (uncredited), Derek Lyons (uncredited), Chrissy Monk (uncredited), Ralph G. Morse (uncredited), Cathy Munroe (uncredited), Glen Murphy (uncredited), Nosher Powell (uncredited), Peter Ross-Murray (uncredited) and Paddy Stone (uncredited)
Director: Blake Edwards
Producers: Blake Edwards, Gerald T. Nutting and Tony Adams
Screenplay: Blake Edwards (screenplay), Hans Hoemburg (concept) and Reinhold Schünzel (1933 script)
Composer: Henry Mancini (Score)
Cinematography: Dick Bush, B.S.C. (Director of Photography)
Image Resolution: 1080p (Metrocolor)
Aspect Ratio: 2.35:1 (Panavision Anamorphic)
Audio: English: 5.1 DTS-HD Master Audio and
English: 2.0 DTS-HD Master Audio
Subtitles: English SDH
Running Time: 133 minutes
Blu-ray: All Regions
Number of discs: 1
Studio: Metro-Goldwyn-Mayer / Warner Archive Collection
Andrew’s Blu-ray Review: ‘VICTOR/VICTORIA’ [1982] finds Dame Julie Andrews stars as a struggling Paris cabaret singer who becomes the toast of the town when she goes on stage as a female impersonator Victor/Victoria in the 1933’s Paris. As the favourite of the nightlife in Paris where Victoria Grant [Dame Julie Andrews] acts as female impersonator Count Viktor Grezhinski and Carole "Toddy" Todd [Robert Preston] brings her all the fame and fortune she could ever desire. Then tough-guy Chicago gangster/nightclub owner King Marchand [James Garner] walks into her cabaret. Sparks fly as the two are inexorably drawn to each other ... but King Marchand doesn't realise that the object of his desire is a she, impersonating a he, impersonating a she. And Victoria cannot reveal her ruse without risking her celebrity and success. Now, as this screwball musical comedy from director Blake Edwards careers to a wild climax, genders will bend, secrets will be revealed, closets will open and hearts will melt.
Henry Mancini won one of his four Oscars® for the tuneful comedy ‘VICTOR/VICTORIA’ [1982], sharing the award with lyricist Leslie Bricusse for Best Original Song Score. The MGM-UA film was a remake by producer-writer-director Blake Edwards, and was based on the German 1933 UFA-Film ‘VIKTOR UND VIKTORIA’ that was conceived by Hans Hoemburg and written and directed by Reinhold Schünzel (1886–1954). ‘VICTOR/VICTORIA’ starred Dame Julie Andrews as a poverty-stricken soprano trying to find work in turn-of-the-century Paris. With the guidance of a gay entertainer Carole "Toddy" Todd [Robert Preston], she creates an alter ego named Victor, a "man" who performs as a female impersonator. She/He becomes a hit and falls for a guy King Marchand [James Garner] who's troubled about his attraction because he thinks Victor is a man.
Along with the laughs and Henry Mancini's music, ‘VICTOR/VICTORIA’ offers amusing observations about gender perceptions and the nature of sexual attraction. Writer-director Blake Edwards originally conceived the film as a vehicle for Dame Julie Andrews, wife of Blake Edwards, and Peter Sellers who was another frequent Blake Edwards collaborator. After Peter Sellers's untimely death in 1980, and Robert Preston stepped into the role of the irrepressible Carole "Toddy" Todd, giving one of his liveliest screen performances and winning an Oscar® nomination as Best Supporting Actor. Robert Preston also says one of the most prophetic and funniest lines in the film when he says to Dame Julie Andrews, “Shame is an unhappy emotion, invented by piteous in order to exploit the human race.”
The vocal numbers in the film are presented as nightclub acts, with choreography by Paddy Stone. However, the lyrics or situations of some of the songs are calculated to relate to the unfolding drama. Thus, the two staged numbers "Le Jazz Hot" and "The Shady Dame from Seville" help to present Victoria as a female impersonator. The latter number is later reinterpreted by Toddy for diversionary purposes in the plot, and the cosy relationship of Toddy and Victoria is promoted by the song "You and Me", which is sung before the audience at the nightclub and for me this is a brilliant tour-de-force comedy classic film.
‘VICTOR/VICTORIA’ was eventually transformed into a Broadway musical in 1996, again written and directed by Blake Edwards and starring Dame Julie Andrews. By then the star Dame Julie Andrews appeared to have made peace with the role, that despite her dazzling success with it, and had troubled her at the time the film was made. "There were so many things to be worked out," she said. "As someone who likes to be in control, I felt wobbly. There was something else, too: When you get older, you kind of get on to yourself. You know the tricks you play to get by, and you like them less and less if you care about your work. I was trying hard to get away from them and was sometimes falling back."
‘VICTOR/VICTORIA’ is a delicious charade; director, Blake Edwards taking the magical romantic chemistry so eloquently evoked in such classic outings as ‘Breakfast at Tiffany’s’ [1961] and ‘The Pink Panther’ [1963] to their lithe extreme of champagne cocktail effervescence. In a decade buffeted by cynicism and crass sex comedies, ‘VICTOR/VICTORIA’ harks back to another vintage in regal elegance of a 1980s “sex comedy” per say, and undoubtedly one of the first to frankly treat homosexuality and homosexuals with respect, not merely as subtext, backdrop or figures of fun. And Blake Edwards homage and premise of the 1933 German film into a financially successful remake/reboot/update for the then beleaguered Metro-Goldwyn-Mayer has also managed a minor artistic coup; making it a musical at a time when musicals were sincerely dreaded and passé. In hindsight, one might ask how such an enterprise could fail with Dame Julie Andrews and Robert Preston at the helm. Yet, this is a last hurrah for both these talent actors, tragically so for Dame Julie Andrews, whose supposedly routine throat surgeries have since deprived us of her miraculous vocal gifts. The Henry Mancini and Leslie Bricusse score has its moments; particularly “Le Jazz Hot” which is a real sizzler with Dame Julie Andrews seemingly effortlessly popping out ascending and descending octaves. Dame Julie Andrews also acquits herself of the sad-eyed and oddly dreamy, “Crazy World” a really luscious ballad. Dame Julie Andrews and Robert Preston are the epitome of mirth, locked at the elbow as they warble, “You and Me,” while Robert Preston gives us the very Cole Porter-esque “Gay Paree” with all the debonair grace of a really classy showman.
Robert Preston had not appeared in a big and splashy Hollywood musical since 1974’s disastrous and costly, ‘MAME.’ Certainly, Robert Preston had not known success in the genre after his Oscar-winning turn in 1962, reprising his stage role as everyone’s favourite con, Prof. Harold Hill in Meredith Wilson’s ‘The Music Man.’ Herein, Robert Preston is having an indubitably ‘good time’; and his caricature is never mean-spirited or over the top. Robert Preston is a genuine, if very “hot” Carole "Toddy" Todd indeed; a twinkle of petty larceny caught in his eye, supremely satisfying as he gesticulates with arms spread wide; a vivacious ‘old queen’. And Robert Preston and Dame Julie Andrews have that illusive, infectious and curiously “bromance” spark of onscreen chemistry. Whether they’re embracing the implied subtleties of “Gay Paree” or simply exchanging loaded barbs from Blake Edwards’s brilliantly nuanced screenplay, together they crackle with airy wit and smart sophistication; a pair of hams sufficiently cured to carry the premise off without a hitch.
This witty, energetic film is one of the best and most memorable efforts in the accomplished career of Blake Edwards. The story's fusion of screwball comedy and musical review is a potentially unwieldy combination, but Blake Edwards manages to make it work with a thoughtful script that weaves rich characterisations into a carefully-constructed but sprawling plot that gives them room to breathe. ‘VICTOR/VICTORIA’ is lengthy but never feels overlong thanks to Blake Edwards's stylish work behind the camera, where he excels at crafting complex slapstick set pieces but shows equal skill with the film's many rousing musical numbers, especially the highlight is a stunning cabaret number called "Le Jazz Hot." Blake Edwards's work is ably supported by the film's handsome production values, which include a dazzling Henry Mancini score full of memorable cabaret tunes and excellent cinematography by Dick Bush that adds just the right veneer of Hollywood glamour. However, the true appeal of ‘VICTOR/VICTORIA’ lies in the magnificent performances that add heart to its combination of style and wit. Dame Julie Andrews finds the right combination of vulnerability and cynicism to make her demanding double role work, Robert Preston brings warmth and razor-sharp verbal wit in equal measure to his role as her protector, and James Garner is a subtle delight as the mobster who is forced to re-evaluate his concept of masculinity. The film also features plenty of scene-stealing supporting performances, especially Lesley Ann Warren's turn as King Marchand's oversexed mistress and Alex Karras' deadpan work as King Marchand's surprisingly sensitive and perceptive bodyguard. All these elements gel together beautifully to create a film that manages to work as a valentine to the screwball comedy and musical genres while also adding thoroughly modern theme of social and sexual tolerance into the mix. As a result, ‘VICTOR/VICTORIA’ manages to feel classic and progressive all at once and this duality makes it one of Blake Edward's finest cinematic achievements.
VICTOR/VICTORIA MUSIC TRACK LIST
GAY PAREE (uncredited) (Music by Henry Mancini) (Lyrics by Leslie Bricusse) [Performed by Robert Preston]
LE JAZZ HOT (uncredited) (Music by Henry Mancini) (Lyrics by Leslie Bricusse) [Performed by Dame Julie Andrews]
THE SHADY DAME FROM SEVILLE (uncredited) (Music by Henry Mancini) (Lyrics by Leslie Bricusse) [Performed by Dame Julie Andrews]
YOU AND ME (uncredited) (Music by Henry Mancini) (Lyrics by Leslie Bricusse) [Performed by Robert Preston and Dame Julie Andrews]
CHICAGO, ILLINOIS (uncredited) (Music by Henry Mancini) (Lyrics by Leslie Bricusse) [Performed by Lesley Ann Warren]
CRAZY WORLD (uncredited) (Music by Henry Mancini) (Lyrics by Leslie Bricusse) [Performed by Dame Julie Andrews]
FINALE/THE SHADY DAME FROM SEVILLE (Reprise) (uncredited) (Music by Henry Mancini) (Lyrics by Leslie Bricusse) [Performed by Robert Preston]
* * * **
Blu-ray Image Quality – Metro-Goldwyn-Mayer and Warner Archive Collection have finally presented us the ultimate version of this brilliant and hilarious funny film of this new Blu-ray release, which is an improvement at every turn, with an amazing and terrific 1080p encoded image transfer, plus an equally impressive 2.35:1 aspect ratio that reveals a lot of fine detail and accurate colour reproduction, compared to the inferior 1982 DVD release. Previous versions of ‘VICTOR/VICTORIA’ for DVD have been sourced from a 1080i master made in 2001 and approved by Blake Edwards. However, for the Warner Archive Collection Blu-ray debut, created a new interpositive, which was scanned at 2K for ‘VICTOR/VICTORIA’ first-ever 1080p presentation. The earlier Blake Edwards approved master was used as a reference for colour-correction, along with other archival resources, that does full justice to Blake Edwards’s widescreen compositions, including the many long shots of precisely staged physical comedy. Skin tones and contrast levels look really excellent and the black levels are greatly improved, while the film grain and textures are much more noticeable as well and are “consistent” in the best possible way. Simply put it, die-hard fans should be enormously pleased for the opportunity to have a top-notch presentation of ‘VICTOR/VICTORIA’ [1982] film release on this brilliant and ultimate Blu-ray release, as it’s easily one of the best-looking film title I’ve seen in a very long time. ‘VICTOR/VICTORIA’ was photographed by British cinematographer Dick Bush, B.S.C. and made a conscious decision to light ‘VICTOR/VICTORIA’ warmly, even when the characters are cold and wet, which casts a jovial fairy-tale sheen over the proceedings. Optional English SDH subtitles are also included, but they’re garishly printed in ALL CAPS for some odd reason.
Blu-ray Audio Quality – Metro-Goldwyn-Mayer and Warner Archive Collection have finally done us proud in giving us a superb audio and ultimate 5.1 DTS-HD Master Audio experience. Not to be outdone is the film’s audio of ‘VICTOR/VICTORIA’ is very much dialogue-driven but features no shortage of show-stopping performances, so it’s good to know that this 5.1 DTS-HD Master Audio track holds up really well. Vocals and other foreground effects are crystal clear on almost all occasions, plus a few obvious post-production slapstick effects are a little thin by design, while the music cues and background ambiance sounds are with excellent detail and strong presence. It’s generally mixed well but small portions of the dialogue are a little quiet, which means you might be reaching for your remote on several occasions. Either way, this is a fine presentation of difficult source material, or the addition of a “Song Selection” on the Blu-ray disc’s main menu is a welcome touch. ‘VICTOR/VICTORIA’ was released theatrically with a matrixed Dolby Surround mix built from four discrete channels, meaning left, centre, right and mono surround. The soundtrack was remixed in a 5.1 configuration from the DVD, and the same sound mix has been used for this Blu-ray release. The surrounds are employed primarily for the instrumentation of the musical numbers, but they sound terrific and the vocals have been well integrated. By the way, the sound of glass being shattered by Victoria’s sustained B-flat is a running joke. Also Blake Edwards’s favourite composer was of course the brilliant Henry Mancini, who wrote both the songs with the help of the lyrics by Leslie Bricusse and of course it has a really charming heart-warming score that is a joyous experience, so well done Metro-Goldwyn-Mayer and Warner Bros. Archive Collection.
* * * * *
Blu-ray Special Features and Extras: The extras have been transferred over from the Warner Bros. 2002 NTSC DVD release and included a small "DVD Easter Egg" and the Theatrical Trailer has been remastered in 1080p. A few new extras would have been even better, but just having the old ones should please any die-hard fans of this film.
Special Feature: DVD Easter Egg [2002] [480i] [1.37:1] [0:35] Titled "Blake on Julie," this is a short excerpt from an interview with director Blake Edwards who talks about Dame Julie Andrews who at the time was not wholly convinced that her performance was any good and could not reconcile the fact, and Blake Edwards says that was always the problem he had to convince Dame Julie Andrews would do a good job and especially convincing people when they viewed the film, that a woman is meant to be a man disguised as a woman and Julie kept arguing with Blake Edwards, but he kept assuring Julie to trust him as he knew Dame Julie Andrews could pull it off and of course he was 100% right and surely winning all the awards must of eventually convinced Dame Julie Andrews that her husband Blake Edwards was right and had all the confidence in her performance.
Theatrical Trailer [1982] [1080i] [1.78:1] [2:22] This is the Original Theatrical Trailer of ‘VICTOR/VICTORIA.’ With its flashing graphics and quick glimpses of signature scenes, this is one of those rare theatrical trailers that really captures the spirit of this brilliant film it is promoting.
Audio Commentary by Dame Julie Andrews and Blake Edwards: As the film titles role, we get the personal introduction Dame Julie Andrews and Blake Edwards and welcomes us to this very intimate audio commentary on talking about working on the film ‘VICTOR/VICTORIA,’ where they mention about the original German 1933 UFA-Film ‘VIKTOR UND VIKTORIA,’ and because the film was based in Berlin, Blake Edwards felt it would be much better set in Paris in 1933, but before filming could start, they went all over Paris looking for locations, but because of difficult logistics and Blake Edwards felt filming on location would give the film not a good feel, especially recreating the flavour of Paris in 1933, so instead they located to Pinewood Studios in England, because it was much better option and they could control all aspect of the film, because Pinewood Studio had two huge adjoining buildings and gave a much better atmosphere to the film. Julie also wanted to praise the cinematographer Dick Bush, B.S.C. in creating something special with the lighting and colour. This is a very chatty and informal but informative audio commentary conversation between two long-time collaborators who also happen to be husband and wife. Dame Julie Andrews really felt Blake Edwards could really pull out all the stops and make a really special film and Julie says that Blake wrote the film with Julie in mind. Both recall the experience of making ‘VICTOR/VICTORIA’ with great fondness, and their shared warmth in making this audio commentary is entertaining in its own right. Warner Bros. have scored quite a coup in getting Blake Edwards and Dame Julie Andrews together to do this very interesting audio commentary. Unfortunately it is very sad to hear Dame Julie Andrews's voice clearly not what it used to be, but despite this you soon get totally absorbed into this very chatty audio commentary. Both agree that filming everything, including exterior scenes on the Pinewood Studios combined soundstage, created a very nice cosy world for the story to unfold. The expense of doing this, especially with the quality of the sets that Rodger Maus built, led to concern from Metro-Goldwyn-Mayer at the spiralling costs. As Blake Edwards explains, musicals had become deeply unfashionable to be made in the 1982. The only reason the project got the greenlit was due to the faith of the then head of Metro-Goldwyn-Mayer, David Begleman, who had great faith in Blake Edwards. As the budget rose quite considerably, David Begleman had to come down onto the set to see if the production could continue, but was so impressed with the quality of what was being shot, that David Begleman stood by his decision that the film should be continued to be made. When you hear Dame Julie Andrews singing “Cherry Ripe” as an audition for the club, comments that when Julie was a child, this song is what Julie use to sing. Julie says that with this film and the reference for Julie playing herself in playing the part of a man, pretending to be a woman would not work, but again Blake Edwards assure Julie it would work perfectly and kept on reassuring Julie was really doing a great job in creating the character and of course Blake Edwards stance paid off. Blake Edwards also talks about that in 1982 when the film was to be shot, felt that musicals were then passé, meaning they were no longer fashionable, out of date and not work in the climate of the time, but of course this was to be proved not the case. But again David Begleman had great faith in Blake Edwards and was convinced he could do a very professional job in shooting this film and was proved right, even though the other executives at M-G-M were not so convinced. When we see Julie arrive outside her hotel room and the Manager of the hotel intervenes in not wanting her to enter her horrible dingy room, and escribes the horror you are about to witness, which Julie describes in great detail, especially the fact that Julie had a deep abhorrent loathing for cockroaches and feels Blake was being very wicked to Julie in her fear of cockroaches, but of course Blake had an ultimate motive towards the following we see of the ultimate funny scene in the restaurant, where we get to see the chaos is caused by the cockroach’s performance which is one of the truly funniest moments in the film. We are informed that Robert Preston was Blake Edwards first choice as the leading role in the film to play Carole "Toddy" Todd, especially as Robert Preston had work on a previous film directed by Blake Edwards, but we hear an intriguing anecdote about when Blake Edwards telephoned Robert Preston to be in the film and of course Robert Preston said instantly “YES” that he wanted the part, but Blake Edwards told him that he did not know the role he would play and still agreed, especially after Blake Edwards said he would be playing the part of a homosexual, he was still eager to be that character in the film, which shows you what a consummate professional actor Robert Preston is. Both Blake and Julie say that working with Robert Preston was such a joy to work with and on top of all that he was also a really lovely person to know. We find out the script was written and conceived by Blake Edwards in a record time of a month and Blake Edwards felt the words came really swift and fast, as he really felt a passion for this film as well as the storyline and really enjoying producing the script, which of course helped him enormously with the basic outline from the original film script that was jointly created by Hans Hoemburg (concept) and Reinhold Schünzel (1933 script). Blake Edwards and Dame Julie Andrews really praise the brilliant Henry Mancini and his really wonderful compositions for the film, especially creating wonderful background ambient atmospheric music. When we get some moments in the film where two people are having a conversation, Julie comments about Blake Edwards’s wonderful script in creating beautiful intelligent words, especially when the conversation gets complicate. When near the end of the film Robert Preston appears on stage in drag, pretending to be Victoria and doing the "The Shady Dame from Seville” [Finale/Reprise] number, we are told that was all done in one take and also Blake Edwards allowed Robert Preston to do his own thing and had no interference and in doing so everyone had a fantastic time doing it and a totally brilliant twist for the end of the film. As the credits roll at the end of the film, Blake Edwards and Dame Julie Andrews comment on what a joy it was to view the film again after such a long break from seeing it when they originally saw it at the Premiere, and still feels fresh after all these years and they both feel they are watching someone else’s film, but most importantly, Blake Edwards says that he feels very sentimental watching this film, compared to his other films he has made and is also very proud of this film, especially working with his wife Dame Julie Andrews, who also had great joy on working on the film and especially working with all the other people involved with this film ‘VICTOR/VICTORIA.’ I also second this, as it is one of the BEST films to come out in a very long time and is so totally unique and special, especially now released on this Blu-ray discs, we can relive the total magic of something truly special and especially seeing it in the 1080p encoded image, because it is like viewing a brand new film for the very first time.
Finally, ‘VICTOR/VICTORIA’ is a brilliant funny classic comedy film that has been LONG overdue especially for this ultimate Blu-ray release. The film has everything going for it, yet we are left with the current load of second rate films from Hollywood being released in droves. I have loved this film ever since I saw it in the cinema and I consider it as one of THE classic funny romantic comedies, which sadly they do not make anymore. The first time I saw ‘VICTOR/VICTORIA’ I was bowled over by its unique approach to a unique and different kind of genre film, because the story line was totally unique and the musical numbers are just wonderful and joyous. It had three of my favourite actors in it, Dame Julie Andrews, James Garner and especially the brilliant, but sadly the late great Robert Preston. I also found that Leslie Ann Warren is very talented in this film. My favourite and I think the funniest number was the last one with Robert Preston, when he went on stage as Victor. If you like comedy musicals and a story line with a nice little twist, then you will instantly fall in love with this film ‘VICTOR/VICTORIA.’ Blake Edwards was at the top of his game when he directed ‘VICTOR/VICTORIA.’ The film has the chic qualities of ‘Breakfast at Tiffany's’ and the sophisticated humour of the films of Ernst Lubitsch, and the hilarious slapstick of Blake Edwards Pink Panther franchise pictures. The director/writer blended these elements into a timeless and delightful treat for adult viewers. This glorious picture is colourful throughout both literally and figuratively, raising it well above the majority of current films in terms of entertainment value. Very Highly Recommended!
Andrew C. Miller – Your Ultimate No.1 Film Aficionado
Le Cinema Paradiso
United Kingdom
