Just perfect...

Don't listen to the negative reviews

I gave this film a 9 out of 10, because it was exactly what I expected it to be.

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

I'm a bit perplexed regarding what to say about this movie. First off, I think I enjoyed it more when I saw it years ago than I did now. But I think that was mainly because of the choice of songs. Cole Porter wrote all sorts of songs, but the movie goes for the particularly witty and urbane choices, including a number I hadn't heard before.The style of the movie has giddy improvisational style, as actors often seem to be chatting amongst themselves or making quiet asides. This is true not just in conversation, but in song as well, and it's clear the intention is to make the songs work as a continuation of the story and the characterization. It's an interesting approach that I found somewhat likable in conversation but not so much in songs, because it often completely trashes the melodies.Unfortunately, Bogdonavich was apparently of the opinion that a musical requires very little musical talent. Reynolds is a decidedly poor singer. Shepards can at least carry a tune, but it's hard to imagine anyone casting her as the lead in a musical who wasn't dating her. The supporting players do better. None of them are great singers either, but Eileen Brennan, John Hillerman, Madelein Kahn and that guy no one's ever heard of all understand how to sell a song. They would make great second bananas behind actors who were strong singers (or dancers, as was the case with Astaire or Kelly musicals), but instead they overshadow the leads, which is a little sad.The story is simple, essentially a matter of flirting and coupling among the four. Then ending is unsatisfactory.I've heard there are numerous edits of this movie floating around, and that some work better than others. I saw the version released on VHS, which is apparently neither the best nor the worst version out there. (I've heard the best version is on Netflix and DVD.)This isn't as terrible as some people claim, and it has some nice touches throughout, but it comes across as a bit of a vanity project in which a director with no experience in musicals nor much sense of what makes them work decided to put his girlfriend in one.

Writer-director Peter Bogdanovich attempts to resurrect the fast-talking, romantic-minded musicals of the past with "At Long Last Love", but he fails to infuse it with the proper talent. As a wealthy heiress in smart society circa 1935, dating an immigrant gambler but in love with a playboy, Cybill Shepherd doesn't quite invoke the spirit of Jean Arthur or Ginger Rogers. She's boxy and flippant, like a female impersonator, and she never connects with anyone else on-screen. Burt Reynolds fares a bit better by emulating Clark Gable--affable yet quizzical--though he has more rapport with Madeline Kahn as a Broadway chanteuse than with shallow Shepherd. We can see that, but why can't Bogdanovich? Because the picture is meant as a showcase for Shepherd's musical and comedic talents, however her dancing abilities are nil and she's pseudo-addlepated without being funny. The movie, scored with Cole Porter songs (which the actors sing live), doesn't soar, however Kahn manages to blossom regardless--and in unexpected ways (she's softer and more womanly than ever before). John Hillerman, as Reynolds' valet, and Eileen Brennan have a nice romantic subplot, and Mildred Natwick is well-cast as Burt's dotty, energetic mother (essentially the same character she played in "Barefoot in the Park"). Bogdanovich approaches the material with a giddy sense of fun, but the results are like an inside-joke: the audience comes in after the punchline. *1/2 from ****

Just because you put some popular stars in a film along with Cole Porter's timeless rhythms, it does not a movie make!!! This is one great misfire and frankly the actors embarrass themselves in their attempt to make this worth watching. They may have been having fun but viewers were not. Burt Reynold, Cybil Shepherd and somebody named Dullio Del Prete (rising from and sinking to oblivion with one film) attempt to sing, dance and generally make merry to the songs of the 20s and 30s............and fail miserably. To add insult to injury, director Bogdanovich decided not to post sync the "singing" (I use the term loosely) and being out of breath does not add to one's tonal quality. I won't even mention the "dancing" (again, I use the term loosely). Well, maybe just to say "inept".The only things worthwhile here are: (1) the presence of two wonderful characters....Eileen Brennan and Madeline Kahn. They could make an Army training film worth watching; (2) the great Art Deco sets: and, (3) those wonderful clothes of the time where gowns were clinging and all the women wore great hats.Cole Porter wrote some of the finest popular songs in American music and the great sin here is that they had to be the linchpin of this dog of a film. Mr. Porter is probably spinning is his grave. For that matter so are Fred Astaire and Ginger Rogers.

This is one I have saved-One of the few that is so bad I show it to friends for laughs-Inept out of tune singing is over reached by ludicrous clumsy dancing- No one is in step!!! Even in a publicity still I saw.Bad singing is no problem if it is part of a good natured joke in movies like Paint Your Wagon-Lee Marvin-Clint Eastwood??? Singing??? SURE!! Why not???In At Long Last Love the plot is equal to the rest of the film-so dumb it's fun ___The back story seems to be Bogdanovich and Shepherd were an item and he decided to make her STAR with ready made Cole Porter songs and a 30's setting which had served him so well previously. Love is indeed blind, his critical judgement was lost behind and the result? A Classic- I save it with Plan 9 from Outer Space & Oasis of the Zombies to show when everyone is ready for silly!!