Console best movie i've ever seen.

Calum Hutton It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

Jonah Abbott There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

Allison Davies The film never slows down or bores, plunging from one harrowing sequence to the next.

lemon_magic When I watched the "Cinema Snob" do a take on "At Long Last Love", I was expecting one of his classic hatchet jobs...but he was actually rather kind to it. So I thought I would give it a go for myself and see if the movie really deserved the drubbing it got from critics like Micheal Medved. Well...yes and no. "Yes", there is something..."off" about the musical numbers. They're leaden, clumsy, and unfocused; they lack the razor sharp choreography and deft vocal performances that someone like Crosby or Kelly or Astaire could give songs like these. (Astaire and Rogers would make gravity and momentum seem irrelevant, but none of these actors are anywhere near their level.)I'll grant you that the characters are supposed to be mostly tipsy/drunk while they are performing them, and if you watch them with that idea in mind...no, sorry they just aren't in the same league as the performances they supposedly pay tribute to. And there are an awful lot of them. And "No"; the director throws so much stuff at the wall that some of it is bound to stick, and some of the material is at least amusing. For that, we can thank Eileen Brennan and John Hillerman (the "second banana" couple) who play the servants/friends that the stars play off and play with. Brennan and Hillerman actually give the best performances in the movie, and in my mind, they bring the thing up at least one notch. And however mediocre the screenplay is, these actors are pros - even at half power, someone like Burt Reynolds is going to be worth looking at. So I'd say that it's not so much that the movie is terrible - it's just a big letdown to the Cole Porter legacy. I'm not sorry I gave it a second chance...but I won't give another one.

Howard_B_Eale As a viewer who had been bombarded with negative commentary on this film for almost 40 years without having actually viewed it, I suppose I'd drunk the Kool-Aid and assumed that the naysayers were right. But after viewing the Blu-ray (which is a presentation of James Blakely's "unauthorized" re-edit of the film, which he did to amuse himself while working at 20th, and then quietly placed "his" version into TV distribution), I now see how off-base these attacks were.It's difficult to know, without seeing the 1975 cut, nor the first TV re-edit done by Bogdanovich himself, where the differences in the versions lie (and complicating matters, Bogdanovich was finally able to tighten up bits and pieces and add an entire missing 90-second sequence to the Blakely cut for the Blu-ray). Indeed, seeing the Blakely cut, it's hard to imagine how the trims or changes would have happened at all, as the majority of picture is in long, unbroken shots (beautifully lensed by Laszlo Kovacs). From the occasionally dupey and ragged image quality here evident in the current Blu-ray transfer, it would appear that some numbers were simply discarded entirely in 1975, and replaced by lesser source material by Blakely. The looseness of the structure would have enabled some chess-playing with the sequence of events, but it's hard to imagine the film being truly butchered beyond recognition.In any event, it's more fruitful to view this film as a very earnest experiment, rather than a "throwback musical". The decision to shoot all the musical numbers live, with the actors not only using their own voices to sing, but doing so on-camera without overdubs, immediately places the entire enterprise in some cinematic twilight zone, out of time, floating weirdly between an era of 1930s Lubitsch and 1970s underground cinema. But, amazingly, it works, in no small part due to the uniformly appealing and earnest cast. Cringe-worthy duff notes aside, even Burt Reynolds pulls it off, and is often genuinely charming in his menage-aux-trois pairings with both Cybill Shepherd and Madeline Kahn. Duilio Del Prete clearly carries his musical numbers with ease, unlike the other three leads, but avoids upstaging them with what is obviously a better-trained singing voice.Indeed, the film works astonishingly well as an ensemble piece, perfectly suited to the double-entendre-laden Cole Porter tunes around which it is all based. The group sequences in tight quarters, such as the repeated bits in playboy Reynolds' chauffeured limos, are completely charming. The physical comedy is a gentle slapstick, not overly broad.It doesn't all hang together perfectly. The already-thin narrative feels stretched to the breaking point somewhere around the three-quarters mark, and the whole thing feels a bit long in the tooth at 121 minutes. It's easy to see how mid-1970s audiences would have found the entire enterprise utterly confounding, even after enjoying Bogdanovich's PAPER MOON two years prior. It overreaches, but is no failure.

Francis Dannemark Over the years, I've seen many many musicals, all the classics (from the late twenties to the mid-sixties)and a lot of modern ones. I had never seen "At Long Last Love", which doesn't exist on tape or DVD. Eventually, I got a copy (from the television) and I really loved this movie. I surely wouldn't say it's perfect but it has a tremendous charm. And perhaps it's even more compelling because it's a bit clumsy. Some great musicals SHOULD be available on DVD : "Porgy & Bess", for example, and the James Whale's version of "Show Boat" (1936). AND "At Long Last Love", which truly deserves to be recognized as one of most endearing and original musicals.

MartinHafer Director, writer, producer Peter Bogdonovich has managed something amazing in AT LONG LAST LOVE. He actually managed to make a musical with leads who actually sang worse than those in Joshua Logan's PAINT YOUR WAGON. I used to think seeing and hearing Lee Marvin and Clint Eastwood singing in Logan's film was the height of horrid casting, but Bogdonovich managed to find four singers who were equal to or worse than Marvin and Eastwood. That's no small feat, as perhaps only Andy Devine and Marcel Marceau were more ill-suited to a musical than Madeline Kahn, Burt Reynolds, Cybill Shepherd and Duilio Del Prete (not to mention many other supporting actors in the film who simply couldn't sing).And, by the way, WHO the heck is Duilio Del Prete and why is this Italian playing a guy called "the Spaniard"--especially since his command of English and acting skills are marginal, at best?! Plus, his having previously been in THE ASSASSINATION OF TROTSKY wasn't exactly a glowing endorsement of his talents! This is just one of many bizarre casting decisions by Bogdonovich.Bogdonovich's idea of making a homage to 1930s style musicals (complete with excellent and familiar Cole Porter songs) isn't bad at all. In many ways, the film is reminiscent of some of the Astaire/Rogers films--minus the quality singing and dancing. In fact, it looks much more like a community theater or talent show production because of all the insane choices that brought the quality of the film to an unbelievably low level. It's really a shame, as a similar idea was very well executed in MOVIE MOVIE a film made about the same time as AT LONG LAST LOVE. Here, however, wretchedly inappropriate actors and singers doomed the film from the start--especially since audience members really wanted to hear singing that didn't totally suck or see dancers with two left feet (go figure!).This film was crucified by the critics--and deservedly so. The singing is simply so bad, so grating and so painful that the viewer is left to wonder what the heck everyone involved was thinking! In fact, 1979's book, "The Fifty Worst Movies Ever Made" included it among it's selections--and I heartily agree.Cole Porter must have spun in his grave like a rotisserie when this terribly failed experiment debuted. What an incredibly big waste of a nice idea and a film only of interest to the curious and bad movie buffs.