An unusual, stylish comedy with Madison, Diana Lynn, and many others. What's usual are the misinterpretations; what some reviewers don't seem to realize is that the Academy run by Chekhov isn't cute: it's otherworldly, and so are the three Cheever sisters, like the mythological characters, and so is the gleam in many characters' eyes, more than streetwise people, while the duo has a trustful look (him, more than her).
'Texas ' isn't supposed to correspond to the clichés; on the contrary, it defies them. The events are at once striking, and weightless, conveying a feeling of kindliness; this gentle comedy is refreshing, and, by comparison, refreshingly whimsical, a bartender's revue, with a suggestion of disheartening in the Academy subplot (the Academy's success is ulterior to the storyline, and a convention required for the duo to move on and return home). Which is the Heaven? It's like the playwright finds a 4th dimension in that unnerving Academy, and there's a posthumous feel both in the Academy subplot and in the three sisters' mansion, and even in the spooky lady adopted by the girl, and in the hotel, with only occasional mundane hints in the rejected play and the ankle scene. Perhaps both him and the runaway girl have died in the crash.
Pay attention to the standpoint: a tale narrated by a bartender.
The drink is a metaphor for the storyline. Also, the 4th glass, the three sisters, the 3rd place. And the 4th free glass, as a 4th dimension.
Both Madison and Diana Lynn embody the movie's dreamlike, gentle style. Madison seems a bit drowsy, of a mawkish mildness, tender and animated, but almost dolt, and the storyline advances on tiptoes.
The bartender, played by James Dunn, himself almost uncanny, or maybe straight uncanny, takes Tayloe to the Academy. This is shown as a peculiar place, under any management, up until the odd party. So the big city appears in five Hypostases: the hotel, the stable's owners (the sisters), the show, the showbiz bureaucrats, and the Academy.
The Golden Horse Academy was creepy, and the going astray and coming apart of the machines was painful. The customers are dreamers: but what kind of dreamers? Defeated.
One of Madison's own lines forebodes his future career as a western gunman.
'Texas ' isn't supposed to correspond to the clichés; on the contrary, it defies them. The events are at once striking, and weightless, conveying a feeling of kindliness; this gentle comedy is refreshing, and, by comparison, refreshingly whimsical, a bartender's revue, with a suggestion of disheartening in the Academy subplot (the Academy's success is ulterior to the storyline, and a convention required for the duo to move on and return home). Which is the Heaven? It's like the playwright finds a 4th dimension in that unnerving Academy, and there's a posthumous feel both in the Academy subplot and in the three sisters' mansion, and even in the spooky lady adopted by the girl, and in the hotel, with only occasional mundane hints in the rejected play and the ankle scene. Perhaps both him and the runaway girl have died in the crash.
Pay attention to the standpoint: a tale narrated by a bartender.
The drink is a metaphor for the storyline. Also, the 4th glass, the three sisters, the 3rd place. And the 4th free glass, as a 4th dimension.
Both Madison and Diana Lynn embody the movie's dreamlike, gentle style. Madison seems a bit drowsy, of a mawkish mildness, tender and animated, but almost dolt, and the storyline advances on tiptoes.
The bartender, played by James Dunn, himself almost uncanny, or maybe straight uncanny, takes Tayloe to the Academy. This is shown as a peculiar place, under any management, up until the odd party. So the big city appears in five Hypostases: the hotel, the stable's owners (the sisters), the show, the showbiz bureaucrats, and the Academy.
The Golden Horse Academy was creepy, and the going astray and coming apart of the machines was painful. The customers are dreamers: but what kind of dreamers? Defeated.
One of Madison's own lines forebodes his future career as a western gunman.