There were comedies not that funny yet still provided a fair amount of entertainment. And in some cases, the actual plot took place halfway in and wound up not meaning a lot to the actual structure of the film, story, or characters...
One such vehicle is the semi-slapstick SO FINE by first time director and usual Hollywood writer Andrew Bergman, in which Ryan O'Neal plays a semi-stuffy college professor up for tenure...
He's reluctantly brought into his father's failing New York City clothing/garment business thanks to a nefarious criminal, played by James Bond heavy Richard Kiel, ready to take over Jack Warden's crippled enterprise unless something's done about the massive debt...
Much of story has O'Neal as a fish out of water dolt like his quirky spectacle-donning klutz with hidden sex appeal smitten with a free spirited woman WHAT'S UP DOC? (O'Neal even calls his plight a bedroom farce)...
Here he's in lust with an Italian moll while trying his very best not to get killed by her husband, the monstrous Kiel, who destroys a victorious pinball machine: It's nice seeing the beloved cult actor in a "larger" role than usual, his abundant size serving as more than punchline wallpaper; and he's a genuine threat despite the wacky shenanigans...
Meanwhile, O'Neal has almost no chemistry with the blond starlet, who looks and acts like a sexy throwaway bit player rather than a co-lead in a romantic comedy (looking as if Judy Landers bought 51% stock on Anne De Salvo)...
With annoyingly dated 1980's style sex-up contrived side-characters aside, SO FINE is best known for the provocative designer jeans with plastic in the back where the pockets should be, exposing a woman's assets...
And yet, other than a quick montage of the business skyrocketing, this particular device has little to do with the overall story - except that it accidentally derived during the love triangle mainline (after a "one foot out the door" situation), which is, for better or worse, what everything ultimately amounts to.
One such vehicle is the semi-slapstick SO FINE by first time director and usual Hollywood writer Andrew Bergman, in which Ryan O'Neal plays a semi-stuffy college professor up for tenure...
He's reluctantly brought into his father's failing New York City clothing/garment business thanks to a nefarious criminal, played by James Bond heavy Richard Kiel, ready to take over Jack Warden's crippled enterprise unless something's done about the massive debt...
Much of story has O'Neal as a fish out of water dolt like his quirky spectacle-donning klutz with hidden sex appeal smitten with a free spirited woman WHAT'S UP DOC? (O'Neal even calls his plight a bedroom farce)...
Here he's in lust with an Italian moll while trying his very best not to get killed by her husband, the monstrous Kiel, who destroys a victorious pinball machine: It's nice seeing the beloved cult actor in a "larger" role than usual, his abundant size serving as more than punchline wallpaper; and he's a genuine threat despite the wacky shenanigans...
Meanwhile, O'Neal has almost no chemistry with the blond starlet, who looks and acts like a sexy throwaway bit player rather than a co-lead in a romantic comedy (looking as if Judy Landers bought 51% stock on Anne De Salvo)...
With annoyingly dated 1980's style sex-up contrived side-characters aside, SO FINE is best known for the provocative designer jeans with plastic in the back where the pockets should be, exposing a woman's assets...
And yet, other than a quick montage of the business skyrocketing, this particular device has little to do with the overall story - except that it accidentally derived during the love triangle mainline (after a "one foot out the door" situation), which is, for better or worse, what everything ultimately amounts to.