Reviews

This is one of the movies that I watch a couple of times a year - it never fails to involve and entertain me.

The theme of a disconnected partner, developing attachments outside marriage is not new. But that the attachment is with a young child, who, herself, initiates the relationship with the support of a parent, powerful in every sense of the word, adds a deal of pathos when the complete story is revealed.

Six Weeks completed the reversal of my original antipathy toward Dudley Moore(first seen, by me, in Arthur). I avoided him after that (I know, I know, may people love it - I'm just not one of them), but conditions forced me to watch 'Unfaithfully Yours' (re-make) where I felt he was very good. Next, I saw Romantic Comedy and thoroughly enjoyed it! Then, Six Weeks - delightful! The three principles (Dudley Moore, Mary Tyler Moore, and Katherine Healy) seem to be able to share our attention. In the different combinations observed throughout the movie (Dudley/Katherine, Dudley/Mary, Mary/Katherine) they each have an opportunity to be the central figure, then easily shift to support the other.

The opening scene(s) where Nikki (Katherine) meets Patrick (Dudley) are probably worth the price of admission on their own. She is precocious without being offensive. The rigorous discipline required by her dance/skate training probably helped her to performance in this, her only film.

I agree, completely, with those other reviewers who feel the movie needs to be watched more than once. My appreciation has certainly increased with repeated viewings.

The supporting cast are completely credible and perform their roles well.

This Walt Disney (early, when Walt Disney Production was synonymous with wholesome family fare - poor Walt!) film, was actually part of a trilogy contracted with British actors Richard Todd and James Robertson Justice (The Sword and the Rose & The Story of Robin Hood and His Merrie Men were the other two). The lovely Glynis Johns, who plays Rob's wife, portrays a charming Mary Tudor in the Sword and the Rose, but is absent from 'Robin Hood'. Joan Rice is delightful as Maid Marion, but ....

Admittedly, one shouldn't substitute 'Highland Rogue' for a documentary on Scottish history of the period. However, there is more than enough accuracy to explain the attitudes and conflicts of the time.

Richard Todd shows, clearly, why he was one of the top British film stars of his time and why he was a popular North American import for both stage and screen . He was one of the most passionately animated actors to achieve leading man status. His dark good looks, range of expression, and obvious athleticism (he served as a paratrooper in WWII) complemented his energetic performances.

Those who, after watching him, have wondered why he didn't have even greater success in North America, should remember two things: Britain, aflame with patriotic fervor after the war, had a very strong film industry of its own; therefore, many actors felt no desire to join Hollywood's 'British Colony'. Also, Todd fell slightly short, pardon the pun, of North America's standard for romantic leading men.

For those concerned about coarse language, explicit sex, or graphic violence when selecting family viewing - this is a keeper. The historic struggle, warm interaction between the stars, and humour should satisfy the more mature members, while the bright colours and action sequences should appeal to all.

I first saw this movie about 45 years ago and 3 scenes stayed with me until 'my good woman' was able to find a copy for me last year. (Since I watch it every month, she uses it as one of her arguments when she feels a need to remind me why I should appreciate her so much!) I also heartily recommend the other two movies from the trilogy as wonderful family viewing.

I watch this movie regularly and it never fails to bring pleasure and a smile. It is a comedy, not a Shakespearean drama, yet it seems I find fresh significance in some expression or phrase each time I watch.

Often, when watching a movie, I think how much better it would be with small script changes or a different cast - not so with this gem.

Hope Lange - beautiful and spoiled, but intelligent and innately wholesome. Glenn Ford - a ruggedly attractive foil for her, having already experienced life in the 'fast lane' he is not tempted by her riches, only her. Charles Boyer - the perfect cultured bon vivant who is still believable as a man of principles rather than just an 'opportunist'.

Telly Savalas and Ricardo Montalban probably have the two most challenging roles because they portray men that we could easily come to dislike and/or disrespect; yet each manages to fulfill the comedic requirements and complete the movie with our positive affection.

Even the lesser character roles are delightful. Ruth McDevitt the grandmother - just enough fussiness to be lovable, but a few glimpses of the strong, determined woman of her youth to make it acceptable that she be the instrument of successful resolution. Ulla Jacobsen as the private secretary to Charles Boyer - fiercely loyal, efficient, articulate, and most important, able to be desirably attractive without competing with Miss Lange. Laurence Hardy - Priory(chauffeur), Andre Luguet - Zoltan(chef), and John Wood - Soames(musician) all seem to provide exactly the right seasoning for their roles. I believe it would be a lesser production without any of them.

The music and cinematography are more than adequate with enough truly wonderful 'bits' to satisfy the most discriminating critic of comedy.

A thoroughly wonderful movie for the whole family, made in an age when coarse language, explicit sex, and violence were not 'de rigeur'. I only hope that this will be brought out in DVD format, since my VHS copy has almost expired!