TOP 100 HENRY MANCINI FILMS: #70-61

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#70-61 of the Top 100 Henry Mancini Films

Okay. This is a can of assorted nuts. The Man Who Loved Women (1983) is a relic of what was once acceptable as humor. Most of it is highly inappropriate and a bit of a “squirmer” to sit through. Yet, The Benny Goodman Story (1956) is a sleeper hit that's absolutely fantastic. But that’s Mancini. He stood by his partnership with Blake Edwards through the good and not-so-good titles. And he worked with other filmmakers making great, great art. Versatile, for sure. And so, let’s delve into 70 through 61.

 

#70: Harry & Son (1984)


The Earnest Hemingway reference in Harry & Son (1984) is not random. The film’s style, characters, arc, and overall feel echo Papa Hemingway…in more ways than not. But all of this is a wrapper on an 80s candy bar of a movie stuffed with fashion, sex, and money. The film isn’t perfect but it does have both Wilfred Brimley and Morgan Freeman acting in it. The Mancini score is adequate (but underused). A good watch, though.

#69: The Man Who Loved Women (1983)

Personally, I found the most interesting thing about The Man Who Loved Women (1983), besides Henry Mancini's tender theme song, to be the quality of film grain in the exterior night scenes. I'm not going to lie, this was a tough one to watch through to the end. Yet, it received high enough scores on IMDB and Rotten Tomatoes to land this position on the list. 

#68: A Change of Seasons (1980)


Don’t let the racy posters, trailers,  or opening titles fool you.  A Change of Seasons (1980) is a complex, Shakespearean-esque tragedy of marriage. There’s some heart and a couple of truths, but it’s mired in a 70s hangover of swinging, disco, drab decor, and questionable fashion choices.

#67: Ma and Pa Kettle at Home (1954)


Back when there were physical copies of daily newspapers, you'd find a collection of comic strips on the back page of some random section of the paper. Each daily strip was only 3 or 4 panels, ended with a punchline, and carried a story for a few days or so. Such is the writing style of Ma And Pa Kettle At Home (1954). Oh, there's a premise and the movie will take you to the third act neatly - but it's really about the 3 beats to a punchline and snippets of "this is a funny idea." It plays out like Our Gang (1922-1927) in a Beverly Hillbillies (1962 -1971) mise en scene with The A-Team (1983-1987) style montage thrown in for good measure. It's silly and fun. What threw me was the CHRISTMAS finale ("Wait? I'm watching a Christmas movie all of a sudden?!”) which was quite touching and very well done. It's worth seeing once. Also, Mancini did score this and was uncredited. There are hints of his The Pink Panther (1963) approach to comedic themes here. Another good reason to visit Ma And Pa Kettle At Home (1954).

#66: Back Roads (1981)


While Back Roads (1981) is trapped between 70s angst and 80s optimism, this road trip movie shows both Sally Field and Tommy Lee Jones in their versatile prime, before being delegated to character roles.  

#65: Married to It (1991)


A fellow member of the Henry Mancini Appreciation Society on Facebook told me this was a “good movie.” Okay, it’s rolled out in a fun fashion but, when you boil it down: it’s a grown-up movie about grown-up problems made to help grown-ups laugh at the problems. Problem is: it’s not always funny. Oh, there are moments of true marital insight. But sometimes Married to It (1991) just feels like a bummer of a story.

#64: The Creature Walks Among Us (1956)


The Creature Walks Among Us (1956) is a finer B-movie that plods along with an occasional interesting conversation, violent battle, or (somewhat) racy scene - thanks to Leigh Snowden. Not as good as the first film, but better than the second. It’s worth at least one watch. Yes, The Creature Walks Among Us (1956) is another uncredited score by Henry Mancini.

#63: The Benny Goodman Story (1956)


Mancini was the lead arranger on The Benny Goodman Story (1956). And, let me tell you, this movie took me by surprise: packed with hot music, syrupy sweet melodrama, cool snubs at segregation,  cornball dialogue, and repressed performances that are a gazillion times sexier than most on-the-nose performances today. What can I say? I feel like this movie was made just for me. And while I do feel bad it's buried in the list here, surrounded by some of these titles, The Benny Goodman Story (1956) does class up the joint. Please add it to your watchlist. 

#62: Abbott and Costello Go to Mars (1953)


According to my good friend on Letterboxd, Phil Meets the Movies, Abbott & Costello had a third rebirth of their career in the early 1950s thanks to television. So much so, Hollywood kept cranking out theatrical releases that included Abbott & Costello Meet Dr. Jekyll and Mr. Hyde (1953) (which we’ll see at a much higher placement on this list) and this film, Abbott and Costello Go to Mars (1953). In Mars, Abbott and Costello have fun in the sci-fi genre and exploit it in every way to make way for old-school slapstick and plenty of gorgeous women in showgirl/beauty pageant attire. With witty dialogue popping up now and then, this quick flick is good for a few laughs if you’re 7 or 47-ish.

#61: Blind Date (1987)


When it comes to story authority in Hollywood films, few can surpass Mr. Robert McKee – story consultant, lecturer, and author of several books including Story – Substance, Structure, Style, and the Principles of Screenwriting (1997). In Story, McKee writes of Blind Date (1978): “For the first eighty minutes of BLIND DATE Kim Basinger and Bruce Willis careened through this farce, exploding laugh after laugh. But with the Act Two climax, all laughter ceases, Act Three fell flat, and what should have been a hit went south.” Business-wise, McKee may have a point (although the film cost $16 million and broke more than $39 million at the box office), the film has retained some type of buzz most of my life and still entertains. William Daniels steals the show.


And we're done with #70-61! The next 10 films have an interesting variety, too. There'll be respectable and not-so-respectable titles and a kids' film that is so outrageous, that it’s a pleasure it even exists. Check back next week as we get ever closer to the halfway point of the Top 100 Henry Mancini Films.


* Thanks to David P. Ramos for that impressive sketch of Hank hard at work, Scott Derby for the iconic Digging Star Wars logo, and Josh Taback for the much-needed art direction of the overall Top 100 “square art” layout. 

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