Writer-director Peter Bogdanovich attempts to resurrect the fast-talking, romantic-minded musicals of the past with "At Long Last Love", but he fails to infuse it with the proper talent. As a wealthy heiress in smart society circa 1935, dating an immigrant gambler but in love with a playboy, Cybill Shepherd doesn't quite invoke the spirit of Jean Arthur or Ginger Rogers. She's boxy and flippant, like a female impersonator, and she never connects with anyone else on-screen. Burt Reynolds fares a bit better by emulating Clark Gable--affable yet quizzical--though he has more rapport with Madeline Kahn as a Broadway chanteuse than with shallow Shepherd. We can see that, but why can't Bogdanovich? Because the picture is meant as a showcase for Shepherd's musical and comedic talents, however her dancing abilities are nil and she's pseudo-addlepated without being funny. The movie, scored with Cole Porter songs (which the actors sing live),doesn't soar, however Kahn manages to blossom regardless--and in unexpected ways (she's softer and more womanly than ever before). John Hillerman, as Reynolds' valet, and Eileen Brennan have a nice romantic subplot, and Mildred Natwick is well-cast as Burt's dotty, energetic mother (essentially the same character she played in "Barefoot in the Park"). Bogdanovich approaches the material with a giddy sense of fun, but the results are like an inside-joke: the audience comes in after the punchline. *1/2 from ****

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.

Granted, this movie is flawed and far from the greatest movie musical of all time, but I do not think it is down there with Xanadu, Can't Stop the Music, Mame, The Wiz and A Chorus Line as among the worst. That said, it is somewhat of a guilty pleasure especially for the music and cast.

The story though(while essentially a homage to 30s musicals, an idea I liked) is rather weak, and the script could have done with more work. The film is also overlong, and some of the singing especially from Burt Reynolds(never liked his singing even on All Dogs Go to Heaven) and Cybill Shepherd is not that great, though I think Mame's singing is worse.

However, I don't think At Long Last Love deserves its meagre reputation. I honestly think there are worse movie musicals and worse movies too. Peter Bogdanovich is a rather curious choice for director but he does well. I would not put At Long Last Love up there with his masterpieces What's Up Doc?, Paper Moon and especially The Last Picture Show though. The film looks decent, with some nice cinematography and production values. The choreography is nicely done in general, while the songs and score are outstanding. I loved the cast, Madeline Kahn was a treasure and she is delightful here and she has one of the better singing voices in the movie, as is Eileen Brennan. People may say the characters are dull, some are, but in Brennan's case because of the way she acts it which is brilliant by the way her character is the anti-thesis of dull. The only real weak link, as Reynolds and Sheppard are actually fairly reasonable when it comes to the acting, is Del Prete, whose character and performance does get annoying.

Overall, At Long Last Love is far from a masterpiece and has a lot of glaring problems but due to the cast and music it is for me not that bad. 6/10 Bethany Cox