Remember that scene in Mel Brooks' The Producers when the first performance of Springtime for Hitler has just been performed for an opening night crowd on Broadway? The camera pans around the silent audience to show people sitting slack-jawed, mouths agape at the travesty they have just witnessed. I had a similar experience watching Sextette for the first time. Mind you, as a long time retro movie analyst, I was well-aware of the film's reputation as a notorious misfire. However, no criticism can quite prepare anyone for the experience of actually watching this bizarre spectacle unfold before your eyes. Scorpion Video has made that possible with a special edition DVD release of the 1978 musical comedy that was to be Mae West's second attempt to make a big screen comeback. (The first, the notorious 1970 bomb Myra Breckenridge, outraged her when she saw the final cut.) Sextette went into production in 1976, produced by "Briggs and Sullivan", a headed-for-oblivion duo whose pretentious billing perhaps unwittingly brings to mind circus masters Barnum and Bailey. The producers had acquired the rights to West's play Sextet, which apparently resulted in legal and censorship problems for the great screen diva way back when it was first presented. By the time it was dusted off for audiences in the 1970s, we were already living in an era in which Bob & Carol & Ted & Alice could comfortably slip between the sheets together, thus rendering the sexual humor in West's farce seem about as daring as a Disney production.
The film, directed by the generally admirable Ken Hughes (Chitty Chitty Bang Bang), presents West as Marlo Manners, a legendary diva of the cinema who still causes hearts to flutter whenever she makes a public appearance. When we first see her (a full 8 minutes into the movie), she is checking into a London hotel to enjoy her honeymoon with her latest (and sixth husband), handsome young Sir Michael Barrington (Timothy Dalton). It isn't long before Barrington realizes that Marlo has a fanatical fan base and a seemingly endless string of former and would-be lovers clamoring for her attention. Among them, some ex-husbands including a crazy movie director (Ringo Starr) and a gangster who was presumed dead (George Hamilton). Then there is a Soviet diplomat (Tony Curtis) who is the central figure in a world peace conference that coincidentally happens to be taking place in the same hotel. Add to the zany mix her hyper-active business manager (Dom DeLuise), a singing waiter (Alice Cooper!) and a fey dress designer (The Who's Keith Moon) and you probably have to admire whoever managed to get this eclectic group of talented people together, even if they all should have known better. West's old pal George Raft even shows up and rides an elevator with her. The razor-thin plots involves Marlo trying to consummate her marriage to Barrington, who is a naive virgin who inadvertently implies to Hollywood gossip guru Rona Barrett that he is gay. In fact, just about the only audience that might derive any visual pleasure from the film are gay males, due to the abundance of scantily-clad muscle men who flex their abs every time Marlo walks by. To make matters even more bizarre, the cast occasionally breaks out into songs as though this was some old Busby Berkeley musical. The nadir of this is when an understandably embarrassed Dalton is forced to sing the Captain and Tennille's Love Will Keep Us Together to his on-screen bride. (Presumably, Dalton left this achievement off his resume or he probably wouldn't have ended up playing James Bond.) In the midst of this madness, Marlo also barges in on the peace conference and convinces all the diplomats (including Walter Pidgeon!) to engage in some kumbaya moments of diplomacy.
West was certainly a screen legend in her time and one of the most liberated women in show business. You have to admire her for promoting women's lib and sexual freedom in an era in which most people were tone deaf to such sentiments. However, knowing when to quit was obviously not one of her attributes. As Marlo brings twenty-something men to states of sexual frenzy in Sextette, you keep waiting for at least one joke regarding the fact that the woman was in her 80s when the film was made. Unfortunately, throughout the entire movie, no such realization is apparent. Men salivate over her, as West creaks stiffly from frame to frame looking like the Marie Antoinette figure from Madame Tussaud's wax museum. West had parlayed her limited schtick of tossing off sexually suggestive one-liners into a full time screen career, not so much acting as merely quipping. It may have worked great in her prime opposite Cary Grant and W.C. Fields, but it's a sad spectacle to see Ringo Starr try to control his urges in her presence. The only cast member to emerge unscathed is DeLuise, who gives an energetic and amusing performance that even sees him jumping atop a piano and engaging in an impressive tap dance.
The Scorpion DVD transfer is excellent and includes an extensive and spellbinding interview with Ian Whitcomb, who served as a music consultant on the film. A good friend of Mae West's, he relates affectionate tales of their relationship and provides some uncomfortable details about the filming. (West would periodically seem to lose her powers of concentration and often had to have her lines read to her through an ear piece.) He also reads entries from his diary that were written during production. There is also a very informative on-screen essay by film critic Dennis Dermody that explores the film's disastrous reception by critics and the public. An original TV spot is also included.
Sextette easily manages to gain that rare status of being so bad, it's good. You must add this DVD to your collection.
(Look for an article about the making of the film in Cinema Retro #26)
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