Henrietta Robins works out of her home and her husband Pete drives a cab to try to support her. When Pete gets a tip from one of his fellow drivers that a deal will be made by the Americans and the Soviets over pork bellies, he decides to invest in the market, but needs to $3000 to invest. Henrietta then goes to extreme lengths to get the money by dealing with first a loan shark, then a madame, then the mob and finally cattle rustlers. All this in the name of love.
From the same director
Barbra Streisand (Henry), Michael Sarrazin (Pete), Estelle Parsons (Helen), Molly Picon (Mrs. Cherry), William Redfield (Fred), Louis Zorich (Nick), Heywood Hale Broun (Judge Hiller), Richard Ward (Bernie), Ed Bakey (Angelo), Peter Mamakos (Dominic), Vivian Bonnell (Loretta), Joseph Maher (Mr. Coates (as Joe Maher)), Anne Ramsey (Telephone Lady), Jack Hollander (Loanshark), Gary Pagett (Assistant Bank Manager), Wil Albert (Cop Dressed as Woman), Herb Armstrong (Insurance Man), Fred Stuthman (Loan Officer), Bella Bruck (Lady in Supermarket), Stuart Wagstaff (Man in Chandelier Store), Joseph Hardy (Second Cop), Vincent Schiavelli (Check Out Man), Sidney Miller (Drunk Driver), Norman Marshall (First Worker), Martin Erlichman (Man in Theatre)...
Although I have been aware of this film for a long time, it was only after watching its amusing theatrical trailer – on THE OWL AND THE PUSSYCAT (1970) DVD – that I became eager to watch it. The end result proved to be a patchy affair but, nevertheless, it does have its fair share of belly-laughs and, in any case, watching Streisand in kooky mode is always fun; Estelle Parsons and William Redfield are her hubby (Michael Sarrazin)’s well-to-do and snobbish relatives who particularly look down on Streisand.
It clearly emulates the screwball style of WHAT’S UP, DOC? (1972), parodies THE FRENCH CONNECTION (1971) – the underground station cat-and-mouse chase between Gene Hackman and Fernando Rey is performed here by a disguised Streisand and a persistent police dog! – and it also homages Buster Keaton’s GO WEST (1925) in the urban cow stampede sequence and Luis Bunuel’s BELLE DE JOUR (1967) in the role-playing encounters during Streisand’s disastrous stint as a call-girl! British action director Yates was surprisingly roped in for this, but he seems to have enjoyed the experience as his next project was on similarly zany lines – the black comedy MOTHER, JUGS AND SPEED (1976; which I’ll be watching presently).
Another notable sequence sees the heroine involved, unbeknownst to her, in terrorist activity (she’s asked to deliver a package in disguise to a similarly-dressed woman) – which eventually rebounds on her shady brother employers! Similarly, one of the best lines has Streisand’s nonchalant black maid (she hires a Hispanic woman to do her own cleaning-up!) who, admiring the former’s tenacity, tells her: “Girl, you could even sell a Confederate flag in Harlem!”
Nossa, que Loucura! (Brazil) • Um Himmels Willen (East Germany (alternative title)) • Pjattet med Pete (Denmark) • ¿Qué diablos pasa aquí? (Spain) • Voihan veljet! (Finland) • Ma femme est dingue (France) • Ena koritsi pou ta kanei ola (Greece (transliterated ISO-LATIN-1 title)) • Csak a férjem meg ne tudja! (Hungary) • Ha-Kol L'Ma-un Pete (Israel (Hebrew title)) • Ma chi te l'ha fatto fare? (Italy)
neo screwball comedy, money, loan shark, cattle, new york city, dog chase, telemarketing, subway, manhole, husband wife relationship, dog, taxi driver, explosion, disguise, bomb, wig, scheme, prostitution, city, debt, apartment, character name in title
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