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The bitter end for Wilder and Pryor,
This review is from: Another You [DVD] (DVD)
Starting out looking like one of those truly excruciating hard-to-believe trainwrecks that occasionally somehow escapes from a major studio, Another You does manage to somehow rise above it's nightmarishly bad opening to become a tolerable timewaster if you're in an extremely undemanding mood and aren't scared off by the gratuitous yodelling, but it's no surprise it turned out to be a career killer of a movie that brought not only Gene Wilder and Richard Pryor's screen partnership to an end but Wilder's entire movie career as well. But it's Pryor who cuts the most pitiful figure. Clearly a seriously ill man and at times barely able to even walk (it was rumoured that in some scenes he stood on a trolley that was pulled along by grips to fake motion, and in a few shots you can believe it), his delivery at times awkward, it actually seems cruel to point a camera at him in his condition in his early scenes. On one level you could argue that it was courageous of him to finish the film, but on another it seems heartless for the studio to have put him through it and released the result.
Thankfully his halting verbal delivery does improve slightly as the film goes on (even more thankfully Wilder drops his idiotic and unfunny manchild act once the plot kicks in), and there are echoes of his old panache from time to time, but even without his painfully visible ailment, this would have been a stinker. At one point in a mental hospital full of broadly caricatured patients (including Michael J. Pollard, who wisely took his name off the credits) a film producer wanders by repeatedly muttering "I don't understand it, they said the dailies were great" to himself, but there's no way even Mary Poppins could have seen a bright side to this one during shooting. The first twenty minutes or so is so agonisingly bad that you wonder just how awful Peter Bogdanovich's first few weeks of shooting must have been for them to not only drop them and him from the film but to shift location from one side of the US to the other: if he ever saw the finished film (and the term is relative here) that Maurice Philips delivered, he'd probably count his blessings that his name was no longer associated with it. The plot, for what little it's worth, has Wilder's compulsive liar mistaken for a brewing millionaire as part of executive Stephen Lang's doesn't-really-make-much-sense scam and Pryor's conman caught in the middle, but it's just an excuse for the odd one-liner and comic setpiece that wouldn't have had much shine even had the duo been in their prime. There are plenty of far worse comedies out there and fans will find the odd consolation prize among the debris, but only the faithful will want to make it to the bitter end.
No extras apart from trailers for other films but a decent widescreen transfer.