justjlm.org – Released in 1975, At Long Last Love was Peter Bogdanovich’s ambitious attempt to recreate the glamour and charm of 1930s Hollywood musicals. Featuring the music of legendary songwriter Cole Porter, the film brought together an ensemble cast led by Burt Reynolds and Cybill Shepherd, all singing and dancing their way through a frothy tale of romance and mistaken identities. Despite its star power and lush production values, the film was met with critical derision upon its release, becoming one of Bogdanovich’s most notorious flops. However, in recent years, At Long Last Love has undergone a critical reassessment, with some viewers appreciating its nostalgic appeal and bold artistic choices.
A Plot of Love, Wealth, and Misdirection
Set in a stylized version of the 1930s, At Long Last Love follows the romantic entanglements of four wealthy socialites. Michael Oliver Pritchard III (Burt Reynolds), a charming but somewhat clueless playboy, meets and falls for the glamorous singer Kitty O’Kelly (Cybill Shepherd) during a night of frivolity. Meanwhile, Brooke Carter (Madeline Kahn), an heiress, finds herself smitten with Johnny Spanish (Duilio Del Prete), a roguish gambler.
As the film progresses, the characters’ romantic lives intertwine in a series of misunderstandings and comedic mix-ups, with love triangles and mistaken identities driving the plot. The film’s tone is light and whimsical, with each scene punctuated by musical numbers drawn from Cole Porter’s songbook, including classics like “You’re the Top,” “Just One of Those Things,” and “I Get a Kick Out of You.”
A Tribute to the Past: Bogdanovich’s Nostalgic Vision
Bogdanovich, already known for his deep love of classic cinema, envisioned At Long Last Love as a tribute to the musical comedies of the 1930s and ’40s. The film was shot in the style of a screwball musical, with glamorous Art Deco sets, sophisticated banter, and intricate dance numbers. To add to the film’s sense of authenticity, Bogdanovich made the bold choice to have the actors sing live on set, a technique that harkened back to the early days of sound cinema.
While this choice added a sense of spontaneity and charm to the performances, it also became one of the film’s most criticized aspects. None of the lead actors were trained singers, and their vocal performances—particularly those of Burt Reynolds and Cybill Shepherd—were uneven at best. This decision, combined with the film’s unconventional mix of modern sensibilities and old-fashioned musical tropes, left audiences and critics perplexed.
The Cast: Star Power and Mixed Results
Burt Reynolds, then one of the biggest stars in Hollywood, took on the role of the charming but bumbling Michael Pritchard. Known more for his roles in action and comedy, Reynolds’ performance in a musical was a departure from his usual persona. While he exuded charisma and playfulness, his singing abilities were less well received. Despite his shortcomings as a vocalist, Reynolds brought an undeniable charm to the film, embracing the spirit of classic Hollywood playboys like Cary Grant.
Cybill Shepherd, Bogdanovich’s muse at the time, played the glamorous and somewhat aloof Kitty O’Kelly. Shepherd’s beauty and screen presence were undeniable, but her singing and dancing performances were criticized for lacking polish. Her on-screen chemistry with Reynolds, while not electric, helped carry the film’s lighter moments. The film also featured standout performances from Madeline Kahn and Eileen Brennan, who, as seasoned comic actors, provided much of the film’s humor and energy.
Audacious Live Singing: Charm or Misstep?
One of the most audacious decisions made by Bogdanovich was to record the musical performances live, rather than pre-recording the songs and dubbing them later. While this was intended to create a sense of immediacy and authenticity, it became one of the most polarizing aspects of the film. Many critics pointed out that the live singing revealed the limitations of the actors’ vocal abilities, leading to performances that were less refined than audiences expected from a Hollywood musical.
At the same time, some defenders of the film argue that this live singing approach gives At Long Last Love a unique charm, allowing the actors to inhabit their roles with a kind of naturalism that is rare in musicals. The imperfections in the vocal performances, they contend, add to the film’s quirky and spontaneous feel, making it a refreshing break from the highly polished, sometimes sterile quality of many modern musicals.
Critical Reception: From Bomb to Cult Curiosity
When At Long Last Love was released, it was almost universally panned by critics, with some calling it a disaster. Its tone, pacing, and the decision to have the actors sing live were widely criticized. Roger Ebert, one of the few critics who found some merit in the film, acknowledged its flaws but noted that it had moments of charm and likened it to a cinematic experiment that didn’t quite work.
The film’s poor reception also impacted the careers of its key players. Bogdanovich, who had enjoyed tremendous success with earlier films like The Last Picture Show and Paper Moon, faced a steep decline in his career momentum. Burt Reynolds and Cybill Shepherd, both riding high at the time, saw their involvement in the film as a rare misstep.
However, over the years, At Long Last Love has been reassessed by a small but growing audience who appreciate it as a cult classic. In 2013, a director’s cut of the film was released, which received more positive responses from audiences, some of whom found the restored version to be a more cohesive and enjoyable experience. The film is now appreciated by some for its ambitious vision, its nostalgic tribute to a bygone era, and its audacious departure from the conventions of 1970s cinema.
A Unique Entry in Bogdanovich’s Filmography
While At Long Last Love may never reach the heights of Bogdanovich’s other films, such as The Last Picture Show or Paper Moon, it remains a fascinating and unique entry in his body of work. The film’s attempt to blend the spirit of 1930s musicals with 1970s sensibilities may not have landed with audiences at the time, but it stands as a testament to Bogdanovich’s willingness to take creative risks.
Today, At Long Last Love is recognized for its lavish production design, its Cole Porter soundtrack, and its earnest attempt to recapture the charm of a bygone era. For fans of classic musicals and those interested in film history, it offers an intriguing, if flawed, homage to the Golden Age of Hollywood.
