Tag Archives: Peter Coyote

Friday, November 28, 2014

Outrageous Fortune Tropes And Idioms

379379_223683957705249_221327031274275_541431_1683885160_n Bette Midler and Shelley Long star in this female buddy picture from 1987. Long plays Lauren Ames, an actress whose ambition far outweighs her success despite her many years of taking classes; Midler plays Sandy Brozinsky, a fast-talking, foul-mouthed waitress from the wrong side of the tracks who horns her way into Lauren’s exclusive drama class on a lark. Unbeknown to each other, Sandy and Lauren are both seeing the same impossibly perfect man, Michael Santers (Peter Coyote). When Michael inexplicably fakes his death, Sandy and Lauren wind up joining forces to track him down. A wacky, cross-country caper ensues, and both women discover that there’s a lot more to the man they love—not to mention their suspiciously homicidal Russian acting coach—than they ever imagined. Tropes: ’80s Hair: Bette Midler’s character. It’s not teased or anything, but it is as wide as her shoulder-padded shoulders. Adults Dressed as Children: Lauren and Sandy sneak into a whorehouse thinking they’re convincingly disguised as men; the madame takes them for thirteen-year-old boys. Our intrepid heroines run with it. Madame: Does your daddy know you’re here? Lauren (in cowboy accent): Hell, yes, he told us where to come! Come, git it? Aww, Look! They Really Do Love Each Other: Sandy is visibly shaken when she believes Lauren has been shot dead. Badass Adorable: Lauren develops into this over the course of the film. Bad Bad Acting: Practiced by many of Stan’s students, as he enjoys pointing out. Even Lauren cringes at the spectacle of one particular student’s immensely hammy non-dialogue “performance” of a moment from Oedipus The King. Beware the Quiet Ones: Lauren, fed up with the mystery, kicks open a crackhouse door, waves a toy gun around (back in a day when toy guns looked real), and starts impersonating an angry cop with a screw loose. Even Sandy is shocked. Briefcase Full of Money: Or, rather, a cute, ducky-emblazoned lunchbox full of money. Butt Monkey: Frank. Also, anyone who takes Stanislav Korzenowsky’s acting class. Calling Your Orgasms: Michael’s telltale chant of, “Oh God. Oh God. Ohhh God. Ohhhgod—OHHHGOD!!!” The Casanova: Michael Cat Fight: Lauren and Sandy duke it out in the morgue. Cheap Costume: The ladies are forced to improvise quite frequently. Chekhov’s Armory: The film is made of this. The climax, in fact, centers around pretty much everything we saw Lauren doing in her acting and ballet classes at the very beginning. (Also, Sandy’s stolen Christmas tree ornament comes in pretty handy.) Cluster F-Bomb: Sandy sure loves ’em—which Lauren lampshades. But ironically, the most blatant example in the film is Lauren doing her “Crazy / Badass Cop” impression. Cold War Comically Missing the Point: Lauren holds a gun to Stan after he tries to kill her, then proceeds to berate him for making a mockery of the New York acting community. Sandy has to rush over to get her to snap out of it…. Daddy’s Girl: Lauren is this, as we see when she tries to borrow money for Korzenowsky’s class from her parents. Her mother won’t let her in the door; her father throws her a check from the window of their high-rise. Deadpan Snarker: Sandy, all the freaking time. She’s a bit of a Snark Knight. Stan is quite snarky, himself. Lauren is a bit of a Lady Snarker. Defector from Commie Land: Stan’s way of avoiding repercussions back in Mother Russia. He is even able to bargain for perks, including a condo on the Potomac and Redskins season tickets. Disguised in Drag Drama Queen: Lauren can certainly be this way. Erotic Eating: Lauren (with sexy Russian Bond Girl voice) + Michael + a chicken leg. Expy: Lauren is in many ways a “clone” of Diane Chambers, except that she’s also great at ballet. (And Lauren’s willing to curse, if the situation calls for it.) Especially notable in that Shelley Long tends to try and downplay any Diane-like “quirks” when playing other characters—but in this film, she at times seems to be cranking it Up to Eleven. Fake Nationality: In-Universe and out: Robert Prosky is an American playing a Russian who, at one point, disguises himself as an American. Stan (removing his mask): So. Some of us who teach can also do. Friend to All Children: Implied, with Lauren. She is clearly very touched when Michael tells her he’s trying to find the perfect Halloween costume, to help out a kid who’s unable to find acceptance among his classmates. Later, she makes a point to tell Sandy to let her talk to the kid holding them at gunpoint—presumably because she’s better with children. Funny Background Event: When Sandy is talking to her boyfriend in the phone company over the phone, Lauren paces impatiently behind her—and can be seen briefly mockingly mimicking Sandy’s boisterousness. Gag Penis / Bigger Is Better in Bed: Michael’s defining physical characteristic, which is how Lauren and Sandy know the burned corpse at the morgue isn’t him. Sandy: Michael was not a guy other guys would’ve made fun of in the locker room, okay? Good People Have Good Sex: Lauren sports a radiant glow and a BIG smile after her night with Michael, which Sandy makes sure to comment on. Michael turns out to be a bad guy, though. Groin Attack: Threatened by Sandy (“I’ll shoot it off, Stan”). Lauren includes this threat in her Badass Cop impression when she and Sandy interrogate the drug dealers. Gratuitous Russian Instant Seduction: The first time Lauren meets Michael, he’s a customer in the costume shop where she works. She’s moved by his telling her he’s a teacher trying to find the perfect costume for one of his students who’s trying hard to fit in. She offers to help him make one. The very next scene shows the two of them in bed, Michael “apologizing” for the quick turn of events, explaining that “I just…had to kiss you.” Lauren, radiant with afterglow, is charmed even more by this. The Lad-ette: Sandy’s not above talkin’ trash and often acting pretty “macho” with the best of them, though she still cares about her physical appearance in the “feminine” fashion, among other things. Lampshade Hanging: When our gals finally manage to reach one of their destinations after an especially exhausting ordeal, a bunch of guys drive by, hooting and whistling and otherwise calling out to them in Hello, Nurse! fashion. Lauren can’t resist: Lauren: Now, why do they do that? Has there ever been one woman in the history of the world who actually said—(with Coy, Girlish Flirt Pose) “Yes, fellas, please—take me, now!”? Sandy: (Wimpering) For a bed and a bath, I…I’d consider it— Lauren: Bite your tongue…. Literary Allusion Title: Hamlet, in case you don’t recognize the quote…. Lovely Angels: Lauren and Sandy find themselves becoming this, each discovering their Hidden Badass over the course of the film. Ms. Fanservice: Lauren has a few moments of this. In addition to her nights with Michael, the scene in Stan’s waiting room has her dressed in an outfit that has a see-through blouse covering Absolute Cleavage that goes down to her waist. It gets better. Shortly before Sandy shows up, Lauren engages in some breathing exercises that quickly sound like she’s partaking in something else entirely…. Mugged for Disguise: Lauren and Sandy appropriate Frank’s clothes. (At least they’re nice enough to leave him their skirts and blouses.) The Ophelia: Well, in a literal way: Sandy plays Ophelia in the production of Hamlet at the end. The Power of Acting: It turns out that Lauren’s many years of studying the theater pay off in tracking down Michael and foiling the bad guys. Ransacked Room: The film plays this straight, then spoofs it. First, the two women go to Lauren’s apartment while it’s being ransacked. After a daring escape, they head to Sandy’s place to find it a complete mess as well. Lauren cries, “Oh, no, they’ve been here!” and tries to run, but Sandy grabs her and says, “Nobody’s been here. This is normal.” Red Oni, Blue Oni: Sandy is red, and Lauren is blue. Rogue Agent: What Michael turns out to be. Scary Black Man: Lauren and Sandy’s cab driver. Sdrawkcab Name: Sort of. Stan’s name is almost the reverse of real-life actor Constantin Stanislavsky. Serious Business: Lauren does not appreciate any insults to the honor of the theater—to the point where we hear her arguing with Sandy over the value of Hamlet— as the credits start rolling! Shakespearean Actors: What Lauren aspires to be. Her ambition is to play Hamlet, which she finally accomplishes at the end of the film. Shout-Out: Sandy once sarcastically calls out to Lauren as “Lady Di”. Shelley Long, of course, is most famous for playing Diane Chambers of Cheers. A retroactive example: When Sandy gives a brief summary of the situation to Frank, he looks at her in bewilderment and asks, “The ’60s were good to you, weren’t they?” This line would be recycled for Cars, where an inverted version would be asked of George Carlin’s character, Fillmore…. Spirited Young Lady: Lauren, who is ladylike and feminine Up to Eleven, but is quite skilled at fencing and is not afraid to actually stab her match opponent in the beginning of the film. Spoiled Sweet: Lauren. To her credit, she’s kind of aware of it, as she explains to Sandy when they argue over who should go over to the super-intimidating cab driver…. Stoners Are Funny: Especially when they’re played by George Carlin. Teeny Weenie: The unfortunate fellow at the morgue, falsely identified as Michael, as Sandy tries to explain to the cops: Lauren: I think he’s got the big picture now— Sandy: Oh, I don’t think he does! (To cop) This guy in the morgue…whoever he is…he’s got a… (Wicked grin) Does the phrase “needle-dick”—”the bugfucker”—mean anything to you? The Eighties: Check out those opening credits. Tomboy and Girly Girl: Played with. Downplayed for Sandy, who is technically more of The Lad-ette, but Lauren most definitely qualifies as a Girly Girl. Universal Poison: What Michael stole. Specifically, a green toxin that will destroy all vegetation around the world with just a few drops. Vanity Is Feminine: At one point, the gals stop right what they’re doing to check their makeup, and then spend the next moment or two remarking on how they look and whether or not their hair colors are natural. We Need a Distraction: How about emptying an entire lunchbox filled with money into a crowd of waiting airline passengers? Wham Line: “Nine years of ballet, asshole!” White Guilt: Lauren gets Tongue Tied when she tries to say “Caucasian”, while trying to describe Michael to the black cab driver—finally settling for nervously dropping race entirely (and announcing it). She ends up panicking over possibly digging herself deeper…and later gets very nervous over the fact that the man soon drives her and Sandy deep into Harlem. Sandy can’t resist ribbing her about it. You Need to Get Laid: Sandy’s reply when Lauren explodes at her in their first encounter. Lauren’s shocked silence implies it hits VERY close to home.

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    Wednesday, October 29, 2014

    The Movie Scene Outrageous Fortune Review

    The Movie Scene 379059_223684181038560_221327031274275_541446_1465345861_n Worst enemies become best friends, yes “Outrageous Fortune” is a buddy movie, but a buddy movie which when it was released in the 80s had a USP. That USP was that the buddies were two women, which may not sound such a huge USP but most buddy movies prior to “Outrageous Fortune” had always been about two men. But whilst it had this slightly different angle “Outrageous Fortune” is actually a very straightforward buddy movie with two women who don’t get on, hitting the road together where they have to help each other out whilst avoiding bad guys and solving a mystery. And to be honest it is a shame as for the first 20 minutes “Outrageous Fortune” is fun especially with Bette Midler and Shelley Long working well together as opposites who don’t get on but after that it becomes routine and at times a little dull Having spent years training to become an actress Lauren (Shelley Long – The Money Pit) doesn’t get along with Sandy (Bette Midler – Then She Found Me) who has made her name in a few dodgy movies but they find themselves in the same acting class. What they don’t know is that they are also sharing the same lover Michael Sanders (Peter Coyote – E.T.: The Extra-Terrestrial) that is until he fakes his own death and tries to disappear. Now having learnt that they were both seeing the same guy, Lauren and Sandy find themselves working together to try and track him down, travelling across America hot on his trail. But they are not the only ones interested in Michael and find themselves in danger as they close in on him. Ignoring the fact that “Outrageous Fortune” is about two women for the moment and for the most the storyline follows the path of many a buddy movie. We initially get the set up of Lauren and Sandy not get along which is made worse when they discover that they’ve both been seeing the same man. And then it falls into that formula territory as despite their initial dislike of each other end up having to join forces as they blag their away across country trying to discover the truth about the man they loved as they learn he faked his death. To make it more routine there are Russians and CIA involved who are trailing them to get to the man they are trailing. That probably sounds a little more complex that in it is because frankly “Outrageous Fortune” is plain sailing and similar to many other 80s buddy movies. But the thing which makes “Outrageous Fortune” different is that it is two women who are the buddies which don’t get on and it is because of this that it actually ends up quite entertaining. Now the characters they play may not be that well defined but Bette Midler and Shelley Long deliver fun performances. Midler is wonderfully brash as Sandy, fast talking her way in and out of trouble with many a great one liner whilst Shelley Long has that element of being up her self as Lauren as she takes herself too seriously. They work surprisingly well together and whilst the comic timing may not always work the sparky banter does provide plenty of amusement especially as half the time it looks like Midler and Wrong were in battle to out do each other. But beyond Midler and Long there are few performances which make anywhere close to an impression. Peter Coyote as the love rat seems to be going through the motions as does Anthony Heald and Robert Prosky. And whilst George Carlin is funny as Frank Madras the reservation resident they meet it’s not really that memorable. Aside from all this it has to be said that “Outrageous Fortune” has some surprisingly good action sequences. The death scene as Michael disappears into a flower shop and then it explodes is surprisingly good as is a scene which sees Lauren using her ballet skills to avoid being captured by a pursuer. In what is really just a comedy these action moments stand out as do a couple of darker moments of humour such as the morgue scene where Sandy and Lauren realise it’s not Michael they are looking at because the dead body’s penis is too small. What this all boils down to is that “Outrageous Fortune” is a fun movie, it has some nice one liners and imaginative scenes but get beyond the fact that this is a buddy movie with women and it is all very routine. It’s almost a case that you are not really interested in the storyline, who is a good guy and who is a bad guy and just enjoy the comedy of Bette Midler and Shelley Long being the chalk n cheese friends.

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    Sunday, October 26, 2014

    BetteBack January 30, 1987: Outrageous Fortune Washington Post Review

    By Rita Kempley Washington Post Staff Writer January 30, 1987 377372_223684124371899_221327031274275_541443_730021703_nOutrageous Fortune” marks a motion picture milestone — for the first time in action adventuring, the lead breaks a fingernail. It stops her for a moment, like a flesh wound, but she goes on to scrabble up the mesa in time to get her man. While other heroines tag along with Indiana and Croc, “Fortune” smiles on the precedent-setting teamwork of comediennes Bette Midler and Shelley Long, the first female buddies ever to match wits with the CIA and the KGB and the no-good lout who done ’em wrong. They make a colossally madcap mismatch — natural adversaries who become best pals as they pursue their two-timing lover (Peter Coyote) from Manhattan to New Mexico. High-speed hijinks in high heels ensue. The chase begins in Harlem (they’ve promised a glowering cabbie $200 just to take them there), where a worried Long notices there are no white people on the streets. “There’s one . . . oops, they got him,” taunts Midler. The pratfalls become even more death-defying when biological cycles make one of our heroines real cranky. PMS Rambo is unleashed, and the battle of the sexes intensifies. Westward ho, the women track down the wily Coyote in a whorehouse, recognizing his lusty love calls through the door. Their illusions shattered and their friendship forged, they soon figure a way to avenge themselves — preferably by pulling his face off. “Fortune” is every bit as rude and wonderful as “Ruthless People,” the second of Midler’s three dirty, ditzy comedies for Disney. The Divine Ms. M works a variation on her tough tootsie as a tacky, sharp-tongued starlet whose last movie was “Ninja Vixens.” She revamps Sophie Tucker’s delivery and revs Mae West’s languor up to Mach speed. All that plus the Midler wiggle — like Jell-O in a pantyhose mold. Lewd and low-down, she’s a natural counterpoint to Long’s perfect parody of Ivy League snootiness, a goofy expansion of the Diane character that endeared her to “Cheers” fans. The pair become instant enemies as students of the reknowned Russian acting coach Stanislav Korzenowski (Robert Prosky). They form a temporary truce to track down Coyote when they find they’ve been man-ipulated by the completely captivating undercover Casanova. Before this spy story is done, the heroines will have come a long way, baby: Bonding, they learn, is better without a Bond. But debuting screenwriter Leslie Dixon is no propagandist. She’s a screwball feminist, penning her rough-and-rowdy girl talk in familiar patterns inspired by her role models Preston Sturges and Billy Wilder. And veteran Arthur Hiller, who directed Peter Falk and Alan Arkin in “The In-Laws” and Richard Pryor and Gene Wilder in “Silver Streak,” proves equally adept at managing a female odd couple. BetteBack January 22, 1987: Shelley Long On Leaving Cheers And Outrageous Fortune 25 Quotes on Wealth From Powerful Women At The Movies Or In Real Life It’s no joke! Joan Rivers left a $150 million fortune – and it’s all going to daughter Melissa… and her dogs, who were better than a husband ‘because they didn’t leave the toilet seat up’

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    Wednesday, October 22, 2014

    BetteBack DECEMBER 31, 1986: Outrageous Fortune Variety Review

    Variety Staff DECEMBER 31, 1986 | 11:00PM PT 377815_223683631038615_221327031274275_541408_1954474466_n Outrageous Fortune is well crafted, old-fashioned entertainment that takes some conventional elements, shines them up and repackages them as something new and contemporary. It’s a traditional male buddy film that has substituted women and the main plot device is that the two heroines are sleeping with the same man. Bette Midler and Shelley Long collide even before their affections do in an acting class given by the eminent Russian director Stanislov Korenowski (Robert Prosky). Long is a wealthy, spoiled dilettante while Midler last starred in Ninja Vixens. When the audience learns they’re sharing the same man (Peter Coyote) before they do, it’s a delicious moment complete with one image-shattering sight gag. The film takes off as a chase picture with the girls following Coyote to New Mexico to demand a decision. They’re not the only ones looking for him. It seems the CIA is hot on his trail as is the KGB. To top things off, it turns out Korenowski is a Russian agent first and a director second. Even when Leslie Dixon’s script sags and becomes a bit repetitious in the long New Mexico chase section, Midler and Long are never less than fun to watch.
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    Saturday, October 11, 2014

    BetteBack January 22, 1987: Shelley Long On Leaving Cheers And Outrageous Fortune

    Winnipeg Free Press January 22, 1987 374639_223684101038568_221327031274275_541441_7810151_n A few weeks ago, the day Shelley Long announced she would be leaving her role as Diane Chambers, the sassy, literary minded waitress on TV’s Cheers, the phones in her publicist’s office rang all day. People across the country wanted a comment, a reason for her departure. What should, perhaps, have come as a Casual announcement from Hollywood’s faritasyland turned into a heated race to get “the scoop.” One of the most popular sitcoms on TV for the past five years, much of the show has been built around Diane’s on-again, off-again, onagain romance with the less than brainy, but very brawny bartender, Sam Malone. Their rollercoaster romance recently culminated in an engagement. But Long won’t be around to hear the wedding bells. “Boy, it was tough, really tough,” Long says, shaking her head, of her decision to leave the show. “I really care about all those people, about the show, and Sam and Diane‘s relationship, and it was very hard to let go of that. But the producers couldn’t give me any specifics in the direction that the relationship would take next year. The first year that process of getting together was difficult, there were some wonderful episodes done but there was a kind of struggle involved. It was hard to know what that relationship should be like when Sam and Diane were together. “After the breakup it was pretty jerky from then on. There was a constant juggle. My question was “What is going on here? What are my feelings? What is my character looking for?’ It was difficult to know what Diane had in mind, what she was seeking. I would have a lot of questions, as actresses always do, and when you’re working with a lot of people there, a lot of writers and producers, it’s hard to get clear insights into those questions.” It is obvious that despite the fact the actress has landed a sweet development deal with Disney Studios, leaving the show that made her famous was a serious decision. She relates an anecdote about two women she encountered in an elevator who expressed their disappointment at her departure. From her tone, it’s clear she feels, on a very personal level, that she’s let down her fans. “I’m touched to hear that people feel that kind of tie to my character and the show. I understand that Diane is a primary element in the show but I don’t think she’s the most primary. Everyone is given strong consideration and a lot of exposure. I’m sure Cheers will do just great next year without me.” C e r t a i n l y her d e p a r t u r e shouldn’t, in reality, be given the importance of headline news but, then again, considering the reams of articles on how Dallas viewers felt cheated by Pam’s Dream, it’s understandable why Long herself seems to be suffering from some private angst. But whatever personal turmoil her decision has wrought, Long may find solace in the release of her first film for Disney, Outrageous Fortune. Although she has done numerous films before, from the bombs Caveman, Loosin’ It and The Money Pit, to Night Shift and Irreconcilable Differences, it is Outrageous Fortune that may make the actress a viable box office draw. The witty, rowdy comedy pairs Long with Betle Midler in one of the few female “buddy” pictures to come out of Hollywood in recent history. Both women play actresses, with Midler playing the unorthodox slob and Long — in a role not too far removed from Diane Chambers — a sophisticated, snobbish “.method” actress. “I think the combination of Shelley Long and Bette Midler brings a lot of images to mind and just makes you laugh,” says Long. “It was written that way, for two different ladies who are thrown together in an unlikely situation but who make the best of it.” The “situation” in this case is the discovery that their “dream” man (Peter Coyote) has been romancing each of the unsuspecting actresses. But the battles between Long and Midler on-screen made the papers as well when it was reported the pair were fighting off-screen over who would receive top billing in the credits. “The word battle is so ridiculous,” asserts Long. “It wasn’t a battle. Billing is an important element in a contract. It does affect advertising and conceptions. I don’t know, this isn’t my area. Lawyers, agents and managers, they get into it and it’s regarded by those people as being important. It’s not life shattering, but it’s important. I had my contract’first. Bette wanted top billing, which makes every sense in the world, and those people went off and worked it out and everyone was happy. I got top-billing in half the country and she got it in the other half. What annoys me is that the press seems to really be looking for any issue. “If people want to see a good fight, they should go to the movie because we fought good. We scream and roll on the floor and pull each other’s hair. It’s great. They’ll love it.”
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    Monday, December 26, 2011

    BetteBack February 8, 1987: Bette Midler – Few Regrets And Lots Of Fun

    MONTGOMERY COUNTY RECORD Bette Midler: Having A Wonderful Time Februcry 8. 1987 Bette Midler looked like a housewife who might be preoccupied with things at home. Her hair .fell in a single braid, and the bangs may have been geled. She was wearing loud plaid pants and matching oversize sweat shirt. She was also wearing braces on her teeth. “They were starting to climb over each other,” she said. “The dentist is putting them-back in their place.” • •. ” – She’s done a new film. It’s called “Outrageous Fortune.” It’s a comedy, and Shelley Long is her co-star. They play characters who are in love with the same guy, a bounder who uses both women to his own nefarious advantage. Midler was pregnant when she did the film. Now, she and husband Harry Kipper, a commodities trader, are the parents of a girl named Sophie. It was said (by columnists) that the Kippers named their child after Sophie Tucker, the legendary cabaret’ stager, and Midler smiled when someone mentioned this. “No,” she said, “we named her after an impoverished German princess:” That wasn’t true either. The queen of camp was kidding. “Actually,” she said, “we just wanted a name that was more European than American. We picked Lulu first, then we thought of giving her a Hawaiian name, but we finally settled on Sophie.” During filming, the currently fashionable oversize clothing took care of hiding the pregnancy. It didn’t take care of the physical activity, and there is a lot of that in the film. What Midler didn’t do, doubles did. “I-had tremendous reservation, but the doctor said that all I had to do was stay cool, eat right and do no drinking, .drugs or smoking,” said Midler, who added that smoking was no problem because she smokes “about one cigarette a month.” She is 41 now. She had her first child a little late in life, but she loves motherhood. “It’s so rewarding,” she said. “It’s tiring, too. I’m a working mother. I’m not really working that hard, but it is a lot of work. It’s nothing like what I thought it was going to be. It’s those 2 o’clock feedings. I have help, but I found I was very tired. For the first time in my life, I knew what my mother went through.” Knowing what she does, would she have another child? “Oh, yes,” she said. “I can’t wait to have my next. We’ll try to have one at the end of the year, I’ll be 42 when the next is born.” We had seen her new film, and one of the reporters asked how she liked doing the sex scene. “What sex scene?,” she said. The one where you go to the guy’s apartment, and the next thing we see are your and his legs extending beyond the rear of the sofa. She looked surprised. “I don’tknow anything about that,” she said. “I’ll tell you all I did. I went to his apartment, threw my arms around him, and then the two of us went down the stairs. Those are not my legs. I ‘m a b s o l u t e ly staggered- What can I say?” With that, she threw down a matchbook she was holding and smiled the Midler smile. “Oh, • well, it’s the movies,” she said. In most of her films, she has played”the matronly foul mouth, so she was asked if she would like to do something different. “Yes, I’d love to do something different, but the public will tell me when,” she said. “I’m having so .much luck. I’m nervous about rockingthe boat.” You did “The Rose,” someone said. That was serious. “Yes, ‘but I never got a job after that,” she said. “I’ve had my suecess doing comedy roles, but I do have other things in mind. I have a development deal with the Disney Studios. I have a couple of musicals and dramas in mind. My own instinct is that my true forte is musical comedy, so I’m going to t ry to m a ke t h e m. They’re in development. You know what that means. It’s like being stretched on a rack.” Midler first won fame in night clubs and ba th houses. R e c o rd albums and television specials followed. She also did her club act for the screen, and this is the quality she would like to bring to her feature movies. “I’d like to bring that to film,” she said. One of the things she would like to do i s .a m o v ie a b o ut t he Andrews Sisters, but it doesn’t look as though she will realize that ambition. “It wouldn’t be their life stories,” she said. ”It would be about their work with the USO during World War ii. It would be that part of their lives. I’ve talked to both Patti and Maxene, but they don’t talk ,to each other, so it doesn’t look as though we will ever do it.” She had another idea. She wanted to do the story of Martha Raye, not her life story but a film a b o ut h er a c t i v i t i es o ff t he . screen. “Few people know it, but Ma r tha was a n u r s e ,” said Midler. “She actually worked in hospitals- It’s a great story, but I don’t think that one will be made either. Her agent wanted too mu c h, and we couldn’t ma ke a deal.” The Andrews Sisters and Raye aside, Midler is having a great time. “I’m having a wonde r ful life,” she said. “It’s taken a long time to be able to say that and not be afraid that I’d jinx it.” She has no regrets. “I’d do it all over again, just as I did,” she said. Someone mentioned one of her recordings, “Knights in Black Leather,” and asked if she would do that again. “Well,” she said, “that’s the exception. That’s one thing I don’t think I would do again.” With that, she went on to the next table where she proceeded to smoke two cigarettes, two months’ ration, but then motherhood and table hopping with the press can do that to you. “Outrageous Fortune” opened Jan. 30. Peter Coyote is the guy who uses both the leading ladies who then pur sue him about the country, to his discomfort. The film is being released by Touchstone, the Disney subsidiary created to handle those films that fall outside the “Mary Poppins” genre. This one does.
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