Reviews

I'm surprised that no one yet has mentioned that there are two versions of this same film. The lion's share of the footage in both is identical, but here is where they differ: In one version (the version I have seen most often on broadcast TV), the group of clerics guarding the gateway consists of the "Brotherhood of the Protectors", a (fictional) splinter group of priests and brothers "excommunicated" by the Church. In the other version, which I've seen only once on TV, the clerics guarding the gateway are depicted as priests of the official Church, meaning the Archdiocese of New York (or perhaps Brooklyn). Also, in the former version, in most of the pertinent scenes, the clerics are referred to as "brothers" (and in some scenes, you can see where the lips say "Father" so-and-so but the dubbed audio says "Brother" so-and-so. In the latter version, I believe everyone is referred to as "Father".

In any event, it seems that one of these two versions is more or less a partial re-shooting of the other, with all "Brotherhood of the Protector" scenes re-shot as "Archdiocese" scenes, or vice versa. (Kind of reminds me of the Raymond Burr cutaway scenes in "Godzilla"). I have videotaped both versions off broadcast TV, so no, I'm not imagining this. Can anyone shed some more light on the story behind these two versions of the film?

Why, why, why did Jennifer Grey have to go and get a nose job? I hardly recognized her in this movie. IMHO, she looked rather attractive just the way she was.

OK, having got that off my chest, I am one of those who like Bounce, despite Affleck's limitations as an actor and the somewhat predictable plot. A bittersweet, tender romance movie is not really meant to move mountains artistically, nor should it be expected to. But this one does draw you in, emotionally, for better or for worse. Case in point: Look at all the IMDb comments posted on it! And as for those who would have liked more sizzle in the romance between Affleck and Paltrow, remember, this is a film that also has the death of Abby's husband as its constant backdrop, hence, the film's rather understated treatment of their romance, I think.

I don't know which is more annoying, Ken Wahl's fake NYC accent in "The Wanderers" or Karen Lynn Gorney's in "Saturday Night Fever". Apparently both Kaufman and Badham figured nobody would notice. We noticed.

We also noticed when TV's "Taxi" picked an actor with a Boston accent to play Tony Banta's father in the sea chanty episode. We also noticed when TV's "Facts of Life" also picked an actor with a Boston accent to play a recurring role as Jo Polniaczek's father. What is it with Hollywood that makes it think that anyone who drops his R's (naturally or when faking it) is going to pull off sounding like an authentic New Yorker?

I guess it's like that line in the British TV comedy "As Time Goes By": "To the viewer in Iowa, Dick Van Dyke (in "Chitty Chitty Bang Bang") _does_ sound like a Cockney."

Aside from the fake accent, though, I still liked Wahl in this movie.

For you outtake fans: The DVD collection includes a movie trailer for "Buck Privates", and in the few seconds shown of the "Drill" routine, if you look and listen carefully, you'll notice that this footage is NOT the same take as the scene in the finished film. I was startled when I noticed it.

Having seen this movie dozens of times on TV over the years, I was also surprised to see a couple of minor scenes, for the very first time, that had always been cut by our local TV station in order to make room for the commercials. And the prints are great. If you're an big A & C fan, the DVD volumes are worth every penny (except maybe Vol. 4).

Incidentally, I'm amazed to find that some Abbott & Costello fans are still under the mis-impression that they hated each other in real life. Not true, according to the several books I've read about the team. If I'm not mistaken, most knowledgeable sources describe their off-camera relationship as ranging from an amicable partnership to genuine friendship. Bud wept at Lou's funeral, for instance.

The closest they came to a falling out, rumored to be instigated by those jealous of their success, was when, several years into their film years, Lou asked to have their 60/40 split of the take (60 Abbott/40 Costello) even'd out to 50/50. Bud agreed to Lou's request. (The 60/40 split for straight man/foil was more or less the standard for comedy teams during that era. Unheard of now, of course, but there you go.) But this incident was never a heated one, and never threatened their partnership or their friendship.

I vaguely remember watching this movie on TV. All the while, something seemed really off about it, something vaguely odd, but I couldn't quite put my finger on why. Then, while watching the final scene, it suddenly hit me - - the entire movie was filmed without a single male in the cast! None! Not even the extras in scenes where you would normally see male and female extras in real world settings. Now, this _was_ a movie written and filmed by feminists, fair enough, but this total exclusion of males from the cast - - even in outdoor scenes around town, etc. - - was positively bizarre.

As Ma Bailey tried to tell Anne in "It's a Wonderful Life", "But if there weren't any boys, there wouldn't be any...oh, never mind."