You won't be disappointed!

Sorry, this movie sucks

Best movie ever!

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

Production assistant Jeff Brooks (Arye Gross) tries to convince Dixie Leonhard (Bette Midler) to join Eddie Sparks (James Caan) on his TV special. Dixie is bitter and recounts her history with Eddie. During WWII, Dixie is overjoyed to sing with Eddie. On the other hand, he is dismissive at first and angry at her crude humor. Art Silver (George Segal) convinces them to be an entertainment duo. Dixie's husband gets killed in the war. During Korea, they get caught up in the fighting. Art is blacklisted and Eddie is forced to fire him. Dixie's son Danny starts rebelling and sees Eddie as a father figure. Danny joins the military for Vietnam and Dixie blames Eddie for his lost.The construction is very flat and biopic-like. The problem is that it's not a biography and it doesn't have that extra appeal. There is very little intensity and the drama has no tension. The central conflict centers on Danny and yet he is no more than a prop. This movie should be mostly about the conflict between Eddie and Dixie over Danny. That's the only place where the drama has any tension.

This is a terrible movie that uses every trite sentimental piece of flotsom and jetsom that the irresponsible producers (Bette was one) could throw in.Here is the stout hearted troop entertaining other stout hearted troops from which hubby emerges to be sung to by his sexy smart mouthed hoofer/singer/wife on stage. His last hurrah. Cut to widow in black weeds. Here, worst of all, is the god-awful wrung out slow motion machine gun death of a perfect top-of-his-West-Point-class son, trying to reach Mom who, incidentally, probably drew the enemy fire in the first place with her belted out songs and thudding around the stage. It must be said in the son's favor, however, that he managed to get his hair stylishly cut (just a whisper of mousse)and deliver a moving anti-war speech to his slack jawed mom before biting the dust (dust he wouldn't have bit if he had the sense to come in out of the flack). By the way, didn't anyone casting this turkey realize that the son's bone structure and genetic characteristics would not have completely altered over the years from childhood? I think the adult son actor is hunky, but he must have been a Walk In for the other kid.It is deeply offensive to portray any young man dying the way this movie does. It is vicious and unnecessary, given the countless thousands of non-chic snipped young men who died in Vietnam. And, let's just say it, it is an insult to West Point. I mean, really, if they can't even teach their "point man" to keep his damn head down under fire, we might as well turn the place into a day care center.However, all that said, I would definitely recommend you see this movie. Bette in a rubber ducky suit is worth the price. Why is it that special effects people can give us incredible illusions like Star Wars, and can't make one middle aged Jewish woman believable as a dottering old crone? Just as well, it's hilarious to watch her waddle. When I saw Old Bette in that purple Balenciaga ballgown, I reflexively looked for the tie down rope.I can't bear to share my thoughts about the tear jerking (from laughter) final scene in this flick. Let's just say that "For the Boys" should be in a boxed set with the remake of "Lost Horizon".

FOR THE BOYS might just be a "Better Midler" film today, in a period of another middle east war and albeit a more tragic and unpopular one with a far more critical and on going media focus than the first 1991 war.....This exceptionally well made musical drama, made for about $70 million in 1991 and really a protest musical parable, did not reach the intended at the time and the first Iraq war was over before this film had a chance to make an impact. Seen in 2006, now is actually the right time for this film. We are also quite a while from other Bette Midler films of the 80s and as a result FTB has a stronger solo spotlight. Having appreciated this film in that light, I believe it is possibly one of the last great semi musicals of the 20th century and is helped immeasurably by a very pungent script. At times it is not unlike NEW YORK NEW YORK both in look and romantic combat. Cann and Midler work so well against and with each other, underlined by George Segal in a role that is actually substantial for him. Apparently this is loosely based on the life of Martha Raye, who complained bitterly upon release that "this fact" was not recognized. FOR THE BOYS is a major musical film but tapers off tune wise in the last 40 minutes while the starling and harrowing (but slightly illogical) Vietnam War scenes are played out. Midler is front and center star at all times and the production values show the huge budget well spent on screen. If reissued today might get a better reception given the Iraq war to play against and therefore have more impact. It's a good film, serious and with excellent music and comedy in the first hour especially.

After FOR THE BOYS flopped at the box office, Bette Midler angrily told the press she would never make another musical.But the trouble was she DIDN'T make a musical. She threw a few numbers into a heavy-handed "message picture" that strikes political poses which are obvious and overly-familiar.It starts out so well, a real old-time star vehicle, perfectly showcasing Midler's musical and comedic gifts, but less than an hour in, it transforms into something much less interesting.Musical numbers disappear, replaced by pious liberal sermonettes, teaching us that blacklisting, patriotism, sexism, and the Viet Nam war are all Very Bad.FOR THE BOYS illustrates the damage done to a story when the writers refuse to be fair to a major character. Here, James Caan is painted in such broad strokes as a two-dimensional villain (sexist! adulterous! untalented! corrupt!), the whole film becomes a cartoon.By the time you see them in the worst old age make-up in Hollywood history (it looks like someone stuck pie dough on Midler and Caan's faces), what little credibility remains is swept away for good.But the first 45 minutes reminds you how great Midler can be in the right vehicle. Will someone please cast her in another musical? A REAL one this time.