Lucybespro It is a performances centric movie

Taraparain Tells a fascinating and unsettling true story, and does so well, without pretending to have all the answers.

Orla Zuniga It is interesting even when nothing much happens, which is for most of its 3-hour running time. Read full review

Geraldine The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

rgcustomer I generally agree with the commenter who left a comment titled "TRAVESTY", with the exception of their final few sentences.The hotel spy-caper farce was idiotic and insulting, but the role of Toddy was cast well.A filmed stage play or musical can be a wonderful thing. But this one failed before the cameras ever arrived, because it wasn't a good stage experience to begin with.Similar to the 1933 film, nobody was ever going to mistake this Victoria for a man or boy. They should have found an actor who actually could pass for either sex. Breast-binding probably isn't possible if you're supposed to belt out songs, but that doesn't mean you give up and cast Dolly Parton.I did like the plot tweaks of the stage version, compared to the 1982 film. Things seemed to be clearer, with a positive message that must have been thrilling for some in the audience. But at the same time, so much was wasted on pointless dance numbers, and songs about nothing. Then instead of acting a scene, too much exposition had to be sung as if reading from a book.Don't waste you time. Watch the 1982 film.

mark.waltz The filmed version of the 1995 Broadway production of the 1982 movie "Victor/Victoria" (previously a German and later British 1930's film) was a strange choice for TV broadcasting. Given the availability of the "practically perfect" (to quote another Julie Andrews movie made into a Broadway musical), "V/V" seems about as necessary as another version of "A Christmas Carol". The filmed production of the stage show is done professionally, but it only indicates what a mediocre show it was for the stage, as well as a sad opening and closing to Henry Mancini and Blake Edwards' stage career.The 1982 boldly went where no other movie musical had dared to go, taking homosexuality in movies away from such recent embarrassments as "Can't Stop the Music" and "Cruising". However, thanks to 1983's "La Cage Aux Folles" (in development at the time of the release of the original "V/V" movie), what came to the stage over a decade later was as dated as "The Floradora Girls" and is presented in the tradition of Blake Edwards' most forced comedies.The depiction of homosexuality in the original movie was daring yet not obnoxious or out of place in the film's 1920's Parisian setting. Other than a few overly bitchy queens (commonplace in the world of female impersonators anyway), there was really little to offend, and straight audiences accepted "V/V" for the entertainment it was. Unfortunately, by 1995, an overly political correctness took over what 10 years ago would have been more daring and different, and settled into a stage musical without the delightful bite of the original.Any production of "V/V" is going to be compared to the performance of its Oscar nominated leading lady, Julie Andrews, and fortunately, for the TV production, she gets to repeat her role. In the decade between the original movie and stage production, she didn't seem to age a bit, and at 60, she is still amazing as both Victoria Grant and her male alter-ego, a Polish Count named Victor. While the high notes of "Le Jazz Hot" are no longer there, that doesn't matter a bit. She is still fantastic, and a shining light as a rather overly dressed lampshade. Michael Nouri, as King Marshan, also does excellent work, and gives a wonderful performance as a masculine gangster who questions his own masculinity in the song "Is the Woman I Love a Man?", the best new song in the show.However, the performances of Rachel York and Tony Roberts don't come anywhere near those of Lesley Ann Warren and Robert Preston from the movies. Warren spoofed every single dumb blonde in the movies up to that point (most notably Jean Harlow's not so dumb one in "Dinner at Eight"), yet York gets really bad new material that makes you want to see the character get soap in her mouth. "Paris Makes Me Horny" has rightfully been classified as one of the worst songs in a Broadway show ever. Roberts takes the showy role of Toddy and tramples it into one of the most boring homosexuals in entertainment history. He takes Preston's best lines and throws them away like a used coffee filter. Tody shouldn't be totally flamboyant or he could be extremely despicable, but he shouldn't be duller than dishwater, either.Other funny lines are transfered from the gay chorus boys to the elderly hag escorted by Tody's ex, and loose their punch. The new songs don't move the plot along; They say in three minutes what the characters said in two sentences. "Le Jazz Hot" gets a French Latin Quarter/New Orleans feel, but the wait for Andrews to enter takes too long. "Louis Says" is not a bad replacement for "The Shady Dame From Seville" and gives the production one of its rare feelings of being near or at the Moulin Rogue.Overall, "Victor/Victoria" is a missed opportunity that is a pale attempt to repeat the success of "La Cage Aux Folles". Two revivals later of that Jerry Herman/Harvey Fierstein/Arthur Laurents musical haven't dimmed the impact that show had on the political climate of Broadway, but "V/V" seemed almost unnecessary. The set, which opens and closes like a doll house, is an extraordinary technical achievement. I highly recommend watching the movie first and giving this one a shot if you are, as I am, a huge fan of Julie Andrews.

Petrushka I had no idea a Broadway version of Victor Victoria existed until I just happened to see it on a shelf at our local video rental store. Having seen the film version in 1982 and being a fan of Julie Andrews, I couldn't wait to get home to view it. Jule Andrews did a remarkable job, tirelessly going through 2 long acts, and at the age of 60! Even her dancing seems improved over the years. I loved her pre-curtain and intermission talks too. I felt I was right there in a front row. At first I thought Tony Roberts would not be as good as Robert Preston in the film version, but he came through with a lovable portrayal of Toddy, the gay drag queen. In the film, Preston did a spoof of Le Jazz Hot near the end that I thought was a bit over the top, in horrible drag and also appeared exhausted. Sadly he died not long after, a great loss. Blake Edwards so improved on this scene by having both Victoria and Toddy appear together in gorgeous gowns. Costumes and scenery were remarkable and the late Henry Mancini music, especially Crazy World, is so memorable and can bring tears to the eyes. All the rest of the cast including some great dancing and choreography have left a marvelous record of this performance. Thanks to them for a wonderful evening of viewing.

ms_sarah What a great movie! I enjoyed the made for the movies version, but this one, a taped Broadway show, is even better. Julie is spectacular - she shows off that incredible voice, dances wonderfully, and becomes her character so you believe what she's feeling. The rest of the cast is wonderful as well, particularly the adorable Tony Roberts as Toddy. Tony is hilarious and owns that character to a tee. I loved Michael Nouri as King Marchand - he's a very handsome man with a very nice singing voice. Finally, Rachel York as Norma Cassidy is delightfully wicked and funny with her "bleached blonde road scholar" grammar mistakes ("Out of my way, pheasant!" "You think, you worry, worry, think... before you know it, you are impudent!")The entire show is put together excellently with beautiful costumes and sets and a terrific display of talent. A must-see!