"W.C. Fields and Me" and Me

The HBO family of networks showed "W.C. Fields and Me" (1976) a lot this past year, and I finally got around to checking it out. I was letting it gather virtual dust on my DVR because I was waiting till I read the Simon Louvish biography on my shelf. Well, the book is still gathering actual dust, having been pushed back in the pile for one reason or another, so I remain unschooled in the "real life" of the classic comedian. I just know he's funny as hell and I enjoy his movies.

"W.C. Fields and Me" may be pure fiction as the Gospels (AKA Maltin's movie guide) says, but it sure is a fascinating watch. For me, it boils down to one thing: Rod Steiger + bulbous nose + makeup + humorous impersonation as Fields = a magnetic performance. Just try taking your eyes off Steiger in this movie. It must have been audacious even then for him to take on that role, and he doesn't just take it on, he goes at it with gusto.

The great thing about seeing Rod in this biopic is picturing Rod Method-ing the heck out of the plum assignment. You just KNOW Steiger was puttering around the set in full makeup during the entire shoot, hating babies, kicking dogs, and not being in Philadelphia (Of course, it's possible those pastimes were standard items in his daily routine; I'm unschooled in the life of Rod Steiger, too).

Rodwatching really does provide the fun in "W.C. Fields and Me," but I can't blame you if you're into Valerie Perrine watching as well. Remember when Perrine was one of the biggest sex symbols in cinema? Well, I don't--I was too young--but I know that's how it was at one time. She plays Fields' live-in...well, something or other. They love each other, but she serves as his secretary, but he treats her like a Philadelphian--to borrow the title of a recent Steigerless movie (though Steve Martin and Alec Baldwin are getting a little bulbous themselves), It's Complicated.

At least, it's supposed to be complicated. Arthur Hiller's film focuses on the relationship between Perrine's Carlotta Monti (who wrote the tell-all on which this screenplay is based), but it's not exactly the stuff of classic romance. After all, Monti desperately wants to act, and I'm talking about acting on the big screen, not just acting like Fields' drunken boorishness isn't always aggravating. Fields, however, sabotages her shot at a Hollywood career, and while in some circles that would be considered a favor, it's a pretty crummy thing to do, even if he does eventually try to sort of make amends. Sure, we see Fields' "softer side" and maybe even utter an "Aww," or two, but overall Fields ain't a model of human kindness in here, and even given his extraordinary talent, it's tough to see what Carlotta sees in him other than his access to the studio.

Not a lot else happens, but it is interesting seeing Steiger as the great comedian. He does a passable physical recreation but doesn't capture Field's inherent comic charisma. But who could? There are memorable turns by Billy Barty and Jack Cassidy (as John Barrymore) that help the movie along, and you have to admire the attempt at period recreation, though there isn't a lot of Fields on the movie set being Fields, or Steiger being Fields being Fields.

I enjoyed "W.C. Fields and Me," but those more educated in the life, times, and persona of the legendary comedian might give it a lot less slack. I think Fields fans owe it to give it a look out of curiosity if nothing else.