"Lord Love a Duck" is one of my favorite films, in spite of the fact that Roddy McDowell is so irritating in it. While watching each scene, I can't shake the fact that this is a thirty-seven-year-old struggling to play a high school senior. How marvelous it would have been if Tommy Kirk had been given this part. How perfect he would have been. He was only twenty-four when this film was made, easily could have passed for eighteen, and had a natural mischievous, playful quality the role called for.
I don't agree. I think McDowall is wonderful in this film, and very believable as a high school senior. Tommy Kirk was pleasant enough to watch, but didn't have much depth. I can't imagine him being able to pull off the bizarre role of Alan. Kirk would have been so out-classed in the scenes with Ruth Gordon, for instance.
I'm surprised you see Ruth Gordon as an actress with class. To me, she was never anything more than a scenery-chewing, mugging, hammy annoyance. In any case, just as Tuesday Weld turned out to have the depth necessary for her role (surprisingly to some, I'm sure), I fail to see why Tommy Kirk wouldn't have had the depth necessary for the role of Alan.
The film would still be crap. It's only because of the cast that I looked it up. Harvey Korman, Ruth Gordon, rarities like Jo Collins, and Lynn Carey (sang the songs for "Beyond the Valley Of The Dolls".)
This is a period-piece, and Roddy McDowell doesn't bother me. He made "The Planet of the Apes" a couple of years later and didn't look back at this schlock-fest, you can be sure of that.
You needed a really good actor for the part of Alan and McDowell had it all sewn up. Doesn't bother me in the least that he was too old -- I didn't even think about it. I just found his character fascinating and well acted.
Not only did she co-write with her husband Garson Kanin, the best Katharine Hepburn/Spencer Tracy films, she wrote her autobiographical film The Actress, which is one of the best "slice of life" movies ever made. Spencer Tracy played her father, and a very young Teresa Wright (Shadow of a Doubt, Best Years of Our Lives) played her middle-aged and provincial mother with utter believability. And then of course, there was Rosemary's Baby when she was well over 70. It was a wonderful, adroit performance by a pro. I would like to know more about her theater work. Don't dis Ms. Gordon in my presence, please.
I'm not much of a Roddy fan per se - I don't watch a movie just b/c he's in it. That said, I thought he did a fantastic job in this - I didn't think he was too old - he certainly didn't look it, and it never occurred to me what his real age was. I also can't imagine anyone else playing Alan - it seemed to suit him perfectly, and everytime he quacked, it cracked me up. In any case, I believed him in the role b/c he went for it all the way and it never seemed phoney or forced and he never looked like he felt ridiculous for doing it, which I think would've happened in the hands of another actor.
"Are you going to your grave with unlived lives in your veins?" ~ The Good Girl
Though I'm not sure about the Tommy Kirk part, I have to agree with you regarding Roddy McDowell. He almost ruins the movie for me. I find this film hilarious - everyone hits just the right notes for absurdist satire -but Roddy McDowall is annoyingly one-note throughout. Whatever his style of acting is, it's the exact same "performance" he's given in countless movies (chiefly his role of Tony Crumb in "The Cool Ones"). In fact, beyond being covered by pounds of monkey-makeup in the "Planet of the Apes" franchise or affecting a terrible Cockney accent (or whatever the hell that was supposed to be) in "The Poseidon Adventure," he seems incapable of giving anything but the same lazy performance from film to film, no matter how he's cast. By all accounts he was a very nice person, but the durability of his film career has always escaped me.
Though I'm not sure about the Tommy Kirk part, I have to agree with you regarding Roddy McDowell. He almost ruins the movie for me. I find this film hilarious - everyone hits just the right notes for absurdist satire -but Roddy McDowall is annoyingly one-note throughout. Whatever his style of acting is, it's the exact same "performance" he's given in countless movies (chiefly his role of Tony Crumb in "The Cool Ones"). In fact, beyond being covered by pounds of monkey-makeup in the "Planet of the Apes" franchise or affecting a terrible Cockney accent (or whatever the hell that was supposed to be) in "The Poseidon Adventure," he seems incapable of giving anything but the same lazy performance from film to film, no matter how he's cast. By all accounts he was a very nice person, but the durability of his film career has always escaped me.
I love the man but I have to agree. Once he was hit his late 30's and on his was stuck in a one note performance. At the end of this film his last scenes could have easily been lifted from the film "Shock Treatment". Same tone in his voice. Same look on his face. Then check out his roles on the tv shows 'Columbo' & 'Murder She Wrote'. The same.
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Is he really suppose to be a high school senior? He is never seen in a class room and is not a graduate at the end of the film. He is an unspecified individual with preternatural powers. He may hang around school, but he does not attend school. A lot about him is left unexplained including what he gets or wants from all the things he arranges for Barbara Ann.
He was definitely a high school senior as the beginning shows him wearing a black graduation robe at the ceremony, not to mention he was the valedictorian of the class. THEN the movie flashbacks to the beginning of the senior year when Alan meets Barbara Ann where he comments on how they're both about to enter their senior year. Also, the principal knew him and respected him as an extraordinarily gifted student.
His hip genius alienated him socially, but he seemed not to care. It's like he felt the other students -- and adults -- were beneath him. But he was fascinated by the misleading beauty of the shallow Barbara Ann.
Your interpretation is fascinating, but I favor the position that he was simply an extraordinary student prodigy:
McDowall was 36 during filming playing a high school senior, which he pulls off because of his youthful looks and the B&W tended to hide his age. His character, Alan "Mollymauk", is intriguing and comes across as a mixture of Svengali, Professor Higgins and Faust after his bargain with Mephistopheles. Some have described Mollymauk as a nerd genius. While he's obviously a brain, he's not a nerd because he's too cool, confident and aloof, almost condescending to those he considers lesser, which just happens to be everyone, teen or adult.
The tagline for the film is: "It's about a man living in our insane world who suddenly goes stark raving sane and commits mass murder." What brought about the downfall of this extraordinary individual? His obsession with the beautiful-but-shallow Barbara Ann, whom he had the power to grant every whim, but couldn't make her love him. Being a virtuoso Brainiac in high school, while a gift, is also a curse socially. Alan was helplessly attracted to Barbara Ann, but he knew she wasn't the type of girl that would go for him. She wielded womanly power over him.
As valedictorian of the class, Alan was honored by the faculty and entrusted with the keys of the school (there's nothing mystical about using keys to unlock doors). He may have used his expertise with hypnotizing to gain this trust, but this 'power' didn't seem to be anything supernatural as witnessed with his attempt to hypnotize Barbara Ann.
That fact that he resorts to enraged emotion and mows down Bob AND several others present at the graduation works against your theory, not to mention landing in prison.
As for no normal student wanting "Mollymauk" as a nickname, Alan was decidedly not normal and took the silly name because he was above caring what others thought. It's akin to Riot (the metal band) choosing a harp seal pup as their mascot.
There's not enough evidence to conclude that Alan had "complete control" over other people. If he did, killing Bob would've been a piece of cake and the muscular jock would've never gotten out of his car to threaten him, not to mention Barbara Ann would've loved him.
I don't remember Alan manipulating Barbara Ann's mother to commit suicide (and I just saw the movie last night). What I saw was a hottie early-40s woman depressed about getting old and having to be a cocktail waitress, of which her daughter just revealed she was ashamed; and she had no one with whom to talk.
Also notice that Alan couldn't magically produce anything, like the 12 sweaters Barbara Ann needed to join the clique; he simply recognized how she could best obtain them, which is a matter of insight or common sense, not anything supernatural.
The way Alan is shown to be tight with Bob's mother and living in her house can be chalked up to those silly plot developments of similar movies of that era, like Elvis flicks (I saw one recently that used this kind of absurd plot twist). I think it reflects lazy writing or, more likely, the creators were trying to be amusing. Still, it could be argued that Alan started developing a relationship with the mother behind-the-scenes as soon as it was clear that Barbara Ann was falling for Bob. And he secured moving in to her abode shortly before the couple arrived that day.
The fact that Alan's family and home life are never shown doesn't mean he didn't have parents and a place to live. We never see several other character's home life either. Neither is anyone shown going to the bathroom, but we assume they did. :)
Alan knew Barbara Ann's name & house because she was beautiful and he was obsessed with her (he loved her, he admits at the end) and she was from an adjoining school district, which consolidated with his.
Your theory is valid, I just favor the literal interpretation for all these reasons.
Sometimes though, a work takes on a life of its own and may have dimensions that the creators did not anticipate.
It's true. But the most authentic interpretation is the more water tight one with clear evidence from the work itself. Everything else is an alternative view and people are free to hold that position if they so choose.
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