What's Up, Doc? (1972; d. Peter Bogdanovich)
"A terrible piece of shit," is how John Calley, Warner Bros. executive, described the script by David Newman and Robert Benton (The Graduate), based on a story by Peter Bogdanovich. Coming off The Last Picture Show, the director had called up the writers in New York, telling them he wanted to do a modern version of Howard Hawks' 1938 screwball comedy Bringing Up Baby, starring Cary Grant as a paleontologist and Katherine Hepburn as an irritating heiress.
Barbra Streisand was secured to play the "irritating" leading lady, in what would be only her second film role in a non-musical; Ryan O'Neal was enlisted to play an absent-minded musicologist, bespectacled for the part, just like Grant. Calley, however, was unhappy when he read what was supposed to be the final script, just three weeks before production was due to begin. "I wanted to blow my brains out, it was just awful," he later told Peter Biskind for his book Easy Riders, Raging Bulls. According to Calley, Bogdanovich told him to relax, that he'd make it up as he went along. Calley insisted on hiring Buck Henry to rewrite the script, which he completed in two weeks. Henry had adapted the Broadway play The Owl and the Pussycat for Streisand, her first non-musical role, in 1970.
Released in the spring of 1972, a few months after the critical success of The Last Picture Show, and at the same time as The Godfather, What's Up, Doc? turned into a box office success, trailing only Francis Ford Coppola's gangster picture and disaster flick The Poseidon Adventure. As a young person, I remember laughing uproariously at the farcical silliness, the sight gags, and the knockdown humor.
Watching it again, however, the laughs were few and far between; it struck me as frantic and noisy and messy and juvenile -- and not in a good way. Coming as it did after The Last Picture Show, a movie I also rewatched recently, which has lost little of its power, What's Up, Doc? seems like a good idea that is mired in Bogdanovich's rose-colored nostalgia for an age gone by.
Film critic John Simon, really didn't like Streisand's performance. Writing at the time of the film's release (republished in the book Reverse Angle), he commented: "Her acting consists entirely of fishily thrusting out her lips, sounding like a cabbie bellyaching at breakneck speed,and throwing her weight around. … Miss Streisand is to our histrionic aesthetics what the Vietnam war is to our politics."