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Short summary

A struggling female soprano finds work playing a male female impersonator, but it complicates her personal life.
In 1934 Paris, trained coloratura soprano Victoria Grant, a native Brit, can't get a job as a singer and is having trouble making ends meet. She doesn't even have enough money for the basics of food and shelter. Gay cabaret singer Carole 'Toddy' Todd may befall the same fate as Victoria as he was just fired from his singing gig at a second rate club named Chez Lui. To solve both their problems, Toddy comes up with what he considers an inspired idea: with Toddy as her manager, Victoria, pretending to be a man, get a job singing as a female impersonator. If they pull this scheme off, Toddy vows Victoria, as her male alter ego, will be the toast of Paris and as such be extremely wealthy. That alter ego they decide is Polish Count Victor Grazinski, Toddy's ex-lover who was disowned by his family when they found out he was gay. The Count auditions for the city's leading agent, Andre Cassell, who, impressed, gets him a gig performing in the city's best nightclub. In the audience on the ...

Trailers "Victor Victoria (1982)"

The film had been planned as early as 1978, with Julie Andrews to star alongside Peter Sellers, but Sellers died in 1980, while Andrews and Blake Edwards were filming Hollywoodi viimane veidrik (1981). Robert Preston was subsequently cast in the role of Toddy.

The young man who says Victor is "divine" at rehearsal is Blake Edwards' son and Julie Andrews' stepson, Geoffrey Edwards.

Robert Preston did the final musical number in one take, which explains why he was so clearly out of breath, physically stressed, and sweating profusely during the second half of the number.

Before the "Crazy World" number, Victoria does a deal with King: they promise to not keep secrets or hold grudges, they won't plan past tomorrow, and they'll take things one day at a time.

According to Julie Andrews these were the promises she and Blake Edwards made to each other when they married in 1969; they stayed together till Edwards' death in 2010, and both attributed their long marriage to these promises.

The costume worn by Julie Andrews in the number "The Shady Dame From Seville" is in fact the same costume worn by Robert Preston at the end of the film. The costume was made to fit Preston, and then, using a series of hooks and eyes at the back, it was drawn in tightly to fit Andrews' shapely figure. Additional black silk ruffles were also added to the bottom of the costume, to hide the differences in height. It's a pleasure to watch the costume being purposefully damaged by Preston. Now in a private collection, the rips and tears are still present. The fabric is a black and brown crepe, with fine gold threads woven into it, which when lit, appears to have an almost wet look about it.

There were three films, and within them four 1983 Oscar-nominated performances, which featured gender-bending story lines, an all-time record for any one year. The movies and actors were: Dustin Hoffman for Tootsie (1982); Julie Andrews and Robert Preston for Victor Victoria (1982) and John Lithgow for The World According to Garp (1982).

The cockroaches were in a kind of deep freeze coma. They were placed where necessary for the scene and heated with a hair dryer. The crew could only hope that they went in the right direction, and no one knew quite where they went after filming of the scene was completed.

To prepare for her role in this film, Julie Andrews watched Viktor und Viktoria (1933), and took boxing lessons for her punch-out scene. Reportedly, Andrews struggled with her role in this film. Andrews has said of this: "There were so many things to be worked out. As someone who likes to be in control, I felt wobbly. There was something else, too. When you get older, you kind of get on to yourself. You know the tricks you play to get by, and you like them less and less if you care about your work. I was trying hard to get away from them, and was sometimes falling back."

During the "Le Jazz Hot" rehearsal sequence, the Choreographer, who appears to help Victor run through the steps, is actually Choreographer Paddy Stone. He would also appear, uncredited, as the Devil in the surrealistic, "Night Wind Goes To Hell" scene in Blake Edwards' Hollywoodi viimane veidrik (1981).

Julie Andrews really is terrified of cockroaches.

Rumors that Tom Selleck was at one time under consideration to play King Marchand were denied by Blake Edwards, who insisted that his first and only choice for the role was James Garner.

Second of three films that Julie Andrews and James Garner did together. They starred in The Americanization of Emily (1964), and again in One Special Night (1999).

Because this was filmed entirely on sound stages at Pinewood Studios in the U.K., the budget spiraled, partially due to expensive sets -- notably the high-end nightclub, luxury Art Deco hotel rooms, exterior Paris street scenes, and agent offices.

Julie Andrews and Lesley Ann Warren starred as Cinderella in television productions of Richard Rodgers and Oscar Hammerstein II's Cinderella.

This film was based on the German film Viktor und Viktoria (1933), which also exists in an alternate language version as Georges et Georgette (1934). These were remade soon afterwards in 1935, with First a Girl (1935), and again with Viktor und Viktoria (1957). Julie Andrews watched the first film to prepare for her role. This film later became the basis of a successful Broadway musical starring Andrews, and directed by husband Blake Edwards. The Broadway musical version was then made for television, Victor/Victoria (1995), also starring Andrews and directed by Edwards.

Robert Preston had been in films since 1938, and this was his only Oscar nomination.

The film was part of a breakthrough cycle of mainstream Hollywood studio movies featuring gay partnerships and drag characters. Others included Making Love (1982), Cruising (1980), Partners (1982), Tootsie (1982), Personal Best (1982), and Yentl (1983).

The Broadway musical "Victor Victoria", based on the movie, opened at the Marquis Theater on October 25, 1995, and ran for seven hundred thirty-four performances. Liza Minnelli substituted for Julie Andrews, while she was on vacation, and Raquel Welch took over for her, when she left the show.

This was the second consecutive movie that Julie Andrews provoked controversy, in relation to sexuality. In Hollywoodi viimane veidrik (1981), Andrews had appeared topless. Then, in this movie, appeared as a woman in drag, pretending to be a man, pretending to be a woman.

Julie Andrews and Blake Edwards were a married couple. They were together for forty-two years, until Edwards passed away in 2010.

Features the only Oscar nominated performances of Robert Preston and Lesley Ann Warren.

Lesley Ann Warren was offered the role of Norma Cassidy in the stage version of this movie, starring Julie Andrews, but had to turn it down, due to other commitments.

Although Blake Edwards' movies garnered numerous Oscar nominations over the years, this was the only time that he received an Academy Award nomination, for Best Screenplay Adapted from Another Medium. However, in 2004, he was awarded an honorary Oscar in recognition of his writing, directing and producing an extraordinary body of work for the screen.

Blake Edwards said that it only took a month to write the screenplay.

One of many collaborations of Composer Henry Mancini and Blake Edwards.

Julie Andrews reprised her role in 1995, in the Broadway production of this movie.

Lorimar was originally supposed to produce the film, but after seeing that it would cost twenty million dollars, they turned the rights over to MGM.

Last movie of Julie Andrews and Robert Preston together.

One of nine credited collaborations between Julie Andrews and her husband Blake Edwards. The films include 10 (1979), Hollywoodi viimane veidrik (1981), Selline on elu (1986), Darling Lili (1970), The Tamarind Seed (1974), Victor Victoria (1982), Victor/Victoria (1995), and The Man Who Loved Women (1983), plus "Victor Victoria" on Broadway.

Julie Andrews and John Rhys-Davies appeared in The Princess Diaries 2: Royal Engagement (2004).

Included among the American Film Institute's 2000 list of the Top 100 Funniest American Movies.

This was the first of Blake Edwards' gender-bender movies, and would be followed by Skin Deep (1989) and Switch (1991).

First of two movies that James Garner made with Blake Edwards. The second was Sunset (1988).

The first English version of the 1933 German film, was First a Girl (1935).

"Toddy", actor Robert Preston in the final scene from Victor/Victoria is wearing dancing shoes for the number, The Shady Dame from Seville. In this scene when Preston is off of his feet one can clearly see his right shoe is a flat, and left shoe has about a 2 inch heel.

Squash Bernstein (Alex Karras) was a football player before he was a bodyguard. In real life, Karras was a football player before he turned to acting.

The bumbling detective Charles Bovin is based on Jacques Clouseau, the bumbling police officer in Blake Edwards's Pink Panther comedy films.

Second and last of two movies Robert Preston made with Blake Edwards, the first being Hollywoodi viimane veidrik (1981).

One of two movies directed by Blake Edwards released in 1982. The other was Trail of the Pink Panther (1982).

This film features actors who have starred in DC Comics films:

  • Julie Andrews and John Rhys-Davies starred in Aquaman (2018)
  • James Garner starred in Superman/Shazam!: The Return of Black Adam (2010)
  • Lesley Ann Warren starred in It's a Bird... It's a Plane... It's Superman! (1975) (she would also appear in Marvel Comics' Daredevil: Reunion (2018))
  • Graham Stark starred in Superman III (1983)
  • Jay Benedict starred in Pimeduse rüütli taastulek (2012).

Contrary to popular belief, Tom Selleck was never approached by Blake Edwards to star in this film.

In First a Girl (1935). Sonnie Hale played a character named Victor, but it's Jessie Matthews who played the woman, pretending to be a man, pretending to be a woman.

Dick Bush replaced Ernest Day as Cinematographer.

Director Blake Edwards admitted in an interview that he "chickened out", and added the scene in which King Marchand (James Garner) discovers that Victoria (Julie Andrews) is indeed a woman. Originally, he was to fall in love with Victoria before he was sure about her gender, hence his line "I don't care if you are a man" before he kisses her.

User reviews


  • comment
    • Author: Kezan
    "Victor/Victoria" was the film where Blake Edwards finally managed to deliver his valentine to his wife, Julie Andrews, and convince the public to join in. Maybe because of that, it's one of his most heartfelt movies, and the enormous love between the director and his star do as much to warm up this movie as the careful colour composition of Dick Bush's fantastic - and underrated - photography.

    This is a film where everything works perfectly. The acting ranges from the impeccable (the leads) through the touching (Alex Karras) right to the truly sublime (Robert Preston and Lesley Ann-Warren). The musical numbers are lovingly staged and shot and, possibly because this is a pre-MTV film, we actually get to see dancers dancing, as opposed to machine-gun assemblies of body parts performing details of not necessarily connected movements. The directorial touch is assured, proficient but never showy: the many complicated set-ups are executed with elegance, economy - not a frivolous camera movement to be seen - and discretion. (The circular pan around Julie as she sings "Crazy World" is a lovely example of how camera movement can create emotion without drawing attention to itself.) The sets and costumes are lavish but, again, do not distract. The screenplay is witty, full of deft touches, and Edwards treats his rather daring (for 1982) theme without blinking, and with great lucidity. (The other drag film of the year was "Tootsie", which stuck to the romance and stayed away from uncomfortable homosexual touches as much as it managed to.) The timing never falters. And the score is priceless.

    All in all, a flawless entertainment, which, like the best movies from the studio system's heyday of which "Victor / Victoria" is a proud and worthy descendant, rewards the attentive (and interested) viewer with far more substance - and style - than might appear at first. I do not have the space to analyse this film at the length it deserves; but I can recommend it, which I do wholeheartedly.
  • comment
    • Author: Mikale
    Despite all of its gender-bending commentary on sexuality, both hetero- and homo-, "Victor/Victoria" looked and sounded in 1982 (year of "ET" and "The Road Warrior") as if it were made in 1962 -- and that was a good thing. Blake Edwards' trademark ability to combine lush romanticism with immitable slapstick comedy was here matched by a wonderful score by his longtime collaborator Henry Mancini, "Voila!" -- we're back in the early sixties again. (It didn't hurt that stars Julie Andrews and James Garner were hottest in the sixties, and had acted together in 1964's "The Americanization of Emily.")

    Robert Preston, "The Music Man" of late fifties Broadway and 1962 screen fame, further added an element of early sixties nostalgia -- with the twist that he here used his booming vocal tones in the service of a delightfully out and comfortable gay man. Preston was one of two hot contenders for the Best Supporting Actor Oscar that year. The winner was Lou Gossett, Jr. for his Drill Instructor in "An Officer And A Gentleman."

    Rounding out the great cast are Lesley Ann Warren (sexy and very funny) in an Oscar-nominated role as Garner's mob moll floozie, and Alex Karras, continually funny as Garner's softhearted ox of a bodyguard. (Karras gets a classic Blake Edwards slapstick routine trapped in the freezing snow outside a Paris hotel, getting big laughs out of the simple line: "You've got heat? That's good.")

    And be sure to keep a lookout for "Sherloque Tanney" as the French private detective on Victor/Victoria's trail. Tanney was Blake Edwards dentist, and appeared in almost every Blake Edwards film from "Darling Lili" (1970) on. Other than his corpse in "SOB," (1981), the French detective is possibly Dr. Tanney's greatest role on the screen. Tanney, too, gets to anchor several great trademark Blake Edwards slapstick routines.

    Oh, and there's music, too. Enough music for a Broadway musical (which is what "Victor/Victoria" became), and with a sad and wistful Mancini title tune (reprised in the film by Andrews) that reminds one a bit of "Moon River" and "Days of Wine and Roses." Just like in the early sixties.
  • comment
    • Author: from earth
    My God, the reviewer before me MUST be mad!!! Either that, or he/she must be struggling with their own sexuality! THIS is one of my favorite movies of ALL time. Julie Andrews is in fine musical form; James Garner gives one of his greatest comedic performances since "The Americanization of Emily" (also with Julie Andrews) and Lesley Ann Warren just about steals the picture! This movie scores a solid "10" for comedy, a sterling "10" for music and a rousing "10" for romance! ANYONE that DOESN'T like this movie should suck an egg! HOW did Lesley Ann Warren NOT win an Oscar? Ditto, Robert Preston? I consider myself a guy's guy, but I confess I tear up every time I hear the opening refrains of Julie singing "Crazy World," the film's theme song. Bravo, Blake Edwards!!!
  • comment
    • Author: Kefrannan
    Dazzling art direction, lavish costumes, funny dialogue, a fabulous soundtrack, and Robert Preston make "Victor/Victoria" one of filmdom's most entertaining musicals of all time. Set in 1934 Paris, and filmed in luscious color, the film tells the story of two down and out friends who carry out an ingenious plan to get rich. Toddy (Robert Preston), a gay performer, persuades Victoria (Julie Andrews), a struggling singer, to change her appearance to that of a man so that she can pose on stage as a female impersonator. Blake Edwards converts the film's clever concept into a film of true cinematic flair and panache.

    The film's music alone is enough to make "Victor/Victoria" a winner. With consummate verve, Andrews sings the lively "Le Jazz Hot", a stage performance that has been mimicked by, it seems, one in ten talent competitors in the Miss America Pageant for the last twenty years. The colorful song "The Shady Dame From Seville" is memorable as a cultural classic. Even the restrained "You And Me" is satisfying, with its old fashioned charm. And Henry Mancini's wistful and slightly melancholy original score adds melodic balance to the flashy stage numbers.

    The casting is perfect. I cannot imagine anyone other than Julie Andrews as Victoria. James Garner is fine as King Marchand. And in support roles, Lesley Ann Warren adds sexy spunk as Norma, and Alex Karras is surprisingly effective as Marchand's bodyguard. But it is music man Robert Preston who leads this top notch Hollywood talent parade. Preston is likable throughout, and is a hoot in the film's finale.

    If the film has a flaw, it might be in the editing. The plot in Act Two slows down. Or, to say it a little differently, it ... drags (so to speak). The 132 minute runtime is a tad long maybe, and so a few scene deletions here and there might have rendered a slight improvement in the pace. But, this is a minor issue, one that I raise only in my grasping-at-straws attempt to find something to complain about.

    "Victor/Victoria" is an expressive, fun, one-of-a-kind musical garden party that easily makes my list of top fifty films ever made.
  • comment
    • Author: Vutaur
    Three of the stars of this movie all made their mark playing wholesome characters, (and all in musicals, ironically) but they certainly got rid of those personas in this film. Julie Andrews finally solved the problem of Maria by playing a woman pretending to be a man pretending to be a woman, Robert Preston's gay entertainer is a long, long way from Harold Hill, and Lesley Ann Warren... well, her floozy moll ("Ya mean you really aw... quee-uh?") basically erases all memories of Cinderella. All give excellent performances in this entertaining, funny film from director/co-writer Blake Edwards. And they all get to sing some great songs from Henry Mancini and Leslie Brucusse, among them "Le Jazz Hot," (in which Andrews sings in her lower range, and actually sizzles) "The Shady Dame From Seville," (first sung by Andrews, then hilariously reprised at the end by Preston) and "Chicago, Illinois." (Warren is great in that) Though there is a long stretch in the middle that either included jokes and/or subtleties that went over my head or just wasn't funny, though not bad, otherwise it's a great comedy. In addition to the three performers mentioned, James Garner is also good as the gangster who falls for Andrews but is unsure of her gender.
  • comment
    • Author: Roram
    Many social innovations, have often as not originated in France. Take cross-dressing for instance. In the 1930's a singer created quite a sensation when her fabulous show became the toast of Paris. She traveled throughout Europe and remained a novelty for years. Her success was due to the fact that she was not a woman after all. She was a man. This fact became the inspiration for the film "Victoria/Victoria." In the movie, a talented female singer (Julie Andrews) named Victoria Grant (aka Count Victor Grezhinski) schemes with an out of work cabaret singer, Carroll 'Toddy' Todd (Robert Preston, who is fantastic in this role) to create a female impersonation act. With the help of Andre Cassell, (John Rhys Davies) a night club owner they hope to get rich with the unusual act. Complications arise however, the least of which is a visiting gangster named King Marchand (James Garner) who takes a liking for Victoria. His Chicago girlfriend Norma Cassady (Lesley Ann Warren) become jealous and informs other hoodlums to come to Paris. Alex Karras, plays Mr. Bernstein, Garners' bodyguard). The film is a solid hit for the cast and lays the foundation of it become a classic. ****
  • comment
    • Author: artman
    Paris in the '30s is the setting for this screwball sex comedy wherein JULIE ANDREWS, for the sake of being employed, takes a job as a woman pretending to be a man pretending to be a woman--figure that one out. Then we have a great moment when ROBERT PRESTON does an imitation of Julie singing "The Shady Dame from Seville" in drag--yes drag--the actor who played such sturdy romantic leads in the '40s and '50s is hilarious as a gay blade who hooks up with Julie during a restaurant scene in which she plants a cockroach in her plate to avoid paying for dinner.

    That's the kind of romp this is. And it's extremely witty, with JAMES GARNER as Julie's romantic interest who hasn't figured out why he's so attracted to "the shady dame" when she's supposed to be a man.

    First-rate sets and cinematography in color, and while none of it really makes any sense, the song and dance routines are fabulous with some great tunes by Henry Mancini. LESLEY ANN WARREN gives a priceless performance as a bird brained vamp in her Oscar nominated supporting role.
  • comment
    • Author: Ericaz
    First of all, let me just say that I am slightly obsessed with Julie Andrews and her work. With that out of the way... I love her in this movie because it's not your typical Julie Andrews movie. Most people see her in The Sound of Music or Mary Poppins or (if you know this far back in her career) Cinderella. However, she delivers a flawless performance as Victor/Victoria. The only skepticism I have about this movie is seeing her as a man. She's so feminine (in her mannerisms, voice, appearance, etc.) that it's almost impossible to think that she's a man. Robert Preston is wonderfully funny, and I always love James Garner. The movie probably could have done without Lesley Ann Warren's song and dance number (why ruin Julie and Robert's wonderful score?)... On a side note, Warren's character reminded me a bit of Jean Hagen's Lina Lamont in Singin' in the Rain; they each had their characters down perfectly, and you got just annoyed with them enough to hate them but like them at the same time...

    Of course, Andrews does a beautiful job with all the songs- my favorite being her first jazz number. All in all, an impossibly wonderful performance by all involved.

    DEFINITELY ten out of ten!
  • comment
    • Author: Coidor
    Me thinks several semi-homophobic comments need to look in-their-mirrors!?! This classic, Blake Edwards musical/comedy is still-a-treasure after ALL-these-years! Pure Hollywood entertainment! Reviewed Julie Andrews' Vegas debut for "Billboard Magazine" at Caesars Palace in the late '70s & was dazzled by her amazing talent. She was so gracious at the after-show dinner party, personally meeting each press member at their tables! A classy lady! - Had seen Robert Preston with Mary Martin in the musical/comedy "I Do! I Do!" on Broadway in '66. This was his best movie role ever, way better than "The Music Man." & Leslie Ann Warren nearly stole-the-movie with her dead-on portrayal of the dippy gun moll!?! & Henry "Hank" Mancini's amazing score proves-the-vital element-of-music in film. It's wonderful!!!
  • comment
    • Author: Quynaus
    Great wit, wonderful set design, very good acting - What can one say bad about the film? Perhaps the plethora of homosexuals was a bit over the top, as was the part of the private investigator, but these are nit-picks hardly noticed against the background of most modern releases. While I dislike musicals intensely, this one is different, most obviously in the setting for the music. Unlike the incongruous breaking out in song in the middle of conversation, this movie's music occurs within the framework of nightclub acts. This adds to the credibility of a plot that could have spun out of control, much as S.O.B. did (unfortunately). What really sets this movie apart from the crowd of box-office hits that plague us is the incredible wit of the dialogue. The writing is truly wonderful! And Preston is perfect for his character, his repartee style as sharp as the lines Blake Edwards puts in his mouth. It is my tendency to pick apart films on the issue of credibility, allowing as we should for the genre of the film. H.G.Wells once said that good science fiction depended on introducing one and only one fantastic idea, and then developing a plot whose events would follow reasonably from that one idea. Bad science fiction, he said, introduces several such incredible inventions and ideas, creating a plot too fantastic for the reader to immerse him/herself in. So too with movies. Good comedy, science fiction, drama, even action plots, should have one premise that might stretch the limit of credibility, and then develop the plot reasonably from there. Most modern box-office hits fail to do this, and in the process of feeding us one fantasy after another to stimulate our interest and attract our dollars, dulls our minds. Victor / Victoria is good writing because it starts with its one major premise - an unsuccessful, though talented singer achieving fame and fortune by altering her sexual image - and lets the plot play itself out. There are a few minor stretches beside the main premise, but without fantastic physical feats, explosions, car chases, and CG effects, Edwards has created a script that pulls - rather than pushes - you in to the plot. The weakest part of the plot is the fact that Andrew's character attains success not just by cross-dressing, but also by substantially altering her act. We are supposed to ignore the fact that she has changed from simply singing to singing with well choreographed movement. However, this is not a serious flaw, because in the real Hollywood (and Broadway), very good talent is habitually unsuccessful, while the fantastic and ridiculous is placed on an altar. (Does anyone really think Schwarzenegger can act?) Did I say acting? Perhaps I saved the best for last. Andrews playing herself is perfect here, Garner is fantastic, and Leslie Ann Warren adapted to her character's personality so completely that I hardly realized it was her. And, at the risk of repetition, Preston is perfection itself. The set design was almost excessive in the distraction it caused, for you could not help noticing how artfully it was designed and lit. Finally, Henry Mancini wrote the music. The DVD commentary added substantially to the production, making the entire package a 5-star offering, a rating I rarely give.
  • comment
    • Author: Wyameluna
    The first time I saw it, I thought it was "pretty good." Amusing, but I didn't expect to find myself watching it again.

    It's unpretentious. It doesn't have Big Ideas or profound themes that you have to watch it twice to get.

    But it's got lovable characters and a kickin' plot, and I happen to have a huge crush on the 1930s. I love the friendship between Victoria and Toddy because it feels so genuine and it's rare to see a friendship (particularly between men and women) portrayed so well in movies. I love the romance between Victoria and King, because they're well-matched, but at the same time the problems in their relationship are so realistic. Fundamental inability to compromise? I think everyone knows what that's like.
  • comment
    • Author: Stylish Monkey
    Okay, well, its not really a classic love story, but its your classic boy meets girl pretending to be a boy pretending to be a girl story, and probably the best one of those thats ever been made. Julie Andrews plays Victoria(and Victor) quite well, but sometimes its hard believing that people would believe that she is a man. There are some great scenes in this movie that are derived from this concept though. James Garner and Robert Preston are both excellent in their roles, Preston as Andrews gay friend, and Garner, the manliest man around. Actually, all of the performances are excellent, but a lot of this movies success has to go to Blake Edwards. There is classic Edwards comedy in this movie, and a very intelligent script that never insults its audiences intelligence. I won't give specifics, but I will say the there is a show stopping number at the end of the movie that is hilarious. Most of the music is excellent, and if its bad, its intended to be that way. Really though, I only have one question. Having seen "The Party", and now this movie, one has to wonder, what does Blake Edwards have against waiters? 9 out of 10.
  • comment
    • Author: Marige
    With Blake Edwards directing and the general idea being a story about a woman playing a female impersonator, the project SHOULD have been a failure. But at every turn, the actors take a so-so script and somehow make the gags work. Robert Preston uses his considerable genius to build a character around lines others would have blown or wouldn't have understood. Other actors (like Andrews) stay in character during situations in which you might expect them to burst into laughter or drop their jaws in disbelief. They must have been having the utter time of their lives while making this film. It's good practice for those in the drama professions to watch this film for instruction on how to keep a straight face, no matter what.
  • comment
    • Author: Gaxaisvem
    Written and directed by Blake Edwards, this is a fast, witty farce about a woman posing as a man posing as a woman in 1930s Paris. Victoria (Julie Andrews) is down on her luck. Oh, not as bad as George Orwell in "Down and Out in Paris and London," but pretty far down, this being the depression. She develops a scheme to cheat her way through a full meal at a restaurant by planting a cockroach in her salad. It more or less works but, more important, she runs into cheerful, savvy, gay Robert Preston who becomes her manager.

    Andrews has been unable to find work as a soprano because singers are a glut on the market, but Preston promotes her as a female impersonator. She succeeds wildly. Among the audience at one of her shows in a fancy nightclub is rich James Garner, his coarse moll, Leslie Anne Warren, and his big, beefy bodyguard, Alex Karras.

    Garner is sexually aroused by Andrews' sultry performance and when she whips off her headgear and reveals herself as a man named Victor, Garner's face falls marvelously. He's been excited by a MAN! When he gets back to his room he needs to prove his manhood by virtually attacking Warren. Alas, his homosexual anxiety renders him impotent, but Warren is all understanding. "Awww, honey, it's no big deal. Women are lucky. They can fake it. Oh, not with YOU, baby! Listen, just 'cause you can't get it -- Up till now it's been wonderful." After that, it gets complicated.

    The writing is sharply witty. In the restaurant, at the very beginning, when Andrews and Preston meet, there is a hilarious exchange between Preston and the waiter, played by Graham Stark as one of those contemptuous French waiters who always seems distracted, as if mentally deconstructing La Pensee Sauvage, you know, and you're interrupting his cogitation. But Preston, being gay, is his equal. Stark pours a glass of white wine for Preston, who squints at it with distaste and remarks, "The last time I saw something like this they had to shoot the horse." Preston is trying to dress Andrews as a man and teach her to act in a masculine fashion. He tells her thoughtfully, "There are two main obstacles we must overcome." Andrews asks, "My bosom?", and then adds that if she has to bind her bosom for years it will wind up looking like an old wallet. After Andrews' success, Preston checks them into a three-star hotel and announces, "You must see the bathroom. It's a religious experience." Much of the humor revolves around gender bending, of course, but the script treats the audience as reasonably sophisticated rather than 19th-century rural twits. I don't think Blake Edwards depends on shock value for laughs. The laughs arise out of the situations.

    There are a couple of songs thrown in. Julie Andrews has a splendid voice, and a range that runs from elephantine sub-rumble to air raid siren. The dance numbers are elaborately staged, with what I take to be a deliberate homage to Bob Fosse -- plenty of derbies, clicking fingers, and swiveling pelvises.

    There's a mostly dull romantic piece in the mosaic, done seriously, in which Andrews and Garner try to come to terms with the fact that they love each other, although if they want to keep her real sex a secret, they must go dancing at a gay bar. And some of the comic interludes seems a little forced, at least on multiple viewings. Andrews, in her masculine disguise, bravely accepts a cigar -- and coughs. She looks immeasurably better as a woman than as a man. And the final number, in which Preston is in drag and singing one of Andrews' numbers and falling all over himself, isn't really either imaginative or very amusing.

    But those are small things. Overall, this is a funny farce, skillfully written, directed, and performed.
  • comment
    • Author: kolos
    Victor/Victoria was released in 1982. Believe it or not this was a watershed year in Hollywood History. This was 1982 before AIDS became an household word! Hollywood that year released many gay theme movies.

    The biggest risk was "Making Love". That was the most controversial one released! Another three movies that were released that year were "Personel Best", & "Partners" & of course Victor/Victoria. However when all of them were box office disappointment's and the next year AIDS made the nightly news. So Hollywood studios turned its back on gay theme movies.

    However Victor/Victoria made headlines for weeks for lots of reasons! However this was still a box office disappointment but still one the best reviewed movies of that year! ( It would be a shoo in for Best Picture if it were made today) Now get this Hollywood released 3 movies that year that have become "Classics". The 3 movies were "E.T.", "Tootsie" and "Victor/Victoria".

    Sadly what won the Academy Award for Best Picture was "Ghandi". (I could of lived with "ET") However "Victor/Victoria" was nominated for Best Picture! However as the years have gone by I am sure that more people have gotten satisfaction out of this movie than Ghandi! This motion picture is just as funny today as it was in 1982.

    In this movie a down on her luck singer ends up at the home of gay man because she is broke and homeless! One thing leads to another and he turns into a female impersonator! So she is a woman pretending to be a man pretending to be a woman. The gay characters in this are fun and drive the story! This was Blake Edwards crowning achievement. In fact he later turned this movie into a Broadway play!

    The movie was Nominated for Best Picture, Best Actress, Best Screenplay and Best Supporting Actor". 2 songs from this move are standouts. In fact "Le Jazz Hot" is now in most Vegas Lounge acts.

    Rent the DVD!! See the widescreen edition! It is great entertainment.
  • comment
    • Author: Hawk Flying
    Directed, co-produced, with a screenplay co-written by Blake Edwards (for which he received his only Academy Award nomination), this hilarious Musical Comedy features Julie Andrews in the title role (both characters) as a woman, masquerading as a man pretending to be a woman (e.g. as a female impersonator). Sound confusing? It is. And, it is difficult to "see" Julie Andrews's character as a man in this one too. However, it doesn't detract from the incredibly clever script, nor the film's other terrific performances by James Garner, Robert Preston, and Lesley Anne Warren. Football player-turned actor Alex Karras, John Rhys-Davies, and Graham Stark (playing a waiter, naturally), among others, also appear.

    Preston plays Andrews's agent, who comes up with the idea (that of her pretending to be a man who's a female impersonator) to help his struggling client find work. Garner plays a man's man, a Chicago nightclub owner who's uncomfortable with his attraction to a man, the one Andrews is pretending to be. Warren plays Garner's bimbo blonde girlfriend who finds herself jealous of another, and a man at that (at least, Andrews pretending to be one)! Karras plays Garner's "heavy", or bodyguard if you will. Rhys-Davies plays a Paris impresario who's also not in on the secret of Victor's gender. Of course, there's lots of fodder for sexual innuendo, battle of the sexes, and other trans- gender humor.

    The film's Henry Mancini-Leslie Bricusse Score won an Oscar. Andrews's leading performance earned her the third, and last, Best Actress nomination (to date) in her outstanding career. Preston's gay agent earned him his only nomination (Supporting), as did Warren's performance (also Supporting). The film's Art Direction-Set Decoration and Costume Design were also nominated. #76 on AFI's 100 Funniest Movies list.
  • comment
    • Author: happy light
    A down on her luck singer (Julie Andrews) in 1930s Paris suddenly hits the big time when she is advised by a gay cabaret performer (Robert Preston) to become a female impersonator. However, then having to also be a man pretending to be a woman adds its own set of complications, especially as she starts being wooed by night club owner King Marchand (James Garner), himself on the run from the Chicago mob.

    Funny, catchy and even a little portent-giving, Edwards' LGBT musical comedy is a true treat, and one of the man's finest hours as a director and writer. Leading the charge is an absolutely magnetic lead in Andrews, who reminds us why she was one of the great talents of her generation, deftly balancing comedy and drama while proving her singing chops, having to adopt a slightly masculine bass a number of times.

    That in turn brings us to the cheeky yet peppy songs by maestro Henry Mancini, which cover a nice variety of different styles with the highlight being the flamenco-spired 'Shady Dame From Seville' and often squeeze a good chuckle or nine in for good measure. Of course, the film's biggest ace is its smart and witty script, which offered a far more balanced look at homosexuality years than was considered even an acceptable thought at the time (especially given how close this was to things like the AIDS scare), as well as rather compelling gender satire that pokes fun at our constructs of what is masculine versus feminine and milks them for all they're worth. And of course, being an Edwards production there is some gut busting slapstick on display too, especially concerning the mob.

    Really, do I need to say more? Great people made a great movie about a great subject. Yeah, didn't think so. Just go see the damn thing.
  • comment
    • Author: Pipet
    Victor/Victoria is one of my all-time favorite films. I just totally love the whole woman/man/woman storyline and the way that Blake Edwards chose to deal with the very hard subject matter of homosexuality, especially in the early 1930's was very well done and extremely humorous.

    The acting is superb. Julie Andrews is a supreme actress and for once, Edwards doesn't waste his wife's talents as both a actress and a singer, as he has done in some of his other films. Robert Preston is the best thing about this film. His characterization of Toddy, the happy-go lucky gay guy was superb. He made Toddy a very real and human character by displaying both a touching and vulnerable side. He was nominated for an Oscar, too bad he didn't win because he definitely deserved it! James Garner and Lesley Ann Warren add a nice touch with their supporting roles of King Marchand and Norma, the Marilyn-Monroeish floozy girlfriend. The musical numbers are outstanding. Even if you don't like the rest of the film, you will love the music, guaranteed! Wonderful score by Henry Mancini & Leslie Bricusse.
  • comment
    • Author: Tto
    After finally seeing DARLING LILI on DVD, I was surprised by how familiar the whole disastrous 1970 movie was. Then I realized LILI was just another Blake Edwards film filled with typical Blake Edwards shenanigans, seen so many times in other Blake Edwards films, including VICTOR/VICTORIA.

    Like DARLING LILI, VICTOR/VICTORIA is a non-musical musical. That is, people don't sing out suddenly and dance and such. All the singing occurs on stage. So we watch people watching a stage show. It makes for a very inert musical. I prefer musicals like MY FAIR LADY or FUNNY FACE, where the characters' singing isn't anchored to one specific area. There's nothing interesting in watching people watching a stage show.

    Like in DARLING LILI, there's a lot of unfunny slapstick comedy in VICTOR/VICTORIA, some of which are stretched out forever (the whole scene with the cockroach at the restaurant for example). Or the scene where someone is outside Victoria's apartment, trying to see if Victor is actually a man or woman. This scene is identical to the very long and unfunny scene in DARLING LILI, which has two French police officers spying on Julie Andrews and Rock Hudson from a slanted rooftop, while it's raining outside, not snowing like in VV.

    Like in DARLING LILI, the whole thing takes place in a kitschy version of Paris and yet all the songs are in English. And the production values are too sleek and they just don't jibe with Paris of that era. Why does Blake keep making movies set in France and yet they feel so non-French?

    Like in DARLING LILI, the romance in VICTOR/VICTORIA is very artificial and forced. Instead of big, square-jawed Rock Hudson in LILI, Julie falls for big, square-jawed James Garner in VV. What a stretch.

    Like in DARLING LILI, there's a pointless striptease in VICTOR/VICTORIA, which adds nothing to the story. In LILI, it was "Crepe Suzette". In VV, we see Lesley Ann Warren dancing and wiggling her butt and taking her clothes off. Her musical number is horrible. Cats screeching sound better than this musical number.

    Like in DARLING LILI, there's no pay-off in VICTOR/VICTORIA. We expect some sort of amazing pay-off at the end, after milking the whole "Garner falling in love with Andrews as Victoria only to refuse to believe that Andrews is a man" bit for most of the film, only for what? So that Andrews falls in love with Garner, as woman, and they live happily ever after? I thought the point of Andrews going through all of this charade was for her to have a successful singing career, not live in poverty, etc?

    Incidentally, for a film that's about gender bending and homosexuality, it's somewhat misogynistic and homophobic. Misogynistic because Andrews loses her sensational job for a man; and it's a tad homophobic with the "Garner falling in love with Andrews as Victoria only to refuse to believe that Andrews is a man" bit is played strictly for laughs. How refreshing it would have been if it hadn't been played entirely just for laughs.

    And like in DARLING LILI, the 1982 film is way too long and overstays its welcome after a while. Edwards just doesn't know when to end his films.

    Unlike DARLING LILI though, VICTOR/VICTORIA is not an all out disaster like that ill-conceived 1970 film. It's OK but nothing remarkable and most definitely overrated, from looking at the reviews here. Like I've mentioned above, there's a vivid sense of deja-vu whenever I'm watching a Blake Edwards film, because, you know, he's such a risky director.
  • comment
    • Author: Oghmaghma
    In 1964 Blake Edwards had directed his wife Julie Andrews in her film debut The Americanization Of Emily which James Garner costars with her and Henry Mancini wrote a fine title song for the film. The film was sort of a trial run before Andrews was launched full blast by Walt Disney in Mary Poppins.

    This fine team reunited 18 years later for the gender defying comedy Victor Victoria and Mancini wrote a few songs for Julie Andrews and Robert Preston and Lesley Ann Warren to do. A decade later Julie Andrews had it adapted to the Broadway stage for her.

    Andrews is starving in Paris, poor as a match girl, ready to lick the spaghetti sauce off a bib when she falls in with gay performer Robert Preston who is equally on his uppers. With conventional acts, neither is getting anywhere. But when Preston gets the idea to pass Andrews off as a man who is a female impersonator, they are a success. They even pretend to be lovers to keep the masquerade going.

    It all starts to unravel when visiting American gangster James Garner and his moll Lesley Ann Warren drop in to the nightclub. Andrews gets his hormones going and he's not sure why.

    Going in drag is an old movie story. Everyone from Katharine Hepburn to Gabby Hayes has done it on the screen. But the questions about sexual identity and gender attraction were never so provocatively raised before until Victor Victoria.

    Andrews and Preston were both in Blake Edwards immediately preceding film SOB and both had a pair of outrageous parts in that one also which I highly recommend. Andrews and Preston got rewarded with Oscar nominations, she for Best Actress and Preston for Best Supporting Actor. Julie lost to Meryl Streep for Sophie's Choice and Preston lost to Lou Gossett, Jr. for an Officer And A Gentleman.

    But saddest for me was Lesley Ann Warren who did a marvelous job recreating a throwback role from all those old gangster films of the Thirties. Her part was just the kind you used to see Joan Blondell or Glenda Farrell play to perfection. She was nominated for Best Supporting Actress, but lost to Jessica Lange for Tootsie.

    In fact Victor Victoria was nominated for Best Costume Design, Best Art &Set Direction and Best Adapted Screenplay. It did win in a category that seems like it was created for the film, Best Adapted Music and Musical Score. That was a new one on me when I saw it.

    Over 25 years after it was made Victor Victoria is still one fresh and naughty item. And a milestone in the mainstream for GLBT themed films.
  • comment
    • Author: Lailace
    1982 was a gender-bending year for Hollywood. Dustin Hoffman dressed up as a woman; Julie Andrews dressed up as a man. How fitting that the very next year Linda Hunt would win the first Oscar ever given for playing a member of the opposite sex.

    "Victor Victoria" is a solidly-crafted, old-fashioned musical that finds Andrews pretending to be a male female impersonator (got that?) so that she can hold a job in a nightclub in Depression-era Paris. James Garner is the man's man who begins to doubt his manliness when he finds himself having some strange feelings for this "guy." It's a very gay-friendly movie that's really squeaky clean, though it might have been racy at the time when homosexuality wasn't as accepted as it is now (if you want to call it "accepted" even now).

    There are lots of production numbers, but this doesn't feel like a musical, as all of the numbers are presented in context of a show and they don't propel the plot or develop characters. Lesley Ann Warren is fairly obnoxious as a bawdy American, but Robert Preston steals the show as a fellow drag performer.

    As far as Blake Edwards projects go, this is one of the strongest.

    Grade: B+
  • comment
    • Author: Innadril
    Blake's 'Victor/Victoria' is a splendid musical comedy set in Paris during the late 1930s. Julie Andrews stars in the title role delivering one of her finest performances (cannot imagine anyone else play the part), along with James Garner (brilliant), Robert Preston (superb), Lesley Ann-Warren (hilarious) and Alex Karras (funny). All actors share a wonderful chemistry. Blake's colourful and heartfelt accomplishment is a result of the effort put together by cast, crew and director. The musical numbers have been beautifully picturised without deviating from the witty screenplay. The dialogs are cleverly written and certainly more than add to the charm. The costumes and set designs, though loud and lavish, do not distract nor deviate from the main content and they look genuine. Blake also creates a strangely dark but humorous atmosphere of Paris where only the rich survive and there is no place for the poor.

    'Victor/Victoria' does explore issues of homosexual lifestyles that clash with heterosexual lifestyle but never does it lose its touch with humour. After all, this is a comedy and one of the finest. It doesn't try to be bigger than what it is. There are several hilariously memorable moments. A few examples are: when Garner and Karras sneak into Andrew's and Preston's suite. Andrew's song and dance numbers, Garner doubting his own sexuality, Karras coming to terms with his identity, Warren's scenes with Garner and Andrews, when Preston and Andrews have dinner at the restaurant for the first time and Andrews pretending to be a man.

    The film though exceeds the traditional 2 hour length, it's time well spent as you'll find yourself amused by this witty and cleverly made heartfelt piece of entertainment. It's one of my favourite comedies and I think you're gonna love it too.
  • comment
    • Author: Lesesshe
    What a wonderful movie. The performances are dead on accurate, the comedy ranges from subtle to slapstick, the songs are memorable. Leslie Anne Warren was deservedly nominated for an Academy Award. Only two quibbles: first, it's a shame Blake Edwards chickened out and put in the scene in the hotel bathroom. Second, no matter what the IMDB trivia for this movie tells you, the opera attended by King and Victoria is Madama Butterfly, which IS NOT about a man masquerading as a woman.
  • comment
    • Author: funike
    Julie Andrews wins the heart of the man she loves with music...Robert Preston as a musical con man out to hoodwink a city...Lesley Ann Warren's life is changed when she meets her fairy.....well, fairy! No, I'm not talking about "The Sound of Music", "Music Man", and "Cinderella"...This is 1982, and twenty years have changed a lot of things... The thing that made Victor/Victoria such a gem (and I concur with fellow reviewers that this was Blake Edward's best movie) was that everyone, EVERYONE, was clicking on all cylinders for this one; Edwards, Mancini, Andrews, Preston, Warren, and the rest...but most of all for the snappy editing of Ralph E. Winters (He won an Oscar for Ben Hur). Absolutely delightful...I like to put it on just to hear the music....
  • Cast overview, first billed only:
    Julie Andrews Julie Andrews - Victoria Grant
    James Garner James Garner - King Marchand
    Robert Preston Robert Preston - Carole "Toddy" Todd
    Lesley Ann Warren Lesley Ann Warren - Norma Cassady
    Alex Karras Alex Karras - 'Squash' Bernstein
    John Rhys-Davies John Rhys-Davies - Andre Cassell
    Graham Stark Graham Stark - Waiter
    Peter Arne Peter Arne - Labisse
    Herb Tanney Herb Tanney - Charles Bovin (as Sherloque Tanney)
    Michael Robbins Michael Robbins - Manager of Victoria's Hotel
    Norman Chancer Norman Chancer - Sal Andratti
    David Gant David Gant - Restaurant Manager
    Maria Charles Maria Charles - Madame President
    Malcolm Jamieson Malcolm Jamieson - Richard DiNardo
    John Cassady John Cassady - Juke
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