You Light Up My Life (1977) review- Why you should give this film (and the song) a second chance

Movies don’t always stick into the popular consciousness the way their directors would like them to. Some films, for example, are only remembered for one particular thing, whether it’s a standout scene or a single iconic performance.

You Light Up My Life is an obvious victim of this phenomenon, since many people forget that it was even a movie in the first place.

Instead, most people associate this film with its title track, which was one of the biggest hit songs of 1977, staying at the #1 position in the Billboard charts for an unprecedented, at the time, 10 consecutive weeks.

Not only did this single’s popularity make Debby Boone a star, but the following year it also netted director/composer Joseph Brooks an Oscar for Best Original Song, giving him a lot of credibility in the eyes of Hollywood elites (albeit temporarily).

Meanwhile, the original 1977 film that spawned this track is definitely not remembered as a classic, judging by its low rating on sites like Rotten Tomatoes (20%) and IMDB (4.6).

And even though the song initially fared well in the eyes of the public, its stock has severely diminished with time. In fact, if you Google “You Light Up My Life” right now you’ll find a bunch of modern culture critics writing about how it is one of the worst songs of the 1970s.

This overwhelmingly negative critical consensus on both fronts definitely came as a big surprise to me, since I found this film to be a charming romantic drama and the song to be an absolute show stealer.

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The story proper follows Laurie Robinson (Didi Conn), a working artist in Los Angeles who bounces around different commercial auditions and comedy acting gigs at the behest of her overbearing showbiz father (Joe Silver). However, her true passion lies with composing music and she even gets the opportunity to showcase this talent when she meets an established director (Michael Zaslow) by chance.

Laurie’s personal life is also put in jeopardy when she starts to develop feelings for this director, which complicates her impending marriage to another man.

Now, I’ll admit, there’s a lot of melodrama packed into this movie, especially when the run time is a slim 90 minutes. But Conn’s lead performance as Laurie really holds everything together, since she carries this entire movie on her back almost single-handedly.

It’s hard to put into words how endearing and likable she is on screen, as her character goes from audition to audition, facing rejection and failure at almost every turn. Conn’s optimistic personality and lack of cynicism really makes her a captivating underdog to watch, someone who also isn’t afraid to show cracks in that sunny demeanor when things get really rough.

Her relationship with Joe Silver is also a pivotal part of the movie’s appeal.

While Silver’s showbiz dad is totally ignorant of his daughter’s real interests, he isn’t trying to be malicious or exploit his only child for financial gain. Instead, he pushes her in a certain direction out of a genuine belief that stand-up comedy is her real passion, even though that’s mostly projection on his part.

The warm back-and-forth between Conn and Silver comes across as being very authentic and makes you believe that the actors would carry out these same conversations once the cameras stopped rolling.

In fact, most of the characters and dialogue in the movie comes across as very naturalistic, to the point where I almost thought I was watching a slice-of-life drama in the same vein as a Richard Linklater or Cameron Crowe film.

But I know what you’re asking: “What about the title song? Isn’t it awful and derail the entire movie?”

Actually, no. I would actually argue that the title track works on many levels and is one of the film’s biggest highlights.

 

From a filmmaking point of view, this uplifting number comes in at just the right point in the story, when Laurie desperately needs a win and finally gets the chance to showcase her singing and song writing ability in front of some Hollywood big wigs.

This exulted feeling is hammered home by the way the scene is shot, since it is all presented to the audience in a single take with fluid, sweeping camera movements.

And even though Conn obvious isn’t providing her own singing voice, she still acts the hell out of this moment, since her body language and facial expressions perfectly match the pipped in vocals.

(Plus, if Rami Malek can win an Oscar for lip syncing, why should I hold back praise for another quality pantomime performance?)

On a musical level, it’s important to point out that the movie version of “You Light Up My Life” is different than the Debby Boone rendition most people are familiar with.

The track was originally performed by classically trained opera singer Kasey Cisyk, whose powerful, uplifting voice effortlessly elevates the admittedly simple lyrics and makes them sound profound.

Boone’s performance is pretty bland and lifeless by comparison, which is part of the reason why, I imagine, this song has garnered such a bad reputation in the intervening 40 years.

I also feel like the instrumental accompaniment in the movie version of the song is alot stronger, especially the string section, but that could just be my imagination.

And even if you don’t like Cisyk’s version of the “You Light Up My Life,” the film is sprinkled with a handful of other catchy numbers, with “Do You Have a Piano” being another standout.

That’s not to suggest that every song is used appropriately.

The director has a bad habit of artificially squeezing his original music into scenes just to pad out the run time, like whenever Conn has to drive from one location to another.

Plus, not every track is a winner, with the dreary “California Daydreams” coming across as a bad Simon and Garfunkel rip-off.

In terms of filmmaking weaknesses, I would be remiss not to mention that You Light Up My Life occasionally veers off into the realm of a sappy soap opera, with some cheesy lines and plot contrivances that really strain the realm of believability.

But at its core, this movie still has a beating heart and the director is obviously very passionate about showcasing the struggle one must endure to make it in the entertainment industry.

The filmmakers in general do good job of blending the music with the overarching narrative, so movie-goers who have re-watched the recent A Star is Born remake for the 15th time might get a kick out of this story too.

I know that singing You Light Up My Life’s praises won’t win me any critic brownie points, since the movie has fallen into relative obscurity and the song has garnered a pretty unshakable reputation as being seven shades of uncool.

But every now and then I’m in the mood for some romantic fluff, especially if the lead performance is strong and the soundtrack adds an extra layer of intrigue.

For everyone else, just make sure you go in with an open mind and don’t buy into the anti-hype that’s built up around this song (and the movie that bears its name) for the last four decades.

Verdict:

8/10

Corner store companion:

White Wonder Bread (because it’s bland but emotionally satisfying)

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Fun facts:

-If you’re wondering why director Joseph Brooks didn’t use the Kasey Cisyk version of “You Light Up My Life” for radio play it’s because he is a giant piece of shit. According to Cisyk’s second husband Ed Rakowicz, Brooks made improper advances towards the young singer and became angry when she rejected him. The director went on to hire then newcomer Debby Boone to re-record the song and even instructed her to replicate Cisyk’s performance as closely as possible.

-Even though her rendition of “You Light Up My Life” is (arguably) inferior to Cisyk’s version, Boone’s career took off like a rocket after it hit the airwaves. Not only did the single earn her an Oscar and Golden Globe for Best Original Song, but she also won a Grammy for Best New Artist in 1977 and Song of the Year in 1978.

-Brooks’ monstrous behavior with Cisyk was only the tip of the iceberg. In June 2009 he was arrested for raping or sexually assaulting over 10 different women after his assistant lured them to his Manhattan apartment. Brooks committed suicide on May 22, 2011 before he could be tried for 91 counts of rape, sexual abuse, criminal sexual act, assault, and other charges.

Star Trek scholars cite Michael Zaslow, who plays the director Didi Conn falls for, as being the franchise’s first-ever “red shirt” or expendable crew member that perishes during a planetary expedition. During the Original Series’ first official episode titled “The Man Trap,” Zaslow’s character, crewmember Darnell, famously met his end after being seduced and killed by a shape-shifting alien.

-You can watch the entire movie on YouTube for free (with Spanish subtitles) here:

Buck Privates (1941) review- Abbott and Costello finally make it big

If you’re trying to get a stubborn friend or family member to start watching older movies, I wouldn’t recommend starting them off with a comedy.

While all films are, in some way, influenced by the rapidly changing culture around them, comedies usually tap into something that is very unique to the specific time and place in which they were produced, more so than most other genres.

Plus, it goes without saying that what was once funny back in the day doesn’t always hold up to our [current year] sensibilities. I will never forget the first time I watched National Lampoon’s Animal House and was so confused when the filmmakers expected me to laugh at a scene where the joke basically boiled down to: BLACK PEOPLE ARE SCARY.

However, broad slapstick and clever wordplay usually breaks through these generational barriers, which is why comedy acts like the Bud Abbott and Lou Costello are still recognizable names to this day.

Even though this legendary duo starred in 36 features together, their first big hit came in 1941 with Buck Privates, a film that casts the two as sleazy con men who accidently enlist in the army during America’s peacetime draft.

As Abbott and Costello pratfall their way through basic training they also come into contact with a quirky cast characters, which includes a spoiled playboy and his former valet, who are fighting over the same woman, a disgruntled drill instructor, and a musical trio played by The Andrews Sister, who serve as a kind of Greek chorus for the developing plot.

Now, when it comes to reviewing comedies, most flowery analysis about things like cinematography, pacing, and structure can be thrown out the window in favour of one simple question: “is the movie funny?” And when it comes to Buck Privates, the answer is (mostly) “yes.”

Abbott and Costello’s act might be in its infancy on screen in 1941, since this is only their second film as a team, but their classic “skinny straight man-fat buffoon” routine is already very polished after years performing on stage and on the radio together.

The duo’s chemistry is so on-point that they even managed to make me chuckle at a reoccurring bit about math and probability, which is something I never thought possible for someone as allergic to numbers as myself.

And despite the fact that a lot of the scripted jokes are pretty corny, the two still managed to generate some pretty consistent laughs through sheer delivery alone, which is the true litmus test for any great comedian.

The Andrews Sisters also inject the film with a nice bit of musical variety, since they perform their hit songs like “Boogie Woogie Bugle Boy” and “(I’ll Be With You) In Apple Blossom Times” to punctuate every major story beat.

Unfortunately, the filmmakers did not entirely play to the movie’s strengths, since they  dedicated a lot of screen time to the dull love triangle featuring some satellite characters who wouldn’t be out of place in a daytime soap opera.

Maybe it’s because Abbott and Costello had yet to prove themselves as big box office draws in 1941 and the studio was trying to hedge their bets with two conventionally attractive leading men, but whenever the story cuts back to the boilerplate alpha males it seems like we’ve switched to a completely different movie.

The comedy duo doesn’t even factor into the film’s war games climax, which really downgrades them to the status of comedy sidekicks rather than protagonists you want to get behind.

Another thing worth noting is how this film is a pretty transparent recruitment tool to encourage movie-goers of the time to enlist in the US peacetime draft.

Unlike another WWII era propaganda film I reviewed earlier this year, Commandos Strike at Dawn, the filmmakers try to accomplish this feat by making the army look like a outdoorsy vacation spot instead of a dangerous environment where you get to prove your worth as a man.

I’m not necessarily saying this approach hurts the movie in any significant way, but I definitely noticed the sheer amount of scenes that would emphasize how the military is a great place to meet women, eat ice cream, and kill time playing dice with your buddies.

But then again, this movie was selling itself as a light comedy, so maybe writing jokes about amputated limbs and shell shock would have been too much for a 1941 US audience that hadn’t experienced the horrors of World War II just yet.

Ultimately, while Abbott and Costello would go on to star in better movies with higher production values, Buck Privates is still worth watching to catch a glimpse of the comedy duo’s first big break on screen.

It also serves as a good reminder of physical comedy’s universal appeal, since someone getting tripped up by their own loose pants is funny no matter what generation you were born into.

Verdict:

6/10

Corner store companion:

Raisin Bran cereal (because the little sugary bits make the surrounding blandness tolerable)

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Fun facts:

-Original release date: Jan. 11, 1941.

-Budget: $180,000 (estimated)

-Box office gross: $4 million

-In addition to signing up for an official sequel in 1947, Buck Privates Come Home, Abbott and Costello would go on to star in two other service comedies that highlighted different branches of the military. These includes In the Navy and Keep ‘Em Flying, which were both released later that same year.

-The Andrews Sisters co-stared with Abbott and Costello in a total of three feature films.

-On IMDB, The Andrews Sisters are listed as a trio in addition to having separate acting profiles.

-This film scored two Academy Awards nominations for Best Score and Best Original Song (“Boogie Woogie Bugle Boy”).

-According to film scholars, the Japanese military showed their troops clips from Buck Privates to demonstrate how incompetent the US army was during World War II.

-Musical highlight: “(I’ll Be With You) In Apple Blossom Times” (because “Boogie Woogie Bugle Boy” has already gotten enough shine).