An amnesiac wanders the streets of Manhattan, trying to solve the mystery of who he is.

Allowed a brief visit, he takes her hand (and she takes his), and the film pans over to the rising sun as the film ends, his true identity, her genuine appearance, and the reason for his amnesia never explained. The wife’s name is Grace, and we see Buddwing find reconciliation with his wife and redemption for his past callous behavior. Garner will eventually yell about how he can’t remember his identity; almost every scene has him yelling about not remembering.

More details at It would appeal more to an art crowd as the film has an improvised jazz feel to it. The film wants to be edgy mainstream and is instead occasionally rather painfully square. Mister Buddwing (James Garner) F ilming in 1965, Mister Buddwing is one of those lost films that are on the cusp between Film Noir and Neo Noir. Now, the flashback sequences are written even worse than the present, because they’re hurried along stylistically, but basically they’re all about Garner becoming more and more of an abusive shitheel. Film data from TMDb. I mentioned before that it had received Oscar nominations for its sets and costumes, and kept an eye out for notable production or costume design. . Mister Buddwing is kind of amazing. I forget exactly how--I think I saw a vintage promotional film on TCM--but I also knew it had a couple of Oscar nominations, for its sets and costumes. Mann and Wasserman need to keep Garner sympathetic in the present so they have to demonize the “girls” in the past. You know the circumstances surrounding why he woke up in the park in that condition, you’ve had a pretty good summary of his adult life and his relationship with his wife, he seems resolved to amend his life and his wife appears to be receptive to his overture. Later it’s Jean Simmons.

Sort of a psychological noir rather than a “crime” noir. He knows that she's somewhere in the city. It’s an unusually abandoned performance from the normally refined Simmons, but she makes her scenes come alive. Except cars. But at the same time, you’d wonder, “Well…what WAS it?” And knowing does give you that “Aha!” moment. He gives himself the name of Buddwing when he spots first, a Budweiser truck, and second, an airplane in the sky. He goes home with her, and while they are together has another flashback, this time with Grace played by Pleshette, where we see their marriage coming under strain as Buddwing (who we learn is a composer) is facing professional frustration and contemplating taking a commercial job for their sake. Will it…, 'I don't know where I was last night..' (James Garner as Mister Buddwing). Poorly written, poorly delivered. Unfortunately the movie kind of slowly loses steam from there on out but that almost has more to do with the fact that the more and more you learn about who this Mr Buddwing actually is the less sympathy I had for him. He hasn’t got a handle on the performance—getting no help from Dale Wasserman’s screenplay and then somehow even less from Mann. The first can be done at a kiosk in Times Square (I think); the second at a crap game in Harlem, which a passerby (Raymond St. Jacques) informs them of. And, especially now, you could have left it at that. Create an account or sign in to comment. Anyway, it wouldn’t have explained anything… I don’t think any word can explain a man’s life.”. Garner spends a lot of the movie wandering around Manhattan by himself.

Wow.

He’s in the Simmons section and gets to enjoy in its heightened quality. Mister Buddwing would need to be seen to be believed. He joins her, somewhat reluctantly, and has another flashback–this time with Simmons as Grace–and recalls how their marriage fell apart after the forced abortion. Solid movie, but kind of all over the place.

They even do it in the present when Lansbury makes a too minor but very welcome near third act return. Thanks for asking me to expand on my evaluation of this memorable film. "Mr. Buddwing" is like a jigsaw puzzle the viewer has to try and piece together based on what's happening in the present and ... (or ending), Mr. Buddwing doesn't, which enhances the disorientation for the audience.

But in the present, just having fun, Simmons is fantastic. Pleshette is immediately likable, odd without being quirky, and her affection for Buddwing is believable. The frequent shifts in time, or in misremembered fantasy, are often confusing as an audience member, but I suppose they would be confusing for the amnesiac Buddwing as well. In the past she gets into the problem Ross and Pleshette had; Wasserman writes the part something awful.

Dude was kind of a dick. James Garner was painfully real in his anguish, the flashbacks were well structured, and I never thought the film was a comedy. ¹It’s not the strangest, though.

I enjoyed this film...despite some of reviews, first off it kept my interest...maybe for some it gets….
No one does, apparently. It might help to know what’s going on since his expression has three varieties of blank. Ross is background in her section, which seems weird since Lansbury at least gets her scenes.

Instead, the film informs the audience first, Garner offscreen. The costumes are less memorable; there’s some sharp suits and flashy dresses, but nothing that really sticks in the memory.
bro u couldn't come up with anything better than 'budd wing' ? An amnesiac wanders the streets of Manhattan, trying to solve the mystery of who he is. Some of the finest Christians I know are Jews.” Most of the characters, indeed, are strange; Fiddle’s name (a stage name) is only the first weird thing about her, and the blonde has a line in bizarre mordant humor. Every film that has ever been nominated for an Academy Award in any category. Garner has just had the first flashback scene, with Katharine Ross appearing as Garner’s years ago love interest. Kisco where his wife is. The James Garner and Katharine Ross flashback pushed me over the edge after the droll inner monologue and the eminently watchable cameo by Angela Landsbury.

Verdict: A very fine film, but a very frustrating film. And then it’s gone, which is weird because regardless of it being good or not, it makes sense. Mann’s inconsistent if there are people around Garner—who never interact because the film’s just the story of one ant among millions—sometimes there are montages with people in the background, sometimes the city’s empty. If they’d pulled off the third act, Buddwing would probably work, even with Garner’s flat performance and Mann’s jarred direction.

The ending had a faith message. Kenyon Hopkins’s score is similarly disjointed. He gets his first name from Angela Lansbury, who he calls when he finds her number in his pocket. When I was a kid, I wanted to be Jim Rockford. The device of having each of the women Buddwing encounters assume the role of Grace in his memories is an interesting touch as well, hinting at the fluidity and subjectivity of memory. What was I thinking?". Makes up for Garner even. Which is to say – – not at all. What’s funny is how director Mann maybe sees what he’s trying to do with the film but doesn’t see how he’s not achieving it. WARNER ARCHIVES: Mr Buddwing (1966)...An American Dream (1966) .... MEN UNDER SIEGE: WARNER ARCHIVES BRINGS BACK TWO FROM 1966; Watch as American males deal with a loss of identity... By Don Stradley.

No problem, there are a lot of weird but wonderful films about. Ross just gets to be stalked. Everyone who commented had strong perceptions that I learned a lot from. I very much felt this about ‘Who’s Afraid of Virginia Woolf?’ because it was too weirdly insane for my taste. Change ), You are commenting using your Facebook account. Like. (It sounds good, too; Kenyon Hopkins’ score is very solid indeed, and I’ve come to recognize him as one of the more underrated film composers.).

Abyssmal. Oddly enough, the film didn’t get a nomination for Ellsworth Frederick’s cinematography (though the Academy more than made up for it by nominating the great camerawork in John Frankenheimer’s Seconds). It’s such a bad, deliberate move. But it doesn’t need to be believed. But only if both those descriptors are used as pejoratives. At least it seems like he remembers the flashbacks by the time the movie gets to Simmons. The last name he makes up coincidentally, narrating about it. And usually discovered through blogathons. And exceptional. That, I suppose, sums up Mister Buddwing pretty well.

Movie Journal 8/24/2015 | If you want the gravy... 2016 Rising: Actus Primus | If you want the gravy... 2016: The Year in Gravy | If you want the gravy... 2017: The Gravy in Review | If you want the gravy... 2018: The Gravy in Review – If You Want the Gravy…, 2019: The Gravy in Review – If You Want the Gravy…. All told, Mister Buddwing looks pretty good.

The opening scenes of Mister Buddwing (1966) are so enticing that it's tempting to recommend the movie based on those alone. This gives us a direct connection to Garner's situation. Apparently Jean Simmons thought her part was good fun. This review may contain spoilers.

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