"Those whom the gods would destroy, they first make successful in show business." Such are the words of legendary Hollywood producer, David Brown, taken from an excerpt in The Friedkin Connection, an autobiography from William Friedkin, one of the shining stars of the New Hollywood generation. Much has been made of the glory days of the 70s, and the films made at that time; more has been said on how Lucas and Spielberg single-handedly destroyed those glory years with their own prodigious and prototypical blockbuster films. After the 70s, many of the New Hollywood boys struggled in their careers. Friedkin was one such victim. Coppola's career never recovered. Peckinpah and Ashby's careers (and lives) ended with the death of New Hollywood. Yet no single career from this group took on the dramatic highs and lows akin to that of Peter Bogdanovich. After an impressive career as a historian and writer of the great Hollywood masters (Ford, Welles, Hawks, etc) Peter went on to direct his own films, seen through the eyes of the critics as homages to the great masters he so revered. After a string of big hits, Bogdanovich experienced a string of maligned works (Nickelodeon, At Long Last Love), which permanently damaged his career, to say nothing of his personal relationships at the time.Yet time has been kind to these films. A restored cut of both Nickelodeon and At Long Last Love have since been released, and the films have experience a kind of critical renaissance. The same would occur for his highly personal 80s film Mask. Despite all this newfound success, there are still two films of his post-Paper Moon films that have yet to receive such treatment: Illegally Yours and Texasville.For now, let us discuss Illegally Yours, a film which I had no hopes of enjoying going into it. Just about everyone, even the director himself, have spoken solely ill-words toward this film (Bogdanovich has been on record as saying that this is his worst film). So imagine my surprise when I began watching this film and found myself enjoying it. Rob Lowe is a revelation in this film. Though he would go on to show his great comedic chops in other films and television shows (most notably Parks and Recreation), it feels revelatory in this film. Make no mistake, this is a screwball comedy of the highest order. The movie begins in a kind of movie of the week way, with Rob Lowe narrating to the audience what the set-up for the film is, which might be the worst part of the film. On the other hand, it helps to set up the comically convoluted plot, so perhaps it works as best as it could. Not enough can be said of Bogdanovich's composition, which is precise to the point of mathematics. Not a frame is wasted, and every shot is always an opportunity to set up the next bit of information. Only Jackie Chan's editing is more precise, and that's saying something. I can understand how some people might be turned off by the material. The screwball comedy has really been in favor since the 1940s (though I'll still take the worst of Hollywood screwballs over what's passed for comedy nowadays), and the film wears its charm on its sleeve. That being said, in the words of Lars Von Trier "it works only as much as you want it to work." This is the attitude I'd recommend bringing to this film. Come in with an open mind, and you may find yourself enjoying it as much as I did. Bogdanovich has previously stated that test screenings proved the film to be a great success, yet Dino DeLaurentiis (the film's producer) took it upon himself to recut the film in the version that is available today, which bombed hard at the box office. Peter blames this cut for ruining the film, a fate that befell the previously mentioned films. Yet time has proved those films to be enduring works, and this film is no exception. The fact that I enjoyed it so much only makes me wonder how much better the preview cut could have been. Either it's just as good as this version (unlikely), or it may have been a comedic masterpiece. The chance for the latter only has me convinced that this movie deserves a reappraisal, and hopefully a director's cut. Until then, I am satisfied that this movie exists at all, as it is a clearly underrated gem from Bogdanovich's catalogue. Recommended for anyone who's looking to unwind and watch an unpretentious comedic romp. Especially appropriate around winter time, given the films Christmas setting. At long last... I can say without a doubt I love this movie.

This film is a forgotten classic that is better than most of the movies made today. The story involves Rob Lowe as a guy called for jury duty and he finds that the defendant accused of attempted murder is his first love - Colleen Camp - from first grade. The story itself is nothing exceptional, but the writing is excellent and highly original. Interestingly, this film also demonstrates the comedic acting ability of Rob Lowe - which is very good; by extension, Rob Lowe is a very good actor generally, as comedic acting is the most difficult to master. This film has excellent acting throughout, and the story and some of the settings keep you attracted to the movie from beginning to end, unlike many of the insipid movies of today that rely almost solely on stories revolving around immorality and obnoxious acting (Will Ferrell, for example). Colleen Camp, Rob Lowe, and Kim Myers are great in this movie and their acting styles keep you glued to the story. Oh, and yes, this one is a must-see for Colleen Camp fans.

That quote is from P.J. O'Rourke's guide to hosting a party in his classic work, "The Bachelor's Home Companion". To me, it pretty much sums up the appeal (what there is of it) of this film. Or to put it another way, in his effort to construct a "screwball comedy", Bogdonovich kept throwing things at the wall in the hopes that some of them would stick.Fortunately, some things do. Nothing about "Illegally Yours" is particularly inspired (in fact most of it is strained and contrived), and no one in it is particularly great at comedy...the best most of the actors can muster is a kind of wide-eyed incredulity. But the plot throws so many twists and turns at the viewer, and there are so many rapid-fire "bon-mots" and quirky lines and bad puns that eventually the movie reduced me to a state of mild bemusement...and after the movie had been hitting me over the head with "funny funny funny" for 40-50 minutes. I gave in and actually snorted with laughter once and chuckled a couple of other times. I even guffawed once. Just once, but that's still better than anything Ben Stiller has been able to do since "Mystery Men". I think it was easier for American filmmakers impress American audiences with screwball humor before Monty Python,Red Green,"Black Adder","Fawlty Towers" and similar imports caught on here. In comparison to Pythonesque and Newhartesque whimsy and wordplay, this movie's script is a bit stodgy and leaden. But it's still mildly funny even today, and none of the players (even Rob Lowe, who I've never liked) have anything to be ashamed of here. Do not skip your fiftieth viewing of "Monty Python and the Holy Grail" to see "Illegally Yours", but if IY is on opposite something dull and unfunny like "Gone Fishing", you may want to check it out.

Director Peter Bogdanovich seemed to have it all at one point early in his career, but I can't imagine a worse string of pictures than "At Long Last Love", "Nickelodeon", "Daisy Miller" and "Texasville", not to mention this one, a dud meant for theaters but relegated to dusty bins at the video store. Rob Lowe, outfitted to look like either Cary Grant or perhaps egomaniac Bogdanovich, stumbles around as a juror smitten with murder-suspect Colleen Camp. Camp, as proved in "They All Laughed" (a Bogdanovich bright spot), has the knack for screwball antics, but her character here is too brash and she fails to click with Lowe, whose bumbling is forced--to say the least. The convoluted plot hangs together by a thread, not helped by a bunch of "lovable" dopes in the supporting cast (including future Mrs. Bogdanovich, L.B. Straten). Cheeky, yes. Successful, no. *1/2 from ****