Film
Sextette
- Comedy
- Light-hearted
Mae West's final film is a fever dream of 1970s celebrity excess: a 78-year-old sex symbol getting married for the sixth time while somehow preventing international war. It's camp, surreal, and stuffed with random musical numbers and cameos. Chaotic in ways that feel almost experimental. For people who love gloriously weird artifact cinema.
If you liked this
Singin' in the Rain1952
The gold standard of movie musicals: joy and virtuosity in every frame. Gene Kelly and Donald O'Connor are luminous, the numbers are inventive, and the whole thing moves like it's dancing.
But If you find classic Hollywood's tone too wholesome or polished, this celebrates exactly that. Long sequences of pure entertainment with no story underneath.

Some Like It Hot1959
Billy Wilder's masterpiece of comic chaos, featuring Tony Curtis and Jack Lemmon at their finest. It's genuinely funny, structurally perfect, and proves that glamour and laughs make better partners than glamour alone.
But The sexual politics belong to 1959. Some of the humour hinges on ideas that feel thin now.

Gentlemen Prefer Blondes1953
Jane Russell and Marilyn Monroe make a hymn to female appetites and self-determination. The musical numbers are glorious, the chemistry is electric, and it's far more subversive than it looks.
But Unapologetically about the commodification of women's bodies and sexuality. If that's the premise you want to critique, not celebrate, you'll find it exhausting.

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The wildcard
Something you would not have found on your own.
Roustabout1964
Both are star vehicles where the star's charisma is more important than plot coherence. Both celebrate celebrity and spectacle over sense. Both feel like watching someone's fantasy of themselves.
Elvis as a drifter at a traveling carnival, with Barbara Stanwyck as the owner. It's garish, shapeless, and absolutely committed to nonsense—a musical that doesn't care if a story makes sense. The energy matches Sextette's.
But The plot is gossamer. If you watch it sober and expecting narrative momentum, you'll wonder why you're still watching. It's designed for a particular kind of viewer.

More like this (8)
The Pink Panther1963
Peter Sellers as an incompetent French detective in a perfect storm of slapstick and spy-caper plotting. Hilarious, inventive, and Henry Mancini's theme is immortal.
But The comedy is purely physical. If you need wit in your dialogue, there's almost none here.

Kiss Me, Stupid1964
Billy Wilder again, this time making something genuinely perverse: a small-town songwriter pimps out his wife to Dean Martin. It's funny and unsettling in ways that feel reckless.
But It's unpleasant. The sexual politics are knowingly nasty, and no amount of comedic skill makes that an easy watch.

It's a Mad, Mad, Mad, Mad World1963
A treasure-hunt comedy featuring what feels like the entire comedy establishment of the era. Chaotic, absurd, spectacularly overstuffed, and exhaustingly fun.
But It's 154 minutes of escalating mayhem with almost no emotional weight. If you need a story, you're going to get impatient.

Breakfast at Tiffany's1961
Audrey Hepburn as Holly Golightly is a performance for the ages: mysterious, amusing, and far more complicated than she appears. The film is a romance, a comedy, and a character study at once.
But Its portrayal of Asian characters belongs to an uglier era. Some viewers find the tonal shifts between lightness and sadness jarring rather than effective.

Funny Face1957
Audrey Hepburn and Fred Astaire in a Gershwin musical about a bookish woman turned model. It's stylish, the dancing is extraordinary, and there's real wit underneath the glamour.
But The fashion-world satire hasn't aged well—it's dated rather than timeless. And Astaire is almost thirty years older than Hepburn, which the film doesn't hide.

That's Entertainment!1974
A compilation of the best numbers from MGM's golden age. Pure spectacle and craft: you're watching the studio system at its most confident and most skilled.
But It's a highlight reel with no throughline. If you want narrative, stakes, or character development, this is just clips strung together.

Pennies from Heaven1981
Both use music to say something that plot can't. Both are about people performing versions of themselves. Both look like they're playing in a dream where reality keeps slipping.
Steve Martin and Bernadette Peters in a Depression-era drama interrupted by elaborate musical numbers from old songs. It's tonal whiplash on purpose: grief and joy colliding in real time.
But The tonal shifts are severe. Depression-era poverty suddenly becomes a Busby Berkeley number. If you need consistency of mood, this will feel genuinely weird.

The Poseidon Adventure1972
Both Sextette and The Poseidon Adventure are fever-dream ensembles where the premise is an excuse for chaos. Both put spectacle over sense. Both feel like watching a party where the rules stopped making sense around midnight.
A disaster film where the spectacle is the story: a ship capsizes and an ensemble cast fights through the chaos to survive. It's silly and earnest and thrilling in ways modern films have learned not to be.
But It's genuinely dated. The special effects show their age, the dialogue is clunky, and if you're looking for psychological realism, this celebrates melodrama instead.

People
Cast
Mae WestMarlo Manners
Timothy DaltonSir Michael Barrington
Dom DeLuiseDan Turner
Tony CurtisAlexei Karansky
Ringo StarrLaslo Karolny
George HamiltonVance Norton
Alice CooperWaiter- Keith AllisonWaiter in Alexei's Suite
Rona BarrettSelf
Van McCoyDelegate
Keith MoonDress Designer
Regis PhilbinSelf
Directing
- Gene MarumAssistant Director
- Ken HughesDirector
- Terry TerrillScript Supervisor
- Gary LaPotenSecond Assistant Director
- Robert ShueSecond Assistant Director
Writing
- Herbert BakerScreenplay
- Mae WestTheatre Play
Production
- Harry WeissAssociate Producer
- Marvin PaigeCasting
- Warner G. ToubExecutive Producer
- Don HendersonLine Producer
- Daniel BriggsProducer
- Robert SullivanProducer