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Combines user and critic ratings from four sources
Heironymus Merkin is an internationally successful singer approaching middle age who retells his life story in a series of production numbers on a seashore in front of his two toddlers and aged mother. Merkin's promiscuous relationships with women are explored, particularly Polyester Poontang and the adolescent Mercy Humppe. Merkin is constantly surrounded by a Satan-like procurer, Goodtime Eddie Filth, and an angelic 'Presence' who interrupts Merkin's biography with cryptic Borscht Belt-level jokes to denote births and deaths in Merkin's life. Newley periodically steps out of character to complain about his 'Merkin' role with an unseen director, two screenwriters, the film's producers and a trio of blasé movie critics who are turned off by the story's eroticism and lack of plot.
Heironymus Merkin is an internationally successful singer approaching middle age who retells his life story in a series of production numbers on a seashore in front of his two toddlers and aged mother. Merkin's promiscuous relationships with women are explored, particularly Polyester Poontang and the adolescent Mercy Humppe. Merkin is constantly surrounded by a Satan-like procurer, Goodtime Eddie Filth, and an angelic 'Presence' who interrupts Merkin's biography with cryptic Borscht Belt-level jokes to denote births and deaths in Merkin's life. Newley periodically steps out of character to complain about his 'Merkin' role with an unseen director, two screenwriters, the film's producers and a trio of blasé movie critics who are turned off by the story's eroticism and lack of plot.
The film's central subject matter revolves around personal memory, identity, and existential angst, which are inherently apolitical. Its narrative offers an artistic, introspective exploration rather than promoting any specific political ideology or solution.
This 1969 British film features a cast predominantly composed of traditional identities, reflecting the casting norms of its era. The narrative focuses on a personal, introspective journey of a male protagonist, without explicitly critiquing traditional identities or centering on themes of diversity, equity, or inclusion.
The film's narrative, though satirical of its protagonist's hedonism, is fundamentally structured around Judeo-Christian concepts of sin, guilt, judgment, and the search for mercy and redemption. The ultimate quest for 'true happiness' aligns with the spiritual virtues espoused by the faith.
The film does not feature any discernible LGBTQ+ characters or themes. Its narrative focuses on other aspects, resulting in no specific portrayal of queer identity to evaluate.
The movie does not contain any action or adventure elements.
This film is an original work with characters created specifically for it. There is no prior source material, historical basis, or previous installment from which characters' genders could have been established and subsequently swapped.
This 1969 film is an original musical fantasy with characters created specifically for the movie. There is no prior source material, historical figures, or previous installments from which character races could be established and subsequently altered.
Combines user and critic ratings from four sources