"30 Is a Dangerous Age, Cynthia" could never be lumped in with Richard Lester's irreverent (i.e., disrespectful) comedies of the 1960s, nor the Monty Python movies which came into vogue a few years later. It's too enamored with American nostalgia...and is too eager-to-please to make its mark as a swinging comedy with an edge (such as 1967's "Bedazzled"). Dudley Moore plays 29-year-old British composer who hopes to be married by his 30th birthday (the age when a man is supposed to have his life together); he has his eye on a pretty lodger (named Louise!), but is also consumed by work while writing his first theatrical musical. Moore, who also co-wrote the screenplay with director Joseph McGrath and John Wells, seems to be having a high time here, though he relies too often on exaggerated facial expressions for laughs. McGrath eschews the popular mod trappings of the day for a more old-fashioned visual approach, including Walter Mitty-like daydreams, which is fine for the first three-quarters of an hour; after that, the gags get pushy and desperate, while the Bogart-spoof late in the proceedings is a complete miscalculation. Some spirit and style on a minor scale, and the score (also by Moore) is excellent. ** from ****
9 Reviews
I think I know who inspired Rowan Atkinson
ArtVandelayImporterExporter2 February 2023
Doesn't take long into this movie before it becomes obvious a young Rowan Atkinson must have devoured this film at a tweener. In fact, I bet he hid between the seats to watch multiple showings of it on Saturdays.
Dudley Moore at the piano pulling toidy faces and singing like a git. Moore in front of the mirror pulling faces and singing in a falsetto. His rubbery, put-upon mannerisms. Black Adder and Mr. Bean are all hear in protean form.
I don't know whether this is the funniest thing I've ever seen. It was probably a lot funnier to the Brits in 1968. But it's an interesting snapshot in the career of one of England's most celebrated comics. And a harmless way to kill 90 minutes. I suggest it holds up a lot better than his two most celebrated movies: Arthur, when being shytfaced drunk 'round the clock was considered super-hilarious. And 10, when stalking super-hot and completely unattainable women was considered charming.
Dudley Moore at the piano pulling toidy faces and singing like a git. Moore in front of the mirror pulling faces and singing in a falsetto. His rubbery, put-upon mannerisms. Black Adder and Mr. Bean are all hear in protean form.
I don't know whether this is the funniest thing I've ever seen. It was probably a lot funnier to the Brits in 1968. But it's an interesting snapshot in the career of one of England's most celebrated comics. And a harmless way to kill 90 minutes. I suggest it holds up a lot better than his two most celebrated movies: Arthur, when being shytfaced drunk 'round the clock was considered super-hilarious. And 10, when stalking super-hot and completely unattainable women was considered charming.
Those wacky Brits in the 60's. So irreverent.
mark.waltz4 May 2024
Warning: Spoilers
A fairly amusing but often perplexing romantic comedy, this was Dudley Moore's last solo lead until "10" in 1979, a rare chance to see him without his regular partner of the time, Peter Cook. Like dozens of other comedies of the 1960's into the early 70's, it's a visual treat but makes little sense. Moore is the 29 year old Rupert Street who hopes to marry before he turns 30, but he doesn't have the girl.
The multi-talented Eddie Foy Jr. And the beloved Hyencinth Bucket (Patricia Routledge) easily steal scenes as Moore's agent and landlady, and Suzy Kendall is lovely as the tenant whom Moore wants to make the bride. But she obviously has other plans for her life, and that greatly disturbs his plans. For most of the film, Moore has some truly out there fantasies, many corresponding to Moore's real love of classical music. In these fantasies (which are sometimes pick musical numbers), he often plays up against himself.
This is a gentle parody of British manners and archetypes, often portraying the actions of various characters as pretentious and phony, and kidding around with gentle jabs at various upscale accents. Fans of "Are You Being Served" will recognize Frank Thornton (Captain Peacock) as the church clerk who bodily tosses Moore out simply for wasting his time with nonsense. Not a good comedy or a bad one but just dated, if not in plot then in mood. Take out the fantasy sequences and you have about a half hour of film.
The multi-talented Eddie Foy Jr. And the beloved Hyencinth Bucket (Patricia Routledge) easily steal scenes as Moore's agent and landlady, and Suzy Kendall is lovely as the tenant whom Moore wants to make the bride. But she obviously has other plans for her life, and that greatly disturbs his plans. For most of the film, Moore has some truly out there fantasies, many corresponding to Moore's real love of classical music. In these fantasies (which are sometimes pick musical numbers), he often plays up against himself.
This is a gentle parody of British manners and archetypes, often portraying the actions of various characters as pretentious and phony, and kidding around with gentle jabs at various upscale accents. Fans of "Are You Being Served" will recognize Frank Thornton (Captain Peacock) as the church clerk who bodily tosses Moore out simply for wasting his time with nonsense. Not a good comedy or a bad one but just dated, if not in plot then in mood. Take out the fantasy sequences and you have about a half hour of film.
Like a birthday cake - sweet and fluffy
hunt-52 April 2004
"30 Is A Dangerous Age, Cynthia" shares a producer (Walter Shenson) with the Beatles' "Help!" and runs along the same lines as well - the flimsy so-called plot is merely an excuse for endless musical segments, fantasy sequences and comic gags. It's very clear from the beginning how things are going to turn out for our hero (Dudley Moore as Rupert Street), and even moments of worry or conflict for the characters pass very quickly or are made humorous. Several chances for drama are wasted - much like Rupert's own musical, you could imagine that this movie began life with some thought and delicacy that was discarded in favour of more harmless frolic. Well, it's undeniably full of that, with its swinging 60's colour, fun and music. The detective who fancies himself an American-style "private dick" with appropriate voiceovers is very funny, as is Eddie Foy Jr. as Oscar, Rupert's endlessly scheming agent. Those who are looking for something along the lines of "Bedazzled" (ie. the Moore/Cook version, a personal favourite of mine) will likely be disappointed with the fluffy non-plot and lack of anything resembling drama (not to mention the absence of Peter Cook's witty scripting). However, this really is a must-see for Dudley Moore fans - the imaginary bits display him in a vast array of costumed guises, and he performs several of his self-penned songs in their entirety. If you're just looking for a bit of "Help!"-style silly fun, you'll enjoy this one.
A Dudley Moore Curio
JLRMovieReviews22 August 2023
In the beginning, I actually enjoyed this rather strange little film and then it seemed to run out of gas. Dudley wants to marry before 30 (in a few weeks.) So he proceeds to pursue this new girl, with time taken out to perform to the camera, musical numbers which I enjoyed very much. Then when she leaves the country, he takes off after her. Then a private investigator is hired to follow him. It all is very unbelievable, but enjoyable due to Dudley's childish charm. My main criticism is that the film kind of peters out by the end. But all in all, to forget your own troubles, you can be entertained by Dudley Moore's looney antics here.
Dudley Moore comedy
SnoopyStyle3 February 2023
Pianist Rupert Street (Dudley Moore) is a composer wannabe. His 30th birthday is coming and he wants to get married before then. The only problem is that he has no partner yet. He's off to write a successful stage musical and find the perfect woman to marry. He has six weeks.
I really like the bonkers premise and the many surrealist scenes. It's not quite as funny as it could be. Dudley Moore is mugging as much as he could. It's only slightly funny and I lose the thread of it all. I never get a sense about the man and I don't know if I like him. I get his obsession, but I can't take it that seriously. There should be a defining reason for his obsession. Maybe a gypsy witch cursed him or the good old standard inheritance requirement. Suzy Kendall is the super hot blonde, but she's not contributing much more than that. It's an odd-duck of a British comedy. Dudley Moore fans should check this out.
I really like the bonkers premise and the many surrealist scenes. It's not quite as funny as it could be. Dudley Moore is mugging as much as he could. It's only slightly funny and I lose the thread of it all. I never get a sense about the man and I don't know if I like him. I get his obsession, but I can't take it that seriously. There should be a defining reason for his obsession. Maybe a gypsy witch cursed him or the good old standard inheritance requirement. Suzy Kendall is the super hot blonde, but she's not contributing much more than that. It's an odd-duck of a British comedy. Dudley Moore fans should check this out.
Only Cynthia Knows...
ShadeGrenade7 July 2006
Warning: Spoilers
In 1979, Dudley Moore starred in '10', written and directed by Blake Edwards, about the angst of a man approaching forty. It was hugely successful and made him a star.
But a decade earlier, he had starred in and co-written ( with Joe McGrath and the late John Wells ) '30 Is A Dangerous Age Cynthia', about the angst of a man approaching thirty. Nightclub pianist Rupert Street dreams of being both married and a successful composer. Rather improbably, his dreams begin to come true almost simultaneously. Firstly, he meets and falls for the stunningly beautiful teacher Louise Hammond ( Suzy Kendall ). Secondly, some shady theatrical types - among them Jonathan Routh of 'Candid Camera' fame - commission him to write a new West End musical!
In search of inspiration, Rupert and his friend Oscar travel to Ireland where from the lips of a dying man they hear the incredible tale of 'The Golden Legend Of Erin'. It begins with the words: 'long, long ago, when there were still snakes in Ireland...!'. Rupert uses the story as the basis for his show.
But, on returning to London, he finds his beloved Louise has grown impatient with waiting for him and moved out of Mrs.Woolley's boarding house. Desperate to find and marry her before his 30th birthday, Rupert hires private eye Herbert Greenslade ( the brilliant John Bird )...
The first thing to be said about this film is that its no 'Bedazzled'. Dud may have been a better actor than Pete, but could not hold a candle to him when it came to writing. Allegedly a fair amount of autobiographical material went into the script. Dud originally wanted the film to centre on Rupert's music, his marriage was only included at the request of the producer, wishing to give the plot a romantic angle.
No-one liked it when it came out - audiences were not used to seeing Dud without Pete. As well as being a Swinging Sixties romantic comedy, it also attacked the cult of celebrity ( as it looked in 1968 ).
Producer Walter Shenson had just made two films with The Beatles, and wanted something in a similar vein. Joe McGrath had worked with Moore on the 'Not Only But Also' television series, and was the first director on the madcap 'Casino Royale' spoof.
To tie-in with its release in the U.K., Panther Books brought out a strange novelisation by 'brilliant American humorist' ( as it says on the inside cover ) Stanley Reynolds. I say strange because it seems to bear little resemblance to the script on which its based!
Moore here proved he could carry a film without Peter Cook, and the wonderful supporting cast includes Eddie Foy Jr., Patricia Routledge, John Bird and ( in his last movie ) Duncan Macrae. Suzy Kendall ( then Mrs.Moore ) looks incredible in her '60's dolly-bird gear!
Its flawed of course; Joe McGrath smothers the flimsy storyline with overdone 'Billy Liar' style fantasy sequences such as the stock car race and Beethoven spoof. Some of the musical numbers ( 'The Real Stuff' anyone? ) are horrid. Its hard not to think: 'ego trip'. But as ego trips go, its an engaging one, non-malicious, charming, and full of gentle nostalgia for Swinging London. Even if it wasn't like that, who cares? They don't make 'em like this anymore.
A must for Dudley Moore fans.
But a decade earlier, he had starred in and co-written ( with Joe McGrath and the late John Wells ) '30 Is A Dangerous Age Cynthia', about the angst of a man approaching thirty. Nightclub pianist Rupert Street dreams of being both married and a successful composer. Rather improbably, his dreams begin to come true almost simultaneously. Firstly, he meets and falls for the stunningly beautiful teacher Louise Hammond ( Suzy Kendall ). Secondly, some shady theatrical types - among them Jonathan Routh of 'Candid Camera' fame - commission him to write a new West End musical!
In search of inspiration, Rupert and his friend Oscar travel to Ireland where from the lips of a dying man they hear the incredible tale of 'The Golden Legend Of Erin'. It begins with the words: 'long, long ago, when there were still snakes in Ireland...!'. Rupert uses the story as the basis for his show.
But, on returning to London, he finds his beloved Louise has grown impatient with waiting for him and moved out of Mrs.Woolley's boarding house. Desperate to find and marry her before his 30th birthday, Rupert hires private eye Herbert Greenslade ( the brilliant John Bird )...
The first thing to be said about this film is that its no 'Bedazzled'. Dud may have been a better actor than Pete, but could not hold a candle to him when it came to writing. Allegedly a fair amount of autobiographical material went into the script. Dud originally wanted the film to centre on Rupert's music, his marriage was only included at the request of the producer, wishing to give the plot a romantic angle.
No-one liked it when it came out - audiences were not used to seeing Dud without Pete. As well as being a Swinging Sixties romantic comedy, it also attacked the cult of celebrity ( as it looked in 1968 ).
Producer Walter Shenson had just made two films with The Beatles, and wanted something in a similar vein. Joe McGrath had worked with Moore on the 'Not Only But Also' television series, and was the first director on the madcap 'Casino Royale' spoof.
To tie-in with its release in the U.K., Panther Books brought out a strange novelisation by 'brilliant American humorist' ( as it says on the inside cover ) Stanley Reynolds. I say strange because it seems to bear little resemblance to the script on which its based!
Moore here proved he could carry a film without Peter Cook, and the wonderful supporting cast includes Eddie Foy Jr., Patricia Routledge, John Bird and ( in his last movie ) Duncan Macrae. Suzy Kendall ( then Mrs.Moore ) looks incredible in her '60's dolly-bird gear!
Its flawed of course; Joe McGrath smothers the flimsy storyline with overdone 'Billy Liar' style fantasy sequences such as the stock car race and Beethoven spoof. Some of the musical numbers ( 'The Real Stuff' anyone? ) are horrid. Its hard not to think: 'ego trip'. But as ego trips go, its an engaging one, non-malicious, charming, and full of gentle nostalgia for Swinging London. Even if it wasn't like that, who cares? They don't make 'em like this anymore.
A must for Dudley Moore fans.
Nonsense- in the best way!
MyMovieTVRomance23 March 2023
Started watching this in the 11PM hour, but of course by the time it was over, it was well past midnight- so the 23rd. But it still counts as a March 22nd viewing, since that's when it started, right?
Anyways, I REALLY enjoyed this! Very fun and pleasant, and just silly enough to make one forget about being serious for the time, which was such a relief, actually!
I'd totally recommend this movie for fans of comedies and romcoms- especially those of the 1960s. Great cast too! But, SPOILER: there is no Cynthia in this movie that I recall, so the title is nonsense. However, the title is actually what made me want to watch this, so I can't complain. It's just like WHAT THE HECK though?! Haha!
Oh, and this is also another in my Joan Jett connected movies, because just like Joan, the lead character's birthday is in September, and like Joan, the lead character is a Virgo. And in one scene, all of that was mentioned together, along with a mention of Marie Curry and Joan of Arc- of all people! It just so happens that Joan's middle name is Marie, so the whole scene was basically referencing her! Filing this under Godwinks! :-)
Anyways, I REALLY enjoyed this! Very fun and pleasant, and just silly enough to make one forget about being serious for the time, which was such a relief, actually!
I'd totally recommend this movie for fans of comedies and romcoms- especially those of the 1960s. Great cast too! But, SPOILER: there is no Cynthia in this movie that I recall, so the title is nonsense. However, the title is actually what made me want to watch this, so I can't complain. It's just like WHAT THE HECK though?! Haha!
Oh, and this is also another in my Joan Jett connected movies, because just like Joan, the lead character's birthday is in September, and like Joan, the lead character is a Virgo. And in one scene, all of that was mentioned together, along with a mention of Marie Curry and Joan of Arc- of all people! It just so happens that Joan's middle name is Marie, so the whole scene was basically referencing her! Filing this under Godwinks! :-)
Light-fingered piece by the multi-talented Moore
aramis-112-8048806 April 2024
Dudley Moore, one of America's all time strangest movie stars, long before proving he could hold his own opposite Julie Andrews, displays his bag of tricks in this delightful (and extremely well-edited) tale of a 29-year-old composer who wants to hit it big and be married by the time he's 30, though he starts off with no prospects for either.
Naturally, it's wackiest up front, then settles in toward the hour mark as Moore loses and must find the woman he thinks he loves (Suzy Kendall, who actually was Mrs. Moore for a while. And who never looked better).
The music, by Moore, is pretty good. A delightful opening theme that gives one the mistaken impression it's going to be a knock off of "The Knack" and promises a superstitious theme it then forgets. Some excellent jazz (including a serious piece where Dud shows what he can do vis-a-vis a piano). Even a faux-madrigal where he gets to sing harmony with himself (I like early music, and it's not half-bad).
Some people think during this period Dud wasn't as good without his erstwhile partner, Peter Cook. And for someone who enjoyed Pete and Dud movies like "The Wrong Box" and "Bedazzled," one almost expects Cook to pop through a door at any given moment. But, genius though he was, Cook's career suffered worse, without Moore. (And don't judge this movie by what it isn't, but what it is).
Naturally, the sort of humor established early on can't be sustained. But this movie with the unwieldy title has some of Britain's familiar comic faces popping up for comedic turns, though it's worst crime may be the underutilizing of Eddie Foy, Jr. ("The Pajama Game"). The whole thing is refreshingly off-kilter without the more serious subtext that nearly upended "The Knack."
Naturally, it's wackiest up front, then settles in toward the hour mark as Moore loses and must find the woman he thinks he loves (Suzy Kendall, who actually was Mrs. Moore for a while. And who never looked better).
The music, by Moore, is pretty good. A delightful opening theme that gives one the mistaken impression it's going to be a knock off of "The Knack" and promises a superstitious theme it then forgets. Some excellent jazz (including a serious piece where Dud shows what he can do vis-a-vis a piano). Even a faux-madrigal where he gets to sing harmony with himself (I like early music, and it's not half-bad).
Some people think during this period Dud wasn't as good without his erstwhile partner, Peter Cook. And for someone who enjoyed Pete and Dud movies like "The Wrong Box" and "Bedazzled," one almost expects Cook to pop through a door at any given moment. But, genius though he was, Cook's career suffered worse, without Moore. (And don't judge this movie by what it isn't, but what it is).
Naturally, the sort of humor established early on can't be sustained. But this movie with the unwieldy title has some of Britain's familiar comic faces popping up for comedic turns, though it's worst crime may be the underutilizing of Eddie Foy, Jr. ("The Pajama Game"). The whole thing is refreshingly off-kilter without the more serious subtext that nearly upended "The Knack."
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