Lucky Lady

The only vaguely remarkable thing about Lucky Lady is that it presents an overtly troilist relationship to its family audience with so little fuss: Hackman, Reynolds and Minnelli share a bed in '30s America, and make their living by running booze across the Mexican border. Unfortunately, the film's originality stops there, which is surprising since it was scripted by the talented Huyck/Katz partnership (American Graffiti, The Second Coming). Donen's determined 'lightness' is typified by the ghastly, insistent score which punctuates almost every action with a corny tune. The story is virtually non-existent, the period detail coyly derivative, and much of the comedy would be shamed even by the most meagre Anna Neagle vehicle of the '40s.