Movie-version of the popular stage success (which derived from a factual article in Playboy magazine) about how a Texas bordello was brought down by a crusading TV newsman (in reality, a journalist fighting organized crime, in the film a hypocritical advocate for decency). With Burt Reynolds cast as the local sheriff and madam Dolly Parton as his unspoken lady-love, this seemed to have the right ingredients for a big, raucous musical hit. Alas, there's not an assured, well-directed sequence in the entire picture. Worse, Reynolds is on auto-pilot throughout, easily allowing supporting character players Dom DeLuise, Charles Durning, and even Jim Nabors to show him up something fierce. What's good about this "Whorehouse" is Dolly Parton who, despite not having the training or experience of a skilled comedic actress, brings to the project her sassy personality (which nearly makes the film worth-watching); her honeyed charms, white wigs and frilly outfits not only accentuate her famous curves, they give her (and the film) a welcoming spirit. The script is curiously heavy with dialogue, and one scene outdoors--wherein Burt and Dolly discuss aliens, the Bible, and Dolly's girlhood dreams--seems to ramble on forever. This wouldn't be so noticeable if the musical sequences brought life back into the piece, but each number is rendered flat by the editing, which doesn't allow the film any visual pizazz. Parton is bouncy all on her own, though none of the working girls have the personality Dolly does (the script doesn't give them a chance to be anything but proud prosties, eager to do their thing). The naughty humor is nudging and winking rather than smirking (which is good), and there are some big laughs: DeLuise doing some fancy footwork while on the air, Durning (as the Governor) dancing the "Sidestep", and Jim Nabors saying "sh*t" and "son of a b*tch". The leads don't really get their share of the jokes, and Parton always seems to be playing ringleader (with too many big entrances coming down the stairs). The sentiment at the ending turns the film into a love story (the stage show was a fired-up satire) and Parton's "I Will Always Love You" comes out of nowhere (she sings it to Reynolds, who doesn't hear a word she says!). The movie is a messy jumble of half-assed attempts at comedy, drama, heartbreak, old-fashioned musical (with garters), but hardly any commentary on the situation. Yes, the bordello was a civic-minded, conscientious, tax-paying establishment which did an awful lot for the community, but if prostitution is illegal than they are also law-breakers. There are no songs about that. ** from ****
