Cher (born Cherilyn Sarkisian La Pierre, 1946) is known for her outrageous outfits and (cosmetically enhanced) eternal youth. But she started out as a singer with her husband as the duo Sonny &Cher in the mid-sixties with 'I Got You Babe’ as their biggest hit. In the 1970’s they had their own tv show and Cher became the first woman to ‘expose her navel’ on television which did wonders for her sex symbol status. After they divorced, Cher went solo and started acting. This is when I became aware of her, opposite Nicholas Cage in ‘Moonstruck”. She even won ‘best actress’ in Cannes for the portrayal of a mother of a deformed son in the 1985 movie ‘Mask’. She still performs today and her sense of style has made her a gay icon. Between 1977-1981 she was the focus of photographer Harry Langdon during several epic photo shoots. As you can see these sessions made for some lavishly extravagant and glittery photographs.
Three's a Crowd is quintessential Langdon and it's existence is almost a miracle.
Cubist, minimalist, enigmatic, avant-garde,personal, painterly,static, dream-like, lethargically paced, performance art: all these terms apply to Three's a Crowd.
The bleakness of Three's a Crowd is worthy of Beckett, rivals the best of Chaplin, and stands apart as THE unjustly maligned, hopelessly misunderstood, dark horse masterpiece of silent cinema... Three's a Crowd defies genre. It is not a comedy, but the purest expression of Langdon's standout art,which refuses to be pigeonholed. Langdon got his start in film at a much later age than his contemporaries and he always seemed the antithesis of Chaplin, Keaton, and Lloyd; so his evolution into something even starker, less definable, was the most predictable outcome of Langdon's career, and then only in retrospect. It is unfortunate that Langdon was not permitted to develop his art and character, but it's almost a miracle he was allowed to in the first place and this resulting film is his testament. Many of his earlier films for Mack Sennett, while uniquely different, still seem very much expressions of their time, as do the Capra films, but Three's a Crowd went further and, consequently, stands out and alone as an original, modernist misfit work. Its, and Langdon's, time has come.
Excerpted from my 366 Weird Movies review