If there is one subject cinema loves more than any other, it would be itself – Hollywood seems to adore the sound of its own voice, hence why we have seen countless works produced around the idea of putting on a show, extending to the very earliest days of the industry, which it inherited from theatre, which also tended to appreciate the idea of telling stories about itself to a certain extent. The result is that we have a wealth of works that are drawn from filmmakers drawing on their own observations, and filtering them into the form of a film, whether comedic or dramatic. The most effective examples of this trend often come in those that grew up in the industry, as is the case for Carrie Fisher, one of the few children of Hollywood who made a successful career not only for her work within the industry but also for the ones that made set in and around it. Her masterful Postcards from the Edge is one of the most enthralling books ever written on the subject of fame and served as the impetus for an incredible film in its own right. She followed this up with a screenplay for These Old Broads, a television film that focuses on three veteran actresses coming together for one final performance of their highly popular film from half a century before (with the guidance of their bed-ridden agent with whom they all go way back), and all the varying misadventures that a group of “old broads” can encounter while navigating the treacherous world of Hollywood, which is not normally very kind to actresses of a certain age, making Fisher’s attempts to give four of them a showcase all the more admirable. A film that is remembered more as a peculiar curio rather than a fully-formed piece on its own, These Old Broads has an abundance of heart, more than enough to conceal those more questionable elements that would otherwise weigh down such a film, leading to a terrific and entertaining comedy that knows what needs to be done to honour both the leads and their audience.

There is a tried-and-tested formula to telling a solid story about the entertainment industry – set it in the present day, and focus it around an individual or group that was once famous, but has now fallen out of favour, mostly due to personal problems behind the scenes. This sub-genre, often referred to by the well-worn adage of “we’re getting the band back together” (a sentiment that comes from the fact that the vast majority of them feature some riff on this statement) has been proven successful, with audiences responding to the opportunity to catch a glimpse of backstage drama, which makes us feel like we are momentarily industry insiders. In this regard, These Old Broads does nothing we have not seen countless times before, nor is it done particularly well – yet, it has remained a source of a lot of comfort for many people, who are driven to this film by its promise of warmth, humour and spectacle, which are often found in stories around putting on a show. Understanding the widespread appeal of a film like These Old Broads is not difficult to do – it never overstays its welcome, and it has a lot of witty writing, most of it coming from Fisher’s own experiences in the industry, growing up the child of two prominent stars, and as a result having her entire life in the limelight, which is something that she has spoken about frankly, as well as serving as the inspiration for some of her more creative efforts, this being one of them. While the film is technically helmed by journeyman director Matthew Diamond, it is Fisher who is the ultimate authorial voice, and we soon come to understand that her inspirations were not merely to round up some notable figures to appear in the film, but to provide pointed and fascinating critiques on an industry we inherently understood, to the point of forming some riveting scenarios that bring an endless amount of joy to those who can get on this film’s wavelength.

Undeniably, the story at the heart of These Old Broads doesn’t mean all that much, since the primary reason any of us actively seek this film out would be to see the four actresses that occupy the central roles. To call the cast of this film legendary seems like an understatement – you simply do not find ensembles comprised of Debbie Reynolds (who we all know as Fisher’s real-life mother, and the person who inspired one of the main characters in the aforementioned Postcards from the Edge), Shirley MacLaine, Joan Collins and Elizabeth Taylor often, let alone instances where they lead the film. Undeniably, none of them is doing anything against type, nor does the film present them with any significant talent – if anything, Fisher is writing the roles around these actresses, tailoring these broad archetypes to fit each one of them, rather than expecting them to stretch themselves in any conceivable way. This sounds like a shortcoming, but it would be foolish to expect these actresses to be anything less than stellar, even when essentially playing themselves. The film is quite democratic, dividing the attention almost equally between Reynolds, MacLaine and Collins (with Taylor having a much smaller role, albeit one that is just as compelling), so they’re all fantastic, turning out strong performances that are not a departure from what we’ve seen them do before, but rather one that reminds us of why these women were all-stars, to begin with. Regardless of how much These Old Broads tries to sell us on the idea that the character played by Jonathan Silverman is the lead (who does his best but simply cannot come close to the magnificent grandeur provided by his co-stars), we’re logically driven to the actresses, who certainly do not hesitate to put in the work, regularly showcasing the precise reasons that they embody the very notion of a showbusiness legend across the board.

These Old Broads is a film that knows what viewers came to see, and it sees very little reason to withhold it for the sake of complexity. It’s extremely easy to figure out what this film is going to be, and there’s a lack of effort to convince us otherwise, ultimately since the target audience came to see a particular kind of film, and would likely leave disappointed if there wasn’t a sufficient amount of what we paid to see. The comedy is upbeat, there’s not a shortage of singing and dancing (including a climactic performance that is some of the most exhilarating work any of these actresses have ever been involved in), and the performances are strong. This helps distract from the fact that These Old Broads is very derivative – there’s nothing here that was not done much better in a film like The Sunshine Boys, which has an almost identical plot and narrative structure – and stories like this have become a dime-a-dozen, especially since it offers legendary performers an easy paycheque and a chance to riff on their own experiences. The reason These Old Broads works is not despite these flaws, but as a result of them – it embraces its shortcomings and showcases a remarkable maturity in crucial moments. Ultimately, we have to remember that this was a film produced for television at a time before there was a level of prestige associated with it (unfortunately still carrying the outdated perception of being a lesser medium), so the fact that they managed to string together such a genuinely entertaining film that carries some artistic merit is already proving support to the idea that this is a much more enduring work than most will give it credit for, despite the more hackneyed qualities that exist throughout it.

In all honesty, These Old Broads isn’t a particularly good film, but it knows how to have a good time, with the viewer feeling like we are in the front row of a truly unforgettable showcase for a group of exceptional actresses. This is what viewers came to see, and Diamond and Fisher do their best to honour it in a way that is meaningful and very funny. Perhaps it doesn’t amount to much, but occasionally a film is allowed to just be the sum of its parts and rest on the very well-deserved laurels, which is a good way to look at this film, which rounds up a quartet of entertainment icons, gives them very funny characters to play, and expects them to do nothing but play these characters in a way that feels natural to them. It’s clear that everyone was enjoying the experience – one has to imagine this was a relatively undemanding and easygoing production since there isn’t anything particularly challenging. This means that the joy that exudes from the film is authentic and that these performers, as legendary as they may be, are still capable of pulling together their wealth of talents in a ferociously entertaining collaboration that proves that age is purely a number and that when the right project comes along, any actor is capable of turning in memorable work, and audience can always find something valuable lurking beneath the surface of such films, which are driven by the sheer spectacle of seeing industry icons in their element, which is as good a reason as any for a film like this to succeed.