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This film is the oddest title on Robert Altman’s resume. Based on the legendary comic strip character created by E.C. Segar, this musical has an oft-kilter feel that’s hard to put a finger on.

First and foremost, the casting is perfect. Robin Williams (HOOK) is wonderful as the muttering sailor man, who is looking for his long-lost Pappy (Ray Walston, TV’s MY FAVORITE MARTIAN). He arrives in Sweethaven, a seaside town built on a hillside, which is a magnificent feat in production design. Bluto (Paul L. Smith, MIDNIGHT EXPRESS) is a bully who runs the town for the never-seen commander. His Taxman (Donald Moffat, CLEAR AND PRESENT DANGER) wonders the streets collecting taxes for every move anyone makes. Bluto is engaged to the ditzy and clumsy Olive Oyl (Shelley Duvall, THE SHINING), but she doesn’t seem to want to marry the large Bluto, running out on their engagement party.

She develops a liking for Popeye once the baby Swee’pea (Wesley Ivan Hurt, Altman’s grandson) is discovered by them in a basket. Having spurn Bluto, the Oyl family along with Popeye must find ways to raise the money for the Taxman. And you never can tell what Wimpy (Paul Dooley, BREAKING AWAY) will do for a hamburger today.

At first I was unsure whether I liked the film or not, Altman’s style seems unsuited for the bright world of a comic strip. Yet, the film is alive with action and classic slapstick humor. I kept thinking how the film could have been better and came up with only minor quibbles regarding wider views during some of the songs.

The key point of success is its lack of irony. It creates its world and plays it straight. By doing this it never looks down at the material and allows us to go along with it. I think that Altman’s observational style and overlapping dialogue is so unexpected and unusual for a film like this one seems to feel uneasy with the film because of its lack of typical grounding.

Altman has revolutionized many genres with his original style and approach and here is his chance to put his personal stamp on films that W.C. Fields or Laurel and Hardy would have made. As previously stated, Williams nails his big screen debut. Likewise, Duvall was born to play Olive Oyl. Walston is perfect as Poopdeck Pappy. And on, and on, and on. I also loved seeing classically trained clown Bill Irwin (HOT SHOTS!) bring his amazing physical humor to the screen in his film debut playing Ham Gravy. Unlike any family film you’ve ever seen, the film stays with you. The style and feel is not what one would expect and that’s what makes it fascinating.