50 years ago, a very different (non-horror) “Smile” film was released starring Bruce Dern, Patriarch of the Dern Hollywood dynasty, and Barbara Feldon, best known for the Classic Tv show “Get Smart”. Michael Ritchie’s “Smile” (1975) is a sharp, darkly comedic look at small-town America through the lens of a beauty pageant. Set in Santa Rosa, California, the film follows a group of teenage girls competing in the “Young American Miss” pageant while exposing the quirks, ambitions, and hypocrisies of the adults running the show. With a screenplay by Jerry Belson, “Smile” expertly balances humor with biting social commentary, skewering the artificiality of beauty contests and the flawed American Dream.
At the heart of the story are two contrasting figures—Bruce Dern as Big Bob Freelander, a well-meaning car dealer and pageant judge, and Barbara Feldon as Brenda DiCarlo, the tightly wound, idealistic pageant organizer. Their interactions, along with the young contestants’ struggles, paint a nuanced portrait of mid-’70s Americana.
What makes “Smile” remarkable is its ability to find both heart and hilarity in its critique. Ritchie, fresh off “The Candidate” (1972), employs a semi-documentary style that enhances the film’s realism, allowing its satirical edge to cut even deeper. Bruce Dern delivers one of his most charming performances, bringing a mix of clueless optimism and genuine warmth to Big Bob, while Barbara Feldon’s performance is subtly tragic, embodying the relentless pursuit of perfection in a world that refuses to cooperate. The young competitors, including Melanie Griffith in an early role, provide a refreshing contrast with their innocence and vulnerability. The film remains one of the most insightful comedies of the decade, proving that even in satire, empathy and depth can shine through.
Reflecting on the film’s impact, Bruce Dern once praised Ritchie’s approach: “Mike had this incredible ability to show people as they really were—flawed, funny, and totally human.” Critic Pauline Kael also lauded “Smile” for its “sly brilliance” and ability to capture “the absurdities of life without cruelty.” Nearly 50 years later, the film still resonates.