And Tomlin-Ratliff is a fiery activist, bristling with protest buttons, whose current cause is Saving Jupiter Hollow from the Moramax monsters.
Swathed in gingham, she yearns for Armani and gridlock. Even when milking a cow or yodeling, Midler-Ratliff is not a country girl. Similar feelings of displacement are affecting the poor Ratliff set of twins. A myopic and tottering nurse mismatches the identical pairs, creating two sets of fraternal twins: a rich Bette Midler and Lily Tomlin Shelton and a poor Bette Midler and Lily Tomlin Ratliff. (Or “The Comedy of Errors” once.) Years ago, two mothers at the Jupiter Hollow Hospital delivered twin girls, one mother from the rich eastern Shelton family, the other from the poor, Jupiter Hollow Ratliffs. “Big Business” uses the switched-baby plot, doubled.
BETTE MIDLER BIG BUSINESS MOVIE
And when it gets on a roll, it’s a movie with more wit to its lines and a more pungent array of them than much of the mishmash that has passed as Bette Midler’s Greatest Movie Hits. Like a sensational party the night before, “Big Business” may not bear the closest scrutiny in the cold light of day, but it gives an irresistible glow at the time. Don’t fret as you watch its buoyant hilarity, the intricacies flow smoothly as honey off a spoon. “Big Business” (citywide) is a bright whirligig of a movie, but reading any description of its plot set-up-twins upon twins, both sets with the same two names-is enough to put you in your hammock with a sick headache.
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