tag:blogger.com,1999:blog-2627032459273165000.post6445386675531745481..comments2024-03-29T03:05:28.466-07:00Comments on DREAMS ARE WHAT LE CINEMA IS FOR...: NEIL SIMON: VOICE OF THE URBAN UNDERDOGKen Andersonhttp://www.blogger.com/profile/04940648971296673233noreply@blogger.comBlogger9125tag:blogger.com,1999:blog-2627032459273165000.post-28913748278518899372021-11-03T17:36:27.046-07:002021-11-03T17:36:27.046-07:00Hi Kip
Can't disagree with any of your points ...Hi Kip<br />Can't disagree with any of your points made. My personal belief has been Richard Dreyfuss' success was born of some kind of Satanic pact, so grating was his screen presence. And the charm of THE GOODBYE GIRL in toto has always been lost on me. I could never fathom its popularity. <br />Like your list of nominees not to be, as well! <br />(PS off topic) I did receive and thank you for your comment in the Freaky Friday comments section. The only reason I declined posting it was that it was more like a humorous DM-type message to me and not really related to the film in any way other readers could benefit from.)Ken Andersonhttps://www.blogger.com/profile/04940648971296673233noreply@blogger.comtag:blogger.com,1999:blog-2627032459273165000.post-88878451349412654952021-11-02T11:30:52.652-07:002021-11-02T11:30:52.652-07:00For me, THE GOODBYE GIRL will always be that hyste...For me, THE GOODBYE GIRL will always be that hysterically overrated movie that robbed Art Carney (THE LATE SHOW), Shelley Duvall (3 WOMEN) and Diana Rigg (A LITTLE NIGHT MUSIC) of their Oscar nominations (and all 3 should have won, too.). The little kid is one of the most annoying child actors of all time. Marsha Mason as an ex Broadway dancer is a joke, and Richard Dreyfuss is the blandest New York stage actor imaginable. The first half hour of TOOTSIE is so much better at satirizing the same struggling New York actor's existence... Come to think of it, they should have cast Dustin Hoffman and Teri Garr (who started as a dancer) and found a kid similar to Heather Matarazzo in WELCOME TO THE DOLLHOUSE. That would have been a funny movie!Kipnoreply@blogger.comtag:blogger.com,1999:blog-2627032459273165000.post-60934638072812910372015-05-06T13:31:58.697-07:002015-05-06T13:31:58.697-07:00Thanks, Kevin
I'm glad that you were able to e...Thanks, Kevin<br />I'm glad that you were able to extract so many of your favorite Simon lines of dialog. The one from "The Odd Couple" is exactly the kind of thing that made me laugh so much when I was young. <br />Even the films I'm not so crazy about have at least one howler of one-liner or comeback.<br /><br />This is one of the reasons I tend to find his movies so much a mixed bag now...you can't dismiss them completely (except Come Blow Your Horn), but as they veer from comedy to drama to sentimentality, it can be painful.<br />I agree with your thoughts on "Only When I Laugh" and of course "Seems Like Old Times" which is torture for me. The Paula Prentiss and Sally Kellerman sequences of "Last of the Red Hot Lovers" still make me laugh aloud, and I have a soft spot for "Murder by Death."<br />I never saw "Lost in Yonkers" and suspect I never will, I've gone off latter-Simon so thoroughly.<br />Wonderful though that you have seen so many of his films and have such clarity about what works for you and what doesn't. Especially being such a Jack Lemmon fan!<br /><br />And as for that VERY odd double-feature you mention. I wholly concur! I know it was Paramount's way of wringing the most revenue out of their two biggest hits, but those filmed paired up seems wrong, wrong wrong!<br /> I don't know how old you are, but I grew up at a time when double features were common, and the then-logic was to offer an evening of variety, so often a very dark and somber film would be incongruously paired with a silly comedy. Why this tonal shift didn't cause emotional whiplash in viewers, I'll never know.<br /><br />Several of the times I saw "Rosemary's Baby" as a 10-year-old (and precisely why I was able to get into the theater) was that it was paired with "The Odd Couple." This "opposites" booking never bothered me when i was growing up, but when revival theaters began cropping up and started the trend of booking like-themed films, that "Greatest Double Feature of All Time" seemed positively ludicrous! <br />Again, a terrific, entertaining comment full of wonderful points to talk and think about. Thanks, Kevin!<br />Ken Andersonhttps://www.blogger.com/profile/04940648971296673233noreply@blogger.comtag:blogger.com,1999:blog-2627032459273165000.post-90145528749904175262015-05-06T13:06:50.617-07:002015-05-06T13:06:50.617-07:00Another great post! First, the best piece of dialo...Another great post! First, the best piece of dialogue SImon wrote (in my opinion) is Oscar Madison's statement in THE ODD COUPLE: "You leave me little notes on my pillow. I told you 168 times I can't stand little notes on my pillow! 'We are all out of Corn Flakes. --F.U.' It took me three hours to figure out that 'F.U.' was Felix Unger!"<br /><br />Recently I watched COME BLOW YOUR HORN and couldn't believe how terrible it was (although he didn't write the screenplay--Norman Lear did). And when I finally watched ONLY WHEN I LAUGH on TCM, i thought it was pretty maudlin and hokey and that it was a miracle that Joan Hackett and James Coco got nominated for Oscars for such nothing roles. (And i LOVE Hackett and Coco!). And recently, I couldn't get past the first 30 minutes of SEEMS LIKE OLD TIMES. But I absolutely love BAREFOOT IN THE PARK (second best SImon line ever is Mildred Natwick's "I feel like we've died and gone to heaven-- only we had to climb up."), MURDER BY DEATH, PRISONER OF SECOND AVENUE, THE OUT OF TOWNERS, THE SUNSHINE BOYS and LOST IN YONKERS. I enjoy THE ODD COUPLE for Walter Matthau but Jack Lemmon's performance is one of his few that is more annoying than funny. (I AM a huge fan of Jack Krugman and Tony Randall's five seasons on TV.)<br /><br />Speaking of THE ODD COUPLE... can anyone explain to me the logic behind Paramount re-releasing THE ODD COUPLE as a double feature with...ROSEMARY'S BABY with the poster tagline of "The greatest double feature of all time!" I find the idea of that double feature hilarious!--KevinAnonymousnoreply@blogger.comtag:blogger.com,1999:blog-2627032459273165000.post-4446955100818389462015-04-30T04:42:12.438-07:002015-04-30T04:42:12.438-07:00Hi Ken - you ask a great question...though Simon w...Hi Ken - you ask a great question...though Simon was the most successful and celebrated American playwright of the mid-to-late 20th century, will his works stand the test of time? I think, perhaps yes, because his characters react with uncomfortableness to a changing world, and with wry and ironic humor. <br /><br />A lot of his work I DON'T like - Prisoner of Second Avenue, Chapter Two, Max Dugan - even 2/3 of Plaza Suite annoy me with their over-talkiness and neuroses...BUT<br /><br />I LOVE Out of Towners, Barefoot in the Park, Goodbye Girl and Murder By Death...<br /><br />I smiled when you wrote how annoyed and "over" Marsha Mason you became, as she was so ubiquitous and her persona a total Simon creation...agreed, but I think of Marsha Mason as a forgotten star...she was glorious as The Goodbye Girl, and recently enjoyed her immensely in Only When I Laugh. I think that the Simon-Mason partnership was as key to his continued success as it was to hers...<br /><br />Time will tell about whether his works will hold up through the years, but as a child of the 70s, Neil Simon's worldview and humor are indelibly etched on my psyche...that is my idea of a great talent. <br />-Chrisangelman66https://www.blogger.com/profile/16471674180789592940noreply@blogger.comtag:blogger.com,1999:blog-2627032459273165000.post-55881012505147258512015-04-29T01:49:31.416-07:002015-04-29T01:49:31.416-07:00Hi Joel
Today my partner and I were discussing tha...Hi Joel<br />Today my partner and I were discussing that weird phenomena of encountering a past favorite that leaves you at a loss to know what you ever saw in it in the first place. It's like being disconnected from some part of yourself.<br />I think many of my Neil Simon experiences coincide with what you say about them being variable. In Plaza Suite, I can only stomach the Maureen Stapleton sequence. the Barbara Harris and Lee Grant ones give me hives.<br />And I have a similar reaction as yours to The Odd Couple although I could never abide the TV show. Simon is so bewildering to me today because I was absolutely crazy about his stuff when I was young. Now it seems I only like the ones everybody hates (I am mad about Last of the Red Hot Lovers).<br />When any of his plays are revived here in LA, only the blue haired/balding crowd attends and you can see them relish the tried and true and familiar. (Simon's like like AARP's answer to Adam Sandler). I wonder if there are any young fans of Neil Simon around?Ken Andersonhttps://www.blogger.com/profile/04940648971296673233noreply@blogger.comtag:blogger.com,1999:blog-2627032459273165000.post-13574796499094544362015-04-29T01:40:17.044-07:002015-04-29T01:40:17.044-07:00Hi Deb
Very busy of late, and actually watching a ...Hi Deb<br />Very busy of late, and actually watching a few "new" movies for a change (making me long for the 70s).<br />Anyhow, I think what you say is true with some artists and why they can be problematic if they are prolific. Comparing Neil Simon to Woody Allen is very apt. I always thought of Allen's perspective as being "hipper" and more youthful in contrast to Simon's middle age perspective, but they both covered similar ground and are mired in the era in which they flourished.<br />Your perspective on what makes their work less timely is very much in line with how I feel about them.<br />Also, it is nice to hear from a Richard Dreyfus fan! Not because I like him (I'm the polar opposite) but chiefly because he was SO popular when I was growing up and I just could never see why (save perhaps, for a pact with the devil), it's good to be reminded that he set a few hearts aflutter in his time.<br />Love the Neil Simon line...puts me to mind of trying to think what my favorite Neil Simon line is.Ken Andersonhttps://www.blogger.com/profile/04940648971296673233noreply@blogger.comtag:blogger.com,1999:blog-2627032459273165000.post-37914979114138998412015-04-28T19:01:16.684-07:002015-04-28T19:01:16.684-07:00Hi Ken,
I don't have the Simon fatigue you do...Hi Ken,<br /><br />I don't have the Simon fatigue you do but I certainly have run across the disappointing revisit of things you loved at one time which now have you asking WHY did I like this? Some Simon works are included in that, it can be terribly dispiriting.<br /><br />That said Simon's work has always been variable for me, sometimes within a film. For instance I love the first and third acts of Plaza Suite but detest the middle section despite the presence of Barbara Harris. Some of his work stays fresh for me, Barefoot in the Park charms me everytime, though a great deal of that is as you said Jane Fonda and Mildred Natwick as well. <br /><br />That's another piece of the appeal of his work for me, who is performing it. You mentioned that Seems Like Old Times can cause you pain but aside from that awful ending I find Goldie Hawn endlessly charming in it. But then I tried to revisit The Odd Couple which I thought I loved but made it in about a half an hour and turned it off, which is odd since I can still watch reruns of the Tony Randall/Jack Klugman series and enjoy it. But then I always thought Randall and Klugman were better suited to those particular roles than Lemmon and Matthau. <br /><br />I will agree that some of his stuff is just agony, The Prisoner of Second Avenue, The Goodbye Girl, The Heartbreak Kid, but I never had any affection for them to begin with and I haven't seen anything that he's written in the last twenty years that I thought was any good.joel65913https://www.blogger.com/profile/14526657073681774683noreply@blogger.comtag:blogger.com,1999:blog-2627032459273165000.post-27649660046652373832015-04-28T07:05:10.506-07:002015-04-28T07:05:10.506-07:00Hi Ken--glad you're back. You'd been incom...Hi Ken--glad you're back. You'd been incommunicado so long, I was starting to worry. The thing about Neil Simon (as with, to my mind, Woody Allen) is that he is so permanently fixed to a particular time and place (New York from the mid-sixties to early-eighties), he doesn't translate so well into different times and places. When we were all expected to feel for the white guy who couldn't get his hotel reservation right or found his sublet apartment already occupied, the humor made sense. But when we reached a cultural point where those "problems" seemed more like an outraged sense of entitlement, the humor seemed to drain away. However, I can still watch THE GOODBYE GIRL because Richard Dreyfus. Be still my seventies fan girl heart!<br /><br />Btw, my favorite Neil Simon line is from (I think) BRIGHTON BEACH MEMOIRS: "You know what my mom's idea of spaghetti sauce is? Ketchup!" I always laugh at that because that was my mom's spaghetti sauce too!DiscoDollyDebnoreply@blogger.com