Charley is a surgeon who's recently lost his wife; he embarks on a tragicomic romantic quest with one woman after another until he meets up with Ann, a singular woman, closer to his own age... See full summary »
Henry Graham lives the life of a playboy. When his lawyer tells him one day that his lifestyle has consumed all his funds, he needs an idea to avoid climbing down the social ladder. So he intends to marry a rich woman and - murder her.
Avoiding to settle in a nursing home, Joseph Kotcher, a retired salesman, is obliged to leave his son's family. He embarks on a road trip during which he strikes up a friendship with a ... See full summary »
Unassuming and single thirty-three year old Tillie Shlain is at that phase of her life of being known as a soon to be spinster if she doesn't marry soon. She isn't looking forward to ... See full summary »
Grandmother has nothing to say when Libby tells her that she is off to LA to look up Dad, a Hollywood screenwriter. Grandmother has been in a New York cemetery for six years and Dad has ... See full summary »
Three separate stories concerning relationship issues are presented, each largely taking place in suite 719 of the Plaza Hotel in New York City. In story one, suburban New Yorkers Sam and Karen Nash are spending the night in the hotel as their house is being painted, but more importantly for Karen because it is their twenty-"something" wedding anniversary, the hotel where they spent their honeymoon. While Karen wants to recreate the romance that she remembers of their wedding night, Sam is preoccupied with business matters. But it is other issues that highlight their fundamental differences that may demonstrate if they will make it to twenty-something plus one. In story two, womanizing Hollywood movie producer Jesse Kiplinger has exactly two hours free during his whirlwind stay in New York, which he wants to fill with a quickie. Of the many women he calls, the first to agree to meet at his suite is his old hometown flame, married Muriel Tate. Muriel, who knows what Jesse wants, he who... Written by
Each act is set in Suite 719. In Act 3, Ed Hubley goes out on the ledge outside the suite's window. However in the final shot of The Plaza it is clear that the ledge is outside the fourth floor (not the seventh floor). See more »
[coaxing his wife while she's on the phone]
Shtall em, shtall em. Just keep shtalling em. Whatever you do shtall em!
[on the phone to the wedding reception]
Yes Mrs. Eisler we'll be down in two minutes.
Are you crazy?! I told you to shtall em!
Norma Hubley [innocently]:
I did stall them - you've got two minutes.
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I sat down to watch this film because of the three wonderful actresses in the cast - Maureen Stapleton, Barbara Harris and Lee Grant - and I've never been disappointed by Arthur Hiller. I've been slow to warm to Neil Simon, but "The Sunshine Boys" had me in stitches. I mention this to indicate that I had reasonable expectations for this movie.
Now I have to be honest and admit that I could only watch one segment, it left such a nasty taste in my mouth. In it, Neil Simon presents us with a marriage that has turned sour and seems to have lost any reason for continuing. Trouble is, the pair just aren't sympathetic or particularly interesting. Never mind the husband (Walter Matthau), Maureen Stapleton as his wife drove ME crazy! Arriving, it seems, right off the set of "Bye Bye Birdie", she prowls the hotel suite, nattering incessantly and hopping from place to place like a sparrow on speed, with that irksome camera constantly pursuing her. I don't wish to sound impatient or cruel. I know she plays a doormat begging for crumbs of respect, and I know that whatever happens (past the final fade-out) she'll get the short end of the stick, and I did feel sorry for her, but her neediness and whining were irritating. As for the husband, he's a heel, plain and simple. The story provides no surprising or interesting revelations. At the end, having sat through the entire segment, I wanted to know the outcome. No such luck. Instead, there's an unmerited and annoying void between the moment when the husband strides out of the suite in the evening to meet with his "secretary" and the wife hops out of the hotel in the morning.
When the second segment started - "Just one drink," insists one of the characters (a warning to me that there would be many more) - and the creepy new Matthau persona loomed and it looked as if I was going to be stuck in that same hideous suite, with its puke green and yellow palette, for another forty minutes, I turned the movie off, and breathed a sigh of relief.
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