Three days into his Miami honeymoon, New York Jewish Lenny meets tall, blonde Kelly. This confirms him in his opinion that he has made a serious mistake and he decides he wants Kelly ...
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Three days into his Miami honeymoon, New York Jewish Lenny meets tall, blonde Kelly. This confirms him in his opinion that he has made a serious mistake and he decides he wants Kelly instead. Her rich father is less than keen and lets everyone - including Lenny - know that he hates everything about him and the way he is going on. Written by
Jeremy Perkins <firstname.lastname@example.org>
Neil Simon's contract stated that none of his dialogue could be changed without his permission. The improvisational Elaine May came to an agreement whereby they would film 2 versions, his original script and then her version, and then decide which was better. After a week or so, Charles Grodin recalls that Neil Simon stopped coming to the set, and Elaine May was in control. See more »
Lenny first has his arm on Lila's shoulder, then off, when at the Port of Call. See more »
They should have said that to us at the door... they should have warned us that there was a danger of running out of pecan pie.
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The movie's a comedy, I think, though it produces as many cringes as laughs. It's hard not to laugh at poor Lila (Berlin) as she flubs her honeymoon with sunburn crème blotches, oozing egg sandwiches, and ill-timed bathroom breaks. But then she's so emotionally needy, it's hard not to laugh and cry at the same time. On the other hand, husband Lenny's (Grodin) got all the empathy of a ham sandwich, as he chases after blonde goddess Kelly (Shepherd), piling one absence excuse on Lila after another. This is the honeymoon from heck, especially after the goddess-struck Lenny sues for divorce. But then he does grant Lila "the luggage".
The humor's in the character set-ups, and Lenny's special brand of chutzpah. A little fast- talking, he thinks, gets him out of any situation. That is, until he runs into Kelly's humorless dad (Albert). Seems like the proverbial irresistible force has run into the immovable object. But has it. Grodin's appropriately obnoxious when Lenny needs to be; Berlin's vulnerable when Lila needs to be; Shepherd's gorgeous without trying; while Albert's stony mug belongs on Mt. Rushmore. And catch that contemplative ending, not what I expected, but probably appropriate for what's gone before.
All in all, the movie's something of a guilty pleasure and certainly one of a kind. I do, however, miss Grodin's smirking brand of put-on.
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