7.0/10
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24 user 11 critic

Next Stop, Greenwich Village (1976)

The portrayal of pretentiously bohemian youth.

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Nominated for 2 Golden Globes. Another 4 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Anita Cunningham
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Robert Fulmer (as Chris Walken)
Dori Brenner ...
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Herb
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Michael Egan ...
Rashel Novikoff ...
Mrs. Tupperman (as Rachel Novikoff)
John C. Becher ...
Sid Weinberg - Casting Director
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Clyde Baxter
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Cop at El Station (as Joe Spinnell)
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Storyline

An aspiring Jewish actor moves out of his parents' Brooklyn apartment to seek his fortune in the bohemian life of Greenwich Village in 1953. He struggles to come to terms with his feelings about his mother's overbearing nature, while also trying to maintain his relationship with his girlfriend. Written by scgary66

Plot Summary | Plot Synopsis

Taglines:

1953 Was a Good Year for Leaving Home

Genres:

Comedy | Drama

Certificate:

R | See all certifications »
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Details

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Release Date:

4 February 1976 (USA)  »

Also Known As:

Ein Haar in der Suppe  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

(Westrex Recording System)

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Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Final film appearance of Lenny Baker and his only film as a leading actor. See more »

Goofs

In one scene, Larry's mother, an opera fan, refers to a recording "from Verdi's 'Tosca'". "Tosca" was composed by Puccini, not Verdi. See more »

Quotes

Faye Lapinsky: Who are you?
Bernstein: I'm Bernstein.
Faye Lapinsky: [surprised by his name due to his being black] You're Jewish?
Bernstein: No, darling; I'm gay.
Faye Lapinsky: I don't care how you feel; you're a great dancer.
See more »

Connections

References Little Caesar (1931) See more »

Soundtracks

Confirmation
Written by Charlie Parker (uncredited)
Performed by Charlie Parker
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User Reviews

A film that catches a time and place
22 November 2002 | by See all my reviews

When I think of this film, I think of my older brother's generation, graduating from high school about 1956, and from college about 1960. Mazursky catches the look of a certain kind of young people of that era, their fashions, their expressions, their masks and identities. There's a sense of confusion and discovery, or rejection of the restrictions of middle class culture and their embracing of a murkily-defined bohemian alternative, and the disruption that brings to their lives, culturally, socially, sexually.

The film also reminds me of my years spent living near and wandering around Greenwich Village, 1966-70. Some of the kinds of people Mazursky shows were still there, ten years older, either mystified or amused or annoyed by the hippie hoards invading them. Honky-tonk, high rents, and mass culture bohemianism had arrived.

Mazursky gets this right. I don't know how this picture would play to those not interested or affected by the sociology time capsule, but I think it still would play.

And hats off to Shelly Winters, once again playing an impossible mother.


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