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A boozy Broadway actress comes out of a 12-week cure to face the problems of her best friends as well as her needy daughter. She tries to balance the terrors of returning to work with the demands of all around her with humor and insight, while staying off the booze. Written by
Jimmy is arranging a bouquet of orange flowers to welcome Georgia home from re-hab. He is shown adding a stem of eucalyptus to the bouquet and two branches of orange flowers that stick up much further than the other flower stems in the vase. When the delivery boy comes and Jimmy turns to get the money to pay for the groceries, the bouquet of orange flowers has no eucalyptus stem and the flowers are all the same height again. See more »
What is that crap you're putting on your face?
It is from Vienna. It is ninety dollars a tube, do you notice you never see a pore on my face.
I've never even seen your face. Who are you, anyway?
[looking at Jimmy]
Who is she? Do you know who she is?
They take it away form you soon enough. Hold onto it while you can.
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Comedy-drama from writer Neil Simon, an expansion of his unsuccessful play "The Gingerbread Lady", has Marsha Mason playing an alcoholic Broadway star just checking out of rehab and back into reality when her estranged teenage daughter tells her she wants the two to be roommates. Fairly lively, bitchy film full of wisecracks and tears becomes flabby in the second and third acts, mostly due to poor editing which might have eliminated the dross (and a few side-plots that lead nowhere). Mason performs one too many dramatic monologues on the telephone, and there's six minutes of wasted film involving two college guys trying to pick up Mason and daughter Kristy McNichol at a health food restaurant. The movie has been designed to show off Mason's range (her vulnerability, her wiseass humor, her pathos, etc.). She's striking walking around New York City in her cape, less so when she's sniffling or giving an actors' seminar on the phone. Mason matches up perfectly with McNichol, but 17-year-old Kristy is shunted off to the side (and I disliked the padded sequence where she gets drunk like mamma). There are some fine moments here, but the picture gets off to a really bad start with an excruciating scene between James Coco and a Hispanic delivery boy. Simon takes one cheap shot after another, and yet the film isn't really about alcoholism at all, it's about masochistic behavior. **1/2 from ****
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