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 ...
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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 ... See full summary »
George and Gwen Kellerman live in the small, quiet town of Twin Oaks, Ohio with their two young children and pet dog. George has a strong sense of what is right and wrong, especially as it ... See full summary »
Eugene, a young teenage Jewish boy, recalls his memoirs of his time as an adolescent youth. He lives with his parents, his aunt, two cousins, and his brother, Stanley, whom he looks up to ... See full summary »
A bad Polish actor is just trying to make a living when what should intrude but World War II in the form of an invasion. His wife has the habit of entertaining young Polish officers while ... See full summary »
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 »
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 been out of Libby's life for 16 of her 19 years. Libby arrives in LA on a Tuesday and phones Dad the one night that Stephanie, who does Jane Fonda's hair, stays over. Stephanie is there the next morning when Libby decides she needs to tell her story face-to-face. Written by
Dale O'Connor <email@example.com>
Walter Matthau once said of this movie: "It's filled with very real emotions . . . there were a few seconds while I was acting when I flashed back to my childhood when my father deserted us . . . I was exhausted at the end of each day. Some roles are easier but comedy, such as Neil Simon writes, is twenty times more difficult than straight acting or tragic acting. I prefer the challenge of comedy. It requires a great deal more energy, a great deal of kinetic output." See more »
In the closing scenes Libby is first seen sitting on the left side of the bus talking to her seat mate, then when Herb drives his car up next to the bus on the right side she sees him through the right side window. See more »
Grandma was right. Once a shitheel, always a shitheel.
Your grandmother talks like that?
The words are mine, the wisdom is hers!
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It must have been a casting no-brainer to put Dinah Manoff in the film-adaptation of Neil Simon's Broadway hit "I Ought To Be In Pictures" since she played the part of headstrong Libby on the stage. Unfortunately, a bombastic concoction such as Libby cannot be easily transferred to the more intimate medium of film, and the writing leaves both Manoff and the viewer at a complete loss. Neil Simon writes gag-dialogue, gag-characters, gag-situations, so when he tries to get serious--the audience doesn't know how to respond. Is this guy kidding again? Libby moves from Brooklyn to Los Angeles to reconnect with her estranged screenwriter father, ostensibly to break into movies but mostly because she needs a loving dad to hold her. These later scenes are so uncomfortable, so static, that poor Walter Matthau can only sit on the end of the bed and gape (I've never seen him at such a loss). Ann-Margret has a warm, grounded presence as Matthau's girlfriend (it's not much of a role, and the dialogue is still in Simon's one-note, but A-M manages to give this woman some soul). Manoff, looking and acting like a cross between Tatum O'Neal and Kristy McNichol, projects to the rafters, as if she were still on Broadway. She's Gussy Gumshun; and when the barriers come down and she's vulnerable, we would like to give her our sympathies, but Simon won't let us. He has already moved on, to the next limp gag. ** from ****
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