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 »
The musical revolves around the antics of Mame Dennis, a fun-loving, wealthy eccentric with a flare for life and a razor sharp wit. Her life is suddenly changed when she becomes the ... 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 and admires. He goes through the hardships of puberty, sexual fantasy, and living the life of a poor boy in a crowded house. Written by
Jason Ihle <email@example.com>
This film was made and released about three years after its source play of the same name by Neil Simon was first performed in 1983. The original Broadway production of "Brighton Beach Memoirs" opened at the Alvin Theater on 27th March 1983 and transferred to the 46th Street Theatre on 26th February 1985. The play ran for a total of 1299 performances closing on 11th May 1986. The play was nominated for three 1983 Tony Awards, Best Featured Actress in a Play (Elizabeth Franz) and two for Best Featured Actor - Zeljko Ivanek and Matthew Broderick, with Broderick being the only successful actor to win. The New York Drama Critics Circle awarded "Brighton Beach Memoirs" the Best Play of its season. The play's setting is described in its intro as being "Brighton Beach, Brooklyn, New York. September, late 1930s". See more »
She saw me on the crapper! Nora saw me on the crapper! I might as well be dead!
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If you want to see an almost perfect demonstration of the proposition that film is a directors's medium, BRIGHTON BEACH MEMOIRS is the movie to see. The performances are uniformly dreadful, leading the viewer to conclude that, without decent direction, actors are largely incompetent. And, in addition to his overall ineptness, Gene Saks , the director, has such a tin ear that he allows his actors to speak in accents incomprehensible as the Yiddish-inflected New Yorkese that presumably was intended.
Furthermore, the audience is invited to believe that this story is something of a transcription of Neil Simon's boyhood experiences. We therefore are asked to accept that this tale is a reasonable approximation of the attitudes and values of a first-generation working-class Jewish family of the 1930s. Yet one of the key elements of the narrative presents a situation that is virtually unbelievable, which is that the family accepts and even encourages the prospect of a serious relationship between one of its members and an alcoholic Irish Catholic. It's also doubtful that the suitor's mother would have viewed her son's interest in a Jewish widow with the equanimity her character displays, but that just demonstrates Simon's cluelessness about a world beyond his own. But what's his excuse for such egregious ignorance of the one he purports to be representing? Either he doesn't really understand the culture he's writing about, or he's distorting it to advance his plot. Neither works to the story's advantage, and either option undermines the integrity of the narrative .
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