Come Blow Your Horn

Round up the usual suspects. This being a Frank Sinatra comedy, there has to be a Cahn-Van Heusen song, arranged by Nelson Riddle. Dean Martin pops up in an under-rehearsed cameo and Jill St. John is Frankie's Bimbo. "It's a business like any other business," says Frank. Was he talking of manufacturing wax fruit, or cranking out cynical sex comedies?

The Baker brothers are out for fun. Alan is a thirty-nine year old playboy who, to his parents' chagrin, remains unmarried (Sinatra was in fact bewigged and fifty-one). His kid brother Buddy (Tony Bill) escapes from the stifling jewish domesticity of Yonkers and joins Alan in his Manhattan bachelor apartment. Drinks, dames and snappy clothes ensue. Because this is 1963, Frank thinks it's the height of cool to shave with an electric razor, use roll-on deodorant and furnish his kitchen in orange plastic. Impressively for 1963, he has a car phone and a remote control device to work his stereo, but were the snapbrim hat and the plaid raincoat REALLY the last word in style in the era of the Rolling Stones?

Essentially a bourgeois jewish comedy of the Neil Simon type, "Come Blow Your Horn" is a bit of froth which does not repay close analysis. There is a cute little phallic joke (the cannon in the movie playing on TV) and Frank's character almost goes somewhere with his 'oldest swinger in town' realisation, but ultimately this is a lazy, shallow little project.

Lee J. Cobb is the long-suffering jewish father, Molly Picon the depressingly stereotypical jewish mom. Hoss from TV's "Bonanza", Dan Blocker, appears briefly as the irate cuckold Eckman. Jill St. John is in simpering Marilyn Monroe mode as Peggy The Babe, not yet showing the intelligent irony on display in "Tony Rome". Tony Bill is good as Buddy, the kid brother corrupted by the philandering Alan, and Barbara Rush impresses as Connie, the good girl.

However, the film's central premise is flawed. The script does not explain (because it can't) how feckless, jobless Alan can afford swish tailoring, ski vacations in Vermont and an apartment the size of Shea Stadium. There is a lame suggestion, right at the end, that some unseen broad can be sweet-talked into donating the bachelor pad to Buddy, but it fails to convince. Rather like the film, really.

This Neil Simon comedy, debuted on Broadway two years earlier, minus the song and a few characters and starred Hal March, Warren Berlinger, Lou Jacobi, and Pert Kelton. It had a respectable run for about a year and Frank Sinatra must have recognized a property tailor made for him when he saw it.

The eternal problem with filming plays is how to get them out of the theatrical confines and use the scope the movie camera offers. Primarily this is done with a Sinatra song with the movie title where he lectures kid brother Tony Bill that life ain't a dress rehearsal. Sammy Cahn, who put more words in Frank Sinatra's mouth than any other lyricist, put some of his best work into play here. It's a great Sinatra song and maybe it's inclusion qualifies Come Blow Your Horn to be a musical.

Lee J. Cobb and Molly Picon are the quintessential Jewish parents and they are grand. Cobb was a very underrated actor and an unhappy man because of his experience with the House Un-American Activities Committee. Sinatra purportedly befriended him and helped him over a few rough patches.

Molly Picon brought about 50 years of experience to her part as Frankie's mom. She was fresh from a Broadway triumph in Milk and Honey. She started out as a child in the Yiddish Theatre and was only now breaking out into a wider audience. She has a very funny scene alone in Sinatra's bachelor pad, trying to answer several phones looking for a pencil to take a message with disastrous consequences.

The women here are an eyeful, Phyllis McGuire, Barbara Rush, and Jill St. John and Sinatra's involved with all of them. I won't tell you which one he ends up with, but I think you'd figure it out. I think most of Frankie's fans would settle for any one of them.

Life imitates art and the real life Sinatra unlike his character Alan Baker didn't really settle down until fourth wife Barbara Marx married him.

There's a lot of similarities with the earlier Sinatra comedy, The Tender Trap. It's ground gone over before, but it's good topsoil.

A Quintessential Sinatra film, a must for fans of the Chairman of the Board.

"Are you married?" "No." "Then you're a bum!"

That's the famous exchange between Lee J. Cobb and Frank Sinatra in Come Blow Your Horn, a domestic comedy about moving out of the house. I'd always heard great things about this movie, but when I finally saw it, it was a bit of a letdown. I think it got talked up too much. Lee J. Cobb was a stereotypical overbearing father who shouted all of his lines. Molly Picon was extremely irritating as the long suffering mother, and her pacing was way too slow. Tony Bill's character arc wasn't sympathetic: At first he feels oppressed at home so he moves in with his playboy brother whom he idolizes. Then he turns into a playboy himself, with every flaw magnified so the audience can see it was a mistake. Jill St. John was her usual nauseating airhead persona, which left Frank Sinatra on his own to save the movie. Since his character was extremely similar to several others he'd played in the past, there wasn't much he could do with it.

Then again, if you like seeing him in semi-cad playboy roles, you might like this one. The title song is very cute, and some of the jokes are very funny. But I liked A Hole in the Head much better.

I have to agree with most of what the previous commenter says; this is a largely disappointing movie. Neil Simon's wit here is not yet up to "Odd Couple" or "Sunshine Boys" speed, and some of the acting is lame. Jill St. John is a tad too cutesily dumb, and Tony Bill's Buddy is somewhat grating, especially after his unconvincing conversion from youthful innocent to roue. However, Sinatra is always worth watching and listening to, especially in the masterful Nelson Riddle's arrangements (here an original song, actually). However, the movie is almost worth watching solely for Lee J. Cobb's performance as papa Baker; his sidesplitting performance as the terminally frustrated Mr. Baker is a study in comic skill, particularly in the scenes where he invades the brothers' apartment. I had never see Cobb do comedy before; now my estimation of him as an actor has increased immeasurably. Catch this one just for Cobb.

Looks like a stage play......feels like a stage play.....acted as if the audience is sitting fifty yards away.....they just couldn't shake the roots of this production. Certainly, an insignificant Simon property, raised beyond oblivion by its casting. I'm not sure why they just didn't change the age of Sinatra's character to his actual 48 - he doesn't look remotely 39 - actually, he looks about 55. Tony Bill's role would play better on stage, where his over-emoting wouldn't be quite so grating.

Yes, the parents are perfectly cast, if you can tolerate the stereotypical Jewish mother and father, screeching incessantly. What children WOULDN'T run away from that?

The bachelor pad is certainly hip Early 60s - and unbelievable (regardless of the explanation of its affordability).

The song interlude is a bit jarring, although if they had to do it, it certainly works best where it is.

Overall, not a film I'll watch again.