6.9/10
1,973
26 user 10 critic

Good Neighbor Sam (1964)

Approved | | Comedy | 22 July 1964 (USA)
To help his divorced neighbor claim a substantial inheritance, a family man poses as her husband. The ruse spills over into his career in advertising, and his recent promotion relies on his wholesome and moral appearance.

Director:

David Swift

Writers:

James Fritzell (screenplay), Everett Greenbaum (screenplay) | 2 more credits »
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Nominated for 1 BAFTA Film Award. Another 1 nomination. See more awards »

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Stars: Tony Curtis, Debbie Reynolds, Pat Boone
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Cast

Cast overview, first billed only:
Jack Lemmon ... Sam Bissell
Romy Schneider ... Janet Lagerlof
Dorothy Provine ... Minerva Bissell
Mike Connors ... Howard Ebbets (as Michael Connors)
Edward Andrews ... Mr. Burke
Louis Nye ... Reinhold Shiffner
Robert Q. Lewis ... Earl
Joyce Jameson ... Hotel Prostitute
Anne Seymour ... Irene
Charles Lane ... Jack Bailey
Linda Watkins ... Edna Bailey
Peter Hobbs ... Phil Reisner
Tristram Coffin ... Sonny Blatchford (as Tris Coffin)
Neil Hamilton ... Larry Boling
Riza Royce Riza Royce ... Miss Halverson
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Storyline

Sam Bissel is a wholesome family man with a loving wife, Min, and two loving daughters. They lead a happy suburban life. The only part of Sam's life that he is not happy about is his job as a lowly cog in the art department of the advertising firm of Burke & Hare. Sam's professional life takes a major turn when he is made executive of the Nurdlinger Dairy account. Simon Nurdlinger is a wholesome family man who wants a wholesome family man with wholesome family ideals heading his account, Sam the only one in Burke & Hare that fits the bill. Sam's home life also takes a major turn when Min's college friend, Janet Lagerlof, moves in next door. Janet stands to inherit $15 million from her grandfather's estate, but the will has a clause that she must be happily married to inherit the money. Janet is technically divorced from Howard Ebbets, and states that getting back with Howard is not worth $15 million. But when Jack Bailey and Irene Krump - two of Janet's relatives who would like to ... Written by Huggo

Plot Summary | Add Synopsis

Taglines:

Slam! Bam! Here comes Sam!...Caught in the Middle of a Two-Woman Jam!

Genres:

Comedy

Certificate:

Approved | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

22 July 1964 (USA) See more »

Also Known As:

Leih mir deinen Mann See more »

Company Credits

Production Co:

David Swift Productions See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (RCA Sound Recording)

Color:

Color (Eastmancolor)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

According to Robert Osborne on TCM, this was a film that Jack Lemmon didn't really want to do, but by doing it he fulfilled a contract with the studio. And, like the previous year's "Under the Yum Yum Tree," it stupefied Lemmon that they were both very successful films. See more »

Goofs

When Jen is unpacking her moving van box, she is surprised by her greedy cousins, and drops a large ashtray on the coffee table. A split second later, the ashtray has disappeared and has been replaced by a huge wad of packing paper. See more »

Quotes

Howard Ebbets: Say, he's sensitive, isn't he?
Minerva Bissell: Very! He's creative.
See more »

Connections

Referenced in To Tell the Truth: Episode dated 30 September 1963 (1963) See more »

Soundtracks

Let Hertz Put You in the Driver's Seat
(uncredited)
Lyrics and Music by Richard Adler
Performed by The Hi-Los
See more »

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User Reviews

 
Begins well, but ends less so
28 April 2010 | by vfx3See all my reviews

The film begins well with its depiction of 1960s suburbia, the introduction of the Bissell family (including the ducks), the amusing jibes at the advertising industry (including the inaccurate but hilarious depiction of the filming of a Hertz car rental commercial), provides some great performances from all the principals, and from a great supporting cast, such as Edward Andrews, R.Q. Jones, and Neil Hamilton. It has a smart, yet affectionate quality to it. But as the film chugs along, it seems to run out of steam, as the gags keep repeating themselves, and it begins to seem more like a less successful imitation of the popular Doris Day/Rock Hudson romantic comedies of the time, and one can begin to understand why Lemmon didn't put this one in the top drawer of his memories.


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