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 ... 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 »
Lewis and Clark were famous comedians during the vaudeville era. Off-stage, though, they couldn't stand each other, and haven't spoken in over twenty years. Ben, Willy Clark's nephew, is the producer of a variety show that wants to feature a reunion of the classic duo. How will Ben convince the crotchety old comedians to put aside their differences before the big show?Written by
Based on the lives and careers of vaudeville comics Joe Smith and Charles Dale (né Sultzer and Marks). Unlike the characters in the Broadway play and later film, Smith and Dale were almost inseparable friends. In fact, when Dale died in 1971, Smith commissioned a single tombstone to be prepared for them both, ordering that the inscription read "Smith and Dale". The pair's strained relationship is based on another old-time vaudeville duo, Gallagher and Shean, the latter of whom was Groucho Marx's uncle. See more »
George Burns says he drove in from Jersey in a 1973 Chrysler Imperial when in fact it is a 1972 model. See more »
Just because most of Neil Simon's work doesn't appeal to me doesn't mean he never hits the bullseye. I've always loved his brassier, vaudeville-inspired early work; this movie, for one, is just out to make you laugh. There are 'serious' moments, but they're not destinations, just short bridges to more one-liners. For some, this represents artistic laziness, but Simon doesn't do serious or introspective well at all: he's a seltzer bottle in an age of plastic Evian containers. SUNSHINE BOYS is one of the funniest films to have emerged from the 70s. Simon is here working with archetypes as familiar to him as an old shoe; comfortably in his element, he whips up a consistently hilarious 100+ minutes. Matthau and Burns are great, but you already knew that; Richard Benjamin, however, is the film's secret weapon. Some of the biggest laughs in the film are his, such as the closeup of his face in the elevator following Matthau's blown audition for the potato-chip commercial that opens the film. His face has an utterly blank, almost zen look of serenity-in-utter-failure. His scene at the Friars Club, desperately pleading with Burns on the phone while Matthau harangues him outside the phone booth, is perfection. The chemistry between Benjamin and the two leads is actually better than that between Burns and Matthau. (Although their scenes are hilarious, the climactic "Doctor sketch" is subpar burlesque, nowhere near the quality of buffoonery we'd been led to expect.) It's a disappointment, but a small one. The rest of the film is highly satisfying; as a bonus, there's great NYC location shooting (always a plus in any movie).
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