throughout january, TCM showcased the voluminous work of neil simon. i watched this film as a double feature alongside simon's "plaza suite". both films were very similar in structure yet so diverse in terms of characters. in "california suite" we focus on
an ageing oscar nominated actress (maggie smith who actually won an oscar for this role)
an uptight mother (played by jane fonda) who comes to california to take her daughter back home from her ex,
two doctors (played…
Movie with 4 interlocking stories with Maggie Smith in an Oscar winning role.
Good: The individual stories are mostly interesting but the Alan Alda/Jane Fonda and Maggie Smith/Michael Caine appealed to me the most.
Bad: Richard Pryor and Bill Cosby bickering was not fun to watch.
Meh: Even though the individual piece worked, put together the movie was kinda dull.
"We should never have come. I never know how to dress in this bloody country. It is so easy to dress in England. You just put on warm clothing."
A top cast adds to the appeal of this Neil Simon comedy. The best stories are the first 2. Jane Fonda and Alan Ada expertly parry each other's pointed comments about New York vs LA. Maggie Smith (Oscar-winner) as an Oscar nominee and Michael Caine as her bisexual husband are superb in a segment with more depth than usual Neil Simon. Walter Matthau and Elaine May are fun in a slight pieces about a man waking up to a hooker…
Charming as all get-out, and with cliche interactions and scenarios that are masterfully salvaged by a (mostly*) winning cast.
* Yes, prepare to feel REAL weird about Cosby.
An attempt to do something like a more film-friendly Plaza Suite. Here there are more stories, more tones, and they're each intercut with each other. The heart is really in the Alan Alda/Jane Fonda section (even though Alda's still wholly Hawkeye Pierce here) and the Michael Caine/Maggie Smith section. There's a sincerity and a sadness to these parts that anchors the broader silliness of the other sections. Some of this same tone even leaks over into the how-do-I-hide-the-woman-in-my-bed shenanigans of…
El dramaturgo Neil Simon escribió originalmente para el cine esta agradable comedia de episodios irremediablemente irregular. Los personajes están construidos con la calidad acostumbrada y el tiempo transcurre liviano.
Nadie pondrá jamás en duda la calidad interpretativa de la excelente Maggie Smith, pero cabe preguntarse cuánto pesó en los académicos las ganas de hacer un guiño a que su personaje de actriz nominada al Óscar a la mejor actriz protagonista fuera recompensado con un Óscar a la mejor actriz secundaria.
The Walter Matthau segment is downright hilarious. The Cosby/Pryor is mildly amusing. I don't care for the others.
THE GIST: Herbert Ross' adaptation of the play by Neil Simon is a laugh-riot double stuffed with an outstanding cast. The play, which is separated by 4 one-acts, is presented here with the vignettes intercutting while never actually intersecting. The film is structured in an odd way, with basically two of the sections taking over the first half and then the latter two filling in the second half. The first half of the film is sublime. One involved Jane Fonda…
Entertaining comedy with an excellent cast.
Uma sátira deliciosa sobre Hollywood, com várias tramas independentes, bem definidas e desenvolvidas. Dificilmente o expectador não irá simpatizar com, ao menos, uma delas.
Particularmente, eu gostei bastante do enredo da Maggie Smith e do Michael Caine, ironicamente a primeira ganhou o Oscar desde ano. É a estória que consegue sintetizar justamente como deveria ser a tensão de uma indicada ao Oscar, às vésperas da premiação.
Outro que eu gostei foi a dinâmica do casal Jane Fonda e Alan Alda,…
So many good people in this; too bad it's so fucking dull.
Postscript: Okay, so Bill Cosby isn't one of those "good people."
This review reportedly contains spoilers. I can handle the truth.
Opening credits mingling with British artists David Hockney’s artwork, CALIFORNIA SUITE has a pleasing promise to be sophisticatedly funny or creatively witty, it is based on Neil Simon’s successful play and directed by Herbert Ross in his prime (after THE TURNING POINT and THE GOODBYE GIRL, both in 1977).
The film is composed of four independent stories of guests in a hotel, visitors from London are Diana Barrie (Smith), an Oscar nominated British actress attending the ceremony with her bisexual…