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Sunday In New York (Remaster)
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| Genre | Comedy |
| Format | NTSC, Original recording remastered |
| Contributor | Peter Tewksbury, Cliff Robertson, Jane Fonda, Rod Taylor, Robeet Culp, Jo Morrow, Jim Backus |
| Language | English |
| Number Of Discs | 1 |
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Product Description
Before she became a great star and a two-time Academy Award winner,* Jane Fonda was a screen ingenue who sent a string of bubbly romantic comedies soaring, including this charmer from the prolific pen of Norman Krasna (Bachelor Mother, The Devil and Miss Jones). Fonda portrays a virginal miss blessed with long limbs and a knockout profile who runs off from her fiance (Robert Culp) to the swingin' pad of her brother (Cliff Robertson) and then into the arms of a guy she meets on the 5th Avenue bus (Rod Taylor) -- all the while trying to decide if she'll say "yes" before she says "I do." Filmed on location, Sunday in New York is a fun, sophisticated romp set to a hip Peter Nero score that features Mel Torme singing the title tune.
Product details
- Aspect Ratio : 1.33:1
- MPAA rating : NR (Not Rated)
- Product Dimensions : 7.5 x 5.5 x 0.5 inches; 2.61 Ounces
- Item model number : 883316288849
- Director : Peter Tewksbury
- Media Format : NTSC, Original recording remastered
- Run time : 1 hour and 45 minutes
- Release date : March 29, 2011
- Actors : Cliff Robertson, Jane Fonda, Rod Taylor, Robeet Culp, Jo Morrow
- Studio : MGM
- ASIN : B004NW8SYG
- Country of Origin : USA
- Number of discs : 1
- Best Sellers Rank: #21,401 in Movies & TV (See Top 100 in Movies & TV)
- #2,793 in Comedy (Movies & TV)
- #3,599 in Drama DVDs
- Customer Reviews:
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SUNDAY IN NEW YORK is a lesser film of the genre, but well worth seeing. Featuring a strong cast, including an utterly vivacious & sparkly Jane Fonda, with three solid leading men to complicate her life & test her doubts. The question on Jane's mind as she comes to visit her brother Cliff Robertson in NYC: should a girl go all the way with a man she's going to marry, before they're actually married? And while it's played for humor, there's a more serious question being asked, as she comes up against the double standard: one set of rules for men, another for women.
There's a fun helping of farce via mistaken identities, plus some gorgeous Technicolor exploration of NYC that makes it look alive & magical, as did so many films of the period. And if you took a drink every time Peter Nero's name or face appears throughout the film, you might not make it to the end. But even that's amusing rather than annoying, at least to me.
As I said, not a major film, even of its time-locked genre. Still, it's a lightweight pastry, not a lump of soggy dough. Give it a chance, don't look for more than an easy afternoon of happily idling away a couple of hours, and you won't go wrong. Recommended!
Cannot think of a better example of a real-world Dr. Jekyll/Mr. Hyde in Director Peter Tewksbury. I'm at a complete loss as to how to explain it otherwise. Because there are two completely different halves to this movie. I'm not exaggerating.
The first half is utterly worthless. The performances, particularly that of Jane Fonda, are especially forced and wooden. A classic example of why you don't use stage actors for films, or at least 'stage performances'. Everyone is too loud, exaggerating every movement and every utterance. At some points in the film the players are virtually screaming their lines. Which, again, is perfect for the stage; projection is a must-have skill there. But every acting coach will tell you that film is so much more subtle. Film captures minutiae, the camera and audio recorders are in your face - the projection of character has to occur *internally*. Acting 101.
And speaking of the basic rules of filmmaking, there are few movies that can match 'Sunday' in describing "inappropriate musical score" - it's truly offensive. Blaring harsh staccato jazz is great for dark brooding dramas; black and white noir films virtually demand this kind of sound. But for a bright funny comedy? How blatantly gauche can one be? This is the equivalent of strapping calliope carnival ditties onto 'The Godfather'.
That's the first half Mr. Hyde at the wheel.
Then, and don't ask me to explain who, how or why, but midway through - Dr. Jekyll appears to have taken over the director's seat.
Inexplicably, just about the time they introduce Robert Culp's character as Fonda's first suitor/boyfriend, the movie suddenly becomes what I thought it was going to be - a truly funny 60's romp. The horrendous jazz score is replaced with a soft, light and bouncy accompaniment with proper sweeps into the film as needed. And the actors seem to suddenly realize that, even though this was originally a Broadway production, that they're actually on a film set. Boom, everyone is instantly in a movie. And dangit, it's a really hilarious second half.
What the heck?
So I'm at a loss at how to rate this film. The abhorrent first half would be an easy two stars, maybe bordering a single five-pointer. Then there's the very enjoyable second half which would be an easy four, no problem.
I don't want to rate it a three just to split the difference, that smacks of a copout. But Amazon doesn't allow dual grades. <g>
Call it a three in the hope that you'll enjoy the second half as much as I did. And that, again hopefully, the second half will cancel out or blur the first.
[Edited] I understand that one-time 'star' pianist Peter Nero had great influence in the score. Proving once again that when films add momentary music - it very quickly becomes dated and inappropriate. It's something that has seen a resurgence in the last few years. And proves another adage: People who forget history are doomed to repeat it. It won't be too long before we're watching some television program or film and we'll collectively cringe in embarrassment. It's already happened to me with shows like 'House, M.D.' and 'Battlestar Galactica'.










