London Suite

One has to feel that Jay Sandrich, as director, has to be responsible for the weak performances from this collection of usually reliable actors. With the exception of Michael Richards and Madeline Kahn, the credited actors turn in truly shocking performances. As for the Scottish and Irish accents from Richard Mulligan, Paxton Whitehead and Jane Carr, words fail me. These are trained actors?

Thankfully, the uncredited William Franklin, was, as ever, the consummate professional. If he watched the rushes, he probably requested to be left off the credit list.

How Simon must have shuddered.

i actually liked it...from several reasons. one, the wonderful cast in the film: julia louie, michael r, richard m, kelsey and more...a great story which collects number of stories... it's not a humor comedy it's more like a comedy about life and some misunderstanding in life...it is quite funny and i recommend it to all people. it's nice to view some simple stories about life and all the little things in life we have and sometimes we wish we haven't done or passed by.

vote: 7 out of 10

This t v made production has a cast of lots of talent, but no script and sequencing which makes little sense. If there are any entertainment values in this, it is if you want to see a cast member & a little cheeky British humor.

Michael Richards is a good physical comedian. This film takes him & disables him after the first sequences with a bad back. That pretty much sets the mood for the abuse that the script makes of the cast. Kelsey Grammar is a good verbal comedian- so have him somber because he has an incurable disease.

The only near chuckles in this a a couple of cheeky sequences in Richards room after he is prone with the bad back. Other than that, this film has little to offer. Interestingly there is a sequence in front of a building in London when a bus with a banner about a US state, Pennsy. drives in front of the building on the street. That makes me wonder if that was deliberate, or did they do some back drop filming in the US?

European and American characters intermingle in London for comedic Neil Simon stories underlined with pathos or sentiment. Simon's somewhat-withered adaptation of his play is seemingly an extension of many ideas or characters from his theatrical feature "California Suite"...and one that is not above copping ideas from other movies as well. Julia Louis-Dreyfus is an American on her honeymoon without a husband; Madeline Kahn is another tourist who goes out on a date with Scotsman Richard Mulligan (dressed up like David Niven in "Separate Tables"); Michael Richards and Julie Hagerty, in town for Wimbledon, are sidelined by slapstick-y bad luck; while actress Patricia Clarkson reunites with the ex-husband she still holds a torch for, Kelsey Grammar (playing gay). Simon's rhythm hasn't changed over the years: he sets up a joke wryly, detonates the joke dryly, and then delivers a comeback zinger. The whole movie is a series of zingers, most of which are met with stony silence (this is one sitcom that could use a laugh-track). Apparently cast with an eye on the NBC-TV market, the picture could really use some headier talent (Clarkson does well, though the supporting cast making up the staff get the biggest laughs). Louis-Dreyfus has an amusing bit telling a lie which gets bigger and bigger, and Richards' pinched nerve (while an easy target for visual jokes) has some funny repercussions. The TV production is rather cut-rate (as is the score and photography), however it's a relatively painless comedy--albeit one that is passed its prime.

Given the enormous comedic talent involved, this was rather disappointing. The most successful comedic playwright since Shakespeare, Neil Simon, has half a dozen of the most popular American comedians of the 1990's in this 1996 production. The director, Jay Sandwich, was the main director of the two most popular American television shows of the 1970's and 1980's (the Mary Tyler Moore Show and the Bill Cosby Show).

Neil Simon always mixes together four or five plots and keeps them moving briskly. In this case three of his four separate plots go nowhere. Only one pays off.

The successful plot involves Sidney (Kelsey Grammar) and Diana (Patricia Clarkson). Diana is a successful television star hoping to revive her marriage to Sidney that broke up eight years previously. Sidney has been living as a gay man on the Greek island of Mikonos for those eight years and has come to meet Diana for an entirely different reason. The performances here are subtle, sharp, sensitive and sweet.

Julia Louise Dreyfus and Johnathan Silverman try to work a plot about a newlywed who loses her husband at the airport. Dreyfus is pure slapstick, twisting,turning and rolling her eyes to simulate her hysteria at losing her husband. Silverman arrives too late and is too laid-back to improve things. At one point Dreyfus is supposed to be drunk and says to a waiter, "I'm drunk, can't you tell?" In fact, she acts drunk throughout, so it is hard to tell.

Michel Richards and Julie Haggardy do more mainly physical slapstick as a man with a bad back and a wife who loses her husband's Wimbledon tickets. This seems to go back to television sketch comedy of the 1950's. One could imagine Sid Caesar or Milton Berle wringing the same laughs from the material. Richards is in his element with the physical comedy, so there are a few laughs here. Brits, Paxton Whitehead and Jane Carr brighten up this episode.

Madeline Kahn and Richard Mulligan go on a mismatched date which leads nowhere. It reminded me of the old television show "Love American Style". There are a few faint smiles but no laughs here.

I would say, if you're a Neil Simon fan, see it for the wonderful acting of Kelsey Grammar and Patricia Clarkson, but don't expect anything from the other stories. As a whole, it is sub-par Neil Simon, but at least 25% of it is solid Neil Simon at his best