Laughter on the 23rd Floor

If you aren't old enough to cherish the memory of Sid's Caesar's Show of Shows in its heyday, if you don't think Mel Brooks, Woody Allen, Neil Simon, Larry Gelbart and the rest of his writers' room was the greatest collection of comic talent ever, and if you didn't watch most of the Army-McCarthy hearings, well, maybe this movie isn't for you. But you're just the one who should see if for its educational value. It tells us a whole lot about the golden age of television, of the country's torpor in the 50's, of the days when people who cared more for those dependent upon them than they did for themselves got run over by the corporate machine, and of the contrived and deliberate dumbing down of our national intellect. See this movie, and then rent some of the classic skits by Caesar, Reiner, Coca, Morris and company on DVD. You'll know why those of us who were there still die laughing the hundredth time we hear, "You have gespritzen on un general."

This is really a 3rd rate, made-for-television mess. First of all, there is NO 'Laughter on the 23rd Floor' or any other floor - and for a Neil Simon play that is shameful. Nathan Lane is, Nathan Lane, a short loud mouthed Jackie Gleason sounding caricature of Sid Caesar during Sid's Show of Shows era. It's supposed to be manic and inspired, but it's just loud and pointless. All the reviews here seem to imply that a great cast of fine character actors stood behind Lane and help boost the show along – I don't buy that at all. None of the assorted 'fine character' actors helped anything, all their words and actions are forced to the point of being painful, their lines were very poorly delivered and none of them were believable for even one second – for which I blame director Richard Benjamin. An almost insulting attempt at adding substance to this train wreck is the tossing in of Edward R. Morrow's legendary Joe McCarthy Show underneath and in between the overacting of Lane's lemming running toward the sea character. Then it's all tossed aside for a nice tidy and gutless ending – My mother could write better than this. The one, single redeeming element in this claptrap is the very deftly played character of Lane's brother (Harry Price) played by character actor Richard Portnow. None of the other reviews even mention this guy but his is the ONLY performance worth a plug nickel in the whole show - everybody is running around frantically overacting their asses off to keep up with Lane and this guy steals the whole film out from underneath them with a quiet nod and a sheepish grin. If for some reason you feel compelled to waste your time watching this – Don't take your eyes of off Portnow, he is the ONLY reason to sit through it!

A ring-tailed wonder of a non-stop spritzer with a dynamite cast headed by the incredible Nathan Lane. One of Neil Simon's all-time best, worth seeing over and over. It ranks with the classic comedies of Billy Wilder and Preston Sturges.

I have always found Neil Simon's earlier works far more satisfying than his middle and later periods. It's understandable that comic writers such as Simon and Woody Allen felt the need to develop, having become tired of churning out pungent one liners. The transition from pure comic, to serious writer, albeit with a comic base, is a tricky one. Both Simon and Allen have on occasion handled this fusion of elements well, but by and large the challenge has not been well met by either.

"Laughter on the 23rd Floor" being a reminiscence of Simon's television writing days on the legendary "Show of Shows" was largely a comic piece when produced on Broadway. Since most of the characters in the play are loosely based on a group of writers famed for their wit, the play should have been a hilarious riot. While it made for an enjoyable evening in the theater, one couldn't help feeling it had somewhat missed the mark.

For the television adaptation Simon has turned "Laughter on the 23rd Floor" into a supposedly deeper and more serious work, in his portrayal of comic Max Prince. Depicting the complexities that make up the psyche of a comic is not an easy task but Simon's depiction of Max Prince does not go far beyond the clichés one would expect. Nathan Lane pulls out all the stops, but at times he seems to be unwittingly doing a Zero Mostel imitation. The biggest let down is that despite a group of fine and seasoned performers and many one liners, even the comic bits are not as funny as they should be.

Those who have a particular fondness for the period of 50's television and the tremendous talents around at the time are likely to be disappointed.

This cable adaptation is a huge improvement over Neil Simon's original play for two reasons. The original was one of Simon's laugh a minute (and you can set your watch by it) plays with a big problem: it was written as an ensemble piece but one character-television comic Max Prince, who's based on stories about Sid Caesar-was so overpowering it threw the ensemble off. For this version, Simon, who got his start writing for Caesar's "Your Show of Shows" and "The Caesar Show," wisely puts more focus on Prince, adding scenes to flesh out the character and incorporate even more of the legends. With Nathan Lane in the role, he can't miss.

This is a very different performance for Lane, one of the industry's most capable farceurs. His Max Prince is as over-the-top as Lane often is, but he also invests the character with a strong serious side (like most great comics, Prince takes himself with an almost desperate seriousness) that gives the role heart. In between temper tantrums and one-liners belted out for all the world to hear, Simon and Lane have crafted some wonderfully subtle moments. He's strongly supported by the actors playing his writing staff-particularly Dan Castellenata and Saul Rubinek. And Richard Benjamin, who directed another Sid Caesar pastiche in "My Favorite Year," keeps the whole thing moving efficiently. I'm going to look for a rerun on Showtime so I can catch this again and can't wait for it to come out on video.