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This is not a great film but it is sweet and has it's moments. It also has a cast of soon to be stars. While it was interesting to see Shelley Winters when she could still pull off dark hair, it was even more interesting to see a young Christopher Walken and a young Jeff Goldblum. Also seen are Vincent Schiavelli of character actor fame and an almost microsecond uncredited cameo by Bill Murray.

The movie isn't great but for a movie fan its worth the time if for no other reason to see if you can spot all of the soon to be's.

Admittedly I come to this film with a deep prejudice. Though it's set in 1953, it was released in 1976, the same year I moved to Greenwich Village. In fact, much of the movie looks to have been filmed about two blocks west of where I lived for 30 years.

For a young person moving to Greenwich Village, there's something timeless about the experience, as this film shows. Directed by Paul Mazursky, the film stars Lenny Baker, Shelley Winters, Ellen Greene, Christopher Walken, Lois Smith, and Dori Brenner. Baker is an aspiring young actor named Larry Lapinsky, who leaves his parents' apartment and his sobbing mother (Winters) to take a place in the Village. There, he gets a day job, a girlfriend (Greene), a group of bizarre friends, and starts acting class. He uses a liquor bottle he finds at the subway as an Oscar and thanks the Academy while he waits for a train; he does impressions of Brando for a cop; he does a scene from Golden Boy for class.

Mazursky has left nothing out, not the overblown egomaniacal young actor (Jeff Goldblum) whom Larry meets at an audition, the bipolar young woman (Smith), the gay friend (Antonio Fargas), the poser who's a chick magnet (Walken), and everybody's friend destined to be unlucky in love (Brenner). It's a madcap, free, painful, and sobering existence.

Baker is wonderful as Larry, anxious to get out and live. He's very likable. Shelley Winters is a riot as the Jussi Bjorling-loving Faye Lapinsky, who keeps dropping in and bringing food while she and her husband are in the neighborhood. At one point, she is so convincing telling Sarah (Greene) that she doesn't care if Sarah has been having sex with Larry, that Sarah admits to it, thus driving Faye into such a state that Sarah claims she lied. Lois Smith is very effective as the neurotic Anita. Dori Brenner does a great job as the caring friend, and Christopher Walken strikes the right balance as the enigmatic, distant Robert.

Highly recommended, and if you've ever lived in Greenwich Village, or tried to be an actor in New York, don't miss it.

What makes the film is the New York energy and the locations - many of which still exist, Village Cigars, Smiler's, the lamp store, Julius' bar, the whole Christopher Street area.

This is a bittersweet film about family, leaving "the nest", friendships, dreams, hope, & finding yourself. A young man from Brooklyn leaves home to become an actor in 1950's Greenwich Village. Lenny Baker is very good as Larry Lapinsky & Ellen Green is wonderful as his girlfriend. The quirky characters & situations around them add an ambiance to this movie that makes you believe it was filmed in the 1950's, & not the 70's, when it was actually made. A lot of attention was paid to detail & it shows. Shelly Winters is loud, obnoxious, funny & convincing as the typical Jewish mother (I love the scene when she shows up at his apartment with a chicken). This movie makes you wish you could jump into the film & sit with these characters, have coffee with them, ride the subway, go to one of Larry's rent parties & experience the progressive, offbeat world of New York's Greenwich Village in the 1950's.

When I think of this film, I think of my older brother's generation, graduating from high school about 1956, and from college about 1960. Mazursky catches the look of a certain kind of young people of that era, their fashions, their expressions, their masks and identities. There's a sense of confusion and discovery, or rejection of the restrictions of middle class culture and their embracing of a murkily-defined bohemian alternative, and the disruption that brings to their lives, culturally, socially, sexually.

The film also reminds me of my years spent living near and wandering around Greenwich Village, 1966-70. Some of the kinds of people Mazursky shows were still there, ten years older, either mystified or amused or annoyed by the hippie hoards invading them. Honky-tonk, high rents, and mass culture bohemianism had arrived.

Mazursky gets this right. I don't know how this picture would play to those not interested or affected by the sociology time capsule, but I think it still would play.

And hats off to Shelly Winters, once again playing an impossible mother.

I'm with the room, this film has been sadly overlooked as it was at the time of it's release (even Mazursky champion Pauline Kael was Luke warm) and deserves to be seen.

I think this sort of autobiographical film had sort of been overdone, so Mazurky's film was lumped in as "one of those." What was missed, I think, was his unsentimental, adult perspective on the time and place, on what it meant to be young and bright. He gives us something of what the beak nick world might have been like, unlike the silly portrayals done AT THE TIME.

Lenny Baker, in his only major lead, is excellent along with the entire cast. Christopher Walken makes an impression without the hamming that would later endear him to so many.