Un dimanche à New-York

If you're one of those shallow enough to complain, as another reviewer does, when a film "betrays it's Broadway roots," you're probably not sophisticated enough to appreciate the very real pleasures of a film like Sunday IN NEW YORK where the lines in the screenplay actually contribute enormously to the enjoyment of the film. While not quite as well crafted as the classics of the genre, Neil Simon's BAREFOOT IN THE PARK or Jean Kerr's MARY, MARY, Sunday IN NEW YORK benefits enormously from Norman Krasna crafting the screenplay from his own successful Broadway play.

Krasna is, in fact, prescient in several of his lines where he acknowledges that "in the future" people will take these things more in their stride - at least to the extent of premarital sex at the age of these characters - but while the age of experience may have shifted, the frustrations and anxieties of initiation probably never will and following "innocent" Jane Fonda, her protective but experienced brother, Cliff Robertson and the object of her temptation, Rod Taylor, through these beautifully filmed 105 minutes will provide not only enormous fun for those grownup enough to enjoy the ride without explosions and chase scenes (actually, there are a couple of those!) but a wonderful window on how we viewed our sex lives only a few years ago.

Sunday IN NEW YORK may be on a craft level of Neil Simon's first Broadway (and film) hit, COME BLOW YOUR HORN, but Krasna had been providing satisfying works for both Hollywood (WIFE VS. SECRETARY, MR. AND MRS. SMITH, WHITE Christmas) and Broadway (DEAR RUTH, KIND SIR) for decades before Simon started, and this represents some of his best comedy writing. It's a second tier joy. Consider making it a "flying double feature" (Robertson plays an airline pilot with TWA which is complicating HIS sex life) with the British BOEING BOEING, and you've got a great Sunday's escape in any city you please. Solid literate fun.

The plot of "Sunday in New York" is very adult. At the same time, it's a mainstream release in 1963, meaning that although adult the studio would have to pull its punches in the film. In other words, while the story clearly is about sex, they don't mention sex nor is the film especially risque by today's standards.

When the story begins, Eileen (Jane Fonda) arrives unexpectedly in New York City to spend some time with her brother. As for him, Adam (Cliff Robertson) is a womanizing pilot...and he has his latest conquest coming to the apartment. Not surprisingly, Eileen's arrival throws a monkey wrench into his plans. So, Adam spends most of the rest of the film trying to get some alone time with one of his girlfriends....and Eileen vacillates between wanting to stay pure or getting laid.

The acting is very nice, with four excellent leads. The story is also interesting, as it challenges some of the traditional views of women held at the time...and has a clever script. Not a must-see but an enjoyable time-passer.

I saw this when it appeared in 1963 and loved it. Bought the LP as soon as I could find it because of the wonderful Peter Nero score. Bought the VHS as soon as it appeared. Watched it with my grown children last night (in their thirties) and they enjoyed it, and laughed at all the right places. With excellent dialog and a classic story and one of the best movie soundtracks ever, to us this holds up very well. Am trying to start a campaign to have the movie issued as a DVD and the soundtrack on CD. Whoever owns the rights is missing out. This is absolutely comparable to 'You've Got Mail', 'Sleepless in Seattle', and 'When Harry Met Sally'.

After growing up with Peter Nero's soundtrack (sparkling piano playing), I FINALLY got to see this movie on TCM, and it was worth the wait. The leads, male and female, are a feast for the eyes (oh, to be a young swinger back then...) in a simple story that takes place during one day. The lead theme, of Fonda and Taylor meeting and spending part of the day together, and the consequences, is well-matched with a funny subplot that has Robertson (as Fonda's brother) and his lady-love trying to schedule some quality time together. Culp's Pepsodent smile has to be seen to be believed. Entertaining, lighthearted film.

If you're looking for a perfectly dated view of premarital sex, you'll be hard-pressed to find another gem like Sunday in New York. Jane Fonda, in a totally adorable role, plays a conflicted "beginner". She's refused to sleep with her boyfriend, Robert Culp, and in her confusion, seeks refuge with her airline pilot brother, Cliff Robertson. Cliff assures her that being a virgin isn't a bad thing and that he himself doesn't sleep around. Of course, he's desperately trying to sleep with his girlfriend, Jo Morrow, and hides that from Jane. To top it all off, Jane meets Rod Taylor and decides to pretend she's more experienced than she actually is.

Adapted from Norman Krasna's hit Broadway play, this 1960s romantic comedy is just that: romantic and hilarious. Jane's comic timing is always great. "In movies, this is where the screen usually goes dark," she says when Rod's kisses make it clear he wants to take things further. When he finally learns she's a virgin, he slams on the brakes. He doesn't want to be responsible for ruining her reputation, and Jane finds his reasoning absurd. He wouldn't have any hesitation in sleeping with her if, say, in a week's time she'd already had a lover. "Call me next week!" she shouts, frustrated that her innocence is off-putting.

It's really a very cute movie, but women's libbers out there will probably hate it. You're better off watching The Electric Horseman or The China Syndrome; Jane is in a strong, feminist role in those movies. In Sunday in New York, she's cute as a button, but not the most liberated tool in the shed. I loved her in this one, and found her just as visually and comically adorable as she was in Barefoot in the Park.