Je me fais du cinéma

It must have been a casting no-brainer to put Dinah Manoff in the film-adaptation of Neil Simon's Broadway hit "I Ought To Be In Pictures" since she played the part of headstrong Libby on the stage. Unfortunately, a bombastic concoction such as Libby cannot be easily transferred to the more intimate medium of film, and the writing leaves both Manoff and the viewer at a complete loss. Neil Simon writes gag-dialogue, gag-characters, gag-situations, so when he tries to get serious--the audience doesn't know how to respond. Is this guy kidding again? Libby moves from Brooklyn to Los Angeles to reconnect with her estranged screenwriter father, ostensibly to break into movies but mostly because she needs a loving dad to hold her. These later scenes are so uncomfortable, so static, that poor Walter Matthau can only sit on the end of the bed and gape (I've never seen him at such a loss). Ann-Margret has a warm, grounded presence as Matthau's girlfriend (it's not much of a role, and the dialogue is still in Simon's one-note, but A-M manages to give this woman some soul). Manoff, looking and acting like a cross between Tatum O'Neal and Kristy McNichol, projects to the rafters, as if she were still on Broadway. She's Gussy Gumshun; and when the barriers come down and she's vulnerable, we would like to give her our sympathies, but Simon won't let us. He has already moved on, to the next limp gag. ** from ****

Neil Simon's "I Ought to Be in Pictures" is a moving family drama, peppered with the author's patented gag lines and notable for sock performances by Dinah Manoff and Walter Matthau. Affecting, amusing interpersonal relationship pic bodes broad market appeal., Nimbly opened out from the 1980 stage version by helmer Herbert Ross (who also staged the play), film concerns a 19-year-old spunky Brooklyn girl Libby (Dinah Manoff reprising her stage role), who hitchhikes to New York to break into films as an actress but more importantly see her dad who left her, a brother and mom for good 16 years earlier. Dad is Herb Tucker (Walter Matthau fitted out with a handsome beard), a once-successful feature and tv scripter now given over to gambling and drinking. Tucker's loyal g.f. Steffie (Ann-Margret) is supportive but has her own children to take care of and a new boyfriend in the wings.

With Libby gradually insinuating herself into Herb's life and gradually reforming him (while cutely refurbishing his house and Mustang car), film gains its force from the powerful interplay of the duo's personalities. When the comical putdowns are replaced by genuine emotional (and physical) contact, Simon achieves his tear-jerking goal.

Key factor in making this work is apt casting, with Manoff, Lee Grant's sprig. Outstanding in avoiding direct sentimentality in the showy central role. She's also a good listener, with her eye contact and support of Matthau key elements. For his part, Matthau makes a ne'er-do-well character immensely sympathetic in spite of his shortcomings, enough so the viewer can root for these two to eventually come together in a loving fashion. Echoing the mother-daughter reconciliation of SImon's recent "Only When I Laugh", it builds to a valid denouement of Matthau geared up to plunge seriously into his writing assignments, and Manoff returning home with her family devils exorcised.

In a much smaller role, a deglamorized Ann-Margret is effective as the selfless mistress, while Martin Ferrero, Lewis Smith and Lance Guest provide a diveting scene apiece opposite Manoff. Tech credits, particularly Albert Brenner's production design and David M. Walsh's lighting, succeed in giving the film a realistic backdrop and avoiding a stagey or studio set look.

My review was written in March 1982 after a Midtown Manhattan screening.

In my and my wife's opinion(s) this picture ("I Ought To Be In Pictures") held our attention, made us laugh, and touched our heart strings. The plot is very believable and truly beautiful. Dinah Manoff and Walter Matthau were delightful. Ann-Margret's part was undoubtedly low-key, but we applaud her for being prepared to play it and play it well. (Who ever said an actress has always to play "knock-out" parts.) This is a movie we will buy for our collection of fine movies. Leonard Maltin's review rating: ** is an insult. We give it *** at least. We were thrilled to see Dinah Manoff playing a larger role than her role in "Ordinary People."

The problem with this film was that it was a rotten play to begin with. It's the same old Neil Simon characters, same old Neil Simon storylines. For Matthau, this is the same Neil Simon characterization as with his previous ventures into Simon's work. He's much better as Oscar in "The Odd Couple." Ann Margaret is entirely out of place here, but so is the writing and Herbert Ross's direction. Only Dinah Manoff, who reprises her Tony Award winning role, comes off successful in the picture.

What's a daughter to do when she wants to get in touch with her father who she hasn't seen in 16 years and lives 3,000 miles away? Answer: watch this movie and find out. It would be easy to rag this movie, to cite all its flaws, to point out its corniness, to dwell on Dinah Manoff's incredibly loud performance; to emphasize all the schlock, dreck, schmoozing and kvetching that identifies this movie as another example of 'ethnic" humor. Yes, one could easily rag this movie, but I won't do it. Not here, not in this website, not on the pc. Why? Let me tell you: I LIKED THIS MOVIE!!!!! Yes, I admit it. THIS WAS A GOOD MOVIE!!!!. So what if the acting was a bit strained! So what if the story was as stale as a corn beef sandwich that's been sitting in the refrigerator all night! This movie is a about a father and daughter who re-establish a relationship and that's something that cannot be ragged. No way. So what if the daughter talks with a certain ethnic inflection! So what if Walter Matthau reminded me of Oscar Homolka in "I Remember Momma." So what if this movie contains what has to be Ann-Margret's most forgettable role!! So what if this movie is like a pastrami sandwich with a lot of fat!!! So what if this movie's most inspiring character is a deceased grandmother!!!! I liked this movie and you will too if you just keep an open mind and remember: IT'S JUST A MOVIE!!!