In 1982, Vincent Canby of The New York Times described "I Ought to Be in Pictures" as a film that "ought not to be." Popular television critic Gene Siskel chose "I Ought to Be in Pictures" as one of the worst films of the year. On his show, Siskel described the theme of the film in these words: "A smart alec daughter learning to accept a smart alec father." The preceding reviewers' comments demonstrate the inherent subjectivity involved in film criticism.
The "smart alec" daughter is Libby Tucker, as played by the young actress Dinah Manoff. Manhoff had just won a Tony Award for her performance of the same role in the New York stage version of Neil Simon's play. In the film, Manhoff creates a textured, multi-layered interpretation of Libby Tucker. Her comic timing is superb, and she discovers the emotional depth of the character late in the film.
The "smart alec" father is Herbert Tucker, who is played by one of the finest interpreters of Neil Simon's comedies and one of the most beloved stars of Hollywood, Walter Matthau. In interpreting Herb Tucker, Matthau's naturalism in the reading of Simon's often contrived one-liners is superb. And he hits all the right notes in the touching relationship of Herb and the daughter he has not seen in sixteen years.
Herbert Ross brings a fine directorial touch in adapting Simon's stage play to the screen. There is some terrific location shooting in Los Angeles, including the Hollywood Park race track and Dodger Stadium. There was a picture-perfect selection of Herb Tucker's home at 1761 Vista Del Mar Avenue, in Hollywood—a residence with a distinctive red tile roof. That house is still standing and may be see in a google satellite map, virtually unchanged from the 1982 filming.
It was a challenge to adapt a three-character play to the film medium. But this crisply paced and well-photographed film was undeniably a success. Ann-Margaret delivers a sensitive, understated performance as Steffy, who is involved in a romantic relationship with Herb. Other small roles, such as the two young men Libby meets are also spot-on.
The beautiful scoring of the film is by Marvin Hamlisch, one of the most accomplished composers in both films and the American theater. The beautiful song "One Hello" recurs through the film's score, culminating at the end with a sensitive rendition by vocalist Randy Crawford.
With the passing of over three decades "I Ought to Be in Pictures" is a film worthy of reconsideration. How many films today have this level of sophisticated comedy and are able to balance the humor with a heartfelt message? And how many have the chemistry of such outstanding performers as Walter Matthau, Dinah Manoff, and Ann-Margaret?
The "smart alec" daughter is Libby Tucker, as played by the young actress Dinah Manoff. Manhoff had just won a Tony Award for her performance of the same role in the New York stage version of Neil Simon's play. In the film, Manhoff creates a textured, multi-layered interpretation of Libby Tucker. Her comic timing is superb, and she discovers the emotional depth of the character late in the film.
The "smart alec" father is Herbert Tucker, who is played by one of the finest interpreters of Neil Simon's comedies and one of the most beloved stars of Hollywood, Walter Matthau. In interpreting Herb Tucker, Matthau's naturalism in the reading of Simon's often contrived one-liners is superb. And he hits all the right notes in the touching relationship of Herb and the daughter he has not seen in sixteen years.
Herbert Ross brings a fine directorial touch in adapting Simon's stage play to the screen. There is some terrific location shooting in Los Angeles, including the Hollywood Park race track and Dodger Stadium. There was a picture-perfect selection of Herb Tucker's home at 1761 Vista Del Mar Avenue, in Hollywood—a residence with a distinctive red tile roof. That house is still standing and may be see in a google satellite map, virtually unchanged from the 1982 filming.
It was a challenge to adapt a three-character play to the film medium. But this crisply paced and well-photographed film was undeniably a success. Ann-Margaret delivers a sensitive, understated performance as Steffy, who is involved in a romantic relationship with Herb. Other small roles, such as the two young men Libby meets are also spot-on.
The beautiful scoring of the film is by Marvin Hamlisch, one of the most accomplished composers in both films and the American theater. The beautiful song "One Hello" recurs through the film's score, culminating at the end with a sensitive rendition by vocalist Randy Crawford.
With the passing of over three decades "I Ought to Be in Pictures" is a film worthy of reconsideration. How many films today have this level of sophisticated comedy and are able to balance the humor with a heartfelt message? And how many have the chemistry of such outstanding performers as Walter Matthau, Dinah Manoff, and Ann-Margaret?