A frantic 1960's romantic comedy that is still a vibrant look at a New York City that has all but vanished; however, the movie HAS shown signs of wear and tear of late. I like Redford but I don't get Fonda. She's all over the place; her nervousness bothers me. She handles the dramatic parts in the script fine, but displays a shrill, manic nature in performing the comedic elements. She's, ultimately, too over-the-top for my tastes. I wish the director would've simply yelled "CUT!" once or twice. Charles Boyer, on the other hand, is a godsend from above. Literally. He lives in the building's attic, one flight above the newlyweds. Boyer is fit--looking much younger than his stated age at the time--and his acting chops are sharpened to a razor-thin cut. The small, quirky (the radiator is skyward) N.Y.C. apartment set serves an important purpose: It's the unofficial arena for our trio of thespians to do battle. Joined (later) by Fonda's understanding mother and an agitated telephone repairman, Neil Simon's sly narrative is finally completed. Numerous public conveyances are used to provide color in this movie. The old cars, Checker Cabs, N.Y.C. buses and even the Staten Island Ferry, make classic appearances before the film's final fade out. The ferry takes the two couples--minus the phone guy--to sleepy Staten Island, so they can experience an authentic Albanian restaurant, complete with belly dancing and homemade brew. It's the highlight of the film.
Review of Barefoot in the Park
