Wizard-8 "Sunday in New York" is a pretty charming comedy, quite quaint compared to the raunchy comedies coming out today - which is why I was quick to embrace it. Actually, the movie does deal with a topic that's still quite hot today - sex. In fact, the movie is quite open about the topic of pre-marital sex compared to a number of other 1960s Hollywood movies. (The reference to "handball" is quite an eyebrow raiser - I can't believe it got by censors of the time!) However, the movie's main aim is to make the audience laugh, and while I didn't laugh out loud at any moment, I did smile a lot at the humor. It's very agreeable.I will freely admit that the movie isn't perfect. It's a bit long, and the stage origins of the material are pretty evident at times. Also, Rod Taylor's character is quite obnoxious to start off with, so much so that it's hard to see why Fonda's character get attracted to him (though he does become palatable by the end.) But these are minor quibbles in an otherwise enjoyable (and interesting) movie.

clanciai This is one of the most delightful, enjoyable and successful comedies of the 60s, and in 50 years it has lost nothing of its charm and not aged at all. Everyone remains young at heart somewhere in his being, and this film is something of a miracle worker bringing out that feeling of eternal continuous youth. The question is where all the charm is coming from. All the actors are in top form, but Jane Fonda and Rod Taylor are leading the show, she in a dominating character of constantly impressing eloquence and honesty, while he supplies a more subtle charm of the discreet comfort of an accompanying orchestra. It must be pointed out how much the music means for this film. It is perfect all the way and supplies exactly the right mood for every scene, constantly changing between jazz, entertainment and classical romantic - sometimes it approaches Rachmaninov. Above all, this is Norman Krasna's best script, and he was one of the most experienced script writers of Hollywood with decades of professional work behind him. The dialog couldn't be better. Phrases like "If I were you I would kiss me" and the dialog "What's the matter with you women?" Answer: "Men!" will stick forever like the best repartees of the heyday of screwball comedies. The story is ingenious: two couples find each other through jungles of complications and more than one regular mess. In brief, for a comedy, everything is perfect in this film, nothing is missing or lacking, it offers everything and will remain a joy every time you see it.

edwagreen Early Jane Fonda film. Amazing that the make-up artist did such a poor job with Fonda's looks. Even the contours of her face leave a lot to be desired. She isn't pretty at all. I actually thought that in one scene, she reminded me of Fruma Sarah from "Fiddler on the Roof" fame, the long dead wife of Lazar Wolf the Butcher who plots revenge on Tevye's daughter for actually wanting to marry her husband.This being said, we have a romantic comedy that deals with a very odd Sunday for a brother and sister- Fonda and Cliff Robertson. We have Robertson preaching about sex life, while he is actively engaged. He just can't seem to be with his girlfriend to scheduling problems and with her landing on a plane without him twice.Fonda, having just broken up with her boyfriend, meets Rod Taylor by chance on a N.Y.C. bus two times under similar circumstances. Of course, her boyfriend comes into the film and to cover herself, Fonda claims that Taylor is her brother. Naturally, when Robertson reappears, this creates further mayhem.The acting is good with the exception of Fonda. She'd really develop as a mature dramatic actress as the years went by.

Robert J. Maxwell A diverting bedroom farce involving a cute meeting, mixed-up identities, dialog daring for the time, and Rockefeller Center.Jane Fonda, at her most succulent, bumps into Rod Taylor on a mid-town Manhattan bus, then again later, and then they get caught in a rainstorm and wind up at the apartment of Fonda's absent airline-pilot brother (Cliff Robertson). Taylor is, of necessity, attracted to Fonda but puzzled by her. She keeps insisting that her mother is also staying at the apartment -- a ploy to keep rapacious men at bay -- but Fonda and Taylor discover a black bra and negligee hanging in the closet. Mom's? No -- it belongs to roué Robertson's girl friend, whom he is at the moment chasing all over town.Jane is twenty-two years old and still, well, as she puts it, "a beginner." And her brother has insisted she stay that way. In fact, he swore to her earlier than he did not sleep with women. Now, having discovered the lingerie in the closet, Fonda decides that if it's good enough for Robertson, it's good enough for her, and she decides to seduce Taylor. It doesn't work -- because Taylor refuses to take advantage of a beginner. This, as an excuse, is akin to that used in earlier movies in which the heroine drinks too much because of her anxiety, passes out, and the hero refuses to molest her in this state.You following all this? Then it really gets twisted. Fonda's fiancé from Albany (Robert Culp) bursts in unexpectedly and mistakes Taylor for Fonda's brother. Then Robertson bursts in unexpectedly and is introduced to Culp as Taylor's co-pilot. Lots of moments that are both confusing and amusing. (If you liked "My Favorite Wife," you ought to like this. Taylor has the Cary Grant role, and he's quite good, with those upside-down ears.) Cute dialog too, with some dash for the period. When Fonda confronts Robertson with his lie under oath about never having slept with women, he pounces. "That's the loophole -- sleeping." The H-word occurs, and the V-word, and some other edgy phrases, the use of which is emphasized by the director through the use of sudden close up, indicating, "This is a shocking thing you're hearing." You get to see and hear quite a bit of Peter Nero, the Eddie Duchin of his day. You don't really get to see much of New York, though. Too bad, because in 1962, when this was shot, it had yet to deteriorate. People were clean, carefully groomed, and lived in stable neighborhoods. McSorley's Old Ale House was still exclusively male. Julius's, in the Village, was not yet completely gay, just partly gay. You could sleep in Washington Square if you didn't get caught.It all seems harmless now, and kind of fun.