The Heartbreak Kid

Charles Grodin is no stranger to playing dorks, dweebs, creeps or nerds. In fact he did it so often that many of us are lead to believe he truly is the character he has portrayed so many times. We all know this tale too well. A young salesman meets a nice Jewish girl in a bar and marries her. When off to their honeymoon to Miami, he discovers that she is perpetually annoying and irritating from eating Egg salad sandwiches, talking during intercourse and stubborn about his pleas for her to put on sunscreen. Enter the Flirty Cybil Shepard and all plans go to hell. I understand that much of comedy is rooted in pain and discomfort and Neil Simon understood this very well. But The Heartbreak Kid is a plot that is so aggravating and cringe-worthy that at times we really don't see the humor. Each character becomes a cliché. Jeannie Berlin's performance is admirable, but the Stereotypical Yenta is taken to its most annoying extreme. You wonder if the writer had a deep seated hatred for new York girls. Charles Grodin is far too annoying and wimpy to even relate too. When he lies to Lila in the Hotel room, trying to cover up his escapades, it's just too implausible for anyone to take seriously. It was moments like that that made this movie frustrating. Lila gets hurt, dumped and cast by the wayside. Cybil Shepard becomes the symbol of female perfection to Grodin. And the final 40 minutes is about how he pursues her shamelessly despite her father's disdain for him. I'm not sure why women would find this humorous in the least, because it casts a very negative light on their intelligence, integrity and value. I guess a guy can see the surface humor in Grodin's actions, but if you think about how truly pitiful and reckless his actions are, there's no humor at all. It's a sad tale about a man with shabby and selfish desires and the consequences of his actions. This is not funny to me at all.

Why Shepard's character is attracted to Grodin's is a mystery that doesn't get discovered. Based on her actions she is complicit in their rendezvous, and thus she is equally reprehensible. The flirting and toying with his desires shows a sheer lack of concern for his wife. It comes as a very inappropriate nuance when she utters lines, "I think you are the most decent man I've ever met." Or. "Daddy can he join us for dinner?" Moments like this reveal a true lack of maturity and social integrity. And why would the father, Eddie Albert, even offer to pay this creep money to go away? It would have been easier to fight him off or just kick him out.

Heartbreak Kid is a product of the early 1970's and the Neil Simon persuasion. Showing people in their most vulnerable, if not totally implausible, situation was a fascination for those who liked these kind of movies. The final scene where, Lenny sits on the couch telling two children his boring and odd business aspirations made them leave. And the final shot of his introspection interspersed with Mr. Corcoran's curious look of disdain was a cryptic way of telling us Lenny is a lost guy unable to live up to his ambitions.

Black comedies are problematic in that where one sees humor, another might see tragedy. So, people may laugh in the wrong places. It sort of defeats the purpose of comedy in general. Are we supposed to laugh? Cry? Get annoyed? Oh well, it's hilarious , but if you really think about it, it's not funny at all. Not the best formula for entertainment. Heartbreak kid scored 92% on the Critics score and 72% on the audience score at Rotten Tomatoes. If the Critics loved it and the audience was fairly indifferent, that should tell us something when Neil Simon and Elaine May are in the Driver's seat.

The movie's a comedy, I think, though it produces as many cringes as laughs. It's hard not to laugh at poor Lila (Berlin) as she flubs her honeymoon with sunburn crème blotches, oozing egg sandwiches, and ill-timed bathroom breaks. But then she's so emotionally needy, it's hard not to laugh and cry at the same time. On the other hand, husband Lenny's (Grodin) got all the empathy of a ham sandwich, as he chases after blonde goddess Kelly (Shepherd), piling one absence excuse on Lila after another. This is the honeymoon from heck, especially after the goddess-struck Lenny sues for divorce. But then he does grant Lila "the luggage".

The humor's in the character set-ups, and Lenny's special brand of chutzpah. A little fast- talking, he thinks, gets him out of any situation. That is, until he runs into Kelly's humorless dad (Albert). Seems like the proverbial irresistible force has run into the immovable object. But has it. Grodin's appropriately obnoxious when Lenny needs to be; Berlin's vulnerable when Lila needs to be; Shepherd's gorgeous without trying; while Albert's stony mug belongs on Mt. Rushmore. And catch that contemplative ending, not what I expected, but probably appropriate for what's gone before.

All in all, the movie's something of a guilty pleasure and certainly one of a kind. I do, however, miss Grodin's smirking brand of put-on.

Charles Grodin plays a Jewish New Yorker who takes his earthy new bride to Miami for their honeymoon, but becomes increasingly disillusioned with her on the trip--most especially because of a flirty, leggy blonde from Minnesota whom he meets on the beach. With Neil Simon writing this screenplay, one is almost instantly aware not of the class issue (it doesn't matter to Simon who has more money than who) but of the Jewish angle. Simon makes the bride gross and vulgar, and Jeannie Berlin has been encouraged to play these non-attributes to the hilt, while Cybill Shepherd's Protestant sex-goddess is the epitome of sarcastic poise. Simon wins points against the new wife by playing up her Jewishness in all its stereotypical brashness; it's as if the volume is up too loud. "The Heartbreak Kid" has many things going for it--the excellent performances and some very humorous asides to name two--but the intentional lewdness behind Grodin's marital predicament, and the queasy way he ingratiates himself into Shepherd's family, isn't so much hilarious as it is cringe-inducing. Shepherd's no-nonsense father, wonderfully played in an I've-seen-everything-now way by Eddie Albert, reacts accordingly to Grodin's new proposals with anger and confusion, and in these instances the film touches on something much deeper than the modern Jewish man's internal struggle. Unfortunately, this is mainly what Simon has on his plate, and it wears the audience down--and seems very dated now, anyway. Elaine May's direction is fashionably ragged and somewhat detached, and her ending is thoughtful (if, in retrospect, uneventful). The story certainly needed a modern tweaking, as this version is just a little bit undernourished (more mean-spirited than funny), however a 2007 remake fared even worse. **1/2 from ****

There are many things this film does really well.

First of all, the acting is superb throughout. Grodin is brilliant as ever in a very demanding, heavy acting responsibility - had he been average at it, the film easily loses heaps of its ability. Jeannie Berlin (the wife) does really well, as does Eddie Albert (the father) and for a 22 year old beaut youngster Cybill Shepherd is solid also.

Next: this isn't a generic superficial comedy. It's got that peculiar element about it. The humor isn't easy over-the-counter drivel, it's in fact uneasy, almost awkward and difficult to digest. It's about the little annoying details with people, invading personal space, being pathetic without noticing it...in a very real way, all of those things !

Finally, the film holds up very nicely in its one hour forty-five minute frame, with not one moment too many or too few, has a well thought out structure to it that isn't obvious at first, and there's this sort of itchy, awkward anti-morality morality at the end of it that is just as weirdly charming and anti-heroic as its main character.

8/10.

I only saw this movie a couple of years ago. I always avoided it at the video store because of the name, I assumed it must be about a little kid, something like The Champ or Lucas, nothing wrong with those kinds of movies, just not my cup of tea. But I happened to read about it in one of Leonard Maltins books, he called it one of the best comedies of the 70s, and very dark for it's time. So I rented it and loved it. I think it's pretty dark even by todays standards, Charles Grodins character is likeable in an odd way, but he's also two faced and deceitful, not to mention downright cruel to his new bride. I don't know of many actors that could have played this better than Charles Grodin, this was certainly his best role. In his biography he wrote that he recognizes the brilliance of the film, but he hated playing such a cruel character. The thing is, the character never intends to be cruel, he just can't seem to help it, lying and selfishness are just second nature to him. If your like me, you'll find yourself laughing and cringing at the same time. The ending is just perfection, he has seemingly attained what he wanted, the thing that he has lied and cheated and hurt other people to get, yet he seems to already be tired of it and longing for what he already had. At least that's my take on it, it's open to interpretation. This movie may not be for everybody, but if you like dark comedies, you should check it out.