Portnoy's Complaint

Boring, pointless movie about a neurotic man (Richard Benjamin) and his relationship with his overbearing mother (Lee Grant) and with a pretty strange woman (Karen Black).

I heard this was considered a very dirty movie back in 1972 for its language and subject matter (especially all the talk about masturbation). It's hard to believe that now--most of the material here is done on TV today with no problem! This is very much a product of its time--the sexual politics and issues dealt with here are done in a very 1970s manner. When you have John Carradine play the voice of God you KNOW you're in trouble!

I've never read the book this was based on so I can't say how faithful this is--but what remains is a pointless, boring and stupid movie. Benjamin's nonstop whining gets annoying pretty quick and he's completely miscast. Grant is (surprisingly) not that good either and is also miscast. There's a dinner table sequence that (I suppose) is supposed to be funny involving them but it comes off as being pretty sick. The only actor that is any good here is Karen Black as "Monkey". She single-handedly saves this movie from being totally unbearable. She's the only reason I give this a 3.

This is a dated, pointless 1970s movie that's rightfully forgotten. You might like it if you're into 70s movies that deal with sexual politics. I give this a 3.

Even the esteemed screenwriter Ernest Lehman could not write a script and direct a film of "Portnoy's Complaint." Philip Roth's internalized monologue of a book defies such a transition. After more than half a century, Roth's novel still sparkles, while this film was dead on arrival in 1972 and remains best forgotten.

Constipation and diarrhea is presented as a running theme in this movie which serves to define this movie in it's entirety. Something to pass on as flushable down the toilet. What we get subjected to are the trials and tribulations of its male star attraction who heroically goes through life tasked with gratifying his sexual lust. Which for him is a daily routine as necessary for life as three meals a day. Amazing it is that the people who put this production together were able to assemble reputable actors willing to become cast members in this fiasco. Do yourself a favor and pass this one up.

Richard Benjamin, Karen Black, Lee Grant, Jill Clayburgh, what were you thinking?

Philip Roth's celebrated bestseller, a frank and overtly-rude novel of modern-day Jewish guilt and rage, comes to the screen somewhat neutered. Richard Benjamin plays the 33-year-old lawyer looking back on his boyhood in New Jersey, set in a stifling family house of Jewish repression, and later on his tumultuous affair with a shiksa fashion model. The themes of the book--the all-important mother figure (whose judge-and-jury persona shapes Portnoy's sex life) and the wanton craving for constant ejaculation--are touched upon here fleetingly; but Ernest Lehman, who adapted the script and directed, is too tasteful for raunch. He seems to have decided that simply satirizing Jewish conventions (in a familiar, cartoony way) would suffice instead. And so we get the standard arguments around the kitchen table, the squabbling about kosher diets, the meddling and prodding over sexual matters, and the inevitable battle between Jewish girls versus shiksas. This is all familiar territory by now, made even worse with the casting of Benjamin (didn't we cover much of this material with Benjamin in "Goodbye, Columbus"?). Karen Black gives the film's strongest performance as Portnoy's first serious girlfriend--she's flirty, sexy and scary all at once--but there's perhaps too much of her. The entire midsection of the movie is devoted to Portnoy's putting up with her moods, and Black's "Monkey" is haphazardly written (she's a child-like waif who can't spell in one scene, and a bilingual, bisexual woman of the world in the next!). However, Black's serious stab at this screenplay is commendable, and she gets some good speeches when she isn't being derogatory (the script being an equal-opportunity insulter). Lee Grant tries, too, to make something of the thinly-conceived role of Mother Portnoy, though Jack Somack as her husband is much better suited to the scenario and upstages her. Jill Clayburgh turns up in a throwaway role (she fights against being humiliated, but doesn't appear to teach Portnoy anything in the process). With all this talent on-board, one might be inclined to give the picture a break (it was savaged by the critics in 1972); alas, it is a film that doesn't come close to accomplishing what it sets out to be: a comedic film about sexual frustration, release and resolve. There are too many outré attempts at jokes without understanding the true root of the humor. ** from ****

This movie was bold for its time, especially in its use of "bad" language, and it still looks good. Some modern reviewers wrote things like this: "Amazing that anyone had the nerve to attempt to translate Philip Roth's infamous novel to the screen. The neurotic Jewish boy, who has a strange relationship with his mother and an obsession with sex, should be neutered. It's worth viewing only as a curiosity." (Mick Martin and Marsha Porter, Video Movie Guide, 2002.) But the film is much more than an historical curiosity. It also throws a revealing light on the mores of only a generation ago -- what was shocking then, is no longer so, despite hypersensitive writers like Martin and Porter.