California Suite

Maggie Smith's passing this past Friday motivated me to revisit this fondly remembered 1978 comedy directed by Herbert Ross. The film consists of Neil Simon's series of four overlapping mini-plays set at the tony Beverly Hills Hotel, a SoCal version of his previous "Plaza Suite". The standout story starred Smith and Michael Caine as an Oscar-nominated film actress and her bisexual antiques dealer husband in town for the ceremony. Atypical for Simon, the screenplay has the incisive, back-and-forth wit of a British drawing room farce delivered impeccably by the two stars. Smith gets the best lines commenting on her nonexistent hump and her resemblance to a steel-belted radial tire. The other storylines feel dated and pale by comparison - Alan Alda and an especially brittle Jane Fonda as a bickering divorced couple, Walter Matthau hiding an unconscious hooker from his wife Elaine May, and especially the now cancelled Bill Cosby and Richard Pryor as warring doctors whose chief victims are their wives. Do yourself a favor and fast forward to the Smith-Caine scenes to appreciate their ample talents. Their scenes are a 10, the rest around 5.

Neil Simon's 1978 film, California Suite, is four vignettes of couples descending upon Los Angeles at Oscar time: one couple (Maggie Smith and Michael Caine) for the Oscar ceremonies, two couples for vacation (Richard Pryor, Gloria Gifford, Bill Cosby, Sheila Frazer) one couple for a bar mitzvah (Walter Matthau and Elaine May), and one divorced couple (Alan Alda and Jane Fonda) to discuss their daughter.

The film is a mix of comedy, slapstick, and drama, with the Fonda-Alda segment witty but serious, the Matthau-May segment hilarious, the Cosby-Pryor segment slapstick, and the Smith-Caine segment a classic. Their conversation in the hotel suite before the Oscar ceremony is one of the best acted, best written scenes ever written. "I'm a dark horse," Smith says of her Oscar nomination, entering the room in a gown. "They must have seen the dress," Caine concludes.

This is probably the most fully fleshed-out story, with the truth behind their marriage emerging as Smith descends into drunkenness later on. That and the Matthau-May vignettes are the best, with the Alda-Fonda scene coming off as somewhat dated today. The weakest is the Pryor-Crosby.

Entertaining - if you don't feel like watching the whole thing, just watch the Caine-Smith and Matthau-May.

Bill Cosby and Richard Pryor try their best as doctor friends who are having an awful time on their vacation with their wives. It's just not that funny, despite them both being extremely likable.

Alan Alda and Jane Fonda do well in their dramatic story of separated couple meeting after nine years to discuss their child. Their segment is too short to really have an impact, might have worked well as a feature film. It's not all that involving.

Michael Caine and Maggie Smith are both excellent in their little segment, with Smith portraying an actress who's up for the academy award. Caine plays her show off gay husband. The two stars really shine in an otherwise average story, not all that interesting.

Neil Simon received an Oscar nomination for adapting his own hit play to the screen, though his writing seems to be caught in a perpetual time-warp. No subject discussed seems fresh, and all his one-liners and tiresome penchant for name-dropping would fall flat without the help of some talented actors to keep things afloat. Hotel in Beverly Hills houses Jane Fonda and Alan Alda as bickering ex-marrieds; Walter Matthau as a husband trying to hide a hooker from wife Elaine May; Michael Caine as the put-upon husband of Oscar-nominated actress Maggie Smith (who really did win an Oscar); and Bill Cosby and Richard Pryor as accident-prone husbands vacationing with their wives. Aside from the acidic verbal jousting from Caine and Smith (in the film's best episode), this comedy directed by Herbert Ross pretty much congeals midway through. Matthau's exaggerated angst is funny, but this seems rote material for the actor (though he and Elaine May are well-matched as ever). Fonda easily upstages Alda after changing into her bikini (her figure is so fabulous, one gets the feeling the actress may have accepted her dim role for the sole excuse to show it off). The Cosby-Pryor segment is a slapstick torpedo. Overall, there's too much physical shtick and not enough humanity in "California Suite" to make it the sophisticated laugh-fest Simon buffs were touting it as. **1/2 from ****

I think the movie contains funny parts, but some scenes are not that interesting, for example Alan Alda talking way too much stuff. So I think it's only about average. I must say, though, that Michael Caine and Maggie Smith did great work. They are a nice couple and really fit together very well. In my opinion their scenes are the best of the movie. I love their funny and sarcastic conversations - it's entertaining and one of the reasons I actually watched the movie until the end. I'm just a little disappointed that they don't show up as often as I'd like. It would've been more interesting that way. Of course there are lots of other big names in that movie, e.g. Walter Matthau, Alan Alda and Jane Fonda, but I must really underline Maggie Smith's and Michael Caine's good performances.

That's the one thing I remembered about this Neil Simon comedy, Maggie Smith saying "That's not funny, that's bizarre" I had never heard the word "bizarre" like that. Bee-zaaaarr, or something like that but Maggie Smith uses it brilliantly as an irresistible comic tool. I remember being kind of put off because Maggie won an Oscar for this over Meryl Streep for The Deer Hunter but, watching it now. I understand. Maggie Smith is fantastic and her marital banter with Michael Caine is a total delight. The movie, as a movie is a whole other story. Flimsy and dated with a musical score that may remind you of some of most generic TV movie. Jane Fonda is great, Elaine May and Walter Matthau, hilarious but it also has Bill Cosby, hard to watch now and a hilarious Richard Pryor. Herbert Ross directs respectfully but without any cinematic ambitions. Maggie Smith and Michael Caine however make the whole thing worth it.