LAST OF THE RED HOT LOVERS is the definition of a minor film. The play seems to be one of Neil Simon's less celebrated works as it is. Alan Arkin's turn as the restless square seafood restaurateur Barney Cashman is not one of his more celebrated performances either, with some critics even feeling he was miscast. However, minor does not equal not worth seeing or mediocre in this case and the movie is entertaining in its modest way.
Count me in as one who thinks Arkin did the movie proud. It must be noted I am a huge fan of his, but I thought his approach was great, neurotic and uptight without turning the character into a one-dimensional clown. His eccentric tics (such as smelling his fingers to make sure they don't smell like fish) and fine use of props reminded me of Buster Keaton more than once, actually. Though he's visibly too young (and for my tastes anyway, too handsome) to pass as a schlubby middle aged schmuck, he does a good job and comes off as quite sympathetic.
Sally Kellerman, Paula Prentiss, and Renee Taylor all do great work as well as Arkin's would-be conquests. Kellerman is cynical and aloof, though I do think her episode runs its course early and goes on longer than I would have liked. Prentiss is the best of the three, a cheerful "psycho singer" who gets Barney to smoke some pot with her. Taylor is the most serious of the three, a depressed housewife looking to get revenge on her philandering spouse by sleeping with Barney, but not attracted enough to Barney and possessing too much of a conscience to go through with it.
Despite the game cast and clever dialogue, the movie never quite nails the landing. For one thing, a play this talk-heavy was never going to seem cinematic, no matter how much the filmmakers try to open up the story by using a few locales beyond the apartment. The episodic narrative lumbers along, even if each episode is entertaining. Lastly, the play feels rather dated, even by the standards of the early 1970s-- I could see this same basic script being used ten years earlier and seeming more risque in an IRMA LA DOUCE manner. Modern audiences might also find certain elements of this story uncomfortable too, particularly in the Renee Taylor episode, where depression is treated rather lightly and Arkin all but forces himself on her in a slapsticky manner that might offend.
So do I recommend the movie? Yes, though only to those who enjoy the cast and don't mind talky movies. The film is clever and has a good heart beneath its oddball characters and talk of indecency and mid-life crisis.
Count me in as one who thinks Arkin did the movie proud. It must be noted I am a huge fan of his, but I thought his approach was great, neurotic and uptight without turning the character into a one-dimensional clown. His eccentric tics (such as smelling his fingers to make sure they don't smell like fish) and fine use of props reminded me of Buster Keaton more than once, actually. Though he's visibly too young (and for my tastes anyway, too handsome) to pass as a schlubby middle aged schmuck, he does a good job and comes off as quite sympathetic.
Sally Kellerman, Paula Prentiss, and Renee Taylor all do great work as well as Arkin's would-be conquests. Kellerman is cynical and aloof, though I do think her episode runs its course early and goes on longer than I would have liked. Prentiss is the best of the three, a cheerful "psycho singer" who gets Barney to smoke some pot with her. Taylor is the most serious of the three, a depressed housewife looking to get revenge on her philandering spouse by sleeping with Barney, but not attracted enough to Barney and possessing too much of a conscience to go through with it.
Despite the game cast and clever dialogue, the movie never quite nails the landing. For one thing, a play this talk-heavy was never going to seem cinematic, no matter how much the filmmakers try to open up the story by using a few locales beyond the apartment. The episodic narrative lumbers along, even if each episode is entertaining. Lastly, the play feels rather dated, even by the standards of the early 1970s-- I could see this same basic script being used ten years earlier and seeming more risque in an IRMA LA DOUCE manner. Modern audiences might also find certain elements of this story uncomfortable too, particularly in the Renee Taylor episode, where depression is treated rather lightly and Arkin all but forces himself on her in a slapsticky manner that might offend.
So do I recommend the movie? Yes, though only to those who enjoy the cast and don't mind talky movies. The film is clever and has a good heart beneath its oddball characters and talk of indecency and mid-life crisis.