I have to agree with most of what the previous commenter says; this is a largely disappointing movie. Neil Simon's wit here is not yet up to "Odd Couple" or "Sunshine Boys" speed, and some of the acting is lame. Jill St. John is a tad too cutesily dumb, and Tony Bill's Buddy is somewhat grating, especially after his unconvincing conversion from youthful innocent to roue. However, Sinatra is always worth watching and listening to, especially in the masterful Nelson Riddle's arrangements (here an original song, actually). However, the movie is almost worth watching solely for Lee J. Cobb's performance as papa Baker; his sidesplitting performance as the terminally frustrated Mr. Baker is a study in comic skill, particularly in the scenes where he invades the brothers' apartment. I had never see Cobb do comedy before; now my estimation of him as an actor has increased immeasurably. Catch this one just for Cobb.
19 Reviews
My review of Come Blow Your Horn is in tribute to the late Neil Simon
tavm27 August 2018
With the recent announcement that Neil Simon has died at 91, I decided to watch this-the first movie adapted from his first play. He didn't adapt it himself as he would most of his subsequent plays to film, no, Norman Lear would do that in this instance. Lear also produced with Bud Yorkin who directed. Tony Bill is the 21-year-old son of Lee J. Cobb and Molly Picon, parents who he loves but wants to now live with his older bachelor brother Frank Sinatra who's involved in three women-Jill St. John, Phyllis McGuire, and Barbara Rush. Dan Blocker, who played Hoss on the No. 1 TV show at the time "Bonanza" also appears as does a familiar singer in cameo who's a frequent co-star of Sinatra's. Besides Simon's original lines and Lear's additions, there's also a title song by James Van Heusen and Sammy Cahn-Sinatra's usual songwriters. Frank warbles it while teaching his younger brother to dress and taking him out to town in New York City. I don't know how true this was to Neil Simon's original play but I'm guessing enough of it was to seem not too different from his subsequent work. I highly laughed most of the time so on that note, I highly recommend Come Blow Your Horn. P.S. This review is indeed dedicated in memory of Mr. Simon.
Oddly cast but quite enjoyable
planktonrules20 February 2013
This film is the first one based on a Neil Simon play and the screenplay is by Norman Lear. According the IMDb, Frank Sinatra's character is actually based on Simon's older brother--a playboy who apparently was quite the lady's man. While Sinatra is good in the film, he was badly miscast as he is easily old enough to be his brother's father! In fact, he and the father (Lee J. Cobb) are about the same age--and so I had a seriously hard time believing Sinatra was Tony Bill's brother.
The film begins with a young man showing up at his brother's bachelor pad. Apparently he's moving in and it's quite the surprise. However, he IS welcomed by his brother--but not the over-protective parents who want this young man to return home. The younger brother (Tony Bill) seems quite naive and he's in for a shock when he sees that his brother is quite the player--and is currently stringing three ladies along at the same time! But, when he can't possibly make all his commitments to the ladies at the same time, the naive brother is convinced to help! What's to happen to the sweet younger brother and will his older brother ever grow up and become responsible and settle down? The acting was fine in the film and the writing very good. In fact, apart from Sinatra's age, I have no serious complaints about the film. It is a bit of a trifle of a film but enjoyable throughout--and is well worth your time.
The film begins with a young man showing up at his brother's bachelor pad. Apparently he's moving in and it's quite the surprise. However, he IS welcomed by his brother--but not the over-protective parents who want this young man to return home. The younger brother (Tony Bill) seems quite naive and he's in for a shock when he sees that his brother is quite the player--and is currently stringing three ladies along at the same time! But, when he can't possibly make all his commitments to the ladies at the same time, the naive brother is convinced to help! What's to happen to the sweet younger brother and will his older brother ever grow up and become responsible and settle down? The acting was fine in the film and the writing very good. In fact, apart from Sinatra's age, I have no serious complaints about the film. It is a bit of a trifle of a film but enjoyable throughout--and is well worth your time.
The Fabulous Baker Boys
stryker-531 July 2000
Round up the usual suspects. This being a Frank Sinatra comedy, there has to be a Cahn-Van Heusen song, arranged by Nelson Riddle. Dean Martin pops up in an under-rehearsed cameo and Jill St. John is Frankie's Bimbo. "It's a business like any other business," says Frank. Was he talking of manufacturing wax fruit, or cranking out cynical sex comedies?
The Baker brothers are out for fun. Alan is a thirty-nine year old playboy who, to his parents' chagrin, remains unmarried (Sinatra was in fact bewigged and fifty-one). His kid brother Buddy (Tony Bill) escapes from the stifling jewish domesticity of Yonkers and joins Alan in his Manhattan bachelor apartment. Drinks, dames and snappy clothes ensue. Because this is 1963, Frank thinks it's the height of cool to shave with an electric razor, use roll-on deodorant and furnish his kitchen in orange plastic. Impressively for 1963, he has a car phone and a remote control device to work his stereo, but were the snapbrim hat and the plaid raincoat REALLY the last word in style in the era of the Rolling Stones?
Essentially a bourgeois jewish comedy of the Neil Simon type, "Come Blow Your Horn" is a bit of froth which does not repay close analysis. There is a cute little phallic joke (the cannon in the movie playing on TV) and Frank's character almost goes somewhere with his 'oldest swinger in town' realisation, but ultimately this is a lazy, shallow little project.
Lee J. Cobb is the long-suffering jewish father, Molly Picon the depressingly stereotypical jewish mom. Hoss from TV's "Bonanza", Dan Blocker, appears briefly as the irate cuckold Eckman. Jill St. John is in simpering Marilyn Monroe mode as Peggy The Babe, not yet showing the intelligent irony on display in "Tony Rome". Tony Bill is good as Buddy, the kid brother corrupted by the philandering Alan, and Barbara Rush impresses as Connie, the good girl.
However, the film's central premise is flawed. The script does not explain (because it can't) how feckless, jobless Alan can afford swish tailoring, ski vacations in Vermont and an apartment the size of Shea Stadium. There is a lame suggestion, right at the end, that some unseen broad can be sweet-talked into donating the bachelor pad to Buddy, but it fails to convince. Rather like the film, really.
The Baker brothers are out for fun. Alan is a thirty-nine year old playboy who, to his parents' chagrin, remains unmarried (Sinatra was in fact bewigged and fifty-one). His kid brother Buddy (Tony Bill) escapes from the stifling jewish domesticity of Yonkers and joins Alan in his Manhattan bachelor apartment. Drinks, dames and snappy clothes ensue. Because this is 1963, Frank thinks it's the height of cool to shave with an electric razor, use roll-on deodorant and furnish his kitchen in orange plastic. Impressively for 1963, he has a car phone and a remote control device to work his stereo, but were the snapbrim hat and the plaid raincoat REALLY the last word in style in the era of the Rolling Stones?
Essentially a bourgeois jewish comedy of the Neil Simon type, "Come Blow Your Horn" is a bit of froth which does not repay close analysis. There is a cute little phallic joke (the cannon in the movie playing on TV) and Frank's character almost goes somewhere with his 'oldest swinger in town' realisation, but ultimately this is a lazy, shallow little project.
Lee J. Cobb is the long-suffering jewish father, Molly Picon the depressingly stereotypical jewish mom. Hoss from TV's "Bonanza", Dan Blocker, appears briefly as the irate cuckold Eckman. Jill St. John is in simpering Marilyn Monroe mode as Peggy The Babe, not yet showing the intelligent irony on display in "Tony Rome". Tony Bill is good as Buddy, the kid brother corrupted by the philandering Alan, and Barbara Rush impresses as Connie, the good girl.
However, the film's central premise is flawed. The script does not explain (because it can't) how feckless, jobless Alan can afford swish tailoring, ski vacations in Vermont and an apartment the size of Shea Stadium. There is a lame suggestion, right at the end, that some unseen broad can be sweet-talked into donating the bachelor pad to Buddy, but it fails to convince. Rather like the film, really.
A nice Saturday night movie
bfm_10177 April 2007
I really like this movie, but I like Frank too. Sinatra had some really good movies, and some not so hot, but fun to watch like this one. Anyone who doesn't get this movie is a square. It's fantasy, it's light comedy, it's fun, and it's free. Hard to swallow Dan Blocker as someone other than Hoss, and I love the women in this one. When I was 10 and watched this, I used to think this was real life, and I couldn't wait to be just like Frank. Of course, I'm a little smarter now, but I still wish my young adulthood had had this kind of time, even once. So, the movie substitutes nicely, just like the Elvis movies do. Instead of the "swinging bachelor" life, I am married 30 years with grown kids, and quite happy. I think also having an older brother and younger brothers gives me a neat perspective on this film. Not reality, not meant to be. I also love anything New York, like the waiter who delivers the peas and potatoes because "they come with the meal." Now THAT'S New York customer service at it's best. Just a great evening watching a fun movie. Sinatra in many of his movies, kept his rat pack persona on display. Sinatra was one of a kind. Then again, so was Dean Martin, Sammy, and some of the other "cool cats". Sinatra did quite well. Not bad for a kid from Hoboken.
Cute, but not fantastic
HotToastyRag1 July 2021
"Are you married?"
"No."
"Then you're a bum!"
That's the famous exchange between Lee J. Cobb and Frank Sinatra in Come Blow Your Horn, a domestic comedy about moving out of the house. I'd always heard great things about this movie, but when I finally saw it, it was a bit of a letdown. I think it got talked up too much. Lee J. Cobb was a stereotypical overbearing father who shouted all of his lines. Molly Picon was extremely irritating as the long suffering mother, and her pacing was way too slow. Tony Bill's character arc wasn't sympathetic: At first he feels oppressed at home so he moves in with his playboy brother whom he idolizes. Then he turns into a playboy himself, with every flaw magnified so the audience can see it was a mistake. Jill St. John was her usual nauseating airhead persona, which left Frank Sinatra on his own to save the movie. Since his character was extremely similar to several others he'd played in the past, there wasn't much he could do with it.
Then again, if you like seeing him in semi-cad playboy roles, you might like this one. The title song is very cute, and some of the jokes are very funny. But I liked A Hole in the Head much better.
That's the famous exchange between Lee J. Cobb and Frank Sinatra in Come Blow Your Horn, a domestic comedy about moving out of the house. I'd always heard great things about this movie, but when I finally saw it, it was a bit of a letdown. I think it got talked up too much. Lee J. Cobb was a stereotypical overbearing father who shouted all of his lines. Molly Picon was extremely irritating as the long suffering mother, and her pacing was way too slow. Tony Bill's character arc wasn't sympathetic: At first he feels oppressed at home so he moves in with his playboy brother whom he idolizes. Then he turns into a playboy himself, with every flaw magnified so the audience can see it was a mistake. Jill St. John was her usual nauseating airhead persona, which left Frank Sinatra on his own to save the movie. Since his character was extremely similar to several others he'd played in the past, there wasn't much he could do with it.
Then again, if you like seeing him in semi-cad playboy roles, you might like this one. The title song is very cute, and some of the jokes are very funny. But I liked A Hole in the Head much better.
A Prototype For Neil Simon
theowinthrop13 February 2005
If you look carefully at "Come Blow Your Horn" you will see it is a two set play that was expanded for this funny movie version. The two sets are the home of Mr. and Mrs. Baker and Buddy in Yonkers, and the apartment used by the older Baker boy Alan as his swinging singles pad. Most of the film is concentrated in those sets, except for scenes involving Alan taking Buddy under his wing to properly groom him, scenes with Barbara Rush outside the apartment (one briefly showing her apartment), and scenes involving Alan and the Eckmans (Dan Blocker and stiletto heeled Phyllis Maguire). Of the scenes outside the apartment, the two best are Alan's meeting with Mr. Eckman, and it's sequel at a restaurant, involving a raw steak and a bum (who turns out to look very familiar).
Simon is one of the leading American dramatists of the 20th-21st Century, certainly the most successful comic dramatist. Seeing "Come Blow Your Horn" you see certain themes appearing for the first time. The twisted relationship of the two brothers, who do love each other but find they get on each other's nerves (as Buddy slowly overtakes the older Alan as a hipster). It is similar to the relationship of the brothers in "Brighton Beach Memoirs" and "Broadway Bound" (especially in he second play, where a real argument between the brothers breaks out). The question of relatives with sleazy or questionable activities like Alan's sexual escapades, comparable to the mobster brother in "Lost In Yonkers" or the embezzler, long-lost father in "Max Dugan Returns". The father losing the respect of his sons (found in the ranting Mr. Baker) is similar to the position of the father in "Broadway Bound", who has discovered his sons have reduced him to a comic stereotype in a sketch they sold a radio comedy show. The very fact that the Baker brothers become roommates who get on each other's nerves in an apartment is a constant thread in Simon's plays: "Barefoot In The Park (newliweds); "The Odd Couple" (and it's variation and sequel), "The Sunshine Boys" (in the rehearsal scene and in the conclusion where both Al and Willie seem headed for the old actor's home), even "Plaza Suite" (how three couples act together over the course of one year in a hotel suite). Simon is a master of building humorous tension out of trivialities. In "The Sunshine Boys" just setting up furniture to do a scene both vaudevillians can do in their sleep is frustrating as both see the furniture differently. In "Come Blow Your Horn", when Alan tells off buddy that his swinging lifestyle is going too far, he also mentions that he should keep his hands off Alan's fig newtons!
Despite the claustrophobia of the sets limitations "Come Blow Your Horn" is a funny movie, benefiting from the performances of Sinatra, Jill St. John, Lee J. Cobb (usually a master of straight drama, here quite funny), and the glorious Molly Picon. One wishes more of Dan Blocker could have been used, but what was used was quite effective. There is an odd moment in the latter part of the film, connected to a party that Buddy throws, and a hypnotized guest blaming Alan for failing to support an education bill. Alan does an imitation of President Kennedy to reassure the woman. No doubt Sinatra felt it was a good imitation.
It was meant to be funny, but now seems macabre.
Simon is one of the leading American dramatists of the 20th-21st Century, certainly the most successful comic dramatist. Seeing "Come Blow Your Horn" you see certain themes appearing for the first time. The twisted relationship of the two brothers, who do love each other but find they get on each other's nerves (as Buddy slowly overtakes the older Alan as a hipster). It is similar to the relationship of the brothers in "Brighton Beach Memoirs" and "Broadway Bound" (especially in he second play, where a real argument between the brothers breaks out). The question of relatives with sleazy or questionable activities like Alan's sexual escapades, comparable to the mobster brother in "Lost In Yonkers" or the embezzler, long-lost father in "Max Dugan Returns". The father losing the respect of his sons (found in the ranting Mr. Baker) is similar to the position of the father in "Broadway Bound", who has discovered his sons have reduced him to a comic stereotype in a sketch they sold a radio comedy show. The very fact that the Baker brothers become roommates who get on each other's nerves in an apartment is a constant thread in Simon's plays: "Barefoot In The Park (newliweds); "The Odd Couple" (and it's variation and sequel), "The Sunshine Boys" (in the rehearsal scene and in the conclusion where both Al and Willie seem headed for the old actor's home), even "Plaza Suite" (how three couples act together over the course of one year in a hotel suite). Simon is a master of building humorous tension out of trivialities. In "The Sunshine Boys" just setting up furniture to do a scene both vaudevillians can do in their sleep is frustrating as both see the furniture differently. In "Come Blow Your Horn", when Alan tells off buddy that his swinging lifestyle is going too far, he also mentions that he should keep his hands off Alan's fig newtons!
Despite the claustrophobia of the sets limitations "Come Blow Your Horn" is a funny movie, benefiting from the performances of Sinatra, Jill St. John, Lee J. Cobb (usually a master of straight drama, here quite funny), and the glorious Molly Picon. One wishes more of Dan Blocker could have been used, but what was used was quite effective. There is an odd moment in the latter part of the film, connected to a party that Buddy throws, and a hypnotized guest blaming Alan for failing to support an education bill. Alan does an imitation of President Kennedy to reassure the woman. No doubt Sinatra felt it was a good imitation.
It was meant to be funny, but now seems macabre.
Very few laughs...
moonspinner5511 May 2002
The names Bud Yorkin and Norman Lear always look good on the credits for a comedy--until you realize Lear's success was relegated strictly to the tube and Yorkin has no sense of humor. Add to the mix a script based on the play by the highly uneven Neil Simon, and you have a slick but scattershot affair. Frank Sinatra sleepwalks through role as swinging New York bachelor (now there's a stretch) who takes his gawky younger brother under his wing, much to the chagrin of their mother and father (the torturous Molly Picon and Lee J. Cobb, both giving the term 'Old World' a bad rap). Just about every one-liner falls flat, Tony Bill is hopeless in his debut as the kid brother, and Sinatra's one song (the title cut) is mediocre. Dean Martin has a cameo that's not bad, and Dan Blocker is wonderfully big and colorful as a disgruntled businessman, but the rest of this "Horn" blows. *1/2 from ****
Classic Film Comedy
whpratt111 March 2006
If you like Frank Sinatra and remember some of these old time actors, and some very talented ones, this would be a good film for you to watch and enjoy. The story evolves around a New York Jewish Family who all try to create some nice Jewish accents, except Frank Sinatra, who does not even make the attempt. Lee J. Cobb,(Harry Baker), is the father to Alan Baker,(Sinatra) and calls his son a BUM and a do nothing Playboy,(which he really is in this film) Molly Picon, (Sophie), is the mother to the Baker family and gets upset with having to answer the many telephone calls she has to answer in her son's apartment. Barbara Rush( Connie) is very attractive and has a great romantic interest in Alan Baker along with many other hot chicks. Even Dan Blocker,(Eckman)"Gunsmoke" TV Series, finds time to give Alan Baker a right upper hook to the jaw. Nice 1963 film with even Frank Sinatra singing a few musical tunes I did not recognize.
Sinatra Is Too Old
elision1012 November 2015
There are some funny scenes, like the Mom alone in her sons' apartment. But this is one of those films that even those of us men who aren't wild feminists are embarrassed to watch. That whole ring-a- ding-ding Sinatra cool where his dames are little more than sexual toys is not hip or appealing -- it's just creepy.
But the thing that I hate most about this movie -- and some of the movies from that era -- is how we're supposed to be completely oblivious to the actors' real ages. Sinatra was more than old enough to be his kid brother's father -- hell, in another few years, he could have been his grandfather. We're supposed to ignore that because he's Frankie -- just like we're supposed to ignore age gaps in Fred Astaire movies of the Fifties, or Bogart and Hepburn in Sabrina.
I love the feel of Fifties/Sixties New York movies, like Breakfast at Tiffany's, where you can see the unrealized potential of the women, some of whom seem more confident in their place than their current counterparts. But this movie isn't one of them.
But the thing that I hate most about this movie -- and some of the movies from that era -- is how we're supposed to be completely oblivious to the actors' real ages. Sinatra was more than old enough to be his kid brother's father -- hell, in another few years, he could have been his grandfather. We're supposed to ignore that because he's Frankie -- just like we're supposed to ignore age gaps in Fred Astaire movies of the Fifties, or Bogart and Hepburn in Sabrina.
I love the feel of Fifties/Sixties New York movies, like Breakfast at Tiffany's, where you can see the unrealized potential of the women, some of whom seem more confident in their place than their current counterparts. But this movie isn't one of them.
"I Tell You Chum, It's Time To Come Blow Your Horn"
bkoganbing12 February 2005
This Neil Simon comedy, debuted on Broadway two years earlier, minus the song and a few characters and starred Hal March, Warren Berlinger, Lou Jacobi, and Pert Kelton. It had a respectable run for about a year and Frank Sinatra must have recognized a property tailor made for him when he saw it.
The eternal problem with filming plays is how to get them out of the theatrical confines and use the scope the movie camera offers. Primarily this is done with a Sinatra song with the movie title where he lectures kid brother Tony Bill that life ain't a dress rehearsal. Sammy Cahn, who put more words in Frank Sinatra's mouth than any other lyricist, put some of his best work into play here. It's a great Sinatra song and maybe it's inclusion qualifies Come Blow Your Horn to be a musical.
Lee J. Cobb and Molly Picon are the quintessential Jewish parents and they are grand. Cobb was a very underrated actor and an unhappy man because of his experience with the House Un-American Activities Committee. Sinatra purportedly befriended him and helped him over a few rough patches.
Molly Picon brought about 50 years of experience to her part as Frankie's mom. She was fresh from a Broadway triumph in Milk and Honey. She started out as a child in the Yiddish Theatre and was only now breaking out into a wider audience. She has a very funny scene alone in Sinatra's bachelor pad, trying to answer several phones looking for a pencil to take a message with disastrous consequences.
The women here are an eyeful, Phyllis McGuire, Barbara Rush, and Jill St. John and Sinatra's involved with all of them. I won't tell you which one he ends up with, but I think you'd figure it out. I think most of Frankie's fans would settle for any one of them.
Life imitates art and the real life Sinatra unlike his character Alan Baker didn't really settle down until fourth wife Barbara Marx married him.
There's a lot of similarities with the earlier Sinatra comedy, The Tender Trap. It's ground gone over before, but it's good topsoil.
A Quintessential Sinatra film, a must for fans of the Chairman of the Board.
The eternal problem with filming plays is how to get them out of the theatrical confines and use the scope the movie camera offers. Primarily this is done with a Sinatra song with the movie title where he lectures kid brother Tony Bill that life ain't a dress rehearsal. Sammy Cahn, who put more words in Frank Sinatra's mouth than any other lyricist, put some of his best work into play here. It's a great Sinatra song and maybe it's inclusion qualifies Come Blow Your Horn to be a musical.
Lee J. Cobb and Molly Picon are the quintessential Jewish parents and they are grand. Cobb was a very underrated actor and an unhappy man because of his experience with the House Un-American Activities Committee. Sinatra purportedly befriended him and helped him over a few rough patches.
Molly Picon brought about 50 years of experience to her part as Frankie's mom. She was fresh from a Broadway triumph in Milk and Honey. She started out as a child in the Yiddish Theatre and was only now breaking out into a wider audience. She has a very funny scene alone in Sinatra's bachelor pad, trying to answer several phones looking for a pencil to take a message with disastrous consequences.
The women here are an eyeful, Phyllis McGuire, Barbara Rush, and Jill St. John and Sinatra's involved with all of them. I won't tell you which one he ends up with, but I think you'd figure it out. I think most of Frankie's fans would settle for any one of them.
Life imitates art and the real life Sinatra unlike his character Alan Baker didn't really settle down until fourth wife Barbara Marx married him.
There's a lot of similarities with the earlier Sinatra comedy, The Tender Trap. It's ground gone over before, but it's good topsoil.
A Quintessential Sinatra film, a must for fans of the Chairman of the Board.
A chore to watch
Ripshin8 May 2006
Looks like a stage play......feels like a stage play.....acted as if the audience is sitting fifty yards away.....they just couldn't shake the roots of this production. Certainly, an insignificant Simon property, raised beyond oblivion by its casting. I'm not sure why they just didn't change the age of Sinatra's character to his actual 48 - he doesn't look remotely 39 - actually, he looks about 55. Tony Bill's role would play better on stage, where his over-emoting wouldn't be quite so grating.
Yes, the parents are perfectly cast, if you can tolerate the stereotypical Jewish mother and father, screeching incessantly. What children WOULDN'T run away from that?
The bachelor pad is certainly hip Early 60s - and unbelievable (regardless of the explanation of its affordability).
The song interlude is a bit jarring, although if they had to do it, it certainly works best where it is.
Overall, not a film I'll watch again.
Yes, the parents are perfectly cast, if you can tolerate the stereotypical Jewish mother and father, screeching incessantly. What children WOULDN'T run away from that?
The bachelor pad is certainly hip Early 60s - and unbelievable (regardless of the explanation of its affordability).
The song interlude is a bit jarring, although if they had to do it, it certainly works best where it is.
Overall, not a film I'll watch again.
Oy Vey
justrock27 July 2007
I thought this movie was a dud. I'm not a big fan of early 60's movies like this, they portray an era that was so brief I'm not sure anyone actually lived through it. The clothes, the language, the sets (orange plastic as one other commenter noted)looked stale even when they were new. You can almost smell the stale cigarettes. Add to that the awkwardness of 48 year old Sinatra still trying to pass himself off as a playboy and my eyes start rolling back in my head. The last name of this family is Baker, yet both parents labor under some sort of Yiddish/Eastern European accent that is supposed to be hilarious, while the Sinatra character is a slick, tight panted Italian type playboy. More like a zoo than a family. I won't watch this again.
Classic Sinatra Comedy
VaqueraDeNez26 May 2006
This movie is classic Frankie.
Frank plays a swinging bachelor with a steady stream of dollies coming to him--and one, true steady girl. His father greatly resents his lackluster job performance for him but, moreso, is upset with him for not being married, being "a bum" as he frequently puts it.
Then Frankie's square little brother decides that Frank is living the life. He runs away from home to have his big brother show him the ropes, much to his parents' dismay.
Thus ensues a great comedy. We get to watch Frank teach what he knows best--how to swing, and see his little brother comically pick it up. And pick it up maybe too well for Frank's comfort...
Wonderfully funny situations pop up all over the movie, beautifully intertwined with a solid plot and certain points being driven home. The cast couldn't be better (despite some comments about Frank's age--Frank always looked at least ten years younger than he was).
Frank is completely on the ball with this part and does it like the pro that he is; it was just written for him to play. There's plenty of girls for him to have a field day with, and it's so funny and such a pleasure to just watch Frank play this sort of thing. The rest of the cast couldn't be better, and it all just clicks right into place.
Hilarious situations and dialogue, a wonderful cast, a fantastic, unexpected cameo, a great capture of the excellent times when the movie was filmed, and overall wonderful Sinatra all add up to a movie you've got to watch if you love the Swingin' 60's, the Rat Pack, Frank, or just great comedies.
Frank plays a swinging bachelor with a steady stream of dollies coming to him--and one, true steady girl. His father greatly resents his lackluster job performance for him but, moreso, is upset with him for not being married, being "a bum" as he frequently puts it.
Then Frankie's square little brother decides that Frank is living the life. He runs away from home to have his big brother show him the ropes, much to his parents' dismay.
Thus ensues a great comedy. We get to watch Frank teach what he knows best--how to swing, and see his little brother comically pick it up. And pick it up maybe too well for Frank's comfort...
Wonderfully funny situations pop up all over the movie, beautifully intertwined with a solid plot and certain points being driven home. The cast couldn't be better (despite some comments about Frank's age--Frank always looked at least ten years younger than he was).
Frank is completely on the ball with this part and does it like the pro that he is; it was just written for him to play. There's plenty of girls for him to have a field day with, and it's so funny and such a pleasure to just watch Frank play this sort of thing. The rest of the cast couldn't be better, and it all just clicks right into place.
Hilarious situations and dialogue, a wonderful cast, a fantastic, unexpected cameo, a great capture of the excellent times when the movie was filmed, and overall wonderful Sinatra all add up to a movie you've got to watch if you love the Swingin' 60's, the Rat Pack, Frank, or just great comedies.
I liked this movie a lot
joefast-1711219 March 2020
very funny, well done
vchimpanzee10 March 2003
This was my first Frank Sinatra movie. I have seen clips of his work, and I have enjoyed his singing for years, but this was the first time I really took a good look at his acting.
Sinatra plays Alan Baker, a crafty ladies' man who is a disappointment to his overbearing father, who is also his boss (and given Alan's work ethic, that's a good thing). His 21-year-old brother Buddy, who also works for his father and has a 'gee-whiz' quality about him, does everything he can to please his parents, but never manages to satisfy them. One day Buddy decides to move in with his brother. This does not please the father one little bit, and the mother is not happy either. Alan wants his brother to be just like him, so he has the brother 'made over' and, when he has too many girlfriends, lets Buddy pose as a Hollywood producer and take out one of the girls, who wants to be an actress. Alan still has two women to juggle, and unfortunately, one of them is married and a big client of his father's company. And her husband is Dan Blocker (who comes across, unfortunately for Alan but not for us, more as Little Joe than Hoss).
Sinatra is good, giving the impression of a much younger man than he would have been when the film was made. He doesn't seem like the Sinatra I knew at first, but later becomes more serious and more like the familiar image. He also gets to sing one song, doing a great job. The actors playing the stereotypically Jewish parents are wonderful (Religion isn't mentioned, but the image of Jewish parents is a familiar one). I haven't seen much of Molly Picon's work, but from seeing this performance and one episode of 'Gomer Pyle, USMC', I can't see anyone portraying the guilt-inducing Jewish mother any better. The actor playing the father made quite an impression as well.
This was a good movie, and though slightly off-color, nowhere near as naughty as movies being made today.
Sinatra plays Alan Baker, a crafty ladies' man who is a disappointment to his overbearing father, who is also his boss (and given Alan's work ethic, that's a good thing). His 21-year-old brother Buddy, who also works for his father and has a 'gee-whiz' quality about him, does everything he can to please his parents, but never manages to satisfy them. One day Buddy decides to move in with his brother. This does not please the father one little bit, and the mother is not happy either. Alan wants his brother to be just like him, so he has the brother 'made over' and, when he has too many girlfriends, lets Buddy pose as a Hollywood producer and take out one of the girls, who wants to be an actress. Alan still has two women to juggle, and unfortunately, one of them is married and a big client of his father's company. And her husband is Dan Blocker (who comes across, unfortunately for Alan but not for us, more as Little Joe than Hoss).
Sinatra is good, giving the impression of a much younger man than he would have been when the film was made. He doesn't seem like the Sinatra I knew at first, but later becomes more serious and more like the familiar image. He also gets to sing one song, doing a great job. The actors playing the stereotypically Jewish parents are wonderful (Religion isn't mentioned, but the image of Jewish parents is a familiar one). I haven't seen much of Molly Picon's work, but from seeing this performance and one episode of 'Gomer Pyle, USMC', I can't see anyone portraying the guilt-inducing Jewish mother any better. The actor playing the father made quite an impression as well.
This was a good movie, and though slightly off-color, nowhere near as naughty as movies being made today.
Khrushchev Should Have Such A Back Ache ****
edwagreen10 March 2006
Those words were uttered by Molly Picon in this hilarious film. "Come Blow Your Horn" deals with a swinging bachelor Frank Sinatra and his kid brother, Tony Bill, who is trying to follow in his footsteps.
Lee J. Cobb proved his adeptness at comedy in this one by his constant making reference to Sinatra as a bum for not being married. Note the surprise in his face when Sinatra ultimately says yes when Cobb again confronts him. He and Picon are the absolute best senior citizen couple in this hysterical film. The chemistry between these 2 characters, both of whom appeared on the Yiddish stage during their respective careers, is great. Absolutely amazing to me that Picon and especially Cobb were not nominated in the supporting category. Their portrayals of the typical Jewish couple dealing with their sons is hilarious. Sinatra, as the swinging bachelor, is great. The part was made for him. He is very well matched by Tony Bill, his kid brother, who is emulating his brother and getting into the latter's lifestyle very quickly. Picon is very funny in the scenes answering the telephones. No wonder she was the perfect Yenta in "Fiddler on the Roof" 8 years later. Lee J. Cobb produces a miracle here. Long regarded as an outstanding dramatic actor, he turns in an incredibly outrageous performance as the beleaguered father.
Bill later went on to direct films. Look for Phyllis McGuire in a brief appearance as a buyer for Neiman-Marcus.
Lee J. Cobb proved his adeptness at comedy in this one by his constant making reference to Sinatra as a bum for not being married. Note the surprise in his face when Sinatra ultimately says yes when Cobb again confronts him. He and Picon are the absolute best senior citizen couple in this hysterical film. The chemistry between these 2 characters, both of whom appeared on the Yiddish stage during their respective careers, is great. Absolutely amazing to me that Picon and especially Cobb were not nominated in the supporting category. Their portrayals of the typical Jewish couple dealing with their sons is hilarious. Sinatra, as the swinging bachelor, is great. The part was made for him. He is very well matched by Tony Bill, his kid brother, who is emulating his brother and getting into the latter's lifestyle very quickly. Picon is very funny in the scenes answering the telephones. No wonder she was the perfect Yenta in "Fiddler on the Roof" 8 years later. Lee J. Cobb produces a miracle here. Long regarded as an outstanding dramatic actor, he turns in an incredibly outrageous performance as the beleaguered father.
Bill later went on to direct films. Look for Phyllis McGuire in a brief appearance as a buyer for Neiman-Marcus.
The Kind of Movies That The TV adds The "un" to it !
elshikh45 December 2008
Well, let me see. This is a comedy without any comedy. This is one of the worst movies that has (Neil Simon)'s name on it. And this is the 1960s' most theatrical cinema I have ever seen!
Come to think of it, the conversations are too long, and not even droll or try to be. (Bud Yorkin)'s direction is anything but cinematic. Moreover, (Lee J. Cobb) was 4 years older than (Frank Sinatra), and he played his father! Not to mention that (Sinatra) himself as the bachelor playboy was 48 years old while his brother, Tony Bill, was 23 (Yes, there are 25 years between them!).
(Sinatra) does an imitation of President Kennedy, and Dean Martin appears in a dull cameo; they seem like inside jokes for Sinatra and his fellows. And the title? Sorry, but I have to suspect a double meaning where the other one is lewd; it could be the 1960s' free swinging spirit, where cheekiness were starting its outburst, to have in the same era other titles for Hollywood movies like Let's Make Love (1960), Sex and the Single Girl (1964).. etc.
So what's here to love? The title's song, it's clever and I loved it, so the music.
(Come Blow Your Horn) is a memory from what looks now as a far faraway galaxy, but it even doesn't represent its best. Seeing it in the 2000s is a history lesson more than an enjoyable time, to assure that the 1960s had weak movies and with big names. Yet at least they were making them that polished; it was nominated for the Oscar of the Best Art Direction-Set Decoration, Color. Anyway, thanks to the TV that keeps transforming the "forgettable" into "unforgettable".
Come to think of it, the conversations are too long, and not even droll or try to be. (Bud Yorkin)'s direction is anything but cinematic. Moreover, (Lee J. Cobb) was 4 years older than (Frank Sinatra), and he played his father! Not to mention that (Sinatra) himself as the bachelor playboy was 48 years old while his brother, Tony Bill, was 23 (Yes, there are 25 years between them!).
(Sinatra) does an imitation of President Kennedy, and Dean Martin appears in a dull cameo; they seem like inside jokes for Sinatra and his fellows. And the title? Sorry, but I have to suspect a double meaning where the other one is lewd; it could be the 1960s' free swinging spirit, where cheekiness were starting its outburst, to have in the same era other titles for Hollywood movies like Let's Make Love (1960), Sex and the Single Girl (1964).. etc.
So what's here to love? The title's song, it's clever and I loved it, so the music.
(Come Blow Your Horn) is a memory from what looks now as a far faraway galaxy, but it even doesn't represent its best. Seeing it in the 2000s is a history lesson more than an enjoyable time, to assure that the 1960s had weak movies and with big names. Yet at least they were making them that polished; it was nominated for the Oscar of the Best Art Direction-Set Decoration, Color. Anyway, thanks to the TV that keeps transforming the "forgettable" into "unforgettable".
whpratt1's reviews
therson12 December 2006
This comment was intended to be with PAL JOEY. Not sure how it got here.
whpratt1 obviously has a lot of time on his hands, to quote an old song he probably never heard of (why does he seem to enjoy displaying this fault?). Anyone that considers Pal Joey as a classic film musical has a LOT to learn.The film is not true to the source material and most of the roles are mis-cast. It's curious that, at the time Broadway musicals such as Oklahoma!, Carousel, and The King and I were faithfully and successfully represented (for the most part) on film, the makers of the film version of Pal Joey managed to ruin a perfectly good story and a eliminate most of the show's wonderful score. The casting and performance of Rita Hayworth in the leading female role has probably contributed a great deal to subsequent mis-casting of the role in subsequent stage productions: Patti LuPone and Lena Horne. How whpratt1 can consider this a classic film musical is beyond me.
whpratt1 obviously has a lot of time on his hands, to quote an old song he probably never heard of (why does he seem to enjoy displaying this fault?). Anyone that considers Pal Joey as a classic film musical has a LOT to learn.The film is not true to the source material and most of the roles are mis-cast. It's curious that, at the time Broadway musicals such as Oklahoma!, Carousel, and The King and I were faithfully and successfully represented (for the most part) on film, the makers of the film version of Pal Joey managed to ruin a perfectly good story and a eliminate most of the show's wonderful score. The casting and performance of Rita Hayworth in the leading female role has probably contributed a great deal to subsequent mis-casting of the role in subsequent stage productions: Patti LuPone and Lena Horne. How whpratt1 can consider this a classic film musical is beyond me.
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