I usually don't like stage plays that have been adapted to the screen in virtually the very same form, but this gem is an exception, thanks to the superb acting of all three leads, a very intelligent script by Frank Gilroy, adept direction by Ulu Grosbard ("Straight Time"), and two perfect, melancholy songs sung by Judy Collins.
The bleak Bronx apartment of the Cleary family reminded me of pictures of my own family's dismal apartment in Newark, New Jersey during the 1940's prior to my arrival at the end of that decade. The dreary décor, including the drab colors of the walls, the dark, heavy curtains, the cheerless venetian blinds, and the uninspiring wall hangings must have unavoidably created a depressing and debilitating psychological impact on the inhabitants. Thankfully, Director Grosbard grants the viewers essential relief from the claustrophobic, psychologically stifling Cleary abode by periodically releasing us onto the streets of the surrounding neighborhood, the bright lights of Broadway, the wintry woods of the lake house, and finally the elegant, seaside ambience of Spring Lake, New Jersey and its once grand Monmouth Hotel (even though a note at the end of the film somehow states that the movie was filmed entirely in New York City).
Although Jack Albertson and Martin Sheen perfectly revive their roles from the Broadway stage play, the one who stands out for me is Patricia Neal as an embittered, deeply repressed Nettie Cleary in a brilliant performance that followed three massive strokes which nearly took her life. The woman is truly a phenomenal inspiration who possesses an exceptional ability to bring depth and credibility to every role that she has ever undertaken. Thanks to the outstanding performances and dramatic interaction of all three leads, the constant tension, conflict, and discomfort among the Clearys becomes all too real for us. Even Mom and Dad have painfully realized that it's finally time for Timmy to go. Their final, unselfish act is to let him loose, and we are happy but also apprehensive for him as he ventures forth in the uncertain world beyond.
The bleak Bronx apartment of the Cleary family reminded me of pictures of my own family's dismal apartment in Newark, New Jersey during the 1940's prior to my arrival at the end of that decade. The dreary décor, including the drab colors of the walls, the dark, heavy curtains, the cheerless venetian blinds, and the uninspiring wall hangings must have unavoidably created a depressing and debilitating psychological impact on the inhabitants. Thankfully, Director Grosbard grants the viewers essential relief from the claustrophobic, psychologically stifling Cleary abode by periodically releasing us onto the streets of the surrounding neighborhood, the bright lights of Broadway, the wintry woods of the lake house, and finally the elegant, seaside ambience of Spring Lake, New Jersey and its once grand Monmouth Hotel (even though a note at the end of the film somehow states that the movie was filmed entirely in New York City).
Although Jack Albertson and Martin Sheen perfectly revive their roles from the Broadway stage play, the one who stands out for me is Patricia Neal as an embittered, deeply repressed Nettie Cleary in a brilliant performance that followed three massive strokes which nearly took her life. The woman is truly a phenomenal inspiration who possesses an exceptional ability to bring depth and credibility to every role that she has ever undertaken. Thanks to the outstanding performances and dramatic interaction of all three leads, the constant tension, conflict, and discomfort among the Clearys becomes all too real for us. Even Mom and Dad have painfully realized that it's finally time for Timmy to go. Their final, unselfish act is to let him loose, and we are happy but also apprehensive for him as he ventures forth in the uncertain world beyond.