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Come Blow Your Horn

1963, Movie, NR, 112 mins

Come Blow Your Horn: Review

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Affable adaptation of Simon's first big stage hit, Lear's screenplay almost, but not quite, deadens Simon's wit. This was back in the days before Simon could write his own ticket (and screenplay). Simon, as always, was writing about himself and his family. His relationship with older brother Danny (himself a successful writer-director who was one of the early TV comedy mavens) is explored, with Sinatra playing Danny and Tony Bill as Neil. Bill leaves his parents, Cobb and Picon, to move in with swinger brother, Sinatra. Frank works for the family wax-fruit business but his pleasure-chasing far outstrips his order-taking. Sinatra lives in a high-rise ring-a-ding-ding pad with hot and cold running women, and is thrilled that his conservative sibling has tossed off the family yoke and is reaching out to see what life is like in the real world. He buys Bill a new set of threads and begins teaching the boy the ins and outs of being a wastrel. Bill learns quickly and soon appropriates Sinatra's booze, women, and even his manner of speech. Soon enough, Frank is jilted by St. John (his upstairs sweetie, who falls for Bill); he's also jilted by Rush (his favorite date) and he's whacked soundly about the head and shoulders by Blocker, husband of McGuire--another girl friend. Meantime, Cobb and Picon arrive at the bachelor pad and attempt to convince their younger son not to go the way of the older one. Cobb feels that anyone over thirty who isn't married is a bum! Sinatra attempts to get Bill to settle down but Bill is feeling his own sense of independence and tells his brother to cool it and leave him be. Sinatra proposes to Rush and she accepts. Next, he unites his arguing parents and finally cedes the pad, the whiskey, and the rolodex filled with numbers to Bill. Bud Yorkin does well enough with what his partner handed him to shoot and the editing keeps things at a fairly quick pace. The best lines go to Cobb and Picon and they do quite well with the solid Simon jokes. St. John is ageless and appears to be in the 1980s what she was in the 1960s--a very attractive screen personality. Bill became a successful film producer (THE STING) and director (MY BODYGUARD) and restaurateur (72 Market in Venice, California). Veteran burlesquers Vincent and Fay do neat turns in their bits, and the hit theme song is still a standard. Dean Martin offers an unbilled and funny bum bit. Nominated by the Academy for Best Art Direction. leave a comment
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