Word: mason
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Dates: during 1980-1989
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Neil Simon's screen adaptation of his Broadway success Chapter Two takes this touching phenomenon seriously. Simon's central characters, a newly widowed writer (James Caan) and a newly divorced actress (Marsha Mason), snap zingers at each other during a wary meeting, a breathless courtship and a marriage that almost fails before it gets started, conforming to the theatrical convention Simon has created for himself. But they have the good grace to be self-conscious about their verbal twitchiness. They understand there are more important matters at stake here. As a result, the movie is rather blurred...
...character particularly needs more time to digest the loss of his wife. His guilty anger and depression impose terrible requirements of patience on his new love after she has committed herself to the more cheerful persona he originally showed her. Simon, of course, is writing autobiographically here; Marsha Mason, now Mrs. Simon, is playing at least a version of herself in this film. This speaks well of everyone's bravery; Mason's speech accepting the notion that she is worthy of love and encouraging her new husband to embrace a similar self-acceptance is truly moving...
...short, there is an old-fashioned man beneath the smart patter of Simon's dialogue. Moore has given his work a flat, old-fashioned production. And although Mason and Caan are agreeable people, they (and Moore) seem not quite up to the large emotions the film's dark second half requires them to express. Everything is a little too gingerly. In the end, the film must be judged as muted, likable, not all it might have been, but a nice-and terribly decent-try. -Richard Schickel
...fairely silly, and the tension doesn't hold up when juxtaposed to Richard Dreyfuss leaving Mason for the West Coast in The Goodbye Girl. Then we really cared, but now we wish Simon hadn't worn his sould on his sleeve for all the world to see. Caan's portrayal of George, as well as Simon's impotent screenplay, causes our discontent. We're used to Caan as a macho character, but here he plays a writer "not gorgeous, but sweet-looking, with an intelligent face" (how he's described to Jennie) and he just can't pull...
...Marsha Mason provides a foil for Caan in much the same spirit as she did for Dreyfuss--whiny, forceful when need be, a bit overwhelmed--and we accept her much more willingly. She understands her role and little wonder--in real life she's Mrs. Neil Simon. She does have a definite advantage over Caan in that respect...