California Suite is a 1978 American anthologycomedy film directed by Herbert Ross. The screenplay by Neil Simon is based on his 1976 play. Similar in format to Simon's earlier work Plaza Suite, the film follows four separate stories involving guests staying in a suite in a luxury hotel.
The film depicts four separate stories involving guests staying in at the Beverly Hills Hotel.
In "Visitors from New York", Hannah Warren is a Manhattan workaholic who flies to Los Angeles to retrieve her teenage daughter Jenny after she leaves home to live with her successful screenwriter father Bill. The bickering, divorced couple are forced to decide on what living arrangements are best for the girl.
In "Visitors from London", Diana Barrie is a British actress and a first-time nominee for the Academy Award for Best Actress in an independent British film, an honor that could revive her faltering career, but she knows that she has no chance of winning. She is in deep denial about the true nature of her marriage of convenience to Sidney Cochran, a once-closeted gay antique dealer who has become increasingly indiscreet about his sexuality. As she prepares for her moment in the spotlight, her mood fluctuates from hope to panic to despair.
In "Visitors from Philadelphia", conservative, middle-aged businessman Marvin Michaels awakens to discover a prostitute named Bunny—an unexpected gift from his brother Harry—unconscious in his bed. With his wife Millie on her way up to the suite, he must find a way to conceal all traces of his brother's indiscretion.
In "Visitors from Chicago", Dr. Chauncey Gump and his wife Lola and Dr. Willis Panama and his wife Bettina are taking a much-needed vacation together. Things begin to unravel quickly when things begin to go wrong and the two men decide to settle their differences by engaging in a very competitive tennis match.
On the review aggregator website Rotten Tomatoes, 50% of 28 critics' reviews are positive, with an average rating of 5.2/10.The website's consensus reads: "Maggie Smith's acidic turn is the standout in this stacked ensemble, but broad characterizations and an unsure tone make for a disappointingly uneven adaptation of Neil Simon's episodic play."[4]The New York Times placed the film on its Best 1000 Movies Ever list.[5]
Film critic Vincent Canby called California Suite "the most agreeably realised Simon film in years", and added, "Here is Mr. Simon in top form, under the direction of Herbert Ross, one of the few directors...who can cope with the particular demands of material that simultaneously means to be touching and so nonstop clever one sometimes wants to gag him. It all works in California Suite, not only because the material is superior Simon, but also because the writer and the director have assembled a dream cast."[6]
Variety observed, "Neil Simon and Herbert Ross have gambled in radically altering the successful format of California Suite as it appeared on stage. Instead of four separate playlets, there is now one semi-cohesive narrative revolving around visitors to the Beverly Hills Hotel...The technique is less than successful, veering from poignant emotionalism to broad slapstick in sudden shifts."[7]
David Pirie from Time Out described the film as a "quick and varied comedy, highly suited to Neil Simon's machine-gun gag-writing", and added, "Fonda provides the film with its centre, giving another performance of unnerving sureness. Also on the credit side is a bedroom farce of epic proportions from Matthau and May. The other vignettes are a bit glum."[8]
Melvin Frankel from Gay Community News wrote that "on the surface of it, Neil Simon seems to be adventurous, this time, expanding his art, to the point of including a somewhat unusual portrait of a gay man; but the film gets stranded midway between hard social commentary and the aim to please those he's criticizing."[9]
In his annual movie guide, Leonard Maltin gave the film three stars out of four, and described it as a "pleasant time-filler, with a nice jazz score by Claude Bolling". He also felt that "gently bickering" Smith and Caine came off best, while "unfunnily combative" Pryor and Cosby came off worst.[10]
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