This is certainly one of Robert Redford's most animated acting roles which helped propel him to the A-list of 'movie stars.' Based on the Neil Simon hit Broadway play which Redford starred during its initial 1963-1964 theatre season and why he received star billing in the movie version over Jane Fonda who was a bigger box office draw at the time.BAREFOOT IN THE PARK represents one of the last sparkling celluloid moments of the sophisticated yet frothy screwball comedies which began in the 1930's through visionary directors like Howard Hawks and Leo McCarey. Director Gene Saks, together with Neil Simon's timeless screen treatment, quite seamlessly place their skills in motion here to reproduce the spirit of fun and mirth to the time worn plot of two newlyweds venturing forth on the rocky road of matrimony.The on screen antics between Redford, portraying a young, stuffy lawyer on his way up (that's five flights of stairs up, not counting the outside stoop to that sparse, tiny apartment) and Miss Fonda as a carefree spirit can best be described by her flustered comment to her new hubby; "Here I am trying to get you all hot and bothered and you're summing up for the jury."The wit and parry between Redford and Fonda parlayed through Neil Simon's sparkling dialogue makes for competitive verbal sparring which moves this contemporary classic along at a sprightly place. In fact, Redford's role here as a fastidious, button down attorney (right down to the functional topcoat and scarf) in this movie was so effective, he was almost turned down for the role of "Sundance'' in that certain other 'western' flick.Bolstered by a stellar supporting cast, perpetual screen romantic Charles Boyer adds neighborly spice to the proceedings. Mildred Natwick, fresh from the Broadway run, is delightful as the endearing mother-in-law and Herb Edelman, also recreating his stage role as a telephone line installer, has the best exit line. Neil Hefti's score provides a light, breezy musical quilt to snuggle up to.With New York City's Washington Square Park and the stately Plaza Hotel served as a relaxing backdrop, BAREFOOT IN THE PARK is just a Hansom Cab away.

The film Barefoot in the park interests me, because it describes a love affair, and because it has been recorded during the flourishing period of the counter culture movement. It is a time of rapid changes in the social position of women and in the (pre-)sexual habits. Lovers start calling Dr. Ruth. Indeed the film gives a sparking display of the new lifestyle, although the couple has just effected a traditional marriage. Apparently the institution still has a nice ring to it. The male character is rather boring, even in his profession (lawyer). He uses his personality for birth control. On the other hand, the female character certainly has the attitude of a hippie. And what else can you expect from Jane Fonda? Corie (Fonda) loves to break through conventions, rules and authority. Her favorite T-shirt is offensive in 19 states. Thus it is evident from the start that this marriage is forged in hell. Already in the second week Corie complains: "There are doers and watchers", and she is the doer of the two. She realizes her mistake, and wants a divorce. This would indeed have been the logical end, were it not that the narrative is supposed to be a comedy. Therefore her mother convinces her that in a good marriage both partners must give up some parts of their personality. They must support each other. Now Corie comes to the conclusion that she actually wants a sterling and caring husband, that is to say, a watcher. The marriage is saved. In its joyous end the film turns back to the spirit of the gay and conservative fifties, in the days before Doris Day was a virgin. The same can be said about the music, which is still classic. Electric guitar players are meant to deliver pizzas. The film is a recast of a theatrical play, and the melodrama is kept intact. The original theater script is also visible in the lack of dynamics in time and space, and the location of most scenes in just a few rooms. In conclusion, Barefoot is an amusing but not deep pastime (at least, I do not see it). It hovers somewhere between conservatism and revolution. If you ate pasta and antipasto, would you still be hungry?

A wonderful film – gay, warm, witty, amusing, lively, delightfully original – right up to the halfway mark. Then the scenario starts to fall apart. Writer, Neil Simon, runs out of ideas, so he stages an unconvincing quarrel. As a result, Jane Fonda – and the audience – lose interest in the proceedings and the whole movie simply goes to pot. There are over a hundred good jokes in the first seventy-five minutes, but there hardy any at all in the last forty-five! Director Gene Saks is of no help. He is obviously one of those directors who believe that direction should be inconspicuous – which it sure is! Fortunately, Joseph La Shelle's Technicolor photography is always pleasing. Much of the film – including the scene at the Plaza Hotel – was obviously shot on location, and that at least is a plus!

Corie (Jane Fonda) is a flighty and flustered newly married wife to button-down lawyer Paul Bratter (Robert Redford). The newlyweds are deeply in love. They move into their tiny 5th floor walk up NYC flat. Corie's mother Ethel Banks (Mildred Natwick) surprises them with a visit while the place is still empty. Their upstairs neighbor is the quirky Victor Velasco (Charles Boyer). Corie invites him over secretly setting him up with her mother on a blind date a couple days later. It's a wild night of unfamiliar foods and too much drink. Corie loves it but Paul and Ethel can't stand it.I love the first hour. It is hilarious and filled with gut-busting laughs. The Neil Simon script is fun frivolity. It lost me a little when Corie starts screaming divorce. It's a really sharp turn and it threw me off. It's opportunity for a hilarious fight. The D word is a step too far. I actually love the silent fight while the telephone guy is fixing the phone. The other thing is that the characters indicate more white bread actors. Corie seems to be a princess while Paul really does need to be a stuff shirt. Neither is a description of Fonda or Redford. However it's still early enough in their careers that they could play these supposed bland characters. Both Natwick and Boyer are delightful.