Soy tu hija, ¿te acuerdas?

The problem with this film was that it was a rotten play to begin with. It's the same old Neil Simon characters, same old Neil Simon storylines. For Matthau, this is the same Neil Simon characterization as with his previous ventures into Simon's work. He's much better as Oscar in "The Odd Couple." Ann Margaret is entirely out of place here, but so is the writing and Herbert Ross's direction. Only Dinah Manoff, who reprises her Tony Award winning role, comes off successful in the picture.

what an outstanding and heart-tugging performance by DINAH. i never miss a rerun and go out of my way to see it. i can't believe she was not nominated for something. a perfect bit of acting by her and WALTER MATHAU. my wife says, "i guess you're.... just in love". the first time i saw the film was totally by accident. i was in a dentist's office for an appointment for teeth cleaning. the movie came on in the waiting room and after it was thirty minutes into filming the nurse came out and said "next". by a stroke of luck it was the last appointment of the day. i asked the dentist, who is also a dear friend, to let me continue watching. well, we both watched. the nurse had gone and he worked on my cleaning himself. he said it was worth it.

Neil Simon's "I Ought to Be in Pictures" is a moving family drama, peppered with the author's patented gag lines and notable for sock performances by Dinah Manoff and Walter Matthau. Affecting, amusing interpersonal relationship pic bodes broad market appeal., Nimbly opened out from the 1980 stage version by helmer Herbert Ross (who also staged the play), film concerns a 19-year-old spunky Brooklyn girl Libby (Dinah Manoff reprising her stage role), who hitchhikes to New York to break into films as an actress but more importantly see her dad who left her, a brother and mom for good 16 years earlier. Dad is Herb Tucker (Walter Matthau fitted out with a handsome beard), a once-successful feature and tv scripter now given over to gambling and drinking. Tucker's loyal g.f. Steffie (Ann-Margret) is supportive but has her own children to take care of and a new boyfriend in the wings.

With Libby gradually insinuating herself into Herb's life and gradually reforming him (while cutely refurbishing his house and Mustang car), film gains its force from the powerful interplay of the duo's personalities. When the comical putdowns are replaced by genuine emotional (and physical) contact, Simon achieves his tear-jerking goal.

Key factor in making this work is apt casting, with Manoff, Lee Grant's sprig. Outstanding in avoiding direct sentimentality in the showy central role. She's also a good listener, with her eye contact and support of Matthau key elements. For his part, Matthau makes a ne'er-do-well character immensely sympathetic in spite of his shortcomings, enough so the viewer can root for these two to eventually come together in a loving fashion. Echoing the mother-daughter reconciliation of SImon's recent "Only When I Laugh", it builds to a valid denouement of Matthau geared up to plunge seriously into his writing assignments, and Manoff returning home with her family devils exorcised.

In a much smaller role, a deglamorized Ann-Margret is effective as the selfless mistress, while Martin Ferrero, Lewis Smith and Lance Guest provide a diveting scene apiece opposite Manoff. Tech credits, particularly Albert Brenner's production design and David M. Walsh's lighting, succeed in giving the film a realistic backdrop and avoiding a stagey or studio set look.

My review was written in March 1982 after a Midtown Manhattan screening.

This is a modest but affecting little film. Besides his gift for one-line zingers, Neil Simon has a way of giving his characters lines that are both surprising and believable. Dinah Manoff is perhaps a bit abrasively cooky at first, but she moderates the Brooklyn shtick after awhile and comes over as more complex and real. Walter Matthau as her bewildered but finally disarmed dad is consummately believable. Ann Margaret has little to do, but she does it with superb subtlety. Just watch how well she listens and understands

In my and my wife's opinion(s) this picture ("I Ought To Be In Pictures") held our attention, made us laugh, and touched our heart strings. The plot is very believable and truly beautiful. Dinah Manoff and Walter Matthau were delightful. Ann-Margret's part was undoubtedly low-key, but we applaud her for being prepared to play it and play it well. (Who ever said an actress has always to play "knock-out" parts.) This is a movie we will buy for our collection of fine movies. Leonard Maltin's review rating: ** is an insult. We give it *** at least. We were thrilled to see Dinah Manoff playing a larger role than her role in "Ordinary People."