My review was written in January 1984 after viewing at a Midtown Manhattan screening room.
"Over the Brooklyn Bridge" is producer-director (and Cannon Group chairman) Menahem Golan's love letter to New York City: a warm and pleasant romance similar to the type of films topliner Elliott Gould (and George Segal, as well) used to make 10 or 15 years earlier. Boasting an outstanding (and promotable) supporting performance by Sid Caesar as Gould's bossy uncle, the picture (geared to the audience that attended "My Favorite Year") should do okay business when released later this year through MGM-UA, following its current debut in Tel Aviv.
Screenplay by the late Arnold Somkin (who died in 1982 before production began, and to whom "Bridge" is dedicated) is short on laughs but very effective in portraying a loving, romantic view of New York and its melting pot of ethnic groups. As directed by Golan, and cheerfully lit by cameraman Adam Greenberg, the Big Apple is a paradise where even 42nd Street and the subways are sources of glamor rather than the cliched eyesores they represent in most recent N. Y.-lensed films.
Gould stars as Alby Sherman, owner of a Brooklyn eatery who dreams of buying a posh restaurant on the East Side in midtown Manhattan. His love affair with an aristocratic Catholic girl from Philadelphia (Margaux Hemingway) raises the ire of his Jewish family, particularly the patriarch Uncle Benjamin (Sid Caesar), a women's underwear manufacturer who would rather have Alby marry his fourth cousin Cheryl (Carol Kane).
The basic conflict, as Alby must choose between his dream girl and career advancement (Uncle Benjamin offers a key loan with strings attached0 is not developed beyond the plot gimmick stage, but "Bridge" works well as an actors' vehicle. Leads Gould and Hemingway are solid in the central roles, with standout support from a large cast. Given perhaps the best opportunity in an off-and-on film career to date (including his starring assignments for William Castle in the 1960s), Caesar is very funny as a man who tries to run everyone else's lives for them. He is extremely moving at the film's moment of catharsis, enduring Gould's ultimate rebellion in a strong last reel scene set at an engagement party.
Kane is delightfully droll as the virginal intellectual whose demure exterior hides a rather kinky fatnasy-sex life. There are also nice spots for an Italian pal played by the ubiquitous Burt Young and a variety of other ethnic types.
Release title is a bit weak, with the dialog plugging most of the discarded monikers for this project: "Alby's Special", "Alby's Delight" and "My Darling Shiksa". The marketing challenge is to find an audience for a nice little film which avoids contemporary hooks in favor of romantic-comedy formulas that worked well in the late 1960s.
