Art it ain't, fun it is. That about sums up Come Blow Your Horn. Like its legit parent, the screen version of Neil Simon's Jewish-oriented family comedy is a superficial but diverting romp.
Art it ain’t, fun it is. That about sums up Come Blow Your Horn. Like its legit parent, the screen version of Neil Simon’s Jewish-oriented family comedy is a superficial but diverting romp.
The simple yarn is concerned with two brothers at opposite extremities of bachelorhood, the older one (Frank Sinatra) ultimately passing into a more mature, responsible phase of life when he sees in his younger brother’s (Tony Bill) sensual excesses the reflection of a ferocious personality no longer especially becoming or appealing to him. This is mighty good news to his long-suffering father, a wax fruit manufacturer from Yonkers for whom any unmarried man over 30 is a bum.
Sinatra’s role is perfectly suited to his rakish image. It also affords him an opportunity to manifest his most consummate talent – that of singer. He warbles the lilting title tune.
But it’s Lee J. Cobb who steals the show (albeit in the juiciest part) with what might be described as a ‘bum’-bastic portrayal of the explosively irascible old man who is forever appearing at the front door of his son’s apartment when more glamorous company is expected.
Tony Bill makes a fairly auspicious screen bow as the younger brother. Barbara Rush is attractive as the girl who eventually gets Sinatra, and Jill St John is flashy as a guilelessly accommodating sexpot.
1963: Nomination: Best Color Art Direction