Sunday in New York (1963) User Reviews (61)

Charming Kennedy-Era Comedy Looks at Premarital Sex or More Accurately, the Absence of It

[EUyeshima · 7/10 · 22 March 2008]

Was Jane Fonda really this young? In this coy 1963 sex farce written by comedy veteran Norman Krasna (Alfred Hitchcock's "Mr. and Mrs. Smith", "Indiscreet"), she plays Eileen Tyler, a 22-year-old girl from Albany paying an unexpected visit to her airline pilot brother Adam in the Big Apple. She is reeling from a fight with her fiancé Russ who is giving her undue pressure to put out before they marry. Adam assures her that waiting for the wedding night is the right thing to do and then deceives her into thinking he is doing the same. Naturally, he turns out to be a womanizer planning to shag his girlfriend that day. Feeling like the only virgin in the world, Eileen meanwhile engages in a flirtation with a reporter named Mike Mitchell. Complications ensue with mistaken identities and morality questions thrown in to make the plot more interesting.

As if you couldn't tell from the swinging title tune sung by Mel Torme, the film is an idealization of early-1960's Manhattan single life that merely toys with the idea of premarital sex well before the concept of free love came into vogue. Guided by TV director Peter Tewksbury, there is a mechanical sitcom feel to the proceedings, but the real NYC locations help and the three leads are game players. Fonda is adorably adroit in a preview of her bouncier work in "Barefoot in the Park", and Cliff Robertson plays Adam's double-standard hypocrisy with agility. However, it's Rod Taylor, fresh from filming Hitchcock's "The Birds", who shines the most as Mike in a deft turn. Jazz pianist and composer Peter Nero supplies the loudly intrusive soundtrack. This film (released just a week before JFK's assassination) has yet to make it to DVD.

Of single beds and double standards...

[AlsExGal · 7/10 · 22 February 2020]

... AKA the unraveling of the motion picture production code and the sexual revolution that began in earnest in the 60s. Most films about sex in this era are pretty unwatchable today because they are trying to shock you with controversies that are long dead, and plus they take such a mechanical view of sex.

This film is different. It stars Cliff Robertson as an airline pilot, Adam, who has a swinging bachelor pad. But he also has a 22 year old sister (Jane Fonda), Eileen, who thinks she is the last virgin in New York. After breaking up with her boyfriend she goes out in search of a stranger with which to lose her virginity. She finds a likely candidate, but then she finds out that in 1963 lots of men don't mind being the second guy, but their Victorian values reveal themselves when they discover they are about to be the first.

And Adam's swinging 60s libertine view of sex? That becomes "not with my sister you don't!" when he discovers Eileen's plan. If you ever want to know what things were like on the dating scene when women still had no real career paths and were expected to quit those jobs anyways and be housewives when they married , just as all of that was about to change, watch this film. Plus it has some of the finest actors of the era who are mainly known for drama in a very funny comedy.

One of the top of an almost lost genre

[eschetic-2 · 8/10 · 27 June 2010]

If you're one of those shallow enough to complain, as another reviewer does, when a film "betrays it's Broadway roots," you're probably not sophisticated enough to appreciate the very real pleasures of a film like Sunday IN NEW YORK where the lines in the screenplay actually contribute enormously to the enjoyment of the film. While not quite as well crafted as the classics of the genre, Neil Simon's BAREFOOT IN THE PARK or Jean Kerr's MARY, MARY, Sunday IN NEW YORK benefits enormously from Norman Krasna crafting the screenplay from his own successful Broadway play.

Krasna is, in fact, prescient in several of his lines where he acknowledges that "in the future" people will take these things more in their stride - at least to the extent of premarital sex at the age of these characters - but while the age of experience may have shifted, the frustrations and anxieties of initiation probably never will and following "innocent" Jane Fonda, her protective but experienced brother, Cliff Robertson and the object of her temptation, Rod Taylor, through these beautifully filmed 105 minutes will provide not only enormous fun for those grownup enough to enjoy the ride without explosions and chase scenes (actually, there are a couple of those!) but a wonderful window on how we viewed our sex lives only a few years ago.

Sunday IN NEW YORK may be on a craft level of Neil Simon's first Broadway (and film) hit, COME BLOW YOUR HORN, but Krasna had been providing satisfying works for both Hollywood (WIFE VS. SECRETARY, MR. AND MRS. SMITH, WHITE Christmas) and Broadway (DEAR RUTH, KIND SIR) for decades before Simon started, and this represents some of his best comedy writing. It's a second tier joy. Consider making it a "flying double feature" (Robertson plays an airline pilot with TWA which is complicating HIS sex life) with the British BOEING BOEING, and you've got a great Sunday's escape in any city you please. Solid literate fun.

Pulchritude and 60's hi-jinks

[LouiseL · 27 December 1999]

After growing up with Peter Nero's soundtrack (sparkling piano playing), I FINALLY got to see this movie on TCM, and it was worth the wait. The leads, male and female, are a feast for the eyes (oh, to be a young swinger back then...) in a simple story that takes place during one day. The lead theme, of Fonda and Taylor meeting and spending part of the day together, and the consequences, is well-matched with a funny subplot that has Robertson (as Fonda's brother) and his lady-love trying to schedule some quality time together. Culp's Pepsodent smile has to be seen to be believed. Entertaining, lighthearted film.

An early 60s sex comedy...without the sex!

[planktonrules · 7/10 · 7 July 2021]

The plot of "Sunday in New York" is very adult. At the same time, it's a mainstream release in 1963, meaning that although adult the studio would have to pull its punches in the film. In other words, while the story clearly is about sex, they don't mention sex nor is the film especially risque by today's standards.

When the story begins, Eileen (Jane Fonda) arrives unexpectedly in New York City to spend some time with her brother. As for him, Adam (Cliff Robertson) is a womanizing pilot...and he has his latest conquest coming to the apartment. Not surprisingly, Eileen's arrival throws a monkey wrench into his plans. So, Adam spends most of the rest of the film trying to get some alone time with one of his girlfriends....and Eileen vacillates between wanting to stay pure or getting laid.

The acting is very nice, with four excellent leads. The story is also interesting, as it challenges some of the traditional views of women held at the time...and has a clever script. Not a must-see but an enjoyable time-passer.

Breezy Norman Krasna comedy of mistaken identity...

[Doylenf · 6/10 · 27 August 2006]

When it came to sex comedies involving mistaken identities, Norman Krasna was the master. This breezy comedy is based on one of his more modestly successful plays but it's been transferred to the screen with a generous glimpse of New York City backgrounds and de luxe apartment interiors, all in gorgeous Technicolor.

Furthermore, it has 22 year-old JANE FONDA in one of her early charming roles (before she took up politics), and two attractive male co-stars in CLIFF ROBERTSON (as her brother, an airline pilot) and ROD TAYLOR, as the man she happens to meet on a Fifth Avenue bus.

Jane's problem is that she lost her chance for marriage because she turned down sex beforehand and comes to New York from Albany to ask her brother for his advice on the subject. She isn't in the big city long before she meets ROD TAYLOR and that's when the plot goes into full swing. When her real boyfriend shows up unexpectedly at her apartment, she passes off Taylor as her brother. Naturally, this is Krasna's set-up for the rest of the story.

It's all completely innocuous but offers passable entertainment for a rainy day. Fonda is cheerfully ditzy most of the time and Taylor plays his role with his usual masculine charm. Robertson makes the most of his role as her playboy brother.

Enjoyable fluff, a bit dated, but fun.

quite good

[lilievitra · 7/10 · 18 January 2006]

I found this 1963 comedy very refreshing ... It hasn't dated too much I think.... Usually comedy around those years are a bit too silly... Situations are exaggerated.... Characters are over the top or fall into caricature.... In this film, the characters do fall into unusual situations but it is funny ... Situation is still quite realistic and the character of Jane Fonda is interesting..... The production made her smart and questioning the world around her. I like the relationship between sister and brother...it is not always developed in films....the character of the boyfriend is a bit too much.....one day, he doesn't want her any more and the next, he cannot live without her.

Please let us have this world back

[ArtVandelayImporterExporter · 7/10 · 25 January 2021]

Forget the s3xual politics, this movie is simply a lot of fun.

You have beautiful, well-dressed people doing s3xy things.

There are some very funny lines.

The music is super cool and jazzy.

The set design is top-drawer.

Even Culp's car is gorgeous.

If I have one bone to pick it's that instead of maintaining its super coolness it devolves too often into screwball comedy. If there's anything more obnoxious than screwball comedy I haven't seen it. Maybe mime. And at least mime has the advantage of not featuring actors screaming at each other in lieu of speaking anything actually funny

Funny, clever screwball romantic comedy

[v_vaquer · 10/10 · 21 December 2005]

One of the best romantic comedies I've ever seen. Jane Fonda has just been dumped because she wouldn't have sex before marriage and decides to spend a week in New York to forget her problems. She meets a guy on a bus and before long they're having coffee together. One thing leads to another and they're in her brother's apartment in bathrobes and her ex walks in! He assumes the guy is Jane Fonda's brother, and that's when the movie starts getting incredibly funny. It's like a screwball comedy with Cary Grant, and played very well by all the actors. Her real brother ends up playing someone else. Rod Taylor is really charming and cute and the brother is hilarious with a whole other subplot concerning his girlfriend and how all of their dates fall through. I'd never heard of this movie until it was on TCM and I'm surprised it's not more well-known. A real hidden gem, highly recommended!

Very funny movie with confused identities

[barryrd · 7/10 · 26 July 2020]

This is a very light and funny movie from 1964 set in New York City. The movie doles out a lot of on-location backgrounds like Rockefeller Centre, Central Park, Fifth Avenue and a short musical scene with Peter Nero at the piano. There is a lot of male-female role playing and confused identities among the four leads - Jane Fonda, Cliff Robertson, Rod Taylor and Robert Culp. Jane Fonda is at the centre of this fast-paced movie. In her early movies, she was one of Hollywood's most talented young women with a flair for comedy. With "They Shoot Horses, Don't They", she graduated to some great dramatic roles. In this movie, her male interest is Rod Taylor who she brings back to the Manhattan apartment she shares with her playboy brother, a pilot played by Cliff Robertson. Robert Culp is a former boyfriend who decides to come by and rekindle a romance. There are chases, cover ups and hide-and-seek scenes that create a lot of hilarity among the four. Jo Morrow and Jim Backus complete the cast. The male-female mating game is dated by today's standards but it is still good viewing entertainment.

Fluffy romantic comedy.

[rmax304823 · 5/10 · 21 March 2008]

A diverting bedroom farce involving a cute meeting, mixed-up identities, dialog daring for the time, and Rockefeller Center.

Jane Fonda, at her most succulent, bumps into Rod Taylor on a mid-town Manhattan bus, then again later, and then they get caught in a rainstorm and wind up at the apartment of Fonda's absent airline-pilot brother (Cliff Robertson). Taylor is, of necessity, attracted to Fonda but puzzled by her. She keeps insisting that her mother is also staying at the apartment -- a ploy to keep rapacious men at bay -- but Fonda and Taylor discover a black bra and negligee hanging in the closet. Mom's? No -- it belongs to roué Robertson's girl friend, whom he is at the moment chasing all over town.

Jane is twenty-two years old and still, well, as she puts it, "a beginner." And her brother has insisted she stay that way. In fact, he swore to her earlier than he did not sleep with women. Now, having discovered the lingerie in the closet, Fonda decides that if it's good enough for Robertson, it's good enough for her, and she decides to seduce Taylor. It doesn't work -- because Taylor refuses to take advantage of a beginner. This, as an excuse, is akin to that used in earlier movies in which the heroine drinks too much because of her anxiety, passes out, and the hero refuses to molest her in this state.

You following all this? Then it really gets twisted. Fonda's fiancé from Albany (Robert Culp) bursts in unexpectedly and mistakes Taylor for Fonda's brother. Then Robertson bursts in unexpectedly and is introduced to Culp as Taylor's co-pilot. Lots of moments that are both confusing and amusing. (If you liked "My Favorite Wife," you ought to like this. Taylor has the Cary Grant role, and he's quite good, with those upside-down ears.) Cute dialog too, with some dash for the period. When Fonda confronts Robertson with his lie under oath about never having slept with women, he pounces. "That's the loophole -- sleeping." The H-word occurs, and the V-word, and some other edgy phrases, the use of which is emphasized by the director through the use of sudden close up, indicating, "This is a shocking thing you're hearing." You get to see and hear quite a bit of Peter Nero, the Eddie Duchin of his day. You don't really get to see much of New York, though. Too bad, because in 1962, when this was shot, it had yet to deteriorate. People were clean, carefully groomed, and lived in stable neighborhoods. McSorley's Old Ale House was still exclusively male. Julius's, in the Village, was not yet completely gay, just partly gay. You could sleep in Washington Square if you didn't get caught.

It all seems harmless now, and kind of fun.

Still a delightful story

[mariposaway · 10/10 · 25 February 2006]

I saw this when it appeared in 1963 and loved it. Bought the LP as soon as I could find it because of the wonderful Peter Nero score. Bought the VHS as soon as it appeared. Watched it with my grown children last night (in their thirties) and they enjoyed it, and laughed at all the right places. With excellent dialog and a classic story and one of the best movie soundtracks ever, to us this holds up very well. Am trying to start a campaign to have the movie issued as a DVD and the soundtrack on CD. Whoever owns the rights is missing out. This is absolutely comparable to 'You've Got Mail', 'Sleepless in Seattle', and 'When Harry Met Sally'.

cute movie, cute jane

[MichaelJSchulz · 6/10 · 5 December 2001]

This movie is like a theater play. It has only a few places where all the action is happening. The outdoor scenes are not really necessary. I think it came out of a Broadway play. But this movie is cute, especially to see all the moral issues which we had to overcome. And the acting of all the three leading actors is fine.

Enjoy a little bit of time travelling. Hey, and there is still the friendly side of NYC to watch.

Rainy Days and Sundays

[wes-connors · 5/10 · 23 August 2007]

Jane Fonda (she's Eileen) goes to New York on Sunday to visit her brother Cliff Robertson (he's Adam). She thinks he is a virgin! He thinks she is a virgin! You'll guess one of them is right. ANYWAY, Ms. Fonda doesn't know whether she wants to be a virgin, or not - so, she seems (I guess) to go out to pick-up a man - enter Rod Taylor (he's Mike). Things get even more zany!

Mild, dated situation comedy. The message may be: Stay virginal and be rewarded by true love with the man you pick up? Fonda, Taylor, and Robertson are trying. The focus is on Fonda and Taylor, who really do a fine job with these roles. They are very professional, and do (and, are directed to do) nice bits of characterization. The material isn't awful, it's just not quite a movie for all-time.

***** Sunday in New York (11/13/63) Peter Tewksbury ~ Jane Fonda, Rod Taylor, Cliff Robertson, Robert Culp

Oddly appealing

[wendy-s · 3 December 2001]

Yes, it's dated. In the early 60's New York apparently was inhabited entirely by good-looking middle-class white people, smoking was sexy (yuck), and the double standard between men and women was still in full unchallenged swing. But there's something strangely engaging and sweet about this movie, partly because New York is shown in such an innocent light, partly because the chemistry between the actors, particularly the young Jane Fonda and not-so-young Rod Taylor, is playful and endearing. At times it bumps along as it switches from the Fonda/Taylor plot line to Cliff Robertson's lovelife difficulties, but the music and the setting alone are almost enough to keep you interested. (Loved that multi-level apartment!) And the farce that ensues as Eileen's (Fonda's) brother, potential fiance and potential paramour tangle with each other is sometimes genuinely funny. I was surprised - though it has its flaws, I found the film to be a pleasant sigh from a more innocent time.

What was once risque has become passe

[helpless_dancer · 7/10 · 9 September 1999]

I found this old chestnut a bit dated with it's "sex and the single girl" format, but still was entertained. I didn't consider is to be very funny, but many films in this genre often aren't amusing to me; they are just a simple little tale to while away an afternoon. It was fun seeing some of the old actors again that I haven't seen in years, and the picture showed several nice shots of the Big Apple. A pretty good show.

A very pleasant sex farce

[bob-790-196018 · 6/10 · 29 December 2010]

You have to make allowances for its time. What was "naughty" in 1963 is mild stuff today. Given that, it's a fun movie, thanks to a clever story, a first-rate cast, and a couple of nice songs.

Cliff Robertson shows real comic timing, with Rod Taylor something of a straight man. Taylor is, as usual, a likable fellow--quite masculine but perfectly willing in this part to let himself be socked in the face a couple of times, splashed by passing trucks, and subjected to the baleful eye of Robertson as the protective big brother. Jane Fonda is just right as a young woman both virginal and luscious.

The film has many ingredients hinting at the sophistication of the Kennedy era--the sophisticated bachelor apartment, Peter Nero's night club music, and especially New York as a really great place to be when you are young enough and accomplished enough to enjoy it. New York as a city infested with crime and on the verge of bankruptcy was a dozen years in the future.

One notices the easy confidence of the male characters. Much would change, starting soon after the picture was made with JFK's assassination and followed by years of turmoil and grief, as well as rapid progress for women and, at least politically, for blacks. White males would never again rule the roost unchallenged.

Very entertaining light comedy

[Skragg · 7/10 · 14 July 2006]

Very slight spoiler. I might be alone in this (even among people who LIKE this movie), but I think that very little of it is "dated", even in a good, "old-fashioned" sense, except for one particular part. Unfortunately, that part is at the very end, the little closing narration by the Cliff Robertson character. One reason I don't think so is because it has a genuine "argument" about whether "a girl should stay pure." SURE, you know how that will end up from the start, it being the kind of comedy it is, but it still isn't completely "slanted" that way. One of the best things about it is the four actors, but certainly Rod Taylor, who always fit so well into this kind of comedy (and so many other kinds of movie). The other best thing is the comical, "you could cut it with a knife," tension between three of the characters, with the fourth one, the Robert Culp character, completely oblivious of what's going on. One thing I don't care for so much, regardless of the composer, is the "incidental music," which really throws itself at you a lot of the time. (But it's still less irritating - to me - than the way all those VOCAL songs are squeezed into movies now.) One of the best lines isn't strictly a comedy one, just a clever one, while the deception is still going on - Fonda : I hope we meet again sometime. Culp : That's a funny thing to say to your brother. Taylor : It's a private joke.

CLASSIC FILM OF GREAT ACTORS !

[whpratt1 · 6/10 · 5 January 2004]

This film took me back to the innocent 1960's, where men and woman sleeping in the same bed together was TABOO! Jane Fonda(Eileen Taylor),"On Golden Pond",'81, was very beautiful and extremely sexy in her role as sister to Cliff Robertson (Adam Tyler),"Out of Season",'75 who was a pilot and enjoyed entertaining young ladies in his fancy New York Apartment. Rod Taylor (Mike Mitchell), "Giant",'56 became ATTACHED(in more ways than one) to Eileen Taylor on a 5th Ave Bus and wound up sleeping in her brother's apartment. Robert Culp(Russ Wilson),"Blind Eye",'63 intended to marry Eileen, however seeing her in the arms of Mike Mitchell makings the plot get a bit crazy. Jim Bachus(Mr. Magoo character) makes an appearance as Chief Pilot Drysdale and orders Adam Tyler to fly all over the country because of a shortage of pilots. Peter Nero's piano music is played during the entire picture and he even makes an appearance. If you like slap stick 1960's acting and wonderful old scenes of New York and what everyone was wearing in New York City, with most of the men wearing HATS, take some time and view this pic ?

Jane Fonda is Adorable!

[HotToastyRag · 8/10 · 28 September 2017]

If you're looking for a perfectly dated view of premarital sex, you'll be hard-pressed to find another gem like Sunday in New York. Jane Fonda, in a totally adorable role, plays a conflicted "beginner". She's refused to sleep with her boyfriend, Robert Culp, and in her confusion, seeks refuge with her airline pilot brother, Cliff Robertson. Cliff assures her that being a virgin isn't a bad thing and that he himself doesn't sleep around. Of course, he's desperately trying to sleep with his girlfriend, Jo Morrow, and hides that from Jane. To top it all off, Jane meets Rod Taylor and decides to pretend she's more experienced than she actually is.

Adapted from Norman Krasna's hit Broadway play, this 1960s romantic comedy is just that: romantic and hilarious. Jane's comic timing is always great. "In movies, this is where the screen usually goes dark," she says when Rod's kisses make it clear he wants to take things further. When he finally learns she's a virgin, he slams on the brakes. He doesn't want to be responsible for ruining her reputation, and Jane finds his reasoning absurd. He wouldn't have any hesitation in sleeping with her if, say, in a week's time she'd already had a lover. "Call me next week!" she shouts, frustrated that her innocence is off-putting.

It's really a very cute movie, but women's libbers out there will probably hate it. You're better off watching The Electric Horseman or The China Syndrome; Jane is in a strong, feminist role in those movies. In Sunday in New York, she's cute as a button, but not the most liberated tool in the shed. I loved her in this one, and found her just as visually and comically adorable as she was in Barefoot in the Park.

If you love those romantic movies of the 60s this is one of them

[moviegal-10 · 7/10 · 6 October 1999]

Jane Fonda is young, vulnerable and definitely into the whole 60s concept of "expressing yourself". She basically ends up falling in love with a guy she by chance runs into on the bus and enters into a relationship with him as well. Aside from all the little meeting dates they make throughout the movie, to avoid the watchful eye of her older brother, it's not too bad. Go ahead, rent it out, and let the actors and actresses entertain you!

Outdated but somewhat amusing

[patricianolan999 · 3/10 · 9 January 2005]

This movie is outdated. Filmed during the Kennedy Administration, the sexual revolution wasn't in full bloom yet. Jane Fonda is cute and Rod Taylor is definitely a hunk--he looks like he was into weight-lifting back then. This film is typical of sex comedies popular in the early 1960's--gorgeous people in big cities who talked about sex but never did much--until marriage. The apartment is gorgeous and Jane's hair, makup and wardrobe are vintage and fun to look at. But the message of the film is--"no sex until marriage"--even if it is done with laughs, and that is what makes this movie seem so silly now. As Rod Taylor's character so accurately predicted..."The next generation's gonna have it easier!"

Great cool 60s new york ''with it'' music score

[pine-8 · 9/10 · 6 January 2007]

Saw this picture when it first came out (I was 16). NY looked great, Apartment in SNY still cool today 40 + years later! Have original soundtrack album with fantastic Peter Nero score, too bad no Mel Tormé swinging arrangement of title song on this album. At the 'hip' Club Nero, Peter plays song 'HELLO' which is also sung by someone in his combo, CANNOT find this performer's name or recording ANYWHERE?? Anyone out there know? BTW A nice trip back to great looking NY, and the morals of a sweeter gentler time...It's a great trip back to see IDLEWILD airport before it changed to ''KENNEDY''.Imagine the surprise of younger people seeing passengers boarding planes with no security, a little bit like stepping in to a first class restaurant!Must see flick!

Jane Fonda's rise

[SnoopyStyle · 7/10 · 10 October 2016]

Adam Tyler (Cliff Robertson) is a pilot working under Chief Pilot Drysdale (Jim Backus). His sister Eileen Tyler (Jane Fonda) is recovering after breaking up with boyfriend Russ Wilson (Robert Culp) from a rich family. She leaves home in Albany and surprises Adam in New York with a visit. The 23 year old virgin wonders if she is suppose to sleep with men after dating a certain amount of time. Adam insists that he doesn't sleep around but that's not the case. His latest partner is Mona Harris (Jo Morrow). Eileen meets Mike Mitchell (Rod Taylor) getting stuck together on a crowded bus.

This is definitely a single gal from another era. Jane Fonda shows some real charm. The first pin isn't that funny but the second time is hilarious. Cliff Robertson and Jo Morrow are almost secondary on their side of the movie as Fonda outshines them all. She's in her mid 20's and starts her rise. It would have been nice for her to have a more animated partner.

A strained game of footsie

[moonspinner55 · 5/10 · 27 June 2007]

Because "nobody wants a beginner", Jane Fonda is a 22-year-old girl who just can't get rid of her darned virginity. While visiting her airline pilot brother, Fonda brings back a man to the apartment and attempts to seduce him by letting her hair down and chugging a glass of scotch and water. Up to this point, "Sunday In New York", adapted by Norman Krasna from his own play, is a fairly frothy sex-comedy about the process of putting sex off. But when Fonda's hometown semi-boyfriend drops in unexpectedly (and without even knocking!), and Fonda has to juggle everyone's identities, the picture becomes a labored, winking affair aimed at conservative audiences of the early '60s. ** from ****