BRIGHTON BEACH MEMOIRS was the first of a trilogy of plays that Neil Simon wrote about his own life, renaming himself Eugene Morris Jerome. This play was a Broadway smash and made a star and Tony Award winner out of Matthew Broderick. When it was time to bring the play to the screen, Broderick was unavailable because he was back on Broadway in the second play of the trilogy, BILOXI BLUES, so Jonathan Silverman was pegged to star in the film version as Eugene, the slightly neurotic teen going through puberty and other realities of being a Jewish teen during WWII with the help of his loving family. Silverman makes a suitable replacement for Broderick and seems quite at ease speaking directly to the camera. I'm one of the few who really liked Blythe Danner as his strong willed mother...maybe the accent was a bit much, but Danner infuses the character with warmth and strength and Bob Dishy has one of his best roles as Eugene's father, a quiet tower of strength whose world weariness never allows him to neglect his family. Judith Ivey plays Danner's sister, a lonely woman whose lack of self-esteem seems to have stemmed from feeling she has lived in her sister's shadow her whole life and Brian Drillinger also scores as Stanley, Eugene's older brother, who loses his paycheck gambling and then loses his job and doesn't know how to tell Mom and Dad. Gene Saks directs with a loving, if loose hand and the film could have been more tightly paced, but the performances of Silverman, Danner, and Dishy made it worth my time.

Brighton Beach Memoirs is directed by Gene Saks and adapted to the screen from his own play by Neil Simon. It stars Jonathan Silverman, Blythe Danner, Judith Ivey, Bob Dishy, Stacey Glick, Lisa Waltz and Brian Dillinger. Music is by Michael Small and cinematography by John Bailey.

This is the first of what would become a trilogy of films detailing the adventures and learnings of Neil Simon's life trajectory. His alias in the three productions comes in the guise of Eugene Morris Jerome, here played by Silverman, and by Matthew Broderick in Biloxi Blues (1988) and Corey Parker in Broadway Bound (1992). This is set in 1937 Brooklyn, New York, and finds Eugene, a Polish-Jewish American youngster experiencing sexual awakening in a family home packed to the rafters.

Having never seen a Neil Simon play before I have no frame of reference, either here or with Biloxi Blues, the latter of which is a personal favourite. So taking it on its filmic terms only, it delivers much of the requisite razor sharp humour that was a trait of the hugely talented writer. The young version of Eugene here has sporting dreams as well as that of being a professional writer, his literary bent evident in his vocal discourse with his family and us on the fourth wall. He's the family gofer, a slave to his adoring but firm handed mother, as if battling the on-set of puberty wasn't taxing enough!

Though primarily humourous in narrative drive, the serious side of family values is always a strong current within. Gambling addiction also features, so to does vivid sibling rivalry later in life, while the dangling thread of Polish family members trying to exit their homeland for a better life in New York strikes a poignant chord. I can't vouch for accents or adherence to natural race standards, but the sense of the period and areas (real location filming of course) is impressive - the cast uniformly tight to the material's various themes.

Obviously not for everyone, but for those not bothered by closeness to the play, and those who love the sort of zingy dialogue found in other Simon film adaptations, then this hits the spot for sure. 8/10

This is a gently amusing coming-of-age comedy that comes from the later, more mature period of Neil Simon's writing. Although there are plenty of wisecracks to go around, this is not one of those Neil Simon pieces where every character spouts out one-liner jokes for 2 hours like they're guest stars on a Bob Hope special. There are also dramatic elements (some work, some are overkill) that lend some weight to the story.

The performances are good across the board, especially Blythe Danner as the mother (although she and Judith Ivey were oddly WASP-ish choices to play Jewish women). I've never been a fan of Jonathan Silverman, but I will say that he hits the right notes as the obnoxious, gawky, and totally horned-up teen-age narrator/protagonist of the story.

The movie is very similar in tone to Woody Allen's "Radio Days," but the latter is far more imaginative and funny than this one.