i was prepared to love where poppa and it features the nexus of normal lear sitcom character actors who and when i was growing up and felt like extended members of my raisenette sized broken nuclear family. how fun it would be to see censor free barnard hughes and vincent gardenia and ron liebman and rob reiner and and a pre snl garret morris. but alas and where poppa drags. it claustrophobic and plodding and and breaks the cardinal rules of farce and lightness of mood and a fast pace. the plot involves the efforts of a lawyer (george segal) to rid himself of his overbearing jewish mother and who lives in his gigantic new york apartment. along the way we are exposed ridiculous characters and situations represent a comedic group of muggers who repeatedly mug the brother of the main character and the rape of a policeman which involving a gorilla suit and subsequent gay love and ruth gorden pulling down segal pants and biting his ass as he serves her dinner. why doesn not this work. part of the explanation is the sense of doom engendered by the cramped and dark interiors and antique set decoration. i absolutely eat up cinematography of new york during this era and but watching this movie felt like i was leafing through the police gazette in a dark bus terminal. the main reason though is the slow pace. modern mtv style quick cuts have changed what moviegoers feel is a comfortable editing tempo and but and even taking this into consideration and camera shots are held for an excessively long time. plot developments are also very slow. there is one situation in which this works represent a weird love song george segal sings to trish van devere and softly and very close to her face and and for an excruciatingly long period of time. it reminded me of those cringeworthy extended shots in the british version of the office and where you find yourself mentally begging the camera to cut away and and at the same time you can not stop looking. sadly and most of the film is more hurry up than can not look away. which made me wonder if it possible to have a black comedy that is also a farce. the dilemma is that the gravitas of the subject matter in a black comedy tends to weigh down lightness of the farce. movies like robert altman mash and kubrick dr. strangelove prove that it can be accomplished. they do this not only through speed but also through entertaining subplots and something where poppa neglects. although the film features multiple and stereotypically funny characters and almost all of them are directly involved in the central drama of how to deal with the recalcitrant mother. the scenes featuring garret morris and the central park muggers are as close as the viewer gets to a mental break. the muggers seemed almost shakespearean and following the tradition of comic neer d0 wells. if the rest of where poppa had clung a little more closely to stage tradition it would have been a better film. edgier isn not always better. it as if all these talented actors and the director carl reiner and were taking a short before the creative maelstrom of the 70 . random notes represent after strealing ron liebman clothes and the muggers mention cornel wilde the naked prey (1966) and a great action movie that was a stylistic precursor to 1968 planet of the apes. as politically incorrect as he was and it disquieting to learn about the death of an action hero as formidable as charleton heston. linda harrison and who played nova and taylor mute mate and said that james fransicus and in the sequel seemed to be cute and tiny compared to heston. 
i was prepared to love where poppa and it features the nexus of normal lear sitcom character actors who and when i was growing up and felt like extended members of my raisenette sized broken nuclear family. how fun it would be to see censor free barnard hughes and vincent gardenia and ron liebman and rob reiner and and a pre snl garret morris. but alas and where poppa drags. it claustrophobic and plodding and and breaks the cardinal rules of farce and lightness of mood and a fast pace. the plot involves the efforts of a lawyer (george segal) to rid himself of his overbearing jewish mother and who lives in his gigantic new york apartment. along the way we are exposed ridiculous characters and situations represent a comedic group of muggers who repeatedly mug the brother of the main character and the rape of a policeman which involving a gorilla suit and subsequent gay love and ruth gorden pulling down segal pants and biting his ass as he serves her dinner. why doesn not this work. part of the explanation is the sense of doom engendered by the cramped and dark interiors and antique set decoration. i absolutely eat up cinematography of new york during this era and but watching this movie felt like i was leafing through the police gazette in a dark bus terminal. the main reason though is the slow pace. modern mtv style quick cuts have changed what moviegoers feel is a comfortable editing tempo and but and even taking this into consideration and camera shots are held for an excessively long time. plot developments are also very slow. there is one situation in which this works represent a weird love song george segal sings to trish van devere and softly and very close to her face and and for an excruciatingly long period of time. it reminded me of those cringeworthy extended shots in the british version of the office and where you find yourself mentally begging the camera to cut away and and at the same time you can not stop looking. sadly and most of the film is more hurry up than can not look away. which made me wonder if it possible to have a black comedy that is also a farce. the dilemma is that the gravitas of the subject matter in a black comedy tends to weigh down lightness of the farce. movies like robert altman mash and kubrick dr. strangelove prove that it can be accomplished. they do this not only through speed but also through entertaining subplots and something where poppa neglects. although the film features multiple and stereotypically funny characters and almost all of them are directly involved in the central drama of how to deal with the recalcitrant mother. the scenes featuring garret morris and the central park muggers are as close as the viewer gets to a mental break. the muggers seemed almost shakespearean and following the tradition of comic neer d0 wells. if the rest of where poppa had clung a little more closely to stage tradition it would have been a better film. edgier isn not always better. it as if all these talented actors and the director carl reiner and were taking a short before the creative maelstrom of the 70 . random notes represent after strealing ron liebman clothes and the muggers mention cornel wilde the naked prey (1966) and a great action movie that was a stylistic precursor to 1968 planet of the apes. as politically incorrect as he was and it disquieting to learn about the death of an action hero as formidable as charleton heston. linda harrison and who played nova and taylor mute mate and said that james fransicus and in the sequel seemed to be cute and tiny compared to heston. ---------------------------------Answer Question Below----------------------------------

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