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Barefoot in the Park

Barefoot in the Park

Comedy · Romance · 1967

In this film based on a Neil Simon play, newlyweds Corie, a free spirit, and Paul Bratter, an uptight lawyer, share a sixth-floor apartment in Greenwich Village. Soon after their marriage, Corie tries to find a companion for mother, Ethel, who is now alone, and sets up Ethel with neighbor Victor. Inappropriate behavior on a double date causes conflict, and the young couple considers divorce.

Movie details

Barefoot in the Park

“Broadway's barest, rarest, unsquarest love play.”

1967 Comedy · Romance 1h 46m

Critical arithmetic

One number, for now.

TMDB

7.1 / 10

Community rating

In this film based on a Neil Simon play, newlyweds Corie, a free spirit, and Paul Bratter, an uptight lawyer, share a sixth-floor apartment in Greenwich Village. Soon after their marriage, Corie tries to find a companion for mother, Ethel, who is now alone, and sets up Ethel with neighbor Victor. Inappropriate behavior on a double date causes conflict, and the young couple considers divorce.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Barefoot in the Park?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Gene Saks

Written by

Neil Simon

Robert Redford

Robert Redford

Paul Bratter

Jane Fonda

Jane Fonda

Corie Bratter

Charles Boyer

Charles Boyer

Victor Velasco

Mildred Natwick

Mildred Natwick

Ethel Banks

Herb Edelman

Herb Edelman

Harry Pepper

Mabel Albertson

Mabel Albertson

Harriet

Fritz Feld

Fritz Feld

Restaurant Proprietor

Court is in session

Put Barefoot in the Park on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.