text: There's more to offer in the opening of The Odd Couple than in the entirety of most films. Felix Unger (the poor guy's monogram even curses him) checks into a New York hotel. A cleaning lady says "Good night." "Goodbye," he answers back. In his room he empties his pockets, then struggles to take off his wedding ring only to put the objects neatly into an envelope, addressed to his wife and beloved children. When the viewer finally puts it together  aha, he's going to off himself  we watch him struggle to open the window  oh no, he's going to jump  The poor guy injures his lower back. This is all you need to know about Felix Unger  his wife has left him, he's a compulsive cleaner and he's a hypochondriac. And all in one scene. This is the particular genius of Neil Simon's comedy  it's about situation and character. There are few obvious physical jokes  no kicks to the groin, no cheap gags  just funny characters in uncomfortable situations. And, of course, he is a master of manipulating the audience's expectations. Coming from the Swingers era, imagine what I thought in the date scene when Felix starts lamenting about the breakup of his marriage to the girls his roommate Oscar has worked so hard to get into his apartment. He's blowing it, right? Think again. The girls love his sensitivity, his ability to cry in front of them. They invite him back to their place since his meatloaf has burned because Oscar wasn't paying enough attention to it. He's in like Flynn, right? Uh, yes, but he doesn't want to go with the girls because he's feeling vulnerable. Great stuff. And it's made even greater with a style that minimizes editing and maximizes the wonderful eight-room apartment set. You've got Jack Lemmon and the slouchy, pouchy Walter Matthau for Chrissakes, why mess it up? The visual style reminded me of Breakfast at Tiffany's, in that great effect is made from a large depth of field and the interplay between the various planes of action. Particularly memorable is the scene in which Felix, fleeing from Oscar, closes a partition only to realize the partition doesn't cover the side where Oscar is coming from. You get a real sense of the layout of the apartment, and thus the proximity in which the two divorcées live. The twist here is that these two are really married  to each other. So the observations about married life that might be ignored in an ordinary romantic comedy are made all the more poignant since they are two guys.
query: There's more to offer in the opening
gen_review:  of The Odd Couple than in the entirety of most films. Felix Unger (the poor guy's monogram even curses him) checks into a New York hotel. A cleaning lady says "Good night." "Goodbye," he answers back. In his room he empties his pockets, then struggles to take off his wedding ring only to put the objects neatly into an envelope, addressed to his wife and beloved children. When the viewer finally puts it together  aha, he's going to off himself  we watch him struggle to open the window  oh no, he's going to jump  The poor guy injures his lower back. This is all you need to know about Felix Unger  his wife has left him, he's a compulsive cleaner and he's a hypochondriac. And all in one scene. This is the particular genius of Neil Simon's comedy  it's about situation and character. There are few obvious physical jokes  no kicks to the groin, no cheap gags  just funny characters in uncomfortable situations. And, of course, he is a master of manipulating the audience's expectations. Coming from the Swingers era, imagine what I thought in the date scene when Felix starts lamenting about the breakup of his marriage to the girls his roommate Oscar has worked so hard to get into his apartment. He's blowing it, right? Think again. The girls love his sensitivity, his ability to cry in front of them. They invite him back to their place since his meatloaf has burned because Oscar wasn't paying enough attention to it. He's in like Flynn, right? Uh, yes, but he doesn't want to go with the girls because he's feeling vulnerable. Great stuff. And it's made even greater with a style that minimizes editing and maximizes the wonderful eight-room apartment set. You've got Jack Lemmon and the slouchy, pouchy Walter Matthau for Chrissakes, why mess it up? The visual style reminded me of Breakfast at Tiffany's, in that great effect is made from a large depth of field and the interplay between the various planes of action. Particularly memorable is the scene in which Felix, fleeing from Oscar, closes a partition only to realize the partition doesn't cover the side where Oscar is coming from. You get a real sense of the layout of the apartment, and thus the proximity in which the two divorcées live. The twist here is that these two are really married  to each other. So the observations about married life that might be ignored in an ordinary romantic comedy are made all the more poignant since they are two guys.
reference_response:   of The Odd Couple than in the entirety of most films. Felix Unger (the poor guy's monogram even curses him) checks into a New York hotel. A cleaning lady says "Good night." "Goodbye," he answers back. In his room he empties his pockets, then struggles to take off his wedding ring only to put the objects neatly into an envelope, addressed to his wife and beloved children. When the viewer finally puts it together  aha, he's going to off himself  we watch him struggle to open the window  oh no, he's going to jump  The poor guy injures his lower back. This is all you need to know about Felix Unger  his wife has left him, he's a compulsive cleaner and he's a hypochondriac. And all in one scene. This is the particular genius of Neil Simon's comedy  it's about situation and character. There are few obvious physical jokes  no kicks to the groin, no cheap gags  just funny characters in uncomfortable situations. And, of course, he is a master of manipulating the audience's expectations. Coming from the Swingers era, imagine what I thought in the date scene when Felix starts lamenting about the breakup of his marriage to the girls his roommate Oscar has worked so hard to get into his apartment. He's blowing it, right? Think again. The girls love his sensitivity, his ability to cry in front of them. They invite him back to their place since his meatloaf has burned because Oscar wasn't paying enough attention to it. He's in like Flynn, right? Uh, yes, but he doesn't want to go with the girls because he's feeling vulnerable. Great stuff. And it's made even greater with a style that minimizes editing and maximizes the wonderful eight-room apartment set. You've got Jack Lemmon and the slouchy, pouchy Walter Matthau for Chrissakes, why mess it up? The visual style reminded me of Breakfast at Tiffany's, in that great effect is made from a large depth of field and the interplay between the various planes of action. Particularly memorable is the scene in which Felix, fleeing from Oscar, closes a partition only to realize the partition doesn't cover the side where Oscar is coming from. You get a real sense of the layout of the apartment, and thus the proximity in which the two divorcées live. The twist here is that these two are really married  to each other. So the observations about married life that might be ignored in an ordinary romantic comedy are made all the more poignant since they are two guys.<|endoftext|>
query_reference_response: There's more to offer in the opening  of The Odd Couple than in the entirety of most films. Felix Unger (the poor guy's monogram even curses him) checks into a New York hotel. A cleaning lady says "Good night." "Goodbye," he answers back. In his room he empties his pockets, then struggles to take off his wedding ring only to put the objects neatly into an envelope, addressed to his wife and beloved children. When the viewer finally puts it together  aha, he's going to off himself  we watch him struggle to open the window  oh no, he's going to jump  The poor guy injures his lower back. This is all you need to know about Felix Unger  his wife has left him, he's a compulsive cleaner and he's a hypochondriac. And all in one scene. This is the particular genius of Neil Simon's comedy  it's about situation and character. There are few obvious physical jokes  no kicks to the groin, no cheap gags  just funny characters in uncomfortable situations. And, of course, he is a master of manipulating the audience's expectations. Coming from the Swingers era, imagine what I thought in the date scene when Felix starts lamenting about the breakup of his marriage to the girls his roommate Oscar has worked so hard to get into his apartment. He's blowing it, right? Think again. The girls love his sensitivity, his ability to cry in front of them. They invite him back to their place since his meatloaf has burned because Oscar wasn't paying enough attention to it. He's in like Flynn, right? Uh, yes, but he doesn't want to go with the girls because he's feeling vulnerable. Great stuff. And it's made even greater with a style that minimizes editing and maximizes the wonderful eight-room apartment set. You've got Jack Lemmon and the slouchy, pouchy Walter Matthau for Chrissakes, why mess it up? The visual style reminded me of Breakfast at Tiffany's, in that great effect is made from a large depth of field and the interplay between the various planes of action. Particularly memorable is the scene in which Felix, fleeing from Oscar, closes a partition only to realize the partition doesn't cover the side where Oscar is coming from. You get a real sense of the layout of the apartment, and thus the proximity in which the two divorcées live. The twist here is that these two are really married  to each other. So the observations about married life that might be ignored in an ordinary romantic comedy are made all the more poignant since they are two guys.<|endoftext|>