The Out-of-Towners


1h 37m 1970
The Out-of-Towners

Brief Synopsis

A man's New York job interview turns into a non-stop nightmare.

Film Details

MPAA Rating
G
Genre
Comedy
Adaptation
Release Date
Jan 1970
Premiere Information
New York opening: 28 May 1970
Production Company
Jalem Productions, Inc.
Distribution Company
Paramount Pictures Corp.
Country
United States

Technical Specs

Duration
1h 37m
Sound
Mono
Color
Color
Theatrical Aspect Ratio
1.85 : 1

Synopsis

George Kellerman, a successful Dayton businessman, is invited by his company to visit their New York City offices and discuss his possible promotion to an executive position there. George and his wife, Gwen, fly to New York with the intention of having dinner there, spending the night in a luxury hotel, and after George's interview the next morning returning to Dayton. In the course of 24 hours, the Kellermans are beset with difficulties. Their plane is rerouted to Boston when air traffic and fog make landing in New York impossible; and in Boston the Kellermans learn that their luggage has been lost, and moreover, they must take a crowded train to New York. Tired and hungry, George and Gwen reach New York during a downpour and find that the city is in the midst of strikes by garbage collectors and transit workers. They walk the 10 blocks to their hotel, the Waldorf-Astoria, only to find that, owing to the Kellermans' lateness, the hotel has canceled their reservation. A friendly stranger offers them accomodations, but he soon reveals himself to be a mugger and takes all their money. Destitute, they go to the police and are told they will be put up at the armory, but the police car which takes them to the armory is hijacked by robbers, who deposit the Kellermans in Central Park. They spend the night there and are again mugged and George's watch is stolen. The next morning two athletes mistake George for a rapist and beat him up. Later a mounted policeman chases George, who he thinks is a child molester. George hitches a ride with a passing motorist, whereupon the car, belonging to a Cuban diplomat, is assailed by demonstrators. George finally arrives at his interview, looking dirty and disheveled, and though he is offered the position he declines. The couple are soon aboard a plane to Dayton, only to find when they are aloft that the plane is being hijacked to Cuba.

Film Details

MPAA Rating
G
Genre
Comedy
Adaptation
Release Date
Jan 1970
Premiere Information
New York opening: 28 May 1970
Production Company
Jalem Productions, Inc.
Distribution Company
Paramount Pictures Corp.
Country
United States

Technical Specs

Duration
1h 37m
Sound
Mono
Color
Color
Theatrical Aspect Ratio
1.85 : 1

Articles

The Out-of-Towners (1970)


An upper-middle-class traveler's nightmare is played for laughs in Neil Simon's The Out-of-Towners (1970), directed by Arthur Hiller.

When suburban businessman George Kellerman (Jack Lemmon) is offered a big promotion, he and wife Gwen (Sandy Dennis) take a jaunt to the Big Apple to confirm the appointment and start scouting an apartment. George's breezy optimism begins to crumble when air traffic congestion delays their landing. This, however, is only the tip of the transportational iceberg that threatens to wreck their overnight business trip.

Three hours and a good deal of turbulence later, the plane lands -- in Boston. Separated from their luggage, George and Gwen attempt to use planes, trains and automobiles (to reference a film clearly indebted to The Out-of-Towners) to reach Manhattan. But even when they set foot in the big city, things go from bad to worse, as fate seems to be elaborately orchestrated against them. They are thwarted by a transit strike, sanitation strike, rain, troublesome hotel reservation policies, robbers, muggers, faulty dental work, a gas main explosion, a lost child, and a TV crew (to name only a few). George, meanwhile, undergoes a gradual meltdown, becoming overbearing, litigious and, in Gwen's words, "sarcastic... whining, irritable, insensitive and intolerant."

To George, this is not just a run of bad luck, it is an epic struggle, and he remains determined to triumph, even if it kills him.

The Out-of-Towners was originally conceived as a one-act play, to be combined with three other stories to compose the anthology drama Plaza Suite. However, Simon quickly realized the epic journey was better suited to the screen, and put it aside, with the intention of revisiting it later as his first original screenplay. When Plaza Suite reached the stage in 1968 (under the direction of Mike Nichols), the play was comprised of three one-act segments, rather than four.

The inspiration for The Out-of-Towners came from an incident (circa 1967) when Simon flew to Boston to work on David Merrick's musical How Now Dow Jones. "Flying up there, I was caught in a major snowstorm, lost my luggage, spent three hours getting to the hotel on icy streets, a trip which normally was a ten-minute ride."

Simon found time to return to the traveler's nightmare after completing his 1970 play The Gingerbread Lady. While it was being rehearsed and staged, Simon began expanding his one-act comedy into a feature script. During a business trip to California, Simon decided to let Lemmon have an early peek at the work-in-progress, to see if he might be willing to attach himself to the project. They met for lunch at the Polo Lounge of the Beverly Hills Hotel -- as Simon calls it, "then the hub of all business deals made in Hollywood."

In Chris Lemmon's book, A Twist of Lemmon: A Tribute to My Father (2006), Simon recounts the birth of the film project: "I remember that when I first wrote it, it was just a draft of a new play, and in no shape to show anyone, especially a star of Jack Lemmon's standing. So on the day that I had lunch with him to discuss the possibility of involving him in the project, I had no script; I just wanted to tell Jack about it for future reference. As I sat there talking, it suddenly occurred to me that there I was pitching an unwritten idea to Jack Lemmon, and that he was far too big a star for me to be offering so little... When I finished talking, I said to Jack, 'Well, that's all I have, but I just wanted you to hear it.' What I expected in response was, 'Fine, Neil. When you write it, send it to me.' But that's not what I heard at all. What Jack said instead was, 'I like it. In fact, I love it. Let's do it!' 'Really?' I said, my mouth open in amazement. 'You really like it?' "Tell me when we start shooting and I'll be there.'"

In his 1996 memoir, Rewrites, Simon continues: "I said, 'Don't you want to wait til I finish the second draft?' He said, 'I already like the first draft so I know the second draft will only get better. Tell me when you want to start and I'll bring my face and my makeup.' To be trusted like that, from a star of Jack's stature, was the greatest compliment I could think of. The studio okayed both our deals and we were in business."

According to Simon, such an impromptu deal would not be possible today: "It's highly unlikely that a movie would be green-lighted with such ease in today's world. Deals today take longer than making the film."

The half-written script, once completed, would go on to win the Writers Guild of America award for Best Comedy Written Directly for the Screen.

"I don't remember how many films I wrote for Jack Lemmon, but I know it wasn't enough," recounted Neil Simon, "I gladly would have done it forever...Of the films Jack and I worked on together, The Out-of-Towners was one of my favorites."

Though enthusiastic about the original idea, Lemmon was not completely satisfied with the finished product. "I love Neil Simon who wrote it. Sandy Dennis was quite good in it. And Arthur Hiller, the director, was a ball to work for... Unfortunately, he's no flaming genius as a filmmaker. There was a five-minute sequence in the film that Hiller chose to cut that was better than anything left in it. It was a terribly important scene in terms of character motivation." No further clues are offered as to the content of the missing footage.

On the topic of missing footage: according to one source, when The Out-of-Towners was broadcast on television in the early 1970s, a high-jacking scene was cut from the film -- probably owing to the widespread fear of terrorism after the Munich Olympics hostage situation and subsequent high-jacking incidents.

One of the most appealing aspects of The Out-of-Towners is the use of actual locations throughout the film. This cinematic time capsule includes footage of New York's Central Park, the Waldorf-Astoria Hotel, and assorted Manhattan street corners, as well as Boston's Logan Airport and South Station. It should be noted, however, that the space age airport of Twin Oaks, Ohio was actually filmed at MacArthur Airport in Islip, Long Island, New York.

The Out-of-Towners also allows sight-seers to spot a slew of great American character actors in bit parts: Anne Meara, Paul Dooley (Breaking Away [1979]), Dolph Sweet (Sisters [1973]), Billy Dee Williams (The Empire Strikes Back [1980]), and Ron Carey (TV's Barney Miller [1975-82]).

When The Out-of-Towners was released on May 28, 1970, critics were mixed. Time Magazine called it "a frantic, funny tale that frazzles the nerve ends...Simon is a careful comic craftsman who is at pains to draw belly laughs from basically realistic -- and therefore emphatic -- situations. His humor never becomes bizarre, even though it is a bit strained by director Arthur Hiller's nerve-wracking pace."

In The New York Times, Roger Greenspun was less kind, "Between Lemmon and Sandy Dennis there is no conversation -- only bullying, mostly by him. I can't fault Lemmon's performance; I simply can't see the reason for it." He then remarks, "About two-thirds of the way through, in Central Park, a boomed microphone appears in the upper part of the screen. It pretty much stays there, twisting and turning to catch each speaker, for the rest of the film. The Out-of-Towners may thus rank as technically the sloppiest as well as the most witlessly uncomfortable movie for some time." In all fairness, the visible boom was probably due to the print being projected at the wrong aspect ratio (without the 1:1.85 aperture plate masking the image).

The year after the film's release, Simon collaborated with Hiller on the screen version of Plaza Suite (1971), the episodic drama for which The Out-of-Towners had originally been conceived. They reteamed again in 1984 for the Steve Martin comedy The Lonely Guy. Martin in turn starred in his own remake of The Out-of-Towners. Produced without Simon or Hiller's involvement, the 1999 film co-starred Goldie Hawn, was directed by Sam Weisman, and, as one might expect, judged generally inferior to the 1970 original.

"The 1970 Neil Simon screenplay that provided the so-called inspiration for this excursion into relentlessly silly mediocrity won no hosannas from the critics, but at least it had its sensate creative fingers firmly on the pulse of an anarchic era when municipal strikes frequently crippled New York City, muggers and squirrels vied to top the census of wildlife in Central Park," wrote Lawrence Van Gelder in The New York Times in 1999, "But...the new Out-of-Towners is so feeble and unfocused as to make the Farrelly brothers of There's Something About Mary [1998] appear to have suckled at the bosom of Aristophanes."

Producer: Paul Nathan
Director: Arthur Hiller
Screenplay: Neil Simon
Cinematography: Andrew Laszlo
Art Direction: Charles Bailey, Walter H. Tyler
Music: Quincy Jones
Film Editing: Fred A. Chulack
Cast: Jack Lemmon (George Kellerman), Sandy Dennis (Gwen Kellerman), Sandy Baron (Lenny Moyers), Anne Meara (robbery victim), Robert Nichols (passenger), Ann Prentiss (airline stewardess #1), Ron Carey (Barney Polacek), Carlos Montalban (Manuel Vargas), Graham Jarvis (Murray the mugger).
C-98m. Letterboxed. Closed Captioning.

by Bret Wood
The Out-Of-Towners (1970)

The Out-of-Towners (1970)

An upper-middle-class traveler's nightmare is played for laughs in Neil Simon's The Out-of-Towners (1970), directed by Arthur Hiller. When suburban businessman George Kellerman (Jack Lemmon) is offered a big promotion, he and wife Gwen (Sandy Dennis) take a jaunt to the Big Apple to confirm the appointment and start scouting an apartment. George's breezy optimism begins to crumble when air traffic congestion delays their landing. This, however, is only the tip of the transportational iceberg that threatens to wreck their overnight business trip. Three hours and a good deal of turbulence later, the plane lands -- in Boston. Separated from their luggage, George and Gwen attempt to use planes, trains and automobiles (to reference a film clearly indebted to The Out-of-Towners) to reach Manhattan. But even when they set foot in the big city, things go from bad to worse, as fate seems to be elaborately orchestrated against them. They are thwarted by a transit strike, sanitation strike, rain, troublesome hotel reservation policies, robbers, muggers, faulty dental work, a gas main explosion, a lost child, and a TV crew (to name only a few). George, meanwhile, undergoes a gradual meltdown, becoming overbearing, litigious and, in Gwen's words, "sarcastic... whining, irritable, insensitive and intolerant." To George, this is not just a run of bad luck, it is an epic struggle, and he remains determined to triumph, even if it kills him. The Out-of-Towners was originally conceived as a one-act play, to be combined with three other stories to compose the anthology drama Plaza Suite. However, Simon quickly realized the epic journey was better suited to the screen, and put it aside, with the intention of revisiting it later as his first original screenplay. When Plaza Suite reached the stage in 1968 (under the direction of Mike Nichols), the play was comprised of three one-act segments, rather than four. The inspiration for The Out-of-Towners came from an incident (circa 1967) when Simon flew to Boston to work on David Merrick's musical How Now Dow Jones. "Flying up there, I was caught in a major snowstorm, lost my luggage, spent three hours getting to the hotel on icy streets, a trip which normally was a ten-minute ride." Simon found time to return to the traveler's nightmare after completing his 1970 play The Gingerbread Lady. While it was being rehearsed and staged, Simon began expanding his one-act comedy into a feature script. During a business trip to California, Simon decided to let Lemmon have an early peek at the work-in-progress, to see if he might be willing to attach himself to the project. They met for lunch at the Polo Lounge of the Beverly Hills Hotel -- as Simon calls it, "then the hub of all business deals made in Hollywood." In Chris Lemmon's book, A Twist of Lemmon: A Tribute to My Father (2006), Simon recounts the birth of the film project: "I remember that when I first wrote it, it was just a draft of a new play, and in no shape to show anyone, especially a star of Jack Lemmon's standing. So on the day that I had lunch with him to discuss the possibility of involving him in the project, I had no script; I just wanted to tell Jack about it for future reference. As I sat there talking, it suddenly occurred to me that there I was pitching an unwritten idea to Jack Lemmon, and that he was far too big a star for me to be offering so little... When I finished talking, I said to Jack, 'Well, that's all I have, but I just wanted you to hear it.' What I expected in response was, 'Fine, Neil. When you write it, send it to me.' But that's not what I heard at all. What Jack said instead was, 'I like it. In fact, I love it. Let's do it!' 'Really?' I said, my mouth open in amazement. 'You really like it?' "Tell me when we start shooting and I'll be there.'" In his 1996 memoir, Rewrites, Simon continues: "I said, 'Don't you want to wait til I finish the second draft?' He said, 'I already like the first draft so I know the second draft will only get better. Tell me when you want to start and I'll bring my face and my makeup.' To be trusted like that, from a star of Jack's stature, was the greatest compliment I could think of. The studio okayed both our deals and we were in business." According to Simon, such an impromptu deal would not be possible today: "It's highly unlikely that a movie would be green-lighted with such ease in today's world. Deals today take longer than making the film." The half-written script, once completed, would go on to win the Writers Guild of America award for Best Comedy Written Directly for the Screen. "I don't remember how many films I wrote for Jack Lemmon, but I know it wasn't enough," recounted Neil Simon, "I gladly would have done it forever...Of the films Jack and I worked on together, The Out-of-Towners was one of my favorites." Though enthusiastic about the original idea, Lemmon was not completely satisfied with the finished product. "I love Neil Simon who wrote it. Sandy Dennis was quite good in it. And Arthur Hiller, the director, was a ball to work for... Unfortunately, he's no flaming genius as a filmmaker. There was a five-minute sequence in the film that Hiller chose to cut that was better than anything left in it. It was a terribly important scene in terms of character motivation." No further clues are offered as to the content of the missing footage. On the topic of missing footage: according to one source, when The Out-of-Towners was broadcast on television in the early 1970s, a high-jacking scene was cut from the film -- probably owing to the widespread fear of terrorism after the Munich Olympics hostage situation and subsequent high-jacking incidents. One of the most appealing aspects of The Out-of-Towners is the use of actual locations throughout the film. This cinematic time capsule includes footage of New York's Central Park, the Waldorf-Astoria Hotel, and assorted Manhattan street corners, as well as Boston's Logan Airport and South Station. It should be noted, however, that the space age airport of Twin Oaks, Ohio was actually filmed at MacArthur Airport in Islip, Long Island, New York. The Out-of-Towners also allows sight-seers to spot a slew of great American character actors in bit parts: Anne Meara, Paul Dooley (Breaking Away [1979]), Dolph Sweet (Sisters [1973]), Billy Dee Williams (The Empire Strikes Back [1980]), and Ron Carey (TV's Barney Miller [1975-82]). When The Out-of-Towners was released on May 28, 1970, critics were mixed. Time Magazine called it "a frantic, funny tale that frazzles the nerve ends...Simon is a careful comic craftsman who is at pains to draw belly laughs from basically realistic -- and therefore emphatic -- situations. His humor never becomes bizarre, even though it is a bit strained by director Arthur Hiller's nerve-wracking pace." In The New York Times, Roger Greenspun was less kind, "Between Lemmon and Sandy Dennis there is no conversation -- only bullying, mostly by him. I can't fault Lemmon's performance; I simply can't see the reason for it." He then remarks, "About two-thirds of the way through, in Central Park, a boomed microphone appears in the upper part of the screen. It pretty much stays there, twisting and turning to catch each speaker, for the rest of the film. The Out-of-Towners may thus rank as technically the sloppiest as well as the most witlessly uncomfortable movie for some time." In all fairness, the visible boom was probably due to the print being projected at the wrong aspect ratio (without the 1:1.85 aperture plate masking the image). The year after the film's release, Simon collaborated with Hiller on the screen version of Plaza Suite (1971), the episodic drama for which The Out-of-Towners had originally been conceived. They reteamed again in 1984 for the Steve Martin comedy The Lonely Guy. Martin in turn starred in his own remake of The Out-of-Towners. Produced without Simon or Hiller's involvement, the 1999 film co-starred Goldie Hawn, was directed by Sam Weisman, and, as one might expect, judged generally inferior to the 1970 original. "The 1970 Neil Simon screenplay that provided the so-called inspiration for this excursion into relentlessly silly mediocrity won no hosannas from the critics, but at least it had its sensate creative fingers firmly on the pulse of an anarchic era when municipal strikes frequently crippled New York City, muggers and squirrels vied to top the census of wildlife in Central Park," wrote Lawrence Van Gelder in The New York Times in 1999, "But...the new Out-of-Towners is so feeble and unfocused as to make the Farrelly brothers of There's Something About Mary [1998] appear to have suckled at the bosom of Aristophanes." Producer: Paul Nathan Director: Arthur Hiller Screenplay: Neil Simon Cinematography: Andrew Laszlo Art Direction: Charles Bailey, Walter H. Tyler Music: Quincy Jones Film Editing: Fred A. Chulack Cast: Jack Lemmon (George Kellerman), Sandy Dennis (Gwen Kellerman), Sandy Baron (Lenny Moyers), Anne Meara (robbery victim), Robert Nichols (passenger), Ann Prentiss (airline stewardess #1), Ron Carey (Barney Polacek), Carlos Montalban (Manuel Vargas), Graham Jarvis (Murray the mugger). C-98m. Letterboxed. Closed Captioning. by Bret Wood

Quotes

George, what are we going to do? We can't ride, we can't walk, we can't eat, and we can't pray.
- Gwen Kellerman
Well, we can think. As long as we've got our brains, we can think.
- George Kellerman
Oh, they'll take that too, George. You'll see.
- Gwen Kellerman
You folks live out of town?
- Officer Meyers
Oh yes.
- Gwen Kellerman
You're lucky.
- Officer Meyers
You chased a dog and you beat a horse. You're stronger than you think.
- George Kellerman
And you're not getting away with anything! I've got all your names and your addresses!
- George Kellerman
My wife can verify that. Gwen?
- George Kellerman
I can verify that.
- Gwen Kellerman

Trivia

Writer Neil Simon originally intended this to be a segment of Plaza Suite (1971).

The first airport scene showing the Kellerman's departure was filmed at MacArthur Airport in Islip, Long Island.

Notes

Location scenes filmed in New York City and Boston.

Miscellaneous Notes

Released in United States Summer June 1970

Released in United States Summer June 1970