Sunday in New York (MGM) (1963)

Cliff Robertson introduces girl friend Jo Morrow to his sister, Jane Fonda, in this scene from “Sunday in New York.” Rod Taylor also stars in the new Metrocolor attraction, with Robert Culp in a co-starring role. The MGM-Seven Arts production is based on Norman Krasna’s Broadway comedy hit. Still 1807-38 Sunday in New York Mat 2-D Jane Fonda’s attempt to hide in a closet are thwarted by an alert Rod Taylor in this scene from ‘“‘Sunday in New York.” Cliff Robertson also stars, with Jo Morrow and Robert Culp in co-starring roles in the MGM-Seven Arts production, based on Norman Krasna’s Broadway comedy hit. It is in Metrocolor. Still 1807-29 Jane Fonda and Rod Taylor are stuck on each other in this subway scene from “Sunday in New York,” in which Jane finds that her pin has caught in Rod’s jacket. Cliff Robertson also stars in the hilarious MGM-Seven Arts screen version of Norman Krasna’s Broadway stage success, with Jo Morrow and Robert Culp in co-starring roles. The picture is in Metrocolor. Sunday in New York Still 1807-11 14 Mat 1-A Sunday in New York Mat 2-C The mood is love and Jane Fonda and Rod Taylor happily enter into the spirit of things in this scene from “Sunday in New York.” Cliff Robertson also stars in the screen version of Norman Krasna’s Broadway comedy hit, with Jo Morrow and Robert Culp in co-starring roles. The picture is in Metrocolor. Sunday in New York Still 1807-34 Mat 1-C ‘SUNDAY IN NEW YORK,” SOPHISTICATED COMEDY OF MODERN MORALS, STARS CLIFF ROBERTSON, JANE FONDA, ROD TAYLOR How far should a girl go prior to the ‘uptials ? The approach to this age-old ques n provides hilarious entertainment the new Metro-Goldwyn-Mayer and ven Arts production, “Sunday in ew York,” starring Cliff Robertson, ne Fonda and Rod Taylor, with Jo Cc D -orrow and Robert Culp in co-starring roles. The Norman Krasna comedy was one of Broadway’s big stage hits and Krasna, who wrote the screen play for the film version, photographed in Metrocolor, has made it even funnier and visually more far-reaching in depicting a variety of scenes and locales which could only be talked about within the confines of a stage. Much of “Sunday in New York” was filmed on locations in New York City, with sequences showing Jane Fonda boarding a Fifth Avenue bus on which she first meets Rod Taylor, a scene in which they row on Central Park Lake CAST Adam Tyler -_.-.......-..-. CLIFF ROBERTSON Eileen: Tyler. 222.2. ae JANE FONDA Mike Mitchell -............-..... ROD TAYLOR Russ: Wilson):..-.-. ee ROBERT CULP IMONGHFIOKEES eco cuecc-9 eee JO MORROW Flight Dispatcher -_..........-... JIM BACKUS Produced by EVERETT FREEMAN Directed by PETER TEWKSBURY Based on the play by NORMAN KRASNA Screen Play by NORMAN KRASNA Music by PETER NERO In METROCOLOR A SEVEN ARTS PRODUCTION Presented by METRO-GOLDWYN-MAYEP MOVIE TAXI RIDE WAS BIG BARGAIN During location filming in New York of the new MGM-Seven Arts production, “Sunday in New York,” actor Frank Borone was cast as a taxi driver, who has Jane Fonda as his passenger. But as is often the way in movie making, the scene had to be completed later in Hollywood, with Barone flying to the MGM Studios to resume his role. Here, one of the scenes showed Miss Fonda stepping out of his cab and paying for her fare with a dollar bill. Thus, a ride which had started in New York and ended in Hollywood cost Jane exactly one buck! Cliff Robertson and Rod Taylor play the male starring roles in “Sunday in New York,” screen version in color of Norman Krasna’s Broadway comedy hit. Producer Has Affinity For Metropolitan Scene Maybe it’s because he was born in New York, in any case Producer Everett Freeman seems to have an affinity for the metropolitan scene. Marking his return to Hollywood after wide success as a television producer, Freeman produced the new MGM-Seven Arts comedy, “Sunday in New York,” starring Cliff Robertson, Jane Fonda and Rod Taylor. : _Among his many previous motion picture credits, largely as a writer, were two others with titles ringng home to New Yorkers — “The Kid From Brooklyn” and “It Happened on Fifth Avenue.” and another colorful sequence which takes place at the skating rink at Rockefeller Center. The story concerns pretty, young Eileen (Miss Fonda) who comes to New York from Albany to get advice from her jet-pilot brother, Adam (Cliff Robertson). She has broken off with her fiance, Russ (Robert Culp) because she refused to get as “modern” about dating as he insists is standard procedure, She wants to know whether her morality is obsolete. Adam, forgetting that his girl friend, Mona (Jo Morrow), has left some lacy lingerie in a closet of his apartment, assures his sister that she is absolutely right and that he himself would never compromise a girl. Having delivered this hypocritical preachment, Adam has to face up to the facts of life when shortly afterwards Eileen plays host to Philadelphia sportswriter Mike Mitchell (Rod Taylor) whom she has picked up on the bus when her pin gets tangled in his jacket. Having been caught in a sudden downpour, they are drying off in bathrobes. Disillusioned with Adam’s fake philosophy, Eileen now decides she may as well “join the crowd” and leads a somewhat baffled and reluctant Mike on. Russ takes this inopportune moment to arrive at the apartment from Albany. He has come to the conclusion that Eileen was morally right and wants her to marry him. In order to protect Eileen, Mike introduces himself as her brother, which makes things more complicated when the real Adam arrives on the scene. We're not going to tell you how this comedy of errors turns out; sufficient to say that everything ends as happily as it does hilariously. Eileen’s virtue remains intact and she gets the husband she really wants. And so does Mona. Jim Backus, as a harried pilot-dispatcher, and the popular pianist Peter Nero, playing himself (he also wrote the film’s musical score) add to the merry goings-on. “Sunday in New York” was produced by Everett Freeman and directed by Peter Tewksbury. Moviegoers are going to find this rollicking entertainment on a Sunday or any other day, in New York or elsewhere. THERE'S NO SUBSTITUTE FOR GENUINE FIFTH AVENUE BUS OR KNOWING DRIVER One of the things which Producer Everett Freeman and Director Peter Tewksbury didn’t want to duplicate in Hollywood for the MGM-Seven Arts production, “Sunday in New York,” was a Fifth Avenue bus. Another was a Fifth Avenue bus driver. In both instances they used the originals during location filming in Gotham for the screen version of Norman Krasna’s Broadway comedy hit, starring Cliff Robertson, Jane Fonda and Rod Taylor. Director Tewksbury explained why special effects couldn’t create the feeling of the true bus. “We could have had a duplicate of the New York bus either shipped to Hollywood or constructed at the studio, of course,” he said. “But you can’t duplicate the real Fifth Avenue on a movie set and get it in all its huge stunning impact. As for the Los Angeles buses, not only are they too small but they don’t have that special New York roll to them.” It wasn’t difficult for Tewksbury to get the bus during the location filming but it became apparently clear that it wasn’t going to be easy to find an actor to play a New York City bus driver. He interviewed actor after actor, patiently listening to their impersonations of the city’s bus drivers. Finally, he observed, “Before we started the picture I spent a month riding the buses. I’ve ridden on all of them. And in case you don’t know it, the New York bus driver is a very rare bird. I became convinced you can’t play one unless you are one.” So Tewksbury turned over the casting of the part to the New York Transit Authority. It might as well be a real bus driver. There wasn’t a cloud in the sky but there was rain on 51st Street and 10th Avenue. Director Peter Tewksbury, shooting location scenes in New York for the MGM-Seven Arts production, “Sunday in New York,” starring Cliff Robertson, Jane Fonda and Rod Taylor, They All Laughed When Culp Started to Tango Robert Culp, who plays Jane Fonda’s fiance in the new MGM-Seven Arts production, “Sunday in New York,” had to do some specialized homework for his role, One scene required him to do a snappy tango with Miss Fonda. Since this is a dance with which he was not familiar, Culp took a series of lessons at Arthur Murray’s in preparation for the terpsichorean stint. Once the cameras started rolling on the tango sequence, the young actor went at it like a whirlwind. What he lacked in finesse he made up in speed. Culp used to be a track star at Stockton College! Anthony De Lillo, or Tony as he likes to be called, was the driver chosen. Early in the afternoon Tony drove his bus over to Tewksbury’s hotel for an examination by the director and his crew. Tony sat quietly as the men prowled around the bus deciding where they would remove seats to make room for the cameras, where they would start and where they would stop. Tony’s reaction at the time was one of relief. ““When I was called by the office, I couldn’t figure what was wrong,” he said. “I thought maybe they were going to fire me.” A slight, handsome man in a casual brown sweater sat in a seat near Tony and asked him to explain the working of the bus. “Well,” began Tony, “first there are the mirrors — about five of them.” “Five mirrors! How do you manage to keep your eye on all of them?” The gentleman seemed visibly impressed. “Well, you learn to look at the right one at the right time,” smiled Tony. “And then, here are the controls.” He demonstrated them. The gentleman quietly asked some more questions and Tony answered them before he decided he had a question of his own, “Say,” he said, “if you don’t mind, could I ask what your job might be?” “T’m Peter Tewksbury,” the man replied, “the guy who directs the picture. Tony jammed his hands in his pockets and looked at Mr. Tewksbury shyly. es must be pretty hard work,” he said. Tewksbury smiled. “It’s just like driving a bus, Tony. You've got to watch the right mirrors at the right time.” SUNDAY IN NEW YORK — WHEN IT RAINS couldn’t afford to take his chances with the notoriously uncooperative elements. The script of Norman Krasna’s Broadway comedy hit (he also wrote the screen play) called for this particular Sunday to be a rainy day and Tewksbury was going to see that if Krasna called for rain, there would be rain. He had hunted up the local rainmaker and now, in the very bright sunshine of a late April day, the director waited for the gentleman to do his stuff. The rainmaking device was hooked up to a high-wire fence in the middle of the block and an apprehensive crew gathered around it. As the man responsible for the machine spun the dials, there was a noticeable silence as stars and crew held their collective breaths. Then the signal read “Go.” There were some hesitant spurts of water and then, suddenly, RAIN! It drizzled, it splattered, it poured. And if this weren’t proof enough, it became official as all the kids on the block converged at the site and jumped into the localized downpour. As the youngsters laughed, slid and turned their faces up to the rain, Director Tewksbury looked satisfied. After all, you can’t fool kids with phony spring rain.