As was the case with the recently-viewed BUTTERFIELD 8 (1960), I repeatedly missed out on one this over the years – including a local TV broadcast; with this in mind, I was not especially looking forward to a three-parter talkfest – but the result was surprisingly compelling, perceptively written and very well-acted. The film was proudly listed as "Frank D. Gilroy's THE SUBJECT WAS ROSES", but Patricia Neal's sole above-the-title credit was misleading – as the role (which landed her a Best Actress Oscar nomination) is no bigger than those of Jack Albertson (who actually won in the Supporting Actor category) or Martin Sheen (who received a Golden Globe nomination instead)! Having said that, it was Oscar winner Neal's return to the screen after a series of strokes had almost killed her in 1965
so that could well have been the reason behind it; incidentally, both men were recreating their stage roles here.
The plot is quite simple: WWII veteran Sheen's return home opens up a can of worms as to how his parents view him. Albertson had thought Neal over-protective in his regards and, in fact, expresses amazement that he made it back without so much as a scratch; she, on the other hand, begins to worry that the boy has grown up too fast – especially since he is making his best (read: trying too hard) to fill his father's shoes, down to the excessive intake of alcohol and repeating a ditty the older man spouts whenever annoyed at something! The situation comes to a head when the two men go out and return with a bunch of roses for her: Sheen insists Albertson tell her he thought of the gift himself, which she takes as an attempt by her philandering husband to change his ways but when, during an argument between mother and son, the latter informs her the flowers were his idea, she realizes she has lost the affection of both men (given that the boy was willing to deceive her as well)! This leads to her walking out for some 12 hours (just when they were expected at her convention-bound mother's house for the weekly Sunday dinner appointment) – during which Sheen decides it is high time for him to take charge of his own life...
While, as I said, the film is basically just three people interacting – eating, dancing, musing (about their achievements and regrets), or shouting in each other's faces (including the probing of religious faith) – what goes on is so universal that, at some point, one is bound to find something that can be related to and therein lies its strength (to which the three performers give an exceptional ring of truth)! With respect to the TCM-sourced print, there was some cropping involved as the channel logo was barely visible and some picture freezing/imbalance half-way through (when the former occurred again at the very end, it emerged merely a stylistic trait which quickly led to a dissolve into the final credit-roll!). By the way, the soundtrack is peppered with a number of ear-friendly folk songs showcasing the voice of Judy Collins.
The plot is quite simple: WWII veteran Sheen's return home opens up a can of worms as to how his parents view him. Albertson had thought Neal over-protective in his regards and, in fact, expresses amazement that he made it back without so much as a scratch; she, on the other hand, begins to worry that the boy has grown up too fast – especially since he is making his best (read: trying too hard) to fill his father's shoes, down to the excessive intake of alcohol and repeating a ditty the older man spouts whenever annoyed at something! The situation comes to a head when the two men go out and return with a bunch of roses for her: Sheen insists Albertson tell her he thought of the gift himself, which she takes as an attempt by her philandering husband to change his ways but when, during an argument between mother and son, the latter informs her the flowers were his idea, she realizes she has lost the affection of both men (given that the boy was willing to deceive her as well)! This leads to her walking out for some 12 hours (just when they were expected at her convention-bound mother's house for the weekly Sunday dinner appointment) – during which Sheen decides it is high time for him to take charge of his own life...
While, as I said, the film is basically just three people interacting – eating, dancing, musing (about their achievements and regrets), or shouting in each other's faces (including the probing of religious faith) – what goes on is so universal that, at some point, one is bound to find something that can be related to and therein lies its strength (to which the three performers give an exceptional ring of truth)! With respect to the TCM-sourced print, there was some cropping involved as the channel logo was barely visible and some picture freezing/imbalance half-way through (when the former occurred again at the very end, it emerged merely a stylistic trait which quickly led to a dissolve into the final credit-roll!). By the way, the soundtrack is peppered with a number of ear-friendly folk songs showcasing the voice of Judy Collins.