I like the storyline of this show,it attract me so much

Must See Movie...

Highly Overrated But Still Good

One of the worst ways to make a cult movie is to set out to make a cult movie.

Mister Buddwing is the name James Garner's character gives himself when he wakes up on a New York City parkbench and starts asking people who he is and what he is doing there because he can't remember anything that has happened in his life, including his own name. The one name that seems stuck in his head is Grace, and as you watch the movie you start to realize that this is the woman in his life he is desperate to find. He runs across three women who remind him of the early, middle, and late stages of his relationship with her. Katherine Ross plays early Grace, Suzanne Pleshette plays middle Grace, and Jean Simmons plays late stage Grace. Each women play versions of their real selves as well when Buddwing first meets them. The movie goes back and forth between the real versions and the Grace versions in the middle of the scenes, which can be quite confusing. I had to press the rewind button more than a few times to get a handle on which is which, because the director, Delbert Mann, doesn't make it easy for you. By the end of the movie you figure out what happened to the real Grace and why Buddwing has his amnesia, but it doesn't really lead to a satisfying experience for this viewer. It's kind of an interesting psychological study of what a traumatic experience can do to a person, but not necessarily all that entertaining.

Interesting James Garner vehicle has him playing an amnesiac who wakes up in Central Park and doesn't remember who he is and spends the rest of the film trying to figure that out. He has a series of dreamlike encounters with various women who he thinks he recognizes, but who mostly don't recognize him, including Jean Simmons, Suzanne Pleshette, Katharine Ross, and Angela Lansbury. Directed by Delbert Mann ("Marty"), it's stylishly shot and features crisp black and white photogrpahy by Ellsworth Fredericks ("Seven Days in May"), but the film is so utterly pretentious and lacking in a coherent narrative. Garner and the strong cast, which also includes Jack Gilford, Raymond St. Jacques, Wesley Addy, and a pre-Star Trek Nichelle Nichols, are the only thing that keeps this pretentious mess watchable. On the positive side, there is also a nice jazzy score by Kenyon Hopkins ("The Hustler" and "The Fugitive Kind"). In his memoir "The Garner Files," Garner rated this as his worst movie, writing "I'd summarize the plot, but to this day, I have no clue what it is. Worst picture I ever made. What where they thinking? What was I thinking?" Garner may be a bit too hard on this film, because it's well produced from a technical standpoint and the cast is great, even if the script is an utter mess.

A man (James Garner) wakes up on a bench in NY Central Park with no memory. He has a phone number on a piece of paper. He calls the number and Gloria (Angela Lansbury) is woken up calling him Sam. He sees a Budweiser truck and a plane in the sky. So he calls himself Sam Buddwing. He goes to see Gloria but she doesn't recognize him. He thinks he knows a girl on the street calling out "Grace!" He follows her in a cab but her name is Janet (Katharine Ross). Although he recalls her as Grace during a long college romance. There is an escaped insane mental patients in the city. He notices his cracked ring is inscripted FROM G.V. He meets actress Fiddle Corwin (Suzanne Pleshette) who helps out the handsome man. Then he has a flashback with Fiddle as Grace and he's a musician as they struggle as a couple. A rich drunk socialite in a game picks up Sam. A memory is jogged and he recalls his life before he lost his memory.This could have been a great movie about paranoia. When the cop gets surrounded by a crowd and then they follow it up with a raving lunatic, I thought it was going somewhere interesting. I thought maybe Katharine Ross was actually Grace and she was hiding from him. That would have been a much better movie. This is rather bland. The end really has no tension. The flashback gets tiresome. The high hopes early on soon fades away.

I only recently caught this on TCM cable the other day. After watching it twice (and yes, it really does merit multiple viewings) I asked myself, "where has this little gem been hiding?" This movie came out in 1966, and this is the first time I've ever seen it.Jim Garner is cast somewhat against type as the not-so-granite character we've come to know and love: here, he plays a man suffering from a bad case of amnesia. He wakes up on a park bench in New York City and, armed with only a few scant clues found in his pockets - a scribbled phone number without a name, some pills, a train schedule - he starts on a scatter-shot quest through the edges and byways of New York City in an attempt to discover who he really is.The movie has some interesting vibes going on: it's edgy, dark and suspenseful, also eerie and at times darkly comic. The plot is a bit convoluted, with odd flashback scenes juxtaposed with odd events and characters that occur in present time. If all of this makes the viewer a little disoriented, then the director has done his job well, because that is precisely how James Garner's character feels throughout the movie, right up until the very end.Along the way he encounters a colorful batch of characters, each of whom directs (or misdirects as the case may be) our hero to his final destination and ultimate discovery of who he really is, and how he came to end up on a park bench in New York. The interplay between Garner and these assorted characters - who play like a sort of human sampler of New York City - is what makes the movie so worthwhile. There's lots of interesting dialog going on, enough to make it worth your while to watch the movie several times.Nicely filmed in black and white, with an excellent supporting cast and excellent soundtrack, this is an engrossing and fast-moving story that never bogs down, and turns out to be one of the best offbeat movies I've seen in a long time. Highly recommended.