In other words,this film is a surreal ride.

One of the best movies of the year! Incredible from the beginning to the end.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

Claude Eastman (Dudley Moore) is a famous composer and conductor. His new young wife Daniella (Nastassja Kinski) is an actress. A confusion causes his friend to hire a private investigator to check on her. The investigator finds something which drives Claude mad with jealousy. He has a fantasy of murdering her and framing her supposed boyfriend violinist Maxmillian Stein (Armand Assante).There is something unfunny about an angry jealous Dudley Moore. I've never seen the original Preston Sturges. I have to think that another comedic actor could inject some screwball comedy into this dark character. Dudley is simply hateful without being fun. I imagine a Danny DeVito would be a better fit. Dudley is better as the lovable lush. I don't like him as this character and I can't laugh at him either.

Dudley made the film so much more funny. By seeing both versions you can why Dudley was a comic genius. I miss him. Dudley makes clear what screwballs we humans are. And he takes ordinary script lines and makes them very funny. Many of the elements of a Shakespearean comedy are in this film, but unlike the plays, this film has a terrific music score, has beautiful photography, and has simple dialogue. What makes this film great, for those mature enough to understand it, is Dudley Moore. Nothing goes as planned and each instance is usually good for a few laughs.Howard Zieff is not exactly what I would call a great director, he was the man behind "The Main Event" and the "My Girl" films, but, he strings things together nicely here. The script is not completely a dud. Barry Levinson had a hand in the remake, so expects some funny bits. One of my favorite scenes is at the restaurant when Moore "thinks" Armand Assante is confronting him about having an affair with his wife, and the start a dueling violin contest of Tchaikovsky. Mr. Moore shows us his gift as a true comedian with shades of slapstick mixed in. Richard Libertini steals the film as Moore's Italian butler and the laughs are countless. The New York City scenery also is a plus with lots of midtown Manhattan brilliantly showcased (made me nostalgic).Overall rating: 8 out of 10.

Moore is a symphony conductor who believes his wife is cheating on him with fellow musician Assante. During a performance he devices a plan to get rid of them both. All works perfectly in his mind, but the execution is another matter indeed.Simply hilarious at times, this remake of the 1948 original benefits hugely from an extremely appealing cast and witty script. Even Albert Brooks, who's usually rather tiresome, is very funny as Moore's friend who accidentally sets all things in motion.These comedies that only use misunderstandings as the film's driving force are completely hit or miss. This time it's all well written and, under some unusual circumstances sure, it could happen. The ending, when Moore executes his plans, is nothing short of fantastic, he's simply at his comedic best. It's the conclusion really that misses, sort of cheap but up until then it's a lot of fun.

This is a comedy of errors in which the viewer knows almost everything while the on screen actors are in a perpetual state of confusion. Dudley Moore has the enviable task of playing a famous middle aged music conductor who is married to a young, ravishing Italian starlet played by Nastassja Kinski. And she is passionately in love with him. For the times, this would have been the ultimate middle aged, male fantasy. Via a misunderstanding, Dudley Moore ends up in a comedy of errors scheming to kill off the delicious Nastassja Kinski who easily fits into her innocent role. Lots of fun to watch, especially with Nastassja as the eye candy.