Pretty good movie overall. First half was nothing special but it got better as it went along.

Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

First part is full of bouncy fun as virginal Eileen (Fonda) struggles with raging hormones vs. traditional morality. Cut loose from her fiancée and roaming in New York, she and Mike (Taylor) meet cute on a bus and then try to handle their mutual attraction without admitting it. Meanwhile her pilot brother Adam (Robertson) tries to juggle a planned tryst with the luscious Mona (Morrow) with an ornery flight schedule, adding amusing results to the mix. This first part is fast-moving, clever, and adorned with many city backdrops. Then, however, things slow down in bumpy fashion once mistaken identities are added to the mix; at the same time, talk inside a single apartment set takes over.Note how the first part especially is studded with 1960's innuendo as 1934's Production Code censorship weakens. It's like the movie is flexing naughty muscles following a long 30-year jail term. Moreover, popular culture too is undergoing a similar sexual release, one soon to burst forth in a free-wheeling counter-culture. Certainly, Fonda has never been more radiant, while her spark and bounce carry the movie's main parts. To me, however, Taylor's casting as her chief romantic interest results in an awkward blend. He does his best in a farcical role, but lacks the light touch. Then too, his highly mature facial features and short stature just don't look like a maiden's dream, particularly for the bubbly Eileen. No wonder the fine dramatic actor went on to specialize in action features. On the other hand, Robertson, as Eileen's calculating brother, adds a note of beleaguered sanity to the zany occurrences, while Culp revels in the role of our girl's giddy fiancée.All in all, the movie's crux may be dated, but the mix is generally amusing; at the same time, Fonda appears to be having genuine good time.

It's always interesting to see how my ratings compete to the general IMDb population. 6.7? Really? Come on, folks. What's not to like? This flick features a young Jane Fonda in one of her first feature roles. I never saw this parallel before, but she reminded me a lot of Elizabeth Montgomery here. Cliff Robertson and Rod Taylor were fantastic. I LOVE the nostalgic feeling engendered by the time and place of New York in 1963. It took me about 150 minutes to watch this 95-minute movie because I kept pausing it to study various aspects of the uber cool loft apartment, Rockefeller Center, Playboy magazine and the Peter Nero club, among other things. The dialogue is witty, clever, and a bit forward for 1963, especially in the early scenes with Fonda and Robertson discussing the expectations on a 22 year-old virgin. "He works out three times at the gymnasium playing handball, if you know what I mean"!!! Whoa!!! I thoroughly enjoyed this rom-com. Definitely a movie I want to watch again with friends. My scale:1-5 decreasing degrees of "terrible", with 5 being "mediocre"6- OK. Generally held my interest OR had reasonable cast and/or cinematography, might watch it again7 - Good. My default rating for a movie I liked enough to watch again, but didn't rise to the upper echelons8- Very Good. Would watch again and recommend to others9- Outstanding. Would watch over and over; top 10% of my ratings10 - A Classic (6 of 430 movies have received this)

Early Jane Fonda film. Amazing that the make-up artist did such a poor job with Fonda's looks. Even the contours of her face leave a lot to be desired. She isn't pretty at all. I actually thought that in one scene, she reminded me of Fruma Sarah from "Fiddler on the Roof" fame, the long dead wife of Lazar Wolf the Butcher who plots revenge on Tevye's daughter for actually wanting to marry her husband.This being said, we have a romantic comedy that deals with a very odd Sunday for a brother and sister- Fonda and Cliff Robertson. We have Robertson preaching about sex life, while he is actively engaged. He just can't seem to be with his girlfriend to scheduling problems and with her landing on a plane without him twice.Fonda, having just broken up with her boyfriend, meets Rod Taylor by chance on a N.Y.C. bus two times under similar circumstances. Of course, her boyfriend comes into the film and to cover herself, Fonda claims that Taylor is her brother. Naturally, when Robertson reappears, this creates further mayhem.The acting is good with the exception of Fonda. She'd really develop as a mature dramatic actress as the years went by.

Jane Fonda (she's Eileen) goes to New York on Sunday to visit her brother Cliff Robertson (he's Adam). She thinks he is a virgin! He thinks she is a virgin! You'll guess one of them is right. ANYWAY, Ms. Fonda doesn't know whether she wants to be a virgin, or not - so, she seems (I guess) to go out to pick-up a man - enter Rod Taylor (he's Mike). Things get even more zany! Mild, dated situation comedy. The message may be: Stay virginal and be rewarded by true love with the man you pick up? Fonda, Taylor, and Robertson are trying. The focus is on Fonda and Taylor, who really do a fine job with these roles. They are very professional, and do (and, are directed to do) nice bits of characterization. The material isn't awful, it's just not quite a movie for all-time. ***** Sunday in New York (11/13/63) Peter Tewksbury ~ Jane Fonda, Rod Taylor, Cliff Robertson, Robert Culp