There are some funny scenes, like the Mom alone in her sons' apartment. But this is one of those films that even those of us men who aren't wild feminists are embarrassed to watch. That whole ring-a- ding-ding Sinatra cool where his dames are little more than sexual toys is not hip or appealing -- it's just creepy.But the thing that I hate most about this movie -- and some of the movies from that era -- is how we're supposed to be completely oblivious to the actors' real ages. Sinatra was more than old enough to be his kid brother's father -- hell, in another few years, he could have been his grandfather. We're supposed to ignore that because he's Frankie -- just like we're supposed to ignore age gaps in Fred Astaire movies of the Fifties, or Bogart and Hepburn in Sabrina. I love the feel of Fifties/Sixties New York movies, like Breakfast at Tiffany's, where you can see the unrealized potential of the women, some of whom seem more confident in their place than their current counterparts. But this movie isn't one of them.

Well, let me see. This is a comedy without any comedy. This is one of the worst movies had (Neil Simon)'s name on it ever. And this is the 1960s' most theatrical cinema I've seen.Come to think of it, the conversations are too long and not even droll or try to be. (Bud Yorkin)'s direction is anything but cinematic. Moreover, (Lee J. Cobb) was four years older than (Frank Sinatra), and he played his father !. Not to mention that (Sinatra) himself as the bachelor playboy was 48 years old while his brother, Tony Bill, was 23 (Yes, 25 years between them !). I believe that Jill St. John is fiery sexy, though here she was boring !. (Sinatra) does an imitation of President Kennedy, and Dean Martin appears in dull cameo; they seem like inside jokes for Sinatra so his fellows ! And the title? Sorry, but I have to suspect a double meaning where the other one is lewd; as it's harmonizing with the 1960s' free swinging spirit, and the era's boldness's limits. And even if, the movie as a whole fails on the level of being a sex comedy, or sexy, or comic ! This is a memory from what looks now as a far faraway galaxy. It was lovely age, but (Come Blow Your Horn) is not its best, or an example for its entertaining works. Seeing it in the 2000s is a history lesson more than a nostalgic installment. To assure how even at those classic days, there were weak movies and with big names. Yet at least they were making them that polished (the movie had nominated for the Oscar of the Best Art Direction-Set Decoration, Color). Anyway thanks to the TV that keeps transforming the "forgettable" into "unforgettable".So what's here to love? The title's song, it's clever and I loved it, so the music.

This comment was intended to be with PAL JOEY. Not sure how it got here.whpratt1 obviously has a lot of time on his hands, to quote an old song he probably never heard of (why does he seem to enjoy displaying this fault?). Anyone that considers Pal Joey as a classic film musical has a LOT to learn.The film is not true to the source material and most of the roles are mis-cast. It's curious that, at the time Broadway musicals such as Oklahoma!, Carousel, and The King and I were faithfully and successfully represented (for the most part) on film, the makers of the film version of Pal Joey managed to ruin a perfectly good story and a eliminate most of the show's wonderful score. The casting and performance of Rita Hayworth in the leading female role has probably contributed a great deal to subsequent mis-casting of the role in subsequent stage productions: Patti LuPone and Lena Horne. How whpratt1 can consider this a classic film musical is beyond me.

I have to agree with most of what the previous commenter says; this is a largely disappointing movie. Neil Simon's wit here is not yet up to "Odd Couple" or "Sunshine Boys" speed, and some of the acting is lame. Jill St. John is a tad too cutesily dumb, and Tony Bill's Buddy is somewhat grating, especially after his unconvincing conversion from youthful innocent to roue. However, Sinatra is always worth watching and listening to, especially in the masterful Nelson Riddle's arrangements (here an original song, actually). However, the movie is almost worth watching solely for Lee J. Cobb's performance as papa Baker; his sidesplitting performance as the terminally frustrated Mr. Baker is a study in comic skill, particularly in the scenes where he invades the brothers' apartment. I had never see Cobb do comedy before; now my estimation of him as an actor has increased immeasurably. Catch this one just for Cobb.