The Subject Was Roses (film) - Critical Reception

Critical Reception

Vincent Canby of the New York Times called the film "one of those . . . middle-class domestic dramas that — for various reasons — time has passed by, as it has the Philco Playhouse . . . The play has been brought to the screen with flat, fatal fidelity by Mr. Gilroy . . . Quite awkwardly (since it makes you aware of everything else you are not seeing), the one-set play has been opened up with several excursions outside the Bronx apartment. What's worse, Mr. Grosbard has retained the Broadway pace, which is particularly evident in the performances of Mr. Albertson and Mr. Sheen . . . The tempo of the acting often seems to be outrunning the movie itself . . . Miss Neal's presence . . . gives the movie an emotional impact it wouldn't otherwise have . . . She has, in fact, simply too much style and wit for this kind of monosyllabic nonsense."

Roger Ebert of the Chicago Sun-Times thought Gilroy's "extraordinary play . . . has been filmed with the greatest care, but it fails as a movie. It is hard to say exactly why. There's nothing obviously wrong, but when you walk out you don't feel as if you've been there. Something was missing." He added, "Part of the problem is with the actors, I think . . . Albertson and Sheen . . . talk loudly, their movements are too obvious, they are trying to project . . . Miss Neal, who knows the movies, is better suited to the medium. She holds back, she suggests more than she reveals, and when all three actors are on camera her performance makes the other two look embarrassingly theatrical. And there is where the movie fails."

Variety said, "The terrific writing, which top-notch performances make more magnificent, displays a wide range of human emotions, without recourse to cheap sensationalism or dialog. Grosbard's perceptive direction keeps the bickering and banter from becoming shrill histrionics."

TV Guide rated the film four stars, citing "the terrific acting, sharp writing, and outstanding direction from Grosbard" and adding, "Never does the emotion explode into oratory, so almost every scene has an underlying tension that continues to bubble."