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Last of the Red Hot Lovers (1972)

PG | | Comedy | 27 April 1973 (Finland)
A middle aged restaurateur begins to feel the desire to roam and realizes that one day each week, his mother's apartment will be empty all afternoon. He makes several attempts at seduction,... See full summary »



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Cast overview, first billed only:
Bella Bruck ...
Sandy Balson ...
Frank Loverde ...
Bert Conroy ...
Bert (as Burt Conroy)
Charles Woolf ...
Ben Freedman ...
Buddy Lewis ...
Waiter #1
Waiter #2 (as Mousey Garner)
Man with Boxes
John Battiste ...
Truckman's Helper
Sully Boyar ...
Man #1 Coffee Shop


A middle aged restaurateur begins to feel the desire to roam and realizes that one day each week, his mother's apartment will be empty all afternoon. He makes several attempts at seduction, only to learn that it is much more complicated and difficult than he could have imagined. Written by John Vogel <jlvogel@comcast.net>

Plot Summary | Add Synopsis


Barney wanted women in the worst way. And that's the way he got them.




PG | See all certifications »




Release Date:

27 April 1973 (Finland)  »

Also Known As:

Der Letzte der feurigen Liebhaber  »

Filming Locations:

Company Credits

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Aspect Ratio:

1.85 : 1
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Did You Know?


Actor James Coco played the Alan Arkin Barney Cashman lead role in Neil Simon's "Last of the Red Hot Lovers" on Broadway. Coco was nominated for the 1970 Tony Award (New York City) for Best Actor in a Drama but did not win. Later, Coco would co-star in three Simon written movies, Murder by Death (1976), The Cheap Detective (1978) and Only When I Laugh (1981), the last of which Coco was Oscar nominated for Best Supporting Actor. See more »


Barney Cashman: I read the obituaries every day just for the satisfaction of not seeing my name there.
See more »


Referenced in Last of the Red-Hot Dragons (1980) See more »


What the World Needs Now Is Love
Lyrics by Hal David
Music by Burt Bacharach
Performed by Paula Prentiss
See more »

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User Reviews

Fun for a while and then.......
6 July 2004 | by See all my reviews

Based on one of many Neil Simon plays that occur within a single room with varied vignettes, this one concerns a man (Arkin) who wakes up and decides that his life is too dull and safe and needs some spark in it. So he daringly and trepidatiously uses his mother's one-room apartment to set up a series of afternoon liaisons with women he finds desirable and each of the trysts has unexpected and mostly comic results. First he meets up with Kellerman, a jaded, sophisticated bitch who has lost most of her feelings, but still enjoys the sensation of sex. Next up is wacky Prentiss, who babbles on endlessly while displaying signs of what this generation calls ADHD and inventing all sorts of possibly-imagined drama for herself. Finally, he invites troubled, married Taylor, who is enduring her own husband's infidelity and wants to pay him back. By the time Arkin has dealt with this trio of misfits, he discovers things about himself that he hadn't originally realized. It goes without saying that the production is stagy in the extreme. The set even contains the ever-present (and much loathed by experienced theatre critics) couch DEAD CENTER in the playing area. Attempts have been made to "open up" the story slightly and extend the ladies' parts a bit, but this only draws attention to the main playing area and the repetition of it all. Arkin gives a fully-committed, deeply thought-out performance in a role that really showcases the female roles more than his own. He, however, isn't always delightful to listen to as he pontificates and screams with regularity. Kellerman is perfect for her part and has some funny throwaway lines (notably after she coughs for an eternity and then asks for something besides water afterwards.) Prentiss also performs admirably in a role that requires a particular brand of nuttiness. Her unusual vocalisms probably would be better suited to the stage, but the whole project is better suited to the stage. Taylor is probably the least endearing of the three, even though her character is likely meant to be the most sympathetic. She, like everyone in the cast - right down to the bit players - seems to be portraying the most strident and grating aspects of a New Yorker. It would almost count as an insult to the people of NYC were it not a project written and directed (and mostly acted!) by true blue New Yorkers! So it had to be intentional. Arkin's voice often sounds exactly like Jerry Seinfeld's. There's a reason that "Seinfeld" was just a half hour long and that he never starred in any films. A person can only take so much. That may be why a little of this film, even though it has some very amusing content at times, goes a long way. By the time Taylor shows up, it's already overstayed its welcome.

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