"To eat with the devil you need a long spoon." Chaucerian proverb
Melvin Frank uses physical injuries of his characters under his direction to suggest the brittle collision between reality and expectation, especially as we head into maturity, but George Segal and Glenda Jackson don't carry any authentic seasoning to Lost and Found. Wince worthy, especially as Jackson embodies the best a female command presence has with out insinuating lesbianism must necessarily follow.
Neither Segal's loss of spouse nor Jackson's divorce get anything other than cursory summaries via way of explanation. There is a fake suicide staged, which, thanks to a cat, puts Segal in danger. He recovers, has a germane outburst, is about to tell Maureen Stapleton what she can do with her liberal pretensions when the real reason Jackson was cast becomes clear: to stop the unspeakable.
Impairment incorporation, as occurs when Hannibal gives Verger a high C-4, is an improvement.
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