On stage, "two-handers" -- plays featuring only two actors -- can be enormously entertaining and compelling, allowing performers the chance to dig under the skin of their characters and treat the audience to an intimate experience that has a special reality of its own. Unfortunately, it's difficult to make these kinds of plays work as well on film. The artifice that is often necessary to create an intended impression onstage comes across as mere fakery onscreen, and carefully delineated plots may all of a sudden seem too schematic and planned. Even dialogue suffers, as the intense visual scrutiny of the camera gives the viewer information he doesn't get onstage, so that the dialogue becomes too expository or stilted or stiff. Two for the Seesaw suffers from all of these problems, although it is ultimately redeemed by the basic warmth and appeal of its story and by Shirley MacLaine's sweet, vulnerable performance. Robert Mitchum doesn't come off as well, partially because the role doesn't call on the qualities that suit him best and partially because the role is not as well written as MacLaine's. Robert Wise's direction is smooth, even if it's not able to overcome the artificiality that dampens the film, and Ted McCord's photography is on-the-money. Too stagey even though opened up, Seesaw still makes for a decently enjoyable viewing experience. ~ Craig Butler, All Movie Guide