The Goodbye Girl (1977)

This Movie Can Only Be Described With One Word.

Most undeservingly overhyped movie of all time??

It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

If you like to be scared, if you like to laugh, and if you like to learn a thing or two at the movies, this absolutely cannot be missed.

This is the first time in recent memory that I have watched the line by line, scene by scene remake back to back with the original. I was actually quite frustrated that I had accidentally watched the 2004 remake, but I am now glad I did. Why? I now feel like I understand what casting is about and can grasp what screen testing is all about. Never have I seen such a lengthy exemplar on the differences the actors and actresses can make when they are the primary variable in a film. The original was better, as expected. Jeff Daniels did not seem to fit the role exactly and Patricia Heaton overacted almost every scene in the remake, although I did like Halie Kate Eisenberg's performance a lot. She did as well if not better than Quinn Cummings, who played the daughter in the 1977 original. Richard Dreyfuss and Marsha Mason seemed much better cast for the roles and had much more believable chemistry.

I can't help but channel another favorite film of mine, "Star Wars" as I compare the outrageous but more comported and more intelligent film of yesteryear to today's offerings. A film made for adults, about adults, acting like adults, with adult problems, and solving them like adults might, and did before the market reshift of the 80s and 90s to a pure teenage audience (or audience with teenage taste)."The Goodbye Girl" is the kind of film I like to see and watch. It's a more comported film about people behaving like mature adults, without succumbing to the urge to be a child with raging hormones. But the theatre of the 70s was a different animal than today's teenage market model.Neil Simon's play, translated to the screen, is full of wit and verve. It is funny without condescending to body functions, nor explicit sex for the sake of shock (which has lost its shock altogether). We're seeing the courting of a couple, both of whom are fighting to hold onto their dreams and stay in the world they know and love without succumbing to defeat.Challenges are made and met, mostly from the couple that fight, vie and come to a state of détente and acceptance. Both Dreyfus and Mason are high energy and outrageous without being stupid and insulting (again, unlike so many of today's contemporary films). Watching this film I'm reminded of the adults that used to pervade society on all levels. I can also feel, see, sense and smell the set of the small apartment in New York; the art direction and lighting design are that good. Throw in some very competent actors, and you got yourself one great photplay waiting to be shown. I used to hate and bemoan the 70s, but this film reminded me that those years weren't so bad. If I had a critique of the film, it's Simon's writing style. It's full of more wit than I think most people can readily absorb. He's almost too funny at times. It's the kind of thing that's both his trademark and his bane. Referencing a non-sexual double entente and political ongoings of the era were zestful. It was an age when information was more filtered, though prevalent, yet delivered at a wiser pace to allow for mental digestion. But Simon bucks the trend of the time by delivering wit fast and furious. It was, and still is, considered great art and genius. Though at times it can be silly.An actor and a former hoofer with a daughter? Can it work? Well, you probably know the answer to that one, but it's the journey that's the actual joy. An old fashioned film for an old fashioned time, when technology, though present, didn't pigeon hole personality types into discreet demographics. In short, this film is made for most everyone.Ah, and I haven't given one of these in a while, there are a couple of marginally racy scenes. After all, it is a PG film, and I would urge the parent or would be parent who's interested in watching this with their children, to pre-screen it first, and then decide.Again, overall an inviting film with some funny, witty and tender scenes. It's also marginally cliché in a Neil Simon kind of way, but it's what you expect, and you love the man for it.A decent watch.

Hold on tight, I am going on a bit of a rant. "The Goodbye Girl" was a very frustrating movie for me to watch. While it's clearly a very good film and I liked Richard Dreyfus' character very much, the writing irritated me as it seemed a bit irresponsible.My problem is with Marsha Mason's character. The film begins and her live-in has apparently dumped her--moving out and leaving a 'Dear Jane' letter (nice guy, huh?). You feel a bit sorry for her until you soon learn that this bum was STILL married and she knew it! And, she'd been married once before. Now it's obvious she's not good at making decisions involving guys. BUT, here's what really bothered me...she had a young daughter and seemed to have no problem with her kid seeing all this chaos. And, in a weird twist, the little girl sounds like the mother--dispensing wisdom and rolling with the punches. And, Mason often seemed to expect her kid to parent her--making her feel good about herself when bad things happen. Considering how wildly popular the film was, obviously most folks didn't feel the way I did. I just found her character difficult to like and the film could have been better had she had failed relationships BUT they were not caused by her own stupidity. Sleeping with a married man?! What man would want a lady like this? To me, this does NOT seem to be the makings for a romantic film! It's sad, really, as the rest of the film was excellent. Richard Dreyfus was exceptional and I could see why he got the Oscar--he was likable but flawed and quite charming. Mason, on the other hand, seemed like an emotional basket-case in need of saving--not a woman a reasonable man would want in his life. So, as a result of loving and hating the film, I was left VERY emotionally torn--frustrated and touched at the same time (which is a very strange feeling!). Well worth seeing but I can't help but wonder if folks watching the film internalized this weird message and perhaps thought Mason's parenting wasn't that bad and might have unconsciously emulated this. Kids need a lot more security in their lives than the one in this film got. It sure seemed like a case of child neglect in order for the mother to make herself feel good.

They can fight; we'll give them that. And for some couples that might be a bad thing but for these two we think it bodes well.This was a super-retro for us. We know there are plenty of older movies out there but we hadn't seen this one in a really long time and had forgotten how good it is.Paula McFadden has been living in NY with her actor boyfriend Tony and her young daughter Lucy. The three are planning to head to LA where Tony has a movie role lined up. But after finishing up some last minute shopping Paula returns home to discover that Tony has cleared out without her and headed to Italy instead. To make matters worse she also learns that he has sub-let their apartment to Elliot Garfield, another actor who arrives that night soaked to the skin and with all of his belongings.Despite her best attempts to keep him out, she has no choice but to let him in and the two agree to a cautious sharing of the apartment. Unsurprisingly this creates friction between them. Paula is already over-wrought, over-protective, and over-emotional, and she is clearly afraid to trust anyone. Elliot is funny and quirky, but comes with a bag full of annoying habits including late night meditating complete with full volume "OMs." We found his desire to irritate Paula quite understandable but his lack of consideration towards her sleeping daughter pretty uncharitable.While the close proximity gives these two ample opportunity to rub each other the wrong way it allows them to see the good qualities in each other as well. Paula can be sweet and sensitive, and she has an open honest relationship with her daughter. She is perhaps too willing to let her feeling show (nobody loves an open wound), but we appreciate her honesty. Elliot is funny, charming and generous - we love the rooftop dinner and the horse-and-buggy after school pickup. And he clearly loves Lucy.The two have great intercourse and not just between the sheets. They fight, they quarrel; they laugh, spar, debate and vent. They exchange and converse. In a word - they communicate, and well. Paula's neuroses may get in the way from time to time, but Elliot doesn't seem to mind soothing them out. We think it will be a long time before these two say goodbye.http://www.reel-couples.com/paula-mcfadden-elliot-garfield/Reel Thing Rating: 4 out of 5 Reels