The Goodbye Girl – 1977
This was a romantic comedy done right. It was well-written, expertly acted, and fun. The characters were realistic and charming. But it makes sense. The script was penned by the famous playwright Neil Simon who is known for his witty and well-crafted dialogue, and good character development. If you know Simon’s most famous play, The Odd Couple, then you would easily be able to see his handy-work in The Goodbye Girl.
The film stars Marsha Mason as Paula McFadden, a single mother raising a ten-year-old daughter, Lucy, played by child actor, Quinn Cummings. The little girl is written to be precocious and very mature for her age. If the film had any flaws, I might point the finger at her, not because of how Cummings played the part, but because of how Simon scripted the character. He came very close to breaking the cardinal sin of movie-making – Cute for the sake of cute is never cute… never. But Simon stands right on that line without ever really crossing it, so I’ll let it pass.
The story begins as Paula and Lucy arrive home to find a note from Paula’s live-in boyfriend, saying that he has left them. But he has also rented the apartment to another tenant since the apartment is in his name. Eventually, the new tenant, a quirky young actor named Elliot Garfield, played by Richard Dreyfuss, arrives and demands to be let into the apartment. Rather than keeping Elliot locked out in the rain, and rather than throwing Paula out on the street, they agree to try living together. From there, personalities clash and hijinks ensues
Dreyfuss won the Academy Award for Best Actor for his efforts, and I think he really deserved it. He created a wonderful and likeable character who was very believable as the romantic lead. As professional actor, he was an egomaniac. He had eccentric personal habits and, since the lease was technically in his possession, he started off with a bold disregard for the two ladies.
Mason did a great job, as well, though this is the first role in which I can remember seeing her. She was pretty, though not gorgeous, and her on-screen chemistry with the young Lucy was fun and light. At first, she barely has a kind word to say to Elliot, but eventually he actually calls her on it and she realizes that he is right. She immediately softens her attitude toward him, causing him to fall in love with her. Also, her own sub-plot as a middle aged woman struggling to get back into shape to get a job as a dancer, the only profession she has ever really known, is interesting and fun. It was also realistic, as she ultimately fails simply because directors are looking for young dancers with youthful faces.
Paula is able to help Elliot through a difficult experience, which I felt was one of the movie’s funniest sub-plots. Elliot had moved to New York to play the lead in an off-off-Broadway production of Shakespeare’s Richard III. Unfortunately, the terribly self-aggrandizing homosexual director, Mark, played by Paul Benedict, wants the character of King Richard III to be played as a flaming sissy. The way that Dreyfuss agonizes over this ridiculous direction in what is supposed to be his big break in the Big Apple is so well acted. Dreyfuss played it perfectly.
The romance between Elliot and Paula is very well written. The two start off as complete opposites and the building of their romance is slow and grudging. Simon allows the relationship to take its time and grow in an easy and understandable way. I always have to roll my eyes at movies that portray true love as something that strikes instantly and conquers all. Real life doesn’t work that way.
One of the major themes in the movie is the emotional damage that Paula suffers because of the abandonment. Apparently this is not the first time she has been deserted. Naturally, when love blooms with Elliot, she is afraid that he will do the same thing. But the ending is so well done. Elliot’s career takes a surprising turn because of his involvement with the terrible Shakespeare tragedy and he eventually lands a part in a major film with a famous and respected director. However, this would require him to go to Seattle for a month. Paula assumes the worst.
But Elliot proves her wrong by going out of his way to reassure her that he loves her. He asks her to come to Seattle with him. The invitation is enough to convince Paula that he loves her, and her fears of another abandonment vanish. Her joy at this realization is infectious, and I found myself smiling right along with her.
So, I have to give this film a great big thumb-up for its brilliant script and its wonderful acting. If you like romantic comedies, this is one you should definitely see.