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| The Goodbye Girl | |
|---|---|
| Name | The Goodbye Girl |
| Director | Herbert Ross |
| Producer | Robert Stigwood |
| Writer | Neil Simon |
| Starring | Richard Dreyfuss, Marsha Mason, Quinn Cummings |
| Music | Marvin Hamlisch |
| Cinematography | Victor J. Kemper |
| Editing | Michael Kahn |
| Studio | Rastar |
| Distributor | Columbia Pictures |
| Released | 1977 |
| Runtime | 111 minutes |
| Country | United States |
| Language | English |
The Goodbye Girl is a 1977 American romantic comedy-drama film written by Neil Simon and directed by Herbert Ross. The film stars Richard Dreyfuss and Marsha Mason with a notable supporting role by Quinn Cummings. The screenplay, production, performances, and score by Marvin Hamlisch contributed to the film's critical and commercial success during the late 1970s.
The narrative follows an aspiring actress and single mother in New York City whose life is disrupted when a previously unknown actor moves into her Manhattan apartment after its former tenant abandons the lease. Set against locations in Manhattan and alluding to the New York theatrical world, the story entwines themes of career ambition and parental responsibility. Tensions escalate as the newcomer tries to navigate professional setbacks tied to casting decisions at venues like the Broadway stage and encounters with casting directors associated with production companies. Subplots reference agents, unionized performers of Actors' Equity Association, and audition processes near landmarks such as Times Square and Lincoln Center, while the emotional core focuses on domestic dynamics and career crossroads.
The principal cast list includes leading and supporting performers connected with significant film and theater careers: - Richard Dreyfuss as the male lead, whose breakthrough followed earlier work in films like American Graffiti and later appearances in Jaws. - Marsha Mason as the female lead, an actress linked to stage and screen collaborations with writers such as Neil Simon. - Quinn Cummings as the child role, noted alongside young performers from family-themed films of the era. Supporting actors and cameo performers come from ensembles with ties to Broadway, Hollywood studios, and television series produced by entities like MTV Networks and NBCUniversal. The cast drew talent who had collaborated with directors including Herbert Ross, producers such as Robert Stigwood, and composers like Marvin Hamlisch.
Development began when Neil Simon penned the screenplay, leveraging his reputation from works such as The Odd Couple and Barefoot in the Park. Producer Robert Stigwood, known for managing acts such as Eric Clapton and producing films like Saturday Night Fever, acquired the project for Rastar and arranged financing with Columbia Pictures. Director Herbert Ross, previously associated with adaptations like The Turning Point, guided principal photography in New York locations tied to Manhattan real estate and stage production logistics. The cinematographer Victor J. Kemper crafted visual textures reminiscent of contemporary New Hollywood films alongside editor Michael Kahn. Composer Marvin Hamlisch composed a score that followed his prior work on projects including The Sting and collaborations with lyricists linked to Broadway shows. Casting decisions reflected industry trends involving agencies such as CAA and managers affiliated with production companies like United Artists and Warner Bros..
Upon release by Columbia Pictures in 1977, the film entered a marketplace dominated by releases from studios such as Paramount Pictures and Universal Pictures. Critics from outlets in New York City and publications covering Los Angeles theater and film industries reviewed performances and screenwriting with attention to comparisons to other romantic comedies and dramas of the 1970s, including films distributed by 20th Century Fox and reviewed at festivals like the Cannes Film Festival and industry events at the Academy of Motion Picture Arts and Sciences. Box office reporting placed the picture among commercially successful adult-oriented comedies alongside titles produced by companies like Metro-Goldwyn-Mayer and United Artists. The film's reception prompted coverage in periodicals headquartered in New York and Los Angeles, and discussions on television programs aired by networks such as CBS and NBC.
The film received recognition from major awarding bodies. Performances and the screenplay drew nominations from institutions including the Academy Awards, the Golden Globe Awards administered by the Hollywood Foreign Press Association, and guild organizations such as the Screen Actors Guild and the Writers Guild of America. The score by Marvin Hamlisch and the casting and direction by figures like Herbert Ross were cited in industry award season contexts alongside competing works from creators such as Woody Allen, Francis Ford Coppola, and Robert Altman.
The film influenced romantic comedy conventions and contributed to discussions within circles spanning Broadway playwrights, Hollywood screenwriters, and film critics in Variety and The Hollywood Reporter. Its screenplay by Neil Simon continued to be studied in writing programs at institutions like Yale School of Drama and referenced in courses at film schools such as the USC School of Cinematic Arts and the Tisch School of the Arts. Performances by Richard Dreyfuss and Marsha Mason remained part of retrospectives at venues such as the American Film Institute and retrospectives hosted by festivals including the Telluride Film Festival. The film's interplay of urban setting, theatrical ambition, and family dynamics is cited in analyses comparing it to contemporary works by screenwriters and directors associated with the New Hollywood era.
Category:1977 films Category:American romantic comedy-drama films Category:Films directed by Herbert Ross