I love this movie. That’s my main thought as I think about The Goodbye Girl (1977). I can thank my sister, Page, for introducing this and Chapter Two (1979), another Neil Simon written film, to me when I was much younger. And The Wiz (1978) and Chorus Line (1985) for that matter. That’s what you get when you have a sister that is 4 years older than you and influences your early film experiences…sometimes I regret the last two, when I get razzed by my buddies about my specific favorite films, but not with Neil Simon’s stuff. There’s something to be enjoyed there by any gender and tastes…especially his brilliance in writing the perfect argument. From the Odd Couple (1970) on, he has been the master of hilarious arguments. According to Neil Simon, no one expected anything special at the box office from the film. “It had only one real star, Richard Dreyfuss; one rising star, Marsha Mason; and one cute ten-year-old, Quinn Cummings, with a slight love story directed extremely well by Herbert Ross and a rather nice script by me, if I have to say so myself…it probably wouldn’t have been made were it not for Ray Stark’s faith in it.”

The movie is about an unemployed dancer and her 10-year-old daughter who, after being dumped by her live-in boyfriend are reluctantly forced to live with a struggling off-Broadway actor. My sister was a dancer growing up and now a retired dance teacher, so I can see where her interests drew her to this movie. It was directed by Herbert Ross, who directed 5 of Neil Simon’s movies over the years but also the classics (well, they’ve held up over time, anyway): Goodbye Mr. Chips (1969), The Turning Point (1977), Footloose (1984), Steel Magnolias (1989) and one of my other forgotten favorite’s, Undercover Blues (1993). What’s interesting about Goodbye Girl and Turning Point is they were both released in 1977 and unusually enough, he won Best Drama at the Golden Globes for Turning Point and Best Comedy for Goodbye Girl. Nobody has ever done that before and also not since.

Other than a brilliant script and a wonderful director, the real spark is between Marsha Mason and Richard Dreyfuss. They were both nominated for Oscars from this film, but only Richard one, which is a shame because Marsha was amazing as well. When Richard Dreyfuss was asked in a 2000 interview what made the film so special, he replied, “Goodbye Girl was a wonderful script. Wonderful. And as actors we never got tired of it. Never…It was funny and loving. And the actors and actresses in the show–especially Marsha and Quinn–were perfect. Like God had said these are the actors to work with. I once said that I’d like to play Elliot until I retired and got a Swiss watch because he was great. I wanted to be him, and I wanted to acquire his personality for my own.” Marsha Mason also recalled later, working with Richard Dreyfuss – “Richard was fast and funny. I was thoughtful and more serious. Richard was wild and free. I was a responsible wife and mother and an actress. I wanted so much to be like him. He was so sure of himself, so sure of his place and space, and he moves forward accordingly. He’s bright, bright, bright, incredibly well read, and comfortable with his intelligence.”

Another thing of note is that this film has just about the finest ending credit song there is. The film’s theme song “Goodbye Girl”, was sung and written by David Gates, and went to No. #15 on the Billboard Hot 100 Chart in 1977.