Tag Archives: Marsha Mason

The Goodbye Girl

 

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_goodbye_girl_lobby_card

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.the-goodbye-girl_marsha-mason

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.”1977-goodbye-girl-the-02

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.

Seems Like Old Times For a Foul Play

 

How about the perfect Double Feature…for a comedy set I would enter for consideration, Foul Play (1978) and Seems Like Old Times (1980), both featuring Goldie Hawn and Chevy Chase.

After a pair of successful screenplays like Harold and Maude (1971) and Silver Streak (1976), the studio decided to give Colin Higgens his first shot at directing and he came up with Foul Play.  It was a hit and he would go on to have two more soon after with 9 to 5 (1980) and The Best Little Whorehouse in Texas (1982).  That’s a pretty good line-up of films for any writer-director in Hollywood, it’s very sad that he died at a young age, as he could have gone on to do so many more great films.foul play 2

Foul Play made bankable Stars out of Goldie Hawn, Chevy Chase and Dudley Moore. Dudley Moore was not the original choice for Stanley Tibbs as the role was originally written for Tim Conway, but he declined due to the sexual nature of the role. Dudley Moore was thrilled, however, because he was able to shine in the role and it started his American career with later films like 10 (1979), Arthur (1981) and Unfaithfully Yours (1984).

I love everything about this film, including all the music from the Mikado and I also remember that Barry Manilow had a huge hit with “Ready to Take a Chance Again” that is featured at the beginning of the movie. I was interested to learn that Steve Martin originally read for the role of Tony Carlson but lost the role to Chevy Chase. Steve Martin would go on to star with Goldie Hawn in 2 films later; Housesitter (1992), and The Out-of-Towners (1999). The Out-of-Towners is ironic as it was written by Neil Simon, who also wrote, Chevy Chase’s and Goldie Hawn’s next match-up, Seems Like Old Times.seems_like_old_times_chevy-chase

I read a very interesting story on how Neil Simon prefers to work. Since he’s a play writer as well as a screenwriter, he prefers to do all rewrites as the actors rehearse the script/play, giving the actors news scripts before each rehearsal. This movie had a two-week rehearsal period in which during this time writer Neil Simon customized the screenplay to tailor the lead stars’ personalities. During the two-week rehearsal period, Simon observed the needs of his stars and was able to re-write portions of the script to better suit their individual personalities. “There is a terrific quality about Chevy [Chase],” says Simon, “He’s the bad boy in class. You never know what he is going to do. I tried to capture that in the script and in each day’s rewrites”.

This Neil Simon movie was written directly for the screen and was not based on a Neil Simon play as many of his other movies have been. For writer Neil Simon, working with Goldie Hawn, was a delight. Simon said of Hawn that she was a “…rare combination. She can be very funny and very sexy. She has a true appreciation of what’s funny and what’s bleak in life” and “She has the two main ingredients for a film comedienne: she’s funny and very sexy. Audiences respond on two levels to that. They are taken by it. She’s terrific to work with”.  It’s interesting to note that Goldie Hawn’s role was originally written for Neil Simon’s wife, Marsha Mason and she was set to do the film originally with Burt Reynolds in the Chevy Chase role.seemsThis would be my favorite of the Neil Simon movies, but I very much liked the movies; Murder By Death (1976), The Goodbye Girl (1977), and Chapter Two (1979). Charles Grodin was fantastic in this movie as Goldie Hawn’s husband, and interestingly, has 2 other movies with Neil Simon, The Heartbreak Kid (1972) and The Lonely Guy (1984) which ironically as well, is a film starring Steve Martin.

Emmy Award-winning TV director Jay Sandrich was drawn to Neil Simon’s script because of the finely crafted writing. Sandrich said: “It’s the type of comedy that I had been doing for years, I understood it completely. I think it has a certain flair and the madcap quality that some of those 30’s pictures had, With writing as good as this, I knew that everything else would fall into place. In this particular script, although it’s very farcy and fast-paced, there are times when the relationships are very valid and very human; and that’s the important thing . . . that the audience care about these people and really believe that they can exist. I think Neil’s script is so well crafted that you could take out the jokes and play it as a drama”.

So now if you are wondering what two films to rent for a great double feature (in this day and age, download) try these two, as you won’t be disappointed with either.  Great films! I would consider them, modern-day classics.