The Goodbye Girl is a well-paced and bright romantic comedy from the 1970's which also reflects the lifestyle and social currents of that decade, sandwiched between 60's idealism and 80's materialism. This might sound glib but for me, it fits neatly in that period when young people were coping with disappointments and heartache as they tried to build lives for themselves. The script and the acting are funny, sad and entertaining throughout.
The repartee between Marsha Mason and Richard Dreyfuss sparkles as the two people who are forced to accept each other as roommates, only because of economic necessity. One is a granola-eating guy from Chicago who meditates and exercises as he tries to make it in the New York theatre scene. The young woman is a single mother who has been abandoned by her common-law husband and tries to return to dancing. The music of Bread evokes the soft rock of the decade. We see Marsha Mason working as a sales girl for a Japanese car company in an era before Japanese cars were commonplace. Before gay rights became part of the social agenda, Richard Dreyfuss takes on the role of Richard II in a way that a 1970's audience felt was more like their home decorator or hairdresser. It all seems a bit dated and predictable; however, with the acting of Mason and Dreyfus and the brilliant script from Neil Simon, it still entertains and resonates with audiences.
The repartee between Marsha Mason and Richard Dreyfuss sparkles as the two people who are forced to accept each other as roommates, only because of economic necessity. One is a granola-eating guy from Chicago who meditates and exercises as he tries to make it in the New York theatre scene. The young woman is a single mother who has been abandoned by her common-law husband and tries to return to dancing. The music of Bread evokes the soft rock of the decade. We see Marsha Mason working as a sales girl for a Japanese car company in an era before Japanese cars were commonplace. Before gay rights became part of the social agenda, Richard Dreyfuss takes on the role of Richard II in a way that a 1970's audience felt was more like their home decorator or hairdresser. It all seems a bit dated and predictable; however, with the acting of Mason and Dreyfus and the brilliant script from Neil Simon, it still entertains and resonates with audiences.