dougdoepke Even this crusty old fogey was entranced by the film-- well, maybe not so much by the last half-hour where the inevitable got over-stretched. Nonetheless, it's hard to think of better actors and script for an often poignant comedy. I didn't know before who Marsha Mason is, but I do now, in spades. So where's that Oscar that she so richly deserved. I love that first part where she and Dreyfuss try to divvy up the apartment, sort of like Germany and France trying to divvy up the Rhineland. Their chemistry, whether feuding or cuddling, is simply captivating. And little Cummings should qualify for a brainy Secretary of State. She's like an owl observing adult foibles from a tree. Add Simon's clever plot premise and snappy script and GG qualifies as one of Hollywood's brightest non-cutesy comedies. It may have New York written all over it, but thankfully human interest has no borders.

Lee Eisenberg By 1977, Richard Dreyfuss was a well established actor, having appeared in "American Graffiti", "The Apprenticeship of Duddy Kravitz" and "Jaws". That year he appeared in "Close Encounters of the Third Kind" and "The Goodbye Girl", winning an Academy Award for Best Actor for the latter.Probably the most notable role that year was John Travolta's turn as a working-class youth who dances to disco music in "Saturday Night Fever", one of the most iconic movies of the decade. By contrast, barely anyone remembers "The Goodbye Girl". On the other hand, Richard Dreyfuss is the better actor (more importantly, he frequently addresses political issues, while John Travolta is now more known for Scientology than for his movie roles). Are Academy Award nominations meant to address roles or individuals? Whatever the case, this movie - the first that Neil Simon wrote directly for the screen - is worth seeing. I actually liked Marsha Mason's role more than Richard Dreyfuss's. I'd call her one of the most underrated actresses. Overall, it's an OK movie, not a masterpiece.

vlad n. leu I've sworn to only post comments & reviews of movies that I've truly loved, enjoyed or at least have been positively inspiring... This '70s one, reloaded from the WB vaults, is simply extraordinary... I've just seen it again today (probably for the 4th or 5th time since the '70s...), 21st Sep 2016, aired by HBO in my very remote & rather boring eastern-EU regional area... Almost four decades have passed since its release... Nonetheless, what a beautiful display of art & professionalism in every aspect... This one could easily be re-named as the very earliest & genuine "Two & a Half Men" very- very initial pilot !!! Dreyfuss & Marsha Mason are clearly the leaders, however the "kid" almost steals the show (she hates being called a 'kid'... but she will eventually accept it from the right person...). Please, all of you who have completely erased your memories of how incredibly funny & witty the Two & a Half Men series were, just bear with me for a few more seconds... Both Dreyfuss' & Mason's characters are highly strong-willed, just as two men or two women of character would be, very much determined to achieve their life objectives. The witted, beautiful kid draws them closer and gently, childlishly lets them realise that their love requires them to resolve all trust issues... Last time I saw this movie, some ten years ago, it had seemed to me a bit obsolete and boring. Today (thank U HBO for reviving it...), I've really loved it... Blame it on my age, if not anything else! (60+) ...

George Wright 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.