The Goodbye Girl.

Review #1455: The Goodbye Girl.

Cast: 
Richard Dreyfuss (Elliot Garfield), Marsha Mason (Paula McFadden), Quinn Cummings (Lucy McFadden), Paul Benedict (Mark), Barbara Rhoades (Donna), Theresa Merritt (Mrs. Crosby), Michael Shawn (Ronnie), Patricia Pearcy (Rhonda), and Nicol Williamson (Oliver Fry) Directed by Herbert Ross (#244 - The Sunshine Boys)

Review: 
"I think Herb Ross is the best director I've worked with in films. The others just don't understand my material as well."

"I always knew I was going to be an actor and that was that - no doubts, no uncertainties, no changing my mind. And that was when I was like, nine, ten. And it never changed."

It's good to make a comedy-drama when you've got the hands to make something meaningful. The film was written by Neil Simon and directed by Herbert Ross, who had collaborated with Simon in a group of films and plays that went from The Sunshine Boys (1975) to Max Dugan Returns (1983). Ross was a dancer-turned-choreographer-turned director, while Simon was a playwright and screenwriter that had started his line of work with radio before moving to TV with Your Show of Shows (1950-54), plays with Come Blow Your Horn (1961), and film with After the Fox (1966). Both lead actors had already had their moment in the sun rise in the decade in the year of 1973, starting with Dreyfuss in a quick rise from TV to American Graffiti while Mason made her feature debut in Blume in Love that led to work in theater with Simon (along with marriage after meeting during auditions for The Good Doctor). Simon had originally written a script named "Bogart Slept Here", which would have had Mike Nichols direct and Robert De Niro star in a film about the changes in an struggling actor's life after becoming a star. Production on that lasted just a week before De Niro was found to not being suited for the comedic aspects (with Nichols following later on), and Simon reportedly re-wrote the script in a span of six weeks.

For 110 minutes, one is presented with a fairly neat package of comedy and drama, rolling along with a few neat lines and some quirk-laced characters that interact with some zip to make a romance that paints its corners with fair conviction and enough moments to make it worth it. While it does prove awkward at times, Dreyfuss and Mason do eventually make things worth it in the build to establish interesting chemistry that makes the second half resonate with interest over the establishing half. Dreyfuss grows on you very quickly, having a spark of sensitivity and energy that inspires plenty of curiosity with good timing that drives as a bright charmer, whether that means trying to act in a play to his best or drunkenly reading scathing reviews of said play. Mason does well with what she is given, straight-laced but not too unapproachable for banter with Dreyfus or with Cummings, who makes for a fine family pairing to watch. The supporting cast is fine, with Benedict making for a worthy eccentric to see play out in his moments on screen, since the Richard III production scenes (based on an actual production that Mason had a part in) are generally the most amusing sequences in the film anyway, delivering a bit of perspective to what can go in a vision for something (regardless of how strange or funny it might seem). On the whole, when the film hits its mark in making you care for these characters, it hits with charm without needing to go overboard in one genre over the other to make a worthy watch for the era.

Overall, I give it 8 out of 10 stars.

The Best Little Whorehouse in Texas.

Review #1130: The Best Little Whorehouse in Texas.

Cast: 
Burt Reynolds (Sheriff Ed Earl Dodd), Dolly Parton (Mona Stangley), Dom DeLuise (Melvin P. Thorpe), Charles Durning (The Governor), Theresa Merritt (Jewel), Jim Nabors (Deputy Fred), Lois Nettleton (Dulcie Mae), Noah Beery Jr. (Edsel), Robert Mandan (Senator Charles Wingwood), and Barry Corbin (C.J.) Directed by Colin Higgins.

Review: 
Admittedly, some films can have some interesting back-story to them. This film, for example, was adapted from the 1978 musical of the same name by Larry L. King and Peter Masterson, who had developed the musical loosely based on events that occurred in La Grange, Texas in 1973. The two contributed to writing the film alongside director Higgins (who had written films such as Harold and Maude), with this being his third and final directed effort before his death in 1988. Carol Hall, writer of the music and lyrics for the musical, contributed to the music for the film alongside Parton, in her second film role after 9 to 5 (1980). One of the production companies involved with the film is Miller-Milkis-Boyett Productions (named for its three people involved, Thomas L. Miller, Edward K. Milkis, and Robert L. Boyett), with them being responsible for producing shows such as Happy Days and Laverne & Shirley alongside films of their own such as Silver Streak (1976) and Foul Play (1978).

With all of that in mind, the film proves to be a fair if not flawed charmer. It doesn't come off as a surprise that the film fell to cuts (reportedly the original version lasted roughly two-and-a-half-hours), particularly when the film starts and ends with Nabors giving off narration to help with telling parts of the story, and that certainly feels a bit weird for something that lasts 114 minutes. At the heart of trying to provide charm is the duo of Reynolds and Parton, who certainly seem to want to generate excitement, particularly when singing together. For the most part, they do a fine job in providing a chuckle and a smile, but it isn't anything too greatly special that you would see from other musicals. Reynolds pulls off his typical swagger and mischievous charm with the kind of effort you expect from him. Parton comes off as appealing and interesting to watch that I don't find too surprising - making the character come alive with a good sense of humor. Their duet song "Sneakin Around" is a decent one to listen to with a foot-tap or two. DeLuise essentially plays a caricature of any sort of "decency police" huckster with the kind of zip and edge (alongside a wardrobe suited for spectacle) that certainly plays fine against the coziness of Reynolds and Parton. Durning stands out in part due to his song "The Sidestep" that certainly clicks as an ear-worm while also being pretty amusing, particularly for the character played. Nabors (who sings the first song of the movie with "20 Fans") is quirky but a welcome presence for a film trying to balance humor with music. The other members of the cast are okay, but the real focus is the main trio, with occasional parts of raunchiness. The movie moves itself at a gradual pace with trying to go through its material with flashes of singing and humor that comes off okay. Its story does sometimes stumble when it comes to its romance, and the cuts made to the film perhaps play a big part in making it have a bit less meat to it than the aspects with songs. One of the more amusing sequences involves Reynolds confronting DeLuise in the town public square, complete with gruff language and a fountain. While I can say that I knew pretty quickly that it was not going to be a great kind of movie, I found myself enjoying it enough to make the experience worth it.

On a sadder note, I would like to say my respects to Burt Reynolds, who died on September 6. In the eight films I have viewed that have featured Reynolds, there is not one performance that isn't in some way memorable or entertaining. His performance in Deliverance is especially one that stands out amongst other fun times delivered in movies such as The Longest Yard and Smokey and the Bandit. I'll end this with a quote from the man himself - "All you really have in the end are your stories.”

Overall, I give it 7 out of 10 stars.

Billy Madison.

Review #887: Billy Madison.

Cast:
Adam Sandler (Billy Madison), Darren McGavin (Brian Madison), Bridgette Wilson (Veronica Vaughn), Bradley Whitford (Eric Gordon), Josh Mostel (Principal Max Anderson), Norm Macdonald (Frank), Mark Beltzman (Jack), Larry Hankin (Carl Alphonse), and Theresa Merritt (Juanita) Directed by Tamra Davis.

Review:
Let me get this out of the way early: I don't like this movie. And yet somehow, this manages to be the kind of movie that is digestible, even if it is made of some sort of junk. Much like the other Sandler films done on this show (#045 - Just Go With It and #345 - Happy Gilmore), the gags miss more than they hit (at least for me anyway), though at least this one (like the latter listed) is watchable at 89 minutes. Sandler plays a character with some sort of idiocy that can be endearing, I suppose. I'm just not a fan of his kind of shtick, which just feels tired after a few minutes. McGavin is pretty endearing, probably more than Sandler, despite not having too much screen time. Whitford is somewhat enjoyable as the villain (in a snarky way), because it's like seeing a race for weirdest character, though he loses that to Mostel, playing a school principal...and a wrestler. They are occasionally funny, somehow. Sandler and Wilson have a chemistry (in that it is a word) that sort of helps the movie have some sort of human element. It isn't charming, but it is something. There is a plot, and at least it's one that doesn't hurt the senses. Obviously this isn't a movie for me (or anybody looking for some comedy without easy gags with varying levels of body humor), but I can't really get too worked up about it. Who am I to judge a movie about people who act like fools? The movie flows the way you'd expect, with lame gags and being about as harmless as someone with too much caffeine. Would I recommend it? Of course not. But I can't stop you.

Overall, I give it 5 out of 10 stars.