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Poor Marsha Marson. All of her relationships end in failure. The guy simply walks out. She has a precocious daughter, devilishly played by Quinn Cummings. The latter received a supporting actress nomination and faded from the movie scene real fast. Where are you Quinn darling?

Forced to share an apartment with a stranger, Mason may finally be on the right track. Richard Dreyfuss is that man and in a surprise Oscar winning performance (Richard Burton was also up for Equus that year), he is perfect in the role as the charmer.

By movie's end Dreyfuss has to go off to somewhere but unlike the other men in her life, will return. How do we know he is coming back? Just see this delightful film and find out.

An original screenplay by Neil Simon, originally titled "Bogart Slept Here" (and set to co-star Marsha Mason with Robert De Niro), pits dumped-on single mother and former dancer in New York City with a high-strung off-Broadway actor in the same apartment. Hit comedy has a woodpecker's rhythm: some of the lines are funny but the smart talk is very theatrical, all in service of a contrived set-up. Luckily, the cast is winning: Mason is marvelous when she gets her ire up, punctuated with held-back tears, while Oscar-winner Richard Dreyfuss is a charming rascal (his play within the movie, "Richard III"--with its emphasis on Richard's homosexuality--is very amusing). The first half is generally too brittle while the third act is too soft, yet the players make the movie memorably cute and warm. Director Herbert Ross does some lovely, romantic things with rain here, particularly in his wet finale which is reminiscent in its staging and editing of the final scene in "Breakfast at Tiffany's". *** from ****

What starts out like an opening to a sitcom quickly turns into a charming romantic comedy as two unlikely roommates fall for each other despite their many quirks.

Marsha Mason is the down on her luck, perpetually dumped Broadway dancer with a child in tow and Richard Dreyfuss is the odd, self-absorbed actor who subleased the apartment before Mason and her boyfriend broke up.

Watching these two spar, laugh, and love together is exhilarating, exhausting, and incredibly fun thanks to Neil Simon's quick witted dialogue.

A must see!

One of the best romantic comedies ever. Dreyfuss & Mason generate as much chemistry as I have ever seen on the screen from a couple that was never a couple. Quinn Cummings delivers one of the greatest child actress performance in cinema history -- always genuine and winning. The dialogue is witty and brittle. The direction never strikes a false note. And all the dualities of New York are well exploited. I simply LOVE this movie.

My favourite film of all time. Despite its academy awards at the time it remains largely unknown now which is sad. It makes you laugh, it makes you cry, it makes you feel good. What more can you expect from a movie?

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. Herbert Ross directed the movie.

Simply my favourite movie of all time. First saw it with my fiancee (at the time) and it was her favourite also. We saw it 3 times. Whenever it is on TV I watch, and I have two video copies (in case one gets lost or spoiled!).

It stars Richard Dreyfuss at his best, and Marsha Mason and the "kid" are excellent too. Perhaps it is one of the best of films because it is able to make you laugh and cry, and sometimes at the same time. Neil Simon's writing is so comic and never allows the pathos to drown you. I believe it won a number of Oscars when first released yet almost no one I rave to about it has ever heard of it. Strange!

This film is very much under-appreciated. It is a wonderful tale of of family, of career, of relationships and of love. The rooftop scene is just fantastic and leaves a knot in my stomach every time I see it. A warm glow and a feeling of "this is how life should turn out". Great movie, great script. Fantastic.

Two decades have passed since I first viewed "The Goodbye Girl". I can think of few films that hold up like this Neil Simon comedy. I read in a previous review that the plot is "unbelievable". Am I wrong in recalling that the writer admitted that he got the concept complete from the life of an actor? Just another case of reality possessing more truth than fiction. Richard Dreyfus and Marsha Mason should be added to that rare list of actors whose performances will forever define the characters they portrayed. Elliot Garfield and Paula McFadden belong to them in perpetuity. Played by Quinn Cummings, Lucy McFadden simply made the film work as a sophisticated child who never uttered one cloying word. Bless you Quinn, wherever your are. For someone who has been a friend of actors, and who has adored dancers, every situation in the film rang true. Previous reviews havecovered all the cinematic aspects, so I will just add my accolade: This is a film that rates with the best of Hollywood.

This is the first time in recent memory that I have watched the line by line, scene by scene remake back to back with the original. I was actually quite frustrated that I had accidentally watched the 2004 remake, but I am now glad I did. Why? I now feel like I understand what casting is about and can grasp what screen testing is all about. Never have I seen such a lengthy exemplar on the differences the actors and actresses can make when they are the primary variable in a film.

The original was better, as expected. Jeff Daniels did not seem to fit the role exactly and Patricia Heaton overacted almost every scene in the remake, although I did like Halie Kate Eisenberg's performance a lot. She did as well if not better than Quinn Cummings, who played the daughter in the 1977 original. Richard Dreyfuss and Marsha Mason seemed much better cast for the roles and had much more believable chemistry.

Neil Simon is consistent. He loves to use and reuse the "ODD COUPLE" plot with variations in one play or another: in the original ODD COUPLE, it's female version (shown in the early 1990s), the sequel film with Walter Matthau and Jack Lemmon, the play (and movie) THE SUNSHINE BOYS - where the apartment is a lifelong comedy team partnership, and this one. Here it is Marcia Mason and her daughter, Quinn Cummings, who are always being deserted by Mason's husband or her series of boy-friends who usually are actors. Mason has become determined never again to trust or date an actor. But the apartment happens to be in the name of her last boyfriend, and he has made a subletting deal with out-of-town actor Richard Dreyfus. Dreyfus is determined to stay in the apartment while in New York (he is starring in a production within the city - off Broadway). He and Mason gradually agree to cease their hostilities and to share the apartment, but Mason finds Dreyfus weird: he is only eating special food, and he chants and plays the guitar at night. On the other hand Quinn Cummings finds he's not such a bad guy (he helps her when she has a headache, relaxing her to sleep).

The play that Dreyfus is appearing in the lead role in is Shakespeare's RICHARD III. It is being produced by Paul Benedict (a rare big part for that good comic actor), but his ideas about the production are upsetting Dreyfus. Dreyfus is approaching the role in the classical, "Olivier" form - the master, evil Machiavellian monarch. Machiavellian to be sure in Benedict's version, but also gay. As Benedict pushes it, it is the story of "the Queen who would be King". Dreyfus's performance of the play within the film, following Benedict's direction, is an everlasting comic joy.

The highs and lows of the two warring suite mates follows a romantic course, as they gradually fall in love with each other. Will this actor prove to be another one of those typically selfish actors that Mason resents, or will he prove to be different to her and Cummings - will he be the real love of her life?

A first rate comedy, and Dreyfus' Oscar - a well earned one.

Paula McFadden (Marsha Mason) and her 10 year old daughter Lucy (Quinn Cummings) are abandoned in NYC by her married boyfriend. He also sublets the apartment they share to a young actor, Eliot Garfield (Richard Dreyfuss). They agree to live together even though they hate each other. Naturally, they fall in love.

Totally predictable but I really enjoyed it! I loved in back in 1977 and I still love it now! Neil Simon's script is basically just a series of one liners--but they ARE funny and Dreyfuss, Mason and Cummings deliver them perfectly. They come fast and furious and the movie moves very quickly--it doesn't seem like it's 110 minutes long. Dreyfuss deservedly won the Best Actor Award for this film--he's 'on' non-stop and is full of energy and fun.

Mason was nominated for Best Actress and she's almost as good as Dreyfuss (she was a little too whiny for me). Cummings isn't that good--but she WAS only 10 when she did this. It's just that her character is one of those screen kids that talks and acts like an adult--I didn't think having her swear occasionally was cute or funny. Nonetheless she was nominated for Best Supporting Actress. The movie was also up for Best Original Screenplay and Best Picture. Also there's a GREAT title song written and performed by David Gates over the closing credits (it was also a big hit song back in '77). Also Nicol Williamson pops up (unbilled) in a short but VERY funny cameo.

The only debit--the romance scenes were corny (but they do work) and some of the dramatic scenes were TERRIBLY written (Simon was always better at doing comedy). And he has two thunderstorms pop up out of NOWHERE in this movie during a big romantic and dramatic scene. That was pushing it a little too much! Still the acting carries those scenes through and it's a minor complaint.

A sweet, very funny, enjoyable film. Just don't think about it TOO much. I give it a 9.

I don't normally go in for Romantic comedies too much, but this was a very entertaining movie.

Dreyfus is just mesmerizing and hilarious, and Marsha Mason was very good. A very enjoyable, uplifting movie.

After being dumped by her live-in boyfriend, an unemployed dancer (Marsha Mason) and her 10-year-old daughter are reluctantly forced to live with a struggling off-Broadway actor (Richard Dreyfuss).

This is Richard Dreyfuss at perhaps his most offbeat. Sure, Marsha Mason plays the lead and the film is called "the goodbye girl", but I think the movie passes or fails with Dreyfuss. For me, it passes, as he is strangely interesting and fun to watch.

The film as a whole is not that amazing. It seems to have secured a few Oscar nominations but few wins. Today (2016), it is not one that most people have heard of. Heck, even Mason is not a household name. Worth a look, but not essential.

Remember the song? I do. I loved the song from when I used to listen to it many years ago. I just rewatched the movie again. It made me smile. What a delightful breath of fresh air now in these crazy strange times. And the nostalgia. Good times!!!

I appreciate that The Goodbye Girl was such a good natured, feel good movie. I never rooted against either of the two leads, even if it is hard to relate to someone who acts for a living. Richard Dreyfuss is great in everything, and the snappy dialogue makes you feel like you're watching an actual play on stage.

I watched this again after not seeing since it came out in the early 70's. It was a pleasant way to spend an evening, mainly due to Dreyfuss's well-deserved Oscar performance as a more irascible version of his everyman persona. He had just done Jaws and Close Encounters of the Third Kind (early Spielberg masterpieces) so his career was riding high.

Marsha Mason is fine, too, as the much put-upon single mom and title character who has just been dumped by her no-account actor boyfriend. She isn't crazy about being forced by circumstances to share her small apartment with yet another one. But Dreyfuss's character is far more interested in getting his career started in New York than in getting into a relationship with this understandably angry woman. Although the apartment is technically his, he just wants a nonaggression pact so he can focus on preparing for his upcoming role as Richard III, an endeavor that proves fraught with enough complications of its own.

The two actors play well against each other and the obligatory cute kid is likeable in an uncontrived way. The movie has a stagey feel to it but this seems appropriate given the basic plot. This is Neil Simon, after all, and he's quite good at extracting the inherent humor in bringing seemingly incompatible characters together in close quarters. I was surprised by how many of the lines still seemed familiar and funny to me and I'm glad I finally got around to seeing it again.

I really wanted to like this after hearing a lot of good things about it over the years and never got to watch it.

The opening scene raised the first red flags. For example, the voice dubs were too noticeable and the heavy exposition didn't help. Why did Simon need to jam in all that data so quickly? People don't talk like that, i.e. Provide all their plans out in the open at a time when they wouldn't. For example, the information would have been talked about when they planned the trip, and therefore no need to. It felt too much like a TV show/sitcom where everything is so carefully scripted and choreographed.

Then she read the letter and cried, explained what happened to her daughter, but Simon still felt the need to have the daughter read out loud the letter in case we didn't understand what happened. This is just overdoing exposition.

Then the precocious kid didn't help. I am so over having 40 + year old writers create adult dialogue for 8-year-old kids that are way too smart for their own good. Marsha Mason was also just awful. Her hammy performance constantly indicating how we should feel.

Stop writing how you want the characters to speak. Write how they DO speak. There is a big difference. The best example is if when you go for a job interview and you already have everything planned in your head, but when you get there it doesn't come out right. A writer picks the former when the writing should be the latter, which doesn't make it real or believable.

After 15 minutes of arguing and resisting, Mason accepts Dreyfuss' proposal. The whole argument was a total waste and meant nothing in terms principles.

It literally took 10 minutes for characters to be introduced, have a breakup, and introduced the co-lead.

Everything felt way too forced, including their relationship and the repartee banter didn't help. I don't think I believed a single thing I saw in this film.

Based on the foregoing, I recommend you SKIP this.