Kiss Her Goodbye

I'm not sure why so many people have denigrated this movie. In the fabulous 50s this type of issue wasn't talked about or even whispered. I salute the director and producers for thinking outside the norms of the day. Miss Farrell was amazing in her first role. Low budget yes, but low budget doesn't always correlate to low quality. I stumbled into this movie by accident but would recommend to others to give it a try. For its time they surely would have had difficulty getting funding and promotion as Hollywood seldom sticks out their neck to reach beyond the cookie cutter scripts they celebrate. Well done.

Elaine Stritch (already a decade into a fascinating Broadway career that would span more than 60 years) and a surprisingly handsome and already understated Steven Hill (MUCH later to create the solid district attorney in the first years of LAW AND ORDER) provide the main points of interest in this wanna-be tawdry independent film that evokes nothing so much as LOLITA meets LIGHT IN THE PIAZZA while driving through Tennessee Williams territory trying to find the way to KEY LARGO. It never gets there.

The inconsistent writing (dropped motivations and theatre references coming out of nowhere) is not helped by the cinematography and direction which looks like 50's television not movie work. A bad episode of Perry Mason perhaps - before the murder happens - all freshly scrubbed, possibly TOO cleanly filmed set-up, lots of innuendo (but none a CBS censor wouldn't pass), no real punch even when it tries to steal ideas from classic tension makers like FRANKENSTEIN (the scene with the monster and the little girl) or DESIRE UNDER THE ELMS (the frustrated boy with oppressive parent). It isn't good enough to be really bad, or bad enough to be really good.

While only released after Stritch's Broadway musical GOLDILOCKS had come and gone (Oct. '58 - Feb. '59 despite a wonderful score and hilarious book - Noël Coward saw Stritch in THAT and wrote a show for her as a result), KISS HER GOODBYE was probably filmed just before she went into rehearsals for the musical - shortly after the all too quick Broadway flop of THE SIN OF PAT MULDOON (one week in 1957 - not long enough to take the bloom off Stritch's well received performance in BUS STOP, 1955-56, which probably got her this role).

The film, like ...PAT MULDOON, didn't appear to make enough of an impression to actually hurt anyone's career - but it didn't help anyone's either. The New York Times Directory of Film doesn't even list a N.Y. Times review for it - though it does list five other film notices involving Hill from 1950 to 1965 and three others for Stritch from 1957 to January of '59.

What a pity. The leads in KISS HER GOODBYE deserved better, but fans of their mature work should enjoy seeing them near the start.

As a movie buff, I will watch almost anything. Today, I tuned into one of those 'gems' that get little airtime. I watched some of Kiss Her Goodbye for the first time today (on AMC). Unfortunately, this movie had already been running for about 30 minutes before I tuned into it. I was pleasantly surprised with the actors, depth of character(s) and the dialog. The dialog in particular, I found to be fairly natural in most scenes. It was also surprising to not see a rating of this 'film noir'. Truly, a very good movie. I hope to be able to see the movie in it's entirety in the future. With luck, this title will be released onto DVD.

The late 1950s appear to be the age of the child-woman, from "La Strada" (1954) and "Baby Doll" (1956) to "Lolita" (1962) and "Term of Trial" (1962). Smack in the middle, we find this adaptation of a pulp novel by Wade Miller, introducing Sharon Farrell to a long career in TV and movies. Her brother, Steven Hill explains that she has the mind of a six-year old. All the characters are very unusual, but the skillful cast brings them to life in a slow developing but intriguing plot. Oddly, it was director Albert Lipton's only effort. The talented musician, Johnny Richards, also had a brief career. Farrell, who was married several times, worked with her first husband here, Andrew Prine. Did life follow art? This was 94 well spent, but somewhat mystifying, minutes. What exactly was wrong with her?

Late-'50s indie with a putrid aroma, about an average Joe trying to protect his mentally retarded but nubile sister from the attentions of uncomprehending suitors. Not much happens, but from the frenzy of fanfares in the bloated musical score, you'd think we'd dropped the A-bomb on Moscow. I also notice that while the movie shakes its little finger at these guys for slobbering all over its heroine, it has no compunction about endless footage of Sharon Farrell in a bikini, Sharon Farrell in a tiny waitress outfit, Sharon Farrell at a playground innocently showing her panties. Her character makes no sense -- she's an incoherent screaming idiot one minute, a perfectly rational miss the next -- and Elaine Stritch, as a youngish widow stuck on the brother, doesn't fit comfortably into a conventional role. (The character also has an infant son, who is the basis of one dramatic incident and then is promptly forgotten.) Steven Hill, as the guy, maintains his dignity in another inconsistent role, and the black-and-white Florida photography is crisp and evocative, but it's one of those lurid Bs that makes you run for the shower once it's over.