Um Amor do Outro Mundo

The first five minutes or so of "Goodbye, Charlie" are simply sublime. But you can turn it off after the "Directed by Vincente Minnelli" credit comes on. But let's back up.

20th Century Fox logo on and off. Nice Cinemascope shot of a yacht off the Malibu coast at night, with jazzy-rock music in the far distance and a distant swingin' party on board. Three star credits come on and off: "Tony Curtis," "Debbie Reynolds," "Pat Boone." Onto the boat, where a raucous Hollywood party is in full swing. Director Minnelli captures all the phoniness and glamour of the party. A superfast psueudo-rock number -- "Seven at Once" -- is blaring on the "Hi-Fi" as heavy-bosomed Playmate of the Year Donna Michelle shakes her ample breasts in a low cut gold dress (in 1964, this was "sexy.") Hot young folks are dancing while stuffy old agent Martin Gabel looks on with peptic-ulcer angst. Some handsome matrons (Ellen Macrae, soon Burstyn, Joanna Barnes) try to swing with the Playmate, but to no avail. Walter Matthau (in gray wig and blazer) plays poker and puffs on a big stogie.

Old-fashioned director Vincente Minnelli tries some new-fashioned "hand-held camera" work (see: that year's earlier "A Hard Day's Night") to capture the ensuing action: Matthau's wife Laura Devon (the second sexiest woman after Playmate Donna Michelle) sneaks off for some hot below decks lovemaking with the barely seen stud screenwriter, "Charlie." Matthau snoops around in the kitchen of the yacht, and gets a gun when the maid isn't looking(this part of the sequence is like the opening murder sequence in the same December's "Hush, Hush, Sweet Charlotte" ) Matthau then bursts in on his wife and Charlie, starts shooting.

Charlie jumps out a porthole into the ocean, but Walter's bullets kill him before he hits the drink.

The party guests rush to the side of the boat and look down into the ocean where Charlie fell. Credits fly out of the water as a raucous male-female chorus sings the swinging, fun title song "Goodbye, Charlie! Hate to see you go..." What follows is a regulation 1964 animation sequence of deep sea creatures in the deep blue sea (where Charlie has gone to rest, soon to return as Debbie Reynolds) and that infectious title tune about a lothario getting his just desserts. (This song got a lot of radio play in '64/'65.) Vincente Minnelli was a pro, and this opening sequence is a lot of fun as the old (studio production values in costumes and yacht interior) fights with the new (hand-held camera, Playmate of the Year boobs) in a raucous sing-a-long opening that bids farewell to Hollywood's studio era and plants the genre as dead as Charlie with the counterculture years ahead.

"Goodbye, Charlie!" indeed...hate to see you go.

I remember this movie as a child when there were really funny and good movies shown on TV Sunday mornings. This was one of the "sixties" movies that I enjoyed watching even as a kid...I could get the jokes and the cast was of people I recognized and liked. I didn't get a chance to see this one until the early "seventies" for the first time, but I could enjoy some of the stars I grew to love in other movies. I would give it a solid "8" out of "10". I am very hard on movies that are comedies and have really good comedic actors. See it for yourself. I would also recommend "SWITCH (1991)" with Ellen Barkin and Jimmy Smits.

There was a lot of promise with 'Goodbye Charlie', this was not a case of it being a bad idea from the start. Namely that it was directed by the very capable Vincente Minnelli, who was very, very good when at his best. It is hard to resist actors of such likeability in Tony Curtis and Debbie Reynolds and Walter Matthau is also always well worth the while. The idea did intrigue somewhat.

Yet somehow, 'Goodbye Charlie' really didn't do an awful lot for me. Not a complete misfire of a film by all means, but considering the huge potential and how much talent there was involved it was disappointing by quite a big degree. It's not terrible and certainly not a must avoid, it's also not particularly good either and has its faults, for me 'Goodbye Charlie' was a mixed bag sort of film that's difficult to rate and review.

'Goodbye Charlie' looks good, there is an elegant glossy sheen to the cinematography and the settings and especially the costumes are beautiful to watch. The music is dynamic and easy on the ears. Minnelli directs stylishly.

Curtis has a tricky role that makes him less likeable than his usual persona, he brings charm and grit to it. Reynolds tries too hard at times but acts with enthusiasm and commitment. Pat Boone makes the most of his rather thankless role. The best performance, even with the questionable Hungarian accent, comes from Matthau having a whale of a time. There is some nice wit in the script, the best line from the whole film coming from Mattheau (concerning him being left speechless if he wasn't Hungarian) and Curtis and Reynolds's chemistry sparkles. Interesting seeing an early appearance from Ellen Burstyn and the opening is a delight.

However, the wit is very largely variable, sometimes it is there but at others (and too frequently so) it's not. There is a fair bit of smut here and it's not done in a snappy or sophisticated way and is not particularly funny. Instead it's not always in good taste, much of it actually vulgar, and likely to make one feel uncomfortable, it doesn't hold up particularly well.

The story does have issues with pacing, with some aimless dragging going on and the film doesn't really go very far as an overall whole. It does run out of steam and ideas too early and the initially good concept wears thin and gets silly and over-stretched, the story too thin for the overlong running time. The supporting cast generally are wasted, Boone deserved better, and some of the characters felt incidental completely to the story and like they were there for padding reasons. The ending does betray the running out of ideas, it felt very tacked on and anti-climactic almost like a cop-out.

Overall, good production values and cast but the script and story needed a lot of work. 5/10 Bethany Cox

Not every movie made has to have a message. Some are made just to entertain us. John Wayne proved that and "Goodbye Charlie" has taken it to a new height.

Debbie Reynolds and Tony Curtis really had that special chemistry that's always needed in a good comedy and there timing was perfect. Now consider this movie was made around the time when the first civil rights act was passed and it was still believed that "it's a man's world." Debbie Reynolds plays the part of Charlie who was the classic womanizer. He is shot and comes back as a woman (Debbie). He still thinks he's Charlie -- Big Problem especially in 1964.

I rate this movie 5 stars considering the time it was made, the skill of the players and a theme song I just fell in love with. If you need to have a fun afternoon get "Goodbye Charlie"!

Perhaps best known nowadays as the film that inspired Blake Edwards to write and direct the amusing 'Switch' with Ellen Barkin, this earlier comedy features the same idea of a shameless philanderer reincarnated in the body of a woman. Clocking in at close to two hours, 'Goodbye Charlie' takes an incredibly long time to warm up with over 25 minutes elapsing before the comedy really kicks in since the philanderer (in the woman's body) has amnesia at first. Once the film gets into the swing of things though, it is a decent ride. Debbie Reynolds does well acting tough and manly, casually ogling other women and so on. It is not as dynamic a performance as Barkin in 'Switch' (who nailed the mannerisms of her male self) as we never actually see much of Charlie before he is killed, but Reynolds is still dynamite. There are also several fascinating moments as he/she gets more used to being a woman, even allowing him/herself to be seduced. Additionally, in a daring move, he/she even tries to seduce his/her best friend, played by Tony Curtis. Speaking of which, Curtis does well with a tricky role here. At times, it seems like he is also about to fall for his macho best friend in a lady's body. The experience is let down by a tacked-on cop-out ending that fails to capitalise on all this sexual tension, but the film pokes enough at gender identity issues to remain interesting.