Brooks, hardly a great director, doesn't quite pull off this adaptation of the Rossner novel. Her parents approve of the responsible James, seeing him as a potential husband for Theresa. A scene reflective of our culture's inability to visualize women's agency outside the scope of their relationship to men: Theresa has difficulty convincing a one-night stand that her desire for him to leave is born of a personal choice. By that I mean you're ready for a film whose craftmanship, story and acting you can respect and admire but don't expect to be entertained in the sense that you would with something light, uplifting or more traditionally dramatic because just from the description it sounds gut wrenching. Very complex characters and an interesting read, in spite the killer's characterization as the Typically Attractive, None Too Bright Bisexual Hustler, whose motives for murdering a one night stand are still quite murky at best. Then when you take steps in life and learn hard lessons, one tends to drift to happier subject matters.
It's a wise child who knows when he is in over his head. I loved how in-depth your review was, and the various images. I'm sure I'll write about it one day, but honestly, that one is dark in a different way. As for Keaton's response to Goodbar, I'm always intrigued by actors who hate the films I think they are wonderful in. The helplessness of actual mental illness aside, one can't help but feel sorrier for those who are unlucky enough to fall into the path of the violent, than for those whose inner demons inspire it. You will receive a weekly newsletter full of movie-related tidbits, articles, trailers, even the occasional streamable movie. The range and depth of her characterization appears simultaneously natural and going-for-broke risk-taking.
When I first saw Looking for Mr. I've got that corner pretty well covered. Goodbar, as it were, so I can see why the film would be seen as a cautionary tale. Kudos to the film makers and actors for having the courage and fortitude to make this movie. Both of these films embodied attitudes which stood as barbed provocation to the 1970s in general, and the Utopian promise of sexual liberation in particular. It's an unpleasant film, to be sure, but an honest one.
I miss strong films and it is noteworthy that as Star Wars entered, films that allowed us to draw our own have pretty much disappeared. I just think my inner film geek always longs to get a performer's take on a work especially an actor as famously inarticulate as Keaton we outsiders see as seminal or what with all the nudity particularly challenging. In fact, I must admit I watch Schindler's List at least once a year when I am in the mood for a good, long, cleansing sobfest. All of this means, I need to see this again, now that I have a little more 30+ years? Tom What a brilliant article. It may be an awkward transition, but from my perspective, social media and changing times have at last given voice to those who had no voice in the past. Eventually, just as she's trying to make a new start, Terry is murdered by a young drifter she has just met and invited home.
Goodbar was a cautionary tale; that like most, I ignored. Wish I had the balls to watch it once more, but I highly doubt it hahahahaha. Her lack of knowledge is exactly the issue here: In the book, Theresa might have picked up the guy because she knew he'd be trouble. But I could never understand why so many critics hated it. The average 1970s swinger, toward the end of the decade tended to look like a hollowed-out pod person. Goodbar titre au Québec est un film américain réalisé par Richard Brooks en 1977.
John Holmes, Marilyn Chambers, Hugh Hefner, Linda Lovelace. I think the last good copy I saw of it was back in 77 in the theater. Now they're allowed to be both, which has done wonders for the quality of the tramps you meet these days. On the physical level, though, she needs constant reassurance. The relationship ends, and Theresa experiences a bevy of sexual encounters that are fleeting and pathological. Hi Deborah Don't get me started. Theresa takes a job teaching deaf children, and proves to be a gifted and caring teacher.
She choreographs every situation, and only eventually do we realize she's dancing out of the way. Goodbar 1977 -- Movie Clip You Come Here A Lot? And more, it made not a bit of sense to me. Perhaps that's a bit what you felt. I can see a film and tap into what I was feeling when I first saw it. Thanks for joining in on the discussion, Argyle. It's not a matter to be screamed about as having to be one-way-or-the-other, but an issue to be explored and thought about. I've said this in other comments before, but thank you for enlightening me as to the highlights of 70s cinema.
It was presented at in New York as part of the. In the end, Esquire, fearing legal ramifications, declined to publish the article, so Rossner decided to write a novel instead. Thank you for your thoughtfulness in this review Ken. Similarly, those who sought to see an allegory of a bad girl punished for her sins were left wanting, as well. She ends up sleeping with, and taking cocaine with Tony.
I actually haven't seen this one, only read the book, but now I definitely will! I think you're totally right about the downbeat tone of the movie. Anyhow, i love your making the allusion to Keaton in this film entering into Isabelle Huppert territory. This film does make sex seem dark and scary. Extract of a review from 1977. It was at that point that I tried to track the film down. Hi Percy As one who saw a great many inappropriately mature films as a young age, I can wholly identify. Unlike you, I don't know that I am that well-versed on films of say, the 30s and 40s, but the 60s and 70s.
Thank you for the thoughtful feedback. Goodbar is a dark and evocative film experience. Just give it to me straight and let me find the beauty and the tragedy on my own. A really gritty film filled with drama and tension. Then there's that ending that bothers me. I kind of agree with you about Tuesday Weld.