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|Index||93 reviews in total|
*** This review may contain spoilers ***
Excellent film.SOME SPOILERS****** Dated because of the 70s coke & disco scene & women more newly experienced free sexuality, but still relevant. It's an emotional wallop of a film. I don't understand those who castigate it as a moralistic tale- it's the telling of a true story so this is non- fiction, people. This is mostly what happened. If you are a heroin addict, you might OD. If a woman takes home strangers, she may pay the consequence. Just fact, no fiction. And those who see it as a woman's punishment for her sexual freedom I think missed the boat here- Theresa THINKS she is being free to be herself by her going against everything her parents taught her, but in fact, she is just desperate, isolated and self- destructive. Deluding herself into believing that she is exercising individuality but embarking on a descent that's deeper and deeper with each humiliation, each meaningless, lonely night. Her work can't fulfill the void left by her physical and emotional scars. Just like her sister, she couldn't stand a man who actually really liked her or loved her. She needed rejection, humiliation, and abuse to validate her own feelings of not being worthy of it. She was not a strong heroine who used her sexuality for pleasure for herself and left a wake of men in the dust- she was the dust. The book is clearer on that than the movie. Keaton is spot on- can't imagine anyone else embodying the qualities of fragility and vulnerability yet making us feel contempt for her often at the same time. She's a top caliber actor. Everyone is wonderful in this film. And the ending- well, you just can't shake it. It's heart-stopping, literally. Berenger I believe said he had nightmares after himself. It is absolutely one of the most unforgettable endings in film. Leaves you slack- jawed in its horror.And the fact that its a true story, all the more.
This was an interesting movie and it shows how the world has changed in the last 30 years. The attitudes (between men and women, gays and straights), the language used back then, the social atmosphere (bar scene) of the late 1970s, even the financial differences--she's able to afford an apartment in Manhattan on a teachers salary! (even though it has roaches this still isn't possible in 2006). All of these things made the movie interesting for me. I also imagine it must have been a very shocking movie back then. I was 8 years old when it came out so I didn't see it in the theater but I would have liked to see it in a theater just to see how people took it back then. I would have liked to walk out of the theater and hear the conversations going on as people walked to their cars. Did people like it back then? Did they think it was shocking? Did they think it accurately portrayed a type of person they maybe knew or were themselves back then? Also, Diane Keaton was very good in it and it's very interesting to see a young Richard Gere and Tom Berenger when their careers were just beginning.
Lookingg for Mr. Goodbar encapsulates the beginning of the post-modern
era. Here, this era is epitomised by 'freedom'. In this film, 'freedom'
is construed as decadence; i.e. drug taking sex, and alcohol. In this
respect, decadence is a negative consequence of freedom, especially for
those with high, and very fixed ideas of morality.
The consequences of decadent freedom in Looking for Mr. Goodbar are depicted by the lead character, Theresa, who has the audacity, and to that extent bravado, to break all the man-made rules, by shunning the conformist roles of the good mother, wife, and home-maker, in favour of having a good time. In this respect, it is less the decadent life-style Theresa is choosing to lead, but her none-conformity that causes her to become alienated from the likes of her Dad, who feels he's lost control over his daughters. By losing control of his daughters in this film, Theresa's Dad's role as the patriarch of his world and family is severely undermined. This is exemplified by his attitude and behaviour towards his none-conforming daughters.
As to the acting in this film, it is on the whole excellent. However, the role of the character Tony is, it seams, more than a tad over-played by Richard Gere. Then again, it could be that this role needed to be exaggerated by an over-played acting style, in order to intensify the character as an unstable cocaine addict.
The final scene of this film is the epitome of innovative, and imaginative directing and editing. It is these qualities of film-making which encourage people to attend the cinema, as opposed to sitting at home. I think film producers, particularly those in Hollywood need to take note of examples of good film making. It is the very bland film making on offer from Hollywood at this moment, which is seeing the decline in cinema attendances, as opposed to the popularity of DVD! So, if Hollywood producers want to revive cinema attendances, then take a look at Looking for Mr. Goodbar, as an example of good film making.
Overall, a compelling film.
*** This review may contain spoilers ***
***SPOILERS*** ***SPOILERS*** I never read the book, and being of a younger generation,I actually did not realize there was one. I saw this film late night last summer while I sat in bed, with the boyfriend passed out beside me. I think if he had been awake I probably would not have paid attention to the film, but being as it was.. I was in for one of the most disturbing late night movies of my life. The drugs and promiscuity were no surprise tome,I unfortunately see it all the time in my generation,but I was moved by her working with the children, and most impressed with the portrayal of the kids. Children DO sense when something has changed or isn't right. But the big shock for me was the ending. I didn't see that coming, especially not from Tom's character. I found it most upsetting, especially how she was actually moaning and getting into it as he was murdering her. To this day I am haunted by the fading image of her dead,surprised face flashing in a strobe effect. And I am scared to death.
I watched this film again recently to see if it would give me the same impression it gave me as a teenager. I saw this movie with a group of friends when it first came out. We didn't know what to expect, but when we all came out of the theater I noticed everyone looked a bit dazed. I felt kind of numb. The ending still packs a big punch, still one of harshest and abrupt I've ever seen. I have a tendency to like happy endings, but this is still a good, well-acted movie. Keaton is great in this, and she draws you in to caring about the character, Theresa Dunn. She is a shy, caring person who teaches deaf children; unfortunately, she also has a sex addiction. Weld (Katherine) gives her best performance as the older sister who leans on and looks up to her younger sister, as her "rock of Gibraltar." In the end, the sisters reverse roles, and it is Theresa who needs help. I feel the message of this movie is to not confuse women's liberation (or any liberation) with promiscuity and addiction, which is actual slavery. The supporting cast is excellent, with both Richard Gere and Tom Berenger giving gritty performances early on in their careers.
Thersea Dunn (Diane Keaton) is a dedicated teacher by day. By night she
cruises bars picking up men for increasingly violent sexual encounters.
This leads to drug abuse and starts affecting her job. Can she stop?
A VERY negative view of the swinging 70s before AIDS came about in the 80s. I originally saw this on TV when I was in high school where it was cut to ribbons and virtually incomprehensible. A revival theatre did show it a few months later so I got to see it uncut on the big screen. I was a little too young to understand it fully (a 10th grader doesn't know much about singles bars:)) but the message came through loud and clear--sex + drugs = death. There's more to it than that--they get into Dunn's family life and you see she grew up feeling neglected with an obnoxious loud father and a meek mother. There's also her sister Katherine (Tuesday Weld) who is also addicted to sex and drugs. Basically this is a very depressing film full of unpleasant characters and situations. Keaton is great in her role--she totally buried her "Annie Hall" image with this. She also did nude scenes which she previously refused to do. Weld was superb (and Oscar-nominated) for her role. It's also fun to see Richard Gere and LeVar Burton before they hit it big. Also a still unknown Tom Berenger pops up at the end in a very disturbing but crucial role. He had guts playing the role he does (I won't give it away). This movie has disappeared due to song rights (I believe) and that's too bad. It IS disturbing but an accurate portrayal of the dark side of the singles bars in the 1970s.
A Richard Brooks' masterpiece! I first saw the movie as a teenager in Belgrade and it disturbed me profoundly. It's a story on female sexuality and search for personal freedom and fulfilment. The main character, brilliantly played by Diane Keaton, is a young woman revolting against oppressive Catholic upbringing, personified in the character of authoritarian and hypocritical father, and metaphorically represented as an incurable hereditary disease. She refuses to get married, rejects the role of a submissive wife and mother (under the pretext of not wanting to pass "the disease" to her children) and indulges in numerous loveless sexual relations with rough, violent good looking men. But for me, the beauty of the movie truly reveals itself in the way Brooks, by the end shows all the tragedy of the "nihilistic cure" to the emptiness that the rejection of the hypocritical traditional family order leaves behind. Brooks' understanding and empathy for women looking for freedom and self reliance is impressive!
My wife has recently came across of a used vinyl somewhere titled
"LOOKING FOR MR GOODBAR" MOTION PICTURE SOUNDTRACK and after noticed
Diana Ross is listed she bought it for me for the price of... only
$1!!! Despite it's almost 30 years old there are no scratches,
excellent quality, sounds like new - unbelievable lucky, isn't she? :)
So here are the tracks:
Side 1 1. Theme from "LOOKING FOR MR GOODBAR" (Don't Ask To Stay Until Tomorrow) 1:16 2. Don't Leave Me This Way - Thelma Houston 3:37 3. Lowdown - Boz Scaggs 3:19 4. Machine Gun - Commodores 2:45 5. Love Hangover - Diana Ross 3:47 6. She Wants To (Get On Down) - Bill Withers 3:15 7. Theme from "LOOKING FOR MR GOODBAR" (Don't Ask To Stay Until Tomorrow) (Reprise) 2:24
Side 2 1. Theme from "LOOKING FOR MR GOODBAR" (Don't Ask To Stay Until Tomorrow) (Vocal) - Marlena Shaw 4:08 2. She's Lonely - Bill Withers 5:04 3. Try Me I Know We Can Make It - Donna Summers 4:14 4. Back Stabbers - The O'Jays 3:06 5. Prelude To Love - Donna Summer 6. Could It Be Magic - Donna Summer 6:12
PS: there's no time printed for 2/5 - in fact there's no such track present on the disc but it's listed on the label.
Looking for Mr. Goodbar is a film very much of its time, however it
contains at least a couple of performances that endure past its near
'period' setting. And at the core is a performance by Diane Keaton
that, at the time, must have been quite daring on her part (her career
consisted of either the Godfather films, or films with her on-off again
love Woody Allen). It's a somewhat complex character that she is
portraying in the film this Theresa Dunn (aparently based on a true
story), who is scarred literally and mentally from a childhood trauma,
and goes deep into the excessed of sex, drugs, and men in true 1970's
fashion, while still teaching deaf children. That it is located right
in New York City helps as well; this is not only the flip-side to the
chirpy, quirky force of Annie Hall, but also a kind of woman's take on
like Saturday Night Fever (the Catholic connection is there, plus
another element I'll mention in a moment).
Although at times the film doesn't grasp a real story for the character to grab a hold on- more of just the randomness of meeting men, keeping relationships with some, however rocky or solid they are- its acting does help when the script starts to go a little bananas. William Atherton (ofen known as Walter Peck in Ghostbusters) is a rather cool nice guy in the film, the real romantic interest always in the outskirts of her life. And of course there's Richard Gere, in quasi-John Travolta mode (hence 'Fever'), who happens to be a sociopathic character, a wicked one at that, and provides Gere with enough energy to pull off still one of his best turns. And Tuesday Weld as Theresa's sister is an interesting choice, and kind of the behind-the-soul of the movie. If only the script really had a more firm grasp though of this woman's life. There are of course well observed dramatic and comedic moments, character-study style of course, but it tends to get repetitive after a while (she helps deaf kids, particularly one, then has her flings, her drunken and drugged nights, moments of clarity, then moments of fog amid her torn family). It was a film that I had to watch twice to get a total grasp of, and was happy to have done so, though it isn't one of the very best films of 1977. 8/10
I saw this movie when it was first released as a newly divorced 25 year
old woman hitting the dating scene of the time. I felt this movie put
the fear of god in me about bars the same way Psycho has me still
taking baths instead of showers and Jaws kept me out of the water for
years. At the time of it's release there was a lot of drugs, sex and
the meat market bar scene. I felt this should have been shown to every
teenage girl as a training film with a warning.
I did show it to my own daughter years later when she was old enough and she thought it was great - although much of the "scene" had changed by her dating years it was still a great capture of the underlying dangers we all face with meeting people for hit and run relationships. Guess now they involve the computer but the danger is still there.
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