Musical dancer on the way out (at 36) Paula McFadden had it swell with actor Tony DeSanti, but instead of taking her to Hollywood he gets a European movie part. He even sublets their (his) ... See full summary »
A long-lost engagement ring still divides childhood sweethearts who are now in their golden years. Now, her daughter (Heaton) and his nephew meet and find that their attraction is hindered by the old feud.
Tony Lo Bianco
George Schneider is an author whose wife had just died. His brother Leo gives him the number of Jennie Malone, and somehow they hit it off. And just when things are moving along, the memory... See full summary »
Musical dancer on the way out (at 36) Paula McFadden had it swell with actor Tony DeSanti, but instead of taking her to Hollywood he gets a European movie part. He even sublets their (his) New York apartment to Elliot Garfield, who generously lets her stay, even keeping the master bedroom. Pragmatic pre-teen daughter Lucy soon takes to his charm, but Paula remains determined to hate all actors. Despite the stress of a Broadway Shakespeare lead he must play too queer for Frisco, he's determined to snatch romance from ingratitude. Written by
This "updated" remake involved little rewriting of the original 1977 film (The Goodbye Girl (1977)). The screenplay is word-for-word and scene-for-scene from the original script with the exception of a few curse words removed to make it appropriate for television and a line that referred to Richard Dreyfuss's height in the original that wouldn't make sense when said by Jeff Daniels. See more »
Why did they remake this picture? It was a pleasant enough TV movie if there was not a really excellent original to which it pales in comparison.
Jeff Daniels, usually a favorite of mine, is not cut out for this type of comedy. He is neither funny or sympathetic as Elliot. Patricia Heaton is OK, but there is virtually no chemistry between her and Daniels. The daughter is too cute and wise.
Oddly, a high point in this picture is a cameo by director Richard Benjamin. This production makes one want to go back into the archives and retrieve the Dreyfuss/Mason version to REALLY see the show.
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