Curator Watchlist
A charming, sharply written 70s New York romcom with strong performances, quotable dialogue, and a standout child performance. It’s easy to see why it was a hit, but some viewers will bounce off its dated gender politics, boundary-crossing behavior, and the way the romance can feel forced by modern standards.
Where to watch: Buy
Sun · 1h 51m
Director: Herbert Ross
Starring: Richard Dreyfuss, Marsha Mason, Quinn Cummings
After being dumped by her live-in boyfriend, an unemployed dancer and her 10-year-old daughter are reluctantly forced to live with a struggling off-Broadway actor.
Herbert Ross
Richard Dreyfuss, Marsha Mason, Quinn Cummings
A charming, sharply written 70s New York romcom with strong performances, quotable dialogue, and a standout child performance. It’s easy to see why it was a hit, but some viewers will bounce off its dated gender politics, boundary-crossing behavior, and the way the romance can feel forced by modern standards.
The Goodbye Girl is one of those 1970s studio comedies that feels both polished and slightly unruly, with Neil Simon’s machine-gun dialogue giving the whole thing a bright, theatrical snap. The setup is simple and very effective: two mismatched adults and a sharp, funny child trapped together in a cramped New York apartment, slowly turning irritation into affection. Richard Dreyfuss and Marsha Mason have easy comic chemistry, and Quinn Cummings is the movie’s secret weapon, stealing scenes without ever feeling like a novelty act.
What still works best is the film’s sense of place and rhythm. It has that cozy, rain-soaked, lived-in Manhattan energy that makes small domestic chaos feel like a whole world. The jokes land often enough to justify the reputation, and the emotional beats are sturdier than the premise suggests.
What dates it is also impossible to ignore. The romance is built on behavior that many modern viewers will find pushy or uncomfortable, and the script’s assumptions about gender and sexuality can be off-putting. If you can meet it on its own era’s terms, it’s an entertaining and influential crowd-pleaser; if not, its charm may not be enough to smooth over the rough edges.
carrieandtracy · 232 likes
A real blast of nostalgia. When I was twelve years old, living in small town Oklahoma, The Goodbye Girl — then later All That Jazz and Author! Author! — painted a picture, however unrealistic, of working in the New York theatre. Wild that any of that came to pass for me — I even got to work with the great Marsha Mason. The movie still has a lot of charm, though Mr. Simon’s theatrical jokey style is distinctly of another era. A few lines still… more
Sam (4.5★) · 198 likes
I laughed, I cried, I smiled, I felt worried, I felt angry, I felt everything. This was incredible. Why are 70s romcoms so good?! This and Annie Hall were released in the same year and dare I say that this is just as good?! It’s really sad to me that this was a HUGE hit when it came out but over the years it has really been forgotten. It’s everyone’s loss then because of how amazing it is. Both Marsha… more
Rafael "Mister Movie" Jovine (5★) · 177 likes
In 1977 the great Neil Simon wrote the screenplay that would become the blueprint for almost every romantic comedy of the 90s and 00s. You have a mismatched couple who end up crossing paths due to adverse circumstances, at first they hate each other's guts but as the movie goes on they end up falling in love. There's also the incredible precocious daughter who steals the spotlight every time she opens her mouth and makes a witty and sarcastic remark.
Sam (4.5★) · 134 likes
“You were never four-and-a-half, you were born 26.” Forever gonna be a favorite of mine as The Goodbye Girl is a clever, warm and hilarious New York romcom with eccentric characters, jokes that land and working emotional beats. I become so interested in the relationship between Elliott and Paula that I forget I’m watching a movie. But by far the best character here is Quinn Cummings as Lucy or “the kid”. Genuinely one of the greatest child performances as she… more
Adam Kempenaar (4★) · 119 likes
“Listen, did you know Spencer Tracy got terrible reviews the first time he was on Broadway?” “No, he didn’t.” “Oh, I thought he did.” There are a hundred quotable lines from this little gem I’m not sure why this exchange amused me the most, but man, Neil Simon.
A smart, adult New York relationship film with similar emotional realism and a strong female lead navigating reinvention.
Neil Simon’s comic bite and relationship discomfort make it a strong tonal cousin, especially for viewers who like their romance edged with cynicism.
Another Neil Simon comedy built on character friction, show-business energy, and sharply observed relationship dynamics.
A late-70s romantic comedy about messy adult relationships, emotional hesitation, and finding connection after disappointment.
A classic of cramped-city loneliness turning into romance, with wit, melancholy, and a strong sense of human compromise.
A breezy, dialogue-forward relationship comedy with apartment-life friction and a theatrical sensibility.
For the New York neurotic-comedy energy, romantic uncertainty, and stagey wit that fans of this film often enjoy.
A defining 70s romantic comedy with urban wit, emotional unease, and a similarly influential conversational style.
Shares the era’s interest in domestic upheaval, parenting, and adult relationships under pressure.
A funny, wounded character piece with family tension, self-invention, and a surprisingly tender emotional core.
A warm, funny, adult romance with strong chemistry, neighborhood texture, and a lived-in sense of family chaos.
For viewers who want the polished descendant of this film’s banter-heavy, relationship-first romantic-comedy style.
found family, romantic comedy, single parenthood, New York apartment life, theater world, mismatched lovers, child perspective, career frustration
romantic comedy, 70s New York, theater people, witty dialogue, single parent, cohabitation, bittersweet, ensemble comedy, urban charm, dated sensibility