Looking For Mr. Goodbar


(out of 5)

Richard Brooks’ adaptation of Judith Rossner’s controversial novel starts off well, detailing the experiences of a young woman trying to escape the confines of her claustrophobic religious Catholic household by having an affair with her professor/employer. Following their breakup she begins to cruise the netherworld of singles bars, and here’s where the film spirals off track and never comes back. She’s a strong and independent woman who says things like “I’m nobody’s girl, I’m my own girl!” and is an excellent and sympathetic teacher of deaf children, but she also lives in a pathetically squalid apartment, enjoys the company of cockroaches and ends up courting nasty violence (because that’s what happens to good girls who don’t follow the rules). A viciously good performance by is so enthralling, particularly since it’s very rare to see her in such a boldly physical role, but neither she nor the gorgeous cinematography help the terrible muck the viewer is wading in. is marvelous in an early appearance as a sexually insatiable hustler, and ¬†absolutely shines as Keaton’s stewardess-like-Debbie-Does-You-Know-Who sister.

Paramount Pictures

USA, 1977

Directed by

Screenplay by Richard Brooks, based on the novel by

Cinematography by

Produced by

Music by

Production Design by

Costume Design by

Film Editing by

Academy Awards 1977

Golden Globe Awards 1977

One thought on “Looking For Mr. Goodbar

  1. I wonder how much of the anti-feminist slant is purposeful, or if it’s inherent in the material. I’ve read about the true life case, and it was much more outrageous and the woman’s behavior more sexually dangerous than we see in the movie.

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