American director/choreographer Herbert Ross divided his time between Broadway and the American Ballet Theatre in the 1950s and 1960s. Ross also choreographed numerous live television programs, and handled the dance sequences of such films as Carmen Jones (1954), Inside Daisy Clover (1963) and Dr. Doollittle (1967). His first screen directorial job was Goodbye Mr. Chips, an overblown 1969 remake of a well-regarded 1939 MGM feature. Ross’ subsequent cinema reputation rested on his ability to transfer popular stage plays to the screen, as witness The Owl and The Pussycat (1970), The Sunshine Boys (1975) and California Suite (1978). While he was expert in cinematizing the plays of Neil Simon, Ross was critcally lambasted for his conformist approach to Woody Allen’s Play it Again Sam (1972), though this film was one of Allen’s biggest moneymakers. Ross also directed a brace of Neil Simon screenplays, The Goodbye Girl (1977) (which won an Oscar for star Richard Dreyfuss) and Max Dugan Returns… read more
A vibrantly shot New York romantic comedy, not a far cry from Annie Hall (incidentally of the same year) in also being an entry into the genre that isn’t so repugnantly formulaic. Where the two differ is that none of the writing in this one is near as witty as it thinks it is, being all too self-conscious in its vain endeavours to be so in the first place. Still, it's a better romance than it is a comedy; shrewdly ending with that stronger hand, to the point where earlier qualms are almost forgotten. Either way it passes the time, for better or worse.
Una buena comedia romántica, sin duda. Personajes muy bien construidos e interpretados; Marsha Mason y Quinn Cummings crean un conmovedor tándem como madre e hija y Richard Dreyfuss está soberbio en su rol. Los diálogos y réplicas son ingeniosos y divertidos. Las escenas románticas emocionan profundamente sin empalagar. El primer beso en el baño, la cena en la azotea y la conversación del final son memorables.