Looking for Mr. Goodbar (Richard Brooks, 1977)

[Gordon]

Checking the IMDB listing, I found this.

I have not seen Looking for Mr. Goodbar, but it does surprise me that there isn't a DVD of what is considered by most to be a key film of American 70s Cinema, for good or ill. The disco mega-hits on the soundtrack are probably very, very expensive to re-license. As with many films not on DVD, it was actually re-released on VHS in May 1997 - just missing out on a DVD edition. Richard Brooks is a hugely underappreciated, brave filmmaker and Diane Keating's performance is said to daring and brilliant, though she won for her lighter turn in Annie Hall, which I love, but I want to journey to the darker side of the sexual liberation. I really hope that Paramount are planning a SE DVD release for later in the year.

[Gordon]

Obviously, I am speaking from ignorance somewhat, having neither read the book or seen the film, but they are based on a true story, apparently. So, what form does the misogyny take?

[Barmy]

One of the best films of that era. Very atmospheric. Wasn't Antonioni a fan?

[Rich Malloy]

This shows up on cable every now and then (Cinemax I think?), and I did manage to catch it about a half-year ago. Gordon, I suspect you're right that music licensing issues are holding up and DVD release.

Although I suppose it's something of a landmark in 70s cinema, I really don't care to see it again. Though somewhat compelling, I found it maddeningly reactionary for the most part with a few generous shakes of exploitation thrown in. With little to redeem it, I came away with a sour taste in my mouth and some mild contempt for the film's creators.

[pianocrash]

Really the most satisfying parts of the film are the introduction, a dizzy musical copyright hailstorm of a montage, and the unfortunate end (already mentioned above). I, as well, saw this on cable again this past summer, and the whole thing has become stale beyond belief. Poor LeVar Burton. If I ever run into him, I would probably ask if Brooks thumped Diane Keaton on the head with a bible everytime she started to seem charming.

[Gordon]

One of the best films of that era. Very atmospheric. Wasn't Antonioni a fan?

Though I have not seen the film, I suspected that it was very atmospheric: deliberately underlit cinematography by Bill Fraker in the bars and authentic night shoots on the streets. This is primarily why I want to see the film - not to see some woman with a fractured psyche screw around and get killed. I have in my mind a flip-side of Taxi Driver with a touch of Saturday Night Fever, but no film could be that... great.

[Polybius]

That film always plays like the ending was grafted on, to me. It's pretty shitty to see all of her quite justified loathing for Kiley's character more or less tossed back in her face as he's essentially, at least in script terms, proved right about her. I have to wonder if that was the intent all along, or if this was a midcourse emphasis change, like Fatal Attraction.

[Gordon]

Interesting that Fox are getting around to releasing John and Mary in March, which has been called the flipside of Looking for Mr Goodbar.

[Felix]

I have not seen Looking for Mr. Goodbar, .

IIRC you are in Scotland? If you are in the Grampian region, maybe STV too, then this one does crop up on late night schedules, last time was maybe 2/3 years ago, so it should be about due again.

My key memories of seeing it in the movies were "isn't Diane Keaton hot?" and "how on earth did she end up in a role like this?"

[Gordon]

I have not seen Looking for Mr. Goodbar, .

IIRC you are in Scotland?

You know, most of the time, I genuinely feel that I am outside of space and time... but yes, my body is currently located in Aberdeen, Scotland. I rarely check the TV listings these days, but thanks for the tip, Felix. Do you live in Scotland?

Diane Keaton was hot in them days. Good call.

[Felix]

Do you live in Scotland?

Diane Keaton was hot in them days. Good call.

Aye, not far from you; the Belmont is my nearest film theatre... (The reason it is there is because my partner at the time needed a project for her Honours thesis. I suggested she contact the Scottish Film Council to see if they thought there might be an opening for a film theatre in Aberdeen, given the size of the student population. One market research project later they go for it. Took a long time to happen though.)

Scotland is "the damp dark land where the men wear skirts", a quote from the American evangelist Pat Robertson...

[Polybius]

Scotland is "the damp dark land where the men wear skirts", a quote from the American evangelist Pat Robertson...

On behalf of all of us...most sincere apologies.

[colinr0380]

I suppose it is better than 'the land where the men wear damp skirts in the dark'

[Felix]

I suppose it is better than 'the land where the men wear damp skirts in the dark'

That's not far off the mark either... I think the full quote, when his deal with the Bank of Scotland feel through due to public protests, was "a damp, dark land, ruled by homosexuals, where the men all wear skirts". I left out the middle bit in case all sorts of undesirables started making their way here...

Scotland is "the damp dark land where the men wear skirts", a quote from the American evangelist Pat Robertson...

On behalf of all of us...most sincere apologies.

Oh, no need for that. We have people who make Patsy look like The Sermon On The Mount personified...

[Person]

I saw Looking for Mr Goodbar this week via a DVD-R from a Sky broadcast (1.85:1 widescreen). For a 1977 Paramount movie, it is very dark, disquieting and uncompromising. The cross-cutting between Theresa Dunn's (a brilliant, fearless Diance Keaton) daytime job as a compassionate teacher of deaf children and a nighttime, hedonist fuck-addict is ingeniously and nauseatingly presented by Brooks. The final twenty seconds are recklessly fearless for a disco-era, "aint't life in America today great?!" mainstream movie. What are the money-grubbing cowards at Paramount doing? Get this film on DVD - pronto.

[Person]

Well, when you contrast this film with the confoundingly perennial Saturday Night Fever, released the same year (1977) you have to admit that it is worth a reappraisal on DVD. I like the misleading fantasy sequences that turn out to be grounded in reality and the quick flashbacks and sharp time-cuts (Theresa getting her tubes cut). All of your criticisms are valid, ie. that it is a very straightforward, self-consciously 'transgressive' film, but I think that fans of 70s Cinema should see it for that reason in addition to it containing a brave performance. And it's early Richard Gere, so it has that going for it. Gorgoeusly dark, lens-flare cinematography by William Fraker; the final, single-image shot with the flickering movie projector is ingenious and downright creepy. Quite perplexing that Paramount have avoided it for ten years. It's one of those mainstream American films not released on DVD that stick out - great central performance, Gere, disco soundtrack, in-your-face transgessive material, etc. I reported the rumour of a DVD, but nothing official has came our way yet.

[s.j. bagley]

i would tend to agree with david hare's take on it.
out of all the cynical 70s films that tend to come up in conversation, i'd rank this pretty much toward the bottom.

[Person]

i would tend to agree with david hare's take on it.
out of all the cynical 70s films that tend to come up in conversation, i'd rank this pretty much toward the bottom.

I think that it's wide of the mark calling this film "cynical" seeing as the novel was based on the life and death of Roseann Quinn in 1973 and from what I have read about that case, the film is a pretty close approximation of Quinn's off-kilter life and grisly murder. Now I think that Taxi Driver is a great film, but out of the two, I would say that Taxi Driver is more cynical and fantastical. I see Goodbar as a stylized cautionary tale that features superb performances. I honestly feel that it deserves a second look from critics. But just seeing a DVD after all these years would enough.

[Person]

To me it's standard Hays Code "transgression" rewarded with punishment (her murder.) Because she's a woman.

I didn't draw that conclusion. Again, we're talking about a novel and film based on a real life event. Any discussion of ethics should be directed at the real life event - the movie just presents a stylized account of the event. Roseann Quinn / Theresa Dunn was a troubled woman who risked her life time and time again with rough men she picked up in sleazy bars. Quinn was beaten several times by these men. You see a soft presentation of this in Goodbar. And how else should the movie end? It's based on the Quinn murder! It would be like having Perry and Dick simply serve life imprisionment at the end of In Cold Blood instead of being hanged. I don't mean to come across as patronizing, of course, but you seem to be arguing an illogical position, Dave! Quinn / Dunn played high stakes at the one-night-stand game. It was amazing that she didn't meat a similar, yet also avoidable fate sooner.

[Person]

Maybe I just have a thing about movies (and real life stories) with sexually liberated people who end up paying for their sins.

Regardless of the context? I think that Theresa simply "paid the piper" fair and square in Goodbar. I'm an ethical egoist, whereas Quinn/Dunn strikes me as a reckless hedonist who doesn't have the foresight to see that she is on the road to self-destruction. I have yet to encounter such a person in the flesh (a reckless female hedonist) but I'm sure there are such types out there in the glorious, anything goes world. I'm certain that there are irredeemably fucked-up psychos out there. But being who I am, I ultimately have to concede that I cannot preach my ethics as a universal ethics and so if young women want to fuck three guys (or more) per week every week, snort coke and close themselves off to men who want to forge a relationship based on trust and compassion, then I have to say - so be it. But a little reflection on the fundamentals of life never go amiss. All of life is a constant forge of planning, action and reflection, after all.

[mwillyk]

Whether you like Looking For Mr. Goodbar or not, it is a product of the 1970s, which in my humble opinion was the most daring and creative period in filmmaking history. I'm not into personal issues or political correctness; LFMG, for those with an open mind, forces people to confront uncomfortable psychological issues and personal prejudices. Its disturbing nature may be off-putting for those with a narrow-perspective, and the fact that it left the ending of the novel (written by a woman) intact is much more honest than Jane Campion's treatment of In the Cut, which tacked on a "happy" ending where in the novel the main character is literally in the process of being cut to pieces by the killer. LFMG should be on DVD for those who like thought-provoking films.

[AnamorphicWidescreen]

Just watched Looking for Mr. Goodbar for the very first time, and the film was incredible. IMHO, this was a great '70's nostalgia piece, regardless of whether or not you liked the story/acting. I had been wanting to see the film for years, and glad I finally did so. Especially enjoyed the montage beginning with the quick editing cuts, as well as the '70's-era music, which was almost over-lapping in some sequences.

The fantasy sequences were somewhat disorienting, until you realized what was going on.

It was a good idea to keep the horrible, downbeat ending from the Judith Rossner novel, instead of "Hollywood-izing" the film.

To those who saw this in the theater when it was released in Fall '77, I'm guessing it was a surprise to see Diane Keaton in a film like this, coming as it was on the heels of the iconic & completely different Annie Hall (released 6 months prior).

Too bad this film has never gotten a Region 1 DVD release - as others have said, I'm also guessing the music rights are what's holding this up. Too bad, since this really deserves a Criterion Collection Blu-ray/DVD....

[Shrew]

To those who saw this in the theater when it was released in Fall '77, I'm guessing it was a surprise to see Diane Keaton in a film like this, coming as it was on the heels of the iconic & completely different Annie Hall (released 6 months prior).

My parents actually saw Looking for Mr. Goodbar on their first date, because my mother had already seen Oh God!. There was awkwardness.

[stroszeck]

Its weird that a post would show up this week on this thread...i purchased the original soundtrack LP randomly from a thrift store on Sunday....eerie stuff!

[Professor Wagstaff]

AnamorphicWidescreen, I'm just curious to know how you ended up watching this and if it's streaming anywhere for viewing. While you were watching it and stroszeck was purchasing the soundtrack, I found myself reading Judith Rossner's novel last week and would like to compare them both if I can. Thanks.