LOVERS AND OTHER STRANGERS (1970)

Title: LOVERS AND OTHER STRANGERS

Year of Release: 1970

Director: Cy Howard

Genre: Comedy

Synopsis: Mike and Susan are preparing for their upcoming marriage, but their family and friends have their own marital, and other issues with which to deal.

Within a film history context: There have been a great variety of movies over the years with an Italian-American male central character. One of the first was Reginald Barker's silent THE ITALIAN (1915). An Italian man seeks to build a new life in America, awaiting the arrival of his love from Italy. Their life together in the United States, though, is filled with heartache and pain, in this affecting early movie. Into the sound era, THE GUILTY GENERATION (1931), directed by Rowland Lee, had two Italian-American gangsters battling it out for supremacy, but their feud takes a surprising turn when their son and daughter, respectively, fall in love. One of the most famous movies about an Italian-American was Howard Hawks' SCARFACE (1932). The life and times of a violent, and unrepentant gangster was the focus here, with Paul Muni in a top role as the complex Tony Camonte. 

Decidedly different in tone was HUDDLE (1932), directed by Sam Wood. A young Italian-American man working in a steel mill yearns for a better life, winning a scholarship to Yale, but his family background may work against him in this romance. Charles Reisner's THE WINNING TICKET (1935), was a comedy about an Italian-American barber who purchases a lottery ticket, which turns out to be the winning one, but the subsequent loss of the ticket causes nothing but mayhem in this light film. MAN OF THE PEOPLE (1937), directed by Edwin Marin, featured an Italian-American attorney in a difficult predicament - he tries to be of assistance to those who need it, but mobsters are the ones who can make it happen for him. Bernard Vorhaus' FISHERMAN'S WHARF (1939), followed an Italian-American fisherman, and his personal troubles, particularly those incited by others. 

With THEY KNEW WHAT THEY WANTED (1940), directed by Garson Kanin, an Italian-American vintner sets in motion a twisted chain of events in his pursuit of a young woman via a letter, which conceals his true identity. In contrast, Robert Siodmak's CRY OF THE CITY (1948), was of a power struggle between a policeman, and his opponent, an unsparing criminal, two Italian-Americans who were former friends, over the latter's unseemly activities. In a similar yet different vein was KNOCK ON ANY DOOR (1949), directed by Nicholas Ray. A lawyer defends a young Italian-American man of murder by painting a picture of a disadvantaged youth drawn into crime, but the effectiveness of this is at the core of this picture. Joseph Mankiewicz's HOUSE OF STRANGERS (1949), revolved around an Italian-American man whose three brothers allow him to go to prison, and his retaliation when he leaves jail.  

Crime again made its mark in BLACK HAND (1950), directed by Richard Thorpe. A man whose father was killed by the Mafia years ago comes to avenge his death in New York City. Fritz Lang's CLASH BY NIGHT (1952), had an Italian-American fisherman becoming involved with a mysterious woman, who may have designs on another man, being his friend. FROM HERE TO ETERNITY (1953), directed by Fred Zinnemann, was a World War II drama with an Italian-American supporting character, Maggio, played to perfection by Frank Sinatra in this pungent, highly popular movie. Another serious movie with an Italian-American character was Delbert Mann's MARTY (1955). The touching story of a butcher, and a teacher was a triumph for its lead, played by Ernest Borgnine, winning Oscars not only for Mr Borgnine but also for Best Picture, Director, and Screenplay. SOMEBODY UP THERE LIKES ME (1956), directed by Robert Wise, was the biopic of Italian-American boxer Rocky Graziano, charting his early life, to his prizefighting as an adult. Elia Kazan's racy BABY DOLL (1956), was the story of a young Mississippi woman who wraps men around her little finger with utter ease. The main one in this position was her husband, the other, an Italian-American cotton farmer, to whom she takes a shining in this controversial film. 

THE MIDNIGHT STORY (1957), directed by Joseph Pevney, featured an Italian-American policeman whose father figure, and friend, a priest, is killed, and sets out to discover who committed this crime. Phil Karlson's THE BROTHERS RICO (1957), followed an Italian-American man who thought that he was done with the Mafia, but whose brothers force him into involvement again with the mob. WILD IS THE WIND (1957), directed by George Cukor, was a move away from crime themes into character-driven territory. An Italian-American farmer brings a woman from Italy, the sister of his late spouse, to be his second wife, but his treatment leads her to fall for her new husband's ranch hand. Crime once again made its presence felt in Richard Wilson's AL CAPONE (1959). The life of the infamous criminal was dissected here, with Rod Steiger in the lead role. INSIDE THE MAFIA (1959), directed by Edward L. Cahn, was yet another crime saga with an Italian-American protagonist. This time, a crime kingpin back in America pulls strings to dispatch his opposition, subsequently ingratiating himself into other situations. 

Real-life crime incidents were depicted in Richard Wilson's PAY OR DIE! (1960). The life of Italian-American New York City policeman Joe Petrosino's life was the focus, particularly his efforts to quash organized crime at the turn of the 1900s. A softer approach was evident in LOVE WITH THE PROPER STRANGER (1963), directed by Robert Mulligan. An Italian-American musician has a one-night stand with an Italian-American department store assistant, their difficulties heightened when she falls pregnant, and their dilemma as to what they will do with the baby. A crime angle again infused Gordon Douglas' TONY ROME (1967). In this instance, an Italian-American private detective is assigned by a man to locate jewels stolen from his young daughter, with many twists and turns along the way. WHO'S THAT KNOCKING AT MY DOOR (1967), directed by Martin Scorsese, revolved around a young Italian-American man, and his relationship with a young woman, which is affected by events from her past that haunt him. LOVERS AND OTHER STRANGERS took a dissimilar approach to its depiction of an Italian-American man.

Many of the movies in this category were of Italian-American men linked to organized crime, or other illicit activity. LOVERS AND OTHER STRANGERS diverted from this model, firstly, with its comic orientation, and secondly, a more family-centric story structure. HOUSE OF STRANGERS and THE BROTHERS RICO were the two films which explored a family dynamic more so than others, but these were of a dramatic nature. The conflict between brothers in these was presented strongly, but in LOVERS AND OTHER STRANGERS, the brothers are decidedly friendlier in their dealings. This is in keeping with the picture's breezy, upbeat tone. This is not to say, though, that Mike's family are any less defined than the previous two examples. LOVERS AND OTHER STRANGERS is at pains to show the Italian-American Vecchio family in detail, also including Mike's parents and brother. This provides different perspectives from each family member which greatly adds richness to the film. Other facets of the movie are worth considering. 

While Mike in LOVERS AND OTHER STRANGERS is a main character, and his marriage preparations are juxtaposed to the situations of his family, and other guests, he does take a backseat somewhat to the associated narrative activity. This is as LOVERS AND OTHER STRANGERS follows a multi-character arrangement, whereby the lives of almost a dozen people aside from Mike and fiancée Susan are compared, and contrasted with the couple. The Vecchio family is shown alongside Susan's family, the Hendersons, who have a world of their own, with some marital tensions thrown in. Mike and Susan could be posited as being the most 'normal' of their family and friends as all they wish to be is together, without any complications, which do hinder some of the other couples in the movie. Mike's status as an Italian-American man, also, is not made an issue in the film. It as such downplays the race angle, with him thereby accepted by an American family for their daughter. There is not the attribution of Mike being a criminal, a hood, or a boxer in the picture, and this allows for another vision of Italian-American manhood away from stereotypical perspectives from other examples. A refreshing view of an Italian-American male character, LOVERS AND OTHER STRANGERS offers a stimulating change of pace in this respect.

Overview: Cy Howard was an American director with only two directorial efforts to his credit, being much more active on television as a writer, and producer on prime-time series, and telemovies. His final film, EVERY LITTLE CROOK AND NANNY (1972), was a comedy of errors about an Italian- American New York gangster who forces a teacher to vacate from a building he has just acquired, despite her having a long lease there. What eventuates is a twisted chain of events whereby the teacher seeks revenge by acting as a nanny, which leads to many other comic consequences for both herself, the gangster, and others. LOVERS AND OTHER STRANGERS was Cy Howard's first movie, and his finest achievement as a director.

Cy Howard has crafted a highly entertaining, engaging motion picture with LOVERS AND OTHER STRANGERS. Taking as its focus a young, engaged couple slated to be married, and surrounding this story arc with the accompanying personal events of their family and friends, it is a smoothly-rendered, astute piece of filmmaking. Mr Howard has succeeded in making his characters real and relatable, without ever slipping into caricature. The screenplay examines the minutiae of human relationships, and clearly explains to the audience exactly where the characters are coming from. The viewer becomes intimately acquainted with what is occurring onscreen, and the movie is akin to watching the lives of real people unravel. Although LOVERS AND OTHER STRANGERS is an intensive work, and attempts to cover all the bases, there are some sections which are lacking when considering the picture as a whole. 

Giving airtime to all the many relationships in the film is a good quality of LOVERS AND OTHER STRANGERS, but this does leave one of these segments less coverage than it should have received. One would expect to witness more of Mike and Susan's appealing union, but this does not happen. They appear fitfully, and while their scenes are all of a high standard, it leaves one yearning to see more of them. Mike's standoffish behaviour, and Susan's quiet spitfire nature are not utilized sufficiently. Another deficiency is the treatment of Bernice, Hal's wife. Having the spirited Bernice only function as a comic prelude to scenes of husband Hal with Kathy is disappointing. There was something special in the character of Bernice, and not finding out more about her was one of the biggest drawbacks in the movie. Aside from these flaws, and putting these to one side, some things can be said about LOVERS AND OTHER STRANGERS. It is an agreeable picture which deserves its status as one of the premier comedies of the 1970s, and Cy Howard's best movie. 

Acting: It is undeniable that LOVERS AND OTHER STRANGERS contains many distinctive performances which ensure it remains delightful throughout its running time. As Mike, a young man slated for marriage, but uncertain if it is really for him, Michael Brandon is in one of his best early performances. A player who gets to the heart of his characters in a straightforward manner, never seeming actorish, he adds punch whenever he is onscreen. Mike's fiancée Susan is given equally formidable treatment by Bonnie Bedelia. With her intuitive edge, and charming manner of speaking, Miss Bedelia matches well with Michael Brandon as the more emotionally secure half of this couple. Bea, Mike's vocal mother, is made memorable by Bea Arthur. With her dominant voice and no-nonsense way of doing things, Miss Arthur provides some of the most touching, funny scenes in the movie. Bea Arthur is more than matched every step of the way by Richard Castellano as Frank, her impassive husband. Seeing beyond Frank's hangdog expressions and sullen behaviour, Mr Castellano makes Frank an identifiable husband, and father figure in the film, with a surprising vulnerability displayed at the end of the picture. Susan's mother Bernice is played with sweetness and light, but intelligence, by Cloris Leachman. While Miss Leachman has not been employed to full capacity here, nevertheless, her glowing presence is still welcome. Five other actors give excellent accounts of themselves in LOVERS AND OTHER STRANGERS.

The pained but sympathetic Kathy is played with utter assurance by Anne Jackson. With the ability to make her character, who appears comic on the surface, and to infuse her with a pathos which gives this other woman sheer substance, is a resounding testament to this talented actress. At the other end of the emotional spectrum, the sharp-tongued Wilma tosses her barbs with panache courtesy of Anne Meara. Miss Meara is fun either sparring with husband Johnny, grumbling about her mother-in-law, and generally adding spice wherever she is present. Wilma's macho husband Johnny is another unique acting contribution, with Harry Guardino in full force with Anne Meara, as Johnny and Wilma duke it out in this battle of the wills, and sexes. Susan's bookish cousin Brenda comes alive in the person of Marian Hailey. With her insistent tone of voice, and references to books, Brenda is another lively figure in this gallery of characters. The final acting of note is by Diane Keaton as Joan, daughter-in-law of Bea and Frank. Appearing in the final section of the movie, Miss Keaton bestows another perspective on marriage in LOVERS AND OTHER STRANGERS, which allows it to come full circle with her congenial, but astute, portrayal of a woman in a marital crisis.

Soundtrack: LOVERS AND OTHER STRANGERS has an effective soundtrack which covers all the bases in terms of the movie's intentions. The opening credits sequence has a rendition of 'Comin' Thru To Me' by Country Coalition between scenes which contain witty dialogue and action, punctuating this well. 'For All We Know', performed by Larry Meredith, is featured in the scenes leading to Mike and Susan's wedding, and also, in a different version during the closing credits. It is more reflective in tone than the previous tune, deftly emphasizing the delicacy of the relationships in the movie. This is presumably to highlight the poignancy of the main relationships in the film, but it is replaced by the livelier 'Comin' Thru To Me' once more at the conclusion of Mike and Susan's scene in their apartment.

Mise-en-scene: LOVERS AND OTHER STRANGERS creates a believable world which the characters inhabit in the picture. Cinematography by Andrew Laszlo is beautiful, the Metrocolor film stock making everything appear natural, both indoor, and outdoor sequences. Alan Hicks' set decoration is also excellent, drawing nice contrasts between Mike and Susan's apartment, the comfortable, homey Vecchio family home, and the more elaborate Henderson residence. There is the subtle reference to socioeconomic status with this, but this is not something aggressively pursued by the movie. Costuming is also another great asset to the movie, with Albert Wolsky's creations, particularly for the actresses during the wedding and reception segments, elegant, and appropriate to each character. The opening sequence is also striking, with a conversation between Mike and Susan intercut with cast and crew credits, and Wayne Fitzgerald's two colour film title nicely set against a black background.

Notable Acting Performances: Michael Brandon, Bonnie Bedelia, Bea Arthur, Richard Castellano, Cloris Leachman, Anne Jackson, Anne Meara, Harry Guardino, Marian Hailey, Diane Keaton.

Suitability for young viewers: No. Adult themes.

Overall Grade: B

Link: IMDB Page

LOOKING FOR MR. GOODBAR (1977)

Title: LOOKING FOR MR. GOODBAR

Year of Release: 1977

Director: Richard Brooks

Genre: Drama

Synopsis: A sign language teacher for deaf children has a contrary nightlife of sexuality and drugs which leads to her downfall.

Within a film history context: Character studies which feature a female character indulging in promiscuous sexual behaviour have been spotlighted many times in cinema history. One of the first was the theatrical, moralistic classic MADAME X. Filmed for the first time on American shores in 1916, it was remade many times in 1920, 1929, 1937 and, the most glamorous version being David Lowell Rich's in 1966. Depicting a woman's rise and fall from grace into despair and poverty, it shared a cautionary tone that later films also possessed. Movies in the 1930s also depicted female sexual promiscuity in a similar manner, some released before the American Hays Code for films had fully come into effect.

George Fitzmaurice's STRANGERS MAY KISS (1931) had Norma Shearer as a woman electing to live with her lover despite disapproval from friends. BABY FACE (1933), directed by Alfred Green, was another racy drama racy for its day, with a woman using her feminine wiles to rise to the top of the heap at a bank by using its male employees. The Hays Code era drama OF HUMAN BONDAGE (1934), directed by John Cromwell and starring Bette Davis, was a telling exploration of a waitress who causes emotional damage to the life of a young man. Moving into the 1940s, the big budget FOREVER AMBER (1947), helmed by Otto Preminger and John M. Stahl, was the story of a young woman who uses her considerable charms to rise in society, but with the consequent loss of true love. It was controversial upon its release for the actions of its main character, and the implications of these, but was highly bowdlerized on screen in retrospect. As cinema progressed into the 1950s, increasingly daring portraits of female sexual promiscuity appeared on screen.

Dorothy Malone's role as a woman of many unspeakable passions was another excellent performance, giving Douglas Sirk's WRITTEN ON THE WIND (1956) spice and allure. The 1960s brought franker portrayals of promiscuity and its pitfalls examined by filmmakers. A most notable, but also successful entry in the genre was Elizabeth Taylor's Oscar-winning turn as a prostitute in Daniel Mann's BUTTERFIELD 8 (1960). Julie Christie in John Schlesinger's DARLING (1965), and Michael Sarne's JOANNA (1968) had young women of varying character in Swinging London exploring themselves, and their desires, in a more open manner than previous films. The breakdown of censorship in the US, and elsewhere in the world, had a major effect on depictions of sexuality on screen. Heretofore taboo subjects were now largely able to be presented on screen in both Hollywood, and exploitation movies. 

EMMANUELLE (1974), directed by Just Jaeckin,  was a soft-core porn film entry by a major studio that spawned many sequels and imitators. It was a young woman's initiation into sexuality in Bangkok, and a financial, if not a critical success. Unlike the other films which took a moral or emotional ground, EMMANUELLE was mainly concerned with sex, but not its consequences on people and relationships. While there were many films in the 1970s which dealt with female sexual promiscuity in a haphazard or comical manner, mainly without depth, LOOKING FOR MR. GOODBAR greatly differed from these movies. It is possibly the most trenchant, honest examination of female sexual promiscuity ever captured on film, pulling no punches. While the movie does contain some idiosyncratic moments of fantasy and telegraphing of narrative events, these do not detract from the film's power, only giving greater access to the protagonist's state of mind. While it could be argued that LOOKING FOR MR. GOODBAR shares the exploitation elements of nudity and violence that lesser motion pictures of its kind possess, it utilizes these elements in a way more effective manner to illustrate its character's life, and not as shallow, tacky spectacles.

Overview: Richard Brooks had a reputation as a tough director, and this was exemplified in the choice of works he helmed on screen. A generalist, he took on varied projects over the course of his thirty-five year career, and directed twenty-four movies. He made his debut with 1950's CRISIS,  a crime drama with Cary Grant, and made notable films such as THE LAST TIME I SAW PARIS (1954), a romance, and 1955's acclaimed THE BLACKBOARD JUNGLE, an exploration of racism in a high school. He also tackled romance in THE BROTHERS KARAMAZOV (1958), with its Russian 1870s setting, and also the steamy melodrama CAT ON A HOT TIN ROOF (1958) with Elizabeth Taylor. More successful films followed such as ELMER GANTRY (1960), and action in THE PROFESSIONALS (1966). Mr Brooks again produced crime drama with IN COLD BLOOD (1967), and a woman's picture with wife Jean Simmons, THE HAPPY ENDING (1969). 

LOOKING FOR MR GOODBAR was Mr Brooks' twenty-second film, coming at the end of his career, but also, one of his best, most distinctive motion pictures. Richard Brooks had previously directed strong female characters in many of his other movies, namely Elizabeth Taylor in both THE LAST TIME I SAW PARIS and CAT ON A HOT TIN ROOF, Jean Simmons in THE HAPPY ENDING, and Geraldine Page in SWEET BIRD OF YOUTH (1962). Things were no different with LOOKING FOR MR. GOODBAR, where Mr Brooks again tackled a film with a complicated, multifaceted female protagonist, this time played by Diane Keaton.

Mr Brooks has adapted author Judith Rossner's novel to the screen, based on a true story, of a sign language teacher who has a florid nightlife, consisting of sex with strangers and drug use, but, who has a terrible end. The director has made a film which is uncompromising in the treatment of its story and characters, and to some viewers this may be a turn-off, while to others a realistic move by the director. LOOKING FOR MR. GOODBAR is an explicit movie in terms of its sexual content, language, and drug use by the characters. It does not hold back in these areas, with nudity often showcased in many scenes. The director, though, has utilized these features in a specific manner to vividly bring to life the life, loves, and death of Theresa Quinn. It is every bit an adult film in its intentions and delivery, not for light viewing.

The director has made definite contrasts between the lives, in the plural sense, of its protagonist Theresa. On the one hand there is her family life, with a religious father who does not agree with Theresa on the value of her 'liberation', on the other is her nightlife filled with handsome but dangerous men, drug use, and other forms of licence. There is another opposition present in the film between these incarnations, and her life as a sign language teacher. The scenes in the school, and Theresa's interest in a young girl from her class, are the most beautiful in LOOKING FOR MR. GOODBAR. They paint a portrait of a gifted young woman caught in a life which she does not fully understand, despite seeming aware of the pitfalls in some of her most lucid moments. Mr Brooks capably presents all of these without being preachy, allowing the camera to capture the characters, freely allowing the viewer to make up their minds about Theresa's life. In many times in the movie, though, and especially in the final reel, spectators are helpless to change the course of Theresa's fate.

The director has succeeded in fashioning a film that was relevant at the time of its release, especially with the sexual revolution taking place in the 1970s, and, the notoriety of being based upon a tragic real-life event. It was a harrowing and thoughtful experience when it first appeared on screen, and it has retained punch and impact many years after its release. While it is mainly remembered for the ferocity of its final scenes, this is effectively downgrading the film as a whole. These scenes have more power than any slasher exploitation movie could muster with their low intentions and presentation. LOOKING FOR MR. GOODBAR should also be noted for its unflinching honesty, and the director's courage in bringing it to the screen in the first place.

Acting: The acting in LOOKING FOR MR. GOODBAR bolsters the movie to a significant degree. In the lead role of Theresa Dunn, Diane Keaton does an exceptional job in an extremely difficult role. Moving way beyond her usual genial film persona with this character, Miss Keaton makes Theresa Dunn one of the most complex female characters ever presented on celluloid; a tragic, but fascinating figure at the same time. She makes Theresa's utterly contrasting day, and night lifestyles/transformations believable and utterly compelling. Miss Keaton is ably supported by the remaining actors who also paint realistic characters in LOOKING FOR MR. GOODBAR.

Tuesday Weld, as Theresa's older sister Katherine, does a marvellous job in the movie. Miss Weld's distinctive, squeaky voice is used to great effect here, showing her confusion with her life, being in a similar predicament to Theresa, but expressing this in a different, more comical, manner. Both of these actors are three-dimensional in their portrayals, the same applying for other actors in LOOKING FOR MR. GOODBAR. In his role as Theresa and Katherine's father, Richard Kiley shares some strong scenes with Diane Keaton, his the sole voice raising concerns about his daughter's lifestyle. Never allowing his character to become tiring for the viewer, Mr Kiley does wonders with his religious, fervent, alpha male father figure. The other male characters in the film can be examined for how different they are to Mr Dunn in the film.

Richard Gere, as Theresa's come and go lover Tony Lo Pinto, offers an energetic and eclectic performance in LOOKING FOR MR.GOODBAR. His entertainingly hyper personality brings a note of humour to the film in the most unexpected of moments. Mr Gere's electric persona makes him the perfect morally ambiguous rogue to Diane Keaton's Theresa in her most sensual, but also, sensible moments. On the other hand LeVar Burton, with a dearth of dialogue, makes an impact with his supporting character Cap Jackson, the brother of a young deaf girl Theresa teaches at her school. Using mainly his eyes and uttering only a few several sentences, Mr Burton does a fine job as the intuitive, protective Cap. Cap is the only male character in the film to see Theresa in a more giving, dignified light, without concentrating upon her sexuality, which is something the remaining male characters share as a trait.

Tom Berenger, as Theresa's final lover Gary, is the most striking male performance in the movie. It is interesting to note Mr Berenger's non-verbal cues in the film, especially at the end of the Parade scene, sulky voice, and sad pout. His body is akin to a tight elastic band swaying in the wind that will snap at any moment, and his voice suggests deep emotional scars. Mr Berenger's excellent acting informs the audience that his character is suffering deeply, and that Gary's actions at the very end, while horrific and drug-induced, are borne out of confusion with his sexuality, being both his homosexual, and heterosexual desires.

Soundtrack: The use of a saxaphone tune in the opening credits of LOOKING FOR MR. GOODBAR suggests sensuality and illicitness, teamed with the visuals of Theresa Dunn in various adult entertainment venue locations. The tone then shifts slightly in the credits with disco music of the era, most significantly Thelma Houston's 'Don't Leave Me This Way', which add dimension, and a flavourful sense of the 1970s to the film. The film overall has music in its most quiet moments, especially when Theresa is at her most thoughtful, and in the end credits, this complementing the visuals in an apt manner.

Mise-en-scene: The outdoor location filming and sets featured in LOOKING FOR MR. GOODBAR are well-chosen, adding an appropriate backdrop to the proceedings on screen. Many examples of the vivid nature of the mise-en-scene can be mentioned. First of all, the opening credits introduce the viewer to Theresa's nightlife in all its uninhibited glory, this repeated throughout the movie. The smoky bars that Theresa inhabits when picking up men, the gay bar she visits in a scene from the film, the outdoor New Year's Eve Parade with its assortment of characters in costume, to name a few, set the tone of the film in an excellent way. Theresa's small, dark apartment is akin to a hell's den, with its sparse furniture, and generally unkempt nature. Aside from these, the film has utilized its sets, and lighting, to make subtle comments about the central character and her lifestyle.

The nighttime scenes of Theresa trolling bars, visiting red-light districts and afore-mentioned areas, can be contrasted with the sequences of Theresa during the daytime hours. The scenes in the school are well-lit, with copious light entering through the windows of the classroom. There is the inference that Theresa is pure during the day, and in her element. This is where she also displays compassion to others, one of the film's most powerful points. Even the scenes in the black neighborhood are better illuminated than the nighttime scenes, where Theresa is still 'in the light', and fighting for her young black student. Production design is an excellent feature of LOOKING FOR MR. GOODBAR, and one of the reasons it stays in the memory after many years.

Award-worthy performances in my opinion: Diane Keaton, Tuesday Weld, Richard Kiley, Richard Gere, LeVar Burton, Tom Berenger.

Suitability for young viewers: No. Frequent coarse language, male nudity, female nudity, adult themes, high-level violence.

Overall Grade: B

Link: IMDB Page

Movie Excerpt