GOODBYE, CHARLIE

US, 1964, 116 minutes, Colour.
Tony Curtis, Debbie Reynolds, Pat Boone, Joanna Barnes, Laura Devon, Ellen Burstyn, Martin Gabel, Walter Matthau.
Directed by Vincente Minnelli.

Goodbye Charlie is a hit-or-miss kind of comedy directed by the veteran of the musicals of the forties and fifties and the colourful melodramas of the 'fifties, Vincente Minnelli. He works with the two popular stars, Tony Curtis and Debbie Reynolds (they had appeared together in 1960 in Robert Mulligan's effective comedy, The Rat Race). Neither of them are at their best in this film, but that may be because of the material. It is a comedy about an odd kind of reincarnation of man-into-woman with a gangster background. The screenplay is more or less as that theme sounds. Walter Matthau, as always, is enjoyable in a supporting role.

1. The qualities of the film as an American comedy: the picturing of society, the way of life, the portrayal of men and women, its broad style?

2. The implications of the title, the initial build-up to Charlie's death, the repetition of the words, the song and the recurrent musical theme? the end?

4. The use of colour, Panavision, the locations, the wealthy world, the style of the parties etc?

5. How real a character was Charlie? Did we see enough of him? The impact of his being shot? The reality, plausibility or absurdity of his return in the form of Debbie Reynolds? The plausibility and credibility of the whole plot? The consequent complex characterisation of Charlie? the male female conflict, the search for identity? The manifestations of bad points good points? Flirting, con-man? Dying again? Was the character of Charlie well enough explored?

6. The background of reincarnation? The factual background? The use of the theory for joking purposes? The end with the dog?

7. Reincarnation as a theme: punishment. purgatorial experience? How well was this used?

8. The film as comedy about spirits returning to earth? A farcical aspect of the film?

9. The aspects of sex farce because of the mixture of identities? Charlie’s background? How tastefully presented was this aspect of the film? How crude?

10. The importance of George: his friendship for Charlie, his speech at the funeral, his softness and compassion., his coping with the situation, the Hollywood and screenwriting background?

11. How well did the film present and explore the relationship between George and Charlie? The relationship of the past, things they share, George's disgust with Charlie? The jealousy consequent on Charlie's being a woman? The effect on George?

12. The complications of Bruce? How important for the sub-plot, the quality of the sub-plot? Bruce's character, his wealth and his mansion, being mother-dominated? The drinking sequence - how comic?

13. The satire in the characterisation of Sir Leopold? The Hollywood Mogul background, the self-importance and self- advertising, the release from prison and the party? The flirting, the shooting again? The satire in the mogul background?

14. The film's satire on the women? Their infatuation with Charlie? The truth being told in the hairstylists? The blackmail?

15. The background of filmmaking, writers? The implications for fiction and reality?

16. The presentation of man and women and their relationships? the satire?

17. The theme of truth and lies? How successful was the comedy in presenting these themes?