AWARDS AND HONORS
The Goodbye Girl
was nominated for 5 Academy Awards: Best Actor (Richard Dreyfuss), Best Actress (Marsha Mason), Best Supporting Actress (Quinn Cummings), Best Picture, and Best Original Screenplay (Neil Simon). Richard Dreyfuss took home the film's only award for Best Actor. At 29-years-old Dreyfuss became the youngest person to ever win the Best Actor Oscar® in history. It was a record he held until 2003 when a slightly younger Adrien Brody won for his performance in The Pianist
Richard Dreyfuss won the BAFTA Film Award for Best Actor for his work in The Goodbye Girl
. Marsha Mason was nominated for a BAFTA Award for Best Actress, and Neil Simon was also nominated for Best Screenplay.
The Goodbye Girl
was nominated for 5 Golden Globe awards including Best Motion Picture - Comedy, Best Actor in a Musical/Comedy (Richard Dreyfuss), Best Actress in a Musical/Comedy (Marsha Mason), Best Screenplay (Neil Simon), and Best Supporting Actress (Quinn Cummings). It won in every category except Best Supporting Actress.
Richard Dreyfuss won the Los Angeles Film Critics Association Award for Best Actor for his performance in The Goodbye Girl
Neil Simon's screenplay for The Goodbye Girl
was nominated for a Writers Guild of America (WGA) Award for Best Comedy Written Directly for the Screen.
In 2002 the American Film Institute ranked The Goodbye Girl
number 81 on its list of the 100 Greatest Love Stories of All Time, "100 Years...100 Passions."
THE CRITIC'S CORNER - THE GOODBYE GIRL
"...a movie that has the form of a romantic comedy but which is so relentlessly wisecracked that it finally has the very curious effect of seeming to be rude to its own characters...The Goodbye Girl
...may be the perfect American comedy for an age in which opportunism is not only an acceptable way of getting ahead in the world, but also a fashionable style of conversation, patterned largely, I suspect, on the manners of television talk-show guests who trample one another for the camera's attention...Miss Mason and Mr. Dreyfuss are enthusiastic farceurs who manage to keep their wits about them even when they are doing absurd things. Miss Mason's Paula is especially funny in her early scenes with her daughter when she creates a genuinely comic portrait of a woman who has prepared herself for every possible treachery except the one that turns up." -- The New York Times
"Performances by Dreyfuss, Mason and Cummings are all great, and the many supporting bits are filled admirably." -- Variety
"...Dreyfuss grows up before our eyes. For once he is the least insecure character in a film; he is mature and sensitive at the same time--not to mention sexy and compassionate. Of course he gets the girl in the end, but he gets the audience first. Dreyfuss aside, The Goodbye Girl
is not without its unpretentious merits, the most notable of which is Neil Simon's script. Though the film relies heavily on the mechanical plot devices of '40s boy-meets-girl movies, Simon keeps gratuitous punch lines to a minimum and shows an open-hearted concern for his fetching characters...It is rare that an actor can move an audience from hilarity to sorrow in a matter of seconds, but that is what Dreyfuss does in The Goodbye Girl
. Astoundingly enough, a small movie has given birth to a major star." -- Time
"Neil Simon's The Goodbye Girl
is a funny movie with its heart finally in the right place, but all sorts of unacknowledged complications lurk just beneath its polished surface. The surface is pure Simon, which means that it's a funny-sad-tough-warm story about basically nice people who are given just three snappy one-liners too many to be totally human." -- Roger Ebert, The Chicago Sun-Times
"Neil Simon's warmest comedy to date...High-caliber script and performances to match..." -- Leonard Maltin, Movie and Video Guide
"It is just the kind of lump-in-the-throat comedy we need now. No nudity, violence, tragedy, killings or bloodshed. Just pure joy and happiness and vanilla-flavored escapism." -- Rex Reed
"[Marsha Mason] takes her place with the great screen comediennes." -- The Los Angeles Times