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  • Exceptionally funny and moving romantic comedy from Alan J. Pakula (Klute, All the President's Men) is a lost late '70's classic! Burt plays Phil Potter, a married every-man who's dumped by his self-consumed wife (Candice Bergen) only to stumble into love with an insecure school teacher (Jill Clayburgh).

    Basically it sounds like An Unmarried Woman for men but Starting Over is its own film made with a gentle touch courtesy of Pakula and writer James L. Brooks and features some outstanding performances: Burt Reynolds -displaying vast amounts of charm and sex appeal- can be so beautifully restrained and sensitive (Deliverance, Boogie Nights) but then quickly turn and flash that devil's grin and deliver a line with a comic timing that's pure genius. He's amazing here and Phil is his best creation. Candice Bergen was sensational in Carnal Knowledge but her shallow Jessica is invested with a played-to-the-hilt quality and she shows a hilarious narcissiscm that wouldn't be seen again until Murphy Brown. (See if you can get her delightfully out-of-tune vocal rendition of Better than Evah out of your head after you've watched this!) Jill Clayburgh never found another part like Erica in An Unmarried Woman but then again she really didn't need to and her Marilyn is a slightly high-strung but charmingly shy wallflower and she plays off Reynolds perfectly; the two of them carry Starting Over to its finish with great style.

    Starting Over is one of those movies that people vaguely remember and you almost never come across while channel surfing. (It's not even available on DVD and most video stores don't even have a copy of the VHS tape!) It's a shame it's not more available because it has an honest, acutely observational intelligence going for it and feels like a romantic comedy made for people who don't like romantic comedies. It's a great movie!
  • Man, what a difference 20 years or so makes! I'm not sure when I saw this movie, but since it came out in 1979, and I saw it on TV (probably cable at my brother's house)-it was surely in the early 80s. I couldn't remember the movie very well (though I do distinctly remember Burt Reynolds taking the polaroids of Jill Clayburgh in the shower, and her laughing at the tall basketball player) but I knew that I thought it was funny. In fact it was funny enough to go on my short list of movies to watch again soon (you know that one that you never seem to get to). Well imagine my surprise when I saw this video in the bargain-bin of the video store here on the U.S. Army base in Yongsan Korea for two bucks!

    Well I liked the movie back then, but I watched it with totally different eyes as a 37 year-old man. It was still funny, but in a much more relative way. Back then I thought Reynold's antics were charming, now I see them as irrepressible. I'm sure I thought Clayburgh's character was a little strange back then, now I see her as vulnerable and true.

    This is a very good movie with numerous scenes that are funny and touching. In an industry flooded with banal romantic-comedies this should set the mark.
  • shark-4329 August 2001
    This well made adaptation of Dan Wakefield's novel has wonderful comic moments and full-bodied performances. Burt Reynolds underplays his role and does some of the finest work of his roller-coaster career (it's up there with "Boogie Nights" and "Deliverance"). Candice Bergen is hysterical in the role of the wife who wants freedom and a singing career. (Little did we know in 1979 that Bergen would go onto great comedic success as Murphy Brown)James L. Brooks does a terrific job with the screenplay - the divorced men's group scenes really ring true and the moment when they have to leave their community center space so the women's divorce group can then use the room is uncomfortable and very funny. In my opinion, Clayburgh gives an up and down performance, sometimes really connecting with Reynolds and other times she just seems to be impersonating Diane Keaton. Fine supporting work by the always reliable Charles Durning and Austin Pendleton. This film is very hard to find in video stores for some reason. I just happned to catch it again on cable and was pleasantly surprised with how well it holds up.
  • This is a nice movie, that depicts a man's difficult time coping with a divorce from a woman he still cares about and falling in love with another woman at the same time. Most critics have said this is Burt Reynolds finest performance. It has some very touching moments that we could all relate to, and there are some very funny moments as well.

    Jill Clayburgh is perfect as a normal, not so young, woman that you could run across anywhere. If this movie was made today, they would have cast a gorgeous 18 year old, with big lips that couldn't act.

    Candice Bergen, who is gorgeous, steals the show, with a hilarious scene involving her singing. The movie has aged some, and as a previous writer said, "would never be made today." But for me, that statement is complimentary to this movie.
  • "Starting Over" works very well because it's a film made for and by adults. And it's got some very funny moments.

    Yes, it's got all the trappings of a typical "ROMCOM" but back in 1979, the ROMCOM formula had not developed into the hackneyed, tiresome concept that it became. By the late 90's, the style that "Starting Over" began seems to have expired (it arguably reached it's zenith circa 1994 with "Sleeping in Seattle". Whether one liked that movie or not, all the trappings of the stylized ROMCOM formula were firmly and grossly used in that one.) But I digress.

    "Starting Over" works so well because of Pakula's typical very low keyed direction which allows James L. Brooks' screenplay to shine. But this film would be nothing without the cast. Clayburgh is fine but of the three leads, she's the least appealing. Don't get me wrong. She's an engaging presence in the film and it's quite understandable why Reynolds is attracted to her (except for a shower scene in which, to me, she over reacts). The hands down winners in this film are Reynolds and especially Bergen. Bergen tapped into a completely unexpected flair for comedy as a royally flaky song writing ex-wife of Reynolds. She's a gas especially in an hysterical scene when she begins singing a disco ditty ("Better Than Ever") in a hotel room while trying to reconcile with Reynolds.

    Reynolds is a complete revelation. Gone is his trademark mustache and cockiness and it works to marvelous effect. He's mature, low key and completely likable. It would've been so easy for Reynolds to play down the part to the point where he appears to be sleepwalking (ala William Hurt in "The Accidental Tourist"). But here, though he's depressed, he's also alive. He's just a guy going through something that he wishes he didn't have to. He loves/likes his ex-wife and can't understand why he's the odd man out.

    From a plot and structural standpoint, "Starting Over" isn't much. It's setup and resolution are standard and completely unremarkable. Aside from the wonderful cast and good writing, the film is photographed beautifully by Sven Nyquist. This Swede (who was Ingmar Bergman's chief Director of Photography) knows how to film chilly northern environments and he gives Boston in winter an appealing glow.
  • Although puzzlingly slow-moving, "Starting Over" is a gentle, funny film about a newly-divorced man attempting to date again. I loved it when Burt Reynolds (in a benign but amiable performance) hits the furniture store to fill up his apartment, but then sits in his studio surrounded by all the new pieces and now has nothing to do. Or when girlfriend Jill Clayburgh shouts at him, "I am no one-nighter! I am a teacher! I am going for my Masters!" The movie doesn't know what to do with its characters near the end--taking us down a few roads which disappointed me--but otherwise it's a smart, subtle comedy and the appealing players make the most of it. **1/2 out of ****
  • After several years as a comic book action hero, Burt Reynolds took a calculated career risk at becoming a romantic leading man in the 1979 comedy STARTING OVER and the risk paid off in spades. Reynolds turned in his best performance up to this point as Phil Potter, a writer whose wife (Candice Bergen) has just divorced him who enters, perhaps a bit too quickly, another relationship with a neurotic schoolteacher (Jill Clayburgh. This smartly directed comedy, lovingly directed by ALan J. Pakula hits all the right notes and introduces characters you care about. Bergen also opened up a whole new career for herself, showing a flair for light comedy, which resulted in her first Oscar nomination. Her musical seduction of Burt with "Better than Ever" is one of the funniest scenes in film comedies ever. Bergen's performance here was largely responsible for her being offered the role of Murphy Brown. Clayburgh (also nominated for an Oscar) is just as good, creating a quirky and heartbreaking character who evokes laughs and sympathy. It has been well documented over the years that Reynolds was deeply hurt when both of his leading ladies here received Oscar nominations and he did not. Then to add insult to injury, the Best Actress Oscar that year went to his girlfriend at the time, Sally Field. Burt should have been nominated for this film...it was beautifully controlled performance that was nothing like he had ever done before. Charles Durning and Frances Sternhage offer strong support as Phils' brother and sister-in-law and don't overlook those wonderful scenes with Burt's Divorced Men's support group. A winning romantic comedy that finally proved Burt Reynolds really knew how to act.
  • I loved Burt Reynolds when I was wee. And performances like this, for me, are what he was best at. Here's the scoop: he is normal, we are normal, but the world is a bit crazy, and us normal guys have got to navigate it and find true, terrific, wonderful love.

    This is a romantic comedy, a genre which seldom produces a great film, and indeed this is not a great film. That said, it is an above - average, very enjoyable film of it's type, which is genuinely LOL funny in places, and has not dated at all. And, it has a nice Christmas-time thing going on, which may or not be relevant to your interest. Slightly wonky (New York / Bostony) music is fitting, and I would defo give Bergen a cuddle with that see-through blouse thing on.

    When the end credits come up, with another cheesy song, you might feel that you know a wee bit more about humanity, and more again about what love really is, and isn't.
  • Warning: Spoilers
    Reynolds, who was noted at the time for playing a lot of moustached, gum-chewing, hairy-chested rednecks, took a different tack in this thoughtful and understated romantic comedy and it earned him a fair amount of respect (though not an Oscar nomination as many expected.) He plays the husband of Bergen, an aspiring songwriter and singer who proves unlivable during her recent foray into the music biz. After a brief stay with his brother Durning, he sets up his own apartment and goes about entering the dating pool again after many years of marriage. One of the women he meets is Clayburgh, a pleasant, sensitive woman with a fear of commitment and trust. The two strike up a tentative romance and appear to be headed for another go-round at matrimony until Bergen shows up (in a see through blouse) and announces that she's ready to win Reynolds back for herself. Clean-shaven Reynolds gives a low-key, effective performance here. He's mostly a straight man for the zany people who surround him, though he does eventually have a memorable breakdown in a furniture store. His two leading ladies each got Oscar noms and it's a shame that he was denied the same honor as this was a nice departure from his typical fare of the era. Clayburgh is wonderful. She effectively creates a tender, quirky and realistic character; one who is slightly damaged and whom the audience can root for. Her opening line of dialogue is unforgettable! Bergen is also very fine, fearlessly laying out a haughty, problematic and practically tone deaf character who "sings" like a wailing banshee, yet has no idea how wretched she is. Durning (who couldn't look less like Reynolds' brother if he tried!) lends excellent support as does Sternhagen, who plays his match-making wife. Reynolds joins a support group for divorced men that includes several familiar faces from the cinema such as Pendleton and Sanders. (There is one glaring continuity error here, though, in that the editing separates one meeting into two, causing all the men to wear the exact same clothing to two meetings in a row.) Place has an amusing cameo as one of Reynolds' early dates. Despite a few dated trappings, this film still offers worthwhile ruminations and examinations of the emotions and compromises that go into making a relationship work. The humor is mostly gentle, with the exception of Bergen's hysterical songs. The director, Pakula, was someone that A-list stars loved to work for, right up until his untimely death in a car accident.
  • For the first time, a marriage break-up shows the male as vulnerable, mild-mannered, and incredibly human. Burt Reynolds displays none of his usual macho style and is absolutely hilarious as a guy who gets dumped by his nutty wife. The attempted romance between Jill Clayburgh and Reynolds is so realistic, each so nervous, defensive. Yet no one is creating a perfect new relationship here. Every time I see it, I laugh just as hard as I did the first time. This should be required viewing for all who find themselves suddenly single. All the how-to touchy-feely books and groups only make the single person seeking relationship even more self-conscious.

    "Starting Over" puts a new spin on the subject without diminishing the angst and self-doubt that makes the trial-and-error process so heinous. Burt Reynolds hyper-ventilating when he and Jill try to buy a mattress together at Bloomingdale's is one of the funniest scenes in filmdom.
  • This is a totally charming and mature romantic comedy unlike anything Hollywood puts out today. It has aged amazingly well and delivers big laughs, soft chuckles, and a few deep sighs. This time, I especially enjoyed when Burt Reynolds, as Phil Potter, shows up at Jill Clayburgh's (Marilyn) and she is having a candlelit dinner for one. The scenes of the divorced men's group are wonderful, as many have already noted. And Candice Bergen was truly funny. If you see this one listed in your TV Guide, make a date with it.
  • Just coming off producing and writing the classic sitcoms, "The Mary Tyler Moore Show" and "Taxi", James L. Brooks wrote the screenplay, his first, for this 1979 divorce comedy. Even after all these years and finally out on DVD, it remains funny, perceptive and thoroughly engaging in a way that later crystallized into Brooks' film-making trademark in "Terms of Endearment" and "As Good As It Gets". Fortunately, the director is the accomplished Alan J. Pakula, who shows a flair for romantic comedy coaxing excellent performances from the three stars.

    The plot centers on Phil Potter, a magazine writer-turned-writing teacher who has been informed by his beautiful but flaky wife Jessica that she wants a divorce. Without much recourse, he seeks solace from his bear-hugging psychiatrist brother Mickey and sister-in-law Marva, who eventually set him up on a blind date with Marilyn, a mild-mannered, rather dowdy nursery schoolteacher. The movie then becomes a clever seesaw of Phil vacillating between his wife and potential new love interest. What remains fresh about the movie is how Pakula and Brooks keep the focus on the flawed characters and less on the predictable clich├ęs about the awkward consequences of divorce.

    Even taking into account his comeback turn in Paul Thomas Anderson's 1997 "Boogie Nights", I doubt if Burt Reynolds has given a more subtle, genuinely humane performance than he does here. Cast completely against type (he was in his Smokey/Hooper/Sharkey action phase at the time), he makes Phil's uncertainty feel real - even at the risk of losing audience sympathy in the way he treats Marilyn no matter how inadvertently. In the afterglow of her brilliant work in Paul Mazursky's "An Unmarried Woman", Jill Clayburgh again demonstrates the malleable quality and fierce intelligence to make her deglamorized Marilyn an attractive and credibly cautious woman. In a revelation before her long, successful run as "Murphy Brown", a deadpan Candice Bergen breaks free from her heretofore vacuously decorative roles and supplies the movie's biggest laughs as the narcissistic Jessica, especially when she sings with uproariously tone-deaf panache to seduce Phil in her hotel room.

    There is also a terrific supporting cast - Charles Durning bringing out all the unctuous support that Mickey can muster; a scene-stealing Frances Sternhagen as Marva, more than anxious to provide Phil emotional support when he is down and out; Austin Pendleton as a needy member of Phil's divorced men's club, who keeps remarrying his ex-wife; and Mary Kay Place in a funny cameo as Phil's aggressive first post-marital date. Other than Marilyn's unflattering outfits (the orange down jacket is hideous), Marvin Hamlisch's seventies-lite pop music is really the only significant element that dates the movie severely. The divorced men's club meeting scenes are hilarious, and you can see Jay O. Sanders and Wallace Shawn as fellow members. Unlike other romantic comedies of the period full of I'm-OK-You're-OK pop psychology, this one is still well worth viewing.
  • Burt Reynolds played Phil Potter, a Boston publishing executive. In this film, he and his wife, Jessica, split up. She wants to pursue a singing career. Candice Bergen earned an Academy Award nomination for her performance as Jessica Potter. Phil meets Marilyn Holmburg, a school teacher, who helps him deal with the breakup. Jill Clayburgh earned an Academy Award nomination for her performance as Marilyn. Reynolds, Clayburgh and Bergen did earn Golden Globe nominations for their roles in this film. The film is a nice romantic comedy about mature adults. They don't make films like this anymore. Burt Reynolds can act aside from action films. He is totally a different character here.
  • Starting Over is a great movie and another tribute to the late director, Alan Pakula, who could get the utmost out of his actors.In almost all his movies some cast member would win, or at least be nominated for, an Oscar -- Jane Fonda in Klute, Meryl Streep in Sophie's Choice, Jason Robards in All the President's Men, and the two female leads in Starting Over. Yet Pakula seemed to be always under the radar and, in my opinion, never got the glory he deserved. His name is never brought up in discussions about the great directors. What a shame. When you watch Starting Over, notice how every actor -- from the leads to the smallest walk-on -- does an outstanding job. That's the Pakula touch.
  • Between this movie and The End, this is what Burt Reynolds should have been doing all along. In the few vehicles that he's given himself to work in some sort of halfway sophisticated comedy, he shows himself to be a master at timing and understatement. He could have built a career for himself as the level, likable handsome lead who is continually put upon by wacky supporting characters and sticky situations.

    I think it's a shame that Burt Reynolds opted for so much lowbrow drive-in movie slapstick or for playing caricatured hardboiled detective sex symbol types and supposed Dixie anti-heroes. He's got so much more talent than that.
  • This is a movie which transcends labels such as "Chick-Flick". Reynolds was robbed when he wasn't even nominated for an Oscar for this film. The expressions he conjures up are better acting than half the nominees in any given year. Regarding the film as a whole, the meetings of the divorced men support group are worth watching by themselves.
  • kenjha18 February 2011
    A freshly divorced man tries to maneuver the singles field. It gets off to a great start but half-way through the script runs out of steam, which is somewhat surprising given the track record Brooks has as a comedy writer in TV and film. Shedding his usual macho screen persona for an understated performance as a decent fellow, Reynolds has never been more appealing. Clayburgh is also good as an insecure woman he becomes involved with. However, it is Bergen who steals the film as a songwriter who can't carry a tune but fancies herself a great singer. Pakula rarely did comedies, but he manages to push the right buttons in eliciting laughs.
  • She was again nominated for the Academy Award in 1979 for her role in 'Starting Over' (1979). This movie starred Burt Reynolds as Phil Potter and Jill Clayburgh as Marilyn Holmberg.

    Baltimore Bob's 1 of 10 favorite movie lines in 'Starting Over':

    "There was a funny line spoken when Marilyn is being followed by Phil in this movie in New York City and they are strangers not knowing that they are headed to the same place to meet for the first time. Marilyn senses that a stranger is following her and all of a sudden she turns to Phil and says 'Take one more step my way and I'll cut your balls off' so Phil backs off eventually getting to the place where he is going where she is discussing the fact that there was some pervert following her only to be totally embarrassed about the fact the guy was Phil."

    Baltimore Bob
  • If you're a baby boomer you might enjoy this movie that portrays men and women as equally sensitive, misunderstood, honest and fallible in the adventures of love. Of course, we know that good endings aren't always indicative of real life -- but that's what movies like this are all about--feeling good at the end. This is without a doubt my favorite Burt Reynolds movie and Jill is simply awesome. Enjoy this movie with someone close to you!
  • this film is very well done, portraying those very real situations that people find them selves.

    first off, in small but very important, vibrant roles, Mary sternhagen, and Charles durning once again prove their worth, their talent, and their ability to MATTER to a story. both of these actors are just fantastic at recognizing their roles, and DELIVERING more than needed. just fantastic.

    also look for Austin Pendleton, in a small but vital role playing it to the hilt. he is a spectacular actor who deserves way more credit and recognition then he receives from Hollywood. versatile, fantastic actor. without actors like him, Hollywood would never survive.

    as to the two female leads, well, one and a half, as i can't see why Candice bergen would be nominated for an academy award for this limited performance. she is definitely a major part of the story, BUT NOT A MAJOR FORCE ON THE SCREEN. now, Jill clayburgh, on the other hand is so good in her role here, and so believable, that she definitely deserved recognition. she has the character, the personal trauma, the desperation, the fear down pat. bergen, on the other hand, while she does nail the character, is not that memorable at all.

    and Burt Reynolds, is is usual magnificent self, giving 110 % to the story, the character, the production.

    if you are an aspiring actor, STUDY Burt Reynolds. he is far more than a plastic banana head sex symbol, leading man. he is of the same cloth of classic actors Humphrey Bogart, Clark gable, john Wayne.....he gets the character down, and gives his all.

    this film is a keeper, very well done, and keeps your rapt interest in the final outcome, WHICH IS NOT ETCHED IN STONE, by any means. it can go either way.

    well produced, well directed, and well acted.
  • I really liked this movie. This is when Candice Bergen really learned how to act. It's interesting that her bad singing in this movie is completely different than Murphy Brown's bad singing. I wish she'd had some more screen time but I liked all the characters, all recognizable actors. I especially loved recognizing Austin Pendleton (the stuttering lawyer from "My Cousin Vinny") as a friend of Phil's.
  • Warning: Spoilers
    I had forgotten how much I used to enjoy Burt Reynolds. No, he was never a GREAT actor, but he was almost always enjoyable on screen. And this is another of his engaging performances. It's a decent story about a man who is dumped by his wife (a quite young Candice Bergen) and has to start over. And after a few stumbles he starts over with Jill Clayburgh, who plays a rather insecure teacher who has trouble developing relationships because she is too in need of permanence early on. And just when they finally do move in together, up shows the old wife! So, of course, the question is, which way will he go...although we all really know the answer. But meanwhile, he makes the poor choices.

    Just for the record, this is one of Burt's more serious films. It's not a comedy, although there is some humor in it. I think it's more drama.

    There are some other familiar faces here, including the wonderful Charles Durning, but they don't have much screen time...just along to move the plot.

    Burt is good here. Not Laurence Olivier, but he's good for the role. So is Jill Clayburgh. I wasn't very impressed with Candice Bergen, which is odd, because usually I don't care that much for Jill Clayburgh...here they flipped.
  • Warning: Spoilers
    "All the President's Men" director Alan J. Pakula stepped out of his comfort zone so to speak to helm this lightweight 'divorce' romance comedy with Burt Reynolds, Jill Clayburgh, Candice Bergen, Charles Durning, and Frances Sternhagen. Previously, the closest that Pakula came to "Starting Over" was "The Sterile Cukoo" (1969) and "Love and Pain and the Whole Damn Thing" (1973). Usually, Pakula specialized in dark-themed conspiracy thrillers, such "Klute" and "The Parallax View," or melodramas like "Comes A Horseman," "Rollover," and "Presumed Innocent." Not only was Pakula venturing out of his usual zone, but also Burt Reynolds definitely stepped out of his comfort zone, too. Reynolds made "Starting Over" between his "Smokey and the Bandit" movies and "Hooper." Although both Clayburgh and Bergin received Oscar nominations respective for Best Actress and Best Supporting Actress, Reynolds didn't get a Best Actor nod for what is essentially one of his more winning as well as offbeat performances. He did receive a Golden Globe nomination for Best Motion Picture Actor in Musical/Comedy for his performance in "Starting Over." Indeed, Reynolds is more subdued than you can ever imagine this action hero being. He slows down his cadence and displays a vulnerability that was never apart of his action hero roles. Reynolds' wardrobe reflects this change-of-pace casting. He dons sweater vests to wear with his sports jackets and trench coat.

    Reynolds plays Phil Potter. His wife Jessica (Candice Bergen of "Bite the Bullet") has slept with his boss and she gives Burt the boot. Phil is heart-broken that his wife is kicking him out. He didn't want to part company with her, but she has a popular tune hit and is able to go out on her own. You know that you're watching a comedy because Bergen's character has no vocal talent and sounds distressingly off-key. Here is a sample of the lyrics of her song: "I'm sure I've cried more tears than you-ooh-ooh, but I've gotta be more than a shadow of my mannnnnnnn-nuh." A dejected Phil starts over with the help of his older brother Michael (Mickey) Potter (Charles Durning of "The Choirboys") and his wife Marva (Frances Sternhagen of "Outland") and they set him up with a variety of women. When he isn't dating, Phil participates in a divorced men's workshop in the basement of a church. These scenes are amusing in themselves because the women constantly antagonize the men into leaving early. Meantime, the winner of all the women that Phil sees is a school teacher, Marilyn (Jill Clayburgh of "An Unmarried Woman"), but they endure a rocky romance, principally because Phil hasn't gotten over his ex-wife. Incredibly enough, just as Phil is adjusting to his new life and getting along with Marilyn, Jessica shows up to collapse that house of cards between Marilyn and Phil. When Phil tries to reunite with Jessica, Marilyn asks him to swear on his brother's life that he won't bother her again. Of course, this is not to be and Phil and Jessica cannot rekindle the glow that once warmed their romance.

    "Starting Over" is just a change of pace for both Pakula and Reynolds that you could almost ignore it, were it not for scenarist James L. Brooks' adaptation of Dan Wakefield's novel. Interestingly, Reynolds had appeared earlier in another lightweight football comedy that was derived from Wakefield's novel "Semi-Tough." It is refreshing to see Reynolds play a role that doesn't require him to pack a pistol or perform dangerous automobile stunts. Actually, he does run a small car off a road onto a snowy embankment where he crashes into a tree, but it isn't a life-or-death stunt. The funniest scene occurs when Phil and Marilyn are shopping at Bloomingdale's for a sofa and Phil experiences a panic attack. Eventually, Micky comes to his rescue and convinces Phil that he was just hyperventilating. Mickey asks the spectators if any of them have a Valium and everybody tries to fork over the medication. If you want to see Burt Reynolds stretch himself as an actor and watching an entertaining comedy, "Starting Over" is a good start.
  • Burt Reynolds is single again, after breaking up with Candace Bergen, and good friends Charles Durning and Frances Sternhagen set him up with Jill Clayburgh. That's how it all starts. What seems like a standard comedy-drama is buoyed by the stars' charm and outstanding performances, especially Clayburgh and Bergen. (They were incidentally both nominated for their work in this.) And, Burt has never been better. As one reviewer has said, this has to be Burt's best work. It's great to see Candace before "Murphy Brown" giving her all in a memorable role and singing her heart out. If you happen to see this on TV, do yourself a favor and discover the best the 1970s had to offer.
  • It was 1979, and I was trying to impress a girl with whom I was trying to re-connect, so I (being 17) took her (she was a very mature 15) to see this movie.

    I was bored beyond tears, I was disappointed that Vicki seemed to be very interested in the movie, and I was about to fall asleep when I heard Candice Bergan trying to impress Burt Reynolds by informing him: "I had a vaginal orgasm." I laughed so damn hard and loud... and it took several long moments to realize that I was the only one laughing...

    You know? - The floor of the movie theater wasn't really that sticky when I crawled under my seat to await the end of that motion picture.

    Oh well - good times I guess...

    Peace
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