AniInterview
Sorry, this movie sucks
MoPoshy
Absolutely brilliant
Matho
The biggest problem with this movie is it’s a little better than you think it might be, which somehow makes it worse. As in, it takes itself a bit too seriously, which makes most of the movie feel kind of dull.
morrison-dylan-fan
Originally planning to watch Preston Sturges The Miracle of Morgan's Creek,I decided after getting back home later than I had expected,to instead take a look,at the second movie in auteur film maker Russ Meyer's "Soap Opera" period.The plot:Laying in bed wide awake beside her sleeping husband,Angel Boland gets hit by a startling realisation that the spark from her marriage has completely fizzled out.Getting out of bed and ignoring the questions from her husband Burt, (who has only been divorced from his first wife for a short while) and the pleas from Burt's daughter Lana,Angel's drive's off in her car for a night of passion with a construction worker that she caught a glimpse of a few days ago,when skinny dipping.The next morning:Returning home feeling fulfilled for the first time in recent memory,Angel announces to Burt that she is going to carry on her "walk on the wild side",due to it fulfilling her needs in a manner that Burt has been unable to achieve for a long while.Surprised by Angel's new found excitement from taking her own route,Burt finds himself seriously considering to take his very own walk on the wild side…View on the film:Featuring a dad/daughter relationship and male nudity for the first time in any of his titles,co-producer/co-editor/cinematography/directing auteur Russ Meyer tones down the ill-fitting "Happening"/New Age Hippy elements of his last film,to instead create a warped soap- opera,that despite going down some delightful mystical sidetracks, (with the gorgeous Haji being an alluring Sorceress,who temps Burt to go on the wild side) is still held filmy together by Meyer keeping Angel and Burt's crumbling relationship troubles at the centre of the movie.Along with showing a fine skill in balancing the off-beat Soap-Opera and more Fantasy focused elements of the movie,Meyer and co-editor Richard S. Brummer display a new keen eye for the editing of sharp punch lines,thanks to Meyer and Brummer transforming a number of serious/exposition scenes, (all of which are well written)by using quick edits which allow for the punch lines to catch the audience completely by surprise.Working with Meyer for the last time, (although,he would reunite with Haji as a production assistant on the 1971 movie Up Your Ally) the screenplay by writer/sound engineer Jack Moran makes sure that their partnership ends with all guns blazing,thanks to Moran matching the cracking,whip smart dialogue, (delivered perfectly by a rugged and very easy on the eye cast) with a strong,episodic Soap-Opera like structure,with Moran taking full advantage of Angel and Burt's new outgoing desire,by having each of the men and women that they go after, be more crazy than the one before them,which leads to this movie being a perfect place to say good morning,and good bye to an amazing partnership.
Red-Barracuda
Good Morning... and Goodbye! is one of the movies from Russ Meyer's soap opera period. It isn't really a comedy as such; it's more of an extremely over-the-top melodrama. It's basically about a rich but impotent husband (Stuart Lancaster from various Meyer vehicles) and his sexually dissatisfied wife (Alaina Capri from Common Law Cabin) who, due to the lack of sexual fireworks at home, takes a blue collar lover. She does not hide this fact from her husband at all. This leads to all manner of confrontations where men and women talk harshly to one another Meyer style.Jack Moran the screenwriter of Faster Pussycat! Kill! Kill! Is the writer here and it shows. The dialogue is filled with the gloriously vicious put downs and nonsensical hipster talk that we've come to expect. Alaina Capri in particular gets a barrel-load of great lines and she delivers them with gusto. Capri is awesome in this film. She is without doubt one of the sexiest women to grace a Meyer picture. Her pneumatic figure, coupled with her strong beautiful features, make her a perfect super-bitch for an RM production. Meyer, it goes without saying, photographs her to perfection and she owns every scene she is in. She isn't really an actress but she delivers her lines in that curious way that all women seem to in RM productions – half shouting, half sneering – which for some unknown reason always works brilliantly. Alaina Capri is truly the most underrated Russ Meyer actress. She just oozes charismatic sex appeal. And all her bits seem to be in the right places. Another Meyer regular Haji appears too in a memorable role as a supernatural sorceress. Haji was the most quirky of all Meyer women, a true free spirit who is clearly in her element in this movie as a creature of nature at one with the forest. She interacts with Stuart Lancaster's impotent husband and gives him back his missing sex drive. Lancaster is, as usual, great but RM productions are always really about the leading ladies.Technically it's up to the usual high standards we expect from a Meyer flick. His photography and quick editing are all great once more. It isn't one of his more outrageous films as there isn't much nudity and the violence is restricted to a couple of bloody punch ups. Even the story is fairly routine. However, don't worry this is a great RM movie. Alaina Capri and Haji are fabulous. Jack Moran delivers another bunch of great lines. And Russ films it all with loving care. Just great.
fedor8
Russ Meyer obviously doesn't think much of "save the best for last", because the best scene of the movie is the opening segment, which has the only true nudity in all of GMAG, and the best-looking woman - and the best pair of breasts (of the highest russmeyerian quality). I wouldn't go so far as to say that it's downhill from there, but the fact that Capri's ample bosom is never truly revealed to the lusting male viewers is a disappointment. "Less is more" doesn't quite work when it comes to (very) soft porn, now does it... The movie is saved by that great late 60s feel, and over-the-top mugging by some of the cast. Capri speaks exactly like the short-haired brunette bimbo that gets killed off early on in the MST-spoofed "Horror At Party Beach". Those two must have gone to the same charlatanic acting coach; they probably dreamed of stardom, poodles with their own trailers, 100-mill villas... the poor, deluded trollops... As I saw Capri I was instantly reminded of two women (talking about the face here): 1) Raquel Welch; Capri's face is how Welch would have looked if she had done yet another nose-correction, and 2) Amy Winehouse; now, before you call me a blind moron, I have to add that Winehouse would look like Capri if she had around 10,000 facial surgeries. In fact, Amy is so "gorgeous" that she'd probably need dozens of surgeries just to be considered homely. Ciral, playing the blond, is quite sexy, too, whereas the Indian woman is nothing to shout about; a great chest, I'm sure, but 1967 must have been too early even for Meyer to show them to us. All in all not bad, but without the fast-forward button a bit too long...
Jens-28
Like "Common Law Cabin" and "Finders Keepers Lovers Weepers" this flick a somewhat typically Meyer sex/drama morality play spiced with wicked dialogue and busty chicks. Burl (Meyer regular Stuart Lancaster) is a rich impotent farmer who's sexy nympho wife (Alaina Capri of "Common..") fool around a lot because, eh, she's a nympho! Burl then takes a trip to the woods to sulk and meets a "sex witch" (the exotic Haji from "Faster Pussycat, Kill! Kill!") who revitalizes him to satisfy his young wife..and happy times are back again! The dialogue, editing, photography are topnotch as usual with Meyer-flicks but the plot (except for Hajis role) are a bit routine. It's no "Faster Pussycat..", "Mudhoney" or "Beyond The Valley Of The Dolls" but still one Russ' better ones (I've seen 17 of Meyers films and I like'em all, so it's hard to be objective). A must for fans!
