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Such Good Friends
Such Good Friends is a 1971 American black comedy-drama film directed by Otto Preminger and starring Dyan Cannon, Ken Howard, James Coco, Jennifer O'Neill and Laurence Luckinbill. The screenplay by Elaine May (credited under the pseudonym, Esther Dale) is based on the novel of the same title by Lois Gould.
Manhattanite Julie Messinger, a complacent housewife and mother of two raucous young sons, is married to Richard, a chauvinistic and self-centered magazine art director and author of a best-selling children's book. When he falls into a coma during minor surgery to remove a nonmalignant mole on his neck, Julie learns from his doctor, Dr. Timmy Spector, that another surgeon nicked his artery, necessitating a blood transfusion to which he had a rare allergic reaction. The following day, Julie is told Richard has overcome the blood reaction, but his liver has sustained serious damage requiring immediate treatment. In quick succession, his other organs begin to fail.
While trying to comfort Julie, family friend Cal Whiting reveals that his girlfriend Miranda has confessed to having an affair with Richard over the past year. Distressed by the news, Julie seeks advice from her egocentric mother but finds herself unable to discuss her husband's infidelity. She decides to confront Miranda and asks her what future she anticipated having with her husband. Miranda confesses that she and Richard are deeply in love and have discussed marriage, although thus far she has been unable to make such a permanent commitment.
Julie begins to unravel emotionally. She visits Cal, whose attempted seduction of her fails due to impotence. At the hospital, she tells the unconscious Richard she will never divorce him and vows to ruin his reputation. Timmy invites her to his apartment for drinks and admits he was aware of Richard's affair not only with Miranda, but with other women as well, and kept them secret out of a sense of loyalty to his friend. Stunned and confused, Julie lashes out at Timmy, then seduces him, and he succumbs to her advances.
At home later that evening, Julie finds a black book in Richard's desk and realizes it contains coded data about his numerous extramarital affairs, many of them with her friends. She gives it to Cal, who then shows it to Miranda to prove she was just one of Richard's many conquests. The following day, Richard goes into cardiac arrest, and Julie realizes she wants him to survive despite his betrayal of her. When Timmy reports her husband has died, a grieving Julie takes her sons for a walk in Central Park to contemplate their future.
Through his son Erik, who was working as his story editor, producer Otto Preminger heard about a manuscript by Lois Gould that was rumored to be a hot property. He negotiated with the author and purchased the film rights for $200,000 in February 1970, three months before the book was published.
The novel, narrated in stream-of-consciousness mode by Julie Messinger, proved to be difficult to adapt for the screen. Joan Micklin Silver initially tackled the project, but Preminger found her to be too much of a feminist who was more psychologically attuned to the character than he thought was necessary. He then hired Joan Didion and John Gregory Dunne and worked with them for several months. Finally, in early 1971, Elaine May, his original choice for screenwriter, became available. May worked on the script for ten weeks, although Preminger found it difficult to adjust to her method of writing. The two would meet for a story conference, then May would disappear and remain incommunicado for two weeks or so, finally emerging with a substantial part of the screenplay completed. Preminger would give her notes and she would disappear again, and this routine continued until the script was finished. Not wanting her name attached to work started by others, May insisted she did not want screen credit and used the pseudonym Esther Dale, the name of a Hollywood character actress, instead of her own. Preminger later used May's involvement in the film to help promote it, a move the screenwriter resented, as she felt he was "more honorable than that."
Preminger and leading lady Dyan Cannon clashed throughout filming. She was constantly late, one of the director's pet peeves, and the two disagreed about everything about her character, from how she should be portrayed to how she should be dressed. Uncomfortable with the director's perception of Julie, the actress frequently tried to incorporate some of her own vision into her interpretation, resulting in loud on-set arguments that left Cannon feeling alone, self-conscious, and very vulnerable. Upon the film's completion, the two vowed never to work with each other again.
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Such Good Friends
Such Good Friends is a 1971 American black comedy-drama film directed by Otto Preminger and starring Dyan Cannon, Ken Howard, James Coco, Jennifer O'Neill and Laurence Luckinbill. The screenplay by Elaine May (credited under the pseudonym, Esther Dale) is based on the novel of the same title by Lois Gould.
Manhattanite Julie Messinger, a complacent housewife and mother of two raucous young sons, is married to Richard, a chauvinistic and self-centered magazine art director and author of a best-selling children's book. When he falls into a coma during minor surgery to remove a nonmalignant mole on his neck, Julie learns from his doctor, Dr. Timmy Spector, that another surgeon nicked his artery, necessitating a blood transfusion to which he had a rare allergic reaction. The following day, Julie is told Richard has overcome the blood reaction, but his liver has sustained serious damage requiring immediate treatment. In quick succession, his other organs begin to fail.
While trying to comfort Julie, family friend Cal Whiting reveals that his girlfriend Miranda has confessed to having an affair with Richard over the past year. Distressed by the news, Julie seeks advice from her egocentric mother but finds herself unable to discuss her husband's infidelity. She decides to confront Miranda and asks her what future she anticipated having with her husband. Miranda confesses that she and Richard are deeply in love and have discussed marriage, although thus far she has been unable to make such a permanent commitment.
Julie begins to unravel emotionally. She visits Cal, whose attempted seduction of her fails due to impotence. At the hospital, she tells the unconscious Richard she will never divorce him and vows to ruin his reputation. Timmy invites her to his apartment for drinks and admits he was aware of Richard's affair not only with Miranda, but with other women as well, and kept them secret out of a sense of loyalty to his friend. Stunned and confused, Julie lashes out at Timmy, then seduces him, and he succumbs to her advances.
At home later that evening, Julie finds a black book in Richard's desk and realizes it contains coded data about his numerous extramarital affairs, many of them with her friends. She gives it to Cal, who then shows it to Miranda to prove she was just one of Richard's many conquests. The following day, Richard goes into cardiac arrest, and Julie realizes she wants him to survive despite his betrayal of her. When Timmy reports her husband has died, a grieving Julie takes her sons for a walk in Central Park to contemplate their future.
Through his son Erik, who was working as his story editor, producer Otto Preminger heard about a manuscript by Lois Gould that was rumored to be a hot property. He negotiated with the author and purchased the film rights for $200,000 in February 1970, three months before the book was published.
The novel, narrated in stream-of-consciousness mode by Julie Messinger, proved to be difficult to adapt for the screen. Joan Micklin Silver initially tackled the project, but Preminger found her to be too much of a feminist who was more psychologically attuned to the character than he thought was necessary. He then hired Joan Didion and John Gregory Dunne and worked with them for several months. Finally, in early 1971, Elaine May, his original choice for screenwriter, became available. May worked on the script for ten weeks, although Preminger found it difficult to adjust to her method of writing. The two would meet for a story conference, then May would disappear and remain incommunicado for two weeks or so, finally emerging with a substantial part of the screenplay completed. Preminger would give her notes and she would disappear again, and this routine continued until the script was finished. Not wanting her name attached to work started by others, May insisted she did not want screen credit and used the pseudonym Esther Dale, the name of a Hollywood character actress, instead of her own. Preminger later used May's involvement in the film to help promote it, a move the screenwriter resented, as she felt he was "more honorable than that."
Preminger and leading lady Dyan Cannon clashed throughout filming. She was constantly late, one of the director's pet peeves, and the two disagreed about everything about her character, from how she should be portrayed to how she should be dressed. Uncomfortable with the director's perception of Julie, the actress frequently tried to incorporate some of her own vision into her interpretation, resulting in loud on-set arguments that left Cannon feeling alone, self-conscious, and very vulnerable. Upon the film's completion, the two vowed never to work with each other again.