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Such Good Friends
Theatrical release film poster by Saul Bass
Directed byOtto Preminger
Written byEsther Dale
Based onSuch Good Friends
by Lois Gould
Produced byOtto Preminger
StarringDyan Cannon
Ken Howard
James Coco
Jennifer O'Neill
Laurence Luckinbill
CinematographyGayne Rescher
Edited byHarry Howard
Music byThomas Z. Shepard
Production
company
Distributed byParamount Pictures
Release date
  • December 21, 1971 (1971-12-21)
Running time
102 minutes[1]
CountryUnited States
LanguageEnglish

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.[2] The screenplay by Elaine May (credited under the pseudonym, Esther Dale) is based on the novel of the same title by Lois Gould.

Plot

[edit]

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.

Cast

[edit]

Production

[edit]

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.[3]

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."[4]

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.[5]

Critical reception

[edit]

The film earned mixed reviews at the time of its release, with some feeling it was better than the failed films Preminger made between 1965 and 1970. Roger Ebert of the Chicago Sun-Times called the film "a hard, unsentimental, deeply cynical comedy" and "Preminger's best film in a long time, probably since Anatomy of a Murder in 1959." He added, "There are funny lines in the movie, but they are rarely allowed to be merely funny; they are also intended to hurt. People hurt and insult one another because, we sense, attack is the best form of defense inside this carnivorous society. Some of the dialog is in appallingly bad taste, and some of the critics have blamed the bad taste on Preminger, but it would have taken a lesser director to leave it out. The vulgarity belongs there because the movie is as tough as the people it's about."[6]

Time said, "The whole notion is so outrageously melodramatic that Preminger was probably right in choosing to play it for comedy . . . On second thought, Such Good Friends might have worked better the other way. Preminger is usually funnier — remember Hurry Sundown? — when he's trying to be serious."[7]

Tony Mastroianni of the Cleveland Press called it "one of those sick-funny films that asks you to laugh at tragedy and gets away with it." He continued, "It undoubtedly will offend many and for a number of reasons. It has a brand of caustic wit that somehow surmounts situations that are a blend of soap opera maudlin and ribald coarseness. The picture takes on such institutions as marriage, medicine and friendship and treats them all pretty roughly. What succeeds is a barrage of bright, witty, trenchant lines written by Elaine May operating under the pseudonym of Esther Dale. Director Otto Preminger, whose recent films looked as though they were directed by an ax murderer, does a better job this time out. There are still scenes that are all surface, some that are just crudely done. But in others, notably those involving large groups of people, he works out an interplay of parts that results in fascinating moments of counterpoint."[8]

Time Out London observed, "Sadly, Preminger seems unsure whether to take May's characters at face value or to feel for them. As a result, the cardboard emotions of Cannon . . . and Coco . . . are too often taken for real, and the script's brilliantly witty cameos are shunted too quickly out of sight."[9]

TV Guide rated the film one star, saying it "aimed at being contemporary but turned out contemptible. It does, however, provide a look at a tough-skinned New York lifestyle that Big Apple resident Preminger well understood."[10]

Gene Siskel gave the film 3½ out of 4 stars and called it "absolutely delightful."[11]

Awards and nominations

[edit]

Cannon was nominated for the Golden Globe Award for Best Actress – Motion Picture Drama. Jane Fonda won the award for her performance in Klute.

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Such Good Friends

View on Grokipedia
from Grokipedia
Such Good Friends is a 1971 American black comedy-drama film directed by and based on the 1970 novel of the same name by Gould. The screenplay was written by under the pseudonym Dale. The story centers on Julie Messinger (), a repressed New York and mother, whose life unravels when her husband, Richard (), an and , enters a after complications from routine mole removal . As Julie grapples with revelations of Richard's multiple affairs—uncovered through his address book and circle of duplicitous friends and medical staff—she confronts her own sexual frustrations and begins extramarital liaisons, including with her husband's assistant Cal (). The film features a notable , including as the bumbling family doctor Timmy Spector, as Richard's mistress Miranda, as Julie's mother, and supporting roles by , , and . Produced by Preminger's Sigma Productions and distributed by , it runs 102 minutes and satirizes the hypocrisies, infidelity, and superficiality of upper-middle-class New York society amid medical incompetence and personal betrayals. Upon release in December 1971, Such Good Friends received mixed to positive critical reception for its sharp wit and unflinching portrayal of marital dysfunction, with praising it as Preminger's best film since for its cynical depth, though of noted its potential to offend while calling it Preminger's most interesting work in years. Cannon earned a Golden Globe nomination for in a Motion Picture – Drama, highlighting the film's blend of dark humor and dramatic tension.

Background

Original Novel

Such Good Friends is the debut by American author Lois Gould, published in 1970 by . The semi-autobiographical work was inspired by the sudden death of Gould's husband, New York Times reporter Philip Benjamin, from complications after in 1966, an event that profoundly shaped her exploration of , betrayal, and personal reinvention. Set against the backdrop of New York, the novel delves into themes of marital , evolving female identity, and the dehumanizing inefficiencies of medical , reflecting the era's shifting social norms around gender roles and domestic life. Born Lois Regensburg in 1931 in to fashion designer Jo Copeland and cigar manufacturer E.J. Regensburg, Gould graduated from and built a career in , freelancing for outlets like and contributing columns to the New York Times, including the inaugural "Hers" feature in 1977. As a mother of two sons from her marriage to Benjamin, Gould infused the novel with an authentic, personal tone drawn from her experiences balancing motherhood, professional ambitions, and emotional turmoil. Her journalistic background lent a sharp, observational edge to the prose, emphasizing realistic dialogue and social critique. The story follows protagonist Julie Messinger, a young and , whose , graphic illustrator Richard Messinger, enters the hospital for a routine removal that spirals into a due to surgical complications. As Julie shuttles between her home and the hospital, enduring endless waits and evasive doctors, she uncovers Richard's hidden diary detailing affairs with her close friends and acquaintances. This revelation shatters her illusions about their marriage, forcing Julie to reassess her role as a and while seeking solace—and sometimes rivalry—among her social circle. The narrative highlights Julie's journey toward self-assertion amid betrayal, using humor and irony to expose the superficiality of upper-middle-class friendships and the patriarchal constraints on women's . Upon release, Such Good Friends achieved commercial success as a bestseller, spending seven weeks on the New York Times best-seller list and resonating with readers navigating similar upheavals in personal relationships. Critics praised its incisive satire on , , and social pretensions, with the New York Times Book Review highlighting its raw depiction of women's inner conflicts and early feminist sensibilities that captured the frustrations of domestic life in a changing . The novel's blend of dark comedy and emotional depth established Gould as a voice for women's experiences, influencing subsequent discussions on and identity in literature.

Development and Pre-Production

, through producer , acquired the film rights to Lois Gould's debut novel Such Good Friends in February 1970 for $200,000, three months prior to its publication by . The novel's satirical examination of marital and upper-middle-class hypocrisies in formed the core basis for the film's . Development of the screenplay proved challenging, with Preminger rejecting multiple early drafts, including one from , before hiring in 1971 to overhaul and finalize the script. May, dissatisfied with aspects of the production process, credited her work under the pseudonym Esther Dale. Preminger, who had secured the rights as an independent producer in association with Paramount, attached himself as director in early 1971, viewing the project's sharp satirical edge as compatible with his prior explorations of social taboos and moral ambiguity in films such as (1959). Casting began in mid-1971, with Preminger selecting Dyan Cannon to portray the protagonist Julie Messinger, citing her proven comedic timing from roles in films like Bob & Carol & Ted & Alice (1969) as ideal for the character's wry, neurotic demeanor. This choice aligned with Preminger's vision for a blend of dark humor and dramatic tension in the adaptation.

Narrative and Cast

Plot Summary

Julie Messinger (), a housewife and mother of two young sons, accompanies her husband Richard (), an at a major and author of a bestselling children's , to the hospital for a routine procedure to remove a nonmalignant mole on his . Complications arise during the when the surgeon nicks an , followed by an allergic reaction to a , leading to liver damage, , a heart attack, and ultimately a . As Julie anxiously awaits updates amid conflicting reports from the medical team, she discovers Richard's "little black book" detailing his numerous extramarital affairs with several of her close friends and acquaintances, shattering her perception of their marriage. Devastated and seeking both information on Richard's condition and a form of , Julie begins seducing members of Richard's inner circle, including his best friend and physician Dr. Timmy Spector (), as well as other doctors and friends like Cal Whiting () and the eccentric author Bernard Kalman (). The narrative unfolds through interactions with the Messingers' quirky social set—featuring Julie's domineering mother (), neurotic friends such as Marcy () and Emily (), and hospital staff—highlighting escalating absurdities like drives among the group, bureaucratic medical mishaps, and tense cafeteria discussions among the doctors. Julie's heavy drinking and impulsive liaisons provide fleeting empowerment amid her emotional turmoil, underscoring the of revelations and healthcare incompetence in the 102-minute runtime. The story builds to Julie's breakdown as Richard's condition deteriorates irreversibly, forcing her to grapple with decisions on experimental treatments and insurance constraints while confronting the superficial hypocrisies of her social world. In the climax, Julie visits the comatose Richard one last time, expressing a mix of resentment and unresolved affection. Richard ultimately dies from the complications, leaving Julie to collect her sons and walk through , achieving a bittersweet about and the facade of her former life.

Cast and Characters

The principal cast of Such Good Friends is led by in the role of Julie Messinger, the film's protagonist—a witty and repressed New York housewife and mother who transforms into an avenger-like figure upon uncovering layers of in her . portrays Richard Messinger, Julie's husband at a major magazine and author of a bestselling children's book, who falls into a following routine and serves as a symbol of marital and hidden secrets that drive the narrative's . Supporting roles contribute to the film's satirical tone through a mix of comic and dramatic elements. plays Dr. Timmy Spector, the bumbling family physician whose ineptitude and self-serving antics provide while lampooning incompetent medical authority figures. appears as Miranda Graham, a glamorous friend and aspiring who is one of Richard's mistresses and Cal Whiting's girlfriend, acting as a key catalyst for Julie's rage and awakening to the hypocrisies around her. is cast as Cal Whiting, a and Julie's romantic interest, whose affair with her underscores the story's themes of sexual liberation and revenge. portrays Bernard Kalman, an eccentric aging author whose bizarre and memorable appearance in a amplifies the film's absurd humor. Other notable supporting players include as Julie's snobbish mother, Mrs. Wallman, who embodies upper-class pretension, and as Marcy Berns, a neurotic friend in the social circle entangled in the intrigue.
ActorCharacterFunction in Story
Dyan CannonJulie MessingerProtagonist; witty whose discoveries fuel the on and .
Laurence LuckinbillRichard MessingerComatose husband and /; of that exposes relational deceptions.
James CocoDr. Timmy SpectorFamily doctor; through incompetence, critiquing medical .
Jennifer O'NeillMiranda GrahamGlamorous friend, aspiring actress, and mistress; triggers Julie's emotional and vengeful transformation.
Ken HowardCal WhitingPhotographer and lover; represents Julie's path to sexual empowerment.
Burgess MeredithBernard KalmanEccentric ; adds absurd, satirical flair in a comedic .
Nina FochMrs. WallmanJulie's mother; highlights social and generational tensions.
Louise LasserMarcy BernsNeurotic friend; contributes to the web of social secrets and .
The characters' dynamics enhance the film's blend of drama and humor, with Dr. Spector's feckless behavior exemplifying flawed institutions and Miranda's duplicity igniting Julie's confrontations, all within an ensemble that satirizes urban elite life. Otto Preminger selected this diverse group of established and rising talents to balance the story's sharp wit and emotional depth, with Cannon's energetic performance as Julie marking a significant showcase for her comedic timing following her Oscar-nominated debut.

Production

Screenplay and Direction

The screenplay for Such Good Friends was adapted from Lois Gould's 1970 novel by (credited under the pseudonym ) and David Shaber, with contributions from . May, hired during to develop the script, grew dissatisfied with the production and opted for the pseudonym upon release. The resulting transforms the novel's into a that satirizes 1970s urban neuroses, centering on themes of marital betrayal, , and chaotic medical through ensemble interactions rather than internal reflection. Otto Preminger, who also produced the film, directed with a naturalistic approach that highlighted the neurotic dynamics among the characters, drawing on the authentic textures of settings to underscore the story's biting social commentary. This style marked a departure from Preminger's earlier, more rigidly composed works, allowing for a looser, observational tone suited to the screenplay's misanthropic humor. The film emphasizes the female protagonist's resourcefulness and agency as she navigates the absurdities of incompetence and personal relationships, shifting the source material's introspective into visually driven comedic sequences.

Filming and Challenges

Principal photography for Such Good Friends commenced in the summer of 1971 and wrapped by early fall, primarily in to capture the film's urban setting. Exteriors were shot throughout , emphasizing the bustling, satirical atmosphere of the city's social elite, while interior hospital scenes were filmed on location to heighten the narrative's chaotic tension. The film was lensed in 35mm color by cinematographer Gayne Rescher, whose work contributed to the vibrant yet claustrophobic visuals of the ensemble-driven story. Editing duties fell to Harry Howard, who maintained the production's raw, improvisational feel by preserving the frenetic pace of key scenes amid the script's evolving revisions. Production faced significant interpersonal challenges, particularly between director and lead actress , whose frequent ad-libs and tardiness sparked heated clashes that necessitated reshoots and disrupted the schedule. Preminger's notoriously abrasive directing style, marked by public berating of performers, further strained crew morale, creating an on-set environment of tension that mirrored the film's themes of discord. With no major stunts required, the focus remained on intricate ensemble interactions to underscore the social satire, allowing the cast to navigate complex in confined spaces like apartments and hospital corridors.

Release

Theatrical Premiere

Such Good Friends had its world premiere on December 21, 1971, at two theaters in , . The film opened earlier in on December 16, 1971, followed by a wide U.S. release distributed by in the subsequent weeks. The of America (MPAA) awarded the film an R rating for its depiction of adult themes and language. Paramount's marketing campaign emphasized the film's racy and Dyan Cannon's breakout performance as Julie Messinger, positioning it as a satirical exploration of infidelity and personal secrets. Trailers highlighted the humorous yet biting tone of the narrative, while posters designed by graphic artist featured a stylized of women's legs to evoke the story's central motif of a husband's hidden list of lovers. These posters included the : "How do I love thee? Let me count the ways… Miranda, , Jessica, Marcy, Doria…".

Distribution and Home Media

Following its U.S. theatrical debut, Such Good Friends received a limited international release, beginning in the on March 23, 1972, followed by on October 14, 1972, on February 19, 1973, and on March 30, 1973, with a later rollout in on July 27, 1977. No widespread dubbed versions for foreign markets have been documented, though the film's English-language original was distributed in these regions primarily through theatrical channels. The film's home video history began with a VHS release by Paramount Home Video in the 1980s, making it accessible for the emerging home entertainment market. In 2011, Olive Films issued the first DVD edition as part of efforts to revive lesser-known titles from Otto Preminger's catalog. This was followed by an official Blu-ray release from Olive Films on December 23, 2014, marking the film's entry into high-definition home media, though no further official upgrades, such as 4K, have been announced as of 2025. Restoration efforts in the focused on the Blu-ray edition, where the original 35mm negative served as the primary source for digital remastering, resulting in a transfer that preserved the film's color palette while addressing some degradation in archival prints. This work helped mitigate issues like softness and minor color inconsistencies from earlier elements, ensuring better preservation for future viewings. As of 2025, Such Good Friends remains accessible primarily through digital rental and purchase on platforms like , Apple TV, and at Home, with occasional airings on (TCM) as part of its programming of Preminger's oeuvre. It is not in the , maintaining active protections that limit free distribution.

Reception

Critical Response

Upon its release in late 1971, Such Good Friends received mixed reviews from critics, who praised its sharp wit and performances while critiquing its uneven tone and cynicism. Roger Ebert of the Chicago Sun-Times awarded the film two out of four stars, lauding the screenplay's "sharp, wounding irony" in the dialogue, which he described as funny yet hurtful, capturing the "tough society" of New York intellectuals. Vincent Canby of The New York Times characterized it as Preminger's "toughest, most contemporary" work, appreciating its theatrical satire on a "completely rotten" way of life involving infidelity and desperation, though he noted the material's potential for maudlin excess turned into biting commentary. Other outlets, such as Time Out, highlighted the film's scathing take on chic urbanites, but some contemporary responses found it disjointed and overly nasty in its portrayal of personal betrayals. Critics frequently commended the performances, particularly Dyan Cannon's lead role as Julie Messinger, which Ebert praised for conveying "easily wounded but durable integrity" amid emotional turmoil and humor. The ensemble cast also drew acclaim for their eccentric portrayals; James Coco's neurotic doctor (Dr. Timmy Spector) and Burgess Meredith's quirky doctor (Dr. Louis Galens) were noted for adding layers of absurdity to the , with Coco's —such as struggling with a —exemplifying the film's blend of vulnerability and exaggeration. The film sparked discussions on its thematic edge, including a proto-feminist critique of and female agency, as well as a sharp examination of through the incompetence and opportunism of doctors treating the protagonist's husband. Tony Mastroianni of the Cleveland Press observed how it roughly targets institutions like and , treating them with disdainful humor. Some reviewers at the time viewed these elements as dated or excessively bitter, but they aligned with New Hollywood's exploration of flawed heroines navigating rage and societal hypocrisy. In modern retrospectives, the film has been reevaluated more positively for its ahead-of-its-time portrayal of female rage and relational dysfunction, particularly through 's uncredited screenplay influence. of in 2018 called it "effervescent—yet nonetheless scathing," appreciating its overlooked bite on . Scholarly analyses, such as in the 2019 collection ReFocus: The Films of Elaine May, frame May's script as an affirmation of interpersonal hell, tying it to feminist avoidance of comedy in critiquing gender dynamics. On , it holds a 35% critic score based on seven reviews, reflecting ongoing division but with fresh appreciations for its prescience.

Box Office Performance

Such Good Friends was produced on a modest budget, reflecting ' efforts to manage costs during a period of financial strain for the studio in the early . Despite this, the film proved to be a disappointment, failing to achieve significant commercial success upon its December 1971 release. It opened during a competitive holiday season, contending with high-profile blockbusters such as The French Connection, which went on to gross over $51 million domestically and dominate the year's charts. In comparison to Otto Preminger's earlier triumphs like Exodus (1960), which earned $21.75 million in North America, Such Good Friends underperformed markedly, marking a decline in the director's commercial fortunes later in his career. The film's R rating and reliance on mixed word-of-mouth further restricted its appeal to broader family audiences at a time when the Motion Picture Association of America rating system was still influencing viewer choices.

Recognition

Awards

Such Good Friends did not secure any major awards, reflecting its status as a niche amid more conventional 1971 releases. earned a for Best Actress in a Motion Picture – Drama at the 29th for her portrayal of the harried Julie Messinger, held on February 6, 1972, at Hotel in ; however, the honor went to for . This recognition highlighted Cannon's comedic timing but did not translate into further accolades for the film or its cast.

Legacy and Cultural Impact

Such Good Friends (1971) contributed to the cultural landscape of through its adaptation of Lois Gould's novel, which critiqued traditional marital roles and highlighted women's in upper-middle-class settings. The story's focus on a wife's confrontation with her husband's infidelity resonated with contemporary , as Gould's work was frequently cited alongside novels like Erica Jong's Fear of Flying (1973) and Alix Kates Shulman's Memoirs of an Ex-Prom Queen (1972) for exploring female autonomy and domestic disillusionment. This thematic emphasis positioned the film as part of a broader cinematic trend addressing marital , akin to works like (1978), though its sharp portrayal of female solidarity amid crisis prefigured later discussions on gender dynamics. In retrospectives, the film has been featured in tributes to director , including screenings at the in 2022 and the Berlinale Retrospective in 1999, where it was highlighted for its stylistic evolution and satirical edge during Preminger's later career. The film's legacy includes ongoing discussions of its source material's place in , where Gould's novel served as a critiquing male privilege and inspiring adaptations that amplified women's voices in . Preservation efforts recognize its historical value, with the print held in the collection as a representative example of early 1970s independent cinema. Home media availability has seen a resurgence, beginning with a 2011 DVD release by Olive Films, followed by a 2014 Blu-ray, and extending to rental and purchase options on platforms like Amazon Video as of 2025, broadening access for modern audiences. Occasional revivals at film festivals, such as those organized by the , continue to introduce the film to new generations, underscoring its enduring relevance in explorations of gender and relationships.

References

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