edwagreen Terrific comedy where Sally Field, a widow, contemplates marriage with a supposedly dull Jeff Bridges, a Ph.D., who soon proves that he is not all that dull at all. The thrust of this film is that deceased husband, flamboyant Broadway choreographer shows up at the house she plans to move back in and though she is the only one who can see him, he soon wreaks havoc.The film really gets funny when Bridges decides to counter-act the situation by inventing a former girlfriend.Claire Trevor is wonderful as Field's mother, a brash woman, who loved Caan, but has her doubts about the Bridges character. Mildred Natwick is perfect in her usual pace, a flustered lady running an inn.A story of relationships, admissions and ultimate love conquering all best describe this wonderful picture.

Wizard-8 This Hollywood remake of the popular Brazilian movie "Dona Flor And Her Two Husbands" has all but been forgotten since it was first released thirty years ago. Watching it, it's easy to see why it hasn't built much of an audience, if any. Certainly, Sally Field, James Caan, and Jeff Bridges bring some charm to the movie, enough so that the movie is almost endurable at times. But the movie sinks because of a screenplay that is very lacking. The characters of all three leads are poorly written. Sally Field's character never asks obvious questions like why her deceased husband returned, what the afterlife is like, and other questions a normal person would ask in the same situation. James Caan's character doesn't come across as someone who loves his former wife, interfering in her life repeatedly so that her life is turned upside down. And Jeff Bridges' character acts like a complete idiot at times. If you see a copy of this movie in some thrift store, don't pick it up as I did - say goodbye and move to something else.

fastflo1st When I saw this movie, I laughed out loud. The bedroom scenewhere she is talking it her dead husband while her fiance isattempting to make love to her is priceless. This has added thephrase "they're my Aunt Edna's' to my lexicon of phrases whenthere is a missed communication going on around me. Only realmovie fans get it but it still cracks me up. The title song, I think itwas sung by Dusty Springfield, is one of the lost classics. Maybeyou have to be a woman to understand how well it fits the movie,Kate and Jolly are both sorry that it went so fast; that he died andshe still hasn't gotten over it; that she will marry a man who lovesher and try get on with life in the home where Jolly lived, died and,apparently, still lives. There is no scene which misses the hilaritymark. I had to search all over to find this movie, but I watch it fromtime to time and 20 years later, I am still laughing and singing thatsong. Sally Field, James Caan and Jeff Bridges, bravo!! I love it!!!

Fisher L. Forrest You would be better advised to seek out a tape of BLITHE SPIRIT before wasting your time on this "pastiche". O.K., the sexes are reversed here, but it just barely falls short of being a scene-for-scene "remake" of BLITHE SPIRIT. Note, though, that no credit is given to Noel Coward. Some South American tale "Dona Flor and her two Husbands" gets cited. If you are familiar with BLITHE SPIRIT, the similarity leaps at you. There is even the comic "exorcism" episode, again with the sexes reversed.The question is: why does it fail? It must be the direction, because the cast work is quite good. Perhaps, too good. Too serious. There is no lightness about it. The director simply didn't understand that a ghost story that is supposed to be a light comedy, has to be light. Here, everyone and everything is so intense. They are taking this ghost business seriously, one way or another, so presumably the viewer is supposed to do so too. But when you do, the humour evaporates.The story is fairly simple, though complexities arise. Sally Field is a widow of three years who plans to wed again and open her closed house. The former spouse was something of a rake-hell dancer/choreographer; the new one is a dead serious archaeologist. Alas, the nuptials are only in the rehearsal stage when the ghost of Numero Uno appears and wreaks havoc. Now, here, we must pause a bit. Does the director want us to believe the ghost is real, or is he the product of Sally's own indecision as to whether she is still in love with the former spouse? That's what I mean about introducing seriousness. Well, finally we are about to get to the nuptials, when the spouse to be falls down the stairs, just as Numero Uno had done at a drunken bash three years previously. Again KISS ME GOODBYE is emulating BLITHE SPIRIT, because the new wife there was killed at the end, leaving two ghosts to haunt the widower. Is this a repeat? If you must know, see this film to find out. Sally Field is always worth a watch. That's the one point on which KISS ME GOODBYE doesn't fail.