Womanizing Charlie is shot by an angry husband and falls in the sea. He arrives home after his memorial as a cute, amnesic woman. His old friend helps her/him.Womanizing Charlie is shot by an angry husband and falls in the sea. He arrives home after his memorial as a cute, amnesic woman. His old friend helps her/him.Womanizing Charlie is shot by an angry husband and falls in the sea. He arrives home after his memorial as a cute, amnesic woman. His old friend helps her/him.
Ellen Burstyn
- Franny Saltzmann
- (as Ellen McRae)
Roger C. Carmel
- Inspector Frank McGill
- (as Roger Carmel)
Anthony Eustrel
- Butler
- (as Antony Eustrel)
Roger Abbott
- Party Guest
- (uncredited)
Mary Alexander
- Receptionist
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaOriginally intended as a vehicle for Marilyn Monroe, Frank Sinatra and Stuart Whitman.
- GoofsIn one shot when Laura Devon is racing over to Malibu in the vintage Rolls Royce, the film has been printed in reverse. The car's license number is shown backwards.
- Quotes
Sir Leopold Sartori: If I were not Hungarian by birth, I would be speechless.
- ConnectionsReferenced in What's My Line?: Debbie Reynolds (3) (1964)
Featured review
a change in attitude
I saw, "Goodbye, Charlie" when I was about 20. That's a hard age to please. "Been there, done it, seen it; yet another piece of trite," was my attitude.
Debbie Reynolds was beige-haired, Tony Curtis, getting on. Overly-mounted pastel-colored movies bored me - hitless, and this was another end-of-an-era white-bread piece of rubbish. Doris Day and Sandra Dee were what the Sixties had degenerated into: broad, trite and forced.
Besides, there were well-known rumors about Debbie's pinch-hitting proclivities. The premise of "Goodbye Charlie" was awkward and perverse. I suspected that Hollywood was presenting it as an inside joke.
So 35 years later, I tried it again on TMC. ...And I LOVED it. Well, much of it. I loved gorgeous Ellen Burstyn and Joanna Barnes - indeed, the scene at The Bistro Restaurant with these latter two and Reynolds had me p******g myself, if you'll forgive the vulgarity. Ms. Barnes can do no wrong as a character playing straight when someone is putting the screws to her. Her slant-eyed, cool demeanor is pure joy.
The fact that Vincent Minnelli directed it and that George Axelrod wrote the script was an important revelation.
What's more, I thought that the ladies' dresses were magnificent. How well they dressed, back then!
And when Walter Matthau said, "If I weren't Hungarian, I'd be speechless!" is a classic retort. I loved his character, also - and he's a man who's garnered so much praise over the years that I usually just roll my eyes when I see him. He looked smart as paint in his black tie and toupee - and the way he worked the room when he's sprung from jail was utterly delicious.
In the final quarter hour, when I saw where the film was headed, I switched stations, unwilling to have my favorable impressions destroyed.
Axlerod is a master, and I'm sorry to have given him short shrift for so many years. Those who want to see a quintessential Sixties movie, along with some rib-tickling one-liners, want to go with this one.
Debbie Reynolds was beige-haired, Tony Curtis, getting on. Overly-mounted pastel-colored movies bored me - hitless, and this was another end-of-an-era white-bread piece of rubbish. Doris Day and Sandra Dee were what the Sixties had degenerated into: broad, trite and forced.
Besides, there were well-known rumors about Debbie's pinch-hitting proclivities. The premise of "Goodbye Charlie" was awkward and perverse. I suspected that Hollywood was presenting it as an inside joke.
So 35 years later, I tried it again on TMC. ...And I LOVED it. Well, much of it. I loved gorgeous Ellen Burstyn and Joanna Barnes - indeed, the scene at The Bistro Restaurant with these latter two and Reynolds had me p******g myself, if you'll forgive the vulgarity. Ms. Barnes can do no wrong as a character playing straight when someone is putting the screws to her. Her slant-eyed, cool demeanor is pure joy.
The fact that Vincent Minnelli directed it and that George Axelrod wrote the script was an important revelation.
What's more, I thought that the ladies' dresses were magnificent. How well they dressed, back then!
And when Walter Matthau said, "If I weren't Hungarian, I'd be speechless!" is a classic retort. I loved his character, also - and he's a man who's garnered so much praise over the years that I usually just roll my eyes when I see him. He looked smart as paint in his black tie and toupee - and the way he worked the room when he's sprung from jail was utterly delicious.
In the final quarter hour, when I saw where the film was headed, I switched stations, unwilling to have my favorable impressions destroyed.
Axlerod is a master, and I'm sorry to have given him short shrift for so many years. Those who want to see a quintessential Sixties movie, along with some rib-tickling one-liners, want to go with this one.
helpful•1611
- IRVIN8
- Oct 15, 2001
Details
- Release date
- Country of origin
- Language
- Also known as
- Un amor del otro mundo
- Filming locations
- Production company
- See more company credits at IMDbPro
Box office
- Budget
- $3,500,000 (estimated)
- Runtime1 hour 56 minutes
- Aspect ratio
- 2.35 : 1
Contribute to this page
Suggest an edit or add missing content