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Kiss Me Goodbye

Kiss Me Goodbye

Comedy · Fantasy · Romance · 1982

Not until three years after the death of her husband Jolly, Kay dares to move back into their former home, persuaded by her new fiancée Rupert. But soon her worst expectations come true, when not only her old memories haunt her, but also Jolly's ghost, who doesn't approve of her new mate. Invisible to anyone but Kay, he tries to prevent the wedding.

Movie details

Kiss Me Goodbye

“A hauntingly romantic comedy.”

1982 Comedy · Fantasy · Romance 1h 41m

Critical arithmetic

One number, for now.

TMDB

5.9 / 10

Community rating

Not until three years after the death of her husband Jolly, Kay dares to move back into their former home, persuaded by her new fiancée Rupert. But soon her worst expectations come true, when not only her old memories haunt her, but also Jolly's ghost, who doesn't approve of her new mate. Invisible to anyone but Kay, he tries to prevent the wedding.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Kiss Me Goodbye?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Robert Mulligan

Written by

Charlie Peters · Bruno Barreto

Sally Field

Sally Field

Kay

James Caan

James Caan

Jolly

Jeff Bridges

Jeff Bridges

Rupert

Claire Trevor

Claire Trevor

Charlotte

Mildred Natwick

Mildred Natwick

Mrs. Reilly

Paul Dooley

Paul Dooley

Kendall

Michael Ensign

Michael Ensign

Billy

Court is in session

Put Kiss Me Goodbye on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Big-Idea Head

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.