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Goodbye Again

Goodbye Again

Drama · Romance · 1961

Middle-aged businesswoman Paula Tessier rejects the advances of her client's amusing 25-year-old son, Philip Van der Besh, but reconsiders when her longtime philandering partner begins yet another casual affair with a younger woman. She soon learns that May-December romances with older women are frowned upon in society.

Movie details

Goodbye Again

“This is how love is...and always will be...”

1961 Drama · Romance 1h 55m

Critical arithmetic

One number, for now.

TMDB

7.1 / 10

Community rating

Middle-aged businesswoman Paula Tessier rejects the advances of her client's amusing 25-year-old son, Philip Van der Besh, but reconsiders when her longtime philandering partner begins yet another casual affair with a younger woman. She soon learns that May-December romances with older women are frowned upon in society.

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 Goodbye Again?

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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Not Easily Broken

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Where it lives

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Names above the title

The people responsible.

Directed by

Anatole Litvak

Written by

Samuel A. Taylor

Ingrid Bergman

Ingrid Bergman

Paula Tessier

Yves Montand

Yves Montand

Roger Demarest

Anthony Perkins

Anthony Perkins

Philip Van der Besh

Jessie Royce Landis

Jessie Royce Landis

Mrs. Van der Besh

Pierre Dux

Pierre Dux

Maître Fleury

Jocelyn Lane

Jocelyn Lane

First Maisie

J

Jean Clarke

Second Maisie

Court is in session

Put Goodbye Again on trial.

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

The defence The Prestige Tourist

“Sincerity is not manipulation.”

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

The prosecution The Adrenaline Seeker

“The strings are showing.”

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