Good Morning... and Goodbye! (1967)

Good Morning... and Goodbye! is one of the movies from Russ Meyer's soap opera period. It isn't really a comedy as such; it's more of an extremely over-the-top melodrama. It's basically about a rich but impotent husband (Stuart Lancaster from various Meyer vehicles) and his sexually dissatisfied wife (Alaina Capri from Common Law Cabin) who, due to the lack of sexual fireworks at home, takes a blue collar lover. She does not hide this fact from her husband at all. This leads to all manner of confrontations where men and women talk harshly to one another Meyer style.Jack Moran the screenwriter of Faster Pussycat! Kill! Kill! Is the writer here and it shows. The dialogue is filled with the gloriously vicious put downs and nonsensical hipster talk that we've come to expect. Alaina Capri in particular gets a barrel-load of great lines and she delivers them with gusto. Capri is awesome in this film. She is without doubt one of the sexiest women to grace a Meyer picture. Her pneumatic figure, coupled with her strong beautiful features, make her a perfect super-bitch for an RM production. Meyer, it goes without saying, photographs her to perfection and she owns every scene she is in. She isn't really an actress but she delivers her lines in that curious way that all women seem to in RM productions – half shouting, half sneering – which for some unknown reason always works brilliantly. Alaina Capri is truly the most underrated Russ Meyer actress. She just oozes charismatic sex appeal. And all her bits seem to be in the right places. Another Meyer regular Haji appears too in a memorable role as a supernatural sorceress. Haji was the most quirky of all Meyer women, a true free spirit who is clearly in her element in this movie as a creature of nature at one with the forest. She interacts with Stuart Lancaster's impotent husband and gives him back his missing sex drive. Lancaster is, as usual, great but RM productions are always really about the leading ladies.Technically it's up to the usual high standards we expect from a Meyer flick. His photography and quick editing are all great once more. It isn't one of his more outrageous films as there isn't much nudity and the violence is restricted to a couple of bloody punch ups. Even the story is fairly routine. However, don't worry this is a great RM movie. Alaina Capri and Haji are fabulous. Jack Moran delivers another bunch of great lines. And Russ films it all with loving care. Just great.

Russ Meyer obviously doesn't think much of "save the best for last", because the best scene of the movie is the opening segment, which has the only true nudity in all of GMAG, and the best-looking woman - and the best pair of breasts (of the highest russmeyerian quality). I wouldn't go so far as to say that it's downhill from there, but the fact that Capri's ample bosom is never truly revealed to the lusting male viewers is a disappointment. "Less is more" doesn't quite work when it comes to (very) soft porn, now does it... The movie is saved by that great late 60s feel, and over-the-top mugging by some of the cast. Capri speaks exactly like the short-haired brunette bimbo that gets killed off early on in the MST-spoofed "Horror At Party Beach". Those two must have gone to the same charlatanic acting coach; they probably dreamed of stardom, poodles with their own trailers, 100-mill villas... the poor, deluded trollops... As I saw Capri I was instantly reminded of two women (talking about the face here): 1) Raquel Welch; Capri's face is how Welch would have looked if she had done yet another nose-correction, and 2) Amy Winehouse; now, before you call me a blind moron, I have to add that Winehouse would look like Capri if she had around 10,000 facial surgeries. In fact, Amy is so "gorgeous" that she'd probably need dozens of surgeries just to be considered homely. Ciral, playing the blond, is quite sexy, too, whereas the Indian woman is nothing to shout about; a great chest, I'm sure, but 1967 must have been too early even for Meyer to show them to us. All in all not bad, but without the fast-forward button a bit too long...

I like GOOD MORNING...AND GOODBYE! Yes, the whole thing is silly. The soapy elements are annoying but visually this movie rocks. Just look at the beginning of the movie, with the credits on the mailboxes. Fun and original. Even though I didn't care much about plight of the old man (impotence), I thought the whole visual juxtaposition of the horny construction worker (who sleeps with every women in town) against the rich old man who can't satisfy his own wife worked in a wicked way, certainly when this culminates in a bloody fist fight between the old man and the beefy construction worker at the end of the movie. Yep, sex and violence. And then there's Haji, who plays the earthy sorceress who helps the old man regain his mojo. She's the film's most beautiful woman, imo. It's obvious Haji had a lot of fun doing this picture.The film is dated on several levels. But the almost minimalist approach to the filmmaking (and the sometimes stunning photography) gives the movie a sorta timeless feel to it, which counters the really dated aspects. All in all, a pretty good Russ Meyer flick.

Like "Common Law Cabin" and "Finders Keepers Lovers Weepers" this flick a somewhat typically Meyer sex/drama morality play spiced with wicked dialogue and busty chicks. Burl (Meyer regular Stuart Lancaster) is a rich impotent farmer who's sexy nympho wife (Alaina Capri of "Common..") fool around a lot because, eh, she's a nympho! Burl then takes a trip to the woods to sulk and meets a "sex witch" (the exotic Haji from "Faster Pussycat, Kill! Kill!") who revitalizes him to satisfy his young wife..and happy times are back again! The dialogue, editing, photography are topnotch as usual with Meyer-flicks but the plot (except for Hajis role) are a bit routine. It's no "Faster Pussycat..", "Mudhoney" or "Beyond The Valley Of The Dolls" but still one Russ' better ones (I've seen 17 of Meyers films and I like'em all, so it's hard to be objective). A must for fans!