Philip Roth had a tendency to verbalize the private sexual thoughts going on the heads of American males, (Portnoy's Complaint) and I can imagine that in the book Neil Klugman's infatuation for Brenda Patimkin is much more detailed. Goodbye, Columbus is of course shallow by comparison, but there are scenes in the film that speak a thousand words of confessional flow-of-consciousness.

In the beginning, all we need to know about Neil is that he's a guest at the country club, not exactly a dog in the manger, but someone likely to be judged by the fact that he rode in on a real member's coattails. The Patimkins are specified as a new-money family with a loving father and a controlling wife, but they're not a criticism of "Jewish" values even when much of the family rancor revolves around money. Although some of the relatives at the wedding are obsessed with material wealth, the show is really about the general post-war success, with people from modest backgrounds attaining a new affluence.

Desirable Princess Brenda Patimkin represents millions of girlfriends in the 1960s - well maintained daughters prized higher than life itself by fathers who see them as tangible proof of their good fortune. Mr. Patimkin must remember the Depression and probably fought in the war. That his peacetime family is so fortunate is a blessing, and Brenda is the cherry on top of the cake. So in a way Brenda's father is guarding over her with an axe - I certainly ran into a number of parents like that around this time - Jewish, gentile or what have you.

Goodbye, Columbus is about the effects of affluence. Most of the previous generation lived an entirely different situation, well expressed in the comedy Christmas in July, where desperate sweethearts can't marry because of constricted economic opportunities. A five-dollar-a-week raise could make a big difference. Neil and Brenda have cars, jobs and plenty to eat. Neil has the luxury of being able to avoid decisions. In his case, finding the right girl is taking precedence over finding the right career. But he's still basically an adult who takes responsibility for himself.

Brenda hasn't had to grow up, really, and is able to live in a (very attractive) fantasy. Mostly, her family's affluence and trust allow her a sexual freedom unheard of in Christmas in July - she's independent and daring enough to entice Neil into all kinds of risky behavior - nothing criminal or too shocking, but hijinks that abuse her father's trust and risk spoiling Neil's relationship with them. For an entire two-week summer break, they sleep together right under the family roof. The situation is presented was real enough to raise a sweat of recognition among the 1970 dorm audience I saw it with. That unease is what Goodbye, Columbus is really about, a kind of privileged suburban guilt.

The title refers to a record played by Brenda's brother, an easygoing, overly-confident fellow. What exactly the "Goodbye, Columbus" of The Association's title song means is unclear, as its meaning in the movie doesn't have much to do with Brenda or Neil. Perhaps Columbus, Ohio represents the lower middle-class life the Patimkins have left behind.

Director Larry Peerce was a big question mark to the auteurists of the early 70s. He started out with a liberal independent movie about mixed marriage called One Potato, Two Potato and before this very mainstream movie directed The Incident, a completely different verité shocker on a NY subway car. The Sporting Club was an incoherent, violent Western allegory seemingly sprung from The Professionals and The Big Gundown, A Separate Peace a snooze of a literary adaptation, and Ash Wednesday. It was an odd soap opera with glimpses of gruesome cosmetic surgery that evoked visions of Eyes Without a Face. The unclassifiable director has been working mostly in TV since 1980.

Screenwriter Arnold Schulman is no slouch in the credits department. He came from live TV in the '50s and has his name on the angst-ridden efforts Wild is the Wind, Cimarron, A Hole in the Head and Love with the Proper Stranger. He also wrote Tucker: the Man and his Dream for Francis Coppola.

Paramount's DVD of Goodbye, Columbus is another perfect feature presentation in a plain-wrap package at an attractive price. The enhanced image is sharp and clear and it looks much better than the 16mm print I saw back in college. There are no extras.

On a scale of Excellent, Good, Fair, and Poor, Goodbye, Columbus rates:
Movie: Very Good
Video: Excellent
Sound: Excellent
Supplements: none
Packaging: Keep case
Reviewed: June 11, 2004