Richard Babson and Paula McCullen are a couple of Hollywood screenwriters who have lived and worked together for a number of years. Richard desperately wants to get married, but Paula does not feel the need.
Having just written a film script for producer Larry Weissman, the couple decides to get married without letting anyone else know. Paula can tell it is important to Richard, so she reluctantly agrees.
They are wed in a Los Angeles marriage bureau and decide to travel cross-country by train to inform their parents back East about what they have done as their honeymoon.
The first stop is Buffalo, New York, in the brutal winter by Paula's parents. Eleanor and Tim McCullen are old-fashioned, so Paula informs Richard that they will need to sleep in separate beds. Richard is frustrated by the frigid weather about being treated like a child and the frigid climate.
From there they go to Virginia to visit Richard's parents, who reside in a giant high-rise condominium. No window is ever opened there, and Paula, feeling increasing panic attacks, is in dire need of some fresh air. She accidentally overdoses on Valium and is hospitalized.
The Babsons excitedly believe that Paula and Richard are engaged but devastated to learn that they are married. They throw a party at a restaurant, where Paula is upset by the comments of guests.
Paula and Richard are barely on speaking terms when Larry Weissman shows up, desperate for pages of a script rewrite. Paula insists that they return home to California immediately, but once there, their personal and professional relationship has soured.
Larry locks them in a room, where the writers bicker and get no work done. Paula again demands fresh air until Richard breaks a window. When they finally talk it through, they are in agreement that getting married might not have been the best idea. They finish the rewrite and then walk off into the sunset, which turns out to be a Hollywood prop.
In addition, Valerie Curtin, who wrote the film's screenplay with husband Barry Levinson (they divorced the year it was released), has an uncredited cameo as Paula's friend sitting in a playpen.
Production
Barry Levinson and Valerie Curtin wrote the screenplay based on their relationship. They had made And Justice for All (1979) with Norman Jewison and showed him a copy of the script. Jewison felt the draft had problems but was persuaded to make it by Goldie Hawn who read the script and was enthusiastic.[3]
"I had been impressed with her talent ever since Sugarland Express," said Jewison. "I thought she was one of the most honest performers, so I said, 'If you'll do it, I'll do it'."[3]
Hawn later said her part was "probably my most mature role" to date.[4]
There were six weeks of filming in New York State, Virginia, Maryland and Washington, D.C., then the unit shifted to Los Angeles.
Jewison said he "took my time" with the film. "I made it very carefully, indeed...I had a wonderful time making the film and I haven't seen such good chemistry between leading players since I made The Thomas Crown Affair."[1]
Roger Ebert gave the film three-and-a-half stars out of four and wrote that the plot "sounds like a series of fairly predictable scenes. But they're redeemed by the writing and acting."[5] Janet Maslin of The New York Times stated that Reynolds and Hawn made "a surprisingly appealing team, the surprise being that two individually stellar comic actors can work so comfortably together. Each of them works on a lower wattage than usual, since the emphasis here is on friendliness, rather than on madcap joking."[6]Variety called it "a very engaging film...Even if it is initially jarring to accept Hawn and Reynolds as screenwriters, they are thoroughly believable as two people struggling to make their relationship work. Hawn especially has kept her customary kookiness in check and conveys her character's plight with maturity and charm."[7] Gary Arnold of The Washington Post called the film "exceptionally authentic and endearing...I suppose Reynolds and Hawn have certainly enjoyed showier showcasing, but it should do them no harm at all to be recognized as a likably self-effacing romantic comedy team in a new romantic comedy of rare sweetness and intelligence."[8]
Kevin Thomas of the Los Angeles Times was less enthused, writing that the film "quickly proves to be the familiar instance of the comedy that presents its central figures in the round only to satirize heavily all the peripheral people, most of whom are weighed down in shtick."[9] Gene Siskel of the Chicago Tribune gave the film two stars out of four and asked "Who wants to see such upbeat performers as Hawn and Reynolds bitch at each other for nearly two hours? The casting is wrong here."[10]Pauline Kael of The New Yorker wrote "The script probably reads fine, but it plays all wrong. The dialogue is too neatly worked out; there's no way to speak it without making us aware of how clever it is—how flip yet knowing."[11]
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