Sally Field was on top of the world in the early eighties. She’d already bagged an Oscar for Norma Rae, and everyone wanted a piece of her talent. Then came Kiss Me Goodbye 1982. It’s this bizarre, tonal whiplash of a movie that tries to be a screwball comedy, a romantic drama, and a supernatural haunting all at once. Honestly, if you haven’t seen it lately, it feels like a fever dream from a Hollywood era that didn't quite know what to do with "adult" whimsy.
It’s a remake. Sorta.
The film is actually an Americanized version of the Brazilian classic Dona Flor and Her Two Husbands. But while the original was steaming with earthy sensuality and magical realism, the 1982 version feels much more like a sanitized, Upper West Side apartment renovation project. Field plays Kay Villano, a woman finally ready to move on three years after her husband Jolly—played by a very tan, very shirtless James Caan—died in a freak dancing accident. Yes, a dancing accident.
The Messy Plot of Kiss Me Goodbye 1982
Kay is about to marry Rupert, an Egyptologist played by Jeff Bridges. Bridges is great here, doing that specific kind of "stuffy but lovable" nerd role he mastered before he became the Dude. They move back into the old Victorian house she shared with Jolly, and boom—Jolly’s ghost shows up.
But here is the kicker: only Kay can see him.
It’s not a horror movie. Jolly isn't there to reclaim her soul or seek revenge. He’s just... there. He sits on the furniture, makes snide comments about Rupert’s personality, and generally acts like a nuisance. It’s a classic "three's a crowd" setup, except one of the three is dead.
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The chemistry is weird. Caan and Field famously didn't get along on set. You can almost feel the friction through the screen, but strangely, it works for the characters because Jolly is supposed to be an arrogant, irritating presence. Director Robert Mulligan—the same guy who did To Kill a Mockingbird—was clearly trying to capture that old-school 1930s Cary Grant vibe. Sometimes it hits. Most times, it’s just awkward.
Why Critics Hated It and Fans (Secretly) Love It
When Kiss Me Goodbye 1982 hit theaters, the critics were absolutely brutal. Roger Ebert gave it a measly one and a half stars. He basically said the movie didn't have a "reason for being." He wasn't entirely wrong, but he might have been too harsh. The film lacks the grit of the eighties' emerging blockbusters, but it has this soft-focus, melodic charm that you just don't see anymore.
It’s a movie about grief, even if it covers it up with pratfalls.
Kay is stuck. She’s literally being haunted by her past while trying to build a future with a man who is the polar opposite of her late husband. Jolly was a Broadway choreographer; Rupert is a guy who digs up mummies. The contrast is the whole point.
- The soundtrack is pure 80s cheese. We’re talking Peter Allen singing "Maybe," which was actually nominated for a Golden Globe. It’s the kind of song that gets stuck in your head until you want to scream.
- The cinematography is by Jordan Cronenweth. If that name sounds familiar, it’s because he shot Blade Runner the same year. The lighting in the house is actually gorgeous, even if the script is thin.
- The supporting cast includes Claire Trevor in her final film role. It’s a bit of Hollywood history tucked away in a rom-com.
A Ghostly Production Nightmare
Making Kiss Me Goodbye 1982 wasn't exactly a picnic. As I mentioned, James Caan was reportedly miserable. He’s gone on record saying he only did it for the money and that he hated the "ghostly" mechanics of the shoot. Imagine being an actor known for The Godfather and suddenly you’re told you have to spend six weeks acting like nobody can see you while Sally Field yells at a wall.
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It shows.
There’s a tension in his performance that feels less like "mischievous ghost" and more like "get me out of this contract." Yet, that grumpy energy makes Jolly more believable as a husband who refused to leave.
Jeff Bridges, on the other hand, is the MVP. He’s the only one who seems to realize he’s in a comedy. His reactions to Kay’s "conversations" with thin air are gold. He brings a grounded reality to a movie that otherwise would have floated away into total nonsense.
The Cultural Footprint
Does Kiss Me Goodbye 1982 still matter? In the grand scheme of cinema, it’s a footnote. But for fans of Sally Field, it’s a pivotal moment. It was her first film after Back Roads and showed she could carry a movie even when the material was shaky.
It also fits into a weird trend of early 80s ghost comedies. Think Maxie or High Spirits. Hollywood was obsessed with the idea of the "sexy ghost" or the "annoying spouse from beyond." It was a transition period before Ghostbusters redefined the genre by adding slime and proton packs.
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Revisiting the Film Today
If you watch it now, you have to look past the hair. The volume on Sally Field’s head is impressive. But if you get past the aesthetics, there’s a sweet story about how hard it is to let go of someone you loved, even if they were a bit of a jerk.
The ending—no spoilers, though the movie is 40 years old—is actually quite touching. It resolves the love triangle in a way that feels respectful to both the living and the dead. It’s not "logical," but since when is love (or haunting) logical?
How to Experience Kiss Me Goodbye 1982 Properly
Don't go into this expecting a masterpiece. It's a Sunday afternoon movie. It’s meant to be watched with a cup of tea while it’s raining outside.
To get the most out of it, compare it to the original Dona Flor and Her Two Husbands. You’ll see exactly where the American version lost its nerve. The Brazilian film is about a woman who wants both men—one for stability and one for passion. The American version is more about a woman who needs to tell her past to shut up so she can get married.
- Check the streaming platforms. It pops up on Tubi or Pluto TV fairly often because it’s a catalog title from 20th Century Fox (now Disney).
- Look for the physical media. The Blu-ray from Kino Lorber is actually decent. It cleans up Cronenweth’s cinematography beautifully.
- Pay attention to the house. The set design is peak 80s "wealthy eccentric." The wallpaper alone is worth a look.
Honestly, the film is a time capsule. It represents a moment when movies could just be "pleasant." No cinematic universe. No CGI explosions. Just three talented people in a house, arguing about whether a ghost can sit on a sofa.
Next Steps for Film Lovers:
To truly understand the 1982 film landscape, watch this as a double feature with Tootsie. Both films deal with identity and the absurdity of social roles, though Tootsie obviously did it better. Alternatively, track down the original Brazilian version to see how a story can be completely transformed by the culture that tells it. If you're a James Caan fan, it's worth seeing just for the sheer oddity of his performance compared to his tough-guy persona. It's a rare glimpse of a legendary actor completely out of his element, which is fascinating in its own right.