Good Morning... and Goodbye! (1967)

Good Morning... and Goodbye! is Russ Meyer at his most mischievously inventive: a crime-tinged, kaleidoscopic soap opera where desire ricochets from one doomed romance to the next with the speed of a pinball and the bite of a great one-liner. What makes it special isn’t just the sexploitation surface, but the way Meyer frames it with genuinely artistic swagger—bold compositions, pop-art energy, and dialogue that crackles with wit and self-awareness. Alaina Capri and Haji give the film a magnetic center, playing the chaos not as a joke but as a feverish, oddly human scramble for satisfaction. It’s campy, stylish, and relentlessly entertaining, though if you’re allergic to lurid 1960s sleaze or prefer your dramas grounded and tender, this one’s more likely to dazzle than to soothe.

Good Morning... and Goodbye! is clearly trying to be a pulpy, interwoven crime-drama of messy desire and bad decisions, with lots of characters ricocheting into each other’s lives. The problem is that the tangled setup rarely pays off with much punch, so what should feel scandalous or darkly funny can come off bland, predictable, and oddly low-energy. If you’re coming for classic Meyer-style shock, heat, or momentum, you may find this a tame, dated detour that talks a bigger game than it delivers. Still, if you enjoy minor 60s curios and can settle for a modest, soapier web of losers rather than a standout thriller, it’s watchable in a “that’s it?” kind of way.