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Goodbye, Mr. Chips

Goodbye, Mr. Chips

Drama · Music · Romance · 1969

Academy Award-honoree Peter O'Toole stars in this musical classic about a prim English schoolmaster who learns to show his compassion through the help of an outgoing showgirl. O'Toole, who received his fourth Oscar-nomination for this performance, is joined by '60s pop star Petula Clark and fellow Oscar-nominee Michael Redgrave.

Movie details

Goodbye, Mr. Chips

“He is a shy schoolmaster. She is a music hall star. They marry and immediately have 283 children...all boys!”

1969 Drama · Music · Romance 2h 35m

Critical arithmetic

One number, for now.

TMDB

6.8 / 10

Community rating

Academy Award-honoree Peter O'Toole stars in this musical classic about a prim English schoolmaster who learns to show his compassion through the help of an outgoing showgirl. O'Toole, who received his fourth Oscar-nomination for this performance, is joined by '60s pop star Petula Clark and fellow Oscar-nominee Michael Redgrave.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Goodbye, Mr. Chips?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Herbert Ross

Written by

Terence Rattigan

Peter O'Toole

Peter O'Toole

Arthur Chipping

Petula Clark

Petula Clark

Katherine Bridges

Michael Redgrave

Michael Redgrave

The Headmaster

George Baker

George Baker

Lord Sutterwick

Siân Phillips

Siân Phillips

Ursula Mossbank

Michael Bryant

Michael Bryant

Max Staefel

Jack Hedley

Jack Hedley

William Baxter

Court is in session

Put Goodbye, Mr. Chips on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.