| Jill Clayburgh | ... | Kate Gunzinger | |
| Michael Douglas | ... | Ben Lewin | |
| Charles Grodin | ... | Homer | |
| Beverly Garland | ... | Emma | |
| Steven Hill | ... | Jacob | |
| Teresa Baxter | ... | Maryanne | |
| Joan Copeland | ... | Rita | |
| John Gabriel | ... | Hunter | |
| Charles Kimbrough | ... | Jerome | |
| Roger Robinson | ... | Flicker | |
| Jennifer Salt | ... | Maisie | |
| Daniel Stern | ... | Cooperman | |
| Dianne Wiest | ... | Gail (as Diane Wiest) | |
| Ron Frazier | ... | Professor (as Ronald C. Frazier) | |
| Edwin McDonough | ... | Professor (as Edwin J. McDonough) | |
| Toshi Toda | ... | Professor | |
| Robert Ackerman | ... | Good Will Man | |
| Raf Mauro | ... | Jerry Lanz Man (as Ralph Mauro) | |
| Michael Alaimo | ... | Man at Restaurant | |
| Ernie Lively | ... | Man at Restaurant (as Ernie Brown) | |
| Noah Hathaway | ... | Homer's Son | |
| Marlyn Gates | ... | Homer's Daughter | |
| Raymond Singer | ... | Rabbi | |
| David Goodman | ... | Man in Baseball Stands | |
| James Desmond | ... | Man in Baseball Stands | |
| Steven Fromewick | ... | Man in Baseball Stands | |
| Joe Hamer | ... | Man in Baseball Stands | |
| Paul Blair | ... | Himself | |
| Héctor López | ... | Himself (as Hector Lopez) | |
| Joe Collins | ... | Himself | |
| Frank McCormick | ... | Himself | |
| Larry Doby | ... | Himself | |
| Tony Ferrera | ... | Himself | |
| Sal Maglie | ... | Himself | |
| Bob Feller | ... | Himself | |
| Mickey Mantle | ... | Himself | |
| Tony Ferrara | ... | Himself | |
| Roger Maris | ... | Himself | |
| Whitey Ford | ... | Himself | |
| Willard Marshall | ... | Himself | |
| Al Forman | ... | Himself | |
| Frank Messer | ... | Himself | |
| Tom Gorman | ... | Himself | |
| Johnny Orsino | ... | Himself | |
| Bud Harrelson | ... | Himself | |
| Dusty Rhodes | ... | Himself | |
| Gene Hermanski | ... | Himself | |
| Specs Shea | ... | Himself | |
| Elston Howard | ... | Himself | |
| Ron Tellefsen | ... | Himself | |
| Monte Irvin | ... | Himself | |
| Bobby Thomson | ... | Himself | |
| Ed Kranepool | ... | Himself | |
| Bill White | ... | Himself | |
| John Kuchs | ... | Himself | |
| Sal Yvars | ... | Himself | |
| rest of cast listed alphabetically: | |||
| James Gammon | ... | Connie Foxworth (uncredited) | |
| Nora Heflin | ... | Maisie (uncredited) | |
| Lou Mulford | ... | Woman at restaurant (uncredited) | |
| Daniel J. Travanti | ... | Interviewer (uncredited) | |
Directed by | |||
| Claudia Weill | |||
Writing credits | ||
| Eleanor Bergstein | (written by) | |
Produced by | |||
| Martin Elfand | .... | producer | |
| Norman Gan | .... | associate producer | |
| Jay Presson Allen | .... | executive producer | |
Original Music by | |||
| Patrick Williams | |||
Cinematography by | |||
| Bill Butler | (director of photography) | ||
Film Editing by | |||
| Byron 'Buzz' Brandt | |||
| James Coblentz | |||
| Marjorie Fowler | |||
| David Bretherton | (uncredited) | ||
Casting by | |||
| Jane Jenkins | |||
| Jennifer Shull | (uncredited) | ||
Production Design by | |||
| Jackson De Govia | (as Jack De Govia) | ||
Set Decoration by | |||
| Linda DeScenna | |||
Costume Design by | |||
| Ruth Myers | |||
Makeup Department | |||
| Damon Grill | .... | hair stylist | |
| Lee Harman | .... | makeup artist | |
| Diane Pepper | .... | hair stylist | |
| Martin Samuel | .... | hair stylist: Miss Clayburgh (as Martin Samuels) | |
Production Management | |||
| Bob Schneider | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Rafael Elortegui | .... | second assistant director | |
| Tom Fritz | .... | second assistant director: New York | |
| David McGiffert | .... | first assistant director | |
Art Department | |||
| Geoff Hubbard | .... | set designer | |
| John R. Jensen | .... | construction coordinator (as John Jenson) | |
| Erik L. Nelson | .... | property master (as Erik Nelson) | |
| Charles Truhan | .... | set decorator: New York | |
| William Apperson | .... | propmaker foreman (uncredited) | |
| James Arrigo | .... | propmaker foreman (uncredited) | |
| Michael B. Bunch | .... | general construction foreman (uncredited) | |
Sound Department | |||
| Wayne Artman | .... | sound re-recording mixer | |
| Tom Beckert | .... | sound re-recording mixer | |
| Jeff Bushelman | .... | sound effects editor | |
| Michael Jiron | .... | sound re-recording mixer | |
| Cabell Smith | .... | sound mixer: New York | |
| Pat Somerset | .... | sound effects editor | |
| Charles M. Wilborn | .... | production sound mixer | |
| Kenneth Schwarz | .... | boom operator (uncredited) | |
Camera and Electrical Department | |||
| Colin J. Campbell | .... | gaffer (as Colin Campbell) | |
| James R. Connell | .... | camera operator (as Jimmy Connell) | |
| James A. Contner | .... | camera operator: New York (as James Contner) | |
| Ron Frantzvog | .... | second assistant camera | |
| Michael Genne | .... | first assistant camera | |
| James Gray | .... | key grip: New York | |
| George Hill | .... | key grip | |
| Al Meyers | .... | gaffer: New York | |
| Gary Muller | .... | second assistant camera: New York | |
| Hank Muller | .... | first assistant camera: New York | |
| Mel Traxel | .... | still photographer | |
| Garrett Brown | .... | Steadicam operator (uncredited) | |
Casting Department | |||
| Sylvia Fay | .... | extras casting: New York (as Sylvia Faye) | |
| Janet Hirshenson | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Cynthia Bales | .... | costumer: women | |
| Eddie Marks | .... | costumer: men | |
Editorial Department | |||
| Mike Klein | .... | assistant editor | |
| Tim McAvoy | .... | assistant editor | |
| Joy Wilson | .... | assistant editor | |
| Dennis Michelson | .... | assistant editor (uncredited) | |
Music Department | |||
| Cliff Kohlweck | .... | music editor | |
| Phil Woods | .... | musician: saxophone solo | |
Transportation Department | |||
| Richard Belyeu | .... | transportation captain (as Rick Belyeu) | |
| James E. Foote | .... | transportation coordinator (as Jimmy Foote) | |
Other crew | |||
| Renee Bodner | .... | continuity: New York (as Rene Bodner) | |
| Kirk Borcherding | .... | auditor | |
| Wayne Fitzgerald | .... | title designer | |
| Wilma Garscadden-Gahret | .... | continuity (as Wilma Garscadden) | |
| Scott MacDonough | .... | unit publicist (as Scott McDonough) | |
| Susan Milrod | .... | assistant: Miss Weill | |
| Paula Montgomery | .... | production coordinator | |
| Sandra Morley | .... | assistant to producer | |
| Larry Rapaport | .... | location scout: New York | |
| Martina Ritt | .... | production assistant | |
| Nancy Zearfoss | .... | location manager | |
| Benedict Gross | .... | mathematics consultant (uncredited) | |
Thanks | |||
| Dick Richards | .... | special thanks | |
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The final chapter in Jill Clayburgh's unplanned "independent woman" trilogy (the first two were "An Unmarried Woman" and "Starting Over"). This one is from the same writer as "Dirty Dancing," which probably explains why the main character in each is a Jewish woman who is very much "daddy's little girl."
Here, the protagonist is perhaps the most glamorous mathematics professor ever (she wears stilettos to class, but earthy gal that she is, removes them while solving equations at the blackboard). She's got relationship issues with her widowed dad who's remarrying, and with her divorced live-in boyfriend, plus she's conflicted about whether to take a new job in a new city that pays much more, but won't allow her to continue her research. She breezily describes her various complications as "modern problems," which tells you that the creators here felt they were at the very cutting edge of portraying the quintessential "liberated" woman. Laura Linney's character in "You Can Count On Me" had a similarly complicated life, but that film didn't feel the need for its characters to be so self-aware.
Michael Douglas enters the picture to help her figure out where/how to get the healthy, giving relationship that everyone around her seems to have, and that therefore is "her turn" to get (get it?)
This is a decent movie that actually doesn't feel particularly dated, (save for Clayburgh's Oscar-bait "big scene" towards the end) despite its obvious 70's era feminist overtones. But perhaps because of its agenda, the romance doesn't exactly sweep you off your feet.
As with most movies from the 80s, part of the fun is seeing what stars/faces of the future show up. Here, we get a young Daniel Stern, almost unrecognizable as Clayburgh's star pupil, and future "Law and Order" District Attorneys Steven Hill and Dianne Wiest.