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Best Herbert Ross Movies
13th Nov 2025
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Herbert Ross, a master of the musical and romantic comedy, left an indelible mark on Hollywood. From the glitz and glamour of "Funny Girl" to the poignant drama of "The Goodbye Girl," his films captured the essence of human relationships with wit, charm, and unforgettable performances. His direction and ability to coax stellar work from actors cemented his status as a cinematic icon. His legacy continues to resonate with audiences today, making him a beloved figure in film history. Now it's your turn to celebrate the best of Herbert Ross! We've compiled a list of his most memorable films, and we want to hear your opinion. Which of his movies do you consider to be his finest work? Cast your vote and help us determine the ultimate Herbert Ross masterpiece. Let your voice be heard!
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#21.
I Ought to Be in Pictures (1982)
21/24
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"I Ought to Be in Pictures" (1982) tells the story of Libby, a determined 19-year-old girl who leaves her New York home to track down her estranged father, a Hollywood screenwriter living in Los Angeles. Abandoned by him at a young age, Libby's arrival in LA is met with a mix of apprehension and hope, fueled by her desire to connect with the man she barely knows. The film immediately establishes the complexities of their relationship, as Libby navigates the strange new world of her father's life, which includes an unexpected overnight guest, Stephanie, a woman who works with Jane Fonda. Herbert Ross's direction masterfully captures the bittersweet humor and emotional vulnerability inherent in the story. He crafts a film filled with realistic characters, particularly the daughter, who is determined to make her voice heard, that reflect the difficult realities of family dynamics and the search for belonging. The movie's touching exploration of absentee fatherhood, the longing for connection, and the pursuit of dreams – both in Hollywood and in life – elevates it to one of the most poignant and memorable works within Ross's filmography, perfectly demonstrating his ability to create emotionally resonating films with excellent performances and strong storytelling.
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Play It Again, Sam (1972)
"Play It Again, Sam" (1972) is a comedic gem about a neurotic film critic named Allan Felix whose life unravels after his wife leaves him. Crushed by the split and lacking confidence, Allan's inner world is populated by the ghost of Humphrey Bogart, his idol, who dispenses advice on how to navigate the dating scene and transform into a tough guy. Guided (or misguided) by Bogart's suave persona and the encouragement of his married friends, Allan stumbles through a series of awkward dates, finding that mimicking a cinematic icon doesn't always translate to real-life romance. This film definitively earns its place on a "Best Herbert Ross Movies" list, showcasing Ross's deft hand at directing comedy and his ability to blend the theatrical and cinematic. He skillfully adapts Woody Allen's original play, maintaining its witty dialogue and character-driven humor while opening up the scenes for the screen. Ross masterfully uses visual cues, such as the Bogart persona, to explore themes of insecurity, self-discovery, and the romantic fantasies that can both inspire and mislead us, making "Play It Again, Sam" a humorous and endearing look at finding one's authentic self.
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The Goodbye Girl (1977)
Paula McFadden's life takes a dramatic turn when her actor boyfriend abruptly leaves her, subletting their New York City apartment to another actor, Elliot Garfield. The ensuing chaos of this unexpected arrangement sets the stage for a whirlwind romance in *The Goodbye Girl*. Forced to share living quarters, Paula and Elliot navigate the trials of cohabitation, fueled by witty banter and the inevitable friction between two strong personalities. As they try to make sense of each other and the changing circumstances of their lives, the film beautifully depicts the complexities of love, loss, and the pursuit of happiness. Herbert Ross expertly directs this tale of unlikely connections, showcasing his talent for intimate character studies and comedic timing. *The Goodbye Girl* perfectly embodies Ross's signature blend of humor and heart, exploring the vulnerabilities of human relationships with sensitivity. The film's sharp dialogue and winning performances from Richard Dreyfuss and Marsha Mason, who deliver career-defining turns, elevate the story beyond a simple romance, making it a standout example of Ross's ability to capture the nuances of human emotion and the charm of urban life, solidifying its place among his best works.
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Steel Magnolias (1989)
"Steel Magnolias" is a heart-wrenching drama centered around a beauty shop in Chinquapin, Louisiana, owned by the vivacious Truvy. Within the walls of this haven, a close-knit group of women – M'Lynn, Shelby, Clairee, Annelle, and Ouiser – navigate the joys and, most importantly, the profound tragedies that life throws their way. The film beautifully portrays the enduring bonds of female friendship and the strength found in shared experiences, both good and bad, as they support each other through life's most challenging moments. "Steel Magnolias" rightfully belongs on a list of Best Herbert Ross Movies because it perfectly encapsulates his talent for blending humor and pathos with a focus on character-driven narratives. Ross excels at directing strong ensemble casts, allowing their performances to drive the emotional impact of the story. He masterfully balances the lighthearted banter and camaraderie of the beauty shop with the weight of the film's more dramatic and sorrowful turns, creating a moving and unforgettable cinematic experience that resonates with audiences long after the credits roll. This film, which he directed in 1989, demonstrates his strength in showcasing female relationships, something he also did in *The Goodbye Girl*, further bolstering his claim to the "Best Herbert Ross Movies" list.
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The Last of Sheila (1973)
A year after the death of his wife Sheila in a hit-and-run, wealthy film producer Clinton invites a group of Hollywood insiders – a screenwriter, a director, a gossip columnist, an agent, and his own mistress – to spend a week aboard his yacht for a scavenger hunt. What seems like a lavish, leisurely game of revealing secrets and hidden resentments quickly escalates into a terrifying hunt for a killer, with Clinton manipulating his guests and the clues leading to deadly consequences. Each player harbors a dark secret connected to Sheila's death, making them all potential victims and suspects in a cleverly crafted mystery. Herbert Ross's direction in "The Last of Sheila" is masterful, utilizing the confined space of the yacht to heighten the tension and claustrophobia. The film expertly builds suspense, playing with the audience's expectations as the carefully constructed plot twists and turns, keeping viewers guessing until the final, shocking reveal. Ross's ability to elicit excellent performances from a stellar cast, including James Coburn, Dyan Cannon, and Raquel Welch, and his knack for creating an atmosphere of opulent dread makes "The Last of Sheila" a prime example of his skill, solidifying its place among his best work.
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The Sunshine Boys (1975)
"The Sunshine Boys" (1975) is a comedic masterpiece directed by Herbert Ross, centered on the prickly and hilarious relationship between two aging vaudeville comedians, Willy Clark and Al Lewis, who haven't spoken in decades. Once the beloved duo known as Lewis and Clark, aka The Sunshine Boys, their off-stage animosity has kept them apart since their retirement. When Willy's nephew, a struggling TV producer, attempts to reunite them for a television special, he unwittingly triggers a cascade of hilarious clashes, grudges, and reluctant reconciliations. The film masterfully explores the complexities of aging, the weight of the past, and the enduring power of a shared history through sharp wit and memorable performances. This film undoubtedly deserves a place on the "Best Herbert Ross Movies" list for several compelling reasons. Ross's deft direction showcases his ability to extract nuanced performances from his actors, particularly Walter Matthau and George Burns, who deliver iconic portrayals of grumpy yet vulnerable characters. The movie's timeless appeal lies in its sensitive handling of the themes of friendship, regret, and the lingering impact of time. Ross's keen understanding of comedic timing and dramatic tension allows him to create a film that is both uproariously funny and profoundly moving, solidifying "The Sunshine Boys" as a highlight of his illustrious career.
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The Turning Point (1977)
"The Turning Point" is a poignant exploration of the sacrifices women make and the choices that shape their lives. The film centers on a former ballet dancer who, when her daughter joins a prestigious ballet company, is forced to confront the complex decision she made long ago: giving up a promising career to raise a family. This reunion with the world she left behind, and with her former rivals, forces her to grapple with questions of regret, fulfillment, and the enduring power of ambition versus domesticity. The story cleverly weaves together themes of motherhood, artistic passion, and the bittersweet beauty of dreams deferred. Herbert Ross's skill in directing emotional dramas, coupled with his eye for beautiful choreography, makes "The Turning Point" a standout film in his filmography. The film benefits from strong performances, especially from Shirley MacLaine and Anne Bancroft, who create a compelling portrait of a friendship at odds. Moreover, the vibrant ballet sequences and the exploration of the cutthroat world of dance amplify the film's drama. The movie's ability to combine dance, drama, and emotion, showcases Ross's masterful ability to capture the human experience, making "The Turning Point" a definitive example of his best work.
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Goodbye, Mr. Chips (1969)
"Goodbye, Mr. Chips (1969)" features Peter O'Toole, a seasoned Academy Award-honoree, in the lead role of a staid English schoolmaster who discovers his capacity for compassion thanks to a vibrant showgirl. The film, a musical adaptation of the beloved novel, showcases O'Toole's talent alongside '60s pop icon Petula Clark and the esteemed Michael Redgrave, both of whom bring their own unique strengths to the cast. O'Toole's nuanced performance, which earned him his fourth Oscar nomination, anchors the film's emotional core, highlighting the transformative power of love and connection. While "Goodbye, Mr. Chips" may not be the most frequently cited Herbert Ross film, its inclusion on a "Best Herbert Ross Movies" list is justified by Ross's direction of the musical numbers. Ross, known for his flair with dance sequences and his ability to elicit compelling performances from his actors, expertly uses these musical interludes to punctuate the story's key emotional beats, making the film feel very in keeping with the director's signature approach, thereby solidifying the film as a classic example of a well-crafted and stylish movie.
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Max Dugan Returns (1983)
**Max Dugan Returns (1983)**, starring Marsha Mason as a dedicated English teacher, centers on a woman whose carefully constructed life as a single mother is upended when her long-lost father, the titular Max Dugan, resurfaces. This unexpected reunion throws her into a whirlwind of emotions and challenges as she grapples with the complexities of her family's history and the reappearance of a man who abandoned her years ago. Her life is further complicated by a blossoming romance, all while navigating the realities of single motherhood and the financial implications of her father's return. This film exemplifies why **Max Dugan Returns** is a strong inclusion in a "Best Herbert Ross Movies" list. Ross excels at character-driven dramas that explore the intricacies of relationships and the unexpected twists of fate. His direction masterfully balances the humor and pathos inherent in the story, creating a relatable and emotionally resonant narrative. The film's focus on personal growth and finding happiness amidst life's challenges aligns perfectly with Ross's signature style, solidifying its place as a notable entry within his filmography.
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Footloose (1984)
When teenager Ren McCormack and his family move from big-city Chicago to the small, conservative town of Bomont, Utah, he's in for a real case of culture shock. This new world has a strict ban on dancing and rock music, a rule imposed by the town's Reverend Shaw Moore after a tragic accident years before. Ren, a free spirit at heart, finds himself at odds with the local customs and quickly decides to challenge the status quo, rallying the town's youth to fight for their right to dance and express themselves. His quest to bring joy and freedom back to Bomont will test his resilience and challenge the beliefs of the entire community. "Footloose" absolutely deserves a place on the list of Herbert Ross's best films. Ross masterfully captures the clash of cultures and the yearning for personal liberation that drives the narrative. He expertly balances the drama of Ren's struggle with the infectious energy of the music and dance sequences, turning a seemingly simple premise into a resonant story about rebellion, understanding, and the importance of youth having a voice. The film's lasting popularity and cultural impact speak volumes about Ross's ability to connect with audiences and deliver a powerful message through a compelling and entertaining story.
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The Seven-Per-Cent Solution (1976)
In the 1976 film "The Seven-Per-Cent Solution," Dr. Watson, deeply worried about Sherlock Holmes' escalating cocaine addiction, orchestrates a cunning plan to get his friend the help he desperately needs. Watson tricks Holmes into a journey to Vienna, where the esteemed Sigmund Freud awaits, ready to unravel the complexities of Holmes' subconscious and wean him off the drug. While Freud delves into the mysteries of Holmes' mind, Holmes, in his characteristic fashion, finds himself embroiled in a new, intricate case: the kidnapping of the beautiful Lola Deveraux. The film skillfully balances the psychological exploration of addiction with the classic detective narrative, offering a fresh perspective on the iconic detective. "The Seven-Per-Cent Solution" firmly earns its place among Herbert Ross's best works due to his deft handling of a complex narrative. Ross masterfully combines the suspense of a detective story with the insightful exploration of mental health, weaving together the contrasting worlds of Sherlock Holmes and Sigmund Freud. His direction effectively guides the stellar cast, including Nicol Williamson as Holmes, Robert Duvall as Watson, and Alan Arkin as Freud, to deliver compelling performances. The film's blend of mystery, psychological depth, and period setting showcases Ross's versatility and talent for crafting engaging and memorable cinema, making it a standout piece in his already impressive filmography.
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Nijinsky (1980)
"Nijinsky" (1980) solidifies Herbert Ross's place among the best because of his masterful ability to blend artistic drama with biographical storytelling. The film explores the turbulent life of legendary ballet dancer Vaslav Nijinsky, showcasing Ross's keen eye for visual storytelling, particularly evident in the stunning recreation of Nijinsky's choreography and the capturing of the era's opulent atmosphere. Ross's sensitivity in portraying Nijinsky's struggles with mental illness, intertwined with his professional achievements, demonstrates a deep understanding of complex human narratives, a hallmark of his best work. Furthermore, "Nijinsky" provides a captivating example of Ross's strength in directing exceptional performances. Alan Bates' portrayal of Sergei Diaghilev and Alan Bates's embodiment of Vaslav Nijinsky is both captivating and heart-wrenching, reflecting Ross's talent for drawing out nuanced and memorable characters. Through this compelling film, Ross not only commemorates a pivotal figure in ballet history but also crafts a deeply moving and visually arresting cinematic experience, fitting firmly within his roster of directorial successes.
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The Secret of My Success (1987)
"The Secret of My Success" follows Brantley Foster, a bright-eyed, ambitious young man from Kansas who arrives in New York City with dreams of corporate glory. Initially facing the harsh realities of finding work and navigating the dating scene, Brantley's fortunes take a turn when he connects with his powerful uncle, Howard Prescott, who runs a major corporation. A job in the mailroom is his starting point, a far cry from his aspirations, but it provides Brantley an insider's view and the opportunity to climb the corporate ladder, often through cunning schemes and clever impersonations. As he navigates the cutthroat world of business, he also finds himself entangled in a love triangle, complicating his pursuit of both professional and personal success. This film is a strong entry in the "Best Herbert Ross Movies" category because it showcases Ross's talent for balancing broad comedic elements with a sharp look at social and corporate culture. Ross excels at capturing the energy of New York City while offering a lighthearted yet pointed critique of ambition and the pursuit of wealth, themes he frequently explored in his filmography. The movie, with its fast-paced plot, memorable characters, and the charismatic performance by Michael J. Fox, exemplifies Ross's skill in directing well-crafted comedies with a touch of social commentary, making it a prime example of his cinematic style.
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Boys on the Side (1995)
"Boys on the Side" (1995), directed by Herbert Ross, follows the unlikely journey of three women navigating life, love, and loss. After a painful breakup, singer Jane answers a personal ad from real estate agent Robin, who is living with AIDS, seeking a travel companion. Their cross-country road trip from New York City to Los Angeles expands when they pick up Holly, a friend of Robin's, who's fleeing an abusive relationship in Pittsburgh. Each woman brings a unique personality and set of struggles, and the film focuses on their burgeoning friendship and individual growth. This film is a testament to Herbert Ross's talent for crafting character-driven narratives that explore complex emotions. Ross, known for his sensitivity and understanding of female relationships, expertly portrays the bond between the three women, showcasing their vulnerabilities and triumphs as they support each other. While exploring heavy themes like illness, domestic violence, and sexual identity, Ross imbues "Boys on the Side" with warmth, humor, and a compelling sense of hope, solidifying its place among his best works, alongside films like "Steel Magnolias" and "The Goodbye Girl," known for their poignant exploration of human connection.
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Pennies from Heaven (1981)
"Pennies from Heaven" (1981), a visually stunning musical set during the Great Depression, stands out as a bold and ambitious entry in the Herbert Ross filmography. True to the provided description, the film draws heavily from the iconic style of Busby Berkeley, crafting elaborate and often surreal musical sequences that burst with color and movement. The story follows Arthur Parker, a sheet music salesman struggling to make ends meet in Chicago, as he navigates the complexities of a difficult marriage and a burgeoning love for the beautiful schoolteacher, Eileen, encountered during his work. The film's success lies in Ross's ability to juxtapose the grim realities of the era with the escapist fantasies of the musical numbers, creating a poignant and unforgettable experience. This film's inclusion on a "Best Herbert Ross Movies" list is entirely justified. Ross, known for his sensitivity to character and his skill in bringing stage productions to the screen, masterfully directs the complex narrative. He takes risks with the film's unique approach of integrating contemporary songs from the 1930s to underline the emotional intensity of the plot. With the film's daring choices that often border on the surreal to explore themes of love, loss, and the power of art, "Pennies from Heaven" exemplifies Ross's artistic ambition and his willingness to push the boundaries of the musical genre. Its intricate choreography, stunning visuals, and powerful performances solidify its place as a standout in his impressive body of work.
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The Owl and the Pussycat (1970)
"The Owl and the Pussycat" (1970) is a quintessential Herbert Ross film, showcasing his talent for directing character-driven comedies with a touch of romance. The film centers on the unlikely pairing of the timid, bookish Felix, played by George Segal, and the brash, outspoken Doris, portrayed by Barbra Streisand. They are brought together by circumstance and their clashing personalities create a comedic dynamic. Their initial friction, stemming from their contrasting lifestyles and annoyances with each other, eventually evolves into something more. Ross's direction perfectly captures the essence of the story. He masterfully utilizes the contrasting personalities of the leads to create both humor and underlying tenderness. The film's focus on dialogue, physical comedy, and the evolving relationship between Felix and Doris showcases Ross's ability to create compelling and entertaining narratives. It stands as a testament to his skill in shaping character dynamics and extracting the most from his actors, making "The Owl and the Pussycat" a worthy addition to any "Best Herbert Ross Movies" list.
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T.R. Baskin (1971)
"T.R. Baskin" (1971) follows the journey of an enthusiastic young woman who, driven by a thirst for independence and a desire for a fresh start, runs away to Chicago. Eager to embrace a new life, she quickly discovers that the reality of the big city is often far more complex than her romanticized vision. The film explores her struggle to navigate the emotional chill of urban life and to find her place in a world that often feels impersonal and indifferent. As she faces various challenges and experiences, "T.R. Baskin" becomes a poignant exploration of self-discovery and the pursuit of belonging in a new environment. This film is a standout in Herbert Ross's filmography, showcasing his talent for crafting emotionally resonant narratives. Ross masterfully captures the contrasts between Baskin's initial optimism and the often-disheartening realities of city life. He guides the audience through her evolving emotional landscape, emphasizing her vulnerability and resilience. Ross's direction emphasizes the film's themes of loneliness, self-discovery, and the search for connection, making "T.R. Baskin" a compelling and thought-provoking piece within his larger body of work.
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True Colors (1991)
"True Colors" (1991) follows the complex relationship of two former law school friends, the ambitious and principled Peter (John Cusack), now a Justice Department lawyer, and the charismatic but ethically flexible Tim (James Spader), who enters the treacherous world of politics. Their bond is tested as their career paths diverge, leading them into conflict when their personal and professional lives become intertwined with political scandals and moral compromises. The film explores the shifting landscapes of loyalty, integrity, and the corrosive effects of power. This film is a strong addition to the "Best Herbert Ross Movies" list because it showcases Ross's talent for crafting character-driven dramas with complex moral dilemmas. He deftly navigates the contrasting personalities and ideological clashes between Peter and Tim, highlighting the pressures and compromises that can be found in the pursuit of success, particularly within the high-stakes arenas of law and politics. Ross’s direction brings a keen understanding of human relationships, allowing the audience to grapple with the film's challenging themes, and the performances from Cusack, Spader, and the supporting cast are top-notch, solidifying its place among Ross's best work.
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My Blue Heaven (1990)
"My Blue Heaven" offers a riotous blend of mobster mayhem and suburban satire, centered around the unlikely pairing of uptight FBI agent Barney Coopersmith and flamboyant ex-mobster Vincent Antonelli. Forced into the witness protection program, Antonelli, played with gleeful energy by Steve Martin, finds it impossible to resist the allure of the high life, setting up shop in a seemingly idyllic suburban town and immediately disrupting its tranquility with his over-the-top personality and penchant for elaborate schemes. As Barney, played with dry wit by Rick Moranis, tries desperately to keep Antonelli safe from both the Mafia and his own extravagant lifestyle, chaos ensues, showcasing a clash of cultures and comedic styles. This film perfectly embodies Herbert Ross's talent for crafting comedic gems with unexpected depth. Ross expertly navigates the comedic landscape, balancing broad slapstick with sharp social commentary, creating a delightful cinematic experience. The film's success lies in its ability to blend humor with heart, exploring themes of identity, adaptation, and the inherent human desire for self-expression. The film's high energy and deft hand at comedic timing solidify its place as a strong entry in the director's filmography, making it one of the best Herbert Ross movies.
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California Suite (1978)
"California Suite" (1978) is a hilarious and heartwarming ensemble film detailing the "Misadventures of four groups of guests at the Beverly Hills Hotel." Based on Neil Simon's play, it explores the comedic and poignant realities of relationships through a series of vignettes. We witness marital tensions, mother-daughter dynamics, and even an awkward encounter between a London playwright and a flamboyant California socialite. The film skillfully balances slapstick humor with moments of genuine emotion, making it a relatable and entertaining experience for audiences of all kinds. This film rightfully belongs on a "Best Herbert Ross Movies" list due to his masterful direction and ability to bring out the best in his cast. Ross expertly navigates the shifts in tone between each story, allowing the comedic elements to shine while never undermining the emotional core of each segment. He guides a stellar cast, including Jane Fonda, Michael Caine, Maggie Smith, and Walter Matthau, to deliver memorable performances. "California Suite" exemplifies Ross's talent for adapting stage material into engaging cinematic experiences, showcasing his ability to build and maintain a cohesive, entertaining whole from disparate parts.
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Funny Lady (1975)
"Funny Lady" (1975) transports us back to 1930s New York, where the indomitable Fanny Brice navigates the aftermath of her divorce from the charming con man Nicky Arnstein. Facing the economic hardships of the Depression and struggling to revitalize her career as an artist, Fanny's world is about to get a new spark. That spark comes in the form of Billy Rose, a driven lyricist and nightclub owner, who could be the new collaborator and romantic partner she needs to stay on top of the entertainment game. This sequel to the acclaimed "Funny Girl" showcases Herbert Ross's skill for blending musical spectacle with compelling human drama. Ross masterfully directs Barbra Streisand in a role that is as charming as it is poignant, allowing her talent to shine while exploring Fanny's resilience and determination. The film's elaborate musical numbers, vibrant costumes, and exploration of the challenges faced by women in the entertainment industry solidify its place among Ross's best work, making it a must-see for fans of his elegant filmmaking.
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I Ought to Be in Pictures (1982)
"I Ought to Be in Pictures" (1982) tells the story of Libby, a determined 19-year-old girl who leaves her New York home to track down her estranged father, a Hollywood screenwriter living in Los Angeles. Abandoned by him at a young age, Libby's arrival in LA is met with a mix of apprehension and hope, fueled by her desire to connect with the man she barely knows. The film immediately establishes the complexities of their relationship, as Libby navigates the strange new world of her father's life, which includes an unexpected overnight guest, Stephanie, a woman who works with Jane Fonda. Herbert Ross's direction masterfully captures the bittersweet humor and emotional vulnerability inherent in the story. He crafts a film filled with realistic characters, particularly the daughter, who is determined to make her voice heard, that reflect the difficult realities of family dynamics and the search for belonging. The movie's touching exploration of absentee fatherhood, the longing for connection, and the pursuit of dreams – both in Hollywood and in life – elevates it to one of the most poignant and memorable works within Ross's filmography, perfectly demonstrating his ability to create emotionally resonating films with excellent performances and strong storytelling.
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Undercover Blues (1993)
"Undercover Blues" (1993), starring Dennis Quaid and Kathleen Turner, perfectly embodies director Herbert Ross's talent for weaving lighthearted comedy with endearing character dynamics. The film follows the escapades of fun-loving American agents who, pulled back into action after maternity leave, find themselves juggling a special assignment in New Orleans with the care of their baby. The plot, concerning a deadly arms dealer in the Louisiana Bayou, takes a backseat to the charm of Quaid and Turner, whose palpable chemistry and doting parental roles drive the film's appeal. This focus on character and comedic interplay, combined with a breezy pace, makes "Undercover Blues" a quintessential Ross film. Ross's filmography often explored unconventional family dynamics and the clash between everyday life and extraordinary circumstances. In "Undercover Blues", this is masterfully illustrated, as the spy parents navigate a dangerous mission while prioritizing their child's well-being. The film's success lies in its ability to blend action, comedy, and heartwarming moments, demonstrating Ross's skill in crafting a lighthearted yet engaging cinematic experience. This, along with the strong performances and the film's overall light tone, exemplifies Ross's strengths as a director and solidifies its place among his best works.
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Protocol (1984)
In the breezy, charming comedy *Protocol* (1984), Goldie Hawn shines as Sunny Davis, a bubbly cocktail waitress whose life takes a sudden turn when she saves the life of an Arab dignitary. Her act of heroism lands her in the heart of Washington D.C., where she's unexpectedly appointed to a high-profile government role. As Sunny navigates the unfamiliar world of politics, she clashes with the bureaucratic Protocol Officer while using her street smarts and infectious charm to navigate the minefield of international relations. Her naivete and outsider perspective are tested when she unwittingly finds herself entangled in a complex arms deal, requiring her to use her wits and integrity to save the day. *Protocol* is a delightful entry in Herbert Ross's filmography, showcasing his talent for crafting feel-good stories with strong female leads. Ross excels at balancing humor and heart, and he finds the perfect comedic pitch for Sunny's fish-out-of-water experience. His direction complements the effervescent performance by Hawn, and as a result, the film has a timeless appeal. *Protocol* demonstrates Ross's ability to deliver a lighthearted yet engaging narrative that is characteristic of his best work.
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Dancers (1987)
"Dancers" (1987) centers around a seasoned, aging ballet dancer who takes a young, talented female protegee under his wing. The film explores the complicated relationship between mentor and student, delving into the challenges and joys of pursuing a life in dance. It highlights the pressures of perfection, the sacrifices involved, and the fleeting nature of a dancer's prime, all set against the backdrop of the demanding world of professional ballet. The film features a cast of acclaimed dancers in addition to the actors, bringing authenticity to the performances and the drama of the plot. "Dancers" rightfully earns its place on a list of Herbert Ross's best films due to his signature focus on character-driven narratives within the performing arts. Ross masterfully portrays the raw emotion and dedication required for a successful career in the ballet world, mirroring his previous successes in movies like "The Turning Point" and "Pennies From Heaven". His penchant for showcasing the beauty and vulnerability of dancers, coupled with a compelling storyline of mentorship and ambition, makes "Dancers" a quintessential Herbert Ross film, showcasing his strengths in bringing the passion and struggle of artistic pursuit to the big screen.
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