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Butterflies Are Free

Butterflies Are Free

Comedy · Romance · 1972

Striving to be independent, the blind but determined Don Baker moves away from his overprotective mother. After settling into his new San Francisco digs, Don meets kooky neighbor Jill Tanner. Don's quick wit and good looks disarm the free-spirited Jill, and before long they're more than just friends. Will Mrs. Baker's incessant meddling destroy Don and Jill's budding relationship?

Movie details

Butterflies Are Free

“I Could Love You If You'd Let Me”

1972 Comedy · Romance 1h 49m

Critical arithmetic

One number, for now.

TMDB

6.8 / 10

Community rating

Striving to be independent, the blind but determined Don Baker moves away from his overprotective mother. After settling into his new San Francisco digs, Don meets kooky neighbor Jill Tanner. Don's quick wit and good looks disarm the free-spirited Jill, and before long they're more than just friends. Will Mrs. Baker's incessant meddling destroy Don and Jill's budding relationship?

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 Butterflies Are Free?

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

Milton Katselas

Written by

Leonard Gershe

Goldie Hawn

Goldie Hawn

Jill Tanner

Edward Albert

Edward Albert

Don Baker

Eileen Heckart

Eileen Heckart

Mrs. Florence Baker

Paul Michael Glaser

Paul Michael Glaser

Ralph Santori

Michael Warren

Michael Warren

Roy Stradden

Charlene Jones

Charlene Jones

Girl in Mod Shop (uncredited)

J

Jessica Rains

1st Girl (uncredited)

Court is in session

Put Butterflies Are Free 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.