Such Good Friends is a 1971 American black comedy-drama film directed by Otto Preminger and starring Dyan Cannon, Ken Howard, James Coco, Jennifer O'Neill and Laurence Luckinbill.

Manhattanite Julie Messinger, a complacent housewife and mother of two raucous young sons, is married to Richard, a chauvinistic and self-centered magazine art director and author of a best-selling children's book.

When he falls into a coma during minor surgery to remove a nonmalignant mole on his neck, Julie learns from his doctor, Dr. Timmy Spector, that another surgeon nicked his artery, necessitating a blood transfusion to which he had a rare allergic reaction.

While trying to comfort Julie, family friend Cal Whiting reveals that his girlfriend Miranda has confessed to having an affair with Richard over the past year.

Timmy invites her to his apartment for drinks and admits he was aware of Richard's affair not only with Miranda, but with other women as well, and kept them secret out of a sense of loyalty to his friend.

At home later that evening, Julie finds a black book in Richard's desk and realizes it contains coded data about his numerous extramarital affairs, many of them with her friends.

When Timmy reports her husband has died, a grieving Julie takes her sons for a walk in Central Park to contemplate their future.

Through his son Erik, who was working as his story editor, producer Otto Preminger heard about a manuscript by Lois Gould that was rumored to be a hot property.

Joan Micklin Silver initially tackled the project, but Preminger found her to be too much of a feminist who was more psychologically attuned to the character than he thought was necessary.

The two would meet for a story conference, then May would disappear and remain incommunicado for two weeks or so, finally emerging with a substantial part of the screenplay completed.

Uncomfortable with the director's perception of Julie, the actress frequently tried to incorporate some of her own vision into her interpretation, resulting in loud on-set arguments that left Cannon feeling alone, self-conscious, and very vulnerable.

What succeeds is a barrage of bright, witty, trenchant lines written by Elaine May operating under the pseudonym of Esther Dale.

But in others, notably those involving large groups of people, he works out an interplay of parts that results in fascinating moments of counterpoint.