wig, false eyebrows and false teeth, but went without the special effects makeup when playing the character post-surgery. Musical score The film features a haunting theme composed by David Shire. The theme song lyrics were jointly written by Alan and Marilyn Bergman, and the resulting selection, titled "I'll Never Say Goodbye," was performed by Melissa Manchester. The song was nominated for an Oscar in 1979, resulting in Melissa Manchester having two movie theme songs "Through the Eyes of Love" (from Ice Castles) and "I'll Never Say Goodbye" (from The Promise) nominated for Best Original Song in the same year at the 52nd Academy Awards (the first artist to do this was Maureen McGovern, with 'Wherever Love Takes Me' from 'Gold' and 'We May Never Love Like this Again' from 'Towering Inferno'). But the Oscar for Best Original Song instead went to Shire (music) and Norman Gimbel (lyrics) for the song "It Goes Like It Goes" from the film Norma Rae, performed by Jennifer Warnes. "I'll Never Say Goodbye" has been covered by several other artists. In 1979, Debby Boone covered the song on her self-titled album Debby Boone. In 2011, Barbra Streisand covered the song for her thirty-third studio album What Matters Most. A duet between Ogie Alcasid and Regine Velasquez was released as a single in the Philippines. Reception Vincent Canby of The New York Times wrote "The members of the cast are undercut by both material and direction," explaining that Kathleen Quinlan "is shortstopped not only by ridiculous lines but also by makeup that gives her the plastic look of a face-lift even before the accident so (I assume) she'll look fairly normal later." Gene Siskel of the Chicago Tribune gave the film two stars out of four, writing that the film had "a predictable conclusion" and that Kathleen Quinlan was "wasted here in a thoroughly artificial role." Kevin Thomas of the Los Angeles Times wrote that the film "is so awful you wonder how it ever got made. Quite unintentionally it works as an often hilarious parody of the women's pictures of the '40s, a melodramatic genre decidedly out of step with today's liberated heroines." Ruth McCormick wrote in Cineaste: "This is that great rarity—the silly film that takes itself so seriously that it's funny. It makes Love Story look like Now, Voyager, but keeps your interest with its own insane momentum." There was, however, a positive