SHAMPOO

Tho, not in my Top Ten, SHAMPOO is one of my favorite movies. I recently discovered it was on DVD for less than $10!?!?! So, I got a copy. I was so excited to show it to B as he had never seen it. He fell asleep.

This film is, in my view, one of those great almost experimental films from the 70's when studios were more willing to take risks and aim for something close to "reality" ---- and this is also director, Hal Ashby, at his very best! I know he is best remembered for HAROLD & MAUD and COMING HOME (both near-perfect movies!) but I think this is his finest hour as a filmmaker.

An American Tragedy hiding as a comedy. Satire hiding behind dramatics. This just might be the most non-political - political film you will ever see. And, it is certainly the most unsexy film about sex you're likely to ever run across. One can say a lot of things about Warren Beatty but the man has produced some fucking fantastic film work!

Essentially, I think this movie is focused on why in the world the US would have re-elected Nixon to 4 more years of total hell --- and, why, especially in the 70's, sex became an addiction -- and an act as meaningful as a handshake between business partners. It is fully loaded.

Very loosely based upon the early career of Jon Peters (tho, both Beatty and Robert Towne were quick to claim it was actually loosely based upon the career of Jay Sebring -- don't believe it!) ...a somehow clever guy who became a hairdresser so he could sleep with as many women as he wanted and a guy who is quickly losing interest in sex and more concerned with where his place in the world should be ...or could be.


As Goldie Hawn (who one forgets could once act quite well) tells Beatty's character: "You never stop moving and you never go anywhere!" ...a fact he knows, but her words seem to shatter him.

No one in SHAMPOO is able to connect. The film is quick to parody the world of LA. So many quiet and priceless moments. Julie Christie and Goldie Hawn having lunch, but when conversation drifts to something important they escape behind their giant Hollywood glasses and fall into the laid-back/mid-70's-Hollywood-vernacular of the film ---

"Oh, George? George is great."
"Yeah, he's great."

TV sets and radios blare throughout the film, but no one is watching. The TV/radios are usually warning about the upcoming victory of Nixon and his vile administration or some form of violence. But these characters are too apathetic to bother turning down sex they don't really want to even notice the importance of what is going on in outside of themselves.

And, yet, somehow the actors manage to make these hallowed-out/shallow people so human you do feel for them.

As George stands up on that canyon mountain watching the one person with whom he thinks he might have had something close to love --- you're left wondering if anyone could ever really love him or if any of the people in his world even know how to really feel anything.


...And, the hostility of Lee Grant's character! One can't help but laugh at the clever inverse of THE GRADUATE plot twist when she realizes that her lover has just slept with her teen daughter (played with perfectly tinged anger and angst!) --- she gets turned on vs. jealous/angry.

Also, let's face it. That has got to be one of the coolest posters any major studio created to promote a film. ...but, don't expect a sex comedy or a laugh a minute film. This is carefully edited and paced film. Great editing and even greater cinematography. And, Paul Simon's score even works. This film asks the viewer to think. And, I think that is something most films no longer require. No one blows up. And, there are no fart jokes.

And, who knew a Beach Boys could packs a punch when placed at just the right moment.