Shampoo

In a recent interview in Cineaste magazine, celeb film critic Pauline Kael described the 1970's as the greatest decade of American movies. She then laid claim by listing her seven favorite films from that period. One of the films mentioned was Shampoo. I couldn't agree more with Pauline. Aside from the lighting and some of the camerawork, everything in the film is about as good as it gets---Robert Towne's ear for common parlance, Beatty's understated charisma, and Ashby's whirlwind direction.

It's strange that more people haven't written about this movie. In many ways, Shampoo seems to have been forgotten, floating somewhere in film history heaven. I live in Los Angeles and have never heard about it being screened anywhere. Dave Kehr and the critical establishment in general have all written it off as a film that hasn't aged well. And I've never seen a book written about either Shampoo or Ashby. Am I living in a vault or is this really the legacy of Shampoo? If you don't like this movie, I urge you to write or contact me. My e-mail address is listed above. I simply don't understand why more people don't

No matter what the AFI or other critics say, Shampoo is not a great comedy, mostly because it doesn't try to be one. Of course there are some humorous moments such as when George(Beatty) tries to listen to his women and work at the same time, or the out-of-place Lester at a party filled with hippies of the psychedelic era. However, this is a much more serious film than it lets on, which will certainly make some people mad or disappointed in that it didn't live up to its billing.

Yet, I cannot blame this film for what it does well, which is portray the life of a man who simply wants a good time and success and an accurate picture of the times of 1968 when Nixon was about to be elected, the Summer of Love was almost upon us and free love was a progressive idea. Yet, this movie seems harder on these characters than would be let on. Perhaps it is a nostalgic look-back to a time when there was a great feeling of new-found freedom but these people didn't know what to do with it. Some also criticize it for being chauvinistic but in reality, the females are the most confident, the most aware of their situations and the only ones able to make sense of what the next step should be.

As you might expect, the acting is very good with Beatty playing the character completely aloof, always in his own world trying to think faster than the situations being thrown at him. He realizes what a mess he's in but also knows he doesn't want out so easy. Goldie Hawn is a wonderful, charming and confident actress whose beauty is secondary to her talent while Julie Christie gives the film's best performance as a conflicted woman who seems to know exactly what she will do despite not letting on. The Academy Awards only recognized Lee Grant and Jack Warden, perhaps because they represent a past age, a world about to get completely swept up in the new era being established during the '60s.

Some see it as a political satire, others see it as an unfunny comedy about the consequences of free love. I see it as both as well as a very smart character study of what not to do but also why it's so fun doing it.

Hal Ashby always leavened his comedic films (Harold and Maude, Being There, Last Detail) with sharp social commentary and observation, and "Shampoo" is no different. Taking place on the eve and day of the 1968 Presidential Election, it's as concerned with the "free love" hedonism as it is with the profound and dark social changes that had taken place by 1975 (the year "Shampoo" was produced).

Beatty has never been more charming - or revealing as emptily vain as anyone so "successful" with women can become, and the film switches between surprisingly adult material even for now with a concern for mid-life crises, cultural politics, and ultimately, a cynical view of how the free-wheeling 60s counterculture didn't take themselves seriously enough. Robert Towne's influence in the script is clearly evident.

Already "dated" when it came out, it's a great snapshot of the times, its concerns and issues, and is relevant today.

'Shampoo' is quite an interesting period black comedy set in the late 60s during the sex revolution. In one sentence, it's about a Casanova hairdresser who sleeps around with every woman he meets but there is one whom he loves and she happens to be the mistress of a not-to-mess-with businessman. Ashby does a splendid job in bringing out the 60's look but it is Towne and Beatty who bring the feel especially through the dialogues and use of language. Not to mention, the make-up department that does an equally fine job. The humour is somewhat different from other films and traditional viewers may find the jokes somewhat vulgar but that doesn't bother me as long as they manage to draw chuckles and at least make me smile. The actors, that include a vivacious supercute Goldie Hawn, a sizzling Julie Christie, a hilarious Jack Warden, a fiery Lee Grant and a very young Carrie Fisher. But, it is Warren Beaty's film. He demonstrates George's wildness, passion, vulnerability and despair with effective skill. In my humble opinion it is one of his best works, both as actor and writer. I don't understand why people call it outdated. It is set in an older time and if the humour still works, why is it obsolete? I got the movie randomly and now I'm glad that I picked this one.

Robert Towne's "Chinatown" is considered the greatest script of the past 30 years, but I think "Shampoo" (written by Towne and Beatty) is even better. It is an intricately constructed sex farce, with realistic, flesh-and-blood characters. Beatty's character, George, is trying to serve two masters -- his own uncontrollable libido, and his desire to set up his own hair salon. These two desires come into direct conflict when he seeks funding from wealthy financier Lester (Jack Warden), while also having affairs with Lester's wife Felicia (Lee Grant), Lester's mistress Jackie(Julie Christie), and even Lester's daugther (Carrie Fisher). In fact, George beds all of these women in a 24-hour period, while also trying to maintain his relationship with his steady girlfriend (Goldie Hawn). All of these incompatible desires are compressed into a short time frame, and George's life unravels spectacularly, as he learns some very hard lessons by the end.

Structurally, "Shampoo" is brilliantly devised. Each character has an opposite. George, the satyr, has Lester, the cuckhold, as his opposite. George exudes natural sexual appeal, whereas Lester is loved merely for his wealth. Tony Bill's character, an ad executive, is the younger version of Lester. Tony Bill dangles a job offer to Goldie Hawn in order to bed her. Despite his hip outward appearance, this character is as staid as Lester. In fact, the two characters are linked by separate scenes in which each one stares out of a skyscraper window, gazing at a panoramic view of L.A., and makes a world-weary comment about the craziness below (in Bill's case, he says, "Jesus, this town"). There is also a contrast between George and Jackie. George, in his own words, "doesn't f*** for money, I do it for fun," whereas Jackie ends up as a kept girl (by Lester). Goldie Hawn's character also prostitutes herself, in a very subtle way. In the moral universe of Beverly Hills in 1968, Beatty's promiscuity seems more pure than the money-driven machinations of everyone else.