Shampoo

Beatty says he approached Towne to do a modern version of the classic restoration comedy called The Country Wife (hilarious by the way). In the original play, the hero beds all the wives by confessing to their husbands that he's impotent so the husbands make fun of him and think nothing of leaving their frustrated and underappreciated wives in his care.

Here in the updated "Shampoo", Beatty and Towne make the hero an assumed-to-be-gay hairdresser (instead of impotent)and the results are inspired bedroom farce mixed with social satire.

Younger viewers may find the film a little dated but it was a "period" film when it was made (set in 68 when it was shot in 74) so Ashby consciously gave it that dated look. For me this and Heaven Can Wait are Beatty's best work. Walks a fine comic/tragic line. And this really feels like the closest character to Beatty's heart. It was after this that I went back and saw Splendor in the Grass and began to appreciate Beatty as an actor rather than just a gigolo celebrity.

Great dialogue by Towne, Jack Warden's hilarious and Julie Christie is stunning.

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's "Shampoo" stars Warren Beatty as George Roundy, a popular Beverly Hills hairdresser who spends his life juggling customers, jobs and women.

The great joke of the film is that George exists solely to please other people. He's entirely selfless. Whilst Ashby paints the rest of society as being self-centered and selfish, George dutifully cuts hair, tends to women and bounces from one lover to another. The poster boy for altruism, he exists solely to make other people happy.

Though marketed as a sex comedy, the film works better as a political statement. It takes place during the eve of the 1968 presidential election (in which Nixon was elected) and attempts to capture the last vestiges of a certain crazy, carefree era, Ashby contrasting whimsical Pre-Nixon attitudes (nonchalant sex, free love, a kind of social cohesion which George can no longer maintain), with the knowledge that Watergate, corruption, lies and the general pessimism of the Nixon era, were all on the horizon. By the film's end, George can no longer love everybody. The glue has failed and myopia, separation, selfishness and egotism on a grand scale has begun.

Unsurprisingly, everyone in "Shampoo" aspires to success in both bed and bank. The characters are constantly working. Working at their jobs, on themselves, or on their lovers etc. But Ashby's larger point is that they ultimately have no significant political or cultural impact. They're too selfish, myopic and self centred, and thus the Nixon administration, which comes about at the end of the film, is exactly what these people deserved.

"Shampoo's" opening and closing scenes neatly portray George's own personal evolution. The film opens with him making love to one of his many women, the Beach Boys' lyrics, "Wouldn't it be nice if we were married..." pulsating on the soundtrack. The song emphasises the yearning beneath George's playboy image. By the end of the film, however, George is left alone on a hill top, watching as his women turn their backs on him and drive away with their respective partners. They've all moved on, whilst he stands there, a dead man with a pipe dream. Hard luck, man.

7.9/10 - Worth one viewing. Adam Sandler's "Don't Mess With The Zohan" would borrow heavily from Warren Beatty's work here.

'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.

Set on the eve of the presidential election that put Richard Nixon in the oval office, Shampoo revolves around George Roundy (Warren Beatty), a successful, Beverly Hills-based hairdresser, who has ostensibly skated by in life solely on his good looks, charisma, and easygoing charm with women. Despite living and committing to his girlfriend Jill (Goldie Hawn), George still seeks sex from many other women, often his regular clients.

One thing George has consistently wanted to do is open his own hair salon; one day, he turns to Lester and Felicia (Jack Warden and Lee Grant), a wealthy, local-area couple. However, another problem emerges for George and that is the fact that Lester's current mistress (Julie Christie) is one of George's former girlfriends. Lester just outright assumes George, because of his appearance and choice of occupation, is gay, and doesn't see him as any legitimate sexual threat. It isn't until George becomes closer to Lester, meeting his wife, rekindling things with Lester's mistress, and even becoming entranced with select other women that George succumbs to furthering his pedigree as a sexual deviant.

Shampoo subtly evokes the breakdown of the limiting and often sexually regressive sexual politics and standards of the 1960's; it plays similar instruments as Paul Mazursky's brilliant and underrated Bob & Carol & Ted & Alice where the very nature of its plot is subversive because it takes a sensitive, introspective camera into characters' bedrooms rather than simply closing the door on it. It's a period of time in American cinema that I cheekily bill "what I do in the bedroom is all of your business," due to the liberal mindset and furtherance of sexual freedom, orientation, and behavior in public. In the contemporary, sex is still a social taboo in America, but with each year, be it what is accepted by the MPAA, or what is casually discussed by young people in a serious, social setting, the stigma of sex is continuing to be broken in many ways.

Shampoo looks at the social mores by picking a character who is contemptible not because he loves his sex but because of how dishonest he chooses to be. There's nothing wrong with having multiple sexual partners, nor is there nothing inherently wrong with practicing polygamy or sleeping around. There is something wrong, however, with being dishonest or deceptive about it, which is what George consistently is. With that, screenwriters Robert Towne and Beatty seem to recognize this, and Beatty himself seems to recognize it as he's playing the character. Nonetheless, he challenges you to like him largely by the quick-witted and zippy way he moves and conducts himself, as well as the way he works and entertains his clients. He may not be an easy character to like, but he's not an easy character to write off.

With that, Beatty gives an entertaining performance and effective turns an ensemble film into what could easily be mistaken as a one-man show, if it wasn't for the significant presences of Goldie Hawn and Lee Grant, specifically Grant who winds up having some strong scenes with Beatty during more pivotal moments of the film. These inclusions make Shampoo more likable throughout all the contemptible attributes of the film, and the film winds up addressing sexual politics in a way that doesn't tell the audience, but show them. It sort of walks in circles, not always coming to a clear point, but Beatty's performance and its more subtler approach to the material is enough to make it, if nothing else, a thematically and fundamentally interesting piece for the time.

Starring: Warren Beatty, Goldie Hawn, Julie Christie, Jack Warden, and Lee Grant. Directed by: Hal Ashby.