George Roundy, is a Beverly Hills hairstylist who’s uncontrolled libido stands between him and his ambitions. He wants the security of a relationship. He wants to be a hairdressing “star” and open his own salon. But the fact that he beds down with the wife, daughter and mistress of a potential backer doesn’t help. It also does little for his relationship with his current girlfriend. As this tongue-in-cheek look at the sexual revolution rolls on, the babe juggling, stress and lies all wear George down. He wants so much. But a hungry kid loose in a candy store easily gets sick. –IMDb
Hal Ashby was born the fourth and youngest child in a Mormon household in Ogden, Utah, on September 2, 1929. His father was a dairy farmer. After a rough childhood that included the divorce of his parents, his father’s suicide, his dropping out of high school, getting married and divorced all before he was 19, he decided to leave Utah for California. A Californian employment office found him a printing press job at Universal Studios. Within a few years, he was an assistant film editor at various other studios. One of his pals while at MGM was a young messenger named Jack Nicholson. He moved up to being a full fledged editor on The Loved One (1965) and started editing the films of director Norman Jewison.
A highlight of his film editing career was winning an Oscar for the landmark In the Heat of the Night (1967). Itching to become a director, Jewison gave him a script he was too busy to work on called The Landlord (1970). It became Ashby’s first film as a director. From there… read more
Innuendo-laced cavort masquerading as trenchant political satire. Between Beatty’s jaded lothario, Hawn’s jilted lover, Christie’s repressed mistress, '60s America is cast against the Washington establishment, the lose-lose scenario of the Nixon-Humphrey (but mostly Nixon) electioneering; resembling not lampoon as much survival tale - baggy, metaphoric. Deeply muted in divide, like Nashville, if less consistent - just as it might make a more urgent pairing, tangled politick aside, with the displacement of Antonioni (cf. La notte, Zabriskie).
Everyone is so good in this film. I think Beatty, Warden, Grant and Hawn have never been better. Christie is at her most appealing here but she has been great in other roles. What amazes me is how this film is already forgotten.
Eh, I'm not so certain about "forgotten". I recall a few years ago it still featured very prominently on cable television. Still, maybe there should be more said and written about it--perhaps "undervalued" is the word. I just got around to watching this film and I enjoyed it very much.