Tag Archives: Warren Beatty

1975 Films, Carrie Fisher, Comedy, Dark Comedy, Drama, Goldie Hawn, Hal Ashby, Jack Warden, Jean Arless, Julie Christie, Lee Grant, Susan Blakely, Warren Beatty, William Castle

Shampoo-1975

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Shampoo-1975

Director Hal Ashby

Starring Warren Beatty, Julie Christie, Goldie Hawn

Scott’s Review #1,362

Reviewed May 19, 2023

Grade: A-

Shampoo (1975) is a drama and comedy hybrid that reminds me greatly of a Robert Altman film without the customary overlapping dialogue common in his works.

The political environment against the posh Los Angeles backdrop emotes the vibes of The Long Goodbye (1973) and Nashville (1975) with enough sly satire and humor to generate a comparison.

Of course, the film, nestled in mid-1970s cinema greatness is in the right decade. Further, the 1968 setting is perfect for the Los Angeles mood where the Manson killings, hippies, sex, drugs, and rock n roll were all commonplace.

Listening to the soundtrack of The Beatles, Jimi Hendrix, Jefferson Airplane and other familiar bands of the late 1960s makes Shampoo a grand slam of authenticity and richness.

Director, Hal Ashby, who created the dark comic genius Harold and Maude in 1971, hits it out of the park again with Shampoo, a study of love and loneliness and a sense of belonging and fulfillment.

I wasn’t won over right away and the film took me a while to warm up to if I’m being honest but by the end, I was a big fan, especially of the writing. But, some of the slow-build films are the best.

The film takes place against the backdrop of Election night in 1968 when eventually shamed former president Richard Nixon won the presidency. The characters bounce from one election party to the next but barely notice the outcome choosing booze and lust over politics.

Beverly Hills hairdresser and notorious cad George Roundy (Warren Beatty) runs into trouble when his bedroom antics interfere with a possible business deal with the influential Lester (Jack Warden). George is sleeping with Lester’s wife Felicia (Lee Grant) and his best friend and ex-girlfriend, Jackie (Julie Christie), in addition to his current girlfriend, Jill Haynes, played by Goldie Hawn.

Part of why Shampoo sneaks up on the viewer is that it’s not a laugh-out-loud comedy in a physical way. Instead, the intelligent dialogue and the development of its characters are the winning formula.

We first meet George in bed with his older mistress, Felicia, who we assume might be his girlfriend. When he makes an excuse to check on Jill, we realize he is playing the field, but with no ill intent. He genuinely likes the women he beds and despite his antics is feeling empty and mindlessly trudging along.

A wonderful scene atop the Hollywood Hills brings George’s peril to a climax when he professes his love for one of the women but is it too late?

Beatty, who co-wrote the screenplay, fleshes his character’s motivations out well. He really only wants happiness and a successful business. Some of the action takes place in his salon where he meets his conquests.

The scenes between Beatty and Warden work particularly well especially when Lester discovers George in a precarious situation or three assuming he is gay.

Let’s not forget the ladies. The triple bill of Christie, Hawn, and Grant is a force to be reckoned with. Grant is an interesting character since she has all the wealth she wants but instead loves the financially struggling George. Should we feel sympathy for her?

Jill presumably will find happiness with a director smitten with her. They seem like a quality pair and Christie’s Jackie also makes out well at the conclusion of the film.

Surprisingly and effectively, the presidential election is more of a background effect and is largely ignored by the characters who have better things to worry about.

Ashby mostly has the news telecasts and election returns blurred intentionally. The point made is that Nixon’s cheating is a reflection of the self-obsession affecting the United States during that time.

Despite his flaws, the audience nonetheless roots for George. This is a testament to the writing of Beatty and Robert Towne and the rich slow build that Ashby provides to Shampoo (1975) amid a shiny yet tarnished Los Angeles veneer.

Oscar Nominations: 1 win-Best Supporting Actor-Jack Warden, Best Supporting Actress-Lee Grant (won), Best Original Screenplay, Best Art Direction

1961 Films, Audrey Christie, Barbara Loden, Drama, Elia Kazan, Gary Lockwood, Natalie Wood, Pat Hingle, Phyllis Diller, Sandy Dennis, Warren Beatty

Splendor in the Grass-1961

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Splendor in the Grass-1961

Director Elia Kazan

Starring Natalie Wood, Warren Beatty, Pat Hingle

Scott’s Review #1,231

Reviewed February 20, 2022

Grade: A-

Splendor in the Grass (1961) is mainly a film about teenage angst but the angst spills over to the adults as pressures are heaved on many characters.

Fortunes are gained and lost following the Wall Street Crash of 1929 which handicapped some characters obsessed with money while the teenage characters battle emotions.

It offers poetic relics and references from English poet, William Wordsworth about life and longing for love that can be thought about.

The film is written by William Inge, who also wrote 1955’s Picnic, and is directed by Elia Kazan, famous for A Streetcar Named Desire (1951) and On The Waterfront (1954).

Splendor in the Grass is an uneasy watch but provides slices of those other films’ brilliance. Isn’t the point of the superior film to make us think and ponder?

At the risk of feeling a tad dated some sixty years later how powerful a film it must have been in 1961 and sending inevitable shock waves to those audiences expecting a more wholesome show.

It’s also legendary Hollywood actor Warren Beatty’s debut, showcasing an emotionally superb performance by Natalie Wood.

Bud Stamper (Warren Beatty) and his high school sweetheart, Deanie Loomis (Natalie Wood) have an innocently blossoming relationship if only they could be left alone.

It is weighed down by their parents’ mutual oppressiveness.

Bud’s father, Ace (a terrific Pat Hingle), is hell-bent on Bud attending Yale University in the fall and is afraid of Deanie becoming pregnant and ruining the bright future expected from the affluent young man.

Deanie’s mother (Audrey Christie) cautions her daughter from engaging in sexual relations and remaining a ‘good girl’ because she is frightened of Bud not marrying a girl with questionable morals.

The meddling by both parents causes the teens emotional pressure and threatens not just to ruin their relationship but perhaps ruin their futures. Bud’s mother is complacent and Deanie’s father offers proper support to his daughter.

There is a lot of story going on in Splendor in the Grass and all of it is juicy and relevant from whomever’s perspective the viewer takes. This is part of the beauty of the film- told through the eyes of Bud and Deanie and the fragile feelings teenagers possess, their parents can be dissected as well, and want the very best for their kids.

The romance is not just about Bud and Deanie. Other players and potential love interests are introduced and we begin to wonder if Bud and Deanie will ride off into the sunset together.

Inge and Kazan make us pose several questions. Do people who belong together make it? Do some people settle for different lives based on sacrifice? Can heartbreak lead to madness and a different perspective for some?

The terrific screenplay written by Inge is the film’s sweet spot. It’s complex and fraught with emotion and questions. The setting of remote Kansas in the late 1920s gave me a feeling of stifling predictability and one’s life already planned for them rather than encouragement to reach for the stars.

This is dangerous territory in itself.

Bud is expected to get an education but wants to live on a simple ranch and be a family man. Deanie is trained to be sweet and kind and to resist the pleasures of the flesh like her mother did but is that enough for Deanie?

The great writing is brought to life by Kazan, a master at offering brutal yet realistic films. Based on his other films I knew I was not in for a cheery experience but the rather harsh reality. That sits well with me as films that make one think are celebrated.

Splendor in the Grass (1961) is similar to Rebel Without a Cause (1955) and stars Wood. The film teaches me that although generations come and go the feelings and emotions felt by young people in the moments that they are young never change.

Oscar Nominations: 1 win-Best Actress-Natalie Wood, Best Original Screenplay (won)

1967 Films, Best Film of the Year, Biography, Crime Drama, Drama, Faye Dunaway, Gene Hackman, Gene Wilder, Warren Beatty

Bonnie and Clyde-1967

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Bonnie and Clyde-1967

Director Arthur Penn

Starring Warren Beatty, Faye Dunaway

Scott’s Review #628

Reviewed March 25, 2017

Grade: A

Bonnie and Clyde is an excellent 1967 crime drama that is not only a great film, but successfully, and surprisingly wound up influencing an entire generation, becoming somewhat of a rallying cry for the youth generation of the time.

Released in a tumultuous period in history (the Vietnam War, the Sexual Revolution, and Civil Rights), the film fits the times and was groundbreaking in its use of violence, blood, and sex.

The film holds up tremendously well to this day and is beloved by intelligent film lovers everywhere.

The film begins with snapshots of the real Bonnie and Clyde- a duo of bank robbers who rampaged the southwest during the Great Depression.

Set in steamy Texas, circa the 1930s, the film tells its story.

Clyde Barrow (Warren Beatty) meets Bonnie Parker (Faye Dunaway) when he tries to steal her mother’s car one hot day. Instantly infatuated with each other, the steamy duo team up and become partners in crime.

Over time they enlist the help of others and become more successful bank robbers with the stakes rising with each heist. Rounding out the crew of criminals are gas-station attendant, C.W. Moss, and Clyde’s older brother Buck, played by Gene Hackman, along with his wife, Blanche (Estelle Parsons), an innocent-minded, and sometimes hysterical, preacher’s wife.

Bonnie and Clyde is a unique film in many different ways- the quick-cut editing style influenced Sam Peckinpah in his films to come, and the film uses a fast-paced rat-a-tat-tat style that symbolizes the gunfire-a major element of the film.

Blood spurts from victims’ bodies in a style never before seen on the big screen and led to many filmmakers’ comfort with using increased violence.

You could say that Bonnie and Clyde took away the innocence of Hollywood films and shook all of the traditional elements inside out.

The conclusion of the film is one of the greatest in cinematic history.

Far from an idyllic, happy ending, traditional with films in those days, the law finally catches up with Bonnie and Clyde with grim results for the pair, and their demise is gruesome but true to form.

We have fallen in love with the characters so their hasty exit from this world is tough to stomach and as they writhe and twitch with each gunshot wound, the bullets pummeling the bodies, the scene is a difficult one to watch.

The love story between Bonnie and Clyde is intense, yet sweet, and the casting of Beatty and Dunaway is spot on. Smoldering with sexuality- as Bonnie fondles Clyde’s gun who does not see this as a phallic symbol- their relationship is fraught with stamina and emotional energy.

The two actors feed off of each other and fill the scenes with gusto. Their chemistry is part of what makes the film so great.

One of the best scenes is the shoot ’em up showdown at a ranch where the group of robbers is hiding out the scene is laden with intensity and violence. As Buck is mortally wounded, Blanche is blinded and captured, soon to make a grave mistake in revealing one of the identities of the others.

Bonnie, Clyde, and C.W. barely escape with their lives and their antics from this point become bloodier and bloodier. The cat and mouse play during this scene makes it the most suspenseful of them all.

Amid all of the violence, a wonderful scene exists when Bonnie and Clyde meet up at a secret location with Bonnie’s mother. A local townswoman and non-actress were cast in the pivotal role of Bonnie’s mother and the scene is an emotional experience.

The woman’s kindness and sensibility and the sheer “regular person” she encompasses humanize Bonnie and Clyde, and ominously, their downfall is soon to occur.

A heavily influential film, Bonnie and Clyde is a film that is still quite relevant, especially for those who appreciate the good film, and rich, intelligently written characters, who are flawed, yet humanistic, layered with complexities.

This is what director, Penn, carves out, and the film is an all-time Hollywood classic.

Oscar Nominations: 2 wins-Best Picture, Best Director-Arthur Penn, Best Actor-Warren Beatty, Best Actress-Faye Dunaway, Best Supporting Actor-Gene Hackman, Michael J. Pollard, Best Supporting Actress-Estelle Parsons (won), Best Story and Screenplay Written Directly for the Screen, Best Costume Design, Best Cinematography (won)