A love story with a built-in dead end: they're crazy about each other, but he's already married. Attempt to recapture the sophisticated romantic-comedies of yesteryear is put to the test under a heavy-handed direction which doesn't know what it's going for, laughs or pathos (the former occasionally bumping clumsily into the latter). There's nothing wrong with a good mix of laughs and tears, but this scenario is cluttered up with too many dolts (like Paul Sorvino's "best friend" character, who is tiresome the minute we meet him) and too many montages which set no certain mood. Oscar-winner Glenda Jackson is warmly sarcastic throughout--and she's delightful working with George Segal--but their characters lost my interest after an hour or so. There's too much bickering over nothing, too much intensity melting away into love-starved giggles. The picture is a situation comedy but there are only occasional laughs, all early on. ** from ****
44 Reviews
Subject of Infidelity a Walk in the Park
pc9510 February 2012
Warning: Spoilers
The "Love Affair" has been a constant in movies since their beginning and will probably continue to be so as long as cinema is around and society is the way it is with men and women. So comes "A Touch of Class", directed by Melvin Frank, which feels completely like a frolic. It manages to successfully depict a cheating relationship with a homespun, almost as if it were normal, feel. The dialog is a mix of cheekiness and older generation frankness. Not having seen many '73 movies, Glenda Jackson is the stand-out performance and apparently received an Academy Award for her work, which seems too high a praise - but the performance is still good to be sure. Filming locations were on locales, and Paul Sorvino looks a bunch younger than most of the movies I've seen him and his full of spirit and even sage. Segal runs his mouth like typical New Yorker. Definitely worth a watch for the performances, sometimes the dialog, and peek back into the 70s yester-decade.
Could have been a hit
Mort-3112 February 2002
Glenda Jackson and George Segal are the big plus of this romantic sex-comedy that starts of in a really funny way and promising to be absolutely hilarious but then, as the movie turns rather melancholic or sad or `serious', loses a lot of its power and becomes even a bit improbable.
The two actors today we don't actually know either of them any more seem to have no problem with the fact that the screenplay contains a lot of long, argumentative dialogue and they even manage to enhance the sharpness and wit of these dialogues by their acting. The quarrels between this odd couple are absolute highlights in the history of the comedy of sexes, those before their `relationship' as well as those in the hotel in Málaga, where the relationship almost ends.
As soon as the two come back to London, I got the feeling that the director rushes the story. The film could have been longer without becoming boring, indeed it should have taken its time to describe the developing love more accurately. In fact, characters introduced are not dealt with any longer (Vicky's gay colleague was absolute unnecessary), both of the two have children but they don't turn up any more. And then, quite suddenly, the movie is over.
It's really a pity. With these two fantastic actors, this comedy could have been a hit.
The two actors today we don't actually know either of them any more seem to have no problem with the fact that the screenplay contains a lot of long, argumentative dialogue and they even manage to enhance the sharpness and wit of these dialogues by their acting. The quarrels between this odd couple are absolute highlights in the history of the comedy of sexes, those before their `relationship' as well as those in the hotel in Málaga, where the relationship almost ends.
As soon as the two come back to London, I got the feeling that the director rushes the story. The film could have been longer without becoming boring, indeed it should have taken its time to describe the developing love more accurately. In fact, characters introduced are not dealt with any longer (Vicky's gay colleague was absolute unnecessary), both of the two have children but they don't turn up any more. And then, quite suddenly, the movie is over.
It's really a pity. With these two fantastic actors, this comedy could have been a hit.
A Touch of Class--35 Years Later
ofumalow25 August 2009
You've got to view this as a reflection of the Sexual Revolution in its full 70s "swinging" mode, where infidelity within an unhappy marriage was viewed as less simply immoral than now. As such it's a charming time capsule with very good casting. I thought this movie was terrific (albeit imperfect) at the time, when I saw it as a teenager. Of course it seemed very sophisticated to me then--and it made me infatuated with George Segal, who seemed so goofy and charming and attractive. A perfect post-Bobby Sherman interest for a curious 12- year-old.
As for Jackson's Best Actress win--well, there really weren't a lot of good roles for women at the time. This is a particular instance (like Louise Fletcher's very-supporting Best Actress win for "Cuckoo's Nest") that proves how dismal the competition was in that era. Of course there were fine actress performances in films during the 70s, albeit ones too small or too foreign or too art-house-y to be noticed by the Academy. But really, the whole era just sucked in terms of substantial women's leading roles.
The film's own dated sexism is apparent in its obliviousness toward divorcée Jackson's drop- everything-whenever-called neglect of her children (guess she has nothing better to do!) whereas much attention is given to Segal's neglect of his wife and children (he's a guy, so of course he's got better things to do!). As if her commitments aren't important, while his naturally are.
"A Touch of Class" seemed overrated at the time (this movie got multiple Oscar nominations in the same year as "Mean Streets"?!?), and it hasn't aged brilliantly. Nonetheless, it's an excellent example of a romantic comedy reflecting a very different moral complexity than movies allow nowadays.
As for Jackson's Best Actress win--well, there really weren't a lot of good roles for women at the time. This is a particular instance (like Louise Fletcher's very-supporting Best Actress win for "Cuckoo's Nest") that proves how dismal the competition was in that era. Of course there were fine actress performances in films during the 70s, albeit ones too small or too foreign or too art-house-y to be noticed by the Academy. But really, the whole era just sucked in terms of substantial women's leading roles.
The film's own dated sexism is apparent in its obliviousness toward divorcée Jackson's drop- everything-whenever-called neglect of her children (guess she has nothing better to do!) whereas much attention is given to Segal's neglect of his wife and children (he's a guy, so of course he's got better things to do!). As if her commitments aren't important, while his naturally are.
"A Touch of Class" seemed overrated at the time (this movie got multiple Oscar nominations in the same year as "Mean Streets"?!?), and it hasn't aged brilliantly. Nonetheless, it's an excellent example of a romantic comedy reflecting a very different moral complexity than movies allow nowadays.
A Funny Tale of Infidelity
gavin69427 June 2017
Romantic comedy about a pair of clandestine lovers in a London-Spain tryst.
The story goes that the lead role of Steve was originally offered to Cary Grant, with a promise by Melvin Frank to rewrite the script to play up the age difference between Steve and Vickie. However, Grant opted to remain in retirement from filmmaking, and he turned the role down. He did remain connected to the film, however, as it was produced by Fabergé's Brut Productions, and Grant was on the board of directors for Fabergé.
The film is funny, though not in a laugh-out-loud sort of way. More because of the uncomfortable situations. It also puts the audience in an unusual spot, because who are we to root for? The lead character is kind of a cad, and do we really want to encourage infidelity? The winning of the Best Actress Oscar is perhaps the biggest surprise. It was a surprise in its own time, but seems even more so today. The performance, while not bad, is hardly one that stands out, and the film itself has not gone on to be as iconic as some of its competitors (including "The Exorcist").
The story goes that the lead role of Steve was originally offered to Cary Grant, with a promise by Melvin Frank to rewrite the script to play up the age difference between Steve and Vickie. However, Grant opted to remain in retirement from filmmaking, and he turned the role down. He did remain connected to the film, however, as it was produced by Fabergé's Brut Productions, and Grant was on the board of directors for Fabergé.
The film is funny, though not in a laugh-out-loud sort of way. More because of the uncomfortable situations. It also puts the audience in an unusual spot, because who are we to root for? The lead character is kind of a cad, and do we really want to encourage infidelity? The winning of the Best Actress Oscar is perhaps the biggest surprise. It was a surprise in its own time, but seems even more so today. The performance, while not bad, is hardly one that stands out, and the film itself has not gone on to be as iconic as some of its competitors (including "The Exorcist").
A good movie for those who like to fantasize about forbidden love.
bethmorris20025 January 2006
I saw this movie in 1976 and loved it. It was the first time I saw a movie where a woman had an affair with a married man that made me sympathize with the woman. At the same time I also felt sorry for the man, but not as much because he lied to her about his marriage making her think he wasn't happy with his wife and that their marriage was a sham. I've tried several times to rent this movie but have not been able to find it. I've tried all the main rental places such as Hastings, Hollywood Video and several smaller mom and pop type video rental places, but all to no avail The movie is good because it shows all the pitfalls of getting involved with someone who is married and yet has a tenderness about it that makes you understand why it happens. It is good for young girls to see because they can see how a man can take advantage of a gullible young woman by saying the right things. At the same time, it is interesting that the lead female role play by Glenda Jackson is anything but gullible in every other way. She is a strong woman with a strong personality who speaks up for herself but falls into the all too often belief that her love can make all the difference and that their love is so unique and wonderful that it cannot possibly fail and that he will leave his wife for her because he cannot live without her. Unfortunately, real life is not like fantasy and the practical takes over when the sun rises on the often cold reality of the pain and financial strain that breaking off a relationship can bring. Also, this man like many others didn't want to leave his marriage he just wanted to have an affair to fill whatever voids were there real or imagined. Still, I liked this movie and have often thought about it over the years. For me this is the true test of how effectively a story touches me.
Hey Sorvino! You're talking to the wrong person!
waltcosmos21 November 2006
I saw this movie when I was twenty-three years old. Paul Sorvino's line or question never really made any sense to me. He asked Steve (George Segal) if he loved her (Vicky, Glenda Jackson) enough to give her up. What kind of a nonsensical question is that? Vicky had nothing to lose with Steve choosing her. She would only lose if he DIDN'T choose her. So what does she get when Steve blows her off? Exactly what she already had. Suppose however that Sorvino had asked Vicky that question. THEN it would have made sense. Because Vicky would have been making a choice between having NOTHING or having Steve at the price of destroying a happy marriage. Vicky would have actually SACRIFICED something, her own "happiness" for Steve. But Steve wouldn't have the same sacrifice presented to him. His choice was simply, THIS woman, whom you love, or THAT woman, whom you also love. BFD!
2 years later, I found myself in such a situation (from the Vicky perspective), in circumstances so unique, I might as well have been in another galaxy. And I made the wrong choice. I destroyed a relationship and as for myself, I wound up with nothing anyway.
2 years later, I found myself in such a situation (from the Vicky perspective), in circumstances so unique, I might as well have been in another galaxy. And I made the wrong choice. I destroyed a relationship and as for myself, I wound up with nothing anyway.
Not as funny as I thought it was
jacqueestorozynski2 August 2014
I remember seeing this film in London in the seventies and loved it. I remember it as a hysterically funny film and as far as I am concerned George Segal can do no wrong. However, having hired it from Love Film I was surprised to find that it wasn't as funny as I thought it was. Also the morality of the man juggling a lover whilst he loved his wife didn't fit with the mores of today. There were obvious holes in it which now struck home for instance, they didn't need to reserve aeroplane tickets, the fat friend could get in the way by sitting with George in the plane and Glenda's children seemed to have vanished when she was cooking dinners in the flat they used for their trysts. Additionally, dialogue such as ' Great! My only chance to get raped and you can't get your trousers off' struck an odd note in the 21st Century. Glenda received an Oscar for her performance which I found odd. She was typically Glenda and I saw some of the tart facial expressions and comments used in Women In Love another of my favourite films( I think she got an Oscar for that too). As I once stayed at the Churchill hotel where they were at the beginning and had an American boyfriend in the seventies who didn't understand English sarcasm I suppose time has moved on. It all related to my life in the seventies - not now though and my husband disapproved totally that it was thought perfectly acceptable for the George Segal character to have a so called 'bit on the side'. Shame!
Bittersweet
jjnxn-113 October 2013
Bittersweet comedy helped immeasurably by the chemistry of the stars and the skill of their performances. Glenda is brash and delicate in equal measure, George bombastic but good natured. While it shows the pitfalls of infidelity it doesn't judge its characters for their choices and actually presents all the relationships, including Glenda's gay assistant's, evenhandedly rather surprising for the 70's. As far as her receiving an Oscar for this performance, she's sprightly and more relaxed than she usually was on screen but I doubt that even she expected to grab the prize for what is a customary solid job but hardly extraordinary.
My brief review of the film
sol-6 July 2005
Glenda Jackson won the Academy Award for her performance here, and whilst not brilliant, she plays her character very well and she has good chemistry with George Segal. The dialogue is at times sharp and witty, yet the film's screenplay is not all that great because the content is stretched a little thin to bear the stretch of feature length. Also, the supporting characters are mostly silly stereotypes that hang around the set but add little to the story. Some of the jokes are also repetitive and predictable. However, it is an interesting enough film to watch, despite the premise being unoriginal, because of the two lead characters being well-mannered, refined types - quite different to the average couple in this type of film.
My god, my one chance to be raped, and you can't get your bloody trousers off!
lasttimeisaw16 March 2016
Warning: Spoilers
Glenda Jackson's second Oscar-winning picture, A TOUCH OF CLASS is a UK production, but directed by American writer-director Melvin Frank (fairly to say, it has to be his most accomplished work), an urban relationship caricature precisely broaches a modernised (feminist) view on an extramarital affair between an American married man Steve Blackburn (Segal) and a British divorcée Vickie Allessio (Jackson).
Steve is a successful business man, living in London with his wife Gloria (Neil) and two children, he is handsome, virile, a jock of baseball and golf, so after several chance meetings with the alluring but independent Vickie, all he wants is to woo her for a "quickie" during his lunch break. But Vickie is not a bimbo, although she jovially accepts Steve's invitation and doesn't mind a depressurising rumpy pumpy with a man she finds attractive, she demands to do it under better surroundings, with "a touch of class". Intrigued, Steve arranges a trip to Málaga with her, to consummate their affair.
A chain of mishaps will occur even before their tryst, from Steve's desperate attempt to persuade his wife from joining him for the so-called "business trip", to the encounter with his friend Walter (Sorvino) in the airport, it is sheer magic how Frank and his co-writer Jack Rose can extract humour and laughter out of other people's misfortunes without ever over-stuffing the gags (a negative example can be observed from Arthur Hiller's Neil Simon-penned THE OUT-Of- TOWNERS, 1970) and run them smoothly with conviction and élan.
It is so true, a short trip is the best way to know about each other, Steve and Vickie clash vigorously, a tug-of-war of bedroom quarrel-fest chiding each other's stereotyped characters, a.k.a. the libido-driven American man against the uppity British woman, Segal and Jackson spark off engagingly in their two-handers, eventually a woman's abrasive sagacity prevails over a man's immature grumble (that's why Jackson is the mature one, since most of her points are right on the nose), which plausibly abides by the corny but enigmatic allure of the antithesis and creates an amazing aura of sexual magnetism, thus paves the way for the next step - their consensual arrangement of renting a flat together.
Back to London, the affair continues, Steve squeezes time from dog-walking, or sneaks out in the middle of a Beethoven concert and return, to conduct the carnal knowledge in their secret flat. Soon or later, as we expect, a "casual" relationship is slowly but inevitably consumed by the weary day-to-day dissatisfaction and in a cerebral move, after admitting that she is behaving like a wife, Vickie has the boldness to end it (although the movie considerably let Steve initiate the motive), after all her emotional baggage is the lighter one, whereas Steve is bogged down in his dither, and finds the courage to let it go, thanks to her, eventually.
Ingenious, brisk and without a whiff of patronising either sex, A TOUCH OF CLASS is a top-shelf comedy where Segal and Jackson are at the top of their games. Also, as a footnote it reminds us to why David Lean's BRIEF ENCOUNTER (1945) is a must-see for everyone!
Steve is a successful business man, living in London with his wife Gloria (Neil) and two children, he is handsome, virile, a jock of baseball and golf, so after several chance meetings with the alluring but independent Vickie, all he wants is to woo her for a "quickie" during his lunch break. But Vickie is not a bimbo, although she jovially accepts Steve's invitation and doesn't mind a depressurising rumpy pumpy with a man she finds attractive, she demands to do it under better surroundings, with "a touch of class". Intrigued, Steve arranges a trip to Málaga with her, to consummate their affair.
A chain of mishaps will occur even before their tryst, from Steve's desperate attempt to persuade his wife from joining him for the so-called "business trip", to the encounter with his friend Walter (Sorvino) in the airport, it is sheer magic how Frank and his co-writer Jack Rose can extract humour and laughter out of other people's misfortunes without ever over-stuffing the gags (a negative example can be observed from Arthur Hiller's Neil Simon-penned THE OUT-Of- TOWNERS, 1970) and run them smoothly with conviction and élan.
It is so true, a short trip is the best way to know about each other, Steve and Vickie clash vigorously, a tug-of-war of bedroom quarrel-fest chiding each other's stereotyped characters, a.k.a. the libido-driven American man against the uppity British woman, Segal and Jackson spark off engagingly in their two-handers, eventually a woman's abrasive sagacity prevails over a man's immature grumble (that's why Jackson is the mature one, since most of her points are right on the nose), which plausibly abides by the corny but enigmatic allure of the antithesis and creates an amazing aura of sexual magnetism, thus paves the way for the next step - their consensual arrangement of renting a flat together.
Back to London, the affair continues, Steve squeezes time from dog-walking, or sneaks out in the middle of a Beethoven concert and return, to conduct the carnal knowledge in their secret flat. Soon or later, as we expect, a "casual" relationship is slowly but inevitably consumed by the weary day-to-day dissatisfaction and in a cerebral move, after admitting that she is behaving like a wife, Vickie has the boldness to end it (although the movie considerably let Steve initiate the motive), after all her emotional baggage is the lighter one, whereas Steve is bogged down in his dither, and finds the courage to let it go, thanks to her, eventually.
Ingenious, brisk and without a whiff of patronising either sex, A TOUCH OF CLASS is a top-shelf comedy where Segal and Jackson are at the top of their games. Also, as a footnote it reminds us to why David Lean's BRIEF ENCOUNTER (1945) is a must-see for everyone!
Watch it for Glenda Jackson Only
Con-Deuce2 October 2019
When "A Touch of Class" was released in 1973, it was a big hit and generally well received by most critics. The consensus was that the film was "realistic" and "a film made for adults" (the last quote is paraphrasing from Judith Crist's review in New York magazine). The film isn't realistic or very adult. At best it's occasionally amusing and cute. It's a rom-com with an oh-so-hip downbeat ending that was de rigueur for films of the time. Segal and Jackson meet cute several times in London and almost instantaneously end up agreeing to take a vacation together in Spain. They bicker and argue but also fall in love. They return to London and attempt to (completely unrealistically told in dumb sitcom style) continue their affair but it's all too difficult for them both and in the end, they part. It's incredible to me that anyone seeing this film at the time would consider this a realistic film. Many of the situations are unbelievable even if you grant the film the conceit that these were "different" times (the sexual revolution post 60s in full swing). For example, Segal's wife comes across as cold but for reasons that are never made clear, he feels devoted to her. His wife is so cold, that it makes the film's ending even more ridiculous. We're going to believe that he'd give up on Jackson's hot fired sexy character for that wife? No way.
Which brings us to the sole reason to watch "A Touch of Class" and that's Glenda Jackson. She's astonishing. I would argue that she DID deserve the Oscar for Best Actress that year because only an actress of her caliber and talent could elevate such bad material. She's sexy, fiery, intelligent, warm and completely likeable. The fact that Segal's character would fall head over heels in love with her is the only believable part of the film. Jackson makes the film worth watching. She's is an amazing actress and did some of her finest work in comedy. She is even better five years later in the comedy "House Calls" with Walter Matthau. She's so good in "A Touch of Class" that I wished the material was equal to her talents. Sadly, it's not.
Which brings us to the sole reason to watch "A Touch of Class" and that's Glenda Jackson. She's astonishing. I would argue that she DID deserve the Oscar for Best Actress that year because only an actress of her caliber and talent could elevate such bad material. She's sexy, fiery, intelligent, warm and completely likeable. The fact that Segal's character would fall head over heels in love with her is the only believable part of the film. Jackson makes the film worth watching. She's is an amazing actress and did some of her finest work in comedy. She is even better five years later in the comedy "House Calls" with Walter Matthau. She's so good in "A Touch of Class" that I wished the material was equal to her talents. Sadly, it's not.
Dusty, old, and no class
cekadah11 May 2020
I cannot believe that Glenda Jackson won an academy award for her performance in this movie. I think maybe this movie could be the poster child for how shallow the Academy Awards can be when they go to the most popular movie actor and not to the most artistic and imaginative acting.
This movie is horribly dated at this point in the 21st century. After watching the film I felt the entire story had been mostly spoon fed to the viewer and there was no effort to create empathy for the character played by Glenda Jackson and George Segal.
At movies end my first reaction was 'thank goodness it's over!!'
This movie is horribly dated at this point in the 21st century. After watching the film I felt the entire story had been mostly spoon fed to the viewer and there was no effort to create empathy for the character played by Glenda Jackson and George Segal.
At movies end my first reaction was 'thank goodness it's over!!'
A film of two halves
Geofbob25 June 2001
This could have been a great movie, but someone screwed up, or copped out, somewhere along the way. If only Glenda Jackson's character, Vicki Allessio, and George Segal's Steve Blackburn had retained throughout the movie the personas they project brilliantly in the first half she, cool-headed, clear-sighted, acid-tongued, and so clearly leading the way; he, opportunistic, not as sharp as he thinks he is, and desperately trying to seize control of the relationship this might have been a noteworthy feminist statement.
But in the second half, he becomes just another cheating husband, she just the other woman; and the film becomes ever more formulaic, with simply the charisma of the principals and a few good gags to enliven proceedings, before the inevitable down-beat ending. Indeed, all the way through, apart from Jackson's and Segal's characters, the film relies on stock steretypes - eg camp fashion trade gays, bungling Spanish hotel porters, golden-hearted tarts - for its humour. But there is at least one great line, when Vicki during some clumsy love-making says to Steve in her cut-glass voice, "Why don't you just roll on top and hope for the best!"
But in the second half, he becomes just another cheating husband, she just the other woman; and the film becomes ever more formulaic, with simply the charisma of the principals and a few good gags to enliven proceedings, before the inevitable down-beat ending. Indeed, all the way through, apart from Jackson's and Segal's characters, the film relies on stock steretypes - eg camp fashion trade gays, bungling Spanish hotel porters, golden-hearted tarts - for its humour. But there is at least one great line, when Vicki during some clumsy love-making says to Steve in her cut-glass voice, "Why don't you just roll on top and hope for the best!"
Entertaining, but very minor.
gridoon8 August 1999
Sometimes funny, sometimes forced comedy. Segal's hugely entertaining performance helps this very minor film, and it is the real reason for you to see it. He seems to be having a great time, even after the script has run out of ideas.
A sexy and sad romantic comedy
Gideon249 April 2015
Warning: Spoilers
A Touch of Class was a charming romantic comedy about a married American businessman (George Segal) who lives in London and drifts into an affair with an English fashion designer (Glenda Jackson). Though the script borders on the cliché, Segal and Jackson manage to rise above rather ordinary story thanks to their surprisingly effective on screen chemistry.
Jackson actually snagged a second Best Actress Oscar for this film (something that still baffles me to this day)but Segal is just as good as she is. Personally, I think this is one of Segal's best performances...Segal's Steven Blackburn is urbane, sophisticated, witty, and sexy and his attraction to Jackson's Vicki Ellesio is a bit of a puzzle since her character is sort of a bitch, but the film is still worth a rental if you've never seen it.
Jackson actually snagged a second Best Actress Oscar for this film (something that still baffles me to this day)but Segal is just as good as she is. Personally, I think this is one of Segal's best performances...Segal's Steven Blackburn is urbane, sophisticated, witty, and sexy and his attraction to Jackson's Vicki Ellesio is a bit of a puzzle since her character is sort of a bitch, but the film is still worth a rental if you've never seen it.
Stress Relief in Early 1970s London
hitchcockthelegend16 January 2014
A Touch of Class is directed by Melvin Frank who also co-writes the screenplay with Jack Rose. It stars Glenda Jackson, George Segal, Paul Sorvino, Hildegarde Neil and Mary Barclay. Music is by John Cameron and cinematography by Austin Dempster.
Two great lead performances and a sharp script propel this delightful sex comedy forward. Plot is no great shakes but it matters not in truth, divorced English woman meets American married man, an attraction is there and they agree to go away for a brief holiday to indulge in some stress relieving sex. Upon arrival at the Spanish resort, a number of things get in the way of the couple actually copulating. Once achieved, things start to go a bit sour, and the bickering and withering sarcasm starts. But hold on, there's more twists to come, right up to the bittersweet finale.
Genuine laughs are dotted throughout, Jackson's waspish tongue an utter delight, and the pic never teeters over the edge into sentimental hog- wash. It's obviously a product of its time, though the extra-marital affair theme is daringly mounted for the era. A lovely film, funny, poignant and literate. Score! 8/10
Two great lead performances and a sharp script propel this delightful sex comedy forward. Plot is no great shakes but it matters not in truth, divorced English woman meets American married man, an attraction is there and they agree to go away for a brief holiday to indulge in some stress relieving sex. Upon arrival at the Spanish resort, a number of things get in the way of the couple actually copulating. Once achieved, things start to go a bit sour, and the bickering and withering sarcasm starts. But hold on, there's more twists to come, right up to the bittersweet finale.
Genuine laughs are dotted throughout, Jackson's waspish tongue an utter delight, and the pic never teeters over the edge into sentimental hog- wash. It's obviously a product of its time, though the extra-marital affair theme is daringly mounted for the era. A lovely film, funny, poignant and literate. Score! 8/10
Has time been kind ?
jromanbaker18 June 2023
1973 is fifty years ago and I wondered as I watched it if time had been kind to it. Glenda Jackson has scenes of sardonic humour and George Segal used a lot of humour as well, but that said I thought the script was thin on content and that the relationship between them as characters was not very probable. Jackson portrays a woman separated from her husband, and Segal plays a semi-devoted husband to his wife played extremely well by Hildegarde Neil. I only wished she had had more scenes as after a while I found the subject matter needed another strong role. No spoiler as to the end but it seemed to me pretty obvious from the start. A good film to watch if you like the two lead actors, and in their way they do not disappoint. The film has in my opinion a very bland musical soundtrack and I did not find the direction up to the standard of the actors.
Two Top Comedic Performances in Half a Hysterical Film
dglink5 November 2005
At times screamingly funny, at least during the first hour, "A Touch of Class" boasts two fine comedic actors in top form and a script that manages to hit more highs than lows. After a catchy title tune, George Segal and Glenda Jackson meet a few times by chance before on-the-prowl Segal, who boasts of never cheating on his wife in the same city, moves in for the pounce. However, the divorced Jackson, who needs some good uninvolved sex, agrees to a tryst if they can manage something better than a "quickie" in a one-star hotel with dirty sheets. From this point the screwball comedy antics pile on. A returning wife and in-laws complicate the arrangements for a week in Spain, and an unwelcome friend shows up for the same flight to Malaga. The laugh meter rises with a faulty clutch, a spastic back, and a sexual performance rating that is on par with a Christmas card from the butcher.
The comedy is in high form as the couple spar and parry towards consummating their relationship. Unfortunately, love enters the equation, and the unwelcome friend slows the merriment further with a serious turn about guilt. Although the pace picks up again when the couple returns to London, the damage has been done, and "A Touch of Class" fails to return to the hilarity of the first hour. Segal and Jackson are certainly not to blame for the sluggish mid section, and both performers deliver fine comedic performances that never go over the top for a laugh and retain a depth of character when the mood turns serious. The film belongs to the two stars, and they play well together. However, the supporting players in general fail to register with the exception of Eve Karpf as the slyly knowing Miss Ramos at Iberia Airlines.
Symptomatic of the movie's slowdown is a scene where Jackson and Segal watch "Brief Encounter" on the television in their love nest. The Celia Johnson and Trevor Howard classic is a heavy "weepie" drama, and both characters wring the handkerchiefs while they watch the film. Although the temptation to insert shots from another film about marital infidelity was obviously too strong to resist, the scene further dampens the film and pushes the characters into a soul-searching phase that leads to the inevitable fadeout. Perhaps if the lovers had watched "A Night at the Opera" or "Bringing Up Baby," viewers would have left the theater laughing instead of sullen like the weather in the final scene.
The comedy is in high form as the couple spar and parry towards consummating their relationship. Unfortunately, love enters the equation, and the unwelcome friend slows the merriment further with a serious turn about guilt. Although the pace picks up again when the couple returns to London, the damage has been done, and "A Touch of Class" fails to return to the hilarity of the first hour. Segal and Jackson are certainly not to blame for the sluggish mid section, and both performers deliver fine comedic performances that never go over the top for a laugh and retain a depth of character when the mood turns serious. The film belongs to the two stars, and they play well together. However, the supporting players in general fail to register with the exception of Eve Karpf as the slyly knowing Miss Ramos at Iberia Airlines.
Symptomatic of the movie's slowdown is a scene where Jackson and Segal watch "Brief Encounter" on the television in their love nest. The Celia Johnson and Trevor Howard classic is a heavy "weepie" drama, and both characters wring the handkerchiefs while they watch the film. Although the temptation to insert shots from another film about marital infidelity was obviously too strong to resist, the scene further dampens the film and pushes the characters into a soul-searching phase that leads to the inevitable fadeout. Perhaps if the lovers had watched "A Night at the Opera" or "Bringing Up Baby," viewers would have left the theater laughing instead of sullen like the weather in the final scene.
Disappointing
RodReels-210 June 2001
I remember seeing this years ago, but when I sat down to watch it, I honestly couldn't remember a thing about it. After sitting through it again, I see why. It isn't all that memorable. Glenda Jackson excels in her one-note feminist character, but George Segal seems to be running, literally, all through the movie. And his schtick gets tiresome rather quickly.
A realistic movie about a love affair
eddax20 June 2003
A Touch of Class starts off being about a married cad's misadventures in attempting to hook up with a divorced woman who's up for the no-strings-attached sex. It makes the movie's title somewhat ironic, doesn't it?
More than likely, "A Touch of Class" refers to double-Oscar winner Glenda Jackson (Women in Love and this movie), who's just about one of the classiest actresses I've seen. Beautiful, regal, and armed with acerbic British wit, she's the perfect foil to the brash and American George Segal, who incidentally looks just about the same 30 years ago as he does now in Just Shoot Me, except with a better body.
A Touch of Class demonstrates how opposites attract - something I've very familiar with. It's a romantic comedy but its comedic element peaks halfway through the movie with a scene in which the two leads engage in an all-out battle that culminates in a clothes fight and a sex fumble. After that, it's primarily about the two trying to make their love affair work despite Segal's marriage. A successful romantic movie draws us into its convolutions by making us care for its characters and what become of them, which A Touch of Class achieves by giving us the realistic trials and tribulations of an extramarital couple.
More than likely, "A Touch of Class" refers to double-Oscar winner Glenda Jackson (Women in Love and this movie), who's just about one of the classiest actresses I've seen. Beautiful, regal, and armed with acerbic British wit, she's the perfect foil to the brash and American George Segal, who incidentally looks just about the same 30 years ago as he does now in Just Shoot Me, except with a better body.
A Touch of Class demonstrates how opposites attract - something I've very familiar with. It's a romantic comedy but its comedic element peaks halfway through the movie with a scene in which the two leads engage in an all-out battle that culminates in a clothes fight and a sex fumble. After that, it's primarily about the two trying to make their love affair work despite Segal's marriage. A successful romantic movie draws us into its convolutions by making us care for its characters and what become of them, which A Touch of Class achieves by giving us the realistic trials and tribulations of an extramarital couple.
Tedious dated comedy about infidelity
trpdean22 May 2003
I remember liking this when it first came out - I just saw it again and don't know why.
Segal's character is a sort of professional philanderer ("I've never made love to a woman in the same city as my wife"). Jackson's character is superior and rather humorless. The two do not produce magic together. I find myself strongly resenting the repeated insults by Jackson, her arrogance, her haughty scorn.
The movie is also very much of its time. Like Pardon Mon Affaire, Cousin, Cousine, Pardon Mon Affaire Two, I Do I Do, I Love My Wife, its point is to share the great fun of seeing a man has in his attempts to deceive his unsuspecting wife and children (of course in Cousin, Cousine, they loudly make love when the children and spouses are present).
In a period in which we see movies such as A Walk on the Moon, Unfaithful, A Perfect Murder - in all of which infidelity is taken deadly seriously - its consequences wrecking lives, the day in which this kind of fluff was entertaining is long over.
This is not a good movie - I actually like George Segal as an actor (and the Viennese reviewer should know that Americans have seen George Segal each week for years in a very popular television series). Both he and Glenda Jackson do their best - but their lines aren't very funny, the situation is terribly contrived (yes, coincidental meetings abound), and one has great difficulty sympathizing with either the mother who abandons her daughters or the husband who must work so hard to deceive his whole family.
Segal's character is a sort of professional philanderer ("I've never made love to a woman in the same city as my wife"). Jackson's character is superior and rather humorless. The two do not produce magic together. I find myself strongly resenting the repeated insults by Jackson, her arrogance, her haughty scorn.
The movie is also very much of its time. Like Pardon Mon Affaire, Cousin, Cousine, Pardon Mon Affaire Two, I Do I Do, I Love My Wife, its point is to share the great fun of seeing a man has in his attempts to deceive his unsuspecting wife and children (of course in Cousin, Cousine, they loudly make love when the children and spouses are present).
In a period in which we see movies such as A Walk on the Moon, Unfaithful, A Perfect Murder - in all of which infidelity is taken deadly seriously - its consequences wrecking lives, the day in which this kind of fluff was entertaining is long over.
This is not a good movie - I actually like George Segal as an actor (and the Viennese reviewer should know that Americans have seen George Segal each week for years in a very popular television series). Both he and Glenda Jackson do their best - but their lines aren't very funny, the situation is terribly contrived (yes, coincidental meetings abound), and one has great difficulty sympathizing with either the mother who abandons her daughters or the husband who must work so hard to deceive his whole family.
Ugh
fung025 January 2009
It's hard to imagine how this film got such a strong reception on its first release. Viewed several decades later, it's trite, formulaic, frustrating, and downright dumb.
The strongest redeeming factor is Glenda Jackson: sharp as always, and fun to watch even in this mess. (Unfortunately, her talents are offset by the smirking anti-charismatic presence of George Segal.) Another plus: the lovely locations, especially in London, which make the film at first seem like one of those effervescent European sex comedies... rather than the cliché-ridden Hollywood farce that it is.
On top of everything else, the plot is basically a needless reworking of Melvin Frank's far better 1960 film, The Facts of Life. The older film must have been far more adventuresome in its time. It's also blessed with the wonderful pairing of Bob Hope and Lucille Ball. And it actually manages to be about something.
A Touch of Class is pretty much the bottom of the barrel for Melvin Frank fans. My advice: check out The Facts of Life, or The Court Jester, and give this creaky curio a miss.
The strongest redeeming factor is Glenda Jackson: sharp as always, and fun to watch even in this mess. (Unfortunately, her talents are offset by the smirking anti-charismatic presence of George Segal.) Another plus: the lovely locations, especially in London, which make the film at first seem like one of those effervescent European sex comedies... rather than the cliché-ridden Hollywood farce that it is.
On top of everything else, the plot is basically a needless reworking of Melvin Frank's far better 1960 film, The Facts of Life. The older film must have been far more adventuresome in its time. It's also blessed with the wonderful pairing of Bob Hope and Lucille Ball. And it actually manages to be about something.
A Touch of Class is pretty much the bottom of the barrel for Melvin Frank fans. My advice: check out The Facts of Life, or The Court Jester, and give this creaky curio a miss.
Lots of wit, tons of humor, and, yes, a touch of class
Tecocat1 December 1999
A very witty, funny movie about an affair between a spoiled, married American business man (George Segal) living in London and a somewhat caustic British fashion "stealer" (Glenda Jackson).
Whether they're fighting (some of the funniest verbal fight scenes ever!) or dealing with the reality of an affair (with some very poignant moments), the chemistry between Segal and Jackson works and the script is exceptional. Jackson's performance is particularly terrific; also notable is Paul Sorvino's performance as an irritating-but-wise friend.
IMPORTANT - If at all possible, watch the uncut, uncensored, uninterrupted version of this movie (i.e., don't watch it on broadcast television for the first time).
Whether they're fighting (some of the funniest verbal fight scenes ever!) or dealing with the reality of an affair (with some very poignant moments), the chemistry between Segal and Jackson works and the script is exceptional. Jackson's performance is particularly terrific; also notable is Paul Sorvino's performance as an irritating-but-wise friend.
IMPORTANT - If at all possible, watch the uncut, uncensored, uninterrupted version of this movie (i.e., don't watch it on broadcast television for the first time).
Really lousy
zetes29 September 2013
A rather unfunny romantic comedy that amazingly got nominated for Best Picture along with four other Oscar nominations, winning Best Actress for Glenda Jackson. I can't for the life of me see what people were thinking at the time. Free love is one thing - I have no problem with that whatsoever - but the male protagonist in this movie, George Segal, is straight up just cheating on his wife. He's the hero of the movie! We're not exactly meant to sympathize with him, but he's supposed to be funny. I don't know how you could see him anything more than a total jerk. And Jackson, though she's thankfully divorced, isn't much better. She's a browbeating little shrew who isn't even remotely attractive, either physically or intellectually. I should have hated this even more than I did, but, though the characters are awful, the performances aren't half bad. And I loved the music. There are a few amusing moments, but this is mostly awful.
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