L'Amour sur béquilles

Odd story about a couple who seem destined to be together has George Segal as a college professor in New England struggling with his book, the death of his wife, and his subversive mother when he meets and marries a British woman (Glenda Jackson) he meets while on holiday in Europe.

Jackson is a fish out of water in the small New England town and has trouble adjusting to "college life" as well as her new husband's secrets and unwillingness to admit his career is foundering.

The re-teaming of Jackson and Segal (after their hit in A TOUCH OF CLASS) shows they have great chemistry, but the story is weak and the film is too long. Still, it has its funny moments.

Paul Sorvino (also in A TOUCH OF CLASS) returns as a philosophic cab driver. Maureen Stapleton is fun as the loony mother. John Cunningham is the best friend and rival. Others include John Candy, Martin Short, Janie Sell, Diana Barrington, Ken Pogue, and Hollis McLaren as the grad student.

This flick has not held up over the years. Watching George Segal and Glenda Jackson trying to be funny is more depressing than entertaining. The script and plot is so poorly written and is so full of holes it makes the movie awkward and embarrassing.

It may have been a popular movie in it's day but now it's a struggle to get through. And when it is over you will feel like a fool for watching it. That's how I felt!

Glenda Jackson and George Segal made a great couple in the Oscar-winning classic "A Touch Of Class" (1973). Her very English nature, and his American-ness, both clashed with and complemented each other beautifully.

In "Lost and Found" the same qualities just make their constant nasty conflicts annoying. They both have their moments - Glenda's drunken tirade at the Chinese restaurant is particularly superb - but the film drags on and on with a series of pointless screaming matches and tantrums. And when Paul Sorvino's talkative taxi driver arrives on the scene the film becomes barely watchable, and loses all sense of realism.

Extremely dull direction, poor scripting, awful music, and bad cinematography don't help. And why did they film all of Glenda's close-ups in soft focus!!! It looks ridiculous. Why couldn't they just trust her admittedly unusual, but still very sexy, face??

It's all a waste of two top actors at the peak of their careers.

Only 4 other reviews and 3 of them negative....?? What...?

Okay, "Lost and Found" is not "A Touch of Class" (the previous pairing of stars George Segal and Glenda Jackson) but, just on its own terms, this film has some bright moments, some smart diaolgue and, most importantly, two of the best film stars of the '70's!

I was always a little miffed by the success of "A Touch of Class" anyway. The characters were adulterers, after all, and there's little that's fascinating or charming about that. And then there was the Best Picture Oscar nod and Glenda's Best Actress win. Surprising and puzzling, but one has to admit that the film delivers for sophistication, amusing laughs and intermittent romanticism.

But there are laughs to be had here, too. An Academic and a divorcee prematurely marry and entanglements ensue. It's no great shakes perhaps but it's a fair sight better than the stuff being peddled today. This was back in the days when lead actors could actually be in their forties and adult situations didn't mean they were X-rated. Dignity and discretion carry the day. Fun and slapstick comedy abound, if not in the dollops perhaps expected. The film is, as they say, handsomely mounted, fairy well paced, and has nice bits by Maureen Stapleton (though the old lady potty mouth schtick gets a bit wearing), Paul Sorvino, John Candy, Martin Short, and the marvelous Hollis McLaren. If you have some time and aren't expecting the world, there are far worse flicks to watch.

American college professor and widower George Segal driving from Paris to Megève to ski, colliding on the roadway with recent divorcee Glenda Jackson (she's apparently on a skiing vacation too, so why is she traveling in the opposite direction?). She fools him with a falsely written note of culpability (in French), so he follows her to the slopes to confront her and crashes into her yet again! This lamebrained romance is from a different era, a time when a British lady can't work an American-made washing machine without making a complete mess; meanwhile, her husband suddenly morphs into an old vaudevillian when he reunites with his cronies (yes, they do a number). George Segal and Glenda Jackson were both on the downward slope--cinematically-speaking--at this time, so it didn't make sense to present them here as a constantly bickering, hostile twosome. Jackson is far too brittle to warm up to; Segal has an unshakable, weasel-like look of apprehension; while Maureen Stapleton once again plays the domineering mama (trash-talking for laugh--and dropping that old '70s gay slur that won't seem to die). Root canal would be less painful. Look fast for Martin Short and John Candy in small roles. NO STARS from ****