Une maîtresse dans les bras, une femme sur le dos

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.

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

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.

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.

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 ****