Une maîtresse dans les bras, une femme sur le dos

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.

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.

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

Underrated, as far as I'm concerned. One of the top sex comedies about two very real people who are both mature and interested in sex. It doesn't hurt that Glenda Jackson's so very committed to the role and George Segal's so very sexy.

That title tune's a pip, too. Nominated for Best Picture and deservedly so. This is the sex comedy that modern filmmakers should look to.

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.