Review #1443: A Touch of Class.Cast:
George Segal (Steve Blackburn), Glenda Jackson (Vickie Allessio), Hildegarde Neil (Gloria Blackburn), Paul Sorvino (Walter Menkes), K Callan (Patty Menkes), Cec Linder (Wendell Thompson), Lisa Vanderpump (Julia Allessio), Michael Elwyn (Cecil), Mary Barclay (Martha Thompson), Nadim Sawalha (Night Hotel Manager) Produced and Directed by Melvin Frank.
Review:
"Acting is not about dressing up. Acting is about stripping bare. The whole essence of learning lines is to forget them so you can make them sound like you thought of them that instant."
Do you like a comedy of errors? One that wants to have a share of amusement with (presumably) mismatched characters who find their way towards some sort of romance? Welp, this might work out well for you, I suppose. You know the type: one's American while the other is British, one is high-strung while the other is high-tempered, one's married with kids and the other is divorced (with kids too, although they basically disappear from the film pretty quickly). It definitely seems like a film with old-fashioned roots to it (where adultery could not be as broadly covered). Technically this is correct, since Melvin Frank was a co-writer/director for over four decades, with notable co-writing credits including My Favorite Blonde (1942, his debut script with longtime partner Norman Panama), Mr. Blandings Builds His Dream House (1948), and The Facts of Life (1960, co-written, co-directed, and co-produced with Panama). The last one is interesting to note, since that film (featuring Bob Hope and Lucille Ball) also featured an affair that unwittingly turns into a romance, although this occurs during a trip between neighbor couples; Frank and co-writer Jack Rose adapted this film from Frank's short story "She Loves Me, She Told Me So Last Night". Frank, alongside Rose and some of the production crew would return with Segal, Jackson, and Sorvino for Lost and Found (1979), which also dealt with the struggles that develop with lust and love between an American and a British person (although this results in marriage as opposed to an affair).
In other words, one might be thinking that they are seeing something familiar when it comes to a romantic comedy like this, particularly when it comes to the bickering. It generally works best when it is set on the chemistry between its main stars and less so when it tries to go farther than cute scenarios for its last third, with an ending that might make you shrug either out of mild acceptance or apathy as opposed to being successfully bittersweet. On the one hand, there is plenty of talent present: Segal, prevalent in the 1960s and 1970s with dramatic and comedic roles with Jackson, who had risen from work in television (1957) and the theater (1964) to add film to her respected body of work that resulted in numerous accolades (starting with Women in Love (1969), which along with this film resulted in an Academy Award for Best Actress). Not to be forgotten in the fracas is copywriter-turned-actor Sorvino, however (an underrated supporting man, particularly here). One finds plenty to find interest with the main couple, with Segal proving fair in resilient smarminess with occasional quips that make for quite a match with an amusing and passionate Jackson that is filled with just as many retorts and allure that makes one almost think they are watching a Tracy and Hepburn film. Sorvino chimes in at times with persistence and some humor (such as going out to walk the dog and returning without the dog), which makes up for an otherwise quiet supporting cast. While this can be an amusing little film with some useful views on looking transparently at a love affair, one always gets the feeling that there is something missing to really make it mean something. Sometimes one cares about the situations with these folks, and other times you are left there shrugging your shoulders, as if it somehow couldn't quite balance comedy and drama for 106 minutes. It is like if a 1940s script escaped from the lab and only changed its pants before it got caught. Does it even matter to know how their affair will turn out? Is it really something with meaningful realism if it comes off as a fitting capstone of mediocrity for a film? Of course I fall into the line that seeing someone with wife and children having an affair only to eat crow by having the affair fall flat is amusing enough, as opposed to seeing them somehow get away with it. This is a film that only seems to be there 70% of the time to make fair wit and a look upon the pitfalls of falling in love - the ultimate take-it-or-leave-it film fitting perhaps with other mediocre romances like Love Affair (1939) with a capable pair in search of much more than they ultimately get.
Overall, I give it 7 out of 10 stars.
