IMDb > Shampoo (1975)
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Shampoo (1975) More at IMDbPro »

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Shampoo -- Wicked social satire about a sexy male hairdresser that does more than hair. Warren Beatty lampoonshis own womanizer reputation in this feature concerned only with who is "doing" who and the superficial appearances of the upper class of Beverly Hills set against election day for the 1968 Presidential election.


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Robert Towne (written by) and
Warren Beatty (written by)
View company contact information for Shampoo on IMDbPro.
Release Date:
13 March 1975 (USA) See more »
Your hairdresser does it better... See more »
Lovers undo a hairdresser from Beverly Hills around Election Eve in 1968. Full summary » | Add synopsis »
Plot Keywords:
Won Oscar. Another 3 wins & 9 nominations See more »
(109 articles)
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User Reviews:
"Incapable of love" See more (82 total) »


  (in credits order) (verified as complete)

Warren Beatty ... George

Julie Christie ... Jackie

Goldie Hawn ... Jill

Lee Grant ... Felicia

Jack Warden ... Lester

Tony Bill ... Johnny Pope

George Furth ... Mr. Pettis
Jay Robinson ... Norman
Ann Weldon ... Mary

Luana Anders ... Devra
Randy Scheer ... Dennis
Susanna Moore ... Gloria

Carrie Fisher ... Lorna
Mike Olton ... Ricci
Richard E. Kalk ... Detective Younger
Ronald Dunas ... Nate
Hal Buckley ... Kenneth
Jack Bernardi ... Izzy

William Castle ... Sid Roth

Brad Dexter ... Senator East
Doris Packer ... Rozalind
Faye Michael Nuell ... Norma (as Faye Nuell)

Howard Hesseman ... Red Dog
Cherie Latimer ... Girl in Car (as Cheri Latimer)
George Justin ... Producer
Lesley Evans ... Secretary
Brunetta Barnett ... Mona
Joan Marshall ... Mrs. Schumann
Kathleen Miller ... Anjanette
Janice Baker ... Model #1
April Ross ... Model #2
Paula Warner ... Model #3
Luis Delgado ... Waiter at Bistro
Dina Ousley ... Hairdresser
Mack Eden ... Hairdresser

Daryl Keith Roach ... Boy at Party (as Daryl Roach)
Melinda Smith ... Twin #1
Constance Smith ... Twin #2
Sean Walsh ... Boy with Twins
Gary Marsh ... Boy #1

Andrew Stevens ... Boy #2
Colleen Brennan ... Painted Lady (as Sharon Kelly)
Larry Bischof ... Guest
Don Ames ... Guest

Wally Crowder ... Malone's Delivery Boy
Cynthia Wood ... Beauty Shop Customer
Jamie Cannon ... Beauty Shop Customer (as Jimmie Cannon)
Susie Ewing ... Beauty Shop Customer (as Susan McIver)
Kimberly McGowen ... Beauty Shop Customer
Gail Landry ... Beauty Shop Customer
Annalee Coyle ... Beauty Shop Customer
rest of cast listed alphabetically:
Spiro Agnew ... Himself (archive footage) (uncredited)

Susan Blakely ... Girl on Street (uncredited)
David Brinkley ... Himself (archive footage) (uncredited)
Howard Culver ... Newscaster (uncredited)
Chet Huntley ... Himself (archive footage) (uncredited)

Richard Nixon ... Himself (archive footage) (uncredited)

Michelle Phillips ... Girl at Party (uncredited)
Arthur Tovey ... White-Haired Man at Party (uncredited)

Robert Towne ... Party Guest (uncredited)

Directed by
Hal Ashby 
Writing credits
Robert Towne (written by) and
Warren Beatty (written by)

Produced by
Warren Beatty .... producer
Charles H. Maguire .... associate producer
Original Music by
Paul Simon (original music by)
Cinematography by
László Kovács (director of photography) (as Laszlo Kovacs)
Film Editing by
Robert C. Jones (film editor)
Casting by
Jane Feinberg 
Mike Fenton 
Production Design by
Richard Sylbert 
Art Direction by
W. Stewart Campbell 
Set Decoration by
George Gaines 
Costume Design by
Anthea Sylbert 
Makeup Department
Kathryn Blondell .... hairdresser
E. Thomas Case .... makeup (as Tom Case)
Jan Van Uchelen .... hair stylist (uncredited)
Production Management
Charles H. Maguire .... production manager
Second Unit Director or Assistant Director
Art Levinson .... first assistant director
Ron Wright .... second assistant director
Clifford C. Coleman .... first assistant director (uncredited)
Art Department
Alan Levine .... property master (as Allan Levine)
Bill Parks .... construction coordinator (as William Parks)
Eugene Acker .... paint foreman (uncredited)
Joe Acord .... construction foreman (uncredited)
Cliff Bernay .... lead man (uncredited)
James Resh .... set designer (uncredited)
Robert Resh .... set designer (uncredited)
Sound Department
Robert Glass .... sound rerecording
Robert Knudson .... sound rerecording
Tom Overton .... production sound
Dan Wallin .... sound rerecording
Frank E. Warner .... sound editor (as Frank Warner)
Dennis Jones .... boom operator (uncredited)
Craig R. Baxley .... stunt double: Warren Beatty (uncredited)
Craig R. Baxley .... stunts (uncredited)
Jerry Brutsche .... stunts (uncredited)
Camera and Electrical Department
Richmond L. Aguilar .... gaffer (as Rich Aguilar)
Leonard Lookabaugh .... key grip (as Len Lookabaugh)
Peter Sorel .... still photographer
Robert C. Thomas .... camera operator
Rick Borchardt .... dolly grip (uncredited)
Paul Caven .... lighting technician (uncredited)
Ray De La Motte .... first assistant camera (uncredited)
Romeo Di Santis .... best boy (uncredited)
Ron Mertus .... grip (uncredited)
Michael Nakamura .... second assistant camera (uncredited)
Pete G. Papanickolas .... second grip (uncredited)
Costume and Wardrobe Department
Thalia Phillips .... wardrobe: women
Laurie Riley .... wardrobe: men
Editorial Department
Robert Barrere .... assistant film editor (as Robert Barrère)
Don Zimmerman .... assistant film editor
Music Department
Ken Johnson .... music editor
Phil Ramone .... music advisor
Patrick Williams .... orchestrator: original music (as Pat Williams)
Transportation Department
James Thornsberry .... transportation (as James W. Thornsberry)
Gene Clinesmith .... transportation co-captain (uncredited)
Other crew
Helen L. Feibelmann .... production assistant
Robert Jiras .... assistant to the producer
Ralph M. Leo .... controller
Doe Mayer .... researcher
Meta Rebner .... continuity (as Meta Wilde)
Joel Schwartz .... researcher
Gene Shacove .... technical consultant
Barbara Spitz .... production secretary
Carrie White .... technical consultant
Sheila Woodland .... production secretary
Dave Miller .... first aid (uncredited)
Ron Weber .... craft service (uncredited)
Crew verified as complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
109 min
Color (Technicolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Argentina:13 | Australia:M | Finland:K-16 | Germany:16 (DVD rating) | Iceland:L | Netherlands:16 | Portugal:M/12 | Sweden:15 | UK:X (original rating) | UK:18 (video rating) (1988) (1993) (2000) | USA:R (PCA #24193) | West Germany:18 (nf)

Did You Know?

Carrie Fisher said she was cast in the role mainly through family connections. She said when Warren Beatty ran lines with her, he did it while eating. She said the whole thing for her was a lark. She also admitted years later in an article she wrote for Rolling Stone magazine that star Beatty unsuccessfully propositioned her.See more »
Continuity: After George cuts Jackie's hair, her formerly streaked tresses are all a uniform blonde tint although he has not colored her hair.See more »
Banker:Do you have any references?
George Roundy:I do Barbara Rush.
See more »
Movie Connections:
Referenced in She's All That (1999)See more »
Born FreeSee more »


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5 out of 6 people found the following review useful.
"Incapable of love", 27 January 2011
Author: Steffi_P from Ruritania

Back in the early 1930s, in the time of cinema known as "pre-code" due to the general disregard for the prohibitive Motion Picture Production Code, there were lots of so-called sex comedies which made gags out of the bed-hopping escapades of their philandering heroes. The best of them were renowned for their cleverness in hinting at sexual acts that could not be shown on screen. Forty years later the production code had been scrapped and sex now could be (and frequently was) shown explicitly, but the sex comedy did not make a significant comeback. Shampoo is a rare but prime example.

Shampoo is a sex comedy in that most, if not all, of its jokes revolve around sex, or at least the implication that sex has taken place or might be about to take place. As a result it is arguable that the comedy is a bit thin and repetitive, and it is true that the story is hardly bursting with riotous wit. And yet ace screenwriter Robert Towne constructs situations that are funny in their believable social awkwardness. They might only raise a chuckle or two over the course of a scene, but they have an almost soap opera quality which keeps us watching. Besides, there's a bit more going on here than bedroom humour. The decision to set it seven years in the past seems strangely arbitrary at first, but it has a surprisingly moving impact when political events start to creep into the narrative, and Warren Beatty's womanising antics are put into some perspective.

Like all comedies, a lot of its success or otherwise depends on the acting performances. This was largely an age of realism in acting, but here the performances are just on the comedic side of real. Nobody does anything which is exactly funny in its own right, but it often is funny in its timing and context. For example, there is Beatty's mumbled excuse to Carrie Fisher (whom he has just had sex with) when he is dragged off by Lee Grant (who intends to have sex with him). Similarly, a lot of Jack Warden's self-important manliness is funny in the context of the fact that Beatty is busy screwing his wife, mistress and teenage daughter. Lee Grant gives another of her typically attention-grabbing minor roles, the authoritative society lady one minute, girlishly sipping a soft drink through a straw the next. Returning to Beatty, I'm also vaguely amused by the way he emphasises the last syllable in "pancreas" during the first scene, as if it's some kind of ass.

The director here is Hal Ashby, a really fine craftsman of 70s cinema with a deceptively simple approach. He doesn't move the camera much, and often keeps back a bit from the action, not in a cold, distant way but more to show everything that is going on in a scene and allow the actors' body language to come across as well as facial expression. This is even effective for the comedy, such as in the scene where Beatty trashes the bin outside the bank, in which the wide shot makes him look somewhat pathetic in his anger. When Ashby does move the camera it is usually to give an impression a setting or situation, often with beautiful economy, and nearly always disguised by following the movement of a character. Take the shot which introduces Jack Warden's home life. He enters from one end of the room, kisses his daughter in mid-shot and surrounded by lots of colour. Then as he crosses what turns out to be a rather large room, the camera wheels round, to reveal his wife sitting alone amid stark white furnishings. An editor before he took up directing, Ashby clearly knows the potentially comedic value of a well-timed crosscut. For example, after the scene in which Warden discusses whether or not Beatty is "a fairy", we cut to a shot of Beatty blow-drying a woman's hair, her face virtually in his crotch.

But there is one thing that makes Shampoo really stand out, and this is something which comes both from Ashby's direction and the Towne/Beatty screenplay: Despite coming from a more liberated era, it still has the artful good taste of the sex comedies of the 30s. It resists the temptation to become soft porn or a string of gross-out jokes. There is only a little partial nudity, and for the most part we do not see much of the sex acts, only their beginnings and aftermaths. And this is an era in which a fairly graphic sex scene was fast becoming a staple of any romantic movie. Despite its being a comedy almost wholly concerned with one man's sexual adventures, Shampoo is a surprisingly mature and refreshingly intelligent motion picture.

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