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|Index||56 reviews in total|
(Dir-Blake Edwards)1st watched 9/19/1998: Excellent story of middle-aged man following his obsession but in the end realizing that what he had currently was far better. Big thing made of Bo Derek's appearance but the movie has a better moral message than you would think. The message is that being content with what you have is far better than chasing dreams that are unreachable.
Bo is as arousing as an inflated doll or Nancy Reagan. Middle-aged man falls
for her. She grants him temporary use of her body since she's kinky, modern
and thankful for swimming ashore where she slept on a surf-board.
He backs down and go back to Julie Andrews. Now I'm middle-aged myself I find the whole adventure unlikely.
This film was really a vehicle for Dudley Moore (Cuddly Dudley) when he was at the peak of his career, along with the opportunity to display the obvious charms of Bo Derrick, who spends much of her time on the screen smoldering or preening. As a rather not so obscure object of desire, Bo is more model than actress. A laborious comedy at best, certainly below Blake Edwards best standards, a few funny moments, (as with the old girl and the tray) but a great deal of boring stuff in between. No doubt Moore's fans in the 70's were impressed, and he is a lovable character, especially when he plays being tipsy, but there is not enough meat in the sandwich this time.
10 is just a code name for "Come see this because Julie Andrews is in it!". Miss Andrews is just fabulous. Besides her superior acting skills, showing off her vocal range talent (singing some very,very high notes) is a big plus in this movie. But they are not surprising for Julie, as a movie is hardly a movie if Julie doesn't sing in it. Forget the rest of the amateur cast, profeesional Julie Andrews (as Sam) is triumphant and dominates the screen. If nothing else, see this movie for Julie Andrews!
A critic once described the object lesson of "10" as being that possibilities are never lost - only the sense of them. It could be the basis for a standard male menopause wallow, but Edwards' deadpan, highly disciplined use of classic slapstick and humiliation, countered with the many ripples of elegance and sexiness and real emotion, add up to something unusually mature. I think it's second only to "SOB" among Edwards' films.
Released in 1979, "10" is about George Webber (Dudley Moore), a
Hollywood composer having a mid-life crisis who rashly decides to
follow his dreamgirl (Bo Derek) to a Mexican resort where she's on her
honeymoon. Julie Andrews plays his girlfriend, Robert Webber his gay
friend in the business, Brian Dennehy his bartender in Mexico and Dee
Wallace a potential one-night-stand.
"10" is more of an amusing drama than a full-tilt comedy. Although there are pratfalls and 1-2 laugh-out-loud moments there are a lot of slow sequences that are extended shots in one take, which means the actors actually had to act. This is different today where the actors only have to act for each 10-second (or less) cut.
What I like best about "10" is that it's like going back in time to 1978. I like Bo Derek but, despite her beautiful face and disposition, she's not actually a '10' in my humble opinion. She needs to gain at least 15 lbs as she's just too thin and unshapely. I'd take Dee Wallace over her any day.
Julie Andrews appears with her hideous haircut. I kept thinking to myself, "I bet she'd be beautiful with some nice locks of hair" and later in the film it shows her in a play with a wig of long hair and -- sure enough -- she's gorgeous.
BOTTOM LINE: "10" is a mildly amusing adult dramedy with numerous slow stretches, but it's highlighted by the 70's chic, quality locations, a handful of attractive women and a good message despite the debauchery.
The film runs 122 minutes and was shot in Beverly Hills, Malibu, L. A., Pasadena, CA, and Manzanillo, Colima, Mexico
*** This review may contain spoilers ***
Though he will probably always be remembered for 1981's ARTHUR, my favorite Dudley Moore performance is still from the 1979 Blake Edwards classic "10". Moore plays George Webber, a man who seemingly has it all: a flourishing career as a songwriter, money, a gorgeous home, an equally gorgeous girlfriend (Julie Andrews), but still feels like something is missing in his life. Then one day, while stopped at a traffic signal, he glances at a girl (Bo Derek)in a limo, on her way to her wedding. George becomes obsessed with this vision, this perfect "10" and forsakes everything in his life, including Andrews, to find and be with this woman. After getting six fillings drilled by the girl's dentist/father (James Noble), in an attempt to learn where the girl went on her honeymoon, George flies to Mexico to find his "10" and eventually learns the lessons you would expect from such a venture. In addition to some great physical comedy offered by Moore, there are moments of great warmth here too. The scenes at the outdoor bar in Mexico where Dudley encounters a lonely woman (Dee Wallace) and plays the piano are lovely. Brian Dennehy is effectively cast against type as the bartender. Also cast against type is Robert Webber as George's gay songwriting partner who tries in vain to make George see what an idiot he is and appreciate the things he has. This IS not just a smarmy sex comedy, but a warm character study of a man chasing something he really doesn't want or need and features one of Dudley Moore's most charming performances.
We all have 'secret pleasure' films - those films that, for some
reason, we get immense joy out of, yet might not want people to know.
'10' is one of those films.
Of course the humour may have dated, but that doesn't detract from what is still a nicely paced, genteel, well rounded and well performed film. But the real joy in this film comes from the skill of director Blake Edwards in getting his actors to actually act. It seems almost alien in this day and age that actors should perform extended shots in one take, where they react to each other without umpteen cuts. But that was always Blake Edwards' thing. Check out the Pink Panther films and watch how many classic scenes featured only a few cuts. It's almost stage acting on film.
There are many joys to be found in '10', especially if you are of a certain age and can relate to the mid-life crisis of George Webber. But if you are looking for a movie which really delivers on the 70s chic - from 8-track tapes to disco, it doesn't get much better than this.
Approach this film with the right relaxed mindset and enjoy.
*** This review may contain spoilers ***
I always was a fan of Dudley Moore, funny actor born with a club foot,
but never an excuse. He just did good stuff on the screen. But what
many never knew about Moore was his piano-playing. He wasn't just good,
not just competent, he was great. He was good enough to have made his
mark as a concert pianist, had he not been an actor.
Here he is George Webber, living in the hills near Los Angeles in a very expensive neighborhood. The "hills" are important because they provide the setting for the funniest scene. George has a telescope to spy on his randy partying neighbors, and on one occasion he ends up down the steep hill and has a heck of a time getting back up.
His long time girlfriend is Julie Andrews as Samantha Taylor. But George has a weakness, and it is displayed for all to see when he encounters pretty, much younger Bo Derek as Jenny Hanley.
The thrust of the story is how a middle-aged man can easily fall hear over heels for a pretty young woman, putting her on a pedestal, imagining her as a "10" in every respect. But as the story develops, George eventually comes to the realization that the person behind those looks is not quite what he thought it would be.
I've watched relatively few of director Edwards' non-PINK PANTHER
films; among the ones I own that I've yet to catch up with are DAYS OF
WINE AND ROSES (1962), WHAT DID YOU DO IN THE WAR, DADDY? (1966) and
This one proved among Edwards' most successful films (though the curt, with-it title emerges to be rather meaningless), drawing attention to itself for treating a serious subject such as mid-life crisis in semi-comedic vein though, ultimately, it's nowhere near as incisive or cinematically deft as Luis Bunuel's THAT OBSCURE OBJECT OF DESIRE (1977) wherein, likewise, a well-respected man continuously humiliates himself in his reckless pursuit of a much younger girl(s) and, besides, results in being unbalanced somewhat by the slapstick passages.
Edwards wrote the script for 10 himself: among the more notable dialogue stretches involve an argument between leads Dudey Moore and Julie Andrews (the director's real-life wife) regarding the definition of the ostensibly disparaging term "broad", and another later on between Moore and Bo Derek his character's 'object of desire' with respect to the girl's casual attitude towards sex. Even if she doesn't really feature in it till the last third, Derek became a sex symbol thanks to 10; that said, her contribution (mixing disarming naivete with effortless sensuality, like an updated version of Marilyn Monroe) is undeniably one of the film's trump cards and, on account of this, I might even have to rent the two notorious vehicles her actor/director husband concocted for her in the early 1980s. Andrews does well enough by her relatively colorless role (which, naturally, sees her as a singing star).
Moore's part had originally been accepted by George Segal, but he left the project for some reason; later, it was offered to Edwards' former muse Peter Sellers who turned it down but, reportedly, did feature in a cameo which scene, however, didn't make the final cut! Moore, whose career up to this point had been sporadic (with BEDAZZLED , which I've just watched, as his only notable starring vehicle) suddenly found himself much in demand after his scene-stealing cameo in FOUL PLAY (1978). This would eventually lead to his most famous role, ARTHUR (1981; for which he received an Oscar nomination and one he reprised for a less successful sequel 7 years later), another collaboration with Edwards MICKEY + MAUDE (1984) and the remake of Preston Sturges' classic UNFAITHFULLY YOURS (1984).
Despite the ample nudity (removed or concealed for network showings of the film) allowed by the current permissiveness in censorship and which is even referenced in the very final scene 10 remains an old-fashioned entertainment at heart: not only is Moore's character a musician (as the star was in real life, after all) who has a (thankfully non-stereotyped) gay songwriting partner in veteran Robert Webber but this is also evident in the conservative i.e. tasteful choice of exponents for the soundtrack (original music and songs by Edwards stalwart Henry Mancini, who gave the film its only Oscar nods, and such standard classical pieces as Ravel's "Bolero").
Commendably, the writer-director also gives space here to the minor characters notably when the scene shifts to Mexico, such as the sympathetic bartender played by Brian Dennehy and the woman with whom Moore has a clumsy fling (Dee Wallace). With this in mind, the film's single greatest laugh-out-loud moment comes fairly early on in the picture and has to do with the senile servant of the priest who celebrated Derek's marriage to future FLASH GORDON, Sam J. Jones (when he's visited by Moore in an attempt to learn more about her).
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