Shampoo(in Hollywood Movies) Shampoo (1975) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream Shampoo on your mobile, tablets and ipads
Plot: Thirty-something George Roundy is a Beverly Hills hairdresser, who spends as much time sleeping with his female clients as he does doing their hair. Whether they want to admit it, all the women in his life are on the most part aware that they are are not the only one with whom he is sleeping. And… Runtime: 109 min Release Date: 13 Mar 1975
Dated? Unfunny? Only to those weaned on formula action comedies of the past fifteen years. I can still remember the gasp in the suburban twin theater when Carrie Fisher made her indelible suggestion to Beatty, and the roar of delight as viewers saw what Julie Christie was up to at that dinner party.Towne's script, and the acting, makes us care about George, Jackie, Felicia and even Lester, to a degree, and it makes the excellent point that is still true today: money trumps all. Its logical ending, where nothing happens but life goes on, without a wild chase on motorcycle to the airport in <more>
pursuit of Jackie and Lester, is perfect. Did anyone really expect George to win the fair hand of the gorgeous Ms. Christie when he cannot even talk to a banker.As I write more and more highlights come to mind: George giving Lester his lecture on women while Lester's goons wait outside. George fobbing off Felicia in the dark as he hustles to see Jill, the "terminally ill" friend. When Kubrick died, print and the net was drowned in tributes, but poor Ashby, a great filmmaker practically left the earth in silence. Ashby lost himself once the 70s ended, and films had to have tacked on happy endings again [e.g. The Natural], but then in my mind the same could be said of Kubrick.
Surely one of the most cynical "comedies" ever made, SHAMPOO is a jarring, scalding satire featuring Warren Beatty as a highly successful Beverly Hills hairdresser hoping to strike out on his own. Unfortunately his runaway libido and the wacky women in his life are conspiring against him --- as Beatty's neurotic girlfriend, Goldie Hawn is wasted in a thankless role. On the other hand, as Felicia, the wife of his potential benefactor, Lee Grant has the role of her career. She's clingy, desperate, and acid-tongued. Julie Christie is his ex-girlfriend, who happens to be the <more>
mistress of Felicia's husband. Carrie Fisher is Felicia's daughter and may very well be the kinkiest ingénue in film history. The script, by Beatty and the great Robert Towne slams all kinds of politics: presidential, sexual, business, show business...all with equal vengeance. SHAMPOO is something of a naughty cousin to Beatty's more straightforward political satire BULWORTH. The melancholy, sparsely used music score is by Paul Simon
Warren Beatty, Hal Ashby and Robert Towne crafted a sardonic gem with this film. I think it really holds up well almost 30 years later, as a kind of culturally historical document. It is significant in the cannon of great 70's cinema I believe for it's flawless melding of downright screwball comedy with social and finally even emotional drama. It's Preston Sturges for the Free Love Generation.Was Julie Christie ever sexier? And Goldie Hawn? Off the hook pixie erotic! Lee Grant won the Oscar but I felt she was over-shadowed by others in the ensemble. Tony Bill as the creepy <more>
producer. Carrie Fischer as the angry, horny daughter. Jack Warden was perhaps the most under-rated of the bunch for his work here. The movie was very well edited, no surprise there. Nixon came on strong at the end there, his performance was also worthy of Oscar!I just think this is a brilliant film. Genre bending. Political. Human. Real.
An almost perfect balance showing at once the beauty and shallowness of Los Angeles and those who live there. The film is famous for being about Lothario, but the film is really about a cultural malaise that is Los Angeles. The movie industry has infected everyone in Los Angeles and as a result, you can't get your car repaired without hearing some namedropping especially today, but even back in 1968 and velvet rope sightings.Some people seem content to try and write off this film as a Hollywood porn film, but it's much more than that. Porn is cheap and often mechanical. Shampoo is <more>
full of rich characters and the story, as it should, has the tangles of wet hair. How often has you seen a film where you look forward to each scene? To know what the characters will do next? Shampoo at its center, has Beatty, playing both a fictional character, and to some I'm sure, a bit of the ladies man he was in the public eye for years and years. Actually, the character is based on a real hairdresser who had a sad ending, being murdered in the terrible Manson murders along with Sharon Tate. The film not only entertains, but deepens with time. Anyone, whether here or on other sites, tries to compare movies made years ago with movies today, is either naive or terribly arrogant. Would you hold Wuthering Heights next to Saw? Would you compare Nat King Cole to Marilyn Manson? All were or are popular, so what's the difference? Plenty, I doubt most Blacks would like to go back in time and compare the civil rights laws, if even existed, to today's laws. Besides Beatty, there are many other fine performances, from Lee Grant, Julie Christie, Goldie Hawn, Tony Bill, Carrie Fisher, Jack Warden among others. Restored on DVD, it's a very good watching experience now as well.
This is one of those films that all takes place in one 24-hour period. When such movies work, the changes in the characters' lives feel more real and intense. So it is in "Shampoo", as we watch George's world slowly crumble. Rarely has a movie-star's real life persona been used to better effect. Warren Beatty gives a moving performance as a guy who sincerely does not intend to hurt anyone, but he becomes a victim of his own allure. He is supported by fantastic ensemble acting. Written by Beatty and Robert Towne Chinatown , and directed by Hal Ashby Harold and Maude, <more>
Being There , "Shampoo" is Hollywood moviemaking at its best, and it deserves to be ranked with its more well-known contemporaries, like "M*A*S*H", "Annie Hall", and "The Sting". Its theme of the emptiness of unchecked promiscuity is still relevant in a culture where sex is more of a commodity than ever.
I know it's classed as comedy but... (by bluegoldhighlander)
...while there are certainly humorous moments in this film, overall I found it mostly poignant. After watching this film I always feel a sense of longing, loss and nostalgia for the past. Is this what George is feeling when finally proposing to Jackie? A feeling that perhaps the past was better than what is currently being experienced and a compulsion to try and re-create some of that magic that existed when he was younger? The closing scene of him watching Jackie being driven away by Lester wonderfully portrayed by Jack Warden is one of the most touching scenes of loss in modern film? To <more>
finally recognise what is important only when it is too late is one of the most affecting human tragedies. Dismissing George as a simple playboy I think also sells this movie short. Certainly George is a womanizer in this film, but I feel he could also be seen as much used as the user. Certainly the women in this film Felicia, Lorna, Jill and to some extent Jackie could be seen as the aggressors in most of the sex that occurs. The constant demands of all the women in this film, even the women on the street that come up to George and demand "call me," make George in some ways a character that deserves some sympathy. Overall I find Shampoo to be very under-appreciated, being written off as a mere sex/comedy farce. There is a lot more depth to it than that. To really appreciate it, it should be looked at in the context of the time it was made, the end of one era swinging 60's and the beginning of another, characterized more by the loss of innocence Watergate, end of Vietnam, 70's recession . Surely this translates equally well to the passing of any era and the moving on into new times that may not be that comfortable to those that fully enjoyed what went before.
Fun 60s lifestyles with social criticism thrown in (by roger-212)
Hal Ashby always leavened his comedic films Harold and Maude, Being There, Last Detail with sharp social commentary and observation, and "Shampoo" is no different. Taking place on the eve and day of the 1968 Presidential Election, it's as concerned with the "free love" hedonism as it is with the profound and dark social changes that had taken place by 1975 the year "Shampoo" was produced .Beatty has never been more charming - or revealing as emptily vain as anyone so "successful" with women can become, and the film switches between surprisingly <more>
adult material even for now with a concern for mid-life crises, cultural politics, and ultimately, a cynical view of how the free-wheeling 60s counterculture didn't take themselves seriously enough. Robert Towne's influence in the script is clearly evident.Already "dated" when it came out, it's a great snapshot of the times, its concerns and issues, and is relevant today.
The Hairdresser Undresses The Customer (by Chrysanthepop)
'Shampoo' is quite an interesting period black comedy set in the late 60s during the sex revolution. In one sentence, it's about a Casanova hairdresser who sleeps around with every woman he meets but there is one whom he loves and she happens to be the mistress of a not-to-mess-with businessman. Ashby does a splendid job in bringing out the 60's look but it is Towne and Beatty who bring the feel especially through the dialogues and use of language. Not to mention, the make-up department that does an equally fine job. The humour is somewhat different from other films and <more>
traditional viewers may find the jokes somewhat vulgar but that doesn't bother me as long as they manage to draw chuckles and at least make me smile. The actors, that include a vivacious supercute Goldie Hawn, a sizzling Julie Christie, a hilarious Jack Warden, a fiery Lee Grant and a very young Carrie Fisher. But, it is Warren Beaty's film. He demonstrates George's wildness, passion, vulnerability and despair with effective skill. In my humble opinion it is one of his best works, both as actor and writer. I don't understand why people call it outdated. It is set in an older time and if the humour still works, why is it obsolete? I got the movie randomly and now I'm glad that I picked this one.
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 <more>
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.