Spoiler Warning: This discussion contains some spoilers. It could be an entire gag from a comedy or in-depth conversation concerning events in the second act.
"Let's face it, I fucked them all. I mean, that's what I do."
1975 box-office smash and Hal Ashby vehicle, Shampoo has been a high priority for me ever since I heard about its raucous premise, ridiculous production and Warren Beatty’s heavy involvement. Even then, I wasn’t sure what Shampoo was about and how strangely comedic it would be.
The film is openly set on the date of Nixon’s election and has an oddly political subtext that doesn’t ever truly tie into the narrative of the text; it’s more of a happenstance. Fittingly, much of the political opinion of the time is amusing to consider from the film’s 1975 perspective. Only four years after Nixon’s election, the Watergate scandal would take place, removing much of the faith in America’s conservative values that this goes out of its way to tear down.
The explicit sexual politics of the late 1960s are on display from the opening seconds as Beatty’s himbo hairdresser George has sex over the credits. It is never more on show, though, when Julie Christie declares her desire for fellatio at a Republican party, not only a brave setting but a landmark time. The Hays Code was barely a decade gone, so at this point, it was a progressive move to talk so openly about stuff like that. It’s also a pretty funny comedy beat and still works today.
Ashby’s direction is excellent, especially in the later sections of the counter-culture party with flashing lights and smart camera placement. It’s the shining moment of the text, fuelled by two Beatles tracks taking pride and place in a very stellar soundtrack. The screenplay feels messy in places, unsurprisingly given its historic struggle between Beatty and Robert Towne and can feel a little lost in Ashby’s direction, clearly colliding with Beatty’s voice the loudest.
However, there is a lot to appreciate here. The production design is immaculate, with wonderful set decoration across the board. The costume and hair are, to no surprise, so brilliantly 60s. Beatty’s strange self-referential characterisation as a sex-hungry womaniser desperately attempting to capture the spotlight that eluded him for so long is always interesting to watch unfurl. Julie Christie and Goldie Hawn are entertaining in the two primary leading roles, though, it would be Lee Grant who would gain an Oscar for her performance. She blends in a little for me, the least impressive performance of the three ladies, but she is nevertheless great in her small amount of screentime.
Shampoo is a ridiculous ride. It has become another of the Hollywood Renaissance to really impress me. Warren Beatty has always been a figure of interest, and I need to see more Ashby. Visually stunning, bizarrely in conversation with the political battle of the 60s and 70s, but impressive more so for its unfiltered look at sexual deviancy. I loved the ending, too. A very fun watch, indeed.
Connor Clarke Film 