Disney sets Moana for Blu-ray/3D on 3/7, plus Well Go USA’s Phantasm series boxset & LOTS more announcement news https://t.co/kyfD6XKSl9
The Contender: A Touch Of Class (1973)
Number of Nominations: 5 - Picture, Actress (Glenda Jackson), Original Screenplay (Melvin Frank & Jack Rose), Original Song (“All That Love Went To Waste,” music by George Barrie, lyrics by Sammy Cahn), Original Score (John Cameron)
Number of Wins: 1 (Actress)
In box office circles, you’ll occasionally hear talk of the “Oscar bump”, the supposed lift in a movie’s revenue after it’s nominated for Academy Awards. It’s a temporary effect, of course, but it’s curious just how short-lived the Oscar bump can be. You might think that an Oscar win would give a film some kind of immortality but it isn’t true. Case in point: the almost-forgotten Best Picture nominee and Best Actress winner A Touch Of Class.
I’m an active user of Letterboxd, the movie-lover’s social network, and one of the features I enjoy is learning who else has seen a particular film. When I watched A Touch Of Class, I was surprised that only 105 other people had seen it. Not 105 of my friends, 105 Letterboxd users period. By comparison, 5,839 people have watched that year’s Best Picture winner, The Sting. What makes that low figure even more of a shock is the fact that A Touch Of Class was actually a pretty good-sized hit back in 1973, riding a wave of popularity to those five nominations.
The movie itself is a trifle and, like the dessert, it hasn’t aged particularly well. George Segal stars as an American insurance adjuster living in London with his wife and family. He has a chance encounter with Glenda Jackson, a fashion designer and divorced mother of two. Sparks fly and soon the two of them are off to Spain for an illicit affair. After a rocky start that almost has them calling the whole thing off before it even gets started, the pair begins to fall in love. Returning to London, they decide to keep the affair going, renting a cheap flat in a shady part of town (all the girls who live in the building have the surname “French”) and getting together for secret trysts whenever possible.
A Touch Of Class was co-written and directed by Melvin Frank, a member of the old guard in Hollywood who cut his teeth writing for Bob Hope and Danny Kaye vehicles. On the surface, A Touch Of Class seems very modern and sophisticated. But deep down, it’s a resolutely old-fashioned movie that only works as well as it does thanks to Segal and especially Jackson.
George Segal was at the height of his popularity in 1973, coming off of such hits as The Owl And The Pussycat. Glenda Jackson, on the other hand, was actively looking to change her image. She’d already won an Oscar a few years earlier for her role in Ken Russell’s Women In Love and was nominated again for John Schlesinger’s Sunday Bloody Sunday. In other words, she was considered a very capital-S Serious Actress. With A Touch Of Class, she was making a bid for more mainstream commercial success.
Segal and Jackson have an undeniable chemistry and that rapport makes it easy to gloss over some of the movie’s bumpier patches. Because it’s fun to watch their banter, you can almost overlook the fact that Segal’s character is a fairly unlikable cad, eager to cheat on his wife for no good reason. We don’t see a lot of his wife but she seems perfectly nice and inoffensive. It never seems like there’s trouble at home or friction in their relationship, so Segal’s really just a bastard, albeit a charming one.
At least Jackson is fairly upfront about her desires and expectations. She’s looking for something less than a relationship but something a little more than a one-night stand. She seems to realize that the smart play would have been to end things after the trip to Spain. The fact that she keeps seeing Segal anyway doesn’t make her seem stupid or weak, just human. On screen, Glenda Jackson had a presence that always made her seem much smarter than everybody else in the film (probably because she really was). Her work in A Touch Of Class probably wasn’t the most-deserving performance up for the Oscar that year. Personally, I would have given the award to Ellen Burstyn for The Exorcist. Perhaps a more appropriate award for Jackson would have been Most Valuable Player.
Even at the time, A Touch Of Class was an unlikely Oscar contender. It would be a similar situation twenty years later when the fluffy Four Weddings And A Funeral found itself battling it out for the top prize with heavyweights Forrest Gump and Pulp Fiction. There have certainly been worse movies nominated for Best Picture than A Touch Of Class but very few as inconsequential.
A Touch Of Class is available on DVD from Warner Home Video.
- Adam Jahnke