Published via Ecency

(source: imdb.com)

Hollywood sex comedies were for the most part lacking explicitly erotic content, and this was mostly due to strict censorship in both the Hays Code and PG-13 eras. The 1970s were, on the other hand, a time when censorship was lax, and this resulted in some sex comedies with explicit content that actually had something to do with sex. The most successful of them all was 10, a 1979 film written and directed by Blake Edwards, best known for launching the career of an actress who would become the ultimate sex symbol of the late 1970s and early 1980s.

The protagonist, played by Dudley Moore, is George Webber, a successful Hollywood composer who apparently has it all – a series of prestigious awards, fame, fortune, the respect of his colleagues, a luxury mansion, and a long-term romantic relationship with talented singer Samantha Taylor (played by Julie Andrews), who serves as his muse. George has, however, just celebrated his 42nd birthday and suddenly starts to feel old, worrying that he might miss some good things in life, especially after using a telescope to watch his libertine neighbours (Don Calfa and porn star Anette Haven) shamelessly displaying their hyperactive and colourful sex life. What makes him act on these concerns is an accidental encounter with a mysterious and beautiful young woman (played by Bo Derek) with whom he is instantly infatuated, despite her being on her way to church to get married. He goes to great pains to collect information about her and impulsively decides to go to the Mexican resort where she and her husband are enjoying their honeymoon.

Edwards, known as one of Hollywood's best comedy specialists, had two very fortunate casting choices for this film. The first was Dudley Moore as the protagonist. The English comedian, who one year earlier had a relatively small but memorable role as a sex-obsessed conductor in Foul Play, was perfect for the role because his relatively short stature worked well to express his character’s insecurities; Moore, an accomplished pianist and composer in real life, was also more than convincing in the role of a character whose professional life revolves around music. In many ways, it could be argued that 10 was somewhat autobiographical and that Moore actually played Edwards’ alter ego, or at least a character very much like successful Hollywood film-makers married to a talented actress/singer who are suddenly faced with a midlife crisis.

But it is the title character that this film is remembered by. The perfect “10 out of 10” woman the protagonist fantasises about is played by Bo Derek, until that time known for some racy photo shoots and minor roles in forgettable films. Edwards made a perfect choice with a woman whose beauty and impeccable body proportions completely satisfied the parameters of desire for the average heterosexual male at that point in history. Edwards exploited this physical perfection by shooting Bo Derek’s character in scenes both in the protagonist’s fantasy and in reality; the fantasy scenes, in which she runs on the beach in slow motion, became iconic and were later shamelessly copied by Baywatch. Despite some concerns by Edwards, Derek’s acting abilities proved adequate, at least in the long-awaited scene near the end when the protagonist’s fantasy becomes (sort of) reality. Naturally, in order for the fantasy to be complete, Bo Derek appeared nude, but this explicit eroticism was displayed in a natural and non-exploitative way, completely justified by the story and plot.

Unfortunately, viewers who waited for this scene had their patience tested. The plot moves extremely slowly and is affected by Edwards’ desire to evade any criticism that would describe 10 as the ultimate middle-aged man’s fantasy. So, he uses his wife Julie Andrews in the role of a middle-aged but successful and independent woman who ultimately provides a proper alternative for the protagonist; Edwards also uses the opportunity to display his wife’s great vocal abilities, but her singing style and repertoire often sound distracting and old-fashioned. Even worse is Edwards’ indecision over whether to make a serious drama or a comedy about midlife crisis, which results in long, boring and uninspiring discussions about modern morality, hedonism and male-female relationships, which are occasionally interrupted by similarly uninspired slapstick that seems out of place for this sort of film. 10 is at times funny, at times insightful and definitely recommendable for fans of Bo Derek, but they have to use too much fast-forwarding to truly enjoy this film, which makes its title way above its proper rating.

RATING: 4/10 (++)