10 (1979)

Directed by: Blake Edwards | 117 minutes | drama, eroticism, comedy, romance | Actors: Dudley Moore, Julie Andrews, Bo Derek, Robert Webber, Dee Wallace, Sam J. Jones, Brian Dennehy, Max Showalter, Rad Daly, Nedra Volz, James Noble, Virginia Kiser, John Hawker, Deborah Rush, Don Calfa

Director Blake Edwards is clearly a slapstick fan. If at all possible, Edwards does add a bumbling character to delight the viewer with all sorts of physical humor. The result is variable. For example, Inspector Clouseau’s madcap antics in ‘The Pink Panther’ were an essential element of his character and were performed to perfection by Peter Sellers. But the clumsiness of the hot-tempered Mr. Yunioshi in “Breakfast at Tiffany’s,” a character that was quite redundant, and also slightly racist, were especially annoying. Dudley Moore’s character in ’10’ is on a slightly better course in this regard, although here too many slapstick moments feel a bit out of place. Yet the melancholy and recognizability of the central story about the man in his mid-life crisis who yearns for his lost youth and therefore pursues the favors of a (much) younger woman, are strong enough to sustain the film.

Although the central theme of the film is a serious matter that many men have to deal with and that undoubtedly leads to many relationships on the rocks, it is not a bad choice by Edwards to keep the tone of the film light. Because, let’s face it, there’s certainly something childish about the behavior of these men, who sulk because they don’t want to grow older and think they have the right to risk or end a valuable relationship. to give. That is one of the characteristics of children: that they want to see their desires immediately satisfied and that they are unable to rank them or – through long-term thinking – appreciate them. Fortunately, the film recognizes this element. Right from the start, when Moore takes a trip in his open car, and sees beautiful women passing by on the way – jogging or walking in bikinis – the film literally tells through the accompanying song that men are children, but women still love them. and feel protected in their arms. Moore is indeed presented as a bit of a nerd, and coupled with the strong character of Julie Andrews, who is his superior intellectually and morally, this initially gives the impression that ’10’ is an emancipated, perhaps even feminist film. This reading is somewhat complicated by the presentation of Moore as an actual victim of his husband. All his actions or missteps are justified with this argument. “He can’t help it. Every man goes through this phase. Nobody is perfect,” Moore’s best friend tells Andrews. So she patiently waits – despite some slight resistance – until hubby has “examined” his lusts in Mexico and completed his psychological journey. Of course, Moore’s findings are interesting and it should be obvious to the viewer that they should just take them to heart rather than undergo the same quest. But at the same time, the film says that every man should be able to go through all this for himself with impunity. Also, the “spiciness” of the “spicy humor” advertised on the DVD cover comes down – not entirely unexpectedly – ​​especially to naked female bodies that largely appear in scenes where Moore watches his neighbor’s orgies and pool parties with his telescope. These spy sessions add very little to the story and seem mainly intended to make the film more “sensual” and to excite the male viewers.

Moore artfully ends up at one of his neighbor’s pool parties, which of course is witnessed by Andrews at just the “right” moment. In any case, it does contribute to Moore’s “loser quality”, which is at the same time the most successful source of humor. The slapstick scenes—when Moore can’t make himself heard after a long session at the dentist, or swings the telescope against his own head, rolls down a hill, and can barely make it up—seem to be dragged in and usually don’t care anymore. then a smile at the viewer. Much more interesting are the verbal sparring with Andrews or embarrassing situations resulting from Moore’s own silliness. This at least has a substantive function somewhere, as these moments provide a deepening of Moore’s character and to a certain extent a greater understanding of his situation. But the drama in ’10’ usually works well and keeps the film going, often mainly the interactions between Moore and an understanding bartender in Mexico that provide sympathy for Moore’s character and his situation. Bo Derek does what’s expected of her—that is, be pretty—although, with her “unusual” beaded braided hair, she might not be the perfect “10” for everyone. Just like the movie this is.