1979 in Film: “10”

This is a look back at “10“, a film by Blake Edwards, that I also like to consider: “Julie Andrews is way too good to be treated like this”. This comedy stars Dudley Moore in the lead role of George Webber, a man who is an extremely well-to-do and alluded composer. You would think someone like George has it all.

But George has one big problem, and that is boredom gnawing away at him, triggered by his denial over the fact that he is turning 42. This is a man who feels like one in his thirties – or even possibly his twenties – and this birthday causes him to go into a mid-life crisis, as he feels middle-age getting closer in just a few years.

The next day while driving around, George mindlessly eyes some women joggers, before he sets his eyes on a young bride, Jenny (Bo Derek), en route to her wedding that pulls up alongside him at a red-light. We see the gleam of obsession take over him and nixing anything he was on his way to do. He follows the luxury car all the way to the church, hits a police car, continues into the church and spies on the proceedings from the coverage of multiple extravagant flower arrangements. A bee crawls on George’s face, nearly blowing his cover all together.

“Back then, George may have been seen as sympathetic in his plight, but on recent re-watch you see how poorly he not only treats women.”

Soon after, George visits his psychiatrist to recount this incident, as well as his overall ennui and restlessness. He drones on about how struck he was by this young women, and the psychiatrist tries to unpack this diatribe. Offering up the fact that George may be more obsessed with her apparent youth and the prospect of her sexual innocence reflected back on his feelings of getting older.

This is just some aspects of the film that make you pause and think for a moment how it ages a bit poorly in our day and age, when the objectification of women in film is less acceptable. Back then, George may have been seen as sympathetic in his plight, but on recent re-watch you see how poorly he not only treats women, but also his friends and others who cross his path.

Later, George and his girlfriend, Samantha (Julie Andrews), settle in for a relaxing evening. This is quite possibly the best sequence in the film, for its sheer simplicity and focus on natural connection between the two, and feels organic. Already feeling passive aggressive over his thoughts on turning a year older, he snaps at Samantha, which soon turns into a stern argument between the two. No resolution is reached, and it ends with Samantha leaving instead of spending the night.

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Still fawning over his fantasy of the young bride, George goes as far as tracking down the priest who performed the ceremony, to underhandedly get information on her. Learning of details, such as her name and that of her husband, he also gets told that her father is a dentist, and makes an appointment to learn even more. Yet again, the film gives a tongue-in-cheek jab at George’s perverse quest. The dentist in casual conversation lets out that his daughter is on her honeymoon in Mexico. We don’t even need to pause to suspect at that it won’t be a stretch that he will follow.

I must quickly touch on the fact that this film has some pretty nifty comedic gags and sequences scattered throughout. Comedy that Blake Edwards directs smoothly, as seen in his works before, and carried through by Dudley Moore extremely well. These sequences most often happen in a recurring gag, where Samantha and George try and fail to make a connected phone call to one another. Usually with one trying and getting the busy signal time and again.

First, there is a scene where George calls her during rehearsal. Distracted by the orgy going on next door, he stumbles and falls down the embankment below. Later, after his dentist appointment, and hopped on pain meds topped with booze, he gets to the phone in time to answer Samantha. But she becomes alarmed at his unusually slurred speech and assumes the worst, calling the cops.

“Some pretty nifty comedic gags and sequences scattered throughout. Comedy that Blake Edwards directs smoothly.”

Samantha, getting increasingly tired of being treated like a fool, leaves and doesn’t wait for him to return. And a shock to no one, we witness George in his inebriated state, board a flight straight to Mexico in pursuit of the young girl he now holds on a pedestal. George bonds with the bartender and soon strikes up conversation with an old acquaintance, Mary Lewis (Dee Wallace).

Wallace gives a strong performance for such a small part, and adds a bittersweet note to her character amidst all the gags around her. The two of them stumble back to his room to sleep together. We cut to a few moments later, the two are undressed and frustrated in bed together. George failed to perform, but while he detaches and dismisses Mary in a throwaway fashion, she in turn feels it is a failing on her part. As she leaves, she stares at her reflection in the bathroom mirror, sadly recounts incidents in her life, showing a bruised self confidence.

Back on his task at hand, George ventures to the beach the next morning, causing a sight as he is clad in a heavy grey tracksuit on a blistering hot day. Stumbling along in bare feet on the dry hot sand, he finally catches sight of the girl. She lounges in the sun, in her beige bathing suit and cornrow beaded hairstyle, completely unaware of George.

He resembles a wolf in some old 1940s cartoon who whistles and wags his tongue. And then that fantasy moment, the infamous slow motion sequence of Bo Derek and Dudley Moore running towards each other, and collapsing in a From Here to Eternity level of embrace in the waves.

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Meanwhile, back home in California, poor Samantha is unaware of what her boyfriend is getting up to, as she confides in mutual friend, Hugh – George’s collaborator. He doesn’t really offer much helpful advice, other than she needs to decide how long she’ll wait for him to finally grow up. And that maybe he just needs to get it out of his system.

All fine and good you may think, until we find ourselves back in Mexico and witnessing George getting close to what he desires the most. As Jenny agrees to have dinner with him, and invites him to her room, while her husband is away convalescing.

It is all almost too good to be true for George. Jenny is far more than the innocent girl he assumed her to be. She puffs away at a joint while recounting a tryst she had as a teen with her step mother’s brother. Noting that Maurice Ravel’s Bolero concerto is the ideal music for lovemaking. The languid melody fills the room, darkened by the late hour with lamplight creates a warm rusted glow. George, of course, gives way to temptation.

In a true reflection on George’s character, we see some of his most unsavory traits come out here. Instead of taking ownership of his philandering, he attacks Jenny. Going on to say that he thought she was special and different as if he feels cheated that he isn’t special to her. Jenny very smartly serves it back, and even though we know her to be just as wrong in her cheating behavior as George is, we can at least respect her self awareness and bluntness. For once, someone has let George know that he isn’t special and didn’t hang the moon.

“This is a film that is capable in it’s humor, but possibly most strong in the few quiet and intimate human moments sprinkled in.”

There is no drastic change or lightbulb moment to befall George. In fact, it feels as if he didn’t really learn anything and instead returns sulkily back to California like a dog with its tail between its legs. He crawls back to Samantha, who takes him back. A disappointment to us, the viewer, as George has not confided what transpired in Mexico to her. We almost have to wonder if something similar may not happen in the future. Even if the film ends on an upbeat note to distract from this possible takeaway.

“10” is an enjoyable film as far as comedy with a touch of innuendo goes. With its strongest points coming from the capable cast who provide the most enjoyment. This is a film that is capable in it’s humor, but possibly most strong in the few quiet and intimate human moments sprinkled in when two characters are in thoughtful conversation.

Maybe it is watching in current times that causes this takeaway, but it can be hard to fully decipher if we are meant to pity George or not. The film takes pity on him for sure, but I found it hard to be as forgiving. At the time, it was allotted and praised for being a good meditation a man’s midlife crisis, but when I watched it is hard to be that nonchalant.

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Yes, the humor is witty, but you can’t help but see how George treats Samantha poorly like she’s nothing but a good fallback. He doesn’t take time to be there for his friend, Hugh, who goes through his own heartache. And turns his back on Mary who more than anything just wanted him to be a friendly ear. Then Jenny, who he verbally degrades when she doesn’t fulfill the fantasy he desired from her.

“10” can be seen as a pretty average comedy, that may maintain good favor more for its cast and direction and less for the story. It is interesting to watch it in today’s day and age, when feminism is hitting more strides and the depiction of women as objects seen through the male gaze as in the 70s is becoming a thing left in the past.

Today, we watch and feel less for George than for the women who get used as tools for his self exploration. Also for his gay friend Hugh who gets the brunt of a lot of George’s juvenile behavior as well.

“10” is a much different film for me, as when I first saw it at a young age and just enjoyed it for the humor. In a way it is an even more layered watch now in that aspect, and you can take away much more underneath along with the laughs. Maybe a moot point, but again I will say that Julie Andrew’s Samantha deserved better. She should’ve given him a taste of his own medicine, and left him at the curb.