All right, so this isn't a great movie. It just happened to come along at the right moment in my life to have an impact. As a young man not yet turned 20, I could certainly identify with both Dudley Moore wanting to recapture youth through a fling with Bo Derek, and Bo Derek just wanting to have fun (and show her appreciation for Dudley's saving her boyfriend's life.) Add to that the fact that I was working at a record shop and remember selling about 9832 copies of Ravel's Bolero, and it boils down to this; "10" brings back a host of good memories for me. - mps
95 Reviews
Thoughts About '10' - Then And Now
ccthemovieman-14 June 2007
Boy, this was "hot stuff" back when it came out in 1979: I am referring to both the movie AND Bo Derek!
Actually, Dudley Moore was a box-office star, too. Nobody had heard of Derek before this, but this film certainly made her an overnight sensation. She didn't have to say anything in the film, just walk down a beach. Certainly, the number "10" now had a new meaning in the culture.
Basically, the film is about a guy who spots Derek, and then totally makes a fool of himself over her. Most guys would have done the same thing. Moore, making an idiot of himself as "George Webber," provided a lot of laughs and Bo had to just....well....just let herself be photographed. Fortunately, in real life, she turned out to be far more than just some hot- looking bimbo. I've heard her on several talk shows in recent years, and she's no dummy.....and still looks tremendous. Meanwhile, Moore, who had some tough physical ailments, really didn't have a noteworthy career after this film with one exception: Arthur (1981). The poor man died in 2002.
One forgets that a huge big-name actress co-starred with Moore in this movie: Julie Andrews. Perhaps a good part of that reason we forget that is she doesn't play a memorable character. It fact, she's downright unappealing as Moore's girlfriend "Samantha Taylor."
It's also easy to forget about some of the cultural issues songwriter "Webber" dealt with, bemoaning the shallowness of the current generation and its music tastes, and finally realizing his own shallowness won't lead to happiness just by being with a woman half his age. There are some profound things to ponder in this film even though it often concentrates on the slapstick humor angle. As a guy who has gone through the usual "mid- life" crisis, I would to sympathize with Webber's dilemmas but since this idiot is drunk half the time and an extremely self-indulgent person, I found it hard to "root" for him. Drunks have never been funny to me. So, when I watched this film on VHS 15 years later, it wasn't as fun as the fist time.
Speaking of drinks, Brian Dennehy was excellent as a bartender. I wish he had played more "nice guy" roles like this during his career, instead of so many evil and profane villains.
Along with millions of others, I enjoyed the movie 30 years ago, but now it's kind of sad, too slow and even painful to watch at times. For those of us who saw in the theater, the film now appears somewhat dated, but so are all of us, I guess, are dated, too.
Actually, Dudley Moore was a box-office star, too. Nobody had heard of Derek before this, but this film certainly made her an overnight sensation. She didn't have to say anything in the film, just walk down a beach. Certainly, the number "10" now had a new meaning in the culture.
Basically, the film is about a guy who spots Derek, and then totally makes a fool of himself over her. Most guys would have done the same thing. Moore, making an idiot of himself as "George Webber," provided a lot of laughs and Bo had to just....well....just let herself be photographed. Fortunately, in real life, she turned out to be far more than just some hot- looking bimbo. I've heard her on several talk shows in recent years, and she's no dummy.....and still looks tremendous. Meanwhile, Moore, who had some tough physical ailments, really didn't have a noteworthy career after this film with one exception: Arthur (1981). The poor man died in 2002.
One forgets that a huge big-name actress co-starred with Moore in this movie: Julie Andrews. Perhaps a good part of that reason we forget that is she doesn't play a memorable character. It fact, she's downright unappealing as Moore's girlfriend "Samantha Taylor."
It's also easy to forget about some of the cultural issues songwriter "Webber" dealt with, bemoaning the shallowness of the current generation and its music tastes, and finally realizing his own shallowness won't lead to happiness just by being with a woman half his age. There are some profound things to ponder in this film even though it often concentrates on the slapstick humor angle. As a guy who has gone through the usual "mid- life" crisis, I would to sympathize with Webber's dilemmas but since this idiot is drunk half the time and an extremely self-indulgent person, I found it hard to "root" for him. Drunks have never been funny to me. So, when I watched this film on VHS 15 years later, it wasn't as fun as the fist time.
Speaking of drinks, Brian Dennehy was excellent as a bartender. I wish he had played more "nice guy" roles like this during his career, instead of so many evil and profane villains.
Along with millions of others, I enjoyed the movie 30 years ago, but now it's kind of sad, too slow and even painful to watch at times. For those of us who saw in the theater, the film now appears somewhat dated, but so are all of us, I guess, are dated, too.
Wryly comedic
smatysia16 December 2020
Dudley Moore stars as a dissatisfied 42-year-old having his "midlife crisis". He turns in a good performance, even if his character is not very likeable. The comedy is mostly of the wry variety, although there are some physically comedic vignettes. Julie Andrews is wasted in a relatively small part with a bad hairstyle. Dee Wallace was quite charming in a small part. And Bo Derek looked very good, and her acting was certainly adequate, in spite of the reviews. The ending, while a bit predictable, carried some emotional power. It's worth seeing, but no classic.
70s chic - and then some
til_gang_pics30 June 2013
We all have 'secret pleasure' films - those films that, for some reason, we get immense joy out of, yet might not want people to know. '10' is one of those films.
Of course the humour may have dated, but that doesn't detract from what is still a nicely paced, genteel, well rounded and well performed film. But the real joy in this film comes from the skill of director Blake Edwards in getting his actors to actually act. It seems almost alien in this day and age that actors should perform extended shots in one take, where they react to each other without umpteen cuts. But that was always Blake Edwards' thing. Check out the Pink Panther films and watch how many classic scenes featured only a few cuts. It's almost stage acting on film.
There are many joys to be found in '10', especially if you are of a certain age and can relate to the mid-life crisis of George Webber. But if you are looking for a movie which really delivers on the 70s chic - from 8-track tapes to disco, it doesn't get much better than this.
Approach this film with the right relaxed mindset and enjoy.
Of course the humour may have dated, but that doesn't detract from what is still a nicely paced, genteel, well rounded and well performed film. But the real joy in this film comes from the skill of director Blake Edwards in getting his actors to actually act. It seems almost alien in this day and age that actors should perform extended shots in one take, where they react to each other without umpteen cuts. But that was always Blake Edwards' thing. Check out the Pink Panther films and watch how many classic scenes featured only a few cuts. It's almost stage acting on film.
There are many joys to be found in '10', especially if you are of a certain age and can relate to the mid-life crisis of George Webber. But if you are looking for a movie which really delivers on the 70s chic - from 8-track tapes to disco, it doesn't get much better than this.
Approach this film with the right relaxed mindset and enjoy.
Don't misunderstand this film
Gatorman911 July 2020
Warning: Spoilers
I debated writing a review of this film until I read quite a number of others and realized the negative ones generally seem to have come from people who didn't understand it.
When at least many, many guys are pretty young a girl is very typically something very, very exciting, but as the years roll on that kind of feeling steadily diminishes. By the time you are, say, 42, this may have reached the point that, just as you can look at a recent picture and see just how far your hairline has receded in the past two decades (and just how far your belt line has done the opposite), you may get an opportunity to suddenly discover just how far those feelings have declined when unexpectedly you see somebody that suddenly reawakens that excitement. For the first time in literally ages, you instantly feel not just better, but vastly better, the best you have since you graduated from college. That's what happens to George Webber (Dudley Moore) in this movie, and what others dismiss simplistically as an "obsession" or "middle-aged lust" (whatever that could possibly be) is the simple fact that he suddenly feels a lot more alive again than he has in many, many years.
So, naturally he pursues this. In reality, it's not about lust, but one character's Ponce de Leon story, where in fact, as far as he feels, he has actually discovered a fountain of youth. But alas, just as with Ponce de Leon, there is no such thing. Reality rears its ugly head when the awesome power of the imagination is overwhelmed by the plain reality of actual life, and as soon as the starry image inspired by the pretty form of his supposed object is dissolved by the stark fact of an actual encounter, the whole thing is revealed as an illusion in his mind, and he is left to deal with what he has rather than what his imagination had briefly teased him with instead.
The good news is that somehow out of this he emerges at least rejuvenated enough to make amends with his real life and get back to more promising personal business, as I suppose anyone would do who doesn't wind up doing themselves to death with drink or worse.
The tale is a Blake Edwards one which means it has to be told as a "bedroom" farce, with plenty of the usual kind humor you would expect from that source, and from Dudley Moore himself, as well. Being as it was made in 1979, Edwards probably had little choice but to push the envelope further than he would have in OPERATION PETTICOAT (his first such venture, in 1959), lest too large a chunk of the self-styled and only allegedly "cool" people in the late 70's audience pan it as old-fashioned. In this vein he and his leading lady and own wife Julie Andrews were expected to aggressively shed her Mary Poppins image, however ridiculous that effort might seem 40 years later. But the viewer has to remember those days to understand the impetus for this; even theretofore gentle sweetheart singer Olivia Newton-John was doing the same thing in the same time frame as a gushing entertainment press exalted her "new image". Against that backdrop the modern viewer needs to cut Edwards, et al., some slack.
This movie has a lot of very funny humor, both situational and physical, and if I had any complaint about it, it was that the dialog seemed somewhat lazy, not at all as witty as what was needed to get a really first-class effort (this again seems an attempt to employ what was "with it" for the times, ignoring the fact that practically nothing about what was with-it in 1979 was either very good or the least bit memorable). But unlike a pure comedy, it also had a very serious side that can wear on a viewer if you can identify with it too well. In that regard, in some ways it is not far from a tragedy at times. And as at least one other perceptive reviewer here has noted, the pacing is a bit leisurely, something that becomes more prominent with repeat viewings. And finally, I guess it would be out of place not to mention that if the movie is about a "10", then they found the ideal figure to play her in Bo Derek, who was a rare, even unique, knockout among women seen on the screen in the Hollywood of that era. Her physical appearance lent an ethereal quality necessary to make her believable as George Webber's fantasy woman that the average beautiful actress normally does not have. The bottom line is, given all these considerations I gave it a 7/10, meaning that if you get a chance to see it, I don't recommend passing it up.
When at least many, many guys are pretty young a girl is very typically something very, very exciting, but as the years roll on that kind of feeling steadily diminishes. By the time you are, say, 42, this may have reached the point that, just as you can look at a recent picture and see just how far your hairline has receded in the past two decades (and just how far your belt line has done the opposite), you may get an opportunity to suddenly discover just how far those feelings have declined when unexpectedly you see somebody that suddenly reawakens that excitement. For the first time in literally ages, you instantly feel not just better, but vastly better, the best you have since you graduated from college. That's what happens to George Webber (Dudley Moore) in this movie, and what others dismiss simplistically as an "obsession" or "middle-aged lust" (whatever that could possibly be) is the simple fact that he suddenly feels a lot more alive again than he has in many, many years.
So, naturally he pursues this. In reality, it's not about lust, but one character's Ponce de Leon story, where in fact, as far as he feels, he has actually discovered a fountain of youth. But alas, just as with Ponce de Leon, there is no such thing. Reality rears its ugly head when the awesome power of the imagination is overwhelmed by the plain reality of actual life, and as soon as the starry image inspired by the pretty form of his supposed object is dissolved by the stark fact of an actual encounter, the whole thing is revealed as an illusion in his mind, and he is left to deal with what he has rather than what his imagination had briefly teased him with instead.
The good news is that somehow out of this he emerges at least rejuvenated enough to make amends with his real life and get back to more promising personal business, as I suppose anyone would do who doesn't wind up doing themselves to death with drink or worse.
The tale is a Blake Edwards one which means it has to be told as a "bedroom" farce, with plenty of the usual kind humor you would expect from that source, and from Dudley Moore himself, as well. Being as it was made in 1979, Edwards probably had little choice but to push the envelope further than he would have in OPERATION PETTICOAT (his first such venture, in 1959), lest too large a chunk of the self-styled and only allegedly "cool" people in the late 70's audience pan it as old-fashioned. In this vein he and his leading lady and own wife Julie Andrews were expected to aggressively shed her Mary Poppins image, however ridiculous that effort might seem 40 years later. But the viewer has to remember those days to understand the impetus for this; even theretofore gentle sweetheart singer Olivia Newton-John was doing the same thing in the same time frame as a gushing entertainment press exalted her "new image". Against that backdrop the modern viewer needs to cut Edwards, et al., some slack.
This movie has a lot of very funny humor, both situational and physical, and if I had any complaint about it, it was that the dialog seemed somewhat lazy, not at all as witty as what was needed to get a really first-class effort (this again seems an attempt to employ what was "with it" for the times, ignoring the fact that practically nothing about what was with-it in 1979 was either very good or the least bit memorable). But unlike a pure comedy, it also had a very serious side that can wear on a viewer if you can identify with it too well. In that regard, in some ways it is not far from a tragedy at times. And as at least one other perceptive reviewer here has noted, the pacing is a bit leisurely, something that becomes more prominent with repeat viewings. And finally, I guess it would be out of place not to mention that if the movie is about a "10", then they found the ideal figure to play her in Bo Derek, who was a rare, even unique, knockout among women seen on the screen in the Hollywood of that era. Her physical appearance lent an ethereal quality necessary to make her believable as George Webber's fantasy woman that the average beautiful actress normally does not have. The bottom line is, given all these considerations I gave it a 7/10, meaning that if you get a chance to see it, I don't recommend passing it up.
It's Easy to Say
ThomasDrufke26 September 2017
"10" is far from a masterpiece, in fact, it's much more of a goofy 70's rom-com than anything else, but there's a little bit more heart and quite a few more laughs than I thought there would be here. The film is about a man (played by Dudley Moore) going through a mid-life crisis as he realizes his age is creeping up on him as he's failing to provide a spark in his relationship with the one and only Julie Andrews. What follows feels like a movie made specifically for sexually deprived teenagers, but there's definitely a little bit more to it than that. George Webber (Moore) is a film composer recognized by everyone for his famous ballads, but he rarely shares an intimate moment with people for various reasons. Spending his nights desperate to find his music again and spying on his neighbor who consistently hosts sex parties, there's not a lot going for Webber. But when he stumbles upon a young newly married woman, things begin to change. The actual plot itself isn't the most interesting, especially as it consistently meanders into slapstick comedy. I mean, George literally has a mid-day fantasy of Bo Derek slowly running on a beach Baywatch style for over a minute. It's not exactly the most tightly written or directed feature. However, I did at least connect to the Webber character in part. His relationship to Andrews is touching at times, and I have a special place in my heart for film composers. Henry Mancini's score is another gem and it's definitely a film that can be enjoyed in the background if you turn your brain off for a few hours.
6.4/10
6.4/10
A Delightful Comedy
Uriah433 April 2020
Having just turned 42 and suffering from a midlife crisis, a musical composer by the name of "George Webber" (Dudley Moore) leaves his colleague's house and on the way home happens to see a beautiful bride in the back seat of a limousine being driven to a church for her wedding. Although he is currently in a committed relationship to a musician by the name of "Samantha Taylor" (Julie Andrews) he becomes determined to find out as much about this gorgeous woman as possible. What he doesn't take into account, however, is the difficulties this new obsession of his will bring upon everybody associated with him along the way. Now rather than reveal any more I will just say that when this picture initially came out most people were intrigued by the sensational film debut of Bo Derek (as the bride "Jennifer Hanley") who became an international sex symbol overnight. However, there is much more to this movie than that as both Dudley Moore and Julie Andrews were nominated for Golden Globe Awards for their performances while Henry Mancini was likewise nominated for an Academy Award for his musical score. I especially liked the piano solo in the Mexican bar and the song by Julie Andrews at the very end which were both quite beautiful. In any case, while the film might not rate a perfect "10" it certainly had its moments and for that reason I have rated it accordingly. Above average.
It's a shame "10" isnt a 10 out of 10
CharltonBoy14 March 2002
I remember when this film was first shown on TV about 17 years ago and the kids at my school saying how good this was and in graphic detail how the sex scenes panned out. I was never allowed to watch this and it is not until now that i have got the chance to see it and my over riding thought is,Boy do kids exagerate!. This film is decribed in the listings as a sex comedy yet i found "10" lacking in both of those ingredients. While at times this has it's funny moments thanks to Dudley Moore , they are few and far between and as for the sex part well i have seen more sex in a Charlie Chaplin movie! In a way this film is quite depressing , Dudley Moore slowly drinks himself to death (a bit like real life)while moaning that he is too old, yet he manages to pull the beautifull Bo Derek after following her and her new husband all the way to Mexico. yet when gets her into bed he moans that she is cheating on her Husband and walks out! You Fool! The most depressing thing that happens is that poor old Dud ends up with his old Flame julie Andrews who to me ,is as sexy as most people's grandmother, even when she was 18. Over all "10" has it moments but it is far too long and far too depressing. 5 out of 10
My Favorite Dudley Moore Performance
Isaac58552 December 2005
Though he will probably always be remembered for 1981's ARTHUR, my favorite Dudley Moore performance is still from the 1979 Blake Edwards classic "10". Moore plays George Webber, a man who seemingly has it all: a flourishing career as a songwriter, money, a gorgeous home, an equally gorgeous girlfriend (Julie Andrews), but still feels like something is missing in his life. Then one day, while stopped at a traffic signal, he glances at a girl (Bo Derek)in a limo, on her way to her wedding. George becomes obsessed with this vision, this perfect "10" and forsakes everything in his life, including Andrews, to find and be with this woman. After getting six fillings drilled by the girl's dentist/father (James Noble), in an attempt to learn where the girl went on her honeymoon, George flies to Mexico to find his "10" and eventually learns the lessons you would expect from such a venture. In addition to some great physical comedy offered by Moore, there are moments of great warmth here too. The scenes at the outdoor bar in Mexico where Dudley encounters a lonely woman (Dee Wallace) and plays the piano are lovely. Brian Dennehy is effectiveLY cast against type as the bartender. Also cast against type is Robert Webber as George's gay songwriting partner who tries in vain to make George see what an idiot he is and appreciate the things he has. This IS not just a smarmy sex comedy, but a warm character study of a man chasing something he really doesn't want or need and features one of Dudley Moore's most charming performances.
Lightly amusing fluff
Wizard-814 June 2020
Warning: Spoilers
For several decades this film was always on my list of movies to watch, but for some reason I never got around to watching it until now. I'd had heard how hilarious it was supposed to be, though I didn't find it laugh out loud funny, just a silly but somewhat likable exercise. But at least it's more palatable than "R" rated movies in this day and age, because of its much different tone and pacing. What really surprised me about this movie was how leisurely paced it was, as well as being over two hours long. A modern comedy wouldn't take long to get down to business, but this movie takes its time; for example, Dudley Moore doesn't get down to Mexico to crash the honeymoon of his dream girl until almost half the movie has passed. But the movie never gets so slow that it's boring, and Moore does give a likable comic performance. Not one of the best comedies ever made, but perfect when you want to kick back and be lightly amused for a couple of hours.
A Very Melancholy Comedy
hokeybutt23 January 2005
"10" (4 outta 5 stars) Kind of weird seeing this movie again after 20 years. When I first saw it I was just a kid in my early 20s and now I am older than the character Dudley Moore plays in this movie... a cranky, disillusioned composer going through a mid-life crisis. Dang, I never had one of those at 40... does this mean I'm overdue? Anyway, flawed as this movie is, it is still a classic. It's generally considered a "comedy" but the most effective scenes are the quieter, more melancholy scenes. (The scene where Moore plays the piano in the bar for Dee Wallace gets me every time.) This is probably the best role of Moore's career... he's able to come across as sympathetic even while acting like a jerk for most of the movie. It's the supporting performances by Julie Andrews, Dee Wallace, Robert Webber and Brian Dennehy that really give the movie its depth. Thankfully, Bo Derek doesn't really have to do any acting, so she doesn't throw the movie too much out of whack. The movie seems a lot sadder to me these days... though I thought it was hysterically funny 25 years ago.
So much better than the simple premise
Poppybiscuit9 March 2013
Warning: Spoilers
If you never watch this film because the basic old man chases younger girl theme is too banal, you are missing a treat. This is a classic film, and so much richer than the simple premise. The cornerstone of the movie is the piano scene, outside under the palms by the beach. Dudley Moore, an exceptional pianist, plays "It's Easy". He plays for amusement, for himself, he plays with anger, for the frustration of unattainable lust, he plays to tease, to move the (delightful) holiday golddigger and he plays to bond with, perhaps just to impress, the the barman, the provider of his needs, his booze. It's hard to think how a scene could ever be played that could better depict a mid-life crisis, the theme of the film. It has been said that neither Bo Derek nor Julie Andrews were great, or suitable in their roles, but I don't think that matters. With such a strong performance as Dudley Moore gives, supporting roles can only ever be that. The scenes around his arrival at the resort are very funny. Don't just think of this as the film where a middle aged man sees a bikini clad girl running in slow-mo across a beach. That's the punchline - its a lot better than that.
Entertaining
cheffychic31 August 2001
Although "10" was not as good as i thought it was going to be, i still think that it is a good movie to watch when you're too lazy to get out of the house or something. Not much else to say except for rent it, because on tv they cut out the funniest scenes, like every other movie.
funny, cool, and a total 10
lucas_dunaway30 September 2002
I'll never forget seeing Bo Derek for the first time in this movie. I was shocked (hated the hair, but it made the character) This is a great movie about a man who is having a mid-life crisis. Dudley Moore, has just turned 42, and is single (dating Julie Andrews.) While driving around in his Rolls, he sees Bo Derek in a Mercedes on her way to her wedding. Hes totally wild over her, and she becomes a sort of obsession. So he finds out where they are honeymooning, and goes there. The movie is great, its funny, and keeps you laughing. This was also Bo's break-through. Shes a total 10, and even though she speaks very little, her character is a HUGE part of the film. Its great, everyone should see this film.
10 out of how many stars?
lee_eisenberg22 April 2006
"10" isn't really the sort of movie that I feel that I can just straightforward review, as it has its ups and downs. The plot of course has composer George Webber (Dudley Moore) going through his midlife crisis all obsessed with the hot young women, thereby messing up his relationship with girlfriend Samantha (Julie Andrews). I guess that if the movie has any problem, it's the casting of Moore. From everything that I've ever heard, it sounds like he was kind of worthless and undesirable to be around. Granted, in this movie he does a passable job as George, although it's hard to tell whether the movie is romanticizing or ripping at the LA lifestyle.
As for the movie's famous scene - Bo Derek in her swimsuit - I don't know what else to say. She later spoofed that scene in "Tommy Boy", but I don't know what else she's done recently except appear at the Republican National Conventions. And who on the set of "Mary Poppins" would have ever guessed that Julie Andrews would eventually star in this? Among the really funny scenes in my opinion are the wedding (and the events leading thereto), and what happens when George identifies himself as a Brit. In a way, Dudley Moore was expanding on his character from "Foul Play". Still, I think that we're probably doing Blake Edwards a favor if we remember him more for the "Pink Panther" movies. Also starring Dee Wallace (yep, ET's mom!), Brian Dennehy, and that guy at the end was character actor Don Calfa; you're sure to have seen him somewhere.
As for the movie's famous scene - Bo Derek in her swimsuit - I don't know what else to say. She later spoofed that scene in "Tommy Boy", but I don't know what else she's done recently except appear at the Republican National Conventions. And who on the set of "Mary Poppins" would have ever guessed that Julie Andrews would eventually star in this? Among the really funny scenes in my opinion are the wedding (and the events leading thereto), and what happens when George identifies himself as a Brit. In a way, Dudley Moore was expanding on his character from "Foul Play". Still, I think that we're probably doing Blake Edwards a favor if we remember him more for the "Pink Panther" movies. Also starring Dee Wallace (yep, ET's mom!), Brian Dennehy, and that guy at the end was character actor Don Calfa; you're sure to have seen him somewhere.
Confessions of middle-age.
TOMASBBloodhound28 February 2010
This Blake Edwards sex farce probably serves as his apology to his wife Julie Andrews for occasionally letting younger women catch his eye. It happens to all of us, unless we are somehow rich or famous. The younger women we still crave are just not into us older guys. But that's life. And it serves as a dilemma for Dudley Moore's George Webber character. His is a successful, yet undeniably aging composer who just turned 42. He seems to have a lot going for him including a wonderful girlfriend his age (Andrews), a fancy home in a swinging neighborhood, and a nice Rolls Royce. But one day while out on a drive, he catches the eye of a beautiful young bride-to-be on the way to her wedding. Webber then spends the majority of the film lusting after her.
This film is a bit uneven when you break it down, but more often than not it succeeds. The laughs here come from Dudley Moore doing John Ritter style physical comedy. I do believe the show Three's Company was popular back then. The story on the other hand moves a bit too slowly than you'd hope. The material here just doesn't warrant a two-hour running time. The script does throw in some surprises here and there, mostly after Moore has located the girl in Mexico. And there he learns that the gap in their ages is dwarfed by their gap in values. It was a nice revelation.
The acting is quite good here. Moore is delightful and his relationship with Andrews allows her to shine as well. Robert Webber takes a surprising turn as a gay songwriter partner of Moore's. The two seem to have the kind of relationship Bernie Taupin might have shared with Elton John. Its interesting to see what Brian Dennehy was up to before getting type-cast as the "macho man". Bo Derek wasn't the greatest actress, but she is a joy to behold in a physical sense. And she really gets very little screen time, anyway. Yes, the film looks quite dated, but the California of that time was infinitely more magical than the illegal immigrant and gang infested Kaleeforneea of today. All in all I'd say this film is worth about 7 of 10 stars.
The Hound.
This film is a bit uneven when you break it down, but more often than not it succeeds. The laughs here come from Dudley Moore doing John Ritter style physical comedy. I do believe the show Three's Company was popular back then. The story on the other hand moves a bit too slowly than you'd hope. The material here just doesn't warrant a two-hour running time. The script does throw in some surprises here and there, mostly after Moore has located the girl in Mexico. And there he learns that the gap in their ages is dwarfed by their gap in values. It was a nice revelation.
The acting is quite good here. Moore is delightful and his relationship with Andrews allows her to shine as well. Robert Webber takes a surprising turn as a gay songwriter partner of Moore's. The two seem to have the kind of relationship Bernie Taupin might have shared with Elton John. Its interesting to see what Brian Dennehy was up to before getting type-cast as the "macho man". Bo Derek wasn't the greatest actress, but she is a joy to behold in a physical sense. And she really gets very little screen time, anyway. Yes, the film looks quite dated, but the California of that time was infinitely more magical than the illegal immigrant and gang infested Kaleeforneea of today. All in all I'd say this film is worth about 7 of 10 stars.
The Hound.
10 - Bo Derek and Dudley Moore
powerje7521 September 2005
Warning: Spoilers
I really enjoyed this film - the whole dream thing for Dudley followed by him actually managing to pull this lovely young thing... it's the stuff of dreams! It also shows that you should never give up on your dreams, but also that dreams are often better than reality (hence he ended up not going through with it) - it's a quality film that deserves more showings on TV than it gets! Of course the gratuitous nudity helped pass along the more boring moments.. and which red-blooded male wouldn't do as Dudley does? Telescopes are definitely NOT useless during the day despite what Patrick Moore might say! So, for sheer eye candy, coupled with getting an ugly man an attractive girl, this film is great to watch - plus it has many comic moments too of course! Marvellous!
"10" Gets A "5" From Me
sddavis633 July 2017
"10" is not an unpleasant movie to watch. It has several humorous moments, a largely likable cast and a good performance - frankly, I thought it was the best of the movie - from Julie Andrews, in a role that pushed her far beyond what her fans would have been used to seeing her in - fare such as "The Sound Of Music" or "Mary Poppins." You could even say that it's an interesting reflection on middle age. But at the same time there's an uncomfortable quality to this movie; it has a bit of "creepiness" to it that made this less than fully enjoyable.
Dudley Moore played George Webber - a music composer who's just celebrated his 42nd birthday and who finds himself dissatisfied with life. He has everything a man could realistically want. He's successful in his career, he has friends and he seems to have all the toys, and he has Samantha (Andrews), his quite beautiful girlfriend who he frustrates with his inability (or refusal) to emotionally connect. For all that he has, George comes across as sad and lonely, and in spite of the fact that he should be very happy (what more does he need?) he becomes suddenly infatuated with a bride (Bo Derek) who he spies when her limo stops at a red light beside his car. To him, she's the perfect "10" on a scale of 1-10 (hence, the movie's name.) It was this infatuation that gave the movie it's creepy feel (although the arrangement he apparently had with a guy to spy on each other with telescopes - which gave the move much of its mildly erotic feel - also added to that.) In spite of the fact that Jenny is just married, George's infatuation turns into pursuit - you could even call it stalking. He goes out of his way to find out who she was and where she went on her honeymoon, follows her there, claims a spot beside her on the beach (all the better to ogle her from), and manages to save her husband's life for no other reason it seems than to get her into bed with him. In my view, the whole thing could have been done in a way that would have been more consistent with this being the romantic comedy that most people think of it as. It certainly has its sensitive moments (and the requisite happy ending as George seems to overcome his mid-life crisis) and, as I said, it is humorous at times, but that whole plot just gave this a very heavy and uneasy feel to me.
Andrews, as I said, was the highlight of the movie for me. She has a couple of opportunities to display her vocal talents and she just comes across as a very lovely woman whose character is understandably hurt by George's dissatisfaction with their relationship. Moore was Moore. I've never been a huge fan. He played the part well. Derek? Well, in all honesty she's not an actress who's ever really turned my head and her career - while it's been lengthy - hasn't really been filled with major successes either. Frankly, she was cast as a body in this movie. The first hour and a half goes by with her getting her share of screen time but literally no dialogue at all. Once she gets dialogue - she's competent enough, but her character turns out to be not very likable.
It's not a bad movie. It was easy to get through and I never turned away from it. It has a fair bit of relatively innocent nudity, a lot of drinking and some drugs. To be honest, I'm not sure exactly what it was that made this movie such a hit among audiences and reviewers. I'd consider it quite over-rated. It's not a 10. It's a 5 out of 10.
Dudley Moore played George Webber - a music composer who's just celebrated his 42nd birthday and who finds himself dissatisfied with life. He has everything a man could realistically want. He's successful in his career, he has friends and he seems to have all the toys, and he has Samantha (Andrews), his quite beautiful girlfriend who he frustrates with his inability (or refusal) to emotionally connect. For all that he has, George comes across as sad and lonely, and in spite of the fact that he should be very happy (what more does he need?) he becomes suddenly infatuated with a bride (Bo Derek) who he spies when her limo stops at a red light beside his car. To him, she's the perfect "10" on a scale of 1-10 (hence, the movie's name.) It was this infatuation that gave the movie it's creepy feel (although the arrangement he apparently had with a guy to spy on each other with telescopes - which gave the move much of its mildly erotic feel - also added to that.) In spite of the fact that Jenny is just married, George's infatuation turns into pursuit - you could even call it stalking. He goes out of his way to find out who she was and where she went on her honeymoon, follows her there, claims a spot beside her on the beach (all the better to ogle her from), and manages to save her husband's life for no other reason it seems than to get her into bed with him. In my view, the whole thing could have been done in a way that would have been more consistent with this being the romantic comedy that most people think of it as. It certainly has its sensitive moments (and the requisite happy ending as George seems to overcome his mid-life crisis) and, as I said, it is humorous at times, but that whole plot just gave this a very heavy and uneasy feel to me.
Andrews, as I said, was the highlight of the movie for me. She has a couple of opportunities to display her vocal talents and she just comes across as a very lovely woman whose character is understandably hurt by George's dissatisfaction with their relationship. Moore was Moore. I've never been a huge fan. He played the part well. Derek? Well, in all honesty she's not an actress who's ever really turned my head and her career - while it's been lengthy - hasn't really been filled with major successes either. Frankly, she was cast as a body in this movie. The first hour and a half goes by with her getting her share of screen time but literally no dialogue at all. Once she gets dialogue - she's competent enough, but her character turns out to be not very likable.
It's not a bad movie. It was easy to get through and I never turned away from it. It has a fair bit of relatively innocent nudity, a lot of drinking and some drugs. To be honest, I'm not sure exactly what it was that made this movie such a hit among audiences and reviewers. I'd consider it quite over-rated. It's not a 10. It's a 5 out of 10.
A melancholic 70's time-capsule
info-650-99463310 August 2019
Unfortunately I'm not entirely objective when reviewing "10". For me it's a trip down memory lane: I still remember seeing those first pics of Bo Derek with her beads in the magazines back in the day, causing a total sensation. Just like Farrah Fawcett in her bathing suit. It's become such an iconic 70's image.
So years later I watched the movie for the first time and finding it a bit tame. However....Watching it as a man approaching his 50's I really learned to appreciate this movie with every repeated viewing. It's a combination of melancholy and reaching the proper age to appreciate the movie's subject I guess.
Dudley Moore is just astonishing in this. A total master of comedy and slapstick timing. You just don'ty see that kind of artistry anymore. He simply IS the character and despite Bo Derek's outerworldly physique, you only have eyes for Dudley. He not only saves the so-so script, he lifts it to a higher level for me and turns it into a tribute to my childhood.
So years later I watched the movie for the first time and finding it a bit tame. However....Watching it as a man approaching his 50's I really learned to appreciate this movie with every repeated viewing. It's a combination of melancholy and reaching the proper age to appreciate the movie's subject I guess.
Dudley Moore is just astonishing in this. A total master of comedy and slapstick timing. You just don'ty see that kind of artistry anymore. He simply IS the character and despite Bo Derek's outerworldly physique, you only have eyes for Dudley. He not only saves the so-so script, he lifts it to a higher level for me and turns it into a tribute to my childhood.
Really its 6 out of 10 !
johnmbale13 November 2005
This film was really a vehicle for Dudley Moore (Cuddly Dudley) when he was at the peak of his career, along with the opportunity to display the obvious charms of Bo Derrick, who spends much of her time on the screen smoldering or preening. As a rather not so obscure object of desire, Bo is more model than actress. A laborious comedy at best, certainly below Blake Edwards best standards, a few funny moments, (as with the old girl and the tray) but a great deal of boring stuff in between. No doubt Moore's fans in the 70's were impressed, and he is a lovable character, especially when he plays being tipsy, but there is not enough meat in the sandwich this time.
Middle aged male sexual fantasies do not merit a 10
roghache22 March 2006
I seldom give a rating of 1 but this movie wholeheartedly earned it. Its plot (such as it is) revolves around a 40 something year old man named George, who is in some sort of sexual mid life crisis, wanting to feel young, attractive, and virile again. He finds that his beautiful and intelligent girlfriend, Samantha (Julie Andrews) is inadequate in eliciting such feelings. He thus fantasizes over a young, perfectly proportioned bride named Jenny (Bo Derek) and becomes rather pathetically obsessed.
Indeed, this entire movie is rather pathetic. Where to begin?
How about the cast? George is played by Dudley Moore, whom I loved in Arthur. Woody Allen, the master neurotic, might have been a more suitable choice. Julie Andrews is one of my favorite actresses, whether singing (Sound of Music etc.) or drama (The Tamarind Seed). It is unbelievable that she stooped to the level of this supposedly erotic drivel. I guess she was attempting at the time to dispense with her goody goody image and project mature sexiness. Also, I believe she is married to this sorry film's director, Blake Edwards. As for Bo Derek, yes, she has a perfect body and those braids became a legend. Nothing more of note here regarding her. She's simply a body in this movie.
The entire theme of this middle aged idiot's sexual fantasies would, frankly, have been better left unexplored. The concept of males rating females on a scale from 1 to 10 (Jenny gets an 11) is neither a novel one nor something to be encouraged. Of course this film made an art form out of the practice. Where was the outcry from the feminists at the time?
Pity also, the desecration of Ravel's Bolero. Perhaps Maurice Ravel, its composer, intended the work to be sexy (privately), perhaps not. I'm not that familiar with him. However, it is a magnificent composition and I can hardly believe that Ravel ever meant it as cinematic accompaniment to George and Jenny's bedding. Poor Ravel. I suspect he might be spinning in his grave.
That about does it. I've already wasted far too much time just watching this movie, best not to waste any more writing about it. Suffice it to say, I can think of few films less deserving of their fame.
Indeed, this entire movie is rather pathetic. Where to begin?
How about the cast? George is played by Dudley Moore, whom I loved in Arthur. Woody Allen, the master neurotic, might have been a more suitable choice. Julie Andrews is one of my favorite actresses, whether singing (Sound of Music etc.) or drama (The Tamarind Seed). It is unbelievable that she stooped to the level of this supposedly erotic drivel. I guess she was attempting at the time to dispense with her goody goody image and project mature sexiness. Also, I believe she is married to this sorry film's director, Blake Edwards. As for Bo Derek, yes, she has a perfect body and those braids became a legend. Nothing more of note here regarding her. She's simply a body in this movie.
The entire theme of this middle aged idiot's sexual fantasies would, frankly, have been better left unexplored. The concept of males rating females on a scale from 1 to 10 (Jenny gets an 11) is neither a novel one nor something to be encouraged. Of course this film made an art form out of the practice. Where was the outcry from the feminists at the time?
Pity also, the desecration of Ravel's Bolero. Perhaps Maurice Ravel, its composer, intended the work to be sexy (privately), perhaps not. I'm not that familiar with him. However, it is a magnificent composition and I can hardly believe that Ravel ever meant it as cinematic accompaniment to George and Jenny's bedding. Poor Ravel. I suspect he might be spinning in his grave.
That about does it. I've already wasted far too much time just watching this movie, best not to waste any more writing about it. Suffice it to say, I can think of few films less deserving of their fame.
An Affable Classic
atlasmb25 June 2015
Having never been a fan of Blake Edwards, nevertheless I had to see this film when it came out in 1979. It was one of those "it" movies due to the buzz surrounding its release (like "The Exorcist" or "Jaws"). The mystique was about the young woman who played the titular role. What or who was a real "10"--the embodiment of female perfection? It was Bo Derek who famously played Jenny, the object of Dudley Moore's middle-age fascination. The film put both of them on the map. Though Dudley was known for "Foul Play", "10" made him a household name in America.
The film also placed two other items in the public consciousness. After the film, Bo's hairstyle became a (somewhat unfortunate) fashion trend. And Ravel's Bolero became known as music to make love to.
The film is well written and well made. It also features some nice performances by Brian Dennehy, as an affable bartender, and Dee Wallace (an under-rated actress) as Moore's failed one night stand. Julie Andrews--wife of Blake Andrews--plays the woman Moore leaves at home while on his tropical getaway.
But the story centers around Moore's obsession with Bo and the surprising outcome of that relationship. The film may not be a "10", but it gets high marks.
The film also placed two other items in the public consciousness. After the film, Bo's hairstyle became a (somewhat unfortunate) fashion trend. And Ravel's Bolero became known as music to make love to.
The film is well written and well made. It also features some nice performances by Brian Dennehy, as an affable bartender, and Dee Wallace (an under-rated actress) as Moore's failed one night stand. Julie Andrews--wife of Blake Andrews--plays the woman Moore leaves at home while on his tropical getaway.
But the story centers around Moore's obsession with Bo and the surprising outcome of that relationship. The film may not be a "10", but it gets high marks.
10 (Blake Edwards, 1979) **1/2
Bunuel197622 December 2007
I've watched relatively few of director Edwards' non-PINK PANTHER films; among the ones I own that I've yet to catch up with are DAYS OF WINE AND ROSES (1962), WHAT DID YOU DO IN THE WAR, DADDY? (1966) and S.O.B. (1981).
This one proved among Edwards' most successful films (though the curt, with-it title emerges to be rather meaningless), drawing attention to itself for treating a serious subject such as mid-life crisis in semi-comedic vein though, ultimately, it's nowhere near as incisive or cinematically deft as Luis Bunuel's THAT OBSCURE OBJECT OF DESIRE (1977) wherein, likewise, a well-respected man continuously humiliates himself in his reckless pursuit of a much younger girl(s) and, besides, results in being unbalanced somewhat by the slapstick passages.
Edwards wrote the script for 10 himself: among the more notable dialogue stretches involve an argument between leads Dudey Moore and Julie Andrews (the director's real-life wife) regarding the definition of the ostensibly disparaging term "broad", and another later on between Moore and Bo Derek his character's 'object of desire' with respect to the girl's casual attitude towards sex. Even if she doesn't really feature in it till the last third, Derek became a sex symbol thanks to 10; that said, her contribution (mixing disarming naivete with effortless sensuality, like an updated version of Marilyn Monroe) is undeniably one of the film's trump cards and, on account of this, I might even have to rent the two notorious vehicles her actor/director husband concocted for her in the early 1980s. Andrews does well enough by her relatively colorless role (which, naturally, sees her as a singing star).
Moore's part had originally been accepted by George Segal, but he left the project for some reason; later, it was offered to Edwards' former muse Peter Sellers who turned it down but, reportedly, did feature in a cameo which scene, however, didn't make the final cut! Moore, whose career up to this point had been sporadic (with BEDAZZLED [1967], which I've just watched, as his only notable starring vehicle) suddenly found himself much in demand after his scene-stealing cameo in FOUL PLAY (1978). This would eventually lead to his most famous role, ARTHUR (1981; for which he received an Oscar nomination and one he reprised for a less successful sequel 7 years later), another collaboration with Edwards MICKEY + MAUDE (1984) and the remake of Preston Sturges' classic UNFAITHFULLY YOURS (1984).
Despite the ample nudity (removed or concealed for network showings of the film) allowed by the current permissiveness in censorship and which is even referenced in the very final scene 10 remains an old-fashioned entertainment at heart: not only is Moore's character a musician (as the star was in real life, after all) who has a (thankfully non-stereotyped) gay songwriting partner in veteran Robert Webber but this is also evident in the conservative i.e. tasteful choice of exponents for the soundtrack (original music and songs by Edwards stalwart Henry Mancini, who gave the film its only Oscar nods, and such standard classical pieces as Ravel's "Bolero").
Commendably, the writer-director also gives space here to the minor characters notably when the scene shifts to Mexico, such as the sympathetic bartender played by Brian Dennehy and the woman with whom Moore has a clumsy fling (Dee Wallace). With this in mind, the film's single greatest laugh-out-loud moment comes fairly early on in the picture and has to do with the senile servant of the priest who celebrated Derek's marriage to future FLASH GORDON, Sam J. Jones (when he's visited by Moore in an attempt to learn more about her).
This one proved among Edwards' most successful films (though the curt, with-it title emerges to be rather meaningless), drawing attention to itself for treating a serious subject such as mid-life crisis in semi-comedic vein though, ultimately, it's nowhere near as incisive or cinematically deft as Luis Bunuel's THAT OBSCURE OBJECT OF DESIRE (1977) wherein, likewise, a well-respected man continuously humiliates himself in his reckless pursuit of a much younger girl(s) and, besides, results in being unbalanced somewhat by the slapstick passages.
Edwards wrote the script for 10 himself: among the more notable dialogue stretches involve an argument between leads Dudey Moore and Julie Andrews (the director's real-life wife) regarding the definition of the ostensibly disparaging term "broad", and another later on between Moore and Bo Derek his character's 'object of desire' with respect to the girl's casual attitude towards sex. Even if she doesn't really feature in it till the last third, Derek became a sex symbol thanks to 10; that said, her contribution (mixing disarming naivete with effortless sensuality, like an updated version of Marilyn Monroe) is undeniably one of the film's trump cards and, on account of this, I might even have to rent the two notorious vehicles her actor/director husband concocted for her in the early 1980s. Andrews does well enough by her relatively colorless role (which, naturally, sees her as a singing star).
Moore's part had originally been accepted by George Segal, but he left the project for some reason; later, it was offered to Edwards' former muse Peter Sellers who turned it down but, reportedly, did feature in a cameo which scene, however, didn't make the final cut! Moore, whose career up to this point had been sporadic (with BEDAZZLED [1967], which I've just watched, as his only notable starring vehicle) suddenly found himself much in demand after his scene-stealing cameo in FOUL PLAY (1978). This would eventually lead to his most famous role, ARTHUR (1981; for which he received an Oscar nomination and one he reprised for a less successful sequel 7 years later), another collaboration with Edwards MICKEY + MAUDE (1984) and the remake of Preston Sturges' classic UNFAITHFULLY YOURS (1984).
Despite the ample nudity (removed or concealed for network showings of the film) allowed by the current permissiveness in censorship and which is even referenced in the very final scene 10 remains an old-fashioned entertainment at heart: not only is Moore's character a musician (as the star was in real life, after all) who has a (thankfully non-stereotyped) gay songwriting partner in veteran Robert Webber but this is also evident in the conservative i.e. tasteful choice of exponents for the soundtrack (original music and songs by Edwards stalwart Henry Mancini, who gave the film its only Oscar nods, and such standard classical pieces as Ravel's "Bolero").
Commendably, the writer-director also gives space here to the minor characters notably when the scene shifts to Mexico, such as the sympathetic bartender played by Brian Dennehy and the woman with whom Moore has a clumsy fling (Dee Wallace). With this in mind, the film's single greatest laugh-out-loud moment comes fairly early on in the picture and has to do with the senile servant of the priest who celebrated Derek's marriage to future FLASH GORDON, Sam J. Jones (when he's visited by Moore in an attempt to learn more about her).
A Far from Perfect 10
evanston_dad9 November 2007
Any movie featuring Dudley Moore as an object of sexual attraction is doomed from the start, since I can't imagine anyone wanting to have sex with him.
I CAN, however, imagine a lot of people wanting to have sex with Bo Derek, that is until they see her act.
This Blake Edwards film is not good -- people think they remember it as being good, but what they're really remembering is a three-second slo-mo shot of Derek running through the surf. Like most of Blake Edwards' movies, it's limp and blah.
Grade: C
I CAN, however, imagine a lot of people wanting to have sex with Bo Derek, that is until they see her act.
This Blake Edwards film is not good -- people think they remember it as being good, but what they're really remembering is a three-second slo-mo shot of Derek running through the surf. Like most of Blake Edwards' movies, it's limp and blah.
Grade: C
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
