Stress Relief in Early 1970s London… A Touch of Class is directed by Melvin Frank who also co-writes the screenplay with Jack Rose. It stars Glenda Jackson, George Segal, Paul Sorvino, Hildegarde Neil and Mary Barclay. Music is by John Cameron and cinematography by Austin Dempster. Two great lead performances and a sharp script propel this delightful sex comedy forward. Plot is no great shakes but it matters not in truth, divorced English woman meets American married man, an attraction is there and they agree to go away for a brief holiday to indulge in some stress relieving sex. Upon arrival at the Spanish resort, a number of things get in the way of the couple actually copulating. Once achieved, things start to go a bit sour, and the bickering and withering sarcasm starts. But hold on, there’s more twists to come, right up to the bittersweet finale. Genuine laughs are dotted throughout, Jackson’s waspish tongue an utter delight, and the pic never teeters over the edge into sentimental hog-wash. It’s obviously a product of its time, though the extra-marital affair theme is daringly mounted for the era. A lovely film, funny, poignant and literate. Score! 8/10

"A Touch of Class" was nominated for half a dozen Oscars, and Glenda Jackson won the Best Actress Award. Why? George Segal is Steve, an American living in London. He has a lovely wife named Gloria (Hildegard Neil) and kids. He is also on the prowl for some tail, and finds it in fashion designer Vickie (Glenda Jackson), a divorcee with kids. Immediately, the two are attracted to each other, and nonchalantly make plans to spend a week together in Spain. While in Spain, and through a bunch of maneuvers that can only happen in the movies, the pair are sighted by Steve's friend Walter (Paul Sorvino) and his wife Patty (K Callan). The cards are stacked against Steve and Vickie, who bicker and argue constantly, and Walter advises the two break up. Steve and Vickie go back to London, and take a flat together in a building full of prostitutes. Steve and Vickie bicker and argue some more, Steve always finds a way to run out on his saintly wife, and the film ends on a sour note. Although filmed in 1973, this script feels like a screwball romantic comedy from the 1940's, but with profanity and sex added to make it modern. The idea that these two people would get together is so unbelievable to begin with, we are supposed to automatically cheer for the adulterous insurance salesman and his lover. The screenwriters give us no emotional involvement in these characters, and then sends them thr…

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