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Shampoo (1975)

Directed by Hal Ashby · Comedy

110 minutes

Cast

Selected cast credits · Film reference

Warren Beatty George Roundy
Julie Christie Jackie Shawn
Goldie Hawn Jill Haynes
Lee Grant Felicia Karpf
Jack Warden Lester Karpf
Tony Bill Johnny Pope
Jay Robinson Norman
George Furth Mr. Pettis
Randy Scheer Dennis Lolly
Susanna Moore Gloria
Carrie Fisher Lorna Karpf
Kathleen Miller Anjanette
Luana Anders Devra
Mike Olton Ricci
Richard E. Kalk Detective Younger
Brad Dexter Senator East
William Castle Sid Roth
Howard Hesseman Red Dog
Michelle Phillips Girl at Party
Susan Blakely Girl on the Street
Cynthia Wood Beauty Shop Customer

Everything from the episode

In the order the hosts got to it. Open a row for the discussion.

58:47

Most Rewatchable Scene

The bistro stare-down; Lester and George’s late conversation; the opening sex scene

The bistro stare-down; Lester and George’s late conversation; the opening sex scene

In the discussion (15)
Approx. transcript time · 00:58:47Read transcript
  • George arriving at Jill’s after sleeping with Felicia is nominated for Jill’s dawning realization that something happened. — Bill Simmons
  • George’s brief tantrum and immediate reconsideration after throwing away his jacket are nominated. — Bill Simmons
  • The chaotic salon entrances and exits are nominated. — Bill Simmons
  • George and Jackie’s parking-lot confrontation is nominated for her blunt rejection of the idea that she has sex for money. — Bill Simmons
  • George styling Jackie’s hair in the bathroom is nominated. — Bill Simmons
  • Carrie Fisher’s bedroom scene is nominated. — Bill Simmons
  • The prolonged stare-down between Felicia and Jackie at the party is nominated. — Bill Simmons
  • Lester moving awkwardly through the party is nominated. — Bill Simmons
  • George’s attempted declaration of love during “Lucy in the Sky with Diamonds” is nominated. — Bill Simmons
  • George admitting that he slept with all of the women is nominated. — Bill Simmons
  • George making peace with Lester is nominated. — Bill Simmons
  • Jackie ending the relationship with George on the overlook is nominated.
  • The dark opening sex scene set to “Wouldn’t It Be Nice” is nominated.
  • The bistro stare-down is selected for its interlocking relationships, Nixon backdrop, and Jackie’s drunken behavior. — Cameron Crowe
  • Lester and George’s late-night conversation is selected for the men’s camaraderie, cruelty, and Jack Warden’s comic concern with housekeeping.
1:08:37

The Den of Thieves Benihana Award for Scene-Stealing Location

1968 Los Angeles

1968 Los Angeles

In the discussion (1)
Approx. transcript time · 01:08:37Read transcript
  • 1968 Los Angeles wins because its low buildings, open roads, hills, offices, houses, and small scale make the city unusually seductive.
1:11:49

Steven Seagal shitting on himself award for most unbelievable anecdote from the actual film shoot

Lee Grant’s two-day walkout

Lee Grant’s two-day walkout

In the discussion (2)
Approx. transcript time · 01:11:49Read transcript
  • Lee Grant reportedly left the production for two days after a disagreement about how to play Felicia’s response to her daughter’s possible encounter with George. — Bill Simmons
  • The Seagal story used to name the award is explicitly treated as an uncertain urban legend. — Bill Simmons
1:13:24

What’s Aged the Best?

Hollywood self-reference, the hairdresser dynamic, cinematography, performances, real estate, and soundtrack licensing

Hollywood self-reference, the hairdresser dynamic, cinematography, performances, real estate, and soundtrack licensing

In the discussion (7)
Approx. transcript time · 01:13:24Read transcript
  • Hollywood self-reference is praised, including Carrie Fisher’s casting as a younger generation of sexual frankness. — Sean Fennessey
  • The intimacy between hairdressers and clients is praised as a way the film links physical presentation, secrets, and access to power. — Sean Fennessey
  • The cinematography is praised for texture and for holding on the desire immediately before kisses. — Cameron Crowe
  • Warren Beatty and Jack Warden’s scenes together are praised. — Bill Simmons
  • Lester’s house is praised separately as real estate. — Bill Simmons
  • Carrie Fisher’s bold first-film performance is praised. — Bill Simmons
  • The ability to license two Beatles songs and the rest of the soundtrack is praised.
1:19:13

The Amanda Dobbins Award for Best Piece of Real Estate

Lester’s house

Lester’s house

In the discussion (1)
Approx. transcript time · 01:19:13Read transcript
  • Lester’s house wins for its tennis court, grounds, and intriguing layout. — Bill Simmons
1:19:34

The Dion Waiters Award for Best Heat Check Performance

Carrie Fisher

Carrie Fisher

In the discussion (1)
Approx. transcript time · 01:19:34Read transcript
1:21:52

Sean Fennessey Award for Stealth Homage That Gives Every Movie Nerd a Criterion Orgasm

William Castle’s cameo as Sid Roth

William Castle’s cameo as Sid Roth

In the discussion (1)
Approx. transcript time · 01:21:52Read transcript
  • William Castle’s cameo as Sid Roth wins because the legendary horror showman plays another man trying to sell Jackie on something. — Sean Fennessey
1:22:42

The Great Shot Gordo Award for Most Cinematic Shot

The high final cliff shot overlooking Los Angeles

The high final cliff shot overlooking Los Angeles

In the discussion (1)
Approx. transcript time · 01:22:42Read transcript
  • The high shot opening the final cliff scene, with the city visible below, is selected. — Bill Simmons
1:23:19

I Used to Fuck Guys Like You in Prison Award for Craziest Quote

Two lines are proposed, with Lester’s political-market monologue treated as the film’s thesis.

Two lines are proposed, with Lester’s political-market monologue treated as the film’s thesis.

In the discussion (2)
Approx. transcript time · 01:23:19Read transcript
  • Jackie’s statement that she has sex for fun rather than money is nominated. — Sean Fennessey
  • Lester’s monologue about wealth, the market, Johnson, and Nixon is selected as a compact statement of the film’s thesis. — Sean Fennessey
1:26:18

What’s Aged the Worst?

The Paul Simon score, offensive language, and reported Beatty/Fisher history

The Paul Simon score, offensive language, and reported Beatty/Fisher history

In the discussion (3)
Approx. transcript time · 01:26:18Read transcript
  • Paul Simon’s sparse score is criticized as corny and strange. — Cameron Crowe
  • Some of the movie’s words are acknowledged as having aged badly.
  • Carrie Fisher’s later account that Beatty pursued her during production is cited as having aged badly.
1:28:41

The Ruffalo / Hanna / Rubinek / Partridge Overacting Award

Beatty’s breakup crying and Norman’s salon-owner performance are nominated.

Beatty’s breakup crying and Norman’s salon-owner performance are nominated.

In the discussion (2)
Approx. transcript time · 01:28:41Read transcript
  • Beatty is nominated for the repeated crying and pleading when Jackie leaves him; the panel agrees the emotion does not fully work.
  • Norman, the salon owner, is nominated for pushing his performance too hard.
1:29:40

The Stephen A. Smith Hottest Take Award

Ashby’s least rewatchable of the three-film run; Goldie Hawn’s appeal and missed rom-com era

Ashby’s least rewatchable of the three-film run; Goldie Hawn’s appeal and missed rom-com era

In the discussion (3)
Approx. transcript time · 01:29:40Read transcript
  • Shampoo is called the least rewatchable of Ashby’s Harold and Maude, The Last Detail, and Shampoo run despite being the biggest hit. — Cameron Crowe
  • Mid-1970s Goldie Hawn is called the most adorable actress of any era. — Bill Simmons
  • Hawn is said to have arrived about fifteen years too early to dominate the later romantic-comedy boom. — Bill Simmons
1:31:59

The Joey Pants “That Guy” Award

Tony Bill as Johnny Pope

Tony Bill as Johnny Pope

In the discussion (1)
Approx. transcript time · 01:31:59Read transcript
  • Tony Bill, who plays Johnny Pope, is identified as a prominent producer who acted only occasionally. — Sean Fennessey
1:32:43

Recasting Couch

John Cazale in a small role

John Cazale in a small role

In the discussion (1)
Approx. transcript time · 01:32:43Read transcript
  • John Cazale is proposed for the commercial director and several other small parts.
1:33:16

Half-Assed Internet Research

Paul Simon’s rejected title song “Have a Good Time”

Paul Simon’s rejected title song “Have a Good Time”

In the discussion (1)
Approx. transcript time · 01:33:16Read transcript
  • Paul Simon reportedly wrote a rejected title song called “Have a Good Time,” later released on Still Crazy After All These Years.
1:33:29

Apex Mountain

Beatty: yes

Beatty: yes

In the discussion (5)
Approx. transcript time · 01:33:29Read transcript
  • Beatty receives a tentative yes because the film’s ownership, success, and creative control gave him extraordinary leverage. — Bill Simmons
  • Heaven Can Wait is raised as a competing later peak.
  • Julie Christie is rejected because her two major films in the same earlier year made that the clearer peak. — Bill Simmons
  • Robert Towne’s Chinatown and Shampoo run is considered. — Bill Simmons
  • Triumph motorcycles receive a yes, while party scenes lose to Almost Famous.
1:37:20

Cruise or Hanks?

Cruise as George

Cruise as George

In the discussion (2)
Approx. transcript time · 01:37:20Read transcript
  • Cruise is selected for George because he can combine sexual confidence with vulnerability.
  • Hanks trying the role is considered amusing, though his hair is judged wrong for the required haircut.
1:38:16

Casting What-Ifs

Philip Seymour Hoffman as Lester

Philip Seymour Hoffman as Lester

In the discussion (1)
Approx. transcript time · 01:38:16Read transcript
1:42:23

Picking Nits

The daughter’s reaction, party-house geography, loan logic, instant valets, and transported motorcycle

The daughter’s reaction, party-house geography, loan logic, instant valets, and transported motorcycle

In the discussion (6)
Approx. transcript time · 01:42:23Read transcript
  • Felicia’s muted response to the possibility that George slept with her teenage daughter is questioned. — Bill Simmons
  • The ownership and geography of the large party house are confusing. — Cameron Crowe
  • Whether Jill slept with Johnny Pope and whether the ambiguity preserves her agency are debated.
  • George’s plan for securing a salon loan lacks credible financial detail. — Sean Fennessey
  • The valets retrieve cars implausibly quickly from the crowded party. — Bill Simmons
  • George arrives by car but leaves on a motorcycle that had no shown way to reach the party. — Bill Simmons
1:48:39

Just One Oscar

Robert Towne’s screenplay

Robert Towne’s screenplay

In the discussion (1)
Approx. transcript time · 01:48:39Read transcript
  • Robert Towne’s screenplay is the serious choice after comic supporting-performance suggestions.
1:49:05

Probably Unanswerable Questions

The group asks whether George gets a salon and whether Lester and Jackie last.

The group asks whether George gets a salon and whether Lester and Jackie last.

In the discussion (3)
Approx. transcript time · 01:49:05Read transcript
  • Whether George ever opens a salon is left unresolved. — Bill Simmons
  • Whether Lester and Jackie remain together is asked; the panel expects them to separate.
  • George’s later life is imagined as a series of failed salon jobs and possible drug trouble. — Bill Simmons
1:50:10

What Piece of Memorabilia Would You Want From This Movie?

The Triumph, jacket, blow dryer, earring, and Almost Famous/Say Anything props

The Triumph, jacket, blow dryer, earring, and Almost Famous/Say Anything props

In the discussion (4)
Approx. transcript time · 01:50:10Read transcript
  • The Triumph motorcycle is selected despite the speaker’s fear of riding motorcycles.
  • George’s brown leather jacket is considered and criticized as too thin and ordinary. — Cameron Crowe
  • The blow dryer is proposed as a usable studio prop.
  • The earring is selected because the apartment scene spins on it.
1:53:26

The Coach Finstock Award for Best Life Lesson

Selling out is challenged by the counterlesson that Jill finds a way out.

Selling out is challenged by the counterlesson that Jill finds a way out.

In the discussion (2)
Approx. transcript time · 01:53:26Read transcript
  • The film’s apparent lesson that everyone eventually sells out is proposed but challenged.
  • Jill is described as clawing her way out, leaving optimism and hope in the ending. — Cameron Crowe
1:54:51

Best Double Feature

The Parallax View, The Rules of the Game, and Nashville

The Parallax View, The Rules of the Game, and Nashville

In the discussion (3)
Approx. transcript time · 01:54:51Read transcript
  • The Parallax View is selected as the dark counterpart to Beatty’s Shampoo persona. — Sean Fennessey
  • The Rules of the Game is selected for its interrelationships and wistful tone. — Cameron Crowe
  • Nashville is selected as another sprawling, musical, political film from 1975. — Cameron Crowe
1:55:38

Who Won the Movie?

Warren Beatty

Warren Beatty

In the discussion (1)
Approx. transcript time · 01:55:38Read transcript
Podcast choices

More from the conversation

The film is framed as a generational, political, sexual, and social portrait whose comedy carries a darker account of the late 1960s.
Approx. transcript time · 00:02:02Read transcript
The discussion recounts Paul Simon and Joni Mitchell song possibilities and treats the rejected “Sweet Bird” as unusually revealing about Warren Beatty’s persona.
Approx. transcript time · 00:11:06Read transcript
Selling out is proposed as the film’s central theme, while Jill is described as the one character who opts out and tells George the truth.
Approx. transcript time · 00:14:46Read transcript
Cameron Crowe connects Goldie Hawn’s realization scene to Kate Hudson’s similar emotional turn in Almost Famous.
Approx. transcript time · 00:16:42Read transcript
The hairdresser’s intimacy with clients is discussed as a source of information, access, and the film’s portrayal of performative sincerity.
Approx. transcript time · 01:13:57Read transcript
Cameron Crowe praises László Kovács’s cinematography and explains how Beatty’s pre-kiss moments influenced Jerry Maguire.
Approx. transcript time · 01:16:47Read transcript
Cameron Crowe recounts casting and directing Philip Seymour Hoffman as Lester Bangs while Hoffman was ill.
Approx. transcript time · 01:38:16Read transcript
The group discusses how major stars use or withhold their public personas, citing Cruise, Denzel Washington, Chalamet, DiCaprio, and Nicholson.
Approx. transcript time · 01:57:47Read transcript