10 (1979)

Introduction

Released in 1979, 10 is a landmark romantic comedy written and directed by Blake Edwards, best known for his stylish comedies (The Pink Panther, Victor/Victoria). With 10, Edwards turned his attention inward, crafting a semi-autobiographical, frank, and often absurd portrayal of middle-aged male anxiety, sexual obsession, and the quest for perfection. Starring Dudley Moore as a neurotic, successful composer spiralling into crisis, 10 became a surprise box office hit and cultural touchstone, helping to define the late-1970s cinematic landscape of sexual liberation and male introspection.

Plot Summary

George Webber (Dudley Moore) is a wealthy, forty-something Los Angeles composer—professionally successful, romantically involved, but emotionally adrift. Despite being in a stable, loving relationship with actress and singer Samantha Taylor (Julie Andrews), George is preoccupied with aging, mortality, and the loss of excitement in his life.

Everything changes when he glimpses a stunning young woman, Jenny Hanley (Bo Derek), on her way to her wedding. George becomes instantly obsessed with her, viewing her as the literal embodiment of perfection—a “10.” He follows her to Mexico, spying and eventually arranging a rendezvous under the pretence of a chance meeting.

As George chases fantasy and youth, he alienates the people who love him, particularly Samantha. Only after a series of humiliating and sobering experiences—including a failed sexual encounter and a dramatic realization on the beach—does George begin to understand the emptiness of his pursuit. In the end, he returns home, humbled, and reconciles with Samantha, having grown—at least somewhat—through his misadventure.

Themes and Subtext

Midlife Crisis and Male Vanity

At its heart, 10 is a portrait of midlife insecurity. George is wealthy, creatively fulfilled, and loved, yet still haunted by a sense of aging, loss, and insignificance. The film mines comedy from his unravelling psyche, but also presents a poignant critique of male vanity and the pursuit of youth as a form of self-delusion.

Obsession and the “Perfect 10”

The concept of rating women on a 1–10 scale is both a literal and metaphorical framework for George’s psychological breakdown. His obsession with Jenny—whom he doesn’t know—is rooted not in love but in fantasy and projection. The film critiques this shallow idealization and exposes the hollowness behind the pursuit of surface-level perfection.

Sexual Liberation and Changing Gender Roles

As a product of the post-sexual revolution 1970s, 10 reflects changing attitudes toward sex, fidelity, and relationships. George’s dalliance with Jenny is portrayed as both liberating and empty. Meanwhile, women in the film—Samantha and Jenny in particular—are increasingly in control of their choices, offering a subtle critique of George's outdated expectations.

Voyeurism and Self-Reflection

George is a voyeur not only of Jenny’s life, but of his own. Much of the film consists of him watching, peering through telescopes, binoculars, and windows—a metaphor for his detachment from himself and his inability to confront his own feelings directly. His literal distance from others mirrors his emotional isolation.

Performances

Dudley Moore as George Webber

Moore’s performance is the film’s anchor. His comedic timing is impeccable, yet he brings depth and vulnerability to a character that could easily have been unsympathetic. George is selfish and neurotic, but Moore’s charm and subtle self-deprecation make him relatable. This role catapulted Moore to international stardom, marking a defining moment in his career.

Julie Andrews as Samantha Taylor

Julie Andrews brings intelligence, warmth, and surprising earthiness to the role of Samantha. As George’s long-suffering partner, she balances tolerance and assertiveness. Her performance grounds the film emotionally, offering a mature counterpoint to George’s boyish fantasy-chasing. Andrews and Edwards (her husband in real life) bring authentic chemistry and maturity to the relationship dynamic.

Bo Derek as Jenny Hanley

Bo Derek became an overnight icon thanks to her role in 10, especially the now-legendary scene of her running on the beach in a flesh-coloured swimsuit with her cornrowed hair flowing behind her. As Jenny, Derek is more symbol than character—a living fantasy—but she plays the part with sincerity and a hint of self-awareness. Her brief scene discussing Ravel’s Boléro and her idea of the "perfect" sexual experience gives the character a disarming innocence and complexity.

Robert Webber as Hugh

Webber plays George’s friend and confidant with comic ease and subtle resignation, offering a mirror image of where George might end up if he doesn’t change course. His dry delivery adds needed levity.

Direction and Style

Blake Edwards, always a meticulous stylist, creates a sun-drenched, laid-back Southern California vibe, juxtaposed with the dreamlike, seductive beauty of Mexico. The film feels both lush and intimate, never allowing the scenery to overshadow character.

Edwards' comedic sensibility is on full display: sight gags, running jokes (such as George’s dentist being under anaesthesia), and awkward physical humour abound. But it’s his tonal balance that stands out. He blends farce with introspection, slapstick with melancholy—never undercutting the film’s emotional stakes.

Music and Soundtrack

The film’s most iconic musical element is Maurice Ravel’s Boléro, used in a sensual, comedic, and surreal context. Jenny tells George that Boléro is the ideal music for lovemaking—prompting George to play it during their attempted tryst, only to have things go painfully awry. The use of Boléro became a pop culture phenomenon and is forever linked to 10 in the public imagination.

Henry Mancini’s original score is subtle and jazzy, underscoring the film’s moods without overwhelming them.

Cultural Impact

10 was a major box office success and tapped into late-70s cultural anxieties with unusual clarity and humour. It helped redefine the romantic comedy for a more mature, sexually aware audience. The image of Bo Derek in cornrows became a visual shorthand for idealized beauty, and the film sparked conversations—both serious and comedic—about beauty standards, monogamy, and male aging.

The film also cemented Blake Edwards’ ability to blend slapstick with sophisticated adult themes, paving the way for Victor/Victoria and his later more introspective work.

Criticisms

Dated Gender Dynamics: While progressive for its time, some aspects of the film’s gender politics have aged poorly. The objectification of Jenny and George’s intrusive pursuit would likely be viewed through a more critical lens today.

Slow Pacing: The film unfolds leisurely, particularly in the middle act, which may feel indulgent or drawn out for modern audiences.

Thin Characterization of Jenny: While Bo Derek’s presence is iconic, Jenny is written more as a fantasy figure than a fully developed character, which may feel reductive.

Conclusion

10 is both a product of its time and a timeless examination of midlife desire and self-delusion. Blake Edwards’ film is perceptive, funny, and often surprisingly touching. It offers a wry critique of the male ego while allowing space for growth, reflection, and even hope.

Thanks to Dudley Moore’s breakout performance, Julie Andrews’ steady brilliance, and Bo Derek’s ethereal screen presence, 10 endures as more than just a sex farce—it’s a bittersweet meditation on love, aging, and the illusions we chase in the name of happiness.