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Bob & Carol & Ted & Alice (1969)/Eyes of Laura Mars/Shampoo (Multi Feature, 3 discs)

4.0 out of 5 stars 114 customer reviews

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Editorial Reviews

Bob & Carol & Ted & Alice
After the ultra sophisticated couple, Bob (a filmmaker) and wife, Carol attend a secluded therapy group (only to observe) they become modernized in their sexual thinking and behavior. Can Bob and Carol's new thinking rub off onto best friends, Ted and Alice?

Shampoo
Shampoo is a racy, star-studded bedroom farce set in the decadent, sexually liberated Los Angeles of the late 1960s. Written by Academy Award(r) winner Warren Beatty (1982 Best Director, Reds) and Robert Towne (Chinatown) and directed by Hal Ashby (Being There), the film was nominated for four Academy Awards(r) and has been chosen as one of the American Film Institute's 100 Funniest Movies. George isone of L.A.'s most desirable men, a Beverly Hills hairdresser who makes all his clients look and feel better than ever. Encouraged by his girlfriend Jill (Goldie Hawn) to open his own salon, George approaches conservative businessman Lester (Jack Warden) for financing. Unbeknownst to Lester, Georgeis sleeping with his wife (Lee Grant), his mistress (Julie Christie) and his teenage daughter (Carrie Fisher). Can George resist temptation and settle down with Jill or will he get tangled up in evenmore scandalous affairs?

The Eyes of Laura Mars
This riveting tale of murder and suspense stars Faye Dunaway as Laura Mars, New York's most controversial fashion photographer. World renowned for her sensational, erotic portraits of models in settings of glorified urban violence, Laura Mars exhibits a mystifying psychic ability. In her mind's eye, as if through the lens of her camera, she 'witnesses' a series of bizarre murders with terrifying clarity. All of the victims are people Laura has known. Police detective John Neville (Tommy Lee Jones) discovers a striking similarity between Laura's works and classified police photographs of the murders and he attempts to unravel the events which have taken control of Laura's mind. The film builds to a spine-chilling climax when the eyes of Laura Mars reveal the identity of the killer.

Special Features

None.

Product Details

  • Actors: Warren Beatty, Julie Christie, Goldie Hawn, Natalie Wood, Robert Culp
  • Directors: Hal Ashby, Irvin Kershner, Paul Mazursky
  • Writers: David Zelag Goodman, Joan Tewkesbury, John Carpenter, Julian Barry, Larry Tucker
  • Format: Multiple Formats, Box set, Color, NTSC, Subtitled
  • Language: English, Finnish
  • Subtitles: English, French, Japanese, Korean, Mandarin Chinese, Portuguese, Spanish, Thai
  • Dubbed: French
  • Subtitles for the Hearing Impaired: English
  • Region: Region 1 encoding (US and Canada only)
    PLEASE NOTE:
    Some Region 1 DVDs may contain Regional Coding Enhancement (RCE). Some, but not all, of our international customers have had problems playing these enhanced discs on what are called "region-free" DVD players. For more information on RCE, click .
  • Aspect Ratio: 1.33:1
  • Number of discs: 3
  • Rated:
    R
    Restricted
  • Studio: Sony Pictures Home Entertainment
  • DVD Release Date: November 4, 2008
  • Run Time: 349 minutes
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (114 customer reviews)
  • ASIN: B001EKP5D2
  • Amazon Best Sellers Rank: #65,088 in Movies & TV (See Top 100 in Movies & TV)
  • Learn more about "Bob & Carol & Ted & Alice (1969)/Eyes of Laura Mars/Shampoo (Multi Feature, 3 discs)" on IMDb

Customer Reviews

Top Customer Reviews

Format: DVD Verified Purchase
Cheers to Johnny Depp, Sandra Bernhard, and Julianne Moore for citing this almost forgotten '70's classic as one of their all time favorites. To most, Shampoo is looked at as a Beatty vanity project, a dated box-office hit, or just dull and not worth your time. It's a shame because it's one of the best films of its time and is probably the last example of a sex comedy having any sly wit, sophistication, or style. The character of George (Warren Beatty) is based on Manson family victim Jay Sebring -a close friend of Beatty's- and his quest for maturity and respect cuts through the dozens of meaningless, in-your-face type comedies of today. No, it's not an overbearingly gross, laugh-'til-your-side-aches ride with lots of gratuitous nudity and forgettable one-note characters; the film builds at a carefully constructed pace and -using humor as an undercurrent and beautifully soft neutral colors as its visual look -packs a slight emotional wallop at the end. It's as close to an American art film comedy as you're going to come.
The collaboration of screenwriter Robert Towne (Chinatown) and director Hal Ashby (Harold and Maude, The Last Detail, Coming Home) is a small dream and together they create some beautiful magic: the subtlety of Towne's very funny dialogue never becomes monotonous like a bad Broadway farce and Ashby's camera allows a viewer to discover hidden depths in Goldie Hawn, Carrie Fisher, Jack Warden (Oscar nominated), and Lee Grant (Oscar winner). All the performances are first rate but Julie Christie as George's true love interest steals the movie with those wonderfully expressive eyes and her classic drunk scene. (One of the best visual jokes in the movie is the backside of the black cocktail dress she wears at the election dinner.
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"Shampoo" is probably the most sophisticated sex comedy ever made in this country. It's a very clear-eyed (and very funny) look at how love and lust get inextricably mixed up with up with power, money, position, and politics. Of course, contrary to almost every critique posted here, George (Warren Beatty), the philandering Beverly Hills hairdresser, is the primary victim of the rules of the game, late-60s Southern California-style. Unlike the protagonist of the great Renoir movie, George doesn't end up dead, but he's left alone, abandoned by all the women he's bedded, looking like a naive fool. And that's George's sin--he's an uncynical romantic in a world that doesn't know the difference between felt emotion and deliberate calculation. He sleeps with women because he genuinely likes them. For him, taking a woman to bed is an extension of doing her hair--it's an intimate act in which he makes her look and feel better. All the other characters in the movie use sex as part of a larger plan--they each have some separate goal on their mind, which they achieve in one way or another, and George is left behind with his silly emotional and sexual vulnerabiliy. He's Don Giovanni in reverse--the boy who can't say no because he actually gives a damn--and he pays a steep price for his availability. Playing a slightly out of it dupe, Beatty has never been better or more dazzlingly glamorous. And he's surrounded by a flawless ensemble cast--Lee Grant is simply astonishing as a deceived and deceiving Beverly Hills matron, and Julie Christie, in her flared pants and mini skirts, is peerlessy sexy as the 1968 version of a Rodeo Drive courtesan. Thanks to Robert Towne, "Shampoo" also has some of the most natural, unforced, yet revealing dialog ever heard in an American movie--nothing is stylized or italicized, but every nonchalant remark hits target like a polished Wilde epigram. Delectable.
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SHAMPOO harks back to the glory days of Hollywood to the famous incident at Ciro's (the night club) when Paulette Goddard added spice to her career by slipping under a table to give an evening's worth of excitement to director Anatole Litvak, thereby sealing her reputation as a party girl who really didn't care what anyone thought. (In another version of the story, Goddard and Litvak both vanished under the table simultaneously and had sex on the nightclub floor on the feet of their friends.) In any case, SHAMPOO recalls this incident by having Julie Christie slide out of her banquette to take care of the hairdresser, George Roundy (played by Warren Beatty) even though her "boyfriend" (Jack Warden) is hovering dangerously close by.

SHAMPOO also takes its cues from British Restoration comedy like Wycherley and Congreve, a world of cuckolded gentlemen, odious bourgeoisie, discontented wives, and boys on the make, re-locating the center of the gilded universe from London to Los Angeles in the late 1960s. As in Congreve, the husbands believe it's safe to leave their wives and daughters alone with George because he's a dandy/aesthete/hairdresser. That suits him down to the ground, for on the bodies of these ignorant women he can have his revenge on the men who treat him as a tradesman, a social inferior. The picture has a slightly dated air, as if to say, we're different now than when the action of this film is laid, which might be difficult to apprehend today.

Beatty is fine, though his haircut doesn't recall the 1960s as much as the mid 70s when the film was produced.
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