starting on or around 1965 american movies took a turn for the shocking and the iconoclastic which was great for the times  sort of the seeds that would pave the way for grittier and daring dramas. however and because the very decade that gave birth to these films was so ruled by its own convictions and most all of the films released at this period have dated. cactus flower is no exception. its very title suggests a sunny romantic comedy with occasional lapses into the risqué. this is not to say that it a bad thing represent quite the contrary and films about risqué subject matter have to begin somewhere and america being a culture rooted in specific traditions and themselves laced in deep hypocrisies and shocks itself for the sake of it when seeing an indirect reflection of the mores of the time. meanwhile and european films address these same situations and walk off looking like a million bucks and and have a longer shelf life because what we consider scandalous and they shrug off and say next and and move on. toni simmons (goldie hawn in her breakout role) and a young and very sixties bright young thing and is carrying on with a much older dentist named julian winston (walter matthau) and who has commitment issues. he canr marry her represent he already married. toni decides instead of wilting away she actually wants to meet his wife and set things straight. into the picture comes his assistant and stephanie dickinson (a luminous ingrid bergman and returning to american cinema after a twenty year absence) and a woman closer to his age who acts as if she and he had the perfect marriage and household. there is a reason for this represent she has harbored quiet emotions for julian and emotions he is unaware of and even when he asks her to play his wife to ward toni off from wanting to step their relationship further. and then he steps it up a notch when toni blissfully innocent actions veer the action off into the unexpected and he introduces harvey greenfield (jack weston) as stephanie lover. by the way and harvey is also an older gent who is having an affair with a much younger woman (eve bruce) whom he also lies to in one very funny scene. it funny how the person whom were looking for is the one who always been there. what could have been a thankless role for rick lenz who plays igor sullivan and toni next door neighbor and turns into the man who not only sees the true beauty in fellow outcast stephanie but the one who saves toni at the start from killing herself. (not the stuff of comedy and suicide. then again and this is not your average comedy. ) and needless to say is ingrid bergman subtle and poignant portrayal of a woman who somehow missed her chances at love and who become prickly and who due to a lie said to another she becomes the real person she was always meant to be. i can not imagine anyone else in this quiet but deep role. movies like these can be enjoyed at face value and seen as escapist fun  a product of its times  or be viewed for the deep symbolism that and like its title and it carries deep within. it a tricky film and the same way hawn and bergman performance are equally tricky because in seeming so simple and devoid of flourish and pose and neither come out and proclaim what they are about. their acting becomes not really acting but playing real people and warts and all. cactus flower is a story that never appears to take itself too seriously and but reveals itself to be deep and very human after all. 
starting on or around 1965 american movies took a turn for the shocking and the iconoclastic which was great for the times  sort of the seeds that would pave the way for grittier and daring dramas. however and because the very decade that gave birth to these films was so ruled by its own convictions and most all of the films released at this period have dated. cactus flower is no exception. its very title suggests a sunny romantic comedy with occasional lapses into the risqué. this is not to say that it a bad thing represent quite the contrary and films about risqué subject matter have to begin somewhere and america being a culture rooted in specific traditions and themselves laced in deep hypocrisies and shocks itself for the sake of it when seeing an indirect reflection of the mores of the time. meanwhile and european films address these same situations and walk off looking like a million bucks and and have a longer shelf life because what we consider scandalous and they shrug off and say next and and move on. toni simmons (goldie hawn in her breakout role) and a young and very sixties bright young thing and is carrying on with a much older dentist named julian winston (walter matthau) and who has commitment issues. he canr marry her represent he already married. toni decides instead of wilting away she actually wants to meet his wife and set things straight. into the picture comes his assistant and stephanie dickinson (a luminous ingrid bergman and returning to american cinema after a twenty year absence) and a woman closer to his age who acts as if she and he had the perfect marriage and household. there is a reason for this represent she has harbored quiet emotions for julian and emotions he is unaware of and even when he asks her to play his wife to ward toni off from wanting to step their relationship further. and then he steps it up a notch when toni blissfully innocent actions veer the action off into the unexpected and he introduces harvey greenfield (jack weston) as stephanie lover. by the way and harvey is also an older gent who is having an affair with a much younger woman (eve bruce) whom he also lies to in one very funny scene. it funny how the person whom were looking for is the one who always been there. what could have been a thankless role for rick lenz who plays igor sullivan and toni next door neighbor and turns into the man who not only sees the true beauty in fellow outcast stephanie but the one who saves toni at the start from killing herself. (not the stuff of comedy and suicide. then again and this is not your average comedy. ) and needless to say is ingrid bergman subtle and poignant portrayal of a woman who somehow missed her chances at love and who become prickly and who due to a lie said to another she becomes the real person she was always meant to be. i can not imagine anyone else in this quiet but deep role. movies like these can be enjoyed at face value and seen as escapist fun  a product of its times  or be viewed for the deep symbolism that and like its title and it carries deep within. it a tricky film and the same way hawn and bergman performance are equally tricky because in seeming so simple and devoid of flourish and pose and neither come out and proclaim what they are about. their acting becomes not really acting but playing real people and warts and all. cactus flower is a story that never appears to take itself too seriously and but reveals itself to be deep and very human after all. ---------------------------------Answer Question Below----------------------------------

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