Die Eule und das Kätzchen (1970)

Die Eule und das Kätzchen: Directed by Herbert Ross. With Barbra Streisand, George Segal, Robert Klein, Allen Garfield. A stuffy author enters into an explosive relationship with his neighbor, a foul-mouthed, freewheeling prostitute.

“TEN BEST OF 1970u003cbr/u003eu003cbr/u003e#10- The Owl and the Pussycatu003cbr/u003eu003cbr/u003eHerbert Rossu0026#39; u0026quot;The Owl and the Pussycatu0026quot; is a prime of example of how to do a u0026quot;Battle of the Sexesu0026quot; romantic comedy right. Most modern romantic comedies are either drowning in their syrupy sentimentality (u0026quot;Serendipityu0026quot;)or in crude hatred of one and/or both sexes (u0026quot;Tomcatsu0026quot;, u0026quot;Divine Secrets of the Ya-Ya Sisterhoodu0026quot;). u003cbr/u003eu003cbr/u003eThe film stars Barbra Streisand as Doris, a part-time hooker/actress who doesnu0026#39;t go anywhere without her TV. George Segal plays Felix Sherman, a would-be writer whose life consists of writeru0026#39;s block and rejection slips. One fateful evening, Felix complains to the landlord about the constant noise coming from Dorisu0026#39; apartment. He goes to bed and is awakened by a loud knock. Itu0026#39;s Doris, who was evicted from her apartment and has several bones to pick with Felix. Itu0026#39;s the beginning of a battle that lasts for most of the filmu0026#39;s 97 minute running time.u003cbr/u003eu003cbr/u003eWhat makes The Owl and the Pussycat such a standout film is the care that went into the production. Buck Henry has successfully transplanted Bill Manhoffu0026#39;s play from L.A. to New York and the film is better for it. New York is a much livelier town than L.A. and the city itself becomes a character that the others bounce off from. Herbert Ross proves he can handle comedy as well as he can handle musicals and choreography. His direction doesnu0026#39;t overwhelm the script and acting but compliments it in a way most people write off.u003cbr/u003eu003cbr/u003eOn paper, I suppose the Barbra Streisand-George Segal pairing doesnu0026#39;t look promising. But when you see the film, you will not think of more perfect casting. Streisand and Segal have good chemistry together and it makes some of the later events of the film more believable. Streisand has a gift for delivering brisk, snappy dialogue. Segal has a gift for being able to make his characters instantly likable. u003cbr/u003eu003cbr/u003eThe score is by Blood, Sweat and Tears. Made in between their second and third albums, the score doesnu0026#39;t feel like a time-filler throwaway. Dick Halliganu0026#39;s music fits the film like a well worn glove. I cannot imagine the movie without the music. It does like all good scores do, enhance the movie without giving it away. There is a mix-up in regards to the lyrics (credited to BSu0026amp;T, but David Clayton-Thomas has said they were given to BSu0026amp;T before the music was composed), but still, as sung by DC-T, the songs have a wonderful quality to them.u003cbr/u003eu003cbr/u003eAll people who even want to attempt a romantic comedy should watch u0026quot;The Owl and the Pussycatu0026quot;. It shows how to make a movie like this without resorting to misogyny, chauvinism or drippy sentiment.u003cbr/u003eu003cbr/u003e**** out of 4 stars”