Synopsis
A movie producer who made a huge flop tries to salvage his career by revamping his film as an erotic production, where its family-friendly star takes her top off.
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Cast
- Julie AndrewsSally Miles-Farmer
- William HoldenTim Culley
- Marisa BerensonMavis
- Larry HagmanDick Benson
- Robert LoggiaHerb Maskowitz
- Stuart MargolinGary Murdock
- Richard MulliganFelix Farmer
- Robert PrestonDr. Irving Finegarten
- Loretta SwitPolly Reed
- Robert VaughnDavid Blackman
Recommendations
- 100
Austin Chronicle
Edwards' crowning achievement. It is a wickedly funny, impeccably cast, ingeniously subversive satire of the Hollywood film industry. - 80
The New York Times
It's a nasty, biased, self-serving movie that also happens to be hilarious most of the time. - 80
Newsweek
This movie has teeth, and it's not afraid to bite. [6 July 1981, p.7] - 70
Variety
S.O.B. is one of the most vitriolic – though only occasionally hilarious – attacks on the Tinseltown mentality ever. - 50
TV Guide Magazine
This satirical attack on Hollywood and the film industry, however, lacks the biting edge and fresh characters necessary to make it work. - 50
Time Out
Though, like many of Edwards' films, it lurches uncertainly from slapstick farce to mordant humour in an extremely hit-or-miss fashion, this surprisingly bitter satire on Tinseltown - in which a producer (Mulligan) beefs up his latest turkey of a movie by introducing some pornographic sex scenes and having his wife/star (Andrews) bare her breasts on screen - does hit the mark once or twice. - 50
Washington Post
This is by no means the first film, nor the first film about the movie industry, in which the epitome of emotion is represented by a character talking on the telephone while oral sex is being performed on him. [3 July 1981, p.19] - 40
Washington Post
The problem with S.O.B. is that it reveals another sort of failure on Edwards' part: his fondness for dwelling on this low point in his career. He neglects to update the scenario or liberate it from the self-pity he overindulged in at the time. In fact, it's residual self-pity that undermines S.O.B. as a promising satire of Hollywood mores and hypocrisies. Edwards' tendency to feel sorry for himself keeps intruding on the potential wackiness. [2 July 1981, p.C1]
