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The Owl and the Pussycat

The Owl and the Pussycat

Comedy · Romance · 1970

Meek, owlish Felix and strident, catty Doris live in the same apartment building. His incessant typing bothers her; her gentlemen callers bother him. Felix informs the landlord of her activities, so Doris moves in on Felix. When they both get thrown out, they move in with Barney... until they drive him out! That's when Felix and Doris finally decide to put theory into practice. But do opposites attract?

Movie details

The Owl and the Pussycat

“It's no longer a story for children.”

1970 Comedy · Romance 1h 35m

Critical arithmetic

One number, for now.

TMDB

6.2 / 10

Community rating

Meek, owlish Felix and strident, catty Doris live in the same apartment building. His incessant typing bothers her; her gentlemen callers bother him. Felix informs the landlord of her activities, so Doris moves in on Felix. When they both get thrown out, they move in with Barney... until they drive him out! That's when Felix and Doris finally decide to put theory into practice. But do opposites attract?

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Owl and the Pussycat?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Herbert Ross

Written by

Buck Henry

Barbra Streisand

Barbra Streisand

Doris

George Segal

George Segal

Felix

Robert Klein

Robert Klein

Barney

Allen Garfield

Allen Garfield

Dress Shop Proprietor

Roz Kelly

Roz Kelly

Eleanor

Jacques Sandulescu

Jacques Sandulescu

Rapzinsky

Jack Manning

Jack Manning

Mr. Weyderhaus

Court is in session

Put The Owl and the Pussycat on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.