It's tempting to call this archetypical 1969 comedy severely dated, but that would be too superficial a judgment. Taken as a period piece when the sexual revolution was completely redefining the country's moral code, the film is a shrewdly observed, sharply comic character study among the Southern California bourgeoisie. It also marks the auspicious directorial debut of Paul Mazursky, a former actor who ended up making two decades' worth of insightful films focused on personal foibles and sympathetic satire ("An Unmarried Woman", "Down and Out in Beverly Hills"). He cleverly uses the "Hallelujah" chorus of Handel's "Messiah" to open the film as documentary filmmaker Bob Sanders and his wife Carol drive through the canyons outside LA to an Esalen-like couples' retreat where narcissism runs rampant with participants encouraged to express how they "feel" through group hugs, crying, mutual staring, even pillow punching.<br /><br />The experience transforms Bob and Carol into a touchy-feely couple so intent on being completely honest with each other that they accept each other's acts of adultery. This level of supposed enlightenment initially appalls their best friends, Ted and Alice Henderson, who hold on tenuously to their more traditional values. However, a weekend in Vegas becomes a cathartic showdown among the two couples, and the outrageous brashness of their liberated behavior comes to a crescendo that manages to be unexpected and predictable at the same time. Mazursky ends things on a surreal note with Jackie DeShannon's classic rendition of Burt Bacharach and Hal David's "What the World Needs Now Is Love". Through it all, the four principal actors give sharp performances that wisely leave the motivations for their characters ambiguous enough for the audience to draw their own conclusions.<br /><br />Coming off his hit TV series "I Spy", Robert Culp effectively plays Bob as a hippie-wannabe closing in on middle age and recognizing an innate need to give in to the new moral order to belong. As Carol, Natalie Wood at thirty never looked so sexy nor come across so relaxed on screen. She brings such an alluring knowingness to the role that it becomes difficult to believe why Bob would want to cheat on her in the first place. In his first major role, Elliott Gould keeps Ted as an amusing, sympathetic figure who keeps dancing between disgust and envy with increasing alacrity. Dyan Cannon comes closest to stealing the picture since she carries the biggest character arc as Alice. It is her character who does the abrupt about-face that spurs the climax (you should pardon the expression). The 2004 DVD contains a sometimes entertaining, sometimes too self-conscious commentary track featuring Mazursky, Culp, Gould, and Cannon, as well as a twenty-minute interview with Mazursky from 2003.