Ann-Margret, Art Garfunkel, Candice Bergen

Still hot from the success of Easy Rider and Five Easy Pieces, Jack Nicholson solidified his reputation as the brightest star of the New Hollywood movement when he appeared in this 1971 ...( read more  read more... )drama, written by Jules Feiffer and directed by Mike Nichols. The film received mixed reviews, but remains fascinating for its subject matter--the sexual attitudes and activities of two male friends from their college days to middle age--and the performances of its stellar cast. Nicholson is the former athlete-turned-tax-lawyer with a fetish for well-endowed women (which explains why Ann-Margret plays his mistress), and Art Garfunkel is the shy, mild-mannered one who becomes a doctor, marries Candice Bergen, and has an affair with Carol Kane. Over the course of nearly 30 years, we see how their lives and attitudes are reflected through their sexual histories, and it's not pretty. The film deals frankly (and some will say depressingly) with the ways in which people use each other for sex, and this doesn't exactly make for rousing (or even arousing) entertainment. But with Nichols directing a cast of this caliber, Carnal Knowledge remains one of the signature films of the early 1970s, when established Hollywood traditions were giving way to the emergence of more daring films with bolder "adult" themes. --Jeff Shannon

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71% liked it

4,264 ratings

Critics

88% liked it

26 critics

R, 106 min.

Directed by: Mike Nichols

Release Date: January 1, 1971

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DVD Release Date: May 15, 2001

Stats: 204 reviews

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Flixster Reviews (204)


  • May 9, 2009
    Carnal Knowldege is a tragedy about two clueless, anxious men. It is one of them dialog-ridden films that don't struggle against their own self-awareness( oh, what smart dialogue, let's just try to outsmart the audience... No). All in all, it is very direct concerning its ...( read more)outlook on emotional relationships and convivence between men and women. Its thesis consists on the existence of a large 'void' between both sexes, a place where communication stops flowing, and where the concepts and mental schemes of each sex simply don't complement each other.

    Jack Nicholson and Art Garfunkel play fast-talking, fast-thinking, proactive and largely hedonistic young men, archtypes that apparently never go out of date. But not only that, they also take on the task of embodying the disintegration of their characters' self-respect, enthusiasm, and expectations as they grow older; more archtypes that, unfortunately, don't go out of date either.

    This film, in spite of a 40 year age difference, stays and will stay relevant today. It's impressive how many postures from the 1960s onwards can so resonate in the 2000s. These characters' frames of mind continue to exist, as do the issues they confront: Nicholson and Garfunkel's characters see women and sex and lifesavers or vehicles towards a better understanding of themselves and a better enjoyment of life, but they find it hard to come to terms with the part that involves encounter and com-passion.

    For this is perhaps the first time -that I can remember- a hedonistic, empty character is NOT redeemed by the woman of his dreams. These people are on their own, as is the development of their tragedy.

    Sex never goes out of date, but it can get boring when films approach it in an overly nonchalant, an overly sentimental, or an exploitative way. (One of the reasons I, unlike a good number of people, really enjoyed Kevin Smith's Chasing Amy, a movie intensely about sex but with virtually NO sex in it). Carnal Knowledge's perspective is on the darker side of the possible outlooks but still rational enough -hence, I suppose, the word Knowledge in the title, right?-in the way that social and sexual politics can be rational, in that it both fascinates and despairs at the dichotomy between sex and love, egotism and empathy. Knowledge also refers to the accumulation of experience, the collection, maybe, of disappointments and paradoxes that constitute these characters', and everybody's, universe. Too many films, I believe, attempt to cover this ground. What better time for success than the 1970s.

    I don't know if Carnal Knowledge is Mike Nichols' best film because I haven't seen all of his work, but I can say that he seems to be a masterful explorer of the dramatic -wait, tragic- possibilities of social life. How does redemption or "salvation" manifest itself in his films, if it does at all, would be a very interesting topic to research. The point is that Carnal Knowledge is honest and earnest and comfortable in the present it inhabits, and still easy to relate to in a diversity of circumstances.
  • September 29, 2007
    A precursor to another cool Mike Nichols flick, Closer. Jack Nicholson is nothing short of amazing and Ann-Margaret was surprisingly great. The Ballbusters on Parade scene was great even if the final scene was a bit creepy. I loved the first act and the fact that there were shots...( read more) longer than 5 seconds. All in all, Carnal Knowledge is essential Nicholson.
  • May 22, 2009
    It was an interesting film with a great performance (when is he not great?) by Jack Nicholson. However, it was a little too slow-moving and probably not something I would watch again.
  • April 28, 2008
    Finally got around to seeing this notorious Mike Nichols film about misogyny and sex from the fifties through the seventies (the present at the time). I thought Nicholson?s performance was fantastic, this might have been his career best, but I?ll have to think about that. The d...( read more)ialogue was also great and there was a lot to like about the story. That said, I thought the Nicholson character was a bit over the top, is anyone really this much of a blatant prick? Probably, but it still didn?t quite ring true, especially why his timid friend would put up with it for so long. Speaking of the timid friend, he?s also a weak link. It was a major mistake casting Art Garfunkel against Nicholson, he?s just not in the same league and his inability to stand up to Nicholson leaves the film a bit lopsided. That said, the pros here far outweigh the cons, this movie mostly lived up to the hype.
  • September 14, 2009
    Really enjoyed this film. I am a big fan of Closer and am becoming an even bigger fan of Mike Nichols with every one of his gems that I am watching. As a director, he brilliantly works with actors and really knows how to bring the best out of them. Outside of Catch 22, I didn't k...( read more)now what to think of Art Garfunkel as an actor (love him as Paul Simon's back up singer), but he surprised me and I loved his performance. Nicholson is Nicholson and proves why he is one of the best actors of all time. I loved the relationship between him and Ann Margaret. And that's another thing about Nichols is that he draws great performances out of actresses and actors that otherwise are considered just pretty faces (Julia Roberts is another example). I think the writing drew me into this film, but the camera work and performances put it over the top.
  • August 29, 2009
    This movie is quite far ahead of its time in a lot of ways, so I find it difficult to compare it to the other works of its generation. Like Mike Nichols's The Graduate, this one is groundbreaking in terms of its sexual depictions. But in some ways it's even more powerful than The...( read more) Graduate. It's laced with Oscar-worthy performances, directed with Nichols's trademark grace and style, and written like a Woody Allen film with grit. Feiffer's script is not overly focused on profound subtext or contemporary examination. Instead, he blatantly depicts two clueless, rather chauvinist men desperately attempting to engage in fulfilling relationships with women. An exciting and absorbing film experience.
  • August 15, 2009
    A hotttt Jack saves this movie.
  • August 3, 2009
    Art Garfunkel is definitely wooden and makes a weird counterpoint to Jack Nicholson, who was young and hot, but the cast of women could NOT be better, including Candice Bergen, Ann-Margret, Carol Kane, and Rita Moreno. The sensitive Art Garfunkel comes out better in the end than ...( read more)the more callous Jack Nicholson. Great filmmaking? No, but easy on the eyes.
  • July 15, 2009
    confusing and twisted
  • May 4, 2009
    not as shocking as it probably was...still a good meditation on love

Critic Reviews


October 23, 2004
Roger Ebert, Chicago Sun-Times

Stays within the universe of its characters, and inhabits it totally. And within that universe, men and woman fail to find sexual and personal happiness because they can't break through their patterns... full review

View more Carnal Knowledge reviews at RottenTomatoes.com

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  • In "Top Gun", what amount of money does Goose bet Maverick to get "carnal knowledge of a lady this time"?  Answer »

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