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The film was still a fun one that will make you laugh and have you leaving the theater feeling like you just stole something valuable and got away with it.

It's a movie as timely as it is provocative and amazingly, for much of its running time, it is weirdly funny.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

The acting in this movie is really good.

Ann-Margret alternates between come-hither pussycat and uptight do-gooder playing a would-be writer who attempts to pass herself off as sexually depraved in order to get a deal with a sleazy men's magazine. The problem with this picture is the very same predicament Annie faces: it's a square piece of goods palming itself off as naughty. The opening montage of sex-clubs is amusing, and A-M is energetic bouncing around on a trampoline, but the movie is talky, draggy, and seemingly produced on the cheap. Tony Franciosa doesn't work very well with Ann-Margret (he squirms too much, which isn't good for the romantic sub-plot). A few clever gimmicks--like the teaser ending, which caught me off guard--and Ann-Margret's shapely figure compensate, but "The Swinger" just doesn't swing. Perhaps a director with a sharper flair for visual slapstick and satire (like Frank Tashlin) may have brought out a more cartoony sensibility to these proceedings. George Sidney certainly tries, but he's too literal for the flighty material; while staging a mock-orgy, he has Ann-Margret writhing around on the floor slathered in paint...wouldn't straight sex be cleaner? ** from ****

The previous reviewer apparently thinks The Swinger is intended to be a social commentary on the 1960's. This is not that deep of a film. I would say that since the film was produced in 1966, it is reflective of the times. The fashion and music of the movie is indicative of what people were wearing and listening to in 1966. The Woodstock era and the follow on Easy Rider type films were several years away. In 1966, psychedelic was a term more associated with loud colored fashion, and also alluded to a promiscuous lifestyle, rather than LSD. This film is in touch with the lifestyle of the majority of young people in 1966.The Swinger was a daring film for 1966, as far as innuendo and scanty clothing are concerned. The nudity portrayed later in the decade and on into the 70's, was not present in American film yet. By today's standards for mainstream film, the clothing (or lack there of) of Ann-Margret is far more daring than what you would see a female star do today. This is a very sexy movie for the period, with Miss Margret performing two elongated song and dance numbers (one as a stripper) in which she gets down to bare essentials. This probably had a lot to do with the films box office, as it was probably a bit too risqué for middle America at the time.This film is shown often on AMC, but the version shown now is an edited one, in which a couple of the dance scenes have been cut short. I have not seen the unedited version for more than 30 years, and doubt that copies of it still exist.

"The Swinger" was an attempt by old-line Hollywood to cash in on the "youth movement" by making a movie that was "hip" and "relevant" and that the "young people" could "dig." It fails miserably on all counts. This movie was dated five minutes after it was released, and is now nothing more than a laughable relic of what people who had absolutely no idea of what the '60s were about thought the '60s were about.Tony Franciosa plays a Hugh Hefner-type magazine publisher who rejects a story given to him by writer Ann-Margret about the "swinging" scene, because he doesn't think she knows enough about the subject to have written about it (while he, of course, knows EVERYTHING about it). So she sets out to become part of the swinging generation to show him up. The movie is nothing but leering, smarmy double-entendres, and the whole attitude is "ooh, aren't we being naughty?", which they aren't (as in the laughable "orgy" scene, where Ann-Margret gets her body painted).Ann-Margaret has always seemed to me to be the Pamela Anderson of the '60s--a totally manufactured personality trading on her looks and what passes for sex appeal. Her image was the good girl who would stop just this side of sluttiness, because she was, after all, a good girl--which made her, basically, a tease, and that was what her entire career was built on. This movie is a perfect example of that. She's basically nothing more than a somewhat animated Barbie doll, which is pretty much all that she's ever been required to be.If you want to get a feel for what the '60s was about, this movie isn't it, by any stretch of the imagination. It's fun in a goofball kind of way, but it's basically what a bunch of wealthy, middle-aged men (the people who made this movie) thought "the kids" would want to see. They didn't.

Delightful romp whose sole purpose is to showcase the body and talents of Ann Margaret. Very stylish production clashes wittily with a very dated story line. Ann Margaret is a demure fantasy, the accessible all-American girl, pretending to be a wild swinger so she can get published in a Playboy-type men's skin rag. This is one of the last movies directed by George Sidney who directed early titillations such as "Showboat" and "Ziegfield Follies." His obsession with Miss Margaret is apparent and she responds by letting it all hang out. From the opening credits, where she jumps on a trampoline in a cat suit, to zipping around her hip pad in sheer black pantyhose, her performance is frenetically sexy and out of control. She gets used as a paintbrush in a silly orgy and even does a strip-tease. The centerpiece of the movie, however, is the long photo montage sequence that dresses up Ann Margaret in every conceivable look from freckled school-girl to exotic femme fatale. For fans of Ann-Margaret this movie is a indulgent feast!