A Touch of Class is a 1973 British romantic comedy film produced and directed by Melvin Frank and starring George Segal, Glenda Jackson, Hildegard Neil, Paul Sorvino and K Callan.

The film tells the story of a couple (Segal and Jackson) having an affair, who find themselves falling in love.

However, it bears more than a passing resemblance to an earlier Frank film, The Facts of Life (1960), which likewise dealt with a middle-aged couple trying to have an affair, centering on a disaster-laden trip to a place where they would not be recognized.

Roger Moore was also offered the lead role before dropping out to star in Live and Let Die, his first appearance as James Bond.

[2] Vickie Allessio, a divorced British mother of two, meets Steve Blackburn, an American married man, while sharing a taxi in London.

He cancels the plane tickets he had arranged for his family and encounters his friend Walter Menkes, a movie producer, at the airport.

He ends up driving an Italian car with an awkward clutch, causing discomfort and annoyance to Vickie.

Walter shares his own experience of a holiday romance and warns Steve that it won't work out.

[7] Roger Ebert gave the film three stars out of four, calling it "a sharp-edged, often very funny dissection of a love affair between two possibly incompatible people.

"[8] Gene Siskel had a similar opinion, awarding two-and-a-half stars out of four and writing that in the film's best moments it "reminds one of those wonderful screen battles between Spencer Tracy and Katharine Hepburn," but then it "tries to get serious" which "leads to an unsatisfying conclusion totally removed from the dominant tone of the movie, which is raucous at best, contrived silliness at worst.

"[9] Vincent Canby of The New York Times called it "a very patchy movie—enormously funny in bits and pieces and sometimes downright dumb.

"[10] Variety wrote: "George Segal herein justifies superbly a reputation for comedy ability while Glenda Jackson's full-spectrum talent is again confirmed.

"[11] Penelope Gilliatt of The New Yorker wrote that the film had "moments of reckless funniness" but observed that the "muddle of period convention is odd," as it blended the "Hepburn-Tracy tradition" and an "old-style slapstick" scene with "modern and naturalistic eroticism.