6.0/10
88
3 user 2 critic

Negatives (1968)

A couple's bizarre romantic relationship is disrupted by the intrusion of a third person.

Director:

Peter Medak

Writers:

Peter Everett (screenplay), Roger Lowry (screenplay) | 1 more credit »
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Cast

Complete credited cast:
Peter McEnery ... Theo
Diane Cilento ... Reingard
Glenda Jackson ... Vivien
Billy Russell Billy Russell ... Old Man
Norman Rossington ... Auctioneer
Stephen Lewis ... The Dealer
Maurice Denham ... The Father
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Storyline

Theo, a used-furniture dealer, and his lover, Vivien, like to enhance their love-making through dressing-up and role-playing. He pretends he's notorious murderer Dr. Hawley Harvey Crippen; she pretends she's either Crippen's wife, Belle Elmore, or Crippen's mistress, Ethel Le Neve. When they're not having sex, Theo and Vivien engage in a lot of bickering, but continue to live together above Theo's London shop. Entering their lives one day is Reingard, a female German photographer who's been observing the couple, whom she finds intriguing. Reingard moves into one of the rooms above the shop; under her influence, Theo begins to shed his Crippen persona in favor of that of another notorious figure, German flying ace Baron von Richthofen, a development which threatens to impact Theo's relationship with Vivien. Written by Eugene Kim <genekim@concentric.net>

Plot Summary | Add Synopsis

Taglines:

A Bizarre Modern Drama of a Man and Two Women Locked in a Sensual Game of Sex.

Genres:

Drama

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Details

Country:

UK

Language:

English

Release Date:

September 1968 (UK) See more »

Filming Locations:

London, England, UK See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color (Eastmancolor)
See full technical specs »
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Did You Know?

Trivia

First of three cinema films directed by Peter Medak that Norman Rossington featured. See more »

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User Reviews

 
memorable moments of piano music...
17 June 2009 | by dizozzaSee all my reviews

I have little to add to Eugene Kim's comments which accurately express my opinion, too. In the 1970's, this odd film ran on late night television and stood apart from most everything else. Peter Medak's director credit for The Ruling Class preceded him so I was very patient with this film. The momentary use of piano music was an immeasurably extreme highlight. I felt very friendly toward the unique Glenda Jackson who was intensely committed to her acting, her director and her cast-members. For all its, what, its stupidity? ... For all that, the film achieves a believable sense of intimacy sealed from the world, hence the sense of suffocation. This film is capable of leaving a lasting impression because of the committed cast and those few moments of piano music.


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