The Faust legend retold (loosely) and applied to a mentally disturbed patient in a hospital run by a doctor (Sir Peter Ustinov) of dubious sanity himself. The patient (Richard Burton) ...
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The venomous and amoral wife of a wealthy architect tries, any way she can, to break up the blossoming romance between her husband and his new mistress; a good-natured young widow who holds a dark past.
Brian G. Hutton
Ellen Wheeler, a rich woman, is recovering from a nervous breakdown with the help of her husband and a good friend. One day, while staring out the window, she witnesses a murder. But does ... See full summary »
Brian G. Hutton
In 1920s Turkey, young peasant Memed (Simon Dutton) elopes with beautiful Hatche (Leonie Mellinger), who was promised in an arranged marriage to the local potentate Abdi Aga's (Sir Peter Ustinov's) son, and later joins a group of bandits.
The Faust legend retold (loosely) and applied to a mentally disturbed patient in a hospital run by a doctor (Sir Peter Ustinov) of dubious sanity himself. The patient (Richard Burton) offers the innocent orderly (Beau Bridges) vast riches if he'll help him escape.Written by
Steve Crook <firstname.lastname@example.org>
"It is inelegant to rob from the poor before you rob from the rich...besides, it takes far too much time."
Reworking of the Faust legend has a slovenly, nose-picking orderly at a mental institution helping a patient to escape in exchange for a life of privilege. Taking along a roadside diner waitress on his journey, the young man eventually becomes one of the most successful men in the world--but at the expense of personal happiness. Crummy-looking satirical enterprise, scattered with absurdist humor and "Cleopatra" in-jokes, has enough interest in it for about 40 minutes of its length. The quirky match-up of material and cast (a haggard Richard Burton, an overly-tanned Elizabeth Taylor, and a pitilessly miscast Beau Bridges) can't carry the poorly-paced film beyond that. Taylor, in a variety of wigs, gives the picture a little bounce in the early stages; but when she's turned into a vindictive shrew, her role seems to evaporate--and yet she hangs around without anything to do. Bridges gives a ruinous performance; attempting to play a rough-hewn rube, the well-spoken actor cannot get a grip on his role. There's no story arc showing us the passage of time, and each new episode looks like it was cooked up on the spot. Director Peter Ustinov (who has an extraneous role as a psychiatrist with a Viennese accent) flails about behind the camera, alternating rude comedy with a messy narrative structure that simply gets worse as the film progresses. * from ****
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