Tag Archives: Denholm Elliot

Bad Timing (1980)

bad-timing-1

By Richard Winters

My Rating: 7 out of 10

4-Word Review: He needs to control.

Alex Linden (Art Garfunkel) is an American psychiatrist teaching at a Vienna University who falls for a free-spirited young lady named Milena (Theresa Russell). Despite still being married to the much older Stefan (Denholm Elliot) she decides to leave him and move in with Alex, but their relationship soon becomes rocky. Alex gets jealous of her flirtatious ways and wants to control her, but she resists. Their constant fighting sends her into a depression and she begins to abuse both drugs and alcohol. One night Alex finds Milena’s comatose body inside her apartment apparently the victim of an overdose. She gets rushed to the hospital, but the police detective on the case (Harvey Keitel) isn’t so sure that Alex is being completely honest with him about how the events unfolded and through a fragmented narrative the viewer slowly becomes aware of Alex’s very dark and possessive side.

This movie, which was labeled by its distributor as being “a sick film made by sick people for sick people”, still remains as fresh and provocative as when it was first released. The possessive boyfriend theme was at the time a new concept and thus thankfully avoids the annoying clichés we now see in today’s movies while still coming off as groundbreaking and edgy instead. Yale Udoff’s script nicely weaves a complex texture between examining the dark psychological undercurrents of its characters to also creating an intricate and original mystery that keeps you on edge until its final and still quite shocking ending.

Director Nicolas Roeg crafts a mesmerizing visual design with each shot and edit and I especially liked the way he intercuts between showing Milena unconscious inside the emergency room to scenes of her and Alex making love. Their cluttered apartment is interesting as well and tends to be messier when the two are at odds and more organized when they’re apart. Roeg employs a wide range of music styles instead of just choosing one and playing it over and over like in most other movies.

The film’s main defect is Garfunkel’s presence whose acting talent is limited. His character is interesting particularly with the way he majored in psychiatry and yet seemed to be suffering from many of the same problems that he was studying making it seem almost like people who get into that line of work do it not so much to help others, but instead as a sort-of self-analyzation for themselves. However, his performance is wooden and his only memorable bit is when he and Milena hitch-hike a ride with some farmers and he gets stuck in the back of their pick-up with the goats while she rides up front with the two guys and he jealously looks in on them from the rear window.

Russell, who went on to marry director Roeg after this film was completed, goes in the exact opposite direction by overplaying her character until it becomes almost campy. Why this beautiful woman, who gets lots of attention from just about every guy she meets, would fall for such a dull dope like Alex makes no sense nor does her need to constantly try and win him back every time he mistreats her.

The best performances come from the supporting players. Keitel nails it as the cunning detective and Elliot has a great moment where he continues to casually eat his lunch while Alex harangues him on the other end of the telephone receiver.

Despite the miscasting of its two leads and the fact that the movie saw only a limited engagement when it was first released the film has still managed to gain a strong cult following. Much of this can be credited to Roeg’s artsy direction as well as the dark ending that still packs-a-punch.

My Rating: 7 out of 10

Released: September 21, 1980

Runtime: 2Hours 2Minutes

Rated R

Director: Nicolas Roeg

Studio: Rank Film Distributors

Available: DVD (Criterion Collection), Blu-ray (Region B/2), Amazon Video

Nothing But the Best (1964)

nothing but the best 2

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Maybe crime does pay.

James Brewster (Alan Bates) is a young ambitious man who will do anything to not only climb the corporate ladder, but raise his social standing as well. He works at a large company and finds things tough. Everyone else is competing for the same thing and James finds himself being boxed out and unable to get the attention and recognition he feels he deserves. Then he meets Charles (Denholm Elliot) a master con-man and forger and he realizes the only way to move up is by doing it the criminal way. The two move in together where Charles teaches James all the tricks of the trade. James becomes so good at it that he realizes he no longer needs Charles so he murders him and stuffs his body inside a large trunk, which he has hidden. Then he becomes engaged to the beautiful Ann Horton (Milicent Martin), but her extended family has connections he is not aware of, which could put a kink to his otherwise lofty plans.

The screenplay was written by Frederic Raphael who has had a distinguished career in screenwriting including penning the script to Stanley Kubrick’s last film Eyes Wide Shut. Although there really isn’t any one particularly funny moment and some of the criminal activity is a bit complex and hard-to-follow the dialogue is still snappy and the less than honorable characters surprisingly engaging. Clive Donner’s direction gives the proceedings a breezy pace and the characterizations of the upper British crust are on-target and fun.

Elliot, who is one of the best character actors ever and had a long and distinguished career playing a wide variety of them, is terrific. Somehow this guy has always had an ability to make conniving, immoral people engaging, funny and even somewhat likable and his part here is no exception. His presence is a major plus and helps give the film its drive and it’s a shame he couldn’t have remained through the whole duration. I also enjoyed Pauline Delaney as James’s landlady Mrs. March who becomes aware of his illegal activity and extorts sex out of him in order to keep quiet.

There are a couple of twists at the end that are interesting, but not what you expect. James never really gets the comeuppance that you think he should, which to some degree is disappointing, but on the other hand kind of refreshing. We are so used to seeing films have a moral theme of some kind where bad guys are eventually punished and justice prevails that having one pretty much get away with it is intriguing simply for its novelty.

The color on the print I watched was horribly faded making it look almost like a cheap computer colorized attempt even though it really wasn’t. This film, which was widely hailed by critics and audiences alike, deserves a Criterion release and a thorough restoration and I am shocked that it hasn’t already.

My Rating: 6 out of 10

Released: March 10, 1964

Runtime: 1Hour 39Minutes

Not Rated

Director: Clive Donner

Studio: Royal Films International

Available: None at this time.