The Faust legend retold (loosely) and applied to a mentally disturbed patient in a hospital run by a doctor of dubious sanity himself. The patient (Burton) offers the innocent orderly (... See full summary »
A commander receives a citation for an attack on Rommel's headquarters, which is actually undeserved as the commander is unfit for his job. On top of that, unbeknownst to him, his wife is having an affair with one of his officers.
Set in the Haiti of "Papa Doc" Duvalier, The Comedians tells the story of a sardonic Welsh hotel owner and his encroaching fatalism as he watches Haiti sink into barbarism and poverty. Complications include his inability to sell the hotel so he can leave, a friendship with a rebel leader, some politically "charged" hotel guests, an affair with the German-born wife of a South American ambassador, and the manipulations of a British arms dealer who's in over his head. Written by
Max Chandler <email@example.com>
This is the first film where Richard Burton was paid more than his wife, Elizabeth Taylor. Burton got $750,000 while Taylor, the first actor to receive a $1 million fee for a single picture, settled for a mere half-a-million. See more »
In the last few shots in the movie, as the Character is leaving the airport, there is initially a departing Vickers VC10 airliner flying overhead from right to left, this changes to a close up, followed by a shot of the same airliner now flying into the distance - unfortunately this is different 4 engine Jetliner, probably a Boeing 707. See more »
They are waiting for Major Jones. For some reason they believe that only white men are experts in killing.
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Burton, Taylor, Guinness, and Ustinov are a heady combination but I will not remember the film for any one of their "acting" capabilities as much as the four wonderful main characters woven by Graham Greene and Peter Glenville. There is almost an unrecognizable James Earl Jones whose fabulous voice is overshadowed in this film by those of Burton and the suave Guinness.
"I have no faith in faith," rants Brown (Burton) the anti-hero of the film--a typical Greene character (compare with Greene's 'The Burnt-out case'). Cynicism is turned into comedy. The splashes of Catholic motifs made in passing reference ("defrocked priest") hark back to Burton's earlier role in "Night of Iguana." Guinness' reference to looking like a "Lawrence of Arabia" recalls his own role as Prince Faisal in Lean's movie. Not having read Greene's book, I am not sure whether Greene introduced these clever details into the script to suit the actors or whether the details had previously existed in the book.
The gradual unmasking of the Major (Guinness) is a treat creatively captured by Glenville and Greene. The final speech made by Burton to his group of ragged rebels seem to have a common "comic" thread with George Clooney's speech to his soldiers towards the end of the recent Mallick's "The Thin Red Line".
Ustinov's diplomat and Taylor's vulnerable diplomat's wife, who admits to her lover that he is the fourth "adventure," are both comedians--Greene's likable misfits who cannot change their destiny and are strangely reconciled to accept their inevitable end. All the four main characters are "prepared" for their destiny they have designed for themselves as a consequence of previous actions in life. The closing shot of the film is a shot of a suggestive blue sky, redeeming the foibles of the comedians on terra firma.
I admit that when I saw the film some 20 years ago, I did not appreciate the film as I do now. I was missing the forest for the trees. This film does not belong to Burton, Taylor, Guinness, Ustinov, Jones or Lillian Gish. It belongs to Greene, Glenville and the French cinematographer Henri Decae.
I do not imply that Burton was not good--but George C Scott said one should evaluate a performance by remembering the character more than the actor. It is in that context that I remember the four main characters. Burton's kisses are different here than say in "Boom" or "Cleopatra"--only to add detail to the character. Taylor is strangely subdued only to add power to her smoldering role. Guinness gradual unmasking is pathetic yet endearing only to add more substance to the character. Decae's camera captures details that shocks--e.g., empty drawers in desks to collect bribes, public executions of rebels watched by school kids...
I am surprised that this film, to my limited knowledge, has never been taken seriously for what it offers--a superb script, commendable acting, good direction, and some fine camera-work.
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