7.0/10
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72 user 33 critic

Reflections in a Golden Eye (1967)

Not Rated | | Drama, Romance, Thriller | 13 October 1967 (USA)
Bizarre tale of sex, betrayal, and perversion at a military post.

Director:

Writers:

(screenplay), (screenplay) | 1 more credit »
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Cast

Complete credited cast:
...
...
...
Lt. Col. Morris Langdon
...
Alison Langdon
Zorro David ...
Anacleto
...
Stables Sergeant
Irvin Dugan ...
Capt. Murray Weincheck
Fay Sparks ...
Susie
...
Pvt. L.G. Williams
Rest of cast listed alphabetically:
...
Pvt. Frank Brian
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Storyline

US Army Major Weldon Penderton is stationed on a base in the American south. He and his wife Leonora Penderton are in an unsatisfying marriage. Weldon is generally a solitary man who in his time alone tries to bolster his self image as he feels less than adequate as a man and a major. He does not want to viewed like Captain Murray Weincheck, who has been bypassed for promotion time and time again solely because he is seen as being too sensitive. Self absorbed Leonora, when not focused on her passion of horses and riding, tries to maintain the facade of being what she sees an officer's wife should be while she carries on an affair with their next door neighbor, married Colonel Morris Langdon. Morris' wife, Alison Langdon, suffered a nervous breakdown three years ago after miscarrying, she still with that nervous constitution. Alison is generally drawn toward sensitive types, such as Captain Weincheck and their faithful flamboyant Filipino houseboy, Anacleto. Peripheral to the ... Written by Huggo

Plot Summary | Plot Synopsis

Taglines:

leave the children home See more »


Certificate:

Not Rated | See all certifications »
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Details

Country:

Language:

Release Date:

13 October 1967 (USA)  »

Also Known As:

Reflejos en tus ojos dorados  »

Filming Locations:

 »

Box Office

Budget:

$4,500,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Westrex Recording System)

Color:

(Technicolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

This was the film debut of Harvey Keitel. See more »

Goofs

When Leonora is writing invitations to a party in her house, the amount of drink in her glass decreases between shots. See more »

Quotes

Maj. Weldon Penderton: I'm sorry, Leonora. It's just all this clutter is...
Leonora: What's the matter with clutter? I like it.
Maj. Weldon Penderton: I'd rather live without it. Bare floors. Plain white walls. No window curtains. Nothing but essentials.
Leonora: If that's the way you feel about it, why don't you resign your commission and start all over again as an enlisted man?
Maj. Weldon Penderton: Of course you're laughing at it, but there's much to be said for the life of men among men... with no... luxuries, no ornamentation. Utter simplicity. It's rough and it's coarse, ...
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Connections

Featured in Apocalypse Now (1979) See more »

Soundtracks

Elegie Op. 3, No.1
(uncredited)
Music by Sergei Rachmaninoff
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User Reviews

 
Not without its faults but, on the whole, quite extraordinary
11 May 2001 | by (las vegas, nv) – See all my reviews

God knows what this picture looked like on the printed page--or, indeed, what this cast of talented actors were thinking when they first read it. Elizabeth Taylor probably thought it a hoot. I certainly did, but really...Julie Harris as a woebegone colonel's wife, living on a southern Army base in the 1950s with her sexually-estranged husband and a flamboyant houseboy, who has used pruning shears to--oh never mind. It's really about Marlon Brando as a sexually-repressed major, married to flirtatious belle Taylor but secretly lusting for stud-soldier Robert Forster (who rides his horse "barebacked and bare-assed"). Is it camp, serious, heartfelt or just terrible? Actually, it's all of the above, which is not only what kept me watching but keeps me returning. The moody film, based on Carson McCullers' Gothic novel, feels tampered with, muted in spots where it should be played to the hilt yet overdrawn when it should be subtle, yet this is part of its erratic appeal. Aldo Tonti's vivid cinematography (most especially in the full-color re-release print) is amazing, as is Toshiro Mayuzumi's hyperbolic score. John Huston directed, boldly and with flourish. It's a glorious mess. *** from ****


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