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
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After having been forced to leave the Soviet Union 1929 Trotsky has ended up in Mexico 1940. He is still busy with politics, promoting socialism to the world. Stalin has sent out an ... See full summary »
Frederique (Huppert) leaves her family's small-town trout farm to embark on an journey taking her to Japan and into the arms of a man. Irritations concerning her actions and present state ... See full summary »
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Film version of playwright Tennessee Williams' "The Milk Train Doesn't Stop Here Anymore" involves very wealthy Flora 'Sissy' Goforth, supposedly dying, and living in a large mansion on a secluded island with her servants and nurses; into her life comes a mysterious man, Angelo Del Morte and "the Witch of Capri." The mysterious man may or may not be "The Angel of Death". Written by
In the original play, the character of "The Witch Of Capri" is an elderly woman. When this film was being prepared, the part was initially offered to Katherine Hepburn, who turned it down with (according to director Joseph Losey) considerable indignation. It was then decided to turn the character into a man, and Noel Coward took the part for a fee of $75,000. His two weeks on the film were marked by strong antagonism between him and Michael Dunn, who played Elizabeth Taylor's bodyguard. See more »
All of Chris' belongings are in a couple of duffel bags thrown into ocean, yet when the bags are unpacked upon arriving at island, there is no water damage to either his address book or a book of poetry. See more »
Where to begin in discussing the rococo lunacy of this ill-fated project? Would it be Tennessee Williams' overripe script ("My heart beats blood that is not my blood, but the blood of anonymous donors")? Elizabeth Taylor's screeching performance ("S*** on your mother!", she yells at a clumsy servant)? Richard Burton's near-catatonic recitation of the title, or his reading of Coleridge's "Xanadu" (which Taylor interrupts with a "HUH?")?
Director John Waters' favorite movie (he calls it "failed art" and, thus, "perfect") is a non-stop laugh riot, and since "Boom!" is not available on video, you owe it to yourself to catch it on screen on those rare opportunities when it is presented. (The LA County Museum of Art recently screened it as part of its celebration of the Noel Coward centenary -- despite the fact that Mr. Coward appears in it for about 10 minutes -- and it drew hearty laughs throughout its seemingly interminable running time.)
So loony, so overdone, so 1968, this one's a camp classic.
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