Barbara gets secret plastic surgery in Switzerland in an attempt to save her marriage to Mark, but he doesn't seem interested in meeting her. She checks in to a ski resort to wait for Mark,... See full summary »
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 »
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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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
According to Michael Munn in his book "Richard Burton: Prince of Players," Burton felt he and Elizabeth Taylor were terribly miscast as Chris Flanders and Sissy Goforth, and that the roles were more suited for Robert Redford and Bette Davis. See more »
Near the beginning of the film, when Taylor is lying on the bed, she pushes a button on the cassette player at her bedside which introduces John Barry's soundtrack music. However, the button she pushes is "rewind", not "play". See more »
Enough of this half-ass "I love Boom! but I know it's a guilty pleasure, because everyone says it's crap" nonsense.
Boom! is a great movie. Period.
There. Someone needed to say it.
I first saw this film at a young age when it was first shown on TV, and found it fascinating and unforgettable. (Literally unforgettable, scene after scene and shot after shot; how often is that true?) Since then I've watched it a number of times, and never failed to be completely mesmerized by it on every level.
My most recent viewing (on the DVD now available from the UK) comes after a sustained period of tracking down and watching all the available movies of director Joseph Losey. Boom! was the first Losey movie I ever saw, and for years after, any time I happened to see a Losey film, I found the experience fascinating but difficult to pin down. What was the Losey "thing"? Now, after seeing almost all of his work, I return to Boom! Is it as profound as Losey's best (King & Country, The Servant, Accident, Mr. Klein)? Absolutely.
If anything, as I've drawn closer to death myself, the film's themes have grown more profound for me--the acceptance of inevitable death and the realization that all (not some of life, but ALL of life) is vanity. Tennessee Williams came to know a truth which cannot be expressed in literal terms, and so he wrote the original play, which is even more stylized and fabulous (literally: like a fable) than the movie. Joseph Losey was perhaps the only film director working at that moment with the artistic touch to transmute the story to film. The cast was perfectly suited to the larger-than-life (but not larger-than-death) theatricality of the film.
Can the movie be enjoyed at the level of "camp"? Yes. Is it also a profound work of art? Yes.
And there has never been another movie even remotely like it.
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