'Social Suicide' is an investigative thriller examining what it really takes to get noticed on the Internet today. Loosely based on Romeo and Juliet, the police investigate what happened to... See full summary »
Dr. Victor Frankenstein creates his creature, who escapes into the countryside to find that humanity has only pain and sorrow for him. But a psychic link between created and creator draws ... See full summary »
The Spanish explorer Pizarro captures the Inca god-chief Atahualpa and promises to free him upon the delivery of a hoard of gold. But Pizarro finds himself torn between his desire for ... See full summary »
Through the childhood and the adolescence of Giacomo Casanova (from his memoirs), this is a description of how people live in the Venice of the 18th century: customs, habits, medecine, ... See full summary »
Maria Grazia Buccella,
Professor Frankenstein, a university lecturer with an alligator pit under his house, steals body parts of dead athletes from the wreckage of a crashed airplane. He builds a hunky male ... See full summary »
Herbert L. Strock
The footage of the 'Figaro' opera singer receiving applause is actually a shot of Susannah Foster's curtain call from the 1943 version of The Phantom of the Opera. See more »
When Polidori introduces Victor to the creature in his carriage, the interior point of view shot shows a Chinese servant closing the carriage door. A split second later, in a reverse angle shot from the exterior, the servant has vanished. See more »
I remember seeing the original broadcast of this two-part miniseries back in '73, and how impressed I was by the cast and the writing. Witty, literate, touching and horrifying by turns, it definitely set a pretty high standard for itself just by the title alone, yet then proceeded to exceed that standard, which is something that few movies ever do, let alone those made for television.
The all-star British/American cast and the production design gave it the old-time feel of early films from both the Universal and Hammer Studios genres, yet the sharp writing by Don Bachardy and Christopher Isherwood lent an almost Merchant-Ivory sense of credibility that most films of this kind can't even hope to pull off.
Even more surprising that the director, Jack Smight, was better known for his work on television series and disaster films than on something as well-crafted as this.
And the performances...In a cast of well-seasoned veterans, it's almost impossible to cite stand-out favorites, but if I had to, Michael Sarrazin's Creature is one of the most outstanding to be introduced out of the many versions, and definitely the most multi-layered and sympathetic, (which would not be equalled until twenty-years on, by Clancy Brown in the less-superior THE BRIDE.) Worth equal praise is the rivalry between David McCallum, Leonard Whiting and the always-dependable James Mason as the brilliantly twisted Dr. Polidori (affectionately known now and forever as "Polly-dolly.")
And what review would be complete without mentioning Jane Seymour as Prima. I won't spoil the shock and surprise involved with her character and Sarrazin's, but needless to say that was ONE scene that made quite an impression on my young mind, (and for those who remember, you know EXACTLY which part I'm referring to!) It was quite an introduction to a lovely young ingenue, who would become even more memorable to American audiences less than a year later with her big screen debut, as Bond girl Solitaire in Roger Moore's initial 007 outing, LIVE AND LET DIE.
It may not exist in its original form, as previous reviewers have pointed out, but one can only hope for a newly restored and uncut DVD version of this classic TV gem. In an age of bloated, overproduced blockbusters like TITANIC and PEARL HARBOR, the 240-minute version of this outstanding drama would be more than worth your time. Now here's hoping we'll get the opportunity to see it again, as it was intended.
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