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The Driver's Seat (1974)

Identikit (original title)
R | | Drama | 10 October 1975 (USA)
Mentally disturbed spinster Lise experiences a series of bizarre encounters in Rome as she searches for someone to murder her.
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Cast

Cast overview, first billed only:
...
Lise
...
Bill
Guido Mannari ...
Carlo
Mona Washbourne ...
Mrs. Helen Fiedke
Luigi Squarzina ...
Lead Detective
Maxence Mailfort ...
Pierre
...
English Lord
Anita Bartolucci ...
Saleswoman
Gino Giuseppe ...
Police Commissioner (as Gino Giuseppe C.S.C.)
Marino Masé ...
Traffic Policeman
Bedy Moratti ...
Dress Shop Owner
Dino Mele ...
Police Captain
Alessandro Perrella ...
Detective (as Alessandro Perrella C.S.C.)
Quinto Parmeggiani ...
Hotel Waiter
Nadia Scarpitta ...
Elderly Lady at airport (as Nadia Scarpitta Pernice)
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Storyline

Lise, a mentally unbalanced middle-aged woman travels toward a fatal destiny that she had helped to arrange, as if her own extinction will bring a meaningful existence to its wished-for end - a premeditated search for someone, anyone, with whom she could form a dangerous liaison. Written by alfiehitchie

Plot Summary | Add Synopsis

Taglines:

Was she really mad enough to plot her own murder?

Genres:

Drama

Certificate:

R

Parents Guide:

 »
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Details

Country:

Language:

|

Release Date:

10 October 1975 (USA)  »

Also Known As:

The Driver's Seat  »

Filming Locations:

 »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

Luchino Visconti had wanted to film this in 1970 with Glenda Jackson in the lead. See more »

Quotes

Lise: You look like Red Riding Hood's Grandmother. Do you want to eat me?
Bill: [laughs] I'd like to, I'd like to. Unfortunately, I'm on a macrobiotic diet and I can't eat meat
[laughs again]
See more »

Connections

Referenced in Rate It X (1986) See more »

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User Reviews

"IT TAKES ONE DAY TO DIE, ANOTHER TO BE BORN"
26 April 2004 | by (San Francisco) – See all my reviews

Elizabeth Taylor reportedly said those words to her director Griffi when she came on the set the day after she left Burton for their first divorce. So with that mindset she went to work on one of her most unusual, daring and controversial films. From the moment 'The Diver's Seat' begins you know you are in a strange place. In Europe the movie was called 'Idendikit' so, with two names tagged to it thus making it schizophrenic from the first it easily falls into the realm of the ambiguous art film genre of the late 60's and early 70's.

It's star, Elizabeth Taylor, appears here in one of her most remote and dangerous roles. She plays Lise a woman who is consumed by insanity and the desire to find the ultimate lover, the be all and end all of boyfriends you might say.

As the film opens you are presented with a shattered view of a woman on the edge of something terrible. The camera moves past bald mannequins in a disjointed way. Is this Lise's view of others or is it a reflection of her ultimate fate? Upon being told to take a holiday from work after causing a scene in the office the film opens with her preparations to take flight to Rome. The film jump cuts from past to present as the police in Rome try to reconstruct her final fatal holiday in terrorist gripped Rome. Even Rome comes off as off kilter. This is not the Rome of Audrey Hepburn or Marcello Mastroianni but a city one hardly recognizes from the lack of typical filming locations one associates with 'Made In Rome!' movies.

Director Giuseppe Patroni Griffi succeeds in presenting a uniquely Italian cinema verite film of the Muriel Spark novel. This is a unique film and very much of it's day. Its non-linear, experimental, almost documentary style will be hard to get into for any one not used to movies of this sort. But it is well worth the effort. So strange and challenging a film it is that it left the opening night audience at the 1974 Cannes Film Festival in stunned silence.

The cast is well chosen and gives some oddly memorable performances. Ian Bannan as the macrobiotic sex-nut who tires to pick up Lise on the plane to Rome seems almost as mad as she is. It is a wickedly off kilter wild-eyed performance. The charming and always wonderful Mona Washbourne is sweetly touching as the woman who befriends the mad Lise and in doing so leads her to meet the man of her dreams.

But the glue that holds it all together is provided by Miss Taylor who tops off her short list of insane characters from Susanna Drake to Catherine Holly with this daring and shocking portrait of Lise. She opens up as an actress that at the time would have been unthinkable to most of her contemporaries from the old M.G.M. days. That's one of the wonderful things about her film career. She came from an era in old Hollywood where she was trained and groomed to be glossy and perfect. But as times changed so did she and in doing so became much more than an MGM glamour girl, she became an actress with guts. In 'The Driver's Seat' she shows her chops as an actress and her willingness to accept challenges in her roles and in Lise she found a great one. One stunning image of her is when in her loud madwoman dress and raccoon painted eyes she challenges the airport security to frisk her. In that scene she seems totally there, totally gone, and totally in control as an actress.


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