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The Driver's Seat (1974)
"Identikit" (original title)

R  |   |  Drama  |  10 October 1975 (USA)
5.7
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Ratings: 5.7/10 from 337 users  
Reviews: 24 user | 9 critic

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
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Details

Country:

Language:

|

Release Date:

10 October 1975 (USA)  »

Also Known As:

The Driver's Seat  »

Filming Locations:

 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.33 : 1
See  »
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Did You Know?

Quotes

Lise: If you think you're going to have sex with me, you're very much mistaken
Bill: But I haven't had my daily orgasm. It's an essential part of the diet; an orgasm a day. If you miss a day, you have to have two the next day and that gives me indigestion.
Lise: I have no time for sex. I mean it. Sex is of no use to me, I assure you.
Bill: But orgasms are yang!
See more »

Connections

Referenced in Rate It X (1986) See more »

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User Reviews

Liz's Last Great Role
17 December 2003 | by (Edinburgh, Scotland) – See all my reviews

I confess to being rather bemused by the Muriel Spark novel this was based on, but the Giuseppe Patroni Griffi film is seductive indeed. It offers the last significant role for that most iconic screen presence, Elizabeth Taylor. As in her two late 60s films for Joseph Losey, Taylor in The Driver's Seat is both the apotheosis and the wreck of the grand Hollywood diva she once was. She plays - like Katharine Hepburn in Summertime or Vivien Leigh in The Roman Spring of Mrs. Stone - a neurotic middle-aged woman adrift in Italy. Only her goal here is not Sex but Death. She comes in search of a man who will ritually tie her up, stab and kill her.

Cruel fun has been poked at the (admittedly) hideous wardrobe Taylor sports throughout this film. Proof, if any were needed, that film critics on the whole do not read books. Every detail of these garish clothes has been copied faithfully from the novel. Her vile dress sense is meant as an outward sign of Taylor's disintegrating psyche, and her desperate need to stand out form the drab and over-regimented world that she (like most of the film's viewers) is forced to inhabit.

The same is true of the often absurd dialogue. "When I diet, I diet - and when I orgasm, I orgasm!" That's how Taylor fends off an amorous businessman (Ian Bannen) who tries both to lure her into bed and to convert her to a macrobiotic diet. If you watch The Driver's Seat with your eyes open, it becomes clear that the whole film takes place inside a mind that has lost all reason. Realism was never the aim here, so it's poor logic to gripe when Realism is not the result.

Every shot, in fact, is stylised to the level of a dream. The opening - where Taylor prowls through a gallery of naked store mannequins. Her shopping trip with an elderly widow (Mona Washbourne) - which winds through a quasi-surreal labyrinth of mirrors and white walls. The final deadly 'climax' - in a phantom Villa Borghese, conjured out of mist and moonlight. The camerawork by Vittorio Storaro seems to drain all colour out of the landscape, until Taylor and her iridescent shawls are the last remaining sign of life.

It was all too much for critics and public back in 1974. Nowadays, the extreme alienation that oozes from every frame - and a socio-political background of blank-faced consumerism, terrorist attacks and rabid police and airport security - may well strike more of a cord. It's no accident that Andy Warhol turns up as a corrupt diplomat. The Driver's Seat is truly a film for the modern age.


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