IMDb > The Driver's Seat (1974)
Identikit
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The Driver's Seat (1974) More at IMDbPro »Identikit (original title)

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Overview

User Rating:
5.6/10   308 votes »
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Release Date:
10 October 1975 (USA) See more »
Genre:
Tagline:
Was she really mad enough to plot her own murder?
Plot:
Mentally disturbed spinster Lise experiences a series of bizarre encounters in Rome as she searches for someone to murder her. Full summary » | Add synopsis »
Awards:
1 nomination See more »
User Reviews:
"IT TAKES ONE DAY TO DIE, ANOTHER TO BE BORN" See more (23 total) »

Cast

  (in credits order)

Elizabeth Taylor ... Lise

Ian Bannen ... Bill
Guido Mannari ... Carlo
Mona Washbourne ... Mrs. Helen Fiedke
Luigi Squarzina ... Lead Detective
Maxence Mailfort ... Pierre

Andy Warhol ... 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)
Federico Martignone
Maurizio Bonuglia ... Detective
rest of cast listed alphabetically:
Nestore Cavaricci ... Funeral attendant (uncredited)
Martina Tagliamento ... Bit Role (uncredited)

Directed by
Giuseppe Patroni Griffi 
 
Writing credits
(in alphabetical order)
Raffaele La Capria 
Giuseppe Patroni Griffi 
Muriel Spark  novel

Produced by
Nello Meniconi .... executive producer
Franco Rossellini .... producer
 
Original Music by
Franco Mannino 
 
Cinematography by
Vittorio Storaro 
 
Film Editing by
Franco Arcalli 
 
Art Direction by
Mario Ceroli 
 
Set Decoration by
Andrea Fantacci 
 
Costume Design by
Gabriella Pescucci 
 
Makeup Department
Giuseppe Capogrosso .... makeup artist
Mirella Ginnoto .... hair stylist
Vincenzo Marchetti .... assistant makeup artist
Giancarlo Novelli .... hair stylist
Stefano Trani .... makeup artist
 
Production Management
Gino Capponi .... unit manager
Luciana De Pita .... unit manager
 
Second Unit Director or Assistant Director
Albino Cocco .... assistant director
Aldo Terlizzi .... assistant director
 
Art Department
Silvano Servillo .... floor props
 
Sound Department
Massimo Anzellotti .... sound effects editor
Michael Billingsley .... sound editor
Gianni D'Amico .... sound mixer
Gene Luotto .... sound
Claudio Maielli .... sound engineer
Corrado Volpicelli .... sound engineer
 
Special Effects by
Luciano Anzellotti .... special effects
 
Camera and Electrical Department
Giuseppe Alberti .... camera operator
Mauro Marchetti .... camera operator
Sergio Strizzi .... still photographer
Mario Tursi .... still photographer
Enrico Umetelli .... camera operator
 
Editorial Department
Olga Pedrini .... assistant editor
Edoardo Romani .... assistant editor
 
Other crew
Ermida Aichino .... production secretary
Elvira D'Amico .... continuity
Sergio Galiano .... production supervisor
Cinzia Landi .... stand-in
Donato Leoni .... business manager
Marisa Nannicini .... production secretary
Silvano Spoletini .... production secretary
 

Production CompaniesDistributors

Additional Details

Also Known As:
"Identikit" - Italy (original title)
See more »
Runtime:
105 min | USA:102 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
1.33 : 1 See more »
Sound Mix:
Certification:
Filming Locations:

Did You Know?

Movie Connections:
Referenced in Rate It X (1986)See more »

FAQ

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30 out of 33 people found the following review useful.
"IT TAKES ONE DAY TO DIE, ANOTHER TO BE BORN", 26 April 2004
Author: MGMboy from San Francisco

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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