3.6/10
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12 user 1 critic

The Second Coming of Suzanne (1974)

R | | Drama | October 1974 (USA)
Jared Martin plays an aspiring film maker obsessed with the idea of Christ as a woman, and tries to film his vision with Sondra Locke as his subject. Supposedly based on a song by Leonard ... See full summary »

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Cast

Cast overview, first billed only:
...
Suzanne
...
Artist
...
Film Maker
...
Clavius
...
Jackson Sinclair, the TV Commentator
Gregory Enton ...
Heathcliff, Logan's Film Group
...
Margo, Logan's Film Group
Rudy Lavalle ...
Cameraman, Logan's Film Group
David Moody ...
Soundman, Logan's Film Group
...
S.F., Logan's Film Group
Kari Avalos ...
Dorothy
Philip Schultz ...
Fenton
Gloria Stockton ...
Fat Lady
Charles Shull ...
Doctor
Winifred Mann ...
Helen
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Storyline

Jared Martin plays an aspiring film maker obsessed with the idea of Christ as a woman, and tries to film his vision with Sondra Locke as his subject. Supposedly based on a song by Leonard Cohen (used in the film). Written by Michael Keller

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Drama

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R | See all certifications »
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Details

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Release Date:

October 1974 (USA)  »

Also Known As:

Suzanne  »

Filming Locations:


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Did You Know?

Trivia

Record producer Mickie Most originally conceived this as a vehicle for Paul McCartney in the role of Clavius, but he was offered the role during the time of the break-up of The Beatles in 1970 and declined it. When Most met up with McCartney he later described him as "looking a bit like Jim Morrison after a bender". See more »

Soundtracks

Suzanne
Written and Performed by Leonard Cohen
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User Reviews

 
Another disappointment for Sondra Locke fans
29 November 2014 | by (las vegas, nv) – See all my reviews

'Ambitious', idiotic low-budget sludge concerns a filmmaker and his hippie troupe involved in the production of a new-fangled religious saga, with a woman cast as Christ. Independently-financed drama, a would-be dream-like parable (apparently inspired by Leonard Cohen's song "Suzanne"), is so meager in budget--and so sloppy in execution--that the results are nearly unintelligible. After a promising start in films, Sondra Locke truly lost her way as an actress before Clint Eastwood rescued her career; this is the worst movie she ever appeared in (ditto Richard Dreyfuss, looking embarrassed in the small role of a production associate). Writer-director Michael Barry was clearly inspired by Bergman and Antonioni; he either needed more finance to expand on his 'poetic' leanings or simply had to be told No. The finale, wrong-headed and ridiculously bizarre, strains for "meaning", while the threadbare budget hampers any chance the actors have of sustaining interest. NO STARS from ****


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