| Cast overview, first billed only: | |||
| Gene Hackman | ... |
Jack McCann
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| Theresa Russell | ... |
Tracy
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| Rutger Hauer | ... | ||
| Jane Lapotaire | ... |
Helen McCann
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| Mickey Rourke | ... | ||
| Ed Lauter | ... | ||
| Joe Pesci | ... |
Mayakofsky
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| Helena Kallianiotes | ... |
Frieda
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Cavan Kendall | ... |
Pierre de Valois
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| Corin Redgrave | ... |
Worsley
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| Joe Spinell | ... |
Pete
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| Frank Pesce | ... |
Stefano
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Michael Scott Addis | ... |
Joe
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Norman Beaton | ... |
Byron Judson
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Emrys James | ... |
Judge
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Arctic prospector Jack McCann, after fifteen years of solitary searching, becomes one of the world's wealthiest men when he literally falls into a mountain of gold in 1925. Years later, in 1945, he lives in luxury on a Caribbean island that he owns. But his wealth brings him no peace of mind as he copes with Helen, his bored, alcoholic wife; Tracy, his dear, but headstrong, daughter who has married a dissolute, philandering social-climber; and Miami mobsters who want his island to build a casino. His life is entangled with the obsessions of those around him with greed, power, and debauchery against a background of occult symbolism. Written by Jerry Caplin <JCaplin001@aol.com>
I too first saw this in London when it came out May 1983, at the Screen on the Hill. It was my O-level year, and I was a skinny, awkward 15-year-old, desperately trying to get into my first 18-rated film. It worked. But was it worth it? The film has an extraordinary opening section, as Gene Hackman finds the gold under the snow-encrusted earth, culminating in a spectacular, slow-motion explosion of rock and snow. Set to extracts of Wagner's DAS RHEINGOLD, it's unforgettable, thrilling cinema, and had my jaw dropping into my cappuccino. We also have the sight of a dying, half-frozen man blowing his brains out again and again, bringing to mind the disjointed, hallucinatory quality one recognises from the director of THE MAN WHO FELL TO EARTH and DON'T LOOK NOW. Stunning, disturbing stuff.
Unfortunately the momentum quickly slackens as we cut forwards in time to a rather dull, plodding melodrama about a Kane-like man who in his anguish says, "Once I had it all...now I only have everything." (Coming after the prologue, this also applies to the film itself.) There's some nasty scenes involving voodoo and Rutger Hauer doing something rather strange with a python, some gut-wrenching violence involving a blow-torch and the contents of a pillow, and a soap-opera court-room finale that feels as if it's wandered in from an entirely different film altogether. There are rumours of a different film lurking in this exuberant mess: one of the film's stars has hinted that it was not Roeg's final version that we saw. But I couldn't call this a success. Roeg fans should check it out as an oddity, but be warned: after the brilliant beginning, it's downhill all the way.