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The Top of His Head (1989)

7.0
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Ratings: 7.0/10 from 30 users  
Reviews: 2 user | 1 critic

A satellite dish salesman desperately attempts to find the radical woman he has fallen in love with while both of them are being pursued by the police.

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Title: The Top of His Head (1989)

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3 nominations. See more awards »

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Cast

Cast overview:
Christie MacFadyen ...
Lucy Ripley
Stephen Ouimette ...
Gus Victor
David Fox ...
Uncle Hugo
Gary Reineke ...
Berge (pursurer)
...
Robert (henchman)
Joey Hardin ...
Joey (henchman)
Cherie Cemp ...
Telephone Operator
Nora Currie ...
Telephone Operator
Julie Wildman ...
Mrs. Victor
David Main ...
Mr. Victor
Alexander Malden ...
Justin Miller
John Paul Young ...
The Car Salesman
Diana Barrington ...
Yolanda
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Storyline

Augustus Victor is a young and successful satellite dish salesman who is only 3 sales away from his company's most coveted sales award. On the day he expects to close a deal that will secure him a comfortable future, he meets a mysterious woman named Lucy on the beach. Despite being polar opposites, Gus immediately falls in love with the elusive woman. Lucy vanishes unexpectedly and leaves behind a cryptic note forcing Gus to abandon his structured life and logical thinking to go and find her. He learns that she is a radical nature-loving performance artist whose performance pieces of aesthetic terrorism espouse environmentalism. The police are pursuing Lucy for her subversive activities, and by association, Gus as well. As Gus becomes increasingly involved in the pursuit, his perception of the world shifts. He moves away from his artificial and materialistic lifestyle, away from routine and rigid social codes into the spontaneity of nature and toward his object of affection. Written by pr1mal_1

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Genres:

Drama | Romance

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Release Date:

3 August 1989 (Switzerland)  »

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1.85 : 1
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User Reviews

frustrating potential

OK. Once again Mettler shows (after Scissere) his gift for striking visual composition. There are certainly some mesmerizing scenes in this film - particularly the last few minutes involving the protagonist and a set of swinging strobe lights. But once again Mettler also forgets that in order for a substantial amount of people to find appreciation in a film there has to be enough of the familiar (not necessarily predictable.) Otherwise people are just going to lose patience with the film regardless of how skillful the cinematic technique is. Your film will fade into obscurity, as this one has. There also has to be more of a focus. If your main goal is to present striking visual imagery then that is admirable and fine - however, the film can't meander as much as this one does. There is no logical foundation here for a viewer to grasp ahold of.

That is not to say everything has to be clearcut. But here we have such a radically obscure presentation that the filmmaker is asking a little bit too much of his audience.


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