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The Bachelor (1990)
"Mio caro dottor Gräsler" (original title)

PG-13  |   |  Drama  |  30 March 1990 (Italy)
6.9
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Ratings: 6.9/10 from 72 users  
Reviews: 2 user

A Pre-World War I physician in Austria struggles with his decision about which woman he will marry. Miranda Richardson plays the roles of two different women in his life.

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(screenplay), (screenplay), 2 more credits »
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Edit

Cast

Cast overview, first billed only:
...
Doctor Emil Gräsler
...
Frederica / Widow
...
Sabine
Sarah-Jane Fenton ...
Katerina
Mari Töröcsik ...
Mrs. von Schleheim
Franco Diogene
Mario Adorf ...
L'amico di Gräsler
...
Von Schleheim
Elizabeth Cozzolina
Gérgély Légradi
Vali Korompai
Erzsi Galambos
Enikö Eszenyi
Mónika Cziszar
Ágnes Dávid ...
(as Ági Dávid)
Edit

Storyline

A Pre-World War I physician in Austria struggles with his decision about which woman he will marry. Miranda Richardson plays the roles of two different women in his life. Written by John Sacksteder <jsackste@bellsouth.net>

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

PG-13 | See all certifications »
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Details

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|

Language:

Release Date:

30 March 1990 (Italy)  »

Also Known As:

The Bachelor  »

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User Reviews

 
dormant period piece
6 November 2010 | by (United States) – See all my reviews

There isn't much to say about this Italian made, English language drama, starring Keith Carradine as a reserved but supposedly charming Austrian doctor trying to juggle two lovers and ultimately losing them both. The story is set in that familiar age of grace before World War One, but all the period costumes and picturesque European settings can't hide what looks like a bargain basement Merchant-Ivory production. Bright spots are provided by a boisterous Max Von Sydow (an actor who can work miracles with even the most lackluster script), and Miranda Richardson in a curious dual role. The only liability in the cast is Carradine himself, whose flat American accent is totally out of place in the Old World setting (recalling his similar miscasting in Ridley Scott's 'The Duelist'). The role demands more depth and charisma (or at least more enthusiasm) than he can muster, and under the perfunctory direction of a certain Roberto Faenza the film is never more than polite, mannered, and (for lack of a better word) inert.


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