6.6/10
717
13 user 16 critic

Ulysses (1967)

Not Rated | | Drama | June 1967 (UK)
James Joyce's masterpiece incarnated: The story of two seperated Dublin wanderers, Leopold Bloom and Stephen Dedalus, struggling to control their personal lives.

Director:

Joseph Strick

Writers:

Fred Haines (screenplay), James Joyce (novel) | 1 more credit »
Reviews

On Disc

at Amazon

Nominated for 1 Oscar. Another 1 win & 6 nominations. See more awards »

Photos

Learn more

More Like This 

Ulysses (1954)
Adventure | Fantasy | History
    1 2 3 4 5 6 7 8 9 10 6.7/10 X  

A movie adaptation of Homer's second epic, that talks about Ulysses' efforts to return to his home after the end of ten years of war.

Director: Mario Camerini
Stars: Kirk Douglas, Silvana Mangano, Anthony Quinn
Drama
    1 2 3 4 5 6 7 8 9 10 6.3/10 X  

Stephen Dedalus is a young man growing up in Ireland in the early part of the twentieth century. His search for knowledge and understanding, and the decline of his family's circumstances, ... See full summary »

Director: Joseph Strick
Stars: Bosco Hogan, T.P. McKenna, John Gielgud
Bloom I (2003)
Drama | Romance
    1 2 3 4 5 6 7 8 9 10 5.6/10 X  

Adapted from James Joyce's Ulysses, Bloom is the enthralling story of June 16th, 1904 and a gateway into the consiousness of its three main characters: Stephen Dedalus, Molly Bloom and the extraordinary Leopold Bloom.

Director: Sean Walsh
Stars: Stephen Rea, Angeline Ball, Hugh O'Conor
Documentary | Biography | History
    1 2 3 4 5 6 7 8 9 10 7.4/10 X  

The life and career of the hailed Hollywood movie star and underappreciated genius inventor, Hedy Lamarr.

Director: Alexandra Dean
Stars: Hedy Lamarr, Mel Brooks, Jennifer Hom
Phantom Lady (1944)
Certificate: Passed Crime | Drama | Film-Noir
    1 2 3 4 5 6 7 8 9 10 7.3/10 X  

A devoted secretary risks her life to try to find the elusive woman who may prove her boss didn't murder his selfish wife.

Director: Robert Siodmak
Stars: Franchot Tone, Ella Raines, Alan Curtis
Ivanhoe (1952)
Adventure | Drama | History
    1 2 3 4 5 6 7 8 9 10 6.8/10 X  

A knight seeks to free the captive King Richard and put him back on the throne.

Director: Richard Thorpe
Stars: Robert Taylor, Elizabeth Taylor, Joan Fontaine
War and Peace (1956)
Drama | Romance | War
    1 2 3 4 5 6 7 8 9 10 6.8/10 X  

Napoleon's tumultuous relations with Russia including his disastrous 1812 invasion serve as the backdrop for the tangled personal lives of two aristocratic families.

Director: King Vidor
Stars: Audrey Hepburn, Henry Fonda, Mel Ferrer
Drama | Romance
    1 2 3 4 5 6 7 8 9 10 6.8/10 X  

An emotionally distant writer of travel guides must carry on with his life after his son is killed and his marriage crumbles.

Director: Lawrence Kasdan
Stars: William Hurt, Kathleen Turner, Geena Davis
Certificate: Passed Adventure | Drama | History
    1 2 3 4 5 6 7 8 9 10 7/10 X  

During the Spanish Civil War, an American allied with the Republicans finds romance during a desperate mission to blow up a strategically important bridge.

Director: Sam Wood
Stars: Gary Cooper, Ingrid Bergman, Akim Tamiroff
Edit

Cast

Cast overview, first billed only:
Milo O'Shea ... Leopold Bloom
Barbara Jefford ... Molly
Maurice Roëves ... Stephen Dedalus
T.P. McKenna ... Buck Mulligan
Anna Manahan Anna Manahan ... Bella Cohen
Chris Curran Chris Curran ... Myles Crawford
Fionnula Flanagan ... Gerty MacDowell (as Fionnuala Flanagan)
Geoffrey Golden Geoffrey Golden ... The Citizen
Martin Dempsey Martin Dempsey ... Simon Dedalus
Eddie Golden Eddie Golden ... Martin Cunningham
Maire Hastings Maire Hastings ... Mary Driscoll
David Kelly ... Garrett Deasy
Graham Lines Graham Lines ... Haines
Desmond Perry Desmond Perry ... Bantam Lyons (as Des Perry)
Rosaleen Linehan Rosaleen Linehan ... Nurse Callan
Edit

Storyline

Dublin; June 16, 1904. Stephen Dedalus, who fancies himself as a poet, embarks on a day of wandering about the city during which he finds friendship and a father figure in Leopold Bloom, a middle-aged Jew. Meanwhile, Bloom's day, illuminated by a funeral and an evening of drinking and revelry that stirs paternal feelings toward Stephen, ends with a rapprochement with Molly, his earthy wife. Written by <jhailey@hotmail.com>

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

Not Rated | See all certifications »
Edit

Details

Country:

UK | USA

Language:

English

Release Date:

June 1967 (UK) See more »

Also Known As:

Alucinação de Ulisses See more »

Filming Locations:

Dublin, County Dublin, Ireland

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono | 4-Track Stereo

Aspect Ratio:

2.35 : 1
See full technical specs »
Edit

Did You Know?

Trivia

This was passed for cinema in March 1967 and thus became the first film in the UK to feature the word "fuck". Marianne Faithfull's single use of the word in the film I'll Never Forget What's'isname (1967) would follow 3 months later. See more »

Quotes

Buck Mulligan: Thus spake Zarathustra!
See more »

Connections

Referenced in I Call First (1967) See more »

Frequently Asked Questions

This FAQ is empty. Add the first question.

User Reviews

 
Much better than its reputation suggests.
20 June 2000 | by alice liddellSee all my reviews

To adapt the words of some venerable Austrian nuns, how do you solve a problem like 'Ulysses'? Considered by most to be the greatest book of the 20th century, it is also, notoriously, one of its most difficult. How do you film a book where each character exists in a narrative set on 16 June, 1904, but also corresponds parodically to Greek mythology. Where each chapter is a parody, pastiche, interrogation of a whole host of literary styles and conventions, where almost every line is an allusion, crucially mutated, to literature, theology, philosophy, history etc. Where each character, event, setting, is subject to rigorous verbal deconstruction, so that they can seem to dissolve in front of our eyes, and put back in playfully different combinations; or where whole episodes evolve from word games. Where each setting is rich in historical significance, providing a meta-narrative to all the squabbling narratives that comprise 'Ulysses'.

Take, for example, the episode 'Proteus', where Stephen Dedalus walks on the beach. In the book, his mixture of observation and thought creates an unsettling, difficult text, where what he sees and what he thinks meld indistinguishably into one another, and the reader risks getting lost, fixed as he is in the flux of Stephen's head, not guided by an impartial narrator. We travel in fragments, on a Dublin beach, through the centuries, from Elsinore to the Renaissance to Paris, from literature and politics to memory, all the while doused in vast philosophical imponderables. Strick shows us a young man walking on a beach chased by a dog to the bathetic recitation of the novel's words. On paper, the dog inspires a number of puns, including colonialism, intellectual slavery and man's mortality. Here it's just a dog. The words are full of soundbites such as 'ineluctable modality of the visible', phrases that have to be gone over, worked out, understood, necessitating maybe even a dictionary. To have them sped read seems self-defeating, unless you know the book, and if you are only making a film for people who've read the book, than what's the point?

Strick films the formal landmine of 'Ulysses' with a studied focus on narrative. He avoids structural rupture, or any attempt to translate the novel's techniques, many borrowed from cinema, into film. A true 'Ulysses' would require someone with fiendish formal daring, a massive intellect, a sense of history and place, but also someone with a love of stories, resonant sentimentality, and popular culture, and, especially, a taste for farce. Godard of the 60s, maybe, or Richard Lester. Or some unholy mixture of Welles, Huston and Gerald Thomas.

ULYSSES is redundant, full of scenes slavishly recreated with dialogue spouted verbatim, but arbitrarily selected so that they make no sense. It might have been an idea to take a couple of digestible narrative lines and create a film around them, but Strick wants to get everything, and, in a standard feature film, can only give a few minutes to each episode, which makes a nonsense of them. Even on this level, his filming is fizzleless, flat, cautious, as if what is said in 'Ulysses' is crucial, when, of course, it's how it's said that counts. The crucial dichotomy of the novel, between Stephen's intellectualism and Bloom's corporeality, is fudged, and the triangle between Stephen (man), Bloom (womanly man) and Molly (woman) only comes about by pilfering the book's structure.

This is the accepted view of the film, and it is theoretically accurate. It makes the film sound inept, which, as Joyce, it may be, but it is very entertaining. Milo O'Shea is an incomparable Bloom, transcending the leaving cert level script, capturing this hero's multifaceted humanity in all its inglorious glory, his decency and desire, his tragedy and sense of exclusion (the mirroring of virulent racism in Bloom's time with our own more sophisticated age is chilling), and his peerless good humour.

He is supported by an extraordinary cast, many of whom are familiar from TV or theatre, and anyone who is not Irish will completely miss the frisson of seeing Dinny Byrne as a cheeky Lothario, on a birthday-suited pedestal, or, most alarming of all, Mrs. Cadogon as a leather-booted, whip-wielding Madame. Barbara Jefford is an extraordinary Molly Bloom, that hothouse flower spending the day in bed, voluptuously ordinary; her soliloquy is one of the best things in the film - it completely bypasses Joyce's intentions, but in its mixture of voiceover and silent, literal imagery it achieves a dreamlike power reminiscent of Perec/Queysanne's later UN HOMME QUI DORT.

There is great humour throughout, usually courtesy of Bloom, my favourite being his entry into a cafe of uncommonly audible munchers; the Nightown sequence, though again a travesty, is great fun, more Nabokov or Flann O'Brien in its Carrollian topsy-turvy, even if you wish, as did John Devitt who introduced the film, that it had been magicked by Fellini.

This was a Bloomsday treat at the Irish Film Centre. And the print itself was of historic interest, in that it was a censored one from the 1960s. Instead of cutting offending scenes, the sound was simply turned down, signalled by an amusing warning noise, or the picture being blacked out. Luckily I have the video (and the book!) so I went to check what I'd missed, which wasn't very much, some innuendo, a few choice epithets and Molly's orgasmic face. The decisions behind the censoring were erratic, as some scenes left intact seemed more fruity than some of the victims. In a film based on words, this vandalism, interrupting especially a soliloquy of snowballing impact, made me increasingly furious, and reminded me that relative liberalisation in this country after decades of Franco-like repression, was not all that distantly achieved.

There was real pleasure, as a Dubliner, though, in seeing the city of my parents in clean monochrome - due presumably to budgetary constrictions, Strick made no attempt to recreate turn-of-the-century Dublin, making another evasion of Joyce, but achieving something pleasantly different none the less. And as I could never have hoped, Martin Dempsey is perfect as my favourite Joycean character, Simon Dedalus, like all his friends mean-minded, selfish, dreadful, but capable of great humour, and in his recitation of a heartmeltingly sad melody, emotional beauty.


24 of 27 people found this review helpful.  Was this review helpful to you? | Report this
Review this title | See all 13 user reviews »

Contribute to This Page

Stream Popular Action and Adventure Titles With Prime Video

Explore popular action and adventure titles available to stream with Prime Video.

Start your free trial



Recently Viewed