Now With More Than 3000 Reviews! Go Nuts - Read 'Em All!!

WELCOME! Use the search engines on this site (or your own off-site engine of choice) to gain easy access to the complete MAKSQUIBS Archive; over 2500 posts and counting. (New posts added every day or so.)

You can check on all our titles by typing the Title, Director, Actor or 'Keyword' of your choice in the Search Engine of your choice (include the phrase MAKSQUIBS) or just use the BLOGGER Search Box at the top left corner of the page.

Feel free to place comments directly on any of the film posts and to test your film knowledge with the CONTESTS scattered here & there. (Hey! No Googling allowed. They're pretty easy.)

Send E-mails to MAKSQUIBS@yahoo.com . (Let us know if the TRANSLATE WIDGET works!) Or use the Profile Page or Comments link for contact.

Thanks for stopping by.

Wednesday, November 30, 2011

REFLECTIONS IN A GOLDEN EYE (1967)

Everybody’s hiding some kind of love that dare not speak its name in John Huston’s expansion of Carson McCuller’s novella. Set at an Army base way down south, Major Marlon Brando is married to Liz Taylor, but only has eyes for soldier-boy Robert Forster. He’s got a thing for horses, rides ‘em barebacked & bareass, but will stand at attention to watch La Liz sleep the night away. Not that she knows, she’s too tired from love-in-the-afternoon with Brian Keith, the Colonel next door who’s devoted, in a chaste way, to Julie Harris, his neurasthenic wife. She, in turn, despises him, preferring to gossip with their fey, Philippino houseboy. Whew, that’s a burgoo & a half! The film is usually considered one of Huston many misfires from this period, and he does lose control of the material at times, but there are extraordinary things in here. Certainly, no one in the cast is phoning it in. Taylor is a perfect fit for a change, even her squally voice doesn’t hurt; broad of bust, broad of beam & more than a tad mean, she’s wicked funny. Brando, in a role meant for Monty Clift, plays as if on a dare, beating himself up in a vanity-free mode that prefigures LAST TANGO/’73, though the accent is close to impenetrable. These two might be Brick & Maggie the Cat a few years down the road. With all it’s faults, you can’t keep your eyes off this one. NOTE: Huston desaturated the original prints, leaving a golden tone and pale hues on a nearly b&w image. But when the film flopped, the studio switched back to full color. The current DVD offers Huston’s ‘golden’ look, but the accompanying trailer gives a good idea of what the fully loaded TechniColor prints must have looked like. The difference is startling.

No comments: