Pretentious art house bomb, neglected masterpiece or inscrutable personal project for Joseph Losey? Secret Ceremony (1968) had the misfortune to follow Boom! (1968), the director’s notoriously lambasted film adaptation of Tennessee Williams’ The Milk Train Doesn’t Stop Here Anymore starring the world’s most famous celebrity couple at the time, Richard Burton and Elizabeth Taylor. Equally challenging for mainstream audiences, Secret Ceremony was promoted as a kinky psychodrama with lesbian overtones and such tag lines as “It’s time to speak of unspoken things” and “No one admitted the last 12 minutes.” Yet, despite the presence of Elizabeth Taylor, Robert Mitchum and Mia Farrow, who had just appeared in the as-yet-unreleased Rosemary’s Baby the same year, the movie was too strange, decadent and moody to hold the attention of moviegoers and critics expecting a more traditional genre film.
Tag Archives: The Servant
The Hollywood film industry is usually a few beats behind the rhythm of any new emerging counterculture and by the time they try to capitalize on it the parade has usually moved on. Duffy (1968) had the misfortune to be released in the dwindling days of the swinging sixties when the mod look of films such as Blow-Up and Kaleidoscope (both 1966) was being edged out by an rougher, less glamorous subgenre of youth oriented movies about bikers, drug dealers and rebels giving the finger to the establishment. Continue reading
The Games People Play According to Eloy de la Iglesia
Two college students, Miguel (John Moulder-Brown) and Julia (Inma de Santis), take advantage of a school holiday to run off together for parts unknown. Their plan is to shack up somewhere where their parents can’t find them but their impromptu road trip takes an unexpected detour. The young lovers soon find themselves prisoners at a sequestered mansion and estate under the control of Don Luis (Javier Escrivá), an aristocrat with a passionate love of fine arts and the music of Richard Wagner. He also happens to be one of their professors at college and the one who picked up the hitchhikers while he was blasting “Ride of the Valkyries” from his car stereo. This is the set-up for Eloy de la Iglesia’s Forbidden Love Game (Spanish title: Juego de amor prohibido, 1975) but if you think you know what’s coming, you’re probably mistaken. Continue reading