I’m not saying it’s dated. I just got the feeling director Roman Polanski read Beckett (I’m thinking here of Waiting for Godot) and watched a lot of Harold Pinter theatre pieces while co-writing the screenplay with Gerard Brach. (There were times when I felt I was back in my Film Studies class again. This film, by the way. was made prior to Mr. Polanski’s exposure to temptation and tragedy in Hollywood.
A brilliant cast of 1960s players navigate through the psychological mind games of the screenplay. Lionel Stander, a familiar face (and voice) in 1930s and 1940s movie and radio, was forced to flee to Europe after he ran afoul of the House Un-American Activities Committee. He plays American gangster Dickey, who holes up in a castle after a botched robbery. The castle.on a bleak island, is inhabited by a retired English executive,George (Donald Pleasance) and his flirtatious (and much younger) French wife, Teresa (Francoise Dorleac). The cast also includes future star Jacqueline Bissett (billed here as Jackie Bissett) in one of her first film roles. (A pair of sunglasses hides those now famous eyes.) No one does humiliation better than Mr. Pleasance aided and abetted by the gorgeous Mlle. Dorleac (Catherine Deneuve’s sister, whose promising career was cut short by a fatal car accident at the age of 25). Mr. Stander, of course, is bullish and aggressive in the role of Dickey. Mix these personalities together, stir in Mr. Polanski’s caustic wit, and you have a combustible combination that is bound to blow up in your face at some point.
I signed out this 1966 film because I was intrigued by the cast of characters, I have always been a fan of Mr. Polanski’s world view (Brrr!) and c) it was chosen for restoration by the Criterion Collection. If you are not already familiar with the brand (and most serious film buffs – and filmmakers – are), the Criterion Collection a) always shows great taste in cinematic art and b) lovingly restores films of its choice and packages them with interviews, booklets and other background material. So even if I am unfamiliar with a work, I know that any film, no matter how old (or obscure, to me) chosen by the Criterion folks for their distinctive and caring touch will be viewing time spent well.
Lionel Stander in CUL-DE-SAC