Amid the decaying elegance of cold-war Vienna, psychoanalyst Dr. Alex Linden (Art Garfunkel) becomes mired in an erotically charged affair with the elusive Milena Flaherty (Theresa Russell). When their all-consuming passion takes a life-threatening turn, Inspector Netusil (Harvey Keitel) is assigned to piece together the sordid details. Acclaimed for its innovative editing, raw performances, and stirring musical score—featuring Tom Waits, the Who, and Billie Holiday—Nicolas Roeg’s Bad Timing is a masterful, deeply disturbing foray into the dark world of sexual obsession. —The Criterion Collection
London-born Nicolas Roeg served in the military as a projectionist, and entered the movie industry immediately after World War II as a gofer and apprentice editor. He joined MGM’s British studios in 1950, and eventually became a cinematographer in 1959, working on a multitude of films of all types, from second unit work on Lawrence of Arabia (1962) to primary photography on the rock & roll exploitation films Just for Fun (1963), Every Day’s a Holiday (1965), and The System (1966). He moved into the director’s chair with Performance (1970), which he co-directed with Donald Cammell, and made a major impression with the low-keyed, eerily compelling drama Walkabout (1971). By the mid-‘70s, Roeg was one of England’s most respected filmmakers, responsible for the unsettling thriller Don’t Look Now (1973), and the sci-fi drama The Man Who Fell to Earth (1976). With the possible exception Insignificance (1985) and the compellingly obscure Track 29 (1988) Roeg’s output throughout the 1980s… read more
a manic pixie dream girl movie in reverse. instead of free-wheelin' whimsy as psychological salvation, the same mojo stands for existential ruin. in both tropes, the girl has no friends, or job or non-romantic external motivations... she's a metaphor for male psychology. this has better acting and editing than "garden state," but it's ultimately just as shallow. girls like milena only exist in old fart imaginations.
It's Roeg so its going to be interesting in the execution but at no point could I find a point of entry for the characters. Obsession needs to strike a chord in order to be relevant and yet I found myself at a distant remove all the way through the film despite my interest in the subject matter. Really showcases how awful Garfunkel is as an actor and that Carnal Knowledge simply played on his inherent blandness.