The wealthy, self-absorbed eccentric Sissy Goforth has taken up residence on a secluded Mediterranean island where she dictates her memoirs, flied into rages and screams insults at her servants. Her health now failing she drinks, takes pills and has a doctor give her injections to ease the pain. Into her reclusive life comes a stranger who manages to climb to her villa and survive a guard dog attack before introducing himself as a poet. Though attracted by the visitor she soon discovers he has a reputation for appearing when wealthy women are about to meet their demise and is known locally as the Angel of Death. —Second Sight
Joseph Walton Losey (January 14, 1909, La Crosse, Wisconsin – June 22, 1984, London) was an American theater and film director. After studying in Germany with Bertolt Brecht, Losey returned to the United States, eventually making his way to Hollywood.
While in Hollywood, Losey co-directed the original U.S. production of Galileo, by Brecht, with Brecht himself as the other co-director. Charles Laughton, who had worked with Brecht on the translation / adaptation, performed the lead role. In the context of that production, Losey also made a half hour film based on Galileo’s life.
During the McCarthy Era, Losey was investigated for his supposed ties with the Communist Party and was blacklisted by the Hollywood movie studio bosses. His career in shambles, he moved to London, where he continued working as a director.
Even in the UK, he experienced problems: his first British film, The Sleeping Tiger, a 1954 film noir crime thriller, bore the pseudonym Victor Hanbury… read more
Here are a few reasons to see BOOM! : The production design worthy to appear in an Art Deco museum, Taylor performing Kabuki ( I urge you to look at Elizabeth's head), Elizabeth Taylor filmed against the light in her bedroom and, finally, Elizabeth Taylor. The rest can be forgotten. Recommended.
Redefines over the top. More an insight into Burton and Taylor's psyches than a movie.
A kaleidoscopic sample of film music: impossible fantasies, lush atmospheres, epic operas, sophisticated seductions.
Unlike some directors who give up on a bad script or else send it up, one senses that you always try to play fair; but in some of those early