San Francisco physician Archie Bollen is divorcing, sorting out new relationships with his ex, her new man, his sons, and friends who knew him as part of a couple. At a charity event, Petulia Danner, a young and lovely socialite, throws herself at him, telling him they should find a hotel room and soon announcing she intends to marry him. She’s quixotic, vulnerable, and not easy to dissuade. She’s also married and faces demons of her own. Bollen returns to his apartment one afternoon and finds her unconscious, savagely beaten, most certainly by her husband. How Archie and Petulia respond to the husband’s abuse are the film’s conclusion. —IMDb
If any single director can encapsulate the popular image of Britain in the Swinging Sixties, then it is probably Richard Lester. With his use of flamboyant cinematic devices and liking for zany humour, he captured the vitality, and sometimes the triviality, of the period more vividly than any other director. This has been somewhat to the detriment of his later work which, whilst more conventional in style, has qualities which have been overshadowed by his fashionable earlier output.
Lester was born in Philadelphia, USA, on 19 January 1932. After graduating in clinical psychology from the University of Pennsylvania, he began his career in American television as a stagehand, rising to become a director at just 20. He left for Europe in 1954, settling in Britain in 1956.
His sympathy for anarchic comedy made him an ideal director for the television series A Show Called Fred (ITV, 1956), where he worked with Peter Sellers and Spike Milligan. He teamed up with them again for… read more
The zig-zagging timeline is enough to disorient you. This film achieves a sense of displacement, infectious enough to cast a spell on you. An intelligent, intuitive performance from George C. Scott. Julie Christie's pathetic, sad, kooky character of a woman stays with you long after the film is over. Shirley Knight, in a short and brief role is assured and memorable.
Christie and Scott are amazing in this film. I'd almost consider this a Roeg film more then a Lester film in a way.
Roeg was the DP on this intriguing Lester film and with its fractured narrative, it plays like a precursor to his own work as a director. Everything about it fascinates me from the setting to Barry's music and especially the eclectic cast - Scott, beautiful Julie, Chamberlain and a cameo from Cotten. This is the second great San Francisco based movie from '68. The other features Steve McQueen driving a Ford Mustang..