Newly-married Rebecca leaves her husband’s Alsatian bed on her prized motorbike – symbol of freedom and escape – to visit her lover in Heidelberg. En route she indulges in psychedelic reveries as she relives her changing relationship with the two men. –IMDb
Almost universally considered one of the greatest cinematographers of all time, Jack Cardiff was also a notable director. Jack described his childhood as very happy and his parents as quite loving. They performed in music hall as comedians, so he grew up with the fun that came with their theatrical life in pantomime and vaudeville. His father once worked with Charles Chaplin. His parents did occasional film appearances, and fit young Jack in at times such as in My Son, My Son (1918) at the age of four. He had the lead in Billy’s Rose (1922) with his parents playing his character’s parents in the film. Jack was a production runner, or what he would call a “general gopher” for The Informer (1929) in which his father appeared. For one scene he was asked by the first assistant cameraman to “follow focus” which he said was his first real brush with photography of any kind, but he claimed that it was the lure of travel that led to him joining a camera department making films in a studio… read more
This film represents some of the best examples of 60s personal cinema, without polemic navel gazing. It embodies the Camera Stylo ideals; making the lens the story maker. Cardiff was a master storyteller with the camera and this film demonstrates it with simplicity, historical relevance, and fun. Many cinephiles get drunk on 'serious' films forgetting that true cinema embodies as much complexity and variety as poetry
Psychedelic kitsch that really doesn't survive the test of time. Marianne Faithful was just awful in this but then again so was Alain Delon. Very little in the picture gives evidence of Jack Cardiff's mastery behind the camera for other directors. Faithful though beautiful here was simply not up to the role. At times ridiculous at others just awful.