Unjustly underrated Polanski film that deals with issues of power, submission, transgression and infantilism in genuibely cinematic terms. Gorgeously photographed it depicts dalliance and subsequent recourse to fetal positions against overwhelming and calmly threatening forces not only in psychologically instructive terms but mainly in visual (e.g. hennery, tide) symbolism. Expertly acted, it thrills and captivates.
It is one of those films where you can still tell that many things are not yet well formed and well defined in the director's mind to be a great film but it does have great performances the myse-en-abyme that the film is progressing too and the ending in itself of characters that trapped others, but ended up being trapped themselves inevitably. A very good watching but there are some caricature moments I'd left out.
Out of all director's takes on black comedy this is by far the most refined. Surreal and absurd satire of his later topics, evoking tons of possible allegories (for a minute I considered Great Britain as the main one). Plot, however, losses its edge upon removing focus from main three characters, becoming too preachy and less of a weirdly slapstick drama about nothing.
A man's home is his castle. It seems that George's dream of the good life was always doomed. The arrival of the intruders, Dickie and Albie, is the death knell. This film is magnificently offbeat. When Albie croaks, his place is taken by another whining weasel of a man. Dickie and George make a terrific double act. As the remarkable beach scene reveals, Stander and Pleasence should have gone on the road together.