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.
Achingly bad but immensely watchable with Taylor shreiking her memoirs and Burton looking very sleepy indeed. It is great to see such a bizarro cast: Joanna Shimkus, Michael Dunn (and his very unpleasant dogs), Noel Coward (reptilian as the witch of Capri), and the great Romolo Valli as Taylor's befuddled doctor.
I'm not convinced as pertains to BOOM! that it's quite as simple as Losey having found himself presiding over unmanageable misrule.Though the film is much weirder, it is weird in ways not totally dissimilar to some of his earlier films. It also happens to combine elements of LAST YEAR AT MARIENBAD and LE MÉPRIS, looking forward to stuff in Rivette's later NOROÎT. But, yeah: the Universal execs must have shit a brick.
It's all very overheated under the sun... A triumph of visual and aural detail (Barry's score is a delight) cannot atone for this messy curate's egg with a double onslaught of histrionics from Williams and Taylor. The rhetoric gets lost when yelled to the rear gallery.
Boom! is like a campy and deconstructed version of Last Year at Marienbad and there a few parallels to suggest it including the emphasis on architecture and fashion. Also, I have always thought of the character of X in Marienbad as an angel of death or "l'angelo della morte” as Richard Burton's character is known in Boom.
Brilliantly stylish - it could not work if played with naturalism - and an endlessly visually captivating cinematic interpretation of Williams' screenplay. The film is alive with the sound of the wind, the crash of the eternally moving waves, the inescapable dazzle of the sun, yet is a contemplation on the inevitability of mortality. Barry's score a haunted maze of mirrors.