Stanley Kramer made some really great films in the 50s and 60s, but this ain't one of 'em. The film suffers from an over-pretentious egotism about existential angst and finding meaning in a meaningless existence—really tired fair, especially when it is not done well.
The really tired, dated subplot is that of David (George Segal) and Jenny (Elizabeth Ashley). Their silly conversations about gender roles, self expression, and "belonging together" get really old very fast.
The thread dealing with Lowenthal, Glocken, and Rieber is the most relevant, entertaining, and thought provoking. Lowenthal is the most telling role of the film. A truly tragic figure who has no idea of the enormity of his delusions about being a German Jew in 1933.
But the whole thing is a mess when all is said and done.
The thread about Wilhelm and La Condesa is really a waste, since I can't imagine leaving my dog for the mega-frumpy Simone Signoret, never mind a wife and two sons. Oskar Werner is very genuine, but Signoret is her usual over-rated, tedious self. The two performances just don't mesh, and the result does not ring true.
Tenny (Lee Marvin) really is an ape, as Mrs. Treadwell observes. A truly ugly American in the most stereotypical sense.
The thread dealing with the wheelchair preacher, his nephew, and the flamenco whore seemed really worthless to me, just a cheap shot by Kramer at religion and morality.
But the acting really is brilliant all around, I must admit. Leigh is especially poignant as Mrs. Treadwell, probably the meatiest role in this film. She is thoroughly reprehensible, and without sympathetic appeal. And yet .. we pity her even if she won't pity herself.
The really tired, dated subplot is that of David (George Segal) and Jenny (Elizabeth Ashley). Their silly conversations about gender roles, self expression, and "belonging together" get really old very fast.
The thread dealing with Lowenthal, Glocken, and Rieber is the most relevant, entertaining, and thought provoking. Lowenthal is the most telling role of the film. A truly tragic figure who has no idea of the enormity of his delusions about being a German Jew in 1933.
But the whole thing is a mess when all is said and done.
The thread about Wilhelm and La Condesa is really a waste, since I can't imagine leaving my dog for the mega-frumpy Simone Signoret, never mind a wife and two sons. Oskar Werner is very genuine, but Signoret is her usual over-rated, tedious self. The two performances just don't mesh, and the result does not ring true.
Tenny (Lee Marvin) really is an ape, as Mrs. Treadwell observes. A truly ugly American in the most stereotypical sense.
The thread dealing with the wheelchair preacher, his nephew, and the flamenco whore seemed really worthless to me, just a cheap shot by Kramer at religion and morality.
But the acting really is brilliant all around, I must admit. Leigh is especially poignant as Mrs. Treadwell, probably the meatiest role in this film. She is thoroughly reprehensible, and without sympathetic appeal. And yet .. we pity her even if she won't pity herself.