'Mayerling' (1968)
Opening thoughts: There were plenty of reasons for seeing the 1968 version of 'Mayerling'. Have always loved period dramas, and especially when it is a period of history that really piques a lot of interest. Having gained a major interest in Austrian royalty since my holiday to Vienna last year (especially Empress Elisabeth, aka Sissi), this was one such period. The cast is a truly talented one and have given great performances elsewhere and have liked a good deal of Terrence Young's other work as well.
Unfortunately, the 1968 version of 'Mayerling' is a disappointment. It certainly doesn't underwhelm visually, but the performances are wildly uneven and mostly unimpressive and it just feels sluggish and bland. The story was a lot more interesting and compelling than what is depicted here and done much more justice in the infinitely superior 1936 'Mayerling', which is very, very good by the way. This is not a terrible film, but it really should have been so much better than the mixed bag film it turned out to be.
Good things: 'Mayerling' does have good things. The best components are the photography, costumes and production design. The photography stuns throughout and the costumes and production design are just exquisite. Francis Lai's music is lush and stirring and doesn't come over as over-scored or over-bearing, also not jarring stylistically.
While not being impressed by the performances, two are good. James Robertson Justice gives by far the film's best performance and is a real joy, managing to give much needed enthusiasm without becoming hammy. Genevieve Page is close behind and brings a lot of class and dignity, as well as being every bit as animated as Justice without jarring.
Bad things: It is a shame that the rest of the performances don't work. Omar Sharif, with a hairstyle that does not flatter him, looks uncomfortable and is very stiff. Catherine Deneuve has no warmth or passion to her performance and is as wooden as him. The chemistry between them is passionless and felt underdeveloped. James Mason's part is underwritten and he is given little to work with, the under-developing also shows in his performance which looked as though he wanted to be elsewhere. Ava Gardner has the right ahead of the time beauty for Sissi that was not present enough in the 1936 version, but otherwise doesn't really register.
Young's direction is very undistinguished and indicative of somebody who wasn't that interested in the story or history much. The script tends to be stilted and melodramatic and the film is very sluggishly paced and needed a lot more charm, atmosphere and passion, which are pretty much missing so everything feels very bland and dull. When it tries to be emotional, it comes over as very overwrought and the drama just feels thin. It perhaps could have been shorter too, with some of the longer scenes in need of some trimming.
Concluding thoughts: Summing up, a very mixed bag.
5/10.
Opening thoughts: There were plenty of reasons for seeing the 1968 version of 'Mayerling'. Have always loved period dramas, and especially when it is a period of history that really piques a lot of interest. Having gained a major interest in Austrian royalty since my holiday to Vienna last year (especially Empress Elisabeth, aka Sissi), this was one such period. The cast is a truly talented one and have given great performances elsewhere and have liked a good deal of Terrence Young's other work as well.
Unfortunately, the 1968 version of 'Mayerling' is a disappointment. It certainly doesn't underwhelm visually, but the performances are wildly uneven and mostly unimpressive and it just feels sluggish and bland. The story was a lot more interesting and compelling than what is depicted here and done much more justice in the infinitely superior 1936 'Mayerling', which is very, very good by the way. This is not a terrible film, but it really should have been so much better than the mixed bag film it turned out to be.
Good things: 'Mayerling' does have good things. The best components are the photography, costumes and production design. The photography stuns throughout and the costumes and production design are just exquisite. Francis Lai's music is lush and stirring and doesn't come over as over-scored or over-bearing, also not jarring stylistically.
While not being impressed by the performances, two are good. James Robertson Justice gives by far the film's best performance and is a real joy, managing to give much needed enthusiasm without becoming hammy. Genevieve Page is close behind and brings a lot of class and dignity, as well as being every bit as animated as Justice without jarring.
Bad things: It is a shame that the rest of the performances don't work. Omar Sharif, with a hairstyle that does not flatter him, looks uncomfortable and is very stiff. Catherine Deneuve has no warmth or passion to her performance and is as wooden as him. The chemistry between them is passionless and felt underdeveloped. James Mason's part is underwritten and he is given little to work with, the under-developing also shows in his performance which looked as though he wanted to be elsewhere. Ava Gardner has the right ahead of the time beauty for Sissi that was not present enough in the 1936 version, but otherwise doesn't really register.
Young's direction is very undistinguished and indicative of somebody who wasn't that interested in the story or history much. The script tends to be stilted and melodramatic and the film is very sluggishly paced and needed a lot more charm, atmosphere and passion, which are pretty much missing so everything feels very bland and dull. When it tries to be emotional, it comes over as very overwrought and the drama just feels thin. It perhaps could have been shorter too, with some of the longer scenes in need of some trimming.
Concluding thoughts: Summing up, a very mixed bag.
5/10.