Based on the 40s crime novel by John Franklin Bardin, this follows alcoholic exec Philip Banter (Scott Paulin) over a period of a few days. Banter's marriage to Elizabeth (Irene Miracle) is dissolving and his father-in-law (Tony Curtis) wants the dapper Bobby Prescott (Gregg Henry) to make the moves on his daughter. But what is disturbing Banter are a series of letters that tell him how his future will unfold that keep ending up on his desk daily. That is a pretty ingenious set up, but sadly the film doesn't live up its promise with a Scooby Doo type ending. Paulin is quite good in the lead role. Unfortunately, Curtis over acts so much that he pretty much exposes the movie's mystery. The film does benefit from some nice Spanish locations though.
2 Reviews
Marienbad it's not
lor_9 March 2023
Warning: Spoilers
My review was written in May 1986 after a Cannes Film Festival Market screening.
"The Last of Philip Banter" is a glamorous suspense film that misses the mark. Filmmaker Herve Hachuel tries hard to create another "Last Year at Marienbad" puzzler but comes up with a hyped-up trifle.
An interesting basic story, taken from a novel by the late Franklin Bardin, has Philip Banter (Scott Paulin) as a young man going crazy as he is working in Madrid for his father-in-law Charles Foster (Tony Curtis). His marriage to beautiful Elizabeth (Irene Miracle) is breaking up and returning to the office he is amazed to find a big chunk of a manuscript typed on his typewriter (presumably by himself) which tells a credible melodramatic tle about people in his life.
In a confusing structure, the film presents illustration of what Banter is reading in the manuscript, interspersed with real scenes he experiences, both types of footage having the same characters and actors. Banter seems paranoid, but it also is quite obvious that he is being manipulated, with the connivance of his best friend Bobby (Gregg Henry) and a pretty blonde (Kate Vernon).
There's a decided air of anticlimax by the time all the plot threads are tied up. Finale is not only pat but downright stupid, with the villains falling under a subway train.
Pulin is wholly unsympathetic and a bit tiresome as the nominal hero, while most of the other cast members simply glide through their roles as if involved in a fashion show. In an unsubtle, one-note performance, Tony Curtis telegraphs his nefarious motives and robs the story of its suspense. In a quirky role, Vernon proves far more interesting than lead Miracle. Gregg Henry is unimpressive, but perks things up by singing three of his own jazz-flavored songs on the soundtrack.
Ricardo Chara's visuals of elegant Madrid locations are a bit too distracting for the good of the film overall. English-language dialog for this European production is recorded up to U. S. standards.
"The Last of Philip Banter" is a glamorous suspense film that misses the mark. Filmmaker Herve Hachuel tries hard to create another "Last Year at Marienbad" puzzler but comes up with a hyped-up trifle.
An interesting basic story, taken from a novel by the late Franklin Bardin, has Philip Banter (Scott Paulin) as a young man going crazy as he is working in Madrid for his father-in-law Charles Foster (Tony Curtis). His marriage to beautiful Elizabeth (Irene Miracle) is breaking up and returning to the office he is amazed to find a big chunk of a manuscript typed on his typewriter (presumably by himself) which tells a credible melodramatic tle about people in his life.
In a confusing structure, the film presents illustration of what Banter is reading in the manuscript, interspersed with real scenes he experiences, both types of footage having the same characters and actors. Banter seems paranoid, but it also is quite obvious that he is being manipulated, with the connivance of his best friend Bobby (Gregg Henry) and a pretty blonde (Kate Vernon).
There's a decided air of anticlimax by the time all the plot threads are tied up. Finale is not only pat but downright stupid, with the villains falling under a subway train.
Pulin is wholly unsympathetic and a bit tiresome as the nominal hero, while most of the other cast members simply glide through their roles as if involved in a fashion show. In an unsubtle, one-note performance, Tony Curtis telegraphs his nefarious motives and robs the story of its suspense. In a quirky role, Vernon proves far more interesting than lead Miracle. Gregg Henry is unimpressive, but perks things up by singing three of his own jazz-flavored songs on the soundtrack.
Ricardo Chara's visuals of elegant Madrid locations are a bit too distracting for the good of the film overall. English-language dialog for this European production is recorded up to U. S. standards.
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