Although the brothers Hakim have been made the scapegoats for their drastic cutting of Joseph Losey's film, the longueurs in the shortened version indicate that the original length of 155 minutes would have been even more tiresome. To suggest that some have done that this pretentious opus is a mutilated masterpiece requires a real stretch of the imagination.
It is customary for film historians and assorted academics to describe Losey's style here as 'baroque' which for this viewer at any rate signifies arty-farty and devoid of either structure or linear narrative. Losey had originally envisaged a score by Miles Davis which had worked so well for Louis Malle in 'L'Ascenseur pour L'Echafaud', together with some recordings of the ultimate torch singer Billie Holiday. In the event a couple of her recordings remain and we are instead cursed with an extremely irritating and intrusive score by Michel Legrand. We can at least be grateful to have cinematographers Henri Decae and Gianni di Venanzo whose images are splendid.
In a role originally earmarked for Richard Burton, fellow Welshman Stanley Baker is alas totally miscast whilst the talented but inadequately dubbed Virna Lisi is utterly wasted. It must have been quite a coup for Losey to have acquired the services of Jeanne Moreau as the title character and this exemplary artiste certainly delivers the goods as a praying mantis.
For directors seeking international recognition Italy in the early 1960's was the place to be but Losey's misguided and misjudged attempt to do an Antonioni must be accounted a failure.
It is customary for film historians and assorted academics to describe Losey's style here as 'baroque' which for this viewer at any rate signifies arty-farty and devoid of either structure or linear narrative. Losey had originally envisaged a score by Miles Davis which had worked so well for Louis Malle in 'L'Ascenseur pour L'Echafaud', together with some recordings of the ultimate torch singer Billie Holiday. In the event a couple of her recordings remain and we are instead cursed with an extremely irritating and intrusive score by Michel Legrand. We can at least be grateful to have cinematographers Henri Decae and Gianni di Venanzo whose images are splendid.
In a role originally earmarked for Richard Burton, fellow Welshman Stanley Baker is alas totally miscast whilst the talented but inadequately dubbed Virna Lisi is utterly wasted. It must have been quite a coup for Losey to have acquired the services of Jeanne Moreau as the title character and this exemplary artiste certainly delivers the goods as a praying mantis.
For directors seeking international recognition Italy in the early 1960's was the place to be but Losey's misguided and misjudged attempt to do an Antonioni must be accounted a failure.