This celebrated black comedy from 1970 marked the directorial debut of legendary Broadway producer Harold Prince. It has justly earned cult status and a devoted following due, in great part, to Angela Lansbury's remarkable virtuoso performance. She has flawless support from the delectable Michael York, a very seductive young Anthony Corlan, and gifted Jane Carr.
Against a picture-perfect Bavarian backdrop, Konrad (York) rides into town sporting the sexiest legs ever seen in cycling shorts. He pauses to admire Castle Ornstein with visions of grandeur dancing in his head, and we get another gander at those gorgeous gams. He quickly 'arranges' (and therein lies the fun) a job as footman to the impoverished Countess von Ornstein (Lansbury), focusing his attentions on her beautiful, lonely son Helmut (Corlan). An epicurean choice, as Helmut is as physically stunning as Konrad. His sister Lotte (Carr), is improbably dumpy, frumpy, annoying, and furtive. She has Konrad's number right off the bat, though, and asks him which he is, murderer or pervert. His response is congenial and commendably candid.
Simultaneously, Konrad dupes a snobbish, social-climbing family, debauching their beautiful, lonely daughter. So, his perpetual pursuit of passion, power, and position proceeds apace: he has it and them all. But his baroque scheme suddenly begins to career dangerously out of control. The end, with several clever twists, bears mercilessly down upon poor Konrad.
The talent and beauty of Michael York and Anthony Corlan notwithstanding, the film belongs to Angela Lansbury. Her every gesture and movement bespeak consummate skill, drama, humor, and camp. Few actors could pull off such theatrical monologues as she does, with the command of Callas incarnating Tosca.
Mr. Prince underscores the operatic nature of his story by introducing Wagner early in the film. Tristan und Isolde personify the intensity, if not the incandescence of his perfect protagonists. Even with its delicious, decidedly 70's bisexuality and social outlook, this minor masterpiece remains fresh as a daisy after 35 years. It deserves the full DVD treatment, lovingly re-mastered and in wide-screen.
Against a picture-perfect Bavarian backdrop, Konrad (York) rides into town sporting the sexiest legs ever seen in cycling shorts. He pauses to admire Castle Ornstein with visions of grandeur dancing in his head, and we get another gander at those gorgeous gams. He quickly 'arranges' (and therein lies the fun) a job as footman to the impoverished Countess von Ornstein (Lansbury), focusing his attentions on her beautiful, lonely son Helmut (Corlan). An epicurean choice, as Helmut is as physically stunning as Konrad. His sister Lotte (Carr), is improbably dumpy, frumpy, annoying, and furtive. She has Konrad's number right off the bat, though, and asks him which he is, murderer or pervert. His response is congenial and commendably candid.
Simultaneously, Konrad dupes a snobbish, social-climbing family, debauching their beautiful, lonely daughter. So, his perpetual pursuit of passion, power, and position proceeds apace: he has it and them all. But his baroque scheme suddenly begins to career dangerously out of control. The end, with several clever twists, bears mercilessly down upon poor Konrad.
The talent and beauty of Michael York and Anthony Corlan notwithstanding, the film belongs to Angela Lansbury. Her every gesture and movement bespeak consummate skill, drama, humor, and camp. Few actors could pull off such theatrical monologues as she does, with the command of Callas incarnating Tosca.
Mr. Prince underscores the operatic nature of his story by introducing Wagner early in the film. Tristan und Isolde personify the intensity, if not the incandescence of his perfect protagonists. Even with its delicious, decidedly 70's bisexuality and social outlook, this minor masterpiece remains fresh as a daisy after 35 years. It deserves the full DVD treatment, lovingly re-mastered and in wide-screen.