A Terrifying Love Story
Nicolas Roeg's intricate, disturbing account of a doomed love affair.
Probably the worst miscast in history as Art Garfunkel play a Freudian psychology teacher in the university of Vienna, during the early 80’s and falls in love with Czechlovakian enigmatic party girl, that one day is taken to the emergency room having swallowed way to many pills. The mistery of the movie is what happened that day and how is Art involved, but mostly it is just sightseeing and walking around with flashbacks from how the two met and how they lived together always in a certain discomfort.
Beautiful photography does not make a good movie and what could have been a complete success and film noir is a way too paced boring story that only has value in Harvey Keitel playing an over the top emotional detective from the Austria police…
A disturbing erotic drama that also functions as a mystery and a really screwed-up love story, Nicolas Roeg's (DON'T LOOK NOW, WALKABOUT) film opens with a young woman in Vienna named Milena (Theresa Russell) being rushed to the emergency room after overdosing on pills. She is accompanied by a strange man named Alex (Art Garfunkel) who maintains, unconvincingly, that he is just her "friend." A policeman (Harvey Keitel) feels that something is wrong with the situation and while he interrogates Alex, the film flashes back throughout Milena and Alex's steamy and destructive love affair.
Much like Roeg's DON'T LOOK NOW, the editing is very non-chronological, constantly flashing forward and backward in time as you see the puzzle pieces fall into…
This director loves casting rock stars
Pretty ok. Would have been a great drama/thriller had it been about 45 minutes shorter. I was really engaged for the first half, then my attention started to wander. The scenes between Garfunkel & Keitel were the best parts. This is my 3rd Roeg and I'm still not sure how I feel about him, but I like him enough to keep going through his films...
Emotionally distant man, emotionally unstable woman... this is really not my thing, and it doesn't help that Art Garfunkel isn't much of an actor; I know the part requires vacancy, but, being already vacant himself, he can't quite handle it. Not that Theresa Russell is really any better; she always seems to be thinking too hard about what her character would be thinking about in any given situation. Roeg flings and zooms his camera so much, it's almost dizzying, making it even harder to connect with these characters. It's got odd musical cues, as well -- everything from Pachelbel's Canon to Billie Holiday to The Who. I was ready to dismiss the film entirely, but then came the third act,…
Bodies of death.
Fin de siècle.
A very daring film, especially for 1980. Ahead of its time both in the extremity of its subject matter and content, and in the elliptical editing and piece-it-together, shattered narrative. Something is lacking in the execution, though, because the two main characters seem more like archetypes forced together in service of the plot and the points Roeg wants to make than any sort of organic progression of a couple's attraction curdling into obsession and violence.
Una pareja contempla varias obras de Gustav Klimt en un museo. Una ambulancia se abre camino a toda velocidad por las calles de Viena. Una mujer se despide de su marido en la frontera entre Eslovaquia y Austria. En los cinco primeros minutos de Bad Timing, el director inglés Nicolas Roeg deja claro que no nos encontramos ante una película convencional. Un guión que es una mezcla entre historia de amor y de suspense se convierte en sus manos en una imponente experiencia visual, una rareza que es tanto un experimento cinematográfico como una apasionada reflexión sobre la obsesión y los celos. Puedes leer la crítica al completo en el enlace que hay a continuación.