Pacto con el diablo

I saw the UK-EC version of this film in 1972. Very funny, well acted and directed and worthy of the awards given it by the Berlin Film Festival. HOWEVER, I took some friends to see it in the States and was shocked to see that some cretin(s) had re-cut this work of art to conform to what they perceived as the sophistication level of the USA audience. This USA release was beyond belief! "They" had changed the entire premise of the movie from a black comedy into an action/thriller cutting out the best comedic efforts of the actors. I can resonably assume that the Matlin review reflects this version. If ever the actors and director had a reason to sue for artistic perversion, this was it! My question is "Does anyone have another example of this happening?" While certainly aware of nude scenes being cut from USA films of this era I have never heard of the entire genre of a film being changed.

This very silly movie is one of the only ones where you can catch Richard Burton playing comedy. He's more of the "straight man", leaving Elizabeth Taylor and Beau Bridges to get all the laughs, but it's still a rarity.

I absolutely love Liz in this movie. She's adorable and hilarious. Had she made more comedies in her career, she might have been one of my favorite actresses. She has a bright, shining face, a mischievous smile, and that famous cackle. In this odd flick, she's a low-class, bleach blonde diner waitress who gets seduced by cutie pie Beau Bridges, a night guard at an insane asylum. Beau gives her promises of wealth and an easy life, which are, in turn promised to him by a dangerous prisoner (Richard Burton). It's supposedly a take on Faust, but Peter Ustinov's screenplay is so loosely based, if you watch the whole movie and don't figure it out, don't feel bad.

Very few people will probably actually like this movie, but if you loved Liz in The Flintstones, you'll want to watch her in this. She's so funny! In one scene, she's in bed with an oil tycoon, hoping to get all his money, and he requests dirty talk. She thinks about it for a minute, then tentatively tries out, "Pee-pee." In another, after a raunchy quickie with Beau in the diner, he admits to her that he's had gonorrhea twice. She gives him a flat look and asks, "Well, how's it now?" Her comic timing is fantastic, and after seeing her in this silly '72 movie, I know you'll wish she used it more often.

Certainly with a cast of this caliber, you expect much, much more. Maybe the problem is with the uninspired directing, awkward screenplay, thin story line and some very choppy editing. Maybe all the money was spent on the stars' salaries giving it a low, low production budget feel. Maybe Burton and Taylor should have quit acting together after 'Virginia Woolf.' But something sure went wrong with this project.

The cassette version I watched recently was just under 102 minutes of running time, but the cassette itself was labeled 108 minutes. Makes you wonder what was left out. I saw this film when it originally played in 1972 and could see no differences between that version and the cassette. So who knows what went on here. Maybe it was just meant to be a quickie, 'What the hell. Let's make it anyway.' turkey.

"Hammersmith Is Out" (1972)a hilarious take on "Faust" has stayed with me all these years. I hadn't seen it in almost 50 years, but when it came out on DVD, I had to buy it!

This movie is a scream!

Why it's so rarely on TV, cable or otherwise, is beyond me. I've only seen it listed twice in 40 years. It's directed with decidedly politically incorrect tongue-in-cheek satirical panache by none other than Peter Ustinov, letting down his stiff British upper lip.

Richard Burton as Hammersmith was in full-blown "have fun living life with a nod, a wink and a fifth of Scotch" phase, this coming at the phase-out of the Swingin' Sixties and four years after the masterfully, purposefully over-the-top glory of his poet, Macphisto, in the cinematic wonder that is "Candy" (1968).

Through a manner I'll never explain (my lips are sealed), complete psycho Svengali Hammersmith is able to turn the absolute dumbest hayseed the world has ever known, Billy Breedlove (Beau Bridges, who's a riot) into the world's richest man.

Along the way, they pick up the dame, an almost equally dumb and hilarious Elizabeth Taylor, who is such a knockout that words defy description. Zonga!

One pretty good example of Ustinov's ribald, blue-collar Southern type of comedy this is, is demonstrated by the band playing onstage at a club the trio check out: it's an all-girl topless band called the Tits.

Let's hope some enterprising programmer digs this one out. The world must see "Hammersmith Is Out"!.

Peter Ustinov's unjustly obscure Burton-Taylor vehicle. A black comedy updating of Faust to 1970s America, in which obnoxious, nose picking hick Billy Breedlove (Beau Bridges) who works at an insane asylum is taken in by the literally devilish inmate Hammersmith (Richard Burton) who promises to make Breedlove "rich and strong, strong and rich" if he releases him from his cell. Now on the run from the law, the pair are joined by a white trash waitress (Liz Taylor) for a satirical road trip across America, where Hammersmith's ability to make good on his promise sees Breedlove transported from stripclub owner, to big business tycoon to political office. As tends to be the case in Burton-Taylor vehicles though, its not long before everyone is miserable, drunk and yelling insults at each other. Being accused by Taylor's character of having a "monkey penis...peanut balls" is but one of many indignities to befall Breedlove as his pursuit of money, lust and power turns sour. Dare you turn Mr Hammersmith loose?