Punto muerto

A diminutive artist (Donald Pleasence) lives with his much-younger French wife (Françoise Dorléac) in a castle on a tidal island in northern England. When a gruff gangster (Lionel Stander) shows up on their doorstep havoc ensues. Iain Quarrier, William Franklyn and a young Jacqueline Bisset show up for peripheral parts.

"Cul-de-Sac" (1966) is one of Roman Polanski's early experiments, a freestyle B&W psychological crime dramedy that takes elements of "The Damned" (1963), "Touch of Evil" (1958) and "A Streetcar Named Desire" (1951) and mixes them with black humor and the theme of the later "Straw Dogs" (1971). Jack Nicholson cited it as his favorite film, which makes sense when you consider Nicholson's "The Shooting" (1966). In tone, it's the precursor to Altman flicks like "The Long Goodbye" (1973).

There's such an improvisational feel that one wonders what the point is: French girls are neurotic and promiscuous? British artists are wussies? Those who live by the gun will die by the gun? No matter how much a person tries to escape the world to focus on fulfilling his/her art (whatever that might be), the corruption of the world will come knocking on your door and might even share your bed? That even a finely cultured man will resort to his primordial nature if backed into a corner?

The film obviously has its partisans, who deem it a masterpiece. There are some interesting technical things going on, like the 7.5 minute scene on the beach, which was one of the longest continuous sequences in cinema up to that point. But the characters are oddball and unlikable while the story is meandering and dramatically dull. Yet the locations, the cast and the themes are to die for, not to mention the eccentricities.

The film runs 1 hour, 52 minutes, and was shot at Holy Island of Lindisfarne, off the coast of northeastern England.

GRADE B-/C+

Cul-de-sac is a very beautiful black and white movie. It belongs to the lightweight category. The story is weird in an entertaining way, often amusing and sad at once. If the director tried to be willingly shallow, he was very successful. And I do not mean that ironically but say it with awe.

The place is Holy Island, on the east coast of Northern England. It actually gets cut off with the tide. Polanski makes very good use of the location and was very lucky with the casting. All characters are rather detestable in a detached sort of way. Donald Pleasance gives the performance of his life as the emasculated, utterly humiliated owner of the castle on the island. The other two main characters are the brisk yet elf like Françoise Dorléac and Lionel Stander as a gruff, brutal gangster. There is a very strange, truly unique chemistry between Dorléac and Stander. Dorléac does something to Stander. «We call dees a bicycle», she says gleefully with her funny accent, and it nearly knocks me off my chair every time I see that well filmed, suspenseful scene. I won‘t tell you what «de bicycle» is – it may need parental guidance to watch it but does not belong to the restrictable area. Cul-de-sac has a very memorable musical score.

Captivatingly bizarre movie. Dickie and Albie, both injured and on-the-run following a failed heist, stumble upon effeminate George and promiscuous Teresa's secluded castle on the shore. Lionel Stander as the menacingly uncouth thug Dickie is the standout in the cast as he takes over the household while waiting for the gang boss to come and get him and his partner. Donald Pleasence and Franciose Dorleac as the invaded couple were also excellent as they deal with not only the crooks but an unwelcome family visit. Not for everybody but if you're in the mood for something unusual from the 60s or just wanting to view an example of early Polaski .

Two gangsters on the run hide out in a isolated castle that is occupied by Plesance and Dorleac. The two share a rather bizarre passive, aggressive relationship that quickly disintegrates when interrupted by the strangers. Eventually a even more bizarre bonding develops between the couple and Stander, one of the gangsters. Very, very intriguing psychological drama with wonderfully subversive elements lurking just beneath the surface.

Polanski makes full use of the castle showing it's dark, shadowy interior as a sort of symbolic equation to the dark recesses of the human mind. The characters all have their odd traits yet are still believable and compelling to watch. Wonderfully photographed with a strong visual style that really gives this film a distinct look and personality.

Stander, who is probably best known as Max on the old HART TO HART series, has one of his finest roles. He plays a brute that mixes both savage and human traits all at the same time. Plesance though is astounding, playing a truly pathetic character that is simply unforgettable

CUL-DE-SAC is a psychological comic thriller as an unusual set of surreal circumstances in a realistic landscape. The characters are trapped in a confusing context, which is made up of a mafia, art, promiscuity and perversions. The story is peppered with all sorts of antics, but it is not unpleasant. The plots are inconclusive, but its are enriched with a huge dose of black humor.

A neurotic and effeminate middle-aged Englishman named George lives with his promiscuous young French wife Teresa in a dark castle on a hilltop. Two gangsters, after the unexpected upward tide, invade their messy home and hold them as hostage. Teresa is mad at her timid husband, who does not take any action on the bandits. Gangsters are starting to behave a bit eccentric, while waiting for help from his boss. Uninvited guests come to a visit. Simply, someone has to "boil over"...

Mr. Polanski, in this film, covers topics such as the alienation and a latent madness, which are closely related to a sexual activity. He has managed to replace an emotional void in this film with a combination of black humor, crime and perversion. The characterization is not bad.

Donald Pleasence as George is a kinky and fun husband who has his grotesque moments in this film. He is a man who feels comfortable in a transparent nightgown but he, with a huge dose of disgust, takes a gun in his hand. That is a phenomenal paradox of the situation in the world. His cowardice is ambiguous, because, despite everything, he wants to return a harmonious relation in his home. Lionel Stander as Dickey, through his gangster attitude, distinctive voice and eccentric behavior enjoys the general madness. Françoise Dorléac as Teresa is a beautiful, attractive and nude factor of confusion between George and Dickey.

Mr. Polanski has skillfully managed to balance all segments in this film, but this story still reminds me to a sexy morbid joke.