Cul de sac

As 'Cul-de-sac' was Polanski's first movie after his brilliant psychological thriller 'Repulsion' it can't help but be a slight disappointment. Even so, I thought it was an interesting movie and I found it to be much more enjoyable than his next one the totally unfunny spoof 'The Fearless Vampire Killers'. 'Cul-de-sac' is quite difficult to catergorise. In some ways it reminded me of Pinter's 'The Birthday Party' (filmed much later than this but originally staged in the late 1950s), in others of Jack Hill's cult favourite 'Spider Baby' (made earlier but not really released until afterwards), and you could almost see it as prefiguring 'Performance' (old school gangsters meet the new world of the swinging 1960s). But really it quite an odd and unique black comedy. It may not be 100% successful, and it does have a few dull spots, but overall it's worth tracking down if you want to see something different. The main reason it succeeds for me is the unusual location of Lindisfarne, England (which I have visited), and the performances of Donald Pleasence, Francoise Dorleac and Lionel Stander. Pleasence was one of Britain's most underrated character actors, the beautiful and doomed Dorleac had appeared alongside Jean-Paul Belmondo in the entertaining thriller 'That Man From Rio', and Standish, who later appeared in movies by Leone and Spielberg, is best remembered as Max, the craggy manservant on the popular 1980s TV show 'Hart To Hart'. All three are excellent in this movie, and their interaction make it fascinating viewing. The supporting cast also includes Jack MacGowran ('The Exorcist') and an early appearance by 1970s sex symbol Jacqueline Bisset. 'Cul-de-sac' is without a doubt Polanski's most underrated movie, and fans of the unusual and the off beat will enjoy it very much. A DVD with a commentary from Polanski would would be wonderful. Any chance?

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.

This is original, creative and revolutionary as it gets. If you watch it in 2024, sure it won't make such an impact, but take into consideration that this is a 1966 movie. How many dark comedy movies back then could be so exciting, disturbing, funny and weird simultaneously? This is an archetype dark comedy movie, Pleasence's acting performance is excellent, it seems like he came from the future. Stander is more "conventional", still funny and intimidating at times. Every actor here did a good work but it's Polanski who took it on another level. His whole approach was brilliant.

I can't rate it higher because at times it dragged and i can't say i loved the final 15 minutes. This should be even funnier or darker or both. Still, it was a fun ride and if you like dark comedy movies, this is a pioneer of the genre.

Finally had the opportunity to watch this film. I love Roman Polanski's work. The first two films of The Apartment trilogy are phenomenal. Even his recent stuff is so good (I'm talking especially about Carnage). This is a film he worked on in between Repulsion and Rosemary's Baby and going in I had no idea what it was about. After watching I don't think its among Polanski's best but still enjoyable and pretty damn frenetic like most of his work at the time.

The film follows a gangster and his dying partner who take refuge in a castle out in an island. On this island lives quite a neurotic man and his girlfriend and they kind of have to give into the whims of their captor. In a way push comes to shove and things get hectic between the trio and others coming onto the island. Its hard to explain this film fully giving it justice without spoiling. While the film has flaws and isn't as memorable as some of his others that came out at the same time.

It doesn't really tap into fear and paranoia like Rosemary's Baby and Repulsion; its another thing thematically. I think the comedic aspect of the film kind of hurts it from being one of Polanski's finer works. I think Polanski knows how to tap into fear, anxiety, paranoia and this film is pretty void of that. It's nice seeing Donald Pleasance in something so different prior to his Halloween days.

Overall, its worth a watch for people who really like Polanski's work although he is capable of much better. Its still an alluring experience as with most of his work. It doesn't quite feel as claustrophobic a film as it could be (with the title and his other work). I might go on a bit of a Polanski binge and watch a bunch of other stuff I haven't seen. Or, revisit some of his best which should be fun.

7/10