Riflessi in un occhio d'oro

Director John Huston paints life at a Georgia army base in odd pinkish and amber tones to point up its off-color nature beneath its khaki uniformity. Reflections features Brando as a Colonel, supposedly courageous and a leader of men, who turns out to be weak, cowardly, hag- ridden, and unsure of his sexual orientation. It was one of his best, most creative and least likely performances, and shocking to audiences of the time. If anybody but Brando had played that character it would have scarred his career and maybe ended it. Just taking on the role was a brave move, but he did so much with it to bring out the man's un- Brando nature. Bold, brilliant and daring as a lead performance, he plays off wonderfully against Taylor in one of her patented bitch queen roles as an unsatisfied man-eater stifled by the regimentation of living as an army wife. The scene in which she flogs him for a weakling in front of dinner guests is shocking to watch but wonderfully evocative of the nature of their relationship roles. Taylor's infidelity and Brando's weakness become two sides of the same co-dependent coin.

Reflections was a watershed film in its day but at the same time years ahead of its day. It flopped at the box-office because the mid-60s were just not ready for it.

God knows what this picture looked like on the printed page--or, indeed, what this cast of talented actors were thinking when they first read it. Elizabeth Taylor probably thought it a hoot. I certainly did, but really...Julie Harris as a woebegone colonel's wife, living on a southern Army base in the 1950s with her sexually-estranged husband and a flamboyant houseboy, who has used pruning shears to--oh never mind. It's really about Marlon Brando as a sexually-repressed major, married to flirtatious belle Taylor but secretly lusting for stud-soldier Robert Forster (who rides his horse "barebacked and bare-assed"). Is it camp, serious, heartfelt or just terrible? Actually, it's all of the above, which is not only what kept me watching but keeps me returning. The moody film, based on Carson McCullers' Gothic novel, feels tampered with, muted in spots where it should be played to the hilt yet overdrawn when it should be subtle, yet this is part of its erratic appeal. Aldo Tonti's vivid cinematography (most especially in the full-color re-release print) is amazing, as is Toshiro Mayuzumi's hyperbolic score. John Huston directed, boldly and with flourish. It's a glorious mess. *** from ****

There's a melting pot and into it's thrown, the souls of folk who sink like a dead stone, all have crosses they must bear, after lives of wear and tear, as they've found themselves remote, distant, alone. Of its time the themes reflect certain brutality, of an individual and rationality, where the lines one cannot cross, are tattooed, scored, burnt, embossed, on the culture of this world and its normality. The performances are great, so is the cast, from a director who commands a certain class (excepting 'The Man Who Would Be King' which is trash), it might just touch a nerve, just depending on your curve, a disconnection from today, back to the past.

The time is late 1948 and the setting is a U.S. Army post in Georgia, bordering on a forest preserve…

A Southern amoral wife called Leonora (Elizabeth Taylor) finds a way for her stream desire in an adulterous affair with Lt. Col. Langdon (Brian Keith), carried on almost openly…

Leonora gives aperture to her forcefulness and vigor in a passion for horses and riding… She is attached to a handsome white horse she calls Firebird and she provokes her husband by telling him that the animal is indeed a stallion with the emotional nature of man...

Leonora's husband (Marlon Brando) is a devious, insecure, impotent Army major, a hidden homosexual preoccupied with an unsociable, lonely rider who canters around the field in the nude and whose sexual emotional stress is diminished, secretively, at the bedside of the major's wife holding her clothes and looking fixedly at her marvelous hot body…

Private Williams (Robert Forster) is another lonely man fascinated by the fiery Leonora and her thoughtful and gentle comments to him… He takes to visiting the Penderton house at night looking attentively in the windows, observing with total recall and complete joy Leonora's nakedness, but also watching the Major in his study…

Keith's neurotic wife (Julie Harris) is well aware of her husband's affair with Leonora but she only feels well from her close friendship with her houseboy, Anacleto (Zorro David), an affected companion who shares her penchant for the arts and is in every way the opposite of her abrupt, strong husband…

Flavored with bitter insinuations and insulting sarcasms, Brando and Taylor's few scenes have enough flames to burn the silver screen… He's a tormented human being while she's delicious but shrill and insensitive… Aware of her physical beauty she fights back when she's rejected, instigating him with her impudent, insolent, shameless manner that offend his very being

Apart from the barely discernible homosexual subtext, there really isn't much to this sudsy cinematic soap opera. The film provides a glimpse into the neurotic lives of two couples (Major Weldon Penderton and his pampered, beautiful wife Leonora; and Lt. Col. Morris Langdon and his spaced-out wife Alison). The four of them live at a military fort in the American South. A mysterious young soldier named Pvt. Williams (Robert Forster), who rides naked on horseback, and who stealthily creeps into Leonora's bedroom at night to contemplate who knows what, is the object of Major Penderton's implied fantasies.

What makes this film so maddening is the unspoken passion, the tacitly erotic obsessions that drive the entire narrative. It's all beneath the surface. The dialogue is largely irrelevant. It's what is not said that's important.

Even though this is a character study, we actually learn very little about the characters. Does Pvt. Williams even have a back-story? All of the characters seem to be in their own fog, their own delusional world, divorced from reality. Indeed, except for one sequence at an institution for the mentally ill, all the scenes take place at the military fort, isolated from the rest of the world.

The film's lighting is neither B&W nor color; it is a dingy, yellowish sepia tone with occasional splats of color. Background music is intermittent and nondescript. The pace of the plot is excruciatingly slow, with very long camera "takes".

The film's acting is acceptable. Elizabeth Taylor and her Cleopatra eyebrows give a nice performance, as does Brian Keith. Marlon Brando, as Major Penderton, nasally mumbles his lines, as if he had marbles in his mouth.

Best remembered perhaps as one of the 1960's films that brought about the MPAA ratings system, "Reflections In A Golden Eye" is stodgy and dull by today's standards. But in its day, this film was bold and daring in its depiction of a topic that was all hush-hush. For that reason, even though its entertainment value is questionable, the film is historically significant.