Eureka

The components for a great movie (maybe even three great movies) are all there, but by trying to be all three things AND trying to slather it all in discreet symbolism the movie tends to almost get going and then loses focus. A stuffed story like this could be well told if one were to jettison most of the symbolism, but that doesn't happen. The symbolism could make for a powerful movie if the focus of the movie is tightened, but roeg chooses not to do that either.

Likewise a bit of screenwriting help could have been used as..... especially in the later court room scenes... the entire dialogue enters overwrought soap opera territory. A terrific cast is mostly squandered, buried under the morass symbolism which only seems like ideas not thought through to their conclusion. I.e. Here's a story about a man who got everything he wanted in life and the psychological impact it had on him and those around him..... but were going to throw in stuff about the mob and an orgy and end up with an extended court drama, and a war that adds nothing to that premise.

Surprisingly the violence done in the movie is pretty horrific coming from roeg, a director not really known for violence in his movies. The cinematography at times wonderful is hemmed in by the constraints of the plot.

Taking the centerpiece of this movie would over the perfect opportunity for a well deserved remake now.

I remember watching this movie a couple of times on cable over a decade ago. I don't know if it was supposed to be a mystery or noir but one of the things that struck me was the poor picture (perhaps it was intentional to keep up the mystery) Generally, the actors did a very good job. I just feel the script was poor.

I had never heard of Ed Lauter until he died a few months ago, even though I had seen him in a number of movies; he simply hadn't registered in my mind. While watching Nicolas Roeg's "Eureka", I was surprised to see that Lauter co-starred. I had also never heard of Harry Oakes until I read about the movie. The movie had a good plot but seemed as though it could've been shorter. In the end, I think that the main point to derive from the movie is that prestige makes people go crazy. Gene Hackman's character struck gold and it made him rich, causing him to go nuts, and the insanity extends to his acquaintances. As shown in "It's a Mad, Mad, Mad, Mad World" and "The Wolf of Wall Street", people will do anything for money.

Anyway, it's an OK not great movie.

Weird, sloppy, self-indulgent, meta-physical, sometimes boring, sometimes hallucinatory: all these things describe this misfire from director Nicolas Roeg. Gene Hackman stars as a gold prospector in Alaska during the final days of the gold rush. Most of the people have given up and gone home at this point, but Hackman refuses. After a strange encounter with a meteor (I think) he receives some kind of lucky rock (I think) that gives him the extra push to find his gold strike. And does he ever. Cut to decades later, and he's fabulously wealthy, with a giant estate named Eureka. His grown daughter (Theresa Russell) has married a European playboy (Rutger Hauer) that dad doesn't approve of. There's also a shady consortium of some sort, headed by Jewish tough guy Joe Pesci (!) and represented by Italian lawyer Mickey Rourke (!), that needs Hackman's financial backing for some new endeavor.

The cinematography is beautiful, as it usually is in Roeg's films, but the plot is a mess of ham-handed symbolism and uninspired dramatics. The terrific cast, which also includes Ed Lauter, Joe Spinell and Corin Redgrave, is good, with Hackman the stand-out, as usual. Rourke looks scared and uncomfortable, which fits with his character, but he comes across more like he's fully aware of how wrong he is in the role. Russell and Hauer are both beautiful, and they both spend much of the film in various states of undress. There's also one of the most brutal, protracted murder scenes I've seen in a film in a long time. It's starts off shocking, but becomes rather ludicrous the longer it's dragged out. I can't really recommend this film to anyone except Hackman fans or fans of bizarre obscurities.

I too first saw this in London when it came out May 1983, at the Screen on the Hill. It was my O-level year, and I was a skinny, awkward 15-year-old, desperately trying to get into my first 18-rated film. It worked. But was it worth it? The film has an extraordinary opening section, as Gene Hackman finds the gold under the snow-encrusted earth, culminating in a spectacular, slow-motion explosion of rock and snow. Set to extracts of Wagner's DAS RHEINGOLD, it's unforgettable, thrilling cinema, and had my jaw dropping into my cappuccino. We also have the sight of a dying, half-frozen man blowing his brains out again and again, bringing to mind the disjointed, hallucinatory quality one recognises from the director of THE MAN WHO FELL TO EARTH and DON'T LOOK NOW. Stunning, disturbing stuff.

Unfortunately the momentum quickly slackens as we cut forwards in time to a rather dull, plodding melodrama about a Kane-like man who in his anguish says, "Once I had it all...now I only have everything." (Coming after the prologue, this also applies to the film itself.) There's some nasty scenes involving voodoo and Rutger Hauer doing something rather strange with a python, some gut-wrenching violence involving a blow-torch and the contents of a pillow, and a soap-opera court-room finale that feels as if it's wandered in from an entirely different film altogether. There are rumours of a different film lurking in this exuberant mess: one of the film's stars has hinted that it was not Roeg's final version that we saw. But I couldn't call this a success. Roeg fans should check it out as an oddity, but be warned: after the brilliant beginning, it's downhill all the way.