O Toque da Medusa

This is the sort of movie that could only be British made.....with its cavalcade of great character actors, slightly dodgy special effects and bravura it's well worth watching. Richard Burton has lots of fun as a man cursed with the power 'To create catastrophe 'and Lee Remick is the psychiatrist who has to convince him he's got a fertile imagination and that he should relax a little.

After all how many horror films start with the main character getting his head bashed in, goes from there to the aftermath of a plane crash in central London, segues neatly through burning schools, failing space missions, goes back to the events leading upto the plane crash, quickly darts over to a cathedral collapsing and then builds to a crescendo where........nah, that'd ruin it for you. Watch it , there's so much going on in this film it's like watching one of those Amicus compilation movies, with several stories within the main plot. It'll never win any Oscars or credits from film luvvies but it is entertaining, it has a great soundtrack, all the cast give good performances and Lee Remick looks scared as only she could!

'The Medusa Touch' fits as one of those films that certainly deserves to be called a masterpiece that became a well kept secret. If you are a fan of the genre and haven't seen it, what a rare find it is! Contributors to threads of a remake of this film are filled with screams against that idea. And deservedly so. Any attempt to remake this classic would be a travesty.

Richard Burton's excellent performance, and surly the role fits Burton's acting style like a well tailored glove. Casting him as an intelligent and well versed author, whose spoken (and written) dialog is scripted to delve deep into a profound command of the English language, is right up Burton's alley. I see much written here about Burton's outstanding performance and they are certainly correct.

It almost seems an oversight however, that the performance given by Lino Ventura (Inspector Brunel) is as fine a work of acting as can be. Officially a 'supporting actor' in the film, one could hardly tell. Cast as a French Exchange Detective who has a suspicious, slightly non-trusting relationship with his English Scotland Yard counterparts, Ventura turns in a nearly flawless role, and makes the idea work exquisitely.

Often while deep in puzzled thought and shock, mere facial expressions from Inspector Brunel are perfect additions to Ventura's role. To many thread do not topic Lino Ventura's excellent acting in this outstanding classic gem of a thriller. Perhaps due to many fans in the English speaking world never having heard of Lino Ventura, and figuring he was a 'small-fame' actor. Nothing could be further from the truth. Ventura was Italian citizenship and birth, while living the majority of his life in France.

Ventura was a hugely acclaimed and decorated actor in France, who played some iconic roles there. Casting Lino Ventura in this film was no stretch, as his timeless performance attests. The filmmakers were fortunate to land him. In many ways, Ventura's performance helped mold this movie into the hidden classic 'The Medusa Touch' will forever be.

The manner in which the film was chronographed was somewhat unique. In real time the main character, Morlar, is comatized by severe head trauma. In fact the movie opens with his attempted murder. The unfolding of events in the ensuing investigation are presented with smooth transitions from flashback to present in order to create a sense of fatalistic inevitability. The director takes a very difficult path to achieve this but I think he pulled it off very effectively. Look for little tricks to smooth out the staccato chronological transitions. Small similarities between outgoing and incoming scenes create a more seamless effect.Also, the sounds of a former scene would linger for a couple of seconds after the transition, further uniting past & present to emphasize the inevitable hopelessness of the inspectors situation. It also serves to demonstrate Morlar's indomitable, fatalistic will.

All the characters are well (and cleverly)cast, particularly Richard Burton as Morlar. VonGreenway's book comments on the intensity of Morlar's character and his riveting gaze. Burton was obviously intimately familiar with the text as his rendition of Morlar is, to say the least, riveting.

The apocryphal elements added by the director, the cataclysmic disasters vastly improve the story's big-screen appeal, even if they were a bit of a departure from the text. The director simplifies the text by only indirectly referring to Morlar's political agenda. To follow the text in this would be setting up an entirely different story and would distract from the immediacy of the peril Morlar represents for the inspector and the psychiatrist.

The "tongue in cheek" manner in which these two meet serves to show a comprehensive understanding of the text, it gives clear notice (to those familiar with the book) the text cannot realistically be followed in every way. "I'm sorry I was expecting a man." the inspector explains his reaction to her. "That's alright, I was expecting an English Inspector." She responds. This, of course, was a reference to the characters as they appeared in the book.

This is a well directed film, making sense of a difficult text in an acceptable time frame. Richard Burton was an excellent choice as Morlar, he has a dominating presence that lends well to the character. These things along with an excellent rendition of a sensational, compelling story make the Medusa Touch one of the best suspense films ever.

Don't you just hate it when you think of a review title only to find that somebody has beaten you to it!!?? So "I have a gift for disaster" was to be my first choice. Anyway the late, great Richard Burton is sat at home watching the TV when a visitor calls by and bashes him over the head. The police are called for an apparent murder but turns out that he's not dead. Taken to hospital he remains in a comatose state apart from his brain which is driving the attached monitor nuts! Burton plays a writer with telekinetic powers, he discovers these when a boy and uses them to kill his nanny, then his parents. Much of the film has him telling his life story in a series of flash backs, I liked this part of the plot a lot. As a middle aged man he has now set his sights on the mass destruction of innocents. Can he be stopped? These type of movies were popular around this time, titles such as Carrie, Patrick, Psychic Killer and The Fury spring to mind, even The Omen, and The Medusa Touch is a good addition. I can remember watching this on TV at least twice when I was a kid and several decades later I came across a nice print being screened on a British TV channel that specialises in older movies. It was great to revisit it. Burton was without question one of the finest actors to come out of the UK and I really enjoyed his performance here, but I thought the rest of the cast that includes many familiar faces to be good also. The movie does build to a gripping finale, this film is horror, thriller and disaster all rolled into one.

Any modern-day remake of Jack Gold's The Medusa Touch would probably skew much younger in its casting and energy-level, its plot fleshed out by race-against-time set-pieces. If Gold's version works significantly better than seems likely, it's largely because of its world-weariness and sense of crusty experience, allowing its melodramatic contrivances to seem like expressions of shared frustration and common anticipation of doom. Richard Burton is among the stiffest and intemperate of leading men, so it works pretty well to cast him as a man driven by those very qualities, allowed several vituperative rants about societal hypocrisy and the general mediocrity of people individually and collectively: the premise is that he has the capacity to destroy at will, from individuals who cross him, to planes that he pulls from the sky for the hell of it (the retrospective echo of 9/11 is impossible to shut out), or even beyond that, to tamper with the workings of manned space probes. Lino Ventura (his presence on the British police force amusingly attributed to an exchange program with the French) comes in to investigate after Burton's Morlar is attacked in his home and left for dead - the film dramatizes the fruits of his investigation in flashback, interspersed with the growing anxiety as Morlar clings to life against all odds, his malicious capacities and intents possibly intact. The extensive use of other establishment actors in small parts, the alertness to time and place, and the breadth of Morlar's fury (encompassing the family, the education system, the law, the church, etc.) gives the film an unlikely symbolic force, allowing the character to embody whatever undiagnosed or unaddressed ills are slowly poisoning us. At the risk of auteur-seeking excess, it's thus tempting to see the film as a companion piece to Gold's sensational The Reckoning, which dramatizes a very different form of rage-filled triumph over the English establishment.