Setembro Negro

I'm mainly writing this to counteract all the Pretentious Haters who apparently expect every movie they see to be a masterpiece. If you think this is a terrible movie than obviously you have never actually seen one, they get much much worse. That being said this is an enjoyable movie and is definitely not evidence of Otto Preminger "Falling Off". Yes if you are hoping to see a movie on par with Munich or Day of the Jackal you may be disappointed but that's not what this movie was going for so just sit back, relax and enjoy a classic 70's film. Anytime you have too many preconceptions of what a film should be, you are setting yourself up for disappointment. I will admit that I am a bit biased towards 70's movies in general, it is in my opinion the greatest era of film stocked with hidden gems.

I had heard of this film for years, its reputation of being one of Otto Preminger's worst preceding it in every film reference book I'd encountered. Well, it certainly doesn't disappoint. "Rosebud" looks like a novice director's first effort, not the work of the man who gave us "Carmen Jones" and "The Man With the Golden Arm."

"Rosebud" unfolds awkwardly detailing the kidnapping of 5 millionaire's daughters by a Palestinian terrorist group and the attempts by the parents (among them former New York mayor John Lindsay in his film debut/swansong) to retrieve them without starting a holy war.

As ransom demands are made and we are forced to endure endless footage devoted to kidnap victims being trotted to and fro with bags on their heads, wizened secret agent Peter O'Toole is called in to save the day (Preminger seems to be engaging in a little joke by having the very chalky actor with the legendary booze problem drink milk in one of many pointless scenes).

Much talking and little acting (or action) ensues as we reach a finale that must have appeared idiotic and reactionary in 1975 but seems practically prescient in post-9/11 America.

"Rosebud" is almost alarming in its awfulness. The cluttered international cast is full of professional actors who come off as amateurs, and obvious amateurs coming off like…amateurs (If I'm not mistaken that's Preminger's son, Erik, by Gypsy Rose Lee in the role as a computer wiz. It is Erikwho is responsible for the leaden screenplay). The many clashing accents and laughable performances give the impression that many learned their lines phonetically.

Though the plot is not too bad (just hard to follow motives and motivations) and suffers from a needlessly slow and artless execution, it's the acting that really torpedoes "Rosebud." O'Toole looks like he's about to keel over any minute; as the villain, an Englishman converted to Muslim, Richard Attenborough unthreateningly lisps his way through his role; and as the kidnap victims, Preminger couldn't have assembled a more annoying and untalented group of girls. Were we intentionally supposed to wish for their execution?

Their scenes in their subterranean prison are laugh riots of high school level acting and bad blocking. Rather astounding to see a very young Isabelle Huppert embarrass herself as one of the pluckier debs…though she deserves an Oscar for the stomach churning scene in which she has to seduce and kiss the cadaverous bare chest of O'Toole. "Sex and the City"'s Kim Catrall makes her film debut here and makes clear why it took her over two decades to become a star.

For anyone out there who wishes to actually see this film- if just for the bragging rights to bearing witness to Otto Preminger's decline- here are a few things to look for to add to the fun:

1) The 70's clothes and "Brady Bunch" curly hairdo of the political activist character. 2) In the cat-fight between the kidnap victims; slaps are delivered and heard but never received. 3) The guys in the tennis togs (short shorts) air dropped onto the "Rosebud" 4) John Lindsay…nuff said. 5) The militant boy scouts with the knee-socks and bare chests. 6) Kim Catrall's a capella rendering of Nilsson's "I guess the Lord must be in New York City. 7) O'Toole's battle with the terrorist with the killer corkscrew.

...but it's a total disaster - unbelievably bad, horrible, it's one of those thrillers where you keep thinking: The plot HAS to thicken now, there MUST be some action coming up etc. - But then you realize: more than one hour has passed, and nothing seems to fit. The timing is painfully slow, there are several rather silly and absurdly boring scenes instead of hardly any good action or suspense, and - alas - it's all in vain because then you realize there is no time left for the movie to get its act together.

"Rosebud" is a complete mess, albeit with an impressive cast. But what should one really think of skin-and-bones Peter O'Toole in the lead as a secret agent (whose charms are as limited as could be, given his wooden appearance), what should one think of Richard Attenborough in an absolutely grotesque rôle? The anamorphic cinematography and Laurent Petitgirard's score are quite fine, but that's about it.

This movie leaves the impression of some talent-free director trying to imitate a decent spy thriller without any acceptable script at his hands (I didn't happen to read the novel, but it must have been better, considering its popularity in the 70s). But the bitter truth is that renowned director Otto Preminger, one of the really great Hollywood filmmakers, the maker of "Laura", "Anatomy of a Murder", "Exodus", was responsible for this bummer. How on earth could this happen??

I think this movie gets lot of hate because it was marketed wrong. This is not an "action movie" as they my suggest, but rather a drama with dark comedic elements. First-off I was surprised to see a film by the great Otto Preminger panned like hell by critics and those on IMDb.Anyway,I think this is because people went in expecting a flashy action movie, with Peter O'Tool round-house kicking terrorist.

Moreover, this movie may seem like a pretty lighthearted movie at first(which is the genius of it), but you would find serious socio- political subtexts communicated through dialog and direct/ hidden symbolism (which employ the visual aspect of film).

If there is another movie I could compare this movie to,that would be "The French Connection". However, in my opinion, Preminger's movie if far better.

Topical (for 1975) adaptation of a book by Paul Bonnecarrere and Joan Hemingway concerning five nubile young women from wealthy families kidnapped off their yacht Rosebud by an underground Palestine Liberation organization nicknamed Black September; the kidnappers, centered in Corsica, want retribution for the slaughter of their women and children caused by a Jewish millionaire involved in the illegal smuggling of arms. Peter O'Toole is barely present as a British correspondent (in a dopey hat) adept at mediating sanctions between terrorists and their targets, while the kidnap victims (in and out of their clothes) do the usual griping about their primitive holding conditions and the awful food. This type of globe-trotting espionage drama needed a gripping Bond-ian touch (or perhaps that of Pakula or Pollack). Director Otto Preminger is certainly capable of being in that class--and he hasn't lost his acerbic sense of humor--but he fails to sort out these complicated matters satisfactorily (the film has no sweep, and little sense of geographical placement). It's far from terrible however, and some of Preminger's asides are clever; his actors seem at half-mast, the narrative weakens as the picture progresses, but there's a fine music score by Laurent Petitgirard and interesting locales. The rest of the film's style lacks finesse. ** from ****