L'empire du Grec

I suppose, it is one of films very easy to be critic about it. Or it is one of perfect options for the ladies loving soap operas.

In my case, it is one of the films of my childhood who I preserve a good memory. Not for comparation between characters and real people but for beautiful work, noble effort of Jacqueline Bisset and Anthony Quinn to propose fair interpretations of characters , a love story not so unrealistic , a nice paralel with what can be imagined about relation Bouvier - Kennedy - Onassis .

It is just, in profound sense, a beautiful film about mature love , acted with elegance.

A fantastically erotic and slow moving hard r-rated drama about the greek shipping magnate onassis, and his love affair with jackie kennedy after john was murdered. J lee thompson shows this with the same frankness and darkness from his other war movies and thrillers, but i think that's what forms it into something utterly beautiful, with great use of landscapes and the greek landscapes. Anthony quinn is great in the lead, sleazy but you find such a great sympathy to his character, just a man hustling and bustling his way through life, through the brutality and the endless decadence that comes with his money, his son dies and he has to face the consequences, and he feels utter heartbreak but longing for a more simple life. Jacqueline bisset is fantastic as jackie kennedy, ironically having the exact same formal name as her, i do find it funny that jackie kennedy is always portrayed from beautiful actresses, when she wasn't exactly the most beautiful woman in the world, talk about flattery. Bisset finds that fantastic mix between anger and eroticism, she comes under the grasp and trance of this man and his charm with his rugged handsomeness. A movie made for adults, the eroticism, the beauty in the simple nature to life, the horrifying prospect of death on the horizon. The story was written by one of my favorite filmmakers nico mastorakis, and this is exactly what i love about his introspective, erotic eye, great eye for these type of simple stories about adults making love, breaking up, and doing it all over again. Very slow but absolutely moving, and his final dance is incredibly similar to the final dance from another round, a final acceptance of the life he has lived and the life he will live in the future.

I remember the erstwhile BBC reviewer, Barry Norman, opining that Anthony Quinn's portrayal of Theo (Ari?) had 'all the appeal of an armpit'. One or two other reviewers over the years have rather dismissed Quinn as 'overrated'. Be that as it may, I thought the great actor played his part, at times, both sensitively and sympathetically. And, of course, Jackie Bisset remains a good enough reason to watch a movie.

There is a scene in "The Greek Tycoon" that I consider the best scene of the film…

It was Sunset... The sun was disappearing below the horizon... The sea at its ever-changing wave style... The waves—in all its moods, clear and calm, mysterious, awesomely threatening— were beating under the old rocks...

Anthony Quinn (fabulous as always) was standing alone in front of this wonderful view...

The sky was offering the best looking effects of red and yellow lights... In the horizon some pale clouds were escorting the sun to another world... Tomasis was truly flavoring the moment... The beauty of this great view invited him to dance, to slowly move his hands and legs, to feel the fresh air, to hear the sound of music, to smell the salt of the sea...

Tomasis' dance was a farewell to a world he cherished… This beautiful scene makes me meditate about human life: God's 'greatest gift'... Sometimes we forget this precious present...

The photography is accomplished, the acting is quite good, but in virtually every other department The Greek Tycoon is a dreary bore. Taking its inspiration from the real-life love affair of Jackie Kennedy and Aristotle Onassis, the film is a glossy but absolutely empty soap opera of the kind that can be found on TV all day long. Viewers who embrace the whole "celebrity magazine culture" (paparazzi photographs and gossipy stories about the rich and famous) will undoubtedly find much to whet their appetite here. But those who prefer films with a bit more substance and craft and quirkiness will find the 107 minute running time a butt-numbing slog.

American president James Cassidy (James Franciscus) and his beautiful wife Liz (Jacqueline Bisset) are in Greece on official business. A ridiculously wealthy Greek shipping tycoon, Theo Tomasis (Anthony Quinn), catches sight of Liz at a party at his elegant manor. Despite the fact that both of them are married to someone else, there is an immediate attraction between them. Later, at a private party aboard his yacht, Tomasis makes his desires known to Liz. Some while later, President Cassidy is assassinated whilst out strolling on a beach. Liz is shocked and saddened by his death, but it isn't long before she seeks comfort in the arms of her Greek lover Tomasis. Eventually the two of them are married and their love affair becomes a favourite talking point for the world's newspapers, magazines, photographers and wags.

It is somewhat amusing to note the vigour with which the producers of this film denied that it was a dramatisation of the Kennedy-Onassis story. They wanted the film to be seen as an original story, rooted in fiction. But anyone with a brain can see where the movie is drawing its inspiration from. Even Aristotle Onassis himself knew The Greek Tycoon amounted to his love-life getting the Hollywood treatment (if rumours are to be believed, he actually had a hand in approving Anthony Quinn for the Tomasis role!) J. Lee-Thompson isn't really the right sort of director for this type of movie – he's better suited to action fodder like The Guns Of Navarone and Ice Cold In Alex – but he marshals the proceedings with an uninspired, professional adequacy. Quinn is very watchable as Tomasis; Bisset looks lovely as the object of his desires; Franciscus uses his toothy smile and a façade of integrity to make for a believable politician. Their performances are good on the surface, but there's little for the actors to do on any deeper level. Similarly, Tony Richmond's photography gives the film an elegant surface sheen as it moves from one exotic locale to the next, but the merest of scratches proves that there's nothing behind the film's glossy exterior.