The Second Coming of Suzanne

These quotes are from The Good, The Bad & The Very Ugly; A Hollywood Journey, by Sondra Locke (1997). "The script of his (Barry's) upcoming film had been inspired by Leonard Cohen's haunting song "Suzanne" and was the story of three men- an artist and a director and a newsman- who all love Suzanne and are all changed in some way by her innate goodness and purity. The screenplay was quirky and dreamlike..." (123).

Locke was brave to take part in this abstract vision, and to risk possible injury in the shots captured from a helicopter. She shared her beautiful physical form with the world in two shots with Paul Sand, and these are very special now considering what Locke weathered later on in her personal life.

Instead of simply complaining, do a little research now and then.

Woefully 'ambitious' low-budget sludge concerns a filmmaker and his hippie troupe involved in the production of a new-fangled religious saga, with a woman cast as Christ. Independently-financed drama, a would-be dream-like parable (apparently inspired by Leonard Cohen's song "Suzanne"), is so meager in budget--and so sloppy in execution--that the results are nearly unintelligible. After a promising start in films, Sondra Locke lost her way as an actress before Clint Eastwood rescued her career; this is the worst movie she ever appeared in (ditto Richard Dreyfuss, looking embarrassed in the small role of a production associate). Writer-director Michael Barry openly apes Bergman and Antonioni, but he either needed more finance to expand on his (ahem) poetic leanings to bring this picture off or he simply had to be told "No!" The finale, wrong-headed and ridiculously bizarre, strains for "meaning", while the threadbare budget hampers any chance the actors have of sustaining interest. NO STARS from ****

Mindless dribble about the second coming of Christ in the form of a hippie and albino looking Sandra Locke. You have no idea what's happening on the screen with the irritating theme song "Suzanne" being played over and over throughout the movie until when "The Second Coming of Suzanne" is over you already know it by hard no matter how hard you try to forget the whole thing.

This off-the-wall armature movie maker Logan,Jared Martin, is out to make the movie of the century but is so rude and obnoxious that none in the banking world is willing to finance his project. Planning to go on his own Logan then spots this couple at a seaside café and is fascinated with the young woman Suzanne, Sandra Locke, who reminds him of someone he knew in another life: Jesus Christ.

With Logan's assistant and all around gofer Clavius, Richard Dreyfuss,somehow getting a $740,000.00 loan from the bank to finance Logan's masterpiece he starts to work on Suzanne by flattering her about her talent as an actress in order to get her interested to be in his film. This leads to Suzanne not only leaving her boyfriend artist Simon, Paul Sand, but later Simon being so depressed and feeling all alone takes a gun to his mouth and blows his brains out.

The movie also has two somewhat unrelated sub-plots in it that has to do with a young autistic girl Dorothy, Kari Avalos, who's cured of her autism by Suzanne after everyone else, at the psychiatric hospital that she was committed to,failed. It's not really known what exactly Suzanne was doing at the hospital but she seemed to be some kind of orderly or volunteer there; was this supposed to show us in the audience that she, like Jesus, could miraculously heal the sick?

There's also this newspaper columnist and big time businessman tycoon Jackson Sinclair, Gene Barry, who seems to be either going through a very difficult mid-life crisis or has seen a biblical-like vision that changed his life forever. Sinclair had been searching for the meaning of life as well as what it's all about all through the movie and wanted to know why there's all this suffering in the world, like this movie that he's in, and seemed to have found the answer when he first laid his eyes on Suzanne. Sinclair also got some sense knocked into his head when his private chauffeur David, Mark Rasmusser, who's gotten sick and tired of his weird and crazy hallucinations almost running him off a cliff in a kamikaze like drive along the Pacific Coast.

The movie "The Second Coming of Suzanne" goes on with a number of unrelated sequences, probably to fill or pad in some time by it's director and film editor, and then goes to it's final scene in a Christ-like crucification on a hill as Logan has all the cameras rolling. It turns out that the crazed Logan got so carried away with his masterpiece as he tried to replicate, on the helpless and tied up Suzanne, the actual crucification of Jesus Christ some 2,000 years ago.

Hard to sit through and almost impossible to follow "The Second Coming of Suzanne" puts you through the same kind torture that Suzanne is put through by Logan and the makers of the film. The movie tries to be arty but that's just an excuse to cover up it's brainless and non-existent storyline and even worse the terrible and amateurish acting by everyone in it.

I didn't even want to watch this movie after reading Maltin's review and 1 1/2 star rating. I watched it anyway on the advice of my son and found it much better than I expected. I would give it 2 1/2 stars out of a 4 star system. You have to watch the movie more than once to understand it all. If you don't know much about religion, you will miss a lot. I graduated from high school the year the movie was made, so maybe I can relate to it better. Yes, there is some pretension in the movie and it's weird to some extent, but that was the 70s so what do you expect. I can see why people might not like the movie; however, I cannot understand people saying it is boring. The movie is anything but boring. You will either hate it or love it. If you find it boring, you are probably brain dead.

One of those post-psychedelic burnout non-movies which emerged from the avant-garde independent cinema fringe in the early 70s. The hazy, Gordian narrative concerns three men obsessing over a dove-like and rather pasty-looking Sondra Locke, who has been cast as a female Christ figure for an indie film production. Chockablock with specious arty imagery and pseudo-spirituality, the most troubling thing about this movie is its smug air of self-importance. Truth is, this film is an oblique, audience-divorcing pipe-dream which struts embarrassingly through its duration with impudently splayed tailfeathers. Credit due, it does exhibit some bold editing technique and camerawork, and sets itself afloat with a lovely folk ballad by Leonard Cohen.

Honestly, I have never seen such a wide load of unharnessed grandiosity in all my life. I think it's safe to assume that median viewers will find themselves picking little fuzzballs off their sweaters withing fifteen minutes.

3/10