Most Helpful Customer Reviews
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24 of 26 people found the following review helpful:
4.0 out of 5 stars
One of Brando's Finer Roles, June 2, 2004
Adapted from the novel of the same name by the Georgian writer Carson McCullers and directed by the great John Huston, REFLECTIONS IN A GOLDEN EYE stars Marlon Brando, an army officer on a military post somewhere in the South, and Elizabeth Taylor as his bored wife. There is a lot going on here. Brando plays a latent homosexual who is being cuckolded right under his nose by another officer Brian Keith who is married to a fragile mental case, Julie Harris. Ms. Harris, who has just cut off her nipples with scissors when the movie begins, is cared by by an effeminate Asian houseboy. Add to this mixture a young soldier (Robert Forster) who has a propensity for riding horses bareback and with a bare backside.I have seen this movie three or four times now and can never decide if it's me or the movie; but I never get all the parts fitted together. This film certainly is worth watching and has an erotic mystery about it. Elizabeth Taylor repeats a part she had done before of the beautiful Southern woman and does a credible job with her Southern accent. But by far the best thing about this movie is Marlon Brando. He of courses acts in every frame and is perfect as the army officer about ready to go to pot who struggles with his forbidden desires. I do not remember what kind of reviews this movie received in 1967, but Brando gives one of his best performances here. The critics should have so stated.
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13 of 14 people found the following review helpful:
5.0 out of 5 stars
Bizzare, Grotesque, Disturbing...And Yet Strangely Brilliant, August 23, 2005
Reflections in a Golden Eye is a film based on the Carson McCullers novel of the same name. It surrounds the lives of Major Penderton (Brando) a repressed homosexual married to an unsympathetic, emasculating woman-Lenora (Liz Taylor), who is having an affair with Lt. Langdon whose wife Alision, has descended into self-mutilation-cutting off her nipples with garden shears-unable to come to terms with the loss of her child. As the movie begins the audience is greeted with an eerie musical score and is introduced to Private Williams a loner who seems to have a predilection for horses-among other things.
Major Penderton is aware of the affair between his wife and Lt. Langdon but is unconcerned. His wife Lenora taunts him constantly, making fun of his viriliy-or lack thereof, and even calls him "prissy" one night after he tells her she "looks like a slattern" (a slob) and that she disgusts him. In response, she disrobes and silently taunts him. After which he suddenly breaks down and threatens her. At this, she inquires if he'd ever been thrashed by a naked woman-knowing that she is fully capable of causing him bodily harm, his body grows limp in defeat.
On one occasion Major Penderton joins his wife and Lt. Langdon on a horseback ride in the woods where they encounter Private Williams riding horseback nude. Lenora and Langdon find it amusing and impressive, while Major Penderton is both appalled and fascinated. Throughout, we see Major Penderton try to prove his manhood by barking out orders to subordinates, depriving Capt. Weincheck, a man who enjoys listening to classical music and playing the violin (something which is vaguely interpreted as homosexual) of a good evaluation on his efficiency report, and attempting to ride his wife's horse Firebird whom she describes as a "stallion" (another of his wife's taunts at his inadequacy as a man). After a feeble attempt at riding the horse, he beats the horse in anger and frustration-the look on Brando's face in this moment causes one to pity not only the horse but Major Penderton also-he becomes hysterical-it is as if he is laughing and crying at the same time. Of course his wife finds out about the incident and proceeds to beat Penderton about the face with her whip, in front of their guests-and all the while he stands-almost like a statue accepting the beating.
Eventually, Penderton becomes obsessed with Private Williams who seems to enjoy not only nude horseback riding but nude sunbathing in the woods and nude nature walks as well. Over time, Penderton grows in his obsession of Private Williams- stalking him, picking up a candy wrapper he has thrown on the ground. Seemingly, the Private is aware of Penderton's fascination and at times seems to play along.
In the finale, Penderton peers out of his window and finds Private Williams lurking around his home-he believes the Private is coming to see him-not knowing that the Private has been breaking into his home each night carrying out his strange fetishes with Penderton's wife. Probably one of the best scenes in the movie is when Brando improvises-primping himself by combing down his hair to prepare for what he perceives is the Private's visit. Tragic events will soon follow.
At the same time all these things are occuring, Lt. Langdon's wife is being cared for (mothered) and entertained by their VERY flamboyant Filipino house boy Anacleto, portrayed by Zorro David, a beautician and painter making his first and only screen appearance. On one occasion he paints a peacock with a golden eye, and explains that the peacock's golden eye sees clearly those things that are tiny and grotesque-hence the title of the book and film.
There is so many things going on in this movie that it could easily become the subject of a doctoral thesis. Brando gives a very brave and daring performance. It is the MOST underrated performance of his career and is truly one of his finest. His performance in this film deserves to be counted amongst his best. Liz Taylor is great playing her Who's Afraid of Virginia Wolf characterization. Both Brain Keith and Juile Harris provide great support. Robert Forster makes an unusual screen debut as Private Williams. And Zorro David, the flamboyant Filipino house boy is indeed comical and extremely over the top-making a film with such a dark subject matter feel almost as if it were a dark comedy. At times I felt he needed to have been reeled in by director John Huston because he was so over the top. When this film debuted it sharply divided audiences and critics alike. And it's no wonder why-it is both bizarre and grotesque but also brilliant. Oftentimes I wondered if I were watching a thriller/horror film instead of a drama-because there were so many scenes in this film that were simply chilling.
Sadly, I don't know if this film will ever overcome the stigma attached to it. It is indeed a very strange film and not for everyone, but it is a brilliant film illustrating how perversion in society can happen in any setting-even in the most conformist and pristine and amongst the most unlikely of people.
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14 of 16 people found the following review helpful:
5.0 out of 5 stars
Southern Gothic Classic With Brando And Mrs. Burton, June 21, 2004
John Huston's "Reflections In A Golden Eye" is one of his lesser-known works. This overlooked film is a riveting piece of Cinema. He brought together the unlikely combination of Carson McCuller's southern gothic novel along with the talents of Elizabeth Taylor, Marlon Brando, and Julie Harris to create a fascinating study of deceit, lies, and murder.
Julie Harris brings to the project her unique blend of neurosis and pathos. She inhabits the role as Allison the mentally fragile wife of Brian Keith fully, coloring her role with the nuance of madness.
Keith gives his best performance as the philandering husband of Harris and the bumbling lover of Taylor. It is his finest hour on the screen. His pathetic recollection of his lost wife is acted with subtlety and feeling and proves his metal as an actor.
Marlon Brando as Major Penderton rises to his role as a closeted homosexual. This is one of his masterworks as an actor and quite possibly one of his best in the 1960's. He is puffy, middle aged and completely without vanity. To watch him struggle to lift a barbell with one arm is delightfully disturbing.
As Leonora Penderton Elizabeth Taylor is at the top of her game, dumb, sexy and funny. It is one of her most deeply complex performances from a career full of great work. There is so much humor mixed into her character and she goes all the way to reveal the each nuance and layer of Leonora.
The music by Toshiro Mayuzumi is hauntingly beautiful and atmospheric. The opening theme carries a muted smoky jazz sound that sets the scene perfectly. The only false note in the film are Taylor's costumes by Dorothy Jenkins. Set in the late 1940's Miss Taylor is dressed in the current fashions of the late 1960's and she looks beautiful but out of time with the era along with her hair by Alexandre of Pairs.
Huston directs with calm assuredness, as he leads is excellent cast to the tragic inevitable end to the film. *****
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