Adapted by Kazan from his own novel, this ambitious if little-seen (at least in my neck of the woods) character drama emerges as an absorbing and highly personal adult piece, but one which is also pretty heavy-going and somewhat uneven in quality. Still, the director elicits excellent performances from his entire cast (with the star trio baring more than their souls in front of the cameras); Kirk Douglas is particularly impressive in one of his most interesting roles (certainly at this stage of his career, here playing the son of Richard Boone who, in real-life, is actually a year younger than Douglas!)...though Kazan, in his autobiography, seemed unhappy with having to make do with him over his first choice, Marlon Brando. It's strange that he hadn't thought of Douglas immediately to personify his alter ego on screen, since both had been immigrants and the actor would therefore have an instant connection with the character; actually, I feel that Brando's brooding intensity - as opposed to Douglas' dynamic hysterics - would have worn the film down even more than it already is...and, in any case, Marlon got to do his "mid-life crisis act" three years later in LAST TANGO IN Paris (1972)!
What is essentially an old-fashioned melodrama, particularly given the lack of young actors involved, it's brought up-to-date - and, one might say, to life - by a variety of cinematic tricks (which sometimes exasperate the spectator, as if Kazan had gone through one too many viewings of Richard Lester's strikingly similar PETULIA [1968]!): multiple flashbacks and fantasy sequences (Douglas has visions of mistress Faye Dunaway everywhere, and even has her morphing into wife Deborah Kerr during a love scene); we also get visualizations of his interior monologues in which the younger, successful Douglas straightens out his older, bitter self; and, at one point, there's even a fist-fight underscored by cartoon captions a' la the campy 1960s "Batman" TV series!! On the other hand, the film's production values - as is to be expected from a glossy studio product of its time - are tops.
Leonard Maltin strangely rates this one a BOMB in his "Movie Guide"; true, it may not be top-tier Kazan but it's nowhere near as bad as he seems to think it is. Curiously enough, I followed this viewing with the director's subsequent film, THE VISITORS (1972), also awarded the unenviable "bottom-of-the-barrel" accolade from the genial critic...though, in its case, it's a bit more understandable - as can be perceived from my own comments below!
What is essentially an old-fashioned melodrama, particularly given the lack of young actors involved, it's brought up-to-date - and, one might say, to life - by a variety of cinematic tricks (which sometimes exasperate the spectator, as if Kazan had gone through one too many viewings of Richard Lester's strikingly similar PETULIA [1968]!): multiple flashbacks and fantasy sequences (Douglas has visions of mistress Faye Dunaway everywhere, and even has her morphing into wife Deborah Kerr during a love scene); we also get visualizations of his interior monologues in which the younger, successful Douglas straightens out his older, bitter self; and, at one point, there's even a fist-fight underscored by cartoon captions a' la the campy 1960s "Batman" TV series!! On the other hand, the film's production values - as is to be expected from a glossy studio product of its time - are tops.
Leonard Maltin strangely rates this one a BOMB in his "Movie Guide"; true, it may not be top-tier Kazan but it's nowhere near as bad as he seems to think it is. Curiously enough, I followed this viewing with the director's subsequent film, THE VISITORS (1972), also awarded the unenviable "bottom-of-the-barrel" accolade from the genial critic...though, in its case, it's a bit more understandable - as can be perceived from my own comments below!