That's the opening line in this bizarre artistic film that after a beautiful credit sequence on the Pacific Ocean followed by a shot of the Bay Bridge as it heads towards San Francisco. The haunting song "Suzanne" is heard as we see a woman walking along the water then a town car crossing the bridge, preparing Jared Martin ("Dallas") for financial meetings regarding his movie script. We are then subject to pretentious conversations about what art is ("anything that is uniquely ours", Martin explains) and a series of strange photographic effects which concentrated on the uniquely beautiful Sondra Locke in the title role.
The idea of Jesus Christ actually being a woman is an interesting one (just as the idea of either the anti-Christ or false prophet being a female is, an idea that occurred to me after reading the "Left Behind" series), and perhaps one day someone will write a story surrounding either possibility, but hopefully it will be done without the pretentiousness or artistic overload of this film. Some of the location footage is gorgeous, particularly the old Victorian house in the northern California countryside. But outside of Locke, a good majority of the characters are hideously unlike able, particular an aging columnist turned media mogul who angrily spouts philosophies about the decay of society.
The film seems dated even by 1974 standards, with a method that seems to be part of the psychedelic 60's, not the more troubled mid 70's. It is the type of film that would have appealed to the flower children of the late 60's and very few others. Even the gentle scenes make no sense, and the film fluctuates moods extremely quickly from the start. It is one of those forgotten independent films that ended up on cheaply mass produced $1.00 DVD labels, and it sat dusty on my shelf for years. Unintentionally laughable, it's still a challenge to make through, and if there is a hidden meaning somewhere in the film, it must have escaped on the cutting room floor.
The idea of Jesus Christ actually being a woman is an interesting one (just as the idea of either the anti-Christ or false prophet being a female is, an idea that occurred to me after reading the "Left Behind" series), and perhaps one day someone will write a story surrounding either possibility, but hopefully it will be done without the pretentiousness or artistic overload of this film. Some of the location footage is gorgeous, particularly the old Victorian house in the northern California countryside. But outside of Locke, a good majority of the characters are hideously unlike able, particular an aging columnist turned media mogul who angrily spouts philosophies about the decay of society.
The film seems dated even by 1974 standards, with a method that seems to be part of the psychedelic 60's, not the more troubled mid 70's. It is the type of film that would have appealed to the flower children of the late 60's and very few others. Even the gentle scenes make no sense, and the film fluctuates moods extremely quickly from the start. It is one of those forgotten independent films that ended up on cheaply mass produced $1.00 DVD labels, and it sat dusty on my shelf for years. Unintentionally laughable, it's still a challenge to make through, and if there is a hidden meaning somewhere in the film, it must have escaped on the cutting room floor.