I'm a fan of Huge Haas's films but this one was rather awkward and stilted, especially in the first half. It has a "lazy" feel to it as Haas didn't want to find the dramaturgical equivalent of his dark themes, including a sexual subtext that is never successfully realized.
Obviously one level of the sexual theme is quite explicit. But the suggestion of sexual impotence and misogyny and how that relates to the protagonist's interest in gold is never dramaturgically staged.
Especially awkward are the voice-overs, which suggests that Haas didn't know how to cinematically convey his ides except by stating them outright.
To be fair with only 3 main characters in the film, and, excluding the Haas character, only two, and with the other two isolated from each other, it's difficult to dramatically stage the themes in the film.
But Haas in my view was a cinematic genius, though he relies mainly on establishing shots for many scenes. Yet they are effective for what he wants to convey.
He himself was a superb actor and by far the best thing in the film. I've never been a fan of Cleo Moore though .Agar, who bore a striking resemblance to Jeffrey Hunter, acquitted himself fairly well.
Cinematically there is a remarkable scene where Moore and Agar are seated at a table when both their heads move into darkness. But mainly Haas relies on establishing shots that work quite well in the film.
For those who wish to explore Haas's career further, this is not the film to start with, for Haas made some very powerful films exploring the darker side of sex.
Obviously one level of the sexual theme is quite explicit. But the suggestion of sexual impotence and misogyny and how that relates to the protagonist's interest in gold is never dramaturgically staged.
Especially awkward are the voice-overs, which suggests that Haas didn't know how to cinematically convey his ides except by stating them outright.
To be fair with only 3 main characters in the film, and, excluding the Haas character, only two, and with the other two isolated from each other, it's difficult to dramatically stage the themes in the film.
But Haas in my view was a cinematic genius, though he relies mainly on establishing shots for many scenes. Yet they are effective for what he wants to convey.
He himself was a superb actor and by far the best thing in the film. I've never been a fan of Cleo Moore though .Agar, who bore a striking resemblance to Jeffrey Hunter, acquitted himself fairly well.
Cinematically there is a remarkable scene where Moore and Agar are seated at a table when both their heads move into darkness. But mainly Haas relies on establishing shots that work quite well in the film.
For those who wish to explore Haas's career further, this is not the film to start with, for Haas made some very powerful films exploring the darker side of sex.