Jumping anxiously back and forth through time, Roeg’s piercing study of amour fou Vienna-style relates the stormy affair of Theresa Russell and shrink Art Garfunkel, with stern-faced policeman Harvey Keitel left to sift through the tragic results. “A sick film made by sick people for sick people” per its own British distributor and possibly Roeg’s masterpiece.
Jeremy Thomas: Nic Roeg was my master in terms of his creativity, and I begged to work with him when I started producing. He finally said to me, “If you can buy the rights to the this script I want to do,” which were owned by the great Italian producer Carlo Ponti, “I’ll do it.” I went to Rome, and acquired the rights from this legend with money I didn’t have, but the stars aligned, and the film was made in the city of “The Third Man”, Vienna, and in Marrakech, with communications in Morocco only by Telex at that time. Another world. I’ve never worked on a film before or since that had such an emotional life for all those involved, and the secret society who worked on the film all had a very intense experience making this mosaic about what can go on between people. A lasting favourite.