Previous commentators have remarked upon the similarity of the framing story of this film (that reunites the author and star of 'I Claudius') to 'The Cabinet of Dr. Caligari'; but no one yet seems to have noticed the resemblance to Pasolini's 'Teorema', in which Terence Stamp rocks the boat of a bourgeois household with a similar mystical droit du seigneur to that exercised by Alan Bates over a youthful John Hurt's luscious wife Susannah York (who at one point has a remarkably feral nude scene on all fours), despite his unkempt appearance and army greatcoat that recall Davies from 'The Caretaker' more than Bates' earlier saturnine romantic leads.
Most reviewers seem also to be taking this tall tale of bucolic rumpy pumpy with more of a straight face than it's actual makers may have been. But it clearly needs to be seen (and listened to) more than once.
Most reviewers seem also to be taking this tall tale of bucolic rumpy pumpy with more of a straight face than it's actual makers may have been. But it clearly needs to be seen (and listened to) more than once.