303 Bad Timing
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303 Bad Timing
Bad Timing
Amid the decaying elegance of cold-war Vienna, psychoanalyst Dr. Alex Linden (Art Garfunkel) becomes mired in an erotically charged affair with the elusive Milena Flaherty (Theresa Russell). When their all-consuming passion takes a life-threatening turn, Inspector Netusil (Harvey Keitel) is assigned to piece together the sordid details. Acclaimed for its innovative editing, raw performances, and stirring musical score—featuring Tom Waits, the Who, and Billie Holiday—Nicolas Roeg's Bad Timing is a masterful, deeply disturbing foray into the dark world of sexual obsession.
Special Features
• New, restored high-definition digital transfer, supervised and approved by director Nicolas Roeg
• New interview with Roeg and producer Jeremy Thomas
• New interview with Theresa Russell
• Deleted scenes
• Original theatrical trailer
• Gallery of behind-the-scenes production photos and original posters
• Optional English subtitles for the deaf and hard of hearing
• Plus: a 28-page booklet featuring a new essay by film critic Richard Combs and a 1980 interview with Art Garfunkel
Criterionforum.org user rating averages
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Amid the decaying elegance of cold-war Vienna, psychoanalyst Dr. Alex Linden (Art Garfunkel) becomes mired in an erotically charged affair with the elusive Milena Flaherty (Theresa Russell). When their all-consuming passion takes a life-threatening turn, Inspector Netusil (Harvey Keitel) is assigned to piece together the sordid details. Acclaimed for its innovative editing, raw performances, and stirring musical score—featuring Tom Waits, the Who, and Billie Holiday—Nicolas Roeg's Bad Timing is a masterful, deeply disturbing foray into the dark world of sexual obsession.
Special Features
• New, restored high-definition digital transfer, supervised and approved by director Nicolas Roeg
• New interview with Roeg and producer Jeremy Thomas
• New interview with Theresa Russell
• Deleted scenes
• Original theatrical trailer
• Gallery of behind-the-scenes production photos and original posters
• Optional English subtitles for the deaf and hard of hearing
• Plus: a 28-page booklet featuring a new essay by film critic Richard Combs and a 1980 interview with Art Garfunkel
Criterionforum.org user rating averages
Feature currently disabled
Last edited by Martha on Sun Oct 16, 2005 12:36 am, edited 1 time in total.
- Buttery Jeb
- Just in it for the game.
- Joined: Tue Nov 02, 2004 10:55 pm
Did anyone catch this when it played on IFC a few weeks back, as part of their Z Channel retrospective? I'd be interested in seeing if it had a Janus Films' logo at the beginning.
Personally, I thought this was a decent film, hampered by Art Garfunkel's non-existant charisma as an actor. But I haven't seen this in a few years, and will gladly give it another shot when the DVD pops out. Not a definite purchase, but a probable rental.
-BJ
Personally, I thought this was a decent film, hampered by Art Garfunkel's non-existant charisma as an actor. But I haven't seen this in a few years, and will gladly give it another shot when the DVD pops out. Not a definite purchase, but a probable rental.
-BJ
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Nope no Janus logo. Of all things this is an MGM owned film. From what I thought MGM hated letting other companys work on their films for DVD and I guess they have broken this rule now because we have seen Slacker and now this film go into the collection. Really if anyone here hasn't seen this film you really should. It's one of the films that I had never heard of til I watched the Z Channel doc on IFC and then they ran it that weekend.Did anyone catch this when it played on IFC a few weeks back, as part of their Z Channel retrospective? I'd be interested in seeing if it had a Janus Films' logo at the beginning.
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I was pretty sure the rights to Slacker had reverted to Linklater. Seeing as how MGM is now owned by Sony, I can't imagine that they would allow this to pass.THX1378 wrote:Of all things this is an MGM owned film. From what I thought MGM hated letting other companys work on their films for DVD and I guess they have broken this rule now because we have seen Slacker and now this film go into the collection. Really if anyone here hasn't seen this film you really should. It's one of the films that I had never heard of til I watched the Z Channel doc on IFC and then they ran it that weekend.
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The rights could have reverted back to Linklater or MGM just didn't care about the film. I know that my VHS was put out by Orion, and MGM got the rights to all there films but the rights could have just ran out. When I watched Bad Timing on IFC it started off with the MGM logo. On the IMDB it doesn't list MGM as being a distributor or one of the production companies. Funny thing I just looked at the triva page and this is what it saidI was pretty sure the rights to Slacker had reverted to Linklater. Seeing as how MGM is now owned by Sony, I can't imagine that they would allow this to pass.
The film did not find favour with the Rank Organisation, one executive calling it "a sick film made by sick people for sick people". As a result, Rank's logo was removed from all UK release prints
So I must be a sick person cause I rather liked the film a lot.
- Buttery Jeb
- Just in it for the game.
- Joined: Tue Nov 02, 2004 10:55 pm
A lot of Orion catalog titles have begun to revert to the original producers or owners over the last few years, and I bet the Sony/MGM sale has just sped up the process. "Bad Timing" may just be joining some recent or upcoming films to the collection like "Slacker," "Ran" and "Au Revoir Les Enfants."
This raises an interesting question: would the MGM sale give Criterion the opportunity to go back to ABC Films/Disney and re-license the Selznick Hitchcock titles and "Straw Dogs"? But this is a question for another part of the forum.
-BJ
This raises an interesting question: would the MGM sale give Criterion the opportunity to go back to ABC Films/Disney and re-license the Selznick Hitchcock titles and "Straw Dogs"? But this is a question for another part of the forum.
-BJ
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- Lino
- Joined: Wed Nov 03, 2004 6:18 am
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Here's Mondo Digital's review of the UK disc:
http://www.mondo-digital.com/badtiming.html
http://www.mondo-digital.com/badtiming.html
Barely released on video in the UK and completely unavailable on home video in the US (with only occasional TV screenings late at night), Bad Timing (subtitled A Sensual Obsession in American theatres) nevertheless built up a strong cult following thanks to the video grey market. Unfortunately its astonishing scope framing was always subjected to clumsy panning and scanning, though Carlton's much-needed DVD undoes much of the damage with a striking, colorful transfer. Though regrettably non-anamorphic, the disc looks quite nice otherwise and even features optional English subtitles which also identify the dizzying array of pop, classical, and world music selections on the soundtrack (some of which, such as The Who's "Who Are You," could account for this film's home video tribulations). The film's running time has been the subject of speculation for years, with press materials listing it at 124, 122 and 117 minutes depending on the venue. The 117 minute length has been the standard one for years and is represented on this disc, though rumours abound concerning additional graphic footage shot but omitted at the last minute. Considering that this version already contains full frontal nudity and an unforgettable m ontage of Russell's throat operation intercut with her at the heights of passion, one can only wonder what might have landed on the cutting room floor. This is a film certainly worthy of a solid special edition with the participation of everyone involved, but for the time being this is the first watchable edition of Roeg's neglected classic available to home viewers.
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- duane hall
- Joined: Sat Feb 12, 2005 4:18 am
or even further, a Bad timing/Eureka/Insignificance films/albums boxset. and then somehow convince Roeg to make a short film called Halfway to a Threeway.To complicate this release further, maybe Criterion could release this with Jim O'Rourke's album of the same name as a companion cd.
there've been worse cross-promotions...
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- zedz
- Joined: Sun Nov 07, 2004 7:24 pm
I'm surprised that this release has (so far) attracted far less comment than The Man Who Fell to Earth. I happened to buy it for a song the day the news broke about the Criterion release, and it's a fascinating film.
It's a must-see for fans of Roeg, as it takes his fragmentary editing style to its limits (and possibly beyond). On that level, Bad Timing is formally stunning, but it seemed to me on first viewing to be little more than a dazzling stylistic display. Unravelled, the story is a fairly unexciting "erotic thriller," and the fragmentary style does not add any kind of psychological dimension to the proceedings (we're not following the protagonist's agitated stream of consciousness, for example - at least, not consistently).
In fact, had the film been structured more conventionally (say, as a series of flashbacks occasioned by the police investigation) this would probably have been Roeg's drabbest film up to that point (I can't vouch for Full Body Massage, but I can vouch for at least a couple of latter-day train wrecks). I missed the strong, consistently surprising visual sense apparent in all of his 70s films, and the acting is uneven, to put it kindly.
I though Keitel was alarmingly unengaging. Theresa Russell was energetic and impressive, if a little unfocussed at times, but Art Garfunkel's performance was intriguingly odd.
But as an editing tour-de-force, don't miss it, and until Criterion gets around to releasing another colour Ozu, this film should keep those spot-the-red-object-in-every-shot addicts well occupied.
It's a must-see for fans of Roeg, as it takes his fragmentary editing style to its limits (and possibly beyond). On that level, Bad Timing is formally stunning, but it seemed to me on first viewing to be little more than a dazzling stylistic display. Unravelled, the story is a fairly unexciting "erotic thriller," and the fragmentary style does not add any kind of psychological dimension to the proceedings (we're not following the protagonist's agitated stream of consciousness, for example - at least, not consistently).
In fact, had the film been structured more conventionally (say, as a series of flashbacks occasioned by the police investigation) this would probably have been Roeg's drabbest film up to that point (I can't vouch for Full Body Massage, but I can vouch for at least a couple of latter-day train wrecks). I missed the strong, consistently surprising visual sense apparent in all of his 70s films, and the acting is uneven, to put it kindly.
I though Keitel was alarmingly unengaging. Theresa Russell was energetic and impressive, if a little unfocussed at times, but Art Garfunkel's performance was intriguingly odd.
Buttery Jeb may have hit upon the key issue with this performance. It's hard to fault technically - he's generally nuanced and natural, and there are only a couple of scenes where you sense him straining at the leash of his limited technique - but he's just lacking some indefinable presence. Keitel sleepwalking holds your attention more effectively than Garfunkel delivering a decent performance in a much more interesting role. On the other hand, that weird passivity does suit the character, and does make the gulf between his personality and that of his lover's tangible. It also serves to make the climactic scene simultaneously far less credible and far more creepy.Buttery Jeb wrote:Personally, I thought this was a decent film, hampered by Art Garfunkel's non-existant charisma as an actor.
But as an editing tour-de-force, don't miss it, and until Criterion gets around to releasing another colour Ozu, this film should keep those spot-the-red-object-in-every-shot addicts well occupied.
- Lino
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And what a great DVD cover this would make...
BTW, this movie just happened to play on TV the other day and I'm now firmly in belief that this is probably Roeg's masterpiece (at least on a formal and thematic level) and this coming from someone who has watched The Man who fell to Earth more times than I can care to remember.
BTW, this movie just happened to play on TV the other day and I'm now firmly in belief that this is probably Roeg's masterpiece (at least on a formal and thematic level) and this coming from someone who has watched The Man who fell to Earth more times than I can care to remember.
- Lino
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In the DVD cover art thread, I mentioned that this film had baroque moments of narrative editing and Hrossa asked me to explain why I would think so. I will do my best to do just that.
If you've seen any of the previous Roeg movies you'd have surely noticed by now that editing is a big thing for him and also a big part of the overall feeling that his movies have in that they look like carefully constructed puzzles or enigmas that somehow invite you to solve them or put the pieces together.
When I first saw this film, that technique was in full evidence right from the start and as the movie went on, the layers got thicker and thicker though amazingly the plot got simpler and simpler and little by little you began to really grasp what the film was all about. This to me is a masterstroke and I can't imagine another director pulling this off this brilliantly.
Why baroque? I think you'll agree with me when you see it - the editing is made in such a labyrinthine way, transforming a simple thriller/love story into something else entirely. Sometimes it reaches levels of complete and utter confusion (to us, the viewer) to the point where you scratch your head trying to make sense of it. Luckily, it all makes sense in the end.
However, I don't think that this extreme form of editing with the plot constantly jumping back and forward (and I mean constantly!) is turned or used into a gimmick. It's completely part of the story and a good chunck of it is what makes the film interesting in the first place.
Now, with that out of the way, I'd like to ask any of you something else entirely: why is it that Klimt's works and paintings are so profusely used throughout the movie? I know that the story is set in Vienna which is also the place where the famous austrian painter lived for the most of his life but that cannot surely be the only motive. Maybe as this is also a story about a sensual obsession (which incidentally is also the second title of the movie) and Klimt being an artist that has always used the woman and the various expressions of intense love and emotion as themes for his works, that Roeg has seen fit to intermingle those two worlds. Any thoughts?
If you've seen any of the previous Roeg movies you'd have surely noticed by now that editing is a big thing for him and also a big part of the overall feeling that his movies have in that they look like carefully constructed puzzles or enigmas that somehow invite you to solve them or put the pieces together.
When I first saw this film, that technique was in full evidence right from the start and as the movie went on, the layers got thicker and thicker though amazingly the plot got simpler and simpler and little by little you began to really grasp what the film was all about. This to me is a masterstroke and I can't imagine another director pulling this off this brilliantly.
Why baroque? I think you'll agree with me when you see it - the editing is made in such a labyrinthine way, transforming a simple thriller/love story into something else entirely. Sometimes it reaches levels of complete and utter confusion (to us, the viewer) to the point where you scratch your head trying to make sense of it. Luckily, it all makes sense in the end.
However, I don't think that this extreme form of editing with the plot constantly jumping back and forward (and I mean constantly!) is turned or used into a gimmick. It's completely part of the story and a good chunck of it is what makes the film interesting in the first place.
Now, with that out of the way, I'd like to ask any of you something else entirely: why is it that Klimt's works and paintings are so profusely used throughout the movie? I know that the story is set in Vienna which is also the place where the famous austrian painter lived for the most of his life but that cannot surely be the only motive. Maybe as this is also a story about a sensual obsession (which incidentally is also the second title of the movie) and Klimt being an artist that has always used the woman and the various expressions of intense love and emotion as themes for his works, that Roeg has seen fit to intermingle those two worlds. Any thoughts?
- pianocrash
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Now, with that out of the way, I'd like to ask any of you something else entirely: why is it that Klimt's works and paintings are so profusely used throughout the movie? I know that the story is set in Vienna which is also the place where the famous austrian painter lived for the most of his life but that cannot surely be the only motive. Maybe as this is also a story about a sensual obsession (which incidentally is also the second title of the movie) and Klimt being an artist that has always used the woman and the various expressions of intense love and emotion as themes for his works, that Roeg has seen fit to intermingle those two worlds. Any thoughts?
If you've seen any of the previous Roeg movies you'd have surely noticed by now that editing is a big thing for him and also a big part of the overall feeling that his movies have in that they look like carefully constructed puzzles or enigmas that somehow invite you to solve them or put the pieces together.
...the layers got thicker and thicker though amazingly the plot got simpler and simpler and little by little you began to really grasp what the film was all about. This to me is a masterstroke and I can't imagine another director pulling this off this brilliantly.
I think you answered your own question. Just substitute "Klimt" & "Roeg" & you're almost home free. I know it's all subjective & such, but this is the association I always felt with the movie (and Roeg as a director). And I never really was fond of Klimt before Roeg, but one met the other, & so on & so forth, on & on & on & on...
- Lino
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Yes, I realized that as soon as I posted but still I wanted to hear other opinions.pianocrash wrote:I think you answered your own question. Just substitute "Klimt" & "Roeg" & you're almost home free.
And it's funny you mention that you got into Klimt after you saw this film. I'm glad you did that. I've been a long time admirer of his work ever since my early teens and it's always pleasing to see his paintings featured as prominently as in this film - or any other for that matter
- Lino
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First review that I know of:
http://www.mondo-digital.com/badtiming.html
http://www.mondo-digital.com/badtiming.html
The subsequent, far more lavish Criterion edition in the US runs a bit longer at 122 minutes; it's no more explicit (at least in the main feature) so the longer running time can possibly be attributed to the switch in video standards. However, the disc does offer a bounty of deleted material, including a bizarre, oily extension of the party scene where Milena and Alex meet and an additional bed scene with the two leads that offers more Garfunkel exposure than many viewers may prefer. The main feature looks significantly more colorful on the Criterion disc, with more robust black levels and additional detail as well. Here the optional English subtitles replicate all of the song lyrics but don't identify the songs themselves, completely inverse to the British DVD.
Along with the deleted scenes, the supplemental section includes an informative new interview with Roeg and producer Jeremy Thomas, who discuss the film's unorthodox shooting method and the severe demands placed on everyone involved. Much of this is corroborated by Russell, who contributes a separate video interview in which she candidly talks about making the film in a chat that will leave fans beaming. Also included is a production photo gallery augmented with poster art and a booklet containing an essay by film historian Richard Combs and a reprinted Garfunkel interview about the film. Both DVD incarnations include the original trailer, which does what it can to sell an exceptionally difficult but rewarding film.
- jesus the mexican boi
- Joined: Fri Nov 05, 2004 5:09 am
- Location: South of the Capitol of Texas
Hey! Just when life couldn't get any better, here's more of Art Garfunkel's nutsack!Annie Mall wrote:First review:
http://www.mondo-digital.com/badtiming.html
The Criterion edition does offer a bounty of deleted material, including a bizarre, oily extension of the party scene where Milena and Alex meet and an additional bed scene with the two leads that offers more Garfunkel exposure than many viewers may prefer.
- oldsheperd
- Joined: Thu Nov 11, 2004 5:18 pm
- Location: Rio Rancho/Albuquerque
- oldsheperd
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- Lino
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- oldsheperd
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- Gordon
- Joined: Thu Nov 11, 2004 8:03 am
I just watched Bad Timing and I was blown away. I think it's an amazing film, perhaps Roeg's best now that I can fully appreciate its visuals on this gorgeous, near-flawless transfer. An profound lesson in erotic Cinema. A very disturbing film, on reflection, with a staggering performance by Theresa Russell and who would have thought that Art Garfunkel could be so clinically creepy? Denholm Elliot - who is always wonderful - gives a very assured performance here; wonderful actor. Keitel's police detective, as Jeremy Thomas observes in his interview, is like a latter-day Dostoyevskian truth-searcher than a typical "cop" type investigator and the final scene between him and Alex shows Keitel at his best and this was at a time when his career was floating a bit. Overall, a unique film that is long overdue for a reappraisal. I think I'll go watch it again.
Theresa Russell's interview on the disc is very interesting and she come across as an intelligent, self-assured, funny and sexy woman and I am now very intrigued about her other performances, which I have seen little of.
Roeg and Jeremy Thomas' dual interview is illuminating and humourous and they both reveal fascinating insights into the production of the film. One wishes that they (and perhaps Theresa Russell, seperately - I don't believe she sees Roeg these days, even though they remain friends) could have recorded a commentary, as it would have been wonderful to hear more on the production and psychology of the film.
The deleted scenes reveal many intriguing scenes that could only have been cut for timing reasons, as most are very strong, especially a scene where Milena shows up unannounced at the NATO party.
Great film, great transfer and sound, good extras and a beautiful booklet. This is a superb package from Criterion. I would have loved to have a commentary, but the interviews and booklet are of high quality and most importantly, it is joy to finally see this film make its home video in the USA with a gorgeous transfer. The reason that it was never released on VHS or LD in the U.S. was due to its highly expensive soundtrack, which features Billie Holliday, Tom Waits, Keith Jarrett and The Who. Back in 1979-80, use of these tracks wasn't that expensive, but by the 90s, the cost had skyrocketed. This was why films like Two-Lane Blacktop never appeared on video until the lucrative DVD market took off. Criterion, like Anchor Bay, must have had to pay a hefty sum to clear the rights, though. But it was well worth it.
Theresa Russell's interview on the disc is very interesting and she come across as an intelligent, self-assured, funny and sexy woman and I am now very intrigued about her other performances, which I have seen little of.
Roeg and Jeremy Thomas' dual interview is illuminating and humourous and they both reveal fascinating insights into the production of the film. One wishes that they (and perhaps Theresa Russell, seperately - I don't believe she sees Roeg these days, even though they remain friends) could have recorded a commentary, as it would have been wonderful to hear more on the production and psychology of the film.
The deleted scenes reveal many intriguing scenes that could only have been cut for timing reasons, as most are very strong, especially a scene where Milena shows up unannounced at the NATO party.
Great film, great transfer and sound, good extras and a beautiful booklet. This is a superb package from Criterion. I would have loved to have a commentary, but the interviews and booklet are of high quality and most importantly, it is joy to finally see this film make its home video in the USA with a gorgeous transfer. The reason that it was never released on VHS or LD in the U.S. was due to its highly expensive soundtrack, which features Billie Holliday, Tom Waits, Keith Jarrett and The Who. Back in 1979-80, use of these tracks wasn't that expensive, but by the 90s, the cost had skyrocketed. This was why films like Two-Lane Blacktop never appeared on video until the lucrative DVD market took off. Criterion, like Anchor Bay, must have had to pay a hefty sum to clear the rights, though. But it was well worth it.