Reflections in a Golden Eye Screen 86 of 7 reviews

Reflections in a Golden Eye

1967

Reflections in a Golden Eye Poster
  • In gorgeously photographed sequences Brando tracks Forster in the woods, finding him naked—Huston and his cinematographer Aldo Tonti framing the sequence in incredibly evocative wide shots, which are both real and yet so damn beautiful they might as well be the phantasmagoric visions of a yearning heart and mind, something akin to the work of American photographer F. Holland Day—and in these moments Huston’s film recalls the aristocratic lust of Thomas Mann.

  • A fascinating film. It’s a nightmarish mélange of gluttony (dietary and sexual), obsession, secrets, voyeurism, and repression, all within the entombed community of a Southern military base... Huston rated the film among his favorites, memorably breaking away from traditional Hollywood camerawork in its unmoored finale.

  • The libidinous ’60s seemed the right time, finally, for Reflections in a Golden Eye. Huston was the right director, a superb reader who was, besides, entirely undaunted by works of literature others thought “difficult” or “unfilmable.” (He’d already tackled Moby–Dick and the Bible, and would later take a crack at Wise Blood, Under the Volcano, and “The Dead.”) He picked the right Leonora in Elizabeth Taylor, who was fearless in her own way.

  • Perhaps more than any other film I have ever seen, Reflections in a Golden Eye refuses to be categorised or confined... It's a staggering work of art, and one that somehow manages to mute and accentuate the intensity of Elizabeth Taylor’s performance with its strange aesthetic.

  • The dreamy queerness of Reflections in a Golden Eye almost seems out of step, out of time. As unfathomable that the film would be made during the last push of the studio era, it would be just as out of place in 2017. In an ambiguous otherworldly Deep South... the film thrives as a fever dream of unchecked temptation within an oppressive atmosphere. Sensual and horrific, Reflections in a Golden Eye stands as a pillar in the cinematic canon of the Southern Gothic genre.

  • Weldon’s presence—and this is the brilliance of Brando’s performance—has a palpable impression of sleepwalking, a quality that Huston maps onto the film’s rhythms. A highlight scene features nothing more than Weldon navigating a post-boxing match crowd at night in pursuit of the solitary private, trailing him down the street and then picking up his dropped Baby Ruth wrapper as if hoping to find some clandestine love note. The whole thing has the surreal tension of an out-of-body experience.

  • To watch Brando smiling smugly at his own irresistible reflection is to witness a privileged moment of acting reflecting being. Unfortunately for the film as a whole, Brando is woefully miscast as a dedicated but devious officer on an Army post in the South. Seeming more crackers than cracker, he never suggests military discipline as part of his sublimated past.