Bad Timing 1980 123movies

Watch: Bad Timing 1980 123movies, Full Movie Online – The setting is Vienna. A young American woman is brought to a hospital after overdosing on pills, apparently in a suicide attempt. A police detective suspects foul play on the part of her lover, an American psychology professor. As doctors try to save her life, the detective interrogates the professor, and through flashbacks we see the events leading up to the woman’s overdose; her stormy and intensely sexual relationship with the professor, her heavy drinking and numerous affairs, and her estrangement from her Czech husband. A darkly erotic study of several rather unsympathetic characters..
Plot: Alex Linden is a psychiatrist living in Vienna who meets Milena Flaherty though a mutual friend. Though Alex is quite a bit older than Milena, he’s attracted to her young, carefree spirit. Despite the fact that Milena is already married, their friendship quickly turns into a deeply passionate love affair that threatens to overtake them both. When Milena ends up in the hospital from an overdose, Alex is taken into custody by Inspector Netusil.
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Ratings:

	6.9/10 Votes: 9,083
	46% | RottenTomatoes
	N/A | MetaCritic
	N/A Votes: 110 Popularity: 5.771 | TMDB

Reviews:

a well-accomplished, counter-cultural, innately candid examination on modern relationship and sex philosophy
Nicolas Roeg’s little-circulated relationship dissertation between an American psychiatrist Alex Linden (Garfunkel) and a young American woman Milena (Russell) in Cold War Vienna has an uncanny and scandalizing paralleled real life happening befalls on its leading actor Art Garfunkel.

After its glittering opening sequences of a Gustav Klimt’s exhibition, the film starts with an unconscious Milena rushed to the hospital in the middle of the night accompanied by Alex in the ambulance, ostensibly from an overdose, and in reality, during the film’s shooting, Garfunkel’s then girlfriend Laurie Bird, committed suicide by taking an overdose of Valium in New York, aged 26.

With that hindsight, one is prone to understand Garfunkel’s sometimes perversely surly and tangibly perturbed state when facing off with either a barnstorming Russell or a probing Harvey Keitel, who plays Inspector Netusil, exerts himself in teasing out the truth out of a buttoned-up Alex, as the film’s title refers, the timing of Alex’s recount about the incident doesn’t comply with the physical facts (car radio, Milena’s state, etc.).

Predominantly, Roeg expertly expounds Alex and Milena’s torrid affair by punctuating its aftermath story-line with stacks of flashback in a random arrangement, from the starting point when Milena says farewell to her much older Czech husband Stefan Vognic (Elliott) in the Czech/Austria border, to the pair’s encounter, dating, a Northern Africa vacation (prompts Alex’s proposal of marriage), to the toxic disintegration due to their incongruity (Lüscher’s color test Vs. Paul Bowles’ The Sheltering Sky, are the obvious visual pointers). It seems that it is Alex who breaches his work ethic to strike the romance with his client in the first place, then we are repeatedly subjected to the disappointment of Alex’s incompetency of his own profession, his botched attempt to understand a freewheeling Milena’s psychological status, which can be encapsulated in one sentence (I’m paraphrasing here) “to love a woman tremendously, to love her more than one’s own dignity”, a pitfall hounds most men in our patriarchal society. But meanwhile, Roeg and screenwriter Yale Udoff also show up the mercurial side of Milena’s persona, she professes to be a free-spirited soul, morally unattached, physically liberated, but more often than not, she is the one who backslides into pestering Alex after their breakup, which trenchantly confounds that very statement. It is a self-destructive game which takes two to tango, a woman’s congenital insecurity meets a man’s unrelieved self-regard, that’s what Roeg rams home to us albeit his very distracting M.O.

Honestly, it is a mind-bending journey, strewn with zeitgeist reflecting tunes (Billie Holiday, Tom Waits, The Who and counting), where the two leads engaging in graphic sexual acts (and they are nowhere near aesthetically pretty), or exchanging their thoughts in soft-focus treatment. Meantime, the apparently persisting investigation from Netusil, eventually reaches its lurid conclusion without ever sweetening the pills, it nails the psychological nitty-gritty in the face of its morally repugnant revelation.

BAD TIMING, a pertinent name for its own ill-fated reception upon its release, is a well- accomplished, counter-cultural, innately honest examination on the caprice, intransigence, and ambivalence of modern relationship and sex philosophy, powered by strong performances, in particular, a spontaneously ravishing Theresa Russell.

my kind of relationship drama- and I am NOT a sick person! I think…
Bad Timing is Nicholas Roeg’s film about a relationship that is fueled by an obsessive passion, more or less, on both sides, and ends in a kind of mutual destruction. This has been fodder for many an independent film, but Roeg and his screenwriter attempt the material with a twist (Roeg, perhaps in his own distinct sensibility as an auteur, more-so). They’re attempting to dissect it by a manner that goes along with how a mind works through a relationship after the fact, through memories of what worked, what didn’t at all, what’s foggy, what’s crazy, subtle bits that connect more directly to others, and essentially reveals as much as any one person can think about the individuals in their link. Throw in a little detective/criminal mystery entanglement, some trademark Roeg editing and narrative technique, and sprinkle some of the most appropriately steamy (and appropriately disturbing) mature sexual context in a movie since Last Tango, and you’ve got a sort of cult classic.

It’s the kind of work that, as someone who loves getting a filmmaker who approaches things from a skewed perspective almost like an intellectual, is nearly inspiring. I didn’t gain mind-blowing Bergmanesque insights into the realm of a torn relationship, but it’s enough to squash competition that might show up late at night on IFC. It deals with a psychology professor, Alex Linden (Art Garfunkel, the most unlikely of male leads for a sexually charged and complex individual, but out-does his previous turn in Carnal Knowledge as a subtle performer of a man in total emotional crisis), and his romance with young Milena (the extraordinary Theresa Russel, arguably her best performance to date, soul pouring out like it’s her one and only chance to shine), who is possibly already married to a much older man across the Vienna border (Denhalm Elliot, great in his few scenes).

They have powerful lust and some good times, even in Morocco of all places, but… they just don’t click, due to Alex not being able to let go of what Milena does, almost in a “every breath you take” style (watch as the Who’s “Who Are You” is used in the most stirring effect imaginable). Without saying too much, something terrible happens to Milena, a hospital stay occurs, and an investigation (overnight, of course) happens between a detective (long-haired Harvey Keitel, compelling even when it’s only in the smallest, two-note spurts) which leads to a test of pure existential upheaval. But Roeg firstly approaches the style like it’s a shuffleboard of images and scenes, moods and thoughts, and it’s a wonderful experiment in subjective approach. Many post-modern filmmakers only wish to try and make a film dealing with genre (i.e. crime/gangsters) like this, but Roeg does it sometimes subliminally, cut-aways implying sexual interaction and obsession that go the opposite way of the pondering style of a Last Tango (i.e. the operation scene, a cut-away between a tense gynecological exam during surgery and sex).

The other thing that Roeg wisely does, as he did do sort of in Walkabout, is to let the actors play up to their strengths. While it was trickier to to as a director, and to actually notice in the finished product, in Walkabout, in Bad Timing there are countless scenes where we see the actors tapping into the characters full-throttle, and revealing little layers in the script that wouldn’t be present in a more conventional treatment. It’s simple to say this kind of material would get shut out at the door in Hollywood. Sure it would; it’s a tale where lurid details (and truly disturbing ones, more-so for how they linger in the mind than how they’re shown) seem to mask the more vulnerable shades of the story. But it’s difficult to say that it might have more appeal than the one infamous quote “a sick movie made by sick people for sick people” seems to suggest.

It is rough going at times, and not your grandmother’s story of love gone awry. But it challenges perceptions and tries to pierce through certain concepts of what men expect from women and women expect from men: the lies, the hiding, being open, being free, being who we are in front of one another. At the end, what is the “bond” in a relationship? Do we know one another really? Roeg leaves it up to us to decide… in his sick way. And it’s one of my favorites of 1980.

Other Information:

Original Language en
Runtime 2 hr 3 min (123 min)
Budget 0
Revenue 0
Status Released
Rated R
Genre Drama, Mystery, Thriller
Director Nicolas Roeg
Writer Yale Udoff
Actors Art Garfunkel, Theresa Russell, Harvey Keitel
Country United Kingdom, United States
Awards 3 wins
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono
Aspect Ratio 2.35 : 1
Camera Technovision Cameras and Lenses
Laboratory Rank Film Laboratories, Denham, UK
Film Length N/A
Negative Format 35 mm
Cinematographic Process Technovision (anamorphic)
Printed Film Format 35 mm