ManiakJiggy This is How Movies Should Be Made

Philippa All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Cody One of the best movies of the year! Incredible from the beginning to the end.

Phillipa Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

wes-connors Beautiful blue-eyed Julie Christie (as Catherine Morelli) flies to Geneva for the latest wedding of father Adolfo Celi (as Max), who pronounces himself healthy enough for ten wives. Papa promises Ms. Christie might meet her ideal man - tall, dark, and handsome Michael Sarrazin (as Gregory Mulvey). So, Christie goes "In Search of Gregory". First, she re-connects with brother John Hurt (as Dan). After Christie's bra and panties scene, she listens as Mr. Hurt relates how Mr. Sarrazin's "Gregory" gave him a driving lesson.This hair-raising driving sequence features Sarrazin climbing out of the speeding car's passenger seat, climbing over the windscreen, and crawling back in to take over for frightened driver Hurt. You probably should NOT try this trick at home, but it's fun wonder how it might work… anyway, it occurs about 20 minutes in, and is the highlight of the movie. Unfortunately, after this exciting introduction, Sarrazin's "Gregory" is made lame, Hurt turns from scared to lost, and Christie simply models chic outfits until a slightly picked-up ending.***** In Search of Gregory (11/69) Peter Wood ~ Julie Christie, Michael Sarrazin, John Hurt, Adolfo Celi

FANatic-10 I can only echo what the other reviewers have said of this curious film. I watched it to see one of my favorite stars, Julie Christie, in one of her most obscure films. It is very much a product of its time, rather like a third-rate imitation of Antonioni, but more light and whimsical, or should I say pointless and inconsequential? Its very hard to see what drove Christie to make this, other than I think I remember reading that she owed producer Joseph Janni a last film under a contract...maybe he needed a tax write-off? Oh well, if you feel nostalgic for the sixties its a lulling time-waster, with the always lovely Julie. I enjoyed the last scenes at the Geneva airport, whose look reminded me of something out of Jacques Tati's "Playtime". Plus, you get a look at Michael Sarrazin's butt, but not, unfortunately, Julie's.

tckmek1961 Well, I have always loved this movie. I saw it on TV as a youth in the early 70s. I ached to see it for decades afterward. I was thrilled when the Romance Channel played it a few years ago. I love the music in it. I wish they'd made a single of the theme song. I also like seeing the 60s European scenery. I originally saw it because I was a Michael Sarrazin fan. Because of it I came to be a fan of John Hurt. I've enjoyed watching John Hurt age and become a big star afterward. I also appreciate Julie Christie too. And I like Adolfo Celi! He just brightens up the whole thing. Don't be dissuaded from watching this. Check it out and form your own opinion.

mukava991 Contains Spoiler.This tale of emptiness, boredom and longing is empty, boring and long (even at 90 minutes, it's long). Co-scripted by Antonioni's collaborator Tonino Guerra (whose credits include L'AVVENTURA, LA NOTTE, BLOW UP) this film resembles that director's work superficially. It's about an idle rich girl Catherine (Julie Christie), whose father (Adolfo Celi) lures her to his fourth or fifth wedding in Geneva by telling her he will introduce her to a fascinating young American named Gregory. At the Geneva airport she sees a poster of an auto-ball player (Michael Sarrazin) and from there on she visualizes Sarrazin when she fantasizes about Gregory. All of the fantasy sequences are insipid and dull; they wouldn't even be worth watching as reality. In the course of the next hour she interacts with her somewhat incestuous, wimpy brother (John Hurt, several years before his breakthrough in THE NAKED CIVIL SERVANT), her father, her father's new bride (Paola Pitagora) and various bit players in her frustrated search for Gregory. But the object of her romantic fantasy has always just left or was expected to show up but hasn't. At one point on her wild goose chase she ends up in a room containing crates of canned Alpine air(!). The warehouse employee opens one for her and of course it is empty. This moment seems to sum up the whole film. From the opening credits onward a pop song is either sung or played in various arrangements as instrumental underscoring. It's actually pretty catchy in a precious 60s sort of way. ***SPOILER***: Catherine finally gives up on meeting Gregory and heads back to Rome. At the Geneva airport she encounters Sarrazin and has a soulless tryst with him at the airport hotel. He is revealed not to be Gregory. After they separate she calls her brother who happens to be on another phone with the actual Gregory but doesn't bother to tell her so. The brother, an immature neurotic who cannot deal with complexity or challenge of any kind, puts the two phones down side by side and walks away, leaving Gregory and Catherine's disembodied voices buzzing at each other without their knowledge. It is then revealed that Catherine and Gregory are standing in adjacent phone booths at the airport (though the camera never lets us see Gregory's face). Catherine hangs up and steps onto an automatic sidewalk and glides away, alone in the huge, cold, impersonal airport. All this just to reiterate the trite observation that modern people are lonely and isolated? This pretentious piffle is worth seeing only because of the magnetic presence of Julie Christie who was at the height of her fame when it was filmed in the summer of 1968. It was deemed so bad by Universal that they delayed its US opening until the spring of 1970. It played in very limited release (definitely in New York City, but perhaps nowhere else) and then vanished until recently when it began appearing on cable channels.