Most Helpful Customer Reviews
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4 of 4 people found the following review helpful:
5.0 out of 5 stars
simon hesera where are you?, 29 Nov 2008
After this release, and the even recenter 'What?', one is left wondering just how many 'lost' Polanski films there are. It's nice to have it, though. Unlike the other reviewer I don't see this as especially typical of Polanski's style. I think it's more conventional, and less manic. But then, there is a central mind-on-the-brink being pushed at from all angles. I am intrigued about Simon Hesera, the director who took over from Polanski in the making of this flm- he seems to have made only one other film, which is not available on amazon.
The film features popular tv actress Beatie Edney in her first role as Winnie, the little girl. I think she is just brilliant in this film, and call me sentimental if you wish. I'll bat your remarks away like ping pong balls with my eyelids.
And then there's Sellers. This is a really good performance. I don't waant to put it in such clunky terms as the other reviewer (shame on you), he plays one of a gay 'couple' (this isn't clear) who run a shop on the beach. As usual he treads on the wire of over-acting but it is just toned-down enough not to seem out of place. He doesn't steal the show and that is a compliment.
There are moments that are difficult to get through, a very sad and very real depiction of alcoholism.
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4 of 6 people found the following review helpful:
5.0 out of 5 stars
Polansky's "Drunk In The Water", 29 Oct 2007
I've only watched this once so far, and I may be over-reacting, but I was really surprised by this film. It has a notorious reputation as another Peter Sellers flop, one that didn't even get released, but its real significance is in its value as a Polansky film. Sellers only lasts a minute or so (and he's upstaged by Graham Stark) but he is worth watching. However the film I think is splendid. It is typical of Polansky's Repulsion and Knife In The Water, surely his best two films, but in colour. This one takes an alcoholic spin on Repulsion, with a delightful use of the seaside setting that he used in Cul De Sac, and there is some great crepuscular lighting. The pubs in the film are deliberately dingy and stark, and the story is dark too, describing a drunkard getting progressively drunk into oblivion. Its cautionary tale is very effective, but the film is enjoyable to watch not only because of its art, but also because of the charm and charisma of the lead actor. Also the child with leg irons in his charge who acts as a foil to his deterioration is beautifully done. The film is very early Polansky in style and significance, but it is in colour and very 1969. At this stage I am tempted to rate it very highly beside Knife in the Water, and also two of my favourite Sellers films, both non-comedies, Hoffman and The Optimists of Nine Elms. I think this is a great early Polansky. It is an outstanding period piece which achieves a lot in many ways.
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3 of 8 people found the following review helpful:
2.0 out of 5 stars
It's no picnic and Ain't no sunshine, 15 Nov 2007
Coming from the completist mindset of a collector, I am thrilled that Odeon Entertainment has brought this film to light. As an enormous fan of Peter Sellers, I wouldn't have missed the opportunity to see this elusive and heretofore unobtainable piece of his work. His two minutes, if that, on screen with Graham Stark as a pair of poofs are delicious, and the highlight of the film, though he himself is never credited as Peter Sellers.
However, I find Odeon's tack in marketing and packaging this film an odd and incongruous one. It hardly measures up to their own definition of the genus in which they've included it. From the back cover:
The Best of British Collection
Odeon Entertainment is proud to release some of the forgotten classics from the Golden Age of British Cinema. Comedies, thrillers, murder mysteries and films that entertained the post-war generation will be available on DVD for the very first time.
I would argue that a "forgotten classic" is a movie that, first and foremost, had been previously released and then ostensibly forgotten. And it strikes me that 1970 is significantly stretching the bounds of "the Golden Age of British Cinema." Nor could a movie that has never been released have entertained the post-war generation. The only element of truth in Odeon's posturing is that it is released on DVD for the very first time.
It would have been truer to the scenario, in my mind, to put together a set of sought after and unreleased films, call it the Pandora's Boxset or some such. But a classic or the Best of British Cinema, this is not. Who are we kidding, though? Their goal is sales, not accuracy.
This is a really bleak story of a man (played by Mark Burns) who is a raging, hopeless alcoholic that has been left to mind his niece for "a day at the beach." Again from the back cover:
"But will her childish innocence and vulnerability awaken Bernie's instinct to survive, or will he surrender to his desire for self-destruction?"
The answer to this question is never in any doubt, and once the comic relief of Sellers' scene had passed, I found it tedious and painful to keep watching. There is nothing redeeming whatsoever about the character of Bernie, nothing to make us care about his wanton self absorption. A successful movie doesn't always have to be upbeat and happy-go-lucky: Leaving Las Vegas and Wonderland (the John Holmes story) are two that I think are brilliant treatments of a very bleak existence.
The value of A Day at the Beach lies solely in its rescue from oblivion, as an obscurity forever linked to the horrendous moment in Polanski's life that heretofore kept it from fruition. Sellers fans will find disappointment ONLY in the brevity of his screen time, as he never embraced his characters half heartedly, but Polanski's best work is best sought elsewhere.
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