The movie is very pretty. The production design and art direction are swell, and the filming locations are choice. Set design and decoration are fetching, and the costume design is stunning. Hair and makeup are decidedly a tad overdone, given some of the wigs on hand, but I admire the effort. Especially at its most dramatic, Tony Banks' score is enjoyable. Jack Cardiff's cinematography is sharp; Michael Winner's direction seems competent in building shots and scenes, and his editing in arranging them. From a technical standpoint, and in considering work put into the feature from behind the scenes, 'The wicked lady' is very well made.
Of course, fine as the labor may be, it is the least of what makes a film worth watching. Very importantly, I think the screenplay devised between Winner and Leslie Arliss is, generally, actually very good. A bored noblewoman becoming a highwayman and reveling in the rush of it is a great concept, and there are a lot of terrific ideas herein. While the dialogue and characters mostly just serve their purposes, they do it well, and there are some worthwhile complexities here and there. The core of the narrative is quite strong, though overall it could stand to be more tightly focused. Still, even in those instances that seem a digression, the scene writing is gratifyingly varied and dynamic, and engaging. And in those moments characterized by action, adventure, or genuine comedy, the writers' enthusiasm for sensationalism is a bit tawdrily common, yet these are the moments that are the best strength of 'The wicked lady,' not least of all as they are contrasted with more quiet drama.
Broadly speaking I feel the acting is perfectly suitable. Performances at large aren't terribly remarkable, but nor do I find fault. On the contrary, there are a few faces that stand out to me as noteworthy. Though hers is only a small (and unnamed) supporting part - and, let's face it, not written well - it's a minor joy to see Marina Sirtis take on a role that's surely among the more action-oriented of any we've seen from her, including even in 'Star Trek: The Next Generation' and its feature films. It's always a pleasure to see Denholm Elliott, and if inconsistently, his role as Sir Skelton allows him to demonstrate a different side compared to what we're used to seeing. Above all, John Gielgud is an unlikely surprise in his major supporting role as Hogarth. Presupposing for a moment that all others in the cast were instructed to be very straightforward in their depictions, Gielgud didn't get the memo, for he illustrates welcome nuance and poise defying the scope of this title. Good for him!
More so than not, I think 'The wicked lady' is just what filmmaker Winner had intended from the start - a wild, fun, sometimes violent romp, constructed from a period picture. There's quite a lot to like here. Unfortunately, there's no getting around the fact that it's definitely weighed down by some aspects that just don't make the grade. I spoke of sensationalism in the scene writing, and in that I speak not least of all of a needless bounty of gratuitous nudity, frankly tasteless and crude. The movie mostly keeps a steady pace, but only after the first half hour, which seems to drag on interminably. In addition, there are some points throughout the remainder that still give the nagging feeling of being a little too long, and unnecessary. And while star Faye Dunaway accordingly mentioned in interviews that she enjoyed making this movie, to be blunt it doesn't really show in the performance she's turned in. From the beginning Dunaway would seem to adopt an appropriate air of haughty, self-confident imperiousness in portraying protagonist Barbara, but it comes across as stilted and forced, as though she were on medication at the time that dulled her senses and she had to forge through the stupor. And in the very last scene, where one would think it matters most, her acting is altogether unconvincing. It's possible my assessment is colored by having read ahead of time that Dunaway was nominated for a Golden Raspberry award for her show, and it's also possible that director Winner had a guiding hand in her approach to her scenes. Whatever the case may be, however, the result is the same, and the lead performance is lacking.
I began watching with low expectations, and those expectations were exceeded. On the balance I believe there's more value in 'The wicked lady' than it would seem to be credited with, and I really do think there's a strong foundation here for an excellent period adventure film. Regrettably, sometimes in the moments of utmost daring-do the vigor just isn't shared with the audience, and other distinct shortcomings absolutely hold it back. Why, there are some themes in the writing that deserved more exploration - but, for example, the classism that's rampant in the attitudes of Sir Skelton's fellow lords is of more use in establishing the setting than in propelling the narrative. When all is said and done I think 'The wicked lady' is entertaining, and worth a look if you chance upon it - but there's no need to go out of your way, and a small asterisk should be appended for where it stumbles. Alas.
Of course, fine as the labor may be, it is the least of what makes a film worth watching. Very importantly, I think the screenplay devised between Winner and Leslie Arliss is, generally, actually very good. A bored noblewoman becoming a highwayman and reveling in the rush of it is a great concept, and there are a lot of terrific ideas herein. While the dialogue and characters mostly just serve their purposes, they do it well, and there are some worthwhile complexities here and there. The core of the narrative is quite strong, though overall it could stand to be more tightly focused. Still, even in those instances that seem a digression, the scene writing is gratifyingly varied and dynamic, and engaging. And in those moments characterized by action, adventure, or genuine comedy, the writers' enthusiasm for sensationalism is a bit tawdrily common, yet these are the moments that are the best strength of 'The wicked lady,' not least of all as they are contrasted with more quiet drama.
Broadly speaking I feel the acting is perfectly suitable. Performances at large aren't terribly remarkable, but nor do I find fault. On the contrary, there are a few faces that stand out to me as noteworthy. Though hers is only a small (and unnamed) supporting part - and, let's face it, not written well - it's a minor joy to see Marina Sirtis take on a role that's surely among the more action-oriented of any we've seen from her, including even in 'Star Trek: The Next Generation' and its feature films. It's always a pleasure to see Denholm Elliott, and if inconsistently, his role as Sir Skelton allows him to demonstrate a different side compared to what we're used to seeing. Above all, John Gielgud is an unlikely surprise in his major supporting role as Hogarth. Presupposing for a moment that all others in the cast were instructed to be very straightforward in their depictions, Gielgud didn't get the memo, for he illustrates welcome nuance and poise defying the scope of this title. Good for him!
More so than not, I think 'The wicked lady' is just what filmmaker Winner had intended from the start - a wild, fun, sometimes violent romp, constructed from a period picture. There's quite a lot to like here. Unfortunately, there's no getting around the fact that it's definitely weighed down by some aspects that just don't make the grade. I spoke of sensationalism in the scene writing, and in that I speak not least of all of a needless bounty of gratuitous nudity, frankly tasteless and crude. The movie mostly keeps a steady pace, but only after the first half hour, which seems to drag on interminably. In addition, there are some points throughout the remainder that still give the nagging feeling of being a little too long, and unnecessary. And while star Faye Dunaway accordingly mentioned in interviews that she enjoyed making this movie, to be blunt it doesn't really show in the performance she's turned in. From the beginning Dunaway would seem to adopt an appropriate air of haughty, self-confident imperiousness in portraying protagonist Barbara, but it comes across as stilted and forced, as though she were on medication at the time that dulled her senses and she had to forge through the stupor. And in the very last scene, where one would think it matters most, her acting is altogether unconvincing. It's possible my assessment is colored by having read ahead of time that Dunaway was nominated for a Golden Raspberry award for her show, and it's also possible that director Winner had a guiding hand in her approach to her scenes. Whatever the case may be, however, the result is the same, and the lead performance is lacking.
I began watching with low expectations, and those expectations were exceeded. On the balance I believe there's more value in 'The wicked lady' than it would seem to be credited with, and I really do think there's a strong foundation here for an excellent period adventure film. Regrettably, sometimes in the moments of utmost daring-do the vigor just isn't shared with the audience, and other distinct shortcomings absolutely hold it back. Why, there are some themes in the writing that deserved more exploration - but, for example, the classism that's rampant in the attitudes of Sir Skelton's fellow lords is of more use in establishing the setting than in propelling the narrative. When all is said and done I think 'The wicked lady' is entertaining, and worth a look if you chance upon it - but there's no need to go out of your way, and a small asterisk should be appended for where it stumbles. Alas.