Reflections in a Golden Eye


1h 49m 1967
Reflections in a Golden Eye

Brief Synopsis

A military officer becomes obsessed with an enlisted man.

Film Details

MPAA Rating
Genre
Drama
Adaptation
Release Date
Jan 1967
Premiere Information
New York opening: 11 Oct 1967
Production Company
Warner Bros.--Seven Arts International, Ltd.
Country
United States
Location
Rome, Italy
Screenplay Information
Based on the novel Reflections in a Golden Eye by Carson McCullers (Boston, 1941).

Technical Specs

Duration
1h 49m
Sound
Mono
Color
Color (Technicolor)
Theatrical Aspect Ratio
2.35 : 1

Synopsis

In 1948 Major Weldon Penderton and his wife, Leonora, are living at an Army post in Georgia. A latent homosexual, the major tries to hide his sexual impotence by maintaining a brusque and authoritative attitude toward his men. Leonora, on the other hand, treats her husband with obvious contempt, making little effort to conceal her adulterous affair with a neighbor, Lieut. Col. Morris Langdon. Langdon's wife, Alison, is a brooding psychotic who, following the birth of a deformed child, mutilated her breasts and now finds solace only in the company of her effeminate houseboy, Anacleto. Also living on the post is withdrawn young Private Williams, who works in the stables and takes care of Leonora's favorite stallion. Unknown to all, Williams is in the habit of sneaking into the Penderton house late at night to gaze intently at Leonora's sleeping body and lovingly fondle her lingerie. After observing Williams, stark naked, riding a horse in the nearby forest, the major secretly begins to lust after the young man, following him on the post and into the woods where he sunbathes in the nude. Late one night, Alison spies Williams entering the Penderton house and follows him to Leonora's room. Upon witnessing his voyeuristic ritual, she suffers an emotional breakdown and makes plans to divorce her husband and go away with Anacleto. Langdon, believing her to be mad, has her committed to a sanitarium, and there she dies of heart failure. Then, during a driving rainstorm, Private Williams makes another trip to the Penderton house. The major sees him and mistakenly assumes that he is the reason for the soldier's visit. When Williams enters Leonora's room instead, Penderton takes a revolver and kills him.

Photo Collections

Reflections in a Golden Eye - Movie Poster
Here is the American One-Sheet Movie Poster from Reflections in a Golden Eye (1967), starring Marlon Brando and Elizabeth Taylor. One-sheets measured 27x41 inches, and were the poster style most commonly used in theaters.

Film Details

MPAA Rating
Genre
Drama
Adaptation
Release Date
Jan 1967
Premiere Information
New York opening: 11 Oct 1967
Production Company
Warner Bros.--Seven Arts International, Ltd.
Country
United States
Location
Rome, Italy
Screenplay Information
Based on the novel Reflections in a Golden Eye by Carson McCullers (Boston, 1941).

Technical Specs

Duration
1h 49m
Sound
Mono
Color
Color (Technicolor)
Theatrical Aspect Ratio
2.35 : 1

Articles

Reflections in a Golden Eye


For anyone interested in the meaning of the term "Southern Gothic," look no further than Carson McCullers' novel, Reflections in a Golden Eye, which was first published in 1941 and inspired by a notorious incident that took place in Fort Bragg, North Carolina. Set on an army base in the Deep South, the story centers around Captain Penderton, a sexually repressed army officer whose homosexual desires are unwittingly unleashed by a handsome private with some dark secrets of his own. The captain's wife, Leonora, is meanwhile having a not-so-secret affair with her neighbor, Lt. Colonel Langdon, whose neurotic wife has recently mutilated her breasts with garden shears. Joining this odd quintet is Anacleto, an effeminate Filipino houseboy with an almost pathological devotion to Mrs. Langdon. The result is a haunting tale of voyeurism and thwarted desires which opens with this intriguing header taken directly from McCuller's novel, "There is a fort in the South where a few years ago a murder was committed." Thus begins one of the most unusual films in the combined careers of Elizabeth Taylor, Marlon Brando and director John Huston.

By Hollywood standards, McCullers' novel would seem an unlikely candidate for a film adaptation but John Huston decided to make Reflections in a Golden Eye his twenty-eighth feature film (if you count his documentaries and a segment of Casino Royale, 1967). After all, he was no stranger to transforming great literary works into movies; he made The Red Badge of Courage, Stephen Crane's Civil War tale, in 1951 and filmed Herman Melville's Moby Dick in 1956. For Reflections in a Golden Eye, he was hoping he could convince McCullers to work on the screenplay but she was too ill to participate so the task fell to Scottish novelist Chapman Mortimer and screenwriter Gladys Hill.

From the beginning of the project, Huston wanted Elizabeth Taylor for the role of Leonora, an irrepressible sexual being who has a passion for horses. Taylor, who had unexpectedly become the critics' darling after her acclaimed performances in Who's Afraid of Virginia Woolf? (1966) and The Taming of the Shrew (1967), wanted to continue taking on equally challenging roles but her decision to star in Reflections in a Golden Eye hinged on selecting her co-star and she wanted her close friend, Montgomery Clift, for the part of Colonel Penderton. Despite the actor's troubled relationship with Huston on a previous film, Freud (1962), the director agreed to cast Clift despite his extremely poor health. Unfortunately, Clift died prior to filming so Huston recommended hiring Patrick O'Neal who'd previously starred in the Broadway production of Tennessee Williams' The Night of the Iguana. Taylor, however, rejected Huston's suggestion along with his alternate choices of Richard Burton and Lee Marvin; she wanted Marlon Brando.

According to John Huston in his autobiography, An Open Book, "Marlon Brando came to see me in Ireland. He wasn't sure about the part. He had read the book, but doubted his suitability. As we were talking about it, the final screenplay was being typed, so I suggested that he wait and read it. Marlon did so, then took a long walk in a thunderstorm. When he came back, he said simply, "I want to do it." During our conversation I asked Brando if he could ride a horse, and by way of an answer he assured me that he had been raised on a horse ranch. Later, during the filming of the movie, I noticed that he exhibited such a fear of horses that presently Elizabeth Taylor, who is a good horsewoman, began to be afraid also. I wondered then, as now, if Marlon got this fear because he had so immersed himself in his role. The character he played had a fear of horses. It could well be. I remember he once said of acting, "If you care about it, it's no good." Meaning you've got to get into a role to the point that you're no longer acting."

Brando was more flippant when a reporter inquired about his decision to star in the film: "The appeal to me of a neurotic role like Major Penderton? $750,000 plus 7 1/2 per cent of the gross receipts if we break even. That's the main reason." Then he paused and added, "Then the attraction of a book by Carson McCullers." Yet, despite Brando's nonchalant remarks, Reflections in a Golden Eye features one of his most underrated performances. As the tormented and sexually confused Penderton, the actor creates a complex character, one whose burly physique and stiff military manner are merely a masculine facade, hiding his true nature. He achieves scenes of great power here, particularly in the sequence where he is thrown from Leonora's horse. Hysterical, he begins to beat the animal wildly, his emotional state veering between laughing and crying. Later in the film, Leonora, in revenge, will savagely beat Penderton with her riding crop in full view of their party guests, bringing the officer's humiliation full circle.

Some parts of Reflections in a Golden Eye were filmed in New York City and on Long Island at the site of an abandoned Army camp. But the bulk of the movie was filmed outside Rome, Italy. For Huston, the film gave him the opportunity to work in some of his favorite interests: horseback riding, hunting, the military and boxing (the fight in the barracks was not in the novel). He would also claim that Reflections in a Golden Eye was "one of the first American films to broach the subject of homosexuality."

"To emphasize the film's psychological oppressiveness and find a visual equivalent for the novel's brooding, interior spirit, Huston," according to Tony Thomas in The Films of John Huston, "evolved a costly and complicated process of desaturating the film's color until only a gold and slightly pinkish image emerged. [Cinematographer Oswald] Morris called the effect on the film's mood "quite extraordinary." Warner Brothers didn't agree, however, and released the film in full Technicolor, which made the film pictorially striking and quite beautiful to look at, but decidedly worked against the emotional impact Huston wanted Reflections to have."

An additional disappointment was the critical reaction to the film. The Time magazine review stated "Director John Huston spills the novel's poetry on the way to the screen, leaving only its gothic husk and a gallery of grotesques," and this assessment was typical of many film critics. Warner Brothers' ad campaign didn't help matters either with press books that gleefully announced, "It's dirty! A combination of lust, impotency, vulgarity, nudity, neurosis, brutality, voyeurism, hatred and insanity that culminates in murder." No wonder the Legion of Decency gave it a Condemned rating. Yet, Huston championed the film to his death, saying "I like Reflections in a Golden Eye. I think it is one of my best pictures....scene by scene - in my humble estimation - it is pretty hard to fault." And you may well agree. It's undeniably fascinating and not the last time he would attempt a Southern Gothic. In 1979, he directed Wise Blood, an inspired adaptation of Flannery O'Connor's tragicomedy which was much more critically lauded than Reflections in a Golden Eye.

Producer: Raymond Stark
Director: John Huston
Screenplay: Gladys Hill, Chapman Mortimer, based on the novel by Carson McCullers
Production Design: Stephen B. Grimes
Cinematography: Aldo Tonti
Costume Design: Dorothy Jeakins
Film Editing: Russell Lloyd
Original Music: Toshiro Mayuzumi
Cast: Elizabeth Taylor (Leonora Penderton), Marlon Brando (Maj. Weldon Penderton), Brian Keith (Lt. Col. Morris Langdon), Julie Harris (Alison Langdon), Robert Forster (Private Williams), Zorro David (Anacleto), Gordon Mitchell (Stables Sergeant), Irvin Dugan (Capt. Murray Weincheck).
C-109m. Letterboxed.

by Jeff Stafford
Reflections In A Golden Eye

Reflections in a Golden Eye

For anyone interested in the meaning of the term "Southern Gothic," look no further than Carson McCullers' novel, Reflections in a Golden Eye, which was first published in 1941 and inspired by a notorious incident that took place in Fort Bragg, North Carolina. Set on an army base in the Deep South, the story centers around Captain Penderton, a sexually repressed army officer whose homosexual desires are unwittingly unleashed by a handsome private with some dark secrets of his own. The captain's wife, Leonora, is meanwhile having a not-so-secret affair with her neighbor, Lt. Colonel Langdon, whose neurotic wife has recently mutilated her breasts with garden shears. Joining this odd quintet is Anacleto, an effeminate Filipino houseboy with an almost pathological devotion to Mrs. Langdon. The result is a haunting tale of voyeurism and thwarted desires which opens with this intriguing header taken directly from McCuller's novel, "There is a fort in the South where a few years ago a murder was committed." Thus begins one of the most unusual films in the combined careers of Elizabeth Taylor, Marlon Brando and director John Huston. By Hollywood standards, McCullers' novel would seem an unlikely candidate for a film adaptation but John Huston decided to make Reflections in a Golden Eye his twenty-eighth feature film (if you count his documentaries and a segment of Casino Royale, 1967). After all, he was no stranger to transforming great literary works into movies; he made The Red Badge of Courage, Stephen Crane's Civil War tale, in 1951 and filmed Herman Melville's Moby Dick in 1956. For Reflections in a Golden Eye, he was hoping he could convince McCullers to work on the screenplay but she was too ill to participate so the task fell to Scottish novelist Chapman Mortimer and screenwriter Gladys Hill. From the beginning of the project, Huston wanted Elizabeth Taylor for the role of Leonora, an irrepressible sexual being who has a passion for horses. Taylor, who had unexpectedly become the critics' darling after her acclaimed performances in Who's Afraid of Virginia Woolf? (1966) and The Taming of the Shrew (1967), wanted to continue taking on equally challenging roles but her decision to star in Reflections in a Golden Eye hinged on selecting her co-star and she wanted her close friend, Montgomery Clift, for the part of Colonel Penderton. Despite the actor's troubled relationship with Huston on a previous film, Freud (1962), the director agreed to cast Clift despite his extremely poor health. Unfortunately, Clift died prior to filming so Huston recommended hiring Patrick O'Neal who'd previously starred in the Broadway production of Tennessee Williams' The Night of the Iguana. Taylor, however, rejected Huston's suggestion along with his alternate choices of Richard Burton and Lee Marvin; she wanted Marlon Brando. According to John Huston in his autobiography, An Open Book, "Marlon Brando came to see me in Ireland. He wasn't sure about the part. He had read the book, but doubted his suitability. As we were talking about it, the final screenplay was being typed, so I suggested that he wait and read it. Marlon did so, then took a long walk in a thunderstorm. When he came back, he said simply, "I want to do it." During our conversation I asked Brando if he could ride a horse, and by way of an answer he assured me that he had been raised on a horse ranch. Later, during the filming of the movie, I noticed that he exhibited such a fear of horses that presently Elizabeth Taylor, who is a good horsewoman, began to be afraid also. I wondered then, as now, if Marlon got this fear because he had so immersed himself in his role. The character he played had a fear of horses. It could well be. I remember he once said of acting, "If you care about it, it's no good." Meaning you've got to get into a role to the point that you're no longer acting." Brando was more flippant when a reporter inquired about his decision to star in the film: "The appeal to me of a neurotic role like Major Penderton? $750,000 plus 7 1/2 per cent of the gross receipts if we break even. That's the main reason." Then he paused and added, "Then the attraction of a book by Carson McCullers." Yet, despite Brando's nonchalant remarks, Reflections in a Golden Eye features one of his most underrated performances. As the tormented and sexually confused Penderton, the actor creates a complex character, one whose burly physique and stiff military manner are merely a masculine facade, hiding his true nature. He achieves scenes of great power here, particularly in the sequence where he is thrown from Leonora's horse. Hysterical, he begins to beat the animal wildly, his emotional state veering between laughing and crying. Later in the film, Leonora, in revenge, will savagely beat Penderton with her riding crop in full view of their party guests, bringing the officer's humiliation full circle. Some parts of Reflections in a Golden Eye were filmed in New York City and on Long Island at the site of an abandoned Army camp. But the bulk of the movie was filmed outside Rome, Italy. For Huston, the film gave him the opportunity to work in some of his favorite interests: horseback riding, hunting, the military and boxing (the fight in the barracks was not in the novel). He would also claim that Reflections in a Golden Eye was "one of the first American films to broach the subject of homosexuality." "To emphasize the film's psychological oppressiveness and find a visual equivalent for the novel's brooding, interior spirit, Huston," according to Tony Thomas in The Films of John Huston, "evolved a costly and complicated process of desaturating the film's color until only a gold and slightly pinkish image emerged. [Cinematographer Oswald] Morris called the effect on the film's mood "quite extraordinary." Warner Brothers didn't agree, however, and released the film in full Technicolor, which made the film pictorially striking and quite beautiful to look at, but decidedly worked against the emotional impact Huston wanted Reflections to have." An additional disappointment was the critical reaction to the film. The Time magazine review stated "Director John Huston spills the novel's poetry on the way to the screen, leaving only its gothic husk and a gallery of grotesques," and this assessment was typical of many film critics. Warner Brothers' ad campaign didn't help matters either with press books that gleefully announced, "It's dirty! A combination of lust, impotency, vulgarity, nudity, neurosis, brutality, voyeurism, hatred and insanity that culminates in murder." No wonder the Legion of Decency gave it a Condemned rating. Yet, Huston championed the film to his death, saying "I like Reflections in a Golden Eye. I think it is one of my best pictures....scene by scene - in my humble estimation - it is pretty hard to fault." And you may well agree. It's undeniably fascinating and not the last time he would attempt a Southern Gothic. In 1979, he directed Wise Blood, an inspired adaptation of Flannery O'Connor's tragicomedy which was much more critically lauded than Reflections in a Golden Eye. Producer: Raymond Stark Director: John Huston Screenplay: Gladys Hill, Chapman Mortimer, based on the novel by Carson McCullers Production Design: Stephen B. Grimes Cinematography: Aldo Tonti Costume Design: Dorothy Jeakins Film Editing: Russell Lloyd Original Music: Toshiro Mayuzumi Cast: Elizabeth Taylor (Leonora Penderton), Marlon Brando (Maj. Weldon Penderton), Brian Keith (Lt. Col. Morris Langdon), Julie Harris (Alison Langdon), Robert Forster (Private Williams), Zorro David (Anacleto), Gordon Mitchell (Stables Sergeant), Irvin Dugan (Capt. Murray Weincheck). C-109m. Letterboxed. by Jeff Stafford

Reflections in a Golden Eye - Marlon Brando & Elizabeth Taylor in REFLECTIONS IN A GOLDEN EYE on DVD


To say that they don't make 'em like Reflections in a Golden Eye anymore is to imply that they ever did. Its ingredients alone promise decidedly unique pleasures: one oversexed self-absorbed bitch, one out-of-control control-freak, a neurotic housewife who performed a self-nipple-ectomy with pinking shears, a butt-nekkid soldier on horseback, an army fort too busy chewing up its own officers to be of any use in anyone's war.

From its oblique title to its somber pace, this is an adult movie from an era now lost, a time when movies could, from time to time, talk up to their audiences instead of down. There's a lot of sex in this thing, but nothing sexy-even Liz Taylor's nude scene is clinical and off-putting.

Major Penderton (Marlon Brando) is a distant authoritarian, afraid of his wife, his own lustful urges, and just about everything life has to offer. His wife Leonora (Elizabeth Taylor) finds satisfaction elsewhere-sleeping with her husband's friend Morris (Brian Keith) and doting on her beloved horse Firebird. Morris' long-suffering wife Alison (Julie Harris) is a cracked shell of a woman whose sole pleasures come from her Grade A weirdo houseboy Anacleto (Zorro David, in one of the creepiest performances ever committed to film). While Brando, Taylor, and Harris were (and are still) big names, Robert Forster has remained a perennially underrated actor. Here he makes his big screen debut as an army Private with no sense of privacy-he plays peeping tom from right inside the bedroom of the Pendertons, and spends his spare time literally bareback riding.

The book was a scandalous masterpiece from author Carson McCullers, late of The Heart is a Lonely Hunter. Time Magazine thought it on par to Henry James' The Turn of the Screw; other reviewers offered similarly expansive praise. Director John Huston took on the screen adaptation at a time when Hollywood studios were increasingly given to experimentation.

Huston immediately tapped Elizabeth Taylor for the role of the selfish harpy who taunts other for their insecurities, and makes no effort to conceal her philandering. Not a glamorous role, but something one she could sink her teeth into. The role of her husband, a deeply closeted army major, was however more demanding both in dramatic and athletic terms. The studio feared that the ailing Montgomery Clift was not up to it, while Taylor was so adamant about Clift's inclusion she staked her own salary to insure him for the gig. Clift promptly died, throwing the entire production into disarray.

After burning through the likes of Richard Burton, Patrick O'Neal and Lee Marvin, Huston settled on Marlon Brando. Mr. Method Acting demurred, played hardball in salary negotiations, and ultimately delivered an extraordinary performance so fully realized that the only way you can even get this movie today is to buy it as part of the Marlon Brando box set!

The DVD in question presents the film in its originally intended form, with the colors bleached away and replaced by a sepia wash. The result is a golden-hued image, as if the world were indeed just a reflection in the golden eye of Anacleto's painting of a peacock (what that symbolism might mean, however, is left for the intrepid viewer to puzzle out alone). Audiences in 1967 found this baffling, and the studio abandoned the experiment-aside from the first week of its New York run, the film was never screened this way.

Understated colors, though, are as one with other understated directorial touches: important details are put in throwaway lines, shoved into the background of long shots, or otherwise minimized. The dysfunctions of the characters are not so much explored as clinically documented. Human lives and pain archived like so many butterflies pinned to a board.

Hand it to Warner Brothers' home video division to know how to market this in the modern day. Its ilk have all but disappeared from the screen, and it lacks the kind of name recognition that can move units of, say, Chinatown. So, it is packed into the well-programmed and affordable Marlon Brando box. The transfer is flawless, and it is accompanied by roughly 25 minutes worth of silent home-movie footage from behind the scenes that has been thoughtfully preserved for that rare handful of people who might care to watch.

For more information about Reflections in a Golden Eye, visit Warner Video. To order Reflections in a Golden Eye (which is only available as part of the Marlon Brando Collection), go to TCM Shopping.

by David Kalat

Reflections in a Golden Eye - Marlon Brando & Elizabeth Taylor in REFLECTIONS IN A GOLDEN EYE on DVD

To say that they don't make 'em like Reflections in a Golden Eye anymore is to imply that they ever did. Its ingredients alone promise decidedly unique pleasures: one oversexed self-absorbed bitch, one out-of-control control-freak, a neurotic housewife who performed a self-nipple-ectomy with pinking shears, a butt-nekkid soldier on horseback, an army fort too busy chewing up its own officers to be of any use in anyone's war. From its oblique title to its somber pace, this is an adult movie from an era now lost, a time when movies could, from time to time, talk up to their audiences instead of down. There's a lot of sex in this thing, but nothing sexy-even Liz Taylor's nude scene is clinical and off-putting. Major Penderton (Marlon Brando) is a distant authoritarian, afraid of his wife, his own lustful urges, and just about everything life has to offer. His wife Leonora (Elizabeth Taylor) finds satisfaction elsewhere-sleeping with her husband's friend Morris (Brian Keith) and doting on her beloved horse Firebird. Morris' long-suffering wife Alison (Julie Harris) is a cracked shell of a woman whose sole pleasures come from her Grade A weirdo houseboy Anacleto (Zorro David, in one of the creepiest performances ever committed to film). While Brando, Taylor, and Harris were (and are still) big names, Robert Forster has remained a perennially underrated actor. Here he makes his big screen debut as an army Private with no sense of privacy-he plays peeping tom from right inside the bedroom of the Pendertons, and spends his spare time literally bareback riding. The book was a scandalous masterpiece from author Carson McCullers, late of The Heart is a Lonely Hunter. Time Magazine thought it on par to Henry James' The Turn of the Screw; other reviewers offered similarly expansive praise. Director John Huston took on the screen adaptation at a time when Hollywood studios were increasingly given to experimentation. Huston immediately tapped Elizabeth Taylor for the role of the selfish harpy who taunts other for their insecurities, and makes no effort to conceal her philandering. Not a glamorous role, but something one she could sink her teeth into. The role of her husband, a deeply closeted army major, was however more demanding both in dramatic and athletic terms. The studio feared that the ailing Montgomery Clift was not up to it, while Taylor was so adamant about Clift's inclusion she staked her own salary to insure him for the gig. Clift promptly died, throwing the entire production into disarray. After burning through the likes of Richard Burton, Patrick O'Neal and Lee Marvin, Huston settled on Marlon Brando. Mr. Method Acting demurred, played hardball in salary negotiations, and ultimately delivered an extraordinary performance so fully realized that the only way you can even get this movie today is to buy it as part of the Marlon Brando box set! The DVD in question presents the film in its originally intended form, with the colors bleached away and replaced by a sepia wash. The result is a golden-hued image, as if the world were indeed just a reflection in the golden eye of Anacleto's painting of a peacock (what that symbolism might mean, however, is left for the intrepid viewer to puzzle out alone). Audiences in 1967 found this baffling, and the studio abandoned the experiment-aside from the first week of its New York run, the film was never screened this way. Understated colors, though, are as one with other understated directorial touches: important details are put in throwaway lines, shoved into the background of long shots, or otherwise minimized. The dysfunctions of the characters are not so much explored as clinically documented. Human lives and pain archived like so many butterflies pinned to a board. Hand it to Warner Brothers' home video division to know how to market this in the modern day. Its ilk have all but disappeared from the screen, and it lacks the kind of name recognition that can move units of, say, Chinatown. So, it is packed into the well-programmed and affordable Marlon Brando box. The transfer is flawless, and it is accompanied by roughly 25 minutes worth of silent home-movie footage from behind the scenes that has been thoughtfully preserved for that rare handful of people who might care to watch. For more information about Reflections in a Golden Eye, visit Warner Video. To order Reflections in a Golden Eye (which is only available as part of the Marlon Brando Collection), go to TCM Shopping. by David Kalat

Quotes

Cutting off her nipples with garden shears! You call that normal?
- Leonora
Well, the doctors say she's neurotic.
- Langdon

Trivia

The role of Major Penderton was extremely physically demanding, and the insurance company underwriting the production required proof that star Montgomery Clift was fit enough for the role, after his years of illness. Clift's long-time friend 'Taylor, Elizabeth' committed her large salary as insurance in order to secure Clift for the role. Clift subsequently died of a heart attack before filming began, and the role went to Marlon Brando.

Originally released in a version in which all scenes were suffused with the color gold, with one object in each scene (such as a rose) normally-colored. This was in reference to the houseboy's drawing of a golden peacock in whose eye the world is a mere reflection. But that version puzzled audiences, so it was withdrawn and a normally-colored version released.

Both Richard Burton and Lee Marvin turned down the role of Major Weldon Penderton before Marlon Brando agreed to do it for $750,000 plus 10% of the profits.

Notes

Filmed in Rome. In initial engagements, prints were specially treated so that color appeared washed out and sepia-toned. Later engagements featured full Technicolor prints.

Miscellaneous Notes

Released in United States 1996

Released in United States Fall October 28, 1967

Released in United States October 1996

Released in United States 1996 (Shown in New York City (American Museum of the Moving Image) as part of program "The Essential Brando" March 16 - April 7, 1996.)

Released in United States October 1996 (Shown at AFI/Los Angeles International Film Festival (AFI FEST All-Night Movie Marathon 1996 - On the Verge: Hollywood and the End of Censorship, 1960-1970) October 18-31, 1996.)

Released in United States Fall October 28, 1967