16mm SCOPE Feature Film "BAD TIMING" UNCUT EROTIC MOVIE Start Price USD 375.00 Current Price USD 375.00 Time Left - Bid Count 0 Buy It Now Price - Reserve Price - Start Time Tuesday, September 23, 2008 End Time Thursday, October 23, 2008 Location Long Beach, California See more about '16mm SCOPE Feature Film "BAD TIMING" UNCUT EROTIC MOVIE' Description This is an UNCUT, Very Good condition, vintage ORIGINAL 16mm, color sound CINEMASCOPE movie print of the entertaining 1980 erotic thriller-mystery feature length motion picture classic titled... "BAD TIMINGA Sensual Obsession" Director: Nicolas Roeg His terrifying obsession took them to the brink of death and beyond.Psychiatrist Alex (Art Garfunkel) becomes sexually obsessed with Milena (Theresa Russell), a woman whom he meets at a party. The pair become involved in an intense and mutually destructive love affair. The drama unfolds in a series of flashbacks, as Alex tells his story to police Inspector Netusil (Harvey Keitel) who is investigating Milena's apparent suicide attempt. Alex's obsession grows, but Milena stays slightly out of reach. Originally rated X, but somewhat toned down to accommodate an R rating, Bad Timing: A Sensual Obsession is an interesting exploration of the nature of sexual passion and jealousy. CAST: Art Garfunkel - Dr. Alex Linden Theresa Russell - Milena Flaherty Harvey Keitel - Insp. Netusil Denholm Elliott - Stefan Vognic Daniel Massey - Fop Dana Gillespie - AmyThe psychology of sexual obsession is artistically exposed in Roeg's masterwork.Art Garfunkel in his one great role as an American college psychology professor lusting after student Theresa Russell somewhere in Austria set in the late 70s. The camera work is amazing and keeps the same pace as the subtle plot lines and aesthetically deft sound score. Harvey Keitel plays a systematically intense police detective who has to unravel the near death of Russell following a harrowing sexual attack and drug overdose. Garfunkel is moody, and sophisticated, while never controlling as much as he is controlled by Ms Russell's ingenuous charms. Quite a psychological thriller, and a movie completely in it's own fresh mold. Anybody coming upon this film for the first time will find themselves drawn into the amazing weave which will entice them, and engage self-sexual questioning that is quite capable of opening one's own sexual subconscious. And, just for a treat. . . it almost seems as if every frame of this film is an art-piece in and of itself. When BAD TIMING: A SENSUAL OBSESSION emerged in 1980, its distributor dropped it like a hot potato. Sex! Surgery! Semen stains! Strippers rolling around on meshy overwire! It was all too much for the Rank Organization, a fading production empire with a long history of releasing family classics like GREAT EXPECTATIONS. When they saw the finished product, they labeled it 'a film about sick people, made by sick people, for sick people.'Deviant psychology is but one of the many twisted pleasures in this tragically neglected masterpiece from '70s visionary Nicolas Roeg. With iconoclastic films like WALKABOUT, DON'T LOOK NOW and MAN WHO FELL TO EARTH, Roeg pioneered a new kind of film language. He replaced traditional narrative storytelling with stunning photography, explicit carnality and a signature editing style of jump cuts, cross cuts and subliminal flicker cuts Mixmastered into a mosaic of multiple interpretations. (Unlike today's A.D.D.-inducing overkill, Roeg's fragmentary cutting technique always provided insight into character psychology.) To those of us weaned on art cinema in the '70s and energized by the limitless possibilities of the medium, Nicolas Roeg was (and remains) a god. No filmmaker since has picked up the maverick torch that this deity carried for more than a decade.Trying to encapsulate BAD TIMING's nuanced, character-driven plot is like describing Europe in a postcard. Essentially, it's about an eroticized interpersonal attraction that goes horribly awry, spiraling into jealousy, paranoia and (of course) sexual obsession. Theresa Russell's wild child Milena (the personification of Henry James' headstrong American girl abroad) is compulsively drawn to a fellow Yank stationed in Austria -- the buttoned-down, Freudian shrink/visiting prof Dr. Linden. Their passionate affair has led to a potentially tragic outcome, and it's up to a local police inspector (Harvey Keitel) to sort out what went wrong, why, and whether criminal malice was involved.What makes this relationship drama so compelling is Roeg's structure: the film starts in the middle, jumps ahead to the end, then back to the prologue within the first four minutes – and continues in a non-linear fashion until the final shot. It takes us viewers a while to get our bearing, but it also elicits our rapt attention to detail. Never are we certain if the cascading flashbacks are meant to be objective on the filmmaker's part, or the skewed perspective of one of the three main characters. Is Russell a victim, or a tramp? Is Garfunkel a creep, or is that just Keitel's projection? Is Keitel a sympathetic doppelganger, or a crafty manipulator? The stars turn in complex, though off-center performances. Keitel turns miscasting to his advantage; never has he underplayed 'menacing' like he does here. Garfunkel's lack of charisma will turn many viewers off, but he's 100% believable as a shrewd, unstable shrink. Yet it's Russell who's the revelation – those who subscribe to the lazy theory that she can't act will be astonished here. What she may lack in formal technique, she compensates with fearless commitment. Hers may be the most passionate performance by a 21-year old ever captured on film.Tony Richmond's widescreen photography is particularly rich in color and composition (the film's look was based on the art of Gustav Klimt). He shows us a Vienna that's cold, academic, clinical – but electric whenever Russell's on screen. There's a sequence in a university courtyard where he changes lenses, practically from shot to shot, to convey Russell's emotional collapse. (In the background, Keith Jarrett's 'Köln Concert' mourns her sad dilemma.) It's a heartbreaking passage, poetically surpassed only by the connecting shot of Garfunkel brooding through a polarized car windshield at daybreak. Frequently Richmond balances the stars' close-ups on the very edge of the screen, which is why the film's power is neutered on TV, where 2/3 of the image is lopped off. In that pan-and-scan atrocity, the screen is forever hovering on backgrounds and earlobes. This is a VERY RARE ANAMORPHIC print that requires a special CinemaScope lens for the proper WideScreen aspect ratio projection! This UNCUT, fair to good 1979 KODAK COLOR ORIGINAL printis mounted on three 1600 foot reels... all ready to project! There is no vinegar smell or warping!The image shown is for illustration only. With 11,700+ Positive Ebay Feedbacks, You may bid/buy with confidence.  Motion Picture Films ship via USPS Media mail within the USA. This service can sometimes take up to 20 business days for delivery. We will send via Priority mail for an extra charge at your request. If you want insurance, you must pay for it as we are not responsible for any loss or damage without it. We mail WORLDWIDE and can ship this feature film off reels and on plastic cores for only $42 to most countries... $30 to Canada or Mexico! Please check out my cool ebay store...click here for MORE movies ONLY listed thereand great film supplies! Place a Bid!