If you know the story of Dr Faustus, you'll know that's it's about a medieval man who sells his soul to the devilish Mephistopheles (Mephisto for short) in return for extra life. The Mephisto Waltz is a 1971 horror film which brings a similar story into a modern day setting. While moments of this psychedelic bloodcurdler are quite intriguing, other parts are downright risible. Alan Alda is clearly miscast in the leading role but the others do rather well, especially creepy Curt Jurgens and Barbara Parkins. And for once Jacqueline Bisset gets the chance to rise above her usual pretty-but-wooden presence, giving a strong (some might say career-best) portrayal as a woman caught up in something more sinister than she can comprehend.
Journalist Myles Clarkson (Alan Alda) once dreamt of being a concert pianist, but gave up his dream when his debut performance was heavily criticised. However, he still has extraordinary musical talent, and this is something that has not escaped the notice of a dying pianist named Duncan Ely (Curt Jurgens). Ely suggests an interview with Clarkson and the latter, flattered, is only too keen to oblige. But the reality of the matter is that Ely is actually a dedicated Satanist who plans to use occult magic to "switch" bodies with Clarkson when his inevitable death from leukaemia eventually occurs. As anticipated Ely soon passes away, but Myles' wife Paula (Jacqueline Bisset) quickly notices strange and inexplicable character changes in her husband. He is more aggressive and perverted in bed, oddly colder and crueller towards her, and full of renewed vigour towards his musical compositions. He also seems rather taken with Ely's daughter Roxanne (Barbara Parkins), making Paula feeling less and less wanted. Paula gradually pieces together the mystery with a little help from Ely's ex-son-in-law Bill (Bradford Dillman). She discovers the history of Ely's satanic practices and also learns that Ely had an incestuous relationship with his daughter a relationship he plans to renew now that he has taken over her husband's body. But Paula isn't prepared to accept defeat without a fight, and goes to extraordinary lengths to have her twisted revenge ..
The Mephisto Waltz has moments that are effectively eerie, such as a few shuddersome dream segments and a memorable sequence involving a masked ball, but more often than not it is rather predictable. The open-ended climax is also rather heavy-handed. I usually like movies with unusual and thought-provoking endings, but this one just seemed excessively hokey. The whole concept of Paula summoning the Devil to help her get her own back against Roxanne - by BECOMING Roxanne (!!) - spoils the film for me. Paula is the one character with whom we can sympathise throughout the film, but at the end she fights evil with evil and this strips away any audience appeal her character might bear. Jerry Goldsmith provides a suitably creepy music score, and the flashy cinematography of William W. Spencer generates occasional suspense, but on the whole The Mephisto Waltz narrowly misses the mark. While some will enjoy its dark playfulness and interpretable ending, others like myself will find it frustratingly underdeveloped.
Journalist Myles Clarkson (Alan Alda) once dreamt of being a concert pianist, but gave up his dream when his debut performance was heavily criticised. However, he still has extraordinary musical talent, and this is something that has not escaped the notice of a dying pianist named Duncan Ely (Curt Jurgens). Ely suggests an interview with Clarkson and the latter, flattered, is only too keen to oblige. But the reality of the matter is that Ely is actually a dedicated Satanist who plans to use occult magic to "switch" bodies with Clarkson when his inevitable death from leukaemia eventually occurs. As anticipated Ely soon passes away, but Myles' wife Paula (Jacqueline Bisset) quickly notices strange and inexplicable character changes in her husband. He is more aggressive and perverted in bed, oddly colder and crueller towards her, and full of renewed vigour towards his musical compositions. He also seems rather taken with Ely's daughter Roxanne (Barbara Parkins), making Paula feeling less and less wanted. Paula gradually pieces together the mystery with a little help from Ely's ex-son-in-law Bill (Bradford Dillman). She discovers the history of Ely's satanic practices and also learns that Ely had an incestuous relationship with his daughter a relationship he plans to renew now that he has taken over her husband's body. But Paula isn't prepared to accept defeat without a fight, and goes to extraordinary lengths to have her twisted revenge ..
The Mephisto Waltz has moments that are effectively eerie, such as a few shuddersome dream segments and a memorable sequence involving a masked ball, but more often than not it is rather predictable. The open-ended climax is also rather heavy-handed. I usually like movies with unusual and thought-provoking endings, but this one just seemed excessively hokey. The whole concept of Paula summoning the Devil to help her get her own back against Roxanne - by BECOMING Roxanne (!!) - spoils the film for me. Paula is the one character with whom we can sympathise throughout the film, but at the end she fights evil with evil and this strips away any audience appeal her character might bear. Jerry Goldsmith provides a suitably creepy music score, and the flashy cinematography of William W. Spencer generates occasional suspense, but on the whole The Mephisto Waltz narrowly misses the mark. While some will enjoy its dark playfulness and interpretable ending, others like myself will find it frustratingly underdeveloped.