Boom(in Hollywood Movies) Boom (1968) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream Boom on your mobile, tablets and ipads
Plot: Film version of playwright Tennessee Williams' "The Milk Train Doesn't Stop Here Anymore" involves very wealthy Flora 'Sissy' Goforth, supposedly dying, and living in a large mansion on a secluded island with her servants and nurses; into her life comes a mysterious man, Angelo Del Morte and "the… Runtime: 113 min Release Date: 26 May 1968
Well, this is certainly SOME kind of classic!I recently saw this film as it was meant to be seen, in a theater with a packed audience of Gay men and Lesbians and don't panic, some token Heteros too ! This was at the 2nd Annual Provincetown Film Festival, and this evening was hosted by John Waters. If I need to explain who he is, then forget EVER seeing this movie John Waters informed us that this was the movie that he shows to friends of his as his "litmus" test, if they don't enjoy it, he claims to never speak to them again! I'm inclined to agree.If you're a fan <more>
of camp, SEE THIS FILM! If you're a fan of Elizabeth Taylor, SEE THIS FILM! If you're a fan of Joanna Shimkus, well I don't know what to say then, except congratulations! You're the first one! although, she is great in this movie What more can you say about a film that has Elizabeth Taylor decked out in Kabuki-Vegas drag holding an intimate bitchy dinner party with an aged and drunken Noel Coward in a role written for a woman, and first offered to Katharine Hepburn! To watch Miss Taylor in action, is to behold a true screen legend fully embrace her diva acting self. She lets rip with such abandon and power, she manages to wipe everybody else off the screen, including HERSELF!While Richard Burton, Noel Coward, Joanna Shimkus, and Michael Dunn of Ship of Fools and Wild Wild West[tv version, please!] fame manage to deliver the goods in this Tennessee Williams free for all, it is the incredible Miss Taylor who grounds this late 60's arthouse flop, and manages to transcend it's failing qualities, to make it a screen orgy of bad taste and over the top drama!Try and keep a straight face during Miss Taylor's prolonged coughing fit on the balcony! I thought I was going to be sick just watching her hack up her lungs. Watch Richard Burton somnambulistically maneuver his way through a role played on stage by Tab Hunter! I can't help but think, that this film might have actually been pulled off as a straight drama with the original casting of Simone Signoret and Sean Connery! We lovers of camp and all things over the top should revel in this failed artistic masterpiece!This film gets a 10 Star rating as Camp, and a 4 Star rating as anything else!endnote: Where is the DVD/Video release of this film????!!!!!!
Divinely bonkers and cries out to be on video (by NeelyO)
Where to begin in discussing the rococo lunacy of this ill-fated project? Would it be Tennessee Williams' overripe script "My heart beats blood that is not my blood, but the blood of anonymous donors" ? Elizabeth Taylor's screeching performance "S*** on your mother!", she yells at a clumsy servant ? Richard Burton's near-catatonic recitation of the title, or his reading of Coleridge's "Xanadu" which Taylor interrupts with a "HUH?" ?Director John Waters' favorite movie he calls it "failed art" and, thus, <more>
"perfect" is a non-stop laugh riot, and since "Boom!" is not available on video, you owe it to yourself to catch it on screen on those rare opportunities when it is presented. The LA County Museum of Art recently screened it as part of its celebration of the Noel Coward centenary -- despite the fact that Mr. Coward appears in it for about 10 minutes -- and it drew hearty laughs throughout its seemingly interminable running time. So loony, so overdone, so 1968, this one's a camp classic.
That's right . . . BOOM! This movie had such a loathsome reputation that I had to watch it, and I must say, it didn't disappoint. Ghastly as it is, "Boom!" is a great cautionary tale. Lesson 1: fame takes its toll. Poor Liz Taylor was only in her mid-30s at this point, and still more voluptuous than fat. But decades of stardom had warped her personality, and a long career of "erotic vagrancy" had rendered her an overexposed self-parody. Therefore, she is tragically convincing in "Boom!" as a shrewish, washed-up old hag. Her performance is shrill, <more>
monochromatic and dreadful, but her persona was so close to her character that any acting is gratuitous. Lesson 2: homosexuals, even brilliant ones, wind up in exile. To watch Noel Coward, as a character idiotically named "the Witch of Capri," being toted up the beach on the shoulders of a beefy manservant is to watch the tragic end of a stellar career. It's an image that resonates with Oscar Wilde's sad decline from a widely acclaimed wit to a sick, broke ex-convict, Truman Capote's deterioration from literary genius to silly talk-show guest, or even Coward's downward journey from Shaftesbury and Broadway to the Vegas strip, and this lousy cameo. Lesson 3: at some point you have to stop trading in on your name and give up. Tennessee Williams wrote a handful of classic plays, and dozens of dreadful ones. "The Milk Train Doesn't Stop Here Anymore," which is the basis for "Boom!", must have been his tenth failed attempt to retell the story of "Streetcar Named Desire:" a young stud stirs the passions of a vulnerable woman subtext: gay man with dire results. And Lesson 4: a rich voice and a regal bearing doth not an actor make. Richard Burton is ugly and pompous here, all the moreso for appearing oblivious to the fact that he's far too old for the role of a sexy, dangerous young poet. Coward seems more his peer than his potential corrupter: when Coward propositions Burton by inviting him back to his island, you think he's suggesting they catch the Early Bird Special at Denny's. In fairness, it's hard not to be ridiculous in a film that asks you to say "Boom!" every few minutes, apropos of absolutely nothing. But Burton, one of the most mannered actors in history, says "Boom!" with the smirking self-satisfaction he brings to every role. "Boom," "I have a talent for disaster" or "that wasn't very nice, Martha," it's all the same. It's all Burton, and it's all horrible.
`Boom' is a blast! This is one of the most fun of the Burton - Taylor films. "Boom" is also a gassy misfire that draws one into the veiled world of aging homosexual desire disguised as a heterosexual struggle between an aging, dying woman and the unattainable youth in the angel of Death.This is story wearing a beard. Taylor's role is really that of an aging rich gay man who is trying to hang on to youth and the beauties that great beauty attract. After all, her name is `Sissy'. Burton's role is that of the hustler who is all that is left for the old queen to attract. <more>
But as with so many Williams works it all must be encrypted and coded so that the America of the late 50's and early 60's could handle his true intentions, the soft underbelly of his plays. Burton is too old for the role that was written for a man in his twenties and Taylor is too young and too healthy looking to be the dying Sissy. But despite that, the story of a struggle of great wealth against the inevitable grows from loopy strangeness to a compelling and moving ending. Here Taylor gives one of her oddly finest post Virginia Woolf studies in a dramatic/comic performance. There is in fact so much subversive humor in her performance that she is at times hilarious. Her vocal range dances from the shrill to the silly to the grand dame and all to serve her imperious and ultimately terrified Sissy Goforth. In the last desperate half hour of the film she does some of her finest work. Burton is rather cool and distant at first but builds his Angelo De Morte into a truly fine character study. In particular, listen to his fine delivery of the speech about the old man in the sea.Particular note should be made of the cinematography, which is gorgeous, and the stunning sun washed bone toned opulent glamour of the sets. I understand that the Burtons owned the house in Sardinia for a while after the film was completed. The spare and haunting score by John Barry is an added delight to his impressive repertoire. And for you jewelry fans there is plenty of Miss Taylor's own jewelry on hand. So get out your copy of `My Love Affair With Jewelry' my Elizabeth and thumb along as she parades her diamonds in the Mediterranean sun.Campy? Yes! Great? Maybe we will know about that in another 40 years. Is it worth your time? Only if you like a challenge and are willing to let the Burtons take you into the world of Tennessee Williams camp classic.
I LOVE LOVE LOVE "Boom"!It is so over the top that every time I see it I literally howl with amazement. Elizabeth Taylor's costumes are eye-popping. Granted, Burton is too old to really be taken seriously, but then the whole film is such a whoop! that you can't take it seriously anyway. I would highly suggest seeing this film if you are a lover of overdone melodrama and just plain ridiculous fun. BOOM! The whole scene where Taylor serves a hideous fish to Noel Coward is incredible. I also thought that the set was incredible to look at. It's stark yet lavish at the same <more>
time. Why don't I know anyone like these characters? BOOM!I say.
I watched this film last night on YouTube after reading about it. This morning I re-watched the ending. There's a lot going on with the acting, and I think Williams' screenplay is quite good.The weakest link for me was Noel Coward...I guess I expected a bit more depth out of him. He seemed like he had another interpretation of the story, rather different from what Taylor & Burton were trying to accomplish. Sidney Poitier's wife didn't have much to do, and I figure her role was de-emphasized so the focus would remain on the lead stars.But for the most part I really enjoyed <more>
it. It sort of flows from CLEOPATRA in terms of the Italian architecture and on-location filming. And it also flows from VIRGINIA WOOLF in terms of Taylor's performance. Plus I think some of the outdoor stuff takes its cue from THE SANDPIPER. It's like everything they had done before made its way into this film. They combined those elements and applied it to Williams' writing.As for Williams, I'd say BOOM The Milk Train Doesn't Stop Here Anymore is an extension of THE ROMAN SPRING OF MRS. STONE. Sissy Goforth seems like she's meant to be an older, sicker, lonelier, more desperate version of Mrs. Stone. And Burton's character, the angel of death, is one of those men who come in at the end of Mrs. Stone's life to provide comfort yet take advantage. Actually, I think there's an unexplored backstory with Burton's character. The speech where he talks about helping an old man die in Baja California gives us a glimpse into what his earlier life was like.
Liz Taylor plays a consumptive wanna-be duchess in this mess from the 1960's. Its based on a play by Tennessee Williams called "The Milk Train Doesn't Stop Here Anymore" which starred Tallulah Bankhead and Tab Hunter on Broadway. I can't imagine it either, but somehow Taylor and Richard Burton were cast in their roles. Maybe because everything was offered to them in the event that they'd take it; I wonder if they turned down 'Guess Who's Coming to Dinner' but then no one would believe they'd have had a daughter old enough to marry Sidney Poitier, or <more>
'Planet of the Apes', or 'Rosemary's Baby' but then no would would believe Liz is still fertile. She could've done the Ruth Gordon part..maybe..but that was supporting..Anywho, the movie is a little hard to watch if you're not drunk. Liz wears some lethal headwear; I wonder if everyone's insurance covered accidental death. She barks her lines, her accent varies and its all better unsaid. When she and Noel Coward started BARKING and speaking in BABY TALK, either I lost my mind or Williams did. Liz lives in a place any Batman villian would envy. Her wardrobe is all in white. There is a close-up of her gorgeous eyes - this was the best thing I got from the movie, the validation that her eyes really are like no one else's. So is the movie..the man that made the classic "The Boy With Green Hair" is responsible for this too? He also worked with Liz again in "Secret Ceremony" where she is surrounded by co-stars Mia Farrow and Robert Mitchum in another confusing picture. Gotta make sure I miss that one. PS. The Broadway version supplied another bon mot from the Bankhead camp - when someone asked her if Tab Hunter was gay, she said "I don't know, he never s---ed my ----!" God, I would have loved to be a fly on that wall, that day.
1968! That year again and here's another major oddity thrown up for all to enjoy. You will read all about the 'camp classic' claims and that John Waters uses it to assess whether he can be friends with someone. All good stuff but and then some of these 'fans' sit and hoot with laughter at every line. No need to worry, this is fine. More than fine it is really good. Tennessee Williams, the writer, can be somewhat overwrought and melodramatic but here, whether due in part to director, Joseph Losey or simply to the main couple, that is not a problem here. Indeed, Noel Coward <more>
and Joanna Shimkus are good but it is the central performances of Taylor and Burton that ensure classic status upon this film. The script is not quite 'Who'se Afraid of Virginia Wolf?' but these two performances pretty much are. Taylor especially seems to revel in displaying her range and simultaneously amusing, annoying and thrilling both us and Burton's character. I understand that the Taylor part was written as a dying gay man and even Coward's part as a woman but it all works well like this and as I intimated earlier might well have been just too much for this tale of dying and the vanity of the living to be delivered undiluted.