In a bold coup a Palestinian terrorist group captures the yacht Rosebud and kidnaps the millionaires five daughters on it. At first they demand film clips to be shown on major European TV stations. Undercover agent Martin is hired to hunt the terrorists down.
Unternehmen Rosebud, Operazione Rosebud, Desafío al mundo, Бутон розы, Setembro Negro, Operation Rosebud, 로즈버드, Rózsabimbó, 玫瑰花恋
USA
USA
“I can remember the feel of the place.”
After seeing a pic of Isabelle Huppert and Kim Cattrall in this film on the internet, I naturally HAD to see it (especially after finding out it was directed by Otto Preminger).
It is a total mess, starting from the beginning when a ton of women are topless for no reason (it occurs during an essential crisis which can be ascertained from reading the summary, but I don't want to spoil it here). Two years before Isabelle Huppert's breakout performance in The Lacemaker, Otto Preminger had the foresight to cast her. It seems Huppert was still learning English as well as acting, which makes her future performances all the more incredible.
After…
Na última vez em que fui a Portugal, numa conversa com o Miguel Marías, concordamos que, mais do que qualquer outro filme do Preminger, Rosebud representa a quintessência da ideia de que não há nada além da mise en scène.
E, no entanto, concordamos também que alguma coisa não parece certa com o filme, que se sente que algo não está ali, algo não funciona.
Não pode ser a mise en scène, que é perfeita, um trabalho de depuração sobre os blocos, de condensação das matérias e dos ritmos e das lacunas entre as matérias que faz pensar no que o Viota fez em Contactos, o Pialat em Maison des bois e Van Gogh, o Chabrol em La cérémonie.
Não…
I'll never get tired of Preminger's scope frames or Peter O'Toole loutishly sauntering around, but this is still a pretty dry cracker, and its politics of terrorism are predictably reductive and skewed.
there should have been a punk band called Richard Attenborough Jihad
not about a clitoris
So, apparently only 36 other people on Letterboxd have seen this, which is pretty nuts -- but I guess it make sense seeing as Rosebud is apparently widely considered to be the nadir of Preminger's career, a sentiment that I disagree with. It's easy to see why a lot of people didn't like the film upon release, as its style is unabashedly Classical Hollywood, the antithesis of the dark and gritty values of 1975's New Hollywood. But, Rosebud is good. The film makes an excellent case for the style. It allows the romantic and comedic elements to be seamlessly integrated into an otherwise heavy film, something that plenty of more superficially serious films struggle with. The preoccupation with wealth and…
A very dull film that tries desperately to rely on something such as O'Toole's charm or Huppert's beauty in order to give it something to chew on, but Preminger's demiurgy and the flawed script get in the way and makes whatever qualities the film might have had unable to come to life. It reminded me a bit of some of Fleischer's worst output (films such as Ashanti come to mind), where a clumsy dryness makes the intended effects of each idea very visible while rendering them completely inert at the same time.
What an oddly acted confusing thing this is. Each performance comes across as a first-time audition or table read. Even globetrotting Peter O’Toole seems to be playfully rehearsing (likely in between sips of brandy and dirty jokes). I expected to see scripted dialogue and character cues taped to walls in certain scenes so the wooden actors don’t botch their lines. Emotions and stakes are written in, they’re just never sold.
Rosebud is a difficult one for me to recommend but I’d be lying if I said I wasn’t interested in seeing how it all wrapped up. Well shot, it looks great and there are some beautiful exterior shots but, man, is this slow as molasses. It’s way too long but…
Oh dear.
Rosebud is a 70s political thriller made by classic era director Otto Preminger and with a whole A-list cast behind it. A yacht known as the Rosebud is taken over by Palestinian militants who take the five heiresses on board hostage and promptly send out terms to the West. An agent is sent out on the case to deal with the situation and bring the girls back home safely. Not the worst premise but unfortunately, by 1975 Preminger was far into his zombie era, living off the fumes of past successes and having gone a long time since he'd made a good film (even longer since he'd made a great one). That said, even by…
Peter O’Toole and Isabelle Huppert co-star in a 1975 Otto Preminger political thriller. Pre the IRL kidnapping of Patty Hearst, Huppert plays one of five rich teens who get kidnapped by the Palestinean Liberation Army, Peter O’Toole the CIA man tasked with tracking the terrorists down, and yeah after she’s the first of the hostages released, there’s a few scenes that establish she wants to fuck him, but despite this being made in the seventies, the older man/younger woman sex fantasy is not indulged! Maybe because the screenplay was written by Preminger’s son, who was only 31. This film was brought to my attention by Melissa Anderson at 4Columns, who also points out the very eerie coincidence of how Hearst…
Earliest thing I've seen Isabelle Huppert in. Unfortunately it's a total disaster of a thriller in the typical late-career Preminger fashion. I have to admit I was at times entertained by how bad it was, but 2 hours is definitely a bit excessive for that purpose.
Tout ce que je sais sur Rosebud, je crois que je l’ai pogné dans des livres de flops ou de "bad movies" publiés dans les années 70 alors que son échec cuisant était encore très récent. En 2022, tout le monde se câlisse de Rosebud et personne ne le mettrait dans quelconque liste de films, bons ou mauvais. Je m’attendais donc à une vraie daube all-star de type The Swarm, ce que Rosebud n’est pas. Une autre chose que Rosebud n’est pas, c’est un bon film.
Le scénario est décousu au possible — il y a 46,000 personnages qui sont impossibles à différencier les uns des autres, le ton change radicalement entre les sections du film passant de très dramatique…
