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Doctor Faustus (1967 film)
Doctor Faustus (also known as Dr. Faustus and Il Dottor Faustus) is a 1967 British horror film adaptation of the 1588 Christopher Marlowe play The Tragical History of Doctor Faustus directed by Richard Burton and Nevill Coghill.[2] The first theatrical film version of a Marlowe play, it was the only film directed by Burton or Coghill, Burton's Oxford University mentor.[3] It starred Burton as the title character Faustus, with Elizabeth Taylor appearing in a silent role as Helen of Troy. The film is a permanent record of a stage production that Burton starred in and staged with Coghill at the Oxford University Dramatic Society in 1966. Burton would not appear on stage again until he took over the role of Martin Dysart in Equus on Broadway ten years later. PlotUniversity of Wittenberg scholar Faustus earns his doctorate, but his insatiable craving for knowledge and power leads Faustus to try his hand at necromancy in an attempt to conjure Mephistopheles out of hell. Signing the pact in his own blood, Faustus bargains his soul to Lucifer in exchange for 24 living years with Mephistopheles as his slave. Mephistopheles proceeds to reveal to Faustus the works and doings of the Devil. Cast
Of the Oxford University Dramatic Society, Queen's College, Oxford, England:
With:
ReceptionReviews of the staged version in the British press were "less than enthusiastic", with critics commenting "a sad example of university drama at its worst", with an uninspired Burton "walking through the part". Taylor was "undeniably decorative, but there was nothing much to say about her acting ability".[4] The movie received a terribly negative review in The New York Times, Renata Adler criticizing the adaptation of the text ("the play has been quite badly cut"), Burton's performance ("he seems happiest shouting in Latin, or in Ms. Taylor's ear"), the score ("some horrible electronic Wagnerian theme music"), and Taylor's role ("in this last role [Alexander's paramour], she is, for some reason, frosted all over with silver—like a pastry, or a devaluated refugee from Goldfinger[5]"), reserving praise only for Teuber's performance ("one fine, very pious performance").[6] References
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