Beautiful blue-eyed Julie Christie (as Catherine Morelli) flies to Geneva for the latest wedding of father Adolfo Celi (as Max), who pronounces himself healthy enough for ten wives. Papa promises Ms. Christie might meet her ideal man - tall, dark, and handsome Michael Sarrazin (as Gregory Mulvey). So, Christie goes "In Search of Gregory". First, she re-connects with brother John Hurt (as Dan). After Christie's bra and panties scene, she listens as Mr. Hurt relates how Mr. Sarrazin's "Gregory" gave him a driving lesson.This hair-raising driving sequence features Sarrazin climbing out of the speeding car's passenger seat, climbing over the windscreen, and crawling back in to take over for frightened driver Hurt. You probably should NOT try this trick at home, but it's fun wonder how it might work… anyway, it occurs about 20 minutes in, and is the highlight of the movie. Unfortunately, after this exciting introduction, Sarrazin's "Gregory" is made lame, Hurt turns from scared to lost, and Christie simply models chic outfits until a slightly picked-up ending.***** In Search of Gregory (11/69) Peter Wood ~ Julie Christie, Michael Sarrazin, John Hurt, Adolfo Celi

Well, I have always loved this movie. I saw it on TV as a youth in the early 70s. I ached to see it for decades afterward. I was thrilled when the Romance Channel played it a few years ago. I love the music in it. I wish they'd made a single of the theme song. I also like seeing the 60s European scenery. I originally saw it because I was a Michael Sarrazin fan. Because of it I came to be a fan of John Hurt. I've enjoyed watching John Hurt age and become a big star afterward. I also appreciate Julie Christie too. And I like Adolfo Celi! He just brightens up the whole thing. Don't be dissuaded from watching this. Check it out and form your own opinion.

The always appealing Julie Christie and a very young John Hurt help this otherwise unworkable curiosity. It starts off badly with Brit pop star Georgie Fame warbling a second-rate ballad over the opening credits with a remarkably off-key voice. We begin with Julie Christie in Rome getting an invitation from her father to attend his fifth wedding (taking place in Geneva). But I must admit the invitation is delivered in one of the most bizarre bits I've ever seen or heard of. The invite is on a recording in the shape of a large postcard, and for some reason, Christie's friend has a turntable in the dashboard of his sports car, and he plays the postcard for her. It's so odd it's almost worth catching the film for this alone---and since it's in the first scene you can skip the rest of the movie.And the rest of the movie fumbles its central premise: Christie becomes obsessed with a man she never meets, the title character. Too bad he's embodied by the Lurch-like dullard Michael Sarrazin. This character should be dynamic and charming and all the things a woman like Christie's character should fantasize about, not a vacuous lump like Sarrazin. His casting sinks the film. If anything, it would've been better to have made Christie the object of a man's obsession---now that would be more believable. Still, it's a nice idea for a set-up, as the stories of Gregory mount up and turn him into a Harry Lime-like mystery man. But the confusion starts early as Christie sees a poster of Sarrazin at the airport and for some unknown reason seems to think that is Gregory (or is she already half-delusional and the film is really about a neurotic young woman?) This continues throughout as she fantasizes about Gregory with Sarrazin's face, even though there is no definite determination that Gregory looks like her Sarrazin-shaped mental picture (we never see the real Gregory). Then, as an illogical late-movie trick, she runs across Sarrazin at the airport and thinks it's Gregory (as do we) and takes him to bed. Turns out he's NOT Gregory, but a complete stranger, yet he looks just like the picture of Gregory in her head. That's the kind of weird idea that could work in a novel, but on film is all wrong. As is this film, including a second helping of Georgie Fame at the end, continuing his off-key warbling. Incidentally, this film was partly made by Universal Pictures U.K. branch but obviously looked like such a dud that Universal in the U.S. never gave it any kind of release here. No loss to cinema.

So much promise, so little delivery. Considering how much talent was involved in this production, one would expect a great deal more--but there are precious few highlights in this muddled Euro flick. Julie Christie looks good but barely breaks a sweat, Adolfo Celi over-emotes, Michael Sarrazin phones in his performance, and only John Hurt seems to be making much of an effort on camera. None of them are done any favors by Tonino Guerra's bloodless screenplay, and the photography of Otto Heller and Giorgio Tonti is unimaginative at best. The print currently airing on Sundance also seems washed out--the film looks like it was shot in Eastmancolor, but wasn't--and Georgie Fame's theme tune is genuinely wretched. Is there anything here to recommend? Well, Hurt is good, but his character is peripheral to most of the action, and Ron Grainer provides some good music for a bizarre recording sequence that imagines the title character as a wacky hybrid of composers Harry Partch and David Whitaker. Only recommended for hardcore admirers of la Christie.