yennta but fast-forwarded quite a lot. Somewhere there's a Roger Ebert review that is right on the money and hilarious. It was called "The Public Eye" when I saw it on Sundance channel. It was endlessly talky, and I think it might have been a stage play. It was a kind of paint by numbers fey love story. Mia Farrow who's often beautiful and wistful was skeletal and actually scarier than she was in Rosmary's baby. Especially when she danced! These were the deadliest of stock characters, the stuffed shirt husband, the waifish sincere sensitive free spirit, and Topol as the earthy Real Person who helps everybody find him and herself. Ebert described him as Zorba in a lab coat. Dumb dumb dumb. Why did I watch all the way thru? "Cause I'm old and got to look again at the tail end of the 60's?

LCShackley Topol's horrible 70s outfits aren't the only dated items in this movie. The biggest is the plot: stuffy husband must learn to loosen up to please free-spirit younger wife. Ho-hum, haven't we seen that a hundred times? And can't we see the ending coming about 30 minutes into the film? The acting is fine enough: Mia Farrow is the right type for the waif/wife, Michael Jayston is suitably stuffy as the husband. Topol seems an odd choice to play a Greek detective, except for the fact that he was a hot property right after FIDDLER and casting directors assume that all Mediterraneans look the same.John Barry's score is one of his worst. The theme is tepid and sung by what sounds like bad karaoke singers. The whole production suffers from being a very talky play "opened up" for the screen. What this means is sitting through long dialog scenes occasionally spiced up by long London montages (which are fun to watch for the scenery value).Of special interest is seeing an under-40 Annette Crosbie in a bit part, and in a WEE little bit part, Ann Way (playing a ticket taker). She was a regular on RUMPOLE OF THE BAILEY as Mrs. Rumpole's friend Dodo Mackintosh.

cs241935 Everything the two previous viewers have said about this film is on the mark. The direction, the performances, the photography and editing, the subtle score, and the play / screenplay by Peter Shaffer--all are superb. I would add only one point: Shaffer has done a clever variation / reversal on the Orpheus-Eurydice myth, with Jayston as Orpheus, Farrow as Eurydice, and funniest of all, Topol as Pluto, private eye, public eye, king of London, king of the underworld, and, and, and.... That the detective's raincoat is "white" is indicative of Shaffer's sense of humor. I suspect that this is one of those films that will reveal something new to the viewer each time s(he) views it. It is now being shown on the Sundance TV Channel, where I came upon it by accident.

humbleradio Right from the start, I wish to say that this is a wonderful film. I caught it on cable television here in Tokyo several years back. Like so many others remarked in their own circumstances, the film just "accidentally" presented itself. Willing to give it a chance, I kept it on for a few minutes. When I heard Michael Jayston's comically sarcastic comments in the opening scene, and the magical Topol "hiding" in his office, I was certainly hooked. Hal Wallis produced, Carol Reed directed. If that weren't good enough for most film buffs, add John Barry to the list of those involved in this gem of a film. That's right, the same Barry who scored all of the great Bond films. You can hear his signature strings and brass right from the panoramic opening title sequence of London from the air. "Everything's got to be earned."The story is laid out as an explanation, a highlighting of the history of a couple to a private eye hired to investigate an alleged infidelity. Very cleverly done. "Who's Aldous Huxley?"The film touches on those precious difficulties couples face when both partners stem from different backgrounds. As an American living here in Tokyo for many years, I can deeply empathize with the situation portrayed in the film. "I don't much care for Tuesdays."Mia Farrow is captivating as the young American living in London. Michael Jayston is marvelous as the upright British accountant. As the "Public Eye", Topol is as addictive to the viewer as his character is to macaroons."He who locks his door locks his heart."London is featured in all its bygone glory. I was impressed with the raw freshness of the street scenes. These are slightly reminiscent of the work of Richard Lester and his "mod" style of filming actual Londoners in action, such as in "The Knack" or "Help". Here, Barry's scoring of "The Public Eye" made these whimsical scenes a pure treat. Nothing less than soul moving cinematic moments are in store for you.There is a charming, nice touch thrown in: a tip of the hat to Peter Cushing and Christopher Lee and their work in Hammer Films. I understand it is difficult to get a copy of this film. The fact that it was shown on Japanese television at least, means that good prints exist and are out there. Luckily, I was able to record it when it was shown again in that same week. "The Public Eye" or as it is also known, "Follow Me", is a truly marvelous film. See it.Addendum: A little bird told me the above version, recorded from Japanese TV, is online at Google Video.