Scott LeBrun "Harlequin" a.k.a. "Dark Forces" offers up an interesting, provocative story that is essentially a 1980's updating of the real-life Rasputin legend, in which a mysterious stranger, here named Gregory Wolfe (Robert Powell) works his way into the lives of a powerful senator, Nick Rast (David Hemmings), his wife Sandra (Carmen Duncan), and their leukemia stricken son Alex (Mark Spain). He does this by seeming to cure the boy of his disease, and before long Sandra, whose marriage to Nick was an arranged one in the first place, develops a substantial attachment to the man. For much of the time, as this story plays out, screenwriter Everett De Roche (whose other cool credits include "Roadgames", "Razorback", and "Patrick") and director Simon Wincer (who went on to have a career in Hollywood with movies such as "D.A.R.Y.L.", "Free Willy", and "The Phantom") keeps things nicely ambiguous: What really are the intentions of Mr. Wolfe? Is he angel or devil? Did he in fact cure the boy? And are there genuine supernatural forces to be reckoned with here? The political angle also adds to the intrigue as we are eventually made to think about who is truly manipulating whom. A solid cast - also prominently featuring the legendary Broderick Crawford in one of his final film roles, as well as Gus Mercurio, a busy actor in Australian cinema, makes the most of the material, especially Powell, who definitely seems to be quite enjoying himself. Hemmings is effectively low key while Duncan has a warm and alluring presence and young Spain is rather good as the weird kid. All in all, the movie is good enough that some awfully cheesy special effects can be tolerated. In any event, the movie never becomes ABOUT the special effects, so it's not that important anyway. Excellent widescreen photography and a wonderful music score by the always reliable Brian May are heavy assets. The ending, which may not be terribly satisfying to some, is admittedly more subtle than one might expect. And De Roche, Wincer, and company know how to keep the element of mystery going the entire time and leaving an intriguing concept of "what next" as it wraps up. Overall, "Harlequin" is intelligent enough, and too ambitious to be easily dismissed, and is worth a look for film fans looking for something a little different. Seven out of 10.

Coventry Despite a potentially rich premise and the presence of David Hemmings (a personal favorite of mine) , this was a rather disappointing and overly confusing film. The plot more or less is a bizarre re-working of the Rasputin legend and revolves on a charismatic magician who infiltrates in a political family to cure the son of his leukemia, but then continues with interfering in the husband's career as a replacement-senator. This terrifically mystic idea is pretty much ruined by a bad script, a whole lot of supernatural mumbo-jumbo and a wooden performance by Robert Powell. I was hoping to see some exciting horror effects and eerie make up but "Harlequin" is very tame and lifeless. David Hemmings is okay, and so is the young actor Mark Spain. Especially after his cure, he turns into a spooky and mysterious little brat. In short: this easily could have been one of the most ingenious fantasy-tales of the eighties but it became a failure instead. Director Wincer went on directing less ambitious and more comic movies such as "Harley Davidson and the Marlboro Man", "Free Willy" and "Crocodile Dundee in LA".

dbdumonteil Intriguing supernatural thriller which keeps -at least till its last sequences -special effects to the minimum and mainly relies on Robert Powell's fascinating presence -whatever you think of Zephirelli's work,you cannot deny he was perhaps the best Jesus on the screen- and the rest of the cast follows suit.Actually the little boy's and Powell's relationship reminds me more of that of Damien and his sinister nanny in "the omen" (see their power on animals) than Rasputin and the czar's son.But Sandra 's behavior is Alexandra's under Grigori the monk's spell.And their surname,"Rast" is "tsar" backwards!Rasputin's motives were mysterious ,and he moved in a political world where his influence was huge when it came to ruling the country .Wolf's reasons why constantly elude the viewer's perception,and it justifies the hints at comedia della arte and Harlequin :like Rasputin ,he tried to open his master's eyes.Rasputin's death has remained even today wrapped in mystery :poison (but documents were found which would tend to prove poison was not efficient and that the killers -Iusupov and Dimitri- were amateurs.) then the gun (four shots in the back),but when they found the dead body in the frozen river,they had to admit he did not die of his wounds.Hence the conclusion of the movie which would pass for another "Friday the 13th" rip-off ,if history were not here.But connections with "the omen" remain:Powell trying to enlighten the senator is not unlike the priest trying to persuade Peck his son was evil;both movies take place in the political world.And the last pictures of the two movies are very similar.Watch it:although by no means a masterpiece,it's above average and would deserve a better rating.

simon-118 harlequin is a fun film and very entertaining. It's problem is that it seems to get a bit confused as to what it's all about. Robert powell, one of the most underused talents of modern times, shies as Wolfe, and there are some excellent moments exploiting his strengths, such as those intense blue eyes and angelic yet sinister demeanour. A scene at the start with Powell as a clown is particularly intriguing. The Rasputin illusions are noticeable, but here is where the film's weakness lies. Unlike Rasputin, who was gaining control of the affairs of no less than the Tsar of russia, Gregory wolfe hewre seems to be fascinated by a minor Australian politician, and when we can see what he is capable of himself one can't help thinking that Nick must seem a rather trivial target for his talents. It would be interesting to speculate that unlike us, Wolfe can see that nick will become important in the future and therefore warrants the attention he is being given but there is no attempt made in the film to explain this. Wolfe's relationship with Sandra is equally baffling, veering at random from rejection to seduction. The locations are generally rather dull and the film looks cumbersome, there being little elegance in the composition, all muddy colour and blocks of contrasting images, like a 70s American commercial. But on the plus side, the story keeps one intrigued, Powell is fascinating, his appearance in the window, distorted, is superb, and the final scene with Hemmings at his mercy in the house is pretty chilling. Certainly a good discussion can ensue after viewing for those in the mood!