Bedazzled | |
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Bedazzled 1967 film poster |
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Directed by | Stanley Donen |
Produced by | Stanley Donen |
Screenplay by | Peter Cook |
Based on | story by Peter Cook Dudley Moore |
Starring | Peter Cook Dudley Moore Eleanor Bron Raquel Welch |
Music by | Dudley Moore |
Cinematography | Austin Dempster |
Editing by | Richard Marden |
Distributed by | 20th Century Fox |
Release date(s) | December 10, 1967(US) |
Running time | 103 min |
Country | UK |
Language | English |
Budget | $770,000[1] |
Box office | $1,500,000[2] |
Bedazzled is a 1967 British comedy film directed and produced by Stanley Donen. It was written by and stars Peter Cook and Dudley Moore. It is a comic retelling of the Faust legend, set in the Swinging London of the 1960s. The Devil (Peter Cook) offers an unhappy young man (Moore) seven wishes in return for his soul, but twists the spirit of the wishes to frustrate the man's hopes.
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Stanley Moon (Moore) is a dissatisfied introverted young man who works in a Wimpy's restaurant and admires, from afar, the waitress Margaret (frequent Cook and Moore collaborator Eleanor Bron). Despairing of his unrequited infatuation, he is in the process of an incompetent suicide attempt, when he is interrupted by the Devil himself, incarnated as George Spiggott (Cook). Spiggott is in a contest with God, trying to be the first to gather 100 billion souls. If he achieves this first, he will be readmitted to Heaven.
In return for his soul, Spiggott offers Stanley seven wishes. Stanley consumes these opportunities in trying to satisfy his lust for Margaret, but Spiggott twists his words to frustrate any consummation of desire. On the last occasion, he reincarnates Stanley as a nun in a convent: whilst being specific about nearly every other aspect of the wish, he has forgotten to specify his gender and vocation, and Spiggott mischievously takes full advantage of that.
Spiggott fills the time between these episodes with acts of minor vandalism and petty spite, incompetently assisted by the personification of the seven deadly sins, notably Lust (Raquel Welch) and Envy (Barry Humphries).
Meanwhile, Margaret finds the noose from Stanley's suicide attempt, as well as his suicide note, and accompanies a police inspector looking for signs of Stanley's corpse. The police inspector also seems to be interested in seducing Margaret, and is dismayed by Margaret's sudden interest in Stanley after his disappearance. He is a largely amoral character who searches for evidence of Stanley's suicide only so he can seduce Margaret.
Ultimately, Spiggott spares Stanley eternal damnation out of pity (and because he has exceeded his quota of 100 billion), and Stanley returns to his old job, wiser and more clear-sighted. Spiggott then goes to Heaven to meet God, but is rejected again, and St Peter explains that when he gave Stanley back his soul, Spiggott did the right thing for the wrong motive (making himself feel better than someone else).
In the closing scene, Stanley and Margaret are back in the restaurant. Stanley asks her out, but she says she has plans. Spiggott tries to entice Stanley again, but Stanley turns him down. Spiggott leaves and threatens revenge on God by unleashing all the tawdry and shallow technological curses of the modern age:
Initially, the film met with mixed reviews in the US. Roger Ebert, in a review written early in his career, compared the film's humour to that of Bob and Ray. He called Bedazzled's satire "barbed and contemporary ... dry and understated," and overall, a "magnificently photographed, intelligent, very funny film.".[3] On the other hand, Bosley Crowther of The New York Times called it a "pretentiously metaphorical picture" which becomes "awfully precious and monotonous and eventually ... fags out in sheer bad taste."[4] Crowther does, however, compliment Donen for his "colorful and graphic" mise-en-scène.[4]
At least one sequence did not make it into the final film, and it is unclear as to whether it was ever actually shot, although the scene exists in a draft of the original script held in the British Film Institute Library.
Before the opening titles, Stanley Donen sits in a director's chair and addresses the audience directly, expressing anger at having been signed-up to direct such a trivial and inconsequential piece. Donen then claims to have had a change of heart and is about to present us with a more worthy piece. Peter Cook, as the character of Spiggott, then rises slowly from behind the chair, leans forward, and murmurs in Donen's ear, "Just think of the money, Stanley..." The scene then segues in the film's opening credits.
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