By 1965 - 66 when this film was made, Douglas Sirk, director of arguably the best 1950's Hollywood melodramas, had made his final (and many would claim his masterpiece) feature Imitation of Life which starred Lana Turner. He returned to Europe, retiring from full - time movie-making. However his frequent Hollywood producing partner Ross Hunter was still in a mid-career stage. Madame X represents an attempt by both Hunter and Turner to replicate the Sirk magic, creating a sumptuous melodrama, that employed many of Sirk's regular hall marks; predominantly bright colours, elaborate costumes, thoughtful lighting, a generous budget which all serve to embellish a love story fraught with all manner of problems. The big difference though with Madame X and Sirk's work, is that the man himself wasn't there to apply his distinctive and sophisticated directorial approach to this remake of earlier film adaptions of a French play. Journeyman film and TV director David Lowell Rich took up the reins with very ordinary results.
Lana Turner fans will claim the lead title role, as one of her greatest performances. She does dominate the screen, perhaps because she is in 95% of all the scenes. The best I can say is that she brings an extreme theatrical perspective to the part. It is interesting seeing a young- looking Keir Dullea taking a fairly substantial support role as Turner's adult lawyer son.
The main problem with the film is the largely unbelievable plot-line combined with some, at times. dialogue that can only be described as risible and support characters which are simply caricatures of real people. With the greatest respect to both Turner and co-star John Forsythe, both look too old for their respective characters. He, ostensibly as a young, up and coming diplomat/politician and she, supposedly eager to start a family (but looking all of her 45 years of age). The narrative involves adultery, calculating, manipulative mothers-in-law, accidental and faked deaths, shootings, court room dramas and the like, all very much filled with melodramatic overtones. But missing is the underlying, inferred social criticisms and quietly raising of social justice issues, which always occurred in the best of Sirk's films.
Nevertheless fans of Turner's (and there are plenty) and soap operas in general, will undoubtedly still find plenty to keep themselves entertained and the odd opportunity to break out the tissues, in this fairly low-brow and somewhat dated offering.
Lana Turner fans will claim the lead title role, as one of her greatest performances. She does dominate the screen, perhaps because she is in 95% of all the scenes. The best I can say is that she brings an extreme theatrical perspective to the part. It is interesting seeing a young- looking Keir Dullea taking a fairly substantial support role as Turner's adult lawyer son.
The main problem with the film is the largely unbelievable plot-line combined with some, at times. dialogue that can only be described as risible and support characters which are simply caricatures of real people. With the greatest respect to both Turner and co-star John Forsythe, both look too old for their respective characters. He, ostensibly as a young, up and coming diplomat/politician and she, supposedly eager to start a family (but looking all of her 45 years of age). The narrative involves adultery, calculating, manipulative mothers-in-law, accidental and faked deaths, shootings, court room dramas and the like, all very much filled with melodramatic overtones. But missing is the underlying, inferred social criticisms and quietly raising of social justice issues, which always occurred in the best of Sirk's films.
Nevertheless fans of Turner's (and there are plenty) and soap operas in general, will undoubtedly still find plenty to keep themselves entertained and the odd opportunity to break out the tissues, in this fairly low-brow and somewhat dated offering.