A Matter of Time

Ingrid Bergman is excellent in this unfortunate misfire, gruesomely "re-edited" by the clueless American-International studio. Vincente Minnelli disowned the finished project, and other directors (such as Martin Scorsese) took out ads in Variety protesting the re-cutting of the project. Liza's performance is all over the place, although she does have a few affecting moments. Overall, an intriguing mess.

I saw this when it first came out and haven't seen it since. I do remember that some of it was typically Minnelli-beautifully composed and gorgeous, other parts were obviously stock footage and not very attractive at all. The whole film had a disjointed air to it which wasn't surprising since it was well known before the movie was released that "the powers that be" took the film out of Minnelli's hands in post-production. What a shame-even if the film wasn't first rate I certainly would've preferred to see Minnelli's version. I vividly remember the "Do it Again" number. I thought it was beautifully done and the equal of Minnelli's work in his heyday. I've never seen it included in any of the documentaries on Minnelli's work and it should be. Just because the movie as a whole isn't perfect it doesn't mean that some parts aren't worthwhile.

Vincente Minnelli in his farewell film as director got to direct daughter Liza. When the film opened up with Liza doing a full production number, I thought we had another Cabaret for Liza. Sad to say that that number and another one Liza did are the highlights of the film. When the players stop singing and dancing and get down to dialog, the film becomes rather pedestrian.

I don't think Ingrid Bergman ever got a handle on her character as the eccentric countess living on dreams and charity. Possibly Minnelli was concentrating too much on his daughter. Minnelli a country girl from rural Italy comes to Rome and gets a job as a chambermaid in a posh hotel courtesy of her cousin Tina Aumont. There Ingrid Bergman playing a slightly daft countess kind of takes her under her wing. Liza blossoms but Ingrid becomes more daft, Ingrid is just this side of Norma Desmond. Minnelli goes up and Ingrid goes down.

In addition to being the last film Vincente Minnelli directed this was also the farewell performance of Charles Boyer who co-starred with Bergman in Gaslight and Arch Of Triumph when they were big box office. Boyer plays a brief role as a former husband of Bergman, stopping by to see how she was doing.

See this one for Liza and her numbers.

If you're not a Liza Minnelli fan, don't even bother because despite the other talent involved, this is her show (and not a very good one -- father Vincente Minnelli, the director, very wisely disowned the edited picture). This isn't one to watch for Minnelli's acting (like "The Sterile Cuckoo" or "Cabaret") or even her charm ("Arthur," "Stepping Out"), but her voice is incredible. While the songs (except for Gershwin's "Do It Again") are middling, Minnelli's delivery makes you forget how silly the story and her character are. Mother Judy had better songs to sing, but Liza's instrument was phenomenal at its peak.

On the plus side is Ingrid Bergman as the aging contessa. She's so at ease and has so much fun as the grande dame that it's impossible not to love her -- again. Reunited briefly with Charles Boyer more than 30 years after their first pairing (in "Gaslight"), she has on-screen history working for her in her playful scene with him. (Watch the melodramatic "Arch of Triumph" if you really want to see Bergman and Boyer connect.)

Another reason to watch is for the film debut of Bergman's daughter, Isabella Rossellini. She's barely in "A Matter of Time" -- and you can barely tell it's her under her nun's habit -- but seeing her luminous face next to her mother's has the feeling of the passing of a torch, or at the very least a blessing. To give you an idea of the kind of cornball humor at work here, Rossellini's character is called Sister Pia; the actress's real-life sister, of course, is Bergman's daughter Pia Lindstrom.

Film star Nina (Liza Minnelli) remembers her early days as a maid in an Italian hotel. There are many eccentric guests including Contessa Sanziani (Ingrid Bergman) who is longtime estranged from her husband Count Sanziani (Charles Boyer).

This is the last film from director Vincente Minnelli, Liza's father. This is rather flat. Maybe it could have been turned into a full fletch musical. Liza keeps singing but as a musical, it keeps holding back. Maybe it could strip away all the jumping around to get to a simple female friendship story. There is a dullness to the rundown hotel set. The various eccentric guests have an uncontrolled randomness to it all. The 'rape' scene shocked me at first. It's a bit of a mess. There is a good film here somewhere.