Watch In Search of Gregory For Free

That was an excellent one.

Absolutely the worst movie.

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

It's entirely possible that sending the audience out feeling lousy was intentional

Beautiful blue-eyed Julie Christie (as Catherine Morelli) flies to Geneva for the latest wedding of father Adolfo Celi (as Max), who pronounces himself healthy enough for ten wives. Papa promises Ms. Christie might meet her ideal man - tall, dark, and handsome Michael Sarrazin (as Gregory Mulvey). So, Christie goes "In Search of Gregory". First, she re-connects with brother John Hurt (as Dan). After Christie's bra and panties scene, she listens as Mr. Hurt relates how Mr. Sarrazin's "Gregory" gave him a driving lesson.This hair-raising driving sequence features Sarrazin climbing out of the speeding car's passenger seat, climbing over the windscreen, and crawling back in to take over for frightened driver Hurt. You probably should NOT try this trick at home, but it's fun wonder how it might work… anyway, it occurs about 20 minutes in, and is the highlight of the movie. Unfortunately, after this exciting introduction, Sarrazin's "Gregory" is made lame, Hurt turns from scared to lost, and Christie simply models chic outfits until a slightly picked-up ending.***** In Search of Gregory (11/69) Peter Wood ~ Julie Christie, Michael Sarrazin, John Hurt, Adolfo Celi

08.02.2010 was on TCM today as it was Julie Christie Day Interesting vehicle for a snapshot of the transitional time set in the very short time of the late 1960's to early '70's when the world fundamentally changed forever. Long before airport security, political correctness and at the start of sex without feeling and/or consequences our characters soldier on in a time capsule.It is a lovely little look at curious characters and a character who perhaps does not exist. It is a rare period piece of the period that garnered much more attention at the "New Extreme" rather than this hold on of the "Old Guard", an extension of former moralities with a creeping in of the new modern world, almost unaware that it exists.John Hurt plays a curious little man-boy who is very socially awkward whose role does not become clear until the last 20 minutes. Julie Christie is a divine little character living in a world that may or may not really exist and Michael Sarrrazin, well, he is an idealized character that Adrian Grenier's calls to mind or vice versa.In the end it was far too long a run for the very short hop. The snapshot of a very small part of that time is indeed captured well, but there really is no story and no metaphor, just a fantasy and not a drug-fueled one. Recommended only for Movie Nutcases.

I saw it as a teenager maybe 15 years ago. I've searched high and low for it ever since then. It was nowhere to be found, the forgotten film, if it had not been for Julie Christie in it. She's absolutely stunningly gorgeous in this film with long brown hair and long slim legs. I wonder why she made it. She was a huge star then and this film isn't much, a little trifle of a movie. The story is so slight it leaves a lot of space for Julies beauty. There's a nice pleasant Sunday atmosphere in the film. I remembered it as much more gloomy but it is more of a romantic comedy, although with a very slow pace. We don't learn much about these beautiful and rich people who are not completely spoiled and quite charming. What I remembered after the first time I saw it was how empty their lives are. You can't feel sorry for them, though.I would like to thank the people who made this film and wonder what it felt when it just disappeared. I wish this film was more known and loved. Films like this don't get made anymore. I can see why it wasn't a hit since no one comes out happier, neither the characters nor the audience. The script was by Tonino Guerra, the same man behind "Blow Up". This can explain the brilliant and poetic ending to the film, set at an empty airport, which made me always remember "In Search of Gregory", love it, and start my own search for it.

Contains Spoiler.This tale of emptiness, boredom and longing is empty, boring and long (even at 90 minutes, it's long). Co-scripted by Antonioni's collaborator Tonino Guerra (whose credits include L'AVVENTURA, LA NOTTE, BLOW UP) this film resembles that director's work superficially. It's about an idle rich girl Catherine (Julie Christie), whose father (Adolfo Celi) lures her to his fourth or fifth wedding in Geneva by telling her he will introduce her to a fascinating young American named Gregory. At the Geneva airport she sees a poster of an auto-ball player (Michael Sarrazin) and from there on she visualizes Sarrazin when she fantasizes about Gregory. All of the fantasy sequences are insipid and dull; they wouldn't even be worth watching as reality. In the course of the next hour she interacts with her somewhat incestuous, wimpy brother (John Hurt, several years before his breakthrough in THE NAKED CIVIL SERVANT), her father, her father's new bride (Paola Pitagora) and various bit players in her frustrated search for Gregory. But the object of her romantic fantasy has always just left or was expected to show up but hasn't. At one point on her wild goose chase she ends up in a room containing crates of canned Alpine air(!). The warehouse employee opens one for her and of course it is empty. This moment seems to sum up the whole film. From the opening credits onward a pop song is either sung or played in various arrangements as instrumental underscoring. It's actually pretty catchy in a precious 60s sort of way. ***SPOILER***: Catherine finally gives up on meeting Gregory and heads back to Rome. At the Geneva airport she encounters Sarrazin and has a soulless tryst with him at the airport hotel. He is revealed not to be Gregory. After they separate she calls her brother who happens to be on another phone with the actual Gregory but doesn't bother to tell her so. The brother, an immature neurotic who cannot deal with complexity or challenge of any kind, puts the two phones down side by side and walks away, leaving Gregory and Catherine's disembodied voices buzzing at each other without their knowledge. It is then revealed that Catherine and Gregory are standing in adjacent phone booths at the airport (though the camera never lets us see Gregory's face). Catherine hangs up and steps onto an automatic sidewalk and glides away, alone in the huge, cold, impersonal airport. All this just to reiterate the trite observation that modern people are lonely and isolated? This pretentious piffle is worth seeing only because of the magnetic presence of Julie Christie who was at the height of her fame when it was filmed in the summer of 1968. It was deemed so bad by Universal that they delayed its US opening until the spring of 1970. It played in very limited release (definitely in New York City, but perhaps nowhere else) and then vanished until recently when it began appearing on cable channels.