Interval (1973)

Merle Oberon, a major Hollywood star of the 1930s and ’40s, attempted a comeback by producing and starring in this May-December romance. First the good news. Oberon and costar Robert Wolders subsequently married, remaining together until she died in 1979. Now the bad news. Interval overflows with ridiculous dialogue, tawdry implications, and unrealistic behavior. At least during early scenes, Oberon’s character is meant to come across as an eccentric who’s seen it all and therefore exists on some higher plane of consciousness, pursuing spiritual fulfillment above all else. Yet she actually comes across as a delusional woman fighting a pointless battle against time. Not helping matters is the obvious work that Oberon had done on her face over the years, some of which stemmed from a much-publicized accident in the 1940s; Oberon’s skin is so taut that it looks like wax, and her eyes are perpetually opened so wide that she seems either frightened or surprised by everything she sees. As for the plot, Serena (Oberon) tours Mexico and meets strapping young artist Chris (Wolders). He falls for her instantly, but she resists, so they have platonic dates and share absurd patter. Chris: “Do you like secrets?” Serena: “Only if they’re never explained.” She bonds with plants and snakes, describing nature as “a rest from people.” And when Chris finally compels Serena to express her love for him, he exclaims, “I’m somebody!” Amid this silliness, Serena has flashbacks to a past trauma. None of it connects emotionally or logically, even when Serena helpfully explains the movie’s title: “We’re all caught in the same interval, between being born and dying.” In other news, water is wet.

Interval: LAME