Readers of Graham Greene will fall for this movie, and in particular the portrayal of Brown by the late Richard Burton, who may well play the perfect Greene anti-hero. Burton brings a subtlety to the role which may well be beyond the skill level of any actor working today. His is a haunting, yet totally convincing performance of a cynic, sinner, and dissolute sort searching for an excuse to remain alive, and initially finding that excuse only in pleasures of the flesh.The film seems to have been lost in the shuffle, and that is unfair. While not easy to grasp---at least for those unfamiliar with the works of Greene---it is full of outstanding performances by some of the industry's former greats. Amongst Alec Guinness, Peter Ustinov, James Earl Jones, Burton and Elizabeth Taylor, the only one who comes up short---delivering a wooden and uninteresting performance that makes an elicit romance unattractive out of boredom rather than sin--- is Taylor. Everyone else is superb, including the sidebars played for both a touch of humor and moral rectitude by Paul Ford and Lillian Gish.Action junkies will be unimpressed with the pace of the film and its low key approach to the violence, but anyone who has experienced a land where brutality and oppression rule the day will find the seeming banality of evil, as portrayed in the film, remarkably realistic and properly underplayed.

I saw this movie many years ago and it left me cold. When it came up again on cable, the combination of the stellar cast - Alec Guinness, Richard Burton, Peter Ustinov, Peter Ford, Lillian Gish, James Earl Jones, Liz Taylor - and a script based on a Graham Greene novel, prompted me to give it a second look. Maybe because I'm a lot older now I can appreciate its many qualities. Graham Greene's cynical, post-Catholic sensibility is clearly in evidence here. The production qualities are high, and the story line is engaging. The portrayal of the misery of Haiti and the terror of the Duvalier government with its tontons macoutes secret police, is chilling. It is still true today that if you look up "Third World Hell Hole" in your Funk & Wagnalls, there will be a picture of Haiti. The characters are well-drawn. Burton's character, Brown - who seems to be missing a first name - is a sardonic, cynical and jaded hotel owner who puts one in mind of Rick in Casablanca. His character transformation, involving the shedding of his cynicism, is very effectively portrayed. Mr. & Mrs. Smith (Ford / Gish) might have been portrayed to be the slightly silly and naive characters they appear to be, but in the end they demonstrate a touching bravery and idealism. The weak spot here is Elizabeth Taylor's Martha Pineda. Her attempt, as an ambassador's European wife, at an accent is simply ridiculous, ranging from French (sorta), to British, to German (kinda) depending on the scene. In addition, the film makers decided that extra dollops of Rich and Liz's lovemaking scenes would be an added draw; not a good idea, as they slow down the action and force us to endure listening to Taylor. It's a long movie but it keeps us going to its tragic finale.

A ship of fools docks in Port-au-Prince, and the disembarking passengers include a local businessman, an idealistic former U.S. presidential candidate and his wife, and a self-confident British major. The film's credentials are incredible; the cast includes Richard Burton, Elizabeth Taylor, Alec Guiness, Peter Ustinov, Lillian Gish, and James Earl Jones; Graham Greene wrote the script from his own novel; and Peter Glenville provided the taut direction. Given the talent involved, perhaps expectations raised the bar for "The Comedians" too high for any film to reach. Although the results do not represent a pinnacle for any of these artists, "The Comedians" is an engrossing tale set against the nightmarish backdrop of Papa "Doc" Duvalier's repressive regime in Haiti. A thick tense atmosphere envelops the film from the outset. Arrests, beatings, corpses, intimidation, bribes, murders, and threats paint Duvalier's Haiti in shades of blood and terror. In 1967, the Taylor-Burton romance was still in the tabloids, and the film's illicit romance depicted by the world-famous pair was still titillating. However, time has dimmed the scandal, and the film has benefited. Greene's story and the acting talent are no longer over-shadowed.The still ravishing Taylor, who affects a German-accent as the wife of Ustinov, a cuckolded foreign ambassador, is involved with Burton, a local hotel owner. While arguably the least-interesting aspect of the film, their liaison is integral to the story. Meanwhile, Paul Ford and his wife, Gish, seek to establish a vegetarian center in Duvalierville, a never-will-be Utopian community, and a shady braggart with the wrong connections, Guinness, attempts an arms sale to Duvalier's henchmen. The visitors, the diplomats, and their local connections are embroiled in Haitian political conflicts and dangerous encounters with Duvalier's thugs, the dreaded Tonton Macoute.Greene's script is literate, and the performances are effective. The bevy of international stars is enhanced and ably supported by such pros as Paul Ford, Cicely Tyson, Raymond St. Jacques, Roscoe Lee Browne, and George Stanford Brown. Although short on action, "The Comedians" is long on suspense and tension. While the film certainly remains a staple for fans of Taylor and Burton, Glenville's fine production deserves to be seen and appreciated, not only for its lustrous stars, but also for throwing a spotlight on Haiti's nightmarish past.

Some of the characters are quite flat (particularly the old American couple), and the plot isn't very involving. An alternative to Papa Doc's regime seems to be Marxists so who gives a crap who'll win? Strange casting of Taylor as the daughter of a persecuted Nazi war criminal; her accents is just as strange. The romance between Taylor and Burton is kind of blah; Burton is like a vampire - he always goes for her neck. Occasionally the plot-points aren't too credible; for example, Guinness being successfully smuggled into the embassy disguised as a black maid. However, I wouldn't call the film too boring. Plus it's always interesting to watch Burton and Liz. If you're interested in reading my "biographies" Liz Taylor and other Hollywood intellectual heavyweights, contact me by e-mail.