Moviedrome Redux: ‘Petulia’ (1968)

Nick Clement presents his assessments of cinematic gems and cult oddities. 

Petulia brims with a sense of immediacy and a filmic vitality that other works rarely ever achieve.”

Daring. Surprising. Dreamy. Experimental. Challenging. Funny. Form pushing. Convention shattering. Most of all – beyond sexy. Richard Lester’s 1968 drama Petulia, from a screenplay by Lawrence B. Marcus who adapted John Haase’s novel, Me and the Arch Kook Petulia, must’ve shaken up everyone who encountered it in the late 60’s. Being a child of the 80’s, I was more familiar with Lester’s Superman III (evil Superman POWER), with my father also showing me Robin & Marian and The Three Musketeers, so Petulia and other earlier, more celebrated works from this peculiar auteur have eluded me up until this point.

Now having seen it, I can honestly state that one should never underestimate this film’s importance on the filmmaking landscape at the time of its release. The seismic waves it must have made with other filmmakers and editors and cinematographers in relation to the overall aesthetic that Lester brought to the table with Petulia simply can’t be ignored. Steven Soderbergh has often cited Lester as a massive inspiration, and it’s not hard to see why; Sodgerbergh’s hilarious idea to have Marvin Hamlisch score the masterful satire The Informant! predominantly with a kazoo was a novel touch, and something that Lester would likely approve of.

The jagged narrative of Petulia is delivered in a non-linear fashion, peppered with flash-backs and flash-forwards, and tells the San Francisco set tale of lust, passion, rage, and deceit, all revolving around an surgeon (a magnificent and rigid George C. Scott), his ex-wife (Shirley Knight), his sultry lover (the phenomenal Julie Christie as the titular character), Petulia’s abusive husband (the fantastic Richard Chamberlain), and Petulia’s father-in-law (Joseph Cotten, terrific in a scene stealing supporting performance). There’s a lot of plot in Petulia, all of it jumbled, but all of it still coherent, which is a testament to Lester’s ability to tell a multi-strand story with clarity and focus while still being able to indulge his wilder stylistic impulses. This film was made by a sly Brit, who appears to be looking down upon the American way of life that was unfolding at the time, dishing out scornful resentment, and as such, there’s a cold, almost condescending attitude to some of the interplay between the characters, but I think that’s part a reflection of the societal mood at the time, and the way that people from other cultures view those who are different.

And because this film was the product of such a turbulent period in time, with Vietnam raging on in the background and upheaval on every corner, Petulia brims with a sense of immediacy and a filmic vitality that other works rarely ever achieve. And yet most critics, with some exceptions (Ebert most notably), seemed put off by the film, potentially not wanting to agree with the bold and upsetting points that Lester made with this strange and uncompromising film. It’s a movie that looks at the intricacies of romantic relationships, peeling them back, looking at the ingredients, and daring to look at flawed individuals who make decisions that maybe not be the best.

With amazing, jittery, at times hallucinatory cinematography by future filmmaker Nicolas Roeg and an incredible, jaunty, musical score from John Barry that includes tunes from The Grateful Dead and many others, Petulia enlivens the senses and puts the viewer into a trance-like state at times, or maybe that was just me (wink-wink)! I couldn’t help but feel that the hippie-flavoring of this film really makes it stand out in the sense that it has such a unique, spontaneous feeling that leaves you feeling hopped up and ready for action. Petulia has so much on its busy, seemingly tortured mind: Sex, violence, materialism, love, marriage, anger, and above all, the need to take action in a world that’s constantly at odds with itself.

 Nick Clement is a freelance writer, having contributed to Variety Magazine, Hollywood- Elsewhere, Awards Daily, Back to the Movies, and Taste of Cinema. He’s currently writing a book about the works of filmmaker Tony Scott, and co-operates the website Podcasting Them Softly.

 He is also a regular contributor for, a site dedicated to providing the best news and analysis on viral marketing and ARG campaigns for films and other forms of entertainment.

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