‘Bad Timing’ Remains Sickening (But You Can’t Look Away)

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The 1980 film, “Bad Timing: A Sensual Obsession” directed by Nicolas Roeg, showcases some unscrupulous characters engaging in harmful actions towards each other.

As someone who can’t get enough of “Gone Girl” (be it the book or the 2014 David Fincher film), crime documentaries, or murder-themed podcasts, I’ve got a chilling recommendation for you: a gripping thriller that will have you covering your eyes and yelling at the screen. It’s exactly the kind of movie that keeps you on the edge of your seat!

You’ve been warned.

The wailing sound of an ambulance siren and the image of a woman being taken to the hospital in a stretcher set the scene for our primary characters. The woman on the stretcher, portrayed by Theresa Russell, is Milena. Her anxious boyfriend, Alex, played by Art Garfunkel, watches as the ambulance drives off.

Investigating the case is Inspector Netusil, portrayed by Harvey Keitel. As Alex reveals more details about his connection with Milena, Inspector Netusil becomes increasingly skeptical about whether her apparent drug overdose and suicide attempt are as straightforward as they seem.

Roeg was widely recognized as a distinguished filmmaker, with his masterpieces such as “Walkabout” from 1971, the eerie and chilling “Don’t Look Now” from 1973, and the unique David Bowie movie, “The Man Who Fell to Earth,” which was released in 1976.

One significant aspect of Roeg’s filmmaking lies in his exceptional skill with editing. Some of Roeg’s most impressive movies employ editing techniques to distort time or establish connections between past events that still resonate vividly in our memories.

The artful application of editing serves to weave the narrative of Alex and Milena, underscoring their intensifying love and dread, and juxtaposing their joyous and harrowing recollections, is truly remarkable. What could have been a chaotic, confusing amalgamation of disparate scenes and snatched instances is transformed into an awe-inspiring masterclass in film editing at its peak.

Beyond the exceptional editing work by Tony Lawson at a high level, there’s also strategic use of fitting music (“Who Are You” by The Who), outstanding camera work by Anthony B. Richmond, and a bold, authoritative performance by Russell.

The story becomes repetitive and often unpleasant, with disruptive actions and poor behavior growing increasingly tiresome by act three. Similar to “Don’t Look Now,” Roeg delves into a relationship that appears harmonious on the surface but is crumbling within, sustained primarily by intimate moments in bed, which serve as the couple’s primary source of genuine affection and mutual trust.

As a film aficionado, I found it intriguing to delve into the solo project of Arthur Garfunkel following his tremendous success with Simon and Garfunkel. His previous cinematic appearance in “Carnal Knowledge” (1971) hinted at a promising career as a character actor. However, Garfunkel’s miscast lead role in this film, while at times captivatingly unique to observe, unfortunately, can be quite a hindrance at its worst.

Articulating Garfunkel’s commitment to portraying a despicable character convincingly might serve its purpose, but there’s a risk it could dampen any future enthusiasm for his musical work.

I suppose I mean that as a compliment.

From my perspective as a film enthusiast, it wouldn’t be wrong to imagine Harvey Keitel playing a detective, but he seemed just as odd-fitting as Art Garfunkel back then. It’s intriguing though, because a decade later, Keitel would excel in such a role in Alan Rudolph’s “Mortal Thoughts” (1991).

The film ‘Bad Timing: A Sensual Obsession’ boasts numerous striking scenes and is masterfully constructed, consistently impressing with its technical prowess. However, as a melodrama, it can be uncomfortable to watch due to its intense nature. Compared to Roeg’s ‘Don’t Look Now’, it’s just as impactful (though equally challenging for new viewers).

A perfect pairing for this movie could be the double bill of “Roeg’s ‘Track 29′” from 1988. Similar to this film, it stars Russell and features a memorable performance by Gary Oldman. It is considered one of Roeg’s most eccentric and intriguing works.

Forty years after its original debut, Roege’s movie stirred up a fair amount of controversy: it was initially given an X rating, and one film critic notoriously described it as “a disturbing film created by disturbed individuals.” Over time, the movie went out of circulation until The Criterion Collection restored it and made it available again.

In my opinion as a movie critic, Roeg skillfully validates the jaw-dropping twist at the climax by crafting an immaculate and utterly fulfilling ending scene. While the graphic display of human despair can be challenging to stomach, even when presented with such flair, it ultimately boils down to personal preference.

The final twist in Roeg’s film left me speechless, but he redeems himself by providing a brilliant and satisfying conclusion. Watching so much raw human misery, even when it’s served up with such style, is a question of individual taste.

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2025-05-03 17:03