A tax accountant in London, under the false assumption his flighty American wife is being unfaithful, has her trailed by a private detective; turns out, she enjoys being followed. Failed romantic comedy from director Carol Reed opens with uninteresting chatter and stagy action--and then goes into flashback mode, detailing the couple's initial meet-cute (excruciating) and courtship. In these roles, Michael Jayston and Mia Farrow are a reasonable screen-match (and when things go sour between them, Farrow has some sound dialogue about why and how their union has wilted). But all of this is irrelevant once Mia locks eyes with "public eye" Topol (only one year after his triumph as Tevye in the film-version of "Fiddler on the Roof", and nearly unrecognizable out of the costume). Topol has the exaggerated expressions and rubbery body language of the greatest comedians of the 1930s and '40s; once he is allowed to cut loose, the actor gives a star's performance. Unfortunately, screenwriter Peter Shaffer, adapting his own one-act play, is too enamored of the prim husband to give the lovably goofy Greek detective his due. The picture has noble intentions, but here that is practically a defect. ** from ****

CarolReed was a great director who made some marvellous films. For some reason he chose this filmed stage play as his swansong.

You should also bear in mind that on the stage,Julian was played by Kenneth Williams.

Other than the views of London in 1971 there was nothing worth watching this film for.

I was only able to last an hour.

Topol's horrible 70s outfits aren't the only dated items in this movie. The biggest is the plot: stuffy husband must learn to loosen up to please free-spirit younger wife. Ho-hum, haven't we seen that a hundred times? And can't we see the ending coming about 30 minutes into the film? The acting is fine enough: Mia Farrow is the right type for the waif/wife, Michael Jayston is suitably stuffy as the husband. Topol seems an odd choice to play a Greek detective, except for the fact that he was a hot property right after FIDDLER and casting directors assume that all Mediterraneans look the same.

John Barry's score is one of his worst. The theme is tepid and sung by what sounds like bad karaoke singers. The whole production suffers from being a very talky play "opened up" for the screen. What this means is sitting through long dialog scenes occasionally spiced up by long London montages (which are fun to watch for the scenery value).

Of special interest is seeing an under-40 Annette Crosbie in a bit part, and in a WEE little bit part, Ann Way (playing a ticket taker). She was a regular on RUMPOLE OF THE BAILEY as Mrs. Rumpole's friend Dodo Mackintosh.