DOCTOR FAUSTUS

UK, 1967, 93 minutes, Colour.
Richard Burton, Elizabeth Taylor, Andreas Teuber, Elizabeth O'Donovan, Ian Marter, Jeremy Eccles, David Mc Intosh, Ram Chopra.
Directed by Richard Burton and Neville Coghill.

Doctor Faustus is Marlowe's 16th century masterpiece on the many-times-told story of the doctor who sold his soul to the devil for power, wealth and pleasure. While this film may not be a 20th century masterpiece, it is well worth seeing by those fascinated by the theme and those who would enjoy Richard Burton's recital of Marlowe's verse. It is Burton's film; Elizabeth Taylor appears in various guises as a spirit (including a silver echo of the Goldfinger girl). The only sound she utters is a cackle as she drags Faustus to hell when his contract with Satan expires. The beautiful costumes and the weirdness of the scene compensate for faults such as the too literal flashbacks of warfare when Faustus speaks of battles.

The theme of the play is evil and human longing for evil in its myriad forms; but the theme also includes the terror and horror of damnation and the longing for repentance. We can talk about human experience of evil in the abstract. Here we have a sumptuous, vivid embodying of the longing for evil, a parable with all the details pictured for our gaze - and reflection. Doctor Faustus is not meant to be a box-office success. It relies too much on a knowledge of the Faustus legend and its meaning. With this preparation, the film is worth seeing.

1. For whom was this film made? For students of Marlowe? Serious students of drama? Popular audiences?

2. The film as a version of a play? A traditional medieval morality play with all its conventions about good and evil, characters representing virtues and vices? Reflecting the attitudes of the 16th century? English with continental overtones? The styles and staging of this particular morality play for the screen?

3. Comment on the way the stage version was transferred to the screen; the editing of the text, the eliminating of passages and the transferring of passages, eg. from Tamburlaine with its excerpt from Olivier's Henry V. The use of colour, the stage and the sets, the costumes, the editing, the visual atmosphere? The fact that undergraduates were generally performing in the film?

4. What impact does the theme have in the 20th century? The 16th century moral standpoint, the view of the world, the role of religion, heaven and hell, good and evil? What picture of morality did the text offer? How was the text adapted for 20th century points of view?

5. The long tradition of the Faust myth? Its basic significance about a man trying to over-reach himself, humanity confronting the Divine and losing? The background of alchemy, the nature of Faustus' learning, his doctorate? His wanting to play God, the confrontation with Mephistopheles? The yearning for immortality, transcending time, an eternity of selfishness? The morality of the Seven Deadly Sins and their incorporation into the play? The play as an embodiment of this tradition of good and evil?

6. The film's presentation of the European setting: 16th century Germany, the religious setting of Europe, Catholicism and the Papacy? The relationship between religion and superstition?

7. Beliefs in angels and devils, Mephistopheles as angelic and devilish? The role of good and evil spirits, the way that these were visualized?

8. What did Richard Burton contribute to the performance as Dr. Faustus? The elderly scientist and alchemist, the professor? The quality of the poetry expressing Faustus' ambitions? His character and his insatiable greed and goals, necromancy, his selling his soul, the pact with the devil? Ultimately the gospel of 'what doth it profit a man to gain the whole world.... ?'

9. How convincing was the character of Mephistopheles as a devilish angel? AS representative of evil? A guide for Faustus? Mephistopheles' contempt or liking for Faustus? His obedient accompanying of Faustus?

10. The nature of Faustus' sinfulness and pride - leading to egoism, sins of lust and voluptuousness? The visualisation of these? The role of women in the fantasies of Dr. Faustus?

11. The pettiness of the poking fun at religion and the Papal sequence? The purpose of this?

12. The importance of a sense of history? The looking back over the past? Helen of Troy, Alexander the Great? The beauty of the past, Faustus trying to recapture it? His infatuation with Helen of Troy and her role in the film? The devil underneath the surface beauty of Helen?

13. Did the film gain momentum as the time elapsed for Faustus to return and go to Hell? The impact of the realisation of his damnation? The poetry accompanying this?

14. The visual presentation of Hell - appropriate to the sinfulness and pride of Faustus? The sense of damnation and loss of God?

15. How effective was the presentation of this medieval play in terms of visuals music, use of language? How useful for a 20th century audience?