Castaway (1986) Reviews

• Castaway is based on the novel by Lucy Irvine

  boogieknights192000-02-29

  Castaway is based on the novel by Lucy Irvine about a young woman answering an ad in the paper placed by a man seeking a wife, to live with him on an island. Oliver Reed is perfectly cast as the gruff, thickly bearded 50yrs+ man who places the ad. And for once in a brilliant casting decision, an actress was chosen who shares much chemistry with him onscreen! Amanda Donohue is the much younger blonde and an aura of sensuality about her chosen to play his reluctant love interest in the film, Lucy. His young bride is only interested in learning island life, and the frustrated Gerald broods and seethes as young Lucy parades either naked, or wearing the tiniest of loin cloths. She is ever the tease and as she becomes more accustomed to island life, Gerald silently broods in his own lust. She has no interest in this man old enough to be her father, other than basic companionship. Gerald has other ideas. The movie is full of powerful scenes of the struggle of the sexes, and beautifully shot on a gorgeous island. Gerald and Lucy heat up the screen, and it is the contrast in their ages, and physical make-up that only add to the film. The story deals with their trials and tribulations, and contains many interesting twists. It builds up to a fantastic climax that shows the viewer the fate of both characters. Very powerful film, and beautifully cast, Castaway is highly recommended. More films of this nature should be made.

• Back to Nature with Oli

  TheNorthernMonkee2003-09-02

  SPOILERS So this is the film which was fronted as the late, great Oli Reed's comeback. With Amanda Donohoe, Oli stars in a wonderful film about an Odd Couple who for certain reasons decide to live together on a desert island. Oli is superb as the 45 year old man who just wants to be alone on his dream island with the gorgeous Amanda Donohoe, and she's also superb as the girl who's forced to live with the volatile Oli Reed. The difference in viewpoint between the two central characters is stunning, and drives the film along well as whilst Oli is blatantly interested in both her, enjoying himself and fulfilling a few desires, she's keen on being much more active and building things. The comparison of the two continues as the film progresses until eventually a boat containing two men appear. Truth be told, it is the appearance of these two men (Jason & Rod) which leads to the film going slightly downhill for the customary dip which most films experience. The psychology of Donahoe as she blatantly gets upset at a missed opportunity to sleep with one of the men is slightly infuriating for the audience as well as the characters, and it's clever to see how the two characters behave differently amongst visitors and this is actually quite an interesting portrayal of how we change amongst guests compared with in close company. Eventually, the two almost die of malnutrition, and yet once again some random strangers turn up, this time in the face of nuns. It becomes blatantly obvious this time however that Donahoe does actually quite like Oli at times, when he's not being aggressive and violent, or excessively lazy. It is the upgrade in living enviroments and food provided by the nuns and their friends, that allows the two to regain their health and the film perks up now as the end of their year approaches. Eventually the film runs through to it's climax, via a few memorable moments, and the film is completed, as, looking back, it seemed destined to throughout. It's hard to sum up this film really. After a slightly weak review as the one I've just written, most people will probably have stopped reading by now. I guess, it's probably just worth saying that whilst films on desert beaches are by no means in short supply, this one is more enjoyable than most other efforts and is head and shoulders above both Tom Hank's most recent effort and the Beach with Leo Di Caprio. Enjoy one of Oli Reed's finest roles and find yourself inspired to escape society to a beach of your own.

• Don't me misled...

  malexander542007-12-29

  Don't be misled by other comments posted here. The original uncensored version of this film shows Amanda Donohoe full frontal completely nude (yes, pubic hair and all). In fact she is fully nude in many, many scenes and with long lingering shots (almost voyeuristic). She is a very beautiful woman and her nudity made the film far more realistic for 2 reasons. One is that people do often go about nude when there is nobody around, her nudity helped to convincingly portray a sense of isolation. Secondly, as a man I can get a sense of the frustration that Reed has when he sees her walking about and he can't touch. I feel bad for the people who have seen this movie censored because there is very frequent high level nudity in this film, which means that the censored version would have been cut to ribbons. This may also explain the experience some people had with "short scenes" or "scenes that ended abruptly". A very good film worth while watching (uncensored).

• My island getaway.

  lost-in-limbo2008-03-14

  Gerald Kingsland a middle-aged writer advertises an ad in a magazine, looking for a wife to take to a secluded island for a year. The young Lucy answers and the two marry and head off to an island off the coast of Australia. However their idyllic dreams are pushed to the test and soon the two are caught up in a love and hate relationship. Far from Nicolas Roeg's best, but "Castaway" is an interesting curio that pulls you along for a very offbeat, psychological drama than what might seem like a relaxing pastoral getaway. Alan Scott's adapted story opens up as a thoughtful jaded power-play between two characters, impeccably performed by Oliver Reed and Amanda Donahoe. While the sporadic script comes across literately trivial in the growing situation, than actually delving deeper into the character's past and motivations. Something about this down-played metaphorical search for acceptance, communication, fulfilment, obsession and inner discovery is unpredictably planned out. It's quite a warped spin on the island dream, as you observe and get involved with the feelings being shrouded about and their journey now to survive. Nothing comes easy, and both realise they have to work hard for their dreams. What was their choice to escape the madness and restrictions of society eventually becomes their downfall because there's nothing there to shape their daily lives. There you could escape your problems, but on an island you got to live with them and overcome them to move on. Gerald seems to be the go-getter from the very beginning, but it's Lucy who adapts to the island life. This is a surprise as the tables are turned with the muscularity card. Lucy is the resourceful one, not afraid to shy away compared with a loafing Gerald's relying on her. This gives her power (a sexual one) over the lazily whiny Gerald, and her inner strength and confidence makes her the object of affection, or better put lust to Richard. She uses this sexual edge to her advantage, and spends most of the time flaunting about in little or no clothing. The hardship makes her stronger, but he gets weaker. The real pettiness that Lucy shows Gerald, is deservedly so. As he hides his pain, and uncomfortable side with erratically insane behaviour. That's until he finds a purpose, then she sees the true person he is, than the one she had been stuck with for most of the year. Now the attention she drew from him is clouded and the true notion of them roughing it out on the island is lost with the intrusion of mechanical devices, locals from another island and food supplies making it much easier to cope. It's no longer about survival, and depending on each other. Where left trying to figure him out. Both are self-seeking persons with their own goals for this journey. She's there to be apart of the island, but he has his eyes on her. Humour can be found in some sharp witty passages, and there few amusing darkly twisted exchanges. Reed's hearty performance is one of complexity, intrigue and tremendous versatility. His let loose. A ravishing Donahoe terrifically grows with her independently headstrong performance. A true calling card of Roeg is the visually enigmatic experience he emits from his productions. Reality and fantasy convincingly milked together, and not with the usual fractured editing style that he incorporates. It hasn't got that vagueness; open-ended feeling that usually ends with his films. Incidentally there's a strange surreal punch done in a more clear-cut fashion finding its way in, but it's the whimsically mediative illustrations of nature doing what it does best that engraves many striking, and at times dreamy images. Blending the beautiful with the jarring. Harvey Harrison's scenic photography work is masterfully projected, and admirably frames the lush pristine locations (stunning water shots) to the desirably leering lensing of Donahoe. Stanley Myers silky melancholy music score wraps itself with many uncanny, moody shades. Roeg's symbolic direction is sufficiently custom-fit with his usual brassy stylish imprints, and casual sense of pacing. There are two novels out there, but the material is taken off Lucy Irvine's version, "Castaway", which was soon followed by Gerald Kingsland's book "The Islander". While it might not have a lasting powerful stamp of his other achievements. "Castaway" is still a creditably solid and lyrically transfixing opus.

• Nicolas Roeg's twisted island love story

  didi-52005-01-21

  This film by Nicolas Roeg builds on the unusual titles of his past career (Don't Look Now; Walkabout; Performance) and adapts Lucy Irvine's book of her real-life experiences as a Girl Friday on a desert island. Amanda Donohoe reaches career-grabbing perfection as Irvine, the girl who answers an ad from lonely middle-aged businessman Gerald (a multi-faceted role for Oliver Reed) and goes to live with him in the tropical sun for a year. Roeg's film requires Donohoe to appear nude or semi-nude much of the time but it doesn't seem gratuitous. Not surprisingly it helped her gain other roles in the remainder of the decade as a ballsy, sexy siren. As a two-hander for most of its running time, 'Castaway' depends on the performances of its two leads - they have to be convincing, they have to be compelling, and they have to have chemistry. It isn't a match made in heaven - but as Gerald and Lucy learn to live with each other despite the obvious problems, the viewer is drawn in with them. Oliver Reed is excellent as Gerald, a complex character who goes from bluster and rage to sweetness and sensitivity. It was something of a comeback role as the first part of the 1980s hadn't given him roles of any great depth to work with (neither did many films after this one), and he does well within the confines of Lucy Irvine's reminiscences. I particularly like the ending. Fact or fantasy? But it rounds off this atmospheric film beautifully.