Truly the worst movie I've ever seen in a theater

I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

Tells a fascinating and unsettling true story, and does so well, without pretending to have all the answers.

Blistering performances.

but fast-forwarded quite a lot. Somewhere there's a Roger Ebert review that is right on the money and hilarious. It was called "The Public Eye" when I saw it on Sundance channel. It was endlessly talky, and I think it might have been a stage play. It was a kind of paint by numbers fey love story. Mia Farrow who's often beautiful and wistful was skeletal and actually scarier than she was in Rosmary's baby. Especially when she danced! These were the deadliest of stock characters, the stuffed shirt husband, the waifish sincere sensitive free spirit, and Topol as the earthy Real Person who helps everybody find him and herself. Ebert described him as Zorba in a lab coat. Dumb dumb dumb. Why did I watch all the way thru? "Cause I'm old and got to look again at the tail end of the 60's?

I just saw this film a few months ago in a state run "art" cinema in Bucharest, Romania. I had nothing better to do and I saw some decent reviews in IMDb so I decided to see this movie. Plus, I'm a big fan of director Carol Reed.The print was quite poor but the acting, especially by Topol, who I loved in Fiddler on the Roof (one my favorite movies) was good. 70's London was well photographed and the music was perfect. The film was quite moderately funny as well. In the first scene where he introduced himself, I felt Topol was quite irritating. But as we slowly get to know the character and his free-spirited nature, he begins to become likable, especially when he starts leading Mia in the streets of London with funny 'edible' names which is a highlight of the movie. This film was supposed to launch Topol as a male romantic lead. Instead, it fizzled and he continued to sing "If I were a rich man..". I think there was something missing in the movie but I can't point out exactly what it was - its an eccentric, moody little film.Wouldn't it be nice if Hollywood remade this instead of well established classics like Psycho and Italian Job. This film never made it to the big league. Most film buff's would never have heard of it and the premise is quite interesting. The idea deserves a second chance with a better known cast (and packaging) although the original music theme should remain.

It's almost criminal that this lovely sweet film isn't available in any medium. Topol is hilarious. Mia Farrow is sweet and childlike. It isn't an action film; it's a character study and, as such, reveals the attitudes, emotions, and desires of the characters slowly and gently, allowing the viewer to savor the developments. One of the biggest stars is the city of London itself. It plays a major role and does it beautifully. Peter Shaffer of "Amadeus" fame shows how well he can reveal the essence of his characters. I don't really understand how anyone could see it and not love it. I can hardly wait for someone with insight and sensitivity to get this out on DVD!

Right from the start, I wish to say that this is a wonderful film. I caught it on cable television here in Tokyo several years back. Like so many others remarked in their own circumstances, the film just "accidentally" presented itself. Willing to give it a chance, I kept it on for a few minutes. When I heard Michael Jayston's comically sarcastic comments in the opening scene, and the magical Topol "hiding" in his office, I was certainly hooked. Hal Wallis produced, Carol Reed directed. If that weren't good enough for most film buffs, add John Barry to the list of those involved in this gem of a film. That's right, the same Barry who scored all of the great Bond films. You can hear his signature strings and brass right from the panoramic opening title sequence of London from the air. "Everything's got to be earned."The story is laid out as an explanation, a highlighting of the history of a couple to a private eye hired to investigate an alleged infidelity. Very cleverly done. "Who's Aldous Huxley?"The film touches on those precious difficulties couples face when both partners stem from different backgrounds. As an American living here in Tokyo for many years, I can deeply empathize with the situation portrayed in the film. "I don't much care for Tuesdays."Mia Farrow is captivating as the young American living in London. Michael Jayston is marvelous as the upright British accountant. As the "Public Eye", Topol is as addictive to the viewer as his character is to macaroons."He who locks his door locks his heart."London is featured in all its bygone glory. I was impressed with the raw freshness of the street scenes. These are slightly reminiscent of the work of Richard Lester and his "mod" style of filming actual Londoners in action, such as in "The Knack" or "Help". Here, Barry's scoring of "The Public Eye" made these whimsical scenes a pure treat. Nothing less than soul moving cinematic moments are in store for you.There is a charming, nice touch thrown in: a tip of the hat to Peter Cushing and Christopher Lee and their work in Hammer Films. I understand it is difficult to get a copy of this film. The fact that it was shown on Japanese television at least, means that good prints exist and are out there. Luckily, I was able to record it when it was shown again in that same week. "The Public Eye" or as it is also known, "Follow Me", is a truly marvelous film. See it.Addendum: A little bird told me the above version, recorded from Japanese TV, is online at Google Video.