There is a segment within a scene almost ending the first act of "The Madwoman of Chaillot", that suggest the direction the story is going to take. While the fanciful old countess Aurelia (Katharine Hepburn) explains young Roderick (Richard Chamberlain) the joys of being alive, the visuals turn to a slightly hazy retrospection of her love life, in which Roderick is seen as her mustachioed lover Alphonse, and the waitress Irma (Nanette Newman), with whom Roderick will fall in love, is seen as Aurelia when she was younger. All this theatricality is followed by a brief scene that ends the act, in which Irma delivers a soliloquy about her growing love for Roderick. Then after a fascinating first hour in which the plot is so startlingly current, as act two starts, we enter the world of filmed theater and the movie hardly recovers. If "The Madwoman of Chaillot" is remembered with affection after it ends, it is because of its first part, in which a rich and ruthless self-made man who leads a group that includes a general, a Catholic priest, a broker and a communist commissar, joins a similarly cruel prospector whose plan is the creation of an enterprise to dig up oil in the middle of historical Paris. The prospector has sent his nephew Roderick to put a bomb in the Palais de Chaillot to kill a public officer who denies him permission to begin his oil operation. But when Roderick fails and the police believe he is going to commit suicide, he meets countess Aurelia, who hears about the plan and decides to solve it by herself. Then action slows down, everything is done in interiors and the situation is resolved in strange ways -- first with a metaphorical trial which is pure stage material, and then with a certainly weird "execution" of the villains. By 1969 director Bryan Forbes was riding the crest of his own international film wave and had a great cast, in which even John Gavin delivered a fine funny performance of an evil priest. Masina is a delight, Evans is wonderful, and Homolka, Leighton, Henreid, Boyer and Dauphin are as good as all the supporting players, while Hepburn tries hard with her teary eyes... I could not help thinking what this would have been with a French actress in the lead.
