Cerebral and altogether too-literal transcript of Christopher Marlowe’s venerable play – the end result is opulent yet claustrophobic, not to mention dull.

Burton the producer/director certainly made inspired choices for his collaborators – production designer John De Cuir, cinematographer Gabor Pogany, composer Mario Nascimbene. Burton the actor, then, is riveting as always (particularly the monologue towards the end) – but real-life spouse Elizabeth Taylor is simply ludicrous as Faustus’ object of desire (in various disguises including Helen of Troy)! The remaining cast is largely made up of Oxford University drama students (the University itself, of which Burton was a former graduate, partly financed the film!): of these, only Andreas Teuber’s bald-headed, monk-clad Mephistopheles manages a striking performance.

The “Mondo Digital” review had likened this to the cult horror films made by Hammer, Roger Corman and Mario Bava: judging by the campy Papal sequence (with a host of fey clergymen on whom Faustus plays childish pranks) and an equally tacky conjuring act before a medieval court, I’d say that Burton and Coghill probably drew more on the decadent work of Federico Fellini or Pier Paolo Pasolini than anything else! Anyway, the experimental nature of the film extends to the baffling over-use of a pointless ‘foggy’ effect; its depiction of lust, however, emerges as traditionally naïve – with frolicking satyrs in a garden setting and decorous female nudity (including Taylor herself for one very brief moment).

Ulimately, DOCTOR FAUSTUS is to be considered an interesting failure – a personal tour-de-force for Burton but which, perhaps, needed a steadier hand…say, Joseph Losey (with whom the two stars would soon work on BOOM! [1968], curiously enough, a similar and equally maligned blend of fantasy and theatricality).

It was an ambitious undertaking for Richard Burton, to film Christopher Marlowe's classic Dr. Faustus with an untried amateur cast. I'd say he got a mixed bag of results.

Well, they weren't all that amateur, they were the members of the Oxford Dramatic Society and quite a number of them went on to have substantial careers in film and theater. Fans of the Doctor Who series will recognize Ian Marter who played Harry Sullivan during the Tom Baker reign as the Doctor, he's probably the most well known of the cast.

Of course there's Elizabeth Taylor who plays the brief part of Helen of Troy who in legend is ultimate in feminine beauty. She has no dialog, but she makes her presence known.

Faustus, a man who devotes his entire life to the pursuit of knowledge and somehow feels he's left a lot out of his life. Piety and service to God ain't cutting it any more. He makes a deal with Lucifer himself and even gets one of the fallen angels, Mephistopheles to act as a personal servant and conveyor of Faustus's wishes to the Prince of Darkness.

Of course he gets what he wants, but there's a day of reckoning and Faustus just simply doesn't want to cough up the soul. What do you expect from a guy who constantly refers to himself in the third person? Faustus is rather full of himself.

From what little research I did, Richard Burton made a concerted effort in this film to perform it close to Marlowe's own vision. There seems to be a few versions of this out there and it's all open to speculation.

It was an ambitious undertaking, not entirely successful, but not a total failure either. And Elizabeth Taylor looks pretty good in it.

Richard Burton co-produced, co-directed, and stars in this adaptation of Christopher Marlowe's play "The Tragical History of Doctor Faustus", concerning an aged 16th century German scholar who conjures up Mephistopheles, servant to Lucifer. Despite a warring of conscience in which saints and demons both attempt to sway Faustus to their side, the conflicted doctor signs his soul over to the Devil in exchange for lust and power, quickly discovering the black magic not living up to its promise. Marlowe's poetry, like subterranean Shakespeare, seems to flow naturally from Burton, and the combination of soliloquy and performance is a lively one. The art direction, production design, and cinematography are all first-rate, with pop-art colors insanely, imaginatively blended together like bewitched Jell-O powder. Elizabeth Taylor's intermittent (and mostly silent) entrances and exits as Helen of Troy probably do the picture more harm than good, but Burton is in fine form (after an unsure start) and Andreas Teuber cuts a striking figure as the Devil's Aid. The film has the same late-'60s, hallucinogenic quality of the other-worldly "Barbarella" (and no wonder: both pictures were made in Rome under the auspices of movie mogul Dino de Laurentiis). You can't take your eyes off "Doctor Faustus"--and, for fear of missing anything, you wouldn't want to. **1/2 from ****