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The problem is that neither Archie nor Petulia really know what they want from each other, or from life itself for that matter. Archie just can't put into words why he's left Polo and his two kids, Michael (Eric Weiss) and Stevie (Kevin Cooper). It merely seems to be one of those mid-life crises that creep up on some men, unaware that they're about to be knocked for six. Polo sure doesn't understand why she's been discarded after so long, although at least she seems to have found happiness with the somewhat more constant Warren (Roger Bowen). On the other side of the equation, Petulia is reacting badly to the rich-kid status of her new husband. Circumstances force them to live with his parents, in their expansive mansion. It might as well be a prison cell. With border-hopping Oliver (Vincent Arias) stirred in, the emotional fabric of this ad-hoc group is placed under severe strain.
A rather anachronistic piece, Petulia weighs down the charm of its period with then-trendy film-making techniques. At its heart though, Petulia is something of a detective story. Throughout the movie, clues are dropped as to exactly how everyone ended up in this particular situation and what has been taking place behind closed doors. So, from a start which reveals little, subtle and unexpected links are unmasked, indicating how everyone is tied together without bluntly stating the facts. Thus, by the end many of the emotional threads have fallen into place, yet Petulia pulls off the trick of not really going anywhere at all! However, while the use of sympathetic flash-backs is impressive and controlled, the inclusion of flash-forwards treads the very fine line between being needlessly confusing and indicating how the past is doomed to repeat itself. Unfortunately Petulia doesn't always succeed in this department.
In many ways the performances are the bedrock of Petulia, the hook which makes the film worth watching. Just about the entire adult cast lead fractured lives, yet each of them is able to place a slightly different spin upon their character. Scott is excellent as an outwardly secure doctor, yet also a man who is defined by those around him rather than by his own personality. He appears to be chasing a phantasm, a symbol of who he is, and occasionally Petulia is just what he's looking for. However, she's far too elusive to be pinned down for long. Christie does an excellent job of injecting a certain intrinsic waywardness into her character, making Petulia a thoroughly frustrating person to know. Around this binary system orbit Chamberlain and Knight, who are fine in their supporting roles, and Hill and Widdoes, who are great as a couple trapped by their own cowardice.
This smooth ensemble performance is, however, undermined by the chilly pallor of the entire film. With the rare exception of Archie's children, an off-putting emotional distance is maintained throughout, leading to an almost mechanistic tone (reinforced by numerous robotic devices). As a result there's precious little for the audience to identify with or attach to; the character's own lack of identity seeps from the screen, acting as a barrier to involvement. Luckily Petulia is more light-hearted than it might seem. Various comical, almost surreal, elements combine to lighten the tone and enhance the aura of disorientation (where else is a trombone used as an adjunct to love-making?). Regrettably these themes, and pretty much everything else, are lodged firmly in the late Sixties. Unless you happen to have experienced that brief instant of time, that's probably where they'll stay.
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