Boom! 1968

On a secluded Italian island, Flora ‘Sissy’ Goforth Elizabeth Taylor is a terminally ill woman living in a sprawling mansion with a coterie of servants who endure her sharp tongue and controlling moods. Into her life arrives Christopher Flanders Richard Burton, nicknamed “L’Angelo della morte” — the Angel of Death — a mysterious man who claims they may have met before, though Flora pretends she cannot recall. Flora is described as suffering from neuritis and a nest of other “-itis” afflictions, while her villas are wired for sound so she can dictate her memoirs at any moment and shape her legacy.

Her days are shadowed by Miss Black Joanna Shimkus, Flora’s secretary whom she calls “Blackie,” as well as by the looming presence of a gas-lit world where power, desire, and death blur together. After a dramatic dog attack on Christopher as he climbs the cliff to Flora’s estate, she assigns him a villa to recuperate and outfits him with a samurai robe and sword to replace his shredded clothes, a stark image of control and ritual in a fragile life. The tension deepens when she invites The Witch of Capri Noël Coward to dinner on her terrace; the Witch warns Flora of Christopher’s ominous nickname and his history of visiting the dying, a claim Flora both resists and fears.

Christopher flagrantly seduces Miss Black, whose husband died the year before, adding a dangerous undercurrent to the already volatile dynamics inside the mansion. The relationship between Flora and Christopher becomes the film’s backbone, propelled by dialogue rich in allegory and Symbolism. Flora muses that the present moment can become an instant memory, while Christopher speaks of the crashing waves on the cliffs as the sign of “the shock of each moment of still being alive”—the titular Boom! The movie thus explores a delicate balance of respect and contempt for those who refuse to acknowledge their mortality, showing how fading erotic energy can be redirected into the denial itself.

Flora alternates between tenderness and bombast as she grows emotionally entangled with Christopher, yet she remains terrified by what he represents. Her health declines as night falls, and the isolation of the island amplifies her vulnerability. In a chilling turn, Christopher recounts a story of aiding an old man who chose to end his suffering, a tale that culminates in a powerful gesture: he removes Flora’s enormous diamond ring—a symbol of taking life and of freeing her from earthly concerns—and tosses it off the cliff.

As Flora dies, the sea answers with a relentless roar, and Christopher’s last murmur resonates with the film’s signature act of inevitability.

Boom!