text: The premise for Circle of Two is an intriguing one. A forbidden love between a sixty year old painter Ashleigh (Richard Burton) and a fifteen year old girl Sarah Norton (Tatum O'Neill); and the question of whether such a relationship is acceptable given society's standards. The problem with Circle of Two, however, is that it fails to live up to its promise. Director Jules Dassin and Hedley should have put more thought into the screenplay. When I watched this film, I expected to learn something new about love and sexuality. Instead, I got boring dialogue, a pointless lecture on art, outings where Sarah seemed to have more fun away from Ashleigh, and a closing scene so artificial that its emotional impact was lost. This script makes good actors look bad. So one can imagine how the film's problems were compounded even further with the largely amateurish cast that Jules Dassin assembled. Tatum O'Neill was not in her element. I did not believe for a second that her character Sarah was in love with Ashleigh. Her performance seemed superficial, like a contestant at a beauty pageant. It was as though she forced herself to be happy, when the script required her to be happy, and to be sad, when the script asked her to be sad. The only scene I liked with her in was at the very end when she said nothing at all. That was probably the closest Tatum's Sarah Norton ever came to being real. But Tatum was not the only one at fault. Richard Burton's Ashleigh lacked the charm, the charisma and the complexity to attract even women of his own age, let alone a fifteen year old. The rest of the cast was also dismal. Even their arguing was unconvincing, because they waited to take turns. Who does that? Michael Wincott as the jealous ex-boyfriend Paul was probably the best thing in this film, but his role was small. To be fair to the actors, Dassin's direction let everyone down; but it is also true that a great movie goes beyond the script. Kubrick's Lolita did that with James Mason and Sue Lyon; Konchalovsky's Runaway Train went beyond the script with Jon Voight and Eric Roberts playing convicts. The directors of these films also knew how to use music to dramatize their films and reveal something about the characters in them. In spite of its own score (a combination of Antonio Vivaldi, Carl Off and Bernard Hoffer), Circle of Two never succeeds in doing that.<br /><br />In conclusion, the idea of a forbidden love story between an elder painter and a teenage girl is a good one, but its execution in Circle of Two is terrible. In many ways, it is a shame that a controversial, Lolita-type story  which most film directors for understandable reasons would prefer to avoid  did not have receive more intelligent treatment; that a script which actors would have gladly rehearsed was not written; that actors, who were committed to their part or had the talent to make their characters real, could not be found; and that the director Jules Dassin (who did so much better with films like Rififi and Topkapi) did not have to will to put his foot down and say, "Before we do any filming, we must rethink the love story and revamp the script." The only silver lining is that one day an intelligent film about an elder painter and a teenager girl falling in love may one day be made. If such a film ever appears, this it will be surely spark controversy, debate and questions for many years to come.