Your Ticket Is No Longer Valid is a strange title for a film, but it works as a metaphor. The ticket is Richard Harris's penis, and the reason it is no longer valid is that he can no longer get an erection.
The film is about a business mogul named Jason (Harris) who has a younger lover called Laura (Dale). As the pressures of his deteriorating business begin to tell on him, Jason discovers that his sex life is also affected. He is losing his ability to get an erection and satisfy her in bed. To make matters worse, he begins to have dreams about a gypsy stud having sex with her, and finds himself shamefully excited by these dreams. In the end, he contemplates suicide in order to spare his lovely lady the unhappiness of a sexless relationship.
It's a bizarre and often tasteless film, with the most unusual cast you could ever hope to find in such a project. However, the performances are pretty good, especially Harris who somehow manages to convince in one of the most near-unplayable roles of his career. George Peppard is good too as a racist rival banker, who uses dirty language like "f@ck" and "c*nt" as if it's going out of fashion. Beyond the performances, there isn't that much to recommend the film. It tries to deal with its themes seriously and meaningfully, but it ends up playing like a campy sleazefest, mixed in with some fake overtones of tragedy.
The film is about a business mogul named Jason (Harris) who has a younger lover called Laura (Dale). As the pressures of his deteriorating business begin to tell on him, Jason discovers that his sex life is also affected. He is losing his ability to get an erection and satisfy her in bed. To make matters worse, he begins to have dreams about a gypsy stud having sex with her, and finds himself shamefully excited by these dreams. In the end, he contemplates suicide in order to spare his lovely lady the unhappiness of a sexless relationship.
It's a bizarre and often tasteless film, with the most unusual cast you could ever hope to find in such a project. However, the performances are pretty good, especially Harris who somehow manages to convince in one of the most near-unplayable roles of his career. George Peppard is good too as a racist rival banker, who uses dirty language like "f@ck" and "c*nt" as if it's going out of fashion. Beyond the performances, there isn't that much to recommend the film. It tries to deal with its themes seriously and meaningfully, but it ends up playing like a campy sleazefest, mixed in with some fake overtones of tragedy.