The Life Ahead

Tags

2020’s, Abril Zamora, Babak Karimi, Drama, Edoardo Ponti, Foreign Language Film, Ibrahima Gueye, Renato Carpentieri, Sophia Loren, The Life Ahead

Sophia Loren, following an absence of ten years from screen comes back gloriously with a wonderfully warm, fierce and emotionally nuanced performance in The Life Ahead. The story is rather familiar but is nonetheless very moving and the acting from Sophia Loren and newcomer Ibrahima Gueye is something to behold. It’s a great movie I discovered on Netflix and I recommend it to my audience.

In a seaside town in Italy, Senegalese orphan Momo(Ibrahima Gueye) lives an existence of aggression and mixed up feelings. Though he is cared for by Dr. Cohen(Renato Carpentieri), the 12 year old Momo feels isolated and not at all happy with life. He takes his anger out on others, while resorting to theft and drug dealing with others. One day, Momo steals the belongings of Madame Rosa(Sophia Loren), a former prostitute who is now seen as a respected figure in the community. When Cohen gets word of this crime, he takes Momo him to her to say how sorry he is. The ageing Madame Rosa recognises as the one who stole from her and is not at all interested in helping Momo. Cohen is getting older and feels he can’t look after the troublesome Momo, yet senses that Madame Rosa might have something more to offer. Knowing that Madame Rosa makes money as an unofficial carer to the children of streetwalkers, Cohen persuades her to take care of for a decent amount of money. From the start, the two do not get along. Momo is a tough kid with a chip on his shoulder and a feeling of loss that he expresses with violence and dealing drugs to people nearby, while Madame Rosa is kind but firm, yet haunted by a past that includes her imprisonment in Auschwitz because of her being a Jew. It looks like things won’t be going well for the mismatched duo as they are both incredibly stubborn in their own ways. Over time and little by little, a bond develops between and they seem to bring out the best in the other while attempting to overcome their adverse pasts and unknown futures.

Edoardo Ponti, Sophia’s son, beautifully directs this gently touching tale of two people of different backgrounds and forming an unlikely bond across the. Ponti knows how to strike the right tones of feeling to the piece and elevates the rather simple material into something a step up from the usual wrought dramas, his chief asset being the development of the two central characters of Momo and Madame Rosa. The Life Ahead does strike many familiar notes that you’d expect but it should detract from the emotional heft of the story that make it worth treasuring. I feel the movie could have ran a little longer for some more details, but the relationship between is nicely explored enough to compensate for that. Italy is captured beautifully through the cinematography of Angus Hudson, while most of the often sparse music score is nicely heard and though sometimes intrusive, it does the job well enough . There is a heartfelt song, given stunning voice and resonance by Laura Pausini and with lyrics by Diane Warren by the name of ‘Io sì’. It is quite a beauty song that rounds off The Life Ahead gorgeously and deeply.

Sophia Loren is the big standout and takeaway from The Life Ahead. The biggest piece of praise I can give to the wonderfully talented Loren is that the film wouldn’t be the same without her. She is ideally cast and embodies so many shifting feelings in a way only she can with her innate magnetism. She’s spiky yet hauntingly vulnerable, funny yet morose, sparky yet slowly succumbing to the ravages of old age. You warm to her so much and it’s a treat to see all of these emotions displayed, often with only a simple look that speaks volumes from those dazzling eyes. It’s fantastic to see her back on screen and on sensational form with this vivid portrayal of maternal love and haunted memories. Newcomer Ibrahima Gueye plays beautifully off the classic Loren with a feeling of naturalism and authenticity to his work. It hardly seems like he’s acting at all, that’s how convincing Gueye is as the scrappy kid discovering that happiness can occur in what he originally saw was a life of sadness. And considering he’s starring opposite an icon of world cinema, he shows no nerves whatsoever and rises to the occasion. They are commendably supported by the gravitas of the excellent Renato Carpentieri as the doctor who sets things in motion, the fantastic Abril Zamora as a loyal trans woman who is best friends with Rosa and Babak Karimi as a carpenter/shop owner who takes Momo under his wings at work. But above all, The Life Ahead is a showcase for the undimmed power of Sophia Loren and a great introduction to Ibrahima Gueye.

A touching film of emotion and heart directed with grace and elegance by Edoardo Ponti, The Life Ahead won’t win any awards for originality but should definitely be in contention for plaudits for acting, partially from the iconic and still amazing Sophia Loren.

The Key

Tags

1950's, Bernard Lee, Carol Reed, Drama, Romance, Sophia Loren, The Key, Trevor Howard, War, William Holden

I was recently asked to take part in a blogathon set up by the trio of Virginie, Michaela and Emily. To honour the star that was William Holden, I decided to review war romance-drama The Key.

Film Title

The Key

Director

Carol Reed

Starring

• William Holden as David Ross
• Sophia Loren as Stella
• Trevor Howard as Chris Ford
• Bernard Lee as Wadlow

A wartime drama with romance and something of a gloomy aura, The Key at least holds the attention thanks to the stars and direction. No masterpiece, but compelling enough and filled with good parts.

It’s the Second World War and Canadian tug boat captain David Ross arrives in Plymouth, England. He is assigned to salvage missions that entail picking up ships that have been attacked in conflict with the enemy. It’s an extremely dangerous job as the tug boats are ill-equipped to combat any form of onslaught, leaving them open to death every time they venture out. David meets with old friend Chris Ford who is a captain. Later after a number of missions, Chris takes David back to his lodgings, drawing particular attention to the key. It is here that David meets the beautiful Stella; an Italian-Swiss woman who rarely leaves the apartment. We learn that the key to the apartment is seen as an omen as many men have lived there and perished at sea. This has left Stella lonely(especially since the death of her first love), even though she constantly has company. With the life expectancy of these men low, Chris gives David the key to the apartment in case anything should happen to him. When Chris dies, David moves into the flat. At first, he and Stella are distant with each other as he is skeptical about the seemingly cursed nature of the key. But over time, the two fall in love. But the overreaching feeling of darkness from David’s job and Stella’s past experience with men threatens to ruin what is growing between them.

Carol Reed’s direction manages to balance drama and the scenes of war very well. It’s not Oscar-winning direction but it is passable and generates interest in what will happen next. A certain ghostly quality hangs over The Key. Something quite haunting and melancholy is in the air, especially when it comes to Stella who occupies a haunting presence throughout the story. The black and white cinematography aids the dark areas of the story and the possible love that may happen. The Key is good but far from high calibre movie making, marred by the long running time and occasional dreariness that undoes many of the fine things the movie does. At least it still retains attention thanks to the evolving relationship between Stella and David. The second section raises the film up as more momentum is introduced into the narrative. We see Stella emerge from her gloom and discover that love could be on the cards for her and David become less resistant to the idea that their union could be cursed. A highly dramatic score, with a certain haunting aura heard in many instances.

William Holden excellently conveys the tired and uncertainty of a man who has experience in battle, but is still secretly terrified of the prospect. Blended with movie star charm that is never far from view, Holden is endlessly watchable in his part. Sophia Loren is quietly melancholy and haunted as the woman at the centre of things. There’s real sadness and pathos to her work that comes through in her face, which craves love and companionship but knows of the bleak realities of life that have befallen her. Loren plays this lonely character who just wants some form of togetherness with real clarity and acting opposite the great William Holden is wonderfully convincing. They share a tentative chemistry that matures along with the movie. Trevor Howard makes the most of his role with a scene stealing turn as David’s friend and the one who sets in motion the relationship with Stella. He works well with both Holden and Loren when he appears. Also watch out for Bernard Lee in a supporting part of the head of the salvage unit.

Far from flawless but filled with something unusual and with a great cast, The Key is an entertaining way to spend your time.

Two Women

Tags

1960's, Drama, Eleonora Brown, Foreign Language Film, Jean-Paul Belmondo, Sophia Loren, Two Women, Vittorio De Sica, World War II

Film Title

Two Women

Director

Vittorio De Sica

Starring

• Sophia Loren as Cesira
• Eleonora Brown as Rosetta
• Jean-Paul Belmondo as Michele

A harrowing account of a mother trying to protect her daughter in the dark days of World War II, Two Women is strikingly told and excellently acted. Occasionally it gets a bit meandering, but the grim power and authentically moving performance from Sophia Loren make Two Women a must see.

It is the Second World War and in Rome, widowed shopkeeper Cesira is struggling to cope with the constant uncertainty and bombings that terrify everyone. Her main priority is keeping her 12-year-old daughter Rosetta safe, no matter what. Having saved up some money and collected what she needs, she heads with Rosetta to the hills of her childhood, looking for sanctuary. The journey to the hills is fraught with difficulties and horror, but the two persevering women carry on. Once in the poor but a lot more sheltered regional village of her past, Cesira attempts to carve a life for her and Rosetta until the war calms down and they can return to Rome. Along the way, Cesira becomes attracted to young idealist Michele, who also harbours romance for her. Though she develops feelings for him over time, her primary concern is Rosetta and Cesira knows that her impressionable daughter has a crush on him. Times are tough due to shortage of supplies and amenities, though resourceful Cesira tries to make the best of things by foraging food and just protecting her daughter from the horrors of war as long as she possibly can. Yet just as it seems safe for Cesira and Rosetta to return to Rome with the war seemingly hitting a turning point, they encounter brutal tragedy at the hands of Moroccan soldiers.

Vittorio De Sica wisely brings his credentials as a purveyor of neo-realism out here, highlighting the stark and unforgiving fallout war can cause and especially on those left behind. None of the film is varnished or dressed up to look smooth, it is depicted with astonishing naturalness and harsh reality thanks to De Sica’s expertise. It deftly captures the way that a war can impact on people and their lives, one minute it seems calm, the next minutes it is a mass upheaval. There are those out there that will dismiss the film as overly episodic, but by and large, it’s an honest picture of the sea saw of terror and not knowing when . Two Women is not without nicer moments of people attempting to raise their spirits, but these are coupled with scenes of shock and grit that never lets us forget that this is only a temporary respite from a difficult time. Some parts do feel a bit rushed and there are parts that linger too long for their own good, yet the bigger picture and power of the piece always manages to bring it all back to something exceptionally genuine. The last half especially will emotionally devastate and shock viewers with its intensity and raw, visceral content that leaves a mark. The black and white cinematography highlights the bleakness of war and what it does to people, both emotionally and physically. If Two Women had been in colour, a lot of the impact would have dissipated. Music is employed sparingly but appropriately, allowing the main story and themes of survival to flourish but also give an emotional pull when required.

Sophia Loren is simply put powerful and forceful in the lead role; it’s no surprise she won the Academy Award for her raw and heart-rending work here. The role of Cesira is embodied so naturally and with grave, hard-working determination by Loren that you can’t tear yourself away from the screen. She excels at colouring the role with the deep maternal instinct and love, without resorting to melodrama and needless overdramatising. Sure Cesira says what she thinks and can be very feisty, but in the hands of Loren, we glimpse the little nuances of the character that complete the whole. We get many sides to the woman; the caring side, desolation and vulnerability, along with an outspoken attitude and unwavering strength that all make it a triumph of intensity and authenticity. From the first moment you see Loren cradling her daughter from harm and screaming that she wishes the war would end, you just know that the performance is going to be something special. Before this film, Sophia Loren had largely been cast in parts that were merely glamorous and weren’t ones that showcased the talent she had. She really showed off her abilities with this award collecting part, that will haunt the mind for days to come and established herself as an actress to be reckoned with. Eleonora Brown forges a realistic and convincing bond with Loren as the young innocent daughter, whose experiences leave her shell-shocked and she has to grow up quicker than expected. This tender relationship is the heart of the movie and is played magnificently. Jean-Paul Belmondo has probably the least demanding role of the central three, but nonetheless conveys the free thinking and opinionated feelings of the young idealist.

Anchored by the superb work of Sophia Loren showing her mettle and the honest direction of Vittorio De Sica , Two Women is a dark and stark evocation of the horrors endured in World War II and the power of a mother’s love.

It Started in Naples

Tags

1960's, Clark Gable, It Started in Naples, Marietto, Melville Shavelson, Romantic Comedy, Sophia Loren, Vittorio De Sica

Film Title

It Started in Naples

Director

Melville Shavelson

Starring

• Clark Gable as Michael Hamilton
• Sophia Loren as Lucia Curcio
• Vittorio De Sica as Mario Vitale
• Marietto as Nando

A somewhat mixed romantic comedy, It Started in Naples is thankfully enlivened by the star pairing of Clark Gable and Sophia Loren as well as an amiable enough story and the lovely scenery of Italy.

Michael Hamilton is a respected Philadelphia lawyer who travels to Naples after being informed of his estranged brother’s death in a boating accident. Michael is an upright man who has no time for any other culture and wants business to be taken care of quickly. Naturally this doesn’t happen for him on his arrival. What he also discovers thanks to Mario Vitale, an Italian lawyer who knew his brother, informs Michael that his brother had an illegitimate child named Nando who is currently being raised by his Aunt Lucia Curcio. Journeying to the beautiful nearby island of Capri, he finds that Lucia is an uninhibited and beautiful woman of modest means who gets by from dancing at a local nightclub. Young Nando is a charming ragamuffin who smokes, skips school and stays up late, much to the shock of Michael who doesn’t think this environment that Lucia provides is beneficial for the child. Michael finds himself growing fond of Nando and thinking that the young boy should be in a place of some opportunity instead of what he considers squalor, decides to fight for custody for the young boy, with the intention of bringing the boy back to America. But Lucia has other ideas and uses her considerable assets in an attempt to remain with custody of Nando. So while both Michael and Lucia play tug of war to gain custody of the impish Nando, they both find romantic feelings growing between them, due in no small part thanks to lawyer Vitale who meddles in their unspoken emotions and brings them out amusingly.

Melville Shavelson competently directs this light film with knowledge for both romance and comedy. He may take a little too long with exposition, but once the romance and comedy aspects are present his direction is free and easy, helped by a dose of irony. It Started in Naples mainly suffers somewhat from a by the numbers story and the fact that it runs too long. From the beginning, we can see where the plot is going and it makes the film both predictable yet somehow enjoyable. The film is essentially a one-joke movie of Michael experiencing a culture clash that leads to romance with Lucia, but at least the other spots of humour have a warm and pleasing quality. Overall with It Started in Naples, the positives outweigh the negatives as the energy of the film is sustained by the direction and glamorous romantic pairing of Loren and Gable. And deserving a special mention are the luscious visuals that fill the settings of Naples and Capri with shiny exuberance and colours of romance. It paints a breathtaking picture of these places that seriously have you wanting to book a flight there as soon as possible. A lively music score is utilized to great effect here, including a couple of songs. The highlight of these is a cheeky and sexy number performed by Lucia in a nightclub that represents one of the best and most energetic parts of the movie.

In one of his last roles before his death, Clark Gable still shows his considerable authority and charm that made him an iconic star. He brings out Michael’s cynical and intolerant attitudes that are eventually worm down by the surroundings. Despite the character being an uptight individual, Gable showcases that roguish charm that we all know and love. He wasn’t known as ‘The King’ for nothing. Providing a comical and sexy foil is Sophia Loren in a delightful performance as the earthy and voluptuous Lucia. Fun-loving, sensual and scheming on occasion, Loren displays her skills with comedy here and is stunning to watch, as well as boasting one of the most infectious laughs you’re ever likely to here. And despite the obvious age gap between the stars, they do have a wonderful chemistry with each other that can be felt. Vittorio De Sica emerges as a real scene-stealer here as the skirt-chasing lawyer who isn’t exactly the best person to be representing Michael but whose in turn leads to romantic feelings blossoming for them outside of court. The youthful presence of Marietto is charming when he’s playing Nando, who thinks he’s a lot older than he is but his childlike actions betray this sense of maturity he believes he has making him an engaging child.

It could have been a better film than how it turned out, but It Started in Naples has enough humour and chemistry( plus the beautiful backdrop of Italy) to make it a pleasantly light film to watch. It has its share of flaws, but a serene charm shines through the mixed proceedings that will surely leave with you with a smile on your face.

Boy on a Dolphin

Tags

1950's, Adventure, Alan Ladd, Boy on a Dolphin, Clifton Webb, Jean Negulesco, Jorge Mistral, Sophia Loren

Film Title

Boy on a Dolphin

Director

Jean Negulesco

Starring

• Sophia Loren as Phaedra
• Alan Ladd as Dr. James Calder
• Clifton Webb as Victor Parmalee
• Jorge Mistral as Rhif

An imperfect adventure yarn that is sometimes packed with fun and at other times slow-moving in the extreme, Boy on a Dolphin gains agreeable points from the stirring music, luscious location work of Greece and a gorgeous Sophia Loren.

In Greece, the beautiful but poor Phaedra is a sponge diver who lives in a ramshackle windmill with her kid brother and lousy boyfriend Rhif, who is something of a lay about who promises they’ll be fine all the time but never seems to do a lot to help. For the spirited Phaedra, she just goes by each day attempting to provide for herself and those closest in any way she can. Then one day while diving off the island of Hydra, she discovers a dazzling statue of gold, depicting a boy riding a dolphin. The statue is situated at the bottom of the Aegean Sea and is thousands of years old, having been on a ship that crashed during a stormy voyage. For Phaedra, her accidental unearthing of the treasure gives her cause to use it to finally gather some money and not have her worries. Along with Rhif, she takes it to many people who could sell the statue, but two stand out the most. The two are the honest and hardworking Dr. James Calder, who works an archaeologist and the deceptive and slimy collector Victor Parmalee. Both men express interest in Phaedra’s find but for differing reasons; Calder wants the statue to put in a museum in Greece, whole Parmalee wants all the glory and money that will go with the discovery. Into this power struggle comes Phaedra, who can’t decide whether she wants the allure of money or genuine love, as she develops feelings for Calder. A race to discover the statue of the title ensues between Calder and Parmalee, that becomes ever more difficult due to Phaedra being in the middle of it all and having to choose where her loyalties lie.

On the whole, Boy on the Dolphin is a somewhat messy exercise but nonetheless has enjoyable moments and things to praise. The main problem rests with the script and the pacing which go from being exciting to dull over the course of the film. The script has the sense of adventure right, but in the parts in between, some of the material is a little superfluous and could have been cut. The same goes for the pacing that needs a fixer upper on occasion as it lurches between two extremes. Yet once the pace picks up and the cat and mouse game between the two men entangled with Phaedra commences, a good adventure yarn emerges from the flawed premise. Also on the positive side, Jean Negulesco at least makes the film stunningly shot and keeps us engaged through showing us the sheer beauty of Greece. Basked in glorious sunshine and filled with some gorgeous underwater scenes, Boy on a Dolphin stays afloat when it comes to the visual front. And the score provides the perfect romantic and dreamy backdrop of the piece with a lilting wind section and trembling guitar. There is also a sublime song that covers the aquatic opening titles that is filled with romance, intrigue and temptation.

Although her role, which was her first in the English language, doesn’t require much in the way of stretching acting muscles, the beautiful Sophia Loren makes a stunning impression with earthy sex appeal, volatility and feisty demeanor. Soaring above the flawed writing, Loren makes sultry and determined, bringing much more to the character than the script asked for. And I can’t review this film without mentioning Loren’s dazzling entrance into it. Pulling herself out of the sea after one of her many dives for sponges, she climbs onto a boat, clad in a flimsy, orange dress that accentuates her breathtaking beauty and curvaceous figure. It’s a sexy entrance for one of cinema’s most gorgeous stars. While I do think that Alan Ladd is a good actor, his role of archaeologist Calder is not his best and Ladd appears seemingly indifferent to the character. He’s not all bad here showing moments of good, but he appears to be more than a little stiff in the part. Clifton Webb fares much better at playing the oily Parmalee, who is unscrupulous and used to getting what he wants. He adds a good dose of underlying nastiness to the role that is hard to miss. Jorge Mistral does his best at making Rhif a louse who is more of a hindrance to Phaedra than a helper.

A movie that veers between thrilling adventure and boring spectacle, Boy on a Dolphin still retains something of an enjoyable factor and features the sensual Sophia Loren announcing her star appeal.

Happy Birthday Sophia Loren

Tags

Happy Birthday, Sophia Loren

Today marks the 81st birthday of the ever beautiful and very talented Sophia Loren. With her curvaceous figure, smouldering gaze and feline eyes, she is for my money one of the most beautiful people to grace the cinema screen. But her appeal goes beyond just her beauty, she is a very adept actress who has showcased her abilities in both comedy and drama. Here is a photo tribute to this icon of glamour and cinema.

 

Nine

Tags

2000's, Daniel Day-Lewis, Fergie, Judi Dench, Kate Hudson, Marion Cotillard, Musical, Nicole Kidman, Nine, Penélope Cruz, Rob Marshall, Sophia Loren

Film Title

Nine

Director

Rob Marshall

Starring

• Daniel Day-Lewis as Guido Contini
• Marion Cotillard as Luisa Contini
• Penélope Cruz as Carla Albanese
• Judi Dench as Lilli La Fleur
• Fergie as Saraghina
• Nicole Kidman as Claudia Jenssen
• Kate Hudson as Stephanie
• Sophia Loren as Mamma

Adapted from the musical play of the same name and inspired by Fellini’s 8 1/2, Nine is a visually lovely musical with some great sequences but the lack of emotional connection doesn’t involve. It is a flawed movie, but there are certain points to praise, even if it adds up to less than the sum of its parts.

In 1960’s Italy, Guido Contini is a well renowned  film director. As he approaches middle age, he is starting to develop writer’s block and his relationships with the women in his life further complicate the matter. With a script not written and producers hounding him to make a hit movie, he begins to struggle whilst juggling the many female influences on him and his own personal torment. The women include his neglected wife Luisa; his fiery yet unstable mistress Carla Albanese; his confidant and costume designer Lilli La Fleur; a prostitute who Guido met as a child named Saraghina; his muse and leading lady Claudia Jenssen; a Vogue reporter Stephanie and the memory of his Mamma. Through musical numbers that play out as fantasies in Guido’s head, we see the turmoil of both him and the many women who surround him, some of these numbers come off better than others.

The whole concept of the musical numbers being part of the tormented Guido’s imagination works in some cases, yet director Rob Marshall achieved this effect better in his last musical Chicago. The film should be praised visually for the way it conjures up the stylish 60’s in Italy in all its glory.  Special mention must go to the costumes which are ravishing to look and crafted with precision. Yet the script doesn’t have much of an emotional core and the results emerge as hollow.

The cast of the film is star-studded beyond belief but only three actors are given a chance to expand on their characters because of the flawed script. Daniel Day-Lewis is reliable as ever as the tormented director Guido, managing to imbue him with a melancholy the script sometimes overlooks. Penélope Cruz plays his feisty mistress Carla, who feels pushed away by Guido. Cruz has a very sexy song to perform “A Call from the Vatican” which she pulls off amazingly, it is a raunchy burlesque style number which will no doubt send pulses racing. Yet Cruz also manages to show the vulnerable side to Carla that is sometimes hidden by her passionate demeanor.  But the best performance of the bunch is Marion Cotillard. She beautifully and movingly plays Luisa, the neglected wife of Guido who is growing tired of his philandering and feeling the pain of his rejection. Cotillard has two numbers that are both stunning because of her. The first “My Husband makes Movies” an emotional ballad about her undying love for her husband is beautifully executed and her face expresses her emotions in a subtle yet stunning way. The second “Take it All” is her anguished and angry message to Guido that she won’t stand his treatment any longer. It is in this number that Cotillard really shines by combining sexy determination with a bruised anger whilst baring her body and soul.

Unfortunately for the rest of the cast, their roles are sketchily written. The delightful Judi Dench is not given enough time to be memorable as Guido’s costume designer and the one who gives him advice. Fergie, most famous as the girl from the Black Eyed Peas, does manage to have an excellent musical number in “Be Italian” despite her character of Saraghina, the beach dwelling prostitute who Guido meets as a child, not really calling for much in the way of acting. Nicole Kidman as Guido’s muse Claudia is a stunning actress to watch but the emotional connection with Guido is lacking and her character as a result is not very memorable. Like with Fergie, Kate Hudson has a strong musical number in “Cinema Italiano” which is stunningly cut between black and white with colour, but her character doesn’t really serve much of a purpose. Finally, the eternally beautiful and talented Sophia Loren portrays the lingering spirit of Guido’s mother but although she is moving in her delivery, the narrative doesn’t flesh out her character enough.

All in all, Nine is a very flawed picture that has a weak script and wastes the talents of some actors. But it is a visually arresting piece and it does have some brilliantly choreographed musical numbers.

Houseboat

Tags

1950's, Cary Grant, Charles Herbert, Harry Guardino, Houseboat, Martha Hyer, Melville Shavelson, Mimi Gibson, Paul Petersen, Romantic Comedy, Sophia Loren

Film Title

Houseboat

Director

Melville Shavelson

Starring

• Cary Grant as Tom Winters
• Sophia Loren as Cinzia Zaccardi
• Martha Hyer as Carolyn Gibson
• Paul Petersen as David Winters
• Charles Herbert as Robert Winters
• Mimi Gibson as Elizabeth Winters
• Harry Guardino as Angelo Donatello

At first glance, Houseboat appears to be the same old romantic comedy you’ve seen a million times. But in the hands of Melville Shavelson and benefiting from the star pairing of Cary Grant and Sophia Loren, it emerges as a delightful and warm romantic comedy drama. If this doesn’t put a smile on your face, I don’t know what will.

Tom Winters, a worker at the US State Department, has been estranged from his three young children and wife for many years. He returns from Europe to the news that his wife has died. Although his children; David, Robert and Elizabeth want to stay in the country with the wealthy Aunt Carolyn, Tom takes them to live with him in Washington DC. He finds assuming the position of being a real father a hard job as the children resent him for not being there for them. One day after attending a concert, young Robert runs away. He is later found by Cinzia Zaccardi, an Italian woman and daughter of a prominent conductor. She is trying to escape the cloistered world of her father’s touring and the people he surrounds himself with. Robert immediately takes a shine to Cinzia and she brings him home to Tom. After meeting his children, Cinzia has a positive effect on the youngsters, who insist she become their maid. She eventually agrees to this and Tom takes them to live in an old country house owned by Aunt Carolyn. Unfortunately the house is ruined when the driver, the wolfish Angelo, flirts a little too much with Cinzia and the moving house is wrecked by a train. Angelo, out of kindness, offers them his old houseboat, which is in need of repair to say the least. After moving in, we witness and Cinzia’s warm presence helps the children eventually come to terms with their long-absent father and how she eventually falls for her employer. So prepare for comical mishaps before the Tom and Cinzia realise their feelings for each other, reconciliations and how the presence of one person can influence a whole household.

Although clichéd and a little sentimental, Houseboat still manages to entertain in a comical and touching way. Part of this is down to the script that presents the characters and the influence each has on the other, especially the children as they come around to the idea of Tom as their father. Melville Shavelson employs gorgeous Technicolor to highlight the brightening of lives and the kind of romantic feelings that only Old Hollywood can supply. The musical adds to the feelings of a growing relationship, especially when Cinzia and Tom dance and you can see as they gaze into each other’s eyes that they truly care for one another. The glamorous pairing of Cary Grant and Sophia also helps lift the film from the usual romantic comedy route. Their interactions and undeniable chemistry are especially palpable, as we see them eventually warm to one another after searching for answers.

Cary Grant embodies the debonair personality of Tom, yet also lets us to glimpse his fear and eventual love of responsibility for his children. Sophia Loren provides vivacious beauty and kindness as Cinzia, but shows how this young woman will not back down from her opinions as Tom realises how much good she has done with his offspring. The child actors all provide pugnacious yet adorable performances as their lives are changed and they come to see the good in their father after missing him for so long. Charles Herbert is a particular stand out as the lonely, harmonica loving Robert, who begins to warm to his family as a result of Cinzia. Martha Hyer plays the small role of Aunt Carolyn, who has always carried a torch for Tom and tries to undermine the growing affection between him and the loving Cinzia. Stealing all of the scenes he is in is Harry Guardino as the strutting, skirt-chasing handyman Angelo. His scene when he is supposed to take Cinzia dancing and he refuses because he feels she is a threat to his bachelor status is quite hysterical in its execution.

Warm, witty and cosy, Houseboat may be formulaic but when you’ve got chemistry like Grant and Loren, superb writing and stunning music, who really cares?

Arabesque

Tags

1960's, Alan Badel, Arabesque, Gregory Peck, Kieron Moore, Sophia Loren, Spy, Stanley Donen, Thriller

Film Title

Arabesque

Director

Stanley Donen

Starring

• Gregory Peck as David Pollock
• Sophia Loren as Yasmin Azir
• Alan Badel as Beshraavi
• Kieron Moore as Yussef Kasim
• Carl Duering as Hassan Jena
• John Merivale as Sloane

Arabesque may not quite meet the heights of its predecessor Charade, but it is still an enjoyable, stylish spy yarn with a great cast. Backed by an ever reliable Henry Mancini score and some stunning camerawork, Arabesque is exciting and thrilling to watch.

Professor David Pollock is a an expert lecturer in hieroglyphics and is teaching in London. Out of nowhere he is contacted by Hassan Jena, a Middle Eastern Prime Minister who believes his life is in danger. Initially unsure and very reluctant, David Pollock accepts as the key to the mystery seems to lie in a hieroglyphic code. He infiltrates the organisation of Beshraavi, a wealthy man believed to be the ringleader of the plot against the Prime Minister. The mystery continues to enthrall as David tries to crack the code whilst under the villainous eye of Beshraavi, who has a pet hawk that is prone to attacking when someone disobeys the master. The plot becomes even more complicated because of Yasmin Azir, Beshraavi’s lover whose motives are enigmatic to say the least. So kick back and enjoy as the stylish, tongue-in-cheek espionage tale as it twists and turns like a serpent and sends the ordinary hero into an extraordinary web of international intrigue.

From the opening credits of geometric shapes and patterns designed by Maurice Binder, you know you’re going to get a very visually arresting film. And that’s just right as Stanley Donen employs his camera in inventive angles and makes incredible use of reflection and distortion. Nowhere is this more apparent than in David and Yasmin’s thrilling escape and subsequent chase through London Zoo, whilst being pursued by killers. The usage of reflection, cages and varying surfaces adds to the tense atmosphere as the two characters try to evade being found, whilst the reflections play havoc with the killer’s eyes. Only in one scene in which David is drugged and ends up in a psychedelic stupor does the film show it’s age, but for the most part the visual look is immensely spellbinding. Although comic in many aspects of the film, Donen still manages to crank up the suspense as mentioned prior and in later scenes. A tense Ascot sequence in which David attempts to regain the inscription whilst other men aim for it is reminiscent of Hitchcock. And a pursuit through a viaduct is also perfectly executed. Although it may become a little too complicated at times, Arabesque still retains a fun and enthralling edge as David finds himself in increasingly bizarre situations.

The other main asset to the film is the cast, led by Gregory Peck who excellently embodies the unlikely hero thrust into intriguing circumstances as a result of his gift for cracking codes. He has a sparkling chemistry with Sophia Loren, as we watch them suss whether the other is lying in the tangled web of intrigue. A particular highlight of this is when David is forced to hide in her shower and Yasmin playfully and seductively tries to get the code whilst Beshraavi prowls in search of her. Sophia Loren exudes exotic glamour and enigmatic splendor as Yasmin, looking ravishing in Christian Dior gowns while constantly testing David with her dubious methods. Fleshing out the supporting cast is Alan Badel as the sunglasses sporting, hawk loving slime ball Beshraavi, he cleverly emits oily charm as he puts his nefarious plot into motion. Keiron Moore is another enigmatic presence in the tangled web of lies and deception. John Merivale emerges as the most memorable of the many henchman in the film, enduring the put upon deeds and suffering when he doesn’t do the job properly.

If its international espionage with glamour, exotic characters and red herrings a plenty, Arabesque is a must watch for you.

The Pride and the Passion

Tags

1950's, Adventure, Cary Grant, Frank Sinatra, Sophia Loren, Stanley Kramer, The Pride and the Passion, Theodore Bikel, War

Film Title

The Pride and the Passion

Director

Stanley Kramer

Starring

• Cary Grant as Capt. Anthony Trumbull
• Frank Sinatra as Miguel
• Sophia Loren as Juana
• Theodore Bikel as General Jouvet

Much castigated in its day, The Pride and the Passion still holds up as a thrilling war/adventure film with an eye-catching cast and top-notch production values. Yes it has its flaws but one can’t help but be swept under the epic spell the film casts under the direction of Stanley Kramer.

1810, Napoleon’s forces have invaded Spain. A large cannon belonging to the Spanish has been abandoned in the countryside and the French army are searching for it. Captain Anthony Trumbull, of the Royal Navy and Spain’s ally in fighting Napoleon’s forces arrives in Spain to ensure that the cannon is handed to British forces. Expecting to meet another Captain, Anthony is met with Miguel, the leader of a guerrilla band. The two men take an instant dislike to each other. Trumbull wants Miguel to help him shift the large cannon to British forces, Miguel agrees only if the Captain helps make the arduous journey to Avila, which is now occupied by the French with the intent on charging it. Trumbull reluctantly agrees with Miguel and they set off on the long, agonizing journey with the guerrilla band and Juana, Miguel’s seductive lover. Together the band endures harsh weather, enemy attack and pain to ensure the cannon arrives at its destination. Conflict also arises between Miguel and Anthony as Juana begins to fall for the British captain. Prepare for exciting and thrilling viewing as The Pride and the Passion takes you on the perilous journey as the band moves the enormous cannon ever close to Avila.

I think I’ll get the flaws of the film out the way first, as I do believe that the positives outweigh the negatives in this film. Firstly, the film does run for a bit longer than it should, perhaps if it had focused solely on the journey it may have resolved quicker. Also, the main villain a French army commander played by Theodore Bikel is supposed to be threatening but we see so little of him that his presence is rather wasted within the framework of the film. If he had been featured more and given a better story, his character may have been more interesting than he is in the final product.

Now onto the positives of the picture. The cast is the major draw of this, especially the central trio. Cary Grant, although it isn’t his best role, manages to inject his law-abiding and buttoned-up character with a charm and wit, that is present in many of his scenes with Frank Sinatra. Much of the criticism of the film centred on Sinatra’s Spanish accent, which although not perfect is quite convincing and not as bad as people make out. Sinatra manages to capture a dynamic and hot-headed edge within his character of Miguel, who although he despises the Captain, he eventually comes to respect him. This conflict is neatly executed as we watch two different men accustomed to different ways eventually realise that they’re not actually that different. Sophia Loren adds sex appeal to her character Juana, and she has sizzling chemistry with both Sinatra and Grant. She is also able to show the deep-seated pain within her character, the reasons why she is risking her life in this daring mission and how she is torn between Miguel and the captain. Perhaps the biggest star of the picture is the production values which are second to none. The luscious cinematography captures the natural beauty of Spain’s countryside and the danger as it is invaded. Many scenes linger in the memory; the raising of the cannon, Juana’s sensual flamenco dance, the perilous journey through enemy quarters and the final battle at Avila. The adventurous music score is unbeatable at conveying the many perils that face the characters as they near Avila. Although not known for directing adventure movies, Stanley Kramer certainly acquits himself well with The Pride and the Passion.

Tense, dramatic and thrilling, The Pride and the Passion may not be the best epic to emerge from Hollywood, but it is certainly worth a look because of its credentials and excellent cast.