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Clemson Reade, a business tycoon with marriage on his mind, and Effie, a U.S. diplomat, are a modern couple. Unfortunately there seems to be too much business and not enough pleasure on the part of Effie. When Clemson meets Tarji, a princess trained in all the arts of pleasing men, he decides he wants an old fashioned girl. Princess Tarji's father is king of oil-rich Bukistan. Because of the oil situation and to maintain good political relations during the courtship between Clemson & Tarji, the State Department assigns a diplomat to maintain protocol until the wedding. Effie! Written by
Debbie Dunlap <firstname.lastname@example.org>
After making this film Cary Grant announced his retirement from acting in February 1953. However, 18 months later he agreed to return to acting in To Catch a Thief (1955). See more »
Toward the end of the movie, in the scene where the Khan and Effie converse sitting on his sofa, the vizier announces that the Khan's daughter has returned. The Khan dismisses him, saying, "Ms. Barshi can wait". The correct name of his daughter is Tarji. See more »
[as they walk toward the altar for their wedding]
What can you expect from a woman? You're weak, helpless, and nothing but trouble. And that goes for all of you. Harriet Beecher Stowe. She wrote about slaves, didn't she? Well, it sure takes one to know one.
She great woman. She write Uncle Tom's Cabin.
Susan B. Anthony...
Susan B. Anthony fight for woman's vote. And that not all. Carry Country...
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A big disappointment considering the two legendary leads, Grant and Kerr. And that's despite a rather promising opening. There's comedic potential in a jilted love translating a guy's flowery affections to a non-English new amour. As a result, the movie's best passages involve Kerr doing just that. Here, however, the idea's bound up with Middle East intrigue, and distinctly non-comedic mid-eastern types. There's also comedic potential in watching a woman transition from traditional subservience to modern freedoms. Trouble is these themes fail to catch fire in what amounts to a sloppy screenplay.
Too bad too that Grant appears to be walking through his role in very uncharacteristic fashion. There's none of his usual bounce or spark. Apparently, he was on the brink of retiring and would not make another feature for two years. So there may well be an inside story to the MGM production. Kerr too seems too dour to be droll in a rather thankless role. At the same time, the results look like director Sheldon had no feel for the antic material, being more a popular writer than director. At least there's a winsome Betta St. John as the Arabian princess, an aptly commanding Walter Pidgeon as a government honcho, and a fearsome Buddy Baer as a towering enforcer. All in all, however, I expect this was not a movie Grant would like to be remembered by, nor one that his fans will revere him for.
(In passingIran's Prime Minister of the time, Mohammed Mossadegh, gets a quick mention in the dialog. No wonder, because he had just nationalized the country's oil production and would quickly be deposed by a notorious CIA plot. These events culminated about the time this movie was in production, ie. early 1953, and may well have inspired the premise.)
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