The Barefoot Contessa (1954)

Director:

Joseph L. Mankiewicz

Writer:

Joseph L. Mankiewicz (written by)

Release Date:

29 September 1954 (USA)

Genre:

Drama | Crime | Mystery | Romance

Tagline:

A girl with many ideas . . . and a man for each !

Plot:

Has-been director Harry Dawes gets a new lease on his career when independently wealthy Kirk Edwards hires him to write and direct a film...

Plot Keywords:

Dancer | Millionaire | Director | Friend | Count

Awards:

Won Oscar. Another 1 win & 2 nominations

US TV Schedule:

Fri. Dec. 11

6:00 AM

TCM

Cast

Humphrey Bogart	...	Harry Dawes
Ava Gardner	...	Maria Vargas
Edmond O'Brien	...	Oscar Muldoon
Marius Goring	...	Alberto Bravano
Valentina Cortese	...	Eleanora Torlato-Favrini (as Valentina Cortesa)
Rossano Brazzi	...	Count Vincenzo Torlato-Favrini
Elizabeth Sellars	...	Jerry
Warren Stevens	...	Kirk Edwards
Franco Interlenghi	...	Pedro Vargas
Mari Aldon	...	Myrna
Bessie Love	...	Mrs. Eubanks
Diana Decker	...	Drunken blonde
Bill Fraser	...	J. Montague Brown
Alberto Rabagliati	...	Nightclub proprietor
Enzo Staiola	...	Busboy

Also Known As:

La contessa scalza (Italy)

Runtime:

128 min | 130 min (dvd release) (TCM print)

Country:

USA | Italy

Language:

English | Spanish | Italian

Color:

Color (Technicolor)

Aspect Ratio:

1.75 : 1

Sound Mix:

Mono (Perspecta Sound encoding) (Western Electric Recording)

Certification:

Australia:PG | Argentina:16 | Chile:18 | Finland:K-16 | UK:PG | USA:Approved (PCA #17078, General Audience) | West Germany:16

Filming Locations:

Cinecittà Studios, Cinecittà, Rome, Lazio, Italy

Company:

Figaro

Trivia:

The name "Lloyd Richards" appears on the marquee of Maria's first film. "Lloyd Richards" is the name of Margo Channing's playwright friend in All About Eve (1950), also by written and directed by Joseph L. Mankiewicz.

Goofs:

Continuity: When Harry is talking to Maria, outside of her house, for a moment he is with his left hand in his coat lapel and his right hand holding the cigarette. The next shot shows him with his both hands in the pockets.

Quotes:

Maria Vargas: In Hollywood, it is not easy to become a star.
Harry Dawes: Ah, where is it easy?

Movie Connections:

Referenced in Novia, esposa y amante (1981)

Ava Gardner carries herself--and the film--beautifully.

"The Barefoot Contessa" is a greatly underrated film--which is rather surprising, when you consider the amount of talent involved. First, there's the brilliant script by Joe Mankiewicz, who was always at his best when dissecting Hollywood and its denizens. The movie's best scene may be the Hollywood party where Kirk Edwards gets his comeuppance, all booze, boredom and viciousness ("What she's got, you can't spell. And what you've got, you used to have."); although the scenes of the pathetic/glamorous European jet set are also excellent, the way Mankiewicz can create a small line or gesture that delineates an entire character. Really, the only time his touch fails him is toward the end, when Maria meets her Count and things get a bit melodramatic.

Also magnificent is the cinematography by the always-brilliant Jack Cardiff, who invests everything with color-drenched glamour. (Did you know that, along with shooting such visual masterpieces as "Black Narcissus," "The Red Shoes" and "Pandora and the Flying Dutchman," Cardiff was also the cinematogrpaher on "Rambo: First Blood." Yikes.) Edmond O'Brien won a well-deserved Academy Award for his portrayal of the sleazy PR man Oscar Muldoon, managing to bring hints of depth and dimension to a character that could have easily been pure caricature. Another fine, if brief, supporting turn comes from Mari Aldon as Edwards' long-suffering mistress, Myrna (especially her "I'm just a scared tramp" exit line).

Still, what makes this film work is the presence and performance of Ava Gardner. See "The Barefoot Contessa" and you will understand why many have thought her to be the most beautiful woman ever to grace the screen. She is simply breathtaking. Ava's appearance alone is enough to give credibility to Maria Vargas' legendary magnetism--and, without that, the whole film would fail, as it's really just about three men standing around one woman's coffin, wondering that made her tick--but it's her work as an actress that raises the character from beautiful blank to irresistible enigma. Even when her dialogue is a bit trite and soap-opera, she manages to make it believable by making shallowness appear to conceal depth (if you get what I mean), and even does a fine job with the accent. This was the film that earned her the tag "the world's most beautiful animal," but Ava Gardner was much more than that.