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Loser Takes All (1956)

 |  Comedy  |  September 1956 (UK)
5.1
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Ratings: 5.1/10 from 45 users  
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Bertrand is an accountant employed by a large London firm. When he uncovers an accounting error, his employer is so thirlled that he send he, and his new wife, to Monte Carlo. The trip, however, is not completely as it seems...

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Title: Loser Takes All (1956)

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Cast

Complete credited cast:
...
...
...
Tony Britton ...
Tony
Felix Aylmer ...
Joyce Carey ...
Bird's Nest
Geoffrey Keen ...
Reception Clerk
Peter Illing ...
Stranger
Albert Lieven ...
A.E. Matthews ...
Elderly Man in Casino
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Storyline

Bertrand is an accountant employed by a large London firm. When he uncovers an accounting error, his employer is so thirlled that he send he, and his new wife, to Monte Carlo. The trip, however, is not completely as it seems...

Plot Summary | Add Synopsis

Taglines:

FIlmed in color, in sin-filled, sun-filled CinemaScope See more »

Genres:

Comedy

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Details

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Release Date:

September 1956 (UK)  »

Also Known As:

Lua de Mel em Monte Carlo  »

Filming Locations:

 »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

(Westrex Recording System)

Color:

(Eastmancolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

The copyright year on the title screen in given as "MCMXXXXXVI", rather than the more usual "MCMLVI". See more »

Connections

Version of Strike It Rich (1990) See more »

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User Reviews

 
Light on laughs loses its way
3 February 2012 | by (Australia) – See all my reviews

Extremely mild "comedy" concerning suave accountant (Brazzi) whose secret numbers system compels him to test his arithmetic prowess against the house, becoming a problem gambler that threatens his marriage to the bright and feisty Glynis Johns.

Robert Morley plays the typical pompous tycoon who eventually employs Brazzi after a series of financial losses, Tony Britton is Brazzi's laconic brother-in-law and while she's listed in the credits, I didn't happen to notice a young Shirley Ann Field ("Saturday Night & Sunday Morning") in an early film appearance though it would have been a highlight in this dull, alleged comedy.

Glynis Johns has the best character, pert and precocious in her inimitable way and by far eclipses another Brazzi trademark emasculation; I enjoyed many Rossano Brazzi films, but he never looked convincing turning on the waterworks, and he gives the damp-eyes acting technique another attempt here with limited sympathy. Devotees of Brazzi, Johns or Morley might want to pay attention, but unlikely to appeal elsewhere.


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