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The Naked Maja (1958)

5.5
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Title: The Naked Maja (1958)

The Naked Maja (1958) on IMDb 5.5/10

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Cast

Cast overview, first billed only:
...
Maria Cayetana, Duchess of Alba
...
Amedeo Nazzari ...
Prime Minister Manuel Godoy
Gino Cervi ...
Lea Padovani ...
Queen Maria Luisa
Massimo Serato ...
Conte Rodrigo Sanchez
Carlo Rizzo ...
Juanito
Audrey McDonald ...
Anita (as Audrey Macdonald)
Ivana Kislinger ...
Pepa
Renzo Cesana ...
Bayeu
Carlo Giustini ...
José
Carmen Mora ...
Prima Ballerina
Patrick Crean ...
Enrique (as Pat Crean)
Peter Meersman ...
Dr. Peral
John Karlsen ...
Inquisitor
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Storyline

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Taglines:

Now she is yours...the matchless...the shameless beauty who lives forever as The Naked Maja!


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Details

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Release Date:

20 December 1958 (Italy)  »

Also Known As:

Die nackte Maja  »

Filming Locations:

 »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

2.35 : 1
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User Reviews

 
Ava's beauty not enough to save dull historical romance...
18 November 2010 | by (U.S.A.) – See all my reviews

If THE NAKED MAJA had a better script more faithful to the true life story of Spanish artist Francisco Goya and his affair with the Duchess of Alba, this may have been worth all the expense that went into producing it. There are fine production values including the gorgeous costumes worn by Miss Gardner, the opulent settings, the detailed color photography and the pretty background score full of pseudo-Spanish themes.

As a romantic drama, it only exposes the clash of two different acting styles--the overly intense histrionics employed by ANTHONY FRANCIOSA in the method tradition and the more natural technique of screen acting from AVA GARDNER as the woman he falls helplessly in love with at first sight. Her aloof demeanor only makes her more irresistible and there is one brilliant dance scene where the fiery Spanish flamenco music makes their emotions come to life vividly at least for the length of this sequence. Otherwise, their pairing as lovers never seems as intense as the script would suggest.

Despite an overuse of eye make-up, Gardner at this point in her career was still very attractive in what is basically a one-dimensional role as an aloof woman with a past who cannot bring herself to declare love for the artist until it is too late.

Henry Koster's direction is a tad too slow in pace but the main fault is the script which never permits the two leads to be anything more than one-dimensional in concept.


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