IMDb > A New Kind of Love (1963)
A New Kind of Love
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A New Kind of Love (1963) More at IMDbPro »

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Overview

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6.0/10   691 votes »
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Up 51% in popularity this week. See why on IMDbPro.
Director:
Writer:
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View company contact information for A New Kind of Love on IMDbPro.
Release Date:
10 October 1963 (UK) See more »
Genre:
Plot:
The fashion industry and Paris provide the setting for a comedy surrounding the mistaken impression that Joanne Woodward is a high-priced call girl. Paul Newman is the journalist interviewing her for insights on her profession. | Add synopsis »
Awards:
Nominated for 2 Oscars. Another 1 win & 1 nomination See more »
User Reviews:
An Old Kind of Schlock! See more (18 total) »

Cast

  (in credits order)

Paul Newman ... Steve Sherman

Joanne Woodward ... Samantha (Sam) Blake / Mimi

Thelma Ritter ... Leena

Eva Gabor ... Felicienne Courbeau

George Tobias ... Joe Bergner

Marvin Kaplan ... Harry
Robert Clary ... Frenchman at Restaurant
Jan Moriarty ... Suzanne, Model with Umbrella

Joan Staley ... Danish Stewardess
Robert F. Simon ... Bertram Chalmers, Sherman's Boss

Maurice Chevalier ... Maurice Chevalier
rest of cast listed alphabetically:
Keith Dahle ... Shopper (as Galen Keith Dahle)

Frank Sinatra ... Singer Behind Opening Credits

Army Archerd ... Onlooker (uncredited)
Jean Argyle ... Shopper (uncredited)
Kay Armour ... Shopper (uncredited)
Danielle Aubry ... Danielle (uncredited)
Audrey Betz ... Amazon (uncredited)
Eugene Borden ... (uncredited)
George Bruggeman ... (uncredited)
Peter Canon ... Peter Canon (uncredited)
Virginia Carr ... Shopper (uncredited)
Albert Carrier ... Gendarme (uncredited)
Sue Casey ... (uncredited)
Winnie Chandler ... Shopper (uncredited)
Irene Chapman ... Amazon (uncredited)
Kay Christian ... Model With Pearls (uncredited)
Suzanne Dadolle ... French Columnist (uncredited)
Allison Daniell ... Lingerie Model (uncredited)
Sandra Downs ... Stewardess (uncredited)
Leno Jo Francen ... (uncredited)
Gabrielle ... Model (uncredited)
Judy Garwood ... (uncredited)
Annabelle George ... Model (uncredited)
Ralf Harolde ... French Waiter (uncredited)
Patricia Howard ... (uncredited)
Emily LaRue ... Shopper (uncredited)
Ted Mapes ... Floorwalker (uncredited)
Helen Marler ... Cardin Model (uncredited)
Alphonse Martell ... Café Headwaiter (uncredited)
Jacqueline May ... French Waitress (uncredited)
Torben Meyer ... Hotel Clerk (uncredited)
Paul Micale ... Shopper (uncredited)
Marylu Miner ... Model (uncredited)
Laurie Mitchell ... Parisienne Poule (uncredited)
George Nardelli ... Waiter (uncredited)
Patricia Olson ... 2nd French Girl (uncredited)
Allyn Parsons ... Model (uncredited)
Vicki Poure ... (uncredited)
Francis Ravel ... (uncredited)
Gene Ringgold ... Reporter (uncredited)
Gladys Roach ... Shopper (uncredited)
Anne Ross ... (uncredited)
Vernon Scott ... Reporter (uncredited)
Mildred Shelton ... Shopper (uncredited)
June Smaney ... Amazon (uncredited)
Mabel Smaney ... (uncredited)
Jimmy Starr ... Reporter (uncredited)
Lomax Study ... Hansom Cab Driver (uncredited)
Audrey Swanson ... Shopper (uncredited)
Sondra Teke ... Model (uncredited)
Valerie Varda ... Mrs. Hannah Chalmers (uncredited)
Joan Waddell ... (uncredited)
Trude Wyler ... Midinette (uncredited)

Celeste Yarnall ... (uncredited)

Francine York ... (uncredited)
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Directed by
Melville Shavelson 
 
Writing credits
Melville Shavelson (writer)

Produced by
Melville Shavelson .... producer
 
Original Music by
Erroll Garner 
Leith Stevens 
 
Cinematography by
Daniel L. Fapp 
 
Film Editing by
Frank Bracht 
 
Art Direction by
Arthur Lonergan 
Hal Pereira 
 
Set Decoration by
Sam Comer 
James W. Payne  (as James Payne)
 
Costume Design by
Edith Head 
 
Makeup Department
Nellie Manley .... hair styles supervisor
George Masters .... hair style designer: Joanne Woodward
Wally Westmore .... makeup artist
 
Second Unit Director or Assistant Director
Arthur Jacobson .... assistant director
Michael D. Moore .... assistant director: Paris
 
Art Department
Gene Lauritzen .... construction coordinator
 
Sound Department
John R. Carter .... sound recordist (as John Carter)
John Wilkinson .... sound recordist
 
Visual Effects by
Farciot Edouart .... process photography
Paul K. Lerpae .... special photographic effects
 
Camera and Electrical Department
Loyal Griggs .... director of photography: second unit
 
Editorial Department
Hoyningen Huene .... color coordinator (as Hoyningen-Huene)
 
Music Department
Leith Stevens .... arranger
Leith Stevens .... orchestrator (uncredited)
Van Cleave .... orchestrator (uncredited)
 
Other crew
Hoyningen Huene .... title designer (as Hoyningen-Huene)
Hal C. Kern .... assistant to producer
Richard Mueller .... technicolor color consultant
Miriam Nelson .... choreographer
 

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Additional Details

Also Known As:
Runtime:
110 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Mono (Westrex Recording System)

Did You Know?

Trivia:
When his editor tells him he's being reassigned to Paris, "where you'll probably die," Newman replies, "Yeah, but what a wonderful way to go." The line turned out to be prophetic - the very next year, Newman played an American living in Paris in What a Way to Go! (1964).See more »
Goofs:
Continuity: Maurice Chevalier gives a party hat to Felicienne, who puts it on twice.See more »
Quotes:
Steve Sherman:Here's to all the bachelors in the world. May our tribe increase.
Harry:How?
Steve Sherman:Automation.
See more »
Movie Connections:
References La Dolce Vita (1960)See more »
Soundtrack:
You Brought a New Kind of Love to MeSee more »

FAQ

This FAQ is empty. Add the first question.
3 out of 5 people found the following review useful.
An Old Kind of Schlock!, 21 May 2003
Author: Greg Couture from Portland, Oregon

When the credits for this one began to roll, accompanied by Frank Sinatra's jazzy update of the standard with the same name as this film's title (and which sounds like an arrangement by Sinatra's frequent and best collaborator, Nelson Riddle, who is, unaccountably, not listed in the credits), I thought I was in for a treat. An attractive cast; top-notch professionals behind the camera; Errol Garner adding his matchless pedigree to the musical scoring; gowns by some of the most renowned Parisian couture houses; plus the participation of several of that era's purveyors of upscale chic; and, finally, Joanne Woodward in a title sequence (designed by George Cukor's frequent visual consultant, Hoyningen-Huene, also listed as this film's color coordinator) surreptitiously snapping photos of the window displays of Manhattan's most expensive retailers. Ah, but what a disappointment followed.

To start, the script is surprisingly and tastelessly lacking in wit; the promised Paris locations are, for the most part, studio recreations; Paramount, by the time of this production, was no longer using its high-quality 70mm VistaVision process for most of its "A"-list productions; and the stars, Joanne Woodward and Paul Newman, were never so thoroughly sabotaged by ridiculous plotting, rarely funny dialogue, and the rather listless direction of Melville Shavelson. And Miss Woodward had also to endure some particularly unflattering hair styles by George Masters, including an ugly platinum wig she was required to wear in several key scenes. (I mean, she can look great as a platinum blonde! Just check out 1960's "From the Terrace.")

There are a (very) few positive attributes, though. Eva Gabor lends a touch of much-needed glamor, as a character named Felicienne (Now there's a name that suits her!); Marvin Kaplan does his usually reliable shtick as the hero's sidekick/schlemiel; and Thelma Ritter, given pitifully little to do, survives this disaster with her fan base intact. But then, toward the end of the proceedings, Maurice Chevalier is dragooned into a seemingly interminable reprise of the music hall hits with which he had long been associated, in a scene where a bevy of females go into paroxysms of ecstasy over his supposedly irresistible Gallic charm. So it finally became apparent why, during the credits, Lanvin and Scandinavian Airlines System, among others, preferred their part in these proceedings to be described as "with the somewhat horrified participation of..." They must have been given a look at a rough cut of this mish-mash before the final release prints were readied. Quel abomination!

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