In London, stuffy statesman Carter Harrison meets Toni, a Bohemian artist with a hot Italian temper. The two impulsively marry and then find that they disagree on everything. Shortly ... See full summary »
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In London, stuffy statesman Carter Harrison meets Toni, a Bohemian artist with a hot Italian temper. The two impulsively marry and then find that they disagree on everything. Shortly afterward they separate. We then meet them five years later on the eve before their divorce becomes final. After seeing each other again, sparks are reignited and they spend the night together. Reality sets in when morning comes and they begin arguing again. Once again, divorce proceedings are on, until Carter that an important promotion hinges on whether he's married. He schemes to win back Toni and eventually succeeds. But can he keep her from destroying his career by posing as Lady Godiva in a protest movement? Written by
Daniel Bubbeo <firstname.lastname@example.org>
Well you know the mentality of that Board, they're hooked on the idea of corporate image; solid American gentry, family respectability. For their top executives there are not Ten Commandments, only one: thou shalt be married - happily and respectably married...
...Whether you like it or not
Well I've done just fine, these past seven years, happily and respectably, separated. And I've loved every minute of it
Yeah, well, that's all gonna change. From now on you're going to have a ...
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Witless film from the usually-estimable comedy-producing team of Norman Panama and Melvin Frank, who are also credited with the rather old-fashioned story. Rock Hudson gives a lethargic, lemme-out-of-here performance as a top American salesman in London who marries a sexy Italian rabble-rouser only hours after meeting her (presumably so they can have sex without guilt); the next day, the couple realize they have nothing in common. After a seven-year estrangement, the executive is now an international success in line to become president of his firm, but the company chairman would prefer to give the job to a family man (is this written in stone?). Frank, serving as director, has no snap here, and he seems unfortunately fond of loud stereotypes and slapstick clichés. Atrociously shot by cinematographer Leo Tover, with the phony backdrops and scrappy rear-projection upstaging even Gina Lollobrigida in a variety of kooky outfits. * from ****
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