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Viva Maria! (1965)

6.4
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Ratings: 6.4/10 from 2,216 users  
Reviews: 26 user | 22 critic

Somewhere in Middle America, 1907: Maria II, the daugther of an Irish terrorist, meets after the dead of her father Maria I, the singer of an circus. She decided to stay with the circus. On... See full summary »

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(scenario and dialogue), (scenario and dialogue) (as Jean-Claude Carriere)
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Title: Viva Maria! (1965)

Viva Maria! (1965) on IMDb 6.4/10

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Won 1 BAFTA Film Award. Another 1 nomination. See more awards »

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Cast

Cast overview, first billed only:
...
...
...
Flores
...
Mme Diogène
Gregor von Rezzori ...
Diogène (as Gregor Von Rezzori)
Poldo Bendandi ...
Werther
Claudio Brook ...
The Great Rodolfo
Carlos López Moctezuma ...
Rodríguez (as Carlos Lopez Moctezuma)
Jonathan Eden ...
Juanito Diogène
Francisco Reiguera ...
Father Superior
Adriana Roel ...
Janine
José Baviera ...
Don Alvaro
José Ángel Espinosa 'Ferrusquilla' ...
The Dictator of San Miguel (as José Ángel Espinoza)
Fernando Wagner ...
Father of Maria I
Roberto Pedret ...
Pablo
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Storyline

Somewhere in Middle America, 1907: Maria II, the daugther of an Irish terrorist, meets after the dead of her father Maria I, the singer of an circus. She decided to stay with the circus. On her debue as a singer, she accidently invented strip-tease, that made the circus famous. But accidently they meet an sozialist revolutionair and finding themselves leading this revolution against the dictaor, the capitalists and the church. Written by Stephan Eichenberg <eichenbe@fak-cbg.tu-muenchen.de>

Plot Summary | Add Synopsis

Taglines:

Just in case you can't catch the words above the roar of battle and laughter you can read 'em at the bottom of the screen. See more »


Certificate:

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Details

Country:

|

Language:

| | |

Release Date:

18 December 1965 (USA)  »

Also Known As:

Viva Maria  »

Filming Locations:


Box Office

Budget:

$2,200,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

This movie was the subject of one of two U.S. Supreme Court cases that led to the establishment of the MPAA Ratings Code. Upon the U.S. release of this "Viva Maria," the movie classification board of the city of Dallas, Texas, banned the movie within the city on the grounds that it was too racy. The American distributor sued - case title: "Interstate Circuit, Inc. v. City of Dallas (1968) - and, on 22 April 1968, won. In its ruling, the Supreme Court stated that censorship aimed at minors was okay, but censorship could not be applied to adults. On the same day, the Supreme Court handed down its ruling in a second case, titled "Ginsberg v. New York (1968)," which established that 17 years of age constituted adulthood in cases of censorship. The case involved a New York City luncheonette owner named Sam Ginsberg who was caught selling a "Playboy" magazine to a 16 year old in a NYPD sting operation. The Supreme Court ruled that if the boy had been 17 years old, then Ginsberg would have done no wrong in selling him the magazine. By combining these two rulings, the Supreme Court established the precedent that adult-oriented movies were acceptable as long as "no one under 17 is admitted without parent or adult guardian." See more »

Goofs

The two Marias' underpants during the strip scene. See more »

Connections

Referenced in Le Bonheur (1965) See more »

Soundtracks

Ah Les P'tites Femmes De Paris
" (uncredited)
Music by Georges Delerue and lyrics by Jean-Claude Carrière
Performed by Brigitte Bardot and Jeanne Moreau
See more »

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User Reviews

 
What that Revolution really needed were two good female revolutionaries
22 December 2005 | by (United States) – See all my reviews

This was an amusing film, which was the first movie that I saw starring either Bridget Bardot or Jeanne Moreau. I actually saw it on a double bill back in 1965. It is of interest because it brings up a matter that American films about Mexico's Revolution (or that of the other Latin American Countries) rarely touch upon. This is the position of the Roman Catholic Church in these matters.

The only time the issue of the Church and the Revolutionaries came up in American films was in the John Ford / Henry Fonda movie "The Fugitive". That (based on Graham Greene's novel "The Power And The Glory")dealt with the anti-Clericalism of the PRI regimes that ruled the country after 1920. In it Fonda is a fugitive priest who is trying to continue his religious role, despite the anti-clericalism of the regime. Greene (and Ford) were good Catholics, and stressed the negative actions of the revolutionary regime in Mexico (similar to the anti-religious viewpoint of the Communist regime in Russia). But the view barely notes why the anti-Clericalism developed.

One of the largest land owning groups in Mexico (and in most of Latin America's countries) was the Church. And, due to the holdings, the Church tended to be rather conservative politically. In the 19th Century the greatest figure of reform in Mexico was Benito Juarez, who was from a poor native Indian background. But most of his career was in trying to strengthen Mexican democratic government, and to drive the French invasion (that briefly set up Archduke Maximillian of Austria) as Emperor. But after the French were driven out, Juarez spent the remainder of his years in office (1867 - 1872) trying to get through some kind of fair land reform. This did not sit well with the Church. It supported the regime of his successor (Porfirio Diaz), who was opposed to land reform - he invited foreign investors (many Americans) into Mexico. Diaz's policies were good in giving Mexico a stable economy and political peace for three decades (the longest growth period until the later 20th Century).

The key character to watch in "Viva Maria" is Francisco Regueira, who plays the sinister Father Superior. It is he who is constantly in communication with the dictator, the landowner, and their minions. The role (as is the film) is played for laughs, but it is his behavior, conspiring against the two Marias and their friends, which is telling.

The plot is interesting in bringing in the universality of revolution. Bardot is shown growing up, the daughter of an Irish revolutionary, constantly destroying British forts and other sites with his daughter assisting. When she joins forces with Moreau the latter's sister has committed suicide, so that she needs Bardot to replace the sister. It is a circus group, but Bardot and Moreau do a singing and strip-tease act. They are brought into the Mexican Revolution by the brutality of the local landowner (who rules like he has a mini-kingdom).

The film was pure escapism: the circus group's resident marksman finds one of his special rifles is badly bent after an explosion - he doesn't throw it out, but attach-es a mirror to the barrel and uses the bent gun to shoot people around the corner. George Hamilton plays a local "Zapata" type hero, who is wounded and in hiding. When Bardot speaks in his honor, the members of the circus group listen to her words comments critically on her use of language, and on his theatricality - as though she is acting on stage.

It is not a major film, even for director Louis Malle (don't compare it with "Atlantic City", for example). But as an enjoyable romp it's worth watching.


12 of 19 people found this review helpful.  Was this review helpful to you?

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