Unsuccessful singing bullfighter Juan arrives in Barcelona to try his luck in a big town. He finally persuades a devious local impresario to book him, but only on the condition that Juan ...
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Unsuccessful singing bullfighter Juan arrives in Barcelona to try his luck in a big town. He finally persuades a devious local impresario to book him, but only on the condition that Juan first manages to spend an evening with Olimpia, a "shrewd merciless beauty" who seems effortlessly to collect apartments and Maserati sports cars while leaving a trail of broken hearts behind her. Juan approaches the challenge by pretending to her he is an emissary for a rich count. Written by
Jeremy Perkins <email@example.com>
Peter Sellers was legendarily difficult during the making of this film, even falling out with Kenneth Griffith, one of his best friends. He was most hostile towards director Robert Parrish, and made determined efforts, not merely to undermine him, but to replace him as director. Until a short time before the film's release, it seemed that he would get a co-director credit. But eventually, Parrish got sole credit - some have unkindly suggested that Sellers waived his claim because he knew the film would be a critical and financial disaster (which it was). See more »
Olimpia has locked Pepe Gamazo out of his apartment. In the opening scene, Pepe chases her from the street in an attempt to reenter his apartment. Before he begins running, his long straight hair has a distinct part on the left side that exposes a large portion of his bare forehead. However, Olimpia beats him to the door. When Pepe reaches the apartment door, his hair is now windblown so that the part no longer shows (now resembling Moe of the Three Stooges). Yet when Olimpia looks through the peephole, his hair is neatly parted with a large portion of his forehead again visible. After she opens the door and pushes him into the elevator, he reverts back to the windblown look without parted hair. Later in another scene when Pepe knocks on the door, his hair is windblown with his forehead covered by his hair. Again, the next point of view Olimpia sees through the peephole is him with neatly parted hair and his forehead exposed. See more »
You know, Senorita, you've always had a softness in your heart for unfortunates. The dog you found starving in an alley. Two orphans, you open a white purse. And now, this so-called matador. It would make you happy to clean him up and dress him up with a pink ribbon. That he should trot after you. Except that this one, would have you on the leash, before you would have him.
Go for the champagne.
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Mostly for Sellers-completists...a slow-moving sex comedy with some good visual gags
In order to get a booking in Spain as a 'singing matador', Peter Sellers must first spend one hour alone with ravishing Britt Ekland, the local tease who has developed a bad reputation-in-reverse due to the fact she spurns all the men who desire her. Screenwriter David R. Schwartz adapted his own play, which began as the novel "Olimpia" by Burt Cole, but seems to have left out the heart of the story. Sellers and Ekland (real-life marrieds at the time) are both good, though neither has much of a character to play. The low-keyed film is so restrained, it may confound viewers hoping for a European farce. There are minor compensations: some of Peter's shtick, including a pantomime bit on the street, is funny, also the affected way Sellers pronounces 'Barcelona'. The sight-gag in the final act is successfully rendered, and Francis Lai contributes a beautiful bossa nova score. Still, the picture never really takes off, remains a rather glum and meandering vehicle for its star. ** from ****
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