Pamela Jones, an American actress on holiday in Brazil meets coffee plantation owner Claudio DeSantis, falls in love with him and they get married. After living at his ranch for some time ... See full summary »

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Cast

Credited cast:
...
Claudio DeSantis
...
Pamela Jones DeSantis
Odete Lara ...
Teresa
...
Gary Wills
Annik Malvil ...
Chiquiña
Carlos Alberto ...
Pedro
Milton Viana
Peter Bashka
Teresa Costelo
...
Himself
Rest of cast listed alphabetically:
Dick Edwards
Osmar Ferrão
Leila Lane
Heloísa Paravici
Tarcísio Ramos
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Storyline

Pamela Jones, an American actress on holiday in Brazil meets coffee plantation owner Claudio DeSantis, falls in love with him and they get married. After living at his ranch for some time she becomes increasingly frustrated by Claudio's insistence of maintaining the old traditions. His constant absences due to his work also leave her lonely. In his absence, Gary Wills, another American, is trying to seduce Pamela, but Claudio returns and catches him. After a fight with Claudio, Pamela decides to leave him and to go back to New York. A Brazilian law however prohibits her from leaving the country without permission of her husband. Using a carnival procession as a cover she attempts to board a ship, but Claudio catches up with her and promising to be more of a husband, they reconcile. Written by gmimpala

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Instant Love  »

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The party seen in the movie is a "Festa Junina" (June Party), a traditional Brazilian party. See more »

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User Reviews

Diary of a Bored Housewife
4 December 2011 | by (United States) – See all my reviews

An American actress (Rhonda Fleming) visits a college chum in Brazil, meets a wealthy coffee-grower (Rossano Brazzi), and marries him before the visit is over. Envisioning him as a Latin lover, she finds herself married instead to a workaholic with an old-world point of view. But as a modern woman used to working for a living, whose every need is now supplied by a household full of servants, she struggles to adjust to the cultural differences and to fill her days with useful activity.

Enter an oily American (William Redfield), a U.S. government efficiency expert in Brazil on assignment, who pursues our heroine at every opportunity. Eventually, she turns his relentless advances to her own advantage in a desperate attempt to resolve her situation.

Burdened by a trite script and at times seemingly ponderous proceedings, Pão de Açúcar is saved by lush photography, gorgeous costumes, a brilliant orchestral score (mid-20th century European style), and the efforts of its stars.

What is truly remarkable, however, is the near-seamless continuity in the final edit of this film that the stars and others associated with it thought was never finished due to financial insufficiencies.


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