Victor and Hillary are down on their luck to the point that they allow tourists to take guided tours of their castle. But Charles Delacro, a millionaire oil tycoon, visits, and takes a liking to more than the house. Soon, Hattie Durant gets involved and they have a good old fashioned love triangle.Written by
Tim Kearns <email@example.com>
It was originally intended by director Stanley Donen that Cary Grant would play the part of "Delacro", the American tourist, whilst Rex Harrison and his real-life wife Kay Kendall were respectively cast as "Victor Rhyall" and "Hattie". But Kendall died soon after completing an earlier Stanley Donen film, "Once More With Feeling", and Rex Harrison dropped out of the film because of this. Cary Grant agreed to play Victor instead of Delacro, and both Rock Hudson and Charlton Heston were approached about playing the American character. Both refused, and Robert Mitchum was cast quite late in the proceedings, making no fuss at all about taking third-billing. Cary Grant often claimed this had "saved the film" and praised his performance highly. See more »
When Victor and Charles play billiards, they use straight-rail billiard balls (two white, one red) on a table with pockets (on which 9, 10, or 15 balls, plus a cue ball, are used). See more »
Babies, some of them naked, on a lawn, are shown as if they were the cast and crew. For example, as the camera crew's names are shown, the babies are seen trying to work a camera; the "editor" is a baby tugging on a film strip, and so on. See more »
This delightful morsel is even more impressive given the bare post-Eisenhower era of its release. While we tend to view 1960 as the beginning of the JFK cultural renaissance, in fact the decade dawned with Ike in the White House and Nixon on the horizon. Extramarital hijinks, dealt with adult sophistication, tolerance and forgiveness are rare enough, but the Bible-thumpers must have bust a gut on this one. I disagree with those who chastise the title, I think it's perfect. That such a topic is explored without losing the light comedic magic of Grant, the earnest angst of Kerr, the irreverent sexuality of Simmons and the brooding strength of Mitchum is testament to the ability of Stanley Donen to guide without herding. It all fits, wonderfully, in a movie that glows brighter with the passage of time, and the tsunami of trash that was to follow.
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