Cast overview, first billed only: | |||
Rock Hudson | ... | Carter Harrison | |
Gina Lollobrigida | ... | Toni Vincente | |
Gig Young | ... | Richard Bramwell | |
Edward Judd | ... | Harry Jones | |
Howard St. John | ... | Julius L. Stevens | |
Dave King | ... | Toni's Taxi Driver | |
Peggy Rea | ... | Mavis Masters | |
Joseph Sirola | ... | Petracini | |
Nancy Kulp | ... | Aggressive Woman | |
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Lucy Landau | ... | Jolly Woman |
Bernard Fox | ... | Policeman | |
Edith Atwater | ... | Mrs. Stevens | |
James McCallion | ... | Old Man | |
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Hedley Mattingly | ... | Bagshott |
John Orchard | ... | Radio Dispatcher |
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 seven 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 <dbubbeo@cmp.com>
Witless farce from the usually-estimable comedy writer Melvin Frank, who also produced and directed, stars Rock Hudson as an American oil company executive in London, married but estranged from fiery Gina Lollobrigida for the past seven years, who must present a happily-united front for the company's general (why? so it'll "look good"). When Rock first meets Gina, she's an artist painting protest slogans on signs and walls--but the movie is so bashful, her signs are always half-finished so we won't know what she's protesting against. They marry immediately (presumably so they can have sex without guilt), but the next morning find they have nothing in common. Frank, who co-authored the screenplay with Michael Pertwee from a rather old-fashioned story he originated with Norman Panama, substitutes shouting for snap--and Lollobrigida does must of the shouting. Hudson tries to keep up with her, but his colorless brand of acting assures that he'll blend in with the furniture and nothing more. 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 ****