Anthology film about three owners of a yellow Rolls-Royce. A British diplomat buys the car for his French wife. A mobster's girlfriend has an affair in Italy. An American woman drives a Yugoslavian partisan to Ljubljana on the eve of the Nazi invasion.
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Three stories about the lives and loves of those who own a certain yellow Rolls-Royce: **First purchased by the Marquess of Frinton for his wife as a belated anniversary present, the Marchiness finds her own use for the vehicle, one which prompts her husband to sell the car in disgust. **Gangster Paolo Maltese's moll, Mae, thinks the Rolls is a "classy" car in which to tour Paolo's home town in Italy. When Paolo is called away to the U.S. to finish some "business", a bored Mae takes the Rolls-Royce on a spin through the country, enjoying both the sights and the handsome Italian photographer who crosses her path. **By the outbreak of World War II, the car has come into the possession of socialite Gerda Millet. While on her way to visit Yugoslavian royalty, Gerda and the Rolls-Royce become (at first) unwitting and then (eventually) most willing participants in the Yugoslavian fight. Written by
The Rolls-Royce used in the film was a pale blue 1930 Phantom II Sedanca de Ville, which MGM technicians covered with twenty coats of yellow paint; a few coats of black were added to the top of the hood, the roof, and the wings. See more »
When Gerda Millett crosses the border into Yugoslavia, the border guard tells her he hopes Roosevelt is elected to a 4th term as president. This scene happens before the German invasion of Yugoslavia, 1941. Roosevelt was still in his second term. See more »
All the three actresses are beautiful and attractive: some honest and some dishonest. The men remain the drones to the queen bee in all the three episodes.
Jeanne Moreau is probably the weakest of the trio but elegant in her role as a wife who has a young lover. Shirley Maclaine is the classical stunning dumb blonde who has to make a choice to step into a stable, rich married life. The fascinating Ingrid Bergman chooses to step down from a wealthy peerage to a realistic rustic lifestyle using charming wit for achieving an honest end.
This is Asquith's last film with Jack Hildyard's cinematography that is patchy but stunning at times. As a film it is average but the casting and the performances of the three ladies and George C Scott are notable.
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