Copyright 1957 by 20th Century-Fox Film Corp. New York opening at the Roxy: 19 April 1957. U.S. release: April 1957. U.K. release: 10 June 1957. Australian release: 4 July 1957. 10,000 feet. 111 minutes.
NOTES: Loren's first English-language film. Robert Mitchum was originally slated to play the lead, but bowed out "due to other commitments". Ladd was a frantic, last-minute replacement. Although he received an enormous fee, $275,000, Ladd did nothing but complain once he arrived in Athens and saw the actual set-up. Of course, he had reason. Sophia Loren was using the film to boost an international reputation as Italy's new sex symbol, her expansive physique advertised to be bigger and broader and more sumptuous than the considerable attributes of Gina Lollobrigida. Ladd, who stood only about 5 feet, 4 inches, was amazed when he first met Loren; no one had told him he would be acting with a giantess (albeit she stands only about 5 feet, 8 inches or so in her bare feet). She was almost a head taller and their love scenes together had to be framed as special two-shots. At one point, the two walk along a beach. So that Ladd would appear taller, a trench was dug for Loren to walk in, a scene that embarrassed Ladd and made him even more distant from cast and crew, especially from Loren. Director Negulesco played all the scenes to the Italian sexpot's advantage, particularly her diving sequences where she grabs the hem of her skirt, tucks it between her legs and pins it, then dives into the water and emerges dripping wet, her voluptuous heavy-breasted body clearly outlined, a shot that would be used in the film's promotion and make Loren the rage not only for this season but for many seasons to come.
Ladd refused to be anything but polite to Loren who later claimed he was her only leading man who refused to become her friend. When they posed for publicity shots, he was cold and indifferent. To Ladd, Loren was a talent-less opportunist who was using him as a prop to establish a career in American movies. By picture's end, Ladd felt that the film had been a mistake, at least for him, and he blamed the director for handing the film over to Loren. "Negulesco fell in love with her," he told a columnist, "so she got all the good closeups."
Negative cost: $3½ million. Worldwide rental gross: approx. $6 million.
VIEWER'S GUIDE: Despite all the sexpot publicity, the contemporary British censor ruled that the film was suitable for "Universal Exhibition".
COMMENT: Scenery — that's what BOAD is all about, principally the scenery provided by Miss Sophia Loren, but also the scenery of Greece and the Aegean Isles captured in the on-location CinemaScope camera. The story and the other players take a distinct 3rd and 4th place to these two prime requisites, now one, now the other vying for our attention — Miss Loren wins, rarely was an American film debut for a European star so auspicious and never did it completely swamp — aside from the locale — all other aspects of the production.
The other players were doubtless after Negulesco's head for at times even the music score seems to get much more attention than the cast (of course in the TV print matters are even worse, instead of just being on the sidelines, now they're often not in the picture at all! The cropped print relentlessly focuses on Miss Loren whom it must be admitted looks terrific and smolders most attractively). Clifton Webb has a few mild moments in what should have been a tailor-made part; and while Alex Minotis and Laurence Naismith and the little boy get a bit of an innings, poor old Alan Ladd is allowed to come off 2nd, 3rd or 4th best depending on how many other players are with him in a particular scene. The CinemaScope camera doesn't treat his age too kindly either, whereas it seems to be positively in love with Miss Loren.
Aside from his obvious love for the landscape and Loren, Negulesco's direction is rather loose and light-handed, and, whilst unobtrusive, also dramatically ineffective. Of course the script does not present much in the way of conflict and there is very little action or dramatic tension. The initial premise of the plot has promise, but it just ambles its way from one half-hearted and/or perfunctory situation to another and then reaches a predictable but dramatically unsatisfying conclusion.
OTHER VIEWS: Ladd makes a late entrance and in the meantime we are treated to some of the most wearisome dialogue and hammiest acting. Loren screeches away like a fishwife and her supporting players do little to help. Ladd doesn't improve things much either and his fans are going to be disappointed by the signal lack of action in the movie. Even the promised knife fight doesn't materialize. All Mr. Ladd tackles is Miss Loren — right at the fade-out. Only Clifton Webb (who is given some of his usual sardonic dialogue) and the Greek locations emerge with any honor from what is otherwise a most pedestrianly directed and boringly devised piece of old rubbish. The music score deserves a better film. Even Athens looks unattractive. As for Miss Loren... well even her fans will surely cringe once she opens her mouth! — JHR writing as George Addison.
NOTES: Loren's first English-language film. Robert Mitchum was originally slated to play the lead, but bowed out "due to other commitments". Ladd was a frantic, last-minute replacement. Although he received an enormous fee, $275,000, Ladd did nothing but complain once he arrived in Athens and saw the actual set-up. Of course, he had reason. Sophia Loren was using the film to boost an international reputation as Italy's new sex symbol, her expansive physique advertised to be bigger and broader and more sumptuous than the considerable attributes of Gina Lollobrigida. Ladd, who stood only about 5 feet, 4 inches, was amazed when he first met Loren; no one had told him he would be acting with a giantess (albeit she stands only about 5 feet, 8 inches or so in her bare feet). She was almost a head taller and their love scenes together had to be framed as special two-shots. At one point, the two walk along a beach. So that Ladd would appear taller, a trench was dug for Loren to walk in, a scene that embarrassed Ladd and made him even more distant from cast and crew, especially from Loren. Director Negulesco played all the scenes to the Italian sexpot's advantage, particularly her diving sequences where she grabs the hem of her skirt, tucks it between her legs and pins it, then dives into the water and emerges dripping wet, her voluptuous heavy-breasted body clearly outlined, a shot that would be used in the film's promotion and make Loren the rage not only for this season but for many seasons to come.
Ladd refused to be anything but polite to Loren who later claimed he was her only leading man who refused to become her friend. When they posed for publicity shots, he was cold and indifferent. To Ladd, Loren was a talent-less opportunist who was using him as a prop to establish a career in American movies. By picture's end, Ladd felt that the film had been a mistake, at least for him, and he blamed the director for handing the film over to Loren. "Negulesco fell in love with her," he told a columnist, "so she got all the good closeups."
Negative cost: $3½ million. Worldwide rental gross: approx. $6 million.
VIEWER'S GUIDE: Despite all the sexpot publicity, the contemporary British censor ruled that the film was suitable for "Universal Exhibition".
COMMENT: Scenery — that's what BOAD is all about, principally the scenery provided by Miss Sophia Loren, but also the scenery of Greece and the Aegean Isles captured in the on-location CinemaScope camera. The story and the other players take a distinct 3rd and 4th place to these two prime requisites, now one, now the other vying for our attention — Miss Loren wins, rarely was an American film debut for a European star so auspicious and never did it completely swamp — aside from the locale — all other aspects of the production.
The other players were doubtless after Negulesco's head for at times even the music score seems to get much more attention than the cast (of course in the TV print matters are even worse, instead of just being on the sidelines, now they're often not in the picture at all! The cropped print relentlessly focuses on Miss Loren whom it must be admitted looks terrific and smolders most attractively). Clifton Webb has a few mild moments in what should have been a tailor-made part; and while Alex Minotis and Laurence Naismith and the little boy get a bit of an innings, poor old Alan Ladd is allowed to come off 2nd, 3rd or 4th best depending on how many other players are with him in a particular scene. The CinemaScope camera doesn't treat his age too kindly either, whereas it seems to be positively in love with Miss Loren.
Aside from his obvious love for the landscape and Loren, Negulesco's direction is rather loose and light-handed, and, whilst unobtrusive, also dramatically ineffective. Of course the script does not present much in the way of conflict and there is very little action or dramatic tension. The initial premise of the plot has promise, but it just ambles its way from one half-hearted and/or perfunctory situation to another and then reaches a predictable but dramatically unsatisfying conclusion.
OTHER VIEWS: Ladd makes a late entrance and in the meantime we are treated to some of the most wearisome dialogue and hammiest acting. Loren screeches away like a fishwife and her supporting players do little to help. Ladd doesn't improve things much either and his fans are going to be disappointed by the signal lack of action in the movie. Even the promised knife fight doesn't materialize. All Mr. Ladd tackles is Miss Loren — right at the fade-out. Only Clifton Webb (who is given some of his usual sardonic dialogue) and the Greek locations emerge with any honor from what is otherwise a most pedestrianly directed and boringly devised piece of old rubbish. The music score deserves a better film. Even Athens looks unattractive. As for Miss Loren... well even her fans will surely cringe once she opens her mouth! — JHR writing as George Addison.