This bantam weight of a comedy really has not much going for it. It is so light you could knock it down with a feather. I was so bored I decided to do some crossword puzzles while listening to the dialog and missed absolutely. Princess/Royalty Sophia is expelled from the court. She wants to marry a well to do royal but an indiscretion with an American visitor, the always bland for extremely good looking John Gavin - well, he's not really bland: He just speaks in a monotone way and doesn't vary his technique much - threatens to derail the impending nuptials. Poor second-billed Maurice Chevalier in a role he would play many time again as the cantankerous old matchmaker after perfecting it in Gigi dawdles through the movie singing sweet melodies that move absolutely no one. Wide Screen cinematography and Technicolor is exquisite and the costumes worn by Sophia define her figure to goddess like status. But when in a romantic comedy you are rapturing over the sets and costumes you know something is wrong. P.S. Poor Michael Curtiz!
19 Reviews
Rather turgid fairy tale, with minor compensations...
moonspinner5518 June 2008
Sophia Loren--in a succession of lavish gowns, her hair tinted a honey-brown--looks every inch the princess in this surface-pretty remake of 1929's "His Glorious Night", adapted from Molnar's play "Olimpia". An American businessman from Pittsburg travels overseas and falls in love with mercurial royalty from Ruritania; she has breached protocol by even being seen with this "peasant", so in order to keep him quiet she agrees to spend a weekend with him in the country. Wily Maurice Chevalier, as Sophia's father, gets to sing a little and make eyes at the ladies, and his polished comic timing is a welcome relief to the empty, useless bantering of the young lovers. As Loren's gallant guy, stiff John Gavin talks as if he's being dubbed by a ventriloquist (he has no music in his voice). Sophia doesn't have the witty lines of the older players (nor that of Angela Lansbury as a competitive Countess), though she gives more to this puff-piece than most actresses would have. A few funny lines do lighten the load, yet it's largely forgettable. ** from ****
Boring international co-production
cinders637 July 2001
A lot of talent was wasted in this uninspired remake of 'His Glorious Night', based on a Molnar Play. The lovely Sophia Loren is beautiful to look at as a spirited Ruritanian princess falling in love with the stereotyped brash American industrialist. There are no new ideas here. Visually, it's appealing, but with all the talent involved, it should have been much better.
Uneven rather flat rendering of wonderful Vienna concoction
trpdean29 September 2005
Warning: Spoilers
Molnar is one of the greatest comic/romantic playwrights Hungary ever produced - and that is no mean feat since that is that nation's specialty. For generations, people have loved Carousel (made from Molnar's play "Liliom"), loved Grace Kelly's last film "The Swan" (from Molnar's play of that name), loved "The Guardsman" made famous by Alfred Lunt and Lynn Fontanne and many others. I myself delighted in Maggie Smith and Christopher Plummer in Lily in Love, from yet another Molnar play.
The story has been described on this site as frothy - but in fact so are most of the great romantic comedies - so are Bringing Up Baby, so is Roman Holiday, so is Noises Off and My Man Godfrey and The Philadelphia Story and Libeled Lady and the exquisite Midnight and Nothing Sacred and all the Doris Day comedies and .... If a comedy is NOT frothy, there are problems.
Although this movie is as lavish as any you'll ever see - absolutely beautiful, with spectacular scenery and sets, stunning costumes, and a top notch cast -- including a stupendous Sophia Loren matched by a very handsome John Gavin - with Isabel Jeans and Maurice Chevalier and Angela Lansbury largely repeating their wonderful persona from Gigi and The Reluctant Debutante -- and even has a delightful song (sung by Maurice Chevalier) and an appealing story -- it's flat.
I have to suspect that part of the reason may sadly be the age of those who created and directed it. The great director Michael Curtiz (himself Hungarian - and famous for Casablanca and many other great films, beloved in Hollywood - e.g., read David Niven's book "Bring on Empty Horses", quoting Curtiz's charming and curious English) -- -- was 76 when he directed this -- and the play was translated by one of the century's top American playwrights, Sidney Howard, but he was then 69. And I suspect that they were both sadly past their primes.
This is one of the few movies I've ever seen, where I actually thought, "oh no, the direction is sinking this".
The cast is top of the line, but somewhat mistaken. First (and not fatal), Sophia Loren (just eye-popping in this film) simply does not look at ALL as if she could be the daughter of Isabel Jeans and Maurice Chevalier. A combination of accent, complexion, stature, just causes any viewer to think she must be the product of some liaison by Jeans with an Italian - yet we are in fact told that her parents have never strayed. Either Loren should have had Italian actors as parents or Chevalier and Jeans should have been given a French or English actress to play their daughter.
The bigger problem (as others have mentioned) is the pairing of John Gavin and Sophia Loren. John Gavin is one of the most intelligent, handsome and personally charming men in Hollywood - extraordinarily talented, he has served as the American Ambassador to Mexico (Latin American studies was his major at Villanova University), and has been quite wonderful in movies such as Psycho, Midnight Lace, Spartacus and many others.
Unfortunately, in this film, Gavin is stiff - for which I must blame the direction. Gavin's forthright, quite understated, honorable, appeal don't work for this film where his character comically goes through periods of wild lust, despair, anger, frustration with the encrusted ways of the Empire (much of the play seems clearly to have been political comment on the Empire's fussy ways) - and Gavin appears somewhat interested/somewhat annoyed throughout. Offhand, I can't think of another Gavin attempt at comedy. Gavin seems to be in an a drama while everyone else is playing comedy.
Gene Kelly was made for this picture - notwithstanding the age difference with Loren (less of a difference than most at the time - e.g., Cooper-Hepburn in Love in the Afternoon, Stewart-Novak in BVertigo or Bell Book and Candle, etc.) -- in fact Gene Kelly's even FROM Pittsburgh like the character!). Kelly is pushy, certain of his charm (and usually right), lusty, slightly overstated - all perfect for this character. Rock Hudson would also have been fine (one can easily imagine his playing it perfectly from his Doris Day comedies). But not stoic heroic John Gavin.
The movie has its quite funny lines of dialogue, but they're rushed or said under the breath. Again, the direction is the problem.
Another problem is that the DVD does not synchronize the voices and lips very well - so there is a distancing effect throughout the movie.
Sadly (given the result), no expense has been spared - spectacular palaces, amazing public squares, beautiful cabarets, a dizzying array of stunning costumes - this is one of the most beautiful movies you'll ever see.
This movie should have been another Gigi - it had all the trappings - Angela Lansbury is wonderful, Chevalier is his strikingly charming self, Isabel Jeans voice and manner are pitch perfect, and Loren is, well, almost unimaginably voluptuous and a wonderful comic actress.
I enjoyed it, but you'll find yourself thinking "what's the missing ingredient here?" and I think it's the direction. A pity when so much was so clearly committed by the studio, actors (obviously on location for a long time), and crew.
Incidentally, it's interesting that only one person posted a review on this site before 2005 - I suspect that few saw this movie on its release and so far as I know, it was not released in videocassette before its release in DVD. The DVD is beautiful - but as I mention, the lip-synching is slightly off.
The story has been described on this site as frothy - but in fact so are most of the great romantic comedies - so are Bringing Up Baby, so is Roman Holiday, so is Noises Off and My Man Godfrey and The Philadelphia Story and Libeled Lady and the exquisite Midnight and Nothing Sacred and all the Doris Day comedies and .... If a comedy is NOT frothy, there are problems.
Although this movie is as lavish as any you'll ever see - absolutely beautiful, with spectacular scenery and sets, stunning costumes, and a top notch cast -- including a stupendous Sophia Loren matched by a very handsome John Gavin - with Isabel Jeans and Maurice Chevalier and Angela Lansbury largely repeating their wonderful persona from Gigi and The Reluctant Debutante -- and even has a delightful song (sung by Maurice Chevalier) and an appealing story -- it's flat.
I have to suspect that part of the reason may sadly be the age of those who created and directed it. The great director Michael Curtiz (himself Hungarian - and famous for Casablanca and many other great films, beloved in Hollywood - e.g., read David Niven's book "Bring on Empty Horses", quoting Curtiz's charming and curious English) -- -- was 76 when he directed this -- and the play was translated by one of the century's top American playwrights, Sidney Howard, but he was then 69. And I suspect that they were both sadly past their primes.
This is one of the few movies I've ever seen, where I actually thought, "oh no, the direction is sinking this".
The cast is top of the line, but somewhat mistaken. First (and not fatal), Sophia Loren (just eye-popping in this film) simply does not look at ALL as if she could be the daughter of Isabel Jeans and Maurice Chevalier. A combination of accent, complexion, stature, just causes any viewer to think she must be the product of some liaison by Jeans with an Italian - yet we are in fact told that her parents have never strayed. Either Loren should have had Italian actors as parents or Chevalier and Jeans should have been given a French or English actress to play their daughter.
The bigger problem (as others have mentioned) is the pairing of John Gavin and Sophia Loren. John Gavin is one of the most intelligent, handsome and personally charming men in Hollywood - extraordinarily talented, he has served as the American Ambassador to Mexico (Latin American studies was his major at Villanova University), and has been quite wonderful in movies such as Psycho, Midnight Lace, Spartacus and many others.
Unfortunately, in this film, Gavin is stiff - for which I must blame the direction. Gavin's forthright, quite understated, honorable, appeal don't work for this film where his character comically goes through periods of wild lust, despair, anger, frustration with the encrusted ways of the Empire (much of the play seems clearly to have been political comment on the Empire's fussy ways) - and Gavin appears somewhat interested/somewhat annoyed throughout. Offhand, I can't think of another Gavin attempt at comedy. Gavin seems to be in an a drama while everyone else is playing comedy.
Gene Kelly was made for this picture - notwithstanding the age difference with Loren (less of a difference than most at the time - e.g., Cooper-Hepburn in Love in the Afternoon, Stewart-Novak in BVertigo or Bell Book and Candle, etc.) -- in fact Gene Kelly's even FROM Pittsburgh like the character!). Kelly is pushy, certain of his charm (and usually right), lusty, slightly overstated - all perfect for this character. Rock Hudson would also have been fine (one can easily imagine his playing it perfectly from his Doris Day comedies). But not stoic heroic John Gavin.
The movie has its quite funny lines of dialogue, but they're rushed or said under the breath. Again, the direction is the problem.
Another problem is that the DVD does not synchronize the voices and lips very well - so there is a distancing effect throughout the movie.
Sadly (given the result), no expense has been spared - spectacular palaces, amazing public squares, beautiful cabarets, a dizzying array of stunning costumes - this is one of the most beautiful movies you'll ever see.
This movie should have been another Gigi - it had all the trappings - Angela Lansbury is wonderful, Chevalier is his strikingly charming self, Isabel Jeans voice and manner are pitch perfect, and Loren is, well, almost unimaginably voluptuous and a wonderful comic actress.
I enjoyed it, but you'll find yourself thinking "what's the missing ingredient here?" and I think it's the direction. A pity when so much was so clearly committed by the studio, actors (obviously on location for a long time), and crew.
Incidentally, it's interesting that only one person posted a review on this site before 2005 - I suspect that few saw this movie on its release and so far as I know, it was not released in videocassette before its release in DVD. The DVD is beautiful - but as I mention, the lip-synching is slightly off.
Lighter than Air Romantic Comedy A Tad Weighted Down
movieman-20011 August 2005
Warning: Spoilers
Michael Curtiz's A Breath of Scandal (1960) is a glittering featherweight romantic comedy set in Austria circa 1907. It stars the voluptuous Sophia Loren as Olympia, a princess living in exile because of her scandalous romantic indiscretions. Not that she's suffering any. There's a huge castle to romp around in, extensive grounds to go riding on and a quaint little hunting cottage for time spent away from the family. It's there that Olympia accidentally meets and then attempts to seduce Charles Foster (John Gavin), the handsome American engineer. She feeds him a false name, takes off the bottom of his pajamas and even tries to have him tuck her in bed shameless! Foster, as it turns out, has business with Prince Philip (Maurice Chevalier) Olympia's father. But before any of this superficiality can develop, Olympia finds that she has been given a reprieve from the Emperor to move to Vienna and marry Prince Ruprecht (Carl Hinterman). The cast is rounded out by Isobel Jeans as Olympia's stuffy, two-faced mother, Princess Eugenia and Angela Lansbury as Countess Lina, who is given precious little to do except insinuate that some tidbit of protocol has been breached, thereby exiling Olympia to her country estate once again.
Despite a lavish on-location backdrop, eye popping costumes, some stunning cinematography and a charming score, the film really doesn't develop beyond its cloistered romantic trappings. Chemistry between Gavin and Loren is near zero despite the fact that they are two of the most gorgeous individuals ever seen on the screen. The one note of distinction that helps make the whole tired cliché palpable is Maurice Chevalier's recap of the divine boulevardier he played in 'Gigi' two years before. He's an elegant, suave and ultimately final note of aristocratic class in an otherwise deadly dull production.
The anamorphic widescreen transfer from Paramount is generally a blessing. Despite modest color fading and some age related artifacts, most of the print simply glows with the lavish excesses of Technicolor. Flesh tones can appear slightly pasty at times, but over all are accurate. Contrast levels are bang on. Blacks are deep and solid. Whites are generally clean. The audio is Mono as originally recorded. Occasionally it seems to bloom or distort, making Loren's lines inaudible, but overall there is some nice mixing to be had particularly when Chevalier warbles the title track in a seedy Can-Can café. There are NO extras.
Despite a lavish on-location backdrop, eye popping costumes, some stunning cinematography and a charming score, the film really doesn't develop beyond its cloistered romantic trappings. Chemistry between Gavin and Loren is near zero despite the fact that they are two of the most gorgeous individuals ever seen on the screen. The one note of distinction that helps make the whole tired cliché palpable is Maurice Chevalier's recap of the divine boulevardier he played in 'Gigi' two years before. He's an elegant, suave and ultimately final note of aristocratic class in an otherwise deadly dull production.
The anamorphic widescreen transfer from Paramount is generally a blessing. Despite modest color fading and some age related artifacts, most of the print simply glows with the lavish excesses of Technicolor. Flesh tones can appear slightly pasty at times, but over all are accurate. Contrast levels are bang on. Blacks are deep and solid. Whites are generally clean. The audio is Mono as originally recorded. Occasionally it seems to bloom or distort, making Loren's lines inaudible, but overall there is some nice mixing to be had particularly when Chevalier warbles the title track in a seedy Can-Can café. There are NO extras.
Dull and unbelievable.
planktonrules5 June 2013
Warning: Spoilers
Sophia Loren plays a horny princess from the Austria-Hungarian Empire (about 1910). She's been banished to her country home for 'bad behavior' though we aren't sure exactly what it means. I think it implies she has been chasing men, as soon she meets up with a traveling American (John Gavin) and throws herself at him. Yet, inexplicably, he seems immune to her frisky game.
In the midst of her trying to vamp the man, she is called back home--apparently the Emperor has forgiven her AND there is a very advantageous arranged marriage in the works for her with a Prussian Prince. So, she disappears.
Time passes. The oblivious American arrives at Schönbrunn Palace (the Emperor's house) on business and soon sees the Princess. He's had no idea she was royalty and instantly he declares his love for her--although given he doesn't even really know her, this makes zero sense. Inexplicably, eventually she declares her love for him and they run off--despite there being no logical reason for her giving up on her life of privilege. The end.
The story really makes no sense and supports the daffy cliché of love at first sight. Whatever. All I know is that the relationship is thoroughly unconvincing and the film seems to go on and on and on until it reaches a very obvious and irrational conclusion. Other than the pleasure of seeing Loren at her prime, I cannot really see any reason to see this oddly cast film--oddly because the Italian Loren and French Maurice Chavalier play Hungarians!! Huh?!
In the midst of her trying to vamp the man, she is called back home--apparently the Emperor has forgiven her AND there is a very advantageous arranged marriage in the works for her with a Prussian Prince. So, she disappears.
Time passes. The oblivious American arrives at Schönbrunn Palace (the Emperor's house) on business and soon sees the Princess. He's had no idea she was royalty and instantly he declares his love for her--although given he doesn't even really know her, this makes zero sense. Inexplicably, eventually she declares her love for him and they run off--despite there being no logical reason for her giving up on her life of privilege. The end.
The story really makes no sense and supports the daffy cliché of love at first sight. Whatever. All I know is that the relationship is thoroughly unconvincing and the film seems to go on and on and on until it reaches a very obvious and irrational conclusion. Other than the pleasure of seeing Loren at her prime, I cannot really see any reason to see this oddly cast film--oddly because the Italian Loren and French Maurice Chavalier play Hungarians!! Huh?!
She doesn't breathe scandal. She hyperventilates it.
mark.waltz3 September 2016
Warning: Spoilers
In this handsome but very theatrical costume comedy, Ruritanian manners come back into the movies, featuring a former leading man back in the 1930's made them his specialty. Maurice Chevalier is an Austrian prince who arranges with the emperor for his daughter (Sophia Loren) to marry a very prominent Prussian prince. However, being a rather rebellious young lady, she has her doubts, agreeing to it for family honor but finding love with an American millionaire (John Gavin) who is in Europe on business with her father. Rival noblewoman Angela Lanbury, who has her eyes on Loren's intended, looks for any sign of scandal so she can push Loren out and continue her liaisons with the prince, even though she's married to a much older, equally prominent member of the royal family herself.
Amusing but often very dry, thus us the type of story that Chevalier would star in 30 years before in musicals with Jeanette MacDonald. His imperious spouse here is played by "Gigi" co- star Isabel Jeans who reminds me of Edna May Oliver in the 1930's musical "Rosalie" with her dry delivery of her disapproval. Loren is lovely and feisty and Gavin is handsome but rather dull. Chevalier gives his usual "ooh la la" performance, even singing a bit, while Lansbury is delightfully crafty. This is exactly like a Bavarian pastry-scrumptious to look at, but certainly no meal. Still, with director George Cukor, there's a lot to admire, just not one of Hus true classics.
Amusing but often very dry, thus us the type of story that Chevalier would star in 30 years before in musicals with Jeanette MacDonald. His imperious spouse here is played by "Gigi" co- star Isabel Jeans who reminds me of Edna May Oliver in the 1930's musical "Rosalie" with her dry delivery of her disapproval. Loren is lovely and feisty and Gavin is handsome but rather dull. Chevalier gives his usual "ooh la la" performance, even singing a bit, while Lansbury is delightfully crafty. This is exactly like a Bavarian pastry-scrumptious to look at, but certainly no meal. Still, with director George Cukor, there's a lot to admire, just not one of Hus true classics.
oh dear
selffamily14 November 2009
As has been mentioned before, the sets, the scenery and the cast are beautiful, if mismatched. Sophia Loren is an actress I admire greatly, and one I think is underrated, having been cast in many roles for her looks, but this does her no favours. The story is lightweight, frothy and could have been fun, but the casting is wrong - as someone has mentioned before, she could hardly have been a child of her parents. The 'royals' are a conundrum - when is Hollywood going to learn that royalty don't behave like middle class hosts or hostesses - my shock at hearing Julie Andrews, as the queen in princess diaries say "I must go, I have a press conference, I can't keep them waiting" has never abated, the royals are above all that, and they certainly don't check tables or supplies when hosting a party. I think the casting was definitely a problem, a blend of so many nationalities in supposedly a European country, and while Princess Anne of Great Britain was a great horseman, I can't see it having been permitted when this film was supposedly based.(and the commentator was American?) That aside, the constant irritations of implausibilities and the bad, BAD scripts made this film mostly unwatchable. The American guy was OK (if forgettable), Sophia was OK, as were each of the cast individually,but what they had to deal with was desperate. It's a shame, this could have been highly enjoyable, as much fun as any lightweight film of that era. But someone was very lazy.
A Nice Classic Comedy
whpratt124 June 2008
In 1960 this film did not receive audience attention because there were other film being shown that the public wanted to see, like "Psycho" and many other films. Most Sophia Loren films were not as popular in America and so Carlo Ponti brought his wife back to Europe and she made a very successful film, "Two Women" which won her an Academy Award and brought Sophia great notoriety. In this picture, Sophia plays the role as Princess Olympia who is a very wild and beautiful young lady who gets into all kinds of trouble. Sophia rides her horse one day and an American named Charlie Foster, (John Gavin) and his automobile scares the horse and the Princess falls to the ground and she plays games with Charlie making believe she is hurt, but she really likes him and wants to spend the night with him in a lodge. Charlie has no idea this pretty gal is a Princess and they both get along very well, with her sleeping in his pajamas and her waking up and the bottoms of the PJ's are missing. This is a great comedy and Maurice Chevalier, (Prince Philip) gives a great supporting role as Princess Olympia father along with Angela Lanwsbury, (Countess Lina) who is a gossip and trouble maker getting into everyone's private lives. Michael Curtiz directed this picture and he was a famous director who produced many great films.
when beauty is no consolation
rsternesq18 June 2008
Sometimes, particularly when one is looking at a landscape or a portrait, beauty is sufficient. Movies are a different situation altogether and visual beauty is a bonus and certainly does no harm but it cannot carry a movie all by itself. John Gavin is beautiful but miscast and wooden where a more dangerous charm would have helped. Think Grant or even Sinatra but at least think alive. As to Loren, words fail me. The look (beautiful perhaps) is entirely wrong and she is no princess. If for no other reason her accent makes no sense and screams please oh please dub me, dub me, dub me even by the actress she called mother for no discernible reason. The eligible prince actually looks like Grace Kelly's real life prince but there is no Grace Kelly to lift his form into substance. The only performer who is even slightly acceptable is the divine and immortal Angela Lansbury who actually seems to be engaged. Fortunately, she doesn't have to listen to old Maurice beat a dead horse (i.e., his tired singing routine). Speaking of horses, the four-legged ones were cute but could only move the carriage, not the plot. On the whole, I'd rather be in Pittsburgh, with or without a horse or anywhere else, as long as it is with Ms. Lansbury.
a beautifully filmed gentle comedy with a wonderful cast
aussiebrisguy24 July 2006
This is a really beautiful and charming film with a wonderful cast. Sophia Loren has never looked more lovely in the role of Princess Olympia alongside the handsome John Gavin in the role of Charlie Foster. Maurice Chevalier is absolutely delightful as Prince Philip as is his on-screen wife Isabel Jeans in the role of Princess Eugenie. The settings are simply beautiful in different palaces around Vienna such as the Belvedere and Schoenbrunn. The Austrian countryside is also delightful. I loved the music as well. A young Angela Lansbury also makes an appearance as the devious Countess Lina. It is a lovely and enchanting film.
Lavish recasting of charming tale survives a slight slip or three
eschetic-211 January 2010
Warning: Spoilers
Sidney Howard's translation of Ferenc Molnar's celebrated Viennese trifle, OLYMPIA could manage only 39 performances at Broadway's Empire Theatre from October 16 of 1928, but at a moment when lavish middle-European sex comedies were in fashion following the Oscar winning success of GIGI (15 May 1958), it seemed the nearly ideal chance to use the very French Maurice Chevalier in another comic-worldly European role, even if he was to pretend to be a very Viennese Austrian prince.
In point of fact, the film was the brainchild of Italian producer Carlo Ponti as a vehicle for his wife, Sophia Loren; one of four interesting films she released that year, starting with the HELLER IN PINK TIGHTS (if the very German Marlene Dietrich could make a classic Western in DESTRY RIDES AGAIN, why not the very Italian Sophia?) and ending with her ultimately Oscar winning performance in LA CIOCIARA (aka TWO WOMEN). Joining Loren and Chevalier above the title (with the then always winningly nasty Angela Lansbury below it) was the very American John Gavin (remember what a 1920's "Arrow Collar Man" was supposed to look like? Gavin had those looks wed to a personality once reputedly to have prompted his sister to refer to him as "Mr. Park Bench").
This seemingly bizarre international group (hardly the first or last time such casting would be attempted) requires no more suspension of disbelief than the basic premise - not so far from real life as many, unfamiliar with the actual loves and marriages of both Austrian Emperor Franz Joseph and his one-time heir, Franz Ferdinand or royals of our own century might suppose - of a royal falling in love (in this case through a series of misunderstandings) with a commoner.
The casting of John Gavin as the commoner however, while not calling upon him to attempt anything beyond his range of comfort, caused the greatest variation from the original play in making the love interest not an Austrian officer but a visiting American businessman. For the most part the rewrite works, even though credited adapters/screenwriters Walter Bernstein & Karl Schneider (said to have had help from Ring Lardner, Jr. - only Molnar and Howard receive screen credit!) occasionally slips up in knowing only the "history" learned on stage or screen (the reality of the tragedy at Mayerling he has a character refer to had little or nothing to do with the romantic fantasy told in the once popular play and movie).
Impeccably set and costumed in the most lavish possible style, the film offers audiences willing to go along a charming hour and a half vacation from reality - only ultimately marred by the changing times and tastes which allow us to question the silly imposed "romantic happy ending." The film would be far better had the producer and writers had the courage to allow duty to prevail (as it had, ironically, in the supposedly more frivolous make believe world of THE PRISONER OF ZENDA!). Loren herself would be involved in another romantic turn-of-the-century farce which found a more satisfying resolution to a similar situation five years later in LADY L - with another American, Paul Newman!).
Still, established Hollywood director Michael Curtiz, nearing the end of a 50 year career that included everything from CASABLANCA to WHITE Christmas was a decent choice to pull all these international elements together, and if the musical element (two very nice songs by minor names) weren't quite Lerner & Loewe, they were almost exactly what the romantic trifle called for - especially when Chevalier sings and the orchestra swells.
Far from perfect, but also far from the worst in a very good year for Carlo Ponti and Sophia Loren. Worth taking a look at if you're in the mood for romantic illusion from a generally first rate - even occasionally out of place cast. The supporting players are uniformly superb.
In point of fact, the film was the brainchild of Italian producer Carlo Ponti as a vehicle for his wife, Sophia Loren; one of four interesting films she released that year, starting with the HELLER IN PINK TIGHTS (if the very German Marlene Dietrich could make a classic Western in DESTRY RIDES AGAIN, why not the very Italian Sophia?) and ending with her ultimately Oscar winning performance in LA CIOCIARA (aka TWO WOMEN). Joining Loren and Chevalier above the title (with the then always winningly nasty Angela Lansbury below it) was the very American John Gavin (remember what a 1920's "Arrow Collar Man" was supposed to look like? Gavin had those looks wed to a personality once reputedly to have prompted his sister to refer to him as "Mr. Park Bench").
This seemingly bizarre international group (hardly the first or last time such casting would be attempted) requires no more suspension of disbelief than the basic premise - not so far from real life as many, unfamiliar with the actual loves and marriages of both Austrian Emperor Franz Joseph and his one-time heir, Franz Ferdinand or royals of our own century might suppose - of a royal falling in love (in this case through a series of misunderstandings) with a commoner.
The casting of John Gavin as the commoner however, while not calling upon him to attempt anything beyond his range of comfort, caused the greatest variation from the original play in making the love interest not an Austrian officer but a visiting American businessman. For the most part the rewrite works, even though credited adapters/screenwriters Walter Bernstein & Karl Schneider (said to have had help from Ring Lardner, Jr. - only Molnar and Howard receive screen credit!) occasionally slips up in knowing only the "history" learned on stage or screen (the reality of the tragedy at Mayerling he has a character refer to had little or nothing to do with the romantic fantasy told in the once popular play and movie).
Impeccably set and costumed in the most lavish possible style, the film offers audiences willing to go along a charming hour and a half vacation from reality - only ultimately marred by the changing times and tastes which allow us to question the silly imposed "romantic happy ending." The film would be far better had the producer and writers had the courage to allow duty to prevail (as it had, ironically, in the supposedly more frivolous make believe world of THE PRISONER OF ZENDA!). Loren herself would be involved in another romantic turn-of-the-century farce which found a more satisfying resolution to a similar situation five years later in LADY L - with another American, Paul Newman!).
Still, established Hollywood director Michael Curtiz, nearing the end of a 50 year career that included everything from CASABLANCA to WHITE Christmas was a decent choice to pull all these international elements together, and if the musical element (two very nice songs by minor names) weren't quite Lerner & Loewe, they were almost exactly what the romantic trifle called for - especially when Chevalier sings and the orchestra swells.
Far from perfect, but also far from the worst in a very good year for Carlo Ponti and Sophia Loren. Worth taking a look at if you're in the mood for romantic illusion from a generally first rate - even occasionally out of place cast. The supporting players are uniformly superb.
If you are hooked on locations and costumes, this movie is okay...
krdement23 June 2008
Warning: Spoilers
but if you want a funny romantic comedy to go along with them - look out; you are in trouble with this film. I knew this film was going to be iffy when Sophia Loren was taking pot shots at a bicycling mail carrier in the opening sequences. Subsequent jokes all center on her penchant for shooting people and other inanimate objects around the château where she is in exile. People fear to approach her for fear they will get shot. NOTE she is apparently trying to shoot people! Funny, huh?
Sophia gets better when she contrives to meet John Gavin. After Sophia's mildly humorous overnight attempts to seduce Gavin in the hunting lodge, it's all downhill until the end. After that night, Sophia receives forgiveness from the emperor, and she is able to return to Vienna. Her character is transformed from vamp of the nobility to staid fiancée of the Prussian prince. Thereafter, she and Gavin are acting in some light, romantic drama, while the rest of the cast struggles to maintain the comedy. The comedy all centers on the efforts of Sophia and her parents to hide her indiscreet meeting with Gavin from the emperor's top "morality cop." That aspect of the film is occasionally mildly humorous. But whenever the overly- earnest Gavin and the now staid Sophia intrude, the light drama takes over and the film goes flat. Unfortunately Gavin was never meant to appear in comedies; he has no sense of comic timing or delivery.
I can recommend this film only for die-hard Sophia fans.
Sophia gets better when she contrives to meet John Gavin. After Sophia's mildly humorous overnight attempts to seduce Gavin in the hunting lodge, it's all downhill until the end. After that night, Sophia receives forgiveness from the emperor, and she is able to return to Vienna. Her character is transformed from vamp of the nobility to staid fiancée of the Prussian prince. Thereafter, she and Gavin are acting in some light, romantic drama, while the rest of the cast struggles to maintain the comedy. The comedy all centers on the efforts of Sophia and her parents to hide her indiscreet meeting with Gavin from the emperor's top "morality cop." That aspect of the film is occasionally mildly humorous. But whenever the overly- earnest Gavin and the now staid Sophia intrude, the light drama takes over and the film goes flat. Unfortunately Gavin was never meant to appear in comedies; he has no sense of comic timing or delivery.
I can recommend this film only for die-hard Sophia fans.
picturesque Ruritanian rom-farce
federovsky31 October 2016
I like Sophia Loren so much that I actually enjoyed this rigid, superficial international production (headed by Ponti) that seems to be trying to emulate - very unwisely - Max Ophuls.
A central European princess has a flirtatious encounter with an American businessman (John Gavin) in a hunting lodge. Drugged on medication she kicks her pyjama bottoms off in the night and on waking, finds a love note from him - placed on said pyjamas - thus setting off the motions of the scanty plot in which Gavin pursues her to Vienna like a pigeon on heat while she and her mother try to ward off the scandal-mongering attentions of Angela Lansbury.
There's not much to it and it's a bit repetitive. Gavin is wooden as a spoon, Loren's mother is unpleasantly shrill, and everything is smothered in rococo - plentiful scenes seem to have actually been filmed in Schonbrunn Palace in Vienna.
Loren's elocution-lesson English is charming, though as always it seems to hamper her acting. Somehow Maurice Chevalier gets to slip in a song - I suppose there was no stopping him - but the banter between the old-word aristocrat and the progressive American is sometimes funny. Gavin asks what he should do with the cross he is awarded and is told: 'Wear it on state occasions'. Gavin says 'State occasions?' Really the film is an excuse to get Sophia and her natural pout into a number of lavish outfits to bosomy effect. That works.
A central European princess has a flirtatious encounter with an American businessman (John Gavin) in a hunting lodge. Drugged on medication she kicks her pyjama bottoms off in the night and on waking, finds a love note from him - placed on said pyjamas - thus setting off the motions of the scanty plot in which Gavin pursues her to Vienna like a pigeon on heat while she and her mother try to ward off the scandal-mongering attentions of Angela Lansbury.
There's not much to it and it's a bit repetitive. Gavin is wooden as a spoon, Loren's mother is unpleasantly shrill, and everything is smothered in rococo - plentiful scenes seem to have actually been filmed in Schonbrunn Palace in Vienna.
Loren's elocution-lesson English is charming, though as always it seems to hamper her acting. Somehow Maurice Chevalier gets to slip in a song - I suppose there was no stopping him - but the banter between the old-word aristocrat and the progressive American is sometimes funny. Gavin asks what he should do with the cross he is awarded and is told: 'Wear it on state occasions'. Gavin says 'State occasions?' Really the film is an excuse to get Sophia and her natural pout into a number of lavish outfits to bosomy effect. That works.
A Breath Of Stale Air
writers_reign2 April 2014
Warning: Spoilers
Even the great Billy Wilder couldn't quite bring off the commoner and the Royal lady tale in The Emperor Waltz and he had Bing Crosby, technicolor and location shooting going for him. Michael Curtiz is a fine bread-and- butter director and versatile with it but he's no Wilder just as John Gavin is no Bing Crosby. What this movie does have is Sophia Loren doing ravishing, Gavin doing mahogany, Maurice Chevalier doing Gallic charm - and just missing - plus Angela Lansbury phoning it it. The pedigree was good enough, a play (Olympia) by the more than competent Hungarian Ferenc Molnar, translated by Sydney Howard, but the lavish costumes and splendid sets can only take us so far and sooner or later we need to see some quality emoting but alas this never transpires. Pleasant enough as a time-waster.
Good Movie
ThomasColquith15 December 2021
"A Breath of Scandal" is a solid film that straddles the line between drama and comedy. It features an interesting cast of characters who illustrate some of the peculiarities of the aristocracy while comparing and contrasting those mores to the more folksy egalitarianism of Charlie and America. It is a mostly good time even if the film doesn't fully resonate with or impact the viewer. It shares some similarities with another Sophia Loren film from 1960, "The Millionairess." I rate both 6/10 and deem them both worth watching even if they are somewhat turgid.
Sophia at her most beautiful, and fun...
santill281 February 2007
Warning: Spoilers
This movie has Sophia, at her MOST beautiful, as a princess, playing with love, and generally causing trouble. One of my favorite scenes is her shooting out of the castle, at different targets. one of the most beautiful women ever, in a pretty good role, with fantastic costumes, in Vienna. What more could you want? Good supporting cast, beautiful scenery, and reasonable direction. A nice journey into fantasy land, and, not a bad period piece. The male lead is even pretty good, and, it has Maurice Chevalier, in a very interesting role as assistant to the king/prince. It really gets into the different time frames other people move at, compared to the United States I love this movie.
Loved it! It's Not Citizen Kane But Who CARES?
overseer-323 March 2018
I can't believe all the criticism of this film, it's a light ball of fluff, it's funny and fun, and Sophia is gorgeous and so is John Gavin who just died last month at age 86. Give it a break! It's not a masterpiece but it wasn't trying to be. Filmed on location in Italy and Austria the cinematography features a royal world gone by, and Sophia's character is a pip of a princess who makes everyone nervous because she keeps doing scandalous things like shooting at weather vanes and riding forbidden wild stallions and desiring romances with undesirables. Enter John Gavin an American who is good at heart and doesn't know she is a Princess at first, he thinks he hurt her by frightening her horse which threw her to the ground, so he takes her back to an inn to recover, only she's perfectly fine, she just loves the way he looks and is smitten. Then the real (royal) world comes back into play and she is called to be a responsible Princess again and possibly marry royalty but she just can't forget that handsome American who lives in Pittsburgh. :) Must say the clothes design in this movie was Oscar worthy, Sophia wears breathtakingly beautiful clothes, if you love the rich fashions of days gone by you should watch it with a keen eye toward its style. A nice film to drink hot cocoa to on a cold winter night.
fun and easy to watch
vlladu12 December 2005
I like it a lot. It is funny. Has some funny scenes and some funny characters.
Now, I didn't say that it is a comedy that will make you laugh a lot, but you might watch almost all of it with a smile on your face, at least I know I did.
Sophia Loren looks great in it and from what my sister told me the guy looks very good also.
(Maybe guys could learn something from the man in this movie.)
I gave it a 10 because I think it is one of the best of it's kind. (By the way, if you know better ones please let me know. 10x)
PS: I think is a nice movie to watch with a girlfriend/boyfriend.
Now, I didn't say that it is a comedy that will make you laugh a lot, but you might watch almost all of it with a smile on your face, at least I know I did.
Sophia Loren looks great in it and from what my sister told me the guy looks very good also.
(Maybe guys could learn something from the man in this movie.)
I gave it a 10 because I think it is one of the best of it's kind. (By the way, if you know better ones please let me know. 10x)
PS: I think is a nice movie to watch with a girlfriend/boyfriend.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
