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After Walter Bernstein had his name removed from the credits, the only scriptwriter mentioned for the film was Sidney Howard, credited with "adaptation". Howard had done an English-language version of Molnar's play for Broadway long before (in the 1920s); by the time, this film appeared, he had been dead for over twenty years. See more »
Vehicles are seen driving on the right. The Austrians drove on the left until about 1933, well after the period of this story. See more »
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.
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